THE CLAY SANSKRIT LIBRARY

FOUNDED BY JOHN & JENNIFER CLAY
GENERAL EDITOR
RICHARD GOMBRICH
EDITED BY
ISABELLE ONIANS
SOMADEVA VASUDEVA
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First Edition :cco.
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and the rest of the Clay Sanskrit Library
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Bound by Hunter & Foulis Ltd, Edinburgh, Scotland.
The Recognition
of Shak´ untala
by K¯ alid¯ asa
EDITED AND TRANSLATED BY
SOMADEVA VASUDEVA
NEW YORK UNIVERSITY PRESS
JJC FOUNDATION
:cco
Library of Congress Cataloging-in-Publication Data
K¯ alid¯ asa
[
´
Sakuntal¯ a. English & Sanskrit]
The recognition of Shakuntala / by Kalidasa ;
edited and translated by Somadeva Vasudeva.
p. cm. – (The Clay Sanskrit library)
Play.
In English and Sanskrit; includes translation from Sanskrit.
Includes bibliographical references and index.
ISBN c-ï:¡;-ïï:,-; (cloth : alk. paper)
I. Vasudeva, Somadeva. II. Title. III. Series.
PK,;,o.S¡V,; :cco
ï,:’.:: : :: :cc¡c:,,:,
Contents
Sanskrit alphabetical order ;
CSL conventions ;
THE RECOGNITION OF
´
SAKUNTAL
¯
A
Introduction :,
Dramatis Personæ ¡;
Prologue ,c
Act One: Tui Cuasi ,ï
Act Two: Tui Siciir ,ï
Act Three: Tui Passiox :,c
Act Four: Tui Faiiwiii :;o
Act Five: Tui Tiacio\ ::ï
Act Six: Tui Loxcixc :,ï
Act Seven: Tui Ansoiuriox ,:o
Paraphrase of Prakrit (ch¯ ay¯ a) ,o,
Notes ¡c,
Index ¡::
csi coxvixrioxs
saxsxiir aiiuaniricai oioii
Vowels: a ¯ a i ¯ı u ¯ u r
.
¯r
.
l
.
¯
l
.
e ai o au m
.
h
.
(f )
Gutturals: k kh g gh ˙ n
Palatals: c ch j jh ˜ n
Retroflex: t
.
t
.
h d
.
d
.
h n
.
Dentals: t th d dh n
Labials: p ph b bh m
Semivowels: y r l v
Spirants: ´s s
.
s h
cuioi ro saxsxiir iioxuxciariox
a but
¯ a, ˆ a rather
i sit
¯ı, ˆı fee
u put
¯ u,ˆ u boo
r
.
vocalic r, Americanpurdy
or English pretty
¯r
.
lengthened r
.
l
.
vocalic l , able
e, ˆe, ¯e made, esp. in Welsh pro-
nunciation
ai bite
o, ˆ o, ¯ o rope, esp. Welsh pronun-
ciation; Italian solo
au sound
m
.
anusv¯ ara nasalizes the pre-
ceding vowel
h
.
, f visarga, a voiceless aspira-
tion (resembling English
h), or like Scottishloch, or
an aspiration with a faint
echoing of the preceding
vowel so that taih
.
is pro-
nounced taih
i
. In Kash-
mirianpractice, whenvis-
arga is followed by p or
ph it is replaced by upa-
dhm¯ an¯ıya, here written as
f, and pronounced as an
unvoiced, short blow of
air.
k luck
kh blockhead
g go
gh bighead
˙ n anger
c chill
ch matchhead
j jog
jh aspirated j, hedgehog
˜ n canyon
t
.
retroflex t, try (with the
tip of tongue turned up
to touch the hard palate)
t
.
h same as the preceding but
aspirated
d
.
retroflex d (with the tip
;
rui iicocxiriox oi suax´ uxraia
of tongue turned up to
touch the hard palate)
d
.
h same as the preceding but
aspirated
n
.
retroflex n (with the tip
of tongue turned up to
touch the hard palate)
t French tout
th tent hook
d dinner
dh guildhall
n now
p pill
ph upheaval
b before
bh abhorrent
m mind
y yes
r trilled, resembling the Ita-
lian pronunciation of r
l l inger
v word
´s shore
s
.
retroflex sh ( with the tip
of the tongue turned up
to touch the hard palate)
s hiss
h hood
csi iuxcruariox oi ixciisu
The acute accent on Sanskrit words when they occur outside of the
Sanskrit text itself, marks stress, e.g. Ram´ ayana. It is not part of tra-
ditional Sanskrit orthography, transliteration or transcription, but we
supply it here to guide readers in the pronunciation of these unfamiliar
words. Since no Sanskrit word is accented on the last syllable it is not
necessary to accent disyllables, e.g. Rama.
The second CSL innovation designed to assist the reader in the pro-
nunciation of lengthy unfamiliar words is to insert an unobtrusive mid-
dle dot between semantic word breaks in compound names (provided
the word break does not fall on a vowel resulting from the fusion of
two vowels), e.g. Maha·bh´ arata, but Ram´ ayana (not Rama·´ ayana). Our
dot echoes the punctuating middle dot (·) found in the oldest surviving
samples of written Indic, the Ashokan inscriptions of the third century
nci.
The deep layering of Sanskrit narrative has also dictated that we use
quotation marks only to announce the beginning and end of every direct
speech, and not at the beginning of every paragraph.
ï
csi coxvixrioxs
csi iuxcruariox oi saxsxiir
The Sanskrit text is also punctuated, in accordance with the punc-
tuation of the English translation. In mid-verse, the punctuation will
not alter the sandhi or the scansion. Proper names are capitalized, as are
the initial words of verses (or paragraphs in prose texts). Most Sanskrit
metres have four “feet” (p¯ ada): where possible we print the common
´sloka metre on two lines. The capitalization of verse beginnings makes
it easy for the reader to recognize longer metres where it is necessary to
print the four metrical feet over four or eight lines. In the Sanskrit text,
we use French Guillemets (e.g. «kva sam
.
cic¯ırs
.
uh
.
?») instead of English
quotation marks (e.g. “Where are you off to?”) to avoid confusion with
the apostrophes used for vowel elision in sandhi.
Sanskrit presents the learner witha challenge: sandhi (“euphonic com-
bination”). Sandhi means that when two words are joined in connected
speech or writing (which in Sanskrit reflects speech), the last letter (or
even letters) of the first word often changes; compare the way we pro-
nounce “the” in “the beginning” and “the end.”
In Sanskrit the first letter of the second word may also change; and if
both the last letter of the first word and the first letter of the second are
vowels, they may fuse. This has a parallel in English: a nasal consonant is
inserted between two vowels that would otherwise coalesce: “a pear” and
“an apple.” Sanskrit vowel fusion may produce ambiguity. The chart at
the back of each book gives the full sandhi system.
Fortunately it is not necessary to know these changes in order to start
reading Sanskrit. For that, what is important is to know the form of the
second word without sandhi (pre-sandhi), so that it can be recognized
or looked up in a dictionary. Therefore we are printing Sanskrit with a
system of punctuation that will indicate, unambiguously, the original
form of the second word, i.e., the form without sandhi. Such sandhi
mostly concerns the fusion of two vowels.
In Sanskrit, vowels may be short or long and are written differently
accordingly. We follow the general convention that a vowel with no
mark above it is short. Other books mark a long vowel either with a
bar called a macron (¯ a) or with a circumflex (ˆ a). Our system uses the
macron, except that for initial vowels in sandhi we use a circumflex
,
rui iicocxiriox oi suax´ uxraia
to indicate that originally the vowel was short, or the shorter of two
possibilities (e rather than ai, o rather than au).
When we print initial ˆ a, before sandhi that vowel was a
ˆı or ˆe, i
ˆ u or ˆ o, u
ˆ ai, e
ˆ au, o
¯ a, ¯ a (i.e., the same)
¯ı, ¯ı (i.e., the same)
¯ u, ¯ u (i.e., the same)
¯e, ¯ı
¯ o, ¯ u
¯ ai, ai
¯ au, au
’ , before sandhi there was a vowel a
iuiruii uiii wiru vowii saxoui
When a final short vowel (a, i or u) has merged into a following
vowel, we print ’ at the end of the word, and when a final long vowel
(¯ a, ¯ı or ¯ u) has merged into a following vowel we print ” at the end of
the word. The vast majority of these cases will concern a final a or ¯ a.
Examples:
What before sandhi was atra asti is represented as atr’ ˆ asti
atra ¯ aste atr’ ¯ aste
kany¯ a asti kany” ˆ asti
kany¯ a ¯ aste kany” ¯ aste
atra iti atr’ ˆeti
kany¯ a iti kany” ˆeti
kany¯ a ¯ıpsit¯ a kany” ¯epsit¯ a
Finally, three other points concerning the initial letter of the sec-
ond word:
(:) A word that before sandhi begins with r
.
(vowel), after sandhi
begins with r followed by a consonant: yatha” rtu represents pre-sandhi
yath¯ a r
.
tu.
:c
csi coxvixrioxs
(:) When before sandhi the previous word ends in t and the following
word begins with ´s, after sandhi the last letter of the previous word is c
and the following word begins with ch: sy¯ ac ch¯ astravit represents pre-
sandhi sy¯ at ´s¯ astravit.
(,) Where a word begins with h and the previous word ends with a
double consonant, this is our simplified spelling to show the pre-sandhi
form: tad hasati is commonly written as tad dhasati, but we write tadd
hasati so that the original initial letter is obvious.
coxiouxos
We also punctuate the division of compounds (sam¯ asa), simply by
inserting a thin vertical line between words. There are words where
the decision whether to regard them as compounds is arbitrary. Our
principle has beento try to guide readers to the correct dictionary entries.
ixaxiii
Where the Deva·n´ agari script reads:
Others would print:
kumbhasthal¯ı raks
.
atu vo vik¯ırn
.
asind¯ uraren
.
ur dvirad¯ ananasya /
pra´s¯ antaye vighnatama´schat
.
¯ an¯ am
.
nis
.
t
.
hy¯ utab¯ al¯ atapapallaveva //
We print:
kumbhaAsthal¯ı raks
.
atu vo vik¯ırn
.
aAsind¯ uraAren
.
ur dvirad’A¯ ananasya
pra´s¯ antaye vighnaAtama´sAchat
.
¯ an¯ am
.
nis
.
t
.
hy¯ utaAb¯ al’A¯ atapaApallav” ˆ eva.
And in English:
“May Gan´ esha’s domedforeheadprotect you! Streakedwithvermilion
dust, it seems to be emitting the spreading rays of the rising sun to
pacify the teeming darkness of obstructions.”
“Nava·s´ ahasanka and the Serpent Princess” I., by Padma·gupta
::
+¯¬¯¤¯ì ¯=¬ ¬ì ì¬+ì"ìH¯¡¯¯"l(¯¯ï--¯" i
ޯﯬ" 쬤¬H¯¯¯ï-ï ì-?u¬«ï¯ï¬¯¯¯¯¬¬ i
rui iicocxiriox oi suax´ uxraia
oiaxa
Classical Sanskrit literature is in fact itself bilingual, notably in drama.
There women and characters of low rank speak one of several Prakrit
dialects, an “unrefined” (pr¯ akr
.
ta) vernacular as opposed to the “refined”
(sam
.
skr
.
ta) language. Editors commonly provide such speeches with a
Sanskrit paraphrase, their “shadow” (ch¯ ay¯ a). We mark Prakrit speeches
with

opening and closing

corner brackets, and supply the Sanskrit
ch¯ ay¯ a in endnotes. Some stage directions are original to the author but
we followthe customthat sometimes editors supplement these; we print
them in italics (and within brackets, in mid-text).
woioiia\
Classical Sanskrit literature can abound in puns (´sles
.
a). Such parono-
masia, or wordplay, is raised to a high art; rarely is it a clich´e. Multiple
meanings merge (´slis
.
yanti) into a single word or phrase. Most common
are pairs of meanings, but as many as ten separate meanings are attested.
To mark the parallel senses in the English, as well as the punning original
in the Sanskrit, we use a slanted font (different from italic) and a triple
colon (: ) to separate the alternatives. E.g.
yuktam
.
K¯ adambar¯ım
.
´srutv¯ a kavayo maunam ¯ a´srit¯ ah
.
B¯ an
.
aBdhvan¯ av anAadhy¯ ayo bhavat’ ˆıti smr
.
tir yatah
.
.
It is right that poets should fall silent upon hearing the K´ adambari,
for the sacred law rules that recitation must be suspended when
the sound of an arrow : the poetry of Bana is heard.
Som´ eshvara·deva’s “Moonlight of Glory” I.:,
::
Introduction
The eloquence of great poets, streaming with such sugges-
tive essence, reveals a coruscating extra-ordinary genius,
whereby in this world, crowded with a succession of di-
verse poets, only two, three, or perhaps five or six, headed
by Kali·dasa, can be reckoned “great poets.”
:
DhvanyB¯ aloka :.o
K
aii·oasa’s “The Recognition of Shak´ untala” (Abhij˜ n¯ a-
naB´s¯ akuntala) was one of the first examples of Indian
literature to be seen in Europe, first translated into English,
and then into German. It attracted considerable attention
(from Goethe, among others) and, indeed, pained surprise
that such a sophisticated art form could have developed
without the rest of the world noticing.
It tells the story of the hermit girl Shak´ untala, the daugh-
ter of the celestial nymph M´ enaka and the sage Vishva·mit-
ra. The poet Kali·dasa intends Shak´ untala to be the focus of
attention. This is not the story of King Dushy´ anta, or their
son Bh´ arata, who, according to the “Maha·bh´ arata” is the
emperor whose rule gives India its Sanskrit name: Bh´ arata.
Tui Poir
The poet Kali·dasa is traditionally linked to a ruler called
Vikram´ aditya. This is most probably a Gupta emperor.
The Gupta dynasty rose to prominence in the late third
century ci, winning control of M´ agadha. “Year one” of the
Gupta era is ,:,/,:c ci, but it is not clear if this marks
the accession of Chandra·gupta I or rather the year he pro-
claimed himself an independent and sovereign ruler. In the
following decades military conquest and marital alliances
:,
rui iicocxiriox oi suax´ uxraia
expanded the Gupta empire until, when Sam´ udra·gupta
died in ,ïc ci, it included the entire Indus valley in the
west, reached into what is now Myanmar in the east, incor-
porated Nepal in the north, and reached the river N´ armada
in the south, with Ujjain becoming the new capital city.
The courtly culture sponsored by the imperial Guptas has
been called a conservative, conscious effort to restore the
customs of the Vedic past: Sam´ udra·gupta revived the royal
horse sacrifice, and all titles and inscriptions issued were in
elegant classical Sanskrit, abandoning the spoken tongues
hitherto favored. Ixcaiis (:,;o) notes that this perception
is also contradicted by remarkable innovations. Many schol-
ars have called the ensuing blossoming of the fine arts and
philosophy an Indian Golden Age. The Chinese pilgrim
Fa Hsien, arriving in India in ¡c¡ ci (and writing for a
Buddhist audience in China) describes a well-governed and
prosperous land with beautiful cities, hospitals and univer-
sities. He notes that the people are free to move at will, not
subject to corporal punishment, and that official salaries are
fixed. He particularly draws attention to the amenities avail-
able to travellers. Kali·dasa similarly describes a happy land,
and the meager evidence at our disposal makes it plausible
that Gupta rule was benign not just for monks and courtier
poets but for the common people too, at least in days of
peace and prosperity.
Kali·dasa may have lived during the reign of one or all
of the following three Gupta emperors: Chandra·gupta II
“Vikram´ aditya” (reg. ,;,–¡:, ci), Kum´ ara·gupta “Mah´ en-
dr´ aditya” (reg. ¡:,–¡,, ci), or Skanda·gupta “Vikram´ aditya”
(reg. ¡,,–¡o; ci).
:o
ixriooucriox
Baxxii (:cco::o,–:ï;) has put forward the theory that
Kali·dasa’s drama “M´ alavika and Agni·mitra” (M¯ alavik”Bˆ ag-
nimitra) uses an ancient love story to describe a contempo-
rary Gupta succession struggle. In its wake a geo-political
triangle with V´ıdisha and V´ıdarbha which had ensured
Gupta power andprosperity disintegrated, sealing the doom
of the “Golden Age.”
Other playwrights wrote similarly political plays (though
more explicitly so),
:
and Vish´ akha·datta even wrote a work
about the Shaka-Gupta wars, the now lost Dev¯ıBcandragup-
ta (much of its plot has been reconstructed from citations
and allusions by Racuavax
,
). Kali·dasa’s political subtext
is however less obvious and still awaits fuller unveiling and
discussion (in the prologue to “M´ alavika and Agni·mitra”
he himself draws attention to his originality in this matter
¡
).
If Kali·dasa’s “M´ alavika and Agni·mitra” alludes to actual
events, is it possible that his other works do too?
,
It would be
interesting to study whether the character of Kali·dasa’s Sha-
k´ untala might have anything to do with either Dhruva·devi,
wife of Chandra·gupta II and mother of Kum´ ara·gupta, or
with his wife An´ anta·devi.
o
Similarly the “Birth of Kum´ ara” (Kum¯ araBsambhava) tells
of events leading up to the birth of Skanda Karttik´ eya, the
God of war and saviour of the Gods (deva) in a cosmic
struggle against the Titans (asura). In an interesting parallel,
Kum´ ara·gupta was at war with an expanding confederacy of
Hunnic tribes based in Tokharistan and called the Kidarites
(sometimes just “Red Huns”) after their leader Kidara. In
¡,, ci, during the confusion of the last year of Kum´ ara·gup-
ta’s reign, the Gupta armies, led by his son Skanda·gupta,
:;
rui iicocxiriox oi suax´ uxraia
inflicteda defeat onanother Hunnic groupthat hadinvaded
the shortlived Kidarite state, the Hephthalites (Xionites or
“White Huns”). Kali·dasa may have personally seen these
Hunnic tribes (he refers to either of them indiscriminately
as H¯ un
.
as although in other Sanskrit sources the more de-
scriptive
´
SvetaB h¯ un
.
a, “White Hun,” is also found), for he
gives details about them not known to other Sanskrit writ-
ers. In his “Lineage of Raghu” (RaghuBvam
.
´sa) he notes that
they live on the river Va˙ nks
.
u (Oxus) and that the wives of a
fallen chieftain gouge their cheeks in mourning.
;
Anumber
of such apparently observed details in Kali·dasa’s work has
led many to conclude that he was a widely travelled man.
This is not beyond dispute. In the “Lineage of Raghu” as
transmitted by the earliest commentator V´ allabha·deva, Ka-
li·dasa erroneously seems to think that Raghu finds himself
in Kerala as soon as he crosses the River K´ averi. Isaacsox
& Goooaii (:cc,) discuss this to demonstrate how subse-
quent commentators “corrected” Kali·dasa’s text to remove
such perceived inconsistencies. Kali·dasa’s apparently accu-
rate geographical knowledge may not be a feature of the
earliest witnesses of his work.
Around ¡ïc ci the Hephthalites, led by Toram´ ana, re-
newed their onslaught and the financial strain of fighting
this prolonged war of annihilation proved too much for
the Gupta empire; by ,:c ci Ujjain was destroyed and the
Western provinces devastated. In the aftermath of the catas-
trophic Hephthalite invasion the shrinking empire entered
into a long phase of decline as local feudatories asserted
their independence.

ixriooucriox
Baxxii places Kali·dasa’s literary activity between ¡:, and
¡¡, ci, a time of political stability between the Gupta em-
pire, V´ıdisha and V´ıdarbha. Waioii had tentatively placed
Kali·dasa’s literary activity between ¡,c and ¡;c ci, Ixcaiis
between ¡cc and ¡,c ci. These approximate dates gain sup-
port from chronological lists of poets found in eulogies in-
corporated into many dateable works.
ï
Tui Pior
Acr :: In the course of a hunting expedition King Dush-
y´ anta chances upon the hermitage of the sage Kanva. He is
welcomed by the absent sage’s daughter Shak´ untala, with
whom he falls in love. Dushy´ anta learns that Shak´ untala
is the daughter of the nymph M´ enaka and the seer Vish-
v´ amitra, abandonded in the wild and fostered by the sage
Kanva.
Acr :: The king, aided by the buffoon, seeks a pretext
to enter the hermitage to see Shak´ untala again when he is
suddenly summoned by the ascetics to protect their rites
from malevolent demons.
Acr ,: Shak´ untala and Dushy´ anta meet in secret and
contract a gandharva marriage of mutual consent. Upon the
succesful completion of the seers’ rites Dushy´ anta returns
to his capital city, leaving a signet ring with Shak´ untala as a
token of his affection. Absentminded with love, Shak´ untala
unknowingly slights the irascible seer Durv´ asas andis cursed
by him: whoever she was thinking of will not remember her.
Her companions manage to win a reprieve fromthe angered
sage: a token of recognition can break the curse.
:,
rui iicocxiriox oi suax´ uxraia
Acr ¡: The patriarch Kanva returns and is delighted with
events so far. When no word from Dushy´ anta arrives, the
now heavily pregnant Shak´ untala is despatched to his court
and in a famous and moving scene bids farewell to her
hermitage home.
Acr ,: At court the amnesic king disavows her; she tries to
show him his signet ring to prove her story but cannot find
it. Humiliated, Shak´ untala is suddenly borne away into the
sky by her mother.
Acr o: A fisherman finds the ring in the guts of a fish.
A zealous police chief recognizes the royal signet ring and
shows it to the king who at once regains his memory. Dush-
y´ anta then torments himself with remorse until he is sum-
moned by Indra, king of the Gods, to fight against the
demons.
Acr ;: Six years later Dushy´ anta is returning in an air-
borne chariot when he alights in a celestial hermitage. He
sees a young boy called Sarva·d´ amana playing with a lion
cub. It dawns on him that this is his son, the prophesied
world emperor later called Bh´ arata. Shak´ untala herself ap-
pears and forgives Dushy´ anta. Blessed by the sages and the
Gods, the reunited family returns to the world of mortals
and Dushy´ anta’s capital.
,
Suax´ uxraia Biioii Kaii·oasa
The plot of “The Recognition of Shak´ untala” is a carefully
conceived expansion of an episode found in the “Maha·
bh´ arata.” By adding the device of a curse to account for
Dushy´ anta’s loss of memory, Kali·dasa casts him in a more
favorable light; in the “Maha·bh´ arata” he seems to have
:c
ixriooucriox
simply forgotten about Shak´ untala once he returned to the
pleasures of his palace. The “Maha·bh´ arata” alsoexplains the
origin of Shak´ untala’s name. Abandonded in the wilderness,
the infant was shielded from predators by birds (´sakunta)
when the sage Kanva chanced upon her; and as the daughter
of an apsaras nymph she possesses the power of flight, which
Kali·dasa’s drama deprives her of.
Related versions of the tale, presumed to be derivative,
exist in Puranic texts as well.
A very similar story is also found in a J´ ataka tale of one of
the Buddha’s previous lives.
:c
King Brahma·datta encoun-
ters a woman gathering firewood in a grove and at once falls
in love with her. They make love there and then and the
Bodhi·sattva is conceived. The king gives her a signet ring
and instructs her to bring the child to him if it is a boy. A
few years later the king, embarrassed before his court, de-
nies both the child and the ring. The mother then throws
the child up and he remains floating cross-legged in midair.
The king then acknowledges the son as his heir and makes
the firewood collector his chief queen. Of all these retellings
of the story, Kali·dasa’s is the most intricate.
Kaii·oasa’s Diaxarisariox
One of the most immediate joys of reading and rereading
Kali·dasa’s play lies in the discovery of the relevance of the
many subtle strategic pairings of acts and parallelisms that
Kali·dasa has worked into the plot.
Giiow(:,;,–ïc) has shown howKali·dasa uses complex
mirroring and inversion of events to structure and punctu-
ate his narrative.
::
rui iicocxiriox oi suax´ uxraia
Among the more striking is the symmetry between the
beginning and the end of the play. In the first act the eager
Dushy´ anta and his human charioteer are in pursuit of the
pleasure of hunting. He is borne up a slope to the moun-
tain hermitage, a place of religious duty, where he enters a
kind of higher plane of natural spontaneity inhabited by the
semi-divine Shak´ untala, and is bidden to combat the local
demons. In the last act the listless Dushy´ anta is descending
with the divine charioteer M´ atali in an aerial chariot from
heaven where he has taken part in a war against universal
demons at the bidding of Indra. They alight in a celestial
hermitage again halfway between heaven and earth, where
a very different meeting with Shak´ untala takes place.
Similarly, act : is mirrored in act o, and act , in ,. The
celebrated fourth act is the central pivot around which all
of this symmetry turns. In this act Kali·dasa shows Shak´ un-
tala—already suffering from the separation of her beloved
Dushy´ anta—undergoing a painful farewell from her foster
father, her dear friends, and the natural world of the her-
mitage of which she had considered herself an integral part.
For the spectator or reader, aware of the curse, her na¨ıve
hopes for a happy future are all the more poignant. In this
act, Kali·dasa effectively seems on the verge of killing off
Shak´ untala the shy, innocent forest girl for the reader—it is
a character that cannot possibly cope with the world she will
encounter at court. But what happens next is unexpected.
Of all of the characters Shak´ untala alone does not develop
into a “more evolved” character, assuming a new persona
as she enters the “real world” beyond the hermitage. Dush-
y´ anta does not appear at all in this central act, and when
::
ixriooucriox
she meets him again it is as a stranger. Dushy´ anta is not
merely changed by the curse, he has assumed an entirely
new “public” identity far removed from Shak´ untala’s expec-
tations. Kali·dasa shows her as a simple girl humiliated and
awkwardly out of place as she tries to defend herself at the
royal court, but he will not let her compromise her charac-
ter. Since her presence at court is so incongruent, he whisks
her away in a supernatural flash of light. The effect on the
reader is shocking. It is as if Kali·dasa has let us watch her
walk slowly towards a precipice, and finally over it.
What does he intend with this?
There is no simple answer, for Kali·dasa has not written
a simple work by following a single set of rules. A series
of partial explanations of what he has done can be given
according to various models of interpretation.
It would be a mistake to assume from the above synopsis
that “The Recognition of Shak´ untala” concludes with a
banal happy ending. While the play does not end on the
same note of optimistic innocence with which it begins, it
is clearly not intended as a tragedy either.
This is not because Sanskrit drama is completely unaware
of tragedies as is frequently claimed in secondary literature,
but because the play ends in what is called abhyudaya, a pos-
itive result. A tragic genre of Sanskrit drama called utsr
.
s
.
t
.
ik’B
ˆ a˙ nka, interpreted as “marked by death,” (though probably
originally “one-act-play about death”) in which are depicted
death and lamenting
::
may or may not end in such abhy-
udaya.
:,
rui iicocxiriox oi suax´ uxraia
Scuoiiasric Tuioiiis
The earliest surviving Sanskrit dramaturgical treatise, the
N¯ at
.
yaB´s¯ astra (“Science of drama”) of Bh´ arata (redacted into
its present composite form
::
by c. :cc ci), mentions “in-
struction” (hit’Bˆ opade´sa) and “entertainment” (kr¯ıd
.
¯ a, sukha,
vi´sr¯ anti) as the purposes of drama, but all of the “four goals”
(purus
.
’B ˆ artha) of brahminical culture are prominent in its
initial justificatory chapter: pleasure, wealth, justice, and
spiritual liberation. Drama should depict all kinds of emo-
tions and all kinds of states, it should imitate events in the
world.
:,
In part about religion, in part about entertainment, in
part about money, inpart about tranquility, inpart about
comedy, in part about war, in part about love, in part
about killing.

Dramaturgical theory from Bh´ arata onwards discusses a
peculiar idealised plot structure that progresses through five
“transitions” or “junctions” (sandhi).
:,
The [:.] “origin” (mukha) states the “seed” (b¯ıja) of the
plot in outline; the [:.] “incident” (pratimukha) develops
the “seed” by alternating episodes showing a balance of both
“gain” (pr¯ apti) and “loss” (apr¯ apti) of the “aim” (phala); in
the [,.] “germ” (garbha) the likelihood of “gain” outweighs
the possibility of “loss,” the attainment of the “aim” seems
likely; in the [¡.] “crisis” (vimar´sa) the likelihood of “loss”
outweighs “gain,” all hope of securing the aim seems lost;
in the [,.] “completion” (nirvahan
.
a) all narrative currents
converge towards the final consummation.

ixriooucriox
Erudite commentators will alert the inattentive reader to
the occurrence of these as the play progresses.
Stepping back fromsuch learned discussions about which
transition happens exactly where and why, and reconsider-
ing the logic of Kali·dasa’s plot on the basis of this inherent
structure one might reduce as follows: We start with what
might be called an idyll (A). This is reversed to not-idyll
(¬A). Not-idyll is countermanded, but the end-result is not
a reversal back to idyll (either the original A or a new idyll
B), but a strange, ambivalent situation quasi-idyll (A

). It
is striking that in the final act Kali·dasa uses essentially
the same setting, and the same characters as he does in his
opening act. Nor can the differing action, dialogue or dic-
tion alone account for the disparate effect on the spectator
or reader. This means that the new situation quasi-idyll (A

)
differs from idyll (A) for the spectator or reader because
he has witnessed the characters be subjected to a series of
symmetries and reversals.
In other words, Kali·dasa has brought his audience to a
point where they respond differently and even perceive as
different a very similar situation because of what they know
about it. Events (and the spectator’s deepening involvement
in them) have made a return to the original, unqualified
innocence impossible.
This brings us to an influential Indian theory of aesthetic
appreciation.
:o
Aisruiric Sixrixixr
The key terms to understanding the theory of “aesthetic
sentiment” (rasa) are: “determinant emotional states” (vi-
:,
rui iicocxiriox oi suax´ uxraia
bh¯ ava), “consequent emotional states” (anubh¯ ava), “tran-
sient emotional states” (vyabhic¯ ariBbh¯ ava), and “permanent
emotional states” (sth¯ ayiBbh¯ ava). In the N¯ at
.
yaB´s¯ astra and its
derivatives these are used primarily prescriptively to teach
an elaborate grammar of emotional response. Later aestheti-
cians expanded on this by minutely analysing the mecha-
nisms of aesthetic appreciation in the spectator (as taught
in the sixth book of the N¯ at
.
yaB´s¯ astra). Here rasa must be
understood as a technical term. Nothing but obfuscation is
gained by importing the vague allusions or associations that
a literal translation of the term evoke. Tiixix (:ccc:::ï)
rightly deplores the use of the term as a “magic word” to
justify all manner of absurd speculation on the purpose of
Indiandrama, broadening it “to such a point that it becomes
an utterly meaningless concept with which one can indeed
explain virtually everything.”
:;
Before going further, there-
fore, I fear I cannot spare the reader froma brief explanation
of what it is that the mature theory attempts to explain. It is
not, in essence, a complicated doctrine, admitting of sim-
plification and paraphrase. Hopefully, many of us have had
a similar experience to the following.
Ax Exaxiii
Imagine that you find yourself going to see a performance
of “Romeo and Juliet.” You are in the right mood for the
play, no mundane worries preoccupy your mind, you have
agreeable company, and the theatre, the stage, the director
and the actors are all excellent—capable of doing justice to
a great play. Your seat in the theatre is comfortable and gives
an unobstructed view.
:o
ixriooucriox
The play begins and you find yourself drawn into the
world Shakespeare is sketching. The involvement deepens
to an immersion where the ordinary, everyday world dims
and fades from the center of attention, you begin to under-
standandevenshare the feelings of the characters onstage—
under ideal conditions you might reach a stage where you
begin to participate in some strange way in the love being
evoked.
Now, if at that moment you were to ask yourself: “Whose
love is this?” a paradox arises.
It cannot be Romeo’s love for Juliet, nor Juliet’s love for
Romeo, for they are fictional characters. It cannot be the
actors’, for in reality they may despise one another. It cannot
be your own love, for you cannot love a fictional character
and know nothing about the actors’ real personalities (they
are veiledby the role they assume), and, for the same reasons,
it cannot be the actors’ love for either you or the fictional
characters. So it is a peculiar, almost abstract love without
immediate referent or context.
A Sanskrit aesthete would explain to you that you are at
that moment “relishing” (¯ asv¯ adana) your own “fundamen-
tal emotional state” (sth¯ ayi B bh¯ ava) called “passion” (rati)
which has been “decontextualised” (s¯ adh¯ aran
.
¯ıkr
.
ta) by the
operation of “sympathetic resonance” (hr
.
dayaBsam
.
v¯ ada) and
heightened to become transformed into an “aesthetic sen-
timent” (rasa) called the “erotic sentiment” (´sr
.
˙ ng¯ ara).
This “aesthetic sentiment” is a paradoxical and ephemeral
thing that can be evoked by the play but is not exactly
caused by it, for many spectators may have felt nothing
at all during the same performance. You yourself, seeing
:;
rui iicocxiriox oi suax´ uxraia
it again next week, under the same circumstances, might
experience nothing. It is, moreover, something that cannot
be adequately explained through analytic terms, the only
proof for its existence is its direct, personal experience.

The fourteenth century Orissan literary critic Vishva·
natha has summarised his predecessors’ deliberations on the
strange ontological status of this “aesthetic sentiment” as a
series of paradoxes:
:,
It cannot be made known for its existence cannot be sepa-
rated from its experience. Since it depends in essence upon
the aggregation of determinants etc. it cannot be an effect;
nor is it eternal since it is not perceived before [the deter-
minants etc.], when not perceived it does not even exist.
Nor is it something that will exist [eternally or indepen-
dently in the future] since it is self-manifest immediate
bliss. Nor does it exist presently, since it is different from
an effect or a knowable thing. Nor is its perception in-
determinate knowledge since it becomes objective by the
experience of the determinants etc., and since sensitive
readers experience it directly as supreme delight. Nor is it
perceived as determinate knowledge since it does not ad-
mit contact with analytical terms. It is not imperceptible
since it can arise from words, yet its manifestation is not
perceptible. Therefore connoisseurs should truly regard it
as non-ordinary. Since this [aesthetic sentiment] is not
different from one’s own experience, the learned consider
it proven by pleasurable experience.
It is, moreover, a blissful experience. The fact that sensitive
readers often weep while reading poetry does not mean

ixriooucriox
that they are suffering, rather the tenderness of the work
has succeeded in melting the contraction of their minds or
hearts.
The non-ordinary nature of such aesthetic sentiments
makes it possible for the spectator or reader to derive a plea-
surable experience even from what in ordinary life would
be causes of grief.
:c
Ticuxicai Diraiis
The RasaBs¯ utra in the N¯ at
.
yaB´s¯ astra of Bharata states:
::
Rasa is evoked by the conjunction of determinants, con-
sequents and transient emotional states.
For example: In a play based on the story of the “Ram´ aya-
na,” the characters Rama, Sita and the demon R´ avana might
be the “objective determinants.” The season, garlands, and
the appropriate makeup are the “excitant determinants.”
::
The “bodily consequents” are the gestures and stances the
characters assume on stage.
:,
The “verbal consequents” are
peculiar intonations which may, for instance, reveal if a
statement is sarcastic. The “involuntary consequents” are
spontaneous reactions such as tears and tremors.

The ac-
cessory consequents are such as Rama wearing armor and
a helmet. The many transients support the emerging rasa:
When Sita sees R´ avana, the consequents “paralysis, trem-
bling, and perspiration” are supported by the transients
“worry, fear, and effort.”
:,
But how exactly is this aesthetic sentiment evoked?
The theory is considered a “doctrine of transformation”
(parin
.
¯ amaBv¯ ada).
:,
rui iicocxiriox oi suax´ uxraia
What is it that is transformed into an aesthetic sentiment?
Eight pre-existing “foundational emotions” (sth¯ ayiB bh¯ a-
va) are postulated. These can be transmuted into “aesthetic
sentiments” by the presence of all of the other emotional
processes and conditions mentioned above. Even though
many of these may be at the time more prominent than
a “foundational emotion,” only the foundational emotions
can be transmuted into aesthetic sentiments.
Just as a king alone—though he may be surrounded by a
great retinue—deserves his title, and not some other man,
however exalted, so a fundamental emotion, attended by
determinant, consequent, and transient emotional states,
receives the designation “aesthetic sentiment.”
:o
The aesthetic sentiment is in this way categorically differ-
ent from the other sentiments. The fundamental emotions
generate aesthetic sentiments as follows:
Foundational state Aesthetic sentiment
:. passion (rati) > erotic (´sr
.
˙ ng¯ ara)
:. energy (uts¯ aha) > heroic (v¯ırya)
,. revulsion (jugups¯ a) > disgust (b¯ıbhatsa)
¡. anger (krodha) > wrathful (raudra)
,. fun (h¯ asa) > comic (h¯ asya)
o. wonder (smaya) > amazing (adbhuta)
;. fear (bhaya) > fearful (bhay¯ anaka)
ï. grief (´soka) > compassionate (karun
.
a)
,. world-weariness (´sama/nirveda) > quietist (´s¯ anta)
The much-discussed “quietist” emotional state is not uni-
versally accepted. It may be a later addition, and some argue
it cannot be staged and is thus confined to poetry.
,c
ixriooucriox
Another theory further reduces this list by dividing the
first eight of these into two paired groups, the former being
capable of generating the latter.
:;
Lovi
For many theoreticians the erotic sentiment is considered
the most important since it requires the greatest sensitivity
in handling:

The erotic alone is the sweetest, most captivating aesthetic
sentiment. The quality of evocativeness arises from poetry
imbued with this sentiment.
´
Abhinava·gupta, on the other hand, considers the qui-
etist sentiment as fundamental to all others. The variety
of amorous relationships depicted in classical Sanskrit po-
etry are governed by well-defined conventions. Rhetoricians
stipulate that the erotic sentiment as it ought to be de-
picted in poetry is twofold, happy and sad: “love-in-union”
(sam
.
bhoga), and “love-in-separation” (vipralambha). Love-
in-separation is further subdivided rather clinically into ten
developmental stages:
:,
[:.] longing (abhil¯ as
.
a), [:.] ponder-
ing (cintana), [,.] remembrance (smr
.
ti), [¡.] praising (gun
.
aB
k¯ırtana), [,.] agitation (udvega), [o.] babbling (pral¯ apa), [;.]
madness (unm¯ ada), [ï.] fever (sam
.
jvara), [,.] torpor (jad
.
a-
t¯ a), and finally [:c.] death (maran
.
a).
The SattaB sa¯ı of Hala, a Prakrit anthology of amorous
verse compiledinthe early centuries ci may well have served
as the model for the formulation of the conventions of
love, since almost all amorous situations discussed by the
scholiasts can be traced in it.
,:
rui iicocxiriox oi suax´ uxraia
Ixiioixixrs
A playwright wishing to write a work capable of evoking
this relishing of an aesthetic sentiment (rasan¯ a, camatBk¯ a-
ra, ras’B ¯ asv¯ ada)
,c
must guard against a number of pitfalls.
These are summarised as seven impediments to the expe-
rience of the aesthetic sentiment, and apply equally to the
spectator.
,:
They are [:.] lack of credulity, a sympathetic
response must be possible; [:.] a too personal identifica-
tion with the characters or narrative must be avoided by
the use of not only realistic conventions (lokaBdharmin) but
also theatrical conventions (n¯ at
.
yaBdharmin) in drama, or, in
poetry, naturalistic expression (svabh¯ av’B ˆ okti) and artificial
expression (vakr’Bˆ okti); [,.] preoccupation with personal af-
fairs; [¡.] lack of proper means of perception; [,.] lack of
clarity, abstract theatrical conventions must be balanced by
the presence of everyday conventions; [o.] lack of predomi-
nance of a single aesthetic sentiment; [;.] presence of doubt
as to how the consequents are to be interpreted: tears may
ambiguously represent joy, anger, fear etc. unless they are
properly combined with other emotional states.
Ricixsioxs Oi Viisioxs?
What is presented here is the first complete translation
of the Kashmirian recension of the “The Recognition of
Shak´ untala.” “Recension” here designates the product of
conscious redactional choices. This differs from what might
be called a “version” of a text which simply comes into ex-
istence as scribal errors accumulate with each generation of
copying. Some scribes may consult other manuscripts to
,:
ixriooucriox
correct obvious errors,
,:
but as long as this is done unsys-
tematically, the resulting conflated text remains a “version.”
Fol. ,cr of the Shrinagar manuscript showing § o.::¡–::c.
,,
rui iicocxiriox oi suax´ uxraia
The boundary between recension and version is necces-
sarily a blurred one. Some scribes might redact parts of their
text, while some redactors might be inept. Nevertheless, in
principle, the activity of the redactor (redacting) differs from
that of the scribe (copying) enough to be usefully studied
in its own right.
,,
The kinds of changes, emendations andcorrections sucha
redactor (or groupof redactors) will make are not impossible
to deduce.
In lucky cases the redactor is also a commentator, who
might discuss variant or rejected readings (p¯ at
.
h’Bˆ antara, apa-
p¯ at
.
ha). The kind of argument adduced in such cases can
be telling, proceeding from the assumption that a play or
poem should flawlessly conform to rules laid down in a
number of technical treatises. Thus commentators will jus-
tify their preference for readings by appealing to authorities
on grammar, dramaturgy, poetics, politics, erotics, metal-
lurgy/chemistry, gemology, medicine, astronomy/astrology,
archery, elephant-lore, equestrian science, physiognomy,
gambling, and sorcery.

The more celebrated an author is, the more stringent
this requirement becomes, and there is no poet writing in
Sanskrit more celebrated than Kali·dasa. As the aesthete
´
Abhinava·gupta puts it:
,,
Not even in their imagination in a dream would con-
noisseurs impute even the most minute imperfection to
his poetry.
This might be read as tantamount to a license to emend
away whatever offends a pedantic scholiast, and such com-

ixriooucriox
mentarial projects have indeed been documented. Only re-
cently Goooaii & Isaacsox have made a successful effort
to evaluate such criteria to weight variant readings in their
critical text and recover anolder stratumof one of Kali·dasa’s
works, the RaghuBvam
.
´sa.
A closer reading reveals that such wilful “purification” (as
V´ amana puts it) of a poet’s work, is not, in fact, sanctioned
by all rhetoricians. Instead of advocating a rigid application
of inflexible rules, a benign, contextually sensitive reading of
poetry is preferred by some of the most prominent writers.
Dandin allows breaches of rules as long as the learned are
not offended. M´ ammata, the author of the most popular
text-book on aesthetics, teaches that defects can become
virtues if appropriately used.
,o
´
Abhinava·gupta puts it most
bluntly: these rules are not “royal edicts.”
,;
What does such an editorial policy mean for the current
volume?
Let us look at an example: the third metrical foot of verse
o., (§o.::¡ in this book) is marred by a number of unsat-
isfactory or banal readings in the Deva·n´ agari and Bengal
recensions. The Kashmirian recension presents a syntactical
difficulty with the predicate (vidheya) being predominant.
The M´ıthila recension reads the word sudat¯ı (“fine-toothed
woman”) as the predominant subject (udde´sya) in place of
the Kashmirian tad at¯ıtam (“passed beyond”). Now this is
exciting: we may surmise that there exists ample motivation
for redactors to remove the word sudat¯ı, for the rhetorician
V´ amana (active in Kashmir in the ïth cent. ci) had taught
that it is grammatically suspect.

The messy readings thus
show us various attempts to repair the damage done by
,,
rui iicocxiriox oi suax´ uxraia
wilfully replacing sudat¯ı with conjectures. A further prob-
lem: in place of the Kashmirian recension’s mam’ ˆ ais
.
a the
M´ıthila recension reads mam’ ˆ aiva. Now there exists again
a compelling reason for this. Here the Kashmirian reading
is probably original, the problem for the M´ıthila redactor
is that it presents us with a metaphor (r¯ upaka) where the
subject (upameya) and object (upam¯ ana) are in different
genders, the “fine-toothed woman” (sudat¯ı fem.) and the
“precipice” (prap¯ atah
.
masc.). As a general rule, rhetoricians
censure such gender incongruence, but Kali·dasa does not
always adhere to such formal requirements. The M´ıthila
redactor appears to have wilfully read precipice as a fem.
(prap¯ at¯ a), and then changed the masc. pronoun es
.
ah
.
to the
syntactically redundant particle eva.
But note how appropriate is the use of “fine-toothed”
for the juxtaposition with the gaping, jagged cliff precipice
if we adopt the following reading (a combination of the
M´ıthila and Kashmirian) as original: s” ˆ asannivr
.
ttyai sudat¯ı
mam’ ˆ ais
.
a, “She, the fine-toothed woman, became for me
this [precipice. . . ] from which there is no return.”
Such textual criticism explains how the Kashmirian re-
cension translated here comes to have its peculiar reading
in this place and it also indicates what Kali·dasa may have
originally written. That noprintedtext of “The Recognition
of Shak´ untala” gives this reading shows just how much we
stand to gain from a careful reevaluation of the recensions
in the light of the Kashmirian text.
The study of the writings of Sanskrit rhetoricians and lit-
erary critics is thus indispensable for anyone wishing to edit
Sanskrit literature; not because it provides insightful tools
,o
ixriooucriox
to analyze the text (which, of course, it does) but because
generations of scribes, redactors and even the original poets
have made decisions based on rhetorical works prominent
in their place and time.
Tui Ricixsioxs
With the exception of the Deva·n´ agari recension (named
after the script its manuscripts were written in), the sur-
viving recensions of “The Recognition of Shak´ untala” are
usually named for the regions they are found in.
The Deva·n´ agari recension, often published with R´ agha-
va·bhatta’s commentary, is probably the most popular. De-
spite this, there exists no critical text of this recension.
Of the Bengal recension there exists a pioneering critical
edition by Richard Piscuii published in its final form in
the Harvard Oriental Series :o. Piscuii’s editorial decision
to standardize the Prakrit to that of the grammarians has
been called into question.
The Southern recension is available in print with a num-
ber of commentaries, notably the Di˙ nB m¯ atra B dar´san¯ı of
Abhir¯ ama Bhat
.
t
.
a, the Kum¯ araBgiriBr¯ aj¯ıya of K¯ at
.
ayavema, the
S¯ ahityaBs¯ ara of
´
Sr¯ıniv¯ asa Bhat
.
t
.
a and a learned, anonymous
Carc¯ a commentary published by the Trivandrum Sanskrit
Series.
The Mithila recension’s readings were published by the
Mithil¯ a Research Institute in Darbhanga in :,,;, based on
the two commentaries of
´
Sa˙ nkara and Narahari.
Besides these, there are many more unpublished com-
mentaries by well known medieval commentators such as
Ghana´sy¯ ama, Daks
.
in¯ avartan¯ atha, and N¯ılakan
.
t
.
ha (as well as
,;
rui iicocxiriox oi suax´ uxraia
a large number of modern Sanskrit commentaries). It would
be of inestimable value to know what relation the texts of
these early commentators bear to the published recensions.
In :ïï¡ Karl Buixuaiopublished a provisional edition of
the Kashmirian recension froma single manuscript brought
to Poona by Georg B¨ uuiii after one of his tours to col-
lect manuscripts in Kashmir. The same was reprinted in
Deva·n´ agari by S.K. Biivaixai in :,o, (S¯ ahitya Academy).
Buixuaio had previously (:ïï:) published another manu-
script written in the Kashmirian
´
S¯ arad¯ a script preserved in
Bikaner which he believed to be the Kashmirian recension.
This, however, is a
´
S¯ arad¯ a manuscript of the Deva·n´ aga-
ri recension with a few emendations based on the Kash-
mirian text. In :,ïc Dil¯ıp Kum¯ ar Kax;ii
¯
ai attempted to
reconstruct Kali·dasa’s original text from the various recen-
sions. His is the only work, so far, to make use of the Sriix
manuscripts of the Kashmirian recension preserved in Ox-
ford. Kax;ii
¯
ai’s pioneering effort is greatly hampered by
the fact that the regional recensions are not yet properly
critically edited.
The text published here in the Clay Sanskrit Library is
the first stage of a work in progress; much more careful
textual criticism is required before we can have a clearer
picture of the Kashmirian recension. The surviving Kash-
mirian manuscripts allowus to restore the text to the formit
assumedinKashmir some time after about ;ccci but before
the end of the first millenium ci, dates tentatively deduced
by the detectable influence of V´ amana and by
´
Abhinava·
gupta’s knowledge of (some parts of ) the text as presently
constituted.

ixriooucriox
Coxciixixc rui Piaxiir Passacis
Not all characters in a Sanskrit drama speak Sanskrit.
A substantial part of both verse and dialogue is sung or
spoken in various forms of Prakrit. These are not intended
as regional dialects, but rather as something approaching
“sociolects:” gender, status and age determine the language.
Differing approaches toediting these additional languages
have been attempted, and the controversy is ongoing. I do
not find it advisable, in this edition, to adopt either Pis-
cuii’s “strong program” of disregarding the manuscript ev-
idence as unreliable, and emending the text to conform to
the rules of the Prakrit grammarians, nor its opposite. It is
uncertain that the Kashmirian redactors used a grammar
at all, and if they did, it remains unclear which grammar
this might have been. Saioxox (:,ï:) believed that Pis-
cuii’s (and Hiiiiniaxor’s Mudr¯ aBr¯ aks
.
asa) approach had
become dubious at least since L¨ uoiis (:,::) published the
Central Asian fragments of Ashva·ghosha’s plays because
their Prakrit predates and diverges from what is prescribed
by the grammarians. Because this might have little bearing
on the post Vara·ruchi (,rd–¡th cent ci) period of Kali·dasa
and the other classical poets, the dispute is reevaluated in
Sriixii (:,,;:§,).
As regards the de´s¯ı (“provincial,” “local”)
,,
terms encoun-
tered, the most likely surviving source for Prakrit lexicogra-
phy that comes close to what the Kashmirian redactors of
“The Recognition of Shak´ untala” might have used (if they
used anything at all) is the P¯ aialacch¯ın¯ amam¯ al¯ a of Dha-
na·pala (he styles himself Dhanav¯ ala in Prakrit), composed
in VikramaBsam
.
vat :c:,=,;: ci in Dhara, the capital city
,,
rui iicocxiriox oi suax´ uxraia
of the Para·mara dynasty of Malava, and Hema·chandra’s
influential De´siBn¯ amaBm¯ al¯ a.
As a result the presentation of Prakrit is still somewhat
uneven; sometimes the manuscript evidence favored forms
which accord with the norms of the grammarians, some-
times they did not. I did not use either as evidence for a
normative “Kashmirian Dramatic Prakrit” but have rather
preserved much of this eclecticism, removing only what I
judged to be copyists errors: more work on the regional
variation of the transmission of dramatic Prakrits is needed
before either of the two procedures mentioned above could
be seriously entertained in the present case.
acxxowiiocxixrs
I am grateful to Harunaga Isaacsox and Eivind Kauis for their many
corrections.
niniiociaiu\
Hans Baxxii, “A newly found statue from Nagardhan,” South Asian
Archeology :,,:, ed. A.J. Gail & G.J.R. Mevissen, Stuttgart :,,,,
pp. ,c,–::.
—“A Theatre of Broken Dreams, Vidi´s¯ a in the Days of Gupta Hege-
mony,” in Interrogating History, Essays for Hermann Kulke, ed.
Martin Brandtner & Shishir Kumar Pande, New Delhi :cco.
Lyne Baxsar-Bouoox, “Le texte accompli par la scene: observations sur
les versions de
´
Sakuntal¯ a.” Journal asiatique 282 (:,,¡), pp. :ïc–
,,,.
Carl (Karl) Buixuaio, Lectiones codicis C¸ ˆ akuntali Bikˆ anˆırensis, Achter
Jahresbericht ¨ uber das k.k. Franz Joseph Gymnasium, Wien
:ïï:.
—Die kac ¸mirer C¸ akuntalˆ a Handschrift, Sitzungsberichte der kaiserlichen
Akademie der Wissenschaften, Philosoph. Hist. Classe, Vol. cvii,
Wien :ïï¡.
¡c
ixriooucriox
Edwin Giiow, “Plot structure and the Development of Rasa in the
´
Sakuntal¯ a, Pts. I and II,” Journal of the Amercian Oriental Society,
,,:¡ (:,;,), pp. ,,,–;:; :cc:, (:,ïc), pp. :o;–ï:.
Dominic Goooaii & Harunaga Isaacsox, The Raghupa˜ ncik¯ a of Val-
labhadeva, Vol. :, Groningen Oriental Studies XVII, Groningen
:cc,.
Daniel H.H. Ixcaiis “K¯ alid¯ asa and the Attitudes of the Golden Age.”
Journal of the American Oriental Society, Vol. ,o, No. : (Jan.–
Mar., :,;o), pp. :,–:o.
Eivind Kauis, “What is a tadbhava word,” Indo-Iranian Journal ,,
(:,,:), pp. ::,–:¡,.
Dil¯ıp Kum¯ ar Kax;ii¯ ai, A reconstruction of the Abhijnanasakuntalam
of Kalidasa, Calcutta Sanskrit College Research Series No. ,c,
:,ïc.
Friedrich L¨ uoiis Bruchst¨ ucke buddhistischer Dramen, Hrsg. von Hein-
rich L¨ uoiis, Berlin :,::. (Kleinere Sanskrit-Texte. :)
N¯ at
.
ya´s¯ astra of Bharatamuni with the Commentary Abhinavabh¯ arat¯ı by
Abhinavagupt¯ ac¯ arya. Ed. M. Raxaxiisuxa Kavi, revised [. . . ]
by K.S. Raxasvaxi Suasrii, :nd ed. Baroda :,,o, (Gaekwad
Oriental Series ,o).
Claude Raiix, Indian Art from Afghanistan. The legend of Sakuntala and
the Indian Treasure of Eucratides at Ai Khanum. New Delhi :,,o.
Richard Saioxox “The Original Language of the Karpˆ ura-manjarˆı,”
In: zoxc :,:, pp. ::,–:¡:.
S.A. Suiixivasax, On the Composition of the N¯ at
.
ya´s¯ astra, Studien zur
Indologie und Iranistik. Monographie I, Reinbeck :,ïc.
Roland Sriixii “Untersuchungen zu Harsadevas Nˆ agˆ ananda und zum
indischen Schauspiel,” Swisttal-Odendorf :,,;, (Indica et Ti-
betica. 31.)
Hermann Tiixix, “On the Use of rasa in Studies of Sanskrit Drama.”
Indo-Iranian Journal 43 (:ccc), pp. ::,–:,ï.
—“The Structure of Kalidasa’s Raghuvamsa.” Studien zur Indologie und
Iranistik 15 (:,ï,), pp. :,:–:,ï.
V. Racuavax Bhoja’s
´
Sr
.
˙ ng¯ araprak¯ a´sa, Madras :,o,.
A.K. Waioii Indian K¯ avya Literature, Vol. ,, Delhi :,;;.
¡:
rui iicocxiriox oi suax´ uxraia
Ziixai, E.V., The Kidarite Kingdom in Central Asia. History of Civi-
lizations of Central Asia, vol. , (Paris: UNESCO, :,,o).
xoris
: Ananda·v´ ardhana, Vr
.
tti to DhvanyB¯ aloka :.o: tad vastuBtat-
tvam
.
nih
.
s
.
yandam¯ an¯ a mahat¯ am
.
kav¯ın¯ am
.
bh¯ arat¯ı aBlokaBs¯ a-
m¯ anyam
.
pratibh¯ aBvi´ses
.
am
.
parisphurantam abhivyanakti yen’
ˆ asminn ativicitraBkaviBparampar¯ aBv¯ ahini sam
.
s¯ are K¯ alid¯ asaB
prabhr
.
tayo dviBtr¯ ah
.
pa˜ ncaBs
.
¯ a v¯ a mah¯ aBkavaya iti gan
.
yante.
: For example the Mudr¯ aBr¯ aks
.
asa.
, Racuavax :,o,:ï,ï–ïïc.
¡ See Waioii :,;;:::,ff, and Tiixix :cc:.
, Tiixix had speculated that the “M´ alavika and Agni·mitra” is
unique in this respect.
o It would go too far to suppose that this in itself implies that
there was a suspicion of illegitimacy surrounding the succes-
sion. Kali·dasa’s works were not crude vehicles for Gupta pro-
paganda. But it is noteworthy how much emphasis is laid on
establishing Bh´ arata’s claim to succession in the play.
; RaghuBvam
.
´sa ¡.o; as read by the oldest commentator, V´ alla-
bha·deva. The presence of the Huns on the River Oxus also
serves as a confirmation of Kali·dasa’s date.
ï Baxxii :,,, has suggested that a sculpture of Kali·dasa sur-
vives.
, For a very beautiful series of plaques made of inlaid shells
depicting the story see C. Raiix :,,o.
:c Kat
.
t
.
hah¯ ariBj¯ ataka.
:: According to the aesthetician
´
Abhinava·gupta this term is to
be rendered as lit. “marked (a˙ nkita) by death.”
:: See S.A. Suiixivasax :,ïc.
¡:
ixriooucriox
:, N¯ at
.
yaB´s¯ astra :.:::: n¯ an¯ aB bh¯ av’ B ˆ opasam
.
pannam
.
n¯ an”B ¯ avasth”B
ˆ antar”B ˆ atmakam / lokaB vr
.
tt’ B ˆ anukaran
.
am
.
n¯ at
.
yam etan may¯ a
kr
.
tam.
:¡ N¯ at
.
yaB´s¯ astra :.:cï: kvaBcidBdharmah
.
kvaBcitBkr¯ıd
.
¯ a kvaBcidB
arthah
.
kvaBcicBchamah
.
/ kvaBcidBdh¯ asyam
.
kvaBcidByuddham
.
kvaBcitBk¯ amah
.
kvaBcidBvadhah
.
.
:, For a succinct treatment of these not deriving from the Da-
´saBr¯ upaka see N¯ at
.
akaBlaks
.
an
.
aBratnaBko´sa of S´ agara·nandin (ca.
:::,ci) chapter ï.
:o H. Tiixix questions the value of this in “On the Use of rasa
in Studies of Sanskrit Drama,” Indo-Iranian Journal ¡, (:ccc)
::,–:,ï.
:; As examples of this abuse Tiixix (:ccc:::ï) cites the work of
Lyne Baxsar Bouoox, concluding: “We are dealing with rasa
as a kind of comforting mantra here. This third type of use of
the term rasa properly belongs to the realm of fiction and need
not be considered any further.”
:ï Adapted mainly from
´
Abhinava·gupta’s discussion of DhvanyB
¯ aloka :.¡, using as example the love of Rama and Sita.
:, S¯ ahityaBdarpan
.
a ,.:ccd–:o: n’ ˆ ayam
.
j˜ n¯ apyah
.
, svaBsatt¯ ay¯ am
.
pra-
t¯ıtyB avyabhic¯ aratah
.
// yasm¯ ad es
.
a vibh¯ av’B ˆ adi B sam¯ uh’B ¯ alamba-
n’B¯ atmakah
.
/ tasm¯ an na k¯ aryah
.
, no nityah
.
p¯ urvaBsam
.
vedan”Bˆ oj-
jhitah
.
/ aBsam
.
vedanaBk¯ ale hi na bh¯ avo ’py asya vidyate // n¯ api
bhavis
.
yan s¯ aks
.
¯ ad ¯ anandaBmayaBprak¯ a´saBr¯ upatv¯ at / k¯ aryaBj˜ n¯ ap-
yaBvilaks
.
an
.
aBbh¯ av¯ an no vartam¯ ano ’pi // vibh¯ av¯ adiBpar¯ amar´saB
vis
.
ayatv¯ at saBcetas¯ am / par¯ anandaBmayatvena sam
.
vedyatv¯ ad api
sphut
.
am // na nirvikalpakam
.
j˜ n¯ anam
.
tasya gr¯ ahakam is
.
yate /
tath¯ abhil¯ apasam
.
sargayogyatvavirah¯ an na ca // savikalpakasam
.
-
vedyah
.
s¯ aks
.
¯ at k¯ aratay¯ a na ca / paroks
.
as tatprak¯ a´so n¯ aparoks
.
ah
.
´sabdaBsam
.
bhav¯ at // [Vr
.
tti: tat kathaya k¯ıdr
.
g asya tattvam a´sru-
t’B ˆ adr
.
s
.
t
.
aBnir¯ upan
.
aBprak¯ arasyety ¯ aha] tasm¯ ad alaukikah
.
satyam
.
vedyah
.
sahr
.
dayair ayam / [Vr
.
tti: tat kim
.
punah
.
pram¯ an
.
am
.
tasya
sadbh¯ ave?] pram¯ an
.
am
.
carvan
.
aiv¯ atra sv¯ abhinne vidus
.
¯ am
.
matam
//26//. [atra=rase, sv¯ abhinne=carvan
.
¯ asvar¯ upe].
¡,
rui iicocxiriox oi suax´ uxraia
:c S¯ ahityaBdarpan
.
a ,.¡–ï: karun
.
”B ¯ ad¯ av api rase j¯ ayate yat param
.
sukham, saBcetas¯ am anubhavah
.
pram¯ an
.
am
.
tatra kevalam. kim
.
ca tes
.
u yad¯ a duh
.
kham
.
na ko ’pi sy¯ at tadBunmukhah
.
, tath¯ a R¯ a-
m¯ ayan
.
’B¯ ad¯ın¯ am
.
bhavit¯ a duh
.
khaBhetut¯ a. hetutvam
.
´sokaBhars
.
¯ ader
gatebhyo lokaBsam
.
´sray¯ at. ´sokaBhars
.
’B ¯ adayo loke j¯ ayant¯ am
.
n¯ ama
laukik¯ ah
.
, alaukikaBvibh¯ avatvam
.
pr¯ aptebhyah
.
k¯ avyaBsam
.
´sray¯ at.
sukham
.
sam
.
j¯ ayate tebhyah
.
sarvebhyo ’p’ ˆıti k¯ a ks
.
atih
.
, a´sruBp¯ at’B
¯ adayas tadvad drutatv¯ ac cetaso mat¯ ah
.
.
:: N¯ at
.
yaB´s¯ astra o: vibh¯ av’Bˆ anubh¯ avaBvyabhic¯ ariBsam
.
yog¯ ad rasaBnis
.
-
pattih
.
.
:: Determinant emotional states can be either “objective” (¯ alam-
bana), the objects towards which the emotional responses are
directed, e.g. the dramatis personæ, or “excitant” (udd¯ıpana),
these include the setting, the season, etc.
:, The “consequents” are responses to the emotional states. They
are of four kinds: bodily, verbal, involuntary, and accessory.
(Da´saBr¯ upaka ¡.,ab, Bh¯ avaBprak¯ a´sana :.:¡:cd–:¡,ab.)
:¡ Of particular importance to the theory are the eight “involun-
tary emotional responses” (s¯ attvik’Bˆ anubh¯ ava). They are: paral-
ysis, unconsciousness, horripilation, perspiration, loss of color,
trembling, tears, stammering. ([1.] stambha, [2.] pralaya, [3.]
roma˜ nca, [4.] sveda, [5.] vaivarn
.
ya, [6.] vepathu, [7.] a´sru and
[8.] vaisvarya). See Bh¯ avaBprak¯ a´sana :.:,:cd–:o,ab.
:, The “transient emotional states” (vyabhic¯ aribh¯ ava) are counted
as thirty-three: [1.] nirveda, [2.] gl¯ ani, [3.] ´sa˙ nk¯ a, [4.] ´srama, [5.]
dhr
.
ti, [6.] jad
.
at¯ a, [7.] hars
.
a, [8.] dainya, [9.] augrya, [10.] cint¯ a,
[11.] tr¯ asa, [12.] ¯ırs
.
y¯ a, [13.] ¯ amars
.
a, [14.] garva, [15.] smr
.
ti, [16.]
maran
.
a, [17.] mada, [18.] supta, [19.] nidr¯ a, [20.] vibodha, [21.]
vr¯ıd
.
¯ a, [22.] apasm¯ ara, [23.] moha, [24.] mati, [25.] ¯ alasya, [26.]
¯ avega, [27.] tarka, [28.] avahittha, [29.] vy¯ adhi, [30.] unm¯ ada,
[31.] vis
.
¯ ada, [32.] utsuka, [33.] c¯ apala.
:o AbhinavaB bh¯ arat¯ı ;.ï: yath¯ a nar’Bˆendro bahuB janaB pariv¯ a-
ro ’pi sa eva n¯ amo labhate n’ ˆ anyah
.
sumah¯ an api purus
.
ah
.
¡¡
ixriooucriox
tath¯ a vibh¯ av’ B ˆ anubh¯ avaB vyabhic¯ ari B parivr
.
tah
.
sth¯ ay¯ı bh¯ avo
rasaBn¯ ama labhate.
:; N¯ at
.
yaB´s¯ astra o.,,. For a discussion of this see K¨ oivii :,,:.
:ï DhvanyB¯ aloka :.;: ´sr
.
˙ ng¯ ara eva madhurah
.
parah
.
prahl¯ adano rasah
.
/ tanmayam
.
k¯ avyam ¯ a´sritya m¯ adhuryam
.
pratitis
.
t
.
hati.
:, See Da´saBr¯ upaka ¡.,:cd–,:.
,c Definedat AbhinavaBbh¯ arat¯ı Vol. :, p. :;,: sa c’ ˆ atr
.
ptiBvyatireken
.

ˆ aBvichinno bhog’B¯ ave´sa ity ucyate.
,: AbhinavaB bh¯ arat¯ı Vol. :, p. :ïc–:ï¡; see also Dhvany B ¯ aloka
,.:;–:, on the six obstructors (virodhin) of rasa.
,: In fact textual critics have had to evolve various strategies to
deal with such “conflation.”
,, Baxsar-Bouoox, following Caiiiiii (“pseudo-recensions”)
and Cuaxo (“temporary fictions”), calls the recensions ver-
sions. My own view is that they are recensions, i.e. versions
that have been consciously revised to remove inconsistencies
accumulated by accidents of transmission.
,¡ A list provided by the eleventh-century Kashmirian poet and
literary critic Kshem´ endra.
,,
´
Abhinava·gupta, Ghat
.
aBkarparaBvivr
.
ti :c: na c’ ˆ asya k¯ avye tr
.
n
.
aB
m¯ atram api kala˙ nkaBp¯ atram utpreks
.
itavanto manorathe ’pi supte
’pi sahr
.
day¯ ah
.
.
,o K¯ avyaBprak¯ a´sa ;.,,.
,; Ghat
.
aBkharparaBkulaka :c: na h’ ˆıyam
.
r¯ aj’B¯ aj˜ n¯ a.
,ï K¯ avy’Bˆ ala˙ nk¯ araBs¯ utraBvr
.
tti ,.:.o;: sudatyB¯ adayah
.
pratividhey¯ ah
.
.
,, De´si terms are words encountered in standard Prakrit works
which cannot be explained by Sanskrit dictionaries, the deriva-
tions of the Prakrit grammarians, or by laks
.
an
.
¯ a (indicative us-
age). All other Prakrit words are classed as either tatBsamas or
tadB bhavas. To explain: indu (“the moon”) is a tat B sama, it
has the same form and meaning in both Sanskrit and Prakrit.
¡,
rui iicocxiriox oi suax´ uxraia
Prakrit gaha, (“planet,” or “house”), is a tadBbhava, it can be de-
rived from the Sanskrit graha or gr
.
ha by following the rules of
the Prakrit grammarians. The Prakrit word cem
.
ccha¨ı (“unchaste
woman”) is a de´si word of uncertain etymology and formation.
Similarly, the Prakrit compound valayaBb¯ ahu (“bracelet”) is a
de´si word even though both of its members are tatBsamas: this is
because the correct Sanskrit compound should be b¯ ahuBvalaya.
For further detail see E. Kauis (:,,:).
¡o
ixriooucriox
DRAMATIS PERSONÆ
In order of appearance:
S¯ utraBdh¯ arah
.
: Sraci Diiicroi
Nat
.
¯ı: Acriiss
R¯ aj¯ a, Dus
.
yantah
.
: Kixc Dusu\´ axra
S¯ utah
.
: His Cuaiioriii
Tapasv¯ı, T¯ apasah
.
: Asciric
Sakhyau: Two Fiiixos
´
Sakuntal¯ a: Suax´ uxraia
Priyam
.
vad¯ a: Pii\ax·vaoa
Anas¯ uy¯ a: Axas´ u\a
Vid¯ us
.
akah
.
, M¯ adhavyah
.
: Buiioox
Dauv¯ arikah
.
, Revakah
.
: Dooi-xiiiii
Sen¯ aBpatih
.
: Gixiiai
Parijanah
.
: Ririxui
T¯ apasau, R
.
s
.
¯ı Two Ascirics, Two Sacis
Karabhakah
.
: Kai´ anuaxa, Royal Envoy
´
Sis
.
yah
.
: Kanva’s Disciiii
T¯ apas¯ı: Two Female Ascirics
R
.
s
.
iBkum¯ arakau Two Youxc Sacis
Gautam¯ı: G´ auraxi
Durv¯ asas: Duiv´ asas, An Irascible Sage
K¯ a´syapah
.
, Kan
.
vah
.
: K´ asu\aia, Kaxva
´
Sis
.
y¯ ah
.
: Three Disciiiis
´
S¯ ar˙ ngaravah
.
: Suaixca·iava
Ka˜ ncuk¯ı, Maudgalyah
.
: Cuaxniiiaix
Pratih¯ ar¯ı: Poiriiss
Vait¯ alikah
.
: Hiiaio
´
S¯ aradvatah
.
: Suaiao·vara
Purohitah
.
, Purodh¯ ah
.
, Somar¯ ata: Piiisr
R
.
s
.
ayah
.
: Siiis
Raks
.
in
.
au: Two Guaios
Purus
.
ah
.
: Man, a Fisuiixax
´
Sy¯ alah
.
: Poiici Cairaix,
the king’s brother-in-law
¡;
rui iicocxiriox oi suax´ uxraia
Aks
.
am¯ al¯ a: Axsua·xaia
Cet
.
¯ı: Two Female Gaioixiis
LipiBk¯ ar¯ı, Medh¯ avin¯ı: Airisr, Sciini
M¯ atali: M´ araii
C¯ utama˜ njar¯ı: Cuura·x´ a˜ x;aii,
Fiisr Daxcii
P¯ arij¯ atama˜ njar¯ı: Paii;´ ara·x´ a˜ x;aii,
Sicoxo Daxcii
B¯ alah
.
: Bo\
T¯ apas¯ı: Two Female Ascirics
M¯ ar¯ıcah
.
: Mai´ıcua
Aditih
.
:
´
Aoiri
¡ï
Prologue
y
¯
a sias
.
r
.
uu
.
si
.
s
.
r
.
ii
¯
ao\
¯
a pivati vidhiAhutam
.
,
y¯ a havir, y¯ a ca hotr¯ı,
ye dve k¯ alam
.
vidhattah
.
, ´srutiAvis
.
ayaAgun
.
¯ a
y¯ a sthit¯ a vy¯ apya vi´svam,
y¯ am ¯ ahuh
.
«sarvaAb¯ıjaAprakr
.
tir» iti, yay¯ a
pr¯ an
.
inaf pr¯ an
.
avantah
.
,
pratyaks
.
¯ abhif prasannas tanubhir avatu nas
t¯ abhir as
.
t
.
¯ abhir
¯
I´sah
.
!
n¯ andyBante.
s¯ uriaAou
¯
aiau
.
: (nepathy’Bˆ abhimukham avalokya) ¯ arye! yadi
nepathyaAvidh¯ anam avasitam
.
tad itas t¯ avad ¯ agamyat¯ am.
pravi´sya nat
.
¯ı.
xar
.
¯ı:

ayya! ia mhi. ¯ an
.
avedu ayyo ko n
.
ioo an
.
ucit
.
t
.
h¯ıadu tti.

:.,
s¯ uriaA ou
¯
aiau
.
: (dr
.
s
.
t
.
v¯ a) abhir¯ upa A pr¯ aya A bh¯ uyis
.
t
.
h” ˆ eyam
.
paris
.
at. asy¯ am
.
ca kila K¯ alid¯ asa A grathita A vastun¯ a nave-
na n¯ at
.
aken’ ˆ opasth¯ atavyam asm¯ abhih
.
. tat pratip¯ atram
¯ asth¯ıyat¯ am
.
yatnah
.
.
xar
.
¯ı:

suvihidaAppaoad¯ ae ayyassa n
.
a ki ˜ nci pad
.
ih¯ aissadi.

s¯ uriaA ou
¯
aiau
.
: (smitam
.
kr
.
tv¯ a) ¯ arye. kathay¯ ami te bh¯ ut’A
ˆ artham.
¯ a paritos
.
¯ ad vidus
.
¯ am
.
na s¯ adhu manye prayogaAvij ˜ n¯ anam.
balavad api ´siks
.
it¯ an¯ am
¯ atmany apratyayam
.
cetah
.
.
,c
M
a\ Goo, xixoi\ oisiosio, protect us
with eight manifest bodies:
The first creation of the creator, that drinks
the ritual offering,
And the offering,
The sacrificer,
The two which regulate time,
That which pervades the universe, audible to
the ear,
That which is called “the source of all seeds,”
And that which gives living beings their vital
energy!*
At the end of the benediction.
sraci oiiicroi: (looking toward the curtain) Madam! If
everyone has prepared their parts!
Enter the actress.
acriiss: Sir! Here I am. What are your instructions? :.,
sraci oiiicroi: (looking) This audience is overwhelm-
ingly made up of very sophisticated spectators, and we
have to entertain them with a new play, its plot devised
by Kali·dasa. Let each role be seen to with care.
acriiss: With your careful directing, nothing can go awry.
sraci oiiicroi: (smiling) Lady, let me tell you a truth.
I cannot be confident of my directorial proficiency
until the literati are satisfied. The heart of even
those who have rehearsed diligently is racked by
self-doubt.
,:
rui iicocxiriox oi suax´ uxraia
xar
.
¯ı:

evan
.
·n
.
·edam
.
.* an
.
antaraAkaran
.
¯ıam
.
d¯ an
.
im
.
ayyo ¯ an
.
abe- :.:c
du.

s¯ uriaA ou
¯
aiau
.
: (dr
.
s
.
t
.
v¯ a) kim anyat, asy¯ af paris
.
adah
.
´sruti A
pramodaAhetor imam eva n’ ˆ aticiraApravr
.
ttam upabhogaA
ks
.
amam
.
gr¯ıs
.
maAk¯ alam adhikr
.
tya g¯ıyat¯ am
.
t¯ avat.
sam
.
prati hi—
subhagaAsalil’Aˆ avag¯ ah¯ ah
.
p¯ at
.
alaAsam
.
sargaAsurabhiAvanaAv¯ at¯ ah
.
pracch¯ ayaAsulabhaAnidr¯ a
divas¯ af parin
.
¯ amaAraman
.
¯ıy¯ ah
.
.
xar
.
¯ı:

taha.

(g¯ ayati.)

khan
.
aAcumbi¯ a˜ı bhamareh˜ı
:.:,
suhaaAsuum¯ araAkesaraAsih¯ aim
.
odam
.
saanti pamad¯ a
daam¯ an
.
¯ ao sir¯ısaAkusum¯ aim
.
.

s¯ uriaAou
¯
aiau
.
: sus
.
t
.
hu g¯ıtam! es
.
a hi g¯ıtaAr¯ ag’Aˆ anubaddhaAci-
ttaAvr
.
ttir ¯ alikhita iva sarvato ra˙ ngah
.
. tad id¯ an¯ım
.
katamat
prakaran
.
am ¯ a´sritya janam ¯ ar¯ adhayis
.
y¯ avah
.
?
xar
.
¯ı:

n
.
am
.
pad
.
hamam
.
yyeva ayyen
.
’ ¯ an
.
attam
.
jah¯ a “Abhi-
n
.
n
.
¯ an
.
aAsa¨ untal¯ a” n
.
¯ ama apuruvam
.
n
.
¯ ad
.
aam
.
paoen
.
a adhi-
kar¯ıadu tti.

s¯ uriaA ou
¯
aiau
.
: bhavati! samyag anuprabodhito ’ham. as-
min ks
.
an
.
e khalu vismr
.
tam
.
may¯ a tat. kutah
.
?
,:
iioiocui
acriiss: How true. Now tell me what must be done next,
:.:c
sir.
sraci oiiicroi: (looking) What other than sing about this
season of summer, not long upon us, suited to enjoy-
ment, to delight the ears of this gathering.
For now,
Are the days:
when plunging into water is a joy,
with woodland breezes fragrant by contact
with p´ atala blossoms,
where sleep comes with ease in deep shade,
delightful in their twilight.
acriiss: As you wish. (Sings.)
Sympathetic women adorn :.:,
themselves with shir´ısha flowers,
their exceedingly delicate filaments
fleetingly kissed by bees.*
sraci oiiicroi: Beautifully sung! For this audience all
around me, engrossed in the melody of the song, seems
as if it were painted. Now, then, what play shall we stage
to regale these people?
acriiss: Surely, sir, you just said at the outset: “Stage the
new play called ‘The Recognition of Shak´ untala’?”
sraci oiiicroi: Madam, I amjustly reminded. Right now
it had simply slipped my mind. Why?
,,
rui iicocxiriox oi suax´ uxraia
tav’ ˆ asmi g¯ıtaAr¯ agen
.
a h¯ arin
.
¯ a prasabham
.
hr
.
tah
.
. . .
(nepathy’Bˆ abhimukham avalokya.) :.:c
. . . es
.
a r¯ aj” ˆ eva Dus
.
yantah
.
s¯ ara˙ ngen
.
’ ˆ atiram
.
has¯ a.
iti nis
.
kr¯ antau.
prast¯ avan¯ a.

iioiocui
I was irresistibly carried away
by the captivating melody of your song. . .
(glancing toward the curtain.) :.:c
. . . just as this king Dushy´ anta was
by a swift antelope.
With this they exit.
End of the prologue.
,,
Act One:
The Chase
tataf pravi´sati rathaBy¯ atakena mr
.
g’Bˆ anus¯ ar¯ı c¯ apaBhasto
Dus
.
yantah
.
S¯ uta´s ca.
s¯ urau
.
: (r¯ aj¯ anam
.
mr
.
gam
.
c’ ˆ avalokya) ¯ ayus
.
man! :.:,
kr
.
s
.
n
.
aAs¯ are dadac caks
.
us tvayi c’ ˆ adhijyaAk¯ armuke
mr
.
g’Aˆ anus¯ arin
.
am
.
s¯ aks
.
¯ at pa´sy¯ am’ ˆıva Pin¯ akinam.
i
¯
a;
¯
a: s¯ arathe! sud¯ uram anena kr
.
s
.
n
.
aAs¯ aren
.
a vayam ¯ akr
.
s
.
t
.
¯ ah
.
.
ayam id¯ an¯ım api,
gr¯ıv’A¯ abha˙ ng’Aˆ abhir¯ amam
.
muhur anupatati
syandane dattaAdr
.
s
.
t
.
ih
.
pa´sc’Aˆ ardhena pravis
.
t
.
ah
.
´saraApatanaAbhay¯ ad
bh¯ uyas¯ a p¯ urvaAk¯ ayam
´sas
.
pair ardh’Aˆ aval¯ıd
.
haih
.
´sramaAvitataAmukhaA
bhram
.
´sibhih
.
k¯ırn
.
aAvartm¯ a
pa´sy’ ˆ odagraAplutitv¯ ad viyati bahutaram
.
stokam urvy¯ am
.
pray¯ ati.
katham? anup¯ atina eva me prayatnaApreks
.
an
.
¯ıyah
.
sam
.
vr
.
ttah
.
!
s¯ urau
.
: ¯ ayus
.
man! udgh¯ atin¯ı bh¯ umir iyam
.
may¯ a ra´smiAsam
.
- :.,c
yaman¯ ad rathasya mand¯ıkr
.
to vegah
.
. ten’ ˆ ais
.
a mr
.
go vi-
prakr
.
s
.
t
.
’A ˆ antarah
.
sam
.
vr
.
ttah
.
. sam
.
prati tu samaA de´saA vart¯ı
na te dur¯ asado bhavis
.
yati.

Enter King Dushy´ anta in a chariot, pursuing a deer, bow in
hand, accompanied by his charioteer.
cuaiioriii: (glancing at king and deer) Your Majesty! :.:,
As I cast my eye upon the deer, and you
with your bow strung,
I seem to see before my very eyes
the Bow-bearer Shiva chasing the Deer.*
xixc: Charioteer! We have been drawn far by this black
antelope. Even now he,
Repeatedly darts a glance at the pursuing chariot,
gracefully twisting his neck,
with his haunches drawn acutely forward
into his forebody
out of fear of the arrow’s strike,
scattering the path with grass half-chewed,
dropping from his mouth gaping
with exhaustion.
Look! With his lofty leaps he moves
more through the sky
and hardly touches the ground.
How? Even though I am hard on his heels he has become
hard to make out!
cuaiioriii: Your Majesty! The terrain is uneven.* By :.,c
curbing in the reins I have reduced the chariot’s speed.
Thereby the antelope has made good some ground. But
now the ground is level, you will have no trouble getting
him.
,,
rui iicocxiriox oi suax´ uxraia
i
¯
a;
¯
a: mucyant¯ am abh¯ı´savah
.
.
s¯ urau
.
: yad ¯ aj ˜ n¯ apayaty ¯ ayus
.
m¯ an. (tath¯ a kr
.
tv¯ a veg’Bˆ antaram
.
nir¯ upayan) ¯ ayus
.
man! pa´sya pa´sya! ete
muktes
.
u ra´smis
.
u nir¯ ayataAp¯ urvaAk¯ ay¯ a
nis
.
kampaAc¯ amaraA´sikh¯ a nibhr
.
t’A ¯ ordhvaAkarn
.
¯ ah
.
¯ atm’A ˆ oddhatair api rajobhir ala˙ nghan¯ıy¯ a
dh¯ avanty am¯ı mr
.
gaAjav’Aˆ aks
.
amay” ˆ eva rathy¯ ah
.
.
i
¯
a;
¯
a: satyam at¯ıtya HariAhar¯ın api harayo vartante. tath¯ a hi
yad ¯ aloke s¯ uks
.
mam
.
:.,,
vrajati sahas¯ a tad vipulat¯ am
yad ardhe vicchinnam
.
bhavati kr
.
taAsam
.
dh¯ anam iva tat
prakr
.
ty¯ a yad vakram
.
tad api samaArekham
.
nayanayoh
.
na me d¯ ure kim
.
cin
na ca bhavati p¯ ar´sve rathaAjav¯ at.
s¯ urau
.
: ¯ ayus
.
man! asya khalu te b¯ an
.
aApathaAvartinah
.
kr
.
s
.
n
.
aA
s¯ arasy’ ˆ antare tapasvinah
.
.
i
¯
a;
¯
a: (saBsam
.
bhramam) tena hi nigr
.
hyant¯ am
.
v¯ ajinah
.
!
s¯ urau
.
: tath¯ a karomi. (ity uktv¯ a ratham
.
sth¯ apayati.)
tataf pravi´sati ¯ atman¯ aBtr
.
t¯ıyas tapasv¯ı.
raiasv¯ı: (saBsam
.
bhramam
.
hastam udyamya) r¯ ajan! r¯ ajan! ¯ a´s- :.¡c
ramaAmr
.
go ’yam
.
! ¯ a´sramaAmr
.
go ’yam
.
!
oc
acr oxi: rui cuasi
xixc: Let loose the reins!
cuaiioriii: As Your Majesty commands. (does so; acts a
change in speed) Your Majesty! Look, look!
The reins being loosened, these chariot horses,
their flanks fully extended,
their yak-tail plumed crests unshaking,
their ears stiff,
unreachable even by the dust they themselves
throw up,
sprint as though unable to tolerate
the speed of the antelope.
xixc: Truly the horses are outstripping the horses of Indra.
For,
What looked tiny to my eyes :.,,
suddenly becomes immense,
what really is divided in half appears joined,
what is inherently crooked appears straight.
Because of the chariot’s speed,
nothing is far from me,
and nothing remains at my side.
cuaiioriii: Your Majesty! Ascetics have come between
you and the black antelope your arrow is aimed at!
xixc: (alarmed) Then restrain the horses!
cuaiioriii: I’m doing so. (So saying, he stops the chariot.)
Enter an ascetic with two companions.
asciric: (raising up his hand agitatedly) King! King! This is :.¡c
a hermitage antelope. This is a hermitage antelope.
o:
rui iicocxiriox oi suax´ uxraia
tat s¯ adhu kr
.
taAsam
.
dh¯ anam
.
pratisam
.
hara s¯ ayakam
¯ artaAtr¯ an
.
¯ aya te ´sastram
.
na prahartum an¯ agasi.
i
¯
a;
¯
a: es
.
a pratisam
.
hr
.
tah
.
. (yath” ˆ oktam
.
karoti.)
r
¯
aiasau
.
: (saBhars
.
am) s¯ adhu bhoh
.
! sadr
.
´sametat PuruAvam
.
´saA
j¯ atasya bhavatah
.
. sarvath¯ a cakraAvartinam
.
putram av¯ ap-
nuhi.
i
¯
a;
¯
a: (saBpran
.
¯ amam) pratigr
.
h¯ıtam
.
tapoAdhanaAvacanam.
r
¯
aiasau
.
: samidA ¯ aharan
.
¯ aya prasthit¯ a vayam. es
.
a c’ ˆ asmadA :.¡,
guroh
.
K¯ a´syapasya sam
.
saktaAHimavatAs¯ anur anuAM¯ alin¯ıA
t¯ıram ¯ a´sramo dr
.
´syate. na ced anyaAk¯ ary’Aˆ atip¯ atas tad¯ a tat
pravi´sy’ ˆ atra pratigr
.
hyat¯ am atithiAsatk¯ arah
.
. api ca,
dhany¯ as tapoAdhan¯ an¯ am
.
pratihataAvighn¯ ah
.
kriy¯ ah
.
sam¯ alokya
j ˜ n¯ asyasi: «kiyad bhujo me
raks
.
ati maurv¯ıAkin
.
’Aˆ a˙ nka iti!»
i
¯
a;
¯
a: ayam
.
sam
.
nihito ’tra kulaApatih
.
?
r
¯
aiasau
.
: ady’ ˆ aiv’ ˆ anavady¯ am
.
duhitaram
.
´
Sakuntal¯ amatithiA
satk¯ ar¯ aya sam
.
di´sya pratik¯ ulam asy¯ a daivam
.
´samayitum
.
Somat¯ırthaAPrabh¯ asam
.
gatah
.
.
o:
acr oxi: rui cuasi
Therefore withdraw
your well-aimed arrow.
Your weapon is meant to protect the afflicted,
not to strike the innocent.
xixc: It is withdrawn. (He does as said.)
asciric: (rejoicing) Well done, sir! This becomes you, scion
of the lineage of Puru. Without fail, may you have a son
who will be a universal emperor.
xixc: (bowing) The words of the ascetic are welcome.
asciric: We have set out to collect firewood. Yonder, along :.¡,
the banks of the River M´ alini, clinging to the escarp-
ments of the Him´ alaya, you can see the hermitage of
our master K´ ashyapa. If it does not interfere with other
duties, then enter it and receive the welcome due a guest.
Moreover,
Watching the worthy sacrifices of ascetics
rich in penance,
carried out without obstructions,
you will appreciate:
“How much my bowstring-scarred arm protects!”
xixc: Is the patriarch at home?
asciric: This very day he bidhis faultless daughter Shak´ un-
tala provide hospitality and departed to Prabh´ asa at the
sacred Moon-ford to work a reprieve from her adverse
fate.
o,
rui iicocxiriox oi suax´ uxraia
i
¯
a;
¯
a: (¯ atmaB gatam
.
) bhavatu. t¯ am eva draks
.
y¯ ami. s¯ a m¯ am
.
viditaAbhaktim
.
maha”Ars
.
eh
.
karis
.
yati.
r
¯
aiasau
.
: s¯ adhay¯ amas t¯ avat. (iti saB´sis
.
yo nis
.
kr¯ antah
.
.) :.,c
i
¯
a;
¯
a: S¯ uta! coday’ ˆ a´sv¯ an! pun
.
y’A¯ a´sramaAdar´sanena t¯ avad ¯ at-
m¯ anam
.
pun¯ımahe.
s¯ urau
.
: yad ¯ aj ˜ n¯ apayaty ¯ ayus
.
m¯ an. (parikramya rathaB y¯ ata-
kam
.
nir¯ upayati.)
i
¯
a;
¯
a: (samant¯ ad vilokya) S¯ uta! akathito ’pi j ˜ n¯ ayata eva yath”
ˆ ayam ¯ abhogas tapoAvanasy’ ˆ eti.
s¯ urau
.
: katham iti?
i
¯
a;
¯
a: kim
.
na pa´syati bhav¯ an? iha hi, :.,,
n¯ıv¯ ar¯ ah
.
´sukaAgarbhaAkot
.
araAmukhaA
bhras
.
t
.
¯ as tar¯ un
.
¯ am adhah
.
prasnigdh¯ ah
.
kva cid i ˙ ngud¯ıAphalaAbhidah
.
s¯ ucyanta ev’ ˆ opal¯ ah
.
vi´sv¯ as’A ˆ opagam¯ ad abhinnaAgatayah
.
´sabdam
.
sahante mr
.
g¯ ah
.
toy’A¯ adh¯ araApath¯ a´s ca valkalaA´sikh¯ aA
nih
.
s
.
yandaAlekh’Aˆ a˙ nkit¯ ah
.
.
s¯ urau
.
: sarvam upapannam.

acr oxi: rui cuasi
xixc: (aside) So be it. It is her I shall see. She will make my
devotion known to the great seer.
asciric: We must go now. (Exit with his disciples.) :.,c
xixc: Charioteer! Drive on the horses! First of all, we will
purify ourselves by the sight of the sacred hermitage.
cuaiioriii: As Your Majesty commands. (Walks about,
acts the steering of the chariot.)
xixc: (looking around) Charioteer! Evenwithout being told,
it is evident that these are the outskirts of a penance
grove.
cuaiioriii: How so?
xixc: Can you not see? For here, :.,,
Beneath the trees are grains of wild rice
dropped from tree hollows harboring parrots,
elsewhere one sees stones,
oily from crushing ´ıngudi fruits;
the fawns are so trusting
they will tolerate speech without stopping
in their tracks,
the paths to the ponds are marked by lines
of water drops from the corners
of bark-garments.
cuaiioriii: It all fits.
o,
rui iicocxiriox oi suax´ uxraia
i
¯
a;
¯
a: (stokam antaram
.
gatv¯ a) api ca,
kuly’Aˆ ambhobhif prasr
.
taAcapalaih
.
´s¯ akhino dhautaAm¯ ul¯ a
bhinno r¯ agah
.
kisalayaAruc¯ am
¯ ajyaAdh¯ um’A ˆ odgamena
ete c’ ˆ arv¯ agAupavanaAbhuvi
cchinnaAdarbh’Aˆ a˙ nkur¯ ay¯ am
.
nas
.
t
.
’A¯ a´sa˙ nk¯ a harin
.
aA´si´savo
mandaAmandam
.
caranti.
m¯ a tapoA vanaA niv¯ asin¯ am uparodho bh¯ ut! tad et¯ avaty eva :.oc
ratham
.
sth¯ apaya y¯ avad avatar¯ ami.
s¯ urau
.
: dhr
.
t¯ af pragrah¯ ah
.
. avataratv ¯ ayus
.
m¯ an.
i
¯
a;
¯
a: (avat¯ırya) vin¯ıtaA ves
.
en
.
a prave´sy¯ ani tapoA van¯ ani. tad
idam
.
t¯ avat pragr
.
hyat¯ am. (iti s¯ ut¯ ay’ ¯ abharan
.
am
.
dattv¯ a
dhanu´s c’ ˆ otsr
.
jya) s¯ uta! y¯ avad aham up¯ asya maha”A rs
.
¯ın
up¯ avarte t¯ avad ¯ ardraApr
.
s
.
t
.
h¯ ah
.
kriyant¯ am
.
v¯ ajinah
.
.
s¯ urau
.
: yad ¯ aj ˜ n¯ apayaty ¯ ayus
.
m¯ an. (iti nis
.
kr¯ antah
.
.)
i
¯
a;
¯
a: (parikramy’ ˆ avalokya ca) idam ¯ a´sramaA dv¯ aram
.
y¯ avat
pravi´s¯ ami. (pravi´sya, nimittam
.
s¯ ucayan vimr
.
´sati.)
´s¯ antam idam ¯ a´sramaApadam
.
:.o,
sphurati ca b¯ ahuh
.
. kutaf phalam ih’ ˆ asya?
athav¯ a bhavitavy¯ an¯ am
.
dv¯ ar¯ an
.
i bhavanti sarvatra.
oo
acr oxi: rui cuasi
xixc: (proceeds a bit) Moreover,
Trees have their roots washed
by turbulent canal streams,
the gleam of their tendrils is mixed
with the rising smoke
from clarified butter offerings,
and here fawns lazily graze without inhibition
on the lawn before us where the shoots
of darbha grass have been cut.
Let no disturbance hinder the hermitage inmates! Stop the :.oc
chariot on this verge for me to descend.
cuaiioriii: The reins are secure. Descend, Your Majesty.
xixc: (descends) Hermitages should be entered in modest
dress. Therefore take this now. (with which he gives the
charioteer his ornaments and lays aside his bow) Chari-
oteer! Until I return from paying homage to the great
seers douse the horses’ backs.
cuaiioriii: As Your Majesty commands. (Exit.)
xixc: (walking around and observing) I shall enter through
this gateway to the hermitage. (He enters, displays a por-
tentous twitch and reflects.)
Tranquil is the hermitage ground, :.o,
yet my arm throbs.
How can this happen here? Or rather,
the gates to what must come to pass
are everywhere.
o;
rui iicocxiriox oi suax´ uxraia
xiiaru\i:

ido ido piaAsah¯ı.

i
¯
a;
¯
a: (karn
.
am
.
dattv¯ a) aye! daks
.
in
.
ena kusumaA p¯ adapaA v¯ı-
th¯ım ¯ al¯ apa iva. y¯ avad atra gacch¯ ami. (parikramy’ ˆ avalokya
ca) et¯ as tapasviAkanyak¯ ah
.
svaApram¯ an
.
’Aˆ anur¯ upaih
.
secanaA
ghat
.
akair b¯ alaA p¯ adap¯ an si ˜ ncantya ita ev’ ˆ abhivartante.
(nipun
.
am
.
nir¯ upya) aho m¯ adhuryaAk¯ antam
.
khalu dar´sa-
nam ¯ as¯ am. y¯ avad et¯ am
.
ch¯ ay¯ am ¯ a´sritya pratip¯ alay¯ ami.
(vilokayan sthitah
.
.)
tataf pravi´sati yath”B ˆ oktaBvy¯ ap¯ ar¯ a saha sakh¯ıbhy¯ am
.
´
Sakunta-
l¯ a.
saxu\au:

hal¯ a Sa¨ untale! ta¨ıtto vi kkhu t¯ adaAKassavassa assa-
maArukkha¯ a pia tti takkemha jen
.
a nom¯ ali¯ aApelav¯ aAvi tu-
mam
.
edassa ¯ alav¯ alaAp¯ uran
.
e n
.
iutt¯ a.

´
saxuxrai
¯
a:

n
.
a kevalam
.
t¯ adaAnioo tti. bahuAm¯ an
.
o j¯ ava ma- :.;c
m’ ˆ avi. sodar¯ı A sin
.
eho edesu atthi yyeva.

(vr
.
ks
.
aB sekam
.
r¯ upayati.)
unui:

hal¯ a Sa¨ untale! udaam
.
lambhid¯ a gimhaA k¯ alaA kusu-
maA d¯ ain
.
o guma¯ a. id¯ anim
.
adikkantaA samae vi rukkhae
si ˜ ncamha. tasun
.
o an
.
ahisandhidaApuravo dhammo bha-
vissadi.

´
saxuxrai
¯
a:

ahin
.
andan
.
¯ıam
.
mantedha.

(n¯ at
.
yena si˜ ncati.)
i
¯
a;
¯
a: (nirvarn
.
ya saBkautukam) katham? iyam
.
s¯ a Kan
.
vaAdu-
hit¯ a? aho vismayah
.
!

acr oxi: rui cuasi
niuixo rui scixis: This way, this way, dear friends!
xixc: (listening) Ah! There appears to be a conversation to
the right of the flower-tree path.* I will go there. (walks
around and looks) It is the daughters of the ascetics, sprin-
kling the young trees with watering pots proportioned to
themselves, coming this way. (appraising them expertly)
Oho! How lovely they are to behold. I will take to this
shade and wait. (Keeps looking.)
Enter Shak´ untala, engaged as described, accompanied by two
friends.
iiiixos: Shak´ untala, dear! We do believe that the her-
mitage trees are dearer to father K´ ashyapa than even you
are, since you, as tender as the nava·m´ alika jasmine, have
been appointed to fill their basins.
suax´ uxraia: This is not just an order from father, but my :.;c
own respect; I truly do feel a sisterly affection toward
them. (Mimes sprinkling the trees.)
noru: Shak´ untala, dear! The copses of summer-blossoming
trees are slaked with water. Now let’s water the trees no
longer in season. Then we can expect some unforeseen
merit.
suax´ uxraia: What you say is commendable. (Mimes sprin-
kling.)
xixc: (watching, surprised) What? This is the daughter of
Kanva? How amazing!
o,
rui iicocxiriox oi suax´ uxraia
´suddh’Aˆ antaAdurlabham idam
.
vapur ¯ a´sramaAv¯ asino yadi janasya
d¯ ur¯ıkr
.
t¯ ah
.
khalu gun
.
air
udy¯ anaAlat¯ a vanaAlat¯ abhih
.
.
bhavatu. p¯ adap’A ˆ antarita eva vi´svastaA bh¯ av¯ am en¯ am
.
pa´sy¯ a- :.;,
mi. (tath¯ a karoti.)
´
saxuxrai
¯
a:

eso v¯ ad’A¯ eridaApallav’Aˆ a˙ ngul¯ıhim
.
tuvar¯ avedi via
mam
.
ba¨ ula A rukkhao. j¯ ava n
.
am
.
sambh¯ avemi.

(r¯ aj˜ nah
.
sam
.
nikars
.
am ¯ agacchati.)
i
¯
a;
¯
a: (nirvarn
.
ya) aA s¯ adhuA dar´s¯ı tatraA bhav¯ an K¯ a´syapo ya
im¯ am ¯ a´sramaAdharmaAcaran
.
e niyu˙ nkte.
idam
.
kil’ ˆ avy¯ ajaAmanoAharam
.
vapuh
.
tapah
.
Aks
.
amam
.
s¯ adhayitum
.
ya icchati
dhruvam
.
sa n¯ıl’A ˆ otpalaApatraAdh¯ aray¯ a
samilAlat¯ am
.
chettum r
.
s
.
ir vyavasyati.
´
saxuxrai
¯
a:

hal¯ a An
.
as¯ ue! ati A pin
.
addhen
.
a Piam
.
vad¯ ae vak-
kalen
.
a n
.
iantida’ mhi. sed
.
hilehi t¯ a d¯ ava n
.
am
.
. (Anas¯ uy¯ a
´sithilayati.)

iii\ax
.
vao
¯
a: (saBsmitam)

ittha paoAharaAvitth¯ ara¨ıttaam
.
ap- :.ïc
pan
.
o jovvan
.
am
.
uv¯ alaha.

i
¯
a;
¯
a: k¯ amam, aApratir¯ upam asya vayaso valkalam
.
na punar
ala˙ nk¯ araA´sriyam
.
na pus
.
yati. kutah
.
?
;c
acr oxi: rui cuasi
If the figure of this person,
scarcely to be found in royal apartments,
is that of a hermitage-dweller, then indeed
the garden vine is outclassed in virtues
by the forest creeper.
Be that so. Concealed by this tree I will observe her freed :.;,
from inhibition. (Does so.)
suax´ uxraia: This b´ akula tree seems to hasten me on with
its wind-stirred tendril-fingers. I will attend to it. (Comes
close to the king.)
xixc: (watching) His honor K´ ashyapa must be blind, that
he should employ her in hermitage duties.
The sage who tries to make
this guilelessly appealing figure capable
of enduring penance:
surely he has set about cutting hard firewood
with the edge of a blue water-lily petal.
suax´ uxraia: Anas´ uya, dear! I am pinioned by the bark-
garment tightened by Priyam·vada. Please loosen it now.
(Anas´ uya loosens it.)
iii\ax·vaoa: (smiling) For this you had better scold your :.ïc
own youth, which expands your breasts.
xixc: Admitted, the bark-clothis not apposite to her youth-
ful prime, yet it does not fail to adorn her. How?
;:
rui iicocxiriox oi suax´ uxraia
sarasiAjam anuviddham
.
´sevalen’ ˆ api ramyam
.
malinam api him’Aˆ am
.
´sor laks
.
ma laks
.
m¯ım
.
tanoti.
iyam adhikaAmanoAj ˜ n¯ a valkalen’ ˆ api tanv¯ı:
kim iva hi madhur¯ an
.
¯ am
.
man
.
d
.
anam
.
n’ ¯ akr
.
t¯ın¯ am?
iii\ax
.
vao
¯
a:

hal¯ a Sa¨ untale! es¯ a t¯ adaAKassaben
.
a tumam
.
via
sam
.
vad
.
d
.
hid¯ a alindae m¯ ahav¯ıAlad¯ a. pekkha n
.
am
.
. kim
.
vi-
sum¯ arid¯ a de?

´
saxuxrai
¯
a:

att” ˆ abi visumarissadi.

(iti tatBsam¯ıpam
.
gaccha-
ti.)
iii\ax
.
vao
¯
a:

hal¯ a Sa¨ untale! cit
.
t
.
ha idha yyeva muhuttaam
.
:.ï,
d¯ ava ba¨ ulaArukkhaAsam¯ıbe.

´
saxuxrai
¯
a:

kim
.
ti?

iii\ax
.
vao
¯
a:

tae sam¯ıbaAt
.
t
.
hid¯ ae lad¯ aAsan
.
¯ adho via me ba¨ u-
laArukkhao pad
.
ibh¯ adi.

´
saxuxrai
¯
a:

ado kkhu Piam
.
vad’ ˆ asi.

i
¯
a;
¯
a: priyam api tathyam ¯ ah’ ˆ ais
.
¯ a. asy¯ ah
.
khalu
adharah
.
kisalayaAr¯ agah
.
:.,c
komalaAvit
.
ap’Aˆ anuk¯ arin
.
au b¯ ah¯ u
kusumam iva lobhan¯ıyam
.
yauvanam a˙ nges
.
u sam
.
naddham.
;:
acr oxi: rui cuasi
A lotus entangled with sh´ aivala weed is still
attractive,
the spot on the moon, though a blemish,
sheds beauty,
this slender maiden is most captivating even
wearing a bark-cloth:
For what could not serve as an adornment
to sweet figures?
iii\ax·vaoa: Shak´ untala, dear! Here in this natural veran-
dah* is the m´ adhavi vine raised by father K´ ashyapa as if
it were you yourself. See to it. Or have you forgotten it?
suax´ uxraia: As likely as I might forget myself. (With this
she approaches it.)
iii\ax·vaoa: Shak´ untala, dear! Pause for a moment, right :.ï,
by the b´ akula tree.
suax´ uxraia: Why?
iii\ax·vaoa: With you standing beside it, the b´ akula tree
seems to me as if it were embraced by a vine.
suax´ uxraia: That is why you are Priyam·vada (“Sweet-
talker”).
xixc: What she says is sweet but also true. For her
Lower lip has the hue of a sprouting tendril, :.,c
her arms imitate tender branches.
Youth, desirable like a flower, is primed
in her physique.
;,
rui iicocxiriox oi suax´ uxraia
axas¯ u\
¯
a:

hal¯ a Sa¨ untale! iam
.
saam
.
AvaraAvah¯ u sahaA¯ arassa tae
kidaAn
.
¯ amaAheassa Van
.
aAdosin
.
o n
.
oAm¯ ali¯ a.

´
saxuxrai
¯
a: (upagamy’ ˆ avalokya ca)

hal¯ a! raman
.
¯ıe k¯ ale imas-
sa p¯ adabaAmihun
.
assa vadiaro sam
.
vutto. iam
.
n
.
avaAkusu-
maAjovvan
.
¯ a. aam
.
bi baddhaAphalad¯ ae uvabhoaAkkhamo
sahaA¯ aro.

(pa´syant¯ı tis
.
t
.
hati.)
iii\ax
.
vao
¯
a:

hal¯ a An
.
as¯ ue! j¯ an
.
¯ asi kim
.
A n
.
imittam
.
Sa¨ untal¯ a
Van
.
aAdosin
.
am
.
adimettam
.
pekkhadi tti.

axas¯ u\
¯
a:

n
.
a kkhu vibh¯ avemi.

iii\ax
.
vao
¯
a:

jadh¯ a Van
.
aAdosin
.
¯ a an
.
usadisen
.
a p¯ adaben
.
a sa˙ n- :.,,
gad¯ a n
.
oAm¯ ali¯ a, avi n
.
¯ ama evam
.
aham
.
pi attan
.
o an
.
ur¯ uvam
.
varam
.
lahemi tti.

´
saxuxrai
¯
a:

eso n
.
¯ un
.
am
.
de attan
.
o cittaAgado man
.
oAradho!

(iti kala´sam ¯ avarjayati.)
i
¯
a;
¯
a: api n¯ ama kulaApater iyam aAsaAvarn
.
aAks
.
etraAsambhav¯ a
sy¯ at? atha v¯ a
asam´sayam
.
ks
.
atraAparigrahaAks
.
am¯ a
yad evam asy¯ am abhil¯ as
.
i me manah
.
sat¯ am
.
hi sam
.
dehaApades
.
u vastus
.
u
pram¯ an
.
am antah
.
Akaran
.
aApravr
.
ttayah
.
.
tath” ˆ api tattvata en¯ am
.
veditum icch¯ ami.
´
saxuxrai
¯
a: (bhramaraB sam
.
p¯ atam
.
n¯ at
.
ayati)

ammo! salila A :.:cc
seaAsam
.
bhanto n
.
oAm¯ aliam
.
ujjhia vaan
.
am
.
me mahuAaro
an
.
uvat
.
t
.
adi.

(bhramaraBb¯ adh¯ am
.
nir¯ upayati.)

acr oxi: rui cuasi
axas´ u\a: Shak´ untala, dear! This is the nava·m´ alika jas-
mine, the bride who chose as her husband the mango
tree named by you “Pleaser of the Forest.”
suax´ uxraia: (approaching andlooking) My dear! The union
of this pair of root-drinking plants has taken place at a
happy time. She is youthful with fresh blossoms. The
mango tree, bedecked with fruits, is ready to be enjoyed.
(Remains gazing.)
iii\ax·vaoa: Anas´ uya, dear! Do you know why Shak´ un-
tala is staring at “Pleaser of the Forest” so ardently?
axas´ u\a: I cannot imagine.
iii\ax·vaoa: She’s thinking: “Just as the nava·m´ alika jas- :.,,
mine is united with ‘Pleaser of the Forest,’ a worthy tree,
so may I too win a suitable bridegroom.”
suax´ uxraia: Surely that’s a wishinyour ownheart! (empties
her pot.)
xixc: Can it be that she is born in a caste different from
the patriarch’s?* Or, rather,
Doubtless she is fit to be wed by a warrior,
since my heart desires her so.
For the good, the inclinations
of their inner faculties
are authoritative in matters of doubt.
Nevertheless, I wish to know the truth about her.
suax´ uxraia: (acting the attack of a bee) Ah! A bee confused :.:cc
by the sprinkling of water has left the jasmine and is now
assailing my face. (Mimes fending off the bee.)
;,
rui iicocxiriox oi suax´ uxraia
i
¯
a;
¯
a: (vilokya saBspr
.
ham)
cal’Aˆ ap¯ a˙ ng¯ am
.
dr
.
s
.
t
.
im
.
spr
.
´sasi bahu´so vepathumat¯ım
.
rahasy’A¯ akhy¯ ay” ˆıva
svanasi mr
.
du karn
.
’Aˆ antikaAgatah
.
karau vy¯ adhunvaty¯ ah
.
pivasi ratiAsarvasvam adharam
.
vayam
.
devair maugdhy¯ an
madhukara hat¯ as tvam
.
khalu kr
.
t¯ı.
´
saxuxrai
¯
a:

hal¯ a! paritt¯ aadha mam
.
imin¯ a kusumaA p¯ ad
.
ac-
caren
.
a ahibh¯ uam¯ an
.
am
.
!

unui: (vihasya)

ke vaam
.
paritt¯ an
.
e? Dussantam
.
¯ akanda! r¯ aaA
rakkhid¯ aim
.
khu tavoAvan
.
¯ aim
.
honti.

i
¯
a;
¯
a: avasarah
.
khalv ayam
.
mam’ ¯ atm¯ anam
.
dar´sayitum. :.:c,
(upasr
.
tya) na bhetavyam! na bhetavyam! (ity ardh’B ˆ okte
’pav¯ arya) evam
.
r¯ aj” ˆ aham iti pratij ˜ n¯ atam
.
bhavati. bha-
vatu! atithiAsamucit’A¯ ac¯ aram avalambis
.
ye.
´
saxuxrai
¯
a: (sa B tr¯ asam
.
)

n
.
a eso me purado a¨ıdhat
.
t
.
ho vi-
ramadi. t¯ a an
.
n
.
ado gamissam
.
. (iti pat
.
’ B ˆ antaren
.
a sthitv¯ a
saBdr
.
s
.
t
.
iBks
.
epam
.
) haddh¯ı! kadham
.
ido bi mam
.
an
.
usaradi.

i
¯
a;
¯
a: (saBtvaram upetya)
kah
.
Paurave vasumat¯ım
.
´s¯ asati ´s¯ asitari durvin¯ıt¯ an¯ am
ayam ¯ acaraty avinayam
.
mugdh¯ asu tapasviAkany¯ asu?
sarv¯ a r¯ aj¯ anam
.
dr
.
s
.
t
.
v¯ a ki˜ n cid iva sambhr¯ ant¯ ah
.
.
;o
acr oxi: rui cuasi
xixc: (gazing longingly)
You repeatedly touch her darting eye,
so that it quivers;
approaching her ear you hum
sweetly as if confiding a secret;
and while she flails her hands you drink
from her lower lip the treasure of love.
I, perplexed, am foiled by the Gods,
while you, bee, enjoy success.
suax´ uxraia: My friends! Protect me, I am assailed by this
flower-bandit!
noru: (laughing) Who are we to protect you? Call for Du-
shy´ anta! Penance groves are under the protection of the
king.
xixc: This is the opportunity to reveal myself. (approach- :.:c,
ing) Fear not! Fear not! (stops in mid-sentence, aside) Like
this I will acknowledge that I am the king. Never mind.
I will enjoy the welcome due a guest.
suax´ uxraia: (trembling) This bold villain will not leave me
alone. I’ll go elsewhere. (stands behind a curtain, casting
glances)* Oh, no! Why must he follow me even here?
xixc: (approaching hastily)
Who dares harass innocent hermitage daughters,
while the scion of Puru,
chastiser of the wicked, rules the earth?
Seeing the king, they are all somewhat taken aback.
;;
rui iicocxiriox oi suax´ uxraia
axas¯ u\
¯
a:

n
.
a kkhu kim
.
A ci acc¯ ahidam
.
. iam
.
un
.
a n
.
o piaA sa- :.::c
h¯ı mahuAaren
.
a ¯ a¨ ul¯ıkiam¯ an
.
¯ a k¯ adar¯ıAbh¯ ud¯ a.

(
´
Sakuntal¯ am
.
dar´sayati.)
i
¯
a;
¯
a: (
´
Sakuntal¯ am upetya) bhavati! api tapas te vardhate?
´
saxuxrai
¯
a: (saBs¯ adhvas” ˆ avanataBmukhy avacan¯ a tis
.
t
.
hati.)
axas¯ u\
¯
a: (r¯ aj¯ anam
.
prati)

id¯ an
.
im
.
adidhiAvisesaAl¯ ahen
.
a.

iii\ax
.
vao
¯
a:

s¯ aadam
.
ayyassa!

axas¯ u\
¯
a:

hal¯ a Sa¨ untale! gaccha tumam
.
ud
.
a¯ ado phalaAmis- :.::,
sam
.
aggham
.
uv¯ ahara, idha p¯ ad’A ˆ odaam
.
atthi yyeva.

i
¯
a;
¯
a: bhavatu! s¯ unr
.
tay” ˆ aiva kr
.
tam ¯ atithyam.
iii\ax
.
vao
¯
a:

ten
.
a imassim
.
d¯ ava p¯ adavaA cch¯ a¯ aA s¯ıdal¯ ae sa-
ttaA van
.
n
.
aA vedi¯ ae ayyo uvavisia muhuttaam
.
par¯ısamam
.
avan
.
edu.

i
¯
a;
¯
a: nanu y¯ uyam apy anena dharmaAkarman
.
¯ a pari´sr¯ ant¯ ah
.
.
tan muh¯ urtam upavi´sata.
iii\ax
.
vao
¯
a: (jan’B ˆ antikam)

hal¯ a Sa¨ untale! uidam
.
n
.
o adi-
dhiApayyuv¯ asan
.
am
.
. t¯ a idha uvavisamha.

(sarv¯ a upavi´san-
ti.)
´
saxuxrai
¯
a: (¯ atmaBgatam)

kim
.
n
.
u kkhu imam
.
pekkhia ta- :.::c
boAvan
.
aAvirohin
.
o vi¯ arassa gaman
.
¯ıa mhi sam
.
vutt¯ a?


acr oxi: rui cuasi
axas´ u\a: There is no cause for alarm. This dear friend of
:.::c
ours, upset by a bee, became frightened. (Presents Sha-
k´ untala.)
xixc: (approaching Shak´ untala) Madam! Does your pe-
nance thrive?
suax´ uxraia: (remains speechless, looks downward timidly.)
axas´ u\a: (to the king) Now it does, by winning such a
distinguished guest.
iii\ax·vaoa: Welcome, lord!
axas´ u\a: Shak´ untala, dear! Go and fetch a mixed fruit
:.::,
offering from the leaf-hut. Water to wash his feet we
have here.
xixc: Do not trouble yourselves! Your friendly conversation
has already performed the rite of hospitable welcome.
iii\ax·vaoa: Then, lord, sit on this terrace surrounding
the Seven-leaf tree, cooled by its shade, and dispel your
fatigue.
xixc: Surely you too are wearied by this religious labor, so
please be seated for a while.
iii\ax·vaoa: (in private) Shak´ untala, dear! It is our duty to
wait upon a guest. So let us sit down here. (The women
all sit down.)
suax´ uxraia: (to herself ) What is this? No sooner have I :.::c
seen him than I have become susceptible to feelings out
of place in this penance grove.
;,
rui iicocxiriox oi suax´ uxraia
i
¯
a;
¯
a: (sarv¯ a vilokya) aho! sam¯ ana A vayoA r¯ upa A raman
.
¯ıyam
.
sauh¯ ardam
.
bhavat¯ın¯ am.
iii\ax
.
vao
¯
a: (jan’Bˆ antikam)

An
.
as¯ ue! ko n
.
u kkhu eso ca¨ uraA
gambh¯ır’A¯ aid¯ı mahuram
.
piam
.
¯ alavanto pahavantam
.
dak-
khin
.
n
.
am
.
via karedi?

axas¯ u\
¯
a: (jan’ B ˆ antikam eva)

sahi! mam’ ˆ avi kod¯ uhalam
.
atthi yyeva. t¯ a pucchissam
.
d¯ ava n
.
am
.
.

(prak¯ a´sam)

ayyassa
n
.
o mahur’A¯ al¯ avaAjan
.
ido v¯ısambho mant¯ avedi. kadamam
.
un
.
a ayyo van
.
n
.
am
.
ala˙ nkaredi? kin
.
An
.
imittam
.
v¯ a suum¯ are-
n
.
a ayyen
.
a taboAvan
.
’A¯ agaman
.
aApar¯ısamassa att¯ a patth¯ıAka-
do?

´
saxuxrai
¯
a: (¯ atmaBgatam)

hiaa, m¯ a uttamma! jam
.
tae cin-
tidam
.
tam
.
An
.
as¯ u¯ a mantedi.

i
¯
a;
¯
a: (svaB gatam) katham id¯ an¯ım ¯ atm¯ anam ¯ avedaye? ka- :.::,
tham
.
v”A ¯ atm’A ˆ apah¯ aram
.
karomi? bhavatu! evam
.
t¯ avad
en¯ am
.
vaks
.
ye. (prak¯ a´sam) bhavati! VedaAvid asmi Paura-
ven
.
a r¯ aj ˜ n¯ a dharm’A ˆ adhik¯ are niyuktah
.
. so ’ham ¯ a´srami-
n
.
¯ am avighnaAkriy”A ˆ opalambh¯ aya dharm’A ˆ aran
.
yam idam
¯ ay¯ atah
.
.
axas¯ u\
¯
a:

saAn
.
¯ adh¯ a dhammaA¯ arin
.
o.

´
saxuxrai
¯
a: (´sr
.
˙ ng¯ araBlajj¯ am
.
nir¯ upayati.)
saxu\au: (ubhayor ¯ ak¯ aram
.
viditv¯ a, jan’B ˆ antikam
.
)

hal¯ a Sa-
¨ untale! jadi ajja t¯ ado idha san
.
n
.
ihido bhave. . .

´
saxuxrai
¯
a: (saBbhr¯ uBbhedam)

tado kim
.
bhave?

ïc
acr oxi: rui cuasi
xixc: (looking at all of them) Ah! Your ladyships’ friendship
is delightful because you are alike in age and beauty.
iii\ax·vaoa: (in private) Anas´ uya! Who is this man with
elegant and dignified demeanor, who, speaking to us
with affectionate gentleness, seemingly shows us extraor-
dinary courtesy?
axas´ u\a: (also in private) My dear, I too am curious. Let
me ask him. (aloud) The confidence evoked by your
lordship’s gentle talk prompts me to speak. Which caste
does your lordship adorn? And on what account has a
refined lord given himself the toil of visiting a penance
grove?
suax´ uxraia: (to herself ) My heart! Do not be faint. Ana-
s´ uya has asked what you want to know.
xixc: (to himself ) How now should I introduce myself? :.::,
Or how should I conceal my identity? Very well! I will
tell her this: (aloud) Lady! I am a knower of the Vedas
appointed by the P´ aurava to the office of supervising
religion.* I have come to this sacred forest to ascertain
that the rites of the hermits are not obstructed.
axas´ u\a: The followers of righteousness have a champion!
suax´ uxraia: (mimes infatuated coyness.)
rui iiiixos: (realizing the pair’s condition, to the audience)
Shak´ untala, dear! If only father were here now. . .
suax´ uxraia: (knitting her brows) What would happen
then?
ï:
rui iicocxiriox oi suax´ uxraia
unui:

tado imam
.
adidhim
.
j¯ıvidaAsavvassen
.
’ ˆ abi kadAattham
.
:.:,c
kare.

´
saxuxrai
¯
a: (saBros
.
am)

ayi! avedha! kim
.
pi hiae karea man-
tedha! n
.
a khu sun
.
issam
.
.

(par¯ avr
.
tya tis
.
t
.
hati.)
i
¯
a;
¯
a: vayam api t¯ avad bhavatyau sakh¯ıAgatam
.
pr
.
cch¯ amah
.
.
unui:

ayya! an
.
uggahe bi abbhatthan
.
¯ a.

i
¯
a;
¯
a: bhagav¯ an K¯ a´syapah
.
´s¯ a´svate brahman
.
i vartate. iyam
.
ca v¯ am
.
sakh¯ı tadA¯ atmaj” ˆ eti. katham etat?
axas¯ u\
¯
a:

sun
.
¯ adu ayyo. atthi Kosio tti gottaAn
.
¯ amaheo ma- :.:,,
haAppah¯ avo r¯ a’Aˆ es¯ı.

i
¯
a;
¯
a: prak¯ a´sas tatraAbhav¯ an.
axas¯ u\
¯
a:

tam
.
sahi A an
.
e pahavam
.
avagaccha. ujjhiaA sar¯ıraA
sam
.
rakkhan
.
’A¯ ad¯ıhim
.
un
.
a t¯ adaAKassavo se pid¯ a.

i
¯
a;
¯
a: «ujjhitaA´sabdena» janitam
.
me kut¯ uhalam. tad ¯ a m¯ ul¯ ac
chrotum icch¯ ami.
axas¯ u\
¯
a:

pur¯ a kila tassa Kosiassa r¯ a’A ˆ esin
.
o ugge tavasi va-
t
.
t
.
am¯ an
.
assa kim
.
pi j¯ adaAsa˙ nkehim
.
devehim
.
Men
.
a¯ a n
.
¯ ama
acchar¯ a n
.
iamaAvigghaAk¯ arin
.
¯ı pahid¯ a.

i
¯
a;
¯
a: asty etad anya A sam¯ adhi A bh¯ırutvam
.
dev¯ an¯ am. tatas :.:¡c
tatah
.
?
ï:
acr oxi: rui cuasi
noru: Then he would satisfy this visitor with the very trea- :.:,c
sure of his life.
suax´ uxraia: (angrily) Pah! Go away! You are just prattling
after making up some fantasy in your hearts. I’m not
listening. (Turns away and stays so.)
xixc: For my part, I too would like to question you two
concerning your friend.
noru: Lord! Your request amounts to a favor.
xixc: The reverend K´ ashyapa abides in constant celibacy,
and your friend here is supposed to be his daughter. How
can this be?
axas´ u\a: Listen, lord! There is a mighty royal sage of the :.:,,
patriline known as K´ aushika.*
xixc: His reverence is well known.
axas´ u\a: Knowhimto be the begetter of our friend. Father
K´ ashyapa is her parent by virtue of protecting her, etc.,
after she was abandoned.
xixc: The word “abandoned” arouses my curiosity. I would
like to hear this from the beginning.
axas´ u\a: Long ago, when the royal sage K´ aushika was
enduring severe penances, the gods became mightily
alarmed and dispatched the nymph M´ enaka to thwart
his observances.
xixc: The Gods indeed fear the deep concentration of oth- :.:¡c
ers. What happened then?
ï,
rui iicocxiriox oi suax´ uxraia
axas¯ u\
¯
a:

tado vasant’A ˆ odaaA samae t¯ ae unm¯ adayitta r¯ uvam
.
pekkhia. . .

(ity ardh’Bˆ okte lajjay¯ a viramati.)
i
¯
a;
¯
a: bhavatu! purast¯ ad avagamyata eva. . . apsarah
.
A sam
.
-
bhav” ˆ ais
.
¯ a!
axas¯ u\
¯
a:

adhaAim
.
?

i
¯
a;
¯
a: yujyate.
m¯ anus
.
¯ıs
.
u katham
.
v¯ a sy¯ ad :.:¡,
asya r¯ upasya sam
.
bhavah
.
?
na prabh¯ aAtaralam
.
jyotir
udeti vasudh¯ aAtal¯ at.
´
saxuxrai
¯
a: (adhoBmukh¯ı tis
.
t
.
hati.)
i
¯
a;
¯
a: (svaBgatam) labdh’A ˆ avak¯ a´so me manoA rathah
.
! kim
.
tu
sakhy¯ a parih¯ as’A ˆ od¯ ahr
.
t¯ am
.
varaApr¯ arthan¯ am asy¯ ah
.
´srutv”
ˆ api na ´sraddhatte me k¯ ataram
.
manah
.
.
iii\ax
.
vao
¯
a: (
´
Sakuntal¯ am
.
saB smitam
.
vilokya n¯ ayak’B ˆ abhi-
mukh¯ı)

pun
.
o via vattuk¯ amo ayyo.

´
saxuxrai
¯
a: (sakh¯ım a˙ nguly¯ a tarjayati.)
i
¯
a;
¯
a: samyag upalaks
.
itam
.
bhavaty¯ a. asti nah
.
sacAcaritaA´sra- :.:,c
van
.
aAlobh¯ ad anyat pras
.
t
.
avyam.
iii\ax
.
vao
¯
a:

ten
.
a hi vi¯ ariden
.
a alam
.
. n
.
iantan
.
’ A ˆ an
.
uyoggo
tavassiAan
.
o.

i
¯
a;
¯
a: upapadyate bhavati! sakh¯ım
.
te j ˜ n¯ atum icch¯ ami:
ï¡
acr oxi: rui cuasi
axas´ u\a: Then, when spring had just begun, he beheld her
intoxicating figure. . . (stops bashfully in mid-sentence.)
xixc: Say no more! The rest can be inferred. . . she is born
from a nymph!
axas´ u\a: That’s it.
xixc: It makes sense.
How could such a form
:.:¡,
be born among mortals?
The flash that flickers
with unsteady brilliance
does not arise from the earth.
suax´ uxraia: (remains looking at the ground.)
xixc: (to himself ) My desire is within reach! But even
though I heard her friend wish her a bridegroom in jest,
my faint heart cannot believe it.
iii\ax·vaoa: (after looking at Shak´ untala with a smile, to
the hero) His lordship seems inclined to say something
more.
suax´ uxraia: (threatens her friend with her finger.)
xixc: You perceive correctly. Out of a desire to hear of :.:,c
the deeds of the virtuous, I would like to ask another
question.
iii\ax·vaoa: Then do not hesitate. Ascetics are equal to
being retained.
xixc: Of course, my lady. I would like to know your friend:
ï,
rui iicocxiriox oi suax´ uxraia
vaikh¯ anasam
.
kim anay¯ a vratam ¯ a prad¯ an¯ at
vy¯ ap¯ araArodhi Madanasya nis
.
evitavyam,
atyantam ¯ atmaAsadr
.
´s’A¯ eks
.
an
.
aAvallabh¯ abhih
.
¯ aho nivatsyati samam
.
harin
.
’Aˆ a˙ ngan¯ abhih
.
?
iii\ax
.
vao
¯
a:

ayya! dhammaAcaran
.
e vi eso par’A¯ adh¯ın
.
o jan
.
o,
gurun
.
o un
.
a se an
.
ur¯ uvaAvaraApad
.
iv¯ adan
.
e sa˙ nkappo.

i
¯
a;
¯
a: na khalu durlabh” ˆ ais
.
¯ a pr¯ arthan
.
¯ a. (¯ atmagatam) :.:,,
bhava hr
.
daya s’Aˆ abhil¯ as
.
am
.
.
sam
.
prati sam
.
dehaAnirn
.
ayo j¯ atah
.
.
¯ a´sa˙ nkase yad agnim
.
tad idam
.
spar´saAks
.
amam
.
ratnam.
´
saxuxrai
¯
a: (saBros
.
am iva)

An
.
as¯ ue! gamissam
.
aham
.
.

axas¯ u\
¯
a:

kin
.
An
.
imittam
.
?

´
saxuxrai
¯
a:

imam
.
asambaddh’A¯ alavin
.
im
.
Piam
.
vadam
.
ayy¯ ae
Godam¯ıe n
.
iveda¨ıssam
.
(ity uttis
.
t
.
hati.)
axas¯ u\
¯
a:

sahi! n
.
a juttam
.
assamaA v¯ asin
.
o jan
.
assa akidaA sakA :.:oc
k¯ aram
.
adidhiAvisesam
.
ujjhia sacchandado gaman
.
am.

´
saxuxrai
¯
a: (na ki˜ n cid uktv¯ a prasthit” ˆ aiva.)
i
¯
a;
¯
a: (apav¯ arya) katham? gacchati? (grah¯ıtum icchan punar
¯ atm¯ anam
.
nigr
.
hya) aho ces
.
t
.
¯ aApratir¯ upik¯ a k¯ amino manoA
vr
.
ttih
.
. aham
.
hi
ïo
acr oxi: rui cuasi
Will she observe her hermit’s vow,
frustrating the work of the God of love,
until she is given in marriage,
or will she dwell for good with the does,
her favorites because their eyes resemble hers?
iii\ax·vaoa: Lord! Even in her religious duties she is de-
pendent on another. Her preceptor has made up his
mind to give her to a worthy groom.
xixc: This wish will not be difficult to fulfill. (to himself ) :.:,,
Be full of expectation, heart,
the doubt has unravelled.
That which you feared to be fire
is a jewel that may be touched.
suax´ uxraia: (appearing angry) Anas´ uya! I am going!
axas´ u\a: What’s wrong?
suax´ uxraia: I will go and tell the venerable G´ autami
that Priyam·vada is prattling incoherently. (With this,
she stands up.)
axas´ u\a: My friend! It is not proper for a person living in :.:oc
a hermitage to leave a distinguished guest who has not
been properly attended to, and go as they please.
suax´ uxraia: (Sets off without a word.)
xixc: (aside) What? Is she leaving? (wishes to detain her, then
checks himself ) Ah! A lover’s inclinations are mirrored in
his bodily movements. For I,
ï;
rui iicocxiriox oi suax´ uxraia
anuy¯ asyan muniAtanay¯ am
.
sahas¯ a vinayena v¯ aritaAprasarah
.
.
sth¯ an¯ ad anuccalann api
gatv” ˆ eva punaf pratinivr
.
ttah
.
.
iii\ax
.
vao
¯
a: (
´
Sakuntal¯ am upasr
.
tya)

hal¯ a can
.
d
.
i! n
.
a de ju-
ttam
.
gacchidum
.
.

´
saxuxrai
¯
a: (parivr
.
tya, saBbhr¯ uBbhedam)

ki·tti?

:.:o,
iii\ax
.
vao
¯
a:

rukkhaAsean
.
ae due me dh¯ aresi. tehi d¯ ava at-
t¯ an
.
aam
.
moehi, tado gamissasi.

(bal¯ ad en¯ am
.
niv¯ arayati.)
i
¯
a;
¯
a: bhadre! vr
.
ks
.
aAsecanak¯ ad eva pari´sr¯ ant¯ am atraAbhava-
t¯ım
.
laks
.
aye. tath¯ a hy asy¯ ah
.
srast’Aˆ am
.
s¯ av atim¯ atraAlohitaAkarau
b¯ ah¯ u ghat
.
’A ˆ otks
.
epan
.
¯ at
ady’ ˆ api stanaAvepathum
.
janayati
´sv¯ asaf pram¯ an
.
’Aˆ adhikah
.
baddham
.
karn
.
aA´sir¯ıs
.
aArodhi vadane
gharm’Aˆ ambhas¯ am
.
j¯ alakam
.
bandhe sram
.
sini c’ ˆ aikaAhastaAyamit¯ ah
.
pary¯ akul¯ a m¯ urdhaAj¯ ah
.
.
tad aham en¯ am anA r
.
n
.
¯ am
.
karomi tvayi. (sv’B ˆ a˙ ngul¯ıyam
.
pra-
yacchati.)
unui: (n¯ amaB mudr”B ˆ aks
.
ar¯ an
.
y anuv¯ acya parasB param
.
mu- :.:;c
kham avalokayatah
.
.)
i
¯
a;
¯
a: alam asm¯ akam anyath¯ aAsambh¯ avitena. r¯ aj ˜ naf parigra-
ho ’yam.
ïï
acr oxi: rui cuasi
About to pursue the sage’s daughter,
my motion has suddenly been held back
by decorum.
Though I did not move from my place,
it is as if I had gone and returned.
iii\ax·vaoa: (approaching Shak´ untala) Hey! Angry girl! It
is not right for you to leave.
suax´ uxraia: (turns around, knits her eyebrows) Why not? :.:o,
iii\ax·vaoa: You owe me two tree waterings. Acquit your-
self first of these, then you may go. (Detains her by force.)
xixc: Good lady! I perceive that she is wearied by watering
trees. For her
Shoulders are slack,
the hands of her arms are intensely red
from emptying the watering pot,
even now her breath is still heavier than usual,
making her breasts quiver,
a web of perspiration adheres to her face,
hindering the play of the shir´ısha blossoms
on her ear,
and as the band slips,
she holds in check her unruly hair with one hand.
Therefore let me settle her debt with you. (Offers his ring.)
noru: (Reading out the letters on the name-seal, they look at :.:;c
each other’s faces.)
xixc: Do not take me for what I am not. This is a gift from
the king.
ï,
rui iicocxiriox oi suax´ uxraia
iii\ax
.
vao
¯
a:

ten
.
a hi n
.
’ ˆ arahadi idam
.
a ran
.
n
.
o a˙ ngul¯ıaam
.
vioaAk¯ ariam
.
. ayyassa tuva vaan
.
en
.
a n
.
¯ ama es¯ a arin
.
¯ a eva ma-
ma.

(parivr
.
ty’ ˆ apav¯ arya)

hal¯ a Sa¨ untale! moid” ˆ asi an
.
u-
kampin
.
¯ a ayyen
.
a. ahav¯ a mah”Aˆ an
.
ubh¯ aven
.
a. kidaAn
.
n
.
¯ a d¯ a-
n
.
im
.
hohisi.

´
saxuxrai
¯
a: (apav¯ arya nih
.
´svasya)

n
.
a idam
.
visumarissadi ja-
di attan
.
o pahave.

iii\ax
.
vao
¯
a:

hal¯ a! kim
.
d¯ an
.
im
.
sam
.
padam
.
n
.
a gacchasi?

´
saxuxrai
¯
a:

id¯ an
.
im pi tae kim
.
kattavvam
.
? jad¯ a roissadi me :.:;,
tad¯ a gamissam
.
.

i
¯
a;
¯
a: (
´
Sakuntal¯ am
.
vilokayan svaBgatam) kim
.
nu khalu yath¯ a
vayam asy¯ am evam iyam apy asm¯ an prati sy¯ at? atha v¯ a
labdhaAg¯ adh¯ a me pr¯ arthan¯ a. kutah
.
?
v¯ acam
.
na mi´srayati yady api madAvacobhih
.
karn
.
am
.
dad¯ aty avahit¯ a mayi bh¯ as
.
am¯ an
.
e
k¯ amam
.
na tis
.
t
.
hati madA¯ ananaAsam
.
mukh” ˆıyam
.
bh¯ uyis
.
t
.
ham anyaAvis
.
ay¯ a na tu dr
.
s
.
t
.
ir asy¯ ah
.
.
xiiaru\i: bhoh
.
! bhoh
.
! tapasvino ’vahit¯ as tapoAvane sattvaA
raks
.
¯ ayai bhavantu bhavantah
.
. pary¯ aplutam
.
str¯ı A kum¯ a-
ram! praty¯ asannah
.
khalu mr
.
gay¯ aAvih¯ ar¯ı p¯ arthivah
.
!
turagaAkhuraAhatas tath¯ a hi ren
.
ur
vit
.
apaAvis
.
aktaAjal’Aˆ ardraAvalkales
.
u
patati parin
.
at’Aˆ arun
.
aAprak¯ a´sah
.
´salabhaAsam¯ uha iv’ ¯ a´sramaAdrumes
.
u.
,c
acr oxi: rui cuasi
iii\ax·vaoa: Well, then this ring of the king must not be
separated from you. On your lordship’s word her debt to
me has been cancelled. (turning, aside) Dear Shak´ untala!
You have been released by the compassionate lord. Or,
rather, by His Majesty. You are indebted to him from
now on.
suax´ uxraia: (sighs, aside) This will not be forgotten if I
regain my independence.
iii\ax·vaoa: My dear! Why are you not going now?
suax´ uxraia: Who are you to command me now? I will go :.:;,
when it pleases me.
xixc: (looking at Shak´ untala, to himself ) Can it be that she
feels toward me as I feel toward her? No, rather, my hope
has found a shallow ford. Why?
Even if she does not mingle her words
with my words,
she attentively lends an ear when I speak.
Granted she will not face me,
but her eyes are not, on the whole,
fixed on anything else.
oiisraci: Ye hermits! Be alert to protect the animals in the
penance grove. Women and children are in peril! The
king is hunting nearby!
For the dust raised up by the hooves of his horses,
shining as red as the evening twilight,
falls like a swarm of locusts
upon the hermitage trees
to whose boughs clings damp bark-cloth.
,:
rui iicocxiriox oi suax´ uxraia
aho dhik! es
.
a khalu nibhr
.
taAc¯ ar¯ı bh¯ utv¯ a
:.:ïc
t¯ıvr’A¯ ap¯ ataApratihataAtaruA
skandhaAlagn’Aˆ aikaAdantah
.
praud
.
h’A¯ asaktaAvratatiAvalay’A¯ a-
sa˙ ngaAsam
.
j¯ ataAp¯ a´sah
.
m¯ urto vighnas tapasa iva no
bhinnaAs¯ ara˙ ngaAy¯ utho
dharm’Aˆ aran
.
yam
.
virujati gajah
.
syandan’A¯ alokaAbh¯ıtah
.
.
i
¯
a;
¯
a: (svaBgatam) aho dhik! pram¯ adah
.
! madAanves
.
in
.
ah
.
sai-
nik¯ as tapoAvanam uparundhanti. tad apar¯ addham
.
tapa-
svin¯ am asm¯ abhih
.
. bhavatu! gamis
.
y¯ ami t¯ avat.
axas¯ u\
¯
a: (saBsam
.
bhramam)

ayya! imin
.
¯ a akkandiden
.
a pa-
yy¯ a¨ ulamha. t¯ a an
.
uj¯ an
.
¯ıhi n
.
o ud
.
aaAgaman
.
¯ aa.

i
¯
a;
¯
a: (saB sam
.
bhramam) gacchantu bhavatyah
.
. ¯ a´sramaA b¯ a-
dh¯ a yath¯ a na bhavis
.
yati tath¯ a prayatis
.
y¯ amahe.
saxu\au:

asambh¯ avidaAsakAk¯ aram
.
bh¯ uyovvi d¯ ava paccavek- :.:ï,
khan
.
¯ aAn
.
imittam
.
lajj¯ amo ayyam
.
vin
.
avedum
.
. vididaAbh¯ u-
yit
.
t
.
ho si n
.
o sam
.
padam
.
jam
.
d¯ an
.
im
.
uva¯ araAmajjhatthad¯ ae
avaraddhamha tam
.
marisesi.

i
¯
a;
¯
a: m¯ a m” ˆ aivam! dar´sanena bhavat¯ın¯ am
.
purasAkr
.
to ’smi.
unui:

hal¯ a Sa¨ untale! ehi sigghadaram
.
! ¯ a¨ ul¯ a ayy¯ a Godam¯ı
bhavissadi.

,:
acr oxi: rui cuasi
Woe, alas! This solitary :.:ïc
Elephant, frightened
by the appearance of a chariot,
one tusk stuck in a chunk of a tree
struck with a massive blow,
with fetters formed from a tangle
of mighty vr´ atati coils clinging to him
is tearing up the sacred forest scattering
the herd of antelopes,
like an incarnate obstacle to our penance.
xixc: (to himself ) Alas! How careless. Soldiers searching for
me are disturbing the penance grove. So I have com-
mitted an offence against the ascetics. Very well, I must
go!
axas´ u\a: (perturbed) Lord! We are frightened by this shout-
ing. Permit us to retire to the leaf-hut.
xixc: (agitated) Go, ladies. I will see to it that no harm
befalls the hermitage.
iiiixos: Without having completed the rites of welcome, :.:ï,
we feel shame to petition his lordship for another meet-
ing. We now consider you well-nigh an acquaintance,
so being tolerant of our conduct you might put up with
our offense.
xixc: Not at all, not at all! I have been hospitably welcomed
by seeing you ladies.
noru: Dear Shak´ untala! Come quickly! The noble G´ auta-
mi will be worried.
,,
rui iicocxiriox oi suax´ uxraia
´
saxuxrai
¯
a: (saBvy¯ ajaBvilam
.
bitam
.
kr
.
tv” ¯ atmaBgatam
.
)

haddh¯ı!
¯ uruAtthamben
.
a viala mhi sam
.
vutt¯ a.

i
¯
a;
¯
a: svairam
.
svairam
.
gacchantu bhavatyah
.
! vayam ¯ avegaA
hetum ¯ a´sramasy’ ˆ apanes
.
y¯ amah
.
.
´
saxuxrai
¯
a: (saBvy¯ ajaBvilambitam
.
kr
.
tv¯ a parikramya sakh¯ıbh- :.:,c
y¯ am
.
saha nis
.
kr¯ ant¯ a.)
i
¯
a;
¯
a: (utth¯ aya saB khedam) mand’ A ˆ autsukyo ’smi nagaram
.
prati. y¯ avad anuy¯ atrikaAjanam
.
sametya n’ ˆ atid¯ ure tapoAva-
nasya nive´say¯ ami. na khalu ´saknomi
´
Sakuntal¯ aAvy¯ ap¯ ar¯ ad
¯ atm¯ anam
.
nivartayitum. mama hi
gacchati purah
.
´sar¯ıram
.
dh¯ avati pa´sc¯ ad asam
.
vr
.
tam
.
cetah
.
cihn’Aˆ am
.
´sukam iva ketoh
.
prativ¯ atam
.
n¯ıyam¯ anasya.
(saBcintah
.
skhalit¯ ani pad¯ ani dattv¯ a nis
.
kr¯ antah
.
.)
iti mah¯ aAkaviAK¯ alid¯ asaAviracite
´
Sakuntal¯ aAn¯ amani n¯ at
.
ake
prathamo ’ ˙ nkah
.
.

acr oxi: rui cuasi
suax´ uxraia: (Delays under a pretext, to herself ) Oh dear! I
am crippled by a cramp in my thigh.
xixc: Carefully, go carefully. I will draw away the source of
perturbation from the hermitage.
suax´ uxraia: (delays under some pretext, walks around and :.:,c
then exits with her friends.)
xixc: (arises, grieved) My eagerness to return to the city has
slackened. I will join my retinue and encamp not too
far from the penance grove. I am not able to turn myself
away from preoccupation with Shak´ untala. For my
Body moves ahead, while my heart lags behind,
not enclosed by it
like the marked cloth of a banner
carried into the wind.
(Exits pensively with faltering steps.)
The first act in the play called “Shak´ untala,”
composed by the great poet
Kali·dasa.
,,
Act Two:
The Secret
tataf pravi´sati pari´sr¯ anto vid¯ us
.
akah
.
.
vio¯ us
.
axau
.
: (´sramam
.
n¯ at
.
ayati, nih
.
´svasya)

bho did
.
ho ’mhi!
edassa mia¯ aA´s¯ılassa ran
.
n
.
o vayassaAbh¯ aven
.
a n
.
ivin
.
n
.
o. «aam
.
mio! aam
.
var¯ aho!» tti. majjham
.
Adin
.
e vi gimhaAviralaAp¯ a-
davaA cch¯ a¯ asu van
.
aA r¯ a¯ısu ¯ aphan
.
d
.
¯ıadi. pattaA sa˙ nkaraA ka-
s¯ a¯ aim
.
p¯ıante kad
.
u¯ aim
.
un
.
h¯ aim
.
giriA n
.
ad¯ıA jal¯ aim
.
. an
.
iadaA
velam
.
s¯ ulaA m¯ am
.
sam
.
sa¨ un
.
aA m¯ am
.
saA bh¯ u¨ıt
.
t
.
ham
.
an
.
h¯ıadi.
tura’A ¯ an
.
aA kan
.
t
.
ha¨ıdaA sandhiA bandhan
.
¯ anam
.
a˙ ng¯ an
.
am
.
ra-
ttim
.
pi n
.
atthi pak¯ amam
.
sa¨ıdavvam. tado mahanti yyeva
pacc¯ use d¯ as¯ıeA puttehim
.
Sa¨ un
.
aA luddhaehim
.
kan
.
n
.
aA gh¯ a-
din
.
¯ a van
.
aA gahan
.
aA kol¯ ahalen
.
a pad
.
ibodh¯ı¯ ami. (vicintya)
ettien
.
a vi me p¯ an
.
¯ a n
.
a n
.
ikkant¯ a. (s’B ˆ as¯ uyam
.
vihasya) ta-
do gan
.
d
.
’A ˆ ovari pid
.
i¯ a sam
.
vutt¯ a. hio kila amhesu oh¯ın
.
esu
tatthaA bhavado mi’A ˆ an
.
us¯ aren
.
a assamaA padam
.
pavit
.
t
.
has-
sa kila t¯ avasaAka˜ n˜ na¯ a Sa¨ untal¯ a n
.
¯ ama mama adha˜ n˜ nad¯ ae
dam
.
sid¯ a. sam
.
padam
.
n
.
aaraAgaman
.
assa sa˙ nkadham
.
pi n
.
a
karedi. ajjha tam
.
yeva sam
.
cintaantassa vibh¯ adam
.
acch¯ı-
su. t¯ a k¯ a gad¯ı? j¯ ava n
.
am
.
kid’A¯ ac¯ araAparikammam
.
kahim
.
bi pekkh¯ ami. (mandam
.
parikramya vilokya ca) eso r¯ a¯ a
b¯ an
.
’A¯ asan
.
aAhatth¯ ahim
.
javan
.
¯ıhim
.
parivudo van
.
aApupphaA
m¯ al¯ aAdh¯ ar¯ı ido yyev’ ¯ agacchadi. t¯ a j¯ ava n
.
am
.
ubasapp¯ ami.
(kim
.
cid upasr
.
tya) bhodu a˙ ngaAsammad
.
d
.
aAvihalo d¯ an
.
im
.
bhavia idha yyeva cit
.
t
.
hissam
.
jado evam
.
pi d¯ ava v¯ıs¯ amam
.
lahemi.

(dan
.
d
.
aBk¯ as
.
t
.
ham avalambya tis
.
t
.
hati.)

Enter the buffoon, exhausted.
nuiioox: (acting fatigue, sighing) I’m immobilized! I’m
sick of being a sidekick to this hunt-mad king. “Here’s
an antelope! There’s a boar!” and even at midday we
charge along forest tracks where the shade cast by trees is
sparse in summer. We drink lukewarm, acrid water from
mountain-streams, bitter by contamination with leaves.
At odd hours we eat spit-roast meat—mostly fowl. Even
at night I may not rest my limbs at will, for their joints
are knocked out by the horse-cart. Then, at the crack of
dawn, I am woken up by the ear-splitting din of fowlers
taking to the forest, sons of bitches! (reflects) Despite
all of this, my vital breaths have not departed. (laughs
with malice) And now a pimple crowns the boil. Just
yesterday, as I lagged behind, His Majesty, chasing some
antelope, entered a hermitage and was, by my ill fate,
shown an ascetic’s daughter called Shak´ untala. Now he
will not eventalk of going back to the city. Today he rem-
inisced about her until dawn. What can be done? I will
track him down somewhere when he has performed his
usual toilet. (saunters about and looks around) The king
is coming this way, wearing a garland of forest flowers,
encircled by his bodyguard of Ionian women bearing
bows. So I will confront him. (approaching a bit) That’s
far enough! Now that I am crippled by the crushing of
my limbs I will stay right here. At least in this way I
might gain some rest. (Stands leaning on his staff.)
,,
rui iicocxiriox oi suax´ uxraia
Tataf pravi´sati yath¯ aBnirdis
.
t
.
aBpariv¯ aro r¯ aj¯ a.
i
¯
a;
¯
a: (saBcintam
.
nih
.
´svasy’ ¯ atmaBgatam)
k¯ amam
.
priy¯ a na sulabh¯ a :.,
manas tu tadAbh¯ avaAdar´san’A¯ a´sv¯ asi.
akr
.
t’Aˆ arthe ’pi manasiAje
ratim ubhayam
.
pr¯ arthan¯ a kurute.
(smr
.
tim abhin¯ıya vihasya) evam ¯ atm’Aˆ abhipr¯ ayaAsambh¯ avit’A
ˆ es
.
t
.
aAjanaAcittaAvr
.
ttif pr¯ arthayit¯ a vid
.
ambyate. kutah
.
?
snigdham
.
v¯ıks
.
itam anyato ’pi nayane
yat prerayanty¯ a tay¯ a
y¯ atam
.
yac ca nitambayor gurutay¯ a
mandam
.
vil¯ as¯ ad iva.
«m¯ a g¯ a» ity avaruddhay¯ a yad api s¯ a
s’Aˆ as¯ uyam ukt¯ a sakh¯ı
sarvam
.
tat kila matApar¯ ayan
.
am aho
k¯ amah
.
svat¯ am
.
pa´syati.
(parikr¯ amati.)
vio¯ us
.
axau
.
: (tath¯ aBsthita eva.)

bho r¯ aam
.
! n
.
a me hattho pa-
saradi v¯ a¯ aAmettaen
.
a ja¯ av¯ıasi. jaadu jaadu bhavam
.
!

i
¯
a;
¯
a: (vilokya saBsmitam.) vayasya! kuto ’yam
.
g¯ atr’A ˆ opagh¯ a- :.:c
tah
.
?
vio¯ us
.
axau
.
:

kudo kila! saam
.
yeva acch¯ı ¯ a¨ ul¯ıkadua am
.
suA
k¯ aran
.
am
.
pucchasi!

:cc
acr rwo: rui siciir
Enter the king, attended as described.
xixc: (sighs pensively, to himself )
Granted, my love is not easily won, :.,
but my heart takes comfort
in perceiving her feelings.
Though love be not satisfied,
mutual longing gives pleasure.
(mimes recollection and smiles) In this way, the longing lover,
imagining the feelings of his beloved according to his
own intentions, is duped. How so?
That tender look,
even when her eyes glanced elsewhere,
that gait, slowed by the heaviness of her buttocks,
as if deliberately teasing,
that angry outburst at her friend
who had detained her,
saying: “You may not leave!”
—All this was really aimed at me!
Ah! Love perceives all as its own.
(Walks about.)
nuiioox: (remaining where he is) Lord King! My hand will
not extend, so I hail you with words alone. Victory!
Victory, sir!
xixc: (looks on, smiling) My friend! Whence this bodily :.:c
paralysis?
nuiioox: Whence indeed! You poke me in the eye then
ask why these tears!
:c:
rui iicocxiriox oi suax´ uxraia
i
¯
a;
¯
a: vayasya! na khalv avagacch¯ ami.
vio¯ us
.
axau
.
: (saBros
.
am iva)

bho! tae n
.
¯ ama r¯ aaAkayy¯ aim
.
uj-
jhia t¯ adise a k¯ıl
.
¯ aApas¯ ade van
.
’Aˆ ar’AekkaAvuttin
.
¯ a hodavvam
.
?
jam
.
saccam
.
paccaham
.
s¯ avadaAsa¨ un
.
’Aˆ an
.
ug¯ aman
.
ehim
.
sa˙ n-
khohidaAsandhiAbandhan
.
¯ anam
.
a˙ ng¯ an
.
am
.
an
.
¯ıso ’mhi sam
.
-
vutto.

(saBpran
.
ayam
.
.)

t¯ a pas¯ıda! mam
.
vajjehi. ekk’Aˆ aham
.
pi d¯ ava v¯ısam¯ıadu.

i
¯
a;
¯
a: (¯ atmaBgatam) ayam evam ¯ aha, mam’ ˆ api K¯ a´syapaAsu-
t¯ am anusr
.
tya mr
.
gay¯ aAviklavam
.
cetah
.
. kutah
.
?
na namayitum adhijyam asmi ´sakto :.:,
dhanur idam ¯ ahitaAs¯ ayakam mr
.
ges
.
u.
sahaAvasatim upetya yaif priy¯ ay¯ ah
.
kr
.
ta iva mugdhaAvilok’A ˆ opade´sah
.
.
vio¯ us
.
axau
.
: (r¯ aj˜ no mukham
.
vilokya)

bho! attha A bhavam
.
hiaen
.
a kim
.
pi mantedi. aran
.
n
.
e mae rudidam
.
.

i
¯
a;
¯
a: (saBsmitam iva) kim anyat? anatikraman
.
¯ıyam
.
me su-
hr
.
dAv¯ akyam iti sthito ’smi.
vio¯ us
.
axau
.
:

ciram
.
j¯ıva!

i
¯
a;
¯
a: tis
.
t
.
ha. s’Aˆ ava´ses
.
am
.
me vacah
.
.
vio¯ us
.
axau
.
:

¯ an
.
avedu bhavam
.
.

:.:c
i
¯
a;
¯
a: vi´sr¯ antena bhavat¯ a mam’ ˆ anyasminn an¯ ay¯ ase karman
.
i
sah¯ ayena bhavitavyam.
:c:
acr rwo: rui siciir
xixc: My friend! I really do not follow.
nuiioox: (as if angry) Sir! Have you given up your royal
duties, and an exquisite life of luxury, to become no
better than a forest ranger? So that, truth be known,
with running after wild beasts and birds every day, I am
no longer master of my limbs whose joints are knocked
out. (pleading) Have mercy now! Give me a break! Rest
just one day.
xixc: (to himself ) My friend urges me like this, and my
heart, too, preoccupied with the daughter of Kanva, is
averse to hunting. Why?
I am no longer able to bend this strung bow, :.:,
with arrow laid upon it, against fawns, who,
dwelling with my beloved, have given
her instruction, as it were,
in innocent glances.
nuiioox: (looking at the king’s face) Sir! You are mulling
something over in your heart. I am crying in the wilder-
ness.
xixc: (with a slight smile) How could it be any other way? I
would never defy the words of a friend. I will stay here.
nuiioox: Live long!
xixc: Stay! I have more to say.
nuiioox: Command, Your Majesty! :.:c
xixc: When you have rested you must assist me in another
undemanding matter.
:c,
rui iicocxiriox oi suax´ uxraia
vio¯ us
.
axau
.
: (s’Bˆ abhil¯ as
.
ena.)

avi modaaAkhajji¯ ae?

i
¯
a;
¯
a: yatra vaks
.
y¯ ami. . .
vio¯ us
.
axau
.
:

gahido khan
.
o.

i
¯
a;
¯
a: kah
.
ko ’tra bhoh
.
?
:.:,
(pravi´sya) oauv
¯
aiixau
.
:

¯ an
.
avedu bhat
.
t
.
¯ a.

i
¯
a;
¯
a: Revaka! sen¯ aApatis t¯ avad ¯ ah¯ uyat¯ am.
oauv
¯
aiixau
.
:

jam
.
bhat
.
t
.
¯ a ¯ an
.
avedi.

(iti nis
.
kr¯ antah
.
.)
tataf pravi´sati six
¯
aAiarii oauv
¯
aiixa
´
s ca.
six
¯
aA iariu
.
: (r¯ aj¯ anam
.
vilokya) dr
.
s
.
t
.
aA dos
.
” ˆ api sv¯ amini mr
.
- :.,c
gay¯ a khalu gun
.
¯ ay’ ˆ aiva sam
.
vr
.
tt¯ a. tath¯ a hi,
anavarataAdhanurAjy¯ aAsph¯ alanaAkr¯ uraAp¯ urvam
.
raviAkiran
.
aAsahis
.
n
.
uh
.
svedaAle´sair abhinnah
.
.
apacitam api g¯ atram
.
vy¯ ayatatv¯ ad alaks
.
yam
.
giriAcara iva n¯ agaf pr¯ an
.
aAs¯ aram
.
bibharti.
oauv
¯
aiixau
.
:

eso kkhu an
.
uvaan
.
aA din
.
n
.
aA kan
.
n
.
o ido din
.
-
n
.
aAdit
.
t
.
h¯ı yeva bhat
.
t
.
¯ a tumam
.
pad
.
iv¯ aledi. t¯ a uvasappadu
ayyo.

six
¯
aA iariu
.
: (upasr
.
tya saBpran
.
¯ amam
.
.) jayatu jayatu sv¯ am¯ı!
prac¯ araAs¯ ucitaAgr
.
h¯ıtaA´sv¯ apadam aran
.
yam. kim anyad ava-
sth¯ıyate?
:c¡
acr rwo: rui siciir
nuiioox: (greedily) Tasting some cakes?
xixc: I will tell you what it is. . .
nuiioox: Take your time.*
xixc: Who is here?
:.:,
(Enter) oooi-xiiiii: Command, master!
xixc: R´ evaka! Summon the general at once.
oooi-xiiiii: As you command, master. (With this he ex-
its.)
Enter the general and the door-keeper.
cixiiai: (looking at the king) Though considered a vice, :.,c
hunting, in fact, has proved beneficial for our Comman-
der. For
With his body, its forefront raw
from the ceaseless impact of the bowstring,
withstanding the sun’s rays
without breaking into sweat,
though it has lost weight this is not noticeable
because of its muscular development,
he exhibits a vital force
like a mountain-roving elephant!
oooi-xiiiii: There is the master, listening to a conversa-
tion, casting his glance hither, expecting you. Approach,
sir!
cixiiai: (approaches with a bow) Be victorious, be victori-
ous, Commander! The forest’s beasts of prey are hemmed
in, it is fit for roaming in. What are we waiting for?
:c,
rui iicocxiriox oi suax´ uxraia
i
¯
a;
¯
a: mand’A ˆ ots¯ ahah
.
kr
.
to ’smi mr
.
gay”A ˆ apav¯ adin¯ a M¯ adha-
vyena.
six
¯
aA iariu
.
: (jan’B ˆ antikam) M¯ adhavya! sthiraA pratibandho :.,,
bhava. aham
.
t¯ avat sv¯ amina´s citta A vr
.
ttim anuvartis
.
ye.
(prak¯ a´sam) deva! pralapaty es
.
a vaidheyah
.
. nanu prabhur
eva nidar´sanam mr
.
gay¯ aAgun
.
¯ an¯ am.
meda´sAchedaAkr
.
´s’A ˆ odaram
.
laghu bhavaty
utth¯ anaAyogyam
.
vapuh
.
sattv¯ an¯ am api laks
.
yate vikr
.
timac
cittam
.
bhayaAkrodhayoh
.
.
utkars
.
ah
.
sa ca dhanvin¯ am
.
yad is
.
avah
.
sidhyanti laks
.
ye cale
mithy” ˆ aiva vyasanam
.
vadanti mr
.
gay¯ am.
¯ıdr
.
g vinodah
.
kutah
.
?
vio¯ us
.
axau
.
: (saBkr
.
takaBros
.
am
.
)

atthaA bhavam
.
d¯ ava pa¨ıdim
.
¯ avan
.
n
.
o. tumam
.
pun
.
o ad
.
av¯ıdo ad
.
avim
.
¯ ahin
.
d
.
a j¯ ava s¯ısaA
si¯ alo via jun
.
n
.
aArikkhassa muhe pad
.
issasi.

i
¯
a;
¯
a: bhadra sen¯ apate! ¯ a´sramaAsam
.
nikars
.
e vart¯ amahe. atas
te vaco n’ ˆ abhinand¯ ami. adya t¯ avat,
:co
acr rwo: rui siciir
xixc: My enthusiasm has been dampened by Madh´ avya,
who is denouncing hunting.
cixiiai: (aside) Madh´ avya! Remain steadfast in your op- :.,,
position! I will probe the Commander’s frame of mind.*
(aloud) Commander! This dolt prattles nonsense. Why,
Your Majesty is yourself an advertisement for the virtues
of hunting.
The body, slim-waisted and trim,
becomes light and fit for intrepid adventure;
the temperament of the wild animals, too,
is seen altered by fear and rage;
and then there is that exaltation for the archer,
that his arrows should strike a fleeting target;
It is plain false, that they should decry
hunting as a vice;
whence else derives such recreation?
nuiioox: (feigning anger) His Majesty has come to his
senses. You can carry on blundering from thicket to
thicket until, like a lead jackal, you stumble into the
jaws of an old bear.
xixc: My good general! We are in the proximity of a her-
mitage. Therefore I do not applaud your words. For
today,
:c;
rui iicocxiriox oi suax´ uxraia
g¯ ahant¯ am
.
mahis
.
¯ a nip¯ anaAsalilam
.
´sr
.
ngair muhus t¯ ad
.
itam
ch¯ ay¯ aAbaddhaAkadambakam
.
mr
.
gaAkulam
.
romantham abhyasyatu
vi´svastaih
.
kriyat¯ am
.
var¯ ahaApatibhir
must¯ aAks
.
atif palvale
vi´sr¯ antim
.
labhat¯ am idam
.
ca ´sithilaA
jy¯ aAbandham asmadAdhanuh
.
.
six
¯
aAiariu
.
: yat prabhavis
.
n
.
ave rocate. :.¡c
i
¯
a;
¯
a: tena hi nivartyant¯ am
.
vanaA gr¯ ahin
.
ah
.
. yath¯ a ca saini-
k¯ as tapoA vanam
.
d¯ ur¯ at pratiharanti tath¯ a nis
.
eddhavy¯ ah
.
.
pa´sya,
´samaApradh¯ anes
.
u tapoAdhanes
.
u
g¯ ud
.
ham
.
hi d¯ ah’A¯ atmakam asti tejah
.
.
spar´s’Aˆ anuk¯ ul¯ a iva s¯ uryaAk¯ ant¯ as
tad anyaAtejo ’bhibhav¯ ad vamanti.
six
¯
aAiarii: yad ¯ aj ˜ n¯ apayati devah
.
.
vio¯ us
.
axau
.
:

gaccha sam
.
padam
.
d¯ as¯ıe putta!

nis
.
kr¯ antah
.
sen¯ aBpatih
.
. :.¡,
i
¯
a;
¯
a: (parijanam avalokya) apanayantu bhavanto mr
.
gay¯ aA
ves
.
am. Revaka! tvam api svaAniyogam a´s¯ unyam
.
kuru.
iaii;axo:

jam
.
bhat
.
t
.
¯ a ¯ an
.
avedi.

(iti nis
.
kr¯ antaf parijanah
.
.)
vio¯ us
.
axau
.
:

kado bhavat¯ a n
.
iddh¯ umao dam
.
saA pad
.
¯ı¯ aro. t¯ a
sam
.
padam
.
edassim
.
¯ av¯ asa A p¯ adava A ch¯ a¯ a A parivude vid¯ a-
n
.
aaAsan
.
¯ adhe ¯ asan
.
e jadh¯ aAsuham
.
uvavisadu bhavam
.
, j¯ ava
aham
.
pi suh’A¯ asanaAttho homi.

:cï
acr rwo: rui siciir
Let the water buffaloes plunge
into the water of pools
repeatedly battered by their horns;
let the herd of deer band together in the shade
to chew the cud;
let the leading boars tear up the musta weed
in the ponds unworried;
and may this my bow take rest
with its string loosened.
cixiiai: As it pleases the mighty one. :.¡c
xixc: Then recall the forest rangers. Issue an interdict so
that my soldiers are kept far from the penance grove.
Behold,
There is burning brilliance hidden in ascetics,
who are usually pacific;
Like sun-crystals, pleasing to touch, they emit it
when assailed by a hostile effulgence.
cixiiai: As His Majesty commands.
nuiioox: Leave now, you son of a slave!
Exit the general. :.¡,
xixc: (looking at his retinue) Remove your hunting dress.
R´ evaka! You too should not allow your post to be un-
occupied.
iirixui: As His Majesty commands. (Exit the retinue)
nuiioox: You have driven off the parasites without using
fumigants. So now be seated at ease on this seat provided
with a canopy, surrounded by the shade of av´ asa trees,
so that I, too, may repose in comfort.
:c,
rui iicocxiriox oi suax´ uxraia
i
¯
a;
¯
a: gaccha gacch’ ˆ agratah
.
! (parikramya.)
ubh¯ av upavis
.
t
.
au. :.,c
i
¯
a;
¯
a: sakhe M¯ adhavya! anav¯ aptaAcaks
.
uhAphalo ’si yena tvay¯ a
dar´san¯ıyam
.
na dr
.
s
.
t
.
am!
vio¯ us
.
axau
.
:

n
.
am
.
bhavam
.
aggado me cit
.
t
.
hadi.

i
¯
a;
¯
a: sarvah
.
k¯ antam ¯ atm¯ anam
.
pa´syati. kim
.
tu t¯ amev’ ˆ aham
¯ a´sramaAlal¯ amaAbh¯ ut¯ am
.
´
Sakuntal¯ am adhikr
.
tya brav¯ımi.
vio¯ us
.
axau
.
: (apav¯ arya)

bhavadu! n
.
a se pasaram
.
vad
.
d
.
ha¨ıs-
sam
.
(prak¯ a´sam)

jad¯ a d¯ ava s¯ a t¯ avasaAkan
.
n
.
a¯ a appatthan
.
¯ı¯ a
t¯ a kim
.
t¯ ae dit
.
t
.
h¯ ae.

i
¯
a;
¯
a: m¯ urkha! parih¯ arye ’pi vastuni Dus
.
yantasya manaf :.,,
pravartate?
vio¯ us
.
axau
.
:

t¯ a kadham
.
edam
.
?

i
¯
a;
¯
a:
Lalit¯ anyaAsambhavam
.
kila
muner apatyam
.
tadAujjhit’Aˆ adhigatam.
arkasy’ ˆ opari ´sithilam
.
cyutam iva navaAm¯ alat¯ıAkusumam.
vio¯ us
.
axau
.
:

ja¨ı vi n
.
a Kassavassa mah”A ˆ esin
.
o oras¯ a dh¯ ud¯ a
tadh¯ a vi kim
.
t¯ ae dit
.
t
.
h¯ ae?

i
¯
a;
¯
a: avi´ses
.
aAj ˜ na! :.oc
::c
acr rwo: rui siciir
xixc: Lead the way! (They walk about.)
Both sit down.
:.,c
xixc: Friend Madh´ avya! You have not attained the fruit of
sight, for you have not beheld that which is truly worth
seeing!
nuiioox: But surely you are right before me?
xixc: Everyone thinks himself attractive. But I speak of
Shak´ untala, the ornament of the hermitage.
nuiioox: (aside) Ha! I will give him no chance. (aloud) If,
in fact, she is the daughter of an ascetic, and cannot be
wed, then what is the point of looking at her?
xixc: Fool! Can Dushy´ anta’s heart crave a forbidden thing? :.,,
nuiioox: Then what is going on?
xixc:
It is said the sage’s child was born from Lalit´ anya,
then taken in when deserted by her,
just like a loose jasmine blossom fallen
upon an arka shrub.
nuiioox: Even if she is not the natural child of the great
sage K´ ashyapa, still, what is the point of looking at her?
xixc: Ignoramus! :.oc
:::
rui iicocxiriox oi suax´ uxraia
ciram
.
gataAnimes
.
¯ abhir netraApa˙ nktibhir unmukhah
.
nav¯ am
.
induAkal¯ am
.
lokah
.
kena bh¯ avena pa´syati?
na ca s¯ a m¯ adr
.
´s¯ a n¯ ama pr¯ arthan¯ıy¯ a sam¯ asatah
.
saminAmadhyaAgataAk¯ al
.
¯ aguruAkhan
.
d
.
avad ujjval¯ a.
vio¯ us
.
axau
.
: (vihasya)

bhoh
.
! jadh¯ a kass’ ˆ avi pin
.
d
.
aA kajj ¯ ur¯ı-
him
.
uvvejidassa tintili¯ an
.
am
.
ahil¯ aso bhodi tadh¯ a itth¯ıAra-
an
.
aAparibh¯ avin
.
o bhavado iam
.
patthan
.
¯ a.

i
¯
a;
¯
a: na t¯ avad en¯ am
.
pa´syasi yena tvam evam
.
Av¯ ad¯ı.
vio¯ us
.
axau
.
:

tam
.
khu raman
.
¯ıam
.
n
.
¯ ama jam
.
bhavado vi vim-
haam
.
jan
.
aadi!

i
¯
a;
¯
a: vayasya! kim
.
bahun¯ a? :.o,
citre nive´sya parikalpitaAsattvaAyog¯ a?
r¯ up’A ˆ occayena vihit¯ a manas¯ a kr
.
t¯ a nu?
str¯ıAratnaAsr
.
s
.
t
.
ir apar¯ a pratibh¯ ati s¯ a me
dh¯ atur vibhutvam anucintya vapu´s ca tasy¯ ah
.
.
vio¯ us
.
axau
.
: (saBvismayam)

pacc¯ adeso d¯ an
.
im
.
r¯ uvavat¯ınam
.
!

i
¯
a;
¯
a: idam
.
ca me manasi vartate.
:::
acr rwo: rui siciir
With what melancholy does the world gaze up
at length at the first digit of the moon
with unwinking rows of eyes?
And, for a man such as me
she, ablaze like a fragment of dark aloe
fallen among kindling,
is utterly beyond reach.
nuiioox: (laughing) Ha! Just as someone who is fedupwith
sweet dates might crave sour tamarind, so you, scorning
the most exquisite of women, have this yearning.*
xixc: You have not seen her, that you can prattle like this.
nuiioox: That must indeed be lovely which amazes even
you!
xixc: My friend! Why go on? :.o,
Was she painted and then infused with life?
Or was she visualized by assembling
alluring forms?
When I contemplate the power of the creator
her body appears to me like a second creation
of Lakshmi, jewel among women.
nuiioox: (astonished) Now the fairest are usurped!
xixc: And this is lodged in my heart:
::,
rui iicocxiriox oi suax´ uxraia
anA¯ aghr¯ atam
.
pus
.
pam
.
kisalayam aAl ¯ unam
.
karaAruhair
anA¯ amuktam
.
ratnam
.
madhu navam anA¯ asv¯ aditaArasam.
aAkhan
.
d
.
am
.
pun
.
y¯ an¯ am
.
phalam iva ca tadAr¯ upam anAagham
.
na j¯ ane bhokt¯ aram
.
kam iha samupasth¯ asyati bhuvi.
vio¯ us
.
axau
.
:

ten
.
a hi lahu parin
.
aadu bhavam
.
m¯ a kassa vi :.;c
tavassin
.
o i ˙ ngud¯ıA tellaA cikkan
.
aA s¯ısassa ¯ aran
.
n
.
aassa hatthe
pad
.
issadi.

i
¯
a;
¯
a: paravat¯ı khalu tatraAbhavat¯ı, na ca sam
.
nihitaAguruAja-
n¯ a.
vio¯ us
.
axau
.
:

adha bhavantam
.
antaren
.
a k¯ıdiso se citt’Aˆ an
.
u-
r¯ ao?

i
¯
a;
¯
a: sakhe! svabh¯ av¯ ad apragalbhas tapasviAkanyak¯ aAjanah
.
.
tath” ˆ api tu
abhimukham
.
mayi samhr
.
tam ¯ıks
.
itam
.
hasitam anyaAnimittaAkath”A ˆ odayam.
vinayaAb¯ adhitaAvr
.
ttir atas tay¯ a
na vivr
.
to madano na ca sam
.
hr
.
tah
.
.
vio¯ us
.
axau
.
: (vihasya)

kim
.
khu s¯ a bhavado dit
.
t
.
haAmettassa :.;,
yyeva a˙ nkam
.
¯ arohadu.

i
¯
a;
¯
a: sakhe! sakh¯ıbhy¯ am
.
mithaf prasth¯ ane ´s¯ al¯ınay” ˆ api tatraA
bhavaty¯ a mayi bh¯ uyis
.
t
.
ham ¯ avis
.
kr
.
to bh¯ avah
.
. tad¯ a khalu,
::¡
acr rwo: rui siciir
A flower unsmelled,
a frond not plucked off by fingernails,
a jewel not set,
new wine as yet unsavored.
I do not know what enjoyer of this faultless form,
the full reward of merits, as it were,
might arise on this earth.
nuiioox: Then you must marry her at once, lest she fall :.;c
into the hands of some rustic ascetic whose head is slimy
with ´ıngudi oil!
xixc: She is a dependent, and her parent is absent.
nuiioox: Well, what does her heart feel toward you?
xixc: Friend! The daughters of ascetics are naturally coy.
Nevertheless
When I faced her she withdrew her eyes,
her smile was feigned
to arise from some other cause.
Therefore, restrained by decorum,
her passion was neither displayed nor concealed.
nuiioox: (laughing) Was she to have climbed onto your :.;,
lap the moment she laid eyes on you?
xixc: My friend! When she departed with her two com-
panions, she, though modest, did to some extent betray
her feelings for me. For then,
::,
rui iicocxiriox oi suax´ uxraia
«darbh’Aˆ a˙ nkuren
.
a caran
.
ah
.
ks
.
ata ity» ak¯ an
.
d
.
e
tanv¯ı sthit¯ a kati cid eva pad¯ ani gatv¯ a
¯ as¯ıd vivr
.
ttaAvadan¯ a ca vimocayant¯ı
´s¯ akh¯ asu valkalam aAsaktam api drum¯ an
.
¯ am.
vio¯ us
.
axau
.
:

bho! gahidaA p¯ adheo hosi. kadham
.
pun
.
o un
.
a
tavoAvan
.
aAgaman
.
am
.
ti pekkh¯ ami.

i
¯
a;
¯
a: sakhe! cintaya t¯ avat ken’ ˆ op¯ ayena punar ¯ a´sramaA pa-
dam
.
gacch¯ amah
.
.
vio¯ us
.
axau
.
:

eso cintemi. . . m¯ a khu me al¯ıaAparidevidehim
.
:.ïc
sam¯ adhim
.
bha˜ njihisi.

(cintayitv¯ a)

bho! ko an
.
n
.
o uv¯ ao?
n
.
am
.
bhavam
.
r¯ a¯ a?

i
¯
a;
¯
a: tatah
.
kim?
vio¯ us
.
axau
.
:

n¯ıv¯ araAcchabAbh¯ aam
.
d¯ ava s¯ am¯ı uvatti.

i
¯
a;
¯
a: m¯ urkha! anyam bh¯ agam ete raks
.
in
.
e nirvapanti ratnaA
r¯ a´s¯ın api vih¯ ay’ ˆ abhinandyam. pa´sya
yad uttis
.
t
.
hati varn
.
ebhyah
.
nr
.
p¯ an
.
¯ am
.
ks
.
ayi tat phalam.
tapah
.
As
.
ad
.
Abh¯ agam aks
.
ayam
.
dad¯ aty ¯ aran
.
yako janah
.
.
xiiaru\i: hanta! siddh’Aˆ arthau svah
.
!
:.ï,
i
¯
a;
¯
a: (karn
.
am
.
dattv¯ a) aye! dh¯ıraApra´s¯ antaAsvarais tapasvibhir
bhavitavyam.
::o
acr rwo: rui siciir
When she had gone but a few paces
the slender woman stopped all of a sudden, saying:
“My foot is pierced by a darbha shoot!”
And she turned back her face
as she freed her bark-cloth,
which was not really snagged
in the tree’s branches.
nuiioox: Well, then! You have your provisions for the
journey. I foresee, somehow, many more trips to the
penance-grove.
xixc: My friend! Think of some pretext to get us back into
the hermitage grounds.
nuiioox: I am thinking. . . don’t interrupt my cerebration :.ïc
with your irritating whining. (thinking) Ha! What other
pretext? Are you not the king?
xixc: So what?
nuiioox: The ruler can claim one sixth part of the harvest.
xixc: Idiot! These hermits offer a different tribute to their
protector, more valuable than heaps of jewels. Look,
That tribute which accrues to kings
from the castes is perishable.
Foresters offer the imperishable sixth part
of their penance.
oiisraci: Good! We have found him!
:.ï,
xixc: (listening) Ah! With such steady and calm voices—it
must be hermits.
::;
rui iicocxiriox oi suax´ uxraia
oauv
¯
aiixau
.
(pravi´sya):

jaadu jaadu bhat
.
t
.
¯ a! ede duve isiA
kum¯ ara¯ a pad
.
ih¯ araAbh¯ umim
.
uvatthid¯ a.

i
¯
a;
¯
a: avilambitam
.
prave´saya.
oauv
¯
aiixau
.
:

aam
.
pavesa¯ ami.

(iti nis
.
kr¯ antah
.
.)
tataf pravi´satas t¯ apasau dauv¯ arika´s ca. :.,c
oauv
¯
aiixau
.
:

ido ido bhavant¯ a.

r
¯
aiasau: (r¯ aj¯ anam
.
dr
.
s
.
t
.
v¯ a) aho d¯ıptimato ’pi vi´svasan¯ıya-
t¯ a vapus
.
ah
.
. atha v¯ a, upapannam etad asminn r
.
s
.
iA kalpe
r¯ ajani. tath¯ a hi,
adhy¯ akr¯ ant¯ a
vasatir amun” ˆ apy ¯ a´srame sarvaAbhogye
raks
.
¯ aAyog¯ ad
ayam api tapaf pratyaham
.
sam
.
cinoti,
asy’ ˆ api dy¯ am
.
spr
.
´sati va´sina´s c¯ aran
.
aAdvandvaAg¯ıtah
.
pun
.
yah
.
´sabdo
«munir» iti muhuh
.
kevalam
.
r¯ ajaAp¯ urvah
.
.
ovir¯ı\au
.
: Gautama! ayam
.
sa BalabhitAsakho Dus
.
yantah
.
.
iiaruaxau
.
: atha kim?
:.,,
ovir¯ı\au
.
: tena hi,
::ï
acr rwo: rui siciir
oooi-xiiiii (entering): Victory, victory, lord! These two
young hermits have arrived at the gate.
xixc: Show them in without delay.
oooi-xiiiii: I will bring them. (Exit.)
Enter two ascetics and the door-keeper. :.,c
oooi-xiiiii: This way, this way, sirs.
ascirics: (seeing the king) Oh! What confidence his person,
though majestic, inspires. But that is quite natural in a
king who is like a sage. For,
He too now abides in that stage of life
which benefits all.
Through the protection he affords,
he too accumulates
the merit of penance day by day,
and the sacred appellation “sage,” for him too,
who has mastered himself, reaches up to heaven,
chanted by pairs of minstrels,
—but prefixed by “royal.”
sicoxo: G´ autama! This is Dushy´ anta, the friend of Indra.
iiisr: What of it?
:.,,
sicoxo: That is why
::,
rui iicocxiriox oi suax´ uxraia
n’ ˆ aitac citram
.
yad ayam udadhiA
´sy¯ amaAs¯ım¯ am
.
dharitr¯ım
ekah
.
kr
.
tsn¯ am
.
nagaraAparighaA
pr¯ am´suAb¯ ahur bhunakti.
¯ a´sam
.
sante SuraAsamitayah
.
´saktaAvair¯ a hi daityaih
.
asy’ ˆ adhijye dhanus
.
i vijayam
.
Paurah¯ ute ca vajre.
unuau: (upasr
.
tya) svasti bhavate! (phal¯ any upanayatah
.
.)
i
¯
a;
¯
a: (s’B¯ adaram utth¯ aya) abhiv¯ adaye bhavantau. (saBpran
.
¯ a-
mam
.
gr
.
h¯ıt’B¯ asana upavi´sya) kim ¯ aj ˜ n¯ apayato bhavantau?
i
.
s
.
¯ı: vidito bhav¯ an ¯ a´sramaAv¯ asin¯ am ihaAsthah
.
. tena bhavan-
:.:cc
tam abhy¯ arthayante.
i
¯
a;
¯
a: kim ¯ aj ˜ n¯ apayanti?
unuau: tatra A bhavatah
.
K¯ a´syapa A muner as¯ am
.
nidhy¯ ad ra-
ks
.
¯ am
.
si par¯ apatis
.
yanti. tat katipayaAr¯ atram
.
s¯ arathiAdvit¯ı-
yena bhavat¯ a san¯ ath¯ıkriyat¯ am ¯ a´srama iti.
i
¯
a;
¯
a: anugr
.
h¯ıto ’smi.
vio¯ us
.
axau
.
: (apav¯ arya)

aam
.
d¯ an
.
im
.
an
.
u¯ ulaAgalaAhattho.

i
¯
a;
¯
a: Revaka! madAvacan¯ ad ucyat¯ am
.
s¯ arathih
.
: «saAb¯ an
.
aAk¯ ar- :.:c,
mukam
.
ratham upanay’ ˆ eti.»
oauv
¯
aiixau
.
:

jam
.
bhat
.
t
.
¯ a ¯ an
.
avedi.

(iti nis
.
kr¯ antah
.
.)
::c
acr rwo: rui siciir
It is no wonder that he alone,
whose arm is as long as the bar of a city gate,
enjoys the whole earth bounded
by the dark ocean.
For the Gods’ wars, vehement in their hostility,
fought with the demons, depend for victory
on his strung bow and
on the thunderbolt of Indra.
noru: (approaching) Hail to His Majesty! (They offer fruit.)
xixc: (stands up respectfully) I salute you both. (accepts a
seat with a bow and sits) What do you command?
siiis: It has become known to the hermitage inmates that :.:cc
you are here. Therefore they beseech Your Majesty.
xixc: What do they command?
noru: Because his reverence the sage K´ ashyapa is not present
we are pressed by demons. Therefore, accompanied by
your charioteer, deign to ensure the protection of the
hermitage for a few nights.
xixc: I am honored.
nuiioox: (aside) Now, this is a welcome hand throttling
your throat.
xixc: R´ evaka! Commandthe charioteer inmy name: “Bring :.:c,
the chariot with bow and arrows!”
oooi-xiiiii: As the lord commands. (Exit.)
:::
rui iicocxiriox oi suax´ uxraia
i
.
s
.
¯ı: (saBhars
.
am)
anuk¯ arin
.
i p¯ urves
.
¯ am
.
yuktaAr¯ upam idam
.
tvayi.
¯ apann’Aˆ abhayaAsattren
.
a d¯ıks
.
it¯ ah
.
khalu Paurav¯ ah
.
.
i
¯
a;
¯
a: gacchat¯ am
.
puro bhavantau. ahamapy anupadam ¯ aga-
ta eva.
i
.
s
.
¯ı: vijayasva! (ity utth¯ aya nis
.
kr¯ antau.) :.::c
i
¯
a;
¯
a: M¯ adhavya! apy asti
´
Sakuntal¯ aAdar´sanaAkautukam?
vio¯ us
.
axau
.
:

pradhamam
.
aparib¯ adham
.
¯ asi.

(saB bhayam.)

rakkhasaA vutt’ A ˆ anten
.
a un
.
a sam
.
padam
.
vis¯ adaA dam
.
sin
.
¯ a
visesidam
.
.

i
¯
a;
¯
a: m¯ a bhais
.
¯ıh
.
! nanu matAsam¯ıpe bhavis
.
yasi.
vio¯ us
.
axau
.
:

eso cakk¯ ak¯ı bh¯ udo ’mhi!

(pravi´sya) oauv
¯
aiixau
.
:

bhat
.
t
.
¯ a! sajjo radho bhat
.
t
.
in
.
o vijaaA :.::,
patth¯ an
.
am
.
udikkhadi. eso un
.
a n
.
aar¯ ado dev¯ın
.
am
.
sa¯ as¯ ado
Karabhao uvatthido.

i
¯
a;
¯
a: (s’B¯ adaram) kim ajj ¯ ubhif pres
.
itah
.
.
oauv
¯
aiixau
.
:

adhaAim
.
?

i
¯
a;
¯
a: prave´syat¯ am.
:::
acr rwo: rui siciir
siiis: (joyfully)
This befits you, who follows the path
of your predecessors;
the descendents of Puru
are indeed consecrated
for the sacrifice of allaying the fear
of the oppressed.
xixc: Go ahead, sirs! I too will follow shortly.
siiis: Be victorious! (With this they arise and exit.) :.::c
xixc: Madh´ avya! Are you curious to see Shak´ untala?
nuiioox: At first my curiosity knew no bounds. (fearfully)
But now it has been put in perspective by this news of
demons, making it dubious.
xixc: Fear not! Surely you will stand by my side.
nuiioox: I’d be your wheel-guard : a sitting duck! *
(entering) oooi-xiiiii: Lord! The readied chariot awaits :.::,
the lord’s victorious advance. But K´ arabhaka here has
arrived from the city and the entourage of the Queen
Mother.
xixc: (respectfully) What? despatched by Mama?*
oooi-xiiiii: What now?
xixc: Show him in!
::,
rui iicocxiriox oi suax´ uxraia
oauv
¯
aiixau
.
:

jam
.
bhat
.
t
.
h¯ a ¯ an
.
avedi.

(iti nis
.
kr¯ antah
.
.)
tataf pravi´sati oauv
¯
aiixix
.
a saha xaianuaxau
.
. :.::c
xaianuaxau
.
: (upasr
.
tya)

jaadu jaadu bhat
.
t
.
¯ a! dev¯ıo ¯ an
.
aventi
jadh¯ a ¯ agamin
.
i ca¨ utthe diase «puttaApin
.
d
.
ao d¯ an
.
ao» n
.
¯ ama
uvav¯ aso bhavissadi tattha d¯ıh¯ a¨ un
.
¯ a avassam
.
san
.
n
.
ihiden
.
a
hodavvam
.
.

i
¯
a;
¯
a: (sa˙ nkulam) M¯ adhavya! itas tapasviAk¯ aryam, ito guruA
jan’A¯ aj ˜ n¯ a, ubhayam apy anulla˙ nghan¯ıyam
.
may¯ a. katham
atra pratividheyam.
vio¯ us
.
axau
.
:

Tisa˙ nk¯ u via antare cit
.
t
.
ha!

i
¯
a;
¯
a: satyam ¯ akulo ’smi.
kr
.
tyayor bhinnaAde´satv¯ ad :.::,
dvaidh¯ıbhavati me manah
.
.
puraf pratihatam
.
´saile
srotah
.
srotoAvaho yath¯ a.
(saBkhedam
.
cintayitv¯ a.) sakhe M¯ adhavya! tvam ajj ¯ ubhif pu-
tra iti pratigr
.
h¯ıtah
.
. tad bhav¯ an itaf pratinivr
.
tya tatraAbha-
vat¯ın¯ am
.
putraA k¯ aryam anus
.
t
.
h¯ atum arhati. «tapasviA k¯ a-
ryaAvyagrit¯ ah
.
smah
.
» ity ¯ avedaya.
vio¯ us
.
axau
.
: (saB garvam.)

s¯ adhu! rakkhasaA bh¯ıruam
.
mam
.
gan
.
a¨ıssadi!

::¡
acr rwo: rui siciir
oooi-xiiiii: As His Majesty commands. (Exit.)
Enter K
´
aianuaxa with the oooi-xiiiii.
:.::c
x
´
aianuaxa: (approaching) Victory! Victory, Your Majesty!
The Queen lets it be known that: “On the coming fourth
lunar day* there will take place the ceremony known as
the ‘offering ensuring the birthof a son.’ Onthis occasion
Your Majesty must be present.”
xixc: (perturbed) Madh´ avya! On the one hand, there is my
obligation to the ascetics, on the other hand, there is
the command of my venerable parent. Neither may I
transgress. What should I do in this case?
nuiioox: Stay in the middle like Tri·shanku.*
xixc: Truly I am confounded.
My mind is divided :.::,
because the two duties must be carried out
in different places;
just like the stream of a river
branching because of a rock in its path.
(reflecting, troubled) My friend Madh´ avya! You have been
welcomed by Mama like a son. Therefore you must
please return from here and stand in for the duty of
a son. Tell her that I have been detained by obligations
to ascetics.
nuiioox: (haughtily) Oh, I get it! You think I am afraid of
these demons.
::,
rui iicocxiriox oi suax´ uxraia
i
¯
a;
¯
a: (saB smitam) mah¯ a A br¯ ahman
.
a! katham etad bhavati
sambh¯ avyate.
vio¯ us
.
axau
.
:

ten
.
a hi jadh¯ a r¯ a’Bˆ an
.
ur¯ aen
.
a gantavvam
.
, tadh¯ a
gamissam
.
.

i
¯
a;
¯
a: nanu tapoAvan’A ˆ oparodhaf pariharan
.
¯ıya iti sarv¯ an ¯ anu- :.:,c
y¯ atrik¯ an tvay” ˆ aiva saha prasth¯ apay¯ ami.
vio¯ us
.
axau
.
: (saBgarvam.)

ten
.
a hi juaAr¯ a¯ a khu amhi sam
.
vu-
tto.

i
¯
a;
¯
a: (svaBgatam) capalo ’yam
.
bat
.
uh
.
. kad¯ a cid asmatApr¯ ar-
than¯ am antah
.
Apurebhyah
.
kathayet. bhavatu. evam
.
t¯ avad
vaks
.
ye. . . (prak¯ a´sam
.
, vid¯ us
.
akam
.
haste gr
.
h¯ıtv¯ a) vayasya!
r
.
s
.
i A gaurav¯ ad ¯ a´sramam
.
gacch¯ ami. na khalu satyam eva
t¯ apasaAkanyak¯ ay¯ am
.
mam’ ˆ abhil¯ as
.
ah
.
. pa´sya
kva vayam
.
kva paroks
.
aAmanmatho
mr
.
gaA´s¯ avaih
.
samam edhito janah
.
.
parih¯ asaAvikalpitam
.
sakhe
param’Aˆ arthena na gr
.
hyate vacah
.
!
vio¯ us
.
axau
.
:

evam
.
n
.
’ ˆ edam
.
!

iti nis
.
kr¯ ant¯ ah
.
sarve.
:.:,,
iti mah¯ aAkaviAK¯ alid¯ asaAviracite
´
Sakuntal¯ aAn¯ amani n¯ at
.
ake
dvit¯ıyo ’ ˙ nkah
.
.
::o
acr rwo: rui siciir
xixc: (smiling) Great brahmin! In your case that is incon-
ceivable.
nuiioox: Since, then, I must go because of love of the
king, I shall do so.
xixc: Surely, to prevent disturbance to the penance grove :.:,c
I will dispatch the entire train with you.
nuiioox: (puffed up) Now I have become a crown prince.
xixc: (to himself ) This fellow is a chatterbox. He might
reveal my dalliance to the ladies in the inner apartments
of the palace. Well, then, I will tell him this. . . (aloud,
taking the buffoon by the hand) My friend! I go to the
hermitage out of respect for the seers. There is nothing
to that affection of mine for the ascetic’s daughter. Look,
Where, on the one hand, stand we,
and where that person raised with fawns,
unacquainted with love.
Friend, do not take as a declaration of truth
what was made up as a jest!
nuiioox: Why, of course!
All withdraw.
:.:,,
The end of the second act
in the play called “Shak´ untala,”
composed by the great poet Kali·dasa.
::;
Act Three:
The Passion
tataf pravi´sati yajam¯ anaB´sis
.
yah
.
.
´
sis
.
\au
.
: (ku´s¯ an ¯ ad¯ aya) aho mah¯ aAprabh¯ avo Dus
.
yantah
.
! pra-
vis
.
t
.
aAm¯ atra eva s¯ arathiAdvit¯ıye tatraAbhavat’ ˆıdam ¯ a´sramaA
padam
.
nirvr
.
ttaAraks
.
oAvighnam
.
sam
.
vr
.
ttam
.
nirupaplav¯ an
.
i
ca nah
.
karm¯ an
.
i siddh¯ ani.
k¯ a kath¯ a b¯ an
.
aAsam
.
dh¯ ane?
jy¯ aA´sabden’ ˆ aiva d¯ uratah
.
hum
.
Ak¯ aren
.
’ ˆ eva dhanus
.
ah
.
sa hi vighn¯ an apohati.
y¯ avad im¯ an vediAsam
.
staran
.
’Aˆ artham
.
darbh¯ an r
.
tvigbhya upa-
har¯ ami. (parikramy’ ¯ ak¯ a´se) Priyam
.
vade! kasy’ ˆ edam u´s¯ı-
r’ A ˆ anulepanam
.
mr
.
n
.
¯ alaA valayavanti ca kamalin¯ı A patr¯ an
.
i
n¯ıyante? (´srutim abhin¯ıya) kim
.
brav¯ıs
.
i? «¯ atapaA la˙ ngha-
n¯ ad balavad asvasth¯ a
´
Sakuntal¯ a. tasy¯ a d¯ ahe nirv¯ apan
.
¯ ay’
ˆ eti.» aho yatn¯ ad upakramyat¯ am sakh¯ı. yatas tatraA bha-
vatah
.
kulaA pater ucchvasitam. aham api t¯ avad vait¯ ani-
kaA ´s¯ antyA udakam asyai Gautam¯ı A haste prahes
.
y¯ ami. (iti
nis
.
kr¯ antah
.
.)
prave´sakah
.
. ,.,
tataf pravi´sati k¯ amay¯ an’Bˆ avastho* r¯ aj¯ a.
i
¯
a;
¯
a: (saBvitarkam)
j¯ ane tapaso v¯ıryam
.
s¯ a b¯ al¯ a paravat” ˆıti me viditam
alam asmi tato hr
.
dayam
.
tath” ˆ api n’ ˆ edam
.
nivartayitum.
:,c
Enter the disciple of the sacrificial priest.
oisciiii: (bearing kusha grass) Lo! Howmighty is Dushy´ an-
ta! No sooner had His Majesty entered the hermitage
grounds with his charioteer than we were rid of the de-
mon menace, and our rites succeed without distractions.
What need of fitting an arrow?
For he drives out troublemakers
simply with the twang
of his bowstring from afar,
as if it were by the threatening growl of his bow.
I must bring this darbha grass to the priests so they can strew
the altar. (proceeds, offstage) Priyam·vada! For whom are
you fetching ush´ıra salve and lotus leaves wrapped in
filaments? (Mimes listening.) What do you say? “Sha-
k´ untala is gravely ill with a heatstroke; to quench her
fever.” Ah! Nurse your friend with care, for she is the
life-breath of our patriarch. I, too, will at once send
soothing, consecrated water to her by the hand of G´ au-
tami. (Exit.)
End of the prelude. ,.,
Enter the infatuated king.
xixc: (pensively)
I know the potency of penance,
and realize the girl is a dependent,
despite this I am not able to turn my heart
away from her.
:,:
suax´ uxraia’s iicocxiriox
(saBdainyam) bhagavan K¯ ama! evam apy upapadyate na te
mayy anukro´sah
.
. kuta´s ca te kusum’A¯ ayudhasya satas t¯ı-
ks
.
n
.
atvam? (vicintya) ¯ am
.
j ˜ n¯ atam,
ady’ ˆ api n¯ unam
.
HaraAkopaAvahnis ,.:c
tvayi jvalaty aurva iv’ ˆ ambuAr¯ a´sau;
tvam anyath¯ a, Manmatha! madAvidh¯ an¯ am
.
bhasm’Aˆ ava´ses
.
ah
.
katham evam us
.
n
.
ah
.
?
(s’ B ˆ as¯ uyam) Kusum’ A ¯ ayudha! tvay¯ a candramas¯ a ca vi´svasa-
n¯ıy¯ abhy¯ am abhisam
.
dh¯ıyate k¯ ami A janaA s¯ arthah
.
katham
iti?
tava kusumaA´saratvam
.
´s¯ıtaAra´smitvam indoh
.
dvayam idam aAyath”Aˆ artham
.
dr
.
´syate madAvidhes
.
u
visr
.
jati himaAgarbhair agnim indur may¯ ukhais
tvam api kusumaAb¯ an
.
¯ an vajraAs¯ ar¯ıkaros
.
i!
(saBkhedam) kva nu khalu sam
.
sthite karman
.
i sadasyair anu-
j ˜ n¯ ataAvi´sr¯ antih
.
kl¯ antam ¯ atm¯ anam
.
vinoday¯ ami? (nih
.
´sva-
sya) kim
.
nu khalu me priy¯ aAdar´san¯ ad r
.
te ´saran
.
am anyat?
y¯ avad en¯ am anvis
.
ye. (s¯ uryam avalokya) im¯ am ugr’A ¯ ata-
p¯ am
.
vel¯ am
.
pr¯ ayen
.
a lat¯ aA valayavatsu M¯ alin¯ıA t¯ıres
.
u tatraA
bhavat¯ı saA sakh¯ı A jan¯ a gamayati. tatr’ ˆ aiva t¯ avad gami-
s
.
y¯ ami. (parikramya s’B¯ ahl¯ adam
.
v¯ ayuBspar´sam
.
nir¯ upayan.)
aho prav¯ ataAsubhago ’yam udde´sah
.
.
:,:
acr ruiii: rui iassiox
(dejected) Lord Cupid! Despite this you show me no pity.
And how can you, bearing flowers as weapons, be so
fierce? (reflects) Yes, I understand,
Even now, surely, the flame of Shiva’s wrath ,.:c
still smolders within you,
like the submarine fire in the ocean;
How else, O Shaker, could you,
reduced to ashes, be so ferocious
to those like me?
(with malice) God of the flower bow! Why do you and the
moon, who ought to be trustworthy, assail the caravan-
train of lovers?
That your arrows should be flowers
and that the moon’s rays should be cool
—both of these are evidently false
for those like me:
the moon spews fire with his icy rays,
and you make your flower-arrows adamantine!
(dejected) Now that the priests have concluded their rites,
where may I, granted some respite, rest my weary soul?
(sighing) What other refuge is there for me but the sight
of my beloved? I must seek her. (observes the sun) She is
wont to pass this period of severe heat with her friends on
the M´ alini’s banks, which are wreathed in vine bowers.
That is where I will go. (advances, acting the delightful
touch of the wind) Ah! This spot is pleasant with a fresh
breeze.
:,,
suax´ uxraia’s iicocxiriox
´sakyo ’ravindaAsurabhih
.
kan
.
aAv¯ ah¯ı M¯ alin¯ıAtara˙ ng¯ an
.
¯ am
madanaAgl¯ anair a˙ ngaih
.
p¯ıd
.
itam ¯ ali ˙ ngitum
.
pavanah
.
.
(parikramy’ ˆ avalokya ca) asmin vetasaApariks
.
ipte lat¯ aAman
.
d
.
a- ,.:,
pe
´
Sakuntalay¯ a bhavitavyam. tath¯ a hi (adho ’valokya)
alpaAnihit¯ a purast¯ ad avag¯ ad
.
h¯ a jaghanaAgaurav¯ at pa´sc¯ at
dv¯ are ’sya p¯ an
.
d
.
uAsikate padaApa˙ nktir dr
.
´syate ’bhinav¯ a.
y¯ avad vit
.
ap’A ˆ antaren
.
’ ˆ avalokay¯ ami. (tath¯ a kr
.
tv¯ a, saBhars
.
am)
aye! labdham
.
khalu netraA nirv¯ apan
.
am. es
.
¯ a manoA rathaA
bh¯ umif priyatam¯ a me saA kusum’A ¯ astaran
.
am
.
´sil¯ aA pat
.
t
.
am
adhi´say¯ an¯ a sakh¯ıbhy¯ am anv¯ asyate. bhavatu. lat¯ aA vyava-
hitah
.
´sros
.
y¯ ami t¯ avad ¯ as¯ am vi´srambhaAkathit¯ ani. (avalo-
kayan sthitah
.
.)
tataf pravi´sati yath¯ aBnirdis
.
t
.
¯ a
´
Sakuntal¯ a sakhyau ca.
saxu\au: (upav¯ıjya)

sahi Sa¨ untale! avi suh¯ aadi de n
.
alin
.
¯ıA
vattaAv¯ ado?

´
saxuxrai
¯
a: (vedanam
.
n¯ at
.
ayitv¯ a)

kim
.
v¯ a v¯ıjaanti mam
.
sa- ,.:c
h¯ıo?

ubhe saBvis
.
¯ adam
.
mukham anyonyam
.
pa´syatah
.
.
´
saxuxrai
¯
a: (saBkhedam
.
nih
.
´svasati.)
i
¯
a;
¯
a: balavad asvasth¯ a khalv atraAbhavat¯ı. (saBvitarkam) kim
atr’ ˆ ayam ¯ atapaAdos
.
ah
.
sy¯ ad, uta yath¯ a me manasi vartate?
(s’Bˆ abhil¯ as
.
am
.
nirvarn
.
ya) athav¯ a kr
.
tam
.
sam
.
dehena!
:,¡
acr ruiii: rui iassiox
I am able to embrace closely
the lotus-fragranced wind, bearing the spray
of the M´ alini’s ripples, with my limbs
languid with passion.
(wanders around and observes) Shak´ untala must be in this
,.:,
bower of shrubs surroundedby reeds. For, (looking down)
At its entrance, in the pale sand is seen
a line of fresh footprints,
shallow at the front,
depressed at the back with the weight of her
hips.
I will peer through the branches. (does so, joyfully) Ah! My
eyes have received their alms. My darling, the ground of
my love, lies upon a flower-strewn stone slab, together
with her two friends. Good. Concealed by vines, I will
eavesdrop on their private conversation. (Watches.)
Then enters Shak´ untala and her two friends as described.
iiiixos: (fanning, affectionately) Dear Shak´ untala! Does
the breeze of the lotus leaves relieve you?
suax´ uxraia: (acts anguish) Oh? Are my friends fanning ,.:c
me?
Both look sorrowfully at each other’s face.
suax´ uxraia: (sighs dejectedly.)
xixc: Her ladyship is gravely indisposed. (pondering) Might
this be a symptom of the heat, or is it as I suspect?
(longingly) Enough of this doubt!
:,,
suax´ uxraia’s iicocxiriox
stanaAnyast’A ˆ o´s¯ıram
.
pra´sithilaAmr
.
n
.
¯ al’Aˆ aikaAvalayam
priy¯ ay¯ ah
.
s’A¯ ab¯ adham
.
tad api kaman¯ıyam
.
vapur idam
samas t¯ apah
.
k¯ amam
.
manasiAjaAnid¯ aghaAprasarayoh
.
na tu gr¯ıs
.
masy’ ˆ aivam
.
subhagam apar¯ adham
.
yuvatis
.
u.
axas¯ u\
¯
a:

hal¯ a Sa¨ untale! an
.
antaraAn
.
n
.
¯ a amhe maan
.
aAgadassa ,.:,
vuttantassa. tadh¯ a vi j¯ adis¯ı idih¯ asaAgadesu maan
.
aAvuttan-
tesu k¯ amaam¯ an
.
assa avatth¯ a sun
.
¯ıadi t¯ adisam
.
ca lakkha-
mha. t¯ a kadhehi kin
.
An
.
imittam
.
de aam
.
¯ a¯ aso. vi¯ aram
.
khu
param’Aatthado a¯ an
.
ia an
.
¯ arambho pad
.
¯ı¯ arassa.

i
¯
a;
¯
a: Anas¯ uyay” ˆ apy anugato mad¯ıyas tarkah
.
!
´
saxuxrai
¯
a: (¯ atmaBgatam)

balavam
.
ca me ahin
.
iveso. na a
sakkan
.
omi sahas¯ a n
.
ivvaridum.

iii\ax
.
vao
¯
a:

sahi! sut
.
t
.
hu es¯ a bhan
.
¯ adi. kim
.
n
.
’ ˆ edam
.
attan
.
o
uvaddavam
.
nig¯ uhasi? an
.
udiasam
.
ca parih¯ıasi a˙ ngehim.
kevalam
.
l¯ avan
.
n
.
ama¯ı ch¯ a¯ a tumam
.
n
.
a mu˜ ncadi.

:,o
acr ruiii: rui iassiox
This figure of my beloved,
her breasts anointed with ush´ıra salve,
her only bracelet of lotus filaments hanging loose,
though pained, is still desirable.
Admittedly, the inflammation
arising from love
and the heat appears the same,
yet the injury wrought by summer
upon young women
is not as lovely as this.
axas´ u\a: Dear Shak´ untala! We may not be familiar with ,.:,
affairs of love. Even so, we can see that your state is like
that of a lover described in historical romances. Please do
tell what is the cause of your malady. Without knowing
for sure what is the source of a disease, no remedy can
be found.
xixc: Anas´ uya, too, shares my suspicion!
suax´ uxraia: (to herself ) My yearning is intense, and I am
not able to ward it off just like that.
iii\ax·vaoa: Dear Shak´ untala! What she says is right. Why
should you conceal your sorrow? Day by day your limbs
waste away, all that remains is your lovely aura.
:,;
suax´ uxraia’s iicocxiriox
i
¯
a;
¯
a: avitatham ¯ aha Priyamvad¯ a. tath¯ a hy asy¯ ah
.
ks
.
¯ amaAks
.
¯ amaAkapolam ¯ ananam, urah
.
,.,c
k¯ at
.
hinyaAmuktaAstanam,
madhyam
.
kl¯ antataram
.
, prak¯ amaAvinat¯ av
am
.
sau, chavif p¯ an
.
d
.
ur¯ a
´socy¯ a ca priyaAdar´san¯ a ca madanaA
klis
.
t
.
” ˆ eyam ¯ alaks
.
yate
pattr¯ an
.
¯ am iva ´sos
.
an
.
ena marut¯ a
spr
.
s
.
t
.
¯ a lat¯ a m¯ adhav¯ı.
´
saxuxrai
¯
a:

kassa v¯ a an
.
n
.
assa idam
.
kadha¨ıdavvam
.
? ¯ a¯ asa¨ıtti¯ a
d¯ an
.
im
.
vo bhavissam
.
.

unui:

ado yyeva n
.
o n
.
ibbandho. sam
.
vibhat
.
t
.
am
.
khu duh
.
-
kham
.
sajjhaAvean
.
am
.
bhodi.

i
¯
a;
¯
a:
pr
.
s
.
t
.
¯ a janena samaAduh
.
khaAsukhena b¯ al¯ a
n’ ˆ eyam
.
na vaks
.
yati manoAgatam ¯ adhiAhetum.
dr
.
s
.
t
.
o vivr
.
tya bahu´so ’py anay¯ a saAh¯ avam
atr’ ˆ antaram
.
´sravan
.
aAk¯ atarat¯ am
.
gato ’smi.
´
saxuxrai
¯
a: (saBlajjam)

jado pahudi so tavoAvan
.
aArakkhid¯ a ,.,,
r¯ a’Aˆ es¯ı me dam
.
san
.
aApadham
.
gado, tado ¯ arabhia uggaden
.
a
ahil¯ asen
.
a edavatth¯ a mhi sam
.
vutt¯ a.

:,ï
acr ruiii: rui iassiox
xixc: Priyam·vada speaks the truth. For her
Face has deeply sunken cheeks, ,.,c
her bosom has lost the firmness of her breasts,
her waist has grown thin,
her shoulders droop limp, her skin is pale;
tormented by love,
she appears both pitiful and lovely to behold,
just like a m´ adhavi vine,
touched by a wind that withers its leaves.
suax´ uxraia: Whom else could I confide this to? But now
I will bring you sorrow.
noru: That is why we are so insistent, for grief, shared,
becomes sorrow that can be borne.
xixc:
The girl, questioned by someone
who shares her joy and grief,
cannot fail to divulge the cause
of her secret sorrow.
Though she looked at me, turning back repeatedly,
suggestively,* I have, by now,
become fainthearted
to hear her answer.
suax´ uxraia: (coyly) Since that royal sage, the protector of ,.,,
the penance grove, strayed into the path of my sight,
from that moment onward, in love with him, I have
been reduced to this plight.
:,,
suax´ uxraia’s iicocxiriox
i
¯
a;
¯
a: (saBhars
.
am) ´srutam
.
´srotavyam!
Smara eva t¯ apaAhetur
nirv¯ apayit¯ a sa eva me j¯ atah
.
;
divasa iv’ ˆ abhraA´sy¯ amas
tap’Aˆ atyaye j¯ıvaAlokasya.
´
saxuxrai
¯
a:

evam
.
ja¨ı vo an
.
umadam
.
tam
.
tadh¯ a mantedham
.
mam
.
jadh¯ a tassa r¯ a’Aˆ esin
.
o an
.
ukampan
.
¯ı¯ a homi. an
.
n
.
adh¯ a
m¯ am
.
si ˜ ncadha d¯ an
.
im
.
s¯ ant’Audaen
.
a.

i
¯
a;
¯
a: vimar´saA chedi vacanam et¯ avat k¯ amaA phalam
.
, yatnaA
phalam anyat.
iii\ax
.
vao
¯
a: (apav¯ arya)

An
.
as¯ ue! d¯ ure A gada A mammadh¯ a ,.¡c
iam
.
akkham¯ a k¯ alaA haran
.
assa. jassim
.
baddhaA bh¯ av¯ a es¯ a,
so vi lal¯ ama A bh¯ udo Porav¯ an
.
am
.
. t¯ a tura¨ıdam
.
yyeva se
ahil¯ asam
.
an
.
uvattidum
.
.

axas¯ u\a: (apav¯ arya)

jadh¯ a bhan
.
¯ asi! (prak¯ a´sam) sahi! dit
.
-
t
.
hi¯ a an
.
ur¯ uvo se ahil¯ aso. s¯ aaram
.
vajjia kahimv¯ a mah¯ aAn
.
a¯ıe
gantavvam
.
?

iii\ax
.
vao
¯
a:

ko d¯ an
.
im
.
sahaA ¯ aram
.
adimuttaAlad¯ ae pallavi-
dum
.
n
.
a icchadi?

i
¯
a;
¯
a: kim atra citram
.
, yadi citraA vi´s¯ akhe ´sa´s’A ˆ a˙ nkaA lekh¯ am
anuvartete? ayam atraAbhavat¯ıbhy¯ am
.
kr¯ıto janah
.
.
axas¯ u\a:

ko un
.
a uv¯ ao bhave jen
.
a sah¯ıe avilambidam
.
n
.
i-
g¯ ud
.
ham
.
man
.
oAradham
.
samp¯ ademha?

iii\axvao
¯
a:

«n
.
iun
.
am
.
paadidavvam
.
ti» cintan
.
¯ıam
.
bhave. ,.¡,
«siggham
.
ti» n
.
a dukkaram
.
.

:¡c
acr ruiii: rui iassiox
xixc: (joyfully) I have heard what I needed to hear!
Love alone is the source of the fever,
Love alone has come to quench it for me;
just as at the end of the hot season, a day,
dark with clouds, does for the world.
suax´ uxraia: Nowif you approve, then tell me what I must
do to make the royal sage take pity on me. Otherwise,
sprinkle me now with funerary libations.
xixc: These words, cutting through my doubts, are the
fruit of love; the fruit of effort is another matter.
iii\ax·vaoa: (aside) Anas´ uya! Her lovesickness is far ad- ,.¡c
vanced and will not brook any delay! He upon whom
she has fixed her heart is no less than the scion of the
P´ auravas. We must hurry to court his affection.
axas´ u\a: (aside) As you say! (aloud) My friend! Happily,
her desire is worthy. If not to the sea, where else should
a great river flow?
iii\ax·vaoa: Who, now, would not wish the mango tree
to bloom with the atim´ ukta vine?
xixc: Is it surprising that the two bright stars of the con-
stellation Vish´ akha should follow the lunar crescent? I
am beholden to you.
axas´ u\a: Now, with what stratagem can we secretly fulfill
our friend’s desire without delay?
iii\ax·vaoa: “To get it done secretly” requires some effort; ,.¡,
“quickly” is no problem.
:¡:
suax´ uxraia’s iicocxiriox
axas¯ u\a:

kadham
.
via?

iii\axvao
¯
a:

so r¯ a’A ˆ esi im¯ ae sin
.
iddhaA dit
.
t
.
hi A s¯ uid’A ˆ ahil¯ aso
im¯ aim
.
divas¯ aim
.
pa¯ aaraAkiso via lakkh¯ıadi.

i
¯
a;
¯
a: satyam ittham
.
Abh¯ uto ’smi. tath¯ a hi
idam a´si´sirair antasAt¯ ap¯ air vivarn
.
aAman
.
¯ıkr
.
tam
ni´si ni´si bhujaAnyast’Aˆ ap¯ a˙ ngaApras¯ aribhir a´srubhih
.
anabhilulitaAjy¯ aAgh¯ at’Aˆ a˙ nk¯ an muhur man
.
iAbandhan¯ at
kanakaAvalayam
.
srastam
.
srastam
.
may¯ a pratis¯ aryate.
iii\axvao
¯
a: (vicintya)

An
.
as¯ ue! maan
.
aAleho d¯ an
.
im
.
kar¯ıa- ,.,c
du. tam
.
suman
.
oAgovidam
.
kadua devaAses’Aˆ apadesen
.
a tassa
ran
.
n
.
o hatthe p¯ ad
.
a¨ıssam
.
.

axas¯ u\a:

roadi me sukum¯ aro paoo vi. kim
.
v¯ a Sa¨ untal¯ a
bhan
.
¯ adi?

´
saxuxrai
¯
a: (saBlajjam)

nioo vi vikapp¯ıadi.

iii\axvao
¯
a: (
´
Sakuntal¯ am
.
prati)

ten
.
a hi uvan
.
n
.
¯ asaApuravam
.
attan
.
o cintehi kim
.
pi sulalidam
.
padaAbandham
.
.

´
saxuxrai
¯
a:

cinta¨ıssam
.
. avadh¯ıran
.
¯ aAbh¯ıruam
.
pun
.
o vevadi
me hiaam
.
.

:¡:
acr ruiii: rui iassiox
axas´ u\a: How so?
iii\ax·vaoa: That royal sage, betraying his desire for her
by his tender glances, seems to be wasting away these
days through sleeplessness.
xixc: It is true, so I am. For,
I repeatedly have to pull back
this golden bracelet,
its gems discolored by tears
warmed by my inner fever,
flowing night after night
from the corners of my eyes
resting on my arm,
as it slips again and again from my wrist
without even brushing against the scars
inflicted by the striking of the bowstring.
iii\ax·vaoa: (thinking) Anas´ uya! Alove letter is nowcalled ,.,c
for. I will deliver it into the king’s hand, concealedamong
flowers, by pretending that they are the ritual leftovers.
axas´ u\a: I like this subtle plan. What does Shak´ untala say?
suax´ uxraia: (coyly) Is a command to be questioned?
iii\ax·vaoa: (to Shak´ untala) Well, then, just make up
some pretty verse beginning with an allusion to yourself.
suax´ uxraia: I amthinking, but my heart trembles, fearing
rejection.
:¡,
suax´ uxraia’s iicocxiriox
i
¯
a;
¯
a: (saBhars
.
am)
,.,,
ayam
.
sa te tis
.
t
.
hati sam
.
gam’A ˆ otsuko
vi´sa˙ nkase bh¯ıru yato ’vadh¯ıran
.
¯ am
labheta v¯ a pr¯ arthayit¯ a na v¯ a ´sriyam,
´sriyo dur¯ apah
.
katham ¯ıpsito bhavet?
saxu\au:

attaAgun
.
’Aˆ avam¯ an
.
ini! ko d¯ an
.
im
.
s¯ arad¯ıam
.
jon
.
ham
.
¯ adapaAtten
.
a v¯ ara¨ıssadi?

´
saxuxrai
¯
a: (saBsmitam)

nioida mhi!

(upavis
.
t
.
¯ a cintayati.)
i
¯
a;
¯
a: sth¯ ane khalu vismr
.
taAnimes
.
en
.
a caks
.
us
.
¯ a priy¯ am avalo-
kay¯ ami, yatah
.
unnamit’Aˆ aikaAbhr¯ uAlatam
,.oc
¯ ananam asy¯ af pad¯ ani racayanty¯ ah
.
kan
.
t
.
akitena prathayati
mayy anur¯ agam
.
kapolena.
´
saxuxrai
¯
a:

hal¯ a! cintid¯ a mae g¯ıdi¯ a. asan
.
n
.
ihid¯ aim
.
un
.
a le-
haAs¯ ahan
.
¯ aim
.
.

iii\axvao
¯
a:

n
.
am
.
imassim
.
suk’A ˆ odaraAsuum¯ are n
.
alin
.
¯ıAvatte
pattaA chedaA bhatt¯ıe n
.
ahehim
.
n
.
ikkhittaA van
.
n
.
am
.
karehi?
tado sun
.
amha se akkhar¯ an
.
i.

´
saxuxrai
¯
a: (tath¯ a kr
.
tv¯ a)

sun
.
adha d¯ ava n
.
am
.
sa˙ ngad’Aatth¯ a
n
.
a va tti.

unui:

avahida ’mha!

:¡¡
acr ruiii: rui iassiox
xixc: (joyfully) ,.,,
He from whom you, timid girl,
fear rejection stands here
pining to make love with you!
The seeker may or may not find fortune.
But how could fortune find it difficult
to attain what it wants?
iiiixos: O belittler of your own virtues! Who would ward
off autumnal moonlight with a parasol?
suax´ uxraia: (smiling) I’ll do as I’m told! (Ponders, seated.)
xixc: Justly I gaze upon my beloved with an eye that has
forgotten how to wink, since
Her countenance, one eyebrow raised, ,.oc
as she composes her poem,
reveals her passion for me
through her horripilating cheek.
suax´ uxraia: My dear! I have thought of a verse, but writing
materials are not at hand.
iii\ax·vaoa: Can you not just incise the characters on this
lily leaf, soft as a parrot’s belly, with your fingernails?
Then we will appraise your syllables.
suax´ uxraia: (does so) Listen, then, if it makes sense or not.
noru: We’re ready.
:¡,
suax´ uxraia’s iicocxiriox
´
saxuxrai
¯
a: (pat
.
hati) ,.o,

tujjha n
.
a ¯ an
.
e hiaam
.
mama un
.
a k¯ amo div¯ a a rattim
.
ca
n
.
ikkiva tave¨ı baliam
.
tuha huttaAman
.
oArah¯ a˜ı a˙ ng¯ aim
.
.

i
¯
a;
¯
a: (saBhars
.
am upagamya)
tapati tanuAg¯ atri Madanas
tv¯ am ani´sam
.
m¯ am
.
punar dahaty eva
glapayati yath¯ a ´sa´s’Aˆ a˙ nkam
.
na tath¯ a hi kumudvat¯ım
.
divasah
.
.
saxu\au: (vilokya saBhars
.
am utth¯ aya)

s¯ agadam
.
jadh¯ aAcinti-
daAphalassa avalambin
.
o man
.
oAradhassa.

(
´
Sakuntal¯ a abh-
yutth¯ atum icchati.)
´
saxuxrai
¯
a: (¯ atmaBgatam
.
saBs¯ adhvasam
.
ca)

hiaa! tadh¯ a ut- ,.;c
tammia d¯ an
.
im
.
n
.
a kim
.
ci pad
.
ivajjasi.

(ity utth¯ atum iccha-
ti.)
i
¯
a;
¯
a: alam ¯ ay¯ asena.
sam
.
spr
.
s
.
t
.
aAkusumaA´sayan¯ any
¯ a´suAvivarn
.
itaAmr
.
n
.
¯ alaAvalay¯ ani
guruAsam
.
t¯ ap¯ ani na te
g¯ atr¯ an
.
y upac¯ aram arhanti.
axas¯ u\a:

ido sil¯ aAdal’AekkaAdesam
.
an
.
ugen
.
hadu vaasso.

i
¯
a;
¯
a: (upavi´sya) Priyam
.
vade! kac cit sakh¯ım
.
vo n’ ˆ atib¯ adhate
´sar¯ıraAsant¯ apah
.
?
iii\axvao
¯
a: (sakhy¯ a sah’ ˆ opavis
.
t
.
¯ a)

laddh’Aˆ ausadho sam
.
pa- ,.;,
dam
.
uvasamam
.
gamissadi k¯ alen
.
a.

:¡o
acr ruiii: rui iassiox
suax´ uxraia: (recites)
,.o,
Your heart I do not know,
cruel one,
but Love day and night painfully inflames
my limbs, which long for you.
xixc: (approaches joyfully)
Love may inflame you incessantly,
slender girl, but me he consumes;
day does not wreak havoc on the night-lily pond
as much as it does on the moon.
iiiixos: (looking, stand up happily) We bid welcome to this
wish that is granted without delay by merely thinking
of it. (Shak´ untala wants to get up.)
suax´ uxraia: (to herself, in turmoil) My heart! Beating like ,.;c
this you will not get anything done. (Tries to stand up.)
xixc: Do not exhaust yourself!
Your limbs, cleaving to the bed of flowers,
garlanded with quickly faded lotus fibers,
acutely inflamed,
need not observe decorum.
axas´ u\a: May our friend grace this part of the stone slab.
Kixc: (sits down) Priyam·vada! I hope your friend is not
too badly afflicted by this inflammation of her body.
iii\ax·vaoa: (sits down with her friend) Now that the cure ,.;,
is found, it will die down in due course.
:¡;
suax´ uxraia’s iicocxiriox
axas¯ u\
¯
a: (jan’ B ˆ antikam)

Priyamvade! «k¯ alen
.
a» tti kim
.
?
pekkha, mehaAn
.
¯ ad’A¯ ahadam
.
via ma¯ urim
.
n
.
imes’Aantaren
.
a
pacc¯ agadam
.
piaAsahim
.
.

´
saxuxrai
¯
a: (saBlajj¯ a tis
.
t
.
hati.)
iii\axvao
¯
a:

mah¯ aA bh¯ aa! don
.
ham
.
pi vo an
.
n
.
on
.
n
.
’A ˆ an
.
ur¯ ao
paccakkho, sah¯ı A sin
.
eho un
.
a mam
.
pun
.
ar A uttaA v¯ adin
.
im
.
karedi.

i
¯
a;
¯
a: ucyat¯ am. vivaks
.
itam
.
hy anuktam anut¯ apam
.
janayati.
iii\axvao
¯
a:

ten
.
a hi sun
.
¯ adu mah¯ aAr¯ ao.

,.ïc
i
¯
a;
¯
a: avahito ’smi.
iii\axvao
¯
a:

iam
.
n
.
o sah¯ı tumam
.
yeva uddisia bhaavad¯ a
Maan
.
en
.
a imam
.
¯ıdisam
.
avatth”Aantaram
.
n
.
¯ıd¯ a. t¯ a arahasi
abbhuvatt¯ıe se j¯ıvidam
.
avalambidum
.
.

i
¯
a;
¯
a: anugr
.
h¯ıto ’smi.
´
saxuxrai
¯
a: (saBsmitam)

hal¯ a! alam
.
vo anteA uraA vih¯ araA pa-
yyussuen
.
a r¯ a’Aˆ esin
.
¯ a uvaruddhen
.
a!

i
¯
a;
¯
a: sundari!
,.ï,
:¡ï
acr ruiii: rui iassiox
axas´ u\a: (in private) Priyam·vada! What do you mean “in
due course”? Look! Our dear friend is staring like a pea-
hen revived in a flash by the rumbling sound of clouds.
suax´ uxraia: (Remains bashful.)
iii\ax·vaoa: Favored lord! Your mutual love is obvious,
but affection for my friend makes me want to state the
obvious.
xixc: Speak up. Not saying what is on your mind leads to
regret.
iii\ax·vaoa: Then may the great king lend me an ear. ,.ïc
xixc: I am attentive.
iii\ax·vaoa: This friend of ours has been reduced to this
state by the God of love because of you. Therefore you
must be so kind as to save her life.
xixc: I would be honored.
suax´ uxraia: (smiling) My friend! Stop making trouble for
the royal sage who is restless to enjoy himself in his
zenana.
xixc: Fair one!
,.ï,
:¡,
suax´ uxraia’s iicocxiriox
idam ananyaApar¯ ayan
.
am anyath¯ a
hr
.
dayaAsam
.
nihite hr
.
dayam
.
mama
yadi samarthayase madir”A¯ eks
.
an
.
e
madanaAb¯ an
.
aAhato ’pi hataf punah
.
.
axas¯ u\a:

vaassa! bahuA vallabh¯ a r¯ a¯ an
.
o sun
.
¯ıanti. jadh¯ a n
.
o
sah¯ı bandhuAan
.
e asoan
.
¯ı¯ a bhodi tadh¯ a n
.
ivv¯ ahehi.

i
¯
a;
¯
a: bhadre!
parigrahaAbahutve ’pi
dve pratis
.
t
.
he kulasya me
dharmen
.
’ ˆ ollekhit¯ a Laks
.
m¯ıh
.
sakh¯ı ca yuvayor iyam.
unui:

an
.
uggahida mha.

,.,c
´
saxuxrai
¯
a:

hal¯ a! maris¯ avedha loaAv¯ alam
.
jam
.
kim
.
ca amhe-
him
.
uva¯ ar’ A ˆ adikkamen
.
a v¯ısambha A pal¯ avin
.
¯ıhim
.
bhan
.
i-
dam
.
.

saxu\au:

jen
.
a tam
.
mantidam
.
so maris¯ avedu. an
.
n
.
assa ja-
n
.
assa ko accao? parokkham
.
ko v¯ a kim
.
n
.
a mantedi?

i
¯
a;
¯
a: (saBsmitam)
apar¯ adham imam
.
tatah
.
sahis
.
ye
eyadi rambh’A ¯ oru tav’ ˆ a˙ ngaArecit’Aˆ ardhe
kusum’A¯ astaran
.
e klam’Aˆ apaham
.
me
sujanatv¯ ad anumanyase ’vak¯ a´sam.
:,c
acr ruiii: rui iassiox
You whose eyes intoxicate like wine,
you who are sheltered within my heart,
if you should believe this heart of mine
which is intent on no other to be otherwise,
then, already wounded by Love’s arrow,
I am wounded again.
axas´ u\a: My friend! We hear that kings have many con-
sorts. Conduct yourself so that our friend is not to be
pitied by her kinsfolk.
xixc: Fair one!
Though I may take many wives,
two will support my lineage,
the Goddess of fortune made manifest
by righteousness,
and this friend of yours.
noru: We are obliged. ,.,c
suax´ uxraia: Friends! Youmust pleadfor the world-protec-
tor’s pardon, for the things we said, when, overstepping
the bounds of courtesy, we chattered in private.
iiiixos: Only a person with whom one converses can par-
don. Who else can be offended? Who might not be
saying who knows what behind your back?
xixc: (smiling)
I can tolerate this transgression, provided,
O smooth-thighed girl, you make some space
for me,
as a friend, on this flower bed half vacated
by your limbs.*
:,:
suax´ uxraia’s iicocxiriox
iii\axvao
¯
a:

ettien
.
a un
.
a de tut
.
t
.
h¯ı bhave?

,.,,
´
saxuxrai
¯
a: (saBros
.
am iva)

virama dullalide! ed¯ avatth¯ ae vi
me k¯ıl
.
asi.

axas¯ u\
¯
a: (bahir vilokya)

Piam
.
vade, esa miaApodao ido ta-
do din
.
n
.
aAdit
.
t
.
h¯ı ussuo n
.
¯ un
.
am
.
m¯ adaram paribbhat
.
t
.
ham
.
an
.
n
.
esadi. t¯ a sam
.
joja¨ıssam
.
d¯ ava enam
.
.

(ity uttis
.
t
.
hati.)
iii\axvao
¯
a:

n
.
am
.
cavalao kkhu eso! e¯ ain
.
¯ı n
.
iojedum n
.
a
p¯ aresi. t¯ a aham
.
pi de an
.
uvat
.
t
.
idum
.
kara¨ıssam
.
.

(ubhe pra-
sthite.)
´
saxuxrai
¯
a:

hal¯ a! an
.
n
.
adar¯ a vo gacchadu! an
.
n
.
adh¯ a asaran
.
a
mhi.

unui: (saBsmitam)

jo puhav¯ıe saran
.
am
.
so tuha sam¯ıve.

(iti ,.:cc
nis
.
kr¯ ante.)
´
saxuxrai
¯
a:

kadham
.
gadam
.
yeva?

i
¯
a;
¯
a: alam ¯ avegena. nanv ayam ¯ ar¯ adhayit¯ a janas tava sakh¯ıA
bh¯ umau vartate.
kim
.
´s¯ıtalaih
.
klamaAvinodibhir ¯ ardraAv¯ at¯ an
sa˜ nc¯ alay¯ ami nalin¯ıAdalaAt¯ alaAvr
.
ntaih
.
a˙ nke nidh¯ aya caran
.
¯ av uta padmaAt¯ amrau
sam
.
v¯ ahay¯ ami karabh’A ¯ oru yath¯ aAsukham
.
te?
´
saxuxrai
¯
a:

n
.
a m¯ an
.
an
.
¯ıe jan
.
e att¯ an
.
aam
.
avar¯ adha¨ıssam
.
.

(a-
vasth¯ aBsadr
.
´sam utth¯ aya prasthit¯ a.)
:,:
acr ruiii: rui iassiox
iii\ax·vaoa: But will that much be enough to satisfy you? ,.,,
suax´ uxraia: (as if angrily) Stop it, you precocious girl! You
poke fun at me even while I am in such a sorry state.
axas´ u\a: (looking outside) Priyam·vada! This anxious fawn
is casting its eyes here and there. Surely he is looking for
his lost mother. I will go and reunite him. (With this she
stands up.)
iii\ax·vaoa: My, is he not frisky! You’ll never catch him
alone. I will assist you. (Both set off.)
suax´ uxraia: My friends! Only one of you must go! Oth-
erwise I am helpless.
noru: (smiling) He who is the refuge of the world is with ,.:cc
you. (With this they exit.)
suax´ uxraia: What, they have just gone?
xixc: Do not be alarmed. Have not I, who try to win your
favor, taken the place of your friends?
Shall I stir up moist breezes
with cool lily-petal fans,
removing your languor?
Or shall I, laying your feet, red as lotuses,
on my lap, rub them to relieve you,
O smooth-thighed girl?
suax´ uxraia: I will not let myself disrespect a person I
ought to honor. (Gets up in a manner befitting her condi-
tion and sets off.)
:,,
suax´ uxraia’s iicocxiriox
i
¯
a;
¯
a: (avas
.
t
.
abhya) sundari! aparinirv¯ an
.
o ’yam
.
divasa, iyam
.
,.:c,
ca te ’vasth¯ a.
utsr
.
jya kusumaA´sayanam
.
kadal¯ıAdalaAkalpitaAstan’A¯ avaran
.
¯ a
katham ¯ atape gamis
.
yasi
parip¯ an
.
d
.
uraApelavair a˙ ngaih
.
?
´
saxuxrai
¯
a:

sah¯ıAmettaAsaran
.
¯ a kam
.
v¯ a saran
.
a¨ıssam?

i
¯
a;
¯
a: id¯ an¯ım
.
vr¯ıd
.
ito ’smi.
´
saxuxrai
¯
a:

n
.
a kkhu ayyaAuttam
.
, devvam uv¯ alah¯ ami!

i
¯
a;
¯
a: kim anuk¯ ulaAk¯ arin
.
a up¯ alabhyate daivasya? ,.::c
´
saxuxrai
¯
a:

kadham
.
d¯ an
.
im n
.
a uv¯ alabhissam
.
jam
.
attan
.
o
an
.
¯ısam
.
paraAgun
.
ehim
.
mam
.
oh¯ asedi?

i
¯
a;
¯
a: (svaBgatam)
apy autsukye mahati na varaA
pr¯ arthan¯ asu prat¯ ary¯ ah
.
k¯ a˙ nks
.
antyo ’pi vyatikaraAsukham
.
k¯ atar¯ ah
.
sv’Aˆ a˙ ngaAd¯ ane
¯ ab¯ adhyante na khalu Madane-
n’ ˆ api labdh’A¯ aspadatv¯ ad
¯ ab¯ adhante ManasiAjam api
ks
.
iptaAk¯ al¯ ah
.
kum¯ aryah
.
.
:,¡
acr ruiii: rui iassiox
xixc: (stopping her) Fair one! The day is not yet ended, and ,.:c,
consider your condition.
How can you venture forth into the heat,
with your delicate limbs so pale,
forsaking your flower bed in this cloister,
shielding your breast with an armor of plantain
petals?
suax´ uxraia: My sole refuge is my friends. Whom can I
turn to for protection?
xixc: Now I am shamed.
suax´ uxraia: I do not reproach the king,* but fate.
xixc: Why should you reproach fate that so favors you? ,.::c
suax´ uxraia: Why should I not reproach that which mocks
me, who is not mistress of herself, with the virtues of
another?
xixc: (to himself )
Virgins, though they have a deep yearning,
frustrate the advances of their lovers;
though they crave the bliss of union,
they are fearful of yielding their bodies.
It is not so much that they are troubled by Love
once it has found a foothold, but that they,
wasting time, trouble Love.
:,,
suax´ uxraia’s iicocxiriox
´
Sakuntal¯ a prasthit” ˆ aiva.
i
¯
a;
¯
a: (svaBgatam) katham ¯ atmanaf priyam
.
na karis
.
ye? (ut- ,.::,
th¯ ay’ ˆ opasr
.
tya pat
.
’Bˆ ant¯ ad avalambate.)
´
saxuxrai
¯
a:

Porava! mu˜ nca mam
.
!

i
¯
a;
¯
a: bhavati tad¯ a mu˜ nc¯ ami.
´
saxuxrai
¯
a:

kad¯ a?

i
¯
a;
¯
a: yad¯ a surataAj ˜ no bhavis
.
y¯ ami.
´
saxuxrai
¯
a:

maan
.
’A ˆ avat
.
t
.
had
.
d
.
ho vi n
.
a attan
.
o kan
.
n
.
a¯ aA an
.
o
,.::c
pahavadi. bh¯ uyo vi d¯ ava sah¯ıAan
.
am
.
an
.
um¯ an
.
a¨ıssam
.
.

i
¯
a;
¯
a: (muh¯ urtam upavi´sya) tato moks
.
y¯ ami.
´
saxuxrai
¯
a: (kr
.
takaBkop¯ a)

Porava, rakkha vinaam
.
! ido tado
is¯ıo sa˜ ncaranti.

i
¯
a;
¯
a: (di´so ’valokya) katham
.
prak¯ a´sam asmi nirgatah
.
? (saB
sambhramam
.
´
Sakuntal¯ am
.
muktv¯ a tair eva padair niva-
rtate.)
´
saxuxrai
¯
a: (stokam upagamya s’ B ˆ a˙ ngaB bha˙ ngam)

Porava!
an
.
icch¯ aAp¯ urao vi dam
.
san
.
aAmettaAsuhaAdo n
.
a te aam
.
jan
.
o
visumaridavvo.

i
¯
a;
¯
a: sundari,
,.::,
:,o
acr ruiii: rui iassiox
Shak´ untala is about to go.
xixc: (to himself ) Why should I not do what I wish? (Arises, ,.::,
approaches her and holds on to the hem of her garment.)
suax´ uxraia: P´ aurava! Let me go!
xixc: Lady, I will let you go.
suax´ uxraia: When?
xixc: When I have made love to you.
suax´ uxraia: Even if overwhelmed by passion, a daughter ,.::c
is not her own mistress. On top of that, I must ask my
friends’ permission.
xixc: (sits for a moment) Then I will let you go.
suax´ uxraia: (feigning anger) P´ aurava! Maintain decorum!
Seers pass by here.
xixc: (looking around) What? I have come out into the
open? (Startled, he lets go of Shak´ untala and retraces his
steps.)
suax´ uxraia: (approaching a little bit, with her body curved)
P´ aurava! Though I do not fulfill your desire, giving you
only the pleasure of sight, you must not forget me.
xixc: O beautiful one!
,.::,
:,;
suax´ uxraia’s iicocxiriox
tvam
.
d¯ uram api gacchant¯ı
hr
.
dayam
.
na jah¯ asi me;
din’Aˆ avas¯ anaAcch¯ ay” ˆ eva
puroAm¯ ulam
.
vanasApateh
.
.
´
saxuxrai
¯
a: (stokam iva gatv¯ a)

haddh¯ı n
.
a me caran
.
¯ a pu-
roA muh¯ a pahavanti. imehim
.
ayya A uttassa kuravaehim
.
vavahid¯ a pacch¯ ado lad¯ aA man
.
d
.
avaassa pekkhissam
.
d¯ ava
se bh¯ av’Aˆ anubandham
.
.

(tath¯ a karoti.)
i
¯
a;
¯
a: priye! m¯ am evam anur¯ ag’Aˆ aikaArasam
.
samutsr
.
jya pra-
sthit” ˆ aiv’ ˆ asi nirapeks
.
am
.
gantum.
anirday’A ˆ opabhogyasya
r¯ upasya mr
.
dunas tath¯ a
d¯ arun
.
am
.
khalu te cetah
.
´sir¯ıs
.
asy’ ˆ eva bandhanam?
´
saxuxrai
¯
a:

imam
.
sun
.
ia n
.
a me atthi vihavo gantum
.
.

,.:,c
i
¯
a;
¯
a: kim ih’ ˆ aham
.
samprati priy¯ a A ´s¯ unye karomi? gami-
s
.
y¯ ami. (prasthito bh¯ umim
.
vilokya) hanta! vy¯ ahatam
.
me
gamanam.
man
.
iAbandhaAvigalitam idam
.
sa˙ nkr¯ ant’A ˆ o´s¯ıraAparimalam
.
tasy¯ ah
.
hr
.
dayasya nigad
.
am iva me
mr
.
n
.
¯ alaAvalayam
.
sthitam
.
puratah
.
(saBbahuBm¯ anam ¯ adatte.)
´
saxuxrai
¯
a: (hastam avalokya)

ammo! dubbalaA sid
.
hilad¯ ae
pabbhat
.
t
.
ham
.
pi edam
.
mun
.
¯ ala A valaam
.
mae n
.
a vin
.
n
.
¯ a-
dam
.
.

:,ï
acr ruiii: rui iassiox
Even though you go far away
you do not leave my heart;
just as the shade of a tree, at the end of the day,
does not leave its eastern root.
suax´ uxraia: (walking a short distance) Alas! My feet have
no power to carry me forward. Concealed fromthe noble
lord by these k´ urabaka shrubs I will see what becomes
of his passion from behind the vine bower. (Does so.)
xixc: My love! You have forsaken me, whose only pleasure
is loving you, to depart indifferently.
The heart within your tender figure,
which may not be enjoyed ruthlessly,
can it be* as hard as the casing of a shir´ısha flower?
suax´ uxraia: Hearing this I have no power to leave. ,.:,c
xixc: What use is this place, desolate without my beloved? I
will leave. (sets out, looks at the ground) Alas! My departure
is checked.
This is her bracelet of lotus fibers before me,
fallen from her wrist,
perfumed with ush´ıra,
as if it were a chain for my heart.
(Picks it up reverentially.)
suax´ uxraia: (looking at her hand) Oh no! I failed to note
that my fiber bracelet has fallen off, loosened by my
emaciation.
:,,
suax´ uxraia’s iicocxiriox
i
¯
a;
¯
a: (valay’B¯ abharan
.
am urasi vinyasya) aho sukhaAspar´sah
.
!
anena l¯ıl”A¯ abharan
.
ena te priye ,.:,,
vih¯ aya k¯ antam
.
bhujam atra tis
.
t
.
hat¯ a
janah
.
sam¯ a´sv¯ asita es
.
a duh
.
khaAbh¯ ag
acetanen’ ˆ api sat¯ a na tu tvay¯ a.
´
saxuxrai
¯
a:

ado avaram
.
asamattha mhi vilambidum
.
. bho-
du, eden
.
a yyeva vavadesen
.
a se att¯ an
.
aam
.
dam
.
sa¨ıssam
.
.

(ity upagacchati.)
i
¯
a;
¯
a: (dr
.
s
.
t
.
v¯ a, saBhars
.
am) aye! j¯ıvit’A¯ e´svar¯ı me pr¯ apt¯ a. paride-
vit’A ˆ anantaram
.
pras¯ aden’ ˆ opakartavyo ’smi khalu daiva-
sya.
pip¯ as¯ aAks
.
¯ amaAkan
.
t
.
hena
y¯ acitam
.
c’ ˆ alpaAy¯ acin¯ a
navaAmegh’A ˆ ojjhit¯ a c’ ˆ asya
dh¯ ar¯ a nipatit¯ a mukhe.
´
saxuxrai
¯
a: (r¯ aj˜ naf pramukhe sthit¯ a)

a˙ nga! addhaA padhe
sumaria edassa hatthaAbbham
.
sin
.
o mun
.
¯ alaAvalaassa kade
san
.
n
.
iatta mhi. ¯ acakkhidam
.
via me hiaen
.
a tae gahidam
.
ti.
t¯ a khiva idam
.
. m¯ a mun
.
yAan
.
e att¯ an
.
aam
.
mam
.
ca sua¨ıssasi.

i
¯
a;
¯
a: eken’ ˆ abhisandhin¯ a pratyarpayeyam. n’ ˆ anyath¯ a. ,.:¡c
´
saxuxrai
¯
a:

ken
.
a?

i
¯
a;
¯
a: yad’ ˆıdam aham eva yath¯ aAsth¯ anam
.
nive´saye.
´
saxuxrai
¯
a: (svaBgatam)

k¯ a gad¯ı!

:oc
acr ruiii: rui iassiox
xixc: (laying the bracelet on his chest) Ah! How soothing its
touch.
With this playful ornament, O my beloved, ,.:,,
which slipped from your adored arm
and remained here,
this wretched person has been comforted,
even thought it is inanimate
—though not by you.
suax´ uxraia: I am powerless to hold back any longer! Let
me see. I will go to him under this very pretext. (With
this she approaches.)
xixc: (noticing her, joyfully) Ah! The mistress of my life
returns. After my laments, fate has granted me a favor.
Begged by one who asks but rarely,
his throat parched, a downpour
discharged by new-formed clouds
gushed upon his face.
suax´ uxraia: (facing the king) Hurry! When I was halfway,
I remembered that this fiber bracelet had fallen from my
hand and I returned. It was as if my heart was telling me
that you had taken it. Therefore give it back, so that you
do not betray yourself and me to the hermits.
xixc: I’ll hand it over on one condition, not otherwise.
,.:¡c
suax´ uxraia: What?
xixc: That I alone may fasten it in its place.
suax´ uxraia: (to herself ) How can I escape this!
:o:
suax´ uxraia’s iicocxiriox
i
¯
a;
¯
a: imam
.
´sil¯ aApat
.
t
.
am eva sam
.
´sray¯ avah
.
. (ubhau parikramy’
ˆ opavis
.
t
.
au.)
i
¯
a;
¯
a: (
´
Sakuntal¯ aBhastam ¯ ad¯ aya svaBgatam) ,.:¡,
HaraAkop’Aˆ agniAdagdhasya
daiven’ ˆ amr
.
taAvars
.
in
.
¯ a
prarohah
.
sambhr
.
to bh¯ uyah
.
kim
.
svit K¯ amaAtaror ayam?
´
saxuxrai
¯
a: (hars
.
aB roma˜ ncam
.
r¯ upayant¯ı)

tuvaraadu ayyaA
utto!

i
¯
a;
¯
a: (svaBgatam) id¯ an¯ım asmi vi´svasto bhartur ¯ abh¯ as
.
an
.
ena.
(prak¯ a´sam) sundari! n’ ˆ ati´slis
.
t
.
as sandhir asya mr
.
n
.
¯ alaAva-
layasya. yadi te ’bhipr¯ aya etad anyath¯ a ghat
.
ayis
.
y¯ ami.
´
saxuxrai
¯
a: (vihasya)

k¯ alaAkkhevo kusalo. jam
.
te roadi.

i
¯
a;
¯
a: (saBvy¯ ajaBvilambitam; avamucy’ ˆ avalambya ca) sundari, ,.:,c
dr
.
´syat¯ am idam!
ayam hi te ´sy¯ amaAlat¯ aAmanoAharam
.
vi´ses
.
aA´sobh”Aˆ artham iv’ ˆ ojjhit’Aˆ ambarah
.
mr
.
n
.
¯ alaAr¯ upen
.
a navo ni´s¯ aAkarah
.
karam
.
samet’A ˆ obhayaAkot
.
ir ¯ a´sritah
.
.
´
saxuxrai
¯
a:

n
.
a d¯ ava n
.
am
.
pekkh¯ ami, pavan
.
aAkampin
.
¯ a kan
.
-
n
.
AuppalaAren
.
un
.
¯ a kalus¯ıkad¯ a me dit
.
t
.
h¯ı.

:o:
acr ruiii: rui iassiox
xixc: Let’s go to this stone slab. (They both walk and sit
down.)
xixc: (taking Shak´ untala’s hand, to himself ) ,.:¡,
Might this be a sprout of the tree of love, burned
by the fire of Shiva’s anger, revived again
by a chance rain of nectar?
suax´ uxraia: (shows that her hair stands on end with delight)
Be quick, my noble lord!
xixc: (to himself ) Now I am assured by this address used
for a husband. (aloud) Beautiful lady! The clasp of this
lotus-fiber bracelet is not very secure. If you wish, I will
fasten it differently.
suax´ uxraia: (laughs) You are clever at delaying. However
you like it.
xixc: (contrives a delay; fastens it, then holds on to her) Look ,.:,c
at this, my beautiful one!
For this your arm, ravishing
like a dark vine,
appears as if graced
by the new moon
in the form of a fiber bracelet,
who has rejected the sky
because of your hand’s superior beauty,
and finds himself spliced together
at both tips.
suax´ uxraia: I cannot really see it. I am blinded by pollen
from my ear-lotus, shaken by the breeze.
:o,
suax´ uxraia’s iicocxiriox
i
¯
a;
¯
a: (saBsmitam.) yadi manyase tad” ˆ aham en¯ am
.
vadanaA
m¯ arutena vi´sad¯ am
.
karis
.
ye.
´
saxuxrai
¯
a:

an
.
ukampid¯ a bhaveam
.
. kim
.
un
.
a n
.
a de v¯ısas¯ a-
mi.

i
¯
a;
¯
a: m¯ a m” ˆ aivam. navo hi parijanah
.
sevy¯ an¯ am ¯ ade´s¯ at pa- ,.:,,
ram
.
na vartate.
´
saxuxrai
¯
a:

eso yyeva de accuva¯ aro av¯ısambhaAjanao.

i
¯
a;
¯
a: n’ ˆ aham evam raman
.
¯ıyam ¯ atmanah
.
sev”A ˆ avak¯ a´sam
.
´sithilayis
.
ye. (mukham unnamayitum
.
pravr
.
ttah
.
.)
´
saxuxrai
¯
a: (k¯ amaBpratis
.
edham
.
r¯ upayant¯ı viharati.)
i
¯
a;
¯
a: aye! parya´srut¯ am
.
te gatam
.
caks
.
uh
.
. alam asm¯ an praty
avinayaA´sa˙ nkay¯ a. unn¯ıyat¯ am ¯ ananam!
´
saxuxrai
¯
a: (kim
.
cid dr
.
s
.
t
.
v¯ a sthit¯ a.)
,.:oc
i
¯
a;
¯
a: (mukham unnamayy’ ˆ a˙ ngul¯ıbhy¯ am
.
, svaBgatam)
c¯ arun
.
¯ a sphuriten’ ˆ ayam
apariks
.
ataAkomalah
.
pip¯ asato mam’ ˆ anuj ˜ n¯ am
.
karoty eva priy”Aˆ adharah
.
.
´
saxuxrai
¯
a:

pad
.
in
.
n
.
¯ adam
.
mantharo via ayyaA utto sam
.
vu-
tto.

i
¯
a;
¯
a: sundari! karn
.
’ A ˆ otpalaA sam
.
nikars
.
¯ ad ¯ıks
.
an
.
aA s¯ adr
.
´syena
m¯ ud
.
ho ’smi. (mukhaBm¯ arutena netram
.
si˜ ncati.)
:o¡
acr ruiii: rui iassiox
xixc: (smiling) If you permit I will blow upon it to clear it.
suax´ uxraia: I would become someone to be pitied. And,
anyway, I don’t trust you!
xixc: Don’t say that! For a new servant does not overstep ,.:,,
the orders of those whom he serves.
suax´ uxraia: It’s your excessive servility that arouses my
distrust.
xixc: I will not let this delightful opportunity to make
myself useful slip through my fingers. (He begins to raise
up her face.)
suax´ uxraia: (Mimes resistance, then stops.)
xixc: Alas! Your eye is filled with tears! Do not fear mis-
conduct from me. Raise your face!
suax´ uxraia: (Casts him a partial glance.) ,.:oc
xixc: (raising her face with two fingers, to himself )
By its attractive trembling,
my beloved’s lip,
tender because never bitten,
appears to invite me who thirsts for it.
suax´ uxraia: My noble lord seems hesitant to fulfill his
promise.
xixc: My beautiful lady, because your ear-lotus is so close,
I was perplexed by its similarity to your eye. (He blows
on her eye.)
:o,
suax´ uxraia’s iicocxiriox
´
saxuxrai
¯
a:

bhodu! pa¨ıdittha mhi sam
.
vutt¯ a. lajj¯ ami un
.
a ,.:o,
an
.
uva¯ arin
.
¯ı pi’A¯ arin
.
o ayyaAuttassa.

i
¯
a;
¯
a: kim anyat?
idam apy upakr
.
tam abale
surabhi mukham
.
may¯ a yad ¯ aghr¯ atam
. . . (saBsmitam) na tu kamalasya madhuAkarah
.
sam
.
tus
.
yati gandhaAm¯ atren
.
a.
´
saxuxrai
¯
a:

aAsantosen
.
a kim
.
kara¨ıssasi?

i
¯
a;
¯
a: idam! (iti vyavasitah
.
.)
xiiaru\i: ayy¯ a Godam¯ı! ,.:;c
´
saxuxrai
¯
a: (karn
.
am
.
dattv¯ a, saBsam
.
bhramam)

Porava! es¯ a
mama sar¯ıraAvutt¯ ant’A ˆ ovalabh¯ aa t¯ adassa dhammaAkan
.
¯ıas¯ı
uvatthid¯ a. t¯ a vid
.
av’Aˆ antarido hohi.

i
¯
a;
¯
a: (tath¯ a karoti.)
tataf pravi´sati p¯ atraBhast¯ a caurax¯ı.
caurax¯ı: (upasr
.
tya)

acc¯ ahidam
.
. idha devad¯ aAsah¯ a¯ a cit
.
t
.
ha-
si.

´
saxuxrai
¯
a:

id¯ an¯ım
.
yeva M¯ alin
.
im
.
avad
.
in
.
n
.
¯ ao Piam
.
vad¯ aA ,.:;,
miss¯ ao.

caurax¯ı: (darbh’Bˆ odakena
´
Sakuntal¯ am abhyuks
.
ya) vatse, ni-
r¯ ab¯ adh¯ a tvam
.
ciram
.
j¯ıva.

avi lahuaAsant¯ av¯ aim
.
de a˙ ng¯ a-
im
.
?

:oo
acr ruiii: rui iassiox
suax´ uxraia: That will do! I feel better now. But I am
,.:o,
ashamed that I render no service to my noble lord who
shows me such kindness.
xixc: What more could I want.
Even this is a favor, girl,
that I have smelled your fragrant face;
. . . (smiling) but the bee is not content
just with the scent of the lotus.
suax´ uxraia: If not content, what will you do?
xixc: This! (Stops at that moment.)
oiisraci: Venerable G´ autami!
,.:;c
suax´ uxraia: (listens, alarmed) P´ aurava! Father’s younger
sister-in-dharma has come to check on my well-being.
Hide among the shrubs!
xixc: (Does so.)
c
´
auraxi enters with a bowl in her hand.
c
´
auraxi: (approaching) Scandalous! Here you are with just
God to keep you company.
suax´ uxraia: Just now Priyam·vada and company have de- ,.:;,
scended to the M´ alini.
c
´
auraxi: (sprinkles Shak´ untala with darbha water) Child,
live long in good health! Your limbs are but lightly
inflamed?
:o;
suax´ uxraia’s iicocxiriox
´
saxuxrai
¯
a:

atthi viseso.

caurax¯ı:

vacche parin
.
ado diaso. t¯ a ehi. ud
.
aam yeva gac-
chamha.

´
saxuxrai
¯
a: (apav¯ arya)

hiaa, man
.
oAradhaAdullaham
.
jan
.
am
.
p¯ avia k¯ alaAharan
.
am
.
karesi, an
.
usaaAvighat
.
t
.
idassa kadham
.
de sam
.
padam
.
?

(pad¯ ani gatv¯ a, pratinivr
.
tya, prak¯ a´sam)

la-
d¯ aAgharaa! ¯ amantemi tumam
.
pun
.
o vi paribho¯ aa!

(iti ni-
s
.
kr¯ ante.)
i
¯
a;
¯
a: (p¯ urvaBsth¯ anam upetya, saBnih
.
´sv¯ asam) aho vighnava- ,.:ïc
tyaf pr¯ arthitaAsiddhayah
.
. may¯ a hi,
muhur a˙ nguliAsam
.
vr
.
t’Aˆ adhar’A ¯ os
.
t
.
ham
pratis
.
edh’Aˆ aks
.
araAviklav’Aˆ abhidh¯ anam
mukham am
.
saAvivarti paks
.
mal’Aˆ aks
.
y¯ ah
.
katham apy unnamitam
.
, na cumbitam
.
tu.
kva nu khalu s¯ ampratam
.
gacch¯ ami? atha v¯ a ih’ ˆ aiva pri-
y¯ a A paribhukte ’timukta A lat¯ a A valaye sth¯ asy¯ ami. (sarvato
’valokya.)
:oï
acr ruiii: rui iassiox
suax´ uxraia: I feel better.
c
´
auraxi: Child, the day is at its end. So come! Let us go
to the cottage.
suax´ uxraia: (aside) O my heart, when you attained that
person, who is as unattainable as a wish, you strung him
along, so how can you now be tormented by remorse?
(walks a few steps, turns around, aloud) Bower of vines! I
bid you farewell until I may enjoy you again! (With this
they exit.)
xixc: (returns to his former position, sighing) Ah! The attain- ,.:ïc
ment of desires is beset with difficulties. For
The face of the girl with long eyelashes,
its lower lip covered by her fingers repeatedly,
falteringly stammering syllables of denial,
averted to her shoulder;
I somehow managed to raise it up,
—but it was not kissed.
Where shall I go now? Rather, I must remain right here in
the abandoned vine enclosure enjoyed by my beloved.
(Looking all around.)
:o,
suax´ uxraia’s iicocxiriox
tasy¯ af pus
.
paAmay¯ı ´sar¯ıraAlulit¯ a
´sayy¯ a ´sil¯ ay¯ am iyam
k¯ ante manmathaAlekha es
.
a nalin¯ıA
patre nakhair arpitah
.
hast¯ ad bhras
.
t
.
am idam
.
bis’A¯ abharan
.
am ity
¯ as¯ adya h¯ın’A¯ eks
.
an
.
¯ an
nirgantum
.
sahas¯ a na vetasaAgr
.
h¯ ad
¯ı´so ’smi ´s¯ uny¯ ad api.
h¯ a h¯ a dhik! na samyag ¯ aces
.
t
.
itam
.
may¯ a priy¯ am ¯ as¯ adya k¯ alaA
haran
.
am
.
kurvat¯ a. id¯ an¯ım
.
«rahah
.
Apraty¯ asattim
.
,.:ï,
yadi suAvadan¯ a y¯ asyati punah
.
na k¯ alam
.
h¯ asy¯ ami
pran
.
ayaAdurav¯ ap¯ a hi vis
.
ay¯ ah
.

iti klis
.
t
.
am
.
vighnair
gan
.
ayati ca me m¯ ud
.
haAhr
.
dayam
.
priy¯ ay¯ af pratyaks
.
am
.
kim api ca tath¯ a k¯ ataram idam.
xiiaru\i: r¯ ajan! r¯ ajan!
s¯ ayam
.
tane savanaAkarman
.
i sampravr
.
tte
ved¯ım
.
hut’Aˆ a´sanavat¯ım
.
paritaf prayast¯ am
ch¯ ay¯ a´s caranti bahudh¯ a bhayam ¯ adadh¯ an¯ ah
.
sam
.
dhy”Aˆ abhraAk¯ ut
.
aAkapi´s¯ af pi´sit’Aˆ a´san¯ an¯ am.
:;c
acr ruiii: rui iassiox
This is her bed of flowers upon the boulder,
disturbed by her body;
this is the love letter incised
on the lovely lily leaf with her nails;
this is the ornament of lotus filaments
fallen from her hand—
encountering these,
because they dim my eyes, I am powerless
to wrest myself away
from the reed enclosure, thought it be empty.
Alas! I did not do well by tarrying when I had my beloved.
Now
“If the fair-faced girl should come ,.:ï,
to another secret rendezvous
I will not waste any time;
Prizes cannot be won as favors!”
So schemes my foolish heart,
thwarted by complications,
but when face to face with my beloved
somehow it is nonetheless hesitant.
oiisraci: King! King!
The evening libation has commenced.
The shades of flesh-eating demons, tawny
like the crests of twilight clouds,
prowl around the altar flaring
with the sacrificial fire, spreading terror.
:;:
suax´ uxraia’s iicocxiriox
i
¯
a;
¯
a: (saB sambhramam.) bho bhos tapasvino! m¯ a bhais
.
t
.
a!
ayam aham ¯ agato ’smi!
iti nis
.
kr¯ antah
.
.
iti mah¯ aAkaviAK¯ alid¯ asaAviracite
,.:,c
´
Sakuntal¯ aAn¯ amani n¯ at
.
ake
trit¯ıyo ’ ˙ nkah
.
.
:;:
acr ruiii: rui iassiox
xixc: (alarmed) Ye hermits! Fear not, here I come!
Exit.
The end of the third act in the play called “Shak´ untala,” ,.:,c
composed by the great poet
Kali·dasa.
:;,
Act Four:
The Farewell
tataf pravi´satah
.
kusum’B ˆ avacayam
.
n¯ at
.
ayantyau tapasviBkan-
yake.
axas¯ u\
¯
a:

Piam
.
vade! ja¨ı vi gandhavven
.
a viv¯ ahaA vihin
.
¯ a n
.
i-
vuttaA kall¯ an
.
¯ a Sa¨ untal¯ a an
.
ur¯ uvaA bhat
.
t
.
i A bh¯ ain
.
¯ı sam
.
vutt¯ a
tah¯ a vi n
.
a n
.
ivuttam
.
me hiaam
.
.

iii\ax
.
vao
¯
a:

kadham
.
via?

axas¯ u\
¯
a:

ajja so r¯ a¯ a itthiAparisamatt¯ıe is¯ıhim
.
visajjido atta-
n
.
o n
.
aaram
.
pavisia anteure idoAgadam
.
sumarissadi v¯ a n
.
a
vatti.

iii\ax
.
vao
¯
a:

ettha v¯ısatth¯ a hohi. n
.
a t¯ adis¯ a ¯ aidiAvises¯ a gu- ¡.,
n
.
aAvirohin
.
o honti. itthiam
.
un
.
a cintan
.
ijjam
.
. t¯ ado d¯ an
.
im
.
im
.
am
.
vuttantam
.
sun
.
ia n
.
a j¯ an
.
e kim
.
pad
.
ivajjissadi tti. . .

axas¯ u\
¯
a:

sahi! jadh¯ a mam
.
pucchasi tadh¯ a t¯ adassa an
.
uma-
dam
.
piam
.
ca.

iii\ax
.
vao
¯
a:

kadham
.
via an
.
umadam
.
piam
.
ca?

axas¯ u\
¯
a:

kim
.
an
.
n
.
am
.
? «gun
.
avade kan
.
n
.
a¯ a pad
.
iv¯ ada¨ıdavva»
tti aam
.
d¯ ava pad
.
hamo se sa˙ nkappo. tam
.
ja¨ı devvam
.
sam
.
-
p¯ adedi n
.
am
.
appa¯ asen
.
a kad’Aattho gurvAan
.
o.

iii\ax
.
vao
¯
a:

evan
.
An
.
Aedam
.
!

(pus
.
paBbh¯ ajanam avalokya)

sa-
hi avacid¯ aim
.
khu BaliAkammaApayyatt¯ aim
.
kusum¯ aim
.
.

axas¯ u\
¯
a:

sahi! Sa¨ untal¯ ae vi sohaggaAdevad¯ ao accan
.
¯ı¯ ao.

¡.:c
:;o
Enter the two hermit-daughters picking flowers.
axas´ u\a: Priyam·vada! Even though Shak´ untala has found
her happiness in a marriage of secret consent, winning a
worthy husband, nevertheless my heart is uneasy.
iii\ax·vaoa: How come?
axas´ u\a: Today, at the end of the sacrifice, the seers have
dismissed the king. Returning to the women’s apart-
ments in his city, will he remember what happened here
or not?
iii\ax·vaoa: You can rest assured about it. Men of such
¡.,
distinguished composure do not turn against their vir-
tues. But I am worried about this: When father hears of
this affair I do not know what will happen. . .
axas´ u\a: My dear! If you ask me, father will approve and
rejoice.
iii\ax·vaoa: What do you mean, “approve and rejoice?”
axas´ u\a: How could it be otherwise? “My daughter should
be entrusted to a worthy suitor,”—such was his original
resolve. If fate itself has brought this about, then the
patriarch has achieved his purpose without effort.
iii\ax·vaoa: That’s right! (looking at her flower basket)
My dear! We have collected ample flowers for the Bali-
offering.
axas´ u\a: My dear! The deities directing Shak´ untala’s mar- ¡.:c
ital harmony need to be worshipped, too.
:;;
suax´ uxraia’s iicocxiriox
iii\ax
.
vao
¯
a:

jujjadi!

(tad eva karma n¯ at
.
ayatah
.
.)
xiiaru\i: ayam aham
.
bhoh
.
!
axas¯ u\
¯
a: (´srutv¯ a)

sahi! adidhin
.
¯ a via n
.
ivedidam
.
.

iii\ax
.
vao
¯
a:

sahi! n
.
am
.
ud
.
ajaAsan
.
n
.
ihid¯ a Sa¨ untal¯ a.

axas¯ u\
¯
a:

¯ am
.
, ajja un
.
a hiaen
.
a n
.
a san
.
n
.
ihid¯ a.

¡.:,
iii\ax
.
vao
¯
a: (saBtvaram
.
)

ten
.
a hi bhodu etti¯ aim
.
kusum¯ a-
im
.
.

(prasthit¯ a.)
xiiaru\i: ¯ ah
.
! atithiAparibh¯ avini!
vicintayant¯ı yam anAanyaAm¯ anas¯ a
yato ’tithim
.
vetsi na m¯ am upasthitam
smaris
.
yati tv¯ am
.
na sa bodhito ’pi san
kath¯ am
.
pramattaf prathamam
.
kr
.
t¯ am iva.
unui: (´srutv¯ a, vis
.
an
.
n
.
e)

haddh¯ı! yeva sam
.
vuttam
.
! kassim
.
pi
p¯ u”Aˆ arihe avaraddh¯ a sun
.
n
.
aAhia¯ a piaAsah¯ı.

axas¯ u\
¯
a: (avalokya)

n
.
a kkhu jassim
.
tassim
.
sulaha A kovo ¡.:c
kkhu eso Duvv¯ as¯ a mahes¯ı hud¯ aso via acalidaA p¯ ad’A od-
dh¯ ar¯ ae gad¯ıe gacchidum
.
pa¨ utto.

iii\ax
.
vao
¯
a:

ko an
.
n
.
o hudavah¯ ado dahidum
.
pahavissadi?
An
.
as¯ ue! gaccha p¯ aesu pad
.
ia pas¯ aehi n
.
am
.
j¯ ava aham
.
se
aggh’A’A ˆ odaam
.
uvakappemi.

:;ï
acr ioui: rui iaiiwiii
iii\ax·vaoa: Of course! (They continue miming the same
action.)
niuixo rui scixis: Ho, here I am!
axas´ u\a: (listening) My dear! It sounds like a guest an-
nouncing himself.
iii\ax·vaoa: My dear! Surely Shak´ untala is near the hut.
axas´ u\a: Yes, but today she is not present with her heart. ¡.:,
iii\ax·vaoa: (hastily) Then this quantity of flowers will
have to suffice. (Sets off.)
niuixo rui scixis: Ah! Derider of guests!
He on whom you mused so single-mindedly,
wherefore you did not perceive
me, come as a guest,
he will not remember you even if reminded,
just as a drunkard does not recall
what was just said.
noru: (listening, dejected) Alas! It has already happened!
Our empty-heartedfriendhas offendedsomeone worthy
of respect.
axas´ u\a: (looking) Oh no! Not just anyone—it is the great ¡.:c
seer Durv´ asas. Quick to lose his temper, he is making
off with unfaltering strides like a fire.
iii\ax·vaoa: Who other than fire himself has power to
burn? Anas´ uya! Throw yourself at his feet to calm him
while I prepare the welcome-water.
:;,
suax´ uxraia’s iicocxiriox
axas¯ u\
¯
a: (nis
.
kr¯ ant¯ a.)
iii\ax
.
vao
¯
a: (pad’Bˆ antare skhalitam
.
nir¯ upya)

ammo! ¯ aveaA
kkhalid¯ ae pabbhat
.
t
.
ham
.
aggaAhatth¯ ado pupphaAbh¯ aan
.
am
.
me. t¯ a pun
.
o vi avacin
.
issam
.
.

(tath¯ a karoti.)
(pravi´sya) axas¯ u\
¯
a:

sahi, sar¯ıraA baddho via kovo kassa so
an
.
un
.
aam
.
gen
.
hadi? kim ca un
.
a s’Aˆ an
.
ukkoso kado.

iii\ax
.
vao
¯
a:

tassim
.
bahuam
.
edam
.
. tado kadhehi kadham
.
¡.:,
via.

axas¯ u\
¯
a:

jad¯ a n
.
ivattidum
.
n
.
a icchadi tad¯ a vin
.
n
.
¯ avido mae:
«bhaavam
.
! pad
.
hamaAbhattim
.
avekkhia ajja tuha ppah¯ a-
vaAvin
.
n
.
¯ adaAs¯ amatthassa duhid¯ aAjan
.
assa bhaavad¯ a avar¯ aho
marisidavvo tti.»

iii\ax
.
vao
¯
a:

tado tado?

axas¯ u\
¯
a:

tado: «n
.
a me vaan
.
am an
.
n
.
adh¯ a bhavidum
.
ariha-
di, ¯ aharan
.
’Aˆ ahin
.
n
.
¯ an
.
aAdam
.
san
.
en
.
a me s¯ avo n
.
ivattissidi» tti
mantaanto yyeva antarihido.

iii\ax
.
vao
¯
a:

sakkam
.
d¯ an
.
im
.
assasidum. atthi ten
.
a r¯ a’Aˆ esin
.
¯ a
sampatthiden
.
a saAn
.
¯ amaA he’Aa˙ nkidam
.
a˙ ngul¯ıam
.
sumara-
n
.
¯ıam
.
ti Sa¨ untal¯ ae saam
.
yyeva hatthe pin
.
addham
.
. tassim
.
ca s’A¯ ah¯ın
.
e aam
.
uv¯ ao bhavissadi tti.

(parikr¯ amatah
.
.)
axas¯ u\
¯
a:

hal¯ a Piam
.
vade! pekkha pekkha! v¯ amaAhatth’A ˆ ova- ¡.,c
n
.
ihidaAvaan
.
¯ a ¯ alihid¯ a via sah¯ı bhat
.
t
.
iAgad
.
¯ ae cint¯ ae att¯ an
.
aam
.
vi es¯ a n
.
a vibh¯ avedi kim
.
un
.
a ¯ agantuam
.
?

iii\ax
.
vao
¯
a:

hal¯ a An
.
as¯ ue! don
.
ham yyeva amhesu eso s¯ a-
vaAvuttanto cit
.
t
.
hadu. rakkhan
.
¯ı¯ a khu pa¨ıdiApelav¯ a sah¯ı.

:ïc
acr ioui: rui iaiiwiii
axas´ u\a: (Exit.)
iii\ax·vaoa: (takes a step and stumbles) Oh no! Stumbling
in my haste, the flower basket has slipped through my
fingers. I will have to gather them again.* (Does so.)
(enter) axas´ u\a: My dear, he is like an incarnation of wrath:
Whose apologies will he accept? But he showed some
mercy.
iii\ax·vaoa: For him that is quite a lot. Tell me, how did ¡.:,
it happen?
axas´ u\a: Whenhe did not want to come back I said to him:
“Your holiness! Consider her former devotion, forgive
now this offense of your daughter whose worthiness you
can perceive by your powers.”
iii\ax·vaoa: What then?
axas´ u\a: Then, saying, “What I have said cannot but come
true; my curse will be lifted by the sight of a token of
recognition”, he vanished.
iii\ax·vaoa: We can breathe now. There is a ring that the
departing royal sage himself put on Shak´ untala’s hand
as a memento. As long as it stays with her this remedy
will work. (Walk about.)
axas´ u\a: Dear Priyam·vada, look, look! Our friend, her ¡.,c
face resting on her left hand, looks like a painting. With
her thoughts engrossed in her husband, she is not even
mindful of herself, how much less of a stranger arriving?
iii\ax·vaoa: Dear Anas´ uya! This affair of the curse must
remain between you and me. We have to protect our
tender-hearted friend.
:ï:
suax´ uxraia’s iicocxiriox
axas¯ u\
¯
a: ko d¯ an
.
im
.
un
.
h’A ˆ odaen
.
a n
.
avaAm¯ aliam
.
si ˜ ncadi.
iti nis
.
kr¯ ante.
prave´sakah
.
.
tataf pravi´sati supt’Bˆ otthitah
.
K¯ a´syapaB´sis
.
yah
.
. ¡.,,
x
¯
a
´
s\aia
´
sis
.
\au
.
: vel”A ˆ opalaks
.
an
.
’ A ˆ artham ¯ adis
.
t
.
o ’smi tatra A
bhavat¯ a Prabh¯ as¯ at pratinivr
.
tten’ ˆ op¯ adhy¯ ayaAK¯ a´syapena.
tat pr¯ ak¯ a´syam
.
nirgatya t¯ avad avalokay¯ ami kim ava´sis
.
t
.
am
.
rajany¯ a iti. (parikramy’ ˆ avalokya) hanta prabh¯ atam. tath¯ a
hi—
karkandh¯ un¯ am upari tuhinam
.
ra˜ njayaty agraAsandhy¯ a
d¯ arbham
.
mu˜ ncaty ut
.
ajaApat
.
alam
.
v¯ıtaAnido may¯ urah
.
vediApr¯ ant¯ at khuraAvilikhit¯ ad
utthita´s c’ ˆ ais
.
a sadyah
.
pa´sc¯ ad uccair bhavati harin
.
o
g¯ atram ¯ ayaccham¯ anah
.
.
api ca,
p¯ adaBny¯ asam
.
ks
.
itiAdharaAguror
m¯ urdhni kr
.
tv¯ a Sumeroh
.
kr¯ antam
.
yena ks
.
apitaAtamas¯ a
madhyamam
.
dh¯ ama Vis
.
n
.
oh
.
so ’yam
.
candraf patati gagan¯ ad
alpaA´ses
.
air may¯ ukhaih
.

d¯ ur’A¯ aroho bhavati mahat¯ am
apy apabhram
.
´saAnis
.
t
.
hah
.
.
:ï:
acr ioui: rui iaiiwiii
axas´ u\a: Who now would sprinkle hot water on a jasmine
vine?
Exeunt ambo.
End of the prelude.
Enter a disciple of K´ ashyapa, arisen from sleep. ¡.,,
oisciiii: His reverence K´ ashyapa, returned formPrabh´ asa,
has sent me to check what time it is. Going out into the
open, I will see what remains of the night. (walks about,
looking) Ah! The dawn breaks. For,
The breaking dawn reddens
the mist hanging over the jujube trees,
the peacock, shaking off sleep, leaves
the darbha thatch of the cottage,
and this antelope, jumping up with a start
from the hoof-scratched verge of the altar,
then stretching its limbs, stands upright.
Moreover,
He who had cast down his rays : placed his feet
upon the peak of Sum´ eru,
greatest of mountains,
he who, dispelling darkness, reached
the middle station of Vishnu,
that moon now falls from the sky
with but few remaining rays—
the towering ascendancy of even the great
ends with a downfall.
:ï,
suax´ uxraia’s iicocxiriox
yat satyam
.
s¯ ury¯ aAcandramasau jagato ’sya sampadAvipattyor ¡.¡c
anityat¯ am
.
dar´sayata iva. tath¯ a ca
y¯ aty ekato ’staA´sikharam
.
patir os
.
adh¯ın¯ am
¯ avis
.
kr
.
t’Aˆ arun
.
aApurah
.
sara ekato ’rkah
.
tejoAdvayasya yugapad vyasan’A ˆ oday¯ abhy¯ am
loko niyamyata iv’ ¯ atmaAda´s”Aˆ antares
.
u.
api ca asmin k¯ ale
antarAhite ´sa´sini s” ˆ aiva kumudvat¯ı me
dr
.
s
.
t
.
im
.
na nandayati sam
.
smaran
.
¯ıyaA´sobh¯ a
is
.
t
.
aAprav¯ asaAjanit¯ any abal¯ aAjanasya
duh
.
kh¯ ani n¯ unam atim¯ atraAdurutsah¯ ani.
tataf pravi´saty apat
.
¯ıBks
.
epen’
ˆ
Anas¯ uy¯ a.
axas¯ u\
¯
a:

evam
.
vi n
.
¯ ama visayaAparam
.
muhassa vi edam
.
n
.
a ¡.¡,
vididam
.
jadh¯ a ten
.
a ran
.
n
.
¯ a Sa¨ untal¯ ae an
.
Aayyad¯ a ¯ aaridavva
tti.

´
sis
.
\au
.
: y¯ avad upasthit¯ am
.
vel¯ am
.
niveday¯ ami. (iti nis
.
kr¯ an-
tah
.
.)
axas¯ u\
¯
a:

pad
.
ibuddh¯ a vi kim
.
kara¨ıssam
.
? n
.
a me utthid¯ ae
cintidesu pabh¯ adaA v¯ av¯ aresu hatth¯ a p¯ ad¯ a v¯ a pahavanti.
saA k¯ amo d¯ an
.
im
.
k¯ amo bhodu, jen
.
a sin
.
iddhaA hia¯ a sah¯ı
asaccaA sandhe jan
.
e padam
.
k¯ arid¯ a. (smr
.
tv¯ a) adha v¯ a n
.
a
tassa r¯ a’Aˆ esin
.
o avar¯ aho Duvv¯ asaAkovo ettha vippakaredi.
an
.
n
.
adh¯ a kadham
.
t¯ adiso r¯ a’Aˆ es¯ı t¯ adis¯ aim
.
van
.
¯ aim
.
mantia
:ï¡
acr ioui: rui iaiiwiii
The sun and moon seemingly show to this world that pros- ¡.¡c
perity and misfortune are impermanent,—a truth. For,
On one side the moon, lord of the herbs, descends
to the western horizon-mountain,
on the other side the sun has appeared,
heralded by dawn;
by the simultaneous descent and rise
of the two luminaries
the world is bound to the fluctuations of life.
Moreover, at this time,
When the moon has disappeared,
the same lily pond no longer gladdens my eyes,
its beauty remaining only in memory;
no doubt, the sorrows caused by the absence
of her beloved are exceedingly hard to bear
for a powerless woman.
Enter Anas´ uya with a toss of the curtain.
axas´ u\a: Even the sage averse to pleasures did not know ¡.¡,
how ignobly the king would behave toward Shak´ untala.
oisciiii: I will announce that it is time. (Exit.)
axas´ u\a: Though I am awake, what can I do? Now that I
am up, my hands and feet lack the strength to carry out
the early morning tasks I had planned. May Love be ap-
peased, now that my tenderhearted friend has placed her
confidence in a person untrue to his word. (remember-
ing) Or, rather, the royal sage is not at fault, the anger of
Durv´ asas is here countermanding him. Otherwise, how
:ï,
suax´ uxraia’s iicocxiriox
ettiassa k¯ alassa lehaAmettaam
.
vi n
.
a vissajja¨ıssadi? (vicin-
tya) ido a˙ ngul¯ıam
.
se ahin
.
n
.
¯ an
.
am
.
visajjema. adha v¯ a duk-
khaAs¯ıle tavassiAan
.
e ko abbhatth¯ıadu. n
.
a a sahiAgaman
.
en
.
a
doso tti vavasidam
.
d¯ an
.
im
.
p¯ aremha, Pah¯ asaA n
.
ivvuttassa
t¯ adaA Kassavassa DussantaA parin
.
¯ıdam
.
¯ avan
.
n
.
aA sattam
.
ko
vi Sa¨ untalam
.
n
.
iveda¨ıssadi? ittham
.
A gade kim
.
n
.
u kkhu
amhehim
.
k¯ adavvam
.
?

tataf pravi´sati Priyam
.
vad¯ a.
iii\ax
.
vao
¯
a:

An
.
as¯ ue. Sa¨ untal¯ ae patth¯ an
.
aAkodu¯ aim
.
kar¯ıan-
ti.

axas¯ u\
¯
a:

sahi. kadham
.
n
.
·edam
.
?

¡.,c
iii\ax
.
vao
¯
a:

An
.
as¯ ue, sun
.
u. id¯ an
.
im
.
suhaAsa¨ıdaAvibuddh¯ ae
Sa¨ untal¯ ae sam¯ıvam
.
gada mhi j¯ ava tam
.
lajj”A ˆ avan
.
ada-
muhim
.
parissajia t¯ adaA Kassavo saam
.
ahin
.
andadi: «dit
.
-
t
.
hi¯ a dh¯ um’A ˆ ovaruddhaAdit
.
t
.
hin
.
o vi jan
.
assa p¯ avake yyeva
¯ ahud¯ı pad
.
id¯ a. suA sissaA pad
.
ip¯ adid¯ a via bijj¯ a asoan
.
ijj” ˆ asi
me sam
.
vutt¯ a. t¯ a ajja yyeva isiApariggih¯ıdam
.
tumam
.
bha-
t
.
t
.
in
.
o sa¯ asam
.
visajjemi tti.»

axas¯ u\
¯
a:

adha ken
.
a ¯ acakkido t¯ adassa aam
.
Sa¨ untal¯ aA vu-
ttanto?

iii\ax
.
vao
¯
a:

t¯ adassa aggi A saran
.
e pavit
.
t
.
hassa kila sar¯ıram
.
vin
.
¯ a chandovad¯ıe v¯ a¯ ae.

:ïo
acr ioui: rui iaiiwiii
could such a royal sage, speaking such words as he did,
not send even a letter after such a long time? (pondering)
We will send him the ring from here to remind him. But
whom among the hermits, familiar only with penitence,
dare we ask? And, because he will assume: “The fault
lies with her friends!” we are powerless. Who can tell
father K´ ashyapa, who has returned from Prabh´ asa, that
Shak´ untala is wedded to Dushy´ anta and pregnant. This
being the situation, what can we do about it?
Enter Priyam·vada.
iii\ax·vaoa: Anas´ uya! The ceremonies for Shak´ untala’s
departure are under way.
axas´ u\a: My dear! How come? ¡.,c
iii\ax·vaoa: Anas´ uya, listen. Just now I went to Shak´ un-
tala, who had awoken from a restful sleep when father
K´ ashyapa embraced her, as she bowed with bashfulness,
and congratulated her: “Luckily, though his vision was
obscuredby smoke, his oblationhas falleninto the sacred
fire. Like wisdom imparted to a bright pupil, you have
not become a cause of grief to me. So this very day I will
send you, escorted by seers, to your husband.”
axas´ u\a: Well, then, who told father about Shak´ untala’s
affair?
iii\ax·vaoa: A disembodied voice, in Vedic verse, when
father had entered the fire-sanctuary.
:ï;
suax´ uxraia’s iicocxiriox
axas¯ u\
¯
a: (saBvismayam)

kadham
.
via?

iii\ax
.
vao
¯
a:

sahi, sun
.
u.

(Sam
.
skr
.
tam ¯ a´sritya pat
.
hati. . . ) ¡.,,
Dus
.
yanten’ ¯ ahitam
.
v¯ıryam
.
dadh¯ an¯ am
.
bh¯ utaye bhuvah
.
avehi tanay¯ am
.
brahman
agniAgarbh¯ am
.
´sam¯ım iva.
axas¯ u\
¯
a: (saBhars
.
am
.
Priyam
.
vad¯ am ¯ a´slis
.
ya)

sahi, piam
.
me,
kim
.
tu Sa¨ untal¯ a n
.
¯ıadi tti ukkan
.
t
.
h¯ aAs¯ ah¯ aran
.
am
.
khu d¯ a-
n
.
im
.
paridosam
.
samuvvah¯ ami.

iii\ax
.
vao
¯
a:

ukkan
.
t
.
ham
.
vin
.
oda¨ıss¯ amo. s¯ a d¯ an
.
im
.
n
.
ivvud¯ a
bhodu.

axas¯ u\
¯
a:

ten
.
a hi imassim
.
c¯ udaAs¯ ah”A ˆ avalambie n¯ arielaAsa-
muggae tan
.
A n
.
imittam
.
yyeva k¯ al’A antaraA kkham¯ a khitt¯ a
mae saA kesaraA gun
.
¯ a. te tumam
.
hatthaA san
.
n
.
ihide karehi
j¯ ava aham
.
se maaAgoroan
.
am
.
titthaAmittiam
.
duvv¯ aAkisala-
¯ aim
.
ma˙ ngalaAsam¯ alahan
.
’Aattham
.
viraemi.

(iti nis
.
kr¯ ant¯ a.)
iii\ax
.
vao
¯
a: (n¯ at
.
yena sumanaso gr
.
hn
.
¯ ati.) ¡.oc
xiiaru\i: ¯ adi´syant¯ am
.
´
S¯ ar˙ ngaravaA mi´sr¯ ah
.
´
Sakuntal”A ¯ ana-
yan¯ aya sajj¯ıbhavat’ ˆ eti.
iii\ax
.
vao
¯
a: (¯ akarn
.
ya)

An
.
as¯ ue! tuvara tuvara! ede kkhu
Hatthin
.
”A ˆ oraAg¯ amin
.
o is¯ıo sajj¯ıAbhavanti tti.

(pravi´sya sa-
m¯ alabhanaBhast¯ a.)
axas¯ u\
¯
a:

sahi, ehi, gacchamha.

(ubhe parikr¯ amatah
.
.)
:ïï
acr ioui: rui iaiiwiii
axas´ u\a: (astonished) What did it say?
iii\ax·vaoa: My dear, listen. (Recites in Sanskrit. . . ) ¡.,,
Know O Brahman, that for the welfare
of the world your daughter bears
the virility deposited by Dushy´ anta,
like a shami tree holding fire within it.
axas´ u\a: (joyfully embraces Priyam·vada) My dear, I am so
happy, but, realizing that Shak´ untala is being led away,
I now feel a joy that is the same as yearning.
iii\ax·vaoa: We must dispel our grief. Let her be happy
now.
axas´ u\a: Well, then, in the coconut-shell box hanging
from the branches of that mango tree I have kept for
this very purpose some lotus fibers* suitable for storage.
Take them with your hands while I mix yellow antelope
orpiment, clay from the sacred ford and durva shoots
for an auspicious unguent for her. (With this, she exits.)
iii\ax·vaoa: (Mimes picking up flowers.) ¡.oc
oiisraci: Instruct Sharnga·rava and his companions: “Pre-
pare to escort Shak´ untala!”
iii\ax·vaoa: (listening) Anas´ uya, hurry, hurry! The seers
are preparing to depart for Hast´ına·pura. (Enters with
unguent in her hands.)
axas´ u\a: My dear! Come, let’s go! (Both walk about.)
:ï,
suax´ uxraia’s iicocxiriox
iii\ax
.
vao
¯
a: (vilokya)

es¯ a khu suyy’A ˆ odae yyeva visajjid¯ a
pad
.
icchidaA n
.
¯ıv¯ araA bh¯ aan
.
¯ aim
.
t¯ avas¯ıhim
.
ahin
.
and¯ıam¯ an
.
¯ a
Sa¨ untal¯ a cit
.
t
.
hadi. t¯ a uvasappamha n
.
am
.
.

(tath¯ a kuru-
tah
.
.)
(tataf pravi´sati yath¯ aBnirdis
.
t
.
’B¯ asanaBsth¯ a
´
Sakuntal¯ a, Gautam¯ı, ¡.o,
t¯ apasya´s ca.)
ix
¯
a r
¯
aias¯ı:

j¯ ad
.
e! bhat
.
t
.
in
.
o bahuA m¯ an
.
aA uttaam
.
mah¯ aA dev¯ıA
saddam
.
adhigaccha!

ax\
¯
a:

vacche! v¯ıraApasavin
.
¯ı hohi!

¯ a´sis
.
o dattv¯ a Gautam¯ıBvarjam
.
nis
.
kr¯ ant¯ ah
.
.
saxu\au: (upagamya)

sahi! sumajAjanam
.
de hodu.

´
saxuxrai
¯
a: (dr
.
s
.
t
.
v¯ a s’B ¯ adaram
.
)

s’A ¯ aadam
.
piaA sah¯ın
.
am
.
. ido ¡.;c
n
.
is¯ıdadha.

unui: (upavi´sya)

hal¯ a Sa¨ untale! ujjuaA gad¯ a hohi j¯ ava de
ma˙ ngalaAsam¯ aladdham
.
a˙ ngam
.
kar¯ıadu.

´
saxuxrai
¯
a:

u¨ıdam idam
.
vi bahuman
.
idavvam
.
. dullaham
.
d¯ an
.
im me sah¯ıAman
.
d
.
an
.
am
.
bhavissadi.

(rudaty uttis
.
t
.
ha-
ti.)
unui:

sahi! na de icchidavve ma˙ ngala A k¯ ale ro¨ıdavvam
.
.

(a´sr¯ un
.
i pramr
.
jya n¯ at
.
yena pras¯ adhayatah
.
.)
iii\ax
.
vao
¯
a:

¯ aharan
.
’A ˆ arham
.
r¯ uvam
.
assamaAsulahehim
.
pa-
s¯ ahan
.
ehim
.
vippa¯ ar¯ıadi.

tataf pravi´sata up¯ ayanaBhast¯ av r
.
s
.
iBkum¯ arakau. ¡.;,
:,c
acr ioui: rui iaiiwiii
iii\ax·vaoa: (looking) There is Shak´ untala, being sent off
as soon as the sun rises, congratulated by nuns holding*
bowls of wild rice. So let’s go up to her. (They do so.)
(Enter Shak´ untala, seated as described, together with G´ autami ¡.o,
and nuns.)
iiisr xux: Child! Attain the title “great queen” in conse-
quence of your husband’s high esteem.
axoruii xux: My dear! Give birth to a hero.
Exit after giving blessings, with the exception of G´ autami.
iiiixos: (approaching) My dear! May you be happy!
suax´ uxraia: (looks respectfully) Welcome, my dear friends. ¡.;c
Be seated here.
noru: (sitting down) Dear Shak´ untala! Stand up while the
auspicious unguent is applied to your body.
suax´ uxraia: Though I am used to it I think highly of this.
Seldom, now, will I be adorned by my friends. (Rises
crying.)
noru: My dear! You must not cry at a longed for auspicious
occasion. (Wipe her tears and act adorning her.)
iii\ax·vaoa: Your beauty, deserving jewelry, is slighted by
the ornaments we can easily find in a hermitage.
Enter two young sages with finery in their hands. ¡.;,
:,:
suax´ uxraia’s iicocxiriox
i
.
s
.
iAxux
¯
aiaxau: idam ala˙ nk¯ aran
.
am. t¯ avad ala˙ nkriyat¯ am at-
raAbhavat¯ı.
tath¯ a vilokya vismit¯ ah
.
.
caurax¯ı:

vacca H¯ ar¯ıda. kudo edam
.
?

iiaruaxau
.
: t¯ ataAK¯ a´syapaApras¯ ad¯ at.
caurax¯ı:

kim
.
m¯ an
.
as¯ı siddh¯ı?

chnotekim
.
m¯ anas¯ı siddhih
.
?
¡.ïc
ovir¯ı\au
.
: na khalu, ´sr¯ uyat¯ am! tatraAbhavat¯ a vayam ¯ aj ˜ n¯ api-
t¯ ah
.
´
Sakuntal¯ aA hetor vanasA patibhyah
.
kusum¯ any ¯ aharat’
ˆ eti. tata id¯ an¯ım—
ks
.
aumam
.
kena cid induAp¯ an
.
d
.
u tarun
.
¯ a
m¯ a˙ ngalyam ¯ avis
.
kr
.
tam
nis
.
t
.
hy¯ uta´s caran
.
’A ˆ opabhogaAsulabho
l¯ aks
.
¯ aArasah
.
kena cit
anyebhyo vanaAdevat¯ aAkaraAtalair
¯ aAparvaAm¯ ul’A ˆ otthitaih
.
datt¯ any ¯ abharan
.
¯ ani nah
.
kisalayaA
ch¯ ay¯ aApratispardhibhih
.
.
iii\ax
.
vao
¯
a: (
´
Sakuntal¯ am
.
vilokya)

hal¯ a! adbhudaAsampatt¯ı
s¯ u¨ıd¯ a, bhat
.
t
.
in
.
o gehe an
.
ubhavidavv¯ a de r¯ aaAlacch¯ı.

´
saxuxrai
¯
a: (vr¯ıd
.
¯ am
.
r¯ upayati.)
axas¯ u\
¯
a:

sahi! kall¯ an
.
in¯ı d¯ an
.
im
.
si. kod
.
araA sam
.
bhav¯ a via
¡.ï,
mahuAar¯ı pukkharaAmahum
.
ahilasasi.

iii\ax
.
vao
¯
a: (man
.
d
.
ayant¯ı)

an
.
upahuttaAbh¯ usan
.
o aam
.
jan
.
o.
cittaAkammaAparicaen
.
a d¯ an
.
im
.
de a˙ ngesu ¯ aharan
.
aAnioam
.
karedi.

:,:
acr ioui: rui iaiiwiii
rwo \ouxc sacis: Here are ornaments, so adorn her lady-
ship.
Look on astonished.
c
´
auraxi: Child, Har´ıta! Where does this come from?
iiisr: From the grace of father K´ ashyapa.
c
´
auraxi: A mind-born accomplishment? ¡.ïc
sicoxo: Not at all, listen! We were ordered by his reverence
to gather flowers from the trees for Shak´ untala. Now
there,
One tree produced an auspicious linen garment,
pale like the moon;
one exuded red lac juice, ready to apply to the feet;
others offered us ornaments with the hands
of forest deities stretching out as far as the wrists,
rivalling the beauty of new shoots.
iii\ax·vaoa: (looking at Shak´ untala) My dear! This beto-
kens incredibly good fortune, you will enjoy royal for-
tune in the house of your huband.
suax´ uxraia: (Mimes bashfulness.)
axas´ u\a: My dear! Now you are beautiful! Like a female ¡.ï,
bee born in a hollow, you long for lotus-honey.
iii\ax·vaoa: (adorning) I have never worn such finery, so
I will place the ornaments on you according to what I
have seen in paintings.
:,,
suax´ uxraia’s iicocxiriox
´
saxuxrai
¯
a: (saBsmitam)

j¯ ane vo n
.
iunattan
.
am
.
.

ubhe n¯ at
.
yen’ ¯ abharan
.
am ¯ amu˜ ncatah
.
.
i
.
s
.
iA xux
¯
aiau
.
: Gautama, ehi. abhis
.
ek¯ ad avat¯ırn
.
¯ aya t¯ ataAK¯ a-
´syap¯ aya vanasApatiAsev¯ am
.
niveday¯ avah
.
.
ovir¯ı\a: evam
.
kurvah
.
. (iti nis
.
kr¯ antau.)
¡.,c
tataf pravi´sati sn¯ an’Bˆ otthitah
.
K¯ a´syapah
.
.
x
¯
a
´
s\aiau
.
: (nih
.
´svasya)
y¯ asyaty adya
´
Sakuntal” ˆ eti hr
.
dayam
.
sam
.
spr
.
s
.
t
.
am utkan
.
t
.
hay¯ a
kan
.
t
.
hah
.
stambhitaAb¯ as
.
paAvr
.
ttiAkalus
.
ah
.
cint¯ aAjad
.
am
.
dar´sanam
vaiklavyam
.
mama t¯ avad ¯ıdr
.
´sam idam
.
sneh¯ ad aran
.
y’Aˆ aukasah
.
p¯ıd
.
yante gr
.
hin
.
ah
.
katham
.
na tanay¯ aA
vi´sles
.
aAduh
.
khair navaih
.
.
(parikr¯ amatah
.
) saxu\au:

hal¯ a Sa¨ untale. avasidaAman
.
d
.
an
.

ˆ asi. paridhehi sam
.
padam
.
imam
.
pavittam
.
khomaA n
.
im-
moam
.
.

´
saxuxrai
¯
a: (lat¯ aB gr
.
h¯ an nirgatya paridh¯ aya punaf pravi´sy’ ¡.,,
ˆ opavis
.
t
.
¯ a.)
x
¯
a
´
s\aiau
.
: (upasarpati.)
:,¡
acr ioui: rui iaiiwiii
suax´ uxraia: (smiling) I know your skill.
Both act the fastening of ornaments.
\ouxc siii: G´ autama, come! Let us tell father K´ ashyapa
who has gone down for his ablutions about the generos-
ity of the trees.
sicoxo: Let us do so. (With this, they exit.) ¡.,c
Enter K´ ashyapa arisen from his bath.
x
´
asu\aia: (sighing)
“Today departs Shak´ untala,” realizing this
my heart is touched by yearning,
my throat is sore with suppressed tears;
my vision is dulled by worry.
If such be the melancholy produced by affection
even for me, a forest-dwelling hermit,
then how must not householders be crushed
by the fresh sorrows of separation
from their daughters.
(walking about) iiiixos: Dear Shak´ untala! Your adorn-
ment is complete. Now put on this linen garment.
suax´ uxraia: (Leaves the bower, puts it on, comes back in and ¡.,,
sits down.)
x
´
asu\aia: (Approaches.)
:,,
suax´ uxraia’s iicocxiriox
caurax¯ı:

eso de ¯ anandaAvapphaApariv¯ ahin
.
¯ a cakkhun
.
¯ a pa-
rissajanto via gur¯ u uvatthido. t¯ a ¯ a¯ aram
.
se pad
.
ivajja.

´
saxuxrai
¯
a: (utth¯ aya saBlajj¯ a.)

t¯ ada vand¯ ami.

x
¯
a
´
s\aiau
.
: vatse,
Yay¯ ater iva
´
Sarmis
.
t
.
h¯ a ¡.:cc
bhartur bahuAmat¯ a bhava
putram
.
tvam api samr¯ ajam
.
s” ˆ eva P¯ urum sam¯ apnuhi.
caurax¯ı:

bhaavam! varo kkhu eso, n
.
a ¯ as¯ıs¯ a.

x
¯
a
´
s\aiau
.
: vatse, itah
.
sadyo hut¯ an agn¯ın pradaks
.
in
.
¯ıAkuru-
s
.
va. (sarve parikr¯ amanti.)
am¯ı vedim
.
paritah
.
kl
.
ptaAdhis
.
n
.
y¯ ah
.
samidvantaf pr¯ antaAsam
.
st¯ırn
.
aAdarbh¯ ah
.
apaghnanto duritam
.
havyaAgandhaih
.
vait¯ an¯ as tv¯ am
.
vahnayaf p¯ alayantu.
´
saxuxrai
¯
a: (pradaks
.
in
.
¯ıBkaroti.)
x
¯
a
´
s\aiau
.
: vatse! pratis
.
t
.
hasv’ ˆ ed¯ an¯ım. (saBdr
.
s
.
t
.
iBks
.
epam.) kva ¡.:c,
te
´
S¯ ar˙ ngaravaAmi´sr¯ ah
.
?
pravi´sya samam
.
trayah
.
.
´
sis
.
\
¯
au
.
: bhagavann ime vayam.
:,o
acr ioui: rui iaiiwiii
c
´
auraxi: Here is your father, embracing you, as it were,
with eyes filled with tears of joy. Performyour salutation.
suax´ uxraia: (arises, bashfully) Father, I salute you.
x
´
asu\aia: Child,
Be honored by your husband, ¡.:cc
as Sharm´ıshtha was by Yay´ ati.
May you, too, bear a son to be emperor,
as she did to Puru.
c
´
auraxi: Your reverence! That was a boon not a blessing.
x
´
asu\aia: Child, from here quickly circumambulate the
fires bearing oblations. (All walk about.)
May these fires of the three rites protect you,
fixed in the directions surrounding the altar,
fed with fuel, their verges strewn
with darbha grass,
dispelling evil by the scent of offerings.
suax´ uxraia: (Circumambulates in a clockwise direction.)
x
´
asu\aia: Child! Set out now. (casting a glance) Where are ¡.:c,
you, Sharnga·rava and company?
Enter the three together.
oisciiiis: Your reverence, here we are.
:,;
suax´ uxraia’s iicocxiriox
x
¯
a
´
s\aiau
.
:
´
S¯ ar˙ ngarava! bhaginy¯ a m¯ argam ¯ ade´saya.
´
s
¯
ai˙ xcaiavau
.
: ita ito bhavat¯ı. (sarve parikr¯ amanti.)
x
¯
a
´
s\aiau
.
: vatse
´
Sakuntale. vij ˜ napyant¯ am
.
sannihitaAdevat¯ as ¡.::c
tapoAvanaAtaravah
.
:
p¯ atum
.
na prathamam
.
vyavasyati jalam
.
yus
.
m¯ asv asiktes
.
u y¯ a
n’ ¯ adatte priyaAman
.
d
.
an” ˆ api bhavat¯ am
.
snehena y¯ a pallav¯ an
¯ adye vah
.
kusumaAprabodhaAsamaye
yasy¯ a bhavaty utsavas
s” ˆ eyam
.
y¯ ati
´
Sakuntal¯ a patiAgr
.
ham
.
sarvair anuj ˜ n¯ ayat¯ am.
xiiaru\i:
ramy’Aˆ antarah
.
kamalaAk¯ırn
.
aAjalais sarobhih
.
ch¯ ay¯ aAdrumair niyamit’Aˆ arkaAmay¯ ukhaAt¯ apah
.
bh¯ uy¯ at ku´seA´sayaArajoAmr
.
duAren
.
ur asy¯ ah
.
´s¯ ant’Aˆ anuk¯ ulaApavana´s ca ´siva´s ca panth¯ ah
.
.
sarve saBvismayam ¯ akarn
.
ayanti.
:,ï
acr ioui: rui iaiiwiii
x
´
asu\aia: Sharnga·rava, show your sister the way.
suaixca·iava: This way, this way, your ladyship. (All walk
about.)
x
´
asu\aia: Child Shak´ untala. Let it be known to the her-
¡.::c
mitage trees, harboring deities within:
She who was not willing to drink first
if you had not been watered,
she who, though fond of ornaments,
would not pick buds out of affection for you,
for whom the occasion of the first awakening
of your flowers was a festival,
that Shak´ untala leaves for her husband’s house,
given permission by all of you.
oiisraci:
May her path be pleasantly varied with ponds,
their water strewn with lotuses,
may it have the heat of the sun’s rays be warded off
by shady trees,
may it have dust soft as the pollen
of water-floating lilies,
may it have gentle and favorable breezes,
and may it be good.
All listen with amazement.
:,,
suax´ uxraia’s iicocxiriox
´
s
¯
ai˙ xcaiavau
.
:
¡.::,
anumataAgaman¯ a
´
Sakuntal¯ a
tarubhir iyam
.
vanaAv¯ asaAbandhubhih
.
paraAbhr
.
taArasitam
.
priyam
.
yad¯ a
prativacan¯ıAkr
.
tam ebhir ¯ atmanah
.
.
caurax¯ı:

j¯ ade. n
.
¯ adiAjan
.
aAsin
.
iddham
.
abbhan
.
un
.
n
.
¯ adaAgama-
n
.
” ˆ asi tavoAvan
.
aAdevad¯ ahim
.
. t¯ a pan
.
ama bhaavad¯ıe.

´
saxuxrai
¯
a: (tath¯ a kr
.
tv¯ a; parikramya, jan’ B ˆ antikam)

hal¯ a
Piam
.
vade. ayyaAuttaAdam
.
san
.
’A ˆ ossu¯ ae vi assamam
.
paricca-
ant¯ıe dukkhaAdukkhen
.
a me calan
.
¯ a puroAmuh¯ a pahavan-
ti.

iii\ax
.
vao
¯
a:

n
.
a kevalam
.
tava viraha A payyussu¯ aah
.
sah¯ıo
yyeva. j¯ ava tae uvatthidaA vioassa tavoA van
.
assa vi avek-
kham
.
avatthantaram
.
. tadh¯ a a.

ullala¨ı dabbhaAkavalam
.
¡.::c
ma¯ı par¯ısantaAn
.
accan
.
¯ a mor¯ı
osariaApan
.
d
.
uAvatt¯ a
dhuanti a˙ ng¯ ai va la¯ ao.

´
saxuxrai
¯
a:

t¯ ada, lad¯ aAbahin
.
iam
.
d¯ ava m¯ adhavim
.
¯ amanta-
¨ıssam
.
.

x
¯
a
´
s\aiau
.
: avaimi te ’sy¯ am
.
saudarya A sneham. im¯ am
.
t¯ am
.
daks
.
in
.
en’ ¯ amantrayat¯ am
.
bhavat¯ı.
´
saxuxrai
¯
a: (lat¯ am upety’ ¯ ali˙ ngya ca saB snehaB gadgadam.)

m¯ ahavi. pacc¯ ali ˙ nga mam
.
s¯ ah¯ aA maehim
.
b¯ ah¯ uhim
.
. ajjaA
pahudi d¯ uraAvattin
.
¯ı de bhavissam
.
.

:cc
acr ioui: rui iaiiwiii
suaixca·iava:
¡.::,
Shak´ untala is permitted to depart by the trees,
her kinsfolk during her stay in the forest,
since they replied to you with the sweet call
of a cuckoo.
c
´
auraxi: Child! The hermitage deities have given you
leave, as affectionately as kinfolk. Bow to the Godesses.
suax´ uxraia: (does so; walks about, to her friends) Dear
Priyam·vada! Though I am eager to see the noble lord,
as I leave the hermitage my feet move forward with great
anguish.
iii\ax·vaoa: It is not only your friends who are sad about
separation from you. As your departure approaches so
the penance grove, too, is seen to be in a sad state. For—
The doe lets go its mouthful of darbha grass, ¡.::c
the peacock is weary of dancing,
the vines, dropping yellow leaves,
seem to have trembling limbs.
suax´ uxraia: Father, I will bid farewell to my tendril-sister,
the m´ adhavi-vine.
x
´
asu\aia: I know your sisterly affection toward it. Greet it
here to your right.
suax´ uxraia: (approaches the vine and embraces it, stam-
mering affectionately) M´ adhavi! Embrace me with your
branch-arms. From today onward I will be far from you.
:c:
suax´ uxraia’s iicocxiriox
x
¯
a
´
s\aiau
.
: vatse. iyam id¯ an¯ım
.
cintan¯ıy¯ a me. pa´sya—
sa˙ nkalpitam
.
prathamam eva may¯ a tav’ ˆ arthe ¡.::,
bhart¯ aram ¯ atmaAsadr
.
´sam
.
svaAgun
.
air gat¯ a tvam,
asy¯ as tu samprati varam
.
tvayi v¯ıtaAcintah
.
k¯ antam
.
sam¯ıpaAsahak¯ aram aham
.
karis
.
ye.
´
saxuxrai
¯
a: (sakhy¯ av upetya)

es¯ a don
.
ham
.
pi vo hatthe n
.
ik-
khevo.

saxu\au: (s’Bˆ asram)

aam
.
jan
.
o d¯ an
.
im
.
kassa sandit
.
t
.
ho.

(ru-
datah
.
.)
x
¯
a
´
s\aiau
.
: Anas¯ uye, alam
.
ruditv¯ a. nanu bhavat¯ıbhy¯ am
´
Sa-
kuntal¯ a sth¯ apayitavy¯ a. (parikr¯ amanti.)
´
saxuxrai
¯
a: (vilokya)

t¯ ada. es¯ a ud
.
ajaA payyantaA c¯ arin
.
¯ı ga-
bbhaA manthar¯ a maaA vah¯ u jad¯ a ¯ asan
.
n
.
aA pasavin
.
¯ı bhave
tad¯ a me kam
.
pi piam
.
n
.
iveda¨ıttaam
.
visajja¨ıssaha.

x
¯
a
´
s\aiau
.
: vatse. n’ ˆ edam
.
vismaris
.
yate. ¡.:,c
´
saxuxrai
¯
a: (gatiBbha˙ ngam
.
r¯ upayati.)
saxu\au:

ko n
.
u kkhu eso m¯ adaAkkanto via pun
.
o vasan
.
assa
antam
.
gen
.
hadi?

x
¯
a
´
s\aiau
.
: vatse!
yasya tvay¯ a vran
.
aAvirohan
.
am i ˙ ngud¯ın¯ am
.
tailam
.
nyas
.
icyata mukhe ku´saAs¯ uciAviddhe
´sy¯ am¯ akaAmus
.
t
.
iAparivardhitako jah¯ ati
so ’yam
.
na putrakaAkr
.
taf padav¯ım
.
mr
.
gas te.
:c:
acr ioui: rui iaiiwiii
x
´
asu\aia: Child! She is my worry now. Look—
What I first had intended for you, ¡.::,
a husband like yourself, you have attained
by your own merits.
Now that my worry about you is over,
I will make her a husband
out of this nearby mango tree.
suax´ uxraia: (approaches her friends) I entrust her into your
hands.
iiiixos: (tearfully) To whom are we entrusted? (They cry.)
x
´
asu\aia: Anas´ uya, stop crying. Should you not be sup-
porting Shak´ untala? (They walk on.)
suax´ uxraia: (looking) Father! When this doe, roaming at
the edge of the hut, slow with child, is about to give
birth, please send me someone to announce the happy
news.*
x
´
asu\aia: Child, this will not be forgotten. ¡.:,c
suax´ uxraia: (Mimes that her movement has been inter-
rupted.)
iiiixos: Who can this be, who comes right up to her, as
it were, who takes hold of the end of her garment?
x
´
asu\aia: Child,
The deer into whose mouth,
pierced by kusha-grass spikes,
you sprinkled wound-healing ´ıngudi oil,
who was raised with handfuls
of shy´ amaka-grains and adopted as a son,
he will not leave your footsteps.
:c,
suax´ uxraia’s iicocxiriox
´
saxuxrai
¯
a: (dr
.
s
.
t
.
v¯ a)

vaccha! kim
.
mam
.
sahaA v¯ asaA paricc¯ a- ¡.:,,
in
.
im
.
kedava A sin
.
eham
.
an
.
n
.
esasi? acira A pas¯ ud’ A ˆ ovarad¯ ae
jan
.
an
.
¯ıe vin
.
¯ a vad
.
d
.
hido ’si. id¯ an
.
im
.
pi mae virahidam
.
tu-
mam
.
t¯ ado cinta¨ıssadi. t¯ a pad
.
in
.
iattasu.

(rudat¯ı prasthit¯ a.)
x
¯
a
´
s\aiau
.
: vatse!
utpaks
.
man
.
or nayanayor uparuddhaAvr
.
ttim
.
b¯ as
.
pam
.
kuru sthirataram
.
vihit’Aˆ anubandham
asminn alaks
.
itaAnat’A ˆ onnataAbh¯ umiAbh¯ age
m¯ arge pad¯ ani khalu te vis
.
am¯ıAbhavanti.
´
s
¯
ai˙ xcaiavau
.
: «¯ a udak’Aˆ ant¯ at snigdho ’nugamyata iti» sma-
ryat¯ am. tad idam
.
sarasAt¯ıram. atra sam
.
di´sya tataf prati-
gantum arhasi.
x
¯
a
´
s\aiau
.
: tena h’ ˆım¯ am
.
ks
.
¯ıraAvr
.
ks
.
aAcch¯ ay¯ am ¯ a´sray¯ amah
.
.
upavi´sya sarve tath¯ a kr
.
tv¯ a tis
.
t
.
hanti. ¡.:¡c
x
¯
a
´
s\aiau
.
: (apav¯ arya) kim
.
nu khalu tatraAbhavato Dus
.
yan-
tasya yuktaAr¯ upam asm¯ abhih
.
sam
.
de´syam? (cintayati.)
axas¯ u\
¯
a:

sahi! n
.
a so assame cintan
.
ijjo atthi jo tae viraha-
ant¯ıe n
.
a ussu¯ıkado ajja. pekkha d¯ ava.

padamin
.
¯ıApatt’Aantariam
.
v¯ ahariam
.
n
.
’ ˆ an
.
uv¯ aharadi j¯ aam
.
muhaAuvv¯ ud
.
haAmun
.
¯ alah
.
tayi dit
.
t
.
him
.
dei cakk’A¯ ao.

:c¡
acr ioui: rui iaiiwiii
suax´ uxraia: (looking) Child, why do you follow me, who ¡.:,,
abandons her companions, whose affection is false. You
were raised without your mother, who passed away soon
after your birth; now, abandoned by me as well, father
will look after you. So turn back. (Sets off, weeping.)
x
´
asu\aia: Child!
Restrainthe flowof your tears about to break loose,
which hinders the function of your eyes
with their upturned eyelashes.
Your steps are uncertain on this path,
where depressions andelevations cannot be seen.
suaixca·iava: Scriptures teach that a loved one should be
accompanied up to the edge of water. This, then, is the
bank of the lake. Please instruct us here and turn back.
x
´
asu\aia: Let us resort to the shade of this fig tree.
All sit down and remain so.
¡.:¡c
x
´
asu\aia: (aside) Now, what would be an appropriate mes-
sage from us to his honor Dushy´ anta? (Reflects.)
axas´ u\a: My dear! There is no one imaginable in the her-
mitage who has not been made despondent by your
departure. Look, here,
The chakra·vaka bird,
called by his wife hidden among the lotus leaves,
does not reply, scattering fibers from his mouth,
he glances at you.
:c,
suax´ uxraia’s iicocxiriox
´
saxuxrai
¯
a: (vilokya)

sahi. saccam
.
yeva n
.
alin¯ıApatt’Aantari-
dam
.
piam
.
sahaAaram
.
avekkhant¯ı ¯ aduram
.
cakkaAv¯ a¯ı ¯ ara-
sadi: “dukkaram
.
khu aham
.
karemi.”

iii\ax
.
vao
¯
a:
¡.:¡,

ajja vi vin
.
¯ a pien
.
am
.
gamaadi r¯ aim
.
vis¯ uran
.
¯ aAd¯ıham
.
hanta garuam
.
pi dukkham
.
¯ as¯ aAbandho sahavedi.

x
¯
a
´
s\aiau
.
:
´
S¯ ar˙ ngarava iti tvay¯ a madAvacan¯ at sa r¯ aj¯ a
´
Sakun-
tal¯ am
.
purasAkr
.
tya vaktavyah
.
.
´
s
¯
ai˙ xcaiavau
.
: ¯ aj ˜ n¯ apayatu bhagav¯ an.
x
¯
a
´
s\aiau
.
:
asm¯ an s¯ adhu vicintya sam
.
yamaAdhan¯ an ¡.:,c
uccaih
.
kulam
.
c’ ¯ atmanas
tvayy asy¯ ah
.
katham apy ab¯ andhavaAkr
.
t¯ am
.
snehaApravr
.
ttim
.
ca t¯ am
s¯ am¯ anyaApratipattiAp¯ urvakam iyam
.
d¯ ares
.
u dr
.
´sy¯ a tvay¯ a
bh¯ agy’Aˆ adh¯ınam ataf param
.
na khalu tat
str¯ıAbandhubhir y¯ acyate.
´
s
¯
ai˙ xcaiavau
.
: gr
.
h¯ıtah
.
sam
.
de´sah
.
.
x
¯
a
´
s\aiau
.
: (
´
Sakuntal¯ am
.
prati) vatse. tvam id¯ an¯ım anu´s¯ asa-
n¯ıy¯ a. pa´sya. van’Aˆ aukaso ’pi lokaAj ˜ n¯ a vayam.
´
s
¯
ai˙ xcai
¯
avau
.
: na khalu dh¯ımat¯ am
.
ka´s cid avis
.
ayo n¯ ama.
:co
acr ioui: rui iaiiwiii
suax´ uxraia: (looking) Dear! It is true. The female chakra·
vaki bird, not seeing her mate hidden by lotus leaves
nearby, cries out piteously: “How I suffer!”
iii\ax·vaoa:
¡.:¡,
Today again she will pass the night,
long with suffering, without her beloved.
The bond of hope sustains
even deep sorrow.
x
´
asu\aia: Sharnga·rava, you must speak to the king in my
name about Shak´ untala as follows.
suaixca·iava: Command, your reverence.
x
´
asu\aia:
Having well considered ¡.:,c
us who are rich in self-control,
and the noble family of yourself,
her spontaneous flow of affection toward you,
unaided by the intervention of kinsfolk,
she ought to be regarded among your wives
with equal honor;
more than that depends on fate,
indeed a woman’s relatives do not beg for it.
suaixca·iava: I have memorized the message.
x
´
asu\aia: (to Shak´ untala) Child! You must now be in-
structed. Look, we are forest-dwellers yet know the ways
of the world.
suaixca·iava: Nothing is really beyond the ken of the
wise.
:c;
suax´ uxraia’s iicocxiriox
x
¯
a
´
s\aiau
.
: vatse. s¯ a tvam itaf patiAkulam av¯ apya:
´su´sr¯ us
.
asva gur¯ un kuru priyaAsakh¯ıA ¡.:,,
vr
.
ttim
.
sapatn¯ıAjane
bhartur viprakr
.
t” ˆ api ros
.
an
.
atay¯ a
m¯ a sma prat¯ıpam
.
gamah
.
bh¯ uyis
.
t
.
ham
.
bhava daks
.
in
.
¯ a parijane
bh¯ agyes
.
v anutsekin¯ı
y¯ anty evam
.
gr
.
hin
.
¯ıApadam
.
yuvatayo
v¯ am¯ ah
.
kulasy’ ˆ adhayah
.
.
kim
.
v¯ a Gautam¯ı brav¯ıti?
caurax¯ı:

ittiam
.
khu yyeva edam
.
vahuAan
.
e uvadeso.

(
´
Sa-
kuntal¯ am
.
prati)

j¯ ade, evam
.
khu avadh¯ arehi.

x
¯
a
´
s\aiau
.
: vatse. ehi paris
.
vajasva m¯ am.
´
saxuxrai
¯
a:

t¯ ada. kim ido yyeva piaAsahio n
.
iattanti?

x
¯
a
´
s\aiau
.
: vatse ime api pradeye. tan na yuktam anayos ¡.:oc
tatr’ ¯ agantum. tvay¯ a saha Gautam¯ı y¯ asyati.
´
saxuxrai
¯
a: (utth¯ aya pitaram ¯ ali˙ ngya)

kadham
.
d¯ an
.
im
.
t¯ a-
den
.
a virahid¯ a kari A satthaA paribat
.
t
.
h¯ a karen
.
u¯ a via p¯ an
.
¯ a
dh¯ ara¨ıssam
.
.

(iti roditi.)
x
¯
a
´
s\aiau
.
: kim evam
.
k¯ atar” ˆ asi.
:cï
acr ioui: rui iaiiwiii
x
´
asu\aia: Child! When you have reached your husband’s
family from here:
Obey your elders, be a fair friend ¡.:,,
to your fellow wives;
though slighted by your husband do not
reciprocate with anger;
always be polite to servants, do not be arrogant
in your prosperity;
in this way young girls become the matron
of the family;
those who act contrary are the misfortune
of the family.
What does G´ autami say?
c
´
auraxi: That is all that needs to be taught to a bride. (To
Shak´ untala) Child, remember it well.
x
´
asu\aia: Child, come embrace me.
suax´ uxraia: Father, must my friends turn back right here?
x
´
asu\aia: Child, they too are to be given in marriage. ¡.:oc
Therefore it is not proper for them to go there. G´ autami
will go with you.
suax´ uxraia: (gets up and embraces her father) How, sepa-
rated frommy father, like a female elephant strayed from
the herd, will I support my vital breath? (She cries.)
x
´
asu\aia: Why are you so cowardly?
:c,
suax´ uxraia’s iicocxiriox
abhijanavato bhartuh
.
´sl¯ aghye sthit¯ a gr
.
hin
.
¯ıApade
vibhavaAgurubhih
.
kr
.
tyair asya pratiks
.
an
.
am ¯ akul¯ a
tanayam acir¯ at pr¯ ac” ˆıv’ ˆ arkam
.
pras¯ uya ca p¯ aranam
.
mama virahaAj¯ am
.
na tvam
.
vatse ´sucam
.
gan
.
ayis
.
yasi.
api c’ ˆ edam avadh¯ araya:
yad¯ a ´sar¯ırasya ´sar¯ırin
.
a´s ca ¡.:o,
pr
.
thaktvam ek¯ antata eva bh¯ av¯ı
¯ ah¯ aryaAyogena vibhajyam¯ anaf
paren
.
a ko n¯ ama bhaved vis
.
¯ ad¯ı?
(
´
Sakuntal¯ a pituf p¯ adayof patati.)
x
¯
a
´
s\aiau
.
: yad icchasi tat te ’stu.
´
saxuxrai
¯
a: (sakhy¯ av upagamya)

hal¯ a! edha duve yyeva
mam
.
samam
.
par¯ısaadham
.
!

saxu\au: (tath¯ a kr
.
tv¯ a)

sahi. so r¯ a¯ a ja¨ı paccahin
.
n
.
¯ an
.
aAman-
tharo bhave tad¯ a se imam
.
tad¯ıaAn
.
¯ amaAhe’Aa˙ nkidam
.
a˙ ngu-
l¯ıyaam
.
dam
.
sehi.

(ity a˙ ngul¯ıyakam
.
dattah
.
.)
´
saxuxrai
¯
a: (s’B¯ a´sa˙ nkam)

¯ a sandesen
.
a an
.
ukampida mhi.

¡.:;c
saxu\au:

m¯ a bh¯ a¯ ahi. sin
.
eho v¯ amam
.
¯ asa˙ nkadi.

::c
acr ioui: rui iaiiwiii
Assuming the celebrated status of matron
to a husband of worthy family,
involved every minute in his affairs,
important because of his status,
soon giving birth to a son who will fulfill you
just as the east gives birth to the sun,
you will count for nothing the grief
of separation from me.
And remember this:
When the absolute separation ¡.:o,
of the soul and the body is inevitable,
who would be upset about the
surgical removal of a tumor?
(Shak´ untala falls at the feet of her father.)
x
´
asu\aia: What you desire, that you shall have.
suax´ uxraia: (approaches her two companions) Friends! Em-
brace me both at once.
iiiixos: (do so) My dear! If that king is slow to remember,
then show him this ring marked with his name. (With
this, they give her the ring.)
suax´ uxraia: (worried) I am pitied right until I am sent off. ¡.:;c
iiiixos: Do not worry. Affection is apprehensive of the
untoward.
:::
suax´ uxraia’s iicocxiriox
´
s
¯
ai˙ xcaiavau
.
: (¯ urdhvam avalokya) yug’ A ˆ antaram adhir¯ u-
d
.
hah
.
savit¯ a. tat tvarat¯ am
.
bhavat¯ı. (utth¯ aya) ita ito bha-
vat¯ı.
sarve parikr¯ amanti.
´
saxuxrai
¯
a: (bh¯ uyaf pitaram ¯ a´slis
.
ya saBgadgadam
.
)

t¯ ada, ka-
d¯ a n
.
u kkhu bh¯ uas tavoAvan
.
am
.
pekkhissam
.
?

x
¯
a
´
s\aiau
.
: vatse! ´sr¯ uyat¯ am ¡.:;,
bh¯ utv¯ a cir¯ aya caturAantaAmah¯ıAsapatn¯ı
daus
.
yantim apratiratham
.
tanayam
.
pras¯ uya
tasmin nive´sitaAdhuren
.
a sah’ ˆ aiva bhartr¯ a
´s¯ ante karis
.
yasi padam
.
punar ¯ a´srame ’smin.
caurax¯ı:

j¯ ade. parih¯ıadi gaman
.
aAvel¯ a. t¯ a nivat
.
t
.
ehi pitaram
.
(K¯ a´syapam
.
prati) adha v¯ a ciren
.
a es¯ a pidaram n
.
a n
.
ivat
.
-
t
.
a¨ıssadi. t¯ a n
.
ivat
.
t
.
adu bhavam
.
.

x
¯
a
´
s\aiau
.
: vatse, uparudhyate me tapoA’nus
.
t
.
h¯ anam. prati-
nivartitum icch¯ ami.
´
saxuxrai
¯
a: (punaf pitaram ¯ a´slis
.
ya)

t¯ ado n
.
irukkan
.
t
.
ho bha-
vissadi, aham
.
d¯ an
.
im
.
ukkan
.
t
.
h¯ aAbh¯ ain
.
¯ı sam
.
vutt¯ a.

x
¯
a
´
s\aiau
.
: ayi! kim
.
m¯ am
.
jad
.
¯ıAkaros
.
i? ¡.:ïc
:::
acr ioui: rui iaiiwiii
suaixca·iava: (looking up) The sun has climbed into an-
other sector of the sky. So make haste, your ladyship.
(arises) This way, this way, your ladyship.
All walk about.
suax´ uxraia: (embraces her father once more, sobbing) Fa-
ther, when will I see the penance grove again?
x
´
asu\aia: Child, listen,
¡.:;,
When you have been the fellow wife of the earth
bounded by the cardinal points,
when you have given birth to Dushy´ anta’s son,
whom none can withstand in battle,
when he has taken up the yoke,
with your husband alone you shall
set foot in this tranquil hermitage.
c
´
auraxi: Daughter, the time for your departure is slipping
away. So send your father back. (to K´ ashyapa) But no,
she will not send her father back after ever so long a
time. Therefore please turn back, your reverence.
x
´
asu\aia: Child, my observance of penitence is inter-
rupted. I wish to return.
suax´ uxraia: (embraces her father again) Father will be freed
from sorrow, but I am now taking on sorrow.
x
´
asu\aia: Ah! Why are you stupefying me? ¡.:ïc
::,
suax´ uxraia’s iicocxiriox
´samam es
.
yati mama vatse
katham iva ´sokas tvay¯ a racitaAp¯ urvam
ut
.
ajaAdv¯ araAvir¯ ud
.
ham
.
n¯ıv¯ araABalim
.
vilokayatah
.
.
vatse, gaccha ´siv¯ as te panth¯ anah
.
santu!
iti nis
.
kr¯ ant¯ a
´
Sakuntal¯ a anuy¯ ayibhih
.
saha.
saxu\au: (ciram
.
vilokya)

haddh¯ı! antarid¯ a Sa¨ untal¯ a van
.
aA
r¯ a¯ıhim
.
.

x
¯
a
´
s\aiau
.
: Anas¯ uye, gat¯ a v¯ am
.
sahaAdharmaAc¯ arin
.
¯ı. nigr
.
hya- ¡.:ï,
t¯ am
.
´sok’A¯ avegah
.
. anugacchatam
.
m¯ am
.
prasthitam.
unui:

t¯ ada. Sa¨ untal¯ aAvira¨ıdam
.
sun
.
n
.
am
.
via tavoAvan
.
am
.
pa-
vis¯ amo.

x
¯
a
´
s\aiau
.
: sneha A vr
.
ttir iva dar´san¯ıy¯ a. (saB vimar´sam pari-
kramya.) hanta bhoh
.
!
´
Sakuntal¯ am
.
visr
.
jya labdham id¯ a-
n¯ım
.
sv¯ asthyam. kutah
.
.
artho hi kany¯ a parak¯ıya eva
t¯ am adya sampres
.
ya parigrah¯ıtuh
.
j¯ ato mam’ ˆ ayam
.
vi´sad’Aˆ antarA¯ atm¯ a
cirasya niks
.
epam iv’ ˆ arpayitv¯ a.
iti nis
.
kr¯ ant¯ ah
.
sarve.
iti mah¯ aAkaviAK¯ alid¯ asaAviracite
¡.:,c
´
Sakuntal¯ aAn¯ amani n¯ at
.
ake
caturtho ’ ˙ nkah
.
.
::¡
acr ioui: rui iaiiwiii
Child, how will my grief be assuaged,
when I see the Bali-offering of wild rice,
just now planted by you,
sprouting at the cottage door?
Child, go, may your paths be happy!
Exit Shak´ untala with her followers.
iiiixos: (looking for a long while) Alas! Shak´ untala is hid-
den by the rows of trees.
x
´
asu\aia: Anas´ uya, your companion in dharma is gone. ¡.:ï,
Control your grief. Follow me as I set off.
noru: Father, we enter a penance grove which seems empty
without Shak´ untala.
x
´
asu\aia: Love makes things seem like that. (walks about,
reflecting) Well, now! Now that Shak´ untala is seen off, I
am at ease. Why?
A daughter is really another’s possession.
Now that she is sent to her husband,
my inner self has become tranquil,
as if by returning a deposit after a long time.
All withdraw.
The end of the fourth act
¡.:,c
in the play called “Shak´ untala,”
composed by the great poet
Kali·dasa.
::,
Act Five:
The Tragedy
tataf pravi´sati ka˜ ncuk¯ı.
xa˜ xcux¯ı: (¯ atm¯ anam
.
vilokya) aho bata k¯ıdr
.
´s¯ım vayoA ’va-
sth¯ am
.
pr¯ apto ’smi.
«¯ ac¯ ara ity» adhikr
.
tena may¯ a gr
.
h¯ıt¯ a
y¯ a vetraAyas
.
t
.
ir avarodhaAgr
.
hes
.
u r¯ aj ˜ nah
.
k¯ ale s” ˆ aiva parih¯ınaAniyogaA´sakteh
.
gantum
.
mam’ ˆ eyam avalambanaAvastu j¯ at¯ a.
y¯ avad abhyantara A gatay¯ a dev¯ ay’ ˆ anus
.
t
.
heyam
.
ak¯ ala A ks
.
ep’ A
ˆ arham
.
niveday¯ ami. (dve pade gatv¯ a) kim
.
punas tat? (sam
.
-
smr
.
tya) ¯ am
.
, Kan
.
va A ´sis
.
y¯ as tapoA dhan¯ a devam
.
dras
.
t
.
um
icchanti. bho´s citram idam,
ks
.
an
.
¯ at prabodham ¯ ay¯ ati ,.,
la˙ nghyate tamas¯ a punah
.
nirv¯ asyataf prad¯ıpasya
´sikh” ˆ eva jarato matih
.
.
parikramya.
¯
ax
¯
a
´
si: Maudgalya! dharmaA k¯ aryam anatip¯ atyam
.
devasya
nivedayitum icch¯ ami. kim
.
brav¯ıs
.
i? «nanv id¯ an¯ım eva
dharm’A¯ asan¯ adutthitaf punar avarudhyate deva iti.» nanv
¯ıdr
.
´so lokaAtantr’Aˆ adhik¯ arah
.
. pa´sya,
::ï
Enter the chamberlain.
cuaxniiiaix: (looking at himself ) Dear me, how old I have
become.
The cane staff of office I accepted
when I was put in charge
of the royal ladies’ apartments, thinking:
“It is a customary formality,” that very staff,
with the passing of time,
has become a means of support for me
as I fail to muster the strength to walk.
I must inform His Majesty, who is within, of matters that
brook no delay. (takes two steps) But what was it again?
(tries to remember) Ah, yes. Disciples of Kanva, ascetics,
wish to see His Majesty. Ah, how strange,
The intellect of an aged man ,.,
awakens suddenly,
then is once more overwhelmed
by darkness, just like the flame of a lamp
about to burn out.
Walks about.
oiisraci: Maudg´ alya! I wish to inform His Majesty of a
religious duty that cannot be postponed. What do you
say? “But then His Majesty, who has just arisen from the
seat of judgment, will be disturbed again.” But such is
the office of governing the world. Look,
::,
suax´ uxraia’s iicocxiriox
bh¯ anuh
.
sakr
.
d yuktaAtura˙ nga eva
r¯ atrim
.
Adivam
.
gandhaAvahaf pray¯ ati
aveks
.
ya d¯ ahyam
.
na ´samo ’sti vahneh
.
s
.
as
.
t
.
h’Aˆ am
.
´saAvr
.
tter api dharma es
.
ah
.
.
kim
.
brav¯ıs
.
i? «tena hi sa˙ ng¯ıtaA´s¯ al¯ aAsa˙ ngatam
.
man
.
d
.
apam
.
gac-
cha!» anus
.
t
.
h¯ıyat¯ am
.
niyogah
.
, y¯ avat tatra gacch¯ ami. (pa-
rikramy’ ˆ avalokya ca) es
.
a devah
.
,
Manuf praj¯ ah
.
sv¯ a iva tantrayitv¯ a ,.:c
nis
.
evate ´sr¯ antaAman¯ a viviktam
y¯ uth¯ ani sa˜ nc¯ arya raviAprataptah
.
´s¯ıtam
.
div¯ a sth¯ anam iva dvip’Aˆ endrah
.
.
tataf pravi´saty ¯ asanaBsthaf parimitaBpariv¯ arah
.
r¯ aj¯ a vid¯ us
.
aka´s
ca.
vio¯ us
.
axau
.
: (karn
.
am
.
dattv¯ a)

bho n
.
am
.
sa˙ ng¯ıdaA s¯ ali¯ a? te-
n
.
a avadh¯ an
.
am
.
dehi, t¯ ala A gad¯ıe visuddh¯ ae kkhu v¯ın
.
¯ ae
saraAsa˜ njo¯ a sun
.
¯ıanti. j¯ an
.
e! tatthaAbhod¯ı Ham
.
savadi¯ a van
.
-
n
.
aAparicaam
.
karedi tti.

i
¯
a;
¯
a: (¯ akarn
.
ya) M¯ adhavya, t¯ us
.
n
.
¯ım
.
bhava y¯ avad ¯ akarn
.
ay¯ a-
mi.
xa˜ xcux¯ı: aye! vy¯ asaktaAcitto devah
.
. avasaram
.
t¯ avat pratip¯ a-
lay¯ ami. (vilokayan sthitah
.
.)
::c
acr iivi: rui riacio\
The sun has yoked his horses once and for all,
wind blows day and night, behold:
there is no respite
for the burning of fire,
and such too is the duty of him
who receives the sixth part as tax.
What do you say? “Then go to the pavilion beside the music
hall.” Carry on with your duty while I go there. (walks
about and looks around) Here is His Majesty,
Who governs his subjects ,.:c
like the law-giver Manu,
retreating into solitude, mentally exhausted,
just like a bull elephant, scorched by the sun,
who resorts to a cool place after he has led
the herds to graze by day.
Enter the king and the buffoon, seated, surrounded by a
retinue.
nuiioox: (listening) Oho! Is this not the music hall? Pay
attention, I hear notes played on the vina keeping perfect
time. I know! It must be her ladyship Hamsa·p´ adika
practicing her musical phrases.
xixc: (trying to listen) Madh´ avya, shut up so I can listen.
cuaxniiiaix: Alas! His Majesty is engrossed. I will await
an opportune moment. (Remains watching.)
:::
suax´ uxraia’s iicocxiriox
xiiaru\i: (g¯ıyate:) ,.:,

ahin
.
avaAmahuAlohaAbh¯ avio
taha paricumbia c¯ uaAma˜ njarim
.
kamalaAvasa¨ıAmettaAn
.
ivvuo
mahuAara v¯ısario si n
.
am
.
kaham
.
?

i
¯
a;
¯
a: aho r¯ agaApariv¯ ahin
.
¯ı g¯ıtih
.
.
vio¯ us
.
axau
.
:

kim
.
d¯ ava se g¯ıdi¯ ae avi gahido bhaavad¯ a akkha-
rAattho?

i
¯
a;
¯
a: (smitam
.
kr
.
tv¯ a) vayasya, sakr
.
tAkr
.
taApran
.
ayo ’yam
.
janah
.
,
tad asy¯ ah
.
kr
.
te Kulaprabh¯ am antaren
.
a samup¯ alambham
.
upagato ’smi. tan madAvacan¯ ad ucyat¯ am
.
Ham
.
sapadik¯ a:
«nipun
.
am up¯ alabdh¯ ah
.
sma» iti.
vio¯ us
.
axo:

jam
.
bhavam
.
¯ an
.
avedi.

(utth¯ aya)

bho vaassa! ga- ,.:c
hido tae parak¯ıehim
.
hatthehim
.
sihan
.
d
.
ae acchaA bhallo!
av¯ıdaAr¯ assa via n
.
atthi me mokkho.

i
¯
a;
¯
a: vayasya, gaccha! n¯ agarikaAvr
.
tty¯ a sam
.
j ˜ n¯ apay’ ˆ ain¯ am.
vio¯ us
.
axau
.
:

k¯ a gad¯ı!

(iti nis
.
kr¯ antah
.
.)
i
¯
a;
¯
a: (svaBgatam) kim
.
nu khalu g¯ıtam ¯ akarn
.
y’ ˆ edam evam
.
A
vidh’Aˆ artham is
.
t
.
aAjanaAvirah¯ ad r
.
te ’pi balavad utkan
.
t
.
hito
’smi? atha v¯ a,
:::
acr iivi: rui riacio\
oiisraci: (a song is sung:) ,.:,
After you kissed the mango blossoms,
the way you did,
lusting for fresh honey;
how have you forgotten it, O bee,
contented to just linger on the lotus?
xixc: Ah! A song suffused with passionate melody.
nuiioox: What? Youmeanyoucouldunderstandthe point
of the lyrics?
xixc: (smiling) My friend! I was once in love with her, and
so she rebukes me about lady Kula·prabha. Please say to
Hamsa·p´ adika in my name: “I am skillfully rebuked.”
nuiioox: As His Majesty commands. (stands up) My friend! ,.:c
You are using another’s hands to grab a bear by its tuft.
I am doomed to find no release,—just as one who has
not mastered his cravings.
xixc: My friend, go! Address her in a gentlemanly manner.
nuiioox: What a mess! (Exit.)
xixc: (to himself ) Now, why, I wonder, on hearing a song of
this kind, am I filled with a deep yearning, even though
I am not separated from a loved one? Or, rather,
::,
suax´ uxraia’s iicocxiriox
ramy¯ an
.
i v¯ıks
.
ya madhur¯ am
.
´s ca ni´samya ´sabd¯ an
paryutsuk¯ıbhavati yat sukhito ’pi jantuh
.
tac cetas¯ a smarati n¯ unam abodhaAp¯ urvam
.
bh¯ avaAsthir¯ an
.
i janan’Aˆ antaraAsauhr
.
d¯ ani.
xa˜ xcux¯ı: (upasr
.
tya, pran
.
ipatya) jayatu jayatu deva! ete kha- ,.:,
lu HimaA girer upatyak”A ˆ aran
.
yak¯ ah
.
K¯ a´syapaA sam
.
de´sam
¯ ad¯ aya saAstr¯ık¯ as tapasvinah
.
sam
.
vr
.
tt¯ ah
.
. ´srutv¯ a prabhavis
.
-
n
.
uf pram¯ an
.
am.
i
¯
a;
¯
a: kim
.
K¯ a´syapaAsam
.
de´saAh¯ arin
.
ah
.
saAstr¯ık¯ as tapasvinah
.
?
xa˜ xcux¯ı: atha kim?
i
¯
a;
¯
a: tena hi madAvacan¯ ad vij ˜ n¯ apyat¯ am up¯ adhy¯ ayah
.
Soma-
r¯ atah
.
: «am¯ un ¯ a´sramaAv¯ asinah
.
´srautena vidhin¯ a satAkr
.
tya
svayam eva prave´sayitum arhas’ ˆıti.» aham apy en¯ an ta-
pasviAdar´san’A ˆ ocite de´se pratip¯ alay¯ ami.
xa˜ xcux¯ı: yad ¯ aj ˜ n¯ apayati devah
.
. (iti nis
.
kr¯ antah
.
.)
i
¯
a;
¯
a: (utth¯ aya) Vasumati, agniA´saran
.
am ¯ ade´saya. ,.,c
iiariu
¯
ai¯ı:

ido ido devo.

(Parikr¯ amanti.)
i
¯
a;
¯
a: (adhik¯ araBkhedam
.
nir¯ upayitv¯ a) sarvaf pr¯ arthitamadhi-
gamya sukh¯ı sam
.
padyate, r¯ aj ˜ n¯ am
.
tu carit’A ˆ arthat¯ a duh
.
-
kh’A ˆ ottar” ˆ aiva. kutah
.
?
::¡
acr iivi: rui riacio\
When even a happy being is filled with longing,
onseeing pleasing sights or hearing sweet words,
then, surely, his mind recalls, unconsciously,
deeply felt friendships of former births.
cuaxniiiaix: (approaches, prostrates) Be victorious, be vic- ,.:,
torious, Your Majesty! Ascetics dwelling in the forests of
the Him´ alaya’s foothills are approaching, accompanied
by womenfolk. They bring a message from K´ ashyapa.
Hearing this, you are the authority to make a decision.
xixc: Ascetics with women bearing a message from K´ ash-
yapa?
cuaxniiiaix: What now?
xixc: Request the preceptor Soma·rata, inmy name: “Please
welcome these hermit-dwellers according tothe rite sanc-
tioned by the scriptures and introduce them to me your-
self.” I, for my part, will receive them in a place befitting
an audience with ascetics.
cuaxniiiaix: As His Majesty commands. (Exit.)
xixc: (arises) V´ asumati! Lead the way to the fire-sanctuary. ,.,c
ioiriiss: This way, this way, Your Majesty. (They walk
about.)
xixc: (shows the weariness of his office) Everyone who has
won his desire becomes happy. But, for kings, even the
attainment of the desired object is followed by pain.
How so?
::,
suax´ uxraia’s iicocxiriox
autsukyaAm¯ atram avas¯ adayati pratis
.
t
.
h¯ a
kli´sn¯ ati labdhaAparip¯ alanaAvr
.
ttir eva
n’ ˆ ati´sram’Aˆ apanayan¯ aya yath¯ a ´sram¯ aya
r¯ ajyam
.
svaAhastaAdhr
.
taAdan
.
d
.
am iv’ ¯ atapaAtram.
(nepathye) vair
¯
aiixau
.
: vijayat¯ am
.
devah
.
.
svaAsukhaAnirabhil¯ as
.
ah
.
khidyase lokaAhetoh
.
,.,,
pratidinam atha v¯ a te sr
.
s
.
t
.
ir evam
.
Avidh” ˆ aiva
anubhavati hi m¯ urdhn¯ a p¯ adapas t¯ıvram us
.
n
.
am
´samayati parit¯ apam
.
ch¯ ayay¯ a sam
.
´srit¯ an¯ am.
api ca,
niyamayasi vim¯ argaAprasthit¯ an ¯ attaAdan
.
d
.
ah
.
,
pra´samayasi viv¯ adam
.
, kalpase raks
.
an
.
¯ aya
aAtanus
.
u vibhaves
.
u j ˜ n¯ atayah
.
santu n¯ ama
tvayi tu parisam¯ aptam
.
bandhuAkr
.
tyam
.
praj¯ an¯ am.
i
¯
a;
¯
a: (¯ akarn
.
ya) ete kl¯ anta A manasaf punar nav¯ı A bh¯ ut¯ ah
.
smah
.
. (parikramya.)
iiar¯ıu
¯
ai¯ı:

eso ahin
.
avaAsammajjan
.
aAraman
.
¯ıo san
.
n
.
ihidaAka-
vilaAdhen
.
¯ u aggiAsaran
.
’A¯ alindo. t¯ a ¯ arohadu devo!

::o
acr iivi: rui riacio\
Ascendancy satisfies merely the longing for it,
protecting the won only brings pain.
Sovereignty does not so much alleviate fatigue
as it produces it, like a parasol held up
by its handle
with one’s own hand.
(offstage) uiiaio: Victory to His Majesty!
Day by day you toil for the welfare of the world, ,.,,
indifferent to your own ease
—yet such is your birth.
For the tree endures with its crown fierce heat
and cools those
sheltering in its shade.
Moreover,
Taking up your magistrate’s rod
you discipline those who have strayed
onto a wrong path;
you settle disputes; you afford protection.
When wealth is abundant,
relatives may be at hand;
but on you ultimately falls the kinsman’s duty
toward your subjects.
xixc: (listening) My wearied mind is refreshed. (Walks
about.)
ioiriiss: Here is the terrace of the fire-sanctuary, pleas-
ingly scoured clean, with its tawny cow nearby. Ascend,
Your Majesty!
::;
suax´ uxraia’s iicocxiriox
i
¯
a;
¯
a: (¯ arohan
.
am
.
n¯ at
.
ayitv¯ a, parijan’B ˆ am
.
s’B ˆ avalamb¯ı tis
.
t
.
hati. ,.¡c
saB vitarkam) Vasumati. kim uddi´sya tatraA bhavat¯ a K¯ a-
´syapena matAsak¯ a´sam r
.
s
.
ayaf prahit¯ ah
.
syuh
.
?
kim
.
t¯ avad vratin¯ am upod
.
haAtapas¯ am
.
vighnais tapo d¯ us
.
itam?
dharm’Aˆ aran
.
yaAgates
.
u kena cid uta
pr¯ an
.
is
.
v asacAces
.
t
.
itam?
¯ aho svit prasavo mam’ ˆ apacaritair
vis
.
t
.
ambhito v¯ırudh¯ am?
ity ¯ ar¯ ud
.
haAbahuApratarkam apari-
cched’A¯ akulam
.
me manah
.
.
iiar¯ıu
¯
ai¯ı:

devassa bhuan
.
aA par¯ısa˙ ngaA nivvude caturA assa-
me kudo edam
.
? kim tu suarid’A ˆ ahin
.
andin
.
o is¯ıo devam
.
sabh¯ aja¨ıdum ¯ agadatti takkemi.

(tataf pravi´santi Gautam¯ı B sahit¯ ah
.
´
Sakuntal¯ am
.
puraskr
.
tya
munayah
.
. pura´s c’ ˆ ais
.
¯ am
.
purohitaBka˜ ncukinau.)
xa˜ xcux¯ı: ita ito bhavantah
.
.
(sarve parikr¯ amanti.) ,.¡,
::ï
acr iivi: rui riacio\
xixc: (mimes climbing up, stops supported by the shoulder of ,.¡c
an attendant, deliberating) V´ asumati. With what inten-
tion can his reverence K´ ashyapa have dispatched seers to
me?
Might it be that the penance
of those following observances
who have amassed penitence is impeded?
Or is someone harming the animals
in the sacred forest?
Or is perhaps the flowering of the vines stunted
through my misdeeds?
My mind, filled with many conjectures,
is confounded by a lack of discernment.
ioiriiss: How could this be, while the four estates of life
are free from fear, thanks to His Majesty’s embrace of
the earth? I imagine that the sages have come to laud
His Majesty, rejoicing in his good deeds.
(Then enter the sages with G´ autami, preceded by Shak´ untala.
Before them go the priest and the chamberlain.)
cuaxniiiaix: This way, this way, reverends.
(All walk about.)
,.¡,
::,
suax´ uxraia’s iicocxiriox
´
s
¯
ai˙ xcaiavau
.
:
mah¯ aAbh¯ agah
.
satyam
.
naraApatir abhinnaAsthitir asau
na ka´s cid varn
.
¯ an¯ am apatham apakr
.
s
.
t
.
o ’pi bhajate
tath” ˆ api idam
.
´sa´svatAparicitaAviviktena manas¯ a
jan’A¯ ak¯ırn
.
am
.
manye hutaAvahaApar¯ıtam
.
gr
.
ham iva.
´
s
¯
aiaovarau
.
: sth¯ ane bhavataf puraAprave´s¯ ad ittham
.
Abh¯ utah
.
sam
.
vegah
.
, aham api,
abhyaktam iva sn¯ atah
.
,
´sucir a´sucim iva, prabuddha iva suptam
baddham iva svairaAgatir
janam ava´sah
.
sa˙ nginam avaimi.
´
saxuxrai
¯
a: (durnimittam
.
s¯ ucayant¯ı, sa B khedam)

ammo! ,.,c
kim
.
pi v¯ am’Aˆ etaram
.
me n
.
aan
.
am
.
vipphuradi?

caurax¯ı:

pad
.
ihadam
.
ama˙ ngalam! suh¯ aim
.
de bhat
.
t
.
iAkulaA
devad¯ ao vidarantu!

(parikr¯ amati.)
iuiouirau
.
: (r¯ aj¯ anam
.
nirdi´sya) bhoh! tapasvinah
.
! as¯ av atraA
bhav¯ an varn
.
’A ¯ a´sram¯ an
.
¯ am
.
raks
.
it¯ a pr¯ ag eva mukt’A ¯ asanaf
pratip¯ alayati. pa´syat’ ˆ ainam.
:,c
acr iivi: rui riacio\
suaixca·iava:
True, the magnanimous king
does not violate order;
no one among the social classes,
no matter how lowly,
pursues wrong ways;
Nevertheless, with my mind ever accustomed
to solitude
I consider this house,
crowded with people, as if it were on fire.
suaiao·vara: Justly you feel such disquiet as we enter the
citadel. I, too,
As a free man,
perceive these people attached to pleasure
as one who has bathed does one smeared,
as one who is pure does the impure,
as one who is awake does the sleeping,
as one who goes at will does the bound.
suax´ uxraia: (acting anominous portent, distressed) Ohdear! ,.,c
Why now should my right eye throb?
c
´
auraxi: May misfortune be warded off! May your hus-
band’s familial deities grant you happiness! (They walk
about.)
iiiisr: (indicating the king) Ye ascetics! Here is His Majesty,
protector of the classes and stages of life, awaiting you
arisen from his seat. Behold him!
:,:
suax´ uxraia’s iicocxiriox
i
.
s
.
a\au
.
: mah¯ aA br¯ ahman
.
a! k¯ amam etad abhinandan¯ıyam,
tath” ˆ api vayam atra madhyaAsth¯ ah
.
. kutah
.
?
bhavanti namr¯ as taravaf phal’A ˆ odgamaih
.
nav’Aˆ ambubhir d¯ uraAvilambino ghan¯ ah
.
anuddhat¯ ah
.
satApurus
.
¯ ah
.
samr
.
ddhibhih
.
svaAbh¯ ava ev’ ˆ ais
.
a par’A ˆ opak¯ arin
.
¯ am.
iiar¯ıu
¯
ai¯ı:

deva! pasan
.
n
.
aA muhaA r¯ a¯ a d¯ısanti satthaA kayy¯ a ,.,,
is¯ıo.

i
¯
a;
¯
a: (
´
Sakuntal¯ am
.
dr
.
s
.
t
.
v¯ a) ath’ ˆ atrabhavat¯ı—
k¯ a svid avagun
.
t
.
hanavat¯ı
n’ ˆ atiparisphut
.
aA´sar¯ıraAl¯ avan
.
y¯ a
madhye tapoAdhan¯ an¯ am
.
kisalayam iva p¯ an
.
d
.
uApatr¯ an
.
¯ am?
iiar¯ıu
¯
ai¯ı:

deva kud¯ uhalad¯ ae vimhida mhi. n
.
a me takko
pas¯ıdadi.

iaii;axau
.
:

bhat
.
t
.
¯ a, dam
.
san
.
¯ı¯ a kkhu se ¯ akid¯ı lakkh¯ıadi.

i
¯
a;
¯
a: anirvarn
.
an¯ıyam
.
paraAkalatram! ,.oc
´
saxuxrai
¯
a: (¯ atmaB gatam, hastam urasi dattv¯ a)

hiaa! kim
evam
.
vevasi? ayyaAuttassa bh¯ avaAtthidim
.
sumaria dh¯ıram
d¯ ava hohi.

iuiouirau
.
: (puro gatv¯ a) deva! ete vidhivad arcit¯ as tapa-
svinah
.
. ka´s cid es
.
¯ am up¯ adhy¯ ayaA sam
.
de´sah. tam
.
devah
.
´srotum arhati.
i
¯
a;
¯
a: (s’B¯ adaram) avahito ’smi.
i
.
s
.
a\au
.
: (upasr
.
tya, hast¯ an udyamya) vijayasva r¯ ajan!
:,:
acr iivi: rui riacio\
siiis: Great Brahmin! Granted, this is praiseworthy, nev-
ertheless we remain indifferent. How so?
Trees are bent low when they bear fruit,
clouds hang low when loaded with fresh water,
good men are not made conceited by wealth,
this is simply the nature of those who help others.
ioiriiss: Your Majesty! The seers appear to have serene ,.,,
countenances, inspiring confidence.
xixc: (seeing Shak´ untala) Then this lady—
Who might be this veiled lady,
the beauty of her body not quite revealed,
in the midst of those rich in penitence,
like a fresh bud among pale leaves?
ioiriiss: Your Majesty! I am filled with curiosity. I have
no idea.
iirixui: Lord, her form is beautiful to behold.
xixc: Another’s wife must not be looked at!
,.oc
suax´ uxraia: (to herself, placing her hand on her chest) My
heart, why do you flutter so? Remember my noble lord’s
constancy and then be calm.
iiiisr: (going ahead) Your Majesty! Here are the ascetics,
honored according to custom. They have a message from
their teacher. Please hear it.
xixc: (respectfully) I am attentive.
siiis: (approaching, stretching out their hands) Be victorious,
O king!
:,,
suax´ uxraia’s iicocxiriox
i
¯
a;
¯
a: sarv¯ an abhiv¯ adaye vah
.
. ,.o,
i
.
s
.
a\au
.
: svasti bhavate!
i
¯
a;
¯
a: api nirvighnam
.
tapah
.
?
i
.
s
.
a\au
.
:
kuto dharmaAkriy¯ aAvighnah
.
sat¯ am
.
raks
.
itari tvayi
tamas tapati gharm’Aˆ am
.
´sau
katham ¯ avirAbhavis
.
yati?
i
¯
a;
¯
a: arthav¯ an me khalu r¯ ajaA ´sabdah
.
. atha bhagav¯ a
˜
l lok’A ,.;c
ˆ anugrah¯ aya ku´sal¯ı K¯ a´syapah
.
?
´
s
¯
ai˙ xcaiavau
.
: sv¯ adh¯ınaAku´sal¯ ah
.
siddhimantah
.
. sa bhavan-
tam an¯ amayaApra´snaAp¯ urvakam idam ¯ aha.
i
¯
a;
¯
a: kim ¯ aj ˜ n¯ apayati bhagav¯ an?
´
s
¯
ai˙ xcaiavau
.
: (
´
Sakuntal¯ am uddi´sya) «yan mithah
.
A sama-
v¯ ay¯ ad im¯ am
.
mad¯ıy¯ am
.
duhitaram upayeme, tan may¯ a
pr¯ıtaAmanas¯ a yuvayor anuj ˜ n¯ atam. kutah
.
?
tvam arhat¯ am
.
pr¯ agraAharah
.
smr
.
to hi nah
.
´
Sakuntal¯ a m¯ urtimat” ˆıva satAkriy¯ a,
sam¯ anayam
.
s tulyaAgun
.
am
.
vadh¯ uAvaram
cirasya v¯ acyam
.
na gatah
.
Praj¯ apatih
.
.
tad id¯ an¯ım ¯ apannaAsattv¯ a pratigr
.
hyat¯ am sahaAdharmaAcara- ,.;,
n
.
¯ ay’ ˆ eti.»
:,¡
acr iivi: rui riacio\
xixc: (bowing) I salute you all. ,.o,
siiis: Good fortune to you!
xixc: Is your penance unimpeded?
siiis:
Howcould there be any hindrance to the holy rites
of the good while you are their protector?
While the hot-rayed sun shines
how could darkness appear?
xixc: My title “king” has become meaningful. Is his rever- ,.;c
ence K´ ashyapa hale to bless the world with his grace?
suaixca·iava: The perfect ones have power over their own
welfare. After inquiring about your health, he says this
to your honor.
xixc: What does his reverence command?
suaixca·iava: (indicates Shak´ untala) “Since you married
this daughter of mine by mutual agreement, I amcontent
and give you both my consent. Why?
I consider you the foremost of the worthy,
Shak´ untala is the embodiment of virtue,
as it were,
uniting a bride and groom of equal merit,
the creator has at last
done something commendable.
Now accept her, who is with child, to fulfill your joint ,.;,
obligations.”
:,,
suax´ uxraia’s iicocxiriox
caurax¯ı:

bhaddaA muha! vattuk¯ am¯ a thida mhi, n
.
a a me
vaan
.
’Aˆ ava¯ aso atthi. kadham
.
ti?

n
.
’ ˆ avekkhio guruAan
.
o
im¯ a˘ e n
.
a a ettha pucchi¯ a bandh¯ u
ekkAekkamen
.
a varie
kim bhan
.
n
.
a¨ u ekkamAekkamhi?

´
saxuxrai
¯
a: (apav¯ arya, s’Bˆ otkan
.
t
.
ham)

kim
.
n
.
u kkhu ajjaAutta
bhan
.
issadi?

i
¯
a;
¯
a: (´sa˙ nk”B¯ akulam ¯ akarn
.
ya.) ayi! kim idam upanyastam?
´
saxuxrai
¯
a: (svaBgatam, s’B ¯ a´sa˙ nkam.)

hum
.
! p¯ avao se vaan
.
’A ,.ïc
ˆ ovakkhevo.

´
s
¯
ai˙ xcaiavau
.
: katham
.
n¯ ama? atraA bhavanta eva sutar¯ am
.
lokaAy¯ atr¯ aAnis
.
n
.
¯ at¯ ah
.
.
sat¯ım api j ˜ n¯ atiAkul’Aˆ aikaAsam
.
´sray¯ am
.
jano ’nyath¯ a bhartr
.
mat¯ım
.
vi´sa˙ nkate
atah
.
sam¯ıpe parin
.
etur is
.
yate
tadAaApriy” ˆ api pramad¯ a svaAbandhubhih
.
.
i
¯
a;
¯
a: kim atraAbhavat¯ı may¯ a parin
.
¯ıtaAp¯ urv¯ a?
´
saxuxrai
¯
a: (saB vis
.
¯ adam, ¯ atmaB gatam)

hiaa, sam
.
bh¯ avid¯ a
khu de ¯ asa˙ nk¯ a!

´
s
¯
ai˙ xcaiavau
.
: r¯ ajan! kim
.
kr
.
taAk¯ aryaAdves
.
¯ ad dharmam
.
prati ,.ï,
vimukhat¯ a r¯ aj ˜ nah
.
?
:,o
acr iivi: rui riacio\
c
´
auraxi: Kind sir! I am eager to speak, but it is not my
place to speak. Why?
She did not consult her elders,
you did not ask her kinsfolk.
Since you chose one another,
what will you now say to each other?
suax´ uxraia: (aside, longingly) What will my noble lord say
now?
xixc: (listening, assailed by doubt) Ah! What are you insin-
uating?
suax´ uxraia: (to herself, doubting) Oh! His misgivings about ,.ïc
her words are fire.
suaixca·iava: What is this? Your Majesty is well versed in
the ways of the world.
Though she is virtuous,
people suspect a married woman
who stays only with her own relatives
to be otherwise.
Therefore, her own relatives send her
to the man who married her,
even if he loves her not.
xixc: Have I married her?
suax´ uxraia: (dejected, to herself ) My heart, your doubt
proves itself to be well founded.
suaixca·iava: O King! Is this a king’s aversion to duty ,.ï,
because he reviles a deed he has done?
:,;
suax´ uxraia’s iicocxiriox
i
¯
a;
¯
a: kuto ’yam aAsatAkalpan¯ aAprasa˙ ngah
.
?
´
s
¯
ai˙ xcaiavau
.
: m¯ urchanty am¯ı vik¯ ar¯ af pr¯ ayen
.
’ ˆ ai´svaryaAma-
ttes
.
u.
i
¯
a;
¯
a: vi´ses
.
en
.
’ ˆ adhiks
.
ipto ’smi!
caurax¯ı:

j¯ ade! m¯ a muhuttaam
.
lajja. avan
.
a¨ıssam
.
d¯ ava de
avagun
.
t
.
han
.
am
.
. tado bhat
.
t
.
¯ a tumam
.
ahij¯ an
.
issadi tti.

(ya-
th”B ˆ oktam
.
karoti.)
i
¯
a;
¯
a: (
´
Sakuntal¯ am
.
nirvarn
.
ayan, saBvismayam ¯ atmaBgatam) ,.,c
idam upanatam evam
.
r¯ upam aAklis
.
t
.
aAk¯ anti
prathamaAparigr
.
h¯ıtam
.
sy¯ an na v” ˆ ety adhyavasyan
bhramara iva vibh¯ ate kundam antasAtus
.
¯ aram
.
na ca khalu paribhoktum
.
n’ ˆ api ´saknomi h¯ atum.
(iti vic¯ arayan sthitah
.
.)
iaii;axau
.
: (jan’Bˆ antikam.)

aho dhamm’Aˆ avekkhid¯ a bhat
.
t
.
i-
n
.
o! ¯ıdisam
.
n
.
¯ ama suh’A ˆ ovanadam
.
itth¯ıAradan
.
am
.
pekkhia,
ko an
.
n
.
o vi¯ aredi?

´
s
¯
ai˙ xcaiavau
.
: r¯ ajan? kim evam
.
jos
.
am ¯ asyate?
i
¯
a;
¯
a: bhos tapasvin! cintayann api na khalu sv¯ı A karan
.
am ,.,,
atraA bhavaty¯ ah
.
smar¯ ami. tat katham anabhivyaktaA sat-
tvaAlaks
.
an
.
¯ am
.
¯ atm¯ anam
.
ks
.
etrin
.
am anA ¯ a´sam
.
sam¯ anaf pra-
tipatsye?
´
saxuxrai
¯
a: (apav¯ arya)

haddh¯ı! kadham
.
parin
.
ae yyeva san-
deho? bhagg¯ a d¯ an
.
im me d¯ ur’A¯ arohin
.
¯ı ¯ as¯ a!

:,ï
acr iivi: rui riacio\
xixc: What is this susceptibility to false fabrications?
suaixca·iava: Such changes for the worse commonly stu-
pefy men drunk with power.
xixc: I am gravely insulted!
c
´
auraxi: My daughter! For a moment, do not be bashful. I
will remove your veil. Then the lord will recognize you.
(Does so.)
xixc: (observing Shak´ untala, astonished, to himself ) ,.,c
Trying to decide whether this figure
of flawless beauty, thus offered to me,
was in the past married or not,
I find myself unable to accept or relinquish,
just as a bee at dawn does
a jasmine blossom with dew within.
(Remains pondering.)
iirixui: (among themselves) Oh! Howthe lordmust respect
his duty! Who else would waver, seeing such a jewel of
a woman come by with such ease?
suaixca·iava: O King? Why do you remain so silent?
xixc: Sir ascetic! Though I reflect, I cannot recall marrying ,.,,
her ladyship. Then how could I take in a woman faintly
showing signs of pregnancy, doubting myself to be her
husband?
suax´ uxraia: (aside) Alas! How can he doubt even the mar-
riage? Broken is my hope that had climbed so high.
:,,
suax´ uxraia’s iicocxiriox
´
s
¯
ai˙ xcaiavau
.
: m¯ a t¯ avat.
kr
.
t’Aˆ abhimar´s¯ am avamanyam¯ anah
.
sut¯ am
.
tvay¯ a n¯ ama munir vim¯ anyah
.
jus
.
t
.
am
.
pratigr¯ ahayat¯ a svam artham
.
p¯ atr¯ıAkr
.
to dasyur iv’ ˆ asi yena.
´
s
¯
aiaovarau
.
:
´
S¯ ar˙ ngarava! virama tvam id¯ an¯ım!
´
Sakuntale!
vaktavyam uktam asm¯ abhih
.
. so ’yam atraAbhav¯ an idam
¯ aha. tad d¯ıyat¯ am asmai pratyayah
.
.
´
saxuxrai
¯
a: (svaB gatam, saB khedam
.
nih
.
´svasya)

idam
.
avat- ,.:cc
thantaram
.
gade t¯ adise muhuttaA r¯ age kim
.
v¯ a sumar¯ avi-
den
.
a sam
.
padam
.
ten
.
a? adha v¯ a att¯ a d¯ an
.
im
.
me sodhan
.
¯ıo
tthi vivadissam
.
edam
.
.

(prak¯ a´sam)

ayyaAutta!

(ityBardh’B
ˆ okte svaBgatam)

adha v¯ a sam
.
sa¨ıdo d¯ an
.
im
.
me samud¯ a¯ a-
ro.

(prak¯ a´sam)

Porava! juttam
.
n
.
¯ ama pur¯ a assamaApade
sabbh¯ av’Autt¯ an
.
aAhiaam
.
imam
.
jan
.
am
.
samaaApuravam
.
pa-
d¯ aria ¯ıdisehim
.
akkharehim
.
pacc¯ acakkhidum
.
?

i
¯
a;
¯
a: (karn
.
au spr
.
s
.
t
.
v¯ a) ´s¯ antam
.
p¯ apam!
vyapade´sam ¯ avilayitum
.
kim ¯ıhase m¯ am
.
ca p¯ atayitum
k¯ ulam
.
Akas
.
” ˆ eva sindhuh
.
prasannam ogham
.
tat
.
aAruham
.
ca.
´
saxuxrai
¯
a:

ja¨ı param’A atthado paraA pariggahan
.
aA sa˙ nkin
.
¯ a
tae evam
.
uttam
.
, t¯ a ahin
.
n
.
¯ an
.
en
.
a gurun
.
¯ a tuha sandeham
.
avan
.
a¨ıssam
.
.

:¡c
acr iivi: rui riacio\
suaixca·iava: This will not do!
Are you to insult the sage whom you disrespected
by seducing his daughter;
He who welcomed you
to accept what was his,
and treated you, who were like a robber,
as a worthy recipient?
suaiao·vara: Sharnga·rava! You stop now! Shak´ untala! We
have said what we had to say. This is what His Majesty
says. Give him proof.
suax´ uxraia: (to herself; sighing, distressed) What is the use ,.:cc
now of reminding one who has undergone such a
change, one whose love was so short-lived? Nevertheless,
my name must be cleared, so I will dispute it. (aloud)
My noble lord! (to herself in midsentence) But no, this
address is now contested. (aloud) P´ aurava! Is it right to
reject with such words this person whose heart is by na-
ture open, whom you seduced in the hermitage grounds
making promises?
xixc: (holding his ears) Stop this evil!
Why do you attempt to befoul your name
and cause my downfall,
just as a river, surging against its bank
does to its pure stream and tree on its verge.
suax´ uxraia: If you speak like this because you truly fear
that I am another’s wife, then I will dispel your doubt
with this weighty token of recognition.
:¡:
suax´ uxraia’s iicocxiriox
i
¯
a;
¯
a: ud¯ aram!
´
saxuxrai
¯
a: (mudr¯ aBsth¯ anam
.
par¯ amr
.
´sya)

haddh¯ı! a˙ ngul¯ıaA ,.:c,
sun
.
n
.
¯ a me a˙ ngul¯ı.

(t¯ apas¯ım
.
pa´syati.)
caurax¯ı:

n
.
a kkhu de Sakk’Aˆ avad¯ are Sac¯ıAtitth’A ˆ odaam
.
ava-
g¯ aham¯ an
.
¯ ae pabbhat
.
t
.
ho a˙ ngul¯ıao?

i
¯
a;
¯
a: (saBsmitam) idam
.
tad yautukam
.
pratyutpannam
.
str¯ı-
n
.
¯ am iti yad ucyate.
´
saxuxrai
¯
a:

ettha d¯ ava vihin
.
¯ a dam
.
´sidam
.
pahuttan
.
¯ am
.
. ava-
ram
.
de kadha¨ıssam
.
.

i
¯
a;
¯
a: ´srotavyam id¯ an¯ım
.
sam
.
vr
.
ttam.
´
saxuxrai
¯
a:

n
.
a kkhu tatthA ekkaA diase n
.
oA m¯ ali¯ aA man
.
d
.
avae
,.::c
n
.
alin
.
¯ıA pattaA bh¯ aan
.
aA gadam
.
udaam
.
tava hatthaA san
.
n
.
ihi-
dam
.
¯ asi?

i
¯
a;
¯
a: ´sr
.
n
.
umas t¯ avat.
´
saxuxrai
¯
a:

takAkhan
.
am
.
ca mama so kidaaAputtao harin
.
ao
uvatthido, «tado tae aam d¯ ava pad
.
hamam
.
pivadu» tti
an
.
ukampin
.
¯ a uvacchandido, n
.
a un
.
a de avari¨ıdassa hat-
thabbh¯ aso uvagado. pacch¯ a tassimyeva udae mae gahide
pan
.
aaApak¯ asaApuvvam
.
pahasido si. bhan
.
idam
.
ca tae: «sa-
vvo saAgandhe v¯ısasidi duve vi ettha ¯ aran
.
n
.
aa tti.»

i
¯
a;
¯
a: (vihasan) ebhir ¯ atmaAk¯ aryaAnirvartin¯ın¯ am yos
.
it¯ am anA
r
.
taAv¯ a˙ nAmadhubhir ¯ akr
.
s
.
yante vis
.
ayin
.
ah
.
.
:¡:
acr iivi: rui riacio\
xixc: How noble!
suax´ uxraia: (feels the place of the signet ring) Oh no! The ,.:c,
ring is not on my finger. (Looks to the female ascetic.)
c
´
auraxi: Might not the ring have slipped off when you
submerged yourself into the waters of Shachi-ford at the
place of Indra’s Descent?
xixc: (smiling) This must be what is called the ready wit
that is the dowry of women.
suax´ uxraia: Here fate has shown its lordship. I will tell
you something else.
xixc: Now we come to something that must be heard.
suax´ uxraia: One day, in the jasmine bower, did you not ,.::c
have water in a lily-leaf bowl held in your hand?
xixc: Let’s hear it, then.
suax´ uxraia: At that moment the young antelope whom I
had adopted as my son appeared. Then you coaxed him
kindly, saying: “Well, let him drink first.” But, unfamil-
iar with you, he did not take it from your hand. Then,
when he took that same water from me, you laughed
after you showed affection. And you said: “Everyone
trusts someone who bears the same scent. Both of you
are foresters.”
xixc: (laughing) With such honey of false words, women,
scheming to meet their own ends, ensnare pleasure-
seekers.
:¡,
suax´ uxraia’s iicocxiriox
caurax¯ı:

mah¯ aAbh¯ aa! n
.
’ ˆ arihasi ittikam
.
manta¨ıdum. tavoA
van
.
aAsam
.
vad
.
d
.
hido kkhuaam
.
jan
.
o an
.
abhin
.
n
.
o kedavassa.

i
¯
a;
¯
a: t¯ apasaAvr
.
ddhe! ,.::,
str¯ın
.
¯ am a´siks
.
itaApat
.
utvam am¯ anus
.
¯ıs
.
u
sam
.
dr
.
´syate kim uta y¯ af pratibodhavatyah
.
,
pr¯ ag antariks
.
aAgaman¯ at svam apatyaAj¯ atam
anyaAdvijaif paraAbhr
.
tah
.
kila pos
.
ayanti.
´
saxuxrai
¯
a: (saBros
.
am)

attan
.
o hia’Aˆ an
.
um¯ an
.
en
.
a savvam
.
pek-
khasi! ko an
.
n
.
o dhammaA ka˜ ncuaA pavesin
.
o tan
.
aA chan
.
n
.
aA
k¯ uv’A ˆ ovamassa tav’ ˆ an
.
uk¯ ar¯ı bhavissadi?

i
¯
a;
¯
a: (svaBgatam.) vanaAv¯ as¯ ad avibhramaf punar atraAbhava-
ty¯ ah
.
kopo laks
.
yate. tath¯ a hi,
na tiryag avaloki caks
.
ur atilohitam
.
kevalam
.
vaco ’pi parus
.
’Aˆ aks
.
aram
.
na ca pades
.
u sam
.
sajjate
him’Aˆ arta iva vepate sakala es
.
a bimb’Aˆ adharah
.
svabh¯ avaAvinate bhruvau yugapad eva bhedam
.
gate.
(prak¯ a´sam) bhadre, Dus
.
yanta A caritam praj¯ asu prathitam
.
, ,.::c
tath” ˆ ap’ ˆıdam
.
na laks
.
aye.
:¡¡
acr iivi: rui riacio\
c
´
auraxi: Your Majesty! You must not speak thus. Raised
in the penance grove, she does not know deceit.
xixc: Old nun!*
,.::,
Untaught cunning is evident among females
not human,
how much more so among those
that are intelligent.
Before flying away into the sky,
female cuckoos ensure
their offspring is reared by other birds.
suax´ uxraia: (angrily) You perceive everything according
to the workings of your own heart! Can there be anybody
else like you, girding himself in the armor of righteous-
ness, resembling a well concealed by grass?
xixc: (to himself ) On the other hand, the lady’s unfeigned
anger appears to be that of one raised in the forest. For,
Her eye casts no side glances,
but just glares very red,
her voice is harsh and does not slur its words,
her whole bimba-red lower lip shivers
as if pained by the cold,
her naturally curved brows
have at once knitted together.
(aloud) Good woman, Dushy´ anta’s behavior is well known ,.::c
to his subjects, yet I note no such thing.
:¡,
suax´ uxraia’s iicocxiriox
´
saxuxrai
¯
a:

tumhe yyeva pam¯ an
.
am
.
j¯ an
.
adha dhammaAtthidim
.
ca loassa
lajj¯ aAvin
.
ijjid¯ ao
j¯ an
.
anti khu kim
.
n
.
n
.
u mahil¯ ao?

sus
.
t
.
hu d¯ ava! sacchand’A¯ arin
.
¯ı kad” amhi j¯ a aham
.
imassa Pu-
ruA vam
.
saA paccaen
.
a hiaaA satthaA dh¯ arassa muhaA mahun
.
o
hatth’Aabbh¯ asam
.
uvagad¯ a.

(iti mukham ¯ avr
.
tya roditi.)
nu
¯
acuiiu
.
: itthamapratihatam
.
c¯ apalam
.
dahati. atah
.
khalu,
par¯ıks
.
ya sarvam
.
kartavyam
.
,.::,
vi´ses
.
¯ at sam
.
vidah
.
kriy¯ ah
.
aj ˜ n¯ ataAhr
.
dayes
.
v evam
.
vair¯ıAbhavati sauhr
.
dam.
i
¯
a;
¯
a: ayi bhoh
.
! kim atraAbhavat¯ıApratyay¯ ad ev’ ˆ asm¯ an atiba-
lena ks
.
in
.
vanti bhavantah
.
?
´
s
¯
ai˙ xcaiavau
.
: ´srutam
.
bhavadbhir adhar’A ˆ ottaram.
¯ a janmanah
.
´s¯ at
.
hyam a´siks
.
ito yas
tasy’ ˆ apram¯ an
.
am
.
vacanam janasya!
par’Aˆ abhisam
.
dh¯ anam adh¯ıyate yair
«vidy” ˆ eti» te santu kil’ ¯ aptaAv¯ acah
.
!
i
¯
a;
¯
a: hanta bhoh
.
, satyaAv¯ adin! abhyupagatam
.
t¯ avad asm¯ a-
bhir, evamAvidh¯ a vayam. kim
.
punar im¯ amabhisam
.
dh¯ aya
labhyate?
:¡o
acr iivi: rui riacio\
suax´ uxraia:
You alone are the authority
and you know the ways of the world,
what possibly can timid women know?
So be it! I have been made a wanton woman, I who, trusting
in the lineage of Puru, have fallen into the hands of a
man with a honeyed mouth but a blade in his heart.
(Averts her face and weeps.)
nu
´
acuii: This is how an unrestrained rash deed burns.
That is why,
One should enter into alliances, above all,
,.::,
after checking everything carefully.
This is how among those
whose hearts are unknown,
affection turns to hatred.
xixc: Ah! sir! Why with just the testimony of her ladyship
do you grieveously cast a slur upon me.
suaixca·iava: Your Majesty has got it upside down.
The words of a person
who since birth has not known deceit
have no authority!
Those who have made a study
of cheating others,
calling it “politics,”
they are reliable authorities!
xixc: Alas, speaker of the truth! We admit to being political.
But what would be gained from deceiving her?
:¡;
suax´ uxraia’s iicocxiriox
´
s
¯
aiaovarau
.
: vinip¯ atah
.
. ,.:,c
i
¯
a;
¯
a: tam
.
n’ ˆ aham
.
pr¯ arthaye.
´
s
¯
aiaovarau
.
: bho r¯ ajan! kim uttar’A ˆ ottarair? anus
.
t
.
hitaA gu-
ruAsam
.
de´s¯ ah
.
smah
.
. sam
.
prati nirgacch¯ amahe vayam.
tad es
.
¯ a bhavataf patn¯ı
tyaja v” ˆ ain¯ am
.
gr
.
h¯ an
.
a v¯ a
upayantur hi d¯ ares
.
u
prabhut¯ a sarvatoAmukh¯ı.
Gautami, gaccha gacch’ ˆ agratah
.
! (iti prasthit¯ ah
.
.)
´
saxuxrai
¯
a: (saB dainyam)

hum
.
! imin
.
¯ a d¯ ava kedaven
.
a vi- ,.:,,
ppaladdha mhi. tumhe vi mam
.
paricca¨ıdum
.
icchadha.
t¯ a k¯ a gad¯ı?

(iti Gautam¯ım anugacchati.)
c
´
auraxi: (sthitv¯ a)

vaccha Sa˙ ngarava! an
.
ugacchady es¯ a ka-
run
.
aAparidevin
.
¯ı Sa¨ untal¯ a. pacc¯ adesaAkaluse bhat
.
t
.
¯ are kim
.
v¯ a putti¯ a me karedu?

´
s
¯
ai˙ xcaiavau
.
: (purodhas¯ a sam
.
j˜ nitaf pratinivr
.
ttya) ¯ ah
.
! puroA
bh¯ age! kim idam
.
sv¯ atantryam avalambyate? (
´
Sakuntal¯ a
bh¯ıt¯ a vepate.)
´
s
¯
ai˙ xcaiavau
.
: ´sr
.
n
.
otu bhavat¯ı!
yadi yath¯ a vadati ks
.
itiApas tath¯ a
tvam asi kim
.
pitr
.
A´sokaAday¯ a tvay¯ a
atha tu vetsi ´suci vratam ¯ atmanah
.
patiAgr
.
he tava d¯ asyam api ks
.
amam.
:¡ï
acr iivi: rui riacio\
suai
´
aovara: Ruin!
,.:,c
xixc: That is not what I seek.
suai
´
aovara: King! What’s the point of this dispute? We
have carried out our preceptors command. Now we
depart.
So she is your wife, take her or leave her.
For a husband’s power over his wives
is all-encompassing.
G´ autami, go, go ahead! (They set off.)
suax´ uxraia: (pitifully) Oh no! I really have been deceived ,.:,,
by this cheat. You, too, are about to abandon me. What
is the way out? (With this, she follows G´ autami.)
c
´
auraxi: (stops) Child, Sharnga·rava. Shak´ untala, lament-
ing piteously, is following us. When her husband is so
vile as to reject her, what can my daughter do?
suaixca·iava: (turns around, beckoned by the priest) Ah!
You forward woman! Are you being willful? (Shak´ untala
trembles with fear.)
suaixca·iava: Listen!
If you are as the king says,
then what have we to do with you,
who brings grief to your father?
But if you know your conduct to be pure,
then even slavery in your husband’s house
is bearable.
:¡,
suax´ uxraia’s iicocxiriox
tis
.
t
.
ha! s¯ adhay¯ amo vayam. ,.:¡c
i
¯
a;
¯
a: bhos tapasvin! kim atraAbhavat¯ım
.
vipralabhase?
kumud¯ any eva ´sa´s’Aˆ a˙ nkah
.
savit¯ a bodhayati pa˙ nkaAj¯ any eva
va´sin¯ am
.
hi paraAparigrahaA
sam
.
´sles
.
aApar¯ a˙ nAmukh¯ı vr
.
ttih
.
.
´
s
¯
ai˙ xcaiavau
.
: r¯ ajan! atha p¯ urvaAparigraho ’ny’A¯ asa˙ ng¯ ad vi-
smr
.
to bhavet, tad¯ a katham adharmaAbh¯ıro?
i
¯
a;
¯
a: bhavantam eva guruAl¯ aghavam
.
praks
.
y¯ ami.
m¯ ud
.
hah
.
sy¯ am aham es
.
¯ a v¯ a ,.:¡,
vaden mithy” ˆ eti sam
.
´saye—
d¯ araAty¯ ag¯ı bhav¯ amy ¯ aho
paraAstr¯ıAspar´saAp¯ am
.
sulah
.
.
iuioou
¯
au
.
: (vic¯ arya) yadi t¯ avad evam
.
kriyate. . .
i
¯
a;
¯
a: . . . anu´s¯ astu m¯ am
.
bhav¯ an.
iuioou
¯
au
.
: atraAbhavat¯ı tavad ¯ a prasav¯ ad madAgr
.
he tis
.
t
.
ha-
tu. bh¯ utam idam ucyate: tvam
.
s¯ adhubhir ¯ adis
.
t
.
af pratha-
mam cakraA vartinam
.
janayis
.
yas’ ˆıti. sa cen muni A dau-
hitras talAlaks
.
an
.
’A ˆ opapanno bhavis
.
yati tataf pratinandya
´suddh’ A ˆ antam en¯ am
.
prave´sayis
.
yas’ ˆıti. viparyaye pitur
asy¯ ah
.
sam¯ıpaAgamanam upasthitam eva.
:,c
acr iivi: rui riacio\
Stay! We are leaving. ,.:¡c
xixc: Ascetic! Why do you deceive the lady?
The moon awakens only night-lilies,
the sun only lotuses.
The character of the self-restrained recoils
from embracing the wife of another.
suaixca·iava: King! What if your previous conquest has
been forgotten because you are preoccupied with an-
other woman, then what, O shunner of dishonor?
xixc: Let me ask his honor what is more plausible here.
Doubting whether I might be oblivious ,.:¡,
or whether she might speak falsely—
shall I become a wife-reviler
or a defiler of another’s wife?
iiiisr: (considering) What if we were to do this. . .
xixc: . . . Please advise me.
iiiisr: Let her ladyship stay in my house until she has
given birth. I say this advisedly: You were told by the
wise that your firstborn will be an emperor. If the son
of the sage’s daughter is endowed with the appropriate
marks, then congratulate her and welcome her into the
female apartments. Otherwise, you should send her back
to her father.
:,:
suax´ uxraia’s iicocxiriox
i
¯
a;
¯
a: yath¯ a gurubhyo rocate.
iuioou
¯
au
.
: vatse, anugaccha m¯ am! ,.:,c
´
saxuxrai
¯
a: (rudat¯ı)

bhaavadi VasuA he! dehi me viaram
.
!

(iti nis
.
kr¯ ant¯ a saha sakalaif purodhas¯ a ca.)
i
¯
a;
¯
a: (´s¯ apaBvyavahitaBsmr
.
tih
.
´
Sakuntal¯ am eva cintayati.)
xiiaru\i: ¯ a´scaryam ¯ a´scaryam!
i
¯
a;
¯
a: (karn
.
am
.
dattv¯ a) kim
.
nu khalu sy¯ at?
iuiouirau
.
: (pravi´sya) deva! adbhutam
.
khalu sam
.
vr
.
ttam. ,.:,,
i
¯
a;
¯
a: kim iva?
iuioou
¯
au
.
: parivr
.
ttes
.
u Kan
.
vaA´sis
.
yes
.
u,
s¯ a nindant¯ı sv¯ ani bh¯ agy¯ ani b¯ al¯ a
b¯ ah’A ˆ utks
.
epam
.
kranditum
.
ca pravr
.
tt¯ a. . .
i
¯
a;
¯
a: kim
.
ca?
:,:
acr iivi: rui riacio\
xixc: As my preceptor wishes.
iiiisr: Child! Follow me.
,.:,c
suax´ uxraia: (crying) Goddess Earth, give me an opening.
(She goes out with the priest and all others.)
xixc: (His memory blocked by the curse, he thinks about Sha-
k´ untala.)
oiisraci: A miracle, a miracle!
xixc: (listening) What can be happening now?
iiiisr: (entering) Your Majesty! A miracle has occurred. ,.:,,
xixc: What kind of miracle?
iiiisr: When Kanva’s disciples had departed,
When the girl, lamenting her lot,
began to weep,
tossing up her arms. . .
xixc: What then?
:,,
suax´ uxraia’s iicocxiriox
iuioou
¯
au
.
:
,.:oc
str¯ıAsam
.
sth¯ anam
.
c’ ˆ apsarasAt¯ırtham ¯ ar¯ ad
¯ aks
.
ipy’ ˆ aiva jyotir en¯ am
.
tiro ’bh¯ ut.
(sarve vismit¯ ah
.
.)
i
¯
a;
¯
a: bhagavan, pr¯ ag api sa asm¯ abhir arthaf praty¯ adis
.
t
.
a eva.
kim
.
vr
.
th¯ a tarken
.
’ ˆ anvis
.
t
.
en
.
a vi´sram¯ ami?
iuioou
¯
au
.
: vijayasva! (iti nis
.
kr¯ antah
.
.)
i
¯
a;
¯
a: (saB smitam) Vasumati! pary¯ akulo ’smi. ´sayanaA bh¯ u- ,.:o,
mim ¯ ade´saya.
iiar¯ıu
¯
ai¯ı: (s’B¯ adaram
.
)

ido ido devo.

(parikr¯ amanti.)
i
¯
a;
¯
a: (¯ atmaBgatam)
k¯ amam
.
praty¯ adis
.
t
.
¯ am
.
smar¯ ami na parigraham
.
munes tanay¯ am
balavat tu d¯ uyam¯ anam
.
praty¯ ayayat’ ˆıva m¯ am
.
hr
.
dayam.
iti nis
.
kr¯ ant¯ ah
.
sarve.
iti mah¯ aAkaviAK¯ alid¯ asaAviracite
,.:;c
´
Sakuntal¯ aAn¯ amani n¯ at
.
ake
pa˜ ncamo ’ ˙ nkah
.
.
:,¡
acr iivi: rui riacio\
iiiisr:
,.:oc
A light in female shape fell upon her
near Nymph-ford and whisked her away.
(All are amazed.)
xixc: Your reverence, I have already settled this matter.
Why should I weary myself with vain conjectures?
iiiisr: Be victorious. (Exit.)
xixc: (smiling) V´ asumati! I am troubled. Lead the way to ,.:o,
the bedchamber.
cuaxniiiaix: (respectfully) This way, Your Majesty, this
way. (They walk about.)
xixc: (to himself )
Though I cannot recall marrying
the sage’s daughter I rejected,
but my sorely pained heart seems to want me to.
All go out.
Thus ends the fifth act
,.:;c
in the play called “Shak´ untala,”
composed by the great poet Kali·dasa.
:,,
Act Six:
The Longing
(tataf pravi´sati n¯ agarikaB´sy¯ alaf pa´sc¯ adBbaddham
.
purus
.
am ¯ ad¯ a-
ya raks
.
in
.
au ca.)
iaxs
.
ix
.
au: (purus
.
am
.
t¯ ad
.
ayitv¯ a)

ale kumbhila¯ a! kadhehi ka-
him
.
tae e´se mah¯ aA man
.
i A patthal A ukkin
.
n
.
aA n
.
¯ amA akkhale
l¯ aak¯ı’Aa˙ ngul¯ıae ´sam¯ a´sadite?

iuius
.
au
.
: (bhayam
.
n¯ at
.
ayitv¯ a)

pa´s¯ıdantu pa´s¯ıdantu bh¯ adu-
aAmi´s´s¯ a! hage kkhu ¯ıdi´sa´s´sa kamman
.
o n
.
a kalle!

iiaruaxau
.
:

kim
.
n
.
u kkhu ´sohan
.
e bamhan
.
e tti kalia la˜ n˜ n¯ a
pad
.
iggahe din
.
n
.
e?

iuius
.
au
.
:

¯ an
.
adha dan
.
im
.
! hage
´
Sakk¯ avad¯ alaA v¯ a´sike dh¯ıva- o.,
le. . .

ovir¯ı\au
.
:

p¯ ad
.
acAcal¯ a! kim
.
khu de amhehim
.
j¯ ad¯ı pu´scid¯ a?

´
s\
¯
aiau
.
:

S¯ uaa! kadhedu savvam
.
an
.
ukkamen
.
a. m¯ a n
.
am
.
an-
tar¯ a pad
.
ibandhit
.
t
.
ha.

iaxs
.
ix
.
au:

jam
.
¯ autte ¯ an
.
avedi. . . bhan
.
a, bhan
.
a!

iuius
.
au
.
:

´se hage j¯ alaAbad
.
i´s’A¯ ad¯ıhim
.
ma´scaAbandhan
.
’A ˆ ov¯ ae-
him
.
kud
.
umbaAbhalan
.
am
.
kalemi.

´
s\
¯
aiau
.
: (prahasya)

visuddho d¯ an
.
im
.
de ¯ aj¯ıo!

o.:c
iuius
.
au
.
:

bhat
.
t
.
¯ a!

´sahajam
.
kila jam
.
pi n
.
indidam
.
n
.
a hi tam
.
kamma vivajjan
.
¯ıaam
.
pa´suAm¯ alakaAkammaAd
.
¯ alun
.
e
an
.
ukamp¯ aAmidu eva ´sottie.

:,ï
(Enter the city’s captain of the police with a man whose hands
are bound behind his back and two guards.)
cuaios: (beating the man) Hey, you bandit! Confess where
you got the king’s signet ring, set with a valuable stone,
incised with his name?
xax: (acting fear) Have mercy, have mercy, my esteemed
brothers! I’m not capable of such a thing.
iiisr cuaio: Perhaps the king gave it to you as a present,
thinking that you are a saintly brahmin?
xax: Hear me out now! I’m a fisherman living at “Indra’s o.,
Descent”. . .
sicoxocuaio: You thief! Did we ask you about your caste?
ioiici cairaix: S´ uchaka! Let him recount everything in
order. Stop interrupting him.
cuaios: As the brother-in-lawcommands. . . Confess, con-
fess!*
xax: I support my family with fishing tackle such as nets
and hooks.
nioruii-ix-iaw: (laughing) A saintly profession! o.:c
xax: Lord!
It is said that whatever one’s hereditary trade,
even if it be despised,
it must not be abandoned.
A learned brahmin, gentle with compassion,
can cruelly sacrifice animals.
:,,
rui iicocxiriox oi suax´ uxraia
´
s\
¯
aiau
.
:

tado tado!

iuius
.
au
.
:

adh’AekkaAdia´se khan
.
d
.
a´so lohidaAma´sce mae kap-
pide. j¯ ava ta´s´sa udal’Aabbhantale edam
.
ladan
.
aAbh¯ a´sulam
.
a˙ ngul¯ıyaam
.
pekkh¯ ami. pa´sc¯ a idha n
.
am
.
vikka¯ aa dam
.
´sa-
naante gahide bh¯ avaAmi´s´sehim
.
. ittike d¯ ava eda´s´sa ¯ agame;
adhun
.
¯ a m¯ aledha kut
.
t
.
edha v¯ a!

´
s\
¯
aiau
.
: (a˙ ngul¯ıyakam ¯ aghr¯ aya)

J¯ an
.
aa! macchAodaraAsan
.
t
.
hi- o.:,
dam
.
ti n
.
atthi sam
.
deho. tadh¯ a aam
.
se v¯ısaAgandho. ¯ agamo
d¯ an
.
im
.
edassa vimarisidavvo: t¯ a edha r¯ aA ulam
.
yeva gac-
chamha.

iaxs
.
ix
.
au:

ga´sca, n
.
¯ ad
.
ha gan
.
t
.
hiAbhedaa!

(sarve parikr¯ ama-
nti.)
´
s\
¯
aiau
.
:

S¯ uaa! idha mam
.
goulaAduv¯ are appamatt¯ a pad
.
iv¯ ale-
dha j¯ ava imam
.
jadhA¯ agamam
.
a˙ ngul¯ıaam
.
bhat
.
t
.
in
.
o uvan
.
¯ıa
tad¯ıyaAs¯ asan
.
am
.
pad
.
icchia n
.
ikkam¯ ami

unuau:

pavi´sadu ¯ autte ´s¯ amiApa´s¯ ad¯ aa!

(´sy¯ alo nis
.
kr¯ antah
.
.)
iiaruaxau
.
:

J¯ an
.
a¯ a, cil¯ aadi ¯ autte.

ovir¯ı\au
.
:

n
.
am
.
ava´sal’A ˆ ova´sappan¯ı¯ a l¯ a¯ an
.
o.

o.:c
iiaruaxau
.
:

vaa´s¯ a, phulanti mama hatth¯ a ima´s´sa va´san
.
in
.
o
pin
.
addhum
.
.

(purus
.
am
.
nirdi´sati.)
iuius
.
au
.
:

n
.
’ ¯ alihadi bh¯ aduA bh¯ aduke ak¯ alaA m¯ alake bhavi-
dum
.
.

ovir¯ı\au
.
: (vilokya)

. . . e´se amh¯ an
.
am
.
¯ı´sale patte gen
.
hia l¯ aaA
´s¯ a´san
.
am
.
.

(purus
.
am
.
prati)

´sa¨ ul¯ an
.
am
.
muham
.
pekkha´si
adhav¯ a giddhaA´si¯ al¯ an
.
am
.
bal¯ı bhavi´sa´s´si.

:oc
acr six: rui ioxcixc
nioruii-ix-iaw: Ok, ok!
xax: Now, one day I was chopping up a r´ ohita carp, when
I saw in its guts this ring gleaming with a jewel. After-
wards, as I was showing it around here for sale, you gents
arrested me. That is how I got it; now kill me or beat
me!
nioruii-ix-iaw: (smelling the ring) J´ anaka! There can be o.:,
no doubt, it has been in the guts of a fish. This is why it
reeks of raw flesh. Its origin must now be investigated:
let us go to the royal court.
cuaios: Move along, lord pick-pocket! (All walk about.)
nioruii-ix-iaw: S´ uchaka! You two be vigilant and wait
for me here at the main gate until I inform his majesty
of the provenance of the ring, receive his orders, and
return.
noru: May the sister’s husband be favorably received by his
majesty! (Exit the brother-in-law.)
iiisr: J´ anaka, the sister’s husband is taking his time.
sicoxo: You must take into account that you have to wait o.:c
for the right moment to approach a king.
iiisr: Buddy, my hands are itching to throttle this wretch.
(Points to the man.)
xax: It is not right for someone addressed with the good
name “brother” to bring an untimely death.
sicoxo: (looking) . . . here comes our master with the king’s
orders. (to the man) You’ll either see the faces of your
family* or become an offering to vultures and jackals.
:o:
rui iicocxiriox oi suax´ uxraia
(pravi´sya)
´
s\
¯
aiau
.
:

siggham
.
siggham
.
edam
.
. . .

(ity ardh’ B
ˆ okte)
iuius
.
au
.
:

h¯ a hade mhi!

(iti vis
.
adam
.
n¯ at
.
ayati.) o.:,
´
s\
¯
aiau
.
:

mu˜ ncedha re mu˜ ncedha j¯ al’ A ˆ ovaj¯ıvin
.
am
.
! uvava-
n
.
n
.
o se kila a˙ ngul¯ıaassa ¯ agamo. amhaA s¯ amin
.
¯ a yeva me
kadhidam
.
.

iiaruaxau
.
:

jam
.
¯ an
.
avedi ¯ a¨ utte! JamaA va´sadim
.
gamia. . .
khan
.
d
.
am
.
ca via pad
.
in
.
iutte

(purus
.
am
.
mu˜ ncati)
iuius
.
au
.
: (´sy¯ alam
.
pran
.
amya)

bhat
.
t
.
¯ a! tava kelake me j¯ıvide!

´
s\
¯
aiau
.
:

utthehi! esa bhat
.
t
.
in
.
¯ a a˙ ngul¯ıaa A mulla A sammido
p¯ aridosio vi de d¯ avido.

iuius
.
au
.
: (saBhars
.
am
.
pragr
.
hya)

an
.
ugahide mhi.

o.,c
iiaruaxau
.
:

tadh¯ a n
.
¯ ama an
.
ugahide jam
.
´s¯ ul¯ ado avad¯ alia
hatthiAkkhandhe pad
.
it
.
t
.
h¯ avide.

ovir¯ı\au
.
:

¯ autt¯ a! p¯ alidosio kadhedi mah”A ˆ alihaA ladan
.
en
.
a
ten
.
a a˙ ngul¯ıaen
.
a bhat
.
t
.
in
.
o pad
.
hamaAbahuAmaden
.
a hoda-
vvam
.
.

´
s\
¯
aiau
.
:

n
.
a ca tassim
.
mah”Aˆ arihaAradan
.
am
.
ti bahuAm¯ an
.
am
.
bhat
.
t
.
in
.
o takkemi.

unui:

kim
.
khu?

´
s\
¯
aiau
.
:

takkemi tassa dam
.
san
.
en
.
a ko vi ahilasido jan
.
o bha- o.,,
t
.
t
.
in
.
¯ a sum¯ arido tti, jado tam
.
pekkhia muhuttam
.
pa¨ıdiA
gambh¯ıro payyussuaman
.
o sam
.
vutto.

:o:
acr six: rui ioxcixc
(enter the) nioruii-ix-iaw: Quickly, quickly, he. . . (in
mid-sentence)
xax: Oh! I’m dead! (Mimes despair.) o.:,
nioruii-ix-iaw: Free him! Hey! Free the fisherman! His
account of the ring’s origin checks out. Our master has
told me so himself.
iiisr: As the brother-in-law orders! Entering the house of
Death he has slipped out again through a crack. (He
releases the man.)
xax: (bowing to the brother-in-law) Master! My life is yours.
nioruii-ix-iaw: Get up! This reward, equal in value to
the ring, is to be given to you.
xax: (accepting it joyfully) I am favored. o.,c
iiisr: Favored to the extent of being taken down from
impalement and set upon an elephant’s back.
sicoxo: Sister’s husband! The reward reveals that the king
must greatly value this ring with its precious stone.
nioruii-ix-iaw: I do not think that his majesty valued it
because of its precious stone.
noru: Why then?
nioruii-ix-iaw: I hazard a guess that its sight reminded o.,,
his majesty of some cherished person, because upon see-
ing it he, normally so composed, showed for a moment
a yearning.
:o,
rui iicocxiriox oi suax´ uxraia
ovir¯ı\axau
.
:

s¯ adhu mantidam
.
n
.
¯ ama ¯ autten
.
a.

iiaruaxau
.
:

n
.
am
.
bhan
.
¯ ami ima´s´sa kade ma´scali¯ aA´sattun
.
o
tti!

(iti purus
.
am s’B¯ as¯ uyam
.
pa´syati.)
iuius
.
au
.
:

bhat
.
t
.
¯ a! ido addham tumh¯ an
.
am
.
´suman
.
oAmullam
.
bhodu

.
unuau:

ittike jujjadi.

´
s\
¯
aiau
.
:

dh¯ıvara, mahattarako hi sampadam
.
piaA vaassako o.¡c
si me sam
.
vutto. k¯ adambar¯ıAsakkhiam
.
ca amh¯ an
.
am
.
pad
.
-
hamaAsohidam
.
icch¯ıadi. t¯ a ehi sun
.
d
.
iaAs¯ alam
.
gacchamha.

iti nis
.
kr¯ ant¯ ah
.
.
prave´sakah
.
.
:o¡
acr six: rui ioxcixc
sicoxo: The sister’s son has ably assisted him.
iiisr: I would say this fish-foe has benefitted! (He looks at
the man with malice.)
xax: Master! Let half of it be your flower-money.
noru: The decent thing to do.
nioruii-ix-iaw: Fisherman, now you have become my o.¡c
best friend. Our new friendship calls for endorsement
by wine, so let’s go to the tavern.
All go out.
End of the prelude.
:o,
rui iicocxiriox oi suax´ uxraia
(tataf pravi´saty ¯ ak¯ a´saBy¯ ataken’
ˆ
Aks
.
am¯ al¯ a.)
axs
.
ax
¯
ai
¯
a:

n
.
ivattidam
.
mae payy¯ ayaA n
.
ivat
.
t
.
an¯ıam acchar¯ aA
titthaA san
.
n
.
ijjham
.
. t¯ a j¯ ava imassa r¯ a’A ˆ esin
.
o udantam
.
pa-
ccakh¯ı A karemi. Mena¯ aA sambandhen
.
a sar¯ıraA bh¯ ud¯ a me
Sa¨ untal¯ a, t¯ ae a etan
.
An
.
imittam
.
yeva sadit
.
t
.
haApurav’ amhi.

(parikramya purah
.
samant¯ ad avalokya ca)

kim
.
n
.
u kkhu
¯ usavam
.
Adin
.
e vi n
.
ir¯ usav’A ¯ arambham
.
via r¯ aaAulam
.
d¯ısadi.
adhav¯ a atthi me vibhavo pan
.
idh¯ an
.
en
.
a savvam
.
j¯ an
.
idum.
kim
.
tu sah¯ıe ¯ adaro ¯ an
.
idavvo. bhodu. im¯ an
.
¯ am
.
d¯ ava uj-
j¯ an
.
a A v¯ alin
.
¯ın
.
¯ am
.
tirakkarin
.
¯ı A pacchan
.
n
.
¯ a p¯ asa A parivattin
.
¯ı
bhavia uv¯ alahisse.

(tath¯ a karoti.)
(tataf pravi´sati c¯ ut’B ˆ a˙ nkuram avalokayant¯ı cet
.
¯ı tasy¯ a´s ca pr
.
s
.
- o.¡,
t
.
hato ’par¯ a.)
iiaruax
¯
a:

¯ aambaAhariaAven
.
t
.
aa
jo ¯ usasio ’si surahiAm¯ asassa
dit
.
t
.
h˘ o a c¯ uaAcch¯ araa
chan
.
aAma˙ ngalaam
.
va pekk¯ ami.

ovir¯ı\
¯
a: (upasr
.
tya)

hal¯ a Parahudike! kin
.
·n
.
·edam
.
e¯ ain
.
¯ı ma-
ntesi.

iiaruax
¯
a:

sahi, c¯ ud
.
aAladiam
.
pekkhia ummatt¯ a parahudi¯ a
bhodi.

ovir¯ı\
¯
a: (saBhars
.
am
.
)

kadham
.
uvatthido mahuAm¯ aso?

o.,c
iiaruax
¯
a:

MahuAarie, tav’ ˆ ed¯ an¯ım
.
k¯ alo eso madaAvibbha-
m’A ˆ ogg¯ıd¯ an¯ am
.
.

:oo
acr six: rui ioxcixc
(Enter Aksha·mala in an aerial vehicle.)
axsua·xaia: I have seentomy routine duties at the nymph’s
bathing-place. Now let me see for myself how fares the
royal sage. Because of my friendship with M´ enaka I have
come to cherish Shak´ untala, and she herself has sent me
on this errand. (walks forward, looking around) How can
it be that the royal court seems unprepared for festivity
on a festival day? To tell the truth, I have the power to
know anything by meditative concentration, but I must
honor my friend’s wishes. Very well, concealed by my
spell of invisibility, I will find out by standing beside
these two gardeners. (Does so.)
(Enter a servant girl examining a mango shoot, and behind o.¡,
her another.)
iiisr caioixii:
O spray of mango blossoms, seeing you,
the exhalation of the spring month,
with your green stalk tawny,
It seems to me that I see a seasonal blessing.*
sicoxo caioixii: (approaching) Dear Para·bhr´ıtika, what
is it you are saying to yourself?
iiisr caioixii: Friend, a cuckoo becomes intoxicated
when she sees a mango tendril.*
sicoxo caioixii: (joyfully) Has spring arrived? o.,c
iiisr caioixii: Madhu·k´ arika, now is the time for your
songs intense with passion.
:o;
rui iicocxiriox oi suax´ uxraia
ovir¯ı\
¯
a:

sahi, avalambassa j¯ ava aggaAp¯ adaApad
.
it
.
t
.
hivi¯ a bha-
via K¯ amaAdevassa accan
.
am
.
karemi.

iiaruax
¯
a:

ja¨ı mam¯ a vi addham accan
.
aaAphalassa.

ovir¯ı\
¯
a:

hal¯ a! abhan
.
ide vi edam bhodi, jado ekkam ye-
va n
.
o duh¯ aA t
.
hidam sar¯ıram.

(sakhyB avalambitam
.
kr
.
tv¯ a
c¯ utaBbha˙ ngam
.
n¯ at
.
ayati)

ammahe! appad
.
ibuddho vi c¯ u-
daApasavo eso bandhan
.
aAbha˙ ngaAsurah¯ı v¯ adi.

(kapotakam
.
kr
.
tv¯ a)

n
.
amo bhaavade maaraAddhaj¯ aa!

arihasi me c¯ u’Aa˙ nkura!
o.,,
din
.
n
.
o K¯ amassa gahiaAdhan
.
uassa
san
.
t
.
haviaAjuva¨ıAlakkho
’pacch¯ akkhalio saro houm
.
!

(c¯ ut’Bˆ a˙ nkuram
.
ks
.
ipati.)
(pravi´sya rus
.
itah
.
ka˜ ncuk¯ı.)
xa˜ xcux¯ı: m¯ a t¯ avad anA ¯ atmaA j ˜ ne! deven’ ˆ apramukhata eva
pratis
.
iddhe vasant’A ˆ otsave tvam atra ma˜ njar¯ı A bha˙ ngam
.
¯ arabhase.
unui: (bh¯ıte)

pas¯ıdadu ayyo! agahid’Aatth¯ a khu amhe.

xa˜ xcux¯ı: hum! na khalu ´srutam
.
yuv¯ abhy¯ am
.
yad yath¯ a v¯ a- o.oc
santais tarubhir api devasya ´s¯ asanam
.
pram¯ an
.
¯ıkr
.
tam
.
tadA
¯ a´srayibhi´s ca? tath¯ a hi—
:oï
acr six: rui ioxcixc
sicoxo caioixii: My dear, hold me while I stand on
tiptoe and worship the God of love.
iiisr caioixii: If I get half of the fruit of the worship.
sicoxo caioixii: My dear! That goes without saying,
for we are one in two bodies. (mimes plucking a mango
blossom supported by her friend) Oho! Even though the
mango blossom is as yet unopened it is fragrant as I
break its stalk. (making the pigeon gesture) Hail to the
crocodile-bannered God of love!
O mango shoot! I offer you to the God of love, o.,,
who has seized his bow,
May you become an infallible arrow
targetting young women!
(Throws the sprout.)
(Enter the enraged chamberlain.)
cuaxniiiaix: Stop it, you foolish girl! When the spring
festival has been expressly banned by his majesty, you
start plucking blossoms.
noru: (frightened) Forgive us, lord! We heard nothing of
this.
cuaxniiiaix: Hmph! How can you not have heard his o.oc
majesty’s command, which even the trees of spring and
those living in them have obeyed? For–
:o,
rui iicocxiriox oi suax´ uxraia
c¯ ut¯ an¯ am
.
ciraAnirgat” ˆ api kalik¯ a
badhn¯ ati na svam
.
rajah
.
,
samnaddham
.
yad api sthitam
.
kuravakam
.
tat korak’Aˆ avasthay¯ a,
kan
.
t
.
hes
.
u skhalitam
.
gate ’pi ´si´sire
pum
.
sAkokil¯ an¯ am
.
rutam
´sa˙ nke sam
.
harati Smaro ’pi cakitas
t¯ un
.
’Aˆ ardhaAkr
.
s
.
t
.
am
.
´saram.
axs
.
ax
¯
ai
¯
a:

n
.
a ettha sam
.
deho! mah¯ aAppah¯ avo r¯ a’Aˆ es¯ı.

iiaruax
¯
a:

ayya, kadi dias¯ a amh¯ an
.
am
.
Mitt¯ aAvasun
.
¯ a rat
.
t
.
hi-
en
.
a bhat
.
t
.
in
.
o p¯ adaA m¯ ul¯ ado pesid¯ an
.
am, idha ¯ a k¯ılaA hare
pad
.
ikammam
.
appidam
.
. ado n
.
a kad¯ a vi sudaApuravo eso
amhehim
.
vuttanto.

xa˜ xcux¯ı: bhavatu, na punar evam
.
vartitavyam.
unui:

ayya, kod¯ uhallam
.
n
.
o. jam
.
imin
.
¯ a jan
.
en
.
a sodavvam o.o,
t¯ a kadhedu ayyo kim
.
n
.
imittam
.
bhat
.
t
.
in
.
¯ a vasantaAkomid¯ı
pad
.
isiddh¯ a tti?

axs
.
ax
¯
ai
¯
a:

¯ usavaAppi¯ a r¯ a¯ an
.
o. ettha gurun
.
¯ a k¯ aran
.
ena hoda-
vvam.

xa˜ xcux¯ı: bahul¯ı A bh¯ utam etat, tat kim
.
na kathyate? asti
bhavatyoh
.
karn
.
aA patham
.
¯ ay¯ atam
.
´
Sakuntal¯ aA praty¯ ade´saA
kaul¯ınam?
unui:

ayya! sudam
.
rat
.
t
.
hiaA muh¯ ado j¯ ava a˙ ngul¯ıaaA dam
.
sa-
n
.
am.

:;c
acr six: rui ioxcixc
The mango blossom, though mature,
will not put forth its pollen,
The amaranth, though poised, will not bud,
The cooing of the male koil falters in its throat
even though the winter has passed.
I fear that eventhe God of love, startled, puts down
his arrow, half-drawn from his quiver.
axsua·xaia: There can be no doubt about it! Mighty is the
royal sage.
iiisr caioixii: Lord, the royal brother-in-law Mitra·vasu
dispatched us for a few days from his majesty’s presence
to decorate the belvedere over there. That is why we had
no news whatsoever of this matter.
cuaxniiiaix: Very well, but do not do it again.
noru: Lord, we are curious. If we may know, please tell us o.o,
why his majesty has bannedthe vernal full-moonfestival.
axsua·xaia: Kings are fond of festivities. There must be
some weighty reason here.
cuaxniiiaix: It is well known, so why should I not tell
you? Has the scandal of Shak´ untala’s rejection reached
your ears?
noru: Lord! We have heard of it from the king’s brother-
in-law, up to the disclosure of the ring.
:;:
rui iicocxiriox oi suax´ uxraia
xa˜ xcux¯ı: tena hi svAalpam
.
kathayitavyam. yad¯ a khalu sv’A
ˆ a˙ ngul¯ıyakaA dar´san¯ ad anusmr
.
tam
.
devena «satyam ¯ ud
.
haA
p¯ urv¯ a may¯ a rahasi tatraAbhavat¯ı
´
Sakuntal¯ a moh¯ at praty¯ a-
dis
.
t
.
” ˆ eti!» tad¯ aAprabhr
.
ty eva pa´sc¯ atAt¯ apaAparigato devah
.
.
kutah
.
?
ramyam
.
dves
.
t
.
i, yath¯ aAsukham
.
prakr
.
tibhir o.;c
na pratyaham
.
sevyate,
´sayy”A ˆ op¯ antaAvivartanair vigamayaty
unnidra eva ks
.
ap¯ ah
.
d¯ aks
.
in
.
yena dad¯ ati v¯ acam ucit¯ am
antah
.
Apurebhyo yad¯ a
gotres
.
u skhalitam
.
tad¯ a bhavati ca
vr¯ıd
.
¯ aAvilaks
.
a´s ciram.
axs
.
ax
¯
ai
¯
a:

piam
.
me!

xa˜ xcux¯ı: prabhavato vaimanasy¯ ad utsavaApratis
.
edha iti.
unui:

jujjadi.

xiiaru\i:

edu edu bhavam
.
.

xa˜ xcux¯ı: (karn
.
am
.
dattv¯ a) ayam ita ev’ ˆ abhivartate devah
.
! o.;,
svaAkarm’ ˆ anus
.
t
.
h¯ıyat¯ am. (iti nis
.
kr¯ ante cet
.
ike.)
(tataf pravis
.
t
.
af pa´sc¯ atBt¯ apaBsadr
.
´saBves
.
o r¯ aj¯ a vid¯ us
.
akaf prat¯ıh¯ ar¯ı
ca.)
xa˜ xcux¯ı: (r¯ aj¯ anam avalokya) aho sarv¯ asv avasth¯ asu rama-
n
.
¯ıyatvam ev’ ¯ akr
.
tiAvi´ses
.
¯ an
.
¯ am. samutsuko ’pi
´
S¯ akuntal¯ am
.
prati priyaAdar´sano devah
.
. ya es
.
a–
:;:
acr six: rui ioxcixc
cuaxniiiaix: Then there is little left to tell. When his
majesty sawthe ring he regained his memory: “It is really
true, I did marry mistress Shak´ untala in secret and reject
her in a fit of delusion!” And since then he has been filled
with remorse. How?
He despises enjoyments, o.;c
His subjects no longer approach him every day as
they wish.
He passes his nights fitfully tossing back and forth
on the end of the bed.
When out of courtesy he makes
polite conversation
with the ladies of the inner chambers, he falters
in their names, and is ashamed for a long time.
axsua·xaia: I like the sound of this!
cuaxniiiaix: The festival is cancelled because of his ma-
jesty’s dejection.
noru: That makes sense.
oiisraci: Come, come sir.
cuaxniiiaix: (listening) His majesty is heading this way. o.;,
See to your duties! (Exit the servant girls.)
(Enter the king wearing a costume suitable to remorse, the
buffoon, and the portress.)
cuaxniiiaix: (looking at the king) Ah! The exceptionally
beautiful are sublime in any condition. Though he pines
for Shak´ untala, his majesty is fair to behold. He who–
:;,
rui iicocxiriox oi suax´ uxraia
praty¯ adis
.
t
.
aAvi´ses
.
aAman
.
d
.
anaAvidhir
v¯ amaAprakos
.
t
.
he ´slatham
.
bibhrat k¯ a˜ ncanam ekam eva valayam
.
´sv¯ as’A ˆ oparakt’Aˆ adharah
.
cint¯ aAj¯ agaran
.
aAprat¯ antaAnayanas
tejoAgun
.
¯ ad ¯ atmanah
.
sam
.
sk¯ ar’A ˆ ollikhito mah¯ aAman
.
ir iva
ks
.
¯ın
.
o ’pi n’ ¯ alaks
.
yate.
axs
.
ax
¯
ai
¯
a:

t
.
h¯ an
.
e kkhu pacc¯ adesaAvim¯ an
.
id¯ a vi Sa¨ untal¯ a jam
.
imassa kade kila tammadi.

i
¯
a;
¯
a: (dhy¯ anaBmandam
.
parikramya) o.ïc
prathamam
.
s¯ ara˙ ng’Aˆ aks
.
y¯ a
priyay¯ a pratibodhyam¯ anam api suptam
anu´sayaAduh
.
kh¯ ay’ ˆ edam
.
hataAhr
.
dayam
.
samprati vibuddham.
axs
.
ax
¯
ai
¯
a:

¯ıdis¯ aim
.
se tavassin
.
¯ıe bh¯ agaAdhe¯ aim
.
.

vio¯ us
.
axau
.
: (apav¯ arya)

la˙ nghido eso bh¯ uo Sa¨ untal¯ aAv¯ ade-
n
.
a. n
.
a ¯ an
.
e kadham
.
cikicchidavvo bhavissadi.

xa˜ xcux¯ı: (upagamya) jayatu jayatu devah
.
. mah¯ aAr¯ aja! t¯ avad
r¯ aj ˜ naf pratyaveks
.
it¯ af pramad¯ aAvanaAbh¯ umayah
.
yath¯ aAk¯ a-
mam adhy¯ ast¯ am
.
vinodaAsth¯ an¯ ani devah
.
.
i
¯
a;
¯
a: (pratih¯ ar¯ım
.
prati) Vasumati, madAvacan¯ ad am¯ atyaAPi- o.ï,
´sunam
.
br¯ uhi. «ciraAprabodh¯ an na sambh¯ avitam asm¯ ab-
hir adya dharm’A¯ asanam adhy¯ asitum. yat pratyaveks
.
itam
.
¯ aryen
.
a pauraAk¯ aryam tat pattrakam ¯ aropya d¯ıyat¯ am iti!»
iiar¯ıu
¯
ai¯ı:

jam
.
devo ¯ an
.
avedi.

(iti nis
.
kr¯ ant¯ a.)
:;¡
acr six: rui ioxcixc
Rejects ostentatious ornamentation,
Wears a loose, single golden bracelet
on his left forearm,
His lower lip is reddened by sighing,
His eyes are languid with wakeful worries.
Because of his inherent brilliance
he does not appear wasted, like a great jewel
polished by abrasion.
axsua·xaia: Justifiably Shak´ untala pines on his behalf,
though he shamed her with rejection.
xixc: (walks around slowly, lost in thought) o.ïc
This wretched heart at first was asleep,
Though my doe-eyed beloved tried to wake it.
Now it has awakened to the grief of remorse.
axsua·xaia: The poor girl’s fate is much the same.
nuiioox: (aside) He’s suffering another bout of the “Sha-
k´ untala”-disease. I don’t know how he can be cured.
cuaxniiiaix: (approaching) Victory, victory tohis majesty!
Great king! The royal parklands have been inspected so
that you may visit them at your leisure.
xixc: (to the portress) V´ asumati, tell minister P´ıshuna in my o.ï,
name that because of prolonged sleeplessness it is not
possible for me to occupy the throne of justice today.
Let his honor send me a written report on whatever civil
cases he investigates today.
ioiriiss: As his majesty commands. (Exit.)
:;,
rui iicocxiriox oi suax´ uxraia
i
¯
a;
¯
a: P¯ arvat¯ ayana! tvam api svaAniyogam aA´s¯ unyam
.
kuru.
xa˜ xcux¯ı: tath¯ a! (iti nis
.
kr¯ antah
.
.)
vio¯ us
.
axau
.
:

kadam
.
bhavad¯ a n
.
imakkhiam
.
. sampadam si-
siraA vicchede raman
.
¯ıe imassim
.
pamadaA van
.
e suham
.
vi-
hariss¯ amo.

i
¯
a;
¯
a: vayasya, yad ucyate «randhr’A ˆ opanip¯ atino ’narth¯ a iti» o.,c
tad avyabhic¯ ari. pa´sya—
upahitaAsmr
.
tir a˙ nguliAmudray¯ a
priyatam¯ am animittaAnir¯ akr
.
t¯ am
anu´say¯ ad anurodimi c’ ˆ otsukah
.
surabhiAm¯ asaAsukham
.
samupasthitam.
vio¯ us
.
axau
.
:

cit
.
t
.
ha j¯ ava. imam
.
dan
.
d
.
aam
.
c¯ udaAmammadhae
p¯ ad
.
ae.

i
¯
a;
¯
a: (saBsmitam) bhavatu. dr
.
s
.
t
.
am
.
brahmaAvarcasam. sakhe,
atr’ ˆ opavis
.
t
.
af priy¯ ay¯ ah
.
kim
.
cid anuk¯ arin
.
¯ıs
.
u lat¯ asu dr
.
s
.
t
.
im
vilobhay¯ ami.
vio¯ us
.
axau
.
:

n
.
am
.
khu bhavad¯ a Medh¯ avin
.
¯ı livi A kar¯ı san-
dit
.
t
.
h¯ a: «m¯ ahav¯ıAman
.
d
.
ave imam
.
khan
.
am
.
pad
.
iv¯ ala¨ıssam
.
.
tahim
.
me cittaA phalae saA hatthaA lihidam
.
tatthaA bhod¯ıe
Sa¨ untal¯ ae pad
.
ikidim ¯ an
.
ehi tti.»

i
¯
a;
¯
a: ¯ıdr
.
´sam
.
me hr
.
dayaA sam
.
sth¯ anam. tat tam ev’ ¯ ade´saya o.,,
m¯ adhav¯ıAman
.
d
.
apam.
vio¯ us
.
axau
.
:

edu bhavam
.
.

(parikramatah
.
. Aks
.
am¯ al” ˆ anu-
gacchati.)
:;o
acr six: rui ioxcixc
xixc: Parvat´ ayana! You too see to your duties.
cuaxniiiaix: Very well! (Exit.)
nuiioox: You have got rid of the flies. Now that the winter
is over we can relax at ease in this pleasant grove.
xixc: My friend, the saying, “Mishaps strike at weaknesses” o.,c
is unfailing. Look—
As I regain my memory through the signet ring
and longingly lament with regret
my beloved, baselessly rejected—
The joy of the fragrant month of spring
is at hand.
nuiioox: Just a second. I will smite this staff upon that
mango-cupid.
xixc: Never mind. I have seen your brahminical potency.
My friend, seated here I will beguile my eyes with these
vines that somewhat imitate my beloved.
nuiioox: But surely you have just informed the painter
Medh´ avini: “I will spend some time in the m´ adhavi
bower. Bring me the portrait of lady Shak´ untala that
I painted on a drawing board with my own hand.”
xixc: Such is the condition of my heart.* Lead the way to o.,,
the m´ adhavi bower.
nuiioox: Come, Your Majesty. (They walk about. Aksha·
mala follows.)
:;;
rui iicocxiriox oi suax´ uxraia
vio¯ us
.
axau
.
: (vilokya)

eso man
.
iAsil¯ aApat
.
t
.
akaAsan
.
¯ adho m¯ aha-
v¯ıAman
.
d
.
avao vivittad¯ ae n
.
¯ısaddam
.
s¯ agaden
.
a via pad
.
iccha-
di piaA vaassam
.
. uvavisamha. nis¯ıdadu bhavam
.
.

(ubhau
pravi´sy’ ˆ opavis
.
t
.
au.)
axs
.
ax
¯
ai
¯
a: (lat¯ am ¯ a´sritya sthit¯ a.)
i
¯
a;
¯
a: (smaran
.
am abhin¯ıya) sakhe M¯ adhavya, sarvam idam
.
smar¯ ami.
´
Sakuntal¯ ay¯ af prathama A dar´sana A vr
.
tt¯ ante yat
kathitav¯ an asmi bhavate. sa bhav¯ an praty¯ ade´sa A divase
matA sam¯ıpaA gato n’ ¯ as¯ıt. prathamam api na tvay¯ a kad¯ a
cit sa˙ nkath¯ asu tatraAbhavaty¯ ah
.
k¯ırtitam
.
n¯ ama. na khalv
aham iva mithah
.
Asam
.
vidam
.
smr
.
to ’si.
vio¯ us
.
axau
.
:

n
.
a visumar¯ ami. kim
.
tu savvam
.
kadhidam
.
tae
o.:cc
yyeva vuttam
.
. parih¯ asaAviappo eso n
.
a bh¯ ud’Aattho tti. ra-
hassaAbhedaAbh¯ırun
.
¯ a mae vi mipApin
.
d
.
aAmandaAbuddhin
.
¯ a
tadh¯ a yeva gahidam
.
. avi a bhavidavvad¯ a balavad¯ı.

axs
.
ax
¯
ai
¯
a:

evam
.
n
.
’ ˆ edam
.
.

i
¯
a;
¯
a: (dhy¯ atv¯ a) sakhe, paritr¯ ayasva m¯ am, paritr¯ ayasva m¯ am.
vio¯ us
.
axau
.
:

kim
.
n
.
’ ˆ edam
.
¯ıdisam
.
uvan
.
adam
.
? kad¯ a un
.
a sapA
puris
.
¯ a soaAbaddhaAdhiyy¯ a honti? n
.
am
.
pav¯ aden
.
a vi gir¯ıo
nippakamp¯ a.

i
¯
a;
¯
a: vayasya. nir¯ akaran
.
aAviplav¯ ay¯ af priy¯ ay¯ ah
.
samavasth¯ am
anusmr
.
tya balavad asvastho ’smi. s¯ a may¯ a—
:;ï
acr six: rui ioxcixc
nuiioox: (looking) This m´ adhavi bower, furnished with
a jewelled stone bench, greets my dear friend with a
soundless welcome. Let us enter. Take a seat, sir. (Both
enter and sit down.)
axsua·xaia: (Stands by a vine.)
xixc: (acts remembrance) Madh´ avya my friend. I remember
it all. What I said to you the first time I saw Shak´ untala.*
On the day I rejected her you were not by my side. Even
before, you never brought up her name in conversation.
Surely you, like me, did not remember what we said to
each other.
nuiioox: I did not forget, on the contrary, you told me o.:cc
everything that happened. You said it was a kind of joke,
not a fact. I, dimwitted like a clod of mud, afraid of
divulging the secret, took it at face value. Also, fate is
powerful.
axsua·xaia: That is true.
xixc: (daydreaming) My friend, help me, help me.
nuiioox: How have things got this far? How could the
fortitude of good men be affected by grief? Surely moun-
tains remain unshaken even by a storm wind.
xixc: My friend. When I remember my beloved reduced
to helpless panic, I am violently sick. She—
:;,
rui iicocxiriox oi suax´ uxraia
itaf praty¯ adis
.
t
.
¯ a o.:c,
svaAjanam anugantum
.
vyavasit¯ a
sthit¯ a tis
.
t
.
h’ ˆ ety uccair
vadati guruA´sis
.
ye guruAsame
punar dr
.
s
.
t
.
im
.
b¯ as
.
pa-
prasaraAkalus
.
¯ am arpitavat¯ı
mayi kr¯ ure yat tat
saAvis
.
am iva ´salyam
.
dahati m¯ am.
axs
.
ax
¯
ai
¯
a:

ammahe ¯ıdis¯ı kat
.
t
.
h’A ˆ avatth¯ a. imassa sant¯ aven
.
a
aham
.
rame.

vio¯ us
.
axau
.
:

atthi deva takko. ken
.
a tatthaAbhod¯ı ¯ ak¯ asaAg¯ a-
min¯ a avahita tti.

i
¯
a;
¯
a: ka iva devat¯ abhyo ’nyah
.
sambh¯ avyate. Menak¯ a kila
sakhy¯ as te janmaApratis
.
t
.
h” ˆ eti ´srutav¯ an asmi. tatAsakh¯ıb-
his t¯ am eva hr
.
t¯ am
.
hr
.
dayam ¯ a´sa˙ nkate.
axs
.
ax
¯
ai
¯
a:

ammo! moho kkhu eso vimhaan
.
¯ıo n
.
a un
.
a pa-
d
.
iboho.

vio¯ us
.
axau
.
:

ja¨ı evam
.
t¯ a atthi kkhu sam¯ agamo vi k¯ alen
.
a o.::c
tatthaAbhavad¯ıe.

i
¯
a;
¯
a: katham iva?
vio¯ us
.
axau
.
:

n
.
a kkhu m¯ ad¯ aApidaro bhat
.
t
.
iAvirahidam
.
duhi-
daram
.
ciram
.
pekkhidum
.
p¯ arenti.

i
¯
a;
¯
a: vayasya.
svapno nu m¯ ay¯ a nu matiAbhramo nu
klis
.
t
.
am
.
nu t¯ avat phalam eva pun
.
yam?
asannivr
.
ttyai tad at¯ıtam es
.
a
manoArath¯ an¯ am aAtat
.
aAprap¯ atah
.
.
:ïc
acr six: rui ioxcixc
Driven out by me, o.:c,
When she wanted to follow her own people
Commanded aloud: “Stay!”
by her father’s pupil,
who was like her father,
casting one more glance dimmed
by flowing tears
at cruel me—
All this stings me like a poisoned dart.
axsua·xaia: Ah! What agony. I delight in his pain.
nuiioox: There is, You Majesty, this conjecture. Her lady-
ship must have been carried off by some sky-goer.
xixc: Who other than a deity would be capable of this?
I was told that M´ enaka was the mother of your friend.
My heart believes her to have been taken by her friends.
axsua·xaia: Oho! His confusion was surprising, but not
his awakening to reason.
nuiioox: If that is so thenthere will eventually be a reunion o.::c
with her ladyship.
xixc: How so?
nuiioox: Her mother and father will not long endure to
see her separated from her husband.
xixc: My friend.
Was it a dream? An illusion? A fallacy?
A hard-won reward of virtue?
Departed beyond recall
It is become this boundless precipice
for my desires.*
:ï:
rui iicocxiriox oi suax´ uxraia
vio¯ us
.
axau
.
:

m¯ a evam
.
bhan
.
a! n
.
am
.
khu a˙ ngul¯ıaam
.
yeva o.::,
n
.
idarisan
.
am
.
. evam
.
yeva avassam
.
Abh¯ avin
.
o acintan
.
¯ıy¯ a sa-
m¯ agam¯ a honti.

i
¯
a;
¯
a: (a˙ ngul¯ıyakam
.
vilokya) aye! idam
.
tad aAsulabhaAsth¯ anaA
bhram
.
´si ´socan¯ıyam.
tava sucaritam a˙ ngul¯ıya n¯ unam
.
pratanu mam’ ˆ eva vibhajyate phalena.
arun
.
aAnakhaAmanohar¯ asu tasy¯ a´s
cyutam asi labdhaApadam
.
yad a˙ ngul¯ıs
.
u.
axs
.
ax
¯
ai
¯
a: (¯ atmaBgatam)

sakhi, d¯ ure vat
.
t
.
asi. e¯ ain
.
¯ı d¯ ava ka-
n
.
n
.
aAsuham
.
an
.
ubhav¯ ami.

vio¯ us
.
axau
.
:

bho vaassa! idam
.
a˙ ngul¯ıaam
.
ken
.
a ugg¯ aden
.
a
tatthaAbhod¯ıe hatthaAsam
.
saggam
.
p¯ avidam
.
?

i
¯
a;
¯
a: ´sr¯ uyat¯ am! yad¯ a tapoAvan¯ at svaAnagaraAgaman¯ aya pra- o.::c
sthitam
.
m¯ am
.
priy¯ a saA b¯ as
.
pam idam ¯ aha: «kiyacA ciren
.

¯ aryaAputro ’sm¯ akam
.
sam
.
smaris
.
yat’ ˆıti.»
vio¯ us
.
axau
.
:

tado tado?

i
¯
a;
¯
a: pa´sc¯ ad im¯ am
.
n¯ amaA mudr¯ am
.
tadA a˙ ngulau nive´sayat¯ a
may¯ a pratyabhihit¯ am:
ek’Aˆ aikam atra divase divase mad¯ıyam
.
n¯ am’Aˆ aks
.
aram
.
gan
.
aya gacchasi y¯ avad antam
t¯ avat priye madAavarodhaAgr
.
haAprave´s¯ı
net¯ a janas tava sam¯ıpam upais
.
yat’ ˆıti.
:ï:
acr six: rui ioxcixc
nuiioox: Don’t speak like that. Surely the ring itself is o.::,
proof. This is how fated, extraordinary reunions take
place.
xixc: (looking at the ring) Ah! This is the pitiable thing that
fell from that inaccessible place.
Your virtuous deeds, O ring,
Indeed are triflingly rewarded,
Like mine.
You have fallen from her fingers,
enchanting with reddened nails,
where you had gained a place.
axsua·xaia: (to herself ) My friend, you are far away. Alone,
therefore, I revel in this pleasure for the ears.
nuiioox: My friend! How did you endeavour to get this
ring on to her ladyship’s hand?
xixc: Listen! As I set out from the penance grove to my o.::c
own city my beloved said this to me with tears in her
eyes: “How long will my lord remember me?”
nuiioox: Then? Then?
xixc: Then I placed this signet ring on her finger and told
her:
One by one, day be day,
Count a syllable of my name.
When you reach the end, my beloved,
Someone will come to guide you
to bring you to my women’s quarters.
:ï,
rui iicocxiriox oi suax´ uxraia
. . . tac ca moh¯ ad d¯ arun
.
am anus
.
t
.
hitam.
axs
.
ax
¯
ai
¯
a:

raman
.
¯ıo de vihin
.
¯ a dam
.
sido maggo.

o.::,
vio¯ us
.
axau
.
:

adha kadham
.
d¯ as¯ıe puttassa rohidaAmacchassa
balisam
.
via edam a˙ nul¯ıaam muhe pavit
.
t
.
ham
.
?

i
¯
a;
¯
a:
´
Sac¯ıAt¯ırthaAsalilam
.
kila vandam¯ an¯ ay¯ as te sakhy¯ a Ga˙ n-
g¯ aAsrotasi paribhras
.
t
.
am. bhavatu. up¯ alapsye t¯ avad etat—
katham
.
nu tam
.
bandhuraAkomal’Aˆ a˙ ngulim
.
karam vih¯ ay¯ asi nimagnam ambhasi?
athav¯ a,
acetanam
.
n¯ ama gun
.
¯ an na laks
.
ayen
may” ˆ aiva kasm¯ ad avadh¯ırit¯ a priy¯ a?
axs
.
ax
¯
ai
¯
a:

puvv’Aˆ avvaraAvirodh¯ı eso vutt¯ anto v¯ at
.
t
.
adi.

i
¯
a;
¯
a: aAk¯ aran
.
aAparityakt¯ a kad” ˆ anupreks
.
an
.
¯ıy¯ a bhavis
.
yati? o.:,c
(tataf pravi´sati phalakaBhast¯ a lipiBk¯ ar¯ı.)
iiiiAx
¯
ai¯ı: (samant¯ ad avalokya)

eso kkhu bhat
.
t
.
¯ a. j¯ ava n
.
am
.
uvasapp¯ ami.

(upasr
.
tya)

jaadu, jaadu bhat
.
t
.
¯ a! iam
.
cittaA
gad¯ a bhat
.
t
.
in
.
¯ı.

(citraBphalakam
.
dar´sayati.)
vio¯ us
.
axau
.
: (vilokya)

he he bho! sabh¯ avaAmahur¯ a ¯ aid¯ı khu.
s¯ ahu vaassa s¯ ahu. kim
.
bahun
.
¯ a? s¯ ant’A ˆ an
.
upavesaA sa˙ nk¯ ae
¯ alavan
.
aAkud¯ uhalam
.
mam
.
jan
.
aadi.

:ï¡
acr six: rui ioxcixc
. . . and committed that horror in delusion.
axsua·xaia: Fate showed you a pleasing way. o.::,
nuiioox: Then how did this ring get into the mouth of
that wretched carp as if it were a hook?
xixc: Your friend lost it in current of the Ganges as she
paid homage to the water of Shachi-ford. Now let me
rebuke it—
How could you forsake that hand
with its tender fingers arched
and sink into the water?
But no,
An insentient thing cannot discern virtues,
Yet how did I spurn my beloved?
axsua·xaia: The beginning and end of this story are at
odds.
xixc: When will I see her again, whom I gratuitously o.:,c
spurned?
(Enter the artist with a painting board in her hand.)
airisr: (looking around) Here is His majesty, I will approach
him. (approaching) Victory, victory, Your majesty! I bring
the portrait of her ladyship. (Shows the painting board.)
nuiioox: (looking) Hey hey hey! Really quite a natural
beauty. Well done, my friend, well done. Why say more?
Believing that her soul has entered it, I feel an urge to
converse with it.
:ï,
rui iicocxiriox oi suax´ uxraia
axs
.
ax
¯
ai
¯
a:

aho, vaassassa vattik¯ aAreh¯ ae n
.
iun
.
ad¯ a! j¯ an
.
e sah¯ı
aggado me cit
.
t
.
hadi.

i
¯
a;
¯
a: (nih
.
´svasya) o.:,,
s¯ aks
.
¯ at priy¯ am upagat¯ am apah¯ aya p¯ urvam
.
citr’Aˆ arpit¯ am aham im¯ am
.
bahu manyam¯ anah
.
.
srotoAvah¯ am
.
pathi nik¯ amaAjal¯ am at¯ıtya
j¯ ato ’smi re pran
.
ayav¯ an mr
.
gaAtr
.
s
.
n
.
ik¯ ay¯ am.
axs
.
ax
¯
ai
¯
a:

aam
.
yeva savvam
.
pad
.
ivan
.
n
.
o jamhi vattuk¯ am¯ a.

vio¯ us
.
axau
.
: (nirvarn
.
ya)

bho, tin
.
ho atthaA bhod¯ıo d¯ısanti.
savv¯ ao dam
.
san
.
¯ı¯ ao. kadam¯ a ettha d¯ısadi Sa¨ untal¯ a?

axs
.
ax
¯
ai
¯
a:

mohaAdakkho tavass¯ı. avassam
.
n
.
a me paccakh¯ a
sah¯ı.

i
¯
a;
¯
a: tvam
.
t¯ avat katam¯ am
.
tarkayasi?
vio¯ us
.
axau
.
: (ciram
.
vilokya)

takkemi j¯ a es¯ a avaseaAsin
.
iddhaA o.:¡c
pallavam
.
asoaAladiam
.
sam
.
sid¯ a sid
.
hilaAkesaAbandh’A ˆ ovva-
mantaA kusumen
.
a baddhaA seaA bindun
.
¯ a vaan
.
aen
.
a visesaA
n
.
amidaA s¯ ah¯ aim
.
b¯ ahuA lad¯ ahim
.
¯ usasidaA n
.
¯ıvin
.
¯ a vasan
.
ena
¯ısi par¯ısant¯ a via ¯ alihid¯ a es¯ a atthaAbhod¯ı Sa¨ untal¯ a. idar¯ ao
sah¯ıo.

i
¯
a;
¯
a: nipun
.
o bhav¯ an. asty atra me bh¯ avaAcihnam.
svinn’Aˆ a˙ ngul¯ıAnive´so
rekh¯ aApr¯ antes
.
u dr
.
´syate malinah
.
a´sru ca kapolaApatitam
.
laks
.
yam idam
.
vartik”A ˆ occhv¯ as¯ at.
:ïo
acr six: rui ioxcixc
axsua·xaia: Oh! What skill in his companion’s brushwork!
I perceive my friend standing before me.
xixc: (sighing) o.:,,
At first I rejected my beloved
when she stood before me.
Sketched in a portrait, I show her respect.
Ignoring the river in my path,
overflowing with water,
I have come to yearn, alas, for a mirage.
axsua·xaia: He has just acknowledged all that I wanted
to say.
nuiioox: (inspecting) Three ladies can be seen. All of them
are beautiful. Which one is Shak´ untala?
axsua·xaia: The poor man is skilled at self-deception, my
friend is not actually here.
xixc: Which one do you think it is?
nuiioox: (gazing for a long time) I guess this one who seems o.:¡c
fatigued, sketched as leaning against the vine on the
ash´ oka tree, droplets of perspiration forming on her face
shedding flowers from her loosened hair-tie, the vines
that are her arms letting their branches droop low, the
girdle of her garment untied, must be the lady Shak´ un-
tala. The others are her companions.
xixc: You are clever. There is the telltale sign of my love.*
A smudge of moist fingerprints
can be seen on the outlines,
And a tear, fallen from my cheek
can be spotted by the splaying of the brush.
:ï;
rui iicocxiriox oi suax´ uxraia
Medh¯ avini, ardhaA likhitam etad vinodaA sth¯ anam. gaccha.
vartik¯ am
.
t¯ avad ¯ anaya.
iiiiA x
¯
ai¯ı:

ayya m¯ adhavva! avalambha cittaA phalaam
.
j¯ ava
gacch¯ ami.

(iti vid¯ us
.
ak¯ aya dattv¯ a nis
.
kr¯ ant¯ a.)
vio¯ us
.
axau
.
:

kim
.
avaram
.
ettha ahilihidavvam
.
?

o.:¡,
axs
.
aA x
¯
ai
¯
a:

asam
.
saam
.
jo jo sah¯ıe me ahiruido padeso tam
.
tam
.
¯ alihiduk¯ amo bhavissado tti takkemi.

i
¯
a;
¯
a: M¯ adhavya, ´sr¯ uyat¯ am.
k¯ ary¯ a saikataAl¯ınaAham
.
saAmithun¯ a
srotoAvah¯ a M¯ alin¯ı
p¯ ad’Aˆ ante nibhr
.
tam
.
nis
.
an
.
n
.
aAcamare
Gaur¯ıAgurof p¯ avane
´s¯ akh”A¯ alambitaAvalkalasya ca taror
nirm¯ atum icch¯ amy adhah
.
´sr
.
˙ nge kr
.
s
.
n
.
aAmr
.
gasya v¯ amaAnayanam
.
kan
.
d
.
¯ uyam¯ an¯ am
.
mr
.
g¯ım.
vio¯ us
.
axau
.
: (¯ atmaBgatam)

tadh¯ a takkemi p¯ uridam
.
an
.
en
.
a
cittaAphalaam
.
kucc’Aˆ alaehim
.
t¯ avas¯ an
.
am
.
ti.

i
¯
a;
¯
a: M¯ adhavya, anyac ca.
´
Sakuntal¯ ay¯ af pras¯ adhanamabhi- o.:,c
pr¯ıtam atra vismr
.
tam asm¯ abhih
.
.
vio¯ us
.
axau
.
:

kim
.
via?

axs
.
ax
¯
ai
¯
a:

van
.
aAv¯ asassa tass¯ a a soamallassa jam
.
an
.
usadisam
.
bhavissadi tti.

:ïï
acr six: rui ioxcixc
Medh´ avini! The pleasure grove is half-finished. Go, fetch
the brush.
airisr: Noble Madh´ avya! Hold the drawing board until I
return. (Gives it to the buffoon and goes out.)
nuiioox: What else needs to be painted here? o.:¡,
axsua·xaia: I think, without a doubt, he wants to paint
all the places that my dear friend was fond of.
xixc: Madh´ avya, listen.
I must draw the river M´ alini
its sandy banks lined by pairs of wild geese,
The valley of the holy foothills of Him´ alaya,
father of Gauri, where rest yaks,
And beneath the tree from which hang
bark-garments
I want to sketch a doe rubbing her left eye
on the stag’s horn.
nuiioox: (to himself ) In addition I think he will fill the
painting with the bushy beards of ascetics.
xixc: Madh´ avya, another thing. I forgot an ornament Sha- o.:,c
k´ untala was fond of.
nuiioox: What was it like?
axsua·xaia: Something befitting a forest-dweller and her
tenderness.
:ï,
rui iicocxiriox oi suax´ uxraia
i
¯
a;
¯
a:
kr
.
tam
.
na karn
.
’Aˆ arpitaAbandhanam
.
sakhe
´sir¯ıs
.
am ¯ aAgan
.
d
.
aAvilambiAkesaram.
na v¯ a ´saracAcandraAmar¯ıciAkomalam
.
mr
.
n
.
¯ alaAs¯ utram
.
racitam
.
stan’Aˆ antare.
vio¯ us
.
axau
.
:

kim
.
n
.
u atthaAbhod¯ı rattaAkuvalaaAsohin
.
¯ a aggaA
hatthen
.
a muham
.
ov¯ aria cakidaAcakid¯ a via t
.
hid¯ a.

(dr
.
s
.
t
.
v¯ a)

he he bho! eso d¯ as¯ıe putto kusumaAp¯ ad
.
accaro mahuAaro
atthaAbhod¯ıe vaan
.
aAkam alam
.
ahilasadi.

i
¯
a;
¯
a: nanu niv¯ aryat¯ am es
.
a dhr
.
s
.
t
.
ah
.
! o.:,,
vio¯ us
.
axau
.
:

bhavam
.
yeva avin
.
¯ıd’Aˆ an
.
us¯ as¯ı v¯ aran
.
e pahavadi.

i
¯
a;
¯
a: yujyate. «ayi bhoh
.
! kusumaAlat¯ aApriy’Aˆ atithe, kim itaf
paripatanaAkhedam anubhavasi?»
es
.
¯ a kusumaAnis
.
an
.
n
.
¯ a
tr
.
s
.
it” ˆ api sat¯ı bhavantam anurakt¯ a
pratip¯ alayati madhuAkar¯ı
na khalu madhu vin¯ a tvay¯ a pibati.
axs
.
ax
¯
ai
¯
a:

ahij¯ adam
.
khu v¯ arido.

vio¯ us
.
axau
.
:

pad
.
isiddhaAv¯ am¯ a es¯ a j¯ ad¯ı.

o.:oc
i
¯
a;
¯
a: evam
.
bhoh
.
! «na me ´s¯ asane tis
.
t
.
hasi. ´sr¯ uyat¯ am
.
tarhi
sam
.
prati.»
:,c
acr six: rui ioxcixc
xixc:
My friend, I have not drawn the shir´ısha flower,
with its stalk fixed to her ear,
and its filaments hanging down to her cheek,
Nor the necklace of lotus fibres,
mild like the rays of the autumn moon
draped between her breasts.*
nuiioox: Now why does the lady seem startled, shielding
her face with her fingers, as beautiful as red lilies? (look-
ing) Hey hey hey! This son of a slave, this flower-raider,
this bee, is hungry for her ladyship’s lotus face.
xixc: Go on, chase this impertinent vandal away! o.:,,
nuiioox: Only you, the chastiser of the wicked, are capable
of warding him off.
xixc: That’s right. “Ho! You are a welcome guest to ev-
ery flowering vine. Why are you tiring yourself flitting
around here?”
There waits your loving she-bee
nestling in a flower.
Although she is thirsty
She will not drink nectar without you.
axsua·xaia: What a graceful dismissal.
nuiioox: His kind can become stubborn when chased
o.:oc
away.
xixc: You are right! “You will not abide by my command,
so hear me now.”
:,:
rui iicocxiriox oi suax´ uxraia
aklis
.
t
.
aAb¯ alaAtaruApallavaAlobhan¯ıyam
.
p¯ıtam
.
may¯ a saAdayam eva rat’A ˆ otsaves
.
u
bimb’Aˆ adharam
.
da´sasi ced bhramara priy¯ ay¯ as
tv¯ am
.
k¯ aray¯ ami kamal’A ˆ odaraAbandhanaAstham!
vio¯ us
.
axau
.
:

evam
.
tikkhaAdan
.
d
.
assa kadham
.
de n
.
a bh¯ aissa-
di?

(prahasya, ¯ atmaB gatam)

eso unmattao kkhu! aham
.
pi ¯ıdisassa sam
.
saggen
.
a ¯ıdisaAvan
.
n
.
o via sam
.
vutto.

axs
.
ax
¯
ai
¯
a:

mam’ ˆ avi attan
.
o an
.
antaram gan
.
ehi j¯ a aham
.
d¯ a-
n
.
im
.
pad
.
ibuddh¯ a.

i
¯
a;
¯
a: priye! sthito ’yam et¯ avati? o.:o,
axs
.
ax
¯
ai
¯
a:

aho! dh¯ıre vi jan
.
e raso padam
.
karedi.

vio¯ us
.
axau
.
:

bho, cittam
.
khu edam
.
.

i
¯
a;
¯
a: (saB vis
.
¯ adam) vayasya, kim idam anus
.
t
.
hitam
.
pauroA
bh¯ agyam?
dar´sanaAsukham anubhavatah
.
s¯ aks
.
¯ ad iva tanmayena hr
.
dayena
smr
.
tiAk¯ arin
.
¯ a tvay¯ a me
punar api citr¯ıkr
.
t¯ a k¯ ant¯ a.
(roditi.)
axs
.
ax
¯
ai
¯
a:

vaassa, sumaridam
.
tae pacc¯ adesaA vim¯ an
.
an
.
am
.
o.:;c
Sa¨ untal¯ ae sah¯ıe dit
.
t
.
ham
.
khu paccakham
.
amhehim
.
.

iiiiA x
¯
ai¯ı: (pravi´sya)

bhat
.
t
.
¯ a, dev¯ıe KulaAppah¯ ae parijan
.
en
.
a
antar¯ a avacchin
.
n
.
o de vatti¯ aAkaran
.
d
.
ao.

:,:
acr six: rui ioxcixc
If you, O bee, bite my beloved’s lower lip
red like a bimba fruit,
as appealing as a virgin bud on a young tree,
that I tenderly drunk in a celebration of passion,
I will imprison you in a lotus!
nuiioox: With such harsh punishment how could he not
be terrified of you? (laughing, aside) He really is stark
raving mad! I too have become tainted by his company.
axsua·xaia: Count also me who is now awakened.
xixc: My beloved! Is he still there? o.:o,
axsua·xaia: Ah! Love can overwhelm even a resolute man.
nuiioox: It is a picture.
xixc: (sadly) My friend, why show me such malice?
While I was enjoying the bliss of seeing her,
my heart absorbed,
seemingly before me
you, reawakening my memory,
once more made her into a painting.
(Weeps.)
axsua·xaia: My friend, I have indeed seen with my own o.:;c
eyes that you remember the disrespect you showed by
rejecting Shak´ untala.
airisr: (entering) Lord, your paintbox has fallen into the
hands of the entourage of Queen Kula·prabha.
:,,
rui iicocxiriox oi suax´ uxraia
i
¯
a;
¯
a: bhavatu, vayam apy aks
.
am¯ ah
.
samprati vartik¯ aAkarma-
n
.
i.
axs
.
ax
¯
ai
¯
a:

bahuA man
.
n
.
¯ a se KulaA ppah¯ a. adha v¯ a n
.
a edam
.
kim
.
ci. vipa˜ ncie kkhu asannidh¯ an
.
e ekaAtant¯ u vi agghadi.

i
¯
a;
¯
a: vayasya, pa´sya. katham avi´sr¯ amaA duh
.
kham anubha-
v¯ amah
.
?
praj¯ agar¯ at khal¯ıAbh¯ utas o.:;,
tasy¯ ah
.
svapne sam¯ agamah
.
b¯ as
.
po ’pi na dad¯ aty en¯ am
.
dras
.
t
.
um
.
citraAgat¯ am api.
iiiiA x
¯
ai¯ı:

bhat
.
t
.
¯ a, idam
.
pi d¯ an
.
im
.
cittaApad
.
ikidam
.
Pi ˙ ngali-
¯ aAmiss¯ıo avahat
.
ht
.
hidam
.
yadanti.

vio¯ us
.
axau
.
:

bhin
.
n
.
¯ a d¯ an
.
im
.
se ¯ as¯ a!

i
¯
a;
¯
a: hum! (stan’Bˆ antare hastam
.
niks
.
ipati.)
xiiaru\i:

jaadu jaadu bhat
.
t
.
in
.
¯ı!

vio¯ us
.
axau
.
: (karn
.
am
.
dattv¯ a)

avedha bho! Medh¯ avin
.
im
.
ma-
o.:ïc
¨ım
.
via anusarant¯ı uvatthid¯ a anteAuraAvvaggh¯ı Pi ˙ ngalik¯ a.

i
¯
a;
¯
a: vayasya, im¯ am
.
raks
.
a priy¯ aApratikr
.
tim.
vio¯ us
.
axau
.
:

«att¯ an
.
aam
.
ti» bhan
.
¯ ahi!

:,¡
acr six: rui ioxcixc
xixc: Very well, I am now anyway not in the frame of mind
for painting.
axsua·xaia: He holds Kula·prabha in high regard. But it
means nothing. If a vipa˜ nchi lute is not at hand, then a
single stringed lute is prized.
xixc: My friend, look. Why do I suffer painwithno respite?
Wakefulness foils reunion with her in a dream;
o.:;,
tears will not let me see her in a painting.
airisr: Lord, P´ıngalika and her friends are on their way to
manhandle the portrait.
nuiioox: Now his hope is dashed!
xixc: Ah! (Places his hand on his chest.)
oiisraci: Victory, victory mistress!
nuiioox: (listening) Oh dear! P´ıngalika, the tigress of the o.:ïc
women’s quarters, is upon us, tracking Medh´ avini like a
deer.
xixc: My friend, protect this portrait of my beloved.
nuiioox: You mean to say I should protect yourself.
:,,
rui iicocxiriox oi suax´ uxraia
axs
.
ax
¯
ai
¯
a:

sahi, es¯ a pad
.
ikid¯ı vi de pad
.
ivakkhassa ala˙ ngha-
n
.
¯ı¯ a kar¯ıadi.

vio¯ us
.
axau
.
: (phalakam ¯ ad¯ aya)

eso n
.
am
.
tahim
.
govemi ja-
ttha p¯ ar¯ avadim vajjia avaro n
.
a pekkhadi.

(drutaBpadam
nis
.
kr¯ antah
.
.)
iiar¯ıu
¯
ai¯ı: (pravi´sya patraBhast¯ a)

jaadu jaadu devo!

o.:ï,
i
¯
a;
¯
a: Vasumati! na khalu devy ¯ agat¯ a?
iiar¯ıu
¯
ai¯ı:

bhat
.
t
.
¯ a, pattaAhattham
.
mam
.
pekkhia pad
.
in
.
ivu-
tt¯ a.

i
¯
a;
¯
a: k¯ alaAj ˜ n¯ a k¯ ary’A ˆ oparodham
.
me pariharati.
iiar¯ıu
¯
ai¯ı:

deva, amacco vin
.
n
.
avedi. atthaAj¯ adassa gan
.
an¯ aA
bahulad¯ ae ekkam
.
yeva poraA kayyam
.
avekkhidam
.
, tam
.
devo sod
.
hum
.
arihadi.

i
¯
a;
¯
a: Medh¯ avini, v¯ acyat¯ am! o.:,c
iiiiA x
¯
ai¯ı:

jam
.
bhat
.
t
.
¯ a ¯ an
.
avedi.

(pattrakam
.
pras¯ arya v¯ aca-
yati) «viditam astu devaA p¯ ad¯ an¯ am
.
yath¯ a DhanaA vr
.
ddha
iti yath”Aˆ arthaAn¯ am¯ a van
.
ig v¯ ar¯ıApath’A ˆ opaj¯ıv¯ı nauAvyasane
vipannah
.
. sa c’ ˆ anA apatyah
.
. tasya kot
.
iA´sataA sam
.
khy¯ atam
.
vasu. tad id¯ an¯ım
.
r¯ aj’A ˆ artham ¯ apadyate. ´srutv¯ a r¯ aj¯ a pra-
m¯ an
.
am iti.»
i
¯
a;
¯
a: (¯ aBkampitah
.
) kas
.
t
.
¯ a khalv anAapatyat¯ a. Vasumati! mah¯ aA
dhanatv¯ ad bahuA patn¯ıkena tatraA bhavat¯ a bhavitavyam.
vic¯ aryat¯ am
.
yadi kad¯ a cid ¯ apannaAsattv¯ a k” ˆ api tasya bh¯ ar-
y¯ a sy¯ at.
:,o
acr six: rui ioxcixc
axsua·xaia: My friend, even this portrait is removed from
you, a foe.
nuiioox: (taking the board) I will hide it where none but
turtle-doves will see it. (Exit with a quick step.)
ioiriiss: (entering with a letter) Victory, victory to Your o.:ï,
majesty!
xixc: V´ asumati! Has the queen not come?
ioiriiss: Lord, she turned back when she saw me bearing
a missive.
xixc: She is mindful of timing and avoids interfering with
my business.
ioiriiss: Lord, the minister reports that because of the
large volume of affairs he investigated only one citizen’s
case. Your majesty should look at it.
xixc: Medh´ avini, read it!
o.:,c
sciini: As your majesty commands. (opens the document
and reads) “Let it be known to his majesty that the aptly
named merchant Dhana·vriddha* who trafficked by sea
has perished in a shipwreck. He is without issue. His
wealth amounts to thousands of millions. This now falls
to the royal estate. Hearing this, may the king make a
ruling.”
xixc: (shaken) It is a misery to have no children. V´ asumati!
Because he was wealthy he must have had many wives.
Enquire whether one of his wives may be pregnant.
:,;
rui iicocxiriox oi suax´ uxraia
iiar¯ıu
¯
ai¯ı:

deva, id¯ an
.
im
.
yeva KesavaAset
.
t
.
hin
.
o duhid¯ a n
.
i-
vuttaApum
.
savan
.
¯ a j¯ a¯ a sun
.
¯ıadi.

i
¯
a;
¯
a: nanu garbhaf pitryam
.
riktham arhati. gaccha. evam
¯ aryaAPi´sunam
.
br¯ uhi.
iiar¯ıu
¯
ai¯ı:

jam
.
deva ¯ an
.
avedi!

(prasthit¯ a.) o.:,,
i
¯
a;
¯
a: ehy ehi t¯ avat.
iiar¯ıu
¯
ai¯ı: (nivr
.
tya)

iamhi.

i
¯
a;
¯
a: api ca tatraAbhav¯ an vaktavyah
.
. kim anena sam
.
tatir asti
n’ ˆ ast’ ˆıti.
yena yena viyujyante
praj¯ ah
.
snigdhena bandhun¯ a
sa sa p¯ ap¯ ad r
.
te t¯ as¯ am
.
Duh
.
s
.
yanta iti ghos
.
yat¯ am.
iiar¯ıu
¯
ai¯ı:

idam
.
n
.
¯ ama ittham
.
ghosidavvam
.
.

(nis
.
kramya o.:cc
punaf pravis
.
ya ca)

deva, k¯ ale ghut
.
t
.
ham
.
iva ahin
.
andidam
.
devaAs¯ asan
.
am
.
mah¯ aAan
.
en
.
a.

i
¯
a;
¯
a: (d¯ırgham nih´svasya) evam
.
santatiA cchedaA niravalam-
b¯ an¯ am
.
m¯ ulaApurus
.
¯ an
.
¯ am avas¯ ane sampadaf param upa-
tis
.
t
.
hante. mam’ ˆ apy ante P¯ uruAvam
.
´saA´sriya es
.
a eva vr
.
tt¯ a-
ntah
.
.
iiar¯ıu
¯
ai¯ı:

pad
.
ihadam
.
¯ asa˙ nkidam!

i
¯
a;
¯
a: dhi ˙ n m¯ am upasthitaA´sreyo ’vam¯ aninam!
axs
.
ax
¯
ai
¯
a:

asam
.
saam
.
sahim
.
yeva hiae kadua n
.
indido n
.
en
.
a
att¯ a.

:,ï
acr six: rui ioxcixc
ioiriiss: Lord, just now we have learnt that his wife, the
daughter of the guildsman K´ eshava, has performed the
pregancy rite to ensure the birth of a son.
xixc: Well then the unborn child is entitled to the father’s
inheritance. Go, tell the honorable P´ıshuna so.
ioiriiss: As his majesty commands! (Departs.) o.:,,
xixc: Come back for a second.
ioiriiss: (returning) Here I am.
xixc: Tell his honor this too. What does it matter whether
he has children or not?
Proclaim that whatever dear kinsman
my subjects lose,
Dushy´ anta will take his place,
if they are free from sin.
ioiriiss: So it will indeed be proclaimed. (exits and re- o.:cc
enters) Your majesty, the people rejoiced in your procla-
mation as they do in timely thunder.*
xixc: (sighing deeply) This is how, when the last male of the
family, unsupported through the severing of the lineage,
passes away, wealth passes to another. When I die this
too will befall the glory of the Puru line.
ioiriiss: May this prospect not come to pass!
xixc: Shame on me for reviling the good that providence
brought to me!
axsua·xaia: No doubt he is blaming himself because of
my friend.
:,,
rui iicocxiriox oi suax´ uxraia
i
¯
a;
¯
a:
o.:c,
sam
.
ropite ’py ¯ atmani dharmaApatn¯ı
tyakt¯ a may¯ a n¯ ama kulaApratis
.
t
.
h¯ a
kalpis
.
yam¯ an
.
¯ a mahate phal¯ aya
vasum
.
Adhar¯ a k¯ ala iv’ ˆ optaAb¯ıj¯ a.
iiiiA x
¯
ai¯ı: (jan’Bˆ antikam)

imam
.
pattakam
.
pesaanten
.
a kim
.
sum¯ aridam
.
amaccen
.
a jam
.
pekkhia d¯ ava bhat
.
t
.
in
.
o jal’ A
ˆ avaseo sam
.
vutto?

(vicintya)

adhav¯ a n
.
a so abuddhiApura-
vam
.
pavat
.
t
.
adi.

i
¯
a;
¯
a: aho Duh
.
s
.
yantasya sam
.
´sayam ¯ ar¯ ud
.
h¯ af pin
.
d
.
aAbh¯ ajah
.
.
asm¯ at param
.
bata yath¯ aA´srutaAsambhr
.
t¯ ani
ko nah
.
kule nivapan¯ ani karis
.
yat’ ˆıti
n¯ unam
.
pras¯ utiAvikalena may¯ a pramuktam
.
dhaut’Aˆ a´sruA´ses
.
am udakam
.
pitaraf pibanti.
axs
.
ax
¯
ai
¯
a:

sadisam
.
khu de vavadh¯ an
.
am! vaattho pah¯ u ava- o.::c
r¯ asu dev¯ısu an
.
ur¯ uvaA puttaA jamman
.
¯ a puvvaA puris¯ an
.
¯ am
.
arin
.
o bhavissadi tti.

(svaBgatam)

n
.
a me vaan
.
am
.
pad
.
ige-
n
.
hadi! adhav¯ a an
.
ur¯ uvam
.
yeva osaham ¯ ada˙ nkam
.
n
.
iv¯ are-
di.

i
¯
a;
¯
a: (´sok’B¯ avegaBn¯ at
.
itakena)
¯ aAm¯ ulaA´suddhaAsantati
kulam etat Pauravam
.
praj¯ aAvandhye
mayy astamAitam anA¯ arye
de´sa iva Sarasvat¯ıAsrotah
.
. (sam
.
moham
.
gatah
.
.)
,cc
acr six: rui ioxcixc
xixc:
o.:c,
I have abandoned my lawful wife,
the foundation of my family,
though my self was embedded in her—
She who will bear a great fruit,
just as does the earth
in which a seed is sown in the right season.
sciini: (aside) What did the minister have in mind when
he sent this missive, that, once he saw it, would dampen
his majesty’s spirits? (reflecting) But no, he would not act
without forethought.*
xixc: Ah! Dushy´ anta has imperiled his ancestors.
After me, alas, who in our family can prepare
the offerings prescribed by the sacred law?
Surely my ancestors are drinking for water
the clear tears I shed,
I who am incomplete without offspring.
axsua·xaia: A characteristic oversight! A lord in the prime o.::c
of his life will settle his debt to the ancestors through
the birth of a worthy son by another queen. (to herself )
He cannot hear my words! Or rather, only the right
medicine can cure the disease.
xixc: (miming grief )
This P´ aurava lineage, pure from its beginning
comes to a close since I, unworthy,
have no offspring
Just as the River Sar´ asvati seeps away
in an unworthy desert. (Faints.)
,c:
rui iicocxiriox oi suax´ uxraia
iaii;axau
.
: (saBsambhramam avalokya)

samassasadu sama-
ssasadu bhat
.
t
.
¯ a!

axs
.
ax
¯
ai
¯
a:

id¯ an
.
¯ım
.
yeva n
.
am
.
n
.
ivvudam
.
karemi. adhav¯ a ma-
had¯ıhim
.
un
.
a devad¯ ahim edam
.
dam
.
sidam
.
. n
.
a sakko mae
an
.
Aan
.
un
.
n
.
¯ ad¯ ae hatthaAsam
.
saggam
.
n
.
edum
.
. bhodu. jan
.
n
.
aA
bh¯ aAosu¯ ao dev¯ ao yyeva tadh¯ a kara¨ıssanti. jadh¯ a eso r¯ a’Aˆ es¯ı
t¯ ae sahaAdhammaAc¯ arin
.
¯ıe sam¯ agamissadi.

(nabho ’valok-
ya, saBhars
.
am)

kara¨ıssanti kadham
.
yeva tahi pekkh¯ ami!
j¯ ava imin
.
¯ a vuttanten
.
a piaAsahim
.
samass¯ asemi

(udbhr¯ an-
takena nis
.
kr¯ ant¯ a.)
xiiaru\i:

abbamhan
.
n
.
am
.
abbamhan
.
n
.
am
.
bhoh
.
! abbam-
o.::,
han
.
n
.
am
.
!

i
¯
a;
¯
a: (´sanaif praty¯ a´svasya, karn
.
am
.
dattv¯ a) aye! M¯ adhavyasy’
ˆ ev’ ¯ artaAn¯ adah
.
.
iiiiA x
¯
ai¯ı:

tavass¯ı Pi ˙ ngali¯ aAm¯ıs¯ an
.
am
.
muhe pad
.
ido bhavis-
sadi.

i
¯
a;
¯
a: Vasumati, gaccha madAvacan¯ ad aAnis
.
iddhaAparijan¯ am
.
dev¯ım up¯ alabhasva.
iiar¯ıu
¯
ai¯ı: tath¯ a (iti nis
.
kr¯ ant¯ a.)
i
¯
a;
¯
a: param’Aˆ arthaAbh¯ıta iva bhinnaAsvaro br¯ ahman
.
ah
.
. kah
.
o.::c
ko ’tra bhoh
.
.
(pravi´sya) xa˜ xcux¯ı: ¯ aj ˜ n¯ apayatu devah
.
!
,c:
acr six: rui ioxcixc
iirixui: (looking on with alarm) Wake up lord, wake up!
axsua·xaia: I will end his pain here and now. But no, the
High Gods have decreed this. Without permission I may
not lend a hand. Let it be. The gods, eager for their share
of sacrifice, will arrange the royal sage’s reunion with his
wife. (looking at the sky, joyfully) I will watch how they
manage it. So let me comfort my dear friend with this
news. (Flies upwards.)
niuixo rui scixi: Sacrilege, sacrilege, help! Sacrilege! o.::,
xixc: (regaining consciousness, listening) Ah! It seems to be
Madh´ avya’s call of distress.
airisr: The poor fellow must have fallen into the jaws of
Mistress P´ıngalika.
xixc: V´ asumati, go and admonish the queen in my name
for not restraining her retinue.
ioiriiss: As you wish. (Exit.)
xixc: The brahmin’s voice falters as if he were really afraid. o.::c
Who is in attendance?
(enter the) cuaxniiiaix: Command, you majesty!
,c,
rui iicocxiriox oi suax´ uxraia
i
¯
a;
¯
a: kim es
.
a M¯ adhavyo m¯ an
.
avakah
.
krandati?
xa˜ xcux¯ı: deva, y¯ avad avalokay¯ ami. (nis
.
kramya sam
.
bhram¯ at
punaf pravis
.
t
.
ah
.
.)
i
¯
a;
¯
a: P¯ arvat¯ ayana! na khalu kim
.
Acid ¯ atyayikam?
xa˜ xcux¯ı: deva, n’ ˆ aivam.
o.::,
i
¯
a;
¯
a: tat kuto ’yam
.
vepathuh
.
? kim
.
tu
pr¯ ag eva jaras¯ a kampah
.
saAvi´ses
.
am
.
tu s¯ ampratam
¯ avis
.
karoti sarv’Aˆ a˙ ngam
a´svattham iva m¯ arutah.
xa˜ xcux¯ı: tat paritr¯ ayat¯ am
.
suhr
.
dam
.
mah¯ aAr¯ ajah
.
.
i
¯
a;
¯
a: kasm¯ at paritr¯ atavyah
.
?
xa˜ xcux¯ı: mahatah
.
kr
.
cchr¯ at!
o.:,c
i
¯
a;
¯
a: aye! aAnirbhinn’Aˆ artham ucyat¯ am!
xa˜ xcux¯ı: deva, yo ’s¯ av abhram
.
Aliho n¯ ama pr¯ as¯ adah
.
. . .
i
¯
a;
¯
a: kim
.
tatra?
,c¡
acr six: rui ioxcixc
xixc: Why is that boy Madh´ avya wailing?
cuaxniiiaix: Your Majesty, I will go and see. (Exit and
return with alarm.)
xixc: Parvat´ ayana! Surely it is not a matter of life-and-
death?
cuaxniiiaix: No, your majesty. o.::,
xixc: Then what is he afraid of? But,
The tremor which before was brought on
by your old age, now your whole body
displays it exceedingly,
like an ashv´ attha tree in the wind.
cuaxniiiaix: So protect your friend, great king.
xixc: Protect him from what?
cuaxniiiaix: From great hardship! o.:,c
xixc: Ah! Say something that makes sense!
cuaxniiiaix: Your majesty, that palace called the “cloud-
licker”. . .
xixc: What’s going on there?
,c,
rui iicocxiriox oi suax´ uxraia
xa˜ xcux¯ı:
tasy’ ˆ agraAbh¯ umer gr
.
haAn¯ılaAkan
.
t
.
hair o.:,,
anekaAvi´srantiAvila˙ nghyaA´sr
.
˙ ngam
sakh¯ a prak¯ a´s’Aˆ etaraAm¯ urtin¯ a te
sattvena ken’ ˆ api nigr
.
hya n¯ıtah
.
.
i
¯
a;
¯
a: (sahas” ˆ otth¯ aya) m¯ a t¯ avat! mam’ ˆ api sattvair abhibh¯ u-
yante gr
.
h¯ ah
.
. athav¯ a bahuApratyav¯ ayam
.
nr
.
patvam.
ahany ahany ¯ atmana eva t¯ avaj
j ˜ n¯ atum
.
pram¯ adaskhalitam
.
na ´sakyam
praj¯ asu kah
.
kena path¯ a pray¯ at’ ˆıty
a´ses
.
atah
.
kasya nu ´saktir asti?
xiiaru\i:

dh¯ ava bho!

i
¯
a;
¯
a: (gatiBbhedena parikr¯ aman) sakhe, na bhetavyam, na
bhetavyam.
(nepathye) vio¯ us
.
axau
.
:

kadham
.
d¯ an
.
im
.
n
.
a bh¯ aissam
.
? eso o.:¡c
mam
.
ko vi pacch¯ aAmod
.
idaAsiroAdharam ikkhum
.
via thi-
raAbha˙ ngam
.
yava karidum
.
icchadi!

i
¯
a;
¯
a: (saBdr
.
s
.
t
.
iBks
.
epam) dhanur dhanus t¯ avat!
(pravi´sya ´s¯ ar˙ ngaB hast¯ a Yavan¯ı)

jaadu jaadu bhat
.
t
.
¯ a! edam
sar’A¯ asan
.
am
.
hatth’A¯ av¯ apaAsahitam.

i
¯
a;
¯
a: (saB´saram
.
dhanur ¯ adatte.)
,co
acr six: rui ioxcixc
cuaxniiiaix:
From the spire on its highest point, o.:,,
reached by tame peacocks after taking many
breaks
your friend has been abducted
by some kind of an invisible fiend.
xixc: (jumping up) It cannot be! Even my home is invaded
by fiends. Kingship is beset with many reversals.
From day to day it is not even possible to know
one’s own unmindful lapses.
Who has the power to know in full
who among his subjects takes which path?
oiisraci: Please run!
xixc: (changing his pace) My friend, have no fear, have no
fear.
(offstage) nuiioox: How could I not be afraid? Someone is o.:¡c
strangling my neck from behind and is trying to crush
me like sugar-cane!
xixc: (casting a glance) My bow, my bow!
(The Ionian woman enters bow-in-hand.) Victory, victory,
Lord! Here is your bow and the wrist-guard.
xixc: (Takes up his bow and arrows.)
,c;
rui iicocxiriox oi suax´ uxraia
xiiaru\i:
es
.
a tv¯ am abhinavaAkan
.
t
.
haA´son
.
it’Aˆ arth¯ı
o.:¡,
´s¯ ard¯ ulaf pa´sum iva hanmi ves
.
t
.
am¯ anam
¯ art¯ an¯ am
.
bhayam apanetum ¯ attaAdhanv¯ a
Duh
.
s
.
yantas tava ´saran
.
am
.
bhavatv id¯ an¯ım.
i
¯
a;
¯
a: (saBros
.
am) katham
.
m¯ am evam uddi´sati? tis
.
t
.
ha tis
.
t
.
ha
kulaA p¯ am
.
sana! ayam id¯ an¯ım
.
na bhavasi. (c¯ apam ¯ ad¯ aya)
P¯ arvat¯ ayana! sop¯ anaAm¯ argam ¯ ade´saya.
xaxcux¯ı: ita ito deva. (sarve satvaram upasarpanti.)
i
¯
a;
¯
a: (samant¯ ad vilokya) ´s¯ unyam
.
khalv idam.
(nepathye) vio¯ us
.
axau
.
:

ahidh¯ ava bho! aham
.
bhavantam
.
pe-
kkh¯ ami. eso bhavam
.
mam
.
n
.
a pekkhadi. majj¯ araAgahido
via unduro n
.
ir¯ asoAmhi j¯ıvide sam
.
vutto.

i
¯
a;
¯
a: bhoh
.
! tiraskarin
.
¯ıAgarvita mad¯ıyamastram
.
tv¯ ampa´sya- o.:,c
ti. sthito bhava! m¯ a ca vayasyaAsampark¯ ad vi´sv¯ aso ’bh¯ ut.
es
.
a tvadAartham
.
tam is
.
um
.
sam
.
dadhe,
yo hanis
.
yati vadhyam
.
tv¯ am
.
raks
.
yam
.
raks
.
is
.
yati dvijam
ham
.
so hi ks
.
¯ıram ¯ adatte
tanAmi´sr¯ a varjayaty apah
.
.
(astram
.
sam
.
dhatte.)
,cï
acr six: rui ioxcixc
oiisraci:
I, eager for the fresh blood from your neck, o.:¡,
will kill you as I hold you fast like a tiger does its
prey.
Let Dushy´ anta, taking up his bow
to allay the fear of the distressed be your
protection now.
xixc: (angrily) Is he mocking me? Stay where you are, stay
where you are, you disgrace to your family! Now you
will not prevail. (taking his bow) Parvat´ ayana! show me
to the stairs.
cuaxniiiaix: This way, this way, your majesty. (All come
rushing.)
xixc: (looking all around) But it is empty.
(behind the curtain) nuiioox: Hurry! I can see you. You
cannot see me. I have lost all hope of life, like a mouse
caught by a cat.
xixc: O you proud of your invisibility, my arrow will see o.:,c
you. Stand still! Take no comfort fromyour contact with
my friend. For you I draw this arrow,
Which will slay you who deserve death and
will protect the brahmin worthy of protection,
for a swan will take the milk
but discard the water mixed with it.
(Aims the arrow.)
,c,
rui iicocxiriox oi suax´ uxraia
(pravi´sya sam
.
bhr¯ anto vid¯ us
.
akam utsr
.
jya M¯ atalir vid¯ us
.
aka´s
ca.)
x
¯
araiiu
.
: ¯ ayus
.
man!
kr
.
t¯ a ´saravy¯ a Harin
.
¯ a tav’ ˆ asur¯ ah
.
o.:,,
´sar’A¯ asanam
.
tes
.
u vikr
.
s
.
yat¯ am idam
pras¯ adaAsaumy¯ ani sat¯ am
.
suhr
.
jAjane
patanti caks
.
¯ ums
.
i na d¯ arun
.
¯ ah
.
´sar¯ ah
.
.
i
¯
a;
¯
a: (astram upasam
.
haran) aye M¯ atalih
.
! svA ¯ agatam
.
DevaA
r¯ ajaAs¯ arathaye!
(pravi´sya) vio¯ us
.
axa: (nikat
.
am etya)

bho! aham
.
n
.
en
.
a pasuA
m¯ aren
.
a m¯ arido man
.
amhi!

x
¯
araiiu
.
: (saBsmitam) ¯ ayus
.
man, ´sr¯ uyat¯ am
.
yad asmi Harin
.
¯ a
bhavatAsak¯ a´sam
.
pres
.
itah
.
.
i
¯
a;
¯
a: avahito ’smi.
x
¯
araiiu
.
: asti K¯ alaAnemiApras¯ utir Durjayo n¯ ama d¯ anavaAga- o.:oc
n
.
ah
.
.
i
¯
a;
¯
a: ´srutaAp¯ urvo may¯ a N¯ arad¯ at.
x
¯
araiiu
.
:
sakhyus te sa kila
´
Satakrator avadhyas
tasya tvam
.
ran
.
aA´sirasi smr
.
to nihant¯ a
ucchettum
.
prabhavati yan na saptaAsaptis
tan nai´sam
.
timiram ap¯ akaroti candrah
.
.
,:c
acr six: rui ioxcixc
(Enter the agitated M´ atali releasing the buffoon, and the buf-
foon.)
x
´
araii: Your Majesty!
Indra has made the demons to be your targets, o.:,,
draw your bow against them.
Good men’s eyes, mild with favor,
fall upon a friend, not cruel arrows.
xixc: (withdrawing his arrow) Oh! M´ atali! Welcome to the
charioteer of the King of the Gods.
nuiioox: (entering, coming close) Hey! This monster nearly
killed me!
x
´
araii: (smiling) Your honor, hear why Indra dispatched
me to you.
xixc: I am attentive.
x
´
araii: There is a demon lord called D´ urjaya, the spawn o.:oc
of Kala·nemi.
xixc: I have already heard of this from N´ arada.
x
´
araii:
It is said that your friend Indra cannot kill him.
It is said that you can be his slayer in the forefront
of the battle.
The darkness of the night that the sun is powerless
to dispel
the moon can drive away.
,::
rui iicocxiriox oi suax´ uxraia
tad bhav¯ an gr
.
h¯ıtaAc¯ apa ev’ ˆ ed¯ an¯ım Aindram
.
ratham adhiru-
hya vijay¯ aya pratis
.
t
.
hat¯ am.
i
¯
a;
¯
a: anugr
.
h¯ıtam anay¯ a Maghavatah
.
sambh¯ avanay¯ a. atha o.:o,
bhavadbhir M¯ adhavyam
.
prati kim evam
.
prayuktam?
x
¯
araiiu
.
: (saBsmitam
.
vid¯ us
.
akam avalokya) tad api kathyate.
kuto ’pi kim
.
Animitt¯ an manasAt¯ ap¯ ad ¯ ayus
.
m¯ an may¯ a vikla-
vo dr
.
s
.
t
.
ah
.
. pa´sc¯ at kopayitum ¯ ayus
.
mantam
.
tath¯ a kr
.
tav¯ an
asmi. kutah
.
?
jvalati calit’Aˆ endhano ’gnir
viprakr
.
taf pannagaf phan
.
am
.
kurute
pr¯ ayah
.
svam
.
mahim¯ anam
.
ks
.
obh¯ at pratipadyate jantuh
.
.
i
¯
a;
¯
a: (jan’ B ˆ antikam) vayasya M¯ adhavya! anA atikraman
.
¯ıy¯ a
Divah
.
Apater ¯ aj ˜ n¯ a. tad atra parigat’Aˆ artham
.
kr
.
tv¯ a madAva-
can¯ ad am¯ atyaAPi´sunam
.
br¯ uy¯ ah
.
:
tvanAmatih
.
keval¯ a t¯ avat
parip¯ alayatu praj¯ ah
.
adhijyam idam anyasmin
karman
.
i vy¯ apr
.
tam
.
dhanuh
.
.
vio¯ us
.
axau
.
:

jam
.
bhavam
.
¯ an
.
avedi.

(iti nis
.
kr¯ antah
.
.) o.:;c
x
¯
araiiu
.
: ita ¯ ayus
.
m¯ an.
iti parikramya nis
.
kr¯ ant¯ ah
.
sarve.
s
.
as
.
t
.
ho ’ ˙ nkah
.
.
,::
acr six: rui ioxcixc
So take now your bow, mount Indra’s chariot, and go forth
to victory.
xixc: I am favored by Indra’s esteem. But why did you o.:o,
manhandle Madh´ avya in that way?
x
´
araii: (looking at the buffoon with a smile) Let me tell
you. I perceived that Your majesty was, for some reason,
depressed with regret. Thereafter I acted to awaken Your
majesty’s wrath. Why?
A fire blazes up when its fuel is stirred,
a serpent expands its hood when it is threatened,
a man usually regains his own spirit
when he is roused.
xixc: (aside) My friend Madh´ avya! The decree of the Lord
of heaven cannot be flouted. So informminister P´ıshuna
of what has transpired here and tell him in my name:
May your acuity alone
for now protect the subjects.
This strung bow is now employed
in another matter.
nuiioox: As his majesty commands. (Exit.) o.:;c
x
´
araii: This way, your honor.
All walk about and exit.
Thus ends the sixth act.
,:,
Act Seven:
The Absolution
(tataf pravi´sati N¯ akal¯ asik¯ a.)
x
¯
axai
¯
asix
¯
a:

¯ an
.
attam
.
hi gurun
.
¯ a N
.
¯ araen
.
a jah¯ a edesu yye-
va diasesu maccaA loado uttin
.
n
.
en
.
a r¯ aesin
.
¯ a Dussanten
.
a
bhaavado Purandarassa pi’A ¯ arin
.
¯ a d¯ an
.
avaA vahaA n
.
imittam
.
gantavvam
.
. j¯ ava abbhaccia imam
.
hy ¯ apucch¯ıam¯ an
.
o n
.
ik-
khivadi t¯ ava yyeva mae vibuhaApaccakkham
.
ma˙ ngalaAn
.
i-
mittam kim
.
pi pekkhan
.
aam
.
darasa¨ıdavvam
.
. «t¯ a tumam
.
kam
.
pi l¯ asiam
.
an
.
n
.
esia sa˙ ng¯ıdaA s¯ al¯ ae ¯ agaccha tti.» t¯ a j¯ a-
va l¯ asiam
.
an
.
n
.
esemi.

(parikramy’ ˆ avalokya ca)

k¯ a pun
.
a
es¯ a gahidaAvaran
.
¯ a pacch¯ a harisid’Aukkan
.
t
.
hid¯ a via ido ev’
¯ agacchadi?

(nipun
.
am avalokya)

kadham
.
pisaAsah¯ı C¯ udaA
ma˜ njar¯ı? t¯ a j¯ ava ed¯ ae saha uvajjh¯ aaAsam¯ıvam
.
gacch¯ ami.

(iti pratip¯ alayati.)
(tataf pravi´sati yath¯ aBnirdis
.
t
.
¯ a l¯ asik¯ a.)
c¯ uraxa˜ x;ai¯ı: (saBvismayam
.
saBhars
.
am
.
ca)

aho! mah¯ aAppa-
h¯ avo r¯ aes¯ı Dussanto! (s’Bˆ as¯ uyam) aho, mah¯ aAbalo so hado
Dujjao d¯ an
.
avaA balo.

(vic¯ arya)

adhav¯ a Dussanto yyeva
jen
.
a s¯ aradhiA dud¯ıen
.
a yyeva an
.
eaA paharan
.
aA s¯ ahas¯ aim
.
vi-
kiranto khan
.
en
.
a yyeva n
.
ihado so DujjayaAd¯ an
.
¯ avaAbalo.

(nr
.
tyati.)
iiaruax
¯
a:

sahi C¯ udaAma˜ njarie. ukkan
.
t
.
hid¯ a via lakkh¯ıasi?

;.,
ovir¯ı\
¯
a: (vilokya)

kadham
.
, P¯ arij¯ adaAma˜ njar¯ı? sahi, savvam
.
kadha¨ıssam
.
. tumam
.
d¯ ava kahim
.
patthida tti pucchis-
sam
.
?

iiaruax
¯
a:

sahi, sa˙ nkheven
.
a kadha¨ıssam
.
. aham
.
khu r¯ ae-
sin
.
o Dussantassa d¯ an
.
avaA vijaaA vavadesen
.
a ajja ma˙ ngalaA
n
.
imittam
.
kim
.
pi pekkhan
.
aam
.
dam
.
s¯ıadi tti uvajjh¯ aassa
¯ an
.
¯ ae ubhe yyeva sa¯ asam
.
.

,:o
(Enter a celestial dancer.)
ciiisriai oaxcii: My teacher N´ arada has told me that,
these days, the royal sage Dushy´ anta, ascending fromthe
world of mortals, has gone to slay a demon at the bidding
of blessed Indra. After I saluted him and sang his praises
he charged me with staging a performance as a blessing
for good fortune in front of an audience of experts. “Go
find a dancer and come to the pavilion of dance!” So now
I am looking for a dancer. (strolls about gazing) Who is
this coming my way, seemingly yearning and satisfied
at once, as if she had just received an ornament.* (looks
carefully) Why, it’s my dear friend Chuta·m´ a˜ njari! Well,
I will bring her along to the teacher.* (She waits.)
(Then enters, as described, a dancer.)
Cuura·x
´
a˜ x;aii: (astonished and delighted) Oh! What great
power the royal sage Dushy´ anta has. (scornfully) Oh! The
mighty demon D´ urjaya is slain. (reflecting) To be precise,
Dushy´ anta alone withhis charioteer, scattering countless
thousands of missiles, in a flash annihilated the powerful
demon D´ urjaya. (She dances.)
iiisr: My friend Chuta·m´ a˜ njari. You seem lovelorn? ;.,
sicoxo: (looking) Is it you, Parij´ ata·m´ a˜ njari? My friend, I
will tell you everything. But first, let me ask, where are
you going?
iiisr: My friend, I will tell you in brief. I have been in-
structed by the preceptor to stage something celebratory
today on the occasion of the royal sage Dushy´ anta’s tri-
umph over the demon, so we are both going to see him.
,:;
rui iicocxiriox oi suax´ uxraia
ovir¯ı\
¯
a: (s’ B ˆ otkan
.
t
.
ham)

¯ asi avasaro edassa. id¯ an
.
¯ım
.
pun
.
o
maccaAloam
.
patthide edassim
.
mah¯ aAr¯ ae kassa dam
.
s¯ıadi?

iiaruax
¯
a: (s’B¯ a´sa˙ nkam)

sahi, kim
.
Mahendassa man
.
oArad-
h¯ a samp¯ adia gado uda an
.
n
.
adha tti?

ovir¯ı\
¯
a:

sahi, sun
.
u! ajja yyeva goA sagga A samaen
.
a varam
.
;.:c
DujjaaA d¯ an
.
avaA j¯ıvidaA savvassaA sesam gen
.
hia j¯ ava a tiasaA
vil¯ asin
.
¯ı saA rasaA hia¯ aim
.
avan
.
im ahippat
.
t
.
hido. ado a me
haris’A ˆ okkhan
.
t
.
h¯ an
.
am
.
k¯ aran
.
am
.
.

iiaruax
¯
a:

sahi, tae piam
.
n
.
ivedidam
.
jam
.
yeva uvajj¯ aen
.
a
PuruA vam
.
sa A r¯ aesin
.
o purado kayyam k¯ adum ¯ an
.
attam
.
.
tam
.
yeva g¯ıdam
.
kadua ettha yyeva karemha.

ovir¯ı\
¯
a:

jam
.
de roadi evam
.
tam
.
. jam
.
yeva g¯ıdam
.
mae
lavidam
.
tae v¯ a saha n
.
accamha.

iiaruax
¯
a:

sahi, evam
.
karemha.

(ubhe g¯ ayatah
.
.)

aBvisaaBgaman
.
am
.
kam
.
can
.
a
an
.
n
.
am
.
ca saAr¯ aam
.
¯ al˜ı mahuAsamao
an
.
n
.
am
.
kun
.
a¨ı visan
.
n
.
am
.
p¯ ad
.
ali˘ e im¯ a˘ e bh¯ um¯ıe.

(ity ante nartitv¯ a nis
.
kr¯ ante.) ;.:,
prave´sakah
.
.
,:ï
acr sivix: rui ansoiuriox
sicoxo: (with longing) There may be cause for this. But
now that the king is leaving to the world of mortals, for
whom do we stage it?
iiisr: (concerned) My friend, did he leave after fulfilling
great Indra’s wishes or otherwise?
sicoxo: My friend, listen! This very day, early in the morn- ;.:c
ing he departs to earth, taking with him as a boon what
remained of the demon D´ urjaya’s life—and the affec-
tionate hearts of the heavenly women. That is why I am
at once happy and filled with longing.
iiisr: My friend, you bring me glad tidings: we are com-
manded by the preceptor to perform before the royal
sage of the Puru lineage. Let’s compose a song and sing
it here.
sicoxo: However you like. We can dance together to my
song or your recitation.
iiisr: My friend, that is what we will do. (Both sing.)
Springtime
turns one bee away from objects of sense :
towards illicit behaviour,
fills another with passion,
and makes another despondent,
with the redness of its grounds.
(They dance at the end and exit.) ;.:,
End of the prologue.
,:,
rui iicocxiriox oi suax´ uxraia
(tataf pravi´saty ¯ ak¯ a´saB y¯ anena rath’ B ˆ adhir¯ ud
.
ho r¯ aj¯ a M¯ atali´s
ca.)
i
¯
a;
¯
a: M¯ atale! anus
.
t
.
hitaAnide´so ’pi Maghavatah
.
satkriy¯ aAvi-
´ses
.
¯ ad anupayuktam iv’ ¯ atm¯ anam
.
samarthaye.
x
¯
araiiu
.
: ¯ ayus
.
man, ubhayam apy aparitos
.
am. kutah
.
?
upakr
.
tya Hares tath¯ a bhav¯ a
˜
l ;.:c
laghu satk¯ aram aveks
.
ya manyate
gan
.
ayaty apad¯ anaAsammit¯ am
.
bhavatah
.
so ’pi na satkriy¯ am im¯ am.
i
¯
a;
¯
a: m¯ a m” ˆ aivam. sa khalu manoArath¯ an¯ am apy atibh¯ u-
miAvart¯ı visarjan’Aˆ avasare satk¯ arah
.
. mama hi divaukas¯ am
.
samaks
.
am ardh’A¯ asan’A ˆ opave´sitasya—
antarAgataApr¯ arthanam antaraAstham
.
Jayantam udv¯ıks
.
ya kr
.
taAsmitena
pramr
.
jya vaks
.
o hariAcandan’Aˆ aktam
.
mand¯ araAm¯ al¯ a Harin
.
¯ a pinaddh¯ a.
x
¯
araiiu
.
: kim iva n’ ¯ ayus
.
m¯ an amare´svar¯ ad ¯ arhati. pa´sya
sukhaAparasya Harer ubhayaih
.
kr
.
tam
.
triAdivam uddhr
.
taAd¯ anavaAkan
.
t
.
akam
tava ´sarair adhun¯ a nataAparvabhif
Purus
.
aAkesarin
.
a´s ca pur¯ a nakhaih
.
.
,:c
acr sivix: rui ansoiuriox
(Enter the king and M´ atali on a flying vehicle.)
xixc: M´ atali! Alhough I have obeyed Indra’s command, I
consider myself unworthy because of the high regard he
showed me.
x
´
araii: Your majesty, both of you are unrequited. How so?
After rendering such help to Indra ;.:c
you think it trifling
when you consider his high regard.
He, for his part,
does not reckon this honor equal
to your great deed.
xixc: It is not so. The honor shown to me as I departed
greatly exceeded even my wishes. As I sat on half of his
throne before the gods—
Indra, smilingly gazing at Jay´ anta,
who stood beside him,
—secretly aspiring to this honor—garlanded
me with a wreath of heavenly coral-flowers,
rubbing them against his chest daubed with
yellow sandal.*
x
´
araii: How could you not deserve it from the King of
the Gods? Behold,
Two things extricated the thorns,
—the demons—from heaven
for Indra, who wishes for happiness:
your smooth arrows
and long ago the Man-lion’s claws.
,::
rui iicocxiriox oi suax´ uxraia
i
¯
a;
¯
a: atra
´
Satakrator eva mahim¯ a. pa´sya– ;.:,
sidhyanti karmasu mahatsv api yan niyojy¯ ah
.
sambh¯ avan¯ aAgun
.
am avehi tam ¯ı´svar¯ an
.
¯ am
kim
.
pr¯ abhavis
.
yad Arun
.
as tamas¯ am
.
vadh¯ aya
tam
.
cet SahasraAkiran
.
o dhuri n’ ˆ akaris
.
yat.
x
¯
araiiu
.
: sadr
.
´sam
.
tav’ ˆ aitat. (stokam antaram at¯ıtya) ¯ ayus
.
-
man! itaf pa´sya, n¯ akaA pr
.
s
.
t
.
haA pratis
.
t
.
hitasya saubh¯ agyam
¯ atmaAya´sasah
.
.
vicchittiA´ses
.
aih
.
suraAsundar¯ın
.
¯ am
.
varn
.
air am¯ı kalpaAlat”Aˆ antares
.
u
sam
.
cintya g¯ıtaAks
.
amam arthaAtattvam
.
divaukasas tvacAcaritam
.
likhanti.
i
¯
a;
¯
a: M¯ atale, asuraA samprah¯ ar¯ aA utsukena p¯ urvam
.
d¯ uram
adhirohat¯ a na laks
.
ito may¯ a svargaAm¯ argah
.
. tat katamas-
min pathi marut¯ am vart¯ amahe?
x
¯
araiiu
.
:
;.,c
triAsrotasam
.
vahati yo gaganaApratis
.
t
.
h¯ am
jyot¯ıms
.
i vartayati cakraAvibhaktaAra´smih
.
tasya vyapetaArajasaf Pravahasya v¯ ayor
m¯ argo dvit¯ıyaAhariAvikramaAp¯ uta es
.
ah
.
.
i
¯
a;
¯
a: tatah
.
khalu me saAb¯ ahyaAantah
.
Akaran
.
o ’ntarA¯ atm¯ a pra-
s¯ıdati. (rath’Bˆ a˙ nge vilokya) ´sa˙ nke meghaApathamavat¯ırn
.
au
svah
.
.
,::
acr sivix: rui ansoiuriox
xixc: Therein lies Indra’s greatness. Look— ;.:,
Know that when their servants succeed,
even in a great endeavour,
it is due to the honor
the great show their servants.
Would Dawn have the power to slay darkness,
if the thousand-rayed Sun did not place him
in the forefront of his chariot.
x
´
araii: That is worthy of you. (proceeds a bit further)
Your majesty! Look here, the splendor of your fame has
reached the vault of heaven.
The gods reflecting upon the significance
of your deed
paint it on the exteriors of the wishgranting vines
with the leftover makeup of the heavenly nymphs.
xixc: M´ atali, as I ascended yesterday, eager to fight the
demon, I took no note of the geography of heaven. In
which heavenly region are we travelling?
x
´
araii:
;.,c
This is the region of the vapor-free Prav´ aha-wind,
purified by the second step of Vishnu
which bears the celestial cascade
of the triple-streamed Ganges
and, with rays refracted in circles
makes the luminaries revolve.
xixc: So that is why my inner self and my inner and outer
senses are tranquil. (looking at the wheels) I think we have
descended to the region of clouds.
,:,
rui iicocxiriox oi suax´ uxraia
x
¯
araiiu
.
: (saBsmitam) katham avagamyate?
i
¯
a;
¯
a:
ayam araAvivarebhya´s c¯ atakair nis
.
patadbhir ;.,,
haribhir aciraAbh¯ as¯ am
.
tejas¯ a c’ ˆ anuliptaih
.
gatam upari ghan¯ an¯ am
.
v¯ ariAgarbh’A ˆ odar¯ an
.
¯ am
pi´sunayati rathas te ´s¯ıkaraAklinnaAnemih
.
.
x
¯
araiiu
.
: ks
.
an
.
am ¯ urdhvam ¯ ayus
.
m¯ an ¯ atm’A ˆ adhik¯ araA bh¯ u-
mau vartis
.
yate.
i
¯
a;
¯
a: (adho ’valokya) M¯ atale, veg’A ˆ avataran
.
¯ ad ¯ a´scaryaA dar-
´sanah
.
khalu sampadyate manus
.
yaAlokah
.
. tath¯ a—
´sail¯ an¯ am avarohat’ ˆıva ´sikhar¯ ad
unmajjat¯ am
.
medin¯ı
parn
.
es
.
v antaraAl¯ınat¯ am
.
vijahati
skandh’A ˆ oday¯ at p¯ adap¯ ah
.
sandh¯ anam
.
tanuAbh¯ avaAnas
.
t
.
aAsalil¯ a
vyakt¯ a vrajanty ¯ apag¯ ah
.
ken’ ˆ apy utks
.
ipat” ˆ eva pa´sya bhuvanam
.
matAp¯ ar´svam ¯ an¯ıyate.
x
¯
araiiu
.
: (saBbahum¯ anam ¯ alokya) aho udagraAraman
.
¯ıy¯ a pr
.
-
thiv¯ı.
i
¯
a;
¯
a: M¯ atale, katamo ’yam
.
p¯ urv’Aˆ aparaAsamudr’Aˆ avag¯ ad
.
hah
.
;.¡c
kanakaAnis
.
yandaA´sobh¯ı s¯ am
.
dhya iva meghaAparighah
.
s¯ a-
num¯ an ¯ alokyate?
,:¡
acr sivix: rui ansoiuriox
x
´
araii: (smiling) How did you guess?
xixc:
Your chariot
;.,,
with ch´ ataka birds flying through
the gaps between its spokes,
with its horses tinged by lightning flashes,
its fellies damp,
betrays that it has passed above
clouds pregnant with rain.
x
´
araii: In a moment you will be in the world you rule.
xixc: (looking down) Because of our swift descent the world
of mortals appears strange. For—
The earth seems to recede
from the emerging mountains,
the trees give up their concealment
by leaves as their trunks rise up,
the rivers,
deprived of water by their thinness,
made whole, become visible.
Look! It is as if has thrown up the earth
and brought it near to me.
x
´
araii: (looking respectfully) Ah, the earth is beautiful be-
yond compare.
xixc: M´ atali, which mountain is this, plunging into the ;.¡c
eastern and western oceans, resplendent, dripping with
gold like a wall of clouds at sunset?
,:,
rui iicocxiriox oi suax´ uxraia
x
¯
araiiu
.
: ¯ ayus
.
man, es
.
a HemaA k¯ ut
.
o n¯ ama kimpurus
.
aA par-
vataf, param
.
tapasvin¯ am
.
siddhiAks
.
etram. pa´sya—
Sv¯ ayambhuvo Mar¯ıcer yaf
prababh¯ uva Praj¯ apatih
.
sur’Aˆ asuraAguruh
.
so ’smin
saApatn¯ıkas tapasyati.
i
¯
a;
¯
a: (s’B¯ adaram
.
) tena hy anAatikraman
.
¯ıy¯ ani ´srey¯ am
.
si, pra-
daks
.
in
.
¯ıkr
.
tya bhagavantam
.
gantum iy¯ ava.
x
¯
araiiu
.
: prathamah
.
kalpah
.
! (avataran
.
am
.
n¯ at
.
ayitv¯ a) et¯ av
avat¯ırn
.
au svah
.
.
i
¯
a;
¯
a: (saBvismayam) M¯ atale! ;.¡,
upod
.
haA´sabd¯ a na rath’Aˆ a˙ ngaAnemayaf pravartam¯ anam
.
na
ca dr
.
´syate rajah
.
aAbh¯ utalaAspar´sanatay¯ a niruddhatis tav’
ˆ avat¯ırn
.
o ’pi ratho na laks
.
yate.
x
¯
araiiu
.
: et¯ av¯ an eva
´
Satakrator ¯ ayus
.
mata´s ca vi´ses
.
ah
.
.
i
¯
a;
¯
a: katamasmin prade´se M¯ ar¯ıc’A¯ a´sramah
.
?
x
¯
araiiu
.
: (hastena dar´sayan)
,:o
acr sivix: rui ansoiuriox
x
´
araii: Your majesty, this is Golden Peak, the mountain of
the kim·p´ urushas, the greatest place for ascetics to attain
of spiritual power.
Praja·pati, born
from the self-existent Mar´ıchi
the parent of the gods and demons,
practices austerities here with his wife.
xixc: (respectfully) Good fortune must not be overlooked.
Let us circumambulate and go to the blessed one.
x
´
araii: Our primary duty! (acting the descent) We have
descended.
xixc: (with amazement) M´ atali!
;.¡,
The fellies of the wheel make no sound,
no dust is seen to be set in motion.
Although your chariot has alighted it has gone
unnoticed,
—it has not jolted because it has not touched the earth.
x
´
araii: That is the extent of the difference between you
and Indra.
xixc: Which way to M´ aricha’s hermitage?
x
´
araii: (indicates with his hand)
,:;
rui iicocxiriox oi suax´ uxraia
valm¯ık’Aˆ ardhaAnimagnaAm¯ urtir uraga- ;.,c
tvagAbrahmaAs¯ utr’Aˆ antarah
.
kan
.
t
.
he j¯ırn
.
aAlat¯ aAprat¯ anaAvalaye-
n’ ˆ atyarthaAsamp¯ıd
.
itah
.
am
.
saAvy¯ api ´sakuntaAn¯ıd
.
aAnicitam
.
bibhraj jat
.
¯ aAman
.
d
.
alam
yatra sth¯ an
.
ur iv’ ˆ acalo munir as¯ av
abhyarkaAbimbam
.
sthitah
.
.
i
¯
a;
¯
a: namo ’smai kas
.
t
.
aAtapase!
x
¯
araiiu
.
: (sam
.
yataBpragraham
.
kr
.
tv¯ a) et¯ av AditiAparivardhi-
taA mand¯ araA vr
.
ks
.
akam
.
Praj¯ apates tapoA vanam
.
pravis
.
t
.
au
svah
.
.
i
¯
a;
¯
a: aho vismayah
.
! svarg¯ ad adhikaAnirvr
.
ttiAsth¯ anam amr
.
-
taAhradam iv’ ˆ avag¯ ad
.
ho ’smi.
x
¯
araiiu
.
: (ratham
.
sth¯ apayitv¯ a) avat¯ıryat¯ am!
i
¯
a;
¯
a: (s’Bˆ abhinayam avat¯ırya) bhav¯ an, katham id¯ an¯ım? ;.,,
x
¯
araiiu
.
: samyantrito ’yam ¯ aste rathah
.
. vayam apy avatar¯ a-
mah
.
. (tath¯ a kr
.
tv¯ a) ita ita ¯ ayus
.
man. (ubhau parikramya)
¯ ayus
.
man, dr
.
´syant¯ am atraAbhavat¯ am siddhars
.
¯ın
.
¯ am
.
tapoA
vanaAbh¯ umayah
.
.
i
¯
a;
¯
a: nanu vismay¯ ad ubhayam apy avalokay¯ ami.
,:ï
acr sivix: rui ansoiuriox
Where that sage stands facing the sun, ;.,c
immobile like a post,
His body half buried in an anthill,
wearing a second sacred thread made of
snake-skin,
his throat crushed by the coil
of a withered vine’s runner,
bearing a mass of matted hair covering his
shoulders, full of bird’s nests.
xixc: Homage to the great ascetic!
x
´
araii: (secures the reins.) Nowwe have entered the penance
grove of Praja·pati, where the coral-trees are tended by
´
Aditi.
xixc: How amazing! I seem to be immersed into a pool of
nectar, a place of greater repose than is heaven.
x
´
araii: (stopping the chariot) Descend!
xixc: (acts descending) What now? ;.,,
x
´
araii: (both walk about) The secured chariot remains here.
I too will get down. (does so) This way, this way, Your
majesty. (both walk about) Your majesty, behold the pe-
nance groves of the perfect sages.
xixc: But I look upon both with wonder:
,:,
rui iicocxiriox oi suax´ uxraia
pr¯ an
.
¯ an¯ am anilena vr
.
ttir ucit¯ a
satAkalpaAvr
.
ks
.
e vane
toye haimaAsahasraApattraAsubhage
naktam
.
Adivam
.
sadAvratam
dhy¯ anam
.
ratnaA´sil¯ aAgr
.
hes
.
u vibudhaA
str¯ıAsam
.
nidhau samyamo
yat k¯ anks
.
anti tapobhir anyaAmunayas
tasmim
.
s tapasyanty am¯ı.
x
¯
araiiu
.
: utkars
.
in
.
¯ı khalu mahat¯ am
.
pr¯ arthan¯ a. (parikrama-
tah
.
. ¯ ak¯ a´se) vr
.
ddhaA´s¯ akalya kim
.
Avy¯ ap¯ aro bhav¯ an? (karn
.
am
.
dattv¯ a) kim
.
brav¯ıs
.
i? es
.
a D¯ aks
.
¯ ayan
.
y¯ a patiAvrat¯ aA pun
.
yam
adhikr
.
tya pr
.
s
.
t
.
ah
.
, tasy¯ as tad vy¯ akarot’ ˆıti pratip¯ aly’A ˆ ava-
sarah
.
khalu prast¯ avah
.
. (r¯ aj¯ anam
.
dr
.
s
.
t
.
v¯ a) asminn a´sokaA
p¯ adape t¯ avad ¯ ayus
.
m¯ an ¯ ast¯ am y¯ avat tv¯ am Praj¯ aA pataya
¯ aveday¯ ami.
i
¯
a;
¯
a: yath¯ a bhav¯ an manyate (sthitah
.
) ;.oc
(nis
.
kr¯ anto) x
¯
araiiu
.
:
i
¯
a;
¯
a: (nimittam
.
s¯ ucayitv¯ a)
manoArath¯ aya n’ ¯ a´samse
b¯ aho sphurasi kim
.
vr
.
th¯ a?
p¯ urv’Aˆ avadh¯ıritam
.
´sreyo
duh
.
kham
.
hi parivartate.
xiiaru\i:

m¯ a khu m¯ a khu cabaladam
.
karehi! si ˙ ngha, ka-
dham
.
kadham
.
yeva attan
.
o pakidim
.
dam
.
sesi.

,,c
acr sivix: rui ansoiuriox
In a forest of wishgranting trees,
they are used to maintaining the vital energies
by means of air,
in water blessed with thousands of golden leaves
they perform their twilight ablutions,
in jewelled caves they meditate,
in the midst of heavenly nymphs they practise re-
straint,
—in the midst of that which other sages strive for
with their penances,
these sages perform their austerities.
x
´
araii: High-minded are the wishes of the great. (They
walk about; M´ atali calls in the air) Old Shak´ alya! How is
his honor engaged? (listening) What do you say? He has
been asked by
´
Aditi about the virtues of a good wife and
he is explaining them to her, therefore my petition must
await an opportune moment. (looking at the king) Sit by
this ash´ oka tree until I announce you to Praja·pati.
xixc: As you wish. (Waits.) ;.oc
x
´
araii: (Exit.)
xixc: (acting a portent)
I have no hope for my desire,
O arm, why are you throbbing in vain?
Previously scorned good fortune,
turns into grief.
oiisraci: Don’t! Don’t misbehave! Lion, how you show
your character.
,,:
rui iicocxiriox oi suax´ uxraia
i
¯
a;
¯
a: (karn
.
am
.
dattv¯ a) abh¯ umir iyamavinayasya. ko nu kha- ;.o,
lv avinayam
.
nis
.
idhyate? (´sabd’ B ˆ anus¯ aren
.
’ ˆ avalokya, vis-
may’B ˆ abhinayaBp¯ urvakam) aye! anurudhyam¯ anas t¯ apas¯ı-
bhy¯ am ab¯ alaAsattvo b¯ alah
.
.
ardhaAp¯ıtaAstanam
.
m¯ atur
¯ amardaAklis
.
t
.
aAkesaram
vilambinam
.
sim
.
haA´si´sum
.
k¯ aren
.
’ ¯ ahatya kars
.
ati.
(tataf pravi´sati yath¯ aBnirdis
.
t
.
aBkarm¯ a t¯ apas¯ıbhy¯ am anurudh-
yam¯ ano b¯ alah
.
.)
n
¯
aiau
.
:

jimbha! jimbha, le ´si ˙ ngha! dant¯ aim
.
de gan
.
a¨ıssam
.
.

iiaruax
¯
a:

avin
.
¯ıda! ki tti n
.
o avaccaA n
.
ivvises¯ aim
.
satt¯ aim
.
vippakaresi? pavat
.
t
.
adi de sam
.
rambho. th¯ an
.
e kkhu isiAja-
n
.
en
.
a «SavvaAdaman
.
o» tti kidaAn
.
¯ amaAheo si.

i
¯
a;
¯
a: kim
.
nu khalu b¯ ale ’sminn aurasa iva putre snihyati me ;.;c
manah
.
? (vicintya) n¯ unam anAapatyat¯ a m¯ am
.
vatsalayati.
ovir¯ı\
¯
a:

es¯ a kesarin
.
¯ı tumam
.
la˙ nghedi ja¨ı se puttaam
.
n
.
a
mu˜ ncesi.

n
¯
aiau
.
: (saB smitam)

ammahe! baliam khu bh¯ıde mhi!

(ity
adharam
.
da´sayati.)
i
¯
a;
¯
a: (saBvismayam)
mahatas tejaso b¯ıjam
.
b¯ alo ’yam
.
pratibh¯ ati me
sphuling’Aˆ avasthay¯ a vahnir
edhopeks
.
a iva sthitah
.
.
,,:
acr sivix: rui ansoiuriox
xixc: (listening) This is no place for misdemeanor. Who ;.o,
can it be that metes out justice? (his gaze traces the sound,
acts surprise) Oh! It is a boy not young in strength of
character, being restrained by two female ascetics.
Striking a baby lion with his hand,
he drags it along,
its mane dishevelled by rough handling,
resisting,
half finished drinking from its mother’s breast.
(Enter a boy, engaged as described, being restrained by two
female ascetics.)
no\: Open your jaws! Hey, open your jaws, lion! I want to
count your teeth.
iiisr asciric: Bad boy! Why are you hurting the animals
whoare nodifferent thanchildrentous? Your vehemence
is increasing. Rightly the sages call you Sarva·d´ amana.*
xixc: (pondering) Why should my heart take to this boy ;.;c
as if he were my own? (pondering) It must be that my
childlessness makes me fond of children.
sicoxo asciric: That lioness will pounce on you if you
will not release her son.
no\: (smiling) Oh, I’m terrified! (Bites his lip.)
xixc: (amazed)
This child seems to me a seed
of great brilliance,
like fire in its spark-state,
waiting for fuel.
,,,
rui iicocxiriox oi suax´ uxraia
iiaruax
¯
a:

vacchaa! mu˜ nca edamb¯ alam
.
ma¨ındam
.
. an
.
n
.
am
.
;.;,
de k¯ıl
.
an
.
aam
.
d¯ aissam
.
.

n
¯
aiau
.
:

kahim
.
´se? dehi me en
.
am
.
!

(iti daks
.
in
.
aBhastam
.
pra-
s¯ arayati.)
i
¯
a;
¯
a: katham
.
? cakraA vartiA laks
.
an
.
am anena dh¯ aryate. tath¯ a
hy asya—
pralobhaAvastuApran
.
ayaApras¯ arito
vibh¯ ati j¯ alaAgrathit’Aˆ a˙ ngulih
.
karah
.
aAlaks
.
yaApattr’Aˆ antaram iddhaAr¯ agay¯ a
nav’A ˆ os
.
as¯ a bhinnam iv’ ˆ aikaApa˙ nkaAjam.
iiaruax
¯
a:

suvvade, n
.
a sakko eso ¯ as¯ asa A metten
.
¯ a sa˜ nj¯ a-
midum. t¯ a gaccha. mama kerae ud
.
ae Ma˙ nkan
.
aassa isiA
kum¯ araassa van
.
n
.
aaAcittido mat
.
t
.
iaAma¯ urao cit
.
t
.
hadi. tam
.
se uv¯ ahara.

ovir¯ı\
¯
a:

tadh¯ a!

(iti nis
.
kr¯ ant¯ a.)
;.ïc
n
¯
aiau
.
:

t¯ ava imin
.
¯ a yeva k¯ıl
.
i´sam
.
.

r
¯
aias¯ı: (vilokya hasati.)
i
¯
a;
¯
a: spr
.
hay¯ ami durlalitak¯ ay’ ˆ asmai. (nih
.
´svasya.)
,,¡
acr sivix: rui ansoiuriox
iiisr asciric: Child! Let go of this baby lion! I will give ;.;,
you another toy.
no\: Where is it? Give it to me! (He stretches out his right
hand.)
xixc: What? He bears the mark of an emperor. For—
His hand, extended to request
a thing he is enticed by,
its fingers webbed,*
shines like a solitary lotus,
the gaps between its petals not yet visible,
as it begins to open with the red glow
of the early dawn.
iiisr: My dear, it is not possible to restrain him with
promises. So go, in my hut there is a brightly painted
clay peacock belonging to the infant seer M´ ankanaka.
Fetch it for him.
sicoxo: As you say! (Exit.) ;.ïc
no\: For now I will just play with this one.
asciric: (Looking, laughs.)
xixc: I am drawn to this stubborn child. (Sighs.)
,,,
rui iicocxiriox oi suax´ uxraia
¯ alaks
.
yaAdantaAmukul¯ an aAnimittaAh¯ asair
avyaktaAvarn
.
aAraman
.
¯ıyaAvacah
.
Apravr
.
tt¯ın
a˙ nk’A¯ a´srayaApran
.
ayinas tanay¯ an vahanto
dhany¯ as tadAa˙ ngaArajas¯ a parus
.
¯ıA¯ abhavanti.
r
¯
aias¯ı: (s’Bˆ a˙ nguliBtarjanam)

bhodu! n
.
a mam
.
gan
.
ayasi!

(p¯ ar- ;.ï,
´svam avalokya)

ko ettha isiAkum¯ ara¯ an
.
am
.
?

(r¯ aj¯ anam
.
dr
.
s
.
-
t
.
v¯ a)

bhaddaAmuha! ehi, mo¯ avehi d¯ ava imin
.
¯ a dummohaA
hatthAaggen
.
a d
.
imbaAkarin
.
¯ a b¯ adh¯ıam¯ an
.
am
.
b¯ alaAma¨ında-
am
.
.

i
¯
a;
¯
a: tath¯ a! (ity upagamya) ayi mahars
.
iAputra!
evam ¯ a´sramaAviruddhaAvr
.
ttin¯ a
sam
.
yam¯ı kim iti janmadas tvay¯ a
sattvaAsam
.
´srayaAsukho ’pi d¯ us
.
yate
kr
.
s
.
n
.
aAsarpaA´si´sun” ˆ eva candanah
.
.
r
¯
aias¯ı:

bhodu, n
.
a kkhu aam isiAkum¯ arao.

i
¯
a;
¯
a: ¯ ak¯ ara A sadr
.
´sam
.
ces
.
t
.
itam ev’ ˆ asya kathayati. sth¯ ana A
pratyay¯ at tu vayam atarkin
.
ah
.
. (sim
.
ham
.
mocayitv¯ a yath”B
ˆ abhyarthitam anus
.
t
.
hitam. b¯ alaBspar´sam anubh¯ uy’ ¯ atma-
gatam)
anena kasy’ ˆ api kul’Aˆ a˙ nkuren
.
a ;.,c
spr
.
s
.
t
.
asya g¯ atres
.
u sukham
.
mam’ ˆ aivam!
k¯ am
.
nirvr
.
tim
.
cetasi tasya kury¯ ad
yasy’ ˆ ayam a˙ ng¯ at kr
.
tinaf pras¯ utah
.
.
,,o
acr sivix: rui ansoiuriox
Lucky are they, who
carrying their sons
become grubby with the dust
from their bodies,
whose teeth blossom forth in causeless laughter,
whose speech is delightfully indisinct,
who are fond of resting on their father’s laps.
asciric: (threatening with her finger) All right! You will ;.ï,
not heed me! (looking aside) Are any of the hermit boys
here? (seeing the king) Kind sir! Please come and free the
tormented lion cub from this unruly boy whose grip is
hard to loosen.
xixc: Indeed! (approaches) Here now, son of a great seer!
Why are you thus dishonoring
your self-possessed father
—as a young cobra does a sandal-tree—
with deeds out of keeping with a hermitage,
even though it pleases him
that beings take refuge in him?
asciric: Actually, this is no young seer.
xixc: His actions which befit his appearance betray him. I
was misled by relying on his surroundings. (He does as
requested by releasing the lion. To himself after touching the
boy.)
Such is my joy ;.,c
as my limbs touch this child
of someone elses family!
What delight must he bring to him
from whose body he has sprung.
,,;
rui iicocxiriox oi suax´ uxraia
r
¯
aias¯ı: (ubh¯ av avalokya)

acchar¯ıam
.
, acchar¯ıam
.
!

i
¯
a;
¯
a: kim iva?
r
¯
aias¯ı:

assa b¯ alassa aA sambaddhe vi bhaddaA muhe sam
.
-
v¯ adin
.
¯ı ¯ aidi tti vimhidamhi. avi a accantaA pariidassa via
appad
.
ilomo eso de sam
.
vutto.

i
¯
a;
¯
a: (b¯ alam upal¯ alayan) na cen muniA kum¯ aro ’yam atha
ko ’sya vyapade´sah
.
?
r
¯
aias¯ı: PuruAvam
.
so.
;.,,
i
¯
a;
¯
a: (svaB gatam) katham ek’ A ˆ anvayo mama? atah
.
khalu
madAanuk¯ arin
.
am atraAbhavat¯ı manyate. (prak¯ a´sam) asty
etat Paurav¯ an
.
¯ am antyam
.
kulaAvratam.
bhavanes
.
u sudh¯ aAsites
.
u p¯ urvam
.
ks
.
itiAraks
.
’Aˆ artham u´santi ye niv¯ asam
niyat’Aˆ aikaAyatiAvrat¯ ani pa´sc¯ at
taruAm¯ ul¯ ani gr
.
h¯ıAbhavanti tes
.
¯ am.
na punar ¯ atmaAgaty¯ a m¯ anus
.
¯ an
.
¯ am es
.
a vis
.
ayah
.
.
r
¯
aias¯ı:

n
.
am
.
jadh¯ a bhaddaA muho bhan
.
¯ adi. accharaA sam
.
-
bandhen
.
a un
.
o imassa b¯ alassa jan
.
an
.
¯ı ettha yyeva gurun
.
o
tavoAvan
.
e pas¯ ud¯ a.

i
¯
a;
¯
a: (¯ atmaBgatam) dattam
.
dvit¯ıyam idam ¯ a´sa˙ nk¯ aAjananam. ;.:cc
(prak¯ a´sam) tatraAbhavat¯ı kimA¯ akhyasya r¯ ajars
.
ef patn¯ı?
r
¯
aias¯ı:

ko tassa dhammaA d¯ ar¯ aA paricc¯ ain
.
o n
.
¯ amaA heam
.
ge-
n
.
hissadi?

i
¯
a;
¯
a: (svaBgatam) iyam
.
khalu kath¯ a m¯ am eva laks
.
y¯ıAkaroti?
kim
.
t¯ avad asya ´si´sor m¯ ataram
.
n¯ amataf pr
.
cch¯ ami? athav”
ˆ any¯ ayaf paraAd¯ araAvyavah¯ arah
.
.
,,ï
acr sivix: rui ansoiuriox
asciric: (looking at both) Amazing! Amazing!
xixc: What is?
asciric: I am amazed at the resemblance between you and
this boy, although you are not related. Moreover, he is
easy-going withyouas if youwere someone very familiar.
xixc: (caressing the boy) If he is not a young sage then what
is his name?
asciric: He is a descendent of Puru.
;.,,
xixc: (to himself ) What, he shares my lineage? So that is
why she thinks he resembles me. (aloud) The P´ auravas
follow an ultimate family tradition.
At first they reside in stuccoed palaces
to protect the earth,
later they dwell among tree-roots,
where only ascetic vows are observed.
But mortals may not come here of their own accord.
asciric: It is as you say, sir. But because this boy’s mother
is related to a nymph she gave birth to him here in the
penance grove of the Father of the Gods.
xixc: (to himself ) I have been given a second reason for ;.:cc
suspicion. (aloud) Her ladyship is the wife of what royal
sage?
asciric: Who would utter the name of him who rejected
his lawful wife?
xixc: (to himself ) Does this tale refer specifically to me?
Can I ask for the name of the boy’s mother? But no, it
is improper to concern oneself with another’s wife.
,,,
rui iicocxiriox oi suax´ uxraia
(pravis
.
ya mr
.
nBmayaBmay¯ uraBhast¯ a) ovir¯ı\
¯
a r
¯
aias¯ı:

SavvaA
daman
.
a! sa¨ untaAlavan
.
n
.
am
.
pekkha.

n
¯
aiau
.
: (saBdr
.
s
.
t
.
iBks
.
epam)

kahim
.
ajju?

(ubhe prahasite.)
iiaruax
¯
a:

n
.
¯ amaAs¯ adissen
.
a chalido m¯ aduAvacchal¯ ao.

;.:c,
ovir¯ı\
¯
a:

vaccha, Sa¨ untal¯ a bhan
.
adi: «imassa kittimaAma¯ ura-
ssa raman
.
¯ıadam
.
pekkha tti.»

i
¯
a;
¯
a: (svaBgatam) kim
.
´
Sakuntal” ˆ eti m¯ atur ¯ akhy¯ a? santi pu-
nar n¯ amaAdheyaAs¯ adr
.
´sy¯ ani. api n¯ ama mr
.
gaAtr
.
s
.
n
.
ik” ˆ eva n’
ˆ ayam antena prast¯ avo me vis
.
¯ ad¯ aya kalpate.
n
¯
aiau
.
:

attike, loadi me bhadd¯ alake e´se ma¯ ule.

(iti kr¯ıd
.
ana-
kam ¯ adatte.)
ovir¯ı\
¯
a: (¯ alokya, saBsam
.
bhramam)

ammo! rakkh¯ aAkaran
.
d
.
ao
se man
.
iAbandhe n
.
a d¯ısadi.

i
¯
a;
¯
a: alam ¯ avegena. nanv ayam asya sim
.
haA´s¯ avakaA mard¯ at ;.::c
paribhras
.
t
.
ah
.
. (¯ ad¯ atum icchati.)
unui:

m¯ a khu n
.
am
.
¯ alambit
.
t
.
h¯ a! kadham
.
, gahidam
.
yeva
n
.
ena?

(saB vismayam uroB nihitaB haste paras B param ava-
lokayatah
.
.)
i
¯
a;
¯
a: kimAartham
.
pratis
.
iddho ’smi?
iiaruax
¯
a:

sun
.
¯ adu ayyo! mahaAppah¯ av¯ a es¯ a khu «Avar¯ ai-
d¯ a» n
.
¯ ama mah”Aosah¯ı imassa d¯ araassa j¯ adaAkammaAsamae
bhaavad¯ a M¯ ar¯ıen
.
a din
.
n
.
¯ a. edam
.
kila m¯ ad¯ aA pidaro att¯ a-
n
.
aam
.
v¯ a vajjia avaro bh¯ umiApad
.
idam
.
n
.
a gen
.
hadi.

,¡c
acr sivix: rui ansoiuriox
(enter with a clay peacock in her hand) sicoxo xux: Sarva·
d´ amana! Look at the pretty bird.
no\: (casting a glance) Where is Mama?* (Both laugh.)
iiisr: The similarity of the word has misled him since he ;.:c,
loves his mother.
sicoxo: Child, Shak´ untala says: “Look how lovely this toy
peacock is.”
xixc: (to himself ) His mother’s name is Shak´ untala? But
then again, there are similarities of name. Like a mirage
it may lead to my ultimate disappointment.
no\: Auntie, I like this pretty peacock. (He takes the toy.)
sicoxo: (looking, agitated) Oh no! I can’t see the amulet
on his wrist.
xixc: Don’t worry. It must have slipped off as he wrestled ;.::c
the lion cub. (He wishes to pick it up.)
noru: Don’t touch it! What, he has already touched it?
(Astonished, they look at one another, their hands placed
on their chests.)
xixc: Why are you trying to stop me?
iiisr: Listen, sir! This is a potent herb called “Invincible”
that Mar´ıcha gave to this boy at his birth ceremony.
Nobody other than his mother, his father and himself
can pick it up if it falls to the ground.
,¡:
rui iicocxiriox oi suax´ uxraia
i
¯
a;
¯
a: atha gr
.
hn
.
¯ ati kim
.
bhavati?
iiaruax
¯
a:

tado sappo bhavia an
.
n
.
am
.
dam
.
sedi.

;.::,
i
¯
a;
¯
a: atha bhavat¯ıbhy¯ am
.
kad¯ a cid asy¯ af pratyaks
.
¯ıA kr
.
t¯ a vi-
kriy¯ a?
unui:

an
.
easo.

i
¯
a;
¯
a: (saBhars
.
am) tat kim
.
khalv id¯ an¯ım
.
p¯ urn
.
am api mano-
ratham
.
n’ ˆ abhinand¯ ami? (b¯ alam
.
paris
.
vajate.)
ovir¯ı\
¯
a:

Sa˜ njade, ehi! imam
.
vuttantam
.
n
.
iamaA n
.
ivvud¯ ae
Sa¨ untal¯ ae n
.
ivedamha.

iiaruax
¯
a:

evam
.
karemha.

(iti nis
.
kr¯ ante t¯ apasyau.) ;.::c
n
¯
aiau
.
:

mu˜ nca mam
.
! j¯ ava ajj ¯ uA´sak¯ a´s¯ am ga´sc¯ ami.

i
¯
a;
¯
a: putraka, may” ˆ aiva saha m¯ ataram nandayis
.
yasi.
n
¯
aiau
.
:

mama khu t¯ ade Du´s´sante, n
.
a tumam
.
.

i
¯
a;
¯
a: (saBsmitam) es
.
a viv¯ ada eva m¯ am
.
praty¯ ayayati.
(tataf pravi´saty ekaBven
.
¯ıBdhar¯ a
´
Sakuntal¯ a.) ;.::,
,¡:
acr sivix: rui ansoiuriox
xixc: What happens if someone does pick it up?
iiisr: Then it turns into a snake and bites the stranger. ;.::,
xixc: Have you seen this transformation yourselves?
noru: Many times.
xixc: (joyfully) Then why should I not rejoice in the fulfi-
ment of my hope? (He embraces the boy.)
sicoxo: Samy´ ata, come! Let us tell this to Shak´ untala who
has completed her religious duties.
iiisr: Let’s go. (Exeunt ambo.) ;.::c
no\: Let me go! I’m going to Mama.
xixc: Son, we will go and delight your mother together.
no\: My father is Dush-y´ an-ta, not you.
xixc: (smiling) This rebuttal is my proof.
(Enter Shak´ untala with her hair in a single braid.) ;.::,
,¡,
rui iicocxiriox oi suax´ uxraia
´
saxuxrai
¯
a:

vi¯ araAk¯ ale vi pa¨ıdittham
.
tam
.
SavvaAdaman
.
assa
osahim
.
sun
.
ia n
.
a me ¯ as¯ aso attan
.
o bh¯ aaA dheesu. adhav¯ a
jadh¯ a me AkkhaAm¯ al¯ ae ¯ acakkhidam
.
tadh¯ a sambh¯ av¯ıadi
edam
.
.

i
¯
a;
¯
a: (
´
Sakuntal¯ am
.
dr
.
s
.
t
.
v¯ a) aye! iyam atraAbhavat¯ı
´
Sakuntal¯ a!
vasane paridh¯ usare vas¯ an¯ a
niyamaAks
.
¯ amaAmukh¯ı kr
.
t’Aˆ aikaAven
.
ih
.
atinis
.
karun
.
asya ´suddhaA´s¯ıl¯ a
mama d¯ırgham
.
virahaAvratam bibharti.
´
saxuxrai
¯
a: (r¯ aj¯ anam
.
dr
.
s
.
t
.
v¯ a)

n
.
a kkhu ayyaAutto via. t¯ a ko
n
.
u kkhu eso kidaArakkh¯ aAma˙ ngalam
.
d¯ araam
.
me hatthaA
sam
.
saggen
.
a d¯ usedi?

n
¯
aiau
.
: (m¯ ataram upetya)

ajjue! e´se ke vi palake mam
.
m¯ a- ;.:,c
n
.
u´se puttake tti ¯ alavadi.

i
¯
a;
¯
a: priye, krauryamapi me tvayi prayuktamanuk¯ ulaApari-
n
.
¯ amam
.
samvr
.
ttam. yato ’ham id¯ an¯ım
.
tvay¯ a pratyabhij-
˜ n¯ atam ¯ atm¯ anam
.
icch¯ ami.
´
saxuxrai
¯
a: (svaBgatam)

hiaa, samassasa samassasa! paharia
n
.
ivuttaA maccharen
.
a an
.
ukampidamhi devven
.
a. (saB har-
s
.
am) ayyaAutto yyeva eso!

,¡¡
acr sivix: rui ansoiuriox
Suax´ uxraia: I have heard that Sarva·d´ amana’s amulet re-
mained in its natural state even when it should have
changed, but I am not comforted about my fortune.
But maybe it is possible, as Aksha·mala has told me.
xixc: (seeing Shak´ untala) Ah! It is the lady Shak´ untala!
Wearing gray clothes,
her face drawn because of her religious restraints,
her hair tied in a single braid,
she, pure in character, is enduring
the long penance of separation
from merciless me.
suax´ uxraia: (seeing the king) He does not seem like my
husband. Then who is this, who defiles my magically
protected son with the touch of his hand?
no\: (going to his mother) Mama! This is some human ;.:,c
stranger who calls me “son.”
xixc: My beloved, the cruelty that I showed you has re-
solved into a happy ending. For I now wish for you to
recognize me.
suax´ uxraia: (to herself ) My heart, take courage, take cour-
age! After striking me down, fate, its anger vented, has
taken pity on me. This is my husband!
,¡,
rui iicocxiriox oi suax´ uxraia
i
¯
a;
¯
a:
smr
.
tiAbhinnaAmohaAtamaso
dis
.
t
.
y¯ a pramukhe sthit” ˆ asi me sumukhi
upar¯ ag¯ ante ´sa´sinah
.
samupanato rohin
.
¯ıAyogah
.
.
´
saxuxrai
¯
a:

jaadu jaadu ayyaA utto. . . !

(ity ardh’Bˆ okte b¯ as
.
- ;.:,,
paBkan
.
t
.
h¯ı b¯ as
.
pam
.
viharati.)
i
¯
a;
¯
a: priye—
b¯ as
.
pen
.
a pratis
.
iddhe ’pi
jayaA´sabde jitam
.
may¯ a
yat te dr
.
s
.
t
.
am asam
.
sk¯ araA
p¯ at
.
al’Aˆ aus
.
t
.
ham idam
.
mukham.
n
¯
aiau
.
:

ajjue, ke va e´se?

´
saxuxrai
¯
a:

vaccha, bh¯ aaAdhe¯ aim
.
me puccha.

(roditi.)
i
¯
a;
¯
a: (pran
.
ipatya.) ;.:¡c
sutanu hr
.
day¯ at praty¯ ade´saAvyal¯ıkam upaitu te
kim api manasah
.
sam
.
moho me tad¯ a balav¯ an abh¯ ut
srajam api ´sirasy andhah
.
ks
.
ipt¯ am
.
dhunoty ahiA´sa˙ nkay¯ a
prabalaAtamas¯ am evam
.
Apr¯ ay¯ ah
.
´subhes
.
v api vr
.
ttayah
.
.
,¡o
acr sivix: rui ansoiuriox
xixc:
By good fortune, fair faced one,
you stand before me,
the darkness of my delusion dispelled
by recollection.
At the end of the eclipse
the moon and the red star R´ ohini
are united.*
suax´ uxraia: Victory, victory, my husband. . . ! (She stops ;.:,,
mid-sentence, her throat chocked with tears.)
xixc: My beloved–
Though the word “victory” is choked by tears,
I am victorious,
because I have beheld your face,
with its pale, unadorned, lips.
no\: Mama, who is this?
suax´ uxraia: Son, ask my fate. (She weeps.)
xixc: (falls to the ground.) ;.:¡c
O slender lady,
may the pain of rejection depart
from your heart;
somehow I was greatly deluded then.
A blind man shakes off even a garland
cast upon his head fearing it to be a serpent;
those in deep darkness act like this
even towards auspicious things.
,¡;
rui iicocxiriox oi suax´ uxraia
´
saxuxrai
¯
a:

utthedu ayyaA utto. n
.
am
.
mama suhaA pad
.
iba-
ndhaam
.
pur¯ aA kadam tesu diasesu parin
.
¯ am’A ˆ ahimuham
.
¯ asi, jen
.
a s’Aˆ an
.
ukkoso vi ayyaAutto ma¨ı tadh¯ aviho sam
.
vut-
to.

(r¯ aj” ˆ ottis
.
t
.
hati.)

adha kadham ayyaAutten
.
a sum¯ arido
aam jan
.
o?

i
¯
a;
¯
a: uddhr
.
taAvis
.
¯ adaA´salyah
.
kathayis
.
y¯ ami.
moh¯ an may¯ a sutanu p¯ urvam upeks
.
itas te
yo b¯ as
.
paAbindur adharam
.
paridh¯ avam¯ anah
.
tam
.
t¯ avad ¯ akulitaApaks
.
maAvilagnam adya
k¯ ante pramr
.
jya vigat’Aˆ anu´sayo bhav¯ ami.
(iti yath”Bˆ oktam anutis
.
t
.
hati.) ;.:¡,
´
saxuxrai
¯
a: (pramr
.
s
.
t
.
aB b¯ as
.
p¯ a n¯ amaB mudr¯ am
.
dr
.
s
.
t
.
v¯ a)

ayyaA
utta! n
.
am
.
tam
.
a˙ ngul¯ıam
.
!

i
¯
a;
¯
a: atha kim? asm¯ ad adbhut’A ˆ opalambh¯ an may¯ a smr
.
tir
upalabdh¯ a.
´
saxuxrai
¯
a:

sam¯ıhidam
.
k¯ adum
.
kkhan
.
en
.
a jam
.
tad¯ a ayyaA
uttassa paccaaAkaran
.
e dullaham
.
me sam
.
vuttam
.
.

i
¯
a;
¯
a: tena hy r
.
tuA samav¯ agam’ A ¯ a´sam
.
si pratipadyat¯ am
.
lat¯ a
kusumam.
´
saxuxrai
¯
a:

n
.
a se v¯ısas¯ ami. ayyaAutto yyeva n
.
am
.
p¯ aredu.

;.:,c
(pravi´sya) x
¯
araiiu
.
: dis
.
t
.
y¯ a dharmaA patn¯ıA sam¯ agamena pu-
traAmukhaAdar´sanena c’ ¯ ayus
.
m¯ an vardhate.
,¡ï
acr sivix: rui ansoiuriox
suax´ uxraia: Stand up, my husband. In those days, surely,
some former deed of mine, a hindrance to my happiness,
was on the verge of bearing fruit, whereby you, though
compassionate, became so changed. (The king stands up.)
Then how did my husband come to remember me?
xixc: I will draw out the dart of sorrow and tell you.
O slender lady, once,
the tear that troubled your lip
was ignored because I was deluded,
now, I will wipe it away
as it clings to your tremulous eyelashes
and free myself from regret.
(Does as stated.)
;.:¡,
suax´ uxraia: (sees the ring as her tear is wiped off ) My hus-
band! Why, it’s the ring!
xixc: Of course! My memory returned when it was mirac-
ulously found again.
suax´ uxraia: It could have fulfilled my desire in a flash,
but I could not find it when I needed to convince my
husband.
xixc: Then let the vine receive the flower to announce the
arrival of spring.
suax´ uxraia: I do not trust it. Let my husband wear it. ;.:,c
x
´
araii: (entering) Congratulations, reunited with your law-
ful wife and looking upon the face of your son, your
Majesty thrives again.
,¡,
rui iicocxiriox oi suax´ uxraia
i
¯
a;
¯
a: suhr
.
tA sam
.
p¯ aditv¯ ad uttaraA phalo hi me manoA rathah
.
.
M¯ atale, na khalu vidito ’yam
¯
Akhan
.
d
.
alasy’ ˆ arthah
.
?
x
¯
araiiu
.
: ehi, bhagav¯ am
.
s te M¯ ar¯ıco dar´sanam
.
vitarati.
i
¯
a;
¯
a:
´
Sakuntale, avalambyat¯ am
.
putrah
.
. tv¯ am
.
puraskr
.
tya
bhagavantam
.
dras
.
t
.
um icch¯ ami.
´
saxuxrai
¯
a:

arih¯ amy ayyaAutten
.
a saha sam¯ıvam
.
gantum
.
?

;.:,,
i
¯
a;
¯
a: ¯ acaritam etad abhyudayaAk¯ ales
.
u, ehy ehi! (sarve pari-
kr¯ amanti.)
(tataf pravi´saty Adity¯ a saha ¯ ardh’B¯ asanaBstho M¯ ar¯ıcah
.
)
x
¯
ai¯ıcau
.
: (r¯ aj¯ anam avalokya) D¯ aks
.
¯ ayan
.
i,
putrasya te ran
.
aA´sirasy ayam agraAg¯ am¯ı
Duh
.
s
.
yanta ity abhihito bhuvanasya bhart¯ a
c¯ apena yasya vinivartitaAkarma j¯ atam
tat kot
.
imat kuli´sam ¯ abharan
.
am
.
Maghonah
.
.
aoiriu
.
:

sambh¯ avan
.
¯ı¯ a se kkhu ¯ aid¯ı.

;.:oc
x
¯
araiiu
.
: bh¯ utalaA pate! etau putraA pr¯ıti A pi´sunena caks
.
us
.
¯ a
divaukas¯ am
.
pitar¯ av avalokayatah
.
. tad upasarpa.
,,c
acr sivix: rui ansoiuriox
xixc: My desire bears most excellent fruit, since it has been
achieved by a friend. M´ atali, did not Indra know of this
matter?
x
´
araii: Come, the reverend Mar´ıcha grants you an audi-
ence.
xixc: Shak´ untala, hold our son. I wish to see the reverend
with you going before me.
suax´ uxraia: Am I worthy of going with my husband? ;.:,,
xixc: It is customary on festive occasions, come come! (All
walk about.)
(Enter Mar´ıcha sharing a seat with
´
Aditi. )
xai´ıcua: (looking at the king) Daksh´ ayani,
This is the lord of the earth, Dushy´ anta by name,
frontmost in the battles of your son Indra.
Because of his bow Indra’s sharp thunderbolt
has become an idle ornament.
´
Aoiri: His appearance is indeed honorable. ;.:oc
x
´
araii: King of the earth! The parents of the gods are
looking upon you with a glance that reveals a parental
fondness. Approach.
,,:
rui iicocxiriox oi suax´ uxraia
i
¯
a;
¯
a: M¯ atale,
pr¯ ahur dv¯ ada´sadh¯ a sthitasya munayo
yat tejasah
.
k¯ aran
.
am
bhart¯ aram
.
bhuvanaAtrayasya sus
.
uve
yad yaj ˜ naAbh¯ ag’A¯ e´svaram
yasminn ¯ atmaAbhavaf paro ’pi purus
.
a´s
cakre bhav¯ ay’ ¯ aspadam
brahm’Aˆ anantaraAvi´svaAyoniAsahitam
.
dvandvam
.
tad etadAva´si.
x
¯
araiiu
.
: atha kim?
i
¯
a;
¯
a: (pran
.
ipatya) ubh¯ abhy¯ am api v¯ am
.
V¯ asava A niyojyo ;.:o,
Duh
.
s
.
yantaf pran
.
amati.
x
¯
ai¯ıcau
.
: vatsa, ciram
.
pr
.
thiv¯ım
.
p¯ alaya!
aoiriu
.
:

vatsa, appad
.
iraho hohi!

´
saxuxrai
¯
a:

d¯ araen
.
a sahit¯ a p¯ adaAvandan
.
am
.
karemi.

x
¯
ai¯ıcau
.
: vatse, ciram aAvidhav¯ a bhava!
¯
Akhan
.
d
.
alaAsamo bhart¯ a
;.:;c
JayantaApratimah
.
sutah
.
¯ a´s¯ır any¯ a na te yojy¯ a
«Paulom¯ıApratim¯ a bhava!»
aoiriu
.
:

j¯ ade, bhat
.
t
.
in
.
o bahuAmad¯ a hohi! aam
.
ca de dehao
vacchao uhaaApakkham
.
ala˙ nk¯ aredu. t¯ a uvavisadha.

x
¯
ai¯ıcau
.
: (ek’Bˆ aikam
.
nirdi´san)
dis
.
t
.
y¯ a
´
Sakuntal¯ a s¯ adhv¯ı
sadAapatyam idam
.
bhav¯ an
´sraddh¯ a vittam
.
vidhi´s c’ ˆ eti
tritayam
.
tat sam¯ agatam.
,,:
acr sivix: rui ansoiuriox
xixc: M´ atali,
This is the couple, which the sages declare to be
the source of the twelvefold brilliance,*
which gave birth to Indra, the lord of the Gods
who take a share in the sacrifice,
in which the Soul that transcends even
the self-born Brahma found a birthplace.*
x
´
araii: Assuredly.
xixc: (bowing) Indra’s servant Dushy´ anta bows to youboth. ;.:o,
xai´ıcua: Child, long may you protect the earth!
´
Aoiri: Child, be peerless in battle!
suax´ uxraia: I worship your feet with my son.
xai´ıcua: Child, long may you not be a widow!
With a husband like Indra
;.:;c
with a son like Jay´ anta,
there can be no other blessing than this:
“Be like Paul´ omi!”
´
Aoiri: My daughter, may your husband honor you. May
your son be an ornament to both of your families. Please
sit. (All sit with Praja·pati’s permission.)
xai´ıcua: (pointing to one after another)
By good fortune,
faithful Shak´ untala, this perfect son, your Majesty,
—faith, wealth, and law,
this triad is united.
,,,
rui iicocxiriox oi suax´ uxraia
i
¯
a;
¯
a: bhagavan, pr¯ ag abhipretaAsiddhif pa´sc¯ ad dar´sanam ity
ap¯ urvo bhagavato ’nugrahah
.
. pa´syatu bhagav¯ an—
udeti p¯ urvam
.
kusumam
.
tataf phalam
.
;.:;,
ghan’A ˆ odayaf pr¯ ak tadAanantaram
.
payah
.
nimittaAnaimittikayor ayam
.
vidhis
tava pras¯ adasya puras tu sampadah
.
.
x
¯
araiiu
.
: evam
.
vi´svaAguravaf pras¯ıdanti.
i
¯
a;
¯
a: bhagavan, im¯ am ¯ aj ˜ n¯ aAkar¯ım
.
vo g¯ andharven
.
a viv¯ ahaA
vidhin” ˆ opayamya kasya cit k¯ alasya bandhubhir ¯ an¯ıt¯ am
.
smr
.
tiA´saithily¯ at praty¯ adi´sann apar¯ addho ’smi tatraA bha-
vatah
.
Kan
.
vasya. pa´sc¯ ad en¯ am angul¯ıyakaAdar´san¯ ad ¯ ar¯ u-
d
.
haAsmr
.
tir ¯ ud
.
haAp¯ urv¯ am anugato ’smi. tac citram eva me
pratibh¯ ati.
yath¯ a gajo n’ ˆ eti samaks
.
aAr¯ upe
tasminn apakr¯ amati sam
.
´sayah
.
sy¯ at
pad¯ ani dr
.
s
.
t
.
v¯ a tu bhavet prat¯ıtis
tath¯ aAvidho me manaso vik¯ arah
.
.
x
¯
ai¯ıcau
.
: vatsa, alam ¯ atm’A ˆ apac¯ araA ´sa˙ nkay¯ a! sammoho ’pi
tvayy upapannah
.
. yatah
.
´sr¯ uyat¯ am.
i
¯
a;
¯
a: avahito ’smi.
;.:ïc
x
¯
ai¯ıcau
.
: yad” ˆ aiv’
ˆ
ApsarasAt¯ırth’A ˆ avataran
.
¯ at pratyaks
.
aAvai-
klavy¯ am
.
´
Sakuntal¯ am ¯ ad¯ aya Menak¯ a D¯ aks
.
¯ ayan
.
¯ıAsak¯ a´sam
¯ agat¯ a tad” ˆ aiva dhy¯ an¯ ad adhigato ’smi Durv¯ asasah
.
´s¯ ap¯ ad
iyam
.
tapasvin¯ı sahaAdharmaAc¯ arin
.
¯ı praty¯ adis
.
t
.
¯ a n’ ˆ anyath”
ˆ eti. sa c’ ˆ a˙ ngul¯ıyakaAdar´san’Aˆ avas¯ arah
.
.
,,¡
acr sivix: rui ansoiuriox
xixc: Blessed one, your grace is unprecedented: first the
fulfilment of our wishes, then the sight of you. See,
The flower grows first, then the fruit, ;.:;,
the clouds appear first, then the rain,
—this is the order of cause and effect,
but good fortune came before your grace.
x
´
araii: Such is the favor of the parents of the world.
xixc: Blessed one, I married this servant of yours by the
rite of mutual consent. After some time her kinsfolk
brought her to me. I rejected her because of a loss of
memory and offended against the reverend Kanva. Later,
I remembered that I had married her after I saw the ring.
This appears strange to me.
It is as if one were to deny an elephant
visibly before one,
then doubt once it has gone,
but seeing its footprints one perceives it,
—such was the aberration of my mind.
xai´ıcua: Child, stop worrying that you have done wrong!
You were deceived. Listen.
xixc: I am attentive.
;.:ïc
xai´ıcua: When M´ enaka, descending from nymphs’ bath-
ing place, took the obviously frail Shak´ untala, and came
to
´
Aditi, I realized through meditation that the poor girl
had been rejected by her husband because of the curse
of Durv´ asas, and that the opportunity to end it was the
sight of the ring.
,,,
rui iicocxiriox oi suax´ uxraia
i
¯
a;
¯
a: (s’Bˆ occhv¯ asam) es
.
o ’ham
.
vacan¯ıy¯ an mukto ’smi!
´
saxuxrai
¯
a: (¯ atmaB gatam)

dit
.
t
.
hi¯ a aA k¯ amaA pacc¯ ades¯ı ayyaA
utto. n
.
a un
.
a sattam att¯ an
.
am
.
sumar¯ ami. adhav¯ a n
.
a sudo
dhuvam an
.
n
.
aAhia¯ ae mae s¯ avo. jado sah¯ıhim
.
acc¯ adaren
.
a
sandit
.
t
.
hamhi bhat
.
t
.
in
.
o a˙ ngul¯ıaam dam
.
sehi tti.

x
¯
ai¯ıcau
.
: vatse, vidit’A ¯ arth” ˆ asi. tad id¯ an¯ım
.
sahaA dharmaA
c¯ arin
.
am
.
prati na tvay¯ a manyuh
.
k¯ aryah
.
. pa´sya—
´s¯ ap¯ ad asi pratihat¯ a smr
.
tiAlopaAr¯ uks
.
e ;.:ï,
bhartary apetaAtamasi prabhut¯ a tav’ ˆ aiva
ch¯ ay¯ a na m¯ urcchati mal’A ˆ opahataApras¯ ade
´suddhe tu darpan
.
aAtale sulabh’Aˆ avak¯ a´s¯ a.
i
¯
a;
¯
a: yath¯ a bhagav¯ an ¯ aha.
x
¯
ai¯ıcau
.
: vatsa, kacAcid abhinanditas tvay¯ a vidhivad asm¯ a-
bhir anus
.
t
.
hitaAj¯ ataAkarm¯ a putra es
.
a
´
S¯ akuntaleyah
.
?
i
¯
a;
¯
a: bhagavan, atra khalu me vam
.
´saApratis
.
t
.
h¯ a.
,,o
acr sivix: rui ansoiuriox
xixc: (draws in his breath) I am freed from blame!
suax´ uxraia: (to herself ) What a blessing, my husband re-
jected me without wanting to. But I cannot recall being
cursed. Surely I must not have heard the curse because
my heart was elsewhere—my friends were so insistent
that I must show the ring to my husband.
xai´ıcua: Child, you have perceived the truth. Therefore,
do not now show anger towards your husband. Look—
You were rejected by your husband, ;.:ï,
made cruel by his loss of memory.
Now that his darkness has lifted,
sovereignty is yours.
An image does not take form in a mirror
if its brightness is dirtied,
but it easily does if it is clear.
xixc: As the blessed one says.
xai´ıcua: Child, I hope you have accepted the son of Sha-
k´ untala, for whom I have performed the birth rites?
xixc: Blessed one, in him is supported my line.
,,;
rui iicocxiriox oi suax´ uxraia
x
¯
ai¯ıcau
.
: tath¯ a tat. bh¯ avinam
.
cakraA vartinam enam ava-
gacchatu bhav¯ an. pa´sya—
rathen’ ˆ anudgh¯ ataAstimitaAgatir ¯ aAt¯ırn
.
aAjaladhif ;.:,c
pur¯ a saptaAdv¯ıp¯ am
.
jayati vasudh¯ am aApratirathah
.
.
ih’ ˆ ayam
.
sattv¯ an¯ am
.
prasabhaAdaman¯ at SarvaAdamanaf
punar y¯ asyaty ¯ akhy¯ am
.
Bharata it lokasya bharan
.
¯ at.
i
¯
a;
¯
a: bhagavat¯ a kr
.
taAsam
.
sk¯ are sarvam asminn ¯ a´sam
.
s¯ amahe.
aoiriu
.
:

im¯ ae n
.
andan
.
¯ aAmanoradhaAsampatt¯ıe Kan
.
n
.
o vi d¯ a-
va sudaAvitth¯ aro kar¯ıadu. Men
.
a¯ a idha yyeva san
.
n
.
ihid¯ a.

´
saxuxrai
¯
a:

man
.
oAgadam
.
me mantidam bhaavad¯ıe.

x
¯
ai¯ıcau
.
: sarvam etat tapah
.
A prabhav¯ at pratyaks
.
am
.
tatraA
bhavatah
.
Kan
.
vasya.
i
¯
a;
¯
a: hanta! khalu na samabhikruddho guruh
.
. ;.:,,
x
¯
ai¯ıcau
.
: tath” ˆ apy asau priyam asm¯ abhih
.
´sr¯ avayitavyah
.
.
kah
.
ko ’tra bhoh
.
.
(pravi´sya)
´
sis
.
\au
.
: bhagavan, ayam asmi.
,,ï
acr sivix: rui ansoiuriox
xai´ıcua: That is a fact. Knowhimtobe the future emperor.
Behold—
Crossing the ocean with his chariot ;.:,c
his motion steady without jolts,
an unrivalled warrior he will soon conquer the
earth
with its seven continents. Here he is known as
Sarva·d´ amana,
because he tames the animals by force,
he will become known as Bh´ arata,
because he supports the earth.
xixc: Since the blessed one performed his rites I can hope
for all of this for him.
´
Aoiri: Kanva too should be told in detail about how her
wishes have been fulfilled. M´ enaka is nearby.
suax´ uxraia: You have said what is my heart.
xai´ıcua: All this is evident to his reverence Kanva through
the power of his penance.
xixc: Ah! The guru is not angry. ;.:,,
xai´ıcua: Nevertheless he ought to hear the good news
from me. Who waits in attendance?
(entering) oisciiii: Your reverence, here I am.
,,,
rui iicocxiriox oi suax´ uxraia
x
¯
ai¯ıcau
.
: vatsa G¯ alava, madAvacan¯ ad id¯ an¯ım eva vih¯ ayas¯ a
gatv¯ a tatraA bhavate ´sr¯ı A Kan
.
v¯ aya priyam ¯ avedaya, yath¯ a
´
Sakuntal¯ a Durv¯ asasah
.
´s¯ apaAvinivr
.
ttiAsamup¯ agataAsmr
.
tin¯ a
Duh
.
s
.
yantena pratigr
.
h¯ıt” ˆ eti.
´
sis
.
\au
.
: yad ¯ aj ˜ n¯ apayati bhagav¯ an. (pran
.
amya nis
.
kr¯ antah
.
)
x
¯
ai¯ıcau
.
: (r¯ aj¯ anam
.
prati) vatsa, tvam api s’A ˆ apatyaA d¯ arah
.
;.:cc
sam
.
nihitam
.
sakhyur
¯
Akhan
.
d
.
alasya ratham ¯ aruhya svaA
r¯ ajaAdh¯ an¯ım
.
pratis
.
t
.
hasva.
i
¯
a;
¯
a: yad ¯ aj ˜ n¯ apayati bhagav¯ an.
x
¯
ai¯ıcau
.
: vatsa,
kratubhir ucitaAbh¯ ag¯ am
.
s tvam
.
sur¯ an bh¯ avay” ˆ alam
.
suraApatir api vr
.
s
.
t
.
y¯ a tvatApraj”Aˆ artham
.
vidhatt¯ am
iti samam upak¯ araAvya˜ njitaA´sr¯ıAmahimnor
vrajati bahuAtitho v¯ am
.
sauhr
.
dayyena k¯ alah
.
.
i
¯
a;
¯
a: bhagavan yath¯ aA´sakti ´sreyase ’ham
.
yatis
.
ye.
x
¯
ai¯ıcau
.
: vatsa, tad ucyat¯ am. kim
.
te bh¯ uyaf priyam upa- ;.:c,
har¯ ami.
i
¯
a;
¯
a: yad ataf param
.
me bhagav¯ an pras¯ adam
.
kartumarhati,
tatah
.

,oc
acr sivix: rui ansoiuriox
xai´ıcua: My child G´ alava, tell his reverence the illustri-
ous Kanva the good news in my words, namely that
Shak´ untala has been received by Dush-y´ an-ta whose
memory has returned at the end of the curse of Durv´ asas.
oisciiii: As your reverence commands. (Bows and exits.)
xai´ıcua: (to the king) Child, mount your friend Indra’s ;.:cc
chariot which is right here with your son and wife and
set out for your own capital city.
xixc: As your reverence commands.
xai´ıcua: Child,
May you cherish richly the Gods,
entitled to their share, with offerings;
may the King of the Gods in turn send rain
for your subjects;
thus, in like manner,
the greatness of your magnanimity
made visible by these favors,
may much time pass with your friendship.
xixc: Blessed one, I will strive for good with all my power.
x
´
aiicua: Child, say now, what further favor shall I grant ;.:c,
you?
xixc: If beyond this the reverend wishes to showme a favor,
then—
,o:
rui iicocxiriox oi suax´ uxraia
pravartat¯ am
.
prakr
.
tiAhit¯ aya p¯ arthivah
.
!
Sarasvat¯ı ´srutiAmahat¯ am
.
mah¯ıyat¯ am!
mam’ ˆ api ca ks
.
apayatu n¯ılaAlohitaf
punarAbhavam
.
parigataA´saktir ¯ atmaAbh¯ uh
.
!
(iti nis
.
kr¯ ant¯ ah
.
sarve.)
saptamo ’ ˙ nkah
.
.
sam¯ aptam
.
c’ ˆedam Abhij˜ n¯ anaB´sakuntal’B¯ akhyam
.
;.::c
mah¯ aBn¯ at
.
akam.
kr
.
tih
.
´sr¯ıBpras¯ ad’B¯ as¯ aditaBsarvaBvidyasya
mah¯ aBkaveh
.
K¯ alid¯ asasya.
,o:
acr sivix: rui ansoiuriox
May the king be devoted to the welfare
of his subjects!
May Sar´ asvati be honored by the learned!
May Self-born Shiva, whose power encompasses
all,
put an end to my rebirth!
(Exeunt omnes.)
End of the seventh act.
The end of the play called ;.::c
“The Recognition of Shak´ untala.”
The work of the great poet Kali·dasa
who attained all knowledge by the grace of fortune.
,o,
Ch¯ ay¯ a
rui iicocxiriox oi suax´ uxraia
The following is a Sanskrit paraphrase (ch¯ ay¯ a) of the Prakrit passages
(marked with

corner brackets

) in the play. References are to chapter
and paragraph.
:., ¯ arya! iyam asmi. ¯ aj ˜ n¯ apayatu ¯ aryah
.
ko niyogo ’nus
.
t
.
h¯ıyat¯ am iti.
:.; suvihitaAprayogatay” ¯ aryasya na ki ˜ nAcit parih¯ asyate.
:.:c evam
.
nv idam. anantaraAkaran
.
¯ıyam id¯ an¯ım ¯ arya ¯ aj ˜ n¯ apayatu.
:.:¡ tath¯ a.
:.:, ks
.
an
.
aAcumbit¯ ani bhramaraih
.
subhagaAsukum¯ araAkesaraA´sikh¯ a-
ni, avatam
.
sayanti pramad¯ a dayam¯ an¯ ah
.
´sir¯ıs
.
aAkusum¯ ani.
:.:; n¯ unam
.
prathamam ev’ ¯ aryen
.
’ ¯ aj ˜ naptam
.
yath¯ a <na> abhij ˜ n¯ a-
naA´sakuntal¯ a n¯ am’ ˆ ap¯ urvam
.
n¯ at
.
akam
.
prayogen’ ˆ adhikriyat¯ am
iti.
:.oo ita itaf priyaAsakhyau.
:.o, hale
´
Sakuntale!
:.o, tvatto ’pi khalu t¯ ataAk¯ a´syapasy’ ¯ a´sramaAvr
.
ks
.
ak¯ af priy¯ a iti tarka-
y¯ amo yena navam¯ alik¯ aA pelav” ˆ api tvam etasy’ ¯ alav¯ alaA p¯ uran
.
e
niyukt¯ a.
:.;c na kevalam
.
t¯ ataAniyoga iti. bahuAm¯ ano y¯ avan mam¯ api. saho-
dar¯ıAsneha etes
.
v asty eva.
:.;: hale
´
Sakuntale! udakam
.
lambhit¯ a gr¯ıs
.
maA k¯ alaA kusumaA d¯ ayi-
no gulmak¯ a. id¯ an¯ım atikr¯ antaA samaye ’pi vr
.
ks
.
¯ an si ˜ nc¯ amah
.
.
tasm¯ ad anabhisandhitaAp¯ urvo dharmo bhavis
.
yati.
:.;: abhinandan¯ıyam
.
mantrayathah
.
.
:.;o es
.
a v¯ at’A¯ eritaApallav’Aˆ a˙ ngul¯ıbhis tvarayat’ ˆıva m¯ am
.
bakulaAvr
.
ks
.
a-
kah
.
. y¯ avad enam
.
sambh¯ avay¯ ami.
:.;, hale Anas¯ uye! atipinaddhena Priyam
.
vaday¯ a valkalena niyan-
trit” ˆ asmi. tac chithilaya t¯ avad enam.
,oo
cu
¯
a\
¯
a
:.ïc atra payodharaA vist¯ arayitr
.
kam ¯ atmanah
.
yauvanam up¯ alabha-
sva.
:.ï, hale
´
Sakuntale! es
.
¯ a t¯ ataAK¯ a´syapena tvam iva sam
.
vardhit” ˆ alin-
dake m¯ adhav¯ıAlat¯ a. preks
.
asv’ ˆ ain¯ am. kim
.
vismr
.
t¯ a te?
:.ï¡ ¯ atm” ˆ api vismaris
.
yate.
:.ï, hale
´
Sakuntale! tis
.
t
.
h’ ˆ eh’ ˆ aiva muh¯ urtakam
.
t¯ avad bakulaAvr
.
ks
.
aA
sam¯ıpe.
:.ïo kim iti?
:.ï; tvay¯ a sam¯ıpaAsthitay¯ a lat¯ aAsan¯ atha iva me bakulaAvr
.
ks
.
akaf pra-
tibh¯ ati.
:.ïï atah
.
khalu Priyam
.
vad” ˆ asi.
:.,: hale
´
Sakuntale! iyam
.
svayamA varaA vadh¯ uh
.
sahak¯ arasya tvay¯ a
kr
.
taAn¯ amadheyasya vanaAtos
.
in
.
o navaAm¯ alik¯ a.
:.,: hale! raman
.
¯ıye k¯ ale ’sya p¯ adapaAmithunasya vyatikarah
.
sam
.
vr
.
-
ttah
.
. iyam
.
navaAkusumaAyauvan¯ a. ayam api baddhaAphalatay”
ˆ opabhogaAks
.
amah
.
sahak¯ arah
.
.
:.,, hale Anas¯ uye! j¯ an¯ asi kim
.
A nimittam
.
´
Sakuntal¯ a VanaA tos
.
in
.
am
atim¯ atram
.
pa´syat’ ˆıti.
:.,¡ na khalu vibh¯ avay¯ ami.
:.,, yath¯ a VanaAtos
.
in
.
” ˆ anusadr
.
´sena p¯ adapena sa˙ ngat¯ a navaAm¯ alik¯ a,
api n¯ am’ ˆ aivam aham apy ¯ atmano ’nur¯ upam
.
varam
.
labha iti.
:.,o es
.
a n¯ unam
.
¯ atmanas te cittaAgato manorathah
.
.
:.:cc aho. salilaA sekaA sam
.
bhr¯ anto navam¯ alik¯ am ujjhitv¯ a vadanam
.
me madhuAkaro ’nuvartate.
,o;
rui iicocxiriox oi suax´ uxraia
:.:c, hale! paritr¯ ayadhvam
.
m¯ am anena kusumaA p¯ at
.
accaren
.
’ ˆ abhi-
bh¯ uyam¯ an¯ am!
:.:c¡ ke ¯ av¯ am
.
paritr¯ an
.
e? Dus
.
s
.
yamtam ¯ akranda. r¯ ajaAraks
.
it¯ ani khalu
tapoAvan¯ ani bhavanti.
:.:co n’ ˆ ais
.
a me purato ’tidhr
.
s
.
t
.
o viramati. tad anyato gamis
.
y¯ ami.
:.:co h¯ a dhik! katham ito ’pi m¯ am anusarati.
:.::c na khalu kim
.
cid aty¯ ahitam. iyam
.
punar naf priyaAsakh¯ı ma-
dhuAkaren
.
’ ¯ akul¯ıkriyam¯ an
.
¯ a k¯ atar¯ıAbh¯ ut¯ a.
:.::, id¯ an¯ım atithiAvi´ses
.
aAl¯ abhena.
:.::¡ sv¯ agatam ¯ aryasya!
:.::, hal¯ a
´
Sakuntale! gaccha tvam ut
.
ajatah
.
phalaAmi´sram up¯ ahara,
iha p¯ ad’A ˆ odakam asty eva.
:.::; ten’ ˆ asmim
.
s t¯ avat p¯ adapaAch¯ ay¯ aA´s¯ıtal¯ ay¯ am saptaAparn
.
aAvedik¯ a-
y¯ am ¯ arya upavi´sya muh¯ urtam
.
pari´sramam apanayatu.
:.::, hale
´
Sakuntale! ucitam
.
no ’tithiAparyup¯ asanam. tad ih’ ˆ opavi-
´s¯ amah
.
.
:.::c kim
.
nu khalv imam
.
preks
.
ya tapoA vanaA virodhino vik¯ arasya
gaman¯ıy” ˆ asmi sam
.
vr
.
tt¯ a?
:.::: Anas¯ uye! ko nu khalv es
.
a caturaA gambh¯ır’A ¯ akr
.
tir madhuram
.
priyam ¯ alapan prabhavantam
.
d¯ aks
.
in
.
yam iva karoti.
:.::, sakhi! mam’ ˆ api kaut¯ uhalam asty eva. tat praks
.
y¯ ami t¯ avad
enam.
:.::, ¯ aryasya no madhur’A¯ al¯ apaAjanito visrambho mantrayati. kata-
mam
.
punar ¯ aryovarn
.
amala˙ nkaroti? kim
.
Animittam
.
v¯ a sukum¯ a-
ren
.
’ ¯ aryen
.
a tapoAvan’A¯ agamanaApari´sramasy’ ¯ atm¯ a p¯ atr¯ıAkr
.
tah
.
?
:.::¡ hr
.
daya, m¯ a utt¯ amya! yat tvay¯ a cintitam
.
tad anas¯ uy¯ a mantra-
yati.
,oï
cu
¯
a\
¯
a
:.::o saAn¯ ath¯ a dharmaAc¯ arin
.
ah
.
.
:.::ï hale
´
Sakuntale! yady adya t¯ ata iha sam
.
nihito bhavet. . .
:.::, tatah
.
kim
.
bhavet?
:.:,c tata imam atithim
.
j¯ıvitaAsarvasven’ ˆ api kr
.
t’Aˆ artham
.
kury¯ at.
:.:,: ayi! apetam. kim api hr
.
daye kr
.
tv¯ a mantrayathah
.
. na khalu
´sros
.
y¯ ami.
:.:,, ¯ arya! anugrahe ’py abhyarthan¯ a.
:.:,, ´sr
.
n
.
otv ¯ aryah
.
! asti Kau´sika iti gotraAn¯ amadheyo mah¯ aAprabh¯ a-
vah
.
r¯ aja’Ars
.
ih
.
.
:.:,; tam
.
sakh¯ıAjane prabhavam avagaccha. ujjhitaA´sar¯ıraAsam
.
raks
.
a-
n
.
’A¯ adibhis t¯ ataAK¯ a´syapo ’sy¯ af pit¯ a.
:.:,, pur¯ a kila tasya r¯ aja’Ars
.
er ugre tapasi vartam¯ anasya kim api j¯ a-
taA ´sa˙ nkair devair Menak¯ a n¯ am’ ˆ apsar¯ a niyamaA vighnaA k¯ arin
.
¯ı
prahit¯ a.
:.:¡: tatovasant’A ˆ odayaAsamaye tasy¯ a unm¯ adayitr
.
r¯ upam
.
preks
.
ya. . .
:.:¡, atha kim?
:.:¡ï punar iva vaktuAk¯ ama ¯ aryah
.
.
:.:,: tena hi vic¯ ariten
.
’ ˆ alam
.
. niyantran
.
’Aˆ anuyogyas tapasviAjanah
.
.
:.:,¡ ¯ arya! dharmaA caran
.
e ’py es
.
a par’A ¯ adh¯ıno janah
.
. gurof punar
asy¯ a anur¯ upaAvaraApratip¯ adane sa˙ nkalpah
.
.
:.:,; Anas¯ uye! gamis
.
y¯ amy aham.
:.:,ï kim
.
Animittam?
,o,
rui iicocxiriox oi suax´ uxraia
:.:,, im¯ am asambaddh’A¯ al¯ apin¯ım
.
priyam
.
vad¯ am ¯ ary¯ ayai Gautamyai
nivedayis
.
y¯ ami.
:.:oc sakhi na yuktam ¯ a´sramaAv¯ asino janasy’ ˆ akr
.
taAsatk¯ aram atithiA
vi´ses
.
am
.
visr
.
jya svacchandato gamanam.
:.:o¡ hale can
.
d
.
i! na te yuktam
.
gantum.
:.:o, kim iti?
:.:oo vr
.
ks
.
a A secanake dve me dh¯ arayasi. t¯ abhy¯ am
.
t¯ avad ¯ atm¯ anam
.
mocaya, tato gamis
.
yasi.
:.:;: tena hi n’ ˆ arhat’ ˆıdam
.
ca r¯ aj ˜ no ’ ˙ ngul¯ıyakam
.
viyogaA k¯ aritam
.
.
¯ aryasya tava vacanena n¯ am’ ˆ ais
.
” ˆ anr
.
n
.
” ˆ aiva mama. hal¯ a
´
Sakun-
tale mocit” ˆ asy anukampin” ¯ aryen
.
a. atha v¯ a mah”Aˆ anubh¯ avena.
kr
.
taj ˜ n” ˆ ed¯ an¯ım
.
bhavis
.
yasi.
:.:;, n’ ˆ edam
.
vismaris
.
yate yady ¯ atmanaf prabhav¯ ami.
:.:;¡ hale! kim id¯ an¯ım
.
s¯ am
.
pratam
.
na gacchasi?
:.:ï, ¯ arya anen’ ¯ akranditena pary¯ akul¯ ah
.
smah
.
. tad anuj¯ an¯ıhi na ut
.
a-
jaAgaman¯ aya.
:.:ï, asambh¯ avitaAsatk¯ aram
.
bh¯ uyo ’pi t¯ avat pratyaveks
.
an
.
¯ aAnimittam
.
preks
.
an
.
aAnimittam
.
lajj¯ amahe ¯ aryam
.
vij ˜ n¯ apayitum. viditaAbh¯ u-
yis
.
t
.
ho ’si nah
.
sam
.
pratam
.
yad id¯ an¯ım upac¯ araAmadhyasthatay”
ˆ apar¯ addh¯ ah
.
smas tan mars
.
ayasi.
:.:ï; hale
´
Sakuntale! ehi ´s¯ıghrataram! ¯ akul” ¯ ary¯ a Gautam¯ı bhavis
.
ya-
ti.
:.:ïï h¯ a dhik! ¯ uruAsthambhena vikal” ˆ asmi sam
.
vr
.
tt¯ a.
:.: bhoh
.
! dr
.
d
.
ho ’smi! etasya mr
.
gay¯ aA´s¯ılasya r¯ aj ˜ no vayasyaAbh¯ ave-
na nirvin
.
n
.
ah
.
. ayam
.
m
.
rgo ‘yam
.
v¯ ar¯ aha iti. madhyam
.
Adine ’pi
gr¯ıs
.
maAviralaAp¯ adapaAch¯ ay¯ asu van
.
aAr¯ aj¯ıs
.
u bhramyate. may¯ a pa-
traAsam
.
karaAkas
.
¯ ay¯ an
.
i p¯ıyante kat
.
uk¯ any us
.
n
.
¯ ani giriAnad¯ıAjal¯ ani.
,;c
cu
¯
a\
¯
a
aniyataA vel¯ am
.
´s¯ ulaA m¯ am
.
saA ´sakunaA m¯ am
.
saA bh¯ uyis
.
t
.
ham adya-
te. turaga A y¯ ana A khan
.
d
.
¯ıkr
.
ta A sandhi A bandhan¯ an¯ am a˙ ng¯ an¯ am
.
r¯ atrim api n’ ˆ asti prak¯ amam
.
´sayitavyam. tato mama mahaty
eva praty¯ us
.
e d¯ asy¯ af putraih
.
´sakunaAlubdhakaih
.
karn
.
aAgh¯ atin¯ a
vanaA grahan
.
aA kol¯ ahalena pratibodhye. et¯ avat” ˆ api me pr¯ an
.
¯ a
na nis
.
kr¯ ant¯ ah
.
. tato gan
.
d
.
’ A ˆ opari pit
.
ik¯ a sam
.
vr
.
tt¯ a. hyo ’sm¯ asv
avah¯ınes
.
u tatraAbhavato mr
.
g’Aˆ anus¯ aren
.
’ ¯ a´sramaApadam
.
pravis
.
-
t
.
asya kila t¯ apasaAkanyak¯ a
´
Sakuntal¯ a n¯ ama mam’ ˆ adhanyatay¯ a
dar´sit¯ a. s¯ ampratam
.
nagaraAgamanasya sam
.
kath¯ am api na ka-
roti. adya t¯ am eva sa˜ ncintayato vibh¯ atam aks
.
n
.
oh
.
. tat k¯ a gatih
.
.
y¯ avad enam
.
kr
.
t’A¯ ac¯ araAparikramam
.
kutra preks
.
ye. es
.
a r¯ aj¯ a b¯ a-
n
.
¯ asanaAhast¯ abhir yavan¯ıbhif parivr
.
to vanaApus
.
paAm¯ al¯ aAdh¯ arita
iv’ ¯ agacchati. tad y¯ avad enam upasarp¯ ami. bhavatu. a˙ ngaAsam-
mardaAvihvala id¯ an¯ım
.
bh¯ utv” ˆ eh’ ˆ aiva sth¯ asy¯ ami. yata evam api
t¯ avad vi´sr¯ amam
.
labhe.
:., bho r¯ ajan! na me hastaf prasarati v¯ a˙ nAm¯ atrakena j¯ apyase.
:.:: kutah
.
kila svayam aks
.
y¯ akul¯ıkr
.
ty’ ˆ a´sruAk¯ aran
.
am pr
.
cchasi.
:.:, bhoh
.
! tvay¯ a n¯ ama r¯ ajaA k¯ ary¯ an
.
y ujjhitv¯ a t¯ adr
.
´s¯ an kr¯ıd
.
¯ aA pras¯ a-
d¯ an vanaAcar’Aˆ aikaAvr
.
ttin¯ a bhavitavyam. yat satyam
.
pratyaham
.
´sv¯ apada A ´sakun’ A ˆ anugamanaih
.
sam
.
ks
.
obhita A sam
.
dhi A bandh¯ a-
n¯ am a˙ ng¯ an¯ am an¯ı´so ’smi sam
.
vr
.
ttah
.
. tat pras¯ıda! m¯ am
.
varjaya!
ek’Aˆ aham api t¯ avad vi´sramyat¯ am.
:.:o atraA bhav¯ an kim api hr
.
daye kr
.
tv¯ a mantrayate. aran
.
ye may¯ a
ruditam.
:.:c ¯ aj ˜ n¯ apayatu bhav¯ an.
:.:: api modakaAkh¯ adik¯ ay¯ am?
:.:¡ gr
.
h¯ıtah
.
ks
.
an
.
ah
.
.
:.:o ¯ aj ˜ n¯ apayatu bhart¯ a.
:.:ï yad bhart” ¯ aj ˜ n¯ apayati.
,;:
rui iicocxiriox oi suax´ uxraia
:.,: es
.
a khalv anuvacanaA dattaA karn
.
a ito dattaA dr
.
s
.
t
.
ir eva bhart¯ a
tv¯ am
.
pratip¯ alayati. tasm¯ ad upasarpatv ¯ aryah
.
.
:.,; atraAbhav¯ anprakr
.
tim¯ apannah
.
. tvam
.
t¯ avad at
.
av¯ıto ’t
.
av¯ımbhra-
ma y¯ avan s¯ısaA´sr
.
g¯ ala iva j¯ırn
.
a’Arks
.
asya mukhe patis
.
yasi.
:.¡¡ gaccha s¯ am
.
pratam
.
d¯ asy¯ af putra!
:.¡; yad bhart” ¯ aj ˜ n¯ apayati.
:.¡ï kr
.
tam
.
bhavat¯ a nirdh¯ umako dam
.
´saAprat¯ık¯ arah
.
. tat s¯ ampratam
etasmin ¯ av¯ asaAp¯ adapaAch¯ ay¯ aAparivr
.
te vit¯ anaAsan¯ athe ¯ asane ya-
th¯ asukham
.
upavi´satu bhav¯ an y¯ avad aham api sukh¯ asanaAstho
bhav¯ ami.
:.,: nanu bhav¯ an agrato me tis
.
t
.
hati.
:.,¡ bhavatu. n’ ˆ asya prasaram
.
vardhayis
.
y¯ ami. yad¯ a t¯ avat s¯ a t¯ apasaA
kanyak” ˆ abhyarthan¯ıy¯ a tat kim
.
tay¯ a dr
.
s
.
t
.
ay¯ a.
:.,o tat katham etat?
:.,, yady api na K¯ a´syapasya maha”Ars
.
er auras¯ a duhit¯ a tath” ˆ api kim
.
tay¯ a dr
.
s
.
t
.
ay¯ a?
:.o: yath¯ a kasy’ ˆ api pin
.
d
.
aAkharj ¯ urair udvejitasya tintilik¯ an¯ am abhi-
l¯ as
.
o bhavati tath¯ a str¯ıAratnaAparibh¯ avino bhavata iyam
.
pr¯ artha-
n¯ a.
:.o¡ tat khalu raman
.
¯ıyam
.
n¯ ama yad bhavato ’pi vismayam
.
janayati.
:.o; praty¯ ade´sa id¯ an¯ım
.
r¯ upavat¯ın¯ am!
:.;c tena hi laghu parin
.
ayatu bhav¯ an m¯ a kasy’ ˆ api tapasvina i ˙ ngu-
d¯ıAtailaAcikkan
.
aA´s¯ırs
.
asy’ ¯ aran
.
yakasya haste patis
.
yati.
:.;: atha bhavantam antaren
.
a k¯ıdr
.
´sas tasy¯ a´s citt’Aˆ anur¯ agah
.
?
:.;, kim
.
khalu s¯ a bhavato dr
.
s
.
t
.
aAm¯ atrasy’ ˆ aiv’ ˆ a˙ nkam ¯ arohatu?
,;:
cu
¯
a\
¯
a
:.;ï gr
.
h¯ıtaAp¯ atheyo bhavasi. katham
.
punaf punas tapoAvanaAgama-
nam iti preks
.
e.
:.ïc es
.
a cintay¯ ami. . . m¯ a khalu mam’ ˆ al¯ıkaAparidevitaih
.
sam¯ adhim
.
bh¯ a˙ nks
.
¯ıh
.
. bhoh
.
! ko ’nya up¯ ayah
.
? nanu bhav¯ an r¯ aj¯ a?
:.ï: n¯ıv¯ araAs
.
as
.
t
.
haAbh¯ agam
.
t¯ avat sv¯ amy upaiti.
:.ï; jayatu jayatu bhart¯ a. etau dvau r
.
s
.
iAkum¯ arau prat¯ıh¯ araAbh¯ umim
upasthitau.
:.ï, ayam
.
prave´say¯ ami.
:.,: ita ito bhavantah
.
.
:.:c¡ ayam id¯ an¯ım anuk¯ ul¯ aAgalaAhastah
.
.
:.:co yad bhart” ¯ aj ˜ n¯ apayati.
:.::: prathamam aparib¯ adham ¯ as¯ıt. r¯ aks
.
asaAvr
.
tt’Aˆ antena punah
.
s¯ am
.
-
pratam
.
vis
.
¯ adaAdar´sin¯ a vi´ses
.
itam.
:.::¡ es
.
a cakr¯ ak¯ı bh¯ uto ’smi.
:.::, bhartah
.
! sajjo ratho bhartur vijayaA prasth¯ anam ud¯ıks
.
ate. es
.
a
punar nagarato dev¯ın¯ am
.
sak¯ a´satah
.
Karabhaka upasthitah
.
.
:.::; atha kim?
:.::, yad bhart¯ a ¯ aj ˜ n¯ apayati.
:.::: jayatu jayatu bhart¯ a. devya ¯ aj ˜ n¯ apayanti ¯ agamini caturthe di-
vase putra A pin
.
d
.
ako d¯ anako n¯ ama upav¯ aso bhavis
.
yati. tatra
d¯ırgh’A¯ ayus
.
” ˆ ava´syam
.
sam
.
nihitena bhavitavyam.
:.::, Tri´sankur iv’ ˆ antare tis
.
t
.
ha.
:.::; s¯ adhu! r¯ aks
.
asaAbh¯ırukam
.
m¯ am
.
gan
.
ayis
.
yati.
:.::, tena hi yath¯ a r¯ aj’Aˆ anur¯ agen
.
a gantavyam
.
tath¯ a gamis
.
y¯ ami.
,;,
rui iicocxiriox oi suax´ uxraia
:.:,: tena hi yuvaAr¯ ajo ’smi sam
.
vr
.
ttah
.
.
:.:,¡ evam etat!
,.:, sakhi
´
Sakuntale! api sukhayati te nalin¯ıApatraAv¯ atah
.
?
,.:c kim
.
v¯ a v¯ıjayato m¯ am
.
sakhyau?
,.:, hal¯ a
´
Sakuntale! anantaraj ˜ n¯ a vayam
.
madanaA vr
.
tt¯ antes
.
u. tath”
ˆ api kim
.
tu y¯ adr
.
´s”Aˆıtih¯ asaA gates
.
u madanaA vr
.
tt¯ antes
.
u k¯ amaya-
m¯ anasy’ ˆ avasth¯ a ´sr¯ uyate t¯ adr
.
´sam
.
ca laks
.
¯ avahe. tat kathaya kim
.
A
nimittam
.
te ’yam ¯ ay¯ asah
.
. vik¯ aram
.
khalu param’Aˆ arthato ’j ˜ n¯ atv”
ˆ an¯ arambhaf prat¯ık¯ arasya.
,.:; balav¯ an ca me ’bhinive´so na ca ´saknomi sahas¯ a nivartitum.
,.:ï sakhi sus
.
t
.
hu es
.
¯ a bhan
.
ati. kim nv etam ¯ atmana upadravam
.
nig¯ uhasi? anudivasam
.
ca parih¯ıyase ’ ˙ ngakaih
.
. kevalam
.
l¯ ava-
n
.
yamay¯ı ch¯ ay¯ a tv¯ am
.
na mu˜ ncati.
,.,: kasya v” ˆ anyasya kathayis
.
y¯ ami. kim
.
tv ¯ ay¯ asayitr” ˆıd¯ an¯ım
.
vo
bhavis
.
y¯ ami.
,.,: ata eva no nirbandhah
.
. sam
.
vibhaktam
.
khalu duhkham
.
sahyaA
vedanam
.
bhavati.
,.,, yataf prabhr
.
ti sa tapoAvanaAraks
.
it¯ a r¯ aja’Ars
.
ir mama dar´sanaApa-
tham
.
gatah
.
, tata ¯ arabhy’ ˆ odgaten’ ˆ abhil¯ as
.
en
.
’ ˆ aitadAavasth” ˆ asmi
sam
.
vr
.
tt¯ a.
,.,ï evam
.
yadi vo ’bhimatam
.
tat tath¯ a mantrayeth¯ am
.
m¯ am
.
yath¯ a
tasya r¯ aja’Ars
.
er anukampan¯ıy¯ a bhav¯ ami. anyath¯ a m¯ am
.
si ˜ nca-
tam id¯ an¯ım ´s¯ antyAudakena.
,.¡c Anas¯ uye! d¯ ureA gataA manmath” ˆ eyam aks
.
am¯ a k¯ alaA haran
.
asya.
yasmin baddhaA bh¯ av¯ a, sa api lal¯ amaA bh¯ utaf paurav¯ an
.
¯ am. tat
tvaritavyam ev’ ˆ asy’ ˆ abhil¯ as
.
am anuvartitum.
,.¡: yath¯ a bhan
.
asi. sakhi dis
.
t
.
y” ˆ anur¯ upas te ’bhil¯ as
.
ah
.
. s¯ agaram
.
va-
rjayitv¯ a kutra v¯ a mah¯ aAnady¯ a gantavyam?
,;¡
cu
¯
a\
¯
a
,.¡: ka id¯ an¯ım
.
sahak¯ aram atimuktaAlatay¯ a pallavitum
.
n’ ˆ ecchati?
,.¡¡ kaf punar up¯ ayo bhaved yena sakhy¯ a avilambitam
.
nig¯ ud
.
ham
.
manoAratham
.
samp¯ aday¯ avah
.
?
,.¡, nipun
.
am
.
prayatitavyam iti cintan¯ıyam
.
bhavet. ´s¯ıghram iti na
dus
.
karam.
,.¡o katham iva?
,.¡; sa r¯ aja’Ars
.
ir asy¯ am
.
snigdhaAdr
.
s
.
t
.
iAs¯ ucit’Aˆ abhil¯ as
.
a im¯ ani divas¯ ani
praj¯ agaraAkr
.
´sa iva laks
.
yate.
,.,c Anas¯ uye! madanaAlekha id¯ an¯ım
.
kriyat¯ am. tam
.
sumanoAgopi-
tam
.
kr
.
tv¯ a devaA´ses
.
’Aˆ apade´sena tasya r¯ aj ˜ no haste p¯ atayis
.
y¯ ami.
,.,: rocate me sukum¯ araf prayogah
.
. kim
.
v¯ a
´
Sakuntal¯ a bhan
.
ati?
,.,: niyogo ’pi vikalpyate.
,.,, tena hy upany¯ asaAp¯ urvam ¯ atmana´s cintaya kim api sulalitam
.
padaAbandhanam.
,.,¡ cintayis
.
y¯ ami. avadh¯ıran
.
¯ aAbh¯ırukam
.
punar vepate me hr
.
dayam.
,.,; ¯ atmaA gun
.
’A ˆ avam¯ anini! ka id¯ an¯ım ´s¯ arad¯ıyam
.
jyotsn¯ am
.
¯ atapaA
tren
.
a v¯ arayis
.
yati?
,.,ï niyojit¯ a ’smi!
,.o: hal¯ a cintitam
.
may¯ a g¯ıtik¯ a. asam
.
nihit¯ ani punar lekhaAs¯ adhan¯ a-
ni.
,.o: nanv asmin ´suk’ A ˆ odaraA sukum¯ are nalin¯ı A patre pattraA chedaA
bhakty¯ a nakhair niks
.
ipta A varn
.
am
.
karos
.
i. tatah
.
´sr
.
n
.
umo ’sy’
ˆ aks
.
ar¯ an
.
i.
,.o, ´sr
.
n
.
uta t¯ avad en¯ am
.
sa˙ ngat’Aˆ arth¯ a na v¯ a.
,;,
rui iicocxiriox oi suax´ uxraia
,.o¡ avahite svah
.
!
,.oo tava na j¯ ane hr
.
dayam
.
mama punah
.
k¯ amo div¯ a ca r¯ atrau ca,
nis
.
kr
.
pa tapati bal¯ıyas tav’ ˆ abhimukhaAmanoArath¯ any a˙ ng¯ ani.
,.o, sv¯ agatam
.
yath¯ aAcintitaAphalasy’ ˆ avalambino manoArathasya.
,.;c hr
.
daya! tath” ˆ ottamy’ ˆ ed¯ an¯ım
.
na kim
.
cit pratipadyase.
,.;, itah
.
´sil¯ aAtal’Aˆ aikade´sam anugr
.
hn
.
¯ atu vayasyah
.
.
,.;, labdh’Aˆ aus
.
adhah
.
s¯ ampratam upa´samam
.
gamis
.
yati k¯ alena.
,.;o k¯ alen’ ˆ eti kim? pa´sya, meghaAn¯ ad’A¯ ahat¯ am iva may¯ ur¯ım
.
nime-
s
.
’Aˆ antaren
.
a praty¯ agatam
.
priyaAsakh¯ım
.
.
,.;ï mah¯ aAbh¯ aga! dvayor api yuvayor anyony’Aˆ anur¯ agaf pratyaks
.
ah
.
.
sakh¯ıAsnehaf punar m¯ am
.
punaruktaAv¯ adin¯ım
.
karoti.
,.ïc tena hi ´sr
.
n
.
otu mah¯ ar¯ aj¯ a.
,.ï: iyam nah
.
sakh¯ı tv¯ am ev’ ˆ oddi´sya bhagavat¯ a madanen’ ˆ edam
¯ıdr
.
´sam avasth”A ˆ antaram
.
n¯ıt¯ a. tad arhasy abhyupapatty” ˆ asy¯ a
j¯ıvitam avalambitum.
,.ï¡ hal¯ a! alam antah
.
ApuraAvih¯ araAparyutsukasya r¯ aja’Ars
.
er uparud-
dhena.
,.ï; vayasya bahuAvallabh¯ ah
.
r¯ aj¯ anah
.
´sr¯ uyante. yath¯ a nah
.
sakh¯ı ban-
dhuAjane ’´socan¯ıy¯ a bhavati tath¯ a nirv¯ ahaya.
,.,c anugr
.
h¯ıte svah
.
.
,.,: hale mars
.
ayatam
.
lokap¯ alam
.
yat kim
.
c’ ˆ asm¯ abhir upac¯ ar’A ˆ ati-
kramen
.
a visrambhaApral¯ apin
.
¯ıbhir bhan
.
itam.
,.,: yena tan mantritam
.
sa mars
.
ayatu. anyasya janasya ko ’tyayah
.
.
paroks
.
am
.
ko v¯ a kim
.
na mantrayati?
,.,, et¯ avat¯ a punas te tus
.
t
.
ir bhavet?
,;o
cu
¯
a\
¯
a
,.,o virama durlalite! et¯ avadAavasthay” ˆ api me kr¯ıd
.
asi.
,.,; priyam
.
vade, es
.
a mr
.
gapotaka itas tato dattaAdr
.
s
.
t
.
ir utsuko n¯ u-
nam
.
m¯ ataramparibhras
.
t
.
¯ amanves
.
ati. tat sam
.
yojayis
.
y¯ ami t¯ avad
enam.
,.,ï nanu capalakah
.
khalv es
.
as. ek¯ akin¯ı niyojayitum
.
na p¯ arayasi.
tad aham api te anuvartitum
.
k¯ arayis
.
y¯ ami.
,.,, hale! anyatar¯ a vo gacchatu. anyath” ˆ a´saran
.
” ˆ asmi.
,.:cc yaf pr
.
thivy¯ ah
.
´saran
.
am
.
sa tava sam¯ıpe.
,.:c: katham
.
gatam
.
eva?
,.:c¡ na m¯ anan¯ıye jane ¯ atm¯ anam apar¯ adhayis
.
ye.
,.:c; sakh¯ıAm¯ atraA´saran
.
¯ a kam
.
v¯ a ´saran
.
ayis
.
y¯ ami?
,.:c, na khalv ¯ aryam
.
, daivam up¯ alabhe!
,.::: katham id¯ an¯ım up¯ alapsye ya ¯ atmano ’n¯ı´s¯ am
.
paraAgun
.
air m¯ am
upah¯ asayati?
,.::o Paurava! mu˜ nca m¯ am
.
!
,.::ï kad¯ a?
,.::c madan’Aˆ avas
.
t
.
abdho ’pi n’ ¯ atmanah
.
kanyak¯ aAjanaf prabhavati.
bh¯ uyo ’pi t¯ avat sakh¯ıAjanam anum¯ anayis
.
y¯ ami.
,.::: Paurava raks
.
a vinayam. ita ita r
.
s
.
ayah
.
sa˜ ncaranti.
,.::¡ Paurava! anicch¯ aAp¯ urako ’pi dar´sanaAm¯ atraAsukhaAdo na te ’yam
.
jano vismartavyah
.
.
,.::; h¯ a dhik! na me caran
.
au puromukhau prabhavatah
.
. ebhir ¯ aryaA
putrasya kuravakair vyavahit¯ a pa´sc¯ ad lat¯ aAman
.
d
.
apakasya pre-
ks
.
is
.
ye t¯ avad asya bh¯ av’Aˆ anubandham.
,;;
rui iicocxiriox oi suax´ uxraia
,.:,c imam
.
´srutv¯ a na me ’sti vibhavo gantum
.
.
,.:,, aho! durbalaA´sithilatay¯ a prabhras
.
t
.
am api etan mr
.
n
.
¯ alaAvalayam
.
may¯ a na vij ˜ n¯ atam.
,.:,o ato ’param asamarth” ˆ asmi vilambitum. bhavatu. eten’ ˆ aiva
vyapade´sen’ ˆ asy’ ¯ atm¯ anam
.
dar´sayis
.
y¯ ami
,.:,, a˙ nga. ardhaApathe smr
.
tv” ˆ aitasya hastaAbhram
.
´sino mr
.
n
.
¯ alaAva-
layasya kr
.
te sannivr
.
tt” ˆ asmi. ¯ akhy¯ atam iva me hr
.
dayena tvay¯ a
gr
.
h¯ıtam iti. tat ks
.
ip’ ˆ edam
.
m¯ a muniA jana ¯ atm¯ anam m¯ am
.
ca
s¯ ucayis
.
yasi.
,.:¡: kena?
,.:¡, k¯ a gatih
.
!
,.:¡; tvarayatv ¯ aryaAputrah
.
!
,.:¡, k¯ alaAks
.
epah
.
ku´salah. yat te rocate.
,.:,: na t¯ avad enam
.
pa´sy¯ ami. pavanaAkampin¯ a karn
.
’A ˆ otpalaAren
.
un¯ a
kalus
.
¯ıkr
.
t¯ a me dr
.
s
.
t
.
ih
.
.
,.:,¡ anukampit¯ a bhaveyam. kim
.
punar na te vi´svasimi!
,.:,o es
.
a eva ta atyupak¯ aro ’vi´srambhaAjanakah
.
.
,.:o, pratij ˜ n¯ atam
.
manthara iv’ ¯ aryaAputrah
.
sam
.
vr
.
ttah
.
.
,.:o, bhavatu! prakr
.
ti A sth” ˆ asmi sam
.
vr
.
tt¯ a. lajje punar anupak¯ arin
.
¯ı
priyaAk¯ arin
.
a ¯ aryaAputrasya.
,.:oï asam
.
tos
.
en
.
a kim
.
karis
.
yasi?
,.:;c ¯ ary¯ a Gautam¯ı!
,.:;: Paurava! es
.
¯ a mama ´sar¯ıraA vr
.
tt¯ ant’A ˆ opalambh¯ aya t¯ atasya dhar-
maAkan
.
¯ıyasy upasthit¯ a. tad vit
.
ap’Aˆ antarito bhava.
,.:;¡ aty¯ ahitam. iha devat¯ aAsah¯ ay¯ a tis
.
t
.
hasi.
,;ï
cu
¯
a\
¯
a
,.:;, id¯ an¯ım eva M¯ alin¯ım avat¯ırn
.
¯ af Priyam
.
vad¯ aAmi´sr¯ ah
.
.
,.:;o api laghukaAsant¯ ap¯ ani te ’ ˙ ng¯ ani?
,.:;; asti vi´ses
.
ah
.
.
,.:;ï vatse, parin
.
ato divasah
.
. tad ehi, ut
.
ajam eva gacch¯ amah
.
.
,.:;, hr
.
daya, manoA rathaA durlabham
.
janam
.
pr¯ apya k¯ alaA haran
.
am
.
karos
.
i, anu´sayaAvighat
.
t
.
itasya katham
.
te s¯ ampratam. lat¯ aAgr
.
ha-
ka! ¯ amantraye tv¯ am
.
punar api paribhog¯ aya.
¡.: Priyamvade! yady api g¯ andharven
.
a vidhin¯ a nirvr
.
ttaA kaly¯ an
.
¯ a
´
Sakuntal” ˆ anur¯ upaAbhartr
.
Ag¯ amin¯ı sam
.
vr
.
tt¯ a tath” ˆ api na nirvr
.
-
tam
.
me hr
.
dayam.
¡., katham iva?
¡.¡ adya sa r¯ aj” ˆ es
.
t
.
iAparisam¯ apt¯ av r
.
s
.
ibhir visarjita ¯ atmano nagaram
.
pravi´sy’ ˆ antah
.
Apura itoAgatam
.
smarati v¯ a na v” ˆ eti.
¡., atra vi´svast¯ a bhava. na t¯ adr
.
´s¯ a ¯ akr
.
tiAvi´ses
.
¯ ah
.
gun
.
aAvirodhino bha-
vanti. et¯ avat puna´s cintan¯ıyam. t¯ ata id¯ an¯ım imam
.
vr
.
tt¯ antam
.
´srutv¯ a na j¯ ane kim
.
pratipatsyata iti. . .
¡.o sakhi! yath¯ a m¯ am
.
pa´syasi tath¯ a t¯ atasy’ ˆ anumatam
.
priyam
.
ca.
¡.; katham iv’ ˆ anumatam
.
priyam
.
ca?
¡.ï kim anyat. gun
.
avate kanyak¯ a pratip¯ adayitavy” ˆ ety ayam
.
t¯ avat
prathamo ’sya sa˙ nkalpah
.
. tam
.
yadi daivam eva samp¯ adayati
nanv apray¯ asena kr
.
t’Aˆ artho guruAjanah
.
.
¡., evam nv etat.
¡., sakhi avacit¯ ani khalu baliAkarmaApary¯ apt¯ ani kusum¯ ani.
¡.:c sakhi!
´
Sakuntal¯ ay¯ a api saubh¯ agyaAdevat” ˆ arcan¯ıy¯ a.
,;,
rui iicocxiriox oi suax´ uxraia
¡.:: yujyate.
¡.:, sakhi! atithin” ˆ eva niveditam.
¡.:¡ sakhi! nan’A ¯ ut
.
ajaAsamnihit¯ a
´
Sakuntal¯ a.
¡.:, ¯ am
.
adya punar hr
.
dayen
.
a na sam
.
nihit¯ a.
¡.:o tena hi bhavatu et¯ avadbhih
.
kusumaih
.
.
¡.:, h¯ a dhik! eva sam
.
vr
.
ttam. kasminn api p¯ uj”Aˆ arhe ’par¯ addh¯ a ´s¯ u-
nyaAhr
.
day¯ a priyaAsakh¯ı.
¡.:c na khalu yasmim
.
s tasminsulabhaAkopa es
.
a Durv¯ as¯ a maha”Ars
.
ir,
hut¯ a´sa iva tvaritaAp¯ ad’A ˆ oddh¯ aray¯ a gaty¯ a gantum
.
pravr
.
ttah
.
.
¡.:: ko ’nyo huta A vah¯ ad dagdhum
.
prabhavis
.
yati. Anas¯ uye! gac-
cha p¯ ades
.
u patitv¯ a pras¯ aday’ ˆ ainam
.
y¯ avad aham argh’A ˆ odakam
upakalpay¯ ami.
¡.:, aho! ¯ avegaAskhalitay¯ a prabhras
.
t
.
am agraAhast¯ at pus
.
paAbh¯ ajanam
me. tat punar api avaces
.
y¯ ami.
¡.:¡ sakhi ´sar¯ıraAbaddhah
.
kopa iva kasya so ’nunayam
.
gr
.
hn
.
¯ ati. kim
.
ca punah
.
s’ ˆ anukro´sah
.
kr
.
tah
.
.
¡.:, tasmin bahv etad api. tatah
.
kathaya katham iva.
¡.:o yad¯ a nivartitum
.
n’ ˆ ecchati tad¯ a vij ˜ n¯ apito may¯ a: bhagavan! pra-
thamaAbhaktim aveks
.
y’ ˆ ady’ ¯ atmaAprabh¯ avaAvij ˜ n¯ ataAs¯ amarthya-
sya duhitr
.
Ajanasya bhagavat” ˆ apar¯ adho mars
.
itavya iti.
¡.:; tatas tatah
.
?
¡.:ï tatah
.
: «na me vacanam anyath¯ aAbhavitum arhati. ¯ abharan
.
’Aˆ a-
bhij ˜ n¯ anaA dar´sanena mama ´s¯ apo nivartis
.
yate» iti mantrayann
ev’ ˆ antarhitah
.
.
¡.:, ´sakyam id¯ an¯ım ¯ a´svasitum. asti tena r¯ aja’Ars
.
in
.
¯ a sam
.
prasthitena
svaAn¯ amaAdhey’Aˆ a˙ nkitam a˙ ngul¯ıyam
.
smaran
.
¯ıyam iti
´
Sakuntal¯ a-
y¯ ah
.
svayam eva haste pinaddham. tasmim
.
´s ca sv’A¯ adh¯ıne ’yam
up¯ ayo bhavis
.
yati.
,ïc
cu
¯
a\
¯
a
¡.,c hale Priyam
.
vade! preks
.
asva preks
.
asva! v¯ amaA hast’A ˆ opanihitaA
vadan” ¯ alikhit” ˆ eva sakh¯ı bhartr
.
Agatay¯ a cintay” ¯ atm¯ anam apy
es
.
¯ a na vibh¯ avayati kim
.
punar ¯ agantukam?
¡.,: hal¯ a Anas¯ uye! dvayor ev’ ¯ avayor es
.
a ´s¯ apaA vr
.
tt¯ antas tis
.
t
.
hatu.
raks
.
an
.
¯ıy¯ a khalu prakr
.
tiApelav¯ a sakh¯ı.
¡.,: ka id¯ an¯ım
.
t¯ ap’A ˆ odakena navaAm¯ alik¯ am
.
si ˜ ncati.
¡.¡, evam api n¯ ama vis
.
ayaA par¯ a˙ nA mukhasy’ ˆ apy etan na viditam
.
yath¯ a tena r¯ aj ˜ n¯ a
´
Sakuntal¯ ay¯ a anA¯ aryat” ¯ acaritavy” ˆ eti.
¡.¡; pratibuddh” ˆ api kim
.
karayis
.
y¯ ami. na ma utthit¯ ay¯ a´s cintite-
s
.
u prabh¯ ataA vy¯ ap¯ araA karan
.
¯ıyes
.
u hast¯ af p¯ ad¯ a v¯ a prabhavanti.
saA k¯ ama id¯ an¯ım
.
k¯ amo bhavatu, yena snigdhaA hr
.
day¯ a sakhy
asatyaA sandhe jane padam
.
k¯ arit¯ a. atha v¯ a na tasya r¯ aja’ A rs
.
er
apar¯ adho Durv¯ asah
.
Akopo ’tra viprakaroti. anyath¯ a katham
.
t¯ a-
dr
.
´so r¯ aja’Ars
.
is t¯ adr
.
´s¯ ani vacan¯ ani mantrayitv” ˆ ait¯ avatah
.
k¯ alasya
lekhaA m¯ atram api na visarjayati. ito ’ ˙ ngul¯ıyam asy’ ˆ abhij ˜ n¯ a-
nam
.
visarjay¯ amah
.
. atha v¯ a duh
.
khaA´s¯ıle tapasviAjane ko ’bhya-
rthyat¯ am. na ca sakhi A gamanena dos
.
a iti vyavasitam id¯ an¯ım
.
p¯ aray¯ amah
.
Prabh¯ asaA nirvr
.
ttasya t¯ ataA K¯ a´syapasya Dus
.
s
.
yantaA
parin¯ıt¯ am ¯ apannaA sattv¯ am
.
ko ’pi
´
Sakuntal¯ am
.
nivedayis
.
yati.
ittham
.
Agate kim
.
nu khalv asm¯ abhih
.
kartavyam?
¡.¡,
´
Sakuntal¯ ay¯ af prasth¯ anaAkautuk¯ ani kriyant¯ am.
¡.,c sakhi katham
.
nv etat?
¡.,: Anas¯ uye. ´sr
.
n
.
u. id¯ an¯ım
.
sukhaA´sayitaAvibuddh¯ ay¯ ah
.
´
Sakuntal¯ ay¯ as
sam¯ıpam
.
gat” ˆ asmi y¯ avat t¯ am
.
lajj”A ˆ avanatam
.
paris
.
vajya t¯ ataA
K¯ a´syapah
.
svayamabhinandati. dis
.
t
.
y¯ a dh¯ um’A ˆ oparuddhaAdr
.
s
.
t
.
er
api janasya p¯ avaka eva ¯ ahutif patit¯ a. su´sis
.
yaApratip¯ adit” ˆ eva vi-
dy” ˆ a´socan¯ıy” ˆ asi me sam
.
vr
.
tt¯ a. tad ady’ ˆ aiva’ rs
.
iA parigr
.
h¯ıtam
.
tv¯ am
.
bhartuh
.
sak¯ a´sam
.
visarjay¯ am’ ˆıti.
,ï:
rui iicocxiriox oi suax´ uxraia
¡.,: atha kena ¯ akhy¯ atas t¯ atasy’ ˆ ayam
.
´
Sakuntal¯ aAvr
.
tt¯ antah
.
?
¡.,, t¯ atasya ´saran
.
am
.
pravis
.
t
.
asya ´sar¯ıram
.
vin¯ a chandovaty¯ a v¯ ac¯ a.
¡.,¡ katham iva.
¡.,; sakhi priyam
.
me, kim
.
tv
´
Sakuntal¯ a n¯ıyata ity utkan
.
t
.
h¯ aAs¯ adh¯ a-
ran
.
am
.
paritos
.
am samudvah¯ ami.
¡.,ï utkan
.
t
.
h¯ am
.
vinodayis
.
y¯ avah
.
. s” ˆ ed¯ an¯ım
.
nirvr
.
t¯ a bhavatu.
¡.,, tena hy etasmim
.
´s c¯ utaA´s¯ akh”A ˆ avalambite n¯ arikelaA samudgake
tanAnimittameva k¯ al’Aˆ antaraAks
.
am¯ a ks
.
ipt¯ a may¯ a saAkesaraAgun
.
¯ a.
t¯ am
.
s tvam
.
hastaAsannihit¯ an kuru y¯ avad aham asy¯ a mr
.
gaAgoro-
can¯ am
.
t¯ırthaAmr
.
ttik¯ am
.
d¯ urv¯ aAkisalay¯ ani ma˙ ngalaAsam¯ alabha-
n’Aˆ artham
.
viracay¯ ami.
¡.o: Anas¯ uye, tvaraya tvaraya! ete khalu Hastin¯ apuraAg¯ amina r
.
s
.
ayah
.
sajj¯ıbhavant’ ˆıti.
¡.o, sakhi, ehi gacch¯ amah
.
.
¡.o¡ es
.
¯ a s¯ ury’A ˆ odaya eva visarjit¯ a prat¯ıs
.
t
.
aA n¯ıv¯ araA bh¯ ajanak¯ abhis t¯ a-
pas¯ıbhir abhinandyam¯ an¯ a
´
Sakuntal¯ a tis
.
t
.
hati. tad upasarp¯ ava
en¯ am.
¡.oo j¯ ate! bhartur bahuAm¯ anaAyuktakam
.
mah¯ aAdev¯ıA´sabdam
.
adhiga-
ccha.
¡.o; vatse v¯ıraAprasavin¯ı bhava.
¡.o, sakhi! sumajAjanam
.
te bhavatu!
¡.;c sv¯ agatam
.
priyaAsakhyoh
.
. ito nis
.
¯ıdatam.
¡.;: hal¯ a
´
Sakuntale! r
.
jugat¯ a bhava y¯ avat te ma˙ ngalaAsam¯ alabdham
.
a˙ ngam
.
kriyat¯ am.
¡.;: ucitam idam api bahumantavyam. durlabham id¯ an¯ım
.
me sa-
kh¯ıAman
.
d
.
anam
.
bhavis
.
yati.
,ï:
cu
¯
a\
¯
a
¡.;, sakhi na ta es
.
t
.
avye ma˙ ngalaAk¯ ale roditavyam.
¡.;¡ ¯ abharan
.
’A ˆ arham
.
r¯ upam ¯ a´sramaA sulabhaif pras¯ adhanair vipra-
kriyate.
¡.;ï vatsa H¯ ar¯ıta. kuta etat?
¡.ï, hale! adbhutaAsam
.
pattih
.
s¯ ucit¯ a, bhartur gehe ’nubhavitavy¯ a te
r¯ ajaAlaks
.
m¯ıh
.
.
¡.ï, sakhi! kaly¯ an
.
in” ˆıdan¯ım asi. kot
.
araAsam
.
bhav” ˆ eva madhukar¯ı
pus
.
karaAmadhum abhilas
.
asi.
¡.ïo anupabhuktaAbh¯ us
.
an
.
o ’yam
.
janah
.
. citraAkarmaAparicayen’ ˆ ed¯ a-
n¯ım
.
te ’ ˙ nges
.
v ¯ abharan
.
aAniyogam
.
karoti.
¡.ï; jane vo nipun
.
atvam.
¡.,¡ hal¯ a
´
Sakuntale avasita A man
.
d
.
an” ˆ asi. paridhehi s¯ am
.
pratam
imam
.
pavitram
.
ks
.
aumaAnirmokam
.
.
¡.,; es
.
a te ¯ anandaApariv¯ ahin
.
¯ a caks
.
us
.
¯ a paris
.
vajam¯ ana iva gurur upa-
sthitah
.
. tad ¯ ac¯ aram asya pratipadyasva.
¡.,ï t¯ ata vande.
¡.:c: bhagav¯ an! varah
.
khalv es
.
o, n’ ¯ a´s¯ıh
.
.
¡.::; j¯ ate. j ˜ n¯ atiAjanaAsnigdham abhyanuj ˜ n¯ ataAgaman” ˆ asi tapoAvanaA
devat¯ abhih
.
. tat pran
.
ama bhagavat¯ıh
.
.
¡.::ï hal¯ a Priyam
.
vade ¯ arya A putra A dar´san’ A ˆ otsukay” ˆ apy ¯ a´sramam
.
parityajanty¯ a duh
.
khaAduh
.
khena me caran
.
au puromukhaf pra-
bhavanti.
¡.::, na kevalam
.
tava virahaA paryutsuk¯ as sakhya eva. y¯ avat tvay”
ˆ opasthitaA viyogasya tapoA vanasy’ ˆ apy apeks
.
yam avasth”A ˆ anta-
ram. tath¯ a ca.
,ï,
rui iicocxiriox oi suax´ uxraia
¡.::c ullalati darbhaAkabal¯ a mr
.
g¯ı pari´sr¯ antaAnartan¯ a may¯ ur¯ı. apasr
.
-
taAp¯ an
.
d
.
uApattr¯ a dhunvanty a˙ ng¯ an’ ˆıva lat¯ ah
.
.
¡.::: t¯ ata, lat¯ aAbhagin¯ım
.
t¯ avan m¯ adhav¯ım ¯ amantrayis
.
ye.
¡.::, e¯ adhavi. praty¯ ali ˙ nga m¯ am
.
´s¯ akh¯ aA mayair b¯ ah¯ ubhir adyaA pra-
bhr
.
ti d¯ uraAvartin¯ı te bhavis
.
y¯ ami.
¡.::o es
.
¯ a dvayor api vo haste niks
.
epah
.
.
¡.::; ayam
.
janah
.
kasya sandis
.
t
.
ah
.
.
¡.::, t¯ ata! es
.
” ˆ ot
.
ajaAparyantaAc¯ arin
.
¯ı garbhaAmanthar¯ a mr
.
gaAvadh¯ uh
.
.
yad” ¯ asannaAprasavin¯ı bhavet tad¯ a me kam api priyam
.
niveda-
yit¯ aram
.
visarjayis
.
yatha.
¡.:,: ko nu khalv es
.
a m¯ atr¯ akr¯ anta iva punar vasanasy’ ˆ antam
.
gr
.
hn
.
¯ a-
ti?
¡.:,, vatsa kim
.
sahav¯ asaAparity¯ agin¯ım
.
kaitavaAsneh¯ am anves
.
asi? aci-
raApras¯ ut’A ˆ oparatay¯ a janany¯ a vin¯ a vardhito ’si/ id¯ an¯ım api may¯ a
virahitam
.
tv¯ am
.
t¯ ata´s cintayis
.
yati. tat pratinivartasya.
¡.:¡: sakhi! na sa ¯ a´srame cintan¯ıyo ’sti yas tvay¯ a virahayanty¯ a n’
ˆ otsuk¯ıkr
.
to ’dya preks
.
asva t¯ avat.
¡.:¡, padmin¯ı A pattr’ A ˆ antarit¯ am
.
vy¯ ahr
.
t¯ am
.
n’ ˆ anuvy¯ aharati j¯ ay¯ am,
mukh’A ˆ odvy¯ ud
.
haAmr
.
n
.
¯ alas tvayi dr
.
s
.
t
.
im
.
dad¯ ati cakrav¯ akah
.
.
¡.:¡¡ sakhi! satyam eva nalin¯ı A patr’ A ˆ antaritam priyam
.
sahaA caram
apreks
.
am¯ an
.
” ¯ aturam
.
cakrav¯ aky ¯ arasati dus
.
karam
.
khalv aham
.
karomi.
¡.:¡o ady’ ˆ api vin¯ a priyen
.
a gamayati r¯ atrim
.
vis¯ uran
.
¯ aAd¯ırgh¯ am
.
, hanta
gurukam api duh
.
kham ¯ a´s¯ aAbandhas sahayati.
¡.:,; et¯ avat khalv ev’ ˆ aitad vadh¯ uAjana upade´sah
.
.
¡.:,; j¯ ate, evam
.
khalv avadh¯ araya.
,ï¡
cu
¯
a\
¯
a
¡.:,, t¯ ata kim ita eva priyaAsakhyo nivartante?
¡.:o: katham id¯ an¯ım
.
t¯ atena virahit¯ a kariAs¯ arthaAparibhras
.
t
.
¯ a karen
.
u-
k” ˆ eva pr¯ an
.
¯ an dh¯ arayis
.
ye.
¡.:oï hale! etam
.
dve eva m¯ am
.
samam
.
paris
.
vajeth¯ am!
¡.:o, sakhi sa r¯ aj¯ a yadi pratyabhij ˜ n¯ anaA mantharo bhavet tad” ˆ asy’
ˆ edam
.
tad¯ıyaAn¯ amadhey’Aˆ a˙ nkitam a˙ ngul¯ıyakam
.
dar´saya.
¡.:;c ¯ a sande´sen’ ˆ anukampit” ˆ asmi.
¡.:;: m¯ a bhais
.
¯ıh
.
. sneho v¯ amam ¯ a´sa˙ nkate.
¡.:;¡ t¯ ata, kad¯ a nu khalu bh¯ uyas tapoAvanam
.
preks
.
is
.
ye?
¡.:;; j¯ ate, parih¯ıyate gamanaA vel¯ a. tan nivartaya pitaram. atha v¯ a
ciren
.
’ ˆ ais
.
¯ a pitaram
.
na nivartayis
.
yati. tan nivartayatu bhav¯ an.
¡.:;, t¯ ato nirutkan
.
t
.
ho bhavis
.
yati, aham id¯ an¯ım utkan
.
t
.
h¯ aA bh¯ agin¯ı
sam
.
vr
.
tt¯ a.
¡.:ï¡ h¯ a dhik! antarhit¯ a
´
Sakuntal¯ a vanaAr¯ aj¯ıbhih
.
.
¡.:ïo t¯ ata
´
Sakuntal¯ aAvirahitam
.
´s¯ unyam iva tapoAvanam pravi´s¯ avah
.
.
,.:: bhoh
.
! sam
.
g¯ıtaA ´s¯ alik¯ a. ten’ ˆ avadh¯ anam
.
dehi t¯ alaA gater vi´sud-
dh¯ ay¯ ah
.
khalu v¯ın
.
¯ ay¯ ah
.
svaraAsam
.
yog¯ ah
.
´sr¯ uyante.
,.:o abhinavaAmadhuAlobhaAbh¯ avitas tath¯ a paricumbya c¯ utaAma˜ nja-
r¯ım, kamalaAvasatiAm¯ atraAnirvr
.
to madhuAkara vismr
.
to ’sy en¯ am
.
katham?
,.:ï kim
.
t¯ avad asy¯ a g¯ıtik¯ ay¯ a api gr
.
h¯ıto bhagavat” ˆ aks
.
ar’Aˆ arthah
.
?
,.:c gr
.
h¯ıtas tvay¯ a parak¯ıyair hastaih
.
´sikhan
.
d
.
ake bhall ¯ ukah
.
. aAv¯ıtaA
r¯ agasy’ ˆ eva n’ ˆ asti me moks
.
ah
.
.
,.:: k¯ a gatih
.
!
,ï,
rui iicocxiriox oi suax´ uxraia
,.,: ita ito devah
.
.
,.,, es
.
o ’bhinavaAsam
.
m¯ arjanaAraman¯ıyah
.
sam
.
nihitaAkapilaAdhenur
agniA´saran
.
’A¯ alindah
.
.
,.¡: devasya bhuvanaA paris
.
va˙ ngaA nirvr
.
te catur A ¯ a´srame kuta etat?
kim
.
tu sucarit’Aˆ abhinandina r
.
s
.
ayo devam
.
sabh¯ ajayitum ¯ agat¯ a
iti tarkay¯ ami.
,.,c aho! kim api v¯ am’Aˆ etaram
.
me nayanam
.
visphurati?
,.,: pratihatam ama˙ ngalam! sukh¯ ani te bhartr
.
AkulaAdevat¯ a vitara-
ntu.
,.,, deva! prasann’ ˆ okhaAr¯ ag¯ a dr
.
´syante svasthaAkary¯ a r
.
s
.
ayah
.
.
,.,ï deva! kut¯ uhalatay¯ a br
.
m
.
hit” ˆ asmi. na me tarkaf pras¯ıdati.
,.,, bhartah
.
, dar´san¯ıy¯ a khalu asy¯ a ¯ akr
.
tir laks
.
yate.
,.o: hr
.
daya! kim evam
.
vepasi? ¯ aryaAputrasya bh¯ avaAsthitim
.
smr
.
tv¯ a
dh¯ıram
.
t¯ avad bhava.
,.;o bhadraAmukha! vaktuk¯ am¯ a tis
.
t
.
h¯ ami, na ca me vadan’Aˆ avak¯ a´so
’sti. katham iti?
,.;; n’ ˆ apeks
.
ito guruAjano ’nay¯ a na c’ ˆ atra pr
.
s
.
t
.
¯ a bandhavah
.
, ek’Aˆ ai-
kena varite kim
.
bhan
.
yat¯ am
.
ekamAekasmin?
,.;ï kim
.
nu khalv ¯ aryaAputra bhan
.
is
.
yati?
,.ïc hum
.
! p¯ avako ’sya vacan’A ˆ opaks
.
epah
.
.
,.ï¡ hr
.
daya, sam
.
vardhit¯ a khalu tav’ ¯ a´sa˙ nk¯ a.
,.ï, j¯ ate! m¯ a muh¯ urtakam
.
lajjasva. apanes
.
y¯ ami t¯ avat tav’ ˆ avagun
.
-
t
.
hanam. tato bhart¯ a tv¯ am abhij ˜ n¯ asyat’ ˆıti.
,.,, aho dharm¯ apeks
.
it¯ a bhartuh
.
! ¯ıdr
.
´sam
.
n¯ ama sukh’A ˆ opanatamstr¯ıA
ratnam
.
dr
.
s
.
t
.
v¯ a, ko ’nyo vic¯ arayati?
,ïo
cu
¯
a\
¯
a
,.,o h¯ a dhik! katham parin
.
aya eva sandehah
.
? bhagn” ˆ ed¯ an¯ım
.
me
d¯ ur’A¯ arohin
.
¯ı ¯ a´s¯ a!
,.:cc idam avasth”A ˆ antaram
.
gate t¯ adr
.
´se muh¯ urtaAr¯ age kim
.
v¯ a sm¯ a-
ritena s¯ ampratam
.
tena? athav” ¯ atm” ˆ ed¯ anim
.
me ´sodhan¯ıyo
’sti vivadis
.
y¯ amy etat. ¯ aryaAputra! athav¯ a sam
.
´sayita id¯ an¯ım
.
me
samud¯ ac¯ arah
.
. Paurava! yuktam
.
n¯ ama pur” ¯ a´sramaA pade sadA
bh¯ av’A ˆ ott¯ anaA hr
.
dayam imam
.
janam
.
samayaA p¯ urvam
.
prat¯ ary’
¯ edr
.
´sair aks
.
araif praty¯ akhy¯ atum.
,.:c, yadi param’ A ˆ arthataf para A parigrahan
.
a A ´sa˙ nkin¯ a tvay” ˆ aivam
uktam
.
, tad abhij ˜ n¯ anena gurun
.
¯ a tava sandeham apanes
.
y¯ ami.
,.:c, h¯ a dhik! a˙ ngul¯ıyaA´s¯ uny¯ a me ’ ˙ ngul¯ı.
,.:co na khalu te
´
Sakr’A ˆ avat¯ are
´
Sac¯ıAt¯ırth’A ˆ odakam avag¯ aham¯ an¯ ay¯ af
prabhras
.
t
.
o ’ ˙ ngul¯ıyakah
.
?
,.:cï atra t¯ avad vidhin¯ a dar´sitam
.
prabhutvam. aparam
.
te kathayis
.
-
y¯ ami.
,.::c na khalu tatr’ ˆ aikaAdivase navaAm¯ alik¯ aAman
.
d
.
ape nalin¯ıApattraA
bh¯ ajanaAgatam udakam
.
tava hastaAsam
.
nihitam ¯ as¯ıt?
,.::: tatAks
.
an
.
am
.
ca mama kr
.
takaAputro Harin
.
aka upasthitah
.
. tatas
tvay” ˆ ayam
.
t¯ avat prathamam
.
pivatv iti anukampin
.
” ˆ opaccha-
nditah
.
. na punas te ’paricitasya hast’Aˆ abhy¯ asa upagatah
.
. pa´sc¯ at
tasminn ev’ ˆ odake may¯ a gr
.
h¯ıte pran
.
ayaAprak¯ a´saAp¯ urvam
.
pra-
hasito ’si. bhan
.
itam
.
ca tvay¯ a: «sarvah
.
saAgandhe vi´svasiti dv¯ av
apy atr’ ¯ aran
.
yak¯ av iti.»
,.::¡ mah¯ aA bh¯ aga! n’ ˆ arhasy et¯ avan mantrayitum. tapoA vanaA sam
.
-
vardhitah
.
khalv ayam
.
jano ’nabhij ˜ nah
.
kaitavaysa.
,.::; ¯ atmano hr
.
day’Aˆ anum¯ anena sarvam
.
preks
.
ase! ko ’nyo dharmaA
ka˜ ncukaA prave´sinas tr
.
n
.
aA channaA k¯ up’A ˆ opamasya tav’ ˆ anuk¯ ar¯ı
bhavis
.
yati?
,ï;
rui iicocxiriox oi suax´ uxraia
,.::: y¯ uyam eva pram¯ an
.
am
.
j¯ an¯ıtha dharmaAsthitim
.
ca lokasya, lajj¯ aA
vinirjit¯ a j¯ ananti khalu kim
.
nu mahil¯ ah
.
?
,.::, sus
.
t
.
hu t¯ avat svacchandaA c¯ arin
.
¯ı kr
.
t” ˆ asmi y’ ˆ aham asya PuruA
vam
.
´saA pratyayena hr
.
dayaA ´sastraA dh¯ arasya mukhaA madhuno
hast’Aˆ abhy¯ asam upagat¯ a.
,.:,, hum
.
! anena t¯ avat kaitavena vipralabdh” ˆ asmi. y¯ uyam api m¯ am
.
parityaktum icchatha. tat k¯ a gatih
.
?
,.:,o vatsa
´
S¯ ar˙ ngarava! anugacchty es
.
¯ a karun
.
¯ aAparidevin
.
¯ı
´
Sakuntal¯ a.
praty¯ ade´saAkalus
.
e bhartari kim
.
v¯ a putrik¯ a me karotu?
,.:,: bhagavati VasuAdhe! dehi me vivaram!
o.: are kumbh¯ıraka kathaya kutra tvay” ˆ ais
.
a mah¯ aAman
.
iAbandha-
n’A ˆ otk¯ırn
.
aAn¯ am’Aˆ aks
.
aro r¯ ajak¯ıy’Aˆ a˙ ngul¯ıyakah
.
sam¯ as¯ aditah
.
?
o., pras¯ıdantu pras¯ıdantu bhr¯ atr
.
kaA mi´sr¯ ah
.
! aham
.
khalv ¯ıdr
.
´sasya
karman
.
o na kalyah
.
!
o.¡ kim
.
nu khalu ´sobhano br¯ ahman
.
a iti kr
.
tv¯ a r¯ aj ˜ n¯ a pratigraho
dattah
.
?
o., j¯ an¯ıth’ ˆ ed¯ an¯ım! aham
.
´
Sakr¯ avat¯ araAv¯ asiko dh¯ıvarah
.
. . .
o.o p¯ at
.
acAcara! kim
.
khalu te ’sm¯ abhir j¯ atif pr
.
s
.
t
.
¯ a?
o.; S¯ ucaka kathayatu sarvam anukramen
.
a. m” ˆ ainam antar¯ a pra-
tibandh¯ıs
.
t
.
ha.
o.ï yad ¯ abutta ¯ aj ˜ n¯ apayati! bhan
.
a bhan
.
a!
o., so ’ham
.
j¯ alaAbad
.
i´s’A ¯ adibhir matsyaAbandhan’A ˆ op¯ ayaih
.
kut
.
um-
baAbharan
.
am
.
karomi.
o.:c vi´suddha id¯ an¯ım
.
ta ¯ aj¯ıvah
.
!
o.:: bhartah
.
!
o.:: sahajam
.
kila yad api ninditam
.
na khalu tat karma vivarjan¯ı-
yam. pa´suAm¯ aran
.
aAkarmaAd¯ arun
.
o ’nukamp¯ aAmr
.
dur eva ´srotri-
yah
.
.
,ïï
cu
¯
a\
¯
a
o.:, tatas tatah
.
!
o.:¡ ath’ ˆ aikaAdivase khan
.
d
.
a´so rohitaAmatsyo may¯ a kalpitah
.
. y¯ avat
tasy’ ˆ odar’Aˆ abhyantare etad ratnaAbh¯ asuram a˙ ngul¯ıyakam
.
pre-
ks
.
e. pa´sc¯ ad ih’ ˆ aitad vikray¯ aya dar´sayan gr
.
h¯ıto bh¯ avaAmi´sraih
.
.
et¯ av¯ am
.
s t¯ avad etasy’ ¯ agamah
.
adhun¯ a m¯ arayata kut
.
t
.
ayata v¯ a!
o.:, J¯ anaka! matsy’A ˆ odaraA sam
.
sthitam iti n’ ˆ asti sam
.
dehah
.
. tath”
ˆ ayam asya visraAgandhah
.
. ¯ agama id¯ an¯ım etasya vimar´sayitav-
yam. tad etam
.
r¯ ajaAkulam eva gacch¯ amah
.
.
o.:o gaccha n¯ atha granthiAbhedaka!
o.:; S¯ ucaka! iha m¯ am
.
gopuraAdv¯ are ’pramattau pratip¯ alayatam
.
y¯ a-
vad idam yath”A¯ agamam a˙ ngul¯ıyakam
.
bhartur upan¯ıya tad¯ıyaA
´s¯ asanam
.
prat¯ıs
.
ya nis
.
kr¯ am¯ ami.
o.:ï pravi´satv ¯ avuttah
.
sv¯ amiApras¯ ad¯ aya!
o.:, J¯ anaka, cir¯ ayate khalv ¯ avuttah
.
.
o.:c nanv avasar’A ˆ opasarpan
.
¯ıy¯ a r¯ aj¯ anah
.
.
o.:: vayasya sphurato mama hast¯ av asya pinaddhum.
o.:: n’ ˆ arhati bhr¯ atr
.
Abhr¯ atr
.
ko ’k¯ alaAm¯ arako bhavitum.
o.:, . . . es
.
o ’sm¯ akam ¯ı´svaraf pr¯ apto gr
.
h¯ıtv¯ a r¯ ajaA´s¯ asanam. sakul¯ a-
n¯ am
.
mukham
.
preks
.
ase ’thav¯ a gr
.
dhraA´sr
.
g¯ al¯ an¯ am
.
balir bhavis
.
-
yasi.
o.:¡ ´s¯ıghram
.
´s¯ıghram etam. . .
o.:, h¯ a hato ’smi!
o.:o mu˜ ncatam re mu˜ ncatam j¯ al’A ˆ opaj¯ıvinam. upapanno ’sya kil’
ˆ a˙ ngul¯ıyakasy’ ¯ agamah
.
. asmatAsv¯ amin” ˆ aiva me kathitam.
,ï,
rui iicocxiriox oi suax´ uxraia
o.:; yad ¯ aj ˜ n¯ apayati ¯ abuttah
.
! YamaA vasatim
.
gatv¯ a khan
.
d
.
am
.
c’ ˆ eva
pratinivr
.
ttah
.
.
o.:ï bhartah
.
! tava me j¯ıvitah
.
!
o.:, uttis
.
t
.
ha! es
.
a bhartr” ˆ a˙ ngul¯ıyakaAm¯ ulyaAsammitaf p¯ aritos
.
iko ’pi
te d¯ apitah
.
.
o.,c anugr
.
h¯ıto ’smi.
o.,: tath¯ a n¯ am’ ˆ anugraho yac ch¯ ul¯ ad avat¯ arya hastiAskandhe prati-
s
.
t
.
h¯ apitah
.
.
o.,: ¯ avutta! p¯ aritos
.
ikah
.
kathayati mah”Aˆ arhaAratnena ten’ ¯ a˙ ngul¯ıya-
kena bhartuf prathamaAbahuAmatena bhavitavyam.
o.,, na ca tasmin mah”Aˆ arhaAratnam iti bahuAm¯ anam
.
bhartus tar-
kay¯ ami.
o.,¡ kim
.
khalu?
o.,, tarkay¯ ami tasya dar´sanena ko ’pi abhilas
.
ito jano bhartr¯ a smr
.
ta
iti, yatas tat preks
.
ya muh¯ urtam prakr
.
tiAgambh¯ırah
.
paryutsu-
kaAman¯ ah
.
sam
.
vr
.
ttah
.
.
o.,o s¯ adhu mantritam
.
n¯ am’ ¯ avuttena.
o.,; nanu bhan
.
¯ amy asya kr
.
te m¯ atsyalik¯ aA´satror iti.
o.,ï bhartah
.
! ito ’rdham
.
yus
.
m¯ akam
.
sumanoAm¯ ulyam bhavatu.
o.,, et¯ avad yujyate.
o.¡c dh¯ıvara, mahattarako hi s¯ ampratam
.
priya A vayasyako ’si me
sam
.
vr
.
ttah
.
. k¯ adambar¯ıAs¯ aks
.
ikam
.
c’ ˆ asm¯ akam
.
prathamaAsauhr
.
-
dam is
.
yate. tac chaun
.
d
.
ikaA´s¯ alam
.
gacch¯ amah
.
.
o.¡¡ nirvartitam
.
may¯ a pary¯ ayaA nirvartan¯ıyam apsarasA t¯ırthaA s¯ am-
nidhyam
.
. tad y¯ avad asya r¯ ajars
.
er udantam
.
pratyaks
.
¯ıA karomi.
Menak¯ aAsambandhena ´sar¯ıraAbh¯ ut¯ a me
´
Sakuntal¯ a. tay¯ a c’ ˆ aitanA
nimittam eva sandis
.
t
.
aAp¯ urv” ˆ asmi. kim
.
nu khal’ ˆ utsavam
.
Adine
,,c
cu
¯
a\
¯
a
’pi nirutsav’A¯ arambham iva r¯ ajaAkulam
.
dr
.
´syate. athav” ˆ asti me
vibhavaf pran
.
idh¯ anena sarvam
.
j ˜ n¯ atum. kim
.
tu sakhy¯ a ¯ adara
¯ an¯ıtavyah
.
. bhavatu. es
.
¯ am
.
t¯ avad udy¯ anaAp¯ alin¯ın¯ am
.
tiraskarin
.
¯ıA
pracchann¯ a p¯ ar´svaAparivartin¯ı bh¯ utv” ˆ op¯ alabhis
.
ye.
o.¡; ¯ at¯ amraAharitaAvr
.
ntaka ya ucchvasito ’si surabhiAm¯ asasya, dr
.
s
.
t
.
a´s
ca c¯ utaAks
.
¯ araka ks
.
an
.
aAma˙ ngalakam iva preks
.
e.
o.¡ï hale Parabhr
.
tike kim
.
nv idam ek¯ akin¯ı mantrayase.
o.¡, sakhi, c¯ utaAlatik¯ am
.
dr
.
s
.
t
.
v” ˆ onmatt¯ a parabhr
.
tik¯ a bhavati.
o.,c katham upasthito madhuAm¯ asah
.
?
o.,: madhuAkarike, tav’ ˆ ed¯ an¯ım
.
k¯ ala es
.
a madaAvibhram’A ˆ odg¯ıt¯ an¯ am.
o.,: sakhi, avalambasva y¯ avad agraAp¯ adaApratis
.
t
.
h¯ apit¯ a bh¯ utv¯ a K¯ a-
madevasy’ ˆ arcanam
.
karomi.
o.,, yadi mam’ ˆ api ardham arcanakaAphalasya.
o.,¡ hale! abhan
.
ite ’py etad bhavati, yata ekam eva no dvidh¯ aAsthi-
tam
.
´sar¯ıram. aho! apratibuddho ’pi c¯ utaAprasava es
.
a bandha-
naAbha˙ ngaAsurabhir v¯ ati. namo bhagavate MakaraAdhvaj¯ aya!
o.,, arhasi me c¯ ut’A ˆ a˙ nkura dattah
.
K¯ amasya gr
.
h¯ıtaA dhanoh
.
. sam
.
-
sth¯ apitaAyuvatiAlaks
.
af pa´sc¯ atAskhalitah
.
´saro bhavitum.
o.,, pras¯ıdatv ¯ aryah
.
! agr
.
h¯ıt’Aˆ arthe ¯ av¯ am.
o.o: n’ ˆ atra sam
.
dehah
.
. mah¯ aAprabh¯ avo r¯ ajars
.
ih
.
.
o.o, ¯ arya, kati divas¯ a asm¯ akam
.
Mitr¯ aAvasun¯ a r¯ as
.
t
.
riyen
.
a bhartuf p¯ a-
daAm¯ ul¯ at pres
.
it¯ an¯ am
.
, ih’ ¯ a kr¯ıd
.
¯ aAgr
.
he pratikarm’ ˆ arpitam. ato
na kad” ˆ api ´srutaAp¯ urva es
.
a asm¯ abhir vr
.
tt¯ antah
.
.
o.o, ¯ arya, kaut¯ uhalyam
.
yad anena janena ´srotavyam
.
tat kathayatv
¯ aryah
.
kim
.
nimittam
.
bhartr¯ a vasantaAkaumud¯ı pratis
.
iddh” ˆ eti?
,,:
rui iicocxiriox oi suax´ uxraia
o.oo utsavaApriy¯ a r¯ aj¯ anah
.
. atra gurun
.
¯ a k¯ aran
.
ena bhavitavyam.
o.oï ¯ arya! ´srutam
.
r¯ as
.
t
.
riyaAmukh¯ ad y¯ avad a˙ ngul¯ıyakaAdar´sanam.
o.;: priyam
.
me!
o.;, yujyate.
o.;¡ etu etu bhav¯ an.
o.;, sth¯ ane khalu praty¯ ade´saAvim¯ anit” ˆ api
´
Sakuntal¯ a yad asya kr
.
te
t¯ amyati.
o.ï: ¯ıdr
.
´s¯ any asy¯ as tapasviny¯ a bh¯ agaAdhey¯ ani.
o.ï, la˙ nghita es
.
a bh¯ uyah
.
´
Sakuntal¯ aAv¯ atena. na j¯ ane katham
.
cikitsi-
tavyo bhavis
.
yati.
o.ïo yad deva ¯ aj ˜ n¯ apayati.
o.ï, kr
.
tam
.
bhavat¯ a nirmaks
.
ikam. s¯ ampratam
.
´si´siraAvicchede rama-
n
.
¯ıye ’smin pramadaAvane sukham
.
viharis
.
y¯ amah
.
.
o.,: tis
.
t
.
ha t¯ avat. imam
.
dan
.
d
.
akam
.
c¯ utaAmanmathake p¯ ataye.
o.,¡ nanukhalubhavat¯ a medh¯ avin¯ı lipiAkar¯ı sam
.
dis
.
t
.
¯ a. m¯ adhav¯ıAma-
n
.
d
.
apa im¯ am
.
ks
.
an
.
am
.
pratip¯ alayis
.
y¯ ami. tatra me citraAphalake
sva A hasta A likhit¯ am
.
tatra A bhavaty¯ ah
.
´
Sakuntal¯ ay¯ af pratikr
.
tim
¯ anay’ ˆ eti.
o.,o etu bhav¯ an.
o.,; es
.
a man
.
iA´sil¯ aApat
.
t
.
akaAsaAn¯ atho m¯ adhav¯ıAman
.
d
.
apako viviktatay¯ a
nih
.
´sabdam
.
sv¯ agaten’ ˆ eva prat¯ıcchati priyaAvayasyam. upavi´s¯ a-
mah
.
. nis
.
¯ıdatu bhav¯ an.
o.:cc na vismar¯ ami. kim
.
tu sarvam
.
kathitam
.
tvay” ˆ aiva vr
.
ttam. pari-
h¯ asaAvikalpa es
.
a na bh¯ ut’Aˆ artha iti. rahasyaAbhedaAbh¯ırun
.
¯ a may”
ˆ api mr
.
tApin
.
d
.
aAmandaAbuddhin¯ a tath” ˆ aiva gr
.
h¯ıtam. api ca bha-
vitavyat¯ a balavat¯ı.
,,:
cu
¯
a\
¯
a
o.:c: evam
.
nv idam.
o.:c, kim
.
nv idam. ¯ıdr
.
´sam upanatam
.
. kad¯ a punah
.
satApurus
.
¯ ah
.
´sokaA
baddhaAdhairy¯ a bhavanti? nanu prav¯ aten’ ˆ api girayo nis
.
praka-
mp¯ ah
.
.
o.:co aho. ¯ıdr
.
´s¯ı kas
.
t
.
’Aˆ avasth¯ a. asya samt¯ apen’ ˆ aham
.
rame.
o.:c; asti deva tarkah
.
. ken’ ˆ api tatraAbhavaty ¯ ak¯ a´saAg¯ amin” ˆ avahit”
ˆ eti.
o.:c, aho! mohah
.
khalu vismayan¯ıyo na punaf pratibodhah
.
.
o.::c yady evam
.
tad asti khalu sam¯ agamo ’pi k¯ alena tatraAbhavaty¯ a.
o.::: na khalu m¯ at¯ aApitarau bhartr
.
Avirahit¯ am duhitaram
.
ciram
.
dra-
s
.
t
.
um
.
p¯ arayatah
.
.
o.::, m¯ a evam bhan
.
a! nanu khalv a˙ ngul¯ıyakam eva nidar´sanam.
evam ev’ ˆ ava´syam
.
Abh¯ avino ’cintan¯ıy¯ ah
.
sam¯ agam¯ a bhavat’ ˆıti.
o.::ï sakhi, d¯ ure vartase. ek¯ akin¯ı t¯ avat karn
.
aAsukham anubhav¯ ami.
o.::, bho vayasya! idam a˙ ngul¯ıyakam
.
ken’ ˆ odgh¯ atena tatraAbhavaty¯ a
hastaAsam
.
sargam
.
pr¯ apitam?
o.::: tatas tatah
.
?
o.::, raman
.
¯ıyas te vidhin¯ a dar´sito m¯ argah
.
.
o.::o atha katham
.
d¯ asy¯ af putrasya rohitaAmatsyasya bad
.
i´samiv’ ˆ aitad
a˙ ngul¯ıyakam
.
mukhe pravis
.
t
.
am
.
?
o.::, p¯ urv’Aˆ aparaAvirodh¯ı es
.
a vr
.
tt¯ anto vartate.
o.:,: es
.
a khalu bhart¯ a. y¯ avad enam upasarp¯ ami. jayatu, jayatu bhar-
t¯ a! iyam
.
citraAgat¯ a bhartr¯ı.
,,,
rui iicocxiriox oi suax´ uxraia
o.:,, he he bhoh
.
! svabh¯ avaA madhur” ¯ akr
.
tih
.
khalu. s¯ adhu vayasya
s¯ adhu. kim bahun¯ a? sv¯ ant’Aˆ anuprave´saA´sa˙ nkay” ¯ alapanaAkut¯ u-
halam
.
m¯ am
.
janayati.
o.:,¡ aho, vayasyasya vartik¯ aA rekh¯ ay¯ a nipun
.
at¯ a! j¯ ane sakhy agrato
me tis
.
t
.
hati.
o.:,o ayam eva sarvam
.
pratipanno yad asmi vaktuk¯ am¯ a.
o.:,; bhoh
.
, tisras tatraAbhavatyo dr
.
´syante. sarv¯ a dar´san¯ıy¯ ah
.
. katam”
ˆ atra tatraAbhavat¯ı
´
Sakuntal¯ a?
o.:,ï mohaAdaks
.
as tapasv¯ı. ava´syam
.
na me pratyaks
.
¯ a sakh¯ı.
o.:¡c tarkay¯ ami y” ˆ ais
.
” ˆ avasekaAsnigdhaApallav¯ ama´sokaAlatik¯ am
.
sam
.
-
´srit¯ a ´sithilaAke´saAbandh’A ˆ odvamatAkusumena baddhaAsvedaAbin-
dun¯ a vadanakena vi´ses
.
aAnamitaA´s¯ akh¯ abhy¯ am
.
b¯ ahuAlat¯ abhy¯ am
ucchvasitaAn¯ıvin¯ a vasanen’ ¯ es
.
atApari´sr¯ ant” ˆ ev’ ¯ alikhit” ˆ ais
.
” ˆ atra-
bhavat¯ı
´
Sakuntal¯ a. itar¯ ah
.
sakhyah
.
.
o.:¡¡ ¯ arya M¯ adhavya! avalambasva citraAphalakam
.
y¯ avad gacch¯ ami.
o.:¡, kim aparam
.
atra abhilikhitavyam?
o.:¡o asam
.
´sayam
.
yo yah
.
sakhy¯ a me ’bhirucitaf prade´sas tam
.
tam
¯ alikhituk¯ amo bhavis
.
yat’ ˆıti tarkay¯ ami.
o.:¡, tath¯ a tarkay¯ ami p¯ uritam anena citraAphalakam
.
k¯ urc’Aˆ alak¯ an¯ am
.
t¯ apas¯ an¯ am.
o.:,: kim iva?
o.:,: vanaAv¯ asasya tasy¯ a´s ca saukum¯ aryasya yad anusadr
.
´sam
.
bhavis
.
-
yat’ ˆıti.
o.:,¡ kim
.
nv atrabhavat¯ı raktaAkuvalayaA´sobhin” ˆ agraAhastena muk-
ham apav¯ arya cakitaAcakit” ˆ eva sthit¯ a. he he bhoh
.
! es
.
a d¯ asy¯ af
putrah
.
kusumaAp¯ at
.
acAcaro madhuAkaro ’traAbhavaty¯ a vadanaA
kamalam abhilas
.
ati.
o.:,o bhav¯ an ev’ ˆ avin¯ıt’Aˆ anu´s¯ asi v¯ aran
.
e prabhavati.
,,¡
cu
¯
a\
¯
a
o.:,, abhij¯ atam
.
khalu v¯ aritah
.
.
o.:oc pratis
.
iddhaAv¯ am” ˆ ais
.
¯ a j¯ atih
.
.
o.:o, evam
.
t¯ıks
.
n
.
aAdan
.
d
.
asya katham
.
te na bhes
.
yati? es
.
a unmattakah
.
khalu! ahamapy¯ıdr
.
´sasya sam
.
sargen
.
a¯ıdr
.
´saAvarn
.
a iva sam
.
vr
.
ttah
.
.
o.:o¡ mam’ ˆ apy ¯ atmano ’nantaram
.
gan
.
aya y” ˆ aham id¯ an¯ım
.
pratibu-
ddh¯ a.
o.:oo aho! dh¯ıre ’pi jane rasaf padam
.
karoti.
o.:o; bhoh
.
, citram
.
khalv etat.
o.:;c smr
.
tam
.
tvay¯ a praty¯ ade´saAvim¯ ananam
.
´
Sakuntal¯ ay¯ ah
.
sakhy¯ a dr
.
-
s
.
t
.
am
.
khalu pratyaks
.
am asm¯ abhih
.
.
o.:;: bhart¯ a, devy¯ ah
.
KulaAprabh¯ ay¯ af parijan
.
en’ ˆ antar”A ˆ avacchinnas
te vartik¯ aAkaran
.
d
.
akah
.
.
o.:;, bahuAm¯ any” ˆ asya KulaAprabh¯ a. atha v¯ a n’ ˆ aitat kim
.
cit. vipa˜ n-
cy¯ ah
.
khalv asannidh¯ ana ekaAtantur apy arghati.
o.:;o bhartah
.
, idam ap’ ˆıd¯ an¯ım
.
citra A pratikr
.
tam
.
Pi ˙ ngalik¯ a A mi´sr¯ a
apahastitam
.
yatante.
o.:;; bhinn” ˆ ed¯ an¯ım asy’ ¯ a´s¯ a.
o.:;, jayatu jayatu bhartr¯ı!
o.:ïc apeta bhoh
.
! Medh¯ avin¯ım
.
mr
.
g¯ım iv’ ˆ anusaranty upasthit” ˆ an-
tah
.
ApuraAvy¯ aghr¯ı Pi ˙ ngalik¯ a.
o.:ï: ¯ atm¯ anam iti bhan
.
a!
o.:ï, sakhi, es
.
¯ a pratikr
.
tir api te pratipaks
.
asy’ ˆ ala˙ nghan¯ıy¯ a kriyate.
o.:ï¡ es
.
a enam
.
gopay¯ ami yatra p¯ ar¯ avat¯ım
.
varjayitv’ ˆ aparo na preks
.
a-
te.
,,,
rui iicocxiriox oi suax´ uxraia
o.:ï, jayatu jayatu devah
.
!
o.:ï; bhartah
.
, patraAhast¯ am
.
m¯ am
.
preks
.
ya pratinivr
.
tt¯ a.
o.:ï, deva, am¯ atyo vij ˜ n¯ apayati. arthaAj¯ atasya gan
.
an¯ aAbahulatay” ˆ ai-
kam eva pauraAk¯ aryam aveks
.
itam
.
tad devah
.
sod
.
hum arhati.
o.:,: yad bhart” ¯ aj ˜ n¯ apayati.
o.:,, deva id¯ an¯ım eva Ke´savaA´sres
.
t
.
hino duhit¯ a nirvr
.
ttaApumsavan¯ a
j¯ ay¯ a ´sr¯ uyate.
o.:,, yad deva ¯ aj ˜ n¯ apayati.
o.:,; iyam asmi.
o.:cc
idam
.
n¯ ama atra ghos
.
ayitavyam. deva, k¯ ale ghus
.
t
.
am iv’ ˆ abhi-
nanditam
.
devaA´s¯ asanam
.
mah¯ aAjanena.
o.:c: pratihatam ¯ a´sa˙ nkitam!
o.:c¡ asam´sayam
.
sakh¯ım eva hr
.
daye kr
.
tv¯ a nindito ’nen’ ¯ atm¯ a.
o.:c; imam
.
pattrakam
.
pres
.
ayat¯ a kim
.
sm¯ aritamam¯ atyena yat preks
.
ya
t¯ avad bhartur jal’A ˆ avasekah
.
sam
.
vr
.
ttah
.
? athav¯ a na so ’buddhiA
p¯ urvakam
.
pravartate.
o.::c sadr
.
´sam
.
khalu te vyavadh¯ anam. vayah
.
Asthaf prabhur apar¯ asu
dev¯ıs
.
u anur¯ upaAputraAjanman¯ a p¯ urvaApurus
.
¯ an
.
¯ am anAr
.
n
.
o bha-
vis
.
yat’ ˆıti. na me vacanam
.
pratigr
.
hn
.
¯ ati! athav” ˆ anur¯ upam ev’
ˆ aus
.
adham ¯ ata˙ nkam
.
niv¯ arayati.
o.::, sam¯ a´svasitu sam¯ a´svasitu bhart¯ a!
o.::¡ id¯ an¯ım ev’ ˆ ainam
.
nirvr
.
tam
.
karomi. athav¯ a mahat¯ıbhif punar
devat¯ abhir etad dar´sitam. na ´sakyo may” ˆ anA anuj ˜ n¯ atay¯ a ha-
staA sam
.
sargam
.
netum. bhavatu. yaj ˜ naA bh¯ ag’A ˆ otsuk¯ a dev¯ a eva
tath¯ a karis
.
yanti yath” ˆ ais
.
a r¯ ajars
.
is tay¯ a sahaAdharmaAc¯ arin
.
y¯ a sa-
m¯ agamis
.
yati. karis
.
yanti katham eva tatra preks
.
e. y¯ avad anena
vr
.
tt’Aˆ antena priyaAsakh¯ım
.
sam¯ a´sv¯ asay¯ ami.
,,o
cu
¯
a\
¯
a
o.::, abr¯ ahman
.
yam
.
abr¯ ahman
.
yam
.
bhoh
.
! abr¯ ahman
.
yam
.
!
o.::; tapasv¯ı Pi ˙ nkalik¯ aAmi´sr¯ an¯ am
.
mukhe patito bhavis
.
yati.
o.:,ï dh¯ ava bhoh
.
!
o.:¡c katham
.
id¯ an¯ım
.
na bhes
.
y¯ ami? es
.
a m¯ am
.
ko ’pi pa´sc¯ anAmot
.
itaA
´siroAdharam iks
.
um iva sthiraAbha˙ ngam eva kartum icchati!
o.:¡: jayatu jayatu bhart¯ a! etac char’A¯ asanam
.
hast’A¯ av¯ apaAsahitam.
o.:¡, abhidh¯ ava bhoh
.
! aham bhavantam
.
preks
.
e. es
.
a bhav¯ an m¯ am
.
na
preks
.
ate. marj¯ araAgr
.
h¯ıta iv’ ˆ onduro nir¯ a´so ’smi j¯ıvite sam
.
vr
.
ttah
.
.
o.:,; bhoh
.
! aham anena pa´suAm¯ aren
.
a m¯ arito man¯ ag asmi!
o.:;c yad bhav¯ an ¯ aj ˜ n¯ apayati.
;.: ¯ aj ˜ naptam
.
hi gurun
.
¯ a N¯ aradena yath” ˆ aites
.
v eva divases
.
u mar-
tyaA lok¯ ad utt¯ırn
.
ena r¯ ajars
.
in
.
¯ a Du´syantena bhagavatah
.
PuranA
darasya priyaAk¯ arin
.
¯ a d¯ anavaAvadhaAnimittam
.
gantavyam. y¯ avad
abhyarcy’ ˆ emam
.
hy ¯ apr
.
cchyam¯ ano niks
.
ipati t¯ avad eva may¯ a
vibudhaApratyaks
.
am
.
ma˙ ngalaAnimittam
.
kim api preks
.
an
.
akam
.
dar´sayitavyam. «tat tvam
.
k¯ am api l¯ asik¯ am anves
.
ya sa˙ ng¯ıtaA´s¯ a-
l¯ ay¯ am ¯ agacch’ ˆ eti.» tad y¯ aval l¯ asik¯ am anves
.
ay¯ ami. k¯ a punar es
.
¯ a
gr
.
h¯ıtaAvaran
.
¯ a pa´sc¯ add hars
.
it’A ˆ otkan
.
t
.
hit” ˆ ev’ ˆ eta ev’ ¯ agacchati?
katham
.
priyaA sakh¯ı C¯ utama˜ njar¯ı? tad y¯ avad etay¯ a sah’A ˆ op¯ ad-
hy¯ ayaAsam¯ıpam
.
gacch¯ ami.
;.¡ aho! mah¯ aA prabh¯ avo r¯ ajars
.
ir Dus
.
yantah
.
. aho, mahaA balah
.
sa
hato Durjayo d¯ anavaAbalah
.
. athav¯ a Dus
.
s
.
yanta eva yena s¯ arat-
hiAdvit¯ıyen’ ˆ aiva anekaApraharan
.
aAs¯ ahas¯ ani vikiran ks
.
an
.
en’ ˆ aiva
nihatah
.
sa DurjayaAd¯ anavaAbalah
.
;., sakhi, C¯ utaAma˜ njar¯ı. utkan
.
t
.
hit” ˆ eva laks
.
yase?
;.o katham, P¯ arij¯ ataA ma˜ njar¯ı? sakhi, sarvam
.
kathayis
.
y¯ ami. tvam
.
t¯ avat kutra prasthit” ˆ eti praks
.
y¯ ami?
,,;
rui iicocxiriox oi suax´ uxraia
;.; sakhi, sa˙ nks
.
epena kathayis
.
y¯ ami. aham
.
khalu r¯ ajars
.
er Du´syan-
tasya d¯ anavaAvijayaAvyapade´sen’ ˆ adya ma˙ ngalaAnimittam
.
kim
api preks
.
an
.
akam
.
dar´syata ity up¯ adhy¯ ayasy’ ¯ aj ˜ nay” ˆ obhe eva
sak¯ a´sam.
;.ï ¯ as¯ıd avasara etasya. id¯ an¯ım
.
punar martyaAlokam
.
prasthita eta-
smin mah¯ aAr¯ aje kasya dar´syate?
;., sakhi, kim
.
Mahendrasya manoArath¯ an samp¯ adya gata ut’ ˆ an-
yath” ˆ eti?
;.:c sakhi, ´sr
.
n
.
u! ady’ ˆ aiva goAsargaAsamayena varam
.
DurjayaAd¯ anavaA
j¯ıvitaAsarvasvaA´ses
.
am gr
.
h¯ıtv¯ a y¯ avac ca trida´saAvil¯ asin¯ı saArasaAhr
.
-
day¯ any avanim abhiprasthitah
.
. ata´s ca me hars
.
’A ˆ otkan
.
t
.
h¯ an¯ am
.
k¯ aran
.
am.
;.:: sakhi, tvay¯ a priyam
.
niveditam
.
yad ev’ ˆ op¯ adhy¯ ayena Puru A
vam
.
´saAr¯ ajars
.
ef puratah
.
k¯ aryam
.
kartum¯ aj ˜ naptam. tad eva g¯ıtam
.
kr
.
tv” ˆ atr’ ˆ aiva kurvah
.
.
;.:: yat te rocata evam
.
tat. yad eva g¯ıtam
.
may¯ a lapitam
.
tvay¯ a v¯ a
saha nr
.
ty¯ avah
.
.
;.:¡ aAvis
.
ayaAgamanam
.
kam
.
can’ ˆ anyam
.
ca saAr¯ agam ¯ alim
.
madhuA
samayah
.
/ anyam
.
karoti vis
.
an
.
n
.
am
.
p¯ at
.
aly” ˆ asy¯ a bh¯ umy¯ ah
.
.
;.o¡ m¯ a khalu m¯ a khalu capalat¯ am
.
kuru! sim
.
ha, katham
.
katham
ev’ ¯ atmanaf prakr
.
tim dar´sayasi.
;.oï jr
.
mbha! jr
.
mbha, re sim
.
ha! dant¯ ani te gan
.
ayis
.
y¯ ami.
;.o, avin¯ıta! kim iti no ’patyaAnirvi´ses
.
¯ an
.
i sattv¯ ani viprakaros
.
i. pra-
vartate te sam
.
rambhah
.
. sth¯ ane khalv r
.
s
.
i A janena «Sarva A da-
mana» iti kr
.
taAn¯ amaAdheyo ’si.
;.;: es
.
¯ a kesarin
.
¯ı tv¯ am
.
langhayati yady asy¯ af putrakam
.
na mu˜ ncasi.
;.;: aho bal¯ıyah
.
khalu bh¯ıto ’smi!
;.;, vatsaka! mu˜ nca etam
.
b¯ alam
.
mr
.
gA ˆ endram
.
! anyam
.
te kr¯ıd
.
ana-
kam
.
d¯ asy¯ ami.
,,ï
cu
¯
a\
¯
a
;.;o kutra sah
.
? dehi ma enam!
;.;, suvrate, na ´sakya es
.
a ¯ a´sv¯ asaAm¯ atren
.
a sam
.
yamitum. tad gaccha.
m¯ amaka ut
.
aje Ma˙ nkanakasya rs
.
iAkum¯ arakasya varn
.
akaAcitrito
mr
.
ttik¯ aAmay¯ urakas tis
.
t
.
hati. tam asy’ ˆ op¯ ahara.
;.ïc tath¯ a!
;.ï: t¯ avad anen’ ˆ aiva kr¯ıd
.
is
.
y¯ ami.
;.ï, bhavatu. na m¯ am gan
.
ayasi. ko ’tra r
.
s
.
i A kum¯ arak¯ an
.
¯ am? bha-
draA mukha! ehi, mocaya t¯ avad anena durmocaA hast’ A ˆ agren
.
a
d
.
imbaAkarin
.
¯ a b¯ adhyam¯ anam
.
b¯ alaAmr
.
gendram.
;.ïï bhavatu, na khalv ayam r
.
s
.
iAkum¯ arah
.
.
;.,: ¯ a´scaryam, ¯ a´scaryam!
;.,, asya b¯ alasy’ ˆ asam
.
baddhe ’pi bhadraAmukhe samv¯ adiny ¯ akr
.
tir
iti vismit” ˆ asmi. api c’ ˆ atyantaAparicitasy’ ˆ ev’ ˆ aApratiloma es
.
a te
samvr
.
ttah
.
.
;.,, PuruAvam´sah
.
.
;.,, nanu yath¯ a bhadraAmukho bhan
.
ati. apsarah
.
Asam
.
bandhena pu-
nar asya b¯ alasya janany atr’ ˆ aiva guros tapoAvane pras¯ ut¯ a.
;.:c: kas tasya dharmaAd¯ araAparity¯ agino n¯ amaAdheyam
.
grah¯ıs
.
yati.
;.:c, Sarvadamana! ´sakuntaAl¯ avan
.
yam
.
pa´sya.
;.:c¡ kutra m¯ at¯ a.
;.:c, n¯ amaAs¯ adr
.
´syena va˜ ncito m¯ atr
.
Avatsalakah
.
.
;.:co vatsa,
´
Sakuntal¯ a bhan
.
ati: «asya kr
.
trimaAmay¯ urasya raman
.
¯ıyat-
vam
.
pa´sy’ ˆ eti.»
,,,
rui iicocxiriox oi suax´ uxraia
;.:cï attike, rocate me bhadr¯ alaka es
.
a may¯ urah
.
.
;.:c, aho raks
.
¯ aAkaran
.
d
.
akam asya man
.
iAbandhe na dr
.
´syate.
;.::: m¯ a khalv enam ¯ alambis
.
t
.
h¯ ah
.
! katham
.
, gr
.
h¯ıtam ev’ ˆ anena?
;.::, ´sr
.
n
.
otv ¯ aryah
.
. mah¯ aAprabh¯ av” ˆ ais
.
¯ a khalv Apar¯ ajit¯ a n¯ ama mah”A
ˆ aus
.
adhir asya d¯ arakasya j¯ ataA karmaA samaye bhagavat¯ a M¯ ar¯ı-
cena datt¯ a. et¯ am
.
kila m¯ at¯ aApitar¯ av ¯ atm¯ anam
.
v¯ a varjayitv” ˆ aparo
bh¯ umiApatit¯ am
.
na gr
.
hn
.
¯ ati.
;.::, tatah
.
sarpo bh¯ utv” ˆ anyam
.
da´sati.
;.::; aneka´sah
.
.
;.::, sam
.
yate, ehi. imam
.
vr
.
tt¯ antam
.
niyamaAnirvr
.
t¯ ay¯ ah
.
´sakuntal¯ ay¯ ah
.
niveday¯ avah
.
.
;.::c evam
.
kurvah
.
;.::: mu˜ nca m¯ am! y¯ avan m¯ atr
.
Asak¯ a´sam
.
gamis
.
y¯ ami.
;.::, mama khalu t¯ ato Dus
.
yantah
.
, na tvam.
;.::o vik¯ araA k¯ ale ’pi prakr
.
tiA sth¯ am
.
t¯ am
.
SarvaA damanasy’ ˆ aus
.
adhim
.
´srutv¯ a na me ¯ a´sv¯ asa ¯ atmano bh¯ agaAdheyes
.
u. athav¯ a yath¯ a me
’ks
.
aAm¯ alay” ¯ akhy¯ atam
.
tath¯ a sambh¯ avyata etat.
;.::, na khalv ¯ aryaAputra iva. tatah
.
ko nu khalv es
.
a kr
.
taAraks
.
¯ aAma˙ n-
galam d¯ arakam
.
me hastaAsam
.
sargen
.
a d¯ us
.
ayati.
;.:,c m¯ atah
.
! es
.
a ko ’pi parako m¯ am
.
m¯ anus
.
af putraka ity ¯ alapati.
;.:,: hr
.
daya, sam¯ a´svasihi sam¯ a´svasihi! prahr
.
tya nirvr
.
ttaA matsaren
.

ˆ anukampit” ˆ asmi daivena. ¯ aryaAputra ev’ ˆ ais
.
ah
.
!
;.:,, jayatu jayatv ¯ aryaAputrah
.
. . . !
;.:,ï m¯ atah
.
ka ev’ ˆ ais
.
ah
.
?
¡cc
cu
¯
a\
¯
a
;.:,, vatsa, bh¯ agaAdhey¯ ani me pr
.
ccha.
;.:¡: uttis
.
t
.
hatv ¯ arya A putrah
.
. nanu mama sukha A pratibandhakam
.
pur¯ aA kr
.
tam
.
tes
.
u divases
.
u parin
.
¯ am’ A ˆ abhimukham ¯ as¯ıd, yena
s’Aˆ anukro´so ’py ¯ aryaAputro mayi tath¯ aAvidhah
.
sam
.
vr
.
ttah
.
.
;.:¡: atha katham ¯ aryaAputren
.
a smr
.
to ’yam
.
janah
.
?
;.:¡o ¯ aryaAputra! nanu tad angul¯ıyakam.
;.:¡ï sam¯ıhitam
.
kartum
.
ks
.
an
.
ena yat tad” ¯ aryaA putrasya pratyayaA
karan
.
e durlabham
.
me sam
.
vr
.
ttam.
;.:,c n’ ˆ asya vi´svasimi. ¯ aryaAputra ev’ ˆ aitat p¯ arayatu.
;.:,, arh¯ amy ¯ aryaAputren
.
a saha sam¯ıpam
.
gantum?
;.:oc sambh¯ avan¯ıy” ˆ asya khalv ¯ akr
.
tih
.
.
;.:o; apratiratho bhava!
;.:oï d¯ araken
.
a sahit¯ a p¯ adaAvadanam
.
karomi.
;.:;: j¯ ate, bhartur bahuA mat¯ a bhava. ayam
.
ca te dehaA jo vatsaka
ubhayaApaks
.
am ala˙ nkarotu. tad upavi´sata.
;.:;: sarve Praj¯ aApatyAabhimatam ¯ asanam upavi´santi.
;.:ï, dis
.
t
.
y” ˆ aAk¯ amaApraty¯ ade´sy ¯ aryaAputrah
.
. na punah
.
saptam ¯ atm¯ a-
nam
.
smar¯ ami. athav¯ a na ´sruto dhruvam anyaAhr
.
dayay¯ a may¯ a
´s¯ apah. yatah
.
sakh¯ıbhy¯ am aty¯ adaren
.
a sam
.
dis
.
t
.
” ˆ asmi bhartur
a˙ ngul¯ıyakam
.
dar´say’ ˆ eti.
;.:,: anay¯ a nandan¯ aAmanoArathaAsampatty¯ a Kan
.
vo ’pi t¯ avac chrutaA
vist¯ arah
.
kriyat¯ am. Menak” ˆ eh’ ˆ aiva san
.
n
.
ihit¯ a.
;.:,, manoAgatam
.
me mantritam
.
bhagavaty¯ a.
¡c:
Notes
rui iicocxiriox oi suax´ uxraia
Bold references are to the English text; bold italic references are to the
Sanskrit text. An asterisk (*) in the body of the text marks the word or
passage being annotated.
:.: The eight forms of
´
Siva (as
.
t
.
aBm¯ urti) are: :. fire, :. the offering
(havis n.), ,. the sacrificer (hotr¯ı f.), ¡. sun, ,. moon, o. space,
;. earth, ï air.
:.:c Here I print the particle n
.
u, preceded by a nasal, and followed
by edam
.
, reduced to a bare n
.
enclosed by two center-dots,
although one could argue that it really is in sandhi with the
preceding nasal and/or the following edam
.
. The alternative of
hyphenating n
.
’ seemed potentially too confusing in viewof the
negative particle n
.
a, even though the Kashmirian text usually
would write n
.
a edam
.
. I also opted against compounding as in
adhav¯ a.
:.:, The most natural interpretation of this verse is that the ladies
are kind because they make themselves even more beautiful by
such graceful adornment.
:.:o An allusion to
´
Siva’s mythological feat of chasing the sacrifice
(yaj˜ na) fleeing in the guise of a deer.
:.,c Uneven / udgh¯ atin¯ı: This is commonly translated as “churned
up,” but it is also possible to interpret as “rising.” This might
even be contextually more suited: the king is rising to a higher
plane of being by entering the environs of the sacred hermitage.
His actions there have consequences that are more far-reaching.
:.o; To the right / daks
.
in
.
ena: see P¯ an
.
ini :.,.,: enap¯ a dvit¯ıy¯ a for the
use of the accusative in conjunction with an adverb in -ena.
:.ï, Verandah: Cf. G¯ ath¯ asapta´sat¯ı ¡ïd, ¯ alim
.
dae vasio: “he spent the
night (vasio) on the verandah [by the gate],” ¯ alim
.
do bahirdv¯ a-
raprakos
.
t
.
hah
.
.
:.,; The king is here worried she may be a brahmin, and thus be-
yond his marital aspirations. In the “Maha·bh´ arata”’s version of
¡c¡
xoris
the tale Shak´ untala explicitly boasts to him that she is superior,
for she has inherited her mother’s power to fly. InKali·dasa’s tale
she lacks this power, she is more human than divine
´
Apsaras.
:.:co Pat
.
’B ˆ antaren
.
a: Moxiii-wiiiiaxs dictionary alleges that this
is probably a mistake for pat
.
¯ antam
.
, thus “standing on the edge
of her garment,” which seems very improbable.
:.::, The king is not of course lying. The expression “office of
dharma” (dharm¯ adhik¯ ara) is a transparent metaphor for the
duties of the king, and the P´ aurava he means is of course his
own father who bestowed the crown upon him. Similarly “Ve-
davit” might have been his name.
:.:,, The sage in question is the warrior sage Vi´sv¯ amitra.
:.:¡ Lit. “the moment is taken [by me],” which might either intend:
“I await,” or, “It’s now or never!” The king does however delay
his revelation.
:.,, Probe the commander’s frame of mind: lit. “I will follow the
commander’s thoughts.”
:.o: Or str¯ıBratna might here stand for Lakshmi, the Goddess of
beauty and fortune. Thus: “you who care not even for the
Goddess of beauty and fortune.”
:.::¡ Cakk¯ ak¯ı: I take the term as intending both the epic “wheel-
guard” (cakra B goptr
.
), a warrior who protected the chariot’s
wheels and a “goose” (cakr’Bˆ a˙ nk¯ı).
:.::o Ajj¯ u: This form is not given in most dictionaries. The com-
monly encountered Ajjuk¯ a normally denotes a “courtesan.”
:.::: It is also possible that what is meant is “the fourth day after
today.”
:.::, Tri·shanku: The mythical king stuck midway between heaven
and earth. See R¯ am¯ ayan
.
a :.,;–oc.
,.o K¯ amay¯ ana-: On the originality of this unusual present partici-
ple see Goooaii & Isaacsox (:cc,:,;c).
¡c,
rui iicocxiriox oi suax´ uxraia
,.,¡ H¯ ava is one of the ten types of coquetry.
,.,¡ A˙ ngaBrecit’B ˆ ardhe: This reading appears to suggest that Sha-
k´ untala has shyly shrunk away from Dushy´ anta.
,.:c, King: the word ¯ aryaputra denotes both “king” and also “hus-
band.”
,.::, I take the khalu as an interrogative particle. The Bengali recen-
sion makes the question clearer by reading katham in place of
tath¯ a (p¯ ada b).
¡.:, Considerations of ritual purity forbid her to just pick up the
flowers that have fallen to the ground.
¡.,, Or emend: gun
.
d
.
¯ a, cf. the Bengal recension.
¡.o¡ Prat¯ıs
.
t
.
a: =a˙ ng¯ıkr
.
ta.
¡.::, Or: “someone dear.”
,.::, P¯ an
.
ini :.:.,ï: t¯ apasaBvr
.
ddh¯ a = vr
.
ddhaBt¯ apas¯ a.
o.ï Brother-in-law: The police captain is the king’s brother-in-law.
o.:, The Prakrit form

´sakula

can in Sanskrit be either sakula,
“family,” or it can remain ´sakula meaning “fish;” hence: “you
will see fish-faces again.” If this pun is intended, the guard is
insulting the fisherman’s family.
o.¡; Seasonal blessing: or “an instant blessing.” The red and white
colors are auspicious signs of the fertility of spring.
o.¡, The first gardener’s name, Para·bhr´ıtika, means “female cuck-
oo.”
o.,, Or, if the word sam
.
sth¯ ana is interpreted in consonance with
the other recensions the sense would be rather “such (i.e. the
painting) is the abode of my heart.”
o.,, The Bengal recension’s reading is here smoother: sarvam idam
.
smar¯ ami
´
Sakuntal¯ ay¯ ah
.
prathamaBdar´sanaBvr
.
tt¯ antam
.
.
o.::¡ The Kashmirian recension presents the syntactically most diffi-
cult version of this verse, the predicate (vidheya) being predom-
¡co
xoris
inant. It is possible that the Mithil¯ a recension’s sudat¯ı (“fine-
toothed” for tad at¯ıtam) is original, for there exists ample moti-
vation for redactors to remove it. The rhetorician V´ amana had
taught that the grammatical form sudat¯ı is unacceptable (K¯ a-
vy’Bˆ ala˙ nk¯ araBs¯ utraBvr
.
tti ,.:.o;: sudatyB¯ adayah
.
pratividhey¯ ah
.
.) In
p¯ ada c an original reading of s” ˆ asannivr
.
ttyai sudat¯ı mam’ ˆ ais
.
a
can account for all of the variants. Note how appropriate is
the use of “fine-toothed” for the juxtaposition with the cliff
precipice.
o.:¡: The king means that the buffoon might just have noted that he
has smeared the sketch of Shak´ untala by repeatedly touching
it out of affection. Kali·dasa’s phrasing makes it sound as if he
is talking about the signs of love-making.
o.:,, Note that the colors of these two ornaments are red and white,
the colors of an Indian wedding.
o.:,: Dhana·vriddha means “abounding in wealth.”
o.:cc This at least is the sense the redactor presumably intended.
The dictionaries do not seem to give this sense for ghut
.
t
.
ham
.
,
however.
o.:c; Kax;iiai reads as soaBbuddhiBpuravam
.
.
;.: gahidaBvaran
.
¯ a pacch¯ a: an emendation by Burkhard. I am un-
certain of the precise significance of varan
.
a here; perhaps it is
a “gift,” or a “favor.”
;.: The sage N´ arada is celebrated as a great authority on music
and dance.
;.:: The courtly circumlocution implies that Indra removed the
garland from his own neck.
;.o, Sarva·d´ amana means “All-tamer.”
;.;ï Webbed fingers were considered the mark of a universal em-
peror.
¡c;
rui iicocxiriox oi suax´ uxraia
;.:c¡ The Prakrit phrase used by the second nun in the previous
speech was sa¨ untaBlavan
.
n
.
am
.
which the boy is interpreting as
Sa¨ untala. . . .
;.:,¡ R´ ohini is the star Aldebaran.
;.:o, Twelvefold brilliance: The twelve months.
;.:o, Soul: The V´ amana incarnation of Vishnu.
¡cï
Index
i
´
axsuasa’s iixc
Sanskrit words are given in the English alphabetical order, according to the
accented CSL pronunciation aid. They are followed by the conventional
diacritics in brackets.
ablutions, ,,:
acuity, ,:,
advertisement, :c;
aerial chariot, ::
aesthetic sentiments, ,c
aesthetics, ,,
affairs, :,;
age, ï:
air, ,,:
alarm, ;,
aloe, ::,
altar, :;:
amulet, ,¡:, ,¡,
Anas´ uya (Anas¯ uy¯ a), ;:, ;,, ï:,
ï;, :,;, :¡:, :¡,, :ï,, :ï;,
:ï,, :,,, :c,, ::,
ancestors, ,c:
animals, ,:, ,,,
antelope, ,,, ,,, ,,
anthill, ,:,
archery, ,¡
arrow, o:, :,:
ascetics, ::,, ,:;
ashes, :,,
Ashva·ghosha (A´svaghos
.
a), ,,
astrology, ,¡
astronomy, ,¡
attainment, :o,
audience, ,:, ,,, ,:;
austerities, ,:;, ,,:
authority, ¡c;
av´ asa (¯ av¯ asa), :c,
b´ akula (bakula), ;:, ;,
banner, ,,
bark
-cloth, ;:, ,:
-garment, o,, ;:
bear, :c;
beards
bushy, :ï,
beasts of prey, :c,
beauty, ï:
bees, ,,, ;,, :o;, :,:, :,,
begetter, ï,
belly, :¡,
Bh´ arata, :¡
birds, :c,, ,:,
black antelope, ,,
bliss, :,,
blossoms, ,,, ï,
boar, ,,, :c,
bodies, ,:, :c,
bodyguard, ,,
boulder, :;:
bow, ,,, :c,, :,:, ,:,
-bearer, ,,
-string, o,, :,:, :¡,
bowl, :o;
boy, ,,,, ,,;
Bodhi·sattva, ::
bracelet, :,;, :¡,, :,,
brahmin, ,c,, ¡c¡
braid, ,¡,
breasts, ;:, ï,, :,,, :,,, :,:, ,,,
¡:c
ixoix
breath, ï,
bride, ;,
-groom, ;,, ï,
brilliance, ï,, :c,, ,,,
brush, :ï,
brushwork, :ï;
bud, :,,
buffaloes, :c,
business, :,;
buttocks, :c:
cakes, :c,
canal streams, o;
canopy, :c,
caravan-train, :,,
carp, :ï,
caste, ï:, ::;
cat, ,c,
caves
jewelled, ,,:
celibacy, ï,
center-dots, ¡c¡
cerebration, ::;
ceremony, ::,
birth, ,¡:
chakra·vaka (cakrav¯ aka), :c,
chakra·vaki (cakrav¯ ak¯ı), :c;
champion, ï:
character, ,,:, ,¡,
characters, :¡,
chariot, o:, ,,, ,:,
charioteer, ,::
chatterbox, ::;
cheeks, :,,, :¡,
chemistry, ,¡
chief queen, ::
child, :::, ,,,
childlessness, ,,,
children, ,:, ,,,
citizen, :,;
city, ,,
claws, ,::
cloister, :,,
cloth, ,,
clothes, ,¡,
clouds, :o:
region of, ,:,
comedy, :¡
command, :,:
companions, o:, ::,, :ï;
company, :,,
complications, :;:
concentration, ï,
confidence, ::,
consorts, :,:
constellation, :¡:
contamination, ,,
conversation, o,, :c,, :,,
copses, o,
coral-trees, ,:,
cottage, :o,
courtesy, ï:, :,:
cramp, ,,
creator, ,:, ::,
crescent, :¡:
crests, o:
crown prince, ::;
cud, :c,
cure, :¡;
curiosity, ï,, ::,
curse, :,, :c, ::, :,, :ï:, :,,, ,,,,
,,;, ,o:
dance, ¡c;
Dandin (Dan
.
d
.
in), ,,
¡::
i
´
axsuasa’s iixc
darbha (darbha), o;, ::;, :,:, :ï,,
:,;, :c:
darkness, ,::, ,:,
daughter, o,, o,, ï,, ï,, :,;
death, :o,, ,c,
debt, ï,
declaration, ::;
decorum, ï,, ::,, :¡;, :,;
deed, ,::
deer, ,,, :c,
delay, ::,
demeanor, ï:
demons, ::,, :,:, :;:, ,::, ,:;, ,::
denial, :o,
departure, :,,
desire, ï,
devotion, o,
Dhana·pala (Dhanap¯ ala), ,,
Dhana·vriddha (Dhanavr
.
ddha),
:,;
Dhara (Dh¯ ar¯ a), ,,
dharma (dharma), ::,
difficulties, :o,
disappointment, ,¡:
disease, :,;
dismissal, :,:
distrust, :o,
disturbance, ::;
dolt, :c;
door-keeper, ::,
doubt, ;,
downpour, :o:
drama, :¡
dramaturgy, ,¡
drawing board, :ï,
dream, ,¡, :,,
dress, o;
droplets, :ï;
D´ urjaya (Durjaya), ,::
durva (d¯ urv¯ a), :ï,
Durv´ asas (Durv¯ asas), :;,, :ï,, ,,,,
,o:
Dushy´ anta (Dus
.
yanta), ;;, :::,
::,, :,:, :ï,, :c,, ::,, :¡,,
¡co
dust, ,:
duties, o,, ::,
eagerness, ,,
ear, ï,
ears, o:
earth, ï,, ,:,, ¡c,
eavesdrop, :,,
eclecticism, ¡c
effulgence, :c,
elephant, :c,
-lore, ,¡
emaciation, :,,
emperor, ,,,
end, :o,
enjoyment, ,,
entertainment, :¡
enthusiasm, :c;
entourage, :,,
equestrian science, ,¡
erotic sentiment, ,:
escarpments, o,
esteem, ,:,
expectation, ï;
experts, ,:;
eyebrow, :¡,
eyelashes, :o,
eyes, :c:
face, ;,, :o,
¡::
ixoix
family, ,c,
tradition, ,,,
fans, :,,
fantasy, ï,
fate, o,, :,,
father, o,, ,,;
fawns, o;, :c,, :,,, ::;
fear, ::,
feet, ;,, :,,
fellies, ,:,
filaments, :,:, :,:
fine-toothed, ,o
finger, ï,
fingernails, ::,, :¡,
fire, ,,,
firewood, ::, o,, ;:
firmness, :,,
flower, :ï;
-arrows, :,,
-bandit, ;;
bed, :,:
-raider, :,:
-tree, o,
footprints, :,,
ford, ,:
forebody, ,,
forest
creeper, ;:
-dweller, :ï,
girl, ::
ranger, :c,, :c,
fortune, :¡,, ,:;
foundational emotion, ,c
frond, ::,
fumigants, :c,
funerary libations, :¡:
gambling, ,¡
Ganges, ,:,
garden vine, ;:
garment, :,;, :ï;, ¡c,
gate, ::,
way, o;
gathering, ,,
G´ autami (Gautam¯ı), ï;, ,,, :,:,
:,:, :c,, ::,, :¡,
gemology, ,¡
general, :c,
gentleness, ï:
geography, ,:,
gift, ï,
girdle, :ï;
girl, :o;
glances, :c,
Gods, ,:, ;;
of love, ï;
Golden Peak, ,:;
goose, ¡c,
grammar, ,¡
grammarians, ,,
grief, :,,
groom, ï;
growl, :,:
guest, ;,, :,:
guildsman, :,,
guru, ,,,
Hamsa·p´ adika (Ham
.
sapadik¯ a),
::,
harvest, ::;
heart, ;,, :,,, :;:, ,,,
heaven, ::,, ,::, ,:,, ¡c,
hem, :,;
herb
potent, ,¡:
¡:,
i
´
axsuasa’s iixc
herd, ,,
hermitage, ::, o:, o,, ,,, :c;,
::;, :::, ::;, ,:;, ,,;
-dweller, ;:
hermits, ::,
hero, ï,
hesitant, :;:
Him´ alaya, o,, ::,
honor, ,::
hook, :ï,
hooves, ,:
hope, ,:, :,,
horns, :c,
horror, :ï,
horse-cart, ,,
hostility, :::
human, ,¡,
hunting, :c,, :c,, :c;
dress, :c,
husband, ,¡,
imperfection, ,¡
inclinations, ;,, ï;
independence, ,:
Indra, o:, ,::, ,:,, ,:;, ,:,, ,::,
,:,, ,:;
inflammation, :,;, :¡;
´ıngudi (i˙ ngud¯ı), o,, ::,, :c,
inheritance, :,,
inhibition, ;:
inmates, :::
instruction, :c,
Invincible, ,¡:
invisibility, ,c,
Ionian women, ,,
jackal, :c;
jasmine, ;,, :::
jaws, :c;, ,,,
jest, ï,, ::;
jewel, ::,
joints, :c,
journey, ::;
joy, :,,
justice, :¡, ,,,
juxtaposition, ,o
Kala·nemi (K¯ alanemi), ,::
Kanva (Kan
.
va), o,, :c,, ::,, :,,
K´ ashyapa (K¯ a´syapa), o,, o,, ;:,
;,, ï,, :::, :::, :ï;, :,,, :,,,
::,, ::,, :,,
K´ aushika (Kau´sika), ï,
K´ eshava (Ke´sava), :,,
killing, :¡
kindness, :o;
kinsfolk, :,:
Kula·prabha (Kulaprabh¯ a), :,,,
:,,
ladies, :ï;, :,:
languor, :,,
lap, :,,, ,,;
laughter
causeless, ,,;
leaves
golden, ,,:
hut made of, ;,, ,,
letter, :,;
lexicography, ,,
life-breath, :,:
limbs, :c,, :,,
lineage, ,:,, ,,,
lion, ,,,, ,,;
cub, ,¡:
lioness, ,,,
literati, ,:
¡:¡
ixoix
lotus, :,,, :o;
lotus fibers, :¡;
love, :¡
-in-separation, ,:
letter, :;:
-making, ¡c;
lovers, :,,
lovesickness, :¡:
lunar day, ::,
lute, :,,
m´ adhavi (m¯ adhav¯ı), ;,, :,,, :c:
Madh´ avya (M¯ adhavya), :c;, :::,
::,, ::,, :::
malady, :,;
Malava (M¯ alava), ¡c
male
last, :,,
malice, :,,
M´ alini (M¯ alin¯ı), o,, :,,, :,,
Mama, ::,
M´ ammata (Mammat
.
a), ,,
man
resolute, :,,
Man-lion, ,::
mango, ;,, :¡:
manuscripts, ,;
marital aspirations, ¡c¡
marked by death, :,
marriage, ï;
melancholy, ::,, :,,
melody, ,,, ,,
memory, :,,
menace, :,:
M´ enaka (Menak¯ a), ï,, ,,,
merchant, :,;
merit, o,, ::,
metallurgy, ,¡
medicine, ,¡
milk, ,c,
minister, ,:,
minstrels, ::,
mirage, :ï;, ,¡:
misdemeanor, ,,,
missiles, ,:;
missive, :,;
mistress, :o:
Mithila, ,;
money, :¡
monster, ,::
moon, ;,, :,,, :¡;, :,:
-ford, o,
mortals, ï,
mother, ::, ,¡:, ,¡,
motion, ,:;
mountains, ,:,
-streams, ,,
mouse, ,c,
movements, ï;
music, ¡c;
musta (must¯ a), :c,
name, ,,,
-seal, ï,
N´ arada (N¯ arada), ,::, ,:;
narrative, ::
nasal, ¡c¡
nava·m´ alika (navam¯ alik¯ a), o,,
;,
neck, ,,
necklace, :,:
nectar, :,:
pool of, ,:,
news, ,,,, ,o:
nonsense, :c;
¡:,
i
´
axsuasa’s iixc
nymph, ï,, ,,,
oblations, ::,, :,;
obstacle, ,,
ocean, :::, ,:,
oil, ::,
origin, :o,
ornaments, o;, :o:, :ï,
pain, :,,
paintbox, :,,
painting, :ï,, :,,
board, :ï,
palaces, ,,,
parallelisms, ::
paralysis, :c:
parasites, :c,
pardon, :,:
parent, ï,, ::,
parrots, o,, :¡,
passion, ::,, :,,, :¡,
p´ atala (p¯ at
.
ala), ,,
path, ::,, :ï;
patriarch, o,, ;,, :,:
patriline, ï,
P´ aurava (Paurava), ï:, :¡:
peacock, ,,,, ,¡:
peahen, :¡,
penance, ::;, ,,:, ,¡,, ,,,
grove, o,, ;,, ,,, ,,, :c,, :ï,,
,:,
peril, ,:
permission, :,;
person, :o,
perspiration, ï,, :ï;
perturbation, ,,
physiognomy, ,¡
picture, :,,
P´ıngalika (Pi˙ ngalik¯ a), :,,
P´ıshuna (Pi´suna), ,:,
plantain petals, :,,
plaques, ¡:
pleasure, :¡, :c:
grove, :ï,
plot, ::
structure, :¡
poem, :¡,
politics, ,¡
pond, :¡;
portentous twitch, o;
portrait, :ï;, :,,, :,;
post, ,:,
pot, ï,
potency, :,:
power, :,,
powerless, :;:
Prabh´ asa (Prabh¯ asa), o,
Praja·pati (Praj¯ apati), ,:;
Prakrit, ,;
Prakrit grammarians, ,,
Prav´ aha-wind, ,:,
preceptor, ,:;
precipice, :,
predecessors, ::,
pregancy rite, :,,
pretext, ::;, :o:
priests, :,:
Priyam·vada (Priyam
.
vad¯ a), ;:, ;,,
ï;, :,:, :,,, :¡;, :¡,, :,,,
:ï,, :c:
promise, :o,
prospect, :,,
protection, ;;, :::, :,,
protector, ::;, :,,
providence, :,,
¡:o
ixoix
provisions, ::;
public, :,
purification, ,,
Puru, o,, ;;, ::,, :,,, ,:,, ,,,
queen, :,;
mother, ::,
question, ï,, ï,
rain, ,:,
rays, :,,
R´ aghava·bhatta (R¯ aghavabhat
.
t
.
a),
,;
rebuttal, ,¡,
recension, ,¡
recreation, :c;
refuge, :,,, :,,, ,,;
regard, ,::
region
heavenly, ,:,
regret, ,:,
reins, o;
rejection, :¡,
religion, ï:
religious duties, ï;, ,¡,
religious labor, ;,
remedy, :,;
remorse, :o,
resemblance, ,,,
respect, :ï;
retinue, ,,
righteousness, ï:, :,:
ring, :ï,, :ï,, ,,;
rite, ;,, ,,,
ritual leftovers, :¡,
ritual offering, ,:
river, ::,, :¡:, :ï;
rock, ::,
romances, :,;
roots, o;, :,,
royal apartments, ;:
royal duties, :c,
royal estate, :,;
royal sage, ï,
ruling, :,;
rustic, ::,
sacred law, ,c:
sacrifices, o,, ::,
S´ agara·nandin (S¯ agaranandin),
¡,
sages, ::,
perfected, ,:,
Samy´ ata (Sam
.
yat¯ a), ,¡,
sand, :,,
sandal, ,::
-tree, ,,;
scars, :¡,
scent, :o;
scholiasts, ,:
scion, :¡:
scribal errors, ,:
sea, :¡:
season, ,,
seed, ,,,
seer, o,, ,,,, ,,;
self-deception, :ï;
separation, ,¡,
servility, :o,
Seven-leaf tree, ;,
shade, ,,, :c,, :,,
Shak´ alya, ,,:
Shak´ untala (
´
Sakuntal¯ a), o,, o,,
;,, ;,, ;,, ï:, ï,, ï,, ,:, ,,,
¡:;
i
´
axsuasa’s iixc
,,, ,,, :::, ::,, :,:, :,,, :,;,
:¡,, :¡;, :,;, :o,, :o;, :;,,
:;;, :;,, :ï,, :ï;, :ï,, :,:,
:,,, :,,, :,,, :c:, :c,, :c;,
:c,, :::, ::,, ::,, :,,, :,,,
:,,, :¡:, :¡,, :,,, :,,, ¡co
shami (´sam¯ı), :ï,
Sharm´ıshtha (
´
Sarmis
.
t
.
h¯ a), :,;
Sharnga·rava (
´
S¯ ar˙ ngarava), :ï,,
:,;, :,,, :c:, :c;, ::,, :¡,
shells, ¡:
shipwreck, :,;
shir´ısha (´sir¯ı´sa), ï,, :,,
Shiva (
´
Siva), ,,
shoulders, :,,
shrubs, :o;
shy´ amaka (´sy¯ amaka), :c,
sight, :,;
signet ring, :ï,
signs, ¡c;
sky, ,,
slave, :c,
sleep, ,,
sleeplessness, :¡,
snake, ,¡,
soldiers, :c,
Soma·rata (Somar¯ ata), ::,
son, ,¡,
song, ,,
sorcery, ,¡
spark-state, ,,,
spectator, :,, ,:
speed, o:
spirit, ,:,
spiritual liberation, :¡
spokes, ,:,
spray, :,,
spring, ï,
stammering, :o,
steps, :,;
stone slab, :¡;
stones, o,
stranger, ,¡,, ,¡,
stratagem, :¡:
string, :c,
subjects, ,:,
submarine fire, :,,
subtle plan, :¡,
success, ;;
summer, ,,
sun-crystals, :c,
suspicion, :,;
swan, ,c,
syllables, :, :ï,o,
symmetry, ::
tamarind, ::,
tangle, ,,
target, :c;
tears, :ï,
teasing, :c:
teeth, ,,,, ,,;
temperament, :c;
tendril, ;,
terrain, ,,
textual criticism, ,ï
thicket, :c;
thorns, ,::
throat, :::, ,:,
throne, ,::
throttling, :::
thunder
timely, :,,
thunderbolt, :::
¡:ï
ixoix
tidings, ,:,
toy, ,,,
tragedies, :,
tranquility, :¡
transformation, ,¡,
transgression, :,:
transitions, :¡
treasure, ï,
tree, :,,
-roots, ,,,
wishgranting, ,,:
Tri·shanku (Tri´sa˙ nku), ::,
troublemakers, :,:
truth, ;,
turtle-doves, :,;
twang, :,:
twilight, ,,, ,:
union, :,,
universal emperor, o,
universe, ,:
ush´ıra (u´s¯ıra), :,:, :,;
V´ amana, ,,
vandal, :,:
V´ asumati, :,;
vault of heaven, ,:,
Vedas, ï:
Vedavit, ¡c,
vehement, :::
verandah, ¡c¡
version, ,:
vice, :c,, :c;
victory, :::, ,:,
vine, ;,, :o,, :ï;, :,:
bower, :,,
wishgranting, ,:,
virtues, :ï,
Vishnu (Vis
.
n
.
u), ,:,
visitor, ï,
vital energies, ,,:
Vish´ akha (Vi´s¯ akha), :¡:
voices, ::;
volume, :,;
vows, ï;, ,,,
war, :¡
warrior, ;,
water, ,,, ;,, ,:,
waterings, ï,
wealth, :¡
weapon, o,
wheel-guard, ¡c,
whining, ::;
wicked, ;;
wife, :,;, :,,, ,c:, ,,,
lawful, ,,,
wild beasts, :c,
wild rice, o,
wilderness, :c,
wind, :,,
wish, :o,
women, ,:,
woodland, ,,
world, ,:,
of mortals, ,:,
wrath, :,,
yak-tail, o:
Yay´ ati (Yay¯ ati), :,;
yearning, :,;, :,,
youth, ;:
zenana, :¡,
¡:,