Chapter 3 - Notes and Analysis of Third Act

The Third Act. The Viskambha or the Interlude at the beginning of the Third Act is constituted by a soliloquy of a disciple of Kanva which connects the end of the Second Act and the beginning of the Third Act proper. The protection of the sacrifice in which the

king has engaged at the end of the Second Act is reported in this Interlude as having been successfully accomplished. It further serves as an introductory to the scene of torments suffered by Sakuntala as a result of love, which occupies the major portion of the Third Act proper. Page 60. kusan adaya . kusan adaya The taking of Darbha grass is, as will be clear subsequently, for the purpose of strewing the Vedi with. Free from impediments. Verse 1. banasamdhane ka katha What is to be said if he actually applies the arrow ? hi Because. sah dhanusah humkareneva (sthitena ) jyasabdenaiva duratah vighnan apohati . The Atmane padi root takes the Parasmaipada terminations optionally when prefixed with an Upasarga. Vide Panini:- upasargadasyatyuhyoh . rtau yajatiti rviku . akase laksyam baddha . In akasabhasita an actor from the stage affects to put a question to some one outside the stage and to receive a reply therefrom, which he reproduces for the benefit of the audience by prefixing it with the remark-f 3/4 adiia and closing it with iti . Vide Dasarupaka : - kim bravisyevami- tyadi vina patram braviti yat | uktvevanuktamapyartham tatsyadakasabhasitam || In this fictitious procedure the actor generally turns uphis face towards the sky and pretends to address somebody. In the context the pupil is supposed to address Priyamvada and interrogate her about the purpose of her carrying the cooling paste and leaves.

ACT III-NOTES 187 Then he acts the hearing of a reply that it is for the sake of Sakuntala. A kind of root whose paste has a cooling effect. (). atapasya langhanat From an attack of the sun's heat. balavat Adverb. nirvapanam Gladdening; soothing. upakramyatam from kram with upa to treat with cure. upakramascikitsayam . Page 61 ucchusitam Life vitane bhavam vaitanikam Got from a sacrifice. santeh udakam santyudakam Consecrated water calculated to dispel or counteract evil influences. viskambhakah See Introduction. kamayamanah Present participle of kam . kamernin (svarthe ). kamayamanabhyeva avastha yasya sah kamayamanavasthah In a love-lorn state. Verse 2. tapaso viryam jane and hence sages cannot be trifled with. sa bala Sakuntala paravati Is dependent on her father. So a self-choice of bridegroom by her is impossible iti me viditam tathapi tatah From Sakun tala idam hrdayam My heart. nivartayitum alam nasmi alam An Indeclinable meaning efficient. kusumani ayudham yasya tatra sambuddhih kusumayudha O flower-armed one, a Vocative addressed to Cupid, the god of love. visvasaniya Apt to be believed, rousing confidence, apparently harmless. For a similar use see the following verse from Malavikagnimitra : - kva ruja hrdayapramathini kva ca te visvasaniyamayudham | mrdu tiksnataram yaducyate tadidam manmatha drsyate tvayi || (III - 2). atisamdhiyate Passive voice of dha with ati and sam to cheat kamijananam sarthah The host of persons affected with love.

Verse 3. kusumani sarah yasya sah kusumasarah . The arrows of Cupid are said to be fivefold. Vide Amara : - aravinda- masokam ca cutam ca navamallika | nilotpalam ca pancaite pancavanasya sayakah || kusumasarasya bhavah kusumasaratvam sitah rasmayah yasya tasya bhavah sitarasmitvam . Your arrows being comprised of flowers and the Moon's rays being cool. idam dvayam These two ho avayavam asya samudayasya dvayam, an alternative form being dvitayam . madvidhesu Towards persons like me ; towards lovers. ayathabhutah arthah yasya tat agradhartham Untrue; false to their significance. drsyate Is seen induh himam garbhe yesam taih himagarbhaih mayukhaih agnim visrjati . Note the antithesis between hima and agni . tvamapi, kusumanyeva vanah tan kusumabanan vajrasyeva saram yesam te vajrasarah, avajrasaran vajrasaran karosi vajrasarikarosi vajra Adamant ; also a thunderbolt. In the first half of the verse Cupid comes first and then the moon. Whereas in the second half the moon is mentioned first and then Cupid. The reversal of the order - prakramabhanga is no fault ; because Cupid being the relevant one in the context, the poet has advisedly placed him both at the beginning and in the end. After this verse some editions contain the following interpolation :- (madanabadham nirupya | sasuyam 1 ) bhagavanmanmatha, kutaste kusumayudhasya sarataiksnyametat | (smrtva ) am jnatam | adyapi nunam harakopavahnistvayi jvalatyaurva ivamburasau | tvamanyatha manmatha madvidhanam bhasmavasesah kathamevamusnah || athava - anisamapi makaraketurmanaso rujamavahannabhimato me | yadi madirayatanayanam tamadhikrtya praharatiti || In some other editions there is the following further addition-bhagavan kandarpa, evamupalabdhasya te na mam pratyanukrosah | vrthaiva

ACT III-NOTES 189 samkalpasatairajasramananga nito'si maya vivrddhim | akrsya capam sravanopakanthe mayyeva yuktastava banamoksah || Page 62. karmani samsthite sati When the sacrifice is over. sadasi sadhavah sadasyah taih sadasyaih By rtvik s ? anujnatavisramah (aham ) krannam atmanam nu vinodayami Where shall I divert my fatigued self? priyadarsanadrte Excepting the sight of my beloved. an Indeclinable, meaning 'without' governs a noun in the Ablative case. Panini:- anyaraditarartedikchabdancuttarapadajahiyukte saranam Refuge. After tatraiva tavadgacchami some editions read the following interpolation. (parikramyavalokya ca ) anaya valapadapavathya sutanuraciram gateti tarkayami | kutah | sammilanti na tavadbandhanakosastaya- vacitapuspah | ksiranigाmi drsyante kisalayacchedah || prakrstena vatena subhagah pravatasubhagah Fascinating with a plenty of breeze. Verse 4. aravindah surabhih Bearing the fragrance of lotuses; lit., fragrant with lotuses. malinitaranganam kanavahi Carrying sprays from the waves of the river Malini. pavanah anangataptaih angaih With limbs heated by love. aviralam alingitum sakyam Is fit to be embraced closely. sakyam An Indeclinable meaning - It admits of Otherwise sakyah in the Masculine will have to be used to bring it in conformity with qaa:. A similar use of occurs in Ramayana · - sakyamanjalibhih patum vatah ketakagandhinah Compare also - evam hi pranayavati sa sakyamupeksitum kupita Malavika III - 23. Page 63. abhyunnata etc. This verse sets out the data from which the king infers that Sakuntala. "

asya Sands must be in the bower near by. * refers to the bower. pandavah sikatah yatra tasmin pandusikate dvare At the entrance of the bower which abounds in white sands. are mentioned as the bower is situate near a river. abhinava padapamktih drsyate A fresh line of footprints is seen. How is padapamktih ? purastadabhyunnata Raised in front. pascadavagadha Depressed at the hind portion. Why ? jaghanagauravat Due to the heaviness of hips. So Sakuntala must have gone that way. netrayoh nirvanam netranirvanam The joy of eyes nirvana Noun form of a with by the addition of a which gets gatva under Panini : - nirvano'vate . :But if vata were the anvasyate . to the For a subject the form will be nirvato vatah silapattamadhisayana silapatte sayana Vide Panini : - adhisinsthasam karma . Note the change of the Intransitive root Transitive by the force of the Upasarga 3. similar use see Raghu : - anvasitamarundhatya svahayeva havirbhujam visrambhena kathitani visrambhakathitani Confidential talks. upavijya Indeclinable past participle of the causal of ij (ija gatikutsanayoh ) with upa and vi of the 1 st conjugation. sukhaya te are two different words The Dative is due to the Vartika : - tadarthe caturthi vacya . visadam natayitva The grief of Sakuntala's friends is due to her want of consciousness. parasparamavalokayatah Their seeing each other is due to the futility of all external appliances to cure sakuntala. uta yatha me manasi vartate The purport isIs it due to love ? krtam samdehena krtam means alam . .

ACT III - NOTES 191 Page 64 svananyastosiram etc. Here the king argues within himself in favour of the position that the torment of Sakuntala is due to love and not to summer. priyayah idam vapuh This body of my sweetheart. vapuh qualified by several adjectives. stanayoh nyastam usiram yanmistat . usira The cooling root-paste is applied to her breasts. prasithilani mrnalanyeva ekani valayani yasmimstat The bracelets chiefly consisting of lotus-stalks have dropped down. But Katayavema interprets prasithilani as tapena klantani Withered away. avadhaya saha vartata iti sabadham Possessed of torment. kimapi In a peculiar manner. kamaniyam Charming. manasijasca nidaghasca tayoh prasarau, tayoh tapah = tapanam . kamam samah Though the heat of both is equal. ( tathapi ) grismasya aparaddham = aparadhah napumsake bhave ktah yuvatisu visaye evam subhagam na . In the place of kimapi in the second foot of the verse there is a different reading. Since the injury inflicted adds to charm it must be due to love. . kim nu khalu denotes a surmise. Page 65. abhyantara One intimately acquainted . anabhyantara Not fully conversant. madanam gatah madanagatah Relating to love. pratikarah Treatment; cure, an alternative form being pratikarah The final vowel of an Upasarga becomes long optionally when followed by a root ending in the suffix, provided the resultant form does not denote a human being. Vide Panini: upasargasya ghanyamanusye bahulam . Other examples :-paripakah paripakah, pratiharah pratiharah mama ayam madiyah = mad + cha.

Page 66. susthu esa bhanati Priyamvada says that what Anasuya stated is right. Consistent with her greater responsibility, Anasuya has taken the initiative in devising a cure for Sakuntala's illness. divase divase anudivasam parihiyase Passive of ha with pari . chaya Expression ; brightness. Verse 7. The first half of the verse sets out five traits of her person which make her limbs lamentable. ksamaksama The reduplication comes under Panini : - prakare gunavacanasya Here it loosely denotes intensity. (1) ananam, ksamaksamau kapolau yasmimstat ( 2 ) urah, kathinyena muktau stanau yasmimstat ( 3 ) madhyah klantatarah ( 4 ) amsau prakamam vinatau (5) chavih pandura ( evam ) socya ca etc. Page 67. prsta etc. same duhkhasukhe yasya tena samaduhkhasukhena janena refers to her two female friends. iyam na vaksyati na The double negative affirms the positive anaya vitrutya bahusah satrsnam drsto'pi Though she had looked at me longingly in several ways so as to expose her love. atrantare In this short while. sravane kataratam gato'mmi I am nervous. Verse 9. smara eva me tapahetuh sa eva me nirvapayita jatah . nirvapayita Active form of the causal of va with nir Roots ending in a take the suffix p (puk ) before the causal suffix for Love that caused agony at first nic . does itself yield delight now. This is supported by an analogy. tapah Summer. tapatyayah The close of summer ; the rainy season tasmin tapatyaye ardhasyamah is not a happy reading and is to be replaced by abhrasyamah

abhraih ACT III-NOTES 193 : syamah divasah A cloudy day is sultry and as such causes heat at first, but later on it yields delight by showering rains. Vide parallel-of- jalagamo divasah HI : 1 Ratnavali III-11. Page 68. Imperative, 2 nd person dual of sic (sica ) to sprinkle tilasahitam udakam tilodakam Water mixed with sesamum offered to a deceased person. Fa chettum silamasya vimarsacchedi Dispelling all doubts. duram gatah manmathah yasyah sa duragatamanmatha Whose love has gone to extremes. iyam kalaharanasya aksama She will not brook any delay. abhi- nandinum To appreciate distaya an Indeclinable meaning fortunately. Excepting the mango tree. an Indeclinable meaning 'except, without,' governs a noun in the Accusative case. Vide Pa nini :- antarantarena yukte . pallavah samjatah asyah palacita . Panini: tadasya samjatam tarakadibhya itac . Page 69. f in the dual corresponds to the two female friends. Though the constellation of Visakha comprises a number of stars the number two refers to the deities presiding over them. Accordingly Ramayana says : - visakhayormadhyagatah sampurna iva candramah . See also visakhayosca ( Panini I - 2 - 62 ) and surpa- dvidaivasamjna visakhayoh (Madhaviya ). sasankalekha corresponds to Sakuntala. In the speeches of Anasuya, Priyamvada and the king three similes are set out in order, which the reader will do well to note with particular attention avilambitam and nibhrtam Anasuya suggests that a remedy should be worked out both 13

quickly and secretly. Priyamvada points out ' quickly' is easy, but ' secretly' is difficult. ' prajagarena krsah Emaciated by wakefulness. So Priyamvada expects quick response from the king. Verse 10. The king who overhears the conver sation of friends confirms Priyamvada's statement about his emaciation due to love. srastam srastam idam kanakavalayam This frequently slipping golden bracelet manibandhanat From the wrist. maya muhuh pratisaryate Is being pushed back often and often. The idea is that his hand has become too lean kanakavalayam is qualified by two adjectives. vigatah varnah yesam te vivarnah manayah yasya tat vivarnamani, na vivarna- mani vivarnamani sampadyamanam krtam vivarnamanikrtam The gems with which the bracelet is set are dimmed in colour. By what? asrubhih By tears. How are the tears? antasta- pat asisiraih Hot due to internal heat. Further how? nisi nisi At every night. bhuje nyastah apangah, tasmat prasarpibhih Flowing from the corners of eyes placed on my arms. Another adjective of kanakavalayam is anatilulitajya- ghatankam anatilulitah jyaghatanam ankah yena tat Which does not press or rub against the scars of the bowstring. The idea is that the bracelet moves so loosely at the wrist. Page 70. madanalekhah A love letter. sumanobhih gopitam Concealed by flowers. Amara : - striyah sumanasah puspam . devataprasadasya vyapadesah tena Under the pretext of taking articles used in the worship of the deity,-sandal, flowers etc. rocate me . The Dative is due to rucyarthanam

ACT III-NOTES 195 miyamanah vikalpyate Demurred to. atmanah upanyasapurvam With a preliminary disclosure of your own state. lalitam padanam bandhanam An elegant composition of words. Verse 11. he bhiru O timid lady. Panini : - bhiyah kruklukanau yatah avadhiranam visankame From whom you apprehend a rejection. mo'yam te samgamotsukah tisthati That person stands in your front eager for your union. The implausible nature of such an apprehension is justified by an analogy. prarthayita sriyam labheta va na va A seeker may be favoured by Fortune or not. sriya ipsitah katham durapah When Fortune herself wishes to favour a man, how will he be beyond her reach ? aptum istah ipsitah . duhkhena aptum yogyah durapah Compare :-na ratnamanvisyati mrgyate hi tat Kumarasambhava V-45. Page 71. atmano gunan avamantum silamasyah, tatra sambuddhih atmagunavamanini You that ignore your own excellence.. saradi bhavam saradim . sthane an Indeclinable meaning properly. Amara : - yukte dve sampratam sthane vismrtah nimesah yena tat vismrtanimesam Forgetting to wink. Verse 12. The king gives a graphic picture of Sakuntala's posture when she thinks out her composition padani racayantyah asyah As she composes the words in her mind. unnamita eka bhrulata yasya tat ananam Her face with one of the eyebrows raised. kantakah samjatah asya tena kantakitena kapolena Through her cheeks possessed of bristles. mayi anuragam prathayati Proclaims her love for me.

sukasya udaram tadvat sukumare Delicate like a parrot's bosom. Page 72. tava na jane hrdayam I don't know your mind. diva Indeclinable. ratrim Accusative of time. he nirghrna O pitiless one. madanah tvayi yuktamanorathani mama angani balavat tapati . Verse 14. tanu gatram yasyah tatra sambuddhih tanugatri Slim damsel. The feminine suffix is due to Vartika angagatrakanthebhya iti vaktavyam . madanah tvam anisam tapati mam punah dahatyeva . Note the contrast between heating on the one side and burning on the other. divasah yatha sasankam glapayati Just as the day causes the fading of the moon. kumudvatim na tatha glapayati It does not so much cause the fading of Kumudas. kumudvati same as Kumuda - a kind of lotus that blooms at night and closes in the day. divasah masculine corresponds to madanah, sasanka to the king, and kumudvati to Sakuntala. glapayati Causal of glai to fade. glai changes to gla, takes the final augment p (puk ), and the final vowel of the root becomes short since not prefixed with an Upasarga is optionally a mit . Vide Gana sutra : - glasnavanuvamam ca . An alternative form is glapayati . kumudah santyasya iti kumudvati . Panini :- kumudanadavetasebhyo matup . But very often kumudvati is used merely in the sense of as is done here. sakhimanorathasya The king is identified with the wish of Sakuntala by a poetic transference. Verse 15. te gatrani Your limbs upacaram kartum narhanti Are not fit to take the trouble of standing to offer

ACT III-NOTES 197 (1) greetings. qualified by three adjectives. samdarbha kusumasayanam yesu tani The limbs are pressed into the samdasta flower-cushion.Tongs. Caught as if in tongs. (2) rar: fagiai ari:, a: Schifun. (3) ge: 9Ha 19: yesam tani . Page 73. : Note the change in the term of address for the first time. The king is addressed as a friend, because he is her friend's lover. In the First Act the king has been addressed as by Sakuntala's friends. itah Here. silatalaikadesam . The idea is that the king should sit on the same stone as Sakuntala parihartum yogyam pariharya Avoidable. vaktum istam vivaksitam ... hi anuktam sat anutapam janayati A thing which one wishes to say will leave discontent if unsaid. visaya in visayayavasinah means a country. anya avastha avasthantaram mayuravyamsakaditvatsadhuh . abhyupapattih The favour of acceptance. avalambitum To sustain. Page 74. sadharano'yam pranayah . pranayah means both love and a request. Both the meanings are intended in the context. You requested me to support the life of Sakuntala. I too request of Sakuntala to support my life through her favour anugrhitah Blessed. antah- puravirahaparyutsukasya Sakuntala says this in order to examine the heart of the king still further. Verse 16. hrdaye samnihita, tasyah sambuddhih hrdayasamnihite You that are ever present in my mind. You have therefore every reason to know what passes in my mind. TEN

madire iksane yasyah tatra sambuddhih You that are possessed of bewitching eyes madayatiti madiram . parayanam Devoted. na anyasmin parayanam Devoted to none else than you. idam mama hrdayam . anyatha To be otherwise. This is in answer to the suggestion contained in antahpuravirahaparyutsukasya in Sakuntala's statement. yadi samarthayase If you imagine so. madanabanahatah aham punah hato'smi If you think I am attached to some one else, I am doubly hit param ayanam yasya tat parayanam . The gatva gatva is due to Panini : - purvapadatsamjnayamagah loosely applied. But Prof. Ray traces the a to krtyacah and in order to bring it under that rule he treats c as an Upasarga and dissolves the word thus para ayate asmin iti . If that dissolution were adopted the of the in the Upasarga cannot be avoided. Vide Panini :-upasargasyayatau palayanam will then be the form. cas a type of is defined in Adi Bharata thus : - aghurnamanamadhya ya ksama cancitataraka | drstirvikasitapanga madira tarune made || quoted by Raghava Bhatta. Anasuya takes the cue from Sakuntala's utterance - antahpuraviraha etc. and makes a pertinent request to the king. bahvayo vallabhah yesam te bahuvallabhah . This shows that in ancient days polygamy found favour in royal households. Verse 17. parigrahanam bahusve'pi In spite of many wives. me kulasya dve pratisthe These two are the main props of my family viz., the Earth and sakuntala. samudrah rasana yasyah sa Whose girdle is the Ocean.

ACT III-NOTES 199 Page 75. ehi samyojayava enam . This is only a device to leave the couple alone. For a parallel situation modelled on this scene see the following extract from Nagananda : - bhoh yusmakam purata evaham dasya dhitaya khalikrto- 'smi | kim mameha sthitena | anyatra gamisyami | (niskrantah | ) ceti- kupitah khalu mama arya atreyah | yavadgatva prasadayami | nayika - hakhe caturike, katham mamekakinimujjhitva gacchasi | ceti - (nayakamuddisya sasmitam ) evameva cira- mekakini bhava | (niskranta 1). 4 | " ....... vidyate saranam yasyah sa asarana One who has no protector. anyatara One of the two aradhayita janah The king refers to himself thus. Verse 18 kim sitalaih etc. Here begins an intensely amorous scene embodying the first confidential interview between the hero and the heroine. The king offers to wave the fans of lotus-leaves over sakuntala and shampoo her feet. sitalaih, klamam vinodayitum silamesamiti tathabhutaih kumavinodibhih nalinidalaireva talavrntaih aivanan samcarayami kim Non-causal form - vatah samcaranti . Causal --form - vatan samcarayati karabhaviva uru yasyah sa karabhoruh uruttara- padadaupamya iti un tasyah sambuddhih karabhoru . ambarthanayorhakhah ini hrasvah . karabha is that part of the palm of a hand which lies between the wrist and the little finger. Vide Amara : - manibandhadakanistam karasya karabho bahih . The idea in karabhoru is that the thighs are tender and overlapping like two karabha s put together. padmavat tamrau te caranau (mama ) a nidhaya yathasukham samvahayami kim samvahayami . The root vah with sam to shampoo is not specifically mentioned in the Dhatu Patha, but recognised in practice. Of course

it cannot be justified as a causal use since there are no two doers - prayojakakarta and prayojyakarta . Page 76. Towards people who command respect. Dusyanta is c, and as such it is not proper to allow him to wave the fan over her or to shampoo her feet. aparadhinam karisye aparadhayisye I shall not make myself at fault. Verse 19. nalinidalaih kalpitam stanavaranam yasmimstat kusumasayanam Here are lotus-leaves made to serve as your breast-covers for cooling the heat. Equipped with them, there is the cushion of flowers also calculated to mitigate your heat. You wish to quit it and further walk into the sun. atape gamisyasi katham How? paribadhaya pesalani yani tairangaih With your limbs already weakened by torment. Even a person in sound health will not dare to walk out in this sun. How do you dare to? With these words the king turns her back forcibly. 1. The Vocative contains a reference to the kings's heredity in order to show the impropriety of transgressing decorum. raksa vinayam Observe decorum. If the reading is as followed by Raghava Bhatta the root raks means to avoid viditah dharmah yena sah viditadharma . The suffix anic is due to Panini : - dharmadani- ckevalat natra dosam grahisyati Will not find fault with this. Verse 20. is one of the eight forms of marriage recognised by Hindu Law. They are

ACT III - NOTES 1 / 201 enumerated by Yajnavalkya:- brahmo daivastathaivarsah prajapatya- stathasurah | gandharvo raksasacaiva paisacascastamo'dhamah || The Gandharva marriage is concluded by the mutual consent of the marrying couple and was in vegue among the Ksattriyas of old. Vide Manu : - icchayanyonyasamyogah kanyayasca varasya ca | gandharvaih sa tu vijneyo maithunyah kamasambhavah || Yajnavalkya:- gandharvah samayanmithah . Page 77 he sundari apariksatascasau komalaca tasya apariksata- komalasya Uninjured and tender. The idea is that the lip has not yet received the injury of dantaksata . te avarasya rasah pipasata maya sadayam yavat (yada ) grhyate (tada moksyami ). An analogy for the drinking of the lip-nectar is furnished in the second foot of the verse. navasya kusumasya rasah satpadeneva apariksatakomalasya can be taken along with kusumasya also ; likewise pipasata with satpadena A bee drinks the honey of fresh flowers ; likewise the lover sips the nectar of his sweetheart's lower lip patum icchan pipasan tena pipasata . cakravakavadhu . The utterance behind the scenes is evidently made by Sakuntala's female friends to caution her that somebody is coming and that she should leave the company of the king. Ostensibly the utterance is an address to a she-Cakravaka. cakravaka is a species of ruddy geese which are noted for constancy in love and are generally described as remaining in pairs during the day and separating from each other at night by remaining at the opposite banks of a river. Their separation during night

is said to be due to a curse by Rama when they laughed at him during his separation from Sita at the Pampa lake. Hence the direction is given by the female freinds behind the screen - amantrayakha sahacaram Take leave of your companion. Why? Real The night has come. The shrewd Sakuntala understands the clue and intimates to the king that the matron Gautami was on her way to see Sakuntala to enquire the condition of her health. An utterance behind the scenes constitutes a Culika for an explanation of which see Introduction. Gautami is said to be the sister of Kanva. Page 78. Accordingly Gautami comes accompanied by Sakuntala's friends and enquires her health. in the stage-direction implies that Gautami comes with consecrated water in accordance with the previous announcement of the pupil-sage santyudakamasyai gautamihaste visarjayisyami darbhena ( uksitam ) udakam darbhodakam, santyartham darbhodakam tena santidarbhodakena It is the practice to sprinkle consecrated water on the head of any person whom it is intended to heal or relieve from some distress or evil influence. nirabadham nirgata abadha yasya tam . Page 79 sukhena upanatah sukhopanatah upanata is used to denote a thing which comes of its own accord. A dream, here refers to the lover's union. latavalaya etc. The shrewd Sakuntala leaves a word of message to the king who remains hidden under the pretext of addressing the bush. The bush removes samtapaharaka

ACT III-NOTES 203. the heat by its dense shade. The king too removes her torment due to love amantraye tvam I take leave of you. bhuyo'pi paribhogaya To enjoy your company once again. Verse 22. In this verse the king describes his. attempt to kiss Sakuntala's face, which has been suddenly arrested by an impediment paksmani santi anayoriti paksmale, paksmale aksini yasyah sa paksamalaksi A lady endowed with eyes possessed of dense eyelashes. tarunah mukham qualified by three adjectives ( 1 ) muhuh angulibhih samvrtah avarosthah yatra tasmin Wherein the lower lip was frequently intercepted by her fingers. ( 2 ) pratisedhasya aksarani Words of prohibition like paurava, raksa vinayam munca mam etc. pratisedhaksaraih viklavam sat abhiramam Fascinating though unyielding. (3) amsayoh vivartata iti amsavivarti Turning round on the shoulders. These three adjectives bring out the remonstrances of Sakuntala to yield at once. shows the great pains taken by the king to overcome the difficulties in raising her face unnamitam, na tu cumbitam Raised but not kissed. purvam paribhuktah pascanmuktah paribhuktamuktah . The Samasa comes under Panini: - purvaka laikasarvajatpuranana va kevalah samanadhikaranena . For an identical use of the expression compare:- baddhormi nakavanitaparibhuktamuktam sindhorbabhara salilam sayaniyalaksmim || Bha ravi VIII-57. Verse 23. Though the beloved is absent the king consoles himself by the sight of objects used by her. silayam tasyah sariralalita iyam puspamayi sayya This is the flower-cushion pressed by her body on the stone.

nalinipatre nakhaih arpitah klantah esa manmathalekhah This refers to the love-letter written by her on the lotus-leaf hastat bhrastam idam bisabharanam This is the bangle of lotus-stalk slipped from her hand. Se refers to the three foregoing objects. asajyamana karmakartari sanac asajyamane iksane yasya sah With eyes riveted. aham sunyadapi vetasagrhat sahasa nirgantum na sakromi . Page 80. akase rajan etc. is pronounced by the sage's pupils. Verse 24. sayam bhavam sayamtanam . Panini :- sayamciramprahne prage'- vyayebhyasthayutyulau tut ca savanakarma A sacrificial rite. sampravrtte sati . hutasanah astyamyamiti tam hutasanavatim vedim paritah . A noun govern... ed by the Indeclinable : takes the Accusative Vide Vartika : - abhitah paritah samaya nikasaha pratiyoge'pi . prayastah Scattered. samdhyapayodakapisah Brown like the evening clouds. bahudha bhayam adadhanah Instilling fear in several ways. pisitasananam chayah . The shadows of Raksasas. Some take chaya to mean reflections. caranti . case. ayamayamagacchami The king hastens to destroy the Raksasas to ensure an undisturbed performance of the evening sacrifice. The End of the Third Act. --