पुटमेतत् सुपुष्टितम्
116
ACT I.
- कुसुमं तव । सचन्दनं पिबाम्यद्य सर्वकामार्थसिद्धये. See Nirņayasindhu,
- under — Vasantotsava. During the holi festival dramatic representations of all sorts are still very common. See also the opening
- of the first Act of Ratnâvalî.
- P. 1, 1. 12.भास &c. Bhasa and Saumilla were two dramatic writers,
- but nothing is known about them or the works they composed.
- None of our MSS. read धावक in place of भास. MS. G reads
- भाससौमिल्लकविपुत्रादीनां. See Preface.
- P. 2, 1. 14,-MS. G inserts the word उवदेसग्गहणे after 'अन्दरेण'
- P. 2, 1. 18.-धीरदा 'Whence this seriousness ?' + 'What are you
- contemplating so deeply ?’ The word signifies a pensive and
- contemplating mood of the mind when the person is so serious,
- and engaged so much in reflection, that he fails to mark what
- passes around or beside him.
- P. 3, 1. 3.—उवालम्भे, viz. ‘समवेदे भदिक्कमन्दो इदो दाट्ठिं ण देसि. "
- P. 3, 1. 7.-कहिं. C£ note ifra on p» 72, 1. 14 .
- P. 3, 1, 10–ईदिस, referring to her studies in music and dancing:
- P. 3, 1, 12—सो जणो, referring to Mâlavikâ.
- P. 5, 1. 2. –णिब्बन्धिदुं ‘to press, • to importune Cf. Raghuvaḿśa
- v.2l–वसुलछ्छोए. Vasulakshmî was the younger sister of Dhâŗiņî .
- MS. G's reading after पवुत्तो is worthy of note : जाव ण कहेदि देवी
- दाव कुमारिए &c.
- P. 5, 1 11-MS. G reads, very desirably, से afer “ जाच.”
- P. 5, 1. I2.-गणदासः । प्रविश्य । 'IThe MSS. read प्रविश्य गणदास: in this
- place and similarly in almost every other place subsequently
- throughout the play, where the stage-direction, प्रविश्य So-and-So
- occurs. But I have in all cases inverted the order, and given
- the name of the character first for the sake of uniformity.
