Mālavikā and Agnimitra 3.1

3.1

. tataḥ praviśati saṃgotaracanāyāṃ kṛtāyāmāsanasthaḥ samayasya
rājā parivrājikā dhāriṇī bibhavataśca parivāraḥ .
rājā . bhagavati atrabhavatorācāryayoḥ katarasya prathamamupa
deśaṃ drakṣyāmaḥ.
5 pari° . nanu samānepi jñānavṛddhabhāve vayodhikatvāṅgaṇadāsaḥ
puraskāramarhati .
rājā . tena hi maudgalya evamevātrabhavatorāvedya svaniyoga.
maśūnyaṃ kuru .
kañcukī . yadājñāpayati devaḥ . [iti niṣkāntaḥ .
gaṇa° .praviśya . deva śarmiṣṭhāyāḥ kṛtirlayamadhyā catuṣpadā . ?
tasyāścaturthavastukaprayogamekamanāḥ śrotumarhati devaḥ.
rājā . ācārya bahumānādavahitosmi . [niṣyanto gaṇadāsaḥ .
15 rājā . janāntikam . vayasya
nepathyaparigatāyāścakṣurdarśanasamutsukaṃ tasyāḥ .
saṃhartumadhīratayā vyavasitamiva me tiraskariṇīm ..1..

[Then enters the king seated on a chair with the wandering ascetic nun, Dhāriṇī, and their retinue according to rank, the musical arrangement having been prepared.] / King: “Reverend lady, of the two drama masters, whose instruction shall we view first?” / Wandering ascetic nun: “Surely, although they are equal in knowledge and seniority, Gaṇadāsa deserves precedence because of greater age.” / King: “Therefore, Maudgalya, inform the two gentlemen accordingly, and attend to your own duty.” / Chamberlain: “As the king commands.” [Exits.] / Gaṇadāsa: [Entering.] “Sire, there is a four-line composition by Śarmiṣṭhā in medium tempo. The king should deign to listen with undivided mind to the performance of its fourth theme.” / King: “Drama master, out of great respect I am attentive.” [Gaṇadāsa exits.] / King: [Aside.] “Friend, / my eye, eager to see her who is in the tiring-room, / seems impelled by restlessness / to draw back the stage curtain! (1)”