Ratnavali 4

4

(1.1) nāndyante
Sūtradhāraḥ | alam ativistareṇa | adyāhaṃ vasantotsave sabahumānam āhūya nānādigdeśāgatena rājñaḥ śrīharṣadevasya pādapadmopajīvinā rājasamūhenokto yathā | asmatsvāminā śrīharṣadevenāpūrvavasturacanālaṅkṛtā ratnāvalī nāma nāṭikā kṛtety asmābhiḥ śrotraparamparayā śrutā na tu prayogato dṛṣṭā | tat tasyaiva rājñaḥ sakalajanahṛdayāhlādino bahumānād asmāsu cānugrahabuddhyā yathāvat prayogeṇa tvayā nāṭayitavyeti | tad yāvad idānīṃ nepathyaracanāṃ kṛtvā yathābhilaṣitaṃ saṃpādayāmi | parikramyāvalokya ca | aye | āvarjitāni sakalasāmājikānāṃ manāṃsīti me niścayaḥ | kutaḥ |
śrīharṣo nipuṇaḥ kaviḥ pariṣad apy eṣā guṇagrāhiṇī
loke hāri ca vatsarājacaritaṃ nāṭye ca dakṣā vayaṃ |
vastv ekaikam apīha vāñchitaphalaprāpteḥ padaṃ kiṃ punar
madbhāgyopacayād ayaṃ samuditaḥ sarvo guṇānāṃ gaṇaḥ || 5 || (1.5)
tad yāvad ahaṃ gṛhaṃ gatvā gṛhiṇīm āhūya saṃgītakam anutiṣṭhāmi | parikramya nepathyābhimukham avalokya ca | idam asmadīyaṃ gṛham | yāvat praviśāmi | uccaiḥ | ārye | itas tāvat |
(1.2) praviśya
Naṭī | ajjautta | iamhi | āṇavedu ajjo | ko ṇioo aṇuciṭṭhīadu tti |
(1.3) Sūtradhāraḥ | ārye | ratnāvalīdarśanotsuko 'yaṃ rājalokaḥ | tad gṛhyatāṃ nepathyam |
(1.4) Naṭī | sodvegam | ajja | ṇiccinto dāṇiṃ si tumaṃ | tā kīsa ṇa ṇaccasi | mama uṇa mandabhāiṇīe ekkā jjevva duhidā | sā vi tae kahiṃ pi desantare diṇṇā | dūraṭṭhideṇa jāmāduṇā se pāṇiggahaṇaṃ kadhaṃ bhavissadi tti imāe cintāe appā vi ṇa me paḍibhādi | kiṃ uṇa ṇaccidavvaṃ |
(1.5) Sūtradhāraḥ | ārye | dūrasthitenety alam udvegena | paśya |
dvīpād anyasmād api madhyād api jalanidher diśo 'py antāt |
ānīya jhaṭiti ghaṭayati vidhir abhimatam abhimukhībhūtaḥ || 6 || (1.6)
(1.6) Nepathye | sādhu bharataputra sādhu | evam etat | kaḥ saṃdehaḥ | dvīpād anyasmād iti punaḥ paṭhati |
(1.7) Sūtradhāraḥ | ākarṇya nepathyābhimukham avalokya ca | ārye | kim ataḥ paraṃ vilambase | nanv ayaṃ mama kanīyān bhrātā gṛhītayaugandharāyaṇabhūmikaḥ prāpta eva | tad ehi | nepathyagrahaṇāya sajjībhavāva | iti niṣkrāntau |
iti prastāvanā |

(1.1) At the end of the benediction:
Stage-manager: Enough of excessive proliferation! Today, at the spring festival, having respectfully summoned me, the assembly of kings from various quarters and countries who subsist on the lotus feet of King Śrīharṣadeva addressed me thus: "A nāṭikā named Ratnāvalī, adorned with the composition of a novel plot, has been composed by our master Śrīharṣadeva; this we have heard by word of mouth, but have not seen through performance. Therefore, out of great respect for that very king who delights the hearts of all people, and with the thought of favoring us, you must stage it by proper dramatic performance." So now, having arranged the attire in the tiring-room, I will accomplish what is desired. (Walking about and looking) Ah! I am certain the minds of all the spectators are won over. Why?
Śrīharṣa is a skilled poet, this assembly too appreciates merit, / the deeds of the King of Vatsa are delightful in the world, and we are adept in drama; / even taken one by one, each of these is a ground for achieving the desired fruit—how much more / this entire assembly of merits united by the increase of my good fortune! (1.5)
So now, having gone home and called my wife, I will begin the musical performance. (Walking about and looking towards the tiring-room) This is our house. Let me enter. (Loudly) Noble lady, come here a moment!
(1.2) Entering:
Actress: Noble lord, here I am. Let the noble one command: what task should be performed?
(1.3) Stage-manager: Noble lady, this royal audience is eager to see the Ratnāvalī. So take up the costume.
(1.4) Actress: (With anxiety) Noble lord, you are now free from worry; so why wouldn’t you dance? But for me, an unfortunate woman, there is only one daughter, and she too has been given by you away in some distant foreign land. With the son-in-law far away, how will her hand-taking in marriage take place? From this anxiety, even my own self does not seem real to me, much less that I should dance!
(1.5) Stage-manager: Noble lady, enough of anxiety because he is far away! See:
Even from another island, even from the midst of the ocean, even from the ends of the quarters, / having brought [it] quickly, fate, when turned favorable, unites [a person] with what is desired. (1.6)
(1.6) Behind the scenes: Well done, son of Bharata, well done! It is just so; what doubt is there? (Recites again) "Even from another island…"
(1.7) Stage-manager: (Listening and looking towards the tiring-room) Noble lady, why delay any longer after this? Truly, here is my younger brother, having assumed the role of Yaugandharāyaṇa, already arrived! Come then, let us get ready to take our costumes. (They both exit.)
Thus ends the prologue.