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Critical and Comparative Notes
V. 9 Every great success is attended with troubles. One who bears patiently physical and mental fatigue (or exhaustion) wins the bride (or the youog woman or wife) in the form of Vidya (Knowledge, Lore).
oquet - aufer (f) or quét (f) means “a young wife or woman'. Lexicographers give the meaning as a daughter-in-law'. The word ayat has been used by Bhavabhūti in his Mahāvīracarita V. 17(cd) ;
रथं वधूटीमारोप्य पापः क्वाप्येष गच्छति ।
सोढा (from Bearing patiently)-'One who bears patiently'. This word is already used by Rājasekhara in his Balarāmāyana
344 : Monier-Williams says : 'A kind of super-natural oracular voice (answering questions about future events, and supposed to be uttered by an idol after mystic invocations'. V. S. Apte's Dictionary explains It as follows : 'A supernatural voice heard at night and personified as a nocturnal deity revealing the future;
नक्तं निर्गत्य यत्किञ्चिच्छुभाशुभकरें वचः ।
श्रूयते तद्विदु/रा देवप्रश्नमुपश्रुतिम् ॥ --हारावलि The arratas says Squfa is the same as 4992 'consulting the gods', consulting the wishes---delivered as omens--of the gods. The chance sounds or words (good or evil) heard while walking out at night and indicating the fulfilment or otherwise of one's object, are regarded as 39 fa or $999." ,
तदलं वाचां विस्तरेण । Usually the phrase अलमतिविस्तरेण' (and occasionally,
afarasita') is used by the dramatists. It means 'enough of prolixity'. The prolixity refers to the singing and dancing that accompanies the performance of the Nāndi and elaborate series of other preliminaries which are expected to be performed before the actual drama begins, which however the Sutradhāra says, he does not want to go through. If he were to go through the entire elaborate series of preliminaries the assembly or audience would get completely tired. He, therefore, cleverly drops the other items of the "Purvaranga' and thus does not try their patience. As soon as he arrests the attention of the audience he is keen to present the play proper. With the exit of the Sutradhāra and the Nata the Amukha (or Prastāvanā) comes to a close.
कुप्यामो व्यसने चिरं विरचिते कस्मै परस्मै वयम् ।
This is the fourth quarter of the above verse 1.8 forming the speech of the Sutradhāra, Makaranda, a character of the play, catches up and
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