Rakshasa's Ring by Vishakhadatta, Michael Coulson
By Vishakhadatta, Michael Coulson
The aristocrat who wrote this lively political play eschewed sentimentality in prefer of sensible characterization and forceful motion. it really is 316 BCE, 12 months after Chandra·gupta Maurya, aided through his sophisticated minister Ch?nakya, has seized the dominion of M?gadha from the final king of the Nanda dynasty. R?kshasa, Nanda's incorruptible minister, flees in a foreign country and plots his vengeance, whereas Ch?nakya seeks to win him over to honor Chandra·gupta Maurya as his new king.
The aristocrat who wrote this full of life political play eschewed sentimentality in desire of life like characterization and forceful motion. it really is 316 BCE, 12 months after Chandra·gupta Maurya, aided through his refined minister Chan?kya, has seized the dominion of M?gadha from the final king of the Nanda dynasty. R?kshasa, Nanda's incorruptible minister, flees out of the country and plots his vengeance, whereas Chan?kya seeks to win him over to honor Chandra·gupta Maurya as his new king.
Co-published by means of long island college Press and the JJC Foundation
For extra in this identify and different titles within the Clay Sanskrit sequence, please stopover at http://www.claysanskritlibrary.org
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Example text
30 tatah. pravi´sati mukt¯am . ´sikh¯am . ´san sa B kopa´s ca¯ n. ak- yah. ca¯ n. akyah. a mayi sthite Candraguptam abhibhavitum icchati bal¯at? NandaAkulaAk¯alaAbhujag¯ım . kop’AaˆnalaAbahalaAn¯ılaAdh¯umaAlat¯am ady’ aˆpi badhyam¯an¯am . vadhyah. ko n’ eˆcchati ´sikh¯am . me. api ca, ulla˙nghayan mama samujjvalatah. prat¯apam . kopasya NandaAkulaAk¯ananaAdh¯umaketoh. sadyah. hah. kah. ´sa¯labhena vidhin¯a labhat¯am . vin¯a´sam? ´ ar˙ngarava, S¯ ´ ar˙ngarava. 35 S¯ pravi´sya s´is. yah. : up¯adhy¯aya, a¯j˜na¯paya.
AkaAli˙ngaAdh¯ar¯ı NandaAvam . ´saAvadhaApratij˜n”Aaˆnantaram eva Kusumapuram upan¯ıya sarva A Nand’ A aˆm¯atyaih. saha sakhyam . asah. samutpanna A vi´srambhah.. ten’ eˆd¯an¯ım . heyam bhavis yati. . 55 tad evam asmatto na kim . cit parih¯asyate. ala eva kevalam . v asm¯asv a¯ropita A r¯ajya A tantra A bh¯arah. satatam ud¯aste. tam . tad eva r¯ajyam . sukhayati. kutah.? tya bhu˜nj¯an¯a balino ’pi svaAbh¯avatah. g’Aeˆndr¯a´s ca pr¯ayah. khit¯ah.. 62 act i: kaut´ılya lays his plans Second, I have used spies disguised in various ways and commanding a variety of manners, costumes and dialects to help me learn who is loyal and who is mutinous both among ourselves and among the enemy.
Ajja, uvarajjadi kila bhaavam . cando tti. s¯utradha¯ rah. : a¯rye, ka evam a¯ha? nat. ¯ı: evam . o mantedi. 15 s¯ utradha¯ rah. y A a˙nge jyo- tih. A ´sa¯stre. tat pravartyat¯am . a¯n uddi´sya p¯akah.. candr’ A oˆ par¯agam . prati tu ken’ aˆpi vipralabdh” aˆsi. pa´sya— Kr¯uraAgrahah. saAKetu´s Candram . sam . alam id¯an¯ım abhibhavitum icchati bal¯at— ity ardh’Boˆkte, nepathye: a¯h. a mayi sthite? 48 prologue Enter an actress: Here I am, sir. Favor me with your commands. director: Never mind my commands for the moment, dear wife.