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Kalidasa. Sakoontala; Or, The Lost Ring
Sakoontala; Or, The Lost Ring
Table of Contents
PREFACE TO THE EIGHTH EDITION
'SIVEN COIL STREET, TRIVANDRUM,
INTRODUCTION
MONIER MONIER-WILLIAMS. FOOTNOTES:
'HINDU DRAMA. 'SATURDAY, 3D FEBRUARY 1855
RULES FOR THE PRONUNCIATION OF THE PROPER NAMES
PERSONS REPRESENTED
[S']AKOONTALÁ; OR, THE LOST RING
PROLOGUE. BENEDICTION
STAGE-MANAGER
ACTRESS
STAGE-MANAGER
ACTRESS
STAGE-MANAGER
STAGE-MANAGER
ACTRESS
STAGE-MANAGER
ACTRESS
STAGE-MANAGER
ACTRESS
STAGE-MANAGER
ACT I
SCENE-A Forest
CHARIOTEER
KING
CHARIOTEER
KING
CHARIOTEER
A VOICE BEHIND THE SCENES
CHARIOTEER
KING
HERMIT
KING
HERMIT
KING
HERMIT
KING
HERMIT
KING
CHARIOTEER
CHARIOTEER
KING
CHARIOTEER
CHARIOTEER
CHARIOTEER
A VOICE BEHIND THE SCENES
[S']AKOONTALÁ
ANASÚYÁ
[S']AKOONTALÁ
KING
[S']AKOONTALÁ
ANASÚYÁ
KING
PRIYAMVADÁ
[S']AKOONTALÁ
PRIYAMVADÁ
[S']AKOONTALÁ
KING
ANASÚYÁ
[S']AKOONTALÁ
PRIYAMVADÁ
ANASÚYÁ
PRIYAMVADÁ
[S']AKOONTALÁ
KING
[S']AKOONTALÁ
PRIYAMVADÁ AND ANASÚYÁ
KING
[S']AKOONTALÁ
ANASÚYÁ
ANASÚYÁ
KING
PRIYAMVADÁ
KING
ANASÚYÁ
ANASÚYÁ
ANASÚYÁ
PRIYAMVADÁ AND ANASÚYÁ
PRIYAMVADÁ AND ANASÚYÁ
[S']AKOONTALÁ
KING
PRIYAMVADÁ AND ANASÚYÁ
KING
ANASÚYÁ
KING
ANASÚYÁ
KING
ANASÚYÁ
KING
ANASÚYÁ
KING
ANASÚYÁ
KING
PRIYAMVADÁ
KING
PRIYAMVADÁ
KING
PRIYAMVADÁ
ANASÚYÁ
[S']AKOONTALÁ
ANASÚYÁ
KING
PRIYAMVADÁ
PRIYAMVADÁ
KING
KING
PRIYAMVADÁ
A VOICE BEHIND THE SCENES
PRIYAMVADÁ AND ANASÚYÁ
PRIYAMVADÁ AND ANASÚYÁ
KING
[S']AKOONTALÁ
KING
ACT II
SCENE.—_A plain on the skirts of the forest
KING
MÁ[T.]HAVYA
KING
MÁ[T.]HAVYA
KING
MÁ[T.]HAVYA
KING
MÁ[T.]HAVYA
KING
MÁ[T.]HAVYA
MÁ[T.]HAVYA
KING
MÁ[T.]HAVYA
KING
MÁ[T.]HAVYA
KING
MÁ[T.]HAVYA
KING
KING
WARDER
KING
KING
GENERAL
KING
GENERAL
MÁ[T.]HAVYA
ATTENDANTS
MÁ[T.]HAVYA
KING
MÁ[T.]HAVYA
KING
MÁ[T.]HAVYA
KING
KING
KING
MÁ[T.]HAVYA
KING
MÁ[T.]HAVYA
KING
MÁ[T.]HAVYA
KING
MÁ[T.]HAVYA
KING
MÁ[T.]HAVYA
KING
MÁ[T.]HAVYA
MÁ[T.]HAVYA
KING
MÁ[T.]HAVYA
KING
A VOICE BEHIND THE SCENES
KING
WARDER
FIRST HERMIT
SECOND HERMIT
FIRST HERMIT
SECOND HERMIT
BOTH THE HERMITS
BOTH THE HERMITS
KING
BOTH THE HERMITS
KING
WARDER
BOTH THE HERMITS
KING
MÁ[T.]HAVYA
KING
MÁ[T.]HAVYA
WARDER
KING
WARDER
KARABHAKA
KING
MÁ[T.]HAVYA
KING
MÁ[T.]HAVYA
KING
MÁ[T.]HAVYA
KING
MÁ[T.]HAVYA
PRELUDE TO ACT III
SCENE.—The Hermitage
YOUNG BRÁHMAN
ACT III. SCENE.—The Sacred Grove
PRIYAMVADÁ AND ANASÚYÁ
[S']AKOONTALÁ
KING
ANASÚYÁ
ANASÚYÁ
KING
PRIYAMVADÁ
KING
[S']AKOONTALÁ
PRIYAMVADÁ AND ANASÚYÁ
KING
[S']AKOONTALÁ
PRIYAMVADÁ AND ANASÚYÁ
[S']AKOONTALÁ
[S']AKOONTALÁ
KING
ANASÚYÁ
KING
ANASÚYÁ
PRIYAMVADÁ
ANASÚYÁ
PRIYAMVADÁ
PRIYAMVADÁ
ANASÚYÁ
[S']AKOONTALÁ
PRIYAMVADÁ
[S']AKOONTALÁ
PRIYAMVADÁ AND ANASÚYÁ
KING
[S']AKOONTALÁ
PRIYAMVADÁ
PRIYAMVADÁ AND ANASÚYÁ
PRIYAMVADÁ AND ANASÚYÁ
KING
ANASÚYÁ
PRIYAMVADÁ
KING
PRIYAMVADÁ
KING
PRIYAMVADÁ
KING
KING
ANASÚYÁ
KING
PRIYAMVADÁ AND ANASÚYÁ
[S']AKOONTALÁ
PRIYAMVADÁ AND ANASÚYÁ
[S']AKOONTALÁ
KING
[S']AKOONTALÁ
KING
[S']AKOONTALÁ
KING
[S']AKOONTALÁ
KING
[S']AKOONTALÁ
KING
A VOICE BEHIND THE SCENES
KING
ATTENDANTS
[S']AKOONTALÁ
GAUTAMÍ
KING
A VOICE IN THE AIR
KING
PRELUDE TO ACT IV
SCENE.—The Garden of the Hermitage
ANASÚYÁ
PRIYAMVADÁ
ANASÚYÁ
PRIYAMVADÁ
ANASÚYÁ
PRIYAMVADÁ
ANASÚYÁ
ANASÚYÁ
PRIYAMVADÁ
A VOICE BEHIND THE SCENES
ANASÚYÁ
PRIYAMVADÁ
ANASÚYÁ
THE SAME VOICE BEHIND THE SCENES
PRIYAMVADÁ
ANASÚYÁ
PRIYAMVADÁ
ANASÚYÁ
PRIYAMVADÁ
ANASÚYÁ
PRIYAMVADÁ
ANASÚYÁ
PRIYAMVADÁ
ANASÚYÁ
PRIYAMVADÁ
ACT IV
Scene.—_The Neighbourhood of the Hermitage
PUPIL
PUPIL
ANASÚYÁ
ANASÚYÁ
PRIYAMVADÁ
ANASÚYÁ
PRIYAMVADÁ
ANASÚYÁ
PRIYAMVADÁ
PRIYAMVADÁ
ANASÚYÁ
PRIYAMVADÁ
A VOICE BEHIND THE SCENES
SECOND WOMAN
THIRD WOMAN
[S']AKOONTALÁ
PRIYAMVADÁ AND ANASÚYÁ
[S']AKOONTALÁ
PRIYAMVADÁ AND ANASÚYÁ
PRIYAMVADÁ
BOTH HERMITS
GAUTAMÍ
FIRST HERMIT
GAUTAMÍ
SECOND HERMIT
FIRST HERMIT
SECOND HERMIT
PRIYAMVADÁ AND ANASÚYÁ
[S']AKOONTALÁ
KANWA
PRIYAMVADÁ AND ANASÚYÁ
GAUTAMÍ
KANWA
GAUTAMÍ
KANWA
KANWA
KANWA
[S']ÁRNGARAVA
KANWA
VOICES IN THE AIR
GAUTAMÍ
[S']AKOONTALÁ
PRIYAMVADÁ
KANWA
KANWA
KANWA
[S']AKOONTALÁ
KANWA
KANWA
[S']AKOONTALÁ
KANWA
[S']ÁRNGARAVA
KANWA
ANASÚYÁ
KANWA
[S']ÁRNGARAVA
KANWA
[S']ÁRNGARAVA
KANWA
[S']ÁRNGARAVA
KANWA
GAUTAMÍ
KANWA
[S']AKOONTALÁ
KANWA
KANWA
KANWA
[S']AKOONTALÁ
PRIYAMVADÁ AND ANASÚYÁ
[S']AKOONTALÁ
KANWA
GAUTAMÍ
KANWA
PRIYAMVADÁ AND ANASÚYÁ
KANWA
ACT V
SCENE.—A Room in the Palace
KING
A VOICE SINGS BEHIND THE SCENES
KING
MÁ[T.]HAVYA
MÁ[T.]HAVYA
KING
MÁ[T.]HAVYA
CHAMBERLAIN
CHAMBERLAIN
KING
CHAMBERLAIN
WARDER
KING
FIRST HERALD
SECOND HERALD
KING
WARDER
WARDER
CHAMBERLAIN
[S']ÁRNGARAVA
[S']ÁRADWATA
[S']AKOONTALÁ
GAUTAMÍ
PRIEST
[S']ÁRNGARAVA
WARDER
WARDER
KING
KING
KING
HERMITS
KING
HERMITS
KING
HERMITS
KING
[S']ÁRNGARAVA
GAUTAMÍ
KING
[S']ÁRNGARAVA
KING
[S']ÁRNGARAVA
KING
[S']ÁRNGARAVA
KING
GAUTAMÍ
KING
WARDER
[S']ÁRNGARAVA
KING
[S']AKOONTALÁ
[S']ÁRNGARAVA
[S']ÁRADWATA
KING
[S']AKOONTALÁ
KING
[S']AKOONTALÁ
GAUTAMÍ
[S']AKOONTALÁ
KING
[S']AKOONTALÁ
KING
[S']AKOONTALÁ
KING
GAUTAMÍ
KING
[S']AKOONTALÁ
[S']ÁRNGARAVA
KING
KING
[S']ÁRNGARAVA
KING
[S']ÁRADWATA
[S']AKOONTALÁ
[S']ÁRNGARAVA
KING
[S']ÁRNGARAVA
KING
PRIEST
PRIEST
[S']AKOONTALÁ
A VOICE BEHIND THE SCENES
KING
KING
PRIEST
KING
PRIEST
KING
PRIEST
KING
WARDER
KING
PRELUDE TO ACT VI
SCENE.—A Street
FIRST CONSTABLE
FISHERMAN
SECOND CONSTABLE
BOTH CONSTABLES
FISHERMAN
FISHERMAN
SUPERINTENDENT
FISHERMAN
BOTH CONSTABLES
SUPERINTENDENT
BOTH CONSTABLES
SECOND CONSTABLE
FIRST CONSTABLE
FISHERMAN
SECOND CONSTABLE
SUPERINTENDENT
SECOND CONSTABLE
FISHERMAN
SUPERINTENDENT
FISHERMAN
SÚCHAKA
JÁNUKA
SUPERINTENDENT
JÁNUKA
FISHERMAN
JÁNUKA
SUPERINTENDENT
ALL
ACT VI
SCENE.—_The Garden of a Palace
SÁNUMATÍ
FIRST MAIDEN
SECOND MAIDEN
FIRST MAIDEN
FIRST MAIDEN
SECOND MAIDEN
FIRST MAIDEN
SECOND MAIDEN
CHAMBERLAIN
CHAMBERLAIN
BOTH MAIDENS
FIRST MAIDEN
CHAMBERLAIN
BOTH MAIDENS
CHAMBERLAIN
BOTH MAIDENS
CHAMBERLAIN
CHAMBERLAIN
BOTH MAIDENS
A VOICE BEHIND THE SCENES
BOTH MAIDENS
KING
VETRAVATÍ
CHAMBERLAIN
MÁ[T.]HAVYA
KING
MÁ[T.]HAVYA
MÁ[T.]HAVYA
KING
MÁ[T.]HAVYA
MÁ[T.]HAVYA
SÁNUMATÍ
KING
MÁ[T.]HAVYA
MÁ[T.]HAVYA
KING
MÁ[T.]HAVYA
KING
MÁ[T.]HAVYA
KING
MÁ[T.]HAVYA
MÁ[T.]HAVYA
MÁ[T.]HAVYA
KING
MÁ[T.]HAVYA
KING
MÁ[T.]HAVYA
KING
MÁ[T.]HAVYA
KING
KING
KING
CHATURIKÁ
MÁ[T.]HAVYA
KING
MÁ[T.]HAVYA
KING
MÁ[T.]HAVYA
KING
CHATURIKÁ
KING
KING
MÁ[T.]HAVYA
KING
MÁ[T.]HAVYA
KING
MÁ[T.]HAVYA
KING
MÁ[T.]HAVYA
KING
MÁ[T.]HAVYA
KING
MÁ[T.]HAVYA
KING
KING
KING
KING
CHATURIKÁ
MÁ[T.]HAVYA
CHATURIKÁ
KING
MÁ[T.]HAVYA
KING
VETRAVATÍ
KING
VETRAVATÍ
KING
VETRAVATÍ
KING
VETRAVATÍ
KING
VETRAVATÍ
KING
VETRAVATÍ
VETRAVATÍ
VETRAVATÍ
KING
KING
VETRAVATÍ
KING
A VOICE BEHIND THE SCENES
KING
KING
VETRAVATÍ
A VOICE BEHIND THE SCENES
THE SAME VOICE BEHIND THE SCENES
ANOTHER VOICE BEHIND THE SCENES
VETRAVATÍ
A VOICE BEHIND THE SCENES
KING
MÁTALI
MÁ[T.]HAVYA
KING
MÁTALI
KING
MÁTALI
KING
MÁTALI
MÁTALI
ACT VII
SCENE.—The Sky
KING
KING
MÁTALI
KING
MÁTALI
KING
MÁTALI
KING
MÁTALI
KING
MÁTALI
MÁTALI
KING
MÁTALI
KING
MÁTALI
MÁTALI
KING
KING
KING
MÁTALI
KING
MÁTALI
KING
MÁTALI
A VOICE BEHIND THE SCENES
CHILD
FIRST ATTENDANT
KING
SECOND ATTENDANT
KING
FIRST ATTENDANT
CHILD
SECOND ATTENDANT
FIRST ATTENDANT
CHILD
KING
ATTENDANT
ATTENDANT
KING
KING
ATTENDANT
ATTENDANT
ATTENDANT
ATTENDANT
FIRST ATTENDANT
BOTH ATTENDANTS
SECOND ATTENDANT
CHILD
FIRST ATTENDANT
KING
BOTH ATTENDANTS
KING
FIRST ATTENDANT
KING
FIRST ATTENDANT
KING
BOTH ATTENDANTS
SECOND ATTENDANT
KING
CHILD
KING
KING
KING
[S']AKOONTALÁ
KING
CHILD
[S']AKOONTALÁ
[S']AKOONTALÁ
KING
[S']AKOONTALÁ
KING
[S']AKOONTALÁ
KING
[S']AKOONTALÁ
MÁTALI
KING
KING
[S']AKOONTALÁ
KING
KA[S']YAPA
ADITI
KING
MÁTALI
KA[S']YAPA
ADITI
[S']AKOONTALÁ
KA[S']YAPA
ADITI
KING
MÁTALI
KING
KA[S']YAPA
KING
KA[S']YAPA
KA[S']YAPA
KING
KA[S']YAPA
KING
ADITI
KA[S']YAPA
KING
KA[S']YAPA
KA[S']YAPA
PUPIL
KA[S']YAPA
KING
KA[S']YAPA
KING
KA[S']YAPA
KING
NOTES:
Отрывок из книги
Kalidasa
An Indian Drama
.....
Every Sanskrit play opens with a prologue, or, to speak more correctly, an introduction, designed to prepare the way for the entrance of the dramatis personæ. The prologue commences with a benediction or prayer (pronounced by a Bráhman, or if the stage-manager happened to be of the Bráhmanical caste, by the manager himself), in which the poet invokes the favour of the national deity in behalf of the audience. The blessing is generally followed by a dialogue between the manager and one or two of the actors, in which an account is given of the author of the drama, a complimentary tribute is paid to the critical acumen of the spectators, and such a reference is made to past occurrences or present circumstances as may be necessary for the elucidation of the plot. At the conclusion of the prologue, the manager, by some abrupt exclamation, adroitly introduces one of the dramatic personages, and the real performance commences.
The play, being thus opened, is carried forward in scenes and Acts; each scene being marked by the entrance of one character and the exit of another, as in the French drama. The dramatis personæ were divided into three classes—the inferior characters (nicha), who were said to speak Prákrit in a monotonous accentless tone of voice (anudáttoktyá); the middling (madhyama), and the superior (pradhána), who were said to speak Sanskrit with accent, emphasis, and expression (udáttoktyá). In general, the stage is never left vacant till the end of an Act, nor does any change of locality take place until then. The commencement of a new Act is often marked, like the commencement of the piece, by an introductory monologue or dialogue spoken by one or more of the dramatis personæ, and called Vishkambha or Prave[S']aka. In this scene allusion is frequently made to events supposed to have occurred in the interval of the Acts, and the audience is the better prepared to take up the thread of the story, which is then skilfully carried on to the concluding scene. The piece closes, as it began, with a prayer for national plenty and prosperity, addressed to the favourite deity, and spoken by one of the principal personages of the drama.
.....
