P. 47. As remarked by the commentator, the equivocations of the first stanza (with which may be compared those at Sarasvati kanthabharana, P. 130), are intended to indicate the crooked policy on which the plot of the play is based; while the second stanza is said, by the same authority, to foreshadow the difficulties of that policy, occasioned by Chanakya's desire to avoid the total destruction of Rakshasa. नाम, in the second line of the first stanza, does not mean proper name as it does in the first, It means simply a "word which signifies’ a particular thing, as when the Nirukta, P. 6, (see also P. 18, &c.) says गौ: &co, are पृथ्वीनामधेयानि. For कस्य हेतोः see Siddh. Kaun I.295, and for नारीं पृच्छामि नेन्दुम् . Ibid I, 254. विजया is a female attendant of Parvati. In the drama, called Parvatiparinaya (cf. also Kumara. VIII. 49), she is represented as one of P.'s attendants in her father's house before marriage. For the quotations in the commentary cf. Sahitya Darpana, P. 261, or Kuvalayananda, P. 180. रक्षतः == avoiding. Cf. Kathasaritsagara, P. 203, Kadambari P. 148 [Not exactly parallel.] As to नृत्त see Dasarupa, P. 5, and cf. Malatimadhava, P. 181. The metre of the two stanzas is Sragdhard.
P. 54-57. As to नान्द्यन्ते see the remarks in Jagaddhara's commentary on the Malatimadhava, pp. 5-6. यत्सत्यम् is a very common expression, of inter alia, Kadambari, p. 80, Venisamhara, p. 13, Anargha Raghava, pp. 42 115, Malatimadhava, p. 165. The meaning of the expression is, "indeed” “to be sure". For स्तम्बकरिता the commentator cites Siddh. Kaum. II.329. The metre of stanza , 8 is Anushtub. The plural form गृहाः (p. 55) is a very common one, cf. Viracharita, p. 2, Anargha Raghava, pp.7, 12, Sakuntala, p. 264, and Ganaratnamahodadhi, p. 113. The हुंकृत, referred to in stanza 4, (p. 56, is the indistinct sing-song sound which accompanies such mechanical work as that here spoken of. Grinding with the millstones, for instance, has the same accompaniment. The metre of the stanza is Aupachchhandasika.
