Sakoontala | Page 9

the intercourse between the
inhabitants of heaven and earth was very frequent, it is not improbable
that there may have been aërial contrivances to represent the chariots of
celestial beings, as on the Greek stage. It is plain, however, from the
frequent occurrence of the word _nátayitwá_, 'gesticulating,' 'acting,'
that much had to be supplied by the imagination of the spectator,
assisted by the gesticulations of the actors.
For further information relative to the dramatic system of the Hindús,
the reader is referred to the notes appended to the present translation. It
is hoped that they will be found sufficient to explain every allusion that
might otherwise be unintelligible to the English reader.
MONIER MONIER-WILLIAMS.
FOOTNOTES:
[Footnote 1: In the Aihole Inscription (edited by Dr. Fleet) of the
Western Chálukya King Pulike[S']in II, dated [S']aka 556=A.D. 634-35,
actual mention is made of Kálidása and Bháravi by name, and
Professor Kielhorn has informed me that he found a verse from the
Raghu-van[S']a quoted in an inscription dated A.D. 602.]
[Footnote 2: As to the other two, the most celebrated, called
Vikramorva[S']í, has been excellently translated by Professors H.H.
Wilson and E.B. Cowell, and the Málavikágnimitra, by Professor

Weber, the eminent Orientalist of Berlin.]
[Footnote 3: The following is an extract from, the Bombay Times of
February 3, 1855. It is given literatim, and the orthographical errors
and mutilation of the story prove that in those days a good and
complete version of India's most celebrated drama was not obtainable.
'HINDU DRAMA. 'SATURDAY, 3D FEBRUARY 1855.
'An outline of the play to be performed at the Theatre this night.
'After a short discourse between the Sutradhar (the chief actor) and the
Vidúshaka (the clown), Surswati (the Goddess of learning) will appear.
Sutradhar will call his wife (Nati), and they will determine on
performing the play of Shakuntala. They both will sing songs together,
after which Nati will go away. The play will then regularly commence.
Dushanta Rajah will appear in the Court, and order his Pradhan (the
Minister) to make preparations for a hunting excursion. The Rajah,
sitting in his carriage, will pursue a stag, the stag will disappear, upon
which Dushanta will ask his coachman the cause thereof, this being
known, the Rajah in his carriage will proceed farther, when they will
see the stag again, upon which he will aim an arrow at the stag. The
stag will run and reach the retirement of Waikhanas Rushi. The sage
will come out of his hut and remonstrate with the Rajah against his
killing the harmless animal. The Rajah will obey the injunctions of the
sage, who will pronounce benedictions upon him. According to the
Rushi's instructions, he will prepare to proceed to the residence of
another sage named Kunwa. Bidding each other farewell, the Rushi
will go to procure material for his religious ceremonies. After reaching
Kunwa's place, and commanding his coachman to groom the horses,
the Rajah will walk forth to the sage's hut. Observing on his way thither
Shakuntala with her fellow mates watering the trees, he will hide
himself behind a tree. Shakuntala will praise to her mates the beauty of
the Keshar tree. Charmed with overhearing her discourse, Dushanta
will try to find out her descent. Shakuntala will be very much teased by
a Bhramar (fly) hovering about her face. The Rajah will then come
forward and ask the cause of the disturbed state of her mind. After a
mutual exchange of polite respect they all take their seats beneath a
shady tree, Dushanta will inform her of his country and descent,
whereupon they will all go to the Rushi's hut.
'Here there is a pause. A pleasing farce will then be performed.'

I have already stated that the '[S']akoontalá' in the words of my own
translation has been since performed at Bombay and recently at
Trivandrum, the capital of Travancore (see Preface to this edition, p. vii,
&c).]
[Footnote 4: Rogers' Italy, note to line 23.]
[Footnote 5: The admirable Essay by Professor H.H. Wilson, prefixed
to his Hindú Theatre, is the principal source of the information which I
have here given.]
[Footnote 6: Wilson's Hindú Theatre, p. xii.]

RULES FOR THE PRONUNCIATION OF THE PROPER NAMES.
Observe, that in order to secure the correct pronunciation of the title of
this Drama, 'Sakuntalá' has been spelt '[S']akoontalá,' the u of
[S']akuntalá being pronounced like the u in the English word rule.
The vowel a must invariably be pronounced with a dull sound, like the
a in organ, or the u in _gun, sun. Dushyanta_ must therefore be
pronounced as if written Dooshyunta. The long vowel _á_ is
pronounced like the a in _last, cart_; i like the i in _pin, sin_; _í_ like
the i in _marine_; e like the e in _prey_; o like the o