L1example
sūtradhāraḥ— katham ayaṁ gopāla-veśo bhagavān upasthita eva paśya paśya ityādi ||
sūtradhāraḥ—the Sūtradhāra (the stage-manager) speaks — the speaker-label for the line that follows nominative naming the speaker; the dash marks the start of his quoted wordsसूत्रधार (कहता है) — यह बोलने वाले का नाम है; रेखा से उसके कहे वचन आरम्भ होते हैं
kathamwhat! how can this be — an exclamation of sudden surprise interrogative used as a cry of astonishment, not a real questionअरे! क्या (यह विस्मय की पुकार है, कोई सचमुच का प्रश्न नहीं)
ayaṁthis one here — pointing to the figure who has just come into view deictic nominative, subject; agrees with bhagavānयह (सामने खड़ा हुआ), जो भगवान् के साथ जुड़ता है
gopāla-veśaḥdressed as a cowherd — wearing the gopāla (cowherd-boy) costume bahuvrīhi in the nominative, describing bhagavān: 'he whose dress is that of a cowherd'जिसका वेश गोपाल का है — ऐसे भगवान्
bhagavānthe Lord (Bhagavān, i.e. Kṛṣṇa) — the one who has appeared nominative, the real subject the exclamation is aboutस्वयं भगवान् (यही वह विषय है जिस पर विस्मय हो रहा है)
upasthitaḥhas come right up — is present, has arrived on the spot past participle, predicate of bhagavānआ उपस्थित हुए हैं — भगवान् के विषय में यही कहा जा रहा है
evaactually — really, right here before us; underscoring the surprise that he has in fact arrivedसचमुच ही, निश्चय ही
paśya paśyalook! look! — the doubled imperative pressing the audience (and the offstage voice) to see him imperative of √dṛś repeated for urgencyदेखो, देखो! (शीघ्रता के लिए दो बार कहा गया)
iti-ādiand so on — the Sūtradhāra's speech continues past what is quoted ādi 'and the rest' after iti, marking the citation as trimmedइत्यादि — 'इति' के बाद 'आदि' कहकर यह दिखाया कि उद्धरण यहीं छाँटकर रोक दिया गया है
sūtradhāraḥ — the Sūtradhāra says; katham — what!; ayaṁ bhagavān — this Lord; gopāla-veśaḥ — dressed as a cowherd; eva upasthitaḥ — has actually arrived right here; paśya paśya — look, look!; iti-ādi — and so on.
sūtradhāraḥ — सूत्रधार कहता है; katham — अरे! ayaṁ gopāla-veśaḥ bhagavān — यह गोपाल के वेश में भगवान्; upasthitaḥ eva — सचमुच आ उपस्थित हुए हैं; paśya paśya — देखो, देखो; iti-ādi — इत्यादि।
The Sūtradhāra breaks off in surprise: "What — this very Lord, in cowherd's dress, has actually turned up right here! Look, look!" — and his speech runs on from there. In the prologue he has been hurried along ("why do you delay, O king of actors?", and an offstage voice, "who are you, hurrying me?"); riding on that exchange, his own acting now carries a further business to completion — announcing and pointing out Kṛṣṇa's entrance in gopāla guise.
सूत्रधार विस्मय से पुकार उठता है — अरे! यह तो गोपाल के वेश में स्वयं भगवान् ही सामने आ खड़े हुए हैं। देखो, देखो! 'इत्यादि' कहकर उद्धरण यहीं रोक दिया गया है।
An udāharaṇa of avalagita (also spelled avagalita / avalagitam), the sandhy-aṅga — a limb of a dramatic juncture — defined in the immediately preceding kārikā 27 (nc.4.25): 'where, one matter having been set in place, another business is accomplished out of deference to what precedes.' The passage is quoted from the play Kaṁsa-vadha. The first matter set going is the prologue exchange in the lead-in — the Sūtradhāra urged not to delay, and an offstage voice hurrying him; dovetailed onto that (purānurodhāt, 'in deference to what precedes'), a second business is carried through in the same breath: the entrance of Bhagavān Kṛṣṇa in cowherd dress is announced and pointed out ('look, look, here he is'). One action thus brings the next to completion — which is exactly the avalagita defined just before.
यह अवलगित (जिसे अवगलित या अवलगितम् भी कहते हैं) नामक सन्ध्यङ्ग — अर्थात् नाट्य की सन्धि का एक अङ्ग — का उदाहरण है, जिसका लक्षण ठीक पहली कारिका २७ (nc.4.25) में दिया गया है — 'जहाँ एक बात को स्थापित कर देने पर, पूर्व के अनुरोध से दूसरा कार्य सिद्ध किया जाता है।' यह अंश कंस-वध नाटक से उद्धृत है। पहली स्थापित बात प्रस्तावना का वह वार्तालाप है — सूत्रधार को विलम्ब न करने की प्रेरणा और नेपथ्य से आती एक वाणी जो उसे शीघ्रता कराती है; उसी के साथ जोड़कर (पूर्वानुरोध से) उसी साँस में दूसरा कार्य पूरा किया जाता है — गोपाल-वेशधारी भगवान् कृष्ण के प्रवेश की घोषणा और उनकी ओर संकेत ('देखो, देखो, ये रहे')। इस प्रकार एक क्रिया दूसरी को पूर्णता तक पहुँचाती है — और यही ठीक पहले परिभाषित अवलगित है।
sūtradhāraḥ — katham ayaṁ gopāla-veśaḥ bhagavān eva upasthitaḥ, paśya paśya iti-ādi.
sūtradhāraḥ (कहता है) — katham ayaṁ gopāla-veśaḥ bhagavān upasthitaḥ eva, paśya paśya iti-ādi।
The Sūtradhāra breaks off in astonishment: "What — this very Lord, dressed as a cowherd, has actually turned up right here! Look, look!" — and his speech runs on from there. Just before this, in the prologue, he had been urged not to delay ("why do you tarry, O king of actors?") and an offstage voice had hurried him along ("who are you, that you press me so?"); riding on that exchange, his own performance now carries a further business to completion — announcing and pointing out the entrance of Bhagavān Kṛṣṇa in his gopāla guise.
सूत्रधार विस्मय से पुकार उठता है — अरे! यह तो गोपाल के वेश में स्वयं भगवान् ही सामने आ खड़े हुए हैं; देखो, देखो! — इसी प्रकार आगे भी। ('इत्यादि' कहकर उद्धरण यहीं छाँटकर रोक दिया गया है।)
An udāharaṇa quoted from the play Kaṁsa-vadha, illustrating avalagita (avagalita), the sandhy-aṅga defined in the immediately preceding kārikā (nc.4.25): one matter once set in place, a second business is brought to completion in deference to what precedes — here the prologue's hurrying exchange dovetails into the announcement of Kṛṣṇa's cowherd-clad entrance.
यह कारिका का उदाहरण है, जो कंस-वध नाटक से उद्धृत सूत्रधार की उक्ति द्वारा प्रस्तुत लक्षण को दर्शाता है।