PK 
 M3Ti3 
 
 CORNELL 
 
 UNIVERSITY 
 
 LIBRARY 
 
Cornell University 
 Library 
 
 The original of tfiis book is in 
 the Cornell University Library. 
 
 There are no known copyright restrictions in 
 the United States on the use of the text. 
 
 http://www.archive.org/details/cu31924022967578 
 
Cornell University Library 
 PK 3796.M3T23 1891 
 
MALAVIKAGNIMITRA. 
 
THE 
 
 MALAVIKAGNIMITRA. 
 
 A SANSKRIT PLAY BY KALIDASA. 
 
 laTEEALLY TRANSLATED INTO ENGLISH PKOSE 
 BT 
 
 ■ C. H. TAV/NEY, M.A., 
 
 PKINCIPAL, PRESIDENCY COtLBGE, CALCUTTA. 
 
 SECOND EDITION. 
 
 Adapted to the Second Edition of the Sanskrit Text 
 by Shankar Pandwang f'andit, M.A. 
 
 CALCUTTA; 
 
 Pui)Usf)Ers ta tijs Calcutta 2EniSitvsitg. 
 
 1891 , 
 
CALCUTTA : 
 FEINTED BY THACkEB, SPINK AND CO. 
 
PREFACE TO THE SECOND EDITION. 
 
 I HAVE received so many applications for copies of my 
 translation of the Malavik4gniinitra that I have at last 
 made up my mind to republish it. I have based the 
 present edition on the text of Shankar Pandarang Pandit's 
 second edition, and I have almost invariably followed his 
 explanations. I desire here to acknowledge generally 
 my obligations to his notes. I also take this opportunity 
 of thankfully acknowledging his courtesy in sending me 
 advance copies of the text and notes of his second edition. 
 I have also referred occasionally to the elaborate edition 
 of Friederich Bollensen (Leipzig, 1879). Of course, 
 the present edition of my translation, like the former, 
 is strictly in ugum tironum, and I shall be quite satisfied, 
 if I find that it has contributed to lighten the labours of 
 some of the students of oar Indian Universities. 
 
 Calcutta, August 1891. 
 
PREFACE TO THE FIRST EDITION. 
 
 The following translation is intended for tlie use of per- 
 sons beginning the study of Sanskrit literature. The 
 admirable edition of this play by Shankav Pandit, M.A., 
 forming No. "VI. of the Bombay Sanskrit Series, will 
 hardly meet the needs of the tiro. Professor Weber's 
 German tranplation was made from a faulty text ; and 
 it is possible that many who take up the study of San- 
 skrit may not be familiar with German. There seems 
 therefore to be an opening for an English translation 
 sufficiently literal to assist beginners in unrayelling 
 the difficnlties of the Sanskrit text. The nnmber of 
 students who master the rudiments of Sanskrit is in- 
 creasing every day. A knowledge of the grammar of 
 this language is indispensable to the student of Com- 
 parative Philology, and whatever mny be thought of the 
 abstract merits of Sanskrit literature, it must always 
 have its value for Englishmen who have chosen an 
 Indian career, as throwing a flood of light upon the 
 social customs and modes of thought of the more cul- 
 tivated classes of modern Hindu society. 
 
 The Malavikagnimitra furnishes us with a vivid pic- 
 ture of a native court in the most flourishing period of 
 Indian history, probably about the third century after 
 Christ. An attempt was indeed made by the late Pro- 
 fessor Wilson to show that the play could not have been 
 written before the tenth or eleventh century, and was 
 therefore not the work of the great Kaliddsa. His 
 
PREFACE, Vll 
 
 objections, which rest solely upon internal evidence,* have 
 been fully refuted by Weber, whose arguments are re- 
 produced in Shankar Pandit's edition, and fortified with 
 some additional proofs. . So far from the internal evi- 
 dence being against the traditional belief that the play 
 is the work of the great Kalidasa, a great many coin- 
 cidences of style and thought between this and the other 
 works attributed to him are pointed out by the above- 
 mentioned scholars. Indeed, Wilson in liis account of 
 the play supplies us with some arguments in favour of 
 its antiquity, tliough he finally decides against, it. I 
 confess it seems to me difficult to understand how a critic 
 who places Bhavabhuti in the eighth century, can hava 
 assigned so late a date to the Malavikagnimitra. With 
 reference to Bhavabhuti, Wilson observes^ : — " The date 
 " thus given to th* compositions of Bhavabhuti is quite 
 " in accordance with their internal evidence. The man- 
 " ners are purely Hindoo, without any foreign admix- 
 " tur«. The appearance of women of rank in public, 
 " and their exemption from any personal restraint in 
 " their own habitations, are very incompatible with the 
 " presence of Mahometan rulers. The licensed existence 
 " of Bauddha ascetics, their access to the great, and 
 " their employment as teachers of science, are other 
 " peculiarities characteristic of an early date, which the 
 " vworship of (Jiva in his terrific forms, and the prevalence 
 ■" of the practices of the Yoga, are indications of a similar 
 " teiidency," 
 
 ' There is not the same melody fn the verse nor fancy in the 
 thoughts, — Wilson's Hindoo Theatre, Vol. II., p. 346. 
 ' Hindoo Theatre, VoL II. 
 
Viii PREFACE. 
 
 Now, it is cnrious that in the Malavikignimitra we find 
 a female Buddhist ascetic held in great honour, who speaks 
 Sanskrit, and not Prakrit (the ordinary dialect of women 
 in the Indian plays, even of queens), is apparently ac- 
 quainted with the theory aikd practice of medicine, and is 
 visually addressed as " learned " or " reverend." 
 
 It is indeed an objection to the historical truth of the 
 play that Fusbpamitra was according to Buddhist accounts 
 a zealous persecutor of Buddhists. But it does not follow 
 that his son Agnimitra was hostile to the Buddhists ; 
 indeed, he may have quarrelled with his father upon 
 this very ground : (see the expression vigataroshachetasd 
 p. 107, line 11, of the Bombay edition,^) besides, it is 
 not necessary to our position to suppose that the author 
 possessed accurate information with respect to the his- 
 tory of the kings of the ^unga dynasty, which flourished 
 so long before the date assigned by modern scholars to 
 the great Kilidasa. 
 
 ^iva is invoked in the Malavikdgnimitra, though we 
 have no trace of the bloody worship of his consort 
 K^li, of which we read in the works of Bhavabliuti, 
 and which is generally believed to be of comparatively 
 modern origin. As for the diction of our play, it is free 
 from the long and involved compounds and " dark con- 
 ceits" which puzzle the sti>dent of BhavabhiSti's works, 
 and is throughout fresher and more natural than the 
 style of that poet. , 
 
 Those who are not convinced by the arguments of 
 
 ' This is a conjecture of my own. Shankar Pandit supposes 
 he may have been angry because his son was sent to guard tba 
 horsa ^ 
 
PREFACE. IX 
 
 Weber and Shankar Pandit that tlie play was composed 
 by the author of the ^akuutala will, I think, admit on 
 reading it, that it furnishes ns with a genuine descrip- 
 tion of Hindu society before the Mahometan invasion. 
 
 For this reason it has an abiding historical value, 
 though no one would, of course, think of comparing it 
 in this respect with tlie Mrichchhnkati, which reveals to 
 lis strata of Hindu society, that were apparently beneath 
 the notice of the author of the courtly Malavikagnimitra.' 
 
 I now proceed to extract from the second volume of 
 Lassen's Indische Alterthumskunde an account of the 
 ^nnga dynasty of kings of which Pushparaitra was the 
 founder : — 
 
 " After the death of Apoka the vast dominions of the 
 " Maurya^ kings broke up into three kingdoms. The 
 " first was in Magadha, the kings of which have been 
 *' already mentioned. The second was that of Jaloka, 
 " which included a great part of North- Western Indiai 
 " as well as Kagiraira. He is no doubt identical with 
 " the Indian king, called by the Greeks Sophagasenos, 
 " who was a contemporary of Antiochus the great, and 
 " renewed with him the treaty which his forefathers had 
 " made 
 
 " The third kingdom of the Manryas probably em- 
 " braced a part of the sonth-wesfern provinces of the 
 " original kingdom, as its kings are mentioned as suc- 
 " cessors of Kun41a, who was Viceroy in TakshagiU and 
 " Gandhara. 
 
 ' Said to be derived from Mura, the mother of Chandra- 
 gupta, the first Maury a king. 
 
X PREFACE. 
 
 " After the death of his father, Sampadi must havo 
 " declared liimself independent, and a struggle pro- 
 " bably arose between the three brothers, in which 
 " Jaloka was victorious, and obtained the greater part 
 " of his father's kingdom. Snyii9as secured the east- 
 " em, Sampadi the south-western portion. He probably 
 " transferred the seat of his sovereignty to VidifS, at 
 " any rate tin's city appears as the capital of the suc- 
 " ceeding dynasty of (^ungia, kings. 
 
 " We possess some information about Pnshpamitra^ 
 " the founder of this dynasty in a Buddhist work, and 
 " also in the drama M41avik4gniniitra. The PnrSnas 
 " only inform us that he was the general of the last 
 " Maurya Brihadratha, whom he deprived of his throne 
 " and his life. In the Bnddhist work we are told that 
 " he was the last of the Manryas, and that his predeces- 
 " sor was called Pushyadharman. The first statement 
 " is of course a mistake, the second may be snpposed 
 " to be correct, as the name could scarcely have been 
 "invented. According to the drama the capital of his 
 "son Agnimitra was Vidi^a, so we are perhaps justified 
 " in supposing that he was originally in the service of 
 " Pushyadharman, and that after usurping his throne, 
 "he deprived the king of Magadha of his sovereignty. 
 " The fact that in another account, which we shall 
 "proceed to lay before our readers, he is represented as 
 " reigning at Pataliputra need not surprise us, as in this 
 " account he is supposed to belong to the Maurya dynasty. 
 
 ' According to Mr. Fleet, who quotes Prof essor Weber as agree- 
 ing with him, the name should be spelled Pushyamitra. See 
 Corpus Insoriptiouum Indioarum," Vol. III., p. 66 u,] 1891, 
 
PREFACE. Xl 
 
 " We are told in the drama that, intending to perform 
 " the horse- sacrifice, he let loose a horse, which, as it was 
 " wandering along the right bank of the Indus, was car- 
 " ried off by a squadron of Yavana cavalry, but rescued 
 " by its guard under Vasumitra. 
 
 " We cannot of course be certain whether this was the 
 "real cause of the quarrel or not, but so much is clear, 
 " that Pushparaitra came into collision with the Greeks 
 " on the bank of the Indus. As he ascended the throne 
 " in 178 B.C., this struggle must have taken place in 
 " the reign of Eukratides. According to the account 
 " in the drama, it took place under the rule of liis son 
 " Agnimitra, whose general he was, but this is contrary 
 " both to Brahmanical and Buddhist accounts, and the 
 " truth probably is, that during the latter years of his 
 " reign he associated his son with himself as partner 
 " in the empire. Much more important is another event 
 " of his life, of which we possess an account. From it, 
 " it is evident that he w«s stirred up by the Brdhmans to > 
 " persecute the Buddhists ; in other words, that a great 
 " change took place in the views of the mightiest Indian 
 " prince of the time, and produced its natural results. The 
 " incident to which lalludeisnarratedin the followingway. 
 " Pushpamitra summoned a council of his ministers and 
 "asked them what was the best course for him to adopt 
 " in order to obtain undying glory. They reminded him 
 " of the example of his predecessor A9oka, who made 
 " the 84 thousand proclamations of the law, and whose 
 " fame would last as long as the law of Bhagavat^ pre- 
 " vailed. The King answered that he preferred some other 
 
 ' This word here is equivalent to Buddha. 
 
XII PRKFACE. 
 
 "means of making himself famous, and applied to a 
 
 " B-indi purohita, who recommended him to suppress Bud- 
 
 " dhism by force. The King adopted the suggestion, and 
 
 " went with a force composed of all four arms^ to Knt- 
 
 " tukdrama in the vicinity of Patalipntra, with the firm 
 
 " determination of destroying the law of Bhagavat. Three 
 
 " times, when on the very threshold of the vihdra, ^ he 
 
 " was deterred by the roar of a lion from carrying out his 
 
 " intention, and returned to the city without effecting any- 
 
 " thing; At last he summoned a meeting of the inmates 
 
 f of the monastery, and informed them that he intended to 
 
 " destroy the law of Buddha, and asked them which they 
 
 " would choose, the destrnction of the vihdra, or that of the 
 
 " sfupa.^ They preferred to leave the place; the King 
 
 " then utterly destroyed the vihdra, and massacred all 
 
 " its inhabitants. He then moved on to ^akala, where 
 
 " he proclaimed that whoever brought in the head of a 
 
 " ^ramana* should receive a hundred gold pieces. One 
 
 "of these offered his own head to the murderers, in order 
 
 " to save the law and the lives of the other Arhats.' 
 
 " When the King heard this, he gave orders that every 
 
 " Arhat in that province should be put to death, but he 
 
 " subsequently met with so much opposition that he no 
 
 " longer continued his persecutions in this quarter, but 
 
 " turned off to Koshtaka, and thence went towards the 
 
 ' Viz.. cavalry, infantry, elephants, and archers. 
 ' Buddhist convent. 
 
 ' A kind of tumulus erected over relics of the great Bnddha 
 (commonly called Tope). 
 * Buddhist ascetic. 
 ' The highest rank in the Buddhist hierarchy. 
 
PREFACE. Xiii 
 
 " sontliern sea, near wliicli he is said to have been im- 
 " prisoned by a Yaksha in a mountain together with his 
 " whole army. On account of the massacre of the holy 
 " men he received the title of Munihata, slayer of hermits. 
 
 " This is the only account which we have of his at- 
 " tempt to put down Buddhism. It is at any rate clear 
 " from this story that the Buddhists were so powerful 
 ;' at this time that tlie Brahmans, not being able to 
 " overcome them by fair means, made use of their in- 
 " fluence over a sovereign of their own religions persua- 
 " sion to accomplish their object by violent measures. 
 " They must have welcomed his assistance all the more 
 " gladly, as according to the above account he was 
 " evidently in possession of an extensive dominion. It 
 " stands to reason that the King could only act in this 
 " arbitrary manner in his'own dominions, we may there- 
 " fore conclude that ^akala^ and Koshtaka were compris- 
 " ed in them. The first appears to have been the furthest 
 " limit of his dominions in this direction, because we 
 " are told that here he met with opposition. The only 
 " objection to the story is, that at this time Eukratides 
 " is said to have reigned as far as the Vipapa,* but this 
 " is removed by supposing that, after the murder of this 
 " king, Pushpamitra availed himself of the confusion to 
 " which it gave rise and made himself master of ^akala. 
 
 " It is evident that, at the time of his greatest pros- 
 " perity, Pushpamitra ruled the greater part of the 
 
 ' Qakala is in the Panjab beyond the Vitasta or Jhelum, the 
 Hydaspes of the Greeks. The Greeks called the town Sagala ; 
 Koshtaka is not mentioned elsewhere. 
 
 ^ i.e., the Beeas. 
 
Xiv PKF.PACE. 
 
 " original Maurya kingdom. We get a hint from an- 
 " other source of the extent of his realm towards the 
 •' south. In tlie drama the Narmada is mentioned as 
 " its southern limit, for Virasena, tlie brother-in-law of 
 " Agnimitra, is represented as in command of a border 
 " fortress on this river. In ii war which he had witli 
 " the king of Vidarblia the latter mnnarcli was OTercome, 
 " and compelled to surrender one half of his kingdom 
 " to Madhavaseua, a friend of the conqueror's, and the 
 " Varada was fixed as the bonndary of the territories of 
 "' the two princes. It is however most probable that 
 " this territory was not conquered by the founder of the 
 " dynasty but by his son after his death. His dominions 
 " accordingly extended, if we include those of his vassal, 
 " to the table-land of the Deckan. His possession of 
 " so wide a territory explains why the ^unga kings are 
 " always spoken of as the successors of the Maurya 
 " dynasty. The founder of the dynasty reigned 36 years 
 "according to the most probable account. The Pnranas 
 "agree in representing the dynasty as lastiii,<r for 112 
 " years, and the lengths of the reigns of Pushpamitra'a 
 " successors agree with one exception in both accounts. 
 " The discrepancy only amounts to two years, and as 
 " there is no antecedent improbability in the numbers, 
 " we have no reason for doubting their correctness. If 
 " we subtract the years of his successors' reigns, we have 
 " only 30 years left for the reign of the founder. The 
 "simplest way of reconciling this discrepancy is to siip- 
 " pose that he first established his power in the seventh 
 " year, or perhaps was crowned in that year, so that the 
 " first six years have been omitted. We know nothing 
 
PREFACE. XV 
 
 '' about his successors, except their names and the length 
 "of their reigns^ ■which are as follows : — 
 
 " Vasumitra reigned 8 or 10 years.^ 
 
 " Snjyestha 
 
 
 7 years. 
 
 " Ardraua 
 
 
 2 „ 
 
 " Pulindaka 
 
 
 3 „ 
 
 " Goshavasu 
 
 
 3 „ 
 
 " Viijr,amitra 
 
 
 9 „ 
 
 " Bhagavata 
 
 
 32 „ 
 
 " Devabhiiti 
 
 
 10 „ 
 
 " These ten kings reigned from 178 B.C. to 66 B.C., 
 " and in every case the son ascended the throne of his 
 " father. 
 
 " The next dynnsty bears the name of Kanva, and 
 " was founded by Vasudeva, the Minister of the last 
 " Cunga king, who murdered his dissolute master and 
 " ascended his throne." 
 
 Such is the history of the (JIunga dynasty, or rather 
 all that one of the most able of Indian archseologists, 
 familiar with every tiook and corner of Sanskrit liter- 
 ature, can present to us as a substitute for history. No 
 doubt the view of the relations subsisting between Ag- 
 niniitra and Pushpamitra which we find in tlie play is 
 unhistorical. But that does not impair the value of the 
 drama as a picture of Indian manners at a time when 
 Buddhism and Brahmanism were both favoured religious, 
 contending for dominion over the whole of India. 
 
 It only remains for me to say that I have endeavoured 
 to give translations of all the most important various 
 
 • The Yaj-u Purana gives 8, the Matsya Fuiana 10. 
 
XTl PREFACE. 
 
 readings in Tarinatha's edition, and I must express 
 myself highly indebted to his commentary, which has 
 guided me in the interpretation of sereral passages npen 
 which Shankar Pandit's notes throw no light. 
 Calcutta, January 1875. 
 
MALAYIKAGNIMITRA. 
 
 ACT I. 
 
 NANDI. 
 
 Mat that lord who, though established in sole supre* 
 macy, from which result great blessings to his votaries, 
 himself wears the garment of skin j* who, though his body 
 is united with that of his beloved,^ is at the head of as- 
 cetics whose minds are averted from outward objects; 
 in whom there is no arrogance, though he supports the 
 whole world with his eight forms,^ may he, I say, remove 
 
 ' In Qiva's case, the skin of a panther. Skin garments were 
 characteristic of ascetics. 
 
 ^ Qiva and ParvaU are one individual, the left portion of 
 whose body is female, and the right male (Shankar Pandit), 
 According to Professor Weber, this fact is first mentioned by 
 Bardesanes, who derived it from the members of an Indian 
 embassy to Heliogabalus. Foi purastdd, T^randthaand Kafaya- 
 vema give parastad, who aurpasaes, &c. 
 
 ^ The eight forms are earth, water, fire, wind, sky, sun, moon, 
 and pagnpati, or lord of animals. The last is sometimes given 
 as Yajamana, which appears to mean " a person who employs 
 priests to perform a sacrifice." Weber gives the last f orjn as 
 the Brahman caate. The Eev. K. M. Banerjea observes, that 
 originally it meant " a celebrant," now " a spiritual client,"— 
 Bengal Magazine for September 1874... 
 
 1 
 
( 3 ) 
 
 omi state of darkness in order that we may behold the per- 
 fect way.2 
 
 Here ends the Ndndi.^ 
 \^ Enter the Manager, 
 
 Manager {looking towards the curtain). — Actor,* come 
 here for a moment. 
 
 Enter Actor, 
 
 Actoi: — Sir, here I am. 
 
 Manager. — I have received the following order from 
 the spectators: "You must act at. this spring festival a 
 play named Malavik4gniraitra, composed^ by Kalidasa ;" 
 therefore let the representation be begun. 
 
 Actor. — Not so, I pray. "Why do the spectators pass 
 over the compositions of famous poets, like the honoured 
 bards Bhasa, Sauroilla,^ Kaviputra and others, and do snch 
 great honour to the work of Kalidasa, a modern poet ? 
 
 ' Taranatha, Katayavema, and BoUensen read vas for nag, 
 your state, &o. 
 
 ^ The way of moksha, or liberation. 
 
 ' Taranatha observes that this Nandl is irregular. It ought 
 to have eight or twelve lines. 
 
 * Called pdri;pargvika, or assistant. The manager {sutra- 
 dhara) addresses him by the title of mdrisha. He uses bhdva 
 as a.term of respect in addressing his master. — (S. P. P.) 
 
 ' Literally, the whole business or plot of which was com- 
 posed, The ('Bpring festival" of course corresponds to the 
 modern Holi festival. BoUensen inserts nava" before °vasan' 
 totiaw, this festival at the beginning of spring. 
 
 ' Pa.ndit Tdrdndtha Tarkav&chaspati reads Dhavaka, Sau- 
 mill», Kaviputra, and others. Dhavaka was, according to 
 Mammata Bhatta, the anthpr of the Ratnavali and N&gS- 
 nanda ; but his avarice induced, him to forego the honour ot 
 
( 3 ) 
 
 Manager. — Ah! your remark is wanting in critical 
 acumen. Observe ! Every old poem is not good because it 
 is old J nor is every new poem to be blamed because it is 
 new ; sound critics, after examination, choose one or the 
 other, the blockhead must have his judgment guided by 
 the knowledge of his neighbours. 
 
 Actor. — The honourable spectators are the best judges. 
 
 Manager. — Then make haste, I long to perform the 
 order of the spectators which I received some time 
 ago with bowed head, even as this servant of the Queen 
 Dh4rini,i skilful in attendance, longs to perform, her 
 order. 
 
 [Uxeunt Actors, 
 End of the Introductory dialogue.^ 
 Enter a female servant. 
 
 Female servant. — I am ordered by the Queen DhSrinf 
 to ask the teacher of dancing, the noble Ganaddsa, what 
 degree of proficiency MAlavikA has attiiined in the dance 
 called Chalita,^ in which she has recently been receiving 
 instruction. Therefore, let me enter the music-hall. 
 ( With these words she walks round.) 
 
 their authorship in favour of Harsha Deva, King of Kashmir, 
 who lived at the beginning' of the 12th century. BoUenReu 
 reads Bhasaka for Dhavaka. In his preface he quotes Dr. 
 Pitz-Bdward Hall as saying that Bhasaka or Bhasa lived in the 
 7th century. 
 
 ' Dhari^i is the Kovpilii} oKoxoQ liable to be supplanted or 
 supplemented at any time by an ii,aipeToy baprjfia. 
 
 ' Skr. prastdvand, which Monier Williams explains by pro- 
 logue. The Sanskrit dramatists made much use of these Bu^ 
 ripidean devices. 
 
 ' TaranathB and BoUensen call the dance cTiTiaWliam^ 
 
( 4 ) 
 
 Enter another female servant, with an ornament 
 in her hand. 
 
 First female servant {having seen the second) —"EiaWoo j 
 Kaumudika ! Why are yon so preoccupied that, though 
 you pass close to me, you do not cast a glance in my 
 direction 7 
 
 Second female servant. — Why, bless my soul, here is 
 Vakuldvalikd. My friend, I was contemplating this beau- 
 tiful ring of the Queen's with a seal on which a snake is 
 engraved, which I have just brought from the jeweller's, 
 and so I came to merit your reproof. 
 
 Vakuldvalikd {observing it). — It is meet that your gaze 
 should be riveted on it. By means of this ring, from 
 which a stream of rays breaks forth, the extremity of 
 your hand appears, as it were, to be in blossom. 
 
 Eaumudihd. — Come now, where are you going ? 
 
 Vakuldvalikd.— r\ am going by the orders of the Queen 
 to ask the noble Ganadasa, the teacher of dancing, what 
 sort of pupil Malavika has shewn herself. 
 
 Kaumudika. — Friend, though kept out of the way by 
 such an employment, she was seen, they say, by the 
 King.i 
 
 Vakuldvalikd. — Yes, the girl was seen at the Qneen's 
 side in a picture. 
 
 Kaumudika. — How did that come about ? 
 
 Vakuldvalikd. — Listen ! The Queen had gone to the 
 hall of painting, and was looking at a picture of the 
 
 ' Tardnatha and BoUensen omit hila and read kaHtam 
 drnhld. Their reading would mean, " How comes it thatMa- 
 lavika, though kept out of the way by such an employment, 
 haa been seen by the King ?" 
 
( 5 ) 
 
 drawing-master's on wliioh the hues of the colouring were 
 still fresh ; at that very monaent in came the Kiugi 
 
 Kaumudikd. — What happened then 7 
 
 Vakuldvalilcd. — Then, after the customary salutation^ 
 the King sat down on the same seat with the Queen, and 
 beholding Malavika in the midst of the Queen's attend- 
 nnts in the painting and very near to her, he asked the 
 Queen — 
 
 Kaumudikd. — What, I pray ? 
 
 Vakuldvalilcd. — " What is the name of this girl, that I 
 have not seen before, standing near you in the painting ? '.' 
 
 Kaumudikd. — Admiration naturally follows forms of 
 surpassing loveliness. What happened then ? 
 
 Vakuldvalikd. — Then the King, finding that no at- 
 tention was paid to his question, began to importune the 
 Queen again, but the Queen gave no answer. Thereupon 
 the Princess Vasulakshmi said — My brother-in-law, this 
 is Malavikd. 
 
 Kaumudikd. — That is child-nature all over. Tell me' 
 what happened next, 
 
 Vakuldvalikd. — What else than this? Malavika is 
 now kept with especial care out of the range of the King's 
 eyes. 
 
 Kaumudikd. — Come now, go and do your errand. I, too, 
 will give the ring to the Queen. 
 
 \^Mxit Kaumudikd. 
 
 Vakuldvalikd (walking round and looking about). — 
 Here is the teacher of dancing, the noble Ganadasa, 
 coming out of the music-hall : let me shew myself to him. 
 Enter Ganaddsa, 
 
 Ganadasa. — Although every one of course thinks 
 
( 6 ) 
 
 taosi of his own hereditary lore, still the importance I 
 attach to dancing is not without foundation, how can 
 it be? Sages say that this is a pleasing sacrificial feast 
 to the eyes of the gods, being exltibited in two different 
 ways by Civa in his body which is blended with that of 
 Uma ;i in it is seen the behaviour of men arising from 
 the three qualities,^ and distinguished by various senti- 
 ments ; dancing is the one chief amusement of human 
 beings, though their tastes are different. 
 
 Vakuldvalikd (^advancing), — Reverend Sir, I salute 
 thee. 
 
 Ganaddisa. — My good girl, may you live long. 
 
 Valculdvalihd. — Noble sir, the Queen wishes to know 
 whether your pupil Malavika is not very troublesome to 
 teach. ^ 
 
 Ganaddsa. — Assure the Queen that Malavika is ex- 
 ceedingly clever and intelligent ; to put the matter con- 
 cisely, whatever movement expressive of sentiment is 
 taught by me to her in the way of acting, that the girl, 
 as it were, teaches to me in return by improving upon it. 
 
 Vakuldvalikd {to herself). — I seem to see her cutting 
 out IrAvatl, {Aloud) Your pupil may be already consi- 
 
 ' The style of dancing invented by ParvatI (confined, ac- 
 cording to Monier 'Williams, to attitude and gesticulation, with 
 a shuffling motion of the feet seldom lifted from the ground), 
 13 called Lasja. It is opposed to Tandava the more boisterous 
 style of dance of Qiva and his followers. 
 
 ' Ooodness, passion, and darkness. 
 
 * Taran&tha and BoUensen read rert'(i»J«Zmorfi (==.n&tikligyat%) 
 i.e., does not your pupil find it too hard a task to learn, &c. 
 
( 7 ) 
 
 dered a success since her instructor is so well satisfied 
 with her. 
 
 Ganaddsa. — My good girl, you know people like her 
 are hard to find, so I must ask you, whence this actress^ 
 was brought to the Queen. 
 
 Vakuldvalikd. — The Queen has a brother of inferior 
 caste, Vfrasena by name: he has been placed by the 
 King in command of a frontier fortress on tlie banks of 
 the Mandakini.* He sent this girl as a present to his 
 sister, thinking her just the sort of person to iearn ac^ 
 complislunents. 
 
 Ganaddsa [to himself) — From^ her distinguished ap- 
 pearance I conjecture that she is of high birth. {^Atoud) 
 My good girl, I am certainly destined to become famous. 
 Observe ; the skill of the teacher, when communicated to 
 a worthy object, attains greater excellence, as the water 
 of a cloud, when dropped into a sea-shell, acquires the 
 nature of a pearl.* 
 
 ' I have adopted Bollensen'a view of the meaning- of pdtram. 
 Foucaux has cette perle, i.e., such a jewel, such a choice 
 attendant. 
 
 ^ The Maadakinl here probably means the Narmada (Ner- 
 budda). One of the Bombay manuscripts reads the Prakrit 
 equivalent of Narmada. BoUensen reads antardla for antapdla. 
 He considers that the word means the uninhabited and uncul- 
 tivated interval befcjyeen two states, and quotes C^sar B. G. 
 VI, 23, to show that a similar custom existed among the ancient 
 Germans. 
 
 ^ Bollensen inserts mnaya between dkriti and pratyay&d, 
 from her beauty and modesty. Katayavema seems to take it, 
 '■■ I think that she is of noble character.'' 
 
 * Referring to the notion that drops of water fallen into 
 
( 8 ) 
 
 Vakul&valiM. — Well, where is your pnpil ? 
 
 Ganaddsa, — Having just now taught her the five-liml? 
 niovemenli I told her to rest, and so she has gone to the 
 window that commands a view of the artificial lake, and 
 is enjoying the fresh breeze. 
 
 Vakuliivah'kd. — Then, sir, give me leave to depart, in 
 order tliat I may stimulate her zeal by informing her that 
 her teacher is satisfied with her. 
 
 Ganaddsa. — Go and see your friend. I, too, as I have 
 got an interval of leisure, will go home. 
 
 [Exeunt Ganaddsa and Vakuldvalika. 
 Here ends the Vishkamhkaka? 
 
 Then the King is discovered with his retinue standing 
 apart, and attended hy the Minister seated behind him with 
 a letter in his hand. 
 
 King (looking at the Minister who has read the letter). — 
 Vahatava, what does the King of Vidarbha say in reply I 
 
 Minister.— He gives an answer, which will involve his 
 own destruction. 
 
 sea- shells iiiidor the influence of the star Arcturus become 
 pearls (Shankar Pandit).- 
 
 ' In -which the mind, eye, eyebrow, feet, and hands are em- 
 ployed equally (T&r4n&tha). It is also explained as a movement 
 consisting of five parts, two of which are singing and dancing. 
 
 ' An interlude or introductory scene coming between the acts 
 and performed by an inferior actor or actors who explain 
 to the audience the progress of the plot, and thus bind firmly 
 together the story of the drama, by concisely alluding to what 
 has happened in the intervals of the acts or is likely to happen 
 at the ead. (Monier Williams.) T&ran^tha calls the present 
 a mip-a-vislikambhaka, or mixed vislikambliaka, as it is per- 
 formed by oiie actor of medium, and two of inferior, dignity. 
 
( 9 ) 
 
 King. — I want to hear Jiis dispatch at once. 
 
 Minister. — He has on the present occasion sent the 
 following answer : " My royal brother has informed me, 
 that my cousin, Prince Madhavasena, who had promised 
 to enter into a matrimonial alliance with my royal brother, 
 while proceeding to his court, was on the way attacked by 
 one of my wardens of the marches and taken prisoner. 
 This man, with his wife and sister, I am required to set 
 free out of regard for my royal brother. Does my royal 
 brother then not know that the conduct of kings towards 
 kings who belong to the same family should be like that 
 of the earth ^ ? He should, therefore, be impartial in 
 this matter. As for the Prince's sister, she disappeared 
 in the confusipn of the capture : I will do my utmost to 
 find her. Now, if my royal brother wishes that Madha- 
 vasena should be caused to be set at liberty without fail^ 
 let him attend to my fixed determination. If my royal 
 
 ' That ' is to say, impartial. Taranatha reads tatra vo na 
 viditam yat tulyabhijaneshu bkumidhareshu rajn&m vrittik. 
 In making this request my brother did not take into considera- 
 tion what the custom of kings is with regard to their rela- 
 tions. Weber, who appears to have the same reading, supplies 
 in a note, " and how hostile have accordingly become the 
 relations between me and my cousin." He compares the word 
 bhratrivya, which from meaning originally " brother's son " 
 comes to mean " enemy." Compare also Bhartrihari (Bombay 
 Classical Series) Nltigatakam st. 21, jndtigohed analma Mm f 
 relations are worse than fire, on which the commentator ob-i 
 serves ddyadah sahajdrayah " kinsmen are natural enemies.'' 
 Such, with but few exoepciona, has been the history of royal 
 families in the East. " An Amurath an Amurath succeeds, 
 not Harry Harry." 
 
( 10 ) 
 
 brother will set my brother-in-law Manryasachiva free,i 
 whom he has imprisoned, then I will immediately re- 
 lease Madhavasena from confinement." These are the 
 contents of the letter, * 
 
 King. — What? does the foolish fellow presume to bar- 
 gain with me about an exchange of services ? Vahatava ! 
 the King of Vidarbha is my natural enemy, and sets 
 himself in opposition to me : , therefore give orders, as 
 before determined, to the division of the army under the 
 command of Virasena to root him up, inasmuch as he is 
 numbered among my foes.^ 
 ■ Minister. — As the King commands. 
 
 King. — Or what do, you think about it yourself ? 
 
 Minister. — Your Highness speaks in accordance with 
 the treatises on policy. For an enemy that has but lately 
 entered upon his kingdom, because he has not taken 
 root in the hearts of his subjects, is easy to extirpate, 
 like a tree that is unsteady, because it has been only 
 lately planted. 
 
 King. — So may the saying of the wise compilers of 
 
 ' Tiranfiitha reads <irya»aclUvam — the noble minister. Bol- 
 lensen reads aryam, sachivam. Shankar Pandit observes : — " This 
 (Mauryasachiva) is the name, according to the commentator, 
 of the brother-in-law of the King of the Yidarbhas. If that 
 is not correct, and he was the Minister of the Maurya King 
 of P4taliputra, it seems probable that he was imprisoned by 
 Agnimitra to prevent him from exciting the people to rebel 
 against his (Agnimitra's), father, Fushpamitra, who had mur- 
 dered the last of the Mauryas, Brihadrabha, and usurped his 
 throne in his son's favour." 
 
 , ° Literally, standing in the category of those that make 
 themselves liable to be attacked (Shankar Pandit). 
 
( 11 ) 
 
 treatises prove triie.i For this reasoTn let the General 
 be ordered to put his troops in motion. 
 
 Minister, — It sliall be done. 
 
 \_Exit Minister. 
 
 The retinue remain standing round the King in such an 
 arrangement as the nature of their respective duties requires, 
 Enter the Vidushaka.^ 
 
 Vidushaka.—Bh Highness gave me the following com- 
 mission ; " Gautama, devise some expedient by which 
 I may see face to face Mdlavika, whose picture I beheld 
 by accident," Well I have done so, and will now in- 
 form him of the fact. 
 
 (fie walks round.) 
 
 King {seeing th» Vidushaha). — Here is another minister 
 come to me, who superintends another department of my 
 affairs. 
 
 Vidushaha, — May your Highness prosper. 
 
 King (nodding his head), — Sit down here. 
 
 The Vidushaha takes a seat, 
 
 Xing. — Has the eye of your wisdom been at all em- 
 ployed in devising a means of attaining our object?^ 
 
 ' Bolleneen thinks that the sentence should not be taken in 
 an imperative sense. K^tayaVema supplies T/hamkyati. Fou- 
 caux translates idam nimittam .dddya, en le prenant pour 
 guide. 
 
 ^ The jocose friend and companion of the King. He is 
 always a Brahman. He is the Leporello of the Indian drama. 
 
 ' I take upeya, after Katayavema, as part. fut. pass = gddhya. 
 BoUensen reads updyopeyadargaoie. He seems to take upeya 
 as a substantive, in the sense of devising = itpaTtshepa. 
 
( 12 ) 
 
 Vidushaka.— Means indeed! rather ask about the sucr 
 cessfal accomplishment of my commission. 
 
 King. — What do you mean ? 
 
 Vidushaka (whispers in his ear). — This is what I 
 mean. 
 
 King. — Excellent, my friend ! A clever start ! We 
 hope for good luck in this enterprise, though success in 
 it is difficult to attain. For it is the man with allies 
 that is able to accomplish an undertaking surrounded 
 with obstacles ; even one who has the use of his eyes 
 cannot without a light perceive an object in the darkness. 
 
 A voice behind the scenes.^ — A truce .to excessive 
 boasting ! In the presence of the King himself shall be 
 decided which of us is superior and which inferior. 
 
 King. — Friend, a blossom has badded on the tree of 
 your intrigue.2 
 
 Vidushaka. — You shall see fruit also on it, I promise 
 you. 
 
 Then enter the Chamberlain. 
 
 Chamberlain. — Your Majesty, the Minister begs to 
 inforin yon that your orders have been carried out. But 
 here are Haradatta and Ganadasa, the two professors of 
 acting, each eager for victory over the other, wishing to 
 have an interview with your Majesty, like two dramatic 
 passions incarnate in bodily form. 
 
 King. — Introduce them. 
 
 Chamberlain. — As the King commands. (Going out and 
 returning with them.) This way, this way, gentlemen ! 
 
 ' Nepathye, in the tiring room, th6 postscenium. Foia4harot- 
 tara° Taran4tha and Bollensen read adharottarayor." 
 ^ For "iuti° T4rauatha and Bollenseu read "sunlti" 
 
( 13 ) 
 
 Haradatta {Joohing at the King). — Ye gods J Awful is 
 the majesty of the King. For he is not unfamiliar to me, 
 and he is not stern of manner, nevertheless I approach his 
 side with trembling ; though the same, he appears every 
 moment new to my eyes, even like the mighty ocean. i 
 
 Ganaddsa, — Great indeed is the splendour that re- 
 sides in this hero.* For though my entrance has been 
 permitted \)y the guards appointed to wait at the door, 
 and though I am advancing towards the King with the 
 attendant that is always about his throne, by the eiful- 
 gence of his majesty, that repels my gaze, I am, as it 
 were, without words denied access after all. 
 
 Chamberlain. — Here is the King: approach, gentlemen. 
 
 Both (advancing). — May the King be victorious. 
 
 King. — Welcome, gentlemen. {Looking round at the 
 attendants). Seats for these gentlemen. 
 
 I'hey sit down on chairs brought by the attendants. 
 
 King. — What is the meaning of this, that you two 
 professors have come here together at a time when you 
 ought to be teaching your pupils ? 
 
 Ganaddsa. — Listen, King ! I learned the art of dra- 
 matic acting from a good teacher.^ I have given lessons 
 
 ' Literally, water-receptacle. 
 
 ' PurusliadlLikaramidamjyotih^etatpurusTiddhilidramjyotih 
 = eshah purushah adhiharali (adhiliaranam, sthdnam) yasya tat. 
 (iJiP.P). None of the Bombay MSS. read purnsJialtdram, the 
 reading of Taranatha's edition, which means this splendour in 
 the form of a man. It is of course the easier reading, and so 
 far less likely to be correct. 
 
 ^ Tirthad, the reading of Shankar Pandit, is practically equi- 
 valent to Taranatha's mtirtMA. Weber takes mtirtha as a pro- 
 per name. BoUensen inserts «?t° before both tirthad an& gi&shita. 
 
( l-l ) 
 
 in the art.i I have been favoured by the King and the 
 Queen. 
 
 King. — I know it well. 
 
 Ganaddsa. — I, a man with such antecedents, have 
 been taunted by this Haradatta in the presence of the 
 principal men of the court in these words : " This man 
 ig,not as good as the dust on my feet."^ 
 
 Haradatta. — King ! This man was first engaged in 
 abuse of me. According to him, there is tlie same 
 difference between his reverence and myself that there 
 is between the ocean and a puddle •,^ therefore let your 
 Higliness examine him and me in theoretical knowledge 
 and in practical skill. Let the King be both judge and 
 examiner. 
 
 Vidushaka. — A fair proposal. 
 
 Ganaddsa.^—ATi excellent idea ! * The King should 
 listen to ub with the utmost attention. 
 
 Zm^f.-— Stop a minute,^ the Queen is sure to suspect 
 partiality in this matter ; therefore, the case had better 
 
 ' Taran4tha takes dattaprayogo ^smi with devena. I had tbe 
 professorship of tbeatiical represeutation conferred upon me 
 by the King. 
 
 'One is irresistibly reminded of the two professors in 
 Moliere's " Bourgeois Qeutilhomme." 
 
 ' Weber takes this as an ironical speech of Ganadasa to 
 Haradatta. Shankar Pandit says, " this is said of Ganadasa, 
 who used the simile to disparage his rival. The particle Mia 
 shows that Haradatta is quotiiig the substance of what Gana- 
 disa had said about him (Haradatta)." 
 
 * Literally, the best course to follow (Shankar Pandit), 
 liitei-ally, let it stand a little while (Shankar Pandit). 
 
( 15 ) 
 
 be tried in tbe presence of the Queen accompanied by 
 tlie learned KauQiki. 
 
 Vidushaka. — The King's BUggestion is good. 
 The two Professors. — As seems good to the King. 
 King, — Maudgalya, summon tlie Queen together with 
 tlie revered saint Kangiki, taking care to Inform them of 
 tliis matter under consideration. 
 
 Chamberlain. — As the King commands. (With these 
 words he goes out, and returns with the Queen accompanied 
 by the Parivrdjikd^ or female Buddhist ascetic). 
 
 Chamberlain. — This way, this way, Queen Dharini. 
 Queen (looking at the Parivrdjika). — Reverend Madam, 
 what do you think of the contest between Gunadasa and 
 Haradatta P 
 
 Parivrdjika. — Cease fearing that your protege will be 
 defeated : GanadAsa is not inferior to his antagonist. 
 
 Queen. — Even if this be true, still the favour of the 
 King gives his rival the advantage. 
 
 Parivrdjika. — Ah ! consider also that you have a 
 fight to the title of Queen. While the fire attains 
 extreme brilliancy from the assistance of the sun,' on 
 
 ' A wandering female mendicant. She was a widow. The 
 Bindn widow, says Shankar Pandit, is not generally a wander- 
 ing mendicant, so we may assume that she was a Buddhist, 
 and this makes it likely that the play is much oldet than 
 Wilson supposes. 
 
 , * That is to say " which of the two do yon think will be 
 victorious ? " 
 
 ' Bollensen reads with some MSS. ihdauh parigraMd ahnah, 
 the san hy the assistance of the day. He remarks that tffis 
 reading gives a better antithesis. 
 
( 16 ) 
 
 the other hand the moon also acquires greatness when 
 favoured by the night. 
 
 Vidushaka. — Look ! look ! Here is the Queen arrived, 
 preceded by the match-maker,^ the learned Kaiifiki. 
 
 King. — I see her, who indeed, decked with the auspici- 
 ous ornaments,^ accompanied by Kaupiki in the dress of 
 an ascetic, shines like the three Vedas incarnate accom- 
 panied by the knowledge of the Supreme Soul.^ 
 
 Parivrdjihd{advancing). — May theKing be victorious I 
 
 King. — Reverend Lady, I salute thee. 
 
 Parivrdjikd. — Mayest thou be for a hundred years the 
 husband of Dharini and the earth,* the support of living 
 ereatures, which two beings give birth to mighty offspring, 
 and are equal in patience. 
 
 dueen. — May my husband be victorious ! 
 
 King. — Welcome to the Queen ! {Looking towards the 
 Parivrdjikd.) Eeverend Lady, take a seat. 
 
 They all sit down in due order. 
 
 King. — Reverend Lady, a dispute about superiority in 
 skill has arisen between Ganadasa and Haradatta, now 
 you must occupy the position of judge in this matter. 
 
 Parivrdjikd {smiling.) — Spare your taunts. When a 
 
 ' Pithamardika, according to Shankar Pandit, means one who 
 BSBiBte the N^ika, or heroine, in her attempt to gain her lover. 
 
 " Such as a wife would wear daring the lifetime of her 
 husband (Shankar Pandit). 
 
 ' The XJpanishads (Shankar Pandit). 
 
 * A pun on the name of the Queen. Bhiitadhdrini = the 
 earth. Kings are again and again spoken of in Sanskrit poetry 
 as the husbands of the earth. Compare Raghuvanga, VIII, 61 
 (Bovilay edition.). " Suiely I am the husband of the earth 
 only in name, but my heart-felt pleasure was in thee." 
 
( 17 ) 
 
 town is accessible, do men go to a village to get jeiwels 
 tested ? 
 
 Eing.-^'Not so, not so. You are indeed " the leavaed 
 ■ Kaujiki, " whereas the Queen and I are partial with re- 
 spect to these gentlemen, Haradatta and Ganad^sa. 
 
 The two Professors. — The King's remark is just. Re- 
 verend Lady, you are impartial, you ought to pass judg- 
 ment on our merits and demerits. 
 
 King. — Therefore let the case be opened. 
 
 Parivrdjiled. — King, the art of dancing is a matter of 
 practice chiefly, what is the use of a verbal controversy ? 
 
 King. — What, however, does the Queen think ? 
 
 Queen. — If you ask me, the whole dispute between 
 these two professors is annoying to me. 
 
 Oanaddsa. — The Queen ought not to consider me 
 likely to be beaten in the art of acting.^ 
 
 Vidushaha. — Queen, let us see the conflict of the 
 two rams.2 What is the use of giving them fodder^ for 
 nothing ? 
 
 • Queen. — You do certainly take delight in squabbles. 
 
 Vidushaka. — No, fair one.^ But when two infuriated 
 
 " Taranatha reads na mdm aamdnandyataya paribltavanl- 
 yam avagantum arliasi. — You ought not to consider me despic- 
 able as being merely equal to that man in skill. 
 
 ^ Another reading is the Prakrit equivalent of udarambhari, 
 glutton. 
 
 ' Shankar Pandit points out that the word also means 
 " salary." 
 
 ■" Chandi means an angry woman, a vixen, but it is often 
 used as a term of endearment. 
 
 2 
 
( 18 ) 
 
 elephants are quarrelling,^ how can there be tranquillity 
 until one or the other is conquered ? 
 
 King. — Surely yon have seen the skill of the two pro- 
 fessors exhibited by themselves in person.^ 
 
 Parivrdjikd. — Of course, I have. 
 
 King. — Then what further have these teachers to satisfy 
 us about ? 
 
 Parivrdjikd. — That is the very point I wish to speak 
 about. One man can perform excellently in person, 
 another possesses to a remarkable degree the power of 
 communicating his skill ; he who possesses both excel- 
 lences, should be placed at the head of teachers. 
 
 Fee^MsAa^a.— Gentlemen, you have heard the Reverend 
 Lady's speech ; this is the gist of it. The question must 
 be decided by examining into your skill in teaching. 
 
 Haradatta. — It suits me admirably. 
 
 Ganaddsa. — King, it is so determined. 
 
 Queen. — But when an unskilful pupil disgraces the 
 instruction of a teacher, does it follow that the teacher is 
 to be blamed ? 
 
 King. — Queen ! It is fitting that it should be so.' 
 
 Ganaddsa. — The improvement of an unpromising pupil 
 shows the quick intelligence of the teacher. 
 
 Queen {looking at Ganaddsa, aside), — What is the 
 meaning of this ? Cease from fulfilling the desire of 
 
 > Tai^natha and BoIIensen read kalahappidnam, fond ot 
 quarrelling, 
 
 ' T5,r4natha reads svdngasansthavdtigayam, exceeding skill 
 in their own art. 
 
 ' Evamdpadyate, the reading of Xardndtha and BoIIensen. 
 means, " This is what does take place," 
 
( 19 ) 
 
 this husband of mine, which will only increase the ardour 
 of his passion. {Aloud) Desist from your useless 
 trouble. 
 
 Vidushaha. — Your Highness speaks wisely. Gana- 
 dasa ! As you are eating' the sweetmeatsi offered to 
 Sarasvati, on the pretence of being a teacher of the 
 drama, what do you want with a contest in which you 
 may easily be defeated? 
 
 Ganaddsa. — In truth, this is the meaning of the 
 Queen's speech. But listen to a saying which is apropos 
 on the present occasion. The man who shrinks from 
 a contest, because he possesses an appointment, and 
 patiently endures disparagement from a rival, — the 
 man whose learning is merely a means of obtaining a 
 livelihood, — him they call a huckster that traffics in 
 knowledge. 
 
 Queen. — Your pupil was but lately handed over to 
 you, so it is unbecoming to exhibit knowledge that is 
 not as yet firmly implanted. 
 
 Ganaddsa. — It is for that very reason that I am so 
 importunate. * 
 
 Queen. — Then exhibit both of you your skill in in- 
 struction to the Reverend Lady alone. 
 
 ' The modaka, a dishf al of which is offered to the goddess 
 Sarasvati, and really given to the teacher, is a round ball pf a 
 slightly conical shape at the top, made of rice or wheat flour 
 mixed with sugar, thin slices of the kernel of the oocoanut, 
 together with spices, and then either boiled in steam or fried 
 in clarified butter. (Shankar Pandit.) 
 
 * " In order, " as Shankar Pandit [observes, " to show more 
 creditably my skill in teaching." Weber translates " I do not 
 feel anxious about that " {dafii/r habe ick heme lorge). 
 
( 20 ) 
 
 ParivrdjiM. — That is not fair ; even an omniscient 
 person, when giving judgment alone, is apt to be dis- 
 credited. ^ 
 
 Queen {to herself). — You fool of a Parivrajika! Do 
 you wish to lull me to sleep when I am wide awake ? 
 (5fte turns away in a pet.) 
 
 The King calls the attention of the Parivrajika to the 
 Queen. 
 
 Parivrajika {looking). — Why dost thou, moon- 
 faced one, turn away thy countenance from the King 
 without reason, for matrons, even when all-powerful 
 with their husbands, wait for some cause before they 
 fall out with them ? 
 
 VidHshalca. — Rather is it with good reason. She 
 thinVs that she must uphold the side she favours. 
 ( Turning towards Ganaddsa.) I congratulate you on 
 the fact that the Queen has saved you by pretending 
 to be angry. Even the well trained becomes clever 
 by exhibiting instruction.* 
 
 Ganaddsa. — Listen, Queen 1 You hear what people 
 think of tlie matter. Accordingly, now that I wish to 
 exhibit in a contest my power of communicating skill 
 
 ' Fouoeaux translates this speech, ''If even an omniscient 
 person submits himself alone (without his pupil) to a trial, 
 it is to his disadvantage." 
 
 ' Taranatha reads the Prakrit equivalent of Upadega dar- 
 ganena nishndto Ihavati. " All men, even the well trained, are 
 severely tested by having to exhibit their teaching power." 
 Bollensen reads the Prakrit equivalent of Upadargane m 
 nishndto bhavati. This means "do not appear olever (show to 
 advantage) in exhibiting their teaching power." 
 
( 21 ) 
 
 in acting, if you do not permit me, all 1 can say is, I 
 am left in the lurch by you. {He rises from his seat. ) 
 
 QM«e« (<o herself). — What resource have I left ? 
 (Aloud) You have authority, sir, over your pupil, 
 
 Ganaddsa. — I have been afraid for a long time with- 
 out reason .1 {Looking at the King.) The Queen has 
 given her permission, therefore let the King give his 
 orders. In what particular piece of acting shall I 
 exhibit my power of instruction ? 
 
 King. — Act whatever the Eeverend Lady commands. 
 
 Parivrdjikd. — The Queen has something upon her 
 mind. I am therefore afraid. 
 
 Queen. — Speak boldly, I shall still be mistress of my 
 own attendant. 
 
 King. — Say that you will be mistress of me also.^ 
 
 Queen. — Come, Reverend Lady, speak your mind. 
 
 Parivrdjihd. — King, people talk of a dance called 
 chalita, made up of four movements ;' let us see the skill 
 
 ' Instead of apade gankito ^smi, Taranatha reads apadega- 
 gankito 'smi, I have been afraid of a refusal. 
 
 ^ A fine stroke of gallantry, says Shankar Pandit ; I there- 
 fore suppose that he takes mama to mean the King. Tara- 
 natha reads the Prakrit equivalent of prabhavishyati prahUur, 
 the King will have power. The mama in the King's speech 
 will therefore refer to the Queen. Bollensen, who has the 
 same reading as Taranatha, gives the following explanatiom 
 The King says to the ParivrSjikS, " say, ' the King can dispose 
 of me also ' " : a compliment for the Parivrajik&, as he there- 
 by excludes her from the category of the ordinary attendants, 
 and places her above them, 
 
 ' Here T&ranStha inserts dusTiprayojyam, difficult to execute 
 or to teach. Before ohalitam, which he gives as cMialikaTrt, 
 he has ^armishthdydh hritim,, invented by Qarmishtha. 
 
( 22 ) 
 
 of both the two professors exhibited^ with reference to 
 that one performance, then we shall be able to estimate 
 the comparative merits of these two gentlemen with 
 respect to teaching power. 
 
 Both the Professors— hs your Eeverence commands. 
 
 Yidushaha.— Then let both parties make ready in the 
 play-house" the arrangements for the representation, and 
 send a messenger to his Highness. Or better still, the 
 mere sound of the drum will rouse us up. 
 
 naradatta.—^o be it 1 (B« rises up.) 
 
 Ganaddsa looJcs at the Queen. 
 
 Queen. — May you triumph ! Believe me, I am not 
 hostile to your success, Ganaddsa. 
 
 Both the teachers go away. 
 
 Parivr&jikd. — Come h ere a moment, you two professors. 
 
 Both {turning round). — Here we are. 
 
 Parivrdjika. — I speak in my capacity as judge. Let 
 the two pupils enter with thin theatrical dresses, in order 
 to display the elegance of movement of all their limbs. 
 
 Both. — It was not necessary to give us this advice. 
 \Exeunt the two Professors. 
 
 Queen (looking at the King). — If my husband shows as 
 much skill in devising expedients' in his political affairs, 
 the result will surely be splendid. 
 
 ' Of course in the persons of their pupils, the object being 
 that the King should see Malavikd. 
 
 ' Taran4tha reads varndpehahdgrilie, in the waiting-room 
 of the actors. 
 
 ' Four expedients are usually enumerated. Sowing dissen- 
 sion, negotiation, bribery, and open attack (J>lieda, sandhi, 
 ddaa, vigraha). 
 
( 23 ) 
 
 King. — Cease to put an invidious construction on my 
 
 conduct. Indeed, this was not brought about by me, O 
 
 sagacious one ; it is ordinarily the case that people who 
 
 pursue the same science are jealous of one another's fame. 
 
 A drum is heard behind the scenes. All listen. 
 
 Parivrdjihd. — Ah, the representation has begun. For 
 that note of the drum, which is dear to pea-fowl,^ delights 
 the mind, deep resounding, beginning with the high-pitch- 
 ed middle tone, — of the drum, I say, answered by the 
 pea-fowl with necks erect, suspecting that it is the thun- 
 der of a rain-cloud. 
 
 King. — Queen ! let us join the assembly.^ 
 
 Queen (to herself). — Oh, the indecorous behaviour of 
 my husband ! 
 
 '[All rise up. 
 
 Vidiishaka {aside to the King). — Come, walk calmly and 
 slowly, lest the Queen should cause you to be disappoint- 
 ed.3 
 
 ■ Or, which resembles the cry o£ pea-fowl. 
 
 Weber observes, that the delight of pea-fowl in rain, and 
 the thunder that accompanies it, is a favourite commonplace 
 of Indian poets. See TJttara B&ma ChSrita, p. 87 of VidyS- 
 sagara's edition., 
 
 ' Taranatha and BoUensen read tasydh sdmdjikd^, let us be 
 spectators of Malavika's acting : or probably the King was refer- 
 ring to the mdyuri mdrjand, while the Queen understands taa- 
 ydh to mean Malavika. 
 
 ' Shankar Pandit seems to prefer this interpretation, so I 
 have transferred it from the notes to the text. He observes 
 that if we insert tumam, with some MSS., the passage will 
 mean, find you inconsistent with yourself, discover that your 
 indifference was merely assumed. Taran&tha omits both ma 
 
( 24 ) 
 
 Xing. — Though I endeavour to bei calm, this sound of 
 the music of the drum makes me hasten, like the noise of 
 my own desire^ descending the path of fulfilment. 
 
 [Exeunt omnes. 
 Here ends the First Act, 
 
 ACT II. 
 
 {Then are seen, after the orchestral arrangements have 
 been completed, the King, with his friend, seated on a throne, 
 Dhdrini, and the retinue in order of rank) 
 
 Xing. — Reverend Madam ! which of the two professors 
 shall first exhibit to us the skill which he has infused in- 
 to his pupil ?' 
 
 Parivrdjihd. — Even supposing their attainments to 
 be equal, Ganaddsa ought, surely, to be preferred on ac- 
 count of his being the elder. 
 
 King. — Well, Mandgalya, go and tell these gentlemen 
 this, and then go about your business.* 
 
 and tvam, and explains visanvddayishyati by vipralapsyate, 
 anyathd mansyate, which, I suppose, means, will be deceived 
 into supposing that you have acted in good faith, and are not 
 engaged in a love intrigue. 
 
 ' Literally, rest upon composure. 
 
 ' Manoratha literally means " chariot of the mind." As 
 Shankar Pandit observes," there luris in the word a little pun." 
 
 ' More literally, of which of the two professors shall we first 
 behold, &c. 
 
 * Literally, execute the command given to thee. This means 
 that he is to deliver the message to the teachers, and is not to 
 return again to the King. (Shankar Pandit.) 
 
( 25 ) 
 
 Chamberlain. — As the King commands. 
 
 Ganaddsa {entering). — King, there is a composition of 
 i^ttrmistha, consisting of four parts in medium time,^ 
 your Highness ought to hear attentively one-fourth^ of 
 it performed with appropriate gestures. 
 
 King. — Professor ! I am most respectfully attentive.^ 
 
 [Exit Ganaddsa. 
 
 King {aside to Vidushaica). — ^Friend, my eye, eager to 
 behold her who is concealed by the curtain, through im- 
 patience seems to be endeavouring to draw it up. 
 
 Vidushaica {aside) — Ha 1 the honey of your eyes is 
 approaching, but the bee is near, therefore look on with 
 caution. 
 
 Then Mdlavihd enters, with the teacher of dancing con- 
 templating the elegant movement of her limbs. 
 
 Yidushaha {aside).' — Look, your Highness. Her beauty 
 does not fall short of the picture. 
 
 King {aside). — Friend, my mind anticipated that her 
 beauty could not possibly come up to that represented in 
 the picture, but now I think that the painter, by whom 
 she was taken, studied his model bnt carelessly. 
 
 Ganaddsa. — My dear child, dismiss your timidity, be 
 composed. 
 
 King. — Oh, the perfection of her beauty in every pos- 
 ture ! For her face has long eyes and the splendour of 
 
 ' There are three kinds of time, druta, madliya, and vilamiita, 
 ^ Shankar Pandit observes, " We must suppose that the 
 
 poem consisted of four stanzas, each embodying a separate 
 
 theme (vastu')." 
 
 ' In Tar&natha's edition, we have an alternative reading tat 
 
 pravegaya pdtram, therefore introduce your pupil. 
 
( 26 ) 
 
 an autumn moon, and her two arms are gracefully curved 
 at the shoulders, her chest is compact, having firm and 
 swelling breasts, her sides are as it were planed off,^ 
 her waist may be spanned by the hand, her hips slope 
 elegantly, her feet have crooked toes, her body is as 
 graceful as the ideal in the mind of the teacher of 
 dancing.^ 
 
 Mdlavikd having approached sings the composition con- 
 sisting of four parts.^ 
 
 My beloved is hard to obtain, be thou without hope 
 with respect to him, my heart ! Ha ! the outer corner 
 of my left eye throbs somewhat ;* how is this man, seen 
 after a long time, to be obtained?' My lord, consider 
 that I am devoted to thee with ardent longing. (She 
 goes through a pantomime expressive of the sentiment.) 
 
 Vidushaha (aside). — Ha! ha! this lady maybe said 
 to have made use of the composition in four parts for 
 the purpose of flinging herself at your head. 
 
 King (aside to the Vidushaha). — My friend, this is 
 the state of the hearts of both of us. Certainly she, by 
 
 ' On account of their Bmoothness : I have borrowed the 
 expression from Shankar Pandit. 
 
 " The reading manasi glishtam would mean conceived in the 
 mind. 
 
 ' Or, lines. The reading upagdjiam means prelude. Bol- 
 lensen considers that it means advancing into the front part 
 of the stage. He derives it from gd, jigdti. 
 
 • In the case of women this portends union with the be- 
 loved. For throbbing in the right eye, see my translation 
 of the Katha Sarit S6gara, Vol. II, p. 128. 
 
 ' T6rS,natha reads the Prfikrit equivalent of punar drash- 
 tavyo, to be seen again. 
 
( 27 ) 
 
 accompanying the words " know that I am devoted to 
 thee,' that came in her song, with expressive action point- 
 ing at her own body, seeing no other way of telling her 
 love owing to the neighbourhood of Dhdrini, addressed 
 herself to me under the pretence of courting a beautiful 
 youth. 
 
 Mdlavikd at the end of her song makes as if she would 
 leave the stage. 
 
 Vidusha&a. — Stop, lady ! you have somewhat neglect- 
 ed the proper order ; I will ask about it if you please. 
 
 Ganaddsa.—Mj dear child, stop a minute, you shall 
 go after your performance has been pronounced faultless. 
 
 Mdlavikd turns round and stands still. 
 
 King (to himself). — Ah ! her beauty gains fresh splen- 
 dour in every posture. For her standing, attitude, in 
 which she is placing on her hip her left hand, the brace- 
 let of which clings motionless at the wrist,i and making 
 her other hand hang down loosely like the branch of a 
 Cydmd-tiee,^ and casting down her eye on the inlaid pave- 
 ment on which she is pushing about a flower with her toe, 
 an attitude in which the upper part of her body is upright, 
 is more attractive even than her dancing. 
 
 Queen. — I fear the noble Ganadasa is taking to heart 
 the speech of Gautama. 
 
 Ganadasa. — Queen, say not so. By the help of the 
 
 ' More literally Shankar Pandit, •' with the bangles remain- 
 ing close upon the wrist." Her bands were not unduly thin. 
 
 ' Oc making like the branch of a Qyama-tree her other hand, 
 from which the pearls have fallen. 
 
( 28 ) 
 
 Kingi Gautama is enabled to become sharp-sighted ; 
 observe, even a stupid person becomes clever by asso- 
 ciation with the wise, as turbid water is made clear by 
 contact with the mud-dispersing fruit.^ (Looking at the 
 Vidushaka.) "We are waiting for your lordship's decision. 
 
 VidusTiaka. — Ask the Parivrdjika who witnessed the 
 performance, afterwards I will mention the omission* 
 which I observed. 
 
 Ganaddsa. — Eeverend Lady, be pleased to give your 
 opinion, according to your own observation, as to whether 
 the performance was a success or a failure. 
 
 Parivrdjikd. — All was blameless, and in accordance 
 with the rules of art : for the meaning was completely 
 expressed by her limbs which were full of language, the 
 movement of her feet was in perfect time, she exactly 
 represented the sentiments ; the acting was gentle, being 
 based upon the measure of the dance ;* in the successive 
 developments of the acting, emotion kept banishing 
 emotion from its place ; it was a vivid picture of a series 
 of passions. 
 
 Ganaddsa. — What does his Majesty think ? 
 
 ' Literally, by reliance or dependanoe upon the King. Bol- 
 lensen translates, owing to the confidence which the King re- 
 poses in the Vidiishaka, we may expect from the latter an acute 
 piece of criticism. 
 
 ^ The fruit of the kataha tree. One of the seeds of this 
 plant being rubbed upon the inside of the water- jar used in 
 Bengal occasions a precipitation of the earthy particles dififused 
 through the water and removes them. 
 
 ^ Bollensen and T^rfoifitha read JtammabJiedo = karmabhedo. 
 
 * T^rfindtha explains, of which the instrument of expression 
 was the branch-like hand. 
 
■ , < 29 ) 
 
 King. — Ganadasa, I liave become less confident about 
 tlie saccess of mj prote(ge. 
 
 Ganaddsa.-^Then I am in truth a professor of danc^ 
 iiig. Wise men know that the teaching of a teacher is 
 fiiiiltless, when it does not become black in your^ pre- 
 sence, even as gold that is tested in the fire. 
 
 Queen. — I must congratulate you, sir, on being so for- 
 tunate as to give satisfaction to your judge. 
 
 Ganadasa. — But the Queen's favour is the cause of my 
 good fortune. {Looking towards the Yidushaka.) Gau- 
 tama, now say what you have in your mind. 
 
 Vidushaha. — The first time that skill is exhibited, a 
 complimentary gift to a Brahman is desirable, but you 
 forgot about that. 
 
 Parivrdjihd. — Ha ! ha ! an umpire^ thoroughly conver- 
 sant with acting. 
 
 Yidushaka. — "Well, you would-be learned lady, what 
 else would you have ? As you do not know how to crunch 
 bonbons, what do you know ? You frighten these 
 people with your long hair like the beams of the bright 
 moon. 
 
 They all laugh. Even Malavikd cannot suppress a smile. 
 
 King {to himself). — My eye has perceived jn its full 
 splendour its appropriate object, since it has seen the 
 smiling face of the almond-eyed one, with its gleaming 
 teeth half displayed, like an opening lotus with the fila- 
 ments of the flower partially visible. 
 
 ' Tdranatha gives as an alternative reading vidvatsu, in the 
 presence of the wise. 
 
 ' BoUensen reads -pragnah for prdgnihah. It must mean a 
 most vital or essential point in acting. 
 
( 30 ) 
 
 Ganaddsa. — Great Brdhraan, this indeed is not an 
 inaugural rehearsal in the tiring-rooniji otherwise how 
 could we have omitted to honour you who are worthy 
 of honour ? 
 
 Vidushaka.—l indeed, like a silly chdtaha', asked for 
 a drink of water when the heaven was rebellowing with 
 rainless clouds. 
 
 Parivrdjihd. — Exactly so. 
 
 Vidushaka. — It follows that those people who expect to 
 derive any benefit from giving satisfaction to the learned 
 are a set of fools.* If the Reverend Lady has found the 
 performance meritorious, I will bestow this evidence of 
 her satisfaction upon Mdlavikd. (So speaking he draws 
 off a bracelet from the King's wrist.) 
 
 Queen, — Stop! why do you give away the ornament 
 before you have become acquainted with a different kind 
 of merit? * 
 
 Vid&shalea. — Because it belongs to some one else, of 
 course. 
 
 Queen (looking towards Ganaddsa, the teacher of 
 
 ' T&randtha reads prathamam nepathyasavanam, the first 
 handselling of the tiring-ioom or theatre. Bollensen says, 
 " This exhibition on the stage is no sacrifice, otherwise yon 
 wonld, as a Brahman, obtain yonr portion (in cakes). 
 
 ' A bird that lives on rain-dropa. Its peculiar habits are a 
 subject of frequent reference in Sanskrit poetry. 
 
 " T^ranatha takes it, those who (like me) are stupid, have 
 to depend upon the satisfaction of the learned, and take their 
 opinions from them. 
 
 ' i.e., that of Haradatta's pupil, 'the Queen, of course, 
 objects out of jealousy. 
 
( 31 ) 
 
 dancing). — Noble Ganaddsa, in truth, your pupil has 
 exhibited the proficiency you have imparted to her. 
 
 Ganaddsa. — My dear child, now leave the theatre. 
 [^MalcmikA departs with her teacher, 
 
 Vid'd.shaka. — Thus much and no more can my genius 
 do to help your Majesty. 
 
 King. — Have done with this limiting of your power.i 
 For, now I consider her disappearance behind the cur- 
 tain^ to be like the obscuration of the prosperity of my 
 eyes, like the end of the great feast of my heart, like the 
 closing of the door of happiness. 
 
 Vidushaka. — Bravo ! You are like a man, who is poor 
 and sick, and desires a medicine administered by the 
 physician. 
 
 Haradatta (entering). — King ! have the goodness now 
 to look at my exhibition. 
 
 King \_to himself). — My object in being a spectator is 
 now at an end. (Aloud, putting a severe strain upon his 
 politeness.) Haradatta, we are indeed anxious to behold 
 it. 
 
 Haradatta. — I am highly favoured. 
 
 A bard chants behind the scenes. 
 
 Victory to the King! Noon has arrived, for the geese 
 rest with closed eyes in the shade of the leaves of the 
 lotuses of the ornamental water ; the pigeons shun on 
 account of the extreme heat the sloping roofs of the 
 
 ■ Bollensen reads paricheMMdena, in the sense of conceal- 
 ment. Do not pretend that your invention is exhausted. 
 
 ^ BoUenseu and Katayavema read tirasharanaia, disappear- 
 ance. 
 
( 32 ) 
 
 palace which they ordinarily frequent,i the peacockr 
 desirous of drinking the particles of water continually 
 flung out,2 flies to tlie revolving water-wheel, the sun 
 blazes with all his rays at once, as thou with all thy 
 princely qualities. 
 
 VidHsha&a. — Oh ! Ho ! the time of breakfast has arriv- 
 ed for the Brahman and for your Majesty also. The 
 physicians say that it is bad for the health to be kept 
 waiting past the appointed hour. 
 
 Xing. — Haradatta ! what do you say ? 
 
 Haradatta. — It is no time for me to speak. ' 
 
 King (looking towards Haradatta). — Then we will see 
 your skill in teaching exhibited to-morrow. In the mean- 
 time take a rest. 
 
 Haradatta. — As the, King commands. 
 
 \_Exit Haradatta. 
 
 Queen. — Let my husband take the customary bath. 
 
 Vid'dshaka.—TS&-7&r mind the bath! Let breakfast 
 come with express speed ! 
 
 Parivrdjikd {rising «;)).— Health to your Majesty ! 
 
 lExit with the Queen, who is accompanied by her 
 attendants,"] 
 
 ' Literally, on account of the extreme heat the palace has 
 become such that the pigeons hate to frequent the sloping 
 roofs. '^ ° 
 
 ^ ' ^^.^^^^« *^a°slated vindutkskepdn the reading of Shankar 
 Pandit. Tdrandtha reads vindMshepdt, the thirsty peacock 
 flies to the revolving water-wheel, because it throws out drops. 
 » Bollensen reads Astl vanyasya vaehandvaMcotra. This 
 seems to mean, is there really an opening for another to speak ? 
 The matter requires no words ; it is self-evident. 
 
( 33 ) 
 
 Vidushaka. — Ha ! not only ia beauty but in artistic 
 skill is M^lavikd nnmatclied. 
 
 King. — The Creator, by furnishing her, who is so 
 naturally beautiful, with attractive accomplishments, ' 
 prepared an arrow of love steeped in poison. Why 
 should I say more 1 You must think upon me. 
 
 Vidushaka, — You ought also to take thought for my 
 comfort. The inside of my stomach burns like a cauldron 
 in the market-place. 
 
 King, — Of course. But exert yourself for the sake 
 of your friend as you do for your food. 
 
 Vidushaka. — I have pledged my word.* But it depends 
 upon the will of another, whether one can see the Lady 
 Malavikd. She is like the moon-light obscured by 
 clouds. As for your Majesty, you amuse me by asking 
 that your wishes may be accomplished, having become, 
 quite distressed, like a bird hovering round the shop of a 
 butcher, desirous of meat, but afraid to venture. 
 
 Zing, — Friend, how can I help being distressed, since 
 my heart is averse to the society of all the beauties of 
 my harem, and that fair-eyed one has become the only 
 
 object of my affection ? 
 
 \Exeunt omnes. 
 Here ends the Second Act 
 
 ' Shankar Pandit explains the origin of this phrase. In, 
 the formula, inviting Brahmans to the ceremony of the 
 ^raddha, the word hsTiana is often used. Hence, the person 
 who addresses in the words of the formula (the Ci^^Ahakrit) 
 is said to give the Ttsliana, and the person to whom it is addressed 
 is said to take the kahana in the language of ignorant priests. 
 Taranatha reads grihitadaltshino 'imi, I have received the 
 reward (usually given to Brahmans at the end of a sacrifice). 
 
 3 
 
( 34 ) 
 ACT III. 
 
 Enter an attendant of the Parivrdjikd. 
 ' Attendant.— I have received the following order from 
 the Keverend Lady : " Bring me a citron, for I wish to 
 make a complimentary present."i go -I vfill go and look 
 for Madhukarikd, the keeper of the pleasure-garden. 
 ( Walking round and looking. ) 
 
 Ah ! there she stands contemplating a golden Agoka- 
 tree. So I will go and salute her. 
 
 Enter the keeper of the garden. 
 First attendant {going up to her). — Madhukarikd! 
 Is your duty of looking after the shrubbery going on 
 well? 
 
 Second attendant.— Whj, here is Samdbhritika. Wel- 
 come to yoo, my friend. 
 
 Samdbhritikd. — Listen! The Reverend Lady commands 
 
 " Her Majesty the Queen must not be approached by 
 
 people like myself with empty hands, therefore I wish to 
 honour her with the gift of a citron." 
 
 Madhukarikd. — Surely, here is a citron near you. 
 Just tell me now, which of the two professors of dancing, 
 who were quarrelling with one another, did the Beverend 
 Lady approve of, after beholding the performances of 
 their pupils ? 
 
 Samdbhritikd. — Both of them are thoroughly acquaint- 
 ed with the science of dancing, and clever in execution. 
 But the teaching power of Ganadasa was ranked the 
 
 ' TardnStha and BoIIensen give devasea uravanattham a 
 citron in the garden of the King. 
 
( 35 ) 
 
 higher of the two on account of the admirable q^ualities 
 of his pupil. 
 
 Madhukarikd. — Well, is there any gossip going about 
 with regard to MAlavikd ? 
 
 Samdbhritikd. — Certainly. The King is desperately in 
 love with her, but in order to spare the feelings of Queen 
 Dhdrini, he does not display the strength of his passion. 
 Malavika, too, in these days is seen to be fading like a 
 jasmine-garland that has been worn and thrown away.i 
 More than that I do not know. Give me leave to depart. 
 
 Madhukarikd. — Take this citron hanging on the 
 branch, 
 
 Samdbhritikd {pretending to take it),. — Ah ! may you 
 obtain, for your readiness to oblige my saintly mistress, 
 a better^ fruit than this. 
 
 Madhukarikd {advancing). — Friend! we will go 
 together. I also will give the Queen information about 
 this golden Afoka-tree, which is delaying to burst into 
 blossom, because it waits to be touched by the foot of a 
 beautiful woman.* 
 
 Samdbhritikd. — Quite proper. Indeed, it is your duty. 
 
 [Exeunt. 
 Here ends the Interlude. 
 
 Enter the King in a love-sick state, and the Vidushaka. 
 King. — My body may be thin as it has not the joy of 
 embracing the beloved ; my eye may be filled with tears 
 because she is not seen by it even for a moment ; but 
 
 ' Taranathahas the Prakrit equivalent of anubliutamiirchch- 
 heva, that has suffered fading;. 
 ' TiranS,tha and BoUenseu read pesalaaram, more tender. 
 ' This fancy is perpetually recuiriug in Sanskrit poetry. 
 
{ 36 ) 
 
 thon, my heart, are not separated for a single instant 
 from that antelope-eyed one ; why then dost thon suffer 
 agony, when thy consolation is ever near thee ? 
 
 Vidushaka. — Let yonr Highness cease giving way to 
 tears and abandoning all self-restraint ; I hare seen 
 VakuUvaliki, Malavika's dear friend, and I have given 
 her that message which your Highness entrusted to me.' 
 
 King. — What did she say then ? 
 
 Vidushaka. — " Inform the King that I am favoured by 
 having that duty entrusted to me. But the poor girl 
 being guarded by the Queen more carefully than before, 
 like the jewel* guarded by a snake, is not easily to be got 
 at ; nevertheless I will do my best," 
 
 King. — Oh revered God of Love, child of fancy, having 
 directed my longing to objects unfortunately surrounded 
 with obstacles, thon dost smite me so sorely that I am 
 not able to bear delay. {With an expression of astonish- 
 ment.) What proportion is there between this soul-tor- 
 turing agony and thy bow to all appearances so harmless 7 
 That "sweet and bitter in a breath," of which we hear so 
 much, is surely seen in thee, oh God of Desire ! 
 
 Vidushaka. — I tell you of a truth that I have devised 
 an expedient for ensuring the end we wish to attain ; 
 therefore, royal sir, regain your composure. 
 
 King. — Well, where shall I manage to get through 
 the rest of the day with a mind averse to my usual occu- 
 pations 7 
 
 ' Literally, she has been caused to hear. 
 
 » Alludlog to the " precious jewel, which the snake, though 
 ' ugly and venomous,' wears in his head," says Shankar Pandit. 
 Another reading ia nidhi, a treasure. 
 
< 37 ) 
 
 VtdHskaka. — Surely, Irdvati sent you this very day 
 some red Kuravaka blossoms indicative of the first 
 appearance of spring, and on the ground of the recent 
 advent of that season made this request to you by the 
 mouth of NipnuikA, " I wish to enjoy a ride in the swing 
 in company with my husband," Your Highness, too, 
 promised to gratify her; therefore, let us go to the 
 pleasure-grounds. 
 
 King. — This is impossible. 
 
 Vid&shaka. — How so? 
 
 King. — My friend, women are by nature discerning. 
 Now that my heart is devoted to another, how will your 
 friend help perceiving it, even when I am caressing her? 
 Therefore, I see clearly that it is better to refuse a pro- 
 per request, for I know many plausible reasons for dis- 
 appointing her, than to go through the form of shewing 
 regard to sharp-sighted women, even if with more em- 
 pressement than before, supposing it be void of passion.^ 
 
 Vidushaka. — You ought not suddenly to throw beliind 
 your back your invariable courtesy to the ladies of your 
 harem. 
 
 King (reflecting). — Then shew me the way to the plea- 
 sure-grounds. 
 
 Vidushaka. — This way, this way, your Highness. 
 Both walk round. 
 
 Vidushaka. — The spring by means of these finger-like 
 shoots, agitated by the wind, as it were, beckons on yonr 
 Highness to enter this pleasure-ground. 
 
 ' Purvdhhyadhihah is explained by Tdranacha to mean pur- 
 mam abhyadliiliah, i.e., before excessive, but now void of passion. 
 
( 38 ) 
 
 King (making as if something were touching him). — 
 Surely the Spring is noble in liis sympathy. Observe, my 
 friend, he, as it were, compassionately asking by the notes 
 of love-intoxicated cuckoos, agreeable to the ear, how I 
 manage to bear the torture of my passion, has made the 
 southern wind fragrant with mango-blossoms to play upon 
 my body, like the palm of a hand gently stroking me. 
 
 VidushaJca. — Enter, that you may obtain tranquillity 
 of mind. 
 
 Both enter the garden. 
 
 VidushaJca. — Oh ! my friend, look carefully around 
 you. Surely the presiding goddess of the pleasure-grove 
 must desire to allure yon, since she has donned this 
 robe of spring flowers that puts to shame the adornment 
 of a young lady. 
 
 ^i«^.— Indeed, I behold it with a.stonishment. The 
 red dye of the himha-Vike lip is surpassed in excellence 
 by the splendour of the red Agoha; the Zarauaia-flower, 
 dark-blue, white, and red, transcends the painting on 
 the forehead ; the ornament of the spot between the eye- 
 brows is surpassed by the t»7aia-blossoms having bees 
 clinging to them black as collyrium ; the goddess of Ver- 
 nal Beauty seems to laugh to scorn the art of adorning 
 the face^ as practised by women. 
 
 Both of. them admire the beauty of the garden. 
 Enter Mdlaviha. in a state of agitation. 
 Mdlavihd. — I am ashamed in my own heart, when 
 I think I am in love with the King, whose heart I do 
 
 Tftranatha reads snlhaprasddlianavidhav , the art of adorn- 
 ment without effort. 
 
( 39 ) 
 
 not know. How, then, can I tell this fact to my dear 
 friend ? I do not know for how long a time love will 
 bring me into this irremediably severe suffering. (Having 
 advanced some steps) Where am I going now? {After 
 reflecting.) Ah 1 I received this order from the Queen : 
 " My feet hurt me terribly, as I have had a fall from 
 " a swing, owing to the carelessness of Gautama, do thou 
 "therefore perform the ceremony of fertilizing the golden 
 " Afoka-tree ; if in five nights from this time it dis- 
 " plays flowers, I will {she stops speaking and heaves a 
 "sigh) bestow on thee a boon which will gratify thy 
 " desires." Well 1 have come first .to the place where I 
 am to perform this duty. While I am waiting till 
 Vakiilavalika comes after me with the pigment for the 
 feet, I will for a moment weep undisturbed. {She walks 
 round.) 
 
 Viditshaka. — Ha 1 ha 1 here is fine sugar offered you, 
 now that you are confused with drinking rum.^ 
 
 King.— Ah ! What is that ? 
 
 Viditshaka. — There stands Mdlavika at no great dis- 
 tance, somewhat insufficiently adorned, with the appear- 
 ance of one affl.icted with longing ; and alone. 
 
 King (delighted).— What ! Malavika ? 
 
 Vidiishdka. — Certainly. 
 
 King. — Now my life may find support. Hearing from 
 you that my beloved is near, my distracted heart once 
 more revives, like the heart of a thirsty traveller when 
 
 ' Shankar Pandit pointa out that fine sugar cures people 
 under the influence of intoxication. Taranatha also is of 
 opinion that the inspissated juice of sugar-cane ia good for 
 people in that state. 
 
( 40 ) 
 
 he (earns from the cry of the sdrasa that a tree-bordered 
 river is near. Well 1 Where is the lady ? 
 
 Vidushaka. — Here she is coming in this very direction, 
 having emerged from the midst of a row of trees. 
 
 King. — My friend I behold her. Broad in her himba- 
 like hips, thin in the waist, swelling in the bosom, very 
 long in the eyes, she — my life — is coming hither. My 
 friend, the lady is in a different state from what she was 
 in before; for she, with her cheeks pale like the inner 
 part of the sara grass,i and but few ornaments, appears 
 like thejasmine-creeper having its leaves developed in 
 the spring, and with only a few flowers. 
 
 FzdMsAaJa.,— She, too, like your Highness, must be 
 slightly affected with love-sickness. 
 
 King. — It is only friendship that sees that. 
 
 Malavikd. — This Afoka, that is waiting for th« tender 
 touch of a lady's foot, and has not assumed its robe of 
 flowers, imitates me in my state of longing expectation 
 therefore let me sit down on this slab of rock cool with 
 the shade of the tree, and refresh myself 
 
 Vidushaka.— DiA your Highness hear ? The lady said 
 " I am in a state of longing." 
 
 King. — Even this much does not make me think you a 
 man of unerring insight. For this wind from the Malaya 
 mountain, laden with the pollen of the hiravaka flowers, 
 accompanied with drops of water issuing from the opening 
 folds of the buds, produces longing in the mind even 
 without definite cause. 
 
 ' Sacoharum Sara (Monier Williams). 
 
( 41 ) 
 
 Malavikd sits down. 
 
 King. — My friend, come this way, let us hide behind 
 the creeper. 
 
 Yidushaka. — I think I see Irdvatl in the distance. 
 
 King. — But when he sees a cluster of lotuses, the ele- 
 phant does not care for the alligator. {JSe stands gazing.) 
 
 Malavikd. — Cease, my heart, from entertaining abase- 
 less and extravagant wish. Why dost thou torture me? 
 The Yidushaka looks at the King. 
 
 King. — My beloved, observe the beautiful nature^ of 
 love. Thou dost not reveal any cause of thy pining, 
 nor is conjecture invariably to be relied upon,^ neverthe- 
 less, beautiful one, I consider myself the theme of all these 
 lamentations. 
 
 Yidushaka. — Now your Highness may be free from 
 anxiety, for here comes Vakulavalikd alone, she to whom 
 I gave the message of love. 
 
 King. — I wonder whether she will remember my peti- 
 tion. 
 
 Yidiishalca. — What ! Do you suppose that that daugh- 
 ter of a female slave will forget such a weighty message 
 from your Highness ? 
 
 Knter Vakuldvalikd, with the pigment for the feet in 
 her hand. 
 
 Yakuldvalihd. — Is my friend happy ? 
 
 Malavikd. — Ah ! here is Vakulavalikd come. Wel- 
 come my friend, sit down. 
 
 ' Tar&natha reads mahattvam, the greatness, the mighty 
 power. 
 
 " Literally, distinguished for the quality of being able to 
 know only that which forms the truth. (S.P.P. ) 
 
( 42 ) 
 
 Vahuldvaliha. — Ha! you are now invested with an 
 equality with the Qaeen, therefore give me one of yonr 
 feet, that I may ^aint it with lac, and put the anklet 
 on it. 
 
 Mdlavihd {to herself). — Heart ! do not consider 
 thyself happy, becuuse this office has devolved upon me. 
 How can I now free myself ? Never mind I This paint- 
 ing will certainly be my funeral adornment. 
 
 Vahuldvalikd — What are you thinking of? You know 
 the Queen is anxious that that golden Agoka-tree should 
 put forth flowers. 
 
 King. — What ! is all this preparation for the sake 
 of fulfilling the longing of the Ayoka? 
 
 Vidushaka. — Why, do you not know that the Queen 
 would not, without reason, cause her to be adorned with 
 the ornaments of the harem 7 
 
 Mdlavikd (holds out her foot). — Come, pardon me the 
 trouble I am now giving you. 
 
 Vakuldvalika. — Why, yon are as dear to me as ray 
 own body. {She pretends to begin the painting of Mdla- 
 vikd' s foot.) 
 
 King. — Friend ! observe the moist streak of colour 
 placed upon the extremity of my darling's foot, like the 
 first peeping forth of the bud of the tree of love con- 
 sumed by Qiva.i 
 
 ' Manolhava, the mind-born, i.e., Kama, god of love, was 
 consumed by the fire of Qiva's eye, and therefore called An- 
 auga. Weber suggests that the myth was invented to explain 
 the name. Perhaps sarasdrn, means charming as well as 
 moist. 
 
( 43 ) 
 
 Vidushajea. — Truly, tlie ornamental painting laid on 
 the foot of the lady suits it well.i 
 
 King. — Sir, you have spoken the exact troth. The girl 
 deserves to smite two things with this point of her 
 foot, of the hue of a young bud, on which flashes the 
 gleam of the nails, both the Apoka that has not yet 
 flowered as longing for the ceremony of the dohada, and 
 her lover standing with bowed^ head, having recently 
 committed an offence. . 
 
 VidusKaha. — You will have an opportunity of offend- 
 ing the lady. 
 
 King. — I accept the auspicious word of a Brahman 
 who foresees success.^ 
 Enter Irdvati in a state of intoxication, and her attendant. 
 
 Irdvati. — Nipunika, my girl, I have often heard that 
 intoxication is an especial ornament to women. Do you 
 think that this popular saying is true ? 
 
 Nipunika. — It was formerly a mere popular saying'; 
 now it has become true. , 
 
 Irdvati. — Cease your flattering speeches. How did 
 you discover, on the present occasion, that the King 
 
 ' Taranatha reads ffl/tiaro; 'BoWeasen. adMdro. Both mean 
 the duty imposed, &c. 
 
 * Pranihita, which Shankar Pandit reads, and pranamita, 
 the reading of Tarandtha's edition, are pretty nearly identical 
 in meaning. The literal meaning of the former is, " laid 
 down in front of (hia mistress)." 
 
 ' Shankar Pandit observes, "this does not refer to any 
 knowledge that Vidilshaka possessed of the art of foretelling, 
 but simply to the fact that a blessing given by a Brahman is 
 fulfilled by the gods." 
 
( 14 ) 
 
 had gone on before me to the house in which the swing 
 is? 
 
 Nipunikd. — I inferred it from his unfailing affection for 
 you, his Queen. 
 
 Irdvati. — No more of that adulation, speak as if you 
 were an indifferent person. 
 
 Nipuniha. — The noble Gautama told me, being de- 
 sirous of a spring-gift. Let your Highness come quickly. 
 
 Irdvati {walking round as well as her state will per- 
 mit). — Oh ! my heart urges me on to behold my husband, 
 though I am overpowered with intoxication, but my feet 
 will not advance on the path. 
 
 Nipunikd. — Now, indeed, we have arrived at the sum- 
 mer-house where the swing is. 
 
 Irdvati — But, Nipunikd, I do not see my husband 
 in it. 
 
 Nipuniha. — You must look carefully. The King must 
 be hidden somewhere, meaning to play your Highness 
 a trick. Let us for our part repair to this slab of rock 
 under the Agoka-tree which is overgrown by the Pri- 
 yangu creeper. 
 
 Irdvati does so. 
 
 Nipunika {walking round and looking). — Observe, your 
 Highness ! While seeking for the sprout of the mango, 
 we are bitten by red ants. 
 
 /»-dwa<i.-^What does that mean ? 
 
 Nipunikd. — Here is Yakulavalika adorning the foot 
 of Malavika in the shade of the A$oka-tree. 
 
 Irdvati (exhibiting signs oj suspicion). — This is n(rt 
 a proper place for Malavika. What conjecture do you 
 form ? 
 
( 45 ) 
 
 Nipunih&.—l conjecture that the Queen, who has had 
 a falP from a swing, has appointed MalavikA to perform 
 the ceremony of the dohada for the Agoka-tree, otherwise 
 how could she have permitted her attendant to wear thia 
 pair of anklets which she herself uses 7 
 
 Irdvatl. — It is certainly a great honour to her.* 
 
 Nipunihd — Why do you not search for your husband 7 
 
 Iravati. — Girl, my feet refuse to go to any other place. 
 My inind is distracted' : I will, in the meantime, arrive 
 at certainty with respect to my suspicions.* (Observing, 
 Mdlavikd, to herself) Not without reason is my mind 
 despondent.5 
 
 Vahuldvalikd {calling attention to Mdlavikd' s foot). — Are 
 you pleased with the way in which the lines of colour are 
 arranged on your foot 7 
 
 Mdlavikd. — As it is on my own foot, I am ashamed 
 to praise your hjindiwork. Tell me who instructed you 
 in the art of adornment. 
 
 Vakuldvalikd. — In this I am a pupil of the King. 
 
 Vidushaka. — Hasten now to get the teacher's compli- 
 mentary present. 
 
 Mdlavikd. — I am glad to see that you are not conceited. 
 
 ' Tarkavagi5a reads the Prakrit equivalent of dold-pari. 
 bhrashta-smyja-eharanayd, whose feet are painful owing to a 
 fall. 
 
 '^ Bollensen reads me for «e, and explains samlMvand as 
 suspicion. 
 
 3 Taranatha and Bollensen read the Pr&krit equivalent of 
 " mado mam viMrayati," intoxication quite upsets me. 
 
 * i.e., ascertain whether the Kin^ is in love with MSlavik^ 
 or not. 
 
 ° She is struck with M^lavika's beauty. (Shankar Pandit), 
 
( 46 ) 
 
 Vahuldvaliha.— Having obtained feet worthy of dis- 
 playing my skill upon, I shall become conceited now. 
 {To herself) I have accomplished my commission.^ (Look- 
 ifig at the colour, aloud) My friend, I have finished paint- 
 ing one of your feet. It is only necessary to breathe on 
 it.2 Besides, this place is windy. 
 
 Xing. — My friend, observe, observe. Now, there has 
 arrived an admirable opportunity for me to do her a ser- 
 vice by fanning with the breath of my mouth her foot, 
 the dye on which is wet. 
 
 Vidushaha. — Why do you regret that yon cannot avail 
 yourself of it? You will soon be able to enjoy this 
 privilege for a long time. 
 
 Vahul&valiha. — Your foot shews like a red lotns. May 
 yon certainly repose upon the bosom of the King. 
 
 Irdvati looks Nipunihd in the face. 
 
 Xing. — I say Amen to this prayer. 
 
 Mdlavikd. — Ak ! you are talking nonsense.' 
 
 Vakuldvalikd. — I said exactly what it is my business 
 to say.* 
 
 Mdlavikd. — Surely you love me, do you not? 
 
 Vakuldvalikd. — I am not the only person who loyes you. 
 
 Mdlavikd. — Who else then loves me ? 
 
 Vakuldvalikd. — Why, the King also who always has 
 an eye for good qualities. 
 
 * Bollensen and TdrS,natha read siddho me dappo, my pride 
 is now complete. 
 
 ' Literally, to apply the wind of the mouth. 
 ' Bollensen reads ma aviniam mantehi ; do not say what is 
 unbecoming. 
 
 • i,e,, as having been commissioned by the King;. 
 
( 47 ) 
 
 Malavikd. — You are saying what is false. These good 
 qualities are not in me.^ 
 
 Vakuldvalikd. — Are they really not in you? They 
 are seen in the emaciated and slightly pale limbs of the 
 King: 
 
 Nipunikd. — The wench gives her answer as if she had 
 got it all up beforehand. 
 
 Vakuldvalikd. — Regulate your conduct according to, 
 the maxim of the good, that love must be tested^ by love. 
 
 Malavikd. — What are you chattei-ing there at your 
 own sweet will ? 
 
 Vakuldvalikd. — "So indeed, these are but the words of 
 the King, full of affection, reproduced by me. 
 
 Malavikd. — Ah ! thinking of the Queen, my heart 
 feels no confidence. 
 
 Vakuldvalikd. — Foolish girl ! Do you suppose a 
 mango-shoot is not to be plucked to ornament the ear, 
 containing as it does in itself the whole essence of the 
 manifestation of spring, just because it is beset with bees 1 
 
 Malavikd. — Well, do you help me to the utmost in this 
 trouble.^ 
 
 Vakuldvalikd. — I am a garland of Vakula flowers which 
 becomes more fragrant by crushing.*. 
 
 ' See the critical note iu Shankar Pandit's edition. 
 
 ' Katayavema reads, in his clthdyd, uratyeihtavya, to be 
 received. 
 
 ' Shankar Pandit points out that dvjjae is used by Malavikd 
 in this sense. But Takulavalika takes it as a playful term of 
 abuse, and answers aeoordingly. 
 
 ' She means that the more she is abused, the more helpful 
 she will be. She is punning on her own name, which means a 
 garland of Vakula flowers. But the pun may turn only on 
 
( 48 ) 
 
 King.— Bravo ! Vakuldvalikd, Bravo ! By artfully 
 putting forth her errand, as soon as she knew the state of 
 Milavika's mind, and by giving the proper answer on 
 her friend's repelling her, she has got MAlavikd into her 
 power;! it jg quite right that the lives of lovers have 
 been made dependent upon female go-betweens. 
 
 Irdvati — Observe, my girl. Vakuldvalikd has induced 
 Malavika to take the step.^ 
 
 Nipunikd. — Queen ! Suggestion produces desiris even 
 in one free from passion. 
 
 Ir&vati.-^TSot without reason indeed was my heart 
 apprehensive. When I have got at the facts, I will pro- 
 ceed to think what I am to do. 
 
 Vdkuldvalikd. — Here is your second foot with its de- 
 coration completed. Now I will put the anklets on both. 
 {^She pretends to put on the two anklets.) Come now rise up. 
 Perform the duty imposed on you by the Queen of causing 
 the A^oka to blossom. 
 
 Irdvati. — We have now heard that it is the Queen's 
 order. Well, let it pass for the present. 
 
 Vahuldvalikd. — Here stands in front of you, flushed,' 
 ready for enjoyment, . 
 
 Malavika (delighted). — What 7 the King 7 
 
 the word vimarda which means both crushing and distress. 
 (Shankar Pandit.) 
 
 ' Or Bhe has induced MalavikS to consent to the purport of 
 her (Yakul4valik&'8) commission. 
 
 2 i^., to enter upon the enterprise of trying to become th6 
 King's bride. 
 
 ' Ufodhardgo, as applied to the King, means " whose love has 
 matured." As applied to the A5oka-tree it means " the redness 
 of whose leaves has increased," (S. P. P,) 
 
( 49 ) 
 
 Vakuldvalikd {smiling). — No ! not the King, bnt this 
 cluster of buds banging on a bough of the Agoka, make 
 an ear-ornament of it. 
 
 Vidmhaka. — Did your Highness hear ? 
 
 King. — So much as this is enough for lovers. I do 
 not approve of the union, even if successfully brought 
 about, of two lovers, one of ■whum is ardent, and the 
 other heart-whole ; it is better that an equally en- 
 amoured pair should even pine away hopeless of mutual 
 happiness. 
 
 Mdlavikd, having made an ear-ornament of Aqoha-huds, 
 in a playful manner puts forth her foot to strike the tree. 
 
 King, — Observe, my friend. Having taken from the 
 Ayoka-tree a shoot for her ear she presents to it her foot ; 
 since the two have exchanged similar^ gifts, I consider 
 myself defrauded of my rights. 
 
 Vakuldvalikd. — Well, you are not in fault ; this Apoka 
 must be worthless^ if it should be slow in putting forth 
 flowers, now that it has been blessed by suoH a foot. 
 
 King. — Oh Agoka I if after having been honoured by 
 the slender-waisted one with this foot of hers, soft as a 
 young lotus, loud-tinkling with noisy anklets, you are 
 not immediately endowed with flowers, in vain do you 
 nurse a desire shared by sportive* lovers. 
 
 Friend, I wish to present myself, taking a favourable 
 opportunity of joining in the conversation. 
 
 ' Both Malavika's foot and the shoot of the Apoka being red. 
 
 '- i.e., barren. (S. P. P.) 
 
 ' Or it may mean, as Shankar Pandit says, " a desire common 
 with persons fond of the graceful actions of young women, 
 via., the desire to be kicked by them," 
 
 4 
 
( 50 ) 
 
 Vidushaka.— Come along ! I will make fun of her. 
 Both enter, 
 
 Nipunikd. — Queen ! here is tlio King appearing on tUe 
 scene, 
 
 Iravati, — This is exactly what my heart anticipated at 
 the outset. 
 
 Vid4shaka {advancing). — My lady, it is not at all pro- 
 per conduct on your part to strike with your left foot an 
 A9oka-tree which is the dear friend of the King. 
 
 Both {in a state of trepidation). — Ah 1 here is the King. 
 
 Vidushaka, — Vakulavalika ! Why did not you as you 
 knew the state of the case, restrain the lady from com- 
 mitting! such an impropriety ? 
 
 Mdlavikd shows fear. 
 
 Nipunikd. — Queen, see what the noble Gautama has 
 undertaken. 
 
 Iravati, — How else conld a low Brahman like him 
 make a lirelihood ? 
 
 Vakuldvalika, — Sir ! this lady is executing an order 
 of the Queen's. In this transgression she is only the in- 
 strument of another. Let the King be appeased. {She 
 makes Mdlavikd prostrate herself, and falls prostrate at 
 the same time.) 
 
 King. — If this is the case, you are not guilty. My 
 good girl, rise up. {He takes her by the hand and raises 
 her up,) 
 
 Vidushaka. — Quite right. In this matter you ought 
 to show respect for the Queen, 
 
 King —Oh ! charming one, I hope you do not now feel 
 any pain in yonr left f oot soft as a young shoot, which 
 ) Or literally when attempting to commit. 
 
( 51 ) 
 
 you placed on the hard trunk of the tree ? What say 
 you, beautiful girl ? 
 
 Mdlavikd looks ashamed. 
 
 Irdvatl (spitefully),— hh ! my husband has a heart as 
 soft as fresh butter. 
 
 Malavih&.— Coma Vakulavalika, let us inform the 
 Queen that we have performed her command. 
 
 Vahuldvalikd. — Then ask the King to give you leave 
 to depart. 
 
 King.— My good girl, you may go. But hear first ray 
 supplication, which has now an opportunity of making 
 itself known. 
 
 Vakuldvalikd. — Listen attentively ! Let the King ba 
 pleased to speak. 
 
 King. — This person for a long time has not been able to 
 put forth such a blossom of happiness ; i with the nectar 
 of your touch satisfy also the longing of this man devoted 
 to you alone. 
 
 Irdvatl (suddenly approaching). — Satisfy it, satisfy it; 
 no doubt the A^oka shows flowers, but this tree does not 
 only display flowers, it bears fruit also.^ 
 
 A II are confused on beholding Irdvati, 
 
 King (aside). — My friend, what resource is there 
 now? 
 
 Vidushaka, — What other than taking to our heels ? 
 
 ' As he will put forth after having been (like the tree) 
 kicked by MalavikS. 
 
 ' Bollensen reads, asoo hummam, na damsedi, aam khu iina 
 itttambhido cvva. The A^okashows no flowers, and this King 
 ia a barren tree, or, more literally, a straight stem without 
 flowers. 
 
( 52 ) 
 
 Irdvatt.—Vak\.xUva\M ! you have begun well. Mdla- 
 vikd 1 grant the request of my husband. 
 
 Both the girls.— Let the Queen have compassion on us. 
 Who are we that we should attract the affection of the 
 King? 
 
 \_Exeunt Vahuldvalikd and MdlavikL 
 
 Irdvati.—Oh the faithlessness of men 1 I indeed rely- 
 ing upon your deceitful speech^ — unsuspicious like the 
 deer that is attracted by the whistle of the hunter— did 
 not anticipate this. 
 
 Vidushaka (aside).— Make some defence at once. Being 
 a burglar caught in the act you ought to say that you 
 came here as. a student of the art of digging a mine.2 
 
 Xing. — Beautiful one 1 1 had no object with Ma'.avika. 
 Because you delayed, I amused myself as well as I could. 
 
 Iravati. — You are to be depended on, are you not? I 
 
 ' TSranSitha and Bolleneen give the Prakrit equivalent of 
 adhikshiptdyd^ priijagriMnyd^ hridayaqalyam kritam; you 
 thrust a dagger into the heart of your despised dear wife. 
 
 ^ I translate the text of Shankar Pandit's second edition, 
 and follow his interpretation. He shows at length in his note, 
 that honourable Princes were expected to know, but not prac- 
 tise, dishonourable arts, Bollensen reads the Prakrit equi- 
 valent of utkhdtamule 'pi grilMena kumbhilena sandhich- 
 clihedalji giksMtavyali iti vaMavyam, a thief who is caught 
 in a hole which he has dug in a wall must say I wanted to 
 learn the art of digging through walls. Tar^natha reads vda- 
 kdntamule vipatMke vimathitena kvmbhileua sandkichchtedah 
 qilisliitavyah,, i.e., a thief overtaken near water where there 
 is no passenger must practise digging holes such as house- 
 breakers make. Perhaps he means that the King ought to al- 
 lege as an ( xcuse that he was keeping his hand in by flirting 
 with Malavikd until Ir&vati came. 
 
( 53 ) 
 
 did not know that my husband had obtained such an 
 agreeable means of passing the time. Otherwise I, un- 
 happy that I am, would never have done this.'^ 
 
 Vidushaha. — Do not repel by your speeches the court- 
 esy of the King. If mere conversation w th the 
 attendants of our royal mistress when met by chance is 
 to be considered a crime^why, of course, you know best, 
 and we must acquiesce. 
 
 /rdya/i^Well, conversation let it be called. How long 
 am I to torture myself about nothing ? (^She goes off in a 
 passion.) 
 
 Xing (following her). — -Forgive me. 
 
 Irdvati keeps on walking away though her feet are 
 entangled hy her girdle. 
 
 A'ot^'.— Beautiful one, neglect of your devoted admirer 
 IS not becoming. 
 
 Irdvati. — Traitor, your heart is not to be relied on. 
 
 King. — With the word " traitor," oh dear one, let your 
 scorn of me, who am so familiar with you, come to an 
 end ; you do not dismiss your anger even though entreat- 
 ed by your girdle lying prostrate at your feet,^ 
 
 Irdvati. — Even this cursed girdle sides with you. {She 
 takes up the girdle and endeavours to strike the King with it.) 
 
 King. — This lady in a passion, raining tears, prepares 
 to strike me, terrible criminal that I am, with the cord of 
 lier golden girdle fallen unexpectedly^ from her bimba- 
 
 ' If we insert dukhkhataram, the passage will mean, I should 
 cot have caused this interruption. 
 
 " Shankar Pandit observes that the pun here is obvious. The 
 girdle is compared to a suppliant. 
 
 ' Bollensen has mayupe'kshdoUyuiena, which he interprets, 
 fallen out of contempt ton me, out of anger against me. 
 
( 54 ) 
 
 like hips, as a row of thunder-clouds to strike the Vindhya 
 mountain witli a streak of lightning. 
 
 Irdvati.—Wlij do yon drive me into transgression 
 again! (j-aising her hand with the girdle in it.) 
 
 Xing. — Why do you withdraw the scourge lifted against 
 me the malefactor, oh curly - haired one 1 You increase 
 your fascinations, and still you are angry with your slave 
 here. ( To himself) Surely at this time I am permitted to 
 prostrate myself (falls at her feet.) 
 
 Iravati. — These indeed are not the feet of Malavika, 
 that will gratify your longing for a caress.* {She departs 
 with her attendant.) 
 
 Vidushaka. — Come ! rise up, rise up, you have found 
 favour.^ 
 
 King (rising up and not seeing Irdvati], — What ? is the 
 dear one really gone ? 
 
 Vidushaka. — I am glad to say she has gone without 
 forgiving this impropriety. Therefore let ns flee rapidly 
 before she returns like Mars retrogressing to his mansion 
 in the zodiac.^ 
 
 King. — Oh the inconsistency of love ! Now that my 
 mind is taken captive by my beloved, I consider Iravatfs 
 rejection of my humble supplication a veritable service ; 
 
 ' Avadhiritdm, Tdran&tha's reading, means— do you insolli 
 me again ? , 
 
 ^ A playful kick such as was given to the A^oka. 
 
 ' Tar4n&tha reads Ahritaprasddosi — you have not found 
 favour, 
 
 * In which case he exercises a malignant influence. 
 
 Mars retrograde is cJiUed Fuella by Chaucer. 
 
( 55 ) 
 
 for, as she is angry, I may neglect her, thongh slie is so 
 attached to me.^ 
 
 [SoiA walk round and exeunt. 
 Here ends, the Third Act. 
 
 ACT IV. 
 
 Enter the King in a state of anxiety and a Female 
 door-keeper. 
 
 King. — {To himself) May the tree of love which took 
 root by my interest * in Malavika when her name reached, 
 my ear, which, when she came within range of my eyes, 
 put forth the shoot of passion, which at the touch of her 
 hand may be said to have blossomed as my Lair ^ stood 
 manifestly erect from delight — may that tree, I say, 
 cause me, the weary one,* to taste the flavour of its fruit. 
 (Aloud.) Friend Gautama ! 
 
 Female door-keeper. — Victory to your Highness ! Gau- 
 tama is not in attendance. 
 
 King (to himself). — Of course. I remember I sent him 
 to find out what has become of Mdlavikd. 
 
 Vidushaka (entering). — •■Victory to the King! 
 
 ' Here Taranafcha inserts " therefore come along, let ns go and 
 appease the angry Queen." The '• Queen " of course is Dh&rini., 
 In the second line of the preceding distich he inserts na hi — I 
 cannot neglect her, &c, 
 
 ' Hope if we read dgayS. 
 
 ' This means the small hairs of the skin (as Weber remarks) 
 which, with the inhabitants of India, stand erect from delight 
 as well as from fear. 
 
 * Xaranatha reads Mntam, lover. 
 
( 56 ) 
 
 King. — Jayasena ! Find out where the Queen Dharini 
 is, or how she is being solaced in the present painful state 
 of her foot. 
 
 Female door-keeper, — As the King commands. 
 
 \^Exit female door-keeper. 
 
 King. — Friend, what is the state of the lady, your 
 friend ? 
 
 Vidushaha, — Pretty much that of a cuckoo in the claws 
 of the cat. 
 
 King {despondently). — What do you mean ? 
 
 Vidushaka.- Indeed the wretched girl has been thrown 
 into the subterranean store-house as if into the month of 
 death, by order of that fiery-eyed one.^ 
 
 King. — No doubt, because she heard of her meeting 
 with me. 
 
 Vidushaha. — Of course. 
 
 King. — Gautama ! who was such an enemy of mine as 
 to make the Queen angry ? 
 
 Vidushaha. — Listen, Sir ! The Parivrdjikd tells me, 
 as a fact, that yesterday the Lady Iravati went to ask 
 after the health of the Queen, whose foot is disabled with 
 pain. Thereupon she was asked by the Queen " Why 
 have I not seen you the beloved one lately ? " She an- 
 swered, " This is either an affront or an empty form, since 
 you ask the question knowing all the time, that the title 
 of ' the beloved one' belongs to your maid-servant." ^ 
 
 ' The enraged Queen is compared to a cat with reddish-brown 
 eyes. 
 
 ^ I have followed Shankar Pandit in this translation. Tara- 
 n&tha reads the Pr&krit equivalent of Mm dtmano' pyanalan- 
 hrito hridayajano vallab/ia iti? tatattayottdmyantyd mantri- 
 
( 57 ) 
 
 King. — Alas! this statement makes tlie Queen suspect 
 M^lavika even without distinct mention of her. 
 
 Fidushaka. — Then she being pressed informed the 
 Queen with regard to your misdemeanour. 
 
 King. — Ah ! The unf6rgiving character of the lady ! 
 Tell me what happened next. 
 
 VidushaJca. — What happened next! Why Malavika 
 and Vakulavalika, with fetters on them, are enjoying a 
 residence in the infernal regions where a ray of the sun 
 is never seen, like two snake-maidens. i 
 
 King. — Alas ! The sweet-voiced cuckoo and the bee, 
 the companions of the unfolded mango-bud, have been 
 driven into the trunk by unseasonable rain, accompanied 
 by a strong east-whid. Friend, can there be an opening 
 here for any stratagem 7 
 
 Vidushaka. — How can there be ? For Mddhavika, who 
 presides over the store-house, received this order from the 
 Queen, "you are not to let out that baggage of a Mala- 
 vika, until you see the seal of my ring.''^ 
 
 King (sighing). — Friend ! What remedy can we adopt 
 in this matter ? 
 
 tarn kuto vojiacMra^ yatparijane lankrdntam vallabhatvam 
 jnasyatUi. Ttiis seems to mean, " is a beloved person un- 
 adorned dear even to herself (then why are you not properly 
 adorned) ? Then she hiing distressed said — Why should such 
 a person adorn herself when she must learn that the affection 
 which ought to be hers has been diverted on to a slave? " 
 
 ' The maidens of the Naga race are, according to Shankar 
 Pandit, distinguished for their beauty. 
 
 ^ It is clear that the head Queen exercised in some depart- 
 ments an amount of authority that would have delighted the 
 Boul of Mr. J. S. Mill. 
 
( 58 ) 
 
 Vidushaka {reflecting). — There is an expedient even 
 here. 
 
 King.—Oi what kind ? 
 
 Vidushaka {looking round). — Some one may be listen- 
 ing to our convei'sation unseen. So I will whisper it in 
 your ear {embracing him, and whispering in his ear). 
 This is what I intend. 
 
 King. — Happily conceived ! let it be put in execution, 
 and may it be successful. 
 
 Female door-keeper {entering). — King! The Queen is 
 reclining upon a couch e^ilposed to a free current of air, 
 with her foot covered with red sandal-wood^ and held in 
 the hands of her maids, being amused with stories, by 
 the Parivrdjika. 
 
 King.— 'This is an appropriate occasion for me tovisit 
 her. 
 
 Vidushaka. — Then go, sir. In the meanwhile I will 
 provide myself with some present that I may not ap- 
 proach the Queen empty-handed. 
 
 King. — Before yon go, inform Jayasena of our plan. 
 
 Vidushaka {whispers in her ear). — This it is, my good 
 lady. 
 
 ^m^r.— Jayasena ! Show mo the way to the couch 
 where the Queen is reclining in the open air. 
 
 Then are discovered the Queen reclining upon a couch, 
 and the Parivrajihd with the attendants in order of prece- 
 dence. 
 
 ' BoUensen and T4ran&tha have the Prdkrit equivalent of 
 raktachandanavdrind, which BoUensen interprets oil of red 
 sandal-wood, 
 
( 59 ) 
 
 Queen. — Eevered Madam ! The plot of the story is 
 exceedingly interesting. What happened next 7 
 
 Parivrajikd (with a meaning ZooA).— From this point 
 I will resume it afterwards. His Majesty the King has 
 arrived. 
 
 Queen. — Ah ! my husband! {She endeavours to stand 
 up.) 
 
 King. — Stop 1 Stop ! Do not distress yourself to show 
 respect to me. You ought not, oh soft-voiced one, to 
 give pain to your foot unused to the absence of anklets,^ 
 which is resting on the golden footstool,— and to me at 
 the same time. 
 
 ■Parivrajikd. — Victory to the King ! 
 
 Queen. — Victory to my husband. 
 
 King {inclining reverently to the Parivrdjikd and sitting 
 down ). — Queen ! Is the pain now endurable ? 
 
 Queen. — Thank you, there is some improvement now. 
 
 Enter the Vidushaha in a state of alarm, with his finger 
 
 tied vp with his sacrificial cord. 
 
 Vidushaka. — Alas ! Alas 1 I have been bitten by a 
 snake. 
 
 All of them are horrified. 
 
 King. — Alas ! Where have you been wandering ? 
 
 Vidushaka. — 1 went to the pleasure-grove to gather 
 the customary^ bouquet, because I was about to visit the 
 Queen — save me ! save me ! 
 
 ' The foot is, as Shankar Pandit saya, so uncomfortable 
 that the Queen has laid aside her anklets which are scarcely 
 ever taken off. 
 
 ' Shankar Pandit says, required by the custom of the good 
 AcMra=sishtdcMva." I think the English word " customary " 
 
( 60 ) 
 
 Queen. — Alas ! Alas ! I have become the cause of a 
 Brahman's life being in jeopardy. 
 
 Vidushaka.— Then, as I stretched out my hand to 
 pluck a cluster of Agoka-flowers, Death in the form of 
 a snake came out of the trunk and bit me on the finger. 
 Here; indeed, are the two marks of the teeth, (ffe 
 shows them the bite.) 
 
 Parivrdjikd. — Tiie best remedy for. that is said to be 
 excision of the bitten part ; let that remedy be adopted 
 in this case. The excision of the bite, or its cauteriza- 
 tion, or the letting of blood from the wound ;^ these are 
 the prescribed expedients for saving the lives of men 
 who are bitten by snakes, but they must be employed 
 immediately. 
 
 King. — Now it is time for the poison-doctors to do their 
 ■work. Jayasenfi, let Dhruvasiddlii be quickly brought. 
 
 Door-]ceejper. — As the king commands. 
 
 [Exit Door-keeper. 
 
 Vidushaka. — Alas ! 1 am seized by crnel death. 
 
 King. — Do not he alarmed. A bite may sometimes 
 be free from venom. 
 
 Vidushaka. — How can I help fearing ? My limbs are 
 convulsed. 
 
 He pretends that the poison is beginning to take effect. 
 
 (Queen advancing). — Alas ! Alas ! A most calamitous 
 snake-bite ! ^ Support him ! Support him ! 
 
 expresses this idea. It was proper to take flowers with one 
 when approaching a god or great personage. 
 
 ' Tdranatha reads kshatasydraktanioltshanam, which he ex- 
 plains as the complete draining of blood of the wounded part. 
 
 " K^tayavema explains vidrena as viskdrena. Tdr&u4tha 
 takes it to mean vikdrena. So does Bollfensen and thinks 
 
( 61 ) 
 
 {The attendants support Mm in a state of great trepi- 
 dation.) 
 
 Vidushaka {looking towards the King). — AU ! I have 
 been your dear companion from childhood ; take that 
 into consideration ^ and undertake the maintenance and 
 protection of my sonless mother. 
 
 King. — Do not be afraid. The doctor will cure you 
 in a moment. Be calm. 
 
 Enter Door-lceeper. 
 
 Door-keeper. — King 1 Dhiuyasiddhi desires that Gau- 
 tama be brought to him. 
 
 King. — Then cause him to be carried by the Chamber- 
 lain into the presence of the doctor. 
 
 Door-heeper. — Very well. 
 
 Vid-Ashaha {looking towards the Queen). — Lady ! 
 Whether I live or die, pardon all the faults that I may 
 have committed against thee to oblige the King. 
 
 Queen. — May you live to a good old age. 
 
 \_Exeunt Vidushaka and Door-keeper. 
 
 Xing. — The poor fellow is naturally timid. Besides, 
 I believe that Dhruvasiddhi^ will be successful in cvjring 
 him, since he is rightly named the "infallible doctor." 
 Enter Door-keeper. 
 
 Door-keeper. — Victory to the King ! Dhrnvasiddhi 
 
 damsidam stands for dargitam. He translates " An aggrava- 
 tion of the symptoms shows itself. He is getting woree." 
 
 I Bollensen and Tar^natha read midrena. The former ex- 
 plains it as avichdrena without delay ; the latter as ankdrena, 
 without neglect, even if I die. 
 
 ^ The word Dhruvasiddhi means, " one whose success is 
 certain." 
 
( 62 ) 
 
 asserts that something with the image of a snake on it 
 must be endowed witli the power of counteracting poison 
 by means of the ceremony called Udakumbhavidh4na.i 
 So he orders that something with the imago of a snake 
 on it be brought. 
 
 Queen. — Here is a ring with a snake on the stone. 
 Afterwards give it back into my hand {with these words 
 she gives it to the door-keeper). 
 
 King. — JayasenA!' When the business is done, bring 
 the healing talisman ^ back c[uickly. 
 
 Door-heeper. — As the King commands. 
 
 [Exit Door-keeper. 
 
 Parivrdjikd. — My heart tells me, Gautama is free from 
 the effects of poison. 
 
 King. — So be it. 
 
 Door-keeper {entering). Victory to the King! The 
 violence of the poison has ceased, and Gautama has in 
 a moment become as well again as ever. 
 
 Queen. — It is n great blessing that I am clear of blame.' 
 
 ■ I think Sbankar Pandit, though he adopts Katayavema's 
 reading in his second edition, really prefers that given in his 
 first edition udakumbhivihdne sappamiidiam hampi anneviadutti, 
 let something having the image of a snake on it be obtained for 
 the purpose of performing the Udalmmhhavidhdna, that is to 
 say, the enchanting of water, placed in a jar, by means of 
 mantras and other ceremonies. The enchanted water would 
 then be sprinkled on the bite. 
 
 ' I have taken pratipatti to mean instrnmeni, Ta>r4n&tha 
 takes it to mean — to the proper place, i,e., into the Queen's 
 possession. I borrow the phrase, " the business is done " from 
 Shankar Pandit. It has, of course, a double meaning, 
 
 ' i.e., of the guilt of having been indirectly the cause of the 
 death of a Brahman. 
 
( 63 ) 
 
 Door-keeper.— Bwt this Minister Vdliatava sends the 
 following message. There are many of the King's affairs 
 which I should like to talk over with him. Therefore 
 I beg to be favonred with an interview. 
 
 Queen, — Go, my husband, and may you be successful 
 in yotir affairs.^ 
 
 King. — Queen, this place is exposed to the sun, and 
 cold treatment is recommended as best for this com- 
 plaint ; therefore let your couch be removed to another 
 spot. 
 
 Queen. — Come, my girls, carry out the King's orders- 
 
 Attendants. — Very well, 
 
 [Exeunt Queen, the Parivrajihd and attendants. 
 
 King. — Jayasena, lead me to the pleasure-grounds by 
 a secret path. 
 
 Jayasena. — Let the King come this way. 
 
 King. — Jayasena, has Gautama accomplished his 
 purpose ? 
 
 Jayasend. — Certainly. 
 
 King. — Though I all along thought the device wonder- 
 fully well adapted for effecting our object, my heart was 
 doubtful about the result, and timidly apprehensive. 
 Enter Vidushaka. 
 
 Vidushaha. — Victory to the King 1 Your Majesty's 
 auspicious affairs have turned out prosperously. 
 
 King. — Jayasena, do you also return to your duties. 
 
 Jayasend. — As the King commands. 
 
 \Ea:it Jayasend. 
 
 ' The andience, lof course, understand that the affaiiB are 
 xeally love aSairs. 
 
( 64 ) 
 
 King, — My friend, Madliavika is a bit of a vixen. 
 Did she not hesitate at all 2 
 
 Vidushaka. — How could any one possibly hesitate after 
 seeing the Queen's siguet ring ? 
 
 King. — I do not speak with reference to the signet 
 ring. But she naturally ought to have asked what was 
 the cause of the liberation of those two prisoners in that 
 way, and why the Queen passed over all her own ser- 
 vants and commissioned you to take the message. 
 
 VidHshaka. — Of course, I was asked these questions. 
 But with my usual presence of mind I answered : — 
 "Tlie King has been told by the astrologers that his 
 " star is threatened with misfortune, and that therefore 
 " he had better release all the prisoners in liis kingdom. 
 " When the Queen Dliarini heard this, she wishing to 
 "spare Iravati's feelings ordered me to release the pri- 
 " soners and give out that the King wanted them set at 
 "liberty." Thereupon Madhavika granted my request, 
 saying that all was as it should be. 
 
 King (embracing the VidHshaka). — Friend, 1 see that 
 you love me. For not only by force of intellect does 
 one see how to forward the interests of one's friends, 
 the narrow path which leads to the attainment of success 
 is discovered by affection also. 
 
 Vidushaka. — Let your Highness make haste, I put 
 Malavika with her friend in the lake summer-house^ and 
 came immediately to mefet you. 
 
 King. — I will go and welcome her there. Go on in 
 front. 
 
 A pleasure-house, probably so called fi»m some ponds of 
 water being attached to it, (S.PJP.) 
 
( 65 ) 
 
 VidHshaha.—Qoms, Sir, here is the lake summer- 
 house. 
 
 King {anxiously).— YLeve, comes Cliandrild, the maid 
 of your friendl Iiirati, with her hands engaged in 
 gathering flowers. Let us slip this way a minute and 
 liide behind the wall. 
 
 Viduahaka. — Thieves and lovers must avoid the moon- 
 liglit.2 {Both do as the King said.) 
 
 Ring. — Gautama! Do you suppose your friend "is 
 awaiting me 7 Come, let us go to this window, and took 
 in. ( They stand looking in.) 
 
 Then are discovered M&lavikd and Vahilavalika. 
 Vakuldvalikd. — Come now, prostrate yourself before 
 the King.' 
 
 King. — I guess VakuUvalikd is showing her my pic- 
 ture. 
 
 M&lavika (Joyfully). — I ealute your Majesty. (Looking 
 at the door, with a melancholy expression.) Alas! vou 
 are deceiving me. 
 
 King.— My friend, I am delighted with the lady's joy 
 And despondency both. Por the lovely-faced one's face 
 presented in a moment tli-e two appearances of the lotus, 
 that which it wears when the sun is rising, and that 
 which it assumes when he is setting. 
 
 ' All the King's wives and beloved objeota are thus called 
 with reference to the Viddahaka. 
 
 ' As being " oontrai-ia f urtis." ChandrikS., the name of the 
 maid, means " moonlight.'' The pun ia suiEoiently obvious. 
 
 ' A picture of him was hung up in the snmraer-house. Tdra- 
 nStha puts into the mouth of MaUvika namaste ya^ jpdrq 
 latah prtshtatagoha drigyate, honour to thee who art ever iu 
 my thoughts. 
 
 5 
 
( 6S ) 
 
 VaMdvaUM.—Sardj here is the King rn a pictore. 
 Both {prostrating themselves before the picture). — Vic- 
 tory, victory to the King i 
 
 Malavilca.—'S.a. ! Before, when I was standing face 
 to face with the King himself, I was not a* completely 
 satisfied with beholding his beauty as I am now, I have 
 now looked on him attentively in the picture.^ 
 
 VidHshaha.—Didi you hear ? The lady says that you 
 look much better in the picture than yon did when she 
 saw you in bodily presence.^ To no purpose do yon 
 wear the pride of youth as a casket encloses a gem. 
 
 King. — My friend, women, though full of curiosity, are 
 naturally bashful. Observe ; though they desire to study 
 completely the features of men they have an interview 
 with for the first time, still the almond-eyed ones do not 
 allow their gaze to fall full upon the beloved objects. 
 
 Malavikd. — Who is this with face slightly averted, 
 that the King is looking at with an aSectio-nate glance ? 
 
 Vahulavaliha. — Surely, this is Iravati at his side. 
 
 Mcdavika. — Friend, he seems to me rather rade to 
 neglect all the Queens, and rivet his gaze on her face 
 alone. 
 
 Vahuldvalilc& (to herself). — So she treats the King'3 
 picture as if it were the original, and exhibits jealousy 
 
 ' BoUenaen reads the Prakrit equivalent of taimin sambhrame 
 athitd ihartii riipa darganena na tathd vitrishntdsmi yatkddya 
 mayd hhdvito vitrishna dargano rdjd. The King has had a 
 more satisfactory look at myself than I have had at his picture 
 owing to aiy excitement. 
 
 " Bollensen reads atrahhavati tvayd yathd drishtS tathd na 
 drishto hhaodn. You had a much better look at her than she 
 lias had at you. 
 
( 67 ) 
 
 towards it. Good ! I will have some fun out of her. 
 {Aloud) She is the King's favourite -wife. 
 
 Mdlaviled. — Then why do I give myself any trouble 
 now? (S/i« turns away pettishly.) 
 
 King. — Look, my friend, at the face of yonr friend 
 Malavita, As she turned away angrily from this quarter 
 her face, the frontal mark of which was channelled by 
 her frowns, and the lower lip of which was quivering, 
 she seemed to exhibit the coquettish expression which 
 was taught her by her instructor as appropriate in'fits 
 of anger on account of the fault of a lover. 
 
 VidHshaka. — Be prepared now to propitiate her, 
 
 ]i:ldlaviM.—^1ieve too is the noble Giiatama, shewing 
 her respect. (She again shows a desire to look in another 
 direction.) 
 
 Vakuldvaliha, (preventing Mdlavila from so doing). — 
 Surely you are not angry now, 
 
 Mdlavikd. — If you think I am going to be angry for 
 long, I hereby recall my auger. 
 
 King (entering). — Oh lotus-eyed one, why art thou 
 angry with me o?i account of an action represented in a 
 picture ? Surely I am here in presence of thee, a slave 
 devoted to thee alone. 
 
 VahuldvaliM — Victory to the King ! 
 
 Mdlavikd (to herself).— Whnt ? did I show anger to- 
 wards the king's portrait ? (With bashful face folds hei; 
 hands in a suppliant attitude.) 
 
 The King appears to be distracted with lore. 
 
 VidHshaha. — Why do you seem so apathetic ? 
 
 Xing. — Because your friend is so untrustworthy. 
 
 VidushaJca.—V)o you distrust the lady so much ? 
 
( 68 ) 
 
 King. — Listen ! She appears in a dream directly in 
 front of my eyes, and immediately vanishes ; when she 
 lias come within the grasp of my arms, she suddenly 
 darts forth again, thongh she is a weak woman ; i how 
 can my mind be made by the mere delusion of a union 
 to repose anytrnst in her while I am thus afflicted with 
 the pain of love P 
 
 Vahulavaliha. — Friend, often has the King been de- 
 ceived, so now show yourself a person to be trusted. 
 
 Malavika. — But, my friend, I, unlucky woman that I 
 am, found union with the King hard to obtain even in a 
 dream. 
 
 Vakuldvaliha. — King, give her an answer. 
 
 King. — What is the use of giving her an answer ? I 
 have given myself to your friend in presence of the fire 
 of love ; I am not her master, but her servant in secret. 
 
 Vakulavalilca. — I am highly honoured by this favour- 
 able answer. 
 
 Vidushaha {walking round with an air of agitation.) — 
 Vakulavalikd ! Here is a deer coming to browse upon 
 the shoots of the young Ajoka-tree, let us therefore 
 drive it off. 
 
 Vakulavalikd. — Very well. {She starts off.) 
 
 King. — You must be on the lookout to guard us also. 
 
 Vidushaka. — This also is a duty imposed on Gautama 
 
 Vakulavalikd. — Noble Gautama, I will remain in some 
 lurking-place, do you guard the door. 
 
 ' Abald means " weak " and also '• a woman." The puD, as 
 Shankar Paudit observes, is apparent enough. 
 Literally, the miud-boru oue. 
 
( 69 ) 
 
 Vidushaha. — That is quite proper. 
 
 [Exit VakulavaliM. 
 
 In the meanwhile I will lie down upon this crystal 
 slab. Ohl how pleasant to the feel is this delicious 
 stone. {^Hefalle asleep.) 
 
 Malaviha looks bashful. 
 
 King. — Dismiss your bashfnlness, Oh beautiful one, 
 with regard to me who have been so long devoted to thee; 
 I have become like the Mango-tree ; do thou assume the 
 part of the Atimukta creeper. 
 
 Malaviha. — Through fear of the Queen I cannot do 
 what my heart approves. 
 
 King. — Oh 1 there is no ground for fear. 
 
 Malavika. — The King, who is now so fearless, has been, 
 seen by me in much the same state as myself on behold- 
 ing the Queen. 
 
 King. — Politeness indeed. Oh, Bimba-lipped one, is an 
 invariable characteristic* of the descendants of Birabaka ; 
 nevertheless such life as I possess, Oh almond-eyed one, 
 is entirely dependent upon the hope of thy favour. 
 Enter Irdvati and Nipuniha. 
 
 Irdvati. — Nipimika, my girl, did Cbandrika really tell 
 you that she saw the noble Gautama alone on the terrace 
 of the lake summer-house ? 
 
 Nipunihd.- — Otherwise I should not have dared to tell 
 your Highness so. 
 
 Irdvati. — Then let us go there in order to enquire 
 
 ' Kidavraia, a family custom handed down from genpration 
 to generation, euoli as the celebration of a festival in honour 
 of any deity on a particular day annually. Bimbaka was the 
 name o£ one of the forefathers of Agaimitra. (.S.P-P.) 
 
( 70 ) 
 
 after the liealth of my hnsbaiid's dear friend rescned from 
 imminent peril, and- 
 
 Nipunik&.—Yom Highness seems to have something 
 
 fnrtlier to say. 
 
 Iravati.—hM& also to apologize to the picture of the 
 King. 
 
 Nipunihd.—'Whj do you not endeavour to propitiate 
 the King liimself ? 
 
 Irdvati.—Sillj girl, a husband whose heart is devoted 
 to another is no better than the picture of a husband. 
 My present object is only to atone for my want of 
 proper respect. 
 
 Nipuniha. — This way, your Highness. 
 
 ( They walk round. ) 
 
 Enter a Female Servant. 
 
 Servant. — Victory to your Highness ! 
 
 The Queeni says : — " This is not a proper occasion for 
 me to show jealousy, and it was only in order to increase 
 the great respect in which yon are held that I put MAla- 
 vikd in fetters together with her friend ; if you give me 
 leave I will intercede with the King on your belialf. Let 
 me know your wish." 
 
 Iravati. — Nagarika, give the Queen this message from 
 me. Who am I that I should commission the Queen to 
 execute my wishes ? She has shewn great condescension 
 towards me in punishing her attendants. What other 
 person in the world honours me with favourable notice ? 
 
 Servant. — I will do so. \_Exit. 
 
 Nipunikd {walMng round and looHng), — Your 
 
 ' That is, the head Queen, Dhariijl. 
 
( 71 ) 
 
 Highness, heve is Gautama reclining in perfect confidence 
 on the threshold of the lake summer-house, and sleeping 
 like an ox in the market.i 
 
 Irdvati. — That is ominous. It can hardly be the case, 
 I hope, that any bad effects of the poison still remain. 
 
 Nipuniha — The expression of his face is tranquil 
 Moreover, he has been treated by Dhruvasiddhi. There- 
 fore nothing evil need be suspected. 
 
 Vidushaka {beginning totedk in his sleep). — Lady M^la- 
 vikd 
 
 Nipuniha. — Did your Highness hear ? Whose son is 
 this wretch ? The rascal who has always filled his belly 
 with complimentary sweetmeats given by our faction, is 
 now talking in his sleep about M41avika. 
 
 Vidushaia (continues to talk in his sleep). — May you 
 cut out Iravati ! 
 
 Nipuniha. — This is outrageous. I will hide behind 
 the pillar and frighten with this stick of mine, which is 
 crooked like a snake, this scoundrelly Brahman, who is 
 so much afraid of serpents. 
 
 Irdvati. — Indeed, the treacherous rogue deserves some 
 misfortune.2 
 
 Nipuniha pitches hev stick on to the hody 0/ the Yidii- 
 shaka. 
 
 ' The bull here referred to is a vasio or pol, who is sacred 
 being let loose as part of some funeral ceremonies. He lives 
 on grain which all consider it good charity to supply to him, 
 and he also helps himself to the grain exposed for sale in shops. 
 He becomes rery fat and squats quietly near some shop, and 
 dozes away without fear of being disturbed. (S. P. P.) i 
 
 ^ Bollensen has sappadamsanam, to be bitten by a snake. 
 
( 72 ) 
 
 VidushaJca (waiting up suddenlt^).— Woe is me ! A 
 snake has fallen upon me. 
 
 King (rushing up immediatelif). — Friend Ao not be 
 afraid, do not be afraid ! 
 
 Malavikd (following him). — Sir, do not rush ont so 
 hfeedlessly, he says there is a snake there. 
 
 Irdvali.—A\.&s \ Alas ! Here is the King running out 
 of the house. 
 
 Vidushaka (laughing).— What t is this only a stick ? 
 I think, however, that I have received the just reward 
 of my presumption in imitating the bitfe of a serpent 
 with ietaH-thorns. 
 
 Enter Vahul&valiM hurriedly.'^ 
 
 VaMdvalika. — Do not advance, oh King ! In this 
 direction I believe I see a serpent — a serpent crooked iu 
 its going.* 
 
 Iravati (advancing towards the King). — Did yon find 
 your mid-day meeting as delicious as you expected ? 
 
 All are confused on beholding Iravati. 
 
 King. — Darling, this is an extraordinary form of salu- 
 tation. 
 
 Iravati, — Allow me also to congratulate you, Vaku- 
 lavalikd, on the way in which yon have made good your 
 promise of acting as a go-between. 
 
 Vahul&valiha. — Let your Highness have eompassion on 
 us. Does Indra forget* the earth because the frogs croak ? 
 
 ' Literally, tossing aside the stage-ourtnin. 
 
 'Taranatha observes that Irdvati is called a serpent nn 
 account of the crookedness of hex mind. 
 
 'T4rSn4tha reads ^marati for tismarati, " Is it the croaking' 
 of the frogs that brings the rain V He explains it that the 
 
( 73 ) 
 
 Vidushaha.—Qxieen, do not go on in this way. Mere- 
 ly on beholding you the King forgot your previous re- 
 jection of his humble prostration, but you refuse to be 
 reconciled even now. 
 
 Irdvati. — What can I do now that I am angry ? 
 
 King. — You see that " anger without cause" is a part 
 that does not suit you. For, fair one, when did your 
 face without reason pass even for a moment into the 
 power of anger ? Tell me, how shall the night have the 
 circle of the moon obscured by Rahu, except at the 
 appointed time ?i 
 
 Irdvati. — The, phrase "without cause" was appro- 
 priately used by my husband. Now that my good for- 
 tune has passed to another, I should make myself ridi- 
 culous if I were ever to be angry again. 
 
 King. — Your notion is a mistaken one. Bnt I so far 
 agree with you that I really see no ground for anger. 
 For it was in obedience to the precept that on festival 
 days attendants ought not to be imprisoned, even if they 
 have committed a fault, that I caused these girls to be 
 
 King's feehaviour is the result of his own passion, and has 
 nothing to do with Vakulavalikd's suggestions. Shankar 
 Pandit observes : — ' Vakulavallka means that whatever she 
 and her poor friend Malavika may have said about the King, 
 that talk would have no more effect upon the King's love to 
 IravatI than the croaking of frogs has on the love of the 
 cloud for the earth. BoUensen and Katayavema have var- 
 shitutn mramatl, cease to rain on the earth. 
 
 ■ Parvan the full and ohange of the moon , and the eighth 
 and fourteenth of each half month (Monier Williams). Bahn 
 is supposed to produce eclipses by temporarily swallowing the 
 sun and moon. 
 
( 74 ) 
 
 set lit liberty ; and they came to tender me their respect- 
 ful thanks. 
 
 /rdua^i .— Nipunika, go and inform the Qaeen that I have, 
 had ui\ instance of the way in vfhich she takes my side.^ 
 
 Nipunikd. — Very well. 
 
 Vidushaha {to himself). — Alas, a misfortnne has hap- 
 pened. The house-pigeon, after escaping from confine- 
 ment, has fallen into the beak^ of the kite. 
 Enter Nipunikd. 
 
 Nipunikd. — Queen, on the way I happened to meet 
 with Madhavika, and she informed me that it came 
 abont^ in this way. ( Whispers in the Queen's ear.) 
 
 Irdvati {to herself.) — I understand it all now.* That 
 scoundrelly Brahman unaided has devised the whole 
 scheme. (Looking towards the Vidushaka, aloud.) This 
 is all the policy of that Minister versed in the treatises 
 on love. 
 
 Vidushaka. — Policy! Lady, if I ever read one syl- 
 lable of policy, may I even forget the gdyairi.* 
 
 King (to himself).— ^ow on earth can I extricate my- 
 self from this embarrassing situation ? 
 
 ' Shaukar Pandit says the passagre is to be taken ironically. 
 Iravatl suspected that Dharinl wished to aid the King's intrigue 
 with MilavikL T^ranatha reads ehapaltshardditvam, par- 
 tiality to one side — and adds avadhritam me hridayam adyeti, 
 which perhaps means, " my heart is henceforth on its guard." 
 
 * TS,ranS,tha reads viddlikdyd dlojte — came within sight of 
 the cat. 
 
 ' For nirvrittam Tir4n5,tha reads nimittam, i.e., this was 
 the cause. 
 
 * T4r4n&tha reads na atraihafantam mm^rito J Aarei/aws,which 
 means — if I could read a single syllable of policy, I should not 
 be dependent upon the King for support. 
 
( 75 ) 
 
 Enter Jayasena in a state of excitement. 
 
 Jayasend. — King \ the Princess Vasulaksliuii, while 
 runiiiug after her ball, was terribly frightened by, a 
 brown ape, and even now, though sitting on the fap of 
 the Queen, she still trembles like a spray waving in the 
 wind, and does not recover her natural spirits.^ 
 
 JTing. — Alas I children are timid creatures. 
 
 Irdvati {in a state of agitation). — Let the King hasten 
 to console her. Take care that the distraction which the 
 fright has produced does not increase. 
 
 Einff. — I will soon bring her to her senses. (Walks 
 round rapidly.) 
 
 Vidushaha. — Bravo ! brown monkey ! You have vei'y 
 skilfully got your caste-fellow'' out of a nice scrape, 
 {Exeunt King with his friend, Irdvati, NipuiiHd, and the 
 female door-keeper.) 
 
 Mdlavihd. — ,Alas ! my heart trembles when I think of 
 the Queen. I do not know what I shall have to endure 
 next. 
 
 A voice behind the scenes. 
 Wonderful ! Wonderful ! Before the five nights have 
 elapsed from the time of the ceremony, the golden Apoka 
 is covered all over with buds. I will go and inform the 
 Queen. 
 
 Both are delighted on hearing this. 
 Vahuldvalihd. — Let my dear friend take comfort. Tlie 
 Queen is known to keep her promises. 
 
 ' Taranfitha and Bollensen omit prahritim. So the passage 
 will msau, •• gives uo auswer." 
 
 '' Taranatha reads OTaji;a/«7ta, your side. The Vidilshaka looks 
 upon himself as au ape, or the next thing to it. 
 
( 76 ) 
 
 Mdlavihd.—WeW, then, let us follow the keeper of the 
 
 pleaaure-giove close at the heels. 
 
 Vahuldvalihd — So be it. 
 
 \Exeunt. 
 
 Here ends the Fourth Act. 
 
 ACT V. 
 
 Enter Madhukarikd, the female keeper of the garden. 
 
 Madhukarikd. — I liave erected a verandah covered 
 with a roofi round the golden Ajoka-tree on which the 
 usual ceremony was performed ; now let me inform the 
 Queen that I have accomplished her commission (walk- 
 ing round). Ah ! Destiny ought to take pity on MSla- 
 vika. And the Queen, who is angry with her, will 
 behold her with a favourable countenance owing to this 
 circumstance of the Agoka's putting forth flowers. I 
 wonder now where the Queen is. Here is Sarasaka, the 
 liunch-back that belongs to the Queen's household, 
 coming out of the quadrangle with a kind of leather 
 trunk in his hand, sealed with a lac seal. I will ask him. 
 ' (Enter the Hunch-back as described.) 
 
 {Going up to him) Sarasaka ! where are you going ? 
 Sdrasaka. — Madhukarikd, here are gold pieces intend- 
 ed for Brahmans who have acquired sacred lore.^ I am 
 
 ' Taraoatha reada bhittiredikdbandha, which means an altar 
 or ground prepared for sacrificial ceremonies. Satkaravidhind 
 means, according to the usual method of doing honour to such 
 trees. 
 
 ^ Shankar Pandit omits the word anuohitktJiamtdnam in his 
 second edition. It means, according to him, the recitingr of Vedaa 
 or other sacred texts for a certain number of times within a 
 definite perioa. 
 
( 77 ) 
 
 therefore going to transfer them to the hands of the 
 reverend chaplain. 
 
 Madhukarikd. — For what reason 1 
 
 Sd?-asa/fca.— Ever since the Queen heard that thePrince 
 Vaaiimitra was appointed by the generaP to guard the 
 sacrificial horse, she has been bestowing on those worthy 
 of a dole a present of eighteen gold pieces in order to 
 secure him long life. 
 
 MadhuJcarihd. — That is as it should be. But where 
 is the Queen 7 
 
 Sarasaka. — She is sitting on a throne in the Auspi- 
 cious Hall,* and is listening to a letter sent from the 
 country of Vidarbha by her brother Yirasena, which is 
 being read out by tlie scribes. 
 
 MadhuJcariha. — Well, what is the news about the King 
 of Vidarbha ? 
 
 S&rasaJca. — The King of Vidarbha has been reduced 
 to submission by the King's victorious army command- 
 ed by Virasena, and his relation Madhavasena has been 
 delivered from captivity, accordingly he has sent as a 
 present to the King some valuable waggon-loads of 
 jewels, and some attendan-ts, principally accomplished 
 maidens ; he has also despatched, an ambassador who 
 is to have an interview with his Highness to-morrow. 
 
 ' He was the father of Agnimitra, and retained the title of 
 general, having served in that capacity under the last Maurya 
 king whom he deposed, putting his own son upon the throne. 
 (Shankar Pandit.) 
 
 ' Shankar Pandit remarks on the words mangala-gharae, 
 " This refers to a part of the palace set apart for sacred purposes, 
 the apartment, most likely, where the gods were worshipped." 
 
( 78 ) 
 
 MadhuharikA. — Go and perform your commission, I 
 for my part will go and see the Queen. 
 
 Here ends the Introductor'g Scene . 
 
 Enter the female door-keeper. 
 Door-keeper. — The Queeni has giren me the following 
 order : — Inform my hnsband that I desire to behold in 
 his company the splendour of the flowering of the A^oka- 
 tree. Let me now wait for the King who has gone to 
 the tribunal of justice. 
 
 Two Bards behind the scenes. 
 
 We hail the King who by means of his army tramples 
 upon the heads of his enemies. 
 
 First Bard — While thou, Oh! bestower of boons, dost 
 delightsomely spend the spring in gardens on the banks 
 of the Vidifd, in which the cuckoos are engaged in utter- 
 ing pleasing notes, like the comely-limbed god of love, 
 in the meanwhile the enemy of thee, whose army is so 
 mighty, has been caused to bow together with the trees 
 on tlie banks of the Varada, which served as the hooks 
 for fastening thy victorious elephants.^ 
 
 ' BoUensen and TardnAtha insert the Prakrit equivalent of 
 afoka-satJidra-vydpritayd, engaged in honouring the Agoka-tree, 
 No doubt the whole ceremony was a survival of tree-warahip. 
 
 ' In the original this is a series of pans : dttarati may refer 
 to the name of Kama's wife : angatdn may mean having a 
 body, Ananga (love) being literally the bodiless one ; parabhrU 
 tdndm may mean either cnokoas or dependants (bards, &o,) ; , 
 madhu may mean spring or pleasure. In Varadd, the name of 
 the river called in our maps Wiirdah, and Vm-add, giver of 
 boons, the jingle is obvious. Uj/odhabtilasi/a may be translated 
 " of great strength " aooording to T^ranatha. 
 
( 79 ) 
 
 Second Bard. — Qod-like hero, the victories of botli of 
 you over liie Krathakaijikas are celebrated in song by 
 sages from pure love of heroism, of thee who by means of 
 thy military forces didst take away the glory of the Kin^ 
 of Vidarbha, and of Krishna, who by main force, carried 
 off Eukmini with his four arms strong as clubs. 
 
 Female Door-keeper. — Here is the King coming in this 
 direction, his setting forth being announced by shouts of 
 victory ; I for my part will step a little out of his direct 
 course, and put myself under this arch of the main ter- 
 race. 
 
 Enter the King with his friend. 
 King. — When I consider that union with my beloved la 
 hard to attain, and, on the other hand, now that I have 
 heard that the King of Vidarbha has been subdued by my 
 forces, my hearl, like a lotus struck with rain-drops in the 
 full blaze of the sun, suffers pain, and at the same time 
 enjoys pleasure. 
 
 Vidushaka.-^ As far as I am able to see, your High- 
 ness will certainly be exceedingly delighted soon. 
 King. — Friend, how can that take place ? 
 Vidiishaka. — I hear that that to-day the Queen Dharini 
 said to the learned Kaugikl — Reverend Lady, since you 
 pride yourself upon your skill in cosmetic,^ give a speci- 
 men on the person of Malavika of the style of wedding 
 adornment followed in Vidarbha. Accordingly, Kau9iki 
 has decked out Mdlavika in splendid style. The Queen 
 will some day gratify your desire. 
 
 • " Art of decoration, which is called oosmetio." Bacon's 
 Advancement of Learning, p. 133, Wright's edition. 
 
( 80 ) 
 
 King.—Vnend I this is indeed quite probable on 
 account of the former actions of Queen Dbarini, wliose 
 continual deferential regard for mei renders her free from 
 jealousy. 
 
 Female Door-heeper {coming forward).— Yictorj to 
 the King. The Queen sends this message. May my 
 undertaking be rendered successful by the King's con- 
 descending to behold the beauty of the flowers of the 
 golden Afoka. 
 
 J^ing. — Of course the Queen is there. 
 
 Female Door-keeper. — Undoubtedly. Having dis- 
 missed the ladies of the harem, wlio have been gratified 
 by being honoured in accordance with their merits,' she 
 is waiting for the King, accompanied by her own per- 
 sonal attendants, headed by Malaviki. 
 
 King (delighted, looking at the Vidushaha). — Jaya- 
 sena, go on in front. 
 
 Female Door-heeper. — This way, this way, your Ma- 
 jesty. 
 
 They all walk round. 
 
 Vidushaha (loohing about). — My friend the spring seems 
 to be almost past hi* youth in the pleasure-grove. 
 
 King. — Your remark is quite true. The youth of the 
 spring in which the Knravaka flowers are scattered here 
 and there on the outer side of the tree, in wliich the 
 
 ' Literally, the following of deference towards me, the 
 always squaring her conduct in accordance with my wishes. 
 
 'Tar4natha reads yathdtava sanmdna «m AAam— She has pro- 
 vided for your having a flattering and agreeable receptian. 
 She has dismissed, &o. 
 
( 81 ) 
 
 mango-tree is weighed downi witli the burden of its fruits, 
 now approaching its termination, fills the minds with 
 regretful thoughts. 
 
 Vidiishaha.—Lo, here is that golden A§oka which 
 seems to be decked with clusters of flowers as with 
 ornaments. Look at it ! 
 
 King. — Indeed, this tree was right in delaying to pro- 
 duce flowers. For it now displays an unrivalled splendour 
 of blossom. Look ! The flowers^ from all the Agoka 
 trees that first exhibited the power of spring, have, as 
 it were, been transferred to this, now that its longin" 
 has been satisfied.* 
 
 Vid4shaha. — Come, be of good cheer ! Though we 
 are approaching near, Dhdrini permits Malavikd to 
 stand close by her. 
 
 King. — Look, friend, the Queen is rising up at my 
 approach, respectfully waited upon by my beloved, like 
 the earth attended by the good fortune of kings, want- 
 ing only the lotus-fan.* 
 
 ' Taran&tha reads bMdyamdna, ■■ split." Another reading 
 is hhajyamdna " broken." 
 
 ' For kiisumdni flowers Taranatha reads muJculdni buds, and 
 for tai-undm trees, latdndm creepers. 
 
 ' i.e., by contact with the foot of Malavika. 
 
 ' i.e., nothing was wanting but the lotus-fan to make MS- 
 lavika resemble Lakshml. T&rS.natha reads vistrita, having 
 a broad lotus-fan, and anutthitd, having Malavika rising after 
 her. He compares anvdsitam Arundhatyd without giving 
 the source of the quotation. It is, of course, to be found in 
 Kaghuvan^a, I., 56. 
 
 6 
 
( 82 ) 
 
 Then are discovered Dhdrini, Mdlaviha, the Parivrdjihn, 
 and attendants in order of rank. 
 
 Mdlavika. — I know the reason of my festal attire.i 
 Nevertheless, my heart trembles like water in the leaf 
 of a lotus. Moreover, my left eye throbs.^ 
 
 Yidushaha, — Ah ! undoubtedly the Lady Malavik^ 
 looks exceedingly splendid in this wedding dress. 
 
 King. — I see her decorated with ornaments. Clothed 
 in a short silk dress, and with scanty ornaments, she 
 seems to me like a night in the month Chaitra ; when 
 the moon is abqut to rise, with the lunar mansions free 
 from mists. 
 
 Queen {advancing towards him). — Victory to my hus- 
 band ! 
 
 Vidushaka. — May your Highness be prosperous. 
 
 Parivrdjihd. — May the King be victorious. 
 
 King. — Eeverend Lady, I salute thee. 
 
 Parivrdjikd. — May you have the success you desire. 
 
 Queen (smiling). — Husband, I have turned this Agoka- 
 tree into a bower whither you may resort with the young 
 ladies of your harem. ^ 
 
 Vidiishaka. — Come, my friend, a great favour has been 
 conferred upon you. 
 
 King {with an expression of hashfulness, walking round 
 the Agoha-tree). — This Afoka-tree really deserves to be 
 
 ' Namely, the fact that the AQoka-fcree put forth blossoms 
 within five days after it had been touched by her foot. 
 
 ' A sign (in women) of approaching union with the be- 
 loved. 
 
 ' Shankar Pandit observes that here is an occult reference 
 to Malavikfi. 
 
( 83 ) 
 
 made by the Queen the object of such favours, as it 
 showed contempt fov the command of the goddess of 
 vernal beauty, and testified its respect for your exertions 
 by bursting into flower. 
 
 Vidushaha. — Come, be confident, and look at this 
 blooming young 
 
 Queen. — What lady ? 
 
 Vidushaha. — I refer to the .splendour of the golden 
 A9oka's flowers. 
 
 All sit down. 
 King (loohing at Malavikd, to himself). — Alas ! I am 
 at present separated though near. 
 
 I am like tlie bird named Chakravaka,! my dear one is 
 like its mate ; Dhdrini, who does not permit our union, 
 is like the night.^ 
 
 Enter Chamberlain. 
 Chamberlain. — Victory to the King ! The Minister 
 sends word by me that in that present sent from the 
 country of Vidarbha were included two accomplished 
 maidens, who were not introduced at first because they 
 represented themselves to be fatigued with the journey. 
 At present they are in a fit state to appear before the 
 King ; may he therefore be pleased to issue an order 
 upon the subject. 
 
 King. — Introduce them. 
 
 Chamberlain.— A.S the King commands. {He goes 
 out and returns with them.) This way, this way, young 
 ladies. 
 
 ' Literally, part of a chariot, i.e. , chaltra, wheel. The bird 
 ia the Anas Casarca, commonly called Brahmany Duck, 
 2 During which these birds remain apart. 
 
( 84 
 
 First Maiden {aside). — Ah Kajanika ! My inner self 
 rejoices on entering this splendid court. 
 
 Second Maiden. — Jyotsnikd ! I have exactly the same 
 feeling.' You know well that there is a proverbial saying 
 to the effect that the state of the heart foretells approach- 
 ing joy or sorrow. 
 
 First Maiden. — I hope we may find it true on the 
 present occasion. 
 
 Chamberlain. — Here stands the King with the Queen. 
 Advance ladies. 
 
 Both advance. 
 
 Mdlavikd and the Parivrdjikd, seeing these two attend- 
 ants, interchange glances. 
 
 Both the Maidens {prostrating themselves). — Victory to 
 the King ! Victory to the Queen ! 
 
 King. — Welcome to you ! Sit down here. 
 Both sit down. 
 
 King. — Ladies, to what accomplishment do you devote 
 yourselves ?i 
 
 Both. — We are well versed in music. 
 
 King. — Queen, take one of these ladies. 
 
 Queen. — Malavika, look this way ! Which would you 
 like to have to accompany you in singing ? 
 
 Both {looking at Mdlavikd). — Ah ! The Princess ! {They 
 prostrate themselves and weep with her.) 
 All look on lewildered. 
 
 King. — Why, who are you, and who is this lady ? 
 
 Both. — King, this is our Princess. 
 
 King. — What do you mean ? 
 
 ' The reading abhinivite means — in what accomplishment 
 are you trained 1 
 
( 85 ) 
 
 Both. — Listen King ! This is Malavikd, the younger 
 sister of the Prince Mddhavasena, who was rescued from 
 prison by you, having subdued with your victorious 
 armies the King of Vidarbha. 
 
 QMe«w.— Alas ! So she is a Princess. I have in fact 
 been defiling sandal-wood by having it made into shoes.^ 
 
 Ring. — Then how was the lady reduced to her present 
 state ? 
 
 M&lavihd. — {Sighing, to herself.) By the appointment 
 of destiny. 
 
 Second Maiden. — Let the King listen. When our 
 Prince Madhavasena came into the power of his kins- 
 man, this lady was secretly carried off by his Minister 
 the noble Sumati, attendants like us being left behind. 
 
 King. — I have heard this before. What happened 
 next ? 
 
 Both. — This is all we can tell. We do not know 
 what happened afterwards. 
 
 Parivr&jihd. — What happened afterwards, I, wretched 
 woman that I am, will now relate. 
 
 Both. — Princess ! The voice which we hear seems to 
 be that of the noble Kaupiki. 
 
 Mdlavikd. — It is indeed she. 
 
 Both. — It is difficult to distinguish the noble Kaugiki 
 in the dress of an ascetic. We two salute the revered 
 lady. 
 
 The Parivrajiha. — Happiness to you both. 
 
 Xing. — What ! Are these friends of yours ? 
 
 ParivrdjiM. — Certainly. 
 
 » PaduMpadegena, the reading of TSranatha's edition, means 
 literally "on the pretence that it was a slipper." 
 
( 86 ) 
 
 VidiHisliaha. — Then immediately tell us the . rest of 
 Mdlavikd'a adventures. 
 
 Parivrdjiha. — ( With emotion. ) Listen then. Know that 
 Madhavasena's Minister Sumati was my elder brother. 
 
 King. — "We understand. Pray proceed. 
 
 Parivrajikd. — He carried off together with me this 
 lady, whose brother was reduced to such a condition, 
 and, with the intention of marrying her to your High- 
 ness, associated himself with a caravan that was going 
 to the Vaidiga^ country. 
 
 King. — And then ? 
 
 Parivrdjiha. — And at the end of a day's journey those 
 merchants, being exhausted with the toil of the march, 
 encamped in a forest to rest. 
 
 King. — What next ? 
 
 Parivrajikd. — Then there appeared, striking terror by 
 its first onset, a yelling host of brigands, whose breasts 
 were crossed by the quiver-strap, wearing plumes of the 
 Jail-feathers of peacocks, that hung down to their ears,^ 
 bow in hand. 
 
 Mdlavikd shews signs of fear. 
 
 Tidhdshaka. — Do not be afraid, the Reverend Lady is 
 speaking of something that is past and gone. 
 
 King. — Then what happened ? 
 
 Parivrajikd. — Then those warriors^ who had been 
 
 ' The country in which Yidi5a was a city. Tarauatha reads 
 Vidigd-gdminam, i.e., going to Vidi^a. 
 
 ^ Taranatha reads dpdrshnilain'bi, hanging down to their 
 heels, 
 
 ' Taranatha gives mvgdiiayodlidrah, worthless warriors ; and 
 bdddhdyudhdh, having taken up arms, in brackets, as an 
 alternative reading. 
 
( 87 ) 
 
 engaged by the leader of the caravan, after joining battle 
 for- a moment with the robbers, were put to flight by them. 
 
 King. — Reverend Lady, the sequel which we have now 
 to hear is, I know, tragic. 
 
 Pariwdjihd. — Tiien that brother of mine, endeavour- 
 ing to rescue in calamity this lady, who was terrified at 
 the onslaught of the enemy, — my brother, I say, who was 
 so devoted to his lord, paid with liis dear life his debt to 
 his lord. 
 
 First Maiden. — Alas ! Sumati has been killed. 
 
 Second Maiden. — That is, of course, the cause why 
 this condition has befallen the Princess. 
 
 The Parivrdjihd sheds tears. 
 
 King. — This is the lot of mortals^in this transient life 
 You must not lament for your brother, who shewed that 
 he had not eaten his master's salt to no purpose.^ 
 
 Parivrdjihd. — Then I fainted, and by the time I had 
 recovered consciousness this lady was out of sight. 
 
 King. — Terrible are the sufferings which tliis revered 
 lady has had to nndergo. 
 
 I arivrajihd. — Then I burned the body of my brother, 
 and as the sorrow of my widowhood was renewed, I came 
 into your country and assumed these two red garments. * 
 
 ' For tanvbhritdm., TarSnatha reads tanutyajdm, " of brave 
 men.'' 
 
 '^ Literally, who made the food that his master had given 
 him bear fruit. 
 
 'The dress of a wandering Buddhist mendicant. So the 
 Buddhist mendicant in the 8th Act of the Mriohchhakati is 
 represented as clothed in a red garment. (P. 241, Calcutta 
 edition.) The colour is really a yellowish brown, as Shankar 
 Pandit points out. 
 
( 88 ) 
 
 King.— This way of life is a suitable one for pious 
 people. What happened next ? 
 
 Farivrdjikd.— Then this lady came from the power of 
 the foresters into that of Vlrasena, and was sent by 
 Viiasena to the Queen, and so was again seen by me 
 when I obtained admission into the Queen's palace. 
 This is the end of my tale. 
 
 MdlaviM {to herself).— I yfonder what the King will 
 
 say now. 
 
 Xing. — Alas! calamities bring humiliation. For this 
 lady having a right to the title of Queen has been 
 treated like a slave, which is much the same as if one 
 were to use a garment of woven silk for the purposes 
 of a bathing-cloth. 
 
 Dhdrini. — Reverend Lady ! You did wrong in not tell- 
 ing me that Malavika was of noble birth. 
 
 ParivrdjiJcd. — Heaven forefend V- I had a good reason 
 for adopting concealment.^ 
 
 Dhdrini. — What was that reason ? 
 
 Parivrdjikd. — This lady, while her father was 
 still alive, was told in my presence by a certain in- 
 fallible divine person,' who had assumed a mortal 
 
 ' The Queen's speeoli is of evil omen, as implying that the 
 issue of the whole matter would be unfortunate. 
 
 ^ TdrSnStha reads nairghrinyam, pitilessness, cruelty, {grau- 
 samlteit, Weber). Naihhrityam is given by Monier Williams 
 as " modesty," " humility." But it ought also to mean " con- 
 cealment," 
 
 ' Shankar Pandit, whose translation I have here {oUowed, 
 remarks that " a S&dhu is one who by holy works and absti- 
 nence from all worldly ooncerns has acquired supernatural 
 powers — one in short, who is a divine person. Persons like 
 
( 89 ) 
 
 form,! tiiat she would have to endure for one year only 
 the position of a slave, and would then obtain a hnsband 
 of equal rank. Seeing that that sure prophecy with 
 respect to her was being fulfilled by her continuing in your 
 service, I waited for the appointed time, and I believe 
 I acted rightly. 
 
 King. — You did right to wait patiently.^ 
 
 Enter Chamberlain. 
 
 Chamberlain. — King ! The Minister sends the fol- 
 lowing message, which I was prevented from delivering 
 before by another matter arising ; ""We have considered 
 what ought to be done with reference to Vidarbha, I 
 should like now to hear the King's opinion." 
 
 King. — Maudgalya, I wish to establish the two 
 cousins Yajnasena and Mddhavasena as joint rulers : 
 let them rule separate divisions, the north and south 
 banks of the Varada, as the moon and sun^ between 
 them rule the night and day. 
 
 Chamberlain. — King ! I will announce this decision 
 to the Council of Ministers, 
 
 The King expresses his consent by a movement of his finger. 
 
 [Exit Chamberlain. 
 
 Kabira, Eamadasa, Tukarama, and others of more modern ages 
 are popularly called Sadhus." 
 
 ' TaranStha reads devaydtrdgatena givddegahena sddlmnd, 
 by a fortune- telling ascetic who had come to an idol proces- 
 sion. Shankar Pandit explains loTiaydtrd as " the fair or show 
 of this life." 
 
 2 BoUensen explains upehiha, as respect for the counsel of 
 the seer. 
 
 ' " The cold-rayed one and the warm-rayed one " is a more 
 literal translation. 
 
( 90 ) 
 
 First Maiden {aside to Mdlavikd). — Princess, I con- 
 gratulate you on the fact that the Prince will be estab- 
 lished in half of the kingdom. 
 
 Mdlavikd — I ought to think it a great matter that 
 he has been rescued from mortal peril. 
 Enter Chamberlain. 
 
 Ghamherlain. — Victory to the King ! The Minister 
 sends this message to his Sovereign. The King's idea 
 is most happy. This is also the view of the Ministers. 
 Those two kings,! upbearing the fortune of their superior 
 lord divided between them, as the horses upbear the yoke 
 of the charioteer, will remain firm in their allegiance to 
 thee, not being distracted by mutual attacks. 
 
 Zing. — Tell the Council then to send the General 
 Virasena written instructions to this effect. 
 
 Chamberlain. — I will do so. 
 [Exit Chamberlain. He enters again with a letter accom- 
 panied by a present.) 
 
 The King's order has been performed. But this letter 
 has just arrived from the Commander-in-Chief, King 
 Pushpamitra, together with a present.^ Let the King 
 look at it. 
 
 The King quickly advancing puts the present in a res- 
 pectful manner upon his head, and hands it to the attend- 
 ants, and then pretends to open the letter. 
 
 Queen. — Ah ! my heart is fixed on the contents of 
 
 ' Tar4ndtha reads te nripate nidege in allegianoe to thee, oh 
 King 1 
 
 ^ Tarau&tha reads sottariyaprdhhritalio, together with the 
 present of a cloak. 
 
( yi ) . 
 
 that letter. I shall hear, after news of the health of 
 my fatherJn-laWj how Viisumitra has been going on. 
 The Commander-in-Chief has appointed my son to an 
 office of trust.i 
 
 King {sitting down proceeds to read). — May it be well 
 with thee ! Prom the sacrificial enclosure the Com- 
 mander-in-Chief Pushpamitra sends this message to 
 his son Agnimitra, who is in the territory of Vidi9a, 
 affectionately embracing him. Be it known unto thee 
 that I, having been consecrated for the Eajasuya sacri- 
 fice, let loose free from all check or curb a horse which 
 was to be brought back after a year, appointing Vasu- 
 mitra as its defender, girt with a guard of a hundred 
 Eajputs. This very horse wandering on the right bank 
 of the Indus was claimed by a cavalry squadron of the 
 Yavanas. Then there was a fierce struggle between the 
 two hosts. 
 
 (The Queen exhibits signs of despondency.) What! 
 did such an encounter actually take place? {he proceeds 
 to read the rest). Then Vasumitra, the mighty bowman, 
 having overcome his foes, rescued my excellent horse, 
 which they were endeavouring to carry off by force. 
 
 Queen. — Now my heart has a weight lifted off it. 
 
 King (reading the rest of the letter). — Accordingly, I 
 will now sacrifice, having had my horse brought back to 
 me by my grand-son, even as Amgumat brought back the 
 horse to Sagara. Therefore, you must dismiss anger from 
 your mind, and without delay come with my daughters- 
 in-law to behold the sacrifice. 
 
 ' Taranafcha reads atihhdre, too difficult a duty. 
 
( 92 ) 
 
 Parivrdjikd. — I congratulate the royal couple on being 
 exalted by the triumph of their son (looking towards the 
 Queen). By your husband you have been placed at the 
 head of famous wives of heroes, but this title of mother 
 -of heroes has come to you from your son, 
 
 VidusTiaka. — Lady, I am pleased that the son takes 
 after his father. 
 
 King. — Maudgalya, indeed the young elephant has 
 imitated the lord of the herd. 
 
 Chamberlain. — Not even by such a display of valour 
 does he produce astonishment in our minds, whose lofty 
 irresistible origin thou art, as Aurva^ is of the fire that 
 consumes water. 
 
 King. — Maudgalya, let all the prisoners in my domi- 
 nions be set at liberty beginning with the brother-in-law 
 ■of Yajnasena. 
 
 Chamberlain. — As the King commands. 
 
 Queen. — Jayasend, go and inform Irdvati and the other 
 ladies of the harem of my son's victory. 
 
 Female Door-keeper. — I will do so. (Sfie sets off.) 
 
 Queen.— Come here a moment. 
 
 ' The name is thus explained by Monier Williams in his 
 Dictionary. The sons of Kritavlrya, wishing to destroy the 
 descendants of Bhrigu, in order to recover the wealth left 
 -them by their father, slew even the children in the womb. 
 One of the women of the family of Bhrigu in order to preserve 
 her embryo, secreted it in her thigh {uru), -whence the child 
 at its birth was called Aurva, on beholding whom the sons of 
 Kritavlrya were struck with blindness and from whose wrath 
 proceeded a flame that threatened to destroy the world, had not 
 Anrva, at the persuasion of the Bh&rgavas, oast it into the ocean, 
 -where it remained concealed, and having the face of a horse. 
 
( 93 ) 
 
 Female Door-keeper (returning). — Here I ara. 
 
 Queen (aside). — Tell Iravati from me what I promised 
 Malavika when I appointed her to perform the ceremony 
 of fertilizing the Apoka, and her birth also ; and obtain 
 her consent by reminding her that she must not cause 
 me to deviate from truth. 
 
 Female Door-keeper. — I will do so. (she goes out, and 
 again returns) Queen, I have become the casket that 
 holds the jewels of the ladies of the harem, owing to their 
 giving me presents in honour of the victory of your son. 
 
 Queen. — What is there astonishing in that ? Of course 
 this triumph is theirs as much as mine.^ 
 
 Female Door-keeper (aside). — Moreover, Iravati says 
 " You are all powerful, and your proposal is right. It is 
 not proper to alter what has been already arranged." 
 
 Queen. — Reverend Lady, I desire with your permission 
 to bestow Malavika on my husband, for whom she was 
 originally destined by the noble Sumati. 
 
 Parivrdjihd. — Now too, as before, you have full power 
 over her. 
 
 Queen (taking Malavihd ly the hand). — Let my hus- 
 band receive the Lady Malavika as a fitting reward for 
 the good tidings he has given me.^ 
 
 The King remains silent and abashed. 
 
 Queen {smiling). — Come, why does my husband 
 despise me ? 
 
 Vidushaha.—hadj, it is quite in accordance, with the 
 custom of the world that a new bridegroom should be 
 bashful. 
 
 ' Literally, common to them and me. 
 ' i.e., of my son's success. 
 
( 94 ) 
 
 (The King looks at the Vidushaha) Oi-i rather the 
 King wishes his royal consort to bestow the title of 
 Queen on MSlavikd by way of showing her special 
 honour before he receives her. 
 
 Queen. — As she is a Princess, the title of Queen be- 
 come hers by birth, then what is the use of repetition ? 
 
 Parivrdjikd. — Say not so, for even though sprung 
 from a mine, jewels are not worthy, noble one, until 
 polished, of union with gold.^ 
 
 Queen. — Forgive me. Reverend Lady, my mind was full 
 of the good news of my son's success, so I neglected to 
 show MdlavikA tlie respect due to her high birth, Jaya- 
 senS, quickly go and bring a silken veil for her. 
 
 Female Door-heeper (going out and re-entering with a 
 silken veil in her hand). — Queen, here it is. 
 
 Queen (investing Mdlavikd with a veil). — Let my 
 liusband now receive her. 
 
 King. — Queen, your order leaves me without the 
 power of making a reply. ^ 
 
 ' TarS,natha's reading means your Highness ought to receive 
 Malavika to whom the Queen (Dh4rini) gives the title of 
 Queen, treating her as an equal, 
 
 ^ Taran&tha reads — 
 
 Asmaliamutsavaman ir manijdtij>uras7irita?b 
 
 Jatarupena Ttalydni tarlii samyogam arhati, 
 
 our prized jewel, though glorious by the mere fact of its being 
 
 a, jewel, nevertheless requires to be set in gold. He explains 
 
 that the jewel means Malavikd,, and the gold Aguimitra. 
 
 ' i.e., I am obliged to obey at once ; Tirdndtha reads track- 
 hdsanam pratyannrdMa rayam {dpavdrya) hoMta pratigri- 
 Utam. We are eager to obey your order. {Aside.) Ah T I 
 consented to take her before you gave her, {Tvadddndt prdg 
 era svihrltam is his paraphrase.) 
 
( 95 ) 
 
 I'arwrdpkd.—RA ! She is received as a wife. 
 Vidasha^a— Bear me, Low indulgent the Queen is 
 towards you, Sir. 
 
 The Queen looks towards the attendants. 
 The attendants {approaching Mdlavikd). —Yiototy to 
 the Queen ! 
 
 The Queen looJss towards the Parivrdjikd. 
 
 Parivrdjikd. — This coudnct is not astonishing in thee, 
 inasmuch as good women who love their husbands shew 
 obedience to them even by making to themselves rivals, 
 for rivers carry hundreds of brooks along with them to 
 the sea. 
 
 Enter Nipunihd. 
 
 Nipunii:d.—Yictovy to the King] Iravati sends the 
 following message :— I offended on that occasion by 
 shewing a want of respect, and thereby did that which 
 was not pleasing to my husband. As he has now ob- 
 tained his wish, he ought to honour me by merely taking 
 me back into his favour. 
 
 Queen. — .Nipunikd ! My husband will certainly grant 
 your request.! 
 
 Nipunikd. — As the Queen commands. 
 
 Parivrdjikd. — King, I wish to pay my respects to 
 MAdhavasena, who has obtained his object by thus be- 
 coming a connexion of yours, if you will shew me so 
 much favour as to give me leave to depart. 
 
 Queen. — Reverend Lady, you ought not to leave us. 
 
 King. — Reverend Lady, I will send in my letters com- 
 plimentary messages from you to Mddhavasena. 
 
 ' Taranatha reads the Prakrit equivalent of — te sevitam 
 jndsyati, will show himsell! sensible of your submissiveness. 
 
( 96 ) 
 
 Parivrdjihd. — I am deeply obliged by the kindness of 
 you both. 
 
 Queen. — Let my husband deign to inform me what 
 other service I can render him. 
 
 King: — What more can yon do than you have already 
 done 7 But let this also be my lot. Do thou, fair 
 one,^ always look upon me with propitious countenance, 
 so much do I desire for the sake of thy riral, and the 
 desire of my subjects for the removal of the six calami- 
 ties^ and other misfortunes shall certainly be gratified, 
 as long as I, Agnimitra, am their protector. 
 
 Exeunt omnes. 
 Here ends the Fifth Act. 
 
 ' Literally, angry one, as a term of endearment. But it 
 may refer to tlie fact that the Queen's anger was often justly 
 aroused, and so. the King requests her to be always ready for 
 reconciliation, and not like the unforgiving Iravati. The lat- 
 ter seems to be Tarandtha's view. 
 
 ' The calamities included under the title of iti were exces- 
 sive rain, drought, mice, locusts, birds, and the over-proximity 
 of Kings. Cf. Banerjea, on Baghuvanga, I., 62.