6 ./// 0 &. §rom ffie fetfirarg of (professor TEtffmm ffienry (Breen Q$equeaf0efc fig fitm fo ffie fetfirarg of (prtnceton £#eofo<$teaf ^emtnarg TK4474 . A5W7 V. 2 7 ? 1 _ SELECT SPECIMENS OF THE THEATRE OF THE HINDUS. VOL. II. Digitized by the Internet Archive in 2016 https://archive.org/details/selectspecimenso02wils_0 SELECT SPECIMENS OF THE THEATRE OF THE HINDUS, HORACE HAYMAN WILSON, M.A., F.R.S., MEMBER OF THE ROYAL ASTATTC SOCIETY, AND OF THE ASIATIC SOCIETIES OF BENGAL AND PARIS, &C. &C. ; BODEN PROFESSOR OF SANSKRIT IN THE UNIVERSITY OF OXFORD. IN TWO VOLUMES. VOL. II. SECOND EDITION. LONDON: PARBURY, ALLEN, AND CO. TRANSLATED FROM THE ORIGINAL SANSKRIT LEADENHALL STREET, 1835 . Printed by J. LONDON: Cox and Son, 75, Great Queen Street, Lincoln’s-Inn Fields. MALATI AND MADHAVA, OR THE STOLEN MARRIAGE. SI JErarna, TRANSLATED FROM THE ORIGINAL SANSCRIT. VOL. II. B , INTRODUCTION. Malati and Madhava ; or, The Loves of the Youth iVI a dhava and the Maiden Malati, has been already intro- duced to the knowledge of European readers, as an outline of the plot and a translation of part of the fifth Act were pub- lished by Mr. Colebrooke in his Essay on Sanscrit and Prakrit Prosody,* p. 51. The specimens then given were calculated to convey a favourable impression of the merits of the drama, which the perusal of the entire piece will probably confirm. The story of Malati and Madhava is one of pure invention, and the piece belongs to the class of compositions termed Pra- karana. It is referred to as an example of the class by all the works on Rhetoric, the oldest of which it consequently pre- cedes. The history of the drama, however, or more correctly of its author, is attended Avith more certainty than most of the topics of the literary history of the Hindus. By the introductions to Malati and Madhava, and the other dramas of the same writer, the Uttara Rama Cheritra and the Vira Cheritra, we are made fully acquainted with his origin and family. It appears from these accounts that Bhavabhuti, also named Sri'kantha, or he in whose throat eloquence re- sides, was the son of a native of the South of India, a Brahman of Berar or Beder, and a member of the tribe of Brahmans who pretend to trace their descent from the sage Kasyapa, of whom it is said that some are still to be found in the vicinity of Con- davir. The site of Bhavabhuti’s birth-place is fully cor- * Asiatic Researches, vol. x. B 2 4 INTRODUCTION. roborated by the peculiar talent he displays in describing nature in her magnificence, a talent very unusual in Hindu bards, who delight to pourtray her minuter beauties, and one which he no doubt derived from his early familiarity with the eternal mountains and forests of Gondwana. It appears, however, that the place of Bhavabhuti’s nativity was not the scene of his literary triumphs, and that these were attained under the patronage of the princes of Hindustan. The precision with which he delineates the topographical features of Ujayin and its vicinity, leaves little doubt of his having spent some time at that city, for accuracy in this respect could have been obtained at any time in India only by actual observation. The Bhoja Prabandha, indeed, includes Bhavabhuti amongst the writers at the Court of Bhoja at Dhar, but as intimated elsewhere,* this work can only be received as an authority for the priority of the writers described in it to the date of its own composition ; the grouping, whether as regards place or time, being altogether fanciful. A preferable authority, the text of the Dasa Rupaka, refers Bhavabhuti to some period anterior to Munja, the predecessor of Bhoja, by its alluding clearly to Mdlati and Mddhava, and from it therefore we gather that the play was composed before the eleventh century. How long anterior to that date we have also evidence to substantiate, and from the History of Cashmir we learn that Bhavabhuti flourished in the eighth century, being patronised by Yaso- Verma, the sovereign of Kanoj, who reigned about A.D. 720. The date thus given to the compositions of Bhavabhuti is quite in harmony with their internal evidence. The manners are purely Hindu without any foreign admixture. The appear- ance of women of rank in public, and their exemption from any personal restraint in their own habitations, are very incompati- ble with the presence of Mohammedan rulers. The licensed existence of Bauddha ascetics, their access to the great, and their employment as teachers of science, are other peculiarities Sanscrit Dictionary, Preface. INTRODUCTION. 5 characteristic of an early date, whilst the worship of Siva in his terrific forms, and the prevalence of the practices of the Yoga, are indications of a similar tendency. The Linga worship of Siva, we know, was every where the predominant form of the Hindu faith when the Mohammedans first invaded India. With respect to the Yogis , by whom mystical rites were mostly cul- tivated, it may be observed, that there are many reasons for giving them a remote date : the excavations at Elephanta and Ellora appear to be their work ; the sect is now almost extinct in Hindustan ; and the Kdsi Khand, a work probably of seven or eight centuries remote, states that the Yoga cannot be prac- tised in the present age. Mysticism, in fact, gave way first to the philosophy of Sankara Acharya in the seventh or eighth century, and was finally expelled by the new doctrine of Bhakti, or faith, which was introduced by Ramanuja and the Vaishnavas in the eleventh century, and has since continued to be the ruling dogma of every sect of Hindus. The style of Malati and Mddhava may also be referred to the period at which we may conclude that it was written. It is free from the verbal quibbling and extravagance of combination which the compositions of the time of Bpioja offer, but it comes very near to them : although classical it is highly laboured ; although forcible it is diffuse, and is not unfrequently obscure. It abounds in the most complicated prosody, and is cited by Mr. Colebrooke for a specimen of the measure called dandaka, or a verse of fifty-four syllables, and a stanza consequently containing two hundred and sixteen. The author is also fond of an unreasonable display of learning, and occasionally substitutes the phraseology of logic or metaphysics for the language of poetry and nature. At the same time, the beauties predominate over the defects, and the language of the drama is in general of extraordinary beauty and power. The blemishes of the com- position have materially affected the translation ; and while it is very probable that the obscurity of some passages has led to an inexact interpretation of their import, the prosaic prolixity of others has involved the necessity of considerable compression 6 INTRODUCTION. and occasional omissions. The latter, when of any importance, will be particularized as they occur. Malati and Madhava divides with Sakuntald the honour of being still occasionally, although not very commonly, read by the Pandits ; copies of it therefore are not very scarce. That used for the present translation was transcribed from Mr. Cole- brooke’s as being singularly free from errors. It had the advan- vantage also of being illustrated by two excellent commentaries. The most copious of these is the work of Jagaddiiara, the son of Retnadhara, described as a learned teacher, the prince of Pandits and poets, and administrator of law ; the other is by a royal hand, the Rcijudhirdja Malanka. We have no further particulars of these commentators, except that the first is known to have been a Maithila Brahman, and not very ancient. DRAMATIS PERSONAL Men. Mddhavct. — The son of Devardtci, studying at Padmavdti, in love with Mdlati. Makaranda. — His friend, in love with Madayantikd. Kalahansa. — Mddhava's servant. Aghoraghanta. — Priest of Chdmundd, a terrific goddess. A Messenger. Women. Mdlati. — The daughter of the Minister of State Bhurivasu, in love with Mddliava. Madayantikd. — The sister of Nandana and friend of Mdlati, in love with Makaranda. Kdmandaki. — Priestess of Buddha, nurse of Mdlati, and Preceptress of Mddliava. Kapdla Kundald. — Priestess of Chdmundd. Sauddmini. — Disciple of Kdmandaki, and possessor of magical powers. Lavangikd. — Foster sister of Mdlati. Manddrikd. — Attendant on Kdmandaki, beloved by Kalahansa. Buddharakshitd ■> „ . , , . > Disciples of Kdmandaki. Avalokita J Female Attendants. 8 Persons spoken of. The Sovereign of Padmavati. Nandana : — His favourite, the brother of Madayantikd. Bhurivasu . — II is minister, the father of Mdlati. Devardta . — The father of Mddhava, and minister at Kundinipura. Scene. — Ujjayini ( Ougein), designated most usually as Padmavati, and its vicinity. Time. — A few days. PRELUDE. BENEDICTION. May the trepidations of Vindyaka’s * * * § countenance, attended by the cry of terror, long preserve you ! those trepidations which at the dance of Sulapani\ proceeded from the entrance into his nostrils of the Lord of serpents with contracted hood, frightened at the cry of Kumara’s% peacocks, upon hearing the sound of the tabor struck by the delighted Nandi, § and whence the regions were filled with the buzzing of bees flying away from his temples. May the tresses interwoven with a circular garland of ser- pents for flowers, where the waters of the Manddkini\\ are flow- ing over the lower chaplet of skulls worn in the crest, luminous with the light of the eye of the forehead, sparkling like light- ning, and of which the young moon is confounded with the point of the kdtaka flower, preserve thee !1T * Ganesa. + Siva, or the god who holds a trident in his hand. f Kartiheya, the son of Siva and Parvati, the deity of war, represented as riding on a peacock. § Nandi is an attendant upon Siva. || The Ganges of heaven, supposed to trickle through the tresses of Siva. f The perusal of the preceding dramas will have partly prepared the reader to understand this benediction ; but it involves a number of Hindu common places, and may require explanation to be rendered intelligible. Siva, for the amusement of Parvati his bride, originated a particular dance, to the musical accompaniment of the tabor, struck by his attendant Nandi. His sons were present : Kartiheya mounted on his peacock, and Ganesa with the head and trunk of an elephant. Siva is embellished with a collar 10 JIALATI AND RIADHAVA. Enter Manager. Enough ! what need of prolixity. (Looking to the East.) Ha ! the celestial luminary, enlightening all the divisions of the world, is completely risen. I salute him.* (Bowing.) Oh thou, the universal form, who art the vessel of all auspicious light, be propitious to me, and enable me to support the burthen of the drama : remove from me, Lord of the world, thus prostrate, every sin, and augment all that is favourable to success. (Look- ing off the Stage.) Ho ! Marislia /+ the auspicious preparations are complete ; from all quarters persons of distinction have come to celebrate the festival of Kdlapriyandth,% and I have been a collar of the hooded snake twining round his neck and surmounting his head. The peacock is supposed to be particularly delighted by the approach of the rainy season, and the bird of Kartikeya, mistaking the deep sound of the drum for the rolling of thunder indicative of a storm, screams with delight. The peacock is considered the natural enemy of snakes, and the snake of Siva, alarmed at the approach of his mortal foe, deserts his place on the neck of the deity, and makes for the first hiding place he can find. This happens to he the tip of Ganesa's elephant trunk ; his entrance into which disturbs the bees that are supposed to settle on the temples of an ele- phant. This is the purport of the first verse. In the second, the author refers to the mode in which the hair is delineat- ed in the figures of Siva, and as it is worn by the ascetics who profess his worship. It is allowed to grow long, and is then divided into three or four tresses, which are braided together and coiled upon the anterior part of the crown of the head, the apex of the coil projecting forwards a little on the right side. Siva also wears round his head a braid of snakes and a chaplet of skulls, and he has a half moon on his forehead ; in the centre of his fore- head is his third eye whose glances are of flame, and over his head flows the Ganges. In these allusions the author refers to the popular personification of Siva, untinged with any references to his mystical worship. * We may infer from this that the Hindu dramas were represented early in the morning. f One term by which an actor is to be addressed. f Who this deity is, is not known to the Pundits of the present day. Malanka takes no notice of the name ; Jayaddhara is content to say it is that of a sort of divinity worshipped in that country. It is probably the ap- pellation of a Siva Linya. I n the Varaha Parana, Kata Priya is said to be a form MALATI AND MADHAVA. 11 commanded by these wise and learned auditors to represent to them some new dramatic tale. How now ! are the actors lazy ? Enter Actor. Actor. We are not informed, sir, of the kind of piece re- quired by the audience. Man. Say, Marisha, what are those qualities which the vir- tuous, the wise, the venerable, the learned, and the Brahmans require in a drama ? Actor. .Profound exposition of the various passions, pleasing interchange of mutual affection, loftiness of character, delicate expression of desire, a surprising story, and elegant language. Man. Then I recollect one. Actor. What is it, sir ? Man. There is in the South, and in the province of Vider- blia,* * a city named Padma nagara, where dwelt certain Brah- mans of the family of Kusyapa, and followers of the Tittiri portion of the Vedas according to the teacher Char ana ; taking precedence at festivals, maintaining the five fires, observers of religious obligations, drinkers of the Soma juice, possessing names of note, and learned in the Vedas. f These Brahmans a form of the sun worshipped to the south of the Yamuna, and Kdlaprbja Nath, his lord or god, implies a Linga, the construction of which is attri- buted to the sun. Tiie more usual word in these compounds is Iswara, as Somesivara, Rdmeswara, Visweswara, &c. ; hut Nath is the term more espe- cially employed by a particular sect, that of the Yogis or Pasupatas, the oldest sect probably now existing amongst the Hindus, and with whose tenets and practices Bhavabhuti appears to have been thoroughly acquainted. * Viderbha is always identified with Berar, but the limits of the province in that case included the adjoining district of Beder, in which the name of Viderbha or Biderbha is traceable. Local traditions also assert, that the ancient capital, still called Beder, is the same as Viderbha. We do not find a Padmanagar in the maps : it is said to he called also Padmdvati. f The various allusions contained in this short description require ex- planation. Kasgapa was a sage, the sou of Mariclii, the son of Brahma, and one of the Prajapatis or progenitors of created things. His share in crea- tion was no unimportant one, as he was the father of the gods and demons, beasts, 12 MALATI AND MADHAVA. constantly reverenced the study of holy writ, for the know- ledge of truth ; wealth, for the celebration of religious beasts, birds, reptiles, and man. He is supposed by some modern writers to be a personification of the remains of the antediluvian race, who took refuge in the central Asiatic chain, in which traces of his name so plentifully abound, as in the Koh-kas or Caucasus, the Caspian, and Cashmir. It is asserted that the thirteen Gotras or families of Brahmans owe their origin to as many divine sages called after their names. Kasyapa is one of the number. The Aswaldyana Sutra of the Rig Veda contains the enume- ration of the Gotras and their sub-divisions, but in a very involved and unin- telligible style. The popular enumeration of them, however, is not uncom- mon ; but it is nearly, if not wholly, confined to the South of India, where several of the reputed representatives of these tribes yet exist ; especially about Gooty and Condavir. Nandavaram , it is said, was a grant made to the thirteen Gotras by the sovereign of India, Nanda , in the year of Kali 980 ; but if there is any foundation for the grant, it is of much more recent date, Nanda having lived in the fourth century before the Christian era. The Vedas, as explained by different teachers, branch out into innu- merable schools, to which different tribes of Brahmans in the south of India are hereditarily attached : in upper India every classification of the kind has long been forgotten. A very principal division of the Vedas is that named in the text — the Taittiriya or white portion of the Yajur. It derives its name from tittiri, a partridge, in which shape, according to the Vishnu Purana, the sage Vaisampayana, the first teacher of the Yajur, swallowed the fragments of this work, which he had compelled his disciple Yajnavalkya, who had offended him, to disgorge. This portion of the Veda was thence named Taittiriya. The legend seems to have been invented by the Paura- nic writers to disguise their ignorance of the real purport of the designation. Charana is supposed by one commentator to be either a branch of the Vedas or some particular teacher, and by the other to imply a verse or foot, mean- ing that they were familiar with the metres of the Vedas. We are already familiar with the three fires a Brahman should maintain ( Vikrama and Ur- vasi. Introduction, vol. i. p. 190) ; the other two, as mentioned in a Sukta of the Rig Veda, and the Apastamba Siitra, are the Sabhya and Avasathya, the precise purport of which names is not known to the Pundits, nor explained in the Bhashya. The literal sense would be the fire of the assembly and the fire of the village, as if a sacrificial fire was sometimes maintained in common. Religious obligations are certain fasts and penances, as the Chandrdyana, &c. The Soma juice is the juice of the acid Asclepias, drinking which is an essential part of the ceremonial of the Vedas. The term rendered, taking precedence at festivals, is Pankti Puvana, a purifier of the row, or range, or assembly : that is, Jagaddhara says, in the place where there is food ; or, in other words, they were Agrabhojinah, the first-served at a least. He also quotes MALATI AND MADHAVA. 13 rites ;* wives, for the propagation of offspring ; and life, for the practice of devotion. Of this family the grandson of one, whose well-selected name was Bhatta Gopula, and the son of the pure in fame Nilakantha, whose auspicious appellation was Bhavabhuti, sur- named Srikantha, and whose mother was Jdtukarni, a poet familiar through friendship with actors, has given us a drama composed by him, replete with all qualities. To which indeed this sentence is applicable : “ How little do they know who speak of us with censure ? This entertainment is not for them. Possibly some one exists, or will exist, of similar tastes with myself, for time is boundless and the world is wide.” Again : what avails it to boast a knowledge of the Yoga* of the Sdnkliya,\ of the Upanishads,\ or of the Vedas ? no benefit accrues from them in a dramatic composition. Fertility of imagination, melody of expression, and richness of meaning, are the indications of learning and of genius. Such a drama quotes a text, without mentioning his authority, to show that the term implies a Brahman who has read the Yajur, Sdma, and AtharvaVedas, and the word is similarly explained by Menu, iii. 184. “ Those priests must he considered as the purifiers of a company who are most learned in all the Vedas, and all their Angas, together with their descendants, who have read the scriptures.” The Vedas are well known ; they consist of an infinite number of distinct tracts, classed under four heads, as the Rig, Yajur, Sima, and Atharva Vedas. They comprehend a prac- tical and philosophical portion. The ritual of the former is little known or practised. * One of the schools of philosophy teaching the eternity of matter and spirit as well as of God, and the obtaining of final liberation from life by ascetic practices. f Another system of philosophy, teaching the eternity of matter and spirit independent of God, founded by Kapila. f The Upanishads are treatises on the unity of God and the identity of Spirit, forming part of the Vedas. Some of the shortest have been trans- lated into English by Rammohun Roy, Dr. Carey, and Sir W. Jones. They were rendered also into Persian by order of Dara Shekoh, the son of Shah Jehan, and were thence rendered into Latin by Anquetil du Perron, a summary of whose work in the French has been published by Mons. Lanjuinais. 14 . MALATI AND MAI1HAVA. has been entrusted to us by the friendly and venerable Bha- vabhuii, entitled Malati and Madhava, one written by himself. Let all the actors, prepared to represent this with their best abilities in the presence of the divine Kdlapriyanath, appear before me in the parts I have assigned them. Actor ( after a pause). Your orders shall be obeyed, but it is necessary to exhibit it with becoming decorations, and first, our chief actor in the costume of Kamandaki, an old female Saugata* beggar, is to appear, together with Avalokita, one of her disciples, for whose character I am cast. Man. Very well ; what more ? Actor. Then the semblance of Madhava, the hero of the fiction, and lover of Malati, is to be assumed : how is this to be effected ? Man. That is described after Makaranda and Kalahansa enter. Actor. We are ready then to exhibit our performance in the presence of the assembly. Man. Very well, I take the character of Kamandaki. Actor. I am Avalokita. \_Exeunt. * A worshipper of Si/r/ata, a form of Bwhllia. END OF THE PRELUDE. MALATI AND MADHAVA. 15 ACT I. Scene I. — Kamandaki’s House. Enter Kajiandaki and Avalokita. Kdm. Daughter, Avalokita. Ava. Mistress, your commands ? Kdm. I have a task in hand : connubial rites Must join the amiable progeny Of Bhurivasu and of Devarata, Long cherished friends : fair Malati the maid. And Madhava the youth. Auspicious signs Forerun a happy fate, and even now My throbbing eye-ball tells* propitious destiny Shall crown my schemes. Ava. In truth an anxious care This business proves ; and much it moves my wonder, How it should happen, one in rank and power High raised, as Bhurivasu, should require To wed his child, the services of one Arrayed in tattered weeds, whose humble food Is the scant dole of charity, and whose thoughts Disdain the obstacles that worldly troubles Oppose to sanctity and final bliss. Kdm. Thou errest, daughter. That the minister Appoints me to such duty, is the fruit Of his regard and confidence, and with prayers * We have already had occasion to notice this superstition. The left side is the lucky side in a woman, the light in a man. The purport of these palpitations seems to have been similarly understood hy the Greeks. 1G MALATI AND MADHAVA. And penances, and life, I am prepared All that my friend ordains me to fulfil. Recall you not, when from far- distant realms Assembling students crowded to our school To gather science ? Then, before my friend, Saudaminl and me, it was convened By these two statesmen — at that time associate In amity and study — that their children. When ripe in years, in love should be united. Hence Devarata, Viderbha's king, The pious councillor, sends from the capital, Kundinipur,* to study in our schools, f His son the blooming Madhava, a youth Of more than common merit, to acquit The troth erst plighted, thus by him recalled To the remembrance of his ancient friend. Ava. But why this mystery ? Why should not wed The youth and maiden as their state becomes them ; And why to you their stolen loves entrusted ? Kdm. The favourite of the sovereign, Nandana, Sues him for Malati. The king demands The maiden of her father. To evade His anger if the suit should be rejected, Is this ingenious device adopted. Ava. Yet why thus strange to Madhava ? his name Seems even to the minister unknown. Small proof of his regard. Kdm . A mere pretext. He knows youth indiscreet, And fears to trust the lovers with his councils. Let the world deem their union was the work Of mutual passion only ; so the king * Kundinipur is placed by tradition as well as similarity of name in the modern district of Condavir. f Literally, he comes to study logic ; a very appropriate study, the com- mentator Jagaddhura observes, for one who requires sufficient craft to effect a stolen match. MALATI AND MADHAVA. 17 And Nandana are foiled, nor we to blame. A wise man veils his projects from the world ; Silent effects his schemes ; whilst all his acts Bespeak indifference, and his cheerful manners Shew to suspicion’s eye a heart at ease. Ava. I comprehend your plans — ’tis for this cause, That by your orders I so often Madhava Have sent on various pleas along the road By Bhurivasu’s palace. Kdm. True ; and as I learn. The princess from her casement has beheld The youth — he graceful as the god of love. Herself love’s blooming bride — nor seen in vain. Her waning form too faithfully betrays The lurking care she now first learns to suffer. Ava. To soothe that care, then, has her skill pourtrayed The lineaments of Madhava, to-day Left by her foster sister with Mandarika.* Kdm. In sooth not ill devised. Lavangika Knows that the youth’s attendant, Kalahansa, Doth love Mandarika, and shrewdly deems That from her hands he will obtain the portrait To shew his master. Ava. I have borne my part ; And to the garden of love’s god directed The steps of Madhava at early dawn. It is the festival of Madana. The princess And damsel train will to his groves proceed. And thus the youthful pair to-day will meet. Kdm. Thanks, daughter, for your kindly zeal to aid The object of my wishes. But now inform me. If you have tidings of Saudamini, Mine ancient pupil ? * The servant of the convent ; or, as Kamanriaki terms her, Vihdra Dasi. VOL. II. C 18 MALATl AND MADHAVA. Ava. I learn that upon mount Sri Parvata* She now resides, where, won by desp’rate penance, Power more than earthly waits upon her will. Kdtn. Whence is this information ? Ava. The formidable deity Chamunda Is worshipped near the city cemetery. Kdtn. She whom her miscreant votaries aver Delights in living sacrifice ? Ava. The same. From one of these, Kapala Kundala, I learnt the news, as I encountered her By chance at eve. She is the pupil Of a skull-bearing seer, Aghoraghanta, A wandering mendicant, but dwelling now Amidst the neighbouring forest. He has late Come from Sri Parvata. Kdtn. ’Tis like Saudamim. Ava. Of her enough. More pleasing themes attend, for Makaranda, The early friend of Madhava, adores The lady Madayantika, the sister Of the king’s favourite, and to secure His happiness will yield to Madhava. Scarce less delight than to ensure his own. Kdtn. It has not been forgotten. Buddharakshita Attends that charge. Ava. This, mistress, was well done. Kdtn. Come, daughter, let us forth, and having learnt * Sri Parvata means the same as Sri Saila, the mountain of Sri or Lakshmi, a place of sanctity in the Dekhin, near the Krishna river. It still retains its sanctity, but has lost the splendour it formerly seems to have possessed by the extensive remains of sculptures on the mountain, and the great labour and cost bestowed on the causeways by which it is approached. It is described by Col. Mackenzie in the 6th vol. of the Asiatic Researches, and was more recently visited by the late Dr. Voysey. The penance re- ferred to is called in the text the Kapdliha vrata, worship of the terrific forms of Siva and Durga. MALATI AND MADHAVA. 19 How Madhava has fared, repair to Malati. I know her spirit lofty : we must proceed With prudence if we would obtain success. May mighty Brahma, whose consummate skill With sympathizing merit has endowed The graceful pair, perfect his high design. May our devices prosper : may the youth Obtain his wishes, and his love be crowned With the fair maid’s affection : as the lotus Buds in full beauty to the tender light The moon autumnal sheds upon its leaves.* [Exeunt. Scene II. — A Garden. Enter Kalahansa (with a picture). I wonder where my master is to be found : he may well think his person equal to that of love himself, since it has made an impression upon the heart of Malati. I feel rather weary, and shall take the liberty of reposing myself in this grove till I see my master and his friend. [ Retires . Enter Makaranda. I learn from Avalokita, my friend Is in the grove of Madana, and thither I go to seek him. Ha ! he comes this way : Yet something sure disturbs him, for his step Has not its wonted nimbleness — his eyes Are fixed on vacancy — his whole attire Is disarrayed, and heaves his frequent sigh. Has love been busy here, whose potent will, * This is a very matter-of-fact of scene; but it is precisely according to rule, and does not very badly prepare for the appearance of the persons alluded to, the entrance of some of whom is considerably delayed. No character is to be introduced that has not previously been announced. This is a canon of the Hindu dramatic code, and was formerly one of our own laws. Massinger is remarkable for his precision in this respect ; Beaumont and Fletcher are not unobservant of the rule. c 2 20 MALATI AND MADHAVA. By every lovely attribute administered. Pervades the world, and on the form of youth, Works sad and wondrous change ? Enter Madhava. ’Tis strange — ’tis passing strange, my vagrant thoughts No more return to me. Deserting shame, Or self-respect, or fortitude, or judgment, They dwell perverse upon one fond idea. The lovely image of the moon-faced maid. Wonder alone each faculty engrossed As rapt I gazed upon her, and my heart, As if immersed in heavenly nectar, glowed Delusive extacy : too late I feel I nursed a burning coal within my bosom. Mak. (coming forward). Madhava! The sun is high, and darts his fiercest rays Upon the aching brow : here let us enter. And rest awhile beneath the garden’s shades. MM. Even as you please. Q Exeunt . Kalahansa advances. My master and his friend are undoubtedly the two greatest ornaments of this garden. Well ; shall I now take him this picture of himself — the delight of the eyes of Malati and solace of her amorous pain; perhaps I had better let him repose himself awhile. It shall be so. [Exit. Another part of the Garden. Enter Madhava and Makaranda. Mak. Here, at the foot of this wide-spreading tree, Amidst the fragrance that the breezes waft Abroad from every bud, let us recline. [They lie down. To-day was one of peril, Madhava. You could not sure behold the num’rous concourse Of all our city’s beauty, bound to pay MAL ATI AND MADHAVA. 21 Their annual homage at the shrine of love. And scape unharmed. In sooth, to me it seems The shaft has lighted, and has grazed thy heart. Nay, never droop the lotus of thy face : If struck, reveal thy hurt : why shame to bear it. Who can resist the heart-born deity ? Creatures of passion, all confess his power. And gods themselves are impotent as we.* Mad. I own my weakness — listen to its cause. By Avalokita advised, I went To Kdmadeva s temple, where I strayed, Till weary I reclined beside a fountain That laves the deep roots of a stately tree. Whose clustering blossoms wooed the wanton bees To cull their sweet inebriating fragrance. Lulled by their songs, and tempted by the shade, I laid me down, and in pure idleness, To while away the time, I gathered round me The new fall’n blossoms, and assiduous wove A flowery garland. Whilst I was thus employed There issued from the fane a beauteous maid. Stately her gait — yet graceful as the banner Love waves in triumph o’er a prostrate world. Her train bespoke a princely rank — her garb With youth’s appropriate ornaments was graced — Her form was beauty’s shrine, or of that shrine Radiant she moved the guardian deity. To mould her charms, whatever nature offers Fairest and best, had surely been assembled, f * Literally, the same sentiment was evinced in the creation of' the world in Brahma and in Siva. Kama was scarcely created before he thought proper to make Brahma enamoured of his own daughter. Inspiring Siva with love for Parvali was a more dangerous feat, and the archer god, although he succeeded, was reduced to ashes by the object of his triumph. f Or literally, the moon, ambrosia, the stalk of the lotus, moonlight, &c., types severally of her face, her lips, her arms, her gracefulness, or beauty. 22 MALATI AND MADHAVA. And love omnipotent was her creator. Led by her maidens to collect the flowers That thickly hung on my o’ershadowing tree, She neared the spot. All ! then too plain I noted The signs of passion, for some happy youth Long entertained, the lovely maid revealed. As slender as the lotus stalk her shape ; Her pallid cheeks, like unstained ivory, Rivalled the beauty of the spotless moon ; And still her prompt compliance with the wishes Of her attendant damsels showed herself Indifferent to all. I scarce had gazed Upon her, but my eye felt new delight, As bathed with nectar, and she drew my heart As pow’rfully as attracts the magnet gem* The unresisting ore, at once towards her. That heart, though causeless be its sudden passion, Is fixed on her for ever, chance what may, And though my portion be henceforth despair. The goddess destiny decrees at pleasure The good or ill of all created beings. Mak. Nay, Madhava, this cannot be, believe me, Without some cause. Behold ! all nature’s sympathies Spring not from outward form, but inward virtue. The lotus buds not till the sun has risen ; Nor melts the moon-gem till it feels the moon. What then ensued ? Mad. W’hen her fair train beheld me, they exchanged Expressive looks and smiles, and each to each, As if they knew me, murmured — This is he ! The music of their tinkling zones was stilled, Repressed the silver echo of their anclets Sharp clanging to their undulating motion. * Ayaskanla viani Salakeva, “ Like a rod of the ironstone gem.” It should seem possible that artificial magnets, as well as the properties of the loadstone, were known to the Hindus. MALATI AND MADHAVA. 23 Hushed was the melody their bracelets made, Whilst their fair lotus palms, in sportive mood, Were beating measure to their merriment. Silent they stood, and with extended fingers, As if they said, “ The fates have favoured us. Lady, behold him here !” Mak. (to himself). This is indeed A proof of preconceived regard. Kal. (advancing). What is all this about: some pleasing story of which woman is the object ? Mak. Proceed, my friend. Mad. What words shall picture what those looks conveyed ; The lore of love those lotus eyes revealed. What firmness could resist the honest warmth Of nature’s mute expressiveness, nor fall Before those orbs, that now like opening buds. Beneath the creeper of the tremulous brow Expansive bloomed, and now retiring shrunk But half averted from the answering gaze, Then dropped the veiling lashes o’er their brightness. I felt their influence, and those looks of love, Beaming with mild timidity, and moist With sweet abandonment, bore off my heart — Nay plucked it from my bosom by the roots All pierced with wounds. Incredulous of my happiness, I sought To mark her passion nor display my own. Though every limb partook the fond emotion. Thence I resumed my task, and wove my wreath, Seeming intent, till she at length withdrew Attended by her maidens and a guard Of eunuchs armed with staves and javelins. A stately elephant received the princess And bore her towards the city. Whilst they moved, As winds the lily on its slender stalk. So turned her head towards the grove of Kama, 24 MALATI AND MADHAVA. And from her delicate lids she shot retiring Glances with venom and ambrosia tipped. My breast received the shafts. A mingled flame And deathly chillness, since alternate spread Throughout my form, and doom me to such agony Words cannot paint, the world has never witnessed. Perception dimly pictures present objects. And past perceptions fade from recollection ! Vain were the lunar ray or gelid stream To cool my body’s fever, whilst my mind Whirls in perpetual round, and knows not rest. Kal. The object of this passion must assuredly be Malati. Mak. (to himself). My friend is lost, my counsels were but vain : And e’en the wish were idle, that the deity, Self-born, should spare his years, nor with sad change Soil his pure mind. The flow’ry bow is strung. And ardent youth is reckless of the peril. (To Madhava.) Know you the name and race of that fair lady ? Mad. Hear how I learnt them. Ere she had departed. One of her train, apparently intent On gathering flowers, privately approached me. And borrowing from the garland I had woven A covert for her meaning, thus addressed me — “ Well has been strung this string of blooming beauty, And pleasing is it in our lady’s sight. Who in like excellence herself excels — May then success reward such high desert. And this bright produce of creative art Bear richest fruit, exalted to that station It’s merit claims — suspended round the neck Of Bhiirivasu’s daughter, Malati,* * This piece of double entendre is much more precisely followed in the original and every word has a double import. The figure is termed Akshara sunyhnta, combination of letters. AIALATI AND MADHAVA. 25 Whose foster sister, and whose nearest friend, Lavangika, now stands before you.” Kal. This is as we wish, and fortune favours the design of the flower-armed deity. Male. Malati, the daughter of the minister, A mark for elevated rank, her name Is ever in the mouth of our preceptress ; And rumour adds, the king solicits her In marriage for his favourite, Nandana. Mdd. Requested by Lavangika, I gave her The flow’ry wreath. She took it with respect, As ’twere a precious gift, and all the while The eyes of Malati were fixed on her. Bowing with reverence, she then retired. And quickly disappeared amidst the throng. The princess and the people left the grove And I directed hitherward my steps. Mak. Your story, Madhava, most plainly shews, That Malati’s affection is your own ; And the soft cheek, whose pallid tint denoted Love preconceived, is pale alone for you. She must have seen you, though we know not where ; But maidens of her rank do not allow Their eyes to rest on one to whom they have not Already given their hearts : and then those looks That passed among her maidens, plainly shewed The passion you had wakened in their mistress. Then comes her foster sister’s clear enigma, And tells intelligibly whose her heart. Kal. ( advancing ). Look at this picture. Mak. Madhava’ s counterfeit — whose work is this ? Kal. Her’s who has stolen his heart. Mak. What, Malati ? Kal. The same. Mdd. This gives me faith, dear friend, in your conjectures. Mak. But, Kalahansa, how came you by this ? 26 MALATI AND MADHAVA. Kal. Mandarika gave it to me. She had it from Lavangika. Mak. And what induced the princess to delineate This picture ? did Mandarika inform you ? Kal. She painted it to amuse and relieve her distress. Mak. What say you, Madhava ? — this lovely maid. The soft light of your eyes, assuredly Regards you bound to her in love’s alliance. What should prevent your union ? Fate and love Combined seem labouring to effect it. Come, Let me behold the wondrous form that works Sucli change in yours, — you have the skill; pourtrayher. Mad. To please you I will try. Bring me the pencil. ( To Kaluhansa.) (Draws.) Hard is the task you have assigned me. — A chilly tremor spreads through all my frame, Damp dews distil from every opening pore. And starting fast, my tears repeatedly Dim the faint outline that my trembling hand. Oh, how unworthily ! attempts to picture : Yet with what skill I have, ’tis done. Mak. (taking the drawing ). Most excellent and worthy of your passion. It may be said of her— (Writes on the drawing ) “ Whatever nature’s loveliness displays “ May seem to others beautiful and bright ; “ But since these charms have broke upon my gaze, “ They form my life’s sole exquisite delight.” Enter Mandarika hastily. Man. Ha! Kalahansa, you are at last overtaken. Makaranda, Madhava, sirs, I salute you. Mak. Approach, Mandarika ; what brings you hither ? Man. I followed Kalahansa to recover a picture. Kal. (gives her the one Madhava has). Here it is, take it. Alan. Malati’s picture, I protest. How came this here ; who has painted it ? AIALATI and madhava. 27 Kal. He whom she delineated, and with much the same intention. Mak. He tells you truth ; and now do you be honest. Inform us how, and where, first Malati Saw Madhava ? Man. She was called to the lattice by Lavangika to look at him as he passed the palace. Mak. So I supposed. We frequently have passed In that direction. Man. With your permission, I will communicate these events to my friend Lavangika. Mak. You have free leave. ( Exit Manddrikd.) Mak. The monarch of a thousand beams now darts His hottest rays ; ’tis noon, let us go home. Mad. Willingly — The day’s warm influence surely washes off The careful labours of the morning toilet. And steals those sandal marks, so neatly laid In graceful lines across the flowery cheek. Play o’er my limbs, ye soft refreshing breezes. Whose previous homage has been paid to beauty. And wrap in soft embrace my fair one’s charms. Diffusing o’er her form the honied fragrance Shook from the jasmine’s scarce-unfolcled blossom. JSlak. Alas ! the flow’r-armed and resistless deity Has sadly changed the person of my friend ; Like the young elephant, when fever preys On his yet tender frame. Our only hope Is now Kamandaki. Mad. ’Tis strange, most strange ! Where’er I turn, the same loved charms appear On every side. Bright as the golden bud Of the young lotus gleams her beauteous face, Though oft averted from my fond regards. Alas ! my friend, this fascination spreads 28 MALATI AND MADHAVA. O’er all my senses, and a feverish flame Consumes my strength — my heart is all on fire, My mind is tossed with doubt — and every faculty In one fond thought absorbed, I cease to be Myself, or conscious of the thing I am. Q Exeunt . END OF THE FIRST ACT. MALATI AND MADHAVA. 29 ACT II. The Dwelling of Malati. Enter two Female Attendants meeting. First Att. Hey, friend, I saw you just now near the music- room,* in deep conversation with Avalokita : what were you two talking about ? Second Att. The whole story of the grove of K&ma has been carried to Kamandaki by Madhava’ s friend ; and she being desirous of seeing Malati, sent Avalokita to her, who was telling me, that she had left Lavangika and the princess together. First Att. Why, Lavangika said she wanted to gather bahula flowers in the grove of Madana, and has not since returned : has she been heard of ? Second Att. Yes, the princess saw her coming, on which she dismissed her attendants at the door of her apartments, but detained Lavangika. First Att. She had some very agreeable news to tell Malati, I suppose, of the youth Madhava. Second Att. It is a hopeless passion I am afraid, and to-day’s interview will only add to her distress. To-morrow the king gives the princess to Nandana ; her father has consented to the match. First Att. Consented ! Second Att. Yes, he told the king that he was “ lord over his own daughter.” This passion of Malati and Madhava will only yield them misery as long as they live. * The Snngita sata, which we had occasion to notice in the preceding drama. 30 MALATI AND MADHAVA. First Alt. Now, then, we shall see what Kamandalri can do, and whether she will put forth her power. Second Att. You talk idly. Come, let us depart. [Exeunt. Enter Malati and Lavangika. Mai. Proceed, my dear Lavangika, proceed. Lav. This flow’ry wreath then did he send by me. Mdl. (taking it). ’Tis strung unevenly. Lav. The fault is yours. Mdl. How should that be ? Lav. Where, deem you, were his thoughts : Who caused that dark-hued youth’s deep agitation ? Mdl. Dearest Lavangika, You ever speak me comfort. Lav. There might be better comfort. He, himself. Here in your presence — gazing rapt upon you With look intent, from eyes that tremulous glow. Like the blown lotus shaken by the zephy r. Forced, from the timid plea of weaving chaplets, To dart upon you glances of delight, From underneath the arching brow, that waves In curve as graceful as the bow of Kama. Mdl. How can I credit this — how should I know, From such brief interview, if the graceful youth Be true, or if he only seek to mock me ? Lav. You have no need to fear in this, believe me. Mdl. Well, well ; complete your story. Lav. When I received the garland, I departed And mingled with the crowd ; thence to Mandarika I hastened, to receive again the picture That in the morning had been left with her. Mdl. With her ! — With w hat intent ? Lav. She has a lover, Kalahansaka, A follower of Madhava, and I knew To him the picture would be shewn, and all That thence ensued would be revealed to me. MALATI AND MADHAVA. 31 Mdl. (apart). Then Madhava has seen it? (Aloud.) What is your dearest wish, Lavangika? Lav. That he, whose heart now pines in hopeless passion, May soothe his sorrows with this bright resemblance Of the fair cause of his distress. (Shews Mdlati the picture drawn by Madhava.) Mdl. (contemplating it). Yet still My heart is ill at ease. I doubt me much That this will prove a treach’rous comforter. — What have we here ? (Reads Makar andds lines.) Oh, Madhava ! the graces of thy form. Thy flattering tongue, and fascinating gaze, Are all alike resistless — happy she Who never has beheld them. On my heart They, cruel, shed interminable anguish. (Weeps.) Lav. Why, dearest friend, despond? Mdl. What should I hope ! Lav. Be sure of this, that he on whose account, Like the young blossom from its slender stem Plucked rude, you droop, and taste no more the fragrance Of the sweet jasmine — he too, has been taught, By love’s relentless god, how hard it is To bear such agony. Mai. May happiness Await his youth ; for me, I dare not hope. This is a day of strange and changeful feeling. Love spreads through every vein like subtlest poison, And like the fire that brightens in the breeze Consumes this feeble frame — resistless fever Preys on each fibre — fatal is its fury. No one can bring me aid, nor tender mother Nor father, nor Lavangika can save me. Lav. Such mutual passion may, in sooth, bestow 32 MALATI AND MADHAVA. Delight when lovers meet ; but when apart Condemns them to affliction. From a brief And passing gaze, thy life was brought in peril ; And now to-day his nearer presence sheds A fiercer fever on thy delicate frame. What now is to be said ? We must admit, The rarest and most difficult attainment Of all on earth, is union with a lover, Of equal excellence and like affection. Mai. Life is distasteful tome: leave me, friend: And yet I wrong thy gentleness. Repeatedly Recurring to the anguish of my heart, I lose all fortitude, and in my grief Become capricious and unjust — forgive me. Let the full moon blaze in the nightly sky : Let love rage on, death screens me from his fury. What should exact my love and veneration ? My father, and my mother, and my race, Of still unblemished honour — not my life : No ! nor the mortal who subdues my heart. Lav. (apart). What is to be done ? (An Attendant enters , but without advancing far.) Att. The venerable Kamandaki. Both. What would she ? Att. She seeks admission to the princess. Both. What should delay her ? ( Attendant retires, Malati conceals the picture.) Lav. (aside). In good time she comes. Enter Kamandaki and Avalokita. Kdm. (soliloquises). So far, my friend, respected Bhurivasu, So far is well : in either world, assent Awaits thy answer to the king, He, of his own. Is the undoubted lord. Fate is our friend. In all that chanced to-day in Kama's grove. MALATI AND MADHAVA. 33 And in the interchange of tender tokens. The garland and the picture, all conspires To crown our sanguine wishes with success. Best pledge of blissful union is the bond Of mutual love ; and well the sage* has said, “ The marriage rite shall prosper, when the eye. The tongue, and heart, unite the wedded pair.” Lav. The lady Malati. Kdm. ( surveying her). I view her with affliction and delight. Slender her frame, and delicate and pale. Like the young plaintain, or the waning moon. Soothing and pleasant is she to the eye, Though thin and pallid be her cheek, and all Declare the fires of love have triumphed here. The hope of union with the youth engrosses Her every thought. Loose and untied her zone, Her soft lip quivers — starting drops suffuse Her gentle lips — her bosom palpitates, And her dark eye in soft abandonment Moist, languid floats. Each look and gesture speaks The fond desires that agitate her youth. ( Approaches .) Lav. (to Malati). Behold ! Mdl. Priestess, I salute you. (Bows.) Kdm. Slay you enjoy, dear lady, in due season. The fruit of all your wishes. Lav. Pray be seated. Mdl. Is all propitious with the priestess ? Kdm. (sighing). All. Lav. (aside). That sigh is but the prelude to our play ; I have my cue. (Aloud.) And yet, respected lady, Methinks that sigh, that struggling makes its way * Angiras. vol. ir. D 34 MAI. ATI AND MADHAVA. Through starting tears, is with your words at variance. What can its import be ? Kum. Behold these weeds : Sorts such a garb with one you call your friend? Lav. What follows ? Kum. I am grieved, like unmeet union Should sentence youth and charms innumerable, Born to no profit, to a worthless bridegroom. Lav. You do not grieve alone ; the common voice Condemns the minister’s assent, and blames His yielding Malati to be the bride Of Nandana, because the king requests it. Mai. (aside). Alas ! I am an offering to the monarch Presented by my father. Kam. ’Tis most strange How he could overlook the vast defects Of such alliance. But how can those Feel natural affection for their offspring. Whose souls are sunk in schemes of policy ? His only thought is clearly to secure The friendship of the monarch’s chosen friend And boon companion, by his daughter’s person. Mai. (apart). The king’s regard is all in all with him ; His Malati is nothing. Lav. ’Tis as you say, dame ; Or why should our young mistress thus be sacrificed To age and ugliness ? Mdl. (apart). Ah, luckless wench ! A thunderbolt has struck me to the ground. Lav. To you she ever has been like a daughter ; Save her, dear lady, from this living death. Kdm. What can I aid ? Fate and her sire alone Exact obedience from a daughter. True, Sakuntald, of Kusika's high race. Bestowed her love on a self-chosen lord — The king Dusky anta A bright nymph of heaven MAT.ATI AND MADIIAVA. 35 Espoused a mortal monarch, Pnraruvas* And the fair princess, Vasavadcitta, scorned The husband of her father’s choice, and fled With prince Udayana . f So poets tell. But these were desperate acts, and must not be Proposed for imitation. Let the minister Complete his will — secure his master’s favour With the rich ofTring of his daughter’s peace, And yield this maiden to the sovereign’s friend. Like the pale moon, to Rd hit’s foul embrace. Ava. Mistress, time passes, it were well to think Of Madhava, who needs your aid. Kdm. ’Tis well. Permit me, princess, to depart. Lav. One moment. ( Aside to Mdlati.) Say, shall I ask the dame who is the youth. And what his origin ? * Although it is possible that reference may be here made to the Pur anas, in which the stories alluded to are contained, it seems more likely that Bhavabhuti had in his thoughts the dramas of his predecessor Kdlitlds. The term used for the narrators is A'hhydna Vida, — those who know stories, the events of past times,- — Purdvritta, which would scarcely have been applied to the inspired author or compiler of the Purdnas. +■ The story of Udayana’ s carrying off Vdsavadattii makes a very distin- guished figure in the lighter literature of the Hindus, and is very fully detailed in the Vrihat hatha ; but in the popular version of the story Udayana carries off the princess by her father’s connivance, and no mention is made of a rival for her hand, — king Sanjaya, as he is termed in the text, who was the husband of her father’s choice. Neither is the circumstance mentioned by Subandhu in his poem of Vdsavadattd, and indeed he seems to have given the story a new form altogether. My own inquiry confirms the remark of Mr. Colebrooke (Asiatic Researches , X. 4-51.) on the passage in the text, that no other trace has been yet found of the story to which Bhavabhuti alludes. I am better pleased to bear this testimony, because, in conse- quence of misunderstanding the exact purport of Mr. Colebrooke’s remark, I considered him to have overlooked an allusion to the story of Udayana in the Megha Data, which, however, is merely general, and therefore throws no light on the passage. It seems probable that the story of Vdsavadattu. underwent some alterations subsequent to the time of Bhavabhuti, and the original form is lost. I) 2 36 MALATI AND MADHAVA. Mdl. Do so ; I long to hear it. Lav. Inform us, pious dame, what youth is this In whom you shew such interest ? Kam. The story, though of import, needs no preface : The sovereign of Viderbha boasts for minister The sage and long-experienced Devarata, Who bears the burthen of the state, and spreads Throughout the world his piety and fame. Such as himself your father knows him well, For in their youth they were in study joined. And trained to learning by the same preceptor ; And rarely in this world do we behold Such characters as theirs ; whose lofty rank Is the abode of wisdom and of piety. Of valour and of virtue ; and whose fame Spreads white and spotless through the universe. Mul. I have often heard my father speak of him. Kiim. Bright as the rising moon, whose silver rays First streaming o’er the eastern mountain, charm The eyes of all mankind, a son from him Has sprung, whose opening virtues early give Occasion of rejoicing to the world. Now, in his bloom, assiduous to collect Ripe store of knowledge, has this youth been sent From his paternal mansion to our city. Here as he passes, many a lotus eye Shoots from each casement soul-subduing glances. But reckless he, along with Makaranda, His friend and fellow of like years and worth, Pursues his toils ; — his name is Madhava, Mul. [apart to Lavangikd). Heard you, my friend? Lav. In truth you have escaped The perilous ocean, and the tree of heaven Is now within your reach. ( The conch is sounded without.) Kum. These echoing tones, MALATI AND MADHAVA. 37 That through the deep recesses of the palace Resounding spread, proclaim the evening hour. (They all rise.) Mai. (apart). Alas, my father ! thy ambition spurns A daughter’s happiness — yet in my grief. Some hope I borrow from the youth’s descent. And trust we meet again. Lav. This is our way. Kdm. (apart). So far so well. An unsuspected messenger, I have discharged my duty. Malati Is tutored to our wishes, and inspired With hatred of the bridegroom — taught to question Her father’s love, reminded of examples That vindicate the free choice of a husband. Her admiration of her youthful lover Is now approved by his illustrious birth And my encomium of his high descent : All this must strengthen and confirm her passion. And now their union may be left to fate. [ Exeunt . END OF THE SECOND ACT. 38 MALATI AND IM AD 1IAVA. ACT III. The House of Kamandaki. Enter Buddiiabaksiiita and Avalokita meeting. Budd. IIo, Avalokita ! where is our dame ? Ava. Do you not know ? Disregarding the season for col- lecting alms,* she is ever witli the princess. Budd. And where have you been ? Ava. I have been to Madhava by her orders, to tell him to repair to the public garden of the temple of Sankara, and place himself in the grove of red asoka trees, that extends to the Kantaki bower. Budd. For what purpose ? Ava. This is the fourteenth day of the dark fortnight. Persuading the princess that the god Sankara is to be pro- pitiated with offerings of flowers gathered by oneself, the dame takes her and Lavangika thither, and whilst the former is collecting her oblation, she and Madhava will, as it were by accident, again encounter. But where are you going ? Budd. I am on my way to my friend Madayantika, to ac- company her to the temple of Sankara also. I looked in to pay my respects to the priestess. Ava. And how speed you in what you have in hand ? Budd. As our mistress could wish. I have won the entire confidence of Madayantika, and by expatiating on the suitable- * Literally the Pindapdtn veld, explained to signify the hour of going round to collect the Pinda, which is the name given, the commentator says, to the food collected by the Samjala , or Bauddha mendicant. The word means a lump or bull of any viands, usually of rice or meal. The same authority adds, the time is the seventh ijheri, which will be one hour after noon. MALATI AND MADHAVA. 39 ness and merit of Makaranda, have excited in her bosom the most lively affection for him and anxious wish to see him. Ava. This is well. Now to our several duties. \_Exeunt. Scene II. — The Garden. Enter Kamandaki. Kdm. Poor girl ! the lesson I have lately hinted Has bowed her lofty spirit, and she seeks To win me to her : mournfully she pines When I am absent ; brightens in my presence ; Whispers her secret thoughts to me ; presents me With costly gifts : when I depart she clings Around my neck, and only lets me leave her When I have vowed repeatedly return : Then on my knee she sits, and bids me tell her Again the stories of the nymphs that loved ; And questions o’er and o’er, with flimsy plea. Their fate and conduct, then she silent pauses As lost in meditation, — ’tis enough : To-day they meet. Daughter, this way ; approach. Enter Malati and Lavangika. Mat. (apart). Alas ! my father loves his child no more, But offers her a victim to ambition ; One hope alone sustains me. Lav . Taste, my friend, The freshness of the breeze, that sweeps the blossoms, And wafts around the champaka’s perfume. Breathing melodious with the buzz of bees That cluster in the buds, and with the song The Icoil warbles thick and hurried forth. As on the flow’ry mangoe’s top he sits. And all inebriate with its nectar sings. The garden gale comes wooingly to sip 40 MALATI AND MADHAVA. The drops ambrosial from thy moonlike face. Come on, those shades invite us. ( They retire.) Enter Madhava. The pious dame is here — her presence fills My heart with rapture. So the peafowl hails The flash that heralds the approaching shower. Lavangika — the third — *tis she — ’Tis Malati ! Ah me ! a sudden chill Pervades my heart and freezes every faculty. To marble turned by her moon-beaming countenance. Like mountains ice-bound by the gelid ray Shot on their summits from the lunar gem. How lovely she appears, as o’er her frame. Like a fast-fading wreath, soft langour steals. And heightens every beauty. Now mine eyes Are conscious of their being. As I gaze My heart consumes, and love lights a' 1 his fires. ( Approaches unobserved.) Mai. ( advancing ). Come, Lavangika, let us pluck flowers From this delightful arbour. Kam. Nay, rest my child ; Thy faltering tongue and languid frame evince Fatigue : upon thy face the moist drops start, And those bright eyes are shut — one might suspect, — Thy form such soft abandonment betrays — A lover’s gaze were dwelling on thy beauties. Come sit thee here, I have a tale to tell thee. Mul. You are obeyed.* — (Sits down by Kdmandaki, who passes her hand under MdlatCs chin so as to hold up her face towards Mddhava.) Kim. There was a youth, named Madhava, who shared * With you an equal portion of my heart. Lav. So we have heard. * Two or three short ‘-pccchcs arc here omitted. MALATI AND MADHAVA. 41 Kdm. He, from the luckless day Of Kama’s festival, has ceased to be The master of himself, and though he told not His sorrows to the moon or faithful friend. His changing form, still lovely in decay, Revealed the anguish he disdained to utter. I hastened to his aid, and quickly guessed The cause of his distress, when I was told He had beheld this lovely countenance, — The moon that swayed the heaving of his heart. Like the dteep waters of the tossing main. Mad. (behind). How well she penetrates my secret l* Kdm. Reckless of life, his only pleasures now Are tasks that feed and aggravate his flame. He gazes on the mango buds ; he listens Attentive to the ko'il’s song ; he breasts The breeze impregnate with the flowery fragrance ; He hugs the lotus blossoms to his heart, And basks beneath the deadly lunar beam — This first fond passion preys upon my son. And soon, I fear, cuts short his gentle being. f Mai. (to Lavangika). Why does the dame alarm me thus with fear For life so dear to all : what can I say ? Lav. (to Kdmandaki). You are not terrified alone — like fears Pervade us for the princess. She has often Beheld the youth, as by the palace walls His course has frequent chanced, since when she pines, As droops the lotus on its slender stem Beneath the scorching sun : her youthful sports * Madhava’s eulogy is rather more protracted ; but it interrupts the business, and is more technical than poetical. t Two short speeches of Madhava and Malati are here omitted, and other curtailments occur in this scene, in which some of the interlocutors are rather prolix. 4.2 MALATI AND MADIIAVA. Delight no more : pensive apart she sits Whole clays, her cheek upon her hand reclined. We fondly hoped those looks that were exchanged In Kama’s grove, when like the present god The youthful Madhava appeared to grace Love’s festival, amidst his blooming votaries. Would dissipate this melancholy mood, And cheer her heart with hope, but passion since Intenser rages in her tender heart, And threatens her existence. Oh, befriend us ! If but a moment she could view the y&uth, E’en that were such relief as earth receives When, parched by sultry suns, she drinks revived The bland and life-bestowing dews of heaven. The hapless state of Malati affrights us, Unfit to struggle with the sports of destiny. Do thou exert thy powers, and then the pair, Who claim alike thy pity and regard, Redeemed from death, shall prosper in their loves.* Kdm. My heart is filled with sorrow and delight. I pity her sad state, even whilst I joy To find her justly conscious of desert. Lav. Behold these proofs, this picture of her lord ! ( Opening the garment over her breast.) And this decaying weath, strung by his hands. Dear as her life, thus cherished in her bosom. Mad. How enviable, dear garland, is thy fate, Thus to be cherished like a friend, and waving A graceful banner o’er that lovely bosom. ( A noise behind.) “ What ho ! beware ! in youthful strength and sport. The tiger, in the temple’s porch confined, Has burst his iron cage, and roams at large, * Lavangika’s speech is in the original so extremely diffuse, and contains so many repetitions and obscurities, that by much the most considerable poi- tion of it has been omitted. MALATI AND MADHAVA. 43 With tail high waving like a banner, vast And mighty limbed, he stalks along the groves. Now in the midst of mangled forms his paw, As pond’rous as the thunderbolt, has felled. The monster stands, and in his maw engulphs. Wide as a cave, the quiv’ring flesh, or grinds The cracking bones with hard, sharp-pointed teeth ; From his deep throat he roars in thunder loud. And men and beasts fly trembling from the echo ; Begrimed with blood and dust he follows fast,* And plies insatiate his death-dealing talons — Look to your lives — as best you may, avoid him.” Budd. (without). Alas, alas ! my dear friend Madayantika ! (Rushes in.) Oh, save us, save us ! Madayantika, Our friend, the sister of the minister. Is singled out and hunted by the tiger. Mcil. Oh, horror ! Mad. (rushing forward). Where is the savage ! Mul. (with delight, apart). He here ! Mad. Now I am blessed indeed ; her gaze surprised Dwells greedily upon my presence, and enchains me In flow’ry bonds, falls on my heart like balm, And sheds a show’r of heavenly nectar o’er me. Lav. Can we not quit the garden ? Mad. Follow me. (Going.) Kara. Beware, my son : though valiant, be not rash. Mai. (apart to Lavangika). I tremble now. Mad. A moment pause. I mark the savage spread Dismay, his course is marked with carcases, And all his steps sink deep in mire and gore. * This description is also somewhat compressed : the original Prakrit is very powerful, although too much laboured, and abounding more than enough in alliteration, ex. id Mak. ’Tis most miraculous ! what strange events This day alternate ! drops of fragrant sandal MALATI AND MADHAVA 115 And sharp-edged swords in the same shower commingle ; And sparks of flame, and streams of heavenly nectar, Descend together from unclouded skies. The life-restoring drug with poison blends, And light and gloom ; and destiny entwines The thunderbolt and lunar rays together. Mai. (without). Dear father hold ! Oh, let me view again The lotus of thy countenance — oh turn Thy gaze upon thy child. How, for my sake, Can’st thou desert thyself, the brilliant boast Of an auspicious race, whose fame pervades Both earth and heaven ! Ah, wherefore purpose thus Again to plunge me into bitterest woe ? Kum. My daughter, how is this ? Art thou redeemed From death, once more to be exposed to peril ; As lurk the demons of eclipse, to seize The feeble moon scarce struggling out of darkness ? Lav. Behold our friend ! Enter Madhava carrying Malati senseless. Mad. Alas ! from danger rescued, has again Fear fallen upon thee — who shall bar the gate To shut out adverse destiny ? Mak. My friend. Where is the dame ? Mad. With her we hither speeded Swift from Sri Parvata ; but when we heard The news the forester imparted to us, I missed her suddenly. Kdm. and Mak. Oh, dame of power, Befriend us still ; why hast thou disappeared ? Mada. and Lav. My Malati, I speak to thee, thy friend — Priestess, preserve us, still she is insensible ; She does not breathe, her heart is still. Alas ! The sire and daughter are to each other, In turn, the instrument of death i 2 116 MALATI AND MADHAVA. Kdm. My dear child ! Mad. My love ! Mak. My friend ! Kara. (looking up.) What welcome drops are these That fall from heaven to aid us. Mad. She revives — Long sighs relieve her labouring breast, her heart Resumes its pulse ; her gentle eye unfolds. And from unconscious stillness that dear face Once more expands, as at the dawn of day The lotus bares its bosom to the sun. (Behind.) Deaf to the king’s entreaties, and the prayers Of Nandana, though humbled at his feet, Upon the flaming marge, the minister By me has been prevented, and recalled To life and joy. Mad. and Mak. (looking up.) Mark, holy dame — From heaven. The kind magician pours upon our hearts The nectar of her tidings : they surpass The virtue of the balmy shower. Kdm. Blest news ! All. Our happiness is now secure. Kdm. My child ! Mai. The priestess ! (Falls at her feet, Kdmandaki raises and embraces her.') Kdm. Restored to life, my child, to life restore Your friends, and with your fond embraces, cool As lunar rays, reanimate existence In those who live for you. Mdd. (to Makaranda.) My faithful friend, This breathing world may now be well endured. Mak. In sooth it may. Mada. and Lav. Dear Malati, confirm The happiness we see, by your embrace. Mdl. My dearest friends ! (Embraces them.) Kdm. Tell me, my sons, how chanced these strange events ? MALATI AND MADHAVA. 117 Mad. Our past misfortunes were the wrathful work Kapalakundala’s revenge inspired ; And that we ’scaped her toils, our thanks are due To this propitious and all-powerful friend. Kam. Aghoraghanta’s death was then the source Of these mischances ! Mada. and Lav. Strange vicissitude ! After repeated trials, adverse fate In kindness terminates its chequered course. Enter Saudamini. Sau. (to Kdmandaki.) Hail, holy dame — your scholar pays you homage ! Kam. Saudamini, most welcome. Mad. and Mak. Then we owe Our succour to the priestess : this, her first Disciple — all is clear. K im. This is well done. And many a life preserved has sanctified thee. Tis long since we have met, dismiss this reverence, And let me grateful press thee to my bosom. ( Embraces her.) Thou hast deserved the praises of the world. Whose lofty powers, the harvest of the seed By early study sown, are shewn by deeds That shame the mightiest masters.* Mada. and Lav. Is this Saudamini ? Mdl. It is : by her. The friend and pupil of my pious guardian. The fierce Kapalakundala was foiled. She bore me to her dwelling, and there leaving me * The expression is rather singular, “ exceeding a Bodhisatwa — a pious person endowed with miraculous powers, and who is considered as an infe- rior incarnation of Buddha. It is, however, in harmony with the character of Kdmandaki , whose sanctity, and the respectful allusions to the Bauddhas, shew that the play was composed before their decline. 1 18 MALATJ AND MADHAVA. Secure, conveyed the wreath of bahula flowers To snatch you from despair. Mada. and Lav. She has, indeed. Been scarcely less propitious to us, than our old And reverend preceptress. Mad. and Mak. The bright gem That grants whatever is desired, demands The suppliant’s prayer : the dame’s assistance came All unsolicited. Sau. (apart.) These thanks oppress me — Respected mistress, from the king I bear A letter to the youth — it was inscrioeu With Nandana’s concurrence, and the assent Of Bhurivasu. ( gives her a letter .) Kdm. ( Takes it and reads.) “ Unto all be health — “ The king commands — We are well pleased to greet “ A son in you, of noble race descended ; “ Amongst the worthiest eminent, and late “ From great calamity redeemed ; and more, “ In love and grace to you, we do permit “ Your well-loved friend to vved the youthful maid, “ Whom first affection yielded to his hopes.” Y ou hear, my son ? Mad. I do, and all I wished, Thus hearing, have obtained. Mdl. The lingering dart Of fear is now extracted from our hearts. Lav. The loves of Malati and Madhava Will now no more be thwarted. Mdk. See, where come Our other friends, and faithful Kalahansa. Enter Avalokita, Buddharakshita, and Kalahansa. All (bowing.) Glory to Kamandaki, the sage Perfector of all aims ! Glory to Madhava, MALATI AND MADHAVA. 119 The Moon that sheds delight on Makaranda ! Now Fate propitious smiles. Lav. Who does not share This general joy 1 Kdm. And that our story, Full of strange varied incidents, is closed In happiness, deserves congratulation. Sau. And Devarata and his ancient friend, Will see with joy their children now are joined In that affiance they so long projected. Mai. (apart.) Hey — how is this ? Mak. andMad. (to Kdmandaki.) How sorts the dame’sdiscourse With past events ? Lav. ( apart to Kdm.) What’s to be said ? Kdm. (to her.) We need no longer fear The wrath of Nandana, now we obtain His sister’s aid. (Aloud) ’Tis even as you have heard. Whilst yet I taught your fathers, they agreed, That when their children came to years mature, Their hands should be united, and they left Saudamini and me to take those cares That might secure your union, hoping thus To shun the anger of exalted rank. Mai. (apart). What marvellous secrecy ! Mad. and Mak. It moves our wonder. Yet must the schemes of the illustrious, planned For virtuous ends, and prudently conducted. Ever enjoy success. Kdm. My son, what more remains ? The happiness that was your earliest hope. By my devotions, and the skilful pains Of my disciples, is at last ensured you. The king and Nandana approve the suit Of your dear friend, and hence no fear prevents His union with his love. If yet there be A wish ungratified, declare it, speak. 120 MALATI AND MADHAVA. Mud. (bowing). My happiness henceforth is perfect : all The wish I cherish more, is this ; and may Your favour, holy dame, grant it fruition. Still may the virtuous be exempt from error And fast to virtue cling — may monarchs, merciful And firm in equity, protect the earth — May in due season from the labouring clouds The fertile showers descend — and may the people, Blest in their friends, their kindred, and their children, Unknowing want, live cheerful and content. [ Exeunt all. REMARKS ON MALATI AND MADHAVA. The preceding drama requires less allowance for any peculiarity in national manners than most of the specimens of the Hindu theatre. It offers nothing to offend the most fastidious delicacy, and may be compared in this respect, advantageously, with many of the dramas of modern Europe, which treat of the passion that constitutes its subject. The manner in which love is here depictured is worthy of observation, as correcting a mistaken notion of the influence which the passion exercises over the minds of the natives, of at least one portion of Asia. However intense the feeling, and it is represented as sufficiently powerful to endanger existence, it partakes in no respect of the impetuosity which it has pleased the writers of the West to attribute to the people of the East ; The barbarous nations, whose inhuman love Is wild desire, fierce as the suns they feel. The fierceness of their suns is a very efficient cause for the gentleness of their passions ; and the hardy children of the north find their complicated system of social restraint insuffi- cient to curb those impulses, which they derive from a less enervated frame and a more lofty spirit. If, however, the love of the Hindus be less vehement than that of the Goth, Dane, or Norman of uncivilized days, it is equally remote from the extravagance of adoration which later times have learnt from those who never taught the lesson, the mirrors of Chivalry, who were equally vowed to the service of God and the ladies. There is no reason to think their love was a whit purer than that of any other people or time ; but 122 REMARKS ON MALATI AND MADHAVA. the fancy was favourable to poetical imagination, and has beneficially influenced the manners of modern Europe. The heroine of this drama is loved as a woman : she is no goddess in the estimation of her lover, and although her glances may inflame, no hint is given that her frowns can kill. At the same time, Madhava’s passion is as metaphysical as need be, and M4lati alone, Heard, felt, and seen, possesses every thought, Fills every sense, and pants in every vein. The passion of Malati is equally intense with that of Juliet ; but her unconquerable reserve, even to the extent of denying her utterance to him she loves more than life, is a curious picture of the restraint to which the manners of Hindu women were subjected, even whilst they were in enjoyment, as appears from the drama, of considerable personal freedom. The fervour of attachment which unites the different per- sonages of the drama so indissolubly in life and death, is creditable to the national character. Unless instances of such disinterested union had existed, the author could scarcely have conceived, much less depictured it. There is no great discrimination of character in the piece, nor could it be well expected as the business is so limited. It is not, however, wholly wanting, and Makaranda and Madayantika are much less mere lovers than Madhava and Malati. The cautious, though devoted perseverance of Kamandaki is maintained throughout, and the benevolence of Saudamini is well contrasted with the malignity of Ka- palakundala. The incidents of the story are varied, and some of them are highly dramatic — they are rather diffusely spread out, but they are all essential to the denouement, the concurrence of all parties in the union of the lovers. There is more passion in the thoughts of Bhavabhuti than in those of Kalidasa, but less fancy. There are few of the elegant similitudes in which the latter is so rich, and there is more that is common-place, and much that is strained and obscure. In REMARKS ON MALAX! AND MADHAVA. 123 none of his dramas does BhavaLhuti make any attempt at wit, and we have no character in either of his three dramas ap- proaching the Vidushaka of either of the two preceding pieces. On the other hand, he expatiates more largely in the descrip- tion of picturesque scenery and in the representation of human emotions, and is perhaps entitled to even a higher place than his rival, as a poet. THE MUDRA RAKSHASA, OR THE SIGNET OF THE MINISTER. & 13rama, TRANSLATED FROM THE ORIGINAL SANSCRIT. 1 PREFACE. The Mudra Rakshasa is a drama of a very different descrip- tion from either of the preceding, being wholly of a political character, and representing a series of Machiavelian stratagems, influencing public events of considerable importance. Those events relate to the history of Chandragupta, who is very probably indentifiable with the Sandrocottus of the Greeks, and the drama therefore, both as a picture of manners and as a histo- rical record, possesses no ordinary claims upon our attention. The object of the play is to reconcile Rakshasa, the hostile minister of Nanda, the late king of Palibothra, to the indivi- duals by whom, or on whose behalf, his sovereign was mur- dered, the Brahman Chanakya and the prince Chandragupta. With this view, he is rendered by the contrivances of Chanakya, an object of suspicion to the prince with whom he has taken refuge, and is consequently dismissed by him. In this deserted condition he learns the imminent danger of a dear friend whom Chanakya is about to put to death, and in order to effect his liberation surrenders himself to his enemies — they offer him, contrary to his expectations, the rank and power of prime minister, and the parties are finally friends. It is unnecessary to describe the plot more fully in this place. Simple as is the subject of the drama there is no want of action in its development. The stratagems of Chanakya are varied, numerous, and well connected, and although there is occasionally some want of probability in their execution, yet they are made to contribute very successfully and ingeniously towards the production of their combined result. It must be acknowledged, that the political code from which they emanate, exhibits a morality not a whit superior to that of the Italian 128 PREFACE. school ; but a remarkable, and in some respects a redeeming principle, is the inviolable and devoted fidelity which appears as the uniform characteristic of servants, emissaries, and friends : a singular feature in the Hindu character which it has not yet wholly lost. The author of the play is called in the prelude Visdkhadatta, the son of Prithn, entitled Maharaja, and grandson of the Samanta or chief Vateswara Datta. We are not much the wiser for this information, as we can scarcely venture to con- clude, although it is not impossible, that the Chouhan chief of Ajmer, Prithu Rai, who was killed at the end of the twelfth century by the Mohammedans, is here intended. There is nothing unusual in a prince’s being an author, or at least a reputed one, and the closing speech of the drama clearly refers to the victorious progress of a foreign foe, whom it may not be unreasonable to connect with the Ghorian invasion.* The late Major Wilford has called the author of the Mudra Rakshasa, Ananta, and quotes him as declaring that he lived on the banks of the Goddveri (As. Res. vol. v. p. 280.) This how- ever must be an error, as three copies, one of them a Dekhini manuscript in the Telugu character, have been consulted on the present occasion, and they all agree in the statement above given. There is a commentary on the drama by Vateswara Misra, a Maj.thila Brahman, the son of Gauripati Misra, who has laboured with more pains than success to give a double inter- pretation to the composition, and to present it as a system of policy as well as a play. Another commentary by Guhasena is said to exist, but it has not been met with ; and the one referred to, owing to the commentator’s mystification of obvious meanings, and the exceedingly incorrect state of the manu- script, has proved of no advantage. It may not here be out of place to offer a few observations * At the same time it is to be observed, that according to the Prithwi Rai Rayasa, the father of Prithu the king of Ajmer, was named Somes- wara, and his grandfather Ananda. PREFACE. 129 on the identification of Chandragupta and Sandrocottus. It is the only point on which we can rest with any thing like confidence in the history of the Hindus, and is therefore of vital importance in all our attempts to reduce the reigns of their kings to a rational and consistent chronology. It is well worthy therefore of careful examination, and it is the more deserving of scrutiny, as it has been discredited by rather hasty verification and very erroneous details. Sir William Jones first discovered the resemblance of the names, and concluded Chandragupta to be one with Sandro- cottus. (As. lies, vol.iv. p. 11.) He was, however, imperfectly acquainted with his authorities, as he cites “ a beautiful poem ” by Somadeva, and a tragedy called the coronation of Chandra, for the history of this prince. By the first is no doubt intended the large collection of tales by Somahhatta, the Vriliat Katlid, in which the story of Nanda’s murder occurs : the second is, in all probability, the play that follows, and which begins after Ciiandragupta’s elevation to the throne. In the fifth volume of the Researches the subject was resumed by the late Colonel Wilford, and the story of Chandragupta is there told at considerable length, and with some accessions which can scarcely be considered authentic. He states also that the Mudra Rdkshasa consists of two parts, of which one may be called the coronation of Chandragupta, and the second his reconciliation with Raksxiasa, the minister of his father. The latter is accurately enough described, but it may be doubted whether the former exists. Colonel Wilford was right also in observing that the story is briefly related in the Vishnu Purdna and Bhdgavat, and in the Vrihat Katha ; but when he adds, that it is told also in a lexicon called the Kdmandaki he has been led into error. The Kdmandaki is a work on Nili, or Polity, and does not contain the story of Nanda and Chandragupta. The author merely alludes to it in an honorific verse, which he addresses to Ciianakya as the founder of political science, the Machiavel of India. VOL. II. K 130 PREFACE. The birth of Nanda and of Chandragupta, and the circum- stances of Nanda’s death as given in Colonel Wilford’s ac- count, are not alluded to in the play, the Mudra Rdkshasa, from which the whole is professedly taken, but they agree generally with the Vrihut Katha and with popular versions of the story. From some of these, perhaps, the king of Vikatpalli, Chandra Das, may have been derived, but he looks very like an amplification of Justin's account of the youthful adventures of Sandrocottus. The proceedings of Chandragupta and Chanakya upon Nanda’s death correspond tolerably well with what we learn from the drama, but the manner in which the catastrophe is brought about (p. 268) is strangely misre- presented. The account was no doubt compiled for the trans- lator by his pundit, and it is therefore but indifferent authority. It does not appear that Colonel Wilford had investigated the drama himself, even when he published his second account of the story of Chandragupta ( As . Res. vol. ix. p. 93), for he con- tinues to quote the Mudra Rdkshasa for various matters which it does not contain. Of these, the adventures of the king of Vikatpalli, and the employment of the Greek troops, are alone of any consequence, as they would mislead us into a supposi- tion, that a much greater resemblance exists between the Grecian and Hindu histories than is actually the case. Discarding, therefore, these accounts, and laying aside the marvellous part of the story, I shall endeavour, from the Vishnu and Bhugavat Purdnas, from a popular version of the narrative as it runs in the south of India, from the Vrihat Katha,* and from the play, to give what appear to be the genuine circumstances of Chandragupta’s elevation to the throne of Palibothra. A race of kings denominated Saisunagas, from Sisundga the first of the dynasty, reigned in Magadlid, or Behar : their * For the gratification of those who may wish to see the story as it occurs in these original sources, translations are subjoined ; and it is rather important to add, that in no other Purina has the story been found, although most of the principal works of this class have been carefully examined. PREFACE. 131 capital was Pdtaliputra, and the last of them was named Nanda or Mahapadma Nanda. He was the son of a woman of the Sudra caste, and was hence, agreeably to Hindu law, regarded as a Sudra himself. He was a powerful and ambi- tious prince, but cruel and avaricious, by which defects, as well as by his inferiority of birth, he probably provoked the animosity of the Brahmans. He had by one wife eight sons, who with their father were known as the nine N and as ; and, according to the popular tradition, he had by a wife of low extraction, called Mura, another son named Chandragupta. This last circumstance is not stated in the Purdnas nor Vrihat Katlia, and rests therefore on rather questionable authority ; at the same time it is very generally asserted, and is corroborated by the name Maurya, one of Chandragupta’s denominations, which is explained by the commentator on the Vishnu Purina to be a patronymic formative, signifying the son of Mura. It also appears from the play, that Chandragupta was a mem- ber of the same family as Nanda, although it is not there stated that he was Nanda’s son. But whatever might have been the origin of this prince, it is very likely that he was made the instrument of the in- subordination of the Brahmans, who having effected the destruction of Nanda and his sons, raised Chandragupta, whilst yet a youth, to the throne. In this they were aided by a prince from the north of India, to whom they promised an accession of territory as the price of his alliance. The execution of the treaty was evaded, very possibly by his assassination, and to revenge his father’s murder, his son led a mingled host against Magadha, containing amongst other troops, Yavanas, whom we may be permitted to consider as Greeks. The storm was averted, however, by jealousies and quarrels amongst the confederates. The army dispersed, and Malayaketu, the invader, returned baffled and humbled to his own country. Chandragupta reigned twenty-four years, and left the king- dom to his son. We have now to see how far the classical writers agree with these details. k 2 132 PREFACE. The name is an obvious coincidence. Sandrocoltus and Chandragupta can scarcely be considered different appel- lations. But the similarity is no doubt still closer. Athenaeus, as first noticed by Wilford (As. Res. vol. v. p.262.) and subse- quently by Schlegel (Indische Bibliothek), writes the name, San- drakoptus, and its other form, although more common, is very possibly a mere error of the transcriber. As to the Andracottus of Plutarch, the difference is more apparent than real, the initial sibilant being often dropped in Greek proper names. This name is however not the only coincidence in deno- mination that may be traced. We find in the play that Ciian-. dragupta is often called Chandra simply, or the moon, of which Chandramas is a synonime; and accordingly we find in Diodorus Siculus, the king of the Gangaridce, whose power alarms the Macedonian, is there named Xandramcs. The Aggramen of Quintus Curtius is merely a blundering perversion of this appellation. There are other names of the prince, the sense of which, though not their sound, may be discovered in classical writers. These are Vrisliala, and perhaps Maunja. The first unques- tionably implies a man of the fourth or servile caste ; the latter is said by Wilford to be explained in the Jdti Viveka the offspring of a barber and a Sudra woman, or of a barber and a female slave. (As. Res. vol. v. p. 285.) It is most usually stated, however, to mean the offspring of Muni, as already observed, and the word does not occur in any of the vocabularies in the sense attached to it by Col. Wilford* It is sufficient, how- * Colonel Tod considers Maunja a probable interpolation for Mori , a branch of the Pramdra tribe of Rajputs, who in the eighth century occupied Chitore. He observes also, that Chandragupta in the Puranas is made a descendant of Sehesnag of the Takshah tribe, of which last no other men- tion has been found, whilst instead of Sehesnag the word is Sisunaga; and with respect to the fact of the princes belonging to the Pramdra tribe no authority is cited. Colonel Tod, like the late Col. Wilford, is sparing of those specific references, which in all debateable points are indispensable. See Transactions Royal Asiatic Society, vol. i. p. 211. Also, Account of Rdjdst’han, p. 53. 133 PREFACE. ever, to observe, that the term Vrishala, and frequent expres- sions in the drama, establish the inferior origin of Chandra- gupta, a circumstance which is stated of the king of the Gangaridcc at the time of Alexander’s invasion by Diodorus Siculus, Quintus Curtius, and Plutarch. According to the two former of these writers, Xandrames or Chandramas was contemporary with Alexander. They add, that he was the son of the queen by an intrigue with a barber, and that his father being raised to honour and the king’s favour, compassed his benefactor’s death, by which he paved the Wiiy for the sovereignty of his own son, the ruling prince. We have no indication of these events in the Hindu writers, and Chandragupta, as has been noticed, is usually regarded as the son of Nanda, or at least a- relative. It may be observed that his predecessors were Sridras, and the character given to Mahapadma Nanda in the Vishnu Purdna, agrees well enough with the general tenour of the classical accounts, as to his being of low origin and estimation, although an active and powerful prince. If Nanda be the monarch alluded to, there has been some error in the name ; but, in either case, we have a general coincidence in the private history of the monarch of the Gangaiidce, as related by the writers of the east or west. If the monarch of Behar at the time of Alexander’s inva- sion was Nanda, it is then possible that Chandragupta, whilst seeking, as the Hindus declare, the support of foreign powers to the north and north-west of India, may have visited Alexander, as asserted by Plutarch and Justin. We cannot, however, attach any credit to the marvellous part of the story as told by the latter, nor can we conceive that a mere adven- turer, as he makes Sandrocoptus to have been, should have rendered himself master of a mighty kingdom, in so brief an interval as that between Seleucus and Alexander, or by the aid of vagabonds and banditti alone. Although, therefore, the classical writers had gleaned some knowledge of Chandragupta’s early history, it is very PREFACE. 131 evident that their information was but partially correct, and that they have confounded names, whilst they have ex- aggerated some circumstances and misrepresented others. These defects, however, are very venial, considering the im- perfect communication that must have subsisted between the Greeks and Hindus, even at the period of Alexander’s inva- sion, and the interval that elapsed before the accounts we now possess were written. These considerations rather enhance the value of both sets of our materials. It is more wonderful that so much of what appears to be the truth should have been preserved, than that the stories should not conform in every particular. However questionable may be the contemporary existence of Alexander and Sandrocoptus, there is no reason to doubt that the latter reigned in the time of Seleucus Nicator, as Strabo and Arrian cite the repeated declarations of Megas- thenes, that he had often visited the Indian prince. Seleucus is said to have relinquished to him some territories beyond the Indus, and to have formed a matrimonial alliance with him. We have no trace of this in the Hindu writers, but it is not at all improbable. Before the Christian era the Hindus were probably not scrupulous about whom they married ; and even in modern days, their princesses have become the wives of Mohammedan sovereigns. Chandragupta, however, had no right to be nice with respect to the condition of his wife, and in whichever way the alliance was effected, it was feasible enough, whilst it was a very obvious piece of policy in Chan- dragupta, as calculated to give greater security to his empire and stability to his reign. The failure of Seleucus in his attempt to extend his power in India, and his relinquishment of territory, may possibly be connected with the discomfiture and retreat of Magayaketu, as narrated in the drama, although it may be reasonably doubted whether the Syrian monarch and the king of Magadhd ever came into actual collision. It is very unlikely that the former ever included any part of the Punjab within his dominions, and at any rate it may be ques- PREFACE. 135 tioned, whether Chandragupta or his posterity long retained, if they ever held possession of the north-western provinces, as there is no conjecturing any resemblance between the names of the Maurya princes (As. Res. vol. ix. table) and the Amitrochates and Sophagasenas, who reinforced the armies of Antigonus the son of Seleucus, and of Antigonus the Great, with those elephants that were so highly prized by the successors of Alexander (Wilford, As. Res. vol. v. p. 286, and Schlegel, Indische Bibliothek), although, as shewn by Schlegel, the names are undoubtedly Sanscrit and Hindu. All the classical writers agree in representing Sanclrocoptus as king of the nations which were situated along the Ganges, which were the Gangaridce and Prasii — called, however, in- differently, but no doubt inaccurately, Gargaridce, Gandaridce, and Gandarii, and Prasii, Parrliasii, and Tabresii. The first name was probably of Greek origin, expressing, as Raderus and Cellarius justly observes, the situation of the nations in the neighbourhood of the Ganges ; but in truth there was a nation called the Gandhari or Gandaridce west of the Indus, whom the classical authors often confound with the Gangetic nations, as has been shewn in another place. (As. Res. vol. xv.) The other appellation, which is most correctly Prasii, is re- ferable to a Hindu original, and is a close approximation to Prdchi, the eastern country, or Prdchyd, the people of the east, in which division of Bharata Khanda, or India, Mithild, the country opposite to Behar, and Magadlid, or South Behar, are included by Hindu geographers. Both Greek and Hindu accounts are therefore agreed as to the general position of the people over whom Chandragupta reigned. Finally ; the classical authors concur in making Palibothra a city on the Ganges, the capital of Sandrocoptus. Strabo, on the authority of Megasthenes, states that Palibothra is situated at the confluence of the Ganges and another river, the name of which he does not mention. Arrian, possibly on the same authority, calls that river the Erranoboas, which is a 136 PREFACE. synonime of the Sone. In the drama, one of the characters describes the trampling down of the banks of the Sone, as the army approaches to Pataliputra ; and Putaliputra, also called Kusumapura, is the capital of Chandragupta. There is little question that Putaliputra and Pulibothra are the same, and in the uniform estimation of the Hindus, the former is the same with Patna. The alterations in the course of the rivers of India, and the small comparative extent to which the city has shrunk in modern times, will sufficiently explain why Patna is not at the confluence of the Ganges and the Sone, and the only argument, then, against the identity of the position, is the enumeration of the Erranoboas and the Sone as distinct rivers by Arrian and Pliny : but their nomenclature is unaccompanied by any description, and it was very easy to mistake synonimes for distinct appellations. Rujamahal, as proposed by Wilford, and Bhugalpur, as maintained by Franklin, are both utterly untenable, and the further inquiries of the former had satisfied him of the error of his hypothesis. His death prevented the publication of an interesting paper by him on the site of Palibothra, in which he had come over to the prevailing opinion, and shewn it to have been situated in the vicinity of Patna.* It thus appears, that the Greek and Hindu writers concur in the name, in the private history, in the political elevation, and in the nation and capital of an Indian king, nearly, if not exactly cotemporary with Alexander, to a degree of approxi- mation that cannot possibly be the work of accident ; and it may be reasonably concluded, therefore, that the era of the events described in the following drama is determined with as much precision as that of any other remote historical fact. Asiatic Researches, vol. xiv. p. 380. 137 APPENDIX TO PREFACE. 1 . PA URANIC ACCOUNTS OF CHANDRAGUPTA. The son of Mahanandi , born of a Sadr a woman, a powerful prince named Malidpadma, shall put an end to the Kslielriya rule, and from his time the kings will be mostly Sudras void of piety. He will bring the earth under one umbrella, his rule being irresistible, and he will reign like another Bhdrgava. He will have eight sons, Sumalya and others, who will be kings of the earth for one hundred years. A Brahman will destroy these nine Nandas, and after their disappearance the Mauryas will reign in the Kali age. That Brahman will inaugurate Chandragupta as king. — ( Bhdgavat , 12th Skandha.) Mahanandi will be the last of the ten Saisundga princes, whose joint reigns will be three hundred and sixty-two years. The son of Mahanandi or Nanda, named Malidpadma, will be born from a Sudra mother. He will be avaricious, and like another Parasuruma will end the Kshetriya race, as from him forwards the kings will be all Sudras. He, Mahupadma, will bring the whole earth under one umbrella, his rule being irre- sistible. He will have eight sons, Sumalya and others who after him will govern the world. He, and these sons will reign for a period of one hundred years, until Kauiilya, a Brahman, shall destroy the nine Nandas. After their destruction the Mauryas will possess the earth, Kautilya inaugurating Chandragupta in the kingdom. — ( Vishnu Parana.) The comment explains Maurya thus ; — so named from Chandragupta, the first, who derived this name from his mother Mura, one of the wives of Nanda. 138 PREFACE. 2 . STORY OF NAN DA, AS RELATED BY VARARUCHI IN THE VRIHAT KATHA. I now returned from my sojourn in the snowy mountains, where by the favour of Siva I had acquired the Pdniniya gram- mar. This I communicated to my preceptor Verslia, as the fruit of my penance ; and as he wished to learn a new system, I instructed him in that revealed by Swami Kumara. Vydri and Indradatta then applied to Versha for like instructions, but he desired them first to bring him a very considerable present. As they were wholly unable to raise the sum, they proposed applying for it to the king, and requested me to accompany them to his camp, which was at that time at Ayodhya ; I con- sented, and we set off. When we arrived at the encampment we found every body in distress, Nanda being just dead. Indradatta, who was skilled in magic, said ; “This event need not disconcert us : I will transfuse my vitality into the lifeless body of the king. Do you, Vararuchi, then solicit the money : I w T ill grant it, and then resume my own person, of which do you, Vydri, take charge till the spirit returns.” This was assented to, and our companion accordingly entered the carcase of the king. Story of Yogananda. The revival of Nanda caused universal rejoicing. The minister Sakdtala alone suspected something extraordinary in the resuscitation. As the heir to the throne, however, was yet a child, he was well content that no change should take place, and determined to keep his new master in the royal station. He immediately, therefore, issued orders that search should be made for all the dead bodies in the vicinage, and that they should forthwith be committed to the flames. In pursuance of this edict the guards came upon the deserted carcase of Indradatta, and burning it as directed, our old associate was compelled to take up his abode permanently in PREFACE. 139 the tenement which he had purposed to occupy but for a season. He was by no means pleased with the change, and in private lamented it with us, being in fact degraded by his elevation, having relinquished the exalted rank of a Brahman for the inferior condition of a Sudra. Vyari having received the sum destined for our master, took leave of his companion Indradatta, whom we shall henceforth call Yogananda. Before his departure, however, he recom- mended to the latter to get rid of Sakatala, the minister, who had penetrated his secret, and who would, no doubt, raise the prince Chandragupta to the throne as soon as he had attained to years of discretion. It would be better, therefore, to anti- cipate him, and, as preparatory to that measure, to make me, Vararuchi, his minister. Vyari then left us, and in com- pliance with his counsel I became the confidential minister of Yogananda. A charge was now made against Sakatala, of having, under pretence of getting rid of dead carcases, burnt a Brahman alive ; and on this plea he was cast into a dry well with all his sons. A plate of parched pulse and a pitcher of water were let down daily for their sustenance, just sufficient for one person. The father, therefore recommended to the brothers to agree amongst themselves which should survive to revenge them all, and relinquishing the food to him, resign themselves to die. They instantly acknowledged their avenger in him, and with stern fortitude refusing to share in the daily pittance, one by one expired. After some time Yogananda, intoxicated like other mortals with prosperity, became despotic and unjust. I found my situation therefore most irksome, as it exposed me to a tyrant’s caprice, and rendered me responsible for acts which I con- demned. I therefore sought to secure myself a participator in the burthen, and prevailed upon Yogananda to release Sakatala from his captivity and reinstate him in his authority. He therefore once again became the minister of the king. ft was not long before I incurred the displeasure of Yoga- 140 PREFACE. nanda, so that he resolved to put me to death. Sakata la. who was rejoiced to have this opportunity of winning me over to his cause, apprised me of my danger, and helped me to evade it by keeping me concealed in his palace. Whilst thus retired, the son of the king, Hiranyagupia, lost his senses, and Yogananda now lamented my absence. His regret moved Sakdtala to acknowledge that I was living, and I was once more received into favour. I effected the cure of the prince, but received news that disgusted me with the world, and induced me to resign my station and retire into the forests. My dis- appearance had led to a general belief that I had been privately put to death. This report reached my family. Upakosd, my wife, burnt herself, and my mother died broken hearted. Inspired with the profoundest grief, and more than ever sensible of the transitory duration of human happiness, I repaired to the shades of solitude and the silence of meditation. After living for a considerable period in my hermitage, the death of Yogananda was thus related to me by a Brahman, who was travelling from Ayodhyd and had rested at my cell. Sakdtala brooding on his plan of revenge, observed one day a Brahman of mean appearance digging in a meadow, and asked him what he was doing there. Chanakya, the Brahman, re- plied : “ I am rooting out this grass which lias hurt my foot.” The reply struck the minister as indicative of a character which would contribute to his designs, and he engaged him by the promise of a large reward and high honours to come and pre- side at the Srdddha which was to be celebrated next new moon at the palace. Chanakya arrived, anticipating the most re- spectful treatment; but Yogananda had been previously per- suaded by Sakdtala to assign precedence to another Brahman, Subandhu, so that when Chanakya came to take His place he was thrust from it with contumely. Burning with rage, he threatened the king before all the court, and denounced his death within seven days. Nanda ordered him to be turned out of the palace. Sakdtala received him into his house, and persuading Chanakya that he was wholly innocent of being PREFACE. 141 instrumental to his ignominious treatment, contributed to en- courage and inflame his indignation. Chanakya thus pro- tected, practised a magical rite, in which he was a proficient, and by which on the seventh day Nanda was deprived of life. Sakutala on the father’s death effected the destruction of Hiranyagupta, his son, and raised Ciiandragupta, the son of the genuine Nanda, to the throne. Chanakya became the prince’s minister ; and Sakutala having attained the only object of his existence, retired to end his days in the woods. 3. STORY OF NANDA AND CHANDRAGUPTA, BY A PUNDIT OF THE DEKHIN. (From a Manuscript in the collection of the late Col, Mac- kenzie, Sanscrit, Tclinga character.) After invoking the benediction of Ganesa the writer pro- ceeds : In the race of Bharadwdja, and the family of the hereditary councillors of the Bhosala princes, was born the illustrious and able minister Bhdvdji. He was succeeded by his son Gangddhara surnamed Adhwari (a priest of the Yajur Veda), who continued to enjoy the confidence of the king, and was equal to Vrihaspati in understanding. By his wife Krishndmbikd, Gangddhara had two sons, who were both employed by the Raja, Sahuji, the son of the pre- ceding prince. The favour of the Raja enabled these ministers to grant liberal endowments to pious and learned Brahmans. The elder of the two, Nrisinha, after a life passed in prayer and sacred rites, proceeded to the world of Brahma, leaving three sons. Of these, the elder was Ananda Raya Adhwari. He was noted for his steadiness and sagacity from his childhood, and in adult years deserved the confidence of his prince, Suhuji. He was profoundly versed in the Vedas, a liberal benefactor of the Brahmans, and a skilful director of religious rites. Upon his death and that of the youngest brother, the sur- 142 PREFACE. vivor, Tryambaha Adhwari, succeeded to the reputation of his ancestors, and cherished his nephews as his own children. Accompanied by his mother he proceeded to the shores of the Ganges, and by his ablutions in the holy stream liberated his ancestors from the ocean of future existence. He was solicited by Sahu, the king, to assume the burthen of the state, but regarding it incompatible with his religious duties he was unwilling to assent. In consideration of his wisdom and knowledge he was highly venerated by the Raja and presented with valuable gifts, which he dedicated to pious rites or distributed to the Brahmans. Having on a particular occasion been lavish of expenditure in order to gratify his sovereign, he contracted heavy debts, and as the prince de- layed their liquidation, he was obliged to withdraw to seek the means of discharging them. On his return he was received by Sahu and his nobles with high honours, and the prince by the homage paid to him obtained identification (after death) with Tyugdsa, a glory of difficult attainment to Yayati, Nata, Mdndhdtd, and other kings. The brother of the prince, Sarabhaji, then governed the king- dom and promoted the happiness of all entrusted to his care by Sahu, for the protection of piety, and rendering the people happy by his excellent qualities : the chief of the Brahmans was treated by him with increased veneration. The land of Chola is supplied at will by the waters of the Kdven, maintained by the abundant showers poured down constantly by Indra, and in this land did the illustrious Sarab- haji long exercise undisturbed dominion and promote the hap- piness of his people. Having performed with the aid of his reverend minister the late rite to his brother, he liberally delivered Tryambaha from the ocean of debt, and presented him with lands on the bank of the Kaveri (the Sahyagirijd), for the preservation of the observances enjoined by religion and law. And he diffused a knowledge of virtue by means of the Tantra of the son of the foe of Kama ( Kdrtikeya ), as com- PREFACE. 143 munieated by Brahmd to Ndreda to relieve his distress, and whatever learned man takes up his residence on the hill of Swdrni and worships Skanda with faith, will undoubtedly obtain divine wisdom. Thus, on the mountain of Swami, enjoying the favour of Ginsa, does Tnjambaka reside with uninterrupted prosperity, surrounded by his kinsmen, and sons, and grandsons, and Brahmans learned in the Vedas, engaged in the performance of the holy rites and the worship of Iswara. May he live a thou- sand years ! An object of his unbounded benevolence, and one to be included in those cherished by his bounties, having worshipped the lord of Sri ( Vishnu ), and acquitted himself of his debt to the Gods and Manes, is rewarded by having it in his power to be respectfully obedient to his ( Tryamhaka s) commands. This individual, named Dhiindi, the son of the excellent Pundit Lakshmana, of the family of Vydsa, had in his possession, and expounded, the new and wonderful drama entitled the Mudru Rdkshasa, and in order to convey a clear notion of his drama, the composition of Visdkha Datta, he relates as an introduc- tion the following particulars of the story. Story of Nanda and Chandragupta. According to the Purdnas the Kslietriya sovereignty was to cease with Nanda. In the beginning of the Kali age the Nandas were kings so named. Amongst them Sarvarthasiddhi was celebrated for his valour ; he was monarch of the earth and his troops were nine crore and one hundred. Vaktrandsa and others were his hereditary ministers, but amongst them the most famous was the Brahman, PiAkshasa. He was skilled in government and policy, and the six attributes of princes ; was eminent for piety and prowess, and was highly respected by Nanda. The king had two wives, of whom Sunandd was the elder — the other was of Ill PREFACE. Sudra extraction ; she was the favourite of the king, of great beauty and amiable character — her name was Mura. On one occasion the king in the company of his wives administered the rights of hospitality to a venerable ascetic, and after washing his feet sprinkled the queens with the water : nine drops fell upon the forehead of the elder, and one on Mura. This she received with reverence, and the Brahman was much pleased with her deportment. Mura accordingly was delivered of one son, of most excellent qualities, who was named Maurya. Sunandd was delivered of a lump of flesh. This Rakshasa divided into nine portions, which he put into a vessel of oil, and carefully watched. By his cares nine infants were in time evolved, who were brought up by Rakshasa and called the nine Nandas after their progenitor. The king when he grew old retired from the affairs of state, consigning his kingdom to these nine sons, and appointing Maurya to the command of the army. Maurya had a hundred sons, of whom Chandragupta was the best, and they surpassed the Nandas in merit. The Nandas being therefore filled with envy, conspired against his life, and inviting him and his sons into a private chamber put them to death. At this time the Raja of Sinhalu sent to the court of the Nandas a lion of wax in a cage, so well made that it seemed to be alive. And he added this message, “ If any one of your courtiers can make this fierce animal run without opening the cage, I shall acknowledge him to be a man of talent.'’ The dullness of the Nandas prevented their understanding the purport of the message ; but Chandragupta, in whom some little breath yet remained, offered, if they would spare his life, to undertake the task, and this being allowed, he made an iron rod red-hot, and thrusting it into the figure, the wax soon ran, and the lion disappeared. Although they desired his death, Chandragupta was taken PREFACE. 145 by the Nanclas from the pit into which he had been cast; and continued to live in affluence. He was gifted with all the marks of royalty : his arms reached to his knees ; he was affable, liberal and brave ; but these deserts only increased the animosity of the Nandas, and they waited for an opportunity of compassing his death. Upon one occasion Chandragupta observed a Brahman of such irascible temperament, that he tore up violently a tuft of kusa grass, because a blade of it had pierced his foot : on which he approached him, and placed himself under his pro- tection through fear of incurring the Brahman’s resentment. This Brahman was named Fishnugupta, and was deeply read in the science of government taught by Usanas ( Saturn ), and in astronomy : his father, a teacher of niti or polity, was named Chanaka, and hence the son is called Chanakya. He became the great friend of Chandragupta, who related to him all he had suffered from the Nandas. On which Chanakya promised him the throne of the Nandas ; and being hungry, entered the dinner-chamber, where he seated himself on the seat of honour. The Nandas, their understanding being bewildered by fate, regarded him as some wild scholar of no value, and ordered him to be thrust from his seat. The ministers in vain protested against the act ; the princes forcibly dragged Chanakya, furious with rage, from his seat. Then, standing in the centre of the hall, Chanakya, blind with indignation, loosened the lock of hair on the top of his head, and thus vowed the destruction of the royal race: — - “ Until I have exterminated these haughty and ignorant Nandas, who have not known my Avorth, I will not again tie up these hairs.” Having thus spoken, he withdrew, and indignantly quitted the city, and the Nandas, whom fortune had deserted, made no attempt to pacify him. Chandragupta being no longer afraid of his own danger, quitted the city and repaired to Ciianakya, and the Brahman VOL. II. I. 146 PREFACE. Kuutilya, possessed of the prince, resorted to crooked expe- dients for the destruction of the Nandas. With this view he sent a friend, Indrasertnd, disguised as a Ksliapanaka, as his emissary, to deceive Rakshasa and the rest, whilst on the other hand he excited the powerful Parva • tendra to march with a Mlechchha force against Kusumapura, promising him half the kingdom. The Nandas prepared to encounter the enemy, relying on the valour of Rakshasa. He exerted all his prowess, but in vain, and finding it impossible to overcome the hostile force by open arms, attempted to get rid of Maurya by stratagem ; but in the mean time all the Nandas perished like moths in the flame of Chanakya’s revenge, supported by the troops of Parvatendra. Rakshasa, being worn in body and mind, and having lost his troops and exhausted his treasures, now saw that the city could no longer be defended ; he therefore effected the secret retreat of the old king Servarthasiddhi, with such of the citizens as were attached to the cause of the Nandas, and then delivered the capital to the enemy, affecting to be won to the cause of Chandragupta. He prepared by magic art a poisoned maid, for the destruc- tion of that prince ; but Kautilya detected the fraud, and diverting it to Parvatdsa caused his death ; and having con- trived that information of his share in the murder of the monarch should be communicated to his son, Malayaketu, he filled the young prince with alarm for his own safety, and occasioned his flight from the camp. Kautilya, though master of the capital, yet knowing it con- tained many friends of Nanda, hesitated to take possession of it, and Rakshasa, taking advantage of the delay, contrived with Ddruverma and others, machines and various expedients to destroy Chandragupta upon his entry : but Kautilya dis- covered and frustrated all his schemes. He persuaded the brother of Parvateswara, Vairodhaka, to suspend his departure, affirming with solemn asseverations, that PREFACE. 147 Rakshasa, seeking to destroy the friends of Chandragupta, had designed the poisoned maid for the mountain monarch. Thus he concealed his own participation in the act, and the crafty knave deceived the prince, by promising him that moiety of the kingdom which had been promised to his brother. Servarthasiddhi retired to the woods to pass his days in penance, but the cruel Kautilya soon found means to shorten his existence. When Rakshasa heard of the death of the old king he was much grieved, and went to Malayaketu and roused him to revenge his father’s death. He assured him that the people of the city were mostly inimical to Chandragupta, and that he had many friends in the capital ready to co-operate in the downfall of the prince and his detested minister. He promised to exhaust all his own energies in the cause, and confidently anticipated Malayaketu' s becoming master of the kingdom, now left without a legitimate lord. Having thus excited the ardour of the prince, and foremost himself in the contest, Rakshasa marched against Maurya with art army of Mlechhas, or barbarians. This is the preliminary course of the story — the poet will now express the subject of the drama. It begins with an equivoque upon the words Krura graha, in the dialogue of the prelude. This ends the introduction. 4 . EXTRACTS FROM CLASSICAL WRITERS RELATING TO THE HISTORY OF SANDRACOTTUS. He (Alexander) had learned from Phi gams that beyond the Indus was a vast desert of twelve days’ journey, and at the farthest borders thereof ran the Ganges. Beyond this river dwell the Tabresians, and the Gandaritce whose king’s name l 2 148 PREFACE. was Xandrames, who had an army of 20,000 horse, 200,000 foot, 2,000 chariots anil 4,000 elephants. The king could not believe this to be true, and sent for Porus, and inquired of him whether it was so or not. He told him all was certainly true, but that the present king of the Gandaritce was but of a mean and obscure extraction, accounted to be a barber’s son ; for his father being a very handsome man, the queen fell in love with him, and murdered her husband, and so the kingdom devolved upon the present king. — Diodorus Siculus. At the confluence of the Ganges and another river is situated Palibothra : it is the capital of the Prasii, a people superior to others. The king, besides his birth-name and his appellation from the city, is also named Sandracottus. Megusthenes was sent to him. Megasthenes relates that he visited the camp of Sandracottus, in which 400,000 people were assembled. Seleucus Nicator relinquished the country beyond the Indus to Sandracottus, receiving in its stead fifty elephants, and contracting an alliance with that prince (contracts cum eo affinitate). — Strabo. Phegelas informed him, that eleven days from the river the road lay over vast deserts to the Ganges, the largest stream in India, the opposite bank of which the Gangaridcc and Parr- hasii inhabited. Their king w r as named Aggramen, who could bring into the field 20,000 horse and 200,000 foot, 2,000 chariots and 3,000 elephants. As these things appeared incredible to the king, he referred to Porus, who confirmed what he heard. He added, however, that the king was not only of low, but of extremely base origin, for his father was a barber, whose personal merits recommended him to the queen. Being introduced by her to the king then reigning, he contrived his death, and under pretence of acting as guardian to his sons, got them into his power and put them to death. After their extermination he begot the son who was now king, and who, more w orthy of his father’s condition than his own, was odious and contemptible to his subjects. — Quintus Curtius. PREFACE. 149 Megastlienes tells us he was at the court of Sandracottus. The capital city of India is Palembothra on the confines of the Prasii, where is the confluence of the two great rivers, Erranoboas and Ganges. The first is inferior only to the Indus and Ganges. Megastlienes assures us he frequently visited Sandracottus king of India. — Arrian. Sandracottus was the author of the liberty of India after Alexander’s retreat, but soon converted the name of liberty into servitude after his success, subjecting those whom he rescued from foreign dominion to his own authority. This prince was of humble origin, but was called to royalty by the power of the gods ; for, having offended Alexander by his impertinent language, he was ordered to be put to death, and escaped only by flight. Fatigued with his journey he laid down to rest, when a lion of large size came and licked off the perspiration with his tongue, retiring without doing him any harm. The prodigy inspired him with ambitious hopes, and collecting bands of robbers he roused the Indians to renew the empire. In the wars which he waged with the captains of Alexander he was distinguished in the van, mounted on an elephant of great size and strength. Having thus acquired power, Sandracottus reigned at the same time that Seleucus laid the foundation of his dominion, and Seleucus entered into a treaty with him, and settling affairs on the side of India directed his march against Antigonus. — Justin — 15 — 4. The kings of the Gandarites and Prasians were said to be waiting for them there ( on the Ganges ) with 80,000 horse, 200,000 foot, 8,000 chariots and 6,000 elephants. Nor is this number at all magnified, for Androcottus, who reigned not long after, made Seleucus a present of 500 elephants at one time, and with an army of 600,000 men traversed India and conquered the whole. Androcottus, who was then very young, had a sight of 150 PREFACE. Alexander, and he is reported to have said, that Alexander was within a little of making himself master of those countries : with such hatred and contempt was the reigning prince looked upon, on account of his profligacy of manner and meanness of birth. — Plutarch . — Life of Alexander. DRAMATIS PERSONA:. Men. Chandragupta, also called Vrishala and Maury a. — The young king of Pdtciliputra. Chdnakya, or Vishnugupta. — A Brahman, chiefly instrumental to Chandragupta' s accession to the throne and now his minister. Rdkshasa. — The minister of the last king, the enemy of Chandra- gupta, and whom it is Chdnakya' s policy to win over to an alliance with his protege. Malayaketu. — Son of the king of the Mountains, leading an army against Pdtaliputra. Blidgurdyana. — His supposed friend. Nipunaka, Siddhdrtha, A Man. Sdrangarava. — Chdnakya' s P upil . Chandana Dds, Jivasiddhi, Samiddhdrtha, Agents and emissaries of Chdnakya. Friends of Rdkshasa. Sakata Dds. The son of Chandana Dds. Virddhagupta, Priyamvadaka, Courier. Vaihlnara. — An attendant on Chandragupta. Jajdli. — An attendant on Malayaketu. Officers and attendants. 152 Women. The wife of Chandana Das. Sonottara . — An attendant on Cha/ndragupta. T'ijayd. — An attendant on Malayaketu. Persons spoken ok. Nanda. — King of PAtaliputra, slain by Chunakya’s contrivance. PArvataka or Parvateswara. — King of the Mountains, at first the ally of Chandragupta but afterwards slain privily by Chdnakya. Serv&rthasiddhi. — Placed on the throne by RAkshasa, after the death of Nanda, but retired to a life of devotion. Vairodhaka. — The brother of PArvataka, and killed by Ruk sham’s emissaries by mistake for Chandragupta. Various Princes, Chiefs, Bards, &c. The Scene is laid partly at Pdtaliputra, or Palibothra, and partly at the capital, or subsequently at the camp of Malayaketu. The time of each Act is that of the action — the intervals of the acts are uncertain. PRELUD E. Enter the Manager. Slay the craft of that Siva protect you, who desirous of concealing Ganga* * * § thus evaded the inquiries of his Goddess — what is this, so brilliant that decorates thy browsf — a digit of the moon — has it no name — you know the name, it is impos- sible that you should have forgotten it — I talk of a woman not of the moon — let Vijayd% tell you then, if the moon does not satisfy you. Slay the dance of the victor of Tripura § protect you — that dance to which space is wanting. Lightly treads the god lest he should overset the earth — he cramps his action lest his arms reach beyond the limits of the three w r orlds, and he bends his spark-emitting glances on vacuity, lest they should consume the objects on which they gaze.|| Enough. I am commanded by this assembly to represent the drama entitled Mudrardkshasa, the work of Visdkha Datta, the son of Prithu Maharaja, and grandson of the chieftain Vateswara * As a goddess, Ganga, or the deified Ganges, is usually viewed as an object of jealousy by Durga the wife of Siva. f On her descent from heaven by the prayers of Bhagirath, Siva received the falling river upon his head. j Vijayd is one of the attendants upon Durgii. § Siva, from his destruction of the three cities of a demon, thence named Tripura or Tripurasura, the supposed origin of the modern Tippera. || The dance of Siva, and that of his consort, its exact counterpart, have already been fully adverted to in the Mdlati and Mddhava. 151 MUDRA HAKSHASA. Datta ;* and it is a great satisfaction to me to perform this drama before an audience so capable of appreciating its merits. J ustly is it said, the tillage of a blockhead will rear a harvest in a fertile soil ; the luxuriant growth of the grain does not depend upon the talents of the sower. Having therefore gone home and summoned my wifef I shall proceed with my com- pany to the representation. Here is my house : I will enter. How now ! what festival have we here to-day that all the domestics are so busy ? One is bringing water, another grinding perfumes, a third weaves a chaplet of many colours, and a fourth is sighing over a pestle. I must call one of them and ask the meaning of all this. Here, you clever, sharp, sensible, hussy, come hither ; you sum of all wishes and decorum, come hither. J Enter Actress. Here am I, Sir ; what are your commands ? Mana. Tell me what is going on here ; have any Brahmans been invited to do honour to my race, or have any welcome guests arrived that there is such preparation ? Act. The Brahmans have been invited. Sir, by me. Mana. What for, pray ? Act. There is an eclipse of the moon to-day. Mana. Who says so ? Act. The people of the city. * According to other authorities, however, the father of Prithu, Prilhwi, or Prithivi Raja, was named Somesa or Vigraha Deva, and his grandfather Sarnga Deva or Visala Deva. The term Datta is also more appropriate to a man of the Vaisya tribe than a Rajput; but then Vateswara is called a Sdmanta, a term especially implying a warrior and a chief, and as in the case of the Jats, the agricultural tribes occasionally follow a military life. These considerations, however, leave the individuality of the author very doubtful. — Asiatic Researches, vol. xv, p. 407. Transactions of Royal Asiatic Society. t He calls her the Griha Kutumbini, literally, the head of the house or of the family ; but by the authority she exercises she should scarcely be less than his wife. t This is obviously imitated from the Mrichchakati. MUDRA RAKSHASA. 155 Mana. Stop your preparations, dame, for the Brahmans you have invited : there is no eclipse to-day. Trust to one who has laboured diligently in the sixty-four divisions of astronomy ; for observe, when Ketu, the angry planet, labours to depose from his high throne the mighty Chandra — (Behind.) Who talks of deposing the king ?* * * § Mana. The friendly Sagef is active in his defence. Act. But who was that, who so readily noticed on earth the peril of the monarch ? Mana . I need not heed particularly, but we will find out. I will repeat what I said, and if he repeat his exclamation we may know his voice. Observe, “ when the angry Ketu en- deavours to depose Chandra — ” (Behind.) Who threats the king though I am yet alive ? Mana. Ha ! I know ; — it is Kautilya, as crooked in na- ture as in name, J the flames of whose anger have burnt up the family of Nanda. He has caught but part of my speech, and confounds it with an allusion to hostility towards his pupil. Act. Here he comes : we had better get out of his way. \_Exeunt. Enter Chanakya with lus top-knot § untied. Where is this babbling wretch, that idly threatens The monarch I have raised ? — lives there the man That does not trembling pray he may behold These tresses bound again, whose length dishevelled Hangs an envenomed snake to Nanda’s race ; A smoky wreath, engendered by the fires * The original plays upon two words, Ketu the planet, or Malayaketu a prince, enemy of the present king, and Chandra his name, or the moon. t The planet Budha or Mercury, or in the text the Budha Yoga ; but there is no Yoga so named, and unless a different system be alluded to, simple conjunction or propinquity must be implied. The term has a double import here : Budha, Mercury, or a wise man, referring to Chanakya. j Kautilya, implies crookedness, both physical and moral. § The single lock of hair left on the shaven head of a Brahman. 15(5 MUDKA ltAKSHA.SA. Of my consuming wrath ? The fool, unwitting Of his own weakness, would he play the moth, And heedless plunge into the deadly flame Of my resentment, blazing like a meteor, Fierce o’er the prostrate forest of my foes ? What ho ! Sarangarava. Enter Pupil. Your commands, Sir. Chdn. A seat. Pup. It waits you in the porch, Sir. Chun. Bring it here ; affairs of weight disturb me. It is not fit the teacher should endure A scholar’s disobedience. ( Pupil brings him a seat — he sits.) What should this rumour be, so general noised Amongst the citizens? They say that Rakshasa, In stern resentment of the total fall Of Nanda’s race, stirs up th’aspiring son Of Parvateswara ; w ho would avenge His father’s death, to join him, and has vowed To make him lord of Nanda’s former realm. With these designs, they have implored the aid Of the great monarch of the Mlechcha tribes;* And now, against the sway of Vrishala These fierce and formidable foes combine. It may be thus — 'Tis known to all the world, I vowed the death of Nanda, and I slew him. The current of a vow will work its way And cannot be resisted. What is done Is spread abroad, and I no more have power To stop the tale. Why should I ? Be it known. The fires of my wrath alone expire, Like the fierce conflagration of a forest, * Literally, by the great Mlechcha Raja. Mahata Mlechcharajena ■ MUDRA RAKSHASA. 157 From lack of fuel — not from weariness. The flames of my just anger have consumed The branching ornaments of Nanda’s stem, Abandoned by the frightened priests and people. They have enveloped in a shower of ashes The blighted tree of his ambitious councils : And they have overcast with sorrow’s clouds The smiling heavens of those moon-like looks That shed the light of love upon my foes. Now may they triumph — they, who late beheld With downward looks and struggling indignation. Scarce smothered by their terrors, my dishonour. Thrust from my seat, and banished from the presence. Disgraced but not dejected — now they see me Spurn Nanda and his offspring from their throne. As from the mountain’s crest the lion hurls Incensed the lordly elephant. My vow is now accomplished, but I bear, In Vrishala’s defence, the fatal arms That have uprooted Nanda’s tyrant race. Like fond affections from the breast of earth ; And now, in him, his fortune must implant, Firm as the fragrant lotus in the lake. Such is the equal fruit of love and hatred, And friends and foes confess alike the power That works their elevation or their fall. Yet, what avails it, to have rooted out The stem of Nanda ; what to have allied Fortune with Chandragupta, unsubdued Whilst Rakshasa remains ? His faith inflexible Survives their ruin, and whilst yet exists The most remote of kindred to their house He is our foe. Well ; be it so ! We must devise with craft to break the league We cannot face. The sole remaining shoot Of Nanda’s stem, the pious anchorite. 158 MUDRA RAKSHASA. Sarvdrt’ha siddhi, tranquil lies in death ; Even in the instant Rakshasa had promised Malayaketu, that more vigorous means Should be pursued to overturn our empire. (Addressing vacancy.) ’Tis bravely done, thou worthy minister, Thou saintly priest, thou human Vrihaspati * The mercenary herd obey their lords For their own profit : should they hold their faith In time of adverse fortune, they expect That future days will give back power and wealth. How few, like thee, regardless of reward, And animated by remembered kindnesses. Unwearied labour in the perilous service A master no more lives to recompense ? How shall I change the enmity of such As thou to friendship ? It but little profits To court alliance with a fool or coward ; Nor do the brave and wise claim our dependance, Unless fidelity confirm their worth. They, who to intellect and courage join Devoted faith, are wedded to their lords, In adverse ever as in prosperous fortune. I must not sleep in this. To win the chief Demands my utmost care. Thus far, success Befriends our cause, and on his head revert His hostile councils. Whilst he designed One of the princes to destroy, and drive Me hence, I gained his minister, directed The shaft against Parvataka, and spread The rumour, Rakshasa had done the deed. So runs the general credence ; but his son, Malayaketu, knows the truth. To him • * The regent of the planet of Jupiter, and preceptor and councillor of the gods. MUDRA RAKSHASA. 159 ’Twas purposely revealed ; and with the aid Of Bhagurayana, he frightened fled. Now he is leagued with Rakshasa, and may Defy our arms whilst aided by his policy. Yet some discredit must attend his union With one the world conceives his father’s murderer, A stain no skill nor craft can wipe away. I have my spies abroad — they roam the realm. In various garb disguised, in various tongues And manners skilled, and prompt to wear the shew Of zeal to either party, as need serves. At home, my agents, versed in every shift And quaint device, maintain assiduous quest Amongst the people of the capital, And instant note amidst the multitude The covert friends of Nanda and his minister. The chiefs, whose ready aid placed Chandragupta Firm on his throne, are faithful to his cause, And careful servants keep unwearied watch To baffle those who would administer Envenomed draughts and viands to the king. There is a fellow of my studies, deep In planetary influence and policy,* The Brahman, Induserma ; him I sent, When first I vowed the death of Nanda, hither ; And here repairing as a Bauddha mendicant, f He speedily contrived to form acquaintance And friendship with the royal councillors. Above them all, does Rakshasa repose * Literally, “ Having obtained great proficiency in the Dandamti political system of Usanas, and the sixty-four Anyas , or branches of the Jyotish Sdstra, the science of astronomy or astrology.” t Having the marks of a Kshapanaka, which usually designates a Bauddha mendicant ; but, as hereafter shewn, the individual is a Jain not a Bauddha, and the confusion of terms is worthy of notice, as characteristic of a period subsequent to the disappearance of the Bauddhas in India, 1G0 MUDRA RAKSHASA. In him implicit confidence. ’Tis well (rues). We triumph in his aid. Then none shall dare Deride our purposes. The kingly burthen Unbending, Chandragupta shall sustain. And vigilantly guard his regal prize. Me must not hope for indolent delights Whose daring wins a throne. The king of men And monarch of the woods, alike must vanquish Frequent and fierce aggression, to enjoy In peace the prey their prowess has achieved. £ Retires . Enter Nipunaka, a spy in the service of Chanakya, disguised , and carrying a scroll , or cloth with figures of Yama on it* Devotion to Yama\ alone be selected, For only by him is existence protected : Their servants all other gods leave in the lurch, When Yama his messengers sends in their search. But trust we to Yama, and well are we sped, With a friend whilst alive, and a friend when we’re dead. I’ll enter here, show my pictures and chaunt my song. ( Entering Chdnahya's house.) Pup. Stop, stop ! you must not enter here. Nip. No ! — pray, whose house is it ? Pup. It belongs to my preceptor, of well-selected name. J * A Yama Pata. It should seem to be a sort of raree show. The show- man probably held something of a religious character; the person and his accompaniment are now unknown. t The Hindu Pluto. | SugriKita namna Arya Crhdnakyasya. This phrase is of constant occurrence in the preceding dramas, as well as this, and indicates the im- portance attached, not to well-sounding, but to lucky or propitious appel- lations. This superstition was common amongst the nations of antiquity ; and, according to Cicero, care was taken in the lustration of the people, that those who conducted the victims, and on the formation of the army that the first soldier on the muster-roll should have auspicious names. Cum impcrator exercitum, censor populum lustraret, bonis nominibus qui hostias ducerent, eligebantur, quod idem in deleetu consules observant, ut primus miles fiat bono nomine. MUDRA RAKSHASA. 161 Nip. Then it belongs to a brother professor, so let me pass. I must have some talk with him, and let him see what 1 know. Pup. What can you teach my master, pray ? Nip. Don’t be wroth. One man cannot know every thing ; he may know some things, to be sure, and so may even such as I am. Pup. How dare you detract from my master : he knows every thing ? Nip. Does he know, think you, by whom Chandra* is dis- liked ? Pup. What has he to do with such knowledge ? Nip. He will know what is to be known, I dare say ; but you only understand thus, that the lotus cannot bear Chandra, its disposition is counter to its shape and beauty : the place abounds with such. Chan. [ overhearing ). He means, the minds of men are yet averse To Chandragupta. Pup. What nonsense do you chatter ? Nip. I talk very good sense, if — Pup. What ? Nip. Those who hear me understand me. Chan, [aloud). Advance, you will find one, friend Willing to hear and understand. Nip. Long life to your Excellency ! Chan [apart). Amidst my many missions I forget What was assigned Nipunaka. Oh ! I remember. He was to gather and report the state Of public feeling. Welcome, friend ; sit down. Nip. As your honour commands. [Sits on the ground.) Chan. Now for your news. What say the citizens — How do they stand affected ? Nip. Your Excellency has removed all their grievances, * The moon, or Chandragupta. VOL. ir. M 1G2 MUDRA RAKSHASA. so that they cannot choose but be well affected to the auspicious Chandragupta. There are, however, in the city three men attached personally to the minister Rakshasa, who cannot bear his Majesty’s prosperity. Chan. They weary of their lives then — who are they ? Nip. The first is a Bauddha beggar. Chan, (apart). A Bauddha beggar — excellent. (Aloud) His name ? Nip. Jivasiddhi. Chan, (apart). My own true emissary. (Aloud) Well, who next ? Nip. Rakshasa’s very particular friend, the scribe Sakata Das. Cluin. (apart). A scribe — a matter of light moment ; yet ’Tis well not to despise a foe though humble : He has been noted — and Siddharthaka Fastened upon him as a friend. (Aloud') The third ? Nip. Is also the friend of Rakshasa, an inhabitant of Push- papur, the head of the jewellers, named Chandana Das. In his house the wife of the minister was left when he fled from the city. Chan, (apart). This man must be, in truth, his friend : To one, alone, he valued as himself. Would Rakshasa commit so dear a charge. (Aloud) How know you, that the wife of Rakshasa Was left in trust of Chandana Das ? Nip. This seal-ring will apprize you. Chan, (taking the ring* and reading the name) Rakshasa — Rakshasa is in my grasp ! (Aloud) How got you this ? * Anguliya mudra, a finger-ring seal. Seals or signets of this kind were from the earliest periods commonly used in the East. Ahasuerus takes his signet off his hand and gives it first to Hannan and again to Mordecai ; and Herodotus notices that each of the Babylonians wore a seal-ring. The Greeks and Homans had their rings curiously engraved with devices, and that cast by I'olycrates into the sea was the work of an engraver whose name the historian has not thought unworthy of commemoration. Thus also in the Demagogues of Aristophanes : — Demits. MUDRA RAKSHASA. 1G3 Nip. I will tell youv Excellency. It was your pleasure that I should take note of the sentiments and conduct of the citizens. To gain free access to their habitations I assumed this disguise, and amongst other houses I entered that of Chandana Das. Exhibiting the Yama show, I commenced my ballad, when a little boy of about five years of age, of a most lovely appearance, his eyes sparkling with the curiosity common at his years, ran out from a viranda in the court. Cries of, “ He is gone out — he is gone out uttered by female voices pro- ceeded instantly from the apartment adjoining, and a woman “ Demus. This is no ring of mine, it tallies not With my device, or much my eyes deceive me. “ Sausage Seller. Allow me, Sir. What might be your impression ? “ Dem. A roasted thrium. in thick fat enclosed. “ Saus. I see no tlirium. “ Dem. What the impression then ? “ Saus. A wide-mouthed gull, high seated on a rock. In act to make a speech.” The use of the seal amongst the ancients, as amongst the Orientals to the present day, was not, as with us, to secure an envelope, but to verify letters and documents in place of a written signature. Amongst the natives of Hindustan, both Mohammedan and Hindu, the seal is engraved with the name of the wearer, and the surface being smeared superficially only with ink, the application of the seal to the paper leaves the letters which are cut in the stone, white on a black ground. Such also was the manner in which the seals of the Greeks and Romans were applied. It might be suspected that the translator of Euripides was thinking of a seal of wax on the outside of a letter, in the following passage in Iphigenia in Aulis : “ Attendant. But how, if I speak thus, shall I find credit, Or with your daughter, or the royal dame? “ Agamemnon. The seal which on that letter I have stamped, Preserve ‘unbroken.’ ” It is literally ‘‘ Take care of the seal which you bear on that letter.” The stage direction should be probably “ giving his ring to the messenger,” a mark of confidence, and a confirmation of the previously impressed sig- nature, which would induce Clytemnestra to trust him implicitly. There could be no need to charge the messenger not to break, or not to efface a mere impression within a folded letter, as it is previously described ; and if that impression alone were sufficient to inspire belief, it was unnecessary for the messenger to require of Agamemnon to grant any further token. Spliragis, the word used in all these places, is placed by Julius Pollux amongst the synonimes of finger-ring seals, Episenioi daktylioi. M 2 MU DR A RAKSHASA. 164 coming to the door caught hold of the child and dragged him in with some little resistance. She exposed her person with evident caution, so that little more of her was distinguished than a pair of very beautiful arms. In the struggle with the child, however, this ring, which as it is a man’s ring was probably too large for her finger, slipped off, and rolling near my foot stopped there, like a modest woman stooping to make a bow. I took an opportunity of picking it up unobserved, and finding that it bore the name of Rakshasa I brought it to your honour. Chan. Sarangarava. Enter Pupil. (To Nipunaka.) You may withdraw, now I have heard the story : But before long your toils shall be rewarded. Nip. As you command, [_Exit. Chdn. Paper and ink ! What shall I write? By this Is Rakshasa to be subdued. Enter a Female Servant. Sen. Victory to your Excellency ! Chdn. (apart). I accept the omen.* (Aloud.) Sonottara, what news ? * Great importance is attached to the fortuitous expressions of individuals throughout these dramas, and a prosperous or unprosperous result antici- pated from the thoughts or the words, by the person to whom they are addressed. The Greek plays are full of similar instances, and they are sufficiently abundant in every other department of classical literature. Cicero cites various curious examples in his book “ De Divinatione.” That related of Lucius Paulus is very analogous to the instance in the text. “ Lueius Paulus the consul had been appointed to conduct the war against Perseus. On returning to his house in the evening he found his little daughter Terfia full of grief, and on asking her what was the matter, replied ‘Persa (a puppy so named) is no more.’ Taking her up in his arms, and kissing her, the consul exclaimed, ‘ I accept the omen,’ and the event corresponded with the expres- sion.” 'Ihe effect of the omen seems also with the Hindus, as well as the Greeks and Romans, to have depended in a great measure upon a person’s applying it, and signifying his acceptance of it. The phrase addressed to Chanakya is a customary one to princes and ministers, Jayatu dry a, and it JYIUDRA RAKSHASA. 165 Son. His Majesty Sri Chandra has sent me, with his pro- found respects, to request your assistance in paying the final honours to Parvateswara ; and it is his wish to make an offering to learned Brahmans of the jewels and valuable articles worn by that prince. Chan, (apart). In all he meets my wishes. (Aloud) Go, Sonottara, Inform the king his purpose is most fitting. And should be speedily performed. As for the gems. They are no doubt of cost, and should be given Only to Brahmans of repute. Those I will send When I have put their merits to the test, To take the presents at his hands. Son. I obey. [Exit. Chan. Sarangarava, seek out Viswavasu, Bid him and his two brothers from the king Receive those gifts, and then repair to me. [Exit Pupil. What further purpose shall I give the letter ? My spies inform me, of the Mlechcha princes. The chiefest five, or Chitraverma king Of Kuluta — the king of Malaya, Nrisinha, The lion-voiced — the monarch of Cashmir, Brave Pushkaraksha — Sindhusena, prince Of Saindhava, for enemies o’erthrown Renowned ; and powerful with his hordes of horse, Meghak’hya — Parasika’s sovereign;* these Are friends of Rakshasa. 1 write their names ; Let Chitraguptaj- wipe them from the record. — is rendered prophetic by Chanakya’s assent, Grildtuyam Jaya sahda. The word jaya (victory) is accepted. Oionon dekesthai, Omen arripere, and Sabdam Grihitum, are terms of similar import in the three languages. * The position of Kuluta is not known ; that of Malaya, the western Ghats, is very oddly introduced as a kingdom other than Hindu. Saind- hava, is Sindh and Balochisthan ; and Pdrasiha, Persia. f The registrar of Yama, or the recorder of the dead. 166 AIUDRA RAKSHASA. No, not their names. It were as well to leave Some indistinctness. IIo, Sarangarava. Enter Pupii.. I have bethought me — learned Brahmans write Not always clearly. To Siddharthaka Convey these my instructions. ( Whispers.) I myself Will tell him for what purpose, and for whom The note is meant, and who the writer is. Let it be copied by Sakata Das, and folded In fashion of a letter, but not addressed ;* Nor let the writer know he writes for me. Pup. As you direct. Chan. Malayaketu is o’erthrown ! Enter Siddharthaka. f Sid. Victory to your Excellency ! the letter is prepared. Chan. Let me peruse it — Right, Now sign it with this seal. (Gives Rdkshasa’s seal-ring ) Sid. It is done. What else ? Chan. I would assign you A business of great import. Sid. I hold myself much honoured by the trust. Chan. Go to the place of execution, give The executioner a signal privily, And then put on a most ungoverned fury. Attack the officers, and they, prepared. Will fly in seeming terror. They dispersed, Untie the bonds that fasten Sakata Das, And with him shape your flight to Rakshasa. He, for the preservation of his friend. Will give you ample recompense, which you Accept, and for a time remain his follower, * Literally, “ without any name being seen externally.” f In the conduct of the business this piece is inferior to its immediate predecessors, and bears most resemblance to the Mrichchakati. MUDRA RAKSHASA. 167 Until the foes approach the city, when This end must be contrived. (Whispers.) Sid. As you command. Chan. Sarangarava ! Enter Pupil. Bear the chief officers of justice* these, The king’s commands : — Arrest the Bauddhn mendicant Named Jivasiddhi ; let it be proclaimed He was commissioned here by Rakshasa, And by the poisoned maiden has destroyed The prince Parvataka. Be this duly cried, And then he must be banished with each mark Of contumely from the capital. The scribe, too, Sakata Das, whom Rakshasa Stirs up to plot against the royal person, Let him be seized ! his crime proclaimed abroad ; Then bear him to the stake, and into bonds Conduct his family. Pup. It shall be done. Qj Exit. Chan. Now shall Rakshasa be taken. Sid. ( advancing ). I have taken— Chan, (apart). Rakshasa ; most true. (Aloud) Whom ? Sid. — Your highness’s commands, and now depart To give them action. Chan. It is well. (Giving him the letter and the ring.) Success attend you ! Sid. Such are your commands. \_Exit. Enter Pupil. Pup. The officers obey the orders of the king. Chan. Now, child, go call the provost of the jewellers, Chandana Das his name. Pup. I shall obey. (Exit and returns with him.) This way, Provost, * The Kdlapasika and Dandapdsiku, the beavers of the noose of death and of punishment. 68 M UDRA RA1CSHASA. Chanel, (apart). Chanakya’s cruel nature gives alarm To those who are not conscious of offending: — I have offended — what can I expect ! I have desired my friends, lest that my house Be seized on by this tyrant, to remove The family of Rakshasa, and now I am prepared — what may befall me, may be. Pup. Here, sir, is Chandana Das. Chand. Glory to your Excellency ! Chan. Provost, you are welcome : sit. Chand. Excuse me, sir, This ceremony suits not with the sorrow In which the sufferings of my friends Have left me. I will sit me down, So please you, on the ground. Chan. It must not be ; This distance needs not when with such as I am. Here, take this seat. Chand. If you will have it so. (Apart.) What does he purpose ? Chan. Now, Provost, does your trade Yield you due profit ? Chand. With your honour’s patronage, All trade must flourish, so of course must mine. Chan. And do the people still recall to mind The many virtues of their former lords, When they comment on Chandragupta’s vices? Chand. 1 cannot hear such words. (Stops his ears.) The virtues of his majesty afford The soothing pleasures that autumnal moons Diffuse. Chun. It may be ; but all kings expect To meet from those they cherish some requital. Chand. You need but speak it, sir, and any sums — What monies may be needed ? MUDRA RAKSHASA. 169 Chun. You forget; This is the reign of Chandragupta, not Of Nanda. To his avaricious soul Your treasures were acceptable ; but now, Your king esteems your happiness his wealth. Chand. I joy to hear it. Clidn. You should rather ask How best such happiness may be evinced. Chand. Command. Chan. ’Tis easy — let no man presume To offer opposition to his sovereign. Chand. What luckless wretch exists, who would pretend To think of opposition ! Does your grace Know such a man ? Chan. Thou art the man. Chand. Alas ! How should a blade of straw encounter flame ? Chan. Yet thus it is. Why, even now your house Gives shelter to the family of Rakshasa, The open enemy of Chandragupta. Chand. This is untrue. Some base and secret foe To me has brought this story to your ears. Clidn. You need not be alarmed. The miscreant servants Of the late sovereign, when they fled the state, Compelled by force the honest citizens To give unwilling shelter to their families. In this they are unblamed — the only act That makes it an offence is its concealment. Chand. I do admit that formerly, indeed, The family of Rakshasa was thus Lodged in my house. Chan. This is again untrue : Ycur former declaration would imply They never found asylum in your mansion. Chand. I own I was in this not quite sincere. Chun. Such insincerity will now obtain 170 MUDRA RAKSHASA. Its proper estimation — but deliver The family of Rakshasa, and you may yet Be held excused. Chand. I have already said — They were in my abode. Chan. Where are they gone ? Chand. I do not know. Chan. You do not know ! Beware : The hooded snake hangs over you, and far Your hope of safety lies. As Vishnugupta Will Nanda — ( checking himself). What ! merchant, can you be So idle, as to cherish hopes that Rakshasa Will triumph over Vrishala ? Have you forgotten, Fortune deserted Nanda in his life, With all his power and warlike friends to back him ? Now she is steadily affianced — bound To Chandra, as is moonlight to the moon ; And who shall think to sunder them ? who so rash, To thrust his arm into the lion’s jaws. And seek to tear away his pointed fangs, Red as the twilight moon, stained with the blood Of the fresh-slaughtered elephant ? Chand. {apart). These words, Alas ! too well events have justified. ( A noise behind.) Chan. How now, Sarangarava, what has chanced ? Pup. The Bauddha beggar. Sir, named Jivasiddi, is banished from the city by order of the king. Chun. A holy man — I mourn his fate : yet such The treatment that the prince’s foes deserve. You mark, good Provost, — Vrishala resolves To treat his enemies with just severity. Take a friend’s counsel, and give up the family Of Rakshasa, then Chandragupta’s favour Will long be your’s. MUDRA R.AKSHASA. m Chand. They are not in my dwelling. (A noise behind.) Chun. Again ! — Sarangarava, what is this ? Pup. The scribe, Sir, Sakata Das, is led forth to be impaled. Chan. So let him reap the fruit of disobedience. — You see the king is stern. Believe me, Provost, lie will not brook your giving an asylum To those who are his enemies. Resign them — So you and yours shall yet escape with life. Chand. What signs of fear do you behold in me. To think I should be moved to sacrifice Those I had sheltered, by the dread of death ? But I have said it — those you seek of me I have not in my power. What more remains ? Chan. You hold to this ? Chand. I do. Chan, [apart). ’Tis bravely spoken. . Who in this selfish world would lose the hope Of affluence, and like Sivi,* thus discharge The arduous task of generous self-devotion ! (Aloud.) This is your last resolve ? Chand. It is. Chan. Expect the king’s displeasure. Chand. I am prepared — do with me as you please. Chdn. Sarangarava, bid the officers Secure this miscreant. Hold ! let them seize f His house and family, and keep them close. Till I impart this matter to the king : He will, I know, command the forfeiture Both of his wealth and life. Pup. I shall obey — this way Provost. * Sivi was a prince who, to save a clove from the pursuit of a hawk without prejudice to the latter, gave it a piece of his own flesh. f This duty is assigned to the Durga pdlaha and Vijaya pdlaha, who should be military officers, if not proper names. 172 MUDRA RAKSHASA. Chand. I attend. (Apart.) Happy that friendship’s claim. Not mortal frailty, terminates my life. Q Exit. Chan. Now Rakshasa is safe ; for when he learns The faith and imminent danger of his friend. Imperilled in his cause, he will, 1 know. Be eager to prevent the sacrifice ; And ere he suffer that this merchant lose His life for him, will offer up his own, As much less precious than so dear a friend. ( Noise ) How now ! Enter Pupil. Pup. Siddhart’haka has rescued Sakata Das, Sir, as he was about to suffer death, and they are fled together. Chan, (apart). Our work is well begun. (Aloud.) Fled, say you ? Quick ! boy, and order Bhagurayana To overtake and seize them. (Pupil goes out and returns.) Pup . Alas ! Sir, he too has disappeared. Chan, (apart). For our advantage. (Aloud.) Let him be pursued. Where are the officers ?* Pup. They are overcome with terror ; and Bhadrabhata and many other chiefs, I learn. Sir, were off this morning long before daylight. Chdn. (apart). They will promote our triumph. (Aloud.) Let them go. We shall not miss them. Those who now have fled, Had in their hearts deserted us. Let all Who would abandon us be free to go : I heed them not, whilst yet the mind is firm * In the original, Chdnakya names them : Bhadrabhata, Purushadatta, Dinyirdta, Balagupta, Rajasena, Rohitahsha, Vijayavermd ; and it may be observed, that they are names not of present currency, although Sanscrit. Chdnakya also sends out to dispatch them after Bkdgurayana as before, a ceremony dispensed with in the translation. MUDRA RAKSHASA. 173 That plucked down Nanda, and in which I feel More powerful far than in a hundred hosts. Let not my spirit fail, though left alone. And we shall conquer. As for the fugitives. They shall be seized and meet with their reward. (Apart) Now, Rakshasa, I have you — I shall see you Tame and submissive to my sovereign’s will, Caught by superior craft, though now you roam Unshackled like the elephant, whilst yet He ranges, high in blood, amidst the shades And cooling torrents of his native woods. [ Exeunt , END OF THE FIRST ACT. 174 MUDRA RAKSHASA. ACT II. Street before Rakshasa’s House. Enter Viradiiagupta, an agent of Rakshasa, disguised as a Snalce-catcher. Those Avlio are skilled in charms and potent signs may handle fearlessly the fiercest snakes. Passenger. Hola ! what and who are you ? Vir. A snake-catcher, your honour — my name is Jirnavislia. What say you, you would touch my snakes ? What may your profession be, pray ? Oh ! I see, a servant of the Prince — you had better not meddle with snakes — A snake-catcher unskilled in charms and antidotes, a man mounted on a furious elephant rvithout a goad, and a servant of the king appointed to a high station and proud of his success, these three are on the eve of destruction. Oh ! he is off. 2d Pass. What have you got in your basket, fellow ? Vir. Tame snakes, your honour, by which I get my living. Would you wish to see them ? I will exhibit them here, in the court of this house, as this is not a convenient spot. 2d Pass. This, you blockhead, is the house of Rakshasa, the prince’s minister — there is no admittance for us here. Vir. Then go your way, Sir : by the authority of my occu- pation I shall make bold to enter. So — I have got rid of him. * ’Tis very strange — and what will be the end ? The efforts of my master, Rakshasa, To shake the power of Chandragupta, fail. Defeated by Chanakya’s foresight : yet, methinks, * In the original he changes his style from a low and difficult Prakrit to Sanscrit. MODRA RAKSHASA. 175 When I observe Malayaketu aided By Rakshasa’s high wisdom, I behold The sovereign sway wrested from Chandragupta. Fortune is bound to Maurya’s cause with cords Fast woven by Chanakya, yet the hand Of Rakshasa seems often on the point To snatch her from her bands. Between such foes. Such masters of their craft, the cause of Nanda Hangs in suspense, and fortune wavers — Like a young female elephant, whose love Two lordly males dispute, between these ministers, — Doubting on which she shall confer her favour. Well, time determines. Now to visit Rakshasa. \_Exeunt. Scene, — An Apartment. Rakshasa with Attendants. Alas ! my cares are vain : my anxious days And sleepless nights are all of no avail. Since like the house of Yadu,* Nanda’s race Has perished utterly, exterminated By powerful foes and unrelenting fate. Now a new master claims my zealous service. Not for the mercenary hope of fortune, Nor coward apprehensions for my safety ; Not for the idle love of brief authority. Nor in forgetfulness of former faith. I serve this Lord, the better to effect The fall of Nanda’s enemies, and pay The tribute of revenge his fame demands. Oh Goddess lotus-throned !f dost thou so lightly * Tlie members of the family of Yadu, in which Krishna was born, were all destroyed upon the eve of his death or return to heaven, by intestine division and an affray amongst themselves, in which all the combatants were slain. f Lalcshmi, the Goddess of Fortune, appeared at the creation seated on a lotus amidst the waters. 176 MUDRA RAKSHASA. Esteem desert, that Nanda is forgotten And all thy favour lavished on his foe, — On Maurya’s ignominious son ? # Why, like the frontal juice, didst thou not perish, That dries w hen falls the royal elephant. Was there no chief of noble blood to win Thy fickle smiles, that thou must elevate A base-born outcast to imperial sway, — And thus, with truly feminine caprice, (For women are unsteady as the buds That float in air), fly from exalted worth ? But I shall cure thee of this fleeting fancy, By levelling the mansion of thy choice. For this have I consigned my wife and child To my friend’s care, and when I fled the capital Left them behind, that men may therefore deem I cherish confident purpose to return To them and to my home, and thus, the zeal Of those who yet are faithful to the cause Of Nanda, may not slacken by despair. To Sakata Das is ample wealth entrusted To recompense our emissaries, sent To work by craft the death of Chandragupta, Or foil the secret malice of the foe ; And Jivasiddhi and some other friends, Are nominated to convey intelligence Of all that chances every instant to me. What else can be devised ? mine ancient lord, Who for his own destruction kindly reared A tiger’s cub, and his illustrious race, Are ever in my thoughts. I yet may strike The savage that destroyed them to the heart, With wisdom’s shaft, if fate be not his shield. Chdndragupta is here therefore the grandson, not the son of Mura. MUDRA RAKSHASA. 177 Enter Jajali, the Chamberlain of Malayaketu. Health to your Excellency ! Rak. Jajali, welcome: what has brought you hither? Jaj. I come a messenger from the prince. Malayaketu grieves to see your Excellency so regardless of personal ap- pearance ; and without desiring you to be unmindful of your ancient monarch, he requests you will pay regard to his wishes. He therefore sends you these jewels, taken from his own person, and entreats your Excellency will wear them. Rak. My worthy friend, apprise the noble prince, The virtues of my former gracious lord Are all forgotten in his highness’ merits ; But that I must not decorate my person Whilst I endure the deep humiliation Of late discomfiture — nor till his foes Are all exterminated, and I rear His golden throne within the regal palace. Jaj. This is an easy matter to your Excellency, therefore respect this first favour of the prince. Rak. I do respect his orders, and your message : The prince’s will in this shall be accomplished. Jaj. I take my leave. Rak. I bow to you. [_Exit Jajali. Priyamvadaka, who waits to see me ? Priyamvadaka enters with Viradhagupta. Rak. Who is this ? Priy. A snake- catcher, your Excellency. Rak. {feeling his left eye throb). What should this import ? the sight of snakes, too — * I have no pleasure in the exhibition ; Give him a donation, and let him go. Priy. Here is for your pains ; for not seeing — not for seeing. Fir. Inform the minister, I beg of you, that besides exhi- * An equally unlucky omen as the throbbing of the left eye. VOL. If. N 178 MUDRA RAKSHASa biting snakes, I am a bit of a poet in the vulgar tongue. If I cannot have the honour of seeing him, request he will favour me by perusing this. (Gives a paper.) Priy. He says. Sir, he is a poet as well as a snake-catcher, and requests your perusal of this paper. ( Gives it.) Rale. “ The busy bee, that from each flower, Extracts the nectary juice, To fragrant honey all its store Converts for others’ use.”* (Apart) He means by this, he brings news from the capital. The city of flowers. Who should this be — it is Viradhagupta — such was his disguise. (Aloud) Bid him approach — he is no vulgar bard, And merits our encomium. Priyamvadaka brings Viradhagupta forward. Rdk. Priyamvadaka, I will see these snakes. In the mean time, do you and your companions Discharge your several duties. Priy. We obey, Sir. [Exit with attendants. Rdk. My friend Viradhagupta, sit you down. Vir. As you command. Sir. Rdk. It grieves me to behold you thus ; — how hard A fate pursues the friends of Nanda ! Vir. Heed it not, Sir ; Your wisdom will ere long restore us all To former fortune. Rdk. What news from Pushpapur ? Vir. I have much to tell, Sir: where shall I commence? Rdk. With Chandragupta’s entry in the city. Whate’er my agents since have done inform me. Vir. You will remember. Sir, when in close league United by Chanakya, Parvateswara And Chandragupta in alliance, led Sic vos non vobis mellificatis apes. MUDRA RAKSHASA. 179 Their force against our city — a wild multitude Of Sakas, Yavanas, and mountaineers ; The fierce Kambojcis , with the tribes who dwell Beyond the western streams,* and Persia’s hosts, Poured on us like a deluge. Rak. Who shall dare Assail the city whilst I breathe ? Quick ! line the walls With archers — plant the elephants at the gates : Let those who scorn a feeble foe, who thirst For martial glory, and who fear not death, Attend me to the field ! Vir. Compose yourself : I merely speak of what has some while passed. Rak. I had forgot myself ; I deemed it present. Yes, — well I recollect the inspiring trust That Nanda then reposed in me. On me His every hope relied ; and his affection, Converting me to many like myself. To every quarter threatened by the foe * The Sakas of the Hindus cannot be other than the Saca or Sakai of classical geography. They are perpetually named in various works, and seem to have been known on the borders of India or in its western districts in the first century preceding Christianity. Vihramaditya king of Ougein being known as the Sakdri or enemy of the Sacce, his era dates B.C. 56, and it should appear that about this date, some northern tribes had settled them- selves along the Indus, constituting the Indoscythi of Arrian. Their attempt to penetrate further to the east, by way of Kandesh and Malwa, was not im- probably arrested by Vikramaditya, whence the epithet Sakari. The term of Yavanas is in modern times applied to Mohammedans of every description, but in this instance, and in works prior to the Mohammedan era, some other people must be intended. The interpretation of the word by Sir W. Jones is, lonians or Asiatic Greeks, and there are some considerations in its favour, although the chief argument in its behalf is the difficulty of attaching it to any other people. The mountaineers, or Kiratas may come from any part of India. They are known in classical geography as the Cirrkadce or the Cirrodes, the latter in Sogdiana, near the Oxus. Tire Kambojas are the people of the Arachosia, or north-eastern province of Persia. For the site of the Bdhikas, as they are termed in the text, we are indebted to the Ma- liabhdrot, and the Parasikas speak for themselves. N 2 180 MUDRA KAKSHASA. His orders sent me — “ Rakshasa, behold Yon troop of elephants, like a black cloud, — Disperse them. — Rakshasa, lead on those horse, That bound like waves, and charge the foe’s advance. — Rakshasa, draw up the foot in firm array, And drive them back.” — Your pardon — pray proceed. Vir. Beholding Pushpapura thus beleaguered, And grieving for the sufferings of the people, Servarthasiddhi, quitting further thought Of opposition, private left the city, And thence assumed the life of an ascetic. Lorn of their lord, the warriors soon relaxed Their efforts, and resistance ceased ; and soon The trumpets of the enemy proclaimed Their triumph to unwilling ears. You, then. Departed to maintain the realm of Nanda In other provinces ; devising means* Intended Chandragupta to remove, Which failing him, the mountain king destroyed. Rdk. So fate decreed, and turned aside the blow ; As Vishnu craftily contrived to ward The shaft of Kama from the breast of Arjuna, And speed it to Hirimba’s son.f What then? Vir. The prince Malayaketu was alarmed * These means are designated in the text here, as well as in other places, and in other books, the Visha Kanya, the Poison-Maid, which it would be more consonant to our ideas to consider as an effigy, but it appears to mean a female whose nature was charged with venom so that her embraces should prove fatal. The Hitopadesa says, Chanakya killed Nanda by means of a fatal emissary ; and the author of the Purusha Parikshd, a modern collection of tales in Bengali, taken chiefly from the Sanscrit, in giving a version of this story adds, that the damsel was so venomous that flies alighting on her person instantly perished. t Kerna had received a lance from Indra which was fated to kill one in- dividual, and which he kept, intending it for Arjuna. But Ghatothacha, the son of Bhima by the Rdkshasi, Hirimbd, having by the counsel and aid of Krishna become so formidable to the Kuru host as to threaten their de- struction, Kerna was compelled to hurl the lance against him, and Aijuna thus escaped the peril. — ( Mahdbh&rat , Kerna Parva.) MUDRA RAKSHASA. 181 By this, his father’s death, and quickly left The camp. His father’s brother, whom Chanakya Persuaded that the monarch’s death was not His deed, or Chandragupta’s, still remained Confiding, and the entry of the foe Of Chandragupta into Nanda’s palace Was solemnly proclaimed. Rak. What then befell ? Vir. Chanakya called the architects together, And gave them orders to prepare the palace. With all expedient haste, for the reception Of Chandragupta at the hour of midnight. As by the aspect of the stars determined. To this they answered, all should be made ready, And that anticipating his desires. Their provost, Daruverma, had completed The decorations of the outer gateway ; The rest would soon be done. Chanakya praised Their ready zeal, and promised Daruverma His promptitude should meet its due reward. Rak. Whence was Chanakya’ s satisfaction ? I deem that Daruverma’s project failed To work its end, or wrought an end unwished. For such simplicity, such hasty service. That would hot wait the orders of Chanakya, Could not have failed to rouse his strong suspicion. Vir. At the hour of midnight All was prepared ; and at the moment fixed, Vairodhaka and Chandragupta, seated On the same throne, installed as equal kings. Divided Nanda’s empire. Rak. Then to Vairodhaka the like partition That bought the aid of Parvateswara Was pledged ? Vir. It was. Rak. A shrewd contrivance, truly ! 182 .MUDRA RAKSHASA. To banish all suspicion, they had wrought The death of Parvateswara, to quit An ill-judged contract : other means were found, No doubt, to rid them of this second dupe. Vir. At the appointed hour, Vairodhaka, as first inaugurated, Entered the city. He was clothed in mail, O’er which were thrown robes of rich dye, and strewn With snow-white pearls* profuse ; his brow was radiant With the imperial fillet ; the fragrant wreath Flowed o’er his breast, and costly ornaments, Cumbrous adorned at once and masked his person. All thought him Chandragupta. He was mounted On Chandragupta’s elephant, and attended By Chandragupta’s guards to do him honour. As he approached the gateway, Daruverma, True to his faith and sharing in the error That fancied Chandragupta present, stood Prepared to let the temporary arch, Contrived for such a purpose, fall upon him. The princes who composed his train now reined Their steeds and chariots, and alone Vairodhaka Advanced upon his elephant. The driver. Alike your servant, poor Berberaka, Attempted then to draw from it’s concealment Within his golden stick the hidden dagger, Provided for his need, and with the weapon To stab him he supposed was Chandragupta. Rak. Alas, untimely efforts both ! Vir. As forth He stretched his hand to grasp the staff that hung Suspended by a chain of gold, the elephant, * Hima vimala muktaguna, “ a string of pearls as pure as snow.” This comparison is of too rare an occurrence to be looked upon as common-place, and it is an idea not likely to have occurred to a native of the South of India. MUDRA RAKSHASA. 183 Who marked his arm extended, and imagined The blow was meant for her, sprang quickly forward. Her entrance in the gateway gave the signal To loose the spring that stayed the impending arch — It fell ! — but crushed Berberaka, in act To strike the blow, which shaken, missed his aim. When Daruverma saw the driver slain. The prince unharmed, and all the fraud revealed. Despairing of his own escape, he seized The iron bolt that had secured the arch. And with it dashed Vairodhaka to earth. Rule. Fruitless despair ! — what was his fate ? Fir. He fell Beneath a shower of stones the prince’s followers O’erwhelmed him with, incensed. Rdk. We lose in him A faithful friend — and what of our physician, Abhayadatta ? Vir. His tasks are all accomplished. Rdk. Is Chandragupta dead ? Fir. No, Fate has saved him. Rule. What meant your words ? Fir. I will apprise your Excellency — The poisoned draught had duly been concocted. And would have been administered, but Chanakya, In pouring it into a golden goblet, Observed the colour change, and thus detected The venomous admixture — then forbidding The prince to taste it, ordered the physician To swallow his own dose — and thus he died. Rdk. A learned man has perished. What has chanced The chamberlain, Pramodaka ? Vir. The same — The sums you had entrusted to his charge He lavished with unbounded prodigality, Till such expenditure drew observation. 84 ML' DR A IIAKSHASA. He answered incoherently the questions Put to him as to his immense possessions. And thus suspicion gaining confidence, He was condemned, by order of Chanakya, To suffer cruel death. Rule. Fortune still balks our schemes. What news of the brave men who were concealed In the subterrene avenue that led To Chandragupta’s sleeping chamber — thence To steal by night, and kill him as he slept? Vir. They have sustained the fortune of the rest. Rdk. How so : were they discovered by Chanakya ? Vir. Even so — before the king retired to rest. The watchful minister was wont to enter The chamber, and with diligent scrutiny Inspect it — thus he saw a line of ants Come through a crevice in the wall, and noticed They bore the fragments of a recent meal ; Thence he inferred the presence of the feeders In some adjoining passage, and commanded That the pavilion should be set on fire That moment. Soon his orders were obeyed, And our brave friends, in flame and smoke enveloped, Unable to escape, were all destroyed. Rdk. ’Tis ever thus. — Fortune in all befriends The cruel Chandragupta. When I send A messenger of certain death to slay him, She wields the instrument against his rival, Who should have spoiled him of one-half his kingdom And arms, and drugs, and stratagems, are turned In his behalf, against my friends and servants, So that whate’er I plot against his power, Serves but to yield him unexpected profit. Vir. Yet let us on, Sir. What is once begun, Is not to be abandoned. Obstacles foreseen Deter the poor of spirit from an enterprize — MUDRA RAKSHASA. 185 Some, more adventurous but not all resolved. Commence, and stop midway ; but noble minds Like thine, by difficulties warmed, defy Repeated checks, and in the end prevail. A weary burden is the cumbrous earth On Sesha’s* head, but still he bears the load. Day after day the same fatiguing course The sun pursues, yet still he travels on. Shame mocks the man of elevated rank. Who holds his promise light, like meaner creatures : To him a law inflexible proclaims, His faith once pledged, he can no more recede.f Rile. You speak the truth — that which is once begun Should never be relinquished. Well, what else? Fir. Chanakya’s vigilance was now increased A thousand-fold, and every one suspected Of enmity to Chandragupta, all Your friends and kindred, found in Pushpapur, Have been arrested. Rale. Whom has he seized ? Vir. First, Jivasiddhi, the religious mendicant. Him he has banished. Rale, (apart). This is a slight affliction ; one who owns No children nor dependants. (Aloud) But wliat plea Was urged for such a sentence ? Vir. That he supplied. Employed by you, the poisoned emissary That killed Parvataka. Rdk. (apart). Well done, Kautilya, One seed bears double fruit with you — you lose A sharer of your spoil, and heap on us The infamy of his death. (Aloud) What more? Vir. He then * The many-headed snake on which the Earth is supposed to rest. t It may be doubted if perseverance is any where recommended in a more manly and spirited tone. 18 fi MUDRA rakshasa. Proclaimed, that Daruverma and the rest Were bribed by Sakata Das to kill the king, And he was sentenced therefore to the stake. Rak. Alas, how little fitting to my friend So vile a death ! Yet less art thou, who perishest In a loved master’s cause, to be lamented, Than I, who still in vain survive the fall Of Nanda’s race — Go on, I am prepared To hear the worst — what other friends have suffered ? Vir. In dread of what might happen, was your family Removed to a more safe asylum. Rak. Why were they not delivered to Chanakya ? Chandana Das in this is much to blame. Fir. He had been more to blame, had he betrayed His friend. Rale. Go on — Fir. He faithfully refused To yield his charge : Chanakya, then, incensed — Rak. — Put him to death ? Vir. Not so ; he had him seized, With all his family, and thrown in prison. Rak. Why then rejoicing tell me, that my family Is in a safe asylum — rather say. That I and mine are held in captive bonds. Enter Attendant. Victory to your Excellency ! — Sakata Das is at the gate. Rak. Is it possible ? Att. It is not possible for your Excellency’s servants to imagine an untruth. Rak. Viradhagupta, what is this ? Fir. Fortune relents, and has preserved our friend. Rak. Why do you hesitate — admit him quick. [Exit Attendant, and returns with Sakata Das followed by Siddhdrthaka, Sak. Victory to the minister ! MUDRA RAKSHASA. 187 Rdk. Welcome, my friend. I little hoped to see you. Since you were honoured with Kautilya’s notice. ( Embraces him. How chanced this happiness — inform me ? S/tk. This, My friend Siddharthaka dispersed my guard, And bore me off in safety from the stake. Rdk. ’Twas bravely done. These ill repay such merit, But favour us, and take them. {Gives him the jewels and ornaments off his person ,) Sid. {apart). I must obey my lord Chanakya’s orders. ( Falls at the feet of Rakshasa.) Sir, I am grateful; but I am here a stranger, and know not what I shall do with these valuables. If your Excellency will allow it, I should wish to leave them in your treasury — they can be sealed with my seal. Rdk. Let it be so. Sak. {taking the seal). What is this — your name, appears Engraved upon the seal {to Rakshasa). Rdk. [apart). Alas ! what’s this I hear ! When I departed from the capital, I left my wife this seal, to comfort her Under my absence — how should it now have fallen Into this man’s possession ! {Aloud) Say, Siddharthaka, How got you this ? Sid. I found it at the door of one Chandana Das, a jeweller of Kusumapur. Rdk. 'Tis probable — Sid. What, Sir? Rdk. — That seals like this are found At rich men’s doors. Sak. My friend Siddharthaka, The name of Rakshasa appears engraved Upon this ring ; present it to the minister. And be assured the gift will be rewarded. 188 MUDRA RAKSHASA. Sid. Its acceptance is all the reward that I desire. (Gives.) Rdk. My friend, this ring must be employed In our affairs. Sak. It shall be as you wish it. Sid. May I presume ? Rdk. Speak boldly. Sid. I have deserved, as your Excellency knows, the enmity of Chanakya ; I dare not return to Pataliputra, and I should therefore hope to be allowed to remain at the feet of your Excellency. Rdk. I am well pleased you have forerun my purpose. Sid. I am highly favoured. Rdk. Withdraw my friend (to Sakata Das). Go, taste repose awhile, With this your fellow traveller. _ ((Exeunt. Rdk. Now then, Viradhagupta, to the rest Of thine intelligence. How thrive the schemes That we have set on foot to sow dissension ’Twixt Chandragupta and his followers? Vir. Well — the chief accomplished, all the rest succeeds. Rdk. How so ; what mean you ? Vir. This especially, — That since Malayaketu was removed, Chanakya has been slighted by the prince : Whilst haughty with his triumphs, and disdaining Superior rule, he frequent disobeys The will of Chandragupta, who thence cherishes, I much suspect, deep and augmenting anger. Rdk. Return, my friend, in this disguise. There dwells At Pushpapur, the minstrel Stanakalasa ; He is with us — tell him, that Chandragupta Should be informed, by stanzas well designed To rouse his wrath, yet covert in expression, Chanakya contravenes his high commands. And spurns the king’s authority. Should aught MUDRA RAKSHASA. 189 Ensue, despatch a courier straight. To bring me tidings here, Vir. It shall be done. [Exit. Enter Attendant. Att. Victory to your Excellency ! Sakata Das sends word, these three sets of jewels are arrived for sale. Will your Ex- cellency examine them ? Rdk. ( looking at them). They are jewels of great price, Tell him to make the purchase, at what cost The seller may demand. \_Exit Attendant. I will send a courier to Kusumapur. Chanakya and his prince will surely sever, And then we reach our aim. Full well I know That Maurya, in his pride, conceives himself Supreme o’er all the monarchs of the world. With equal arrogance, Chanakya vaunts. This is my deed. — I made this man a king. The one has gratified his vowed resentment. The other reaped the fruit of his ambition. No mutual interest now cements their council ; No acts of friendship bind them now together ; And once a breach, however slight, be made In their alliance, ’tis dissolved for ever. END OF THE SECOND ACT. 190 MUDRA RAKSHASA ACT III. The Palace of Chandragupta at Pataliputra. Enter Vaihinara, one of the Royal Attendants. Ah — I feel I am no longer young ! — Desire, you torment me in vain. Age has set his stamp upon my forehead : my limbs afford but tardy obedience to my will, and should the objects of sense be presented to my senses, their functions are disappointed by their incompetence to perform them. What ho ! — Warders of the Sugdnga palace, prepare the apartments for the recep- tion of his Majesty, who is coming hither, to view from the lofty turrets, the city decorated as suits the festival of the autumnal full moon. What say you — the celebration is pro- hibited ! By whom, I pray you ? Why, you unlucky rogues, hold ye your lives so cheap ? — away, despatch — suspend bright chounris from the glittering pillars, and let festoons of flowers, and wreaths of curling incense twine round the lofty columns. Sprinkle the earth with flowers and perfumed waters, to re- cover her from her fainting fit, as it were, at being so long debarred the lion-mounted throne. Quick, quick ! the king approaches. He who in his tender years, faltering some- times through humanity, but never failing through fatigue, now supports the weighty burthen of the earth, which has been hitherto sustained by Iris mighty and unquailing pre- ceptor with nervous strength through the most arduous paths. Enter Ciiandragupta with Female Attendant. Chandra. How irksome are the toils of state to those Who hold their tasks as duties. — Kings must leave Their own desires, and for the general good, MUDRA RAKSHASA. 191 Foreco their own advantage. But to lose My own for others’ benefit makes me a slave ; And what should slaves know of sincere regard ? Fortune makes kings her sport, and vain the hope To fix the fickle wanton in her faith. She flies the violent, disdains the mild. Despises fools, the wise she disregards, Derides the cowardly, and dreads the brave. My honoured minister and friend commands me To wear the semblance of displeasure towards him, And rule awhile without his guiding aid. How can I act a part my heart disowns ? Yet ’tis his will, and he must be obeyed. The pupil, worthy of the name, conforms In all to his preceptor ; if he stray It is unwillingly — his teacher’s voice The goad that brings him back. Differing at once From those who have no power of self-election, And those who heed no pleasure but their own. The wise and virtuous never know restraint, For all they wish a sage preceptor sanctions. — Vaihinara, conduct us to the palace. Vcd. This is it ; please your majesty ascend ; Be careful. (Chandra gupt a mounts the terrace.) Chandra. How beauteous are the skies at this soft season ! Midst fleecy clouds, like scattered isles of sand, Upon whose breast the white heron hovers, flows In dark blue tides the many-channelled stream ; And like the lotus blossoms, that unfold Their petals to the night, the stars expand. Below is Ganga by the autumn led. Fondly impatient, to her ocean lord, Tossing her waves as with offended pride. And pining fretful at the lengthened way. But how is this ? as city-wards I gaze, 192 MUDRA RAKSHASA. I mark no note of preparation That speaks the festive time. Vaihinara, Did we not issue orders, that the capital Should hold this festival with due solemnity ? Vai. Such were your Majesty’s commands. Chandra. Why disobeyed, then ? Vai. They demand obedience From all the world — how should the citizens Withhold compliance ? Chandra. What, then, is this I view ! Why is the city thus immersed in gloom : Why do not sportive bands of either sex Spread mirth and music through the echoing streets : Why are not all the citizens with their wives Abroad and merry making : why shine not Their dwellings emulous with rival splendour. No longer dreading public to display Their affluence to their sovereign, not their tyrant ? Vai. The truth Chandra. Speak out. Vai. — Your majesty has spoken. Chandra. What mean you ? be intelligible. Vai. There is no merry making — ’tis forbidden. Chandra. Forbidden ! How — by whom ? Vai. Forgive us, Sire ; Your servants have not courage to inform you. Chandra. It could not be Chanakya ? Vai. Who should else Have set so little value on his life, As to oppose your Majesty’s commands ? Chandra. A seat, Sonottara. Vai. So please your Majesty, This is the royal throne. Chandra. Away, away — I must this instant see Chanakya ; — call him. Vai. As you command. [_Exit. MUDRA RAKSHASA. 193 Scene II. — Chanakya’9 House, Chanakya discovered seated. It will not be — though Rakshasa persist To thwart our projects and attempt to cast The king, as I hurled Nanda, from his throne, — His efforts are in vain. He does forget That Chandragupta is not Nanda, cursed With evil counsellors, proud and unjust. Neither is Rakshasa, though rank and title Confer similitude, Chanakya’s equal. I may discard these anxious thoughts. The prince Malayaketu is enclosed with toils That only wait the signal to secure him ; And Rakshasa himself is close surrounded By friends supposed, in truth my spies and creatures. There wants but this — the semblance of dissension ’Twixt me and Maurya’s son. — His own device Shall catch himself; his craft to disunite Our league shall scatter ruin midst the foe. Enter Vaihinara. The situation of a king’s servant is one of no little vexa- tion : he is not to stand in awe of his master alone, but of his master’s minister ; of the prince’s noble associates and friends, and even of the companions of his lighter hours. Learned men call a life of servitude a dogged life,* and very justly; for a servant like a dog lawns and whimpers, and all for a morsel of meat. Tnis is Chanakya’s house — a splendid man- sion for a minister and sumptuously furnished. Here is a bit of stone for bruising cow-dung fuel ; here is a bundle of holy grassj- collected by the disciples — and the old walls, from which a thatched roof projects, are covered by a parcel of fuel stuck up to dry. Chandragupta merits such a minister. False * Sevam laghavakarmim Swavrittim viduh — The term is applied by Menu to the service of a Brahman for hire. t Kusa, Poa Cynosuroules. VOL. II. O J 94 MUDRA RAKSHASA. flatterers laud a prince though he be good for nothing, and poverty compels many honest men to become false flatterers. Desire is a despotic emperor. Those who have no wants are your only freemen, and to them a monarch is no more than a whisp of straw. Ah ! there is the minister. Glory to your grace ! (Kneels.) Chan. Vaihinara, what brings you hither ? Vai. His majesty whose feet are touched by gems That gleam on regal diadems, declines His forehead to your sacred feet, and begs You will attend him speedily. Chun. Indeed ! Attend him speedily ! Has he heard, believe you, That I forbade the purposed festival ? Vai. He has. Chan, (angrily). Who had the daring to inform him ? Vai. Pray you, Sir, be patient : The king himself perceived it from the terrace Of the Sugdnga palace. Chan. By you he was inflamed to wrath against me. Vai. ( remains silent). Chan. Yes; well I know, the servants of the monarch Bear me but little love. Where is the king ? Vai. At the Suganga palace. Chdn. Lead me thither. [Exeunt. Scene III. — The Palace again. Chandragupta seated on the throne. Enter Chanakya and Vaihinara. Vai. So please your grace, ascend. Chdn. (ascending the terrace sees Chandragupta. Apart) He fills the seat of kings. — Why, this is well : The throne, the race of Nanda has abandoned. Now bears a prince who well becomes the state Of king of kings — my cares are all rewarded, (Chandragupta descends and falls at Chanakya’ s feet.) MUDRA ItAKSHASA. 195 Chan. Arise, my son. And may thy regal feet absorb the beams Shot from a thousand diadems, as bend Before thee in subjection and humility, The crowned brows of tributary kings — Whether they sway the shores of southern seas, Whose depths are rich with many coloured gems. Or rule the realms where Ganga falls in showers, Cold on Himala’s ice-encrusted brow. Chandra. So will it be whilst I retain your favour, Whate’er my wish affect. — I pray you sit. Chan, (seated). Now, Vrishala, what means this urgent summons ? Chandra. To gain the pleasure of your honoured presence. Chan. Enough of this — kings do not call their servants From weighty cares on insufficient grounds : Declare the cause. Chandra. Your excellency’s orders Inhibiting our festival. Chan . For this You would reprove me ? Chandra. Nay, not so. Sir ; I merely seek to be informed, C'hdn. ’Tis well. But ’tis a pupil’s duty, to be ready To acquiesce in acts that he may think Demand inquiry. Chandra. No doubt. But I am sure. The measures that must claim my acquiescence Are not without their reason, and ’tis that I beg to know. Chan. You rightly judge me, Vrishala ; Chanakya never acts, even in his dreams. Without due motives. Chandra. Those I wish to hear. o 2 196 AIUDRA UAKSHASA. Chun. Have you not read, all public acts possess A threefold source, and from the king, the minister. Or both conjointly emanate. What I have done. Is done by virtue of the state I hold ; And to inquire of me why I did it, Is but to call my judgment or authority In question, and designedly affront me. ( Chandragupta turns away as if offended.) Music behind. First Bard. Like Siva’s ashen whiteness, autumn bears The budding grass,* and like the fold hide wears The dun clouds, f scattering from the silver beams Of the bright moon — that in mid azure gleams. As on his polished brow J — Above, below, O’er all, they twine ; More brilliant than around his neck the line Of the skull-woven chaplet§ — see— on high, Yon row of swans sail laughing through the sky, * Siva is represented with his person powdered with the greyish white ashes of burnt cow-dung, termed Vibkuti, which is consequently used in a similar way by all the Saiva and by many of the Vaishnava ascetics. The sea- son of autumn, or that following the rains, is said to he invested with a similar whiteness, from the kasa grass, or saccharum spontaneum, with which the country along the Ganges, and the banks of rivers in general, are over- spread at this period. This grass grows from ten to fifteen feet high, and the base of the flowers is surrounded with an immense quantity of bright silver-coloured wool, which whitens all the fields. t Part of Siva's scanty raiment is the skin of an elephant, or more pro- perly of an Asura or Titan killed by him under that form, and thence named Gajasura. To this the autumnal clouds, no longer deeply laden with the dews of a tropical climate nor yet wholly discharged of their waters, are not unaptly compared. f Siva, as has been mentioned on various occasions, wears the crescent moon upon his forehead. § A necklace of sculls adorns the neck of Siva in his terrific forms. MUDRA RAKSHASA. 197 The Godhead’s pearly smile.* — May Autumn,-}- clad In Siva’s semblance, thus like him make glad The hearts of men. May Vishnu's shrinking glance Yield peace and joy — as, waking from his trance, His opening eyes are dazzled by the rays From lamps divine, that blaze. And from the gems That burn upon their stems : Those eyes, that with long slumber red, Ambrosial tear-drops shed. As pillowed on his snake-couch mid the deep He breaks reluctant from his fated sleep. j; Second Bard. Shall monarchs mighty o’er innumerous bands Allow their slaves their hests to disobey ? Shall the gaunt lion suffer puny hands To rend his talons and his fangs away ? Is that god-given strength to be reviled From Brahma, that proceeds. And upon earth on kings alone conferred ; Or on the monarch of the wild, The elephant, who leads Through shady groves and dells his fierce, yet subject herd ? What makes a monarch, not his throne, his crown — But men to work his will— to tremble at his frown. * It is a curious common-place in Hindu poetry, to compare a smile to objects of a white colour, originating perhaps in the striking contrast be- tween the teeth and the complexion, which give to the former when dis- played in a laugh additional whiteness. t The season of Sard, or the two months Aswin and Kartik (from Sep- tember to November!, which follow the periodical rains. j At the intervals of the minor destruction of the world Vishnu is repre- sented as reposing himself upon the serpent Sesha, amidst the waters by which the earth is overspread. He also takes a nap of four months’ duration from the 11th of Asharh to the 1 1th of Kartik, or about the middle of June to the middle of October, or from the time the periodical rains usually com- mence till their termination, and it is to his awakening from this last slumber, as most apposite to the season, that the Vaitalika, or Bard, alludes. 198 MUDRA RAKSHASA. Chan, (meditating.) What do these strains import ? The first conveys A simple benediction ; but the second Has deeper meaning. Ha ! is it e’en so ? It must be : Rakshasa ; thy hand is here : But ’tis too palpable. Chanakya wakes ! Chandra. Vaihinara, Reward those stanzas with a thousand pieces.* Vai. I shall obey your majesty. Chdn. Hold, hold ! Vaihinara. [To Chandragupta. What has deserved such prodigal bounty ? Chandra. If thus my lightest mood is to be canvassed And thwarted by your excellency, my kingdom Is but a prison to me. Chdn. It is ever thus When monarchs reign with delegated sway. If I displease you, take into your hands Your own authority. Chandra. We shall do so. Chdn. I am content, and gladly shall return To humbler cares. Chandra. Yet we would first be told Why you forbade the wonted festival ; Or whether worthier motives prompted you, Than the proud thought to contravene our will. Chdn. Why deem I wish to contravene your orders ? What other hands have hung them, as a wreath Of newly-gathered flowers, upon the neck Of prostrate princes — those, whose rule extends As far as to the boundaries that girt The black and tossing waters of the main. Chandra. What else could urge you ? Chdn. I shall inform you. Sonottara, request the scribe to give you * In the original, a hundred thousand suvernas : the number is a fa- vourite donation, and is put, in fact, for any considerable sum. MUD11A RAKSHASA. 199 The scroll I trusted to his care. \_Exit Sonottara and returns with the paper. Son. ’Tis here. Sir. Chan. Your Majesty will please to pay attention. (Reads) “ The chieftains late attached to Chandragupta And now deserted to Malayaketu. — First, Bhadrabhatta, governor of the elephants ; Purushadatta, master of the horse ; Then Hingurata, nephew of the chamberlain ; His highness Balagupta, the king’s cousin ; The tutor of the young prince, Rajasena ; The general’s younger brother, Bhagurayana ; His highness Rohitaksha, prince of Malwa ; And lastly, Vijayaverma, chief by birth Of all the warrior tribe.” Chandra. Why have they fled ? Chan. The masters of the elephants and horse. Neglecting their high charge for wine and wassail, Had been displaced, and though allowed such means As their late rank demanded, such reduction But little pleased the chieftains, and they left us To seek the service of the enemy. ’Twas avarice urged the nephew of the chamberlain, And even your Majesty’s kinsman, to desert : They sold their faith. The tutor of the prince. Whom with most lavish benefits your Majesty Had ever recompensed, conceived a dread. The bounties showered upon him would ere long Be by your hand resumed ; and, to retain The wealth he merited so ill, he fled. For Bhagurayana, friendship of old Attached him to the sire, and this regard Extending to the son ; his councils snatched Malayaketu timely from our grasp. Awhile he tarried ; but of late observing Y T our highness’ policy secured your foes, 200 MUDRA RAKSHASA. His conscious treason warned him of his peril And counselled his escape ; he fled, and now Is high in favour with Malayaketu, Who grateful for his aid, and in remembrance Of that affection which he showed his father, Has nominated him his minister. The prince of Malwa, and the Kshetriya chief, Disdained the elevation of your kin To rank competing with their own, and hence Their flight. Your doubts are now, I trust, removed. Chandra. And yet methinks ’tis strange — the principles That influenced these nobles known so well. Nought was devised to stop their purposed flight. Chan. What means could prudent policy suggest ? Favour already had been tried in vain. And vainly would have bribed their future faith ■* While force had brought your new-got power in peril, Opposed to their adherents, joined by those Who lurk the covert enemies of your reign. ’Tis well they are from hence — but thus assisted, And further aided by barbaric hosts, Malayaketu purposes to march And storm us in our capital. Is this A time for frivolous merriment ? — a time To muster men, repair our shattered walls, To toil in arms, not idle in festivity. Chandra. I marvel much, that foresight so profound As still your councils evidence, allowed The only cause of all these causeless fears, Malayaketu, to escape our power. Chdn. Why needed it prevention ? Our sole means To countercheck his flight, had been to cast His person into bonds, or to have yielded him, As plighted to his sire, your kingdom’s moiety. — * This passage is compressed, the original again particularizing each individual. MUDRA RAKSHAS.U His thraldom had exposed us to men’s censure, For violence and deep ingratitude : And to but little purpose had our hands Removed the mountain monarch from his claim. Had we conceded empire to his son, — These reasons moved me to permit his flight. Chandra. And yet you suffered, seemingly unnoted. The stay of Rakshasa within our capital. Chan. I would not give it public note. His friends Were many, of fidelity approved. Devoted to his will, inflexibly attached By his own worth and by long service to him. All, too, that cherished Nanda’s memory, Made common cause with him, and his vast wealth Secured adherents numerous and brave. Provided with these hostile means, he long Maintained a dangerous ferment in the capital. But like a barbed arrow from a wound By dexterous sleight extracted, he was driven At length to quit the city, and remote. Wage an avowed and less alarming enmity. Chandra. Why not arrested and by force detained ? Chan. The act had led to blood — and Rakshasa Had perished in the desperate attempt To make him captive living, or had wrought Escape by the destruction of your friends : Either alike to be lamented. No ! ’Tis craft that snares the monarch of the woods, And stratagem alone must win us Rakshasa. Chandra. ’Tis shrewdly argued, but the truth is clear. And you must own in Rakshasa a master. Although the city was our own, this foe Abandoned not his home : treading disdainfully Upon our very throats, he echoed back Our clamorous shouts of triumph with defiance, And laughed all threats and stratagems to scorn. 202 M Unit A ItAKSHASA. Oh ! none but those who boast unquestioned worth Deserve our trust — not the mere partial friends. Whom prosperous fate attaches to our cause. Chun. ’Twere wise in you to give your trust to Rakshasa ; He, who would drive you from your throne, as I Expelled the sons of Nanda, — who would raise Malayaketu to that throne, where I Have seated you. Chandra. ’Tis fate I thank — no mortal — for my sceptre. Chan. Illiberal and ungrateful ! Who but I Vowed and achieved the downfall of my foes ? Whose hand but mine unloosed these angry locks Portending wrath and fate ? What other arm Destroyed inexorable all the race Of Nanda, o’er a hundred kings supreme ? Like beasts I felled them ; and this vaunted statesman. This Rakshasa, looked on. From numerous pyres, and undisturbed, the smoke Spread a long veil of clouds beneath the sky, And blurred the light of day ; expectant flights Of vultures hovering o’er the darkness, clapped Their wings with hope, and gibbering spectres snuffed, Exultingly, the exhalations borne Aloft by flames, w hose sullen fierceness fed Upon the marrow and the flesh of kings. Chandra. The hapless race of Nanda were destroyed By adverse destiny. Chan. Thus, shallow mortals Ascribe whatever ill betide to fate. Chandra. Wise men refrain from idle vaunts. Chun. Enough ! I understand you. Vrishala, you seek To trample on me as a slave. My hand Hurries to set my braided locks at liberty. And my impatient foot again w ould stamp The confirmation of a second vow r . — MUDRA RAKSHASA. 203 Beware how you arouse those slumbering flames That Nanda’s fall has scarcely yet appeased. Chandra, [apart). Is he indeed incensed ! Methinks the earth Shakes, apprehensive of his tread, recalling The trampling dance of Rudra ; from his eye. Embrowned with lowering wrath, the angry drops Bedew the trembling lashes, and the brows Above are curved into a withering frown. Chan. Here break we off; I will no more contend. If Rakshasa be better worthy trust, If he be my superior give him this. \_Throws down his ministerial dagger .* This is indeed his triumph ! Well he knew, Could he remove Chanakya, he should soon Achieve a victory over Maurya’s son. His ends are all accomplished : the dissension He sought to rouse has risen. Yet, miscreant, yet Thy scheme malign shall only yield thee shame ! \_Eiit. Chandra. Vaihinara, apprise our court, the Brahman Chanakya is dismissed, and we ourselves Henceforth conduct the functions of the state. Vai. [apart). Chanakya out of office ! this is strange : Not mine however to condemn his majesty. ’Tis a sufficient fault in any minister To be dismissed. The elephant is termed A vicious beast who frequent quits his path, Although his awkward driver goads him from it. Chandra. What do you murmur ? Vai. Nothing, your Majesty. I but observed. That now your Majesty is king indeed. £ Exit . Chandra, [apart). Our own immediate followers deceived, My great preceptor’s project cannot fail. * The original has simply, weapon, “ sastram.' ' A dagger of a particular hape is the official weapon, however, in modern Hindu courts. MUDRA RAKSHASA. (Aloud) Sonottara, this wearisome contention Has quite o’erpowered me— lead me to my chamber. (Apart) Although ’tis in obedience to his will I have put on this show of disrespect, My mind is ill at ease. Oh, how can those, who have indeed provoked The awful anger of their sacred guide, Survive the terrors of such dread displeasure ! [Exeunt. END OF THE THIRD ACT. MUDRA RAKSHASA. 205 ACT IV. The House of Rakshasa. Enter Courier. A hundred yojanas and more, out and back again, are no slight matter, and no one would have thought of such a thing, only that my master’s commands were peremptory to travel with- out stopping. Now, then, to the minister’s residence. Holoa ! where is the warder, to apprise his excellency that his courier Karabliaka, like a camel in speed, has returned from Patali- putra? — What ho ! Enter Warden. Gently, gently, my friend ! — his excellency, exhausted with fatigue and watching, is troubled with a violent headache, and is not yet risen — so, wait awhile, till I find an opportunity of informing him you are returned. Cour. Very well, take your own time. [Exeunt. Rakshasa discovered on his couch — Sakata Eds asleep on a chair. Rdk. It will not be — sleep flies me — nor the change Of night or day short intermission brings From wakeful care ; whilst fate continues adverse. And aids the crooked projects of Chanakya. Such task is mine as on dramatic bard Devolves — to fix the object of the action, Develope fitting incidents, uprear Fruit unexpected from self-pregnant seeds. Dilate, condense, perplex, and last reduce The various acts to one auspicious close. MUDRA RAKSHASA. 20 (» Enter Warden. Glory to your excellency !* Rah. Y our news ? War. The courier, Karabhaka, from Pataliputra is returned, and is desirous of being admitted to your presence. Rdk. Haste, bid him enter. War. ( without and returns'). He is here. Sir. Rah You are welcome — sit. Cour. As you command. [They retire. Enter an Attendant on Malayahetu, bearing a staff. Stand apart : stand out of the way. Know you not, my masters, the vulgar are not admitted to the sight of kings and Brahmans of high rank. Out of the way ! — his Highness the prince Malayaketu approaches, on his road to visit the minister Rakshasa who is indisposed. Away, away ! [Exit. Enter Malayaketu with Bhagurayana and an Attendant. Mai. Nine months have o’er us passed, since that sad day My father perished, and his spirit still asks His funeral honours — the revenge I vowed. But which, scarce meriting the form of man, I hesitate to pay. To beat the breast To rend the vesture, to discard all ornament. To scatter ashes on the humbled head. And utter groans and sighs, — these are the shows Of feminine despair, to be exacted From the afflicted partners of my foes. As a fit offering to my father’s ghost — This were a proof of filial grief and love. And still withheld, admits no more delay. I will take up the brave man’s load, and tread The fatal path my sire has gone, or dry * There is some inauspicious juxta-position of expressions here between Rakshasa and the Door-keeper, which cannot well he translated even if worth translating. MUDRA RAKSHASA. 207 I\Iy mother’s tears, exchanged for bitter showers The wives of slaughtered enemies shall shed. Jajali, let the princes who attend us Here halt awhile ; alone, we would receive. And unannounced, the welcome of. our minister. Jajali. (speaking as to persons without). Princes and potentates, his Highness orders That none shall follow him ; here halt awhile. (To the Prince ) They have obeyed. Sir, and like ocean’s waves. Pass not the bounds assigned. The steed short-reined Curves his proud neck and paws the passive air. As if to spurn the skies : the stately elephant Stops sudden, and the music of his bells Is on the instant mute. Mai. You and my train Fall off, and none but Bhagurayana Attend me to the minister. Jajali. Your Highness is obeyed. (Exit with followers. Mai. My valued friend, the nobles who have late Abandoned Chandragupta, and transferred To us their faith and service, have declined The mediation of our minister Rakshasa ; And rather by the surety of our general Proffer their fealty. They justify Their flight from Chandragupta, that they found him The puppet of his minister Chanakya, Whose arrogant sway they longer scorn to brook. And therefore with their followers withdrew From an unworthy lord, to choose us worthier Their plighted troth. This I can comprehend ; But that they should refuse the guarantee Of one so wise, so brave, and so approved A servant and a friend, as Rakshasa, Does somewhat, I confess, move my surprise. Bhag. And yet, methinks, their motives are not hard 208 MUDRA RAKSHASA. To scan, and haply may be thus expounded. ’Tis true, that Rakshasa has ever seemed Your Highness’ faithful friend ; but ’tis well known, Chanakya is the object of his emnity. Not Chandragupta. Should, then, the prince Discard the haughty minister, no more Might Rakshasa affect your Highness’ interests. Nay, ’tis surmised, should such event betide. That from the love he bears the stock of Nanda, Of which this Chandragupta is a scion, He may be tempted to desert our cause And join the enemy, who, in regard Of old hereditary ties,* no doubt. Will gladly welcome Rakshasa again. In prudent fear of such vicissitude. These valiant chieftains have declined the surety Of Rakshasa, lest from his veering faith Their own fidelity become suspected. ’Tis thus that I conceive of their objections. Mai. ’Tis plausibly interpreted. — Let us on And seek the minister. Bhag. This is his dwelling : So please your Highness enter. Rakshasa and the Courier — Malayaketu and Bhagur- ayana behind and unobserved. Rdk. Now tell me, friend ; you went to Kusumapur, And saw the bard to whom you were addressed ? Cour. I did. Sir. Mai. They talk of Kusumapur. Hold back awhile, And listen to them unobserved ; for courtiers Disguise unwelcome truths, when to their masters * The history of modern India, and the records of inscriptions some centuries back, shew that the office of minister was frequently hereditary, and that the lines of king and premier ran collaterally through several generations. It is this connexion to which the original refers. MUDRA RAKSHASA. 209 They bear intelligence, but when in private They speak their honest thoughts. Rale. And have we speeded ? Cour. Such is your grace’s fortune. Rdk. How, let me hear ? Cour. Agreeably to your Excellency’s commands, I set off with all speed for Kusumapur ; there finding Stanakalasa the Bard, I communicated to him my instructions. Rale. Proceed. Cour. It so chanced, that at the period of my arrival, Chan- dragupta purposing to win popularity with the citizens, issued orders that the autumnal festival should be held with usual celebration. The gratifying tidings spread rapidly through- out the capital, and the people welcomed it with as much rapture as a man feels when he meets with a kinsman. Rule. Alas, lamented Nanda, moon of monarchs, How, reft of thee, should autumn’s moonlight shed* Delight upon the nations ! — What ensued ? Cour. Whilst the expectation of the people was at its height, the festival was suddenly prohibited by the villainous Chanakya, much to their disappointment ; and Stanakalasa availed himself of this opportunity to recite some stanzas, cal- culated to rouse Chandragupta’s indignation. Rale. ’Twas seasonably done. The seed is sown. And in due time shall bear the fruit of discord. The very vulgar brook impatiently The sudden interruption of their pastimes ; And shall a king, of nature uncontrolled And spirit lofty as his state, submit To such degrading check ? impossible ! He must and will resent it. — Pray proceed. Cour. Chandragupta was highly incensed at this opposition to his commands, and after bestowing many praises on your excellency’s merits, he dismissed Chanakya from his station. * The original has some quibbling upon the words Chandra and Chan- dratwa, the moon and its nature, or Chandragupta and moon-like lustre. VOL. II. P 210 jMUDRA RAKSHASA. ]\Ial. (behind.) Indeed, does Chandragupta prize so high The worth of Rakshasa? Bhag. He shews much less The rate at which he holds it, by his praise. Than by his thus discarding so abruptly His minister Chanakya. Bilk. Yet, methinks, The prohibition of a popular festival. Were insufficient reason to exite The wrath implacable of Chandragupta Towards Chanakya. Mai. It is enough, methinks — Why seeks he other motives? Bhag. He opines, Chanakya were too wise to be displeased With Chandragupta for a trivial cause, And that the prince would scarce prove so ingrate To one whom he may thank for his dominion. As to forget the deference that is due To his preceptor ; therefore, if the breach Be cureless, it must spring from graver source. Cour. There were other causes, your excellency, that moved Chandragupta to wrath. Ruk. What were they ? Cour. The escape of the prince Malayaketu, and the eva- sion of your excellency, with both which the prince reproached Chanakya. Ruk. (to Sakata Ddsa). What ho, my friend, awake, awake, we triumph : I have my hand on Chandragupta now. * Sak. (awaking.) How, are your family arrived, your friend Chandana Das at freedom, and the rest Escaped from apprehension ? Bhag. (apart.) It is true — They now indeed are free from all anxiety. * The expression is literally, he is now under my hand. MUDRA RAKSHASA. 211 Mai. “ I have my hand on Chandragupta now” — What should these words of Rakshasa import ? Bliag. What else, but that Chanakya now removed, He counts the regency of Chandragupta Already in his grasp. Ruk. Heard you, my friend. Whither the minister, dismissed, retired ? Cour. At present. Sir, he remains in Pataliputra. Rule. lie has not sought the forest dwelling then ? What, does he meditate another vow ? Cour. It was rumoured, that he purposed to depart and end his days in the woods. Rule. I deem this little probable. What think you, friend ? ( to Sakata Das.) Will he, who so resented Removal from his seat, though by a king, Who like an earthly Inclra ruled, commanded, Patient endure expulsion from authority By one whom he himself created king ? Mai. What is to him Chanakya’ s forest dwelling ? Bliag. Methinks ’tis much — he holds his aim secure. As long as lives Chanakya far removed From Chandragupta. Sak. (to Rakshasa.) What need further doubt : It cannot be that Maurya, who has placed His foot on prostrate kings, and proudly trod On moony diadems, should bear contempt And insult from a servant ; and though Chanakya Be of obdurate temperament, he knows What pains one vow has cost him, and may pause Ere he again indulge his fiery nature To weigh the turns of ever slippery fortune. Ruk. You rightly judge — I will be satisfied. Go, lead this faithful messenger within. And let him taste repose. Sak. I shall obey. p 2 [Exit with Courier. 212 -MU DR A RAKSHASA. Rdk. Now to the prince. (Going he is met by Malayaketu and Bhagurayana advanein Mai. Behold him here, my lord. I come to save your excellency trouble. Rdk. To do me honour. Please your highness sit. Alai. I trust the indisposition that ere while Afflicted you is now subdued ? Rdk. Impossible, Until the style of Highness, howe’er graced By your high bearing, be exchanged for that Of Majesty, more fitted to your worth. Alai. Tis long Your excellency has promised such a change Is feasible — when will it be effected? We gather here a formidable host, Who burn to march against the foe. Rdk. Proceed. The hour is come — conduct them forth to conquest. Alai. What are our hopes — what tidings of the enemy ? Rdk. He has sustained a heavy blow. Alai. Explain. Rdk. Discord has risen ’twixt the prince and minister. And severs Chandragupta from Chanakya. Alai. No mighty loss, methinks, to lose a minister. Rdk. To other princes none — but a main wound To Chandragupta. Mai. Less to him than others. Rdk. How so ? Alai. The proud deportment of Chanakya Excited general disaffection. Now, He gone, the minds of men will reassume. With whetted zeal, affection to their prince. Rdk. Not so — there are two parties in the state, The friends of Chandragupta or of Nanda. The arrogance of Chanakya may have proved Distasteful to the former ; to the latter MUDUA UAKSHASA. 213 It nought imported. They beheld alone The base ingratitude of Chandragupta, Who could abet and aid the murderous plot, That his own kinsmen and his benefactors Consigned to death. For this then- scorn and hate Pursue him unrelenting, though he boast The name and sway of king, and though the many Conceal their sentiments, whilst unassured Of safety from his power. Let them observe A prince of potency advance his arms Against the tyrant, they will not be tardy To join his banners, and proclaim their enmity By overt acts. Such they behold in you. Their hope and their protector, and already They frequent seek asylum in your tents. Mai. Yet, is the minister’s disgrace the sole Inducement to advance ? I apprehend There may be other reasons. Rak. Such there are : But this the chief. Mai. Has Chandragupta none Among his servants, able to supply The vacant charge ; or if upon himself He take the load, may he not still defy us ? Rak. He cannot. Mai. How so? Rak. Be pleased. Sir, to take note : The weighty cares of state are jointly borne By ministers and kings — or kings alone. Not so with Chandragupta: inexpert Of wordly business, he devolved all charge Upon his minister — all in all to him. As to a blind man is his trusty guide. Fortune, impatient of divided pains, Must, where a king and minister dispute Her favours, one for other wholly fly. 214 MUDllA KAKSHASA. And the unpractised prince, who nothing knows Of kingly rule, can no more hope to govern His empire with prosperity, deprived Efficient counsel, than the babe receive Due nutriment, denied his nurse’s breast. Mai. {apart) ’Tis well I am not so dependent. {Aloud.) Yet, To an invader, you must be aware. Some weightier motives need, than the dismissal Of the most sapient minister. Rdk. In this There needs no more. But let your highness weigh These circumstances also, which concur To urge your march — your forces are collected ; Yourself, the heir legitimate of kings ; Your adversary but a base usurper. His very capital is hostile to him. In me you have — ( checking himself) a faithful guide at least ; And all appliances and means to boot Provided ; nought remains but your command. Mai. Then let us march. Our mighty elephants Shall drink the Soan’s dark waves, and echo back The roaring of its waters — spread through the groves That shade its bordering fields, intenser gloom ; And faster than the undermining torrent, Hurl its high banks into the boiling stream ; Then rolling onwards like a line of clouds That girts in rain and thunder Vindhya’s peaks. Environ with portentous storm the city, And lay its proud walls level with the ground. {Exit with Bhdgurciyana. Ruk. Who waits ? (Enter Attendant.) Whatever Soothsayer* attend, * A belief in judicial astrology has prevailed throughout the East from the earliest periods on record to the present day. At U DR A KAIvSHASA. 215 Command approach. [The Attendant goes out and returns.) So please you. Sir, the Dauddha mendicant Is here. Rdk. A Bauddha mendicant the first encountered !* Att. ’Tis Jivasiddhi, Sir. Rdk. Let him assume a not revolting semblance. And bid him enter. The Attendant goes out and returns rvith Jivasiddhi, a Kshapanaka. Jiva. The precepts of the holy Saintsf should ever be obeyed, By virtue of whose cooling drugs is passion’s heat allayed : Whose healing skill a bitter portion here on earth has given, That afterwards a sweet succeed, and man find health in heaven. May the faithful ever know Virtuous increase here below. Rule. Now tell me. Sage, — is this a day auspicious For men to undertake a distant journey ? Jiva. ( after meditation). The aspects are viewed. The conjunctions are good : Or by noon will decline * An unlucky omen; to deprecate which is the purpose of Raksfiasa’s next speech. t Of the Arhals. By this and by his salutation of Srdvaka addressed to those whom he speaks to, it is clear that, although the author calls this character a Kshapanaka, a Bauddlia mendicant, he means a Jain. Th cBaud- dha salutation is Upasaka or Buddhopasa/ca, worshipper of Buddha, (see Mrichchakaliha). Sravaha is the generic term of the Jain laity, and Sdvatja Dhamma laho liodu for Snivalca Dherma labha bliavatu as used by Jivasiddhi in one place, is still the ordinary salutation a Jeti, or religious Jain, proffers to the laity. From the introduction of the Jains the antiquity of the drama cannot be very great- The mendicant speaks Paisaehi Prakrit, it is said by the commentator : it differs not much from Mdgadhi. 216 MUDRA RAKSHASA The Star that’s malign. But the way must go forth To the South from the North, As the full moon is bright In the East on the right. And the Sun sinks to rest On the left in the West ; Whilst Virgo displays Before you her rays, And Mercury hies To her house in the skies ; And in front too appears The pale gleaming star. That spreads through the spheres Fear, famine, and war. Rale. The day, as reckoned by the moon, I find Is unpropitious. Jiva. And what of that ? The day no more Than one is counted — planets, four : And mansions are thrice twenty told And four. If friendly these, be bold ; For save when through the dark eclipse The moon with difficulty slips, The lunar influence shall bestow Whate’er you seek, where’er you go.* Rak. Consult with other learned soothsayers — * The astrological purport of these passages can scarcely be made intel- ligible without conversancy with the original system. It is considered favourable to set out on a journey when certain divisions of the lunar day or Karanas do not occur, and when the moon is rising on the one hand, and the sun setting on the other, and when the Lagna, or point of rising of Mercury in that portion of the Zodiac appropriated to Virgo, occurs in front of the traveller. Rakshasa objects that it is the day of full moon, which as well as the 6th, 8th, and 12th lunar days, are considered unpropitious. The astro- loger replies, that it is decidedly so only when an eclipse occurs, and that if other aspects are propitious the journey may be undertaken. MUDRA RAKSHASA. 217 Jiva. Not I — Do you consult them,* I shall go home. Rak. Nay, be not offended. Jiva. I know of no offence — but some one does. Rak. Who ? Jiva. Fate, who drives you blindfold on your way. To join the foe, and your own friends betray. [Exit. Rak. (to the servant.) See — what is the hour ? Att. Near sunset, Sir. Rak. Indeed — so near the time, when like the slaves That fly a lord whom fortune has abandoned. The trees that cast their shadows at the dawn With servile speed before the rising sun, Now turn them backward from his downward course. [ Exeunt . * This reply has nothing strange to those who know the sturdy self-im- portance of Hindu ascetics, and especially of the Jetis, when of any consi- deration with their own sect. END OF THE FOURTH ACT. 218 AIUDRA RAKSHASA. ACT V. The Camp of Malayaketu. Enter Siddharthaka, (with a Letter and Packet). The creeper of Chanakya’s policy will put forth fruit un- doubtedly, watered as it is with the dews of wisdom, shed by the clouds of place and time.* — This letter is intrusted to me by the illustrious statesman, signed with the seal of Rak- shasa, and this packet with the ornament he presented to me is sealed with the same. With these I will return to Patali- putra — ( Going — stops ) How ! a heretic approaches this way — an unpropitious encounter ! It cannot now be helped ; I will counteract its effects by looking at the sun. Enter Jivasiddhi. All glory be paid to the Arhats, who shew The only true path to perfection below. Sid. Soothsayer, I salute you. Jiva. Be of good faith, son, for in hand Designs thou hast that faith demand, A task as full of fear and pain As traversing the boundless main. Sid. How do you know ? Jiva. That which I know I know, and thou Upon a journey travellest now : Such purpose thy appearance shows ; What else, that letter will disclose. Sid. As it seems you know my intention, and that I am * This metaphorical style is not natural to the compositions of the period to which the drama belongs : the Hindus were perhaps beginning to borrow it from their neighbours. MUDRA ItAKSHASA. 219 travelling to another country, tell me, I beg of you, whe- ther this be a lucky day. Jiva. What think’st thou that thy shaven pate May from the planets learn its fate ? Sid. You know, so speak at once. If. it be lucky I will go; if not, I will tarry. Jiva. It unpropitious is to steal From hence without the prince’s seal. Sid. How so ? Jiva. I will tell you in plain words — It was lately free to all to pass at pleasure to and from the camp, but now we approach Kusamapura, no person is allowed ingress or egress without a passport signed by Bhagurayana with the prince’s seal. If you have such, proceed — if not, hide yourself close, or you will be seized by the guard, and brought back bound hand and foot. Sicl. You do not know, I fancy, that I am the friend of his excellency the minister Rakshasa. Who shall stop me, though I have not a pass ? Jiva. The friend of the devil you may be,* it weighs nought : there is no other means of going forth but the prince’s seal. Sid. How then can I effect my purpose ? Jiva. I trust you may succeed, go on — I shall to Bhaguray- ana, and solicit a passport for myself to go hence to Pataliputra. [Exeunt severally. A Pavilion near Malayaketu’s Tent. Enter Bhagurayana and Attendant. Bhdg. Chanakya’s policy is most surprising, And whether he succeed or fail, improve Success or screen discomfiture, extract Fair fruit from seeds sown in ungrateful soil. He proves himself the statesman, and still triumphs As sure and irresistible as fate. * The literal phrase is, friend of llahshasa or Pisacha, those words im- plying literally a fiend, a goblin. 220 MUDRA RAKSHASA. Bring me a seat here, Bhasura, the Prince Commands me to attend in his pavilion : Should any seek my signet give them entrance. Alt. I shall observe, Sir. Q Exit Attendant. Bhtig. It grives me much this prince, whose honest thoughts Affect me with regard, should from me reap Requital so unmeet as treacherous friendship. And yet what else is in my gift ? Who ow ns Dependence on another, must resign All claim of kindred, friends, the world’s esteem. And equal weigh disgrace or reputation. He sells his soul for perishable treasure. Does as he’s bid, nor longer has the privilege To scan the difference betwixt right and wrong. Malayaketu enters behind with Vijaya, an Attendant. Mai. These doubts of Rakshasa perplex me strangely : And whether I may venture to rely Upon his faith, Chanakya now dismissed From Maurya’s entertainment, or it be More prudent to regard him as an enemy Hereafter dangerous, alternate moves Conflicting thoughts, ’midst w T hich my understanding Whirls like a potter’s wheel, nor finds A point on which to settle in decision. Where shall I meet with Bhagurayana ? Vij. So please your Highness, yonder he sits, Engaged in granting passports to those persons Whose business calls them from the camp. Mai. Approach him gently. His head is downward dropped, and with his hands He veils his eyes, as if in meditation. Enter Attendant. So please your excellency, a mendicant requests admission for a pass. MUDRA RAKSHASA. 221 Bhag. Let him enter Attendant goes out and returns with Jivasiddhi. Jiva. Believer,* may you know increase of virtue ! Bhag. (apart') How, Jivasiddhi, the friend of Rakshasa? (aloud) Sage, I salute you. Jiva. May your virtue prosper. Bluig. You go hence, I deem, on Rakshasa’s affairs ? Jiva. Not so ; I quit this place that I may hear His name no more. Bhug. How now ! what grave offence Against the seer has Rakshasa committed ? Jiva. None against me ; But I repent me of my past misdeeds. Bhdg. Repent of past misdeeds ! You much exite My marvel. Mai. (behind) And mine too. Blidg. I wish to hear The secret import of your words. Mai. So I. Jiva. I cannot utter things, so all unfit To be made known. Bhdg. The deeper seems the mystery, The more my need to hear its explanation. Jiva. There is no mystery, but much of shame. Bhdg. If there be nought mysterious, speak the truth. Jiva. I will not. Bhug. Then expect no passport from me. Jiva. Perforce then I must make disclosure. — Hear ! Dwelling at Pataliputra, I contracted. Though poor, an intimcy with Rakshasa, At that same season when his craft employed The poison-maid his secret instrument To work the murder of the mountain king. * Savage, dhamma viddld hodu, for Srdvaka Dlierma vriddhi bhavalu. Sravaka is properly a hearer, but is applied to the Jains. 822 MUDRA H AKSHASA. Mai. My sire destroyed by Rakshasa, and not, As I have still imagined, by Chanakya ! Jiva. I after shared his fortunes, when ere long I was exiled the city by Chanakya — But now, with his own policy engrossed, He plans some scheme by which I may be banished From life. Blu'tg. Yet, hitherto, the rumour runs, The murderous act was by Chanakya wrought, Not Rakshasa — its object, to evade The resignation of the pledged gratuity For friendly aid, a moiety of the kingdom. Jiva. ( covering his ears ) Mark me, Believer — to this hour Chanakya, Knows not the venomed-maid even by name. Bhdg. 1 seal your passport ( seals it) ; but attend me now. To bear these matters to his highness. Mai. I am here ; And with deep-wounded ear have overheard A friend impart — what better had become An enemy’s tongue. My father’s hapless fate To-day o’erwhelms me with redoubled anguish. Jiv. (apart). The prince has overheard me ! then I gain my object. [Exit. Mai. Oh most unkind return ! My father’s heart Was wholly Rakshasa’s — of him, he said. With confident energy, this is my friend, And to this friend he owes his fall ! so wept By all our house, entrusted to the care Of this deceitful fiend. Oh Rakshasa, Thy devilish nature fits well to thy name. Bluig. (apart). We must beware, the life of Rakshasa Is not imperiled by the prince’s fury — Such are our master’s most precise injunctions. (Aloud.) Repress this agitation, Sir, be calm, MUDIIA RAKSHASA. 223 Be pleased to sit, and listen to the counsel Your friend and servant would presume to offer. Mai. Speak on, my friend. Bhag. Then please your highness, think, That those who govern kingdoms must compute Of friend, or foe, or neutral, as suggested By principles of state and not the pleas Of private feeling, which teach love or hate. To ordinary men. The aim of Rakshasa Was first to crown Sarvart’hasiddhi ,- but To this your father, as a mightier prince Than Chandragupta, was the main impediment. And thence the deadlier foe. Such cause of enmity Admitted as of weight, the act of Rakshasa Was prudent policy not vulgar crime. Again : consider. Sir ; Wisdom political turns foes to friends. And changes friends to foes ; like a new birth. It razes out all memory of past deeds. Which to remember nought advantages, As utterly as if they were, indeed, The long-past actions of a former being. Then for events gone by, let Rakshasa Escape your censure, or at least forbear him Until the realm of Nanda be your own. No more of need to your success, he then May be disposed of as your highness pleases. Mai. So be it as you counsel — you judge wisely : His death or bondage might alarm our followers, And make our triumph doubtful. Enter an Officer. Off. Victory to your highness ! The captain of the guards reports that a man has been apprehended attempting to retire secretly from the camp, and on his person this letter was found — will it please your highness to examine him ? 224 MUDRA RAKSHASA. Mai. Bring him in. Exit Officer and re-enters with Siddart’haka. Sid. (to himself). Praise be to mother Fidelity, animating her children in virtue, and turning their faces away from faults. Off". This is the man. Bhdg. Who should this be — a stranger, or the servant Of any of our host ? Sid. A servant, sir. An humble follower of the minister. Bhdg. Why sought you, then, thus covertly to quit The camp without the prince’s seal ? Sid. I went Upon affairs requiring speed. Bhdg. So urgent. That for their need, his highness strict commands Were disregarded ? Mai. Look at the paper ! Bluig. It bears in truth the seal of Rakshasa. Mai. Efface it not, and let me hear the letter. Bluig. “ All greeting, and as fits from whence and whom “It comes, to him for whom these news are meant. “ The expulsion of our adversary proves “ The truth of one whose words are ever true. “ The season is propitious now to shew “ The promised kindness, and discharge the price “ That buys the plighted transfer of attachment. “ Then will these friends be ours, and strenuous join “ To overturn the mansion, where till now “ They have sought refuge. To requite such service, “ We must remind you, though no doubt ’tis needless, “ To call to recollection their conditions. “ Some stipulate domains, some gold, and some “ Demand the elephants and spoils of war. “ The three invaluable jewels sent “ Have been received, and in return unworthy, “ This offering comes, perhaps not wholly valueless, MUDRA RAKSHASA. 225 “ But to enhance its worth, Siddhartha bears, “ In words, what else may claim your confidence.” Mai. What can this dark epistle mean ? Bhdg. Siddhartha ! Who sends this letter ? Sid. I do not know, Sir. Bhdg. You are the bearer, and you do not know From whom it comes ; but let that rest awhile. Speak' out ; to whom were you to have conveyed The interpretation that this letter promises ? Sid. To whom, but to your grace. Bhdg. Tome? Sid. This violence so bewilders me, I know not what I utter. Bhdg. We shall amend your knowledge. Bhasura, Conduct him forth, and scourge him till he find His recollection. ( Siddhdrthaka is led out and presently brought back by the Attendants.) Off. So please your Excellency, whilst flogging the prisoner, this packet dropped from his person. Bhdg. This is impressed with the same signet. Mai. ’Twas this that gave the letter value. Open it, But inj ure not the seal. (Bhdg. opens it, takes out a jewel, and gives it to the prince.) This gem I took from my own person. And sent a friendly present to the minister. This letter is no doubt for Chandragupta. ^ Bhdg. W e will not leave the inference for question. Away with him, and scourge him, till he own The truth without reserve. Sid. Oh pardon me,* And I will speak the truth without reserve. [Falls at the feet of Malay aketu. * In the original he is again led ont to be scourged, and then agrees to confess. VOL. II. Q 226 MUDRA RAKSHASA. Mai. Arise ! speak boldly — thy dependant station Pleads thy excuse — reveal whate’er you know. Sid. Then thus it is — that letter was intrusted me By Rakshasa, to bear to Chandragupta. Mai. And what the interpretation you should add. Sid. Thus he commanded me. The kings Barbaric are my personal friends, and may Be to your interests won. They of Culutt'ha, Malaya; and Cashmir, desire territory From the possessions of Malayaketu ; The chiefs of Sindh and Persia covet most His elephants and treasures. For myself, Chanakya’s exile will as fully crown My wishes, as those spoils that I have named Will satisfy the craving of these princes. Such was my message. Mai. What, can this be true, That my allies are treacherously affected ? And yet why doubt it : they have ever followed The guidance and the beck of Rakshasa. Ho, Vijaya ! command the minister’s presence. Vij. It shall be done, Sir. [Exif Vijaya. Scene. — Rakshasa’s Dwelling, Rakshasa discovered. Our martial preparations are complete; But whether more reliance may be placed Upon our strength or Chandragupta’s host, I feel not wholly confident. The premises that lead to truth are sure If logically urged, and though opposed By hostile disputants, confirm the cause They advocate.* The object of discussion Is to both parties common, and to admit Position incompatible, is often * The original passage is somewhat obscure, from its referring wholly to a proposition in logic described in technical terms. MUDItA RAKSHASA. 227 As fatal unto monarchs as logicians. Yet I will trust ; especially that now Amidst the foe such disaffection spreads, And they are weakened by intestine strife. I will not fear. Who waits ! Go, Priyamvada, And to the kings confederated bear This message — “ We approach Kusumapura, The capital of the enemy — be vigilant — Look well to your array. Let this be The order of your march. The Khasa troops, The men of Magadhd, and my contingent. Lead in the van. The centre be composed Of the Gandhdras, with the Yavana chiefs* The Kiras and the Sakas, with the bands Of Chedi and the Huna cohorts, form Our rear battalia — whilst our royal friends. With their choice warriors in firm phalanx knit, Surround the prince and guard his sacred life.” Pri. I shall impart your orders. [Exit Priyamvada and enter Vijayd. Vij. Victory to your Excellency 1 His highness wills your presence. Rak. But a moment — Ho there, who waits ! Inform Sakata Das That I am summoned by the prince, and need Becoming decoration to appear Before his highness, who but late presented me With costly trinkets — let him send me either Of those rich jewels which to-day he purchased — Quick, dispatch. (Attendant goes out and returns with an Ornament). Att. This is the jewel, sir. RaJc. ’Tis well. (Puts it on). * The Calcutta edition reads patibhili instead of pattibhih, and the metre requires the former ; the former translation, yavana foot , was therefore incorrect. Q 2 228 MUDRA RAKSHASA. Now, lead the way. What should this summons mean ? Howe’er unconscious of committed error, The guidance of grave matters cannot fail To prompt uneasy thoughts. A life of service Is still a life of dread, and those most elevated. As objects most of envy and malevolence, Should ever be prepared to fear a fall. [ They proceed. Vij. Behold his highness ! Rdk. I observe him. Absorbed in thought he seems — his youthful head Already bowed with care, and on his hand Reclined, whilst on the ground his eye reposes. Or gazes fixed upon vacuity. — All triumph to the prince ! Mai. I greet you, minister ; — sit. We grieve to have so little of your presence. Rdk. ’Tis true, my frequent absence has deserved Your highness’ censure, but the preparations Our march exacts prevent my due attendance. Mai. If yet determined, I should wish to learn The disposition of our march. Rdk. 'Tis this : The Khasa troops and men of Magadlia, And my adherents are the van brigade : The Yavana and Gandhura forces March in the centre ; and the Huna cohorts. The troops of Chedi, Kiras, and Sakas, form The rear. The bands of the confederate kings Are ordered to protect your highness’ person. Mai. (apart). Palpable treason — they are named my guards Who have conspired to give me up a prisoner. (Aloud.) Send you any one Precursor of our march to Kusumapura? Rdk. There needs not any — in five days our host Will lie before its gates. Mai. What man is this, then. MUDIIA RAKSHASA. 229 Who with dispatches from your Excellency Goes thither even now ? Rdk. From me, impossible ! ( sees Siddhdrthaka) Siddhartha — how is this ? Sid. Forgive me, Sir, The fear of punishment severe has wrung The secret from me. Rdk. Secret — what secret ! I know of none — I understand you not ! Sid. I own, I have but ill-obeyed your orders ; But stripes and pain — ( appears to hesitate.) Mai. He fears to speak the truth Before his lord — do you apprize the minister What he has told. ( To Bhagurayana.) Bluig. Your highness is obeyed. ( To Rdkshasa.) This man avers, your Excellency sends him, The bearer of a letter and a message To Chandragupta. Rdk. And is it so, Siddhartha ? Sid. Stripes forced me to confess the truth. Rdk. ’Tis false ! What will not torture force the innocent To own ? Mai. (to Bhdg). Let him behold the letter ! Shew him the packet. Bliug. Read this note. ( Gives it to Rdkshasa, who reads and returns it.) ' t Rule. A weak invention of the enemy.* Bhdg. Behold this jewel ! ( Shewing him the jewel.) Is this, too, but a hostile stratagem ? Rdk. No : this 1 recognise — ’twas given me, Even by your highness ; and in note of deep Acknowledgment, I did present the same To this Siddhartha for a most dear service. * Lit. — Prince, this is an attempt of the enemy. Kumara, Satroh prayoga eshuh. 230 MUDRA HAKSHASA. Bhu'g. To such a man, methinks, but little fitted This princely gift, and one that had been graced By his own royal wearing. Mai. “ Siddhartha bears In words, what else may claim your confidence !” So writes your Excellency. Rdk. I sent no message, Sir, I wrote no letter. Mai. Whose is this seal ? Rdk. The counterfeit of mine. Mai. That may be true : A seal, the fraudulent may imitate. Bhdg. Tis possible it may be ; but the writing — Whose characters are these, Siddharthaka ? ( Siddhdrthaka looks at Rdkshasa, and hesitates.) Speak, or expect fresh stripes. Sid. Sakata Dasa’s. Rdk. If it be his, I must admit it mine. Mai. Let him be called. Bhdg. (apart). Chanakya’s emissaries. Nothing advance that may not be attested. Should Sakata Das appear and own he wrote This letter, then the whole is manifest. And Malayaketu’s rage o’erleap restraint. This were less perilous : (Aloud) with your highness’ leave, A friend of Rakshasa will not confess, At least before him, that he wrote such letter: Were it not better to procure a specimen Of his own hand-writing and with this compare it ? Mai. You are right. Vijaya, you hear. (To the attendant.) Vij. I shall observe. Will not his seal be also needed ? Mai. Bring it along. ( Vijaya goes out and returns.) This is the seal of Sakata Das, and this His writing. MUDRA RAKSHASA. 231 Mai. ( comparing them). It is the very same, — compare it. Rale. ( Examining the two papers, then apart) ’Tis true, the writing is in both the same. What must I think — he has been still my friend ; But haply, pining for his absent family, He proves at last a traitor to his lord. The seal is his ; Siddhartha his associate ; And this mysterious letter is his writing. To purchase his indemnity, or tempted By the allurements of a crafty foe, He has fallen off from honour, and abandoned His fair imperishable fame, and me. Mai. Three costly gems, this letter writes, have been Received, and one methinks adorns your person. Let me behold it nearer. ( Rdkshasa gives to him.} What do I see! (Apart.) If I am not deceived, this jewel once My Sire possessed. (To Rdkshasa) Whence did your Excellency Obtain this ornament ? Rdk. Of some merchants, Sir, By whom ’twas sold me. Mai. Vijaya look here. — Know you this gem ? Vij. How should I not remember it : For often have I seen it, when 'twas worn By your illustrious Sire, the king Parvataka. Mai. Father lamented, well thy splendid ornaments Became thy princely person, so attired ; As glorious as the autumn’s evening sky, Bright with the moon, and set with radiant stars. Rdk. (apart). If this, indeed. Was Parvataswara’s, the seeming merchants, In truth Chanakya’s agents, were by him Employed, to send them to me. Mai. Is it likely ! 232 MUDRA RAKSHASA. Such royal gems Parvataka once owned, And Chandragupta as the kingly share Of plunder set apart, should have been sold By pedlar traders, bartered for vile cost ? No ; it is clear the treacherous Chandragupta Was here the vendor, and ourselves the price. Riik. ( apart ). The snare is deeply laid, and though know The letter and the message are not mine, Yet mine the seal. The writer is my friend. The jewels, which it were absurd to deem Maurya would vend, are found in my possession. These facts so strongly argue treason, vain The hope to gain my innocence belief. Why then prefer reply ? ’tis wiser far To acquiesce in silence, than engage In angry words and profitless contention. Mcil. Now, I would ask your Excellency. Rak. Ask Him who deserves such epithet, not me, Degraded by these accusations. Mai. Proofs — For by what other name shall we denote This packet, this epistle, and these gems ? Rak. They prove, indeed, the malice of my fate, And not alone the cunning of Chanakya. Mai. Why censure destiny for faults that spring From vulgar avarice? Base and ungrateful! Thy murderous fraud repaid my Sire’s affection And confidence, that knew no fear, with death ; And now, ourselves, to whose regard thou owest Thy present power and rank, with like deceit Thou wouldst betray, and for a paltry bauble Wouklst sell our bodies, as they were mere carrion, To our most deadly enemies, proud to be The mercenary hireling of their hate. MUCH A RAKSHASA. 233 Rule. This blow is heavier far than my disgrace. Son of Parvataka, I here protest My innocence 1 Mul. Who killed my father ? Rah. Fate ! Mai. We know it was thy doing — by thy friend, And penitent agent, Jivasiddhi owned. Rak. Is he too but Chanakya’s instrument ? My very heart leagues surely with my foes. Rial. Bhasuraka, convey our general word The foreign princes, our allies, have plotted To seize our person, and deliver us Captive to Chandragupta : let him, therefore, Secure them, and defeat their foul intents. / The three who are ambitious of our lands Cast in a pit and whelm them o’er with earth,* Till their desires be satiated : the others. Whose moderate pretensions are confined To martial stores, treasure, and elephants. Be by those elephants trampled under foot, And so their craving will be gratified. ' Att. I shall impart your highness’s commands. [ Exit. Mai. For you, Sir, I shall violate no troth Once plighted. Go, join Chandragupta ; Him, and his crafty counsellor, though aided By your profound experience, we yet trust. We have the strength to root out from the earth. Bhiig. Enough ! time flies, my prince. March we at once Against the capital of the enemy. Let the dust, Rolling in volumes from the trampling tread Of our fierce elephants and steeds, ascend In clouds, and hover o’er the trembling foe. Proclaiming our approach in wrath, and spreading * Fart of the answer made by the Athenians to the messenger of Darius, who demanded earth and water. 231 JJUDHA RAKSHASA. Intenser paleness o’er the maiden's cheeks. That far outvie the lodh’s pale blossom, graced By locks more sable than the jetty bee. [Exeunt. Rale. How horrible my fate ! My love still works The ruin of my friends, my foes escape ! What now remains ? Shall I conceal my shame Amidst the thicket’s glooms ? No, rankling hate And unappeased hostility will never Sleep at devotion’s bidding. Shall I end My being, and attend my fallen sovereign ? No ; thus to fly the contest whilst a foe Triumphs secure, were base and womanish. What, if I grasp my trusty sword, and rush Desperate to death amidst the hostile ranks ? No ; yet I may not. If my heart be still Conscious of grateful duty, I must first Effect the freedom of that faithful friend. Who welcomes bonds and death for mine and me. [Exit. END OE TIIE FIFTH ACT. MUD II A RAKSHASA. 235 ACT VI. Scene. — Pataliputra. Enter Siddartiiaka ( ornamented ). Now Kesava of cloudy hue, the destroyer of Kesi, triumphs : Chandragupta, the moon of the eyes of the virtuous, is victorious — the policy of Chanakya is successful, and has dis- comfited the confiding army of the foe. I have not yet seen my old friend Samiddharthaka, and will go seek him. Oh, here he comes ! Enter Samiddharthaka. Sam. The treasures of the heart that animate at festive assemblies, and inspire delight in family parties, are sources of affliction alone in the absence of our friends. Where now shall I find Siddharthaka, who I hear is returned from Malayaketu’s camp ? Oh, there he is ! Welcome, my dear friend, welcome. Sid. Ha, my dear friend, all happiness ! (They embrace.) Sam. I have little cause to rejoice, methinks, when you could so long delay coming to my house after your return. Sid. Excuse me ; the truth is, I was ordered by Chana- kya to go immediately, and carry my intelligence myself to the auspicious prince Srichandra. I went accordingly ■ was rewarded as you see ( showing the ornaments), and am now on my way to your habitation* Sam. Well, my friend, and what news had you to convey to his Majesty that proved so agreeable, may I hear it ? Sid. Why not — what is there that you may not hear ? — Beguiled by the policy of our master, Malayaketu dismissed Rakshasa from his service, and put to death the five foreign kings, his allies ; upon which, this violent and imprudent man, 236 MLDRA RAKSHASA. being looked upon as one whom no good fortune could attend, was abandoned by his chief followers. They left his camp gradually, and returned to their own countries, till being left almost alone, he was made prisoner by Bhadrabhata and our other captains. Sam. How could that be ; for Bhadrabhata had deserted to him, having been dissatisfied with Srichandra ? This is like the drama of a bungling writer, in which the catastrophe is inconsistent with the beginning ! Sid. So much the more honour to the never failing policy of Chanakya; a policy as certain as the decrees of destiny. Well, after that, Chanakya with great state went forth, and secured the whole barbarian host with all its chiefs. Sam. Where are they now ? Siil. Look yonder ; observe those elephants, roaring aloud with passion, and vast and black as the rain cloud : — see those horses, richly caparisoned, plunging in fear of the lash. Sam. I see, I see. Now let them rest, and tell me how it is that Chanakya resigned the administration, who publicly now resumes his post ? Sid. Ha, ha ! do you think you can fathom the intentions of Chanakya P Rakshasa himself was unequal to the task. Sam. And where is Rakshasa ? Sid. He quitted the enemy’s camp during the confusion that ensued upon the retirement of the chiefs, and privately entered Kusamapura ; not unobserved, for his steps were followed by a diligent spy, and due notice of his coming has been given to Chanakya. Sam. Why should he come hither again, disappointed in all his schemes to recover the city for the race of Nanda ? Sid. Affection for his friend Chandana Dasa brings him, I suspect. Sam. Do you expect Chandana Dasa’s liberation ? Sid. His liberation ! how is that possible, for you and I are to conduct him to the place of execution and put him to death. MUDRA RAICSHASA 237 Sam. How so ? Has not Chanakya executioners enough, that he must put us upon such a cruel duty ? Sid. Gently, my friend. If you intend remaining a little longer in this world, you will not call Chanakya’s orders in question : so come along, we will put on the chdnddla dress, and lead Chandana Dasa to execution. \_Exeunt. Scene II. — A Grove. Enter a man with a rope in his hands. This is the place which Undura described, and where I am ordered by the sagacious and successful Chanakya to throAv myself in the way of Rakshasa. Here he comes, I fancy, avoiding notice apparently. — I will hide amongst these trees and observe where he stops. ( Retires . ) Enter Rakshasa. Alas, the harlot fortune, to whom change Is ever welcome, now transfers her favours To a new dynasty — whilst the multitude. No less inconstant, and of former benefits Regardless, follow in her fickle train. The burthen of the state, by those abandoned Who failed to reap the harvest of their virtues, Is now with daring confidence assumed By weak and worthless hands, and without head . Not long the body politic subsists. Base-born and vile, fortune with Vrishala, A partner meet, associates, — her great lord. The monarch of mankind, forgotten quite, And for the present she appears immoveable. What’s to be done — whatever I devise. Inflexibly adverse, Fate counteracts, And still implacably pursues my course. Wherever I direct my hopes. Too soon, To heaven transported my lamented lord. 238 MUDRA RAKSHASA. I lent assistance to the mountain king — In vain — his death came hard upon our union. Then did I aid his son’s projected vengeance. But still in vain — I wrought my own disgrace. Fate, not the indignant Brahman, is the enemy Of Nanda’s race. Ill judging, rash barbarian. Who on such baseless charges could mistrust My faith, and deem that one who had maintained Devotion to a fallen lord unshaken. Would from his truth be tempted, or would cease His just and stern resentment but with life. This, the untutored savage could not see — Or haply, when a man is doomed to fall. Fate first perverts his intellect.* He now Is held in captive bonds — w r ell — let him perish ; Not therefore w ill I harbour thought of peace With Chandragupta. Be it said, I failed In all my projects, this shall be my fame, — Foiled as I w r as, I yet was unsubdued. These gardens mark the city’s pleasant confines. And oft were honoured by my sovereign’s presence, When with abandoned curb and loosened rein, He urged his rapid steed, and in mid course Struck with unerring shafts the distant targe.f These scenes are hateful to me now. But w hither Shall I repair ! Here I may lurk unnoted. Till I can gain some tidings of my friend. Alas, how rarely seen by mortal prescience The strange vicissitudes of human life ! Once when I came abroad, like the new moon. The people paused to gaze and point at me, As in resplendent state I moved along. * Quem Deus vult perdere, prius dementat. Daivena upahatasya Buddhir atlia ba purvam viparyasyati ; or rather, the understanding of one struck by fate will first become perverted, t This is Medic, Persian, or Parthian. MUDRA RAKSilASA. 239 And in my train great potentates esteemed it An honour to be numbered. Now, alone, Covered with shame, and dreading to be marked, I shrink from every eye, and like a thief Who apprehends detection, cowering creep Into the darkness of these ancient groves. And those my benefactors to whose favour I owed my former greatness, are no more. This garden too has lost it’s former splendour ! The shattered walls are like a noble race By poverty reduced : the lake is dry. Like a kind heart that pines for luckless friends • As destitute of fruit the trees, as schemes Of policy by fate opposing blighted ; And rank grass chokes the fertile soil, like vice And ignorance, the rude uncultured mind. These hoarse resounding murmurs of the dove. Varied alone by the harsh ringing strokes Of the destroying axe, seem to bewail The ruin of these shades, whose naked trees. Leafless and sear, are destined soon to fall, And yield their limbs to feed funereal fires. Here on this marble, fractured as my fortunes, I will sit down and rest. {Sits and listens.) What mean those sounds ! The mingled bray of horn and beat of drum, These shouts of multitudes, given back redoubled In echoes from the palace towers, afflict The listening ear, and fill the bounds of space — Sounds of rejoicing are they ? Yes, they tell Of Maurya’s victory, and the captive son Of the brave -mountain king. Where’er I roam, The foe’s superiority assails Mine eye and ear, and destiny compels me Despitefully to contemplate their triumph. The Man. {coming forward). He sits, and does not see me — 240 MUDRA RAKSHASA. Now to practice The orders of Chanakya. ( He advances so as to be seen by Rdkshasa, and fastening the rope round his neck, pretends to purpose hanging himself.) Rak. Who should this be, whom misery extreme, Like mine, enforces to such desperate act ? Hold, friend — what means this recklessness of life ! Who art thou, speak ? Man. A wretch, deprived of all That life held dear. Rdk. If not to thee too painful Nor secret be thy sorrows, let me hear. Who am a fellow in thy miseries, The cause of such rash purpose. Man. Thou may’st hear it. I cannot bear one instant to survive A dear loved friend. Rdk. (apart). A censure of the apathy With which I view the sufferings of my friends. (Aloud.) Proceed. Man. A wealthy banker, Jishnu Das, Resided here. Rdk. I know the name : an old and valued friend Of Chandana. (Apart.) What has befallen him ? Man. I lose in him whom most I love. His v 1th Upon the indigent he now bestows, And yields his life an offering to the flame : Even now he goes to sacrifice. Unable To view, or to outlive so sad a blow, I hither come, at the same time to end Those days, that would be misery without him. Rule. What are his motives ? pines he under anguish Or bodily pain no medicine can assuage ? Man. Not so. Rdk. Then is he by the tyrant king Compelled to choose his fate by fire or poison. MU DR A RAKSHASA. 241 Man. Stranger — in Chandragupta’s happy reign We know not tyranny. Rak. It may be so ; Perhaps his aims ambitious may affect Some object unattainable ; or perchance He woos some damsel., who repays his love With scorn ? Man. Such sorrows would but ill become A sober burgher. Rak. What then should it be But loss of some dear friend ? Man. You name his motive Rak. {apart). Too well my heart assured me it was so. I scarcely dare know more — yet must enquire His fate. (Aloud.) Go on — the friend of Jishnu Das — Who is he — tell me ? Man. I can no longer parley. Rak. One moment — answer me ? Man. The banker, Chandan Das. Rak Fate has at last descried a spot defenceless, A passage for a wound — Be firm my heart, You have no heavier blow to fear. (Aloud.) Proceed. Man. With him was Jishnu Das combined in bonds Of amity ; and when his friend incurred The prince’s anger, to preserve his life. He offered all the accumulated wealth He and his prudent ancestors had gathered : In vain. The Prince replied : “ Not for his wealth The prisoner is in durance ; let him yield The family of Rakshasa, whom ’tis known He secretly protects, and he is free — If he persist to hide them from our search, His forfeit life alone allays our wrath.” So persevering, Chandana is now Led forth to execution. His firm friend VOL. II. R 24.2 IUUDRA RAKSHASA. Enters the final fire, and I conclude My miserable being. Rak. Hold awhile; Return and seek thy friend — bid him forbear His fearful purpose — Chandana shall live ; I go to save him. Man. By what means ? Rak. This sword. Friend of my trust, oft tried in time of peril, Bright as the heaven’s clear azure when the clouds Disparted vanish — and whose keen edge bites, Remorseless, when the stone of battle whets Its sharpness — now it prompts me to defy Opposing multitudes to guard a friend. Man. His safety is ensured, if, as I guess, I see illustrious Rakshasa before me. Rak. You see in me, the servant of a race I could not save — the friend whose friendship yields Ruin — the ill starred and humbled Rakshasa. Man. Such as thou art, accept my veneration. ( Falls at his feet.) Rak. Arise — time hastes — quick to thy friend repair, And tell him what has chanced. Man. Yet may I, Sir, Thus humbly counsel. Sakata Das, ere while Condemned by Chandragupta to impalement. Was at the place of execution rescued. And to a distant region safe conveyed. The king, by his evasion much incensed, Commanded that the executioners Should suffer death. Since then more vigilant. The officers of justice, should they see An armed man approach and dread a rescue, Proceed not to the place of execution. But instant put their prisoner to death. MUDRA RAKSHASA. 243 Therefore be cautious. Sir, or your attempt Will but accelerate your friend’s destruction. £ Exit . Rak. The politic expedients of Chanakya Are yet to me inexplicable. Why, If his contrivances sent Sakata, His emissary, to effect my downfall. Should those who suffered his escape incur Such bloody retribution, and acquit Their negligence or treachery with death ? From this I might infer the letter found, A forgery — but how ? — here all is dark. This at the least is cleai', ixot now the season To use the sword. Forewarned by past events, The ministers of justice were in vain Again assailed — yet something must be tried — Inaction were a crime. In deadly plight My friend now stands for me, and can I less ! No ; I will cheerfully confront the danger, And with my own redeem his dearer life. Exit. END OF THE SIXTH ACT. MUDUA RAKSUASA. 244 ACT VII. Scene. — Pataliputra. Enter Siddharthaka as a Chanddla or public executioner. Out of the way, out of the way, my masters, and let every one -who values his life, his wealth, his family, avoid the dis- pleasure of the king as he would poison. Sickness is a simple demolition of man’s life, and unwholesome diet noxious only to himself ; but he, and all his, perish, if he incur regal indigna- tion. If you doubt what I say, behold this Chandana Das led to execution, and followed by his wife and child. What is that you say — is there no chance of his escape ? Y es, if he give up the family of Rakshasa. How ! say you, give up those whom he is pledged to shelter for the sake of his life — he will never be guilty of so base an action ! Very well, do you mark his unhappy lot, lest such should be your fate. {Enter Chandana Dasa dressed for execution, bearing the stake upon his shoulder, followed by his wife and child, and by Samiddharthaka as second executioner, with attendants and guards .) Wife. Ah, woe is me — that such disgraceful fate, A felon’s doom, should close a life of credit ! Ah ruthless destiny — that barbarous man Should persecute alike both friend and foe. The guilty and the innocent confounding ! A savage hunter, who in thickets spares not The beautiful and inoffensive deer. Chand. Where is my faithful friend : will none reply To my last supplications ? Ah, how few MUD I! A RAKSHASA. 245 Approach in adverse season ! Those alone Are friends who hold on with us to the last. And follow us with eyes suffused with tears. Sid. This is the place, so now dismiss your family. Chand. Withdraw, my love, and lead our boy along. Wife. Forgive me, husband. To another world Thy steps are bound, and not to foreign realms. Whence in due time they homeward will return. No common farewell our leave-taking now Admits, nor must the partner of thy fate Leave thee to trace thy solitary way. Chand. What dost thou mean ? Wife. To follow thee in death. Chand. Think not of this — our boy’s yet tender years Demand affectionate and guardian care. Wife. I leave him to our household gods, nor fear They will desert his youth. Come, my dear boy, And bid thy Sire along and last farewell. Boy. (falling at his feet). What must I do, my father, when deprived Of thee. Chand. Go, dwell where’er Chanakya is not. Sid. Come, Sir, the stake is planted. Wife. Oh save us, save us ! Chand. Yield not thus to grief. Exalted princes, Nanda’s glorious sons. Who stooped to solace misery from the throne, Have gone before me to the realms of heaven : And that I die by no infirmity Of frail humanity, but for a friend, Is subject of rejoicing, not of tears. Sid. Come, come, we have delayed too long — bring him and raise him on the stake — his family will retire of their own accord fast enough. Chand. One moment only — let me kiss my boy. Loved child, adieu ! Remember, all that lives 246 MUDRA RAKSHASA. Must die ; but he that to preserve his friend Expires, dies with honour. Son. Such a lesson There scarcely needed ; for full well I know, Faith to a friend is still our house’s fame. Sid. Bring him along {they lead Chandana Dds towards the stake). Wife. Oh, mercy, mercy ! Enter Rakshasa hastily. Rdk. Lady, dismiss your fears. Hold ! officers — your prisoner must not suffer. He, who in safety long unmoved surveyed His sovereign’s fall, the danger of his friends. And calmly, as if seated at a festival. Looked down upon their sufferings, comes at last, To claim of right his own, these marks of shame, These garlands and insignia of the grave. Chand. Oh, what is this ! Rdk. The feeble imitation Of your exalted virtue. Chand. No ; our ruin — What hast thou done — think’st thou thy destruction A grateful sight to me ? Rdk. Hear me, my friend — Life is to every living creature dear — In saving thine, I have performed my duty, And do not heed thy censures. {To the Officer.) Hence, report These welcome tidings to your ruthless lord. Sid. {to Samiddh). Hark ye, comrade, do you lead Chandana Das under the shade of those trees ; I will go and inform his Excellency that Rakshasa is secured. [Exeunt severally. MUDRA RAKSHASA. 247 Scene. — Chanakya’s House. Enter Siddharthaka with Rakshasa. Sid. Ho, Warder, inform Chanakya, that destructive thunderbolt to the host of Nanda, that elevation of the house of Maury a, and aggregate of every virtue — Rale. Must I hear this ! Sid. That the minister Rakshasa is secured ; his wisdom and valour bound by the chains his Excellency’s policy provided. Enter Ci-ianakya ( wrapped up in a mantle concealing his person ). Chan. What are these tidings ! Tell me, who has brought. Safe in his robe, this fire unquenchable ; Who bound in bonds the circumambient wind ? Who craftily encaged the roaring lion, Foaming with fury, from his hard-won strife With the fierce elephant ; or who has forded The bottomless main, unharmed amidst its monsters ? Sid. What, but your honour’s sagacity ! Chan. Not so, my friend, but fate, the constant foe Of Nanda’s race. Ruk. (aside). This must be himself. The vile Chanakya. Rather, let me own, The wise Chanakya ; and exhaustless mine Of learning — a deep ocean stored with gems Of richest excellence. Let not my envy Deny his merits. Chan. This then is Rakshasa, Whose enmity so long has held at bay. And doomed to sleepless nights, the friends of V rishala. And furnished me with theme of ceaseless thought ! (Discovering himself.) Hail minister, most welcome ! Vishnugupta* Pays thee his homage. * The proper name of Chanakya. 213 MUDItA IIAKSHASA. Ruk. Minister ! the title Is now my shame. Reverence to Vishnugupta ! Approach me not — a Sudra’s touch defiles me.* Chan. You are deceived ; no Sudra your attendant. But one whom you before have seen, Siddhartha, A servant of the king, and equal rank That other seeming Sudra holds. The first, You may remember, was the venturous friend Of Sakata Das, the bearer of the letter, Written indeed at my request by Sakata, But with entire unconsciousness of what Its purport or intended destination. Rak. This is indeed most welcome news, assured My fi'iend -was not unfaithful. Chdn. Y r ou shall hear : — The chieftains who deserted to your army — That letter — this Siddhartha — the three jewels, Your purchase — your astrologer — the man Whom you this morning in the garden met — The imminent peril of your friend the jeweller — Were all expedients to win your alliance. Devised by me ; or rather, say by Vrishala, Who hither comes, impatient to behold you. Rak. (apart). How shall I act ! Enter Chandragupta attended. Chandra. A mighty host o’erthrown without a conflict, Exposes me to shame. Of what avail The feathery shafts, that indolently lie With downward points recumbent in the quiver, Not launched with force against the destined aim ! And yet, what need of prowess, whilst alert. My holy patron’s genius is, alone, * Which would have made him impure. The following speech explains that such disgrace was not incurred, and shews why the office of Chandala was intrusted to such hands. MUDUA RAKSHASA. 249 Able to bend the world to my dominion ? Tutor and guide, accept my lowly reverence ! (To Chanakya.) Chan. Your every hope is now accomplished. Vrishala, Salute this honourable minister — Rakshasa, hereditary councillor Of your imperial house. Rdk. (apart). A bond of union His promptness has created. Chandra, (to Rakshasa). Chandragupta Greets you, exalted Sir, with veneration. Rdk. (apart). This, Chandragupta ! yet so young — so raised To mighty empire, as the forest monarch. Over subjected herds. (Aloud) King, may you triumph ! Chandra. Triumph is certain — now to the guidance Of my preceptor I may add your vigilance. Rak. (apart). What, does the pupil of Kautilya scoff me ? I wrong him, and my stubborn enmity Misdeems his graciousness. Chan. Say, wishes Rakshasa The life of Chandana ? Rak. A needless question. Chan. But how can Vrishala consent to grant Such generous proof of grace, whilst Rakshasa Y et holds aloof, and menaces defiance ! If it be true, that you desire his safety, Forego the sword, and in its stead assume This weapon. (Offering him the ministerial dagger.)* Rdk. Pardon me, I am not fit To bear what you so worthily have wielded. Chan. Not fit ! how so ? Why then these elephants Incessantly caparisoned, till their backs Are fretted by the burthen, and they pine, Of needful rest and sustenance curtailed ? * A drawing of this dagger occurs in the last volume of Duff’s History of the Mahrattas. 250 JIUDRA RAKSHASA. Or why these steeds, of rider never eased. Chafed by the constant curb and whip, and jaded By labour unrelaxed ? Whom may they thank For this but Rakshasa, whose valour humbles The pride of the most haughty ? To be brief. The life of Chandana, and your acceptance Of ministerial conduct, are conditions Which w r e cannot disjoin. Rdk. (apart). Mine ancient faith. And grief for Nanda’s race, still closely cling, And freshly, to my heart ; and yet perforce I must become the servant of their foes ! The plants so long I tenderly have cherished, And watered with assiduous love, must now By my own hands be levelled, to preserve A dearer friend. Not Brahma’s self foresees The devious current of this world’s events. (Aloud) I yield me, Vishnugupta. Friendship triumphs Friendship, who works strange metamorphosis Of human sentiments, controls my purposes, And I submit. (Takes the dagger.) Chan, (to Chandra ). Fate, prince, is now made sure. Enter an Officer. Off". Victory to your grace ! for Bhagurayana And the accompanying chiefs, conduct the prince Malayaketu to the city’s confines. There to await your Excellency’s orders. Chdn. Impart their coming to the noble Rakshasa, Who now directs the state, and ask of him Their meet instructions. Rdk. If it be so. Permit me, prince, to crave a boon. You know, How in Malayaketu’s dwelling long I found asylum — in return, I beg Ilis forfeit life. (Chandragupta looks interrogatively at Chdnakya). MU.DRA RAKSHASA. 251 Chan . (to Chandra). The minister’s first suit Exacts compliance. (To the Officer ) Go, inform the chiefs, His majesty, by Rakshasa’ s request. Is moved to clemency, and to the prince Extends forgiveness — rendering back to him His liberty and patrimonial lands — And order them forthwith to lead him hence, Home to his native country. Att. I obey. (Going.) Chun. Hold ! this message to the governor of the city Likewise convey. His Excellency, Rakshasa, Being now admitted to the royal favour. His friend the banker, Chandana, is named The provost of the merchants. And this order Bear to the captain of our host : in proof Of the high satisfaction that the king Receives from his new minister, he wills That all the captives and the martial stores. Coursers and elephants excepted, gain Enfranchisement. Nay, free them too ; We need them not, strengthened by such alliance. All shall be free — the only thing condemned To lasting bondage, be this lock of hair. My vow is all fulfilled. Say, Rakshasa, Is there aught else the aim of your desires ? Rdk. My only wish is now my sovereign’s glory. Long graced by virtue, and beloved by friends Of eminent faith and merit, may he guard From harm this nurse of elemental life. Now harassed by barbarians,* earth repairs * This allusion to Mlechchas is corroborative of the Drama’s being written in the eleventh or twelfth century, when the Patan princes were pressing upon the Hindu sovereignties. The boar alluded to is the third incarnation of Vishnu in the Vardha Avatdra, the delineations of which manifestation of that divinity represent the figure of a man with the head of a boai, and the earth, recovered from the waters of the deluge, resting on the points of his tusks. 252 M'JDUA RAKSIIASA. For refuge to the bosom of true royalty, So to escape second annihilation. As erst, by strength divine upstaid, she rode Safe on the tusks of that celestial boar, Who snatched her from the o’er incumbent floods. And reared her green hills once again to heaven. [Exeunt. REMARKS ON THE MUDRA RAKSHASA. The peculiarities of this play have already been adverted to. It is a historical or political drama, and represents a curious state of public morals, in which fraud and assassination are the simple means by which inconvenient obligations are acquitted, and troublesome friends or open enemies removed. It is not, however, that such acts are not held in themselves as crimes, or that their perpetrators, if instigated by vulgar vice or ferocity, are not condemned as culprits ; it is only when the commission of the crime proposes a political end that it is represented as venial, and is compatible with the possession of great virtues, and even with an amiable character. The prin- ciple is one which has long pervaded Asiatic courts, and has proved no unimportant instrument in working their downfall. In delineating the operation of this system, the author of the drama has evinced considerable dexterity, and has con- trived to invest his chief personages with interest and dignity ; an effect produced, in a great measure, by shewing them wholly unmindful of personal advantage. Chanakya has to fulfil a vow, but, that accomplished, relinquishes rank and power ; and Rakshasa, whilst he pursues Chandragupta with hostility, seeks only to revenge the death of his former sove- reign, without the thought of acquiring fortune or dignity for himself. The author has also been fortunate in the delineation of these two statesmen, who although of the same depraved school of politics, are of very different characters. Chanakya is violent and inexorable ; Rakshasa gentle and relenting. Chanakya’s ruling principle is pride of caste ; Rakshasa’ s, attachment to his friends and sovereign. Chanakya revenges wrongs done to himself ; Rakshasa, those offered to them he loves. Chanakya 254 . REMARKS ON THE MUDRA RAKSHASA. with his impetuous passions combines deep design ; Rak- shasa, notwithstanding his greater temperance, is a bungler in contrivance, and a better soldier than a plotter. Another redeeming feature in Hindu treachery is devoted fidelity to an employer. Although some of the personages cannot help expressing a disgust for the duty they have to dis- charge, they never think of betraying their trust ; and they never intimate any relaxation of purpose, although treated with indignity or blows. The plot of the drama singularly conforms to one of the unities, and the occurrences are all subservient to one action, the conciliation of Rakshasa. ’’This is never lost sight of from first to last, without being made unduly prominent. It may be difficult, in the whole range of dramatic literature, to find a more successful illustration of the rule. The conduct of the action is open to some objections, but rather on the score of stage management than dramatic probability. The chain of evidence by which Rakshasa is separated from Malayaketu is ingeniously connected. The succession of incidents is active and interesting, although women form no part of the Dramatis Person*, except in the episodical introduction of Chandana Dasa’s wife, a peculiarity that would be scarcely thought possible in the dramatic lite- rature of Europe. The author of the Mudra Rakshasa was not a poet of the sphere of Bhavabhiiti or Kalidas. His imagination rises not to their level, and there is scarcely a brilliant or beautiful thought in the play. As some equivalent for the want of imagination, he has a vigorous perception of character, and a manly strain of sentiment, that are inferior only to elevated conception and delicate feeling. He is the Massinger of the Hindus. The language of the original partakes of the general character of the play ; it is rarely beautiful or delicate, but always vigorous, and occasionally splendid. RET NAY A LI; THE NECKLACE. & Sraina, TRANSLATED FROM THE ORIGINAL SANSCRIT. PREFACE. The Retnavali is a play of a different character from any of those which we have hitherto examined. Although the personages are derived from Hindu history, they are wholly of mortal mould, and unconnected with any mystical or mytho- logical legend ; and the incidents are not only the pure inven- tions of the poet, but they are of an entirely domestic nature. In this latter respect the Retnavali differs from the Mrichchalcati, Mulati Mddhava, and Mudrd Rdkshasa, whilst its exemption from legendary allusion distinguishes it from the Vikravwrva.\i and TJttara Rama Cheritra. Although, however, the Retnavali differs from its pre- decessors in these respects, and in others of still greater im- portance, it is w r ell entitled to attention, as establishing an era in the history of both Hindu manners and literature, of which we are able to fix the date with precision. The story of this drama appears to have been not wholly the invention of the author, but to have enjoyed very extensive popularity, at a period to which we cannot refer with confi- dence. The loves of Vatsa, prince of Kausambi, and Vasava- datta, princess of Ujaijin, are alluded to in the Megha Data, and are narrated in the Vrihat Katlid of Soma Deva. The last is a writer of the same period as the drama, but he does not pretend to have invented the story ; and the manner in which the tale is adverted to * in the Megha Data, the date of which work is unknown, but which is no doubt anterior to the * The author terms Avanti or “ Ougein,” great with the number of those versed in the tale of Udayana (Vatsa). VOL. II. s 258 PREFACE. Vrihat Kathd, seems to indicate a celebrity of some antiquity.* The second marriage of Vatsa, which forms the business of the Retnavali, appears to be the invention of the writer, as it is very differently told in the Vrihat Kathd ; the heroine being there named Padmdvati, and being a princess of Magadhd, not of Ceylon. The circumstances under which the marriage is effected are altogether distinct.f From w hatever source, however, the plot of the drama may have been derived, it is very evident that the author is under considerable obligation to his predecessors, and especially to Kalidds, from the Vikrama and Urvasi, of which writer several situations, and some of the dialogue even, are borrowed. At the same time, the manners described are very different, and the light and loose principles of Vatsa are wholly unlike the deep, dignified passion of Pururavas. If we compare the Retnavali with the Mrichchakati, or with the dramas of Bhavabhuti, the difference is still more striking, and it is im- possible to avoid the conviction, that they are the productions of different ages, and different conditions of society ■ the Retnavali indicating a wider deviation from manners purely Hindu, more artificial refinement, and more luxurious indul- gence, and a proportionate deterioration of moral feeling. The Retnavali, considered also under a purely literary point of view, marks a change in the principles of dramatic composition, as well as in those of social organization. Besides the want of passion and the substitution of intrigue, it will be very evident that there is in it no poetic spirit, no gleam of inspiration, scarce even enough to suggest a conceit in the ideas. The only poetry of the play, in fact, is mechanical. The structure of the original language is eminently elegant, * The Vdsava Datta of Subandhu, the nephew of Vararuchi, and as well as his uncle patronized by Bhoja, has nothing in common with the story of Vatsa and his bride, except the name of the latter. The Megha Duta, therefore, does not refer to that work. Subandhu also alludes to the Vrihat Kathd, to which he is consequently subsequent. + The story is translated from the Vrihat Kathd, in the Quarterly Oriental Magazine, Calcutta, vol. ii. p. 198. PREFACE. 259 particularly in the Prakrit. This dialect appears to equal advantage in no other drama, although much more laboured in the Mdlati Madhava: the Sanscrit style is also very smooth and beautiful without being painfully elaborate. The play is, indeed, especially interesting on this account, that whilst both in thought and expression there is little fire or genius, a generally correct and delicate taste regulates the composition, and avoids those absurdities which writers of more pretension than judgment, the writers of more recent periods, invariably commit. The Retnavali, in short, may be taken as one of the connecting links between the old and new school ; as a not nnpleasing production of that middle region, through which Hindu poetry passed from elevation to extravagance. The place to which the Retnavali is entitled in the drama- tic literature of the Hindus is the more interesting, as the date is verifiable beyond all reasonable doubt. It is stated in the prelude to be the composition of the sovereign, Sri Hersha Deva. A king of this name, and a great patron of learned men, reigned over Cashmir : he was the reputed author of several works, being however in fact only the patron, the compositions bearing his name being written, the author of the Kdvya Prakds asserts, by Dhdvaka and other poets. That it was fashionable in his reign to take the adventures of Vatsa for the subject of fictitious narrative, we may infer from their being the groundwork of the Vriliat Kathd, the author of which was a native of Cashmir, and a cotemporary of the prince. Somadeva, the author, states that he compiled his collection of tales for the amusement of the grandmother of Hersha Deva, king of Cashmir, the son of Kalasa, the son of Ananta, the son of Sangrdma. His genealogy is nearly identifiable with that of Abulfazl, which runs in Gladwin’s translation of the A yin Akberi, Sungram, Haray, Anunt, Kulusder, Ungrus, Hurruss. The two additional princes, Huray and Ungruss, reigned con- jointly but forty-four days, and they are for all chronological purposes non -entities.* But we have fortunately a better * See also the Quarterly Oriental Magazine for March 1824, p. 64. s 2 260 PREFACE. authority than either of the preceding, in the history of Cashmir by Kalhana Pandit. The first portion of this work, down to the reign of Sangruma Deva, in A.D. 1027, is trans- lated summarily in the fifteenth volume of the Asiatic Re- searches. Since its publication, the subsequent portion of the original has been procured in Cashmir, and presented to the Asiatic Society by the late enterprizing traveller, Mr. Moor- croft From this we are enabled to trace the successors of Sangrdma with precision. Sangruma reigned twenty-five years, and was succeeded by his son Hari, who enjoyed his elevation but twenty-two days, having been removed, it was supposed, by the practices of his mother, who aspired to the regency during the minority of a younger son. She was set aside by the chief officers of the state, under whose ministry Ananta, the next prince, reigned interruptedly fifty-three years, when he was succeeded by his son Kalasa. Kalasa reigned eight years, and being displeased with his son Hersha, left the crown to a kins- man, Utkersha. That prince, however, enjoyed his authority but twenty-two days, having been defeated, and invested in his palace, by the partisans of the legitimate heir, and putting an end to his existence rather than fall into their hands. Hersha succeeded. He consequently ascended the throne A.D. 1113, and the play must have been written between that date and A.D. 1125, the termination of his reign. No mention is made of the composition by the author of the history : but he dwells at much length, and with some acrimony, on Hersha' s patronage of poets, players, and dancers, and the prince’s conversancy with different dialects and elegant literature. Hersha' s propensities, indeed, were not likely to be regarded with a favourable eye by a Brahmanical historian, for, in order to defray the expenses into which he was led by them, he made free with the treasures of the temples, and applied their gold and silver vessels, and even the images of the gods, to his necessities. These measures, and others of an equally im- prudent character, distracted the latter period of his reign with PREFACE. 261 civil broils, and he perished in an insurrection which trans- ferred the crown to a different dynasty. The date thus assigned for the composition refers to a period, which Moham- medan history and Hindu literature sufficiently establish, as pregnant with important changes in the political situation and national character of the natives of Hindustan. The Retna vatu' has been translated in prose for the same reasons that the preceding dramas have been rendered in measui'ed language : the fitness of the vehicle for the thoughts, and adaptation of the style to the pitch of the original ideas. Prose would have done scant justice to the merits of Kalidds or Bhavabuti, for with them it would have had to translate lofty imaginings : it is perfectly applicable to the level conceptions of Sri Herslia. It may also form a not unacceptable variety, and it may likewise serve to convey some idea, how far the translator may be suspected of widely deviating from his text in the preceding dramas. DRAMATIS PERSON/E. Men. Vatsa. — The king- of Kausdmbi. Yaugandardyana. — Ilis chief minister. Vasantaka. — The king’s confidential companion. Vasubhuti. — The ambassador of the king of Sinhala. Bdbhravya. — An envoy from Vatsa to the king of Sinhala. Samvarana Siddha. — A Magician. Vijaya Vermd. — An officer of Vatsa's army. Women. Vdsavadattd. — The queen of Vatsa. Retndvali, or ) . > i he princess of Sinhala. Sdgarikd. J Kdnchanamald. — The Queen’s principal attendant. Susangatd. — The friend of Sdgarikd. Nipunikd, Madanikd, Chutalatikd, Vasundhard. Persons spoken of. Vikramahdhu. — The king of Sinhala or Ceylon, father of Retndvali, and maternal uncle of Vdsavadattd. Rumanwdn. — The general in chief of Vatsa. > Female attendants. J Scene. — The palace of Vatsa in Kausdmbi. Time, Three Days. PRELUDE. BENEDICTION. May that presentation of the flowery offering made by the mountain goddess to her mighty lord, preserve you ! Trem- bling she raised herself to reach his brows ; but agitated by his triple glance, and bowed downwards by her heaving bosom, she missed her aim, and dropped the fragrant wreath. May Gciuri ever be propitious to you ! She who after new nuptials, yet scarce confiding, first hastened to her husband as remotely he advanced, then turned averse from him as he approached, till gently forced to the embraces of the smiling god by her persuading damsels. May Siva ever be your trust ! He who laughingly nar- rated to his goddess, how the sacrifice was disturbed, the holy fires were quenched by his flaming glances ; how the Brahmans in terror were dragged by their turbans to the ground by his mischievous goblin legions ; how Dakshas* spouse implored in * Dahsha was the son of Brahma and father of Sati, whom at the recom- mendation of the Rishis or sages, he espoused to Siva, but he was never wholly reconciled to the uncouth figure and practices of his son-in-law. Having undertaken to celebrate a solemn sacrifice, he invited all the gods except Siva, which so offended Sati, that she threw herself into the sacrificial fire. To avenge her fate, Siva created Virabhadra and other formidable beings, and sent them to the scene of action, where they dis- turbed the rites, beat and mutilated the assistants, and even maltreated the gods, till Siva was appeased, and arrested their excesses. Dahsha, who had been decapitated in the scuflfie, was restored to life, but the head of a ram was substituted for his own. Sati was born again as the daughter of the mountain Himalaya, and was again married to Siva. From this, her second birth, she is called Parvati the mountaineer, or Girijd the mountain- born. The disturbance of Dalisha's sacrifice appears to have been a favourite legend with the Hindus who excavated the cavern temples of Ellora and Eleplianta, the leading incidents appearing sculptured in both. 264 RETNAVALI, OR THE NECKLACE. tears his pardon, and the gods, frightened, fled. Glory to the moon ! Reverence to the gods ! Prosperity attend illustrious Brahmans ! May the earth be fertile, and may the king of moon-like loveliness shine ever resplendent as the monarch of the night.* Enter Manager. Enough ! 1 have been desired by the princes here as- sembled from various realms, recumbent at the feet of our illustrious monarch, Sri Hersha Deva, and who are col- lected together at this vernal festival ;t to represent for their entertainment the unequalled drama entitled Retnavali, the elegant composition of our sovereign. “ We have heard of this drama,” they remark, “ but have not yet witnessed its * The extension of the Nandi, or benediction, to four stanzas, in the original, is unusual, and although sanctioned by the writers of systems, is evidently a modern innovation, not an improvement upon ancient practice. t According to the Bhavishyottara Parana, the Vdsantaki Ydtrd, or festival of Spring, extended from about the middle of Chaitra to the full moon in the same month, and comprised three festivals : the Damana Pujd, in which the dona or artemisia flower was worshipped ; the Dola Ydtrd, or swinging of the gods ; and the Ratha Saptami, on which the gods came in cars to witness the frolics of man and nature under the influence of spring. The Damana Ydtrd occurred on the 14th of the dark half of the month : the day of the Dola Ydtrd is not specified, but it must have been on or about the new moon ; the Ratha Ydtrd occupied seven days, but they are not particularized. From the third to the full moon, every day had its separate divinity. Gauri was to be worshipped on the 3d, Ganesa on the 4th, Indra on the 5th, Skanda on the 6th, the Sun on the 7th, Siva on the 8th, Chanda and Chdmundd on the 9th, Vydsa and the Rishis on the 10th, Vishnu on the 11th, Brahma on the 12th, Siva again on the 13th and 14th, and all the gods on the 15th. All this, however, looks very like Saiva innovation, and probably the original festival, beginning with the Holihd on the full moon of Phdlyuna, was devoted to Vasanta alone, or conjointly with his friend Kama Deva , the god of love, whose especial fes- tival, on the 13th and 14th of Chaitra , terminated the whole. Nothing of the kind is now known, from the Holihd, which is now termed the Dola Ydtrd, to the Madanotsava on the thirteenth of Chaitra, light half, which latter is rarely observed. The Dola Ydtrd and Rath Ydtrd have also been displaced, and in Bengal, at least, transferred to festivals appropriated to Krishna alone, in the months of Jyeshth, and Asharh; June — July. RETNAVALf, OR THE NECKLACE. 265 performance; and in compliance therefore with our wishes, and with deference to the king, who is the delight of all hearts, w r e request you to perform the piece as you best may.” Very well : as soon as the decorations of the stage are ready I shall fulfil your desires. That this whole assembly will be highly gratified I make no doubt. Sri Hersha is an eminent poet ; the audience are judges of merit ; the story of Vatsa * is current in the world ; and we, the actors, are experienced in the histrionic art ; and I hope, therefore, that with so precious a poem, and such means of doing it justice, the opportunity afforded me of appearing before so distinguished an assembly will yield me the fruit of all my desires. Now then to my mansion, to call forth my dame. What ho, mistress, come hither ! Enter Actress. Your commands, Sir? Mana. The drama of Retnavah is to be represented before this princely audience — go, dress for your character. Actr. Ah, Sir, you forget my only daughter has been betrothed by you to a husband who is abroad, and that the matrimonial rites cannot be performed in consequence of my son-in-law’s absence in a foreign country : with so much anxiety on this account, how shall I be able to act ? Mann. Oh, never sorrow for the absent. Propitious fate restores them to us from distant isles, from ocean’s central waves and earth’s extremest bounds. * Lnkachari cha Vatsa Raja Cheritam, “ The story of Vatsa current in the world.” The Vrihat Katha describes Vatsa or Udayana, as the son of Sahasrdmka, the son of Satanika, the son of Janamejaya, the son of Parikshit, the son of Abhimanyu, the son of Arjuna : but the Purans do not confirm this descent. We do not find the name at all in the Bhdgavat, but in the Vishnu Parana, Udayana is the son of a second Satanika, the 19th in succession from Janamejaya. How far he is the celebrated prince of this name is doubtful. In the Mahabharat, we have a Vatsa named among the princes, but no specification of the individual. 266 RETNAVALT, Oil THE NECKLACE. Behind. Son of Bharata, most truly uttered. Mana. ( listening ). Away, child, away, no longer hesitate here comes my brother as the noble Yaugandharayana. Come come, we have no time to lose. [Exeunt. END OF THE PRELUDE. IlETNAVALI, OR THE NECKLACE. 2G7 ACT I. Scene. — The Palace of Vatsa. Enter Yaugandarayana.* ’Tis true ! fate, if propitious, soon restores the absent, and from remotest isles, the wastes of ocean, and the bounds of earth, safe gives them to us again — else how chanced it, that the fair daughter of the king of Lanka, whom, as directed by the seer, we had sent to obtain, and who was by her father, with rich gifts, consigned a bride to our illustrious prince, escaped annihilation ? Borne on a plank, the relique of her shattered bark, a merchant of Kausambi found her floating in mid sea. Her costly necklace spoke her of no common rank, whence with all honour she was treated, and to our capital conveyed. Fate still smiled upon our sovereign. I have transferred the maiden to the honourable keeping of the queen ; and now I hear our chamberlain, Babhravya, and Vasubhuti, the minister of Sinhala, who had accompanied the princess, having by some means reached the shore, are on their way hither, having been encountered by Rumanwan on his march to chastise the king of Kosala.f I have little need to fear the end of this; but faithful service ever has its cares. The eleva- * Wherever Vatsa is introduced the same personages are assigned to him as associates, or Vasavadatta his wife, Yaugandharayana his minister, Vasan- taka his companion and buffo, and Rumanw&n his general. t Kosald, according to the Rdmdyana, is the country along the bank of the Saryu, and consequently formed part, at least, of the modern province of Oude. At different periods, however, it was much more extensive. The Vishnu Purina and Bhdgavat , apparently speak of it by the name of Sapta Kosald, the seven Ko salas ; and in the ninth century, the authority of the king of Kosald extended into Gondwana, as appears from inscriptions. 268 RKTNAVALI, OR THE NECKLACE. tion of my master’s power is my aim, and destiny co-operates with my design — neither can the seer prophetic err. The king himself alone I doubt, for still he loves to follow where his own inclinations lead — ( a noise behind). Hark! the mellow drum, accompanied with song and shouts, indicates the clamorous re- joicings of the multitude. I suspect the king has come forth to behold from his palace the frolic merriment with which his subjects celebrate the festival of Kdmadeva .* Ah, yes, I see him on the terrace : wearied of tales of war, and seeking most his reputation in his people’s hearts, he issues forth attended by his companion Vasantaka, like the flower-armed deity him- self, descended to take a part in the happiness of his worship- pers. I will retire to my dwelling, and meditate in tranquillity the measures best adapted to ensure us a fortunate termination of the task we have begun. [£x/f. (Vatsa Raja discovered seated, dressed as for the Spring festival, and attended by Vasantaka.) Vats. My friend ! Vas. Your majesty ! Vats. 1 scarcely can express the content I now enjoy. My kingdom is rid of every foe, the burthen of my government reposes on able shoulders, the seasons are favourable, and my * This Vasantotsava, Madhiitsava, or Kdmotsava, is a festival held on the thirteenth and fourteenth of Chaitra, at which Kdmadeva, the god of love, was formerly worshipped. The season was one of much merriment, and the genial influence of returning spring was hailed with music and jollity. Part of the amusement of the people consisted in throwing over each other, by means of syringes, water or fine powder, coloured with saffron or with other yellow or red pinguents, and scented with perfumes. A more elegant missile commonly used in some places is rose leaves, large baskets and trays of which are prepared for that purpose. The festival of Kdmadeva holds its place in the kalendar, but its observance is restricted to a few places. In fact, it seems to have merged into the Phd/gunotsava or HaH, celebrated a month before, when the like merriment and affusion of coloured powder or water takes place. In the south of India Kama is worshipped at this period also, which still further identifies the origin of the festival, although it has undergone some important modifications in date and purpose. RETNAVAI,I, OR THE NECKLACE. 269 subjects prosperous and happy. In the daughter of Pradyota* I have a wife whom I adore, and in thee, Vasantaka,f a friend in whom I can confide. Attended by thee, thus, at such a season, and so disposed, I might fancy myself the deity of desire, and this vernal celebration held in honour of myself. Vos. Excuse me. Since you admit me to be a part of it, I shall even claim the whole ; and, so highly exalted by your regard, I shall maintain that the festival is mine. Observe the general joy. As if intoxicated with delight, the people dance along the streets, sporting merrily with each other’s persons, and mutually scattering the yellow tinted fl uid. On every side, the music of the drum and the buz of frolic crowds fill all the air. The very atmosphere is of a yellow hue, with clouds of flowery fragrance. Vats. Yon lofty mansion opposite to us is occupied by a merry band. I knew not that Kausambi j; was so wealthy ! — She outvies the residence of the God of wealth. Her numerous sons are clad in cloth of gold, sprinkled with the fragrant dust * According to the Vrihat Kathd, Pradyota is the king of Magadha, the father of Padmavati, Vatsa’s second wife, whose place is assumed by Iletnavali in the drama: the father of Vasavadatta is named in the same work Chandasena. f Either the spring, or like the spring, the affix ka being pleonastic, or implying similitude. f Kausdmbi always appears as the capital of Vatsa. According to the Rdmdyana, it was built by Kusdmba, the son of Kusa, a descendant of Brahma. Buchanan, upon the authority of the Bhagavat, ascribes its foundation to Chukra, a descendant of Arjuna ; but neither the Bhagavat nor Vishnu Parana states that Nimi Chakra built Kausdmbi. They say, that when Hastinapur shall be washed away by the Ganges, Nimehakra will reside at Kausdmbi. From which it is to be inferred, that Kausambi existed at the time that Hastinapura was destroyed. The site of Kausdmbi, Buchanan supposes to have been that of the ruins ascribed to Hastinapur, but it was more probably lower down in the Doab, bordering upon Magadha on one side, and Kos'ala on the other. It is elsewhere ( Oriental Magazine, Calcutta, No. 1. p. 67) intimated, that it was possibly about Kurrah, which according to the inscription found there (As. R. ix. 433), was comprised within Kausdmba Mandat, or district of Kausdmbi. The city so termed was probably not far from Allahabad. 270 UETNAVALI, OR THE NECKLACE. of the colour of dawn, or tinted with the saffron dye, decked with glittering ornaments, and tossing their heads proudly with splendid crests, fit for Kama himself. The soil, plashy with the frequent shower and tread of numerous feet, is con- verted into vermilion paste, as the artificial bloom is washed down from the cheeks of the maidens and mingled with the ground. Vas. See where a coloured shower falls on a thick and struggling crowd, shrinking in vain from the mischievous pipes of those mirthful maids. Vats. 1 should compare the city to the subterranean world, where the snake gods dwell.* The mischievous pipes are crested snakes — the scattering dust of yellow fragrance sheds unearthly dimness, and the gleaming tiaras dart through it such radiance as beams from the serpent jewels. Vas. Look, Sir, where Madanika and Chutalatika approach us : their gestures indicate the influence of the divinity of the season. Enter Madanika and Chutalatika, tno of the Queen s Attendants, dancing and singing. Mad. Cool from southern mountains blowing. Freshly swells the grateful breeze. Round with lavish bounty throwing Fragrance from the waving trees ; To men below, and Gods above. The friendly messenger of love. Chut. Lightly from the green stem shaken, Balmy flowrets scent the skies — Warm from youthful bosoms waken Infant passion’s ardent sighs. And many a maid around is roaming. Anxious for her lover’s coming. Both. Nor alone the tender blossom * Pat ala, the region below the earth, inhabited by the Nagas or serpent demigods. RETNAVALT, OR THE NECKLACE. 271 Opens to the smiling day, Lordly man’s expanding bosom Buds beneath the genial ray, Offering to the flowery dart, Of love, a soft and yielding heart. Vats. I perceive, indeed, the influence of the season ex- pressed in their appearance. The fillet of the one is loosened, and her long tresses float dishevelled to the air : the neck- lace of the other seems too weighty for her languid frame, though she plies her tinkling anklets with more than wonted activity. Vas. I will gird up my garb and join them, shall I, in compliment to the festival ? Vats. If you please. Vas. (descends). Come, Madanika, teach me your poem. Mad. A poem, you simpleton ! it is no poem. Vas. What is it then ? Mad. A ballad. Vas. Oh, a ballad ! if that is the case, I wish you good bye.* Mad. You must not leave us. Vas. Consider my character. (They hold him and sprinkle him with yellow powder, till he breaks away.) Here I am at last my good friend : I have been in jeopardy. Chut. Come, we have amused ourselves long enough, let us bear the queen’s message to his majesty. Mad. Come on (approaching Vatsa). Glory to your majesty ! So please you, the queen commands — I crave pardon, requests. Vats. Nay, Madanika, you are quite correct ; the queen * In the original Vasantaka says, “ Teach me your Charchuri to which the reply is, “ It is not Charchari but Divipadi Jthanda,” a form of metre ; but hhanda, meaning granulated sugar, Vasantaka asks if it is the hhanda of which sweetmeats are made ? MadanikS. replies, ‘ It is not made but is recited (patiyadi) to which Vasantaka, with surprise, rejoins, ‘ Oh, if it is recited, I had better go back to my friend.’ It is not easy to discover the wit of this passage, although some puns are probably designed throughout. 272 RETNAVAI.I, OR THE NECKLACE. commands, particularly at a season sacred to the god of love. What are her orders ? j\Iad. She is bound to-day to offer homage to the image of the flower-armed deity, which stands at the foot of the red asoka tree in the garden of the palace, and requests your majesty’s presence at her devotions. Vats. You see, my friend, how one festival begets another. Vas. Let us go thither. I will officiate as your priest, and I hope my benediction will not be wholly unproductive. Fats. Go, Madanika, and let the queen know that we shall meet her in the garden. Mad. As your majesty commands. [Exeunt. Vats. Come, my friend, lead the way to the garden. (They descend and proceed.) Vas. This is the place, Sir. Behold the rich canopy of the pollen of the mango blossoms, wafted above our heads by the southern breeze, and the chorus bursts from the k oils and the bees to hail your approach. Vats. The garden is now most lovely. The trees partake of the rapturous season — their new leaves glow like coral, their branches wave with animation in the wind, and their foliage resounds with the blythe murmurs of the bee. The bakuta blossoms lie around its root like ruby wine; the champaka flowers blush with the ruddiness of youthful beauty ; the bees give back in harmony the music of the anclets, ringing melo- diously as the delicate feet are raised against the stem of the asoka tree.* Fas. No, no; it is not the bees who mimic the ringing of the anclets ; ’tis the queen with her train approaching. Vat. You are right; they are at hand. [ They retire. Enter Vasavadatta the Queen, Kanchanamala, Sagarika, and other damsels attending. Fdsava. Now, Kanchanamala, where is the garden ? Ranch. This is it, madam. * The contact of the stem of the asoka tree by the foot of a woman of superior beauty is supposed to make it blossom. RETNAVALI, OR THE NECKLACE. 273 Vdsava. And where the red ctsoka tree, at the foot of which I am to pay my offerings to Madana ? Kdnch. It is in sight. This is the mddhavi creeper, your majesty’s own plant ; it is now rich with blossoms. This is the plant his majesty takes such care of, the jasmine that he expects to blossom out of season : — now we pass it, and this is the tree. Vdsava. Very well ; where are the offerings ? Sdgar. Here, madam. ( Presenting them.) Vdsava. (looking at her, then aside). What carelessness ! an object I have hitherto so cautiously concealed, thus heedlessly exposed: it shall be so. (Aloud.) How now, Sagarika, what make you here ; where is my favourite starling, that I left to your charge, and whom it seems you have quitted for this ceremony ? Away 1 deliver the oblations to Kanchanamala, and return. Sugar. As your majesty pleases. (Gives the offerings and withdraws to a short distance.) The bird is safe with my friend Susangata. I should like to witness the ceremony. I wonder if Ananga* is worshipped here as in my father’s mansion ! I will keep myself concealed amongst these shrubs and watch them, and for my own presentation to the deity I will go cull a few of these flov r ers. [ Retires . Vdsava. Now, place the divine Pradyumnaf at the foot of the tree. Kdnch. (arranges the offerings). It is done, madam. Vatsa. Come, Vasantaka, they are ready, let us join them. The queen stands by the side of the god of the fish-emblazoned banner, £ as slight and graceful as his own' bow, and as delicate as the flowers that tip his shafts. My love, Vasavadatta ! * The bodiless deity, either metaphorically, as applied to his influence on the mind, or with reference to the legend of his being reduced to ashes by the angry look of Siva when pierced by Kama's arrows, and thus inspired with love for Pdrvati. + Pradyumna, the son of Krishna, was an incarnation of Kdmadeva. f The banner of Kumadeva bears the Makara, or marine monster. VOL. II. T 274 RETNAVALI, OR THE NECKI.ACE. Vdsava. My lord ! Victory attend him : let him honour our rites by his presence ! — That is his regal seat. Kdnch. Now, let her majesty commence the ceremony, and to the god, whose station is the red asoka tree, present the ac- customed gifts of sandal, saffron, and flowers. Vdsava. Give them to me. Kdnch. (presents them severally to the Queen, who offers them to the Image).* Valsa. Whilst thus employed, my love, you resemble a graceful creeper twining round a coral tree ; your robes of the orange dye, your person fresh from the bath. As rests your hand upon the stem of the asoka, it seems to put forth a new and lovelier shoot. The unembodied god to-day will regret his disencumbered essence, and sigh to be material, that he might enjoy the touch of that soft hand. Kdnch. The worship of the divinity concluded, be pleased, madam, to pay adoration to your lord. * According to the Bhavishyottara Puruna, the worship of Kdmadeva was instituted by Siva in pity of the fate to which he had consigned him. On the thirteenth of Chuitra , the worshipper having bathed, was to adore the portrait, or as it was practised apparently in most places, the image of Kamadeva either in person, or as in the present instance, in one of his mani- festations, attended by his wives Rati and Priti, his friend Vasanta, and a train of nymphs and choristers, represented in a grove of asoka trees, or placed in the shade of one of them with flowers, fruits, and perfumes. It was in a grove of asoka trees that Kama incurred Siva's wrath, whence the selection of that tree. The prayer addressed to the divinity, which the author does not give, perhaps either because it was well known, or because its repetition might be thought profane, is “ Salutation to Kumadeva the destroyer, the god of gods, endowed with a form, to thee who disturbest the minds of Brahma, Vishnu, Siva, and India." A rather longer prayer is addressed to the same god in the Tithi Tatwa, cited from the Bhavishya Parana, where it is not found ; “ God, armed with a flowery bow, salutation be to thee ! Salutation be to thee, who bearest a fish on thy banner ! Salutation to thee, who shakest the firmness of divinities and saints ! Son of Madhava, Kandarpa, the foe of Samvara, the lord of Rati, glory to thee, the mind- engendered, the subduer of the whole universe ! May all the infirmities and frailties of my birth perish, and may my fortunes ever enjoy desired prosperity ! Glory to the destroyer, to Kama, the embodied form of the god of gods, the agitator of the hearts of Brahma, Vishnu, Siva, and India /’* UETNAVALI, OH THE NECKLACE. 275 Vasava. Where are flowers and unguent ? Kdncli. Here, madam. ( Vdsavadattd worships the King.*) Sugar, (returns). I have idled my time whilst gathering these flowers, so that I fear the ceremony is over ; behind this tree I can observe them undiscovered. What do I see ! can this be true. Does then the deity, whose effigy only we adore in the dwelling of my father, here condescend to accept in person the homage of his votaries ! I, too, though thus re- mote, present my humble offering. (Throws down the Jlowers.) Glory to the flower-armed God: may thy auspicious sight both now and hereafter prove not to have been vouchsafed to me in vain ! (Bows down, then rising looks again.) The sight, though oft repeated, never wearies. I must tear myself from this, lest some one should discover me. [ Withdraws a little. Kdncli. Approach, Vasantaka, and receive your portion. Vasava. Accept, most worthy Sir, these propitiatory pre- sents. ( Gives Vasantaka sandal, Jlowers, and jewels.) Vasan. May prosperous fortune ever be your fate ! (The Bardf behind.) The sun from his diurnal road declines. And in the west with flaming radiance glows — Like some illustrious prince, whose glory shines Intensest, as his days approach their close. The moon comes forth amidst the evening sky. With aspect as our youthful monarch’s bright. To soothe the night flower’s love-empassioned sigh. And at thy feet to shed his sacred light. Sugar. How ! (returning). Is this Udayana, to whom my father destined me a bride ! The sight of him has purified my person from the contaminating gaze of others. * This is also conformable to the Bliavishyottara Purana, which directs, “ Having offered adoration to the mind-horn divinity, let the wife worship her husband, with ornaments, flowers, and raiment. Thinking internally with entire complacency, ‘ this is the god of love.’ ” f Hindu princes, as we have had previous occasion to notice, always retained a sort of poetic bellman to announce the time of day. t 2 27G RETNAVALI, OR THE NECKLACE. Vatsa. The twilight has drawn in, and we have been insensi- ble of the course of time, our minds engrossed by holy and delightful duties. Look, madam, where the pale eastern sky, like a love-lorn damsel, seems to sicken with impatience for the coming of her lord. Let us rise, and return to the palace. [ They rise. Sugar. They come ! I must fly hence. Ah me, unhappy ! no longer to behold him, whom 1 could gaze upon for ever. Vatsa. Come, love, thou puttest the night to shame. The beauty of the moon is eclipsed by the loveliness of thy countenance, and the lotus sinks humbled into shade — the sweet songs of thy attendant damsels discredit the murmur of the bees, and mortified, they hasten to hide their disgrace within the flowery blossom. [ Exeunt . ENl) OK THE FIRST ACT. StETNAVALI, OK THE NECKLACE. 277 ACT II. The Garden of the Palace. Enter Susangata with a Sarikd, or talking bird, in a cage.* What can have become of Sagarika ? she left this bird in my charge, and went I know not whither. Here comes Nipunika ! Enter Nipunika. These tidings his majesty has charged me with, I must use dispatch in conveying to the queen. [ Going . Sus. How now ! Nipunika, what engrosses your thoughts, that you pass as if you saw me not — whither, in such haste ? Nip. I will tell you. We have a great sage come to court, the venerable Srikhanda Das, from Sri Parvat . t He has taught the king the craft of making flowers blossom at any season, and his majesty being about to exercise his new art upon his favourite jasmine, sends me to request the queen’s presence. But where are you going ? * The Sar'ika is the same as the Maina, the Indian Grakle, Gracula religiosa, about the size of a jackdaw, having violet black plumage, with a naked yellow occipital band. As Shaw observes, “ These birds are of a lively docile disposition, and when kept in a state of a confinement, imitate with great facility the various sounds within hearing, and even learn to speak with greater distinctness than most of the parrot tribe so also Bontius, speaking of this bird, which he calls the Indian starling, observes : “ It imitates man’s voice much more accurately than a parrot, so that often- times it is troublesome with its prattle.” f The temple of Siva in the upper part of the peninsular, visited and described by Captain Mackenzie (As. Res. vol. v.). This was one of the twelve great Lingas, the worship of which seems to have flourished parti- cularly about the period of the first Mohammedan invasion. Prior to the some date, also, it seems to have been a place of great resort for Yogis or Saiva ascetics. Mention of Sriparvat has been made before in Mdlati and Madhava. 278 RETNAVAI.I, OR THE NECKLACE. Sus. To look for Sagarika. Nip. I passed her just now ; she had a brush and pallet as if about to paint a picture, and went into the plantain bower : you will find her there, I dare say. Adieu ! I must to our mistress. \_Exeunt severally. A Plantain Bower or Hall.* Enter Sagarika, with a picture. j- Be still, my foolish heart, nor idly throb for one so high above thy hopes. Why thus anxious again to behold that form, one only view of which has inspired such painful agitation ? Ungrateful, too, as weak, to fly the breast that has been familiar to thee through life, and seek another, and as yet, but once beheld, asylum. Alas ! why do I blame thee : the terror of Ananga’s shaft has rendered thee a fugitive ; — let me implore his pity. Lord of the flowery bow, victor of demons and of gods ! dost thou not blush to waste thy might upon a weak defenceless maiden, or art thou truly without form or sense ? Ah me ! I fear my death impends, and this the fatal cause (looking at the picture). No one approaches ; I will try and finish the likeness I am here attempting to pourtray (looking at the picture). My heart beats high, my hand trembles, yet I must try, and, whilst occasion favours me, attempt to complete these lineaments, as the only means to retain them in my sight. \_Draws. Enter Susangata. This is the plaintain bower. Ha ! she is here, and apparently so intent upon some painting, that she does not notice my approach. I will keep out of her sight and look at what she is doing. (Approaches gently and looks over Sagarika.) How ! * The term on this and similar occasions is Griha ( Hara , Ghara ) or Said, literally a house or hall. It is not improbable that green-houses or analogous buildings were known to the Hindus. In general, however, these places appear to have been pavilions, with particular plants and flowers planted both within and without. t More correctly, a leaf or sheet for a picture — Chitraphalaka. RETNAVALI, OR THE NECKLACE. 279 — the king’s picture ! well clone, Sagarika ! but so it is : the royal swan leaves not the lotus-crowded lake to sport elsewhere. Sag. It is finished, but in vain, my tears veil the picture from my sight. ( Raises her head, and beholding Susan gala hides the picture.) How, Susangata ! sit down. Sus. ( sits down and puts her hand upon the picture). Who is this you have delineated ? Sag. The deity of this festival, Ananga. Sus. It is cleverly done, but there wants a figure to com- plete it. Let me have it, and I will give the god his bride. ( Takes the paper and draws.) Sag. (angrily). Hey, Susangata ! what mean you ; you have sketched my likeness? Sus. Do not be offended without cause. I have given your Kdmadeva my Ret(, that is all. But come, away with dis- guise, and confess the truth. Sag (apart). My friend has discovered my secret. (Aloud.) My dear friend, I am overcome with shame — promise me that nobody else shall be made acquainted with my weakness ? Sus. Why should you be ashamed ? — attachment to exalted worth becomes your native excellence. But be assured I will not betray you, it is more likely this prattling bird will repeat our conversation. Sag. Alas ! my friend, my agitation overpowers me. Sus. (placing her hands on Sagarika s heart). Be composed, be composed ! I will bring some leaves and fibres of the water-lily from this lake. (Brings some leaves and fibres of the lotus, and binds the former with the latter upon Sagarika s bosom.)* Sag. Enough, enough, my friend, take away these leaves and fibres, — it is vain to offer me relief. I have fixed my heart where I dare not raise my hopes. I am overcome with shame — I am enslaved by passion — my love is without return — death my only refuge. \_Faints. * The lotus leaves and fibres are supposed to be of great cooling efficacy in allaying the fever of passion. 280 RETNAVALI, OIt THE NECKLACE. A noise behind. The monkey has escaped from the stable, and rattling the ends of his broken chain of gold, he clatters along as if a number of female feet, bound with tinkling anklets, were in sportive motion. Chased by the grooms and frightening the women, he has bounded through the inner gate. The unmanly eunuchs, lost to shame, fly from his path, and the dwarf takes shelter in the jacket of the chamberlain. The Kirdtas who guard the surrounding walls are true to their designation,* and bowing themselves lowly through fear, are ashamed to look each-other in the face. Sus. Up, up, my dear friend ! the wild brute is coming hither. Sag. What shall we do ? Sus. Hide in the shade of this tameda grove : haste, he comes ! [Exeunt. Scene.— Another Part of the Garden. Enter Sagarika and Susangata. Sag. What has become of the drawing : did you leave it behind ? some one w ill discover it. Sus. Never heed the picture now. The ape has broken the cage to get at the curds and rice, and let the surikd fly : let us endeavour to recover her, or she will repeat what has passed between us. Behind. Astonishing, astonishing ! Sag. Hey, Susangata, is that the ape coming ? Sus. No, coward; it is the worthy Vasantaka, our royal master's friend. Let us hence, the sdrika is far away. Sag. I attend you. [Exeunt. * Perhaps a pun is here intended, kirata a mountaineer being derived from the roots, hri to scatter and ata to go, that is, they scattered or ran away ; or the joke lies in their stooping low, they being of low caste. The monkey’s escape from the stable is another instance of the practice alluded to in the Persian and Hindustani Proverb : “ The misfortune of the stable be upon the monkey’s head . — Eilai Tahila ha sir i maimun." RETNAVALI, O R THE NECKLACE. 281 Enter V asantaka. Very strange indeed ! most marvellous ! the power of Sri- khanda Das is most surprising, by whose simple will the jasmine has been covered with countless buds, as if smiling disdainfully upon the queen’s favourite mddhavi. I will go and tell my friend what has happened. Ah ! yonder he comes, looking quite confident of his hopes, and as pleased as if he looked upon the jasmine blossoming in his presence. His eye sparkles with pleasure : I will join him. \_Exit. Scene. — Another Part of the Garden. Enter Vatsa. I shall make the queen turn pale with anger. She will look upon the creeper like a rival beauty, as the delicate shrub dis- plays the brilliance of its nascent buds, and swells, as gently inflated with the zephyr’s sighs. Vas. ( approaches ). Victory to your majesty ! — fortune is propitious. Vatsa. I doubt it not, my friend ; for inconceivable is the virtue of drugs, and charms, and gems. Lead the way, and let these eyes this day obtain by the sight the fruit of their formation. Vas. This way. Vatsa. Precede. Vas. (advances and stops to listen: he turns hack in alarm). Fly, fly. Sir! Vatsa. Why ? Vas. There is a goblin in yonder bakula tree ! Vatsa. Away, simpleton, go on, and fear not ! how should any such being have power at this season to harm ? Vas. He speaks quite distinctly — if you disbelieve me advance and listen. Vatsa. (advances). I hear a distinct voice, and a sweet one, too, like that of a woman : from its small and sharp tone it must be a starling. (Looking up) Ah ! there she sits. 282 RETNAVALJ, OR THE NECKLACE. Vas. A starling ? Vatsa ( laughing ) A starling, look there ! Vas. And so, my good friend, your fears made you fancy a starling to be a goblin. Vatsa. Out on you, blockhead ! would you accuse me of what you have done yourself. Vas. Well, now do not you interfere. ( Holds up his staff.) You impertinent bird, have you no more respect for a Brahman : stop a moment, and with this crooked staff I will bring you down from the tree like a ripe wood-apple. Vatsa. Forbear, forbear ! how prettily she talks. Vas. Y r es, now I listen again, she says, give this Brahman something to eat. Vatsa. Something to eat, is ever the burthen of the glutton’s song. Come, say truly, what does she utter ? Vas. ( listening and repeating'). “ Who is this you have de- lineated ? Do not be offended without cause; I have given your Kdmadeva, my Reti.” Hey, Sir ! what should this mean ? Vatsa. Oh, I suppose some female has been drawing her lover’s portrait, and passing it off on her companion as the pic- ture of the god of love : her friend has found her out, and ingeniously exposed her evasion, by delineating her in the character of Kama's bride. Vas. Very likely. Vatsa. Be still, she speaks again. ( They listen.) Vas. ( repeating ). “ Why should you be ashamed ; attach- ment to exalted worth becomes your native excellence.” Vatsa. Likely, likely ! Vas. Nay, do not you presume upon your scholarship; I will expound all she says, when she has finished. The lady that is pictured is very handsome. Vatsa. We shall have leisure to satisfy our curiosity ; let us now listen. Vas. Very well ; do you hear what she says : “ Take away these lotus leaves and fibres — it is in vain you strive to offer me relief.” RETNAVALI, OR THE NECKLACE. 283 Vatsa. I hear and understand. Vas. How the jade chatters to-day ! but I will explain all I hear. Vatsa. Very likely, but now listen. Vas. Hey ! — I declare she speaks in measure, like a Brahman skilled in the four Vedas. Vatsa. What said she, I did not hear ? Vas. “ I have fixed my heart where I dare not raise my hopes ; — I am overcome with shame and despair, and death is my only refuge.” Vatsa. With the exception of yourself, my worthy friend, what learned Brahman would call this speaking in measure ? Vas. Why, what is it ? Vatsa.* Prose. Vas. Prose ! Oh, very well, and what does it mean ? Vatsa. Some young female may be supposed to have spoken the sentence, indifferent to life, because uncertain of her affec- tion being returned. Vas. ( laughing loudly). You may as well drop these evasive interpretations : why not say at once, “ The damsel doubts my returning her passion.” Who but yourself could have been delineated as the god of the flowery bow. (Claps his hands and laughs.) Vatsa. Peace, simpleton ! your obstreperous mirth has frightened the bird away ; see ! there she flies. Vas. She has perched on the plantain bower : let us follow her. Vatsa. Oppressed by the shafts of Kama, the delicate maid entrusts her companions with the sorrows of her breast : the tattling parrot or imitative starling repeats her words, and they find a hospitable welcome in the ears of the fortunate. [Exeunt. * Vasantaka says, “ It is a richa that the bird has repeated,” or a verse peculiar to the Vedas : the Raja says, ‘‘ No ; it is a ydtlid which is correct, the verse consisting of four lines of 12 — 15 — 12 — 15 matras or short vowels. 284 RETNAVALI, OR THE NECKLACE. Tiie Plantain Bower. Enter Vatsa and Vasantaka. Vos. Here is the bower ; let us enter : but what has become of the starling? No matter; let us rest on this bench, where the breeze breathes cool anil soft amidst the waving leaves of these bananas. Vatsa. As you please. ( They sit.) Vas. What is yonder? It looks like the cage of the star- ling — broken to pieces most probably by the monkey. Vatsa. See what it is. Vds. I will. ( Looking about.) What’s here, a picture — ( takes it up). Ha, ha ! my friend, you are in luck. Vatsa. What is that ? Vas. Just what I said: here is your likeness. Who but yourself could have been delineated as the god of the flowery bow ? Vatsa. Give it me. Vas. Stop a little. What ! is such a jewel of a girl, as is here pictured, to be seen for nothing ? Vatsa. Take this — (gives him a golden bracelet, and Vasantaka delivers the picture.) Ha ! behold, my friend ; what lovely swan is this that wings her flight to Mtinasa, in whose sports the lotus trembles, who declares such auspicious fortune shall befall us, and whose face might be taken for the full moon by Brahma, when he first emerged from his lotus throne — ( looking at the picture). Enter Susangata and Sagarika. Sus. It is hopeless to follow the bird ; let us get the draw- ing again, therefore, and go in. Sag. By all means. Vas. (to the king). Well, my friend, who is this damsel, think you, that seems to bend her head so humbly ? Sus. Hark ! I hear Vasanta talking — I suspect to the king ; let us conceal ourselves amongst the plants and hear what they are talking of — (they hide behind the plantain trees). RETNAVALI, OR THE NECKLACE. 285 Vatsa. Brcilimd, when lie first emerged from his lotus throne, had taken such a face for the unrivalled orb of the moon. Sus. ( to Sugarika). You are in luck, girl ; your lover is dwelling upon your praises. Sag. How can you make so light of me as to treat me as matter for your mirth ? Vas. Why should she hang down her head in this manner ? Vatsa. Has not the starling told us all ? Sus. There ! I told you so ; that bird has repeated our con- versation. Sag. (to herself). What will he reply ? I hang between life and death ! Vas. Well, and does she please your eyes ? Vatsa. Please my eyes, say you ? My sight insatiate rests upon her graceful limbs and slender waist : reluctantly it rises to her budding bosom, and thence ascending, fixes on those soft expressive orbs, where tremulously hangs the crystal tear. Sus. Did you hear ? Sag. Did you hear ? he praises the artist's skill ! Vas. Well, Sir, and what dulness must there be in you, not to perceive that in this, the object of the damsel’s affection, your resemblance is exhibited ? Vatsa. I cannot deny that she has flatteringly delineated my likeness, nor doubt her sentiments, — for observe the traces of the tear that has fallen upon her work, like the moist dew that starts from every pore of - my frame. Sag. (to herself). Heart, be of good cheer ! your passion is directed to a corresponding object. Sus. My friend, you are fortunate ; we must treat you now with the deference due to her whom our master loves. Vas. (looking round). Here are other traces of her passion : the lotus leaves she has applied to her heart whilst revealing her affection to her friend. Vatsa. You have guessed well. Where it has been in con- tact with her form the leaf has faded, but is still green where 286 RETNAVALI, OR THE NECKLACE. the contour of her well proportioned shape has interposed an interval between the verdure and her person. The central freshness of the lotus leaf that lias reposed upon her bosom reveals not the fervour of her love, but these two pallid circles on either side betray the violence of her affection. Vas. ( picking up the fibre'). Here is another vestige — it has bound the lotus leaf upon her bosom. Vatsa {applying it to his heart) . It still dispenses its cooling freshness. Say, fibre, art thou withered, because thou art no longer cherished betw een those palpitating orbs, whose friendly contiguity scarce leaves room for the lodgment of a silken thread, much less for thee. Sus. (apart). His grace must be violently affected to talk thus incoherently. It will not become me to leave him to these fancies. (To Sagarilcd.) Well, my friend, what you came for is before j'ou. Sag. Why, what did I come for, pray ? Sus. The picture, what else ? there it is — take it. Sug. (angrily). As I don’t understand what you say, I shall leave you. [Going. Sus. How now, impatient ! stop a moment, and I will recover the drawing before we leave this place. Sag. Do so. (Susangatd comes forward, so as to be seen by Vasantaka.) Vas. Hide the picture, here, in this plantain leaf — here comes one of the queen’s damsels. ( Vatsa covers it with his mantle.) Sus. ( advancing ). Glory to the king ! Vatsa. Welcome, Susangata ; sit down. How knew you that I was here ? Sus. That is not all my knowledge ; I am acquainted with the secret of the picture, and some other matters, of which I shall apprize her majesty. [Going. Vas. (upart to Vatsa). It is all blown — she is a great tattler — better bribe her to be silent. Vatsa. Stay, Susangata ; accept these ornaments. (Takes RETNAVAI.T, OR THE NECKLACE. 287 off his bracelet, &,c.) This is but a matter of sport, not to be mentioned to the queen. Sns . Your grace is bountiful, you need not fear me. I was but in jest, and do not want these jewels. The truth is, my dear friend, Sagarika, is very angry with me for drawing her picture, and I shall be much obliged to your majesty to intercede for me and appease her resentment. Vatsa ( springing up ). Where is she ? lead me to her ! Fas. Give me the picture — I will take care of it ; it may again be wanted. Sus. This way. {They advance.') Sag. He is here — I tremble at his sight. 1 can neither stand nor move — what shall I do P Vas. ( seeing her). A most surprising damsel, truly ; such another is not to he found in this world. I am confident that when she was created Brahma was astonished at his own per- formance. Falsa. Such are my impressions. The four mouths of Brahma must at once have exclaimed in concert, bravo, bravo ! when the deity beheld these eyes more beauteous than the leaves of his own lotus, and his heads must have shaken with wonder, as he contemplated loveliness, the ornament of all the world.* Sag. (to Susangatd). This is the picture you have brought. \_Going. Fatsa. You turn your eyes upon your friend in anger, lovely maid ; yet such is their native tenderness they cannot assume a harsh expression. Look thus, but do not leave us, for your departure hence will alone give me pain. Sus. She is very angry, Sir, I assure you ; take her hand and pacify her. * Ventidius to Antony : “ You Were sure the chief, and best of human race. So perfect that the gods who formed you wondered At their own skill, and cried, a lucky hit Has mended our design.” “ All for Love.” 288 RETNAVAI.I, OR THE NECKLACE. Vatsa. You advise me well. (Takes Sagarikd by the hand.) Vas. I congratulate you. Sir; you enjoy unprecedented fortune. Vatsa. You say rightly — she is the very deity Lakshmi her- self : her hand is the new shoot of the pdrijdta tree, else whence distil these dew-drops of ambrosia ? Sus. It is not possible, my dear friend, you can remain inexorable whilst honoured thus with his grace’s hand. Sag. ( frowning ). Will you not forbear, Susangata? Vatsa. Nay, you must not be angry with your friend. Vas. Why, like a hungry Brahman, should you thus be out of humour, lady ? Sus. Very well, my friend, 1 will say no more. Vatsa. This is not right, resentful girl, to be so unforgiving to your intimate companions. Vas. Hey ! here again is Madam Vasavadatta. ( The Raja lets go Sdgarikas hand in alarm.) Sag. (to Sus). What shall I do? Sus. We can escape unperceived behind this tamcila tree. ( They go off hastily.) Vatsa ( looking round). Why, my friend, where is the queen, where is Vasavadatta ? Vas. I do not know. I said, here again is Madam Vasa- vadatta ; I meant in testiness of temper. Vatsa. Out on thee ! thou hast rudely snapped the string of splendid gems, that fate and acknowledged love had hung around my neck. [ 'They retire. Enter Vasavadatta, the Queen, and Kanchanamala, an attendant. Vdsava. Well, girl, how far from hence is my lord’s favourite jasmine tree ? Ranch. It is but a little way farther : we shall see it after passing this plantain bower. Vdsava. Let us hasten. It! TNAVALI, OR THE NECKLACE. 289 Ranch. I think I see his majesty. Yes, there he is ■ will it please you join him ? Vasava. ( approaching Vatsa). Glory to my lord ! Vatsa (to Vasantaka). Hide the picture — quick. ( Vasantaka takes it and holds it under his arm.) Vasava. Has the jasmine budded yet, my lord ? Vatsa. I have been waiting your arrival, and have not yet seen it ; we will now visit it together. Vasava. Oh no — I see by your countenance that it has flowered : that is sufficient, I will go no further. Vas. Then your grace acknowledges we have conquered ! huzza! ( waves his hand and dances; the picture falls; the Raja observes it, looks at him angrily, and points to the picture). Vas. ( apart to Vatsa). Be calm ; I will manage it. Ranch. ( picking up the picture and shewing it to the Queen) See, madam, whose portrait is this ? Vasava. (looking at it and apart). This is my lord, and is not this Sagarika ? (Aloud to Vatsa) Pray what is this, my lord ? Vatsa. (to Vasanta). What shall I say ? Vas. (to Vatsa). Fear not, leave it to me. ( Aloud to Vasa- vadattd.) I was observing, madam, that it w r ould be very- difficult to hit my friend’s likeness, on which his majesty was pleased to give me this specimen of his skill. Vatsa. It is as Vasantaka tells you. Vasava. And this female standing near you — I suppose this is a specimen of Vasantaka’s skill ? Vatsa. What should you suspect ? That is a mere fancy portrait, the original was never seen before. Vas. I’ll swear to this, by my Brahmanical cord, that the original was never before seen by either of us. Ranch. (To the Queen, apart). Why should he speak evasively, madam ? there is no need to be angry. Vasava. ( To her). My honest girl, you do not understand his prevarications. I know Vasantaka. (Aloud) My Lord, ex- cuse me. Looking at this picture has given me a slight head- ache. I leave you to your amusements. [ Going. VOL. II. u 290 RETNAVALI, OR THE NECKLACE. Vatsa. What can I say to you, dearest ? I really am at a loss ! If I ask you to forgive me, that is unnecessary, if you are not offended ; and how can I promise to do so no more, when 1 have committed no fault — although you will not believe my assertions. VUsava. ( detaching herself gently and with politeness.) You mistake, my lord ; I assure you my head aches ; on that account I take my leave. [ 'Exit with Kdnchanamula. Vas. Your majesty has had a lucky escape. The queen’s anger has dispersed like summer clouds. Vatsa. Away, blockhead, we have no occasion to rejoice : could you not discover the queen’s anger through her unsuc- cessful attempts to disguise it ? Her face was clouded with a passing frown. As she hung down her head, she looked on me with an affected smile. She gave utterance to no angry words ’tis true, and the swelling eye glowed not with rage — but a starting tear was with difficulty repressed ; and although she treated me with politeness, struggling indignation lurked in every gesture. We must follow, and endeavour to pacify her. [ Exeunt . END OF THE SECOND ACT. RETNAVALf, OR THE NECKLACE. 291 ACT III. Scene I. — A Chamber in the Palace. Enter Madanika, one of the Queen's Attendants. Ho, Kausambika ! tell me if Kanchanamala is with the Queen ? ( Listening ) What say you ; she came in some time since and went out again ; where can she be ? Oh, she comes. Enter Kanchanamala. Ranch. Bravo, Vasantaka, bravo ! you are a deeper politician than the prime minister himself. Mad. How now, fellow Kanchanamala, what has Vasantaka done to merit your praises ? Ranch. What occasion is there for your asking ? you are not able to keep the secret ! Mad. I swear by the feet of the queen, I will not men- tion it to any body. Ranch. On that condition you shall hear. As I was passing from the palace to-day, I overheard Vasantaka and Susangata in conversation behind the door of the picture gallery.* Mad. What was the subject ? Ranch. Vasantaka said, Sagarika alone is the cause of my friend’s indisposition ; do you, Susangata, devise a remedy. Mad. And what replied she ? Ranch. She said, the queen having discovered what was going forward by finding the picture, but not suspecting me, has placed Sagarika under my charge — giving me, to insure * Chitta salt, or Chitra sltld. So in the Viddliasala hhanjiha, a chamber of this kind occurs hung with portraits of the women of the interior of the palace. 292 RETNAVALI, OR THF. NECKLACE. my vigilance, some of her own clothes and ornaments. With these I will equip Sagarika as the queen, and myself as Kan- chanamala, and thus disguised will meet his majesty at the madhava bower about sunset : do you come to this place and conduct us thither. Mad. Very well plotted, Susangata ; but you are mistaken, if you think to deceive a mistress so kind to her attendants. Kdnch. And where are you going ? Mad. I was coming to look for you. You were so long in bringing us an answer about his majesty’s illness, that the queen was very anxious, and sent me to see what had become of you. Kdnch. Her majesty is too simple, to be so easily deceived. But the king, whose only illness is love, is sitting in the pavilion over the ivory gate. Come along, let us carry this news to the queen. [ Exeunt . The Pavilion. Vatsa discovered. Vatsa. Endure, my heart, the fever love has kindled, and which the maid I sigh for can alone allay. Why reproach me with my folly for seeking to subdue thy fervours with the cooling sandal, instead of that lovely hand which was awhile in my grasp ! The mind from its natural unsteadiness should be a difficult mark to hit ; how happens it that the archer-god has lodged all his shafts in mine ! Deity of the flowery bow, innumerable are those who may be struck with thy five arrows, and such as I am are notoriously thy aim. But in this is the usual state of things reversed, that I, singly, am pierced with thy countless darts, and am about to perish. Yet I suffer less on my own account than for poor Sagarika. She shrinks from every gaze, suspecting that her secret is discovered. If she observe two of her companions in conversation, she fancies herself the subject ; and if they laugh, she thinks she is the object of their mirth. Alas, my love ! thy uneasiness excites my compassion, and I share the dread thou sufferest from the RETNAVALI, Oil THE NECKLACE. 293 glances of the queen, as they bend on thee with ill dissem- bled indignation. — How long Vasantaka delays ! I have sent him to obtain some tidings of the maiden. Enter Vasantaka. Vas. (to himself). Ha, ha ! my friend, you will be better pleased to-day than when you ascended the throne of Kausambi, when you hear the agreeable news I bring you. Oh, there he is : he seems expecting me. Joy, joy, my friend ; fortune is propitious, and promises to accomplish your desire. Vutsa. How is Sagarika ? Vas. In a little time you may judge for yourself. Vatsa. What, may I hope to see her soon ? Vas. Why not, am not I your councillor ; I who laugh at the wisdom of Vrihaspati ? Vatsa. Admitted — there is nothing you cannot manage ; but come, tell me, I long to hear the particulars. Vas. ( whispers in his ear).* There, you have the whole. Vatsa. This merits reward. ( Gives him a bracelet.) Vas. (takes it and puts it on.) Very becoming; a golden brace- let suits my arm. I will go and shew it to my wife. \_Going. Vatsa. Stop, my friend, stop, another time will serve your purpose. How much of the day remains ? Vas. (looking). See, my friend, the lord of a thousand rays approaches the bowers of the western mountain. Vatsa. True, the lord of the one-wheeled car having per- formed the circuit of the world, now purposes to suspend his labours till the morrow’s dawn, and halting on the mountain’s brow, he calls in his scattered rays, whose golden lines con- verging round his chariot, look like the radiant spokes that shoot to their centre from the wide circumference of the spheres. As with assembled beams he rests upon the summit of the * A clumsy mode of avoiding the repetition of the plot. We have had it in other pieces, as the Mrichchahati and Mudra Rakshasa. 294 RETNAVALI, OR THE NECKLACE. western hill, the lord of day thus breathes his farewell to the lotus : “ Adieu, my beloved, my hour is come and I milst depart : sleep dwell upon thy lids, till I again disturb thy slumbers.” Let us therefore away to the madhavi bower, and be punctual to the time appointed by my fair. Vas. I attend you. The interval that separates the trees of the grove is lost, and they seem to form one close compacted mass. A dusky hue, like that of the hide of the buffalo or wild boar besmeared with mire, extends over the garden, and thick glooms spreading above the east, obscure the horizon. Vatsa. True : first gathering in the east, the deepening gloom successively obscures the other regions of the sky : becoming intenser as it proceeds, it steals the hue of Siva's neck, and mountains, trees, and towns, the heavens and the earth, are hidden from our sight. Let us to the garden. \_Exeunt. The Garden. Enter Vatsa and Vasantaka. Vas. This clump of trees should be the makaranda grove, but I am not quite certain : how shall we find the way ? Vatsa. Go on, we are right, I know the path. The cham- paka trees are here, I smell their fragrance ; and now the sindhuvdras ; we now pass the cluster of bakulas, and here are the pdtali trees : their various odour indicates their situation, and would enable us to track the walk were they concealed by twice the present gloom. Vas. Ha ! here we are, this is the madhavi bower. I know it by the perfume of the buds so tempting to the bees, and the smoothness of the emerald pavement. Do you remain here whilst 1 go for Sagarika, I shall soon be back. Vatsa. Do not be long. Vas. Do not be impatient, my friend. I am back already.* [Exit. * A form of speech still in use in reply to the commands of a superior : a servant, on being directed to do any thing, commonly answering, ‘ it is done.’ ItETNAVALI, OR THE NECKLACE. 295 Vatsa. I wait you on this emerald seat. Who will take part with the inconstant swain, that abandons his old love for a new ? The timid damsel that comes to her first assignation, casts but a sidelong glance upon her beloved, and though she shrink not from his embrace, averts her countenance from his gaze. c Let me go,’ she murmurs repeatedly ; c I will leave you !’ but still submits to the gentle violence that prevents her departure.’ What heightened charms does a stolen interview bestow upon the amorous maid ! How long Vasantaka delays ! surely Vasavadatta has not heard of our design. [Retires. A Chamber. Enter Vasavadatta and Kanciianamala. Vasava. Can it be possible, wench, that Sagarika has pro- mised to meet my lord disguised in my attire ! Ranch. I have told your majesty ; but if we find Vasantaka at the door of the picture gallery, your doubts, I hope, will be removed. Vasava. Let us thither. [Exeunt. Chamber leading to the Picture Gallery. Enter Vasantaka, disguised. Vas. I thought I heard the tread of feet ; Sagarika ap- proaches. [Retires. Enter Vasavadatta and Kanciianamala. ' Ranch. This the place, madam. Noav to see if Vasantaka is here. ( Snaps her fingers.) Vas. ( approaching ). Ha, Susangata ! well done : I declare I should have taken you for Kanciianamala. Where is Sagarika ? Ranch. (; pointing to Vasavadatta). There. Vas. Why, this is the very queen herself. Vasava. ( alarmed and apart). How ! am I recognised ! Vas. Come, Sagarika, this way. Ranch, (to the Queen). All’s safe, madam. (Pointing to 296 RETNAVALI, OR THE NECKLACE. Vasantaka) Ah ! rogue, you will have cause to remember your words. Vas. Haste, haste, Sagarika ! the deer-marked deity rises in the east. [Exeunt. A Grove.* — V atsa discovered. Why is my heart so agitated when I expect an interview with my fair ; or is it that the flame of love burns fiercest as it approaches its gratification, as the days are hottest when the rains are about to descend. Enter Vasantaka, Vasavadatta, and Kanchanamala. Vas. (to Vasava). Lady Sagarika, I hear my friend mutter- ing to himself his anxiety for your appearance ; I will an- nounce your arrival. ( Viisavadatta nods assent.) Fortune is propitious to your majesty ; Sagarika is here ! Vatsa. (approaching her). My beloved Sagarika, thy coun- tenance is radiant as the moon, thy eyes are two lotus buds, thy hand is the full blown flower, and thy arms its graceful filaments. Come thou, whose whole form is the shrine of ecstasy, come to my arms, and allay the feverish pangs inflicted by the shapeless god. V dsava. (weeping, apart to Ranch.) Ah, girl ! my lord now speaks his honest self — how soon will his tone be changed. Is not this incomprehensible ? Ranch. It is so, indeed, madam ; there is nothing so bad, that it may not be expected from these abominable men. Vas. Come, Sagarika, take courage ; speak to his majesty. We have had the harsh tones of the angry queen Vasavadatta grating in our ears to-day ; let them be now regaled with the melody of your sweet voice. Vasava. (to Ranch, apart). Hey, girl ! am I accustomed to speak harshly ? The worthy Vasantaka is very complimentary. Ranch. He will have cause to recollect this. * As the parties in this scene are occasionally for short intervals invisible to each other, we must suppose the trees so arranged as to intercept the sight of them. RETNAVALI, OR THE NECKLACE. 297 Vas. See, my friend, the moon is up, and casts on every thing his rays as pallid as the maiden’s cheek that whitens with resentment. Vatsa. See, love, the lord of night now stands upon the mountain’s crest, and throws his scattered rays around to emulate the radiance of thy cheek. But idle is his coming — does not thy countenance shame the beauty of the lotus ! do not thine eyes diffuse dearer delight ! What aid can he bring to the influence of the fish-bannered god, which is not wrought by a single glance of thine ? Why shoidd the moon shew him- self whilst thy resplendent charms are visible ? And if he rises, proud of his store of nectar, does he not know thy lips may boast too of ambrosia !- Vasava. (throwing off her veil). Believe me still Sa'garika, my good lord ; your heart is so fascinated by her, you fancy you behold Sagarika in every thing. Vatsa. (apart). How ! the queen Vasavadatta ! What is this ? Vas. My life is in jeopardy — that is — what it is. Vatsa. (to the Queen). Forgive me, dearest. Vasava. Address not this to me, my lord — the epithet is another’s property. Vas. (apart). What is to be done ! (Aloud.) Nay, madam ! you are of too generous a spirit not to forgive this first offence of my dear friend. Vasava. Worthy Vasantaka, the offence is mine, who have presumed to interrupt this intended interview. Vatsa. It is of no use to deny it. But hear me: I bow me to thy feet, and mark my forehead with their vermil dye, in hope to transfer thither the hue with which anger discolours thy moon-like countenance. (Fulls at her feet) Vasava. Rise, my lord, rise ! that wife must be unreason- able indeed, who with such evidence of her lord’s affection can presume to be offended. Be happy, I take my leave. [Going* Vas. Nay, madam, be merciful ; I am sure, if you quit his majesty in this posture, ymi will hereafter repent it. 298 KETNAVALI, OR THE NECKLACE. Vasava. Away, fool ! I know no reason for mercy nor re- pentance. [Exit with Kdnchanam&ld. Vas. Your majesty may get up, the queen is gone. What is the use of weeping in a wood ? Vatsa. What, gone, without relenting ! Vas. Not so either, for our limbs are whole. Vatsa. Out, simpleton ! do you make a jest of this ; you, by whose blundering this untoward accident has happened ! The genuine regard, our long and tender union has inspired, will now appear pretended, and the impression of my inconstancy may render her unable to endure existence. No pang is so intolerable as that of unrequited affection. Vas. The queen is angry, that is a clear case ; as to what she will do, that is by no means certain. In the mean time is Sagarika alive or not ? Vatsa. I was thinking of her. [They retire. Enter Sagarika (behind), dressed as the Queen. Sag. I have luckily got clear of the music hall, and have come so far in this disguise without being observed. But, alas! what shall I do now ? Vas. Why thus lost in thought, something must be devised. Vatsa. But what ? Sag. (behind). ’Twere better far, that I should put an end at once to my sufferings and my life : the queen will then know nothing of my purpose, and Susangata and I shall both escape disgrace. This tree will do. Vatsa. I see nothing left for it but to appease the queen. Come, let us go in. Vas. Stop, I heard steps ! perhaps she has thought better, and returns. Vatsa. She is a woman of a generous spirit — it may be so. Quick, ascertain ! Sag. With the fibres of the madhavi I will suspend myself to this bough. Alas ! my dear friends, far, far away, alone RETNAVALI, OR THE NECKLACE. 299 and unfriended, I thus terminate my miserable existence. ( Fastening the noose around her neck.) Vas. Who is there ? — Ila, the queen ! Hey why, what ! haste, haste, my friend, or Vasavadatta will destroy herself. Vatsa. { advancing hastily). Where, where is she ? Vas. Behold ! Vatsa. {rushing toiler and tearing off' the tendril). Intemperate woman ! what horrid act is this ! my own life trembles in my throat : existence is not yours to abandon : forego such des- perate thought. Sag. {apart). My lord ! His presence inspires the love of life ; at least my last wish is accomplished, and having seen him, I shall die content. [Aloud) Let me go. Sir, you forget my dependant station ; I may not find again an opportunity to end this hated being. Beware how you displease the queen. Vatsa. Can it be, my own Sagarika ! No more of this despair ,• away with these fatal bands, and to arrest my fleet- ing life, twine round my neck the noose of these dear arms. [Embraces her.) My friend, it rains without a cloud. Vas. Very true, if the queen does not return like a sudden squall, and spoil our fine weather. Enter Vasavadatta and Kanchanamala. Vcisava. I treated my lord too disrespectfully, girl, as he condescended to cast himself at my feet ; I must therefore see him again, and behave to him with more temper. Kdnch. Who would think in this way but your grace? However, better the king fail in decorum than your majesty, so let us seek him. Vatsa. Say, fair maid, may not our affection hope to be returned ? Kdnch. I hear his majesty’s voice, he is probably seeking for you in hopes to pacify your anger. Vcisava. Let us approach gently from behind ; I will cast my arms round his neck, and tell him I forgive him. Vas. Take courage, Sagarika, make my friend a reply. 300 HETNAVALJj OK THE NECKLACE. Vdsava. (apart). Sagarika here ! — Keep back, let us listen ; I will presently be of the party. Sdg. Why, Sir, will you thus pretend regard you do not feel, and wantonly risk the displeasure of the queen, who, I know, is dearer to you than your life. Vatsa. You utter what is not quite true, my love. When her bosom swells with sighs I express concern ; when she is sullen I soothe her ; when her brows are bent, and her face is distorted with anger, I fall prostrate at her feet. These marks of respect are due to the queen’s exalted station ; but the regard that springs from vehement affection, that is yours alone. Vdsava. ( coming forward). I believe you, my lord, I believe you. Vatsa. How now, madam, is it you ? Why then you need not be offended. Cannot you perceive that I have been at- tracted hither, and misled by this resemblance of your dress and person ? Be composed, I beg you. [ Falls at her feet. Vdsava. Rise, rise ! let not my exalted station put you to such unnecessary inconvenience. Vatsa. (aside). She has overheard me — there is no chance then of appeasing her. Vas. It is very true, madam. I assure you, that deceived by the belief that you were attempting to destroy yourself, I brought my friend to this spot, to preserve, as I thought, your life. If you doubt me see this noose. \_Takes up the noose. Vdsava. Kanchanamala, girl, take the twisted tendril and secure that Brahman, and make this hussy go on before us. Kdnch. As you command. (Puts the noose over Vasantaka’s neck, and beats him with the other end of it.) Now, Sir, see what is the consequence of your ingenuity. You have had the queen’s harsh voice grating in your ears, have you ? do you recollect this. Come, Sagarika, do you go on before. Sag. Why did I not perish when I sought to die ! Vas. Think of me, my dear friend, who am thus carried of!' an unfortunate captive by the queen. RETNAVALI, OR THE NECKLACE. 301 Exeunt all but Vatsa. What an unlucky business this is ! What is to be done ? how shall I dissipate the rage that clouds the smiling counte- nance of the queen ! how rescue Sagarika from the dread of her resentment, or liberate my friend V asantaka ? I am quite bewildered with these events, and can no longer command my ideas. — At any rate it is useless to stay here: I will in, and endeavour to pacify Vasavadatta. [Exit, END OF THE THIRD ACT. 302 KETNAVAI.I, OR THE NECKLACE. ACT IV. A Chamber. Enter Susangata with a Diamond Necklace in her hand. Alas, alas ! my dear friend Sagarika, my timid, my tender, my generous friend : whither, lovely maiden, are you gone ? shall I not again behold you ? Pitiless destiny, why shouldst thou have endowed her with such unrivalled charms, to consign her to so hapless a fate ! Despairing of her life, she has begged me to give this necklace to some Brahman. Whom shall I present it to ? Eh, here comes Vasantaka, I will give it to him. Enter Vasantaka. Vas. So, I am well out of that scrape. Appeased by my excellent friend’s intercession, her majesty has not only res- tored me to freedom, but has regaled me with cates from her own fair hands, and presented me with a dress and these ear- rings. Now then to seek the king. Sus. (advances). Worthy Vasantaka, one moment. Vas. Hey, Susangata, what’s the matter ; why do you weep ? no bad news, I hope, of Sagarika. Sus. It is of her I wished to speak. It is said that the queen ordered her off to Ujayin, and she was taken away at midnight ; but whither she is gone I know not. Vas. Alas, poor Sagarika, a damsel of such unequalled charms, and of such a gentle disposition ! I much fear the violence of the queen. Sus. She herself despaired of life, poor girl, and left with me this diamond necklace, to be presented to the worthy Vasantaka. Pray you, accept it. JtETNAVALI, OR THE NECKLACE. 303 Vas. (covering his ears). Excuse me, I could not stretch out my hand to take so sad a memorial. [ Weeps. Sus. For her sake, let me entreat you. Vas. I tell you what : I will take it to the king. It will relieve the sorrow into which the loss of Sagarika has plunged him. ( Susangatd gives it to him, he looks at it attentively .) Why, where could she have procured such a valuable neck- lace ? Sus. That excited my curiosity, and I asked her. Vas. And what replied she ? Sus. She looked me in the face, and sighed, and said, Ah, Susangata, it is now of no avail to tell my sad story, — and then burst into tears. Vas. Although she has not confessed it, yet such an orna- ment is a proof that she belongs to some distinguished family. — Where is the king? Sus. He went from the queen’s apartments to the crystal alcove. Do you go to him — I must to her majesty. (Exeunt severally. The Crystal Alcove. Vats a discovered, seated. Deceitful vows, tender speeches, plausible excuses, and prostrate supplications, had less effect upon the queen’s anger than her own tears ; like water upon fire, they quenched the blaze of her indignation. I am now only anxious for Sagarika. Her form, as delicate as the petal of the lotus, dissolving in the breath of inexperienced passion, has found a passage through the channels by which love penetrates, and is lodged deep in my heart. The friend to whom I could confide my secret sor- rows is the prisoner of the queen ; in whose presence can I now give vent to my tears ? Enter Vasantaka. Vas. Yonder is my friend, emaciate with care, but grace- ful still, radiant as the newly risen moon. Health to your 394 RETNAVALI, OH TIIE NECKLACE. grace ! fortune favours you. I have got out of her majesty’s clutches, and these eyes have again the pleasure of beholding you. Vatsa. My friend Vasantaka, embrace me ( embraces him). Your dress declares you restored to the good graces of the queen. Tell me, what netvs of Sagarika. (Vasantaka hangs down his head.) I pray you speak. Vas. I cannot utter such unpleasant tidings. Vatsa. What tidings, speak ? Alas, it is too plain, she is no more ! Sagarika ! Q Faints . Vas. (alarmed). My friend, revive — revive ! Vatsa. (recovering). Leave me, existence — I willingly resign you — haste, or you will be forcibly expelled. Already is that graceful maid far off. Vas. You are alarmed unnecessarily. I was about to tell you, the queen has sent her to Ougein : — this I called un- pleasant tidings. Vatsa. To Ougein ! Ah, cruel Vasavadatta. "Who told you this ? Vas. Susangata : — and more, she gave me this necklace to bring to your majesty. She knows why. Vatsa. To alleviate my despair ; what else. Give it me. ( Vasantaka gives him the necklace which he applies to his heart). This has once hung upon her neck, and is now far removed from her : it is a friend that shares a similar fortune with myself, and will speak comfort to my sorrows: wear it, my friend, that as it meets my gaze I may acquire fortitude. Vas. As you command. (Ties the necklace round his neck.) Vatsa. Alas, I shall never again behold my love. Vas. Speak not so loud — some one approaches. Enter Vasundiiara, a Female Attendant, with a Sword* Vasun. Glory to your majesty ! — So please you. the nephew * The accounts of the early travellers in India speak of the female guard of the haram. According to Manoucld, that of Shah Jehan consisted of a hundred Tartar women, armed with a bow, a poignard, and a scimetar. The practice has been noticed in former plays, and seems to have been originally Hindu, if it was not universally Asiatic. RETNAVALI, OR THE NECKLACE. 305 of Rumanwan, Vijayaverma, desirous of communicating to you some acceptable tidings, is at the door. Vatsci. Let him enter. Vasundhara goes out , and returns with Vijayaverma. Vij. Glory to your majesty ! Your majesty’s fortune is propitious in the triumphs of Rumanwan. Vatsa. Are the Kosalds subdued ? Vij. By your majesty’s auspices. Vatsa. Rumanwan has well performed his task, and speedily achieved an arduous labour. Let me hear the circum- stances of our triumph. Vij. On receiving your majesty’s commands, the general of the state, Rumanwan, soon collected a mighty army of foot, and horse, and elephants,* and marching against the king of Kosald, surrounded him in a strong position in the Vindhya mountains. f Vatsa. Proceed. Vij. Impatient of the blockade, the Kosald monarch pre- pared his troops for an engagement. Vas. Your slowness sets my heart in a flutter. Vij. Issuing from the heights, the enemy’s forces came down upon us in great numbers, and the points of the horizon were crowded with the array of mighty elephants, like another chain of mountains : they bore down our infantry beneath their ponderous masses : those who escaped the shock were transpierced by innumerable arrows, and the enemy flattered himself he had for once disappointed our commander’s hopes. * It is not unworthy of remark, as illustrative of the progress of'military science, and the date of the drama, that chariots are not mentioned here. f This would be a strange position for a king of Kosald, if that were confined to the Oude provinces, the Vindhya mountains running across western and central Hindustan, and passing to the Peninsula. But some time previous to the date of the drama the king of Kosald' s authority ex- tended into South Behar. The greater part, if not the whole of Oude was, at this time, when the play was written, subjugated by the princes of Kanouj. VOL. II. X 306 HETNAVALT, OH THE NECKT.ACE. Fire flashed from the blows of contending heroes, helmets and heads were cloven in twain — the broken armour and scat- tered weapons w ere carried away in torrents of blood, and the defiance of the king of Kosala, in the van of his army, was heard by our warriors ; when — Vatsa. How ! was our force discomfited ? Vij. Our chief alone confronted him, and slew the monarch on his furious elephant with countless shafts. Vas. Victory! victory! we have triumphed ! Vatsa. And honour to our gallant foe, the king of Kosala ; for glorious is the warrior’s death when his enemies applaud his prowess. What next ? Vij. Rumanwan then appointed my elder brother, San- jayaverma, to govern the country of Kosala, and making slow' marches in consequence of the number of his wounded, re- turned to the capital. He is now arrived. Vatsa. Vasundhara, go apprise Yaugandharayana to dis- tribute the treasures of my favour. Vasurul. You are obeyed. [Exit with Vijayaverma. Enter Kanchanamala. Kan. Glory to your grace ! The queen sends you word, that Samvarana Siddha, the magician, is arrived from Ougein : w ill your majesty be pleased to see him ? Vatsa. By all means ; I take much pleasure in this cunning — bring him hither. ( Kdnchanamdla goes, and returns with the magician, Samvarana Siddha, carrying a bunch of peacock’s feathers in his hands.)* Kan. Here is the king. Sant, (waving the feathers and laughing). Reverence to Indra, who lends our art his name,f and on wdiom Samvara and * A bunch of peacock’s feathers is still the implement of conjuring, and is carried by mendicants in India who pretend to skill in magic : it is especially borne about by Jaina vagrants. t Conjuring is called Aindrajaliha from Indra * the deity and ja/a ‘ a net.’ RETNAVAII, OR THE NECKLACE. 307 Vivcira* attend ! What are your majesty’s commands : would you see the moon brought down upon earth, a mountain in mid air, a fire in the ocean, or night at noon ? I will produce them — command. Vas. My good friend, be careful, — take heed Avhat sort of a person this conjuror may be. Sam. What need of many words ? By the force of my master’s spells I will place before your eyes the person whom in your heart you are most anxious to behold. f Vatsa. Go, girl, to the queen, and tell her that as the magician is her servant, I do not wish to witness his per- formances alone, but will see them in her company. Kcinch. She is here. Enter Vasavadatta. Vasava. ( apart to Kdnchanamdla). Girl, this man is from Ougein : think you he is a friend to me ? K cinch. Fear not, madam, he is well disposed to your grace’s family. Vasava. (advances'). Victory to my lord ! Vatsa. Come, madam, the sage promises much : let us behold his cunning. ( Leads her to a seat, and sits beside her.) Now, sir, display your power. Sam. You shall be obeyed. (Waves his plume.) Hari, Hara, Brahma, chiefs of the gods, and thou their mighty monarch, Indr a, with the host of heavenly spirits, Sicldhas and Vidyddharasf appear rejoicing and dancing in heavens. ( The King and Queen look up and rise from their seats.) * Some technicalities of conjuring perhaps personified, the terms mean literally, comprehension and disunion. Samvara is also the name of a Daitya, who was also an enchanter. + We see by this and other allusions to the art of magic, that the pre- tensions of the necromancers of India were not inferior to those of their brethren of the west, nor of dissimilar purport. I The persons, character, and offices of the different inferior races of divinities are very ill defined in the heavenly polity of the Hindus. The X 2 Sidd/tas 308 RETNAVALI, OR THE NECKLACE. Vatsa. Most wonderful ! Vas. Extraordinary indeed ! Vasava. Most strange ! Vas. See, love : that is Bralimd throned upon the lotus. — That, Sankara with the crescent moon, his glittering crest — that, Hari the destroyer of the demon race, in whose four hands the bow, the sword, the mace, and the shell are borne. — There, mounted on his stately elephant, appears the king of Swerga : around them countless spirits dance merrily in mid air, sporting with the lovely nymphs of heaven, whose anklets ring responsive to the measure.* * Vasava. It is very marvellous. Vas. (apart). The son of a slave — this conjuror ! — what do we want with gods and nymphs — if he would treat us with a pleasant sight, let him shew us Sagarika. Enter Vasundhara. Vasun. So please your majesty, the minister Yaugandha- rayana begs to inform you, that the king Vikramabahu has sent you, along with your messenger who returns, the coun- cillor Vasubhuti : be pleased to receive him, as the season is auspicious. Yaugandharayana will also wait upon you as soon as he is at leisure. Vtisava. Suspend this spectacle, my lord. Vasubhuti is a man of elevated rank : he is also of the family of my maternal Siddhas and Vidyadharas are beings of an intermediate order between men and gods, tenanting the middle regions above the earth, and are usually described as attending upon Indra, although they have chiefs and kings of their own. The Vidyadharas have much intercourse with men, inter- marrying with mortals, and often having earthly princes and heroes for their kings. The Siddhas are of a more retired cast, and are rarely the subject of fabulous or mythological legend. The printed copy has ! Charanas, and Suras, in place of Vidyadharas, implying inferior demi- gods. * This is something like the Masque in ‘ the Tempest.’ RETNAVALJ, OR THE NECKLACE. 309 uncle, and should not be suffered to wait : let us first see him. V atsa. Learned sir, be pleased to repose awhile. Sam. (waves the brush ) I obey (going). But Ave have yet some sights for your majesty to behold. Vatsa. We will see them. (Vasava.) Make him a present, Kanchanamala. Ranch. I shall, madam. [Exit with the Magician. Vatsa. (to Vasantaka). Go and conduct Vasubhuti hither. (Retires with the Queen: Vasantaka goes out, and returns with Vasubiiuti and Babhravya.) Vas. This way. Vasu. The avenues of this palace do in truth present a splendid scene. The eye is bewildered amongst the stately steeds and mighty elephants of Avar : the ear is regaled Avith harmonious sounds, and the heart is gratified by mixing with the throng of attending princes. The state of the king of Sinhald is here effaced, and the magnificence of the entrance into every court betrays me into rustic admiration. Bdbli. The idea of seeing my master again after so long an absence, diverts my thoughts from every other object. Age and agitation together make my limbs tremble, my eyes are dimmed with involuntary tears, and I stutter and stumble in my speech. Vas. (in advance of them). Come on, sirs. Vasu. (observing the necklace). Babhravya, we should know that necklace : it Avas presented by the king to his daughter on her departure. Buhh , It is very like — shall I ask Vasantaka Avhere he got it ? Vasu. No, no; it is not very surprising that princely fami- lies should possess jewels of a similar appearance. Vas. The king, — advance. Vasu. Victory to your majesty ! 310 KETNAVALT, OR THE NECKLACE. Vatsa. I pay you reverence. Vasu. Prosperity ever attend your highness ! Vatsa. A seat for the minister. Vas. This is a seat, (Spreads his upper garment* on the floor.) Bdhh. Babhravya pays his respects to your majesty. Vatsa. (puts his hand on his shoulder ). Babhravya, sit here. Vas. Minister, the queen Vasavadatta. Vtisava. I salute your excellency. Vasu. May your highness have a son like his father ! Bubh. Madam, Babhravya bows to you. Vatsa. Now, Vasubhuti, how is it with the sovereign of Sinhala ? Vasu. (sighs). I know not what reply to offer. Vdsava. (apart). Alas ! what can he have to communi- cate ? Vats. What is the meaning of this concern ? Babhr. (apart to Vasubhuti). It is useless to hesitate — say at once what must be said. Vasu. It is with difficulty, sir, that I can relate what has chanced, but thus it is. In consequence of the prophecy of the seer, that whoever should wed Retnavali, my master’s daughter, should become the emperor of the world, your majesty’s minister, as you are aware, solicited her for your bride : unwilling, however, to be instrumental to the uneasi- ness of Vasavadatta, the king of Sinhala declined compliance with his suit. Vatsa. (apart to Vasavadatta). What strange untruths are these, my love, your uncle’s envoy relates ! * This seems rather inconsistent with royal magnificence : but vve are to recollect the only seats used by Asiatics of rank, even in the present day, are carpets, or cloths and pillows spread on the ground, which is elsewhere uncovered. The Mogul Emperors used a sort of throne, but their cour- tiers sat on the ground. The Hindu Rajas, the Peshwa, and others, sat upon a cloth supporting themselves by pillows. HETNAVALI, OH THE NECKLACE. 311 Vasava. I cannot pretend to judge, my lord, who is to be believed here. Vas. (to Vasubhuti). Well, and where is the princess now ? Vasu. My master, understanding at last that the queen w T as deceased,* consented to give his daughter to Vatsa. We were deputed to conduct her hither, when, alas, our vessel was wrecked, and — (weeps). Vasava. Alas, unhappy that I am ! Loved sister Retnavali, where art thou, hear me and reply. Vatsa , Be composed : the fate that causes, may remove our sorrows. Have not these escaped ? ( Pointing to Vasubhuti and Babhravya.) Vasava. Oh, that it may prove so, but fate is no friend to me. (Behind.) The inner apartments are on fire. The flames spread over the palace top a roof of gold ; they wind around with clouds of smoke ; they shed intolerable heat, and fill the female train with affright. Alas ! the former false report, that at Lavanakaf the Queen was burnt, will now become a pitiable truth. Vatsa. (starting up wildly.) Vasavadatta burnt to death ! my queen, my love ! * That she was burnt : so in the Vrihat Katha, in which a similar story is told, except that the person is made Padmavati, princess of Magadha. The queen Vasavadatta is there a party to the project of which Vatsa is kept in ignorance, his love for Vasavadatta not permitting him to think of a second bride whilst she lives. With Vasavadatta’s concurrence, his ministers persuaded him that she had perished in the conflagration of the palace, purposely set on fire, whilst he was out on a hunting excursion, by which the objections of Padmavati’s father to his daughter holding the inferior rank of a second wife were removed, and Vatsa was prevailed upon, as a duty he owed to his people and family, to marry again. The author of the drama also intimates, that Vatsa was ignorant of his minister’s projects, and evidently follows the Vrihat Katha, or a common authority. f The place where the former palace w'as burnt. It must have been somewhere on the south bank of the Jumna, near its confluence with the Ganges. 312 RETNAVAJLI, OR THE IsECKLACE. Vdsava. What extravagance is this — behold me at your side. But ah ! help, help, my lord. Vatsa. (embracing her). Be calm, my love. Vdsava. I think not of myself, but poor Sagarika. She is in bonds : my cruelty has kept her captive, and she will be lost without some aid — haste, haste, and save her ! Vatsa. Sagarika in peril ! 1 fly to her rescue. Vasu. What desperate purpose is this. Sir ? the fatal folly of the moth. Bdbhr. Hear Vasubhuti, Sir. Vas. (catching hold of his robe). Forbear ! this is madness. Vatsa. Let me go, fool ! Sagarika will perish — think you I shall survive her ? Bdbhr. What ! shall the race of Bharata be imperilled for such trifling cause ? But be that as it may, I will do my duty. Vatsa. Stop, thou devouring flame ! withhold thy veiling smoke, as high in air thy circling brilliancy revolves — behold ! I come to share the destiny of Sagarika. The fire nears the prison of the maid — I shall the more quickly discover her. [Rushes off. Vdsava. My inconsiderate speech has inflicted this anguish on my lord. I cannot bear his loss, and will follow. Vas. Wait, madam, I will lead the way. [ Exit with the Queen. Vasu. Vatsa has precipitated himself into the flames. After having witnessed the fate of the princess, what remains but that I also offer up my life. [Exit. Bdbhr. And must the race of Bharata thus causelessly perish ? — But why do I delay — I will at least give proof of my fidelity. [Exit. The Palace on Fire. Sagarika, in chains, discovered. The blaze encompassess me on every side : thanks, lord of flame, thou puttest a period to my sorrow's. RETNAVALI, OK THE NECKLACE. 313 Enter Vatsa. Vatsa. The light shews me Sagarika — ’tis she, alone, with- out assistance. Sag. The prince ! The sight of him inspires with me the hope of life. (Aloud.) Preserve me, Sire ! Vatsa. Fear not : support one moment these investing vapours — ha! the scarf on your bosom is on fire. ( Snatches it off.) Your fetters impede your path, — let me support you. Dearest, cling to me. ( Takes her in his arms ) Already is the heat allayed, — be of good cheer : the fire cannot harm thee, love, whose very touch abates its intensity. (Pauses — looks round — closes his eyes, and re-opens them.) Why, what is this ! where are the flames ! they have disappeared, and there stands the palace unharmed ! Ha ! the daughter of Avanti’s monarch ! Enter Vasavadatta, who runs into Vatsa’s arms. Vasava. My dearest lord ! Enter Vasubhuti, Vasantaka, and Babhravya. Vatsa. My friends ! Vasu. Fate is propitious to your majesty. Vatsa. This must have been a dream, or is it magic ! Vas. The latter, no doubt : did not that conjuring son of a slave say he had still something for your majesty to see. Vatsa. (to the Queen). Here, madam, is Sagarika, rescued in obedience to your commands. Vdsava. (smiling). I am sensible of your obedience, my lord. Vasu. (to Babhravya). That damsel is wonderfully like the princess. Bdbhr. So it struck me. Vasu. Excuse me, Sire, permit me, ask — whence is this maiden ? 314 ItETNAVALI, OR THE NECKLACE. Vatsa. You must ask the queen. Vasu. (to Vasavadatta). Will your grace inform me ? Vdsava. Yaugandharayana presented her to me, and told me she had been rescued from the sea : ’twas hence we de- signated her, the Ocean Maid.* Vatsa. (apart). Presented by Yaugandharayana, and without mentioning it to me — what could have been his motive ? Vasu. (apart to Babhravya). The likeness — the necklace — the recovery of the damsel from the sea — leave no doubt that this is the daughter of the king of Sinhala, Retnavali, (Advances to her) Lady Retnavali, do I find you in this condition ? Sag. (looking at him). Ha ! the minister Vasubhuti ! Vasu. I die ! [Faints. Sag. Unfortunate that 1 am, I perish : my beloved parents, hear me ; reply to your child. [Faints. Vdsava. What ! Babhravya, is this my sister, f Retnavali ? Bubhr. It is. Vdsava. Revive, dear sister, revive. Vatsa. Is this the daughter of Vikramabahu of the house of Udatta, the sovereign of Sinhala. Vas. (apart). I knew this necklace was the property of no ordinary person. Vasu. (recovering). Revive, dear lady, — be composed ; see how your elder sister grieves ! Console her sorrows with your embrace. Retna. (or Sdgarikd). I have offended the queen, how shall I look her in the face again ! Vdsava. Come hither, unrelenting girl — behold in me a sister ! come to my arms. (As Retndvali goes to embrace the Queen, she stumbles. Vasavadatta apart to Vatsa). My good * The meaning of Sagarika is, ‘ born of, or produced from, the sugar a, or ocean. ’ + She calls her ‘ sister,’ although such close affinity does not exist ; they are cousins, the king of Ceylon being the maternal uncle of Vasavadattii. RETNAVALI, OR THE NECKLACE. 315 lord, I blush for my cruelty. Quick ! undo these horrible bonds. Vatsa. Be composed, I will remove them. ( Takes the chains off RetndvaU’s feet.) Vas. Yaugandharayana is most to blame in this ; he must have known the truth, and yet said not a syllable to any one. Enter Yaugandharayana. The temporary absence of her husband, and the contraction of marriage bonds with another wife, cannot fail to be dis- pleasing to the queen : she may thank me for these favours, and I am ashamed to face her. Yet I am confident she will forgive me, when she considers my motives, and will be well pleased that the king obtains by these means the sovereignty of the world. However, happen what may, duty to a master must be performed without regal'd to such considerations.— They are here : I will approach. — Glory to the king ! Pardon me. Sire, if I have accomplished any object affecting your interest, without previously consulting you. Vatsa. What have you done, inform us ? Yaugan. Please your majesty to be seated, and I will tell you. It was formerly announced to us by a holy Seer, that the husband of the princess of Sinhala should become the emperor of the world : we therefore earnestly applied to her father to give her hand to our sovereign ; but, unwilling to be the cause of uneasiness to the queen, the monarch of Sinhala declined compliance with our request: we therefore raised a report that Vasavadatta had perished by a fire at Lavanaka, and Babhravya was dispatched with the news to the court of Sinhala. Vatsa. I have heard what ensued. But why place the princess with the queen in so unsuitable a station ? Vas. I can guess his object ; he expected you would see her in the inner apartments, and take pleasure in her sight. Vatsa. Has Vasantaka stated your purpose correctly ? KETNAVALI, OH THE NECKLACE. 316 Yaugan. Your majesty lias said. V atsa. I suppose, too, you had some concern in the ap- pearance of the conjuror ? Yaugan. What other means remained of restoring the damsel to your presence, or how else was Vasubhuti to have seen and recognised the princess ? Vatsa. (to Vdsavadattd, laughing). Well, madam, it remains with you to say how we shall dispose of the sister you have acknowledged. Viisava. My lord, you might as well speak out, and say, make Retnavali over to me ? Vas. Your majesty very accurately conceives the minister’s design. Vasava. Come, here, Retnavali, appear as becomes my sister. ( Puts on her her own jewels, then takes her by the hand and presents her to Vatsa). Accept Retnavali, my lord. Vatsa. ( taking her hand). Who would not prize the favours of the queen ? Vasava. And remember, my lord, she is far away from her natural relations ; so treat her, therefore, that she may never have occasion to regret them. Vatsa. I shall obey. Vas. Victory to your majesty ! The world is now in the possession of my friend. Vasu. Princess, pay respectful reverence to Vasavadatta. (Retndvali bows). Madam, you justly possess the title of queen.* Vasava. ( embracing Retnavali). Glory to your majesty. Vatsa. My cares are all rewarded. Yaugan. What else can we perform to gratify your high- ness ? * Devi, literally ‘ goddess,’ but applied to a queen, as the masculine form, Deva, is especially the title of a king. The speech of Vasubhuti conveys a hint, which the following one of VfisavadattS shews she under- stands. RETNAVALI, OR THE NECKLACE. 317 Valsa. What more is necessary ? Vikramabahu is my kins- man. Sagarika, the essence of the world, the source of universal victory, is mine, and Vasavadatta rejoices to obtain a sister. The Kosalds are subdued : what other object does the world present for which I could entertain a wish ? This be alone my prayer : may Indra with seasonable showers render the earth bountiful of grain ; may the presiding Brah- mans secure the favour of the gods by acceptable sacrifices ; may the association of the pious confer delight until the end of time,* and may the appalling blasphemies of the profane be silenced for ever. Or of the Kalpa, the period of the world’s duration. REMARKS ON THE RETNAVALI. There is but little occasion to offer any additional remarks on the preceding- drama. It is chiefly valuable as a picture of Hindu manners in a sphere of life secluded from common observation, and at a period of some antiquity. The manners depictured are not influenced by lofty principle or profound reflection, but they are mild, affectionate, and elegant. It may be doubted whether the harams of other eastern nations, either in ancient or modern times, would afford materials for so favourable a delineation. The story is romantic, the incidents are well contrived, the situations are eminently dramatic, and although the spectator is let into the secret of the plot from the beginning, the interest is very successfully maintained. The intrigue corresponds perfectly with the definition given by Schlegel : it is the union of unexpected combinations, resulting from the contending operation of accidental occurrences and premeditated designs. In the circumscribed limits of the action, we have no right to expect much contrast or development of character, and it is enough that all the individuals introduced preserve their identity. This is true even of the chambermaids, and the obliging confidante of the heroine is distinguishable from the termagant adviser of the queen. The merits of the language have already been the subject of remark. Its poetry is merely mechanical : we have no fanciful illustration, nor novel and beautiful similitudes ; neither do any sentiments worthy of notice occur, except the generous remark made by Vatsa on the death of the king of Kosala. REMARKS ON THE RETNAVALI. 319 The belief in vulgar magic, or common conjuring, which is repeatedly expressed in the drama, is worthy of remark, as it is something new. The supernatural powers described in Malati and Mddhava are of a very different description from the art that makes a flower blossom out of season, or covers a building with illusory flame. APPENDIX, CONTAINING SHORT ACCOUNTS OF DIFFERENT DRAMAS. VOL, II. Y The preceding dramas are the most celebrated specimens of the Hindu theatre, and deserve the distinction. They are the best. Of the number which remain, some have consider- able merit, although inferior to those which have been trans- lated : but a considerable portion would have ill repaid the labour of rendering them into the English language. In order, however, to leave as little doubt as possible on this subject, as well as to furnish as extensive a view as practicable of the theatre of the Hindus, all the specimens procurable have been perused with greater or less care, and an outline, proportionably extended, given of their purport, with translations of a few occasional passages, and such verifications of their literary history as could be discovered. The real extent and value of the dramatic literature of the Hindus will now, it is hoped, be accurately appreciated. MAHAVIRA CHERITRA; A Drama in Seven Acts. Characters. Dasaratha.' — King- of Ayodhya, father of Rama. Janaka.' — King of Mithila, father of Sita. Kusadhwaja.— King of Kasi, brother of Janaka. Rdma. — Prince of Ayodhya. Lakshmana. “I lOther sons of Dasaratha. Bharata. J Parasurdma. — The demigod; son of Jamadagni. Viswumitra. — A holy sage. Satdnanda. — The family priest of Janaka. Vasishtha ; — The family priest of Dasaratha. Yuddhajit. — The charioteer of Dasaratha. Rdvana. — The demon king of Lanka. Malyavdn. — His grandfather and chief minister. Vibhishana. — The brother of Ravana, and friend of Rama. Kumbhakerna. — Another brother of Rdvana, faithful to his cause ; slain by Rama. Meghandda. — The son of Ravana; slain by Lakshmana. Bali. — The king of the monkies; slain by Rdma. Sugriva. — His successor. Angada. — The son of Bali. Hanumdn. — A monkey chief, and friend of Rama. Sampdti. 1 The two vulture chiefs, descendants of Kasyapa, and Jatdyu. f friendly to Rdma. Indra. — King of the gods. Chitraratha. — King of the Gandherbas. Spirits, Demons, Attendants, &;e. y 2 324 Sitti. — Daughter of Janaka, married to Rama. ZJrmila.— Her sister, married to Lakslimana. Mahodari. — The wife of Ravana. Sdrpanakha. — The sister of Ravana. Tdraka. — A female fiend. The tutelary goddess of Alaka, the city of Kuvera. The tutelary goddess of Lankd, the capital of Ravana. „ , ; Daughters of Kusadhwaja. Srutakirii. J 6 Female Spirits, Fiends, Attendants, tyc. The preceding list of persons will sufficiently explain the general subject of this drama. It is the same with the Ram ay ana, or the adventures of Rama, commencing in the play with his visit to Viswamitra’s hermitage, and ending in his return to Ayodhya. The course of the story is much the same in the play as in the poem, although there are a few variations in some of the details, and the story is much more compressed. That the Mahdvira Cheritra is the composition of Bhavabhuti, we have not only the usual assurance in the prelude, and the concurrence of general belief, but the evidence of internal structure. The same loftiness of sentiment, excellence of picturesque description, and power of language which mark the TJttara Rama Cheritra, and Malati and Madhava, are the characteristics of the Vira Cheritra. If the style is less har- monious, and the expression of tender feelings less frequent than in either of the other dramas, the difference in these respects is to be regarded as designed, for the three plays of our poet are written upon the principle adopted by the only Mdndavi. APPENDIX. 325 great dramatist of our own day, the authoress of £ Basil and De Montfort,’ and may be considered as £ Plays of the Passions,' the characteristic sentiment of the Uttara Rama Cheritra being the karuna ras, or tenderness ; that of the Mdlati and Mad- hava, the sringdra ras , or love ; and that of the Vi'ra Cheritra , the vi'ra ras, or heroism. Consistently with this latter purpose, the situations and sentiments of the drama are of a stirring and martial description, and the language is adapted with singular felicity to the subjects from which it springs. It is sonorous and masculine, more vigorous than musical, and although highly elaborate, and sometimes turgid, is in general chaste, and always classical and stately. The drama opens with an address to the supreme light, the one and indivisible, pure, eternal, and invariable God. The occasion of the performance is then stated to be, as usual with this author’s dramas, the festival of Kalaprujandtha, supposed to be the celebrated Omkdreswara of Ujayin : we have also the usual account of the family of Bhavabhuti. The prologue contains this peculiarity, that the actor com- municates to the audience the outline of the story introductory to the business of the drama, and announces the entrance of Kusadhwaja with his two nieces, Sita and Urmila. KusacLh- waja,* the brother of Janaka, is called king of Sankasya, and with the two girls enters the hermitage of Viswamitra on the borders of the Kausiki (Cosi), having been invited by the Muni.t He is met by the sage with the two youths Rama and Lakshmana, and the young persons become mutually enamoured. Whilst engaged in conversation a messenger from Ravana arrives, who has followed them from Mithila, and comes to demand Sita as a wife for his master. They are * Buchanan makes him the son of Siradhwaja. The Vishnu Puran however says, ‘ brother,’ and calls him king of Kasi ; the Agni Pur ana says also, £ younger brother of Janaka.’ + The presence of the damsels is not a singularity : all the Rishis invited to the same, it is afterwards stated, are there with their wives and children. 326 APPENDIX. further disturbed by Taraka, a female fiend, the daughter of Suketu, wife of Sunda and mother of Mancha. Rama, by command of Viswamitra, destroys her. Viswamitra then in- vokes the heavenly weapons, who attend, and pledge their services to Rama whenever called upon, and the sage recom- mends Kusadhwaja to invite the bow of Siva for Rama’s pre- sent trial, and consequent obtaining of Sita. The bow arrives, self-conveyed, being, as the weapon of so great a deity, pregnant with intelligence. This faculty does not, however, preserve it entire, for Rama snaps it asunder behind the scene, in consequence of which feat it is agreed that Sita shall be wedded to him ; Urmila, her sister, to Lakshman ; and Man- davi, and Srutakirti, the daughters of Kusadhwaja, to Bharata and Satrughna. The party is again disturbed by Suvahu and Maricha, two demons, who are slain by Lakshmana and Rama. The saint and his visitors then retire into the hermitage. The second act opens with a dialogue between Malyavan, the minister and maternal grandfather of Ravana, and the demon’s sister, Surpanakha, who have heard the news from Siddhasrama, and discuss the consequences with some appre- hension. A letter arrives from Parasurama, partly requesting and partly commanding Ravana to call off some of his imps, who are molesting the sages in Dandakaranya. He writes from Mahendra Dwipa. Malyavan takes advantage of this to insti- gate a quarrel between the two Ramas, anticipating that Para- surama, who is the pupil of Siva, will be highly incensed when he hears of Rama’s breaking the bow of that divinity. The scene then shifts rather abruptly to Videha, the palace of Janaka, to which Parasurama has come to defy the insulter of his god and preceptor. He enters the interior of the palace, the guards and attendants being afraid to stop him, and calls upon Rama to show himself. The young hero is introduced, as proud of Parasurama’s seeking him and anxious for the en- counter, but detained awhile by Sita’s terrors : at last the chiefs meet. The dialogue contains some interesting and APPENDIX. 327 curious mythological allusion to the history of Parasurama, who having overcome his fellow pupil, Kartikeya, in a battle- axe fight, received his axe from his preceptor, Siva, as the prize of his prowess. The combat between the two llamas is suspended by the arrival of Janaka and Satananda, and Rama’s being summoned to attend the Kancliana Mochana, the loosening of Sita’s golden bracelet. As a specimen of the style of the sentiments we may select the following : — Parasurdma to Rama. How now ! presumest thou to bend thy brow In frowns on me ? Audacious boy, a scion Of the vile Kshetriya race, whose tender years, And newly wedded bride, teach me a weakness I am not wont to feel. Throughout the world The story runs, I, Rama, and the son Of Jamadagni, with remorseless arm Struck off a mother’s head. This vengeful axe Has twenty times destroyed the Kshetriya race, Not sparing in its wrath the unborn babe Hewn piecemeal in the parent womb. ’Twas thus I slaked the fires of a wronged father’s wrath With blood, whose torrents, drawn unsparingly From martial veins, fed the vast reservoir In which I love to bathe. Enough ! to all, That — that I am — is known. Rdma. Give o’er thy vaunts — I hold thy cruelty a crime, not virtue. In the third act, Parasurama is represented as awaiting Ramachandra’s return, and he is accosted in succession by Vasishtha, Viswamitra, Satananda, Janaka, and Dasaratha, who first endeavour to sooth, and then to terrify him ; but he out- bullies them all : at last Ramachandra is heard calling on Parasurama, and the chief goes off to the combat. The fourth act opens with the annunciation of Ramachandra’s victory, and Malyavan and Surpanakha enter, more alarmed 328 APPENDIX. than ever. Malyavan now suggests the scheme of sowing dis- sension in Dasaratha’s family, in order that Rama may be driven forth alone, and be thus thrown into the power of the Rtikshasas. He discusses various schemes of policy connected with this project, and with that of getting rid of Vibhishana, the brother of Ravana, and his partizans. He withdraws to put his schemes in execution, and the two kings, Janaka and Dasaratha, and their holy councillors, succeed, congratulating each other on the victory of Ramachandra. The prince and his defeated foe then appear, and Parasurama is now as humble as he was before arrogant : he calls upon the earth to hide his shame. Whilst Rama regrets Bhargava’s departure, Siirpanakha, disguised as Manthara, the favourite of Kaikeyi, Dasaratha’s second wife, arrives with a letter to Rama, requesting him to use his influence with his father to secure Kaikeyi the two boons which Dasaratha was pledged to grant her ; specifying one to be her son Bharala’s inauguration, and the other, assent to Rama’s voluntary exile. In the mean time Dasaratha, who has determined to raise Ramachandra to the participation of regal dignity, communicates his intention to his son. Rama replies by informing him of Kaikeyi’s message, and is earnest with his father to accede to her request. Yuddhajit and Bharata arrive, and all are full of wonder and concern : however, as there is no help for it, Dasaratha consents. Lakshmana and Sita are alone to accompany Rama, on which her father Janaka exclaims, “ My child, what happiness it will be to wait upon thy husband in the hour of trouble, permitted to partake and cheer his wanderings 1” Bharata requests permission to go with them, but Rama refuses his assent; on which his brother, with notions very characteristerically oriental, begs his shoes of him, promising to instal them in the kingdom, and rule there- after as their representative. The seniors are led out in deep despondence, and Rama with his brother and wife set off to the woods. APPENDIX. 329 The next or fifth act lies in the forests of Dandakaranya, and here Bhavabhati is himself. There is some turgidity, but considerable magnificence, in the opening dialogue between the two birds, Jatayu and Sampati, the vulture-descendants of Kasyapa, who have seen successive creations. They relate Rama’s progress towards the south ; and Sampati, the elder, leaves his brother Jatayu, with strict injunctions to assist Rama if needed : he then goes to the ocean, and Jatayu to Malaya. He there comes to Where, amidst Janasthana’s frowning woods, The tall Prasravana uprears his head, Dark tinctured in the clouds, and bathes his brow With thin descending dews ; thence through his caves, He culls the oozing moisture, and sends forth The pure Godaveri to win her way, Stately and clear, through ancient trees that shade, Impervious tangling, her majestic course. This descriptive style we find more frequently in the Uttara Rama Cheritra ; and, as observed in the introduction to that drama, it is characteristic of our author. Jatayu perches on the mountain, and T . ery dramatically carries on the business of the piece — , Y onder I mark the hero in pursuit Of the swift deer; and thither Lakshmana Directs his course remote. There, to the bower A holy seer approaches, and the dame Gives him meet welcome. — Ha! his form expands, ’Tis he, the felon Ravana — his train Crowd from the groves ; he seizes upon Slta — He mounts the car. Shame to thy birth, — forbear ! Await my coming, and the vulture’s beak Shall rend thy limbs, and revel on thy gore. [Exit. Jatayu is, however, killed in the conflict, which, with the usual regard to stage decorum, takes place behind the scenes. Lakshmana informs us of his fate, and Rama enters raving 330 APPENDIX. with indignation. The brothers set off in pursuit of the ravi slier, when Sramana, a female devotee sent by Vibhishana to Rama, calls for succour, being seized by Kabandha, a head- less fiend. Rama sends Lakshmana to her rescue : he goes off to kill the demon, and returns with the dame. She gives Rama a note from Vibhishana merely complimentary ; but Rama, learning that he is with Sugriva, Hanuman, and other monkey chiefs at Rishyamuka, and that they have picked up some of Sita’s ornaments in the forest, determines to go to them. Kabandah tht'a appears, to thank Rama for killing him, being thereby liberated from a curse and restored to a divine condition. They then proceed towards Rishyamuka, the residence of Bali, watered by the Pampa. Near it is the hermitage of Matanga, with the fire and all things just ready for oblation, although the saint has been long in heaven : he left them in that state, apparently, as we shall presently see, for the con- venience of Rama. When the brothers arrive at the mountain, Bali appears like a cloud upon its peak and descends to the encounter, regretting that he should be compelled by his friendship for Malyavan to destroy Rama. The heroes meet and exchange civilities. Bull. Rama, with wonder and delight I view Thy martial bearing, — yet with grief I meet thee: My eyes were never satiate of thy presence, And yet, I mark thy coming with affliction. Enough! what need of words. Now let the arm, That humbled Jamadagni’s haughty son, Ply thy strong bow again. Rama. Illustrious chief, I thank the fates that grant me thy encounter ; * Yet must I wave the fight. I cannot wield My weapons against one, like thee, unarmed. Bali, (smiles). In sooth, brave Kshetriya, I have ill-deserved Such generous forbearance, but the world Knows our high deeds, I need not now proclaim them. APPENDIX. 331 Address thee to the straggle. Thou art brave, But still a mortal, and with mortal arms Com’st to the field : not such the arms we wield. Look round the forest, mark these circling hills — These are the weapons of our monkey race, And well these hands can whirl their ponderous fury. Come to more level ground. Rama. Lead on, I follow thee. Bali and Rama. ( looking at each other). The earth will mourn a hero in thy fall. f Exeunt. They go to the conflict ; the noise brings Vibhishana, Sugriva, and all the monkey chiefs to the place. Bali is overthrown, and returns mortally wounded. He recommends the monkies to choose Sugriva, and his own son Angada, for their joint sovereigns, and mediates an alliance between Rama and them, as well as with Vibhishana : the poet deviating in this, as in many other places, from the Ramayana, and exonerating Sugriva from any share in Bali's overthrow. Rama and Sugriva pledge themselves to eternal friendship, over the sacrificial fire in Matanga’s hermitage. We call this holy fire the saint prepared For sacrifice, to witness to our vows Of friendship : ever may thy heart be mine, As mine shall ever be devote to thee. Bali then repeats his request to the monkey chiefs, as they were attached to him, to acknowledge Sugriva and Angada as their joint leaders, and to follow them in aid of Rama against Ravana in the ensuing contest : he is then led off to die, and the act closes. Malyavan, lamenting over these miscarriages, opens the sixth act ; and Trijata, a Rakshasi, adds to his despondence by news of the mischief inflicted by Hanuman : he goes off to set guards and gather news. We are then introduced to Ravana himself, meditating on his love. His queen Mahodhari comes 332 APPENDIX. to bring him tidings of Rama’s approach, but he only laughs at her. She tells him of the bridge made by Rama • he replies, if all the mountains of the earth were cast into the ocean, they would not furnish footing to cross it. His incredulity is ter- minated by a general alarm, and the appearance of Prahasta, his general, to announce that Lanka is invested. Angada comes as envoy from Rama, to command Ravana to restore Sita and prostrate himself and family at the feet of Lakshmana. Ravana, enraged, orders some contumely or punishment to be inflicted upon him, which we cannot venture to explain : the expression is Mukha sanskdra, the cleaning of the face, as if he had ordered him to be shaved. Angada, according to the stage direction, puffs his hair out with rage.. This part must be dressed in character, an absurdity not w ithout a parallel in the classical drama, in the Io of iEschylus, and the Birds and Wasps of Aristophanes. The monkey tells Ravana, if he were not an ambassador he would tear off his ten heads, and he then springs away ; the tumult increases, and Ravana goes forth to the combat. Indra and Chitraratha then come to see the battle, and describe its progress. At first the Rakshasas have the worst : 'but Ravana, with his brother Kumbhakerna and his son Meghanada, turn the tide : the monkeys fly, leav- ing Rama almost unsupported. Lakshmana attacks Meghanada : Ravana quits Rama to assist his son. Rama kills Kumbha- kerna, and then goes to the aid of Lakshmana : the w hole of Rama’s party are then overwhelmed w r ith magic weapons, hurled invisibly by Ravana upon them, and fall senseless. Whilst Ravana seeks to restore Kumbhakerna, Hanuman re- viving, goes to fetch amrit, and tearing up the mountain that contains it, returns to the field : his very approach restores Lakshmana, who jumps up with increased animation. As brighter glows the diamond from the lathe, Or gleams the falchion flashing from its sheathe ; As starts the serpent from his shrivelled skin, Or hursts from envious clouds the lord of day APPENDIX. 333 So Raghu’s youngest hope, by heavenly herbs Restored, with more than wonted ardour burns ; A moment wonders what has chanced, then all On fire for glory, rushes to the fight. Rama also revives, and being instigated by the Munis, exerts his celestial energies, by which the Daitya, Ravana, and his host speedily perish. The seventh and last act begins with what the author calls the mixed Vishkambhaka. The latter means an actor or inter- preter who carries on the story, which office is here performed by the tutelary deities of Alaka and Lanka, the latter of whom is consoled by the former, who has come to Vibhishana’s coronation. We learn amongst other things from them, Sita’s passing the fiery ordeal in triumph, and Rama’s approach with the car of Kuvera : the goddesses therefore disappear. Rama, accompanied by Sita, Lakshmana, Vibhishana, and Sugriva, then enter, and ascend the car which is to transport them to Ayodhya, and the progress of which they represent: how, is rather doubtful. (Sarve, vimanagatim nirupayanti .) What ensues is more curious than dramatic or interesting, although interspersed with some fine passages of picturesque description, one or other of the party pointing out the places over which they are supposed to fly. These occur in the following suc- cession : the Setu or bridge of Rama, the Malaya mountain, the Kaveri river, the hermitage of Agastya, the Pampa river, the residence of Bali and of Jatayu, the limits of the Dandaka forest, the Sahya or Sailadri mountains, the boundaries of Aryavertta. They then rise and travel through the upper air, approaching near the sun, and are met and eulogized by a Kinnara and his bride ; they then come to the peaks of the Himalaya, and descend upon Tapovana, whence they go towards Ayodhya, where Rama is met by his brothers and their mothers, by Vasishtha and Viswamitra, and is consecrated king, with which ceremony the drama termi- nates. 334 APPENDIX. Upon the whole, as a play, the Vi'ra Cheritra is inferior to Bhavabhuti’s other productions. The choice of the story is no doubt the cause, as its embracing a period of time, and a num- ber of incidents, not compressible within the bounds of dramatic representation, has thrown an undue proportion of the drama into narrative and description, to the destruction of action and interest. As a poem, however, it ranks worthily with the other works of the same author, and as a play is infinitely supe- rior to others in which the same subject is treated by less skilful hands, as we shall have several opportunities of observing. VENI SAMIIARA; A Drama in Six Acts. Characters. Yudhishthira . — The elder of the Pandava princes, and their king, Bhima . — The brother of Y udhishthira. Arjuna . — The third Pandava prince. The two younger Pandava princes, twin brothers. j r — , — — Krishna — The friend and ally of the Pandavas. Dliriratdshtra — The father of the Kaurava princes, and uncle of the preceding. Duryodhana . — The elder of the Kaurava princes, the son of Dhri. tarashtra. Kerna . — The friend and ally of Duryodhana. Kripa . — An ally of Duryodhana. Aswatthdmd . — A martial Brahman and sage, the son of Drona and Sanjaya . — The charioteer of Dhritarashtra. Sundaraka . — An attendant on Kerna. Chdrvdka . — A Rakshasa, in the disguise of a holy ascetic. A Rakshasa, or male goblin. The Charioteer of Duryodhana. Draupadi . — The wife of the Pandavas. Bhdnumati . — The wife of Duryodhana. Gdndhdri - — The mother of Dhritarashtra. Attendant on Draupadi. Attendant on Bhanumati. The mother of Jayadratha, king of Sindhu. A Rdkshasi, or female goblin. nephew of Kripa. Attendants, Soldiers, S)C. Attendants. The Veni Samhara is a drama founded on the Mahdbhdrat. The name alludes to an incident described in the latter part of the Sabha Parva of that poem, Dranpadi’s being dragged 336 APPENDIX. by the ve m, or braid of hair, into the public assembly by the hand of Duhsasana, one of the Kaurava princes, a disgrace that weighed most heavily upon the Pandavas, and was most bitterly revenged. The introduction of this play presents a nandi or preliminary benediction of six stanzas : an extravagance unwarranted by the practice of the best writers, and prohibited by positive rule. Two of these, indeed, are omitted by the commentator, and the last is censured by the author of the Kavya Prakdsa, as inconsistent with the reverence due to Hari and Lakshmi, whose amorous sports it describes in a style suitable to mere mortals alone. The manager then informs the audience that the play is a novelty, the composition of the poet “ Bhatta Narayana;” also designated by the title Mriga Raja or Sinha, meaning the same thing, the lion. It is an odd grouping of names, however, and leaves the character and person of the bard rather doubtful, the termination Sinha being most correctly applicable to a man of the regal or military caste, whilst Bhatta is an adjunct belonging to a Brahman. The occasion of the performance, which it is usual to mention, is not adverted to, and the manager and actor go off to prepare for an exhibition of song and dance in honour of Krishna’s return to the Pandava camp from a visit to the Kaurava princes, as a mediator between the contending chiefs. The business of the play begins with a conversation between Bhima and Saha- deva, in which the former expresses his refusal to have any share in the negociations instituted by Krishna, and his deter- mination to make no peace with the enemy until the insult offered to Draupadi is avenged. He expresses his resolution, in case the dispute be amicably adjusted, to disclaim all con- nexion with his own brothers, and throw off obedience to Yudhishthira. Shall I not grind the Kauravas to dust, Nor drink the blood of arrogant Duhsasana : APPENDIX. 337 Shall not my mace upon the breast descend Of proud Suyodhana, and crush the wretch, Because your monarch seeks the price of peace ? The price is the demand of five villages or towns, Indra- prastha, Tilaprastha, Mansadam, Varanavatam, and another: the Mahabharat gives different names, as Avisthalam, Vri- hasthalam, and Makandi ; the fourth is the same. Sahadeva attempts to calm the fury of Bhima, but in vain ; and Draupadi, with her hair still dishevelled, and pining over her ignominious treatment, comes to inflame his resentment. She complains also of a recent affront offered by the queen of Duryodhana, in an injurious comment upon her former exposure, which serves to widen the breach. A messenger now arrives to announce that Krishna’s embassy has been unsuccessful, and that he has effected his return only by employing his divine powers against the enemy. All the chiefs are summoned by the trumpet to prepare for battle. Draup. Yet ere you go attend to my request ; Let not my shame so far inflame your wrath, That heedless of your lives, you headlong plunge Into the conflict: the chieftains of the enemy Are neither rash nor timorous. Bhim. True, warrior dame. The sons of Pandu are well skilled to ford The ocean of the fight, amidst whose waves Floats many a headless corse; and howling monsters, ■Gorged with the sanguine beverage, re-echo The trumpet’s sound. Foremost they lead the troops O’er crashing cars and dying elephants, The fierce encounter of whose ponderous brows Has strewed the floating field with brains and gore. The second act commences before day -break, and introduces Bhanumati, the queen of Duryodhana, repeating to her friend and an attendant, a dream, in which she has beheld a VOL. II. z 338 APPENDIX. Nukula or Mungoose destroy a hundred snakes. This is very ominous, Nakula being one of the Pandavas, and the sons of Kuru amounting to a hundred. Duryodhana overhears part of her story, and at first imagines the hostile prince is the hero of the vision. He is about to burst upon her full of rage, and when he catches the true import of the tale, he is at first dis- posed to be alarmed by it, but at last wisely determines to dis- regard it. For, By Angiras ’tis sung ; The aspect of the planets, dreams and signs, Meteors and portents, are the sports of accident, And do not move the wise. Bhanumati offers an arghija of sandal and flowers to the rising sun to avert the ill omen, and then the king appears and soothes her. Their dialogue is disturbed by a rising whirl- wind, from which they take shelter in a neighbouring pavilion. The mother of Jayadratha, king of Sindhu, then appears, and apprises Duryodhana that Arjuna has vowed, if sunset finds Jayadratha alive, lie will sacrifice himself in the flames. His wrath is especially excited by the death of his son Ablii- manyu, in which that chieftain had borne a leading part. Duryodhana laughs at her fears and those of his wife, and despises the resentment of the Pandavas. He observes, that this was fully provoked by the treatment which Draupadi received by his command, when, in the presence of the court and of the Pandavas, she called out in vain for mercy. Duryodhana then orders his war-chariot and goes forth to the battle. The third act opens with a scene of power, but of bad taste, being full of revolting images. A Rakshasi enters, and expatiates on the stores she has provided for her cannibalism, and that of her partner ; and when he makes his appearance, hungry, thirsty, and wearied, she gives him on the stage a feast of flesh and brains, and a refreshing beverage of blood APPENDIX. 339 in the skull of an elephant just slain. It appears from their dialogue, that up to the period of the contest, the following chiefs have fallen : Bhagadatta, Sindhuraja, Angadhipa, Dru- pada, Bhurisravas, Somadatta, and Bahlika. Ghatotkacha is also slain, and Bhima is about to avenge his fall, on which account Hirimba, the queen of the Rakshasas and mother of Ghatotkacha, has ordered these goblins to be ready to assist Bhimasena. Whilst engaged in conversation and feeding, this couple see Drona seized by Dhrishtadyumna and slain, and they finally retire before Aswatthama, the son of Drona, who makes his appearance armed. He is overtaken by his father’s charioteer, who tells him of the treachery by which Drona was slain, having been induced to throw away his arms by a false report that his son Aswatthama had perished, and been then killed at a disadvantage. Aswatthama’ s distress is assuaged by his maternal uncle, Kripa, who recommends him to solicit the command of the host from Duryodhana. In the mean time, Kerna is represented as filling the mind of the Kuru chief with impressions hostile to Drona and his son, persuading him that Drona only fought to secure Aswatthama’s elevation to imperial dignity, and that he threw away his life, not out of grief, but in despair at the disappointment of his ambitious schemes. Kripa and Aswatthama now arrive, and Duryodhana professes to condole with Aswatthama for his father’s loss. Kerna sneeringly asks him what he purposes, to which he replies : What is my purpose ? Hear it, king of Anga : Whoever confident in arms is ranked Amongst the adverse host — whome’er the race Of proud Panchala numbers, active youth, Weak age, or babes unborn, whoe'er beheld My father’s murder, or whoever dares To cross my path, shall fall before my vengeance. Dark is my sight with rage, and death himself, The world’s destroyer, should not ’scape ray fury. Pupil of Jamadagnya, Kerna, mark me : z 2 340 APPENDIX. Amidst these very plains, the wrath of Rama, Roused by a father’s death, filled mighty lakes With Kshetriya blood. Such formidable arms, Burning for hostile life, I bear, and such My cause of rage, a father’s fall ; nor less Than Rama’s acts shall Drona’s son achieve, Kripa then requests Duryodhana to give the command of the army to Aswatthama. The king excuses himself on the plea of having promised it to Kerna, to whom he transfers his ring accordingly. A violent quarrel ensues between Kerna and Aswatthama, and Duryodhana and Kripa have some difficulty in preventing them from single combat. Aswatthama at last reproaches Duryodhana with partiality, and refuses to fight for him more. They are disturbed by Bhima’s proclaiming with- out, that he has at last encountered Duhsasana, the insulter of Draupadi, and is about to sacrifice him to his vengeance. Kerna, instigated by Aswatthama, foregoes his anger, and is about to resume his arms, when a voice from heaven prevents him. He is obliged, therefore, to remain an idle spectator of the fight, but desires Kripa to assist the king : they go off for that purpose. The fourth act opens with Duryodhana’s being brought in by his charioteer, wounded : Duhsasana has been killed, and the army of the Kauravas put to the rout. On his recovery, the charioteer announces Duhsasana’s death, and Duryodhana gives vent to his sorrows. He is joined by Sundaraka, a fol- lower of Kerna, who gives in Prakrit a long and tedious account of the conflict between Arjuna and Vrishasena, the son of Kerna, the death of the young prince, and his father’s dis- tress ; he also brings a leaf on which Kerna has written to Duryodhana, with an arrow dipped in his own blood, a message for aid. Duryodhana orders his chariot, and prepares to seek the fight again, when he is prevented by the arrival of his parents, Dhritarashtra and Gandhari, who with Sanjaya commence the fifth act. APPENDIX. 311 The old couple and Sanjaya endeavour to prevail upon Duryodhana to sue for peace, but he refuses. My fall has Partlia vowed, when he has left Me brotherless ; and all his brethren slain, How shall Duryodhana endure to live ?. Nor will I hear of peace until my mace Shall crush and scatter to the winds that foe, Remorseless Bln'ma, whose ferocious wrath Drank my young- brother’s, brave Duhsasan’s, blood. A tumult behind, and the entrance of the king’s charioteer, announce the death of Kerna. Duryodhana, after expressing his grief, determines to go and avenge him, and mounts the car of Sanjaya for that purpose, when Arjuna and Bhima arrive in search of him. On finding the seniors there, Arjuna purposes to withdraw ; but Bhima insists on first addressing them, which they do, but in insulting terms. j4rj. Parents, the middle Pandava salutes you, Who in the battle’s front has, victor, slain The son of Radha, he whose pride beheld The world as grass, and by whose vaunted prowess Your children hoped to triumph o’er their foes. Bhim. Bhima in x-everence bows his head to you : He, who has overthrown the sons of Kuru, He who inebiiate, has like nectar quaffed The blood of vile Duhsasana, and soon Shall lay the pi'oud Dui-yodhana in dust. Dhritarashtra reproaching them for this language, is told they use it not in pride, but in requital of his having wit- nessed, without interfering to prevent, the oppression and barbarous treatment the Pandavas experienced from his sons. Duryodhana interferes and defies Bhima, who is equally anxious for the combat; but Arjuna prevents it, and the brothers are called off by a summons from Yuc hishthira, who orders the battle to cease for the day and the dead bodies of 342 APPENDIX. either party to be burnt. Aswatthama then enters and is disposed to be reconciled to Duryodhana : but the prince re- ceives his advances coldly, and he withdraws in disgust. Dhritarashtra sends Sanjaya after him to persuade him to overlook Duryodhana’s conduct. Duryodhana mounts his car, and the aged couple seek the tent of Salya, king of Madra. In the sixth act Panchala brings to Yudishtliira and Drau- padi an account of Duryodhana’s having been discovered con- cealed in a swamp, and compelled to fight with Bhimasena, by whom he will be slain. Yudishthira orders public rejoicings on the occasion. Charvaka, a Rakshasa disguised as a Muni, then enters, requiring rest and water. He tells them that he has seen Arjuna engaged with Duryodhana, Bhima having been previously slain by the latter, and Krishna forcibly taken aw'ay by Rama, and gives them to understand that Arjuna also has fallen. Draupadi determines to mount the funeral pile, and Yudishthira to put an end to himself, when the Rakshasa, satisfied with the success of his scheme, which was intended to prevail on this couple to perish, departs. The pile is prepared, and Yudishthira and Draupadi are about to sacrifice themselves, when they are disturbed by a great clamour. Supposing it to precede the approach of Duryodhana, Yudishthira calls for his arms, when Bhima, his club smeared with blood, rushes in. Draupadi runs away ; he catches her by the hair, and is seized by Yudishthira — on which the mistake is discovered. The episode is very absurd and impertinent. The braid of Draupadi’s hair is now again bound up. Arjuna and Vasudeva arrive, and announce that they have heard of the fraud of the Charvaka, and Yudishthira adds that the mendicant has been slain by Nakula, on which Krishna ex- presses great satisfaction. The author has introduced the Charvaka, apparently, merely to have a hit at the atheistical sect, possibly intending the Baiuldhas. There is much good writing in this piece, although the style ATPENDIX. 313 is rather powerful than polished : there is also poetry in the thoughts, but it is the poetry rather of passion than fancy, and the pathos and horror in which it delights are relieved by no brilliancy of illustration : both too are overdone, and the pathos becomes tiresome and the horror disgusting. The chief merit of the drama is individuality of character ; the ferocity of Bhima, the pride of Kerna, the fiery but kindly temperament of Aswatthama, and the selfish arrogance of Duryodhana, are well delineated. The chief defect of the play is its undramatic construction. The business is clumsily contrived ; the situations are ineffective or ludicrous ; the scenes are awkwardly put together, and much too considerable a portion of the piece is thrown into narrative for the interest to be successfully sup- ported. With exception of the last defect, the Veni Samhara is calculated to remind us very forcibly of the early attempts of the French and English dramatists. There is nothing in the play to furnish a clue to its date. It is frequently cited in the Kavya Prakas, the Dasa Riipaka, and Sahitya Derpana, to which works it is consequently anterior. According to tradition, the author, Bhatta Narayana, was one of the Kanouj Brahmans invited into Bengal by Adi Sura, from whom the Brahmans of that province are de- scended: he was of the Sandilya family. Adi Sura is sup- posed to have reigned three centuries before our era ; but if we may place any dependence on Abulfazl’s list of Bengal kings, he was the twenty-second prince in ascent from Belal Sen, who it is well known reigned in the thirteenth century. Assigning then the moderate duration of about three hundred years to these intermediate princes, and admitting the tradition with respect to Bhatta Narayana, the Veni Samhara might have been written about the eighth or ninth century : a period not at all incompatible with the comparative harshness of its style and the rudeness of its execution, particularly if we conclude, agreeably to the tradition, that it was amongst the early results of the introduction of Brahminical literature into Ben- 344 . APPENDIX. gal. There are considerable varieties in the manuscripts of this drama, and the name is also differently given as the Veni Samvarana or Veni Samhdra : the import is the same, “ The Binding of the Braid.” There is a commentary on the drama, by Jagadclhara, entitled Mahopadhyuya, implying a teacher ; and Dharmadhikdrika, which may be merely an honorific epithet, although it should signify a judge or administrator of the law. MALAVIKAGNIMITRA, or AGNIMITRA AND MALAVIKA. A Comedy in Five Acts. Dramatis Person.®. Agnimitra. — King of Vidisa. Gotarna.' — His confidant, the Vidushaka or Buffo. Haradatta. q . _ > Professors of music and dancing. Ganadasa. ) Sarasa. — The queen’s dwarf. Dhdrini. — The principal queen. Iruvati. — The second queen. Mdlavikd. — The heroine. Kausiki. — A female ascetic. VakuldvaU. — One of the queen’s attendants, and the friend of Malavika. Jayasend. — F emale chamberlain. Kaumudi. — Attendant on the queen. Madhukdrikd. — Female gardener. > Attendants on Iravatf. Nipunikd. Chandrikd. J Samdkitikd. — Pupil of Kausika. Jyot&nd. ^ j- Female singers presented to Agnimitra. The scene is at Vidisa, in the garden and inner apartments of Agnimitra’s palace. Time about twelve hours. The play is usually considered as one of the three composed by Kalidas, who is thus said in the prelude to be the author : Manager. I have been desired by the assembly to represent the Malavikagnimitra of Kalidasa at this vernal festival : 346 APPENDIX. Actor. Why make such an election ? Why should we neglect the works of celebrated writers, such as Bhasaka and Saumilli, to perform the play of a cotemporary ? Manager. Why not? all that is old is not therefore necessarily excellent; all that is new is not despicable on that account alone. Let what is really meritorious, be pronounced so by the candid judge after due investigation ; blockheads only are influenced by the opinions of others. There is no reason to question the nomenclature of the author here, and the play is probably the work of a Kalidasa* Tradition alone identifies him with the poet of Vikramaditya’s reign, who preceded the Christian era, and the internal evidence is adverse to the drama’s being the work of the author of Sakuntalu and Vilcrama and Urvasi. There is neither the same melody in the verse nor fancy in the thoughts. The mention of poets earlier than Kalidasa is of no help, as nothing is known of them : their names do not appear in the Bhoja Prabandha nor Scirngdhura Paddhati, two works that enumerate some hundreds of eminent authors. The latter has a Bhasa, which may be the same as Bhasaka ; and the former notices a Bhaskara, which might be thought to bear some relation to the same. One manuscript of the play reads in place of Bhasaka, Dhavaka, who we know was contemporary with llaja Ilersha Deva, king of Kashmir, the Kavya Prakas declaring him to be the real author of the works bearing the name of that prince. It is not unlikely, indeed, to have been the work of the time of Sri Hersha, but can scarcely have been the production of a later date, in which Dhavaka had become an ancient writer. The dramas written in more recent periods are invariably, as far as is yet known, mythological, and have some one of the forms or family of Vishnu for the hero. There is no such thing as a decidedly modern drama the business of which is domestic intrigue : such a subject, indeed, was wholly incompatible with Hindu feelings, as affected by intercourse with their Mohammedan masters, whether the effect of that intercourse was terror or imitation. In addition to these con- APPENDIX. 347 siderations, the style of the play is very unlike that most common amongst modern writers, and most highly esteemed, being free from all jingle of sounds and from metaphorical common-place : it does not even affect any thing like the uniform smoothness, which seems to have preceded and ushered in the extravagancies of modern composition. The piece of sound criticism urged by the manager is also the sentiment of a day long gone by. There are other considerations corroborative of the conclu- sion, that this drama is of no recent date, derived from the history of its hero. Agnimitra the king of Vidisa, is the son of Pushpamitra, whose father is still alive, and who is rather unaccountably termed the Senani or general. The per- sonages are little known to the pundits of the present day. It appears from the Vishnu Purana, however, that Pushpamitra was the founder of the Sunga dynasty of Magadha kings, having been the general of Vrihadratha, the last of the Maurya race, whom he deposed and put to death : he was succeeded by his son Agnimitra, and no doubt remains there- fore of the identity of the personages. The first of the Maurya race was Chandragupta, whom all research continues to re- cognise in Sandracottus. The princes of this family were ten in number, to whose reigns the reasonable term of one hundred and thirty-seven years is assigned in the Vishnu Purana, which places Agnimitra and his father, about one hundred and sixty years before our era, above a century before the Kalidasa of Vikramaditya’s court, and such a period was quite sufficient to qualify Agnimitra to become the hero of a domestic drama. The events of his reign which are familiarly alluded to, were not of a character to have survived any very protracted interval in popular recollection ; and it may be observed also, that his capital, Vidisa, has been long obliterated from the literary records of the Hindus, and that its precise situation is utterly unknown : its flourishing condition in the days of one Kalidasa is also adverted to in his Meg ha Data. The term of general. 348 APPENDIX. applied in the play to Pushpamitra, may perhaps correct the history as given in the Puruna ; and although he dispossessed his first master of the crown, it seems likely that he refrained from appropriating it to himself, being contented to retain the military power, whilst he invested his son with the title and name of king. There might seem reason therefore to infer, that the play was the work of the Kalidas of antiquity ; but the manners described appear to be those of a degenerate state of Hindu society, and it can scarcely be thought earlier than the tenth or eleventh century. It may possibly have been the production of a somewhat later day, in some part of India which continued to preserve its political independence and Hindu character. We shall now proceed to an analysis of the drama itself. The play opens with the entrance of Vakulavali, a female attendant upon Dharini, the principal queen, who has been sent by her mistress to the sangita sula, a theatre or music saloon, to inquire of Ganadasa, the progress made by his pupil, Malavika, in dancing and singing. Another female servant, Kaumudi, joins her, and from their conversation we learn that the Raja has seen the picture of Malavika, painted by order of the queen for her chitra sulti, or picture gallery, notwithstanding her anxiety to keep the original from Agni- mitra’s knowledge. The sight of the picture has, of course, inspired the prince with an ardent desire to view the original, whom he has never yet beheld. In the next scene Vakulavali tells Ganadasa, the preceptor, that Malavika was sent as a present to the queen by her brother, Virasena, governor of the Antapala, or barrier fortress on the Nermada. In the scene that follows, we find hostilities are about to break out between Agnimitra and Yajnasena, king of Viderbha (Berar). The first, on some occasion, had detained captive the brother-in-law of the latter, and Yajnasena had retaliated by throwing into captivity Madhavasena, the personal friend of Agnimitra, when about to repair to Vidisa to visit that APPENDIX. 349 monarch. Yajnasena sends to propose an exchange of prisoners, but Agnimitra haughtily rejects the stipulation, and sends orders to his brother-in-law, Virasena, to lead an army im- mediately against the Raja of Viderbha. This affair being disposed of, he directs his attention to domestic interests, and employs his Vidushaka or confidant, Gotama, to procure him the sight of Malavika. To effect this, Gotama instigates a quarrel between the pro- fessors, Ganadasa and Haradatta, regarding their respective pre-eminence. They appeal to the Raja, who, in consideration of Ganadasa’s being patronised by the queen, refers the dispute to her. She is induced to consent reluctantly to preside at a trial of skill between the parties, as shewn in the respective proficiency of their select scholars. The queen is assisted by a protegee, a Parivrajikd, or female ascetic and woman of superior learning. In general, a Parivrajikd denotes an ascetic female of the Bauddha faith, but there is nothing in the piece to assign the character to any particular sect. The second act opens with the assemblage of the party in the chamber where the performance is to take place, fitted up with the sangita racliand , or orchestral decorations. The king’s object is attained, for Ganadasa brings forward Malavika as the pupil on whom he stakes his credit. Malavika sings an upagdna or prelude, and then executes what is represented as something of extraordinary difficulty, the chatushpdda vastu, in the madhya laya, or andante time, which was composed by Sermishtha. Some air is most probably implied, adapted to a stanza of four pddas or lines. Sermishtha is known as the queen of Yayati, but whether she be the same with the com- poser of the air is more than uncertain. Malavika’s per- formance is highly applauded, and the Vidushaka detains her until the queen, who has all along suspected the plot, com- mands her to retire. The exhibition of Haradatta’s pupil not being essential to the intrigue, is evaded dramatically enough, by the warder’s crying the hour of noon, on which the party 350 APPENDIX. breaks up, and the queen, with more housewifery than majesty, hastens away to expedite her royal husband’s dinner. The scene of the third act is laid in the garden, where stands an asoka tree ( Jonesia asoka). A curious superstition prevailed amongst the Hindus formerly, which is the freqeent theme of poetical allusion : they believed that this tree, when barren, might be induced to put forth flowers by the contact of the foot of a handsome woman. The tree in question does not blossom, and being the favourite of Dharini, she has proposed to try the effect of her own foot. Unluckily, however, the Vidiish- aka, whilst setting her swing in motion, has tumbled her out of it and sprained her ancle, so that she cannot perform the ceremony herself : she therefore deputes Malavika to do it for her, who accordingly comes to the spot attired in royal habili- ments, and accompanied by her friend Vakulavali. In the conversation that ensues she acknowledges her passion for the king, who with his friend Gotama has been watching behind the tree, and overhears the declaration ; he therefore makes his appearance and addresses a civil speech to Malavika, when he is interrupted by another pair of listeners, Iravati, the second queen, and her attendant. She commands Malavika’s retreat, and leaves the king, in a violent rage, to inform Dharini of what is going forward. In the beginning of the fourth act the Vidiishaka informs the Raja, that Malavika has been locked up in the sdrabMn- dagriha by the queen. What that chamber is we do not exactly know ; it must be a store or treasure room, and no very enviable place, as the Vidiishaka compares it to Pdldla, the infernal regions. He undertakes, however, to effect her libera- tion ; and whilst he prepares for his scheme the Raja pays a visit to the queen. In the next scene, whilst the Raja is engaged in tranquil conversation with Dharini and the Parivrajika, the Vidiishaka rushes in, exclaiming he has been bitten by a venomous snake, whilst gathering flow r ers to bring witli him as a present on his APPENDIX. 351 visit to the queen, and he exhibits his thumb bound with his cord, and marked with the impressions made by the teeth of the reptile. The Parivrajika, with some humour as well as good surgery, recommends the actual cautery, or the amputa- tion of the thumb ; but the Vidushaka pretending to be in convulsions and dying, the snake-doctor is sent for, who having had his cue, refuses to come, and desires the patient may be sent to him : the Vidushaka is accordingly sent. The queen is in great alarm, as being, however innocently, the cause of a Brahman’s death. Presently the messenger returns, stating the only hope is the application of the snake-stone to the bite, and requesting the Raja to order one to be procured : the queen has one in her finger ring, which she instantly takes off and sends to the Vidushaka. This is his object ; for the female jailor of Malavika has, as he has ascertained, been instructed to liberate her prisoner only on being shewn the seal ring or signet of the queen, and having got this in his possession, he immediately effects the damsel’s release, after which the ring is returned to the queen, and the Vidushaka is perfectly recovered. The king then being summoned away by a concerted pretext, hastens to the Samudra pavilion, where Malavika has been conveyed with her friend and companion, Vakulavali. This pavilion is decorated with portraits of the king and his queens, and Malavika is found by her lover engrossed with their contemplation. Vakulavali retires. The Vidushaka takes charge of the door, but no sooner sits down on the threshold than he falls asleep : the Raja and Malavika, consequently, have scarcely time to exchange professions of regard, when they are again disturbed by the vigilant and jealous Iravati, who sends information of her discoveries to Dharini, and in the meantime remains centinel over the culprits. The party, however, is disturbed by news, that Agnimitra’s daughter has been almost frightened to death by a monkey, and Iravati and the Raja hasten to her assistance, leaving Malavika to the consolation derived from hearing the 352 APPENDIX. asoka tree is in blossom, an omen of the final success of her own desires. The fifth act collects the Raja, Dharini, the Parivrajika, with Malavika and other attendants about the asoka tree, when some presents arrive from the now submissive monarch of Viderbha, against whom the troops of Virasena have been successful. Amongst the gifts are two female slaves, who im- mediately recognize in Malavika the sister of Madhavasena, the friend of Agnimitra, whom the armies of the latter have just extricated from the captivity to which the Viderbha sovereign had consigned him. It appears that when he was formerly seized by his kinsman, his minister, Sumati, con- trived to effect his own escape, along with his sister and the young princess. That sister, Kausiki, now reveals herself in the person of the Parivrajika, and continues the story of their flight. Sumati joined a caravan bound to Vidisa. On their way through the Vindhya mountains they were attacked by the foresters, who were armed with bow T s and arrows, and decorated with peacock’s plumes : in the affray Sumati was slain and Malavika was lost. Kausiki, left alone, committed her brother’s body to the flames, and then resumed her route to Vidisa, where she assumed the character of a female ascetic. The Raja observes she did wisely, which if a Bauddha ascetic be here, as is usual, intended, is a tolerant expression of some weight with regard to the antiquity of the drama. Kausiki soon found out Malavika, but forbore to discover herself, confiding in the prophesy of a sage, who had foretold that the princess, after passing through a period of servitude, would meet with a suitable match. The story now pauses, whilst Agnimitra issues his orders respecting the terms to be granted to Yajnasena, the king of Viderbha, the half of whose territory he assigns to Mad- havasena, the brother of Malavika, their dominions to lie respectively north and south of the Varada river, the Wurda of modern times, and retaining till very lately its character of APPENDIX. 353 a boundary, separating the states of the Nizam from those of the Nagpore, the Vidarbha or Berar Raja. In this part of the play, also, is the allusion to the general, Pushpamitra. A letter arrives from him, giving an account of some transactions that have occurred upon the southern bank of the Indus. On his own behalf, or that of his son, he had undertaken to celebrate an aswamedha, or sacrifice of a horse, for which it was essential that the steed should have a free range for twelve months, being attended only by a guard to secure him. This guard had been placed by Pushpamitra under the command of Aginimitra’s son, Vasumitra. Whilst following the victim along the Indus, a party of Yavana horse attempted to carry off the courser, but they were encountered by the young prince, and after a sharp conflict, defeated. Pushpamitra con- cludes with inviting his son to come with his family to com- plete the sacrifice. The queen, Dharini, overjoyed by the new T s of her son’s success and safety, distributes rich presents to all her train and the females of Agnimitra’s establishment, whilst to him she presents Malavika. Iravati communicates her concurrence in this arrangement, and the Raja obtains another bride. The piece closes with his expressing his hope, that he may ever retain the regard of his first queen, Dharini, and that his subjects may never suffer any calamity whilst he reigns over them. 9 A VOL. II. V1DDHA SALABHANJIKA, or THE STATUE. A Comedy in Four Acts. Characters. Vidyadliara Alalia. — Kin" of Trilinga and Kalinga, Chdrdyana . — His confidential attendant. Bit dgurdya na . ■ — The minister. Kalidds . — A servant of the minister. An Ambassador from the king- of Lata. Kurangaka . — An officer of Vidyadliara Malla. The queen of Vidyadliara Malla. Mrigdnkdvali . — The daughter of Chandravermaking of Lata, passing for some time as his son ; under the charge of the queen. Kuvalayamdld . — Princess of Kuntala, the intended bride of the sup- posed son of Chandraverma, also under charge of the queen. Pingalikd . — The wife of Charayana. Mekliald .' — The foster sister and chief attendant on the queen. Sulakshand. Vilakshand. Kurangikd. Tarangikd. Attendants. The Viddha Sctldbhanjikd is a comedy of domestic intrigue, like the RetndvaU and Mdlavikdgnimitra : it has not, however, the elegance of the former nor the spirit of the latter, and although not devoid of imagination, is much less classical than cither. It has more bustle, and a more complicated plot, and gives a not unentertaining picture of the interests and amuse- ments of Hindu princes in the retirement of their harams. ^ Female attendants. APPENDIX. 355 The benedictory stanzas at the commencement are addressed to Kamadeva and Parvati, indicating adherence to Saiva tenets. The manager then states that the play is the work of Raja Sekhara ; and the occasion of the performance, the pleasure of the Yuvaraja, probably the installation of the heir in the joint administration of the government. A short introduction by Haridas, tells the audience that the minister of Vidyadhara Malla, the hero of the play, has dis- covered that the king of Lata having no son, lias endeavoured to pass off his only daughter as a boy, and has sent her in that capacity to be taken care of by Vidyadhara Malla’s queen. The scene then discovers the Raja and the Vidushaka just risen from repose. The prince has seen a fancied vision, which he relates to his confidant, “ for the burthen of the heart is lightened by sharing it with a faithful friend.” He proceeds : “ A glorious halo appeared before me in my dream, bright as the moon’s resplendent disk ; within the orb a beauteous maiden moved as gently radiant as the lunar rays in autumn skies. Advancing near me, she inclined her head in reverence, and as if pouring ambrosia into my ears, pronounced in softest tones, ‘ Glory to the deity of love!’ then sighing, she took up this string of costly pearls and placed it on my neck. The act awoke me. I started up and saw my vision realised. I caught the nymph by her scarf ; but she hastily extricated herself from my hands and fled, leaving me this necklace alone the evidence of her presence.” The Vidushaka, however, treats the whole as a dream, and reproaches the prince with his fickleness, as he had just before fallen in love with Kuvalayamala, the princess of Kuntala, and recommends him to be content with the queen, as “ a par- tridge in the hand is better than a peahen in the forest.” The king and the Vidushaka then go into the garden, where, over the edge of a terrace, they see some of the fair tenants of the inner apartments amusing themselves with swinging, a favourite pastime with the natives of India. Amongst them the king recognizes the countenance he has seen in his dream, 2 a 2 3 ;>G APPENDIX. but tlie party disappear on the advance of the Raja and his friend. The Raja then enters a pleasure-house or pavilion called the Keli kailds — the Kailas (or mountain so called) of sport. It is an apartment described as built of crystal, and decorated -w ith statues and paintings. Amongst the latter is one which, by an artist familiar with Indian antiquities and costumes, might be wrought into an instructive and interesting compo- sition ; it is thus described : “ There is your majesty at pdsa (dice) with the queen : behind you stands one damsel with the betel box, whilst another is waving the chownri over your head : the dwarf is playing with the monkey, and the parrot abusing the Vidushaka.” The chamber also contains the portrait of Mrigankavali, the damsel whom the Raja has really seen in his supposed dream, and who is in the haram in the character of a youth, though wearing female attire ; there is also a statue of her, whence the piece is named Viddha Said blianjikd, meaning a carved effigy. Finally the lady is herself beheld through the transparent w r all of the pavilion, but runs away on being observed : the Raja and his friend follow- her in vain ; the bards proclaim it noon, and the two friends repair to the queen’s apartments to perform the midday ceremonies. A conversation between two of the female attendants opens the second act, and gives us the history- of Kuvalayamala, the object of the Raja’s passion before encountering his new flame. She is the daughter of Chandramahasena, king of Kuntala, and has been sent to Vidyadhara Malla’s queen, as the betroth- ed bride of the supposed son of Chandraverma, who is the queen’s maternal uncle. Then follow-s a frolic practised by Mekhala, the queen’s foster-sister, on the king’s confidant, Charayana. He is promised a new bride by the queen, and the ceremony- is about to take place when the spouse proves to be a “ lubberly- boy he is highly indignant at the trick, and goes oft' threatening vengeance. ArPENDIX. 357 The Raja having followed and pacified his companion, they go into the garden, where they see the damsel Mrigankavali playing with ball : she still however flies their advance. Presently they overhear a conversation between her and one of her companions, from which it appears, that notwith- standing her shyness she is equally enamoured of the Raja. Evening is now proclaimed, and the parties retire. A similar dialogue with that which commenced the second, begins the third act, the parties only being different. We now learn that the dream was the contrivance of the minister, Mrigankavali having been persuaded by the speaker, Sulak- shana, at his instigation, to believe that she was to behold the present deity of love, and having been introduced by a sliding door into the king’s chamber. The minister’s object in effect- ing a marriage between the Raja and the nymph, is to secure to his master the station of universal monarch, which a seer has prophesied shall accompany the hand of Mrigankavali. The author here, therefore, is indebted, either to the Retnavali, or perhaps in common with that, to the popular story of Vatsa, for his notions. The consequence of the interview has been to render Mrigankavali passionately enamoured of the king. From this we proceed to Charayana’s retaliation. He has induced one of the women to hide in a bush, and when Mekhala passed, to announce to her, she would die on the next full moon, unless she prostrated herself at the feet of some Brahman and crawled between his legs. The plot has so far succeeded that Mekhala and the queen, both overcome with concern, have entreated Charayana to be the Brahman that shall preserve the life of the former. The transaction takes place, and when Mekhala crawls between his legs Chara- yana proclaims the device, and triumphs in the humiliation he has inflicted on her — the queen is in her turn incensed, and goes off in a pet. The Raja and the Vidushaka seek the gar- den, where it is now moonlight. Mrigankavali and her friend Vilakshana also come thither, and the lovers meet : this inter- SoS APl'ENDIX. view is broken off by a cry that the queen is coining, and they all separate abruptly. The fourth and last act begins again with the dawn, when we have Charayana and his wife introduced, the latter asleep. In her sleep, however, she is very communicative, and repeats a supposed dialogue between the queen and the Raja, in which the former urges the latter to marry Mrigankavali, the sister of the supposed Mrigankaverma, come on a visit, it is pre- tended, to her brother — this being a plot of the queen’s to cheat the king into a sham marriage, by espousing him to one she believes to be a boy. On her own part she, it is pretended by the dreamer, professes no difficulty, referring to her conduct on similar occasions, from which it appears that the Raja already possesses a goodly assortment of wives, the princesses of Magadha, Malava, Panchala, Avanti, Jalandhara, and Kerala. The Vidushaka suspects the trick, however, and wakes his wife, who rises and goes to the queen. Sleeping on the stage is contrary to the canons of the Hindu drama, but the natives of India sleep with so little of the “ pomp and circumstance ” of the bed-chamber, that there is no violation of decorum in such a representation. The Vidiishaka having joined the Raja, a rather tedious conversation ensues, in which the amatory emotions of the Raja and his new mistress are described. This is interrupted by the preparations for the marriage, and they are followed by the ceremony, Vidyadhara Alalia being wedded on the stage to Air igankavall, another violation of dramatic rule, which pro- hibits the exhibition of sacred rites. In this case the holy fire is introduced and circumambulated. As soon as this is done, a messenger arrives from Chandraverma to announce that his master has a son, that consequently no further necessity exists for his daughter’s assuming a character not belonging to her, and Alrigankavali accordingly is to be recognised as his daugh- ter. The queen now finds that she has taken herself in, and given herself another rival bride : as the matter is past remedy. APPENDIX. 359 however, she assents with a good grace, and allows Vidyad- hara Malla to marry Kuvalayamala into the bargain. To crown the king’s happiness, a messenger arrives from the camp with the news that the allied army of Kernata, Sinhala, Pandya, Murala, Andhra, and Konkana has been defeated, and Virapala king of Kuntala, the ally of Vidyadhara Malla, reseated on a throne, from which his kinsman, supported by those troops, had formerly expelled him. The authority of Vidyadhara Malla is now declared to extend from the mouths of the Ganges to the sea, and from the Narmada to the Tam- raperni in the Dekhin, he being the chief of the Karachuli race, a Rajput tribe. Many circumstances prove this drama to be comparatively modern : the language is more ornate than classical, the ideas are more affected than poetical ; allusions to current practices and modes of dress are frequent and conversational, and pro- verbial forms of speech are not rare. The state of manners, particularly as affects the multitude of wives, is not of ancient character, for although there was no restriction in this respect, it does not appear that any very great latitude was usually exercised, Dasaratha had three wives, but his son Rama had but one, Pandu had two, Dhritarashtrr but one, and many of the traditionary kings of the Hindus, in like manner, contented themselves with the same number. According to the law, indeed, the first wife was considered to fulfil the moral end of the association, except in the case of sterility, and the marriage of other wives, unless for the sake of progeny, a culpable sacrifice to sensual passions. This law, indeed, became obso- lete;, but to judge from the dramas, there ever remained a peculiarity in the practice of the Hindus which distinguishes them from the Mohammedans, and in no case do we find any allusion to a system of concubinage established in their harams. Besides internal evidence, however, the author is not re- garded as a writer of any great antiquity, although of con- 360 APPENDIX. siderable merit : his precise date is not known, but as he is mentioned in the Sarngdhara Paddhati, a work of the fourteenth century, he is prior to that period. He was probably not later than the reign of Bhoja, for the Vasavddutta of Subandhu contains an evident allusion to the play, as it is there said that every house in Kusumapur possesses a SAUthhanjikd and Vrihat Kathu ; and he is also named in the Sarabwati Kanthabharana, a work on rhetoric, attributed to Bhoja himself. It is said in the prelude that he is the tutor of the king, Mahendrapala, but we have not yet met with any prince of that name. We shall presently have occasion to revert to this subject, and it is here sufficient to observe, that from the author’s familiarity with the political distinctions and the domestic usages of the people of southern and western India, he was probably a native of some of the provinces bordering upon the Nerbudda. PRACHANDA PANDAVA. The Prachanda Pdndava, or ‘ Offended Sons of Pandu/ is a ndtaka in two acts, entitled also the Bala Bhdrata. The sub- ject is taken from the Mahdbhdrat. The first act describes the marriage of Draupadi ; the second, the loss of every thing at play by Yudishthira, the injurious treatment of Draupadi, and the departure of the Pandava princes to the forest. The author has not hesitated to represent in action the circum- stances of Draupadi’s being dragged by the hair, almost naked, into the public assembly, an insult in revenge for which Bhima vowed to slay Duhsasana and drink his blood, and ultimately fulfilled his vow. The introduction of this little drama, Avhich is written in a simple but powerful style, is valuable for the account it gives of the author, Raja Sekhara, and his patron or patrons, of whom some notice has been taken in the preceding analysis of the Viddha Sdlubhanjikd. He is here described as a poet, who occupies that rank in the literature of the day which Valmxki, Vyasa, Bhartrihari, and Bhavabhuti, have severally filled : he is also designated as the son of the mah&manlri or prime minister, and Mahendrapala, the king, of the family of Raghu, is called his sishya or disciple. The assembly, however, before which the representation takes place is collected by Mahipala Deva, who may be the same with Mahendrapala, or is possibly his father or paramount lord. Of Mahipala it is said, that he is the sovereign of Aryavertta or central India, and the sub- jugator of the Kuntalas, Kulutthas, Kerala (Malabar), Ka- lingas, Muralas, and Mekalas (tribes along the Nermada). He is also said to be of the race of Raghu, meaning no doubt a Raghubansi Rajput, and he is said to be the son of the king 362 APPENDIX. Nirbhaya, or Nirbhaya Narendra. The Sutradhara observes of the assembly, that it is formed of the learned men of the great city of Mahodaya, or the great Udaya, possibly Udaya- pur, the princes of which city affect to trace their descent from Rama. The modern city of Udayapur, however, was not founded before the sixteenth century, and the name must be applied to some other place, unless it be no more than a title meaning the very splendid or fortunate. We cannot doubt the long prior existence of the drama, from the mention made of it, or of its author, in the w r orks to which reference is made in the preceding article, and to which we may add the Kavya Prakas, a work probably anterior to the foundation of the modern Udayapur. Mahodaya may be the origin of the name of Malioba, a city of which extensive ruins remain, and of which the history is little known. In a verse cited from another work by the writer, the Karpura Manjari, his wife, is styled ‘ the chaplet of the crest of the Chouhan race,’ from which it follows that he belonged to that tribe. We can only conclude therefore that Raja Sekhara was the minister of some Rajput prince, who flourished in central India, at the end of the eleventh or beginning of the twelfth century. Besides the Viddhd Sdlabhanjikd, Raja Sekhara is the author of the Karpura Manjari, a dramatic composition of the class called Sattaka , entirely in Prakrit. It is named as a specimen of the class in the Sdhitya Derpana. The Bala R&mayana is another dramatic performance attributed to this author, and is named in the same work. HANUMAN NATAKA, or MAHANATAKA, A Drama in Fourteen Acts. The Hanumdn Ndtaka, or as it is emphatically termed, the Maha or great Ndtaka , is evidently an imperfect performance and the work of various hands. The legendary tale Which obscurely accounts for this will be hereafter noticed : it is only necessary to advert to it here, in order to understand the pro- gress of the drama. As might be implied from the title, the story is connected with that of Rama, the monkey-chief Hanu- man being a very important character in the adventures of the prince. The subject of the play is, in fact, the story of the Rdmuyana, and it follows the order of the poem from the birth of Rama till his return to Ayodhya, after the conquest of Lanka. It agrees, therefore, in its dramatis personae, also with the Vira Clieritra, and it is unnecessary to repeat the list. Two or more benedictory stanzas invoking the favour of Hari as Rama open the piece, but there is no mention of the Sutradhdra, nor is there any prelude. We have, indeed, both here and throughout, no notice of entrances nor exits, nor in general any indication of the speaker, being left to infer the appropriate persons from the business of the scene, or being directed to their specification by the conjectures of the com- mentator. It is very evident that the person who speaks is very frequently unconnected with the story, and is the poet himself. This is the case at starting, as it begins : “ There was an illustrious and powerful monarch, the subduer of foes and the renowned ornament of the exalted house of the sun, named Dasaratha, in whose family, for the purpose of relieving- the earth of her burthen, Bhurisravas (Vishnu) deigned to incorporate 3(51 APPENDIX. his divine substance as four blooming- youths. The eldest, endowed with the qualities of imperial worth, was Kama, the descendant of Raghu.” The poet then cursorily notices the early exploits of the hero, and states his going with Lakshmana to the court of Mithila, to try his strength in the bending of the bow of Siva, and thereby winning Sita for his bride : we have this represented dramatically ; and Sita, Janaka, the messenger or Purohita of Havana, Lakshmana, and Rama, maintain a dia- logue easily followed, which ends in Rama’s triumph — the bow is broken, and he wins his bride. The consequences of breaking the bow are then narrated by an indifferent person or the poet, and Parasurama’ s appearance on hearing the sound is also in description. We have here in the passages describing him, one stanza which belongs to the Vi'ra Cheritra, and another said to occur in the Prabodha Chandrodaya. The dialogue that ensues is something like that in the Vi'ra Cheritra, but it terminates in Rama’s trying the bow of Parasurama, and shooting an arrow from it which flies to Swerga. Parasurama acknowledges him to be his superior, and the poet then proceeds to state, that Rama and his brother, with Janaka and different sages, went to the capital of that prince, and Rama was married to Sita. This ends the first act, called the Situ Swayambara. The second act has no pretension to a dramatic character, being a description by the writer of the loves of Sita and Rama, in a strain which is prohibited by a positive rule, and is an offence against decency as well as the drama. It is evidently the addition of a comparatively modern and corrupt period, prior indeed to the vitiation of style, but marked by the debasement of moral feeling amongst the Hindus, which led to the degeneracy of poetical taste and subversion of political existence. The third act is less dramatic than the first, and is wholly descriptive ; such speeches as do occur being conformable to APPENDIX. 365 the usual style of oriental composition, which assigns speeches to the speaker in the first, and not in the third person, rather than to their being actually part of a dramatic dialogue. The subjects are the exile of Rama, his fixing his residence at Panchavati, the appearance of Maricha as a deer, and the chase of the supposed animal by Rama and Lakshmana at Sita’s request. The act opens with a description of the portents that indicated Rama’s impending separation from his father, the cause of which is the curse denounced upon the latter by the father of the ascetic, whom whilst formerly hunting he had accidentally slain ; but the passage, though a striking one, is an imitation of several similar descriptions in the Mahabhdrcit. Whilst thus their hours the youthful pair devoted To love, that with enjoyment grew, the term When the stern curse the Muni’s sire denounced Upon the erring king should shed its influence, Approached. The sun with radiance dimmed looked forth, Whilst fiery torches waved along the sky, And meteors darted headlong through mid heaven : Earth shook ; the firmament rained showers of blood : Around, the horizon thickened. In the day, The pale stars gleamed ; eclipse unseasonable Darkened the noon : day echoed with the howls Of dogs and jackalls, whilst the air replied With horrid sounds and strange, such as shall peal, When the destroying deity, in thunder, Proclaims the dissolution of the world. The fourth act opens with a description of the chase, in which we have the gestures of the deer delineated in a stanza from Scikuntalu — the speech of Dushmanta to his charioteer, “ There he runs with his neck bent gracefully,” &c. Ravana then comes disguised to see Sita. ‘ Oh, give me food,’ he muttered, ‘ pious dame !’ Heedless she overstepped the magic ring 366 APPENDIX. That Lakshmana had traced, when by the hand She stretched in charity the Rakshas seized her, Calling in vain upon the sons of Raghu. Jatayu, the vulture, is represented as endeavouring to rescue Sita, but he is slain by Ravana. Sita encounters Hanuman, and begs him to carry her ornaments, which she casts to him, to Rama. Rama returns from the chase to his cottage and finds it deserted : Now having slain the fraudful deer, the prince, With his brave brother, to their bower returned. Sita. he sought, but sought in vain. Ilis steps Three several quarters trod, the fourth he left, O'ercome with grief and terror, unexplored. The fifth act contains the prosecution of Rama’s search after Sita, his encounter with Bali, his triumph, and the dispatch of Hanuman to Lanka ; and the sixth describes Hanuman’s visit to Sita, the feats he performs at Lanka, and his return to Rama. The seventh act describes the advance of Rama’s host, the fruitless expostulation of Vibhishana with his brother, and his consequent desertion to Rama ; the further advance of the monkeys, the construction of the bridge over the sea, and the crossing over it of the troops. Where first the monkey bands advanced, they viewed A watery belt smooth circling round the shore : The following troops with labour ploughed their way Through the thick mire ; the chiefs who led the rear Exclaimed, with wonder filled, ‘ Here ocean was.’ Rama, in the beginning of the eighth act, sends Angada, the son of Bali, to persuade Ravana to relinquish Situ peaceably. Angada has some feeling of aversion to Rama, who killed his father, but thinks he shall best fulfil his father’s wishes by promoting the war between Ravana and Rama ; lie therefore goes to the former and defies him in very haughty terms. APPENDIX. 367 The dialogue is more steadily maintained in this part of the work than any other. In one passage we have a curious de- scription of the menial offices which Ravana had compelled the • gods to perform in his household, and of the notions enter- tained by the Hindus of the mythological, as distinct from the apparent character of various objects of their worship. Rdv. Indra weaves garlands for me, at my gate The thousand-rayed* keeps watch, above my head Chandraf uprears the umbrella of dominion, The wind and ocean’s monarch are my slaves, And for my board the fiery godhead toils. Know’st thou not this, and can’st thou stoop to praise The son of Raghu, whose frail mortal body Were but a meal to any of my household ? Ang. (laughs). Is this thy wisdom, Ravana? Infirm Of judgment, dost thou deem of Rama thus — A mortal man ? Then Ganga merely flows A watery stream ; the elephants that bear The skies, and Indra's steed, are brutal forms ; The charms of Rembha are the fleeting beauties Of earth’s weak daughters, and the golden age A term of years. Love is a petty archer ; And he whose fame gilds with celestial glory The triform world, the mighty Hanuman, In thy profound discernment is an ape. The dialogue continues very regularly dramatic to the end of the act, when Angada having in vain endeavoured to persuade Ravana to restore Sita, leaves him to expect the immediate advance of the monkey host. The ninth act begins with narrative, but soon breaks into a string of moral and political sentences, supposed to be uttered by Virupaksha and Mahodara, two of Ravana’s ministers. Several of these sentences occur in the Hitopa- desa. Ravana is not to be persuaded, but goes to Sita to try The Sun. t The Moon. 368 APPENDIX. the effect of his personal solicitations — first endeavouring to deceive her by two fictitious heads, made to assume the like- nesses of Rama and his brother. Sita’s lamentations are stop- ped by a heavenly monitor, who tells her the heads are the work of magic, and they instantly disappear. Ravana then vaunts his prowess in war and love, and approaches Sita to embrace her. She exclaims, Forbear, forbear! proud fiend, the jetty anus Of my loved lord, or thy relentless sword, Alone shall touch my neck. Thus repulsed, Ravana withdraws, and presently reappears as Rama, with his own ten heads in his hands. Sita thinking him what he appears is about to embrace him, when the secret virtue of her character as a faithful wife detects the imposition, and reveals the truth to her. Ravana, baffled and mortified, is compelled to relinquish his design. Sita’s apprehensions, lest she should be again beguiled, are allayed by a voice from heaven, which announces that she will not see the real Rama until she has beheld Mandodari kiss the dead body of her hus- band Ptavana. The acts ends with a verse of familiar application and double import, being a series of quibbles ; but it does not belong to this place, for it alludes to Kusa and Lava, who were not born for many years. The eleventh act proceeds with the preparation for the com- bat, going from one party to the other very abruptly and un- methodically'. A female Rakshasi attempts to assassinate Rama, but is stopped and slain by Angada. The army then advances to Lanka, and Ravana comes forth to meet it. Kumbhakerna, his gigantic and sleepy brother, is disturbed from his repose to combat. He is rather out of humour at first, and recommends Ravana to give up the lady, observing : Though the commands of royalty pervade The world, yet sovereigns ever should remember, The light of justice must direct their path. APPENDIX. 369 Ravana bids him go to sleep again : They who assist us with a holy text Are but indifferent friends. These arms have dashed Their golden bracelets on the polished peaks Of the eternal adamantine rock, Uprooted from its base, and wrested victory From the opposing grasp of gods and demons. Confiding in thy prowess, sure in thee To triumph o’er my foes, I have relaxed Their fibre, but again their neves are braced. I need thee not ; hence to thy cell and sleep. Kum. King, do not grieve, but like a valiant chief, Pluck from thy heart all terror of thine enemies, And only deem of thy propitious fortune, Or who shall foremost plunge into the fight — I will not quit thee. Kumbhakerna’s advance appears to terrify Rama’s troops, as he thinks it necessary to address them : Ho ! chiefs and heroes, why this groundless panic, The prowess of our enemy untried. In closer conflict ? Ocean’s myriad fry Would drain the fountain, and before the swarm Of hostile gnats the mighty lion falls. Kumbhakerna is killed by Rama ; on which Indrajit, the son of Ravana, proceeds against the brethren. By the arrow called Nagapdsa, presented him by Brahma, he casts Rama and Lakshmana senseless on the ground, and then goes to Nikumbhila mountain to obtain a magic car by means of sacrifice. Hanuman disturbs his rites. Rama and Lakshmana revive, and on being sprinkled with drops of amrita brought by Garura, the latter with a shaft decapitates Meghanada, and tosses the head into the hands of his father Ravana, which ends the twelfth act. In the opening of the thirteenth act, Ravana levels a shaft at Lakshmana, given him by Brahma, and charged with the VOL. it. 2 b 370 APPENDIX. certain fate of one hero. It should seem to be something of the nature of fire-arms, a shell or a rocket, as Hanuman snatches it away, after it has struck Lakshmana, before it does mischief. Ravana reproaches Brahma, and he sends Nareda to procure the dart again and keep Hanuman out of the way. With the fatal weapon Lakshmana is left for dead. Rama despairs : My soldiers in their caves shall find protection ; With Sfta I can die, but thou, Vibhishana, What shall become of thee ? Hanuman reappears and encourages him. Ravana has a celebrated physician, Sushena, who is brought away from Lanka in his sleep, and directs that a drug ( vishalyd ) from the Druhina mountain must be procured before morning, or Lakshmana will perish. This mountain is six millions of yojanas remote, but Hanuman undertakes to bring it bodily to Lanka, and call at Ayodhya on his way. He accordingly roots up the mountain, and is returning with it to Rama, via Ayodhya, when Bharata, -who is employed in guarding a sacrifice made by Vasishtha, not knowing what to make of him, shoots Hanuman as he approaches. He falls exclaiming on Rama and Lakshmana, which leads Bharata to discover his mistake. Vasishtha restores the monkey, and he sets off for Lanka again. It may be observed, that the nocturnal per- formance of homa, or sacrifice with fire, as here described, is contrary to the ritual. On Hanuman’s return the medicament is administered, and Lakshmana revives. There is more description than dialogue in these passages ; and the utter want of connexion which characterises the latter, would render the speeches quite unintelligible, if the chasms were not filled up very liberally by the commentator. The fourteenth and last act opens with an embassy from Ravana, offering to give up Sita for the battle-axe of Parasu- rama ; but this, Rama replies, must be reserved for Indra. APPENDIX. 371 In all which, however, the author blunders sadly, for Parasu- rama retained his axe (see Vi'ra Cheritra). On this refusal, Ravana goes forth after a brief dialogue with his queen Mandodari, who animates his drooping courage with the true spirit of the tribe to which she belongs. Banish your sorrow, lord of Lanka, take One long and last embrace : we meet no more. Or give command, and by your side I march Fearless to fight, for I too am a Kshetriya. The progress of Ravana through the air appals all nature. In timid murmurs through the rustling woods Lovv breathed the winds ; the sun with slackened fires Gleamed pale abroad, and from their rapid course The streams relaxing, slowly crept along. He defies Rama with great disdain, and in derision of his modest demeanour, asks him whether he is not overcome with shame by the recollection of his ancestor, Anaranya, killed formerly by Ravana. Rama replies : I do not shame, my noble ancestor Fell in the combat. Victory or death The warrior seeks, and death is not disgrace. It ill befits thee to revile his fame, When vanquished, thou couldst drag an abject life In great Haihaya’s dungeons, till thy sire Begged thee to freedom, as the scanty dole The vagrant gleans from charity. For thee Alone I blush, unworthy of my triumph. Ravana falls under the arrows of Rama, and Mandodari, his bride, bewails his death. The poet moralises on his end. The heads that once on Siva’s breast sustained With heavenly splendour shone, now lie beneath The vulture’s talons. Such, alas ! the doom That waits on mortal creatures : thus the fruit Of crimes committed in a former life, Evolves to ripeness in our after being. 2 b 2 372 APPENDIX. Sita is recovered, but Rama is rather shy of his bride, until her purity is established by her passing through the fiery ordeal : a test she successfully undergoes, in description, not in action. Indeed, after the dialogue between Rama and Ravana, the style is scarcely ever colloquial. Rama returns with Sita and his friends to Ayodhya, when Angada challenges them all to fight him, as it is now time to revenge his father’s death. A voice from heaven, however, tells him to be pacified, as Bali will be born as a hunter in a future age, and kill Rama, who will be then Krishna : he is accordingly appeased. Allusion to these incidents is peculiar to this drama, not occurring in the Rdmdyana, Vira Cheritra, or Murdri Ndtaka. Rama is then described as seated on the throne of Ayodhya, and a brief reference is made to his ultimate exile of Sita, after -which the piece concludes with a string of stanzas of obscure and difficult construction in general, in praise of Ramachandra. The last verse contains a brief statement of the history of the poem. The Mcihdndtaka is said to be originally the work of Hanu- man, who engraved or .wrote it on the rocks. Valmiki saw it, and anticipated the greater sweetness of its style would throw his Rdmdyana into the shade. When he complained to the monkey, the latter had so little of the author about him, that he told the bard to cast the verses into the sea. Valmiki obeyed the injunction, and the Mahandtaka remained con- cealed for ages under the waves. At last portions were dis- covered and brought to Bhoja, by whose command Damodara Misra arranged the fragments, filled up the chasms, and formed the whole into an entire w r ork. There is no reason to doubt as much of this story as is credible, or that the frag- ments of an ancient drama were connected in the manner des- cribed. Some of the ideas are poetical, and the sentiments just and forcible : the language is in general very harmonious, but the work itself is after all a most disjointed and nondescript composition, and the patch-work is very glaringly and clumsily put together. APPENDIX 373 The date of the play is established, by the mention of Bhoja, to be a work of the tenth or eleventh century ; and it is in part corroborative of the correctness of the assertion, that the drama was the work of Damodara Misra, that the poet Damodara is named in the Bhoja Prabandha as one of the many writers patronized by that monarch. That work also records the anecdote of some verses attributed to Hanuman being discovered by a merchant in Bhoja’s reign, engraved upon some rocks on the sea-shore ; the merchant brings a copy of the two first stanzas of one verse, and Bhoja travels to the spot to obtain the other two. The verse when complete is one that occurs in the play, and is that last translated. “ The heads that once,” &c. One comment of this drama is the work of Mohandas, a Rama bhakt, and possibly by his name as well as that attribute, a Vaishnava Vairdgi. 374 DHANANJAYA VIJAYA. This is a drama in one act, the subject of which is taken from the Virata Pan a of the Mahdbhdrat, and describes the recovery of the cattle of the Raja Virat by Arjuna, after they had been carried off by Kerna and the Kuru princes. The different chiefs appear, and threaten each other and praise themselves, very much in the strain of Homer’s heroes. The battle is thrown into narrative, being described in a conver- sation between Indra and some of his attendants as they con- template it from the clouds. The drama belongs to the class termed Vydyoga. It is the composition of Kancliana Acharya, the son of Narayana, a celebrated teacher of the yoga, of the race of Kapi muni, or Kdppdyana Brahmans. The drama is performed in the autumnal season at the close of the rains, upon Vishnu’s waking from his slumbers, by the written order of Jagaddeva, or in one copy, Jayadeva, which is delivered to the manager on the stage, for the entertainment of Gadadhara Misra and others. We have a Jayadeva, king of Kanouj, in the end of the twelfth century, and Gadadhara Misra is said to be a writer of repute, but of w r hat works has not been ascertained. He is not the same as the celebrated logician Gadhadhara Bhattacharya, who was a native of Bengal, as the affix misra indicates a native of Gangetic Hindustan. 375 ANERGHA RAG HAVA, on MURARI NATAKA. A Drama in Seven Acts. This play is most usually known by the latter appellation, which it derives from the author ; the former is its most legi- timate title, implying the sacred descendant of Raghu, Rama being the hero of the piece. The story is consequently the same with that of the Vi'ra Cheritra and Hanuman Nataka, and the characters therefore need no particular specification. The subject of the prelude is of an unusual description. The Sdtradhdra states that the assembly is collected on occasion of the Purushottama ydtrd ; that all the world is well ac- quainted with the talents of Kahala Kandala, an actor from another island (one comment Says, Sinhala or Ceylon), and that he himself is the scholar of the Professor Bahurupa, and a native of the middle country (explained by another com- ment, Ayodhya or Oude). The first-named actor then sends the Sutradhara, whilst on the stage, a challenge to try their skill, and the manager determines that it shall be put to the test in the Anerglia Rdgliava, a new composition by Murari, the son of Tantumati, and Sri Verddhamana Bhatta, of the Maudgala family. The first act opens with a conversation between Dasaratha and Vamadeva, which serves to introduce Viswamitra, who comes to request the aid of Rama. The dialogue between him and the king is an effort to outdo each other in complimentary speeches, most of which are in the very worst taste. As, for example, Viswamitra says to the king : Confiding in your surety, that earth No longer has occasion of alarm, 376 APPENDIX. Indra but rarely waving in the clouds His bow, foregoes its practice, and forgets His skill. Nay, further; from the copious draughts Of ghee your ceaseless sacrifices offer, His every limb is grown of size unwieldy, And scarcely can he see out of his eyes. However, the whole composition is not of this description, and it does contain a few redeeming passages. When Viswa- mitra urges Dasaratha to aid him by the intermediate agency of Rama, he observes : The monarch of the day invests the dawn With delegated rays to scatter night, And ocean sends his ministers the clouds, To shed his waters o’er the wide-spread earth. The king also considering, and being reminded by Vama- deva, that the race of Raghu never sent away a petitioner un- gratified, sends for Rama and Lakshmana, and allows Viswa- mitra to take them with him. The second act opens at dawn with a dialogue between Sunassepha and Pasumedra, two of the disciples of Viswa- mitra, in which the former gives the latter several legendary tales, relating to Bali and Ravana and the Rakshasas, and the interruption occasioned by Taraka to their rites, on which account Rama and Lakshmana have been brought to the her- mitage to protect them. Sunassepha goes to collect wood, and Pasumedra to see the princes. Rama and Lakshmana now describe the situation of the hermitage, its tenants and their duties. The former is on the banks of the Kausiki or Coosy river : they then describe the noon, and are supposed to rest in the shade till towards evening, although they do not leave the stage, nor is the dialogue interrupted : they are then joined by Viswamitra, who gives a long description of sunset, until he is stopped by the cry that Taraka is abroad. Rama, after some hesitation about killing a female, goes to destroy her : on APPENDIX 377 his return he expatiates at great length on the rising of the moon : — The sovereign moon not yet o’ertops the hills, But his precursor rays, that waken all The beauty of the lotus, spread through heaven, And as they bright advance, they chase the vapours Far to the bounds of earth, or banish them Deep in the rocky caves, or else prepare To seize them living captives, as they seek A refuge in the shadows of the mountain. This is well enough, but then comes ridiculous conceit. The watery darkness by the lunar beams Is cleansed, as by the purifying nut : Clear gleams the air, and in the shadowy hollows The cloudy mire precipitated falls. Or by the glittering shears, the brilliant heaven Is shorn, and piecemeal into fragments clipped ; The shadows like the dusky rind are peeled, And here and there are scattered o’er the vale. Upon his rejoining the sage, Viswamitra proposes that they shall visit Mithila. The third act opens with a dialogue between the chamberlain and one of Sita’s attendants, from which it appears that Sita begins to be conscious of her youth, and that Havana has sent to demand her in marriage. A conversation next ensues between Viswamitra, Janaka, and Satananda, in which the two princes are introduced to the king, and Viswamitra urges Janaka to let Rama try to bend the bow of Siva. Saushkala, the messenger of Ravana, now arrives, to demand Sita in marriage for his master, refusing at the same time, on his part, to submit to the test of bending Siva’s bow. Satananda replies for Janaka, and desires Rama to go and try his fortune. The princes obey, and Rama is described by those on the stage as breaking the bow : he has therefore won the lady. The family connexion is extended by the promise of Urmila, Mandavi, 378 APPENDIX. and Sruta Kirtti, to Rama’s brothers. Saushkala is highly indignant, and departs to carry the information to his master’s minister. Act fourth : Malyavan describes the rising of the sun, and his disappointment on Ravana’s account. Surpanakha arrives from Videha, and announces that Rama and Sita. are married. Malyavan anticipates that Ravana will carry her off ; and to render the attempt less perilous, projects inveigling Rama into the forests alone, for which he sends Surpanakha in the dis- guise of Manthara, the attendant of Kaikeyi. She tells him that she had heard of Parasurama’s approach to Mithila, and Malyavan conjectures the possibility of some good being effected by the result. The next scene introduces Parasurama, in the same strain as the Mahavira Cheritra, but more extra- vagantly. Rama’s humility is more excessive, and the other characters carry on a vituperative dialogue with Parasurama without appearing, speaking successively from behind the scenes. We shall not cite any of the dialogue beyond Rama’s reply to Parasurama’s boasts of his destruction of the Kshe- triya race : “ This flag of your fame is now worn to tatters, let us see if you can mount a new one.” Rama then calls for his bow, and Parasurama presents him with his axe. They go forth to fight : a voice behind proclaims that Sita is appre- hensive that Rama again draws the bow for a maiden prize, and that he cannot draw it in vain. This is all the reference we have to the combat, as the two Ramas return immediately, very excellent friends. Parasurama takes leave of the Rishis, who are behind the curtain, and departs. Janaka and Dasaratha now enter, and the latter declares his purpose of relinquishing the kingdom entirely to his son. Lakshmana announces the arrival of Manthara, and presents a letter from Kaikeyi, the pur- pose of which is to urge Dasaratha’s fulfilment of his promise, and grant her, as the two boons, the coronation of Bharata, and banishment of Rama. The old gentlemen faint: Rama sends Lakshmana to prepare Sita, and recommending his father to APPENDIX. 379 Janaka, departs. The author makes very short work with this part of his story. In the fifth act, a conversation between Sravana, a female ascetic, and Jambavan, the bear, briefly describes the progress of Rama with his wife and brother till their arrival in the forests. Sravana goes to prepare Sugriva for the friendly reception of the travellers, and Jambavan hears a dialogue carried on between Lakshmana and Ravana, disguised as a juggler. Jatayu then appears, and tells the bear he has seen Ravana and Mancha in the forest, and anticipates mischief to Rama. Jambavan goes to find the chief and put him on his guard, and Jatayu beholds Sita carried off ; he follows the ravisher. The language here is generally plain and intelligible, but there is no poetry. Some of the attempts at description make but a poor figure by the side of Bhavabhuti’s de- lineations of the same scenery, and the dialogue between Jatayu and Jambavan is a sorry substitute for the scene between Jatayu and Sampati in the Viva Cheritra. Laksh- mana now appears, and is soon after joined by Rama, and both express their grief, but with more philosophy than pathos. Lakshmana observes : The worse the ill that fate on noble souls Inflicts, the more their firmness ; and they arm Their spirits with adamant to meet the blow. Rama replies : The firmness I was born with or was reared to, And rage, that fills my heart, restrains my sorrows ; But harder is the task to fit my soul To bear unmurmuring a husband’s shame. Whilst engaged in conversation a cry of distress is heard, and on looking out, the youths observe Guha, the friendly forest monarch, assailed by the demon Kabandha, or a fiend without a head. Lakshmana goes to his aid, and returns with his friend Guha, In the act of delivering him, Lakshmana 380 APPENDIX. lias tossed away the skeleton of Dundubhi, a giant; suspended by Bali, and Bali deeming this an insult, presently appears. After a prolix interchange of civility and defiance, Rama and Bali go off the stage to determine their respective supremacy by single combat : the result is described by Lakshmana and Gulia : Bali is slain. Voices without announce the inaugura- tion of Sugriva, and his determination to assist Rama to recover Sita, and Lakshmana and his friend leave the stage to join the party. The whole of this act is very flat and un- dramatic, and the same character may be given of the rest of the drama : we have nothing but sounding words and obscure mythology, with very few poetical ideas or rational reflexions. The sixth act continues the business of description, and Savana and Suka, two of Ravana’ s emissaries, describe to his minister Malyavan, the formation of the bridge over the sea, and the advance of Rama’s army: they foretell, also, an un- fortunate result from Rama’s celerity, as Malyavan observes : “ The activity of an assailant is ever the best assurance of success.” Voices behind announce, that Kumbhakerna and Meghanada have gone forth to battle. Malyavan w ishes them prosperity, in a phrase perfectly oracular : Utinam, Ramum et Lakshmanum, Kumbhakernum et Meglianadum, vineere posse. The clumsy contrivance of voices behind the scene proclaims the deaths of Kumbhakerna and Meghanada, and announces the departure of Ravana to the field. Malyavan determines to follow him : Haste we to Ravana, 'tis all I can In battle pilgrimage to expiate The sin of feeble age, and on the sword Resign a life, now useless to my sovereign. The remainder of the act is a very prolix and nerveless description of the final contest and overthrow of Ravana, in an extravagantly laboured dialogue between two Vidyad- haras. Several pages here are so insufferably tedious, and at the same time so difficult of construction, that they are quite APPENDIX. 381 unreadable, there being nothing to repay the pains of making out the meaning. The Seventh and last Act resembles the concluding Act of the Vi'ra Cheritra, and describes the return of Rama with his wife and brother, and accompanied by Vibhishana and Sugriva, in the celestial car of Kuvera, to his capital Ayodhya. It is, of course, an act of pure description, and as little dramatic as the similar act of the Vi'ra Cheritra, but unenlivened by the picturesque beauties which relieve the want of action in that drama. It is also infinitely more prolix, and in the same proportion more tedious. The route is also very preposte- rously diversified. In the Vi'ra Cheritra, the travellers proceed over the Dekhin, through Aryavertta, or India proper, to the Snowy Mountains, and then turn back at once to Ayodhya. Murari takes them from Rama’s bridge into the upper regions, whence they descry the different holy portions of the mytho- logical mountain Sumeru, and visit Chandraloka, or the region of the moon ; the sole object of which absurd deviation is a laboured and obscure display of legendary lore, the mytho- logical details relating to Sumeru, Kailas, and the Chandraloka, occupying several hundred verses. The author then descends within ken of the earth, and commences his terrestrial descrip- tion with an account of Sinhala, or Ceylon, distinguishing that island, like all modern Hindu writers, from Lanka. The reason is obvious enough, particularly in a writer of the south India, Sinhala, or Ceylon, being too well known to be made the seat of legendary personages, supposed, as is the case with Vibhishana and his Rakshasas, to be still existing. From Sinhala we then pursue a tolerably rational route, de- scribed more in detail than in the Vi'ra Cheritra. The places named are the Malaya mountains, the forest, the mountain Prasravana, the Godaveri, mount Malyavan, Kundinipura in the Maharashtra country, the shrine of Bhimeswara, the city of Kanchi, Ujayin, and the temple of Mahakala, Mahish- mati, the capital of Chedi, the Jumna and Ganga rivers. 382 APPENDIX. and Varanasi, Mithila, or Tirhut, and Champa, near Bhagel- pur. The travellers then proceed westward to Prayaga, and the Antarvedi or Doab, when they again follow an easterly course and arrive at Ayodhya. Vasishtha, the priest, and the brothers of Rama, await his arrival, on which he is crowned, and the piece concludes. Enough has been said to convey a correct notion of the character of the Anergha Raghava. It has no dramatic merit, being deficient in character, action, situation, and interest. As a poem, it presents occasionally poetic thoughts, but they are very few, and are lost amidst pages of flat common-place, quaint conceit, hyperbolical extravagance, and obscure mytho- logy. Yet this drama bears in general a much higher character with the pundits of the present day, than the truly poetical compositions of Bhavabhuti and Kalidas. The vitiation of taste and abjectness of sentiment prevalent amongst them, sufficiently explain this unjust preference. The Hindus of these days are little able to estimate purity of conception, delicacy of feeling, or brilliancy of fancy : they trouble themselves, indeed, very little with the thoughts, and bound their criticism to an author’s style. The language of Murari is, of course, as far from good taste as his ideas, but it has merit. As a specimen of elaborate composition it is unsurpassed, and the intricate and not unmusical combination of the words evinces prodigious labour, and a wonderful command of the Sanscrit language. One consequence of this is a total want of perspicuity, and without being intently studied and learnt by rote, there is little chance that the Anergha Raghava will be understood throughout. Besides the celebrity Murari Misra derives from his elaborate style, he is indebted to the author of the Siddhdnta Kaumudi for no slender reputation. As he deals largely in unusual grammatical forms and combinations, Bhattoji Dikshita has not unfrequently recourse to the Anergha Raghava for the illustration of his grammatical rules. APPENDIX. 383 The style of the drama is sufficient evidence that the Anergha Rughava is of modern date. It is not possible, how- ever, to fix the period of its composition with any precision. It of course preceded the Siddhanta Kaumudi, a work about two centuries old. It is subsequent to the time at which public festivals were instituted at Cuttack in honour of Jagan- nath, as it was represented at the Purushottama Ydtrd. As, however, the choice of the hero was Rama, and no allusion is made to Krishna or Radha, there can be little doubt that it preceded the enthusiasm excited in favour of those latter divinities, by the Bengali visionary Chaitanya, in the end of the fifteenth century, and which still influences the prevailing worship of Cuttack. The bad taste displayed in the work will not allow us to carry it much farther back, and it is possibly, therefore, a production of the thirteenth or fourteenth century. In the present instance two commentaries have been con- sulted : one is short and without any name ; the other is full to tediousness. It is the composition of Sri Ruchi Mahopad- hyaya, by command of the king Bhairava Deva, son of Narasinha Deva. The country governed by the prince is not named. If Orissa be intended, as is probable, this comment may be the work of the latter part of the thirteenth, or beginning of the fourteenth century, Narasinha Deva, king of Oi •issa, ascending the throne in 1236. 384 SAREDA TILAKA. This is a piece of the class called Bhdna, or a monologue in One Act, although of considerable length. Rasikasekhara, a man of licentious habits, gives an account of the different individuals he encounters in the streets of Kolaha- lapur, at the time of the vernal festival. By far the greatest portion of the piece is in description, but part is in a suppositi- tious dialogue, in which Rasikasekhara having addressed some individual whom he names, adds him bravishi ?’ ‘ what do you say ?’ and then repeats himself the reply. The persons thus interrogated are chiefly females and courtezans, and the dialogue very generally will not admit of translation ; occasionally it should appear, also, that the male characters shew themselves for a short interval, and speak for themselves, but there is no stage direction for entrance or exit. It is possible, therefore, that the whole is the exhibition of a single performer, who varying his voice and appearance, adapts himself to the different personations : a feat not uncommonly nor badly accomplished by some of the Indian Bhanrs, or professional jesters and mimics of the present day, although they may fall short of the more cultivated talent of this class in Europe. Of the individuals described the majority are women, and the following are some of the most characteristic notices given by Rasikasekhara, who here is supposed to address a com- panion : “ Look where the lotus-eyed damsels of Kankana approach ; their slender waists decorated with tinkling bells, and their charms guiding the shafts of Kama into every bosom. There goes the maid of Gurjara, blooming as with perpetual youth, having eyes like the chakora, of the complexion of the yellow rochand, and a voice musical as that of the parrot. She wears anclets of silver, large ear-rings set with pearls, and her boddice is buttoned below the hips with gems. APPENDIX. 385 The matron of Maharashtra proceeds yonder, her forehead stained with saffron, and with silver chains upon her feet. She wears a co- loured veil, and a girdle round her loins. Here comes the damsel of Nepal, whose locks are blacker than the bee, whose bosom is fragrant with musk, and whose forehead bears a mark brighter than the new moon. Behold that lotus-faced maiden of Pandya bearing offerings in her hand ; her person is decorated with pearls and her bosom perfumed with sandal. A Chola female approaches, whose cheeks are tinted with saffron, and whose dress is embroidered with the buds of the lotus. The bosoms of those Dravira women are as moonlight in the courts of the young, whilst those of others are like lamps in water-jars. Observe the lovely form of the damsels of Kernata, whose forehead is stamped with a mole of musk and tinted with safflower ; whose ears are ornamented with rings of gold, and whose bosom attracts the hearts of men. Look at that Andhra female, whose graceful ear is decorated by the scroll of gold, whose nose-ring set with pearls trembles to her breath, and over whose bosom spreads the saffron-dyed vest. The female worshipper of Siva advances, her forehead streaked with the double line of ashy whiteness, and from whose neck the string of cowries depends; her soft lips are ruddy with betel, and her curls are of darkest jet. And mark where the damsel devoted to Vishnu proceeds, her fore- head marked with the saffron crescent, her tresses playing upon her long neck, and her eyes beautiful as the lotus.” The personages next in frequency of description are religious characters, to whom the author shews no great favour, not only in his portraits, but in one or two piquant anecdotes related in the course of the piece, of which some pious vagrant is the hero. “ Eh! who are these I see? The Jangama covered with ashes, wearing his hair in a braid, carrying the type of Siva round his neck, and having shoes on his feet ; he bears in his hand the segment of a skull: and the Vaishnava, his forehead marked with an upright streak, carrying a bow decorated with bells and peacock’s feathers, and a wallet at his side. 2 c VOL. II. 386 APPENDIX. There go the readers of the Puranas, carrying under their arms the sacred volumes wrapped up in the cloth on which they take their seat. They have rosaries in their hands, and their foreheads are stained with sandal. Here, the haughty Yetis approach, clad in vestments dyed with ochre, bearing bambu staves, round which their nether vesture is wrapped, and arrogantly promulgating false doctrines. And there go the personifications of hypocrisy, the Yogis, who to impose upon the people are counting their rosaries, and have smeared their bodies with the ashes of burnt cowdung. They suffer their beards to grow, their garments are dyed with ochre, and they carry their wallets under their arms, covered with the skin of the black deer.” One of the most laboured descriptions is the following : — “ Here comes a Snake-catcher, with his serpent and monkey. Upon his head he wears a scanty plume of peacock’s feathers, round one of his arms winds the tendril of a vine, and a bracelet of shells decorates the other. His braided locks project from above his fore- head, whilst beneath them, from ear to ear, extends across his brow the single streak of ashes. Repeating the incantation of Garura, and meditating upon his spiritual teacher, he cautiously opens his basket, and draws forth the slowly-excited reptile. Whilst the exhibitor is shaking his knee with one hand, and with the other playing upon his pipe, the snake slowly raises his head and expands his hood. The monkey then darts upon the snake and grips him with his teeth, and then recedes from the fury with which he darts forth his venom. AVonderful are the works of Brahma! and yet what marvel is there that men can tame venomous animals, when women can tame men!” In the original, the quibble is upon the word bhujanga, which means a gallant or a snake. Except a few such insignificant attempts, there is little wit or satire in the composition, and still less poetry, beyond that which is merely mechanical. The style is highly laboured and in- volved, abounds with verbal jingle, and is not unfrequently encumbered with rhyme. This is a sufficient proof of its com- paratively recent date, and the same inference is authorized by the allusions to the Jangamas and Vaishnavas, who, as here described, are modern sectaries. The composition cannot there- APPENDIX. 387 fore be earlier than the twelfth century, and it is pi’obably later. The author is named Sankara, who could not have been the reli- gious reformer so denominated, although he may possibly be the Sankara Kavi mentioned in the Sarngdhara Paddhati. Ac- cording to the original he was a native of Benares, but the per- formance is said to have been held at Kolahalapur. Kolahala, properly speaking, means an uproar, and the city had most probably only an allegorical existence, being also the fancied scene of the events described in the piece. 2 c 2 388 YAYATI CHERITRA. This is a drama in Seven Acts, by Rudra Deva. It was first performed at the Spring Festival, but it does not appear at what place, nor does any mention of the author elsewhere occur. He is not likely to be the same as Rudra Bhatta, the author of the Srlngara Tilaka, who is amongst the writers named in the Sdrngdhara Puddhati. A prince, named Rudra Deva, is praised highly for his libe- rality in some of the examples quoted by Apyaya Dikshita, in his Kuvalayananda. Apyaya flourished in the reign of Krishna Deva of Vijayanagar, about A.D. 1526, and the prince alluded to may possibly be Pratapa Rudra Deva, sovereign of Telin- gana in the beginning of the fourteenth century. We have also a Rudra, the author, real or supposed, of a vocabulary, whose date appears to be about the same, the thirteenth or fourteenth century. The Yaydti Cheritra is not quoted by the writers of systems, and only one copy has been met with, which is so ex- ceedingly inaccurate that it is nearly unintelligible. As far as the business of the piece can be decyphered, it relates to the intrigue of Yay&ti with Sermishtha, terminating in his union with her, and reconciliation with his queen Devayani. The story is told as follows, in the first section of the Mahabhdrat and several of the Puranas. Sermishtha was the daughter of Vrishaperva, king of the Daityas, and Devayani the daughter of Sukra, regent of the planet Venus and the spiritual preceptor of the Daitya race. Devayani having incurred the displeasure of Sermishtha, the latter threw the former into a well, where she was found by Yayati, the son of Nahusha. Devayani, on returning to her father, excited his anger against Vrishaperva, who to appease Sukra consented to give his daughter to Devayani as her ser- vant, with a thousand other female attendants. Devayani mar- APPENDIX. 389 ried the king Yayati. At the time of her marriage Sukra obtained the king’s promise that he would never take Sarmish- tha to his bed ; but after some interval the king meeting her, fell in love with, and espoused her privately. The intrigue continued secret, until Yayati had two sons by Devayani and three by Sarmishtha, when it was discovered by the former, and ex- cited her resentment as well as that of her father. The viola- tion of the king’s promise was punished by premature decay, as denounced upon him by Sukra, with permission, however, to transfer his infirmities to any one who would accept them. Yayati appealed to his sons ; of whom the youngest alone, Puru, consented to assume the burthen. After a sufficient period Yayati took his decrepitude back again, and left the sovereignty of the world to Puru in reward of his filial piety. All the sons of Yayati were the founders of distinguished races. Yadu gave birth to the Yadavas, Turvasu to the Yavanas, Dru- liya was the ancestor of the Bhojas, and Anu of the Mlechchas. The Pauravas were the descendants of Puru, in whose line the Kaurava and Pandava families were comprised. 390 DUTANGADA, or THE MISSION OF ANGADA. This piece is styled a Ch’hayd Nataka, the shade or outline of a drama, the subject of which is taken from the Rdmdyana. It consists of but four scenes. In the first, Angada, the son of Bali, is sent to demand Sita ; in the second, he executes his mission, and on his departure Ravana goes forth to battle. Two Gandhervas then enter, and in a short speech each, announce that Ravana is slain, on which Rama enters in triumph. The composition was perhaps intended to introduce a spectacle of the battle and procession, as it is otherwise difficult to conceive what object its extreme conciseness could have effected. It is said to have been written for the yatra of Kumara Pala Deva, by order of Tribhuvana Pala Deva, by the poet Subhata. 391 MRIGANKALEKHA. This is a piece of the class termed Ndtikd, in four acts, by Viswanath, the son of Trimala Deva, originally from the banks of the Godaveri, but residing at Benares, where the piece was represented at the ydtra, or festival, of Visweswara, the form under which Siva is particularly worshipped at that city. Mrigankalekha is the daughter of the king of Kamarupa, or Asam : she has been beheld by Karpuratilaka, king of Kalinga, whilst hunting, and the parties are mutually ena- moured. The obstacle to their union is the love of Sankha- pala, a demon, to oppose whose supernatural agency the minister of the king of Kalinga, who alone is aware of the circumstance, invites to the palace a benevolent magician, Siddhayogini, and Mrigankalekha is also lodged in the palace as the friend of the queen Vilasavati. Notwithstanding these precautions, she is carried off by Sankhapala to the temple of Kali, when the Raja wandering disconsolate beyond his garden- bounds, comes to the spot, rescues her, and kills Sankhapala. He is then united to Mrigankalekha in the presence of her father and brother, and with the consent of his queen, killing also, before the conclusion of the rite, the brother of Sankha- pala, who comes to revenge him in the form of a wild elephant, but is encountered and slain by the king. The author of this play is largely indebted to his-predecessors for the story, incidents, and the thoughts of his play. The union of the king and Mrigankalekha is effected through the secret contrivance of the minister Retnachura, because the lady’s husband is to become the master of the world. This is taken from the Retnavali. The conveyance of the princess to the temple of Kali, and her rescue by the king, are borrowed 392 APPENDIX. from the Mdlati and Mudhava ; and the site of the temple, and the appearance of the goblins, are described to precisely the same purpose, but with inferior power. During the Raja’s peregrinations in his love-frenzy, he passes through a wood, in which he inquires of different animals if they have seen his mistress, in a strain evidently copied from the fourth act of the Vikrama and Urvasi. We must give the writer, therefore, little credit for originality ; nor has he made good use of his materials, but has diluted the incidents he has borrowed with much prolix and tedious description of the rising and setting of the sun and moon, and the genial influence of the seasons. The language is polished, but in the modern style, and is rather elaborate than elegant. The play is clearly a com- paratively recent composition, but no clue is afforded for the precise determination of its date. 393 VIDAGDHA 31 VI)] JAVA. This is a play in seven acts, the subject of which is taken from the Bhdgavat, and relates to the loves of Krishna and Radha. It is, in fact, the “Songs of Jayadeva” dramatised. It may easily be supposed, that the jealous squabbles of two lovers furnish insufficient materials for a play of such length, and accordingly the Vidagdha Mddhava has little action, and is made up of dialogue that leads to nothing, and of un- interesting description. An attempt has been made to give some variety to it by the introduction of Chandravali, a nymph of Vrindavan, enamoured of Krishna, and by repre- senting the Paurnamasi, the personified day of full moon, as interesting herself in the union of Krishna and Radha. The piece is also in its different portions supposed to be applicable to the different seasons of the year at which the chief festivals in honour of Krishna are held, or the festival of spring in Cliaitra or Vaisakh, that of the birth of Krishna in Srdvan or the rains, and the Ras ydtra, or dance of Krishna with the Gopis, in the season of autumn. The want of dramatic incident is not relieved by the literary merits of the composition, as there is little poetry in the thoughts. The style, though not devoid of melody, is not remarkably musical, and as the greater part of the charac- ters are females, much the most considerable portion of the language is Prakrit. The work does not rank very high in the estimation of the Hindus, except those of a particular sect, the Vaishnavas, who have followed the doctrines of Chaitanya. The play is recommended to them, not only by the subject, but by its being the work of Rupa, one of their founder’s first disciples, and one of the early teachers of the 394 APPENDIX. sect. His name does not appear in the manuscript, and the prelude presents one singularity in the Sutrudhdras per- sonating the author himself. The commentary, however, and the concurrent tradition of the Vaiahnavns, leaVe no doubt as to Rupa’s being the writer of the drama ; and it is further established by the date of it, which is specified in the manu- script S. 1589 (A. D. 1533), at which period there is no doubt he flourished. 395 ABHIRAMA MANI. This is a drama in seven acts, the subject of which is the history of Rama. The business is related in much the same order as in the Vira Clieritra and Murari Nutaka. The piece was performed also like the latter of these two works at Jagannath, at the festival of Purushottoma or Vishnu. The author is named Sundara Misra, but we have no further knowledge of him. Of two copies consulted, one bears what appears to be the date of the composition, Saka 1521, or A. D. 1597. The composition possesses little dramatic, al- though it has some literary merit. 396 MADHURANIRUDDHA. This is a drama in eight acts, the subject of which is the secret loves of Usha, the daughter of the Asura Bana, and Aniruddha, the grandson of Krishna, and the defeat and death of the former by that divinity. In the first act Nareda apprises Krishna and Balarama, that Indra is again in dread of the power of the demons, and especially of Bana, who has acquired the particular favour of Siva, and who is therefore not to be easily subdued. The conference ends by Nareda’s going to Sonapur, the capital of the demon, to endeavour to impair the friendship between Bana and Siva, whilst Krishna and his brother await the result. In the second act we learn from a conversation between Jaya and Virabhadra, attendants on Parvati and Siva, that the excessive arrogance of Bana, in his anxiety to match himself with Vishnu, has offended the latter, who has accordingly departed for Kailas, after announcing that Bana’s anxiety shall be alleviated whenever his banner falls. Parvati also has gone to Kailas, after announcing to Usha that she will shortly behold her husband. Usha and Chitrangada are presently afterwards introduced, and in the conversation that ensues, the former expresses her impatience for the boon conferred by the goddess. In the third act Aniruddha and his friend Vakulanka inform the audience, that the former is violently enamoured of a damsel he has seen in his sleep, and despairs of discovering who she is, when Nareda comes opportunely to his aid, and informs him that she is the daughter of Bana ; on which Aniruddha determines to go to his capital, first propitiating APPENDIX. 397 Jwalamukhi by penance, in order to obtain the means of entering a city surrounded by a wall of perpetual flame. The fourth act is one of mere conversation again, between Bana, his minister, and his wife. The banner has fallen, and they endeavour to prevail on him to propitiate Siva, in order to avert the evil omen, but he refuses. In the fifth act Aniruddha repairs to the shrine of Jwa- lamukhi, and upon the point of offering himself as a sacrifice, is prevented by the goddess, and receives from her the power of travelling through the air. Jwalamukhi is the form of Durga, worshipped wherever a subterraneous flame breaks forth, or wherever jets of carburetted hydrogen gas are emitted from the soil. A celebrated place of this description exists in India near Nadoun, and that this is the shrine intended by the author is apparent, from the direction taken by Bhringi, a servant of Durga who precedes Aniruddha, to prepare the goddess to grant his request. As he proceeds in his aerial car, he notices the countries of Orissa, Bengal, Behar, Oude or Ayodhya, Prayaga, Hastinapur or Delhi, and Kurujangal or Tahneser, whence he comes to Jwalamukhi. Aniruddha’s visit to the goddess is something unusual in dramatic composi- tion, and characteristic of a prevailing form of the Hindu religion some few centuries ago, that of the ritual prescribed by the Tantras. In his description of the shrine, and the sports of the goblins who surround it, the author has imitated the Mulati and Mddhava. In the next act Usha and Chitralekha receive a visit from Nareda, in whose presence the latter unfolds a picture con- taining portraits of all the chief characters in Swerga Patala, and on earth, or Indra, and other gods ; Sesha, Takshaka and the Nagas, and different princes, as the kings of Magadha, Mathura, Avanti, Madra, Mahishmati, and Viderbha, Yud- hishthira, Krishna, Baladeva, Pradyumna, and finally Ani- ruddha, whom Usha recognizes as the individual seen in her dream, and of whom she is enamoured. Nareda recommends 398 APrENDIX. Chitralekha being sent to Dwaravati to invite Aniruddha, whom he enables to fly thither, whilst he remains in charge of Usha, whom he sends to the garden to await her lover’s arrival. The seventh act brings Aniruddha and Chitralekha to Sonapur, and the former is united to his mistress. The eighth describes the detection of Aniruddha by Bana and the engagement that ensues, in a dialogue between Nareda and Parvata. Krishna, Baladeva, and Pradyumna coming to the aid of the prince, the day is going ill with Bana, when Kartikeya, Ganesa, and Siva and Chandi come to his succour. The author, who is a Saiva, gives the advantage to the sons of Siva, but the Vishnu and Bhagavat Puranas tell the story very differently, and subject the Saivas to rather severe treat- ment ; the legend being apparently founded on some hostile conflict between the followers of Siva and Krishna. The dramatist is obliged to admit, that notwithstanding the pre- sence of his allies, Bana has all his thousand arms cut off by Krishna except four. Siva advances to the aid of his votary, when a combat ensues between the gods, which Brahma descends to arrest. They embrace, whilst Parvati and Brahma support Bana to make his submission. The parties enter, when Vishnu declares he is less sensible of the wounds inflicted by Bana, than of the regret he feels at his presumption in contending with Siva. The latter consoles him by telling him he only did a warrior’s duty, and that military prowess is independent of all motives of love or hatred. Parvati then brings Usha to the spot, and by her desire, and that of Siva, Bana gives his daughter to Aniruddha. Siva then elevates him to the rank of one of his attendants, under the name of Mahakala, and the piece concludes with the wish of Ani- ruddha, that the fame of the verses of the bard may endure as long as the universe. The Madhurdniruddha is the work of Chandra Sekhara, the son of Gopinatha, the religious preceptor of a prince who is APPENDIX. 399 celebrated for his encouragement of literature and his victories over the Mlechchas. His name is said to be Vira, with the epithet Kesari, which being synonimous with Sinh, the prince intended is probably Vira Sinh, the Raja of Bundlecund, who flourished in the beginning of the seventeenth century. The piece was represented at a festival in honour of Siva, and the author is a decided Saiva although he has chosen a Vaishnava hero. We have no further information respecting the writer. The piece abounds too much with description to be a good play : the style has considerable merit. 400 KANSA BADHA. A drama in seven acts, the subject of which is the destruc- tion of Kansa by Krishna. In the first act, Kansa, king of Mathura, alarmed by a voice from heaven, that the son of his sister, predestined to destroy him, has escaped the precautions taken against his birth, consults with his minister what he shall do, and upon his advice orders all Brahmans and holy and religious characters to be seized or slain, and all sacred and pious observance to cease. In the second act, Garga the Muni relates to Talajangha, an emissary of the minister, the different exploits of the juvenile Krishna, and the latter also witnesses the destruction of the demon Kesi, one of those infernal beings who in vain attempted to kill the divine child, instigated by their prescience of their fate when he should reach maturity. The third act is occupied with a dialogue between Akrura and his Charioteer, the former being on his way to Gokul, to invite Krishna to Mathura. The fourth act opens with what the author terms a Prastdvana, an introductory dialogue between a staff-bear and an astrologer, respecting the object of Akrura’s journey. Balarama and Krishna then make their appearance, attended by Sudama and Akrura, and accompanied by their foster parents, Nanda and Yasoda, who take leave of the children. The latter play the part of mutes, and after bowing to the elders and receiving their benediction, depart. The seniors then express their grief for their loss, and quit the stage ; after which we have the boys again, as proceeding on their journey, till they are overtaken by a messenger from Radha, in consequence of which Krishna determines to spend some time at Vrindavan. The fifth act conveys them to Kansa’s palace at Mathura, describing the different occurrences on the APPENDIX. 401 road as related in the Bhagavat, and similar works. The first part of the sixth act consists of a dialogue between a Vetrad- hara and the Koshtapula, a staff-bearer, and the chief of the police, describing the combat of the youths with the royal elephant of Kansa, after the death of which they retire to make way for Balarama and Krishna, with Kansa’s two wrest- lers, Chanura and Mushtika. After some conversation between them and a few specimens of their skill, the former speakers resume the dialogue, and describe the defeat and death of the athletes, which they go off to report to Kansa. We have then partly in action, and partly in narrative, the death of that prince, which ends the sixth act. The seventh act re-unites the boys with their mortal parents, Vasudeva and Devaki ; and to console the latter for her brother’s death, Krishna installs her father Ugrasena in the sovereignty of Mathura. This drama is consequently nothing more than a re-set of the tenth section of the Bhagavat Parana, which gives an account of the eai’ly life of the last incarnation of Vishnu as Krishna. It is, in fact, little else than the same work thrown into dialogue, and the character of it is chiefly narrative and descriptive. There is little action, and what there is, is inartificially and disjointedly put together. The language is in general good, although highly elaborate. The compounds are interminable and of constant recurrence, which is sufficient to establish the comparatively modern date of the play. The same may be inferred from the conjectural identification of the persons connected with the composition of the drama. The author is called Krishna Kavi, the son of Nrisinha ; he is also termed Sesha Krishna Pandita, the first of which ap- pellations indicates a Marhatta original. With respect to the latter, there is a Krishna Pandita, of the Benares school of grammar, author of a commentary on the Prakriya Kaumudi, an abridgment of which, the Tatwa Chandra, was completed by one of his pupils, Jayanta, in the year 1687 (A.D. 1631). The patron of the author and person who presides in the 2 D VOL. II. 402 APPENDIX. assembly is styled, f the sovereign upholding Goverddhana, the son of Toder, the ornament of the race of Tandana, and whose Guru was Girdhari Nath.’ Girdhar Nath was the grandson of V allabha, the founder of the Gokulastha Gosains, who flourished early in the sixteenth century ; and Todar may have been Akber’s financial minister, Toder Mai. The drama was performed at a festival held at Benares in honour of Viswes- wara ; and it seems not improbable, therefore, that it was written about two centuries ago, or in the beginning of the seventeenth century, when Krishna Pandita, the preceptor of Jayanta, might easily be cotemporary with the son of Toder Mai, and a grandson of Vallabha Acharya. PRADYUMNA VIJAYA. This is a drama in seven acts, the subject of which is the victory of Pradyumna, the son of Krishna, over Vajranabha, the sovereign of the Daityas. The story is, in fact, taken with servile fidelity from the Harivansa, the last section of the Mahubh&rat, and the incidents as there narrated are dramatised without addition or omission. The chief personages of the play, as of the poem, are demi- gods and demons, and the Yadavas, or kinsmen of Krishna and his son. We have also in the former, as in the latter, the pair of geese, the Hansa and Hansi, who inspire Prabhavati, the daughter of Vajranabha, and Pradyumna, w ith a mutual passion before they have beheld each other, and who contrive their secret nup- tials. The introduction of such performers on the stage must have had rather an extraordinary effect, although not more so than the Birds and Wasps of Aristophanes, or the Io of yEschy- lus, who, as the dialogue sufficiently proves, were dressed in character. APPENDIX. 403 The stolen interviews of the lovers being communicated by Nareda to the father, Pradyumna is about to fall a victim to his vengeance, when Krishna and Baladeva with their followers come to his rescue, and a combat ensues, in which Vajranabha is defeated and slain. The whole of this engagement, occupy- ing the entire last Act, is described by two Gandherbas, as supposed to be seen by them from their chariots in the air. Other portions of the piece are in narrative to a very considera- ble extent, the subject of which is foreign to the business; as the wars of the gods and demons, the rape of Rambha by Ravana, and the destruction of Kama by Siva. The action is also frequently interrupted by laboured and tedious descriptions of the hours of the day and seasons of the year, in the usual hacknied strain. The style, although elaborate, is not remark- ably beautiful, and there is no imagination in the thoughts. The play is the work of a Pandit, not of a poet. The author of the Pradyumna Vijaya is named Sankara Dikshita, the son of Bala Krishna Dikshita, the son of Dhundhi Raja. The date of the composition is fixed at about the middle of the last century, having been written for performance at the coronation of Sabha Sinh, the Raja of Pannah, who was the son of Hridaya Sinh, and grandson of the celebrated Chatra Sal, Raja of Bundelkand. 2 n 2 404 APPENDIX. SRI DAMA CHERITRA. This is a play in five acts, the subject of which is taken from the tenth section of the Bhagavat, and is the elevation of Sridama, (or, as written more frequently, Sudama,) the early companion and fellow-student of Krishna, to sudden and unex- pected affluence, by the regal'd of that deity, and in requital of Sridama’s attachment. The story, which is not uninteresting in its original form, attracted the taste of Sir William Jones, and forms part of his Hymn to Lakshmi, the goddess of wealth and fortune. The opening of the piece is in the style of our ancient mora- lities ; and in the first act. Poverty and Folly are sent to assail Sridama, who is obnoxious to Lakshmi for his attachment to Saraswati, or, in other words, who prefers learning to house and lands ; for Fortune, it is said, will not even glance upon the pious and wise, but flies them in pi'oportion as they are devoted to philosophy and virtue. On the other hand, Krishna or Vishnu employs the same agents to recover those whom Fortune has corrupted. Folly entering into their hearts, prepares the way for Poverty, and when reduced to distress their minds are weaned from worldly affections, and they are fitted for heaven. These allegorical personages effect their purpose with Sridama, by demanding the rites of hospitality, and being accordingly admitted into his dwelling. In the second act Sridama is persuaded by his wife, Vasu- mati, who has seen a propitious dream, to repair to Krishna, to see if his opulent friend will restore his broken fortunes. He takes with him a handful of rice, dried and cleaned after boil- ing, as a present. The third act conducts Sridama to the palace of Krishna, APPENDIX. 105 where he is received with great respect by that divinity and his two principal wives, Rukmini and Satyabhama ; the former washes his feet, the latter wipes them, and Krishna sprinkles the remaining water upon his own head. After re-calling some of the occurrences of their juvenile days, when they were fellow-students, Krishna leads his friend into the garden, where they remain till towards sun-set; Krishna, Sridama, the Vidii- shaka, Galava, and the gardener, striving who shall utter the most tedious descriptions of the beauties of the place and the decline of the sun, when they are summoned to join the queens and their attendants. The greater portion of the next act is occupied with the representation of Krishna’s frolics amongst his women, and the buffoonery of the Vidushaka, partly in action, partly in descrip- tion, Sridama and Galava his disciple being spectators, and occasionally taking a part in the dialogue. After some time spent in this manner, Sridama takes his leave, and, although dismissed with great reverence, departs as poor as he came. He recollects this on his way back, and consoles himself with observing, that wealth intoxicates as well as wine, and that the affection of Krishna is a thing which no one can steal from him. His disciple is not so submissive, and reminds him that it was not to get mere civility that he was sent on this errand by his wife. When they approach their residence they find, instead of the miserable hovel of Sridama, a splendid and extensive town, and Sridama is in great affliction at the disappearance of his wife, when he is seen and solicited by a Kanchuki, or cham- berlain, who calls himself his servant, to enter a stately palace. Sridama thinking this is a jest upon his poverty, threatens to beat him if he does not depart, but the chamberlain perseveres, and tells him that whilst he was absent Krishna has converted his cottage into a town, named after him Sridamapur, and sup- plied it with every article of use or luxury. With much reluc- tance and unyielding incredulity Sridama is prevailed upon to enter the palace. 406 APrENUIX. The last Act brings Krishna to pay a visit to his friend. He arrives in his aerial chariot accompanied by Satyabhama and the Vidushaka, and his bounties are duly acknowledged by the object on whom they have been bestowed. There is too much description and too little action in this piece to constitute a good play, but there is some vivacity in the thoughts, and much melody in the style. It is a modern work, the composition of Sama Raja Dikshita, the son of Narahari Dikshita, and was written for the amusement of Ananda Raya, a petty Raja in Bundlecund. This family of the Dikshitas, a race of Mahratta Brahmans, has continued its dra- matic studies to the present day ; and to a descendant of the author of this drama, Lalla Dikshita, I am indebted for the manuscript of the Mrichchcifcati, and for very valuable assistance in the translation of that and several other pieces in this collec- tion. Lalla Dikshita is the only Brahman I ever met with who might be considered conversant with the dramatic literature of the Hindus. APPENDIX. 407 DHURTTA NARTTAKA. A farce in one act, or two Sandhis or portions, by Saraaraja Dikshita, the author of the preceding play, written for per- formance at a festival in honour of Vishnu. The chief object of this piece is the ridicule of the Saiva ascetics, one of whom, Mureswara, is represented in love with a dancing-girl. His two pupils, to whom he communicates his passion after swear- ing them to secresy by making them swallow some sea- water, endeavour to anticipate him, and being prevented by his vigi- lance, seek to expose him, by bringing him before Papa- chara, a king. The king, however, makes light of his of- fence, and at the intercession of others of the fraternity, who are of great credit in his kingdom, allows him to retain pos- session of the damsel. The satire is levelled at the assumption of the ascetic character by improper persons, and the king’s confidant proclaims Mureswara a Yavana, or Mohammedan. In a dialogue also with a brother saint the same idea is con- veyed. “ Mureswara ( pointing to Papa). Who is that ? Krishnananda. My well beloved disciple. Mur. His caste ? Krish. A weaver. Mur. What other followers have you? Krish. Many; but what need you enquire? Behold, Yavanas, Siidras, potters, weavers, plowmen, cowherds, venders of liquors, and harlots out of number, are accomplished in their course of pu- pillage by simply whispering into their ears.” The piece is, of course, of the same date as the preceding. The language is highly laboured, but there is little fancy or humour in the composition. It has, however, the recommen- dation of being exempt from gross indecency, the prevailing blemish of the class to which it belongs. 408 APPENDIX. DHURTTA SAMAGAMA. The only manuscript of this met with is incomplete at the beginning and end., and consequently the name of the author does not appear. It is somewhat indelicate, but not devoid of humour. Viswanagara, a Jangama or mendicant of a parti- cular class, quarrels with his disciples for the possession of Anangasena, a courtezan. They refer the case to Asujjati Misra, a Brahman, who lives by solving knotty points of law, and who decrees that until it can be decided to which the dam- sel belongs, she shall remain under the protection of himself as umpire HASYARNAVA. A Comic piece in two acts. It is a severe, but grossly indelicate satire upon the licentiousness of Brahmans assuming the character of religious mendicants. It satirizes also the encouragement given to vice by princes, the inefficacy of mi- nisters, and the ignorance of physicians and astrologers. The king, Anasayindhu, in his progress through his city, regrets to find every thing subverted ; that Chandalas, not Brahmans, make shoes ; that wives are chaste and husbands constant ; and that respect is paid to the respectable, not to the vile. He stops at the house of a courtezan, where the rest of the charac- ters assemble ; Viswabhancfa, in the garb of a Saiva mendicant : Kalahankura, his disciple, and who fights for the possession of a courtezan: Vyadhisinddu, the doctor, who cures the cholic by applying a heated needle to the palate, and perforates the APPENDIX. 409 pupil of the eye in order to restore vision. Sadhuhinsaka, the chief of police, who reports with great satisfaction that the city is completely in the hands of thieves : the commander-in- chief, Ranajambuka, who after J putting on his armour has valiantly cut a leech in two : and Mahayatrika, the astrologer, who, in answer to a question of the time to take a journey, indicates hours and positions which, according to Hindu belief, proclaim approaching death. The king leaves the party at the end of the first act : the second is occupied with the dispute between the ascetic and his pupil, which they refer to the decision of Mahanindaka, another Brahman, who asserts that he composed the Vedas and visited Swerga, where he treated Vrihespati and Brahma with contempt, and gave Siva a drubbing. These notices will convey some idea of the com- position. It is the work of a Pundit named Jagaddisa, and was represented at the vernal festival ; but where, or when, it is not known. The physician, amongst his authorities, names Bagbhatta, a medical writer, subsequent to those who may be considered the fathers of the science, and who is therefore per- haps comparatively modern. The class of Brahmans aimed at also is that of the Kaula, Kulina, orVamachari, or left-handed «- sect, the practices of which, as reduced to a system, are not likely to be of any antiquity. 410 KAUTUKA SERVASWA. This is also a Prahasana, or Farce in Two Acts, and is espe- cially a satire upon princes who addict themselves to idleness and sensuality, and fail to patronize the Brahmans. The hero is Kalivatsala, or the darling of the age of iniquity : he is sovereign of Dhermanasa, or the destruction of virtue, and he takes as his spiritual guide, Kukermapanchanana, the Siva of iniquity. Satyacharya, a pious Brahman returned from Vrindavan, who is treated by the king and his courtiers with great indignity, holds the following conversation with his brethren in jail. Satya. How now, holy Sirs, how fares it with ye? Brahmans. We once had lands in free gift. Satya. What then? Brahmans. Why, know you not the customs of this country? If the god of wealth owned lands here that yielded but a grain of corn, the king would send him in three days to beg alms, clad in tatters and with a platter in his hand. The characteristics of our sovereign are love of untruth, passion for other men's wives, fondness for the intoxicating juice of bhang, esteem for the wicked, addiction to vice, and detestation of virtue. Satya. You say right. What chance is there for the good. The king is unwise, his associates are wicked, his chief councillor is a knave, and his minister a scoundrel. Y et the people are many ; why is not such misconduct resented ? Brahmans. The manners of the people are equally depraved : they are valiant in oppression, skilful in falsehood, and persevering only in contempt for the pious. Satya. How are the scribes? Brahmans. They collect the revenues by any expedient, and vigilantly inflict penalties on the wise. The Brahmans are not allowed to keep even the dust upon their bodies ; the dust accumu- lated on their feet is claimed by the Kayeths. What can we say of this reign? The dumb alone can speak truth, the deaf hear the law, APPKNDIX. 411 the sons of the barren are well behaved, the blind behold the obser- vance of the Scriptures. Satya. Why do not men of merit quit the country? Brahmans. Our dwellings have been given to courtezans, our lands to drunkards, and we are detained in prison for what our an- cestors expended. Satya. I have heard enough. It is sinful to hold any communi- cation with the profane. Better fortune attend you. There is some bitterness in this, and there is also some humour in the piece, especially at the expense of the General, Samara J^mbuka, the jackall of war, who boasts that he can cleave a roll of butter with his falchion, and is said to tremble from top to toe at the approach of a mosquito. There is also some rather bold censure of the immoralities of the Purdnas. Dermdnala. What says the law? ‘ Thou shalt not commit adul- tery.’ Kukerma. The language of fools. So much of the law as the sages and gods themselves observed, be our guide, not such com- mands as they contemned, like this. Indra deceived the wife of Gautama; Chandra carried off the bride of his Guru; Yama enjoyed the spouse of Pandu in her husband’s shape; andMadhava debauched the wives of all the cowherds of Vrindavan. Those conceited fools, the Pandits, imagining themselves sages, alone have made this a sin. JDherm. But this is the precept of the Rishis. How answer you to that? Kukerma. They were impostors. Becoming too old to relish pleasure, they condemned it, and out of envy forbade to others what they could no longer enjoy themselves. All. Very true, very true ! We never heard such orthodox doc- trine before. In consequence of this and similar decisions, tire king orders vice to be proclaimed virtue by beat of drum, and the piece concludes with the perpetual banishment of all the Brahmans. There is more humour in this than any of the other Farces, and less indecency, although it is not wholly free from the ordinary fault of these attempts at wit. Hindu Comedy, how- ever, is not worse than the old Comedy of the Greeks in this 412 APPENDIX. respect ; and the indelicacy is attributable, in some degree, to the constitution of society in both instances, and the exclusion of women from public entertainments. The Kautuka Servaswa is the composition of a Pandit named Gopinath. The date is not known, but it is not likely to be ancient, as it was written for representation at the autumnal festival of the Durgd Pujd, a ceremony peculiar to the province of Bengal, and no doubt, as there practised, of comparatively modern institution. CHITRA YAJNA. A drama in five acts, the subject of which is the celebrated legend of Daksha. The First Act describes the assemblage of the gods and sages on the occasion of the sacrifice, and their reception by Daksha. The dialogue is curiously imperfect, being left to be supplied by the performer, partly after the fashion of the Coviedia a Soggetto of the Italian Theatre before Goldoni. Thus, at the end of the first act, the stage direction is : “ Daksha bow’s down to the feet of the gods, and puts the dust from under them upon his head, after which he propitiates them fully in the spoken dialect, and then proceeds to the place of sacrifice, reading or reciting the usual formulce, and followed by the Rishis.” And the second act opens with the stage direction ; “ Daksha enters, takes his seat, and orders the at- tendants to distribute rice to the Brahmans, for the purpose of invoking their benediction. They receive the rice, scatter it, and pronounce the Swasli vachana, or benedictory text.” The whole ceremonial of the oblation to fire is then repre- sented, contrary to the received rule, which prohibits the dra- matic exhibition of sacred rites. Even some of the mantras are given, as Swaha Agnaxji, oblation to Agni, or fire, &c. After APPENDIX. 413 these ceremonies, Dadhichi comes to the sacrifice, when a dis- pute ensues between him and Daksha, upon the impropriety of omitting to invite Siva ; and the dispute becoming rather warm, Daksha orders his guest to be turned out, which closes the second act. The third act contains little more than directions for the business. The gods partake Dadhichi’s indignation at the disrespectful mention of Siva, and rise to depart. Daksha orders his servants to guard the door and prevent their going forth : the gods, however, force their way. The Munis then also withdraw, on which Daksha goes out, exclaiming he will give double the usual presents to those who remain. Nareda follows him, announcing his purpose of going to Kailas with the news. The next scene represents Siva and Bhavani, to whom Nareda comes to tell them what has occurred. r ‘ He enters playing the vina, and singing hymns in honour of Mahadeva,” one of which of some length is given. Nareda’ s communication i>s very brief. Siva. Now, Nareda, whence come you ? Nar. Your godship is omniscient, you know all that has hap- pened, but have asked me through a wish to hear it from my lips. We were all invited to Daksha’s sacrifice. Dadhichi finding that you were not included, took Daksha to task pretty sharply, and walked off, upon which I came to pay you my respects. This having said, and prostrated himself on the ground, the Muni Nareda, with his lute hanging on his neck, again departed from Kailasa mountain. Passages of narrative being occasionally interspersed in this manner with the dialogue and stage direction. This ends the act. The author treats Siva and Bhavani as Mr. Puff does the confidante, and leaves them to get off the stage as they can ; or rather it is to be supposed that they remain on, as they begin the fourth act. The goddess asks leave to go and see her father. Siva replies, it is quite contrary to etiquette to go without an invitation. She replies, she need not stand on 414 APPENDIX. ceremony with her father ; when Siva addresses her rather uncivilly, but to the usual purport of Pauranic mysticism. u How ! would you impose upon me with falsehoods. Daksha is not your ^father, nor is his wife your mother. You are the father of all things, the mother of the universe. Those versed in the Vedas declare you male and female too.” The discussion on this subject occupies the rest of the act, and ends, like most matrimonial debates, in the lady’s being allowed to follow her own inclinations. In the fifth act Sati comes to her father, and vainly en- deavours to impress him with respect for her husband. She quits him to throw herself into the sacrificial fire, which of course is left to the language of description. Nareda then makes his appearance, and tells Daksha to prepare for the consequences of his folly. Virabhadra, Siva’s attendant, then enters and plays some antics, to represent the treatment this being is described to have inflicted on the assistants at the sacrifice. “ Shaking the earth with his tread, and filling space with his extended arms, he rolls his eyes in wrath. Some of the gods he casts on the ground and tramples on them ; he knocks out the teeth of some with his fists, plucks out the beards of some, and cuts off the ears, arms, and noses of others ■, some he smites double, and others he tosses into the sacrificial fire and ends by decapitating the cause of his master’s indignation, the helpless Daksha. This heterogeneous composition is the work of a Pandit of Nadiya, Vaidyanatha Vachespati, Bhattacharya, and was com- posed for the festival of Govinda, by desire of Iswara Chandra, the Raja of Nadiya, about twenty or thirty years ago. It is so far valuable, as conveying a notion of the sort of attempts at dramatic composition made by the present race of Hindus in Bengal. The Ydtrds or Jutrds which are occasionally re- presented in the Bengal language follow the plan of the Chitra Yajna, with still less pretension to a literary character. They are precisely the improvista commedia of the Italians, the APPENDIX. 415 business alone being sketched by the author, and the whole of the dialogue supplied by the actors. The dialogue is diversified by songs, which are written and learnt by heart. Some improvements, however, have been made of late years in the representation of the performance : the details of the story are more faithfully and minutely followed, and part of the dialogue is composed and taught by the author to the actors. THE END. LONDON: Printed by J. L. Cox and Son, 75, Great Queen Street, Lincoln’s-Inn Fields, PK4474 .A5W7 v.2 Select specimens of the theatre of the 1 1012 00027 7501