PK37' 
 M3T38 
 
 rnia 
 ,1
 
 
 THE LIBRARY 
 
 OF 
 
 THE UNIVERSITY 
 
 OF CALIFORNIA 
 
 RIVERSIDE 
 
 Ex tibris 
 [ C. K. OGDEN '
 
 THE 
 
 MALAVIKAGNIMITRA. 
 
 A SANSKRIT PLAY BY KALIDASA. 
 
 LITERALLY TRANSLATED INTO ENGLISH PROSE 
 
 C. H. TAWNEY, MA., 
 
 PROFBSSOK OF THE ENGLISH LANUUAGK, PKKSIDENCY COLLEGE, CALCUTTA, 
 
 CALCUTTA: 
 
 , SFIHSTIK: ^.irrD co., 
 
 ipubltsfjers to tfje Calcutta 
 1875.
 
 CAtCrTTA : 
 ?*I5TID BY TSLACKKS, SPI5I & CO.
 
 EEEATA. 
 
 Page iv of Preface, line 19, for " Buddha," read " Bauddha." 
 Last page of Preface, folio, for "x" read "xi." 
 Page 14, line 3 of notes, for " mick," read " mich." 
 
 15, line 3, for " quarreling," read " quarrelling." 
 
 42, line 8 of notes, for " irpofjLvyorpia" read " - 
 
 76, line 3 of notes, for "read snairghrinyam" read -'reads 
 nairghrinyam" 
 
 77, liae 1 of notes, after " the," dele " a."
 
 PREFACE. 
 
 THE following translation is intended for the use of persons 
 beginning the study of Sanskrit literature. The admirable 
 edition of this play by Shankar Pandit, M.A., forming 
 No. VI. of the Bombay Sanskrit Series, will hardly meet the 
 needs of the tiro. Professor Weber's German translation was 
 made from a faulty text ; and it is possible that many who 
 take up the study of Sanskrit may not be familiar with Ger- 
 man. There seems therefore to be an opening for an English 
 translation sufficiently literal to assist beginners in unravel- 
 ling the difficulties of the Sanskrit text. The number of 
 students who master the rudiments of Sanskrit is increasing 
 every day. A knowledge of the grammar of this language 
 is indispensable to the student of comparative Philology, and 
 whatever may be thought of the abstract merits of Sanskrit 
 literature, it must always have its value for Englishmen who 
 have chosen an Indian career, as throwing a flood of light 
 upon the social customs and modes of thought of the more 
 cultivated classes of modern Hindu society. 
 
 The Malavikagnimitra furnishes us with a vivid pic- 
 ture of a native court in the most flourishing period of 
 Indian history, probably about the third century after Christ. 
 An attempt was indeed made by the late Professor Wilson to 
 show that the play could not have been written before the 
 tenth or eleventh century, and was therefore not the work of 
 the great Kalidasa. His objections, which rest solely upon 
 internal evidence, 1 have been fully refuted by Weber, whose 
 
 1 There is not the same melody in the verse nor fancy in the thoughts. 
 Wilson's Hindoo Theatre, Vol. II., p- 346.
 
 IV PREFACE. 
 
 arguments are reproduced in Sliankar Pandit's edition, and 
 fortified with some additional proofs. So far from the inter- 
 nal evidence being against the traditional belief that the 
 play is the work of the great Kalidasa, a great many coin- 
 cidences of style and thought between this and the other works 
 attributed to him are pointed out by the above-mentioned 
 scholars. Indeed, Wilson in his account of the play supplies 
 us with some arguments in favour of its antiquity, though 
 he finally decides against it. I confess it seems to me diffi- 
 cult to understand how a critic who places Bhavabhuti in 
 the eighth century can have assigned so late a date to the 
 Malavikagnimitra. With reference to Bhavabhuti, Wilson 
 observes ' : " The date thus given to the compositions of 
 " Bhavabhuti is quite in accordance with their internal evi- 
 " dence. The manners are purely Hindoo, without any foreign 
 te admixture. The appearance of women of rank in public, 
 " and their exemption from any personal restraint in their 
 " own habitations, are very incompatible with the presence 
 " of Mahometan rulers. The licensed existence of Buddha 
 tl ascetics, their access to the great, and their employment 
 " as teachers of science, are other peculiarities characteristic 
 " of an early date, which the worship of Civa in his terrific 
 " forms, and the prevalence of the practices of the Yoga, 
 " are indications of a similar tendency." 
 
 Now, it is curious that in the Malavikagnimitra we find a 
 female Buddhist ascetic held in great honour, who speaks 
 Sanskrit, and not Prakrit (the ordinary dialect of women in 
 the Indian plays, even of queens), is apparently acquainted 
 with the theory and practice of medicine, 'and is usually ad- 
 dressed as " learned" or " reverend/' 
 
 It is indeed an objection to the historical truth of the play 
 that Pushpamitra was according to Buddhist accounts a zeal- 
 
 1 lliudoo Theatre, Vol. II., p. 4.
 
 PREFACE. 
 
 cms persecutor of Buddhists. But it does not follow that his 
 son Agnimitra was hostile to the Buddhists ; indeed, he may 
 have quarrelled with his father upon this very ground : (see 
 the expression vigatarosJiachetasa, p. 107, line 11, of the Bom- 
 bay edition), ' besides, it is not necessary to our position to sup- 
 pose that the author possessed accurate information with 
 respect to the history of the kings of the Cunga dynasty, which 
 flourished so long before the date assigned by modern scholars 
 to the great Kalidasa. 
 
 Civa is invoked in the Malavikagnimitra, though we have 
 no trace of the bloody worship of his consort Kali, of which 
 we read in the works of Bhavabhuti, and which is generally 
 believed to be of comparatively modern origin. As for the 
 diction of our play, it is free from the long and involved com- 
 pounds and "dark conceits" which puzzle the student of 
 Bhavabuti's works, and is throughout fresher and more na- 
 tural than the style of that poetl 
 
 Those who are not convinced by the arguments of Weber 
 and Shankar Pandit that the play was composed by the 
 author of the Cakuntala will, I think, admit on reading it, 
 that it furnishes us with a genuine description of Hindu 
 society before the Mahometan invasion. 
 
 For this reason it has an abiding historical value, though 
 no one would, of course, think of comparing it in this respect 
 with the Mrichchhakati, which reveals to us strata of Hindu 
 society, that were apparently beneath the notice of the 
 author of the courtly Malavikagnimitra. I now proceed to 
 extract from the second volume of Lassen's Indische Alter- 
 thumskunde an account of the Cunga dynasty of kings of 
 which Pushpamitra was the founder : 
 
 1 This is a conjecture of my own. Shnnkar Pandit supposes he may have 
 been angry because his son was sent to guard the horse.
 
 VI PREFACE. 
 
 " After the death of A$oka the vast dominions of the 
 " Mauvya 1 kings broke up into three kingdoms. The first was 
 " in Magadha, the kings of which have been already men- 
 " tioned. The second was that of Jaloka, which included a 
 " great part of North- Western India as well as Kacmira. He 
 " is no doubt identical with the Indian king, called by the 
 " Greeks Sophagasenos, who was a contemporary of Antio- 
 " elms the great, and renewed with him the treaty which his 
 " forefathers had m ade. ....... 
 
 " The third kingdom of the Mauryas probably embraced a 
 " part of the south-western provinces of the original kingdom, 
 " as its kings are mentioned as successors of Kunala, who 
 " was Viceroy in Takshacila and Gandhara. 
 
 " After the death of his father, Sampadi must have de- 
 " clared himself independent, and a struggle probably arose 
 " between the three brothers, in which Jaloka was victorious, 
 " and obtained the greater part of his father's kingdom. 
 "Suyacas secured the eastern, Sampadi the soulh-western 
 {( portion. He probably transferred the seat of his sove- 
 " reignty to Vidia, at any rate this city appears as the 
 " of the capital succeeding dynasty of Cunga kings. 
 
 " We possess some information about Pushpamitra the 
 " founder of this dynasty in a Buddhist work, and also in 
 " the drama Malavikagnimitra. The Purauas only inform us 
 " that he was the general of the last Maurya Brihadratha^ 
 " whom he deprived of his throne and his life. In the Bud- 
 " dhist work we are told that he was the last of the Mauryas, 
 " and that his predecessor was called Pushyadharman. The 
 " first statement is of course a mistake, the second may be 
 " supposed to be correct, as the name could scarcely have been 
 
 1 Said to be derived from Mura, the mother of Chandragupta, the first 
 Maurya king.
 
 PREFACE. VII 
 
 " invented. ' According to the drama the capital of his son 
 < { Agnimitra was Vidi^a, so we are perhaps justified in sup- 
 " posing that he was originally in the service of Pushyadhar- 
 tl man, and that after usurping his throne, he deprived the 
 '' king of Magadha of his sovereignty. The fact that in 
 " another account, which we shall proceed to lay before our 
 " readers, he is represented as reigning at Pataliputraneednot 
 " surprise us, as in this account he is supposed to belong to the 
 " Maurya dynasty. 
 
 " We are told in the drama that, intending to perform the 
 " horse-sacrifice, he let loose a horse, which, as it was wandering 
 (( along the right bank of the Indus, was carried off by a squa- 
 " dron of Yavana cavalry, but rescued by its guard under Va- 
 " sumitra. 
 
 " We cannot of course be certain whether this was the real 
 " cause of the quarrel or not, but so much is clear that Pushpa- 
 " mitra came into collision with the Greeks on the bank of the 
 " Indus. As he ascended the throne in 178 B. C. ,this struggle 
 " must have taken place in the reign of Eukratides. According 
 " to the account in the drama, it took place under the rule of his 
 " son Agnimitra, whose general he was, but this is contrary 
 (i both to Brahmanical and Buddhist accounts, and the truth 
 <l probably is, that during the latter years of his reign he 
 " associated his son with himself as partner in the era- 
 " pire. Much more important is another event of his life, 
 " of which we possess an account. From it, it is evident 
 " that he was stirred up by the Brahmans to persecute the 
 " Buddhists ; in other words, that a great change took place in 
 11 the views of the mightiest Indian prince of the time, and 
 
 1 The subjective character of the Hindu mind prevented Indian writers from 
 bequeathing to posterity trustworthy historical records. Accordingly Lassen 
 and other antiquaries who undertake to furnish us with a history of ancient 
 India are obliged, where the Greek accounts fail them, to make a liberal use of 
 conjecture.
 
 PREFACE. 
 
 " produced its natural results. The incident to which I allude 
 ' is narrated in the following way. Pushpamitra summoned a 
 " council of his ministers and asked them what was the best 
 " course for him to adopt in order to obtain undying glory. 
 " They reminded him of the example of his predecessor AQoka, 
 " who made the 84 thousand proclamations of the law, and 
 " whose fame would last as long as the law of Bhagavat 1 pre- 
 " vailed. The King answered that he preferred some other 
 " means of making himself famous, and applied to a Hindu 
 "purohita, who recommended him to suppress Buddhism by 
 " force. The King adopted the suggestion, and went with a 
 " force composed of all four arms 2 to Kuttukarama in the vici- 
 tf nity of Pataliputra, with the firm determination of destroying 
 <l the law of Bhagavat. Three times when on the very thres- 
 " hold of the vi/idra, 3 he was deterred by the roar of a lion 
 " from carrying out his intention, and returned to the city 
 " without effecting any thing. At last he summoned a meet- 
 " ing of the inmates of the monastery, and informed them that 
 " he intended to destroy the law of Buddha, and asked them 
 " which they would choose, the destruction of the vihdra, or 
 "that of the stiipa.* They preferred to leave the place ; the 
 " King then utterly destroyed the vihdra, and massacred all 
 " its inhabitants. He than moved on to Cakala, where he pro- 
 " claimed that whoever brought in the head of a Cramana 5 
 " should receive a hundred gold pieces. One of these offered 
 " his own head to the murderers, in order to save the law and 
 " the lives of the other Arhats. 6 When the King heard this, 
 
 1 This -word here is equivalent to Buddha. 
 
 2 Viz., cavalry, infantry, elephants, and archers. 
 
 3 Buddhist convent. 
 
 * A kind of tumulus erected over relics of the great Buddha (commonly 
 called Tope). 
 
 6 Buddhist ascetic. 
 
 6 The highest rank in the Buddhist hierarchy.
 
 PREFACE. IX 
 
 " he gave orders that every Arhat in that province should be 
 " put to death, but he subsequently met with so much opposi- 
 " tion that he no longer continued his persecutions in this quar- 
 " ter, but turned off to Koshtaka, and thence went towards the 
 "southern sea, near which he is said to have been imprisoned 
 " by a Yaksha in a mountain together with his whole army. 
 " On account of the massacre of the holy men he received the 
 " title of Munihata, slayer of hermits. 
 
 " This is the only account which we have of his attempt to 
 " put down Buddhism. It is at any rate clear from this story 
 " that the Buddhists were so powerful at this time that the 
 " Brahmans, not being able to overcome them by fair means, 
 " made use of their influence over a sovereign of their own 
 " religious persuasion to accomplish their object by violent 
 " measures. They must have welcomed his assistance all the 
 "more gladly, as according to the above account he was 
 ft evidently in possession of an extensive dominion. It stands 
 " to reason that the King- could only act in this arbitrary 
 " manner in his own dominions, we may therefore conclude 
 "thatCakala 1 and Koshtaka were comprised in them. The 
 " first appears to have been the furthest limit of his dominions 
 {< in this direction, because we are told that here he met with 
 " opposition. The only objection to the story is, that at this 
 " time Eukratides is said to have reigned as far as the Vipaga,* 
 " but this is removed by supposing that after the murder of 
 tl this king- Pushpamitra availed himself of the confusion to 
 " which it gave rise and made himself master of Cakala. 
 
 " It is evident that at the time of his greatest prosperity 
 " Pushpamitra ruled the greater part of the original Maurya 
 " kingdom. We get a hint from another source of the extent 
 
 1 Cakala is in the Punjab beyond the Vitasta or Jhelum, the Hydaspes of 
 the Greeks. The Greeks called the town Sagala ; Koshtaka is not mentioned 
 elsewhere. 
 
 2 t. e., the Beeas.
 
 X PREFACE. 
 
 " of his realm towards the south. In the drama the Narmada 
 " is mentioned as its southern limit, for Virasena the brother-in- 
 " law of Agnimitra is represented as in command of a border 
 " fortress on this river. In a war which he had with the king 
 " of Vidarbha the latter monarch was overcome, and compelled 
 " to surrender one half of his kingdom to Madhavasena, a 
 " friend of the conqueror's, and the Varada was fixed as the 
 " boundary of the territories of the two princes. It is however 
 " most probable that this territory was not conquered by the 
 " founder of the dynasty but by his son after his death. His 
 "dominions accordingly extended, if we include those of his 
 " vassal, to the table-land of the Deckan. His possession of 
 " so wide a territory explains why the Cunga kings are always 
 " spoken of as the successors of the Maurya dynasty. The 
 " founder of the dynasty reigned 36 years according to the 
 " most probable account. The Puranas agree in representing 
 "the dynasty as lasting for 112 years, and the lengths of the 
 " reigns of Pushpamitra's successors agree with one exception 
 "in both accounts. The discrepancy only amounts to two 
 "years, and as there is no antecedent improbability in the 
 " numbers, we have no reason for doubting their correctness. 
 " If we subtract the years of his successors' reigns, we have 
 " only 30 years left for the reign of the founder. The simplest 
 11 way of reconciling this discrepancy is to suppose that he first 
 " established his power in the seventh year, or perhaps was 
 " crowned in that year, so that the first six years have been 
 " omitted. TVe know nothing about his successors, except their 
 " names and the length of their reigns, which are as follows. 
 
 " Vasumitra reigned 8 or 10 years 1 
 
 " Sujyeshtha 7 years. 
 
 "Ardraka 2 
 
 "Pulindaka 3 
 
 1 The Yayu Purana gives 8, the Matsya Parana 10.
 
 PREFACE. X 
 
 " Gosbavasu reigned 3 years. 
 "Vajramitra 9 
 " Bhagavata 32 
 "Devabhuti 10 
 
 "These ten kings reigned from 178 B.C. to 66 B.C., and in 
 " every case tbe son ascended tbe throne of bis fatber. 
 
 " The next dynasty bears the name of Kanva, and was 
 " founded by Vasudeva, the Minister of the last Cunga king, 
 " who murdered bis dissolute master and ascended bis throne." 
 
 Such is tbe history of the Cunga dynasty, or rather all 
 that one of the most able of Indian archaeologists, familiar 
 with every nook and corner of Sanskrit literature, can present 
 to us as a substitute for history. No doubt the view of the 
 relations subsisting between Agnimitra and Pushpamitra 
 which we find in the play is unhistorical. But that does 
 not impair the value of the drama as a picture of Indian 
 manners at a time when Buddhism and Brahmanism were both 
 favoured religions, contending for dominion over the whole 
 of India. 
 
 It only remains for me to say that I have endeavoured to 
 give translations of all the most important various readings in 
 Taranatha's edition, and I must express myself highly indebted 
 to his commentary, which has guided me in the interpretation 
 of several passages upon which Shankar Pandit's notes throw 
 no light. 
 
 Calcutta, January 1875.
 
 MALAVIKAGNIMITRA. 
 
 MAY that lord who, though established in sole supre- 
 macy, and bestowing great blessings upon his votaries, 1 
 himself wears the garment of skin ; 2 who, though his body 
 is united with that of his beloved, 3 is at the head of ascetics 
 whose minds are averted from outward objects ; in whom 
 there is no arrogance, though he supports the whole world 
 with his eight forms, 4 may he, I say, remove our 5 state of 
 darkness in order that we may behold the perfect way. 6 
 Here ends the Ndndi. 1 
 
 1 Taranatha Tarkavachaspati reads pranatdbahuphale agreeing with 
 the word " supremacy," i.e., from which result great blessings to his 
 votaries, such as heaven, emancipation, &c. 
 
 a In Civa's case, the skin of a panther. Skin garments were charac- 
 teristic of ascetics. 
 
 3 Civa and Parvati are one individual, the left portion of whose body 
 is female, and the right male (Shankar Pandit). According to Pro- 
 fessor Weber, this fact is first mentioned by Bardesanes, who derived it 
 from the members of an Indian embassy to Heliogabalus. 
 
 4 The eight forms are earth, water, fire, wind, sky, sun, moon, and 
 paqupati, or lord of animals. The last is sometimes given as Yajamdna, 
 which appears to mean " a person who employs priests to perform a 
 sacrifice." Weber gives the last form as the Brahman caste. The 
 Rev. K. M. Banerjea observes, that originally it meant " a celebrant," 
 now " a spiritual client." Bengal Magazine for September 1874. 
 
 5 Taranatha reads vas for was, your state, &c. 
 
 6 The way of moksha, or liberation. 
 
 7 Taranatha observes that this Nandi is irregular. It ought to have 
 eight or twelve lines.
 
 ( 2 ) 
 Enter the Manager. 
 
 Manager (looking towards the curtain}. Actor, 1 come 
 here for a moment. 
 
 Enter Actor. 
 
 Actor. Sir, here I am. 
 
 Manager. I have received the following order from the 
 spectators : " You must act at this spring festival a play 
 named Malavikagnimitra, composed 2 by Kalidasa ;" there- 
 fore let the music be begun. 
 
 Actor. Not so, I pray. Why do the spectators pass 
 over the compositions of famous poets, like the honoured 
 bards Bha"sa, Saumilla, 3 and others, and do such great 
 honour to the work of Kalidasa, a modern poet ? 
 
 Manager. Ah ! your remark is wanting in critical 
 acumen. Every old poem is not good because it is old ; 
 nor is every new poem to be blamed because it is new ; 
 sound critics, after examination, choose one or the other, the 
 blockhead must have his judgment guided by reliance upon 
 his neighbours. 
 
 1 Called pdripdrgvika, or assistant. The manager (sutradhdra) 
 addresses him by the title of mdrisha. He uses bhdva as a term of 
 respect in addressing his master. 
 
 2 Literally, the whole business or plot of which was composed. 
 The "spring festival" of course corresponds to the modern Holi festival. 
 
 3 Pandit Taranatha Tarkavachaspati reads Dhavaka, Saumilla, 
 Kaviputra, and others. Dhavaka was, according to Mammata Bhatta, 
 the author of the Ratnavali and Nagananda ; but his avarice induced 
 him to forego the honour of their authorship in favour of Harsha Deva, 
 king of Kashmir, who lived at the beginning of the 12th century. 
 I prefer the reading of Shankar Pandit's edition, because if we adopt 
 the reading Dhavaka, and believe that he is the Dhavaka mentioned 
 in the Kavya Prakac,a, we cannot ascribe the play to the great Kalidasa. 
 But the question must eventually be settled by diplomatic criticism. 
 None of the Bombay manuscripts read Dhavaka.
 
 ( 3 ) 
 
 Actor. The honourable spectators are the best judges. 
 Manager. Then make haste. I long to perform the order 
 of the spectators which I received some time ago \vith 
 bowed head, even as this servant of the Queen Dharini, 1 
 skilful in attendance, longs to perform her order. 
 
 \_Exeunt Actors. 
 End of the Introductory dialogue.* 
 
 Enter a female servant. 
 
 Female servant. I am ordered by the Queen Dharini to 
 ask the teacher of dancing, the noble Ganadasa, what 
 degree of proficiency Malavika has attained in the dance 
 called Ghalita, in which she has for a long time been in- 
 structed. Therefore, let me enter the music-hall. ( With 
 these words she walks round.') 
 
 Enter another female servant, with an ornament in her hand. 
 
 First female servant (having seen the second). Hola ! 
 Kaumudika ! Why are you in such a brown .study that, 
 though you pass close to me, you do not cast a glance in 
 my direction ? 
 
 Second female servant. "Why, bless my soul, here is 
 Vakulavalika. My friend, I was contemplating this beauti- 
 ful ring of the Queen's with a snake-stone seal, which I 
 have just brought from the jeweller's, and so I came to merit 
 your reproof. 
 
 Vakulav aWcd (observing it). Your gaze was rivetted on 
 a thing worth looking at. By means of this ring, from 
 which a stream of rays breaks forth, the extremity of your 
 hand appears, as it were, adorned with flowers. 
 
 Kaumudika. Come now, where are you going? 
 
 1 Dharini is the covptSt'fj aXc^ce liable to be supplanted or supple- 
 mented at any time by an i^alperov ^wpr]fj.a. 
 
 a Skr. prastdoand, which Monier Williams explains by prologue. 
 The Sanskrit dramatists made much use of these Euripidean devices.
 
 ( 4 ) 
 
 Vakulavalika. I am going by the orders of the Queen 
 to ask the noble Ganadasa, the teacher of dancing, what 
 sort of pupil Malavikd has shewn herself. 
 
 Kaumudika. Friend, though kept out of the way by 
 such an employment, she has certainly been seen by the 
 king ; has she not ? 
 
 Vakulavalika. Yes, the girl was seen at the Queen's 
 side in a picture. 
 
 Kaumudika. How did that come about ? 
 
 Vakulavalika. Listen 1 The Queen had gone to the 
 hall of painting, and was looking at a picture of the draw- 
 ing-master's on which the hues of the colouring were still 
 fresh ; at that very moment in came the king. 
 
 Kaumudika. What happened then ? 
 
 Vakulavalika. Then, after the customary salutation, 
 the king sat down on the same seat with the queen, and 
 beholding Malavika in the midst of the queen's attendants 
 and very near to her, he asked the queen. 
 
 Kaumudika. What, I pray ? 
 
 Vakulavalika. " What is the name of this extraordi- 
 narily beautiful girl standing near you in the painting?" 
 
 Kaumudika. Admiration naturally follows forms of 
 surpassing loveliness. What happened then ? 
 
 Vakulavalika. Then the king finding that no attention 
 was paid to his question, and becoming suspicious, began 
 to importune the queen again and again. Then the prin- 
 cess Vasulakshmi said Sir, this is Malavika. 
 
 Kaumudika. That is child-nature all over. Tell me 
 what happened next. 
 
 Vakulavalika. What else than this ? Malavika is now 
 kept with especial care out of the range of the king's eyes. 
 
 Kaumudika. Come now, go and do your errand. I too 
 will give the ring to the queen. 
 
 [Exit Kaumudika.
 
 ( 5 ) 
 
 Vakulavaliha (walking round and looking about). Here is 
 the teacher of dancing, the noble Ganadasa, coming out 
 of the music-hall : let me shew myself. 
 
 Enter Ganadasa. 
 
 Ganadasa. Although every one of course thinks most 
 of his own hereditary lore, still the importance I attach to 
 dancing is not without foundation, how can it be ? Sages 
 say that this is a pleasing sacrificial feast to the eyes of 
 the gods, being developed in two different ways by Civa in 
 his body which is blended with that of Uma, 1 in it is seen 
 the behaviour of men arising from the three qualities, 2 
 and distinguished by various sentiments ; dancing is the 
 one chief amusement of human beings, though their tastes 
 are different. 
 
 Valtulavalika (advancing}. Reverend sir, I salute thee. 
 
 Ganadasa. My good girl, may you live long. 
 
 Vakulavalika. Noble sir, the queen wishes to know 
 whether your pupil Malavika is not very troublesome to 
 teach. 
 
 Ganadasa. Let the queen be informed that Malavika 
 is exceedingly clever and intelligent; whatever move- 
 ment expressive of sentiment is taught by me to her in 
 the way of acting, that the girl, as it were, teaches to me 
 in return by the admirable way in which she executes it. 
 
 Vakuldvalikd (to herself). I seem to see her cutting out 
 Iravati. (Aloud) Your pupil may be already considered a 
 success since her instructor is so well satisfied with her. 
 
 Ganadasa. My good girl, you know people like her 
 are hard to find, so I must ask you, whence such a choice 
 attendant was brought to the Queen. 
 
 1 Half of Diva's body dances as a lady, and half as a gentleman. 
 3 Goodness, passion, and darkness.
 
 ( 6 ) 
 
 Vakulavaliha. The Queen has a brother of inferior 
 caste, Virasena by name, he has been placed by the king 
 in command of a frontier fortress on the banks of the 
 Mumldkini. 1 He sent this girl as a present to his sister, 
 thinking her just the sort of person to learn accomplish- 
 ments. 
 
 Ganadasa (to himself). From 2 her distinguished ap- 
 pearance I conjecture that she is of high birth. (Aloud} 
 My wood girl, I am certainly destined to become famous, 
 for the skill of the teacher, when communicated to a worthy 
 object, attains greater excellence, as the water of a cloud, 
 when dropped into a sea-shell, acquires the nature of a 
 pearl. 3 
 
 Vakulavalika. Well, where is your pupil ? 
 
 Ganadasa. Having just now taught her the five- 
 limb movement 4 I told her to rest, and so she has gone to 
 the window that commands a view of the artificial lake, 
 and is enjoying the delightful breeze. 5 
 
 Vakulavalika. Then, sir, give me leave to depart, in 
 order that I may stimulate her zeal by informing her that 
 her teacher is satisfied with her. 
 
 1 The Mandakini here probably means the Narmada (Nerbudda). 
 One of the Bombay manuscripts reads the Prakrit equivalent of Nar- 
 mada. 
 
 8 Literally, relying upon. 
 
 3 Referring to the notion that drops of water fallen into sea-shells 
 under the influence of the star Arcturus become pearls (Shankar 
 Pandit). 
 
 * In which the mind, eye, eyebrow, feet, and hands are employed 
 equally (Taranatha). 
 
 5 Taranatha reads simply pravdtam, the breeze.
 
 ( 7 ) 
 
 Ganadasa. Go and see your friend. I, too, as I have got 
 an interval of leisure, will go home. 
 
 \_Exeunt Ganadasa and Vakvlavalilta. 
 Here ends the Vishkambhaka.* 
 
 Then the king is discovered with his retinue standing 
 apart, and attended by the minister seated behind him with 
 a letter in his hand. 
 
 King (looking at the Minister who has read the letter'). 
 Vahatava, what does the king of Vidarbha mean ? 2 
 
 Minister. To destroy himself. 
 
 King, I want to hear his dispatch at once. 
 
 Minister. He has on the present occasion sent the 
 following answer : " My royal brother has informed me, 
 that my cousin, Prince Madhavasena, who had promised to 
 enter into a matrimonial alliance with my royal brother, 
 while proceeding to his court, was on the way attacked by 
 one of my wardens of the marches and taken prisoner. 
 This man, with his wife and sister, I am required to set free 
 out of regard for my royal brother. Now my royal 
 brother knows well enough what is the custom of kings 
 with respect to sovereigns of equal birth ; 3 therefore, he 
 
 1 An interlude or introductory scene coming between the acts, and 
 performed by an inferior actor or actors who explain to the audience 
 the progress of the plot, and thus bind firmly together the story of the 
 drama, by concisely alluding to what has happened in the intervals of 
 the acts or is likely to happen at the end. (Monier Williams.) 
 * The reading pratipadyate means " What answer does he give ? " 
 3 Taranatha reads tatra for tanna "In making this request my 
 royal brother did not take into consideration." Weber, who appears to 
 have the same reading, supplies in a note, " and how hostile have 
 accordingly become the relations between me and my cousin." He 
 compares the word bhrdtrivya, which from meaning originally " brother's 
 son " comes to mean " enemy." Compare also Bhartrihari (Bombay
 
 ( 8 ) 
 
 should be impartial in this matter : as for the prince's 
 sister she disappeared in the confusion of the capture : I 
 will do my utmost to find her. Anyhow my royal brother 
 can certainly ensure Madhavasena's being set at liberty. 
 Mark the condition. If my royal brother will set my 
 brother-in-law free, the Maurya minister, 1 whom he has 
 imprisoned, then I will immediately release Madhavasena 
 from confinement." These are the contents of the letter. 
 
 King. What? does the foolish fellow presume to bar- 
 gain with me about an exchange of services ? Vahatava ! 
 the king of Vidarbha is my natural enemy, and sets him- 
 self in opposition to me : therefore give orders, as before 
 determined, to the avenging army under the command of 
 Virasena to root him up, inasmuch as he is numbered 
 among my foes. 2 
 
 Minister. As the king commands. 
 
 King. Or what do you think about it yourself? 
 
 Minister. Your Highness speaks in accordance with 
 the treatises on policy. For an enemy that has but lately 
 
 Classical Series) Niticjatakam st. 21, jndtiqched analena him f relations 
 are worse than fire, on which the commentator observes ddydddh 
 sahnjdrayah " kinsmen are natural enemies." Such, with but few 
 exceptions, has been the history of royal families in the East. " An 
 Amurath an Amurath succeeds, not Harry Harry." 
 
 1 Weber takes sachiva as a proper name. Taranatha reads drya- 
 sachicam the noble minister. Shankar Pandit does not appear to have 
 found the latter reading in any of his manuscripts. He observes " the 
 name of this brother-in-law of the king of Vidarbha is not known ; 
 as however he was the minister of the Maurya kings of Pataliputra, it 
 is probable that he was imprisoned by Agnimitra to prevent him from 
 rebelling against his (Agnimitra's) father, who had murdered the last of 
 the Mauryas Vrihadratha, and usurped his throne in his son's favour." 
 c. p. Lassen Indische Alterthumskuude, Vol. II., p. 361 et seq. 
 
 9 Literally, standing in the category of those that make themselves 
 liable to be attacked (Shankar Pandit).
 
 ( 9 ) 
 
 entered upon his kiugdom, because he lias not taken root 
 in the hearts of his subjects, is easy to extirpate, like a 
 tree that is unsteady, because it has been only lately 
 planted. 
 
 King. So may the saying of the wise compilers of 
 treatises prove true. For this purpose let the general be 
 ordered to put his troops in motion. 
 
 Minister. It shall be done. 
 
 [Exit Minister. 
 
 H 
 
 The retinue remain standing round the king in such an 
 arrangement as the nature of their respective duties requires. 
 
 Enter the Vidushaka. 1 
 
 Vidushaka. His Highness gave me the following com- 
 mission : " Gautama, devise some expedient by which I 
 may see face to face Malavika whose picture I beheld by 
 accident." Well I have done so, and will now inform him 
 of the fact. 
 
 (He walks round.} 
 
 King (seeing the Vidushaka). Here is another minister 
 come to me who superintends another department of my 
 affairs. 
 
 Vidushaka. May your highness prosper. 
 
 King (nodding his head). Sit down here. 
 
 The Vidushaka takes a seat. 
 
 King. Has the eye of your wisdom been employed in 
 devising a means of attaining our object ? 
 
 Vidushaka. Means indeed ! rather ask about the suc- 
 cessful accomplishment of my commission. 
 
 1 The jocose friend and companion of the king. He ia always a 
 Brahman. He is the Leporello of the Indian drama. 
 
 B
 
 King. .-What do you mean ? 
 
 Vidushaka (whispers in Ids ear}. This is what I mean. 
 
 King. Excellent, my friend ! A clever start ! We hope 
 for good luck in this enterprise, though success in it is 
 difficult to attain. For it is the man with allies that is 
 able to accomplish an undertaking surrounded with 
 obstacles, even one who has the use of his eyes cannot with- 
 out a light perceive an object in the darkness. 
 
 A voice behind the scenes. 1 A truce to excessive boasting. 
 In the presence of the j^ing himself shall be decided which 
 of us is superior and which inferior. 
 
 King. Friend, a blossom has budded on your tree of 
 policy. 
 
 Vidushaka. You shall see fruit also on it, I promise 
 you. 
 
 Then enter the Chamberlain. 
 
 Chamberlain. Your majesty, the minister begs to inform 
 you that your orders have been carried out. But here are 
 Haradatta and Ganadasa, the two professors of acting, each 
 eager for victory over the other, wishing to have an inter- 
 view with your majesty, like two dramatic passions incar- 
 nate in bodily form. 
 
 King. Introduce them. 
 
 Chamberlain. As the king commands (going oat and 
 returning with them}. 
 
 Haradatta (looking at the king*). Ye gods ! Awful is 
 the majesty of the king. For he is not unfamiliar to 
 me, and he is not stern of manner, nevertheless I approach 
 his side with trembling; though the same, he appears 
 every moment new to my eyes, even like the mighty 
 ocean. 2 
 
 1 Nepathye, in the tiring room, the postscenium. 
 
 2 Literally, water-receptacle.
 
 ( 11 ) 
 
 Ganaddsa. Great indeed is the splendour that resides 
 in this hero. 1 For though ray entrance has been permitted 
 by the guards appointed to wait at the door, and though 
 I am advancing towards the king with the attendant that 
 is always about his throne, by the effulgence of his 
 majesty, that repels my gaze, I am, as it were, without 
 words denied access after all. 
 
 Chamberlain. Here is the king, approach, gentlemen. 
 Both (advancing}. May the king be victorious. 
 King. "Welcome, gentlemen. (Looking round at the at- 
 tendants.') Seats for these gentlemen. 
 
 They sit down on chairs brought by the attendants. 
 King. What is the meaning of this, that you two 
 professors have come here at a time when you ought to 
 be teaching your pupils? 
 
 Ganaddsa. Listen, king ! I learned the art of dramatic 
 acting from a good teacher. 2 I have given lessons in the 
 art. 3 I have been favoured by the king and the queen. 
 King. I know it well. 
 
 Ganaddsa. -I, a man with such antecedents, have been 
 taunted by this Haradatta in the presence of the principal 
 men of the court in these words : " This man is not as 
 good as the dust on my feet." 4 
 
 1 PurusJiddhikdram idam jyotih = etat purushddhikdram jyolih = 
 eshah puruishah adhikdrah (adhikaranam, sthdnam) yasya tat. None of 
 the Bombay MSS. read purushdkdram, the reading of Taranatha's 
 edition, which means this splendour in the form of a man. It is of 
 course the easier reading, and so far less likely to be correct. 
 
 3 Tirthdt, the reading of Shankar Pandit, is practically equivalent to 
 Taranatha's sutirthdt. Weber takes sutirtha as a proper name. 
 
 3 Taranatha reads dattaprayogo 'smi devena. I had the professor- 
 ship of theatrical representation conferred upon me by the king. 
 
 4 One is irresistibly reminded of the two professors in Moliere'a 
 Bourgeois Geutilhoinine.
 
 ( 12 ) 
 
 Haradatta. King ! This man was first engaged in abuse 
 of me. He said, " in truth, there is the same difference 
 between your reverence and myself that there is between 
 the ocean and a puddle j" 1 therefore let your Highness 
 examine him and me in theoretical knowledge and in prac- 
 tical skill. Your Highness is able to discern the difference 
 between us and to decide our case. 
 
 Vidushaka. A fair proposal. 
 
 Ganaddsa. An excellent idea ! 2 The king should listen 
 to us with the utmost attention. 
 
 King. Stop a minute, 3 the queen may suspect partiality 
 in this matter ; therefore, the case had better be tried in the 
 presence of the queen accompanied by the learned Kaugiki. 
 
 Vidushaka. The king's suggestion is good. 
 
 The two Professors. As seems good to the king. 
 
 King. Maudgalya, summon the queen together with 
 the revered saint Kaugiki, taking care to inform them of 
 this occurrence. 
 
 Chamberlain. As the king commands (with these toords 
 he goes out, and returns with the queen accompanied by the 
 Parivrdjikd* or female Buddhist ascetic). 
 
 Chamberlain. This way, this way, Queen Dhdrini. 
 
 1 Weber takes this as an ironical speech of Ganadasa to Haradatta. 
 Shankar Pandit says, " this is said ironically of Ganadasa, who, we may 
 suppose, used the simile at first to disparage his rival. According to 
 Shankar Pandit, therefore, " He said " should be omitted. Can atrabha- 
 vatah refer to the king to whom atralhavdn in the next line undoubtedly 
 refers ? This seems to me the true interpretation . 
 
 a Literally, the best course to follow (Shankar Pandit). 
 
 3 Literally, let it stand a little while (Shankar Pandit). 
 
 4 A wandering female mendicant. She was a widow. The Hindoo 
 widow, says Shankar Pandit, is not genera^y a wandering mendicant, 
 so we may assume that she was a Buddhist, and this makes it likely that 
 the play is much older than Wilson supposes.
 
 ( 13 ) 
 
 Queen (looking at the Parivrajika}. Reverend madam, 
 what do you think of the quarrel between Ganadasa and 
 Haradatta ? 
 
 Parivrajika. Cease fearing that your protege will be 
 defeated, Ganadasa cannot be surpassed by any one. 
 
 Queen. Even if this be true, still the favour of the 
 king gives his rival the advantage. 
 
 Parivrajika. Ah! consider also that you have a right 
 to the title of queen. While the fire attains extreme bril- 
 liancy from the assistance of the sun, on the other hand the 
 moon also acquires greatness when favoured by the night. 
 
 Vidushaka. Look ! look ! Here is the queen arrived, 
 preceded by the match -maker, 1 the learned Kauc,iki. 
 
 King. I see her, who indeed, decked with the auspicious 
 ornaments, 2 aceompanied by Kau9iki in the dress of an 
 ascetic, shines like the three Vedas incarnate accompanied 
 by the knowledge of the Supreme Soul. 3 
 
 Parivrajika (advancing}. May the king be victorious ! 
 
 King. Reverend lady, I salute thee. 
 
 Parivrajika. Mayest thou be for a hundred years the 
 husband of Dharini and the earth, 4 the support of living 
 creatures ! 
 
 Queen. May my husband be victorious ! 
 
 1 Pitamardika, according to Shankar Pandit, means one who assists 
 the Nayika, or heroine, in her attempt to gain her lover. Weber 
 translates it BdnJteldruckerin. 
 
 2 Such as a wife would wear during the lifetime of her husband 
 (Shankar Pandit). 
 
 3 The Upanishads (Shankar Pandit). 
 
 4 A pun on the name of the queen. BMtadhdrini =1 the earth. 
 Kings are again and again spoken of in Skr. poetry as the husbands of the 
 earth. Compare Raghuvanqa, VIII, 51 (Bombay edition). " Surely I am 
 the husband of the earth only in name, but my heart-felt pleasure was 
 in thee."
 
 ( 14 ) 
 
 King.- Welcome to the queen ! (Looking towards the 
 Parivrdjikd). Reverend lady, take a seat. 
 
 They all sit down in due order. 
 
 King. Reverend lady, a dispute about superiority in 
 skill has arisen between Ganadasa and Haradatta, now 
 you must occupy the position of judge in this matter. 
 
 Parivrdjikd. Spare your taunts. When a town is acces- 
 sible, do men go to a village to get jewels tested? 
 
 King. Not so, not so. You are indeed "the learned 
 Kau9iki," whereas the queen and I are partial with respect 
 to these men, Haradatta and Ganada'sa. 
 
 The two professors. The king's remark is just. Reverend 
 lady, you are impartial, you ought to decide between us in 
 the question of excellence or deficiency. 
 
 King. Therefore let the case be opened. 
 
 Parivrdjikd, King, the art of dancing is a matter of 
 practice chiefly, what is the use of a verbal controversy ? 
 
 King. What does the queen think ? 
 
 Queen, If you ask me, the whole dispute between these 
 two professors is annoying to me. 
 
 Ganadasa. The queen ought not to allow me to be 
 beaten 1 by one who is only my equal. 
 
 Vidushaka. Queen, let us see the contest of the two 
 rams. 2 What is the use of giving them a salary for 
 
 nothing ? 
 
 1 If mantum is read, it means to be afraid lest I should be beaten by 
 my rival. The same will be the meaning of avagantum, which Tarka- 
 vagicja reads. Weber translates, O Herrin ! du solltest mick nicht so 
 weit eruiedrigen mir Jenen an Wissenschaft auch nur gleich zu 
 achten. (You ought not to insult me so grosslya s to consider that 
 man even equal to me in skill.) 
 
 2 Another reading is the Prakrit equivalent of udarambhari, glut- 
 ton.
 
 ( 15 ) 
 
 Queen. You do certainly take delight in squabbles. 
 Vidushaka. No, fair one/ But when two infuriated 
 elephants are quarreling, how can there be tranquillity 
 until one or the other is conquered? 
 
 King. Surely you have seen the skill of the two pro- 
 fessors exhibited by themselves in person. 2 
 
 Parivrdjikd. Of course, I have. 
 
 King. Then what more can they now bring forward by 
 way of proof? 
 
 Parivrajikd. That is the very point I wish to speak 
 about. One man can perform excellently in person, 
 another possesses to a remarkable degree the power of 
 communicating his skill ; he who possesses both excellences, 
 should be placed at the head of teachers. 
 
 Vidushaka. Gentlemen, you have heard the reverend 
 lady's speech ; this is the gist of it. The question must 
 be decided by examining into your skill in teaching. 
 
 Haradatta. It suits me admirably. 
 
 Ganadasa. King, it is so determined. 
 
 Queen. But when an unskilful pupil disgraces the in- 
 struction of a teacher, the teacher is sure to be blamed. 
 
 King. Queen ! It is fitting that it should be so. 
 
 Ganadasa. The reception of an unpromising pupil shows 
 a want of discernment in the teacher. 3 
 
 Queen. What is the meaning of this? (looking at 
 Ganaddsa, aside}. Cease from fulfilling the desire of this 
 
 1 Chandi means an angry woman, a vixen, but it is often used as a 
 term of endearment. 
 
 3 Taranatha reads svdngasausthavatiqayam, exceeding skill in their 
 own art. 
 
 3 Taranatha explains it the turning of an unpromising pnpil into a 
 skilful performer shows acuteness of intellect in the teacher. Taranatha 
 gives the speech to the king.
 
 ( 16 ) 
 
 husband of mine, which will only increase the ardour of 
 his passion. Desist from your useless attempt. 1 
 
 Vidushaka. Your highness speaks wisely. Ganaddsa ! 
 As you have begun to give instruction in music, and are 
 eating the sweetmeats 2 offered to Sarasvati, what do you 
 want with a contest in which you may easily be defeated ? 
 
 Ganaddsa. In truth, this is the meaning of the queen's 
 speech. But listen to a saying which is a propos on the 
 present occasion. The man who shrinks from a contest, 
 because he possesses an appointment, and patiently endures 
 disparagement from a rival, the man whose learning is 
 merely a means of obtaining a livelihood, him they call a 
 huckster that traffics in knowledge. 
 
 Queen. Your pupil was but lately handed over to you, 
 so it is unbecoming to exhibit knowledge that is not as 
 yet firmly implanted. 
 
 Ganaddsa. It is for that very reason that I am so im- 
 portunate. 3 
 
 Queen. Then exhibit both of you your skill in instruc- 
 tion to the reverend lady alone. 
 
 1 The most intelligible reading of this passage is that given in Shankar 
 Pandit's notes from G., which inserts the " aside to Ganadasa," at the 
 beginning of the speech, and " aloud " before " desist." Weber and 
 Taranatha take utsdha as " trouble," which is good enough if the speech 
 is supposed to be spoken aloud, as it is by them. 
 
 2 The modaka a dishful of which is offered to the goddess Saras- 
 vati, and really given to the teacher, is a round ball of a slightly conical 
 shape at the top, made of rice or wheat flour mixed with sugar, thin 
 slices of the kernel of the cocoanut, together with spices, and then 
 either boiled in steam or fried in clarified butter. (Shankar Pandit.) 
 
 3 " In order," as Shankar Pandit observes, " to show more creditably 
 my skill in teaching." Weber translates " I do not feel anxious about 
 that " (dafiir habe ich keine sorge).
 
 ( 17 ) 
 
 Parivrdjika. That is not fair; even an omniscient person, 
 when giving judgment alone, is apt to make a mistake. 
 
 Queen (aside}. You fool of a Parivrajika! Do you wish 
 to lull me to sleep when lam wideawake? (She turns 
 away in a pet.} 
 
 The king calls the attention of the Parivrdjika to the 
 queen. 
 
 Parivrdjika (looking}. Why dost thou, Oh moon-faced 
 one, turn away thy countenance from the king without 
 reason, for matrons, even when all-powerful with their hus- 
 bands, wait for some cause before they fall out with them ? 
 
 Vidushaka. Rather is it with good reason. She thinks 
 that slie must uphold the side she favours. (Turning towards 
 Ganaddsa.} I congratulate you on the fact that the queen 
 has saved you by pretending to be angry. All people, even 
 the well trained, become clever by instruction. 1 
 
 Ganaddsa. Listen, queen ! You hear what people think 
 of the matter. Accordingly, now that I wish to exhibit 
 in a contest my power of communicating skill in acting, 
 if you do not permit me, all I can say is, I am left in 
 the lurch by you. (He rises from his seat.} 
 
 Queen (to herself). What resource have I left ? (Aloud} 
 You have authority, sir, over your pupil. 
 
 Ganaddsa. I have been afraid for a long time without 
 reason. 2 (Looking at the king.} The queen has given her 
 
 1 And your pupil has not had enough instruction. But suqikshild 1 pi 
 seems out of place here. Tarana tha's reading makes better sense : 
 Upadeqa darqanena nishndlo bhuvati. " All men, even the well trained, 
 are severely tested by having to exhibit their teaching power." This 
 sneer of the Viddshaka's brings matters to a crisis, as Ganadasa imme- 
 diately displays what Shankar Pandit calls " the natural irascibility of 
 the Brahman character." 
 
 * Instead of apade qankito 'smi, Taranatha reads apadeqa qankilo 'smi, 
 1 have been afraid of a refusal.
 
 ( 18 ) 
 
 permission, therefore let the king give his orders as to 
 what piece of acting I shall exhibit my power of instruc- 
 tion in. 
 
 King. Act whatever the reverend lady commands. 
 
 Parivrajikd. The queen has something upon her mind. 
 I am therefore afraid. 
 
 Queen. Speak boldly, I shall still be mistress of my 
 own attendant. 
 
 King. Say that you will be mistress of me also. 1 
 
 Queen. Come, reverend lady, speak your mind. 
 
 Parivrajikd, King, people talk of a dance called ckalita, 
 made up of four movements f let us see the skill of both 
 the two professors exhibited 3 with reference to that one 
 performance, then we shall be able to estimate the differ- 
 ence of these two gentlemen with respect to teaching 
 power. 
 
 Both the Professors. As your reverence commands. 
 
 Vidushaka. Then go both of you into the play-house, 4 
 and having made ready the orchestral arrangements, send 
 a messenger to His Highness. Or better still, the mere 
 sound of the drum will rouse us up. 
 
 Haradatta. So be it I (He rises up.} 
 
 Ganaddsa looks at the queen. 
 
 1 A fine stroke of gallantry, says Sbankar Pandit ; I therefore suppose 
 that he takes mama to mean the king. Taranatha reads the Prakrit 
 equivalent of prabhavishyati prabhur, the king will have power. The 
 mama in the king's speech will therefore refer to the queen. 
 
 8 Here Taranatha inserts dushprayojyam, difficult to execute or to 
 teach. Before chalitam he has Qarmishlhdydh kritim, invented by Oar- 
 mishtha. 
 
 3 Of course in the persons of their pupils, the object being that the 
 king should see Malaviki. 
 
 4 Literally, spectacle-house. Taranatha reads varndpekshagrihe, in 
 the waiting-rooin of the actors.
 
 ( 19 ) 
 
 Queen. No, I am not hostile to your success, Ganaddsa 
 
 Poth the teachers go away. 
 
 Parivrajika. Come here a moment, you two professors. 
 
 Poth (turning round). Here we are. 
 
 Parivrajika. I speak in my capacity as judge. Let 
 the two pupils enter without their theatrical dresses, 1 in 
 order to display the elegance of movement of all their 
 limbs. 
 
 Both. It was not necessary to give us this advice. 
 
 \JExeunt the two professors. 
 
 Queen (looking at the king}. If my husband shows aa 
 much skill in devising expedients 2 in the other affairs of 
 his kingdom, the result will surely be splendid. 
 
 King. Cease to put an invidious construction on my 
 conduct. Indeed, this was not brought about by me, oh 
 sagacious one, it is ordinarily the case that people who 
 pursue the same science are jealous of one another's fame. 
 A drum is heard behind the scenes. All listen. 
 
 Parivrajika. Ah the orchestra lias begun. For that 
 note of the drum, which resembles the cry of a peacock, 
 delights the mind, deep resounding, beginning with the 
 high-pitched* middle tone, of the drum, I say, 
 
 1 Or, according to Bombay manuscript G., with thin dresses. 
 
 8 Four expedients are usually enumerated. Sowing dissension, nego- 
 tiation, bribery, and open attack (bheda, sandhi, ddna, vigrahd). " Other 
 affairs " is, of course, a sarcasm. But Taranatha omits itareshu. 
 
 * I have followed Shankar Pandit in his translation of upahita, 
 though he professes not to understand the expression thoroughly. 
 Taranatha reads upachiia, swelled by the answering cries of the 
 pea-fowl. 
 
 Weber observes, that the delight of pea-fowl in rain, and the thunder 
 that accompanies it, is a favourite commonplace of Indian poeta. 
 c. p. Uttara Rama Charita, p. 87 of Vidyasagara's edition.
 
 ( 20 ) 
 
 answered by the pea-fowl with necks erect., suspecting that 
 it is the thunder of a rain-cloud. 
 
 King. Queen I let us be punctual. 1 
 
 Queen (to herself). Oh the indecorous behaviour of my 
 husband. 
 
 All rise up. 
 
 Vidushaka (aside to the king}. Come, walk calmly and 
 slowly, lest the queen find you inconsistent with yourself. 2 
 
 King. Though I endeavour to be 3 calm, the sound of 
 the music of the drum makes me hasten, like the noise of 
 my own desire 4 descending the path of fulfilment. 
 
 [Exeunt omnes. 
 
 Here ends the First Act. 
 
 ACT II. 
 
 ( Then are seen, after the orchestral arrangements have been 
 completed, the king, with his friend, seated on a throne, 
 Dhdrini, and the retinue in order of rank.} 
 
 King. Reverend Madam ! which of the two professors 
 shall first exhibit to us the skill which he has infused into 
 his pupil ? 5 
 
 1 Taranatha reads sdmdjikdh, let us be spectators. 
 
 8 That is, find your indifference was merely assumed. It may mean 
 lest the queen cause you to be disappointed by Ganadasa. Taranatha 
 omits both md and tvdm, and explains visunvadayishyati by vipralapsyate, 
 anyatha mansyate, which I suppose means, will be deceived into suppos- 
 ing that you have acted in good faith, and are not engaged in a love- 
 intrigue. 
 
 3 Literally, rest upon composure. 
 
 4 Manoratha literally means " chariot of the mind." As Shankar 
 Pandit observes, " there lurks in the word a little pun." 
 
 * More literally, of which of the two professors shall we first behold, 
 &c.
 
 ( 21 ) 
 
 Parivrajika. Even supposing their attainments to be 
 equal, Ganadasa ought, surely, to be preferred on account 
 of his being the elder. 
 
 King. Well, Maudgalya, go and tell these gentlemen 
 this, and then go about your business. 1 
 
 Chamberlain. As the kino- commands. 
 
 O 
 
 Ganadasa. King, there is a composition of Ormistha, 
 consisting of four parts with a pause in the middle, 2 your 
 Highness ought to hear attentively one-fourth 3 of it per- 
 formed with appropriate gestures. 
 
 King. Professor I I am most respectfully attentive. 4 
 
 \Exit Ganadasa. 
 
 King (aside to Vidushaka). Friend, my eye, eager to 
 behold her who is behind the scenes, through impatience 
 seems to be endeavouring to draw up the curtain. 
 
 Vidushaka (aside). Ha J the honey of your eyes ia 
 approaching, but the fly 3 ia near, therefore look on with 
 caution. 
 
 1 Literally, execute the command given to thee. This means that 
 he is to deliver the message to the teachers, and is not to return again 
 to the king. (Sankar Pandit.) 
 
 9 If it were madhyalayd, it might mean in middle time, there being 
 three kinds of time, druta, madhya, and vilambita. Weber, mit dem 
 Takt in der Mitte. 
 
 3 Taranatha reads [chatushpada (vastukam) varnakam], the acting 
 consisting of four parts, or expressing four parts. It seems to me, 
 in that Taranatha's edition pada might mean " line." I have taken my 
 translation from Shankar Pandit. 
 
 4 In Taranatha's edition, we have an alternative reading tat praveqaya 
 pdtram, therefore introduce your pupil. 
 
 8 Another reading is dkshikam. Weber explains it as " eye-balsam," 
 but remarks it may mean " the prize in gaming." Boghtlingk and Roth, 
 and Monier Williams, know nothing of the meaning " eye-balsam," but 
 explain it as derived from aksha, and meaning a wager, a debt incurred 
 in gambling.
 
 ( 22 ) 
 
 Then Mdlavi/td enters, with the teacher of dancing 
 contemplating the elegance of her limbs. 
 
 Vidushaka (aside). Look, your highness. Her beauty 
 does not fall short of the picture. 
 
 King (aside). Friend, ray mind anticipated that her 
 beauty could not possibly come up to that represented in 
 the picture, but now I think that the painter, by whom she 
 was taken, studied his model but carelessly. 
 
 Ganaddsa. My dear child, dismiss your timidity, be 
 composed. 
 
 King. Oh, the perfection of her beauty in every pos- 
 ture ! For her face has long eyes and the splendour of 
 an autumn moon, and her two arms are gracefully curved 
 at the shoulders, her chest is compact, having firm and 
 swelling breasts, her sides are as it were planed off, 1 her 
 waist may be spanned by the hand, her hips slope elegant- 
 ly, her feet have crooked toes, her body is like the ideal 
 conceived in the mind of the teacher of daucino-.* 
 
 O 
 
 Mdlavikd having gone through the prelude sings the 
 composition consisting of four parts. 3 
 
 My beloved is hard to obtain, be thou without hope 
 with respect to him, oh my heart ! Ha I the outer corner of 
 my left eye throbs somewhat ; 4 how is this man, seen after 
 
 1 On account of their smoothness : I have borrowed the expression 
 from Shank&r Pandit. 
 
 8 Or perhaps qlishtam may be an epithet of vapuh in the sense of 
 symmetrical. 
 
 3 Or, lines ; I believe this shows that Shankar Pandit's reading above 
 " one-fourth of it " (chaturthavustukaprayogam) is not what Kalidasa 
 wrote. Where are the remaining three- fourths? Taranatha's reading 
 (whatever be its manuscript authority) gives a sense more consistent 
 with the sequel. 
 
 4 In the case of women this portends union with the beloved.
 
 ( 23 ) 
 
 a long time, to be obtained P 1 My lord, consider tbat I am 
 devoted to thee with ardent longing. (As she sings she 
 goes through a pantomime expressive of the sentiment.) 
 
 Vidushaha (aside}. Ha ! 1m ! this lady has made use 
 of the composition in four parts for the purpose of flinging 
 herself at your head. 
 
 King. My friend, this is the state of the hearts of both 
 of us. Certainly she, by singing " know that I am devoted 
 to thee," and accompanying the words with expressive 
 action pointing at her own body, seeing no other way of 
 telling her love owing to the neighbourhood of Dharini, 
 addressed herself to me under the pretence of courting a 
 beautiful youth. 
 
 Malaviha at the end of her song makes as if she would 
 leave the stage. 
 
 Vidushaha. Stop, lady! you have forgotten something 
 by neglecting the proper order ; I will ask about it if you 
 please. 
 
 Ganadasa. My dear child, stop a minute, you will have 
 your knowledge made more accurate. 
 Malavika turns round and stands still. 
 King (to himself). Ah ! her beauty gains fresh splen- 
 dour in every posture. For her standing attitude, in which 
 she is placing on her hip her left hand, the bracelet of 
 which clings motionless at the wrist, and making her 
 other haud hang down loosely like the branch of a 
 cyamd-tree* and casting down her eye on the inlaid pave- 
 ment on which she is pushing about a flower with her toe, 
 an attitude in which the upper part of her body is upright, 
 is more attractive even than her dancing. 
 
 1 Taranatha reads punar drashtavyo, to be seen again. 
 1 Or making like the branch of a yain-tree her other hand, from 
 which the pearls have fallen.
 
 ( 24 ) 
 
 Queen. I fear the noble Ganada"sa is taking to heart 
 the speech of Gautama. 
 
 ^ Ganaddsa. Queen, say not so. By the help of the 
 king 1 Gautama is enabled to become sharp-sighted ; observe, 
 even a stupid person becomes clever by association with 
 the wise, as turbid water is made clear by contact with the 
 mud-dispersing fruit. 2 (Looking at the VidHshaka.) We are 
 waiting for your lordship's decision. 
 
 Vidushaka. Ask the Parivrajika" who witnessed the 
 performance, afterwards I will mention the omission which 
 I observed. 
 
 Ganaddsa. Reverend lady be pleased to give your 
 opinion according to your own observation as to whether 
 the performance was a success or a failure. 
 
 Parivrdjikd. All was blameless, and in accordance with 
 the rules of art : for the meaning was completely expressed 
 by her limbs which were full of language, the movement 
 of her feet was in perfect time, she exactly represented the 
 sentiments ; the acting was gentle, based upon the different 
 forms of feeling ; 3 in the successive exhibition of their 
 various shades emotion trod on the heels of emotion ; it 
 was a vivid picture of a series of passions. 4 
 
 Ganaddsa. What does his majesty think ? 
 
 1 Literally, by reliance or dependance upon the king. 
 
 8 The fruit of the kataka tree. One of the seeds of this plant being 
 rubbed upon the inside of the water-jar used in Bengal occasions a 
 precipitation of the earthy particles diffused through the water and 
 removes them. 
 
 3 Taranatha explains of which the instrument of expression was 
 the branch-like hand. 
 
 4 Tarauatha takes bhdvam to mean the heart; for nudati reads 
 tudati, and understands anyasmdt after vishaydl, the emotion (bhdva), 
 that is to say, the chain of passions diverts the mind from other objects.
 
 ( 25 ) 
 
 . Ganadasa, I have become less confident about 
 the success of my protege. 
 
 Ganadasa. Then I am in truth a professor of dancing. 
 Wise men know that the teaching of a teacher is faultless, 
 when it does not become black in your 1 presence, even as 
 gold that is tested in the fire. 
 
 Queen. I must congratulate you, sir, on being so 
 fortunate as to give satisfaction to your judo-e. 
 
 Ganadasa. But the queen's favour is the cause of my 
 good fortune. (Looking towards the Vidushaka.} Gautama, 
 now say what you have in your mind. 
 
 Vidushaka.- The first time that skill is exhibited, a 
 complimentary gift must be previously offered to the 
 Brahman, but you forgot about that. 
 
 Parivrdjika.U-A ! hu ! an umpire thoroughly conversant 
 with acting. 
 
 They all laugh. Even Malavika cannot suppress a smile. 
 
 King ( to himself}. My eye has perceived in its full 
 splendour its appropriate object, since it has seen the smil- 
 ing face of the almoud-eyed one, with the brightness of ita 
 teeth 2 half displayed, like an opening lotus with the' 
 filaments of the flower partially visible. 
 
 Ganadasa. Great Brahman, this indeed is not a 
 rehearsal in the tiring-room, 3 otherwise how could we have 
 omitted to honour you who are worthy of honour ? 
 
 Taranatha reads vidvatsu, in the presence of the wise. 
 
 2 In an Asiatic of course, the teeth are more conspicuous than in a 
 European, and we have many references to their brightness, c.p. 
 Raghuvanqa, Sarga II, Stanza 46. 
 
 Aihdndhakdram girigahvardndm, 
 Danshtrdmayuhhaih qakaldni kurvan. 
 
 3 Taranatha reads prathamam nepathyasavanam, the first handselling 
 of the tiring-room or theatre. Savanam implies that the handselling 
 was regarded as a religious ceremony, and therefore dakshiniyam for 
 archaniydm is quite appropriate.
 
 ( 26 ) 
 
 Viduthaka.l indeed like ji timid cltdtaka 1 asked for a 
 drink of water when the heaven was rebellowing with 
 rainless clouds. 
 
 Parivrajilta. Exactly so. 
 
 Vidushaka. It follows that those people who expect to 
 derive any benefit from giving satisfaction to the learned 
 are a set of fools. 2 If the reverend lady has found the 
 performance meritorious, I will bestow this evidence of her 
 satisfaction upon Malavika. ( So speaking he draws off a 
 bracelet from the king's wrist.} 
 
 Queen. Stop ! why do you give away the ornament 
 before you have become acquainted with a different kind 
 of merit ? 3 
 
 Vidushaka. Because it belongs to some one else, of 
 course. 4 
 
 Queen (looking towards Ganaddsa, the teacher of dan- 
 cing}. Noble Ganadasa, in truth your pupil has exhibited 
 her proficiency. 
 
 Ganaddsa. My dear child, now leave the theatre. 
 
 \_yidlavikd departs with her teacher. 
 
 Vidushaka. Here ends my power to help your majesty. 
 
 King. Have done with this limiting of your power. 
 
 For, now I consider her disappearance behind the curtain 
 
 to be like the obscuration of the prosperity of my two 
 
 1 A bird that lives on rain-drops. Its peculiar habits are a subject of 
 frequent reference in Sanskrit poetry. 
 
 9 Taranatha takes it, those who (like me) are stupid, have to depend 
 upon the satisfaction of the learned, and take their opinions from 
 them. 
 
 3 i.e., that of Haradatta's pupil. The queen of course objects out 
 of jealousy. 
 
 4 If we have the reading parakeranti karia (parakarmeti kritvd), 
 it means " why, because 1 have to do another person's work." (Shankar 
 Pandit.)
 
 ( 27 ) 
 
 eyes, like the end of (.lie great feast of my heart, like the 
 closing of the door of joy. 
 
 Vidushaka. Bravo ! You are like a man sick of pover- 
 ty, 1 desiring a medicine administered by the physician. 
 
 Haradatta (entering}. Tm\ have the goodness now 
 to look at my exhibition. 
 
 King (to himself). My object in being a spectator is 
 now at an end. (Aloud, putting a severe strain upon his 
 politeness). Haradatta, we are indeed anxious to behold it. 
 Haradatta. I am highly favoured. 
 A bard chants behind the scenes. 
 
 Victory to the king ! The sun has climbed up to the 
 zenith, for the geese rest with closed eyes in the shade of 
 the leaves of the lotuses of the ornamental water ; the 
 pigeons shun on account of the extreme heat the sloping 
 roofs of the palace which they ordinarily frequent, 2 the 
 peacock desirous of drinking the particles of water conti- 
 nually flung out, 3 flies to the revolving water-wheel, the 
 sun blazes with all his rays at once, as thou with all thy 
 princely qualities. 
 
 Vidushaka. Oh ! Ho ! the time of bathing and eating 
 has arrived for your majesty. The physicians say that it 
 is bad for your highness to be kept waiting past the 
 appointed hour. 
 
 1 A medicine being no remedy for " consumption of the purse." 
 Taranatha explains the Prakrit daridddturo as daridrdturo (poor and 
 sick, I suppose), and remarks that physicians' medicines are apt to be 
 expensive. 
 
 2 Literally, on account of the extreme heat the palace has become 
 such that the pigeons hate to frequent the sloping roofs. 
 
 3 I have translated vindutkshepdn, which Shankar Pandit reads in his 
 notes. In the text he reads vindutkshepdt, which is also to be found in 
 Taranatha's edition, the thirsty peacock flies to the revolving water- 
 wheel, because it throws out drops.
 
 ( 28 ) 
 
 King. Haradatta ! what do you say ? 
 Haradatta. It is no time for me to speak. 
 King (looking towards Haradatta). Then we will see 
 your skill in teaching exhibited to-morrow. 
 Haradatta. As the king commands. 
 
 \_Exit Haradatta. 
 
 Queen. Let my husband perform the mid-day cere- 
 monies. 
 
 Vidushaha. Lady ! let the arrangements for eating and 
 drinking be hurried on with special vigour. 
 
 Parivrajika {rising up\ Health to your majesty! 
 
 \_Exitwith the Queen, who is accompanied by her attendants. 
 
 Vidushaka. Ha ! not only in beauty but in artistic 
 skill is Malavika unmatched. 
 
 King. The Creator, by furnishing her, who is so natur- 
 ally beautiful, with attractive accomplishments, prepared 
 an arrow of love steeped in poison. Why should I say 
 more ? You must think upon me. 
 
 Vidushaka. You ought also to take thought for my 
 comfort. Surely the inside of my stomach burns like a 
 cauldron in the market-place, 
 
 King. Of course. But exert yourself for the sake of 
 your friend. 
 
 Vidushaka. I have pledged my word. 1 But it depends 
 
 1 Shankar Pandit explains at great length the origin of this phrase. 
 In the formula, inviting Brahtnans to the ceremony of the Craddha, the 
 word ftshana is often used. Hence, the person who addresses in the 
 words of the formula (the Qrdddhakrit), is said to give the kshana, and 
 the person to whom it is addressed is said to take the kshana in the 
 language of ignorant priests. Taranatha reads grihitadakshino 'smi, 
 I have received the reward (usually given to Brahmans at the end of 
 
 a sacrifice). Weber takes it ironically instead of a reward, 
 
 fresh labour.
 
 ( 29 ) 
 
 upon the will of another, whether one can see the lady 
 Malavika". She is like the moon-light obscured by clouds. 
 As for your majesty, you amuse me by asking that your 
 wishes may be accomplished, having become quite dis- 
 tressed like a bird hovering round the shop of a butcher, 
 desirous of meat, but afraid to venture. 
 
 King. Friend, how can I help being distressed, since 
 my heart is averse to the society of all the beauties of my 
 harem, and that fair-eyed oue has become the only object 
 of my affection ? 
 
 [Exeunt omnes. 
 Here ends the Second Act. 
 
 ACT III. 
 
 Enter an attendant of the Parivrajika. 
 
 Attendant. I have received the following order from the 
 reverend lady : " Samadhimatika, get me a citron and bring 
 it here that I may present it as a token of respect to the 
 king." So I will go and look for Mudhukarika", the keeper 
 of the pleasure-garden. (Walking round and looking.) 
 
 Ah ! there she stands contemplating a golden Asoka-tree. 
 So I will go and salute her. 
 
 Enter the keeper of the garden. 
 
 Samadhimatika (going p to her). Madhukarika ! Is 
 your duty of looking after the shrubbery going on well? 
 
 Madhukarika. Why, here is Samadhimatika. Welcome 
 to you, my friend. 
 
 Samadhimatika. Listen ! The reverend lady commands - 
 'The lord of wealth 1 must not be approached by people 
 
 1 Taraiiatlia Las an alternative reading devi, the queen.
 
 ( 30 ) 
 
 like myself with empty hands, therefore I wish to honour 
 him with the gift of a citron." 
 
 Madhukarika. Surely, here is a citron near you. Tell 
 me, which of the two professors of music, who were quar- 
 relling with one another about their respective merits as 
 teachers, did the reverend lady approve of, after beholding 
 the performances of their pupils ? 
 
 Samadhimatika. Both of them are thoroughly acquaint- 
 ed with the science of dancing, and clever in execution. 
 But the teaching power of Ganadasa was ranked the higher 
 of the two on account of the admirable qualities of his pupil. 
 
 Madhukarika. Well, is there any gossip going about 
 Avith regard to Malavika ? 
 
 Samadhimatika. Certainly. The king is desperately in 
 love with her, but in order to spare the feelings of Queen 
 Dhariui, he makes no use of his power to behold the object 
 of his desire. Malavika, too, in these days is seen to be 
 i'ading like a jasmine-garland that has been worn and 
 thrown away. 1 More than that I do not know. Give me 
 leave to depart. 
 
 Madhukarika. Take the citron hanging on this branch. 
 
 Samadhimatika (pretending to take it). Ah ! may you 
 obtain, for your readiness to oblige my saintly mistress, a 
 far more glorious fruit than this. 
 
 Madhukarika (advancing). Friend ! we will go together. 
 I also will give the queen information about this golden 
 A^oka-tree, which is delaying to burst into blossom because 
 it waits to be touched by the foot of a beautiful woman. 2 
 
 Samadhimatika. Quite proper. Indeed, it is your duty. 
 
 \JExeunt. 
 Here ends the Interlude. 
 
 1 Taranatha has anubhutamurchcMieoa, that has suffered fading. 
 a This fancy is perpetually recurring in Sanskrit poetry.
 
 ( 31 ) 
 
 Enter the king in a love-sick state, and the Vidushaka. 
 King. My body may be thin as it has not the joy of 
 embracing the beloved; my eye may be filled with tears 
 because she is not seen by it even for a moment; but thou, 
 my heart, art not separated for a single instant from that 
 antelope-eyed one ; why then dost thou suffer agony, when 
 thy consolation is ever near thee ? 
 
 Vidushaka. Let your Highness cease giving way to 
 tears and abandoning all self-restraint ; I have seen Vaku- 
 lavalika, Malavikd'a dear friend, and I have given her that 
 message which your Highness entrusted to me. 1 
 King. What did she say then ? 
 
 Vidushaka. 11 Inform the king that I am favoured by 
 having that duty entrusted to me. But that unfortunate 
 girl being guarded by the queen more carefully than before, 
 like the jewel 2 guarded by a snake, is not easily to be got 
 at; nevertheless I will do my best." 
 
 King. Oh revered God of Love, child of fancy, having 
 directed my longing to objects unfortunately surrounded 
 with obstacles, thou dost smite me so sorely that I cannot 
 live much longer. (With an expression of astonishment.} 
 What proportion is there between this soul-torturing agony 
 and thy bow to all appearances so harmless ? That "sweet 
 and bitter in a breath," of which we hear so much, is surely 
 seen in thee, oh God of Desire ! 
 
 Vidushaka. I tell you of a truth that I have devised 
 an expedient for ensuring the end we wish to attain ; there- 
 fore, royal sir, regain your composure. 
 
 King. Well, where shall I manage to get through the 
 rest of the day with a mind averse to my usual occu- 
 pations ? 
 
 1 Literally, she has been caused to hear. 
 
 8 Alluding to the "precious jewel, which the snake, though 'ugly 
 and venomous,' wears in his head," says Shankar Pandit.
 
 ( 32 ) 
 
 Vidushaka. Surely, Iravati sent yon tliis very day some 
 red Kuravaka blossoms indicative of the first appearance 
 of spring, and on the ground of the recent advent of that 
 season made this request by the mouth of Nipunika, " I 
 wish to enjoy a ride in the swing in company with my 
 husband." Your Highness, too, promised to gratify her; 
 therefore, let us go to the pleasure-grounds. 
 
 King. This is impossible. 
 
 Vidushaka. How so? 
 
 King. My friend, women are by nature discerning. 
 Now that my heart is devoted to another, how will your 
 friend help perceiving it, even when I am caressing her? 
 Therefore, I see clearly that it is better to interrupt my 
 accustomed familiarity, for I know many excuses for break- 
 ing it off, than to go through the form of shewing regard 
 to sharp-sighted women, even if with more empressement 
 than before, supposing it be void of passion. 1 
 
 Vidushaka. You ought not suddenly to throw behind 
 your back your invariable courtesy to the ladies of your 
 harem. 
 
 King (reflecting}. Then shew me the way to the plea- 
 sure-grounds. 
 
 Vidushaka. This way, this way, your Highness. 
 
 Both walk round. 
 
 Vidushaka. The spring by means of these finger-like 
 shoots, agitated by the wind, a3 it were, beckons on your 
 Highness to enter this pleasure-ground. 
 
 King (having perceived that something is touching him}. 
 Surely the Spring is noble in his sympathy. Observe, my 
 friend, he, as it were, compassionately asking by the notes 
 
 1 Purvdbhyadhikah is explained by Taranatha to mean purcam abhya- 
 dhika, i.e., before excessive, but now void of passion.
 
 ( 33 ) 
 
 of love-intoxicated cuckoos, agreeable to the ear, how I 
 manage to bear the torture of my passion, has made the 
 southern wind fragrant with mango-blossoms to play upon 
 my body, like the palm of a hand frequently stroking me. 
 
 Vidushaka. Enter, that you may obtain tranquillity 
 of mind. 
 
 Both enter the garden. 
 
 Vidushaka. Oh ! my friend, look carefully around you. 
 Surely the presiding goddess of the pleasure-grove, desir- 
 ing to allure you, has donned a robe of spring flowers that 
 puts to shame the adornment of a young lady. 
 
 King. Indeed, I behold it with astonishment. The red 
 dye of the uimba-like lip is surpassed in excellence 1 by the 
 splendour of the red Ago/to, ; the .KWawzAa-flower, dark- 
 blue, white, and red, transcends the painting on the forehead ; 
 the ornament of the spot between the eye-brows is surpassed 
 by the ft7a&a-blossoins having bees clinging to them like 
 collyrium ; the goddess of Vernal Beauty seems to laugh to 
 scorn the art of adorning the face 2 as practised by women. 
 Both of them admire the beauty of the garden. 
 
 Enter Malavika in a state of agitation. 
 
 Malavika. I am ashamed of myself for being in love with 
 the king, whose heart I do not know. How can I tell the 
 circumstance to my dear friend? I do not know for how 
 long a time love will bring me into this irremediably 
 
 1 Taking aviqeshitaguna as the reading. It may mean, if we adopt 
 viqesTiitaguna, the bimba-lip of the vernal beauty is heightened in 
 quality (has its hue deepened) by that of the red-flowered A9oka 
 (Shankar Pandit). Taranatha takes it, the red dye of the bimba-like lip 
 is equalled in excellence by the red Agoka-creeper. 
 
 * Taranatba reads sukhaprasddhunavidhau, the art of adornment 
 without eSort. 
 

 
 ( 34 ) 
 
 severe suffering. (Having advanced some steps.) Where 
 am I going now ? (After reflecting.} Ah ! I received this 
 order from the queen : " Having had a fall from a swing, 
 " owing to the carelessness of Gautama, I cannot move 
 " my feet, therefore do thou perform the ceremony of 
 " fertilizing the golden A9oka-tree ; if in five nights from 
 " this time it displays flowers, I will (she stops speaking 
 " and heaves a sigh) bestow on thee a boon which will 
 " gratify thy desires." Well I have come first to the place 
 where I am to perform this duty. While I am waiting till 
 Vakul&valikd, comes after me with the pigment for the feet, 
 I will for a moment weep undisturbed. (She walks round.) 
 
 Vidushaka. Ha! ha! here is treacle offered you, now 
 that you are confused with drinking rum. 1 
 
 King.A\\ ! What is that ? 
 
 Vidushaka. There stands Malavika at no great distance, 
 somewhat insufficiently adorned, with the complexion of 
 one afflicted ; and alone. 
 
 King (delighted). What I Malavika? 
 
 Vidushaka. Certainly. 
 
 King. Now my life may find support. Hearing from 
 you that my beloved is near, my distracted heart once more 
 revives, like the heart of a traveller longing for water 
 when he learns from the cry of the sdrasa that a tree- 
 bordered river is near. Well ! Where is the lady ? 
 
 1 The Vidushaka seems to mean that the king, who is already mad- 
 dened by his passion for Malavika, will be still more so when he sees 
 her alone, just as a man that is already intoxicated by drink, and helpless 
 under its influence, is rendered still more helpless by eating; or drinking 
 anything that is sweet (Shankar Pandit). Taranatha, on the other 
 hand, is of opinion that the inspissated juice of sugar-cane is good for 
 people in that state.
 
 ( 35 ) 
 
 Vidushaka. Here she is coming in this very direction, 
 having emerged from the midst of a row of trees. 
 
 King. My friend I behold her. Broad in her bimba-YikQ 
 hips, thin in the waist, swelling in the bosom, she my 
 life is coming hither. My friend, the lady is in a different 
 state from what she was in before; for she, with her cheeks 
 pale like the stalk of a reed, 1 and but few ornaments, 
 appears like the jasmine-creeper having its leaves developed 
 by the spring, and with only a few flowers. 
 
 Vidushaka. She, too, like your Highness, must be 
 slightly affected with love-sickness. 
 
 King. It is only friendship that sees that. 
 
 Mdlavikd. This Asoka, that is waiting to be touched by 
 the foot of a beautiful woman, and has not assumed its 
 robe of flowers, imitates me in my state of longing expec- 
 tation, therefore let me sit down on this slab of rock cool 
 with the shade of the tree, and refresh myself. 
 
 Vidushaka. Did your Highness hear? The lady said 
 " I am in a state of lonoiuor " 
 
 O O 
 
 King. Even this much does not make me think you a 
 man of unerring insight. For the wind from the Malaya 
 mountain, laden with the pollen of the kuravaka flowers, 
 accompanied with drops of water issuing from the opening 
 folds of the buds, produces longing in the mind even with- 
 out definite cause. 
 
 Mdlavikd sits down. 
 
 King. My friend, come this way, let us hide behind the 
 creeper. 
 
 Vidushaka. I think I see Iravati in the distance. 
 King. But when he sees a cluster of lotuses, the ele- 
 phant does not care for the alligator. (He stands gazing.) 
 
 1 Saccharum Sara (Monier Williams).
 
 ( 36 ) 
 
 Mdlavikd. Cease, my heart, from entertaining a wish 
 which is sure to be futile. Why dost thou torture me ? 
 
 The Vidushaka looks at the king. 
 
 King.My beloved, observe the perverseness 1 of love. 
 Thou dost not reveal any cause of thy pining, nor is con- 
 jecture invariably to be relied upon, 2 nevertheless, beauti- 
 ful one, I consider myself the theme of all these lamenta- 
 tions. 
 
 Vidushaka. Now your Highness may be free from 
 anxiety, for here comes Vakulavalika" alone, she to whom 
 I gave the message of love. 
 
 J^ing, I wonder whether she will remember my petition. 
 
 Vidushaka. What ! do you suppose that that daughter 
 
 of a female slave will forget such a weighty message from 
 
 your Highness? Why, even I at the present moment have 
 
 not forgotten it. 
 
 Enter Vakuldvalikd, with the pigment for the feet in her 
 
 hand. 
 
 Vakuldvalikd. Is my friend happy ? 
 
 Mdlavikd Ah ! here is Vakuldvalika come. Welcome 
 my friend, sit down. 
 
 Vakuldvalika. Ha ! On the present occasion you are 
 charged with the appropriate duty of making the A$oka- 
 tree bloom, therefore give me one of your feet, that I may 
 paint it with lac, and put the anklet on it. 
 
 Mdlavikd (to herself). Heart ! cease rejoicing, because 
 this office has devolved upon me. How can I now free 
 myself from this misery ? Never mind ! This painting will 
 certainly be my funeral adornment. 
 
 Taranaiha reads mdhattvam, the greatness, the mighty power. 
 Literally, love only to acquaint me with what is true.
 
 ( 37 ) 
 
 Vakuldvalikd. Why do you hesitate? Indeed, the queen 
 is anxious that that golden Aoka-tree should put forth 
 flowers. 
 
 King. What ! is all this preparation for the sake of 
 fulfilling the longing of the A9oka ? 
 
 Vidushaka. Why, do you not know that the queen 
 would not, -without reason, cause her to be adorned with the 
 ornaments of the harem ? 
 
 Mdlavikd (holds out her foot). Come, do not hurt me 
 this time. 
 
 Vakuldvalikd. Why, you are as dear to me as my own 
 body. (She pretends to begin the painting of Mdlavikd's 
 foot.) 
 
 King. Friend ! observe the moist streak of colour 
 placed upon the extremity of my darling's foot, like the 
 first peeping forth of the bud of the tree of love consumed 
 by Civa. 1 
 
 Vidushaka. Truly, the duty imposed upon the lady is 
 well suited to such a foot. 
 
 King. Sir, you have spoken the exact truth. The girl 
 deserves to smite two things with this point of her foot, of 
 the hue of a young bud, on which the gleam of the nails 
 flashes white, both the Aoka that has not yet flowered aa 
 longing for the ceremony of the dohada, and her lover 
 standing with bowed 2 head, having recently committed an 
 offence. 
 
 Vidushaka. You will have an opportunity of offending 
 the lady. 
 
 1 Afanobhava, the mind-born, i.e., Kama, god of love, was consumed 
 by the fire of piva's eye, and therefore called Ananga. Weber suggests 
 that the myth was invented to explain the name. 
 
 * Pranihita, which Shankar Pandit reads, and pranamita, the reading 
 of Taranatha's edition, are pretty nearly identical in meaning. The 
 literal meaning of the former is, " laid down in front of (his mistress)."
 
 ( 38 ) 
 
 King. I accept the omen, the word of a Brahman must 
 come true. 
 
 Enter Iravati in a state of intoxication, and her attendant. 1 
 
 Iravati. Nipunika, my girl, I have often heard that 
 intoxication is an especial ornament to women. Do you 
 think that this popular saying is true? 
 
 Nipunika. It was formerly a mere popular saying ; now 
 it has become true. 
 
 Iravati. Cease your flattering speeches. How did you 
 discover, on the present occasion, that the king had gone 
 on before me to the house in which the swing is? 
 
 Nipunika. I inferred it from his unfailing affection for 
 you, his queen. 
 
 Iravati. No more of that adulation, speak as if you 
 were an indifferent person. 
 
 Nipunika. The noble Gautama told me, being desirous 
 of a spring-gift. Let your Highness come quickly. 
 
 Iravati (walking round as well as her state will permit). 
 Oh ! my heart urges me on to behold my husband, though 
 I am overpowered with intoxication, but my feet will not 
 advance on the path. 2 
 
 i Weber, who probably reads yuktamadd, translates it, im liebesrausch ; 
 but remarks that a comparison with Kumara Sambhava, III, 38, IV, 12, 
 renders it probable that real intoxication with flower-wine is meant. 
 In this first passage, the Kinnara's wife's eyes are represented as " rollin" 
 a little by reason of flower-wine ; " and in the second " the intoxica- 
 tion of wine" is said to make the " red eyes of ladies roll" and " the 
 voice to trip at every word." It seems to me that unmattaveshd must 
 bear the meaning I have assigned to it, on account of some of the 
 expressions that follow. Babu Eajendra Lai Mitra has shewn that the 
 " pleasures of the bottle " were not altogether unknown to the ancient 
 Hindoos. 
 
 9 Op. Schiller's Piccolomini Act IV Sc. 5 : 
 
 Das Haupt ist frisch, der Magen ist gesund, 
 Die Beine aber wollen nicht mehr tragen.
 
 ( 39 ) 
 
 Nipunika. Now, indeed, we have arrived at the summer- 
 house where the swing is. 
 
 Irdvati. But, Nipunika", I do not see my husband in it. 
 
 Nipunika. You must look carefully. The king must be 
 hidden in some thicket or other, meaning to play your 
 Highness a trick. Let us for our part repair to this slab 
 of rock under the A$oka tree which is overgrown by the 
 Priyangu creeper. 
 
 Irdvati does so. 
 
 Nipunika (walking round and looking"). Observe, your 
 Highness ! While seeking for the sprout of the mango, we 
 are bitten by red ants. 
 
 Irdvati. What does that mean ? 
 
 Nipunika. Here is Vakulavalika" adorning the foot of 
 Malavika in the shade of the A<joka tree. 
 
 Irdvati (exhibiting signs of fear). This is not a proper 
 place for Malavika. What conjecture do you form ? 
 
 Nipunika. I conjecture that the queen whose feet have 
 been injured by a fall 1 from a swing has appointed Mala- 
 vika to perform the ceremony of the dohada for the Aoka 
 tree, otherwise how could she have permitted her attendant 
 to wear this pair of anklets which she herself uses ? 
 
 Irdvati. It is certainly a great honour to her. 
 
 Nipunika, Why do you not search for your husband ? 
 
 Irdvati. Girl, my feet refuse to go forward. My mind 
 is distracted : 2 I will, in the mean time, arrive at certainty 
 with respect to my suspicions. 3 (Observing Malavika, to her- 
 self] Not without reason is my mind despondent. 4 
 
 1 Literally, whose feet had a fall. Tarkavagi<ja inserts saruja between 
 paribliraskta and charanayd, whose feet are painful owing to a fall. 
 
 2 Tarauatha reads " mado mum vikdrayati" intoxication quite upsets 
 me. 
 
 * i.e., ascertain whether the king is in love with Malavika or not. 
 4 A tribute to the beauty of Malavika (Shankar Pandit).
 
 ( 40 ) 
 
 Vakuldvalikd {calling attention to Mdlavikftsfoof). Are 
 you pleased with the way in which the lines of colour are 
 arranged on your foot ? 
 
 Mdlavikd. As it is on my own foot, I am ashamed to 
 praise your handiwork. Tell me who instructed you in 
 this artistic accomplishment. 1 
 
 Vakul valikd. In this I am a pupil of the king. 
 
 Vidushaka. Hasten now to get the teacher's complimen- 
 tary present. 
 
 Mdlavikd. I am glad to see that you are not conceited. 
 
 Vakulavalikd. Having obtained feet worthy of display- 
 ing my skill upon, I shall become conceited now. (Looking 
 at the colour, to herself} I have accomplished my commis- 
 sion. (Aloud) My friend, I have finished painting one of 
 your feet. It is only necessary to breathe on it. 2 Besides, 
 this place is windy. 
 
 King. My friend, observe, observe. Now there has 
 arrived an admirable opportunity for me to do her a service 
 by fanning with the breath of my mouth her foot, the dye 
 on which is wet. 
 
 Vidushaka. Why do you regret that you cannot avail 
 yourself of it ? 3 You will soon be able to enjoy this privi- 
 lege for a long time. 
 
 Vakuldvalikd. Your foot shews like a red lotus. May 
 you certainly repose upon the bosom of the king. 
 
 Irdvati looks Nipunikd in the face. 
 
 King. I say Amen to this prayer. 
 
 Mdlavikd. Ah ! you are saying what you have no busi- 
 ness to say. 
 
 1 (jilpa or vdhyakald : sixty-four such are enumerated. 
 9 Literally, to apply the wind of the mouth. 
 
 3 I follow Shankar Pandit, who thinks that the king cannot speak to 
 Malavika as not having been " introduced."
 
 ( 41 ) 
 
 Vakuldvalika. I said exactly what it is my business to 
 say. 1 
 
 Mdlavikd. Surely you love me, do you not? 
 
 Vakuldvalika. I am not the only person who loves you. 
 
 Mdlari/td. Who else then loves me ? 
 
 Vakuldvalika. Why, the king of course, who always 
 has an eye for good qualities. 
 
 Mdlavikd. You are saying what is false. That fortune 2 
 is not mine. 
 
 Vakuldcalikd. Is it really not yours? It is seen in the 
 emaciated and slightly pale limbs of the king. 
 
 Nipunikd. The wench gives her answer as if she had 
 got it sill up 3 beforehand. 
 
 Vakuldvalika. Regulate your conduct according to the 
 maxim of the good, that love must be tested 4 by love. 
 
 Mdlavikd. What are you chattering there at your own 
 sweet will ? 
 
 Vakuldvalika. No indeed, these are but the wocds of 
 the king, full of affection, transmitted through me. 
 
 Mdlavikd. Ah! thinking of the queen, I shall not be 
 able to do as I would with my heart. 3 
 
 Vakuldvalika. Foolish girl ! Do you suppose a mango- 
 shoot is not to be plucked to ornament the ear, containing 
 as it does in itself the whole essence of the manifestation 
 of spring, just because it has bees clinging to it? 
 
 1 i.e., as having been commissioned by the king. 
 9 " These good qualities are not in me " seems to be Taranatha's 
 explanation. 
 
 3 Bhanitam and ganitam, the reading of Taranatha's edition, both 
 mean " repeated " or " learnt by rote " according to Shankar Pandit. 
 
 4 For parihshitavyah, Weber would read pratiltshitavyah, love must 
 be welcomed with love, Liebe ist mil Liebe aufzunehmen. 
 
 *, Taranatha reads na me hridayam viqousiti, My heart does not 
 feel confident. 
 
 F
 
 ( 42 ) 
 
 Mdlavihd. Well, do you help me to the utmost, wicked 
 woman. 1 
 
 Vakuldvulikd. I am a garland of Vakula flowers which 
 becomes more fragrant by rubbing. 2 
 
 King. Bravo ! Vakula valika, Bravo ! By means of the 
 conversation which was artfully commenced as soon as 
 she knew the state of Malavikd's mind, and in which she 
 gave the proper answer on her friend's reproaching her, 
 she has got Malavikd, into her power ;' it is quite right 
 that the lives of lovers have been made dependant upon 
 female go-betweens. 4 
 
 Irdvati. Observe, iny girl. VakulaValika has induced 
 Malavika to take the step. 5 
 
 Nipunika. Queen ! Suggestion produces desire even in 
 one free from passion. 
 
 Irdvati. Not without reason indeed was my heart 
 apprehensive. Now that I have got at the facts, I will pro- 
 ceed to think about the matter. 
 
 Vakulavaliha. Here is your second foot with its deco- 
 ration completed. Now I will put the anklets on both. 
 (She pretends to put on the anklets') Come now rise up. 
 
 1 Durjdta is an abusive term of endearment. 
 
 9 She means that her serviceableness will become known by degrees, 
 as Malavika comes more and more in contact with her. She is punning 
 on her own name, which means a garland of Vakula flowers. (Shankar 
 Pandit.) 
 
 8 Or she has induced Malavika to consent to the purport of her 
 (Vakulavalika's) commission. 
 
 4 Duti corresponds apparently to the Greek Trpopvy'orpia. Vakulava- 
 lika certainly was 
 
 ein Weib wie auserlesen 
 
 Zum Kuppler-und Zigeunerwesen. 
 
 * i.e., to enter upon tbe enterprise of trying to become the King's 
 bride.
 
 ( 43 ) 
 
 Perform the duty imposed on you by the queen of causing 
 the Agoka to blossom. 
 
 Irdvati. You heard the words " imposed by the queen." 
 Well, let it pass for the present. 
 
 Vakuldvalika. Here stands in front of you, flushed, 1 
 ready for enjoyment, r-. 
 
 Mdlavika (delighted}. What? the king? 
 
 Vakuldvalikd (smiling}. No ! not the king, but this 
 cluster of buds hanging on a bough of the Aoka, make 
 an ear-ornament of it. 
 
 Vidushaka. Did your Highness hear ? 
 
 King. So much as this is enough for lovers. I do not 
 approve of the union, even if successfully brought about, 
 of two lovers, one of whom is ardent, and the other in- 
 different; it is better that an equally enamoured pair 
 should even pine away hopeless of mutual happiness. 
 
 Malavika, having made an ear-ornament of Aqoka-buds, in 
 a playful manner puts forth her foot to strike the tree. 
 
 King. Observe, my friend. Having taken from the 
 Agoka-tree a shoot for her ear she presents to it her foot ; 
 since the two have exchanged similar 8 gifts, I consider 
 myself defrauded of my rights. 
 
 Vakuldvalika. Well, you are not in fault ; this Agoka 
 must be devoid of good qualities, if it should be slow in 
 putting forth flowers, now that it has been blessed by such 
 a foot. 
 
 King.-~ Oh Agoka I if after having been honoured by 
 the slender-waisted one with this foot of hers, soft as a 
 young lotus, loud-tinkling with noisy anklets, you are 
 
 1 Rdga has a double meaning; as referring to the king, it means 
 " passiou ;" when applied to the tree, it denotes the red colour of the 
 buds. 
 
 a Both Malavika's foot and the shoot of the Aqoka being red.
 
 ( 44 ) 
 
 not immediately endowed \vith flowers, in vain do you 
 nurse a desire shared by sportive 1 lovers. 
 
 Friend, I wish to present myself, taking a favourable 
 opportunity of joining in the conversation. 
 
 Vidushaka. Come along ! I will make fun of her. 
 
 Both Enter. 
 
 Nipunilcd. Queen ! here is the king appearing on the 
 scene. 
 
 Iravati. This is exactly what my heart anticipated at 
 the outset. 
 
 Vidushaka (advancing}. My lady, it is not proper con- 
 duct on your part to strike with your left foot an A9oka- 
 tree belonging to my dear friend. 
 
 Both (in a state of trepidation} Ah ! here is the king. 
 
 Vidushaka. Vakuldvalika ! Why did not you, as you 
 knew the state of the case, restrain the lady from commit- 
 ting 2 such an impropriety ? 
 
 Mdlavikd shoiosfear. 
 
 Nipunikd. Queen, see what the noble Gautama has 
 undertaken. 
 
 Iravati. How else could a low Brahman like him make 
 a livelihood ? 
 
 Vakuldvalikd. Sir ! this lady is executing an order of 
 the queen's. In this transgression she is only the instru- 
 ment of another. Let the king be appeased. (She makes 
 Mdlavikd prostrate herself, and falls prostrate at the same 
 time.) 
 
 1 Or it may mean, as Sbankar Pandit says, " a desire common with 
 persons fond of the graceful actions of young women, viz., the desire to 
 be kicked by them." 
 
 1 Or literally when attempting to commit.
 
 ( 45 ) 
 
 King. If this is the case, you are not guilty. My good 
 girl, rise up (he takes her by the hand and raises her up). 
 
 Vidushaka. Quite right. In this matter you ought to 
 show respect for the queen. 
 
 King. Oh I charming one, do you not now feel pain in 
 your left foot soft as the filament of a lotus, which you 
 placed on the hard trunk of the tree ? What say you 
 beautiful girl (P) 1 
 
 Malavika looks ashamed. 
 
 Iravati (spitefully). Ah I my husband has a heart as 
 soft as fresh butter. 
 
 Malavika. Come Vakulavalika", let us inform the queen 
 that we have performed her command. 
 
 Vakulavaliha. Then ask the king to give you leave to 
 depart. 
 
 King. My good girl, you may go. But hear first my 
 supplication, which has now an opportunity of making itself 
 known. 
 
 Vakulavaliha. Listen attentively ! Let the king be 
 pleased to speak. 
 
 King. This person for a long time has not been able to 
 put forth such a blossom of happiness ; 2 with the nectar 
 of your touch satisfy also the longing of this man devoted 
 to you alone. 
 
 Iravati (suddenly approaching). Satisfy it, satisfy it ; 
 no doubt .the A$oka shows flowers, but this tree does not 
 only display flowers, it bears fruit also. 
 
 All are confused on beholding Iravati. 
 
 King (aside). My friend, what resource is there now ? 
 
 Vidushaka. What other than taking to our heels ? 
 
 1 Vdmoru, literally = pulchra femora habens. 
 
 9 As he will put forth after having been (like the tree) kicked by 
 Malavika.
 
 ( 46 ) 
 
 Iravati. Vakuldvalika I you have begun well. Mdla- 
 vikd, ! grant the request of my husband. 
 
 Both the girls. Let the queen have compassion on us. 
 Who are we that we should attract the affection of the 
 king? 
 
 \_Exeunt VakuldvaliJcd and Mdlavikd. 
 
 Iravati. Oh the faithlessness of men ! I indeed relying 
 upon your deceitful speech unsuspicious like the deer 
 that is attracted by the whistle of the hunter did not anti- 
 cipate this. 
 
 Vidushalca (aside*). Make some defence. Being a bur- 
 glar caught in the act you ought to say that you came 
 here to put down house-breaking. 1 
 
 King. Beautiful one ! I had no object with Malavika. 
 Because you delayed, I amused myself as well as I could. 
 
 Iravati. You are to be depended on, are you not ? I 
 did not know that my husband had obtained such an 
 agreeable means of passing the time. Otherwise I should 
 never have presumed to annoy you by this intrusion. 
 
 Vidushaka. Do not repel by your speeches the courtesy 
 of the king. If mere conversation with the attendants of 
 our royal mistress when met by chance is to be considered 
 a crime why, of course, you know best, and we must 
 acquiesce. 
 
 Iravati. Well, conversation let it be called. How long 
 am I to torture myself about nothing ? (She goes off in a 
 
 1 Sandhichchhedagikshaka " one that punishes or wants to punish a 
 crime of house-breaking (Shankar Pandit). Tarantha reads udakdntamule 
 vipathike vimaihitena kumbhilena sandhichchhedah qikshitavyuh, i.e., a 
 thief overtaken near water where there is no passenger must practise 
 digging holes such as house-breakers make. Perhaps he means that the 
 king ought to allege as an excuse that he was keeping his hand in by 
 flirting with Malavik until Iravati came.
 
 ( 47 ) 
 
 passion, and though her feet are entangled by her girdle, 
 keeps progressing as well as she cow.) 
 
 King. Beautiful one, neglect of your devoted admirer 
 is not becoming. 
 
 IravatL Traitor, your heart is not to be relied on. 
 
 King. With the word " traitor," oh dear one, let your 
 scorn of me, who am so familiar with you, come to an end ; 
 you do not dismiss your anger even though entreated by 
 your girdle lying prostrate at your feet. 1 
 
 Irdvati. Even this cursed girdle sides with you. (She 
 takes up the girdle and endeavours to strike the king with it.) 
 
 King. This lady in a passion, raining tears, prepares 
 to strike me, terrible criminal that I am, with the cord of 
 her golden girdle fallen unexpectedly from her bimba-\\ke 
 hips, as a row of thunder-clouds to strike the Viudhya 
 mountain with a streak of lightning. 
 
 Irdvati. What? Do you offend against me again? 2 
 (raising her hand with the girdle in it). 
 
 King. Why do you withdraw the scourge lifted against 
 me the malefactor, oh curly-haired one ! You increase your 
 fascinations, and still you are angry with your slave here. 
 (To himself) surely, now I am forgiven (falls at her 
 feet). 
 
 Irdvati. These indeed are not the feet of Malavika, 
 that will gratify your longing for a caress. 3 ( She departs 
 with her attendant.) 
 
 Vidushaka. Come ! rise up, rise up, you have found 
 favour.* 
 
 1 Shankar Pandit observes that the pun here is obvious. The girdle 
 is compared to a suppliant. 
 
 3 Amdhiritdm. Taranatha's reading means do you insult me again? 
 
 * A playful kick such as was given to the Agoka. 
 
 * Tarauatha reads Ahritaprasdddsi you have not found favour.
 
 ( 48 ) 
 
 King (rising up and not seeing Iravati}. What? is the 
 dear one really gone ? 
 
 VidushaJta. I am glad to say she has gone without 
 forgiving this impropriety. Therefore let us flee rapidly 
 before she returns like Mars retrogressing to his mansion 
 in the zodiac. 1 
 
 King. Oh the inconsistency of love ! Now that my 
 mind is taken captive by my beloved, I consider Iravati's 
 rejection of my humble supplication a veritable service ; 
 for, as she is angry, I may neglect her, though she is eo 
 
 attached to me. 2 
 
 \_Both walk round and exeunt. 
 
 Here ends the Third Act. 
 
 ACT IV. 
 
 Enter the King in a state of anxiety and a female door- 
 
 . keeper. 
 
 King. ( To himself) May the tree of love which took 
 root by my interest in Malavika when her name reached 
 my ear, which, when she came within range of my eyes, 
 put forth the shoot of passion, which at the touch of her 
 hand may be said to have blossomed as my hair 3 stood 
 erect from delight may that tree, I say, cause me, the 
 weary one, 4 to taste the flavour of its fruit. (Aloud.} 
 Friend Gautama ! 
 
 1 In which case he exercises a malignant influence. 
 Mars retrograde is called Puella by Chaucer. 
 
 * Here Taranatha inserts " therefore come along, let us go and ap- 
 pease the angry queen." The " queen" of course is Dharini. 
 
 3 This means the small hairs of the skin (as Weber remarks) which, 
 with the inhabitants of India, stand erect from delight as well as from 
 fear. 
 
 * Taranatha reads kdnium, lover.
 
 ( 49 ) 
 
 Female door-keeper. Victory to your highness ! Gau- 
 tama is not in attendance. 
 
 King. Of course. I remember I sent him to find out 
 what has become of Malavikd,. 
 
 Vidushaka (entering). Victory to the king ! 
 
 King. Jayasend ! Find out where the queen Dhdrini 
 is, or how she is being solaced in the present painful state 
 of her foot. 
 
 Door-keeper. As the king commands. 
 
 [Exit Door-keeper. 
 
 King. Friend, what is the state of the lady, your friend ? 
 
 Vidushaka. Pretty much that of a cuckoo in the claws 
 of the cat. 
 
 King (despondently). What do you mean ? 
 
 Vidushaka. Indeed the wretched girl has been thrown 
 into the subterranean storehouse as if into the mouth of 
 death, by order of that fiery-eyed one. l 
 
 King. No doubt, because she heard of her meeting 
 with me. 
 
 Vidushaka. Of course* 
 
 King. Gautama! who was such an enemy of mine as 
 to make the queen angry ? 
 
 Vidushaka. Listen, Sir ! The Parivrajika tells me, as a 
 fact, that yesterday the lady Iravati went to ask after the 
 health of the queen, whose foot is disabled with pain. 
 Thereupon she was asked by the queen " Why have I 
 not seen my beloved lately ? " She answered " little is 
 the regard he pays to you, do you not know that he is the 
 beloved of your maid ? " 2 
 
 1 The enraged queen is compared to a cat with reddish-brown eyes. 
 
 a I have followed Shankar Pandit in this translation. Taranatha reads 
 the Prakrit equivalent of him dtmanoi 1 pyannlankrito hridayajano 
 vallabha itif tatastayottdmycmtyd mantritam kuto vopachdrah yafparijanc 
 
 G
 
 ( 50 ) 
 
 King. Alas ! this prelude makes the queen suspect 
 Malavika without further explanation. 
 
 Vidushaka. Then she being pressed informed the queen 
 with regard to your misdemeanour. 
 
 King. Ah I The unforgiving character of the lady ! Tell 
 me what happened next. 
 
 Vidtishaka. What happened next ! Why Malavika and 
 Vakulavalika, with fetters on them, are enjoying a resi- 
 dence in the infernal regions where a ray of the sun is 
 never seen, like two snake-maidens. 1 
 
 King. Alas ! The sweet-voiced cuckoo and the bee, the 
 companions of the unfolded mango-bud, have been driven 
 into the trunk by unseasonable rain, accompanied by a 
 strong east-wind. Friend, can there be an opening here 
 for any stratagem. 
 
 Vidushaka. How can there be ? For Madhavika, who 
 presides over the store-house, received this order from 
 the queen, " you are not to let out that baggage of a Mala- 
 vika, until you see the seal of my ring." 2 
 
 King (sighing}. Friend ! What remedy can we adopt in 
 this matter ? 
 
 Vidushaka (reflecting^. There is an expedient even 
 here. 
 
 King. Of what kind ? 
 
 sankrdntam vallabhatvamjndsyatiti. This seems to mean, " is a beloved 
 person unadorned dear even to herself (then why are you not properly 
 adorned) ? Then she being distressed said Why should such a 
 person adorn herself when she must learn that the afiection which ought 
 to be hers has been diverted on to a slave ? " 
 
 1 The maidens of the Naga race are, according to Shankar Pandit, 
 distinguished for their beauty. 
 
 8 It is clear that the head-queen exercised in some departments 
 an amount of authority that would have delighted the soul of 
 Mr. J. S. Mill.
 
 ( 51 ) 
 
 Vidushaka (looking meaningly at the king}. Some one 
 may be listening to our conversation unseen. So I will 
 whisper it in your ear (embracing him, and whispering in 
 his ear). This is what I intend. 
 
 King. Happily conceived ! let it be put in execution, 
 and may it be successful. 
 
 Female door-keeper (entering}. King ! The queen is 
 reclining upon a couch exposed to a free current of air, 
 having her foot tended by her maids with their hands full 
 of red sandal-wood, and being herself amused with stories 
 by the Parivrajika. 
 
 King. This is an appropriate occasion for me to visit her. 
 
 Vidushaka. Then go, Sir. In the meanwhile I will 
 provide myself with some present that I may not approach 
 the queen empty handed. 
 
 King. Before you go, inform Jayasena of our plan. 
 
 Vidushaka (whispers in her ear}. This it is, my good 
 lady. , 
 
 King. Jayasena ! Show me the way to the couch where 
 the queen is reclining in the open air. 
 
 Then are discovered the queen reclining upon a couch, 
 and the Parivrajika with the attendants in order of prece- 
 dence. 
 
 Queen. Revered madam ! That was a capital story. 
 What happened next ? 
 
 Parivrajika (with a meaning look). I will tell you more 
 presently. His majesty the king has arrived. 
 
 Queen. Ah ! my husband ! ( She endeavours to stand up.) 
 
 King. Stop I Stop ! Do not distress yourself to show 
 respect to me. You ought not, oh soft-voiced one, to give 
 pain to your foot unused to the absence of anklets, which is 
 resting on the golden footstool, and to me at the same 
 time. 
 
 Parivrajika. Victory to the king !
 
 ( 52 ) 
 
 Queen. Victory to my husband. 
 
 King (inclining reverently to the Parivrdjikd and sitting 
 down). Queen ! Is the pain now endurable ? 
 
 Queen. Thank you, there is some improvement. 
 
 Enter the Vidushaka in a state of alarm, with his finger 
 tied up with his sacrificial cord. 
 
 Vidushaka. Alas ! Alas ! I have been bitten by a snake. 
 
 All of them are horrified. 
 
 J&'w^.-r-Alas ! Where have you been wandering ? 
 
 Vidushaka. I went to the pleasure-grove to gather the 
 customary 1 bouquet, because I was about to visit the 
 queen save me ! save me ! 
 
 Queen. Alas! Alas! J have become the cause of a 
 Brahman's life being in jeopardy. 
 
 Vidushaka. Then, as I stretched out my hand to pluck 
 a cluster of A9oka-flowers, Death in the form of a snake 
 came out of the trunk and bit me on the finger. Here, 
 indeed, are the two marks of the teeth. (He shows them 
 the bite.} 
 
 Parivrdjikd. The best remedy for that is said to be 
 excision of the bitten part ; let that remedy be adopted in 
 this case. The excision of the bite, or its cauterization, or 
 the letting of blood from the wound ; a these are the pre- 
 scribed expedients for saving the lives of men who are 
 bitten by snakes. 3 
 
 1 Shankar Pandit says, " required by the custom of the good 
 Achdra = qishtdchdra." I think the English word " customary " 
 expresses this idea. It was proper to take flowers with one when 
 approaching a god or great personage. 
 
 3 Taranatha reads kshatasydraktamokshanam., which he explains as 
 the complete draining of blood of the wounded part. 
 
 3 Dashtamdtrdndm^ like kshatriyamdtram, a hchafrijn, in cnnrrnil. The 
 learned Parivrajika quotes two lines from some Sanskrit treatise on 
 medicine. 
 
 - fa. 
 
 "*
 
 ( 53 ) 
 
 King. Now it is time for the poison-doctors to do their 
 work. Jayasena", let Dhruvasiddhi be quickly brought. 
 
 Door-keeper. As the king commands. 
 
 [Exit Door-keeper. 
 
 Vidushaka. Alas ! I am seized by cruel death. 
 
 King. Do not be alarmed. A bite may sometimes be 
 free from venom. 
 
 Vidushaka. How can I help fearing ? My limbs are 
 convulsed. 
 
 He pretends that the poison is beginning to take effect. 
 
 Queen (advancing}. Alas ! Alas ! The poor creature is 
 attacked with cramps. Support him ! Support him ! 
 
 ( The attendants support Mm in a state of great trepi- 
 dation.) 
 
 Vidushaka (looking towards the Icing). Ah! I have 
 been your dear companion from childhood : take that into 
 consideration and undertake the maintenance and pro- 
 tection of my helpless mother. 
 
 King. Do not be afraid. The doctor will cure you in 
 a moment. Be calm. 
 
 Enter Door-keeper. 
 
 Door-keeper. King! Dhruvasiddhi desires that Gau- 
 tama be brought to him. 
 
 King. Then cause him to be carried by the Chamber- 
 lain into the presence of the doctor. 
 Door-keeper. Very well. 
 
 Vidushaka (looking towards the queen). Lady ! Whe- 
 ther I live or die, pardon all the faults that I may have 
 committed against thee to oblige the king. 
 
 Queen. May you live to a good old age. 
 
 [Exeunt Vidushaka and Door-keeper.
 
 ( 54 ) 
 
 King. The poor fellow is naturally timid. He does 
 not believe that even Dhruvasiddhi 1 will be successful in 
 curing him, though he is rightly named the " infallible 
 doctor." 
 
 Enter Door-keeper. 
 
 Door-keeper. Victory to the king! Dhruvasiddhi directs 
 that some snake-stone seal or other should be looked for 
 to put on a pitcher of water. 2 
 
 Queen. Here is a stone with a snake-stone seal. After- 
 wards give it back into my hand (with these words she 
 gives it to the door-keeper). 
 
 King. Jayaseiid ! When the cure is accomplished bring 
 the healing talisman 3 back quickly. 
 
 Door-keeper. As the king commands. 
 
 [Exit Door-keeper. 
 
 Parivrdjika. My heart tells me, Gautama has recovered 
 from the effects of the poison. 
 
 King. So be it. 
 
 Door-keeper (entering}. Victory to the king ! The vio- 
 lence of the poison has ceased, and Gautama is as well 
 again as ever. 
 
 Queen. It is a great blessing that I am clear of blame. 4 
 
 Door-keeper. This minister Vahatava sends the follow- 
 ing message. There are many of the king's affairs which 
 
 1 The word Dhruvasiddhi means, " one whose success is certain." 
 1 The enchanted water would then be a specific for snake-bite. 
 Weber takes Udakambha as a proper name. 
 
 3 I have taken pratipatti to mean instrument. Taranatha takes it to 
 mean to the proper place, i.e., into the queen's possession. Weber's 
 translation trag das Mittel eilig hin damit die kur geliiigt does not suit 
 the reading of either the Bombay or the Calcutta edition. 
 
 4 i.e., of the guilt of having been indirectly the cause of the death of a 
 Brahman.
 
 ( 55 ) 
 
 I should like to talk over with him. Therefore I beg to be 
 favoured with an interview. 
 
 Queen. Go, my husband, and may you be successful in 
 your affairs. 1 
 
 King. Queen, this place is exposed to the sun, and cold 
 treatment is recommended as best for this complaint ; 
 therefore let your couch be removed to another spot. 
 
 Queen. Come, my girls, carry out the king's orders. 
 
 Attendants. Very well. 
 
 [Exeunt Queen, the Parivrdjiha and attendants. 
 
 King. Jayasend, lead me to the pleasure-grounds by 
 a secret path. 
 
 Jayasend. Let the king come this way. 
 
 King. Jayasena, has Gautama accomplished his pur- 
 pose? 
 
 Jayasena. Certainly. 
 
 King. Though I all along thought the device wonder- 
 fully well adapted for effecting our object, my heart is 
 doubtful about the result, and timidly apprehensive. 
 
 Enter Vidushaka. 
 
 Vidushaka. Victory to the king ! Your Majesty's 
 auspicious affairs have turned out prosperously. 
 
 King. Jayasena, do you also return to your duties. 
 
 Jayasena. As the king commands. 
 
 [Exit Jayasena. 
 
 King. My friend, Madhavika is a bit of a vixen. Did 
 she not hesitate at all ? 
 
 Vidushaka. How could she possibly hesitate after see- 
 ing the queen's signet ring ? 
 
 King. I do not speak with reference to the signet ring. 
 But she naturally ought to have asked what was the cause 
 
 1 The audience, of course, understand that the affairs are really love 
 affairs.
 
 ( 56 ) 
 
 of the liberation of those two prisoners in that way, and 
 why the queen passed over all her own servants and com- 
 missioned you to take the message. 
 
 Vidushaka. Of course, I was asked these questions. 
 But with my usual presence of mind I answered: " The 
 " king has been told by the astrologers that his star is 
 " threatened with misfortune, and that therefore he had 
 " better release all the prisoners in his kingdom. When 
 " the queen Dharini heard this, she wishing to spare 
 " Iravati's feelings ordered me .to release the prisoners and 
 " give out that the king wanted them set at liberty." 
 Thereupon Madhavika granted my request, saying that all 
 was as it should be. 
 
 King (embracing the Vidushaka'). Friend, I see that 
 you love me. For not only by force of intellect does one 
 see how to forward the interests of one's friends, the narrow 
 path which leads to the attainment of success is discovered 
 by affection also. 
 
 Vidushaka. Let your highness make haste. I put Ma- 
 lavika with her friend in the lake summer-house 1 and 
 came immediately to meet you. 
 
 King. I will go and pay my respects to her there. Go 
 on in front. 
 
 Viduskaka. Come, Sir, here is the lake summer-house. 
 
 King (anxiously). Here comes Chandrika, the maid of 
 your friend 2 Iravati, with her hands engaged in gathering 
 flowers. Let us slip this way a minute and hide behind 
 the wall. 
 
 I A pleasure-house, probably so called from some ponds of water 
 being attached to it. 
 
 II All the king's wives and beloved objects are thus called with 
 reference to the Vidushaka.
 
 ( 57 ) 
 
 Vidushaka. Thieves and lovers must avoid the moon- 
 light. 1 (Both do as the king said.) 
 
 King. Gautama ! Do you suppose your friend is await- 
 ing me ? Come, let us go to this window, and look in- 
 ( They stand looking in.) 
 
 Then are discovered Mdlavikd and Vakuldvalikd. 
 
 Vakuldvalikd. Hola! Prostrate yourself before the king, 
 who is to be seen at your side behind you. 3 
 
 King. I guess Vakulavalika is showing her my pic- 
 ture. 
 
 Mdlavikd (joyfully}. I salute you. (Looking at the door, 
 with a melancholy expression.) Where is the king ! Alas ! 
 you are deceiving me. 
 
 King. My friend, I am delighted with the lady's joy 
 and despondency both. For the lovely-faced one's face 
 presented in a moment the two appearances of the lotus, 
 that which it wears when the sun is rising, and that which 
 it assumes when he is setting. 
 
 Vakuldvali/cd. Surely this is only a picture of the king. 
 
 Both (prostrating themselves before the picture). Victory, 
 victory to the king I 
 
 Mdlavikd. Ha ! Before, when I was standing face to face 
 with the king, I was not as completely satisfied with behold- 
 ing his beauty as I am now. I have obtained a good view 
 of the king now that I have seen him in a picture. 
 
 Vidushaka. Did you hear ? The lady says that you 
 look much better in the picture than you did when she 
 saw you in bodily presence. To no purpose do you wear 
 the pride of youth as a casket carries a store of gems. 
 
 1 As being " contraria furtis." Charulrika, the name of the maid, means 
 " moonlight." The pun is sufficiently obvious. 
 
 8 A picture of him was hung up in the summer-house. Taranatha 
 puts into the mouth of Malavika namaste yah pdrsvutah prishtatagcha 
 driqyatc, honour to thee who art ever in uiy thoughts. 
 
 H
 
 ( 58 ) 
 
 King. My friend, women though full of curiosity are 
 naturally bashful. Observe ; though they desire to study 
 completely the features of men they have an interview 
 with for the first time, still the almond-eyed ones do not 
 allow their gaze to fall full upon the beloved objects. 
 
 Mdlavikd. Who is this with face slightly averted, that 
 the king is looking at with an affectionate glance ? 
 
 Vahuldvalika. Surely, this is Iravati at his side. 
 
 Mdlavihd. Friend, he seems to me rather rude to neg- 
 lect all the queens, and rivet his gaze on her face alone. 
 
 Vahuldualiha (to herself}. So she treats the king's picture 
 as if it were the original, and exhibits jealousy towards it. 
 Good! I will have some fun out of her. (Aloud} She is 
 the king's sweet-heart. 
 
 Mdlavikd. Then why do I give myself any trouble 
 now? (She turns away pettishly.} 
 
 King. Look, my friend, at the face of your friend Mala- 
 vika. As she turned away angrily from this quarter her 
 face, the frontal mark of which was channelled by her 
 frowns, and the lower lip of which was quivering, she 
 seemed to exhibit the coquettish expression which was 
 taught her by her instructor as appropriate in fits of anger 
 on account of the fault of a lover. 
 
 Vidushaka. Be prepared now to propitiate her. 
 
 Mdlavikd. Here too is the noble Gautama, shewing her 
 respect. (She again shows a desire to look in anothei direction.) 
 
 Vakuldvalikd (preventing Mdlavikd from, sodoii g}. Surely 
 you are not angry now. 
 
 Mdlavikd. If you think I am going to be angry for long, 
 I hereby re-call my anger. 
 
 King (entering). Oh lotus-eyed one, why art thou angry 
 with me on account of an action represented in a picture? 
 Surely I am here in presence of thee, a slave devoted to 
 thee alone.
 
 ( 59 ) 
 
 Vakulavalikd. Victory to the king ! 
 
 Mdlavikd (to herself). What? did I show anger towards 
 the king's portrait ? (With bashful face folds her hands in a 
 suppliant attitude.) 
 
 The king appears to le distracted with love. 
 
 Fidushaha. Why do you seem so apathetic ? 
 
 King. Because your friend is so untrustworthy. 
 
 Vidushaka. Do not distrust the lady. 
 
 King. Listen ! She appears in a dream directly in front 
 of my eyes, and immediately vanishes ; when she has come 
 within the grasp of my arms, she suddenly darts forth again, 
 though she is a weak woman ; ' how can my mind repose any 
 trust in her while I am thus afflicted with the pain of love* 
 arising from a delusive union ? 
 
 Vakuldualikd. Friend, often has the king been deceived, so 
 now show yourself a person to be trusted. 
 
 MdlamM. But, my friend, I, unlucky woman that I am, 
 found union with the king hard to obtain even in a dream. 
 
 Vakuldvalikd. King, give her an answer. 
 
 King. What is the use of giving her an answer ? I have 
 given myself to your friend in presence of the fire of love ; 
 I am not her master, but her servant in secret. 
 
 Takuldvalikd. I am highly honoured by this favourable 
 answer. 
 
 Vidushaka (walking round with an air of agitation) . Vaku- 
 lavalika ! Here is a deer coming to browse upon the shoots 
 of the young A9oka-tree, let us therefore drive it. off. 
 
 Vakuldvalikd. Very well. (She starts off.) 
 
 1 Abald means " weak" and also " a woman." The pun, as Shankar Pan- 
 dit observes, is apparent enough. 
 * Literally, the mind-born one.
 
 ( 6<T) 
 
 King. You must be on the lookout to guard us also. 
 FakuIdvaliM. Noble Gautama, I will remain in some 
 lurking-place, do you guard the door. 
 Tidushaka. That is quite proper. 
 
 [Exit Fakuldvalikd. 
 
 In the meanwhile I will lie down upon this crystal slab- 
 Oh ! how pleasant to the feel is this delicious stone, (He fa lit 
 
 asleep.") 
 
 Mdtavikd looks bashful. 
 
 King. Dismiss your bashfulness, Oh beautiful one, now 
 that I, who for a long time have been devoted to thee, am 
 become like the Mango-tree, do thou assume the part of the 
 Atimukta creeper. * 
 
 Mdlavikd. Through fear of the queen I cannot do what 
 my heart approves. 
 
 King. Oh ! there is no ground for fear. 
 
 Mdlamkd. The king, who is now so fearless, has been seen 
 by me in much the same state as myself on beholding the 
 queen. 
 
 King. Politeness indeed, Oh Bimba-lipped one, is an 
 invariable characteristic 1 of lovers, nevertheless such life as 
 I possess, Oh almond-eyed one, is entirely dependent upon 
 the hope of thy favour. 
 
 Enter Irdvatt and Jtfipunikd. 
 
 Iravati. Nipunika, my girl, did Chandrika really tell 
 you that she saw the noble Gautama alone on the terrace of 
 the lake summer-house ? 
 
 Nipunika. Otherwise how should I have dared to tell your 
 
 Highness so ? 
 
 o 
 
 1 Eularrata, a family custom handed down from generation to generation, 
 such as the celebration of a festival in honour of any deity on a particular 
 day.
 
 ( 61 ) 
 
 IravatL Then let us go there in order to enquire after 
 the health of my husband's dear friend rescued from imminent 
 peril, and 
 
 Nipunika. Your Highness seems to have something fur- 
 ther to say. 
 
 Irdvati. And also to apologize to the picture of the king. 
 
 Nipunika. Why do you not endeavour to gain over the 
 king himself ? 
 
 Iravati. Silly girl, a husband whose heart is devoted to 
 another is no better than the picture of a husband. 
 
 My present object is only to atone for my want of proper 
 respect. 
 
 Nipunika. This way, your Highness. 
 
 (They walk round.) 
 
 Enter a Female Servant. 
 
 Servant. Victory to your highness ! 
 
 The queen ' says : tl This is not a proper occasion for me 
 to show jealousy, and it was only in order to increase the great 
 respect in which you are held that I put Malavika in fetters 
 together with her friend ; if you give me leave to gratify my 
 husband by setting them at liberty, I will do so. Let me 
 know your wish." 
 
 Irdvati. Nagarika, give the queen this message from me. 
 Who am I that I should commission the queen to execute my 
 wishes ? She has shewn great condescension towards me in 
 punishing her attendants. What other person in the world 
 honours me with favourable notice ? 
 
 Servant. I will do so. [Exit. 
 
 Nipunika (walking round and looking). Your Highness, 
 here is Gautama reclining in perfect confidence on the 
 threshold of the lake summer-house, and sleeping like an ox 
 in the market. 
 
 1 That it, the bead queen, Dharini.
 
 ( 62 ) 
 
 IrdvatL That is very strange. It can hardly be the case 
 that any effects of the poison still remain. 
 
 Nipunikd. The expression of his face is tranquil. More- 
 over, he has been treated by Dhruvasiddhi. Therefore we 
 need not fear that any harm will befall him. 
 
 Vidushaka (beginning to talk in his sleep). Lady Malavika 
 
 Nipunikd. Did your Highness hear ? 
 
 To whose party does this low fellow belong ? This miser- 
 able glutton who eagerly catches at any talk about eatiug^ 
 and who being hospitably treated has filled his belly with 
 complimentary sweetmeats giveu by our faction, is now 
 talking in his sleep about Malavika. 
 
 Vidushaka {continues to talk in his sleep) . May you cut 
 out Iravati. 
 
 Nipunikd. Did you hear ? Out upon it ! I will hide be- 
 hind the pillar and frighten with this stick of mine, which is 
 crooked like a snake, this scoundrelly Brahman, who is so much 
 afraid of serpents. 
 
 Irdvatt. Indeed, the treacherous rogue deserves some mis- 
 fortune. 
 
 Nipunikd pitches her stick on to the body of the Vidushaka. 
 
 Vidushaka (waking up suddenly). Woe is me ! A snake has 
 fallen upon me. 
 
 King (rushing up immediately). Friend do not be afraid, 
 do not be afraid ! 
 
 Malavika (following him}. Sir, do not rush out so heed- 
 lessly, he says there is a snake there. 
 
 Irdvati. Alas ! Alas ! Here is the king running out of the 
 house. 
 
 Vidushaka (laughing) . Why it is only a stick after all- 
 But I was thinking that I had received the just reward of my 
 presumption in imitating the bite of a serpent with kelaki- 
 thorns.
 
 ( 63 ) 
 
 Enter Vakuldvalikd hurriedly .* 
 Vakulavalikd. Where is the snake ? Do not advance, oh 
 
 king ! In this direction I believe I see a serpent a serpent 
 
 crooked in its going. 9 
 
 Travail (advancing towards the king}. Did you find your 
 mid-day meeting- as delicious as you expected ? 
 
 All are confused on beholding Irdvati. 
 
 King. This is an extraordinary form of salutation. 
 
 Irdvati. Allow me also to congratulate you, Vakulavalika, 
 on the way in which you have made good your promise of 
 acting as a go-between. 
 
 Fakuldvalikd. Let your Highness have compassion on us. 
 Does Indra forget 3 the earth because the frogs croak ? 
 
 Vidushaka. Queen, do not go on in this way. Merely on 
 beholding you the king forgot your previous rejection of his 
 humble prostration, but you refuse to be reconciled even now. 
 
 Irdvati. What can I do now that I am angry? 
 
 King. You see that " anger without cause" is a part that 
 does not suit you. For, fair one, when did your face without 
 cause pass even for a moment into the power of anger ? Tell 
 me, how shall the night have the circle of the moon obscured 
 by Rahu, except at the appointed time ? 4 
 
 1 Literally, tossing aside the stage-curtain. 
 
 * Taranatha observes that Iravati is called a serpent on account of the 
 crookedness of her mind. 
 
 8 Taranatha reads smarati for vismarati. " Is it the croaking of the frogs 
 that brings the rain ?" He explains it that the king's behaviour is the result of 
 his own passion, and has nothing to do with Yakulavalika's suggestions. Shankar 
 Pandit observes : " Vaktilavalika means that whatever she and her poor friend 
 Malavika might have said about the king, that talk would have no more effect 
 upon the king's love to Iravati than the croaking of frogs on the desire of the 
 cloud to refresh the earth. 
 
 * Parvan-the full and change of the moon, and the eighth and fourteenth of 
 each half month (Monier Williams). Rahu is supposed to produce eclipses by 
 temporarily swallowing the sun and moon.
 
 ( 64 ) 
 
 Irdvati. The phrase "without cause" was appropriately 
 used by my husband. Now that my good fortune has passed 
 to another, I should make myself ridiculous if I were ever to 
 be angry again. 
 
 King. Your notion is a mistaken one. But I so far agree 
 with you that I really see no ground for anger. For it was 
 in obedience to the precept that on festival days attendants 
 ought not to be imprisoned, even if they have committed a 
 fault, that I caused these girls to be set at liberty ; and they 
 came to tender me their respectful thanks. 
 
 Irdvati. Nipunika, go and inform the Queen that I have 
 detected her partiality. l 
 
 Nipunila. Very well. 
 
 Vidushaka (to himself). Alas, a misfortune has happened. 
 The house-pigeon, after escaping from confinement, has fallen 
 into the beak 4 of the kite. 
 
 Enter Nipunika. 
 
 Nipunika. Queen, on the way I happened to meet with 
 Madhavika, and she informed me that it came about 3 in this 
 way. (Whispers in the Queen's ear.) 
 
 Irdvati (to herself). I understand it all now. That 
 scoundrelly Brahman unaided has devised the plan of taking 
 the fortress 4 (looking towards the Vidushaka, aloud.) This 
 is all the policy of that minister versed in the treatises on love. 
 Vidushaka. Policy ! Lady, if I ever read one syllable 
 of policy, may I even forget the gdyatri. 5 
 
 1 Taranatha reads ekapaksha vdditvam, partiality to one side and adds 
 avadhritam me hridayam adyeti, which perhaps means " my heart is henceforth 
 on its guard." 
 
 8 Taranatha reads viddlikdyd alolce came within sight of the cat. 
 
 8 For nirvrittam Taranatha reads mmittam, f. e., this was the cause. 
 
 * Taranatha omits the word durga^ fortress. 
 
 8 Taranatha reads na atrabhavantam sanfrito bhaveyam, which means if I 
 could read a single syllable of policy, I should not be dependant upon the 
 king for support.
 
 ( 65 ) 
 
 King (to himself]. How on earth can I extricate myself 
 from this embarrassing situation ? 
 
 Enter Jayasend in a state of excitement. 
 
 Jayasend. King- ! the princess Vasulakshmi, while running 
 after her ball, was terribly frightened by a brown ape, and even 
 now though sitting on the lap of the Queen she still trembles 
 like a spray in the breeze, and does not recover her natural 
 spirits. 
 
 King. What 1 timid creatures children are. 
 
 Iravati. Let tbe King hasten to console her. Take care 
 that the distraction which the fright has produced does not 
 increase. 
 
 King. I will soon bring her to her senses. ( Walks round 
 rapidly). 
 
 Vidushaka. Bravo ! brown monkey ! Well done ! You 
 have got your caste-fellow 2 out of a nice scrape. (Exeunt 
 King with his friend, Iravati and the female door-keeper.) 
 
 Mdlavikd. Alas ! my heart trembles when I think of the 
 Queen. I do not know what I shall have to endure next. 
 A voice behind the scenes. 
 
 Wonderful I Wonderful ! Before the five nights have 
 elapsed from the time of the ceremony, the golden Ac,oka is 
 covered all over with blossoms. I will go and inform the 
 
 Queen. 
 
 Both are delighted on hearing this. 
 
 Vakuldvalikd. Let my dear friend take comfort. The 
 Queen is known to keep her promises. 
 
 Mdlavikd. Well then, let us follow the keeper of the 
 pleasure-grove close at the heels. 
 
 Vakuldvalikd. So be it. [Exeunt. 
 
 Here ends the Fourth Act. 
 
 1 Taranatha reads kashtam. Alas ! children are such timid creatures. 
 
 2 Taranatha reads svapaks/ta, your side. The Vidushaka looks upon himself 
 as an ape, or the next thing to it. 
 
 I
 
 ( 66 ) 
 ACT V. 
 
 Enter Madhukarika, the female keeper of the garden. 
 
 HadhuJcariM. I have thrown up a low wall 1 round the 
 gold Ajoka-tree on which the usual ceremony was performed ; 
 now let me inform the Queen that I have accomplished her 
 commission (walking round.} Ah ! Destiny ought to take pity 
 on Malavika. And the Queen who is angry with her will 
 be inclined to shew her favour on account of this incident of 
 the Acoka's putting forth flowers. I wonder now where the 
 Queen is. Here is Sarasaka, the hunch-back that belong s 
 to the Queen's household, coming out of the court with a 
 kind of leather trunk in his hand, sealed with a lac seal. I 
 will ask him. 
 
 (Enter the hunch-lack as described) 
 (advancing) Sarasaka ! where are you going ? 
 
 Sarasaka. Madhukarika, here is one month's accumula- 
 tion of the regular daily dole that must be given to Brah- 
 mans who have acquired sacred lore, and are performing an 
 auspicious ceremony ; 2 I am therefore going to transfer it to 
 the hands of the reverend chaplain. 
 
 Madhukarika.^ For what reason ? 
 
 Sarasaka. Ever since the Queen heard that the Prince 
 Vasumitra was appointed by the general 3 to guard the sacri- 
 
 1 Taranatha reads bhittivedifcd bandha, which means an altar or ground pre- 
 pared for sacrificial ceremonies. Satkdravidhind means according to the usual 
 method of doing honour to such trees. 
 
 2 Anutishtatdm performing an anushtdna, such as the muttering of a certain 
 mantra with a fast and an oblation of cooked rice, or the recital of a certain 
 number of Vedic verses. (Shankar Pandit.) 
 
 3 He was the father of Agnimitra, and retained the title of general, having 
 served in that capacity under the last Maurya king, whom he deposed, putting 
 his own son upon the throne. (Shankar Pandit.)
 
 ( 67 ) 
 
 ficial horse, she has been bestowing on those worthy of a 
 dole a present of eighteen gold pieces in order to secure him 
 long life. 
 
 Madhukarikd. That is as it should be. But where is the 
 Queen ? 
 
 Sdrasaka. She is sitting on a throne in the Auspicious 
 Hall, ' and is listening to a letter sent from Vidarbha by her 
 brother Virasena, which is being read out by the scribes. 
 
 Madhukarikd. Well, what is the news about the King of 
 Vidarbha? 
 
 Sdrasaka. The King of Vidarbha has been reduced to 
 submission by the King's victorious army commanded by 
 Virasena, and his relation Madhavasena has been delivered 
 from captivity, accordingly he has sent as a present to the 
 King some valuable waggon-loads of jewels, and some atten- 
 dants, principally accomplished maidens; he has also des- 
 patched an ambassador who is to have an interview with his 
 Highness to-morrow. 
 
 Madhukarikd. Go and perform your commission, I for 
 my part will go and see the Queen. 
 
 Here ends the Introductory Scene. 
 
 Enter the Female Door-keeper. 
 
 Door-keeper. The Queen has given me the following or- 
 der : Inform my husband that I desire to behold in his com- 
 pany the splendour of the flowering of the Ac, oka-tree. Let 
 me now wait for the King who has gone to the tribunal of 
 justice. 
 
 Two Bards behind the scenes. 
 
 We hail the King who by means of his avenging force 
 tramples upon the heads of his enemies. 
 
 1 Probably set apart for religious ceremonies. Weber compares the kro- 
 dhdgdra to which Kaikcyi retires in the Raiuayana.
 
 ( 68 ) 
 
 First Bard. While thou, Oh ! bestower of boons, dost 
 delightsomely spend the spring in gardens on the banks of 
 the Vidiga, in which the cuckoos utter pleasing notes, like the 
 comely-limbed god of love, in the meanwhile the enemy of 
 thee, whose army is so mighty, has been caused to bow 
 together with the trees on the banks of the Varada, which 
 served as the hooks for fastening thy victorious elephants. l 
 
 Second Sard. The victories of both of you over the Kra- 
 thakaicikas are celebrated in song by godlike sages from pure 
 love of heroism, of thee who by means of thy avenging 
 armies didst take away the glory of the King of Vidarbha, 
 and of Krishna, who by main force carried off Rukmini with 
 his four arms strong as clubs. 
 
 Female Door-keeper. Here is the King coming in this 
 direction, his setting forth being announced by shouts of 
 victory ; I for my part will step a little out of his direct course, 
 and put myself under this arch of the main terrace. 
 
 Enter the King with Tils friend. 
 
 King. When I consider that union with my beloved is 
 hard to attain, and on the other hand now that I have heard 
 that the King of Vidarbha has been subdued by my forces, 
 my heart, like a lotus struck with rain-drops in the full blaze 
 of the sun, suffers pain, and at the same time enjoys pleasure. 
 
 Vidtishaka. As far as I am able to see, your Highness will 
 certainly be exceedingly delighted soon. 
 
 King. Friend, how can that take place ? 
 
 1 In the original this is a series of puns : dttarati may refer to the name of 
 Kama's wife ; angavdn may mean having a body, Ananga (love) being literally 
 the bodiless one ; parabhritdndm may mean either cuckoos or dependants 
 (bards, &c.) ; madhu may mean spring or pleasure. In Varadd the name of the 
 river called in our maps Wurdah, and Varadd, giver of boons, the jingle is 
 obvious. Upodhabalasya may be translated " of great strength" according to 
 Taianatha.
 
 ( 69 ) 
 
 Vidiishaka. It is a fact that a short time ago the Queen 
 Dbarini said to the learned Kauqiki -Reverend Lady, since 
 you pride yourself upon your skill in cosmetic, ' give a speci- 
 men on the person of Malavika of the style of wedding adorn- 
 ment followed in Vidarbha. Accordingly, Malavika is mag- 
 nificently decorated. Perhaps the Queen may gratify your 
 desire. 
 
 King. Eriend ! this is indeed quite probable on account 
 of the former actions of Queen Dhdrini, whose continual 
 deferential regard for me* renders her free from jealousy. 
 
 Female Door-keeper (coming forward). Victory to the King. 
 The Queen sends this message. May my undertaking be 
 rendered successful by the King's condescending to behold the 
 beauty of the flowers of the golden A9oka. 
 
 King. Of course the Queen is there. 
 
 Female Door-keeper. Undoubtedly. Having dismissed 
 the ladies of the harem, who have been gratified by being 
 honoured in accordance with their merits, 3 she is waiting for 
 the King, accompanied by her own personal attendants, head- 
 ed by Malavik^. 
 
 King (delighted, looking at the Yidiishakd). Jayasena, go 
 on in front. 
 
 Vidiishaka (looking about] . My friend the spring seems to 
 have pretty well recovered his youth in the pleasure-grove. 
 
 King. Your remark is quite true. The youth of the spring 
 that we see before our eyes, which causes the mango-tree to 
 
 1 l< Art of decoration, which is called cosmetic." Bacon's Advancement of 
 Learning, p. 133, "Wright's edition. 
 
 a Literally, the following of deference towards me, the always squaring 
 her conduct in accordance with my wishes. 
 
 3 Tiranatha reads yathdtava sanmdna sukham She has provided for your 
 having a flattering and agreeable reception. She has dismissed, &c.
 
 ( 70 ) 
 
 bend ' with the immense quantity of kuravaka fruits scat- 
 tered over it, and is approaching its full development, fills the 
 minds with longing thoughts. 
 
 TidusTiaka. Lo, here is the golden A9oka, which seems, so 
 to speak, to be robed with clusters of flowers. 
 
 King. Indeed, this tree was right in delaying to produce 
 flowers. For it now displays an unrivalled splendour of blos- 
 som. Look ! The flowers 2 from all the A9oka trees that first 
 exhibited the power of spring, have, as it were, been trans- 
 ferred to this, now that its longing has been satisfied. 3 
 
 Vidushaka. Come, be of good cheer ! Now that we have 
 come in sight, the Queen is getting the consent of Malavika, 
 who is standing by her side. 4 
 
 King. Look, friend, the Queen is rising up at my approach 
 out of respect, waited upon by my beloved, like the earth 
 attended by the good fortune of Kimgs, wanting only the 
 lotus-fan. 5 
 
 Then are discovered Dharini, Malavika, the Parivrajikd, 
 and attendants in order of rank. 
 
 Malavika. I know the reason of my festal attire. 6 
 
 1 Taranatha reads bhidyamdna, " to split." Another reading is bhajyamdna 
 " to break." 
 
 2 For kusumdni flowers Taranatha reads mukuldni buds, and for tarundm 
 trees, latandm creepers. 
 
 3 '. e., by contact with the foot of Malavika. 
 
 * So Shankar Pandit, but Taranatha explains it, " permits Malavika to re- 
 main by her side, although we have arrived, t. e., does not dismiss her." 
 
 8 t. e., nothing was wanting but the lotus-fan to make Malavika resemble 
 Lakshmi. Taranatha reads vistrita, having a broad lotus-fan, and anutthitd, 
 having Malavika rising after her. He compares anvasitam Arundhatyd without 
 giving the source of the quotation. It is, of course, to be found in Raghuvan- 
 9a, I., 56. 
 
 6 Namely, the fact that the A9oka tree put forth blossoms within five days 
 after it had been touched by her foot.
 
 ( 71 ) 
 
 Nevertheless, my heart trembles like water in the leaf of a 
 lotus. Moreover, my left eye throbs. ' 
 
 Vidushaka. Ah ! undoubtedly the lady Malavika looks 
 exceedingly splendid in this wedding dress. 
 
 King. I see her decorated with ornaments. Clothed in a 
 short silk dress, and with scanty ornaments, she seems to me 
 like a night in the month Chaitra ; when the moon is about 
 to rise, with the lunar mansions free from mists. 
 
 Queen (advancing towards him.) Victory to my husband ! 
 
 Vidushaka. May your Highness be prosperous. 
 
 Parivrajika. May the King be victorious. 
 
 King. Reverend lady, I salute thee. 
 
 Parivrajika. May you have the success you desire. 
 
 Queen (smiling). Husband, I have turned this A9oka-tree 
 into a bower whither you may resort with the young ladies of 
 your harem.* 
 
 Vidushaka. Come, my friend, a great favour has been con- 
 ferred upon you. 
 
 King (with an expression of bashfulness, walking round the 
 Aqoka-tree). This Ac.oka-tree really deserves to be made by 
 the Queen the object of such favours, as it showed contempt 
 for the command of the goddess of vernal beauty, and testi- 
 fied its respect for your exertions by bursting into flower. 
 
 Vidushaka. Come, be confident, and look at this blooming 
 young . 
 
 King. What lady? 
 
 Yidushaka. I refer to the splendour of the golden A9oka's 
 flowers. 
 
 All sit down. 
 
 King. (Looking at Malavika, to himself.) Alas ! I am 
 at present separated though near. 
 
 1 A sign (in women) of approaching union with the beloved. 
 
 2 Shankur Pandit observes that there is an occult reference to Malavika.
 
 ( 72 ) 
 
 I am like the bird named Chakravaka, ' my dear one is like 
 its mate ; Dharini, who does not permit our union, is like the 
 
 night.* 
 
 Enter Chamberlain. 
 
 Chamberlain. Victory to the King ! The minister sends 
 word by me that in that present sent from Vidarbha were 
 included two accomplished maidens, who were not introduced 
 at first because they represented themselves to be fatigued 
 with the journey. At present they are in a fit state to appear 
 before the King ; may he therefore be pleased to issue an 
 order upon the subject. 
 
 King. Introduce them. 
 
 Chamberlain. As the King commands. (He goes out and 
 returns with them.) This way, this way, young ladies. 
 
 First Maiden (aside). Ah Eajanika ! My inner self re- 
 joices on entering this splendid court. 
 
 Second Maiden. Jyotsnika ! I have exactly the same feel- 
 ing. You know well that there is a proverbial saying to the 
 effect that the state of the heart foretells approaching joy or 
 sorrow. 
 
 First Maiden. I hope we may find it true on the present 
 occasion. 
 
 Chamberlain. Here stands the King with the Queen. 
 
 Advance ladies. 
 
 Both advance. 
 
 Mdlavikd and the Parivrdjikd seeing tJiese two attendants, 
 interchange glances. 
 
 Both the Maidens (prostrating themselves] . Victory to the 
 Kiug ! Victory to the Queen ! 
 
 King. Welcome to you ! Sit down here. 
 Both sit down. 
 
 1 Literally, part of a chariot, i.e , chakra, wheel. The bird is the Anai 
 Casarca, commonly called Brahmany Duck. 
 8 During which these birds remain apart.
 
 ( 73 ) 
 
 King. Ladies, to what accomplishment do you devote 
 yourselves ?' 
 
 Both. We are well versed in music. 
 
 King. Queen, take one of these ladies. 
 
 Queen. Malavika! "Which would you like to have to 
 accompany you in singing ? 
 
 Both (looking at Malavika.) Ah! the princess ! (They pros- 
 trate tliemselves and weep with her.) 
 
 All look on bewildered. 
 
 King. "What do you mean ? 
 
 Both. Listen king ! This is Malavika, the younger sister 
 of the prince Madhavasena, who was rescued from prison by 
 you having subdued with your avenging army the king of 
 Vidarbha. 
 
 Queen. So she is a princess. I have in fact been defiling 
 sandal wood by using it as a slipper. 2 
 
 King. Then how was the lady reduced to her present 
 state ? 
 
 Malavika. (Sighing, to herself.) By the appointment of 
 destiny. 
 
 Second Maiden. Let the King listen. When our Prince 
 Madhavasena came into the power of his kinsman, this lady 
 was secretly carried off by his minister, the noble Sumati, 
 attendants like us being left behind. 
 
 King. I have heard this before. What happened next ? 
 
 Both. This is all we can tell. We do not know what 
 happened afterwards. 
 
 Parivrdjikd. What happened afterwards, I, wretched wo- 
 man that I am, will now relate. 
 
 1 The reading abhinivite means in what accomplishment are you trained ? 
 3 Padnkdpadegena, the reading of TaruuaUiu's edition, meana iterally " on 
 the pretence that it was a slipper." 
 
 K
 
 ( 74 ) 
 
 JBoth.-+~ Princess ! The voice which we hear seems to be 
 that of the noble Kauyiki. 
 
 Mdlavikd. It is indeed she. 
 
 Both. It is difficult to distinguish the noble Ka^iki in 
 the dress of an ascetic. We two salute the revered lady. 
 
 The Parivrajikd. Happiness to you both. 
 
 King. What ! Are these friends of yours ? 
 
 Parivrajikd. Certainly. 
 
 Vidushaka. Then immediately tell us the rest of your 
 story. 
 
 Parivrajikd. ( With emotion.) Listen then. Know that 
 Madhavasena's minister Sumati was my elder brother. 
 
 King. We understand. Pray proceed. 
 
 Parivrajikd. He carried off together with me this lady, 
 whose brother was reduced to such a condition, and, with the 
 intention of marrying her to your Highness, associated her- 
 self with a caravan that was going to the Vaidi9a ! country. 
 
 King. And then ? 
 
 Parivrajikd. And at the end of a day's journey those 
 merchants being exhausted with the toil of the march en- 
 camped in a forest to rest. 
 
 King. What next ? 
 
 Parivrajikd. Then there appeared, striking terror by its 
 first onset, a host of yelling brigands, whose breasts were 
 crossed by the quiver-strap, wearing as a plume peacock-tails 
 that hung down to their ears, 2 bow in hand. 
 
 Mdlavikd shews signs of fear. 
 
 Vidushaka. Do not be afraid, the reverend lady is speak- 
 ing of something that is past and gone. 
 
 1 Of which Vidiga was the capital, t. e,, Dacarna. Taranatha reads Vidi$d- 
 gdminam, i. e., going to Vidicja. 
 
 2 Taranatha reads dpdrshni Iambi, hanging down to their heels.
 
 ( 75 ) 
 
 King.- Then what happened? 
 
 Parivrdjikd. Then those warriors l who had been engaged 
 by the leader of the caravan, after joining battle for a moment 
 with the robbers, were put to flight by them. 
 
 King. Reverend lady, the sequel which we have now to 
 hear is, I know, tragic. 
 
 Parivrdjikd. Then that brother of mine, endeavouring to 
 rescue from the ruffians this lady, who was terrified at the 
 
 onslaught of the enemy, my brother, I say, who was so 
 
 dear to his lord, paid with his dear life his debt tojiis lord. 
 
 First Maiden. Alas ! our protector is dead. 
 
 Second Maiden. That is of course the cause why this con- 
 dition has befallen the princess. 
 
 The Parivrdjikd sheds tears. 
 
 King. This is the lot of mortals 4 in this transient life. 3 
 You must not lament for your brother, who shewed that he 
 had not eaten his master's salt to no purpose. 4 
 
 Parivrdjikd. Then I fainted and by the time I had reco- 
 vered consciousness this lady was out of sight. 
 
 King. Terrible are the sufferings which this revered 
 lady has had to undergo. 
 
 Parivrdjikd. Then I burned the body of my brother, and 
 as the sorrow of my widowhood was renewed, I came into your 
 country and assumed these two red garments. 5 
 
 King. This way of life is a suitable one for pious people. 
 What happened next ? 
 
 1 Taranatha gives Mugdha yodhdrah, worthless warriors ; and baddhdyudhdh, 
 having taken up arms, in brackets, as an alternative reading. 
 
 8 For tanubhritam, Taranatha reads tanutyajdm, " of brave men." 
 
 3 Literally, the fair or show of this life. (Shankar Pandit.) 
 
 4 Literally, who made the food that his master had given him bear fruit. 
 
 * The dress of a wandering Buddhist mendicant. So the Bu idhist mendi- 
 cant in the 8th act of the Mrichohhakati ia represented as clothed in a red 
 garment. (P. 241, Calcutta^edition.)
 
 ( 76 ) 
 
 Parivrdjikd. Then this lady came from the power of the 
 foresters into that of Virasena, and was sent by Virasena to 
 the Queen, and so was seen by me when I obtained admission 
 into the Queen's palace. This is the end of my tale. 
 
 Mdlavikd (to herself] . I wonder what the King- will say now. 
 
 King. Alas ! calamities bring- humiliation. For this lady 
 having a right to the title of Queen has been treated like a 
 slave, which is much the same as if one were to use a srar- 
 
 7 O 
 
 ment of woven silk for the purposes of a bathing-cloth. 
 
 DJidrini Reverend lady ! You did wrong in not telling me 
 that Malavika was of noble birth. 
 
 Parivrdjikd. Heaven forefend ! 1 I had a good reason for 
 adopting concealment. s 
 
 DhdrinL What was that reason ? 
 
 Parivrdjikd. This lady, while her father was still, alive, was 
 told in my presence by a certain infallible divine person, 3 
 who had assumed a mortal form, 4 that she would have to 
 endure for one year only the position of a slave, and would 
 then obtain a husband of equal rank. Seeing that that sure 
 prophecy with respect to her was indubitably 5 being 
 
 1 The Queen's speech is of evil omen, as implying that the issue of the 
 whole matter would be unfortunate. 
 
 2 Taranatha read snairghrinyam, pitilessness, cruelty, (grausamkeit, Weber.) 
 nairbhrityam is given by Monier Williams as " modesty," " humility." But 
 it ought also to mean " concealment." 
 
 3 Shankar Pandit, whose translation I have here followed, remarks that 
 " a Sadhu is one who by holy works and abstinence from all worldly concerns 
 has acquired supernatual powers. One in short, who is a divine person. 
 Persons like Kabira, Ramadasa, Tukarama, and others of more modern ages 
 are popularly called Sadhus." 
 
 * Taranatha reads deva ydtrdgatena fivddegakena sddhund by a fortune- 
 telling ascetic who had come to an idol procession. 
 
 6 I have taken avaqyam with parinamantam ; but I suspect avafyam- 
 bhdvinam should be printed as one word.
 
 ( 77 ) 
 
 fulfilled by her continuing in your service, I waited for the 
 appointed time, and I believe I acted rightly. 
 King. You did right to wait patiently. 
 
 Enter Chamberlain. 
 Chamberlain. King ! The minister sends the following 
 
 CT 
 
 message, which I was prevented from delivering before by 
 another matter arising ; e( we have considered what ought 
 to be done with reference to Vidarbha, I should like now to 
 hear the King's opinion." 
 
 King. Maudgalya, I wish to establish the two cousins 
 Ynjnasena and Madhavasena as joint rulers : let them rule 
 separate divisions, the north and south banks of the Varada, 
 as the moon and sun 1 between them rule the night and 
 day. 
 
 Chamberlain. King ! I will announce this decision to the 
 council of ministers. 
 
 The King dismisses him by a movement of his finger. 
 
 [Exit Chamberlain. 
 
 First Maiden (aside to Mdlavikd}. Princess, I congratulate 
 you on the fact that the Prince will be established in half 
 of the kingdom. 
 
 Mdlavikd. I ought to think it a great matter that he has 
 been rescued from mortal peril. 
 
 Enter Chamberlain. 
 
 Chamberlain. Victory to the King ! The minister sends 
 this message to his Sovereign. The King's plan is auspicious. 
 This is what the ministers also thought. Those two Kings * 
 upbearing the fortune of their superior lord divided between 
 
 1 " The a cold rayed one and the warm-rayed one" is a more literal transla- 
 tion. 
 
 2 Taranatha reada te nripate nidege in allegiance to thee, oh King !
 
 ( 78 ) 
 
 them, as the horses upbear the weight of the charioteer, will 
 remain firm m their allegiance to thee, not being distracted 
 by mutual attacks. 
 
 King. Tell the council then to send the General Virasena 
 written instructions to this effect. 
 
 Chamberlain. I will do so. 
 
 (Exit Chamberlain, He enters again with a letter accompanied 
 by a present.) 
 
 The King's order has been performed. But this letter has 
 arrived from the Cornmander-in- Chief ' King Pushpamitra 
 together with a present *. Let the King look at it. 
 
 The King quickly advancing puts the present in a respectful 
 manner upon his head, and hands it to tlie attendants, and then 
 pretends to open the letter. 
 
 Queen. Ah ! my heart is fixed on the contents of that 
 letter. I shall hear, after news of the health of my father- 
 in-law, how Vasumitra has been going on. The Commander- 
 in-Chief has appointed my son to an office of trust. * 
 
 King (sitting down proceeds to read}. May it be well with 
 thee I From the sacrificial enclosure the Commander-in-Chief 
 Pushpamitra sends this message to his son Agnirnitra, who is 
 in the territory of Vidi<ja, affectionately embracing him. Be 
 it known unto thee that I having been consecrated for the 
 Rajasuya sacrifice, let loose free from all check or curb a horse 
 which was to be brought back after a year, appointing Vasu- 
 mitra as its defender, girt with a guard of a hundred Rajputs. 
 This very horse wandering on the right bank of the Indus 
 was claimed by a cavalry squadron of the Yavanas. Then 
 there was a fierce struggle between the two hosts. 
 
 1 Tar&iatha reads sottariyaprdbhritakam, together with the present of 
 cloak. 
 
 z Taranatha reads atibhdre, too difficult a duty.
 
 ( 79 ) 
 
 (The Queen exhibits signs of despondency.} What ! did such 
 an encounter actually take place? (he proceeds to read t/te 
 rest). Then Vasumitra, the mighty bowman, having over- 
 come his foes, rescued by force my excellent horse, which they 
 were endeavouring to carry off. 
 
 Queen. Now my heart has a weight lifted off it. 
 
 King (reading the rest of the letter). Accordingly, I will 
 now sacrifice, having had my horse brought back to me by 
 my grand-son, even as An9umat brought back the horse to 
 Sagara. Therefore, you must dismiss anger from your mind> 
 and without delay come with my daughters-in-law to behold 
 the sacrifice. 
 
 Parivrajikd. I congratulate the royal couple on being 
 exalted by the triumph of their son (looking towards the 
 Queen) . By your husband you have been placed at the head 
 of famous wives of heroes, but this title of mother of heroes 
 has come to you from your son. 
 
 Vidushaka. Lady, I am pleased that the sou takes after 
 his father. 
 
 King. Maudgalya, indeed the young elephant has imitat- 
 ed the lord of the herd. 
 
 Chamberlain. Not even by such a display of valour does 
 he produce astonishment in our minds, whose lofty irresistible 
 origin thou art, as Aurva l is of the fire that consumes water. 
 
 1 The name is thus explained by Monier Williams in his Dictionary. The 
 sons of Kritavirya, wishing to destroy the descendants of Bhrigu, in order to 
 recover the wealth left them by their father, slew even the children in the 
 womb. One of the women of the family of Bhrigu in order to preserve her 
 embryo, secreted it in her thigh fitruj, whence the child at its birth was called 
 Aurva, on beholding whom the sons of Kritavirya were struck with blindness 
 and from whose wrath proceeded a flame that threatened to destroy the world, 
 had not Aurva, at the persuasion of the Bhargavas, cast it into the ocean, where 
 it remained concealed, and having the face of a horse.
 
 ( 80 ) 
 
 King. Maudgalya, let all the prisoners in my dominions 
 be set at liberty beginning with the brother-in-law of Yaj- 
 nasena. 
 
 Queen.- Jayasena, go and inform Iravati and the other 
 ladies of the harem of my son's victory. 
 
 Female Door-keeper. I will do so. (She sets off). 
 
 Queen. Come here a moment. 
 
 Female Door-keeper (returning). Here I am. 
 
 Queen (aside). Tell Iravatf from me what I promised 
 Malavika when I appointed her to perform the ceremony of 
 fertilizing the Agoka, and her birth also ; and conciliate her 
 by reminding her that she must not cause me to deviate from 
 truth. 
 
 Female Door-keeper. I will do so (she goes out, and again 
 returns) Queen, I have become the casket that holds the jew- 
 els of the ladies of the harem, owing to their giving me 
 presents in honour of the victory of your son. 
 
 Queen. What is there astonishing in that ? of course this 
 triumph is theirs as much as mine. ' 
 
 Door-keeper (aside) . Moreover, Iravati says " what the 
 Queen is pleased to suggest is quite fitting. It is not proper 
 to change your original resolution." 
 
 Queen. Reverend lady, I desire your permission to bestow 
 Malavika on my husband, for whom she was originally des- 
 tined by the noble Sumati. 
 
 Parivrdjikd. Now too, as before, you have full power 
 over her. 
 
 Queen (taking Mdlavikd l>y the hand). Let my husband 
 receive the lady Malavika as a fitting reward for the good 
 tidings he has given me.* 
 
 The King remains silent and abashed. 
 
 1 Literally, common to them and me. 
 9 '.., of my soii'a success.
 
 ( 81 ) 
 
 Queen (smiling). Come, why does my husband despise me? 
 
 Fidushaka. Lady, it is a common saying that every new 
 bridegroom is bashful. 
 
 (The King looks at the Vidushaka.) Or 1 rather the King 
 wishes his royal consort to bestow the title of Queen on Ma- 
 lavika before he receives her. 
 
 Queen. The title of Queen became hers by the mere fact of 
 her being born a princess, then what is the use of repetition ? 
 
 Parivrdjikd. Say not so, oh noble one, for even though 
 sprung from a mine, jewels are not worthy, until polished, of 
 union with gold.* 
 
 Queen. Forgive me, reverend lady, for having neglected the 
 respect due to her while I was thinking of the fact of her high 
 birth. Jayasena, quickly go and bring a silken veil for her. 
 
 Female Door-keeper (going out and re-entering with a silken 
 veil in her hand) . Queen, here it is. 
 
 Queen (investing Mdlavikd with a veil) . Let my husband 
 now receive her. 
 
 King. Queen your order leaves me without the power of 
 making a reply. 3 
 
 Parivrdjikd. Ha ! she is received as a wife. 
 
 Vidushaka. Dear me, how indulgent the Queen is towards 
 you, Sir. 
 
 The Queen looks towards the attendants. 
 
 1 Taranatha' s reading means your Highness ought to receive Malavika to 
 whom the Queen (Dharini) gives the title of Queen, treating her as an equal. 
 
 2 Taranatha reads 
 
 Asmdkamutsavamanir manijdti puraskritah 
 
 Jdtarupena kalydni tarhi sanyogam arhati, 
 
 our prized jewel, though glorious by the mere fact of ita being a jewel, 
 nevertheless requires to be set in gold. He explains that the jewel means 
 Malavika, and the gold Agnimitra. 
 
 3 '. e., I am obliged to obey at once. Taranatha reads tvachchhdsanam pra- 
 tyanurdktd vayam (dpdvdryaj hanta pratigrihitam, we are eager to obey your 
 order. (Aside.) Ah! I consented to take her before you gave her. (Toact- 
 ddndt prdg eva svikritam is his paraphrase.) 
 
 L
 
 ( 82 ) 
 
 The attendants (approaching Ndlavikd). Victory to the Queen ! 
 
 The Queen looks towards the Parivrdjikd. 
 Parivrdjikd. This conduct is not astonishing in thee, 
 inasmuch as good women who love their husbands shew 
 obedience to them even by making to themselves rivals, for 
 rivers carry hundreds of brooks along with them to the sea. 
 
 Enter Nipunikd. 
 
 Nipunikd. Victory to the King ! Iravati sends the follow- 
 ing message : I offended on that occasion by shewing a want 
 of respect towards my lord, he has now obtained his wish, he 
 ought also to honour me. 
 
 Queen. Nipunika ! My husband will certainly grant your 
 request. l 
 
 Nipunikd. As the Queen commands. 
 
 Parivrdjikd. King, I wish to pay my respects to Madhava- 
 sena, who has obtained his object by thus becoming a con- 
 nexion of yours, if you will shew me so much favour as to 
 give me leave to depart. 
 
 Queen. Reverend lady, you ought not to leave us now 
 that you have accomplished your object. 
 
 King. Reverend lady, I will send in my letters compli- 
 mentary messages from you to Madhavasena. 
 
 Parivrdjikd. I am deeply obliged by the kindness of you 
 both. 
 
 Queen. Let my husband deign to inform me what other 
 service I can render him. 
 
 King. What more can you do than you have already 
 done ? But let this also be my lot. Do thou, oh fair one, 8 
 
 1 Taranatha reads te sevitam jndsyati, will show himself sensible of your 
 submissiveness. 
 
 8 Literally, angry one, as a term of endearment. But it may refer to the 
 fact that the Queen's anger was often justly aroused, and so the King requests 
 her to be always ready for reconciliation, and not like the unforgiving Iravati. 
 The latter seems to be Tarauatha's view.
 
 ( 83 ) 
 
 always look upon me with propitious countenance, so much do 
 I desire for the sake of thy rival, and it is my wish that the 
 six calamities, 1 and death and other misfortunes may not 
 befall my subjects, no, not while I, Agnimitra, am their pro- 
 tector. 
 
 Here ends the Fifth Act. 
 
 1 The calamities included under the title of Hi were excessive rain, 
 drought, mice, locusts, birds, and the over-proximity of Kings, c. p. Baner- 
 jea, on. Raghuvar^a, I., 62. 
 
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