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SAKOONTALÁ WRITING A LOVE-LETTER ON A LOTUS-LEAF, Pages 67,157.
Ś AKOON TALÁ;
OR,
THE LOST RING.

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KOON TALÁ;
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THE LOST RING;
ALFA
RIVE
AN INDIAN DRAMA,
TRANSLATED INTO ENGLISH PROSE AND VERSE,
FROM THE SANSKRIT OF KÁLIDÁSA ;
BY
SIR MONIER MONIER-WILLIAMS, K.C.I.E.,
M.A., D C..., LL.D., PH.D., BODEN PROFESSOR OF SANSKRIT,
AND FELLOW OF BALLIOL COLLEGE, OXFORD.
FIFTH EDITION.
LONDON:
JOHN MURRAY, ALBEMARLE STREET.
1887,
[All Rights reserved.]
EDINBURGH
COLSTON AND COMPANY
PRINTERS
TO THE MEMORY
OF
COLONEL BODEN,
OF THE HONOURABLE EAST-INDIA COMPANY'S SERVICE,
WHO,
BY HIS MUNIFICENT BEQUEST,
HAS PROVIDED FOR THE PERPETUAL STUDY
OF THE SANSKRIT LANGUAGE
IN THE UNIVERSITY OF OXFORD;
THIS VOLUME
IS GRATEFULLY INSCRIBED,
BY .
MONIER MONIER-WILLIAMS.

3
3:
,
VI
RULES FOR THE PRONUNCIATION OF
THE PROPER NAMES.
-
.
CBSERVE, that in order to secure the correct pronuncia-
tion of the title of this Drama, 'Sakuntalá' has been spelt
**akoontala,' the u being pronounced like the u in the
Eriglish word rule.
TERRUS
The yowel a must invariably be pronounced with a dull
sound like the a in organ, or the u in fun, sun. Dushy-
an a must therefore be pronounced as if written Dooshy-
unta. The long vowel á is pronounced like the a in last,
ciety z like the i in pin, sin; é like the i in marine; e
like the e in prey; o like the o in so; ai like the ai in aisle ;
ou likaau in the German word baum, or like the ou in our.
1
The consonants are generally pronounced as in English,
but has always the sound of g in gun, give, never of g
myins with the accent over it (f), has the sound of
is in seire, or of the last s in session.
***
US
*
*
W
REZ
2
.
INTRODUCTION.
LLLLL
CUI
ABOUT a century has elapsed since the great
English Orientalist, Sir William Jones, astonished
the learned world by the discovery of a Sanskrit
Dramatic Literature. He has himself given us
the history of this discovery. It appears that,
on his arrival in Bengal, he was very solicitous
to procure access to certain books called Nátaks,
of which he had read in one of the Lettres
Edifiantes et Curieuses,' written by the Jesuit
Missionaries of China. But, although he sought
information by consulting both Brahmans and
Europeans, he was wholly unable for some time
to satisfy his curiosity as to the nature of these
books. It was reported to him that they were
not histories, as he had hoped, but that they
INTRODUCTION.
abounded with fables, and consisted of conver-
sations in prose and verse held before ancient
Rájás, in their public assemblies. Others, again,
asserted that they were discourses on dancing,
music, and poetry. At length, a sensible Bráh-
man, conversant with European manners, re-
moved all his doubts, and gave him no less
delight than surprise, by telling him that the
English nation had compositions of the same
sort, which were publicly represented at Calcutta
in the cold season, and bore the name of plays.'
The same Bráhman, when asked which of these
Nátaks was most universally esteemed, answered,
without hesitation, 'Sakoontalá.
It may readily be imagined with what interest
the keen Orientalist received this communica-
tion ; with what rapidity he followed up the
clue; and, when at length his zeal was rewarded
by actual possession of a MS. copy of one of
these dramas, with what avidity he proceeded to
explore the treasures which for eighteen hundred
years had remained as unknown to the European
world as the gold-fields of Australia.
The earliest Sanskṣit drama with which we

442
*
24
.
.
19
XX
SYN
INTRODUCTION.
XX'
.
..
-
.
.
1
are acquainted, the Toy-cart, translated by
my predecessor in the Boden Chair at Oxford,
Professor H. H. Wilson, is attributed to a regal
author, King Śúdraka, the date of whose reign
cannot be fixed with any certainty, though some
have assigned it to the first or second century
B.C. Considering that the nations of Europe
i can scarcely be said to have possessed a dram-
atic literature before the fourteenth or fifteenth
century of the present era, the great age of the
Hindú plays would of itself be a most interest-
ing and attractive circumstance, even if their
poetical merit were not of a very high order.
But when to the antiquity of these produc-
tions is added their extreme beauty and ex-
cellence as literary compositions, and when we
also take into account their value as repre-
sentations of the early condition of Hindú
society-which, notwithstanding the lapse of
two thousand years, has in many particulars
obeyed the law of unchangeableness ever
stamped on the manners and customs of the
East-We are led to wonder that the study of
the Indian drama has not commended itself in
UL
INTRODUCTION.
a greater degree to the attention of Europeans
and especially of Englishmen. The English
student, at least, is bound by considerations
of duty, as well as curiosity, to make himself
acquainted with a subject which illustrates and
explains the condition of the millions of Hindús
who owe allegiance to his own Sovereign, and
are governed by English laws.
Of all the Indian dramatists, and indeed of all
Indian poets, the most celebrated is Kálidása,
the writer of the present play. The late Pro-
fessor Lassen thought it probable that he flour-
ished about the middle of the third century after
Christ, but more recent scholars have put for-
ward arguments to prove that he lived as late as
the sixth century. Possibly some King named
Vikramaditya may have received him at his
Court, and honoured him by his patronage about
that time. Little, however, is known of the cir-
cumstances of his life. There is certainly no
satisfactory evidence to be adduced in support of
the tradition current in India that he lived in
the time of the great King Vikramaditya I.,
whose capital was Ujjayiní, now Oujein (a sacred

--:-";s:40:
Sie
.
.
.
w
INTRODUCTION.
X111
.
.
.
22
...
*
*
VY
.
and very ancient city situated to the north-east
ofGujarát), and who is said to have flourished
w in the middle of the century preceding the com-
mencement of our era.
From the absence of historical literature in
India, our knowledge of the state of Hindustan
between the incursion of Alexander and the
Muhammadan conquest is very slight. But it is
ascertained with tolerable accuracy that, after
the invasion of the kingdoms of Bactria and
Afghánistán, the Tartars or Scythians (called by
the Hindús "Sakas ') overran the north-western
provinces of India, and retained possession of
them. The great Vikramaditya succeeded in
driving back the barbaric hordes beyond the
Indus, and so consolidated his empire that his
dominion extended over the whole of Northern
Hindústán. His name is even now cherished
among the Hindús with pride and affection. His
victory over the Scythians is believed to have
taken place about B.c. 56. At any rate this is the
starting-point of the Samvat era, one of the
epochs from which the Hindús still continue to
count. There is good authority for affirming
JI
xiv
INTRODUCTION.
that the reign of Vikramaditya I. was equal in
brilliancy to that of any monarch in any age or
country. He was a liberal patron of science and
literature, and gave the most splendid encour-
agement to poets, philologists, astronomers, and
mathematicians. Nine illustrious men of genius
are said to have adorned his Court, and to have
been supported by his bounty. They were
called the Nine Gems;' and a not unnatural
tradition, which is known to be untrustworthy,
included Kálidása among the Nine.
To Kálidása (as to another celebrated Indian
Dramatist, Bhavabhúti, who probably flourished
in the eighth century) only three plays are attri-
buted ; and of these the "Sakoontalá' (here trans-
lated) has acquired the greatest celebrity.'
Indeed, the popularity of this play with the
natives of India exceeds that of any other
dramatic, and probably of any other poetical
composition. . But it is not in India alone
1
VI
1 As to the other two, the most celebrated, called Vikra-
morváśí, has been excellently translated by Professor H. H.
Wilson, and the Málavikágnimitra, by Professor Weber, the
eminent Orientalist of Berlin.
2 The following is an extract from the Bombay Times of

INTRODUCTION.
that the "Sakoontalá' is known and admired.
circle throughout the continent of Europe ; and
February 3, 1855. It is given literatim, and-in spite of the
orthographical errors and ludicrous mutilation of the story-is
an interesting proof of the popularity of the play.
HINDU DRAMA.
SATURDAY, 30 FEBRUARY 1855.
“An outline of the play to be performed at the Theatre this
night.
After a short discourse between the Sutradhar (the chief
actor) and the Vidushaka (the clown), Surswati (the Goddess of
learning) will appear. Sutradhar will call his wife (Nati), and
they will determine on performing the play of Shakuntala.
They both will sing songs together, after which Nati will
go away. The play will then regularly commence. Dushanta
Rajah will appear in the Court, and order his Pradhan (the
Minister) to make preparations for a hunting excursion. The
Rajah, sitting in his carriage, will pursue a stag, the stag will
disappear, upon which Dushanta will ask his coachman the
cause thereof, this being known, the Rajah in his carriage will
proceed farther, when they will see the stag again, upon which
he will aim an arrow at the stag. The stag will run and reach
the retirement of Waikhanas Rushi. The sage will come out of
his hut and remonstrate with the Rajah against his killing the
harmless animal. The Rajah will obey the injunctions of the
sage, who will pronounce benedictions upon him. According to
the Rushi's instructions, he will prepare to proceed to the resi-
dence of another sage named Kunwa. Bidding each other fare-
well, the Rushi will go to procure material for his religious
xvi
IV
INTRODUCTION.
its beauties, if not yet universally known and
appreciated, are at least acknowledged by many
learned men in every country of the civilized
world. The four well-known lines of Goethe, so
often quoted in relation to the Indian drama,
may here be repeated :
Willst du die Blüthe des frühen, die Früchte les
späteren Jahres,
Willst du was reizt und entzückt, willst du was sättigt
und nährt,
Willst du den Himmel, die Erde, mit einem Namen
begreifen:
Nenn' ich Sakon talá, Dich, und so ist Alles gesagt.'
ceremonies. After reaching Kunwa's place, and commanding
his coachman to groom the horses, the Rajah will walk forth to
the sage's hut. Observing on his way thither Shakuntala with
her fellow mates watering the trees, he will hide himself behind
a tree. Shakuntala will praise to her mates the beauty of the
Keshar tree. Charned with overhearing her discourse, Dushanta
will try to find out her descent. Shakuntala will be very much
teased by a Bhramar (fly) hovering about her face. The
turbed state of her mind. After a mutual exchange of polite
respect they all take their seats beneath a shady tree, Dushanta
will inform her of his country and descent, whereupon they will
all go to the Rushi's hut.
'Here there is a pause. A pleasing farce will then be per-
formed.
I may add to the above that the "Sakoon talá' in the words
of my own translation has also been performed at Bombay and
elsewhere.

24
ti
7:
WATER
tek
Q
is:
SAA
INTRODUCTION.
Xv11
TLH
.
SERIKATU
A
W
**
?
2
ES
Wouldst thou the young year's blossoms and the fruits
of its decline,
And all by which the soul is charmed, enraptured,
feasted, fed ?
Wouldst thou the earth and heaven itself in one soie
name combine ?
I name thee, O Sakoontalá ! and all at once is said.
E. B. Eastwick.
Augustus William von Schlegel, in his first
Lecture on Dramatic Literature, says : ‘Among
the Indians, the people from whom perhaps all
the cultivation of the human race has been de-
rived, plays were known long before they could
have experienced any foreign influence. It has
lately been made known in Europe that they
have a rich dramatic literature, which ascends
back for more than two thousand years. The
only specimen of their plays (Nátaks) hitherto
known to us is the delightful “Śakoontala,"
which, notwithstanding the colouring of a foreign
clime, bears in its general structure a striking
.)
UL
Alexander von Humboldt, in treating of -
Indian poetry, observes : 'Kálidása, the cele-
brated author of the “ Śakoontalá," is a masterly
describer of the influence which Nature exercises
XV111
ÍNTRODUCTION.
7
upon the minds of lovers. This great poet
flourished at the splendid court of Vikramaditya.
and was, therefore, cotemporary with Virgil
and Horace. Tenderness in the expression of
feeling, and richness of creative fancy, have as-
signed to him his lofty place among the poets
of all nations.'
These considerations induced me, in 1853, to
compile and publish an edition of the text of the
Sakoontalá' from various original MSS., with
English translations of the metrical passages,
and explanatory notes. A second edition of
this work has since been published by the
Delegates of the Oxford University Press. To
the notes of that edition I must refer all
students of Sanskrit literature who desire a close
and literal translation of the present drama,
and in the Preface will be found an account
of various other editions and translations.
The following pages contain a free transla-
tion, and the first English version in prose
and metre, of the purest recension of the most
celebrated drama of the Shakespeare of India.
The need felt by the British public for some

INTRODUCTION.
xix
NGOSIL.
kita
....
.
-
-
-
-
* 2x
EVE
32
11
LO
such translation as I have here offered can
scarcely be questioned. . A great people, who,
through their empire in India, command the
destinies of the Eastern world, ought surely to
be conversant with the most popular of Indian
dramas, in which the customs of the Hindús,
their opinions, prejudices, and fables, their re-
ligious rites, daily occupations and amusements,
are reflected as in a mirror. Nor is the prose
translation of Sir W. Jones (excellent though it
be) adapted to meet the requirements of modern
times. That translation was unfortunately
made from corrupt manuscripts (the best that
could then be procured), in which the bold and
nervous phraseology of Kálidása has been
weakened, his delicate expressions of refined
love clothed in a meretricious dress, and his
ideas, grand in their simplicity, diluted by re-
petition or amplification. It is, moreover, al-
together unfurnished with explanatory annota-
tions. The present translation, on the contrary,
while representing the purest version of the
drama, has abundant notes, sufficient to answer
the exigencies of the non-oriental scholar, :
VA
o
TT
XX
INTRODUCTION.
It may be remarked that in every Sanskțit
play the women and inferior characters speak
a kind of provincial Sanskrit or patois, called
Prákrit-bearing the same relation to Sanskrit
that Italian bears to Latin, or that the spoken
Latin of the age of Cicero bore to the highly
polished Latin in which he delivered his Ora-
tions. Even the heroine of the drama is made
to speak in the vulgar dialect. The hero, on
the other hand, and all the higher male charac-
ters, speak in Sanskrit; and as if to invest them
with greater dignity, half of what they say is in
verse. Indeed the prose part of their speeches
is often very common-place, being only intro-
ductory to the lofty sentiment of the poetry
that follows. Thus, if the whole composition
be compared to a web, the prose will correspond
to the warp, or that part which is extended
lengthwise in the loom, while the metrical
portion will answer to the cross-threads which
constitute the woof.
The original verses are written in a great
variety of Sanskſit metres. For example, the
first thirty-four verses of 'Śakoontalá' exhibit
INTRODUCTION.
xxi
eleven different varieties of metre. No metrical
system in English could give any idea of the
almost infinite resources of the Sanskrit in this
respect. Blank verse has therefore been em-
ployed by me in my translation, as more in
unison with the character of our own dramatic
writings, and rhyming stanzas have only been
admitted when the subject-matter seemed to
call for such a change. Perhaps the chief con-
sideration that induced me to adopt this mode
of metrical translation was, that the free and
unfettered character of the verse enabled me to
preserve more of the freshness and vigour of the
original. If the poetical ideas of Kálidása have
not been expressed in language as musical as his
own, I have at least done my best to avoid
diluting them by illegitimate circumlocutions
or additions. If the English verses are prosaic,
I have the satisfaction of knowing that by
resisting the allurements of rhyme, I have done
all in my power to avoid substituting a fictitious
and meagre poem of my own for the grand,
yet simple and chaste creation of Kálidása.
The unrestricted liberty of employing hyper-

xxii
INTRODUCTION.
metrical lines of eleven syllables, sanctioned
by the highest authority in dramatic composition,
has, I think, facilitated the attainment of this
object. One of our own poets has said in rela-
tion to such lines, 'Let it be remembered that
they supply us with another cadence; that they
add, as it were, a string to the instrument;
and—by enabling the poet to relax at pleas-
ure, to rise and fall with his subject-contribute
what most is wanted, compass and variety.
They are nearest to the flow of an unstudied elo-
quence, and should therefore be used in the
drama.' Shakespeare does not scruple to avail
himself of this licence four or five times in suc-
cession, as in the well-known passage beginning-
“To be or not to be, that is the question ;'
and even Milton uses the same freedom once
or twice in every page.
The poetical merit of Kálidása’s ‘Sakoontalá'
is so universally admitted that any remarks on
this head would be superfluous. I will merely
observe that, in the opinion of learned natives,
the Fourth Act, which describes the departure
Rogers''Italy,' note to line 23.

INTRODUCTION.
xxiij
of Sakoontalá from the hermitage, contains the
most obvious beauties ; and that no one can
read this act, nor indeed any part of the play,
without being struck with the richness and
elevation of its author's genius, the exuberance
and glow of his fancy, his ardent love of the
beautiful, his deep sympathy with Nature and
Nature's loveliest scenes, his profound knowledge
of the human heart, his delicate appreciation
of its most refined feelings, his familiarity with
its conflicting sentiments and emotions. But
in proportion to the acknowledged excellence
of Kálidása's composition, and in proportion to
my own increasing admiration of its beauties,
is the diffidence I feel lest I may have failed
to infuse any of the poetry of the original into
the present version. Translation of poetry must,
at the best, resemble the process of pouring a
highly volatile and evanescent spirit from one
receptacle into another. The original fluid will
always suffer a certain amount of waste and
evaporation.
The English reader will at least be inclined
to wonder at the analogies which a thoroughly

xxiv
INTRODUCTION.
Eastern play offers to our own dramatic com-
positions written many centuries later. The
dexterity with which the plot is arranged and
conducted, the ingenuity with which the in-
cidents are connected, the skill with which the
characters are delineated and contrasted with
each other, the boldness and felicity of the dic-
tion, are scarcely unworthy of the great dramat-
ists of European countries. Nor does the par-
allel fail in the management of the business of
the stage, in minute directions to the actors,
and various scenic artifices. The asides and
aparts, the exits and the entrances, the manner,
attitude, and gait of the speakers, the tone of
voice with which they are to deliver them-
selves, the tears, the smiles, and the laughter,
are as regularly indicated as in a modern drama.
In reference to the constitution and structure
of the play here translated, a few general re-
marks on the dramatic system of the Hindús
may be needed.
The admirable Essay by Professor H. H. Wilson, prefixed
to his 'Hindu Theatre,' is the principal source of the informa-
tion I have here given,

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INTRODUCTION.
XXV
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Dramatic poetry is said to have been invented
by the sage Bharata, who lived at a very remote
period of Indian history, and was the author of
a system of music. The drama of these early
times was probably nothing more than the
Indian Nách-dance (Nautch) of the present day.
It was a species of rude pantomime, in which
dancing and movements of the body were
accompanied by mute gestures of the hands
and face, or by singing and music. Subse-
quently, dialogue was added, and the art of
theatrical representation was brought to great
perfection. Elaborate treatises were written
which laid down minute regulations for the
construction and conduct of plays, and subjected
dramatic composition to highly artificial rules
of poetical and rhetorical style. For example,
the Sahitya-Darpana divides Sanskrit plays into
two great classes, the Rúpaka or principal
dramas, and the Uparúpaka or minor dramas.
At the head of the ten species of Rúpaka stands
the Nátaka, of which the "Śakoontalá' is an
example. It should consist of from five to
ten acts; it should have a celebrated story
11
XXVI
INTRODUCTION.
V
for its plot; it should represent heroic or
godlike characters and good deeds; it should
be written in an elaborate style, and be full
of noble sentiments. Moreover, jig should be
composed like the end of a cow's tail; so
that each of the acts be gradually shorter.
In India, as in Greece, scenic entertainments
took place at religious festivals, and on solemn
public occasions. Kálidása’s Sakoontalá' seems
to have been acted at the commencement of
the summer season-a period peculiarly sacred
to Káma-deva, the Indian god of Love. We
are told that it was enacted before an audience
consisting chiefly of men of education and
discernment.' As the greater part of every
play was written in Sanskrit, which, although
spoken in some portion of India at a remote
period, was certainly not the vernacular lan-
guage of the country at the time when the
Hindú dramas were performed, few spectators
would be present who were not of the learned
and educated classes. This circumstance is in
accordance with the constitution of Hindú so-
ciety, whereby the productions of literature,

.
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12:NI
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INTRODUCTION.
xxvii
O
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asrwell as the offices of state, were reserved
for the privileged castes. ?
* Every Sanskrit play opens with a prologue,
or, to speak more correctly, an introduction,
designed to prepare the way for the entrance of
the dramatis persone. The prologue commences
with a benediction or prayer (pronounced by
a Bráhman, or if the stage-manager happened
to be of the Brahmanical caste, by the manager
himself), in which the poet invokes the favour
of the national deity in behalf of the audience.
The blessing is generally followed by a dialogue
between the manager and one or two of the
actors, in which an account is given of the
author of the drama, a complimentary tribute
is paid to the critical acumen of the spectators,
and such a reference is made to past occurrences
or present circumstances as may be necessary
for the elucidation of the plot. At the conclu-
sion of the prologue, the manager, by some
abrupt exclamation, adroitly introduces one of
the dramatic personages, and the real perform-
ance commences.
Wilson's 'Hindu Theatre,' p. xii.
xxviii
INTRODUCTION.
Un
"S02
The play, being thus opened, is carried
forward in scenes and acts ; each scene being
marked by the entrance of one character and
the exit of another, as in the French drama.
The dramatis personce were divided into three
classes—the inferior characters (nicha), who
were said to speak Prákțit in a monotonous,
unemphatic tone of voice (anudáttoktyá); the
middling (madhyama), and the superior (pradh-
ána), who were said to speak Sanskrit with
accent, emphasis, and expression (udáttoktyá).
In general, the stage is never left vacant till
the end of the act, nor does any change of
locality take place until then. The commence-
ment of a new act is often marked, like the
commencement of the piece, by an introductory
monologue or dialogue spoken by one or more
of the dramatis persone, and called Vishkambha
or Pravesaka. In this scene allusion is fre-
quently made to events supposed to have oc-
curred in the interval of the acts, and the
audience is the better prepared to take up the
thread of the story, which is then skilfully
carried on to the concluding scene. The piece
Imence
MA
INTRODUCTION.
xxix
closes, as it began, with a prayer for national
plenty and prosperity, addressed to the favourite
deity, and spoken by one of the principal
personages of the drama.
Although, in the conduct of the plot, and
the delineation of character, the Hindú dram-
atists show considerable skill, yet they do not
appear to have been remarkable for much fer-
tility of invention. Love, according to Hindú
notions, is the subject of most of their dramas.
The hero, who is generally a king, and
already the husband of a wife or wives (for
a wife or two more or less is no encumbrance
in Indian plays), is suddenly smitten with the
charms of a lovely woman, sometimes a nymph,
Entor, as in the case of Śakoontalá, the daughter
of a nymph by a mortal father. The heroine
is required to be equally impressible, and the
first tender glance from the hero's eye reaches
her, heart. With true feminine delicacy, how-
ever, she locks the secret of her passion in her
own breast, and by her coyness and reserve
ne keeps her lover for a long period in the
agonies of suspense. The hero, being reduced to
ICE

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XXX
INTRODUCTION.
VY
a proper state of desperation, is harassed by
other difficulties. Either the celestial nature of
the nymph is in the way of their union, or
he doubts the legality of the match, or he fears
his own unworthiness, or he is hampered by the
angry jealousy of a previous wife. In short,
doubts, obstacles, and delays make great havoc
of both hero and heroine. They give way to
melancholy, indulge in amorous rhapsodies, and
become very emaciated. So far, it must be
confessed, the story is decidedly dull, and its
pathos, notwithstanding the occasional grandeur
and beauty of the imagery, often verges on the
ridiculous.
But, by way of relief, an element of life is
generally introduced in the character of the
Vidúshaka, or Jester, who is the constant com-
panion of the hero ; and in the young maidens,
who are the confidential friends of the heroine,
and soon become possessed of her secret. By
a curious regulation, the Jester is always a
Bráhman, and therefore of a caste superior to
the king himself; yet his business is to excite
mirth by being ridiculous in person, age, and

INTRODUCTION.
xxxi
attire. He is represented as grey-haired, hump-
backed, lame, and hideously ugly. In fact, he
is a species of buffoon, who is allowed full
liberty of speech, being himself a universal
butt. His attempts at wit, which are rarely very
successful, and his allusions to the pleasures of
the table, of which he is a confessed votary,
are absurdly contrasted with the sententious
solemnity of the despairing hero, crossed in the
prosecution of his love-suit. His clumsy inter-
ference in the intrigues of his friend only serves
to augment his difficulties, and occasions many
an awkward dilemma. On the other hand, the
shrewdness of the heroine's confidantes never
seems to fail them under the most trying cir-
cumstances; while their sly jokes and innuendos,
their love of fun, their girlish sympathy with
the progress of the love affair, their warm
affection for their friend, heighten the interest
of the plot, and contribute not a little to vary
its monotony.
Fortunately, in the 'Śakoontalá,' the story is
diversified and the interest well sustained by a
chain of stirring incidents. The first link of the


xxxii
INTRODUCTION.
chain, however, does not commence until the
Fourth Act, when the union of the heroine with
King Dushyanta, and her acceptance of the
marriage ring as a token of recognition, are sup-
posed to have taken place. Then follows the
King's departure and temporary desertion of his
bride ; the curse pronounced on Sakoontala by
the choleric Sage; the monarch's consequent loss
of memory; the bride's journey to the palace of
her husband; the mysterious disappearance of
the marriage token ; the public repudiation of
Sakoontalá; her miraculous assumption to a
celestial asylum ; the unexpected discovery of
the ring by a poor fisherman ; the King's agony
on recovering his recollection ; his aërial voyage
in the car of Indra ; his strange meeting with
the refractory child in the groves of Kaśyapa;
the boy's battle with the young lion ; the search
for the amulet, by which the King is proved to
be his father; the return of Sakoontala, and the
happy re-union of the lovers ;-all these form a
connected series of moving and interesting in-
cidents. The feelings of the audience are
wrought up to a pitch of great intensity; and
INTRODUCTION.
xxxiii
whatever emotions of terror, grief, or pity may
have been excited, are properly tranquillized by
the happy termination of the story.
Indeed, if a calamitous conclusion be necessary
to constitute a tragedy, the Hindú dramas are
never tragedies. They are mixed compositions,
in which joy and sorrow, happiness and misery,
are woven in a mingled web,—tragi-comic re-
presentations, in which good and evil, right and
wrong, truth and falsehood, are allowed to blend
in confusion during the first acts of the drama.
But, in the last act, harmony is always restored,
order succeeds to disorder, tranquillity to agita-
tion ; and the mind of the spectator, no longer
perplexed by the apparent ascendancy of evil, is
soothed, and purified, and made to acquiesce in
the moral lesson deducible from the plot.
The play of 'Śakoontala,' as Sir W. Jones
observes, must have been very popular when it
was first performed. The Indian empire was
then in its palmy days, and the vanity of the
natives would be highly flattered by the intro-
duction of those kings and heroes who were sup-
posed to have laid the foundation of its greatness
Wc
Tas
xxxiv
INTRODUCTION.
Y
and magnificence, and whose names were con-
nected with all that was sacred and holy in their
religion. Dushyanta, the hero of the drama, ac-
cording to Indian legends, was one of the de-
scendants of the Moon, or, in other words, be-
longed to the Lunar dynasty of Indian princes ;
and, if any dependence may be placed on Hindú
chronology, he must have lived in the twenty-
first or twenty-second generation after the Flood.
Puru, his most celebrated ancestor, was the sixth
in descent from the Moon's son Budha, who
married a daughter of the good King Satya-vrata,
preserved by Vishnu in the Ark at the time of
the Deluge. The son of Dushyanta, by Šak-
oontala, was Bhárata, from whom India is still
called by the natives Bharata-varsha. After him
came Samvaraņa, Kuru, Śántanu, Bhishma, and
Vyása. The latter was the father of Dhritarásh-
tra and Pándu, the quarrels of whose sons form
the subject of the great Sanskțit epic poem called
Mahá-bharata, a poem with which the audience
would be quite familiar, and in which they would
feel the greatest pride. Indeed the whole story
of Sakoon talá is told in the Mahá-bhárata.
11
LU
C
LE
INTRODUCTION.
XXXV
The pedigree of Sakoontala, the heroine of the
drama, was no less interesting, and calculated to
awaken the religious sympathies of Indian spec-
tators. She was the daughter of the celebrated
Visvámitra, a name associated with many re-
markable circumstances in Hindú mythology and
history. His genealogy and the principal events
of his life are narrated in the Rámáyana, the first
of the two epic poems which were to the Hindús
what the Iliad and the Odyssey were to the Greeks.
He was originally of the regal caste ; and, having
raised himself to the rank of a Bráhman by the
length and rigour of his penance, he became the
preceptor of Ramachandra, who was the hero of the
Rámáyana, and one of the incarnations of the god
Vishnu. With such an antecedent interest in the
particulars of the story, the audience could not fail
to bring a sharpened appetite, and a self-satisfied
frame of mind, to the performance of the play.
Although in the following translation it has
been thought expedient to conform to modern
usage, by indicating at the head of each Act the
scene in which it is laid, yet it is proper to
apprise the English reader that in scenery and
xxxvi
INTRODUCTION.
scenic apparatus the Hindú drama must have
been very defective. No directions as to changes
of scene are given in the original text of the
play. This is the more curious, as there are
numerous stage directions, which prove that in
respect of dresses and decorations the resources
of the Indian theatre were sufficiently ample.
It is probable that a curtain suspended across
the stage, and divided in the centre, answered all
the purposes of scenes. Behind the curtain was the
space or room called nepathya, where the decora-
tions were kept, where the actors attired them-
selves, and remained in readiness before entering
the stage, and whither they withdrew on leaving
it. When an actor was to enter hurriedly, he
was directed to do so 'with a toss of the curtain.'
The machinery and paraphernalia of the Indian
theatre were also very limited, contrasting in
this respect unfavourably with the ancient Greek
theatre, which appears to have comprehended
nearly all that modern ingenuity has devised.
Nevertheless, seats, thrones, weapons, and char-
iots, were certainly introduced, and as the inter-
course between the inhabitants of heaven and
INTRODUCTION1
xxxvii
.
earth was very frequent, it is not improbable
that there may have been aërial contrivances to
represent the chariots of celestial beings, as on
the Greek stage. It is plain, however, from the
frequent occurrence of the word náțayitwá,
gesticulating,' ' acting,' that much had to be
supplied by the imagination of the spectator,
assisted by the gesticulations of the actors.
For further information relative to the dramatic
system of the Hindús, the reader is referred to
the notes appended to the present translation.
It is hoped that they will be found sufficient to
explain every allusion that might otherwise be
unintelligible to the English reader.
A D V ERTIS E MENT
TO THE
FIFTH EDITION.
This is in many respects an improved edition,
and has the advantage of an interesting frontis-
piece, from an oil-painting by a native of Baroda,
which I owe to the kindness of the present en-
lightened and liberal Mahá-rája Gaikwár.
This edition has another advantage in being
published at a lower price. As the book is
intended mainly for English readers, it has been
thought on the whole advisable to retain the
accentuation of Sanskrit words most likely to se-
cure a correct pronunciation. On this account,
too, Sakuntala has been spelt Sakoontalá.
It is right, however, to notify that the method
adopted in the following pages is not quite in
harmony with the system of transliteration
employed by me in my edition of the Sanskrit
text of the present drama, and in my “Sanskrit-
English Dictionary' and 'Practical Sanskřit
Grammar' published by the Delegates of the
Clarendon University Press, Oxford.
OXFORD, November 1887.
PERSONS REPRESENTED.
DUSHYANTA, King of India.
MáȚHAVYA, the jester, friend, and companion of the King.
KANWA, chief of the hermits, foster-father of SAKOONTALÁ.
ŚÁRNGARAVA,) two Bráhmans, belonging to the hermitage of
ŚÁRADWATA, S KANWA.
MITRÁVASU, brother-in-law of the King, and superintendent
of the city police.
JÁnuka and SÚCHAKA, two constables.
VÁTÁYANA, the chamberlain or attendant on the women's
apartments

SOMARÁTA, the domestic priest.
KARABHAKA, a messenger of the queen-mother.
RAIVATIKA, the warder or doorkeeper.
MATALI, charioteer of Indra.
SARVA-DAMANA, afterwards BHARATA, a little boy, son of
DUSHYANTA by SAKOONTALK.
PERSONS REPRESENTED.
KAŚYAPA, a divine sage, progenitor of men and gods, son of
MARÍCHI, and grandson of BRAHMÁ.
SAKOONTALÁ, daughter of the sage VIŚWÁMITRA and the
nymph MENAKá, foster-child of the hermit KANWA.
PRIYAMVADÁ and ANASÚYÁ, female attendants, companions
of SAKOONTALÁ.
GAUTAMÍ, a holy matron, superior of the female inhabitants
of the hermitage.
VASUMATÍ, the Queen of DUSHYANTA.
SÁNUMATÍ, a nymph, friend of SAKOONTALÁ.
TARALIKÁ, personal attendant of the King.
CHATURIKÁ, personal attendant of the Queen.
VETRAVATÍ, female warder or doorkeeper.
PARABHRITIKÁ and MADHUKARIKÁ, maidens in charge of
the royal gardens.
SUVRATÁ, a nurse.
ADITI, wife of KAŚYAPA; grand-daughter of BRAHMÁ,
through her father DAKSHA.
L
CHARIOTEER, FISHERMAN, OFFICERS, AND HERMITS.
Ś AKOON TALÁ;
OR,
THE LOST RING.
PROLOGUE.
BENEDICTION.
Isa preserve you !1 he who is revealed
In these eight forms 2 by man perceptible-
Water, of all creation's works the first;
The Fire that bears on high the sacrifice
Presented with solemnity to heaven;
The Priest, the holy offerer of gifts ;
The Sun and Moon, those two majestic orbs,
Eternal marshallers of day and night;
The subtle Ether, vehicle of sound,
Diffused throughout the boundless universe;
The Earth, by sages called 'The place of birth
Of all material essences and things';
And Air, which giveth life to all that breathe.
A
ŠAKOONTALÁ; OR,
(PROLOGUE.
STAGE-MANAGER.
[After the recitation of the benediction.]
[Looking towards the tiring-room.
Lady, when you have finished attiring yourself,
come this way.
ACTRESS.
[Entering.
Here I am, Sir; what are your commands ?
STAGE-MANAGER.
We are here before the eyes of an audience of
educated and discerning men ;: and have to represent
called “Sakoontalá; or, the Lost Ring.'4 Let the
whole company exert themselves to do justice to
their several parts.
ACTRESS.
You, Sir, have so judiciously managed the cast of
the characters, that nothing will be defective in the
acting
STAGE-MANAGER.
Lady, I will tell you the exact state of the case.
No skill in acting can I deem complete,
Till from the wise the actor gain applause;
Know that the heart e'en of the truly skilful,
Shrinks from too boastful confidence in self.
PROLOGUE.]
THE LOST RING.
ACTRESS.
[Modestly.
You judge correctly. And now, what are your
commands ?
STAGE-MANAGER.
What can you do better than engage the attention
of the audience by some captivating melody?
ACTRESS.
Which among the seasons shall I select as the
subject of my song ?
STAGE-MANAGER.
You surely ought to give the preference to the
present Summer season 5 that has but recently com-
menced, a season so rich in enjoyment. For now
Unceasing are the charms of halcyon days,
When the cool bath exhilarates the frame;
When sylvan gales are laden with the scent
Of fragrant Pátalas ; 6 when soothing sleep
Creeps softly on beneath the deepening shade ;
And when, at last, the dulcet calm of eve
Entrancing steals o'er every yielding sense.
ACTRESS.
I will.
[Sings.
Fond maids, the chosen of their hearts to please,
Intwine their ears with sweet Sirisha flowers,
ŚAKOONTAL); OR,
(PROLOGUE.
Whose fragrant lips attract the kiss of bees
That softly murmur through the summer hours.
STAGE-MANAGER.
Charmingly sung! The audience are motionless as
statues, their souls riveted by the enchanting strain.
What subject shall we select for representation, that
we may ensure a continuance of their favour ?
ACTRESS.
Why not the same, Sir, announced by you at first ?
Let the drama called ' Śakoontalá; or, the Lost Ring,'
be the subject of our dramatic perforinance.
STAGE-MANAGER.
· Rightly reminded! For the moment I had for-
gotten it.
Your song's transporting melody decoyed
My thoughts, and rapt with ecstasy my soul;
As now the bounding antelope allures
The King Dushyanta 8 on the chase intent.
[Exeunt.
ACT 1.]
THE LOST RING.
ACT І.
SCENE-A Forest.
Enter King DUSHYANTA, armed with a bow and arrow, in a
chariot, chasing an antelope, attended by his CHARIOTEER.
CHARIOTEER.
[Looking at the deer, and then at the KING.
Great Prince,
When on the antelope I bend my gaze,
And on your Majesty, whose mighty bow
Has its string firmly braced; before my eyes
The god that wields the trident seems revealed,
Chasing the deer that flies from him in vain.
KING.
Charioteer, this fleet antelope has drawn us from my
attendants. See! there he runs:
Aye and anon his graceful neck he bends
To cast a glance at the pursuing car;
And dreading now the swift-descending shaft,
Contracts into itself his slender frame:
About his path, in scattered fragments strewn,
The half-chewed grass falls from his panting
mouth;
ŠAKOONTALÁ; OR,
[ACT I.
See! in his airy bounds he seems to fly,
And leaves no trace upon th' elastic turf.
[With astonishment.
How now! swift as is our pursuit, I scarce can see
him.
CHARIOTEER.
Sire, the ground here is full of hollows; I have
therefore drawn in the reins and checked the speed
of the chariot. Hence the deer has somewhat gained
upon us. Now that we are passing over level ground,
we shall have no difficulty in overtaking him.
KING.
Loosen the reins, then.
CHARIOTEER.
The King is obeyed. [Drives the chariot at full speed.]
Great Prince, see! see !
Responsive to the slackened rein, the steeds,
Chafing with eager rivalry, career
With emulative fleetness o'er the plain;
Their necks outstretched, their waving plumes,
that late
Fluttered above their brows, are motionless ; 10
Their sprightly ears, but now erect, bent low;
Themselves unsullied by the circling dust,
That vainly follows on their rapid course.
ACT 1.]
THE LOST RING.
KING.
[Joyously.
In good sooth, the horses seem as if they would
outstrip the steeds of Indra and the Sun.11
That which but now shewed to my view minute
Quickly assumes dimension; that which seemed
A moment since disjoined in diverse parts,
Looks suddenly like one compacted whole ;
That which is really crooked in its shape
In the far distance left, grows regular;
Wondrous the chariot's speed, that in a breath,
Makes the near distant and the distant near.
Now, Charioteer, see me kill the deer. [Takes aim.
A VOICE BEHIND THE SCENES.
Hold, O King! this deer belongs to our hermitage.
Kill it not! kill it not!
CHARIOTEER. [Listening and looking.
Great King, some hermits have stationed them-
selves so as to screen the antelope at the very moment
of its coming within range of your arrow.
KING.
[Lastily.
Then stop the horses.
CHARIOTEER.
I obey.
[Stops the chariot.
ŚAKOONTALÁ; OR,
[ACT I.
Enter a Hermit, and two others with him.
HERMIT.
[Raising his hand.
This deer, 0 King, belongs to our hermitage. Kill
it not! kill it not !
Now heaven forbid this barbëd shaft descend
Upon the fragile body of a fawn,
Like fire upon a heap of tender flowers !
Can thy steel bolts no meeter quarry find
Than the warm life-blood of a harmless deer?
Restore, great Prince, thy weapon to its quiver
More it becomes thy arms to shield the weak,
Than to bring anguish on the innocent.
KING.
'Tis done.
[Replaces the arrow in its quiver.
HERMIT.
Worthy is this action of a Prince, the light of Puru's
race. 12
Well does this act befit a Prince like thee,
Right worthy is it of thine ancestry.
Thy guerdon be a son of peerless worth,
Whose wide dominion shall embrace the earth.
BOTH THE OTHER HERMITS.
[Raising their hands.
May heaven indeed grant thee a son, a sovereign of
the earth from sea to sea !
ACT 1.]
THE LOST RING.
HERMIT.
DVI
KING.
[Bowing.
I accept with gratitude a Bráhman's benediction. -
HERMIT.
We came hither, mighty Prince, to collect sacrificial
wood. Here on the banks of the Máliní you may per-
ceive the hermitage of the great sage Kanwa.13 If
other duties require not your presence, deign to enter
and accept our hospitality.
When you behold our penitential rites
Performed without impediment by Saints
Rich only in devotion, then with pride
Will you reflect: Such are the holy men
Who call me Guardian ; such the men for whom
To wield the bow I bare my nervous arm,
Scarred by the motion of the glancing string.
KING.
Is the Chief of your Society now at home?
HERMIT.
No; he has gone to Soma-tírtha 14 to propitiate Des-
tiny, which threatens his daughter Sakoontalá with
some calamity; but he has commissioned her in his
absence to entertain all guests with hospitality.
KING.
Good! I will pay her a visit. She will make me
IO
[ACT I.
ŚAKOONTALA; OR,
acquainted with the mighty sage's acts of penance and
devotion.
HERMIT.
And we will depart on our errand.
[Exit with his companions.
KING.
Charioteer, urge on the horses. We will at least
purify our souls by a sight of this hallowed retreat.
CHARIOTEER.
Your Majesty is obeyed.
[Drives the chariot with great velocity.
KING. [Looking all about him.
Charioteer, even without being told, I should have
known that these were the precincts of a grove con-
secrated to penitential rites.
CHARIOTEER.
How so?
KING.
Do not you observe ?
Beneath the trees, whose hollow trunks afford
Secure retreat to many a nestling brood
Of parrots, scattered grains of rice lie strewn
That serve to bruise the fruit of Ingudí.15
The gentle roe-deer, taught to trust in man,
ACT I.]
II
THE LOST RING.
Unstartled hear our voices. On the paths
Appear the traces of bark-woven vests 16
Borne dripping from the limpid fount of waters.
And mark!
Laved are the roots of trees by deep canals, 17
Whose glassy waters tremble in the breeze;
The sprouting verdure of the leaves is dimmed
By dusky wreaths of upward curling smoke
From burnt oblations; and on new-mown lawns
Around our car graze leisurely the fawns.
CHARIOTEER.
I observe it all.
KING. [Advancing a little further.
The inhabitants of this sacred retreat must not be
disturbed. Stay the chariot, that I may alight.
CHARIOTEER.
The reins are held in. Your Majesty may descend.
KING.
[Alighting.
Charioteer, groves devoted to penance must be en-
tered in humble attire. Take these ornaments. [De-
livers his ornaments and bow to the CHARIOTEER.] Charioteer, see
that the horses are watered, and attend to them
until I return from visiting the inhabitants of the
hermitage.
CHARIOTEER.
I will.
[Exit.
I 2
[ACT 1.
ŚAKOONTAL); OR,
MY
.
2
KING. [Wulking and looking about.
Here is the entrance to the hermitage. I will now
go in. [Entering and feeling a throbbing sensation in his arm.
Serenest peace is in this calm retreat,
By passion's breath unruffled; what portends
My throbbing arm ? 18 Why should it whisper here
Of happy love? Yet everywhere around us
Stand the closed portals of events unknown.
A VOICE BEHIND THE SCENES.
This way, my dear companions; this way.
KING.
[Listening.
Hark! I hear voices to the right of yonder grove
of trees. I will walk in that direction. [Walking and
looking about.] Ah ! here are the maidens of the hermit-
age coming this way to water the shrubs, carrying
water-pots proportioned to their strength. [Gazing at
them.] How graceful they look !
In palaces such charms are rarely ours;
The woodland plants outshine the garden flowers.
I will conceal myself in this shade and watch them.
[Stands gazing at them.
Enter ŠAKOONTALÁ, with her two female companions,
employed in the manner described.
ŚAKOONTALÁ.
This way, my dear companions ; this way.
ACT I.]
13
+
THE LOST RING.
ANASÚYÁ.
Dear Sakoontalá, one would think that father
Kanwa had more affection for the shrubs of the her-
mitage even than for you, seeing he assigns to you,
who are yourself as delicate as the fresh-blown jas-
mine, the task of filling with water the trenches
which encircle their roots.
ŚAKOONTAL).
Dear Anasúyá, although I am charged by my good
father with this duty, yet I cannot regard it as a task.
I really feel a sisterly love for these plants. [Continues
watering the shrubs.
KING.
Can this be the daughter of Kanwa ? The saintly
man, though descended from the great Kaśyapa, must
be very deficient in judgment to habituate such a
maiden to the life of a recluse.
The sage who would this form of artless grace
Inure to penance,—thoughtlessly attempts
To cleave in twain the hard acacia's stem 19
With the soft edge of a blue lotus-leaf.
Well! concealed behind this tree, I will watch her
without raising her suspicions. [Conceals himself.
SAKOONTALÁ.
Good Anasúyá, Priyamvadá has drawn this bark-
14
[ACT I.
ŚAKOONTALĂ; OR,
dress too tightly about my chest. I pray thee, loosen
it a little.
ANASÚYÁ.
I will.
(Loosens it.
PRIYAMVADÁ.
[Smiling.
Why do you lay the blame on me? Blame rather
your own blooming youthfulness which imparts ful-
ness to your bosom.
KING.
A most just observation !
This youthful form, whose bosom's swelling charms
By the bark's knotted tissue are concealed,
Like some fair bud close folded in its sheath,
Gives not to view the blooming of its beauty.
But what am I saying? In real truth this bark-dress,
though ill-suited to her figure, sets it off like an orna-
ment.
The lotus 20 with the Saivala 21 entwined
Is not a whit less brilliant: dusky spots
Heighten the lustre of the cold-rayed moon:
This lovely maiden in her dress of bark
Seems all the lovelier. E'en the meanest garb
Gives to true beauty fresh attractiveness.
ŚAKOONTALÁ. [Looking before her.
Yon Keśara-tree 22 beckons to me with its young
ACT 1.)
15
THE LOST RING.
shoots, which, as the breeze waves them to and fro,
appear like slender fingers. I will go and attend to it.
[Walks towards it.
PRIYAMVADÁ.
! Dear Sakoontalá, prithee, rest in that attitude one
moment.
ŚAKOONTALÁ.
Why so ?
PRIYAMVADÁ.
The Keśara-tree, whilst your graceful form bends
about its stem, appears as if it were wedded to some
lovely twining creeper.
14
ŚAKOONTALÁ.
Ah! saucy girl, you are most appropriately named
Priyamvadá (Speaker of flattering things ').
KING.
What Priyamvadá says, though coinplimentary, is
nevertheless true. Verily,
Her ruddy lip vies with the opening bud;
Her graceful arms are as the twining stalks ;
And her whole form is radiant with the glow
Of youthful beauty, as the tree with bloom.
ANASÚYÁ.
See, dear Sakoontala, here is the young jasmine,

16
ŚAKOONTAL); OR,
[ACT 1.
which you named the Moonlight of the Grove,' the
self-elected wife of the mango-tree. Have you for-
gotten it?
ŚAKOONTALÁ.
Rather will I forget myself. [Approaching the plant and
looking at it.] How delightful is the season when the
jasmine-creeper and the mango-tree seem thus to
unite in mutual embraces! The fresh blossoms of the
jasmine resemble the bloom of a young bride, and the
newly-formed shoots of the mango appear to make it
her natural protector. [Continues gazing at it.]
PRIYAMVADÁ.
Do you know my Anasúyá, why Śakoontala gazes
so intently at the jasmine ?
ANASÚYÁ.
No, indeed, I cannot imagine. I pray thee tell me.
PRIVAMVADÁ.
She is wishing that as the jasmine is united to
a suitable tree, so in like manner, she may obtain a
husband worthy of her.
ŚAKOONTALÁ.
Speak for yourself, girl; this is the thought in your
own mind.
[Continues watering the flowers.
ACT I.]
THE LOST RING.
KING.
Would that my union with her were permissible ! 23
and yet I hardly dare hope that the maiden is sprung
from a caste different from that of the Head of the
hermitage. But away with doubt:
That she is free to wed a warrior-king
My heart attests. For, in conflicting doubts,
The secret promptings of the good man's soul
Are an unerring index of the truth.
However, come what may, I will ascertain the fact.
ŚAKOONT \LÁ.
[In a flurry.
Ah! a bee, disturbed by the sprinkling of the water,
has left the young jasmine, and is trying to settle on
my face.
[Attempts to drive it away.
KING. '[Gazing at her ardently.
Beautiful! there is something charming even in her
repulse.
Where'er the bee his eager onset plies,
Now here, now there, she darts her kindling eyes :
What love hath yet to teach, fear teaches now,
The furtive glances and the frowning brow.
[In a tone of envy.
Ah, happy bee! how boldly dost thou try
To steal the lustre from her sparkling eye;
18
[ACT I.
ŠAKOONTALÁ; OR,
Y
And in thy circling movements hover near,
To murmur tender secrets in her ear:
Or, as she coyly waves her hand, to sip
Voluptuous nectar from her lower lip!
While rising doubts my heart's fond hopes destroy,
Thou dost the fulness of her charms enjoy.
ŠAKOONTALÁ.
This impertinent bee will not rest quiet. I must
move elsewhere. [Moving a few steps off, and casting a glance
around.] How now! he is following me here. Help!
my dear friends, help! deliver me from the attacks
of this troublesome insect.
PRIYAMVADÁ AND ANASÚYÁ.
How can we deliver you? Call Dushyanta to your
aid. The sacred groves are under the King's special
protection.
KING.
An excellent opportunity for me to show myself.
Fear not—[Checks himself when the words are half-uttered. Aside.]
But stay, if I introduce myself in this manner, they
will know me to be the King. Be it so, I will accost
them, nevertheless.
ŚAKOONTALÁ.
[Moring a step or two further off.
What! it still persists in following me,
ACT 1.]
Ig
THE LOST RING.
KING.
[Advancing hastily.
When mighty Puru's offspring sways the earth,
And o’er the wayward holds his threatening rod,
Who dares molest the gentle maids that keep
Their holy vigils here in Kanwa's grove ?
[All look at the King, and are embarrassed.
ANASÚYÁ.
Kind Sir, no outrage has been committed ; only
our dear friend here was teased by the attacks of a
troublesome bee..
[Points to ŚAKOONTALÁ.
KING.
[Turning to ŚAKOONTALK.
I trust all is well with your devotional rites ? 24
[ŚAKOONTALÁ stands confused and silent.
ANASÚTÁ.
All is well, indeed, now that we are honoured by
the reception of a distinguished guest. Dear Sakoon-
talá, go, bring from the hermitage an offering of
flowers, rice, and fruit. This water that we have
brought with us will serve to bathe our guest's feet. 25
KING.
The rites of hospitality are already performed ;
your truly kind words are the best offering I can
receivę,
ŚAKOONTALA; OR,
[ACT I.
PRIYAMVADÁ.
At least be good enough, gentle Sir, to sit down
awhile, and rest yourself on this seat shaded by the
leaves of the Sapta-parņa tree.26
KING.
You, too, must all be fatigued by your employment.
ANASÚYÁ.
Dear Sakoontala, there is no impropriety in our
sitting by the side of our guest: come, let us sit down
here.
[All sit down together.
ŚAKOONTALÁ.
[Aside.
sensible of emotions inconsistent with religious vows ?
KING.
[Gazing at them all by turns.
How charmingly your friendship is in keeping
with the equality of your ages and appearance !
PRIYAMVADÁ. [Aside to Anasuyá.
manner, and polite conversation, bespeak him a man
of high rank?
ANASÚYÁ.
I, too, my dear, am very curious to know. I will
ask him myself. [Aloud.] Your kind words, noble Sir,
ACT 1.)
THE LOST RING.
fill me with confidence, and prompt me to inquire of
what regal family our noble guest is the ornament ?
what country is now mourning his absence ? and what
induced a person so delicately nurtured to expose him-
self to the fatigue of visiting this grove of penance ?
ŚAKOONTALÁ.
[Aside.
Be not troubled, O my heart, Anasúyá is giving
utterance to thy thoughts.
KING
[Aside.
How now shall I reply? shall I make myself known,
or shall I still disguise my real rank? I have it; I
will answer her thus. [Aloud.] I am the person
charged by his majesty, the descendant of Puru, with
the administration of justice and religion; and am
come to this sacred grove to satisfy myself that the
rites of the hermits are free from obstruction.
ANASÚYÁ.
The hermits, then, and all the members of our
religious society, have now a guardian.
[ŠAKOONTALÁ gazes bashfully at the KING,
PRIYAMVADÁ AND ANASÚTÁ.
[Perceiving the state of her feelings, and of the
KING'S. Aside to ŚAKOONTALÁ.
Dear Sakoontalá, if father Kanwa were but at
home to-day-
ŠAKOONTALĂ; OR,
[ACT Í.
ŚAKOONTALÁ.
[Angrily.
What if he were ?
. PRIYAMVADÁ AND ANASÚYÁ.
He would honour this our distinguished guest with
an offering of the most precious of his possessions.
ŚAKOONTALÁ.
Go to! you have some silly idea in your minds. I
will not listen to such remarks,
KING.
May I be allowed, in my turn, to ask you maidens
a few particulars respecting your friend ?
PRIYAMVADÁ AND ANASÚVÁ.
Your request, Sir, is an honour.
KING.
The sage Kanwa lives in the constant practice of
austerities. How, then, can this friend of yours be
called his daughter?
ANASÚYÁ.
I will explain to you, Sir. You have heard of an
illustrious sage of regal caste, Viśwámitra, whose
family name is Kausika.27.
I have.
ACT 1.]
THE LOST RING.
ANASÚYÁ.
Know that he is the real father of our friend. The
venerable Kanwa is only her reputed father. He it
was who brought her up, when she was deserted by
her mother.
KING.
Deserted by her mother!' My curiosity is ex-
cited; pray let me hear the story from the beginning.
ANASÚYÁ.
You shall hear it, Sir. Some time since, this sage
of regal caste, while performing a most severe pen-
ance on the banks of the river Godávarí, excited the
jealousy and alarm of the gods; insomuch that they
despatched a lovely nymph named Menaká to inter-
rupt his devotions.
KING.
The inferior gods, I am aware, are jealous 28 of the
power which the practice of excessive devotion con-
fers on mortals.
ANASÚYÁ.
Well then, it happened that Viśwámitra, gazing on
the bewitching beauty of that nymph at a season
when, spring being in its glory-
[Stops short, and appears confused.
264
[ACT I.
17
ŠAKOONTAL); OR,
KING.
The rest may be easily divined. Śakoontalá, then,
is the offspring of the nymph.
ANASÚTÁ.
Just so.
KING.
It is quite intelligible.
How could a mortal to such charms give birth ?
The lightning's radiance flashes not from earth.
[ŠAKOONTALÁ remains modestly seated with downcast eyes.
[Aside.] And so my desire has really scope for its
indulgence. Yet I am still distracted by doubts,
remembering the pleasantry of her female com-
panions respecting her wish for a husband.
PRIYAMVADÁ.
[Looking with a smile at ŚAKOONTAL), and then
turning towards the KING.
You seem desirous, Sir, of asking something
further. [ŚAKOONTALÁ makes a chiding gesture with her finger.
KING.
You conjecture truly. I am so eager to hear the
particulars of your friend's history, that I have still
another question to ask.
PRIYAMVADÁ.
Scruple not to do so. Persons who lead the life of
hermits may be questioned unreservedly.
2.
ACT I.]
25
THE LOST RING.
KING.
I wish to ascertain one point respecting your friend.
Will she be bound by solitary vows
Opposed to love, till her espousals only ?
Or ever dwell with these her cherished fawns,
Whose eyes, in lustre vying with her own,
Return her gaze of sisterly affection ?
PRIYAMVADÁ.
Hitherto, Sir, she has been engaged in the practice
of religious duties, and has lived in subjection to her
foster-father; but it is now his fixed intention to give
her away in marriage to a husband worthy of her.
KING.
[Aside.
His intention may be easily carried into effect.
Be hopeful, O my heart, thy harrowing doubts
Are past and gone; that which thou didst believe
To be as unapproachable as fire,
Is found a glittering gem that may be touched.
ŚAKOONTALÁ. [Pretending anger.
Anasuyá, I shall leave you.
ANASÚYÁ.
Why so ?
ŚAKOONTALÁ.
That I may go and report this impertinent Priyam-
vadá to the venerable matron, Gautamí. 29
ŠAKOONTALÁ; OR,
[ACT 1.
ANASÚVÁ.
· Surely, dear friend, it would not be right to leave a
distinguished guest before he has received the rites of
hospitality, and quit his presence in this wilful manner.
[ŚAKOONTALÁ, without answering a word, moves away.
KING.
[Making a movement to arrest her departure,
but checking himself. Aside.
Ah! a lover's feelings betray themselves by his-
gestures.
When I would fain have stayed the maid, a sense
Of due decorum checked my bold design:
Though I have stirred not, yet my mien betrays
My eagerness to follow on her steps.
PRIYAMVADÁ.
[Holding ŚAKOONTALÁ back.
Dear Sakoontala, it does not become you to go away
in this manner.
ŚAKOONTALÁ.
[Frowning.
Why not, pray ?
PRIYAMVADÁ.
You are under a promise to water two more shrubs
for me. When you have paid your debt, you shall
go, and not before.
[Forces her to turn back.
KING.
Spare her this trouble, gentle maiden. The exer-
ACT I.)
tion of watering the shrubs has already fatigued
her.
The water-jar has overtasked the strength
Of her slim arms ; her shoulders droop, her
hands
Are ruddy with the glow of quickened pulses;
E'en now her agitated breath imparts
Unwonted tremor to her heaving breast;
The pearly drops that mar the recent bloom
Of the Sirisha pendent in her ear,
Gather in clustering circles on her cheek;
Loosed is the fillet of her hair; her hand
Restrains the locks that struggle to be free.
Suffer me, then, thus to discharge the debt for you.
[Offers a ring to PRIYAMVADÁ. Both the maidens,
reading the name DUSHYANTA on the seal, look
at each other with surprise.
KING.
Nay, think not that I am King Dushyanta. I am
only the King's officer, and this is the ring which I
have received from him as my credentials.
PRIYAMVADÁ.
The greater the reason you ought not to part with
the ring from your finger. I am content to release her
from her obligation at your simple request. [With a smile.]
Now, Sakoontalá, my love, you are at liberty to re-

**
-
CHILE
.
*
*
PL
AIS
-
-
-
-
-
-
28
[ACT I.
SAKOONTALA; OR,
1
tire, thanks to the intercession of this noble stranger,
or rather of this mighty prince.
ŚAKOONTALÁ.
[Aside.
My movements are no longer under my own con-
trol. (Aloud.] Pray, what authority have you over
me, either to send me away or keep me back ?
KING.
[Gazing at ŚAKOONTALÁ. A side.
Would I could ascertain whether she is affected to-
wards me as I am towards her! At any rate, my
hopes are free to indulge themselves. Because,
Although she mingles not her words with mine,
Yet doth her listening ear drink in my speech;
Although her eye shrinks from my ardent gaze,
No form but mine attracts its timid glances.
A VOICE BEHIND THE SCENES.
O hermits, be ready to protect the animals belong-
ing to our hermitage. King Dushyanta, amusing
himself with hunting, is near at hand.
Lo! by the feet of prancing horses raised,
Thick clouds of moving dust, like glittering
swarms
Of locusts, in the glow of eventide,
Fall on the branches of our sacred trees;
ACT 1.]
29
.
THE LOST RING.
Where hang the dripping vests of woven bark,
Bleached by the waters of the cleansing fountain.
And see!
Scared by the royal chariot in its course,
With headlong haste an elephant invades
The hallowed precincts of our sacred grove;
Himself the terror of the startled deer,
And an embodied hindrance to our rites.
The hedge of creepers clinging to his feet,
Feeble obstruction to his mad career,
Is dragged behind him in a tangled chain;
And with terrific shock one tusk he drives
Into the riven body of a tree,
Sweeping before him all impediments.
KING.
[A side.
Out upon it! my retinue are looking for me, and
are disturbing this holy retreat. Well! there is no
help for it; I must go and meet them.
PRIYAMVADÁ AND ANASÚYÁ.
Noble Sir, we are terrified by the accidental dis-
turbance caused by the wild elephant. Permit us to
return to the cottage.
KING.
[Hastily.
Go, gentle maidens. It shall be our care that no
injury happen to the hermitage,
[All rise up
ŚAKOONTALĂ; OR,
PRIYAMVADÁ AND ANASÚTÁ.
After such poor hospitality, we are ashamed to
request the honour of a second visit from you.
KING.
Say not so. The mere sight of you, sweet maidens,
has been to me the best entertainment.
ŚAKOONTALÁ.
Anasúyá, a pointed blade of Kusa-grass sº has pricked
my foot; and my bark-mantle is caught in the branch
of a Kuruvaka-bush.31 Be so good as to wait for me
until I have disentangled it.
[Exit with her two companions, after making pretexts
for delay, that she may steal glances at the KING.
KING.
I have no longer any desire to return to the city. I
encamp somewhere in the vicinity of this sacred grove.
In good truth, Śakoontalá has taken such possession
of my thoughts, that I cannot turn myself in any other
direction.
My limbs drawn onward leave my heart behind,
Like silken pennon borne against the wind.
LA
ACT II.]
3.1
THE LOST RINGTAT
LIV
.
7
ACT II.
SCENE.- A plain on the skirts of the forest.
Enter the Jester 32 MÁȚHAVYA, in a melancholy mood.
MÁȚHAVYA.
[Sighing.
Heigh-ho! what an unlucky fellow I am! worn to
a shadow by my royal friend's sporting propensities.
'Here's a deer!' There goes a boar!' 'Yonder's a
tiger!' This is the only burden of our talk, while in
the heat of the ineridian sun we toil on from jungle
to jungle, wandering about in the paths of the woods,
where the trees afford us no shelter. Are we thirsty ?
We have nothing to drink but the foul water of some
mountain stream, filled with dry leaves which give it
a most pungent flavour. Are we hungry? We have
nothing to eat but roast game,33 which we must swal-
low down at odd times, as best we can. Even at night
there is no peace to be had. Sleeping is out of the
question, with joints all strained by dancing attendance
upon my sporting friend; or if I do happen to doze,
I am awakened at the very earliest dawn by the hor-
rible din of a lot of rascally beaters and huntsmen,
who must needs surround the wood before sunrise, and
deafen me with their clatter. Nor are these my only
troubles. Here's a fresh grievance, like a new boil
32
[ACT I.
ŠAKOONTAL); OR,
rising upon an old one! Yesterday, while we were
lagging behind, my royal friend entered yonder her-
mitage after a deer; and there, as ill-luck would have
it, caught sight of a beautiful girl, called Śakoon-
talá, the hermit's daughter. From that moment, not
another thought about returning to the city! and all
last night not a wink of sleep did he get for think-
ing of the damsel. What is to be done? At any
rate I will be on the watch for him as soon as he
has finished his toilet. [Walking and looking about.] Oh!
here he comes, attended by the Yavana women,34
with bows in their hands, and wearing garlands of
wild flowers. What shall I do? I have it. I will
pretend to stand in the easiest attitude for resting
my bruised and crippled limbs. [Stands leaning on a staff.
Enter King DUSHYANTA, followed by a retinue in the
manner described.
KING.
True, by no easy conquest may I win her,
Yet are my hopes encouraged by her mien..
Love is not yet triumphant; but, methinks,
The hearts of both are ripe for his delights.
[Smiling.] Ah! thus does the lover delude himself ;
judging of the state of his loved one's feelings by his
own desires. But yet,
ACT 11.]
33
THE LOST RING.
The stolen glance with half-averted eye,
The hesitating gait, the quick rebuke
Addressed to her companion, who would fain
Have stayed her counterfeit departure; these
Are signs not unpropitious to my suit.
So eagerly the lover feeds his hopes,
Claiming each trivial gesture for his own,
MÁTHAVYA.
[Still in the same attitude.
Ah, friend, my hands cannot move to greet you
with the usual salutation. I can only just command
my lips to wish your Majesty victory.
KING.
Why, what has paralysed your limbs?
MÁȚHAVYA.
You might as well ask me how my eye comes to
water after you have poked your finger into it.
KING.
I don't understand you ; speak more intelligibly.
MÁȚHAVYA.
Ah, my dear friend, is yonder upright reed trans-
formed into a crooked plant by its own act, or by the
force of the current ?
KING.
The current of the river causes it, I suppose,
niin
VV
ŠAKOONTAL); OR,
[ACT II.
MÁTHAVYA.
Ay; just as you are the cause of my crippled limbs.
KING.
How so?
MÁTHAVYA.
Here are you living the life of a wild man of the
woods in a savage unfrequented region, while your
state affairs are left to shift for themselves; and as
for poor me, I am no longer master of my own limbs,
but have to follow you about day after day in your
chases after wild animals, till my bones are all crippled
and out of joint. Do, my dear friend, let me have
one day's rest.
KING.
[A side.
This fellow little knows, while he talks in this
manner, that my mind is wholly engrossed by recol-
lections of the hermit's daughter, and quite as disin-
clined to the chase as his own.
No longer can I bend my well-braced bow
Against the timid deer; nor e'er again
With well-aimed arrows can I think to harm
These her beloved associates, who enjoy
The privilege of her companionship;
Teaching her tender glances in return,
THE LOST RING.
MÁTHAVYA.
[Luoking in the King's face.
I may as well speak to the winds, for any attention
you pay to my requests. I suppose you have some-
thing on your mind, and are talking it over to yourself.
• KING.
[Smiling.
I was only thinking that I ought not to disregard
a friend's request.
MÁTIAVYA.
Then may the King live for ever! [Moves off.
Stay a moment, my dear friend. I have something
else to say to you.
MÁTHAVYA.
KING.
When you have rested, you must assist me in an-
other business, which will give you no fatigue.
MÁȚHAVYA.
In eating something nice, I hope.
KING.
You shall know at some future time.
MÁTHAVYA.
No time better than the present.
SAKOONTALA; OR,
[ACT II.
KING.
What ho! there.
WARDER.
[Entering.
What are your Majesty's commands ?
KING.
O Raivatika! bid the General of the forces attend.
WARDER.
I will, Sire. (Exit and re-enters with the GENERAL.] Come
forward, General ; his Majesty is looking towards you,
and has some order to give you.
GENERAL. [Looking at the KING.
Though hunting is known to produce ill effects, my
royal master has derived only benefit from it. For
Like the majestic elephant that roams
O’er mountain wilds, so does the King display
A stalwart frame, instinct with vigorous life.
His brawny arms and manly chest are scored
By frequent passage of the sounding string;
Unharmed he bears the mid-day sun; no toil
His mighty spirit daunts; his sturdy limbs,
Stripped of redundant flesh, relinquish nought
Of their robust proportions, but appear
In muscle, nerve, and sinewy fibre cased.
[Approaching the King.] Victory to the King! We have
ACT 11.]
THE LOST RING.
.
tracked the wild beasts to their lairs in the forest.
Why delay, when everything is ready ?
KING.
My friend Máthavya here has been disparaging the
chase, till he has taken away all my relish for it.
GENERAL. (A side to MÅTHAVYA.
Persevere in your opposition, my good fellow; I
will sound the King's real feelings, and humour him
accordingly. [Aloud.] The blockhead talks nonsense,
and your Majesty in your own person furnishes
the best proof of it. Observe, Sire, the advantage
and pleasure the hunter derives from the chase.
Freed from all grosser influences, his frame
Loses its sluggish humours, and becomes
Buoyant, compact, and fit for bold encounter.
'Tis his to mark with joy the varied passions,
Fierce heats of anger, terror, blank dismay,
Of forest animals that cross his path.
Then what a thrill transports the hunter's soul
When, with unerring course, his driven shaft
Pierces the moving mark! Oh! 'tis conceit
In moralists to call the chase a vice;
What recreation can compare with this ?
MÁȚHAVYA.
[Angrily.
Away: tempter, away! The King has recovered his
ŚAKOONTALÀ; OR,
[ACT II.
senses, and is himself again. As for you, you may,
if you choose, wander about from forest to forest, till
soine old bear seizes you by the nose, and makes
a mouthful of you.
KING.
My good General, as we are just now in the neigh-
bourhood of a consecrated grove, your panegyric upon
hunting is somewhat ill-timed, and I cannot assent
to all you have said. For the present,
All undisturbed the buffaloes shall sport
In yonder pool, and with their ponderous horns
Scatter its tranquil waters, while the deer,
Couched here and there in groups beneath the
shade
Of spreading branches, ruminate in peace.
And all securely shall the herd of boars
Feed on the marshy sedge; and thou, my bow,
With slackened string, enjoy a long repose.
GENERAL.
So please your Majesty, it shall be as you desire.
KING.
Recall, then, the beaters who were sent in advance
to surround the forest. My troops must not be
allowed to disturb this sacred retreat, and irritate
its pious inhabitants.
-
-
AČT 11.]
THE LOST RING.
Know that within the calm and cold recluse
Lurks unperceived a germ of smothered flame,
All-potent to destroy; a latent fire
That rashly kindled bursts with fury forth;
As in the disc of crystals that remains
Cool to the touch, until the solar ray
Fall on its polished surface, and excite
The burning heat that lies within concealed.
T
D
GENERAL.
Your Majesty's commands shall be obeyed.
MÁTHAVYA.'
Off with you, you son of a slave! Your nonsense
won't go down here, my fine fellow. [Exit GENERAL.
KING. [Looking at his attendants.
Here, women, take my hunting-dress; and you,
Raivatika, keep guard carefully outside.
ATTENDANTS.
We will, Sire.
[Exeunt.
MÁȚHAVYA.
Now that you have got rid of these plagues, who
have been buzzing about us like so many flies, sit
down, do, on that stone slab, with the shade of the
tree as your canopy, and I will seat myself by you
quite comfortably.
UU
40
[ACT II.
ŠAKOONTALÀ; OR,
KING.
Go you, and sit down first.
MÁTHAVYA.
Come along, then.
[Both walk on a little way, and seat thenuselves.
KING.
Máthavya, it may be said of you that you have
never beheld anything worth seeing; for your eyes
have not yet looked upon the loveliest object in
creation.
MÁȚHAVYA.
How can you say so, when I see your Majesty
before me at this moment?
ST
KING.
It is very natural that every one should consider
his own friend perfect; but I was alluding to
Sakoontala, the brightest ornament of these hal-
lowed groves.
MÁTHAVYA.
[Aside.
I understand well enough, but I am not going to
humour him. [Aloud.] If, as you intimate, she is a
hermit's daughter, you cannot lawfully ask her in
marriage. You may as well then dismiss her from
your mind, for any good the mere sight of her can do.
ACT 11.)
41
THE LOST RING.
KING.
Think you that a descendant of the mighty Puru
could fix his affections on an unlawful object ?
Though, as men say, the offspring of the sage,
The maiden to a nymph celestial owes
Her being, and by her mother left on earth,
Was found and nurtured by the holy man
As his own daughter, in this hermitage ;-
So, when dissevered from its parent stalk,
Some falling blossom of the jasmine,36 wafted
Upon the sturdy sun-flower, is preserved
By its support from premature decay.
MÁȚHAVYA.
[Smiling.
This passion of yours for a rustic maiden, when
you have so many gems of women at home in your
palace, seems to me very like the fancy of a man who
is tired of sweet dates, and longs for sour tamarinds
as a variety.
KING,
You have not seen her, or you would not talk in
this fashion.
MÁTHAVYA.
I can quite understand it must require something
surpassingly attractive to excite the admiration of
such a great man as you.
.
ŚAKOONTALÁ; OR,
(ACT II.
KING
I will describe her, my dear friend, in a few words.
Man's all-wise Maker, wishing to create
A faultless form, whose matchless symmetry
Should far transcend Creation's choicest works,
Did call together by his mighty will,
And garner up in his eternal mind,
A bright assemblage of all lovely things :
And then, as in a picture, fashion them
Into one perfect and ideal form.
Such the divine, the wondrous prototype,
Whence her fair shape was moulded into being.
MÁȚHAVYA.
If that's the case, she must indeed throw all other
beauties into the shade.
KING.
To my mind she really does.
This peerless maid is like a fragrant flower,
Whose perfumed breath has never been diffused;
A tender bud, that no profaning hand
Has dared to sever from its parent stalk ;
A gem of priceless water, just released
Pure and unblemished from its glittering bed.
Or may the maiden haply be compared
To sweetest honey, that no mortal lip
ACT II.]
THE LOST RING.
Has sipped; or, rather, to the mellowed fruit
Of virtuous actions in some former birth,37
Now brought to full perfection ? Lives the man
Whom bounteous heaven has destined to espouse
her ?
MÍTHAVYA.
Make haste, then, to her aid; you have no time to
lose, if you don't wish this fruit of all the virtues to
drop into the mouth of some greasy-headed rustic of
devout habits.
KING.
The lady is not her own mistress, and her foster-
father is not at home.
MÁTHAVYA.
Well, but tell me, did she look at all kindly upon you?
1
VO
KING.
Maidens brought up in a hermitage are naturally
shy and reserved; but for all that
She did look towards me, though she quick with-
drew
Her stealthy glances when she met my gaze;
She smiled upon me sweetly, but disguised
With maiden grace the secret of her smiles.
Coy love was half unveiled; then, sudden checked
By modesty, left half to be divined.
44
[ACT II.
ŚAKOONTALÀ; OR,
MÁTHAVYA.
Why, of course, my dear friend, you never could
seriously expect that at the very first sight she
would fall over head and ears in love with you, and
without more ado come and sit in your lap.
KING
LLI
When we parted from each other, she betrayed her
liking for me by clearer indications, but still with the
utinost modesty.
Scarce had the fair one from my presence passed,
When, suddenly, without apparent cause,
She stopped, and, counterfeiting pain, exclaimed,
“My foot is wounded by this prickly grass.'
Then, glancing at me tenderly, she feigned
Another charming pretext for delay,
Pretending that a bush had caught her robe
And turned as if to disentangle it.
MÁȚHAVYA.
I trust you have laid in a good stock of provisions,
for I see you intend making this consecrated grove
your game-preserve, and will be roaming here in quest
of sport for some time to come.
an
KING.
You must know, my good fellow, that I have been
recognised by some of the inmates of the hermitage.
ACT 11.]
THE LOST RING.
Now I want the assistance of your fertile invention,
in devising some excuse for going there again.
MÁȚHAVYA.
There is but one expedient that I can suggest. You
are the King, are you not ?
KING.
What then ?
MÁȚHAVYA.
Say you have come for the sixth part of their
grain,38 which they owe you for tribute.
KING.
No, no, foolish man ; those hermits pay me a very
different kind of tribute, which I value more than
heaps of gold or jewels; observe,
The tribute which my other subjects bring
Must moulder into dust, but holy men
Present me with a portion of the fruits
Of penitential services and prayers-
A precious and imperishable gift.
A VOICE BEHIND THE SCENES.
We are fortunate ; here is the object of our search.
KING.
[Listeni ng.
Surely those must be the voices of hermits, to judge
by their deep tones.
ŠAKOONTALÁ; OR,
[ACT II.
WARDER.
[Entering.
Victory to the King ! two young hermits are in wait-
ing outside, and solicit an audience of your Majesty.
KING.
Introduce them immediately.
WARDER,
I will, my liege. [Goes out, and re-enters with Two Young
HERMITs.] This way, Sirs, this way.
[Both the HERMITS look at the King.
FIRST HERMIT.
How majestic is his mien, and yet what confidence
it inspires ! But this might be expected in a king,
whose character and habits have earned for him
a title only one degree removed from that of a
Saint.39
In this secluded grove, whose sacred joys
All may participate, he deigns to dwell
Like one of us; and daily treasures up
A store of purest merit for himself,
By the protection of our holy rites.
In his own person wondrously are joined
Both majesty and saintlike holiness :
And often chanted by inspirëd bards,40
His hallowed title of 'Imperial Sage'
Ascends in joyous accents to the skies,
ACT II.]
THE LOST RING.
1
SECOND HERMIT.
Bear in mind, Gautama, that this is the great
Dushyanta, the friend of Indra.
FIRST HERMIT.
What of that?'
SECOND HERMIT.
Where is the wonder if his nervous arm,
Puissant and massive as the iron bar
That binds a castle-gateway, singly sways
The sceptre of the universal earth,
E’en to its dark-green boundary of waters?
Or if the gods, beholden to his aid
In their fierce warfare with the powers of hell,41
Should blend his name with Indra's in their
songs
Of victory, and gratefully accord
No lower meed of praise to his braced bow,
Than to the thunders of the god of heaven?
BOTII THE HERMITS.
Victory to the King !
KING.
[Rising from his seat.
Hail to you both!
BOTH THE HERMITS.
Heaven bless your Majesty!
C
[Z'hey offer fruits.
ŠAKOONTALA; OR,
[ACT II.
KING.
[Respectfully receiving the offering.
Tell me, I pray you, the object of your visit ?
BOTII THE HERMITS.
The inhabitants of the hermitage, having heard of
your Majesty's sojourn in our neighbourhood, make
this humble petition.
KING.
What are their commands ?
BOTH THE HIERMITS.
In the absence of our Superior, the great Sage
Kanwa, evil demons are disturbing our sacrificial
rites.42 Deign, therefore, accompanied by your cha-
rioteer, to take up your abode in our hermitage for
a few days.
KING.
I am honoured by your invitation.
MÁTHAVYA.
[A side.
Most opportune and convenient, certainly!
KING.
[Smiling.
Ho! there, Raivatika! Tell the charioteer from
me to bring round the chariot with my bow.
WARDER.
I will, Sire.
[Exit.
ACT 11.)
THE LOST RING.
BOTH THE HERMITS.
[Joyfully.
Well it becomes the King by acts of grace
To emulate the virtues of his race..
Such acts thy lofty destiny attest;
Thy mission is to succour the distressed.
KING. [Bowing to the HERMITS.
Go first, reverend Sirs, I will follow you immediately.
Dory
BOTH THE HERMITS.
May victory attend you !
[Exeunt.
KING.
My dear Máthavya, are not you full of longing to
see Sakoontalá ?
MÁTHAVYA.
To tell you the truth, though I was just now brim-
full of desire to see her, I have not a drop left since
this piece of news about the demons.
KING.
Never fear; you shall keep close to me for protec-
tion.
MÁȚHAVYA.
Well, you must be my guardian-angel, and act the
part of a very Vishnu 43 to me.
WARDER.
[Entering.
Sire, the chariot is ready, and only waits to con-
50
[ACT II.
ŠAKOONTALÀ; OR,
duct you to victory. But here is a messenger named
Karabhaka, just arrived from your capital, with a
message from the Queen, your mother.
[Respectfully.
How say you ? a Inessenger from the venerable
Queen ?
KING.
WARDER.
Even so.
KING.
Introduce him at once.
WARDER.
I will, Sire. [Goes out and re-enters with KARABHAKA.] Be-
hold the King. Approach.
KARABHAKA.
Victory to the King! The Queen-mother bids me
say that in four days from the present time she in-
tends celebrating a solemn ceremony for the advance-
ment and preservation of her son. She expects that
your Majesty will honour her with your presence on
that occasion.
KING.
This places me in a dilemma. Here, on the one
hand, is the commission of these holy men to be exe-
cuted; and, on the other, the command of my revered
ACT 11.]
THE LOST RING.
parent to be obeyed. Both duties are too sacred to be
neglected. What is to be done?
MÁTHAVYA.
You will have to take up an intermediate position
between the two, like King Trišanku,44 who was sus-
pended between heaven and earth, because the sage
Viśwámitra commanded him to mount up to heaven,
and the gods ordered him down again.
KING.
I am certainly very much perplexed. For here,
Two different duties are required of me
In widely distant places; how can I .
In my own person satisfy them both ?
Thus is my mind distracted, and impelled
In opposite directions like a stream
That, driven back by rocks, still rushes on,
Forming two currents in its eddying course.
[Reflecting.] Friend Máthavya, as you were my play-
fellow in childhood, the Queen has always received
you like a second son; go you, then, back to her, and
tell her of my solemn engagement to assist these
holy men. You can supply my place in the cere-
mony, and act the part of a son to the Queen.
MÁTHAVYA.
With the greatest pleasure in the world; but don't .
MT
52
ŚAKOONTALA; OR,
[ACT II.
suppose that I am really coward enough to have the
slightest fear of those trumpery demons.
KING.
[Smiling.
Oh! of course not; a great Bráhman like you
could not possibly give way to such weakness.
MÁTHAVYA.
You must let me travel in a manner suitable to the
King's younger brother.
KING.
Yes, I shall send my retinue with you, that
there may be no further disturbance in this sacred
forest.
MÁTHAVYA.
[With a strut.
Already I feel quite like a young prince.
KING.
[Aside.
This is a giddy fellow, and in all probability he
will let out the truth about my present pursuit to the
women of the palace. What is to be done? I must
say something to deceive him. Caloud to MÁļHavya, taking
him by the hand.] Dear friend, I am going to the her-
mitage wholly and solely out of respect for its
pious inhabitants, and not because I have really
any liking for Sakoontalá, the hermit's daughter.
Observe,
ACT 11.]
THE LOST RING.
What suitable communion could there be
Between a monarch and a rustic girl ?
I did but feign an idle passion, friend,
Take not in earnest what was said in jest.
MÁTHAVYA.
Don't distress yourself; I quite understand.
Exeunt.
ŚAKOONTALA; OR,
TACT III.
PRELUDE TO ACT III.
SCENE.—The Hermitage.
Enter a Young BRÁIIMAN carrying bundles of Kusa-
grass for the use of the sacrificing priest.
1
YOUNG BRÁHMAN.
How wonderful is the power of King Dushyanta !
No sooner did he enter our hermitage, than we were
able to proceed with our sacrificial rites, unmolested
by the evil demons.
No need to fix the arrow to the bow;
The mighty monarch sounds the quivering string,
And, by the thunder of his arms dismayed,
Our demon foes are scattered to the wind.
I must now, therefore, make haste and deliver to
the sacrificing priests these bundles of Kuśa-grass, to
be strewn round the altar. [Walking and looking about; then
addressing some one of the stage.] Why, Priyamvadá, for
whose use are you carrying that ointment of Usíra-
root 45 and those lotus-leaves with fibres attached to
them? [Listening for her answer.] What say you ?—that
Sakoontalá is suffering from fever produced by ex-
posure to the sun, and that this ointment is to cool
her burning frame? Nurse her with care, then,
ACT 11.]
55
THE LOST RING.
Priyamvadá, for she is cherished by our reverend
superior as the very breath of his nostrils.46 I, for
my part, will contrive that soothing waters, hallowed
in the sacrifice, be administered to her by the hands
of Gautamí.
[Exit.
ŚAKOONTALÁ; OR,
[ACT III.
OT
ACT III.
SCENE—The Sacred Grove,
Enter King DUSHYANTA, with the air of one in love.
KING. [Sighing thoughtfully.
The holy sage possesses magic power
In virtue of his penance; she, his ward,
Under the shadow of his tutelage,
Rests in security. I know it well ;
Yet sooner shall the rushing cataract
In foaming eddies re-ascend the steep,
Than my fond heart turn back from its pursuit.
God of Love ! God of the flowery shafts ! 47 we are
all of us cruelly deceived by thee, and by the Moon,
however deserving of confidence you may both appear.
For not to us do these thine arrows seem
Pointed with tender flowerets ; not to us
Doth the pale Moon irradiate the earth
With beams of silver fraught with cooling dews :
But on our fevered frames the moon-beams fall
Like darts of fire, and every flower-tipt shaft
Of Káma 47 as it probes' our throbbing hearts,
Seems to be barbed with hardest adamant.
Adorable god of love ! hast thou no pity for me ?
[In a tone of unguish.] How can thy arrows be so sharp
ACT 111.]
THE LOST RING.
when they are pointed with flowers ? Ah! I know the
reason :
E'en now in thine unbodied essence lurks
The fire of Siva's anger,48 like the flame
That ever hidden in the secret depths
Of ocean, smoulders there unseen.49 How else
Could'st thou, all immaterial as thou art,
Inflame our hearts thus fiercely ?--thou, whose
form
Was scorched to ashes by a sudden flash
From the offended god's terrific eye.
Yet, methinks,
Welcome this anguish, welcome to my heart
These rankling wounds inflicted by the god,
Who on his scutcheon bears the monster-fish 50
Slain by his prowess ; welcome death itself,
So that, commissioned by the lord of love,
This fair one be my executioner.
Adorable divinity! Can I by no reproaches excite
your commiseration ?
Have I not daily offered at thy shrine
Innumerable vows, the only food
Of thine ethereal essence? Are my prayers
Thus to be slighted ? Is it meet that thou
Should'st aim thy shafts at thy true votary's heart,
Drawing thy bow-string even to thy ear ?
ŠAKOONTALÁ; OR,
[ACT III.
.
[Pacing up and down in a melancholy manner.] Now that the
holy men have completed their rites, and have no more
need of my services, how shall I dispel my melan-
choly ? [Sighing.] I have but one resource. Oh for
another sight of the idol of my soul! I will seek her.
[Glancing at the sun.] In all probability, as the sun's heat
is now at its height, Śakoontalá is passing her time
under the shade of the bowers on the banks of the
Máliní, attended by her maidens. I will go and look
for her there. [Walking and looking about.] I suspect the
fair one has but just passed by this avenue of young
trees.
Here, as she tripped along, her fingers plucked
The opening buds : these lacerated plants,
Shorn of their fairest blossoms by her hand,
Seem like dismembered trunks, whose recent
wounds
Are still unclosed; while from the bleeding socket
Of many a severed stalk, the milky juice
Still slowly trickles, and betrays her path.
[Feeling a breeze.] What a delicious breeze meets me in
this spot!
Here may the zephyr, fragrant with the scent
Of lotuses, and laden with the spray
Caught from the waters of the rippling stream,
Fold in its close embrace my fevered limbs.
ACT III.]
THE LOST RING.
0
Walking and looking about.] She must be somewhere in the
neighbourhood of this arbour of overhanging creepers
enclosed by plantations of cane;
[Looking down.
For at the entrance here I plainly see
A line of footsteps printed in the sand.
Here are the fresh impressions of her feet;
Their well - known outline faintly marked in
front,
More deeply towards the heel ; betokening
The graceful undulation of her gait.51
I will peep through those branches. [Walking and look-
ing. With transport.] Ah! now my eyes are gratified by
an entrancing sight. Yonder is the beloved of my
heart reclining on a rock strewn with flowers, and
attended by her two friends. How fortunate! Con-
cealed behind the leaves, I will listen to their conver-
sation, without raising their suspicions.
[Stands concealed, and gazes at them.
SAKOONTALÁ, and her two attendants, holdiny fans in their
hands, are discovered as described.
PRIYAMVADÁ AND ANASÚYÁ.
[Fanning her. In a tone of affection.
Dearest Sakoontala, is the breeze raised by these ·
• broad lotus-leaves refreshing to you?
ŠAKOONTAL); OR,
LA
[ACT III.
ŚAKOONTALÁ.
Dear friends, why should you trouble yourselves to
fan me?
[PRIYAMVADÁ and ANASÚTÁ look sorrowfully at one another.
i
KING.
Śakoontalá seems indeed to be seriously ill. "[Thought-
fully.! Can it be the intensity of the heat that has
affected her ? or does my heart suggest the true cause
of her malady ? [Gazing at her passionately.] Why should I
doubt it?
The maiden's spotless bosom is o'erspread
With cooling balsam ; on her slender arm
Her only bracelet, twined with lotus-stalks,
Hangs loose and withered : her recumbent form
Expresses languor. Ne'er could noon-day sun
Inflict such fair disorder on a maid-
No, love, and love alone, is here to blame.
PRIYAMVADÁ. [Aside to ANASÚTÁ.
I have observed, Anasúyá, that Śakoontala has been
indisposed ever since her first interview with King
Dushyanta. Depend upon it, her ailment is to be
traced to this source.
ANASÚYÁ.
The same suspicion, dear, has crossed my mind.
But I will at once ask her and ascertain the truth.
ACT 111.]
THE LOST RING.
Y
[Aloud.] Dear Sakoontala, I am about to put a question
to you. Your indisposition is really very serious.
ŚAKOONTALÁ.
[Half-rising from her couch.
What were you going to ask ?
ANASÚYÁ.
We know very little about love-matters, dear
Sakoontalá; but for all that, I cannot help suspect-
ing your present state to be something similar to
that of the lovers we have read about in romances.
Tell us frankly what is the cause of your disorder.
It is useless to apply a remedy, until the disease be
understood.
KING.
Anasúyá bears me out in my suspicion.
ŚAKOONTALÁ.
[A side.
I am, indeed, deeply in love; but cannot rashly
disclose my passion to these young girls.
PRIYAMVADÁ.
What Anasúyá says, dear Sakoontalá, is very just.
Why give so little heed to your ailment? Every day
you are becoming thinner; though I must confess
your complexion is still as beautiful as ever.
KING.
Priyamvadá speaks most truly,
ŚAKOONTALÁ; OR,
[ACT III.
Sunk is her velvet cheek; her wasted bosom
Loses its fulness; e'en her slender waist
Grows more attenuate; her face is wan,
Her shoulders droop ;-as when the vernal blasts
Sear the young blossoms of the Mádhaví,52 .!
Blighting their bloom; so mournful is the change,
Yet in its sadness, fascinating still,
Inflicted by the mighty lord of love
On the fair figure of the hermit's daughter.
ŚAKOONTALÁ.
Dear friends, to no one would I rather reveal the
nature of my malady than to you; but I should only
be troubling you.
PRIYAMVADÁ AND ANASÚYÁ...
Nay, this is the very point about which we are so
solicitous. Sorrow shared with affectionate friends
is relieved of half its poignancy.
LV
KING.
Pressed by the partners of her joys and griefs,
Her much beloved companions, to reveal
The cherished secret locked within her breast,
She neėds must utter it; although her looks
Encourage me to hope, my bosom throbs
As anxiously I listen for her answer.
ACT III.]
THE LOST RING.
ŚAKOONTALÁ.
Know then, dear friends, that from the first moment.
the illustrious Prince who is the guardian of our sacred
grove presented himself to my sight_[Stops short, and
appears confused.
PRIYAMVADÁ AND ANASÚYÁ.
Say on, dear Sakoontalá, say on.
ŚAKOONTALÁ.
Ever since that happy moment, my heart's affections
have been fixed upon him, and my energies of mind
and body have all deserted me, as you see.
KING.
[With rapture.
Her own lips have uttered the words I most longed
to hear.
Love lit the flame, and Love himself allays,
My burning fever, as when gathering clouds
Rise o'er the earth in summer's dazzling noon,
And grateful showers dispel the morning heat.
ŚAKOONTALÁ.
You must consent, then, dear friends, to contrive
some means by which I may find favour with the
King, or you will have ere long to assist at my
funeral.
KING.
Enough! These words remove all my doubts.
boda.
ŠAKOONTALÀ; OR,
[ACT III.
PRIYAMVADÁ. [A side to ANASÚYÁ.
She is far gone in love, dear Anasuyá, and no time
ought to be lost. Since she has fixed her affections
on a monarch who is the ornament of Puru's line, we
need not hesitate for a moment to express our approval.
ANASÚYÁ,
I quite agree with you.
PRIYAMVADÁ.
[Aloud.
We wish you joy, dear Sakoontala. Your affections
are fixed on an object in every respect worthy of you.
The noblest river will unite itself to the ocean, and
the lovely Mádhaví-creeper clings naturally to the
Mango, the only tree capable of supporting it.
KING.
Why need we wonder if the beautiful constellation
Viśákhá pines to be united with the Moon.53
ANASÚYÁ.
By what stratagem can we best secure to our friend
the accomplishment of her heart's desire both speedily
and secretly ?
PRIYAMVADÁ.
The latter point is all we have to think about. As
to 'speedily,' I look upon the whole affair as already
settled.
ACT 111.]
THE LOST RING.
ANASÚYÁ.
How so?
PRIYAMV
Did you not observe how the King betrayed his
liking by the tender manner in which he gazed upon
her, and how thin he has become the last few days, as
if he had been lying awake thinking of her ?
ve
KING. . [Looking at himself.
Quite true! I certainly am becoming thin from
want of sleep:
As night by night in anxious thought I raise
This wasted arm to rest my sleepless head,
My jewelled bracelet, sullied by the tears
That trickle from my eyes in scalding streams,
Slips towards my elbow from my shrivelled wrist.
Oft I replace the bauble, but in vain;
So easily it spans the fleshless limb
That e’en the rough and corrugated skin,
Scarred by the bow-string, will not check its fall.54
PRIYAMVADÁ.
[Thoughtfully.
An idea strikes me, Anasúyá. Let Sakoontalá
write a love-letter; I will conceal it in a flower, and
contrive to drop it in the King's path. He will surely,
mistake it for the remains of some sacred offering
and will, in all probability, pick it up.
ŚAKOONTALÁ; OR,
[ACT III.
ANASÚYÁ.
A very ingenious device! It has my entire ap-
proval; but what says Śakoontalá ?
ŚAKOONTALÁ.
I must consider before I can consent to it.
PRIYAMVADÁ.
Could you not, dear Sakoontala, think of some
pretty composition in verse, containing a delicate
declaration of your love ?
SAKOONTALÁ.
Well, I will do my best ; but my heart trembles
when I think of the chances of a refusal.
KING.
KING.
[With rapture.
Too timid maid, here stands the man from whom
Thou fearest a repulse ; supremely blessed
To call thee all his own. Well might he doubt
His title to thy love; but how could'st thou
Believe thy beauty powerless to subdue him ?
PRIYAMVADÁ AND ANASÚYÁ.
You undervalue your own merits, dear Sakoontalá.
What man in his senses would intercept with the
skirt of his robe the bright rays of the autumnal
moon, which alone can allay the fever of his body?
CU V
ACT 111.]
THE LOST RING.
ŚAKOONTAĻÁ.
[Smiling.
Then it seems I must do as I am bid. [Sits down and
appears to be thinking.
KING.
How charming she looks! My very eyes forget to
wink, jealous of losing even for an instant a sight so
enchanting.
How beautiful the movement of her brow,
As through her mind love's tender fancies flow !
And, as she weighs her thoughts, how sweet to
trace
The ardent passion mantling in her face !
ŚAKOONTALÁ.
Dear girls, I have thought of a verse, but I have no
writing-materials at hand.
PRIYAMY
Write the letters with your nail on this lotus-leaf,
which is smooth as a parrot's breast.
ŚAKOONTALÁ. [After writing the verse.
Listen, dear friends, and tell me whether the ideas
are appropriately expressed.
PRIYAMVADÁ AND ANASÚYÁ.
We are all attention.
ŚAKOONTAL); OR,
[ACT III.
ŚAKOONTALÁ.
[Reads.
I know not the secret thy bosom conceals,
Thy form is not near me to gladden my sight;
But sad is the tale that my fever reveals,
Of the love that consumes me by day and by
night.
KING.
[Advancing hastily towards her.
Nay, Love does but warm thee, fair maiden,-thy
frame
Only droops like the bud in the glare of the noon;
But me he consumes with a pitiless flame,
As the beams of the day-star destroy the pale
PRIYAMVADÁ AND ANASÚYÁ.
[Looking at him joyfully and rising to salute him.
Welcome, the desire of our hearts, that so speedily
presents itself !
[ŚAKOONTALÁ makes an effort to rise.
KING.
Nay, trouble not thyself, dear maiden,
Move not to do me homage ; let thy limbs
Still softly rest upon their flowery couch,
And gather fragrance from the lotus-stalks.
Bruised by the fevered contact of thy frame.
ACT 111.]
60
THE LOST RING.
ANASÚYÁ.
Deign, gentle Sir, to seat yourself on the rock on
which our friend is reposing.
[The KING sits down. ŚAKOONTALÁ is confused.
PRIYAMY
Any one may see at a glance that you are deeply
attached to each other. But the affection I have for
my friend prompts me to say something of which you
hardly require to be informed.
KING.
Do not hesitate to speak out, my good girl. If you
omit to say what is in your mind, you may be sorry
for it afterwards.
PRIYAMVADÁ.
Is it not your special office as a King to remove the
suffering of your subjects who are in trouble ?
KING.
Such is my duty, most assuredly.
PRIYAMVADÁ.
Know, then, that our dear friend has been brought
to her present state of suffering entirely through love
for you. Her life is in your hands; take pity on her
and restore her to health.
SAKOONTALA; OR,
[ACT III.
KING.
Excellent maiden, our attachment is mutual. It is
I who am the most honoured by it.
ŚAKOONTALÁ. [Looking at PRIYAMVADÁ.
What do you mean by detaining the King, who
must be anxious to return to his royal consorts after
so long a separation ?
KING.
Sweet maiden, banish from thy mind the thought
That I could love another. Thou dost reign
Supreme, without a rival, in my heart,
And I am thine alone: disown me not,
Else must I die a second deadlier death,—
Killed by thy words, as erst by Káma's 47 shafts.
ANASÚYÁ.
Kind Sir, we have heard it said that kings have
many favourite consorts. You must not, then, by
your behaviour towards our dear friend, give her
relations cause to sorrow for her.
KING.
Listen, gentle maiden, while in a few words I quiet
your anxiety.
Though many beauteous forms my palace grace,
Henceforth two things alone will I esteem
ACT III.]
THE LOST RING.
The glory of my royal dynasty ;-
My sea-girt realm, and this most lovely maid.
PRIYAMVADÁ AND ANASÚYÁ.
We are satisfied by your assurances,
PRIYAMVADÁ. [Glancing on one side.
See, Anasuyá, there is our favourite little fawn
running about in great distress, and turning its eyes
in every direction as if looking for its mother; come,
let us help the little thing to find her. [Both move away.
śAKOONTALÁ.
Dear friends, dear friends, leave me not alone and
unprotected. Why need you both go?
PRIYAMVADÁ AND ANASÚYÁ.
Unprotected! when the Protector of the world is
at your side.
[Exeunt.
ŚAKOONTALÁ.
What! have they both really left me ?
n
Distress not thyself, sweet maiden. Thy adorer is
at hand to wait upon thee.
Oh let me tend thee, fair one, in the place
Of thy dear friends; and with broad lotus fans,
Raise cooling breezes to refresh thy frame;
Or shall I rather, with caressing touch,
ŚAKOONTĀLÁ; OR,
[ACT III.
Allay the fever of thy limbs, and soothe
Thy aching feet, beauteous as blushing lilies ?
ŚAKOONTALÁ.
Nay, touch me not. I will not incur the censure
of those whom I am bound to respect. [Rises and attempts
to go.
KING.
Fair one, the heat of noon has not yet subsided, and
thy body is still feeble.
How canst thou quit thy fragrant couch of
flowers,
And from thy throbbing bosom cast aside
Its covering of lotus-leaves, to brave
With weak and fainting limbs the noon-day heat?
[Forces her to turn back.
ŚAKOONTALÁ.
Infringe not the rules of decorum, mighty de-
scendant of Puru. Remember, though I love you,
I have no power to dispose of myself.
KING.
Why this fear of offending your relations, timid
maid? When your venerable foster-father hears of
it, he will not find fault with you. He knows that
the law permits us to be united without consulting
him,
ACT III.]
THE LOST RING.
In Indra's heaven, so at least 'tis said,
No nuptial rites prevail,55 nor is the bride
Led to the altar by her future spouse ;
But all in secret does the bridegroom plight
His troth, and each unto the other vow
Mutual allegiance. Such espousals, too,
Are authorised on earth, and many daughters
Of royal saints thus wedded to their lords
Have still received their father's benison.
ŚAKOONTALÁ.
Leave me, leave me; I must take counsel with my
female friends.
KING.
I will leave thee when-
ŚAKOONTALÁ.
When ?
KING.
When I have gently stolen from thy lips
Their yet untasted nectar, to allay
TNT
..
Sips the fresh honey from the opening bud.
[Attempts to raise her face. ŠAKOONTALá tries to
prevent him.
A VOICE BEHIND THE SCENES,
The loving birds, doomed by fate to nightly separa-
74
[ACT III.
ŠAKOONTALÁ; OR,
tion,56 must bid farewell to each other, for evening is
at hand.
ŚAKOONTALÁ. [In confusion.
Great Prince, I hear the voice of the matron Gau-
tamí. She is coming this way to inquire after my
health. Hasten and conceal yourself behind the
branches.
KING.
I will
[Conceals himself
Enter GAUTAMÍ with a vase in her hand, preceded
by two attendants.
ATTENDANTS.
This way, most venerable Gautamí.
GAUTAMÍ.
[Approaching SAKOONTALÁ.
My child, is the fever of thy limbs allayed ?
ŚAKOONTALÁ.
Venerable mother, there is certainly a change for:
the better.
GAUTAMÍ.
· Let me sprinkle you with this holy water, and all
your ailments will depart. [Sprinkling ŠAKOONTAIÁ on the
head.] The day is closing, my child; come, let us go
to the cottage.
· [They all move away.
ACT 111.]
75
THE LOST RING.
ŚAKOONTALÁ.
[A side.
Oh my heart! thou didst fear to taste of happiness
when it was within thy reach. Now that the object
of thy desires is torn from thee, how bitter will be
thy remorse, how distracting thine anguish! [Moving
on a few steps and stopping. Aloud.] Farewell! bower of
creepers, sweet soother of my sufferings, farewell !
may I soon again be happy under thy shade.
: [Exit reluctantly with the others.
KING.
[Returning to his former seat in the arbour. Sighing.
Alas! how many are the obstacles to the accom-
plishment of our wishes!
Albeit she did coyly turn away
Her glowing cheek, and with her fingers guard
Her pouting lips, that murmured a denial
In faltering accents, she did yield herself
A sweet reluctant captive to my will,
As eagerly I raised her lovely face:
But ere with gentle force I stole the kiss
Too envious Fate did mar my daring purpose.
Whither now shall I betake myself ? I will tarry for
a brief space in this bower of creepers, so endeared to
me by the presence of my beloved Śakoontalá.
[Looking round.
ŚAKOONTALA; OR,
[ACT III.
Here printed on the flowery couch I see
The fair impression of her slender limbs;
Here is the sweet confession of her love,
Traced with her nail upon the lotus-leaf;
And yonder are the withered lily-stalks
That graced her wrist. While all around I view
Things that recal her image, can I quit
This bower, e’en though its living charm be fled ?
A VOICE IN THE AIR.
Great King,
Scarce is our evening sacrifice begun,
When evil demons, lurid as the clouds
That gather round the dying orb of day,
Cluster in hideous troops, obscene and dread,
About our altars, casting far and near
Terrific shadows, while the sacred fire
Sheds a pale lustre o'er their ghostly shapes.
KING.
I come to the rescue, I come.
[Exit.
ACT IV.]
77
THE LOST RING.
PRELUDE TO ACT IV.
SCENE.—The Garden of the Hermitage.
Enter PRIYAMVADÁ and ANASÚYÁ in the act of gathering
flowers.
LI
ANASÚYÁ.
Although, dear Priyamvadá, it rejoices my heart
to think that Sakoontala has been happily united to
a husband in every respect worthy of her, by the
form of marriage prevalent among Indra's celestial
musicians, nevertheless, I cannot help feeling some-
what uneasy in my mind.
PRIYAMVADÁ.
How so?
ANASÚYÁ.
You know that the pious King was gratefully dis-
missed by the hermits on the successful termination
of their sacrificial rites. He has now returned to his
capital, leaving Sakoontalá under our care; and it
may be doubted whether, in the society of his royal
consorts, he will not forget all that has taken place
in this hermitage of ours.
ŚAKOONTAL); OR,
[ACT IV.
PRIYAMVADÁ.
On that score be at ease. Persons of his noble
nature are not so destitute of all honourable feeling.
I confess, however, that there is one point about which
I am rather anxious. What, think you, will Father
Kanwa say when he hears what has occurred ?
ANASÚYÁ.
In iny opinion, he will approve the marriage.
PRIYAMVADÁ.
What makes you think so ?
ANASÚYÁ.
From the first, it was always his fixed purpose to
bestow the maiden on a husband worthy of her; and
since heaven has given her such a husband, his wishes
have been realized without any trouble to himself.
PRIYAMVADÁ.
[Looking at the flower-basket.
We have gathered flowers enough for the sacred
offering, dear Anasúyá.
ANASÚYÁ.
Well, then, let us now gather more, that we may
have wherewith to propitiate the guardian-deity of
our dear Sakoontalá.
PRIYAMVADÁ.
By all means.
[They continue gathering.
ACT IV.)
79
THE LOST RING.
A VOICE BEHIND THE SCENES.
Ho there ! See you not that I am here ?
ANASÚYÁ.
[Listening.
That must be the voice of a guest announcing his
arrival.
PRIYAMVADÁ.
Surely, Śakoontalá is not absent from the cottage.
[Aside.] Her heart at least is absent, I fear.
ANASÚYÁ.
Come along, come along; we have gathered flowers
enough.
[They move away.
THE SAME VOICE BEHIND THE SCENES.
Woe to thee, maiden, for daring to slight a guest
like me!
Shall I stand here unwelcomed ; even I,
A very mine of penitential merit,
Worthy of all respect ? Shalt thou, rash maid,
Thus set at nought the ever sacred ties
Of hospitality ? and fix thy thoughts
Upon the cherished object of thy love,
While I am present ? Thus I curse thee, then-
He, even he of whom thou thinkest, he
Shall think no more of thee; nor in his heart
Retain thine image. Vainly shalt thou strive
80
[ACT IV.
ŚAKOONTAL); OR,
To waken his remembrance of the past;
He shall disown thee, even as the sot,
Roused from his midnight drunkenness, denies
· The words he uttered in his revellings.
PRIYAMVADÁ.
Alas! alas ! I fear a terrible misfortune has occur-
red. Sakoontala, from absence of mind, must have
offended some guest whom she was bound to treat
with respect. [Looking behind the scenes.] Ah! yes; I see,
and no less a person than the great sage Durvásas, 57
who is known to be most irascible. He it is that has
just cursed her, and is now retiring with hasty strides,
trembling with passion, and looking as if nothing could
turn him. His wrath is like a consuming fire.
ANASÚYÁ.
Go quickly, dear Priyamvadá, throw yourself at
his feet, and persuade him to come back, while I
prepare a propitiatory offering 58 for him, with water
and refreshments.
PRIYAMVADÁ.
I will.
[Exit.
ANASÚYÁ.
[Advancing hastily a few steps und stumbling.
Alas! alas ! this comes of being in a hurry. My
foot has slipped, and my basket of flowers has fallen
from my hand.
[Stays to gather them up. -
ACT iv.]
THE LOST RING.
PRIYAMVADÁ.
[Re-entering.
Well, dear Anasuyá, I have done my best; but what
living being could succeed in pacifying such a cross-
grained, ill-tempered old fellow? However, I managed
to mollify him a little.
ANASÚYÁ.
[Smiling.
Even a little was much for him. Say on.
PRIYAMVA
When he refused to turn back, I implored his
forgiveness in these words: 'Most venerable sage,
pardon, I beseech you, this first offence of a young and
inexperienced girl, who was ignorant of the respect
due to your saintly character and exalted rank.'
ANASÚYÁ.
And what did he reply ?
PRIYAMVA
My word must not be falsified; but at the sight
of the ring of recognition the spell shall cease.' So
saying, he disappeared.
ANASÚYÁ.
Oh! then we may breath again; for now I think
of it, the King himself, at his departure, fastened on
Sakoontala's finger, as a token of remembrance, a
ring on which his own name was engraved. She has,
ŠAKOONTALÁ; OR,
[ACT IV.
therefore, a remedy for her misfortune at her own
command.
PRIYAMVADÁ.
Come, dear Anasúyá, let us proceed with our re-
ligious duties.
[They walk away.
PRIYAMVADÁ. [Looking off the stage.
See, Anasúyá, there sits our dear friend, motionless
as a statue, resting her face on her left hand, her
whole mind absorbed in thinking of her absent hus-
band. She can pay no attention to herself, much
less to a stranger.
ANASÚYÁ.
Priyamvadá, let this affair never pass our lips. We
must spare our dear friend's feelings. Her constitu-
tion is too delicate to bear much emotion.
PRIYAMVADÁ.
I agree with you. Who would think of watering
a tender jasmine with hot water ?
UU
ACT IV.]
83
THE LOST RING.
ACT IV.
SCENE.—The Neighbourhood of the Hermitage.
Enter one of Kanwa's PUPILS just arisen from his couch
at the dawn of day.
PUPIL.
My master, the venerable Kanwa, who is but lately
returned from his pilgrimage, has ordered me to
ascertain how the time goes. I have therefore come
into the open air to see if it be still dark. [Walking and
looking about.] Oh! the dawn has already broken.
Lo! in one quarter of the sky, the Moon,
Lord of the herbs and night-expanding flowers,
Sinks towards his bed behind the western hills;
While in the east, preceded by the Dawn,
His blushing charioteer, 59 the glorious Sun
Begins his course, and far into the gloom
Casts the first radiance of his orient beams.
Hail! co-eternal orbs, that rise to set,
And set to rise again; symbols divine
Of man's reverses, life's vicissitudes.
And now,
While the round Moon withdraws his looming disc
Beneath the western sky, the full-blown flower
Of the night-loving lotus 60 sheds her leaves
ŠAKOONTÁLÁ; OR,
[ACT IV.
In sorrow for his loss, bequeathing nought
But the sweet memory of her loveliness
To my bereavëd sight: e'en as the bride
Disconsolately mourns her absent lord,
And yields her heart a prey to anxious grief.
ANASÚYÁ. [Entering abruptly.
Little as I know of the ways of the world, I can-
not help thinking that King Dushyanta is treating
Sakoontala very improperly.
PUPIL.
Well, I must let my revered preceptor know that it
is time to offer the burnt oblation.
[Exit.
ANASÚYÁ.
I am broad awake, but what shall I do? I have no
energy to go about my usual occupations. My hands
and feet seem to have lost their power. Well, Love
has gained his object; and Love only is to blame for
having induced our dear friend, in the innocence of
sibly, however, the imprecation of Durvásas may
be already taking effect. Indeed, I cannot otherwise
account for the King's strange conduct, in allowing so
long a time to elapse without even a letter; and that,
too, after so many promises and protestations. I
cannot think what to do, unless we send him the ring
ACT IV.)
85
· THE LOST RING.
which was to be the token of recognition. But which
of these austere hermits could we ask to be the bearer
of it? Then, again, Father Kanwa has just returned
from his pilgrimage; and how am I to inform him of
Sakoontala's marriage to King Dushyanta, and her
expectation of being soon a mother? I never could
bring myself to tell him, even if I felt that Sakoontalá
had been in fault, which she certainly has not. What
is to be done ?
PRIYAMVADÁ. [Entering ; joyfully.
Quick! quick! Anasúyá! come and assist in the
joyful preparations for Sakoontalá’s departure to
her husband's palace.
ANASÚYÁ.
My dear girl, what can you mean?
PRIYAMVADÁ.
Listen, now, and I will tell you all about it. I
went just now to Sakoontalá, to inquire whether she
had slept comfortably-
ANASÚYÁ.
Well, well; go on.
PRIYAMVADÁ.
She was sitting with her face bowed down to the
very ground with shame, when Father Kanwa en-
tered, and, embracing her, of his own accord offered
86
[ACT IV.
ŚAKOONTAL); OR,
her his congratulations. “I give thee joy, my child,
he said, 'we have had an auspicious omen. The
priest who offered the oblation dropped it into the
very centre of the sacred fire, 61 though thick smoke
obstructed his vision. Henceforth thou wilt cease to
be an object of compassion. This very day I purpose
sending thee, under the charge of certain trusty her-
mits, to the King's palace; and shall deliver thee into
the hands of thy husband, as I would commit know-
ledge to the keeping of a wise and faithful student.'
ANASÚYÁ.
Who, then, informed the holy Father of what
passed in his absence ?
PRIYAMVADÁ.
As he was entering the sanctuary of the consecrated
fire, an invisible being chanted a verse in celestial
strains.
ANASÚYÁ.
[With astonishment.
Indeed ! pray repeat it.
PRIYAMVADÁ. [Repeating the verse.
Glows in thy daughter King Dushyanta's glory,
As in the sacred tree the mystic fire. 62
Let worlds rejoice to hear the welcome story;
And may the son immortalize the sire.
ACT IV.)
THE LOST RING.
11
LL
ANASÚYÁ. [Embracing PRIYAMVADÁ.
Oh, my dear Priyamvadá, what delightful news! I
am pleased beyond measure; yet when I think that
we are to lose our dear Sakoontalá this very day, a
feeling of melancholy mingles with my joy.
PRIYAMY
no
We shall find means of consoling ourselves after
her departure. Let the dear creature only be made
happy at any cost.
ANASÚYÁ.
Yes, yes, Priyamvadá, it shall be so; and now to
prepare the bridal array. I have always looked for-
ward to this occasion, and some time since, I deposited
a beautiful garland of Keśara flowers in a cocoa-nut
box, and suspended it on a bough of yonder mango-
tree. Be good enough to stretch out your hand and
take it down, while I compound unguents and per-
fumes with this consecrated paste and these blades
of sacred grass.
PRIYAMVADÁ.
Very well.
[Exit ANASÚYÁ. PRÍYAMVADÁ takes
down the flowers.
A VOICE BEHIND THE SCENES.
Gautamí, bid Śárngarava and the others hold them-
selves in readiness to escort Sakoontalá. ...
ŚAKOONTALĂ; OR,
[ACT IV.
PRIYAMVADÁ.
[Listening.
Quick, quick, Anasúyá! They are calling the
hermits who are to go with Sakoontalá to Has-
tinápur.63
ANASÚYÁ.
[Re-entering with the perfumed unguents in her hand.
Come along then, Priyamvadá; I am ready to go
with you.
[They walk away.
PRIYAMVADÁ.
[Looking.
See! there sits Sakoontalá, her locks arranged even
at this early hour of the morning. The holy women
of the hermitage are congratulating her, and invok-
ing blessings on her head, while they present her
with wedding-gifts and offerings of consecrated wild-
rice. Let us join them.
[They approach.
SAKOONTALÁ is seen seated, with women surrounding her,
occupied in the manner described.
FIRST WOMAN. [TO ŠAKOONTALÁ.
My child, may’st thou receive the title of `Chief-
queen, and may thy husband delight to honour thee
above all others !
SECOND WOMAN.
My child, may'st thou be the mother of a hero!
ACT IV.]
89
.
THE LOST RING.
THIRD WOMAN.
My child, may’st thou be highly honoured by thy
lord !
[Exeunt all the women, excepting GAUTAMÍ,
after blessing ŠAKOONTALÁ.
PRIYAMVADÁ AND ANASÚYÁ.
[Approaching.
Dear Sakoontalá, we are come to assist you at your
toilet, and may a blessing attend it !
ŚAKOONTALÁ.
Welcome, dear friends, welcome. Sit down here.
PRIYAMVADÁ AND ANASÚYÁ.
[Tuking the baskets containing the bridal decorations,
and sitting down.
Now, then, dearest, prepare to let us dress you.
We must first rub your limbs with these perfurned
unguents.
ŚAKOONTALÁ.
I ought indeed to be grateful for your kind offices,
now that I am so soon to be deprived of them. Dear,
dear friends, perhaps I shall never be dressed by you
again.
[Bursts into tears.
PRIYAMVADÁ AND ANASÚYÁ.
Weep not, dearest; tears are out of season on such
a happy occasion.
[They wipe away her tears and
begin to dress her.
ŠAKOONTAL); OR,
[ACT IV.
PRIYAMVADÁ.
Alas! these simple flowers and rude ornaments,
which our hermitage offers in abundance, do not set
off your beauty as it deserves.
Enter Two Young HERMITS, bearing costly presents.
BOTH HERMITS.
Here are ornaments suitable for a queen.
[The women look at them in astonishment.
GAUTAMÍ.
Why, Nárada, my son, whence came these ?
FIRST HERMIT.
You owe them to the devotion of Father Kanwa.
GAUTAMÍ.
Did he create them by the power of his own mind ?
SECOND HERMIT.
Certainly not; but you shall hear. The venerable
sage ordered us to collect flowers for Sakoontals from
the forest-trees; and we went to the wood for that
purpose, when
Straightway depending from a neighbouring tree
Appeared a robe of linen tissue, pure
And spotless as a moonbeam-mystic pledge
Of bridal happiness; another tree
ACT IV.]
THE LOST RING.
Distilled a roseate dye wherewith to stain
The lady's feet ; 142 and other branches near
Glistened with rare and costly ornaments.
While, 'mid the leaves, the hands of forest-
nymphs,
Vying in beauty with the opening buds,
Presented us with sylvan offerings.
PRIYAMVADÁ.
[Looking at ŚAKOONTALÁ.
The wood-nymphs have done you honour, indeed.
This favour doubtless signifies that you are soon to
be received as a happy wife into your husband's
house, and are from this time forward to become
the partner of his royal fortunes.
[ŠAKOONTALÁ appears confused.
FIRST HERMIT.
Come, Gautamí ; Father Kanwa has finished his
ablutions. Let us go and inform him of the favour
we have received from the deities who preside over
our trees.
SECOND HERMIT.
By all means.
[Exeunt.
PRIYAMVADÁ AND ANASÚYÁ...
Alas ! what are we to do? We are unused to such
splendid decorations, and are at a loss how to arrange
92
[ACT IV.
ŠAKOONTALÁ; OR,
them. Our knowledge of painting must be our guide.
We will dispose the ornaments as we have seen them
in pictures.
ŚAKOONTALÁ.
Whatever pleases you, dear girls, will please me. I '
have perfect confidence in your taste.
[They commence dressing her.
Enter KANWA, having just finished his ablutions.
CA
KANWA,
This day my loved one leaves me, and my heart
Is heavy with its grief; the streams of sorrow
Choked at the source, repress my faltering voice.
I have no words to speak; mine eyes are dimmed
By the dark shadows of the thoughts that rise
Within my soul. If such the force of grief
In an old hermit parted from his nursling,
What anguish must the stricken parent feel-
Bereft for ever of an only daughter. .
i . [Advances towards SAKOOYTALÁ.
PRIYAMVADÁ AND ANASÚYÁ.
Now, dearest Śakoontala, we have finished deco-
rating you. You have only to put on the two linen
mantles.
[ŚAKOONTALÁ rises and puts theni on.
GUATAMÍ.
Daughter, see, here comes thy foster-father; he is
ACT IV.]
93
THE LOST RING.
eager to fold thee in his arms; his eyes swim with
tears of joy. Hasten to do him reverence.
ŚAKOONTALÁ.
[Reverentły.
My father, I salute you.
KANWA.
My daughter,
May'st thou be highly honoured by thy lord,
E'en as Yayati Sarmishthá adored ! 64
And, as she bore him Puru, so mayst thou
Bring forth a son to whom the world shall bow!
GAUTAMÍ.
Most venerable father, she accepts your benedic-
tion as if she already possessed the boon it confers.
GAUTA
KANWA.
Now come this way, my child, and walk reverently
round these sacrificial fires.
[They all walk round.
KANWA.
[Repeats a prayer in the metre of the Rig-reda.
Holy flames, that gleam around
Every altar's hallowed ground;
Holy flames, whose frequent food
Is the consecrated wood,
And for whose encircling bed,
Sacred Kuša-grass is spread ; 65
Holy flames, that waft to heaven
ŚAKOONTALA; OR,
[ACT IV.
:
Sweet oblations daily given,
Mortal guilt to purge away ;-
Hear, oh hear me, when I pray-
Purify my child this day!
Now then, my daughter, set out on thy journey. [Look-
ing on one side.] Where are thy attendants, Sárngarava
and the others ?
YOUNG HERMIT.
[Entering. :
Here we are, most venerable father.
KANWA.
Lead the way for thy sister.
ŚÁRNGARAVA.
Come, Śakoontalá, let us proceed. [All move away.
KANWA.
Hear me, ye trees that surround our hermitage !
Sakoontala ne'er moistened in the stream
Her own parched lips, till she had fondly poured
Its purest water on your thirsty roots; .
And oft, when she would fain have decked her
hair
With your thick-clustering blossoms, in her love
She robbed you not e'en of a single flower.
Her highest joy was ever to behold
The early glory of your opening buds;
Oh, then, dismiss her with a kind farewell.
ACT Iv.]
THE LOST RING.
This very day she quits her father's home,
To seek the palace of her wedded lord.
[The note of a Köil 66 is heard.
Hark! heard'st thou not the answer of the trees,
Our sylvan sisters, warbled in the note
Of the melodious Köil 66 ? they dismiss
Their dear Sakoontalá with loving wishes.
VOICES IN THE AIR.
Fare thee well, journey pleasantly on amid streams
Where the lotuses bloom, and the sun's glowing beams
Never pierce the deep shade of the wide-spreading
trees,
While gently around thee shall sport the cool breeze;
Then light be thy footsteps and easy thy tread,
Beneath thee shall carpets of lilies be spread.
Journey on to thy lord, let thy spirit be gay,
For the smiles of all Nature shall gladden thy way.
[All listen with astonishment.
GAUTAMÍ.
Daughter! the nymphs of the wood, who love thee
with the affection of a sister, dismiss thee with kind
wishes for thy happiness. Take thou leave of them
reverentially.
ŚAKOONTALÁ.
*[Bowing respectfully and walking on.
Aside to her friend. .
Eager as I am, dear Priyamvadá, to see my hus-
96
[ACT IV.
ŠAKOONTALÁ; OR,
band once more, yet my feet refuse to move, now that
I am quitting for ever the home of my girlhood.
PRIYAMVADÁ.
You are not the only one, dearest, to feel the bitter-
ness of parting. As the time of separation approaches,
the whole grove seems to share your anguish.
In sorrow for thy loss, the herd of deer
Forget to browse; the peacock on the lawn
Ceases its dance ; 67 the very trees around
Shed their pale leaves, like tears, upon the ground.
ŚAKOONTALÁ. [Recollecting herself.
My father, let me, before I go, bid adieu to my pet
jasmine, the Moonlight of the Grove.68 I love the
plant almost as a sister.
KANWA.
Yes, yes, my child, I remember thy sisterly affection
for the creeper. Here it is on the right.
ŚAKOONTALÁ.
[Approaching the jasmine.
My beloved jasmine! most brilliant of climbing
plants, how sweet it is to see thee cling thus fondly
to thy husband, the mango-tree; yet, prithee, turn
thy twining arms for a moment in this direction to
embrace thy sister; she is going far away, and may
never see thee again.
ACT Iv.]
97
THE LOST RING.
KANWA.
Daughter, the cherished purpose of my heart
Has ever been to wed thee to a spouse
That should be worthy of thee; such a spouse
Hast thou thyself, by thine own merits, won.
To him thou goest, and about his neck
Soon shalt thou cling confidingly, as now
Thy favourite jasmine twines its loving arms
Around the sturdy mango. Leave thou it
To its protector/e'en as I consign
Thee to thy lord, and henceforth from my mind
Banish all anxious thought on thy behalf.
Proceed on thy journey, my child.
ŚAKOONTALÁ.
[TO PRIYAMVADÁ and ANASÚTÁ.
To you, my sweet companions, I leave it as a keep-
sake. Take charge of it when I am gone.
PRIYAMVADÁ AND ANASÚYÁ.
[Bursting into tears.
And to whose charge do you leave us dearest ?
KANWA.
For shame, Anasúyá! dry your tears. Is this the
way to cheer your friend at a time when she needs
your support and consolation ?
[All move on.
SAKOONTĀLÁ; OR,
[ACT IV.
ŠAKOONTALÁ.
My father, see you there my pet deer, grazing close
to the Hermitage? She expects soon to fawn, and
even now the weight of the little one she carries
hinders her movements. Do not forgot to send me
word when she becomes a mother.
KANWA.
I will not forget it.
ŚAKOONTALÁ.
[Feeling herself drawn back.
What can this be, fastened to my dress ? [Turns round.
KANWA.
My daughter,
It is the little fawn, thy foster-child.
Poor helpless orphan! it remembers well
How with a mother's tenderness and love
Thou did'st protect it, and with grains of rice
From thine own hand did’st daily nourish it;
And, ever and anon, when some sharp thorn
Had pierced its mouth, how gently thou did'st tend
The bleeding wound, and pour in healing balm.
The grateful nursling clings to its protectress,
Mutely imploring leave to follow her.
ŚAKOONTALÁ.
My poor little fawn! dost thou ask to follow an un-
ACT IV.]
99
THE LOST RING.
S
*
happy wretch who hesitates not to desert her com-
panions? When thy mother died, soon after thy
birth, I supplied her place, and reared thee with my
own hand; and now that thy second mother is about
to leave thee, who will care for thee? My father, be
thou a mother to her. My child, go back, and be
a daughter to my father.
[Moves on, weeping.
KANWA.
Weep not, my daughter, check the gathering tear
That lurks beneath thine eyelid, ere it flow
And weaken thy resolve; be firm and true-
True to thyself and me; the path of life
Will lead o'er hill and plain, o'er rough and
smooth
And all must feel the steepness of the way;
Though rugged be thy course, press boldly on.
ŚÁRNGARAVA.
Venerable sire ! the sacred precept is— Accompany
thy friend as far as the margin of the first stream.
Here, then, we are arrived at the border of a lake.
It is time for you to give us your final instructions
and return.
T
KANWA,
Be it so; let us tarry for a moment under the shade
of this fig-tree. 69
[They do so.
100
[ACT IV.
ŚAKOONTAL); OR,
KANWA.
[Aside.
I must think of some appropriate message to send
to his majesty King Dushyanta.
[Reflects.
śAKOONTALÁ. [Aside to ANASÚYÁ.
See, see, dear Anasúyá, the poor female Chakraváka-
bird, to whom cruel fate dooms to nightly separation
from her mate, calls to him in mournful notes from
the other side of the stream, though he is only hidden
from her view by the spreading leaves of the water-
lily. Her cry is so piteous that I could almost fancy
she was lamenting her hard lot in intelligible words.
ANASÚYÁ.
Say not so, dearest.
Fond bird! though sorrow lengthen out her night
Of widowhood, yet with a cry of joy
She hails the morning light that brings her mate
Back to her side. The agony of parting
Would wound us like a sword, but that its edge
Is blunted by the hope of future meeting.
KANWA.
Śárngarava! when you have introduced Sakoontala
into the presence of the King, you must give him this
message from me.
ŚÁRNGARAVA.
Let me hear it, venerable father.
0
ACT IV.]
IOI
THE LOST RING.
KANWA,
This is it-
Most puissant prince! we here present before thee
One thou art bound to cherish and receive
As thine own wife ; yea, even to enthrone
As thine own queen-worthy of equal love
With thine imperial consorts. So much, Sire,
We claim of thee as justice due to us,
In virtue of our holy character-
In virtue of thine' honourable rank,
In virtue of the pure spontaneous love
That secretly grew up ’twixt thee and her,
Without consent or privity of us.
We ask no more—the rest we freely leave,
To thy just feeling and to destiny.
ŚÁRNGARAVA.
A most suitable message. I will take care to deliver
it correctly.
KANWA.
And, now, my child, a few words of advice for thee.
We hermits, though we live secluded from the world,
are not ignorant of worldly matters.
ŚÁRNGARAVA.
No, indeed. Wise men are conversant with all
subjects.
102
[ACT IV.
ŚAKOONTALÁ; OR,
KANWA.
Listen, then, my daughter. When thou reachest thy
husband's palace, and art admitted into his family,
Honour thy betters; ever be respectful
To those above thee; and, should others share
Thy husband's love, ne'er yield thyself a prey
To jealousy; but ever be a friend,
A loving friend, to those who rival thee
In his affections. Should thy wedded lord
Treat thee with harshness, thou must never be
Harsh in return, but patient and submissive.
Be to thy menials courteous, and to all
Placed under thee, considerate and kind;
Be never self-indulgent, but avoid
Excess in pleasure ; and, when fortune smiles,
Be not puffed up. Thus to thy husband's house
Wilt thou a blessing prove, and not a curse.
What thinks Gautamí of this advice ?
GAUTAMÍ.
An excellent compendium, truly, of every wife's
duties! Lay it well to heart, my daughter.
KANWA.
Come, my beloved child, one parting embrace for
me and for thy companions, and then we leave thee.
ACT IV.]
103
THE LOST RING.
CU
ŚAKOONTALÁ.
My father, must Priyamvadá and Anasúyá really
return with you? They are very dear to me.
KANWA.
Yes, my child; they, too, in good time, will be
given in marriage to suitable husbands. It would
not be proper for them to accompany thee to such a
public place. But Gautamí shall be thy companion.
ŠAKOONTALÁ. [Embracing him.
Removed from thy bosom, my beloved father, like
a young tendril of the sandal-tree torn from its home
in the western mountains," how shall I be able to
support life in a foreign soil ?
KANWA.
Daughter, thy fears are groundless.
Soon shall thy lord prefer thee to the rank
Of his own consort; and unnumbered cares
Befitting his imperial dignity
Shall constantly engross thee. Then the bliss
Of bearing him a son~a noble boy,
Bright as the day-star, shall transport thy soul
With new delights, and little shalt thou reck
Of the light sorrow that afflicts thee now
At parting from thy father and thy friends.
[ŠAKOONTALA throws herself at her foster-father's feet.
104
[ACT IV.
ŠAKOONTALÁ; OR,
KANWA.
Blessings on thee, my child! May all my hopes of
thee be realized !
ŚAKOONTALÁ.
[Approaching her friends.
Come my two loved companions, embrace me both
of you together.
PRIYAMVADÁ AND ANASÚYÁ.
[Embracing her.
Dear Sakoontala, remember, if the King should by
any chance be slow in recognizing you, you have only
to show him this ring, on which his own name is
engraved.
ŚAKOONTALÁ.
The bare thought of it puts me in a tremor.
PRIYAMVADÁ AND ANASÚYÁ.
There is no real cause for fear, dearest. Excessive
affection is too apt to suspect evil where none exists.
ŚÁRNGARAVA.
Come, lady, we must hasten on. The sun is rising
in the heavens.
ŚAKOONTALÁ.
[Looking towards the hermitage.
Dear father, when shall I ever see this hallowed
grove again?
ACT IV.]
105
THE LOST RING.
KANWA.
I will tell thee ; listen.
When thou hast passed a long and blissful life
As King Dushyanta's queen, and jointly shared
With all the earth his ever-watchful care;
And hast beheld thine own heroic son,
Matchless in arms, united to a spouse
In happy wedlock; when his aged sire,
Thy faithful husband, hath to him resigned
The helm of state ; then, weary of the world,
Together with Dushyanta thou shalt seek
The calm seclusion of thy former home ; 72
There amid holy scenes to be at peace,
Till thy pure spirit gain its last release. .
GAUTAMÍ.
Come, my child, the favourable time for our journey
is fast passing. Let thy father return. Venerable
Sire, be thou the first to move homewards, or these
last words will never end.
KANWA.
Daughter, detain me no longer. My religious
duties must not be interrupted.
ŚAKOONTALÁ.
[Again embracing her foster-father.
Beloved father, thy frame is much enfeebled by
106
[ACT IV.
ŠAKOONTALÁ; OR,
penitential exercises. Do not, oh! do not, allow thy-
self to sorrow too much on my account.
KANWA.
* [Sighing.
How, O my child, shall my bereavëd heart
Forget its bitterness, when, day by day,
Full in my sight shall grow the tender plants
Reared by thy care, or sprung from hallowed
grain
Which thy loved hands have strewn around the
door-
A frequent offering to our household gods ? 13
Go, my daughter, and may thy journey be pros-
perous.
[Exit ŚAKOONTALA with her escort.
PRIYAMVADÁ AND ANASÚTÁ.
[Gazing after ŠAKOONTALÁ.
Alas! alas ! she is gone, and now the trees hide our
darling from our view.
KANWA.
[Sighing.
Well, Anasúyá, your sister has departed. Moderate
your grief, both of you, and follow me. I go back to
the hermitage.
PRIYAMVADÁ AND ANASÚYÁ.
Holy father, the sacred grove will be a desert with-
out Sakoontalá. How can we ever return to it?
TY
ACT IV.]
107
THE LOST RING.
KANWA.
It is natural enough that your affection should
make you view it in this light. [Walking pensively on.]
As for me, I am quite surprised at myself. Now that
I have fairly dismissed her to her husband's house,
my mind is easy: for indeed,
A daughter is a loan—a precious jewel
Lent to a parent till her husband claim her.
And now that to her rightful lord and master
I have delivered her, my burdened soul
Is lightened, and I seem to breathe more freely.
Exeunt.
108
[ACT V.
ŠAKOONTALÁ; OR,
ACT V.
SCENE.- A Roon in the Palace.
The King DUSHYANTA and the Jester MÁTHAVYA are
discovered seated.
MÁȚHAVYA.
[Listening.
Hark! my dear friend, listen a minute, and you will
hear sweet sounds proceeding from the music-room.
Some one is singing a charming air. Who can it be?
Oh! I know. The queen Hansapadiká is practising
her notes, that she may greet you with a new song.
KING.
Hush! Let me listen.
A VOICE SINGS BEHIND THE SCENES.
How often hither did'st thou rove,
Sweet bee, to kiss the mango's cheek;
Oh! leave not, then, thy early love,
The lily's honeyed lip to seek.
KING.
A most impassioned strain, truly!
MÁȚHAVYA.
Do you understand the meaning of the words?
ACT v.]
109
THE LOST RING.
KING.
[Smiling.
She means to reprove me, because I once paid her
great attention, and have lately deserted her for the
queen Vasumatí. Go, my dear fellow, and tell Hansa-
padiká from me that I take her delicate reproof as it
is intended.
MÁTHAVYA.
Very well. [Rising from his seat.] But stay-I don't.
much relish being sent to bear the brunt of her
jealousy. The chances are that she will have me
seized by the hair of the head and beaten to a jelly.
I would as soon expose myself, after a vow of celi-
bacy, to the seductions of a lovely nymph, as en-
counter the fury of a jealous woman.
KING.
Go, go; you can disarm her wrath by a civil speech;
but give her my message.
MÁTHAVYA.
What must be must be, I suppose.
[Exit.
KING.
[A side.
Strange! that song has filled me with a most peculiar
sensation. A melancholy feeling has come over me,
and I seem to yearn after some long-forgotten object
of affection. Singular, indeed! but
(D
LIO
[ACT V.
ŠAKOONTALÁ; OR,
Not seldom in our happy hours of ease,
When thought is still, the sight of some fair form,
Or mournful fall of music breathing low,
Will stir strange fancies, thrilling all the soul
With a mysterious sadness, and a sense
Of vague yet earnest longing. Can it be
That the dim memory of events long past,
Or friendships formed in other states of being, 74
Flits like a passing shadow o'er the spirit ?
[Remains pensive and sad.
Enter the CHAMBERLAIN.
CHAMBERLAIN.
Alas! to what an advanced period of life have I
attained !
Even this wand betrays the lapse of years ;
In youthful days 'twas but a useless badge
And symbol of my office; now it serves
As a support to prop my tottering steps.
Ah me! I feel very unwilling to announce to the
King that a deputation of young hermits from the
sage Kanwa has arrived, and craves an immediate
audience. Certainly, his majesty ought not to neglect
a matter of sacred duty, yet I hardly like to trouble
him when he has just risen from the judgment-seat.
Well, well; a monarch's business is to sustain the
ACT v.]
III
THE LOST RING.
world, and he must not expect much repose; be-
cause-
Onward, for ever onward, in his car
The unwearied Sun pursues his daily course,
Nor tarries to unyoke his glittering steeds.
And, ever moving, speeds the rushing Wind
Through boundless space, filling the universe
With his life-giving breezes. Day and night,
The King of Serpents on his thousand heads 76
Upholds the incumbent earth; and even so,
Unceasing toil is aye the lot of kings,
Who, in return, draw nurture from their subjects.
I will therefore deliver my message. [Walking on and look-
ing about.] Ah! here comes the King.
His subjects are his children; through the day,
Like a fond father, to supply their wants,
Incessantly he labours; wearied now,
The monarch seeks seclusion and repose ;
E'en as the prince of elephants defies
The sun's fierce heat, and leads the fainting herd
To verdant pastures, ere his wayworn limbs
He yields to rest beneath the cooling shade.
[Approaching.] Victory to the King! So please your
majesty, some hermits who live in a forest near the
Snowy Mountains have arrived here, bringing certain
women with them. They have a message to deliver
II2
[ACT V.
ŠAKOONTALÁ; OR,
from the sage Kanwa, and desire an audience. I await
your majesty's commands.
KING.
[Respectfully.
A message from the sage Kanwa, did you say?
CHAMBERLAIN.
Even so, my liege.
KING.
Tell my domestic priest Somaráta to receive the
hermits with due honour, according to the prescribed
form. He may then himself introduce them into my
presence. I will await them in a place suitable for
the reception of such holy guests.
CHAMBERLAIN.
Your majesty's commands shall be obeyed. [Exit.
KING.
[Rising and addressing the WARDER.
Vetravatí, lead the way to the chamber of the
consecrated fire.77
WARDER.
This way, Sire.
KING.
[Walking on, with the air of one oppressed by
the cares of government.
People are generally contented and happy when
ACT v.]
113
THE LÒST RING.
they have gained their desires ; but kings have no
sooner attained the object of their aspirations than all
their troubles begin.
'Tis a fond thought that to attain the end
And object of ambition is to rest;
Success doth only mitigate the fever
Of anxious expectation ; soon the fear
Of losing what we have, the constant care
Of guarding it, doth weary. Ceaseless toil
Must be the lot of himn who with his hands
Supports the canopy that shields his subjects.
TWO IIERALDS. TS [Behind the scenes.
May the King be victorious !
FIRST IIERALD.
Honour to him who labours day by day
For the world's weal, forgetful of his own;
Like some tall tree that with its stately head
Endures the solar beam, while underneath
It yields refreshing shelter to the weary.
SECOND IIERALD.
Let but the monarch wield his threatening rod
And e'en the guilty tremble ; at his voice
The rebel spirit cowers; his grateful subjects
Acknowledge him their guardian; rich and poor
Hail him a faithful friend, a loving kinsman.
H
114
(ACT V
ŠAKOONTALÀ; OR,
KING.
Weary as I was before, this complimentary address
has refreshed me.
[Walks on.
WARDER.
Here is the terrace of the hallowed fire-chamber,
and yonder stands the cow that yields the milk for
purified, and looks clean and beautiful. Ascend, Sire.
KING.
(Leans on the shoulders of his attendants, and ascends.
Vetravatí, what can possibly be the message that the
venerable Kanwa has sent me by these hermits ?
Perchance their sacred rites have been disturbed
By demons, or some evil has befallen
The innocent herds, their favourites, that graze
Within the precincts of the hermitage ;
Or haply, through my sins, some withering blight
Has nipped the creeping plants that spread their
Around the hallowed grove. Such troubled
thoughts
Crowd through my mind, and fill me with mis-
WARDER.
If you ask my opinion, Sire, I think the hermits
ACT v.]
115
THE LOST RING.
merely wish to take an opportunity of testifying their
loyalty, and are therefore come to offer homage to
your majesty.
Enter the HERMITS leading SAKOONTALÁ, attended by GAUTAMÍ;
and in advance of them, the CHAMBERLAIN and the
DOMESTIC PRIEST.
CHAMBERLAIN.
This way, reverend sirs, this way,
ŚÁRNGARAVA,
o Śáradwata,
'Tis true the monarch lacks no royal grace,
Nor ever swerves from justice; true, his people,
Yea such as in life's humblest walks are found,
Refrain from evil courses; still to me,
A lonely hermit reared in solitude,
This throng appears bewildering, and methinks
I look upon a burning house, whose inmates
Are runing to and fro in wild dismay.
ŚÁRADWATA.
It is natural that the first sight of the King's capital
should affect you in this manner; my own sensations
· are very similar.
As one just bathed beholds the man polluted;
As one late purified, the yet impure;
116
[ACT V.
ŠAKOONTALĂ; OR,
As one awake looks on the yet unwakened;
Or as the freeman gazes on the thrall,
So I regard this crowd of pleasure-seekers.
ŚAKOONTALÁ.
[Feeling a quivering sensation in her right eyelid,79
and suspecting a bad omen.
Alas! what means this throbbing of my right eyelid ?
GAUTAMÍ.
Heaven avert the evil omen, my child! May the
guardian deities of thy husband's family convert it
into a sign of good fortune!
[Walks on.
PRIEST. [Pointing to the King.,
Most reverend sirs, there stands the protector of the
four classes of the people; the guardian of the four
orders of the priesthood.80 He has just left the judg-
ment-seat, and is waiting for you. Behold him!
ŚÁRNGARAVA.
Great Bráhman, we are happy in thinking that the
King's power is exerted for the protection of all classes
of his subjects. We have not come as petitioners-
we have the fullest confidence in the generosity of his
nature.
The loftiest trees bend humbly to the ground
Beneath the teeming burden of their fruit;
High in the vernal sky the pregnant clouds
CU
THE LOST RING.
117
KING.
Suspend their stately course, and, hanging low,
Scatter their sparkling treasures o'er the earth ;
And such is true benevolence; the good
Are never rendered arrogant by riches.
WARDER.
So please your Majesty, I judge from the placid
countenance of the hermits that they have no alarm-
ing message to deliver.
[Looking at ŚAKOONTALÁ.
But the lady there-
Who can she be, whose form of matchless grace
Is half concealed beneath her flowing veil ?
Among the sombre hermits she appears
Like a fresh bud ʼmid sear and yellow leaves.
WARDER.
So please your Majesty, my curiosity is also roused,
but no conjecture occurs to my mind. This at least
is certain, that she deserves to be looked at more
closely.
KING.
True; but it is not right to gaze at another man's
wife.120
ŚAKOONTALÁ.
O my heart, why this throbbing ? Remember thy
ļord's affection, and take courage.
II8
[ACT V.
ŚAKOONTAL); OR,
PRIEST.
[Advancing.
These holy men have been received with all due
honour. One of them has now a message to deliver
from his spiritual superior. Will your Majesty deign
to hear it?
KING,
I am all attention.
HERMITS.
Victory to the King ! :
HERMITS.
[Extending their hands,
KING.
Accept my respectful greeting.
HERMITS.
May the desires of your soul be accomplished !
KING.
I trust no one is molesting you in the prosecution
of your religious rites.
HERMITS.
Who dares disturb our penitential rites
When thou art our protector? Can the night
Prevail to cast her shadows o'er the earth
While the sun's beams irradiate the sky ?
KING.
Such indeed, is the very meaning of my title-
'Defender of the Jụst, I trust the venerable Kanwa
ACT v.]
119
THE LOST RING.
is in good health. The world is interested in his
well-being.
HERMITS.
Holy men have health and prosperity in their own
power. He bade us greet your Majesty, and, after
kind inquiries, deliver this message.
KING,
Let me hear his cominands.
ŚÁRNGARAVA.
He bade us say that he feels happy in giving his
sanction to the marriage which your Majesty con-
tracted with this lady, his daughter, privately and by
mutual agreement. Because
By us thou art esteemed the most illustrious
Of noble husbands; and Śakoontalá,
Virtue herself in human form revealed.
Great Brahmá hath in equal yoke united
A bride unto a husband worthy of her;
Henceforth let none make blasphemous complaint
That he is pleased with ill-assorted unions. 81
Since, therefore, she expects soon to be the mother of
thy child, receive her into thy palace, that she may
perform, in conjunction with thee, the ceremonies pre-
scribed by religion on such an occasion.
GAUTAMÍ.
So please your Majesty, I would add a few words;
120
[ACT V.
ŠAKOONTALÁ; OR,
but why should I intrude my sentiments when an
opportunity of speaking my mind has never been
allowed me ?
She took no counsel with her kindred; thou
Didst not confer with thine, but all alone
Didst solemnize thy nuptials with thy wife.
Together, then, hold converse; let us leave you.
[A side.
ŚAKOONTALÁ.
Ah! how I tremble for my lord's reply.
KING.
What strange proposal is this?
[A side.
ŚAKOONTALÁ.
His words are fire to me.
ŚÁRNGARAVA.
What do I hear ? Dost thou, then, hesitate? Mon-
arch, thou art well acquainted with the ways of the
world, and knowest that
A wife, however virtuous and discreet,
If she live separate from her wedded lord,
Though under shelter of her parent's roof,
Is mark for vile suspicion. Let her dwell
Beside her husband, though he hold her not
In his affection, So her kinsmen will it,
ACT V.]
I21
THE LOST RING.
KING.
Do you really mean to assert that I ever married
this lady ?
ŚAKOONTALÁ. [Despondingly. A side,
O my heart, thy worst misgivings are confirmed.
ŚÁRNGARAVA.
Is it becoming in a monarch to depart from the
rules of justice, because he repents of his engage-
ments ?
KING.
I cannot answer a question which is based on a
mere fabrication.
ŚÁRNGARAVA.
Such inconstancy is fortunately not common, ex-
cepting in men intoxicated by power.
KING.
Is that remark aimed at me ?
YM
GAUTAMÍ.
Be not ashamed, my daughter. Let me remove thy
veil for a little space. Thy husband will then recog-
nize thee.
[Removes her veil.
KING.
[Gazing at ŚAKOONTALÁ. A side.
What charms are here revealed before mine eyes!
Truly no blemish mars the symmetry
I 22
[ACT V.
ŚAKOONTALÀ; OR,
Of that fair form; yet can I ne'er believe
She is my wedded wife; and like a bee
That circles round the flower whose nectared cup
Teems with the dew of morning, I must pause
Ere eagerly I taste the proffered sweetness.
[Remains wrapped in thought.
TYARDER
How admirably does our royal master's behaviour
prove his regard for justice! Who else would hesi-
tate for a moment when good fortune offered for his
acceptance a form of such rare beauty ?
ŚÁRNGARAVA.
Great King, why art thou silent?
)
KING.
Holy men, I have revolved the matter in my mind;
but the more I think of it, the less able am I to recol-
lect that I ever contracted an alliance with this lady.
What answer, then, can I possibly give you when I
do not believe myself to be her husband, and I plainly
see that she is soon to become a mother?
ŚAKOONTALÁ.
[Aside.
Woe! woe! Is our very marriage to be called in
question by my own husband? Ah me! is this to be
the end of all my bright visions of wedded happiness?
ACT v.]
I 23
THE LOST RING.
no more.
ŚÁRNGARAVA.
Beware!
Beware how thou insult the holy Sage !
Remember how he generously allowed
Thy secret union with his foster-child:
And how, when thou didst rob him of his treasure,
He sought to furnish thee excuse, when rather
He should have cursed thee for a ravisher.
ŚÁRADWATA.
Śárngarava, speak to him no more. Sakoontalá,
our part is performed; we have said all we had to
say, and the King has replied in the manner thou
hast heard. It is now thy turn to give him con-
vincing evidence of thy marriage.
AKOONTALÁ.
[Aside.
Since his feeling towards me has undergone a com-
plete revolution, what will it avail to revive old recol-
lections? One thing is clear-I shall soon have to
mourn my own widowhood. [Aloud.] My revered
husband- [Stops short.] But no—I dare not address
thee by this title, since thou hast refused to acknow-
ledge our union. Noble descendant of Puru! It is
not worthy of thee to betray an innocent-minded girl,
and disown her in such terms, after having so lately
and so soleinnly plighted thy vows to her in the
hermitage.
124
[ACT V.
ŚAKOONTAL); OR,
KING.
[Stopping his ears.
I will hear no more. Be such a crime far from my
thoughts!
What evil spirit can possess thee, lady,
That thou dust seek to sully my good name
By base aspersions ? like a swollen torrent,
That, leaping from its narrow bed, o'erthrows
The tree upon its bank, and strives to blend
Its turbid waters with the crystal stream?
2
ŚAKOONTALK.
If, then, thou really believest me to be the wife of
another, and thy present conduct proceeds from some
cloud that obscures thy recollection, I will easily con-
vince thee by this token.
KING.
An excellent idea!
ŚAKOONTALÁ. [Feeling for the ring.
Alas! alas! woe is me! There is no ring on my
finger!
[Looks with anguish at Gautamí.
GAUTAMÍ.
The ring must have slipped off when thou wast in
the act of offering homage to the holy water of Sachi's
sacred pool, near Sakſáyatára, 82
ACT v.)
125
THE LOST RING.
KING.
[Smiling.
People may well talk of the readiness of woman's
invention! Here is an instance of it.
ŚAKOONTALÁ.
Say, rather, of the omnipotence of fate. I will
mention another circumstance, which may yet con-
vince thee.
KING.
By all means let me hear it at once.
ŚAKOONTALÁ.
One day, while we were seated in a jasmine-bower,
thou didst pour into the hollow of thine hand some
water, sprinkled by a recent shower in the cup of a
lotus-blossom-
KING.
I am listening; proceed.
M
ŚAKOONTALÁ.
At that instant, my adopted child, the little fawn,
with soft, long eyes, came running towards us. Upon
which, before tasting the water thyself, thou didst
kindly offer some to the little creature, saying fondly
-Drink first, gentle fawn.' But she could not be
induced to drink from the hand of a stranger; though
immediately afterwards, when I took the water in
126
[ACT V.
ŠAKOONTALÀ; OR,
my own hand, she drank with perfect confidence.
Then, with a smile, thou didst say,—'Every creature
confides naturally in its own kind. You are both
inhabitants of the same forest, and have learnt to
trust each other.'
KING,
Voluptuaries may allow themselves to be seduced
from the path of duty by falsehoods such as these,
expressed in honeyed words.
GAUTAMÍ.
Speak not thus, illustrious Prince. This lady was
brought up in a hermitage, and has never learnt
deceit.
KING.
Holy matron,
E’en in untutored brutes, the female sex
Is marked by inborn subtlety--much more
In beings gifted with intelligence.
The wily Köil,83 ere towards the sky
She wings her sportive flight, commits her eggs
To other nests, and artfully consigns
The rearing of her little ones to strangers.
ŚAKOONTALA.
[Angrily.
Dishonourable man, thou judgest of others by thine
own evil heart. Thou, at least, art unrivalled in per-
ACT v.)
127
THE LOST RING.
fidy, and standest alone-à base deceiver in the
garb of virtue and religion-like a deep pit whose
yawning mouth is concealed by smiling flowers.
KING.
[Aside.
Her anger, at any rate, appears genuine, and makes
me almost doubt whether I am in the right. For
indeed,
When I had vainly searched my memory,
And so with stern severity denied
The fabled story of our secret loves,
Her brows, that met before in graceful curves,
Like the arched weapon of the god of love,
Seemed by her frown dissevered; while the fire
Of sudden anger kindled in her eyes.
[Aloud.] My good lady, Dushyanta's character is well
known to all. I comprehend not your meaning.
ŚAKOONTALÁ.
Well do I deserve to be thought a harlot for hav-
ing in the innocence of my heart, and out of the
confidence I reposed in a Prince of Puru's race,
entrusted my honour to a man whose mouth distils
honey, while his heart is full of poison.
[Covers her face with her mantle, and bursts into tears.
ŚÁRNGARAVA.
Thus it is that burning remorse must ever follow
128
fACT V.
ŚAKOONTALÀ; OR,
rash actions which might have been avoided, and for
which one has only one's self to blame.
Not hastily should marriage be contracted,
And specially in secret. Many a time,
In hearts that know not each the other's fancies,
Fond love is changed into most bitter hate.
KING.
How now! Do you give credence to this woman
rather than to me, that you heap such accusations
on me?
ŚÁRNGARAVA.
[Sarcastically.
That would be too absurd, certainly. You have
heard the proverb-
Hold in contempt the innocent words of those
Who from their infancy have known no guile;
But trust the treacherous councils of the man
Who makes a very science of deceit.
KING
Most veracious Brahman, grant that you are in the
right, what end would be gained by betraying this
lady?
ŚÁRNGARAVA.
Ruin.
KING.
No one will believe that a Prince of Puru's race
would seek to ruin others or himself.
-
ACT V.]
129
THE LOST RING.
ŚÁRADWATA.
This altercation is idle, Śárngarava. We have exe-
cuted the commission of our preceptor; come, let us
return.
[ To the KING.
Sakoontalá is certainly thy bride;
Receive her or reject her, she is thine.
Do with her, King, according to thy pleasure-
The husband o'er the wife is absolute.
Go on before us, Gautamí.
[They more away.
ŚAKOONTALA.
What! is it not enough to have been betrayed by
this perfidious man? Must you also forsake me, re-
gardless of my tears and lamentations ?
[Attempts to follow them.
GAUTAMÍ.
[Stopping.
My son Śárngarava, see! Sakoontalá is following us,
and with tears implores us not to leave her. Alas !
poor child, what will she do here with a cruel husband
who casts her from him ?
ŚÁRNGARAVA.
[Turniny angrily towards her.
Wilful woman, dost thou seek to be independent of
thy lord ?
[ŠAKOONTALA trembles with fear.
130
ČACT V.
ŠAKOONTAL); OR,
ŚÁRNGARAVA.
Śakoontala !
If thou art really what the King proclaims thee,
How can thy father e'er receive thee back
Into his house and home? but if thy conscience
Be witness to thy purity of soul,
E'en should thy husband to a handmaid's lot
Condemn thee, thou mayst cheerfully endure it,
When ranked among the number of his house-
hold.
Thy duty therefore is to stay. As for us, we must
return immediately.
KING.
Deceive not the lady, my good hermit, by any such
expectations.
The moon expands the lotus of the night
The rising sun awakes the lily; each
Is with his own contented. Even so
The virtuous man is master of his passions,
And from another's wife averts his gaze. 120
ŚÁRNGARAVA.
Since thy union with another woman has rendered
thee oblivious of thy marriage with Sakoontala,
whence this fear of losing thy character for constancy
and virtue ?
ACT V.]
THE LOST RING.
V
KING.
[To his PRIEST.
You must counsel me, revered sir, az to my course
of action. Which of the two evils involves the
greater or less sin ?
Whether by some dark veil my mind be clouded,
Or this designing woman speak untruly,
I know not. Tell me, must I rather be
The base disowner of my wedded wife,
Or the defiling and defiled adulterer ?
PRIEST.
[After deliberation.
You must take an interinediate course.
KING.
What course, revered sir? Tell me at once.
PRIEST.
I will provide an asylum for the lady in my own
house until the birth of her child; and my reason, if
you ask me, is this: Soothsayers have predicted that
your first born will have universal dominion. Now,
if the hermit's daughter bring forth a son with the
discusor mark of empire in the lines of his
hand,8t you must admit her immediately into your
royal apartments with great rejoicings; if not, then
determine to send her back as soon as possible to her
father.
132
[ACT V.
ŠAKOONTAL); OR,
KING.
I bow to the decision of my spiritual adviser.
PRIEST.
Daughter, follow me.
ŚAKOONTALÁ.
O divine earth, open and receive me into thy
bosom!
[Exit ŚAKOONTALA weeping, with the Priest and the
HERMITS. The King remains absorbed in think-
ing of her, though the curse still clouds his re-
collection.
A VOICE BEHIND THE SCENES.
A miracle ! a miracle !
KING.
[Listening.
What has happened now?
PRIEST.
[Entering with an air of astonishment.
Great Prince, a stupendous prodigy has just occurred!
II
KING.
What is it?
PRIEST.
May it please your Majesty, so soon as Kanwa's
pupils had departed,
ACT v.]
133
THE LOST RING.
Sakoontala, her eyes all bathed in tears,
With outstretched arms, bewailed her cruel
fate-
KING.
Well, well, what happened then ?
PRIEST.
When suddenly a shining apparition,
In female shape, descended from the skies,
Near the nymphs' pool, and bore her up to
heaven.
[All remain motionless with astonishment.
KING.
My good priest, from the very first I declined
having anything to do with this matter. It is now
all over, and we can never, by our conjectures, un-
ravel the mystery ; let it rest; go, seek repose.
OTTO
WY
PRIEST.
Be it so. Victory to the King !
[Looking at the KING.
[Exit.
KING,
Vetravatí, I am tired out; lead the way to the
bedchamber.
WARDER.
This way, Sire.
[They move away.
134
[ACT V.
ŠAKOONTALÁ; OR,
KING.
Do what I will, I cannot call to mind
That I did e’er espouse the sage's daughter;
Therefore I have disowned her; yet 'tis strange
How painfully my agitated heart
Bears witness to the truth of her assertion,
And makes me credit her against my judgment.
[Exeunt.
ACT VI.]
135
THE LOST RING.
-
-
-
Ꮲ Ꭱ Ꭼ Ꮮ Ꭰ Ꭰ Ꭼ Ꭲ 0 A CT VI.
SCENE.-A Street.
Enter the King's brother-in-laur aus SUPERINTENDENT of the
city police ; and with him Two CoNsTABLES, dragginy a
poor FISHERHAN, who has his hands tied behind his back
BOTII TIIE CONSTABLES.
.
[Striking the prisoner'.
Take that for. a rascally thief that you are; and
now tell us, sirrah, where you found this ring—aye,
the King's own signet-ring. See, here is the royal
name engraved on the setting of the jewel.
FISHERMAN. [With a gesture of alarm.
Mercy! kind sirs, mercy! I did not steal it; indeed
I did not.
FIRST CONSTABLE.
Oh! then I suppose the King took you for some
fine Bráhman, and made you a present of it?
TQ
1
FISHERMAN.
Only hear me. I am but a poor fisherman, living at
Sakrávatára,
SECOND CONSTABLE.
Scoundrel, who ever asked you, pray, for a history
of your birth and parentage ?
136
[ACT VI.
SUPERINTENDENT.
[To one of the CONSTABLES.
Súchaka, let the fellow tell his own story from the
beginning. Don't interrupt him.
BOTH CONSTABLES.
As you please, master. Go on, then, sirrah, and say
FISHERMAN.
You see in me a poor man, who supports his family
by catching fish with nets, hooks, and the like.
SUPERINTENDENT.
[Laughing.
A most refined occupation, certainly ! 85
FISHERMAN.
Blame me not for it, master.
The father's occupation, though despised
By others, casts no shame upon the son,
And he should not forsake it. 86 Is the priest
Who kills the animal for sacrifice
Therefore deemed cruel ? Sure a low-born man
May, though a fisherman, be tender-hearted.
SUPERINTENDENT.
Well, well; go on with your story.
FISHERMAN.
One day I was cutting open a large carp 87 I had
ACT VI.]
1
THE .
II 137
LOST RING.
just hooked, when the sparkle of a jewel caught my
eye, and what should I find in the fish’s maw but that
ring! Soon afterwards, when I was offering it for
sale, I was seized by your honours. Now you know
everything. Whether you kill me, or whether you let
me go, this is the true account of how the ring came
into my possession.
1
SUPERINTENDENT.
[To one of the CONSTABLES.
Well, Jánuka, the rascal emits, such a fishy odour
that I have no doubt of his being a fisherman; but we
must inquire a little more closely into this queer story
about the finding of the ring. Come, we'll take him
before the King's household.
III
BOTH CONSTABLES.
Very good, master. Get on with you, you cutpurse.
[All move on.
SUPERINTENDENT.
Now attend, Súchaka; keep you guard here at the
gate; and hark ye, sirrahs, take good care your
prisoner does not escape, while I go in and lay the
whole story of the discovery of this ring before the
King in person. I will soon return and let you know
his commands.
ŚAKOONTALÁ; OR,
[ACT VI.
U
CONSTABLE.
Go in, master, by all means; and may you find
favour in the King's sight!
[Exit SUPERINTENIJENT.
FIRST CONSTABLE. [After an interval.
I say, Jánuka, the Superintendent is a long time
away.
SECOND CONSTABLE.
Aye, aye; kings are not to be got at so easily.
Folks must bide the proper opportunity.
FIRST CONSTABLE.
Jánuka, my fingers itch to strike the first blow at
this royal victim here. We must kill him with all
the honours you know. I long to begin binding
the flowers round his head.88
[Pretends to strike a blow at the FISHERJAN.
FISHERMAN..
Your honour surely will not put an innocent man
to a cruel death.
SECOND CONSTABLE.
[Looking.
There's our Superintendent at last, I declare. See !
he is coming towards us with a paper' in his hand.
We shall soon know the King's command; so prepare,
my fine fellow, either to become food for the vultures,
or to make acquaintance with some hungry cur.
· ACT VI.]
139
THE LOST RINGLY
.
:
.
SUPERINTENDENT.
[Entering.
Ho, there, Súchaka! set the fisherman at liberty,
I tell you. His story about the ring is all correct.
SÚCHAKA.
Oh! very good, sir; as you please.
SECOND CONSTABLE.
The fellow had one foot in hell, and now here he is
in the land of the living.
[Releases him.
FISHERMAN.
[Bowing to the SUPERINTENDENT.
Now, master, what think you of my way of getting
a livelihood ?
SUPERINTENDENT.
Here, my good man, the King desired me to present
you with this purse. It contains a sum of money
equal to the full value of the ring. [Gires him the money.
FISHERMAN. [Taking it and bowing.
His Majesty does me too great honour..
SÚCHAKA,
You may well say so. He might as well have
taken you from the gallows to seat you on his state
elephant.
JÁNUKA.
Master, the King must value the ring very highly,
or he would never have sent such a sum of money to
this ragamuffin.
Figu
140
[ACT VI.
SAKOONTALA; OR,
SUPERINTENDENT.
I don't think he prizes it as a costly jewel so much
as a memorial of some person he tenderly loves. The
moment it was shown to him he became much agitated,
though in general he conceals his feelings.
. SÚCHAKA.
Then you must have done a great service-
JÁNUKA.
Yes, to this husband of a fish-wife.
[Looks enviously at the FISHERMAN.
JUT
FISHERMAN.
Here's half the money for you, my masters. It
will serve to purchase the flowers you spoke of, if not
to buy me your good-will.
JÁNUKA.
Well, now, that's just as it should be.
SUPERINTENDENT.
My good fisherman, you are an excellent fellow,
and I begin to feel quite a regard for you. Let us
seal our first friendship over a glass of good liquor.
your health.
ALL.
By all means.
[Exeunt.:
ACT VI.]
141
THE LOST RING.
141
ACT VI.
SCENE.—The Garden of a Palace.
The nymph SÁNUMATÍ is seen descending in a celestial car.
SÁNUMATÍ.
Behold me just arrived from attending in my proper
turn at the nymphs' pool, where I have left the other
nymphs to perform their ablutions, whilst I seek to
ascertain, with my own eyes, how it fares with King
Dushyanta. My connexion with the nymph Menaká
has made her daughter Sakoontalá dearer to me than
my own flesh and blood; and Menaká it was who
charged me with this errand on her daughter's behalf.
[Looking round in all directions.] How is it that I see no pre-
parations in the King's household for celebrating the
great vernal festival ? 89 I could easily discover the
reason by my divine faculty of meditation ; 134 but re-
spect must be shown to the wishes of my friend. How
then shall I arrive at the truth ?. I know what I will
do. I will become invisible, and place myself near those
two maidens who are tending the plants in the garden.
[Descends and takes her station.
142
[ACT VI.
ŚAKOONTALÁ; OR,
Enter a MAIDEN, who stops in front of a mango-tree, and
gazes at the blossom. Another MAIDEN is seen behin:l her.
FIRST MAIDEN.
Hail to thee, lovely harbinger of spring!
The varied radiance of thy opening flowers
Is welcome to my sight. I bid thee hail,
Sweet mango, soul of this enchanting season.
SECOND MAIDEN.
Parabhritiká, what are you saying there to yourself ?
FIRST MAIDEN.
Dear Madhukariká, am I not named after the
Koil ? 90 and does not the Koil sing for joy at the first
appearance of the mango-blossom ?
SECOND MAIDEN.
:: [Approaching hastily, with transport.
What! is spring really come ?
FIRST MAIDEN.
Yes, indeed, Madhukariká, and with it the season
of joy, love, and song.
SECOND MAIDEN.
Let me lean upon you, dear, while I stand on tip-
toe and pluck a blossom of the mango, that I may.
present it as an offering to the god of love.
ACT VI.]
It3
THE LOST RING.
FIRST MAIDEN.
Provided you let me have half the reward which
the god will bestow in return.
SECOND MAIDEN.
To be sure you shall, and that without asking. Are
we not one in heart and soul, though divided in body ?
[Leans on her friend and plucks a mango-blossom.] Ah! here is a
bud just bursting into flower. It diffuses a delicious
perfume, though not yet quite expanded.
[Joining her hands reverentially.
God of the bow, who with spring's choicest flowers
Dost point thy five unerring shafts; 91 to thee
I dedicate this blossom ; let it serve
To barb thy truest arrow; be its mark
Some youthful heart that pines to be beloved.
[Throws down a mango-blossom.
TY
Y
CHAMBERLAIN.
[Entering in a hurried manner, angrily.
Hold there, thoughtless woman. What are you
about, breaking off those mango-blossoms, when the
King has forbidden the celebration of the spring
festival ?
BOTH MAIDENS.
[Alarmed.
Pardon us, kind sir, we have heard nothing of it.
CHAMBERLAIN.
You have heard nothing of it? Why, all the vernal
144
[ACT VI.
ŚAKOONTAL); OR,
plants and shrubs and the very birds that lodge in
their branches, show more respect to the King's order
than you do.
Yon mango-blossoms, though long since expanded,
Gather no down upon their tender crests;
The flower still lingers in the amaranth,92
Imprisoned in its bud; the tuneful Koïl,
Though winter's chilly dews be overpast,
Suspends the liquid volume of his song
Scarce uttered in his throat; e'en Love, dismayed,
Restores the half-drawn arrow to his quiver.
BOTH MAIDENS.
The mighty power of King Dushyanta is not to be
disputed.
FIRST MAIDEN.
It is but a few days since Mitrávasu, the King's
brother-in-law, sent us to wait upon his Majesty; and,
during the whole of our sojourn here, we have been
entrusteil with the charge of the royal pleasure-
grounds. We are therefore strangers in this place,
and heard nothing of the order till you informed us
of it.
CHAMBERLAIN.
Well then, now you know it, take care yoú don't
continue your preparations.
ACT VI.]
145
THE LOST RING,
BOTH MAIDENS.
But tell us, kind sir, why has the King prohibited
the usual festivities? We are curious to hear, if we
may.
SÁNUMATÍ.
[A side.
Men are naturally fond of festive entertainments,
There must be some good reason for the prohibition,
CHAMBERLAIN.
The whole affair is now public; why should I not
speak of it? Has not the gossip about the King's
rejection of Sakoontalá reached your ears yet?
BOTE MAIDENS.
Oh yes, we heard the story from the King's brother-
in-law, as far, at least, as the discovery of the ring.
CHAMBERLAIN.
Then there is little more to tell you. As soon as
the King's memory was restored by the sight of his
own ring, he exclaimed, 'Yes, it is all true. I re-
member now my secret marriage with Śakoontalá.
When I repudiated her, I had lost my recollection!'
Ever since that moment, he has yielded himself a prey
to the bitterest remorse.
He loathes his former pleasures; he rejects
The daily homage of his ministers.
On his lone couch he tosses to and fro,
1.46
[ACT VI.
ŠAKOONTALA; OR,
Courting repose in vain. Whene'er he meets
The ladies of his palace, and would fain
Address them with politeness, he confounds
Their names; or, calling them ' Sakoontalá,'
Is straightway silent and abashed with shame.
SÁNUMATÍ.
[Aside.
To me this account is delightful.
CHAMBERLAIN,
In short, the King is so completely out of his mind
that the festival has been prohibited.
BOTH MAIDENS.
Perfectly right.
A VOICE BEHIND THE SCENES.
The King ! the King! This way, Sire, this way.
[Listening.
Oh! here comes his Majesty in this direction. Pass
on, maidens; attend to your duties.
CHAMBERLAIN.
BOTH MAIDENS.
We will, sir.
[Exeunt.
Enter King DUSHYANTA, dressed in deep mourning, attended
by his Jester, MÁȚHAVYA, and preceded by VETRAVATÍ.
CHAMBERLAIN. [Gazing at the King.
Well, noble forms are' certainly pleasing, under all
varieties of outward circumstances. The King's person
ACT VI.]
147
THE LOST RING.
is as charming as ever, notwithstanding his sorrow of
mind.
Though but a single golden bracelet spans
His wasted arm; though costly ornaments
Have given place to penitential weeds ;
Though oft-repeated sighs have blanched his lips,
And robbed them of their bloom; though sleep-
less care
And carking thought have dimmed his beaming
eye;
Yet does his form, by its inherent lustre,
Dazzle the gaze; and, like a priceless gem ·
Committed to some cunning polisher,
Grow more effulgent by the loss of substance.
SÁNUMATÍ. .
[Aside. Looking at the King.
Now that I have seen him, I can well understand
why Sakoontalá should pine after such a man, in
spite of his disdainful rejection of her.
KING.
[Walking slowly up and down in deep thought.
When fatal lethargy o’erwhelmed my soul,
My loved one strove to rouse me, but in vain;
And now, when I would fain in slumber deep
Forget myself, full soon remorse doth wake me
148
[ACT VI.
ŚAKOONTALÀ; OR,
SÁNUMATÍ.
[Aside.
My poor Sakoontalá's sufferings are very similar.
MÁTHAVYA.
[Aside.
He is taken with another attack of this odious
Śakoontalá fever. How shall we ever cure him?
CHAMBERLAIN.
[Approaching.
Victory to the King! Great Prince, the royal
pleasure-grounds have been put in order. Your
Majesty can resort to them for exercise and amuse-
ment whenever you think proper.
KING.
Vetravatí, tell the worthy Piśuna, my prime mini-
ster, from me, that I am so exhausted by want of
sleep that I cannot sit on the judgment-seat to-day.
If any case of importance be brought before the tri-
bunal, he must give it his best attention, and informi
me of the circumstances by letter.
VETRAVATÍ.
Your Majesty's commands shall be obeyed. [Exit.
[To the CHAMBERLAIN.
And you, Vátáyana, may go about your own affairs.
KING
CHAMBERLAIN.
I will, Sire,
[Exit.
ACT VI.]
149
THE LOST RING.
MÁȚHAVYA.
Now that you have rid yourself of these trouble-
some fellows, you can enjoy the delightful coolness of
your pleasure-grounds without interruption.
KING.
" ---
----
Ah! my dear friend, there is an old adage-— When
affliction has a mind to enter, she will find a crevice
somewhere;' and it is verified in me..
Scarce is my soul delivered from the cloud
That darkened its remembrance of the past,
When lo ! the heart-born deity of love
With yonder blossom of the mango barbs
. His keenest shaft, and aims it at my breast.
MÁTHAVÝA.
Well, then, wait à móment; I will soon demolish
Master Káma's47_arrow with a cut of my cane.
[Raises his stick and strikes off the manjo-blossom.
[Smiling.
That will do. I see very well the god of love is
not a match for a Bráhman. And now, my dear
friend, where shall I sit down, that I may enchant
my sight by gazing on the twining plants, which seem
to remind me of the graceful shape of my beloved ?
MÁTHAVYA.
Do not you remember? you told your personal

KING.
150
[ACT VI.
ŚAKOONTALA; OR,
attendant, Chaturiká, you should pass the heat of the
day in the jasmine-bower; and commanded her to
bring the likeness of your Queen Sakoontalá, sketched
with your own hand.
KING.
True. The sight of her picture will refresh my
soul. Lead the way to the arbour.
This way, Sire.
MÁTHAVYA.
[Both move on, followed by SÁNUMATÍ.
MÁȚIAVYA.
Here we are at the jasmine-bower. Look, it has a
marble seat, and seems to bid us welcome with its
offerings of delicious flowers. You have only to enter
and sit down.
[Both enter and seat themselves.
SÁNUMATÍ.
[Aside.
I will lean against these young jasmines. I can
easily, from behind them, glance at my friend's
picture, and will then hasten to inform her of her
husband's ardent affection.
[Stands leaning against the creepers.

KING.
Oh! my dear friend, how vividly all the circum-
stances of my union with Sakoontala present them-
selves to my recollection at this moment! But tell
AĆT VI.)
150
THÈ LOSŤ RİNG.
L
me now how it was that, between the time of my
leaving her in the hermitage and my subsequent
rejection of her, you never breathed her name to me?
True, you were not by my side when I disowned her;
but I had confided to you the story of my love, and
you were acquainted with every particular. "Did it
pass out of your mind as it did out of mine ?
MÁTHAVYA.
No, no; trust me for that. But, if you remember,
when you had finished telling me about it, you added
that I was not to take the story in earnest, for that
you were not really in love with a country girl, but
were only jesting; and I was dull and thick-headed
enough to believe you. But so fate decreed, and
there is no help for it.
SÁNUMATÍ.
[A side.
Exactly.
KING.
[After deep thought.
My dear friend, suggest some relief for my misery.
MÁTHAVYA.
Come, come, cheer up; why do you give way?
Such weakness is unworthy of you. Great men
never surrender themselves to uncontrolled grief.
Do not mountains remain unshaken even in a gale
of wind ?
in
.
SAKOONTALÀ; OR,
[ACT VIY
KING.
How can I be otherwise than inconsolable, when I
call to mind the agonized demeanour of the dear one
on the occasion of my disowning her ?
When cruelly I spurned her from my presence,
She-fain had left me; but the young recluse,
Stern as the Sage, and with authority
As from his saintly master, in a voice
That brooked not contradiction, bade her stay.
Then through her pleading eyes, bedimmed with
tears,
She cast on me one long reproachful look,
Which like a poisoned shaft torments me still.
SÁNUMATÍ.
[A side.
Alas! such is the force of self-reproach following a.
rash action. But his anguish only rejoices me.
MÁTHAVYA.
. An idea has just struck me. I should not wonder
if some celestial being had carried her off to heaven.
KING.
Very likely. Who else would have dared to lay a
finger on a wife, the idol of her husband ? It is said
that Menaká, the nymph of heaven, gave her birth.
The suspicion has certainly crossed my mind that some
of her celestial companions may have taken her to
their own abode.

ACT VI.)
153
THE LOST RING.
SÁNUMATÍ.
[A side.
His present recollection of every circumstance of
her history does not surprise me so much as his former
forgetfulness.
MÁTHAVYA.
If that's the case, you will be certain to meet her
before long.
KING.
Why?
MÁTHAVYA.
suffering the pain of separation from her husband. .
KING.
Oh! my dear Má havya,
Was it' a dream? or did some magic dire,
Dulling my senses with a strange delusion,
O’ercome my spirit? or did destiny,
Jealous of my good actions, mar their fruit,
And rob me of their guerdon ? It is past,
Whate'er the spell that bound me. Once again
Am I awake, but only to behold
The precipice o'er which my hopes have fallen.
: MÁTHAVYA.
Do not despair in this manner. Is not this very
ring a proof that what has been lost may be unex-
pectedly found ?
-
154
[ACT VI.
ŠAKOONTALA; OR,
KING.
[Gazing at the ring.
Ah! this ring, too, has fallen from a station which
it will not easily regain, and deserves all my sympathy.
O gem, deserved the punishment we suffer,
And equal is the merit of our works,
When such our common doom. Thou didst enjoy
The thrilling contact of those slender fingers,
Bright as the dawn; and now how changed thy
lot!
SÁNUMATÍ.
(Aside.
Had it found its way to the hand of any other
person, then indeed its fate would have been deplorable.
MÁȚIAVYA.
Pray, how did the ring ever come upon her hand at
all ?
SÁNUMATÍ.
[Aside.
I myself am curious to know.
KING.
You shall hear. When I was leaving my beloved
Śakoontalá that I might return to my own capital, she
said to me, with tears in her eyes, 'How long will it
be ere my lord send for me to his palace and make me
his queen ?'
MÁTHAVYA.
Well, what was your reply?
ACT VI.)
155
THE LOST RING.
KING.
Then I placed the ring on her finger, and thus
addressed her-
Repeat each day one letter of the name
Engraven on this gem; ere thou hast reckoned
The tale of syllables, my minister
Shall come to lead thee to thy husband's palace.
But, hard-hearted man that I was, I forgot to fulfil
my promise, owing to the infatuation that took pos-
session of me:
SÁNUMATÍ.
[A side.
A pleasant arrangement! Fate, however, ordained
that the appointment should not be kept.
But how did the ring contrive to pass into the
stomach of that carp which the fisherman caught and
was cutting up ?
KING.
It must have slipped from my Sakoontala's hand,
and fallen into the stream of the Ganges, while she
was offering homage to the water of Sachí's holy pool.
MÁTHAVYA.
Very likely.
SÁNUMATÍ.
[Aside.
Hence it happened, I suppose, that the King, always
fearful of committing the least injustice, came to doubt
156
[ACT VI.
ŚAKOONTALĂ; OR,
his marriage with 'my poor Sakoontalá. But why
should affection so strong as his stand in need of any
token of recognition ?
KING.
Let me now address a few words of reproof to this
ring:
MÁTHAVYA.
[Asicle.
He is going stark mad, I verily believe.
KING.
Hear me, thou dull and undiscerning bauble !
For so it argues thee, that thou couldst leave
The slender fingers of her hand, to sink
Beneath the waters. Yet what marvel is it
That thou shouldst lack discernment ? let me
rather
Heap curses on myself, who, though endowed
With reason, yet rejected her I loved.
MÁTHAVYA.
[.1 side.
And so, I suppose, I must stand here to be devoured
by hunger, whilst he goes on in this sentimental strain.
KING.
O forsaken one, unjustly banished from my presence,
take pity on thy slave, whose heart is consumed by the
fire of remorse, and return to my sight.
ACT VI.]
157
THE LOST RING.
ARI
LU
Enter CHATURIKÁ hurriedly, with a picture in her hund,
CHATURIKÁ.
Here is the Queen's portrait.
[Shows the picture.
MÁTHAVYA.
Excellent, my dear friend, excellent! The imita-
tion of nature is perfect, and the attitude of the
figures is really charming. They stand out in such
bold relief that the eye is quite deceived.
SÁNUMATÍ.
[A side
A most artistic performance! I admire the King's
skill, and could almost believe that Sakoontalá her-
self was before me.
KING.
I own 'tis not amiss, though it portrays
But feebly her angelic loveliness.
Aught less than perfect is depicted falsely,
And fancy must supply the imperfection.
SÁNUMATÍ.
[Aside.
A very just remark from a modest man, whose
affection is exaggerated by the keenness of his re-
morse.
MÁTHAVYA.
Tell me, I see three female figures drawn on the
canvas, and all of them beautiful; which of the three
is her Majesty Sakoontalá ?
CU
TI
158
[ACT VI.
ŚAKOONTALĂ; OR,
SÁNUMATÍ.
[Aside.
If he cannot distinguish her from the others, the
simpleton might as well have no eyes in his head.
KING.
Which should you imagine to be intended for her ?
MÁTHAVYA.
She who is leaning, apparently a little tired, against
the stem of that mango-tree, the tender leaves of which
glitter with the water she has poured upon them.
Her arms are gracefully extended; her face is some-
what flushed with the heat; and a few flowers have
escaped from her hair, which has become unfastened,
and hangs in loose tresses about her neck. That must
be the Queen Sakoontalá, and the others, I presume,
are her two attendants.
KING.
I congratulate you on your discernment. Behold
the proof of my passion ;
My finger, burning with the glow of love, 93
Has left its impress on the painted tablet;
While here and there, alas! a scalding tear
Has fallen on the cheek and dimmed its brightness.
Chaturiká, the garden in the background of the
picture is only half-painted. Go, fetch the brush that
I inay finish it.
ACT VI.]
159
THE LOST RING.
CHATURIKÁ.
Worthy Máthavya, have the kindness to hold the
picture until I return.
KING.
Nay, I will hold it myself.
[Takes the picture.
[Exit CHATURIKÁ.
KING.
My loved one came but lately to my presence
And offered me herself, but in my folly
I spurned the gift, and now I fondly cling
To her mere image; even as a madman
Would pass the waters of the gushing stream,
And thirst for airy vapours of the desert. 94
MÁȚHAVYA.
[Aside.
He has been fool enough to forego the reality for
the semblance, the substance for the shadow. [Aloud.]
Tell us, I pray, what else remains to be painted.
ŠANUMATÍ.
[Aside.
He longs, no doubt, to delineate some favourite spot
where my dear Sakoontalá delighted to ramble.
KING.
You shall hear-
I wish to see the Máliní portrayed,
Its tranquil course by banks of sand impeded;
Upon the brink a pair of swans; beyond,
160
[ACT VI.
ŚAKOONTALA; OR,
The hills adjacent to Himálaya,95
Studded with deer; and, near the spreading shade
Of some large tree, where 'mid the branches hang
The hermits' vests of bark, a tender doe,
Rubbing its downy forehead on the horn
Of a black antelope, should be depicted.
MÁTHAVYA.
[Aside.
Pooh! if I were he, I would fill up the vacant
spaces with a lot of grizzly-bearded old hermits.
TT
I
KING.
My dear Máthavya, there is still a part of Śakoon-
talá’s dress which I purposed to draw, but find I have
omitted.
MÁTHAVYA.
What is that?
SÁNUMATÍ.
[A side.
Something suitable, I suppose, to the simple attire
of a young and beautiful girl dwelling in a forest.
KING.
A sweet Sirisha blossom should be twined
Behind her ear, its perfumed crest depending
Towards her cheek; and, resting on her bosom,
A lotus-fibre necklace, soft and bright
As an autumnal moonbeam, should be traced.
ACT VI.]
16i
THE LOST RING.
JÁTHAVYA.
Pray, why does the Queen cover her lips with the
tips of her fingers, bright as the blossom of a lily, as
if she were afraid of something ? [Looking more closely.]
Oh! I see; a vagabond bee, intent on thieving the
honey of flowers, has mistaken her mouth for a rose-
bud, and is trying to settle upon it.
KING.
A bee! drive off the impudent insect, will you ?
MÁȚHAVYA,
That's your business. Your royal prerogative
gives you power over all offenders.
Very true. Listen to me, thou favourite guest of
flowering plants; why give thyself the trouble of
hovering here ?
See where thy partner sits on yonder flower,
And waits for thee ere she will sip its dew.
SÁNUMATÍ.
[4 side.
A most polite way of warning him off !
MÁTHAVYA.
You'll find the obstinate creature is not to be sent
about his business so easily as you think.
162
[ACT VI.
ŠAKOONTALÀ; OR,
KING.
Dost thou presume to disobey ? Now hear me--
An thou but touch the lips of my beloved,
Sweet as the opening blossom, whence I quaffed
In happier days love's nectar, I will place thee
Within the hollow of yon lotus cup,
And there imprison thee for thy presumption.
MÁȚHAVYA.
He must be bold indeed not to show any fear when
you threaten him with such an awful punishment.
[Smiling, aside.] He is stark mad, that's clear; and I
believe, by keeping him company, I am beginning to
talk almost as wildly. [Aloud.] Look, it is only a
painted bee.
KING.
Painted ? impossible!
SÁNUMATÍ.
[ Aside.
Even I did not perceive it; how much less should
he!
KING.
Oh! my dear friend, why were you so ill-natured
as to tell me the truth?
While all entranced, I gazed upon her picture,
My loved one seemed to live before my eyes
Till every fibre of my being thrilled
ACT VI.]
163
THE LOST RING.
With rapturous emotion. Oh! 'twas cruel
To dissipate the day-dream, and transform
The blissful vision to a lifeless image.
[Sheds tears.
SÁNUMATÍ.
[Aside.
Separated lovers are very difficult to please ; but
· he seems more difficult than usual.
KING.
Alas! my dear Máthavya, why am I doomed to be
the victim of perpetual disappointment?
Vain is the hope of meeting her in dreams,
For slumber night by night forsakes my couch;
And now that I would fain assuage my grief
By gazing on her portrait here before me,
Tears of despairing love obscure my sight.
SÁNUMATÍ.
[A side.
You have made ample amends for the wrong you
did Sakoontalá in disowning her.
CHATURIKÁ.
[Entering.
Victory to the King! I was coming along with
the box of colours in my hand-
KING.
What now?
CHATURIKÁ.
When I'met the Queen Vasumatí, attended by
164
[ACT VI.
ŠAKOONTALÀ; OR,
Taraliká. She insisted on taking it from me, and
declared she would herself deliver it into your
Majesty's hands.
MÁȚHAVYA.
By what luck did you contrive to escape her ?
CHATURIKÁ.
While her maid was disengaging her mantle, which
had caught in the branch of a shrub, I ran away.
KING.
Here, my good friend, take the picture and conceal
it. My attentions to the Queen have made her pre-
sumptuous. She will be here in a minute.
MÁȚHAVYA.
Conceal the picture! conceal myself, you mean.
[Getting up and taking the picture.] The Queen has a bitter
draught in store for you, which you will have to
swallow, as Siva did the poison at the Deluge. 96
When you are well quit of her, you may send and call
me from the Palace of Clouds,97 where I shall take
refuge.
[Exit, running.
SÁNUMATÍ.
[Aside.
Although the King's affections are transferred to
another object, yet he respects his previous attach-
ments. I fear his love must be somewhat fickle.
ACT VI.]
165
THE LOST RING.
VETRAVATÍ.
[Entering with a despatch in her hand.
Victory to the King !
KING.
Vetravatí, did you observe the Queen Vasumatí
coming in this direction?
VETRAVATÍ.
I did; but when she saw that I had a despatch in
my hand for your Majesty, she turned back.
KING.
The Queen has too much regard for propriety to in-
terrupt me when I am engaged with state-affairs.
VETRAVATÍ.
So please your Majesty, your prime minister begs
respectfully to inform you that he has devoted much
time to the settlement of financial calculations, and
only one case of importance has been submitted by the
citizens for his consideration. He has made a written
report of the facts, and requests your Majesty to cast
your eyes over it.
KING.
Hand me the paper.
[VETRAVATÍ delivers it.
KING.
[Reading.
What have we here? “A merchant named Dhana-
mitra, trading by sea, was lost in a late shipwreck.
166
[ACT VI.
ŚAKOONTALÁ; OR,
LA
Though a wealthy trader, he was childless; and the
whole of his immense property becomes by law for-
feited to the king. So writes the minister. Alas !
alas! for his childlessness! But surely, if he was
wealthy, he must have had many wives. Let an in-
quiry be made whether any one of them is expecting
to give birth to a child.
VETRAVATÍ.
They say that his wife, the daughter of the fore-
man of a guild belonging to Ayodhyá,98 has just com-
pleted the ceremonies usual upon such expectations.
KING.
The unborn child has a title to his father's property.
Such is my decree. Go, bid my minister proclaim it so.
VETRAV
I will, my liege.
[Going.
KING.
Stay a moment.
VETRAVATÍ.
I am at your Majesty's service.
KING.
Let there be no question whether he may or may
not have left offspring;
Rather be it proclaimed that whosoe'er
Of King Dushyanta's subjects be bereaved
ACT VI.]
167
THE LOST RING.
Of any loved relation, an it be not
That his estates are forfeited for crimes,
Dushyanta will himself to them supply
That kinsman's place in tenderest affection.
VETRAVATÍ.
It shall be so proclaimed.
[Exit VETRAVATÍ, and re-enter
after an interval.
VETRAVATÍ.
Your Majesty's proclamation was received with accla-
mations of joy, like grateful rain at the right season.
KING. [Drawing a deep sigh.
So, then, the property of rich men, who have no
lineal descendants, passes over to a stranger at their
decease. And such, alas! must be the fate of the
fortunes of the race of Puru at my death; even as
when fertile soil is sown with seed at the wrong
season.
VETRAVATÍ.
Heaven forbid !
KING.
Fool that I was to reject such happiness when it
offered itself for my acceptance !
SÁNUMATÍ.
[Aside.
He may well blame his own folly when he calls to
mind his treatment of my beloved Sakoontalá,
168
[ACT VI.
ŠAKOONTALA; OR,
KING.
Ah! woe is me! when I forsook my wife-
My lawful wife-concealed within her breast
There lay my second self, a child unborn,
Hope of my race, e'en as the choicest fruit
Lies hidden in the busom of the earth.
SÁNUMATÍ.
[Aside.
There is no fear of your race being cut off for want
of a son.
CHATURIKÁ. [Aside to VETRAVATÍ.
The affair of the merchant's death has quite upset
our royal master, and caused him sad distress. Had
you not better fetch the worthy Máthavya from the
Palace of Clouds to comfort him?
VETRAVATÍ.
A very good idea.
[Exit.
KING.
Alas! the shades of my forefathers are even now
beginning to be alarmed, lest at my death they may
be deprived of their funeral libations.
No son remains in King Dushyanta's place
To offer sacred homage to the dead
Of Puru's noble line; my ancestors
Must drink these glistening tears, the last libation99
A childless man can ever hope to make them.
[Falls down in an agony of grief.
ACT VI.]
169
THE LOST RING.
CHATURIKÁ.
[Looking at him in consternation.
Great King, compose yourself.
SÁNUMATÍ.
[A side.
Alas ! alas ! though a bright light is shining near
him, he is involved in the blackest darkness, by reason
of the veil that obscures his sight. I will now reveal
all, and put an end to his misery. But no; I heard
the mother of the great Indra,100 when she was con-
soling Sakoontalá, say that the gods will soon bring
about a joyful union between husband and wife, being
eager for the sacrifice which will be celebrated in their
honour on the occasion. I must not anticipate the
happy moment, but will return at once to my dear
friend and cheer her with an account of what I have
seen and heard.
[Rises aloft and disappears.
A VOICE BEHIND THE SCENES.
Help! help! to the rescue!
KING.
[Recorering himself. Listening.
Ha! I heard a cry of distress, and in Máthavya's
voice too. What ho there!
VETRAVA’TÍ.
[Entering.
Your friend is in danger; save him, great King.
KING.
Who dares insult the worthy Máthavya ?
170
[ACT VI.
ŚAKOONTALĂ; OR,
VETRAVATÍ.
Some evil demon, invisible to human eyes, has seized
him, and carried him to one of the turrets of the Palace
of Clouds.
KING.
[Rising.
Impossible! Have evil spirits power over my sub-
jects, even in my private apartments? Well, well,
Daily I seem less able to avert
Misfortune from myself, and o'er my actions
Less competent to exercise control;
How can I then direct my subjects' ways,
Or shelter thein from tyranny and wrong?
A VOICE BEHIND TIIE SCENES.
Halloo there! my dear friend; help! help!
KING. [Advancing with rapid strides.
Fear nothing-
· THE SAME VOICE BEHIND THE SCENES.
Fear nothing, indeed! How can I help fearing
when some monster is twisting back my neck, and is
about to snap it as he would a sugar-cane ?
KING.
[Looking round.
What ho there ! my bow.
SLAVE. [Ent.ring with a bow.
Behold your bow, Sire, and your arm-guard.
[The KING snutches up the bow and arrows,
1
ACT VI.]
171
THE LOST RING.
NY
ANOTHER VOICE BEHIND TIIE SCENES.
Here, thirsting for thy life-blood, will I slay thee,
As a fierce tiger rends his struggling prey.
Call now thy friend Dushyanta to thy aid;
His bow is mighty to defend the weak;
Yet all its vaunted power shall be as nought.
KING.
[With fury.
What! dares he defy me to my face ? Hold there,
monster! Prepare to die, for your time is come.
[Stringin., his bow.] Vetravatí, lead the way to the
terrace.
VETRAVATÍ.
This way, Sire.
[They advance in haste.
[Looking on every side.
How's this? there is nothing to be seen.
KING.
A VOICE BEHIND THE SCENES.
Help! Save me! I can see you, though you can-
not see me. I am like a mouse in the claws of a cat;
my life is not worth a minute's purchase.
KING.
Avaunt, monster! You may pride yourself on the
magic that renders you invisible, but my arrow shall
find you out. Thus do I fix a shaft
That shall discern between an impious demon,
And a good Brahman; bearing death to thee,
172
[ACT VI.
ŚAKOONTAL); OR,
To him deliverance-even as the swan
Distinguishes the milk from worthless water.101
[Takes aim.
Enter MÁTALI 102 holding MáȚHAVYA, whom he releases.
MÁTALI.
Turn thou thy deadly arrows on the demons;
Such is the will of Indra ; let thy bow
Be drawn against the enemies of the gods ;
But on thy friends cast only looks of favour.
KING. [Putting back his arrow.
What, Mátali! Welcome, most noble charioteer of
the mighty Indra.
MÁȚIIAVYA.
So, here is a monster who thought as little about
slaughtering me as if I had been a bullock for sacri-
fice, and you must e'en greet him with a welcome.
MÁTALI.
[Smiling.
Great Prince, hear on what errand Indra sent me
into your presence.
KING.
I am all attention.
MÁTALI.
There is a race of giants, the descendants of Kála-
nemi,103 whom the gods find difficult to subdue.
ACT VI.]
173
THE LOST RING.
KING.
So I have already heard from Nárada 104
MÁTALI.
Heaven's mighty lord, who deigns to call thee
'friend,
Appoints thee to the post of highest honour,
As leader of his armies; and commits
The subjugation of this giant brood
To thy resistless arms, e'en as the sun
Leaves the pale moon to dissipate the darkness.
Let your majesty, therefore, ascend at once the
celestial car of Indra; and, grasping your arms, ad-
vance to victory.
KING,
The mighty Indra honours me too highly by such a
mark of distinction. But tell me, what made you
act thus towards my poor friend Máthavya ?
MÁTALI.
I will tell you. Perceiving that your Majesty's
spirit was completely broken by some distress of mind
under which you were labouring, I determined to
rouse your energies by moving you to anger. Because
To light a flame, we need but stir the embers;
The cobra, when incensed, extends its head
And springs upon his foe; the bravest men
Display their courage only when provoked.
174
[ACT VI.
ŠAKOONTALÀ, OR,
· KING. [A side to MÁTHAVYA.
My dear Máthavya, the commands of the great
Indra must not be left behind unfulfilled. Go you
and acquaint my minister, Piśuna, with what has
happened, and say to him from me,
Dushyanta to thy care confides his realm-
Protect with all the vigour of thy mind
The interests of my people; while my bow
Is braced against the enemies of heaven.
MÁTHAVYA.
I obey.
[Exit.
MÁTALI.
Ascend, illustrious Prince. [The King ascends the car.
[Exeunt.
braced Osts of mye vigour
ACT VII.]
175
THE LOST RING.
ACT VII.
SCENE.—The Sky.
Enter KING DUSHYANTA and Mátali in the car of Indira,
moving in the air.
KING.
My good Mátali, it appears to me incredible that
I can merit such a mark of distinction for having
simply fulfilled the behests of the great Indra.
MÁTALI.
[Smiling.
Great Prince, it seems to me that neither of you is
satisfied with himself.
You underrate the service you have rendered,
And think too highly of the god's reward;
He deems it scarce sufficient recompense
For your heroic deeds on his behalf.
KING.
Nay, Mátali, say not so. "My most ambitious ex-
pectations were more than realised by the honour
conferred on me at the moment when I took my leave
For,
Tinged with celestial sandal, from the breast 105
Of the great Indra, where before it hung,
A garland of the ever-blooming tree
Of Nandana 196 was cast about my neck
176
ACT VII.
ŠAKOONTALĂ ; OR,
Y
By his own hand: while, in the very presence
Of the assembled gods, I was enthroned
Beside their mighty lord, who smiled to see
His son Jayanta107 envious of the honour.'
MÁTALI.
There is no mark of distinction which your Majesty
does not deserve at the hands of the immortals. See,
Heaven's hosts acknowledge thee their second
saviour;
For now thy bow's unerring shafts (as erst
The lion-man's terrific claws 108) have purged
The empyreal sphere from taint of demons foul.
KING.
The praise of my victory must be ascribed to the
majesty of Indra.
When mighty gods make men their delegates
In martial enterprise, to them belongs
The palm of victory; and not to mortals.
Could the pale Dawn dispel the shades of night,
Did not the god of day, whose diadem
Is jewelled with a thousand beams of light,
Place him in front of his effulgent car ? 11
MÁTALI.
A very just comparison ! [Driving on.] Great King,
behold! the glory of thy fame has reached even to
the vault of heaven.
ale
y
ACT VII.]
177
THE LOST RING.:
Hark! yonder inmates of the starry sphere
Sing anthems worthy of thy martial deeds,
While with celestial colours they depict
The story of thy victories on scrolls
Formed of the leaves of heaven's immortal trees.
KING.
My good Mátali, yesterday, when I ascended the
sky, I was so eager to do battle with the demons,
that the road by which we were travelling towards
Indra's heaven escaped my observation. Tell me, in
which path of the seven winds are we now moving?
MÁTALI.
We journey in the path of Parivaha ; 109
The wind that bears along the triple Ganges, 110
And causes Ursa's seven stars to roll
In their appointed orbits, scattering
Their several rays with equal distribution.
'Tis the same path that once was sanctified
By the divine impression of the foot
Of Vishnu, when, to conquer haughty Bali,
He spanned the heavens in his second stride.111
KING.
This is the reason, I suppose, that a sensation of
178
ACT VII.
ŠAKOONTALÁ; OR,
calm repose pervades all my senses. [Looking down at the
wheels.] Ah! Mátali, we are descending towards the
earth's atmosphere.
MÁTALI.
What makes you think so ?
KING.
The car itself instructs me; we are moving
O'er pregnant clouds, surcharged with rain; be-
low us
I see the moisture-loving Chátakas112
steeds
Of Indra glisten with the lightning's flash;
And a thick mist bedews the circling wheels.
MÁTALI.
You are right; in a little while the chariot will
touch the ground, and you will be in your own
dominions.
KING.
[Looking down.
How wonderful the appearance of the earth as we
rapidly descend !
Stupendous prospect ! yonder lofty hills
Do suddenly uprear their towering heads
Amid the plain, while from beneath their crests
The ground receding sinks; the trees, whose stems
ACT VII.]
179
THE LOST RING.
Seemed lately hid within their leafy tresses,
Rise into elevation, and display
Their branching shoulders; yonder streams, whose
waters,
Like silver threads, but now were scarcely seen,
Grow into mighty rivers ; lo ! the earth
Seems upward hurled by some gigantic power.
MÁTALI.
Well described ! [Looking with awe.] Grand, indeed,
and lovely is the spectacle presented by the earth.
I.
KING.
Tell me, Mátali, what is the range of mountains
which, like a bank of clouds illumined by the setting
sun, pours down a stream of gold ? On one side its
base dips into the eastern ocean, and on the other side
into the western.
MÁTALI.
Great Prince, it is called “Golden-peak,' 113 and is the
abode of the attendants of the god of wealth. In this
spot the highest forms of penance are wrought out.
There Kasyapa,114 the great progenitor
Of demons and of gods, himself the offspring
Of the divine Maríchi, Brahma's son,
With Aditi, his wife, in calm seclusion,
Does holy penance for the good of mortals.
D
180
[ACT VII.
ŠAKOONTAL); OR,
KING.
Then I must not neglect so good an opportunity of
obtaining his blessing. I should much like to visit
this venerable personage and offer him my homage.
MÁTALI.
By all means. An excellent idea!
[Guides the car to the earth.
KING.
[In a tone of wonder.
How's this?
Our chariot wheels move noiselessly. Around
No clouds of dust arise ; no shock betokened
Our contact with the earth; we seem to glide
Above the ground, so lightly do we touch it.
MÁTALI.
Such is the difference between the car of Indra and
that of your Majesty.
KING
In which direction, Mátali, is Kaśyapa's sacred re-
treat?
MÁTALI.
[Pointing.
Where stands yon anchorite, towards the orb
Of the meridian sun, immoveable
As a tree's stem, his body half-concealed
By a huge ant-hill. Round about his breast
No sacred cord is twined, 115 but in its stead
ACT VII.]
181
:
THE LOST RING.
A hideous serpent's skin. In place of necklace,
The tendrils of a withered creeper chafe
His wasted neck. His matted hair depends
In thick entanglement about his shoulders,
And birds construct their nests within its folds.116
KING.
I salute thee, thou man of austere devotion.
MÁTALI.
[Holding in the reins of the car.
Great Prince, we are now in the sacred grove of the
holy Kaśyapa—the grove that boasts as its ornament
one of the five trees of Indra's heaven, reared by Aditi.
LU
KING.
This sacred retreat is more delightful than heaven
itself. I could almost fancy myself bathing in a pool
of nectar.
MÁTALI. [Stopping the chariot.
Descend, mighty Prince.
KING.
[Descending.
And what will you do, Mátali ?
MÁTALI.
The chariot will remain where I have stopped it.
We may both descend. [Doing so.] This way, great
King. [Walking on.] You see around you the celebrated
182
[ACT VII.
ŠAKOONTALÀ; OR,
region where the holiest sages devote themselves to
penitential rites.
KING.
I am filled with awe and wonder as I gaze.
In such a place as this do saints of earth
Long to complete their acts of penance; here,
Beneath the shade of everlasting trees,
Transplanted from the groves of Paradise,
May they inhale the balmy air, and need
No other nourishment;117 here may they bathe
In fountains sparkling with the golden dust
Of lilies ! here, on jewelled slabs of marble,
In meditation rapt, may they recline;
Here, in the presence of celestial nymphs,
E'en passion's voice is powerless to move them.
MÁTALI.
So true is it that the aspirations of the good and
great are ever soaring upwards. [Turning round and speak-
ing off the stage.] Tell me. Vriddha-śákalya, how is the
divine son of Maríchi now engaged? What sayest
thou? that he is conversing with Aditi and some of
the wives of the great sages, and that they are ques-
tioning him respecting the duties of a faithful wife ?
KING.
[Listening.
Then we must await the holy father's leisure.
ACT VII.)
183
THE LOST RING.
MÁTALT. [Looking at the KING.
If your Majesty will rest under the shade, at the
foot of this Asoka-tree,118 I will seek an opportunity
of announcing your arrival to Indra's reputed father.
KING.
As you think proper.
[Remains under the tree.
KING.
MÁTALI.
Great King, I go.
[Exit.
[Feeling his arm throb.
Wherefore this causeless throbbing, O mine arm?18
All hope has fled for ever; mock me not
With presages of good, when happiness
Is lost, and nought but misery remains.
L
O
A VOICE BEHIND THE SCENES.
Be not so naughty. Do you begin already to show
a refractory spirit ?
KING.
[Listening.
This is no place for petulance. Who can it be
whose behaviour calls for such a rebuke? [Looking in
the direction of the sound and smiling.] A child, is it ? closely
attended by two holy women. His disposition seems
anything but child-like. See,
He braves the fury of yon lioness
Suckling its savage offspring, and compels
184
[ACT VII.
ŚAKOONTALÀ; OR,
The angry whelp to leave the half-sucked dug,
Tearing its tender mane in boisterous sport.
Enter a Child, attended by Two WOMEN of the hermitage, in
the manner described.
CHILD.
Open your mouth, my young lion, I want to count
your teeth.
FIRST ATTENDANT.
You naughty child, why do you tease the animals ?
Know you not that we cherish them in this hermitage
as if they were our own children? In good sooth,
you have a high spirit of your own, and are beginning
already to do justice to the name Sarva-damana (All-
taming), given you by the hermits.
KING.
Strange! My heart inclines towards the boy with
almost as much affection as if he were my own child.
What can be the reason ? I suppose my own
childlessness makes me yearn towards the sons of
others.
SECOND ATTENDANT.
This lioness will certainly attack you if you do not
release her whelp.
[Laughing.
Oh! indeed! let her coine. Much I fear her, to be
sure!
[Pouts his under-lip in defiance.
CHILD.
ACT VII.)
185
THE 1
LOST RING.
KING.
The germ of mighty courage lies concealed
Within this noble infant, like a spark
Beneath the fuel, waiting but a breath
To fan the flame and raise a conflagration.
FIRST ATTENDANT.
Let the young lion go, like a dear child, and I will
give you something else to play with.
CHILD
Where is it? Give it me first.
[Stretches out his hand.
KING. [Luoking at his hand.
How's that? His hand exhibits one of those mystic
marks 84 which are the sure prognostic of universal
empire. See!
His fingers stretched in eager expectation
To grasp the wished-for toy, and knit together
By a close-woven web, in shape resemble
A lotus blossom, whose expanding petals
The early dawn has only half unfolded.
SECOND ATTENDANT.
We shall never pacify him by mere words, dear
Suvratá. Be kind enough to go to my cottage, and
you will find there a plaything belonging to Márkan-
deya, one of the herinit's children. It is a peacock
186
[ACT VII.
ŚAKOONTAL); OR,
made of china-ware, painted in many colours. Bring
it here for the child.
FIRST ATTENDANT.
Very well.
[Exit.
CHILD.
No, no; I shall go on playing with the young lion.
'[Looks at the FEMALE ATTENDANT and laughs.
KING.
I feel an unaccountable affection for this wayward
child. I
How blessed the virtuous parents whose attire
Is soiled with dust, by raising from the ground
The child that asks a refuge in their arms !
And happy are they while with lisping prattle,
In accents sweetly inarticulate,
He charms their ears; and with his artless smiles
Gladdens their hearts, 119 revealing to their gaze
His tiny teeth just budding into view.
ATTENDANT.
I see how it is. He pays me no manner of atten-
tion. [Looking off the stage.] I wonder whether any of
the hermits are about here. [Seeing the King.] Kind
Sir, could you come hither a moment and help me to
release the young lion from the clutch of this child
who is teasing him in boyish play?
ACT VII.]
187
THE LOST RING.
KING. [Approaching and smiling.
Listen to me, thou child of a mighty saint!
Dost thou dare show a wayward spirit here?
Here, in this hallowed region ? Take thou heed
Lest, as the serpent's young defiles the sandal,"
Thou bring dishonour on the holy sage
Thy tender-hearted parent, who delights
To shield from harm the tenants of the wood.
ATTENDANT.
Gentle Sir, I thank you; but he is not the saint's
son.
KING.
His behaviour and whole bearing would have led
me to doubt it, had not the place of his abode
encouraged the idea.
[Follows the child, and takes him by the hand, according
to the request of the attendant. Aside.
I marvel that the touch of this strange child
Should thrill me with delight; if so it be,
How must the fond caresses of a son
Transport the father's soul who gave him being ! .
[Looking at them both.
ATTENDANT.
Wonderful! Prodigious !
KING.
What excites your surprise, my good woman?
188
[ACT VII.
ŠAKOONTALĂ; OR,
ATTENDANT.
I am astonished at the striking resemblance between
the child and yourself; and, what is still more extra-
ordinary, he seems to have taken to you kindly and
submissively, though you are a stranger to him.
KING.
[Fondling the child.
If he be not the son of the great sage, of what
family does he come, may I ask ?
ATTENDANT.
Of the race of Puru.
KING.
[Aside.
What! are we, then, descended from the same
ancestry? This, no doubt, accounts for the resem-
blance she traces between the child and me. Certainly
it has always been an established usage among the
princes of Puru's race,
To dedicate the morning of their days
To the world's weal, in palaces and halls,
'Mid luxury and regal pomp abiding;
Then, in the wane of life, to seek release
From kingly cares, and make the hallowed shade
Of sacred trees their last asylum, where
17
-
And bind themselves by rigid vows of penance.
[Aloud.] But how could mortals by their own power
gain admission to this sacred region ?
ACT VII.]
189
THE LOST RING.
IN
ATTENDANT.
Your remark is just; but your wonder will cease
when I tell you that his mother is the offspring of a
celestial nymph, and gave him birth in the hallowed
grove of Kaśyapa.
[A side.
Strange that my hopes should be again excited!
[Aloud.] But what, let me ask, was the name of the
prince whom she deigned to honour with her hand ?
KING.
ATTENDANT
How could I think of polluting my lips by the
mention of a wretch who had the cruelty to desert
his lawful wife?
KING.
[Aside.
Ha! the description suits me exactly. Would I
could bring myself to inquire the name of the child's
mother! [Reflecting.] But it is against propriety to make
too minute inquiries about the wife of another man.120
FIRST ATTENDANT.
[Entering with the china peacock in her hand.
Sarva-damana, Sarva-damana, see, see, what a
beautiful Sakoonta (bird).
CHILD.
[Looking round
My mother! Where? Let me go to her.
190
ACT VII.
SAKOONTALA; OR,
KING,
BOTH ATTENDANTS.
He mistook the word Sakoonta for Sakoontala.
The boy dotes upon his mother, and she is ever
uppermost in his thoughts.
SECOND ATTENDANT.
Nay, my dear child, I said, Look at the beauty of
this Sakoonta.
[Aside.
What! is his mother's name Šakoontalá? But the
name is not uncommon among women. Alas ! I fear
the mere similarity of a name, like the deceitful
vapour of the desert,95 has once more raised my hopes
only to dash them to the ground.
CHILD.
Dear nurse, what a beautiful peacock! [Takes the toy.
FIRST ATTENDANT.
[Looking at the child. In great distress.
Alas! alas! I do not see the amulet on his wrist.
KING.
Don't distress yourself. Here it is. It fell off while
he was struggling with the young lion.
[Stoops to pick it up.
BOTH ATTENDANTS.
Hold! hold! Touch it not, for your life. How
marvellous ! He has actually taken it up without the
slightest hesitation. [Both raise their hands to their breasts and
look at each other in astonishment.
ACT VII.]
191
THE LOST RING.
KING.
Why did you try to prevent my touching it ?
FIRST ATTENDANT.
Listen, great Monarch. This amulet, known as
"The Invincible,' was given to the boy by the divine
son of Maríchi, soon after his birth, when the natal
ceremony was performed. Its peculiar virtue is, that
when it falls on the ground, no one excepting the
father or mother of the child can touch it unhurt.
KING,
And suppose another person touches it ?
FIRST ATTENDANT.
Then it instantly becomes a serpent, and bites him.
KING.
Have you ever witnessed the transformation with
your own eyes ?
BOTH ATTENDANTS.
Over and over again.
KING. [With rapture. Aside.
Joy ! joy! Are then my dearest hopes to be ful-
filled ?
[Embraces the chi'd.
SECOND ATTENDANT,
Come my dear Suvratá, we must inform Sakoontala
immediately of this wonderful event, though we have
192
[ACT VII.
ŚAKOONTALA; OR,
-
to interrupt her in the performance of her religious
Vows.
[Exeunt.
CHILD.
[To the KING.
Do not hold me. I want to go to my mother.
KING.
We will go to her together, and give her joy,
my son.
CHILD.
Dushyanta is my father, not you.
KING.
[Smiling.
His contradiction convinces me only the more.
Enter SAKOONTALÁ, in widow's apparel, with her long hair
twisted into a single braid.
KAKOONTALÁ.
[Aside.
I have just heard that Sarva-damana's amulet has
retained its form, though a stranger raised it from the
ground. I can hardly believe in my good fortune.
Yet why should not Sánumatí's prediction be verified ?
KING. [Gazing at ŚAKOONTALÁ,
Alas ! can this indeed be my Śakoontala ?
Clad in the weeds of widowhood, her face
Emaciate with fasting, her long hair
Twined in a single braid, 121 her whole demeanour
Expressive of her purity of soul ;
ACT VII.]
193
THE LOST RING.
With patient constancy she thus prolongs
The vow to which my cruelty condemned her.
ŚAKOONTALÁ.
[Gazing at the King, who is pale with remorse.
Surely this is not like my husband; yet who can
it be that dares pollute by the pressure of his hand
my child, whose amulet should protect him from a
stranger's touch ?
CHILD.
[Going to his mother.
Mother, who is this man that has been kissing me
and calling me his son?
KING.
My best beloved, I have indeed treated thee most
cruelly, but am now once more thy fond and affec-
tionate lover. Refuse not to acknowledge me as thy
husband.
ŚAKOONTALÁ.
[Aside.
Be of good cheer, my heart. The anger of Destiny
is at last appeased. Heaven regards thee with com-
passion. But is he in very truth my husband ?
KING.
Behold me, best and loveliest of women,
Delivered from the cloud of fatal darkness
That erst oppressed my memory. Again
Behold us brought together by the grace
Of the great lord of Heaven. So the moon
194
[ACT VII.
ŠAKOONTĀLA; OR,
Shines forth from dim eclipse, 122 to blend his rays
With the soft lustre of his Rohiní.
ŚAKOONTALÁ.
May my husband be victorious
[She stops short, her voice choked with tears.
KING.
O fair one, though the utterance of thy prayer
Be lost amid the torrent of thy tears,
Yet does the sight of thy fair countenance
And of thy pallid lips, all unadorned 123
And colourless in sorrow for my absence,
Make me already more than conqueror.
4
CHILD.
Mother, who is this man?
ŠAKOONTALÁ.
My child, ask the deity that presides over thy
destiny.
KING. [Falling at ŚAKOONTALÁ’s feet.
Fairest of women, banish from thy mind
The memory of my cruelty; reproach
The fell delusion that o’erpowered my soul,
And blame not me, thy husband; 'tis the curse
Of him in whom the power of darkness 124 reigns,
That he mistakes the gifts of those he loves
For deadly evils. Even though a friend
ACT VII.]
195
THE LOST RING.
Should wreathe a garland on a blind man's brow,
Will he not cast it from him as a serpent ?
ŠAKOONTALÁ.
Rise, my own husband, rise. Thou wast not to
blame. My own evil deeds, committed in a former
state of being 37 brought down this judgment upon
ine. How else could my husband, who was ever of a
compassionate disposition, have acted so unfeelingly?
[The King rises.] But tell me, my husband, how did the
remembrance of thine unfortunate wife return to thy
mind ?
17
KING.
As soon as my heart's anguish is removed, and its
wounds are healed, I will tell thee all.
Oh! let me, fair one, chase away the drop
That still bedews the fringes of thine eye;
And let me thus efface the memory
Of every tear that stained thy velvet cheek,
Unnoticed and unheeded by thy lord,
When in his madness he rejected thee.
[Wipes away the tear.
ŚAKOONTALÁ.
[Seeing the signet-ring on his finger.
Ah! my dear husband, is that the Lost Ring ?
KING.
Yes; the moment I recovered it my memory was
restored.
196
[ACT VII.
ŚAKOONTAL); OR,
ŚAKOONTALÁ.
The ring was to blame in allowing itself to be lost
at the very time when I was anxious to convince my
noble husband of the reality of my marriage.
KING.
Receive it back, as the beautiful twining plant re-
ceives again its blossom in token of its reunion with
ŚAKOONTALÁ.
Nay; I can never more place confidence in it. Let
my husband retain it.
Enter MÁTALI.
MÁTALI.
I congratulate your Majesty. Happy are you in
your reunion with your wife: happy are you in be-
holding the face of your own son.
KING.
Yes, indeed. My heart's dearest wish has borne
sweet fruit. But tell me, Mátali, is this joyful event
known to the great Indra ?
MÁTALI.
[Smiling.
What is unknown to the gods ? But come with
me, noble Prince, the divine Kaśyapa graciously per-
ACT VII.]
197
THE LOST RING.
KING.
Sakoontala, take our child and lead the way. We
will together go into the presence of the holy Sage.
ŚAKOONTALÁ.
I shrink from entering the august presence of the
great Saint, even with my husband at my side.
KING.
Nay; on such a joyous occasion it is highly proper.
Come, come; I entreat thee.
[All advance.
KAŚYAPA is discovered seated on a throne with his wife ADITI.
KAŚYAPA.
[Gazing at DUSHYANTA. To his wife.
O Aditi,
This is the mighty hero, King Dushyanta,
Protector of the earth; who, at the head
Of the celestial armies of thy son,
Does battle with the enemies of heaven.
Thanks to his bow, the thunderbolt of Indra
Rests from its work, no more the minister
Of death and desolation to the world,
But a mere symbol of divinity.
ADITI.
He bears in his noble form all the marks of dignity.
MÁTALI. [TO DUSHYANIA.
Sire, the venerable progenitors of the celestials are
198
[ACT VII.
ŠAKOONTALÀ; OR,
gazing at your Majesty with as much affection as if
you were their son. You may advance towards them.
M
KING.
Are these, O Mátali, the holy pair,
Offspring of Daksha and divine Maríchi,
Children of Brahma's sons,125 by sages deemed
Sole fountain of celestial light, diffused
Through twelve effulgent orbs ? 114 Are these
the pair
From whom the ruler of the triple world, 126
Sovereign of gods and lord of sacrifice,
Sprang into being ? That inmortal pair
Whom Vishnu, greater than the self-existent,127
Chose for his parents, when, to save mankind,
He took upon himself the shape of mortals ?
MÁTALI.
Even so.
KING.
[Prostrating himself.
Most august of beings, Dushyanta, content to have
fulfilled the commands of your son Indra, offers you
his adoration.
KAŚYAPA.
My son, long may'st thou live, and happily may'st
thou reign over the earth !
ACT TY
199
THE LOST RING.
VII.]
ADITI.
My son, may’st thou ever be invincible in the field
of battle!
ŚAKOONTALÁ.
I also prostrate myself before you, most adorable
beings, and my child with me.
KAŚYAPA.
My daughter,
Thy lord resembles Indra, and thy child
Is poble as Jayanta, Indra's son;
I have no worthier blessing left for thee,
May'st thou be faithful as the god's own wife!
ADITI.
My daughter, may'st thou be always the object of
thy husband's fondest love; and may thy son live
long to be the joy of both his parents! Be seated.
[All sit down in the presence of KAŠYAPA.
KAŚYAPA.
[Regarding each of them by turns.
Hail to the beautiful Sákoontalá!
Hail to her noble son! and hail to thee,
Illustrious Prince! Rare triple combination
Of virtue, wealth, and energy united !
KING.
Most venerable Kaśyapa, by your favour all my
desires were accomplished even before I was admitted
2
200
[ACT VII.
ŚAKOONTAL); OR,
to your presence. Never was mortal so honoured that
his boon should be granted ere it was solicited.
Because :
Bloom before fruit, the clouds before the rain-
Cause first and then effect, in endless sequence,
Is the unchanging law of constant nature;
But, ere the blessing issued from thy lips,
The wishes of my heart were all fulfilled.
MÁTALI.
It is thus that the great progenitors of the world
confer favours.
KING. :
Most reverend Sage, this thy handmaid was married
to me by the Gandharva ceremony,55 and after a time
was conducted to my palace by her relations. Mean-
while a fatal delusion seized me; I lost my memory
and rejected her, thus committing a grievous offence
against the venerable Kanwa, who is of thy divine
race. Afterwards the sight of this ring restored my
faculties, and brought back to my mind all the circum-
stances of my union with his daughter. But my con-
duct still seems to me incomprehensible;
As foolish as the fancies of a man
Who, when he sees an elephant, denies
That’tis an elephant; then afterwards,
When its huge bulk moyes onward, hesitates;
ACT VII.]
201
THE LOST RING.
Yet will not be convinced till it has passed
For ever from his sight, and left behind
No vestige of its presence save its footsteps.
KAŚYAPA.
My son, cease to think thyself in fault. Even the
delusion that possessed thy mind was not brought
about by any act of thine. Listen to me.
KING.
Y
I am attentive.
KAŚYAPA.
Know that when the nymph Menaká, the mother of
Sakoontalá, became aware of her daughter's anguish
in consequence of the loss of the ring at the nymphs'
pool, and of thy subsequent rejection of her, she
brought her and confided her to the care of Aditi.
And I no sooner saw her than I ascertained by my
divine power of meditation,134 that thy repudiation of
thy poor faithful wife had been caused entirely by the
the spell would terminate on the discovery of the ring.
KING. [Drawing a deep breath.
Oh! what a weight is taken off my mind, now that
my character is cleared of reproach.
ŚAKOONTALÁ.
[Aside.
Joy! joy! My revered husband did not, then,
202
[ACT VII.
ŠAKOONTALÁ; OR,
recollection of the curse pronounced upon me. But,
in all probability, I unconsciously brought it upon
myself, when I was so distracted on being separated
now remember that my two friends advised me not to
fail to show the ring in case he should have forgotten
me.
KAŚYAPA.
At last, my daughter, thou art happy, and hast
gained thy heart's desire. Indulge, then, no feeling
of resentment against thy partner. See, now,
Though he repulsed thee, 'twas the sage's curse
That clouded his remembrance; 'twas the curse
That made thy tender husband harsh towards thee.
Soon as the spell was broken, and his soul
Delivered from its darkness, in a moment
Thou didst regain thine empire o'er his heart.
So on the tarnished surface of a mirror
No image is reflected, till the dust
That dimmed its wonted lustre is removed.
!
KING.
Holy father, see here the hope of my royal race.
[Takes his child by the hand.
KAŚYAPA.
Know that he, too, will become the monarch of the
whole earth. Observe,
ACT VII.]
203
THE LOST RING.
Soon, a resistless hero, shall he cross
The trackless ocean, borne above the waves
In an aërial car; and shall subdue
The earth's seven sea-girt isles.128 Now has he
gained,
As the brave tamer of the forest-beasts,
The title Sarva-damana; but then
Mankind shall hail him as King Bharata,129
And call him the supporter of the world.
KING.
We cannot but entertain the highest hopes of a child
for whom your highness performed the natal rites.
IT
ADITI.
My revered husband, should not the intelligence be
conveyed to Kanwa, that his daughter's wishes are
fulfilled, and her happiness complete ? He is Sakoon-
talá's foster-father. Menaká, who is one of my at-
tendants, is her mother, and dearly does she love
her daughter.
ŚAKOONTALÁ.
[A side.
The venerable inatron has given utterance to the
very wish that was in my mind.
KAÞYAPA.
His penances have gained for him the faculty of
204
[ACT VII.
ŠAKOONTALĂΟΟΝΤΑ
; OR,
omniscience, and the whole scene is already present to
his mind's eye.
KING.
Then most assuredly he cannot be very angry with
me.
KAŚYAPA.
Nevertheless, it becomes us to send him intelligence
of this happy event, and hear his reply. What, ho
there!
[Entering.
Holy father, what are your commands?
PUPIL,
KAŚYAPA.
My good Gálava, delay not an instant, but hasten
through the air and convey to the venerable Kanwa,
from me, the happy news that the fatal spell has
ceased, that Dushyanta's memory is restored, that his
daughter Sakoontalá has a son, and that she is once
more tenderly acknowledged by her husband.
PUPIL.
Your Highness' commands shall be obeyed. [Exit.
KAŚYAPA..
And now, my dear son, take thy consort and thy
child, re-ascend the car of Indra, and return to thy
imperial capital.
ACT VII.]
2015
THE LOST RING.
205
KING,
Most holy father, I obey.
KAŚYAPA
And accept this blessing
For countless ages may the god of gods,
Lord of the atmosphere, by copious showers
Secure abundant harvests to thy subjects;
And thou by frequent offerings preserve
The Thunderer's friendship! Thus, by inter-
change
Of kindly actions may you both confer
Unnumbered benefits on earth and heaven!
KING.
Holy Father, I will strive, as far as I am able, to
attain this happiness.
KAŚYAPA.
What other favour can I bestow on thee, my son ?
KING.
What other can I desire ? If, however, you permit
me to form another wish, I would humbly beg that
the saying of the sage Bharata 180 be fulfilled :
May kings reign only for their subjects' weal;
May the divine Saraswatí,131 the source
205 ŠAKOONTAL); OR, THE LOST RING. [ACT VII.
Of speech, and goddess of dramatic art,
Be ever honoured by the great and wise !
And may the purple self-existent god, 132
Whose vital Energy 183 pervades all space,
From future transmigrations save my soul !
[Exeunt omnes.
NOTES.
NOTES.
1 Íśa preserve you.
That is to say, 'the Supreme Lord,' a name given to the god
Śiva, the Destroyer ; who is associated with Brahma the Crea-
tor, and Vishnu, the Preserver; constituting with them the
Hindú Triad. Kálidása indulges the religious predilections of
prayer to Śiva, who had a large temple in Ujjayiní, the modern
Oujein, the city of Vikramáditya, situated north-eastward from
Gujarat.
2 In these eight forms.
The worshippers of Siva, who were Pantheists in the sense of
believing that Śiva was himself all that exists, as well as the
cause of all that is, held that there were eight different mani-
festations of their god, called Rudras ; and that these had their
types in the eight visible forms enumerated here. The Hindús
reckon five elements. The most subtle is Ether (ákása), supposed
to convey sound, which is its peculiar attribute or property
(guna). The next element-Air, has for its properties sound
and feeling. The third-Fire, has sound, feeling, and colour.
The fourth--Water, has sound, feeling, colour, and taste. The
fifth-Earth, has all the other properties, with the addition of
smell,
210
NOTES.
3 An audience of educated and discerning men.
Lit. “An audience, who are chiefly men of education and
discernment. Few could have been present at these dramatic
representations excepting learned and educated men. The mass
of the composition being in Sanskrit, would not have been intelli-
gible to the vulgar and illiterate.
4 Šakoontaló ; or, The Lost Ring.
The literal title is "Sakoontalá recognised by the token or
ring
5 The present Summer Season.
Hindú poets divide the year into six seasons of two months
each, viz. : 1. Spring (Vasanta), beginning about the middle of
March; or, according to some, February. 2. Summer (Gríshma).
3. Rains (Varsha). 4. Autumn (Sarad). 5. Winter (Hemanta).
6. Dews (Sisira). Practically, however, there are only three
seasons in India. 1. The hot season. 2. The rains. 3. The
cold weather. In Lower Bengal and Behar, the first of these
seasons begins in March, the second in June, and the third in
November. The temperature of the cold season is highly ex-
hilarating, and the climate is then superior to that of any portion
of the English year. In Calcutta, this season continues for about
three months ; in Upper India, for about five; and in the Pan-
jáb for about seven. The rains in Bengal Proper are more
violent and protracted than in Hindústán and the Panjáb. In
the latter country they last for hardly more than two months,
and even then only fall at intervals. Plays were acted on solemn
and festive occasions, on lunar holidays, and especially at the
changes of the season.
6 Of fragrant Pátalas.
The Pátala or trumpet-flower; Bignonia suave-olens,
NOTES.
211
7 With sweet Sirisha flowers.
The flowers of the Acacia śirisha were used by the Hindú
women as ear-ornanients.
8 King Dushyanta.
For the genealogy of King Dushyanta see Introduction,
page xxxiv.
9 That wields the trident.
Śiva is called Pinákin, that is, 'armed with a trident;' or ac-
cording to some, a bow named Pináka. Siva not being invited
to Daksha's sacrifice, was so indignant, that, with his wife, he
suddenly presented himself, confounded the sacrifice, dispersed
the gods, and chasing Yajna, 'the lord of sacrifice,' who fled in
the form of a deer, overtook and decapitated him.
10
Their waving plumes, that late
Fluttered above their brows, are motionless.
The Chámarí, or chowrie, formed of the white bushy tail of
the Yak, or Bos grunniens, was placed as an ornament between
the ears of horses, like the plume of the war-horse of chivalry.
The velocity of the chariot caused it to lose its play, and appear
fixed in one direction, like a flag borne rapidly against the wind.
11 The steeds of Indra and the Sun.
That is, the speed of the chariot resembled that of the Wind
and the Sun. Indra was the god of the firmament or atmo-
sphere—the Jupiter Tonans of Hindu mythology-and presided
over the forty-nine Winds. He has a heaven of his own (Swarga),
of which he is the lord, and, although inferior to the three great
deities of Hindú mythology (Brahmá, Vishnu, and Siva), he is
chief of the secondary gods. The Hindús represent the Sun as
seated in a chariot, drawn by seven green horses, having before
him a lovely youth without legs, who acts as his charioteer, and
who is Aruņa, or the Dawn personified,
212
NOTES.
12 Puru's race.
See Dushyanta's pedigree detailed at page xxxiv. of the
Introduction.
13 The great sage Kanwa.
The sage Kanwa was a descendant of Kaśyapa, whom the
Hindús consider to have been the father of the inferior gods,
demons, man, fish, reptiles, and all animals, by his twelve wives.
Kanwa was the chief of a number of devotees, or hermits, who
had constructed a hermitage on the banks of the river Máliní,
and surrounded it with gardens and groves, where penitential
rites were performed, and animals were reared for sacrificial
purposes, or for the amusement of the inmates. There is no-
thing new in asceticism. The craving after self-righteousness,
and the desire of acquiring merit by self-mortification, is an
innate principle of the human heart, and ineradicable even by
Christianity. Witness the monastic institutions of the Romish
Church, of which Indian penance-groves were the type. The
Superior of a modern Convent is but the anti-type of Kanwa ;
and what is Romanism but humanity developing itself in some
of its most inveterate propensities?
14 He has gone to Soma-tirtha.
A place of pilgrimage in the west of India, on the coast of
Gujarát, near the temple of Somanáth, or Somnát, made notori-
ous by its gates, which were brought back from Ghazní by Lord
Ellenborough's orders in 1842, and are now to be seen in the
arsenal at Agra. These places of pilgrimage were generally
fixed on the bank of some sacred stream, or in the vicinity of
some holy spring. The word tirtha is derived from a Sanskrit
root, trí, to cross,' implying that the river has to be passed
through, either for the washing away of sin, or extrication from
some adverse destiny. Thousands of devotees still flock to the
most celebrated Tírthas on the Ganges, at Benares, Haridwar,
etc.
NOTES.
213
15 Ingudí.
A tree, commonly called Ingua, or Jiyaputa, from the fruit
of which oil was extracted, which the devotees used for their
lamps and for ointment. One synonym for this tree is tápasa-
taru, “the anchorite's tree.'
16 Bark-woven vests.
Dresses made of bark, worn by ascetics, were washed in
water, and then suspended to dry on the branches of trees.
17 By deep canals.
It was customary to dig trenches round the -roots of trees,
to collect the rain-water.
18 This throbbing arm.
A quivering sensation in the right arm was supposed by the
Hindús to prognosticate union with a beautiful woman. Throb-
bings of the arm or eyelid, if felt on the right side, were omens
of good fortune in men; if on the left, bad omens. The reverse
was true of women.
19 The hard acacia's stem.
The Samí tree, a kind of acacia (Acacia Suma), the wood of
which is very hard, and supposed by the Hindús to contain fire.
20 The lotus.
This beautiful plant, the varieties of which, white, blue, and
red, are numerous, bears some resemblance to our water-lily.
It is as favourite a subject of allusion and comparsion with
Hindú poets as the rose is with Persian.
21 With the Saivala entwined.
The Saivala (Vallisneria) is an aquatic plant, which spreads
itself over ponds, and interweaves itself with the lotus. The
interlacing of its stalks is compared in poetry to braided hair.
214
NOTËS.
22 Yon Keśara tree.
The Keśara tree (Mimusops elenge) is the same as the Bakula,
frequent mention of which is made in some of the Puranas. It
bears a strong-smelling flower, which, according to Sir W. Jones,
is ranked among the flowers of the Hindú paradise. The tree
is very ornamental in pleasure-grounds.
23 Would that my union with her were permissible.
A Brahman might marry a woman of the military or kingly
class next below him, and the female offspring of such a mar-
riage would belong to a mixed caste, and might be lawfully
solicited in marriage by a man of the military class. But if
Sakoontalá were a pure Brahmaní woman, both on the mother's
and father's side, she would be ineligible as the wife of a
Kshatriya king. Dushyanta discovers afterwards that she was,
in fact, the daughter of the great Viśwámitra (see note 27), who
was of the same caste as himself, though her mother was the
nymph Menaká.
24 I trust all is well with your devotional rites.
This was the regular formula of salutation addressed to per-
sons engaged in religious exercises.
25 This water that we have brought with us will serve to bathe
our guests feet.
Water for the feet is one of the first things invariably pro-
vided for a guest in all Eastern countries. Compare Genesis
xxiv. 32 ; Luke vii. 44. If the guest were a Bráhman, or a man
of rank, a respectful offering (argha) of rice, fruit, and flowers
was next presented. In fact, the rites of hospitality in India
were enforced by very stringent regulations. The observance
of them ranked as one of the five great sacraments, and no
punishment was thought too sévere for one who violated them.
If a guest departed unhonoured from a house, his sins were to
be transferred to the householder, and all the merits of the
householder were to be transferred to him.
NOTES.
215
26 Sapta-parna tree.
A tree having seven leaves on a stalk (Echites scholaris).
27 Viśwámitra, whose family name is Kausika.
In the Rámáyaņa, the great sage Viśwámitra (both king and
"saint), who raised himself by his austerities from the regal to
the Bráhmanical caste, is said to be the son of Gádhi, King of
Kanūj, grandson of Kusanátha, and great-grandson of Kuśika or
Kuśa. On his accession to the throne, in the room of his father
Gádhi, in the course of a tour through his dominions, he visited
the hermitage of the sage Vaśishtha, where the Cow of Plenty,
a cow granting all desires, excited his cupidity. He offered the
sage untold treasures for the cow; but being refused, prepared
to take it by force. A long war ensued between the King and
the sage (symbolical of the struggles between the military and
Bráhmanical classes), which ended in the defeat of Viśwámitra,
whose vexation was such, that he devoted himself to austerities,
in the hope of attaining the condition of a Brahman. The
Rámáyana recounts how, by gradually increasing the rigour of
his penance through thousands of years, he successively earned
the title of Royal Saint, Saint, Great Saint, and Bráhman Saint.
It was not till he had gained this last title that Vaśishtha con-
sented to acknowledge his equality with himself, and ratify his
admission into the Brahmanical state. It was at the time of
Viśwámitra's advancement to the rank of a Sage, and whilst he
was still a Kshatriya, that Indra, jealous of his increasing
power, sent the nymph Menaká to seduce him from his life of
mortification and continence. The Rámáyaņa records his sur-
render to this temptation, and relates that the nymph was his
companion in the hermitage for ten years, but does not allude
to the birth of Sakoontalá during that period.
28 The inferior gods, I am aware, are jealous.
According to the Hindú system, Indra and the other inferior
deities were not the possessors of Swarga, or heaven by inde-
216
NOTËS.
feasible right. They accordingly viewed with jealousy, and
even alarm, any extraordinary persistency by a human being
in acts of penance, as it raised him to a level with themselves ;
and, if carried beyond a certain point, enabled him to dispossess
them of Paradise. Indra was therefore the enemy of excessive
self-mortification, and had in his service numerous nymphs who
were called his weapons,' and whose business it was to impede
by their seductions the devotion of holy men.
29 Gautamí.
The name of the matron or superior of the female part of
the society of hermits. Every association of religious devotees
seems to have include a certain number of women, presided
over by an elderly and venerable matron, whose authority re-
sembled that of an abbess in a convent of nuns.
30 Kuśa-grass.
This grass was held sacred by the Hindús, and was abund-
antly used in all their religious ceremonies. Its leaves are very
long, and taper to a sharp needle-like point, of which the extreme
acuteness was proverbial; whence the epithet applied to a clever
man, “sharp as the point of Kuśa-grass. Its botanical name
is Poa cynosuroïdes.
31 Kuruvaka.
A species of Jhintí or Barleria, with purple flowers, and
covered with sharp prickles.
32 The Jester.
See an account of this character in the Introduction, page xxx,
33 We have nothing to eat but roast game.
Indian game is often very dry and flavourless.
34 Attended by the larana women.
Who these women were has not been accurately ascertained.
Yavana is properly Arabia, but is also a name applied to Greece.
The Yavana women were therefore either natives of Arabia or
NOTES.
217
Greece, and their business was to attend upon the king, and
take charge of his weapons, especially his bow and arrows.
Professor H. H. Wilson, in his translation of the Vikramorvasí,
where the same word occurs (Act V., p. 261), remarks that
Tartarian or Bactrian women may be intended.
35 In the disc of crystal.
That is, the sun-gem (Surya-kúnta, 'beloved by the sun,) a
shining stone resembling crystal. Professor Wilson calls it a
fabulous stone with fabulous properties, and mentions another
stone, the moon-gem (chandra-kánta). It may be gathered from
this passage that the sun-stone was a kind of glass lens, and
that the Hindus were not ignorant of the properties of this
instrument at the time when 'Sakoontalá' was written.
36 Some fallen blossom of the jasmine.
The jasmine here intended was a kind of double jasmine
with a very delicious perfume, sometimes called 'Arabian
jasmine' (Jasminum zambac). It was a delicate plant, and, as
a creeper, would depend on some other tree for support. The
Arka, or sun-tree (Gigantic Asclepias : Calotropis gigantea), on
the other hand, was a large and vigorous shrub. Hence the
former is compared to Śakoontală, the latter to the sage Kanwa.
The mellowed fruit
Of virtuous actions in some former birth.
The doctrine of the transmigration of the soul from one
body to another is an essential dogma of the Hindú religion,
and connected with it is the belief in the power which every
human being possesses of laying up for himself a store of merit
by good deeds performed in the present or fornier births.
Indeed the condition of every person is supposed to derive
its character of happiness or misery, elevation or degradation,
from the virtues or vices of previous states of being. The con-
sequences of actions in a former birth are called vipáka; they
may be either good or bad, but are rarely unmixed with evil taint,
37
218
NOTES.
In the present comparison, however, they are described as pure
and unalloyed. With reference to the first four lines of this
stanza, compare Catullus, Carmen Nuptiale, verse 39.
Ut flos in septis secretus nascitur hortis,
Ignotus pecori, nullo contusus aratro,
Quem mulcent auræ, firmat sol, educat imber :
Multi illum pueri, multæ optavere puellæ :
Idem quum tenui carptus defloruit ungui,
Nulli illum pueri, nullæ optavere puellæ :
Sic virgo, dum intacta manet,' etc.
38 The sixth part of their grain.
According to Manu, a king might take a sixth part of liquids,
flowers, roots, fruit, grass, etc. ; but, even though dying with
want, he was not to receive any tax from a Brahman learned in
the Vedas.
39 A title only one degree removed from that of a Saint.
Dushyanta was a Rájarshi ; that is, a man of the military
class who had attained the rank of Royal Sage or Saint by the
practice of religious austerities. The title of Royal or Imperial
Saint was only one degree inferior to that of Saint. Compare
note 27.
40 Chanted by inspired bards.
Or celestial minstrels, called Gandharbas. These beings
were the musicians of Indra's heaven, and their business was
to amuse the inhabitants of Swarga by singing the praises of
gods, saints, or heroes. Compare note 11.
. 41 In their fierce warfare with the powers of hell.
• Indra and the other inferior gods (compare note 11) were for
ever engaged in hostilities with their half-brothers, the demons
called Daityas, who were the giants or Titans of Hindu mythology.
On such occasions the gods seem to have depended very much
upon the assistance they received from mortal heroes.
NOTES
219
W
1
42 Evil demons are disturbing our sacrificial rites.
The religious rites and sacrifices of holy men were often dis-
turbed by certain evil spirits or goblins called Rákshasas, who
were the determined enemies of piety and devotion. No great
sacrifice or religious ceremony was ever carried on without an
attempt on the part of these demons to impede its celebration ;
and the most renowned saints found it necessary on such
occasions to acknowledge their dependence on the strong arm
of the military class, jy seeking the aid of warriors and heroes.
The inability of holy men, who had attained the utmost limit
of spiritual power, to cope with the spirits of evil, and the supe-
riority of physical force in this respect, is very remarkable.
43 Vishnu.
Vishnu, the Preserver, was one of the three principal gods.
He became incarnate in various forms for the good of mortals,
and is the great enemy of the demons.
44 Like king Trišanku.
The story of this monarch is told in the Rámáyaņa. He is
there described as a just and pious prince of the solar race, who
aspired to celebrate a great sacrifice, hoping thereby to ascend
to heaven in his mortal body. After various failures he had re-
course to Viśwámitra, who undertook to conduct the sacrifice,
and invited all the gods to be present. They, however, refused
to attend ; upon which the enraged Viśwámitra, by his own
power, transported Trišanku to the skies, whither he had no
sooner arrived than he was hurled down again by Indra and the
gods; but being arrested in his downward course by the sage,
he remained suspended between heaven and earth, forming a
constellation in the southern hemisphere.
45 Ointment of Usára-root.
The root of a fragrant grass (Andropogon muricatum), from
which a cooling ointment was made.
220
NOTES.
46 The very breath of his nostrils.
Compare Lam. iv. 20. “The breath of our nostrils, the
anointed of the Lord, was taken.'
47 God of the flowerj shafts.
The Hindú Cupid, or god of love (Káma), is armed with a bow
made of sugar-cane, the string of which consists of bees. He
has five arrows, each tipped with the blossom of a flower, which
pierce the heart through the five senses ; and his favourite arrow
is pointed with the chúta, or mango-flower.
48 E'en now in thy unbodied essence lurks
3. The fire of Siva's anger.
The story is thus told in the Rámáyana. Cupid (Káma) once
approached Siva that he might influence him with love for his
wife, Párvatí. Siva happened then to be practising austerities,
and intent on a vow of chastity. He therefore cursed the god
of love in a terrible voice, and at the same time a flash from his
eye caused the god's body to shrivel into ashes. Thus Cupid
was made incorporeal, and from that time was called “the bodi-
less one.
Like the flame,
That ever hidden in the secret depths
Of ocean, smoulders there unseen.
This submarine fire was called Aurva, from the following
fable. The Rishi Urva, who had gained great power by his
austerities, was pressed by the gods and others to perpetuate his
race. He consented, but warned them that his offspring would
consume the world. Accordingly, he created from his thigh a
devouring fire, which, as soon as it was produced, demanded
nourishment, and would have destroyed the whole earth, had not
Brahmá appeared and assigned the ocean as its habitation, and the
waves as its food. The spot where it entered the sea was called
the mare's mouth. Doubtless the story was invented to suit
the phenomenon of some marine volcano, which may have ex-
49
NOTES.
221
haled through the water bituminous inflammable gas, and which,
perhaps in the form of a horse's mouth, was at times visible
above the sea.
50 Who on his 'scutcheon bears the monster-fish.
The Hindú Cupid is said to have subdued a marine monster,
which was, therefore, painted on his banner.
51 The graceful undulation of her gait.
Hansa-Gámini, 'walking like a swan,' was an epithet for
a graceful woman. The Indian lawgiver, Manu, recommends
that a Brahman should choose for his wife a young maiden,
whose gait was like that of a phoenicopter, or flamingo, or even
like that of a young elephant. The idea in the original is, that
the weight of her hips had caused the peculiar appearance observ-
able in the print of her feet. Largeness of the hips was con-
sidered a great beauty in Hindú women, and would give an
undulatory motion to their walk.
52 The Mádhaví.
A large and beautiful creeper (Gortnera racemosa), bearing
white, fragrant flowers, to which constant allusion is made in
Sanskrit plays.
53 Pines to be united with the Moon.
A complete revolution of the moon, with respect to the
stars, being made in twenty-seven days, odd hours, the Hindús
divide the heavens into twenty-seven constellations (asterisms)
or lunar stations, one of which receives the moon for one day in
each of his monthly journeys. As the Moon, Chandra, is con-
sidered to be a masculine deity, the Hindús fable these twenty-
seven constellations as his wives, and personify them as the
daughters of Daksha. Of these twenty-seven wives, twelve of
whom give names to the twelve months, Chandra is supposed
to show the greatest affection for the fourth, Rohiņí ; but each
of the others, and amongst them Viśákhá, is represented as jealous
of this partiality, and eager to secure the Moon's favour for her-
222
NOTES.
self. Dushyanta probably means to compare himself to the
Moon (he being of the Lunar race) and Śakoontala to Vibákhá.
64 Checks its fall.
Owing to emaciation and disuse of the bow, the callosities
on the forearm, usually caused by the bow-string, were not
sufficiently prominent to prevent the bracelet from slipping
down from the wrist to the elbow, when the arm was raised
to support the head. This is a favourite idea with Kálidása to
express the attenuation caused by love.
55 No nuptial rites prevail.
A marriage without the usual ceremonies is called Gándharva.
It was supposed to be the form of marriage prevalent among
the nymphs of Indra's heaven. In the 3rd Book of Manu (v.
22), it is included anıong the various marriage rites, and is said
to be an union proceeding entirely from love, or mutual inclina-
tion, and concluded without any religious services, and without
consulting relatives. It was recognized as a legal marriage by
Manu and other lawgivers, though it is difficult to say in what
respect it differed from unlawful cohabitation.
88 The loving birds doomed by fate to nightly separation.
That is, the male and female of the Chakraváka, commonly
called Chakwa and Chakwí, or Brahmaní duck (Anas casarca).
These birds associate together during the day, and are, like
turtle-doves, patterns of connubial affection; but the legend
is, that they are doomed to pass the night apart, in consequence
of a curse pronounced upon them by a saint whom they had
offended. As soon as night commences, they take up their
station on the opposite banks of a river, and call to each other
in piteous cries. The Bengális consider their flesh to be a good
medicine for fever.
$7 The great sage Durvásas.
A Saint or Muni, represented by the Hindú poets as ex-
NOTES.
223
cessively choleric and inexorably severe. The Purálias and
other poems contain frequent accounts of the terrible effects of
his imprecations on various occasions, the slightest offence being
in his eyes deserving of the most fearful punishment. On one
occasion he cursed Indra, merely because his elephant let fall a
garland he had given to this god ; and in consequence of this
imprecation all plants withered, men ceased to sacrifice, and the
gods were overcome in their wars with the demons.
58 Propitiatory offering.
Compare note 25.
69 His blushing charioteer.
Compare note 11.
60 Night-loving lotus.
Some species of the lotus, especially the white esculent kind,
open their petals during the night, and close them during the
day, whence the moon is often called the ‘lover, or lord of the
lotuses.'
61 The very centre of the sacred fire.
Fire was an important object of veneration with the Hindús,
as with the ancient Persians. Perhaps the chief worship recog-
nized in the Vedas is that of Fire and the Sun. The holy fire
was deposited in a hallowed part of the house, or in a sacred
building, and kept perpetually burning. Every morning and
evening, oblations were offered to it by dropping clarified butter
and other substances into the flame, accompanied with prayers
and invocations.
62 As in the sacred tree the mystic fire.
Literally, as the Samſ-tree is pregnant with fire.' The legend
is, that the goddess Parvatí, being one day under the influence
of love, reposed on a trunk of this tree, whereby a sympathetic
warmth was generated in the pith or interior of the wood, which
ever after broke into a sacred flame on the slightest attrition.
224
NOTES.
63 Hastinápur.
The ancient Delhi, situated on the Ganges, and the capital of
Dushyanta. Its site is about fifty miles from the modern Delhi,
which is on the Jumna.
64 E'en as Yayáti Sarmishthú adored.
Śarmishtha was the daughter of Vrisha-parvan, king of the
demons, and wife of Yayati, son of Nahusha, one of the princes
of the Lunar dynasty, and ancestor of Dushyanta. Puru was
the son of Yayati, by Śarmishthả.
65 And for whose encircling bed,
Sacred Kuśa-grass is spread.
At a sacrifice, sacred fires were lighted at the four cardinal
points, and Kuśa-grass was scattered around each fire.
66 Kożl.
The Koïl, or Kokil, is the Indian cuckoo. It is sometimes
called Parabhrita (“nourished by another '), because the female
is known to leave her eggs in the nest of the crow to be hatched.
The bird is as great a favourite with Indian poets as the
nightingale with European. One of its names is ‘Messenger
of Spring. Its note is a constant subject of allusion, and is
described as beautifully sweet, and, if heard on a journey, in-
dicative of good fortune. Everthing, however, is beautiful by
comparison. The song of the Koil is not only very dissimilar,
but very inferior to that of the nightingale.
67 The peacock on the lawn
Ceases its dance.
The Indian peacock is very restless, especially at the approach
of rain, in which it is thought to take delight. Its circular
movements are a frequent subject of allusion with Hindú poets,
and are often by them compared to dancing.
NOTES.
225
68 The moonlight of the grove.
The name of Sakoontalá’s favourite jasmine, spoken of in the
1st Act. See page 15 of this volume.
69 Fig-tree.
Not the Banyan-tree (Ficus Indica), nor the Pippala (Ficus
religiosa), but the Glomerous Fig-tree (Ficus glomerata), which
yields a resinous milky juice from its bark, and is large enough
to afford abundant shade.
70 The poor female Chakraváka.
Compare note 56.
71 Like a young tendril of the sandal-tree torn from its home in
the western mountains.
The sandal is a large kind of myrtle with pointed leaves
(Sirium myrtifolium). The wood affords many highly esteemed
perfumes, unguents, etc., and is celebrated for its delicious scent.
It is chiefly found on the slopes of the Malaya mountain or
Western Ghauts on the Malabar coast. The roots of the tree
are said to be infested with snakes. Indeed it seems to pay
dearly for the fragrance of its wood: "The root is infested by
serpents, the blossoms by bees, the branches by monkeys, the
sunimit by bears. In short there is not a part of the sandal-tree
that is not occupied by the vilest impurities.' Hitopadeśa,
verse 162.
72 The calm seclusion of thy former home.
"When the father of a family perceives his own wrinkles and
grey hair, committing the care of his wife to his sons, or accom-
panied by her, let him repair to the woods and become a her-
mit.--Manu, vi. 2. It was usual for kings, at a certain time of
23
pass the remainder of their days in seclusion.
73 A frequent offering to our household gods.
This was an offering (bali) in honour of those spiritual beings
Р
220
NOTËS
called “household deities, which were supposed to hover round
and protect houses. It was made by throwing up into the air
in some part of the house (generally at the door) the remains of
the morning and evening meal of rice or grain, uttering at the
same time a mantra, or prayer.
74 In other states of being.
Dim recollections of occurrences in former states of existence
are supposed occasionally to cross the mind. Compare note 37.
75 The Chamberlain.
The attendant on the women's apartment. He is generally
a Brahman, and usually appears in the plays as a tottering and
decrepit old man, leaning on his staff of office.
76 The king of serpents on his thousand heads.
A mythological serpent, the personification of eternity, and
king of the Nágas, or snakes, who inhabit Pátála, the lowermost
of the seven regions below the earth. His body formed the
couch of Vishnu, reposing on the waters of Chaos, whilst his ?
thousand heads were the god's canopy. He is also said to
uphold the world on one of his heads.
77 The chamber of the consecrated fire.
Compare note 61.
78 Two heralds.
These heralds were introduced into Hindú plays something
in the same manner as a Chorus ; and, although their especial
duty was to announce, in measured verse, the periods of the
day, and particularly the fixed divisions into which the king's
day was divided, yet the strain which they poured forth fre-
quently contained allusions to incidental circumstances. The
royal office was no sinecure. From the Dasa-kumára, it appears
that the day and night were each divided into eight portions of
one hour and a half, reckoned from sunrise ; and were thus
distributed :-Day-1. The king, being dressed, is to audit
NOTĖS.
229
NULLA
accounts; 2. He is to pronounce judgment in appeals ; 3. He
is to breakfast ; 4. He is to receive and make presents; 5. He
is to discuss political questions with his ministers ; 6. He is to
amuse himself ; 7. He is to review his troops ; 8. He is to hold
a military council. Night-.1. He is to receive the reports of
his spies and envoys; 2. He is to sup or dine ; 3. He is to re-
tire to rest after the perusal of some sacred work; 4 and 5. He
is to sleep ; 6. He is to rise and purify himself; 7. He is to
hold a private consultation with his ministers, and instruct his
officers ; 8. He is to attend upon the Purohita or family priest,
for the performance of religious ceremonies. See Wilson's Hindít
Theatre, vol. i. p. 209.
79 Feeling a quivering sensation in her right eyelid.
Compare note 18.
80 The protector of the four classes of the people, the guardian
of the four conditions of the priesthood.
A remarkable feature in the ancient Hindu social system, as
depicted in the plays, was the division of the people into four
classes or castes :-Ist. The sacerdotal, consisting of the Bráh-
mans.--2nd. The military, consisting of fighting men, and in-
cluding the king himself and the royal family. This class
enjoyed great privileges, and must have been practically the
most powerful.— 3rd. The commercial, including merchants and
husbandmen. — 4th. The servile, consisting of servants and
slaves. Of these four divisions the first alone has been pre-
served in its purity to the present day, although the Rájputs
claim to be the representatives of the second class. The others
have been lost in a multitude of mixed castes formed by inter-
marriage, and bound together by similarity of trade or occupa-
tion. With regard to the sacerdotal class, the Brahmans, who
formed it, were held to be the chief of all human beings; they
were superior to the king, and their lives and property were
protected by the most stringent laws. They were to divide
their lives into four quarters, during which they passed through
228
NOTES.
d
um
.
4.1
four states or conditions, viz., as religious students, as house-
holders, as anchorites, and as religious mendicants.
. 81 That he is pleased with ill-assorted unions.
The god Brahmá seems to have enjoyed a very unfortunate
notoriety as taking pleasure in ill-assorted marriages, and en-
couraging them by his own example in the case of his own
daughter.
sa Šachis sacred pool near Šakrávatára.
Śakra is a name of the god Indra, and Sakrávatára is a
sacred place of pilgrimage where he descended upon earth.
Sachí is his wife, to whom a tirtha, or holy bathing-place, was
probably consecrated at the place where Sakoontala had per-
formed her ablutions. Compare note 14.
83 The wily Kożl.
Compare note 66.
84 With the discus or mark of empire in the lines of his hand.
When the lines of the right hand formed themselves into a
çircle, it was thought to be the mark of a future hero or emperor.
85 A most refined occupation, certainly !
Spoken ironically. The occupation of a fisherman, and, in-
deed, any occupation which involved the sin of slaughtering
animals, was considered despicable. Fishermen, butchers, and
leather-sellers were equally objects of scorn. In Lower Bengal
the casts of Jáliyás and Bágdis, who live by fishing, etc., are
amongst the lowest, and eke out a precarious livelihood by
thieving and dacoity.
$6 And he should not forsake it.
• The great Hindú lawgiver is very peremptory in restricting
special occupations (such as fishing, slaughtering animals, basket-
making) to the mixed and lowest castes. “A man of the lowest
caste, who, through covetousness, lives by the acts of the highest,
NOTES.
229
let the king strip of all his wealth and banish. His own busi-
ness, though badly performed, is preferable to that of another,
though well performed.Manu, x. 96. In the later Hindi
system the sacrifice of animals was enjoined on the priests of
the god Śiva only.
87 Carp.
That is, the Rohita, or Rohi (red) fish (Cyprinus rohita), a
kind of carp found in lakes and ponds in the neighbourhood of
the Ganges. It grows to the length of three feet, is very vora.
cious, and its flesh, though it often has a muddy taste, is edible.
Its back is olive-coloured, its belly of a golden hue, its fins and
eyes red. This fish is often caught in tanks in Lower Bengal of
the weight of twenty-five or thirty pounds.
88 I long to begin binding the flowers round his head.
It is evident from the Málati-Mádhava, and other plays,
that a victim, about to be offered as a sacrifice, had a wreath of
flowers bound round the head.
89 The great vernal festival.
In celebration of the return of Spring, and said to be in
honour of Krishna, and of his son Kámadeva, the god of Love.
It is identified with the Holí or Dolá-yátra, the Saturnalia, or
rather, Carnival of the Hindús, when people of all conditions
take liberties with each other, especially by scattering red
powder and coloured water on the clothes of persons passing
in the street, as described in the play called Ratnávalí, where
the crowd are represented as using syringes and waterpipes,
Flowers, and especially the opening blossoms of the mango,
would naturally be much employed for decoration at this
festival, as an offering to the god of Love. It was formerly
held on the full moon of the month Chaitra, or about the
beginning of April, but it is now celebrated on the full moon of
Phálguna, or about the beginning of March. The other great
Hindu festival, held in the autumn, about October, is called
Durgá-pujá, being in honour of the goddess Durga. The Holí
230
NOTES.
festival is now so disfigured by unseemly practices and coarse
jests that it is reprobated by the respectable natives, and will,
probably, in the course of time, either die out or be prohibited
by legal enactment.
90 Am not I named after the Koil ?
Compare note 66.
91 Thy five unerring shafts. .
Compare note 47. .
92 The amaranth.
That is, the Kuruvaka, either the crimson amaranth, or a
purple species of Barleria.
93 My finger burning with the glow of love.
However offensive to our notions of good taste, it is certain
that, in Hindú erotic poetry, a hot hand is considered to be one
of the signs of passionate love. Compare Othello, Act III.,
Scene 4. "Give me your hand : this hand is moist, my lady-
hot, hot, and moist.'
94 The airy vapours of the desert.
A kind of mirage floating over waste places, and appearing
at a distance like water. Travellers and some animals, especially
deer, are supposed to be attracted and deceived by it.
95 Himálaya.
The name of this celebrated range of mountains is derived
from two Sanskrit words, hima, 'ice,' or 'snow' (Lat. hiems),
and álaya, 'abode. The pronunciation Himaláya is incorrect.
96 As Śiva did the poison at the Deluge.
At the churning of the ocean, after the Deluge, by the gods
and demons, for the recovery or production of fourteen sacred
things, a deadly poison called Kála-kuta, or Halá-hala, was gener-
ated, so virulent that it would have destroyed the world, had
NOTES.
231
not the god Śiva swallowed it. Its only effect was to leave a
dark blue mark on his throat, whence his name Nílakantha.
This name is also given to a beautiful bird, not wholly unlike
our jay, common in Bengal.
97 Palace of clouds.
The palace of King Dushyanta, so called because it was lofty
as the clouds.
98 The foreman of a guild belonging to Ayodhyá.
The chief of a guild or corporation of artisans practising the
same trade. Ayodhyá, or the Invincible City, was the ancient
capital of Ramachandra, founded by Ikshwáku, the first of the
Solar dynasty. It was situated on the river Sarayu in the north
of India, and is now called Oude.
My ancestors
Must drink these glistening tears, the last libation.
Oblations to the manes of the deceased were offered by the
nearest surviving relatives soon after death; and were repeated
once or, according to some, twice in every year. They were
supposed to be necessary to secure the residence of the souls of
the dead in the world appropriated to the manes. The ceremony
itself was called Sráddha, and generally consisted in offering a
ball made of rice and milk, or in pouring out water, or water
and sesamum-seed mixed. These ceremonies still take place in
India, and their celebration is marked by magnificent feasts, to
which relations and a host of Brahmans are invited. A native
who had grown rich unlawfully in the time of Warren Hastings
is known to have spent nine lakhs of rupees on his mother's
Śráddha ; and large sums, though not, perhaps, equal to the
above, are still spent on similar occasions by wealthy Hindús.
100 The mother of the great Indra.
That is Aditi, the wife of Kaśyapa, with whom, in their
sącred retreat, Sakoontalá wąs enjoying an asylum,
232
NOTES.
101 Distinguishes the milk from worthless water.
The Hindús imagine that the flamingo (a kind of goose) is
the vehicle on which the god Brahmá is borne through the air ;
and that this bird, being fond of the pulpy fibres of the water-
lily, has been gifted by him with the power of separating the
milky from the watery portion of the juice contained in the
stalk of that plant.
102 Mátali.
The charioteer of Indra. In the pictures which represent
this god mounted on his usual vehicle, an elephant (called
Airavata), Mátali is seen seated before him on the withers of
the animal, acting as its driver. In the plays, however, Indra
is generally represented borne in a chariot drawn by two
horses, guided by Mátali.
103 Kálanemi.
A Daitya or demon, with a hundred arms and as many heads.
104 Nárada.
A celebrated divine sage, usually reckoned among the ten
patriarchs first created by Brahmá. He acted as a messenger
of the gods.
105 Tinged with celestial sandal from the breast.
The breast of Indra was dyed yellow with a fragrant kind
of sandal-wood (hari-chandna); and the garland by rubbing
against it, became tinged with the same colour. Wreaths and
garlands of flowers were much used by the Hindús as marks
of honorary distinction, as well as for ornament on festive oc-
casions. They were suspended round the neck.
106 The ever-blooming tree of Nandana.
That is, Mandára, one of the five ever-blooming trees of Nan-
dana, or Swarga, Indra's heaven. The two most celebrated of
these trees were the Párijáta and the Kalpa-druma, or tree
NOTES.
233
granting all desires. Each of the superior Hindú gods has a
heaven, paradise, or elysium of his own. That of Brahmá is
called Brahma-loka, situate on the summit of mount Meru ;
that of Vishnu is Vaikuntha, on the Himalayas ; that of Śiva
and Kuvera is Kailása, also on the Hiniálayas ; that of Indra
is Swarga or Nandana. The latter, though properly on the
summit of Mount Meru, below Brahmá's paradise, is sometimes
identified with the sphere of the sky or heaven in general.
107 Payanta.
The son of Indra by his favourite wife Paulomí or Šachí.
108 The lion-man's terrific claws.
Vishnu, in the monstrous shape of a creature half man, half
lion (which was his fourth Avatár or incarnation), delivered
the three worlds, that is to say, earth, heaven, and the lower
regions, from the tyranny of an insolent demon called Hiranya-
kasipu.
103 We journey in the path of Parivaha.
The Hindus divide the heavens into seven Márgas, paths or
orbits, assigning a particular wind to each. The sixth of these
paths is that of the Great Bear, and its peculiar wind is called
Parivaha. This wind is supposed to bear along the seven stars
Ursa Major, and to propel the heavenly Ganges.
110 The triple Ganges.
The Ganges was supposed to take its rise in the toe of Vishnu
(whence one of its names, Vishņu-padi); thence it flowed through
the heavenly sphere, being borne along by the wind Parivaha,
and identified with the Mandákiní, or Milky Way. Its second
course is through the earth ; but the weight of its descent was
borne by Siva's head, whence, after wandering among the tresses
of his hair, it descended through a chasm in the Himalayas.
Its third course is through Pátála, or the lower regions, the
residence of the Daityas and Nágas, and not to be confounded
with Naraka, 'hell, the place of punishment,'
234
NOTES.
111 He spanned the heavens in his second stride.
The story of Vishnu's second stride was this :-An Asura or
Daitya, named Bali, had, by his devotions, gained the dominion
of Heaven, Earth, and Pátála. Vishnu undertook to trick him
out of his power, and assuming the form of a Vámana, or dwarf
(his fifth Avatár), he appeared before the giant and begged as a
boon as much land as he could pace in three steps. This was
granted : and the god immediately expanded himself till he
filled the world ; deprived Bali, at the first step, of Earth ; at
the second, of Heaven ; but, in consideration of some merit, left
Pátála still under his rule.
112 I see the moisture-loving Chátakas.
The Chátaka is a kind of Cuckoo (Cuculus Melanoleucus).
The Hindú suppose that it drinks only the water of the clouds,
and their poets usually introduce allusions to this bird in coll-
nexion with cloudy or rainy weather.
113 Golden-peak.
A sacred range of mountains lying among the Himálaya
chain, and apparently identical with, or immediately adjacent to,
Kailása, the paradise of Kuvera, the god of wealth. It is here
described as the mountain of the Kimpurushas, or servants of
Kuvera. They are a dwarfish kind of monster, with the body
of a man and the head of a horse, and are otherwise called
Kinnara.
114 Kaśyapa.
Kaśyapa was the son of Brahma's son, Marichi : and was
one of those Patriarchs (created by Brahmá to supply the uni-
verse with inhabitants) who, after fulfilling their mission,
retired from the world to practise penance. He was a progenitor
on a magnificent scale, as he is considered to have been the
father of the gods, demons, man, fish, reptiles, and all animals, by
the thirteen daughters of Daksha. The eldest of the thirteen,
his favourite wife, wąs Aditi, from whom were born Indra and
NOTES.
235
all the inferior gods, and particularly the twelve Adityas, or
forms of the sun, which represent him in the several months of
the year. From Diti, Danu, and others of the remaining twelve,
came the Daityas, Dánavas, and other demons.
115 No sacred cord is twined.
The serpent's skin was used by the ascetic in place of the
regular Brahmanical cord. This thread or cord, sometimes called
the sacrificial cord, might be made of various substances, such as
cotton, hempen or woollen thread, according to the class of the
wearer; and was worn over the left shoulder and under the
right. The rite of investiture with this thread, which con-
ferred the title of twice-born,' and corresponded in some respects
with the Christian rite of baptism, was performed on youths of
the first three classes (compare note 80), at ages varying from
eight to sixteen, from eleven to twenty-two, and from twelve to
twenty-four, respectively. At present the Brahmans alone, and
a few who claim to be Kshatriyas, have a right to wear this
thread. Not long since, a Káyath (or man of the writer caste)
in Bengal, who attempted to claim it, was excommunicated.
116 And birds construct their nests within its folds.
Such was the immovable impassiveness of this ascetic, that
the ants had thrown up their mound as high as his waist with-
out being disturbed, and birds had built their nests in his hair.
117 And need no other nourishment.
The Hindús imagine that living upon air is a proof of the
highest degree of spirituality to which a man can attain.
118 Asoka-tree.
The Aśoka (Jonesia Asoka) is one of the most beautiful of
Indian trees. Sir W. Jones observes that 'the vegetable world
scarce exhibits a richer sight than an Asoka-tree in full bloom.
It is about as high as an ordinary cherry-tree, The flowers are
236
NOTES
very large, and beautifully diversified with tints of orange-
scarlet, of pale yellow, and of bright orange, which form a
a variety of shades according to the age of the blossom.'
119 And with his artless smiles
Gladdens their hearts.
Chézy is enraptured with this verse: "., strophe in-
comparable, que tout père, ou plutôt toute mère, ne pourra lire
sans sentir battre son coeur, tant le poète a su y rendre, avec
les nuances les plus délicates, l'expression vivante de l'amour
maternel.' Compare Statius, Theb., book v., line 613.
Heu ubi siderei vultus ? ubi verba ligatis
Imperfecta sonis ? risusque et murmura soli
Intellecta mihi ?'
120 It is against propriety to make too minute inquiries about
the wife of another man.
The Hindús were very careful to screen their wives from the
curiosity of strangers; and their great lawgiver, Manu, en-
joined that married women should be cautiously guarded by
their husbands in the inner apartments (antahpura) appropriated
to women (called by the Muḥammadans, Haram, and in common
parlance, in India andar-maháll). The chief duty of a married
woman's life seems to have been to keep as quiet as possible, to
know as little as possible, to hear, see, and inquire about no-
thing; and above all, to avoid being herself the subject of con-
versation or inquiry ; in short, the sole end and object of her
existence was to act as a good head-servant, yielding to her hus-
band a servile obedience, regulating the affairs of his family,
preparing his daily food, and superintending his household.
(Manu, ix. 11, 16.) But notwithstanding the social restrictions
to which women were subjected, even in the earlier periods of
Indian history, it seems probable that they were not rigidly
excluded from general society until after the introduction of
Muhammadan customs into India. It appears from the plays
NOTES.
237
121
that they were allowed to go into public on certain occasions ;
they took part in bridal processions, and were permitted to enter
the temples of the gods. Sakoontala appears in the court of
King Dushyanta and pleads her own cause; and Vásavadattá,
in the “Ratnávalí, holds a conversation with her father's envoy.
Even in later times, the presence of men, other than husbands
or sons, in the inner apartments, was far from being prohibited.
See Wilson's 'Hindu Theatre,' xliii.
Her long hair
Twined in a single braid.
The Hindú women collect their hair into a single long braid
as a sign of mourning, when their husbands are dead or absent
for a long period.
222 Shines forth from din eclipse.
The following is the Hindu notion of an eclipse :-A certain
demon, which had the tail of a dragon, was decapitated by
Vishnu at the churning of the ocean ; but, as he had previously
tasted of the Amrit or nectar reproduced at that time, he was
thereby rendered immortal, and his head and tail, retaining
their separate existence, were transferred to the stellar sphere.
The head was called Ráhu, and became the cause of eclipses, by
endeavouring at various times to swallow the sun and moon.
So in the ‘Hitopadeśa,' line 192, the moon is said to be eaten
by Ráhu. With regard to the love of the Moon for Rohiní, the
fourth lunar constellation, see note 53.
123 All unadorned.
That is, from the absence of colouring or paint.
124 The power of darkness.
According to the Hindu philosophy there were three quali-
ties or properties incident to the state of humanity, viz. : 1.
Sattwa, 'excellence' or 'goodness':(quiescence), whence proceed
truth, knowledge, purity, etc. 2. Rajas, 'passion' or 'foulness'
238
ÎNOTËS.
(activity), which produces lust, pride, falsehood, etc., and is the
cause of pain. 3. Tamas, darkness' (inertia), whence proceed
ignorance, infatuation, delusion, mental blindness, etc.
125 Children of Brahmás sons.
Kaśyapa and Aditi were the children of Maríchi and Daksha
respectively, and these last were the sons of Brahma.
126 The ruler of the triple world.
That is, Indra, lord of heaven, earth, and the lower regions.
Compare notes 110, 113.
127 Whom Vishnu, greater than the Self-existent. : :
Vishnu, as Náráyana, or the Supreme Spirit, moved over the
waters before the creation of the world, and from his navel came
the lotus from which Brahman, said to be Self-existent, sprang.
As Vishnu, the Preserver, he became incarnate in various forms;
and chose Kaśyapa and Aditi, from whom all human beings
were descended, as his medium of incarnation, especially in the
Avatár in which he was called Upendra, 'Indra's younger
brother. Hence it appears that the worshippers of Vishņu
exalt him above the Creator.
228 The earth's seven sec-girt isles.
According to the mythical geography of the Hindús, the
earth consisted of seven islands, or rather insular continents,
surrounded by seven seas. That inhabited by men was called
Jambudwípa, and was in the centre, having in the middle of it
the sacred mountain Meru or Sumeru, a kind of Mount Olympus
inhabited by the gods. About Jambu flowed the sea of salt-
water which extends to the second Dwípa, called Plaksha, which
is in its turn surrounded by a sea of sugar-cane juice. And so
with the five other Dwipas, viz., Sálmali, Kuśa, Krauncha, Śáka,
and Pushkara, which are severally surrounded by the seas of
wine, clarified butter, curds, milk, and fresh water. .
NOTĖS.
239
123 Bharata.
The name Bharata is derived from the root bhri (fero), 'to
support. Many Indian princes were so named, but the most
celebrated was this son of Dushyanta and Sakoontala, who so
extended his empire that from him the whole of India was
called Bharata-varsha or Bharata-varsha ; and whose descend-
ants, the sons of Dhritarashtra and Pándu, by their quarrels,
formed the subject of the great epic poem called Mahá-lhárata.
The Hindus at the present day continue to call India by the
nanie Bharata-varsha.
130 The Sage Bharata.
The Bharata here intended must not be confounded with the
young prince. He was a holy sage, the director or manager of
the gods dramas, and inventor of theatrical representations in
general. He wrote a work containing precepts and rules relating
to every branch of dramatic writing, which appears to have been
lost, but is constantly quoted by the commentators. (See p. xxv.)
131 Saraswati.
The wife of the god Bralımá. She is the goddess of speech
and eloquence, patroness of the arts and sciences, and inventress
of the Sanskrit language. There is a festival still held in her
honour for two days, about February in every year, when no
Hindu will touch a pen or write a letter. The courts are all
closed accordingly.
132 The purple self-existent god.
Siva is usually represented as borne on a bull; his colour,
as well as that of the animal he rides, being white, to denote
the purity of Justice, over which he presides. In his destroy-
ing capacity, he is characterised by the quality darkness, and
named Rudra, Kála, etc., when his colour is said to be purple
or black. Some refer the epithet 'purple' to the colour of his
CD
240
NOTES.
throat; compare note 98. Self-existent, although properly a
name of the Supreme Being (Brahman), is applied both to Vishnu
and Siva by their votaries.
133 Whose vital Energy.
That is, Siva's wife, Párvatí, who was supposed to personify
his energy or active power. Exemption from further trans-
migration, and absorption into the divine soul, was the summum
bonum of Hindu philosophy. Compare note 37.
134 By my divine faculty of meditation.
Celestial beings were endowed with a mental faculty (called
dhyāna, pranidhána, etc.), which enabled them to arrive at the
knowledge of present and future events.
135 A roseate dye wherewith to stain
The lady's feet.
That is, the soles of her feet. It was customary for Hindu
ladies to stain the soles of their feet of a red colour with the
dye made from lac—a minute insect bearing some resemblance
to the cochineal—which punctures the bark of the Indian fig-
tree, and surrounds itself with the milky resinous juice of that
tree. This custom is alluded to in one of Paterson's Hindú
odes
“The rose hath humbly bowed to meet,
With glowing lips, her liallowed feet,
And lent them all its bloom.
See “Megha-duta' (Edit. Johnson), p. 32.
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