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Part 10 · VIDEHA MITHILA MAITHILI DISCUSSION CRITICISM SERIES PART 10

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asr-draft

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small

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en (0.94305)

Duration

1:20:48

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Open preserved recording

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1. 0:04–0:07After the benediction, the stage manager enters.
2. 0:07–0:09May the God of Love protect you.
3. 0:09–0:16He who offered his own body into the fire of Shiva's eye and thereby honoured the God's wrath,
4. 0:16–0:20whose command the gods, with Indra among them,
5. 0:20–0:23wear upon their heads like a garland,
6. 0:23–0:28who fashions his bow from the side long glances of a woman's wide eyes
7. 0:28–0:34and whose arrows of sensual objects torment and pierce even the minds of sages.
8. 0:34–0:36And further,
9. 0:36–0:39May the God of love protect you,
10. 0:39–0:45he whose influence Shiva could not destroy even after angrily burning his body,
11. 0:45–0:49while Shiva stood with one hand upon the Goddess's breast,
12. 0:49–0:52moving his brows and smiling at her,
13. 0:52–0:55the frightened lord of hosts silent beside him,
14. 0:55–1:01Nandi bowing in reverence and the other hand resting upon the shoulder of the bull.
15. 1:01–1:10Bowing my head before you learned, gentlemen, I announce that we are preparing to perform the one-actor play called Pataditkam,
16. 1:10–1:17the kick composed by the noble Shyamilaka. You should listen attentively to the poet's labour.
17. 1:17–1:254. This word should not stand here. This word should be placed thus. This expression has
18. 1:25–1:32not been properly shaped. What a marvellous turn of meaning has arisen in the work. Such
19. 1:32–1:39is the labour that first occupies a poet's mind during composition. And that labour is
20. 1:39–1:46swept away by the tears filling the eyes and the thrilled bodies of sensitive connoisseurs.
21. 1:46–1:53Let royal ministers and ascetics who move like herons and cats take themselves away.
22. 1:53–1:58Let gestures, gallants and masters of humour remain.
23. 1:58–2:03Let the rogues assembly thirst without restraint for wine.
24. 2:03–2:074.
25. 2:07–2:11Ascetics gain no liberation by whimpering and weeping.
26. 2:11–2:17Even if heaven awaits us hereafter, laughter and jesting cannot obstruct it.
27. 2:17–2:24A wise man should therefore abandon the habit of pulling a long face and laugh with an untroubled
28. 2:24–2:26heart.
29. 2:26–2:29But as I speak, what is this other sound?
30. 2:29–2:32Ah, I understand.
31. 2:32–2:35This is the pavilion of the galleons.
32. 2:35–2:40Bald Shamilaka is ringing a bell and making a proclamation.
33. 2:40–2:46This clang announces the dawn and breaks the pleasure of lovers union.
34. 2:46–2:55Even the loud braying donkey at daybreak, the Kettledrum's grandfather, cannot equal it.
35. 2:55–2:59What is he proclaiming?
36. 2:59–3:04Victory to that foot of the court sin which was launched at her lover.
37. 3:04–3:07A dawned with red lac and jingling antlets.
38. 3:07–3:15It is the banner of love, before which one should bow one's head in homage.
39. 3:15–3:19The proverb is true, though a hundred years may pass, sooner or later a man tastes the
40. 3:19–3:20joy of life.
41. 3:20–3:25Thus Vishnu Naga too has received upon his head the consecration called a lover's kick,
42. 3:25–3:27granted to all true devotees of passion.
43. 3:27–3:30What do you say, where is his good fortune?
44. 3:30–3:33He could not enjoy the delight of such a lover's quarrel.
45. 3:33–3:37He mistook the honor bestowed by the goddess Kautasan for an insult.
46. 3:37–3:42His eyes reddened with rage, his twitching brows tightened his forehead, he shook his head,
47. 3:42–3:45bit his lip, clapped his hands, drew a long breath, and cried,
48. 3:45–3:48Shame on you, ignorant courtesan!
49. 3:48–3:51You have proudly set your foot upon this head of mine.
50. 3:51–3:55The head upon which my mother carefully braided my top knot with her practised hands, which
51. 3:55–4:00my father, seeing it bowed at his feet, sniffed affectionately and called, my innocent child,
52. 4:00–4:04and upon which Brahmins have laid flowers and sprinkled holy water, yet you have paid
53. 4:04–4:06no heed to its dignity.
54. 4:06–4:10Vishnu Nagar's rebuke, her colour drained away like night pailing beneath the redness of
55. 4:10–4:16dawn. Her face lost its lustre like the moon at daybreak. Her intoxication vanished and
56. 4:16–4:21her adornments fell into disorder. What have I done? At that anguish her whole body broke
57. 4:21–4:28into sweat. Fear destroyed every grace, the flowers woven into her hair scattered. Saying,
58. 4:28–4:33I shall never do such a thing again, she fell at his feet. Though she bowed in abject
59. 4:33–4:38mission, he shouted, Fury, do not touch me. Do not come near me with that belly rumbling like thunder."
60. 4:39–4:45What a tragedy that the cuckoo pursues the owl. I marvel that Madden the Seneca 2 follows that
61. 4:45–4:50cowardly, impotent male gal. Perhaps it is because he is the son of a high officer and himself
62. 4:50–4:54an administrator of the royal government, she therefore does not neglect him, hoping to extract
63. 4:54–5:01money. Cortizans have an appetite for talk. It is said that desire has many practical motives
64. 5:01–5:03at its root.
65. 5:03–5:07Talk provides the means for clothes and ornaments, so one who lives by talk has become addicted
66. 5:07–5:09to its savor.
67. 5:09–5:11The poor woman.
68. 5:11–5:16With lashes lowered sideways in shame, tears washing her face, lips, and breasts, she shrank
69. 5:16–5:21into herself like a royal swan frightened by the sudden roar of a new cloud.
70. 5:21–5:24There is nothing surprising in hearing this.
71. 5:24–5:27Even a lone man like me has nothing left to ask.
72. 5:27–5:29What happened then?
73. 5:29–5:30What do you say?
74. 5:30–5:34scolded him, you hired grammarian, do not pound a flower with a pestle, do not play a lute
75. 5:34–5:40with burning wood, do not cut a wine flushed, rosy courtesan with the knife of your speech.
76. 5:40–5:45At this, he rebuked me and went to the house of Batigemrita, chief of the gallants.
77. 5:45–5:50The poor woman rested her face and cheek upon her delicate hand and began to weep.
78. 5:50–5:54I raised her and said, beautiful one, a monkey is unfit to wear a turban, and a donkey is
79. 5:54–5:57not harnessed to a noble carriage.
80. 5:57–5:58Stop crying.
81. 5:58–6:03fellow is merely ridiculous, his head does not deserve so great an honour.
82. 6:03–6:08What kind of lover is never tormented by a drunken woman seizing his hair, binding him
83. 6:08–6:13with her girdle, or striking him with the flower from her ear?
84. 6:13–6:17Love supports only such a man, and only that fortunate man's youth is filled with festival
85. 6:17–6:22whose beachiful woman, casting shame aside, plays with him in private like an obedient
86. 6:22–6:24maid.
87. 6:24–6:30this, she accepted my words with a smile and a glance, clothed herself from head to foot,
88. 6:30–6:32and adorned the bed.
89. 6:32–6:37I, pondering the misconduct of that man so rare among lovers, awoke to the palace's morning
90. 6:37–6:43music, completed my daily rites, and went, as though to avert the consequences of an
91. 6:43–6:46evil dream, to the Brahmin's council seat.
92. 6:46–6:51There I saw Vishnu Naga already present, his hair disordered, pleading, I have committed
93. 6:51–6:57so violent act that a courtesan's foot has struck my head. Learned elders of the three
94. 6:57–7:03Vedas, save me. At his words, the hollow-cheeked Brahmins looked at one another with the hint
95. 7:03–7:09of a smile, reflected for a moment, and said, Good sir, we have examined the lore books
96. 7:09–7:17of Manu, Yama, Vasishta, Gautama, Bharadvaja, Shankar, Likita, Apastamba, Harita, Prashtas,
97. 7:17–7:23Devala, the Elder Garga, and other sages, yet even we know no expiation for a mortal
98. 7:23–7:26sin of this kind.
99. 7:26–7:30Hearing this, he raised both hands, his face miserable, and cried,
100. 7:30–7:34Gods upon earth, do not reject me as a Shudra.
101. 7:34–7:364.
102. 7:36–7:41I am an Arya, pure in conduct, born of a noble family, trained in grammar and logic,
103. 7:41–7:45and an officer of the king, not an outcast.
104. 7:45–7:53me in my distress, I have taken refuge with you." When he said this before the assembly,
105. 7:53–7:59some nudged an elbowed one another, saying, He is an absolute ox. Some rose laughing,
106. 7:59–8:06stared at him for a long time, and said, He is mad. Someone placed a straw between his
107. 8:06–8:11lips, denounced him as a possessed by the demon of lust, and others, considering the
108. 8:11–8:17woman guilty, expressed pity. While the assembly was in this state, the Brahmins bewildered,
109. 8:17–8:23and Vishnu Naga clamouring for expiation, a Brahmin of the Shandilya lineage named Bhavasvarmin,
110. 8:23–8:30naturally humorous, son of a teacher and himself a teacher, expert in logic, statecraft,
111. 8:30–8:34and other sciences, skilled in the arts and eloquent, raised his right hand amid his
112. 8:34–8:40circle of pupils and addressed the council in a laughing voice, Vishnu Naga, do not fear.
113. 8:41–8:48Abandoned grief. The law books declare that a custom of country, caste, family, sacred place,
114. 8:48–8:54or period is authoritative, provided it does not contradict the Vedas. Therefore summon the
115. 8:54–8:59council of gallants and ask the gallants themselves for expiation. They will free you from this
116. 8:59–9:07sin. At his words, raised fingers danced throughout the assembly amid cries of approval. Vishnu
117. 9:07–9:13Naga, considering himself favoured, departed. And so you have been appointed to summon the
118. 9:13–9:15Council of Gallants.
119. 9:15–9:19Who, in your opinion, the principal gallants?
120. 9:19–9:23You yourself are unquestionably good foremost.
121. 9:23–9:26How have I been honoured with the title gallant?
122. 9:26–9:28What doubt can there be?
123. 9:28–9:34Listen. The man who quarrels all day with merchants eats his fill at a friend's house at sunset,
124. 9:34–9:38sports and schemes with courtesans at night, possesses not even water in his own home,
125. 9:38–9:43yet struts about boasting. If he is not a gallant, who is?
126. 9:43–9:49Since you graciously count me among the gallants, you can surely convene their council. Meanwhile
127. 9:49–9:53I wish to hear from you the marks of a true gallant.
128. 9:53–9:55Then hear the first mark.
129. 9:55–10:00Yehu, careless of his own life, protects friend and enemy alike in danger, whose own sword-bearing
130. 10:00–10:04arm becomes the guardian in a crisis, whom courtesans maddened by love seek out during
131. 10:04–10:10love as quarrels, and who gives money to petitioners with an open hand, know him as a gallant.
132. 10:10–10:11And further,
133. 10:11–10:15Yehu rejoices when his head is worshipped by the two lotus feet of a beautiful woman
134. 10:15–10:19as though a crown had been placed upon it, and whose wealth the thirsty sees with
135. 10:19–10:24both hands as they would water, the connoisseurs of gallantry call him a true gallant.
136. 10:24–10:28You have stated the marks of a gallant, now name them too.
137. 10:28–10:35I shall assemble as many as possible, Jayanandaka, Mordgalyar, Dayutavishnu, and the rest.
138. 10:35–10:41All the others are well enough, but is Dayutavishnu also a gallant in your judgment?
139. 10:41–10:42What doubt is there?
140. 10:42–10:47The same Parashava poet who is the king's commander of forces.
141. 10:47–10:48Precisely.
142. 10:48–10:51What do you say, that cannot be?
143. 10:51–10:56favored by the king, he remains restrained, he sleeps and wakes contentedly, his clothing
144. 10:56–11:00is perfumed with delium from worshipping the gods, and his forehead and both knees bear
145. 11:00–11:02three calluses.
146. 11:02–11:07And further, he makes the circuit from temple to palace and palace to temple, and his
147. 11:07–11:10day passes clinging to service of those two houses.
148. 11:10–11:12Can such a man be a gallant?
149. 11:12–11:15Yes, certainly.
150. 11:15–11:20All these seem obstacles to gallantry, but in Evanti, during a quarrel in the courtesan's
151. 11:20–11:26one of his fingers was cut off. At Padmanagara, an enemy drove two arrows into his hip bone.
152. 11:26–11:33At Vadisha, a bolt shot from a machine severed his arm and cast it to the ground. Even today he
153. 11:33–11:40pays physicians and sorcerers for Aphrodisiacs. He feeds money to courtesans, though his body's
154. 11:40–11:45natural capacity is weak, he delights in talk of love. For these reasons I place him at the
155. 11:45–11:51summit of the foremost gallants. It is a nobleman's colorful temperament that charms us, what
156. 11:51–11:55need have we of physical prowess? How could he not be a gallant?
157. 11:55–12:01If so, ye surely the leader of all gallants. For that very reason I too have crowned him
158. 12:01–12:09their jewel. Go now. Blessings upon you. I shall proceed as well. I have reached the
159. 12:09–12:14city street. Ah, the incomparable splendor of this city called Sarvabhama, the diadem
160. 12:14–12:19of jambadvipa and residents of the universal emperor, possessor of unconquered glory won
161. 12:19–12:20in many wars.
162. 12:20–12:25Music, the jingling of women's ornaments, the chatter of pet birds, the sound of sacred
163. 12:25–12:30recitation, the twang of boughs, the rasp of knives in the slaughterhouse, the voices of
164. 12:30–12:33female attendants within palace chambers, and the resonant calls of tame cranes make
165. 12:33–12:37the painted rows of white buildings seem to converse together.
166. 12:37–12:39And further.
167. 12:39–12:40Looking.
168. 12:40–12:42Thinking.
169. 12:42–12:47Hundreds of kings from mountains, islands, seacoasts, and deserts have come here and taken up residence
170. 12:47–12:49in every quarter.
171. 12:49–12:54Here, in one place, a man can behold the creator's manifold world, as strange as tales never
172. 12:54–12:56heard before.
173. 12:56–13:01Filled with people from Kola, Pandya, and Kerala, the city is everywhere delightful.
174. 13:01–13:06Who is this approaching in an uncovered white palanquin, imitating the display of some aristocratic
175. 13:06–13:07widow?
176. 13:07–13:10Yes, I recognize him.
177. 13:10–13:15the keen Bhagavata minister Vishnudasa, marked by his cane staff and water pot. Though appointed
178. 13:15–13:20to the responsible office of judge, the poor man has become entangled in meditation practice
179. 13:20–13:25and, like a monk wandering in indifference, cannot properly discharge the king's business.
180. 13:25–13:28And further. In court, the colleague sharing half his
181. 13:28–13:33seat shakes his knee by hand to wake him, the court officer standing before him shouts,
182. 13:33–13:37bows his head, and tugs at his feet to signal him. Yet he continues nodding and
183. 13:37–13:43sleeping like an ox at market. Meeting him is an obstacle to a gallant, yet as a preacher
184. 13:43–13:49of righteousness he deserves an approach. I shall go near. He has seen me from afar, stopped
185. 13:49–13:55the palanquin, and is getting down. Sir, remain where you are. You need not trouble
186. 13:55–14:00to welcome me merely to display affection. What does he say, I am not honouring you,
187. 14:00–14:06I am simply observing my discipline. Very well. Since you are so devoted to proper
188. 14:06–14:10attentions was it right to turn away an Angesina when she approached you in love? What does
189. 14:10–14:17he say? Did I fail to receive her in a manner suited to her affection? Look! When she bowed,
190. 14:17–14:23I pronounced a blessing. When she sat, I asked her to seek the discipline of yoga, that
191. 14:23–14:29is, permission to unite. Seeing her eyes swollen by wind, I said, here, daughter,
192. 14:29–14:32drink some clarified butter.
193. 14:32–14:35How then did I fail to honour her?
194. 14:35–14:39Ah, you certainly gave that delicate beauty an excellent reception.
195. 14:39–14:45Smiling, he now shows me a sacred lemon worthy of a Bhagavata, hoping to please me.
196. 14:45–14:47I am already your disciple.
197. 14:47–14:52In so great a matter, you cannot dismiss me with nothing but a cat's prostration.
198. 14:52–14:54Vanish quickly now.
199. 14:54–14:56I too shall go.
200. 14:56–15:00Here is the market of Sarvabhama, shops crowded with women and men buying and selling goods,
201. 15:00–15:05wine and course, brought over land and water from many countries.
202. 15:05–15:07What can one say of it?
203. 15:07–15:11As birds crowd a roost and cattle a pasture, so a great roar rises here from the multitude
204. 15:11–15:13gathered for trade.
205. 15:13–15:15For example,
206. 15:15–15:20Iron mongers' shops ring clang upon clang, bronze turning on the lathe cries like a curara
207. 15:20–15:24bird, the iron tool pressed to a conch to cut bangles hisses like a horse's breath,
208. 15:24–15:27and people approach from every direction to buy and sell.
209. 15:27–15:30And at this moment,
210. 15:30–15:34of flowers seem to smile with beauty as they are sold in the shops.
211. 15:34–15:37Cups circulate in drinking houses and wine is consumed.
212. 15:37–15:41Butchers, holding bundles of reed skewers, watch from the corners of their eyes the
213. 15:41–15:46birds swooping upon slaughterhouses whose inner walls are lined with knives.
214. 15:46–15:48And further.
215. 15:48–15:52Shoulder pressed to shoulder, arguing, buying, coming, and going, this crowd resembles
216. 15:52–15:55rows of seedlings planted in a field.
217. 15:55–15:58Gamblers who have won a few moshers at play advance toward the brothel road
218. 15:58–16:02with attendance carrying flowers, cakes, meat, and liquor.
219. 16:02–16:06The market road is difficult to traverse through this jostling crowd.
220. 16:06–16:11I shall pass through the flower lane, keep the drinking houses on my right, cross the
221. 16:11–16:18Ponebadra crossroads, and reach the Cortizans road by way of Macororathia Lane.
222. 16:18–16:22To enter the Cortizans quarter without first accumulating money is as futile as entering
223. 16:22–16:26battle without a weapon, it brings only disgrace and disaster.
224. 16:26–16:31for my friend's sake I must make the circuit. There I shall find the whole gathering of
225. 16:31–16:32gallants.
226. 16:32–16:33Looking
227. 16:33–16:38Who is this making the drinking pavilion laugh, singing the bang-a-da song of the yord-hay-y-y-y
228. 16:38–16:43to symbols and flutes played by rotarkar drummers, crested karantaka flowers hanging over one
229. 16:43–16:47cheek, lifting the wet upper garment whose fluttering border lies over his right shoulder
230. 16:47–16:51so that it will not slip, swaying his hips again and again, raising a wine cup in his
231. 16:51–16:53left hand, and dancing.
232. 16:53–16:55Yes, I know him.
233. 16:55–17:00It is Bappa, son of a balika, that poor fellow who has become everyone's laughing stock, like
234. 17:00–17:02the cock of the courtesan's quarter.
235. 17:02–17:07Truly, I have never seen him sober or without drink, yet I have never seen so much as a
236. 17:07–17:10half-penny remain in his hand.
237. 17:10–17:11Thinking
238. 17:11–17:13How, then, does he live?
239. 17:13–17:16Ah, I understand.
240. 17:16–17:19The shameless rogue has become a parasite upon everyone under the pretense of being
241. 17:19–17:21everybody's friend.
242. 17:21–17:26With a fistful of sweets, Bappa pushes into circles of drinkers among actors, actresses,
243. 17:26–17:30servants, and grooms.
244. 17:30–17:33How astonishing is his skill in procuring drink?
245. 17:33–17:36It is useless to speak with him now.
246. 17:36–17:40Here comes another walking treasury of ancient gallantry.
247. 17:40–17:44Returning from worship at the temple of love, old Sarnigupta, the aging procures, adjusts
248. 17:44–17:49upon her shoulders hair white and scattered like flowering cairns grass.
249. 17:49–17:53She wears clothes washed during the night, replaces an upper garment slipped from one shoulder,
250. 17:53–17:58and circles the Makara pillar of love's shrine, yet all the wild glances sideways at a dancing
251. 17:58–18:01peacock surrounded by crows swooping upon the offering.
252. 18:01–18:05Truly, the surviving marks of dalliance upon her body still proclaim the playfulness of
253. 18:05–18:07her vanished youth.
254. 18:07–18:13Even now, her hanging breasts are filled with pale scars from nails.
255. 18:13–18:17Her lips, sucked again and again in former days, sag at the edges and have grown knotted
256. 18:17–18:19in the middle.
257. 18:19–18:23Even today, from old habit, the movement of her brows reveals the longing within.
258. 18:23–18:30Age has forcibly stolen her beauty, but it could not steal her cockatry.
259. 18:30–18:33It will be difficult to pass without speaking to her.
260. 18:33–18:38She calls my dear friend, the drummer Stanumitra, her beloved, clearly his medicine for cooling
261. 18:38–18:40her anger has succeeded.
262. 18:40–18:41How shall I address her?
263. 18:41–18:44Yes, I have it.
264. 18:44–18:48Three days ago poor Stanumitra, in the midst of a deep kiss with her, underwent a most
265. 18:48–18:54revolting experience. Shame on such clinging love. As she kissed him passionately, one
266. 18:54–18:58of her teeth came out by the root and fell into his mouth, the instant it touched his
267. 18:58–19:03tongue, he spat it out. If, while wishing to enter the courtesan's quarter, I failed
268. 19:03–19:10to cross this thord, I shall be cheated of my amusement. But perhaps the tail of
269. 19:10–19:15her tooth falling into Svanny Mitra's mouth has already spread. It would be unkind
270. 19:15–19:22to approach and shame her again. I shall salute her from a distance. Now I shall go.
271. 19:22–19:27I have reached the quarter's aunt's quarter. Ah, it's incomparable splendour. Here stand
272. 19:27–19:32mansions with broad courtyards, divided into distinct sections, of elegant construction,
273. 19:32–19:37and surrounded by beautiful moats filled with clear water. They abound in separately fashioned
274. 19:37–19:43ramparts, wheel moldings, halls, upper chambers, pinnacles, dovecots, lion-ear projections,
275. 19:43–19:48roof timbers, vaulted apartments, terraces, viewing galleries, gateways, cornices, and
276. 19:48–19:52palaces. Some are beautified by water sprinkling, some
277. 19:52–19:56cleaned by blowing through tubes, some plastered and painted, dawned with carvings in low
278. 19:56–20:01and high relief, they have fitted joints, doorways, and projecting balconies with
279. 20:01–20:06platforms. Their inner courts are ornamented here with one tree, there with two or three,
280. 20:06–20:11separate beds contain trees suited to household gardens, vegetables, fruit, and flowers
281. 20:11–20:16for garlands. Clear pools scattered with white lotuses shying beside artificial wooden hills,
282. 20:16–20:22underground chambers, boughs of creepers, and painted lotuses in full bloom. The magnificent
283. 20:22–20:26palaces of the chief courtesans, flying victory banners of good fortune, seemed to rise from
284. 20:26–20:29the earth toward the sky.
285. 20:29–20:30Here?
286. 20:30–20:36Outside the quarter stands a karnirata carriage. Men from a vantysit dozing against it, scratching
287. 20:36–20:41its will with their nails. On both sides, uniformed kurata guards stand pressed against
288. 20:41–20:47the axle. Nearby are camboja horses and female elephants, their drivers drowze lazily, and
289. 20:47–20:52the saddles and carpets upon the animals' backs have been folded double. All this shows
290. 20:52–20:55that their wealthy and official masters have left their vehicles outside and entered the
291. 20:55–21:01courtesan's houses. And in this very place. On one side, departing men are seen off
292. 21:01–21:07with tears, on the other, arriving men are sent home by the same overflowing tears.
293. 21:07–21:11Wealthy patrons are flattered, while a lover returning after losing his fortune is cursed
294. 21:11–21:15and driven away by the old board.
295. 21:15–21:18This woman is appeasing her offended lover.
296. 21:18–21:21That one is delighted by her beloveds in treaties.
297. 21:21–21:26Another, plucking the seven-stringed yute with her nails, sings in the beautiful fifth
298. 21:26–21:31note of the Carcally register and, undercover of a love song, weeps with longing.
299. 21:31–21:35One woman, seated before a mirror, is being adorned by her lover.
300. 21:35–21:38Another is tying her beloved's top knot.
301. 21:38–21:40One teaches a minor bird to speak.
302. 21:40–21:45A drunken peacock, scolded with a spray of mango blossom, is dancing.
303. 21:45–21:50How that woman bends her slender waist after playing ball for so long.
304. 21:50–21:52Another sits playing dice with her lover.
305. 21:52–21:57This mature woman paints a picture for amusement while that one reads a tale.
306. 21:57–22:00Ah, I have been welcomed.
307. 22:00–22:07Vosu, sit down. You appear after many days. Today ask the very man who deceived my innocent
308. 22:07–22:14girl so badly. In my view, you are the one who deserves appeasement. Yet may he, whatever
309. 22:14–22:19he is, remain good to you. There, I shall go.
310. 22:19–22:20Thinking
311. 22:20–22:24Harishandra, son of the physician Ishanachandra of the Kankayana lineage, approaches like
312. 22:24–22:29the moon illuminating this courtazans garden, a pool of night lotuses. What business
313. 22:29–22:36has he here? I remember. He desires Priyanguyastaka, the younger sister of his former beloved
314. 22:36–22:42Yushomati. He conceals this secret even from me. I cannot pass without meeting him, so
315. 22:42–22:44I shall approach.
316. 22:44–22:45Approaching
317. 22:45–22:51O solitary Chakravaka bird of this lotus forest of quartersands, where are you coming from?
318. 22:51–22:57I have been giving medicine to Priyanguyastaka, younger sister of your dear friend Yushomati.
319. 22:57–23:02It seems that the beggar of love has not extinguished his fire of desire even in her illness.
320. 23:02–23:05You have gone to teach her how to inflame it further.
321. 23:05–23:06Enough joking.
322. 23:06–23:10Her headache is extremely severe.
323. 23:10–23:13Friend, is it truly so?
324. 23:13–23:15What doubt is there?
325. 23:15–23:18She will recover only with great difficulty?
326. 23:18–23:19Quite so.
327. 23:19–23:24For a courtesan, a headache is the dowry accompanying a hundred thousand ailments.
328. 23:24–23:26Look!
329. 23:26–23:30With red sandal paste like ceiling wax upon her brow, playing with lotus fibers, lotus
330. 23:30–23:35leaves and flowers, moving her brows and caceticially asking after the welfare of her accomplished
331. 23:35–23:39lovers, a courtesan claims a headache whether she is indifferent or enamoured.
332. 23:39–23:43You have always been notorious for harsh jokes.
333. 23:43–23:47I have administered her medicine and am returning.
334. 23:47–23:48Very well.
335. 23:48–23:49Surely.
336. 23:49–23:54Twisting her bracelet covered hands, stamping her foot upon the floor, and using one
337. 23:54–23:58hand to hold the silk and garment and girdle slipping below her navel, did you seize that
338. 23:58–24:02wide eyed woman by the hair, turn her face toward you, and drink the nectar of her lips,
339. 24:02–24:07or did you make her drink the sediment of the medicine that is your own lip?
340. 24:07–24:09Walking. Recognizing him.
341. 24:09–24:13Friend, only you could do such a thing.
342. 24:13–24:18You thief, if even now you will not reveal your secret to me, then. But today, for some
343. 24:18–24:23business, all the gallants are to assemble at the house of Bhattajabhuta, their chief.
344. 24:23–24:26Friend, be sure to come at the proper time.
345. 24:26–24:31The gallants already know that they must arrive in the third watch to decide Vishnu Naga's
346. 24:31–24:32expiation.
347. 24:32–24:35Go ahead, I too shall come.
348. 24:35–24:37Excellent.
349. 24:37–24:38Blessings upon you.
350. 24:38–24:40I shall go.
351. 24:40–24:43How did every gallant learn the news?
352. 24:43–24:44That saves me labour.
353. 24:44–24:48I shall now pass the time among courtesans and friends.
354. 24:48–24:52Who is this piebald cult, dressed like a horse though he has none, opening the door
355. 24:52–24:59of Pushpardasie of Patalipitra. Ah, I see. It is Batamagavaman, handsome son of the general
356. 24:59–25:04Seneca. During the conquest of Saurashtra he captured and brought back the dindis of later,
357. 25:04–25:08whose cheeks shone with great white wooden earrings, with folded hands they pleaded,
358. 25:08–25:11the charge that we are notorious rogues though not caught in the act is untrue.
359. 25:12–25:16I cannot pass without speaking to him, to do so would seem a cooling of affection.
360. 25:17–25:18I shall approach him.
361. 25:18–25:20him.
362. 25:20–25:28Is anyone in my friend's house? Why, Batima Govaman himself is calling me. What does he
363. 25:28–25:34say, friend, seeing these new chamberlings serving me, do you still take me for a king?
364. 25:34–25:41That royal formality between us ended long ago. Wait a moment, I am coming? Batie approaches,
365. 25:41–25:45placing each heavy, dignified step upon the floor like a bull crossing sand, and lending
366. 25:45–25:50splendor to the chamber. He is long practised in pleasure, and the courtesan's quarter is
367. 25:50–25:54the place for pleasure, his appearance is therefore perfectly fitting. And further.
368. 25:55–25:59He approaches swinging his arms, his chest and shoulders are shapely and high,
369. 25:59–26:03he moves his brows kiketicely and repeatedly looks from the corners of his eyes.
370. 26:04–26:07Seeing him enter the palace with such animation, one would think a one-man
371. 26:07–26:10boner were being performed without lute or drum.
372. 26:11–26:11Thinking
373. 26:11–26:14Let me speak with him.
374. 26:14–26:18Bhattamagavamin, why did you remain here enjoying yourself for so many days and leave
375. 26:18–26:21your friends yearning in your absence?
376. 26:21–26:24Even the briefest sight of you brings well-being.
377. 26:24–26:28Laughing, dawned by an upper garment rippling over his right shoulder, and breathing his
378. 26:28–26:32welcome in broken syllables, he folds his hands to me.
379. 26:32–26:36But he said only now that Pushpardasi is menstruating today, how then has he joined
380. 26:36–26:38with her?
381. 26:38–26:41These dindis of later are little better than demons.
382. 26:41–26:42How so?
383. 26:42–26:46People of later-bathed naked in public, beat their own clothes upon the stones, shake out
384. 26:46–26:50and leave their long hair loose, lie upon beds without washing their feet, eat whatever
385. 26:50–26:55takes their fancy while walking along the road, feel no shame in wearing torn garments,
386. 26:55–27:01and, even when striking a man in his misfortune, continue boasting of their own greatness.
387. 27:01–27:05Or perhaps he has merely acted according to the custom of his country.
388. 27:05–27:10That is why, without troubling about the bell fruit, you pluck the blossom itself.
389. 27:10–27:12Now so.
390. 27:12–27:16Look at this upper garment of yours, stained with menstrual blood.
391. 27:16–27:20I think it has been stained by beetle juice dripping from the bed.
392. 27:20–27:22Do not say so.
393. 27:22–27:27What does your brow, covered with beads of sweat like scattered seed pearls, tell us?
394. 27:27–27:29He turns aside and laughs loudly.
395. 27:29–27:33You base, degraded sensu-list, did you deceive her?
396. 27:33–27:35What deception?
397. 27:35–27:38She seized my very heart.
398. 27:38–27:39Listen.
399. 27:39–27:43A creeper-like woman whose broad forehead is revealed by arranging and fixing the front
400. 27:43–27:47of her curling hair, whose full hips are delightful beneath a short lower garment, and whose body
401. 27:47–27:51appears almost naked when the ornaments in front are removed, can such a woman, though
402. 27:51–27:54menstruating, be left untouched.
403. 27:54–27:57And there is more worth hearing.
404. 27:57–28:01Turning her eyes sideways, examining the scratches of her nails, and slightly lowering
405. 28:01–28:04her head, she sat in the shade of her own house.
406. 28:04–28:09The instant I saw her, she clutched her trembling, firm breasts with both hands, ran inside,
407. 28:09–28:12pushed the threshold door with her hand, and shut it.
408. 28:12–28:15I too darted inside.
409. 28:15–28:20The moment I seized her hair and pulled her toward me, she stared at me with great eyes.
410. 28:20–28:23Her breasts trembling, she kept saying, What are you doing?
411. 28:23–28:25No, no.
412. 28:25–28:28Yet I kissed that playful woman.
413. 28:28–28:31Wonderful, what an extraordinary first meeting.
414. 28:31–28:33I shall question him.
415. 28:33–28:35Well, what happened next?
416. 28:35–28:37Friend.
417. 28:37–28:42When you came upon her with her girdle displaced and her hips exposed, she covered your eyes in shame.
418. 28:42–28:44Shame on you.
419. 28:44–28:49You are base, disgusting, and worthy of condemnation by honorable men.
420. 28:49–28:52Thus you have once again favoured me.
421. 28:52–28:55Have you not read before in the Mahabharata?
422. 28:55–29:00He who has not many enemies, whom people do not fear, and whom men do not gather to revile,
423. 29:00–29:03O Partha, he is no man but the lowest of men.
424. 29:03–29:07That, indeed, is the true nature of a dindi.
425. 29:07–29:10I am completely delighted with your dindi character.
426. 29:10–29:13You deserve to be soul sovereign of all gallants.
427. 29:13–29:15Receive my blessing.
428. 29:15–29:17I am attentive.
429. 29:17–29:18Then listen.
430. 29:18–29:23At dawn, may your beloved embrace your back as you lie beside her, fearlessly lay one bare
431. 29:23–29:28thigh across your side, pull your hair to turn your lotus face toward her, drink the nectar
432. 29:28–29:31of your lips, and make you drink the nectar of hers.
433. 29:31–29:35Saying, I am favoured, you preparest to leave.
434. 29:35–29:37Then offer my respects to your, Lord.
435. 29:37–29:39I too shall go.
436. 29:39–29:41Walking
437. 29:41–29:45Who is this adorning herself at the window of her house like an absorer in a celestial
438. 29:45–29:46chariot?
439. 29:46–29:50It is parachramica, the chief courtesan of Kashi, playing the piccola and satisfying
440. 29:50–29:54the eyes thirst with the sport of her beauty and charm.
441. 29:54–29:58Binding her breasts with a golden crossband, wearing a short lower garment that clearly
442. 29:58–30:02reveals the swell of her hips, churning the minds of lovers, she sways like a restless
443. 30:02–30:05young leaf upon the creeper of the courtesan's quarter.
444. 30:05–30:07And further.
445. 30:07–30:11Her face shines with the reflected light of gems in a jeweled earring hanging against
446. 30:11–30:13one temple.
447. 30:13–30:17Through long practice she blows, e-e-e, from beneath her chin and plays in a sweet
448. 30:17–30:20tone upon the picola held to her lips.
449. 30:20–30:25the sound for a frog's croak, the household peacock circles round and round, turning its
450. 30:25–30:26neck.
451. 30:26–30:32Hiranyagarba, confidential secretary to Indrasfamin, hurries from her house and comes this way.
452. 30:32–30:34Why be surprised?
453. 30:34–30:38For Indrasfamin and Hiranyagarba to meet in the Qutizan's quarter is merely heat-joining
454. 30:38–30:39heat.
455. 30:39–30:41He folds his hands in greeting.
456. 30:41–30:46Hiranyagarba, why do you wish to have this temple-like Qutizan's quarter destroyed by
457. 30:46–30:48the demons of Aparanta?
458. 30:48–30:54My master has acquired a taste for foreign merchandise and has entrusted this business to me.
459. 30:54–30:59Formerly she accepted 500 gold coins, now even with a thousand it is difficult to flatter her
460. 30:59–31:02into agreement.
461. 31:02–31:04Help me settle her price.
462. 31:04–31:07Your innocence surpasses innocence itself.
463. 31:07–31:11Even for a hundred thousand no one can buy another's life.
464. 31:11–31:15Why do you suppose our lives are endangered by her?
465. 31:15–31:20knows that Bartresvam in once joined with his fly-whisk Barracoutangardasi and thereby put
466. 31:20–31:22his very life in danger.
467. 31:22–31:26Beat me if you like, but that is the truth.
468. 31:26–31:31Take refuge in Fosard if you must, but do not tell your master such a thing.
469. 31:31–31:33This is my master's old habit.
470. 31:33–31:35It cannot be cured.
471. 31:35–31:38Still, the matter is not wholly bad.
472. 31:38–31:42Consider, what Cortesan would not desire that southern lord of Cancunna, provided he lived
473. 31:42–31:45with her like a gentleman.
474. 31:45–31:50further. Look at Indra Dutta in a courtesan's courtyard making his elephant dance, like
475. 31:50–31:55Bagadatta wheeling a rutting elephant in the Bharata war. Courtesans with lotus hands upon
476. 31:55–32:00their breasts watch him as frighten does watch a tiger. And this woman, calling Parashavakoshika
477. 32:00–32:05Simhavaman, the brother-in-law of my sovereign lord Indra Dutta, her friend and beckoning
478. 32:05–32:09him near, shows every other lover her thumb in rejection.
479. 32:09–32:13He is excessively lustful, so she wishes to escape him.
480. 32:13–32:16This is the custom of your country.
481. 32:16–32:22I understand neither the custom nor the impropriety of my country, speak plainly.
482. 32:22–32:25Seeing such courteous behaviour from you, how can I refuse?
483. 32:25–32:27Listen.
484. 32:27–32:31In the cackly posture of love, her toenails come close to his ears and scratch them.
485. 32:31–32:36Then, like a wild elephant calf struck by the goard, he falls upon her exposed hips
486. 32:36–32:39as a bull falls upon a heifer.
487. 32:39–32:42Now I shall carry this very gift to my master.
488. 32:42–32:45If so, tell Indra's farming.
489. 32:45–32:48That woman, whose hips are painted with tooth marks and who wears her lover's garland as
490. 32:48–32:53a girdle, will not expose those hips to another man, even for a thousand coins, while she
491. 32:53–32:54has you.
492. 32:54–32:56Blessings upon you.
493. 32:56–32:58I shall go.
494. 32:58–33:00Walking.
495. 33:00–33:01Looking.
496. 33:01–33:06Who is this emerging from the house of Shamadasi, courtesan of Sherpuraka, surrounded by dindis
497. 33:06–33:08and illuminating the entire quarter?
498. 33:08–33:14Why, it is the great chamberlain Budra Yuda, lord of the northern regions, Balika, Karusha,
499. 33:14–33:18and Malayda, a moving place of pilgrimage for gallants.
500. 33:18–33:22His hair tied in a knot, great white wooden jar-shaped ornaments in his ears, he speaks
501. 33:22–33:27among his companions with repeated, JJJ, imitating the people of Gujarat.
502. 33:27–33:31Why does he show such favor to the people of later?
503. 33:31–33:35A man of later wraps his upper garment round both arms, binds his waist with a twisted
504. 33:35–33:40and, the moment he approaches, cries, shh-shh-shh, and falls at one's feet like a crooked-shouldered
505. 33:40–33:44hunchback. And further.
506. 33:44–33:48Making the shape of a pigeon upon his chest with both hands, he stammers loudly, saying,
507. 33:48–33:54J.J.J., in place of, Y. His waist tightly bound in the middle by a two-coloured twisted
508. 33:54–33:59sash, he walks gingerly as though his fingers were sinking into mud. Where can flawless
509. 33:59–34:04magnificence be found? Or perhaps, when one comes abroad, such solitary joking alone
510. 34:04–34:10becomes him. How so? He placed both feet upon the heads of the kings of Aparanta,
511. 34:10–34:16Chaka and Malava and forced them into hiding. After roaming as he pleased, he returned in
512. 34:16–34:20time to the land of his mother and mother Gonga and made the fortune of Magada's royal
513. 34:20–34:26house manifest throughout the world. And further, on the seashore, their hair loosened by the
514. 34:26–34:31gentle strokes of the wind, the yearning women of Aparanta hide among the hintala groves
515. 34:31–34:37and sing his deeds of victory beside the great ocean. What is their song? In humanity and in
516. 34:37–34:43the science of arms no one can equal Badriyuda. However, hearing of his success, desires to
517. 34:43–34:45rival him might as well eat swine's food.
518. 34:45–34:46Walking
519. 34:47–34:52Someone here is painting the banner of Pradhyuna, that is, the God of Love's Temple.
520. 34:52–34:57It must be the work of some dindi. These dindis are scarcely better than monkeys.
521. 34:57–35:01What particular merit in painting pleases them?
522. 35:01–35:02Listen.
523. 35:02–35:06They smear and dauber finished picture with additions of their own and ruin it, they dirty
524. 35:06–35:11freshly plastered house walls with ink from a brush, and, taking a sharp pointed chisel,
525. 35:11–35:16scratched the palace walls as though worms had eaten them.
526. 35:16–35:17What is he painting?
527. 35:17–35:21Ah, it is near a picture, the indifferent one.
528. 35:21–35:23His name suits him.
529. 35:23–35:26The saying is true, wealth steals character.
530. 35:26–35:30Because of it, this prosperous man is indifferent to my dear friend, for whose sake she grows
531. 35:30–35:35thin in the quarter-zones quarter, observing the vows of an ascetic.
532. 35:35–35:39The poor woman, the curved line of hair showing across the region of her three bellow folds,
533. 35:39–35:44bears three burdens in three ways, tears upon the tips of her curved, thick, black lashes,
534. 35:44–35:48her face upon a hand whose bracelets are wet with teardrops, and heavy grief upon
535. 35:48–35:49her heart.
536. 35:49–35:52I shall therefore aim a taunt at him.
537. 35:52–35:57Bhagavata nirupeksha, or rather, one who keeps away from Bhagavatas, you conduct yourself
538. 35:57–36:01according to the compassionate Buddha's doctrine of universal friendship.
539. 36:01–36:05Then is this wandering in indifference toward a woman marked with the seals of the science
540. 36:05–36:07of love proper conduct?
541. 36:07–36:10I understand the meaning of your sarcasm.
542. 36:10–36:13I have now become a lay Buddhist.
543. 36:13–36:17The Tathagata said, such is the nature of the world.
544. 36:17–36:19Do not speak so.
545. 36:19–36:22Does the Tathagata's word apply only there and nowhere else?
546. 36:22–36:27Tell me, where and when is the Tathagata's word not authoritative for me?
547. 36:27–36:30Ah, such a vow from you?
548. 36:30–36:32What doubt is there?
549. 36:32–36:34Good man, listen.
550. 36:34–36:37You ignore the suffering of the deer before you in the hunt, its tongue hanging from
551. 36:37–36:41the effort of flight, its head raised and eyes looking upward, a cruel arrow driven
552. 36:41–36:45into its heart, yet you know how to meditate upon the Tathagata Buddha.
553. 36:45–36:48Ah, he laughs aloud.
554. 36:48–36:53What does he say, one should not cast doubt upon the tathagata's teaching?
555. 36:53–36:58Scripture is one thing and human nature another, I too am not free from passion.
556. 36:58–37:01If so, then that woman in such a condition.
557. 37:01–37:04Permission to go, my respects.
558. 37:04–37:06Kindly dismiss me.
559. 37:06–37:10In other words, let me escape somehow.
560. 37:10–37:12Liberation is entirely impossible for you.
561. 37:12–37:17Still, receive my blessing.
562. 37:17–37:22When your beloved returns from abroad, yearning and downcast, seat her in your lap.
563. 37:22–37:27As she rests her head upon your shoulder and weeps, console her again.
564. 37:27–37:31Untidy uneven braid knotted like a buffalo's horn, and with your own hands disentangle
565. 37:31–37:34her long locks wet with the hot tears of love.
566. 37:34–37:36He has gone, showing his teeth.
567. 37:36–37:38I too shall proceed.
568. 37:38–37:40Who is this approaching?
569. 37:40–37:45His privates covered by a scrap of filthy monastic robe, goat-faced, yellow, covered in cotton-like
570. 37:45–37:51air, broad-shouldered, monkey-eyed, and eating a radish, some man from Dasharaka approaches.
571. 37:51–37:55In truth, in this form he can be nothing but a demon.
572. 37:55–37:57Ah, I recognize him.
573. 37:57–38:01I have sometimes seen him at the house of my kinsman or friend Guptakula, son of the Lord
574. 38:01–38:03of Dasharaka.
575. 38:03–38:05What business has he here?
576. 38:05–38:08He approaches with folded hands.
577. 38:08–38:12What does he say, Guptakula has ordered, look secretly?
578. 38:12–38:14I shall pay five pannas in a lump.
579. 38:14–38:20any courtesan be satisfied with so small an advance? If among the courtesans crowding the
580. 38:20–38:25city street you see one who will, give her the advance yourself. Remembering my master's order,
581. 38:25–38:29and partly for my own interest, I raised the offer as high as four times that amount.
582. 38:30–38:34But at present the courtesans, though full of desire, will not even discuss love,
583. 38:34–38:40behaving like respectable maidens. If I return with this contrary report, I shall be punished.
584. 38:41–38:42All rich men are alike.
585. 38:42–38:48Excellent! The messenger of Prince Guptakula, endowed with the virtues of country, costume,
586. 38:48–38:53language, and courtesy, stands in the courtesan's quarter and yet asks where the shop is in which
587. 38:53–38:58such merchandise is sold. It would be wrong to tell such a jewel the truth and dismiss him at
588. 38:58–39:06once. Let him remain exactly as he is. I shall say this. Brother, go to the salt shops,
589. 39:06–39:11the Chalavanika Panna, on the royal highway and ask there for a courtesan. Delighted,
590. 39:11–39:16he bows and departs. I too shall go.
591. 39:16–39:24Walking. Looking. Entering. Looking. Reading.
592. 39:24–39:29Where shall I wash the dust from my eyes after seeing that man from Dasaraka? Ah, there it
593. 39:29–39:35is, the house of my former beloved, Shurasenna Sundari. Why is the side door open? I shall
594. 39:35–39:39go in. Where can I sit and rest from walking? Yes,
595. 39:39–39:45I know. This avenue of pre-angry trees invites me to its cool platform like the lap of a beloved.
596. 39:46–39:49I shall sit here. What is written here?
597. 39:50–39:54Friend, at a first meeting there is no occasion for a quarrel, nor have I heard that your beloved was
598. 39:54–39:59angry, nor received news that he was ill. Why then did you return from the young man you
599. 39:59–40:03had desired for so long without so much as disturbing the pattern of your cosmetics?
600. 40:03–40:10This announces the misfortune of some woman rejected in love.
601. 40:10–40:12Whom shall I ask?
602. 40:12–40:17The jingling of anklets tells me that Shurasanasandari is coming this way.
603. 40:17–40:21In one leaf soft hand she holds the shaft of a beautiful parasol.
604. 40:21–40:28With the other, she catches the end of her slipping undergarment and steadies the silk sliding beneath a girdle strung with restless gems.
605. 40:28–40:33Smiling, her slender body glittering in the flash of ornaments, she approaches like the
606. 40:33–40:38presiding goddess of night, dawned with moon, stars, and birdsong.
607. 40:38–40:41Her very radiance compels even me to rise.
608. 40:41–40:43She approaches with folded hands.
609. 40:43–40:47Do not dispose of me with such a formal welcome.
610. 40:47–40:52My lord has come after many days, through proper courtesies this servant wishes to honour
611. 40:52–40:53herself.
612. 40:53–40:57Enough, enough, you have reproached me sufficiently.
613. 40:57–41:02gracious enough to take this seat, my lap, which is fit for you. Saying, your command rests
614. 41:02–41:09upon my head, she sits, covering half the bench with her hips. Ah, you should not sit here.
615. 41:09–41:14Why is she trying to erase it with her hand? Why?
616. 41:14–41:19Someone rejected in love has written her story here in verse, making public her own disgrace.
617. 41:19–41:26I have seen it. Thief, it cannot be erased, it has already been written upon my heart.
618. 41:26–41:27Why do you hide it?
619. 41:27–41:33You know that my friend Kusumovatika is violently deranged with desire for your dear friend,
620. 41:33–41:35the painter Shivsthamin.
621. 41:35–41:40I know it well, I also know that Kusumovatika favored him by coming to him herself.
622. 41:40–41:45Such is the nature of a woman's heart maddened by desire, she displayed a woman's natural
623. 41:45–41:47impulsiveness.
624. 41:47–41:48Remarkable.
625. 41:48–41:50Let me ask.
626. 41:50–41:54I ask because I possess the confidence of you both, not from curiosity about another
627. 41:54–41:55secret.
628. 41:55–41:59told me, did the long-desired festival of love between them and happily.
629. 41:59–42:01Listen.
630. 42:01–42:02I am attentive.
631. 42:02–42:07You say, when the wine took effect and she wished to favor Schiff's famine, your friend
632. 42:07–42:09behaved in this fashion.
633. 42:09–42:13He spent the first watch recounting the story of an uninteresting wrestling match.
634. 42:13–42:18The second passed in pointless talk of sesame sweets, molasses, and the like.
635. 42:18–42:22He consumed the third explaining how to fatten a goat.
636. 42:22–42:25What happened after that would best remain untold even to you.
637. 42:25–42:28Beautiful one, how did you learn all this?
638. 42:28–42:33You say, I heard it from Padmopala, the chamberlain who came from his friend's house, and sent
639. 42:33–42:37this verse in the hand of a messenger who had come to ask after her welfare.
640. 42:37–42:41Then she came with that attendant, smiled in embarrassment, and said to me, I do not
641. 42:41–42:44wish to trouble you by concealing a secret.
642. 42:44–42:46Therefore hear this new event.
643. 42:46–42:49She then told me the true story of what had happened.
644. 42:49–42:53You too may partake of this nectar for the years.
645. 42:53–42:55She claps her hands and laughs as she speaks.
646. 42:55–43:00Beautiful one, what do you say, now hear what my friend told me.
647. 43:00–43:02She said, dear friend.
648. 43:02–43:08I embraced him and kissed him, I marked his hips with my nails and urged him toward love.
649. 43:08–43:11But when he remained inert as Wooden would not join with me, I grew angry and lay clinging
650. 43:11–43:14to the side rail of the bed.
651. 43:14–43:16Then I said, you have suffered greatly.
652. 43:16–43:19Do I not understand even this much?
653. 43:19–43:22Then I said, you have suffered greatly.
654. 43:22–43:25Do I not understand even this much?"
655. 43:25–43:29She sighed and told me, I tried every means on my side, yet he could not awake and desire
656. 43:29–43:31for me.
657. 43:31–43:35Suddenly seeing every stratagem fail and recognizing my own ill fortune, I bit my breast and began
658. 43:35–43:36to weep.
659. 43:36–43:41Then, taking me weeping into his lap, he exhausted himself by trying to console me
660. 43:41–43:44with repeated, useless kisses and embraces.
661. 43:44–43:48I said, What good comes of touching with the hand alone?
662. 43:48–43:53Then, wet with sweat from shame and alarm, his face drying, he forced out a few words.
663. 43:53–43:57Blameless woman, do not condemn your own good fortune.
664. 43:57–44:01Though so great a treasure stood before me, my eyes were as if blind.
665. 44:01–44:05The guggele I formally took to reduce fat is now killing the nectrose pleasure of union
666. 44:05–44:07with you.
667. 44:07–44:08Then I thought,
668. 44:08–44:13If guggele drunk to reduce fat cuts away the very root of virile power in this manner,
669. 44:13–44:17we were pondering what to do after the failure of the union we had both desired so long,
670. 44:17–44:22suddenly. The royal timekeeper, announcing that the night was over, rang the bell loudly
671. 44:22–44:28and recited the auspicious morning praise. Like a helpful friend, he freed me from that predicament.
672. 44:29–44:34The lover then accompanied me a short distance in shame and left me. When I returned home,
673. 44:34–44:37you sent a messenger to ask after my welfare, as though mocking me.
674. 44:38–44:43Therefore I have told you the entire affair. Now I shall sleep by day and recover from the
675. 44:43–44:47fatigue of that fruitless night vigil. Saying this, she departed.
676. 44:48–44:51Afterward I came here, and now you too have heard everything.
677. 44:52–44:56Then let a sound, with a boat of ridicule, the deep sea of false fame for manly prowess that
678. 44:56–45:01shifts for me, son of the illustrious Shivdata, has created. Look!
679. 45:02–45:06Fierce woman, when a man drinks guggle because his fat has increased, his fat soon diminishes,
680. 45:06–45:11but to young women he remains merely handsome to look at, like a yakshaw painted in a picture.
681. 45:11–45:18there. She bursts into laughter. Now I must go. No need to bow.
682. 45:18–45:19Walking
683. 45:19–45:26I too shall proceed. What are these young courtesans looking at? They stand in the shade of a building
684. 45:26–45:32in the courtesans' lane, pausing from ballplay, the pickler instrument, dolls, and toys. They
685. 45:32–45:37are lovely as a mass of lotuses with their fibres, their lotus faces rise upon their necks,
686. 45:37–45:40their many-colored glances are wide, and with hands upon their breasts they signal
687. 45:40–45:47one another to turn and look. What is it? What can this be? Is some enormous pot bouncing
688. 45:47–45:53toward us, or is someone dragging a water-skin? Has a headless trunk risen to its feet, or
689. 45:53–46:00are two granaries walking? What astonishing object is this? Ah, now I understand. It
690. 46:00–46:05is Upagutta's pot-bellied body rolling this way. His appearance proves that nicknames
691. 46:05–46:08are rightly bestowed in a rogue's assembly.
692. 46:08–46:13Krishna, the treasury clerk who secretly swallows government property, is a black wild ram, Harry
693. 46:13–46:17Breety is a complete buffalo, and Datigapta is a wind-inflated water-skin.
694. 46:18–46:18Looking.
695. 46:19–46:24How has the poor fly-wisk bearer of Gonga and Yamuna, the book reader Madhyanti, fallen in love with
696. 46:24–46:30Upagapta after leaving that elderly reader of the three Vedas, my dear friend? He used to
697. 46:30–46:35embrace her properly with his soft arms. But the poor woman has no flavour left in embraces,
698. 46:35–46:39with the drying up of her menstrual flow, she has been deprived of the machinery of love.
699. 46:40–46:43Now she exchanges playful words merely to support her household.
700. 46:44–46:49That is appropriate for her. The followers of Dataka say that one emptied of virile power
701. 46:49–46:54six to accomplish matters by talk alone. Why does Ubogupta appear so disturbed?
702. 46:55–46:56Ah, I understand.
703. 46:57–46:58Approaching.
704. 46:59–47:03I heard in the quarter that his mother-in-law has dragged him before the tribunal over money.
705. 47:03–47:08So there has been a dispute between mother-in-law and son-in-law.
706. 47:08–47:10This will be highly entertaining.
707. 47:10–47:14I shall not deprive myself of the profit, let me approach.
708. 47:14–47:19A woman-shaped cooking pot, yakshaw of the quarter's ends road, what brings you here?
709. 47:19–47:23Exhausted after walking only a little, he stands before me panting and offers a greeting
710. 47:23–47:25in a staggering voice.
711. 47:25–47:27Blessings upon you.
712. 47:27–47:33I am returning from the Prince Minister's tribunal after a dispute with that old harlot.
713. 47:33–47:37So I congratulate you on victory, or help you pay the fine.
714. 47:37–47:39Where were victory and punishment?
715. 47:39–47:42I received only torment.
716. 47:42–47:43Why?
717. 47:43–47:45What do you say?
718. 47:45–47:47The tribunal is in this state.
719. 47:47–47:51Vishnudasa sits as though in meditation, his brother Konka threatened me over the collection
720. 47:51–47:53and has only just had me beaten.
721. 47:53–47:58Vishnudasa rebukes me instead and continues dozing where he sits in court.
722. 47:58–48:00And further.
723. 48:00–48:05The officials there demand bribes, the record keeper and Clark demand them too.
724. 48:05–48:10The wooden elders, that is, the court constables, begged for so long that at last they seized
725. 48:10–48:11me.
726. 48:11–48:13From the place I have learned this.
727. 48:13–48:18A courtesan and a Clark, a Clark and a courtesan, when one considers the two, it is better to
728. 48:18–48:23give money to the courtesan, for at least she gives pleasure in return.
729. 48:23–48:28Congratulations that, though caught in the Clark's net, you have emerged safely.
730. 48:28–48:30You are consummate master.
731. 48:30–48:34Receive my blessing.
732. 48:34–48:39Upon the bed, may a chief courtesan, softly humming, languid with wine and inclined to love,
733. 48:39–48:42honour you in the facture and upper-facture postures.
734. 48:42–48:45Clapping his hands and laughing, he departs.
735. 48:45–48:47I too shall go.
736. 48:47–48:49Who is this other creature?
737. 48:49–48:53With a strange Gojurati-style shaving pattern upon his wrinkled body, drunken eyes, and
738. 48:53–48:57a smile buried in hollow cheeks, who is he, and why has he entered this courtesan's
739. 48:57–48:59quarter that is heaven?
740. 48:59–49:02Yes, I recognize him.
741. 49:02–49:06This is Pihana, born in Shakarapakha's house to the witch Concochetti by Kira the Cobbler,
742. 49:06–49:08a grass demon.
743. 49:08–49:10And further.
744. 49:10–49:14He calls Shakarapakha his father and near a picture his brother.
745. 49:14–49:18Men of two farthing families are generally born together with hypocrisy.
746. 49:18–49:20Walking.
747. 49:20–49:22Why ask him anything?
748. 49:22–49:25What business has he in this country?
749. 49:25–49:26Walking.
750. 49:26–49:29Second gallant Bhattiravadatta is coming this way.
751. 49:29–49:31I shall ask him.
752. 49:31–49:35Bhattiravadatta, do you know why that male gal has entered this district?
753. 49:35–49:37You tell me.
754. 49:37–49:38Then go.
755. 49:38–49:42Where shall I divert a mind exhausted by this wilderness of men?
756. 49:42–49:44Ah, I know.
757. 49:44–49:49This is the house of my dear friend Rama, who never rests from intercourse with courtesans.
758. 49:49–49:54And who keeps the house bolted from within for fear that friends may arrive.
759. 49:54–49:55Listening.
760. 49:55–49:58How, then, can I enter?
761. 49:58–50:01The tinkling of anklets blends with the jingling girdle.
762. 50:01–50:05The clatter of bracelets announces the striking of fists, hisses and sighs from within the
763. 50:05–50:11house declare unmistakably that Rama's woman is enjoying reverse intercourse with Rama.
764. 50:11–50:14It would be improper to enter.
765. 50:14–50:17Who would break the moving axle of the chariot of love?
766. 50:17–50:19I too shall move on.
767. 50:19–50:21Ah, another.
768. 50:21–50:25Is this a burnt silk cotton tree with a few branches left as its top?
769. 50:25–50:29or a black, elongated heron in the form of a gallant?
770. 50:29–50:33Or a ghost from the desert come to scorch the pool that is the courtesan's quarter?
771. 50:33–50:35Yes, I recognize him.
772. 50:35–50:39It is Suryanagar, the jaundiced fellow of Shepuraka.
773. 50:39–50:41What business has he here?
774. 50:41–50:45Seeing me, why does he cover his face with his upper garment, keep the temple of love
775. 50:45–50:48to his right, and slip away silently?
776. 50:48–50:52Three days ago, the Bannacortesans living in the thatched Kutangigara of the Outishiva
777. 50:52–50:54district accused him.
778. 50:54–50:59When the foreign and outcast Constable dragged him before the tribunal, Skandhakirti of Baladashaka
779. 50:59–51:04freed him with great difficulty, saying, He is a monolender attached to my Lord Vishnu.
780. 51:04–51:06My friend Vishnu Nigga told me so.
781. 51:06–51:11Why, then, is he ashamed to return to the quarter and tries to hide himself?
782. 51:11–51:12Thinking.
783. 51:12–51:13Walking.
784. 51:13–51:19Because he has become an attendant of the prince, he is ashamed of such conduct.
785. 51:19–51:21Wonderful.
786. 51:21–51:26association with the virtuous produces virtue, through it, a man like him has been drawn toward
787. 51:26–51:32goodness. Yet unless I reveal that I know him, his wish will not be fulfilled. I shall circle
788. 51:32–51:37from the right, confront him, and attack with ridicule. Seeing me before him, he smiles.
789. 51:38–51:43Woman is Suryaniga, why make this new visit to the Qortizan's quarter as useless as a dance
790. 51:43–51:49in darkness by hiding it from your friend? What business would I have here? I was sent to
791. 51:49–51:54inquire after the illness of a former beloved of my maternal uncle, Lord Galiya Parishava
792. 51:54–51:59Haridata, who is confined in prison. Do you imagine something else?
793. 52:00–52:05Wonderful, such firmness in a friend's errand, and such fidelity in this chief courtesan toward
794. 52:05–52:11a former lover fallen into distress. No wonder. A courtesan who wears bright clothes suited to
795. 52:11–52:16her complexion and keeps her secrets hidden from lovers is dear to sensual men like a painted
796. 52:16–52:21image of Lakshmi, even if she is plain or ugly. And I consider her capable of accomplishing
797. 52:21–52:27difficult acts. How? Surely she is chewing like an old bone the face of that man whose
798. 52:27–52:31colour has not faded even in prison, whose forehead has grown calloused from worshipping
799. 52:31–52:35the gods, and whose face is covered by a long, chaggy beard.
800. 52:35–52:40That is why I honour her. May your honour remain so. I regard you
801. 52:40–52:45as truly devoted to your friend. Ah, he seizes my feet, saying, Master, be
802. 52:45–52:47Be gracious.
803. 52:47–52:50Do not tell anyone that I entered the court's unsquater.
804. 52:50–52:53Friend, who can hide moonlight?
805. 52:53–52:57From the moment you fell in love with that hunchbacked attendant of Rupert Desai, your
806. 52:57–53:01fame spread through the region like a drop of oil upon water.
807. 53:01–53:03Is it not so?
808. 53:03–53:07When she embraces, she thrusts her chest forward and the hump rises behind.
809. 53:07–53:11Because the sacral part of her waist is twisted, even when aroused she cannot bring her
810. 53:11–53:13hips forward.
811. 53:13–53:18upon the bed, she resembles a locust. How do you make love to that hunchback whose lotus
812. 53:18–53:25face points downward? Alas, may the sin be calmed and evil be averted. I welcome your
813. 53:25–53:32accurate description. But kindly observe. When she walks with halting steps, her gate
814. 53:32–53:38resembles a camel's. Repeatedly swaying her hands, she seems to swim through water. When
815. 53:38–53:42When she raises her face, she appears to count the stars in the sky.
816. 53:42–53:46What wise man would touch her, a creeper diseased by worms?
817. 53:46–53:48Alas!
818. 53:48–53:52It is not proper for a man knowledgeable in righteousness like you to slander so fine
819. 53:52–53:53a woman.
820. 53:53–53:54And further!
821. 53:54–53:59Friend, though a hunchback may be thin and bent like a reed, like false affection she
822. 53:59–54:01is at least beautiful in the face.
823. 54:01–54:07Besides, she is no worse than the bannercourt's ends of the frontier quarter.
824. 54:07–54:12than whom? Do you not know? Drunken, charging only one carcini,
825. 54:12–54:17serving the lowest men, and needing rules and guards to keep them within bounds, those cheap
826. 54:17–54:22women you secretly visit outside the city when violent desire seizes you.
827. 54:22–54:26Walking How did you learn all this?
828. 54:26–54:31In discovering such matters I possess a thousand eyes. Will you climb step by step ever
829. 54:31–54:37higher? Friend, abandoning a professional beauty you desire a hunchback, abandoning the hunchback,
830. 54:37–54:42one day you will reach her mistress. He laughs and departs. I too shall go.
831. 54:43–54:47Who is this other man emerging from the house of Myerosena of Sinhala and coming this way?
832. 54:48–54:53A garment over his shoulder and a shining sword in his hand, he is surrounded by southern bodyguards.
833. 54:54–54:58Gathering his fine, patent muslin upper cloth, he wears iron armor made in Andhra.
834. 54:59–55:02Saffron marks cover his body, and he holds a prepared beetle roll.
835. 55:02–55:08Yes, I recognize him, Harishura, the sword-bearing man from Vidarbha.
836. 55:08–55:14When, in amade of Kovari, he seized her feet, she rejected his entreaties with these words.
837. 55:14–55:16Go to that other woman.
838. 55:16–55:18What need have you of me?
839. 55:18–55:21When moonlight shines, what need is there for a lamp?
840. 55:21–55:25Stop trying to hold two bell fruits in one hand.
841. 55:25–55:27Approaching with folded hands.
842. 55:27–55:30How will his appeasement win her over?
843. 55:30–55:34He openly desires another while abandoning a woman devoted to him, the entire district knows
844. 55:34–55:35it.
845. 55:35–55:39He takes pleasure in his ill fortune and disgrace.
846. 55:39–55:42Or perhaps women love only the men they choose.
847. 55:42–55:47Myurasena has collided with this feminine nature, or, when money becomes scarce, the
848. 55:47–55:50old board herself will place Myurasena under his control.
849. 55:50–55:53I shall ask him everything.
850. 55:53–55:57Lion among men, you have acted properly, like a lion leaving its cave, you abandoned
851. 55:57–56:01lovely woman from Sinhala out of desire for union with Kavarika of the Dravidar country.
852. 56:02–56:05I have appeased Mayurasena and am returning from her house.
853. 56:07–56:12Tell me, how was the broken bond restored? What do you say, three days ago I was invited to a
854. 56:12–56:16performance at the house of Draenalika, the chamberlain who supervises courtesans.
855. 56:17–56:21It seems that Mayurasena's dance was deliberately placed upon the program there.
856. 56:22–56:26After the instrument sounded, the auspicious invocation to the deity came first.
857. 56:26–56:31Then, with the opening of the song, the dancer began.
858. 56:31–56:36In her very first presentation they alleged a technical fault in Mayurasena's dance.
859. 56:36–56:37Impossible.
860. 56:37–56:41No one can find a technical fault in Mayurasena's dance.
861. 56:41–56:45Who fell head first while saying such a thing?
862. 56:45–56:49Regard it as a fall brought on by Queen Vahyuni.
863. 56:49–56:53Quite so, the goddess Wine always resides in a chamberlain's house.
864. 56:53–56:56whose head had that intoxication descended.
865. 56:56–57:01Upon your friend Uppachandrika, the Lasaka dancer?
866. 57:01–57:06Nothing improper in that, he is accustomed to such things and he also knows the subject.
867. 57:06–57:11All the spectators sided with Uppachandrika, I took my irisena's side.
868. 57:11–57:18Well done, friend. You acted according to place and occasion. What happened next?
869. 57:18–57:20I could not defeat them through wit.
870. 57:20–57:25Though the assembly did not accept it, the judges agreed that my side was correct on
871. 57:25–57:27scriptural grounds.
872. 57:27–57:33Congratulations, friend, you purchased her at a most extraordinary price.
873. 57:33–57:34And afterward?
874. 57:34–57:39When my irisina received the prize before all the courtesans, she scattered smiles and
875. 57:39–57:42delighted me with a side-long glance.
876. 57:42–57:48Carverica, rising in the flame of jealousy, made a face as though taunting me.
877. 57:48–57:51After the anger of one and the favour of the other had been revealed, I drifted upon a
878. 57:51–57:56current of uncertainty like a boat that has missed both banks, and somehow escaped the
879. 57:56–57:58crisis and reached home.
880. 57:58–58:03I sat swinging upon the swing of doubt, wondering what either woman would do.
881. 58:03–58:07Then suddenly my beloved came and covered my eyes.
882. 58:07–58:10Laughing, I said.
883. 58:10–58:14Thief skilled in closing eyes, what profit is there in hiding and laughing?
884. 58:14–58:18The incomparable touch of your hands has already revealed you.
885. 58:18–58:22At this, breathing fragrance and speaking in syllables unsteady with intoxication, she
886. 58:22–58:24said, Tell me, who am I?
887. 58:24–58:26Then I replied.
888. 58:26–58:30The thrill that has made my cheeks rigid has already answered your question.
889. 58:30–58:36Yet, innocent girl, if you still ask, then tell me yourself, who are you?
890. 58:36–58:39Then she removed her hands from my eyes and said, with this thrilling art of deception
891. 58:39–58:42you draw me helplessly toward you.
892. 58:42–58:47so, she kissed me and began to leave. Then I said,
893. 58:47–58:52Having stolen my heart with a kiss, where are you going? Thief, I place both your feet upon
894. 58:52–58:58my head, stay somehow. At my word she went and sat upon the bed. I myself washed both
895. 58:58–59:05her feet. She said, you have taken the nectar of my feet, now come. Truly, you are a consummate
896. 59:05–59:10rogue. Then, scattering laughter like a lattice of blossoming jasmine buds, she held with
897. 59:10–59:15with one hand her slipping girdle and sari. Turning upon the bed, the double curve of her
898. 59:15–59:21waist and arms made the bend of her hips lovelier still. As her middle twisted, the three folds
899. 59:21–59:26rose and fell, when the navel hid, the line of hair curved. The necklace slid over one
900. 59:26–59:30breast and beside the other rounded breast, the earring hanging against her cheek made
901. 59:30–59:36the painted Makara design blossom more brightly. Thus, beautiful as Ratty, loves shy mistress,
902. 59:36–59:40The shoulder turned and body bent, she arched one brow and, seeming to scatter blue lotuses
903. 59:40–59:46upon the water with her side long glance, said to me, there, do as you desire.
904. 59:46–59:49Her attention was fixed upon applying red lac.
905. 59:49–59:53When she raised her thigh, lifting heel, ankle, and ankle at, the newly starched silk
906. 59:53–59:58saree did not cling to the leg but gathered along the lines of its folded pleats.
907. 59:58–1:00:01The inner part of her thigh appeared to me, lovely as the space between the tusks of
908. 1:00:01–1:00:05a young elephant and pale as the heart of a plant in stem.
909. 1:00:05–1:00:10my eyes away," she said, "...you have not learned the restraint of sight required at such a time."
910. 1:00:11–1:00:13With that she drew back her foot and struck my chest.
911. 1:00:14–1:00:17My skin thrilled and became hard as armor. I said,
912. 1:00:17–1:00:20"...it is not right to drive me away before the color is complete."
913. 1:00:21–1:00:24She replied, "...very well, close your eyes and complete it."
914. 1:00:25–1:00:28When I closed my eyes and began applying light to her foot,
915. 1:00:28–1:00:30she pulled my hair and kissed my lips.
916. 1:00:31–1:00:33Seeing me so thrilled, she said,
917. 1:00:33–1:00:38like an Ashoka tree, you flower beneath a woman's kick. Your roguery has defeated me.
918. 1:00:39–1:00:44Embracing me as she spoke, she went to the bed. What followed, those dear to the gods may understand
919. 1:00:44–1:00:49for themselves. If that is so, then you too should attend upon the assembled gallants who are to
920. 1:00:49–1:00:57determine the expiation of jaundiced Vishnu-Nigga. Alas, do not speak so. Let her favour my head
921. 1:00:57–1:01:02too with a blow of her lotus foot, that alone shall be my expiation. If so, just as the
922. 1:01:02–1:01:07the serpent Kalya, dwelling in the Yamanos pool, bore Krishna's footprints upon his head
923. 1:01:07–1:01:12and became invulnerable to Garuda, no gallant will have power over you. Folding his hands
924. 1:01:12–1:01:18and laughing, he departs. Now I too shall go to the gallant's assembly. Ah, while speaking
925. 1:01:18–1:01:25with friends I did not notice the passage of time. Now. Look, the sun is setting. The
926. 1:01:25–1:01:30closing lotus watches him depart with longing. Twilight darkness climbs the roofs of houses
927. 1:01:30–1:01:35and removes their heat. After touching the high branches of the garden for a long time with
928. 1:01:35–1:01:40its rays, the sun hides among them. Pigeons perched upon the terrace gaze toward him and
929. 1:01:40–1:01:43fill their eyes with his redness.
930. 1:01:43–1:01:45And at this hour.
931. 1:01:45–1:01:50Alerted by the sharp cries of birds, a cat leaps from the window onto the palace wall.
932. 1:01:50–1:01:54A peacock leaves the house and goes to its accustomed roost. A drowsy deer, seeking
933. 1:01:54–1:02:00a place to sleep, abandons even the evening flowers laid upon the platform. Swans emerge
934. 1:02:00–1:02:05from the water and take refuge upon the platform beside the palace pool.
935. 1:02:05–1:02:06Walking
936. 1:02:06–1:02:10Dense smoke pouring from windows and filling the upper terraces of mansions drifts like
937. 1:02:10–1:02:15crystal dust. Bees hover over scented bathwater that fills the lanes to the brim.
938. 1:02:15–1:02:19Ah, how incomparable is the splendour of the great road of the courtesan's quarter
939. 1:02:19–1:02:24at this hour. The broad court outside the outer gateway has been swept, sprinkled with
940. 1:02:24–1:02:29water and adorned with heaps of flowers. Attendants are busy with evening courtesies.
941. 1:02:30–1:02:34Courtesans dress and adorn themselves according to country, age, and wealth.
942. 1:02:35–1:02:39Loves female messengers pause and move here and there, lending beauty to the quarter.
943. 1:02:40–1:02:43Drunken gallants savour the wit of sharp, playful sarcasm.
944. 1:02:44–1:02:49Bathed, perfumed, garlanded, and exhilarated by drink, young men spread across crossroads and
945. 1:02:49–1:02:55three-way junctions. Here, a female elephant prepared for riding trumpet softly as a passenger
946. 1:02:55–1:03:01mounts her back. A woman is settling into a palanquin standing at a doorway. A horse,
947. 1:03:01–1:03:05weighed down by a courtesan's heavy hips, jingling anklets, and girdle and swinging
948. 1:03:05–1:03:12earrings, seems able to move only at a gentle trot. And here, some mansion windows are filled
949. 1:03:12–1:03:17with webs of lamp light, elsewhere blue darkness, like a peacock's neck, spreads across the walls.
950. 1:03:17–1:03:23The whitewashed walls of houses look exquisitely beautiful, as though painted with leafy vines
951. 1:03:23–1:03:27in tamala black and opum and yellow.
952. 1:03:27–1:03:32How beautiful is this public festival called evening, graced by moonrise.
953. 1:03:32–1:03:36Lord Moon is even now approaching, filling every eye with elixir and making the night lotuses
954. 1:03:36–1:03:38in the pool's smile.
955. 1:03:38–1:03:42Placing your reflection in the wine cup, do you wish to kiss me through the round
956. 1:03:42–1:03:44leaves of blue lotuses?
957. 1:03:44–1:03:47Tell me, does your beloved Rohini not see you?
958. 1:03:47–1:03:51Restrain this bodily trembling born of inner emotion.
959. 1:03:51–1:03:54The rising moon seems to set his reflection upon the rims of drunk and women's earrings
960. 1:03:54–1:03:59so that he may hear their playful conversation while they drink.
961. 1:03:59–1:04:00Walking
962. 1:04:00–1:04:04Here a woman sings softly in private with her lover, their elute rings, elsewhere, upon
963. 1:04:04–1:04:08a palace roof at moonrise, a gathering drinks wine.
964. 1:04:08–1:04:11And at this hour Lord Moon
965. 1:04:11–1:04:12Walking
966. 1:04:12–1:04:16Here builds with his rays a bridge across the water of a household pool, there, entering
967. 1:04:16–1:04:21a planting grove, erects pillars of moonlight, elsewhere, colors rows of whitewash mansions
968. 1:04:21–1:04:25once more with the nectar of his beams, and there, causing drops to murmur down from
969. 1:04:25–1:04:28young leaves, seems to shower pearls.
970. 1:04:28–1:04:32Ah, moonlight water dripping from the moon's rays fills the world as though the ocean of
971. 1:04:32–1:04:36milk had crossed its shore and spread its waves far and wide.
972. 1:04:36–1:04:37Now.
973. 1:04:37–1:04:42Young men riding horses, female elephants, khanirata carriages, and palanquins, receiving
974. 1:04:42–1:04:46embraces and caresses from young women, come and go like pairs of Gandharvas and Siddhas
975. 1:04:46–1:04:47in the sky.
976. 1:04:47–1:04:48Walking
977. 1:04:48–1:04:55A woman seated behind a young man upon a horse, moving gracefully in intoxication, clasps
978. 1:04:55–1:04:59him tightly with her breasts, he turns and kisses his beloved.
979. 1:04:59–1:05:03The horse is so accustomed to the road home that it comes straight without wandering.
980. 1:05:03–1:05:07Who is this displaying shamelessness in the courtesan's lane, enjoying himself as in
981. 1:05:07–1:05:11a temple's inner sanctuary though moonlight makes it brighter's day?
982. 1:05:11–1:05:13Yes, I recognize him.
983. 1:05:13–1:05:19It is Jayantaka, the Shaka Prince of Saurashtra, enamored of this pot-servant Biberika.
984. 1:05:19–1:05:24What quality fitting a courtesan has he found in her alone throughout the whole city of courtesans?
985. 1:05:24–1:05:26Perhaps.
986. 1:05:26–1:05:30Like the goddess of darkness, white in teeth and black in eyes, Biberika resembles a night
987. 1:05:30–1:05:33of the 8th lunar day with its half moon.
988. 1:05:33–1:05:37Or perhaps people of Saurashtra, monkeys, and barbarians all belong to the same sign
989. 1:05:37–1:05:38of the zodiac.
990. 1:05:38–1:05:42Why, then, be surprised?
991. 1:05:42–1:05:46If his eyes are fixed upon fair Barbarica, then through his languid drunken gaze even
992. 1:05:46–1:05:49this moonlight must appear dark.
993. 1:05:49–1:05:50Walking.
994. 1:05:50–1:05:52Enough, his road ends here.
995. 1:05:52–1:05:54I shall go.
996. 1:05:54–1:05:56Who is this other woman?
997. 1:05:56–1:06:00In both ears of this woman from later hang golden palm leaf ornaments, at the end of her
998. 1:06:00–1:06:04braid is a golden cluster of gems and pearls, and her coposarca bodice covers breasts
999. 1:06:04–1:06:08and armpits and reaches to the end of her lower garment.
1000. 1:06:08–1:06:15I recognize her. It is Raka, embracing before the Moon Pavilion the King's brother-in-law,
1001. 1:06:15–1:06:19the unfortunate Prince Mayura, who tries to charm her by displaying himself like a dancing
1002. 1:06:19–1:06:25peacock. She parades her good fortune through the Kautis Ann's market. Seeing her apparent
1003. 1:06:25–1:06:31sincerity, the poor man seems to have been purchased. That fair, stout woman carries the thin,
1004. 1:06:31–1:06:36dark Prince Mayura pressed to her breast like her own shadow fallen before her.
1005. 1:06:36–1:06:39Thinking
1006. 1:06:39–1:06:41Who is this other woman?
1007. 1:06:41–1:06:46It is the Yovana woman Karpura Turishta, beloved of my dear friend Vara Hadasa, son of the illustrious
1008. 1:06:46–1:06:48Sharda Lavaman.
1009. 1:06:48–1:06:51Holding a wine cup in three fingers, she raises it toward her mouth, with the other
1010. 1:06:51–1:06:56hand she holds a moon-shaped earring whose reflection falls upon her cheek.
1011. 1:06:56–1:06:59The rays scattered from the earring make it seem that the moon too is playing upon
1012. 1:06:59–1:07:01her shoulder.
1013. 1:07:01–1:07:05The Yovana woman, with hair and eyes like a Chakora bird, looks at her reflection
1014. 1:07:05–1:07:07in the wine cup.
1015. 1:07:07–1:07:11Spreading a long lock with her nail, she mistakes the redness of wine rising in her soft cheek,
1016. 1:07:11–1:07:15pale as a mahoor flower, for lack die and tries to wipe it away.
1017. 1:07:15–1:07:21A Yovana woman and a courtesan, a she-monkey and a dancer, a man of maleva and a sensu-list,
1018. 1:07:21–1:07:25a singer, and a donkey, in quality I regard all these as equal.
1019. 1:07:25–1:07:28Brahma is surely an expert at matching pairs.
1020. 1:07:28–1:07:32Just as the Atma gupta creeper spreads over an acacia and the pointed good vine over
1021. 1:07:32–1:07:37a neem, so when a Yovana woman loves a man of Merlava, an astonishing pair is formed.
1022. 1:07:39–1:07:44She is known to me, but I shall not speak with her. Who could listen to the speech of a Yovana
1023. 1:07:44–1:07:48courtesan, filled with unfamiliar consonants and cries like a she-monkey's screeching,
1024. 1:07:48–1:07:54conveying her intention only by moving the forefinger with a few gestures? I shall remain
1025. 1:07:54–1:08:00silent. Who is this other man? He is carrying his beloved upon an elephant, her locks, and
1026. 1:08:00–1:08:04veil fluttering against the wind, as Udayana carried away Vasavadatta.
1027. 1:08:05–1:08:07Thinking. Walking.
1028. 1:08:08–1:08:13I recognize him. He is the son of a wealthy man, whose gallant pravala is famous among the dindis.
1029. 1:08:14–1:08:18He is the master of those who bind their headcloths and enter the battle of love.
1030. 1:08:19–1:08:22My little girl has been caught in the snare of that courtesan's desire and,
1031. 1:08:22–1:08:25disregarding her parents' command, has fallen deeply in love.
1032. 1:08:25–1:08:32Surely he is the teacher of the dindis. Since he has become my son-in-law, even my speech
1033. 1:08:32–1:08:38fails before him. I shall not speak, I shall fold my hands and leave. Now I must reach
1034. 1:08:38–1:08:43the assembly of gallants. After circling uselessly through the great road of the Qortizan's
1035. 1:08:43–1:08:48quarter, I have arrived at the house of Batigermuta, chief of the gallants. In the open ground
1036. 1:08:48–1:08:52before the outer door, thousands of vehicles belonging to gallant summons from all sides
1037. 1:08:52–1:08:57have gathered. A tendon stand near the gateway holding silver vessels of water for washing
1038. 1:08:57–1:09:03feet. The saying is true, the affairs of great men are great. Here five coloured flowers are
1039. 1:09:03–1:09:08being scattered, woven garlands are hung, incense is waved, lamps are lit, and words
1040. 1:09:08–1:09:14of welcome spoken. Vehicles are unharnessed and released. There is rushing about, music
1041. 1:09:14–1:09:20and song, hands extended to assist arrivals, sweet words, loving embraces, bodies supporting
1042. 1:09:20–1:09:24one another, deeply humble bows, hats upon the back, brows raised with clicking sounds
1043. 1:09:24–1:09:30of delight, and heads lowered when teased. Some stank aketishly, some sit with studded
1044. 1:09:30–1:09:35grace. Sandal paste is distributed, coloured cosmetics applied, unguents rubbed in, and
1045. 1:09:35–1:09:40fragrant powder scattered. Gallant's jest, courtesans reply.
1046. 1:09:40–1:09:44In brief. Dwarfs serving within the inner apartments
1047. 1:09:44–1:09:48have their feet buried to the knees in flowers and can move only with difficulty. Young
1048. 1:09:48–1:09:53Some quarters' ends, rolling their eyes, hiss, see, see, as they pull katochi petals from
1049. 1:09:53–1:09:54their feet.
1050. 1:09:54–1:09:57And all these.
1051. 1:09:57–1:10:00Wealthy young men and leading gallant sit upon half-seats with their female companions and
1052. 1:10:00–1:10:04exchange clever jokes that do not wound the heart.
1053. 1:10:04–1:10:07They roam fearlessly through the quarter-like unrestrained bulls among heifers in season
1054. 1:10:07–1:10:10upon an open pasture.
1055. 1:10:10–1:10:14The upper space, the ceiling, of this assembly hall bears a hundred moons' ornament in the
1056. 1:10:14–1:10:17form of hundreds of women's moon-like faces.
1057. 1:10:17–1:10:22On every side the building is adorned with a hundred eyes ornament made of women's glances.
1058. 1:10:22–1:10:26The arms of young men rubbing against one another are like iron bars laid around the hall, and
1059. 1:10:26–1:10:31their sandal moistened chests resemble the polished stone pavement of the assembly floor.
1060. 1:10:31–1:10:33And here?
1061. 1:10:33–1:10:37Stand heroes who are wishful filling trees to courtesans, instantly ready for love
1062. 1:10:37–1:10:41and prepared to abandon their entire capital, the mock wooden battles of their childhood
1063. 1:10:41–1:10:46are praised by old men as though they were the war of Suyodana and Vrigadara.
1064. 1:10:46–1:10:52Wearing upon my head the turban that is my friend's command, I too bow to Lord Love and, placing
1065. 1:10:52–1:10:56his order before me as my duty, shall petition the gallants concerning the expiation of the
1066. 1:10:56–1:11:01illustrious jaundiced Vishnu Naga. Gentlemen, rogues gathered from the whole earth, lovers
1067. 1:11:01–1:11:06of quarrels and narrators of their histories, listen, listen.
1068. 1:11:06–1:11:10Victory to Lord Love, who claims authority over ascetics, who is master of every mind
1069. 1:11:10–1:11:14and driver of the horses that other senses, and whose command even the greatest creatures
1070. 1:11:14–1:11:17obey with crowned heads bowed.
1071. 1:11:17–1:11:18Walking
1072. 1:11:18–1:11:22Victory to the intoxication of a playful woman's youth, whose laughter spills across the flower
1073. 1:11:22–1:11:27at her cheek, victory to her unsteady gate and restless glance, and after these, victory
1074. 1:11:27–1:11:30to all the sport of her youth.
1075. 1:11:30–1:11:34Having purified my head with dust from the chief courtesan's feet, I bow that head at
1076. 1:11:34–1:11:37the feet of you distinguished rogues and submit my petition.
1077. 1:11:37–1:11:39What need of preamble?
1078. 1:11:39–1:11:41Listen.
1079. 1:11:41–1:11:45This Vishnu-Nigga, seeking expiation, rides upon the earth, rubbing his chest against it
1080. 1:11:45–1:11:47like a snake.
1081. 1:11:47–1:11:49You must preserve his life.
1082. 1:11:49–1:11:52You ask, what was his offence?
1083. 1:11:52–1:11:53Listen.
1084. 1:11:53–1:11:58Tossing up with the lock fallen across her eye, tightening the ends of her brows in anger,
1085. 1:11:58–1:12:02biting her lower lip and scattering the light of her teeth, her face trembling and anklets
1086. 1:12:02–1:12:06ringing, his intoxicated beloved caught up her slipping crimson garment with one hand
1087. 1:12:06–1:12:08and planted her anklet foot upon his head.
1088. 1:12:08–1:12:13Who is that courtesan so ignorant of the differences among men that her carelessness has brought
1089. 1:12:13–1:12:16this disgrace before us?
1090. 1:12:16–1:12:19She is the illustrious Madanacenica of Saurashtra.
1091. 1:12:19–1:12:25At the thought, fortunately no one else is here, these gallants appear somewhat alarmed.
1092. 1:12:25–1:12:29Waving their hands, hiding smiles, uttering reproaches, and forcing gravity upon their
1093. 1:12:29–1:12:34faces, the rogues look compassionately at one another and sink into thought.
1094. 1:12:34–1:12:39The seated leader of the gallants, the venerable Batigermuta, rises, overwhelmed by pity.
1095. 1:12:39–1:12:42Crying, what misery!
1096. 1:12:42–1:12:43What misery!
1097. 1:12:43–1:12:48He sighs like an exhausted elephant and rains water from his eyes like a cloud.
1098. 1:12:48–1:12:49He calls me.
1099. 1:12:49–1:12:51I am here.
1100. 1:12:51–1:12:52What is Baty's command?
1101. 1:12:52–1:12:56I have already heard, and you repeat, that for such an expiation we must go to the
1102. 1:12:56–1:12:57Brahmins.
1103. 1:12:57–1:13:00That is why I am seated here.
1104. 1:13:00–1:13:03Meanwhile, bind the gallants by an oath and prepare them.
1105. 1:13:03–1:13:05As Batty commands.
1106. 1:13:05–1:13:08Gentlemen, listen, listen.
1107. 1:13:08–1:13:12Whoever speaks nonsense in this assembly today shall never win a wager at dice, shall become
1108. 1:13:12–1:13:16obedient to his mother, shall humbly touch his father's feet, shall drink only boiled
1109. 1:13:16–1:13:21milk, shall be satisfied with eating sweet balls in childish delusion, and shall remain
1110. 1:13:21–1:13:23content with his wedded wife.
1111. 1:13:23–1:13:25And further.
1112. 1:13:25–1:13:29He shall serve his teacher, be expelled from gallant's gatherings, remain modest as an
1113. 1:13:29–1:13:34old man while still young, and become quiet when age truly comes, whoever sits here and
1114. 1:13:34–1:13:35speaks nonsense.
1115. 1:13:35–1:13:37Walking and looking
1116. 1:13:37–1:13:43The courier and antikartha, forever splitting hairs, suddenly rises, and calls me.
1117. 1:13:43–1:13:47What does he say, the fault belongs to the woman who did not understand affection, not
1118. 1:13:47–1:13:48to jaundiced Vishnu-nagar.
1119. 1:13:48–1:13:49Listen.
1120. 1:13:49–1:13:54The beautiful woman's foot, whose touch makes an ashoca flower out of season and in which
1121. 1:13:54–1:13:58the god of love himself dwells with arrow-drawn, that foot she mistakenly placed upon the
1122. 1:13:58–1:14:05head of this beast. The fickle woman must perform a long expiation for it. You have spoken correctly,
1123. 1:14:05–1:14:11for. She played a lute before this donkey, recited a verse-filled panagiric before this monkey,
1124. 1:14:11–1:14:16and dripped the juice of mango blossom into a buffalo's half-kurdled milk. Yet expiation
1125. 1:14:16–1:14:21exists to console the distressed. He has come afflicted, so you must show him compassion.
1126. 1:14:22–1:14:27Who is this grandson of a soft-good vine, holding his drunkenly swaying head with one hand
1127. 1:14:27–1:14:33and calling to me, hear his expiation. I shall approach him. The gallants are angry with him,
1128. 1:14:33–1:14:37who is this fellow with a face that ruins the very nature of gallantry, rising in council as though
1129. 1:14:37–1:14:42he were the foremost gallant and setting out to preach expiation. Womanish malice farming,
1130. 1:14:42–1:14:49did you hear what they said? Why do you not tell them? Only five nights after my father went to
1131. 1:14:49–1:14:53heaven, while my friends grieved and my relatives wailed and beat their breasts, I set aside
1132. 1:14:53–1:15:00one crying child and enjoyed wine with a maid. If I am not a gallant, who is? If so, everyone
1133. 1:15:00–1:15:05accepts that you are chief among gallants. Sit down.
1134. 1:15:05–1:15:11Make Madanaceneca perform the expiation? Very well, I shall proclaim it again.
1135. 1:15:11–1:15:16Why, Arya Raghchita, the poet from Shibi, calls out in a breathless voice, surely this expiation
1136. 1:15:16–1:15:21is improper. This good man too is a great gallant, for…
1137. 1:15:21–1:15:25He goes to the house of a Vedic scholar and sells his poetry for a single cup of wine,
1138. 1:15:25–1:15:29born among the Shibis, he has grown old in the tavern.
1139. 1:15:29–1:15:31And further,
1140. 1:15:31–1:15:36If a poet sells poetry, then his poetry too is of the kind composed beside a cup of wine.
1141. 1:15:36–1:15:42Such is the conditioning Kashi, Kosala, the Bagga country, and the cities of the Nishadas.
1142. 1:15:42–1:15:43I shall approach him.
1143. 1:15:43–1:15:46Friend, I am here.
1144. 1:15:46–1:15:48What do you say?
1145. 1:15:48–1:15:52The honey that fills a woman's cheek as bees fill a closed lotus, that, issuing from her
1146. 1:15:52–1:15:56mouth, makes a peculiar branch blossom, that fills her eyes with dallions, and into which
1147. 1:15:56–1:16:02fresh mango juice is mixed, how can the head of this human beast, jaundiced Vishnu-nagar,
1148. 1:16:02–1:16:05deserve to be sprinkled with such a mouthful of wine?
1149. 1:16:05–1:16:10Another man, Bhavakirti, folds his hands and calls me to propose an expiation.
1150. 1:16:10–1:16:16This young Brahmin too is an extreme gallant, for the rope throws to the ground a frightened,
1151. 1:16:16–1:16:20trembling mendicant nun, shaven-headed, old, clad in a worn saffron robe, and entering
1152. 1:16:20–1:16:25the house without fear to seek arms, and commits the misconduct of lust upon her.
1153. 1:16:25–1:16:27I shall go to him.
1154. 1:16:27–1:16:30His expiation is this.
1155. 1:16:30–1:16:34First the woman shall seize his hair and drag him, then bind him with the cord of her girdle.
1156. 1:16:34–1:16:39Later, when she lies down, he shall massage her feet.
1157. 1:16:39–1:16:41Even that is not sufficient for him.
1158. 1:16:41–1:16:46The aristocratic Garn Harvosenica, whose name is on the tongue of every servant, raises
1159. 1:16:46–1:16:48his hand and calls me.
1160. 1:16:48–1:16:53The fingers of his hand have raced through many gestures upon three kinds of instruments.
1161. 1:16:53–1:16:58Like a shower of red lotus petals, his red fingers have spread across the lute strings.
1162. 1:16:58–1:17:02Playing the lute, he has sat beside beautiful women of wealthy inner apartments, rested
1163. 1:17:02–1:17:06the instrument upon their hips, and enjoyed the marks of their nails.
1164. 1:17:06–1:17:08I shall approach him.
1165. 1:17:08–1:17:10What do you say?
1166. 1:17:10–1:17:16Where are the jeweled girdles at courtesans, like banners flying beside the chariot of their
1167. 1:17:16–1:17:20hips, like ringing utes urging lovers to join in the battle of passion, and where are the feet of
1168. 1:17:20–1:17:26this stinking donkey? Now a southern poet proposes an expiation. What do you say?
1169. 1:17:27–1:17:31Drunken casting cichetic glances, she shall strike his head again and again with the lotus
1170. 1:17:31–1:17:37flower from her ear. Hastimerca, who has come from Ganhara, makes even this proposal worthless.
1171. 1:17:37–1:17:44You. What do you say? That lotus is carved from elephant ivory, the woman wears it at
1172. 1:17:44–1:17:49her ear, and it is variegated by the side long glance that reaches its edge. If it touches
1173. 1:17:49–1:17:55the head of this human beast, what expiation will result? On the contrary, he will be purified
1174. 1:17:55–1:17:58by its fragrant dust.
1175. 1:17:58–1:17:59Walking
1176. 1:17:59–1:18:05His opinion is sound. The leading gallants say the same. These two are calling me.
1177. 1:18:05–1:18:10Gupta and Maheshvarudatta, seated upon the same seat, these two friends are gifted through
1178. 1:18:10–1:18:13their study of the poetic genius of the great poet Varrucci.
1179. 1:18:13–1:18:14Approaching
1180. 1:18:14–1:18:18I shall approach them.
1181. 1:18:18–1:18:21Womanish Mukundagupta, what did you say?
1182. 1:18:21–1:18:24Wash his head with the water used to wash her feet.
1183. 1:18:24–1:18:25The elders forbid it.
1184. 1:18:25–1:18:30Maheshvarudatta, known as Priya among his friends, declares that he is not even worthy
1185. 1:18:30–1:18:32to drink that foot water.
1186. 1:18:32–1:18:37friend of mine, an aged gallant from Sovirah, calls me in a voice naturally smiling.
1187. 1:18:37–1:18:39What did you say?
1188. 1:18:39–1:18:43When the removal of her ornaments makes her body lovelier in its natural radiance, and
1189. 1:18:43–1:18:47after bathing her wet locks lie scattered across her hips, I shall bring her here in that
1190. 1:18:47–1:18:49state.
1191. 1:18:49–1:18:52Then he shall stand before her holding her mirror, while she arranges her hair, she
1192. 1:18:52–1:18:57shall variegate the mirror's round surface with the brilliance of her eyes.
1193. 1:18:57–1:19:00The poet Rudravarman of Dasharaka rejects this.
1194. 1:19:00–1:19:02What do you say?
1195. 1:19:02–1:19:06This man is learned, born in a high family, and a secretary entrusted with the king's
1196. 1:19:06–1:19:07council.
1197. 1:19:07–1:19:12He should not keep hair soiled with dust from falling at a courtesan's feet.
1198. 1:19:12–1:19:14Therefore shave his head.
1199. 1:19:14–1:19:17I am favoured by you, pleads Vishnu Naga.
1200. 1:19:17–1:19:22Before my hair is cut, I would rather cut off this head itself, forever bowed and disgraced
1201. 1:19:22–1:19:24by a maid servant's kick.
1202. 1:19:24–1:19:28The venerable leader Bataji Muta answers him thus.
1203. 1:19:28–1:19:31May no beautiful woman ever arrange his hair with leaf-soft hands adorned by the ringing
1204. 1:19:31–1:19:37of sliding bracelets, set with the rays of nails, and graced by rings. Let in keep this
1205. 1:19:37–1:19:43rough hair exactly as it is. Now hear the expiation from Madanacenica as well. May that
1206. 1:19:43–1:19:48woman, her eyes turning with intoxication, place one hand upon her hip to steady her
1207. 1:19:48–1:19:53girdle, set her ankle at foot, dive red with lack, upon my head and favor me, while jaundiced
1208. 1:19:53–1:19:58Vishnu Nugha stands staring helplessly. Crying, this alone is the proper expiation,
1209. 1:19:58–1:20:04Gallant applauds and endorses Batigermuter's judgment, saying, Now I am entirely favored,
1210. 1:20:04–1:20:10jaundiced Vishnu Naga departs. The venerable Baty calls me. I am here.
1211. 1:20:10–1:20:16All this is settled. Now what agreeable service may I perform for you gentlemen?
1212. 1:20:16–1:20:22Then hear this too. May the clever procurus is skilled in quarrelsome banter prosper.
1213. 1:20:22–1:20:26May the rogue's hundred streams of income remain undiminished, so that they may fleece
1214. 1:20:26–1:20:31their victims without anxiety. May pleasant gatherings of gallants continue in this city,
1215. 1:20:31–1:20:34and every evening may there be affectionate revels of courtesans.
1216. 1:20:35–1:20:39The gallant exits. Thus ends the one-act-a-play padatadatakam,
1217. 1:20:39–1:20:43the kick, composed by Aryashami Laka, son of the northern poet Vishveshvaradatta.

Plain text

After the benediction, the stage manager enters. May the God of Love protect you. He who offered his own body into the fire of Shiva's eye and thereby honoured the God's wrath, whose command the gods, with Indra among them, wear upon their heads like a garland, who fashions his bow from the side long glances of a woman's wide eyes and whose arrows of sensual objects torment and pierce even the minds of sages. And further, May the God of love protect you, he whose influence Shiva could not destroy even after angrily burning his body, while Shiva stood with one hand upon the Goddess's breast, moving his brows and smiling at her, the frightened lord of hosts silent beside him, Nandi bowing in reverence and the other hand resting upon the shoulder of the bull. Bowing my head before you learned, gentlemen, I announce that we are preparing to perform the one-actor play called Pataditkam, the kick composed by the noble Shyamilaka. You should listen attentively to the poet's labour. 4. This word should not stand here. This word should be placed thus. This expression has not been properly shaped. What a marvellous turn of meaning has arisen in the work. Such is the labour that first occupies a poet's mind during composition. And that labour is swept away by the tears filling the eyes and the thrilled bodies of sensitive connoisseurs. Let royal ministers and ascetics who move like herons and cats take themselves away. Let gestures, gallants and masters of humour remain. Let the rogues assembly thirst without restraint for wine. 4. Ascetics gain no liberation by whimpering and weeping. Even if heaven awaits us hereafter, laughter and jesting cannot obstruct it. A wise man should therefore abandon the habit of pulling a long face and laugh with an untroubled heart. But as I speak, what is this other sound? Ah, I understand. This is the pavilion of the galleons. Bald Shamilaka is ringing a bell and making a proclamation. This clang announces the dawn and breaks the pleasure of lovers union. Even the loud braying donkey at daybreak, the Kettledrum's grandfather, cannot equal it. What is he proclaiming? Victory to that foot of the court sin which was launched at her lover. A dawned with red lac and jingling antlets. It is the banner of love, before which one should bow one's head in homage. The proverb is true, though a hundred years may pass, sooner or later a man tastes the joy of life. Thus Vishnu Naga too has received upon his head the consecration called a lover's kick, granted to all true devotees of passion. What do you say, where is his good fortune? He could not enjoy the delight of such a lover's quarrel. He mistook the honor bestowed by the goddess Kautasan for an insult. His eyes reddened with rage, his twitching brows tightened his forehead, he shook his head, bit his lip, clapped his hands, drew a long breath, and cried, Shame on you, ignorant courtesan! You have proudly set your foot upon this head of mine. The head upon which my mother carefully braided my top knot with her practised hands, which my father, seeing it bowed at his feet, sniffed affectionately and called, my innocent child, and upon which Brahmins have laid flowers and sprinkled holy water, yet you have paid no heed to its dignity. Vishnu Nagar's rebuke, her colour drained away like night pailing beneath the redness of dawn. Her face lost its lustre like the moon at daybreak. Her intoxication vanished and her adornments fell into disorder. What have I done? At that anguish her whole body broke into sweat. Fear destroyed every grace, the flowers woven into her hair scattered. Saying, I shall never do such a thing again, she fell at his feet. Though she bowed in abject mission, he shouted, Fury, do not touch me. Do not come near me with that belly rumbling like thunder." What a tragedy that the cuckoo pursues the owl. I marvel that Madden the Seneca 2 follows that cowardly, impotent male gal. Perhaps it is because he is the son of a high officer and himself an administrator of the royal government, she therefore does not neglect him, hoping to extract money. Cortizans have an appetite for talk. It is said that desire has many practical motives at its root. Talk provides the means for clothes and ornaments, so one who lives by talk has become addicted to its savor. The poor woman. With lashes lowered sideways in shame, tears washing her face, lips, and breasts, she shrank into herself like a royal swan frightened by the sudden roar of a new cloud. There is nothing surprising in hearing this. Even a lone man like me has nothing left to ask. What happened then? What do you say? scolded him, you hired grammarian, do not pound a flower with a pestle, do not play a lute with burning wood, do not cut a wine flushed, rosy courtesan with the knife of your speech. At this, he rebuked me and went to the house of Batigemrita, chief of the gallants. The poor woman rested her face and cheek upon her delicate hand and began to weep. I raised her and said, beautiful one, a monkey is unfit to wear a turban, and a donkey is not harnessed to a noble carriage. Stop crying. fellow is merely ridiculous, his head does not deserve so great an honour. What kind of lover is never tormented by a drunken woman seizing his hair, binding him with her girdle, or striking him with the flower from her ear? Love supports only such a man, and only that fortunate man's youth is filled with festival whose beachiful woman, casting shame aside, plays with him in private like an obedient maid. this, she accepted my words with a smile and a glance, clothed herself from head to foot, and adorned the bed. I, pondering the misconduct of that man so rare among lovers, awoke to the palace's morning music, completed my daily rites, and went, as though to avert the consequences of an evil dream, to the Brahmin's council seat. There I saw Vishnu Naga already present, his hair disordered, pleading, I have committed so violent act that a courtesan's foot has struck my head. Learned elders of the three Vedas, save me. At his words, the hollow-cheeked Brahmins looked at one another with the hint of a smile, reflected for a moment, and said, Good sir, we have examined the lore books of Manu, Yama, Vasishta, Gautama, Bharadvaja, Shankar, Likita, Apastamba, Harita, Prashtas, Devala, the Elder Garga, and other sages, yet even we know no expiation for a mortal sin of this kind. Hearing this, he raised both hands, his face miserable, and cried, Gods upon earth, do not reject me as a Shudra. 4. I am an Arya, pure in conduct, born of a noble family, trained in grammar and logic, and an officer of the king, not an outcast. me in my distress, I have taken refuge with you." When he said this before the assembly, some nudged an elbowed one another, saying, He is an absolute ox. Some rose laughing, stared at him for a long time, and said, He is mad. Someone placed a straw between his lips, denounced him as a possessed by the demon of lust, and others, considering the woman guilty, expressed pity. While the assembly was in this state, the Brahmins bewildered, and Vishnu Naga clamouring for expiation, a Brahmin of the Shandilya lineage named Bhavasvarmin, naturally humorous, son of a teacher and himself a teacher, expert in logic, statecraft, and other sciences, skilled in the arts and eloquent, raised his right hand amid his circle of pupils and addressed the council in a laughing voice, Vishnu Naga, do not fear. Abandoned grief. The law books declare that a custom of country, caste, family, sacred place, or period is authoritative, provided it does not contradict the Vedas. Therefore summon the council of gallants and ask the gallants themselves for expiation. They will free you from this sin. At his words, raised fingers danced throughout the assembly amid cries of approval. Vishnu Naga, considering himself favoured, departed. And so you have been appointed to summon the Council of Gallants. Who, in your opinion, the principal gallants? You yourself are unquestionably good foremost. How have I been honoured with the title gallant? What doubt can there be? Listen. The man who quarrels all day with merchants eats his fill at a friend's house at sunset, sports and schemes with courtesans at night, possesses not even water in his own home, yet struts about boasting. If he is not a gallant, who is? Since you graciously count me among the gallants, you can surely convene their council. Meanwhile I wish to hear from you the marks of a true gallant. Then hear the first mark. Yehu, careless of his own life, protects friend and enemy alike in danger, whose own sword-bearing arm becomes the guardian in a crisis, whom courtesans maddened by love seek out during love as quarrels, and who gives money to petitioners with an open hand, know him as a gallant. And further, Yehu rejoices when his head is worshipped by the two lotus feet of a beautiful woman as though a crown had been placed upon it, and whose wealth the thirsty sees with both hands as they would water, the connoisseurs of gallantry call him a true gallant. You have stated the marks of a gallant, now name them too. I shall assemble as many as possible, Jayanandaka, Mordgalyar, Dayutavishnu, and the rest. All the others are well enough, but is Dayutavishnu also a gallant in your judgment? What doubt is there? The same Parashava poet who is the king's commander of forces. Precisely. What do you say, that cannot be? favored by the king, he remains restrained, he sleeps and wakes contentedly, his clothing is perfumed with delium from worshipping the gods, and his forehead and both knees bear three calluses. And further, he makes the circuit from temple to palace and palace to temple, and his day passes clinging to service of those two houses. Can such a man be a gallant? Yes, certainly. All these seem obstacles to gallantry, but in Evanti, during a quarrel in the courtesan's one of his fingers was cut off. At Padmanagara, an enemy drove two arrows into his hip bone. At Vadisha, a bolt shot from a machine severed his arm and cast it to the ground. Even today he pays physicians and sorcerers for Aphrodisiacs. He feeds money to courtesans, though his body's natural capacity is weak, he delights in talk of love. For these reasons I place him at the summit of the foremost gallants. It is a nobleman's colorful temperament that charms us, what need have we of physical prowess? How could he not be a gallant? If so, ye surely the leader of all gallants. For that very reason I too have crowned him their jewel. Go now. Blessings upon you. I shall proceed as well. I have reached the city street. Ah, the incomparable splendor of this city called Sarvabhama, the diadem of jambadvipa and residents of the universal emperor, possessor of unconquered glory won in many wars. Music, the jingling of women's ornaments, the chatter of pet birds, the sound of sacred recitation, the twang of boughs, the rasp of knives in the slaughterhouse, the voices of female attendants within palace chambers, and the resonant calls of tame cranes make the painted rows of white buildings seem to converse together. And further. Looking. Thinking. Hundreds of kings from mountains, islands, seacoasts, and deserts have come here and taken up residence in every quarter. Here, in one place, a man can behold the creator's manifold world, as strange as tales never heard before. Filled with people from Kola, Pandya, and Kerala, the city is everywhere delightful. Who is this approaching in an uncovered white palanquin, imitating the display of some aristocratic widow? Yes, I recognize him. the keen Bhagavata minister Vishnudasa, marked by his cane staff and water pot. Though appointed to the responsible office of judge, the poor man has become entangled in meditation practice and, like a monk wandering in indifference, cannot properly discharge the king's business. And further. In court, the colleague sharing half his seat shakes his knee by hand to wake him, the court officer standing before him shouts, bows his head, and tugs at his feet to signal him. Yet he continues nodding and sleeping like an ox at market. Meeting him is an obstacle to a gallant, yet as a preacher of righteousness he deserves an approach. I shall go near. He has seen me from afar, stopped the palanquin, and is getting down. Sir, remain where you are. You need not trouble to welcome me merely to display affection. What does he say, I am not honouring you, I am simply observing my discipline. Very well. Since you are so devoted to proper attentions was it right to turn away an Angesina when she approached you in love? What does he say? Did I fail to receive her in a manner suited to her affection? Look! When she bowed, I pronounced a blessing. When she sat, I asked her to seek the discipline of yoga, that is, permission to unite. Seeing her eyes swollen by wind, I said, here, daughter, drink some clarified butter. How then did I fail to honour her? Ah, you certainly gave that delicate beauty an excellent reception. Smiling, he now shows me a sacred lemon worthy of a Bhagavata, hoping to please me. I am already your disciple. In so great a matter, you cannot dismiss me with nothing but a cat's prostration. Vanish quickly now. I too shall go. Here is the market of Sarvabhama, shops crowded with women and men buying and selling goods, wine and course, brought over land and water from many countries. What can one say of it? As birds crowd a roost and cattle a pasture, so a great roar rises here from the multitude gathered for trade. For example, Iron mongers' shops ring clang upon clang, bronze turning on the lathe cries like a curara bird, the iron tool pressed to a conch to cut bangles hisses like a horse's breath, and people approach from every direction to buy and sell. And at this moment, of flowers seem to smile with beauty as they are sold in the shops. Cups circulate in drinking houses and wine is consumed. Butchers, holding bundles of reed skewers, watch from the corners of their eyes the birds swooping upon slaughterhouses whose inner walls are lined with knives. And further. Shoulder pressed to shoulder, arguing, buying, coming, and going, this crowd resembles rows of seedlings planted in a field. Gamblers who have won a few moshers at play advance toward the brothel road with attendance carrying flowers, cakes, meat, and liquor. The market road is difficult to traverse through this jostling crowd. I shall pass through the flower lane, keep the drinking houses on my right, cross the Ponebadra crossroads, and reach the Cortizans road by way of Macororathia Lane. To enter the Cortizans quarter without first accumulating money is as futile as entering battle without a weapon, it brings only disgrace and disaster. for my friend's sake I must make the circuit. There I shall find the whole gathering of gallants. Looking Who is this making the drinking pavilion laugh, singing the bang-a-da song of the yord-hay-y-y-y to symbols and flutes played by rotarkar drummers, crested karantaka flowers hanging over one cheek, lifting the wet upper garment whose fluttering border lies over his right shoulder so that it will not slip, swaying his hips again and again, raising a wine cup in his left hand, and dancing. Yes, I know him. It is Bappa, son of a balika, that poor fellow who has become everyone's laughing stock, like the cock of the courtesan's quarter. Truly, I have never seen him sober or without drink, yet I have never seen so much as a half-penny remain in his hand. Thinking How, then, does he live? Ah, I understand. The shameless rogue has become a parasite upon everyone under the pretense of being everybody's friend. With a fistful of sweets, Bappa pushes into circles of drinkers among actors, actresses, servants, and grooms. How astonishing is his skill in procuring drink? It is useless to speak with him now. Here comes another walking treasury of ancient gallantry. Returning from worship at the temple of love, old Sarnigupta, the aging procures, adjusts upon her shoulders hair white and scattered like flowering cairns grass. She wears clothes washed during the night, replaces an upper garment slipped from one shoulder, and circles the Makara pillar of love's shrine, yet all the wild glances sideways at a dancing peacock surrounded by crows swooping upon the offering. Truly, the surviving marks of dalliance upon her body still proclaim the playfulness of her vanished youth. Even now, her hanging breasts are filled with pale scars from nails. Her lips, sucked again and again in former days, sag at the edges and have grown knotted in the middle. Even today, from old habit, the movement of her brows reveals the longing within. Age has forcibly stolen her beauty, but it could not steal her cockatry. It will be difficult to pass without speaking to her. She calls my dear friend, the drummer Stanumitra, her beloved, clearly his medicine for cooling her anger has succeeded. How shall I address her? Yes, I have it. Three days ago poor Stanumitra, in the midst of a deep kiss with her, underwent a most revolting experience. Shame on such clinging love. As she kissed him passionately, one of her teeth came out by the root and fell into his mouth, the instant it touched his tongue, he spat it out. If, while wishing to enter the courtesan's quarter, I failed to cross this thord, I shall be cheated of my amusement. But perhaps the tail of her tooth falling into Svanny Mitra's mouth has already spread. It would be unkind to approach and shame her again. I shall salute her from a distance. Now I shall go. I have reached the quarter's aunt's quarter. Ah, it's incomparable splendour. Here stand mansions with broad courtyards, divided into distinct sections, of elegant construction, and surrounded by beautiful moats filled with clear water. They abound in separately fashioned ramparts, wheel moldings, halls, upper chambers, pinnacles, dovecots, lion-ear projections, roof timbers, vaulted apartments, terraces, viewing galleries, gateways, cornices, and palaces. Some are beautified by water sprinkling, some cleaned by blowing through tubes, some plastered and painted, dawned with carvings in low and high relief, they have fitted joints, doorways, and projecting balconies with platforms. Their inner courts are ornamented here with one tree, there with two or three, separate beds contain trees suited to household gardens, vegetables, fruit, and flowers for garlands. Clear pools scattered with white lotuses shying beside artificial wooden hills, underground chambers, boughs of creepers, and painted lotuses in full bloom. The magnificent palaces of the chief courtesans, flying victory banners of good fortune, seemed to rise from the earth toward the sky. Here? Outside the quarter stands a karnirata carriage. Men from a vantysit dozing against it, scratching its will with their nails. On both sides, uniformed kurata guards stand pressed against the axle. Nearby are camboja horses and female elephants, their drivers drowze lazily, and the saddles and carpets upon the animals' backs have been folded double. All this shows that their wealthy and official masters have left their vehicles outside and entered the courtesan's houses. And in this very place. On one side, departing men are seen off with tears, on the other, arriving men are sent home by the same overflowing tears. Wealthy patrons are flattered, while a lover returning after losing his fortune is cursed and driven away by the old board. This woman is appeasing her offended lover. That one is delighted by her beloveds in treaties. Another, plucking the seven-stringed yute with her nails, sings in the beautiful fifth note of the Carcally register and, undercover of a love song, weeps with longing. One woman, seated before a mirror, is being adorned by her lover. Another is tying her beloved's top knot. One teaches a minor bird to speak. A drunken peacock, scolded with a spray of mango blossom, is dancing. How that woman bends her slender waist after playing ball for so long. Another sits playing dice with her lover. This mature woman paints a picture for amusement while that one reads a tale. Ah, I have been welcomed. Vosu, sit down. You appear after many days. Today ask the very man who deceived my innocent girl so badly. In my view, you are the one who deserves appeasement. Yet may he, whatever he is, remain good to you. There, I shall go. Thinking Harishandra, son of the physician Ishanachandra of the Kankayana lineage, approaches like the moon illuminating this courtazans garden, a pool of night lotuses. What business has he here? I remember. He desires Priyanguyastaka, the younger sister of his former beloved Yushomati. He conceals this secret even from me. I cannot pass without meeting him, so I shall approach. Approaching O solitary Chakravaka bird of this lotus forest of quartersands, where are you coming from? I have been giving medicine to Priyanguyastaka, younger sister of your dear friend Yushomati. It seems that the beggar of love has not extinguished his fire of desire even in her illness. You have gone to teach her how to inflame it further. Enough joking. Her headache is extremely severe. Friend, is it truly so? What doubt is there? She will recover only with great difficulty? Quite so. For a courtesan, a headache is the dowry accompanying a hundred thousand ailments. Look! With red sandal paste like ceiling wax upon her brow, playing with lotus fibers, lotus leaves and flowers, moving her brows and caceticially asking after the welfare of her accomplished lovers, a courtesan claims a headache whether she is indifferent or enamoured. You have always been notorious for harsh jokes. I have administered her medicine and am returning. Very well. Surely. Twisting her bracelet covered hands, stamping her foot upon the floor, and using one hand to hold the silk and garment and girdle slipping below her navel, did you seize that wide eyed woman by the hair, turn her face toward you, and drink the nectar of her lips, or did you make her drink the sediment of the medicine that is your own lip? Walking. Recognizing him. Friend, only you could do such a thing. You thief, if even now you will not reveal your secret to me, then. But today, for some business, all the gallants are to assemble at the house of Bhattajabhuta, their chief. Friend, be sure to come at the proper time. The gallants already know that they must arrive in the third watch to decide Vishnu Naga's expiation. Go ahead, I too shall come. Excellent. Blessings upon you. I shall go. How did every gallant learn the news? That saves me labour. I shall now pass the time among courtesans and friends. Who is this piebald cult, dressed like a horse though he has none, opening the door of Pushpardasie of Patalipitra. Ah, I see. It is Batamagavaman, handsome son of the general Seneca. During the conquest of Saurashtra he captured and brought back the dindis of later, whose cheeks shone with great white wooden earrings, with folded hands they pleaded, the charge that we are notorious rogues though not caught in the act is untrue. I cannot pass without speaking to him, to do so would seem a cooling of affection. I shall approach him. him. Is anyone in my friend's house? Why, Batima Govaman himself is calling me. What does he say, friend, seeing these new chamberlings serving me, do you still take me for a king? That royal formality between us ended long ago. Wait a moment, I am coming? Batie approaches, placing each heavy, dignified step upon the floor like a bull crossing sand, and lending splendor to the chamber. He is long practised in pleasure, and the courtesan's quarter is the place for pleasure, his appearance is therefore perfectly fitting. And further. He approaches swinging his arms, his chest and shoulders are shapely and high, he moves his brows kiketicely and repeatedly looks from the corners of his eyes. Seeing him enter the palace with such animation, one would think a one-man boner were being performed without lute or drum. Thinking Let me speak with him. Bhattamagavamin, why did you remain here enjoying yourself for so many days and leave your friends yearning in your absence? Even the briefest sight of you brings well-being. Laughing, dawned by an upper garment rippling over his right shoulder, and breathing his welcome in broken syllables, he folds his hands to me. But he said only now that Pushpardasi is menstruating today, how then has he joined with her? These dindis of later are little better than demons. How so? People of later-bathed naked in public, beat their own clothes upon the stones, shake out and leave their long hair loose, lie upon beds without washing their feet, eat whatever takes their fancy while walking along the road, feel no shame in wearing torn garments, and, even when striking a man in his misfortune, continue boasting of their own greatness. Or perhaps he has merely acted according to the custom of his country. That is why, without troubling about the bell fruit, you pluck the blossom itself. Now so. Look at this upper garment of yours, stained with menstrual blood. I think it has been stained by beetle juice dripping from the bed. Do not say so. What does your brow, covered with beads of sweat like scattered seed pearls, tell us? He turns aside and laughs loudly. You base, degraded sensu-list, did you deceive her? What deception? She seized my very heart. Listen. A creeper-like woman whose broad forehead is revealed by arranging and fixing the front of her curling hair, whose full hips are delightful beneath a short lower garment, and whose body appears almost naked when the ornaments in front are removed, can such a woman, though menstruating, be left untouched. And there is more worth hearing. Turning her eyes sideways, examining the scratches of her nails, and slightly lowering her head, she sat in the shade of her own house. The instant I saw her, she clutched her trembling, firm breasts with both hands, ran inside, pushed the threshold door with her hand, and shut it. I too darted inside. The moment I seized her hair and pulled her toward me, she stared at me with great eyes. Her breasts trembling, she kept saying, What are you doing? No, no. Yet I kissed that playful woman. Wonderful, what an extraordinary first meeting. I shall question him. Well, what happened next? Friend. When you came upon her with her girdle displaced and her hips exposed, she covered your eyes in shame. Shame on you. You are base, disgusting, and worthy of condemnation by honorable men. Thus you have once again favoured me. Have you not read before in the Mahabharata? He who has not many enemies, whom people do not fear, and whom men do not gather to revile, O Partha, he is no man but the lowest of men. That, indeed, is the true nature of a dindi. I am completely delighted with your dindi character. You deserve to be soul sovereign of all gallants. Receive my blessing. I am attentive. Then listen. At dawn, may your beloved embrace your back as you lie beside her, fearlessly lay one bare thigh across your side, pull your hair to turn your lotus face toward her, drink the nectar of your lips, and make you drink the nectar of hers. Saying, I am favoured, you preparest to leave. Then offer my respects to your, Lord. I too shall go. Walking Who is this adorning herself at the window of her house like an absorer in a celestial chariot? It is parachramica, the chief courtesan of Kashi, playing the piccola and satisfying the eyes thirst with the sport of her beauty and charm. Binding her breasts with a golden crossband, wearing a short lower garment that clearly reveals the swell of her hips, churning the minds of lovers, she sways like a restless young leaf upon the creeper of the courtesan's quarter. And further. Her face shines with the reflected light of gems in a jeweled earring hanging against one temple. Through long practice she blows, e-e-e, from beneath her chin and plays in a sweet tone upon the picola held to her lips. the sound for a frog's croak, the household peacock circles round and round, turning its neck. Hiranyagarba, confidential secretary to Indrasfamin, hurries from her house and comes this way. Why be surprised? For Indrasfamin and Hiranyagarba to meet in the Qutizan's quarter is merely heat-joining heat. He folds his hands in greeting. Hiranyagarba, why do you wish to have this temple-like Qutizan's quarter destroyed by the demons of Aparanta? My master has acquired a taste for foreign merchandise and has entrusted this business to me. Formerly she accepted 500 gold coins, now even with a thousand it is difficult to flatter her into agreement. Help me settle her price. Your innocence surpasses innocence itself. Even for a hundred thousand no one can buy another's life. Why do you suppose our lives are endangered by her? knows that Bartresvam in once joined with his fly-whisk Barracoutangardasi and thereby put his very life in danger. Beat me if you like, but that is the truth. Take refuge in Fosard if you must, but do not tell your master such a thing. This is my master's old habit. It cannot be cured. Still, the matter is not wholly bad. Consider, what Cortesan would not desire that southern lord of Cancunna, provided he lived with her like a gentleman. further. Look at Indra Dutta in a courtesan's courtyard making his elephant dance, like Bagadatta wheeling a rutting elephant in the Bharata war. Courtesans with lotus hands upon their breasts watch him as frighten does watch a tiger. And this woman, calling Parashavakoshika Simhavaman, the brother-in-law of my sovereign lord Indra Dutta, her friend and beckoning him near, shows every other lover her thumb in rejection. He is excessively lustful, so she wishes to escape him. This is the custom of your country. I understand neither the custom nor the impropriety of my country, speak plainly. Seeing such courteous behaviour from you, how can I refuse? Listen. In the cackly posture of love, her toenails come close to his ears and scratch them. Then, like a wild elephant calf struck by the goard, he falls upon her exposed hips as a bull falls upon a heifer. Now I shall carry this very gift to my master. If so, tell Indra's farming. That woman, whose hips are painted with tooth marks and who wears her lover's garland as a girdle, will not expose those hips to another man, even for a thousand coins, while she has you. Blessings upon you. I shall go. Walking. Looking. Who is this emerging from the house of Shamadasi, courtesan of Sherpuraka, surrounded by dindis and illuminating the entire quarter? Why, it is the great chamberlain Budra Yuda, lord of the northern regions, Balika, Karusha, and Malayda, a moving place of pilgrimage for gallants. His hair tied in a knot, great white wooden jar-shaped ornaments in his ears, he speaks among his companions with repeated, JJJ, imitating the people of Gujarat. Why does he show such favor to the people of later? A man of later wraps his upper garment round both arms, binds his waist with a twisted and, the moment he approaches, cries, shh-shh-shh, and falls at one's feet like a crooked-shouldered hunchback. And further. Making the shape of a pigeon upon his chest with both hands, he stammers loudly, saying, J.J.J., in place of, Y. His waist tightly bound in the middle by a two-coloured twisted sash, he walks gingerly as though his fingers were sinking into mud. Where can flawless magnificence be found? Or perhaps, when one comes abroad, such solitary joking alone becomes him. How so? He placed both feet upon the heads of the kings of Aparanta, Chaka and Malava and forced them into hiding. After roaming as he pleased, he returned in time to the land of his mother and mother Gonga and made the fortune of Magada's royal house manifest throughout the world. And further, on the seashore, their hair loosened by the gentle strokes of the wind, the yearning women of Aparanta hide among the hintala groves and sing his deeds of victory beside the great ocean. What is their song? In humanity and in the science of arms no one can equal Badriyuda. However, hearing of his success, desires to rival him might as well eat swine's food. Walking Someone here is painting the banner of Pradhyuna, that is, the God of Love's Temple. It must be the work of some dindi. These dindis are scarcely better than monkeys. What particular merit in painting pleases them? Listen. They smear and dauber finished picture with additions of their own and ruin it, they dirty freshly plastered house walls with ink from a brush, and, taking a sharp pointed chisel, scratched the palace walls as though worms had eaten them. What is he painting? Ah, it is near a picture, the indifferent one. His name suits him. The saying is true, wealth steals character. Because of it, this prosperous man is indifferent to my dear friend, for whose sake she grows thin in the quarter-zones quarter, observing the vows of an ascetic. The poor woman, the curved line of hair showing across the region of her three bellow folds, bears three burdens in three ways, tears upon the tips of her curved, thick, black lashes, her face upon a hand whose bracelets are wet with teardrops, and heavy grief upon her heart. I shall therefore aim a taunt at him. Bhagavata nirupeksha, or rather, one who keeps away from Bhagavatas, you conduct yourself according to the compassionate Buddha's doctrine of universal friendship. Then is this wandering in indifference toward a woman marked with the seals of the science of love proper conduct? I understand the meaning of your sarcasm. I have now become a lay Buddhist. The Tathagata said, such is the nature of the world. Do not speak so. Does the Tathagata's word apply only there and nowhere else? Tell me, where and when is the Tathagata's word not authoritative for me? Ah, such a vow from you? What doubt is there? Good man, listen. You ignore the suffering of the deer before you in the hunt, its tongue hanging from the effort of flight, its head raised and eyes looking upward, a cruel arrow driven into its heart, yet you know how to meditate upon the Tathagata Buddha. Ah, he laughs aloud. What does he say, one should not cast doubt upon the tathagata's teaching? Scripture is one thing and human nature another, I too am not free from passion. If so, then that woman in such a condition. Permission to go, my respects. Kindly dismiss me. In other words, let me escape somehow. Liberation is entirely impossible for you. Still, receive my blessing. When your beloved returns from abroad, yearning and downcast, seat her in your lap. As she rests her head upon your shoulder and weeps, console her again. Untidy uneven braid knotted like a buffalo's horn, and with your own hands disentangle her long locks wet with the hot tears of love. He has gone, showing his teeth. I too shall proceed. Who is this approaching? His privates covered by a scrap of filthy monastic robe, goat-faced, yellow, covered in cotton-like air, broad-shouldered, monkey-eyed, and eating a radish, some man from Dasharaka approaches. In truth, in this form he can be nothing but a demon. Ah, I recognize him. I have sometimes seen him at the house of my kinsman or friend Guptakula, son of the Lord of Dasharaka. What business has he here? He approaches with folded hands. What does he say, Guptakula has ordered, look secretly? I shall pay five pannas in a lump. any courtesan be satisfied with so small an advance? If among the courtesans crowding the city street you see one who will, give her the advance yourself. Remembering my master's order, and partly for my own interest, I raised the offer as high as four times that amount. But at present the courtesans, though full of desire, will not even discuss love, behaving like respectable maidens. If I return with this contrary report, I shall be punished. All rich men are alike. Excellent! The messenger of Prince Guptakula, endowed with the virtues of country, costume, language, and courtesy, stands in the courtesan's quarter and yet asks where the shop is in which such merchandise is sold. It would be wrong to tell such a jewel the truth and dismiss him at once. Let him remain exactly as he is. I shall say this. Brother, go to the salt shops, the Chalavanika Panna, on the royal highway and ask there for a courtesan. Delighted, he bows and departs. I too shall go. Walking. Looking. Entering. Looking. Reading. Where shall I wash the dust from my eyes after seeing that man from Dasaraka? Ah, there it is, the house of my former beloved, Shurasenna Sundari. Why is the side door open? I shall go in. Where can I sit and rest from walking? Yes, I know. This avenue of pre-angry trees invites me to its cool platform like the lap of a beloved. I shall sit here. What is written here? Friend, at a first meeting there is no occasion for a quarrel, nor have I heard that your beloved was angry, nor received news that he was ill. Why then did you return from the young man you had desired for so long without so much as disturbing the pattern of your cosmetics? This announces the misfortune of some woman rejected in love. Whom shall I ask? The jingling of anklets tells me that Shurasanasandari is coming this way. In one leaf soft hand she holds the shaft of a beautiful parasol. With the other, she catches the end of her slipping undergarment and steadies the silk sliding beneath a girdle strung with restless gems. Smiling, her slender body glittering in the flash of ornaments, she approaches like the presiding goddess of night, dawned with moon, stars, and birdsong. Her very radiance compels even me to rise. She approaches with folded hands. Do not dispose of me with such a formal welcome. My lord has come after many days, through proper courtesies this servant wishes to honour herself. Enough, enough, you have reproached me sufficiently. gracious enough to take this seat, my lap, which is fit for you. Saying, your command rests upon my head, she sits, covering half the bench with her hips. Ah, you should not sit here. Why is she trying to erase it with her hand? Why? Someone rejected in love has written her story here in verse, making public her own disgrace. I have seen it. Thief, it cannot be erased, it has already been written upon my heart. Why do you hide it? You know that my friend Kusumovatika is violently deranged with desire for your dear friend, the painter Shivsthamin. I know it well, I also know that Kusumovatika favored him by coming to him herself. Such is the nature of a woman's heart maddened by desire, she displayed a woman's natural impulsiveness. Remarkable. Let me ask. I ask because I possess the confidence of you both, not from curiosity about another secret. told me, did the long-desired festival of love between them and happily. Listen. I am attentive. You say, when the wine took effect and she wished to favor Schiff's famine, your friend behaved in this fashion. He spent the first watch recounting the story of an uninteresting wrestling match. The second passed in pointless talk of sesame sweets, molasses, and the like. He consumed the third explaining how to fatten a goat. What happened after that would best remain untold even to you. Beautiful one, how did you learn all this? You say, I heard it from Padmopala, the chamberlain who came from his friend's house, and sent this verse in the hand of a messenger who had come to ask after her welfare. Then she came with that attendant, smiled in embarrassment, and said to me, I do not wish to trouble you by concealing a secret. Therefore hear this new event. She then told me the true story of what had happened. You too may partake of this nectar for the years. She claps her hands and laughs as she speaks. Beautiful one, what do you say, now hear what my friend told me. She said, dear friend. I embraced him and kissed him, I marked his hips with my nails and urged him toward love. But when he remained inert as Wooden would not join with me, I grew angry and lay clinging to the side rail of the bed. Then I said, you have suffered greatly. Do I not understand even this much? Then I said, you have suffered greatly. Do I not understand even this much?" She sighed and told me, I tried every means on my side, yet he could not awake and desire for me. Suddenly seeing every stratagem fail and recognizing my own ill fortune, I bit my breast and began to weep. Then, taking me weeping into his lap, he exhausted himself by trying to console me with repeated, useless kisses and embraces. I said, What good comes of touching with the hand alone? Then, wet with sweat from shame and alarm, his face drying, he forced out a few words. Blameless woman, do not condemn your own good fortune. Though so great a treasure stood before me, my eyes were as if blind. The guggele I formally took to reduce fat is now killing the nectrose pleasure of union with you. Then I thought, If guggele drunk to reduce fat cuts away the very root of virile power in this manner, we were pondering what to do after the failure of the union we had both desired so long, suddenly. The royal timekeeper, announcing that the night was over, rang the bell loudly and recited the auspicious morning praise. Like a helpful friend, he freed me from that predicament. The lover then accompanied me a short distance in shame and left me. When I returned home, you sent a messenger to ask after my welfare, as though mocking me. Therefore I have told you the entire affair. Now I shall sleep by day and recover from the fatigue of that fruitless night vigil. Saying this, she departed. Afterward I came here, and now you too have heard everything. Then let a sound, with a boat of ridicule, the deep sea of false fame for manly prowess that shifts for me, son of the illustrious Shivdata, has created. Look! Fierce woman, when a man drinks guggle because his fat has increased, his fat soon diminishes, but to young women he remains merely handsome to look at, like a yakshaw painted in a picture. there. She bursts into laughter. Now I must go. No need to bow. Walking I too shall proceed. What are these young courtesans looking at? They stand in the shade of a building in the courtesans' lane, pausing from ballplay, the pickler instrument, dolls, and toys. They are lovely as a mass of lotuses with their fibres, their lotus faces rise upon their necks, their many-colored glances are wide, and with hands upon their breasts they signal one another to turn and look. What is it? What can this be? Is some enormous pot bouncing toward us, or is someone dragging a water-skin? Has a headless trunk risen to its feet, or are two granaries walking? What astonishing object is this? Ah, now I understand. It is Upagutta's pot-bellied body rolling this way. His appearance proves that nicknames are rightly bestowed in a rogue's assembly. Krishna, the treasury clerk who secretly swallows government property, is a black wild ram, Harry Breety is a complete buffalo, and Datigapta is a wind-inflated water-skin. Looking. How has the poor fly-wisk bearer of Gonga and Yamuna, the book reader Madhyanti, fallen in love with Upagapta after leaving that elderly reader of the three Vedas, my dear friend? He used to embrace her properly with his soft arms. But the poor woman has no flavour left in embraces, with the drying up of her menstrual flow, she has been deprived of the machinery of love. Now she exchanges playful words merely to support her household. That is appropriate for her. The followers of Dataka say that one emptied of virile power six to accomplish matters by talk alone. Why does Ubogupta appear so disturbed? Ah, I understand. Approaching. I heard in the quarter that his mother-in-law has dragged him before the tribunal over money. So there has been a dispute between mother-in-law and son-in-law. This will be highly entertaining. I shall not deprive myself of the profit, let me approach. A woman-shaped cooking pot, yakshaw of the quarter's ends road, what brings you here? Exhausted after walking only a little, he stands before me panting and offers a greeting in a staggering voice. Blessings upon you. I am returning from the Prince Minister's tribunal after a dispute with that old harlot. So I congratulate you on victory, or help you pay the fine. Where were victory and punishment? I received only torment. Why? What do you say? The tribunal is in this state. Vishnudasa sits as though in meditation, his brother Konka threatened me over the collection and has only just had me beaten. Vishnudasa rebukes me instead and continues dozing where he sits in court. And further. The officials there demand bribes, the record keeper and Clark demand them too. The wooden elders, that is, the court constables, begged for so long that at last they seized me. From the place I have learned this. A courtesan and a Clark, a Clark and a courtesan, when one considers the two, it is better to give money to the courtesan, for at least she gives pleasure in return. Congratulations that, though caught in the Clark's net, you have emerged safely. You are consummate master. Receive my blessing. Upon the bed, may a chief courtesan, softly humming, languid with wine and inclined to love, honour you in the facture and upper-facture postures. Clapping his hands and laughing, he departs. I too shall go. Who is this other creature? With a strange Gojurati-style shaving pattern upon his wrinkled body, drunken eyes, and a smile buried in hollow cheeks, who is he, and why has he entered this courtesan's quarter that is heaven? Yes, I recognize him. This is Pihana, born in Shakarapakha's house to the witch Concochetti by Kira the Cobbler, a grass demon. And further. He calls Shakarapakha his father and near a picture his brother. Men of two farthing families are generally born together with hypocrisy. Walking. Why ask him anything? What business has he in this country? Walking. Second gallant Bhattiravadatta is coming this way. I shall ask him. Bhattiravadatta, do you know why that male gal has entered this district? You tell me. Then go. Where shall I divert a mind exhausted by this wilderness of men? Ah, I know. This is the house of my dear friend Rama, who never rests from intercourse with courtesans. And who keeps the house bolted from within for fear that friends may arrive. Listening. How, then, can I enter? The tinkling of anklets blends with the jingling girdle. The clatter of bracelets announces the striking of fists, hisses and sighs from within the house declare unmistakably that Rama's woman is enjoying reverse intercourse with Rama. It would be improper to enter. Who would break the moving axle of the chariot of love? I too shall move on. Ah, another. Is this a burnt silk cotton tree with a few branches left as its top? or a black, elongated heron in the form of a gallant? Or a ghost from the desert come to scorch the pool that is the courtesan's quarter? Yes, I recognize him. It is Suryanagar, the jaundiced fellow of Shepuraka. What business has he here? Seeing me, why does he cover his face with his upper garment, keep the temple of love to his right, and slip away silently? Three days ago, the Bannacortesans living in the thatched Kutangigara of the Outishiva district accused him. When the foreign and outcast Constable dragged him before the tribunal, Skandhakirti of Baladashaka freed him with great difficulty, saying, He is a monolender attached to my Lord Vishnu. My friend Vishnu Nigga told me so. Why, then, is he ashamed to return to the quarter and tries to hide himself? Thinking. Walking. Because he has become an attendant of the prince, he is ashamed of such conduct. Wonderful. association with the virtuous produces virtue, through it, a man like him has been drawn toward goodness. Yet unless I reveal that I know him, his wish will not be fulfilled. I shall circle from the right, confront him, and attack with ridicule. Seeing me before him, he smiles. Woman is Suryaniga, why make this new visit to the Qortizan's quarter as useless as a dance in darkness by hiding it from your friend? What business would I have here? I was sent to inquire after the illness of a former beloved of my maternal uncle, Lord Galiya Parishava Haridata, who is confined in prison. Do you imagine something else? Wonderful, such firmness in a friend's errand, and such fidelity in this chief courtesan toward a former lover fallen into distress. No wonder. A courtesan who wears bright clothes suited to her complexion and keeps her secrets hidden from lovers is dear to sensual men like a painted image of Lakshmi, even if she is plain or ugly. And I consider her capable of accomplishing difficult acts. How? Surely she is chewing like an old bone the face of that man whose colour has not faded even in prison, whose forehead has grown calloused from worshipping the gods, and whose face is covered by a long, chaggy beard. That is why I honour her. May your honour remain so. I regard you as truly devoted to your friend. Ah, he seizes my feet, saying, Master, be Be gracious. Do not tell anyone that I entered the court's unsquater. Friend, who can hide moonlight? From the moment you fell in love with that hunchbacked attendant of Rupert Desai, your fame spread through the region like a drop of oil upon water. Is it not so? When she embraces, she thrusts her chest forward and the hump rises behind. Because the sacral part of her waist is twisted, even when aroused she cannot bring her hips forward. upon the bed, she resembles a locust. How do you make love to that hunchback whose lotus face points downward? Alas, may the sin be calmed and evil be averted. I welcome your accurate description. But kindly observe. When she walks with halting steps, her gate resembles a camel's. Repeatedly swaying her hands, she seems to swim through water. When When she raises her face, she appears to count the stars in the sky. What wise man would touch her, a creeper diseased by worms? Alas! It is not proper for a man knowledgeable in righteousness like you to slander so fine a woman. And further! Friend, though a hunchback may be thin and bent like a reed, like false affection she is at least beautiful in the face. Besides, she is no worse than the bannercourt's ends of the frontier quarter. than whom? Do you not know? Drunken, charging only one carcini, serving the lowest men, and needing rules and guards to keep them within bounds, those cheap women you secretly visit outside the city when violent desire seizes you. Walking How did you learn all this? In discovering such matters I possess a thousand eyes. Will you climb step by step ever higher? Friend, abandoning a professional beauty you desire a hunchback, abandoning the hunchback, one day you will reach her mistress. He laughs and departs. I too shall go. Who is this other man emerging from the house of Myerosena of Sinhala and coming this way? A garment over his shoulder and a shining sword in his hand, he is surrounded by southern bodyguards. Gathering his fine, patent muslin upper cloth, he wears iron armor made in Andhra. Saffron marks cover his body, and he holds a prepared beetle roll. Yes, I recognize him, Harishura, the sword-bearing man from Vidarbha. When, in amade of Kovari, he seized her feet, she rejected his entreaties with these words. Go to that other woman. What need have you of me? When moonlight shines, what need is there for a lamp? Stop trying to hold two bell fruits in one hand. Approaching with folded hands. How will his appeasement win her over? He openly desires another while abandoning a woman devoted to him, the entire district knows it. He takes pleasure in his ill fortune and disgrace. Or perhaps women love only the men they choose. Myurasena has collided with this feminine nature, or, when money becomes scarce, the old board herself will place Myurasena under his control. I shall ask him everything. Lion among men, you have acted properly, like a lion leaving its cave, you abandoned lovely woman from Sinhala out of desire for union with Kavarika of the Dravidar country. I have appeased Mayurasena and am returning from her house. Tell me, how was the broken bond restored? What do you say, three days ago I was invited to a performance at the house of Draenalika, the chamberlain who supervises courtesans. It seems that Mayurasena's dance was deliberately placed upon the program there. After the instrument sounded, the auspicious invocation to the deity came first. Then, with the opening of the song, the dancer began. In her very first presentation they alleged a technical fault in Mayurasena's dance. Impossible. No one can find a technical fault in Mayurasena's dance. Who fell head first while saying such a thing? Regard it as a fall brought on by Queen Vahyuni. Quite so, the goddess Wine always resides in a chamberlain's house. whose head had that intoxication descended. Upon your friend Uppachandrika, the Lasaka dancer? Nothing improper in that, he is accustomed to such things and he also knows the subject. All the spectators sided with Uppachandrika, I took my irisena's side. Well done, friend. You acted according to place and occasion. What happened next? I could not defeat them through wit. Though the assembly did not accept it, the judges agreed that my side was correct on scriptural grounds. Congratulations, friend, you purchased her at a most extraordinary price. And afterward? When my irisina received the prize before all the courtesans, she scattered smiles and delighted me with a side-long glance. Carverica, rising in the flame of jealousy, made a face as though taunting me. After the anger of one and the favour of the other had been revealed, I drifted upon a current of uncertainty like a boat that has missed both banks, and somehow escaped the crisis and reached home. I sat swinging upon the swing of doubt, wondering what either woman would do. Then suddenly my beloved came and covered my eyes. Laughing, I said. Thief skilled in closing eyes, what profit is there in hiding and laughing? The incomparable touch of your hands has already revealed you. At this, breathing fragrance and speaking in syllables unsteady with intoxication, she said, Tell me, who am I? Then I replied. The thrill that has made my cheeks rigid has already answered your question. Yet, innocent girl, if you still ask, then tell me yourself, who are you? Then she removed her hands from my eyes and said, with this thrilling art of deception you draw me helplessly toward you. so, she kissed me and began to leave. Then I said, Having stolen my heart with a kiss, where are you going? Thief, I place both your feet upon my head, stay somehow. At my word she went and sat upon the bed. I myself washed both her feet. She said, you have taken the nectar of my feet, now come. Truly, you are a consummate rogue. Then, scattering laughter like a lattice of blossoming jasmine buds, she held with with one hand her slipping girdle and sari. Turning upon the bed, the double curve of her waist and arms made the bend of her hips lovelier still. As her middle twisted, the three folds rose and fell, when the navel hid, the line of hair curved. The necklace slid over one breast and beside the other rounded breast, the earring hanging against her cheek made the painted Makara design blossom more brightly. Thus, beautiful as Ratty, loves shy mistress, The shoulder turned and body bent, she arched one brow and, seeming to scatter blue lotuses upon the water with her side long glance, said to me, there, do as you desire. Her attention was fixed upon applying red lac. When she raised her thigh, lifting heel, ankle, and ankle at, the newly starched silk saree did not cling to the leg but gathered along the lines of its folded pleats. The inner part of her thigh appeared to me, lovely as the space between the tusks of a young elephant and pale as the heart of a plant in stem. my eyes away," she said, "...you have not learned the restraint of sight required at such a time." With that she drew back her foot and struck my chest. My skin thrilled and became hard as armor. I said, "...it is not right to drive me away before the color is complete." She replied, "...very well, close your eyes and complete it." When I closed my eyes and began applying light to her foot, she pulled my hair and kissed my lips. Seeing me so thrilled, she said, like an Ashoka tree, you flower beneath a woman's kick. Your roguery has defeated me. Embracing me as she spoke, she went to the bed. What followed, those dear to the gods may understand for themselves. If that is so, then you too should attend upon the assembled gallants who are to determine the expiation of jaundiced Vishnu-Nigga. Alas, do not speak so. Let her favour my head too with a blow of her lotus foot, that alone shall be my expiation. If so, just as the the serpent Kalya, dwelling in the Yamanos pool, bore Krishna's footprints upon his head and became invulnerable to Garuda, no gallant will have power over you. Folding his hands and laughing, he departs. Now I too shall go to the gallant's assembly. Ah, while speaking with friends I did not notice the passage of time. Now. Look, the sun is setting. The closing lotus watches him depart with longing. Twilight darkness climbs the roofs of houses and removes their heat. After touching the high branches of the garden for a long time with its rays, the sun hides among them. Pigeons perched upon the terrace gaze toward him and fill their eyes with his redness. And at this hour. Alerted by the sharp cries of birds, a cat leaps from the window onto the palace wall. A peacock leaves the house and goes to its accustomed roost. A drowsy deer, seeking a place to sleep, abandons even the evening flowers laid upon the platform. Swans emerge from the water and take refuge upon the platform beside the palace pool. Walking Dense smoke pouring from windows and filling the upper terraces of mansions drifts like crystal dust. Bees hover over scented bathwater that fills the lanes to the brim. Ah, how incomparable is the splendour of the great road of the courtesan's quarter at this hour. The broad court outside the outer gateway has been swept, sprinkled with water and adorned with heaps of flowers. Attendants are busy with evening courtesies. Courtesans dress and adorn themselves according to country, age, and wealth. Loves female messengers pause and move here and there, lending beauty to the quarter. Drunken gallants savour the wit of sharp, playful sarcasm. Bathed, perfumed, garlanded, and exhilarated by drink, young men spread across crossroads and three-way junctions. Here, a female elephant prepared for riding trumpet softly as a passenger mounts her back. A woman is settling into a palanquin standing at a doorway. A horse, weighed down by a courtesan's heavy hips, jingling anklets, and girdle and swinging earrings, seems able to move only at a gentle trot. And here, some mansion windows are filled with webs of lamp light, elsewhere blue darkness, like a peacock's neck, spreads across the walls. The whitewashed walls of houses look exquisitely beautiful, as though painted with leafy vines in tamala black and opum and yellow. How beautiful is this public festival called evening, graced by moonrise. Lord Moon is even now approaching, filling every eye with elixir and making the night lotuses in the pool's smile. Placing your reflection in the wine cup, do you wish to kiss me through the round leaves of blue lotuses? Tell me, does your beloved Rohini not see you? Restrain this bodily trembling born of inner emotion. The rising moon seems to set his reflection upon the rims of drunk and women's earrings so that he may hear their playful conversation while they drink. Walking Here a woman sings softly in private with her lover, their elute rings, elsewhere, upon a palace roof at moonrise, a gathering drinks wine. And at this hour Lord Moon Walking Here builds with his rays a bridge across the water of a household pool, there, entering a planting grove, erects pillars of moonlight, elsewhere, colors rows of whitewash mansions once more with the nectar of his beams, and there, causing drops to murmur down from young leaves, seems to shower pearls. Ah, moonlight water dripping from the moon's rays fills the world as though the ocean of milk had crossed its shore and spread its waves far and wide. Now. Young men riding horses, female elephants, khanirata carriages, and palanquins, receiving embraces and caresses from young women, come and go like pairs of Gandharvas and Siddhas in the sky. Walking A woman seated behind a young man upon a horse, moving gracefully in intoxication, clasps him tightly with her breasts, he turns and kisses his beloved. The horse is so accustomed to the road home that it comes straight without wandering. Who is this displaying shamelessness in the courtesan's lane, enjoying himself as in a temple's inner sanctuary though moonlight makes it brighter's day? Yes, I recognize him. It is Jayantaka, the Shaka Prince of Saurashtra, enamored of this pot-servant Biberika. What quality fitting a courtesan has he found in her alone throughout the whole city of courtesans? Perhaps. Like the goddess of darkness, white in teeth and black in eyes, Biberika resembles a night of the 8th lunar day with its half moon. Or perhaps people of Saurashtra, monkeys, and barbarians all belong to the same sign of the zodiac. Why, then, be surprised? If his eyes are fixed upon fair Barbarica, then through his languid drunken gaze even this moonlight must appear dark. Walking. Enough, his road ends here. I shall go. Who is this other woman? In both ears of this woman from later hang golden palm leaf ornaments, at the end of her braid is a golden cluster of gems and pearls, and her coposarca bodice covers breasts and armpits and reaches to the end of her lower garment. I recognize her. It is Raka, embracing before the Moon Pavilion the King's brother-in-law, the unfortunate Prince Mayura, who tries to charm her by displaying himself like a dancing peacock. She parades her good fortune through the Kautis Ann's market. Seeing her apparent sincerity, the poor man seems to have been purchased. That fair, stout woman carries the thin, dark Prince Mayura pressed to her breast like her own shadow fallen before her. Thinking Who is this other woman? It is the Yovana woman Karpura Turishta, beloved of my dear friend Vara Hadasa, son of the illustrious Sharda Lavaman. Holding a wine cup in three fingers, she raises it toward her mouth, with the other hand she holds a moon-shaped earring whose reflection falls upon her cheek. The rays scattered from the earring make it seem that the moon too is playing upon her shoulder. The Yovana woman, with hair and eyes like a Chakora bird, looks at her reflection in the wine cup. Spreading a long lock with her nail, she mistakes the redness of wine rising in her soft cheek, pale as a mahoor flower, for lack die and tries to wipe it away. A Yovana woman and a courtesan, a she-monkey and a dancer, a man of maleva and a sensu-list, a singer, and a donkey, in quality I regard all these as equal. Brahma is surely an expert at matching pairs. Just as the Atma gupta creeper spreads over an acacia and the pointed good vine over a neem, so when a Yovana woman loves a man of Merlava, an astonishing pair is formed. She is known to me, but I shall not speak with her. Who could listen to the speech of a Yovana courtesan, filled with unfamiliar consonants and cries like a she-monkey's screeching, conveying her intention only by moving the forefinger with a few gestures? I shall remain silent. Who is this other man? He is carrying his beloved upon an elephant, her locks, and veil fluttering against the wind, as Udayana carried away Vasavadatta. Thinking. Walking. I recognize him. He is the son of a wealthy man, whose gallant pravala is famous among the dindis. He is the master of those who bind their headcloths and enter the battle of love. My little girl has been caught in the snare of that courtesan's desire and, disregarding her parents' command, has fallen deeply in love. Surely he is the teacher of the dindis. Since he has become my son-in-law, even my speech fails before him. I shall not speak, I shall fold my hands and leave. Now I must reach the assembly of gallants. After circling uselessly through the great road of the Qortizan's quarter, I have arrived at the house of Batigermuta, chief of the gallants. In the open ground before the outer door, thousands of vehicles belonging to gallant summons from all sides have gathered. A tendon stand near the gateway holding silver vessels of water for washing feet. The saying is true, the affairs of great men are great. Here five coloured flowers are being scattered, woven garlands are hung, incense is waved, lamps are lit, and words of welcome spoken. Vehicles are unharnessed and released. There is rushing about, music and song, hands extended to assist arrivals, sweet words, loving embraces, bodies supporting one another, deeply humble bows, hats upon the back, brows raised with clicking sounds of delight, and heads lowered when teased. Some stank aketishly, some sit with studded grace. Sandal paste is distributed, coloured cosmetics applied, unguents rubbed in, and fragrant powder scattered. Gallant's jest, courtesans reply. In brief. Dwarfs serving within the inner apartments have their feet buried to the knees in flowers and can move only with difficulty. Young Some quarters' ends, rolling their eyes, hiss, see, see, as they pull katochi petals from their feet. And all these. Wealthy young men and leading gallant sit upon half-seats with their female companions and exchange clever jokes that do not wound the heart. They roam fearlessly through the quarter-like unrestrained bulls among heifers in season upon an open pasture. The upper space, the ceiling, of this assembly hall bears a hundred moons' ornament in the form of hundreds of women's moon-like faces. On every side the building is adorned with a hundred eyes ornament made of women's glances. The arms of young men rubbing against one another are like iron bars laid around the hall, and their sandal moistened chests resemble the polished stone pavement of the assembly floor. And here? Stand heroes who are wishful filling trees to courtesans, instantly ready for love and prepared to abandon their entire capital, the mock wooden battles of their childhood are praised by old men as though they were the war of Suyodana and Vrigadara. Wearing upon my head the turban that is my friend's command, I too bow to Lord Love and, placing his order before me as my duty, shall petition the gallants concerning the expiation of the illustrious jaundiced Vishnu Naga. Gentlemen, rogues gathered from the whole earth, lovers of quarrels and narrators of their histories, listen, listen. Victory to Lord Love, who claims authority over ascetics, who is master of every mind and driver of the horses that other senses, and whose command even the greatest creatures obey with crowned heads bowed. Walking Victory to the intoxication of a playful woman's youth, whose laughter spills across the flower at her cheek, victory to her unsteady gate and restless glance, and after these, victory to all the sport of her youth. Having purified my head with dust from the chief courtesan's feet, I bow that head at the feet of you distinguished rogues and submit my petition. What need of preamble? Listen. This Vishnu-Nigga, seeking expiation, rides upon the earth, rubbing his chest against it like a snake. You must preserve his life. You ask, what was his offence? Listen. Tossing up with the lock fallen across her eye, tightening the ends of her brows in anger, biting her lower lip and scattering the light of her teeth, her face trembling and anklets ringing, his intoxicated beloved caught up her slipping crimson garment with one hand and planted her anklet foot upon his head. Who is that courtesan so ignorant of the differences among men that her carelessness has brought this disgrace before us? She is the illustrious Madanacenica of Saurashtra. At the thought, fortunately no one else is here, these gallants appear somewhat alarmed. Waving their hands, hiding smiles, uttering reproaches, and forcing gravity upon their faces, the rogues look compassionately at one another and sink into thought. The seated leader of the gallants, the venerable Batigermuta, rises, overwhelmed by pity. Crying, what misery! What misery! He sighs like an exhausted elephant and rains water from his eyes like a cloud. He calls me. I am here. What is Baty's command? I have already heard, and you repeat, that for such an expiation we must go to the Brahmins. That is why I am seated here. Meanwhile, bind the gallants by an oath and prepare them. As Batty commands. Gentlemen, listen, listen. Whoever speaks nonsense in this assembly today shall never win a wager at dice, shall become obedient to his mother, shall humbly touch his father's feet, shall drink only boiled milk, shall be satisfied with eating sweet balls in childish delusion, and shall remain content with his wedded wife. And further. He shall serve his teacher, be expelled from gallant's gatherings, remain modest as an old man while still young, and become quiet when age truly comes, whoever sits here and speaks nonsense. Walking and looking The courier and antikartha, forever splitting hairs, suddenly rises, and calls me. What does he say, the fault belongs to the woman who did not understand affection, not to jaundiced Vishnu-nagar. Listen. The beautiful woman's foot, whose touch makes an ashoca flower out of season and in which the god of love himself dwells with arrow-drawn, that foot she mistakenly placed upon the head of this beast. The fickle woman must perform a long expiation for it. You have spoken correctly, for. She played a lute before this donkey, recited a verse-filled panagiric before this monkey, and dripped the juice of mango blossom into a buffalo's half-kurdled milk. Yet expiation exists to console the distressed. He has come afflicted, so you must show him compassion. Who is this grandson of a soft-good vine, holding his drunkenly swaying head with one hand and calling to me, hear his expiation. I shall approach him. The gallants are angry with him, who is this fellow with a face that ruins the very nature of gallantry, rising in council as though he were the foremost gallant and setting out to preach expiation. Womanish malice farming, did you hear what they said? Why do you not tell them? Only five nights after my father went to heaven, while my friends grieved and my relatives wailed and beat their breasts, I set aside one crying child and enjoyed wine with a maid. If I am not a gallant, who is? If so, everyone accepts that you are chief among gallants. Sit down. Make Madanaceneca perform the expiation? Very well, I shall proclaim it again. Why, Arya Raghchita, the poet from Shibi, calls out in a breathless voice, surely this expiation is improper. This good man too is a great gallant, for… He goes to the house of a Vedic scholar and sells his poetry for a single cup of wine, born among the Shibis, he has grown old in the tavern. And further, If a poet sells poetry, then his poetry too is of the kind composed beside a cup of wine. Such is the conditioning Kashi, Kosala, the Bagga country, and the cities of the Nishadas. I shall approach him. Friend, I am here. What do you say? The honey that fills a woman's cheek as bees fill a closed lotus, that, issuing from her mouth, makes a peculiar branch blossom, that fills her eyes with dallions, and into which fresh mango juice is mixed, how can the head of this human beast, jaundiced Vishnu-nagar, deserve to be sprinkled with such a mouthful of wine? Another man, Bhavakirti, folds his hands and calls me to propose an expiation. This young Brahmin too is an extreme gallant, for the rope throws to the ground a frightened, trembling mendicant nun, shaven-headed, old, clad in a worn saffron robe, and entering the house without fear to seek arms, and commits the misconduct of lust upon her. I shall go to him. His expiation is this. First the woman shall seize his hair and drag him, then bind him with the cord of her girdle. Later, when she lies down, he shall massage her feet. Even that is not sufficient for him. The aristocratic Garn Harvosenica, whose name is on the tongue of every servant, raises his hand and calls me. The fingers of his hand have raced through many gestures upon three kinds of instruments. Like a shower of red lotus petals, his red fingers have spread across the lute strings. Playing the lute, he has sat beside beautiful women of wealthy inner apartments, rested the instrument upon their hips, and enjoyed the marks of their nails. I shall approach him. What do you say? Where are the jeweled girdles at courtesans, like banners flying beside the chariot of their hips, like ringing utes urging lovers to join in the battle of passion, and where are the feet of this stinking donkey? Now a southern poet proposes an expiation. What do you say? Drunken casting cichetic glances, she shall strike his head again and again with the lotus flower from her ear. Hastimerca, who has come from Ganhara, makes even this proposal worthless. You. What do you say? That lotus is carved from elephant ivory, the woman wears it at her ear, and it is variegated by the side long glance that reaches its edge. If it touches the head of this human beast, what expiation will result? On the contrary, he will be purified by its fragrant dust. Walking His opinion is sound. The leading gallants say the same. These two are calling me. Gupta and Maheshvarudatta, seated upon the same seat, these two friends are gifted through their study of the poetic genius of the great poet Varrucci. Approaching I shall approach them. Womanish Mukundagupta, what did you say? Wash his head with the water used to wash her feet. The elders forbid it. Maheshvarudatta, known as Priya among his friends, declares that he is not even worthy to drink that foot water. friend of mine, an aged gallant from Sovirah, calls me in a voice naturally smiling. What did you say? When the removal of her ornaments makes her body lovelier in its natural radiance, and after bathing her wet locks lie scattered across her hips, I shall bring her here in that state. Then he shall stand before her holding her mirror, while she arranges her hair, she shall variegate the mirror's round surface with the brilliance of her eyes. The poet Rudravarman of Dasharaka rejects this. What do you say? This man is learned, born in a high family, and a secretary entrusted with the king's council. He should not keep hair soiled with dust from falling at a courtesan's feet. Therefore shave his head. I am favoured by you, pleads Vishnu Naga. Before my hair is cut, I would rather cut off this head itself, forever bowed and disgraced by a maid servant's kick. The venerable leader Bataji Muta answers him thus. May no beautiful woman ever arrange his hair with leaf-soft hands adorned by the ringing of sliding bracelets, set with the rays of nails, and graced by rings. Let in keep this rough hair exactly as it is. Now hear the expiation from Madanacenica as well. May that woman, her eyes turning with intoxication, place one hand upon her hip to steady her girdle, set her ankle at foot, dive red with lack, upon my head and favor me, while jaundiced Vishnu Nugha stands staring helplessly. Crying, this alone is the proper expiation, Gallant applauds and endorses Batigermuter's judgment, saying, Now I am entirely favored, jaundiced Vishnu Naga departs. The venerable Baty calls me. I am here. All this is settled. Now what agreeable service may I perform for you gentlemen? Then hear this too. May the clever procurus is skilled in quarrelsome banter prosper. May the rogue's hundred streams of income remain undiminished, so that they may fleece their victims without anxiety. May pleasant gatherings of gallants continue in this city, and every evening may there be affectionate revels of courtesans. The gallant exits. Thus ends the one-act-a-play padatadatakam, the kick, composed by Aryashami Laka, son of the northern poet Vishveshvaradatta.

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