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Collection: Part 10 · VIDEHA MITHILA MAITHILI DISCUSSION CRITICISM SERIES PART 10
Status: asr-draft
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Detected language: en (0.934076)
Duration: 1:20:48
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Timestamped machine output

0:04–0:07After the benediction, the stage manager enters.
0:07–0:09May the God of Love protect you.
0:09–0:16He who offered his own body into the fire of Shiva's eye and thereby honoured the God's wrath,
0:16–0:20whose command the gods, with Indra among them,
0:20–0:23wear upon their heads like a garland,
0:23–0:28who fashions his bow from the side-long glances of a woman's wide eyes,
0:28–0:34and whose arrows of sensual objects torment and pierce even the minds of sages.
0:34–0:36And further,
0:36–0:39May the God of love protect you,
0:39–0:45he whose influence Shiva could not destroy even after angrily burning his body,
0:45–0:51while Shiva stood with one hand upon the Goddess's breast, moving his brows and smiling at her,
0:51–0:55the frightened lord of hosts silent beside him,
0:55–1:01Nandi bowing in reverence and the other hand resting upon the shoulder of the bull.
1:01–1:08Bowing my head before you learned, gentlemen, I announce that we are preparing to perform
1:08–1:13the one-actor play called Pataditkam, the kick composed by the noble Shyamilaka.
1:13–1:17You should listen attentively to the poet's labour.
1:17–1:234. This word should not stand here. This word should be placed thus.
1:23–1:31this expression has not been properly shaped what a marvellous turn of meaning has arisen in the work.
1:31–1:37Such is the labour that first occupies a poet's mind during composition.
1:37–1:45And that labour is swept away by the tears filling the eyes and the thrilled bodies of sensitive connoisseurs.
1:45–1:53Let royal ministers and ascetics who move like herons and cats take themselves away.
1:53–1:58Let gestures, gallants and masters of humour remain.
1:58–2:03Let the rogues assembly thirst without restraint for wine.
2:03–2:054.
2:05–2:06Listening
2:06–2:11Ascetics gain no liberation by whimpering and weeping.
2:11–2:17Even if heaven awaits us hereafter, laughter and jesting cannot obstruct it.
2:17–2:25A wise man should therefore abandon the habit of pulling a long face and laugh with an untroubled heart.
2:25–2:29But as I speak, what is this other sound?
2:29–2:35Ah, I understand. This is the pavilion of the galleons.
2:35–2:40Bald Shamilaka is ringing a bell and making a proclamation.
2:40–2:45Its clang announces the dawn and breaks the pleasure of lovers union.
2:45–2:51Even the loud braying donkey at daybreak, the Kettledrum's grandfather, cannot equal it.
2:55–2:56What is he proclaiming?
2:59–3:03Victory to that foot of the court sin which was launched at her lover.
3:04–3:07A dawned with red lac and jingling antlets.
3:07–3:14It is the banner of love, before which one should bow one's head in homage.
3:14–3:19The proverb is true, though a hundred years may pass, sooner or later a man tastes the joy of life.
3:20–3:24Thus Vishnu Naga too has received upon his head the consecration called a lover's kick,
3:24–3:29granted to all true devotees of passion. What do you say, where is his good fortune?
3:30–3:35He could not enjoy the delight of such a lover's quarrel. He mistook the honor bestowed by the
3:35–3:40the goddess Kautasan for an insult. His eyes reddened with rage, his twitching brows tightened
3:40–3:44his forehead, he shook his head, bit his lip, clapped his hands, drew a long breath, and
3:44–3:50cried, Shame on you, ignorant Kautasan. You have proudly set your foot upon this head of
3:50–3:55mine. The head upon which my mother carefully braided my top knot with her practised hands,
3:55–3:59which my father, seeing it bowed at his feet, sniffed affectionately and called, my innocent
3:59–4:03child, and upon which Brahmins have laid flowers and sprinkled holy water, yet
4:03–4:08you have paid no heed to its dignity. At Vishnu Naga's rebuke, her colour drained away like
4:08–4:13night-pailing beneath the redness of dawn. Her face lost its lustre like the moon at daybreak.
4:14–4:17Her intoxication vanished and her adornments fell into disorder.
4:18–4:22What have I done? At that anguish her whole body broke into sweat.
4:23–4:26Fear destroyed every grace, the flowers woven into her hair scattered.
4:27–4:30Saying, I shall never do such a thing again, she fell at his feet.
4:30–4:36Though she bowed in abject submission, he shouted, Fury, do not touch me.
4:36–4:40Do not come near me with that belly rumbling like thunder.
4:40–4:43What a tragedy that the cuckoo pursues the owl.
4:43–4:47I marvel that Madden the Seneca 2 follows that cowardly, impotent male gal.
4:47–4:51Perhaps it is because he is the son of a high officer and himself an administrator of
4:51–4:56the royal government, she therefore does not neglect him, hoping to extract money.
4:56–4:58Cortizans have an appetite for talk.
4:58–5:03It is said that desire has many practical motives at its root.
5:03–5:07Talk provides the means for clothes and ornaments, so one who lives by talk has become addicted
5:07–5:09to its savor.
5:09–5:11The poor woman.
5:11–5:16With lashes lowered sideways in shame, tears washing her face, lips, and breasts, she shrank
5:16–5:21into herself like a royal swan frightened by the sudden roar of a new cloud.
5:21–5:24There is nothing surprising in hearing this.
5:24–5:27Even a lone man like me has nothing left to ask.
5:27–5:29What happened then?
5:29–5:34What do you say, I scolded him, you hired grammarian, do not pound a flower with a pestle,
5:34–5:38do not play allude with burning wood, do not cut a wine flushed, rosy courtesan with the
5:38–5:40knife of your speech.
5:40–5:45At this, he rebuked me and went to the house of Batigemrita, chief of the gallants.
5:45–5:50The poor woman rested her face and cheek upon her delicate hand and began to weep.
5:50–5:54I raised her and said, beautiful one, a monkey is unfit to wear a turban, and a donkey
5:54–5:57is not harnessed to a noble carriage.
5:57–6:02crying. The fellow is merely ridiculous, his head does not deserve so great an honour.
6:03–6:07What kind of lover is never tormented by a drunken woman seizing his hair,
6:07–6:13binding him with her girdle, or striking him with the flower from her ear? Love supports only
6:13–6:19such a man, and only that fortunate man's youth is filled with festival whose beautiful woman,
6:19–6:23casting shame aside, plays with him in private like an obedient maid.
6:23–6:30hearing this, she accepted my words with a smile and a glance, clothed herself from head to foot,
6:30–6:36and adorned the bed. I, pondering the misconduct of that man so rare among lovers, awoke to the
6:36–6:42palace's morning music, completed my daily rites, and went, as though to avert the consequences
6:42–6:48of an evil dream, to the Brahmin's council seat. There I saw Vishnu Naga already present,
6:48–6:54his head is ordered, pleading, I have committed so vile an act that a courtesan's foot has
6:54–6:56struck my head.
6:56–7:00Learned elders of the three Vedas, save me."
7:00–7:05At his words, the hollow-cheeked Brahmins looked at one another with the hint of a smile,
7:05–7:10reflected for a moment, and said, Good sir, we have examined the law books of Manu,
7:10–7:17Yama, Vasishta, Gautama, Bharadvaja, Shankar, Likita, Apastamba, Harita, Prashtha,
7:17–7:23Devala, the Elder Garga, and other sages, yet even we know no expiation for a mortal sin
7:23–7:26of this kind.
7:26–7:30Hearing this, he raised both hands, his face miserable, and cried,
7:30–7:34Gods upon earth, do not reject me as a Shudra.
7:34–7:364.
7:36–7:42I am an Arya, pure in conduct, born of a noble family, trained in grammar and logic, and
7:42–7:45an officer of the king, not an outcast.
7:45–7:53me in my distress, I have taken refuge with you." When he said this before the assembly,
7:53–7:59some nudged an elbowed one another, saying, He is an absolute ox. Some rose laughing,
7:59–8:06stared at him for a long time, and said, He is mad. Someone placed a straw between his
8:06–8:10lips, denounced him as a possessed by the demon of lust, and others, considering
8:10–8:17the woman guilty, expressed pity. While the assembly was in this state, the Brahmins bewildered,
8:17–8:24and Vishnu Naga clamouring for expiation, a Brahmin of the Shandilya lineage named Bhavasvamin,
8:24–8:30naturally humorous, son of a teacher and himself a teacher, expert in logic, statecraft, and
8:30–8:35other sciences, skilled in the arts and eloquent, raised his right hand amid his circle of
8:35–8:40pupils and addressed the council in a laughing voice, Vishnu Naga, do not fear.
8:41–8:47Abandoned grief. The law books declared that a custom of country, caste, family, sacred place,
8:47–8:54or period is authoritative, provided it does not contradict the Vedas. Therefore summon the
8:54–8:59council of gallants and ask the gallants themselves for expiation. They will free you from this
8:59–9:07sin. At his words, raised fingers danced throughout the assembly amid cries of approval. Vishnu
9:07–9:13Naga, considering himself favoured, departed. And so you have been appointed to summon the
9:13–9:15Council of Gallants.
9:15–9:19Who, in your opinion, the principal gallants?
9:19–9:23You yourself are unquestionably good foremost.
9:23–9:26How have I been honoured with the title gallant?
9:26–9:28What doubt can there be?
9:28–9:34The man who quarrels all day with merchants eats his fill at a friend's house at sunset,
9:34–9:38sports and schemes with courtesans at night, possesses not even water in his own home,
9:38–9:41yet struts about boasting.
9:41–9:43If he is not a gallant, who is?
9:43–9:49Since you graciously count me among the gallants, you can surely convene their council.
9:49–9:53Meanwhile I wish to hear from you the marks of a true gallant.
9:53–9:55Then hear the first mark.
9:55–10:00Yehu, careless of his own life, protects friend and enemy alike in danger, whose own sword-bearing
10:00–10:04arm becomes the guardian in a crisis, whom courtesans maddened by love seek out during
10:04–10:10lovers' quarrels, and who gives money to petitioners with an open hand, know him as a gallant.
10:10–10:11And further,
10:11–10:15Yehu rejoices when his head is worshipped by the two lotus feet of a beautiful woman
10:15–10:19as though a crown had been placed upon it, and whose wealth the thirsty sees with both
10:19–10:24hands as they would water, the connoisseurs of gallantry call him a true gallant.
10:24–10:28You have stated the marks of a gallant, now name them too.
10:28–10:35I shall assemble as many as possible, Jayanandaka, Mordgalya, Deutavishnu, and the rest.
10:35–10:41All the others are well enough, but is Deutavishnu also a gallant in your judgment?
10:41–10:42What doubt is there?
10:42–10:47The same Parashava poet who is the king's commander of forces.
10:47–10:48Precisely.
10:48–10:51What do you say, that cannot be?
10:51–10:56favored by the king, he remains restrained, he sleeps and wakes contentedly, his clothing
10:56–11:00is perfumed with delium from worshipping the gods, and his forehead and both knees bear
11:00–11:06three calluses. And further, he makes the circuit from temple to palace and palace to
11:06–11:12temple, and his day passes clinging to service of those two houses. Can such a man be a gallant?
11:13–11:19Yes, certainly. All these seem obstacles to gallantry, but in Evanti, during a quarrel in
11:19–11:25the courtesan's quarter, one of his fingers was cut off. At Padmanagara, an enemy drove two arrows
11:25–11:31into his hip bone. At Videsha, a bolt shot from a machine severed his arm and cast it to the ground.
11:32–11:35Even today he pays physicians and sorcerers for Aphrodisiacs.
11:36–11:36Walking
11:37–11:43He feeds money to courtesans, though his body's natural capacity is weak, he delights in talk of
11:43–11:49love. For these reasons I place him at the summit of the foremost gallants. It is a nobleman's
11:49–11:54colourful temperament that charms us, what need have we of physical prowess? How could he
11:54–11:56not be a gallant?
11:56–12:00If so, ye surely the leader of all gallants.
12:00–12:06For that very reason I too have crowned him their jewel. Go now. Blessings upon you. I
12:06–12:12shall proceed as well. I have reached the city street. Ah, the incomparable splendour
12:12–12:16of this city called Sarvabhama, the diadem of Jambadvipa and residence of the Universal
12:16–12:20emperor, possessor of unconquered glory won in many wars.
12:20–12:25Music, the jingling of women's ornaments, the chatter of pet birds, the sound of sacred
12:25–12:29recitation, the twang of boughs, the rasp of knives in the slaughterhouse, the voices
12:29–12:34of female attendants within palace chambers, and the resonant calls of tame cranes make
12:34–12:37the painted rows of white buildings seem to converse together.
12:37–12:38And further.
12:38–12:39Looking.
12:39–12:40Thinking.
12:40–12:47Hundreds of kings from mountains, islands, seacoasts, and deserts have come here and taken up residence
12:47–12:49in every quarter.
12:49–12:54Here, in one place, a man can behold the creator's manifold world, as strange as tales never
12:54–12:56heard before.
12:56–13:01Filled with people from Kola, Pandya, and Kerala, the city is everywhere delightful.
13:01–13:05Who is this approaching in an uncovered white palanquin, imitating the display of some
13:05–13:07aristocratic widow?
13:07–13:10Yes, I recognize him.
13:10–13:15the keen Bhagavata minister Vishnudasa, marked by his cane staff and water pot. Though appointed
13:15–13:20to the responsible office of judge, the poor man has become entangled in meditation practice
13:20–13:25and, like a monk wandering in indifference, cannot properly discharge the king's business.
13:25–13:28And further. In court, the colleague sharing half his
13:28–13:33seat shakes his knee by hand to wake him, the court officer standing before him shouts,
13:33–13:37bows his head, and tugs at his feet to signal him. Yet he continues nodding and
13:37–13:43sleeping like an ox at market. Meeting him is an obstacle to a gallant, yet as a preacher
13:43–13:49of righteousness he deserves an approach. I shall go near. He has seen me from afar, stopped
13:49–13:55the palanquin, and is getting down. Sir, remain where you are. You need not trouble
13:55–14:00to welcome me merely to display affection. What does he say, I am not honouring you,
14:00–14:06I am simply observing my discipline. Very well. Since you are so devoted to proper attentions,
14:06–14:11it right to turn away an Angesina when she approached you in love? What does he say? Did
14:11–14:18I fail to receive her in a manner suited to her affection? Look! When she bowed, I pronounced
14:18–14:24a blessing. When she sat, I asked her to seek the discipline of yoga, that is, permission
14:24–14:30to unite. Seeing her eyes swollen by wind, I said, here, daughter, drink some clarified
14:30–14:31butter.
14:31–14:33Walking.
14:33–14:35How then did I fail to honour her?
14:35–14:39Ah, you certainly gave that delicate beauty an excellent reception.
14:39–14:44Smiling, he now shows me a sacred lemon worthy of a Bhagavata, hoping to please me.
14:44–14:47I am already your disciple.
14:47–14:51In so great a matter, you cannot dismiss me with nothing but a cat's prostration.
14:51–14:53Vanish quickly now.
14:53–14:55I too shall go.
14:55–15:00Here is the market of Sarvabhama, shops crowded with women and men buying and selling goods,
15:00–15:05fine and coarse, brought over land and water from many countries.
15:05–15:07What can one say of it?
15:07–15:11As birds crowd a roost and cattle a pasture, so a great roar rises here from the multitude
15:11–15:13gathered for trade.
15:13–15:15For example,
15:15–15:19Iron mongers' shops ring clang upon clang, bronze turning on the late cries like a
15:19–15:23curara bird, the iron tool pressed to a conch to cut bangles hisses like a horse's
15:23–15:30death, and people approach from every direction to buy and sell. And at this moment, garlands
15:30–15:35of flowers seem to smile with beauty as they are sold in the shops. Cups circulate in drinking
15:35–15:40houses and wine is consumed. Butchers, holding bundles of reed skewers, watch from the corners
15:40–15:46of their eyes the birds swooping upon slaughterhouses whose inner walls are lined with knives.
15:46–15:48And further.
15:48–15:52Shoulder pressed to shoulder, arguing, buying, coming, and going, this crowd resembles
15:52–15:57roads of seedlings planted in a field. Gamblers who have won a few moshers at play advance
15:57–16:03toward the brothel road with attendance carrying flowers, cakes, meat, and liquor. The market
16:03–16:08road is difficult to traverse through this jostling crowd. I shall pass through the flower
16:08–16:12lane, keep the drinking houses on my right, cross the Ponebadra crossroads, and reach
16:12–16:16the Cortizans road by way of Makar Arathia Lane.
16:16–16:20Walking To enter the Cortizans quarter without first
16:20–16:24accumulating money is as futile as entering battle without a weapon, it brings only disgrace
16:24–16:30and disaster. Yet for my friend's sake I must make the circuit. There I shall find the whole
16:30–16:31gathering of gallants.
16:31–16:32Looking
16:32–16:38Who is this making the drinking pavilion laugh, singing the bang-aider song of the Yordhaeyas
16:38–16:42to symbols and flutes played by Rotarka drummers, crested Carantacca flowers hanging over
16:42–16:46one cheek, lifting the wet upper garment whose fluttering border lies over his right
16:46–16:51shoulder so that it will not slip, swaying his hips again and again, raising a wine cup in
16:51–16:58his left hand, and dancing. Yes, I know him. It is Bappa, son of a Balakar, that poor fellow
16:58–17:03who has become everyone's laughing stock, like the cock of the courtesans' quarter.
17:03–17:07Truly, I have never seen him sober or without drink, yet I have never seen so much as a
17:07–17:10half penny remain in his hand.
17:10–17:11Thinking
17:11–17:13How, then, does he live?
17:13–17:16Ah, I understand.
17:16–17:20The shameless rogue has become a parasite upon everyone under the pretense of being everybody's
17:20–17:21friend.
17:21–17:26With a fistful of sweets, Bappa pushes into circles of drinkers among actors, actresses,
17:26–17:30servants, and grooms.
17:30–17:33How astonishing is his skill in procuring drink?
17:33–17:36It is useless to speak with him now.
17:36–17:39Here comes another walking treasury of ancient gallantry.
17:39–17:44Returning from worship at the temple of love, old Sarinigupta, the aging Precures, adjusts
17:44–17:49upon her shoulder's hair white and scattered like flowering cairns grass.
17:49–17:52She wears clothes washed during the night, replaces an upper garment slipped from one
17:52–17:57shoulder, and circles the Makara pillar of love's shrine, yet all the wild glances
17:57–18:01sideways at a dancing peacock surrounded by crows swooping upon the offering.
18:01–18:05Truly, the surviving marks of dalliance upon her body still proclaim the playfulness
18:05–18:07of her vanished youth.
18:07–18:14in now. Her hanging breasts are filled with pale scars from nails. Her lips, sucked again
18:14–18:19and again in former days, sag at the edges and have grown knotted in the middle. Even
18:19–18:24today, from old habit, the movement of her brows reveals the longing within. Age has
18:24–18:30forcibly stolen her beauty, but it could not steal her cockatry.
18:30–18:34It will be difficult to pass without speaking to her. She calls my dear friend, the drummer
18:34–18:40Her beloved, clearly his medicine for cooling her anger has succeeded.
18:40–18:41How shall I address her?
18:41–18:44Yes, I have it.
18:44–18:48Three days ago poor Sthanyumitra, in the midst of a deep kiss with her, underwent a most
18:48–18:50revolting experience.
18:50–18:53Shame on such clinging love.
18:53–18:56As she kissed him passionately, one of her teeth came out by the root and fell into
18:56–19:00his mouth, the instant it touched his tongue, he spat it out.
19:00–19:05If, while wishing to enter the Cortizan's quarter, I failed to cross this ford.
19:05–19:07Walking
19:07–19:09I shall be cheated of my amusement.
19:09–19:14But perhaps the tale of her tooth falling into Svannumitra's mouth has already spread.
19:14–19:17It would be unkind to approach and shame her again.
19:17–19:20I shall salute her from a distance.
19:20–19:22Now I shall go.
19:22–19:24I have reached the Cortizan's quarter.
19:24–19:27Ah, it's incomparable splendor.
19:27–19:31They stand mansions with broad courtyards, divided into distinct sections, of elegant
19:31–19:36construction and surrounded by beautiful moats filled with clear water.
19:36–19:41They abound in separately fashioned ramparts, wheel moldings, halls, upper chambers, pinnacles,
19:41–19:47dovecots, lion-ear projections, roof timbers, falter departments, terraces, viewing galleries,
19:47–19:50gateways, cornices, and palaces.
19:50–19:54Some are beautified by water sprinkling, some cleaned by blowing through tubes, some
19:54–19:58Plasted and painted, dawned with carvings in low and high relief, they have fitted joints,
19:58–20:04doorways, and projecting balconies with platforms. Their inner courts are ornamented here with one
20:04–20:09tree, there with two or three separate beds contained trees suited to household gardens,
20:09–20:14vegetables, fruit, and flowers for garlands. Clear pools scattered with white lotuses
20:14–20:18shying beside artificial wooden hills, underground chambers, boughs of creepers,
20:18–20:23and painted lotuses in full bloom. The magnificent palaces of the chief courtesans,
20:23–20:28flying victory banners of good fortune, seem to rise from the earth toward the sky.
20:29–20:35Here, outside the quarter stands a karnirata carriage. Men from Avanti sit dozing against it,
20:35–20:40scratching its wool with their nails. On both sides, uniformed karnirata guards stand
20:40–20:46pressed against the axle. Nearby are kambhoja horses and female elephants, their drivers
20:46–20:50drowze lazily, and the saddles and carpets upon the animals' backs have been folded double.
20:50–20:55All this shows that their wealthy and official masters have left their vehicles outside and
20:55–20:57entered the courtesans' houses.
20:57–20:59And in this very place.
20:59–21:04On one side, departing men are seen off with tears, on the other, arriving men are sent
21:04–21:07home by the same overflowing tears.
21:07–21:11Wealthy patrons are flattered, while a lover returning after losing his fortune is cursed
21:11–21:15and driven away by the old board.
21:15–21:18This woman is appeasing her offended lover.
21:18–21:22That one is delighted by her beloveds in treaties.
21:22–21:26Another, plucking the seven-string ute with her nails, sings in the beautiful fifth note
21:26–21:31of the cacally register and, undercover of a love song, weeps with longing.
21:31–21:35One woman, seated before a mirror, is being adorned by her lover.
21:35–21:38Another is tying her beloved's top knot.
21:38–21:40One teaches a minor bird to speak.
21:40–21:45A drunken peacock, scolded with a spray of mango blossom, is dancing.
21:45–21:50Now that woman bends her slender waist after playing ball for so long.
21:50–21:52Another sits playing dice with her lover.
21:52–21:57This mature woman paints a picture for amusement while that one reads a tale.
21:57–22:00Ah, I have been welcomed.
22:00–22:02Noble Vossu, sit down.
22:02–22:04You appear after many days.
22:04–22:09Today ask the very man who deceived my innocent girl so badly.
22:09–22:13In my view, you are the one who deserves appeasement.
22:13–22:19may he, whatever he is, remain good to you. There, I shall go."
22:19–22:24Harishandra, son of the physician Ishanachandra of the Kankayana lineage, approaches like the
22:24–22:29moon illuminating this courtazans garden, a pool of night lotuses.
22:29–22:35What business has he here? I remember. He desires Priyanka Yastaka, the younger sister
22:35–22:41of his former beloved Yashomati. He conceals this secret even from me. I cannot pass without
22:41–22:43meeting him, so I shall approach.
22:43–22:44Approaching.
22:44–22:51Oh solitary Chakravaka bird of this lotus forest of quarters and, where are you coming from?
22:51–22:57I have been giving medicine to Priyanka Yastika, younger sister of your dear friend Yashomati.
22:57–23:02It seems that the beggar of love has not extinguished his fire of desire even in her illness.
23:02–23:05You have gone to teach her how to inflame it further.
23:05–23:06Enough joking.
23:06–23:09Her headache is extremely severe.
23:09–23:13Friend, is it truly so?
23:13–23:15What doubt is there?
23:15–23:18She will recover only with great difficulty?
23:18–23:19Quite so.
23:19–23:24For a courtesan, a headache is that dowry accompanying a hundred thousand ailments.
23:24–23:26Look!
23:26–23:30With red sandal paste-like ceiling wax upon her brow, playing with lotus fibres, lotus
23:30–23:34leaves, and flowers, moving her brows and caceticially asking after the welfare of
23:34–23:39her accomplished lovers, a courtesan claims a headache whether she is indifferent or enamoured.
23:39–23:47You have always been notorious for harsh jokes. I have administered her medicine and am returning.
23:47–23:52Very well. Surely. Twisting her bracelet covered hands, stamping her foot upon the
23:52–23:57floor, and using one hand to hold the silk and garment and girdle slipping below her
23:57–24:01navel, did you seize that wide-eyed woman by the hair, turn her face toward you, and
24:01–24:05drink the nectar of her lips, or did you make her drink the sediment of the medicine that
24:05–24:06is your own lip?
24:06–24:09Walking. Recognizing him.
24:09–24:12Friend, only you could do such a thing?
24:12–24:18You thief, if even now you will not reveal your secret to me, then. But today, for some
24:18–24:23business, all the gallants are to assemble at the house of Bhattajibhuta, their chief.
24:23–24:26Friend, be sure to come at the proper time.
24:26–24:30The gallants already know that they must arrive in the third watch to decide Vishnu
24:30–24:34Go ahead, I too shall come.
24:34–24:38Excellent. Blessings upon you. I shall go.
24:38–24:42How did every gallant learn the news? That saves me labour.
24:42–24:46I shall now pass the time among courtesans and friends.
24:46–24:50Who is this piebald cult, dressed like a horse though he has none,
24:50–24:54opening the door of Pushpardasie of Pataliputra? Ah, I see.
24:54–24:58It is Bata Magovarman, handsome son of the general Seneca.
24:58–25:03son of the general Seneca. During the conquest of Saurashtra he captured and brought back
25:03–25:07the dindis of later, whose cheeks shone with great white wooden earrings, with folded hands
25:07–25:12they pleaded, the charge that we are notorious rogues though not caught in the act is untrue.
25:12–25:17I cannot pass without speaking to him, to do so would seem a cooling of affection. I
25:17–25:19shall approach him.
25:19–25:22Approaching. Listening.
25:22–25:28Is anyone in my friend's house? Why, Bhattamaghavarman himself is calling me. What
25:28–25:34Does he say, friend, seeing these new chamberlings serving me, do you still take me for a king?
25:34–25:37That royal formality between us ended long ago.
25:37–25:40Wait a moment, I am coming?
25:40–25:45Batty approaches, placing each heavy, dignified step upon the floor like a bull crossing sand,
25:45–25:47and lending splendor to the chamber.
25:47–25:51He is long practised in pleasure, and the courtesan's quarter is the place for
25:51–25:54pleasure, his appearance is therefore perfectly fitting.
25:54–25:56And further.
25:56–26:00He approaches swinging his arms, his chest and shoulders are shapely and high, he moves his
26:00–26:04brows kiketicely and repeatedly looks from the corners of his eyes.
26:04–26:08Seeing him enter the palace with such animation, one would think a one-man boner were being
26:08–26:12performed without lute or drum.
26:12–26:14Let me speak with him.
26:14–26:18Bhattamagavarman, why did you remain here enjoying yourself for so many days and leave
26:18–26:21your friends yearning in your absence?
26:21–26:24Even the briefest sight of you brings well-being.
26:24–26:28Laughing, dawned by an upper garment rippling over his right shoulder, and breathing his
26:28–26:32welcome in broken syllables, he folds his hands to me.
26:32–26:36But he said only now that Pushpardasie is menstruating today, how then has he joined
26:36–26:38with her?
26:38–26:41These dindis of later are little better than demons.
26:41–26:42How so?
26:42–26:46People of later-bathed naked in public, beat their own clothes upon the stones, shake
26:46–26:50out and leave their long hair loose, lie upon beds without washing their feet, eat
26:50–26:55whatever takes their fancy while walking along the road, feel no shame in wearing torn garments,
26:55–27:01and even when striking a man in his misfortune, continue boasting of their own greatness. Or
27:01–27:06perhaps he has merely acted according to the custom of his country. That is why, without
27:06–27:10troubling about the bell fruit, you pluck the blossom itself.
27:10–27:12How so?
27:12–27:16Look at this upper garment of yours, stained with menstrual blood.
27:16–27:20I think it has been stained by beetle juice dripping from the bed.
27:20–27:22Do not say so.
27:22–27:27What does your brow, covered with beads of sweat like scattered seed pearls, tell us?
27:27–27:29He turns aside and laughs loudly.
27:29–27:33You base, degraded sensualist, did you deceive her?
27:33–27:35What deception?
27:35–27:38She seized my very heart.
27:38–27:39Listen.
27:39–27:43A creeper-like woman whose broad forehead is revealed by arranging and fixing the front
27:43–27:47of her curling hair, whose full hips are delightful beneath a short lower garment,
27:47–27:51whose body appears almost naked when the ornaments in front are removed, can such a woman, though
27:51–27:58menstruating, be left untouched. And there is more worth hearing. Turning her eyes sideways,
27:58–28:02examining the scratches of her nails, and slightly lowering her head, she sat in the
28:02–28:07shade of her own house. The instant I saw her, she clutched her trembling, firm breasts
28:07–28:13with both hands, ran inside, pushed the threshold door with her hand, and shut it. I too
28:13–28:18darted inside. The moment I seized her hair and pulled her toward me, she stared at me
28:18–28:25with great eyes. Her breasts trembling, she kept saying, What are you doing? No, no. Yet
28:25–28:32I kissed that playful woman. Wonderful, what an extraordinary first meeting. I shall question
28:32–28:36him. Well, what happened next?
28:36–28:37Framed.
28:37–28:41When you came upon her with her girdle displaced and her hips exposed, she covered your eyes
28:41–28:48in shame. Shame on you. You are base, disgusting, and worthy of condemnation by honorable men.
28:49–28:54Thus you have once again favoured me. Have you not read before in the Mahabharata?
28:55–29:00He who has not many enemies, whom people do not fear, and whom men do not gather to revile,
29:00–29:06O Partha, he is no man but the lowest of men. That, indeed, is the true nature of a dindi.
29:06–29:10I am completely delighted with your dindi character.
29:10–29:13You deserve to be soul sovereign of all gallants.
29:13–29:15Receive my blessing.
29:15–29:17I am attentive.
29:17–29:18Then listen.
29:18–29:23At dawn, may your beloved embrace your back as you lie beside her, fearlessly lay one bare
29:23–29:27thigh across your side, pull your hair to turn your lotus face toward her, drink the
29:27–29:31nectar of your lips, and make you drink the nectar of hers.
29:31–29:35Saying, I am favoured, he prepares to leave.
29:35–29:40can offer my respects to your lord. I too shall go.
29:40–29:45Who is this adorning herself at the window of her house like an absurre in a celestial
29:45–29:50chariot? It is parachromica, the chief courtesan of Kashi, playing the piccala and satisfying
29:50–29:55the eyes thirst with the sport of her beauty and charm. Binding her breasts with a golden
29:55–29:59crossband, wearing a short lower garment that clearly reveals the swell of her hips,
29:59–30:03churning the minds of lovers, she sways like a restless young leaf upon the creeper
30:03–30:09of the courtesan's quarter. And further. Her face shines with the reflected light of
30:09–30:14gems in a jeweled earring hanging against one temple. Through long practice she blows,
30:14–30:19ee, ee, from beneath her chin and plays in a sweet tone upon the picola hell to her lips.
30:20–30:24Mistaking the sound for a frog's croak, the household peacock circles round and round,
30:24–30:29turning its neck. Hiranyagarba, confidential secretary to Indra's farm in,
30:29–30:35hurries from her house and comes this way. Why be surprised? For Indrasfamin and Hiranyagaba
30:35–30:41to meet in the Kortasan's quarter is merely heat-joining heat. He folds his hands in greeting.
30:41–30:46Hiranyagaba, why do you wish to have this temple-like Kortasan's quarter destroyed by the demons of
30:46–30:52Aparanta? My master has acquired a taste for foreign merchandise and has entrusted this
30:52–30:58business to me. Formerly she accepted 500 gold coins, now even with a thousand it is
30:58–31:04difficult to flatter her into agreement. Help me settle her price.
31:04–31:09Your innocence surpasses innocence itself. Even for a hundred thousand no one can buy another's
31:09–31:15life. Why do you suppose our lives are endangered by her?
31:15–31:19Everyone knows that Bartres Varmine once joined with his fly-whisk Barracou Tangadasi and
31:19–31:26thereby put his very life in danger. Beat me if you like, but that is the truth.
31:26–31:30Take refuge in Fosod if you must, but do not tell your master such a thing.
31:30–31:33This is my master's old habit.
31:33–31:35It cannot be cured.
31:35–31:38Still, the matter is not wholly bad.
31:38–31:42Consider, what Cortizan would not desire that southern lord of Cancunna, provided he lived
31:42–31:45with her like a gentleman.
31:45–31:46And further.
31:46–31:51Look at Indrodata in a Cortizan's courtyard making his elephant dance, like Bagadatta wheeling
31:51–31:54a rutting elephant in the Bharata War.
31:54–31:59with lotus hands upon their breasts watch him as frighten does watch a tiger.
31:59–32:03And this woman, calling Parashavakoshika Simhavarman, the brother-in-law of my sovereign lord Indra
32:03–32:09Dutta, her friend and beckoning him near, shows every other lover her thumb in rejection.
32:09–32:13He is excessively lustful, so she wishes to escape him.
32:13–32:16Excess is the custom of your country.
32:16–32:22I understand neither the custom nor the impropriety of my country, speak plainly.
32:22–32:28such courteous behaviour from you, how can I refuse? Listen. In the cackly posture of
32:28–32:33love, her toenails come close to his ears and scratch them. Then, like a wild elephant
32:33–32:39calf struck by the goad, he falls upon her exposed hips as a bull falls upon a heifer.
32:39–32:45Now I shall carry this very gift to my master. If so, tell Indra's farming. That woman,
32:45–32:49whose hips are painted with tooth marks and who wears her lover's garland as a girdle,
32:49–32:55not expose those hits to another man, even for a thousand coins, while she has you. Blessings
32:55–32:57upon you. I shall go.
32:57–33:01Walking. Looking.
33:01–33:06Who is this emerging from the house of Shamadasi, courtesan of Sherparaka, surrounded by dindis
33:06–33:11and illuminating the entire quarter? Why, it is the great chamber in Budriyuda, lord
33:11–33:16of the northern regions, Balika, Karusha, and Malayda, a moving place of pilgrimage
33:16–33:21for gallants. His hair tied in a knot, great white wooden jar shaped ornaments in his ears,
33:21–33:26he speaks among his companions with repeated, JJJ, imitating the people of Gujarat.
33:27–33:32Why does he show such favor to the people of later? A man of later wraps his upper garment
33:32–33:37round both arms, binds his waist with a twisted sash, and the moment he approaches, cries,
33:37–33:42shh-shh-shh, and falls at one's feet like a crooked shoulder hunchback. And further,
33:42–33:48making the shape of a pigeon upon his chest with both hands, he stammers loudly, saying,
33:48–33:54JJJ, in place of, Y. His waist tightly bound in the middle by a two-colored twisted sash,
33:54–34:00he walks gingerly as though his fingers were sinking into mud. Where can flawless magnificence be
34:00–34:06found? Or perhaps, when one comes abroad, such solitary joking alone becomes him. How so?
34:06–34:12He placed both feet upon the heads of the kings of Aparanta, Chaka, and Malava and forced
34:12–34:17them into hiding. After roaming as he pleased, he returned in time to the land of his mother
34:17–34:23and mother Gonga, and made the fortune of Magada's royal house manifest throughout the world.
34:23–34:25And further.
34:25–34:28On the seashore, their hair loosened by the gentle strokes of the wind, the yearning women
34:28–34:33of Aparanta hide among the hintala groves and sing his deeds of victory beside the great
34:33–34:36ocean. What is their song?
34:36–34:41In humanity and in the science of arms no one can equal Budriyuda. However, hearing
34:41–34:46of his success, desires to rival him might as well eat swine's food.
34:46–34:48Walking
34:48–34:53Someone here is painting the banner of Pradumna, that is, the God of Love's temple. It must
34:53–34:59be the work of some dindis. These dindis are scarcely better than monkeys. What particular
34:59–35:02merit in painting pleases them. Listen.
35:02–35:06They smear and orb a finished picture with additions of their own and ruin it, they
35:06–35:10dirty freshly plastered house walls with ink from a brush, and, taking a sharp pointed
35:10–35:15a little, scratched the palace walls as though worms had eaten them.
35:15–35:16Looking
35:16–35:17What is he painting?
35:17–35:21Ah, it is nirrepecture, the indifferent one.
35:21–35:23His name suits him.
35:23–35:26The saying is true, wealth steals character.
35:26–35:30Because of it, this prosperous man is indifferent to my dear friend, for whose sake she grows
35:30–35:35thin in the quarter's unsquarter, observing the vows of an ascetic.
35:35–35:39The poor woman, the curved line of hair showing across the region of her three bella-folds,
35:39–35:44bears three burdens in three ways, tears upon the tips of her curved, thick, black lashes,
35:44–35:49her face upon a hand whose bracelets are wet with teardrops, and heavy grief upon her heart.
35:49–35:52I shall therefore aim at taunts at him.
35:52–35:57Bhagavata nirrepeksha, or rather, one who keeps away from Bhagavata's, you conduct yourself
35:57–36:01according to the compassionate Buddha's doctrine of universal friendship.
36:01–36:05Then is this wandering in indifference toward a woman marked with the seals of the science
36:05–36:07of love proper conduct.
36:07–36:10I understand the meaning of your sarcasm.
36:10–36:13I have now become a lay Buddhist.
36:13–36:17The Tathagata said, such is the nature of the world.
36:17–36:19Do not speak so.
36:19–36:22Does the Tathagata's word apply only there and nowhere else?
36:22–36:27Tell me, where and when is the Tathagata's word not authoritative for me?
36:27–36:30Ah, such a vow from you?
36:30–36:32What doubt is there?
36:32–36:34Good man, listen.
36:34–36:37You ignore the suffering of the deer before you in the hunt, its tongue hanging from the
36:37–36:42effort of flight, its head raised and eyes looking upward, a cruel arrow driven into its
36:42–36:46heart, yet you know how to meditate upon the Tathagata Buddha.
36:46–36:48Ah, he laughs aloud.
36:48–36:53What does he say, one should not cast doubt upon the Tathagata's teaching?
36:53–36:58Scripture is one thing and human nature another, I too am not free from passion.
36:58–37:01If so, then that woman in such a condition.
37:01–37:04Permission to go, my respects.
37:04–37:06Finally dismiss me."
37:06–37:10In other words, let me escape somehow.
37:10–37:12Liberation is entirely impossible for you.
37:12–37:15Still, receive my blessing.
37:15–37:22When your beloved returns from abroad, yearning and downcast, seat her in your lap.
37:22–37:27As she rests her head upon your shoulder and weeps, console her again.
37:27–37:31Untidy uneven braid knotted like a buffalo's horn, and with your own hands disentangle
37:31–37:34her long locks wet with the hot tears of love.
37:34–37:36He has gone, showing his teeth.
37:36–37:38I too shall proceed.
37:38–37:40Who is this approaching?
37:40–37:45His privates covered by a scrap of filthy monastic robe, goat-faced, yellow, covered in cotton-like
37:45–37:51hair, broad-shouldered, monkey-eyed, and eating a radish, some man from Dashiraka approaches.
37:51–37:55In truth, in this form he can be nothing but a demon.
37:55–37:57Ah, I recognize him.
37:57–38:01I have sometimes seen him at the house of my kinsman or friend Guptakula, son of
38:01–38:03the Lord of Dashiraka.
38:03–38:05What business has he here?
38:05–38:08He approaches with folded hands.
38:08–38:12What does he say, Guptakula has ordered, look secretly?
38:12–38:14I shall pay five pannas in a lump.
38:14–38:18Will any courtesan be satisfied with so small an advance?
38:18–38:22If among the courtesans crowding the city street you see one who will, give her the advance
38:22–38:24yourself.
38:24–38:28Remembering my master's order, and partly for my own interest, I raised the offer
38:28–38:30as high as four times that amount.
38:30–38:35at present the courtesans, though full of desire, will not even discuss love, behaving like
38:35–38:42respectable maidens. If I return with this contrary report, I shall be punished. All rich men are
38:42–38:43alike.
38:43–38:49Excellent. The messenger of Prince Guptarcula, endowed with the virtues of country, costume,
38:49–38:53language, and courtesy, stands in the courtesan's quarter and yet asks where the shop is in
38:53–38:58which such merchandise is sold. It would be wrong to tell such a jewel the truth and
38:58–39:04dismiss him at once. Let him remain exactly as he is. I shall say this.
39:04–39:09Brother, go to the salt shops, the Chalavanika Panna, on the royal highway and ask there
39:09–39:15for a courtesan. Delighted, he bows and departs. I too shall go.
39:15–39:24Walking. Looking. Entering. Looking. Reading.
39:24–39:27Where shall I wash the dust from my eyes after seeing that man from Dasharaka?
39:27–39:33Ah, there it is, the house of my former beloved, Shurasenna Sundari.
39:33–39:35Why is the side door open?
39:35–39:37I shall go in.
39:37–39:39Where can I sit and rest from walking?
39:39–39:41Yes, I know.
39:41–39:46This avenue of pre-angry trees invites me to its cool platform like the lap of a beloved.
39:46–39:48I shall sit here.
39:48–39:49What is written here?
39:49–39:54Friend, at a first meeting there is no occasion for a quarrel, nor have I heard that your beloved
39:54–39:57was angry, nor received news that he was ill.
39:57–40:01Why then did you return from the young man you had desired for so long without so much
40:01–40:08as disturbing the pattern of your cosmetics?
40:08–40:11This announces the misfortune of some woman rejected in love.
40:11–40:13Whom shall I ask?
40:13–40:18The jingling of anklets tells me that Shura Sena Sundari is coming this way.
40:18–40:22In one leaf soft hand she holds the shaft of a beautiful parasol.
40:22–40:25With the other, she catches the end of her slipping undergarment and steadies the silk
40:25–40:29sliding beneath a girdle strung with restless gems.
40:29–40:33Smiling, her slender body glittering in the flash of ornaments, she approaches like the
40:33–40:38presiding goddess of night, dawned with moon, stars, and birdsong.
40:38–40:41Her very radiance compels even me to rise.
40:41–40:43She approaches with folded hands.
40:43–40:46Do not dispose of me with such a formal welcome.
40:46–40:52My lord has come after many days, through proper courtesies this servant wishes to honour herself.
40:52–40:56Enough, enough, you have reproached me sufficiently.
40:56–41:00Be gracious enough to take this seat, my lap, which is fit for you.
41:00–41:06Saying, your command rests upon my head, she sits, covering half the bench with her hips.
41:06–41:08Ah, you should not sit here.
41:08–41:11Why is she trying to erase it with her hand?
41:11–41:13Why?
41:13–41:19Someone rejected in love has written her story here in verse, making public her own disgrace.
41:19–41:20I have seen it.
41:20–41:26Thief, it cannot be erased, it has already been written upon my heart.
41:26–41:27Why do you hide it?
41:27–41:33You know that my friend Kusumovatika is violently deranged with desire for your dear friend,
41:33–41:35the painter Shivsthamin.
41:35–41:40I know it well, I also know that Kusumovatika favored him by coming to him herself.
41:40–41:45Such is the nature of a woman's heart maddened by desire, she displayed a woman's natural
41:45–41:46impulsiveness.
41:46–41:48Remarkable.
41:48–41:49Let me ask.
41:49–41:54I ask because I possess the confidence of you both, not from curiosity about another's
41:54–41:55secret.
41:55–42:00Tell me, did the long-desired festival of love between them end happily?
42:00–42:01Listen.
42:01–42:03I am attentive.
42:03–42:06You say, when the wine took effect and she wished to favor Schiff's women, your
42:06–42:09friend behaved in this fashion.
42:09–42:13He spent the first watch recounting the story of an uninteresting wrestling match.
42:13–42:18The second passed in pointless talk of sesame sweets, molasses, and the like.
42:18–42:22He consumed the third explaining how to fatten a goat.
42:22–42:26What happened after that would best remain untold even to you.
42:26–42:28Beautiful one, how did you learn all this?
42:28–42:33You say, I heard it from Padmopala, the chamberlain who came from his friend's house, and sent
42:33–42:37this verse in the hand of a messenger who had come to ask after her welfare.
42:37–42:41When she came with that attendant, smiled in embarrassment, and said to me, I do not wish
42:41–42:44to trouble you by concealing a secret.
42:44–42:46Therefore hear this new event.
42:46–42:49She then told me the true story of what had happened.
42:49–42:53You too may partake of this nectar for the years.
42:53–42:55She claps her hands and laughs as she speaks.
42:55–43:00Beautiful one, what do you say, now hear what my friend told me.
43:00–43:02She said, dear friend.
43:02–43:04I embraced him and kissed him.
43:04–43:08I marked his hips with my nails and urged him toward love.
43:08–43:11But when he remained inert as Woodon would not join with me, I grew angry and lay clinging
43:11–43:14to the side rail of the bed.
43:14–43:16Then I said, you have suffered greatly.
43:16–43:19Do I not understand even this much?
43:19–43:22Then I said, you have suffered greatly.
43:22–43:25Do I not understand even this much?
43:25–43:29She sighed and told me, I tried every means on my side, yet he could not awake and
43:29–43:31desire for me.
43:31–43:35Only seeing every stratagem fail and recognising my own ill fortune, I bit my breast and began
43:35–43:36to weep.
43:36–43:42Then, taking me weeping into his lap, he exhausted himself by trying to console me with repeated,
43:42–43:44useless kisses and embraces.
43:44–43:47I said, what good comes of touching with a hand alone?
43:47–43:53Then, wet with sweat from shame and alarm, his face drying, he forced out a few words.
43:53–43:57Blameless woman, do not condemn your own good fortune.
43:57–44:02so great a treasure stood before me, my eyes were as if blind. The gugle I formally took
44:02–44:07to reduce fat is now killing the nectruous pleasure of union with you. Then I thought,
44:08–44:12if gugledrunk to reduce fat cuts away the very root of virile power in this manner,
44:12–44:17we were pondering what to do after the failure of the union we had both desired so long,
44:17–44:21when suddenly the royal timekeeper, announcing that the night was over,
44:21–44:24rang the bell loudly and recited the auspicious morning praise.
44:24–44:29Like a helpful friend, he freed me from that predicament.
44:29–44:33The lover then accompanied me a short distance in shame and left me.
44:33–44:37When I returned home, you sent a messenger to ask after my welfare, as though mocking
44:37–44:38me.
44:38–44:41Therefore I have told you the entire affair.
44:41–44:46Now I shall sleep by day and recover from the fatigue of that fruitless night vigil.
44:46–44:48Saying this, she departed.
44:48–44:52Afterward I came here, and now you two have heard everything.
44:52–44:56In letter sound, with a boat of ridicule, the deep sea of false fame for manly prowess that
44:56–45:00shifts for me, son of the illustrious Shivdata, has created.
45:00–45:02Look!
45:02–45:07Fierce woman, when a man drinks guggle because his fat has increased, his fat soon diminishes,
45:07–45:12but to young women he remains merely handsome to look at, like a yakshaw painted in a picture.
45:12–45:14She bursts into laughter.
45:14–45:16Now I must go.
45:16–45:18No need to bow.
45:18–45:19Walking!
45:19–45:22I too shall proceed.
45:22–45:24What are these young cortisans looking at?
45:24–45:28They stand in the shade of a building in the cortisans lane, pausing from ballplay, the
45:28–45:32picola instrument, dolls, and toys.
45:32–45:36They are lovely as a mass of lotuses with their fibres, their lotus faces rise upon their
45:36–45:40necks, their many coloured glances are wide, and with hands upon their breasts they signal
45:40–45:43one another to turn and look.
45:43–45:44What is it?
45:44–45:46What can this be?
45:46–45:51Is some enormous pot bouncing toward us, or is someone dragging a water-skin?
45:51–45:56a headless trunk risen to its feet, or are two granaries walking. What astonishing object is this?
45:57–46:04Ah, now I understand. It is Upagpta's pot-bellied body rolling this way. His appearance proves that
46:04–46:09nicknames are rightly bestowed in a rogue's assembly. Harkrishna, the treasury clerk who
46:09–46:14secretly swallows government property, is a black wild ram, Harry Breety is a complete buffalo,
46:14–46:18and Datagpta is a wind-inflated water-skin. Looking.
46:18–46:24How has the poor fly-whisk-bearer of Gonga and Yamuna, the book reader Madhyanti, fallen
46:24–46:29in love with Ubhagapta after leaving that elderly reader of the three Vedas, my dear friend?
46:29–46:33He used to embrace her properly with his soft arms.
46:33–46:37But the poor woman has no flavour left in embraces, with the drying up of her menstrual
46:37–46:40flow, she has been deprived of the machinery of love.
46:40–46:44Now she exchanges playful words merely to support her household.
46:44–46:47That is appropriate for her.
46:47–46:50The followers of Dataka say that one emptied of Viral power six to accomplish matters by
46:50–46:51talk alone.
46:51–46:55Why does a beguptor appear so disturbed?
46:55–46:58Ah, I understand.
46:58–46:59Approaching
46:59–47:04I heard in the quarter that his mother-in-law has dragged him before the tribunal over money.
47:04–47:08So there has been a dispute between mother-in-law and son-in-law.
47:08–47:10This will be highly entertaining.
47:10–47:14I shall not deprive myself of the profit, let me approach.
47:14–47:19A woman-shaped cooking pot, yakshaw of the courtesan's road, what brings you here?
47:19–47:23Exhausted after walking only a little, he stands before me panting and offers a greeting in
47:23–47:25a staggering voice.
47:25–47:27Blessings upon you.
47:27–47:33I am returning from the Prince Minister's tribunal after a dispute with that old harlot.
47:33–47:37Shall I congratulate you on victory, or help you pay the fine?
47:37–47:39Where were victory and punishment?
47:39–47:42I received only torment.
47:42–47:43Why?
47:43–47:45What do you say?
47:45–47:50The tribunal is in this state, Vishnudasa sits as though in meditation, his brother Konka
47:50–47:53threatened me over the collection and has only just had me beaten.
47:53–47:58Vishnudasa rebukes me instead and continues dozing where he sits in court.
47:58–48:00And further.
48:00–48:05The officials there demand bribes, the record keeper and clerk demand them too.
48:05–48:10The wooden elders, that is, the court constables, begged for so long that at last they seized
48:10–48:11me.
48:11–48:17the place I have learned this. A courtesan and a clerk, a clerk and a courtesan, when one
48:17–48:21considers the two, it is better to give money to the courtesan, for at least she gives pleasure
48:21–48:28in return. Congratulations that, though caught in the clerk's net, you have emerged safely.
48:28–48:34You are a consummate master. Receive my blessing.
48:34–48:38Upon the bed, may a chief courtesan, softly humming, languid with wine and inclined to
48:38–48:43love, honour you in the facture and apara-facture postures. Clapping his hands and laughing,
48:43–48:51he departs. I too shall go. Who is this other creature? With a strange gojurati-style shaving
48:51–48:55pattern upon his wrinkled body, drunken eyes, and a smile buried in hollow cheeks, who is
48:55–49:01he, and why has he entered this courtesan's quarter that is heaven? Yes, I recognise
49:01–49:06him. This is Pihana, born in Shakarapala's house to the witch Concochetti by Kira
49:06–49:12the cobbler, a grass demon. And further, he calls Shakara Parker his father and near a
49:12–49:17picture his brother. Men of two fathering families are generally born together with hypocrisy.
49:18–49:23Why ask him anything? What business has he in this country?
49:26–49:30Old gallant Bhattiravadatta is coming this way. I shall ask him.
49:31–49:34Bhattiravadatta, do you know why that male gal has entered this district?
49:34–49:37You tell me.
49:37–49:38Then go.
49:38–49:42Where shall I divert a mind exhausted by this wilderness of men?
49:42–49:44Ah, I know.
49:44–49:49This is the house of my dear friend Rama, who never rests from intercourse with courtesans.
49:49–49:54And who keeps the house bolted from within for fear that friends may arrive.
49:54–49:55Listening.
49:55–49:57How, then, can I enter?
49:57–50:00The tinkling of anklets blends with the jingling girdle.
50:00–50:09The 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.
50:09–50:11Walking
50:11–50:18It would be improper to enter. Who would break the moving axle of the chariot of love? I too shall move on.
50:18–50:24Ah, another. Is this a burnt silk cotton tree with a few branches left at its top?
50:24–50:30or a black, elongated heron in the form of a gallant, or a ghost from the desert come
50:30–50:33to scorch the pool that is the courtesan's quarter.
50:33–50:35Yes, I recognize him.
50:35–50:39It is Suryanagar, the jaundiced fellow of Sheparaka.
50:39–50:41What business has he here?
50:41–50:45Seeing me, why does he cover his face with his upper garment, keep the temple of love
50:45–50:48to his right, and slip away silently?
50:48–50:52Three days ago, the Bannacortesans living in the thatched Kutangagara of the Outishiva
50:52–50:57district accused him. When the foreign and outcast Constable dragged him before the tribunal,
50:57–51:01Skandhakirti of Baladashika freed him with great difficulty, saying,
51:01–51:06he is a monolender attached to my lord Vishnu. My friend Vishnu Niga told me so.
51:07–51:10Why, then, is he ashamed to return to the quarter and tries to hide himself?
51:12–51:14Thinking. Walking.
51:15–51:18Because he has become an attendant of the prince, he is ashamed of such conduct.
51:18–51:25wonderful. Even association with the virtuous produces virtue, through it, a man like him
51:25–51:30has been drawn toward goodness. Yet unless I reveal that I know him, his wish will not
51:30–51:36be fulfilled. I shall circle from the right, confront him, and attack with ridicule. Seeing
51:36–51:39me before him, he smiles.
51:39–51:42Woman is Suriyaniga, why make this new visit to the Qutizan's quarter as useless as
51:42–51:46a dance in darkness by hiding it from your friend?
51:46–51:52business would I have here? I was sent to inquire after the illness of a former beloved of my
51:52–51:59maternal uncle, Lord Galiya Parishava Haridata, who is confined in prison. Do you imagine something else?
52:00–52:04Wonderful, such firmness in a friend's errand, and such fidelity in this chief courtesan
52:04–52:11toward a former lover fallen into distress. No wonder. A courtesan who wears bright clothes
52:11–52:15suited to her complexion and keeps her secrets hidden from lovers is dear to sensual men like
52:15–52:20a painted image of Lakshmi, even if she is plain or ugly. And I consider her capable of
52:20–52:26accomplishing difficult acts. How? Surely she is chewing like an old bone the face of that
52:26–52:31man whose colour has not faded even in prison, whose forehead has grown calloused from worshipping
52:31–52:35the gods, and whose face is covered by a long, chaggy beard.
52:35–52:40That is why I honour her. May your honour remain so. I regard you
52:40–52:46as truly devoted to your friend. Ah, he seizes my feet, saying, Master, be gracious.
52:47–52:50Do not tell anyone that I entered the courtesan's quarter.
52:51–52:56Friend, who can hide moonlight? From the moment you fell in love with that hunchbacked attendant of
52:56–53:00Rupert Desai, your fame spread through the region like a drop of oil upon water.
53:01–53:06Is it not so? When she embraces, she thrusts her chest forward and the hump rises behind.
53:06–53:12because the sacral part of her waist is twisted, even when aroused she cannot bring her hips forward.
53:12–53:18Lying upon the bed, she resembles a locust. How do you make love to that hunchback whose
53:18–53:25lotus face points downward? Alas, may the sin be calmed and evil be averted. I welcome your
53:25–53:32accurate description. But kindly observe. When she walks with halting steps, her gate
53:32–53:38resembles a camel's. Repeatedly swaying her hands, she seems to swim through water. When
53:38–53:43she raises her face, she appears to count the stars in the sky. What wise man would touch
53:43–53:50her, a creeper diseased by worms. Alas! It is not proper for a man knowledgeable in righteousness
53:50–53:54like you to slander so fine a woman. And further!
53:54–53:59Friend, though a hunchback may be thin and bent like a reed, like false affection she
53:59–54:04is at least beautiful in the face. Besides, she is no worse than the Bannacortesans of
54:04–54:07the frontier quarter.
54:07–54:08Worse than whom?
54:08–54:10Do you not know?
54:10–54:15Drunken, charging only one carcini, serving the lowest men, and needing rules and guards
54:15–54:19to keep them within bounds, those cheap women you secretly visit outside the city when violent
54:19–54:22desire seizes you.
54:22–54:23Walking
54:23–54:26How did you learn all this?
54:26–54:29When discovering such matters I possess a thousand eyes.
54:29–54:32Will you climb step by step ever higher?
54:32–54:37Friend, abandoning a professional beauty you desire a hunchback, abandoning the hunchback,
54:37–54:39one day you will reach her mistress.
54:39–54:41He laughs and departs.
54:41–54:43I too shall go.
54:43–54:47Who is this other man emerging from the house of Myerosena of Sinhala and coming this
54:47–54:48way?
54:48–54:52A garment over his shoulder and a shining sword in his hand, he is surrounded by southern
54:52–54:54bodyguards.
54:54–54:59his fine, patent muslin upper cloth, he wears iron armour made in Andhra.
54:59–55:03Safran marks cover his body, and he holds a prepared beetle roll.
55:03–55:08Yes, I recognise him, Harishura, the soaring man from Vidarbha.
55:08–55:14When, in Amadabh Kovari, he seized her feet, she rejected his entreaties with these words.
55:14–55:16Go to that other woman.
55:16–55:18What need have you of me?
55:18–55:21When moonlight shines, what need is there for a lamp?
55:21–55:25trying to hold two bell fruits in one hand.
55:25–55:27Approaching with folded hands
55:27–55:30How will his appeasement win her over?
55:30–55:34He openly desires another while abandoning a woman devoted to him, the entire district
55:34–55:35knows it.
55:35–55:39He takes pleasure in his ill fortune and disgrace.
55:39–55:42Or perhaps women love only the men they choose.
55:42–55:46Myiricina has collided with this feminine nature, or, when money becomes scarce, the
55:46–55:50old board herself will place Myiricina under his control.
55:50–55:53I shall ask him everything.
55:53–55:57Lion among men, you have acted properly, like a lion leaving its cave, you abandoned the
55:57–56:02lovely woman from Sinhala out of desire for union with Kavarika of the Dravidar country.
56:02–56:07I have appeased Mayurasena and am returning from her house.
56:07–56:10Tell me, how was the broken bond restored?
56:10–56:14What do you say, three days ago I was invited to a performance at the house of Dranalica,
56:14–56:17the chamberlain who supervises courtesans.
56:17–56:22It seems that Myurasena's dance was deliberately placed upon the program there.
56:22–56:26After the instrument sounded, the auspicious invocation to the deity came first.
56:26–56:31Then, with the opening of the song, the dancer began.
56:31–56:36In her very first presentation they alleged a technical fault in Myurasena's dance.
56:36–56:37Impossible.
56:37–56:41No one can find a technical fault in Myurasena's dance.
56:41–56:45Who fell head first while saying such a thing?
56:45–56:48regarded as a fool brought on by Queen Vahyuni?
56:48–56:54Quite so, the goddess Vahyun always resides in a chamberlain's house. Upon whose head
56:54–56:56had that intoxication descended?
56:56–57:01Upon your friend Uppachandrika, the Lasaka dancer?
57:01–57:06Nothing improper in that, he is accustomed to such things, and he also knows the subject.
57:06–57:11All the spectators sided with Uppachandrika, I took my irisena's side.
57:11–57:18Well done, friend. You acted according to place and occasion. What happened next?
57:18–57:23I could not defeat them through wit. Though the assembly did not accept it, the judges
57:23–57:27agreed that my side was correct on scriptural grounds.
57:27–57:34Congratulations, friend, you purchased her at a most extraordinary price. And afterward?
57:34–57:39When Maya Rossino received the prize before all the courtesans, she scattered smiles
57:39–57:42and delighted me with a side-long glance.
57:42–57:48Carverica, rising in the flame of jealousy, made a face as though taunting me.
57:48–57:51After the anger of one and the favour of the other had been revealed, I drifted upon a
57:51–57:56current of uncertainty like a boat that has missed both banks, and somehow escaped the
57:56–57:58crisis and reached home.
57:58–58:03I sat swinging upon the swing of doubt, wondering what either woman would do.
58:03–58:07Then suddenly my beloved came and covered my eyes.
58:07–58:10Laughing, I said.
58:10–58:14Thief skilled in closing eyes, what profit is there in hiding and laughing?
58:14–58:18The incomparable touch of your hands has already revealed you.
58:18–58:22At this, breathing fragrance and speaking in syllables unsteady with intoxication,
58:22–58:24she said, tell me, who am I?
58:24–58:26Then I replied.
58:26–58:30The thrill that has made my cheeks rigid has already answered your question.
58:30–58:36Yet, innocent girl, if you still ask, then tell me yourself, who are you?
58:36–58:39Then she removed her hands from my eyes and said, with this thrilling art of deception
58:39–58:42you draw me helplessly toward you.
58:42–58:45Saying so, she kissed me and began to leave.
58:45–58:50Then I said, Having stolen my heart with a kiss, where are you going?
58:50–58:54Thief, I place both your feet upon my head, stay somehow.
58:54–58:57At my word she went and sat upon the bed.
58:57–59:00I myself washed both her feet.
59:00–59:03She said, You have taken the nectar of my feet, now come.
59:03–59:06Truly, you are a consummate rogue.
59:06–59:11Then, scattering laughter like a lattice of blossoming jasmine buds, she held with one
59:11–59:14hand her slipping girdle and sari.
59:14–59:17Turning upon the bed, the double curve of her waist and arms made the bend of her hips
59:17–59:19lovelier still.
59:19–59:23As her middle twisted, the three folds rose and fell, when the navel hid, the line of
59:23–59:25hair curved.
59:25–59:29The necklace slid over one breast and beside the other rounded breast, the earring hanging
59:29–59:33against her cheek made the painted Makara design blossom more brightly.
59:33–59:38Thus, beautiful as Ratty, loves shy mistress, with shoulder turned and body bent, she arched
59:38–59:43one brow and, seeming to scatter blue lotuses upon the water with her side long glance, said
59:43–59:46to me, There, do as you desire.
59:46–59:49Her attention was fixed upon applying red lac.
59:49–59:53When she raised her thigh, lifting heel, ankle, and ankle at, the newly starched silk
59:53–59:58sari did not cling to the leg but gathered along the lines of its folded pleats.
59:58–1:00:01The inner part of her thigh appeared to me, lovely as the space between the tusks of
1:00:01–1:00:07a young elephant and pale as the heart of a plant in stem. Turning my eyes away, she said,
1:00:07–1:00:11you have not learned the restraint of sight required at such a time. With that she drew
1:00:11–1:00:18back her foot and struck my chest. My skin thrilled and became hard as armor. I said,
1:00:18–1:00:22it is not right to drive me away before the colour is complete. She replied, very
1:00:22–1:00:27well, close your eyes and complete it. When I closed my eyes and began applying
1:00:27–1:00:33like to her foot, she pulled my hair and kissed my lips. Seeing me so thrilled, she said,
1:00:33–1:00:39like an Ashoka tree, you flower beneath a woman's kick. Your roguery has defeated me. Embracing
1:00:39–1:00:44me as she spoke, she went to the bed. What followed, those dear to the gods may understand
1:00:44–1:00:49for themselves. If that is so, then you too should attend upon the assembled gallants
1:00:49–1:00:52who are to determine the expiation of jaundiced vision uniga.
1:00:52–1:00:56Alas, do not speak so.
1:00:56–1:01:02Let her favour my head too with a blow of her lotus foot, that alone shall be my expiation.
1:01:02–1:01:06If so, just as the serpent Kalya, dwelling in the Yamanos pool, bore Krishna's footprints
1:01:06–1:01:11upon his head and became invulnerable to Garuda, no gallant will have power over you.
1:01:11–1:01:14Folding his hands and laughing, he departs.
1:01:14–1:01:17Now I too shall go to the gallant's assembly.
1:01:17–1:01:21Ah, while speaking with friends I did not notice the passage of time.
1:01:21–1:01:22Now.
1:01:22–1:01:25Look, the sun is setting.
1:01:25–1:01:29The closing lotus watches him depart with longing.
1:01:29–1:01:33Twilight darkness climbs the roofs of houses and removes their heat.
1:01:33–1:01:37After touching the high branches of the garden for a long time with its rays, the sun hides
1:01:37–1:01:38among them.
1:01:38–1:01:43Pigeons perched upon the terrace gaze toward him and fill their eyes with his redness.
1:01:43–1:01:45And at this hour.
1:01:45–1:01:48Alerted by the sharp cries of birds, a cat leaps from the window onto the palace
1:01:48–1:01:49wall.
1:01:49–1:01:53A peacock leaves the house and goes to its accustomed roost.
1:01:53–1:01:59A drowsy deer, seeking a place to sleep, abandons even the evening flowers laid upon the platform.
1:01:59–1:02:06Swans emerge from the water and take refuge upon the platform beside the palace pool.
1:02:06–1:02:10Dense smoke pouring from windows and filling the upper terraces of mansions drifts like
1:02:10–1:02:12crystal dust.
1:02:12–1:02:15Bees hover over scented bathwater that fills the lanes to the brim.
1:02:15–1:02:19Ah, how incomparable is the splendour of the great road of the courtesan's quarter at
1:02:19–1:02:21this hour.
1:02:21–1:02:25The broad court outside the outer gateway has been swept, sprinkled with water, and adorned
1:02:25–1:02:28with heaps of flowers.
1:02:28–1:02:31Attendants are busy with evening courtesies.
1:02:31–1:02:35Courtesans dress and adorn themselves according to country, age, and wealth.
1:02:35–1:02:40Loves female messengers pause and move here and there, lending beauty to the quarter.
1:02:40–1:02:43Drunken gallants savour the wit of sharp, playful sarcasm.
1:02:43–1:02:49Bathed, perfumed, garlanded, and exhilarated by drink, young men spread across crossroads
1:02:49–1:02:50and three-way junctions.
1:02:50–1:02:51Here.
1:02:51–1:02:57A female elephant prepared for riding trumpet softly as a passenger mounts her back.
1:02:57–1:03:01A woman is settling into a palanquin standing at a doorway.
1:03:01–1:03:05A horse, weighed down by a quarter's and's heavy hips, jingling anklets, and girdle
1:03:05–1:03:09and swinging earrings, seems able to move only at a gentle trot.
1:03:09–1:03:11And here.
1:03:11–1:03:15Some mansion windows are filled with webs of lamplight, elsewhere blue darkness, like a
1:03:15–1:03:19peacock's neck, spreads across the walls.
1:03:19–1:03:23The whitewashed walls of houses look exquisitely beautiful, as though painted with leafy vines
1:03:23–1:03:26in tamala black and opum and yellow.
1:03:26–1:03:27Walking
1:03:27–1:03:32How beautiful is this public festival called evening, graced by moonrise.
1:03:32–1:03:36Lord Moon is even now approaching, filling every eye with elixir and making the night
1:03:36–1:03:39lotuses in the pool's smile.
1:03:39–1:03:42facing your reflection in the wine cup, do you wish to kiss me through the round leaves
1:03:42–1:03:49of blue lotuses? Tell me, does your beloved Rohini not see you? Restrain this bodily trembling
1:03:49–1:03:54born of inner emotion. The rising moon seems to set his reflection upon the rims of drunken
1:03:54–1:04:00women's earrings so that he may hear their playful conversation while they drink.
1:04:00–1:04:04Here a woman sings softly in private with her lover, their elute rings, elsewhere, upon
1:04:04–1:04:09palace roof at moonrise, a gathering drinks wine. And at this hour Lord Moon,
1:04:10–1:04:16walking, here builds with his razor bridge across the water of a household pool, there,
1:04:16–1:04:20entering a planting grove, erects pillars of moonlight, elsewhere, colors rows of whitewash
1:04:20–1:04:25mansions once more with the nectar of his beams, and there, causing drops to murmur down from young
1:04:25–1:04:31leaves, seems to shower pearls. Ah, moonlight water dripping from the moon's rays fills the
1:04:31–1:04:35world as though the ocean of milk had crossed its shore and spread its waves far and wide.
1:04:36–1:04:42Now, young men riding horses, female elephants, karnirata carriages, and palanquins, receiving
1:04:42–1:04:47embraces and caresses from young women, come and go like pairs of Gandhaavas and Siddhas in the sky.
1:04:48–1:04:54Walking, a woman seated behind a young man upon a horse, moving gracefully in intoxication,
1:04:54–1:05:00clasps him tightly with her breasts, he turns and kisses his beloved. The horse is so accustomed to
1:05:00–1:05:03to the road home that it comes straight without wandering.
1:05:03–1:05:07Who is this displaying shamelessness in the courtesan's lane, enjoying himself as in a
1:05:07–1:05:11temple's inner sanctuary though moonlight makes it bright as day?
1:05:11–1:05:13Yes, I recognize him.
1:05:13–1:05:19It is Jayantaka, the shaka prince of Saurashtra, enamored of this pot-servant Baberika.
1:05:19–1:05:22What quality-fitting a courtesan has he found in her alone throughout the whole city of
1:05:22–1:05:24courtesans?
1:05:24–1:05:26Perhaps.
1:05:26–1:05:30Like the goddess of darkness, white in teeth and black in eyes, Barbarica resembles a night
1:05:30–1:05:33of the 8th lunar day with its half moon.
1:05:33–1:05:37Or perhaps people of Saurashtra, Monkeys, and Barbarians all belong to the same sign of the
1:05:37–1:05:38zodiac.
1:05:38–1:05:39Why?
1:05:39–1:05:42Then, be surprised.
1:05:42–1:05:46If his eyes are fixed upon fair Barbarica, then through his languid drunken gaze even
1:05:46–1:05:49this moonlight must appear dark.
1:05:49–1:05:50Walking.
1:05:50–1:05:52Enough, his road ends here.
1:05:52–1:05:54I shall go.
1:05:54–1:05:56Who is this other woman?
1:05:56–1:06:00In both years of this woman from later hang golden palm leaf ornaments, at the end of her
1:06:00–1:06:04braid is a golden cluster of gems and pearls, and her kopasaka bodice covers breasts and
1:06:04–1:06:08armpits and reaches to the end of her lower garment.
1:06:08–1:06:09Thinking
1:06:09–1:06:11I recognize her.
1:06:11–1:06:15It is Raka, embracing before the moon pavilion the king's brother-in-law, the unfortunate
1:06:15–1:06:21prince Mayura, who tries to charm her by displaying himself like a dancing peacock.
1:06:21–1:06:24She parades her good fortune through the Kautisan's market.
1:06:24–1:06:29Seeing her apparent sincerity, the poor man seems to have been purchased.
1:06:29–1:06:33That fair, stout woman carries the thin, dark prince mayura pressed to her breast like her
1:06:33–1:06:36own shadow fallen before her.
1:06:36–1:06:38Walking.
1:06:38–1:06:39Thinking.
1:06:39–1:06:41Who is this other woman?
1:06:41–1:06:45It is the Yovana woman Karpi Rituishtha, beloved of my dear friend Varahadasa, son of the
1:06:45–1:06:48illustrious Sharda Lavaman.
1:06:48–1:06:52Holding a wine cup in three fingers, she raises it toward her mouth, with the other hand
1:06:52–1:06:56she holds a moon-shaped earring whose reflection falls upon her cheek. The rays scattered
1:06:56–1:07:00from the earring make it seem that the moon too is playing upon her shoulder.
1:07:01–1:07:06The Yovana woman, with hair and eyes like a Chakora bird, looks at her reflection in the wine cup.
1:07:07–1:07:11Spreading a long lock with her nail, she mistakes the redness of wine rising in her soft cheek,
1:07:11–1:07:14pale as a mahu or flower, for lack die and tries to wipe it away.
1:07:15–1:07:21A Yovana woman and a courtesan, a shimunki and a dancer, a man of maleva and a sensu-list,
1:07:21–1:07:24a singer, and a donkey, in quality I regard all these as equal.
1:07:25–1:07:30Brahma is surely an expert at matching pairs. Just as the Atma Gupta creeper spreads over an
1:07:30–1:07:35acacia and the pointed good vine over a neem, so when a Yovana woman loves a man of Merleva,
1:07:35–1:07:36an astonishing pair is formed.
1:07:38–1:07:38Walking
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
1:07:44–1:07:48courtesan, filled with unfamiliar consonants and cries like a she-monkey's screeching,
1:07:48–1:07:52conveying her intention only by moving the forefinger with a few gestures.
1:07:53–1:07:59I shall remain silent. Who is this other man? He is carrying his beloved upon an elephant,
1:07:59–1:08:04her locks, and veil fluttering against the wind, as Udayana carried away Vasavadatta.
1:08:05–1:08:07Thinking. Walking.
1:08:08–1:08:13I recognize him. He is the son of a wealthy man, whose gallant pravala is famous among the dindis.
1:08:14–1:08:18He is the master of those who bind their headgloss and enter the battle of love.
1:08:18–1:08:23My little girl has been caught in the snare of that Cortizan's desire and, disregarding
1:08:23–1:08:27her parents' command, has fallen deeply in love.
1:08:27–1:08:29Surely he is the teacher of the dindis.
1:08:29–1:08:34Since he has become my son-in-law, even my speech fails before him.
1:08:34–1:08:37I shall not speak, I shall fold my hands and leave.
1:08:37–1:08:40Now I must reach the assembly of gallants.
1:08:40–1:08:44After circling uselessly through the great road of the Cortizan's quarter, I have arrived
1:08:44–1:08:47at the house of Batigermuta, chief of the gallants.
1:08:47–1:08:51In the open ground before the outer door, thousands of vehicles belonging to Gallant
1:08:51–1:08:54Summon from all sides have gathered.
1:08:54–1:08:58Attendants stand near the gateway holding silver vessels of water for washing feet.
1:08:58–1:09:02The saying is true, the affairs of great men are great.
1:09:02–1:09:07Here five coloured flowers are being scattered, woven garlands are hung, incense is waved,
1:09:07–1:09:10lamps are lit, and words of welcome spoken.
1:09:10–1:09:13Vehicles are unharnessed and released.
1:09:13–1:09:17There is rushing about, music and song, hands extended to assist arrivals, sweet words
1:09:17–1:09:22heads, loving embraces, bodies supporting one another, deeply humble bows, cats upon the
1:09:22–1:09:27back, brows raised with clicking sounds of delight, and heads lowered when teased.
1:09:27–1:09:31Some stank akhetishly, some sit with studded grace.
1:09:31–1:09:36Sandal paste is distributed, coloured cosmetics applied, unguents rubbed in, and fragrant
1:09:36–1:09:38powder scattered.
1:09:38–1:09:40Gallant's jest, courtesans reply.
1:09:40–1:09:42In brief.
1:09:42–1:09:45Dwarf serving within the inner apartments have their feet buried to the knees in
1:09:45–1:09:50flowers and can move only with difficulty. Young courtesans, rolling their eyes, hiss,
1:09:50–1:09:55see, see, as they pull katochi petals from their feet. And all these.
1:09:56–1:10:00Wealthy young men and leading gallant sit upon half-seats with their female companions and
1:10:00–1:10:05exchange clever jokes that do not wound the heart. They roam fearlessly through the quarter-like
1:10:05–1:10:11unrestrained bulls among heifers in season upon an open pasture. The upper space, the ceiling,
1:10:11–1:10:16of this assembly hall bears a hundred moons ornament in the form of hundreds of women's moon-like faces.
1:10:17–1:10:21On every side the building is adorned with a hundred eyes ornament made of women's glances.
1:10:22–1:10:25The arms of young men rubbing against one another are like iron bars laid around the
1:10:25–1:10:30hall, and their sandal moistened chests resemble the polished stone pavement of the assembly floor.
1:10:31–1:10:36And here, stand heroes who are wishful filling trees to courtesans,
1:10:36–1:10:39instantly ready for love and prepared to abandon their entire capital,
1:10:39–1:10:43the mock wooden battles of their childhood are praised by old men as though they were the war of
1:10:43–1:10:51Suyodhana and Vrigadara. Wearing upon my head the turban that is my friend's command, I tubo to Lord
1:10:51–1:10:56Love and, placing his order before me as my duty, shall petition the gallants concerning the expiation
1:10:56–1:11:01of the illustrious Jaundist Vishnunagar. Gentlemen, rogues gathered from the whole earth, lovers
1:11:01–1:11:07of quarrels and narrators of their histories, listen, listen. Victory to Lord Love, who claims
1:11:07–1:11:12authority over ascetics, who is master of every mind and driver of the horses that other senses,
1:11:12–1:11:15and whose command even the greatest creatures obey with crowned heads bowed.
1:11:16–1:11:22Walking. Victory to the intoxication of a playful woman's youth, whose laughter spills across the
1:11:22–1:11:27flower at her cheek, victory to her unsteady gate and restless glance, and after these, victory
1:11:27–1:11:33to all the sport of her youth. Having purified my head with dust from the chief courtesan's feet,
1:11:33–1:11:36I bow that head at the feet of you distinguished robes and submit my petition.
1:11:37–1:11:44What need of preamble? Listen. This Vishnu naga, seeking expiation, rides upon the earth,
1:11:44–1:11:48rubbing his chest against it like a snake. You must preserve his life.
1:11:49–1:11:55You ask, what was his offence? Listen. Tossing up with the lock fallen across her eye,
1:11:55–1:11:59tightening the ends of her brows in anger, biting her lower lip and scattering the light
1:11:59–1:12:04of her teeth, her face trembling and anklets ringing, his intoxicated beloved caught up her
1:12:04–1:12:08her slipping crimson garment with one hand and planted her anklet foot upon his head.
1:12:08–1:12:13Who is that courtesan so ignorant of the differences among men that her carelessness has brought
1:12:13–1:12:16this disgrace before us?
1:12:16–1:12:19She is the illustrious Madanacenica of Saurashtra.
1:12:19–1:12:25At the thought, fortunately no one else is here, these gallants appear somewhat alarmed.
1:12:25–1:12:29Waving their hands, hiding smiles, uttering reproaches, and forcing gravity upon their
1:12:29–1:12:35faces, the rogues look compassionately at one another and sink into thought. The seated
1:12:35–1:12:39leader of the gallants, the venerable Batigermuter, rises, overwhelmed by pity.
1:12:39–1:12:45Crying, what misery! What misery! He sighs like an exhausted elephant and rains water
1:12:45–1:12:52from his eyes like a cloud. He calls me. I am here. What is Baty's command? I have
1:12:52–1:12:57already heard, and you repeat, that for such an expiation we must go to the Brahmins.
1:12:57–1:13:00That is why I am seated here.
1:13:00–1:13:03Meanwhile, bind the gallants by an oath and prepare them.
1:13:03–1:13:05As Batty commands.
1:13:05–1:13:08Gentlemen, listen, listen.
1:13:08–1:13:12Whoever speaks nonsense in this assembly today shall never win a wager at dice, shall
1:13:12–1:13:16become obedient to his mother, shall humbly touch his father's feet, shall drink only
1:13:16–1:13:20boiled milk, shall be satisfied with eating sweet balls in childish delusion, and shall
1:13:20–1:13:23remain content with his wedded wife.
1:13:23–1:13:25And further.
1:13:25–1:13:29He shall serve his teacher, be expelled from gallant gatherings, remain modest as an old
1:13:29–1:13:34man while still young, and become quiet when age truly comes, whoever sits here and speaks
1:13:34–1:13:35nonsense.
1:13:35–1:13:37Walking and looking
1:13:37–1:13:43The courier and antikartha, forever splitting hairs, suddenly rises, and calls me.
1:13:43–1:13:47What does he say, the fault belongs to the woman who did not understand affection, not
1:13:47–1:13:49to jaundiced Vishnu naga.
1:13:49–1:13:50Listen.
1:13:50–1:13:54The beautiful woman's foot, whose touch makes an Ashoka flower out of season and in which
1:13:54–1:13:58the god of love himself dwells with arrow drawn, that foot she mistakenly placed upon the
1:13:58–1:14:04head of this beast. The fickle woman must perform a long expiation for it. You have spoken
1:14:04–1:14:10correctly, foe. She played a lute before this donkey, recited a verse filled panagiric before
1:14:10–1:14:15this monkey, and dripped the juice of mango blossom into a buffalo's half-kurdled milk.
1:14:15–1:14:20Yet expiation exists to console the distressed. He has come afflicted, so you must show
1:14:20–1:14:26him compassion. Who is this grandson of a soft good vine, holding his drunkenly swaying head
1:14:26–1:14:32with one hand and calling to me, hear his expiation? I shall approach him. The gallants
1:14:32–1:14:36are angry with him. Who is this fellow with a face that ruins the very nature of gallantry,
1:14:36–1:14:41rising in council as though he were the foremost gallant and setting out to preach expiation?
1:14:41–1:14:45Womanish malice farming, did you hear what they said?
1:14:45–1:14:49Why do you not tell them? Only five nights after my father went to
1:14:49–1:14:53heaven, while my friends grieved and my relatives wailed and beat their breasts, I set aside
1:14:53–1:14:57one crying child and enjoyed wine with a maid.
1:14:57–1:14:59If I am not a gallant, who is?
1:14:59–1:15:03If so, everyone accepts that you are chief among gallants.
1:15:03–1:15:05Sit down.
1:15:05–1:15:08Make Madan Asenika perform the expiation?
1:15:08–1:15:10Very well, I shall proclaim it again.
1:15:10–1:15:16Why, Arya Raghchita, the poet from Shibi, calls out in a breathless voice, surely this
1:15:16–1:15:18expiation is improper.
1:15:18–1:15:23This good man too is a great gallant, for he goes to the house of a Vedic scholar and sells
1:15:23–1:15:29his poetry for a single cup of wine, born among the Shibis, he has grown old in the tavern.
1:15:29–1:15:35And further, if a poet sells poetry, then his poetry too is of the kind composed beside
1:15:35–1:15:36a cup of wine.
1:15:36–1:15:42Such is the conditioning Kashi, Kosala, the Bagga country, and the cities of the Nishadas.
1:15:42–1:15:43I shall approach him.
1:15:43–1:15:46Friend, I am here.
1:15:46–1:15:48What do you say?
1:15:48–1:15:52The honey that fills a woman's cheek as bees fill a closed lotus, that, issuing from her
1:15:52–1:15:56mouth, makes a peculiar branch blossom, that fills her eyes with dallions, and into which
1:15:56–1:16:02fresh mango juice is mixed, how can the head of this human beast, jaundiced Vishnu-nigar,
1:16:02–1:16:05deserve to be sprinkled with such a mouthful of wine?
1:16:05–1:16:10Another man, Bhavakirti, folds his hands and calls me to propose an expiation.
1:16:10–1:16:16This young Brahmin too is an extreme gallant, for the rope throws to the ground affrightened,
1:16:16–1:16:20trembling mendicant nun, shaven-headed, old, clad in a worn saffron robe, and entering
1:16:20–1:16:25the house without fear to seek arms, and commits the misconduct of lust upon her.
1:16:25–1:16:27I shall go to him.
1:16:27–1:16:30His expiation is this.
1:16:30–1:16:34First the woman shall seize his hair and drag him, then bind him with the cord of her girdle.
1:16:34–1:16:39Later, when she lies down, he shall massage her feet.
1:16:39–1:16:41Even that is not sufficient for him.
1:16:41–1:16:46The aristocratic Garn Harvosenica, whose name is on the tongue of every servant, raises
1:16:46–1:16:48his hand and calls me.
1:16:48–1:16:53The fingers of his hand have raced through many gestures upon three kinds of instruments.
1:16:53–1:16:58Like a shower of red lotus petals, his red fingers have spread across the lute strings.
1:16:58–1:17:02Playing the lute, he has sat beside beautiful women of wealthy inner apartments, rested
1:17:02–1:17:06the instrument upon their hips, and enjoyed the marks of their nails.
1:17:06–1:17:08I shall approach him.
1:17:08–1:17:10What do you say?
1:17:10–1:17:16Where are the jeweled girdles at courtesans, like banners flying beside the chariot of their
1:17:16–1:17:20hips, like ringing utes urging lovers to join in the battle of passion, and where are the
1:17:20–1:17:22feet of this stinking donkey?
1:17:22–1:17:25Now a southern poet proposes an expiation.
1:17:25–1:17:27What do you say?
1:17:27–1:17:31Drunken casting cacetic glances, she shall strike his head again and again with the
1:17:31–1:17:33lotus flower from her ear.
1:17:33–1:17:38Hastimerca, who has come from Ganhara, makes even this proposal worthless.
1:17:38–1:17:39You!
1:17:39–1:17:41What do you say?
1:17:41–1:17:45That lotus is carved from elephant ivory, the woman wears it at her ear, and it is
1:17:45–1:17:49variegated by the side long glance that reaches its edge.
1:17:49–1:17:53If it touches the head of this human beast, what expiation will result?
1:17:53–1:17:58On the contrary, he will be purified by its fragrant dust.
1:17:58–1:17:59Walking
1:17:59–1:18:01His opinion is sound.
1:18:01–1:18:04The leading gallants say the same.
1:18:04–1:18:06These two are calling me.
1:18:06–1:18:10Gupta and Maheshvarudatta, seated upon the same seat, these two friends are gifted through
1:18:10–1:18:13their study of the poetic genius of the great poet Varrucci.
1:18:13–1:18:14Approaching
1:18:14–1:18:18I shall approach them.
1:18:18–1:18:21Womanish Mukundagupta, what did you say?
1:18:21–1:18:24Wash his head with the water used to wash her feet.
1:18:24–1:18:25The elders forbid it.
1:18:25–1:18:30Maheshvarudatta, known as Priya among his friends, declares that he is not even worthy
1:18:30–1:18:32to drink that foot water.
1:18:32–1:18:37friend of mine, an aged gallant from Sovirah, calls me in a voice naturally smiling.
1:18:37–1:18:39What did you say?
1:18:39–1:18:43When the removal of her ornaments makes her body lovelier in its natural radiance, and
1:18:43–1:18:47after bathing her wet locks lie scattered across her hips, I shall bring her here in
1:18:47–1:18:49that state.
1:18:49–1:18:52Then he shall stand before her holding her mirror, while she arranges her hair, she
1:18:52–1:18:57shall variegate the mirror's round surface with the brilliance of her eyes.
1:18:57–1:19:00The poet Rudravarman of Dasharaka rejects this.
1:19:00–1:19:02What do you say?
1:19:02–1:19:08This man is learned, born in a high family, and a secretary entrusted with the king's counsel.
1:19:08–1:19:12He should not keep hair soiled with dust from falling at a courtesan's feet.
1:19:12–1:19:14Therefore shave his head.
1:19:14–1:19:17I am favoured by you, pleads Vishnu Naga.
1:19:17–1:19:22Before my hair is cut, I would rather cut off this head itself, forever bowed and disgraced
1:19:22–1:19:24by a maid servant's kick.
1:19:24–1:19:28The venerable leader Bataji Muta answers him thus.
1:19:28–1:19:31May no beautiful woman ever arrange his hair with leaf-soft hands adorned by the
1:19:31–1:19:37ringing of sliding bracelets, set with the rays of nails, and graced by rings. Let him
1:19:37–1:19:43keep this rough hair exactly as it is. Now hear the expiation from Madan Asenika as well.
1:19:43–1:19:48May that woman, her eyes turning with intoxication, place one hand upon her hip to steady her
1:19:48–1:19:53girdle, set her anklet foot, dyed red with lac, upon my head and favor me, while jaundiced
1:19:53–1:19:58Vishnu Nugha stands staring helplessly. Crying, this alone is the proper expiation, every
1:19:58–1:20:04Gallant applauds and endorses Batigermuter's judgment, saying, Now I am entirely favored,
1:20:04–1:20:10jaundiced Vishnu Naga departs. The venerable Baty calls me. I am here.
1:20:10–1:20:16All this is settled. Now what agreeable service may I perform for you gentlemen?
1:20:16–1:20:22Then hear this too. May the clever procurus is skilled in quarrelsome banter prosper.
1:20:22–1:20:26May the rogue's hundred streams of income remain undiminished, so that they may fleece
1:20:26–1:20:31their victims without anxiety. May pleasant gatherings of gallants continue in this city,
1:20:31–1:20:35and every evening may there be affectionate revels of courtesans.
1:20:35–1:20:39The gallant exits. Thus ends the one-act-a-play padatadatakam,
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. Listening 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. Its 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 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 Kautasan. 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. At Vishnu Naga'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 submission, 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, I scolded him, you hired grammarian, do not pound a flower with a pestle, do not play allude 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. crying. The 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 beautiful woman, casting shame aside, plays with him in private like an obedient maid. hearing 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 head is ordered, pleading, I have committed so vile an 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 law books of Manu, Yama, Vasishta, Gautama, Bharadvaja, Shankar, Likita, Apastamba, Harita, Prashtha, 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 Bhavasvamin, 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 declared 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? 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 lovers' 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, Mordgalya, Deutavishnu, and the rest. All the others are well enough, but is Deutavishnu 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 quarter, one of his fingers was cut off. At Padmanagara, an enemy drove two arrows into his hip bone. At Videsha, a bolt shot from a machine severed his arm and cast it to the ground. Even today he pays physicians and sorcerers for Aphrodisiacs. Walking 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 colourful 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 splendour of this city called Sarvabhama, the diadem of Jambadvipa and residence 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, 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. Walking. 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, fine and coarse, 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 late cries like a curara bird, the iron tool pressed to a conch to cut bangles hisses like a horse's death, and people approach from every direction to buy and sell. And at this moment, garlands 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 roads 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 Makar Arathia Lane. Walking To enter the Cortizans quarter without first accumulating money is as futile as entering battle without a weapon, it brings only disgrace and disaster. Yet 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-aider song of the Yordhaeyas to symbols and flutes played by Rotarka drummers, crested Carantacca 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 Balakar, that poor fellow who has become everyone's laughing stock, like the cock of the courtesans' 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 Sarinigupta, the aging Precures, adjusts upon her shoulder's 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. in 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 Her beloved, clearly his medicine for cooling her anger has succeeded. How shall I address her? Yes, I have it. Three days ago poor Sthanyumitra, 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 Cortizan's quarter, I failed to cross this ford. Walking I shall be cheated of my amusement. But perhaps the tale of her tooth falling into Svannumitra'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 Cortizan's quarter. Ah, it's incomparable splendor. They 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, falter departments, terraces, viewing galleries, gateways, cornices, and palaces. Some are beautified by water sprinkling, some cleaned by blowing through tubes, some Plasted 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 contained 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, seem to rise from the earth toward the sky. Here, outside the quarter stands a karnirata carriage. Men from Avanti sit dozing against it, scratching its wool with their nails. On both sides, uniformed karnirata guards stand pressed against the axle. Nearby are kambhoja 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 courtesans' 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-string ute with her nails, sings in the beautiful fifth note of the cacally 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. Now 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. Noble Vossu, 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. may he, whatever he is, remain good to you. There, I shall go." 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 Priyanka Yastaka, the younger sister of his former beloved Yashomati. He conceals this secret even from me. I cannot pass without meeting him, so I shall approach. Approaching. Oh solitary Chakravaka bird of this lotus forest of quarters and, where are you coming from? I have been giving medicine to Priyanka Yastika, younger sister of your dear friend Yashomati. 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 that dowry accompanying a hundred thousand ailments. Look! With red sandal paste-like ceiling wax upon her brow, playing with lotus fibres, 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 Bhattajibhuta, 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 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 Pataliputra? Ah, I see. It is Bata Magovarman, handsome son of the general Seneca. 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. Approaching. Listening. Is anyone in my friend's house? Why, Bhattamaghavarman 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? Batty 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. Let me speak with him. Bhattamagavarman, 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 Pushpardasie 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. How 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 sensualist, 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, 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? Framed. 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, he prepares to leave. can offer my respects to your lord. I too shall go. Who is this adorning herself at the window of her house like an absurre in a celestial chariot? It is parachromica, the chief courtesan of Kashi, playing the piccala 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, ee, ee, from beneath her chin and plays in a sweet tone upon the picola hell to her lips. Mistaking the sound for a frog's croak, the household peacock circles round and round, turning its neck. Hiranyagarba, confidential secretary to Indra's farm in, hurries from her house and comes this way. Why be surprised? For Indrasfamin and Hiranyagaba to meet in the Kortasan's quarter is merely heat-joining heat. He folds his hands in greeting. Hiranyagaba, why do you wish to have this temple-like Kortasan'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? Everyone knows that Bartres Varmine once joined with his fly-whisk Barracou Tangadasi and thereby put his very life in danger. Beat me if you like, but that is the truth. Take refuge in Fosod 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 Cortizan would not desire that southern lord of Cancunna, provided he lived with her like a gentleman. And further. Look at Indrodata in a Cortizan's courtyard making his elephant dance, like Bagadatta wheeling a rutting elephant in the Bharata War. with lotus hands upon their breasts watch him as frighten does watch a tiger. And this woman, calling Parashavakoshika Simhavarman, 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. Excess is the custom of your country. I understand neither the custom nor the impropriety of my country, speak plainly. 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 goad, 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, not expose those hits 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 Sherparaka, surrounded by dindis and illuminating the entire quarter? Why, it is the great chamber in Budriyuda, 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 sash, and the moment he approaches, cries, shh-shh-shh, and falls at one's feet like a crooked shoulder hunchback. And further, making the shape of a pigeon upon his chest with both hands, he stammers loudly, saying, JJJ, in place of, Y. His waist tightly bound in the middle by a two-colored 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 Budriyuda. However, hearing of his success, desires to rival him might as well eat swine's food. Walking Someone here is painting the banner of Pradumna, that is, the God of Love's temple. It must be the work of some dindis. These dindis are scarcely better than monkeys. What particular merit in painting pleases them. Listen. They smear and orb a 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 a little, scratched the palace walls as though worms had eaten them. Looking What is he painting? Ah, it is nirrepecture, 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's unsquarter, observing the vows of an ascetic. The poor woman, the curved line of hair showing across the region of her three bella-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 at taunts at him. Bhagavata nirrepeksha, or rather, one who keeps away from Bhagavata's, 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. Finally 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 hair, broad-shouldered, monkey-eyed, and eating a radish, some man from Dashiraka 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 Dashiraka. 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. Will 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. 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 Guptarcula, 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 Dasharaka? 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 Shura Sena Sundari 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. Be 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's secret. Tell me, did the long-desired festival of love between them end happily? Listen. I am attentive. You say, when the wine took effect and she wished to favor Schiff's women, 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. When 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 Woodon 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. Only seeing every stratagem fail and recognising 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 a 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. so great a treasure stood before me, my eyes were as if blind. The gugle I formally took to reduce fat is now killing the nectruous pleasure of union with you. Then I thought, if gugledrunk 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, when 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 two have heard everything. In letter 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. She bursts into laughter. Now I must go. No need to bow. Walking! I too shall proceed. What are these young cortisans looking at? They stand in the shade of a building in the cortisans lane, pausing from ballplay, the picola instrument, dolls, and toys. They are lovely as a mass of lotuses with their fibres, their lotus faces rise upon their necks, their many coloured 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? a headless trunk risen to its feet, or are two granaries walking. What astonishing object is this? Ah, now I understand. It is Upagpta's pot-bellied body rolling this way. His appearance proves that nicknames are rightly bestowed in a rogue's assembly. Harkrishna, the treasury clerk who secretly swallows government property, is a black wild ram, Harry Breety is a complete buffalo, and Datagpta is a wind-inflated water-skin. Looking. How has the poor fly-whisk-bearer of Gonga and Yamuna, the book reader Madhyanti, fallen in love with Ubhagapta 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 Viral power six to accomplish matters by talk alone. Why does a beguptor 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 courtesan's 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. Shall 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 clerk demand them too. The wooden elders, that is, the court constables, begged for so long that at last they seized me. the place I have learned this. A courtesan and a clerk, a clerk 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 clerk's net, you have emerged safely. You are a 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 apara-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 recognise him. This is Pihana, born in Shakarapala's house to the witch Concochetti by Kira the cobbler, a grass demon. And further, he calls Shakara Parker his father and near a picture his brother. Men of two fathering families are generally born together with hypocrisy. Why ask him anything? What business has he in this country? Old 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. Walking 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 at 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 Sheparaka. 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 Kutangagara of the Outishiva district accused him. When the foreign and outcast Constable dragged him before the tribunal, Skandhakirti of Baladashika freed him with great difficulty, saying, he is a monolender attached to my lord Vishnu. My friend Vishnu Niga 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. Even 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 Suriyaniga, why make this new visit to the Qutizan's quarter as useless as a dance in darkness by hiding it from your friend? 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 gracious. Do not tell anyone that I entered the courtesan's quarter. 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. Lying 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 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 Bannacortesans of the frontier quarter. Worse 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? When 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. his fine, patent muslin upper cloth, he wears iron armour made in Andhra. Safran marks cover his body, and he holds a prepared beetle roll. Yes, I recognise him, Harishura, the soaring man from Vidarbha. When, in Amadabh 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? 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. Myiricina has collided with this feminine nature, or, when money becomes scarce, the old board herself will place Myiricina under his control. I shall ask him everything. Lion among men, you have acted properly, like a lion leaving its cave, you abandoned the 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 Dranalica, the chamberlain who supervises courtesans. It seems that Myurasena'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 Myurasena's dance. Impossible. No one can find a technical fault in Myurasena's dance. Who fell head first while saying such a thing? regarded as a fool brought on by Queen Vahyuni? Quite so, the goddess Vahyun always resides in a chamberlain's house. Upon 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 Maya Rossino 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. Saying 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 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, with 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 sari 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. Turning 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 colour is complete. She replied, very well, close your eyes and complete it. When I closed my eyes and began applying like 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 vision uniga. 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 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. 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 quarter's and'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 lamplight, 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. Walking 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. facing 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 drunken women's earrings so that he may hear their playful conversation while they drink. Here a woman sings softly in private with her lover, their elute rings, elsewhere, upon palace roof at moonrise, a gathering drinks wine. And at this hour Lord Moon, walking, here builds with his razor 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, karnirata carriages, and palanquins, receiving embraces and caresses from young women, come and go like pairs of Gandhaavas 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 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 bright as day? Yes, I recognize him. It is Jayantaka, the shaka prince of Saurashtra, enamored of this pot-servant Baberika. 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, Barbarica 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 years 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 kopasaka bodice covers breasts and armpits and reaches to the end of her lower garment. Thinking 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 Kautisan'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. Walking. Thinking. Who is this other woman? It is the Yovana woman Karpi Rituishtha, beloved of my dear friend Varahadasa, 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 mahu or flower, for lack die and tries to wipe it away. A Yovana woman and a courtesan, a shimunki 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 Merleva, an astonishing pair is formed. Walking 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 headgloss and enter the battle of love. My little girl has been caught in the snare of that Cortizan'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 Cortizan'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 Summon from all sides have gathered. Attendants 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 heads, loving embraces, bodies supporting one another, deeply humble bows, cats upon the back, brows raised with clicking sounds of delight, and heads lowered when teased. Some stank akhetishly, 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. Dwarf serving within the inner apartments have their feet buried to the knees in flowers and can move only with difficulty. Young courtesans, 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 Suyodhana and Vrigadara. Wearing upon my head the turban that is my friend's command, I tubo to Lord Love and, placing his order before me as my duty, shall petition the gallants concerning the expiation of the illustrious Jaundist Vishnunagar. 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 robes and submit my petition. What need of preamble? Listen. This Vishnu naga, 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 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 Batigermuter, 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 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 naga. Listen. The beautiful woman's foot, whose touch makes an Ashoka 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, foe. 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 Madan Asenika 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-nigar, 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 affrightened, 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 cacetic 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 counsel. 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 him keep this rough hair exactly as it is. Now hear the expiation from Madan Asenika as well. May that woman, her eyes turning with intoxication, place one hand upon her hip to steady her girdle, set her anklet foot, dyed red with lac, upon my head and favor me, while jaundiced Vishnu Nugha stands staring helplessly. Crying, this alone is the proper expiation, every 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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