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Collection: Part 10 · VIDEHA MITHILA MAITHILI DISCUSSION CRITICISM SERIES PART 10
Status: asr-draft
Human verified: No
Editorial review: not-reviewed
ASR model: small
Detected language: en (0.98944)
Duration: 59:21
Source: Open preserved recording

Timestamped machine output

0:00–0:31विक्त्री तो लोड्रद्र, हूँ, वेधर तो अगर और और और ग्रेज़, मेड कामा, तो वेरी नबदिमनद अव वूमन्झ डलगट, शाइन एन एप नवग रेडिंट भादि, अव परद़, तो वेधर भाखा ब्लोसम्स अव तो वगद, तो वोगगगगगगगगगग
0:31–0:33Bow in hand.
0:33–0:34Roams the forest.
0:34–0:40And what is more, the bird's twitter becomes an orchestra while cuckoos.
0:40–0:42Drunk on the nectar of love.
0:42–0:43Sing.
0:43–0:45In the inner apartments of the woodland.
0:45–0:50Creepers shaped like graceful women perform under the instruction of their master.
0:50–0:51The wind.
0:51–0:52Trees.
0:52–0:54Jubilant in blossom.
0:54–0:58Cokes those creepers with fingers of tender leaves.
0:58–1:00At the arrival of Lord Spring.
1:00–1:04The necklace white frost vanished in an instant.
1:04–1:11From root, trunk, crown, and shoot, from every side, the Ashoka bursts into flower like wounds
1:11–1:13opening in a villain's heart.
1:13–1:14Ah!
1:14–1:17This is, the seasoned beloved of youth.
1:17–1:21Filled with the intoxicated calls of hukus.
1:21–1:27Adorned with Cindavara, Jasmine, and Mango, alive with the bold assaults of Kama and
1:27–1:30the wind.
1:30–1:31Wonderful!
1:31–1:38What a marvel! The year, a gallant worn old by winter, has swallowed the rejuvenating
1:38–1:42elixir of snow and is returning to the lovely youth of spring.
1:42–1:49At this moment, the forest is coming of age. Trees dance with trembling shoots. And flowering
1:49–1:55vines clasp them close. A cuckoo perched on a talaka tree looks like an ornament in
1:55–2:01a woman's hair. A bee settled on a jasmine flower becomes the side-long glance of
2:01–2:08a beauty. Here a lotus pond, darkened by dusky buds, resembles a maiden whose small breasts
2:08–2:14have just begun to rise. There the company of spring winds blows with the roguish purpose
2:14–2:20of touching the full breasts of a woman damp with the sweat of love. Spring is certainly
2:20–2:27powerful, cruel in the torment it inflicts with commas arrows. Though Karniputra has already
2:27–2:34celebrated the festival of his youth to the fallen devoditas. Embraces the bee of his
2:34–2:42desire still hungers for the mango bough called devasina, a girl who has left childhood behind,
2:42–2:48grown tender with the coming of youth, and is flowering like Kama's own spray of blossoms.
2:48–2:54But why wonder that Karniputra remains hungry? A rich sweet of ghee and sugar tastes better
2:54–2:57still with a sharp relish beside it.
2:57–3:02I think that, though satisfied by drinking the honey of love with Devadatta, he longs
3:02–3:08to taste a still more delightful kind of union with that sixteen-year-old beauty.
3:08–3:15The young Chandali Devasina, a pleasure flavored with the innocent hospitality, teasing, and
3:15–3:17playfulness of childhood.
3:17–3:22Ah, the sickness of love may look slight, yet it weighs terribly.
3:22–3:30It has brought even Karniputra to this condition, a flawless master of many sciences.
3:30–3:35Accomplished in every art and branch of learning, a stage manager expert at weaving the warp
3:35–3:37of desire in young women.
3:37–3:41Lack of sleep has left his eyes heavy and red.
3:41–3:43His face has turned pale.
3:43–3:45Like the moon at dawn.
3:45–3:47Anxiety has made his body thin.
3:47–3:49He yawns.
3:49–3:50Every sense burns.
3:50–3:58The moon, spring, garland-making, music, perfume, all the lovely things that once delighted
3:58–4:03him even when merely placed before him, now torment him.
4:03–4:08Yet if Devasena is the cause of all this, there is no wonder in it.
4:08–4:12She is newly young and able to awaken desire at will.
4:12–4:16It is only natural that the beauty born of her ripe and youth should drive Karniputra
4:16–4:18mad.
4:18–4:20Her restless side long glances.
4:20–4:22Her unbroken lips.
4:22–4:24Pouring out gold.
4:24–4:27Her face thrust forward upon its cheeks.
4:27–4:30The new buds of breasts rising on her chest.
4:30–4:33The tender creepers of her arms.
4:33–4:36The faint line of down beginning to show upon her belly.
4:36–4:40The full hips that seem to have appeared from nowhere.
4:40–4:44And the clever passion of her uninhibited nature, whom would all this not drive
4:44–4:47mad.
4:47–4:54In the anguish of love born from devasina, he now lies confined to his bed, somehow keeping
4:54–5:01himself alive on the hope of meeting her, cooling his fevered body with necklaces, fans,
5:01–5:02and sandal paste.
5:02–5:08Early this morning Pushpangalika, Devadada's attendant, went respectfully to Karniputra
5:08–5:15and said, Noble sir, Lady Devadada says, Please do not let my failure to come yesterday
5:15–5:18lesson your regard for me.
5:18–5:24My younger sister Chandali is a little unwell, and affection for her detained me.
5:24–5:26I am coming at once.
5:26–5:32After answering and dismissing Pushpangalika, Karniputra said to me affectionately.
5:32–5:36Friend Shasha, you too heard that she is coming here.
5:36–5:38This is the right opportunity.
5:38–5:42Go there under the pretext of inquiring after their health.
5:42–5:44Win their full confidence.
5:44–5:51Devasena's heart and learn the cause of her distress. I bow to you. Only you, fortunate
5:51–5:57friend, can somehow draw out this arrow of love, shot by Devasena and buried to the very
5:57–6:05core of my heart, laughing as I took my leave. I told him, very well, Master Rogue, why light
6:05–6:12a lamp in daylight? Do you think I have not understood the meaning of your eyes?
6:12–6:15revealing what lies in both your hearts.
6:15–6:21I am Shasha, friend of Muladeva himself, I shall not return without the whole story.
6:21–6:23So I set out.
6:23–6:28What harm is there in passing some time chatting with friends along the royal road?
6:28–6:33And reaching Chandali only after she has been separated from Dvodada?
6:33–6:34Ah!
6:34–6:41Ujaiini has incomparable beauty, like painted leaf work upon the cheek of Jambudvipa.
6:41–6:46The face of the bride called earth, the city is filled to overflowing with every kind of
6:46–6:49treasure and merchandise.
6:49–6:52Here are the sacred recitation of the Vedas.
6:52–7:00The thunder of elephants, chariots, and horses, the twang of bow strings, drama, poetry, and
7:00–7:05learned debate, trade in goods brought from all four seas.
7:05–7:11song, instrumental music, gambling, laughter, and jest.
7:11–7:13Hear the talk of gallants.
7:13–7:15They're every art imaginable.
7:15–7:20Rose of houses resound with the calls of tame birds and the tinkling of countless bracelets
7:20–7:23and girdles.
7:23–7:27Now let me look for some omen that my purpose will succeed.
7:27–7:36Ah, there is Sarasvada Badra, son of Sharad Vati of the Kalyayana clan, addicted to
7:36–7:43poetry. He stands at his doorway. Fingers smeared with chalk, playing with a spinning
7:43–7:49top and showing by the movements of his eyes and brows the delight of. Suddenly remembering
7:49–7:54an idea, poets are angry even with a dear friend who interrupts the flowing current
7:54–8:00of inspiration. Yet I would lose by passing on without making an ear ornament of the
8:00–8:08flower of speech born from the vine of Sarasvati. Let me meet him first.
8:08–8:13Friend Katya Yana, are you chewing the cud without having eaten any fodder? What do you
8:13–8:19say, the demon of poetry has mounted my head and is driving me? You cobbler stitching
8:19–8:24together scraps of old verse. Are you searching for a new line as though hunting a cow
8:24–8:32whose hide has been torn to pieces? Tell me, friend, what is your stanza about? What
8:32–8:38do you say I have composed it on this charming spring before us? May I hear it? What it is
8:38–8:45written on the wall, read it. Where? Ah, here it is. This spring, armed with a sweet
8:45–8:52breeze and with harsh, impetuous comma, can bring a young, helpless, slender girl to
8:52–8:59her lover more effectively than a thousand go between skilled and flattery. Bravo! This
8:59–9:06is an omen of success. Friend, may your verse bring you fame as the birth of a sun would.
9:06–9:10May it escape the hunters of literary criticism.
9:10–9:11Who laughed?
9:11–9:20Ah, it is Dardaraka, the Pithamarda. Dardaraka, what is there to laugh at? What do you say,
9:20–9:22By worshiping this poet.
9:22–9:24Another Brihaspati.
9:24–9:25With your words.
9:25–9:29You are surely sprinkling water upon the ocean.
9:29–9:30Do not speak so.
9:30–9:31Fool!
9:31–9:35Are flowers not offered in worship during the month of spring?
9:35–9:38Have you not heard that the sun is worshiped with a lamp?
9:38–9:40The ocean with water.
9:40–9:42And spring with flowers?
9:42–9:45I too am worshiping a great poet with words.
9:45–9:49Very well, you have displayed the nature of a pithamarda.
9:49–9:51I have seen enough of you.
9:51–9:56And this spring is lovely with the intoxicated call of the cuckoo.
9:56–9:58May you be just as lovely.
9:58–10:01I shall go."
10:01–10:05Here comes another man, the minister of Vipula.
10:05–10:09He was skilled at managing that prokhrat poem called Kamadatta.
10:09–10:14But now he has been defeated in the business of a courtesan's conduct and walks with
10:14–10:16a fallen face.
10:16–10:17I understand.
10:17–10:21Mooladeva has become entangled in love with Devadatta.
10:21–10:28So this worthy fellow takes Vaipala's humiliation as his own and swells with wounded pride.
10:28–10:34Very well, I shall dive into laughter and sound the depth of it.
10:34–10:36Why are you leaving us?
10:36–10:38Like the moon by day?
10:38–10:41Without making the water lily of friendship bloom?
10:41–10:43I wish to ask you something.
10:43–10:50Your vast intelligence, filled with the science of the arts and forever intoxicated with pride,
10:50–10:56must surely have remained perfectly steady and never been troubled.
10:56–10:58Do you understand?
10:58–11:04Vipula herself, skilled in the practice of the arts and proud by nature, could not remain
11:04–11:08steadfast to the end, and so fell into distress.
11:08–11:13What do you say, I understand the point of your satire.
11:13–11:16Is not master Mooladeva's cleverness famous?
11:16–11:18No, that is not it.
11:18–11:21Though his heart is attached to Dvodada.
11:21–11:23His mind remains caught in Vipula.
11:23–11:27What, that too is one of Mooladeva's tricks.
11:27–11:28Very well.
11:28–11:35Why do you not rebuke your innocent pupil Vipula, the woman who's offended love Karniputra?
11:35–11:36Came to soothe?
11:36–11:40He came like autumn to clear a river muddied by rain.
11:40–11:44was contemptuously thrown aside like a palm leaf fan in winter.
11:44–11:46What do you say, where?
11:46–11:47How?
11:47–11:49Listen, friend.
11:49–11:54A few days ago Karniputra went with me to appease Vipula.
11:54–11:59Standing at her threshold, he first sent me inside affectionately to test the depth of
11:59–12:00her anger.
12:00–12:03I approached her with sweet words.
12:03–12:09Burning with jealousy, the lovely woman turned her face away the instant she saw me and
12:09–12:10said.
12:10–12:12Why take so much trouble?
12:12–12:15Laughing, I said, who told you anything?
12:15–12:18What question is that an answer to?
12:18–12:23Lady, turn a little toward me and repeat it with your moon-like face.
12:23–12:27When I see you pleased, my affection becomes boundless.
12:27–12:32This brow of yours, filled with anger like a cobra, frightens me.
12:32–12:37Then her friend Avantisandari said, Why do you not speak even when your friend has
12:37–12:45come, your brow bent, your face red with anger, and your lips scorched by your size?
12:45–12:50swollen with pride, you are making war upon your own good fortune.
12:50–12:56proud lady, abandon your resentment, everything breaks quickly when stretched too far.
12:56–13:02believing that a conference of hearts is always good, karniputra too came in.
13:02–13:06seeing him bow, vipula jerked away in anger and said.
13:06–13:09Have you been granted leave from there?
13:09–13:11Or did she finally throw you out?
13:11–13:16Do you take me for a rest house where you may recover from your fatigue by amusing yourself
13:16–13:17with?
13:17–13:19Playful chatter?
13:19–13:22What is gained by setting fire to my heart?
13:22–13:24Whose desire you already know?
13:24–13:27What profit is there in swallowing bitter medicine?
13:27–13:29Go back the way you came.
13:29–13:31Pretending to be a gentleman.
13:31–13:34What do you say, if that is so?
13:34–13:39I shall first go and give that insolent woman a proper scolding.
13:39–13:42Go then, chatter with her to your heart's content.
13:42–13:46I must be off.
13:46–13:48A curse on it.
13:48–13:51Another embodied obstruction has appeared in my path.
13:51–13:58Datakalashi, son of Dandashuka, a grammarian of the Paninian school, stands directly
13:58–13:59before me.
13:59–14:02I must escape his net of words without injury.
14:02–14:04He looks agitated.
14:04–14:07He has surely been mauled in some debate.
14:07–14:14In any case, his speech, itching for quarrel, begins to clang like a temple bell at the slightest
14:14–14:15touch.
14:15–14:21This worthy fellow is fond of courtesans and calls his beloved Rishanavati.
14:21–14:28Daughter of Nuparasina, alas for poor Rishanavati, like a loot hung from a camel's neck.
14:28–14:31He is raising his hand and saying something to me.
14:31–14:33What did you say, friend?
14:33–14:35Did you sleep well?
14:35–14:37How can I escape him now?
14:37–14:40Very well, I shall welcome him.
14:40–14:41Welcome!"
14:41–14:43Granary stuffed with syllables.
14:43–14:46Friend Datakalashi, you look disturbed.
14:46–14:47Is all well?
14:47–14:54What those Katantra Gramarians have fallen upon me like carrion crows of the outcast grounds.
14:54–14:55Alas!
14:55–14:59War has broken out between crows and owls.
14:59–15:00Congratulations!
15:00–15:05Friends, I see you have escaped without being pecked to pieces.
15:05–15:06What do you say?
15:06–15:11What do I care for those wretched Katantra grammarians?
15:11–15:12Remain exactly as you are.
15:12–15:13I shall go.
15:13–15:16What, where are you going?
15:16–15:17Sanchi-chi-chu.
15:17–15:19Stay a moment.
15:19–15:20Why this running about?
15:20–15:22Ah, forgive me.
15:22–15:27Do not batter me with hard verbal arrows like blows from a staff.
15:27–15:32In a public gathering, speak the living language of human beings.
15:32–15:37Spare me this grammarians clatter, ugly as a camel's bellow and dripping poison into
15:37–15:39the ear.
15:39–15:44What do you say, how can I abandon a style born from the budding of innumerable babbling
15:44–15:46logicians?
15:46–15:50Thundering like a hundred slaying engine cast from many verbal roots.
15:50–15:53And make it as delicate as a woman's body?
15:53–15:54Alas.
15:54–15:57Then you are beyond help.
15:57–16:02That place have jaw-breaking words and clusters of letters in friendly conversation.
16:02–16:05In the company of women and friends.
16:05–16:07In petitions before a court.
16:07–16:08Or in proverbs.
16:08–16:13They suit them as well as a garland of flowers suits thorns.
16:13–16:16What did you say, she is certainly a loose woman.
16:16–16:20To be angry even at speech as sweet as mine.
16:20–16:22Who is this loose woman?
16:22–16:25What, how can she be called a beloved?
16:25–16:29Yes, I understand.
16:29–16:36Rishana Vati deserves exactly this, for a cuckoo that should wander in a mango grove has.
16:36–16:40By nature, perched upon a thorny creeper.
16:40–16:42What greater sorrow could there be?
16:42–16:47Yet there is vast pleasure even in this misery, enjoy it.
16:47–16:53Friend Datakalashi, how did that woman turn away from a sweet-spoken gentleman like you?
16:53–16:55I am very eager to hear it.
16:55–16:56Tell me everything.
16:56–16:58What did you say?
16:58–17:00She is certainly shameless.
17:00–17:05Yesterday evening, while I was drunk in the veranda of the courtesans' quarter and performing
17:05–17:07a fire offering.
17:07–17:11She came close and sat beside me as though embracing me.
17:11–17:13Then I said to her.
17:13–17:14You two faced woman.
17:14–17:17Do not touch me while I am making an offering.
17:17–17:22Oh, that is what one calls a meeting ruined at the very start.
17:22–17:25Being a woman is delicate work.
17:25–17:28This obsession with purity is the root of quarrels.
17:28–17:32Fool, you did wrong to rebuke a loving woman.
17:32–17:38With your merciless words, hardened by severity and full of the sparks of grammar, you startle
17:38–17:40women themselves.
17:40–17:46Have you never heard a man who touches an enamored woman in private, her heart tender?
17:46–17:52Her desire awakened, worthy of caresses and naturally sweet words, with a firebrand
17:52–17:55of ear-splitting speech is like one.
17:55–17:58Who plays a lute with a burning log?
17:58–18:04Rishana Vati must be able to accomplish the impossible, to love a block of wood like you,
18:04–18:07or perhaps you are her perfect curse.
18:07–18:12Friend Datakalashi, I have heard the nectar you poured into my ears.
18:12–18:14May all be well with you.
18:14–18:17I am going.
18:17–18:19Here is another crowd of humanity.
18:19–18:25That is Pavitraka, son of Dhamma Sannika, a secret adulterer who calls himself a Vaishnava
18:25–18:29though holy without purity.
18:29–18:36On the royal road, as if avoiding contamination from strangers, he has gathered up his wet
18:36–18:43garment, contracted his whole body, pinched both nostrils shut with his fingers, and stands
18:43–18:46at a crossroads leaning against a Shiva linga.
18:46–18:53The poor man is certainly fit for ridicule, for I hear that he is infatuated with Varunika,
18:53–18:57daughter of Madakashini, a courtesan available for a fixed fee.
18:57–18:59A woman held in pledge.
18:59–19:02Why is he so frightened now?
19:02–19:06Come, let us open the chest containing the book of his wanderings.
19:06–19:11Pavi Traka, why are you standing there, pushing your neck in and out like a tortoise
19:11–19:14warming itself in the sun?
19:14–19:15What did you say?
19:15–19:20I am avoiding the natural pollution of strangers passing along the royal road.
19:20–19:22Oh indeed!
19:22–19:25You flee contamination from strangers.
19:25–19:30But as the vessel of Varunika's loins as sacred as a bathing place beside a village
19:30–19:31pond?
19:31–19:34What, it is not like that.
19:34–19:37Are you selling buttermilk in a cowherd's house?
19:37–19:40Teaching a bat to hang upside down?
19:40–19:43You display roguery even before rogues.
19:43–19:45What do you say, forgive me?
19:45–19:49Sir, your spy's eye is terribly sharp.
19:49–19:50Who's spy?
19:50–19:51A spy for what?
19:51–19:55The sun does not enter darkness carrying a lamp.
19:55–20:00I need no informer, in such matters I have a thousand eyes.
20:00–20:02Throw off this costume of villainy.
20:02–20:09You are a gentleman only in the shape of your face, modest merely by pretence.
20:09–20:12Companion of respectable men and servant of gallants.
20:12–20:18This demon of ritual purity and an affair with a courtesan are mutually opposed.
20:18–20:20Like incompatible foods.
20:20–20:27Yet you cling to her while bound in the pretense of untitchability, as though picking a morsel.
20:27–20:28With iron tongs.
20:28–20:32What do you say, I have abandoned such hypocrisy now.
20:32–20:36Who believes a man who claims to fast after eating rice pudding?
20:36–20:42What, if you are so gracious to me, then take me as your pupil.
20:42–20:48Congratulations! You have found the right path. If you have resolved to become a gallant,
20:48–20:54quickly cast off this armor of false conduct. Deadly to a courtesan's love like an iron
20:54–21:00studded club. And roar like a proper rake. What did you say? I shall obey you. Then
21:00–21:05I grant you freedom to play as wildly as you please.
21:05–21:10Now receive this blessing from me. May you carry to the bed of frightened woman whose
21:10–21:16garments are. Disordered and loosened, whose girdle hangs slack and waist-knot has come
21:16–21:22undone. Who sits shyly hiding breasts crossed beneath her hands? The three folds of her
21:22–21:29belly and her navel. Crying, No, no, let me go! And there reap the first harvest of
21:29–21:36love's union. What do you say, you have heaped favors upon me? I am made whole.
21:36–21:44So, I should now receive my teacher's fee. What, here is my bow. Ah, what reckless extravagance.
21:44–21:49Very well. From today I may possess a pupil, but you are the complete master.
21:50–21:55Not the pupil. Swagger and enjoy yourself as you please. I am off.
21:57–22:02The market breeze. Cooled by touching the sweat of people walking in the spring afternoon.
22:02–22:09pauses between garland stalls and houses, then comes forward to meet me like a doorkeeper.
22:09–22:18This flower street, every limb adorned by heaps of blossoms of many kinds, looks like springs
22:18–22:25bright. She has a beautiful face of blooming lotus. Teeth like pale flower buds. Eyes of fresh
22:25–22:31blue lotus. Throbbing lips like clusters of red ashoka. A sweet voice like the humming
22:31–22:38of bees. Breasts like lovely bouquets, ornaments like floral wreaths, a garment woven of white
22:38–22:45blossoms, and a girdle made of a pale garland. This flower shop, dressed in flowers like
22:45–22:51the mistress of Spring's household, displays the splendor of a woman adorned with blossoms
22:51–22:56awe. My heart is caught in the fragrance of countless flowers, it is very hard to
22:56–23:00leave this street.
23:00–23:02Here comes another marketplace of laughter.
23:02–23:09A gallant from the old play called Maridonga Vasulaka, whom the courtesans have nicknamed.
23:09–23:15Bhava Jharudgava comes out of the house of the tuneful singer Arya Nagadatta.
23:15–23:21With the glitter of hair dye, bathing, and cosmetics, he has covered his old age as
23:21–23:23with a ragged cloth.
23:23–23:25This worthy man is everyone's friend.
23:25–23:28I cannot pass without speaking to him.
23:28–23:31Let me jest with him.
23:31–23:33Bava juridgava.
23:33–23:37Does even your old age enjoy a season of abundance?
23:37–23:40What did you say, since you took no notice of me?
23:40–23:43I have been shedding my skin like an old snake.
23:43–23:48It seems you are shedding life itself in undergoing rejuvenation.
23:48–23:50That is why you have become young again.
23:50–23:55You are accomplished in producing youth through grooming and ornament.
23:55–24:01Your head is covered by a fringe of hair announcing the counterfeit youth produced by dye, that
24:01–24:02is.
24:02–24:06It is bald in the middle, and your face is clean shaven because you have plucked out
24:06–24:11the gray hairs of your mustache with tweezers.
24:11–24:18Your youth, refurbished by painting and plastering the limbs, stands as an old crumbling house
24:18–24:21stands only by laborious repair.
24:21–24:24What do you say, old wine is more intoxicating?
24:24–24:31If that is your wish. May the die made from trifalla, goksura, and powdered iron increase
24:31–24:41you in every possible way. I shall go. Someone, startled by my sudden arrival, has hidden
24:41–24:46behind a pillar at the entrance of the gambling house.
24:46–24:53Yes. I recognize him. It is Shishalaka. Why is he hiding from me? Does he suspect
24:53–24:58I know of his outrageous detention of Malatika's female messenger?
24:58–24:59Very well.
24:59–25:02I shall plunge into laughter and sound him out.
25:02–25:06Brahman's son, why hide when a friend approaches?
25:06–25:11It is as useless as trying to stop moonlight with an umbrella.
25:11–25:13He comes out laughing.
25:13–25:14What do you say?
25:14–25:17Welcome, Helmsman of Friendship.
25:17–25:18Worthy man.
25:18–25:22How can I be the helmsman of your friendship when you have kept me away from your
25:22–25:30double voyage of. Love? What did you say? It is not so. You scavenger of scraps from the feast of love.
25:30–25:35Do not tell me that. Everyone knows that a Buddhist nun lives near Shishalaka.
25:36–25:42When Desire arose in Malatika, daughter of Malita, she sent that nun to you as her messenger.
25:43–25:50But seeing the messenger's unadorned beauty, youth, and lovely body, you became greedy for
25:50–25:54her flesh and fixed your eyes on her at once.
25:54–25:57Without waiting for the woman promised later.
25:57–25:59What did you say, friend?
25:59–26:03It is true that abandoning pleasure already in hand for the hope of future pleasure is
26:03–26:05not manly.
26:05–26:08Therefore I acted as I did.
26:08–26:10One does not seek fire with a lamp.
26:10–26:14Ah, you did well, unless you tell it fully.
26:14–26:16The secret will have no flavor.
26:16–26:20The story deserves to be heard in detail.
26:20–26:25you, what did you say, who willingly unfolds the whole scandal of his own misconduct?
26:25–26:32Still, hear it briefly, when she saw that force was being used against her.
26:32–26:37She said to me, after winning so much trust, you villain, are you deceiving me?
26:37–26:40I am a respectable woman.
26:40–26:45You impetuous man, it is wrong to behave this way toward a woman who has come on
26:45–26:47such an errand.
26:47–26:51You have forcibly detained me in another person's deserted house.
26:51–26:53Do not do this.
26:53–26:54Have mercy on me.
26:54–26:55Let me go.
26:55–26:56Someone is coming.
26:56–26:57Bravo!
26:57–27:01An act of the play has ended without a drum.
27:01–27:04By breaking the rules of love in this fashion.
27:04–27:09Son of Vasistha, you have firmly established the root meaning of the word Vita.
27:09–27:12You have proved yourself a true.
27:12–27:15Gallant by behaving so with a female messenger.
27:15–27:19Friend, may your union be auspicious.
27:19–27:21I shall go.
27:21–27:27Here we are at the settlement of Love's guests, the courtesan's quarter.
27:27–27:33This quarter is notorious as the costume of lust, the school of wickedness, the treasury
27:33–27:39of illusion, the headquarters of fraud, and a place that will not admit the poor.
27:39–27:41Even its sorrows are full of rasa.
27:41–27:46May entry to it be easy for all.
27:46–27:51Who is this hurrying out of a courtesan's courtyard, body contracted and covered in a
27:51–27:53dirty sheet?
27:53–27:59Looking carefully, I see the edge of a saffron robe that slipped loose in his haste.
27:59–28:00Ah!
28:00–28:05It is Sanghalaka, that wicked Buddhist monk from this very monastery.
28:05–28:06Dharmaranya!
28:06–28:09How pure is the Buddha's dispensation!
28:09–28:15That it continues to be revered day after day despite the blows dealt by such uselessly
28:15–28:16shaven.
28:16–28:17Villains.
28:17–28:24Or rather, even the sacred water of a pilgrimage place is not polluted by a crow's leavings.
28:24–28:28He has seen me and is trying to hide and escape.
28:28–28:29Very well.
28:29–28:33If my arrows of speech touch him, he will not get away unhurt.
28:33–28:37Let me speak to him.
28:37–28:38Ghost of a monastery.
28:38–28:41Why creep in daylight with the fear of an owl?
28:41–28:45What do you say, I am coming straight from the monastery.
28:45–28:49I know very well the truth of the venerable one's monastic habits.
28:50–28:56Villain, where are you going? Frightened like a heron emerging from the step well of the
28:56–29:01courtesan's street? Are you seeking an alms offering in the form of sexual pleasure?
29:02–29:09What, I came to console Sangadassaka, grieving for her mother's death. With the words of the Buddha.
29:09–29:14Words of the Buddha from your mouth are like water sipped for purification in the mistaken
29:14–29:22belief. That it is wine. Alas, if through foolishness or accident a monk enters a courtesan's
29:22–29:27courtyard. He looks no more fitting there than the sacred syllable om in Datakas'
29:27–29:35treatise on love. What do you say, we must show compassion to every living creature? Very
29:35–29:40well. The ever-cheerful venerable one will attain final nirvana through the extinction
29:40–29:46of thirst, or after the wine named Nityaprasana has settled in you.
29:46–29:49You will quench your thirst and become drunk.
29:49–29:52He folds his hands, that is.
29:52–29:53He cups them to drink.
29:53–29:55What, very well.
29:55–29:57May I be released now?
29:57–29:58Yes.
29:58–30:00Do not waste your effort.
30:00–30:03Liberation is entirely beyond your reach.
30:03–30:06What do you say, I must go?
30:06–30:09One should avoid eating at an improper hour.
30:09–30:14Bravo! Bravo! You have fulfilled all the other rules!
30:14–30:18For this monk, who never abandons the five precepts.
30:18–30:22The only thing left is not to break the rule about eating at the proper time.
30:22–30:29Go! Be off with you! Are you ashamed of the ringworm patches on your head?
30:29–30:33Revealed because it is shaven? Go! You are a complete Buddha!
30:33–30:36Good! The villain has disappeared!
30:36–30:44Where shall I wash my eyes, soiled by the sight of this stinking Buddhist monk?
30:44–30:46Ah, splendid!
30:46–30:49Here comes something to cool a rake's eyes.
30:49–30:55Vannarajika, daughter of Vasantavati, beautiful as a woodland grove, seems to be descending
30:55–31:02from Kama's temple after arranging an assembly of flowers upon her own body, and offering
31:02–31:05worship and honor to the God she desires.
31:05–31:11But the greatest care she has made her body magnificent through floral ornament.
31:11–31:13She appears to be going to her lover.
31:13–31:18Let me approach her with sweet conversation.
31:18–31:23Lady Vanirajika, while carrying Spring's first gift of flowers.
31:23–31:25You have not forgotten some guest.
31:25–31:26Have you?
31:26–31:27What did you say?
31:27–31:28Welcome.
31:28–31:31Noble Sir, I bow to you.
31:31–31:34I accept this tender shoot of your courtesy.
31:34–31:38Spring, newly arrived, has surely entered your body.
31:38–31:39What, how?
31:39–31:46Then listen, your quaffure is adorned with Kurabaka flowers mingled with Vasanti and Jasmine.
31:46–31:49Ashoka is fastened at the end of your braid.
31:49–31:54The slopes of your breasts are decorated by the gift of Sindhavara.
31:54–31:58Fresh mango blossom and trembling shoots form your ear ornaments.
31:58–32:03Fair-faced woman, with your hands cupped full of flowers.
32:03–32:05You carry spring embodied.
32:05–32:08What do you say, this is a gift for you.
32:08–32:09Very well.
32:09–32:10Keep the treasure with you.
32:10–32:14I shall take it when the proper time comes.
32:14–32:15May all be well with you.
32:15–32:16I am going.
32:16–32:22Ah, this is the house of Tambulacena.
32:22–32:24Erem is mistress.
32:24–32:27Respectable men gather here every day.
32:27–32:30Shall I go inside?
32:30–32:33It would not be right to pass without a word.
32:33–32:35Then let me enter.
32:35–32:39Is anyone in my friend's house to receive Shasha?
32:39–32:44Ah, Tambu Lasina has hurried to the outer door to welcome me.
32:44–32:49Taking quick steps and pulling up the wrap that fell in her agitation.
32:49–32:52This is surely an excess of hospitality.
32:52–32:58It seems she does not want me to enter and has come out to dispose of me at the threshold.
32:58–33:03Her fresh marks of love show that she has only just left the sport of passion.
33:03–33:08Irama has certainly experienced the wrestling match of lovemaking by day.
33:08–33:11The worthy man is very greedy for pleasure.
33:11–33:13Let me tease her a little.
33:13–33:17Tombou Lassina, why spend so much hospitality on me?
33:17–33:19How can you say, welcome?
33:19–33:22Dear friend in broken syllables.
33:22–33:26With a breath still unsteady from the exertion of love?
33:26–33:29Women forever crazed by passion.
33:29–33:30First take a fan.
33:30–33:35Truly Tomboulousina has finished her exercise, the labor of love.
33:35–33:36Little rogue.
33:36–33:38Does it also increase strength?
33:38–33:40Or, not?
33:40–33:41What do you say?
33:41–33:44I do not understand anything.
33:44–33:49The sandal paste on the slopes of her breasts has been rubbed away by an embrace with
33:49–33:51her lover.
33:51–33:52Let me ask.
33:52–33:55Women forever thirsty for passion.
33:55–33:57Do you not allow Irama?
33:57–33:59Who roams through love all night?
33:59–34:01To rest even in the daytime?
34:01–34:05Is the fire offering performed both morning and evening?
34:05–34:09What do you say, mocking others as your lifelong habit?
34:09–34:11It is, not like that.
34:11–34:12Clever woman.
34:12–34:17Have you not heard that beauty reveals itself even when one tries to hide it?
34:17–34:19What, how did you know?
34:19–34:22Little rogue, how could I fail to know?
34:22–34:24Fort the erased beauty mark.
34:24–34:26The wiped-away vermilion spot.
34:26–34:29The loose hair scattered across the cheek.
34:29–34:32The fallen flower from the ear.
34:32–34:34Lips reddened by a lover's bite.
34:34–34:40And languid eyes proclaim that your lover is greedy for pleasure by day.
34:40–34:43What do you say, I have only just risen from sleep?
34:43–34:46You suspect something else?
34:46–34:48Very well, I understand.
34:48–34:52Not even your subtlest secret remains unknown, to me now.
34:52–34:59Yet, it seems these nail marks and tooth marks upon your body arose at the end of a dream.
34:59–35:04Fair woman, was that imprint of cloth on your right shoulder produced when you pleased the
35:04–35:06ancestors by saying,
35:06–35:12Svada, and in your haste you forgot to notice that the rustic cobbler made two left shoes
35:12–35:14for your feet.
35:14–35:17Little rogue, caught with the stolen goods.
35:17–35:19Where can you escape now?
35:19–35:26She has gone into the inner room and is laughing loudly with her lover.
35:26–35:27Irama is calling.
35:27–35:33Master Rogue, come inside, friend, who can cut the yoke from an ox harnessed to the
35:33–35:35chariot of love?
35:35–35:39May this service of yours to pleasure continue without obstruction.
35:39–35:44Son of Garga, I shall go.
35:44–35:50Who is that offering a sacrificial gift to the deity at the outer threshold?
35:50–35:53Her face is still and exhausted by grief.
35:53–35:55Her eyes have no caulirium.
35:55–36:00Her garment is soiled, her thick, unnoiled hair hangs loose.
36:00–36:06Her bracelets are slack, and a ring has fallen as she cast away her flowers.
36:06–36:09This slender young woman has grown thinner still.
36:09–36:14It is Kumuda Vati, daughter of Bondirasina, alas.
36:14–36:17The poor woman is barely recognizable.
36:17–36:22For whose sake, contrary to the customs of the courtesans' quarter, does she keep a vow
36:22–36:25in separation like a faithful wife?
36:25–36:28Yes, I remember.
36:28–36:34She is said to be devoted to Chandradaya, that Maurya prince, the worthy man has gone with
36:34–36:38the army to subdue the feudatory chiefs.
36:38–36:44Alas, separation from Chandradaya has stripped Kumudavati of all splendor.
36:44–36:48She has surpassed even women of noble families.
36:48–36:51Seated in the upper pavilion of her house.
36:51–36:56She welcomes with auspicious words a crow that has come seeking the ritual offering,
36:56–37:00O ornament of the lattice in my roof pavilion.
37:00–37:05O guest at the food offered in a funeral rite, may all be well with you.
37:05–37:09Will my beloved, always absent on campaign while I live.
37:09–37:10Return?
37:10–37:15He is coming, fly and perch upon the festoon over another doorway.
37:15–37:22When sorrow has passed and I am reunited with my beloved, I shall feed you curds and rice.
37:22–37:26Wonderful, her love is certainly free from fraud.
37:26–37:30This jewel, fit for a king, is no object of ridicule.
37:30–37:36May she receive from the hand of some queen the bridal veil of a lawful wife.
37:36–37:41Now I shall walk on alone.
37:41–37:44I hear a sound from the garden on the right.
37:44–37:49Mingling with the lively cries of birds startled by the jingling of ornaments.
37:49–37:52Yes, the gate of this tree garden is open.
37:52–37:53Let me look.
37:53–37:57Ah, how beautiful.
37:57–38:00A festival for the eyes is being held here.
38:00–38:04This is Priyangu Yashdhika, daughter of Panchaladhazi.
38:04–38:06As her hips have filled out.
38:06–38:10She has acquired the proud-bearing proper to youth.
38:10–38:13The new sovereignty of young womanhood entrances her.
38:13–38:16Surrounded by friends.
38:16–38:17Endowed with playfulness.
38:17–38:18Gesture.
38:18–38:19Expression.
38:19–38:21And graciousness.
38:21–38:23She is playing ball.
38:23–38:28She, holding a red ochre ball in a hand whose fingers are red as coral.
38:28–38:33She bends high and low with the grace of a Kadamba creeper tapping a flower with the
38:33–38:36tip of its young leaf.
38:36–38:39seeing her as a priceless gain.
38:39–38:42Even one who is satisfied does not tire of nectar.
38:42–38:45Let me speak to her.
38:45–38:50Pre-Angu-Yashdika, under the pretext of playing ball.
38:50–38:54Why are you defeating even your companion's skill in dance?
38:54–38:57She answers with a slight smile and continues playing.
38:57–39:00Her maids are counting the bounces.
39:00–39:03She must have made a wager with her friends.
39:03–39:07Ah, how the contest fills her with excitement.
39:07–39:12By good fortune I see this spectacle today, her lowering and rising.
39:12–39:18Turning, leaping, retreating, running, and every other movement of the limbs are beautiful
39:18–39:20in every way.
39:20–39:22What more can I say?
39:22–39:28When she spins, draws back, and leaps, even the wind, eager to enter beneath her
39:28–39:30swelling garment.
39:30–39:36lustfully after her. I fear that her waist, naturally slender. Drawn in as though it might
39:36–39:43fit within a fist. And bent under the weight of breasts laden with youth, may break. I cannot
39:43–39:50ignore her. Let me speak, youth intoxicated girl. What are you doing against the delicacy
39:50–39:57of your own body? Stop. Stop. I am speaking to you. Her delight only increases. Ah,
39:57–39:59I ask for only this.
39:59–40:04Restless girl, you have gone completely mad after the ball.
40:04–40:06Your earrings swing violently.
40:06–40:08Both arms flash.
40:08–40:11Open flowers fall from your loosened curls.
40:11–40:15Your girdle leaps upward as you whirl, then.
40:15–40:19As your speed increases, it flashes and trembles.
40:19–40:21May your waist alone remain safe?
40:21–40:24Bent under the weight of your quivering breasts.
40:24–40:27All 100 bounces are complete.
40:27–40:33she has stopped. Lady Priyanguyashdhika, congratulations on winning the wager against
40:33–40:41your friends. What do you say? Welcome. Noble sir, half the prize is offered to you. Accept it.
40:41–40:47Lady, the sight of you itself is a priceless reward to me. Remember me, I shall go.
40:50–40:57Here is another resort for a friend's entertainment. This is the house of Shonadasa. Daughter of
40:57–41:03the city woman who is Chandra Dara's beloved. I must enter. I cannot go on without speaking."
41:05–41:12Ah, Shonadasa sits on the outer threshold, lost in thought. What does this mean? She has laid her
41:12–41:19ornaments aside and. Beautiful in her natural loveliness. Covers half her body with a soiled wrap.
41:20–41:26Red sandal paste marks her brow. A strip of white silk is tied around her head. Her
41:26–41:28Her moon-like face is bowed.
41:28–41:31A lude lies in her lap.
41:31–41:35And she lightly touches its strings with her fingers.
41:35–41:37Sustaining a phrase in a low.
41:37–41:41Sweet, cuckoo-like voice upon the Kaushika mode.
41:41–41:44She is surely a woman tormented by longing.
41:44–41:48Singing in Kaushika is merely another name for weeping.
41:48–41:53Did I not hear before moonrise that these two had quarreled in a lover's dispute?
41:53–41:57She must be regretting her quarrel with her beloved.
41:57–42:03Very well, I shall tease her, Shonadasa, why are you playing the part of an ascetic while
42:03–42:05living in the courtesan's quarter?
42:05–42:10Lady, has Chandrahthara surely committed some offense?
42:10–42:13Are your tears the only answer?
42:13–42:15Stop crying and tell me what happened.
42:15–42:18What do you say, my friend?
42:18–42:21Whose only skill is provoking offended pride?
42:21–42:27has ruined me. Shonadasa, have you rebelled against the friend you trusted above all? What,
42:27–42:33I suffer this disaster because of her bad advice. You foolish woman. You should have
42:33–42:39said to her, messenger. My offense was that I was often cold toward my beloved, but now
42:39–42:44I cannot remain angry with him for even a moment.
42:44–42:48You heartless woman, are you pleased now that you have placed me upon the harsh balance
42:48–42:51of desire?
42:51–42:56According to your advice, which urged me only to take offense and gave me no means of.
42:56–43:02Reconciliation, I have done such a thing that I must now hold up with both hands the girdle
43:02–43:05that has grown far too loose.
43:05–43:09What do you say, comma has calmed all my resentment.
43:09–43:15But that same friend of yours, proud of his good fortune, has now become obstinate.
43:15–43:19Then why do you not go to him on an asignation?
43:19–43:26girl, abandon such shame. Why do you sit with tears in your eyes? Your face lowered, breathing
43:26–43:31long sighs and worrying within yourself? Though you are fortunate in love, you must now arrange
43:31–43:37your loosened ornaments with your own hands. Ignore the words of a neutral friend and
43:37–43:43win back your beloved with pleading and tenderness. What is gained by remaining hard for no
43:43–43:51Foolish woman. When love has grown very deep, excessive offended pride becomes an insult.
43:51–43:56What do you say? What true manliness is there in a woman appeasing a man?
43:56–44:01Do not think so. Proud lady. Does not the Ganges go to the ocean?
44:01–44:08Free yourself from shame or let your wish be fulfilled. I shall appease Chandradhara myself.
44:08–44:10Why say more?
44:10–44:16Today I shall rekindle the fire offering of love that has gone cold during your long separation.
44:16–44:18And make it blaze again.
44:18–44:22Why did she smile before her tears had even stopped?
44:22–44:25It is like moonlight appearing in the rainy season.
44:25–44:30Fair woman, see sweeping, the time of happiness has come.
44:30–44:32What do you say?
44:32–44:34Now make your promise true.
44:34–44:36You will know by morning.
44:36–44:39Good, the crying has stopped.
44:39–44:42I shall go.
44:42–44:46Ah, another subject fit for love has appeared.
44:46–44:53This courtesan, Magadha Sundari, daughter of a city woman, has a face like the clear autumn
44:53–44:54moon.
44:54–44:59Her hair is black, soft, curling, glossy, and fragrant.
44:59–45:03Her restless eyes are beautiful as blooming blue lotuses.
45:03–45:09The rays issuing from her teeth are tinged red by contact with lips bright as coral.
45:09–45:15The teeth themselves are white, even, and close set like jasmine buds.
45:15–45:18Her cheeks, breasts and hips are full.
45:18–45:23Concealing her body behind the outer door, she holds the edge of the curtain between
45:23–45:26two fingers of her right hand.
45:26–45:30Beats time on the ground with one side of her left foot.
45:30–45:34And hums the four-line song called Vellaba in a suite.
45:34–45:36Tuneful upper register.
45:36–45:42The song has pure notes, ornamented phrasing, pleasure for the ear, and rests upon the shajah
45:42–45:43scale.
45:43–45:48With her eyes and brows revealing the desire surging in her heart.
45:48–45:51She waits for some wealthy patron.
45:51–45:53Who is that fortunate man?
45:53–45:57Lucky as Indra, who is being summoned to the sacrifice of love?
45:57–45:59Let me ask her.
45:59–46:06in the cloud bank of the courtesan's quarter. I wish to ask you something, moon-faced woman.
46:06–46:12For which fortunate man are you looking outside with those wide eyes, the whites clear. The
46:12–46:19pupils black, the corners red, and the whole gaze sharpened by a side-long glance? Ah,
46:19–46:24she looks at me with frightened eyes like a startled fawn. Collar seems to have flooded
46:24–46:31her heart again. What do you say, it is, nothing of the kind? I remain celibate and fast during
46:31–46:38spring. A most believable story, but what does this fresh tooth mark on your lips say? What,
46:38–46:46it was made by the spring wind. As harsh as the last frost. Let it be so, I understand,
46:46–46:52though your lips are bruised by tooth marks. You speak of observing a vow. Clearly your
46:52–46:57discipline is a chandrayana of kisses. You increase and decrease their number as the
46:57–47:04food allowance rises and falls in the chandrayana. Fast awe! She has hidden her face behind the
47:04–47:12door and begun to laugh. May this austerity of yours increase. I shall go.
47:12–47:17At last I have somehow broken the chain of conversation with the courtesans and reached
47:17–47:27Devadatta's house. Devadatta has probably gone out. Whom shall I ask? Excellent. Coming
47:27–47:33out through the garden side door is Dardaraka. The actor's son, a young performer and pupil
47:33–47:39of my dear dramatic teacher Gandavadatta. I shall ask him.
47:39–47:46Dardaraka, where are you coming from? Do you know what Devadatta is doing? What
47:46–47:52What did you say, Devadatta has gone to see Arya Muladeva and inquire after his health?
47:52–47:55My teacher sent me to see Devasina.
47:55–47:56For what reason?
47:56–47:58What the teacher said?
47:58–48:04Take her the written part she is to perform as Kumadvati in the Prakrana play.
48:04–48:06Did she accept the script?
48:06–48:09What do you say, over-odd by the teacher?
48:09–48:13She took it, but handed it to the friend seated beside her.
48:13–48:19Then, bowing to Kumadvati, she said, I am not well at present.
48:19–48:22Ah, I too am famous for my powers of inference.
48:23–48:27This makes it clear that she is wholly absorbed in desire.
48:27–48:31Dardaraka, what is written in the script? What, read it yourself.
48:33–48:39May passionate young women bear upon their hips the secret signs of union, crescent nail marks.
48:39–48:47Such marks are Kama's charming flowers. Moon crests hanging from a necklace near the breasts.
48:47–48:53Fresh leaves upon the tree of love. Wounds received in the battle of the bed. Goats driving the
48:53–49:00weary oxen of the chariot war of passion and wondrous specimens of amorous play. Excellent,
49:00–49:06as I set out to tame that stubborn filly of a woman. This omen promises success.
49:06–49:11Yes. Dar Darika. Do you also know where Devasina is?
49:11–49:17What she has gone into the garden. Then, she is in Kama's workshop.
49:17–49:22Very well, you may go. I shall enter.
49:22–49:29Ah, this is Devasina herself, thin. Faded, pale, and without luster.
49:29–49:36Like the waning moon at dawn. She suffers the extraordinary hidden pain of love sickness.
49:36–49:39only by a gentle remedy.
49:39–49:44Ah, that is why she has dismissed everyone else and is taking the air in private with
49:44–49:46Priyavadhanika.
49:46–49:51Her maid, whom she has accepted as an intimate friend because the girl knows all her secrets
49:51–49:53and loves her.
49:53–49:54Deeply.
49:54–49:58Good, this also reveals the singleness of her attachment.
49:58–50:00All lovers prefer solitude.
50:00–50:02She is now within my reach.
50:02–50:05Let me approach her.
50:05–50:12Devasina, do not be angry with me for intruding upon your private conversation.
50:12–50:14What do you say, you are welcome.
50:14–50:16I accept your courtesy.
50:16–50:18No, do not trouble to rise.
50:18–50:22What, please sit, here is a seat.
50:22–50:24Very well, I shall sit.
50:24–50:29Lady, what is this illness whose cause cannot be seen with the eyes?
50:29–50:32Whose hidden ache lies within?
50:32–50:36Which one brings upon oneself in which at first comes alone?
50:36–50:39The illness of suffering for a lover.
50:39–50:40What did you say?
50:40–50:41Nothing.
50:41–50:46Graceful girl, stop evading me, you have always been dear to me.
50:46–50:51The little girl who used to ask me to bring toys and such things.
50:51–50:55I am Shasha, that same friend of Muladeva.
50:55–50:56Tell me what is in your heart.
50:56–50:58Who has caused this sorrow?
50:58–51:02You are ill without any ordinary disease.
51:02–51:05Your temple rests upon your lotus-like palm.
51:05–51:08Your pupils stare fixedly in thought.
51:08–51:10Your heart has grown numb.
51:10–51:11You yawn.
51:11–51:13Your color has changed.
51:13–51:17Little rogue, tell me, what new disease has seized you?
51:17–51:23Making even breath difficult, allowing peace nowhere, burning all the senses, and fixing
51:23–51:26your desire upon one thing alone?
51:26–51:28Why did she sigh like that?
51:28–51:31The fire of love is blazing within her.
51:31–51:32Good.
51:32–51:34Now I can learn what is in her heart.
51:34–51:37If I am not worthy of your trust.
51:37–51:38Be happy.
51:38–51:40I shall go about my business.
51:40–51:41What do you say?
51:41–51:43You are so impatient.
51:43–51:44Yes.
51:44–51:47I understand.
51:47–51:51She wants to reveal the deepest matter.
51:51–51:55How can I remain calm when I see you in such a state?
51:55–51:59And if we delay, some other business may intervene.
51:59–52:02So tell me quickly the cause of your torment.
52:02–52:05What do you say, I hide nothing from you.
52:05–52:10Spring is such by nature that it unsettles without cause even a mind disciplined by the
52:10–52:12stern.
52:12–52:13Instruction of elders?
52:13–52:17Good, she does not deny the illness, itself.
52:17–52:22Little rogue, do you know that Devasina has truly become a young woman?
52:22–52:24Girl, if that is all.
52:24–52:26Do not let the illness advance.
52:26–52:30When the season changes, you will recover.
52:30–52:32Why has she become shy?
52:32–52:36Pre-Yavadhanika, what is written on that palm leaf?
52:36–52:40What do you say, it is a character's part in a play?
52:40–52:42Let me see.
52:42–52:48In the Prakarana called Kumadvati, the nurse privately rebukes a princess who is in love
52:48–52:51with Shupaka, foolish girl.
52:51–52:56Your breasts have not yet risen and no line of down has appeared.
52:56–53:00Inexperienced child, your judgment is still immature.
53:00–53:04Give up this longing to meet a husband like a grown woman.
53:04–53:08Your clever friends are always teaching you the handbook of impropriety.
53:08–53:12Girl, you have ripened in childhood itself.
53:12–53:15Why are you so eager for the battle of love?
53:15–53:17What did Devasina say?
53:17–53:19I had never heard this before either.
53:19–53:23Ah, now her own feeling has opened.
53:23–53:26She means, I too wish to do the same.
53:26–53:31What does Devasina say, do you take me for such a woman?
53:31–53:34Lady, stop evading me.
53:34–53:36Even when the moon is hidden by cloud.
53:36–53:39The blooming of the night lotus reveals it.
53:39–53:41Woman who drives men mad.
53:41–53:42Come now.
53:42–53:45This calamity has fallen upon you.
53:45–53:48Silent girl who hides her feelings.
53:48–53:50You have said again and again.
53:50–53:51I am not in love.
53:51–53:53Then tell me why.
53:53–53:54Slender by nature.
53:54–53:57You have grown thinner still.
53:57–53:59Why have your bracelets become loose?
53:59–54:02Why do you rest your cheek upon your hand?
54:02–54:06Why have your long size drained the color from your face?
54:06–54:07Cunning girl.
54:07–54:12Tell me, if this person suffers so deeply from the sickness of love, why does she
54:12–54:15maintain such composure?
54:15–54:19Sri Yavadhanika, what do you say, my mistress?
54:19–54:22Who has entered the chapter of the science of love?
54:22–54:27Is attached not to an ordinary man but to an exceptional one?
54:27–54:33Then to whom in the city of Avanti can the phrase, exceptional man, apply?
54:33–54:34What did you say?
54:34–54:35What is your guess?
54:35–54:37Who else could it be?
54:37–54:39It must be Karniputra.
54:39–54:42He is born of a noble family.
54:42–54:43Learned.
54:43–54:45Never disconcerted.
54:45–54:53Being in speech, clever, free of jealousy, sweet-spoken, handsome and young, comma himself.
54:53–54:58Only without the bow, why has Devasina lowered her head?
54:58–55:02Restless girl, stop twisting the end of your silk garment and speak.
55:02–55:05If she considers me trustworthy.
55:05–55:06Why is she silent?
55:06–55:13Modesty is the dowry a woman, especially an innocent young woman, brings to trust.
55:13–55:15How can she say it herself?
55:15–55:22Thus, although that remarkable phrase, exceptional man, can apply only to Karniputra.
55:22–55:26I shall be patient until I have sounded her fully and made her confess the secret with
55:26–55:27her own.
55:27–55:28Mouth.
55:28–55:30Lady Devasina.
55:30–55:33What use have I for hearing another person's secret?
55:33–55:35I am neutral.
55:35–55:36I only advise you.
55:36–55:40Karniputra too is increasingly distressed.
55:40–55:45longing to see his family because he has been away from Patali Putra.
55:45–55:47He will leave today or tomorrow.
55:47–55:52You may meet him again, but I hope you will be well by then.
55:52–55:54Remember me.
55:54–55:55Who cried?
55:55–55:57Ah, now I am dead.
55:57–56:00Devasina, why are you weeping?
56:00–56:02Lady, what is it?
56:02–56:03Stop crying.
56:03–56:05Good, I understand.
56:05–56:10Congratulations, your desire has chosen a worthy object.
56:10–56:13Any Putra suffers from the very same disease.
56:13–56:16You too must cure one another.
56:16–56:20What do you say, how can you speak with such certainty?
56:20–56:23You are easily moved by another's suffering.
56:23–56:24Enough.
56:24–56:27What is gained by suffering any longer?
56:27–56:30Fair woman, do not all the star maidens.
56:30–56:33Daughters of Daksha, share a single moon?
56:33–56:39Or do not two vines sprung from the same root climb the same mango tree?
56:39–56:43What do you say, then devise a way to preserve them both?
56:43–56:45That is already arranged.
56:45–56:50Tomorrow, as usual, your sister will go to the teacher's house to perform her turn in
56:50–56:52the dance.
56:52–56:54Now that your heart has gained confidence.
56:54–57:00Fortunate girl, go there under the pretext of inquiring after Karni Putra's health,
57:00–57:02or he may come here.
57:02–57:06Why are you swinging upon the cradle of hesitation?
57:06–57:12Just as Priyavadhanika say, it would not be proper for the noble young man to come here.
57:12–57:14My mistress should go there.
57:14–57:18Cortizans are always ready to carry one another gifts of gossip.
57:18–57:23I shall therefore arrange matters so that, when Dvada dada goes to perform her turn
57:23–57:29in the dance, she herself takes my mistress with her to inquire after Arya Muladeva's
57:29–57:30health.
57:30–57:31Excellent.
57:31–57:39Priyavadhanika, your name, she who speaks pleasantly, is truly justified. Devasina should go there,
57:39–57:46but she must look healthy. What does Devasina say, the moment I saw you? I became well,
57:46–57:54I am pleased, I have completed Kama's business. Give me some token to save Karniputra's life.
57:54–58:00What do you say, what shall I give? Why think about it? Send, a red lotus to him,
58:00–58:07Red Lotus Beauty as a gift of your imagined lovemaking. Let it be slightly bitten by your teeth.
58:07–58:13Rubbed and crushed against your breasts. Marked with the painted leaf patterns upon your body.
58:13–58:19Faintly withered by your deep sigh when held near your nose. Its filaments faded by contact
58:19–58:25with the sandal paste on your skin. And its stalk bruised by being whirled between both
58:25–58:28your hands as though you had made love with.
58:28–58:34Him all night in it dawn it had become wholly the discarded flower of your worship.
58:34–58:37She lowers her eyes as though approving the proposal.
58:37–58:43Ah, this is no mere gift, it is earnest money on the bargain of love.
58:43–58:49With this medicine I shall now restore new strength to Karniputra.
58:49–58:52I shall go, may all be well with you.
58:52–58:53woman.
58:53–58:57Receive this blessing from me, may comma himself.
58:57–59:02Bearing in his hand the weapon of irresistible sensual desire.
59:02–59:05Accompany you on a secret asignation where.
59:05–59:07Though fear makes you step quickly.
59:07–59:10Neither girdle nor anklets can be heard.
59:10–59:15Wear the knot of your lower garment slips and opens on the way.
59:15–59:18And where suspicion makes each embrace quickly loosen.

Plain text

विक्त्री तो लोड्रद्र, हूँ, वेधर तो अगर और और और ग्रेज़, मेड कामा, तो वेरी नबदिमनद अव वूमन्झ डलगट, शाइन एन एप नवग रेडिंट भादि, अव परद़, तो वेधर भाखा ब्लोसम्स अव तो वगद, तो वोगगगगगगगगगग Bow in hand. Roams the forest. And what is more, the bird's twitter becomes an orchestra while cuckoos. Drunk on the nectar of love. Sing. In the inner apartments of the woodland. Creepers shaped like graceful women perform under the instruction of their master. The wind. Trees. Jubilant in blossom. Cokes those creepers with fingers of tender leaves. At the arrival of Lord Spring. The necklace white frost vanished in an instant. From root, trunk, crown, and shoot, from every side, the Ashoka bursts into flower like wounds opening in a villain's heart. Ah! This is, the seasoned beloved of youth. Filled with the intoxicated calls of hukus. Adorned with Cindavara, Jasmine, and Mango, alive with the bold assaults of Kama and the wind. Wonderful! What a marvel! The year, a gallant worn old by winter, has swallowed the rejuvenating elixir of snow and is returning to the lovely youth of spring. At this moment, the forest is coming of age. Trees dance with trembling shoots. And flowering vines clasp them close. A cuckoo perched on a talaka tree looks like an ornament in a woman's hair. A bee settled on a jasmine flower becomes the side-long glance of a beauty. Here a lotus pond, darkened by dusky buds, resembles a maiden whose small breasts have just begun to rise. There the company of spring winds blows with the roguish purpose of touching the full breasts of a woman damp with the sweat of love. Spring is certainly powerful, cruel in the torment it inflicts with commas arrows. Though Karniputra has already celebrated the festival of his youth to the fallen devoditas. Embraces the bee of his desire still hungers for the mango bough called devasina, a girl who has left childhood behind, grown tender with the coming of youth, and is flowering like Kama's own spray of blossoms. But why wonder that Karniputra remains hungry? A rich sweet of ghee and sugar tastes better still with a sharp relish beside it. I think that, though satisfied by drinking the honey of love with Devadatta, he longs to taste a still more delightful kind of union with that sixteen-year-old beauty. The young Chandali Devasina, a pleasure flavored with the innocent hospitality, teasing, and playfulness of childhood. Ah, the sickness of love may look slight, yet it weighs terribly. It has brought even Karniputra to this condition, a flawless master of many sciences. Accomplished in every art and branch of learning, a stage manager expert at weaving the warp of desire in young women. Lack of sleep has left his eyes heavy and red. His face has turned pale. Like the moon at dawn. Anxiety has made his body thin. He yawns. Every sense burns. The moon, spring, garland-making, music, perfume, all the lovely things that once delighted him even when merely placed before him, now torment him. Yet if Devasena is the cause of all this, there is no wonder in it. She is newly young and able to awaken desire at will. It is only natural that the beauty born of her ripe and youth should drive Karniputra mad. Her restless side long glances. Her unbroken lips. Pouring out gold. Her face thrust forward upon its cheeks. The new buds of breasts rising on her chest. The tender creepers of her arms. The faint line of down beginning to show upon her belly. The full hips that seem to have appeared from nowhere. And the clever passion of her uninhibited nature, whom would all this not drive mad. In the anguish of love born from devasina, he now lies confined to his bed, somehow keeping himself alive on the hope of meeting her, cooling his fevered body with necklaces, fans, and sandal paste. Early this morning Pushpangalika, Devadada's attendant, went respectfully to Karniputra and said, Noble sir, Lady Devadada says, Please do not let my failure to come yesterday lesson your regard for me. My younger sister Chandali is a little unwell, and affection for her detained me. I am coming at once. After answering and dismissing Pushpangalika, Karniputra said to me affectionately. Friend Shasha, you too heard that she is coming here. This is the right opportunity. Go there under the pretext of inquiring after their health. Win their full confidence. Devasena's heart and learn the cause of her distress. I bow to you. Only you, fortunate friend, can somehow draw out this arrow of love, shot by Devasena and buried to the very core of my heart, laughing as I took my leave. I told him, very well, Master Rogue, why light a lamp in daylight? Do you think I have not understood the meaning of your eyes? revealing what lies in both your hearts. I am Shasha, friend of Muladeva himself, I shall not return without the whole story. So I set out. What harm is there in passing some time chatting with friends along the royal road? And reaching Chandali only after she has been separated from Dvodada? Ah! Ujaiini has incomparable beauty, like painted leaf work upon the cheek of Jambudvipa. The face of the bride called earth, the city is filled to overflowing with every kind of treasure and merchandise. Here are the sacred recitation of the Vedas. The thunder of elephants, chariots, and horses, the twang of bow strings, drama, poetry, and learned debate, trade in goods brought from all four seas. song, instrumental music, gambling, laughter, and jest. Hear the talk of gallants. They're every art imaginable. Rose of houses resound with the calls of tame birds and the tinkling of countless bracelets and girdles. Now let me look for some omen that my purpose will succeed. Ah, there is Sarasvada Badra, son of Sharad Vati of the Kalyayana clan, addicted to poetry. He stands at his doorway. Fingers smeared with chalk, playing with a spinning top and showing by the movements of his eyes and brows the delight of. Suddenly remembering an idea, poets are angry even with a dear friend who interrupts the flowing current of inspiration. Yet I would lose by passing on without making an ear ornament of the flower of speech born from the vine of Sarasvati. Let me meet him first. Friend Katya Yana, are you chewing the cud without having eaten any fodder? What do you say, the demon of poetry has mounted my head and is driving me? You cobbler stitching together scraps of old verse. Are you searching for a new line as though hunting a cow whose hide has been torn to pieces? Tell me, friend, what is your stanza about? What do you say I have composed it on this charming spring before us? May I hear it? What it is written on the wall, read it. Where? Ah, here it is. This spring, armed with a sweet breeze and with harsh, impetuous comma, can bring a young, helpless, slender girl to her lover more effectively than a thousand go between skilled and flattery. Bravo! This is an omen of success. Friend, may your verse bring you fame as the birth of a sun would. May it escape the hunters of literary criticism. Who laughed? Ah, it is Dardaraka, the Pithamarda. Dardaraka, what is there to laugh at? What do you say, By worshiping this poet. Another Brihaspati. With your words. You are surely sprinkling water upon the ocean. Do not speak so. Fool! Are flowers not offered in worship during the month of spring? Have you not heard that the sun is worshiped with a lamp? The ocean with water. And spring with flowers? I too am worshiping a great poet with words. Very well, you have displayed the nature of a pithamarda. I have seen enough of you. And this spring is lovely with the intoxicated call of the cuckoo. May you be just as lovely. I shall go." Here comes another man, the minister of Vipula. He was skilled at managing that prokhrat poem called Kamadatta. But now he has been defeated in the business of a courtesan's conduct and walks with a fallen face. I understand. Mooladeva has become entangled in love with Devadatta. So this worthy fellow takes Vaipala's humiliation as his own and swells with wounded pride. Very well, I shall dive into laughter and sound the depth of it. Why are you leaving us? Like the moon by day? Without making the water lily of friendship bloom? I wish to ask you something. Your vast intelligence, filled with the science of the arts and forever intoxicated with pride, must surely have remained perfectly steady and never been troubled. Do you understand? Vipula herself, skilled in the practice of the arts and proud by nature, could not remain steadfast to the end, and so fell into distress. What do you say, I understand the point of your satire. Is not master Mooladeva's cleverness famous? No, that is not it. Though his heart is attached to Dvodada. His mind remains caught in Vipula. What, that too is one of Mooladeva's tricks. Very well. Why do you not rebuke your innocent pupil Vipula, the woman who's offended love Karniputra? Came to soothe? He came like autumn to clear a river muddied by rain. was contemptuously thrown aside like a palm leaf fan in winter. What do you say, where? How? Listen, friend. A few days ago Karniputra went with me to appease Vipula. Standing at her threshold, he first sent me inside affectionately to test the depth of her anger. I approached her with sweet words. Burning with jealousy, the lovely woman turned her face away the instant she saw me and said. Why take so much trouble? Laughing, I said, who told you anything? What question is that an answer to? Lady, turn a little toward me and repeat it with your moon-like face. When I see you pleased, my affection becomes boundless. This brow of yours, filled with anger like a cobra, frightens me. Then her friend Avantisandari said, Why do you not speak even when your friend has come, your brow bent, your face red with anger, and your lips scorched by your size? swollen with pride, you are making war upon your own good fortune. proud lady, abandon your resentment, everything breaks quickly when stretched too far. believing that a conference of hearts is always good, karniputra too came in. seeing him bow, vipula jerked away in anger and said. Have you been granted leave from there? Or did she finally throw you out? Do you take me for a rest house where you may recover from your fatigue by amusing yourself with? Playful chatter? What is gained by setting fire to my heart? Whose desire you already know? What profit is there in swallowing bitter medicine? Go back the way you came. Pretending to be a gentleman. What do you say, if that is so? I shall first go and give that insolent woman a proper scolding. Go then, chatter with her to your heart's content. I must be off. A curse on it. Another embodied obstruction has appeared in my path. Datakalashi, son of Dandashuka, a grammarian of the Paninian school, stands directly before me. I must escape his net of words without injury. He looks agitated. He has surely been mauled in some debate. In any case, his speech, itching for quarrel, begins to clang like a temple bell at the slightest touch. This worthy fellow is fond of courtesans and calls his beloved Rishanavati. Daughter of Nuparasina, alas for poor Rishanavati, like a loot hung from a camel's neck. He is raising his hand and saying something to me. What did you say, friend? Did you sleep well? How can I escape him now? Very well, I shall welcome him. Welcome!" Granary stuffed with syllables. Friend Datakalashi, you look disturbed. Is all well? What those Katantra Gramarians have fallen upon me like carrion crows of the outcast grounds. Alas! War has broken out between crows and owls. Congratulations! Friends, I see you have escaped without being pecked to pieces. What do you say? What do I care for those wretched Katantra grammarians? Remain exactly as you are. I shall go. What, where are you going? Sanchi-chi-chu. Stay a moment. Why this running about? Ah, forgive me. Do not batter me with hard verbal arrows like blows from a staff. In a public gathering, speak the living language of human beings. Spare me this grammarians clatter, ugly as a camel's bellow and dripping poison into the ear. What do you say, how can I abandon a style born from the budding of innumerable babbling logicians? Thundering like a hundred slaying engine cast from many verbal roots. And make it as delicate as a woman's body? Alas. Then you are beyond help. That place have jaw-breaking words and clusters of letters in friendly conversation. In the company of women and friends. In petitions before a court. Or in proverbs. They suit them as well as a garland of flowers suits thorns. What did you say, she is certainly a loose woman. To be angry even at speech as sweet as mine. Who is this loose woman? What, how can she be called a beloved? Yes, I understand. Rishana Vati deserves exactly this, for a cuckoo that should wander in a mango grove has. By nature, perched upon a thorny creeper. What greater sorrow could there be? Yet there is vast pleasure even in this misery, enjoy it. Friend Datakalashi, how did that woman turn away from a sweet-spoken gentleman like you? I am very eager to hear it. Tell me everything. What did you say? She is certainly shameless. Yesterday evening, while I was drunk in the veranda of the courtesans' quarter and performing a fire offering. She came close and sat beside me as though embracing me. Then I said to her. You two faced woman. Do not touch me while I am making an offering. Oh, that is what one calls a meeting ruined at the very start. Being a woman is delicate work. This obsession with purity is the root of quarrels. Fool, you did wrong to rebuke a loving woman. With your merciless words, hardened by severity and full of the sparks of grammar, you startle women themselves. Have you never heard a man who touches an enamored woman in private, her heart tender? Her desire awakened, worthy of caresses and naturally sweet words, with a firebrand of ear-splitting speech is like one. Who plays a lute with a burning log? Rishana Vati must be able to accomplish the impossible, to love a block of wood like you, or perhaps you are her perfect curse. Friend Datakalashi, I have heard the nectar you poured into my ears. May all be well with you. I am going. Here is another crowd of humanity. That is Pavitraka, son of Dhamma Sannika, a secret adulterer who calls himself a Vaishnava though holy without purity. On the royal road, as if avoiding contamination from strangers, he has gathered up his wet garment, contracted his whole body, pinched both nostrils shut with his fingers, and stands at a crossroads leaning against a Shiva linga. The poor man is certainly fit for ridicule, for I hear that he is infatuated with Varunika, daughter of Madakashini, a courtesan available for a fixed fee. A woman held in pledge. Why is he so frightened now? Come, let us open the chest containing the book of his wanderings. Pavi Traka, why are you standing there, pushing your neck in and out like a tortoise warming itself in the sun? What did you say? I am avoiding the natural pollution of strangers passing along the royal road. Oh indeed! You flee contamination from strangers. But as the vessel of Varunika's loins as sacred as a bathing place beside a village pond? What, it is not like that. Are you selling buttermilk in a cowherd's house? Teaching a bat to hang upside down? You display roguery even before rogues. What do you say, forgive me? Sir, your spy's eye is terribly sharp. Who's spy? A spy for what? The sun does not enter darkness carrying a lamp. I need no informer, in such matters I have a thousand eyes. Throw off this costume of villainy. You are a gentleman only in the shape of your face, modest merely by pretence. Companion of respectable men and servant of gallants. This demon of ritual purity and an affair with a courtesan are mutually opposed. Like incompatible foods. Yet you cling to her while bound in the pretense of untitchability, as though picking a morsel. With iron tongs. What do you say, I have abandoned such hypocrisy now. Who believes a man who claims to fast after eating rice pudding? What, if you are so gracious to me, then take me as your pupil. Congratulations! You have found the right path. If you have resolved to become a gallant, quickly cast off this armor of false conduct. Deadly to a courtesan's love like an iron studded club. And roar like a proper rake. What did you say? I shall obey you. Then I grant you freedom to play as wildly as you please. Now receive this blessing from me. May you carry to the bed of frightened woman whose garments are. Disordered and loosened, whose girdle hangs slack and waist-knot has come undone. Who sits shyly hiding breasts crossed beneath her hands? The three folds of her belly and her navel. Crying, No, no, let me go! And there reap the first harvest of love's union. What do you say, you have heaped favors upon me? I am made whole. So, I should now receive my teacher's fee. What, here is my bow. Ah, what reckless extravagance. Very well. From today I may possess a pupil, but you are the complete master. Not the pupil. Swagger and enjoy yourself as you please. I am off. The market breeze. Cooled by touching the sweat of people walking in the spring afternoon. pauses between garland stalls and houses, then comes forward to meet me like a doorkeeper. This flower street, every limb adorned by heaps of blossoms of many kinds, looks like springs bright. She has a beautiful face of blooming lotus. Teeth like pale flower buds. Eyes of fresh blue lotus. Throbbing lips like clusters of red ashoka. A sweet voice like the humming of bees. Breasts like lovely bouquets, ornaments like floral wreaths, a garment woven of white blossoms, and a girdle made of a pale garland. This flower shop, dressed in flowers like the mistress of Spring's household, displays the splendor of a woman adorned with blossoms awe. My heart is caught in the fragrance of countless flowers, it is very hard to leave this street. Here comes another marketplace of laughter. A gallant from the old play called Maridonga Vasulaka, whom the courtesans have nicknamed. Bhava Jharudgava comes out of the house of the tuneful singer Arya Nagadatta. With the glitter of hair dye, bathing, and cosmetics, he has covered his old age as with a ragged cloth. This worthy man is everyone's friend. I cannot pass without speaking to him. Let me jest with him. Bava juridgava. Does even your old age enjoy a season of abundance? What did you say, since you took no notice of me? I have been shedding my skin like an old snake. It seems you are shedding life itself in undergoing rejuvenation. That is why you have become young again. You are accomplished in producing youth through grooming and ornament. Your head is covered by a fringe of hair announcing the counterfeit youth produced by dye, that is. It is bald in the middle, and your face is clean shaven because you have plucked out the gray hairs of your mustache with tweezers. Your youth, refurbished by painting and plastering the limbs, stands as an old crumbling house stands only by laborious repair. What do you say, old wine is more intoxicating? If that is your wish. May the die made from trifalla, goksura, and powdered iron increase you in every possible way. I shall go. Someone, startled by my sudden arrival, has hidden behind a pillar at the entrance of the gambling house. Yes. I recognize him. It is Shishalaka. Why is he hiding from me? Does he suspect I know of his outrageous detention of Malatika's female messenger? Very well. I shall plunge into laughter and sound him out. Brahman's son, why hide when a friend approaches? It is as useless as trying to stop moonlight with an umbrella. He comes out laughing. What do you say? Welcome, Helmsman of Friendship. Worthy man. How can I be the helmsman of your friendship when you have kept me away from your double voyage of. Love? What did you say? It is not so. You scavenger of scraps from the feast of love. Do not tell me that. Everyone knows that a Buddhist nun lives near Shishalaka. When Desire arose in Malatika, daughter of Malita, she sent that nun to you as her messenger. But seeing the messenger's unadorned beauty, youth, and lovely body, you became greedy for her flesh and fixed your eyes on her at once. Without waiting for the woman promised later. What did you say, friend? It is true that abandoning pleasure already in hand for the hope of future pleasure is not manly. Therefore I acted as I did. One does not seek fire with a lamp. Ah, you did well, unless you tell it fully. The secret will have no flavor. The story deserves to be heard in detail. you, what did you say, who willingly unfolds the whole scandal of his own misconduct? Still, hear it briefly, when she saw that force was being used against her. She said to me, after winning so much trust, you villain, are you deceiving me? I am a respectable woman. You impetuous man, it is wrong to behave this way toward a woman who has come on such an errand. You have forcibly detained me in another person's deserted house. Do not do this. Have mercy on me. Let me go. Someone is coming. Bravo! An act of the play has ended without a drum. By breaking the rules of love in this fashion. Son of Vasistha, you have firmly established the root meaning of the word Vita. You have proved yourself a true. Gallant by behaving so with a female messenger. Friend, may your union be auspicious. I shall go. Here we are at the settlement of Love's guests, the courtesan's quarter. This quarter is notorious as the costume of lust, the school of wickedness, the treasury of illusion, the headquarters of fraud, and a place that will not admit the poor. Even its sorrows are full of rasa. May entry to it be easy for all. Who is this hurrying out of a courtesan's courtyard, body contracted and covered in a dirty sheet? Looking carefully, I see the edge of a saffron robe that slipped loose in his haste. Ah! It is Sanghalaka, that wicked Buddhist monk from this very monastery. Dharmaranya! How pure is the Buddha's dispensation! That it continues to be revered day after day despite the blows dealt by such uselessly shaven. Villains. Or rather, even the sacred water of a pilgrimage place is not polluted by a crow's leavings. He has seen me and is trying to hide and escape. Very well. If my arrows of speech touch him, he will not get away unhurt. Let me speak to him. Ghost of a monastery. Why creep in daylight with the fear of an owl? What do you say, I am coming straight from the monastery. I know very well the truth of the venerable one's monastic habits. Villain, where are you going? Frightened like a heron emerging from the step well of the courtesan's street? Are you seeking an alms offering in the form of sexual pleasure? What, I came to console Sangadassaka, grieving for her mother's death. With the words of the Buddha. Words of the Buddha from your mouth are like water sipped for purification in the mistaken belief. That it is wine. Alas, if through foolishness or accident a monk enters a courtesan's courtyard. He looks no more fitting there than the sacred syllable om in Datakas' treatise on love. What do you say, we must show compassion to every living creature? Very well. The ever-cheerful venerable one will attain final nirvana through the extinction of thirst, or after the wine named Nityaprasana has settled in you. You will quench your thirst and become drunk. He folds his hands, that is. He cups them to drink. What, very well. May I be released now? Yes. Do not waste your effort. Liberation is entirely beyond your reach. What do you say, I must go? One should avoid eating at an improper hour. Bravo! Bravo! You have fulfilled all the other rules! For this monk, who never abandons the five precepts. The only thing left is not to break the rule about eating at the proper time. Go! Be off with you! Are you ashamed of the ringworm patches on your head? Revealed because it is shaven? Go! You are a complete Buddha! Good! The villain has disappeared! Where shall I wash my eyes, soiled by the sight of this stinking Buddhist monk? Ah, splendid! Here comes something to cool a rake's eyes. Vannarajika, daughter of Vasantavati, beautiful as a woodland grove, seems to be descending from Kama's temple after arranging an assembly of flowers upon her own body, and offering worship and honor to the God she desires. But the greatest care she has made her body magnificent through floral ornament. She appears to be going to her lover. Let me approach her with sweet conversation. Lady Vanirajika, while carrying Spring's first gift of flowers. You have not forgotten some guest. Have you? What did you say? Welcome. Noble Sir, I bow to you. I accept this tender shoot of your courtesy. Spring, newly arrived, has surely entered your body. What, how? Then listen, your quaffure is adorned with Kurabaka flowers mingled with Vasanti and Jasmine. Ashoka is fastened at the end of your braid. The slopes of your breasts are decorated by the gift of Sindhavara. Fresh mango blossom and trembling shoots form your ear ornaments. Fair-faced woman, with your hands cupped full of flowers. You carry spring embodied. What do you say, this is a gift for you. Very well. Keep the treasure with you. I shall take it when the proper time comes. May all be well with you. I am going. Ah, this is the house of Tambulacena. Erem is mistress. Respectable men gather here every day. Shall I go inside? It would not be right to pass without a word. Then let me enter. Is anyone in my friend's house to receive Shasha? Ah, Tambu Lasina has hurried to the outer door to welcome me. Taking quick steps and pulling up the wrap that fell in her agitation. This is surely an excess of hospitality. It seems she does not want me to enter and has come out to dispose of me at the threshold. Her fresh marks of love show that she has only just left the sport of passion. Irama has certainly experienced the wrestling match of lovemaking by day. The worthy man is very greedy for pleasure. Let me tease her a little. Tombou Lassina, why spend so much hospitality on me? How can you say, welcome? Dear friend in broken syllables. With a breath still unsteady from the exertion of love? Women forever crazed by passion. First take a fan. Truly Tomboulousina has finished her exercise, the labor of love. Little rogue. Does it also increase strength? Or, not? What do you say? I do not understand anything. The sandal paste on the slopes of her breasts has been rubbed away by an embrace with her lover. Let me ask. Women forever thirsty for passion. Do you not allow Irama? Who roams through love all night? To rest even in the daytime? Is the fire offering performed both morning and evening? What do you say, mocking others as your lifelong habit? It is, not like that. Clever woman. Have you not heard that beauty reveals itself even when one tries to hide it? What, how did you know? Little rogue, how could I fail to know? Fort the erased beauty mark. The wiped-away vermilion spot. The loose hair scattered across the cheek. The fallen flower from the ear. Lips reddened by a lover's bite. And languid eyes proclaim that your lover is greedy for pleasure by day. What do you say, I have only just risen from sleep? You suspect something else? Very well, I understand. Not even your subtlest secret remains unknown, to me now. Yet, it seems these nail marks and tooth marks upon your body arose at the end of a dream. Fair woman, was that imprint of cloth on your right shoulder produced when you pleased the ancestors by saying, Svada, and in your haste you forgot to notice that the rustic cobbler made two left shoes for your feet. Little rogue, caught with the stolen goods. Where can you escape now? She has gone into the inner room and is laughing loudly with her lover. Irama is calling. Master Rogue, come inside, friend, who can cut the yoke from an ox harnessed to the chariot of love? May this service of yours to pleasure continue without obstruction. Son of Garga, I shall go. Who is that offering a sacrificial gift to the deity at the outer threshold? Her face is still and exhausted by grief. Her eyes have no caulirium. Her garment is soiled, her thick, unnoiled hair hangs loose. Her bracelets are slack, and a ring has fallen as she cast away her flowers. This slender young woman has grown thinner still. It is Kumuda Vati, daughter of Bondirasina, alas. The poor woman is barely recognizable. For whose sake, contrary to the customs of the courtesans' quarter, does she keep a vow in separation like a faithful wife? Yes, I remember. She is said to be devoted to Chandradaya, that Maurya prince, the worthy man has gone with the army to subdue the feudatory chiefs. Alas, separation from Chandradaya has stripped Kumudavati of all splendor. She has surpassed even women of noble families. Seated in the upper pavilion of her house. She welcomes with auspicious words a crow that has come seeking the ritual offering, O ornament of the lattice in my roof pavilion. O guest at the food offered in a funeral rite, may all be well with you. Will my beloved, always absent on campaign while I live. Return? He is coming, fly and perch upon the festoon over another doorway. When sorrow has passed and I am reunited with my beloved, I shall feed you curds and rice. Wonderful, her love is certainly free from fraud. This jewel, fit for a king, is no object of ridicule. May she receive from the hand of some queen the bridal veil of a lawful wife. Now I shall walk on alone. I hear a sound from the garden on the right. Mingling with the lively cries of birds startled by the jingling of ornaments. Yes, the gate of this tree garden is open. Let me look. Ah, how beautiful. A festival for the eyes is being held here. This is Priyangu Yashdhika, daughter of Panchaladhazi. As her hips have filled out. She has acquired the proud-bearing proper to youth. The new sovereignty of young womanhood entrances her. Surrounded by friends. Endowed with playfulness. Gesture. Expression. And graciousness. She is playing ball. She, holding a red ochre ball in a hand whose fingers are red as coral. She bends high and low with the grace of a Kadamba creeper tapping a flower with the tip of its young leaf. seeing her as a priceless gain. Even one who is satisfied does not tire of nectar. Let me speak to her. Pre-Angu-Yashdika, under the pretext of playing ball. Why are you defeating even your companion's skill in dance? She answers with a slight smile and continues playing. Her maids are counting the bounces. She must have made a wager with her friends. Ah, how the contest fills her with excitement. By good fortune I see this spectacle today, her lowering and rising. Turning, leaping, retreating, running, and every other movement of the limbs are beautiful in every way. What more can I say? When she spins, draws back, and leaps, even the wind, eager to enter beneath her swelling garment. lustfully after her. I fear that her waist, naturally slender. Drawn in as though it might fit within a fist. And bent under the weight of breasts laden with youth, may break. I cannot ignore her. Let me speak, youth intoxicated girl. What are you doing against the delicacy of your own body? Stop. Stop. I am speaking to you. Her delight only increases. Ah, I ask for only this. Restless girl, you have gone completely mad after the ball. Your earrings swing violently. Both arms flash. Open flowers fall from your loosened curls. Your girdle leaps upward as you whirl, then. As your speed increases, it flashes and trembles. May your waist alone remain safe? Bent under the weight of your quivering breasts. All 100 bounces are complete. she has stopped. Lady Priyanguyashdhika, congratulations on winning the wager against your friends. What do you say? Welcome. Noble sir, half the prize is offered to you. Accept it. Lady, the sight of you itself is a priceless reward to me. Remember me, I shall go. Here is another resort for a friend's entertainment. This is the house of Shonadasa. Daughter of the city woman who is Chandra Dara's beloved. I must enter. I cannot go on without speaking." Ah, Shonadasa sits on the outer threshold, lost in thought. What does this mean? She has laid her ornaments aside and. Beautiful in her natural loveliness. Covers half her body with a soiled wrap. Red sandal paste marks her brow. A strip of white silk is tied around her head. Her Her moon-like face is bowed. A lude lies in her lap. And she lightly touches its strings with her fingers. Sustaining a phrase in a low. Sweet, cuckoo-like voice upon the Kaushika mode. She is surely a woman tormented by longing. Singing in Kaushika is merely another name for weeping. Did I not hear before moonrise that these two had quarreled in a lover's dispute? She must be regretting her quarrel with her beloved. Very well, I shall tease her, Shonadasa, why are you playing the part of an ascetic while living in the courtesan's quarter? Lady, has Chandrahthara surely committed some offense? Are your tears the only answer? Stop crying and tell me what happened. What do you say, my friend? Whose only skill is provoking offended pride? has ruined me. Shonadasa, have you rebelled against the friend you trusted above all? What, I suffer this disaster because of her bad advice. You foolish woman. You should have said to her, messenger. My offense was that I was often cold toward my beloved, but now I cannot remain angry with him for even a moment. You heartless woman, are you pleased now that you have placed me upon the harsh balance of desire? According to your advice, which urged me only to take offense and gave me no means of. Reconciliation, I have done such a thing that I must now hold up with both hands the girdle that has grown far too loose. What do you say, comma has calmed all my resentment. But that same friend of yours, proud of his good fortune, has now become obstinate. Then why do you not go to him on an asignation? girl, abandon such shame. Why do you sit with tears in your eyes? Your face lowered, breathing long sighs and worrying within yourself? Though you are fortunate in love, you must now arrange your loosened ornaments with your own hands. Ignore the words of a neutral friend and win back your beloved with pleading and tenderness. What is gained by remaining hard for no Foolish woman. When love has grown very deep, excessive offended pride becomes an insult. What do you say? What true manliness is there in a woman appeasing a man? Do not think so. Proud lady. Does not the Ganges go to the ocean? Free yourself from shame or let your wish be fulfilled. I shall appease Chandradhara myself. Why say more? Today I shall rekindle the fire offering of love that has gone cold during your long separation. And make it blaze again. Why did she smile before her tears had even stopped? It is like moonlight appearing in the rainy season. Fair woman, see sweeping, the time of happiness has come. What do you say? Now make your promise true. You will know by morning. Good, the crying has stopped. I shall go. Ah, another subject fit for love has appeared. This courtesan, Magadha Sundari, daughter of a city woman, has a face like the clear autumn moon. Her hair is black, soft, curling, glossy, and fragrant. Her restless eyes are beautiful as blooming blue lotuses. The rays issuing from her teeth are tinged red by contact with lips bright as coral. The teeth themselves are white, even, and close set like jasmine buds. Her cheeks, breasts and hips are full. Concealing her body behind the outer door, she holds the edge of the curtain between two fingers of her right hand. Beats time on the ground with one side of her left foot. And hums the four-line song called Vellaba in a suite. Tuneful upper register. The song has pure notes, ornamented phrasing, pleasure for the ear, and rests upon the shajah scale. With her eyes and brows revealing the desire surging in her heart. She waits for some wealthy patron. Who is that fortunate man? Lucky as Indra, who is being summoned to the sacrifice of love? Let me ask her. in the cloud bank of the courtesan's quarter. I wish to ask you something, moon-faced woman. For which fortunate man are you looking outside with those wide eyes, the whites clear. The pupils black, the corners red, and the whole gaze sharpened by a side-long glance? Ah, she looks at me with frightened eyes like a startled fawn. Collar seems to have flooded her heart again. What do you say, it is, nothing of the kind? I remain celibate and fast during spring. A most believable story, but what does this fresh tooth mark on your lips say? What, it was made by the spring wind. As harsh as the last frost. Let it be so, I understand, though your lips are bruised by tooth marks. You speak of observing a vow. Clearly your discipline is a chandrayana of kisses. You increase and decrease their number as the food allowance rises and falls in the chandrayana. Fast awe! She has hidden her face behind the door and begun to laugh. May this austerity of yours increase. I shall go. At last I have somehow broken the chain of conversation with the courtesans and reached Devadatta's house. Devadatta has probably gone out. Whom shall I ask? Excellent. Coming out through the garden side door is Dardaraka. The actor's son, a young performer and pupil of my dear dramatic teacher Gandavadatta. I shall ask him. Dardaraka, where are you coming from? Do you know what Devadatta is doing? What What did you say, Devadatta has gone to see Arya Muladeva and inquire after his health? My teacher sent me to see Devasina. For what reason? What the teacher said? Take her the written part she is to perform as Kumadvati in the Prakrana play. Did she accept the script? What do you say, over-odd by the teacher? She took it, but handed it to the friend seated beside her. Then, bowing to Kumadvati, she said, I am not well at present. Ah, I too am famous for my powers of inference. This makes it clear that she is wholly absorbed in desire. Dardaraka, what is written in the script? What, read it yourself. May passionate young women bear upon their hips the secret signs of union, crescent nail marks. Such marks are Kama's charming flowers. Moon crests hanging from a necklace near the breasts. Fresh leaves upon the tree of love. Wounds received in the battle of the bed. Goats driving the weary oxen of the chariot war of passion and wondrous specimens of amorous play. Excellent, as I set out to tame that stubborn filly of a woman. This omen promises success. Yes. Dar Darika. Do you also know where Devasina is? What she has gone into the garden. Then, she is in Kama's workshop. Very well, you may go. I shall enter. Ah, this is Devasina herself, thin. Faded, pale, and without luster. Like the waning moon at dawn. She suffers the extraordinary hidden pain of love sickness. only by a gentle remedy. Ah, that is why she has dismissed everyone else and is taking the air in private with Priyavadhanika. Her maid, whom she has accepted as an intimate friend because the girl knows all her secrets and loves her. Deeply. Good, this also reveals the singleness of her attachment. All lovers prefer solitude. She is now within my reach. Let me approach her. Devasina, do not be angry with me for intruding upon your private conversation. What do you say, you are welcome. I accept your courtesy. No, do not trouble to rise. What, please sit, here is a seat. Very well, I shall sit. Lady, what is this illness whose cause cannot be seen with the eyes? Whose hidden ache lies within? Which one brings upon oneself in which at first comes alone? The illness of suffering for a lover. What did you say? Nothing. Graceful girl, stop evading me, you have always been dear to me. The little girl who used to ask me to bring toys and such things. I am Shasha, that same friend of Muladeva. Tell me what is in your heart. Who has caused this sorrow? You are ill without any ordinary disease. Your temple rests upon your lotus-like palm. Your pupils stare fixedly in thought. Your heart has grown numb. You yawn. Your color has changed. Little rogue, tell me, what new disease has seized you? Making even breath difficult, allowing peace nowhere, burning all the senses, and fixing your desire upon one thing alone? Why did she sigh like that? The fire of love is blazing within her. Good. Now I can learn what is in her heart. If I am not worthy of your trust. Be happy. I shall go about my business. What do you say? You are so impatient. Yes. I understand. She wants to reveal the deepest matter. How can I remain calm when I see you in such a state? And if we delay, some other business may intervene. So tell me quickly the cause of your torment. What do you say, I hide nothing from you. Spring is such by nature that it unsettles without cause even a mind disciplined by the stern. Instruction of elders? Good, she does not deny the illness, itself. Little rogue, do you know that Devasina has truly become a young woman? Girl, if that is all. Do not let the illness advance. When the season changes, you will recover. Why has she become shy? Pre-Yavadhanika, what is written on that palm leaf? What do you say, it is a character's part in a play? Let me see. In the Prakarana called Kumadvati, the nurse privately rebukes a princess who is in love with Shupaka, foolish girl. Your breasts have not yet risen and no line of down has appeared. Inexperienced child, your judgment is still immature. Give up this longing to meet a husband like a grown woman. Your clever friends are always teaching you the handbook of impropriety. Girl, you have ripened in childhood itself. Why are you so eager for the battle of love? What did Devasina say? I had never heard this before either. Ah, now her own feeling has opened. She means, I too wish to do the same. What does Devasina say, do you take me for such a woman? Lady, stop evading me. Even when the moon is hidden by cloud. The blooming of the night lotus reveals it. Woman who drives men mad. Come now. This calamity has fallen upon you. Silent girl who hides her feelings. You have said again and again. I am not in love. Then tell me why. Slender by nature. You have grown thinner still. Why have your bracelets become loose? Why do you rest your cheek upon your hand? Why have your long size drained the color from your face? Cunning girl. Tell me, if this person suffers so deeply from the sickness of love, why does she maintain such composure? Sri Yavadhanika, what do you say, my mistress? Who has entered the chapter of the science of love? Is attached not to an ordinary man but to an exceptional one? Then to whom in the city of Avanti can the phrase, exceptional man, apply? What did you say? What is your guess? Who else could it be? It must be Karniputra. He is born of a noble family. Learned. Never disconcerted. Being in speech, clever, free of jealousy, sweet-spoken, handsome and young, comma himself. Only without the bow, why has Devasina lowered her head? Restless girl, stop twisting the end of your silk garment and speak. If she considers me trustworthy. Why is she silent? Modesty is the dowry a woman, especially an innocent young woman, brings to trust. How can she say it herself? Thus, although that remarkable phrase, exceptional man, can apply only to Karniputra. I shall be patient until I have sounded her fully and made her confess the secret with her own. Mouth. Lady Devasina. What use have I for hearing another person's secret? I am neutral. I only advise you. Karniputra too is increasingly distressed. longing to see his family because he has been away from Patali Putra. He will leave today or tomorrow. You may meet him again, but I hope you will be well by then. Remember me. Who cried? Ah, now I am dead. Devasina, why are you weeping? Lady, what is it? Stop crying. Good, I understand. Congratulations, your desire has chosen a worthy object. Any Putra suffers from the very same disease. You too must cure one another. What do you say, how can you speak with such certainty? You are easily moved by another's suffering. Enough. What is gained by suffering any longer? Fair woman, do not all the star maidens. Daughters of Daksha, share a single moon? Or do not two vines sprung from the same root climb the same mango tree? What do you say, then devise a way to preserve them both? That is already arranged. Tomorrow, as usual, your sister will go to the teacher's house to perform her turn in the dance. Now that your heart has gained confidence. Fortunate girl, go there under the pretext of inquiring after Karni Putra's health, or he may come here. Why are you swinging upon the cradle of hesitation? Just as Priyavadhanika say, it would not be proper for the noble young man to come here. My mistress should go there. Cortizans are always ready to carry one another gifts of gossip. I shall therefore arrange matters so that, when Dvada dada goes to perform her turn in the dance, she herself takes my mistress with her to inquire after Arya Muladeva's health. Excellent. Priyavadhanika, your name, she who speaks pleasantly, is truly justified. Devasina should go there, but she must look healthy. What does Devasina say, the moment I saw you? I became well, I am pleased, I have completed Kama's business. Give me some token to save Karniputra's life. What do you say, what shall I give? Why think about it? Send, a red lotus to him, Red Lotus Beauty as a gift of your imagined lovemaking. Let it be slightly bitten by your teeth. Rubbed and crushed against your breasts. Marked with the painted leaf patterns upon your body. Faintly withered by your deep sigh when held near your nose. Its filaments faded by contact with the sandal paste on your skin. And its stalk bruised by being whirled between both your hands as though you had made love with. Him all night in it dawn it had become wholly the discarded flower of your worship. She lowers her eyes as though approving the proposal. Ah, this is no mere gift, it is earnest money on the bargain of love. With this medicine I shall now restore new strength to Karniputra. I shall go, may all be well with you. woman. Receive this blessing from me, may comma himself. Bearing in his hand the weapon of irresistible sensual desire. Accompany you on a secret asignation where. Though fear makes you step quickly. Neither girdle nor anklets can be heard. Wear the knot of your lower garment slips and opens on the way. And where suspicion makes each embrace quickly loosen.

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