Note 183 — KĀDAMBARĪ.

‘“‘Kārtikeya scorns the name of Kumāra,183 since his own form is looked on with scorn by the throng of lotus-faces when this prince is by. Surely we reap the reward of great virtue in that we behold that godlike form with eyes wide with the overflow of love sprung up within us, and upraised in eager curiosity. (170) Our birth in this world has now brought forth its fruit. Nevertheless, all hail to blessed Kṛishṇa, who in the guise of Candrāpīḍa has assumed a new form!’ With such words the city folk folded their hands in adoration and bowed before him. And from the thousand windows which were unclosed from curiosity to behold Candrāpīḍa, the city itself became as it were a mass of open eyes; for straightway on hearing that he had left the palace of learning filled with all knowledge, women eager to see him mounted the roofs hastily throughout the city, leaving their half-done work; some with mirrors in their left hand were like the nights of the full moon, when the moon’s whole orb is gleaming; some, with feet roseate with fresh lac, were like lotus-buds whose flowers had drunk the early sunlight; some, with their tender feet enmeshed in the bells of their girdle, fallen to the ground in their haste, were like elephants moving very slowly, checked by their chain; some were robed in rainbow hues, like the beauty of a day in the rainy season; some raised feet that blossomed into the white rays of their nails, like tame kalahaṃsas drawn by the sound of the anklets; (171) some held strings of large pearls in their hands, as if in imitation of Rati with her crystal rosary grasped in grief for the death of Love; some, with wreaths of pearls falling between their breasts, were like the glory of evening when the pairs of cakravākas are separated by a pure slender stream; some, with rainbow flashes rising from the gems of their anklets, shone as if lovingly accompanied by tame peacocks; some, with their jewelled cups half drunk, distilled, as it were, from their rosy flower-like lips a sweet nectar. Others, too, with their orbed faces appearing at the interstices of the emerald lattices, presented to the eyes a lotus-grove with its opening buds traversing the sky, as they gazed on the prince. On a sudden there arose a tinkling of ornaments born of hasty motion, with many a sound of lutes struck sweetly on their chords, blended with the cry of cranes summoned by the clanging of the girdles, accompanied by the noise of peacocks shut up in the zenana and rejoicing in the thunder caused by the stairs being struck by stumbling feet, (172) soft with the murmur of kalahaṃsas fluttering in fear of the clash of fresh clouds, imitating the triumphant cry of Love, taking captive the ears of lovely women with their ropes of jewels resounding shrilly as they touched one another, and re-echoing through all the corners of the houses. In a moment the dense throng of maidens made the palaces seem walled with women; the ground seemed to blossom by the laying on it of their lac-strewn lotus-feet; the city seemed girt with grace by the stream of fair forms; the sky seemed all moon by the throng of orbed faces; the circle of space seemed a lotus-grove by reason of the hands all raised to ward off the heat; the sunshine seemed robed in rainbows by the mass of rays from the jewels, and the day seemed formed of blue lotus-petals by the long line of bright glances. As the women gazed on him with eyes fixed and widened in curiosity, the form of Candrāpīḍa entered into their hearts as though they were mirrors or water or crystal; and as the glow of love manifested itself there, their graceful speech became straightway mirthful, confidential, confused, envious, scornful, derisive, coquettish, loving, or full of longing. (173) As, for instance: ‘Hasty one, wait for me! Drunk with gazing, hold thy mantle! Simpleton, lift up the long tresses that hang about thy face! Remove thy moon-digit ornament! Blinded with love, thy feet are caught in the flowers of thine offering, and thou wilt fall! Love-distraught, tie up thy hair! Intent on the sight of Candrāpīḍa, raise thy girdle! Naughty one, lift up the ear-flower waving on thy cheek! Heartless one, pick up thine earring! Eager in youth, thou art being watched! Cover thy bosom! Shameless one, gather up thy loosened robe! Artfully artless, go on quicker! Inquisitive girl, take another look at the king! Insatiable, how long wilt thou look? Fickle-hearted, think of thine own people! Impish girl, thy mantle has fallen, and thou art mocked! Thou whose eyes art filled with love, seest thou not thy friends? Maiden full of guile, thou wilt live in sorrow with thy heart in causeless torment! Thou who feignest coyness, what mean thy crafty glances? (174) look boldly! Bright with youth, why rest thy weight against us? Angry one, go in front! Envious girl, why block up the window? Slave of love, thou bringest my outer robe to utter ruin! Drunk with love’s breath, restrain thyself! Devoid of self-control, why run before thine elders? Bright in strength, why so confused? Silly girl, hide the thrill of love’s fever! Ill-behaved girl, why thus weary thyself? Changeful one, thy girdle presseth thee, and thou sufferest vainly! Absent-minded, thou heedest not thyself, though outside thy house! Lost in curiosity, thou hast forgotten how to breathe! Thou whose eyes art closed in the happy imagination of union with thy beloved, open them! He is passing! Bereft of sense by the stroke of love’s arrow, place the end of thy silken robe on thy head to keep off the sun’s rays! Thou who hast taken the vow of Satī, thou lettest thine eyes wander, not seeing what is to be seen! Wretched one, thou art cast down by the vow not to gaze on other men! Vouchsafe to rise, dear friend, and to look at the blessed fish-bannered god,184 without his banner and bereft of Rati, visibly present. (175) His crest of mālatī flowers under his umbrella looks like a mass of moonbeams fallen in under the idea that night has set in, on his head dark with swarms of bees. His cheek is fair as a garland of open çirīsha flowers touched with green by the splendour of his emerald earring. Our youthful glow of love, under the guise of rich ruby rays among the pearl necklaces, shines out eager to enter his heart. It is so seen by him among the cowries. Moreover, what is he laughing at as he talks to Vaiçampāyana, so that the circle of space is whitened with his bright teeth? Balāhaka, with the edge of his silken mantle green as a parrot’s plumage, is removing from the tips of his hair the dust raised by the horses’ hoofs. His bough-like foot, soft as Lakshmī’s lotus-hand, is raised and sportively cast athwart his horse’s shoulder. His hand, with tapering fingers and bright as pink lotus-buds, is outstretched to its full length to ask for betel-nut, just as an elephant’s trunk in eagerness for mouthfuls of vallisneria. (176) Happy is she who, a fellow-bride with earth, shall, like Lakshmī, win that hand outvying the lotus! Happy, too, is Queen Vilāsavatī, by whom he who is able to bear the whole earth was nourished in birth, as the elephant of the quarters by Space!’