page 37,1.7.—The scornful refusal of the king'sapology
by Irâvatî affords him an excuse for neglecting her. Cf.
note on page 60, ll. 10, 11.—The green pigeons sitting
on the sloping roofs of the palace. Cf note on page 29,
1. 8.—A woman wearing the dress and bedecked just
with those ornaments that she should have as the wife
of a living husband. C f note on page 13, 1. 15. The
eight forms or bodies of God (ईश). Cf , note on page 1,
1. 3.—The watching for an opportunity by the king to step
forward and show himself to his mistress. Cf. note on
page 54, 1, 6–Vidûshaka's fear for Snakes. Gi. note on
page 83, 1. 7. – Personification of the Vernal Beauty.
Cf. notes on page 38, st. 5.—Many more analogies in
thoughts may, doubtless, be added to this list from the
poems and the other dramas which are allowed to belong
to the Kâlidâsa of antiquity.
There are some other peculiarities of the author of the Śâkuntala and the Vikramorvaśî that make themselves felt by their conspicuous presence in the Mâlavikâgnimitra also. Thus, it is a characteristic of Kâlidâsa's writings that they all begin with a charmingly modest introduction, marked by great diffdence. The great poet never thinks that he has done well, until what he has done is pronounced good by the learned. The Raghuvamśa (i, 10} and the Śâkuntala (p. 2, ll. 6, 7, आ परितेषा द्विदुषाम्} lay down the maxim, and it is repeated in our play (p. 26, ll. 9, 10). Bhavabhûti and others, on the contrary, do not consider it at all inconsistent with modesty to give long descriptions of their genealogies
