102 KĀLIDĀSA AND THE GUPTAS tantrīm ārdrām nayanasalilaiḥ sārayitvā kathamcit bhuyo bhūyaḥ svayam api kṛtām mūrcchanāṁ visma- ranti. 'Or perhaps, placing her lute on her lap, whose dark garment proclaims her grief, she will seek to sing a song wherein she has worked my name, but, scarce able to move the string which her tears have bedewed, she will forget the air which she herself hath made. Or, again: tvām ālikhya praṇayakupitāṁ dhāturāgaiḥ çilāyām ātmānam te caraṇapatitam jāvad icchāmi kartum asrais tavan muhur upacitair drstir alupyate me krūras tasminn api na sahate samgamam nau kṛtāntaḥ. 'When I have portrayed thee in love's anger on the rock with my colours and seek to add myself lying at thy feet, my tears well up and ever blot out my sight; cruel the fate which even thus will not permit our union.' There is a brilliant picture of Uma's confusion and of her joy when Çiva reveals himself: adya prabhṛty avanatāīgi tavāsmi dāsaḥ kritas tapobhir iti vadini candramaulau ahnaya să niyamajam klamam utsasarja kleçaḥ phalena hi punar navatāṁ vidhatte. ""From this moment, o drooping maiden, I am thy slave, bought by thy penance," so spake he whose crest is the moon, and straightway all the fatigue of her self-torment vanished, so true is it that fruitful toil is as if it had never been.' There is perfect simplicity of passionate longing in Rati's address to the dead Kāma: kṛtavan asi vipriyam na me: pratikulam na ca te maya kṛtam kim akāraṇam eva darçanam: vilapantyai rataye na diyate? 'Thou hast never displeased me; thee I never have wronged; why then, without cause, dost thou hide thyself from thy weep- ing Rati?' The timid shyness of the new-made bride and her lover's ruses are delicately drawn: vyahṛtā prativaco na samdadhe: gantum aicchad avalambi- tānçukā sevate sma çayanam paranmukhi: să tathāpi rataye pina- kinah.
पृष्ठम्:Sanskrit Literature.djvu/१३४
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