पृष्ठम्:Sanskrit Literature.djvu/१३६

104 KĀLIDĀSA AND THE GUPTAS 'Wife, counsellor, companion, dearest disciple in every loving art; in taking thee tell me what of me hath not pitiless Death taken.' The fatal blow is depicted: kṣaṇamātrasakhiṁ sujātayoḥ: stanayos tām avalokya vihvalā nimimila narottamapriya: hy tacandrà tamaseva kaumudi. 'For a moment she gazed on the garland as it lay on her rounded breasts, then closed her eyes in unconsciousness, like the moonlight when the darkness obscures the moon.' There is humour, on the contrary, in Indumati's rejection of the Anga prince: athăngarajad avatarya cakşur: yahiti janyām avadat kumārī nâsau na kāmyo na ca veda samyag: draṣṭum na sã bhin- narucir hi lokaḥ. 'But the princess turned away from Añga's lord her gaze, and bade her maiden proceed; it was not that he had not beauty nor that she could not see it, but folk have different tastes.' This has the same graceful ease as often in the Rtusamhära: vivasvatā tīkṣṇatarāňçumālinā: sapañkatoyāt saraso 'bhită- pitaḥ utplutya bhekas trsitasya bhoginah: phanatapatrasya tale nişidati. 'As the sun's garland of rays grows ever hotter, the frog sore tormented leaps up from the muddy water of the lake only to fall into the mouth of the thirsty snake, who spreads his hood to shade him from the glare.' There is a pretty picture of girlish haste: alokamargam sahasa vrajantyä: kayacid udveṣṭanavānta- mālyaḥ baddhum na sambhāvita eva tavat: karena ruddho 'pi ca keçapāçah. 'As she rushed to the window, her garlands fell from their place, and she did not even trouble to knot the abundant hair which she caught together in her hand.' The structure of each of these cameos is simple; throughout