Chapter 63

Again the second queen and her maid appear unexpectedly and disturb the king's bliss. Her object is to go to the king's picture in the water-house and beg its pardon for having been disrespectful, this being better, in her opinion, than appearing before the king himself, since he has given his heart to another, while in that picture he has eyes for her alone (as Malavika, too, had noticed when she entered the water-house). The viduschaka has proved an unreliable sentinel; he has fallen asleep at the door of the house. The queen's maid perceives this and, to tease him, touches him with a crooked staff. He awakes crying that a snake has bitten him. The king runs out and is confronted again by Iravati. "Well, well!" she exclaims, "this couple meet in broad daylight and without hindrance to gratify their wishes!" "An unheard-of greeting is this, my dear," said the king. "You are mistaken; I see no cause for anger. I merely liberated the two girls because this is a holiday, on which servants must not be confined, and they came here to thank me." But he is glad to escape when a messenger arrives opportunely to announce that a yellow ape has frightened the princess.

"My heart trembles when I think of the queen," says Malavika, left alone with her companion. "What will become of me now?" But the queen knows her duty, according to Hindoo custom. She makes her maids array Malavika in marriage dress, and then sends a message to the king saying that she awaits him with Malavika and her attendants. The girl does not know why she has been so richly attired, and when the king beholds her he says to himself: "We are so near and yet apart. I seem to myself like the bird Tschakravaka;[277] and the name of the night which does not allow me to be united with my love is Dharini." At that moment two captive girls are brought before the assemblage, and to everyone's surprise they greet Malavika as "Princess." A princess she proves to be, on inquiry, and the queen now carries out the plan she had had in her mind, with the consent also of the second queen, who sends her apologies at the same time. "Take her," says Dharini to the king, and at a hint of the viduschaka she takes a veil and by putting it on the new bride makes her a queen and spouse of equal rank with herself. And the king answers:

"I am not surprised at your magnanimity. If women are faithful and kind to their husbands, they even bring, by way of serving him, new wives to him, like unto the rivers which provide that the water of other streams also is carried to the ocean. I have now but one more wish; be hereafter always, irascible queen, prepared to do me homage. I wish this for the sake of the other women."

IV. THE STORY OF SAVITRI

King Asvapati, though an honest, virtuous, pious man, was not blessed with offspring, and this made him unhappy.[278] He curbed all his appetites and for eighteen years lived a life of devotion to his religious duties. At the expiration of these years Savitri, the daughter of the sun-god, appeared to him and offered to reward him by granting a favor. "Sons I crave, many sons, O goddess, sons to preserve my family," he answered. But Savitri promised him a daughter; and she was born to him by his oldest wife and was named after the goddess Savitri. She grew up to be so beautiful, so broad-hipped, like a golden statue, that she seemed of divine origin, and, abashed, none of the men came to choose her as his wife. This saddened her father and he said:

"Daughter, it is time for you to marry, but no one comes to ask me for you. Go and seek your own husband, a man your equal in worth. And when you have chosen, you must let me know. Then I will consider him, and betroth you. For, according to the laws, a father who does not give his daughter in marriage is blameworthy."

And Savitri went on a golden chariot with a royal retinue, and she visited all the groves of the saints and at last found a man after her heart, whose name was Satyavant. Then she returned to her father--who was just conversing with the divine sage Nârada--and told him of her choice. But Nârada exclaimed: "Woe and alas, you have chosen one who is, indeed, endowed with all the virtues, but who is doomed to die a year from this day." Thereupon the king begged Savitri to choose another for her husband, but she replied: "May his life be long or short, may he have merits or no merits, I have selected him as my husband, and a second I shall not choose." Then the king and Nârada agreed not to oppose her, and she went with her father to the grove where she had seen Satyavant, the man of her choice. The king spoke to this man's father and said: "Here, O royal saint, is my lovely daughter, Savitri; take her as your daughter-in-law in accordance with your duty as friend." And the saint replied: "Long have I desired such a bond of relationship; but I have lost my royal dignity, and how could your daughter endure the hardships of life in the forest?" But the king replied that they heeded not such things and their mind was made up. So all the Brahmans were called together and the king gave his daughter to Satyavant, who was pleased to win a wife endowed with so many virtues.

When her father had departed, Savitri put away all her ornaments and assumed the plain garb of the saints. She was modest, self-contained, and strove to make herself useful and to fulfil the wishes of all. But she counted the days, and the time came when she had to say to herself, "In three days he must die." And she made a vow and stood in one place three days and nights; on the following day he was to die. In the afternoon her husband took his axe on his shoulder and went into the primeval forest to get some wood and fruits. For the first time she asked to go with him. "The way is too difficult for you," said he, but she persisted; and her heart was consumed by the flames of sadness. He called her attention, as they walked on, to the limpid rivers and noble trees decked with flowers of many colors, but she had eyes only for him, following his every movement; for she looked on him as a dead man from that hour. He was filling his basket with fruits when suddenly he was seized with violent headache and longing for sleep. She took his head on her lap and awaited his last moment.

All at once she saw a man, in red attire, of fearful aspect, with a rope in his hand. And she said: "Who are you?" "You," he replied, "are a woman faithful to your husband and of good deeds, therefore will I answer you. I am Yama, and I have come to take away your husband, whose life has reached its goal." And with a mighty jerk he drew from the husband's body his spirit, the size of a thumb, and forthwith the breath of life departed from the body. Having carefully tied the soul, Yama departed toward the south. Savitri, tortured by anguish, followed him. "Turn back, Savitri," he said; "you owe your husband nothing further, and you have gone as far as you can go." "Wherever my husband goes or is taken, there I must go; that is an eternal duty." Thereupon Yama offered to grant any favor she might ask--except the life of her husband. "Restore the sight of the blind king, my father-in-law," she said; and he answered: "It is done already." He offered a second favor and she said: "Restore his kingdom to my father-in-law;" and it was granted, as was also the third wish: "Grant one hundred sons to my father, who has none." Her fourth wish, too, he agreed to: that she herself might have a hundred sons; and as he made the fifth and last wish unconditional, she said:

"Let Satyavant return to life; for, bereft of him, I desire not happiness; bereft of him I desire not heaven; I desire not to live bereft of him. A hundred sons you have promised me, yet you take away my husband? I desire this as a favor; let Satyavant live!"

"So be it!" answered the god of death as he untied the string.

"Your husband is released to you, blessed one, pride of your race. Sound and well you shall take him home, live with him four hundred years, beget one hundred sons, and all of them shall be mighty kings."

With these words he went his way. Life returned to the body of Satyavant, and his first feeling was distress lest his parents grieve over his absence. Thinking him too weak to walk, Savitri wanted to sleep in the forest, surrounded by a fire to keep off wild beasts, but he replied:

"My father and mother are distressed even in the daytime when I am away. Without them I could not live. As long as they live I live only for them. Rather than let anything happen to them, I give up my own life, you woman with the beautiful hips; truly I shall kill myself sooner."

So she helped him to rise, and they returned that very night, to the great joy of their parents and friends; and all the promises of Yama were fulfilled.

V. NALA AND DAMAYANTI

Once upon a time there was a king by the name of Nala, a man handsome as the god of love, endowed with all the virtues, a favorite of men and women. There was also another king, named Bhima, the Terrible. He was renowned as a warrior and endowed with many virtues; yet he was discontented, for he had no offspring. But it happened that he was visited by a saint, whom he entertained so hospitably that the Brahman granted him in return a favor: a daughter and three sons were born to him. The daughter, who received the name of Damayanti, soon became famed for her beauty, her dignity, and her gracious manners. She seemed, amid her companions, like lightning born in a rain-cloud. Her beauty was so much vaunted in the hearing of King Nala, and his merits were so much extolled in her presence, that the two conceived an ardent passion for one another, though they had never met. Nala could hardly endure his yearnings of love; near the apartments of the women there was a forest; into that he retired, living in solitude. One day he came across some gold-decked geese. He caught one of them and she said to him: "Spare my life and I promise to praise you in Damayanti's presence in such a way that she shall never think of any other man." He did so, and the goose flew to Damayanti and said: "There is a man named Nala; he is like the celestial knights; no human being equals him. Yes, if you could become _his_ wife, it would be worth while that you were born and became so beautiful. You are the pearl among women, but Nala, too, is the best of men." Damayanti begged the goose to go and speak to Nala similarly about her, and the goose said "Yes" and flew away.

From that moment Damayanti was always in spirit with Kala. Sunk in reverie, sad, with pale face, she visibly wasted away, and sighing was her only, her favorite, occupation. If anyone saw her gazing upward, absorbed in her thoughts, he might have almost fancied her intoxicated. Often of a sudden her whole face turned pale; in short, it was plain that love-longing held her senses captive. Lying in bed, sitting, eating, everything is distasteful to her; neither at night nor by day does sleep come to her. Ah and alas! thus her wails resound, and over and over again she begins to weep.

Her companions noted these symptoms and they said to the king: "Damayanti is not at all well." The king reflected, "Why is my daughter no longer well?" and it occurred to him that she had reached the marriageable age, and it became clear to him that he must without delay give her a chance to choose a husband. So he invited all the kings to assemble at his court for that purpose on a certain day. Soon the roads were filled with kings, princes, elephants, horses, wagons, and warriors, for she, the pearl of the world, was desired of men above all other women. King Nala also had received the message and set out on his journey hopefully. Like the god of love incarnate he looked. Even the ruling gods heard of the great event and went to join the worldly rulers. As they approached the earth's surface they beheld King Nala. Pleased with his looks, they accosted him and said: "We are immortals journeying on account of Darnayanti. As for you, go you and bring Damayanti this message: 'The four gods, Indra, Agni, Yama, Varuna, desire to have you for a wife. Choose one of these four gods as your wedded husband.'"

Folding his hands humbly, Nala replied:

"The very same affair has induced me to make this journey: therefore you must not send me on this errand. For how could a man who himself feels the longing of love woo the same woman for another?"

But the gods ordered him to go at once, because he had promised to serve them before he knew what they wanted. They endowed him with power to enter the carefully guarded apartments of the princess, and presently he found himself in her presence. Her lovely face, her charmingly moulded limbs, her slender body, her beautiful eyes, diffused a splendor that mocked the light of the moon and increased his pangs of love; but he resolved to keep his promise. When the young maidens beheld him they could not utter a word; they were dazed by the splendor of his appearance, and abashed, the beautiful virgins. At last the astonished Damayanti began to speak and said with a sweet smile:

"Who are you, you with the faultless form, who increase the yearnings of my love? Like an immortal you came here, O hero! I would like to know you better, noble, good man. Closely guarded is my house, however, and most strict in his orders is the king."

"My name, gracious maiden, is Nala," he replied.

"As messenger of the gods have I come. Four of them--Indra, Agni, Varuna, Yama--would like you as bride, therefore choose one of them as husband, O beauty! That I entered unseen is the result, too, of their power. Now you have heard all; act as seems proper to you."

As he spoke the names of the gods Damayanti bowed humbly; then she laughed merrily and said:

"Follow you the inclination of your heart and be kind to me. What can I do to please you? Myself and all that is mine belongs to you. Lay aside all diffidence, my master and husband! Alas, the entire speech of the gold-swans, my prince, was to me a real firebrand. It was for your sake, O hero, that all these kings were in reality called together so hastily. Should you ever, O my pride, be able to scorn me, who is so devoted to you, I shall resort on your account to poison, fire, water, rope."

"How can you," retorted Nala,

"when gods are present in person, direct your desires toward a mortal? Not so! Let your inclination dwell with them, the creators of the world. Remember, too, that a mortal who does something to displease the gods is doomed to death. Therefore, you with the faultless limbs, save me by choosing the most worthy of the gods. Hesitate no longer. Your husband must be one of the gods."

Then said Damayanti, while her eyes were diffused with anguish-born tears: "My reverence to the gods! As husband I choose you, mighty ruler on earth. What I say to you is immutable truth." "I am here now as messenger of the gods, and cannot, therefore, plead my own cause. Later I shall have a chance to speak for myself," said Nala; and Damayanti said, smiling, while tears choked her voice:

"I shall arrange that you as well as the gods are present on the day of my husband-choice. Then I shall choose you in the presence of the immortals. In that way no blame can fall on anyone."

Returning to the gods, Nala told them just what happened, not omitting her promise that she would choose him in presence of the gods. The day now was approaching when the kings, who, urged by love-longings, had assembled, were to appear before the maiden. With their beautiful hair, noses, eyes, and brows, these royal personages shone like the stars in heaven. They fixed their gaze on the maiden's limbs, and wherever the eyes first rested there they remained fixed immovably. But the four gods had all assumed the exact form and appearance of Nala, and when Damayanti was about to choose him she saw five men all alike. How could she tell which of them was the king, her beloved? After a moment's thought she uttered an invocation to the gods calling upon them to assume the characteristics by which they differ from mortals. The gods, moved by her anguish, her faith in the power of truth, her intelligence and passionate devotion, heard her prayer and forthwith they appeared to her free from perspiration, with fixed gaze, ever fresh wreath, free from dust; and none of them, while standing, touched the floor; whereas King Nala betrayed himself by throwing a shadow, by having dust and perspiration on his body, a withered wreath, and eyelids that winked.

Thereupon the big-eyed maiden timidly seized him by the hem of his garment and put a beautiful wreath on his shoulders. Thus did she choose him to be her husband; and the gods granted them special favors.[279]

According to Schroeder, the Hindoos are "the romantic nation" among the ancients, as the Germans are among the moderns; and Albrecht Weber says that when, a little more than a century ago, Europe first became acquainted with Sanscrit literature, it was noticed that in the amorous poetry of India in particular the sentimental qualities of modern verse were traced in a much higher degree than they had been found in Greek and Roman literature. All this is doubtless true. The Hindoos appear to have been the only ancient people that took delight in forests, rivers, and mountains as we do; in reading their descriptions of Nature we are sometimes affected by a mysterious feeling of awe, like a reminiscence of the time when our ancestors lived in India. Their amorous hyperbole, too, despite its frequent grotesqueness, affects us perhaps more sympathetically than that of the Greeks. And yet the essentials of what we call romantic love are so entirely absent from ancient Hindoo literature that such amorous symptoms as are noted therein can all be readily brought under the three heads of artificiality, sensuality, and selfishness.

ARTIFICIAL SYMPTOMS

Commenting on the directions for caressing given in the _Kama Soutra_, Lamairesse remarks (56):

"All these practices and caresses are conventional rather than natural, like everything the Hindoos do. A bayadères straying to Paris and making use of them would be a curiosity so extraordinary that she would certainly enjoy a succès de vogue pour rire."

Nail-marks on various parts of the body, blows, bites, meaningless exclamations are prescribed or described in the diverse love-scenes. In Hindoo dramas several of the artificial symptoms--pure figments of the poetic fancy--are incessantly referred to. One of the most ludicrous of them is the drops of perspiration on the cheeks or other parts of the body, which are regarded as an infallible and inevitable sign of love. Urvasi's royal lover is afraid to take her birch-bark message in his hand lest his perspiration wipe away the letters. In Bhavabhuti's drama, _Malati and Madhava_, the heroine's feet perspire so profusely from excess of longing, that the lacquer of her couch is melted; and one of the stage directions in the same drama is: "Perspiration appears on Madayantika, with other things indicating love."

Another of these grotesque symptoms is the notion that the touch or mere thought of the beloved makes the small hairs all over the body stand erect. No love-scene seems to be complete without this detail. The drama just referred to, in different scenes, makes the hairs on the cheeks, on the arms, all over the body, rise "splendidly," the author says in one line.[280] A Hindoo lover always has twitching of the right or left arm or eye to indicate what kind of luck he is going to have; and she is equally favored. Usually the love is mutual and at first sight--nay, preferably _before_ first sight. The mere hearsay that a certain man or maiden is very beautiful suffices, as we saw in the story of Nala and Damayanti, to banish sleep and appetite, and to make the lover pale and wan and most wretched. Sakuntala's royal lover wastes away so rapidly that in a few days his bracelet falls from his attenuated arm, and Sakuntala herself becomes so weak that she cannot rise, and is supposed to have sunstroke! Malati dwindles until her form resembles the moon in its last quarter; her face is as pale as the moon at morning dawn. Always both the lovers, though he be a king--as he generally is--and she a goddess, are diffident at first, fearing failure, even after the most unmistakable signs of fondness, in the betrayal of which the girls are anything but coy. All these symptoms the poets prescribe as regularly as a physician makes out a prescription for an apothecary.

A peculiar stare--which must be sidelong, not direct at the beloved--is another conventional characteristic of Hindoo amorous fiction. The gait becomes languid, the breathing difficult, the heart stops beating or is paralyzed with joy; the limbs or the whole body wither like flower-stalks after a frost; the mind is lamed, the memory weakened; cold shivers run down the limbs and fever shakes the body; the arms hang limp at the side, the breast heaves, words stick in the throat; pastimes no longer entertain; the perfumed Malayan wind crazes the mind; the eyelids are motionless, sighs give vent to anguish, which may end in a swoon, and if things take an unfavorable turn the thought of suicide is not distant. Attempts to cure this ardent love are futile; Madhava tries snow, and moonlight, and camphor, and lotos roots, and pearls, and sandal oil rubbed on his skin, but all in vain.

THE HINDOO GOD OF LOVE

Quite as artificial and unsentimental as the notions of the Hindoos concerning the symptoms of love is their conception of their god of love, Kama, the husband of Lust. His bow is made of sugar-cane, its string a row of bees, and his arrow-tips are red flower-buds. Spring is his bosom friend, and he rides on a parrot or the sea-monster Makara. He is also called Ananga--the bodiless--because Siwa once burned him up with the fire that flashed from his third eye for disturbing him in his devotions by awakening in him love for Parwati. Sakuntala's lover wails that Kama's arrows are "not flowers, but hard as diamond." Agnimitra declares that the Creator made his beloved "the poison-steeped arrow of the God of Love;" and again, he says: "The softest and the sharpest things are united in you, O Kama." Urvasi's royal lover complains that his "heart is pierced by Kama's arrow," and in _Malati and Madhava_ we are told that "a cruel god no doubt is Kama;" while No. 329 of Ilâla's love-poems declares:

"The arrows of Kama are most diverse in their effects--though made of flowers, very hard; though not coming into direct contact, insufferably hot; and though piercing, yet causing delight."

Our familiarity with Greek and Roman literature has made us so accustomed to the idea of a Cupid awakening love by shooting arrows that we fail to realize how entirely fanciful, not to say whimsical, this conceit is. It would be odd, indeed, if the Hindoo poets had happened on the same fancy as the Greeks of their own accord; but there is no reason to suppose that they did. Kama is one of the later gods of the Indian Pantheon, and there is every reason to believe that the Hindoos borrowed him from the Greeks, as the Romans did. In _Sakuntala_ (27) there is a reference to the Greek women who form the king's body-guard; in _Urvasi_ (70) to a slave of Greek descent; and there are many things in the Hindoo drama that betray Greek influence.