with her husband, proved at last not to
have been unworthy. And each of these great experiences has been met
with a courage and a sweetness to which no words can render justice.

Kalidasa has added much to the epic tale; yet his use of the original
is remarkably minute. A list of the epic suggestions incorporated in
his play is long. But it is worth making, in order to show how keen is
the eye of genius. Thus the king lays aside the insignia of royalty
upon entering the grove (Act I). Shakuntala appears in hermit garb, a
dress of bark (Act I). The quaint derivation of the heroine's name
from _shakunta_--bird--is used with wonderful skill in a passage (Act
VII) which defies translation, as it involves a play on words. The
king's anxiety to discover whether the maiden's father is of a caste
that permits her to marry him is reproduced (Act I). The marriage
without a ceremony is retained (Act IV), but robbed of all offence.
Kanva's celestial vision, which made it unnecessary for his child to
tell him of her union with the king, is introduced with great delicacy
(Act IV). The curious formation of the boy's hand which indicated
imperial birth adds to the king's suspense (Act VII). The boy's rough
play with wild animals is made convincing (Act VII) and his very
nickname All-tamer is preserved (Act VII). Kanva's worldly wisdom as
to husband and wife dwelling together is reproduced (Act IV). No small
part of the give-and-take between the king and Shakuntala is given
(Act V), but with a new dignity.

Of the construction of the play I speak with diffidence. It seems
admirable to me, the apparently undue length of some scenes hardly
constituting a blemish, as it was probably intended to give the actors
considerable latitude of choice and excision. Several versions of the
text have been preserved; it is from the longer of the two more
familiar ones that the translation in this volume has been made. In
the warm discussion over this matter, certain technical arguments of
some weight have been advanced in favour of this choice; there is also
a more general consideration which seems to me of importance. I find
it hard to believe that any lesser artist could pad such a
masterpiece, and pad it all over, without making the fraud apparent on
almost every page. The briefer version, on the other hand, might
easily grow out of the longer, either as an acting text, or as a
school-book.

We cannot take leave of Shakuntala in any better way th