ent a deviner les beautes
que le costume ascetique derobe. Son attitude, ses gestes
ravissent a la fois les regards et les coeurs; elle parle, et sa
voix est un chant. La cour de Vikramaditya fremit d'une emotion
sereine et profonde: un chef-d'oeuvre nouveau vient d'entrer
dans l'immortalite.

FOOTNOTES:

[Footnote 1: The Hindu equivalent of "for better, for worse."]

[Footnote 2: _Le Theatre Indien_, pages 368-371. This is without
competition the best work in which any part of the Sanskrit literature
has been treated, combining erudition, imagination, and taste. The
book is itself literature of a high order. The passage is
unfortunately too long to be quoted entire.]

* * * * *

THE TWO MINOR DRAMAS

I.--"MALAVIKA AND AGNIMITRA"

_Malavika and Agnimitra_ is the earliest of Kalidasa's three dramas,
and probably his earliest work. This conclusion would be almost
certain from the character of the play, but is put beyond doubt by the
following speeches of the prologue:

_Stage-director_. The audience has asked us to present at this spring
festival a drama called _Malavika and Agnimitra_, composed by
Kalidasa. Let the music begin.

_Assistant_. No, no! Shall we neglect the works of such illustrious
authors as Bhasa, Saumilla, and Kaviputra? Can the audience feel any
respect for the work of a modern poet, a Kalidasa?

_Stage-director_. You are quite mistaken. Consider:

Not all is good that bears an ancient name,
Nor need we every modern poem blame:
Wise men approve the good, or new or old;
The foolish critic follows where he's told.

_Assistant_. The responsibility rests with you, sir.

There is irony in the fact that the works of the illustrious authors
mentioned have perished, that we should hardly know of their existence
were it not for the tribute of their modest, youthful rival. But
Kalidasa could not read the future. We can imagine his feelings of
mingled pride and fear when his early work was presented at the spring
festival before the court of King Vikramaditya, without doubt the most
polished and critical audience that could at that hour have been
gathered in any city on earth. The play which sought the approbation
of this audience shows no originality of plot, no depth of passion. It
is a light, graceful drama of court intrigue. The hero, King
Agnimitra, is an historical character of the second century before
Christ, and Kalidasa's play