Translations of Shakuntala and Other Works. Kalidasa
as true in our ears as it did in his countrymen's ears fifteen hundred years ago.
It is of love eventually happy, though often struggling for a time against external obstacles, that Kalidasa writes. There is nowhere in his works a trace of that not quite healthy feeling that sometimes assumes the name "modern love." If it were not so, his poetry could hardly have survived; for happy love, blessed with children, is surely the more fundamental thing. In his drama Urvashi he is ready to change and greatly injure a tragic story, given him by long tradition, in order that a loving pair may not be permanently separated. One apparent exception there is—the story of Rama and Sita in The Dynasty of Raghu. In this case it must be remembered that Rama is an incarnation of Vishnu, and the story of a mighty god incarnate is not to be lightly tampered with.
It is perhaps an inevitable consequence of Kalidasa's subject that his women appeal more strongly to a modern reader than his men. The man is the more variable phenomenon, and though manly virtues are the same in all countries and centuries, the emphasis has been variously laid. But the true woman seems timeless, universal. I know of no poet, unless it be Shakespeare, who has given the world a group of heroines so individual yet so universal; heroines as true, as tender, as brave as are Indumati, Sita, Parvati, the Yaksha's bride, and Shakuntala.
Kalidasa could not understand women without understanding children. It would be difficult to find anywhere lovelier pictures of childhood than those in which our poet presents the little Bharata, Ayus, Raghu, Kumara. It is a fact worth noticing that Kalidasa's children are all boys. Beautiful as his women are, he never does more than glance at a little girl.
Another pervading note of Kalidasa's writing is his love of external nature. No doubt it is easier for a Hindu, with his almost instinctive belief in reincarnation, to feel that all life, from plant to god, is truly one; yet none, even among the Hindus, has expressed this feeling with such convincing beauty as has Kalidasa. It is hardly true to say that he personifies rivers and mountains and trees; to him they have a conscious individuality as truly and as certainly as animals or men or gods. Fully to appreciate Kalidasa's poetry one must have spent some weeks at least among wild mountains and forests untouched by man; there the conviction grows that trees and flowers are indeed individuals, fully conscious of a personal life and happy in that life. The return to urban surroundings makes the vision fade; yet the memory remains, like a great love or a glimpse of mystic insight, as an intuitive conviction of a higher truth.
Kalidasa's knowledge of nature is not only sympathetic, it is also minutely accurate. Not only are the snows and windy music of the Himalayas, the mighty current of the sacred Ganges, his possession; his too are smaller streams and trees and every littlest flower. It is delightful to imagine a meeting between Kalidasa and Darwin. They would have understood each other perfectly; for in each the same kind of imagination worked with the same wealth of observed fact.
I have already hinted at the wonderful balance in Kalidasa's character, by virtue of which he found himself equally at home in a palace and in a wilderness. I know not with whom to compare him in this; even Shakespeare, for all his magical insight into natural beauty, is primarily a poet of the human heart. That can hardly be said of Kalidasa, nor can it be said that he is primarily a poet of natural beauty. The two characters unite in him, it might almost be said, chemically. The matter which I am clumsily endeavouring to make plain is beautifully epitomised in The Cloud-Messenger. The former half is a description of external nature, yet interwoven with human feeling; the latter half is a picture of a human heart, yet the picture is framed in natural beauty. So exquisitely is the thing done that none can say which half is superior. Of those who read this perfect poem in the original text, some are more moved by the one, some by the other. Kalidasa understood in the fifth century what Europe did not learn until the nineteenth, and even now comprehends only imperfectly: that the world was not made for man, that man reaches his full stature only as he realises the dignity and worth of life that is not human.
That Kalidasa seized this truth is a magnificent tribute to his intellectual power, a quality quite as necessary to great poetry as perfection of form. Poetical fluency is not rare; intellectual grasp is not very uncommon: but the combination has not been found perhaps more than a dozen times since the world began. Because he possessed this harmonious combination, Kalidasa ranks not with Anacreon and Horace and Shelley, but with Sophocles, Vergil, Milton.
He would doubtless have been somewhat bewildered by Wordsworth's gospel of nature. "The world is too much with us," we can fancy him repeating. "How can the world, the beautiful human world, be too much with us? How can sympathy with one form of life do other than vivify our sympathy with other forms of life?"
It remains to say what can be said in a foreign language of Kalidasa's style. We have seen that he had a formal and systematic education; in this respect he is rather to be compared with Milton and Tennyson than with Shakespeare or Burns. He was completely master of his learning. In an age and a country which reprobated carelessness but were tolerant of pedantry, he held the scales with a wonderfully even hand, never heedless and never indulging in the elaborate trifling with Sanskrit diction which repels the reader from much of Indian literature. It is true that some western critics have spoken of his disfiguring conceits and puerile plays on words. One can only wonder whether these critics have ever read Elizabethan literature; for Kalidasa's style is far less obnoxious to such condemnation than Shakespeare's. That he had a rich and glowing imagination, "excelling in metaphor," as the Hindus themselves affirm, is indeed true; that he may, both in youth and age, have written lines which would not have passed his scrutiny in the vigour of manhood, it is not worth while to deny: yet the total effect left by his poetry is one of extraordinary sureness and delicacy of taste. This is scarcely a matter for argument; a reader can do no more than state his own subjective impression, though he is glad to find that impression confirmed by the unanimous authority of fifty generations of Hindus, surely the most competent judges on such a point.
Analysis of Kalidasa's writings might easily be continued, but analysis can never explain life. The only real criticism is subjective. We know that Kalidasa is a very great poet, because the world has not been able to leave him alone.
ARTHUR W. RYDER.
SELECT BIBLIOGRAPHY
On Kalidasa's life and writings may be consulted A.A. Macdonell's History of Sanskrit Literature (1900); the same author's article "Kalidasa" in the eleventh edition of the Encyclopædia Britannica (1910); and Sylvain Lévi's Le Théâtre Indien (1890).
The more important translations in English are the following: of the Shakuntala, by Sir William Jones (1789) and Monier Williams (fifth edition, 1887); of the Urvashi, by H.H. Wilson (in his Select Specimens of the Theatre of the Hindus, third edition, 1871); of The Dynasty of Raghu, by P. de Lacy Johnstone (1902); of The Birth of The War-god (cantos one to seven), by Ralph T.H. Griffith (second edition, 1879); of The Cloud-Messenger, by H.H. Wilson (1813).
There is an inexpensive reprint of Jones's Shakuntala and Wilson's Cloud-Messenger in one volume in the Camelot Series.
KALIDASA
An ancient heathen poet, loving more
God's creatures, and His women, and His flowers
Than we who boast of consecrated powers;
Still lavishing his unexhausted store
Of love's deep, simple wisdom, healing o'er
The world's old sorrows, India's griefs and ours;
That healing love he found in palace towers,
On mountain, plain, and dark, sea-belted shore,
In songs of holy Raghu's kingly line
Or sweet Shakuntala in pious grove,
In hearts that met where starry jasmines twine
Or hearts that from long, lovelorn absence strove
Together. Still his words of wisdom shine:
All's well with man, when man and woman love.
Willst