R. Parthasarathy - Erotic Poems From The Sanskrit - An Anthology-Columbia University Press (2018)

EROTIC POEMS FROM THE SANSKRIT
Translations from the Asian Classics

TRANSLATIONS FROM THE ASIAN CLASSICS
Editorial Board
Wm. Theodore de Bary, Chair
Paul Anderer
Donald Keene
George A. Saliba
Haruo Shirane
Burton Watson
Wei Shang
Erotic Poems
from the Sanskrit
An Anthology
Edited and translated by

R. PARTHASARATHY
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Notes
Sources of Poems
Bibliography
Credits
Index of Titles and First Lines
Index
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ACKNOWLEDGMENTS
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Service of the Lucy Scribner Library at Skidmore College for getting me
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to us, it is in large measure because of her keen ear and good sense.
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Manushi: “Bitter Harvest,” “The Riverbank”
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INTRODUCTION
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mood of love in the reader.
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such as English. The erotic mood of the original has, I believe, come
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in Indian literature.
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in the arts and cater to a select clientele. Prostitutes, on the other hand,
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the lovers are married or not.
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silence she returns to freedom.
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Let the clouds burst into rain or thunder

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Neither cold nor heat can change the minds
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about on the screen, crooning songs. The motif also occurs in Greek
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reunite.
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by embracing him.
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by closing her thighs tight.
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her husband’s love
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and my heart burns.
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from Classical India 1HZ<RUN2[IRUG8QLYHUVLW\3UHVV
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EROTIC POEMS FROM THE SANSKRIT
ABHINANDA
THAT’S HOW I SAW HER

Hurriedly, she threw my silk cloth over her loins
and knotted her hair that had come loose
in the vigorous love play; her heavy breathing
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That’s how I saw her, head lowered,
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WHO NEEDS THE GODS?

With her tangled hair in disarray,
her earrings swinging wildly,
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the lovely woman’s eyes droop
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who needs the gods now?
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IN A HUNDRED PLACES
When my face turned to meet his,
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But what could I do, friends,
when the seams of my bodice
tore in a hundred places?
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A TASTE OF AMBROSIA
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“Stop it! Let go of me, you rogue!”
Her anger rose to fever pitch:
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Whoever has kissed such a high-toned woman
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“The bed is rough and itchy, my love,
from the sandalwood powder
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He said this and made me sit on his chest,
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THE BRIDE
With a trembling hand, she reaches for her clothes,
tosses the remains of her garland at the burning lamp;
coyly she smiles and covers her husband’s eyes
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Miserable and unwilling to talk,
they lay on the bed, faces turned away;
though in their hearts they wished
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Then, slowly, out of the corner of their eyes,
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The quarrel ended in a burst of laughter
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THE PLEDGE
He’s broken the pledge, banished me
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No more in love, he now walks past me
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Dear friend, I don’t know why my heart
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with only the sweat trickling down her breasts,
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And with only her body,
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REGRET
“Fool! Why didn’t I caress my lord’s neck?
Why did I lower my face when he kissed me?
Why didn’t I look at him? Speak to him?”
The young wife, now seasoned in love’s delights,
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STONEHEARTED
On merely hearing his name,
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At the very sight of his face,
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When my lover, who is dearer to me

than life itself, comes near and caresses
my neck, I stop sulking, though at times
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FEIGNING SLEEP
Seeing that she was unattended in the bedroom,
the young wife rose slowly from the bed
and looked long at her husband’s face
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Her loved one then burst out laughing
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REMORSE
My face is etched in sorrow;
my heart’s uprooted; I am sleepless
and worn out weeping day and night
from not seeing my lover’s face;
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Contrite, he had groveled at my feet,
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Friends, were you looking out for me
when I exploded at him in anger?
႐ቨኂቨ೉
WALKING THE STREET BY HER HOUSE
Just a glimpse of her blows his mind away
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When passion reaches fever pitch,
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Short of the pleasure of embracing his love,
even walking the street by her house
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THE SHEETS
Smudged here with betel juice, burnished there
with aloe paste, a splash of powder in one corner,
and lac from footprints painted in another,
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its winding crumpled folds, the sheets celebrate
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A WOMAN WRONGED
No, she didn’t slam the door in his face
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Her gaze unwavering, eyelashes still,
she looked at her husband
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AUBADE
The fever of passion spent but nipples still erect
from her husband’s tight embrace,
the young woman at daybreak views her body
that had given him such pleasure,
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LIKE THE WHEELS OF A CHARIOT
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I long to sleep with him in the same bed,
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THE WORD
One who looks does not see the word;
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As a wife in beautiful clothes
reveals her body to her husband,
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႐ቨኂቨ೉
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“Won’t you lie down for a while
in this thicket of reeds and bamboo trees
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Even as the girl herding cows
said this to the young traveler,
casually sitting by the roadside,
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My husband’s away on business:
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His mother left this morning for her son-in-law’s:
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How can I meet you tonight?
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You may or may not believe me if I say,
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Teach me the right thing to say, my lord,
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THE KINGDOM’S HAPPINESS
Though I conquer the whole world,
in truth, there is only one city;
in that city, only one house;
in that house, only one room;
in that room, only one bed;
in that bed, glowing like a jewel,
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HAIR
Once untied my woman’s hair tumbles down,
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only to be tied again before it clings to her loins,
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WILD NIGHTS
This much I know: I trembled like a vine
when he took me in his arms,
when he fondled my breasts and wouldn’t let go,
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THANK OFFERING
We leave our youth behind with each passing day:
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as you lie on a bed of kusa grass,
with sesame and water, a smooth shaven cunt?
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AT THE CREMATION GROUND
A poor man hurries to the cremation ground
and pleads with a corpse: “Rise and carry
for just a moment, friend, this heavy burden of poverty
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But the corpse knew death was far better
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ON A RAINY DAY
Fortunate is the lover who helps his mistress
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and her sheer blue cloth, clinging to her shapely breasts,
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WHEN WINTER COMES
The rich are excited by the coming of winter:
with mouths full of fresh betel nut,
their bodies feast on endless joys
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JEWELS
The cloth around her hips slipped
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The warm vibrant jewels of her girdle
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While her lover despaired of ever seeing her
in all her glory, the lovely girl blushed
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she stopped him, although she didn’t
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THE CREAKING BED
The night was far gone;
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But my lover knew a thing or two
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He made love slowly, cautiously,
was forced to hold back his body
as the bed creaked like an enemy,
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SHE PROTESTS TOO MUCH
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But she let the bracelet slip from her wrist
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SHE DOESN’T LET GO OF HER PRIDE
She turns aside his eyes,
riveted on her breasts,
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She puts rouge on her lips,
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She stops his hand on her crotch
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Tactfully, she neither rejects
her husband’s love
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With a curse, the woman threw her lover out,
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But when he began to walk out of the room,
she ran to stop him, with head bowed
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Though the moon is shining and the way rough,
and everyone’s fond of gossip,
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So with love on her mind, a certain girl
sets out to keep her tryst:
many times she leaves her house,
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႐ቨኂቨ೉
THE HAWK
Undisturbed a hawk circles freely high above
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Looking down, he spies a chunk of meat
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He draws in the full span of his moving wings
for the swift descent, and in an instant snatches
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A NEEDLE
Worn down by hunger, the children are like corpses;
relatives have forsaken me;
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But none of this hurts me more
than our neighbor sneering at my wife,
annoyed that she asks every day
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႐ቨኂቨ೉
TIME WASTED
I wear no bracelet,
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I haven’t drunk from the lips
of a shy, tender bride,
nor have I won, by sword or pen,
IDPHLQ,QGUD·VZRUOG
Instead I’ve wasted my time
in ramshackle schools,
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೉႐ቨኂቨ
THE SCHOLAR’S LIFE
Just as she blossoms into a charming woman,
you leave behind your young wife
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DQGVOHHSVDORQHIRUPDQ\\HDUV
Though you’ve gained knowledge,
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The scholar’s life be damned!
The reward it brings isn’t worth
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႐ቨኂቨ೉
FOOLISH HEART
A cheerless wife, relatives struck by misfortune,
friends turned into strangers,
servants reduced to poverty,
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SUPREME BLISS
The sky, my cloth; the hollow of my hand, my bowl;
deer, my companions; meditation, my sleep;
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the noble, supreme bliss?
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Later, he falls asleep on a bed of straw
in the shrine of the village goddess,
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shivering and groaning,
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WISE MEN
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wise men choose two courses:
for a time they keep the company of minds
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They spend the rest with nubile young women
whose full hips and breasts
glow with the pleasure of hiding
men’s impatient hands
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POETS’ EXCESSES
Surely her face is not the full moon,
her eyes are not a pair of blue lotuses,
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Yet deceived by poets’ excesses,
a foolish man, despite knowing the truth,
will worship a woman’s body
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But soon the petting and fondling
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Almost unnoticed, her limbs relax;
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Hot with desire, she brazenly
throws herself into the love game
and spreads her legs out
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Such are the joys
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HIPS
With words of eloquent wisdom
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But who can honestly turn away
from beautiful women’s hips
girdled with strands of rubies?
FEAR OF DEATH
The craving for pleasure is gone,
the respect of men is lost,
friends and peers have moved on to heaven,
one depends on a cane just to get around,
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\HWWKLVIRROLVKERG\LVWHUULϮHGRIGHDWK
DESIRE ALONE
My face is lined with wrinkles,
my hair has turned gray,
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ADORATION OF WOMAN
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That storehouse of phlegm, her face,
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Damp with urine, her thigh
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THE POET SPEAKS TO THE KING
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You are a man of arms;
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Those blinded by wealth slave for you,
but they are eager to hear me
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Since you have no respect for me, king,
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CONTENTMENT
The earth, his bed;
limbs of creepers, his pillow;
the sky, the roof over his head;
pleasant winds, his fan;
the bright moon, his lamp;
DWWDFKPHQWWR/DG\,QGLϸHUHQFHKLVMR\
Calm, smeared with ash,
the hermit sleeps in comfort
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MAN’S LIFE
Man’s life span is a hundred years:
half of it is spent in sleep; of the rest,
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He spends much of what’s left toiling for others,
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In this life, unstable as the waves of the sea,
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OLD AGE
Your body shrinks, steps falter, teeth fall out,
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Relatives ignore your words, the wife doesn’t care,
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O the wretchedness of man in old age!
WHITE FLAG
The moment young women notice
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WKHϰDJRIKLVVXUUHQGHUWRROGDJH³
they avoid him from afar
as they would the outcastes’ well,
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ELEMENTARY ARITHMETIC
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she herself retrieved one-sixth,
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If only six pearls remained on the string,
how many pearls did the necklace have?
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THE CRITIC SCORNED

Those who have contempt for my work
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What I write is not for their ears
but for one who will be born someday
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Then you stopped being the lover,
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What is left but to reap the fruit
of my diamond-hard life?
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BHOJA
SCRAMBLING OUT OF THE WATER

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from the tips of her unkempt hair
and crosses her arms to hide
the strain of her growing breasts;
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She bends down a little, scans the riverbank,
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BITE MARKS
I still remember her coy sidelong looks
as her body moved in a fever of love,
showing the curve of her shapely breast
as the hem of her cloth slipped,
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IN LIFE AFTER LIFE
I still remember her eyes,
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her supple body relaxed,
clothes and hair in disarray:
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I shall remember her in death,
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If I could still see her at day’s end,
my fawn-eyed woman who revives me
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kingly pleasures, sweet heaven itself,
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DRUMBEATS
Silly girl, you go to meet your lover
with a string of pearls bouncing on your breasts,
a girdle clanking on your hips,
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Yet, with such telltale drumbeats,
you are panic-stricken,
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THE WAY
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On this path, no new footprints;
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The other path is broad and pleasant,
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WIFE
Nothing turns on a hot-assed woman more
than the wind howling on a rainy night
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FLIGHT OF THE DEER

Time and again he looks back,
his neck turned gracefully,
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his haunches close in on his chest:
panting at the mouth, he leaves a trail
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trembling she stays my roaming hand;
as soon as I press her close to my chest,
she defends her breasts with her arms;
when I gaze at her lash-wide look,
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BLESSED SLEEP
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I beg of you to show me once more
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When she appears, I shall lock her in my arms
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THE LAMP
When I undid her silk blouse,
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When I unwrapped the skirt from her hips,
VKHFORVHGKHUWKLJKVWLJKW
She nearly died of embarrassment
ZKHQP\H\HVIDVWHQHGRQWRKHUVHFUHWSODFHV
She then hurled at the lamp the lotus from her ear
DQGSXWRXWWKHTXLYHULQJϰDPH
ሳ႐ወተኂዧኹ႐ቈ႐೉
.(߭$ࠦ$
THE CAMEL
He is back from his travels in the endless desert,
DQGKLVZLIHFDQ·WWDNHKHUH\HVRϸKLP
DVWKH\EULPZLWKWHDUVRIMR\
She spoils his camel with palm and thornleaf
and wipes the thick layer of dust from its mane
JHQWO\ZLWKWKHKHPRIKHUVNLUW
೉ሳᅵዚ႐ዬ႐
.߳(0(1'5$
ALL EYES ON THE DOOR

Once her lover departed, the bed vanished from the house;
WKHJDUODQGVRIVWDOHϰRZHUVZHUHWRVVHGRXW
With daybreak came her doting former lover
ZKRPVKHKDGVWRRGXSWKDWQLJKW
As he began to undo the knot of her skirt,
she kicked him in the leg and complained,
“I slept all alone, my eyes glued to the door!”
:LWKWKDWWKHFRXUWHVDQFKDVHGDZD\KLVEOXHV
ሳዠᅵበᅵቨᅡወ႐೉
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THE RED SEAL

When will I see her generous thighs again,
VKXWWLJKWDWϮUVWRXWRIPRGHVW\
then opening surprised by desire,
revealing, as her silk wrap comes loose,
WKHϮQHSXUSOHPDUNVRIP\ϮQJHUQDLOV
like a red seal inscribed on a treasure?
೉ሳዠᇹዧሌዚ႐
.80Ǵ5$'Ǵ6$
ALBA
Come now, unwind yourself
from the arms of your lover;
\HWKRZFR\\RXZHUHDWWKHϮUVWPHHWLQJ
The sun has cast its rays here,
DQGWKHURRVWHUVKDYHEHJXQWRFURZ
ሳዼበჂወ႐ᅡჂዘ႐೉
.8ࠦ$/Ǵ
)857,9( /29(0$.,1*
1RWKLQJFRPSDUHVHYHQUHPRWHO\³
not the pleasures of betel leaves
RURIKXJJLQJDQGNLVVLQJLQEHG³
ZLWKEULHIKXUULHGIXUWLYHORYHPDNLQJ
೉ሳዼዬ႐ቈჂ
0Ǵ*+$
THE ART OF POETRY

Did grammar ever feed the hungry?
Did the nectar of poetry ever quench anyone’s thirst?
1RRQHFDQUDLVHDIDPLO\RQERRNOHDUQLQJ
0DNH\RXUSLOHDQGVFUHZWKHDUWV
በჂᇀᇖ႐೉
SCENT
<RXFDQKLGHKHUϮQJHUQDLOPDUNVZLWK\RXUVKDZO
hide with your hand the lip she has bitten,
but can you hide her scent that blows
in every direction, shouting out your adultery?
೉በჂᇀᇖ႐
MAHODADHI
STOP BEING WILLFUL

The night is almost over, love,
DQGWKHPRRQKDVDOOEXWYDQLVKHG
2YHUFRPHE\VOHHSWKHODPSϰLFNHUV
A woman should stop being willful
once a man grants her wishes;
\HW\RXKDYHQ·WOHWJRRI\RXUDQJHU
%HLQJVRFORVHWR\RXUϮUPEUHDVWV
HYHQ\RXUKHDUW·VJURZQKDUG
በ႐ᇖኂᅡ႐ᅡᇖᇹ೉
025,.Ǵ
DON’T GO
A hundred times I’ve told you gently,
´'RQ·WJRP\PLVWUHVVORYHV\RXVRµ
When you step into the courtyard to leave,
\RXU\RXQJZLIHLVKHDUWEURNHQ
:KDWPRUHFDQ,VD\"+HUϮUPO\WLHGERGLFH
that bears the weight of her breasts,
rips at the seams, and I have used up every bit
RIWKUHDGLQWKHKRXVHVHZLQJLWGD\LQGD\RXW
೉በኂወᇹሳჂ
085Ǵ5,
HIDDEN FINGERNAIL MARKS

In the morning when friends press her
for details of the night’s intimacies,
WKHEULGHORZHUVKHUKHDGLQVKDPH
But when they embellish her breasts with musk
and sandalwood paste, her body shudders
DQGUHYHDOVWKHKLGGHQϮQJHUQDLOPDUNV
በዼወჂወᇹ೉
AN ACTOR IN A FARCE
Feeble of voice and body,
toadying to the rich and powerful,
,·YHEHFRPHDQDFWRULQDIDUFH
I have no clue in what low comedy
old age expects me to dance
ZLWKWKHVHSDWKHWLFJUD\KDLUVIRUPDNHXS
೉በዼወჂወᇹ
5Ǵ-$3875$3$53$ࠦ,
BLOW OUT THE LAMP

´:DLWDPRPHQWOHWJRRIP\VNLUW
<RX·OOZDNHXSWKHVHUYDQWV
Shame on you! With folded hands
,EHJRI\RXWREORZRXWWKHODPSµ
My beloved’s words delight me
PRUHWKDQHYHQPDNLQJORYH
ወჂሦ႐ኹዼዧወ႐ኹ႐ወኹ႐ዬᇹ೉
5Ǵ-$߭(.+$5$
HER FACE
Blot out the dark night with brushes heavy with ink;
ZLSHRϸWKHOLO\·VVPLOHZLWKVSHOOV
OD\WKHPRRQRQDϰDWVWRQHDQGFUXVKLWWRSLHFHV
WKDW,PD\VHHWKHZKROHHDUWKHQJUDYHGZLWKKHUIDFH
೉ወჂሦ႐ዚᅵሳᇖ႐ወ႐
58'5$ࠦ$
WHAT THE YOUNG WIFE SAID

72¬ 7+(¬ 75$9(/(5
My aged mother sleeps here, and over there
my father, one of the oldest of men;
here, worn out with toil, sleeps the slave girl;
and here I sleep alone, unfortunate me,
IRUP\KXVEDQG·VEHHQJRQHIRUVRPHGD\V
With such beguiling words, the young wife
FRQYH\HGZKDW·VRQKHUPLQGWRWKHWUDYHOHU
ወዼᅡወ႐ዬ႐೉
߭$5$٫$
GIRL DRAWING WATER FROM A WELL

As she lifts her slender arm to pull on the rope,
her breast shows on that side;
her conch-shell bangles shake and clink,
DOPRVWVQDSSLQJWKHWKUHDG
With her generous thighs spread apart
and her shapely buttocks thrust out as she bends,
WKHRXWFDVWHJLUOGUDZVZDWHUDJDLQDQGDJDLQIURPWKHZHOO
೉ዚ႐ወ႐ተ႐
SIDDHOKA
THE EMPTY ROAD

7KHGD\ZDVDOPRVWRYHUGDUNQHVVKDGIDOOHQ
The traveler’s wife had scanned the empty road
IDUDQGZLGHIRUKHUKXVEDQG
With a heavy heart, she walks toward
their whitewashed house; but thinking,
´3HUKDSVKHPD\FRPHQRZµORRNVEDFNRQFHPRUH
ዘᇹᅡᅡᇖኂሳ႐೉
THEN AND NOW

0\KXVEDQGLVWKHVDPHPDQZKRVWROHP\YLUJLQLW\
These are the same moonlit nights;
WKHVDPHEUHH]HϰRDWVGRZQIURPWKH9LQGK\DPRXQWDLQV
WKLFNZLWKWKHVFHQWRIϰRZHULQJMDVPLQH
,WRRDPWKHVDPHZRPDQ<HW,ORQJZLWKDOOP\KHDUW
for the thicket of reeds by the river
WKDWRQFHNQHZRXUZLOGMR\RXVORYHPDNLQJ
೉ዚሌቈჂᄽᇖ႐ዬዬჂወᇹሳჂ
SONNOKA
'5,9(1 %< 3$66,21

Fortunate is the man whose woman,
driven by passion, pleasures him
E\VZLWFKLQJUROHVLQORYHPDNLQJ
Her moaning blends with her tinkling waist bells
WKDWVZLQJDVVKHPRYHVKHUKLSV
Her hair comes undone, the pearl necklace snaps,
DQGKHUEUHDVWVKHDYHZLWKHYHU\EUHDWK
ዘኂቨቨኂሳ႐೉
߭5ԣ+$5߳$
THE SMART GIRL

To avoid sitting close together,
VKHULVHVWRZHOFRPHKLPIURPDIDU
7RZDUGRϸKLVHPEUDFHV
VKHEXVLHVKHUVHOIZLWKIROGLQJEHWHOOHDYHV
To prevent any talk between them,
VKHERVVHVWKHVHUYDQWVDURXQG
With such gestures, the smart girl tactfully
GHϰHFWVKHUDQJHUWRZDUGKHUKXVEDQG
೉ዚወሌᇖ႐ወዠ႐
IN HER DIRECTION
Between him and the woman he loves
yawn a hundred lands, rivers, forests, mountains;
WU\DVKHPLJKWWKHUH·VQRZD\KHFDQVHHKHU
Yet, eyes hot with tears,
the traveler stands on tiptoe, craning his neck,
DQGIRUDORQJWLPHORRNVZLVWIXOO\LQKHUGLUHFWLRQ
ዚወሌᇖ႐ወዠ႐೉
9$//$٫$
SEA OF SHAME
2QFHKHKDGSHHOHGP\FORWKHVRϸ
my arms could not hide my breasts;
KLVFKHVWEHFDPHP\RQO\FRYHULQJ
When his hand plunged below my hips,
who could have saved me, drowning in a sea of shame,
but the god of love himself
who teaches us how to faint?
೉ጟ႐ቈቈ႐ተ႐
ON THE GRASS
Having thrown your shawl on the grass
E\WKHSRQGWUDYHOHU\RXVLWRQLW
$UHQ·W\RXWLUHG"7KHZD\LVGLϲFXOW
ZLWKQRYLOODJHLQVLJKWEHVLGHVLW·VJHWWLQJODWH
No longer covered by the shawl, your thighs show
DV\RXUDLVH\RXUNQHHVWR\RXUVWRPDFK
,WLVWZLFHDVXQVHHPO\DVLI\RXZHUHVSUDZOHGRXW
,WRRDPDORQH:KDWDUHZHWRPDNHRIWKLV"
ጟ႐ቈቈ႐ተ႐೉
THE ESSENCE OF POETRY
The essence of poetry
is not in what the words say
EXWLQKRZWKH\VD\LW
7KLVDQGQRWVRPHVSHFLDOϰDYRU
JLYHVSOHDVXUH
Not naked
EXWJOLPSVHGLQDϰDVK
WKURXJKVLONUXϵHGE\DEUHH]H
does a woman’s breast
JLYHSOHDVXUH
೉ጟ႐ቈቈ႐ተ႐
9$5Ǵ+$
325,1* 29(5 $ %22.

At times he opens his eyes wide,
rubs them with his hands and peers intently,
looks at it from afar or moves it closer,
or steps out into the light to see better
EXWUHPHPEHUVWKHH\HRLQWPHQWKH·VOHIWEHKLQG
6RGRHVDPDQLQROGDJHSRUHRYHUDERRN
ጟ႐ወჂᇖ႐೉
9,'<Ǵ
HOLLOW PLEASURES
If just looking at the woman is not enough
to make her lover come, and if he still continues
WRHPEUDFHKHUWKHSOHDVXUHVKHRϸHUVKLPLVKROORZ
But if after being loved, she pursues another lover,
VKHLVQREHWWHUWKDQDWUDPSDQGLVEHQHDWKFRQWHPSW
:K\HYHQELUGVDQGEHDVWVKDYHWKHLUϮOORIORYH
RQFHWKH\KDYHKXGGOHGFORVHWRHDFKRWKHU·VϰDQNV
೉ጟᇹᅡጺჂ
COMPLAINT
How fortunate you are, my friends!
You can speak openly about the goings-on
with your lovers: the idle talk, the laughter
DQGIXQWKHHQGOHVVURXQGVRISOHDVXUH
As for me, once my lover undid the knot of my skirt,
,VZHDU,UHPHPEHUQRWKLQJ
ጟᇹᅡጺჂ೉
7+( 5,9(5%$1.
He can’t stand well water, the child’s father,
UHIXVHVWRWRXFKLW:RXOG\RXQHLJKERU
keep an eye on the house for a moment
while I slip out, though I’m alone, to the riverbank,
overhung with gamboge and spiked with reeds
whose broken shoots may scrape against my breasts?
೉ጟᇹᅡጺჂ
9,.$ࠦ$1,7$0%Ǵ
THE BED
As he approached the bed, the knot gave way on its own;
the skirt clung to my hips, held somehow
E\RQO\WKHFRUGVRIWKHXQVWHDG\EHOW
7KDW·VDOO,NQRZGHDUIULHQG
But once he took me in his arms, I don’t remember
ZKRKHZDVZKR,ZDVRUZKDWZHGLG
ጟᇹሳ႐ዬ႐ቨᇹዧ႐በᄽჂ೉
$ :25' 2) $'9,&(
6WRSIUHWWLQJDERXWWKHJLUOEHLQJ\RXQJDQGIUDJLOH
Whoever has seen a mango blossom
snap from the weight of a bee?
Throw caution to the wind:
VTXHH]HKHUKDUGZKHQWKHWZRRI\RXDUHDORQH
6XJDUFDQHSUHVVHGJHQWO\ZLOOQRWUHOHDVHLWVMXLFH
೉ጟᇹሳ႐ዬ႐ቨᇹዧ႐በᄽჂ
<2*(߭9$5$
FAR FROM HOME

A cool breeze blows after the heavy downpour;
the sky is awash with clouds;
DϰDVKRIOLJKWQLQJUHYHDOVDOORIVSDFHLQDQLQVWDQW
the moon, stars, planets are fast asleep;
the keen scent of rain-drenched kadamba blossoms drifts in;
DFKRUXVRIIURJVRYHUZKHOPVWKHGDUNQHVV
How does a lover, far from home, get through such nights?
ጺኂᇀᅵዚጟ႐ወ႐೉
WHEN THE RAINS COME
7KHULYHURYHUϰRZLQJLWVEDQNVϮOOVP\KHDUWZLWKGHOLJKW
on top of a canebrake, a snake is asleep;
a moorhen calls out; geese clamor;
herds of deer gather in knots;
the thick grass is weighed down by streams of ants;
DQGWKHMXQJOHIRZOLVGUXQNZLWKMR\
೉ጺኂᇀᅵዚጟ႐ወ႐
NOTES
I
have followed Siegfried Lienhard, A History of Classical Poetry: Sanskrit,
3čOL3UčNULW (Wiesbaden: Harrassowitz, 1984), for information on the
poets. All line references are to the English texts. The translations are
my own unless otherwise noted.
THAT’S HOW I SAW HER
Abhinanda (ca. 850–900) was a poet from Bengal.

4: The .čPDVࡃWUD (2.4.1–31) describes the practice of scratching with
WKHϮQJHUQDLOVDQGOLVWVHLJKWNLQGVRIPDUNVWKHNQLIHVWURNHWKHKDOI
PRRQWKHFLUFOHWKHOLQHWKHWLJHU·VFODZWKHSHDFRFN·VIRRWWKHKDUH·V
OHDS DQG WKH OHDI RI D EOXH ORWXV 7KH SHDFRFN·V IRRW IRU H[DPSOH LV
GHVFULEHGDVPDUNVPDGHRQWKHEUHDVWE\SXOOLQJWKHQLSSOHZLWKDOOϮYH
ϮQJHUQDLOV
,QWKHH[FLWHPHQWRISDVVLRQWKHORYHUVOHIWWKHPDUNVRIWKHLUϮQJHU
QDLOVRQHDFKRWKHU·VERGLHV)LQJHUQDLOPDUNVDUHDSUHOXGHWRORYHPDN
LQJDQGDUHWKHUHIRUHWUHDVXUHGDVVRXYHQLUV$V9čWV\č\DQDLQIRUPVXV
(2.4.28):
,IWKHUHDUHQRϮQJHUQDLOPDUNVWRHYRNH
memories of the seats of passion,
then passion has long since waned
and love itself has vanished.
7KH%HOJLDQSRHW1LFROH+RXVVD ² HFKRHV9čWV\č\DQD·VVWDWH

ment in “Star”:
And I for my part

Have pinned on your breast
7HQVWDUVLQWKHIRUPRIQDLOPDUNV
So that you do not forget me.
(Evelyne Sullerot, :RPHQRQ/RYH(LJKW&HQWXULHVRI)HPLQLQH:ULWLQJ, trans.
Helen R. Lane [Garden City, N.Y.: Doubleday, 1979], 264)
WHO NEEDS THE GODS?
$PDUXRU$PDUࡃND WKFHQW ZDVWKHFRPSLOHURI$PDUX·V2QH+XQGUHG

3RHPV. For a reading of the poem, see the introduction, pp. xxviii–xxix.
&RPSDUHZLWK%LOKD‫ؾ‬D·V´$OOIRU/RYHµ S
A TASTE OF AMBROSIA
1: The .čPDVࡃWUD (2.4.1–31 and 2.5.1–43) recommends scratching and bit

ing to arouse sexual desire. “Every part of the body can be bitten, except
WKHXSSHUOLSWKHWRQJXHDQGWKHH\HVµ 7KHUHDUHHLJKWNLQGVRI
love bites: the hidden, the swollen, the point, the row of points, coral and
MHZHOWKHURZRIJHPVWKHVFDWWHUHGFORXGDQGWKHERDU·VELWH7KHϮUVW
three bites are made on the lower lip (2.5.4). The scattered cloud, for exam
SOHLVGHVFULEHGDVDFLUFOHRILUUHJXODUWRRWKPDUNVEHORZWKHEUHDVW
8–9: In the beginning, the gods and demons churned the ocean to
obtain the nectar of immortality. The gods obtained it with the help of
9Lߙ‫ؾ‬XWKH6XSUHPH%HLQJ$PDUXVXEYHUWVWKHP\WKWRLPSO\WKDWWKHPDQ
IRXQGQHFWDUWKHLQVWDQWKHNLVVHGWKHZRPDQ·VOLSVKHGLGQRWKDYHWR
FKXUQWKHRFHDQOLNHWKHIRROLVKJRGV
೉ቨኂዧᅵዘ
THE BRIDE
,WZDVFXVWRPDU\WRNHHSDQRLOODPSEXUQLQJGXULQJORYHPDNLQJ
THE PLEDGE
For a reading of the poem, see the introduction, pp. xxvi–xxvii.
STONEHEARTED
4: Moonstones are believed to ooze drops of water when touched by the

moon’s rays.
WALKING THE STREET BY HER HOUSE
7KHPRWLIRIZDONLQJWKHVWUHHWRIWKHEHORYHGLVFRPPRQLQSRHWU\,I
VXFKDQRUGLQDU\DFWFRXOGVHQGWKHORYHULQWRUDSWXUHVZKDWHϸHFWZRXOG
the consummation of his love have on him? Compare with the following
lines from the poem “Nannina” by the Italian poet Salvatore Di Giacomo
(1860–1934):
7KUHHGD\V,ZHDULO\ZDONHGWKHSDYHPHQW
ZDWFKLQJIRUWKHFRYHUWH\HVRIP\MR\
not a sound, the shutter was bolted fast,
only a dim light on that balcony.
(Salvatore Di Giacomo, /RYH3RHPV$6HOHFWLRQWUDQV)UDQN-3DOHVFDQGROR
Essential Poets 79 [Toronto: Guernica, 1999], 11).
THE SHEETS
For a reading of the poem, see the introduction, pp. xix–xxiii.
ቨኂዧᅵዘ೉
AUBADE
$IWHUDQLJKWRIZLOGORYHPDNLQJWKHZRPDQEHWUD\VZKDW:LOOLDP%ODNH
² FDOOVWKHOLQHDPHQWVRIJUDWLϮHGGHVLUH
LIKE THE WHEELS OF A CHARIOT
<DPDDQGKLVVLVWHU<DPҸZHUHWKHϮUVWPRUWDOV:KHQWKH\GLHGWKH\
went to the underworld, over which Yama presided as the god of death.
<DPDUHMHFWVKLVVLVWHU·VRYHUWXUHV7KHSRHPLVUHPDUNDEOHIRULWVFRQϰD
tion of the erotic and the heroic.
THE WORD
7KHZRUGGRHVQRWUHYHDOLWVHOIWRWKHXQLQLWLDWHGRQO\WKHLQLWLDWHGNQRZ
WKHZRUG,WLVVRPHZKDWXQXVXDOWRVSHDNRIWKHUHYHODWLRQRIWKHZRUG
in erotic terms.
AN INVITATION
7KHϮHOGOLNHWKHSORZLVDIHUWLOLW\V\PERO7KHSORZZRUNLQJWKH
ϮHOGUHSUHVHQWVPDQIHUWLOL]LQJZRPDQ7KHϮHOGFRXOGWKHUHIRUHPHDQ
the womb. For a note on “traveler” poems, see the introduction,
SS¬[[[L²[[[LLL
HAIR
7KHSRHPFDQEHUHDGLQWZRGLϸHUHQWZD\VHLWKHUDVDQHURWLFSRHPRU
DVDSRHPDERXWDVFHWLFLVP,WLQYROYHVWKHXVHRIWKHUKHWRULFDOϮJXUHRI
implied metaphor (VDPčVRNWL ZKLFKWKHFULWLF8GEKDࠃD WK²WKFHQW
GHϮQHVDVIROORZV´:KHQDWKHPHRWKHUWKDQWKHRULJLQDORQHLVPDGH
NQRZQLQDVHQWHQFHWKURXJKFRPPRQDWWULEXWHVLWLVVDLGWREHVDPčVRNWL”
೉ቨኂዧᅵዘ
(.čY\čODؐNčUDVčUDVDؐJUDє RI 8GEKDࠃD HG ZLWK WKH FRPPHQWDU\ WKH
/DJKXY‫ޢ‬WWLRI,QGXUčMDE\1DUD\DQD'DVR%DQKDWWL%RPED\6DQVNULWDQG
3UčNULW6HULHVQRQGHG>3RRQD%KDQGDUNDU2ULHQWDO5HVHDUFK,QVWL
WXWH@ 8GEKDࠃDRϸHUVWKHIROORZLQJH[DPSOH
:LWKϰRZHUVWKDWDUHKHUVKLQLQJWHHWK
with sprouts that are her hands,
the lovely woman approaches the water,
KHUKDLUNQRWWHGOLNHDFOXVWHURIEHHV
7KHFRPPHQWDU\LGHQWLϮHVWKH´RULJLQDOWKHPHµDV3čUYDWҸVSRXVHRI
߭LYD7KHDWWULEXWHV ϰRZHUVVSURXWVDQGEHHV DSSO\HTXDOO\WRWKHYLQH
WKH´VHFRQGDU\WKHPHµZKLFKLVRQO\LPSOLHGYDQD is both “water” and
´ZRRGVµ LQ 6DQVNULW :KLOH RQH WKHPH ÓRYHO\ ZRPDQµ LV H[SOLFLWO\
stated, another (“the vine”) is implied. The poem “Hair” can also be
translated as follows:
+DYLQJUHQRXQFHGWKHFORVHERQGVRIDϸHFWLRQ
WKHJHQLDOFOHDQVKDYHQKHUPLWVLQKDOHVPRNH
as they set out on the path of liberation.
%XWWKH\DUHLQVKDFNOHVDJDLQDVWKH\OLQJHU
RQWKHZRUOG·VVKRUH,WLVGLϲFXOWLQGHHG
WREUHDNDZD\IURPDOOZRUOGO\WLHV
,Q 8GEKDࠃD·V H[DPSOH RQO\ YDQD LV D SXQ EXW RXU SRHP EULVWOHV ZLWK
puns: VQHKDؐ VHPHQDϸHFWLRQ GKࡃPDQ SHUIXPHVPRNH PRNߙDSDWKDؐ
XQWLHGSDWKRIOLEHUDWLRQ QLWDPED ORLQVVKRUH 7KHYRFDEXODU\RI6DQ
VNULWXQOLNHWKDWRIPRVWODQJXDJHVLVXQXVXDOO\SRO\VHPLF
THANK OFFERING
)XQHUDOULWHVLQFOXGHWKHRϸHULQJRIFRRNHGULFHVHVDPHDQGZDWHUWR
WKHGHDGZKRDUHSODFHGRQDEHGRINXVDJUDVV 3RDF\QRVXURLGHV Retz).
Pubic hair is considered unclean, so women remove it periodically. That
this practice has been around for centuries is borne out by the sculptures of
ZRPHQZLWKFOHDQVKDYHGYXOYDVLQWKHWHPSOHVRI.KDMXUDKR WK²WK
ቨኂዧᅵዘ೉
FHQW LQ0DGK\D3UDGHVK*UHHNZRPHQWRRDV$ULVWRSKDQHV·V FD²
ca. 385 ᄽᅐᅵ) plays indicate, shaved their pubic hair but only partially.
7KH\VKDSHGWKHKDLUWRGUDZDWWHQWLRQWRWKHLUYXOYDVDQGWKHUHE\PDNH
themselves sexually more attractive. The methods used for depilation
LQFOXGHGSOXFNLQJDQGVLQJHLQJE\ODPS7KH*HUPDQHWKQRJUDSKHU+HU
mann Heinrich Ploss (1819–1885) reported that in India “rings of a spe
cial shape are used for the purpose of depilation and to this end are worn
RQWKHWKXPE7KH\UHVHPEOHXQXVXDOO\ODUJHVLJQHWULQJVZLWKϰDWVKDUS
HGJHGGLVFVVHWZLWKWLQ\PLUURUVZKLFKERWKVKRZWKHDUHDVLQTXHVWLRQ
DQGUHϰHFWWKHOLJKW7KHVKDYLQJLVGRQHZLWKWKHVKDUSHGJHV7KHQDPH
for these rings is čUVҸ” (Hermann Heinrich Ploss, Max Bartels, and Paul Bar
tels, :RPDQ$Q+LVWRULFDO*\QDHFRORJLFDODQG$QWKURSRORJLFDO&RPSHQGLXP,
HG(ULF-RKQ'LQJZDOOYROV>/RQGRQ+HLQHPDQQ@
WHEN WINTER COMES
2: Betel nut is generally chewed with betel leaf and mineral lime as a stim
ulant and to freshen the mouth.
THE CREAKING BED
7KHPRWLIRIWKHFUHDNLQJEHG DUJXWDWLROHFWL) is a familiar one in poetry.

+HUHWKHEHGKDVWKHXSSHUKDQGLWGLFWDWHVKRZWKHORYHUVPDNHORYH)HH
EOHDQGUXQGRZQLWFUHDNVORXGO\DVLWFDQQRORQJHUZLWKVWDQGWKHYLJ
RURXVORYHPDNLQJ
Catullus’s (ca. 84–54 ᄽᅐᅵ ´3RHPµLVDϮQHH[DPSOHRIWKHPRWLILQ
Latin.
೉೉೉೉೉೉೉೉/RRNDW\RXUEHG
still trembling with your labours
(tell me that you sleep alone)
VKHHWVVRLOHGZLWKORYHDQGϰRZHUV¬¬¬
(Catullus, 7KH3RHPVRI&DWXOOXV, trans. Horace Gregory
>1HZ<RUN*URYH3UHVV@
೉ቨኂዧᅵዘ
THE WAYS OF LOVE
,WLVDVWKRXJKWKHZRPDQLVKDQGLQJRYHUWKHŃQRWRIKHUVNLUWµWRWKH
PDQWRGRZLWKKHUDVKHSOHDVHV$IWHUWKHLQLWLDOGHϮDQFHVKHVXUUHQ
ders herself to him completely.
A LOVER’S WORD
See the reading of the poem “On a Rainy Day” in the introduction,
SS¬[[L[²[[[L
THE HAWK
4: “Outcaste” is the translation of FD‫˂ؾ‬čOD. The FD‫˂ؾ‬čODVDUHWKHRϸVSULQJ

of mixed marriages between Shudra men and Brahman women. Today
they would be termed Dalits, “oppressed, downtrodden.” The FD‫˂ؾ‬čOD tends
WKHFUHPDWLRQJURXQG+HLVVRFLDOO\GHIHQVHOHVVLQWKHSRHPHYHQWKH
KDZNJHWVWKHEHWWHURIKLP
TIME WASTED
,QGUDLVWKHNLQJRIWKHJRGVKLVZRUOGLVKHDYHQ8QVXFFHVVIXOLQKLV
search for a patron, the poet gives vent to his frustrations.
THE SCHOLAR’S LIFE
&RPSDUHZLWKWKHIROORZLQJOLQHVIURP:¬%<HDWV·V ² SRHP

“The Scholars” (1919):
Old, learned, respectable bald heads

Edit and annotate the lines
ቨኂዧᅵዘ೉
That young men, tossing on their beds,
Rhymed out in love’s despair.
(W. B. Yeats, 7KH&ROOHFWHG:RUNVRI:¬%<HDWV9ROXPH7KH3RHPV, ed. Richard
-¬)LQQHUDQUHYHG>1HZ<RUN0DFPLOODQ@²
6HHDOVR0čJKD·VSRHP´7KH$UWRI3RHWU\µ S
SUPREME BLISS
5: “Supreme bliss” is the translation of SDUDPDSčULWRߙD. Having renounced

WKHZRUOGDQGEHFRPHDKHUPLWWKHVSHDNHURQO\ZLVKHVIRUOLEHUDWLRQ
from the endless cycle of birth, death, and rebirth.
IN A CORNER OF THE VILLAGE SHRINE
%č‫ؾ‬D WK FHQW ZDV D SRHW DW WKH FRXUW RI .LQJ +DUߙD U ² LQ
.čQ\DNXEMD SUHVHQWGD\.DQQDXMLQ8WWDU3UDGHVK DQGLVEHVWNQRZQIRU
his prose romance .čGDPEDUҸ.
´%RQϮUHµLVWKHWUDQVODWLRQRISX‫\ؿ‬čJQL$ODUJHϮUHZDVXVXDOO\EXLOW
LQWKHRSHQDLULQDYLOODJHIRUWKHEHQHϮWRIWUDYHOHUV7KHϮUH·VVSRQVRU
ZRXOGDFTXLUHPHULWIRUKLVJRRGZRUNV
WISE MEN
1RWKLQJLVNQRZQRI%KDUW‫ޢ‬KDUL FD )RUDUHDGLQJRIWKHSRHPVHH

the introduction, xxxvi–xxxvii.
POETS’ EXCESSES
²3KLORVRSKLFDOSRHWWKDWKHZDV%KDUW‫ޢ‬KDULZDVERWKIDVFLQDWHGE\
woman’s body and repelled by it. This is a recurring theme in his poetry.
Compare with “Adoration of Woman” (p. 49).
೉ቨኂዧᅵዘ
THE LOVE GAME
3–4: The .čPDVࡃWUD (2.2.1–31) notes that a woman’s desire is aroused

ZKHQDPDQSHWVDQGIRQGOHVKHU7KHJRGRIORYH.čPD·VϮYHDUURZVWDU
JHWϮYHSDUWVRIDZRPDQ·VERG\KHDUWEUHDVWVH\HVIRUHKHDGDQGYXOYD
7KHDUURZVDUHWLSSHGZLWKWKHUHGORWXVDVRNDPDQJRMDVPLQHDQGEOXH
ORWXVϰRZHUV
HIPS
Compare with these lines from Lucille Clifton’s (1936–2010) poem “hom
age to my hips” (1980):
LKDYHNQRZQWKHP
to put a spell on a man and
VSLQKLPOLNHDWRS
(Lucille Clifton, 7KH&ROOHFWHG3RHPVRI/XFLOOH&OLIWRQ², ed. Kevin Young
and Michael S. Glaser [Rochester, N.Y.: BOA Editions, 2012], 198).
ADORATION OF WOMAN
%KDUW‫ޢ‬KDULFDOOVLQWRTXHVWLRQDV6KDNHVSHDUHGRHVLQ6RQQHWWKHFRQ
ventional representations of the beloved. The hyperboles in both poems
are of course ironic.
0\PLVWUHVV·H\HVDUHQRWKLQJOLNHWKHVXQ
&RUDOLVIDUPRUHUHGWKDQKHUOLSV·UHG
¬¬¬
And in some perfumes is there more delight
7KDQLQWKHEUHDWKWKDWIURPP\PLVWUHVVUHHNV
.DWKHULQH'XQFDQ-RQHVHG6KDNHVSHDUH·V6RQQHWV7KH$UGHQ6KDNHVSHDUH
[London: Nelson, 1997], 375).
ቨኂዧᅵዘ೉
THE POET SPEAKS TO THE KING
For a reading of the poem, see the introduction, pp. xliii–xliv. Other
poets, such as Horace (65–8 ᄽᅐᅵ) and Ovid (43 ᄽᅐᅵ–?17 ᅐᅵ), have
made similar claims for their “pow’rful rhyme.” Here are the closing lines
of the latter’s 0HWDPRUSKRVHV%RRN
As long as Rome is the Eternal City

These lines shall echo from the lips of men,
$VORQJDVSRHWU\VSHDNVWUXWKRQHDUWK
That immortality is mine to wear.
(Ovid, 7KH0HWDPRUSKRVHVWUDQV+RUDFH*UHJRU\>1HZ<RUN9LNLQJ@
WHITE FLAG
1RZKHUHLV%KDUW‫ޢ‬KDULPRUHF\QLFDOWKDQLQWKLVSRHPZKLFKLVDZDVK
with taedium vitae.
5–6: A cluster of bones is hung on top of a well to warn everyone that
the well is only for the use of outcastes.
ELEMENTARY ARITHMETIC
%KčVNDUD,, ² DORQJZLWKǴU\DEKDࠃD ² DQG%UDKPDJXSWD

(598–668), laid the foundations of Indian mathematics. He was the head
RIDQDVWURQRPLFDOREVHUYDWRU\LQ8MMD\LQҸ SUHVHQWGD\8MMDLQLQ0DG
K\D 3UDGHVK 7KH SRHP DSSHDUV LQ 5DPDNULVKQD 'HYD·V Manorañjana
(QWHUWDLQPHQW DFRPPHQWDU\RQ%KčVNDUD,,·VWUHDWLVHRQDULWKPHWLF
/ҸOčYDWҸ 7KHEHDXWLIXO ,WLVTXRWHGLQ+HQU\7KRPDV&ROHEURRNH·V ²
1837) translation of the /ҸOčYDWҸ (1817) in a footnote to verse 54. There
ZHUHLQDOOWKLUW\SHDUOVLQWKHQHFNODFH
೉ቨኂዧᅵዘ
THE CRITIC SCORNED
%KDYDEKࡃWL WKFHQW ZDVDSRHWDWWKHFRXUWRI.LQJ<DߓRYDUPDQRI

.čQ\DNXEMD2IWKHWKUHHVXUYLYLQJSOD\VE\KLP7KH/DWHU6WRU\RI5DPD
(8WWDUDUčPDFDULWD LVRQHRIWKHϮQHVWDFKLHYHPHQWVRI6DQVNULWGUDPD7KLV
ZHOONQRZQYHUVHDSSHDUVLQWKHSOD\0čODWҸDQG0čGKDYD (0čODWҸPčGKDYD,
1.6).
3–5: The Urdu poet Mirza Ghalib (1797–1869) famously expressed a sim
ilar hope in Persian:
Today none buys my verse’s wine, that it may grow in age

7RPDNHWKHVHQVHVUHHOLQPDQ\DGULQNHU\HWWRFRPH
0\VWDUURVHKLJKHVWLQWKHϮUPDPHQWEHIRUHP\ELUWK
My poetry will win the world’s acclaim when I am gone.
(Ralph Russell, ed., 7KH2[IRUG,QGLD*KDOLE/LIH/HWWHUVDQG*KD]DOV
[New Delhi: Oxford University Press, 2003], 518).
BITTER HARVEST
%KčYDNDGHYҸZDVDZRPDQSRHW
5–6: Compared with the time when they were lovers, marriage seems
WRKDYHWDNHQWKHURPDQFHRXWRIWKHLUOLYHV,WLVWKLVXQKDSS\UHDOL]DWLRQ
WKDWVKHϮQGVKDUGWRDFFHSW&RPSDUHZLWK߭ҸOčEKDࠃࠃčULNč·VSRHP´7KHQ
and Now” (p. 86) on the same theme.
SCRAMBLING OUT OF THE WATER
%KRMD WKFHQW ZDVWKHNLQJRI'KčUčLQSUHVHQWGD\0DGK\D3UDGHVK

+HLVEHVWNQRZQIRUDZRUNRQSRHWLFV/LJKWRQ/RYH (߭‫عޢ‬JčUDSUDNčߓD).
ቨኂዧᅵዘ೉
BITE MARKS
%LOKD‫ؾ‬D WKFHQW LVWKHDXWKRURIDSRHWLFVHTXHQFHWLWOHG)LIW\3RHPVRI

D7KLHIRI/RYH (&DXUDSDxFčߓLNč 6HHS[YLLLRQ%LOKD‫ؾ‬D·VWUDYDLOVLQϮQGLQJ
a patron.
)RU´PDUNVRIP\WHHWKµVHHQRWH S RQ´$7DVWHRI$PEURVLDµ
DRUMBEATS
$7HOXJXSRHP´7U\VWµ $EKLVčULND E\'XYYXUL5DPLUHGG\ ²

echoes Devagupta’s poem.
In the middle of the night

you go to meet your lover,
softly,
DVLIZDONLQJRQDLU
<RXKROG\RXUDQNOHWVLQ\RXUKDQG
VRWKH\GRQ·WPDNHDVRXQG
When the owl hoots from his midnight nest,

\RXORRNRYHU\RXUVKRXOGHUVFDUHG
You are startled at your own footsteps,

and cry, “Who’s that?”
In your white dress

DQG\RXUOLJKWVNLQ
no one can see you
LQWKHϰRRGRIPRRQOLJKW
But the fragrance of your body—

LWVSUHDGVZKHUH\RXZDON
೉ቨኂዧᅵዘ
Girl,
how do you disguise that?
(Velcheru Narayana Rao, ed. and trans., +LELVFXVRQWKH/DNH7ZHQWLHWK&HQWXU\7HOXJX
3RHWU\IURP,QGLD [Madison: University of Wisconsin Press, 2003], 46).
THE WAY
'KDUPDNҸUWL WKFHQW D%UDKPDQIURPSUHVHQWGD\7DPLO1DGXZDVD

%XGGKLVWSKLORVRSKHUZKRZURWHDQXPEHURILQϰXHQWLDOZRUNVRQORJLF
The poem describes well the poet’s discovery of new thresholds away from
the beaten path.
INDRA’S HEAVEN
-DJDQQčWKD 3D‫˂ؾ‬LWDUčMD WK FHQW D 7HOXJX %UDKPDQ IURP SUHVHQW

GD\$QGKUD3UDGHVKZURWHWKHODVWJUHDWZRUNRQ6DQVNULWSRHWLFVWKH
5DVDJD‫ع‬JčGKDUD 7KH*DQJHVEHDUHU>߭LYD@RIPRRG $WWKH0XJKDOFRXUW
RI6KčK-DKčQ U² -DJDQQčWKDLVVDLGWRKDYHIDOOHQLQORYHZLWK
D0XVOLPJLUOZKRPKHODWHUPDUULHG:HNQRZKHURQO\DV/DYD‫ع‬JҸDQG
seven verses in praise of her beauty are attributed to the poet. The story
is retold in a Tamil movie, /DYD‫ع‬NҸ GLUHFWHGE\<¬95DRDQGLQD
Marathi play, 3D‫˂ؾ‬LWUčM-DJDQQčWK ZULWWHQE\9LG\DGKDU*RNKDOHDQG
SURGXFHGE\%KDOFKDQGUD3HQGKDUNDU
I have translated QDYDQҸWDNRPDOč‫ع‬JҸ (literally, “girl with a body soft as
EXWWHUµ DV´JLUOZLWKDQHYHUVRVRIWERG\µ7KHFRPSDULVRQRIDJLUO·VERG\
to freshly churned butter does not sit well in English. It has been suggested
by Aryendra Sharma that the phrase QDYDQҸWDNRPDOč‫ع‬JҸ may well be a
translation of the Hindi phrase PDNNKDQNLSXWOҸ (a lovely woman [soft as]
EXWWHU -DJDQQčWKDZDVQRGRXEWIDPLOLDUZLWKWKHFRQYHQWLRQVRI+LQGL
DQG8UGXSRHWU\RIKLVWLPH+HDWWHPSWHGWREUHDWKHOLIHLQWR6DQVNULW
poetry by introducing new images.
ቨኂዧᅵዘ೉
FLIGHT OF THE DEER
.čOLGčVD WK²WKFHQW WKHSUHHPLQHQWSRHWLQ6DQVNULWZDVWKHDXWKRU

of three long poems, 7KH&ORXG0HVVHQJHU (0HJKDGࡃWD), 7KH2ULJLQRIWKH<RXQJ
*RG (.XPčUDVDؐEKDYD), and 7KH'\QDVW\RI5DJKX (5DJKXYDؐߓD), and of three
plays, including his masterpiece, ߭DNXQWDOč DQG WKH 5LQJ RI 5HFROOHFWLRQ
($EKLMxčQDߓčNXQWDOD ZKHUHWKLVZHOONQRZQYHUVHDSSHDUV
SUCH INNOCENT MOVES
This verse appears in Kalidasa’s play 0čODYLNč DQG $JQLPLWUD

(0čODYLNčJQLPLWUD, 4.15).
THE LAMP
6: “Secret places” is the translation of QčEKLPࡃOD (the part of the body

below the navel).
²7KHPRWLIRIWKHϰLFNHULQJODPSLQWKHORYHUV·EHGURRPLVDIDPLO
iar one in poetry.
THE CAMEL
.HߓDࠃDLVSUDLVHGE\<RJHߓYDUDLQ965
² 6RFLDO FRQYHQWLRQV GR QRW DOORZ D ZLIH WR VKRZ DϸHFWLRQ WR KHU
KXVEDQGLQSXEOLF%HVLGHVKHULQODZVPLJKWEHSUHVHQW6KHWKHUHIRUH
expresses her joy on seeing him on his return from a journey by treating
KLVFDPHONLQGO\E\IHHGLQJLWDQGZLSLQJWKHGXVWRϸLWVPDQH
ALL EYES ON THE DOOR
.ߙHPHQGUD WK FHQW ZDV D SUROLϮF SRHW DQG FULWLF IURP .DVKPLU
whose patrons were King Ananta (r. 1029–1064) and his son, King Kalasa
೉ቨኂዧᅵዘ
(r. 1064–1088) of Kashmir. His &ULWLFDO'LVFRXUVHRQ3URSULHW\ ($XFLW\DYLFčUDFDUFč)
LVDODQGPDUNLQ6DQVNULWSRHWLFV
THE RED SEAL
1RWKLQJLVNQRZQRI.ߙLWҸߓD
)RUϮQJHUQDLOPDUNVVHHQRWH SS² RQ´7KDW·V+RZ,6DZ+HUµ
7KHÚHGVHDOµUHIHUVWRKLVϮQJHUQDLOPDUNVDQGWKH´WUHDVXUHµLVWKH
woman’s vulva, the ultimate object of the man’s desire.
ALBA
.XPčUDGčVD WK²WKFHQW ZDVWKHDXWKRURIDORQJSRHP7KH$EGXFWLRQ

of Sita (-čQDNҸKDUD‫ؾ‬D). The poem is an example of the dawn song, or alba,
LQ6DQVNULWSRHWU\7KHDOEDLVDODPHQWRYHUWKHSDUWLQJRIORYHUVDWGD\
EUHDN7KHZRPDQ·VJLUOIULHQGZDUQVKHURIWKHDUULYDORIGDZQZLWKWKH
crowing of the rooster. The lovers must now part. The poem also features
the motif of stolen love. The alba appeared in Tamil earlier than it did in
6DQVNULW+HUHLVD7DPLOH[DPSOH´7KH&RFNFURZµE\$OOࡃU1D‫ؽ‬PXOODL\čU
(1st–3rd cent.):
7KHPLQXWHWKHFRFNVRXQGHGFRFRR,
panic seized my innocent heart.
Daylight fell upon us—
a sword that tore me apart
from my lover entangled in my arms.
(.X‫ޡ‬XQWRNDL>$QDQWKRORJ\RIVKRUWSRHPV@FRPS3ࡃULNN‫گ‬HG89H&DPLQDWDL\DU
[Annamalai Nagar: Annamalai University, 1983], 309).
FURTIVE LOVEMAKING
.XࠃDOčZDVDZRPDQSRHW7KLVLVKHURQO\SRHPWKDWKDVVXUYLYHG
2: For “betel leaves,” see note (p. 106) on “When Winter Comes.”
ቨኂዧᅵዘ೉
7KHORFXVFODVVLFXVRIWKHPRWLIRIVWROHQORYHLV߭ҸOčEKDࠃࠃčULNč·VSRHP
“Then and Now” (p. 86).
THE ART OF POETRY
0čJKD WKFHQW LVEHVWNQRZQIRUKLVORQJSRHP7KH6OD\LQJRI߭LߓXSčOD

(߭LߓXSčODYDGKD). Compare with the following lines from the Russian poet
9ODGLPLU0D\DNRYVN\·V ² SRHP´$WWKH7RSRI0\9RLFHµ
My verse
has brought me
no roubles to spare:
no craftsmen have made
mahogany chairs for my house.
<HYJHQ\<HYWXVKHQNRFRPS7ZHQWLHWK&HQWXU\5XVVLDQ3RHWU\6LOYHU
DQG6WHHO$Q$QWKRORJ\, ed. Albert C. Todd and Max Hayward
>1HZ<RUN'RXEOHGD\@
SCENT
)RU´ϮQJHUQDLOPDUNVµVHHQRWH SS² RQ´7KDW·V+RZ,6DZ+HUµ

2: For “the lip she has bitten,” see note (p. 102) on “A Taste of Ambrosia.”
7KHKXVEDQGUHWXUQVKRPHDWGDZQWRKLVZLIHEHDULQJWKHPDUNVRI
KLVLQϮGHOLW\+HKDGSUREDEO\VSHQWWKHQLJKWZLWKDFRXUWHVDQ
6FHQWVDUHNQRZQWRKDYHDVWLPXODWLQJHϸHFWDVWKHIROORZLQJOLQHV
IURPWKH3DVKWRSRHP´/RYHU·V-HDORXV\µE\WKH$IJKDQSRHW0LU]D5DK
FKDQ.D\LO +XVVHLQ,]]DW5DϮϰWKFHQW VKRZ
2KWKLVVFHQWϰRDWLQJIURP\RXUQHFN\RXUEUHDVWV\RXUDUPV
7KDWFLUFOHVDERXW\RXUWKLJKVDQG\RXUOLWWOHEHOO\
This scent that is fed for ever and for ever
)URPWZRVKDG\ϰDVNVXQGHU\RXUEULJKWDUPV
I carry the scent of your body about with me.
(Edward Powys Mathers, &RORXUHG6WDUV9HUVLRQVRI)LIW\$VLDWLF/RYH3RHPV
>2[IRUG%ODFNZHOO@
೉ቨኂዧᅵዘ
%RG\RGRUZDVQRWVRPHWKLQJWREHIURZQHGXSRQLWZDVUHFRJQL]HG
as a powerful aphrodisiac. Napoléon (1769–1821) is said to have famously
ZULWWHQWRKLVZLIH-RVpSKLQHIURP(J\SW´'RQ·WZDVK,DPFRPLQJµ Ne
WHODYHSDVM·DUULYH).
DON’T GO
0RULNčZDVDZRPDQSRHW1RWKLQJHOVHLVNQRZQRIKHU
HIDDEN FINGERNAIL MARKS
1RWKLQJLVNQRZQRI0XUčUL WKFHQW
²:RPHQPDGHWKHPVHOYHVDWWUDFWLYHE\SDLQWLQJϮJXUHVRQWKHLU
faces and breasts with sandalwood paste or other fragrant substances.
&RPSDUHZLWK.čOLGčVD·V7KH2ULJLQRIWKH<RXQJ*RG (.XPčUDVDؐEKDYD, 8.10).
HER FACE
5čMDߓHNKDUD WK²WK FHQW ZDV D SUROLϮF SRHW DW WKH FRXUW RI .LQJ
0DKHQGUDSčOD RI .čQ\DNXEMD +H LV WKH DXWKRU RI $ 6WXG\ RI 3RHWU\
(.čY\DPҸPčؐVč).
WHAT THE YOUNG WIFE SAID

TO THE TRAVELER
5XGUDࠃD WKFHQW ZURWHRQHRIWKHHDUOLHVWZRUNVRQSRHWLFV2UQDPHQW

in Poetry (.čY\čOD‫ع‬NčUD). For a note on “traveler” poems, see the introduc
tion, pp. xxxi–xxxiii.
ቨኂዧᅵዘ೉
GIRL DRAWING WATER FROM A WELL
߭DUD‫ؾ‬D WKFHQW ZDVDSRHWDWWKHFRXUWRI.LQJ/DNߙPD‫ؾ‬DVHQč U²

1205) of Bengal.
,WZDVQRWXQXVXDOIRUDQRXWFDVWHZRPDQOLNHWKHJLUOKHUHWRQRW
cover her breasts with a bodice. One end of the cloth was wrapped over
WKHVKRXOGHUDQGRIWHQWXFNHGLQDWWKHZDLVW
THE EMPTY ROAD
1RWKLQJLVNQRZQRI6LGGKRND7KLVLVKLVRQO\SRHPWKDWKDVVXUYLYHG
The poem employs the motif of a woman whose husband is gone abroad
or on a journey (SURߙLWDEKDUW‫ޢ‬Nč), one of the eight heroines of erotic poetry.
7KHFULWLF9LߓYDQčWKD WKFHQW GHϮQHVKHUWKXV 96'
7KHZRPDQZKRVXϸHUVWKHSDQJVRIORYH
because her lord is away in a distant land
to further his many business interests,
LVNQRZQDVWKH´RQHZKRVHKXVEDQGLVDEURDGµ
THEN AND NOW
߭ҸOčEKDࠃࠃčULNč ZDV D ZRPDQ SRHW ZKR ZDV OLNH 9LG\č SUREDEO\ IURP
southern India.
3: The Vindhya mountains are a range in central India dividing the
north from the south. For a reading of the poem, see the introduction,
pp. xxxiv–xxxvi.
DRIVEN BY PASSION
1RWKLQJLVNQRZQRI6RQQRND
೉ቨኂዧᅵዘ
THE SMART GIRL
߭UҸKDUߙD WKFHQW QRWWREHFRQIXVHGZLWK.LQJ+DUߙD U² WKH

author of the play 5DWQčYDOҸ $URZRIMHZHOV OLYHGLQ.čQ\DNXEMD2QHORQJ
poem, 7KH6WRU\RI1DOD.LQJRI1LߙDGKD (1DLߙDGKDFDULWD), is attributed to him.
“The Smart Girl” is similar to “She Doesn’t Let Go of Her Pride” (p. 33).
SEA OF SHAME
9DOOD‫ؾ‬D ϰ² ZDVDSRHWIURP%HQJDOQRWKLQJHOVHLVNQRZQRI

KLP+LVSRHPLVHFKRHGE\WKH0DLWKLOSRHW9LG\čSDWL WK²WKFHQW
in the following lines of his poem “With the last of my garments”:
With the last of my garments

VKDPHGURSSHGIURPPHϰXWWHUHG
to earth and lay discarded at my feet.
My lover’s body became
the only covering I needed.
(GZDUG&'LPRFN-UDQG'HQLVH/HYHUWRYWUDQV,Q3UDLVHRI.ULVKQD6RQJV
IURP¬WKH¬%HQJDOL [Garden City, N.Y.: Doubleday, 1967], 27).
6: “God of love” is the translation of PDQDVLMRGHYDє OLWHUDOO\´WKHPLQG

ERUQJRGµ RQHRIWKHHSLWKHWVRI.čPD߭LYDEXUQHG.čPDWRDVKHVZKHQ
WKHODWWHUGLVWXUEHGKLVPHGLWDWLRQ+HODWHUEURXJKWKLPEDFNWROLIHZKHQ
KHGLVFRYHUHGWKDWWKHZRUOGZDVG\LQJ,QLFRQRJUDSK\.čPDLVUHSUH
VHQWHGDVD\RXQJPDQZLWKDERZDQGDUURZVWLSSHGZLWKϰRZHUVDQGULGLQJ
on a parrot.
ON THE GRASS
Two travelers, a man and a woman, run into each other on the way. The
woman is resting by a pond. Seeing her alone, the man comes on to her.
ቨኂዧᅵዘ೉
THE ESSENCE OF POETRY
$QDQRQ\PRXV7HOXJXSRHP´1RW(QWLUHO\+LGGHQµHFKRHV9DOOD‫ؾ‬D·VSRHP
%RWKSRHPVRϸHUDGHϮQLWLRQRISRHWU\LQWHUPVRIZKDWLVKDOIXQVHHQ
DQGWKHUHIRUHDOOWKHPRUHVHGXFWLYH³DZRPDQ·V´KDOIXQFRYHUHGEUHDVWVµ
Not entirely hidden,

OLNHWKHHQRUPRXVEUHDVWVRIWKRVH*XMDUDWLZRPHQ
and not open to view,
OLNHD7DPLOZRPDQ·VEUHDVWV
but rather,
OLNHWKHVXSSOHKDOIXQFRYHUHGEUHDVWV
of a Telugu girl,
neither concealed nor exposed:
that’s how a poem should be composed.

Anything else
LVDMRNH
(Velcheru Narayana Rao and David Shulman, trans., $3RHPDWWKH
5LJKW0RPHQW5HPHPEHUHG9HUVHVIURP3UHPRGHUQ6RXWK,QGLD
>%HUNHOH\8QLYHUVLW\RI&DOLIRUQLD3UHVV@
PORING OVER A BOOK
1RWKLQJLVNQRZQRI9DUčKD&RPSDUHZLWKWKH&KLQHVHSRHW%DL-X\L·V
(772–846) poem “Old Age,” especially the following lines:
7KHGXOOH\HLVFORVHGHUHQLJKWFRPHV
The idle head, still uncombed at noon.
3URSSHGRQDVWDϸVRPHWLPHVDZDONDEURDG
Or all day sitting with closed doors.
2QHGDUHVQRWORRNLQWKHPLUURU·VSROLVKHGIDFH
2QHFDQQRWUHDGVPDOOOHWWHUERRNV
(Arthur Waley, 7UDQVODWLRQVIURPWKH&KLQHVH>1HZ<RUN.QRSI@
೉ቨኂዧᅵዘ
HOLLOW PLEASURES
9LG\č9LMMčRU9LMMDNč ϰWK²WKFHQW ZDVDZRPDQSRHW1RWKLQJHOVH

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9HUVHV (6ࡃNWLPXNWčYDOҸ, 13th cent.) by her suggests:
1RWNQRZLQJPH9LMMDNč
GDUNDVWKHSHWDORIWKHEOXHORWXV
LWLVTXLWHIRROLVKRI'D‫˂ؾ‬LQWRVD\
the Goddess of Poetry is white.
9LG\čFODLPHGWREHWKHJRGGHVVRISRHWU\6DUDVYDWҸLQFDUQDWHDFODLP
HQGRUVHGE\WKHSRHW5čMDߓHNKDUDZKRSUDLVHGKHUDVWKH´.DQQDGDJRG
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('DߓDNXPčUDFDULWD DQG IRU DQ LQϰXHQWLDO ZRUN RQ SRHWLFV 7KH 0LUURU
RI¬3RHWU\ (.čY\čGDUߓD 9LG\čZDVDQH[FHSWLRQDOZRPDQZKRSUREDEO\
enjoyed royal patronage.
COMPLAINT
For a reading of the poem, see the introduction, pp. xxiv–xxvi.
THE RIVERBANK
7KHZRPDQDQWLFLSDWHVWKHPDUNVRIKHUORYHU·VϮQJHUQDLOVRQKHUEUHDVWV
as she sets out to meet him under the pretext of fetching water from the
river for her husband. A wife is expected to be faithful to her husband.
The poem subverts that expectation. The poet resorts to innuendo
(Y\DxMDQč WRUHIHUWRWKHZLIH·VLQϮGHOLW\6KHGRHVQRWVSHOOLWRXWVLQFH
LW ZRXOG RϸHQG VRFLDO FRQYHQWLRQV 7KH LPDJH RI WKH ÚHHGVZKRVH
ቨኂዧᅵዘ೉
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ORYHU·VϮQJHUQDLOPDUNVRQKHUEUHDVWV)RUϮQJHUQDLOPDUNVVHHQRWH
(pp. 101–102) on “That’s How I Saw Her.”
1: The woman refers to her husband as “the child’s father,” as it was
customary for women to avoid calling their husbands by their names.
5: “Gamboge” is the translation of WDPčOD (;DQWKRFK\PXV SLFWRULRXV
5R[E DEODFNEDUNHGWUHHWKDWJURZVRQULYHUEDQNV
THE BED
9LNDࠃDQLWDPEč WKFHQW ZDVDZRPDQSRHW6KRUWRIGHVFULELQJWKHORYH

PDNLQJ WKH SRHW RϸHUV WHOOLQJ GHWDLOV VXUURXQGLQJ WKH HYHQW WKH NQRW
KROGLQJWKHZRPDQ·VVNLUWJLYHVZD\DQGWKHVNLUWLWVHOIFROODSVHVWRWKH
ϰRRU 7KH WDFWLOH LPDJHV DUH WKHPVHOYHV HURWLF ÉHGµ ŃQRWµ ´VNLUWµ
“hips,” “cords,” “belt,” and “arms.” Orgasm renders the woman speechless,
HUDVLQJWKHPHPRU\RIWKHLUORYHPDNLQJ
For a note on the poet’s name, see the introduction, p. xliii.
A WORD OF ADVICE
7KHH[KRUWDWLRQWR´7KURZFDXWLRQWRWKHZLQGVTXHH]HKHUKDUGZKHQ
the two of you are alone” must be understood in the context of the prohi
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WDERRWKHPDQLVWROGWRHVWDEOLVKSK\VLFDOFRQWDFWZLWKWKHJLUODVWKHϮUVW
step toward possessing her. Though the comparison of a girl to sugarcane
PLJKWDSSHDUVRPHZKDWXQϰDWWHULQJWRGD\LWLVTXLWHVXJJHVWLYHHVSH
FLDOO\ LI ZH NHHS LQ PLQG WKH EHOLHI WKDW WKH JRG RI ORYH .čPD·V ERZ LV
made of sugarcane.
FAR FROM HOME
<RJHߓYDUD ² ZDVDSRHWIURP%HQJDO)RUDQRWHRQ<RJHߓYDUD·V

realistic descriptions of country scenes, see the introduction, pp. xli–xlii.
೉ቨኂዧᅵዘ
7KHNDGDPEDWUHH $QWKRFHSKDOXVFDGDPED ZLWK\HOORZEDOOVKDSHG
IUDJUDQWEORVVRPVϰRZHUVLQWKHPRQVRRQ -XQHWR6HSWHPEHU .DGDPED
ZRRGVDUHDIDYRULWHRIWKHJRG.‫ؾߙޢ‬DDQGWKHJRGGHVV'XUJč
I have chosen the poems translated in this volume from the following
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1. The $PDUXߓDWDND (Amaru’s one hundred poems, 7th cent.) is the

IRUHPRVWDQWKRORJ\RI6DQVNULWHURWLFYHUVH,WLVVDLG´-XVWRQHYHUVH
RI$PDUXHTXDOVRQHKXQGUHGJRRGZRUNVµ7KHZRUGV´RQHKXQ
GUHGµ LQ WKH WLWOH VKRXOG QRW EH WDNHQ OLWHUDOO\ WKH\ RQO\ PHDQ
“many.” In fact, the number of poems varies from 90 to 115 in the
“450 odd manuscripts.” Traditionally attributed to Amaru, the
DQWKRORJ\ LV WKH ZRUN RI VHYHUDO ZULWHUV ,W ZDV ϮUVW SXEOLVKHG
with the .čPDGč commentary of Ravicandra, in 1808 in Calcutta.
%KDUW‫ޢ‬KDUL·V߭DWDNDWUD\čGLVXEKčߙLWDVDؐJUDє (Three hundred poems:
$FROOHFWLRQRIZHOOWXUQHGYHUVHFD FRPSULVHVHSLJUDPVRQ
right conduct, love, and asceticism that are unmatched by any other
SRHWH[FHSW.čOLGčVD(GLWHGE\:LOOLDP&DUH\LWZDVϮUVWSXEOLVKHG
in 1803 in Srirampur, Bengal.
%KčVNDUD ,,·V /ҸOčYDWҸ 7KH EHDXWLIXO WK FHQW LV D FODVVLF ZRUN
RQ¬DULWKPHWLFZULWWHQLQYHUVH(GLWHGDQGWUDQVODWHGLQWR(QJOLVK
E\ +HQU\ 7KRPDV &ROHEURRNH LW ZDV ϮUVW SXEOLVKHG LQ LQ
London.
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RQHRIWKUHHSOD\VRIWKHSRHWWKDWKDYHVXUYLYHG(GLWHGE\5DPD
NULVKQD*RSDO%KDQGDUNDULWZDVϮUVWSXEOLVKHGLQLQ%RPED\
%LOKD‫ؾ‬D·V&DXUDSDxFčߓLNč (Fifty poems of a thief of love, 11th cent.)
LVDSRHWLFVHTXHQFH(GLWHGE\3HWHUYRQ%RKOHQLWZDVϮUVWSXE
lished in 1833 in Berlin.
6. The 6XEKčߙLWDKčUčYDOҸ $JDUODQGRIZHOOWXUQHGYHUVHWKFHQWLQ
06 ZDVFRPSLOHGE\+DULNDYL %KčQXEKDࠃࠃD DSRHWDWWKHFRXUWRI
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-DJDQQčWKD3D‫˂ؾ‬LWDUčMD·V3D‫˂ؾ‬LWDUčMDNčY\DVDؐJUDє (The complete
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6KDUPDLWZDVϮUVWSXEOLVKHGLQLQ+\GHUDEDG$QGKUD3UDGHVK
.ߙHPHQGUD·V$XFLW\DYLFčUDFDUFč (A critical discourse on propriety,
WKFHQW LVDODQGPDUNWH[WLQ6DQVNULWSRHWLFV(GLWHGE\3DQGLW
'XUJDSUDVDGDQG.DVLQDWK3DQGXUDQJ3DUDELWZDVϮUVWSXEOLVKHG
in 1886 in Bombay.
.čOLGčVD·V $EKLMxčQDߓčNXQWDOD ߭DNXQWDOčDQGWKH ULQJRI UHFROOHF
tion, 4th–5th cent.) is one of three plays of the poet that have sur
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in 1820 in Paris.
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is one of three plays of the poet that have survived. Edited by Otto
)UHGULN7XOOEHUJLWZDVϮUVWSXEOLVKHGLQLQ%RQQ7XOOEHUJ·V
HGLWLRQZDVXQVDWLVIDFWRU\,WZDVVXSHUVHGHGE\6KDQNDU33DQGLW·V
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Bombay.
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FRPSULVLQJ K\PQV LV WKH ROGHVW OLWHUDWXUH RI WKH ,QGR
European peoples. Edited by Friedrich Max Müller in six volumes,
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12. The ߀WXVDؐKčUD (The cycle of the seasons, 2nd–5th cent.) is incor
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,W¬ FRPSULVHV SRHPV LQ SUDLVH RI WKH VHDVRQV ,W LV WKH HDUOLHVW
VXUYLYLQJH[DPSOHRIWKHJHQUHNQRZQDVSRHWU\GHVFULELQJWKHVHD
sons (‫ޢ‬WXYDU‫ؾ‬DQDNčY\D (GLWHGE\´VRPHXQNQRZQVFKRODUVFKRODUVµ
XQGHUWKHVXSHUYLVLRQRI6LU:LOOLDP-RQHVLWZDVϮUVWSXEOLVKHGLQ
1792 in Bengali script in Calcutta.
13. The ߭čU‫ع‬JDGKDUDSDGGKDWL ߭čU‫ع‬JDGKDUD·VJXLGHWRSRHWU\WKFHQW
FRPSULVHVSRHPV$ERXWSRHWVDUHQDPHGWKHUHVWDUH
DQRQ\PRXV(GLWHGE\3HWHU3HWHUVRQLWZDVϮUVWSXEOLVKHGLQ
in Bombay.
14. The ߭‫عޢ‬JčUDWLODND 7KH PDUN RI ORYH LV LQFRUUHFWO\ DWWULEXWHG WR
.čOLGčVDLWLVWKHZRUNRIDQXQNQRZQSRHW,WFRPSULVHVWKLUW\RQH
೉ቨኂዧᅵዘ
SRHPVRQORYH(GLWHGE\-RKDQQ*LOGHPHLVWHULWZDVϮUVWSXEOLVKHG
in 1841 in Bonn.
15. The 6XEKčߙLWčYDOҸ $VHTXHQFHRIZHOOWXUQHGYHUVHVWKFHQW FRP
piled by Vallabhadeva, comprises 3,527 poems. About 350 poets are
QDPHGWKHUHVWDUHDQRQ\PRXV(GLWHGE\3HWHU3HWHUVRQDQG3DQ
GLW'XUJDSUDVDGLWZDVϮUVWSXEOLVKHGLQLQ%RPED\
16. The 6XEKčߙLWDUDWQDNRߙD $WUHDVXU\RIZHOOWXUQHGYHUVHWKFHQW
FRPSLOHGE\WKH%XGGKLVWDEERW9LG\čNDUDRIWKH-DJDGGčOD0RQ
DVWHU\IRXQGHGE\WKH3čODNLQJ5čPDSčOD U² LQ9DUHQ
dra in what is now Bangladesh, comprises 1,738 poems. About 220
SRHWVDUHQDPHGWKHUHVWDUHDQRQ\PRXV(GLWHGE\'¬'.RVDPEL
DQG 9¬ 9 *RNKDOH LW ZDV ϮUVW SXEOLVKHG LQ LQ &DPEULGJH
Massachusetts.
ቨኂዧᅵዘ೉
SOURCES OF POEMS
ABBREVIATIONS
)RUGHWDLOVFRQFHUQLQJWKHIROORZLQJZRUNVVHHWKHQRWHVWRWKHSRHPV
and the bibliography.
AS $PDUXߓDWDND (Nirnaya Sagara ed.)

ASVR $PDUXߓDWDND 9HPDEKࡃSčOD·VUHFHQVLRQ
%& %LOKD‫ؾ‬D&DXUDSDxFčߓLNč (northern recension)
%/ %KčVNDUD/ҸOčYDWҸ &ROHEURRNH·VWUDQV
%0 %KDYDEKࡃWL0čODWҸPčGKDYD
%6 %KDUW‫ޢ‬KDUL߭DWDNDWUD\čGLVXEKčߙLWDVDؐJUDє
+6 +DULNDYL6XEKčߙLWDKčUčYDOҸ
-3. -DJDQQčWKD3D‫˂ؾ‬LWDUčMD3D‫˂ؾ‬LWDUčMDNčY\DVDؐJUDє
-6 %KDJDGDWWD-DOKD‫ؾ‬D6ࡃNWLPXNWčYDOҸ
.$ .ߙHPHQGUD$XFLW\DYLFčUDFDUFč
.0 .čOLGčVD0čODYLNčJQLPLWUD
.6 .čOLGčVD$EKLMxčQDߓčNXQWDOD
53 5čMDߓHNKDUD6ࡃUL3UDEDQGKDNRߙD
RS ߀WXVDؐKčUD
RV Rig Veda
63 ߭čU‫ع‬JDGKDUD߭čU‫ع‬JDGKDUDSDGGKDWL
ST ߭‫عޢ‬JčUDWLODND
8. 8GEKDࠃD.čY\čODؐNčUDVčUDVDؐJUDє
VS Vallabhadeva, 6XEKčߙLWčYDOҸ
96' 9LߓYDQčWKD6čKLW\DGDUSD‫ؾ‬D
965 9LG\čNDUD6XEKčߙLWDUDWQDNRߙD
7KHDEEUHYLDWLRQVIROORZLQJWKHWLWOHVUHIHUWRWKH6DQVNULWWH[WVDQG
the numbers refer to the poems within each text.
ABHINANDA
That’s How I Saw Her [VSR 589]
AMARU
Who Needs the Gods? [AS 3]
In a Hundred Places [AS 11],
A Taste of Ambrosia [AS 36]
Pincers [AS 74]
The Bride [AS 90]
ANON
Lovers’ Quarrel [AS 23]
The Pledge [AS 43]
A Lover’s Welcome [AS 45]
Regret [AS 58]
Stonehearted [AS 59]
Feigning Sleep [AS 82]
Remorse [AS 92]
:DONLQJWKH6WUHHWE\+HU+RXVH>$6@
The Sheets [AS 107]
A Woman Wronged [AS 114]
Aubade [RS 5.11]
/LNHWKH:KHHOVRID&KDULRW>59@
The Word [RV 10.71.4]
An Invitation [SP 3918]
The Traveler [ST 12]
The Devoted Wife [VS 1049]
The Kingdom’s Happiness [VS 1476]
೉ዘኂዼወᅐᅵዘኂᆦኹኂᅵበዘ
Hair [VS 1481]
Wild Nights [VS 2151]
7KDQN2ϸHULQJ>96@
At the Cremation Ground [VS 3195]
On a Rainy Day [VSR 261]
When Winter Comes [VSR 312]
-HZHOV>965@
7KH&UHDNLQJ%HG>965@
She Protests Too Much [VSR 587]
She Doesn’t Let Go of Her Pride [VSR 690]
The Ways of Love [VSR 696]
A Lover’s Word [VSR 830]
7KH+DZN>965@
A Needle [VSR 1307]
Time Wasted [VSR 1469]
The Scholar’s Life [VSR 1478]
Foolish Heart [VSR 1503]
Supreme Bliss [VSR 1624]
%Ǵ٫$
In a Corner of the Village Shrine [VSR 1305]
%+$57߀+$5,
Wise Men [BS 88]
Poets’ Excesses [BS 108]
The Love Game [BS 124]
Hips [BS 147]
Fear of Death [BS 153]
Desire Alone [BS 156]
Adoration of Woman [BS 159]
7KH3RHW6SHDNVWRWKH.LQJ>%6@
Contentment [BS 190]
Man’s Life [BS 200]
Old Age [BS 242]
White Flag [BS 323]
ዘኂዼወᅐᅵዘኂᆦኹኂᅵበዘ೉
%+Ǵ6.$5$ ,,
Elementary Arithmetic [BL 54]
%+$9$%+࢜7,
The Critic Scorned [BM 1.6]
%+Ǵ9$.$'(9ԣ
Bitter Harvest [AS 69]
%+2-$
Scrambling Out of the Water [VSR 1160]
%,/+$٫$
%LWH0DUNV>%&@
In Life After Life [BC 22]
All for Love [BC 23]
DEVAGUPTA
Drumbeats [AS 31]
'+$50$.ԣ57,
The Way [VSR 1729]
-$*$11Ǵ7+$ 3$٫ˣ,7$5Ǵ-$
,QGUD·V+HDYHQ>-3.@
-$*+$1$&$3$/Ǵ
Wife [VSR 825]
.Ǵ/,'Ǵ6$
Flight of the Deer [KS 1.7]
Such Innocent Moves [KM 4.15]
Blessed Sleep [VSR 806]
.$5٫273$/$
The Lamp [VSR 570]
.(߭$ࠦ$
The Camel [VSR 512]
.߳(0(1'5$
All Eyes on the Door [KA 35]
.߳,7ԣ߭$
The Red Seal [VSR 758]
.80Ǵ5$'Ǵ6$
Alba [KA 24]
.8ࠦ$/Ǵ
)XUWLYH/RYHPDNLQJ>+6@
0Ǵ*+$
The Art of Poetry [KA 30]
Scent [VSR 627]
MAHODADHI
Stop Being Willful [VSR 654]
025,.Ǵ
Don’t Go [VS 1053]
085Ǵ5,
+LGGHQ)LQJHUQDLO0DUNV>965@
An Actor in a Farce [VSR 1526]
5Ǵ-$3875$ 3$53$ࠦ,
Blow Out the Lamp [VS 2053]
5Ǵ-$߭(.+$5$
Her Face [VSR 797]
58'5$ࠦ$
What the Young Wife Said to the Traveler [VSR 812]
ዘኂዼወᅐᅵዘኂᆦኹኂᅵበዘ೉
߭$5$٫$
Girl Drawing Water from a Well [VSR 1152]
SIDDHOKA
The Empty Road [AS 76]
Then and Now [VSR 815]
SONNOKA
Driven by Passion [VSR 581]
߭5ԣ+$5߳$
The Smart Girl [AS 18]
In Her Direction [AS 99]
9$//$٫$
Sea of Shame [VSR 568]
On the Grass [VSR 822]
The Essence of Poetry [VSR 1705]
9$5Ǵ+$
3RULQJ2YHUD%RRN>965@
9,'<Ǵ
Hollow Pleasures [VS 1175]
Complaint [VSR 574]
7KH5LYHUEDQN>965@
9,.$ࠦ$1,7$0%Ǵ
The Bed [AS 101]
A Word of Advice [VS 1401]
<2*(߭9$5$
Far from Home [VSR 220]
When the Rains Come [VSR 221]
BIBLIOGRAPHY
PRIMARY WORKS
$EKLMxčQDߓčNXQWDODRI.čOLGčVDZLWKWKHFRPPHQWDU\RI5čJKDYD%KDࠃࠃD
Ed. Narayan Ram Acharya. 12th ed. Bombay: Nirnaya Sagara Press, 1958.
$PDUXߓDWDNDZLWKWKH6DQVNULWFRPPHQWDU\WKH5DVLNDVDxMҸYLQҸ of Arjuna
varmadeva. Ed. Pandit Durgaprasad and Kasinath Pandurang Parab.
Bombay: Nirnaya Sagara Press, 1889.
$PDUXߓDWDND ZLWK WKH 6DQVNULW FRPPHQWDU\ WKH ߭‫عޢ‬JčUDGҸSLNč of
9HPDEKࡃSčOD(GDQGWUDQV&KLQWDPDQ5DPFKDQGUD'HYDGKDU
Reprint, New Delhi: Motilal Banarsidass, 1984.
$QD‫ع‬JDUD‫ع‬JDRI.DO\č‫ؾ‬DPDOOD(GLWHGZLWKD+LQGLWUDQVODWLRQDQGFRP
PHQWDU\E\5DP6DJDU7ULSDWKL'HOKL&KDXNKDPED6DQVNULW3UDWLVK
than, 1988.
$XFLW\DYLFčUDFDUFčRI.ߙHPHQGUD(G3DQGLW'KXQGKLUDMD6DVWUL+DULGDV
6DQVNULW6HULHVQR9DUDQDVL&KDXNKDPED6DQVNULW6HULHV2ϲFH
1933.
.čPDVࡃWUDRI9čWV\č\DQDZLWKWKH6DQVNULWFRPPHQWDU\-D\DPD‫ع‬JDOč of
߭UҸ<DߓRGKDUD,QGUDSDGD(GLWHGZLWKWKH+LQGLFRPPHQWDU\-D\D, by
'HYDGDWWD6DVWUL.DVKL6DQVNULW6HULHVQR9DUDQDVL&KDXNKDPED
6DQVNULW6HULHV2ϲFH
.DYLND‫ࠃؾ‬čEKDUD‫ؾ‬D RI .ߙHPHQGUD (G 3DQGLW 'KXQGKLUDMD 6DVWUL 9ROV
DQG%DQDUDV&KDXNKDPED6DQVNULW6HULHV2ϲFH
.čY\čODؐNčUDVčUDVDؐJUDє RI 8GEKDࠃD (GLWHG ZLWK WKH FRPPHQWDU\ WKH
/DJKXY‫ޢ‬WWLRI,QGXUčMDE\1DUD\DQD'DVR%DQKDWWL%RPED\6DQVNULWDQG
3UčNULW6HULHVQRQGHG3RRQD%KDQGDUNDU2ULHQWDO5HVHDUFK
Institute, 1982.
.čY\DPҸPčؐVDRI5čMDߓHNKDUD(G.65DPDVZDP\6DVWUL6LURPDQL*DH
NZDG·V2ULHQWDO6HULHVQRUGHG5HSULQW%DURGD2ULHQWDO
Institute, Maharaja Sayajirao University of Baroda, 1934.
/ҸOčYDWҸRI%KčVNDUD,, $OJHEUDZLWK$ULWKPHWLFDQG0HQVXUDWLRQIURPWKH
6DQVNULWRI%UDKPDJXSWDDQG%KčVNDUD). Ed. and trans. Henry Thomas
&ROHEURRNH/RQGRQ0XUUD\
/RYH6RQJRIWKH'DUN/RUG-D\DGHYD·V´*ҸWDJRYLQGDµ Ed. and trans. Barbara
6WROHU0LOOHU1HZ<RUN&ROXPELD8QLYHUVLW\3UHVV
0čODWҸPčGKDYDRI%KDYDEKࡃWL(G0LFKDHO&RXOVRQ5HYLVHGE\5RGHULFN
Sinclair. New Delhi: Oxford University Press, 1989.
0čODYLNčJQLPLWUDRI.čOLGčVDZLWK.čࠃD\DYHPD·VFRPPHQWDU\(G1DUD\DQ
Ram Acharya. 9th ed. Bombay: Nirnaya Sagara Press, 1950.
0‫ޢ‬FFKDNDࠃLNDRI߭ࡃGUDND(GLWHGZLWKWKHFRPPHQWDU\RI3‫ޢ‬WKYҸGKDUDE\
.DVLQDWK3DQGXUDQJ3DUDE5HYLVHGE\9DVXGHY/DNVPDQ6DVWUL3DQVL
NDUWKHG%RPED\1LUQD\D6DJDUD3UHVV
3D‫˂ؾ‬LWDUčMDNčY\DVDؐJUDє (G $U\HQGUD 6KDUPD +\GHUDEDG 6DQVNULW
Academy, 1958.
3KDQWDVLHVRID/RYH7KLHI7KH&DXUDSDxFčߓLNč$WWULEXWHGWR%LOKD‫ؾ‬D. Ed. and
WUDQV %DUEDUD 6WROHU 0LOOHU 1HZ <RUN &ROXPELD 8QLYHUVLW\ 3UHVV
1971.
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9LMD\D6LQJKL-DLQ6HULHVQR6DQWLQLNHWDQ:HVW%HQJDO$GKLVWKDWD
6LQJKL-DLQD-QDQDSLWKD
5LJ9HGD$0HWULFDOO\5HVWRUHG7H[WZLWKDQ,QWURGXFWLRQDQG1RWHV. Ed. Bar
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&DPEULGJH0DVV'HSDUWPHQWRI6DQVNULWDQG,QGLDQ6WXGLHV+DUYDUG
University, 1994.
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೉ᄽᇹᄽቈᇹኂᇀወ႐ኹᇖጺ
6čKLW\DGDUSD‫ؾ‬DRI߭UҸ9LߓYDQčWKD.DYLUčMD(GLWHGZLWKDFRPPHQWDU\E\
3DQGLW6UL.ULVKQD0RKDQ7KDNXU.DVKL6DQVNULW6HULHVUGHG
9DUDQDVL&KDXNKDPED6DQVNULW6HULHV2ϲFH
߭čU‫ع‬JDGKDUDSDGGKDWL 9ROXPH 7KH 7H[W. Ed. Peter Peterson. Bombay
6DQVNULW6HULHVQR%RPED\*RYHUQPHQW&HQWUDO%RRN'HSRW
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6XEKčߙLWDKčUčYDOҸ>06@&RPSLOHGE\+DULNDYL&LWHGLQ7KH&RQWULEXWLRQRI
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VNULW DQG 3UčNULW 6HULHV QR QG HG 3RRQD %KDQGDUNDU 2ULHQWDO
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6ࡃNWLPXNWčYDOҸ&RPSLOHGE\%KDJDGDWWD-DOKD‫ؾ‬D(G(PEDU.ULVKQDPDFK
DU\D *DHNZDG·V 2ULHQWDO 6HULHV QR %DURGD 2ULHQWDO ,QVWLWXWH
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,QJDOOV'DQLHO+¬+WUDQV$Q$QWKRORJ\RI6DQVNULW&RXUW3RHWU\9LG\čNDUD·V
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VLW\3UHVV-RKQDQG-HQQLIHU&OD\)RXQGDWLRQ
ᄽᇹᄽቈᇹኂᇀወ႐ኹᇖጺ೉
0HUZLQ:¬6DQG-0RXVVDLHϸ0DVVRQWUDQV6DQVNULW/RYH3RHWU\. New
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Miller, Barbara Stoler, trans. 7KH +HUPLW DQG WKH /RYH7KLHI 6DQVNULW
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&KHXQJ0DUWKD3¬<HG$Q$QWKRORJ\RI&KLQHVH'LVFRXUVHRQ7UDQVODWLRQ9RO
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——. 7KH/DQJXDJHRIWKH*RGVLQWKH:RUOGRI0HQ6DQVNULW&XOWXUHDQG3RZHU
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7KHUDDQG7KHUҸ*čWKč6WDQ]DV$VFULEHGWR(OGHUVRIWKH%XGGKLVW2UGHURI
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CREDITS
´೓¶7KH:DLVWEDQGRI+HUPLRQH·E\$VNOHSLDGHVRI6DPRVµIURP*UHHN/\ULF
3RHWU\$1HZ7UDQVODWLRQ translated by Sherod Santos. Copyright © 2005
E\6KHURG6DQWRV5HSULQWHGE\SHUPLVVLRQRI:¬:1RUWRQ &RPSDQ\
Inc.
´೓¶7KH-HZHO6WDLUV·*ULHYDQFH·E\/L3RµE\(]UD3RXQGIURPTranslations.
Copyright © 1963 by Ezra Pound. Reprinted by permission of New
Directions Publishing Corp.
´೓¶'RULV·E\'LRVFRULGHVRI$OH[DQGULDµWUDQVODWHGE\$P\5LFKOLQIURP7KH
*DUGHQRI3ULDSXV6H[XDOLW\DQG$JJUHVVLRQLQ5RPDQ+XPRU (New Haven,
Conn.: Yale University Press, 1983). Copyright © 1983 by Amy Richlin.
Reprinted by permission of the author.
´೓¶7KH8QIDLWKIXO:LIH·E\3KLORGHPXVRI*DGDUDµIURP3RHPVIURPWKH*UHHN
$QWKRORJ\, translated by Kenneth Rexroth. Copyright © 1962 by Ken
neth Rexroth. Reprinted by permission of the University of Michigan
Press.
´೓¶7R+LV0LVWUHVV·E\$VNOHSLDGHVRI6DPRVµE\'XGOH$LWWVWUDQVODWHG
by Dudley Fitts, from 3RHPVIURPWKH*UHHN$QWKRORJ\. Copyright © 1956
by New Directions Publishing Corp. Reprinted by permission of New
Directions Publishing Corp.
´೓¶7U\VW· E\ 'XYYXUL 5DPLUHGG\µ IURP +LELVFXV RQ WKH /DNH 7ZHQWLHWK
&HQWXU\ 7HOXJX 3RHWU\ IURP ,QGLD translated by Velcheru Narayana
Rao. Copyright © 2003 by the Regents of the University of Wisconsin
System. Reprinted by permission of the University of Wisconsin Press.
“Not Entirely Hidden,” from $3RHPDWWKH5LJKW0RPHQW5HPHPEHUHG9HUVHV
IURP3UHPRGHUQ6RXWK,QGLD, translated by Velcheru Narayana Rao and
David Shulman. Copyright © 1998 by the Regents of the University of
California. Reprinted by permission of the University of California
Press.
೉ᅐወᅵᅡᇹዧዘ
INDEX OF TITLES AND
),567¬/,1(6
Titles are listed in italicW\SHDQGϮUVWOLQHVLQURPDQ
A cheerless wife, relatives struck by A Taste of Ambrosia

PLVIRUWXQH At dusk, the traveler huddles near a
$FRROEUHH]HEORZVDIWHUWKHKHDY\ ERQϮUH
GRZQSRXU $WϮUVWVKHSOHDGVZLWKPH
Adoration of Woman At the Cremation Ground, 27
$KXQGUHGWLPHV,·YHWROG\RX $WWLPHVKHRSHQVKLVH\HV
gently, 78 ZLGH
Alba, 73 Aubade, 17
All Eyes on the Door, 71 $ZRPDQ·VQHFNODFHRISHDUOVEURNH
All for Love, 61 ZKLOHPDNLQJORYH
A Lover’s Welcome A Woman Wronged, 16
A Lover’s Word, 35 A Word of Advice
An Actor in a Farce
A Needle, 37 %HWZHHQKLPDQGWKHZRPDQKH
An Invitation ORYHV
$SRRUPDQKXUULHVWRWKHFUHPDWLRQ Bite Marks
JURXQG Bitter Harvest, 57
$VKHDSSURDFKHGWKHEHGWKHNQRW Blessed Sleep, 68
JDYHZD\RQLWVRZQ %ORWRXWWKHGDUNQLJKWZLWKEUXVKHV
$VVKHOLIWVKHUVOHQGHUDUPWRSXOORQ heavy with ink, 82
WKHURSH Blow Out the Lamp, 81
&RPHQRZXQZLQG\RXUVHOI Her Face, 82
Complaint +H·VEURNHQWKHSOHGJHEDQLVKHG
Contentment, 51 PH
Hidden Fingernail Marks
Desire Alone Hips
'LGJUDPPDUHYHUIHHGWKHKXQJU\ Hollow Pleasures
Don’t Go, 78 +RZIRUWXQDWH\RXDUHP\IULHQGV
Driven by Passion, 87 +RZRXUERGLHVZHUHDVRQHEHIRUH
Drumbeats, 62 57
+XUULHGO\VKHWKUHZP\VLONFORWK
Elementary Arithmetic, 55 RYHUKHUORLQV
Far from Home ,<DPҸDPRYHUFRPHE\ORYHIRU

Fear of Death <DPD
)HHEOHRIYRLFHDQGERG\ ,I,FRXOGJHWKHUWRVOHHSZLWKPHMXVW
Feigning Sleep, 12 RQFH
Flight of the Deer, 66 ,I,FRXOGVWLOOVHHKHUDWGD\·VHQG
)RRO:K\GLGQ·W,FDUHVVP\ORUG·V ,IMXVWORRNLQJDWWKHZRPDQLVQRW
QHFN HQRXJK
Foolish Heart In a Corner of the Village Shrine
)RUWXQDWHLVWKHORYHUZKRKHOSVKLV In a Hundred Places, 3
PLVWUHVV Indra’s Heaven
)RUWXQDWHLVWKHPDQZKRVHZRPDQ In Her Direction
87 In Life After Life
Furtive Lovemaking ,QWKHPRUQLQJZKHQIULHQGVSUHVV
KHU
´*LUO\RXEHWKHORYHU,·OOEHWKH ,QWKLVVKDOORZϮFNOHZRUOG
ORYHGRQHµ ,VWLOOUHPHPEHUKHUFR\VLGHORQJ
Girl Drawing Water from a Well ORRNV
,VWLOOUHPHPEHUKHUH\HV
Hair ,WZRXOGEHXQOXFN\LI,VD\´'RQ·W
+DYLQJWKURZQ\RXUVKDZORQWKH JRµ
JUDVV ,ZHDUQREUDFHOHW
+HFDQ·WVWDQGZHOOZDWHUWKHFKLOG·V
IDWKHU Jewels
+HLVEDFNIURPKLVWUDYHOVLQWKH -XVWDJOLPSVHRIKHUEORZVKLVPLQG
HQGOHVVGHVHUW DZD\
೉ᇹቨᅡᅵጳኂᆦዧᇹዧቈᅵዘ႐ቨᅡ¬ᆦᇹወዘዧ¬ቈᇹቨᅵዘ
-XVWDVVKHEORVVRPVLQWRDFKDUPLQJ Pincers, 5
ZRPDQ Poets’ Excesses
Poring Over a Book
Like the Wheels of a Chariot, 18
Lovers’ Quarrel, 7 Regret
Remorse, 13
Man’s Life, 52
0DQ·VOLIHVSDQLVDKXQGUHG\HDUV Scent, 76
0LVHUDEOHDQGXQZLOOLQJWRWDON Scrambling Out of the Water, 58
0\DJHGPRWKHUVOHHSVKHUHDQGRYHU Sea of Shame
there, 83 Seeing that she was unattended in
0\IDFHLVHWFKHGLQVRUURZ WKHEHGURRP
0\IDFHLVOLQHGZLWKZULQNOHV She Doesn’t Let Go of Her Pride, 33
0\KXVEDQG·VDZD\RQEXVLQHVV 6KHKXQJDEURDGIHVWRRQDERYHWKH
0\KXVEDQGLVWKHVDPHPDQZKR GRRU
VWROHP\YLUJLQLW\ She Protests Too Much, 32
6KHVKDNHVRϸWKHIUHVKGURSVRI
1RP\KXVEDQGLVQ·WVWXSLG water, 58
1RVKHGLGQ·WVODPWKHGRRULQKLV She turns aside his eyes, 33
face, 16 She was startled when he bit her
1RRQHZDONVDKHDGQRRQHIROORZV ORZHUOLS
behind, 63 6LOO\JLUO\RXJRWRPHHW\RXU
1RWKLQJFRPSDUHVHYHQUHPRWHO\ ORYHU
1RWKLQJWXUQVRQDKRWDVVHGZRPDQ 6PXGJHGKHUHZLWKEHWHOMXLFH
PRUH burnished there, 15
Stonehearted, 11
Old Age, 53 Stop Being Willful, 77
On a Rainy Day, 28 6WRSIUHWWLQJDERXWWKHJLUOEHLQJ
2QFHKHKDGSHHOHGP\FORWKHVRϸ \RXQJDQGIUDJLOH
2QFHKHUORYHUGHSDUWHGWKHEHG Such Innocent Moves, 67
YDQLVKHGIURPWKHKRXVH Supreme Bliss
2QFHXQWLHGP\ZRPDQ·VKDLU 6XUHO\KHUIDFHLVQRWWKHIXOO
WXPEOHVGRZQ PRRQ
2QHZKRORRNVGRHVQRWVHH
WKHZRUG 7DNHSLW\RQPH%OHVVHG6OHHS
2QPHUHO\KHDULQJKLVQDPH 7KDQN2ϸHULQJ, 26
On the Grass That’s How I Saw Her, 1
ᇹቨᅡᅵጳኂᆦዧᇹዧቈᅵዘ႐ቨᅡ¬ᆦᇹወዘዧ¬ቈᇹቨᅵዘ೉
The Art of Poetry, 75 The Scholar’s Life
The Bed The Sheets, 15
´7KHEHGLVURXJKDQGLWFK\ 7KHVN\P\FORWKWKHKROORZRIP\
P\ORYHµ KDQGP\ERZO
The Bride, 6 The Smart Girl, 88
The Camel The Traveler, 21
7KHFORWKDURXQGKHUKLSVVOLSSHG The Way, 63
7KHFUDYLQJIRUSOHDVXUHLVJRQH The Ways of Love
The Creaking Bed, 31 The Word
The Critic Scorned, 56 7KLVPXFK,NQRZ,WUHPEOHGOLNHD
7KHGD\ZDVDOPRVWRYHUGDUNQHVV vine, 25
had fallen, 85 7KRVHOXPSVRIϰHVKKHUEUHDVWV
The Devoted Wife, 22 7KRVHZKRKDYHFRQWHPSWIRUP\
The earth, his bed, 51 ZRUN
The Empty Road, 85 7KRXJK,FRQTXHUWKHZKROH
The Essence of Poetry ZRUOG
7KHHVVHQFHRISRHWU\ 7LPHDQGDJDLQKHORRNVEDFN
7KHIHYHURISDVVLRQVSHQWEXWQLSSOHV Time Wasted, 38
still erect, 17 7RDYRLGVLWWLQJFORVHWRJHWKHU
The Hawk, 36
The Kingdom’s Happiness, 23 Undisturbed a hawk circles freely
The Lamp KLJKDERYH
The Love Game
7KHPRPHQWP\ϮQJHUVWRXFKKHU ´:DLWDPRPHQWOHWJRRIP\
girdle, 67 VNLUWµ
7KHPRPHQW\RXQJZRPHQQRWLFH Walking the Street by Her House
Then and Now, 86 :HOHDYHRXU\RXWKEHKLQGZLWKHDFK
7KHQLJKWLVDOPRVWRYHUORYH passing day, 26
7KHQLJKWZDVIDUJRQH What the Young Wife Said to the
The Pledge, 8 Traveler, 83
The Poet Speaks to the King :KHQ,XQGLGKHUVLONEORXVH
The Red Seal, 72 :KHQP\IDFHWXUQHGWRPHHWKLV
7KHULFKDUHH[FLWHGE\WKHFRPLQJRI When the Rains Come
ZLQWHU :KHQZLOO,VHHKHUJHQHURXVWKLJKV
The Riverbank again, 72
7KHULYHURYHUϰRZLQJLWVEDQNVϮOOV When Winter Comes
P\KHDUWZLWKGHOLJKW White Flag
೉ᇹቨᅡᅵጳኂᆦዧᇹዧቈᅵዘ႐ቨᅡ¬ᆦᇹወዘዧ¬ቈᇹቨᅵዘ
Who Needs the Gods? 2 :RQ·W\RXOLHGRZQIRUDZKLOH
Wife, 65 :RUQGRZQE\KXQJHUWKHFKLOGUHQ
Wild Nights, 25 DUHOLNHFRUSVHV
Wise Men
:LWKDFXUVHWKHZRPDQWKUHZKHU <RXDUHDORUGRIULFKHVZRUGVREH\
ORYHURXW P\FDOO
:LWKDWUHPEOLQJKDQGVKHUHDFKHV <RXFDQKLGHKHUϮQJHUQDLOPDUNV
IRUKHUFORWKHV ZLWK\RXUVKDZO
:LWKKHUWDQJOHGKDLULQGLVDUUD\ <RXUERG\VKULQNVVWHSVIDOWHUWHHWK
:LWKZRUGVRIHORTXHQWZLVGRP IDOORXW
ᇹቨᅡᅵጳኂᆦዧᇹዧቈᅵዘ႐ቨᅡ¬ᆦᇹወዘዧ¬ቈᇹቨᅵዘ೉
INDEX
$XWKRUVDUHOLVWHGLQALL CAPS
$EKLMxčQDߓčNXQWDODRI.čOLGčVD $WL\DPč‫ؽ‬1HࠃXPč‫ؽ‬$xFL[OLY
ABHINANDA[OL²[OLL ´$WWKH7RSRI0\9RLFHµ
DEKLVčULNč, xxix–xxx, xxxiii 0D\DNRYVN\
$FKHURQ[[[YLL $XFLW\DYLFčUDFDUFčRI.ߙHPHQGUD
DOEDLQ6DQVNULWLQ7DPLO ²
$OOࡃU1D‫ؽ‬PXOODL\čU $XYDL\čU[OLY
AMARU²
$PDUXߓDWDND, xx–xxi, xxvi, xxviii %DL-X\L
DPQHVLD[[Y Bailey, Greg, xvi
$QD‫ع‬JDUD‫ع‬JDRI.DO\č‫ؾ‬DPDOOD[YL %Ǵ٫$
$QDQWD.LQJ Basavakalyan, xviii
$‫ع‬JXWWDUD1LNč\D, xl %HQJDO[OL²
DQRQ\PLW\[[YLL[OLL EHWHOOHDYHV
$SKURGLWH[[[YLL %+$57߀+$5,²²RQ
argutatio lecti DVFHWLFLVP[[[YL²[ODQG
$ULVWRSKDQHV $VFOHSLDGHV[[[YLL²[[[YLLLDQG
čUVҸ 'RQQH[[[YLLLRQSDWURQDJH
Artha, xxxii xliii–xliv
ǴU\DEKDࠃD %+Ǵ6.$5$,,
DVFHWLFLVP[[[YL²[O² EKčYD, xxi–xxii
$VFOHSLDGHVRI6DPRV[[LY²[[YLDQG %+$9$%+࢜7,, xlii–xliii, 56, 111
%KDUW‫ޢ‬KDUL[[[YLLDQG9LG\č[[YL %+Ǵ9$.$'(9ԣ, 57, 111
%+2-$.,1*, 58, 111 'LRVFRULGHVRI$OH[DQGULD[[LY[[L[
Bidar, xviii 'RQQH-RKQ[[[YLLL
%,/+$٫$[YLLL² ´'RULVµ 'LRVFRULGHV [[L[
ELWHVHLJKWNLQGVRI 'XUJč
%ODNH:LOOLDP
ERG\RGRUDVDQDSKURGLVLDF ´(OHJ\7R+LV0LVWUHVV*RLQJWR
%ROO\ZRRG[[[ %HGµ 'RQQH [[[YLLL
%UDKPč
%UDKPDJXSWD ϮQJHUQDLOPDUNVHLJKWNLQGVRI
%URXJK-RKQ[YL ¬DVVRXYHQLUV
Buddha, xxvi, xxxix–xl ²¬
´%XW7KDW7LPH+DV3DVVHG1RZµ
$XYDL\čU [OLY JD‫ؾ‬LNč, xxi, xxiv
*KDOLE0LU]D
FD‫˂ؾ‬čOD *ҸWDJRYLQGDRI-D\DGHYD[[L[
&DUQH5RVV'¬6[OY *RNKDOH9LG\DGKDU
&DVDQRYD*LDFRPR[[L[ *RPEULFK5LFKDUG[YL
&DWXOOXV *RYLQGDGčVD[[[LY
&DXUDSDxFčߓLNčRI%LOKD‫ؾ‬D *UHHN$QWKRORJ\7KH[LY[[L[
&HSKDODV&RQVWDQWLQXV[YL
FKXUQLQJWKHRFHDQ P\WK +čOD.LQJ[[[L
&OLIWRQ/XFLOOH +DULKDUDRQSDWURQDJH[OY
´&RFNFURZ7KHµ $OOࡃU +DUߙD.LQJ
1D‫ؽ‬PXOODL\čU [OLY ´KRPDJHWRP\KLSVµ &OLIWRQ
&ROHEURRNH+HQU\7KRPDV +RUDFH
&RRPDUDVZDP\$QDQGD.[OLL +RXVVD1LFROH
FRXUWHVDQV[[L[[LY[[[LYLQ
ancient Greece, xxiv, xxix ´,EXLOWP\KXWµ 7DR4LDQ [OL
,QGUD
'DOLWV LQϮGHOLW\DPDQ·V[[[LLL²[[[LY
'D‫˂ؾ‬LQ9LG\čRQ DZRPDQ·V[[[LLL
Daodejing /DR]L [OL ²
'DߓDNXPčUDFDULWDRI'D‫˂ؾ‬LQ ,QJDOOV'DQLHO+¬+[YL
'(9$*837$, 62, 112–113
'KčUč -$*$11Ǵ7+$3$٫ˣ,7$5Ǵ-$
'+$50$.ԣ57,, 63, 113 DQG/DYD‫ع‬JҸ
dhvani, xxi -$*+$1$&$3$/Ǵ, 65
'L*LDFRPR6DOYDWRUH -DOKD‫ؾ‬D%KDJDGDWWD
೉ᇹቨᅡᅵጳ
Jayadeva, xxix .80Ǵ5$'Ǵ6$, 73, 115
´-HZHO6WDLUV·*ULHYDQFH7KHµ .XPčUDMҸYD[YL²[YLL
3RXQG [[YLL²[[YLLL .XPčUDVDؐEKDYDRI.čOLGčVD
-RVpSKLQH NXVD
.8ࠦ$/Ǵ
NDGDPED
.čGDPEDUҸRI%č‫ؾ‬D /DNߙPD‫ؾ‬DVHQč.LQJ
.DODVD.LQJ² /DYD‫ع‬JҸDQG-DJDQQčWKD3D‫˂ؾ‬LWDUčMD
.Ǵ/,'Ǵ6$, xxxvii–xxxviii, xlii, 113
² /DYD‫ع‬NҸ 7DPLOPRYLHE\<¬95DR
.DO\č‫ؾ‬D %DVDYDNDO\DQ [YLLL 113
.DO\č‫ؾ‬DPDOOD[YL[[LLL /LHQKDUG6LHJIULHGRQSVHXGRQ\PV
NčPD, xvi xliii
.čPDDUURZVRI /ҸOčYDWҸRI%KčVNDUD,,
ERZRI ´/LQHV&RPSRVHGD)HZ0LOHV$ERYH
.čPDVࡃWUDRI9čWV\č\DQD[YL[[LY 7LQWHUQ$EEH\µ :RUGVZRUWK
[[YLLLRQϮQJHUQDLOPDUNV xli–xlii
²RQORYHELWHV ´/RUG:KHUHGRHVDPDQJR":KHUH
RQ¬ZRPDQ·VGHVLUH GRHVKHOLHGRZQ"µ +DULKDUD [OY
.DQFKLSXUDP ORYHVWROHQWZRDVSHFWVRI[[LL
.čQ\DNXEMD .DQQDXM [OL xxiv
ORYHPDNLQJSRVLWLRQVRI[[L[[YLLL
.$5٫273$/$[OLL ´/RYHU·V-HDORXV\µ .D\LO
.DVKPLU[YLLL²
kavi, xviii, xliii 0Ǵ*+$, 75–76, 116
.čY\čGDUߓDRI'D‫˂ؾ‬LQ 0DKHQGUDSDOD.LQJ
.čY\čODؐNčUDRI5XGUDࠃD MAHODADHI, 77
.čY\DPҸPčؐVčRI5čMDߓHNKDUD[YLLL 0DLWKLO
117 0čODWҸPčGKDYDRI%KDYDEKࡃWL
.D\LO0LU]D5DKFKDQ 0čODYLNčJQLPLWUDRI.čOLGčVD
.HLWK$%HUULHGDOH[YLLL²[L[ 0DQGHOVWDP2VLS[OLY
NHO̒V, xxix PčQLQҸ, xxxiii
.(߭$ࠦ$ ManorañjanaRI5DPDNULVKQD'HYD
NRKO[[[LY ´0DUNVRI)LQJHUQDLOV$UHRQ<RXU
.RO\PD6LEHULD[OLY %UHDVW7KHµ *RYLQGDGčVD [[[LY
.‫ؾߙޢ‬D[[L[[[[LY 0D\DNRYVN\9ODGLPLU
.߳(0(1'5$[YLLL² 0HJKDGࡃWDRI.čOLGčVD
.߳,7ԣ߭$, 72, 115 Memoirs, The &DVDQRYD [[L[
ᇹቨᅡᅵጳ೉
0HUZLQ:¬6[YL 3čUYDWҸ
Metamorphoses 2YLG pathetic fallacy, xli
PRNߙD, xxvi SDWKLNDє, xxxi
025,.Ǵ, 78, 117 SDWURQDJH[YLLL²[L[[OLLL²[OY
PRWLIFUHDNLQJEHGϰLFNHULQJ ²
ODPSVWROHQORYH 3KLORGHPXVRI*DGDUD[[[
XQW\LQJWKHNQRWRIDZRPDQ·V ´3RHPµ &DWXOOXV
VNLUW[[Y²[[YLZDONLQJWKH SRHWU\$PHULFDQ%HQJDOL[[[LY
VWUHHWZRPDQRϸHQGHG &KLQHVH[[YLL²[[YLLL[O²[OL
[[[LLLZRPDQZKRVHKXVEDQGLV GHϮQLWLRQRI[YLL²[YLLL
DEURDG GHYRWLRQDO bhakti [[[LY(QJOLVK
0RXQW/X[O [[[Y[[[YLLL[OL²[OLL²
0‫ޢ‬FFKDNDࠃLNDRI߭ࡃGUDND[[[ )UHQFK*UHHN[[Y²[[YL
muktaka, xx, xxiii [[L[²[[[[[[YLL+HEUHZ[[LL
085Ǵ5, +LQGL,WDOLDQ/DWLQ
´0\KHDUWOHVVORYHU,KHDUµ 1LߙSDࠃD ²0DLWKLO3čOL[[[L[
xxxi 3DVKWR3HUVLDQ3UčNULW
P\WKFKXUQLQJWKHRFHDQ [[[L²[[[LL5XVVLDQ[OLY
7DPLO[OLY7HOXJX²
1DLߙDGKDFDULWDRI߭UҸKDUߙD 8UGX
´1DQQLQDµ 'L*LDFRPR 3RXQG(]UD[[YLL
1DSROpRQ 3UčNULW[L[[[[L²[[[LL
1DUDVLؐKDYDUPDQ,.LQJ 3UDWLߙࠃKčQD[[[L
1LߙSDࠃD[[[L SURߙLWDEKDUW‫ޢ‬Nč, 118
´1RW(QWLUHO\+LGGHQµ $QRQ 3URYHUEV[[LL
´1RWNQRZLQJPH9LMMDNčµ 9LG\č SVHXGRQ\PV[OLLL
121 SXELFKDLU²
3XOҸQGUD DQFLHQWWULEHRIWKH
´2OG$JHµ %DL-X\L 9LQGK\D [OLL
2YLG
5čGKč FRQVRUWRI.‫ؾߙޢ‬D [[L[
Paithan, xxxi xxxiv
3čOL[[[L[[[L[ 5DJKXYDؐߓDRI.čOLGčVD
3čPDUD DQFLHQWWULEHRIWKH UDLQ²
9LQGK\D [OLL 5Ǵ-$߭(.+$5$, xviii, 82, 117
3D‫˂ؾ‬LWUčM-DJDQQčWK (Marathi play by 5DPDNULVKQD'HYD
9LG\DGKDU*RNKDOH 5DPLUHGG\'XYYXUL
3$53$ࠦ,5Ǵ-$3875$, 81 5DR<9
೉ᇹቨᅡᅵጳ
rasa, xxi–xxii 6DUDVYDWҸ
5DVDJD‫ع‬JčGKDUDRI-DJDQQčWKD ߭DWDNDWUD\čGLVXEKčߙLWDVDؐJUDєRI
3D‫˂ؾ‬LWDUčMD %KDUW‫ޢ‬KDUL[[[YL
5DWQčYDOҸRI+DUߙD 6DWWDVčҸRI+čOD[[[L
5čWUL[[[L 6č\D‫ؾ‬D[YLL
5HYč[OLL VFHQWVHURWLFSRVVLELOLWLHVRI[[LL
5LJ9HGD[YLL xxix, 76, 116–117
5RPH ´6FKRODUV7KHµ <HDWV ²
58'5$ࠦ$, 83, 117 Selby, Martha Ann, xvi
6KčK-DKčQ
6čKLW\DGDUSD‫ؾ‬DRI9LߓYDQčWKD[[[ 6KDNHVSHDUH:LOOLDP
118 6KDUPD$U\HQGUDRQ-DJDQQčWKD
VDK‫ޢ‬GD\D, xviii 3D‫˂ؾ‬LWDUčMD·VYHUVHVRQ/DYD‫ع‬JҸ
VDPčVRNWL² 113
VDؐEKRJDߓ‫عޢ‬JčUD, xxii sheets, xix–xxiii
6DPRV[[Y 6,''+2.$, 85, 118
6DQVNULWODQJXDJH[L[DQG(QJOLVK ߭ԣ/Ǵ%+$ࠦࠦǴ5,.Ǵ, xxiv, xxxiv–
[[LLLDQG*UHHN[[[YLLLSRO\VHPLF xxxvi, 86, 116, 118
YRFDEXODU\RI ߭LߓXSčODYDGKDRI0čJKD
6DQVNULWSRHWLFV[L[²[[LLL ߭LYD
6DQVNULWSRHWU\DPQHVLDDVD ´6RQJRID)RUPHU3URVWLWXWHµ
UKHWRULFDOGHYLFHLQ[[Y 9LPDOč [[[L[
DQRQ\PLW\LQ[[LY[[YLL ´6RQQHWµ 6KDNHVSHDUH
[OLL²[OLLLDQG&KLQHVHSRHWU\ 62112.$, 87, 118
[YLL¬[OLDQG(QJOLVKSRHWU\ ߭5ԣ+$5߳$
[[LLL¬[[[Y[[[YLLL[OL²[OLL ߭‫عޢ‬JčUDGҸSLNčRI9HPDEKࡃSčOD[[L
HURWLF¬ORYHLQ[YL[[LYDQG ߭‫عޢ‬JčUDSUDNčߓDRI%KRMD
*UHHN¬SRHWU\[[[[LY²[[YL ߭‫عޢ‬JčUDWLODND, xxxii
[[L[²[[[[[[YLLLPSHUVRQDOLW\ ´6WDOLQ(SLJUDP7KHµ 0DQGHOVWDP
LQ[[[Y[O¬DQG/DWLQSRHWU\ xliv
[[¬QDWXUHLQ¬[O²[OLL¬DQG3čOL ´6WDUµ +RXVVD
SRHWU\[[[L[SHUVRQDOQRWHLQ VWKč\LEKčYD, xxii
[[[LY²[[[YDQG¬3UčNULWSRHWU\ 6XEKčߙLWDUDWQDNRߙDRI9LG\čNDUD
[[[L²[[[LLLSVHXGRQ\PVLQ[OLLL xxiv–xxv, xxix–xxx
SXQLQVWDQ]DSRHPLQ[[ ߭ࡃGUDND.LQJ[[[
xxiii, xxxiii 6ࡃNWLPXNWčYDOҸRI%KDJDGDWWD
6DSSKR[[Y -DOKD‫ؾ‬D
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ᇹቨᅡᅵጳ೉
WDPčOD, 122 9LG\čNDUD[[LY
7DPLO1DGX 9LG\čSDWL
7DR4LDQ 7DR<XDQPLQJ [O 9,.$ࠦ$1,7$0%Ǵ[OLLL²
7KHUҸJčWKč, xxxix 9LNUDPčGLW\D9,7ULEKXYDQDPDOOD
´7R+LV0LVWUHVVµ $VFOHSLDGHV .LQJ[YLLL
xxxvii 9LNUDPč‫ع‬NDGHYDFDULWDRI%LOKD‫ؾ‬D[YLLL
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WKDWLWPD\JURZLQDJHµ *KDOLE 9LQGK\D[OLL
111 YLSDUҸWDUDWD, xxviii
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8MMD\LQҸ 8MMDLQ [OL
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8WWDUDUčPDFDULWDRI%KDYDEKࡃWL RϸHUHGµ $UWKD [[[LL
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9$//$٫$²² :RROI9LUJLQLDRQ$QRQ[[YLL
9$5Ǵ+$ ´:RUGVEORVVRPHGZKHQ<RJHߓYDUD
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9čWV\č\DQD[YL[[L[[YLLL :RUGVZRUWK:LOOLDP[OL
9HPDEKࡃSčOD[[L
YHߓ\č, xxiv, xxxix, xliii <DPD
YLEKčYD, xxi <DPҸ
9,'<Ǵ[[LY²[[YLDQG$VFOHSLDGHV <DߓRYDUPDQ.LQJ
[[YLRQ'D‫˂ؾ‬LQ5čMDߓHNKDUD <HDWV:¬%²
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೉ᇹቨᅡᅵጳ
TRANSLATIONS FROM THE ASIAN CLASSICS
Major Plays of Chikamatsu, tr. Donald Keene 1961
Four Major Plays of Chikamatsu, tr. Donald Keene. Paperback ed. only. 1961;
rev. ed. 1997
Records of the Grand Historian of China, translated from the Shih chi of Ssu-ma
Ch’ien, tr. Burton Watson, 2 vols. 1961
Instructions for Practical Living and Other Neo-Confucian Writings by Wang
Yang-ming, tr. Wing-tsit Chan 1963
Hsün Tzu: Basic Writings, tr. Burton Watson, paperback ed. only. 1963; rev.
ed. 1996
Chuang Tzu: Basic Writings, tr. Burton Watson, paperback ed. only. 1964;
rev. ed. 1996
7KH0DKčEKčUDWD, tr. Chakravarthi V. Narasimhan. Also in paperback ed.
1965; rev. ed. 1997
7KH0DQ\‫گ‬VKࡃ1LSSRQ*DNXMXWVX6KLQN‫گ‬NDLHGLWLRQ
Su Tung-p’o: Selections from a Sung Dynasty Poet, tr. Burton Watson. Also in
paperback ed. 1965
Bhartrihari: Poems, tr. Barbara Stoler Miller. Also in paperback ed. 1967
Basic Writings of Mo Tzu, Hsün Tzu, and Han Fei Tzu, tr. Burton Watson.
$OVR¬LQVHSDUDWHSDSHUEDFNHGV
7KH$ZDNHQLQJRI)DLWK$WWULEXWHGWR$ߓYDJKRVKD, tr. Yoshito S. Hakeda.
$OVR¬LQSDSHUEDFNHG
5HϰHFWLRQVRQ7KLQJVDW+DQG7KH1HR&RQIXFLDQ$QWKRORJ\, comp. Chu Hsi
and Lü Tsu-ch’ien, tr. Wing-tsit Chan 1967
The Platform Sutra of the Sixth Patriarch, tr. Philip B. Yampolsky. Also in
paperback ed. 1967
(VVD\VLQ,GOHQHVV7KH7VXUH]XUHJXVDRI.HQN‫گ‬, tr. Donald Keene. Also in
paperback ed. 1967
7KH3LOORZ%RRNRI6HL6K‫گ‬QDJRQ, tr. Ivan Morris, 2 vols. 1967
Two Plays of Ancient India: The Little Clay Cart and the Minister’s Seal, tr.
-¬$¬%YDQ%XLWHQHQ
The Complete Works of Chuang TzuWU%XUWRQ:DWVRQ
The Romance of the Western Chamber (Hsi Hsiang chi WU6¬,+VLXQJ
$OVR¬LQ¬SDSHUEDFNHG
7KH0DQ\‫گ‬VKࡃ1LSSRQ*DNXMXWVX6KLQN‫گ‬NDLHGLWLRQ3DSHUEDFNHG
RQO\¬
Records of the Historian: Chapters from the Shih chi of Ssu-ma Ch’ien, tr.
Burton Watson. Paperback ed. only. 1969
Cold Mountain: 100 Poems by the T’ang Poet Han-shan, tr. Burton Watson.
Also in paperback ed. 1970
7ZHQW\3OD\VRIWKH1‫گ‬7KHDWUH, ed. Donald Keene. Also in paperback ed.
1970
&KࡃVKLQJXUD7KH7UHDVXU\RI/R\DO5HWDLQHUV, tr. Donald Keene. Also in
paperback ed. 1971; rev. ed. 1997
The Zen Master Hakuin: Selected Writings, tr. Philip B. Yampolsky 1971
Chinese Rhyme-Prose: Poems in the Fu Form from the Han and Six Dynasties
Periods, tr. Burton Watson. Also in paperback ed. 1971
.ࡃNDL0DMRU:RUNV, tr. Yoshito S. Hakeda. Also in paperback ed. 1972
The Old Man Who Does as He Pleases: Selections from the Poetry and Prose of
/X¬<X, tr. Burton Watson 1973
7KH/LRQ·V5RDURI4XHHQ߭UҸPčOč, tr. Alex and Hideko Wayman 1974
Courtier and Commoner in Ancient China: Selections from the History of the
Former Han by Pan Ku, tr. Burton Watson. Also in paperback ed. 1974
Japanese Literature in Chinese, vol. 1: Poetry and Prose in Chinese by Japanese
Writers of the Early Period, tr. Burton Watson 1975
Japanese Literature in Chinese, vol. 2: Poetry and Prose in Chinese by Japanese
Writers of the Later Period, tr. Burton Watson 1976
/RYH6RQJRIWKH'DUN/RUG-D\DGHYD·V*ҸWDJRYLQGD, tr. Barbara Stoler Miller.
Also in paperback ed. Cloth ed. includes critical text of the Sanskrit.
1977; rev. ed. 1997
5\‫گ‬NDQ=HQ0RQN3RHWRI-DSDQ, tr. Burton Watson 1977
Calming the Mind and Discerning the Real: From the Lam rim chen mo of
7VR‫ؾ‬NKDSDWU$OH[:D\PDQ
7KH+HUPLWDQGWKH/RYH7KLHI6DQVNULW3RHPVRI%KDUWULKDULDQG%LOKD‫ؾ‬D, tr.
%DUEDUD6WROHU0LOOHU
The Lute: Kao Ming’s P’i-p’a chi, tr. Jean Mulligan. Also in paperback ed.

$&KURQLFOHRI*RGVDQG6RYHUHLJQV-LQQ‫گ‬6K‫گ‬W‫گ‬NLRI.LWDEDWDNH&KLNDIXVD,
WU¬+¬3DXO9DUOH\
Among the Flowers: The Hua-chien chiWU/RLV)XVHN
Grass Hill: Poems and Prose by the Japanese Monk Gensei, tr. Burton Watson

Doctors, Diviners, and Magicians of Ancient China: Biographies of Fang-shih, tr.
.HQQHWK-'H:RVNLQ$OVRLQSDSHUEDFNHG
7KHDWHURI0HPRU\7KH3OD\VRI.čOLGčVD, ed. Barbara Stoler Miller. Also in
SDSHUEDFNHG
The Columbia Book of Chinese Poetry: From Early Times to the Thirteenth
CenturyHGDQGWU%XUWRQ:DWVRQ$OVRLQSDSHUEDFNHG
Poems of Love and War: From the Eight Anthologies and the Ten Long Poems
RI¬&ODVVLFDO7DPLOWU$¬.5DPDQXMDQ$OVRLQSDSHUEDFNHG
The Bhagavad Gita: Krishna’s Counsel in Time of War, tr. Barbara Stoler
0LOOHU
The Columbia Book of Later Chinese Poetry, ed. and tr. Jonathan Chaves.
$OVR¬LQSDSHUEDFNHG
The Tso Chuan: Selections from China’s Oldest Narrative History, tr. Burton
:DWVRQ
Waiting for the Wind: Thirty-Six Poets of Japan’s Late Medieval Age, tr. Steven
&DUWHU
Selected Writings of Nichiren, ed. Philip B. Yampolsky 1990
6DLJ\‫گ‬3RHPVRID0RXQWDLQ+RPH, tr. Burton Watson 1990
The Book of Lieh Tzu: A Classic of the TaoWU$¬&*UDKDP0RUQLQJVLGHHG
1990
7KH7DOHRIDQ$QNOHW$Q(SLFRI6RXWK,QGLD³7KH&LODSSDWLNčUDPRI,‫ד‬D‫ؾ‬N‫گ‬
$ࠃLND‫ד‬, tr. R. Parthasarathy 1993
Waiting for the Dawn: A Plan for the Prince, tr. with introduction by Wm.
Theodore de Bary 1993
Yoshitsune and the Thousand Cherry Trees: A Masterpiece of the Eighteenth-
Century Japanese Puppet Theater, tr., annotated, and with introduction
by Stanleigh H. Jones Jr. 1993
The Lotus Sutra, tr. Burton Watson. Also in paperback ed. 1993
The Classic of Changes: A New Translation of the I Ching as Interpreted by Wang
Bi, tr. Richard John Lynn 1994
Beyond Spring: Tz’u Poems of the Sung Dynasty, tr. Julie Landau 1994
The Columbia Anthology of Traditional Chinese Literature, ed. Victor H. Mair
1994
Scenes for Mandarins: The Elite Theater of the Ming, tr. Cyril Birch 1995
Letters of Nichiren, ed. Philip B. Yampolsky; tr. Burton Watson et al. 1996
8QIRUJRWWHQ'UHDPV3RHPVE\WKH=HQ0RQN6K‫گ‬WHWVX, tr. Steven D. Carter
1997
The Vimalakirti Sutra, tr. Burton Watson 1997
Japanese and Chinese Poems to Sing: The:DNDQU‫گ‬HLVKࡃWU-7KRPDV
Rimer and Jonathan Chaves 1997
%UHH]H7KURXJK%DPERR.DQVKLRI(PD6DLN‫گ‬WU+LURDNL6DWR
A Tower for the Summer HeatE\/L<XWU3DWULFN+DQDQ
Traditional Japanese Theater: An Anthology of PlaysE\.DUHQ%UD]HOO
The Original Analects: Sayings of Confucius and His Successors (0479–0249),
E\¬(%UXFH%URRNVDQG$7DHNR%URRNV
The Classic of the Way and Virtue: A New Translation of the Tao-te ching of
Laozi as Interpreted by Wang Bi, tr. Richard John Lynn 1999
The Four Hundred Songs of War and Wisdom: An Anthology of Poems from
&ODVVLFDO7DPLO7KH3X‫ޢ‬DQč‫ޢࡃؾ‬X, ed. and tr. George L. Hart and Hank
Heifetz 1999
Original Tao: Inward Training (Nei-yeh) and the Foundations of Taoist
Mysticism, by Harold D. Roth 1999
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at Guodian, by Robert G. Henricks 2000
The Shorter Columbia Anthology of Traditional Chinese Literature, ed. Victor
H. Mair 2000
Mistress and Maid (Jiaohongji), by Meng Chengshun, tr. Cyril Birch 2001
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Early Modern Japanese Literature: An Anthology, 1600–1900, ed. Haruo Shirane
DEULGJHG
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Kalapurnodayamu, tr. Vecheru Narayana Rao and David Shulman 2003
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Zhuangzi: Basic Writings, tr. Burton Watson 2003
7KH$ZDNHQLQJRI)DLWK$WWULEXWHGWR$ߓYDJKRVKD, tr. Yoshito S. Hakeda,
LQWURGXFWLRQE\5\ࡃLFKL$Ep
The Tales of the Heike, tr. Burton Watson, ed. Haruo Shirane 2006
Tales of Moonlight and Rain, by Ueda Akinari, tr. with introduction by
Anthony H. Chambers 2007
Traditional Japanese Literature: An Anthology, Beginnings to 1600, ed. Haruo
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,VVKXWU3HWHU0F0LOODQ
Zeami: Performance NotesWU7RP+DUH
Zongmi on ChanWU-HϸUH\/\OH%URXJKWRQ
Scripture of the Lotus Blossom of the Fine Dharma, rev. ed., tr. Leon Hurvitz,
preface and introduction by Stephen R. Teiser 2009
Mencius, tr. Irene Bloom, ed. with an introduction by Philip J. Ivanhoe
2009
Clouds Thick, Whereabouts Unknown: Poems by Zen Monks of China, Charles
Egan 2010
The Mozi: A Complete Translation, tr. Ian Johnston 2010
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Seth Meyer, and Harold D. Roth, with Michael Puett and Judson
Murray 2010
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with introduction by Haruo Shirane 2011
+DLNX%HIRUH+DLNX)URPWKH5HQJD0DVWHUVWR%DVK‫گ‬, tr. with introduction
by Steven D. Carter 2011
The Columbia Anthology of Chinese Folk and Popular Literature, ed. Victor
+¬0DLUDQG0DUN%HQGHU
7DPLO/RYH3RHWU\7KH)LYH+XQGUHG6KRUW3RHPVRIWKH$L‫ع‬NX‫ޡ‬XQࡃ‫ޡ‬X, tr. and
ed. Martha Ann Selby 2011
The Teachings of Master Wuzhu: Zen and Religion of No-Religion, by Wendi
/¬$GDPHN
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$¬4XHHQ$QGUHZ6HWK0H\HUDQG+DUROG'5RWK
The Dao of the Military: Liu An’s Art of War, tr. Andrew Seth Meyer 2012
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(I Ching) and Related Texts, Edward L. Shaughnessy 2013
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2013
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Heard, by an Edo Samurai, tr. and ed. Mark Teeuwen and Kate Wildman
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Behnke Kinney 2014
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George Kao 2014
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Sugawara no Takasue no Musume, tr. with introduction by Sonja
$UQW]HQDQG,W‫گ‬0RUL\XNL
The Kojiki: An Account of Ancient MattersE\‫ܗ‬QR<DVXPDURWU*XVWDY
Heldt 2014
The Orphan of Zhao and Other Yuan Plays: The Earliest Known Versions,
WU¬DQGLQWURGXFHGE\6WHSKHQ+:HVWDQG:LOW/,GHPD
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ed. and tr. Sarah A. Queen and John S. Major 2016
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R. Parthasarathy - Erotic Poems From The Sanskrit - An Anthology-Columbia University Press (2018)

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R. Parthasarathy - Erotic Poems From The Sanskrit - An Anthology-Columbia University Press (2018)

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EROTIC POEMS FROM THE SANSKRIT

Translations from the Asian Classics

Edited and translated by

Columbia University Press

Printed in the United States of America

THE ROLE OF THE POET

$FFRUGLQJWRWKHFRPPHQWDWRU6č\D‫ؾ‬D WKFHQW VSHHFK YčF LQWKH

:RUNVRQSRHWLFVVXFKDV5čMDߓHNKDUD·V WKFHQW An Inquiry into Poetry

READING A SANSKRIT POEM

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STABLE EMOTIONS MOODS

Chance one day found us alone together

With her tangled hair in disarray,

Stretching out the rose-assed Doris on the bed

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Let the clouds burst into rain or thunder

In the middle of the night

My heartless lover, I hear,

She turns aside his eyes,

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All ties to heaven and earth

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POETS AND THEIR PATRONS

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THAT’S HOW I SAW HER

WHO NEEDS THE GODS?

When my lover, who is dearer to me

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THE CRITIC SCORNED

SCRAMBLING OUT OF THE WATER

FLIGHT OF THE DEER

ALL EYES ON THE DOOR

THE RED SEAL

THE ART OF POETRY

STOP BEING WILLFUL

HIDDEN FINGERNAIL MARKS

BLOW OUT THE LAMP

WHAT THE YOUNG WIFE SAID

GIRL DRAWING WATER FROM A WELL

THE EMPTY ROAD

THEN AND NOW

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THE SMART GIRL

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FAR FROM HOME

THAT’S HOW I SAW HER

Abhinanda (ca. 850–900) was a poet from Bengal.

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And I for my part

WHO NEEDS THE GODS?

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1: The .čPDVࡃWUD (2.4.1–31 and 2.5.1–43) recommends scratching and bit

For a reading of the poem, see the introduction, pp. xxvi–xxvii.

4: Moonstones are believed to ooze drops of water when touched by the

WALKING THE STREET BY HER HOUSE

For a reading of the poem, see the introduction, pp. xix–xxiii.

LIKE THE WHEELS OF A CHARIOT

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1: The .čPDVࡃWUD (2.4.1–31 and 2.5.1–43) recommends scratching and bit

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6: “God of love” is the translation of PDQDVLMRGHYDє OLWHUDOO\´WKHPLQG

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Titles are listed in italicW\SHDQGϮUVWOLQHVLQURPDQ

A cheerless wife, relatives struck by A Taste of Ambrosia

Far from Home ,<DPҸDPRYHUFRPHE\ORYHIRU