Translations of Shakuntala and Other Works | Page 7

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 _Encyclop?dia Britannica_ (1910); and Sylvain L��vi's _Le Th��atre 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