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In the Gardens of Vidisha or Malavica and the King
Dramatis Personae
AGNIMITRA, King in Vidisha. VAHATAVA, his Minister. GAUTAMA, the Court jester. HORODUTTA, Master of the Stage to the King. GANADASA, Master of the Stage to the Queen. MAUDGALYA, the King’s Chamberlain.
DHARINIE, Queen in Vidisha. IRAVATIE, a royal princess, wife of Agnimitra. MALAVICA, daughter of the Prince Madhavsena of Vidurbha, disguised as a maid in waiting on the Queen. COWSHIQIE, a female anchorite, sister of Madhavsena’s Minister. VOCOOLAVALICA, maid in waiting on the Queen, friend of Malavica. [COMUDICA, maid in waiting on the Queen, friend of Vocoolavalica.]
Act I
Place. Outside the Hall of Music in the Palace grounds.
INVOCATION The One who is Almighty, He Who showers Upon His worshippers all wealth, all joy, Yet wears Himself a hide, nought richer; — Who With His beloved is one body and yet The first of passionless ascetics stands; Who in His eightfold body bears the world Yet knows not egoism, may He from you Dispel the darkness and reveal the light, The paths of righteousness to reillume. And after the invocation the Manager speaks. MANAGER Here, friend. Enter his Assistant.
ASSISTANT Behold me.
MANAGER Friend, the audience bid me Stage for this high and jovial feast of Spring The drama, Malavica and the King, Plotted by Kalidasa. Therefore begin The overture.
Page – 231 ASSISTANT But, Sir, ’tis very strange. Are there not classics old, are there not works Of Bhasa and Saumilla, famous plays, Great Kaviputra’s name and more to match That thus the audience honours, all these scorned, A living poet’s work?
MANAGER Not well hast thou Spoken in this nor like a judging man. For learn, not all that’s old is therefore good Nor must a poem straightway be condemned Because ’tis new. The critic watches, hears, Weighs patiently, then judges, but the fool Follows opinion’s beaten track and walks By others’ seeing.
ASSISTANT Well, Sir, you are the judge.
MANAGER Haste then, for since with bended head I took The learned audience’ will, I have no ease Till its performance, to which my forward mind Speeds like yon maiden, Dharinie’s attendant, Light-footed to her royal mistress’ will. Exeunt. Enter Vocoolavalica.
VOCOOLAVALICA My lady bids me seek out Ganadasa, Her Master of the Stage, from him to learn How in the Dance of Double Entendre progresses Our Malavica, a recent scholar yet Here in this Hall of Music. Enter Comudica, a ring in the palm of her hand. Comudica,
Page – 232 What, have you taken to religion then That you go sailing past me with an eye Abstracted, nor one glance for me?
COMUDICA What, you, Vocoolavalica? I was absorbed In the delightful jewel on this ring Fresh from the jeweller’s hands for our great lady. Look, ’tis a Python-seal.
VOCOOLAVALICA O heavens, how lovely! Well might you have no eyes for aught besides. Your fingers are all blossoming with the jewel! These rays of light are golden filaments Just breaking out of bud.
COMUDICA Sweet, whither bound?
VOCOOLAVALICA To the Stage-Master. Our lady seeks to know What sort of pupil Malavica proves, How quick to learn.
COMUDICA O tell me, is it true That Malavica by this study kept Far from his eye, was by our lord the King Seen lately?
VOCOOLAVALICA Seen, but in a picture, — close Beside my lady.
Page – 233 COMUDICA How chanced it?
VOCOOLAVALICA I will tell you. My lady in the Painting-School was seated Studying the marvellous colours that enhue The Master’s great design; when suddenly My lord comes on her.
COMUDICA Well, what followed?
VOCOOLAVALICA Greetings; Then sitting down by her he scanned the painting, There saw of all the attendants Malavica Nearest the Queen and asked of her.
COMUDICA Marked you the words?
VOCOOLAVALICA “This face the like of which I not remember, And yet she stands just by you — who is she?”
COMUDICA Beauty’s indeed a magnet to the affections And seizes at first sight. My lady?
VOCOOLAVALICA Made No answer. He in some astonishment Urged her with questions. Then my lady’s sister The princess Vasouluxmy all in wonder Breaks out, “Why, brother, this is Malavica!”
Page – 234 COMUDICA Oh good! How like the child’s sweet innocence! Afterwards?
VOCOOLAVALICA Why, what else? Since then still more Is Malavica from the royal eye Kept close secluded.
COMUDICA Well, I should not stop you Upon your errand. I too will to my lady Carry the ring. Exit.
VOCOOLAVALICA Who comes out from the Hall Of Music? Oh, ’tis Ganadas himself. I will accost him. Enter Ganadasa.
GANADASA Each worker doubtless his own craft exalts Practised by all his sires before him. Yet not A mere vain-glory is the drama’s praise. For drama is to the immortal Gods A sacrifice of beauty visible. The Almighty in his body most divine Where Male and Female meet, disparted it Twixt sweet and terrible. Drama unites In one fair view the whole conflicting world, Pictures man’s every action, his complex Emotions infinite makes harmony; So that each temperament, in its own taste However various, gathers from the stage, Rapt with some pleasing echo of itself, Peculiar pleasure. Thus one self-same art
Page – 235 Meets in their nature’s wants most various minds.
VOCOOLAVALICA (coming forward) Obeisance to the noble Ganadasa.
GANADASA Live long, my child.
VOCOOLAVALICA My lady sent me here To ask how Malavica makes progress. Sir, Does she learn quickly yet?
GANADASA Tell my lady, No swifter brain, no apter delicate taste Has ever studied with me. In one word, Whate’er emotion to the dance translated I show the child, that she improving seems To teach her teacher.
VOCOOLAVALICA (aside) Victory! I foresee Iravatie already conquered. (aloud) Sir, The pupil gains his every aim of study Of whom a Master says so much.
GANADASA Vocoola, Because such genius is most rare, I ask thee, — Whence did my lady bring this matchless wonder?
VOCOOLAVALICA The brother of my lady in a womb Less noble got, who for my lord commands His watchful frontier fortress by the stream Mundaqinie, Verosegn, to his great sister,
Page – 236 For mistresshood and office in the arts Deemed worthy, sent her.
GANADASA (aside) So rare her form and face, Her nature too so modest and so noble, I cannot but conceive that of no mean Material was composed this beauty. (aloud) Child, I shall be famous by her. The Master’s art Into a brilliant mind projected turns To power original, as common rain Dropping into that Ocean-harboured shell Empearls and grows a rareness.
VOCOOLAVALICA Where is she now?
GANADASA Tired with long studying the five parts of gesture Yonder she rests; enjoying the cool breeze Against the window that o’erlooks these waters, There you shall find her.
VOCOOLAVALICA Sir, will you permit me To tell her how much you are pleased with her? Such praise will be a spur indeed.
GANADASA Go, child, Embrace your friend. I too will to my house, Taking the boon of this permitted leisure. Exeunt.
Page – 237
In a room of the Palace the King is seated with the Minister, Vahatava in attendance, Vahatava reading a letter. The attendants at some distance in the background of the stage.
AGNIMITRA Well, Vahatava, what answers the Vidurbhan?
VAHATAVA His own destruction.
AGNIMITRA Let me hear this letter.
VAHATAVA Thus runs his present missive: — In these terms Your Highness writes to me, “Prince Madhavsen, Thy uncle’s son, then journeying to my court For the fulfilment of contracted bonds, Within thy dungeons lies; for by the way The governor of thy frontiers leaped on him And prisoned. Thou, if thou regardest me, Unbind him with his wife and sister straight.” To which I answer thus, “Your Highness knows What conduct kings should use to princes born Their equals. In this quarrel then I look From your great name for just neutrality. Touching his sister, she in the quick scuffle Of capture disappeared, whom to seek out I shall not want in my endeavours. Yet if Your Highness wills indeed to free my cousin, Hear then my only terms. First from your dungeons
Page – 238 The Premier of the Maurya princes loose And brother of my queen: this done, at once Are Madhavsena’s farther bonds excused.”
AGNIMITRA (angrily) How! dares the weakling trade with me in favours? Knows he himself so little? Vahatava, Command towards Vidurbha the division That under Verosegn new-mobilized Stands prompt to arms. I will exterminate This man who rises up my enemy. Vidurbha was my natural foeman first But now grows such in action.
VAHATAVA As the King wills.
AGNIMITRA Nay, Vahatava, but what thinkst thou in this?
VAHATAVA Your Highness speaks by the strict rule of statecraft. Then is a foeman easiest to pluck out When new upon his throne; for then his roots Have not sunk deep into his people’s hearts, And he is like an infant shooting tree Loose in its native earth; soon therefore uprooted.
AGNIMITRA Wise is the Tuntra’s author and his word A gospel; we will seize this plea to set Our war in motion.
VAHATAVA I shall so give order. Exit. The attendants resume their places each in consonance with his office. To them enter Gautama.
Page – 239 GAUTAMA (aside) Now can I tell the King that not in vain He looked to me for counsel, when he said “Gautama, know you not some exquisite cunning, Whereby that face of Malavica by chance At first beheld and in dumb counterfeit With the dear life may bless my vision?” By this I think I have planned somewhat worth the telling.
AGNIMITRA Here comes my premier in another branch Of politics.
GAUTAMA I greet the King.
AGNIMITRA Be seated. Well, Gautama? What, was your wisdom’s eye Busy with plan and purpose, has its roving Caught somewhere any glimpse?
GAUTAMA Ask me, my lord, Of your desire’s accomplishment.
AGNIMITRA So soon!
GAUTAMA I’ll tell you in your ear, sir.
AGNIMITRA Gautama, Most admirable. Thou hast indeed devised The cunningest adroitness. Now I dare To hope for things impossible, since thou
Page – 240 Art of my counsels part. In difficulty How necessary is a helpful friend; For when one is befriended, every hindrance Turns to a nothing. Even so without a lamp The eye beholds not in night’s murky gloom Its usual objects.
VOICE WITHIN Enough, enough, thou braggart. Before the King himself shall be decision Of less and greater twixt us twain.
AGNIMITRA Listen! Here is the flower on your good tree of counsel.
GAUTAMA Nor will the fruit lag far behind. Enter the Chamberlain, Maudgalya.
MAUDGALYA The Premier Sends word, Sire, that Your Highness’ will ere now Is set in motion. Here besides the great Stage-Masters, Horodutt and Ganadasa, Storming with anger, mad with emulation, Themselves like two incarnate passions, seek Your Highness’ audience.
AGNIMITRA Admit them instantly. Exit Maudgalya and re-enter ushering in the Stage-masters.
MAUDGALYA This way, high sirs, most noble, worthy signiors.
Page – 241 GANADASA How quelling-awful in its majesty Is the great brow and aspect of a King. For nowise unfamiliar is this face Of Agnimitra, — no, nor stern, but full Of beauty and kindness; yet with awe I near him. So Ocean in its vast unresting surge Stales never, but each changing second brings New aspects of its grandeur to the eye That lives with waves, even as this kingly brow Each time I see it.
HORODUTTA For ’tis no mortal greatness But God’s own glory in an earthly dwelling. Thus I, admitted by this janitor Of princes, led to the foot of his high throne By one that in his eye and puissance moves, Feel wordlessly forbidden by his glories That force me to avert my dazzled gaze.
MAUDGALYA Here sits my lord; approach him, worthies.
GANADASA AND HORODUTTA Greeting, Our sovereign!
AGNIMITRA O welcome, both! Chairs for these signiors. What brings into the presence at this hour Usual to study both the high Stage-Masters?
GANADASA Sire, hear me. From a great and worshipped Master My art was studied; I have justified My genius in the scenic pomps of dance;
Page – 242 The King and Queen approve me.
AGNIMITRA Surely we know this.
GANADASA Yet being what I am, I have been taxed, Insulted, censured by this Horodutta. "You are not worth the dust upon my shoes"; — Before the greatest subject in the land Thus did he scorn me.
HORODUTTA He first began detraction; Crying to me, “As well, sir, might your worship Compete with me as one particular puddle Equal itself to ocean.” Judge, my lord, Betwixt my art and his as well in science As in the execution. Than Your Highness Where can we find a more discerning critic Or just examiner?
GAUTAMA A good proposal.
GANADASA Most excellent. Attend, my lord, and judge.
AGNIMITRA A moment’s patience, gentlemen. The Queen Might in our verdict tax a partial judgment. Were it not better then she too should watch This trial? The most learned Cowshiqie Shall give her aid too.
GAUTAMA This is well-urged, my lord.
Page – 243 HORODUTTA AND GANADASA Your Highness’ pleasure shall command our patience.
AGNIMITRA Then go, Maudgalya, tell Her Highness all That here has chanced and let her come to us With the holy Mother.
MAUDGALYA Sire, I go. Exit and re-enter with the Queen and Cowshiqie. Approach, My lady, Dharinie.
DHARINIE Tell me, Mother, What think you of this hot and sudden passion Between the two Stage-Masters?
COWSHIQIE Idly, daughter, You fear your side’s defeat, since in no point Is Ganadasa less than his opponent.
DHARINIE ‘Tis so, but the King’s favour weighs him down Wresting pre-eminence to that other.
COWSHIQIE Forget not That you too bear the style of Majesty. Think that you are an Empress. For if fire From the sun’s grace derive his flaming glories, Night too, the imperial darkness, solemnizes The moon with splendour.
Page – 244 GAUTAMA Ware hawk, my lord the King. Look where the Queen comes and with her our own Back-scratcher in Love’s wrestling-match, the learned Dame Cowshiqie.
AGNIMITRA I see her. How fair, how noble My lady shines adorned with holy symbols And Cowshiqie before her anchorite. Religion’s self incarnate so might move When high Philosophy comes leading her Into the hearts of men.
COWSHIQIE Greeting, Your Highness.
AGNIMITRA Mother, I greet thee.
COWSHIQIE Live a hundred years Blessed with two queens alike in sweet submission And mothers of heroic births, the Earth That bears all creatures and the wife who loves thee.
DHARINIE Victory attend my lord.
AGNIMITRA Welcome, my Queen. Pray you, be seated, Mother; in this collision Of two great masters, it is just that you Should take the critic’s chair.
COWSHIQIE Your Highness seeks
Page – 245 To laugh at me; for who is the fond man Would leave the opulent, great metropolis To test his jewels in some petty village?
AGNIMITRA No, no, you are the learned Cowshiqie. Then too the Queen and I are both suspect For partial judges.
GANADASA AND HORODUTTA It is no more than truth. Unbiassed is the learned Mother’s mind; Her censure by defect and merit swayed Leaves no reserves behind.
AGNIMITRA Begin debate then.
COWSHIQIE The soul of drama in performance lies And not for tilting theories is a field. How says my lady?
DHARINIE If I have any voice, I say I quite mislike the whole debate.
GANADASA Her Highness must not dwarf me in her thinkings Misdeeming me inferior to my equal.
GAUTAMA Come, come, my lady, do not let us lose The sport of these great rams butting each other. Why should they draw their salaries for nothing?
Page – 246 DHARINIE You always loved a quarrel.
GAUTAMA Good mouse, no. Rather I am your only peacemaker. When two great elephants go mad with strength And counter, until one of them is beaten, There’s no peace in the forest.
DHARINIE But surely, Mother, You have already seen them in performance, Judged of their action’s each particular And every studied grace of movement.
COWSHIQIE Surely.
DHARINIE What else is’t then of which yet uninstructed You need conviction?
COWSHIQIE This. One man has art, Another science: performance admirable Distinguishes the first, but in himself Is rooted and confined; the other’s skill, Ranging, in swift transmission lightens forth, At home inert or poor. In both who’s perfect, Him at the head we put of art’s instructors.
GAUTAMA Sirs, you have heard the Mother’s argument, The brief and marrow being this, that judgment Goes by some visible proof of your instruction.
Page – 247 HORODUTTA We both consent.
GANADASA Thus then it stands, my lady.
DHARINIE Then if a pupil brainless or inapt Blur in the act the Master’s fine instruction, Reflects the blot upon her teacher?
AGNIMITRA Madam, So still ’tis judged.
GANADASA For who, a block unworthy Accepting, hews from it a masterpiece, Shows the quick marrow of his genius.
DHARINIE (aside) What more? Too much already I give my lord the rein, Feeding his eagerness with my indulgence. (aloud) Desist, desist, this is an idle movement And leads to nothing worth.
GAUTAMA Well said, my lady. Come, Ganadasa, eat in peace your sweetmeats Upon the Muse’s day, a safe renown Enjoying, while you teach our girls the dance. But in this path of rugged emulation To stumble’s easy and disgrace expects you. Caution were good.
Page – 248 GANADASA Indeed my lady’s words Lend themselves to no other fair construction. To all which hear the just and sole reply. That man, styled artist, who, of his mere wage Careful or place established, censure brooks, Most cowardlike withdrawing from debate, To whom the noble gains of learning serve Merely for livelihood, — that man they call A hawker trafficking in glorious art, No artist.
DHARINIE But your pupil, recently Initiate, just begins to learn. Teaching Yet inchoate, art of itself not sure ‘Tis ‘gainst all canons to make public yet.
GANADASA Even therefore is my strong persistence, lady.
DHARINIE If it be so, unto the Mother both Their show of fair instruction make.
COWSHIQIE This were Against all rule; for even with a mind Omniscient in art it were a fault To mount the judge’s seat in camera, Without assessors: the unaided judgment Was ever fallible.
DHARINIE (aside) I am awake, fool, And see, though you would to my waking eyes Persuade me that I am asleep and blind.
Page – 249 She turns in jealous anger her face from the King. Agnimitra, motioning to Cowshiqie, points to the Queen.
COWSHIQIE Though it be moonlike bright, yet turn not thus Thy face of beauty, child, from eyes that love, For a nothing. Even o’er their subject lords Fair women nobly bred use not to wield, Causeless, a tyrant wrath.
GAUTAMA Not causeless, lady. The loyal mind must by whate’er device Save its own party from defeat. You’re lucky, Good Ganadas, — rescued by woman’s wit Under this fair pretence of wrath! I see, Good training always can be bettered, sirs, And tutoring makes perfect.
GANADASA Listen, lady, Thus are we construed! Therefore must I deem Myself cast off, disowned, discharged my place Who, challenged in debate and confident To show the skilful transference of my art, Stand by my lady interdict. (rises from his seat as if to go)
DHARINIE (aside) What help? (aloud) The Master of his school is autocrat, His pupils’ sovereign. I am dumb.
GANADASA In vain Was I so long alarmed then; still I keep
Page – 250 My lady’s favour. But since the Queen, my lord, Has given her sanction, name the scenic plot Whose rendering into studied dance shall prove The teacher masterly.
AGNIMITRA You rule here, Mother.
COWSHIQIE Something still works within my lady’s mind Yet ireful-unappeased. This gives me pause.
DHARINIE Apprehend nothing, speak. Always I am Lady and absolute over mine own household.
AGNIMITRA O’er these and over me too, dearest lady.
DHARINIE Come, Mother, speak.
COWSHIQIE I choose, my lord, the dance They call the Dance of Double Entendre, complete In four brief parts of lyric motion. Both Shall so enact a single argument And the gradations twixt these two shall best Be judged of worse or better point by point.
HORODUTTA AND GANADASA This we approve.
GAUTAMA Let both your factions then Make in the Theatre-Hall good scenic show And when all’s ready, send your messenger
Page – 251 To call us, or better the deep tambour’s bruit Shall draw us from our chairs.
HORODUTTA We shall do so. Ganadasa looks at the Queen.
DHARINIE (to Ganadasa) Go and prevail! Think me not heart-opposed Or careless of my Master’s victory. They are about to go.
COWSHIQIE Stay! More to mark each studious grace of limb, Movement and beauty, let the characters Enter, not by their stage apparel cumbered, But loosely robed as in their natural hours. I speak this in my office as a judge To both of you.
HORODUTTA AND GANADASA We had done this, uncounselled. Exeunt. DHARINIE My lord, my lord, in your affairs of State Could you but show as deft a management, As supple a resource, the realm indeed Would profit!
AGNIMITRA Let not your swift brain conceive Misunderstanding merely; not of mine Is this an acted plot. Ever we see Equal proficiency in one same art Breed jealousies emulous of place and justling Each other’s glory.
Page – 252 The sound of a tambour within.
COWSHIQIE Hark, the overture! To the deep Peacock-passion modulated Twixt high and base, the tambour’s rolling voice Its melody half-thundrous measures out To the exultant mind, that lifts itself To listen. Hark! The peacocks cry, misled, With rain-expectant throats upraised to heaven, Thinking a reboant thunder-cloud’s alarum Is riding on the wind.
AGNIMITRA (to Dharinie) We should be swift To form the audience, madam.
DHARINIE (aside) How has my lord Forgot his breeding!
GAUTAMA (aside) Softly ho! Too quick A gallop and my lady puts the snaffle Of disappointment on.
AGNIMITRA I strive for patience, But the loud tambour thunders haste to me; It seems the passionate feet of my desire As it descends to me with armed tread Sounding gigantic on the stairs of heaven. Exeunt.
Page – 253 APPENDIX
GANADASA My lord, the dance we show, epode and ode, Strophe and antistrophe, in four parts Of middle time compact — Sarmishta made, Yayati's wife in the great olden days — Of which the fourth last act let the Kind Sir Give all his mind to hear.
AGNIMITRA From high respect I owe The great Stage-master I am all attention.
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