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

Scene 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.

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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,

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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.

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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!"

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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

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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,

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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.

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Scene II

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

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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.

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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

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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.

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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;

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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.

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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.

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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.

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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.

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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

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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.

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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.

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APPENDIX

A Fragment from Act II

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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