by Kalidasa
Now that nations are turning away from the study of the great classical languages to physical and practical science and resorting even to modern languages, if for literature at all then for contemporary literature, it is imperative that the ennobling influences spiritual, romantic and imaginative of the old tongues should be popularised in modern speech; otherwise the modern world, vain of its fancied superiority and limiting itself more and more to its own type of ideas with no opportunity of saving immersions in the past and recreative destructions of the present, will soon petrify and perish in the mould of a rigid realism and materialism. 24
The Dancer and the King
Act I
He stands with sole supremacy
as his suppliants reap rich rewards
and yet he clothes himself in garments made of hide.
His body is united with his beloved
yet he transcends even renouncers
whose minds dwell beyond the senses.
He sustains the entire universe with his eight forms 1
and yet displays no vanity.
May our Lord dispel the cycle of darkness
and give light to the perfect path. 2 //1//
END BENEDICTION.
DIRECTOR (looking towards the dressing room): Come here, sir.
Enter assistant.
ASSISTANT: Yes, sir.
DIRECTOR: Our cultured audience tells me that Malavikagnimitram, a play by Kalidasa, should be performed at the spring festival. Let’s begin production. 3
ASSISTANT: Oh no! How can we disregard the works of widely celebrated poets like Bhasa, Saumilla and Kaviputra, and choose this composition by Kalidasa, a modern poet?
DIRECTOR: You voice a valid concern, 4 my friend, but consider:
Not all old poetry is good,
nor new bad.
The wise search to discern one from the other,
while foolish minds are guided
by the opinions of others. //2//
ASSISTANT: True, sir.
DIRECTOR: Then be quick, sir.
For like these expert players 5
in the service of Queen Dharini,
I wish to fulfil the audience’s request,
accepted earlier with a bow. //3//
Both exit.
END PROLOGUE
BAKULAVALIKA: Queen Dharini commands me to ask the dance teacher Master Ganadasa how Malavika is progressing with the chalikam dance 6 that she’s just started learning. I’ll check the music hall. (She turns around.)
Enter Kaumudika with jewellery in hand.
BAKULAVALIKA (seeing Kaumudika): Kaumudika, my dear, why so serious? You pass so close without even a glance.
KAUMUDIKA: Oh, Bakulavalika, my friend, I deserve that comment. 7 I was absorbed in this sparkling signet ring, engraved with a serpent seal, that I just picked up from the queen’s jeweller.
BAKULAVALIKA (staring): The golden glow from that ring catches the eye, it’s like a flower blooming at your fingertips.
KAUMUDIKA: Where are you going, my friend?
BAKULAVALIKA: By order of the queen I’m going to see the dance teacher Master Ganadasa to learn how Malavika is doing in her lessons.
KAUMUDIKA: She’s kept so far away and busy, my friend. How did the king even see her?
BAKULAVALIKA: Well, he saw her beside the queen, in a picture.
KAUMUDIKA: How?
BAKULAVALIKA: Listen, the queen once went to the art gallery and sat 8 staring at the fresh red paint on the master’s canvas. And then the king arrived.
KAUMUDIKA: Then what?
BAKULAVALIKA: The king greeted the queen and sat down beside her on the couch. And looking at the painting, he noticed a lady seated among the queen’s attendants, and asked . . .
KAUMUDIKA: What did he ask?
BAKULAVALIKA: ‘This mysterious woman beside you, my queen, what’s her name?’
KAUMUDIKA: A fine body is certainly cause for desire! And then what?
BAKULAVALIKA: When the king’s question went unanswered, he grew suspicious and pressed the queen over and over again. And when she didn’t reply, the young princess Vasulakshmi shouted, ‘Brother, she’s Malavika!’
KAUMUDIKA (smiling): Oh the innocence of a child! So tell me what happened next.
BAKULAVALIKA: What else? Malavika was immediately sent away and kept out of the king’s sight.
KAUMUDIKA: You should attend to your work now, my friend, and I must take this ring to the queen. (Exits.)
BAKULAVALIKA (turning and looking out): The dance teacher is leaving the music hall, I’ll go to him now. (Walks around.)
Enter Ganadasa.
GANADASA: Granted, everyone thinks his family’s knowledge 9 is great, but the reverence paid to our dance traditions isn’t false, it’s the truth.
Sages value it as a peaceful,
living 10 ritual to the gods.
Its two distinct parts 11 blend together
like Uma joined in Shiva’s own body.
The ways of the world, rising from the Three Qualities,
are depicted on stage with various emotions.
And though different people are of varying tastes,
dance delights them—one and all. //4//
BAKULAVALIKA (approaching): Greetings, master.
GANADASA: Live long, my lady.
BAKULAVALIKA: Sir, the queen hopes Malavika isn’t causing you too much frustration as she learns her lessons.
GANADASA: My lady, inform the queen that Malavika is most talented, and very smart. What’s more:
Each movement I demonstrate
to express a particular emotion,
the young girl betters in execution
as if she were teaching me. //5//
BAKULAVALIKA (to herself): Sounds like she’s better than Iravati. (Aloud) So your student is quite accomplished. As her guru you must be pleased.
GANADASA: My lady, the dance is quite difficult, it makes one wonder how she was brought to the queen.
BAKULAVALIKA: The queen has a half-brother 12 named Virasena. He’s a commander stationed in a frontier fortress on the banks of the Narmada. He found this girl to have some artistic talent and sent her as a gift to his sister the queen.
GANADASA (to himself): Her distinguished appearance makes me think she’s not of low birth. 13 (Aloud) My lady, she will surely make me famous.
When a teacher’s art is imparted to a worthy student,
its quality changes,
like cloud-water turning to pearl
in an ocean oyster. //6//
BAKULAVALIKA: Really? So where’s your student?
GANADASA: I just taught her the five abhinayas 14 and told her to rest. She’s standing at the window now, looking out at the lake and enjoying the breeze.
BAKULAVALIKA: Then let me go to her, sir, and inspire her further with her master’s praise!
GANADASA: Go, see your friend. I’ll use this free moment to go home.
Both exit.
END INTERLUDE 15
Enter the king accompanied by his minister who bears a letter in hand. Attendants stand to one side.
AGNIMITRA (looking at his minister who’s read the letter): Vahataka, what does the king of Vidarbha say?
VAHATAKA: He’s sealed 16 his own destruction, my lord.
AGNIMITRA: I want to hear the message.
VAHATAKA: This is his latest response:
‘You claim that my cousin, 17 the noble Prince Madhavasena, who was promised in marriage to your family, was assaulted and captured by my frontier guardsmen while passing through the borders of my realm. And now, out of respect, you expect me to release him along with his wife and sister. 18
‘Surely you agree that there must be respect between kings of equal stature. Madhavasena’s sister was lost in the confusion surrounding the capture, and I will make every effort to find her. As for the prince, I will release him only if you heed my demands:
‘If your grace frees my wife’s brother,
the c
aptive Mauryan minister,
I will immediately release Madhavasena
from his imprisonment.’ //7//
AGNIMITRA (enraged): Does this fool expect me to engage in making deals? Vahataka, Vidarbha is our natural enemy and the king harbours hostility towards us. Since he positions himself so carelessly, give the order, as we had planned earlier, for the battalion led by Virasena to mount a full-scale attack.
VAHATAKA: As you command, my lord.
AGNIMITRA: Would you suggest otherwise?
VAHATAKA: You speak in accordance with our foreign policy, 19 my lord.
A newly enthroned enemy,
not yet popular with his subjects,
is easily rooted out,
like a freshly planted sapling. //8//
AGNIMITRA: Kautilya’s 20 principles are most true. Use these words to enlist the general.
VAHATAKA: So it shall be. (Exits.)
Attendants surround the king in accord with their duties. Enter Gautama.
GAUTAMA: His majesty said: ‘Gautama, I saw Malavika in a picture by chance, devise a way for me to see her in person.’ So I did just that, and now I’ll tell him about it. (He walks around.)
AGNIMITRA (looking at his counsellor): Here comes my vice minister of internal affairs.
GAUTAMA: May you prosper, my lord.
AGNIMITRA (nodding his head): Sit down.
The counsellor sits.
Is your clever eye 21 finding a way to see?
GAUTAMA: Rather ask how the plan is laid.
AGNIMITRA: What’s the plan?
GAUTAMA (whispering in his ear): It’s like this . . .
AGNIMITRA: Excellent, my friend, how clever you are! And though success seems difficult, we must be hopeful.
A king only completes a challenging task
with the help of a friend,
for even a man with perfect vision
needs light to see in the dark. //9//
FROM BACKSTAGE: Enough with the excessive boasting! Only in the king’s presence can we decide which one of us is better, or worse!
AGNIMITRA (listening): My friend, a flower blooms in your well-planted plot! 22
GAUTAMA: And before too long, you’ll see it bear fruit!
Enter Maudgalya.
MAUDGALYA: Your majesty, the minister sends word that your command is done. On another matter, Haradatta and Ganadasa are here.
Two masters of expression,
each seeking victory over the other,
are eager to see you in person,
like two embodied emotions. //10//
AGNIMITRA: Let them enter.
MAUDGALYA: As you command, your majesty. (Leaves and returns with the two.) This way, this way, my lords.
HARADATTA (looking at the king): What an intimidating regal persona!
He’s not unfamiliar, nor unsightly,
but I tremble in his presence.
He is but himself and, like the ocean,
new to my eyes in every moment. //11//
GANADASA: Truly, he is splendour in human form! And so:
Though granted entry by sentries at the door
and ushered in by a guardian of the throne,
my vision is blinded by his brilliance and, so it is,
I’m turned away without even a word. //12//
MAUDGALYA: Here is his majesty. Come, my lords.
GANADASA and HARADATTA (approaching): Long live the king!
AGNIMITRA: Welcome, masters. (Looking at the attendants) Chairs for the two lords.
Both sit in chairs brought by the attendants.
Why, when it is time for class, do both masters come here together?
GANADASA: Please listen, your majesty. I learnt the art of dramatic expression from a real master, I’ve given performances, I’m patronized by the king and queen. . . .
AGNIMITRA: I’m well aware of that. So what?
GANADASA: Even then, I’ve been insulted by Haradatta. In the presence of nobles he said I didn’t even compare to the dust at his feet!
HARADATTA: Your majesty, he was in fact the instigator. Supposedly the difference between him and me is like the difference between the ocean and a puddle! You should test our knowledge and technique. As a connoisseur, your majesty is our only judge.
GAUTAMA: An honest request.
GANADASA: A wonderful suggestion! Your discerning majesty deserves to listen.
AGNIMITRA: Wait. The queen will suspect favouritism. She must be present along with Sister Kaushiki 23 if the hearing is to be fair.
GAUTAMA: Your grace is most right.
GANADASA and HARADATTA: Whatever pleases your majesty!
AGNIMITRA: Maudgalya, after explaining the situation, ask the queen to come here with Sister Kaushiki.
MAUDGALYA: As you command, your majesty. (Exits, reenters with the queen accompanied by Kaushiki.) This way, this way, my queen.
DHARINI (looking at Kaushiki): Sister, how do you rate Haradatta and Ganadasa?
KAUSHIKI: Don’t worry, your favourite won’t lose. Ganadasa is his rival’s superior.
DHARINI: But even then, the king’s favour 24 gives Haradatta an advantage.
KAUSHIKI: Your majesty, remember that as queen 25 you too have a share.
A fire burns ever more brilliant
by absorbing the sun
while the moon glows bright
when embraced by the night. //13// 26
GAUTAMA: Oh! Queen Dharini has arrived, led by her companion 27 Sister Kaushiki.
AGNIMITRA: I see her.
Adorned with sacred 28 ornaments,
accompanied by Kaushiki in ascetic’s robes,
she shines like the three Vedas,
embodying the wisdom of the soul. //14//
KAUSHIKI (approaching): Long live the king.
AGNIMITRA: Salutations, Sister.
KAUSHIKI: May you live for a hundred autumns
as husband to Dharini and the Earth,
both equal in endurance
as the source of life’s great bounty. //15//
DHARINI: Long live my noble king.
AGNIMITRA: Welcome, my queen. (Looking at Kaushiki) Sister, please have a seat.
Everyone sits down.
AGNIMITRA: Sister, there’s a contest between noble Haradatta and Ganadasa about their respective skills. You should sit between them as a judge.
KAUSHIKI (smiling): Spare me the embarrassment. 29 Do you appraise jewels in a city, or a village?
AGNIMITRA: It’s not like that, Sister Kaushiki. In fact, you’re impartial, 30 whereas the queen and I are biased.
GANADASA and HARADATTA: The king is right. Sister Kaushiki is unbiased and qualified to assess our virtues and faults.
AGNIMITRA: Then let the debate begin.
KAUSHIKI: Dance is a matter of practice, actually, so why have a contest of words?
AGNIMITRA: What do you think, my queen?
DHARINI: If you ask me, this whole thing is annoying!
GANADASA: Your majesty, don’t fear that I might be defeated by one with equal skill.
GAUTAMA: Your grace, let’s watch the rams butt heads! 31 They’re being paid, aren’t they?
DHARINI: You love a good fight, don’t you!
GAUTAMA: Not really! When two mad elephants want to fight each other, peace comes only when one of them is defeated.
AGNIMITRA: Sister, haven’t you seen both of them excel in their own expertise?
KAUSHIKI: Surely.
AGNIMITRA: Then it’s settled, let them prove who’s better.
KAUSHIKI: That’s exactly what I’m saying.
One may rely on actions
to demonstrate his individual skill,
while another may possess
a special talent for teaching.
Only he who excels in both
should be made the head teacher. //16//
GAUTAMA: Both teachers have heard Sister Kaushiki. The decision will be made based on a display of teaching.
HARAD
ATTA: That’s fine by us.
GANADASA: My queen, it is decided.
DHARINI: Is it the teacher’s fault when a dull student botches a lesson?
AGNIMITRA: My queen, that’s why they say: ‘Even with a bad student, a good teacher’s intellect shines through.’
DHARINI (to herself): Now what? (Out loud, looking at Ganadasa) My husband’s enthusiasm is for his heart’s desire. Stop this silly act!
GAUTAMA: The queen speaks the truth. Ganadasa! By teaching music, you’re gobbling up offerings made for goddess Saraswati. 32 Why compete when you could easily lose?
GANADASA: The queen speaks the truth. But on this occasion:
A man who fears a fight,
believing ‘I have a secure position’,
suffers the contempt of others.
When they say his learning
is used merely to make a living,
he’s branded a peddler hawking knowledge. //17//
DHARINI: You just took on your student, it’s unfair to present things that haven’t sunk in yet.
GANADASA: Even then I’m confident.
DHARINI: In that case, show Sister Kaushiki your teaching skills.
KAUSHIKI: My queen, this isn’t right. Even the all-knowing Buddha would arrive at a flawed decision if he were the sole judge.
DHARINI (to herself): Foolish nun! You make me sleepy even when I’m wide awake! (Turns around angrily.)
The king calls the queen’s attention back to Kaushiki.
KAUSHIKI: Why turn your bright face
away from the king without reason?
A wife has power over her husband,
and there must be cause for anger. //18//
GAUTAMA: Oh, there’s definitely a reason. She wants to protect her favourite! (Looking at Ganadasa) Luckily, you’ve been saved by the queen’s feigned anger. Well-trained artists aren’t necessarily good teachers.
GANADASA: My queen, this is what people are thinking. Please understand:
I want to demonstrate my teaching skills
in the contest, but if you forbid it,
you’ll deprive me of such a chance. //19//
Starting to get up from his chair.
