Love is also effectively described. The Viṭa is an admirer of Vasantasenā and thus addresses the fleeting lady:[1]
kiṁ tvaṁ padair mama padāni viçeṣayantī
vyālīva yāsi patagendrabhayabhibhūtā?
vegād aham praviçṛtaḥ pavanaṁ nirundhyām
tvannigrahe tu varagātri na me prayatnaḥ.
'Why, surpassing my speed with thine own, dost thou flee like a snake, filled with fear of the lord of birds? Were I to use my speed I could outstrip the wind itself, but I would make no effort to seize thee, O fair-limbed one.' Cārudatta praises the rain:[2]
dhanyāni teṣāṁ khalu jīvitāni: ye kāminīnāṁ gṛham āgatānām
ārdrāṇi meghodakaçītalani: gātrāṇi gātreṣu pariṣvajanti.
'Happy the life of those whose limbs embrace the limbs of their loved ones, come to their home, dripping wet and cold with the water of the clouds.'
Moreover, while to later Indian critics the descriptive stanzas of the poet are lacking in that elaboration and cleverness which are admitted by developed taste, to us much of the poetic value of the drama depends on the power of the poet to describe with point and feeling in simple terms which require no effort to appreciate. The whole scene of the storm gains by the stanzas in which its beauties are described, once we consent, as we must do in appreciating any Sanskrit play, to ignore the inappropriateness of these lyric effusions in the actual circumstances. In real life a lady seeking eagerly an interview with her beloved, in resplendent attire, would have no time to display her command of Sanskrit poetry in description, when counsels of prudence urged her to her destination with the least possible delay:[3]
mūḍhe nirantarapayodharayā mayaiva: kāntaḥ sahābhiramate kiṁ tavātra?
maṁ garjitair iti muhur vinivārayantī: mārgaṁ ruṇaddhi kupiteva niçā sapatnī.
'"If, foolish one, my beloved has joy clasped in my bosom's embrace, what is that to thee?" Thus night with her thunders, seeking to stay me, blocks my path, like an angry rival.'
meghā varṣantu garjantu muñcantv açanim eva vā
gaṇayanti na çītoṣṇaṁ ramaṇābhimukhāḥ striyaḥ.
