compounds or the rare use of them, and harmony of sound as well as clearness, elevation, and force allied to beauty, such as is conveyed to language by the use of figures of speech and thought. He is simple, as are Bhāsa and the author of the Mṛcchakatikā, but with an elegance and refinement which are not found in these two writers; Açvaghoṣa, we may be sure, influenced his style, but the chief cause of its perfection must have been natural taste and constant reworking of what he had written, a fact which may easily explain the discrepancies between the recensions of his work. But his skill in the Çakuntalā never leads him into the defect of taste which betrayed his successors into exhibiting their skill in the wrong place; skilled as he is in description, and ready as he is to exhibit his power, in the fifth Act he refrains from inserting any of these ornamental stanzas which add nothing to the action, however much honour they may do to the skill of the poet. His language has also the merit of suggestiveness; what Bhavabhūti, the greatest of his successors, expresses at length, he is content to indicate by a touch. He is admirably clear, and the propriety of his style is no less admirable; the language of the policeman and the fisher is as delicately nuanced as that of the domestic priest who argues at once in the best style of the philosophical Sūtras. The Prākrit which he ascribes to the maidens of his play has the supreme merit that it utterly eschews elaborate constructions and long compounds, such as Bhavabhūti places without thought of the utter incongruity in the mouths of simple girls.
The rhetoricians[1] extol the merits of Kālidāsa in metaphor, and they repeatedly cite his skill in the use of figures of speech, sound and thought, which they divide and subdivide in endless variety. He excels in vivid description (svabhāvokti) as when he depicts the flight of the antelope which Duḥṣanta pursues to the hermitage:
grīvābhan̄gābhirāmam muhur anupatati syandane baddhadṛṣṭiḥ
paçcārdhena praviṣṭaḥ çarapatanabhayād bhūyasā pūrvakāyam
darbhair ardhāvaliḍhaiḥ çramavivṛtamukhabhraṅçibhiḥ kīrṇavartmā
paçyodagraplutatvād viyati bahutaraṁ stokam urvyāṁ prayāti.
- ↑ See Hari Chand, Kālidāsa et l'art poétique de l'Inde (1917), pp. 68 ff. On his suggestiveness, cf. Ekāvalī, p. 52.
