270 Journal of the Asiatic Society of Bengal. [N.S., XIII, 



Vasavadatta Tell me, what is he like, the bridegroom ? 

 Servant. my lady, I have never seen such a man in 



my life. 



Vasavadatta. Tell me, good girl ; is he really as handsome 



as that ? 



Servant. He is just like seven gods of love only without 



bow and arrows. 



Vasavadatta. That's enough. 



Servant. Why do you stop me ? 



Vasavadatta. It is not meet for me to listen when another 

 woman's husband is praised. 



Servant. * Now work quickly, my lady, work quickly ! 



Vasavadatta. Give me the flowers. (Working., aside) Here 

 I am plaiting. Oh, how miserable I am. (She chooses a flower 

 and gazes at it) What do you call this flower ? 



Servant. We call it "husband's life." 



Vasavadatta (aside). Of these I must put many into the 

 garland both for Padmavati and myself. (Choosing another 

 flower) And what do you call this flower ? 



Servant. We call it "rival's death." 



Vasavadatta. These we need not take 



Servant. Why ? 



Vasavadatta. The king's first wife is dead, so we do not 



want this flower. 



Third Scene. 



(Enter second servant.) 



are 



Second servant. Make haste, my lady, make haste! They 

 already leading the bridegroom into the inner court. 

 Vasavadatta. Alas ! Is this true ? Here take it {gives her 



the garland). 



Both servants. How beautiful, my lady. But now we 

 must go. (Exeunt.) 



Vasavadatta. They are gone. (Weeps) Oh misery, misery ! 

 My husband belongs to another woman. I don't want to think- 

 If I only could fall asleep I might perhaps forget my grief. 



(Exit.) 



The princess is married 



3d and happy. Udayana too is sin- 

 iful, merry bride ; but he cannot forget 



cereiy toncl ot his beautiful, merry bride ; but he cannot lorg^ 

 Vasavadatta, his first love, with whom his soul is bound up for 

 ever. In the fourth Act this struggle between the old love and 



in 



alk 



— — «**w av/u*xuax xifU L' JULIO Oil Ug^lC UCIVVCCII UIlVv v/iv* *~ • 



the new one finds expression in a scene which has few equals 

 dramatic tension. Padmavati and her friend are taking a wall 

 in the royal gardens, when Udayana appears accompanied b; 

 his friend and buffoon Vasantaka. Modesty forbids the ladies 

 to meet the men ; but at the same time there is no way out ot 

 the garden. Thus Padmavati and Vasavadatta are compelled 

 to hide themselves behind a jessamin bush and to listen to 

 the confession which Udayana makes to his friend about the 



