With their beautiful
hair, noses, eyes, and brows, these royal personages shone like the
stars in heaven. They fixed their gaze on the maiden's limbs, and
wherever the eyes first rested there they remained fixed immovably.
But the four gods had all assumed the exact form and appearance of
Nala, and when Damayanti was about to choose him she saw five men all
alike. How could she tell which of them was the king, her beloved?
After a moment's thought she uttered an invocation to the gods calling
upon them to assume the characteristics by which they differ from
mortals. The gods, moved by her anguish, her faith in the power of
truth, her intelligence and passionate devotion, heard her prayer and
forthwith they appeared to her free from perspiration, with fixed
gaze, ever fresh wreath, free from dust; and none of them, while
standing, touched the floor; whereas King Nala betrayed himself by
throwing a shadow, by having dust and perspiration on his body, a
withered wreath, and eyelids that winked.
Thereupon the big-eyed maiden timidly seized him by the hem of his
garment and put a beautiful wreath on his shoulders. Thus did she
choose him to be her husband; and the gods granted them special
favors.[279]
According to Schroeder, the Hindoos are "the romantic nation" among
the ancients, as the Germans are among the moderns; and Albrecht Weber
says that when, a little more than a century ago, Europe first became
acquainted with Sanscrit literature, it was noticed that in the
amorous poetry of India in particular the sentimental qualities of
modern verse were traced in a much higher degree than they had been
found in Greek and Roman literature.
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