CHAPTER VI. courtier is the favourite of the Raja. He falls in love with Málatí, and prevails on the Raja to support his suit. The Raja asks the minister to give his daughter in marriage to the courtier; and the minister dares not refuse. An intrigue is now begun after Hindú fashion. The minister is the most obedient servant of the Raja. To please the Raja he will sacrifice his blooming daughter to the old courtier. Meantime the Buddhist nun knows her cue. She is to promote the union of Málatí and Mádhava at all risks; but the minister is not to appear in the matter. Whatever may become of his daughter, the minister must preserve the favour of the Raja. Whilst filledwith secret disgust, he is to feign delight at the marriage of his daughter to the old courtier. Whilst filled with secret joy, he is to feign displeasure at the marriage of Málatí and Mádhava. In a word, the play is a succession of artifices, such as are regarded by Hindús generally as the height of cleverness and ability. Intrigues of the In the first instance the Buddhist nun seeks to familiarize the unsophisticated heroine with the idea of revolting against the will of her father, and running away with her lover. But she proceeds very cautiously, and by innuendoes rather than by direct counsel. In her capacity of nurse she pays a visit to her young charge. She laments that Málatí is to be sacrificed to age and ugliness, but adds that she is bound to obey her father. She hints at the story of Sakúntalá, who bestowed herself upon the lover of her choice; but adds that such an example should not be followed. She, however, descants upon the noble birth and great merits of Mádhava. She then takes her leave, exulting in the idea that she has tutored Málatí to hate the bridegroom, to CHAPTER VI. doubt her father's affection, to feel that an elopement is not without precedent, and that Mádhava is worthy of her love. lovers. The Buddhist nun next brings the lovers together Despair of the in the temple garden of Siva. Here the heroine and hero plight their troth. At this point Málatí is brought away to be married to the old courtier. The preparations are concluded with bewildering haste. The bride and her maidens proceed on their elephants to the temple of Srí, to pray that nothing may interrupt the holy rite.15 Mádhava and Makaranda are already at the temple, and peeping at the bridal procession through a lattice. Drums are heard. The white umbrellas tremble over the heads of the bride and her companions like white lotuses. The chowries of white hair float about like swans. The elephants advance, their golden bells tinkling in the sunshine. Every howdah is filled with bevies of blooming damsels singing songs of rejoicing. The elephants kneel, and Málatí descends and enters the temple accompanied by her maidens. The old The climax. The story now reaches a climax. courtier is waiting at home to receive his bride. But the Buddhist nun dashes the cup of happiness from his lips. She directs Mádhava to escape with Málatí to a Buddhist convent, where they are duly wedded. Meantime she arrays Makaranda, the comrade of Mádhava, in the wedding garments of Málatí to personate the bride; and sends him in the marriage procession to the house of the old courtier. The adventures of Makaranda in the character 15 A temple to Srí, or the goddess of good fortune, is built in the neighbourhood of every city. Sri is identified with Lakshmí. See infra, chap. ix. bridegroom. CHAPTER VI. of a bride form a laughable episode. It should be A disappointed explained that Makaranda has long been in love with the sister of the courtier, and is beloved in return. The interview between the supposed bride and the expectant bridegroom is not represented on the stage, but is related to the audience. The old courtier was very devoted, but found the lady very coy. He became somewhat rude, but met with a startling rebuff. He left the apartment in a rage; and his sister then went in to reason with the bride. Instead of a sister-in-law, she found a lover; and ultimately fled with him, after the fashion set by Málatí and Mádhava. The two bridegrooms were subsequently introduced to the Raja, who was at once reconciled to the state of affairs, and congratulated the minister and disappointed favourite on their new kinsmen. Here the story is virtually brought to a close. Humour of the play. It is easy to imagine the amusement which would be produced in a Hindú zenana by the performance of such a drama as that of Málatí and Mádhava. The ardour and devotion of the young men, the runaway marriages, and the discomfiture of the old bridegroom, would all be in exact accordance with zenana tastes. But certain episodes are introduced into the original drama, which mar the plot by their sensational character, and which are only useful as illustrating that dark form of the worship of Durgá, which was practised in ancient times. This goddess was propitiated by human sacrifices, and on two occasions Málatí is said to have been carried off to her shrine, and would have been slaughtered before the idol had she not been rescued by Mádhava. The particulars will accordingly be re viewed hereafter in dealing with the worship of CHAPTER VI. Durgá.16 era. the Sanskrit drama. It is difficult to arrive at any approximate idea Chronology of of the age in which the Sanskrit dramas were composed. They are not mentioned by the Greeks, and they do not apparently contain any reference to the Mussulman invaders. They may therefore be referred to the first ten centuries of the Christian But social development amongst the Hindús is of slow growth; and even in the progress of centuries the outer life of the people undergoes but few important changes. The Sanskrit Theatre furnishes valuable illustrations of that resignation and habitual self-control, which specially mark the Hindú people; but it is wanting in that power of characterization to which the Shakspearian drama owes its force and brilliancy. 16 See infra, chap. ix. CHAPTER VII. CHAPTER VII. the old military aristocracy of India. THE RAJPOOTS. THE Rajpoots, or sons of Rajas, are the noblest The Rajpootary and proudest race in India. With the exception of the Jews there are, perhaps, no living people of higher antiquity or purer descent. They claim to be representatives of the Kshatriyas; the descendants of those Aryan warriors who conquered the Punjab and Hindustan in times primeval. To this day they display many of the characteristics of the heroes of the Mahá Bhárata and Rámáyana. They form a military aristocracy of the feudal type. They are brave and chivalrous, keenly sensitive of an affront, and especially jealous of the honour of their women. Their chiefs, when occasion serves, are prepared to lead the life of outlaws, like the Pándava brothers, or to go into exile with the silent haughtiness of Ráma. Indeed, but for the paramount power of the British government, they would still carry on bloody feuds for generations, or engage in deadly wars which would end only in extermination. Relics of the The Rajpoots are the links between ancient and modern India. In days of old they strove with the kings of Magadha for the suzerainty of Hindustan from the Indus to the lower Gangetic valley. They |