[19] Called more usually by English people Allahabad.
[20] This incident reminds one of Schiller’s ballad—Der Gang nach dem Eisenhammer. (Benfey Panchatantra, Vol. I, p. 320.)
The story of Fridolin in Schiller’s ballad is identical with the story of Fulgentius which is found in the English Gesta Romanorum, see Bohn’s Gesta Romanorum, Introduction, page 1. Douce says that the story is found in Scott’s Tales from the Arabic and Persian, p. 53 and in the Contes devots or Miracles of the Virgin. (Le Grand, Fabliaux, v. 74.) Mr. Collier states upon the authority of M. Boettiger that Schiller founded his ballad upon an Alsatian tradition which he heard at Mannheim. Cp. also the 80th of the Sicilianische Märchen which ends with these words, “Wer gutes thut, wird gutes erhalten.” There is a certain resemblance in this story to that of Equitan in Murie’s lays. See Ellis’s Early English Metrical Romances, pp. 46 and 47. It also resembles the story of Lalitánga extracted from the Kathá Kosha by Professor Nilmani Mukerjea in his Sáhitya Parichaya, Part II, and the conclusion of the story of Damannaka from the same source found in his Part I. The story of Fridolin is also found in Schöppner’s Sagenbuch der Bayerischen Lande, Vol. I, p. 204.
[21] Literally creeper-like.
[22] There is a double meaning here; kshetra means fit recipients as well as field. The king no doubt distributed corn.
Book IV.
Chapter XXI.
Victory to the conqueror of obstacles,[1] who marks with a line like the parting of the hair, the principal mountains[2] by the mighty fanning of his ear-flaps, pointing out, as it were, a path of success!
Then Udayana, the king of Vatsa, remaining in Kauśámbí, enjoyed the conquered earth which was under one umbrella; and the happy monarch devolved the care of his empire upon Yaugandharáyaṇa and Rumaṇvat, and addicted himself to pleasure only in the society of Vasantaka. Himself playing on the lute, in the company of the queen Vásavadattá and Padmávatí, he was engaged in a perpetual concert. While the notes of his lyre were married to the soft sweet song of the queens, the rapid movement of his executing finger alone indicated the difference of the sounds. And while the roof of the palace was white with moonlight as with his own glory, he drank wine in plenteous streams as he had swallowed the pride of his enemies[3]; beautiful women brought him, as he sat retired, in vessels of gold, wine flaming with rosy glow,[4] as it were the water of his appointment as ruler in the empire of love; he divided between the two queens the cordial liquor red, delicious, and pellucid, in which danced the reflection of their faces; as he did his own heart, impassioned, enraptured and transparent, in which the same image was found; his eyes were never sated with resting on the faces of those queens, which had the eyebrows arched, and blushed with the rosy hue of love, though envy and anger were far from them; the scene of his banquet, filled with many crystal goblets of wine, gleamed like a lake of white lotuses tinged red with the rising sun. And occasionally, accompanied by huntsmen, clad in a vest dark green as the paláśa tree, he ranged, bow and arrows in hand, the forest full of wild beasts, which was of the same colour as himself. He slew with arrows herds of wild boars besmeared with mud, as the sun disperses with its dense rays the masses of darkness; when he ran towards them, the antelopes fleeing in terror, seemed like the sidelong glances of the quarters previously conquered[5] by him.