tat kāmyā subhaga tvayā varatanur vātūlatāṁ lambhitā.
‘Biting her lip, she wipes out the figure of the moon sketched in sandal paste; snapping her finger-tips she mocks at love as barren; to flout his darts, the flowers she gathers she tears in shreds; assuredly the fair one whom thou shouldst love hath been brought by thee to madness.’
antastāraṁ taralitatalāḥ stokam utpīḍabhājaḥ
pakṣmāgreṣu grathitapṛṣataḥ kīrṇadhārāḥ krameṇa
cittātan̄kaṁ nijagarimataḥ samyag āsūtrayanto
niryānty asyāḥ kuvalayadṛço bāṣpavārām pravāhāḥ.
‘Rippled on the surface of the pupil, slightly foaming, forming drops on the tips of the lashes, then slowly issuing in streams, [[238]]betokening by their weight her heart’s sorrow, there pour forth from the lotus-eyed one the floods of her tears.’
Of all the plays the Karpūramañjarī is undoubtedly that which contains the most substantial evidence that Rājaçekhara had some real poetic talent, despite the banality and stupidity of his conception of love in Act III. The swing scene contains really effective lines of word-painting, in harmonious metre:[37]
vicchaanto ṇaararamaṇīmaṇḍalassāṇaṇāiṁ
viccholanto gaaṇakuharaṁ kantijoṇhājaleṇa