[44] p. 14. l. 10. —delicate in shape and hue. Bopp's text is 'ákáravantah suslakshnah, having forms and delicate.' The Calcutta edition reads 'ákáraverna suslakshnah, elegant in figure and colour (complexion). Delicacy of colour, i. e. a lighter shade, scarcely amounting to blackness at all, is in general a mark of high caste. Wilson.
[45] p. 14. l. 13. As with serpents Bhogavati. Bhogavati, the capital of the serpents in the infernal world. In the Ramayana, Ayodhya is described as guarded by warriors, as Bhogavati by the serpents.
[46] p. 15. l. 22. Nala's form might not discern. The form of the gods, as it is here strikingly described by the poet, differs from that of men by the absence of those defects which constitute the inferiority of a mortal body to that of the inhabitants of the Indian heaven. The immortal body does not perspire, it is unsoiled by dust, the garlands which they wear stand erect, that is, the flowers are still blooming and fresh. The gods are further distinguished by their strong fixed gaze, and by floating on the earth without touching it. They have no shadow. Nala's form is the opposite of all these. Kosegarten.
[47] p. 15. l. 23. —saw she, and with moveless eyes. "The gods are supposed to be exempt from the momentary elevation and depression of the upper eyelid, to which mortals are subject. Hence a deity is called 'Animisha' or 'Animesha,' one whose eyes do not twinkle." Mr. Wilson, in his note to Vikrama and Urvasi, (Hindu Theatre, i. 237. p. 60.), quotes this passage, and suggests that the "marble eyes of Venus, by which Helen knew the goddess, and which the commentators and translators seem to be much perplexed with, are probably the 'stabdha lochana,' the fixed eyes of the Hindus, full and unveiled for an instant, like the eyes of a marble statue." Mr. Wilson has, I think, been misled by the words ὁμματα μαρμαἱροντα, which rather expresses the contrary. Μαρμαἱρω is to glitter, and is applied in many places in Homer to the gleaming of armour. The μαρμαριγἀς θηεἴτο ποδὤν of the Odyssey is well translated by Gray, "glance their many-twinkling feet." In Mr. Wilson's curious reference to Heliodorus (the passage is in the Æthiopica, iii. 13.) the author appears to write from Egyptian rather than Grecian notions. He extorts, somewhat violently, a meaning from Homer's words, δεινὼ δἐ εἱ ἔσσε φἁανθην, which they by no means necessarily bear; but the analogy is as curious if Egyptian as if Grecian.
[48] p. 15. l. 25. On his shadow, garland drooping. According to the Zoroastrian religion, one of the distinctions of human beings after the restoration of all things and the final triumph of Ormuzd, shall be that they shall cast no shadow; μἡτε σκἱαν παιοὔνταϛ. Theopomp. apud Plut. de Isid. et Osirid. Compare Anquetil du Perron and Kleuker, Anhang zum Zendavesta, i. 140.
[49] p. 16. l. 14. And the happy pair devoutly. The devotion of the silent spirit, the purely mental worship, is the holiest and most acceptable service to the gods. Compare Wilkins, Bhagavat-Gita, p. 74; Menu, ii. 85; vi. 235.
[50] p. 16. l. 19. Agni gave his own bright presence. Agni gave him the command of fire whenever he willed. Hutása is a name of Agni; hut-asa, 'qui sacrificium edit,' i. e. ignis. Bopp's explanation, 'mundos per Deum Agnem splendentes,' has been adopted as giving the clearest sense. Varuna gave the command of water.
[51] p. 16. l. 23. —each his double blessing gave. Bopp translates this, 'par liberorum dederunt,' but the original says, 'all (or each) gave a pair,' i. e. a couple of blessings; making eight, as stated above; each of the four gods giving two. Wilson.
[52] p. 17. l. 4. Lived in bliss, as with his Sachi. Indra, the giant-killer; Sachi, his spouse.
[53] p. 17. l. 7. Of the horse the famous offering. The reader will be best acquainted with the Aswamedha, or sacrifice of the horse, from the spirit and felicity with which it has been introduced by Southey in the Curse of Kehama. See also the Ramayana.