177 though even here I have omitted no idea which is in the Sanskrit. Otherwise, this translation is literal. It contains virtually every word of the original and adds almost nothing, though I have on occasion over-translated what in Sanskrit has become a cliche in order not to forfeit the exoticism of a foreign culture. The original Sanskrit is in four-line stanzas, each line having fourteen syllables. My stanzas of six iambic pentameters are, thus, almost the same length as the Sanskrit. All Sanskrit meters are quantitative and most are composed of a fixed pattern of long and short syllables without division into feet. (In recitation, the voice dwells on the long syllables.) This poem is in a common lyric meter called vasanta-tztaka^ which means "ornament of spring." It scans — v- vvv- vv- v~, four times. Like other meters of its type, it has no alternative forms (though the last syllable of each line is common, as in all Indo-European meters). I have attempted to convey something of this formal strictness by adopting a rather exacting rhyming scheme and rigid meter. In this I differ from my colleagues, especially my American colleagues. Partly it is a question of national and individual taste. In translating Sanskrit, the "elaborated" language, I do not think it necessary to eschew poetic diction, even to the extent (pace, Professor Brough) of calling a wild goose a swan. The difference is also one of material: I have chosen a poem which depends hardly at all on punning, alliteration, or other "ornaments of sound," and little on suggestions which might elude a non-Indianist. This has allowed me to try to make an impression on the readers of this translation at least analogous to the impression made on its Indian audience by the recitation of the Sanskrit. I hope that my translation, which is likewise designed to be read aloud, portrays both the matter and the manner of the original as nearly as may be. Most of the allusions which need explanation are mythological. The Indian god of love (1, 2, 20, 29, 32, 42), equivalent in function to Cupid, is called Kama, which means "passion" or "sexual love"; any synonym can also be used as his name. He shoots people with flower arrows (20) which inflict the fire of love (2,42); he is married to Rati (Pleasure; 29,32). The trinity of gods mentioned in 30 are Brahma, Visnu and Siva. They bear no resemblance or relation to the Christian Trinity; any one of them can be seen as supreme. Brahma is the Creator in 39. Visnu had several incarnations; one was as a tortoise (50); the most famous was as Krishna. His wife Laksmi or Sri (both words mean "good fortune"; 3,39) is also the goddess of beauty, and was born at the churning of the ocean (see below). At birth she either held a lotus in her hand or floated on the expanded petals of a lotus, Siva (39,50; the name means "kindly" and is euphemistic) is married to Parvati (39), daughter of Mount Himalaya. His wild tandava dance, which he dances at the periodic dissolution of the world, is compared in 7 to the motions of love-makingo Indra (39) was in very ancient times an extremely important god, but later became merely the god of sky and storm, lord of the