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394
TILAKAMAÑJARĪ OF DHANAPĀLA
shining gold syringe. Sometimes he roved lustily in company with his queen on the pleasure-mound having a peacock vociferous, with his way directed by hilarious associates. At times he assuaged his anguish of love reclining on the counterpane of lotus leaves on the fountains having cavities of their interiors darkened by the spurts of water splashed ashore, being disappointed from propitiation of the beloved whose dalliance in prostration at feet having been ignored through irresistibility of ire. Sometimes he satisfied the ardent desires of the creepers of the palace gardens yielding florescence at an odd hour and grown as a personal hobby actuated by his mutual envy for the queen. He even painted fingered leaves tortuous with many curves on the murals of the pitcher-shaped breasts of the damsels with a view to indicating the unending flow of the toilet esteeming well the clean unguent plaster of deer-musk never taking leave of the water of perspiration born of love. Sometimes defeated in pleasure sport of gambling he would not pay the wager and was, therefore, thrown as if perforce, before the cowives in the pleasure-apartments with doors having panels joined together with terrible stroke of the feet brought about having been dragged by the clever maidens with feigned scowls woven up with the words “Where are you going?” Sometimes he used to ingratiate the beloveds irate through love, sip Kāpiśāyana (a type of liquor prepared out of grapes) on the roofs of the palace shining with moon light, helpless in love, bearing pegs of ruby poured down personally having red lotus petals placed over them and varied hued with the leers of other women glowing with jealousy. Sometimes he amused the ladies of the harem while making fun of the jesters (Vidūşakas) by varied pranks of decorating the face or masking the face etc. Sometimes he whiled his day having given up all other activities and looking upon the images of the princes excelling in beauty and brought as gifts, having placed them on the picture-canvases by the expert painters deeming him as susceptible to women. Sometimes he listened to the sweet sayings composed by his own self and abounding in sentiment of love, well admired after having been tuned to special notes of music, being rehearsed as songs by the consembly of reciters or singers (gāthakas) through throats instinctively sweet. Sometimes he attracted the minds of the skilled vassals staying close, witnessing the performances of gentle dance (lāsya) of the female dancers demonstrated by the dancing-teachers with the entire lore of dance expounded along with their secret parts (or accessories), with the nuancing of defects and virtues observed minutely through the medium of infallible scriptures. Sometimes he saw the faces of the lovely maidens of the seraglio taking to absolute taste of dalliance, in the oblong tanks of the palace, with zest of usnitigated inquisitiveness, holding the cloth on the posteriors, having dipped under one pretext or the other such as searching
