the note of the Indian cuckoo; then the blossoms of the mango-tree are seen: these are the sharp arrows wherewith the god of the flowery bow enflames the hearts of maidens to love.
A lyric poem of a very artificial character, and consisting of only twenty-two stanzas, is the Ghaṭa-karpara, or "Potsherd," called after the author's name, which is worked into the last verse. The date of the poet is unknown. He is mentioned as one of the "nine gems" at the court of the mythical Vikramāditya in the verse already mentioned.
The Chaura-panchāçikā, or "Fifty Stanzas of the Thief," is a lyrical poem which contains many beauties. Its author was the Kashmirian Bilhaṇa, who belongs to the later half of the eleventh century. According to the romantic tradition, this poet secretly enjoyed the love of a princess, and when found out was condemned to death. He thereupon composed fifty stanzas, each beginning with the words "Even now I remember," in which he describes with glowing enthusiasm the joys of love he had experienced. Their effect on the king was so great that he forgave the poet and bestowed on him the hand of his daughter.
The main bulk of the lyrical creations of mediæval India are not connected poems of considerable length, but consist of that miniature painting which, as with a few strokes, depicts an amatory situation or sentiment in a single stanza of four lines. These lyrics are in many respects cognate to the sententious poetry which the Indians cultivated with such eminent success. Bearing evidence of great wealth of observation and depth of feeling, they are often drawn by a master-hand. Many of them are in matter and form gems of perfect
