to Kālidāsa. In its twenty-three stanzas occur some highly imaginative analogies, worked out with much originality. In one of them, for instance, the poet asks how it comes that a maiden, whose features and limbs resemble various tender flowers, should have a heart of stone. In another he compares his mistress to a hunter—
- This maiden like a huntsman is;
- Her brow is like the bow he bends;
- Her sidelong glances are his darts;
- My heart's the antelope she slays.
The most important lyrical work of this kind is the Amaru-çataka, or "Hundred stanzas of Amaru." The author is a master in the art of painting lovers in all their moods, bliss and dejection, anger and devotion. He is especially skilful in depicting the various stages of estrangement and reconciliation. It is remarkable how, with a subject so limited, in situations and emotions so similar, the poet succeeds in arresting the attention with surprising turns of thought, and with subtle touches which are ever new. The love which Amaru as well as other Indian lyrists portrays is not of the romantic and ideal, but rather of the sensuous type. Nevertheless his work often shows delicacy of feeling and refinement of thought. Such, for instance, is the case when he describes a wife watching in the gloaming for the return of her absent husband.
Many lyrical gems are to be found preserved in the Sanskrit treatises on poetics. One such is a stanza on the red açoka. In this the poet asks the tree to say whither his mistress has gone; it need not shake its head in the wind, as if to say it did not know; for how
