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    The Birth of the War-God: A Poem by Kálidása
    The Birth of the War-God: A Poem by Kálidása
    The Birth of the War-God: A Poem by Kálidása
    Ebook153 pages1 hour

    The Birth of the War-God: A Poem by Kálidása

    By Kalidasa

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    About this ebook

    This book is an epic poem by the South Asian author, Kālidāsa, more commonly known by its Sanskrit title, 'Kumārasambhava' or as translated in English, 'The Birth of Kumāra'. It is about the birth of Kumara (Kārtikeya), the son of Shiva and Parvati. This epic of seventeen cantos entails Sringara rasa, the rasa of love, romance, and eroticism, more than Vira rasa (the rasa of heroism). Tārakāsura, a rakshasa (demon) was blessed that he could be killed by none other than Shiva's son, however, Shiva had won over Kama, the god of love. Parvati performed great tapas (or spiritual penance) to win the love of Shiva. Consequently, Shiva and Parvati's son Kartikeya was born to restore the glory of Indra, king of the Gods.
    LanguageEnglish
    PublisherGood Press
    Release dateDec 3, 2019
    ISBN4057664580849
    The Birth of the War-God: A Poem by Kálidása

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      Book preview

      The Birth of the War-God - Kalidasa

      Kalidasa

      The Birth of the War-God: A Poem by Kálidása

      Published by Good Press, 2022

      goodpress@okpublishing.info

      EAN 4057664580849

      Table of Contents

      PREFACE.

      THE BIRTH OF THE WAR-GOD.

      Canto First.

      UMÁ'S NATIVITY.

      CANTO SECOND.

      Canto Second.

      THE ADDRESS TO BRAHMÁ.

      CANTO THIRD.

      Canto Third.

      THE DEATH OF LOVE.

      CANTO FOURTH.

      Canto Fourth.

      RATI'S LAMENT.

      CANTO FIFTH.

      Canto Fifth.

      UMÁ'S REWARD.

      CANTO SIXTH.

      Canto Sixth.

      UMÁ'S ESPOUSALS.

      CANTO SEVENTH.

      Canto Seventh.

      UMÁ'S BRIDAL.

      ORIENTAL SERIES.

      V.

      PREFACE.

      Table of Contents

      Of the history of

      Kálidása

      , to whom by general assent the

      Kumára Sambhava

      , or

      Birth of the War-God

      , is attributed, we know but little with any certainty; we can only gather from a memorial-verse which enumerates their names, that he was one of the 'Nine Precious Stones' that shone at the Court of

      Vikramáditya

      , King of

      Oujein

      , in the half century immediately preceding the Christian era.[A] As the examination of arguments for and against the correctness of this date is not likely to interest general readers, I must request them to rest satisfied with the belief that about the time when

      Virgil

      and

      Horace

      were shedding an undying lustre upon the reign of

      Augustus

      , our poet

      Kálidása

      lived, loved, and sang, giving and taking honour, at the polished court of the no less munificent patron of Sanskrit literature, at the period of its highest perfection.

      Little as we know of Indian poetry, here and there an English reader may be found, who is not entirely unacquainted with the name or works of the author of the beautiful dramas of

      Sakontalá

      and

      The Hero and the Nymph

      , the former of which has long enjoyed an European celebrity in the translation of

      Sir William Jones

      , and the latter is one of the most charming of

      Professor Wilson's

      specimens of the Hindú Theatre; here and there even in England may be found a lover of the graceful, tender, picturesque, and fanciful, who knows something, and would gladly know more, of the sweet poet of the

      Cloud Messenger

      , and

      The Seasons

      ; whilst in Germany he has been deeply studied in the original, and enthusiastically admired in translation,—not the Orientalist merely, but the poet, the critic, the natural philosopher,—a

      Goethe

      , a

      Schlegel

      , a

      Humboldt

      , having agreed, on account of his tenderness of feeling and his rich creative imagination, to set

      Kálidása

      very high among the glorious company of the Sons of Song.[B]

      That the poem which is now for the first time offered to the general reader, in an English dress, will not diminish this reputation is the translator's earnest hope, yet my admiration of the grace and beauty that pervade so much of the work must not allow me to deny that occasionally, even in the noble Sanskrit, if we judge him by an European standard,

      Kálidása

      is bald and prosaic. Nor is this a defence of the translator at the expense of the poet. Fully am I conscious how far I am from being able adequately to reproduce the fanciful creation of the sweet singer of

      Oujein

      ; that numerous beauties of thought and expression I may have passed by, mistaken, marred; that in many of the more elaborate descriptions my own versification is 'harsh as the jarring of a tuneless chord' compared with the melody of

      Kálidása's

      rhythm, to rival whose sweetness and purity of language, so admirably adapted to the soft repose and celestial rosy hue of his pictures, would have tried all the fertility of resource, the artistic skill, and the exquisite ear of the author of

      Lalla Rookh

      himself. I do not think this poem deserves, and I am sure it will not obtain, that admiration which the author's masterpieces already made known at once commanded; at all events, if the work itself is not inferior, it has not enjoyed the good fortune of having a

      Jones

      or a

      Wilson

      for translator.

      It may be as well to inform the reader, before he wonder at the misnomer, that the

      Birth of the War-God

      was either left unfinished by its author, or time has robbed us of the conclusion; the latter is the more probable supposition, tradition informing us that the poem originally consisted of twenty-two cantos, of which only seven now remain.[C]

      I have derived great assistance in the work of translation from the Calcutta printed edition of the poem in the Library of the East-India House; but although the Sanskrit commentaries accompanying the text are sometimes of the greatest use in unravelling the author's meaning, they can scarcely claim infallibility; and, not unfrequently, are so matter-of-fact and prosaic, that I have not scrupled to think, or rather to feel, for myself. It is, however,

      Professor Stenzler's

      edition,[D] published under the auspices of the Oriental Translation Fund (a society that has liberally encouraged my own undertaking), that I have chiefly used. Valuable as this work is (and I will not disown my great obligations to it), it is much to be regretted that the extracts from the native commentators are so scanty, and the annotations so few and brief.

      And now one word as to the manner in which I have endeavoured to perform my task. Though there is much, I think, that might be struck out, to the advantage of the poem, this I have in no instance ventured to do, my aim having been to give the English reader as faithful a cast of the original as my own power and the nature of things would permit, and, without attempting to give word for word or line for line, to produce upon the imagination impressions similar to those which one who studies the work in Sanskrit would experience.

      I will not seek to anticipate the critics, nor to deprecate their animadversions, by pointing out the beauties of the poet, or particularising the defects of him and his translator. That the former will be appreciated, and the latter kindly dealt with, late experience makes me confident; so that now, in the words of the Manager in the Prelude to the

      Hero and the Nymph

      , "I have only to request the audience that they will listen to this work of

      Kálidása

      with attention and kindness, in consideration of its subject and respect for the Author."

      Adderley Library, Marlborough College

      ,

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