[282] Robert Brown has remarked that “moral and intellectual qualities seem to be entirely omitted from the seven points which, according to Manu, make a good wife.”  And Ward says (10) that no attention is paid to a bride’s mind or temper, the only points being the bride’s person, her family, and the prospect of male offspring.

[283] This is the list, as given by the eminent Sanscrit scholar, Professor Albrecht Weber in the Abhandlungen fuer die Kunde des Abendlandes, Vol.  V., 135.  Burton, in his original edition of the Arabian Nights (III., 36), gives the stages thus:  love of the eyes; attraction of the manos or mind; birth of desire; loss of sleep; loss of flesh; indifference to objects of sense; loss of shame; distraction of thought; loss of consciousness; death. Cf.  Lamairesse, p. 179.

[284] Preferably in Boehtlingk’s literal version, which I have followed whenever Kellner idealizes.  In this case Kellner speaks of covering “den Umfang des Bruestepaars,” while Boethlingk has “das starke Bruestepaar,” which especially arouse the king’s “love.”

[285] It would hardly be surprising if Kalidasa had had some conception of true love sentiment, for not only did he possess a delicate poetic fancy, but he lived at a time when tidings of the chivalrous treatment and adoration of women might have come to him from Arabia or from Europe.  The tradition that he flourished as early as the first century of our era was demolished by Professor Weber (Ind.  Lit.  Ges., 217).  Professor Max Mueller (91) found no reason to place him earlier than our sixth century; and more recent evidence indicates that he lived as late as the eleventh.  Yet he had no conception of supersensual love; marriage was to him, as to all Hindoos, a union of bodies, not of souls.  He had not learned from the Arabs (like the Persian poet Saadi, of the thirteenth century, whom I referred to on p. 199) that the only test of true love is self-sacrifice.  It is true that Bhavabhuti, the Hindoo poet, who is believed to have lived at the end of our seventh century, makes one of the lovers in Malati and Madhava slay a tiger and save his beloved’s life; but that is also a case of self-defence.  The other lover—­the “hero” of the drama—­faints when he sees his friend in danger!  Generally speaking, there is a peculiar effeminacy, a lack of true manliness, about Hindoo lovers They are always moping, whining, fainting; the kings—­the typical lovers—­habitually neglect the affairs of state to lead a life of voluptuous indulgence.  Hindoo sculpture emphasizes the same trait:  “Even in the conception of male figures,” says Luebke (109), “there is a touch of this womanly softness;” there is “a lack of an energetic life, of a firm contexture of bone and muscle.”  It is not of such enervated stuff that true lovers are made.

[286] An explanation of this discrepancy may be found in A.K.  Fiske’s suggestion (191) that there is a double source for this story.  The reader will please bear in mind that all my quotations are from the revised version of the Bible.  I do not believe in retaining inaccurate translations simply because they were made long ago.