Madhurāvijayam of Gaṅgādevī /142

MADHURĀVIJAYA M
 
70. Wild creepers that were the beloved of the

black bee attracted the latter very much as clusters of

buds looking like breasts sprouted in them, in the flower-
ing season of spring.
 
47
 

ing season of spring.
 
71. In the spring festival ladies wanted to paint

forms of Cupid on picture-boards. But they ended by

painting the form of king Kampaṇa who was always in
their heart.
 

their heart.
 
72. Certain ladies smeared the Cupid-like person

of the king with sandal paste, and their hands evidenced

love passion by sweat drops and horripilation that
marked them in the act.
 

marked them in the act.
 
73. The tinkling of bracelets, the tossing of

girdles, the dropping of garlands and the flying of curis

that marked the practice in swinging play, looked like

a rehearsal on the part of lovely ladies of love sports

with their lover.
 

 
74. Some queens felt ashamed before their female

companions; and in singing songs in praise of Kama
āma
they often introduced the name of the king in their for-
getfulness.
 

getfulness.
 
75. They desired to splash on the king paste of

saffron, but they were not aware that the substance had

already leaked out of their sweat-bathed hands.
 

 
76. King Kampana thus rendered the third end
ṇa thus rendered the third end
of life (Kāma) fruitful by sporting to his heart's con-
tent with the ladies of his harem whose passion was not

tent with the ladies of his harem whose passion was not
dimmed even in unbroken union.
 

 
Thus ends the fifth canto of Viīrakamparāya

çaritam, called Madhurāvijayam, composed by Gangā
 

Devi.