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We savored no pleasure,so we are consumed.We practiced no penance,so we are afflicted.We did not elude time,so we are pursued.We did not wither craving,so we are the wizened.Bhartrihari is not a philosopher who carefully honed every poem to support a coherent prescription for the proper life. His poems express the range of human emotions felt by an educated but vital man. They variously celebrate (quoting from the introduction):the four traditional pursuits: dharma (righteousness, learning, and religious life), artha (material gain and political power), kama (erotic love and artistic pleasure), and moksa (the rejection of these three in order to concentrate on escaping from worldly bondage).Bhartrihari wrote in the fifth century CE. Legend has him a king, but the translator suggests he was a courtier. In his poems he longs for an ascetic, virtuous life, but he cannot help but indulge in, and describe in beautiful verse, the pleasures of sharing wisdom and virtue in civic life, and of course the pleasures of the flesh. His three part Satakatraya presents verse first on wisdom and courtly life, then on love, and renunciation. From the first section, Among Fools and Kings: Men whose thoughts and words and deedsare steeped in the nectar of merit,who fill the world’s expansewith a flood of benevolent acts,build into august mountainsthe granules of other men’s graces,and spread abroad their own heart’s joy--such saintly men are few.From Passionate Encounters (which includes both the delights of love and warnings against it)When she lies on your chestamid the disarray of her own scented hair,with eyes like slightly opened budsand cheeks flushed pink from love’s fatigue,the lips of a woman are honeywhich favored men drink.and from Refuge in the Forest (asceticism), the poem at the beginning of this review and:You descend to nether worlds, you traverse the sky,you roam the horizonwith such mobility, my mind!Why do you never, even in error,remember what is pureand part of yourself,that Brahman, through whichyou would reach your final bliss?I am quite taken with that aside, ‘even in error’. It makes you pause and reread, and rethink, and read again. The collection as a whole does the same, because what Bhartrihari praises in one poem he satirizes or condemns in the next. He is honest in portraying his higher and baser instincts, even if they are filtered through the highly refined and rule-bound form of Sanskrit poetry.The introduction is a compact but effective primer in Sanskrit verse and the work of the two authors. Bhartriharis work is in the fragmentary lyric style (khandakavya) as opposed to the narrative lyric style (mahakavya). Each short poem in khandakavya style is meant to stand alone as a complex artistic creation, even though it is part of a collection. Sanskrit poetry relies little on rhyme, but depends on alliteration, assonance, and consonance. The miniature mold of each verse is expanded by poetic exploitation of the suggestive overtones (dhvani) of words and images…The notion of rasa is at the heart of Sanskrit poetry. The word is generally translated as ‘mood’ or ‘sentiment’ but it means more literally the taste or flavor of something--the rasa of a verse or dramatic scene is the essential pervading flavor of a given emotional situation.The metrical rules use length of the syllable, like Greek and Roman poetry, rather than stress, and Bhartrihari uses many different meters.I was less taken with the short work by Bilhana, The Love Thief, from the eleventh century CE. The translator has created beautiful poems in English. I commend her introduction and her poetry although I cannot assess how closely to the original she hews. This is a work that will stand up to repeated reading.

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