plunged, as it were, into the agitation of dreamy reminiscence, and said within himself: Ha! now, somewhere or other, in this birth or another, I have seen that miracle of a face before. And each went away with a heart that was unwilling to depart, haunted as it were by dim desire for something he knew not what stirring in the depths of his memory, that he could not remember and yet had not forgotten, like the thirst for the repetition of the sweetness of a bygone dream.[18] And all the more, because his voice resembled a music that was playing a melody suggested by the theme of his face. For it was low and soft, like that of a woman, and yet deep, like that of a man: and it seemed to be made of sound stolen from the pipe of Krishna, in order to enable it itself to steal away the senses of the world: so that as he spoke, the listener gradually grew bewildered by its tone, resembling a tired traveller, falling little by little unconsciously to sleep as he sits in the murmur of a mountain stream. And whenever he chose, he could cajole his hearer, and make him do almost anything whatever, so hard was it to resist the irresistible persuasion that lurked, like the caressing touch of a gentle woman's hand, in the tone of that quiet and insinuating voice. [Footnote 15: _i.e._ _of extraordinary and surpassing beauty_. Pronounce Uttirupa.] [Footnote 16: The Hindoo Aphrodite.] [Footnote 17: There is here an untranslateable play on _bimba_, the fruit, (as we say, cherry lip) and _pratibimba_, a reflection in the water.] [Footnote 18: All this depends on an elaborate play on the double meaning of _Smara_, a name for the God of Love, which means _memory_ as well as _love_.]