nityam prāṇātipātāt prativirama kuru prākkṛte cānutāpam yatnāt puṇyapravāhaṁ samupacinu diçan sarvasattveṣv abhītim magnaṁ yenātra nainaḥ phalati parimitaprāṇihiṅsāttam etad durgāḍhāpāravārer lavaṇapalam iva kṣiptam antar hradasya. ‘Cease for ever from taking life; repent of thy past misdeeds; eagerly accumulate a store of merit, freeing all creatures from fear of thee, so that, lost in the infinite stream of thy goodness, the sin of slaying creatures, in number limited, may cease to fructify, even as a morsel of salt cast in the unfathomable depths of a great lake.’ Though Buddhist the drama, the benediction is enough to show how effectively the spirit of the Nāṭikā has been introduced into the legend: [380] dhyānavyājam upetya cintayasi kām unmīlya cakṣuḥ kṣaṇam? paçyānan̄gaçarāturaṁ janam imaṁ trātāpi no rakṣasi mithyākāruṇiko ’si nirghṛṇataras tvattaḥ kuto ’nyaḥ pumān? serṣyam Māravadhūbhir ity abhihito Buddho [381] jinaḥ pātu vaḥ. ‘“Feigned is thy trance; of what fair one dost thou think? Open thine eyes for a moment and gaze on us whom love doth drive mad. Protector art thou; save thou us. False is thy compassion; could there be any man more pitiless than thou?” May he, whom Māra’s beauties thus addressed, the Buddha, the conqueror, protect you.’ But Harṣa’s chief merit is undoubtedly shown in erotic verses as in the description of the shyness of the new-made bride in the Nāgānanda: [382] dṛṣṭā dṛṣṭim adho dadhāti kurute nālāpam ābhāṣitā çayyāyām parivṛtya tiṣṭhati balād ālin̄gitā vepate niryāntīṣu sakhīṣu vāsabhavanān nirgantum evehate jātā vāmatayaiva me ’dya sutarām prītyai navoḍhā priyā. ‘Looked at, she casts down her face; addressed, she gives no reply; with head averted she lies on the couch; forcibly embraced, she trembles; when her maidens leave her chamber, she seeks also to depart; perverse though she be, my new-wed love delights me more and more.’ The accuracy of the aim of love as an archer is described in the Ratnāvalī: [383] manaḥ prakṛtyaiva calaṁ durlakṣyaṁ ca tathāpi me anan̄gena kathaṁ viddhaṁ samaṁ sarvaçilīmukhāiḥ. ‘Mind is naturally mobile and hard to find; nevertheless mine has been pierced by love at once with all his darts.’ In entire harmony with Indian taste Harṣa dwells on the points of physical perfection in the adored one in the Nāgānanda: [384] khedāya stanabhāra eṣa kim u te madhyasya hāro ’paras tāmyaty ūruyugaṁ nitambabharataḥ kāñcyānayā kim punaḥ çaktiḥ padayugasya noruyugalaṁ voḍhuṁ kuto nūpurau svān̄gair eva vibhūṣitāsi vahasi kleçāya kiṁ maṇḍanam?