BUBBLES OF THE FOAM

So Life's sad Sunset prizes
What Life's gay Dawn despises,
And always Winter wise is
When Summer is no more:
While Love than lightning fleeter
Turns all he touches sweeter,
To leave it incompleter
Behind him, than before.

Amara

Years, looking forward, all too slow,
Yet looking back, too fast,
What is your joy, what is your woe,
But scented ash that used to glow,
A sandalwood of long ago,
A camphor of the past?

Sulochana

BUBBLES OF THE FOAM

TRANSLATED FROM THE ORIGINAL MANUSCRIPT

BY

F. W. BAIN

What! Mortal taste Immortal? Earth, kiss Heaven?
Confusion elemental!, ah! beware!

Somadewa

WITH A FRONTISPIECE

METHUEN & CO. LTD.
36 ESSEX STREET W.C.
LONDON

First Published in 1912

DEDICATED
TO
LADY GLENCONNER

CONTENTS

I. A Spoiled Child

II. The Thirst of an Antelope

I. A DAPPLED DAWN

II. A GLAMOUR OF NOON

III. THE DESERT AND THE NIGHT

INTRODUCTION

Four things are never far from you, in old Hindoo literature: underfoot, all round you, or away on the horizon, there they always are: the Forest, the Desert, the River, and the Hills.

It is never very easy, to understand the Past that really is a past: and the age of Forests, like that of chivalry, is gone. But in the case of ancient India, the chief obstacle to understanding arises from our bad habit of always looking at the map with the North side up. Why this inveterate apotheosis of the North? Would you understand the old Hindoos, you must turn the map of India very nearly upside down, so as to get Peshawar at the bottom, and the Andaman Islands exactly at the top. And then, history lies all before you, right side up, and you get your intellectual bearings, and take in the early situation, at a glance. Entering, like those old nomads, through the Khaibàr, you find yourself suddenly in the Land of Streams: and as you drift along, you go, simply because you must, straight on, down the River "ganging on" (Gangá) towards the rising sun, "ahead," (which is the Sanskrit term for East,) all under the colossal wall of Hills, the home of Snow, where the gods live, on your left (uttara, the North, the heights;) while on the South, (the right hand, dakshina, the Deccan) you are debarred, not by Highlands, but by two not less peremptory rebutters: first, by the Desert, Marusthali, the home of death: and then again, a little farther on, by the Forest of the South: the vast, mysterious, impenetrable Wood, of which the Rámáyana preserves for us the pioneering record and original idea, with its spell of the Unknown and the Adventure (like the Westward Ho! of a later age) with its Ogres and its Sprites, its sandal trees and lonely lotus-tarns, its armies of ugly little ape-like men, and its legendary Lanka (Ceylon) lost in a kind of halo of shell-born pearls, and gems, and their Ten-headed Devil King, Ráwana, away, away, at the very end of all: so distant, as to be little more than mythical, little better than a dream. No! Those who wish to see things with the eyes of old Hindoos must not begin, as we did, and do still, with Ceylon, and the adjacent coasts of Coromandel and Malabar. That is the wrong, the other end: it is like starting English history from "the peak in Darien."

But our particular concern, in these pages, is with the Desert. The conventional notion of a desert, as a colourless and empty flat of sand, is curiously unlike the thing itself, which is a constantly changing, kaleidoscopic sea of colour, made up of rainbow stripes, black, golden, red, dazzling white, and blue, with every kind of lights and shadows, strange hazes, transparencies, and gleams. True, the ground you actually tread upon is bare: but it is clothed with raiment woven by that magic artist, Distance, out of cloud and heat and air and sky. And so, when these old Hindoo people came to make a closer acquaintance with the Desert, so dangerous to enter, so difficult, as Mahmood subsequently found, to cross, they discovered, that over and above the plain prosaic danger, this Waste of Sand laid, like a very demon, goblin snares for the unwary traveller's destruction, in the form of its Mirage. Ignorant of "optical phenomena," they gazed at this strange illusion, these phantom trees and water, these mocking semblances of cities that vanished as you reached them, with astonishment, and even awe. It struck their imagination, and they gave to it a name scarcely less poetical than the thing: calling it "deer-water," or the "thirst of the antelope."[1] Nor was this all. For the apparition was a kind of symbol, made as it were expressly for their own phenomenology: it contained a moral meaning that harmonised precisely with all their philosophical ideas. What could be a better illustration of that Máyá, that metaphysical Delusion, in which all souls are wrapped, which leads them to impute Reality to the Phantasms, the unsubstantial objects of the senses, and lures them on to moral ruin as they wander in the waste? And accordingly, we find the poets constantly recurring to this thirst of the gazelle, as an emblem of the treacherous and bewildering fascination of the fleeting shadows of this lower life (ihaloka;) the beauty that is hollow, the Bubble of the World. And thus, Disappointment is of the essence of Existence: disappointment, which can only come about, when hopes and expectations have been founded on a want of understanding (awiweka;) a blindness, born of Desire, that sets and keeps its unhappy victims hunting, in vain, for what is not to be found.

Especially, essentially, in love: love, which has its origin in Dream, its acme in Ecstasy, and its catastrophe in Disillusion: love, which is life's core and kernel and epitome, the focus and quintessence of existence. A life that is without it has somehow missed its mark: it is meaningless