Collection of Ji Xianlin: Volume 15: Translation of Sanskrit and Other Language Literary Works (I)

Author: Chief Editor: Xiong Yang
Publisher:
Publishing Date: 1998-06-01
Features: Preface to the "Ji Xianlin Collection" The "Ji Xianlin Collection" began to be edited and published in 1992. It includes the author's works to date, including creative writings, reviews, essays, monographs, and translations. Based on content or literary genre, the "Ji Xianlin Collection" is temporarily divided into the following twenty-four volumes: Volume 1: Prose (I); Volume 2: Prose (II); Volume 3: Ancient Indian Languages; Volume 4: Sino-Indian Cultural Relations; Volume 5: Indian History and Culture; Volume 6: Chinese Culture and Eastern Culture; Volume 7: Buddhism; Volume 8: Comparative Literature and Folk Literature; Volume 9: The History of Sugar (I); Volume 10: The History of Sugar (II); Volume 11: Translation and Interpretation of the "Maitreya Meeting in the Loom" in Tocharian; Volume 12: Tocharian Studies; Volume 13: Prefaces, Postfaces, Miscellaneous Writings, and Others (I); Volume 14: Prefaces, Postfaces, Miscellaneous Writings, and Others (II); Volume 15: Translations of Sanskrit and Other Language Literary Works (I); Volume 16: Translations of Sanskrit and Other Language Literary Works (II); Volume 17: The Ramayana (I); Volume 18: The Ramayana (II); Volume 19: The Ramayana (III); Volume 20: The Ramayana (IV); Volume 21: The Ramayana (V); Volume 22: The Ramayana (Part 6, Upper); Volume 23: The Ramayana (Part 6, Lower); Volume 24: The Ramayana (Part 7). Except for the prose and translation volumes, the articles in the other volumes are arranged in chronological order based on their writing or publication dates. Some personal names, place names, country names, and terms in the articles differ in translation across different periods; some punctuation marks and numerical usage also differ from current standards. To preserve the original form, no uniform adjustments have been made. All works in the "Collection" have been carefully proofread this time, mainly including correcting traditional characters, variant characters, printing errors, and punctuation marks, standardizing the usage of terms, and verifying citations. For some citations that are difficult to locate in China, we had to leave them for future correction when the opportunity arises. For articles with repeated content, only the most complete and detailed one is retained, while the rest are omitted. Although we have made our utmost effort in collecting the articles, omissions are inevitable. If any omitted articles are found in the future, they will be included along with the author's new works. We sincerely hope for the readers' guidance and assistance. The Editing Committee of the "Ji Xianlin Collection" December 1994 Excerpt: Like withered leaves covering flowers. Even if this bark garment does not match her youth, as a decoration, it is still beautiful. Although entangled by the world [9], the lotus remains lovely. The shadows in the moon, though dark, enhance its brilliance. This charming woman, even in a bark garment, is still captivating. What cannot adorn a graceful figure? Shagunanda (Look forward)! The tender branches of that small mango tree sway in the wind like little fingers, as if calling me. I go to greet it. (Do so.) Biriabodha friend, Shagunanda! Then you stand here for a while! Shagunanda Why? Biriabodha, if you stand before it, it seems to have vines as its protector. Shagunada You truly deserve the name "Biriabodha" [10]. The king Biriabodha speaks the truth. Because her lower lip is as vibrant as a bud, her arms as soft as young branches, charming youth radiates from her limbs like flowers. Anusuya friend, Shagunada! This small jasmine, which you call "Light of the Forest," has willingly become the wife of the mango tree. Shagunada (Approaching, happily) Friend Anusuya! It is truly lovely how plants embrace and marry each other in pairs! This small jasmine displays its youth with fresh flowers, and this mango tree, full of fruit, also finds joy in itself. (Stands there watching.) Biriabodha (Smiling) Anusuya! Do you know why Shagunada is so intently gazing at this "Light of the Forest"? Anusuya I don’t know. Please tell me! Biriabodha She is thinking that this "Light of the Forest" is connected with a tree that suits it, and she also hopes to find a husband who pleases her. Shagunada You yourself are thinking this way. (Turns the water pot upside down.) Anusuya friend, Shagunada! This ivy here is like you—it was also personally cultivated by our father, Dambodha. Yet you have forgotten it. Shagunada Then I will forget myself too. (Approaching the ivy, looking happily) Ah, how strange! How strange! Biriabodha! I have something good to tell you. Biriabodha friend, what good news? Shagunada The season is not yet here, but this ivy is already full of flowers from top to bottom. The two young women (run over quickly) Friend! Indeed, indeed. Shagunada Indeed. Why didn’t you see it? Biriabodha (Looking happily) In return for your kindness, I can tell you some good news: your wedding is approaching. Shagunada (Angrily) That’s just your imagination. Biriabodha I am not joking. Our father, Dambodha, told me personally: This omen means your good fortune is coming soon. Anusuya Biriabodha! That’s why Shagunada is so devotedly tending it. Shagunada Because this ivy is my sister, how could I not water it? (Turns the water pot upside down to water it.) The king This girl may be the daughter of a mother of a different caste from her father. But I might be mistaken. She can undoubtedly marry a Kshatriya [11]. I am completely carried away by her. If reason cannot decide on something, the inner wish of a good person is a standard. In any case, I must learn more about her background.