Mādhav abiding day after day in my house?
Just so much as the wicked moon annoyed me before,
Even so much was the joy when I saw my darling's face.
Even if I might fold in my wimple the best of treasures,
I would not let go my beloved into a far-away land:
A shawl in the winter is my beloved, a gentle breeze in
the summer,
My dear is a shelter from the storm, and a boat on the river.
_Vidyāpati says: Lo, lovely lady,_
_The grief of the goodly endures not for ever._
CXXXII.
_Rādhā:_ The hurt that the Lord of the Seasons erstwhile did me,
All has departed at sight of Hari's face!
All hopes and desires that were in my heart,
All are achieved in my Lover's kindness.
When I lay in His arms every hair of my body was glad,
In the dew of His lips my grieving melted away:
Fate has fulfilled the hope of all the days of my life,--
From bending my eyes upon Him I know no rest.
_Vidyāpati says: There is grief at an end,_
_No sickness remains when the cure has been found._
CXXXIII.
_Sakhī:_ Fate is now friendly for ever more!
Each on the other's countenance gazing, twain are rapt--
Each in the other's arms the other enfolds--
Twain are the mouths contented each with the nectar of
other's lips.
Twain are the bodies a-tremble at Madan's behest,
The jingle of jewels is heard again in the house!
_What more should I say, Vidyāpati asks:_
_So as their love is, so is their loving._
CXXXIV.
_Sakhī:_ Rare was that meeting of one with the other,
The grief of disunion vanished afar:
He has taken her hand and put her down on the painted seat,
The jewel-Shyāma disports with the jewel-damsel!
In many wise playing with diverse delights,
The bee, as it were, with the lotus delaying:
Eyes upon eyes and face upon face,
A chorus of twain entranced by each other's perfections!
_Vidyāpati says: The Lover is rapt,_
_The Love-thief has conquered the Triple Worlds!_
CXXXV.
_Rādhā:_ A mirror in hand, a flower in my hair,
Surm of my eyes, tāmbūl of my mouth,
Musk on my breast, a necklace about my throat,
All the gear on my body, the life of my house.
Wings to the bird, and water to fish,
Life of my life--I know Thou art these--
But tell me, O Mādhav, what art Thou in sooth?
_Avers Vidyāpati: Each is both._
CXXXVL.
_Rādhā:_ What would you ask of my feelings, my dear,--
Can I expound such love and affection
As are moment by moment transformed?
From the day of my birth I have seen His beauty,
And yet are my eyes unsatisfied:
My ears have continually heard His honeyed speech,
But I have not attained the path of audition.
Many a night have I passed in play,
And never have learnt what is dalliance:
Myriad aeons I held Him close to my heart,
And yet no rest has reached that heart.
How many a one tormented and passion-tost
I have seen--without seeing!
_Vidyāpati says: For your heart's ease_
_You have met with One who is nonpareil._
CXXXVII.
_Kavi:_ Hearken, O Mādhava, what more can I say?
Nought can I find to compare with love:
Though the sun of the East should rise in the West,
Yet would not love be far from the worthy,
Or if I should write the stars of heaven on earth,
Or if I could pour from my hands the water of all the sea.
_Vidyāpati says: O Shivasimha Rāi,_
_To abandon the loving is ever unmeet._
CXXXIII.
_Kavi:_ Frenzied tresses encircling her radiant face--
It is Rāhu desiring the orb of the moon:
Flowers of her hair with her necklace entwined,
As the Jamunā joins with the waters of Gangā.
The twain beyond speech are out of all reason,
The loveling disports with most ardent passion:
Eagerly fair-face kisses love-face,
The bending moon drinks up the lotus.
Her face is adorned with a bead of sweat--
Madan has offered a pearl to the moon:
Long is the necklace that hangs on her breasts--
It is pouring its milk into golden jars.
The chains on her hips are loudly jingling--
Madan is sounding pæans of conquest.
_Vidyāpati says: O amorous lady,_
_Your skill in love's lore surpasses my speech!_
END.
NOTES
DRAMATIS PERSONAE
ELUCIDATIONS
BIRDS, BEASTS AND FLOWERS
ILLUSTRATIONS
TEXTS
DRAMATIS PERSONAE
The poems voice the thoughts or represent the spoken words of Rādhā and
Krishna, of sakhīs (Rādhā's friends) and dūtikās (messengers of Rādhā or
Krishna), and of the poet himself The greater part of the whole is
properly dialogue, but inasmuch as the 'audience' is generally silent,
we have only thought it necessary to make use of quotation marks where
the words of more than one speaker are reported in one and the same
song.
The following synonyms of Krishna are used by Vidyāpati: Hari, Mādhava,
Kāna, Kānu, Kānta, Kanāi, Murāri, Murali, Banamāli, Shyāma, Vallabha,
Giridhara, Gokula-nātha, Nanda-kumara,--and the following of Rādhā:
Rādhikā, Rāi.
As regards the use of capitals: 'Love' is so printed when the poet
refers to love as a Power (Kāmadeva, Anaʼnga, Pañca-bān, Madan,
Manmatha), and 'Desire' is similarly printed with a capital when the
reference is to desire as a Power (Rati, the wife of Kāmadeva).
In the use of pronouns refering to Krishna, we have only occasionally
printed a capital 'He,'--for though He was God, he appeared to Rādhā
as man. We have generally used the colloquial second person plural, in
place of the thee and thou of the original, since to reproduce the
original would not convey the needed intimacy of the French
'_tutoyer_': but in few cases it seemed better to adhere to the
singular.
ELUCIDATIONS
KRISHNA PŪRBBARĀGA
The First Passion of Krishna
I
Rādhā first seen:
_'She was a phantom of delight_
_When first she gleamed upon my sight.'_
Wordsworth.
2. 'Unstained,' literally 'without antelope.' Indian fancy sees in the
moon's markings, not a 'man in the moon,' but an antelope (or a hare).
Rādhā is flawless, and so lovelier than the moon itself.
4. 'Sūrm,' viz. _añjana_, otherwise rendered as kohl or collyrium,
with which the lower eyelid is blackened.
10, 11. A woman's throat is commonly compared to a conch. The Shambhu
(Shiva-lingam) is the nipple (cf. Nos. XVI, LXVI). The poet suggests
that Rādhā's pearl necklace seems to be an ambrosial offering to Shiva,
made by Kāmadeva, using the sacrificial vessel of Rādhā's conch-like
throat (cf No. LI, 12).
12, 13. _'Hevene y tolde al his_
_That o nyght were hire gest.'_
II
Rādhā excels the sources of her charms in every quality, so that each is
put to shame. Cf. _Prema Sāgara_, Ch. LXIII, and
_'Straighter than cedar, brighter than glass;_
_More fine in trip than foot of running roe . . ._
_Fresher than poplar, smaller than my span._
Shep. Tony (in 'England's Helicon').
4. 'Olifant,'--the elephant is commonly regarded by those least
familiar with him, as a clumsy animal, probably on account of his size
and weight. For the eastern poet he symbolises strength, grace and
symmetry. The old form 'olifant' is therefore used here as if to restore
him to his true position by a slight suggestion of mystery.
"The soft and graceful gait of an Indian woman is likened to that of an
elephant; and in the East, where a woman's garments permit freedom of
movement and sympathetic co-operation of the muscular system this is an
apt comparison. In the West the natural swing of the hips, only possible
in conjunction with the free, lithe play of the muscles of the foot and
torso, is restricted and becomes jerky . . . The elephant has an exquisite
sense of balance and most supple joints, and can even make obeisance with
profound dignity."
F. H. Andrews, _Journal of Indian Art_, X, 52. See also Max
Muller,_S.B.E._, Vol. XI, p. 46, note 2.
11. To save the Worlds, Shiva drank up the poison that appeared at the
churning of the Ocean, whence his throat is stained blue. The poet
suggests that despair at the sight of Rādhā's beauty was the real cause
that Shiva drank.
III
6. "The _Khanjana_ (wagtail) eyes are characterised by their playful
gaiety." (A. N. Tagore, _Some notes on Indian Artistic Anatomy_,
Calcutta, 1914). The 'snakes' are the lines of collyrium drawn on each
lower-lid.
8. _Lomā-latā-bāli_, lit. 'down-vine-wreath,' here compared to a half
suffocated snake, to suggest the depth of Rādhā's navel. Garuḍa is the
enemy of all snakes. The _lomā-latā-bāli_ is often indicated in Orissan
sculpture (e.g. _Viśvakarma_ LV) by a slight furrow extending upwards
from the navel. See also LI, 17.
12. The Indian Eros is armed with five arrows, from which he sometimes
takes the name Five Arrows (cf. No. CXX). Here it is suggested that Love
with Three Arrows slew the Three Worlds, and gave the two others to
Rādhā's eyes, that the slain might be slain again.
The Three Worlds, constantly alluded to are _Svarga_, _Mata_ and
_Patal_,--Heaven, Earth and Underworld.
17. The well of love: by 'maidens about the village well,' we can hardly
doubt that the poet intends to signify the souls of men, attracted to
the source of Eternal Life.
18, 19. The names of the poet's patron and his queen are constantly
introduced in the refrains.
IV
_'Oh woe is me, that ever I did see_
_The beauty that did me bewitch.''--_
John Forbes, 1661.
VI
1. 'Cowdust-time,' viz. evening, when the cows are driven home: a
favourite subject of Pahārĩ painters.
5. _'Tis not the linen shows so fair_
_Her skin shines through and makes it bright.'--_
Anon. (1671).
8. 'Lord of the Five Gaurs'--the Panjab, Kānoja, Bengal, Darbhangā,
Orissā. The sway of the Princes of Gaur was of course far less extended
than this in Vidyāpati's day. The term is complimentary: see Dinesh
Chandra Sen, Bengali Language and Literature, p. 290.
VII
1. 'Milk-white,' a free rendering of '_nanuñga-badanī_': _nanuñga_,
modern _nanī_, is a preparation of milk, not exactly curd.
_'Whiter far than Moorish milk.'_
Richard Braithwait.
IX
7. '_Cakravākas_,' birds (_Anas casarca_), of which the pairs are said
to separate at night, for example, to sleep on opposite sides of a
river.
X
This is one of Vidyāpati's most renowned poems, and a favourite subject
of Rājput painters.
XI
1. The bank of the Jamunā, or the steps of a bathing ghāt. Jamunā bank
in Vaishnava literature stands for this world regarded as the constant
meeting place of Rādhā and Krishna where amidst the affairs of daily
life the soul is arrested and beguiled to her (worldly) undoing.
12. It is a popular tradition that the partridge (_cakora_) is in love
with the moon and lives on the moon's rays. (Cf. XXV, 5).
XII
7. A favourite motif of Indian poets. When the day lotus closes at dusk,
the thoughtless bee intent on honey is made a prisoner.
XIV
2. Rādhā's feet do not touch the ground, but are upborne by lotus
flowers that spring up beneath them. Thus Rādhā is very tenderly
represented as divine. Every footfall finds a lotus-footstool,--which
is a constant convention of Buddhist and Hindū art. The lightness of her
step is also suggested.
8. Called 'water-lily' eyes "for the calm repose of their drooping
lids." (Tagore, loc. cit.).
RĀDHĀ BAYAHSANDI
The Growing-up of Rādhā
XVI
3. Her eyes are elongated just when she grows up: or possibly the poet
means that she then first artificially extends their length with a line
of collyrium.
14. 'Mahesha,' i.e. a Shiva-lingam, Cf I, 11, and LXVI, 10.
XVII
1, 2. Sometimes she flashes sidelong glances, sometimes she veils her
face.
XIX
8. _'And vital feelings of delight_
_Shall rear her form to stately height._
_Her virgin bosom swell.'_
Wordsworth.
9, 10. The attraction of music for deer is a favourite motif of Rājput
paintings, particularly in the representation of certain rāgiṇīs (Torī,
etc),--see Coomaraswamy, '_Arts and Crafts of India and Ceylon_,' fig.
78. In another poem Vidyāpati has:
For when she hears love's language spoken,
She turns away her eyes,--and lends her ears.
RĀDHĀ PŪRBBARĀGA
The First Passion of Rādhā
XXI
4, Lit. 'That he wears a yellow garment is the lightning's streak.'
6. The peacock plume, Krishna's constant headdress, beside his
moon-face.
XXIII
3, 7. 'Strings of moons,' i.e. toe-nails and finger-nails.
5. The yellow dhoti round his legs, the 'tamāl-shafts.'
8-12. Krishna's lips, nose, eyes and hair.
XXIV
The flute of Krishna is the call of the Infinite, 'the sound of the
camel-bell,' the 'sword' of 'I come to bring not peace, but a sword.'
3. Lit. 'Suddenly (or forcibly) it takes its seat in my ears,' cf.
_'Every moment the voice of Love is coming from right and left.'_
Shamsi Tabrīz (Nicholson, IX).
11. _'When the strings of thy robe are loosed by the intoxication of
love.'_
Shamsi (Nicholson, I).
SAKHĪ-SHIKSHĀ-BACANĀDI
The Counsel of Girl-friends (Sakhīs)
XXX
'Artless,'--_mugadhini_. Svakīya heroines are classified according to
their experience, as _mugdhā_, inexperienced, _madhyā_, more
experienced, and _pragalbhā_, fully mistress of love's art (e.g.
Rudraṭa, _Kāvyālaṅkara_, XII, 17: _Sāhityadarpaṇa_, 97,98, _Daśarūpa_
11,25). _Mugadhini_ has also the signification of 'fond,' 'lovesick,'
as in XXII, 2 (_mugadha nārī_).
PRATHAMA MILNA
First Meetings
XXXIII
_'A honey-comb and a honey-fower_
_And the bee shall have his hour.'_
Rossetti.
XXXV
4. The day-lotus closes and fades at night and in the moon's rays; Rādhā
is the lotus, Krishna the moon, as also in XLII, 8.
XXXVI
7-10. _'Sweet reward for sharpest pain.'_
Sir Philip Sydney.
12. 'Artless 'or 'innocent,'--_mugadhini_, as in XXX, 1 and again in
XXXVII, 10.
XXXVIII
12. _Lit._ Happy is she that can look on him unmoved.
XXXIX
2. Rādhā knows and fears that she will yield to Krishna's wooing.
14. Rāhu, demon that swallows the moon at each eclipse. Cf. CXX, 10 and
CXXIII, 3.
XL
Mark the contrast between Krishna's memories of the night, and Rādhā's.
XLII
12. The Indian woman's purse is a knot tied in her _sārī_. The suggestion
is that of the uselessness of tying up the treasure which the thief has
already seen.
XLV
3. Cānūra, a wrestler in the service of Kaṅs, slain by Krishna (CF _Prema
Sāgara_, Chs. XLIV, XLV).
XLVI
5. Cf. The following _dohā_, the text of a Pahārī drawing:
_'Jyoṅ jyoṅ parasai Lāla tana tyoṅ tyoṅ rākhata gō, ē_
_Navala bāla ḍara Lāla-kai indabadhu-sī hū, ē_
'The more that Lāla touches her body, the more she curls up her body,
The tender girl, afraid of Lāla, becomes, as it were, a woodlouse!'
XLVII
4. The Pairs of Opposites, as also in No. LXII.
XLVIII
2. 'A wife,'--the original signifies 'woman' or 'wife.' In any case, the
reader will observe (Nos. LXXX, LXXXVI and CXVII) that Vidyāpati writes
of Rādhā as a _svakīya_ heroine, whereas a majority of Vaishnava
writers further emphasize the conflict between Love and Duty by making
her _parakīya_, the wife of another. But as Rādhā's was at best a
Gāndharva marriage (according to Vidyāpati's indications), ratified at
first only by mutual consent (as in the case of Shakuntalā), and
willingly accepted by the family, we should perhaps call her _anūdha_
(unmarried) rather than _svakīya_ (_Vāgbhaṭālaṅkāra_, V, 12,13). It is
the yielding before or without marriage which Rādhā often speaks of as
her shame and sin, and for which she is blamed by her family. None the
less, much of what is here related is quite true to everyday Indian
life, where courtship normally follows marriage, and public flirtation
is always considered disgraceful.
ABHISĀRA
(Rādhā's) Going-forth (to visit Krishna)
The Abhisārikā heroine is one who goes from her home to visit her
belovèd, careless of danger or shame. The Abhisārikā is a favourite
subject of Pahari painters (see Coomaraswamy, '_Journal of Indian Art_,
October, 1914). An English example in John Davidson's 'A Ballad of a
Nun.'
LIV
5-8. _'Teeth of pearl, the double guard_
_To speech, whence music still is heard.'_
Carew.
11, 12. See note to 1, 2.
VASANTA LILA
Dalliance in Spring
LVI
Cf. the extract from Kālī Krishna Dasa's _Kāmini Kumāra_, translated in
Dinesh Chandra Sen's _Bengali Language and Literature_, p. 688.
8. _Pañcam_--the dominant. Also in CV, 2. The pitch of each of the seven
notes "was originally determined by the rishis of the forest from the
sounds of various Birds and Animals uttered at particular seasons and
times. . . Pā is the note sounded by the Kokila, the Indian nightingale,
at springtime, when after a silence of six months it hails the brightest
period of the year and tastes the first sprouts of the new season with
an ebullition of joy"--Chinnaswami Mudaliyar, _Oriental Music_.
10. 'Twice-born,' epithet equally of Brāhmans and birds. The sense is
that in this Nature-festival the birds performed the 'the most solempne
servise' of the officiating priests.
LVII
14. 'For ever and for ever'--since the Krishna Līlā is eternal.
LIX
2. _Rāsa_, the circular dance of Krishna with the _gopīs_ (herd-girls),
wherein his form was multiplied and became many; thus described in the
_Prema Sāgara_, and often represented in Rājput drawings, and
constantly acted in the _Rās-līlā_--
_'Two and two the gopīs held hands and between each pair was
Hari their friend. . ._
_Gopi and Nanda-kumara alternate, a round ring of lightnings
and heavy clouds,_
_The fair Braj girls and the dusky Krishnas, like to a gold
and sapphire necklace._
The _Rās Maṇḍala_ thus described is the exact equivalent of the
'General Dance' to which (in a well-known mediæval carol, 'To-morrow
will be my Dancing Day') Christ invites the souls of men,--for the words
of the carol see G. R. S. Mead, in 'The Quest,' October, 1910.
8. _Vasanta Rāg_.
9. Cf. _Indian Drawings_, II, PI. 2.
MĀNA
Wilfulness
This affection of a heroine is something compound of pride, disdain,
offense and coldness: a hardening of heart (cf. _hṛdaya-granthih_). The
soul's contraction though the voice of God is heard,--she will not open
her doors.
LXII
3. The Pairs of Opposites, cf. No. XLVII, 4.
LXIII
This is most typical Vaishnava poetry, in one breath blaming Krishna's
wiles and proclaiming Him One without second. The note of blame is
specially characteristic. In the _Prema Sāgara_:
_'He forsakes goodness; He accepts badness: deceit is pleasing
to Him!'_
In Tagore's King of the Dark Chamber:
_'Well, I tell you, your King's behaviour is--mean, brutal,
shameful!'_
In the _Krishna_ of 'A.E.'
_'I saw the King pass lightly from the beauty that he had betrayed._
_I saw him pass from love to love; and yet the pure, allowed
His claim_
_To be the purest of the pure, thrice holy, stainless, without
blame.'_
6. The golden jar is Krishna's body.
12, 13. All love is one, though you may reject it,--sacred or profane:
_'Cowl of the monk and bowl of wine, how shall the twain by
man be wed'?_
_Yet for the love I bear to thee, these to unite I dare for thee.'_
Hafiz (translated by Walter Leaf).
Vidyāpati might have written (since Vaishnavas never used the Sufī
symbol of wine), 'Lust of the flesh and love of Thee . . . these to
unite I dare for Thee.'
LXV
7-9. Rādhā ignores a message from Krishna, sent through the priestess of
a Sun-shrine, to meet him at the temple.
LXVI
10, II. The nipple with its areola, compared to a Shiva-lingam with the
digit of the moon that Shiva wears in his hair. Cf. XVI, 10, 11.
LXVII
6. Lakshmī, consort of Vishnu and goddess of beauty and fortune.
LXIX
8, 9. This message implies, by the lock of hair that he would leave the
world as a shaven monk if Rādhā would not yield. Flowers and pān (betel)
are an 'olive-branch.' A blade of grass is sometimes held in the mouth
to swear by, and here means sincerity.
LXX
6. The sandal is the best of trees, the shālmāl the worst.
LXXI
10. Evidently a popular proverb--cf. 'The leopard cannot change its
spots.'
LXXII
3. Here the night-lily closing at dawn.
LXXIII
3. '_Jap-tap_: prayers, personal office, daily ritual,--(_japa_ or
offerings of water, _tapas_ or 'rule').
8. The moon is brother to the poison, since both were produced at the
Churning of the Ocean: a thief because he stole Tārā, the wife of
Brihaspati: vomited (unclean) because he escapes from Rāhu's jaws at
each eclipse; cruel because his rays are scorching fires to divided
lovers; slayer of lilies, because the day-lotus wilts at night; yet in
spite of these enormities, some merit makes him bright.
13. _Saba guṇa mula amula_: A thought akin to that of LXIII.
LXXIV
Rādhā is here the typical Khaṇḍitā Nāyikā who reproaches her lover when
he returns in the morning and has spent the night with some other flame.
6. _'He takes another girl on his knee_
_And tells her what he dosen't tell me.'_
LXXV
8. Fickle, like the 'rootless' of LXXIII, 13. _Lit._ 'His heart is the
essence of lightning.'
9-12. Here the thought approaches the prevailing motif of the _Gītā
Govinda_, where Rādhā is the higher self of man, and Krishna the self
entangled in the world of sensation.
18. _Rasa bujha'i rasamanta_: a pregnant epigram, valid equally in love
and art.
MĀNĀNTE MILNA
Reunion after Wilfulness
LXXVI
4. 'Might not bend,' _lit_. 'was like a _stambha_,' a monumental
pillar.
LXXIX
The lovers are mixed like milk and water.
LXXX
2. 'Spell,'--_sādhanā_.
8. Inasmuch as being a religious mendicant, he could not be refused.
LXXXI
4. _Gañja_-seeds (_Abrus precatorius_), used by jewellers as weights.
8, 10. Rādhā complains that she has cast her pearls before a monkey; but
the poet retorts by the insinuation that Rādhā has given Krishna betel
from her own mouth (as lovers do) and says that for betel to issue from
a monkey's mouth is at least as strange as to see a necklace of pearls
on a monkey's neck.
LXXXII
6. _'Phillis' closed eyes attracts you her to kiss,'_
Francis Pilkington, 1605.
_'She lay still and would not wake,'_
Campion and Rosseter's Book of Airs, 1601.
9, 10. Such exchange of gear, when it amounts to a complete disguise of
lover as belovèd, belovèd as lover, is known as _Līlā-hāva_. A familiar
English parallel is the London coster lovers' habit of exchanging hats,
when out for dalliance on Hampstead Heath; here also the original or
sub-conscious motif is a sense of indentity.
_Rādhā Hari Hari Rādhā-ke bani-āe sanketa--_
The station of Rādhā becoming Hari and Hari Rādhā: is a not infrequent
subject of Pahārī paintings.
LXXXIII
10, Ratipati, the Lord of Rati, Madan, Love.
15. For this gesture, see 'Journal of Indian Art,' No. 128, fig. 3.
LXXXIV
6. i.e. 'I could have sunk into the earth with shame.'
8. The poet overlooks that no snow settles on the southern hills.
LXXXV
2. The stain: see note to XLVIII, 2.
6. Yaduvīra, Hero of the Yadus, Krishna.
14. The poet insinuates that Rādhā could have escaped from Krishna's
gaze had she wished; just as the Kāshmīrī paṇḍitānīs bathing naked, slip
from the river-bank into the water while the traveller's boat is
passing.
LXXXVI
1. Mother-in-law: see note to XLVIII.
Even as a wife, such dalliance before a mother-in-law would be contrary
to all decorum; thus the mother-in-law represents, as it were, the cares
of this world, whereby the soul is prevented from yielding herself,--and
hence Vidyāpati's disappointment.
LXXXVII
2. Skirt, _ghagari_, not now a separate garment, but that part of the
_sārī_ which forms a skirt. But in Vidyāpati's day the costume of
Bengālī women seems to have been that of Western Hindustan (skirt,
bodice and veil), familiar in Rājput paintings. In this case the
_nībībandha_ (see Introduction p. 11), is actually the skirt-string,
and the translation as 'zone' or 'girdle' is not inappropriate, nor that
of _añcala_ as 'wimple' or 'veil.'
LXXXVIII
8. Like the 'neither within or without' of Bṛhadāraṇyaka Upanishad, IV,
3, 33: 'beyond the striving winds of love and hate'--Wilfrid Wilson
Gibson.
LXXXIX
10. With such a tempest, as when Jove of old
Fell down on Danäe in a storm of gold--
Carew.
XC
4. _Tilka_, the vermilion brow-spot.
7. Hari-Hara, God as equally Vishnu and Shiva: see _Prema Sāgara_, Ch.
LXXXIX, also Havell, _Indian Sculpture and Painting_, PI. XXVI.
14. Vidyāpati's Master: Krishna.
XCII
Rādhā presumptuously claims for herself alone the love that is given to
all that seek it. This song would be more appropriately included under
the heading 'Māna.'
3. _Kadamba_, (_Anthocepalus cadamba_, Mig.) the tree most associated
with Krishna, beneath which he stands and plays his flute and dallies
with the milk-maids.
XCIII
Rādhā is here the typical Abhisandhitā Nāyikā "who repulses her lover
just when he seeks to soften her pride, and suffers double grief when he
is no longer beside her" (Keśava Dāsa).
ĀKSHEPA ANUYOGA O VIRAHA
Reproaches, Lack and Longing