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diff --git a/38174-0.txt b/38174-0.txt new file mode 100644 index 0000000..8c86b8e --- /dev/null +++ b/38174-0.txt @@ -0,0 +1,5397 @@ +Project Gutenberg's Vidyapati Bangiya Padabali, by Vidyapati Thakura + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Vidyapati Bangiya Padabali + Songs of the love of Radha and Krishna + +Author: Vidyapati Thakura + +Translator: Ananda Coomaraswamy + +Release Date: November 30, 2011 [EBook #38174] + +Language: English + +Character set encoding: UTF-8 + +*** START OF THIS PROJECT GUTENBERG EBOOK VIDYAPATI BANGIYA PADABALI *** + + + + +Produced by James Simmons + + + + +VIDYĀPATI + + +VIDYĀPATI: BANGĪYA PADĀBALI + +SONGS OF THE LOVE OF RĀDHĀ AND KRISHNA TRANSLATED +INTO ENGLISH BY ANANDA COOMARASWAMY AND +ARUN SEN WITH INTRODUCTION AND NOTES AND +ILLUSTRATIONS FROM INDIAN PAINTINGS + + +LONDON: THE OLD BOURNE PRESS, + +15 HOLBORN, E.C. + +1915. + + +The whole creation will be consumed and appear infinite and holy, +whereas it now appears finite and corrupt. This will come to pass by an +improvement of sensual enjoyment. + + --_William Blake._ + +Be drunken with love, for love is all that exists. + + --_Shamsi Tabrīz._ + + + + + +TABLE OF CONTENTS + +INTRODUCTION + +KRISHNA PŪRBBARĀGA: The First Passion of Krishna + +RĀDHĀ BAYAHSANDI: The Growing-up of Rādhā + +RĀDHĀ PŪRBBARĀGA: The First Passion of Rādhā + +SAKHĪ-SHIKSHĀ-BACANĀDI: The Counsel of Girl-friends (Sakhīs) + +PRATHAMA MILNA: First Meetings + +ABHISĀRA: (Rādhā's) Going-forth (to visit Krishna) + +VASANTA LĪLA: Dalliance in Spring + +MĀNA: Wilfulness + +MĀNĀNTE MILNA: Reunion after Wilfulness + +ĀKSHEPA ANUYOGA O VIRAHA: Reproaches, Lack and Longing + +PUNARMILNA O RASODGĀRA: Reunion and the Flow of Nectar + +NOTES + + ELUCIDATIONS + + BIRDS, FLOWERS AND TREES + + ILLUSTRATIONS + + TEXTS + + CORRIGENDA + + + +INTRODUCTION. + +VIDYĀPATI THĀKUR is one of the most renowned of the Vaishnava poets of +Hindustān. Before him there had been the great Jāyadeva, with his Gītā +Govinda made in Sanskrit; and it is to this tradition Vidyāpati +belongs, rather than to that of Rāmānanda, Kabīr, and Tul'si Dās, who +sang of Rāma and Sītā. Vidyāpati's fame, though he also wrote in +Sanskrit, depends upon the wreath of songs (_pada_) in which he describes +the courtship of God and the Soul, under the names of Krishna and Rādhā. +These were written in Maithilī, his mother-tongue, a dialect +intermediate between Bengālī and Hindī, but nearer to the former. His +position as a poet and maker of language is analogous to that of Dante +in Italy and Chaucer in England. He did not disdain to use the +folk-speech and folk-thought for the expression of the highest matters. +Just as Dante was blamed by the classical scholars of Italy, so +Vidyāpati was blamed by the pandits: he knew better, however, than +they, and has well earned the title of Father of Bengali literature. + +Little is known of Vidyāpati's life[1]. Two other great Vaishnava poets, +Chandī Dās and Umāpati, were his contempories. His patron Rājā +Shivasimha Rūpanārāyana, when heir-apparent, gave the village of Bisapī +as a rent-free gift to the poet in the year 1400 A.D. (the original deed +is extant). This shows that in 1400 the poet was already a man of +distinction. His patron appears to have died in 1449, before which date +the songs here translated must have been written. Further, there still +exists a manuscript of the Bhāgavata Purāna in the poet's handwriting, +dated 1456. It is thus evident that he lived to a good age, for it is +hardly likely that he was under twenty in the year 1400. The following +is the legend of his death: Feeling his end approaching, he set out to +die on the banks of Gangā. But remembering that she was the child of the +faithful, he summoned her to himself: and the great river divided +herself in three streams, spreading her waters as far as the very place +where Vidyāpati sat. There and then he laid himself, it is said down and +died. Where his funeral pyre was, sprang up a Shiva lingam, which exists +to this day, as well as the marks of the flood. This place is near the +town of Bāzitpur, in the district of Darbhangā. + +Vidyāpati's Vaishnava _padas_ are at once folk and cultivated art--just +like the finest of the Pahārī paintings, where every episode of which he +sings finds exquisite illustration. The poems are not, like many +ballads, of unknown authorship and perhaps the work of many hands, but +they are due to the folk in the sense that folk-life is glorified and +popular thought is reflected. The songs as we have them are entirely the +work of one supreme genius; but this genius did not stand alone, as +that of modern poets must--on the contrary, its roots lay deep in the +common life of fields and villages, and above all, in common faiths and +superstitions. These were days when peasants yet spoke as elegantly as +courtiers, and kings and cultivators shared one faith and a common view +of life--conditions where all things are possible to art. + +It is little wonder that Vidyāpati's influence on the literature of +Eastern Hindustān has been profound, and that his songs became the +household poetry of Bengal and Behar. His poems were adopted and +constantly sung by the great Hindū lover, Cāitanya, in the sixteenth +century, and they have been adapted and handed down in many dialects, +above all in Bengālī, in the Vaishnava tradition, of which the last +representative is Rabindranāth Tagore. A poem by the latter well resumes +and explains the theory of the Vaishnava lovers:[2] + + _Not my way of Salvation, to surrender the world!_ + _Rather for me the taste of Infinite Freedom,_ + _While yet I am bound by a thousand bonds to the wheel:_ + _In each glory of sound and sight and smell_ + _I shall find Thy Infinite Joy abiding:_ + _My passion shall burn as the flame of Salvation,_ + _The flower of my love shall become the ripe fruit of Devotion._ + +This leads us to the subject of the true significance of poems such as +Vidyāpati's. It is quite true, as Mr. Nicholson says, that students of +oriental poetry have sometimes to ask themselves, 'Is this a love-poem +disguised as a mystical ode, or a mystical ode expressed in the language +of human love?' Very often this question cannot be answered with a +definite 'Yes' or 'No': not because the poet's meaning is vague, but +because the two ideas are not at all mutually exclusive. All the +manifestations of Kama on earth are images of Pursuit or Return. + +As Vidyāpati himself says (No. LXIII): + + _The same flower that you cast away, the same you use in prayer._ + _And with the same you string the bow._ + +It is quite certain that many poems of Vidyāpati have an almost wholly +spiritually significance.[3] If some others seem very obviously secular, +let us remember that we have no right to detach such poems from their +context in books and still less any right to divorce them from their +context in life. + +We may illustrate this point by a comparison with poetry of Western +Europe. Take for example a poem such as the following, with a purely +secular significance (if any true art can be said to be secular): + + _Oh! the handsome lad frae Skye_ + _That's lifted a' the cattle, a'oor kye._ + _He's t'aen the dun, the black, the white._ + _And I hae mickle fear_ + _He's t'aen my heart forbye._ + +Had this been current in fifteenth century Bengal, every Vaishnava would +have understood the song to speak as much of God and the Soul as of man +and maid, and to many the former meaning would have been the more +obvious. On the other hand, there are many early medieval Western hymns +in which the language of human love is deliberately adapted to religious +uses, for example: + + _When y se blosmes springe,_ + _And here foules songe,_ + _A suete love-longynge_ + _Myn herte thourh out stong;_ + _Al for a love newe,_ + _That is so suete and trewe._ + _That gladieth al mi song._ + +Here the 'new love' is Christ. + +Finally, there are other Western lyrics, and very exquisite ones, that +could equally be claimed as religious or secular, for example: + + _Long ago to thee I gave_ + _Body, soul and all I have--_ + _Nothing in the world I keep._ [4] + +The Western critic who would enquire what such a poem meant to its maker +and his hearers must be qualified by spiritual kinship with him and with +them. Let us demand a similar qualification from those who propose to +speak of Oriental poetry: + + _Wer den Dichter will verstehen._ + _Muss in Dichter's Lande gehen,--_ + +if not in physical presence, at least in spirit. + +In ecstasy, man is beside himself: that this momentary escape from +'himself' is the greatest gift life offers, is a promise, as it were a +foretaste, of Release, warranting us that Nirvāna is something more than +annihilation. At the same time, be it well understood that such +ecstasies are not rewarded to those who are followers of Pleasure, nor +to those that cling to self-will. In Vaishnava literature this is again +and again emphasized. It is not till the ear ceases to hear the outside +world, that it is open to the music in the heart, the flute of Krishna. +If the objection is still made that our poet sings rather of human than +divine love,--and we do not deny that he worships physical beauty, +albeit the critics have told us that Rabīndranath Tagore is the first +Indian poet to do so,--we answer with him that Love is One, and we would +also quote the very splendid passage of the _Prema Sāgara_ where the doubt +is resolved, "How could the love of a certain milk-maid have brought her +salvation, notwithstanding that her love for Krishna was paramours, and +she knew him not as God, but as man?" The answer is given as follows: + +Shri Krishna sat one moonlit night at the edge of a deep forest, playing +his flute with intent to lure the milk-maids from their homes. The Braj +girls could not rest nor resist the call, and abandoning the illusion of +family and the ties of duty, they hurried in confusion from their homes +to the forest. But one was seen and detained by her husband; yet she, in +the intensity of her absorption in the thought of Hari, abandoned her +body and was the first to reach Him. Perceiving the love of her heart. +He gave her final release. + +The king to whom the story has been thus far related, remarks that the +milk-maid did not worship Krishna knowing him to be God, but regarded +him as an object of sensuous desire, and asks, 'How then was she saved +by her love?' The answer is given that even they who worship Krishna +unawares obtain emancipation; just as the water of life makes the +drinker immortal, without question whether he knows or does not know its +virtue.[5] Should anyone with any purpose worship, he will be +emancipated. Shri Krishna was reverenced in many ways, and in each was +salvation obtained. Thus, "Nand, Yashodā and others knew him as a child, +the milk-maids as a lover, Kāns worshipped him by fear, the cowherds +called him their friend, the Pāndavas knew him as an ally, Shishupāl +worshipped him as a foe, the Yaduvamsīs thought him one of themselves, +the Yogīs, Yatīs and Munis meditated upon Him as God; but at last +everyone of these obtained deliverance. What wonder then if one +milk-maid by devotion to Him, was able to cross the sea of life,--to +reach the further shore?"[6] + +This pure humanism is the Vaishnava equivalent for: "Inasmuch as ye have +done it unto these, ye have done it unto Me," and "The worship of God is +. . . loving the greatest men best." + +We may also give here the Indian answer to the objection sometimes +raised respecting the morality of Krishna Himself,--much as the +Pharisees questioned the right of Christ to pluck the ears of corn. The +Bhāgavata Purāna in one place answers as Blake or Nietzsche might, that +_dharma_ is not the same for the great and the small. More than this, it +is a fault in logic to subject to ethical criticism a Power Who is by +hypothesis Infinite, beyond the Pairs of opposites. As Purnendu Narayan +Sinha expresses it: "Nothing that we know, nothing that we are composed +of, nothing that shapes our experiences, that causes our likes and +dislikes, limits Krishna. He is the absolute, for the relatives we know +of, or which we may even think of, have no place in Him."[7] And indeed, +this ought to be obvious to anyone that understands the language of +mythology; for the multiplication of Krishna's form in the circular +dance, and at Dvārakā, and the fact already alluded to, of His +accessibility in every form, are clear indications of His Infinity. It +is nowhere suggested that the illusion of family and the ties of duty +may be abandoned except in self-surrender to Him. + +It must also be remembered that the Krishna Līlā is not a historical +record (as Nīlakantha remarks, 'The narration is not the real point'); +His Līlā in Brindāban is eternal, and Brindāban is the heart of man. We +are thus concerned with ideas and symbols, and not with history. The +most that an objector could then adduce, would be to suggest that the +symbolism may be unwisely chosen, and may be misunderstood. I should +treat this objection with respect, and would agree that it may be valid +from the standpoint of the objector. But I do not think it is valid from +the standpoint of the lover. I would not even say, Let those who are +able to take this passionate literature only in a carnal sense (and we +have admitted that much of it has a carnal as well as a spiritual +sense), therefore ignore it; for if the worship of loveliness is not +Love, it is none the less a step on the way to Love. + +Again, however, it is not meant to imply that the pastoral and romantic +conditions indicated in Vaishnava literature do not exist, and have +never existed, anywhere in India. On the contrary, if India is the +classic country of lyrical poetry, this is because she is also the +classic country of love.[8] Love is certainly of more significance to +the Indian consciousness than to the European, and the Western fear of +voluptuousness is hardly known in the East. But just as beauty was never +in India glorified as an end in itself, so romantic love never obtained +there such hold and possession over life and art as it has in the West. +To put the same conclusion in other words, the Indian culture is +nowhere corrupted by sentimentality. The reason of this is to be found, +I think, in a wide-spread and deep-rooted consciousness of the principle +of Impermanence. It is just this consciousness of evanescence which +gives to the voluptuous and passionate art of Ajantā the spiritual +significance that is all the more impressive because of its sensuous +setting. Non-attachment is a greater quality than non-participation. +Where life is transparent, the enjoyment of life is never a spiritual +bondage. One might almost believe that to the Ajantā painters and the +Vaishnava poets had been granted the prayer of Socrates,--"O beloved +Pan, and all ye other gods of this place, grant me to become beautiful +in the inner man, and that whatever outward things I have may be at +peace with those within." + +A few words are needed to explain the method of translation. The +rendering is line for line, and often word for word, but whenever a +choice lay between expressing the letter and the spirit of the original, +the latter has been considered of the first importance. Vidyāpati +reflects a certain view of life: it is this, rather than the form of his +utterance, however perfect, that touches us most nearly. A single word +in the original is often rendered by two or three in the translation, +for the terseness of the Bengālī could rarely be repeated. +Notwithstanding that our translation does not pretend to be metrical, +much care has been taken with the phrasing, to make it readable: for it +would appear that alike in music and poetry, _rasa_ is more closely +bound up with phrasing than with a regular division into bars or +feet.[9] At the same time, a few examples of the original text are +quoted in the 'Notes,' in order to give the reader some idea of their +form. + +It should be noticed that the songs here translated are but a part of +Vidyāpati's _Bangīya Padābali_. Two hundred and two songs are given in +the edition of Kāliprasanna Kāvyābhisharad which we have chiefly used; +and there are over nine hundred in that of Shrī Nagendranath Gupta +published in Nāgarī character for H. H. the Mahārājah of Darbhangā,--to +whom I am indebted for a copy of the edition. The order of our versions +follows that of Kāliprasanna Kāvyābhisharad; the songs omitted are those +which are almost repetitions of those translated, or of which we could +not make a satisfactory rendering. + +It has been very difficult to find such words as can express Vidyāpati's +transparency. English since the Elizabethan age has grown poor in purely +lyrical words and idioms, for modern literature, like modern plastic art +or music, rarely deals with unmixed feelings. To present Vidyāpati in +English in a form at all comparable with the original, would require all +the facility and elegance of the Elizabethans joined to nearly all the +seriousness of the earliest English lyrics. I say nearly all, for +Vidyāpati is a very conscious artist, with a considerable sense of +humour; and though he is certainly far more serious than the elegant +Elizabethans, he is not in any sense a primitive. + +The rendering of certain words in the original demands a brief +explanation. _Sakhī_ (the _chetī_ of Mr. Bain's beautiful Sanskrit +imitations), meaning a girl-friend and confidante of the heroine, +usually used in the vocative, is translated as 'my dear.' _Dūtīka_, the +messenger or go-between, is a _sakhī_ or any woman who carries messages +between the lovers: but often, too, the poet himself is the messenger, +and in this case there is perhaps a conscious reference to the artist as +go-between God and the soul. The _gopīs_ are the milk-maids of Gokula, +of whom Rādhā is Krishna's beloved. + +_Añcala_, meaning the upper part of the _sārī_, thrown across the +breast and over the shoulder, also forming a head-veil, we have +translated, not quite accurately, as 'wimple,' for want of a better +word. _Nibibanda_, which means the knotting of the _sārī_ round the +waist, is rendered as 'zone' or 'girdle,' though it is not properly a +separate garment. + +The word _rasa_ can never be adequately translated into English, and +perhaps it should be adopted there as a loan-word, together with such +others as _karma_, _yoga_, _dharma_, _samsāra_, _nirvāna_. _Rasa_, +like the word 'essence,' has both a concrete and an abstract +significance; it has, amongst others, such meanings as juice, nectar, +essence, taste, flavour, savour, lust, and in an abstract sense, taste, +appreciation, passion, ecstasy, love and so forth. _Rasa_ is equally +the essential element in love and in art. It would be defined from the +Indian standpoint as an emotion provoked by the recognition of reality. +From _rasa_ are derived the two important words _rasika_ (a +connoisseur, lover), and _rasavanta_ or _rasamanta_ ('possessing +_rasa_' said either of an individual or of a work of art). + +It is a canon of Indian dramatic criticism, not only that _rasa_ is +unique, but that those only can experience rasa who are temperamentally +qualified to do so by virtue acquired in a former life,--_Poeta nascitur +nonjit_. All these associations give great weight to Vidyapati's +splendid aphorism: + + _Rasa bujha, i rasamanta_ + +'None knoweth love but the lover, none ecstasy save the ecstatic.' + +If we apply this to life and art, it means what Blake meant when he said +that enthusiasm is the first and last principle of criticism. + +It should not be forgotten that Vidyāpati's songs, like those of all the +Vaishnava poets--from Jayadeva to Rabindranath Tagore--were meant to be +sung; and as the latter says himself, "In a book of songs the main thing +is left out: to set forth the music's vehicle, and leave out the music +itself, is just like keeping the mouse and leaving out Ganapati himself" +('_Jiban-smrti_,' p. 148). The padas of Vidyāpati may still be heard on +the lips of Bengali singers, albeit often in corrupt forms. It may also +be noted that song was constantly illustrated by the conventional +language of descriptive gesture. We are able to partly compensate the +lack of this in reproducing the eleven illustrations from Indian +sources; for although not designed directly to illustrate Vidyāpati's +text, there is to be found in these an immediate expression of the same +ideas. A further account of all the illustrations is appended to the +'Notes.' + +Finally, in the matter of transliteration: since these versions are +intended rather for the _rasika_ than for the _pandit_, we have done +no more that mark the long and short vowels of Indian names and words +occurring in this Introduction or in the text. The reader will not go +far wrong if he pronounces such words as if in Italian. C has the the +sound of ch in _church:_ for ś and ṣ we have used sh throughout. + +It is by an inexcusable oversight that the poet's name has been printed +as Vidhyāpati throughout the text. (Transcriber's note: This has been +corrected). + + + ANANDA COOMARASWAMY. + +Britford, _December_, 1914. + + +[1] _What is here given is mainly derived from: G. A. Grierson, 'The +Vernacular Literature of Hindustan,' and Dinesh Chandra Sen, 'History of +Bengali Literature.'_ + +[2] _The Tarjuman al-Ashwāq_, 1911 _p_. 7. + +[3] _I do not here refer to the details of concrete symbolism (for which +see Purnendu Narayan Sinha, 'The Bhāgavata Purāna, a Study,' Benares, +1901), but to the common language of mysticism._ + +[4] _Translated by Henry Newbolt from the French of Wenceslas._ + +[5] _Thus the Hindūs hold that it is better to be the foe of God, or to +use His name in vain, than to live without knowledge of Him and without +speaking His name._ + +[6] _Prema Sāgara, Ch. xxx._ + +[7] _loc. cit. p. 302._ + +[8] _We have already mentioned the 'Gītā Govinda.' It needs scarcely to +be said that Indian lyrical poetry is of still older ancestry. The +reader of Kalidāsa's 'Shakuntalā' for example, will find there +innumerable parallels both to Vidyāpati's combined tenderness and +wisdom, and his quaint conceits. These parallels are so many that we +have made no attempt to mention them in the 'Notes' The same spirit, +too, is already recognizable in the lyrical passages of the 'Rāmāyana.' +All this is no more than to say that Vidyāpati is essentially and +typically Indian._ + +[9] _According to Hindu theory, Kāvya (poetry) includes both prose +(gadya-kāvya) and verse (padya-kāvya)._ + + + +KRISHNA PŪRBBARĀGA + + +I. + + +_Krishna:_ Some damsel I saw, supremely fair-- + A moon unstained, that slowly rose, + Or a golden vine. + + Eyes twin lotus-blooms, dyed with sūrm, + The playground of waves of love-- + Twin timid partridges, snared by Nature + With nought but a rope of collyrium! + + A garland of ivory-pearls caressed the burden + Of her mountain breasts-- + Kāma pouring celestial streams from a brimming conch + On a golden Shambhu! + + The sacrificer of a hundred offerings on a sacred shore + Were blest by such reward! + _Vidyāpati says: It is Gokula's lord._ + _The herd-girls' darling._ + + +II. + + +_Krishna:_ Your hair dismays the yak, the mountain sinks into the vale, + Fearing your face, the moon is fading in the sky, + The antelope is fearful of your eyes, your voice dismays + the koil. + Your gait alarms the olifant, he hides him in the wood: + + Why came you not for speech with me, fair may? + All these have fled afar in fear of you, + How then should you in turn fear me? + + Dismayed by your breasts, the unblown lily lingers under lake. + The globéd jar leaps into fire. + The honey-apple and the pomegranate abide aloft. + And Shambhu drinks his poison. + + Dismayéd by your arms, the golden lily-root leaves not the mud. + Affrighted by your fingers, the flower-stems are shivering! + _Vidyāpati asks: How many shall I cite_ + _Of spells of Love like these?_ + + +III. + + +_Krishna:_ Which of the gods this fair face fashioned? + Beauty-surpassing, heart's-bliss-granting, + Garland-victress of the Triple Worlds. + + The sun-bright eyes of her fair face + Are tricked with sūrm-- + Restless wagtails on a golden lotus, + At play with pitch-black snakes. + + The vine of down from her navel's well + Is a serpent thirsting for air: + Thinking in terror her nose is Garuḍa's beak + It hides in the valley of her bosoms' hills. + + Love with three arrows conquered Three World's, + Still two of the arrows remained: + Very cruel is Nature to slay the love-lorn, + Surrendering those to her two eyes! + + _Vidyāpati says: Hearken, fair maids_ + _Who haunt the well of Love:_ + _Rājā Shivasimha Rūpanārāyana_ + _And Lakshmī Devī be witness._ + + + +IV. + + +_Krishna:_ Why did that moon-face cross my path? + Just for one moment her eyes met mine, + Whose sidelong glance is all too keen: + An ill day that for me! + + My thoughts were set upon her breasts, + Love lay waking in my heart. + Her voice was ringing in my ears: + I would have gone, my feet refused to move. + + _The bonds of hope constrain me yet:_ + _Love is a tide, says Vidyāpati._ + + + +V. + + +_Krishna:_ Fair-face, red brow-spot, there-behind the heavy + jet-black hair-- + As if the sun and moon together rising left the night behind. + + Ah damsel fair! with what and what devoted care, + Has Nature given to you the utmost beauty of the moon. + + A grass green bodice binds your breasts, a glimpse is + only seen; + So jealously you cover them,--but never snow may hide + the hills! + + Dark sūrm decks your curving restless eyes. + As if the bees would rest their weight upon some + wind-bent lotus. + + _Hearken, young thing, says Vidyāpati; these charms, + you know them all,--_ + _Witness be Rājā Shivasimha Rūpanārāyana + and Lakshmī Devī._ + + + +VI. + + +_Krishna:_ She left the shrine at cowdust-time, passing gliding + Like a flash of lightning mated with a fresh cloud. + + Tender of age she was, a garland deftly woven: + A glimpse could not content my hope, but Love's fire + fiercer fanned. + + Bright was her body, shining under wimple with the + shene of gold: + Long locks, small middle, sidelong-glancing eyes. + + And softly smiling, pierced me with the arrows + of her eyes,-- + _Lord of the Five Gaurs, live for ever, says Vidyāpati!_ + + + +VII. + + +_Krishna:_ Laughing, talking, milk-white girl. + Nectar-showering as autumn moon at full: + + Jewel of beauty surpassing, passing before me, + Gainly of gait as olifant-king. + + Small was her middle as any lion's, her frail frame breaking + With the burden of the honey-apples of her breasts. + + Her lovely eyes shone white beside the sūrm that dyed them. + Bees, as it were, mistaking them for spotless water-lilies. + + _Says Vidyapati: The Lord of lovers_ + _Sorely tholes the sight of Radha's loveliness._ + + + +VIII. + + +_Krishna:_ I could not see her clearly: + Like a vine of lightning flashing from a wreath + of cloud, + She plunged an arrow in my heart. + + Half the wimple had slipped, half was her face in smiles. + Half a wave in her eyes: + Half of her bosom I saw, half of the wimple filling,-- + Love consumes me ever since. + + Bright was her body withal, and golden cups her breasts. + Her bodice, Love transformed: + My wits were routed,-- meseems this snare + Was set by Kāmadev. + + Pearl-teeth arow her lips did meet. + That murmured gentle words. + _Vidyāpati says: Grief haunts my heart:_ + _I saw her indeed, but hope was not sated._ + + +IX. + + +_Krishna:_ Beholding that my love was at her bath, + She pierced my heart with arrows five,-- + The stream of water pouring from her tresses. + Was her moon-face weeping, frighted by their gloom. + + The wet cloth clung upon her corse,-- + So might Kāma shake a hermit's heart! + Twin breasts were cakravākas sweet. + United by the gods upon the self-same shore,-- + Caged in the prison of her arms. + Lest they should fly away in fear. + + _Vidyāpati, the poet, sings:_ + _The precious maid her lover meets!_ + + +X. + + +_Krishna:_ A joyous day this day for me! + I saw my love when she was bathing, + A stream of water pouring from her hair,-- + The clouds were showering strings of pearls! + + Wiping her face intentifly, + As though she cleansed a golden mirror,-- + Discovering both her breasts. + Where had been set inverted golden cups, + + She let her zone fall free: + _That was the bound of my desire, says Vidyāpati._ + + + +XI. + + +_Krishna:_ Rāi of the lily face had not yet climbed the bank, + When she beheld brave Kān before her: + 'A maid demure, with hanging head, in company of elders. + How was I to see her face?' + + But matchless was the bright may's art: + Stepping before them all, she called aloud, + With half-averted face, + And broke withal her string of pearls. + Crying aloud: 'My garland's broken!' + Every person, one and all, was gathering up the beads,-- + Then she gazed on Shyāma! + + Her partridge-eyes beholding Krishna's moon-fair face. + Were drinking draughts of dew: + _Each on the other gazing, spread abroad the taste + of bliss,--_ + _That Vidyāpati knoweth well._ + + + +XII. + + +_Krishna:_ She smiled a little when she saw me lurking there-- + As if the rising moon lit up the night: + And when she rained on me her sidelong glances, + The heavens became a swarm of bees. + + Who knoweth whose the maid may be, + Setting my heart a-shake, and vanishing? + The humble-bee is prisoned in the lotus-flower of love,-- + I was amazed to see the timid fair one passing by. + + Then was made manifest the beauty of her breasts,-- + (Whose heart does not the golden lily snare?) + Half was she hidden, half revealed. + Her globéd breasts told me of her desire. + + _Vidyāpati says: That was love's dawn:_ + _Whom does Madans secret arrow spare?_ + + + + +XIII. + + +_Dūtikā:_ The flower is open all amidst the thorns; + The frenzied bee can find no place of rest, + But haunts continually the nectar-laden jasmine, + Reckless of life in eager thirst. + + He honey-life, you honey-heap. + Already hiding hoarded sweets,-- + The maddened bee has neither home + Nor rest without your jasmine-self. + + Deep in your heart consider this: + Why should you be the murderer of a bee? + _For Vidyāpati avows: He will return to life._ + _If He may drink the nectar of your lips._ + + + + +XIV. + + +_Krishna:_ Wheresoever her twin feet fall, + A lotus-flower uplifts them: + Wheresoever her body passes swaying, + There is the lightning's undulation! + + Surpassing radiance that I beheld, + Has made her seat amidst my heart: + Wheresoever her eyes are opened, + There are water-lilies seen! + + Wheresoever her light laugh rings, + There very nectar sours in envy: + Wheresoever fall her sidelong glances, + Fly the myriads of Madan's arrows! + + Even an instant to behold such loveliness + Suffices to eclipse the Triple Worlds: + But and I see her once again, + My mourning may depart! + + _Says Vidyāpati: In sooth,_ + _For your dear sake, I'll bring her._ + + + + +RĀDHĀ BAYASANDHI + + + +XV. + + +_Dūtikā:_ Childhood and youth are mingled both, + Her eyes have taken the road to her ears: + Wily are her words, and her low laugh + As if the moon appeared on earth. + + She takes a mirror to array herself, + And asks: 'What is the game of love, my dear?' + How many times she secretly regards her bosom, + Smiling to see her breasts! + + First like a jujube, then like an orange,-- + Love day by day enfolds her limbs: + O Mādhava, I saw a girl surpassing fair. + Childhood and youth were one in her! + + _Saith Vidyāpati: Oh foolish maid,_ + _The wise would say, The twain have met._ + + + + +XVI. + + +_Dūtikā:_ Day by day her breasts grew great. + Her hips increased, her middle waned: + Madan now enlarged her eyes. + All of her childhood fled in fear. + + Breasts that are jujubes first, and then like oranges, + Daily the sting of Love increasing them: + Thereafter waxing greater than the pummalo, + Now they are twin ripe honey-apple fruits. + + Ah Mādhava! I saw the fair one freely, + I suddenly beheld her as she bathed; + The filmy muslin clung upon her breast,-- + Happy he who sees her thus! + + Her jet-black hair poured down her breast + As though a shaggy yak concealed a gold Mahesh: + _Hearken Murāri, Vidyāpati saith:_ + _So fair a may may dally with a man of worth._ + + + + +XVII. + + +_Krishna:_ Now and again her eyes to their corners fly, + Now and again her filmy robe receives them; + Now and again her serried teeth laugh out, + Now and again the smile delays upon her lips. + + Sometimes she hurries nervously, sometimes she walks + but slowly, + Now for the first time learning Madan's lessons: + She steals a glance at her breasts' buds,-- + Sometimes she draws the wimple close, sometimes she + stands astonished. + + Childhood and youth are met in her. + None knoweth which is first or last: + _Hearken, O Kāna, says Vidyāpati,_ + _The marks of youth and childhood are indivisible._ + + + + +XVIII. + + +_Krishna:_ Childhood and youth are face to face,-- + She stands uncertain, in the hold of rival factions: + Sometimes she binds her hair, sometimes she lets it fall, + Sometimes she hides her body, sometimes she leaves it bare. + + Her tranquil eyes are somewhat troubled, + There where the breasts arise are purple stains, + Her restless feet reflect her heart's unrest: + Madan awakes, whose eyes were shut. + + _Hearken, Murāri, saith Vidyāpati:_ + _Sustain with patience till I bring her._ + + + + +XIX. + + +_Dūtikā:_ The little buds are peeping shyly, + Her eyes have stolen the dancing of her feet, + Her hand remains continually upon her robe, + She is ashamed to question her companions. + + Oh Mādhav! How shall I recite her growing-up? + E'en Madan's heart, beholding her, must be ensnared! + Love is forsooth the ruler of her heart: + Setting the jars upon her breast, he straightens out her form. + + She bends her mind to learn the lore of love, + Just as the deer to hear the song: + Strife springs up twixt youth and childhood. + Neither admits defeat or victory. + + _Lo, Vidyāpati's enquiry,--_ + _Shall she not leave her childhood finally?_ + + + + +XX. + + +_Dūtikā:_ Now youth advanced, childhood withdrew, + Her eyes have caught the dancing of her feet. + Twin eyes performed the task of messengers, + Her laughter hid, and shame was born. + + Continually she sets her hand upon her robe. + Speaks every word with hanging head: + Her hips have gained their full-grown glory-- + She leans on her companions when she walks. + + Hearken, O Kana: I have drawn my own conclusions, + Hearken now, and make your own decision: + _The savour of this matter is well-known to Vidyāpati,--_ + _Record I take of Rāja Shrvasimha and Lakshmī Devī._ + + + + +RĀDHĀ PŪRBBARĀGA + + + +XXI. + + +_Rādhā_: How shall I tell of Kānu's beauty, my dear? + Who shall describe that dream-shape? + His lovely form is a fresh cloud, + His yellow garment the lightning's flash. + + So black, so black his waving hair! + The peacock-plume so near the moon's orb! + For fragrance of the screw-pine and the jasmine, + Madan casts away his flower-arrows in dismay. + + _Vidyāpati asks: What more shall I say?_ + _Nature has emptied Madan's treasury!_ + + + + +XXII. + + +_Rādhā:_ I had desired to look on Kānu, + But when I saw him I was filled with fear: + Ever since then I am both fond and foolish, + I have no knowledge at all what I say or do. + + My twin eyes wept like dripping rain, + Unceasingly my heart went pit-a-pat: + I cannot think what made me look on him, my dear, + Just for that whim, I lent my life into another's hand! + + I cannot tell what that dear thief has done to me,-- + When I beheld him, he did steal my heart, and went away, + And as he went he showed so many signs of love, + The more I would forget, the less I may! + + _Hearken, fair maid, says Vidyāpati:_ + _Have patience in your heart, for you shall meet Murāri._ + + + + +XXIII. + + +_Rādhā:_ A peerless beauty I beheld, my dear, + If you but listen, you may know it was the vision of a dream + Twin lotus-feet that wore a string of moons, + From them two tender tamāl-shafts arising,-- + + Around them twined a vine of lightning, + (He slowly passed along Kālindī's bank): + Upon his leaf-like hands another string of moons-- + The lustre of the sun on new-blown flowers. + + Twin flawless bimba-fruits were ripe. + Above them sat a tranquil parrot: + Over him twin restless wagtails. + Over them a serpent coiled about his head. + + My playful maid, explain: + Why did he steal my wits when I beheld him thus? + _Vidyāpati says: It is a sign of love;_ + _Well have you weighed the worthy wight._ + + + + +XXIV. + + +_Rādhā:_ How can I tell the limits of my grief, my dear? + The blowing of that flute diffuses poison through my frame: + Insistently I hear it sounding, + And then my heart and body melt in shame. + + In that supreme instant, my body fills to overflowing, + I dare not lift my eyes lest anyone should know of it: + In the company of elders, waves of emotion sweeping through me, + I draw my dress across each limb to hide it carefully. + + With softest steps I walk about the house-- + Kind fate has so far hidden my secret shame-- + But rapture fills my heart and body, my girdle slips! + _Vidyāpati is dazed! What can he say?_ + + + + +SAKHĪ-SHIKSHĀ-BACANĀDI + + + +XXV. + + +_Sakhī:_ Happy is your birth, and blest your beauty! + For all are crying upon Kānu, Kānu, + And he is laden deep with love of you. + + The longing cloud desires the cātak, + The moon desires the partridge, + The vine upholds the full-grown tree,-- + There is amazement in my heart! + + When there you stood with hanging hair, + Across your breast but half its veil, + Then Kānu, seeing all, was sorely troubled,-- + Tell me, dear damsel, what is your intent? + + When you laughed and showed your teeth, + With hand on hand held over head, + And your unconscious glances pierced his heart,-- + Then seeing him, you took a maiden on your lap! + + Such is my tale of you, O beauty, + Advise you thereupon: + _You are the idol of his heart, and he a frame forlorn,_ + _Says Vidyāpati the poet._ + + + + +XXVI. + + +_Sakhī:_ Hearken, hearken, O virtuous Rādhā: + Murdering Mādhava, what is the good you will gain? + + By day the moon is pale and lonely, + Likewise _he_ waxes thinner and thinner: + His rings and bracelets slip,-- + I think he must remake them many times. + + _I cannot understand your ways;_ + _The poet rests his head upon his hands!_ + + + + +XXVII. + +_Sakhī:_ Make your decision, Beauty: + Kāna is waxen wood for want of you, + Sometimes he laughs for little cause: + What would he say with passionate words? + + Very sorry are his sighs, + He cries, _O Wel-a-way:_ + His helpless body trembles, + None can hold him still. + + _Saith Vidyāpati: Dear maiden,_ + _Witness Rūpanārāyana._ + + + +XXVIII. + + +_Sakhī:_ Hearken fair damsel, to good advice, + For I shall teach you special wisdom: + First you shall sit beside the bed, + With bended neck, but half regarding him. + + And when your lover touches you, push out your hand, + Remaining silent, uttering never a word: + And when he takes you forcibly and clasps you to his side, + Passionately you shall exclaim. Nay, nay! + + In his embrace, your body you shall wrench aside, + Breaking away in the moment of delight. + _Saith Vidyāpati: What can I say?_ + _Yourself the Guru shall teach e'en Love himself._ + + + +XXIX. + +_Sakhī:_ Now hear me, daughter of a king, + For I have come to speak with you: + You have destroyed the life of precious Kāna,-- + What work is this that you have wrought? + + When day declined, I think, + You walked beside the water's edge, + And when you saw him, did embrace + Some maiden's neck, demurely smiling: + + And showing him your moon-face, + You put him in a sorry plight. + Then suddenly you came away, before he saw you well + Now he is weeping, _Wel-a-way_. + + Giving him just a glimpse of your breast, + You stole his heart: + _Vidyāpati enquires: Beauty,_ + _How shall Kānu live?_ + + + +XXX. + + +_Sakhī:_ Attend my teaching, artless maid, + And I shall give you good advice: + First you shall deck your hair with jewels, + And paint your curving eyes with sūrm. + + Then you shall go to him with all your body folded close, + And seeming to be dumb, shall stay apart: + My dear, at first you shall not go anigh him, + But with wanton glances, fair one, shall awaken Love. + + Hiding your breasts, your shoulders showing, + Your girdle knotted fast, + You shall appear offended, yet be loving, + You shall refrain desire, that ever springs afresh. + + _Says Vidyāpati: This is the first degree:_ + _They that be worthy shall taste the fruit._ + + + +XXXI. + + +_Rādhā:_ I know not the taste of love, nor the colour of desire; + How may I have ado, my dear, with yonder swain, + That I should love him as you ask? + A young thing I, afraid of shame. + + What can I tell you, dearest maiden? + I may not dare to have ado with him, + He is a herdsman lover, new-enflamed, + With all five arrows Love awakens his desire. + + No sooner seeing me, but he will clip me tight: + Who then will save me, when my life is dying? + _Vidyāpati says: Your fears are vain,_ + _Believe me, that his love is not of such a sort._ + + + +XXXII. + + +_Rādhā:_ Leave me, dear maid, I pray you,-- + I will not go whereas he is: + Nought do I know the skill of words, + Or art of signs, nor how to pretend offense. + + All of my friends arraying me at once,-- + I cannot even bind my own hair! + I never have heard what dalliance means, + How may I mix with Mādhava? + + He is learned in love, a passionate swain, + And I a weak girl of scanty wisdom. + _Says Vidyāpati: What counsel do I give?_ + _'Tis that there should be union._ + + + + +PRATHAMA MILNA + + + +XXXIII. + +_Dūtika:_ Hearken, hearken, beautiful Kānāi: + I give the maiden Rādhā to your care, + A lotus-damsel, softly-wrought, + And thirstier bee than you. + + The feast of honey is prepared,-- + Only forget the Archer's cruelty, + Touching her bosom gently + As an olifant a lily. + + Making excuse to count her necklace pearls, + Your hands may lift the burden of her breasts: + She does not understand the ways of love, + But now consents, and now refuses. + + The shirīsh-flower is not more delicate than she, therefore + Inure her to the Archer's way by little steps,-- + _The poet Vidyāpati lays down_ + _This prayer of a messenger upon your feet._ + + + +XXXIV. + + +_Sakhī:_ When first the damsel to her leman came, + Her heart beat fast with shame and fear: + Like to a golden image, Rādhā stood quite still, + Nor moving forward, nor returning. + + Taking her hands, he sets her by his side, + And she in shame and anger veils her face: + When he unfolds her face and kisses her upon her mouth, + She hides the shamefast face in Mādhav's breast. + + _This is the merry song of Vidyāpati the poet,_ + _Delighting Rājā Shivasimha's heart._ + + + + +XXXV. + + +_Sakhī:_ The sakhī soothed her fears, and led her lovingly,-- + Her leman's heart was gladdened, he took her by the hand: + But Rādhā paled at Kānu's touch, + A lotus fading in the moon's embrace. + + She cries: _Oh no, no, no!_ and tears are pouring + from her eyes, + She lies outstretched upon the margin of the bed, + His close embrace has not unloosed her zone,-- + Even of handling of her breasts has been but little. + + She lifts the wimple up to hide her face, + She cannot rest, but trembles through and through. + _Says Vidyāpati: The heart of it is patience:_ + _Step by step may Madan claim his own._ + + + + +XXXVI. + + +_Sakhī:_ Ah damsel fair! in dalliance is no delight, + For Madan wounds the heart with double pains. + + The maidens all together setting her by Kānu's side, + The damsel breathes in frightened gasps: + When Kānu lifts her to his lap, she bends her body back, + Like the young snake, untamed by spells. + + 'But shut your eyes this once, my fair one, + As a sick man drinks his draught: + A little moment's pain, and then the birth of bliss,-- + Why do you turn your face away from this, my girl?' + + _Hearken, Murāri, saith Vidyāpati:_ + _You are the ocean of desire, and she is artless._ + + + + +XXXVII. + +_Rādhā:_ How can I tell of what was done that night? + Unhappily the hours were spent with Mādhava: + He clasped my breasts and drank the nectar of my lips, + Laying his face on mine, he killed my life. + + (First youth, and hence this pouring out of passion: + So rash is Kān,--he has no skill in love). + Madan-maddened, nothing recking, + He would not heed how many prayers! + + _Hearken, Lady fair, says Vidyāpati:_ + _You are but artless, and Murāri is athirst._ + + + + +XXXVIII. + +_Rādhā:_ What can I say, my sakhī? It is shame to tell + All that my Lover did imperiously; + A young thing I, unlearned in lore of love,-- + It was the messenger that led me to his side. + + My body shivered at the sight of him, + So fierce he was to fall on me, + I lost my wits in his embrace: + How can I tell what amorous play he played? + + In everything my Lord behaved ungently, + How can I speak of it amongst my friends? + Why ask of it, who know it all too well? + Happy is she whom he may not distress! + + _Fear not, says Vidyāpati:_ + _Such is the fashion of first dalliance._ + + + + +XXXIX. + + +_Rādhā:_ Do not urge me, dearest maiden, do not urge. + What can I do, if he should soothe my fears? + Few are my years, for I am not so old as Kānu,-- + I am too shamefast and too tender. + + Cruel Hari played with me impatiently, + How can I tell how many woes the night bestowed? + Passion flamed up, I lost my wits,-- + Who knows when he broke my girdle? + + He held me close, with pinioned arms, + And then my heart was beating wildly; + I let him see my streaming eyes, + But even then Kānu had no pity. + + My wicked lover parched my lips-- + Abetted by the night, Rahu devoured the moon; + He tore my twin breasts with his nails, + Just as a lion tears an elephant. + + _Ah amorous woman, says Vidyāpati,--_ + _You knew full well Murāri was aflame!_ + + + + +XL. + + +_Sakhī:_ Shyāma sitting in his pride + Speaks of the night's delights: + 'She is the beauteous sweet-faced Rāi, + With rapture I received her in my inmost heart. + + 'How many ways she kissed me, + Laughing light and low in gladness, + Diversely disporting, + My dream of delight. + + 'How nectar-sweet her words, + Eyebrows arching, wanton glances, + Damsel waking in my heart's core.' + _This is first love, says Vidyāpati._ + + + + +XLI. + + + +_Rādhā:_ O maiden, dearest maiden, do not lead me to him, + Too young am I, and he is a burning lover: + My heart is shaken, going to his side,-- + The amorous bee will spring upon the lotus. + + The muslin hides my harmless body + Like wimpling waters of a lily-lake: + Oh Mother mine, how creatures suffer pain! + What Power shaped the wicked Night? + + _Says Vidyāpati: What is befitting now?_ + _Who cannot tell when it is dawn?_ + + + + +XLII. + + +_Sakhī:_ Her gentle words she can but stammer, + Her shamefast speech will not well out: + To-day I found her most contrary, + Sometimes consenting, sometimes fearful. + + At any word of dalliance, she tightly shuts her eyes, + For she has caught a glimpse of the great sea of Love: + At kissing-time she turns her face away,-- + The moon has taken the lotus on his lap! + + Stricken with terror if her zone be touched, the shining maiden + Knows that Madan's treasury is being rifled. + Her clothes are disarrayed, she hides her bosom + with her arms,-- + The jewels are exposed, and yet she knots her garment! + + _What is Vidyāpati to think, forsooth?_ + _For at the moment of embrace, she flies the bed!_ + + + + +XLIII. + + +_Rādhā:_ Oh Hari, Why do you seek to loose my girdle? + You shall not win your will: + I cannot tell what pleasure there can be in seeing me, + But now I know your guile, O Banamāli! + + If you will listen to my plea, Murāri, + I shall abuse you only very gently: + Sufficed with dalliance, what need for sight? + My soul may not endure it. + + Never has like been heard, + While lamps are lit, to play with me: + The people of the house will hear our very breath! + Deal with me gently, for the people of the house are + very near. + + _This savour Vidyāpati knoweth well,--_ + _Rājā Shivasimha and Lakshmī Devī be witness!_ + + + +XLIV. + + +_Rādhā:_ You that are skilled in passion's lore have pity + on my shame,-- + I will forsake it when my youth increases: + My little savour cannot satisfy you now, + The little draught will not suffice to slake your thirst. + + Would you but take it drop by drop, + Daily increasing like the digit of the moon! + These little breasts of mine will hardly fill your hands + as yet,-- + O Hari, do not wound them with your nails, be wise in love. + + _Vidyāpati exclaims: What are these gestes,_ + _To set such store upon a green pomegranate?_ + + + +XLV. + +_Rādhā:_ You are that Banamāli that did slay Chānur: + This tender woman is the shirīsh-flower. + O cruel messenger that made this war, + And gave a jasmine-garland to an olifant! + + No longer does the sūrm paint my eyes, + And wet with sweat are musk and sandal: + O wounded Mādhav, I beseech you, + Do not offer up my life upon the altar of Desire! + + O Hari, Hari, let your purpose be + To spare my life until another day. + _Give Love his due, impatient lover!_ + _Says Vidyāpati: Your wish shall be accomplished._ + + + +XLVI. + + +_Sakhī:_ Amorous the swain, and little is his darling: + If hands be laid on her, how many are her wiles! + With what entreaties and persuasions have the maidens led her + To her lover's house, and laid her on his bed! + + With face averted, lying closely curled, + (For who may turn the tide when passion flows?) + She hides her face beneath the wimple,-- + The frightened moon escaping from the storm. + + No word comes out, she hears nought that is said, + Repeatedly she folds her hands imploringly: + With covering arms she guards the treasures of her life,-- + She needs no bodice to enfold her breasts. + + Insistently from sight and touch alike + She keeps her jewels hidden in the granary of Love,-- + A matter for her maidens' mocking many days, + Now learning her the lore of Love. + + _Vidyāpati finds great delight herein:_ + _For at a sudden touch, she pushes out her hand!_ + + + + +XLVII. + + +_Sakhī:_ Enough! and cast the trouble from your heart. + Be not afraid, go to your lover's side: + Have done with obstinacy, for I tell you + Never can be joy without its pain. + + But half a grain of grief, and then a life of gladness + Why are you so averse to this, my girl? + Just for a moment shut your eyes, + As a sick man drinks his draught. + + _Go, Beauty, go, and play loves game,_ + _Vidyāpati prays for your consent._ + + + +XLVIII. + +_Rādhā:_ O Hari, if you will insist on touching me, + The sin of murdering a wife will fall on you: + You are a guileful lover full of passion + I know not whether it be sweet or bitter. + + When passion is outpoured, I shiver + Like an arrow-smitten bounding antelope: + O do not realise your hopes before the time,-- + Savour is never lacking to the wise man's end. + + _Vidyāpati says: I see it clear,_ + _That honeyed fruit is never green._ + + + + +XLIX. + + +_Sakhī:_ How to direct the flying arrows of her restless eyes + The Archer-guru teaches her the unfamiliar lesson + (And who would practise uninformed?) + + 'Oh do not take my life by force! + Toy not with me, O Kānu,--release my skirt; + I am so faint, I fear love's war. + + How can my early youth content your will at all? + A little riches cannot satisfy a beggar. + The unblown jasmine of the early spring + Cannot appease the hunger of the lusty bees: + There cannot be a happy ending of a sinful deed-- + Be not so rash, when you ought rather hesitate.' + + _Says Vidyāpati: Oh amorous Kānu!_ + _The maddened elephant heeds not the goad._ + + + + +L. + + +_Sakhī:_ With soft persuasion all the maidens + Led her to her lover's side, + A fawn ensnaréd from the forest + Panting hard. + + The sweet-face sits beside the bed + With busily averted looks, + Her mind wide-wandering,-- + Love breathing hard. + + Cruel is Love, and loveliness is stubborn, + She will not follow reason: + Fast is her girdle knotted, bodice bound, + And barriers before her lips. + + Her body closely swathed on neither side + A glimpse revealed, + She yields her life at a hand's touch,-- + How may Hari win his will? + + _Unhappy Kānta lays how many prayers_ + _Upon the maiden's feet,_ + _Hurting her soul (so Rādhā thinks):_ + _Such is the song of Vidyāpati._ + + + +ABHISĀRA + + + +LI. + + +_Sakhī:_ Gainlier than a royal olifant, more graceful than the swan, + She goes to keep her tryst: + Her glorious body far surpasses any golden bud, + Or flawless flash of lightning. + + Her tresses far surpass the clouds, the night, the yak, + Or bees, or moss: + Her eyebrow-tendril set on a crescent brow, surpasses + Bow and bees and snakes. + + Her face excels the golden mirror, the moon, the lily, + Her lips the bimba-fruit and coral: + Her teeth surpass the pearl, the jasmine and the granate seed. + Her neck the figure of the conch. + + Her beauteous breasts surpass the honey apple, or twin + palmyra fruits, + Or golden jars, mountains, or goblets: + Her arms excel the lotus-root and jungle-rope. + Her waist the drum's and lion's. + + Softer than moss her vine of down and darker than the sūrm, + The triple folds are lovelier than rolling waves: + Her navel far surpasses any lake, or lotus-leaves. + Her buttocks, head of olifant. + + Her thighs excel the plaintain-stem, or trunk of royal olifant. + Her hands and feet, the lotus of the land: + Her nails surpass pomegranate-seeds, the moon, or gems. + Her speech is more than nectar-sweet. + + _Says Vidyāpati: Her shape is unsurpassed,_ + _Peerless is Rādhā's beauty:_ + _Rājā Shivasimha Rūpanārāyana_ + _Is the eleventh Avatar!_ + + + +LII. + + +_Sakhī:_ Rādhā's love is young, + No obstacle can stay her: + She has started all alone, + Reckless of any path. + + She casts away the jewelled necklace + That weighed upon her jutting breasts: + She casts the rings and bracelets from her hands. + And leaves them all along the road. + + The jewelled anklets from her feet + She flings afar and hurries on: + The night is very thick and black, + But Love lights up the gloom. + + The way is fraught with dangers + Which love's weapon overcomes: + _Vidyāpati knows your mind--_ + _Never was such another seen._ + + + + +LIII. + + +_Krishna:_ The night is late, the fair one timorous and fearful: + When will she of the olifant gait be here? + The path is filled with dreadful snakes, + How many dangers do her path beset, and she with feet + so tender! + + To the feet of Providence I trust her, + Success attend the Beauty's tryst! + The sky is black, the earth is sodden,-- + My heart is anxious for her danger. + + Heavy the darkness in every airt,-- + Her feet may slip, she cannot find the path: + Her glance beguiles each living thing + Lakshmī comes in human form! + + _Says Vidyāpati the poet:_ + _The maid enamoured yields to none but Love._ + + + + +LIV. + + +_Sakhī:_ She veils her face, that lady shene,-- + They tell the king: The moon is stolen. + O lovely lover, how may you not be seen + By watchmen keeping watch in every house? + + Let not your smile flash out, sweet-face, + Murmur but soft and low the music of your words,-- + For near your lips are lustrous teeth. + As near the vermeil mark is set a pearl. + + Hearken, hearken, to my words of counsel, + Even in dreams may nothing hinder: + The moon differs from you but in her spots, + For she is stained, and you are stainless. + + _Ha! Rājā Shivasimha and Lakshmī Dev,_ + _Says Vidyāpati: My heart is fearless._ + + + + +LV. + + +_Sakhī:_ The citizens are waking on the king's highway, + Rays of the moon light up the dome of earth: + No peace in new-born love,-- + I am amazed to see you. Loveliness! + + How many ways the damsel seeks to hide herself: + She goes a-trysting in a boy's disguise. + And binds her flowing tresses in a knot. + Changing diversely the fashion of her dress. + + And since her breasts may not be hidden by their veil, + She clasps an instrument of music to her bosom: + Thus she attains the darkness of the forest,-- + The Lord of lovers cannot know her when he sees her! + + Perplexed is Mādhava, when he perceives her, + But at a touch the riddle is resolved. + _Says Vidyāpati: What happened then,--_ + _What sports of Love ensued?_ + + + + +VASANTA LĪLĀ + + + +LVI. + + +_Kavi:_ Came the lord of seasons,--Royal Spring: + + The hosts of bees besieged the mādhavī flowers, + The sun's rays reached their youthful powers, + The keshara flowers upheld the sceptre of the king. + + Fresh pītal flowers composed the royal throne, + Golden blossoms raised the state umbrella. + And mango-buds the crest above: + Before the king the koils sang the pancam-note. + + The peacocks danced, the bees buzzed, + The twice-born sang the blessing spells: + Enamoured of the southern breeze. + The pollen of the flowers upraised a canopy. + + Jasmine and honey-apple bore the banner: + Pātal the quiver, rows of ashoka trees the arrows. + Seeing the allied kimshuk and labanga-vine + The Winter season broke before the Spring. + + The army was a swarm of honey-bees + That rooted out the Winter utterly: + The rescued lotus came to life. + Offering its fresh leaves for a throne. + + _There is delight in Brindāban, says Vidyāpati,_ + _Befitting what shall there befall._ + + + + +LVII. + + +_Kavi:_ In Brindāban renewed the groves are green, + The flowers new-spread: + The Spring is new, and the new southern breeze + Excites the swarms of lusty bees. + + The bloom of youth disports. + The bowers beside Kālindī's banks display unwonted loveliness, + New snares of love are laid: + The bees are frenzied by new sappy buds, + The callow koils are a-calling. + + The new young maidens, maddened with new longings, + Are hurrying to the groves. + A new Lord reigns: the lusty lovers young + Are bright with new-found lustre. + + _For ever and for ever new diversions such as these_ + _Delight the heart of Vidyāpati._ + + + + +LVIII. + + +_Kavi:_ Drunken are the honey-bees in honey-season + With the honey of the honey-flowers: + In Honey-Brindāban resides + The Honey-Lord of honey-love. + + Amid the companies of honey-maids + Is honey-honey-dalliance: + Honeyed are the blissful instruments of music, + Honeyed hands are beating honey-measures. + + Honeyed is the dance's sway, + Honeyed are the movements of the dancers. + Honeyed are their happy songs, + _And honeyed are the words of Vidyāpati._ + + + + +LIX. + + +_Kavi:_ The blissful night of Spring holds sway + Glad dalliance among, and passionate rāsa-dance; + And lovely Rādhā, jewel of maids, is filled with longing,-- + Skilled in the dance. He bathes with her in bliss. + + Merrily the company of maidens dancing,-- + Golden bangles tinkling tunefully,-- + Now will they sing an amorous air + The mode of Spring, more passionate than any other. + + Rabāb, pināsh, and mahātik are sounding: + Murali sports, delighting Rādhā's heart. + _The merry poet Vidyāpati sings_ + _What Rūpanārāyan his lord, well knows._ + + + + +MĀNA + + + +LX. + + +_Krishna:_ Refrain your wrath, disdainful lady: + Breasts that are globes of gold, and serpent-necklace, + By these I swear,-- + If ever I touch another girl, forsaking you, + May I be bitten by that necklace-serpent! + + Or if you will not trust my protestation, + Inflict on me at will a fitting penance: + Bound in the rope of your two arms, bruise me with your hips. + Rest on my body the weary burden of your breasts. + Prison me night and day within your bosom's gaol! + + _Vidyāpati says: This penance is befitting!_ + + + + +LXI. + + + +_Dūtikā:_ He who was wont to wanton with a flute, has cast away + his jewels, + He who was wont to wear a yellow weed, now grovels at + your feet,-- + There was a time your eyes would overflow, might you + not see him. + Now you will not so much as look upon his face! + + Beauty, abandon your bitter mood. + Lusty Kānu is praying at your feet: + By happy hap this amorous Shyām is yours. + By happy hap the tide of spring,-- + + By happy hap this love's attainment, + By happy hap this blissful night,-- + Damsel disdainful, will you forsake your Krishna's body, + And spend your life henceforth in lonely weeping? + + _These be love's ways, says Vidyāpati,--_ + _Yet prayer's denial deserves no praise._ + + + + +LXII. + + +_Dūtikā:_ One little moment of a day you keep your youth,-- + The days are floating by: + Evil and good, these two will travel at your side,-- + The only final gain is what you give to others. + + Beauty, you have had part in killing Hari, + All day and night he thinks of only you,-- + This is his hour of separation! + + In sorrow's sea he swims or sinks,-- + Show him your globéd breasts: + O worthy fair one, Gokula's Lord preserve, + And win the praise of the Triple Worlds! + + _Of a myriad lovers, whosoever looks on Kāna,_ + _Deems that day is blest:_ + _Frenzied is Hari by reason of your fury_ + _The poet Vidyāpati avows._ + + + + +LXIII. + + +_Rādhā:_ You shall not tell me otherwise, my dear: + Little by little I came to know him better, + That Kānu is so cunning. + + He made a sweetmeat of some knotty wood, + By smearing treacle on it: + Filling with poison a golden jar, + He added a layer of milk! + + Yet surely Kān is good, and I am bad, + Because his words beguile me: + In heart and speech He is the same, + Matchless amidst a myriad. + + _The same flower that you cast away, the same you use + in prayer._ + _And with the same you string the bow:_ + _Such is the quality of Kānu s speech._ + _The poet Vidyāpati avows._ + + + +LXIV. + +_Dūtika:_ O lovely wrathful lady, stony-heart, + In such a plight he is, and yet you say no word! + + True love's way is not of such a sort; + It is befitting you should mix with him. + + When for his loneliness his life is forfeit, + With whom will you continue anger then? + + Who says your heart is soft? + Never was heart so hard as yours! + + _If now you do not mix with Mādhava,_ + _The poet Vidyāpati will never speak with you again._ + + + +LXV. + + +_Kavi:_ With hanging head, she writes upon the ground, + Whoever utters Shyāma's name, she utterly ignores + Over her glowing robe her hair falls free, + She casts away her jewels and all her fine array. + + Her face is like a lord of rosy lilies, void of sap: + The earth is flooded with her streaming tears. + Just then the Lady of the Forest came + And said: 'Fair maid, go we to serve the Sun.' + + _But she of the hanging head made no reply._ + _Says Vidyāpati: She went away._ + + + + +LXVI. + + +_Krishna:_ 'Why veil your face, dear beautiful? + You've stolen my wits away: + You have no dread of slaying men, + Your courage is unbounded! + + 'O wrathful lady, my heart is frenzied, + No more I may sustain the pangs of Madan, + But come to you for refuge. + + 'Whether two towering hills, or cups of gold, + I gaze and cannot tell: + And on each breast is Shambhu reverenced, + Framed in his crescent moon. + + 'I fain would touch them with these lotus hands + If fate be not forbidding: + I seek a sanctuary at your feet-- + (O that the damsel may be kind!)' + + Seeing her restlessness, I was distraught. + My heart beat fast. + _Hearken, young damsel, says Vidyāpati:_ + _Bestow some boon on Kāna._ + + + + +LXVII. + +_Krishna:_ Hearken, hearken, worthy Rādhā, + For what offence do you refuse my company? + + How many stars have risen in the sky, + But the moon is another Avatār! + + What more in special can I say? + In a host of a myriad Lakshmīs I have eyes for none. + + _And hearing this the maiden's heart dissolved in tears,_ + _And his desires were realised._ + + _Vidyāpati says: There was reunion;_ + _All were astonished at the tale!_ + + + +LXVIII. + + +_Krishna:_ Your high round breasts--like golden cups-- + And curving eyes, have stolen my wits away: + O lady fair, forbear your bitter fury, + And give the frenzied bee his draught of honey! + + I clasp your hands, my fair sweet girl, + Be not so cruel, have pity on my lot: + How many times must I advise you + I may no more sustain the sting of love! + + _Vidyāpati says: You know full well._ + _That hope deferred is worse than death._ + + + + +LXIX. + + +_Dutikā:_ Hearken, O Mādhava: Rādhā is waxen wilful,-- + How carefully and in how many ways I warned her. + And yet the beauty gave no answer! + + The lovely creature when she hears your name, + Covers her ears with her hands: + She who thought that your love was for ever new. + Now will not even hear you speak! + + I laid before her a lock of your hair. + Flowers and grass and pan: + But the wrathful face of a lily she would not turn,-- + She sat unmoved, with face averted. + + _This heart of yours forsooth, is lightning's very essence,--_ + _How shall I soothe your fury?_ + _Vidyāpati says: A kind word would be fitting;_ + _But you yourself be still, O Kāna._ + + + + +LXX. + + +_Rādhā:_ At last, my dear, I see how Kāna is uncouth: + An axe of brass, useless for any work, + A layer of tinsel over it! + + Albeit I showed him angry eyes, how came it that the mountains + Slipped in two thick roads? + Taking the shālmal for the sandal, he clasped it close,-- + But there was a thorny dart! + + He who has spent his life amongst the beasts, + What can he know of Rati's ways? + This is a night of nectar, but I spent it vainly + With yonder boorish Herdsman! + + _Vidyāpati says: Hearken, young woman:_ + _He is not ever a boor!_ + _You are uncouth yourself, your trade is herding too,_ + _You cannot lay such blame on Hari!_ + + + + +LXXI. + + +_Rādhā:_ There bloomed a flower of golden shene, + My hope was high the fruit would be a gem, + I fed its roots with streams of milk; + I saw no fruit, and all was vanity! + + I am the simple daughter of a cowherd, + And this unworthy love is worse than death; + What woe, Alas, has Fate afflicted me,-- + For hope of gain, I lost my all! + + _This is Vidyāpati' s conclusion:_ + _You cannot make a dogs tail straight._ + + + + +LXXII. + + +_Krishna:_ The sun is in the East, the tide of night has ebbed, + The moon is merging in the sky. + The water-lily closed,--and even so, my lady fair, + Your lily-face is shut. + + A lily-face, two lotus-eyes, + And lips of honey. + All your body flower-wrought,-- + Why is your heart of stone? + + Your hands are wasted, and you wear no bracelets, + Even a garland is a weary burden: + And yet you will not cast away your mountain load of pride-- + What wicked ways are yours! + + _Now leave these wrongs, give Hari bliss, my fair,_ + _Now with the dawn, give over wrath:_ + _Rājā Shivasimha Rūpanārāyana,_ + _Says Vidyāpati!_ + + + +LXXIII. + + +_Sakhī:_ Beauty, of lineage and courtesy, without your eyes-- + The best of lovers--what may you do? + How may you make jap-tap, or alms bestow or vows accomplish. + Who have no pity on the pitiful? + + 'I would advise you very seriously, my dear: + One such a virtue many a sin may cancel, + A single sin destroys the fruit of many virtues. + + 'Though brother to the poison, thief of a guru's wife. + And vomited from Rahu's jaws. + Scorching divided lovers, slayer of water-lilies,-- + Yet for his merits the moon shines bright! + + 'Loving another's children, careless of his own, + The crow drinks dregs of love: + Yet an only word of His, wipes all those faults away,-- + He speaks such honey-words.' + +_Rādhā:_ 'What can I say, my dear, of Kāna's love-- + The roothless root of every virtue? + Touching His flute He makes a hundred vows + But even then I cannot trust Him. + + 'Renewed embraces: kissing me upon His lap, + He makes protest of loyalty! + But He has spent the night beside some other girl, + And emptied me of hope. + + 'In something more than fire my body burns + I see the seal of Rati on every limb.' + _Life may expire, says Vidyāpati,_ + _And yet you will not mix with Hari!_ + + + + +LXXIV. + + + +_Rādhā:_ Hearken, prithee, heartless Hari, + Fie on your such love! + Why did you speak of keeping tryst, + And with another maiden spent the night? + + You make pretence of love for Rāi, + And dally with another girl: + Who says brave Kānu is best of lovers? + No such another fool is in the world. + + Refusing ruby, you seek for glass, + Leaving an lake of nectar, you long for brine, + Forsaking a sea of curds, to wanton in a well,-- + Fie on your amorous blandishment! + + _Vidyāpati the lord of poets avows:_ + _Rādhā will never look upon your face again._ + + + +LXXV. + + +_Rādhā:_ Thirsting for fragrance I flew to the flower + But never I came the near, + I saw not a drop of the ocean of honey, + And now the people mock me. + + And lo, my dear, the bee bewitched by someone else + And no one passes any judgment thereupon: + By little steps I came to understand him better, + How is his heart as fickle as the lightning. + + Forsaking the lily, he followed the screw-pine, + Inhaling its fragrance: + But the thorns have pierced his body + His face is smeared with dust. + + Somewhat hurt, I think, he comes again to me, + As though he had been disappointed: + There is one flavour men have never understood-- + Distinction of the good and bad. + + _Hearken, my good girl, says Vidyāpati;_ + _Love is only understood by lovers,--_ + _Rājā Shivasimha is the storehouse of all virtues._ + _And Rānī Lakshmī Devī his wife!_ + + + + +MĀNĀNTE MILNA + + + +LXXVI. + + +_Sakhī:_ The wrath of the wrathful fled afar + Kānu sank in a sea of nectar: + But when he asked for her embrace, + Albeit heavy with love, her lovely body might not bend. + + Honeyed was the swain's speech, + Tremulous the beauty's sighs; + Her Lord enfolded her upon his lap. + But yet the flow of nectar was but little. + + Gently he kissed her face--her eyes were full of tears, + And though her heart was full of love, yet love was lacking; + Bravely he touched her bosom with his hands. + But even then desire would not awake. + + And when at last he loosed her girdle. + Then even, in Hari's bliss, desire was cold. + And even then she felt no gladness: + _Is it pleasure or pain, says Vidyāpati?_ + + + +LXXVII. + +_Sakhī:_ Peerless Rādhā beside Murāri,-- + Her wrath broke down, whose wrath was stubborn! + Mādhava kisses Rādhā's face, + Looks on her moon-face with brimming eyes. + + All of her maidens were filled with joy, + Madan entered the hearts of both. + Twain were enraptured, each in the other's lap: + _A sight that fills Vidyāpati with bliss._ + + + +LXXVIII. + + +_Sakhī:_ 'Tell me, O Beauty, what were the night's delights. + How did your Lord fulfil your hopes? + (How curiously, methinks, has Providence + Created man and maid!) + You are the fairest woman of the world + And have attained Murāri, worthiest of men.' + +_Rādhā:_ 'I am not able to recite my lover's love, + The fates have not bestowed on me a myriad mouths! + Doffing his necklace of ivory pearls, + With care he set it on my neck: + Taking my hands, he set me on his lap, + And cooled my limbs with fragrant sandal. + + 'He loosed my locks (so neatly bound), + And wreathed them with a campak garland; + With honey-honey-glances Kāna gazed on me, + His eyes brimmed over with tears of joy.' + + _Billows of love, says Vidyāpati:_ + _Hearken, my dear, I sing their Union._ + + + + +LXXIX. + + +_Sakhī:_ Measureless virtue! whereso yearning bodies meet-- + Now there has been indissoluble union of the twain: + How many a one essayed this way and that, + Yet none availed to put the twain asunder! + + Never any household in the wicked world + Has seen such love as this, a very fount of milk! + If one should fetch it to the fire + And stir the milk to separate the water, + The milk, exulting in the heat, boils over-- + Goaded by separation pangs, it leaps into the fire! + + If any one should pour more water in it, + Then the separation-pangs withdraw afar. + _Avows Vidyāpati: Love is such,_ + _And such the love of Rādhā-Mādhava._ + + + + +LXXX. + + +_Rādha:_ Very cunning is my Kāna, + Without any spell he broke my wrath! + He appeared to-day in a yogi's weed-- + Who can explain such singular gestes? + + At the will of my mother-in-law I went to give him alms, + When he saw my face, he began to murmur words of love, + And he said: 'The gift I ask is the jewel of your pride,'-- + (Then I could tell what guile was his!) + + 'Tis shame to recite all that he said. + Nobody knows the Lord of lovers! + _Vidyāpati says: lovely Rāi,_ + _How can you plumb the depth of his cunning?_ + + + + +LXXXI. + + +_Rādhā:_ What can I tell of to-day's affair my dear? + A jewel fell to the hands of a fool + Who knows not the price of gold or glass, + And reckons alike the jewels and _gañja_ seeds, + + Who is lacking in lore of crafts of love, + And reckons milk and water the same: + How can I feel affection for him? + Shall a necklace of pearls adorn the neck of a monkey? + + _Wise in this savour, Vidyāpati asks:_ + _Has pan ever graced the_ mouth _of a monkey?_ + + + +LXXXII. + + +_Rādhā:_ What shall I tell you, dear gay friend? + I cannot speak of to-day's disports: + I was lying alone on my flowery bed, + Love was my fellow, armed with his flowery darts. + + Kāna came with his tinkling anklets, + In jest I lay with eyes closed: + Kāna came nigh and sat beside me, + I turned my face to hide my laughter. + + Hari lifted from my locks their flowery chaplet, + And gave me his crest of peacock feathers: + With elaborate care he took the pearl from my nose + And lifted the necklet from my neck! + + Loosing the bodice, my dear one lost his wits! + Then Madan woke, and I bound the thief my arms: + + _Says Vidyāpati: A learned wanton he--_ + _You may be lovesome, but your lover is a master of + the art of love!_ + _In you there is love, but he is a lover all-wise in loving!_ + + + + +LXXXIII. + + +_Rādhā:_ I was still very wrathful. + But my lover disguised as a girl dissolved my pride: + What can I tell of the pranks of to-day, my dear? + For there came Kān with the maiden-messenger! + + He bound his curling hair in a knot, + The Lord of lovers dressed like a girl! + He put on a necklace and made a breast in his bosom, + He put on his feet a jewelled anklet. + + First he put his left foot foremost,-- + Ratipati danced with his flowery bow; + I looked with amazement,--and fondled him freely, + With downbent glances, I set him in my lap! + + When I touched his body so full of love, + The pride of my wrath fled Under-earth, + I stood all astonished, with finger to nose. + _Vidyāpati says: The quarrel was ended!_ + + + + +LXXXIV. + + +_Rādhā:_ My frolicsome friend, what shall I say? + There was another prank, unspeakable: + Naked of any weed, I sat alone at home, + When he of the lotus-eyes appeared unseen! + + To hide my body on either side revealed the other, + (O open wide and let me sink into the earth!) + Seeking to cover my breasts with my hands, I could not,-- + Just as the snow may not conceal the southern hills. + + Out on you, fie! my life, my youth, my honour, + The Lord of Braj gazed on my limbs to-day! + _O amorous Rai, Vidyāpati says,_ + _Could you outwit such wit as his?_ + + + + +LXXXV. + + +_Rādhā:_ O mother mine, what can I say to-day! + The stain sticks fast, for all washing with water: + After my bath, and climbing Kālindī's bank, + The filmy muslin clung to my limbs, + That all my shape was clearly seen,-- + And there was Yaduvira just before me! + + My buttocks broad were plain to see, + I turned me round and over them shook my hair: + And when he fixed his gaze upon my breasts, + I turned my back on Hari and sat me down. + But cunning Mādhava scanned my body with smiling face, + The body I sought to hide would not be hidden! + + _You are a witless maid, says Vidyāpati:_ + _Why did you not return to the water?_ + + + + +LXXXVI. + + +_Rādhā:_ My mother-in-law was asleep, and I lay in her lap, + And love-learned Kānu was lurking behind. + Somehow I made it clear to him by signs: + 'Will you give over fooling, or shall I begone? + + 'Refrain this affection, O foolish lover,-- + As at this time your prayers are not to be granted! + (Can there be any pleasure in embraces from behind, + Shall thirst for water be slaked with milk?)' + + Bending his face to mine, how did he drink the nectar of my lips + How often silently he laid his hand upon my breasts, + Nor let betray him any panting breath,-- + What laughing battles were fought with flashing teeth! + + _My mother-in-law awoke, and Kāna ran away:_ + _My hopes were not fulfilled, says Vidyāpati._ + + + + +LXXXVII. + + +_Rādhā:_ I was alone, and weaving garlands, + My skirt and bodice were unloosed, + And then came Kānu with quiet smiles! + (How shall I hide my bosom and my girdlestead?) + + My darling clasped me with a merry laugh, + Modesty and shame departed to the underworld-- + (How may I dout the lamp, that's out of reach of hands?) + And yet my brazen life dies not of shame! + + _This is the very work of love, says Vidyāpati:_ + _Wherefore this shame of him to whom your life is dedicate?_ + + + + +LXXXVIII. + + +_Rādhā:_ To-day my awkward shame was far away, + He realised his heart's desires: + What shall I say, my dear? (I smile to speak of it,) + So very marvellous was the dalliance of to-day. + + The toppling clouds fell down on earth, + The pleasant mountain-kings rose up on high: + I likewise, gazing in the emerald mirror, + Fell there where neither up nor down are known. + + Newly advised was Kān, my lord, + His sayings overpowered me: + He gave a refuge to the homeless-- + Shamefast I was and hid my heart's fire. + + The prince of wantons folded me upon his lap. + And with the wimple wiped the dews of weariness, + Fanning me gently, I fell asleep. + _Vidyāpati exclaims: Delight beyond compare!_ + + + + +LXXXIX. + + +_Rādhā:_ What can I say, my dear? 'Tis measureless! + Whether this was a dream, or real, I cannot tell, + Or very near, or far away. + + Beneath the winding lightning, darkness came to birth, + Within, a river of heavenly nectar: + The wavering darkness swallowed the sun and moon. + On every hand the stars were falling! + + The heavens fell, the hills were overthrown, + The earth quaked hard, + Stormily rose the sighing winds, + The swarms of bees buzzed: + + Like an ocean of chaos the waters overflowed,-- + Yet this was not an æon's ending! + _How can I trow this contrary tale?_ + _Vidyāpati makes enquiry._ + + + +XC. + + + +_Sakhī:_ Her wandering hair was mingled with the circle of her face-- + A wreath of clouds across the moon: + Jewelled earrings swung from her ears, + Her tilka ran with sweat. + + (Beauty, of fortune-yielding face: + If you should still wage Rati's war, + How may Hari-Hara save?) + + Bracelets musical, and bangles noisy, + Anklets clinking: + Drunk with the wine of love, Love yielded,-- + Victory, Victory! by beat of drum! + + For when from the loins arose a muffled sound, + The warrior was crushed: + _Vidyāpati's Master wins such bliss,--_ + _Yamunā and Gangā mingling._ + + + + +XCI. + + +_Kavi:_ Shyāma is drunk with Madan's drowsy wine, + With smiles he takes the moon-face on his lap-- + Wanton glances, gentle laughter, + Leaning of limbs, amorous murmuring. + + Amorous she, and passionate Kān, + Heart upon heart, face on face, + Both are drunken, both are archers: + _Such song of love shapes Vidyāpati._ + + + + +XCII. + +_Rādhā:_ If you would have my love, O Mādhava + Make Madan witness to this document: + + 'You will abandon dalliance 'neath the kadamb, + You will have no more regard to parents. + Even in dreams you will see only me, + And never drink but to my eyes, + Night and day will sing my praise, + And take no other maiden on your lap.' + + When I shall have such covenant in hand, + Then I will speak of love with you! + + _Hearken, brave Kān, to Vidyāpatis advice,--_ + _Preserve your dignity even at cost of life!_ + + + + +XCIII. + + +_Rādhā:_ Like to the tool that trims the jewels of her toes, + Gokula's darling grovelled on the ground: + Unceasing tears were flowing down his face, + How many ways my love besought me! + + O evil day! for I was proud,-- + And now my brazen heart declines to die! + Who would have thought black wrath could be so dangerous, + Or that a jewel could be changed to clay? + + I have been luckless in my woman's lot: + My refuge is in death, I was too proud! + _Hearken, lady Rāi, says Vidyāpati:_ + _I shall explain the reason of your weeping._ + + + + +ĀKSHEPA ANUYOGA O VIRAHA + + + +XCIV. + + +_Sakhī:_ The mournful beauty, gazing on Kānu's face, + Was sobbing loud with brimming eyes: + The peerless moon-face, when he said 'Farewell,' + Fell fey upon the ground, with cries of 'Hari, Hari!' + + How distractedly did Hari comfort her,-- + 'Now I shall not go to Mathura': + When this sweet sound reached her ears, + The lovesick nymph revived. + + And taking Kānu's hands in hers. + She lifted them to touch her head: + 'Say unmistakeably, good Kān, my lord, + 'I will not go to Mathura.'' + + And when the damsel had this comfort, + She raised herself again, and sighed no more. + _Murāri went his way, when Rāi was soothed--_ + _Vidyāpati refrains from words!_ + + + + +XCV. + + +_Dūtika:_ Mādhava, O moon-face, + Never can you have known the sting of separation! + Hearing you are departed to another land, she wastes away: + O wretched Rāi, bereft of wit by force of love! + + Refusing even buds of flowers, she lies exhausted on the ground, + The calling of the koil fills her with fear, + Her tears have washed the beauty-spots away, + Her wasted arms let slip their ornaments. + + With hanging head Rādhā regards her throat, + Now are her fingers raw with writing on the ground: + _Says Vidyāpati: Recollecting all his ways,_ + _And taking count of them, she fainted._ + + + + +XCVI. + + +_Rādhā:_ A sorry end to all my love, my dear, + To let my life depend upon a wanton,-- + Nowhere to look for help! + + I could not see the hidden well, + But as I ran, I fell therein: + At first I nowise knew the heavy from the light,-- + Now would I might return! + + His honey-speech I understood for love, + At first I knew no better: + I yielded all my skill into another's hands, + Pride had fled afar my heart. + + Till now I led another way of life, + But now I know what drowning is: + I with my own hands sharped the stake, + Whom can I blame now? + + _Hearken, fair young thing says Vidyāpati:_ + _No other thought be in your heart!_ + _Oft is life lost for sake of love,_ + _Who does not know this in the world?_ + + + + +XCVII. + + +Rādhā: Why would you burn my body, O thou Bodiless? + I am not Shankara, but a gentle girl, + + This is my flowing hair, not matted locks, + Not Gangā, but a jasmine garland on my head. + + This is a pearl tiara, not the moon, + No eye upon my forehead, but a scarlet beauty-spot: + + Not poison, but a trace of musk upon my throat, + A necklace on my breast, and not the lord of serpents. + + Blue silk my robe, and not a tiger's skin, + This is a lotus of delight, and not a skull! + + _All this is loveliness, says Vidyāpati:_ + _Not ashes on her limbs, but dust of Malaya._ + + + + +XCVIII. + + +_Dūtika:_ Often, in meditation on the name of Mādhava, + She changes into Mādhava himself: + Forgetful of her own desires and of her own identity, + She is enamoured of her own charms. + + O Mādhava, your love is peerless! + The fire of sundering from herself devours her body + in its flames, + I doubt if she may live. + + Her friends are filled with grief, so sadly she regards them, + The tears are pouring from their eyes: + The cry of 'Rādhā, Rādhā,' echoing repeatedly, + She murmurs broken words. + + When she is with Rādhā, she thinks that she is Mādhava, + And when with Mādhav, Rādhā: + And even so, this bitter love may not be broken asunder. + The pang of separation hurts her more and more. + + Just as a tree both sides aflame quite utterly consumes + Some wretched insect's life: + _In such a plight, Vallabha, I saw the nectar-face,_ + _Says Vidyāpati._ + + + +XCIX. + + +_Rādhā:_ Where wanton Murāri is wont to sit, + There write my name or twice or thrice: + Lay by his side the jewels from my body, + This is my life's last prayer! + + And all the number of my friends, write ye my name,-- + Kind was my darling, only fate was cruel. + I die indeed, for Kānu's sake: + Seek some occasion to ask news of him. + + Once on a day let my beloved write my name, + And pour the lustring water with his rosy hands! + _Hearken fair damsel, says Vidyāpati:_ + _Be patient of heart, you shall meet your Murāri!_ + + +C. + + +_Rādhā:_ Hari has gone to Mathurā town. + And Gokula is void to-day, + My ribs are all shrunken with weeping, + The cows are roaming on the road to Mathurā. + + Herdsmen and maidens no more wandering + Beside the Jamunā's banks,-- + I shall cast my life away in the waves, + And I will be born again as Kānu! + + Then shall Kānu be Rādhā, + To suffer the pangs of love. + _Vidyāpati gives this advice:_ + _No need for weeping now!_ + + + + +CI. + + +_Rādhā:_ Now Mādhav has gone to Mathurā town, + (Who can have stolen the jewel of Gokula?) + Gokul resounds with the noise of weeping. + See how the waves are swollen with tears! + + Empty the temple, empty the lover, + Empty each airt, empty all! + How can I go to Jamunā's banks? + How can I look on the booths and the groves? + + How can I look on the place and live, + Where he smothered my friends with flowers? + _Vidyāpati says: Be well advised,_ + _Maybe he is hiding there in jest!_ + + + + +CII. + + +_Sakhī:_ Watching with streaming eyes the way her darling went, + Half a second seems an aeon,-- + 'Fate is most bitter, sundering thus + Murāri far from me! + + 'What shall I do, my dear? + What karma's fruit is this, my dear one gone abroad? + Perpetually pierce me the pangs of Madan. + + 'O that a woman's sighs, may fall beside my dear! + (By whom is my beloved sitting?) + Were I but a bird, I would fly to his side, + And describe to him all my distress! + + 'Bring me my darling, and save my life,-- + Will no one take pity?' + _Vidyāpati says: Soon ye shall meet,_ + _Possess your heart in patience._ + + + +CIII. + +_Rādhā:_ I am a girl on fire, in the temple bird-alone, + No friend is here with me: + The rain comes on, my love is gone abroad, + And cruel Love is hostile. + + This is my day of dissolution, + Fresh clouds are driving in every quarter, + My life is flying from the sight. + + Again the thunder roars, my life is shaken as I listen, + My heart is pounding: + The cruel peewit, calling 'Piu, piu,' + Reminds me of his lap. + + And since it rains incessantly, I know my life will end, + As though in flames of fire. + _Vidyāpati says: Hearken, fair lady,_ + _The worthy lover shall be yours._ + + + + +CIV. + + + +_Rādhā:_ Even the moon's cool rays are scorching-hot, + The Spring is comen in: + Even from a crow's mouth not a word of Kānta! + What makes this cruel Madan? + + I know, my dear, my evil day is come: + At what a time has Fate opposed me, + Denying me to see him more! + + So many days, I kept my body carefully + And now I know my end is near: + My last faint hope is but a legend now,-- + How long my wicked heart endures! + + _Evil is Madan's mood, says Vidyāpati:_ + _To whom may you confide your care?_ + _Fiercer than flames of a sea of fire_ + _This bitter severance from your darling!_ + + + +CV. + + +_Rādhā:_ Fresh flowers are springing by every cabin, brake and copse. + The koil sings the pancam note: + The southern breeze has reached the snowy hills, + And yet my darling has not come again! + + The lunar sandal burns my body hotly, + The bees are buzzing in the woods, + The Spring is here and Kānu far away, + Unfriendly Fate I see. + + With steadfast gaze to scan my Master's face, + My eyes have no content: + So many hardships may a woman's shrivelled heart + Endure in such a joyful season! + + My body wasting daily, like the winter lotus, + I know not what the end will be! + _Fie upon life, for shame, says Vidyāpati,_ + _Pitiless Mādhava's heart!_ + + + + +CVI. + + +_Rādhā:_ Unhappy I, all birdalone. + Calling for Kānu, Kān, my life slipped by: + With promise of return, my lover went away, + He has forgotten all my former charms! + + The flowers are blowing in every glade, + Now Spring has come, my dear, + The host of koils spread their noise: + My darling is abroad, I may no more sustain! + + To whom shall I confide my heart's distress? + No living creature of the Triple World such pain may know! + _Hearken, fair Rāi, says Vidyāpati:_ + _I shall expound it all to Kānu._ + + + +CVII. + + +_Rādhā:_ There is no limit to my woe, my dear! + O heavy rains of autumn-tide, + My house is empty! + + Impenetrable clouds are thundering unceasingly, + And all the world is full of rain: + Kānta is a stone, and Love is cruel, + A rain of arrows pierces me. + + A hundred flashes blind my eyes, + The peacock dances in an ecstasy: + The happy frogs but croak and croak, + My heart is bursting. + + _Utter darkness, night impenetrable,_ + _Unbroken line of lightning:_ + _Vidyāpati says: How may you pass_ + _The day and night alone?_ + + + + +CVIII. + + +_Rādhā:_ Who says that Mādhava will come, my friend? + How can I ever cross the sea of longing? + I have no faith within my heart! + + Expectant every moment, I pass the livelong day, + Expectant day by day, a month goes by: + Expectant every month, I pass the year, + I have forsaken all hope in life. + + Expectant every year, I pass my life + Wasting my flesh with hopes: + If the lotus die of the winter moon, + What shall avail in the spring? + + If the flower be scorched by the summer sun, + What shall avail the autumn rains? + If I waste in longing this fresh young life, + What shall avail my Lover's love? + + _Vidyāpati says: Hearken, young thing:_ + _Do not be hopeless now:_ + _That Bliss of Braja, and Heart's Delight_ + _Shall quickly be at your side!_ + + + + +CIX. + + +_Dūtikā:_ O Kān, I saw the tender she beside herself! + Love is distraught by koil's calls,-- + And day by day she wastes away. + + He stays abroad, he sends no news,-- + How shall the Braj girls live? + The best and fairest of the world endures + The poison and the pain of parting! + + She who might have no bed except his bosom, + Now grovels on the ground,-- + As if the full round moon lay fallen asunder + In a withered campak garland. + + From then till now I have consoled her, + Nought else has saved her life! + _Vidyāpati says: O pitiless Mādhava,_ + _She swooned away to hear your name!_ + + + +CX. + + +_Sakhī:_ Making a promise to return 'To-morrow,' her lover went away,-- + Writing the word 'To-morrow,' the wall is full! + The day had dawned, she asked of everyone: + Tell me, O tell me, when will to-morrow come? + + 'Awaiting to-morrow, abandoning hope,-- + Never again shall I lie by Kānu's side.' + _Vidyāpati says: Hearken, fair damsel:_ + _The beauties of the town are holding him back._ + + + + +CXI. + + +_Rādhā:_ Everyone praises the gifts of love, + That love whereby the virtuous woman is made a wanton! + + Had I but known how cruel was love, + Should I have passed the limits of sin? + + Now it has come to be poison to me: + Let no one set their love on Hari, on Hari! + + _Vidyāpati says: Hearken, fair damsel:_ + _Would you first drink water and then consider + the giver's birth?_ + + + + +CXII. + + +_Rādhā:_ How many reproaches and scornful words of my elders + I counted for nought in my heart, deep-laden in love. + + For whose sake I forsook without shame the path of duty, + He now has forsaken my companionship. + + Now dearest maiden, tell Murari for me and remind him, + 'The worthy forsake not any without regard to their innocence.' + + O dear companion, he that is wise, + Even though sentence be harsh, does justice at least. + + What more can I say, that am but a helpless woman? + It is you that are skilled in speech and full of resource. + + Tell Kānu this with honeyed words, + I pray you do it, appease his wrath. + + For your wiles are many, and what do I know? + _Vidyāpati says: This song is of love._ + + + + +CXIII. + +_Rādhā:_ I never thought that love would break, + Or that the love of any worthy one might be a stone. + + Therefore it is this great misfortune has befallen me, + I cannot fathom what Fate has wrought. + + And tell my friend, my dear, with folded hands, + 'It is but fruitless to destroy the flower of love.' + + If he should answer, 'You are senseless,' + Say that I gave my heart with a free good will. + + _Vidyāpati declares: I am amazed;_ + _He whom you love, it seems, is blind!_ + + + + +CXIV. + + + +_Rādhā:_ Explain this all to Kānu, dearest friend: + 'If you who sowed the seeds of love, destroy the flower, + In what way shall I live? + + 'Just as a drop of oil floats on the surface of the water, + Such is the likeness of your love: + Just as the water on the sand immediately vanishes, + Such is the way of your affection.' + + I was a woman of honour, and am become a wanton + Since his words beguiled me: + I with my own hands shaved my head + Because of Kānu's love. + + Deep in my heart I am grieved, like the wife of a thief, + And hide my face within my veil: + Like the eager moth's that flings itself on the flame + Was the fruit I sought to enjoy. + + _Vidyāpati says: This is the way of the Kali age,_ + _Let no one wonder thereat:_ + _Everyone reaps the fruit of his folly_ + _Who puts himself in another s power._ + + + + +CXV. + + +_Rādhā:_ I am dying, am dying, I die indeed, my dear: + To whom shall I leave my Kānu, my storehouse of treasure? + As many as may be, dear friends, remain by me, + And when I am dead, write Krishna's name along my limbs. + + And Lalita, friend of my life, whisper such spells in my ears + That my body may die to the sound of Krishna's name: + Nor burn nor cast in the waters Rādhā's body, + But hang me high on a tamāl bough, when I am dead. + + The tamāl tree is of Krishna's hue, + There let my body ever rest: + If ever again my darling comes to Brindāban, + I shall come to life at the sight of my dear. + + If I may not see his moon-fair face again, + I shall cast off my life in the fire of love! + _Vidyāpati says: Hearken, fair damsel,_ + _Be patient of heart, you shall meet your Murāri._ + + + + +CXVI. + + +_Rādhā:_ After how long shall this sadness depart? + When shall the heavy load of this grief be lifted? + How long shall it be till the moon and the lotus are joined? + After how many days shall the bee disport with the lily? + + When shall my lover converse with me? + When will he put his hands on my breasts? + When will he take my hand to set me on his lap, + When shall my longing be realised? + + _Hearken, fair woman, says Vidyāpati:_ + _Every sorrow shall fly when Murāri is yours._ + + + + +CXVII. + + +_Rādhā:_ Speak to me, speak to me, dear, and tell me, O tell me, + Where is the land where my darling dwells? + For Madan's burning arrows, my body is ablaze + To hear some news of him. + + What like is she my Lord has met, + That he is so enamoured? + Some maid he must have found, my Lord is glad. + And plunges in my heart an arrow. + + Shatter my bangles of shell, take off my fine array, + And break my necklace of ivory-pearls,-- + If my dear will forsake me, what is the use of jewels? + Cast them all in the waves of the Jamunā. + + Wipe from my hair the scarlet line and put it far away. + All is hopeless without my darling. + _Vidyāpati says: Hearken young damsel:_ + _Your sorrow is come to an end._ + + + + +CXVIII. + + +_Rādhā:_ The day that Mādhava went his way + All those words poured forth: + My heart was heavy and heavier still to hear, + The tears were dropping from my eyes. + + When morning dawned, then coming close, + Did Kānu swear an oath, + I held his hand upon my head: + Now all is otherwise. + + Scanning the road, my heart is heavy: + The mādhavī vine is flowering, + The koil is a-calling, _Kuhu, kuhu_, resounding. + And every bee is buzzing. + + Which is the city where my dear was stolen. + Pleased by what maid he won? + _Vidyāpati says: Hearken, young damsel:_ + _The thief is your lover himself._ + + + + +CXIX. + + +_Dūtikā:_ A river of tears is flowing from her eyes, + And on its banks she falls and swoons: + O Mādhava, your pity is but too perverse, + You have no fear of murdering a wife. + + Then did her breath grow faint, + And some were fanning her with lotus-leaves, + And other clever maids were listening for her breath, + And I have run to tell you. + + Some say that Hari is a-coming, + And at that name her wit returns, + The dusky braid begins to dance upon her breast-- + A serpent black upon a lily's lap. + + Recounting in your heart your former love, + Come back once more to your own home, + _Vidyāpati the mighty bard declares:_ + _The wily wight is well aware of all her woe!_ + + + + +CXX. + + +_Dūtikā:_ Ah Mādhava, I come just now from seeing Rāi: + For grief of loneliness she answers nought, + But lies with her face on the earth. + + She lay outstretched on the grassy ground, + Her body was wasted with love, + As if with a touchstone the Lord of Five Arrows + Had proved a streak of gold. + + The orb of her face lay low in the dust-- + (More lovely it seemed therefor): + The moon in fear of Rāhu had fallen down on the floor-- + (Such was the fashion of my delusion). + + What can I say of the pangs of disunion? + Hearken, most cruel Kānu: + _Vidyāpati says: She is of good fame,--_ + _You know that her life is in danger._ + + + + +CXXI. + + +_Dūtikā:_ Mādhava, lo, I have seen your lovely Rāi,-- + Her gaze is fixed like a painted puppet's, + Friends surround her on every side, + Exceeding faint is the breath of her nostrils. + + Exceeding thin is her corse, like a streak of gold, + (None that beholds it believes it hers), + Bracelets and bangles fall from either wrist, + Her hair untressed, her head unhidden. + + I cannot solve these sentiments and swoons,-- + Fiercely the fever of longing scorches her relentlessly. + _Vidyāpati says: Her loveless body_ + _Has abandoned now all love on earth._ + + + + +CXXII. + + +_Dūtika:_ Mādhava, prithee, visit yonder babe: + To-day or to-morrow she is like to die, + Such burning love she bears! + + Refreshing water, lotus-leaves upon her bed, + Or ointment of sandal-paste, + Each and all are flames of fire; + The moon with tenfold heat annoys. + + Devoid of might, she leans upon the earth to rise, + All night she wends and wakes, + And starting suddenly, she murmurs 'Shiva, Shiva!' + Her fire has filled the earth. + + _I know not if there be a remedy._ + _Says Vidyāpati the poet:_ + _Nought but the fated tenth-day plight remains,--_ + _Be well-advised forthwith._ + + + + +CXXIII. + + +_Dūtika:_ She turns her face away from looking on the moon. + She stands and gazes piteously down the road; + With eye-collyrium she makes a painted Rāhu + And speaks with him in wrath. + + Mādhava, unyielding heart, delaying abroad, + Her that you dallied with I have beheld all birdalone, + I pray you turn again to home. + + How can the tender child support the southern zephyr? + For Love is doing her hurt: + Her breath has ceased, which hope sustained,-- + With every finger she draws a snake. + + _Vidyāpati says: O Lord Shrvasimha,_ + _This is the cure for sundering's sorrow--_ + _Avoiding the koil, and taking sweets in hand,_ + _Loudly to summon the crows._ + + + + +CXXIV. + + +_Rādhā:_ There was a time my lover leaned above my face in bliss, + Not for an instant would he leave my body: + He bound my flesh in a bond of measureless love, + Who now forsakes my company. + + Why should I live any more, O fair sweet friend? + He without whom I could not rest for a moment, + Is filled with the love of another. + + My friend would fare to a far-away land, and I shall + die of grief, + I will cast away my heart in the sea, and none shall know: + Or taking the necklace lay on my lover's neck, + I will wander wide in the world as a yoginī. + + _Vidyāpati Kavi sings of this sundering--_ + _Record I take of Rājā Shivasimha and Lakshmī Devī._ + + + +CXXV. + +_Dūtika:_ Mādhava and the babe new-led in love,-- + You have forgotten her, forsaken to her fate, + She is become a garland offering. + + She who so loves, I see her frame is fretted, + She stares upon your path + With fixed regard, she hears no word, + Her tears are falling fast. + + Her country is forsaken of your flute, + Her body is wasted all away + Most like the narrow streak of gold + The goldsmith draws upon the touchstone. + + Her hair is disarrayed, she no more tresses it-- + So little might the fair thing has: + Wasted and worn and woeful I have seen her + Midst her gay companions. + + Like chaff she flies and falls, + She needs her friend's embraces: + Cure of her sickness lies in other hands, + How may she live? + + _On solemn oath Vidyāpati reveals_ + _A yet more ferly thing:_ + _Pondering ever on your ways_ + _Is the root of her undoing._ + + + + +CXXVI. + + +_Krishna:_ Can I forget, my dear and gentle lady, + How when I took her hands, and went my way to Mathurā, + She fell and fainted? + + Nor with what trembling speech and gentle murmuring + The fair and gentle creature spake? + My body stiffened, I came away indeed, + But there was left my heart with her. + + Now lacking her, the day and night are dimmed, + She is established in my heart: + Beside another love in regal state, + I live like any anchorite! + + Surely I come in a day or twain, + Make her assured of this. + _Vidyāpati says: There lies his heart,--_ + _They shall be joined in love._ + + + + +PUNARMILNA O RASODGĀRA + + + +CXXVII. + + +_Rādhā:_ When Hari comes to Gokula town, + In every house shall the trumpets flourish 'Victory'! + I shall give my necklace of pearls for festal knots, + And my heavy breasts as festal urns. + + I shall offer my nipples as sprouts of the scented mango, + In Mādhava's service I shall achieve my heart's desires: + I will set before my beloved incense and light and gifts, + And do the anointing with tears of joy from my eyes! + + _My outstretched hands shall embrace my dear._ + _Vidyāpati says: This is loves ecstasy._ + + + + +CXXVIII. + + +_Radha:_ When my dear and blissful lover comes to my garth, + I shall turn my back with a little smile: + Wildly my darling will grasp my wimple,-- + And I shall draw back, for all he may do! + + And when my belovéd asks me to play, + Then shall my smiling mouth refuse: + When he shall roughly clasp my breasts, + My hands shall restrain his hands, half-glances belying. + + For my lover, the proper man is a bee, + Holding my cheeks will drink the honey of my lips,-- + Then shall he ravish my every sense! + _Vidyāpati says: Your life is blest!_ + + + +CXXIX. + + +_Rādhā:_ When Kāna shall come to my house, + I shall gaze on his moon-face with swimming eyes: + When as a woman I say 'Nay, nay,' + Then shall Murāri woo me more wildly! + + He will take my hands and set me down on his lap, + He will soothe my heart for endless time: + I shall clasp him close, casting out coldness, + He will fill me with balm, I shall close my eyes! + + _Vidyāpati says: Lo, lovely lady,_ + _Fie on this brazen love of yours!_ + + + + +CXXX. + + +_Rādhā:_ I spent last night in bliss, + I saw my darling's moon-face: + Meseemed my life and youth bore fruit, + The ten directions were filled with joy. + + I thought to-day that my home was made a home, + To-day my body became a body indeed: + Fate has been friendly to me to-day, + And all my doubts are dissolved. + + Now let the koil call a hundred thousand times, + A hundred thousand moons may rise! + Now let the arrows-five become a hundred thousand, + And southern breezes sigh their softest! + + Now for so long as he leaves me not + So long I deem my body is verily mine, + _Vidyāpati says: Your bliss is not little,_ + _Blessing upon your love renewed!_ + + + + +CXXXI. + + +_Rādhā:_ How shall I tell of my boundless joy, my dear,-- + 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 + +The departure of Krishna to Mathurā is God forsaking the soul, or +seeming to do so; the complaint of Rādhā is "Why hast thou forsaken me?" + +XCV + +6, Moving her heart to love, though love be hopeless. + +7. Beauty-spots, _kuca-kuṅkuma_, patterns drawn on her breasts with +sandal-paste: cf. _Gītā Govinda_ XII, 18, 'Draw leafy patterns on my +breasts.' + +XCVII + +This conceit is the subject of beautiful songs by many poets, including +Jāyadeva and Rāmbasu. + +The Bodiless (Anaṅga) is Kāmadeva, Love: on behalf of Umā he endeavoured +to rouse Shiva from his rapt meditation, and Shiva in wrath destroyed +his body with a glance from his third eye. + +Rādhā feigns to think that Love has mistaken her for Shiva, and explains +in detail that she is but a human maiden. Amongst the attributes of +Shiva are the Ganges in his matted locks, and crescent moon, a third +eye, the stain of poison in his throat (see No. II, 11), and a serpent +coiling about it, a tiger-skin, a skull, and ashes smeared on his body; +in place of these Rādhā has flowing tresses, a pearl ornament, a +brow-spot, a touch of musk, a pearl necklace, a dark silk sari, a lotus, +and her body is dusted with sandal paste. The lotus of dalliance +(_kelika kamala_) is a real or artificial lotus flower held in the hand +as a plaything: for an illustration see _Indian Drawings_ II, PL IX, 1. + +XCVIII + +This is one of the most obviously mystical of Vidyāpati's songs: + + _'I am he whom I love, and he whom I love is I.'_ + + Mansūr Hallāj. + +Cf. the exclamation _Śivoham_, 'Shiva is myself (_sohambhāva_, He +being I); and the injunction _Devo bhūtva, devam yajet_, 'By becoming +God, worship Him!' also the half-_dohā_ quoted in the note to LXXXII, 9, +i o. + +3. _O nija bhāva svabhāva hi bichurala_, Forgetting her own _bhāva_ +and _svabhāva_, feelings and character, will and self-consciousness. + + _'At last I have found myself.'_ + + Jalālu'd Din Rumi. + + _'Whoso has not escaped from will, no will has he.'_ + + Shamsi Tabrīz, + +CII + +10. _Piu, piu_: that is to say, 'Belovèd, Belovèd.' + +CIV + +3. Even from a crow's mouth--the crow is the chief omen and messenger, +of a lover's return. Cf. No. CXXIII, and also _Journal of Indian Art_, +No. 128, p. 103 and figure 12. + +CV-CVI + +These are clearly related to reverdies of the folk, such as the Kāshmīrī +songs recorded in Ratan Devī's _Thirty Indian Songs_. It is probable +that the more one could learn of contemporary folk-song, the more +apparent would be Vidyāpati's dependence on the folk-tradition. These +popular motifs are interwoven throughout with the familiar similes of +the classic literature. Perhaps we ought to think of Vidyāpati as a sort +of mystic Burns. + +CVII + +3. 'House': the house, in Vidyāpati's songs refers sometimes to the +actual home of Rādhā's parents, or her own home, and sometimes as here, +to the 'house of love,'--the 'palace' of Shamsi Tabrīz (Nicholson +XXXVIII). + +CVIII + +2. 'Cross the sea': see note to CXXXI. + +CX + +Rādhā is here the typical Proshita-preyasī 'whose husband has gone +abroad, appointing a time of return' (Keśava Dāsa). + +CXI + +The poet says that Rādhā should have thought _before_ she drank. To +take water from a man of low caste is to 'lose caste'--but it is too +late to think of this after the water is already drunk. + +CXII + +The idea of reproach is essential to the drama of the soul, and a +leading motif of the greater part of Rādhā-Krishna literature: + +_'Folk, family, house and husband are abandoned, the reproach of the +world rejected.'_ + + _Prema Sāgara._ + +Compare: + + _'Blessed are ye when men shall revile and persecute you for My + sake,'_ + +and likewise: + + _'Let every reproach that honour disdains and avoids be mine.'_ + + Nau'i. + + _'--Cast shame and pride away,_ + _Let honour gild the world's eventless day,_ + _Shrink not from change and shudder not at crime,_ + _Leave lies to rattle in the sieve of Time!_ + _Then whatsoe'er your workday gear shall stain,_ + _Of me a wedding garment shall ye gain!'_ + + _Love is Enough._ + +This point is to be emphasized: for to understand the necessity and +signifiance of reproach, is to comprehend how it was not merely possible +but inevitable that in a society where the strictest possible conception +of woman's honour prevails, the self-surrender of Rādhā should be +regarded as the natural symbol of the soul's self-gift to God. + +CXIV + +16. Kali age: the fourth or evil age in which we now live, when the +prevailing motive is self-interest; it is what Blake calls _Tax_ or +_Empire_. + +CXV + +This song is still to be heard in Bengal, to the Rāgiṇi Bhairavī. + +4. It is a custom of many bhaktas to print the name or symbol of Vishnu +on forehead, breast and arms. The custom of tattooing the name of the +Belovèd upon the body is world-wide. + +5. Lalitā: Rādhā's dearest sakhī. It is customary amongst Vaishnavas to +recite the name of Krishna in the ears of the dying. + +7. The two customary means of disposing of the dead. + +8. Tamāla, a tree with dark glaucous leaves, constantly compared to +Krishna for its colour. + +CXVII + +13. The scarlet line, drawn along the parting of the hair by married +women whose husbands are still living; if Krishna will not return, Rādhā +will adopt the rule of a widow. + +CXVIII + +Referring to the circumstances of XCIV. + +CXIX + +Contains verses from two songs printed separately in the original. + +CXXI + +8. Marks of complete indifference to propriety and elegance. + +12. And is thus in truth 'broken and contrite,' acceptable to God. + +CXXII + +4-7. All objects normally cool, are scorching hot to Rādhā, racked as +she is by the fire of love. For the lotus-leaves, see the picture facing +p. 115. + +CXXIII + +1. For the sight of the moon, so pleasant to united lovers, increases +her pain. + +3. A sort of black magic; Rādhā invokes Rāhu to eclipse the moon. + +11. _Lit._ 'with ten nails': more black magic, the snakes are to +swallow up the vexing southern breeze. + +14, 15. The koil, whose calling accentuates the suffering of divided +lovers: crows, their messengers, and omens of reunion. Cf. No. CIV, 3. + +CXXIV + +11. Using the necklace as a rosary. + +Contains verses from two songs printed separately in the original. + +CXXV + +Babe--_bāla_, a girl under 16. + +CXXV + +3. Garland-offering--hung on the idol's neck when it is new, and cast +away the next day. + +CXXVI + +10, II. We ought perhaps to understand by this the loneliness of God in +heaven, lacking the love of men. + + + +PUNARMILNA O RASODGĀRA. + +Reunion and the Flow of Nectar. + +CXXVII + +6. Rādhā has learnt at last that service is self-realisation and +self-expression. + +CXXXI + +The 'boat on the river' goes back to the old Buddhist idea of a raft or +boat wherein to cross the samsāra, the sea of this world, to reach the +further shore; just as in the carol 'Come over the burn, Besse,' + + _'The burne is this world blind.'_ + +CXXXI + +Rādhā feels that Krishna, whom she had thought her equal, is indeed +beyond her ken; but the poet answers, 'That art thou,' proclaiming their +Unity. + +7. 'I know the beings of the past, the present and the future, O Arjuna: +but no one knoweth Me.'--_Bhagavad Gītā_ VII, 26. + +CXXXVI + +Like the last, this throws a light upon the whole wreath of songs; for +the soul perceives that she has had ears to hear and eyes to see ever +since she came to birth, yet she has neither heard nor seen; and now she +cannot have enough of hearing and seeing. + +13. _Lit._ 'I have known--and seen not one.' + +CXXXVIII + +The poet leaves the lovers in each other's arms. + + + +BIRDS, FLOWERS AND TREES. + +The following birds, flowers and trees are mentioned in the text in the +connection indicated: + +BIRDS. + +_Cātaka:_ a kind of cuckoo, perhaps _Luculus melanoleucus_,--said to +drink only drops of water as they fall from the clouds. + +_Cakravāka:_ _Anas casarca_,--pairs are said to sleep apart at night. + +Crow: _kāka, bāyasa, Corvus splendens_,--messenger of separated +lovers: also (LXXIII) an eater of leavings. + +_Garuḍa:_ a mythical bird, usually represented with a parrot's head and +partly human body: the vehicle of Vishnu and the enemy of all serpents. + +_Koil_ or _kokila_: _parabṛtaka_, Indian cuckoo, _Eudynamys +honorata_,--its cry is _kuhu, kuhu_, delightful to united, and +distressing to divided, lovers. Its 'pancam-note' is the 'dominant' of +Nature's chorus. + +Parrot: _kīra_,--"Parrot noses are invariably associated with heroes +and great men, while, among female figures they are to be seen only in +images of Sakti." (A. N. Tagore, _loc. cit._). + +Partridge: _cakora_, _Perdrix rufa_,--said to feed on the rays of the +moon. + +'Peewit': _pāpihā_, the hawk-cuckoo, Hieroccyx varius,--its cry is +_piu, piu_, 'Beloved, Beloved.' + +Peacock: _mayūra_, _Pavo cristatus_,--delights in rain. + +Wagtail: _khañjana_, _Montacilla alba_,--restless movement. + + + +FLOWERS AND TREES. + +_Ashoka_: _Jonesia asoka_,--herald of Spring. + +_Bandhūka_: _Pentapetes phœnicia_ (or _Leucas linifolia?_) + +Betel: _pān, tāmbūla, Piper betle_,--leaves used for chewing. + +_Bimba_: _Momordica monadelpha_ (or _coccinia?_),--bright red fruit. + +_Gañja_: _Abrus precatorius_, seeds used as jeweller's weights. + +Honey-apple: _bel, shrĩphala_, 'Bengal quince,' _Aegle +marmelos_,--large round fruit. + +Jasmine: several varieties are mentioned, as _cameli_, Arabian jasmine +_J. sambac_; _campak_, _Michelia champaka_; _mālatī_, clove-scented +jasmine, _Aganosma caryophyllata_ (or perhaps _J. grandiflorum_); +_kunda_, Indian jasmine, _J. pubescens_,--all mentioned for their +scent. + +Jujube: _badarī_, _Zizyphus jujuba_,--small round fruits. + +_Kadamba_: _Anthocephalus cadamba_,--the haunt of Krishna. + +_Keshara_: safflower, _Crocus sativa_,--a herald of Spring. + +_Kimshuk_: _Butea frondosa_,--tree with beautiful flowers, a herald of +Spring. + +_Labanga_-vine: _labaṅga-latā_, _Limonia scandens_,--a herald of +Spring. + +Lotus and water-lily: many varieties are mentioned, as _aravinda_, and +_kamala_ which are day-flowering, and _kubalaya_ and _kumudini_, +which flower at night. We have used the names 'lotus' and 'water-lily' +indifferently for all varieties. + +_Mādhavi_: _Gaertnera racemosa_,--herald of Spring. + +Mango: _Mangifera indica_,--tender shoots and herald of Spring. + +Orange: _naraṅga, Citrus aurantum_,--round fruits. + +_Pātal_: trumpet-flower, _Bignonia suaveolens_,--herald of Spring. + +_Pītal_: a yellow flower not identified. + +Plantain: _kerā_, _Musa paradisaica_,--smooth straight stem. + +Pomegranate, granate: _dāṛima, Punica granatum_,--white smooth seeds. + +_Shālmalī_: silk-cotton tree, _Salmaria malabarica_,--the thorns are +used in the tortures of hell. + +Sandal: _candana, Santalum album_,--which affords a fragrant powder +for the body, much appreciated, and hence stands for the best of +anything. + +Screw-pine: _ketakī, Pandanus odoratissimus_,--fragrance. + +_Shirīsh_: _Acacia sirissa_,--tenderness. + +_Tamāl_: _Garcinia zanthochymus_,--straight stem, dark leaves (the +colour of Krishna). + +_Tāla_: palmyra, _Borassus flabelliformis_,--round fruits. + + + +ILLUSTRATIONS. + +(Transcriber's note: The page images used to prepare this text did not +include the illustrations). + +One and the same lyrical tradition is the common inheritance of all +Hindustan; it finds expression now in poetry, now in music, and now in +painting. Hence it is that the schools of painting, though they are +local, illustrate all the ideas of the Vaishnava poets as directly as +the songs themselves. Amongst Rajput paintings it would perhaps be +possible to find an appropriate illustration to every line of Vidyāpati, +or of any other Vaishnava singer; not that Vidyāpati was known to the +western painters, but their and his experience was the same. Just as the +Vaishnava songs are word-painted miniatures, rather than narative, so +with the Rājasthānī and still more with the Pahārī Rajput paintings; +these are likewise musical delineations of brief moments of the soul's +history. It is hoped that the reproductions given here will help to +actualise the meaning of Vidyāpati's words, for those who are unfamiliar +with the Vaishnava tradition. + +The key to each picture is given in the quoted text, to which the +following notes are supplementary: + +Facing page 3: Jaipur painting of the 18th century, very brilliant in +sunset colourings, representing a girl returning from a Shaiva shrine. + +The original in the collection of Mr. N. Blount, Calcutta. + +Facing page 19: A Pahārī (Kāngrā) painting of the early XIXth century, +representing a girl bathing. + +The original in the collection of Dr. Ananda Coomaraswamy. + +Facing page 27: A Pahārī (Kāngrā?) painting, of the earlier part of the +XVIIIth century, representing Krishna with his flute, beneath a +_kadamba_ tree, and beside him are two milk-maids with offerings of +curd and betel. + +The original in the collection of Dr. Ananda Coomaraswamy. + +Facing page 33: This is the only one of our eleven illustrations which +is not absolutely appropriate to the text. It is taken from an MS of +Keśava Dāsa's _Rasikapriyā_, and represents the 'Clandestine Meeting' +(_Pracchanna samyoga_). It is, however, Mughal in style, +notwithstanding its Hindū subject; and while in a general way it +illustrates the quoted text, its sentiment is more secular and +realistic, and a further objection appears in the fact that the text +implies a night and indoor environment. + +The original in the collection of Dr. Ananda Coomaraswamy. + +Facing page 43: A Pahārī (Kāngrā) painting of the late XVIIIth century, +representing a _dutikā_ leading Rādhā (or any heroine) across a starlit +courtyard to her lover's house. + +Original in the collection of Babu Gogonendronath Tagore. + +Facing page 63: A Pahārī (Jammu district) painting of the XVIIth or +XVIIIth century, representing an Abhisārikā. Part of a picture, the +whole of which is given in 'The Journal of Indian Art,' No. 128, figure +16. + +Original in the collection of Dr. Ananda Coomaraswamy. + +Facing page 71: A Pahārī (Kāngrā) painting of the late XVIIIth century +representing Krishna and Rādhā seated on a bed of plaintain leaves in a +flowery grove. + +Original in the collection of Dr. Ananda Coomaraswamy. + +Facing page 77: A Pahārī (Kāngrā) painting of the early XIXth century +representing the Mānini denying Krishna's prayers. + +Original in the collection of Dr. Ananda Coomaraswamy. + +Facing page 95: A Pahārī (Kāngrā) painting of the early XIXth century +representing a woman cooking. + +Original in the collection of Dr. Ananda Coomaraswamy. + +Facing page 115: Part of a Pahārī (Jammu district) painting representing +Rādhā (or any heroine) suffering from the pangs of _viraha_. Lotus +leaves are spread on the bed, one sakhī is fanning the patient, and +another brings her water in a jade cup; yet her body is scorched as +though by fire. + +Original in the collection of Dr. Ananda Coomaraswamy. + +Facing page 151: Part of a Pahārī (Kāngrā) painting of late XVIIIth +century, representing the Vāsakasāyya Nāyika, she who welcomes her +beloved on his return from abroad. For the whole picture see 'Journal of +Indian Art,' No. 128, figure 13. + +Original in the collection of Dr. Ananda Coomaraswamy. + +The dates suggested are only approximate. Most of the reproductions are a +little smaller than the originals. + + + +TEXTS. + +X + + Āju majhu ́subha dina bhelā! + Kaminī pekhalu sinānaka belā, + Cikura galaye jala dhāra,-- + Meha barikhe janu motima hāra! + + Badana mochala paracura, + Maji dhayala janu kanaka mukura,-- + Teṅgi udāsala kucajora, + Pālaṭi baiṭhāyala kanaka kaṭhaura, + + Nībibandha karala udesa,-- + Vidyāpati kaha: manoratha śesha. + +XXIV + + Ki kahaba re sakhi iha duhkha ora? + Baṅśī niśāsa garale tanu bhora: + Haṭha saṅge paiṭhaye śrabanaka mājha, + Taikhane bigalita tanu mana lāja. + + Bipula pulake paripùraye deha, + Nayane nā heri heraye jani keha: + Gurujana samukha-i bhāvataraṅga, + Jatanahiṅ basane jhāmpi saba aṅga. + + Lahu lahu caraṇe caliye gṛha mājha-- + Dhaire se bihi āju rākhala lāja-- + Tanu mana bibaśa, hasaye nībibandha! + Ki kahaba Vidyāpati? rahu dhanda. + + + +XCVII + + Katihuṅ Madana tanu dahasi hāmāri? + Hāma naha Śaṅkara, ha-u baranāri: + Nahi jaṭa iha, beṇi bibhaṅga: + Mālatī māla śire, naha Gaṅga: + + Motima baddha moli, naha indu: + Bhāle nayana naha, sindūra bindu: + Kaṇṭhe garala naha, mṛgamada sāra: + Naha phanirāja ure maṇi hāra: + + Nīla paṭāmbara, naha bāgha chāla + Kelika kamala iha, nā ha-ī kapāla. + Vidyāpati kaha: e hena suchanda: + Aṅge bhasama naha, malayaja paṅka. + + + +CXXXV + + Hātaka darapana, māthaka phula, + Nayanaka añjana, mukhaka tāmbula, + Hṛdayaka mṛgamada, gīmaka hāra, + Dehaka sarabasa, gehaka sāra, + + Pākhīka pākha, mīnaka pāni, + Jīvaka jīvana, hāma tuhu jāni,-- + Tuhu kaiche Mādhava? kahabi mo-ī. + Vidyāpati kaha: duho dohā ho-ī. + + + +CXXXVI + + Sakhī ki puchasi anubhava mo-ī-- + So-i pīriti anurāga bakhānite + Tile tile nūtana ho-ī? + + Janama abadhi hāma rūpa nehāranu, + Nayana nā tirapita bhela: + So-i madhura bola śrabaṇahi śunanu, + Śruti-pathe paraśa nā gela. + + Kata madhu-jāminī rabase goṅvāyanu, + Nā bujhanu kaichana keli: + Lākha lākha juga hiye hiye rākhanu, + Tabu hiya juṛana na geli. + + Kata bidagadha jana rase anumagana + Anubhava--kāhu nā pekha. + Vidyāpati kaha: prāṇa juṛā-ite + Lākhe nā milala eka. + + + +CORRIGENDA. + +(Transcriber's note: The corrections listed below have been made in the +text). + +XV, 13, for 'man' read 'maid.' +XXI, for 'beauty?' read 'beauty, my dear?' +XXXVIII, 6, read 'So fierce he was to fall on me.' +LI, 13, for 'cymbals twain' read 'twin palmyra fruits.' +LXVIII, 2, for 'sidelong glances' read 'curving eyes.' + +Throughout text for Vidhyāpati read Vidyāpati. + + + +NOTE + +Of this edition of VIDYĀPATI three hundred fifty and copies have been +printed, and three on handmade paper. + +(Transcriber's note: The original page images this book was made from +were provided by the Internet Archive). + + + + + +End of Project Gutenberg's Vidyapati Bangiya Padabali, by Vidyapati Thakura + +*** END OF THIS PROJECT GUTENBERG EBOOK VIDYAPATI BANGIYA PADABALI *** + +***** This file should be named 38174-0.txt or 38174-0.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/3/8/1/7/38174/ + +Produced by James Simmons + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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