The Loves of Krishna in Indian Painting and Poetry Part 7

She looked at Krishna who desired only her, on him who for long wanted dalliance, Whose face with his pleasure was overwhelmed and who was possessed with desire After embracing her long and ardently, Krishna with his necklace of pearls Krishna like the Jumna in a mighty flood with its necklace of specks of foam.[59]

The cowgirls go and Krishna speaks to Radha.

O woman with desire, place on this patch of flower-strewn floor your lotus foot, And let your foot through beauty win, To me who am the Lord of All, O be attached, now always yours.

O follow me, my little Radha.

O lovely woman, give me now the nectar of your lips, infuse new life into this slave of yours, so dead, This slave, whose heart is placed in you, whose body burned in separation, this slave denied the pleasure of your love.

Radha yields and as the night pa.s.ses they achieve height upon height of s.e.xual bliss.

Their love play grown great was very delightful, the love play where thrills were a hindrance to firm embraces, Where their helpless closing of eyes was a hindrance to longing looks at each other, and their secret talk to their drinking of each the other's nectar of lips, and where the skill of their love was hindered by boundless delight.

She loved as never before throughout the course of the conflict of love, to win, lying over his beautiful body, to triumph over her lover; And so through taking the active part her thighs grew lifeless, and languid her vine-like arms, and her heart beat fast, and her eyes grew heavy and closed.

In the morning most wondrous, the heart of her lord was smitten with arrows of Love, arrows which went through his eyes, Arrows which were her nailed-scratched bosom, her reddened sleep-denied eyes, her crimson lips from a bath of kisses, her hair disarranged with the flowers awry, and her girdle all loose and slipping.

With hair knot loosened and stray locks waving, her cheeks perspiring, her glitter of lips impaired, And the necklace of pearls not appearing fair because of her jar-shaped breast being denuded, And her belt, her glittering girdle, dimmed in beauty, The happy one drank of the face where the lips were washed with the juice of his mouth, His mouth half open uttering amorous noises, vague and delirious, the rows of teeth in the breath of an indrawn sigh delightedly chattering.

Drank of the face of that deer-eyed woman whose body lay helpless, released of excessive delight, the thrilling delight of embraces.

When their pa.s.sion is at last ended, Radha begs Krishna to help her with her toilet.

She said to the joy of her heart, Adorn the curl on my brow which puts the lotus to shame, my spotless brow, Make a beautiful spot on my forehead, a spot with the paste of the sandal, O giver of pride, on my tresses, untidy now on account of desire, place flowers, Place on my hips the girdle, the clothes and the jewels, Cover my beautiful loins, luscious and firm, the cavern of Love to be feared.

Make a pattern upon my b.r.e.a.s.t.s and a picture on my cheeks and fasten over my loins a girdle, Bind my ma.s.ses of hair with a beautiful garland and place many bracelets upon my hands and jewelled anklets upon my feet.

Krishna does so and with a final celebration of Krishna as G.o.d and of the song itself--its words 'sweeter than sugar, like love's own glorious flavour'--the poem ends.

[Footnote 51: Note 18.]

[Footnote 52: Plate 20.]

[Footnote 53: Plates 21 and 22.]

[Footnote 54: Note 19.]

[Footnote 55: Plate 23.]

[Footnote 56: Plate 24.]

[Footnote 57: Plate 25.]

[Footnote 58: Plate 26.]

[Footnote 59: Plate 27.]

(iii) Later Poetry

Jayadeva's poem quickly achieved renown in Northern and Western India and from the early thirteenth century became a leading model for all poets who were enthralled by Krishna as G.o.d and lover. In Western India, Bilvamangala, a poet of Malabar, composed a whole galaxy of Krishna songs, his poem, the _Balagopala Stuti_ (The Childhood of Krishna) earning for him the t.i.tle 'the Jayadeva of the South.' But it is during the fifteenth and sixteenth centuries that the most important developments occurred. In Bengal, the poets Vidyapati and Chandi Das flourished in about the year 1420, while in Western India, Mira Bai, a local princess, began a wide-spread popular movement. Mira Bai was followed by Vallabhacharya (born 1478) who in turn inspired four poet disciples--Krishna Das, Sur Das, Parmanand Das and k.u.mbhan Das. All these were at their height in the middle of the sixteenth century, writing Hindi poems in which Radha's adventures with Krishna and their rapturous love-making were devotedly described.[60]

The work of Sur Das was of special importance for in one of his compositions he took each of the thirty-six traditional modes of Indian music-the _Ragas_ and _Raginis_--but instead of celebrating them as separate 'musical characters,' appended to each a love-poem about Krishna.

Sur Das was followed by Keshav Das of Orchha (fl. 1580), Govind Das (fl.

1590), Bihari Lai (fl. 1650) and Kali Das (fl. 1700)--all poets in whom religious ecstasy was blended with a feeling for pa.s.sionate romance. Of these poets Bihari Lai is famous for the _Sat Sai_ in which he celebrated Krishna's romance in seven hundred verses.

All this later poetry differed from the _Gita Govinda_ in one important respect. Instead of dwelling on the temporary rupture in Radha and Krishna's relationship, it roved freely over the many phases of their love-making, subjecting every incident to delighted a.n.a.lysis. A poet thought and felt himself into Radha's mind when as a young girl about to become a woman she discovered for the first time the exquisite sensations of awakening love. Or he imagined he was Krishna stumbling on Radha by accident and being stirred to ecstasy by his first glimpse of her glowing charms. Sometimes he even became the unseen viewer of their rapturous exchanges, comforting Radha with sage remarks or egging her on to appease her hungry lover. In this way many incidents not recorded of any cowgirl in the _Bhagavata Purana_, though possibly preserved in oral tradition, came gradually into prominence, thereby confirming Radha as Krishna's greatest love.

The following incidents will ill.u.s.trate this process. Radha would be described as one day taking her curds and milk to a village the farther side of the river Jumma. Krishna hears of her expedition and along with other cowherd boys waylays Radha and her friends and claims a toll. Radha refuses to pay but at last offers to make a token gift provided he ferries them over. Meanwhile a cowherd boy has hidden the boat and night is coming on. It is now too late to return so the girls have no alternative but to stay with Krishna. They lie down by the bank but in the darkness give Krishna not only the toll but also their souls and bodies.

In another poem, Krishna is shown pestering the cowgirls for curds. Radha decides to stand this no longer and partly in jest dresses herself up as a constable. When Krishna next teases the girls, she descends upon him, catches him by the wrist and 'arrests' him as a thief.[61]

It is in the poems of Chandi Das, however, that Krishna's most daring ruses are described. Having once gained admittance to Radha's house by dressing himself as a cowgirl, he is shown pretending to be a flower-seller. He strings some flowers into a bunch of garlands, dangles them on his arm and strolls blandly down the village street. When he reaches Radha's house, he goes boldly in and is taken by Radha into a corner where she starts to bargain. Krishna asks her to let him first adorn her with a garland and then she can pay him. Radha agrees and as he slips a garland over her head, Krishna kisses her. Radha suddenly sees who it is and holds his hand.

On another occasion, Radha is ill from love and is lying at home on her bed. Krishna thereupon becomes a doctor and goes from house to house curing the sick. So successful are his cures that Radha also is tempted to consult the new doctor and sends a maid to call him, Krishna comes but before entering adopts a wild disguise--putting his clothes on inside out, matting his hair with mud, and slinging a bag of roots and plants over his shoulder. As he enters, he sits on Radha's bed, lifts her veil, gazes intently at her face and declares that certainly she is very ill indeed.

He then takes her pulse and says, 'it is the water of love that is rotting her heart like a poison.' Radha is elated at this diagnosis, rouses herself and stretches her limbs. 'You have understood my trouble,' she says. 'Now tell me what I am to do.' 'I feel somewhat diffident at explaining my remedy,' replies the doctor, 'But if I had the time and place, I could ease your fever and cure you utterly.' As he says this, Radha knows that he is Krishna and this is only another of his reckless wiles designed to bring him near her.

But it was less in the recording of new incidents than in lyrical descriptions of Radha and Krishna, their physical charms and ecstatic meetings, that the poets excelled.

i

Krishna is dancing in a medley of moods and poses.

His crown sways, his eye-brows move, Displaying the arts of a clever dancer.

The swing of his waist makes his girdle sing And the anklets jingle.

One fancies one is listening to the sweet voice of a pair of geese as they touch each other in dalliance.

The bangles glitter and the rings and armlets shoot their rays.

When with pa.s.sion he moves his arms, what grace the movements bless!

Now he dances after the gait of ladies and now in a manner of his own.

The poet's lord is the jewel of the pa.s.sionate And builds his dance in the depths of ecstasy.[62]

(Sur Das)

ii

With Krishna in their midst the cowherds come to their homes.

The calves and cows are ahead, frisking and playing as they go.

All the pipes and horns go forth, each his own notes playing.

The sound of the flute moves the cows to low as they raise a cloud of dust.

The crown of peac.o.c.ks' feathers glistens on the head like a young moon.

The cowherd boys frolic on the path and Krishna in the centre sings his song.

Ravished by the sight, the cowgirls pour out their minds and bodies, Gazing on Krishna, quenching their heart's desire.

(Sur Das)

iii

Radha's glances dart from side to side.

Her restless body and clothes are heavy with dust.

Her glistening smile shines again and again.

Shy, she raises her skirt to her lips.