6

THE INDIAN ANTIQUARY.

tees of Śri Krishna Chaitanya singeth Brinda ban Däs.

3. First set up the plantains, array the full pots, adorned with twigs of the mango; the

Mana uchâtana, nišwåsa saghana, kadamba kānane chây : Chorus. Rai emana kene bā haila; Guruduru jana bhaya nãhi,

Brahman chants the Vedas, the women shout

jay ! jay ! and all cry Hariſ Hari Making the consecration with curds and ghi, all display

their joy; bringing in the Vaishnavas, giving them garlands and sandal-paste, for the celebra tion of the Kirtan; joy is in the hearts of all, hither come the Vaishnavas, to-morrow will be Chaitanya's kirtan; the virtue of: Sri Krishna

Chaitanya's name, and the indwelling of Sri Nityanand singeth Dás Brindaban.” 4. Jay ! jay ! in Nawadwip; by Gorang's order Adwaita goes to prepare the consecration of the drum. Bringing all the Vaishnavas with sound of “Hari bol,” he initiates the great feast. He himself giving garlands and sandal-paste, converses with his beloved Vaishnavas, Gobind taking the drum plays ta-ta-tum tum, Adwaita lightly clashes the cymbals. Hari Däs begins the song, Sribàs keeps time, Gorang dances at the kirtan celebration.

On all sides the Vaish

[JANUARY, 1873.

Mana kothä bá ki deba păila :

Sadāi chanchala, basana anchala, Sambarana nahi kare:

Basi thaki thaki, uthaye chamaki, bhūshana khaifiat pare: Bayese kišori, rajãr kumâri, táhe Kulbadhū bālā :

Kibà abhilāshe, bādhaye lălase, nã bujhi täh hâr chhalā :

Tāhār charite, hena bujhi chite, hät bärăila chände :

Chandi Däsa kay kari anunaya thekechhe Kāliyā phānde. “She stands outside the house, a hundred

times restlessly she comes and goes: depressed in mind, with frequent sighs, she looks towards the kadamba jungle. Why has Rai (Radhikā) become thus 2 serious is her error, she has no fear

of men, where are her senses, or what god has possessed her ? Constantly restless, she does

navas crowding echo “Hari bol,” to-morrow will be the great feast. To-day consecrate the drum and hang it up, joyfully saith Bansi sound vic tory ! victory !! The metre of this last is rather pretty, and I therefore give the original of the first two lines. Jaya jaya Navadwipa májh, Goranga adeśa páñā, Adwaita thakura jáña. Kare khola mangala säj: Having thus concluded the initiatory cere monies in the 1st Pallab, the 2nd Pallab begins the real “Kirtan.” It contains 26 hymns by masters who are mostly of comparatively recent

raised her hand to the moon; : Chandi Däs says with respect she has fallen into the snare of the black one (Krishna).” This poem vividly expresses the first symp toms of love dawning in the girl's heart, and from a religious point of view the first awakenings of

date.

consciousness of divine love in the soul. It is

Of the old masters Gobind Dás and

Chandi Däs alone appear in this Pallab.

not cover herself with the corner of her robe :

she sits still for a while, then rises with a start,

her ornaments fall with a clang. Youthful in age, of royal descent, and a chaste maiden to boot: what does she desire, (why) does her longing increase ? I cannot understand her mo tives: from her conduct, this I conceive, she has

We

difficult for the European mind, trained to draw

now commence the long and minutely described series of emotions and flirtations (if so lowly a word may be used) between Rādhā and Krishna,

love for another human being, to enter into a

and this Pallab and in fact the whole of the first

a broad distinction between the love of God and

state of feeling in which the earthly and sensual is made a type of the heavenly and spiritual, but a large-souled charity may be perhaps able to admit that by this process, strange though it be to its own habits and experiences, there may

Sākhā is on that phase called “púrbarāga” or first symptoms of love. In No. 2, Chandi Däs represents two of Rādhā’s Sakhis, or girl friends, whispering together as they watch her from a distance (the punctuation refers to the casura, not to the sense): Gharer bahire, dande śatabára, tile tile àise

have been some improvement wrought in the

Jay :

ism does, in spite of, or perhaps in virtue of,

• The poet's name is inverted to make a rhyme for Kir

tan in the preceding line.

f The ſi in this word is sſ the palatal nasal occasionally .

inner life of men brought up in other schools of thought; and my own experience, now of fourteen years standing, enables me to say that Vaishnav

used for 55ſ in old Bengali, and sometimes for anuswära simply.

She has formed some extravagant desire.