CHAPTER THREE

The Characterof Radha in the lyrical poems

Radha occupies an important place in the Sanskrit lyrical poetry since
the early part of the Christian era. We have already said that Bhattanarayana.
the renowned author of the Venlsmhara, composes an excellent poem in the
't'

form of the nandi-vcrse in his drama. We quote the poem below :

kalindyah pulinesu kelikupitamutsrjya rase rasam
gacchantimanugacchatosrukalusam kamsadviso radhikam
tatpadapratimanivesitapadasyodbhutaromodgateraksunno nunayarh prasannadayitadrstasya pusnatu vah
Bhattanarayana referred to Radha in this nandl verse. This verse is an
excellent lyrical poem.
After the Venlsamhara, where the lyrical poem forms a part of the
drama, many other lyrics have been found in a wide range of Sanskrit litera
ture in the name of Radha, some of which were written by anonymous authors.
These lyrics have played a significant part in Sanskrit poetics also.
Anandavardhana, the famous author of the Dhvanyaloka, quotes a
poem where Dhvani and Gunibhutavyanga kavya have been excellently
blended by the poet. It also appears in full entity in the Vakrokti/h ita of
Kuntaka."

51

In this poem, there is a reference to the past life o f Krsna, who asks a
friend coming from Vm davana to Dvaraka about the creeper houses now
lying barren on the bank o f Yamuna, where Krsna was constantly engaged in
love-affairs with Radha.
In a n o th e r po em , a p p a re n tly w ritte n in a la te r p e rio d a fte r
Anandavardhana, there is a pathetic description o f Radha being deserted m er
cilessly by Krsna who left for Dvaravatl (Dvaraka) ignoring the lover. The
poem has been quoted by different authors in their works with variant readings.
Abhinavagupta quotes the poem in his Locana commentary as :
yate dvaravaffm puram madhuripau taddattajhampanatam
kalindltata rudha vanjulalatamalingya sotkanthaya /
tadgltam gumvaspagadgadagalattarasvaram radhaya
yenantarjalacaribhiqalacarairapyutkamutkujitam / /
T he p o em appears w ith a slig h t v a ria tio n in H e m a c a n d ra s
Kavyanusasana .4 the Vakroktijfvita 5 o f Kuntaka, the Saduktikam am rta 6 o f
Sridharadasa, the Alamkaratilaka o f V agbhata and unanim ously in the
N sty a d a rp a n a o f R am ac an d ra an d G u n a c a n d ra . 8 A c co rd in g to th e
Saduktikamamrta, the lyric was written by an anonymous author. But in the
Padyavall, it has been assigned to AparEjita .9 However, its poetic beauty has
charmed its readers for its deep, heart-rending pathos. The poem describes
the unbearable love-lorn condition o f Radha. W hen Krsna left for Dvaraka after
abandoning his lover, Radha wept and sang lonely out o f sorrow which made
the aquatic animals o f the Yam una emerge from the w ater and scream with
sorrow at Radhas plight.

52

In the first poem, Radhas name is only remotely related to the lovestory of Krsna and his most beloved maiden, while in the second poem,
Radha is depicted as a dejected lover who has been ruthlessly abandoned by
Krsna, for no fault of this simple woman.
Abhinavagupta and other authors of poetics have discussed only the
special features of the poem which are important from their own angle of
approach to the science of poetry.
Abhinavagupta corroborates the view of Anandavardhana that Rasa is
invariably suggested with the help of appropriate Vibhavas, Anubhavas and
Vyabhicaribhavas, the factors which are essentially required for delineating
Rasa. Rasa cannot be presented through gross statements like Devadattab,
srngarl b b a v a tf. W hile upholding the view o f Anandavardhana,
Abhinavagupta incidentally refers to the above poem. He says that in this
poem, though the word sotkanthaya has been used, actually it is through
appropriate delineation of the factors responsible for arousing our sentiment
the situation of anxiety has been presented before our mind and not through
this particular word.
Kuntaka, on the other hand, shows that the use of the pronoun 'tathas
created a special beauty in the poem .5
It is worth-noting here that apart from such discussion on technical
aspects of the poetics, no critic has found any scope till now to assess the
pathetic condition of Radha or show sympathy for her. The lamenting of the

53

aquatic animals for Radha in the fourth quarter of the poem instantly reminds
us of a passage in the Uttararamacarita, viz.,
..................... janasthane sunye vikalakaranairaryacaritairapi grava rodityapi dalati vajrasya hrdayam /

10

Trivikramabhatta, the author of the Nalacampu has been described

as the author of another beautiful lyrical poem, viz.,
siksitavaidagdhyakalaparadhatmika parapuruse /
mayavinlkrtakesivadhe ragam vadhnati / / n
The poem is, however, strikingly absent from some modem editions
of the Nalacampu. In this poem, there is a hint that Radha is the wife of
another person, but she secretly loves Krsna, the killer of the demon Kesl.
This is probably the earliest reference to Radhas paraklya-pntf in Sanskrit
literature. In later times, we find in the Brahmavaivartapurana, that Radha was
actually the duly married wife of Krsna while her chaya (image) was married
to another person. 12
Radha in the Saduktikarnamrta

The Saduktikarnamrta of Sridharadasa is a famous anthology, where

several poets refer to Radha in a number of lyrics. One of such poems which
contains pun at every step gives a highly entertaining description of
Radha refusing to invite Krsna into her household. It is a love poem arousing
the sentiment of laughter of the reader because of the funny situation created
by Radhas intelligent replies to Krsnas plea to enter into her house. We
quote the poem below :

54

k o yam dvari harih prayahyupavanam sakbamrgenatra kim /

krsnoham day tie vibhemi sutaram krsnah katharh vanarab / /
mugdheham madhusudano vraja latam tameva puspanvita /
13

mittharh nirvacamkrto dayitaya hrino harih patu vah H

According to Sridharadasa, Subhankara is the author of this lyric. The

poem narrates that Krsna on one occasion tried to enter into his lovers
(Radhas) house. He was standing on the gate of her house when Radha asked,
Who are you standing at my gate ? Krsna replied that he was Hari (Krsna).
But the word hari means a monkey also. Therefore, Radha (fully knowing
about her lovers presence) said that a monkey was an unwanted animal in
her house. Then Krsna said that he was krsna (black). Radha was surprised to
hear about a black monkey and became afraid. Krsna thought Radha was
ignorant of his presence and said that he was Madhusudana (the killer of
demon Madhu, a name of Krsna). But the word madhusudana means black
bee also. Therefore, she advised him to move to a blooming creeper to suck
its honey. The poet exploits the power of puns (slesa) in this poem in order to
create an amusing situation.
The poem clearly indicates that Radha was a learned and exception
ally intelligent woman who befooled her lover Krsna. This poem is also
found in the SubhasitavalTof Vallabhadeva14 with some variations.
A similar poem of another anonymous writer which displays Radhas
great intelligence is given below :
kastvam bho nisi kesavah sirasijaih kim nama garvayase /
bhadre sauriraham gunaib pitrg&taih putrasya Mm syadiha / /

55

cakrl candramukhiprayacchasi m m e kundfm ghatim dohinimitthamgopavadhuhrtottarataya duhstho harihpatu v a h //ls

In this poem also, Radha takes full advantage of ambiguous words
and refuses Krsna approaching her household in the night.
Here, Radha asks Krsna coming to her house in the night as, Who
are you here ? Krsna replies that he is Kesava (an epithet of Krsna). Radha
says that a Kesava (person having luxuriant hair) does not deserve any special
credit. Then Krsna says that he is Sauri ( the son of Sura), Radha admonishes
him for refering to his father whose greatness does not add glory to the
character of his son. Krsna is perplexed and says that he is Cakrin (Krsna,
holding a disc i.e. Sudarsana). The word eakrirf means a potter also.
Radha refuses Krsna by saying that if he is a pottter, then why he is not
giving her different earthen vessels like small jar, bowl-shaped vessel, milkpail, etc. and hence, the potter can depart without a further word. This last
poem is an example o f hasya-rasa. In fact, hasya-rasa or humour occasionally
enhances the beauty o f srngara-rasa. It is not a contradictory rasa, like karuna
or vibhatsa which mars the beauty of amorous sentiment. It is to be noted
here that the above poem appears in the Padyavail of Rupa Goswaml.16
There are other poems in the anthology o f Sndharadasa, two of which
were written by Solloka and Satananda

and the third by an anonymous

poet. In two of these poems, Radhas psychology is excellently depicted by

the poets. In one poem, Radha is looking with love and admiration at Krsnas
unusual feat of lifting the GovardhanaM^ jta the second poem, fearing that

56
the Govardhana hill might be too heavy for Krsna, Radha stretches her hands
intuitionally with a gesture to help him in lifting the hill. These are certainly
some excellent pieces of poetry depicting the love of Radha for the Lord. It
may be noted here that there are different forms of expressing love for the
person loved in Sanskrit literature, which is not confined to sambhoga alone.
SrTdharadasa presents the poem "yate dvaravatlm puram madhuripaiietc.
written by an anonymous poet also (already discussed by us) in his anthology.
Now, a critical examination of the above poems, found in this famous
anthology, shows that some poems are related to the early life of Radha and
Krsna, while the other poems and particularly the poem, yate dvaravatmf
etc. describes the later life of Radha after her separation from her lover.
While living in Dvaraka, Krsna passed a constantly restless life in the
absence of Radha. In a poem, written by an anonymous author 19 and quoted
in the Saduktikamamrta, Krsna spent his days in Dvaraka in great sorrow
being separated from his beloved. In another poem, attributed to Sarana,20
Krsna living in Dvaraka constantly recollected the happy days of Vmdavana
in the association of Radha and lamented for his past life and was burned in
deep sorrow in her absence.
It is interesting to note that in one poem written in Sardulavikriditam
metre by Subhankara and quoted in the Saduktikamamrta, Krsna suddenly
remembers his past life when he descended to the earth as Ramacandra. He
laments for his wife Sita and his dearest brother Laksmana, while sleeping
with Radha. Radha becomes suddenly jealous on hearing the words of Krsna

57

and for his partisan attitude towards Slta. In this poem, we notice that it is
21

Radha and not Rukmini who shares the bed with Krsna. The poem is quoted

in the Padyavall also with a slight variation.

22

We have examined several lyrical poems of the Saduktikarnamrta. It

appears from a critical study of these poems that the Bhakti cult had dominated
the minds of most of the poets whose poems have been incorporated in
Srfdharadasas work. The poem, viz., yate dvaravaffm madhuripad etc. is
free from any religious flavour or colour. But in other poems, the loveepisode of Radha and Krsna has been intelligently twisted by adding a few
words of benediction in a typical religious tune in order to impart a religious
colour to them. The poems clearly exhibit that they were written after the
Bhakti doctrine had gained a fair ground in the society.
Radha in the Subhasitaratnakosa
The SubhBsitamtaakosa, also known as the Kavmdravacanasamuccaya,
of about 10th century A.D., is another famous anthology of Sanskrit poems.
Vidyakara, the compiler of this particular work also incorporates a few lyrical
poems written on the love-episode of Radha and Krsna.
The poem, viz, k o yam dvari hart73 etc. already quoted by us also
occurs in this anthology. Radha is depicted as the beloved of Krsna in one of
the poems, where the lady frantically searches Krsna in different spots out of
her deep anxiety to meet him, but does not find him anywhere. The poet says
mayanvisto dhurtah sa sakhi nikhilam eva rajanlm
iha syadatra syaditi nipunamanyamabhisrtah /

58
na drsto bhanddire tatabhuvi na govardhanagker
na kalindyab ku le na ca niculakunje muraripuh II

24

The above poem is an appropriate illustration o f the vyabhicaribhava

or the acute state o f love (snigararasa) o f Radha, anxious for meeting her
lover Krsna. This poem is assigned to Purusottama.
We have already discussed another poem o f the Saduktikarnamrta,
where R adha eagerly looks at K rsnas superhum an feat o f lifting the
Govardhana hill. The poem is incorporated in the Subhasitaratnakosa also.

25

In another poem, m et with in the Subhasitaratnakosa, Radha is described

as a maiden bom in a cowherd family, who remains engaged in milking the
cows and Krsna seeks a pretext to m eet her .26
It m ay be noted here that G ahgadasa com poses a nice poem in
Rathoddhata metre where he depicts Radha as a cowherd lady who is busy in
churning milk, but suddenly hearing the melodious tune o f K rsnas flute, she
rashes immediately to the bank o f the Yamuna to m eet H im .27
Radha appears in all the poems we have examined so far as an Indian
lady dedicated to the cause o f love and occasionally suffering from the wrong
behaviour o f her lover. She is a simple, but noble and dignified lady. There is
nothing mystic, miraculous or extra-ordinary in her character except her regular
human nature. But the character o f Radha takes a sudden turn towards a new
direction in the puranas.
The Srlkmnakamamrta and Radha
The ^nkrsnakarnam rta o f Lllasuka has handed dow n to us several

59

devotional poems dedicated to Radha and Krsna. These poems are also
excellent lyrical compositions where the poets keen sense of imagination is
adequately manifested.
Lovers have a world of their own. When they are deeply engrossed in
love, they sometimes forget the world. Such was the case of Radha and
Krsna as described in one poem of Lilasuka, viz :
radha pimatu jagadacyutadattacittamanthanamakalayatl dadhiriktapatre /
tasyah s tanasfavakacaScalaloladrstirdevop i dohanadhiya vrsabbam mrundhan / /

28

In this poem, the poet describes that Radha, whose mind is drawn
towards Krsna, forgets the reality and is churning curd which is not in an
empty vessel, at the same time Krsna also deeply enchanted by the beauty of
Radha, is fastening a bull instead of a cow for milking, due to his serious
diversion of mind.
This is an appropriate description of the psychology of an absentminded pair of lovers. In another place in the same book, LllSsuka gives a
poem of an entirely different style in which the question and answer tech
nique has been applied with which we are all acquainted in the
Saduktikamamrta and Subhasitaratnakosa or Kavmdravacmasamuccaya. In
this poem, the cowherd lady (gopakanyi), Radha asks from inside her chamber
: Who is knocking at my door ? Krsna replies, T am Madhava. Now Madhava
means the spring season also; RadhI asks What do you say? Spring?
5

60
Krsna instantly replies, No, I am Cakri, and Radha asks again What do you
say, potter ? Krsna replies, I am Dharamdhara. Though Radha knows the
person well, she feigns not to understand the meaning of Dharamdhara and
asks in a teasing tone, Are you the Lord of serpents? 29 This is a piece of
love poem in which the word Dharamdhara refers to serpent king Ananta
who bears the burden of holding the earth on his hoods.
This poem is also incorporated in the Subhasitavali with slight variation.
But here the heroine is LaksmI and the hero is her husband ( laksmldhava).

30

In this way, the lovers create a humorous situation. We have already

shown that in die eyes of the Sanskrit poets, Radha is an intelligent girl who
can effectively play upon puns. The above poem is a typical example of this.
Though Radha was an uneducated lady in the modem sense of the term,
there was no dearth of wit and intelligence in her character as depicted in the
above poems.
In the Srikrsnakarnamrta, a devotional lyric poem, where the poetical
imagination has reached the zenith, Radha as the consort of Krsna is seen
sometimes as identified with LaksmI, the consort of Visnu. Both of them are
Krsnavallabhas. Because Krsna Himself is the full form of Lord Visnu, His
beloved Radha has been recognised in the poem as the synonym of LaksmI.
This becomes clear from the following poem :

tejasestu namo dhenupaline lokapaline /

35
radha payodharotsangasayine sesasayine II
Here it may be noted that the denoument of this identification of the

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62

feet, the TulasI leaves decorated on the head of the Lord make the feet of
Radha fragrant. We quote the poem below :
madbumathanamaulimale sakhi tulayasi tulasikim mudba radham /
yattava padamadaslyam surabbayitum saurabhodbbedab //

35

The Tulasl-episode narrated in the Brahmavaivartapurana informs us

that TulasI, appeared on earth in human form as a result of some curse spelt
by Radhika, performs a great penance and attains a boon from Narayana that
He will hold her on His head and bosom and will be her husband in the other
world (i.e. Vaikuntha) (abam tvam dbamyisyamisurupam mUrdhiii vaksasi.)

36

In another Arya poem, the poet describes that Radha excels even
Laksml in her love for Lord Krsna. The poetic felicity of this poem is highly
enjoyable.
laksminihsvasanalapindikrtadugdhajaladhisSrabhujab /
ksiramdhitirasudraso yasamsi gayanti radhayah / /

37

Here the poet describes that the ladies with beaufiful eyes living on
the bank of the Milky ocean sing the glory of Radha, while they are enjoying
the essence of the milk concentrated by the fire of the heavy sighs of Laksml.
Both the excellence of love of Radha for Krsna and the jealousy of Laksml
for Radha have been expressed beautifully in this poem.
The poet depicts the intensity of the love of Radha skilfully with a
great poetic fervour. In one verse, it has been described that when Krsna
dances and moves around thereby, Kamadeva, the presiding deity of love,

63

endows Radha with special arrows of flower on her eyes, restless due to her
deep love for Krsna. The special feature of this arrow is that it can pierce on
all directions. That is on all directions, Krsna becomes the subject of the
loving eyes of Radha.

38

Radha expresses her great pride for the love of Krsna and also her
sole-possessiveness suggestively in the following Arya poem :
rajyabhisekasalilaksSlitamauleh kathasu krspasya /
garvabbaramantbarSksfpasyati padapankajam radha II

39

The poet says here that when Radha hears that the head of Lord Krsna
has been sprinkled with various sacred waters of ablution at the time of his
coronation, she steadily looks at her lotus-like feet out of great pride. Here it
is suggested by her intelligently that the very head of Lord Krsna, sprinkled
with sacred water with great pomp at the time of his coronation, was time
and again bowed on the feet of Radha whenever she gets angry with Krsna at
loves revelry. This is a beautiful picture of vipralambba srngararasa
interwoven with the vyabhicaiibhavas, reminiscence (smrti), pride (garva)
and dejection ( visada).
Similarly, the poet delineates the pride of a gopl due to her intense love
for Krsna in the following poem :
premalagbukrta kesavavaksobbarabipulapulakakucakalasa /
govardbanagiri gurutam gopavadhumibhrtamupabasati //
Here, the poet describes that when a gopl hears that Lord Krsna has

64
lifted the Govardhana hill, she laughs at the weight of the Govardhana, think
ing that she is fortunate to bear the weight of Krsnas body on her bosom at
the time of making love with Him. The body of Krsna seemed to her as if
lightened due to the excess of love.

There is another verse in Aryasaptasatl which display#! the great in

telligence of Radha. The poem is quoted below :
lajjitumakhilagopimanasam madhudvisarh radha /
ajneva prcchati katham sambhordayitSrdhatustasya / / 41

In this poem, Radha asks as if innocently about the well-being of

Sambhu who (in his Ardhanansvara form) is satisfied folly with the half
portion of his beloved. Here the intension of Radha is to make Krsna ashamed
as He is involved in love with all the gopls, still He is not satisfied.
The content of this poem reminds us o f another poem in the

Gopalacampa of Jlva Goswaml. In that poem, Parvatl complains that inspite

of her whole-hearted love for Siva, she is able to occupy only the half
portion of the body of Mahadeva, while Radha occupies the entire body of
Lord Krsna and becomes totally and completely united with Him .42
On critical examination, the above poems of the Aryasaptasatl reveal
that Radha is a sophisticated lady who can express her love in a beautiful
way and also suggestively. She is a dbira lady who controls all out-ward
expressions of her resentment. She is also calm and quiet, an intelligent lady.
The Aryasaptasatl is an anthology composed with the sentiment of
love {spngararasa). While describing the human love-affair between ordinary

65

hero and heroine, the poet here depicts the love-episode of Radha-Krsna and
Krsna-GopT. Hence, the character of Radha is depicted as an ordinary human
being, there is nothing divinity. The love-episode of the divine couple is
humanised and Radha appears in the form of an ordinary woman of this
world.
Ridha in Jayadevas Gltagovindam
Jayadeva was also a court poet of king Laksmanasena of Bengal. He
wrote his immortal poem Gltagovindam or the song of Lord Krsna, the
central theme o f which is the love of Radha and Krsna. As a true devotee of
Krsna, Jayadeva dedicates his body and soul to Lord Krsna. He is the master
of this Universe. Jayadeva composes this poem in a typically lyrical language.
The poem may also be described as a lyrical drama as it contains some
dramatic elements, too. The book is divided into twelve cantos. The poet
presents a song in the very beginning which narrates the Ten Incarnations of
Lord Visnu in a befitting manner.43 According to the commentator Pujarl
Goswami, these ten incarnations of Lord Visnu are the different presiding
deities of ten rasas. Thus, Mina (fish) is the presiding deity of the disgusting
sentiment (vlbhatsa). Accordingly, the Kurma (tortoise), Sukara (boar),
Narahari (man-lion incarnation), Vamana (dwarf), Bhrgupati (Parasurama,
the Lord of the Bhrgus), Rama, Haladhara (Balarama), Buddha, Kalki are the
presiding deities of the sentiments of Marvellous (adbhuta), Terrible
(bhayanaka), Parental affection ( vatsala), Friendship (saukhya), Furious

66

(raudra), Pathetic (karuna), Comic ( hasya ), Quietistic (santa) and Heroic

( virarasa). Thus, Sr! Krsna is the presiding deity of ali sentiments. The work,
Glta-govindam is formally treated as a devotional work, as the poet Jayadeva,

a great devotee of Visnu sings the immortal love of Radha and Krsna in it.
He finishes every canto with a beautiful eulogy of Lord Krsna. But the main
theme of the Glta-govindam describes the divine love-affair in appropriate
terms, and it can be truly described as a devotional poem. However, it is a
poem of the very first degree where Radha and Krsna excellently played
their roles of lovers. It bears all the characteristics of Sanskrit love poem,
where Union (sambhoga ), separation ( viraha) and re-union of lovers play the
most dominent role.
^ According to the Gitagovindam, Krsna on one occasion was engaged
in amorous dalliances with innumerable cowherd ladies in Vmdavana. The
poet describes the love scene of Krsna with the gopls in extravagant terms.
Jayadeva sings :
plnapayodharabharabharena barim parirabbya saragam /
gopavadburanugayati kacidudbancita pancamaragam / /
kapi vilasavilolavilocanakhelanajanitamanojam /
dhyayati mugdhavadhuradhikam madbusudanavadanasarojam / /
k a p i kapolatale m ilitS lapitum kim a p i sm tim ule /
cam cucum va m tam bavaff dayitam pulakairanukMle / /
kelikalakutukena ca kacidam um yamunajalakule /
manjulavanjulakunjagatam vicakarsa karena dukule / /
karatalatalataralavalayavali kalitakalasvanavamse /
rasarase sahanrtyapara harina yuvatib prasasamse / /

67
s l i s y a t i k a m

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p in a p a y o d h a r a p a r is a r a m

t h

/ / 44

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ja la d a p a t a l a v a l a d i n d u v in i n d a k a

v a m

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68
sentiment broadly into two groups: sambhoga (love in Union) and vipmlambha
(love in separation)-snigaia-rasa. In sambboga-smgara-rasa, the union o f the
lovers dominates the sentiment. It appears from the different Sanskrit works
that in Ancient India, the free mixing o f men and women was prevalent and
in many cases, the love episode crossed the boundary o f social norms or
rigidity. The work, Gltagovindam o f Jayadeva bears a clear evidence o f this.
However, the love-episode o f Radha and Krsna cannot be dismissed as a
simple love-affair or an episode o f free mixing o f man and woman. The
entire poem is a symbol wrapped in a popular garb.
There are different sub-divisions o f vipralambba-smgSra-rasa, like
purvaraga-vipralambha, mana-vipralambha, pravasa-vipralambha and karunavipralambha. Among them, purva-raga-vipraJambba, the incipient love arises
from the eagerness o f the lovers. The eagerness arises in the minds o f the
lovers from seeing or hearing about their counterparts. There are many instances
o f purvaraga being described by Sanskrit poets. In this connection, we m ay
refer to the Kumarasambbavam o f Kalidasa, the Naisadbacantam 6 o f Snharsa
and the N alacam pu 1 o f Trivikramabhatta. The picture o f purvaraga o f a
heroine at the sight o f the hero is beautifully delineated in the following verse
o f the the Kumarasambbavam :
tarn vlksya vepatbumaff sarasangayasdr
niksepanaya padamuddbrtamudvabantl /
margacala vyatikarakuliteva sindhuh
sailadbirajatanaya na yayau na tastbau / /

48

69
Mana-vipralambha is caused by abbimana or jealousy on the part of
the heroine which keeps her away from her beloved for some time. This state
o f the mind is temporary in nature and hardly produces any serious
consequence.
Pravasa-vipralambba arises from the separation of lovers, where one
of them moves away and lives in a distant land thereby creating a serious
mental condition for the lover. In karuna-vipralambha, the situation of the
lovers becomes pathetic. Such vipralambha is sometimes caused by curse
spelt by some god or sages, etc. We clearly notice the situation in the

Megadutam or Abhijnana-Sakuntalam of Kalidasa.

'f

In canto II of the Glta-govindam, we find that Radhas vipraiambhasmgara-rasa has been resulted from the abbimana or jealousy, and nothing
else. Therefore, it is a clear case of mana-vipralambba.
It is worthnoting in the present context that though Radha is jealous of
Krsnas behaviour and withdraws herself from him, she is so deeply engrossed
in love with Lord Krsna that every moment she is describing the beauty of
Krsna and never blaming her beloved. Jayadeva describes the behaviour of
the noble lady with the following poem :
ganayati gunagramam bbamam bbramadapi nebate /
vabati ca paiitosam dosam vimuncati duratah I I
yuvatisu valattrsne krsne vibarini mam vina /
punarapi mano vamam kamam karoti karomi kirn I I 49
In the Bbagavatapurana, Krsna loves one particular woman most dearly
who tries to exploit the situation intelligently. In the canto III of the

70

GTtagovindarh, on the other hand, Krsna leaves the company o f all other
women and accepts Radha as his dearest maiden. Now, Krsna being the
Supreme Lord is not expected to behave like other persons o f the world w ho
are burried in nescience. But Jayadeva defends his celebrated God in the
following manner :
kamsarirapi samsaravasanabandhasrrikhalam /
radhamadhaya hrdaye tatyaja vrajasundarlb 11 "
According to Jayadeva, there is a symbolical meaning o f this verse.
He says that by accepting Radha as the most beloved maiden and rejecting
other women, Krsna has practically renounced his attachment for worldly
objects in exchange for the sum um bonum so long intended by him to gain.
In this poem, Jayadeva tries to show Krsna as the 'Pure, Liberated soul' who
has embraced the Real (Brahman) by forsaking the unreal. However, in the
succeding poems, Krsna appears as a lover o f this mortal world who intensively
feels the pangs o f separation.51
In ancient India, one female messenger (duff) secretly moved to the
house o f a lover with the message o f his beloved. The duff plays a very useful
role in patching up the quarrels o f the lovers. In the Gitagovindarh also such
messengers play an important role. She describes before Krsna the lov e-lorn
condition o f Radha. Meanwhile, as the duff delays in returning to Radha
with her message o f Krsna, Radha suffers from an unbearable love-lorn
condition. In Sanskrit poetics, the vibhava, anubhava and vyabhicaribhava

71
play a very important role in the consummation of rasa. In fact, eight
sthaylbhavas or basic moods remain in the human mind from the very
moment of his birth. Abhinavagupta says, jatab eva hi jantuh iyatlbhih
samvidbhih panto bbavati.52 But all these moods do not play an active part
in the mind at all time. The moods appear to their full form under appropriate
circumstances, the factors which appropriately help in the consummation of
the sentiments. The basic mood rises in the status of rasa through different
stages under the impact of vibbava, anubhava and vyabhicanbhava. The
vyabhicarlbhavas reach an acute state in the final stage of the development of
rasa. Visvanatha Kaviraja describes the vyabhicarlbhavas of snigara-rasa (the
sentiment of love) as nirveda (indifference), avega (agitation), dainya
(miserable state), srama (fatigue), mada (intoxication), jadata (dullness), augrya
(irritation), moha (infatuation), vivodha (awakening), svapna (dream), apasmara
(forg etfulness),

autsukya

(eagerness),

unmada

(m adness),

sahka (apprehension), smrti (reminiscence), m ati (intelligence), vySdhi

(disease), santrasa (terror), lajja (bashfulness), harsa (joy) asuya (jealousy),
dhrti (patience), capalata (restlessness), glani (exhaustion), cinta (anxiety),
vitarka (judgment), visada (dejection) etc.

53

Among these vyabhicSribbavas, autsukya (eagerness to meet the

beloved), visada (dejection), cinta (anxiety) and vitarka are four important
states of mind which aggravate in love-lorn condition. Viswanatha Kaviraja
defines autsukya as

72
istanavapterautsukyam kaiaksepasahisnuta /
cittatapatvarasvedadirghanihsV&itadikrt / / 4

It means the impatience due to the eagerness to meet the beloved.

Mental agony, hastiness, perspiration, sighing deeply etc. are the results of
it. He also defines \isada in the following manner :
upayabhavajanma tu visadah sattasamksayah /

nihsvasocchvasahrttapasahayanvesanadikrt /7 "
Visada is the dejection due to the non-availability of any means of

union. According to Viswanatha, cinta is described as :

dhyanam cinta hitanapteh sunyatasvasatapakrt // ^
Cinta is the anxiety due to not obtaining the desired object which

produces emptiness , heavy sighing, mental agony, etc.

Tarka is explained by Viswanatha in the following manner :
tarkovicarab sandehadbhrusiroangulinarttakah //'

It is the conjecture or judgment whenever any confusion arises. It is

accompanied by the frowning, movement of the head and the finger.
In the Gltagovindam , Radha passes through series of such experiences.
In canto VII of the poem, Radha laments for Krsna in the following manner
kathitasamaye'pi harirahaha na yayau vanam /
mama viphaJamidamamalamapi rupayauvanam //
yam i , he kamiha saranam sakhljanavacanavancita-dhruvam
yadanugamanaya nisigahanamapi silitam / /
tena mama hrdayamidamasamasarakllitam /
mama maranameva varamativitathaketana / /

73
ktnriha visahami virahanalamacetana /
mamahaba vidburayati m adhuram adhuyam inl/ /
k a p i harim anubhavati krtasukrtakam inl /
abaha kalayam i valayadimanibbusanath / /
harivirahadahanavahanena vahudusanam /
kusumasukumaratanumatanusaralllaya / /
sragapi brdi band mSmativisamasilaya /

58

In the above passage, we experience the poetic beauty of a beautiful

picture of the psychological condition ofRadha as a utkanthita type of heroine
excellently depicted.
In Sanskrit poetics, different types of nayika or heroines including
married ladies have been mentioned and defined adequately. According to
the diversity of the situation or the psychological condition in relation to the
hero, the heroine may be called as utkanthita, kalabantaritavasakasajja,
abhisarika, vipralabdha, khandita, prositabbartrka and svadhShabhartrka. The

poet Jayadeva depicts beautifully the vivid pictures of most of these types of
heroine in respect of the character of Radha in the Gitagovindam.
According to the Sshityadarpam, a heroine is called virahotkantbita
or utkanthita, when she is disappointed by the non-arrival of her beloved due
to some unexpected circumstances. Visvanatha defines this virahotkanthita
heroine as :
agantum krtacittop i daivannayatiyatpriyah
tadanagamadubkhartta virahotkanthita tu s a i l 59

There is a class of kalabantarita ladies who quarrel with their hus

bands and remain separated while sleeping on the same bed and become

74

repentant afterwards. Another class is known as vasakasajja. The Natyasastra

of Bharata defines vasakasajja ox vasakasajjika more clearly as :
ucite vasake ya tu ratisambhogalalasa
m andanam kunitehrsta sa vai vasakasajjika/ 60

The author of the Sahityadarpana defines vasakasajjika as :

kurute mandanam yasyah sajjite vasavesmani

sa tu vasakasajja syadviditapriyasangama / 61

This class of ladies adequately and appropriately dresses themselves

and also decorates the house. According to Bharata and Visvanatha, a
vasakasajja lady is one who adequately decorates herself with appropriate

dresses and apperals with a keen desire to meet her lover in a short time.
Now, coming to the Gitagovindam, we find that the author portrays his heroine
Radha as a typical vasakasajja lady in the following poems :
angesvabharanam karoti vabusah p a trep i sancarini
praptam tvam parisankate vitanute sayyam ciram dbyayati /
ityakalpavikalpatalparacanasankalpalllasatavyasaktapi vina tvaya varatanumaisa nisarh nesyati i f 1

In the Gitagovindam, the lady-messenger externally describes Radha

beautifully dressed and waiting for her lover. We have already said that
autsukya or eagerness to meet the lover is one of the vyabhicaribhavas of the
smgararasa. In the Gitagovindam, Radha passes through a restless period to

meet Krsna in her grove-chamber. The poet describes with a masterly hand
the particular state of mind of the heroine in the following poem :

75
muhura vaiokita-mandanaliJa
madhuripurahamitibhavanaslla
tvaritamupaiti na kathamabhisaram
haririti vadati sakhimanuvaram
s/isyati cumbatijaladharakalpam
harirupagata iti timiramanalpam
bhavati vilambini vigalitalajja
vilapati roditi vasakasaya / / 63

Here, the pathos of love-lorn Radha knows no bound when she embraces and
kisses the cloud-like darkness mistaking it for Krsna. According to the
poeticians, when a heroine goes out to meet her beloved at the place ot
assignation or makes the hero come to that place, she is called a abhisarika.
Visvanatha defines abhisarika as :
abhisarayati kantam y a manmathavasamvada
svayarh vabhisaratyesa dhlrairukto 'bhisarika

According to Rupa Goswami, these abhisarika type of heroines are

classified into two classes : jy o ts n l and tamasl. When a lady wears white
dresses which are fit for being concealed on the full-moon nights, she is
called jyotsnl-abhisarika. When she wears dark gaments fit to be concealed
in the darkness of the night, she is called a tamasi-abhisarika.

Both these

types of abhisarikas use to go to meet their beloved with the help of a reliable
friend or duti. In later Vaisnava poetics, eight varieties of abhisarikas are
found.
In the following poems of the Gltagovindarh, we find a beauti
ful picture of Radha as a tamasi-abhlisarika :

76

ratisukhasare gatamabhisare madanamanoharavesam /

na kuru nitambini gamanavilambanamanusara taw hrdayesam
dhlrasamlre yamunatire vasati vane vanamali /
gopipInapayodharamarddanacancalakarayugasalT / / (Dhruvarht
namasametarh krtasanketarh vadayate mrdu venurh//
vahumanute nanu te tanusahgata pavanacalitamapi renurh /
patati patatre vicalati patre sahkitabbavadupayanam //
racay ati sayanam sacakitan ay an am p a sy a ti tava panthanarh
mukharamadhlrath tyaja manjlram ripumiva kelisu lolam //
caJa sakhi kunjam satimirapunjam sTlaya nllanicolam /' ^
In the Snkrsnakirtana , Candldasa, a famous poet o f Bengal has
composed a beautiful poem with the same ideas o f the above poems o f the

Gltagovindam to paint a picture o f Radha as a timirabhisarika heroine/ 7 This

picture o f Radha as a timirabhisarika , in blue dresses instantly reminds us ot
Orvasi, the heroine o f the Vikramorvaslyam o f Kalidasa, who also being
dressed in blue silken garments, moves to meet her love as a abhisanka.
Further, while depicting the character o f Radha in the Gltagovindam.
the poet describes her sometimes as a vipraJabdha, sometimes as a khandita.
and sometimes as a svadhinabhartrka heroine also. He also gives a vivid
description o f Radha s pathetic plight, when she is separated from her lover,
with the acute vyabhicaribhava' s o f vipralambha-srhgara-rasa. The following
poem is an instance to this :

sa romahcati sitkaroti vilapatyutkampate tamyati /

dhyayatyudbhramati pramllati patatyudyati murcchatyapi
etavatyatanujvare varatanurjivenna kinte rasat /
svarvaidyapratima prasldasi y ad i tyaktonyatha hastakah

77

At the end of the. Gltagoviadam, Radha and Krsna are united. The
poet depicts the love-scene of Radha and Krsna in which the sambhogasmgararrasa plays the most dominant part. Radhas beautiful body bears all
the external signs of the amorous plays of Radha and Krsna. In this context,
the poet describes in details the character of Radha as a svadhmabhartrka, a
heroine who has her lover under her absolute control. In some verses of the
Gitagovindam, Radha is described as Laksml in her previous birth.74
Now, when we critically examine the love-episode of Lord Krsna
and His beloved, a few points appear most prominently to our view. Though
Radha and Krsna have been described as a Divine Pair in the Gitagovindam,
their love-episode evokes poetic emotions rather than this sense of Bhakti.
The poem, Gitagovindam, describes the art of love and its consummation
more prominently than arousing an appropriate religious fervour.
It should be noted here that the Gitagovindam is a piece of art. It is not
a book of religious doctrine of Bhakti in which the cult of devotion is
propagated directly. Jayadeva plays the part of a poet perfectly by creating a
piece of art which, however, possesses a great didactive value of religious
significance. Therefore, the love-episode of Radha and Krsna should not be
treated as per with a regular love story of the worldly mortals.
Rupa Goswarms musical poem on Radha
Rupa Goswami, an eminent exponent of Vaisnavism in Bengal in the
post-Caitanya era is famous as a poet and a dramatist.

78

Rupa GoswamI writes a long poem on the Radha story in which the
poet gives a comprehensive picture of Radhas love-episode with Krsna, her
varying moods and her role as a heroine. There are several sections of the
poem describing different stages of Radhas love-affair with Krsna in which
physical love plays a prominent part.
The love-story of Radha and Krsna in Rupa GoswamIs poem starts
with an amorous scene where Krsna lightly gives Radha a kiss and touches
her beautiful breasts. Radha loses all her patience and becomes restless to
meet Krsna again.75
Rupa GoswamI presents Radha as a typical heroine of Indian
dramaturgy instead of painting her character with a religious or philosophical
colour. There lies the fundamental difference between Vaisnava poets and
the authors of the puranas and other religious texts.
Rupa GoswamI, Jlva GoswamI or Jayadeva have never tried to impart
any extraordinary divine attribute to Radha anywhere in their works, though
they believed that Radha was a celestial person bom on the earth.
In ancient India, woman sometimes appointed trusted female
messengers to carry their message to the lovers. In the story of Praptavyamartha
in the Pancatantram, 76 there is a reference to such a messenger through whom
a princess invited a young man to her chamber. In the writings of CandFdasa,
an aged woman, Badayi

plays a remarkable role as such a messenger of

Radha. In Rupa GoswamIs poem also, such a trusted messenger (aptaduti)

79

is despatched to Krsna by his beloved. Radhas love-lorn condition is nicely

described by the poet in sweet melodious Sanskrit.
Abhisarika : In ancient India, where the bindings of the society upon women
were very rigid, women, went to meet their lovers under the cover of night,
sometimes wearing black dresses to hide their identity. Sometimes they invited
their lovers to their residence out of emotion. These women are known as
abhisarikSs. We have already discussed the characteristics of an abhisarika as
delineated by Visvanatha. Dhananjaya defines an abhisSrika as :
kamartabhisaretkantam sarayedvabhisarika / /

78

According to this definition, when a heroine in love either moves

herself (in appropriate dresses) to her lovers abode or invites him to her
house, she is called an abhisarika
Kalidasa describes in his Meghadutam, the dancers of the Mahakala
temple moving stealthily to the residence of their lovers. In Rupa Goswamls
poem, the poet draws the portrait of Radha as an abhisarika in an excellent
manner. However, he does not describe Radha as an abhisarika proper but as
abhisarotkanthita or eager to move to her lovers residence. Indian authors
on dramaturgy have described a heroine in love who behaves in different
ways under varying mental conditions. They have given different names to
the heroines like vasakasajja,

kalahantarita, vipralabdha and

khandita according to the situation in which they stand.

Vasakasajja : We have already discussed the essential characterisitcs of a
vasakasajja-lady met with in the Natyasastra of Bharata and Sahityadarpana

80

of Visvanatha. Dhananjaya, the author of Dasarupaka also gives us an adequate

knowledge of the vasakasajjS lady in the following karika.
muda vasakasajja svam mandayatyesyati priye II

81

Radha advises her friend to decorate her grove-chamber in an attractive

manner in order to entice her lover towards her. Rupa GoswamI presents an
excellent poetic composition in order to describe the situation, which is
kusuina valibhir-upaskuru talpam /
malayacamaramanisamkalpam / /
priyasakhi kaliparicchadapunjam /
upakalpaya satvaram-adhikunjam I1 82
Thus, Radha assumes the status of a vSsakasajja heroine through her
behaviour in this scene. But the poet shows that Krsna has not arrived in spite
of his beloveds expectation. This has driven the lady to the state of despair
and melancholy, thereby throwing her into the situation o f a vipralabdha.
Dhanjaya defines vipralabdha as follows :
vipralabdhoktasamayamapraptetivimanita I1 83
Khanddita: Sanskrit dramaturgists have excellently described a khandita or
a maninl woman who is angry at the behaviour of her lover or husband who
fails to honour her love, or deceives her. Kalidasa and Bhatti have symbolised
a lotus plant as a khandita woman in their Meghadutam and Bhattikavyam,
respectively. Dhananjaya defines khandita as follows :
jnatenyasahgavikrte khanditersyakasayita H 86
Rupa GoswamI portrays the character of a khandita lady in the
personality of Radha who, when approached by her lover very lately, shows

81
her anger towards him. Radha says to Krsna out of anger and pride (mana)
mixed with love :
yam sevitavanasijagari
tvam-ajayata sS nisi nMgari
kapatamidam tava vindati hare /
navasaram pimaralinikare

ma kuru sapatham gokulapate

vetti dram ka caritam na te I1 87
Kalahantarita: When an honest lady who loves her husband or lover most
dearly finds herself neglected by the person she loves, she becomes naturally
angry and shows her aversion towards him at his approach and repents
afterwards for her behaviour. But such ladies are always reconciled by thenhusbands or lovev'sXhese ladies are known as kalahantarita by Sanskrit poetics.
Dhananjaya defines kalahantarita in the following manner :
kalahantarita marsad vidhutenusayartiyuk II

88

According to this definition, when a woman misbehaves with her lover

out of anger and later on repents for her behaviour, she is called kalahantarita.
Viswanatha Kaviraja defines this type of heroine in the following karika of
the Sahityadarpana:
catukaramapi prananatham rosadapasya /
pascattapamavapnotikalahantarita tu sail
It may be noted here that even a married lady separating herself from
her husband out of anger may be a case of kalahantarita woman. Rupa

82
GoswamI presents an appropriate portrait o f Radha as a kalahantarita heroine
also in the following poem :
sidati sakhi mama hrdayam-adhfram
yadabhajamiha nahi gokuJavfram /
nakarnayampi suhrdupadesam
madhava earnpatalamapi-lesam
nalokayamarpita muruharam
pranamatastanca dayitamanuvaram // >0
The scene o f water sport in the poem is somewhat unusual, because
in Sanskrit literature, kings alone remain engaged in water sport with their
harem. In Rupa GoswamI s poem, Radha and Krsna enter into the water of
Radhakunda and play together their love-sport. The scene is full o f sambhogasmgara-rasa. Rupa GoswamI paints an excellent picture o f maha-rasa

in

which Krsna and Radha and all other maidens were engaged. The scene of
the love-affair o f Radha and Krsna in the autumn and spring season has also
been ably depicted by Rupa GoswamI. With a long description o f the love
dalliances o f Radha and Krsna, the horilila is also depicted in details.
The poem ends with Radha s separation from her beloved. She weeps
and dreams o f her lover. Radha's wailings are an excellent specimen of
vipralambha-srngara-rasa where Radha s pathetic condition is depicted by
the poet.
Radha in the Stotra-Literature
We have discussed above many lyrical poems dedicated to Radha
Some o f these lyrics are purely secular in character while some other poems

83

possess a religious colour for the reason that these end in the words of
benediction.
Apart from these, there are also some Stotras or devotional songs
written in honour and adoration for Radha, which are scattered in the puranas
and other literary sources. We shall give an idea of them below :
Radha in the Radha stotras of the Brahmavaivartapurana
(i) In the Brahmavaivartapurana, there is a long stotra or eulogy of Radha in
which Uddhava sings the greatness of the Goddess Radhika in different ways.

94

In this stotra, Uddhava, a great devotee of Radha and Krsna addresses

Radha as rasamandalavasim, vmdavamvilasim and krsnapriya. Then he
describes her as Kamala or LaksmI, Mahalaksmi and Sarasvati. But suddenly,
he imposes the epithets of Goddess Durga

on Radha. He eulogises her as

Daksasuta, Sailasuta^Parvati and Uma. She is both qualified and unqualified

Brahman. In the Durgasaptasatfof the Markandeyapurana, Durga is described
by the gods as symbols of nidra (sleep) , 96 daya (kindness) , 97 kanti (beauty) 98
etc. Uddhava also describes Radha in a similar language. He also describes
her as sarvasaktisvarupa and Mother of alT {sarvamatare namo namah).

99

The devotee denies any distinction between Radha and Krsna. He says,
nasti bhedo yatha devi dugdhadharanayoh sada /
yathaiva gandhabhumyosca yathaiva jalasaityayoh / /
yathaiva sahdanabhasorjjyotirbhaskarayoryatha /
Joke vede puranp fa rSdhamadhavayostatha / / m

84

Here the devotee describes the inseparable relation between Radha

and Madhava (Krsna). The relation between Radha and Krsna is quite
inseparable like the milk and the breast, like earth and smell, like coldness
and water, like sound and the sky, like radiance and the sun. She has been
praised by all gods and her eulogy purifies the three worlds.
(ii)

In another stotra of the same purana, Indra invokes Lord Krsna with

appropriate adjectives. In this devotional poem , 101 Indra refers to the associa
tion of Kj-sna with Radha. The poem is an excellent piece of lyrical composi
tion which describes the deep love of the Lord for his beloved Radha. We
quote below a part of this stotra in order to give an idea of Krsnas happy
companionship with Radha and his great love and adoration for his beloved:
kndantam rSdbaya sSrdham vmdavane ca kutracit/
kutraciimirjane ranye radhavaksastbalasthitam / /
jalakridSm prakurvantam radbaya saha kutracit /
radbikakesavinyas'am kurvantam kutracit vane / /
kutracitradbika pade dattavantam alaktakam /
radhacarvitatambulam grbnmtam kutracinmuda / /
pasyantam kutracit radbSm pasyantim vakracaksuso /
dattavantanca radhayai krtva mSlanca kutracit H 102
The entire passage bears the typical characteristics of Sanskrit lyrical
poetry. The poems appear to us as poems first and then as religious songs of
Radha and Krsna, secondly. The passage contains the famous Svabhavoktialamkara, described by Sanskrit rhetoricians. 103
Though these devotional songs are dedicated to Krsna by the king of

85
gods, it highlights the great role played by Radha as the dearest beloved o f
Krsna, the Supreme Brahman.
Indra says that Krsna loves his wife and beloved Radha so dearly that
he plays w ith her the game o f love in Vrndavana, he sometimes relaxes in the
bosom o f his loving Radha. Sometimes he remains engaged in water sport
with the la d y ; sometimes he dresses the hair o f Radha with emotion; sometimes
Krsna paints her feet with alaktaka-dye; sometimes the Lord enjoys the
betelnuts chewed by his lover Radha and sometimes he casts his amorous
looks on Radha.
This is a pleasant scene o f conjugal life where the love o f the two
legendary lovers is nicely depicted by Indra. It is a devotional poem in which
the conjugal love o f the Divine pair nicely m ingled with the sentiment o f
devotion inorder to elevate the poem to the status o f a religious song.
(iii)

There is another stotra in the Brahma vaibartap urana, 104 in which Kf?na

praises Radha with the epithets describing her character and capacity.
Once Radha became dejected when she found Krsna involved in love
with one gopl, TulasI by name, in the tulasT-grove. She at once disappeared
from the sight o f Krsna by withdrawing her original and also all the partial
forms (kala). As a result o f this, all gods including Brahma, Visnu and Siva
became bereft o f all fortunes and wives, and were afflicted w ith diseases.
They went to Krsna with a request to propitiate R ldha. This is the background
o f this stotra made by Krsna.

86
In this stotrn, Krsna applaused Radha as a presiding deity of his vital
force and dearest than his life. She is called the Mulaprakrtlsvan and the
source of all creation.

Mahavisnu, the Primeval soul originated from her

body as cosmic Egg. Thus all creations started from her.

Radha is originally unqualified and when she appears in partial forms
(kala) as other deities, she becomes qualified. Resplendent and formless as
she is, but she appears in different forms to favour her devotees.
She resides in Vaikuntha as MahalaksmI, on the earth she appears as
LaksmI, the Goddess of fortune, as Sarasvatl, Satl, Parvatl, and resides in
Goloka as the goddess Radhika. Ganga, Savitrl etc. all goddesses are the
mere variant appearances of Radhika herself.
Without Radha, Krsna becomes inactive. She is the Inherent Power of
all gods. Siva without Radha becomes totally inactive like a dead body. Siva
holds Ganga on his head, who is none but Radha herself. All persons may be
eloquent by the grace of Radha herself in the form of Sarasvatl and become
dumb if she does not favour them.
As a potter cannot make a pot without earth, Krsna, the Supreme
Brahman cannot create the world without the grace of Radha. She is the
Inherent Power of Krsna, without her grace Krsna becomes totally inactive.
She is the heat in fire, beauty in the Moon, radiance in Sun. Without
her grace, Krsna and all other gods become: totally inactive. Thus propitiated
wdi>-

by Kfsna, Radha reappeared m all her forms. The Brabmavaivartapurana is

87

another puranic source where the cult of Sakti has been propagated. All gods
possess an inherent Sakti by the strength of which gods can remain alive and
active. According to Tofaiatantra 105 and Saundaryalabanm even Lord Siva
is inherently and inseparably associated with Sakti. Without her, Siva will be
reduced to a corpse. Thus, according to the Brahmavaivartapurma, Radha is
the all pervading Sakti who controls and governs all gods and goddesses.
On critical examination, the above stotra reveals that Radha is the
Supreme Power of the Supreme God, Krsna. In the Naradapancaratram, also
she is called the inherent power of all gods, Brahma, Visnu and Siva.

This

is also found in the Radbatantra.

Radha in the Radha-stotra o f the DevTbhagavatam
In the Devlbhagavatam, Narayana instructs Narada about the details
of Radha-worship. In this context, one stotra of Radha consisting of five
verses, as imparted to Narada, has also been handed down to us.
Though short in structure, this stotra or eulogy is a beautiful pearl of
lyric poetry. Devotional in character, it bears highly philosophical significance,
too. Radha is the presiding deity of the five-fold vital forces, while Durga is
the presiding deity of Intelligence. Without Radha-worship, no one has the
right to worship Krsna. So Narayana instructs Narada to worship Radha on
the full moon day of the month of Kartika which is generally known as the
Radha festival. In the following verses of the dbyana-mantra, we find a
beautiful description of the exquisite beauty and grace of Radha :

88

svetacampakavamabham saradindu-samananam /
koticandrapratikasam saradambhojalocanam / /
vimbadharam prthusronim kanciyutanitambinim /
kundapanktisamanabha dantapanktivirajitam / /
Ios

ksanmambaraparidhanam vahnisudhamsukanvitarh /
ratnasimhasanasinam goplmandalanayikam /
krpmpranadhikam veda-vodhitam paramesvarim / / etc.

j()ij

But in the stotra or eulogy, Radha is addressed as the Supreme Goddess

(paramesani)," residing in the rasamandala (rasamandalavasini)

and the

mother o f the three worlds (trailokyajananf). To Krsna, she is dearest one

than the vital forces. She is constantly worshipped by all prominent gods like
Brahma, Visnu and M ahesvara.111
In another chapter o f the same purana, ' it has been narrated that the
very Earth has been purified by the touch o f her feet. Brahma performed a
great penance o f sixty thousand years for her and also for the purification ol
his own self, but failed to have a sight o f her. But after a long penance only
he succeeded to have a sight o f her in the Vrndavana.
In this stotra, she is praised as the Goddess o f all goddesses (sanarupini).
Durga, Laksmi, SaraswatT, Savitrl, Ganga, PadmavatT, Sasthl, Mahgalacandika.
Manasa, Tulasi etc., all goddesses are merely the different appearance ol
Radha Herself. Radha is also eulogised as the Mulaprakrti, from whom
emerged the five Prakrtis, viz. Ganesajananl Durga, Radha, Laksmi, Sarasvati.
Savitrl, who are most responsible for the process o f the creation. She is also
called the ocean o f kindness (karunarnavam). By the grace o f this Supreme

89

Goddess Radha only, a devotee may be liberated from all the worldh
bondages. " 3
The critical examination of this stotra reveals Radha not only as a
mere goddess among the Indian pantheon, but it also sings the glory of her as
the Supreme Goddess' from whom emerge all other goddesses. She is indeed
the Supreme Power' of the Supreme Brahman, Krsna.
It is clear from the above description of Radha that she replaces Durga
as the Supreme Sakti of the universe and occupies her seat. It should be
remembered that Durga has been extolled in the same manner in the
Markandeyapurana as Radha in the Devfbbagavatam as prakrtistvamadva.
She is the Prakrti or maya as described in the Svetasvetaropanisad which
calls :
mayarh tu prakrtim vidyanmayinantu mahesvaram
tasyavayavabhutaistu vyaptam sarvamidam jagat / " *
Radha in the Sahasranamastotra o f the StavakavacamalS

The stotra found in the Stavakavacamala, containing one thousand

names of Radhika is an excellent piece of lyric poetry. In this long poem, the
names of Radha and her qualities are discussed in

alphabetical order. It

starts as :
vande vrndavananandam radhikarh paramesvarim
gopikam paramarh srestharh hladinim saktisvarupinim
In the very introduction of the poem, the poet describes Radhika as
the Hladini-sakti (of Lord Krsna). It should be noted here that the Visnupurana

90

describes the HladinI Sakti o f Lord Visnu, though it does not categorical Iv
deal as the synonymn o f Radha as a goddess. In the Radhastotra. she has
ascended to the exalted position o f the Supreme Goddess (Paramesvari). She
is also a great devotee o f Krsna, who remains constantly engaged in nine-fold
bhakti. Bom as the daughter o f Vrkabhanu, she became the most beloved ladv
o f Damodara (Krsna). It has been said in the stotra that she can fulfil all the
desires o f a devotee. She has been praised as KrsnmohinT, Ahladinl (HladinO
Adyasakti and the Maya or the Illusory force o f Brahman. She is exquisite] \
beautiful. The poet describes her as jambunanda hemakantih, Hemarambha.
and Hemangavaranl. There is regular tautology in the adjectives o f Radha
The above adjectives are typical examples o f this blemish o f the stotra. I lu
poet employs several synonymous adjectives to show that Radha was a belovet
o f Krsna. We quote a few o f them below :
'krsnapriya krsnakanta krsnasevaparayana /
krsnanuraga dhanya kisorf krsnavallabha /
krsnaprema vatl kartrf krsnabhaktiparayanT /
One o f the drawbacks we notice in some o f the stotras containing otu
thousand names is that there is a constant tautology in many o f them. One o
the greatest drawbacks o f all similar Thousand N am es' o f Indian gods anti
goddesses is that the poets somehow try to complete the number even I"
furnishing epithets which are full o f tautology or other defects.
The poet o f the present stotra o f Radha, however, shows some excel
lences in the selection o f his epithets. Thus, he describes Radha in one pas

91

sage as ' krsnapremabdhisapharT or the ' saphan -fish dancing in the ocean ot
the love o f Krsna. In another passage, she appears as "krsnapremamayf 01
the embodiment o f Krsna's love.
The poet was probably a resident o f Bengal who uses the term
ThakuranT for Radha, an epithet generally used in Bengal for the esteemed
mistress o f the house.
The poet gives a comprehensive idea o f all the attributes o f Radha
She has been praised as Annapurna and dhanya, atulya abhayaprada. Both
the epithets employed here, Annapurna and Abhayaprada are the adjectives
generally used for ParvatF or Durga. She has also been applauded as
durgatinasinl radha duhkhavinasim. She is also dayardrasagarl radha
daridradurgatihara. It instantly reminds us o f an epithet o f Durga found in the
Durgasaptasatu namely, daridraduhkhaharini. It is interesting to note that
Radha has been described in the stotra as Dvarakavasini-devl. We have read
on an earlier occasion that Radha was separated from Krsna when he left for
Dvaraka and lived there. The poet either identified Radha with Rukmini oi
he depends upon some later traditions. Radha has been further described as
dolotsavaviharinl. There is a tradition in Bengal according to which Radha
is worshipped together with Krsna in the Dola' festival. However, the puranas
are silent regarding this. The poet also depicts the goddess as rasapnya
rasagamya rasotsavaviharinl. She is the Para Sakti (Supreme Power) and
Para Bhakti (Highest Devotion).

92

We have already shown that Radha is considered as the Hladinl Sakti

of Lord Krsna. But she is more than that. In the puranas, Radha has been
r

described as the Supreme Power who excels all other symbols of Sakti meluding Durga.
In another passage of the stotra, she is described as saktisancarini devi
saktinam saktidayini which immediately brings to our mind a statement made
about Candika in the Durgasaptasati, namely :
yacca kincit kvacidvastu sadasadvakhilatmike /

In this stotra, Radha has also been eulogised as Visnumaya, caitanyamayl

(few and Jagaddhatn. All these epithets have been attributed to Candika also
in the Durgasaptasati:
ya devi sarvabhutesu visnumayeti sabdita /

ya devi sarvabhutesu cetanetyabhidhlyate /

117

H8

(am aim) visvesvarim jagaddhatrim sthitisarhharakarinlm / 119

We read in the song, two other significant epithets of Radha, namely
sakambhaiisasyampa and saranagatapalinl. The first epithet has been applied
to Durga in the Durgasaptasati. It has been stated there :
bhuyasca satavarsikyamanavrstyamanambhasi
munibhih samstuta bhumau sambhavisyamyayonija / / u0
{ tatohamakhilam Jokamatmadehasamudbbavaih
bhaiisyami surah sakairavrsteh pranadharakaih
sakambhariti vikhyatim tada yasyamyabam
It is worthnoting in this context that Radha has been described as the

93

presiding deity of agriculture in the Brahmavaivartapurapa

122 also.

In this

stotra of StavakavaeamalSi Radha has been praised as brahmamayl, and also

as pumabralrniasahatam. These two epithets indicate that Radha is the Supreme
Power of the Supreme Brahman and there is no confusion about this.
Radha in the Radhika-stotra of the Stavakavacamala
Apart from the Sahasranamastotras there is also another Radhikastotra of a shorter structure in the StavakavacamSla.

123

There are six poems in total in this stotra. In this stotra, Radha is
described as :
radha rasesvan ramya paraiha paraihStiiiika /
rasodbhavS krsnakanta krsnavaksasthalasthita f/m
We do not find any new information about Radha in this couplet. But,
there are some significant epithets in the second couplet, viz. Visnumaya,
Satyasatya and Sanatanl. It may be noted here that Candika or Durga is
eulogised as ya devlsarvabhutesu visnumayetisabdita in the Durgasaptasaff.
She is also maha maya or maha amya, according to some commentators,
through whom a devotee can realise the truth and untruth by her grace. She

yl

_____

has also been invoked as srstisthitinasanam saktibhute sanatani. Radha, being

a different form of this great Goddess, she is naturally decorated with these
attributes. In the third couplet, she has been described as Brhmasvarupa
Nirlipta and Nirguna. These are some attributes of the Brahman. Thus, there
is a deep philosophical significance of this Radha stotra mentioned above.

94

Now, a critical examination of the stotras and similar other poems in

the religious sources bring to our notice the fact that Radha is sometimes
shown as the highest Sakti and sometimes as Durga. But whatever that might
be, there is only one Supreme Power in the Universe, and not more, who has
been variously worshipped under different names.
Radha in the Sri-Radhikastakam of the Stavakavacamala
The Radbikastakam of Raghunathafjasa Goswaml is another excellent
stotra dedicated to goddess Radha which gives us aesthetic delight and gen
erates a sense of devotion for her. Written in MalinI metre, the poem is a
specimen of typical Sanskrit lyrical poem displaying the poets keen sense of
imagination and the power of creating attractive imagery.
Raghunatha draws the portrait of the Vaisnava goddess with the help
of a set of imageries which evokes our deep appreciation for the poet. It will
be clear from the poems quoted below :
(a)

sarasijavaragarbbakharvakantib samudyat /
tarunima gbanasaraslistakaisra-sidbub / /
dara-vikasita-basya syandi-vimbadharagra /
snapayati nijadasye radbika mam kada nu / / m

(b)

vrajakulamahilanam pranabhutakbilanam /
pasupatigrhinyah krsnavatpremapatram / /
sulalitalalitantabsnebapbullantaratma /
snapayati nijadasye radbika main kada nu U

126

The poet describes both the external beauty of the goddess, her gentle
behaviour and her great popularity among the ladies of Vrajapura. Radha

95

was expert in the art of producing melodious tune of her flute which attracted
Krsna towards her. She played with her beloved Krsna in her own sport-lake
constantly tossed by cool and fragrant breeze.
Radha in Radhasahasranama-stotra in the Radhatantram
The Radhatantram is a Tantra work written on the origin and greatness
of Radha. It is a philosophical work based on tantric tenets. We shall elabo
rately discuss the special features of this tantra in a succeding chapter.
The Radhatantram also presents another stotra

containing one

thousand names of Radha in an alphabetical order. But this stotra is not so

interesting like the previous one. It contains many adjectives of Radha which
describe her dresses alone. A few of them are noted below :
(a)

suklavastraparidhana suklavastrottaifyanl /

(b)

raktavastraparldhana raktavastrottariyana / /

(c)

pltavastraparldhana pita vastrottanyanl /

(d)

krsnapattapandhana krsnapattottarfyanl /

Some other adjectives are used without any definite philosophical or

religious purpose. Thus, Padminl, Nagini, GopI, Kalindi, avagrahinl do not
enhance poetical beauty or Radhas superhuman character. However, a few
passeges of the stotras bear some philosophical significance. In this context
we can refer to the passage, viz :
mSyavatl mohahantn mahavMyavidharinl /
mahamedha mahabhutir mahamaya (priya sakhl) / /

96
The goddess, protrayed in the above poem, appears to us as a
synonymn of Goddess Durga in the Markandeyapurana. In this purana text,
Durga, who is the Supreme Power of Siva, has been eulogised in the
Durgasaptasatlas mahamaya, mahavidya, mahamedha and mahasmrti. She
is both maha maya and maha amaya, maha vidyS 5 and maha avidya
and maha medha and maha amedha.
The goddess is the Great Illusion {mahamSyS), who gives us a false
knowledge of the world. At the same time, she is the Absence of illusion'
{maha amSyS), who gives the knowledge of the Supreme Person. She, thus,
functions in a dual manner. She is the Supreme Knowledge (.maha vidya ) as
well as the great Ignorance {maha avidya) which drives us unto worldly
bondage. Now, Radha, being Visnumya and mahamaya, mahavidya, possesses
all these contradictory attributes.
It may be remembered that here in this puranic text, the goddess has
been variously extolled as mahamaya. She is the supreme maya, who conceals
the real character of Supreme Brahman from our vision.
Radha in die Sahasranamastotra in the Naradapaficaratram
The NaradapancarStram is a agama-tcxt which delineates the RadhaKrsna legend in puranic style. We shall discuss the special features of this
text in a succeeding chapter in another context.
The Naradapancaratram also presents us a stotra containing one thou
sand names of Radha in connection with Radha worship. 128 It is also written

97

in alphabetical order. M ahadeva here tells that whenever Hari appears on

earth, Radha also descends to the earth to accompany Him. She always func
tions as the inherent Pow er o f V isnu and remains in His constant association.
It m ay be remembered that Lord and His Pow er are never be separated from
each other. She has nothing o f her own. H e says :
nastijanm ani na karm Sni tasya n m a iii m ahesvan /
yada hamcaritrani kurute karyagauravat.
tada vidbatr-rupanl harism nidhyasadhm l / 129
In this stotra, her physical beauty is also described in some verses. A
few o f them is being cited below :
(a)

svetacampakavamSbba sasikotisamapmbha /
malatlmalyabhusSdbyS malaffmSlyadbarini / /

130

131

(b)

jabakusumasankasa dadimlkusumopama / /

(c)

mlambaradbara dhlra dhairyarupadhara drtih /

ratnasimbasanastha ca ratnakundalabhusita / /
ratnendrasaraharadhya ratnamalS vibhusita /

132

(d)

Indranllamaninyastapadapadamasubha sucih /

(e)

darvadalasyamatanurdurvadalatanucchavih l m

133

In this stotra also, Radha is described as residing in DvarakS and eulogised

as Rukmirn, Revafi, Satyabhama, Jambavatl, the wives o f Krsna and Balarama.
She is also identified with many other goddesses. She is praised as LaksmI,
Sarasvatl, Savitri, the wife o f Brahma, Siva, Durga, Safi, Narasimhi, Varahi
etc.great goddesses o f Indian pantheon. She is also praised as SacI, Draupadl
and Arundhatf. The author o f the stotra suggests that Radha is the all-pervading
power which is inherently present in different form s.

98

We have already said that the poets of the stotras describing the thousand
names of any god or goddess are noticed to have completed somehow the
number of thousand names. This stotra is also not free from such blemishes.
This is also full of blemishes like tautology. Sometimes, the same name of
Radha is repeated several times to complete the number. For example, the
names, Radhika, Sri-Radha, Siva, Visoka, MatixMahalaksmi etc. are few
among them.
Radha is also eulogised here as dhrti (patience), lajja (bashfulness),
kanti (beauty), pusti (nutrition), smrti (remembrance), daya (kindness) nidra
(sleep), bhranti (delusion), sand (peace), buddhi (intelligence), ksama (for
giveness), ksutpipasa (hunger and thirst) etc. We have already read such
attributes regarding another goddess of Indian pantheon, Durga or Candika .
This instantly reminds us of the eulogy of Candika as done by ail gods in the
Durgasaptasaff.
In many verses, she seems to be as Durga and Candika Herself. Because,
sometimes she is praised as the annihilator of all demons (samhartrl
sarvadaityanarii),

sometimes as a protector of all creations (palinf

sarvabhutanam)P6 sometimes as the creator of all creations and also as the

annihilator of the world itself. In fine, Radha represents all the three distinct
forces of creation, preservation and annihilation of the universe. Thus she is
praised as :
kausavan kosarupa jagadutpattikarika /
137

srstisthitikan samharinl samharakarinJ II

99

This reminds us the eulogy o f Candika done by the gods as

srstistbitivim m am saktibbute sam tani /
gunasraye gunam aye narayani na m o stute II

138

She is also extolled as Navadurgika. The epithet Navadurgika, means

the nine-fold form s o f goddess D urga o r C andika. A ccording to the
Devikavaca, Sailaputri, BrahmacarinI, Candraghanta, Kusmanda, Skandamata,
Katyayanl, Kalaratri, Mahagauri and Siddhidatrf these nine names and forms
are attributed to Candika or Durga.
Radha is praised here as Kaumarf, NarasimhI and Varahl also. They
are few o f the elevan M atrkas who originated from the body o f Candika and
also disappeared in her body. She is also called as Jaya and Vijaya. These
two names are also associated w ith Parvatl or Durga.
It is interesting to note that Radha or Radhika alone is the Inherent
Power or Sakti o f Brahma, Visnu and Siva. So, she is eulogised in this stotra
as :
139

(a)

brahmavisnusivardhmgaharinT

(b)

4sivasaktisvarupa

(c)

vamangaharinl visnob sivabhaktisukhanvita 141

(d)

visnupriya visnukanta visnoranganivasim 142

(e)

barapatnf

(f)

brahm apatnf144

(g)

sambhukantan sadaslvamanohara 145

(h)

sivabrahmaharipriya

ca sivardbangabSrinT

140

143

146 etc.

The epithet NandasutSmdbya,147(worshipped by the son o f Nanda) is

also attributed to Radha. In this context, it my be mentjpped that in the

100

puranas, as in the Devlbhagavatam and also in the Brahmavaivartapurana, it

has been narrated that Radha was worshipped by Krsna on the M l-m oon day
o f the month o f Kartika, which is called the Radha festival (radbotsava) or
the birth anniversary o f Radha.
In the religious texts, in the puranas and tantras, Radha has been es
tablished as the Supreme Pow er or Sakti o f Supreme Lord Krsna. It appears
to us from a gradual emergence o f Radha to the supreme position o f supreme
God in the later religious works examined by us, that there is an attempt to
overshadow the position o f Durga with the glowing colour o f Radha. The
inseparable relation between Radha and Krsna is also expressed and explained
by citing many instances in the NSmdapaffcaratmm like other religious texts.
B ut in the stotra o f the Naradapancaratram, the deeds (Lila) o f Krsna, also
are attributed to Radha as expressed by some epithets like yamalarjuna
, ,

~ . _148

bhanjmi.

The naukSvibara episode o f the Radha-Rrsna legend is only a later

development o f the Vaisnava literature. Radha is an expert in churning milk
and producing the m ilk products, too. She goes to M athura for selling her
m ilk and milk products. W hile she goes to M athura by crossing the river
Yamuna, Krsna is seen as the boatman. The funny and frivolous conversation
between Krsna and Radha accompanied by all her friends is very interesting. In
the RadhStantram, some o f thjseconversations has been narrated with its philo-

101
sophieal implication. In this stotra of the Namdapancaratram, we find a reference
to this epiosde in the epithet yamunaparakautuka.149 She is described as :
dugdhamanthanakarmadhya dadhimantbanatatpara /
dadhibhandarthinl krsnakrodhinl nandanangana / /
gbrtalipta takrayukta yamunaparakautuka /
vicitmkatbaka krsnahasyabhasanatatpara //15
In the stotras of the Namdapancaratram, she is not only the goddess of
fortune in heavan (svargalaksmi),

151

the goddess of fortune on earth

( b h um ilaksm i ) , 151 but also the presiding deity o f agriculture

(.ksetradhisthatrrupa)

who imparts not only wealth and paddies to her

devotees (dhanadhanyavidbatf) , 153 but also fulfils all their

desires

(sakalepsitadatf).154 In the Brabmavaivartapurana also, Radha is applaused

as the presiding deity of Agriculture (sasyadhisthatr-devi). There is nothing
which cannot be performed by Radha for her devotees (asesasadham) . 154
But this is not all. There are also some epithets attributed to Radha in
this stotra which bear highly philosophical significance. She is praised as
Prakrti. In the Devlbbagavata, she has been called Mulaprakrtlsvari, the main
cause of the creation and also one of the five prakrtis who are responsible for
the process of creation. 155
The Brabmavaivartapurana also corroborates this. In this Sahasranama
stotm of the Namdapancaratram, Radha is eulogised as Durga, LaksmI,
Sarasvatl and Savitri. She is both qualified and unqualified (nirgun). She is
also praised as :

102

".............................. saktirupa sakti svarupinl /

pahca saktisvarupa ca saisavanandakarinf!! l56etc.
Radha is the Sakti or the Inherent Power of Krsna who is the Supreme
Soul. In the puranas and the tantra-text also this has been established. She

in

also the Supreme Brahman indeed. Hence the epithets Brahmarupinl' and
Brahmarupa

1S8

have been attributed to her.

Further, Radha is praised as jagadyonirjagadvlja.

She is the source

of all the creations. The creation started from her. In the puranas and also m
the Naradapancaratram, it has been narrated that the Cosmic Egg originated
from the body of Radha. All the goddesses also emerged from her body, the
details of which will be discussed in a separate context.
Thus the epithets attributed to Radha as karanl sarvabhutanaiii
karyatlta kisorinIm are also fullyjustified. She is also praised here as Brahmasvarupini
and 'apurva brahmarupa ca brahmanda paripalinV161 Krsna is the Supreme
Brahman, Radha emerged from the left side of Krsna. The Cosmic Egg
originated from her body as a result of her union with Krsna which is the root
cause of all creations. Hence the Naradapancaratram declares Radha rightlv
as :
yatha brahmasvarupasca snkrsnah prakrteh parah
tatha brahmasvarupa ca nirlipta prakrteh para / /
yatha sa eva sagunah kale karmanurodhatah
tathaiva karmana kale prakrtistrigunatmika/

/ i62

When the Supreme Being, Sri-Krsna manifests Himself for taking part

103

in action, He becomes qualitative (sagunah), similarly Radha, the Primal

Energy, for the sake of action takes the form of the three-fold qualities.
It appears from all critical examination of the character of Radha in
Namdapa&carStram that in this character, the different elements have been
combined m art integral manner. To mould the character as a divine person
ality who is equally associated with the world of human beings, she as the
supreme power excels all other gods and goddesses. At the same time she
also respects the tradition and acts as a maiden, a lady of the village, in her
paternal house at Vjndavana. There is also some folk elements in the character
of Radha in the Naradapancaratram, as she is regarded as the goddess of
agriculture. Thus Radha in this Agama-text, is a multi-coloured character.
Thus, a critical study of this Sahasranamastotra o f the
Naradapancaratram shows that Radha is the Supreme deity. Inspite of the
blemishes like tautology, this stotra expresses the salient features of the char
acter of Radha which are highly philosophical.
A survey of all the prominent stotras or the eulogistic devotional poems
discussed by us show that the character of Radha, humanised in the Sanskrit
literature in general, suddenly has attained full divinity in the religious texts
and stotras. In these stotras, she is not only a Goddess, but she is adored as
the Supreme Goddess. In other words, she is the Supreme Power or Sakti of
the Supreme Being Krsna, sometimes Radha appears as the unqualified
Supreme Brahman also.

104
References :

1.
2.

3.
4.
5.

6.

VS., I. 2. p.2

VX, 3rd Unmesa, p. 147

tesam gop vadhuvilasasuhrdam radharahah saksmSm /

ksemam bbadra kalindasailatanayatire latavesmanam / /
vicchmne smaratalpakalpanamrducchedopayogedhuna /
te janejarathlbhavanti vigalannllatvisah pallavab / /
Locana comm., Dbvan, p. 138

KBs. p.113

yate dvaravtlm tada madhuripau taddattasam pSdanam /

kalindijalakelivaSjulalatamalambya sotkantbayS / /
tadgitam guruvaspagadgadagalaattsrasvaram rsdbaya//
yenantarjala caribhiijalacarairapyutkamutkujitam / /
VJ. of Kuntaka, p. 106

SK., v. 289, p. 78
yate dvaravatim puram madbunpau tadvastrasamvyanaya /
kalinditata kunjavanjulalatam alambya sotkantbayS / /
udgits gumvaspagadgadagalattaiasvaram rSdhaya /
yenantmjala cSribhiijalacaraimtkandiamSkujitam H
AT., p. 54.

7.
8.

ND., p. 146

9.

Pv., v. 373, p. 170

10.
11.
12.
13.
14.
15.
16.

URC.,l. 28
A s in SDS., p. 126, not found in the original text.
Brvp.,prakrtikhanda, 49. 42. 46
Sk., v. 277, p. 75
Sbb. v. 104, p. 18
Sk, v. 278 p. 76
Pv. v. 282, p. 127

105
17.

18.

satrSsMrti yasodayS priyagunapriteksanam radhayS /

nagnairvaliavasunubhih sarabhasam sambhavitatmoijitaih / /
bhitananditabismitena visamam oandcna calokitab /
payadvab karapadmasusthitamahasailah saltlo harih / /

Composed by Solloka, quoted in the Sk, v. 296, p. 8ft under die heading
of Govardhanodharah.
snebadamsatatevalambya caxamvaropya tatpadayo
rdurodastamahidharasya tanutamasankya dosno hareh
sailoddharasahayatarh jigamisoraprapta govardhana
rSdhSyS suciram ja y anti gagane vandhyah karabhrantayah
Composed by Satananda. Quoted in the SK as verse 298, page 81
under the heading of Govardbanoddbamb.

19. SK. V. 304. p. 82

20. SK. V. 301. p. 82
21.
ete laksmana janaklvirahinam mam khedayantyambuda
maimamva ca khandayantyalamami knirah kadambanilah
ittbam wShmpurvajanmaviiabo yo radbaya viksitab
scrsyam sankitayS sa vab sukbayatu svapMyamSno harih

Composed by Subhamkara, and quoted in the S K , v. 263, p. 71

under the heading of Krsnasvapnayitam.
22. Pv, v. 71, p. 114
23. SRK., Harivrajya, v. 6. 6, p. 21
24. ibid., v. 6. 19, p. 24
25. ibid., v. 6. 37, p. 27.
26. ibid., v. 6. 36, p. 27
27. CM., example of Radhoddhata metre, p.72
28. Skrk,, II. 25, p. 68

106

29.

anguiya kah kavatam praharati?kutile ! madbavab; kim basanto?

n o cakn; kith ku lalo?nabi dbaranidbarah; kirn dvijibvab pbanmdrab?
naham gborabimardi; kim asi kbagapatl ? n o barib; kim pbanmdiab ?
ityevam gopakanyaprativacanajitah patu vab cakrapanih
Skrk.,

30.

Sbb.,

31.

Skrk.,

I. 75. p. 39

32.

Brvp.,

Prakrtikhanda, 48. 46

III. 105, p.173

v. 130, p. 21

33.

srngSrottarasatprameyamcanaivacarya govardbanah
sp a rd d h lk op i na v ism ta b ..............
GG.,

34.

A ss.,

v. 437, p. 244

35.

ib id .

v. 431, p. 243

36.

Brvp.,

37.

A ss.,

38.

'

I. 4, p.7

Prakrtikhanda, 15-22.

v. 509, p. 260
vicaratiparitab krsne radbayam ragacapalanayanayam /
dasadigvedbavisuddbam visikham vidadbati kusumesuh //
A ss,

39.

ibid.,

v. 488, p. 255.

40.

ibid.,

v. 379, p. 231.

41.

ibid.,

v. 508, p. 260.

42.

GC.,

Purva, 2. 26, 62, p. 1140

43.

pralayapayodbijale dbrtavanasivedam
vibitavabitracaritramakbedam
kesava dbrtamlnasarfra
ja ya jagadisa bare / /

1, Dbruvam

ksitirativipulatare tisthati tava prsthe

dbaranldbaranakinacakra garistbe

v. 530, p. 264

107
kesava dbrtakunmna sarha
jaya jagadlsa hare /
vasati dasanasikhare dhararu tava Jagha
sasini kalahkakaleva nimagna
kesava dhrta sukararupa
)aya jagadlsa hare / /
tava karakamalavare nakhamadbhutasrhgam
dalitahirmya kasiputmubhrhgam
kesava dhrtanaraharirupa
jaya jagadlsa hare / /
chalayasi vikramane valimadbhuta vSmana
padanakhmlrajanitajanapavama
kesava dhrtavamanarupa
jaya jagadlsa hare II
ksatriyarudhiramaye jagadapagatapapam
sm panyasipayasi samita bhavatapam
kesava dbrtabhrgupatirupa
jaya Jagadlsa hate I I
vitarasi diksu rape dikpatikamamyam
dasamukhamaulivalhh ramanlyam
kesava dhrtaramasarm
}aya jagadlsa hare //
vahasi vapusi visade vasanam jaladabham
halatibhltimilita yamunabham
kesava dhrtahaladhararupa
jaya jagadlsa hare II
nindasi yajnavidherahaha srutijStam
sadaya hrdaya darsitapasughatam
kesava dbrtabuddhasaifra
jaya jagadlsa hare II
mlecchanivahanidhane kalayasi karavalam
dhumaketumiva kimapi karalam

108
f

kesava dhrtakalkisaira
~h

jaya jagadlsa hare //

srljayadeva kaveridamuditamudaram
sm u sukhadam subhadam bhavasaram
kesava dhrtadasavidharupa
ja y a jagadlsa hare //
GG., Dasavatara-stotram, v. 1-11, pp. 9-10

44.

GG., Canto I. song 4, vv. 2-7, pp. 28-29

45.

ibid, Canto II, song 5, vv. 2-7. p.35

46.

ado'yctmalapya sikhiva sarado vabhuva tusnimahitapakarakah

athasya ragasya dadha pade pade vacamsi hamsiva vidarbhajadade
NC IX. 14.

47.

NCP., V. 3, 5, pp. 246-47

48.

KS V. 85. p.78

49.

GG., II. 1. p. 38

50.

ibid., III. 1, p. 47

51.

ibid., III. 2. Song No 7, pp. 48-49

52.

Abh., on the definition of rasa. N.S., VI, p. 281

53.

SD III. 142, p. 182

54.

ibid., III. 160, p. 193

55.

ibid., III. 170, p. 199

56.

ibid., III. 174, p. 202

57.

ibid., III. 175, p. 203

.58.

GG., VII. 13. 1-6 pp. 92-93

59.

SD., III. 94, p. 152

60.

NS., 22-213

61.

SD. III. 94, p. 152

62.

GG. VI. 2, p. 87

109

63.
64.
65.
66.
67.

ibid., VI, song 12, vv. 4-7, p. 84

SD., III. 88. p. 147
UN., Nayikabhedaprakarana, 5. 71-72

GG., V. song 11, vv. 1-4, p. 74

VP., Srikrsnakirtam of Candldasa, v. 16, p., 3>i\ .
tora rati asoasen gela abhisare /
sakala sarira vesa kari manobarc
na kara bilamba radha karaha gamane/ tohmara sahketa venu baje yatanc
kalinlra tire vahe manda pa vane / tohmaka cintiten ache nanderarjpndane
Dhruvarii.
tora tanugata renu calila pa vane/
tahako karae kahna ati bahumane
pakhi basiten tarupatacalane /
tohmara gati sahkian racayesayane
cahe dasadisa kahna cakita nayane / katakhane aise radha ehi kari mane
tejaha sundari radha mukhara manjlra/ satvare caiaha kunja e ghana tumra
krsnera hrdaye radha rati viparite / sobhe meghamale yehena tadite
galita basana hlna rasana jaghane / apane aropa gian palJava sayane
manI bada bhaila kahnia sesa rajani / tarn pura manoratha mora bolasunl
eben ayugata radha bilamba gamane / gaila badu candldasa basaligane
68. Vikram., Act-III line 5-7 after verse No. 9. p. 76

-69. GG., VII, song 14-15, pp. 97-98 & 101

70.
71.
72.
73.
74.
75.
76.
77.
78.
79.
80.

ibid., VIII. song 17, p. 114

ibid., IV. 1, p. 65.
ibid., XII. song 23, vv. 1-6, p. 167
ibid., XII, song 24, pp. 177-178; GG., XII.I, p. 181
ibid., XII. 2 and 3, pp. 181-182 and 183
VP., Rupa GoswamI, v. 8, pp. 187-188
PT 1.4
VP., Candldasa (Srlkrsnaklrtana), v. 182, p. 26
DR., II. 27. p. 118
PM. 37, p. 14
tvam kuca vaJgitamauktikamala

110

smita sanddkrta saslkarajala

harimabbisara sundari sitavesa
rakarajanirajani gururesa / / Dhruvam
paribita.mahisa-dadbi-ruci-sicay3
vap urarpitaghana-candananieaya
kamakaranvita-kaira vabasa
kalita sanatana sangavilasa//
Vp Rupa Goswami's w.10 -11, p.188
81. DR.,U. 24. p. 115
82. VP., Rupa Goswami, v. 12, p.189

83. DR., H. 26. p. 117

84.
tasmin kale naymasalilam yositam khanditanam /
santim neyam pranayibhirato vartma bbanostyajasu //
praleyasiam kamalavadanat sop i harttum mlinyah /
pmtydvrttastvayi karamdbi syddanalpabbyasuyab / /
PM., 39, p. 14

85.
86.
87.
88.
89.
90.
91.
92.
93.
94.
95.

BK., H. 6
DR., H. 25. p. 116
VP., Rupa Goswami, v. 15, p. 190
DR., II. 26. p.116
SD., IE. 91 p. 150
VP., Rupa Goswami, w. 16, p.190
ibid., Rupa Goswamhi, w. 22- 23, p. 192
ibid., Rupa Goswam, w . 25, p. 193
ibid, Rupa Goswam, w. 29, 32, pp. 195,196

Brvp., SrTkrsnajanmakhanda, 92, w . 63-93, pp. 782-785.

ibid., 92. 71, p. 783
namo durgavinSsinyai durgSdevyaimmo namab96. Dss., V. 25

Ill
97.

ibid, V. 67

98.

ibid., V. 55

99.

Brvp., SrTkrsnajanmakhanda, 92, v. 84, p. 784

100. ibid, w . 86-87

101. ibid., Srikrsnajanmalchanda, 21.175-198
102. ibid, w . 185-188.
103. SD., X. 92. p.794
104. Brvp., Prakrtikhanda, chap. 55, w . 75-92
105. TT., Patala I, last sloka, p. 2.
106. SL, I. 1, p. 1
107. NPR., V 5.6; 124; 183
108. DBhag., IX 50 21-23
109. ibid., IX. 50. 27
110. ibid., IX. 50 46
111. ibid, IX 50 47
112. ibid, IX. 1. 43-57
113. ibid., IX. 50. 48, 52
114. SU .,4. 10
115. sriradhikayah sahasranamastotram in the SKM., p.286
116. >55.1.82-83
117. ibid, v.16
118. ibid, v.19
119. ibid., 1.70

112
120. ibid., XI. 46
121. ibid., XL 48-49
122. Brvp., Prakrtikhanda. 48. 46, p. 167
123. Radbikastotra in the SKM., p. 509
124. ibid., v. 1, p. 509
125. SORadhikastakam in the SKM., v. 3, p. 366
126. SKM., v. 5, pp. 366-367
127. RT. patala 32. pp. 51 -58
128. NPR. V. 5, pp 436-457
129. ibid., V. 5. 5-6, p. 436
130. ibid., V. 5. 54, p. 442
131. ibid, V. 5.62 p.443
132. ibid., V. 5, 63-64, p. 443
133. ibid., V. 5. 65, p. 443
134. ibid., V. 5.144 p. 452
135. ibid., V. 5.34 p. 440
136. ibid., V. 5. 46, p. 441
137. ibid.,Y . 5. 118, p.449
138. Dss., XI. 11
139. NPR.,V. 5.183 p.457
140. ibid., V. 5.124 p.450
141. ibid., V. 5.126 p.450
142. ibid., V. 5.16 p.438

J-

143. ibid, V. 5.74 p.444

144. ibid.,. V. 5.36 p.440
145. ibid., V. 5.40 p.440
146. ibid., V. 5.52 p.442
147. ibid., V. 5.23 p.438
148. /M/./V. 5.80 p.445
149. ibid., V. 5.171 p.455
150. ibid., V. 5.170-172 p.455
151. ibid, V. 5. 168, p. 455
152. ibid, V. 5.89 p.446
153. iM/., V. 5.182 p.456
154. ibid, V. 5.184 p.457
155. DBbag., IX. 1.1
156. NPR.,V. 5.106 p.448
157. ibid.,V. 5.112 p.449
158.
159.
160.
161.
162.

ibid, V. 5.51 p.442

ita/., V. 5.148 p.453
ibid, V. 5.100 p.447
ibid., V. 5.51 p.442
ibid, II. 3. 51-52, p. 174