as his model popular plays representing incidents from the life of Kṛishṇa, as the modern yātrās in Bengal still do. The latter festival plays even now consist chiefly of lyrical stanzas, partly recited and partly sung, the dialogue being but scanty, and to a considerable extent left to improvisation. On such a basis Jayadeva created his highly artificial poem. The great perfection of form he has here attained, by combining grace of diction with ease in handling the most difficult metres, has not failed to win the admiration of all who are capable of reading the original Sanskrit. Making abundant use of alliteration and the most complex rhymes occurring, as in the Nalodaya, not only at the end, but in the middle of metrical lines,[1] the poet has adapted the most varied and melodious measures to the expression of exuberant erotic emotions, with a skill which could not be surpassed. It seems impossible to reproduce Jayadeva's verse adequately in an English garb. The German poet Rückert, has, however, come as near to the highly artificial beauty of the original, both in form and matter, as is feasible in any translation.
It is somewhat strange that a poem which describes the transports of sensual love with all the exuberance of an Oriental fancy should, in the present instance, and not for the first time, have received an allegorical explanation in a mystical religious sense. According to Indian interpreters, the separation of Kṛishṇa and Rādhā, their seeking for each other, and their final reconciliation represent the relation of the supreme deity to the human soul. This may possibly have been the intention of Jayadeva, though only as a leading idea, not to be followed out in detail.
- ↑ E.g. amala-kamala-dala-lochana bhava-mochana.
