38 THE INDIAN ANTIQUARY. [Ferruary, 1873. spelling, inasmuch as the poems were handed down orally for a long time before they were reduced to writing. In making selections from this master, we are to a great extent confined to the amatory portions of the collection. The contemporaries of Chai- tanya were the first to introduce the chaster poems, which treat of Krishna’s early life in Braj (goshtha) and Jasoda’s maternal cares (batsalya). The pre-Chaitanya writers seldom speak of any thing but love of the grossest and most sensual kind. In transliterating there is much uncertainty and irregularity in respect of the short final a sound. Strictly speaking, though omitted in prose, it should always be pronounced in verse j but if this rule were observed in these poems, the metre would be destroyed. As a general rule, Hindi words end with the consonant, and words still in their old Sanskrit form sound the vowel; thus we should read jab, ham, but bachana, not bachan. This rule again, however, is constantly neglected; and I have therefore been guided by the practice of the Kirtanias, or professional singers, whose method of pronuncia¬ tion depends upon the tune, and has been handed down by immemorial tradition. The Sanskrit v and b are both pronounced b in Bengal^ and I have so written them throughout. The text and translation will be accompanied by a few notes explaining the difficult words or con¬ structions ; and I shall conclude with an attempt at sketching an outline of the grammar used in the poems. I. (Radha’s confidante instructs her how to be¬ have at her first interview with Krishna.) Sun, sun, e dhani, bachana bisesh !
- Aju ham deyaba tohe upades:
Pahila hi baithabi sayanaka sim, Heraite piya morabi gim, Parasite duhun kare barabi pani, Mauna karabi pahura kairate bani, Jab hum sonpaba kare kara api Sath sc dhnrabi ulaii mohe kanpi. Bidyapati kaha iha rasa sathat, Kamguru lia'i sikhayaba pat.—I. ii. 22. (49.)* Translation. Hear, hear, 0 lady, a special word !
- The first namber is that of the S'akha of the Pada-kal-
pataru ; the second, the Pallab ; the third, the song ; and that in brackets is the consecutive number which runs through the whole collection, and is after all the easiest to refer to. To-day I will give thee instniction : First indeed thou slialt sit on the edge of the couch ;f When thy lover would look (at thee), thou shalt turn away (thy) neck ; When he touches (thee) with both hands, thou shalt put aside (his) hand ; Thou shalt be silent even when he speaks a word ; When I shall deliver thee (to him) hand to hand, Quickly turning thou shalt seize me tremblingly. Bidyapati saith—This is delight indeed ; The tutor of love (am I), I will teach you the lesson. II. (Speech of Krishna’s messenger to Radha.) Jibana cliahi jaubana bara rahga, Tabe jaubana jab supur ukha sanga; Supurukha prem kabahu jani ehhari, Dine dine chand kal& sama bari. Tuhun jaichhe nagari kanu rasabant, Bara punye rasabati mile rasabant. Tuhun jadi kahasi, kariye anusang, Chauri piriti haye lakh guna sang, Snpuruklia aiehhan nahi jag majh, ’Ar tahe anurata baraja samajk : Bidyapati kahe ithe nahi laja Rup gunabatika iha bara kaja.—I. iii. 4. (63.) Translation. Youth is the greatest delight in life. Youth is then, when with (one’s) lover. Having (once) known the good man’s love, when wilt thou leave it ? Day by day, like the digits of the moon, it grows. Sportive as thou art, just so amorous is Kdnh : By great virtue the amorosa meets the amoroso : If thou sayest, influenced by desire, Stolen love has a myriad merits, (Yet bethink thee) such a lover there is not in the world : All the denizens of Braj are enamoured of him. Bidyapati saith—In this there is no shame; This is the great business of a beautiful and virtuous woman.J III. (Radha’s confidante describes her mistress’s condition to Krishna.) Khelata na khelata loka dekhi laj, f cf. Horace Epod. i. 3—Manum puclla stums opponct tuo, exfrema et in tponda cubtt. J To wit, the gratification of sensual desires ! One can¬ not help wondcritiL' what results such teaching as this can be expected to produce ; fortunately these parts of the I Vaishnava creed are not often sung before women.
