moon of autumn, a mine of gentle radiance; but the nymphs repeated the praises of Krishńa alone. At times, one of them, wearied by the revolving dance, threw her arms, ornamented with tinkling bracelets, round the neck of the destroyer of Madhu: another, skilled in the art of singing his praises, embraced him. The drops of perspiration from the arms of Hari were like fertilizing rain, which produced a crop of down upon the temples of the Gopís. Krishńa sang the strain that was appropriate to the dance. The Gopís repeatedly exclaimed, "Bravo, Krishńa!" to his song. When leading, they followed him; when returning, they encountered him; and, whether he went forwards or backwards, they ever attended on his steps. Whilst frolicking thus with the Gopís, they considered every instant without him a myriad of years; and, prohibited in vain by husbands, fathers, brothers, they went forth at night to sport with Krishńa, the object of their affection. Thus the illimitable being, the benevolent remover of all imperfections, assumed the character of a youth amongst the females of the herdsmen of Vraja; pervading their natures, and that of their lords, by his own essence, all diffusive like the wind: for even as in all creatures the elements of ether, fire, earth, water, and air, are comprehended, so also is he every where present, and in all.

Footnotes

532:1 The Rása dance is danced by men and women, holding each other's hands, and going round in a circle, singing the airs to which they dance. According to Bharata, the airs are various both in melody and time, and the number of persons should not exceed sixty-four.

532:2 The soles of the feet of a deity are p. 533 usually marked by a variety of emblematical figures: this is carried to the greatest extravagance by the Buddhists, the marks on the feet of Gautama being 130: see Trans. R. As. Soc. III. 70. It is a decoration very moderately employed by the Hindus.