in character from the Krishna of the milkmaids and, without some effort at reconciliation, the two must obviously present a baffling enigma.  Indeed so great is the contrast that many Englishmen, entranced by the lover, might be astonished to hear of a more didactic role, while those who value the Gita might easily be disturbed on finding its author so daringly identified with the theory and practice of romantic love.  The truth, if we are to admit it, is that despite considerable acquaintance with Krishna as a name, few educated people in the West have intimate knowledge of his story.  In fact, we have only to ask some basic questions to realize how slender is general understanding.  What, for example, were the circumstances in which Krishna was born and why did he enter the world?  Of which Indian god is he an incarnation?  Who were his parents and how did he come to live among cowherds?  Who were Radha and Rukmini?  In what ways did he love the milkmaids and why has this aspect of his story assumed such big proportions in Indian religion?  Why, in fact, is God a romantic lover?  Just as few Indians, even highly educated Indians, could survive a friendly cross-examination on details of the New Testament, the majority of cultured Englishmen would find it hard to answer even a few of these simple questions.

It is to remedy in part this situation that I have marshalled the material given in this book.  With certain types of issue I have made no attempt to deal.  I have not, for example, discussed statements such as ’Krishna was not a god but a hero of a rough tribe of cowherds.’  ’The Gita is an interpolation.’  ’There is general agreement on the historicity of Krishna.’  ‘Radha appears to be a late addition.’  Higher Criticism, whether applied to the Bible or to the classics of Indian religion must necessarily remain a small scholars’ preserve—­of vital importance to the few but of little account to the main body of believers or to artists illustrating adored themes.  I have rather been concerned to present information about Krishna in the form in which it has actually reached Indian minds and has influenced belief and worship.  During the last two thousand years, various texts have dealt with Krishna, emphasizing first one and then another aspect of his character and in the process assembling more and more details.  These texts are still revered by Indians and although they are the product of widely separated eras, all of them have still an air of contemporary authority.  By considering them in historical sequence, we can understand not only the subject-matter of romantic Indian painting but realize why Krishna, the adored lover, should still enchant religious India.

[Footnote 1:  Note 1.]

[Footnote 2:  Note 2.]

II

THE MAHABHARATA:  KRISHNA THE HERO