[Footnote 130:  For a first discussion of this important series, see a contribution by Karl Khandalavala, ’A Gita Govinda Series in the Prince of Wales Museum,’ Bulletin of the Prince of Wales Museum.  Bombay (1956), No. 4.]

[Illustration]

PLATE 24

The neglected Radha

Illustration to the Gita Govinda
Jaunpur, Eastern India, c. 1590
Prince of Wales Museum, Bombay

Following his revels with the cowgirls, Krishna is smitten with remorse.  He roams the forest, searching for the lovely Radha but finding her nowhere.  As he pursues his quest, he encounters the friend and learns of Radha’s dejected state.

  ’Her body is wholly tormented by the heat of the flame of desire;
  But only of you, so loved, she thinks in her langour,
  Your extinguishing body; secluded she waits, all wasted—­
  A short while, perhaps, surviving she lives. 
  Formerly even a moment when weary she closed her eyes. 
  The moment’s parting she could not endure, from the sight of you;
  And now in this long separation, O how does she breathe
  Having seen the flowery branch of the mango, the shaft of Love?’

In the picture, Radha is sitting in the forest, lonely and neglected.  Trees surround her, suggesting by their rank luxuriance the upward surge of spring while cranes, slowly winging their way in pairs across the blackening sky, poignantly remind her of her former love.

[Illustration]

PLATE 25

Krishna repentant

Illustration to the Gita Govinda
Garhwal, Punjab Hills, c. 1790

Learning of Radha’s plight, Krishna longs to comfort her.  Before approaching her, however, he spends a night passionately dallying with another cowgirl and only in the morning tenders his submission.  By this time, Radha’s mood has turned to bitter anger and although Krishna begs to be forgiven, Radha tells him to return to his latest love.

  ’Go, Krishna, go.  Desist from uttering these deceitful words. 
  Follow her, you lotus-eyed, she who can dispel your trouble, go to her.’

In the picture, Krishna is striving to calm her ruffled feelings while Radha, ’cruel to one who loves you, unbending to one who bows, angry with one who desires, averting your face from this your lover,’ has none of him.

According to the poem, the scene of this tense encounter is not a palace terrace but the forest—­the Garhwal artist deeming a courtly setting more appropriate for Radha’s exquisite physique.  The suavely curving linear rhythm, characteristic of Garhwal painting at its best, is once again the means by which a mood of still adoration is sensitively conveyed.

[Illustration]

PLATE 26

The last Tryst