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The musical mode, Bhairava Raga, for example, was actually associated with Siva, yet because the character of the music suggested furious passion the central figure of the lover dallying with a lady was depicted as Krishna. In Hindola Raga, a mode connected with swinging, a similar result ensued.
Unique in its way, too, is the lofty hall of the Hindola Mahal, with its steeply sloping buttresses a hall which has not been inaptly compared to the great dining-hall of some Oxford or Cambridge College and alongside of it, the more delicate beauty, perhaps already suggestive of Hindu collaboration, of the Jahaz Mahal, another palace with hanging balconies and latticed windows of carved stone overlooking on either side an artificial lake covered with pink lotus blossoms.
Swinging in Indian sentiment was normally associated with the rains and these in turn evoked 'memory and desire. The character of the music was therefore visualized as that of a young prince swinging in the rain his very movements symbolizing the act of love. Since Krishna, however, was the perfect lover, nothing was easier than to portray Hindola Raga as Krishna himself.
Hindola might be invoked in the poem, but it was Krishna who appeared seated on the swing. An exactly similar process occurred in the case of Megh Mallar Raga. This was connected with the rainy season, yet because rain and storm were symbolic of sex, Megh Mallar was portrayed not as a separate figure, but as Krishna once again dancing in the rain with ladies accompanying him.
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