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Updated: June 7, 2025
Living in the sea and travelling about various countries, he produced the various fires mentioned in the Vedas. The fire called Adbhuta had a wife of the name of Priya, and Vibhu was the eldest of his sons by her. There are as many different kinds of Soma sacrifices as the number of fires mentioned before.
After examining it, Priya said: "The matter is simple enough. My sister must repay you; but you know the muddle in which her husband's affairs were left, and I'm sure you won't refuse to renew the bond." Nagendra replied that he would gladly give his sister any reasonable time to discharge her debt. "Very well," rejoined Priya.
None the less, in producing their illustrations, the artists made Krishna the central figure and we can only conclude that eschewing the obvious Rasika Priya, Raja Kirpal Pal had directed his artists to do for Sanskrit what Keshav Das had done for Hindi poetry to celebrate Krishna as the most varied and skilled of lovers and as a corollary show him in a whole variety of romantic and poetic situations.
The mode, Pancham Ragini, was also feminine in character and was conceived of as a beauty enjoying her lover's advances. The lady herself was portrayed, yet once again Krishna was introduced, this time as her lover. In all these cases the celebration of Krishna was incidental to the main theme and only in one instance a Malwa Rasika Priya is there a trace of undisguised adoration.
After his death Priya made himself so useful to the widow that she invited him to live in her house and trusted him implicitly. When the neighbours learnt this arrangement they whispered that the poor woman would inevitably be reduced to beggary. Nagendra reluctantly applied to Priya for a refund of the loan, producing Samarendra's note of hand, which was about a year overdue.
It is greatly to be hoped that the entire translation, hitherto available only in an Indian edition, will one day be published in England. For the originals of certain poems in the Rasika Priya and their literal translation, see Coomaraswamy, 'The Eight Nayikas.
He dismissed the suit with costs against Nagendra, and remarked that this palpable forgery cast discredit on the whole transaction. It was a wise man who said that we hate our enemies less for the harm they have done us than for the harm we have done them. Priya was not content with depriving Nagendra of his dues; he resolved to injure him more materially.
"What do you say to my renewing this note of hand for six months, with 12 per cent. interest?" "I have no objection," said Nagendra, "but you must satisfy me first that you hold a general power of attorney to act for her." "Oh, you doubt my word," sneered Priya, "but I don't blame you; such is the way of the world."
As vernacular languages were used for poetry, problems of Hindi composition began to dwarf those of Sanskrit. It was necessary to discuss how best to treat each nayika and nayaka not only in Sanskrit but in Hindi poetry also, and to meet this situation Keshav Das, the poet of Orchha in Bundelkhand, produced in 1591 his Rasika Priya.
It is likely that in the early years of the seventeenth century, many areas of India possessed no artists whatsoever and if a Hindu ruler was to copy Mughal fashion, the only artists available to him might be those of an inferior rank. And although exact data are wanting, such circumstances may well explain another document of Krishna, the first illustrated version of Keshav Das's Rasika Priya.
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