juice of his mouth,
His mouth half open uttering amorous noises, vague and delirious, the
rows of teeth in the breath of an indrawn sigh delightedly chattering.
Drank of the face of that deer-eyed woman whose body lay helpless,
released of excessive delight, the thrilling delight of embraces.

When their passion is at last ended, Radha begs Krishna to help her with
her toilet.

She said to the joy of her heart,
Adorn the curl on my brow which puts the lotus to shame, my spotless
brow,
Make a beautiful spot on my forehead, a spot with the paste of the
sandal,
O giver of pride, on my tresses, untidy now on account of desire, place
flowers,
Place on my hips the girdle, the clothes and the jewels,
Cover my beautiful loins, luscious and firm, the cavern of Love to be
feared.
Make a pattern upon my breasts and a picture on my cheeks and fasten over
my loins a girdle,
Bind my masses of hair with a beautiful garland and place many bracelets
upon my hands and jewelled anklets upon my feet.

Krishna does so and with a final celebration of Krishna as God and of the
song itself--its words 'sweeter than sugar, like love's own glorious
flavour'--the poem ends.

[Footnote 51: Note 18.]

[Footnote 52: Plate 20.]

[Footnote 53: Plates 21 and 22.]

[Footnote 54: Note 19.]

[Footnote 55: Plate 23.]

[Footnote 56: Plate 24.]

[Footnote 57: Plate 25.]

[Footnote 58: Plate 26.]

[Footnote 59: Plate 27.]

(iii) Later Poetry

Jayadeva's poem quickly achieved renown in Northern and Western India and
from the early thirteenth century became a leading model for all poets who
were enthralled by Krishna as God and lover. In Western India,
Bilvamangala, a poet of Malabar, composed a whole galaxy of Krishna songs,
his poem, the _Balagopala Stuti_ (The Childhood of Krishna) earning for
him the title 'the Jayadeva of the South.' But it is during the fifteenth
and sixteenth centuries that the most important developments occurred. In
Bengal, the poets Vidyapati and Chandi Das flourished in about the year
1420, while in Western India, Mira Bai, a local princess, began a
wide-spread popular movement. Mira Bai was followed by Vallabhacharya
(born 1478) who in turn inspired four poet disciples--Krishna Das, Sur
Das, Parmanand Das and Kumbhan Das. All these were at their height in the
middle of the sixteenth century, writing Hindi poems in which Radha's
adventures with Kri