CHAPTER TWO

The origin and development o f the character o f Radha in

secular and religious literature : a study

India is a vast country, a subcontinent in itself w ith a wide variety o f

physical, as well as cultural features. She represents a remarkable diversity,

out o f which an integral unity has developed. It may be described in other

way, as the expression o f a basic and original unity in its various manifestations.

The magic spell o f this integral unity in the m idst o f her all diversity has

impressed itself on all spheres o f her culture welding them all into a vast

synthesis wherein their essential elements have been preserved. There is a

famous line in a Rgvedic hymn : 4ekam sad vipra ; bahudhs vadantf1 ‘Truth

is one, called variously by the sages.’ This is the central theme o f Indian life

and culture. It m ay also be said that the whole history o f Indian life and

culture has been throughout an amplification o f this idea o f unity in diversity.

This glorious culture o f India is enriched with high quality o f literature,

religion and philosophy, arts, aesthetics, sculpture etc. whatever is denoted

by the w ord ‘culture’ in its wider sense.

The Radha-legend, the beautiful romantic love-episode o f Radha with

Krsna adds a bright new colour to the variegated culture, enriching the sphere

o f literature, religion and philosophy o f India.

 31

It has already been stated that the legendary character Radha appears

in the span of Indian culture through the secular literature. Gradually, she

occupies an important place in the religion and philosophy of India through

decades and finally she is observed to have bloomed as a prominent deity in

theVaisnava philosophy, religion and literature all over India. She is sometimes

identified with the ‘Supreme Brahman’ too. Observing this beautiful evolution
2
of the character of Radha , the scholars call her a kamalinl.

The immense popularity of Radha is evidenced by the composition of

a separate upanisad in her name, Radhopanisad. Though this upanisad is said

to be included in the Rgveda, practically it has no connection with the vedic

literature. This upanisad, also presents the etymology of the name of Radha

as we have already discussed.

The name of ‘Radha’ is derived from the verb "radii which is in

concordance with other religious sources. Further, Radha is called the ‘Hladinl

Sakti’ of Lord Krsna.3 The concept of this ‘Hladinf is the contribution of the

later purana literature.

However, this upanisad was probably a contribution of the later

Vaisnava literature. Scholars held the opinion that this upanisad was written

after the 17th century A. D. Had it been written earlier, then it would have
f

been cited or quoted by earlier Vaisnava saints and poets of the Vaisnava

religion and philosophy.

 32

In some mantras of the Rgveda and the Atharvaveda, we find some

words which seem to be related with Radha and the Radha-legend :

(i) stotram radhanam pa te4

(ii) gavamapa vrajam vrdhi5

(iii) tvam nrcaksa vrsabhanu p u n krsnasvagne aruso vibhahi6

(iv) tvametaddharayah kpsnasu rohinlsu1

(v) krsna mpamujum vi vo m ade8

But, practically these words of the vedas are not. in anyway related

with Radha and the Radha-legend. Here, the word ‘Radha’ is not the name of

Radha, the word ‘Vrsabhanu’ also does not mean the father of Radha. Likely,

the meaning of the word ‘gopa’ is not the cowherd, ‘Rohinf does not denote

the mother of Balarama nor the words Krsna and Arjuna denote the heroes of

the Mahabharata. The word ‘go’ means the rays, hence ‘gopa’ means ‘dyad,

the abode of the rays. The words ‘krsna’ and ‘ar/una’ mean night and day,

respectively. Another meaning of the word ‘krsna’ is strong, instead of a

person of Vrsni dynasty. The word ‘radha1means wealth, rice and constellation.

Thus, we see that in the vedas, the words Krsna, Radha do not denote

historical personalities. The words first emerge in the Vedas, the historical

personalities are named after these words. There is a verse in the Manusaihhita

which reads as follows :

sarvesam tu sa namani karmani ca prthak prthak /
veda-sabdebhya evadau prthak samsthasca nirmame / / 9
 33

(i) In the early part of the Christian era, when the story of Radha was

best known to the society, the Prakrta poet Hala first introduces her as a lover

of Krsna in his work, Gahasattasal or the GSthSsaptasatL In this poem, the

poet describes that Krsna lovingly blows off the pollens from the face of

Radha for which she becomes a source of jealousy for other lovers of Krsna.9

This is the first reference to Radha in a literary work.10

(ii) Then coming to Sanskrit literature, we find Radha in a nSndJ verse

in the Venlsamhara composed by Bhattanarayana.11 Bhattanarayana flourishes

in the seventh or the eight century A.D., because Vamana, who wrote his

Kavyalamkarsutravrtti in the eighth century A.D., refers to a passage of

Bhattanarayana’s drama. Thereafter, Radha appears time and again in Sanskrit

literature.

(iii) That the Radha-Krsna legend was current before the eight century

A.D. is evidenced by the recent discovery of the image of Radha and Krsna

in the Paharpur excavation. But the image of Radha is sometimes confused

12
with Rukmini, the wife of Krsna at Dvaraka.

(iv) The GaudavaJha is a Prakrta historical poem written by Vakpatiraja in

the middle of the eighth century A.D. One of the innovative verses of this
13
poetry describes the bosom of Lord Krsna, spotted by the nail-marks of Radha.

(v) Anandavardhana flourished in the 9th century A.D. In his famous

work Dhanyaloka, 14 he quotes some verses on the love-episode of Radha

 34

which will be discussed in details in future context.

(vi) Dhanika, the commentator o f the Dasampaka quotes a poem o f

Rudra i as an illustration o f resentment o f jealousy (Jrsamana) resulting from

inference. The poem is quoted below :

nirmagnena m ayambhasi smarabharadali samalmgita /

km allkam idam tavadya katbitam radbe m udba tam yasi / /
ityutsvapnaparampaiasu sayane srutva tava samginab /
savyajam sithilikrtah kamalaya kanthagrahah patu vah I I
15

In this poem, one night Krsna is talking with Radha in his dream

while he is sleeping with Kamala. He tries to reconcile Radha who is aggravated

with Krsna for his misconduct. He tells her that someone has surely conveyed

her a false report about K rsna’s embracing one friend o f Radha while bathing

in water. Hearing these words o f Krsna in his dream, Kamala loosens her

embrace. Here, Kamala is identified with Rukmin! who is LaksmI, the divine

partner o f Lord Visnu. This poem is also found in the Padyavall o f Rupa

GoswamI with some variations.16 Here the name o f Rukmini is found instead

at Kamala. Rupa GoswamI assigns this poem to Umapatidhara o f 12th century

A.D., whereas Dhanika assigns this to Rudra.

(vii) Trivikramabhatta o f 9th century A.D. presents in his Nalacampu a

poem on Radha-episode, in which Radhika is described as a paiakTya lover.17

(viii) V allabhadeva o f Kasm lra (early part o f 10th century A. D.), the

commentator o f SisupaJavadbam o f M agha (7th to 8th century A.D.) quotes

 35

a poem on Radha-episode while commenting on the word ' locaka' found in

a verse o f the Sisupalavadham. In this verse, while Radha laments that

someone has surely abducted her love Krsna, a friend o f her asks her whether

she is speaking o f Madhusudana. Radha at once replies that she is speaking

o f her dear scarf only, not o f SrlKrsna.18

(ix) In the Yasastilakacampu o f Somadevasuri (of 10th century A. D.)

also, the poet refers to Radha as involved in love with Krsna as a parakiya

heroine.19

(x) In a poem of the Chandomanjaru Garigadasa (10th century) depicts

Radha as an ordinary cowherd lady deeply involved in love with Krsna.

(xi) Since the sixth or seventh century A.D., many poems were being

composed scatteredly by poets on the love-episode o f Radha and Krsna. The

source books o f most o f these poems are not found. These floating poems

along with other famous poems o f well-known poets were compiled in different

an th o lo g ie s, like the Subhasitaratnakosa , w hich is also know n as

K avlndravacanasamuccaya o f V id y a k a ra (1 0 th c e n tu ry A. D .).

Saduktikamamrta o f Srldharadasa (11th century A.D), Subhasitavali of

Vallabhadeva, Padyavallo f Rupa Goswaml.

In these anthologies we find many amusing question-answer type of

verses also. These verses will be critically discussed in a later context.

(xii) B h o jaraja (1 1 th c en tu ry A .D ))5 in has book on p o e tic s.

Saras vatlkanthabharana, quotes a verse o f Vaiddoka twice :

 36

(a) Firstly, as an example of the figure of speech, bhranti. then (b) to

illustrate the sentiment of laughter. This poem is quoted below :

kanakakalasasvacche radhapayodharamandale-
navajaladharasyamamatmadyutim prativimbitam /
asitasicaya prantabhrantya muhurmuhurutksipa-
njayati janitabrTdahasah priyahasito harih 1121

This poem is also quoted by Hemacandra in his work, Kavyanusasana,22

and also by Vidyakara in his work, Subhasitaratnakosa23 It is assigned to

Vaiddoka by Vidyakara also.

In this poem, a love-seene of Radha with Krsna is depicted. One day.

when Krsna looks at his own cloud-like dark shadow reflected on the golden

pitcher like the breasts of Radha, he thinks it to be a black linen. As he tries

to take it away again and again, Radha laughs at him and Krsna becomes

ashamed. This is a specimen of the sentiment of love-in-union (sambhoga-

srrigararasa).

(xiii) In the Natyadarpana, a book on dramaturgy composed by Ramacandra

(1100-1175 A. D.) and Gunacandra, we find the reference to a Sanskrit drama,

called Radhavipralambha, written by one Bhejjalakavi. This drama was

probably written before the 10th century A. D .24

(xiv) In the Vakroktijfvita, 25 Kuntaka also quotes some poem in which

Radha is depicted as an heroine abandoned by her lover mercilessly. This

beautiful lyric poem has been taken with some variations by many authors

like Abhinavagupta26 in his Locana, Hemacandra in his Kavyanusasana. 21

 37

Srfdharadasa in the Saduktikamamrta8 and Rupa GoswamI in his PadyavaJf9

This poem will be discussed critically in a later context.

(xv) The Pancatantra was written by one legendary Visnu Sarma. He presents

a more popular Pancatantra which is a new redaction of the old one. Its

author incidentally refers to Radha as a wife of Lord Visnu in the weaver-

Visnu story.30

(xvi) Reference to Radha is met with even in one of the five Mahakavyas,

namely the Naisadhacaritam of Snharsa (12th century A.D.). The meeting

ground of RMha-Krsna has been invariably described by Sanskrit poets as

* 3^
Vmdavana, now in Uttarpradesh. But the Radha-legend reaches the farthest

comers of the country. Hala was a poet from what is known as modem

Andhrapradesha, while Snharsa was a Kasmirian. While eulogising the Krsna-

incamation of Visnu, Snharsa applies the epithet, ‘pranavatpranayiradhah? 1

in a poem of the Naisadhacaritam. In this verse, he describes with a double

meaning, that Radha was the dearest maiden ofKrsna, but he dislikes the son

of Radha and made friendship with his enemy, Arjuna. In this context, the

second name Radha refers to the foster mother of Kama who according to the

commentator, Narayana, was a fisher woman.

(xvii) In the Bhavaprakasana, Saradatanaya (12th century A.D.) refers to a

drama, named Ramaradha and also a portion of some verse of that drama.32

But the text of this draqaa is not available at present.

(xviii) Kavikamapura also refers to another drama, namedKandaipa- maiijari

?
 38

in many places o f his w ork on poetics, called Alamkarakaustubha.The drama

is composed on the Radha-legend. The text o f this drama is not available

till now.

(xix) In the Natakalaksanaratnakosa, a book on dramaturgy composed by

Sagaranand! (13th century A.D.), we find the reference to a Sanskrit Vithi-

type o f drama, named Radha. The text o f this drama has also not been handed

down to us.34

(xx) The Prakrtapaingala (13th-14th century A.D.) o f Hemachandra is a

work on Prakrta metre, where the author illustrates w ith some Prakrta and

Avahatta verses composed on the love-episode o f Radha with K rs n a .35

(xxi) In the Pmkrtakalpataru, compiled by Ramasarman or Rama Tarkavaglsa

(14th to 15th century A.D), many Prakrta quotations are found which delineate

the love-episode o f Radha and Krsna as w ell as Krsna-GopI episode.

Considering the great popularity which the Rldha-Krsna legend enjoyed

among medieval poets o f Bengal, the scholars hold the view that it seems

possible that there existed earlier Prakrta poems treating all episodes o f Krsna’s

legendary career. The metrical passages quoted in the commentary seem to

be quotations from such works now lost.

(xxii) The Srikrsnakamamrta o f Lllasuka (12th century A.D.) presents us

several devotional poems composed on the love-episode o f Radha and Krsna.

These poems are specimens o f excellent lyrical poems where the poetical

imagination is beautifully expressed.

 39

In a certain poem, the poet beautifully describes the psychological

condition o f Radha and Krsna deeply engrossed in love for each other. He

also applies the question-answer technique in some poems to create a humorous

situations. In a devotional poem, the poetic genius o f LliaSuka has described

Radha as identified w ith LaksmI, the consort o f Visnu.36 All these poems will

be discussed critically in future context.

(xxiii) Govardhanacarya, who has been highly praised b y Jayadeva for

his poetic genius, has composed all the poems o f the anthology, named

Aryasaptasati. He was a court poet o f the king Laksmanasena o f Bengal in

the 12th century A.D.

In this anthology, he has composed five poems on the love-episode o f

Radha and Krsna and seven poems on the Krsna-GopI legend.

In the Aryasaptasati, full o f the sentiment o f love, the poet depicts the

human love-affair between ordinary hero and heroine. Hence, the character

o f Radha, delineated in this anthology, appears as a normal human being.

Here, the poet also describes with poetical fervour the jealousy o f LaksmI for
37
Radha due to her excellence o f love for Krsna.

(xxiv) Then, coming to the Gltagovindam o f Jayadeva (12th century,

A. D), we find a beautiful full-fledged poetry composed on the love-episode

o f Radha and Krsna. It is a Sanskrit lyrical poem in its true sense, depicting

in glowing terms the union (sambhoga), separation ( viraba) and the reunion

o f the lovers at the end.

 40

Here, the poet excellently portrays the character of Radha as a heroine

of Sanskrit poetics. Different conditions of a heroine, due to her changing

psychological conditions resulting from her relation with the hero, are all

described by the poet in respect of the character of Radha. The lovers are

united at the end of the poem.

Further, by eulogising Ten Incarnations of Lord Visnu at the beginning,

the poet starts the poem with the supremacy (aisvarya) of Lord Krsna, the

hero of the poem. But as the story of the lyrical drama proceeds, we are

aquainted with the loving nature of the hero, revealing the madhurya (sweetness

or blissful) aspect of his character which dominates his supremacy (aisvarya)

at the end. In some verses of the Gitagovindam, Radha is described as Laksmi

in her previous birth, and Krsna as Lord Visnu.38

Thus, the love-episode of Radha and Krsna, depicted in the

Gitagovindam is not an ordinary love-episode. It has also a mystic significance

which will be discussed in future context.

Radha in the religious literature

The Radha-legend evolves gradually into different forms in a later

period.

Radha in the Puranas

The Bhagavatapurana presents a rasa-krlda scene, (skandha-X), in which

Krsna dances with cowherd maidens of Vrndavana. He shows special favour

 41

towards a particular maiden. However, there is no reference to Radha in this

puranic text. W e do not find the name o f Radha in the m ajor puranas like the

Bhagavatapurana, the Visnupurana and the Kurmapurana. However, Radha

appears in the M atsyapurana, the Padmapurana, the Vayupurana, the

Adipurana, the Naradlyamahapurana, the Mababbagavata and the Brabma-

vaivartapurana. Thus, the Radha-legend is found only in the puranas o f later

origin.

One important feature o f the Radha legend o f the puranas is that inspite

o f being a cowherd maiden, Radha does not represent an ordinary woman.

She is described not only as a particular goddess, but she also represents the

sakti o f the Supreme Lord, Krsna. Krsna is none else than Visnu, who is

another name o f the Supreme Brahman.

The purana literature raised Radha to the exalted position o f a goddess

and the divine sakti before whom the pow er o f Durga and other goddesses is

blurred. The Matsyapurana tries to establish that Radha and RukminI are

practically one. In the Padmapurana, it has been propagated that goddess

Durga, Visnu, Rudra, Krsna, Indra, SacI, Savitri, Brahma and Yama are merely

the different manifestations o f the same goddess, Radha .40 This purana also

tells that Radha herself assumes the form o f RukminI in Dvaravatl, DevakI in

Mathura, Slta in Candrakuta, Sivananda in Sivakunda, whereas she is known

as Radha in V m davana .41

The three-fold sakti o f the Lord, namely, HladinI, Sandhini and Samvid
 42

is established in the Visnupurana. In the Padmapurana, Radha is called the

Hladini Sakti,42 In the Brahmavaivartapurana, Radha creates a chaya-radha

or a magic image of her which remains with her husband and the real Radha

fully enjoys the company of Krsna. In this purana, Radha is duly married

with Krsna in the Vrndavana.

Radha in the Tantra literature

Radha becomes so famous in Indian religion that a separate Tantra for

Radha alone has been written in the later period under the title Radhatantram.

Like other tantric texts, the Todaiatantra says that it is Sakti and Sakti alone

which keeps alive Lord Siva, who is pervaded by her. The Radhatantra says

: saktihlnasya te siddhih katham bhavati putraka,44

The Radhatantra gives an account of the emergence of Radha, which

is entirely different from the Brahmavaivartapurana. Here, she emerges

from an effulgent divine ‘Egg' which is given to her father as a boon from

Durga. The Radhatantra presents the philosophical implication of mam

episodes of the Radha-legend.

Radha in the Pancaratra literature

The Radha-cult reaches its consummation in the Pancaratra literature

of the Vaisnavas. The etymological meaning of the word 'radha is initially

‘radhyate id radha . But in the Naradapahcaratram , great emphasis is giver

on the word ‘Radha'. which we have already discussed.

 43

In the NaradapancarStram, Radha assumes the status of a full-fledged

goddess. She is also worshipped as the ‘mother of the world.’ A Radbakavaca

and also a Sahasranamastotra in the name of Radha have been composed.

Radha in the Nava-Vaisnava literature

Radha occupies the prime seat in the Vaisnava religion by the side of

Lord Krsna and in the nava-Vaisnava religion of Bengal. This legendary

character occupies a great significant place in some later campu -kavyas,

dramas and books on poetics written by Vaisnava authors of Bengal. In the

OJ
Anandvrndavanacampu of Kavikamapura (1524 A.D.), Radha is more an

earthly lover of this mortal world. She is an expert lady in the domestic

activities of Indian life. In the stavaka-X, we find Radha inviting Krsna to

her place and she cooks and serves him. A glowing account of her youth and

her love-lorn condition also is depicted by the poet. Different pastimes and

love-dallianccs of Radha and Krsna are presented beautifully in this campu.

Rupa GoswamI (1490-1563 A.D.) and Jlva GoswamI, two of the great

Sanskrit poets of Bengal, have nicely exhibited the different striking features

of the character of Radha in their works.

Rupa GoswamI has composed two Rasa-treatises, the Ujjvalanilamani,

the Haribhaktmsamrtasindhu, one anthology, the Padyavalfand three dramas,

| ’

nam ely, the D anakelikaum udI, the ; Vidagdbam adbavam and the

Lalitamadbavam.
 44

I n t h e U j j v a l a n l l a m a n i , a n e x a l t e d p o s i t i o n h a s b e e n g i v e n t o R a d h a b y

R u p a G o s w a m I , w h o i s a p r o m i n e n t p r e a c h e r o f t h e n e o - V a i s n a v i s m i n B e n g a l

a f t e r S r i C a i t a n y a d e v a . I n t h i s b o o k o f p o e t i c s , R u p a G o s w a m I h a s d e l i n e a t e d

d i f f e r e n t t y p e s o f h e r o i n e s a n d c l a s s i f i e d t h e m i n d i f f e r e n t g r o u p s a c c o r d i n g

t o t h e i r c h a n g i n g m o o d s a n d p s y c h o l o g i c a l c o n d i t i o n s i n r e s p e c t o f t h e i r

r e l a t i o n w i t h t h e h e r o .

B u t t h e a u t h o r o f t h e U j j v a l a n l l a m a n i c e r t a i n l y m o v e s a s t e p f u r t h e r

w h e n h e d e p i c t s t h e c h a r a c t e r o f R a d h a w i t h m a n y n e w e p i t h e t s , w h i c h

b r i n g s o u t a l l t h e n o b l e q u a l i t i e s o f t h i s g r e a t l e g e n d a r y c h a r a c t e r t o o u r

v i e w . W h i l e e x p l a i n i n g t h e d i f f e r e n t a t t r i b u t e s o f t h e c h a r a c t e r o f R a d h a .

R u p a G o s w a m I q u o t e s m a n y p o e m s f r o m h i s d r a m a s a n d a n t h o l o g y . I n t h e

H a r i b h a k t i r a s a m r t a s i n d h u , R u p a G o s w a m I e s t a b l i s h e s B h a k t i a s a d i s t i n c t

' R a s a * . H e a l s o c l a s s i f i e s t h i s r a s a i n d i f f e r e n t g r o u p s . W h i l e i l l u s t r a t i n g

d i f f e r e n t s u b - g r o u p s o f t h i s ‘ B h a k t i - r a s a ’ , h e a n a l y s e s d i f f e r e n t a s p e c t s o f

t h e c h a r a c t e r o f R a d h a , i l l u s t r a t i n g w i t h t h e v e r s e s f r o m h i s d r a m a s a n d

a n t h o l o g y .

T h e P a d y a v a l i i s a f a m o u s a n t h o l o g y c o m p i l e d b y R u p a G o s w a m I w i t h

a v t e w t o d e p i c t t h e d i f f e r e n t p a s t i m e s a n d l o v e - s p o r t o f R a d h a a n d K r s n a . I n

t h i s a n t h o l o g y , h e h a s c o l l e c t e d 3 8 6 v e r s e s o f m o r e t h a n 1 2 5 p o e t s a l o n g

w i t h t h o s e c o m p o s e d b y h i m s e l f .

I n t h e P a d y a v a l i , d i f f e r e n t t y p e s o f h e r o i n e s a n d a l s o t h e d i f f e r e n t s t a g e s

o f l o v e o r S m g a r a r a s a a r e i l l u s t r a t e d w i t h r e f e r e n c e t o R a d h a b y v e r s e s c i t e d
 45

from different authors from all over India. Rupa Goswami also compiled

verses from renowned older wellknown poets of Sanskrit literature like

Subandhu, Bhattanarayana, Bhavabhuti, Amaru, Rudrata and Ksemendra,

who wrote on the neo-Vaisnava themes.

All the dramatic compositions of Rupa Goswami deal with some aspects

of the Radha-Krsna legend and specially the love-episode of Radha and

Krsna. The works are composed in conformity with the Rasa-sastra and he

quotes verses from these dramatic works in his two Rasa-treatises, the

Ujjvalanllamani and the Haribhaktirasamrtasindhu. Of the three dramas of

Rupa Goswami ,the Danakelikaumudl is the shortest being in one Act only.

It is a Bhanika-type of Uparupaka, dealing with the Danakeli-episode of the

Radha-Krsna legend.

The Vidagdbamadbavam is a drama of seven Acts. It presents the

entire ‘Vmdavana-llla’ of Radha and Krsna, beginning with the purvaraga

(first love) and ending with first union. At the end of this drama, Krsna

disguises himself as the goddess Gauri and instructs Radha to worship her

and remain with her (Krsna in disguise) to avoid some catastrophy of

Abhimanya, the husband of Radha.

The Lalitamadhavam is a more extensive drama which ends in ten Acts.

The theme of the drama is a complicated one. It describes not merely the

story of Krsna’s love-sport at Vmdavana but also his love-sport at Mathura

 46

(Act IV) and Dvaraka. Here, the dramatist tries to prove that Candravall,

Radha and other gopis of Vmdavana were actually RukminI, Satyabhama

and other princesses, whom Krsna abducted and made his queens at Dvaraka.

Though all these dramas are composed on some episode of the Radha-

legend, innovativeness on the part of the dramatist Rupa Goswami is noticed

in the treatment of the Radha-legend.

In all these dramas, Radha is depicted as a dearest lover of Lord Krsna.

She is an intelligent lady who is an expert in speaking Sanskrit and Prakrta

eloquently. Different pictures of the different conditions of Radha as a heroine

of Sanskrit drama, as presented by Rupa Goswami will be discussed in future.

Among many other works, Jiva Goswami portrays the character of Radha

as the dearest lover of Krsna in his campu-work, named the Gopala-campu

(1588AD-1592 A.D. the date of composition)

The love-episode between Radha and Krsna actually began with the

heroic adventure of Krsna with the Kaliya serpent. The poet here presents us

many pictures of the amorous condition of Radha which will be explained in

a later context. In the Gopalacampu, Radha is duly married to Krsna. Thus,

a happy ending of the Radha-Krsna legend is achieved in the Gopalacampu.

Thus, the character of Radha is seen moulded variously in the various

secular and religious literature of India through centuries.

We have presented above a general survey of the origin and development

 47

of the character of Radha from the Prakrta work of Hala down to the period

of neo-Vaisnava movement. An attempt has been made to systematise all the

relevant documents concerning Radha in the chronological order as far as

practicable. It is clear that the love-story of Radha has extended far and wide

in this country and occupies a significant place in all kinds of literature,

Sanskrit and Prakrta poems, dramas and songs.

We have tried to give a thorough idea of all the materials available to

us on Radha, which are of great literary value. In the succeeding chapters, an

attempt will be made to examine all the relevant materials related to Radha

in a critical and systematic manner to make the present study an useful one.

It may be remembered here that apart from the sophisticated literature created

by poets and dramatists, Radha penetrates a popular world in the form of

innumerable folk-songs. It is clear from an exhaustive study of Radha legend

found in Indian society that Radha exerted a very strong influence on the

minds of both well-known poets and unknown poets of Indian society equally.

References:

1. RV., I. 164.46
2. SDS., pp. 2-3
3. RU, p. 490
4. RV., 1.30.5
AV., 20.45.2
SYV., 2. 95
5. R V , 1.10.7
 48

6. ibid., in.15.3
7. ibid, VIH. 93.13
8. ibid, X.11.3
9. MS., I. 21, p.5
10. G SS; I. 89
11, VS., I. 2, p. 2
12. SDS., p. 125
13. GV., I. 22.
14. Dvan.., H.12, p. 22
15. under DR., IV. 60, p. 274
16. Pv., v. 372, p. 169
17. NCP., as in SDS., p. 126
18. under Spv., IV. 35, p. 139
19. YTC., 4th asvasa, p. 142
20. C.M. example of ‘latboddbata
21. Skao, pp. 310, 495
22. Kas., p. 115
23. SRK., V. 44, p. 29
24. ND., p. 102
25. VJ, second unmesa, p. 106
26. Locana, Dvan., p. 138
27. Kas., p. 113
28. SK , v. 289, p. 78
29. Pv., v. 373, p. 170
30. PT., I. 4
31. pranavat pranayiradha ! na radhaputrasatrusakhita sadrsl te /
sripriyasya sadrgeva tava snvatsamatma hrdi dhartumajasram //
NC., XXI, 83, p. 842

32. SDS., p. 130

33. ibid, p. 130
34. NLRK., p. 300
35.P P., I. 9, p. 11; I. 207, p. 177
 4 9

3 6 . S k r k . 1 .7 5 , p . 3 9

3 7 . A s s ., v . 5 0 9 , p . 2 6 0

3 8 . G . G „ X I I . 2 , 3 , p p . 1 8 2 , 1 8 3

v i 9 . M R , 1 3 . 3 8 , p . 4 2
< v

4 0 . Pdmp. P a ta J^ h a n d a , 5 0 . 5 6 - 5 7 , p . 4 3 6 ; 3 8 . 1 2 0 , p . 3 6 4

4 1 . ib id , 4 6 . 3 6 , p . 4 1 5

4 2 . ib id , 5 0 . 5 5 , p . 4 3 5

4 3 . 7 Y ., la s t s lo k a o f p a ta la I, p . 2

4 4 . R T , p a ta la 2 . v .2 ., p . 2

4 5 . ibid, p a ta la 7 , p . 1 0