Chapter Eight: Literature of the Rasika Tradition in Hindi

The companions perform ārati, adorned in all their finery; lover and beloved possess the beauty of moon and cakora.
The beloveds sit upon a lovely throne, he a rain-laden cloud and Sita stainless lightning.
His smile rains down the nectar of sweetness, and the fair one drinks it in cupfuls through her two eyes.
A young woman stands holding a large jewelled platter filled with many flavours of delicious dried fruits.

Grapes, almonds, dates, raisins, coconut, and juicy sugar crystals are steeped in sweetness.
Attendants serve Shyama and Shyama together, forming an enchanting pair.
They offer perfume and betel, sing in sweet voices, sound many instruments, and arrange dances.
The accomplished ladies place flower garlands upon them, perform ārati, and repeatedly offer themselves in sacrifice.

Taking up a mirror, a companion shows them their reflection; Gyanali raises cries of “Victory! Victory!”

The beloved’s vina enters her lover’s ears.
His fresh lotus eyes open and he rises like a deer hearing a tender melody.
He goes to salute the members of the assembly and receives the loving refreshments and betel offered from house to house.
When the court is dismissed, the deep signal drums resound and his whole body feels the blow of separation from Siyapura.

Four ghaṭikās seem like all four ages; then they meet again like life returning to the body.
Lal sits beside Ladili, cloud and lightning together, shaming every comparison.
United with the young women, Lal fulfils them through many kinds of laughter and playful contests of glances.
Drinking the rasa of the Couple’s recreation, Gyanali becomes mute—who could explain it?

The sweetness of their forms, the narration of their virtues, and the charming Names of the Couple;
The story of their abodes, Awadh and Mithila—these are my life’s repose.

Jānakī Nau Ratna Māṇikya

Composed by Ramsakhe

General introduction. The work begins with prayers and praise of Sri Janaki Ji spoken by Hari, Hara, Brahma, and others in the Śrī Mārkaṇḍeya Saṃhitā. Its recurring contemplation is of Sri Janaki Ji “ever seated upon Raghubar’s lap.” This is followed by a description of Rama’s donation līlā, and then by the Kavitāvalī.

The work was printed at the Diamond Jubilee Press in Kanpur in 1899 and comprises approximately thirty-seven pages. The “Donation Līlā” contains twelve songs, while the Kavitāvalī contains twenty-five kavitts.

Subject matter. The donation līlā is described after the model of Krishna’s līlā. The Kavitāvalī includes Rama adorning Sita upon a crystal slab; Sitaraman’s bower recreation on the bank of the Sarayu; songs of meditation; and exceptionally captivating, heart-stealing descriptions of worship through the divine abode, form, līlā, and Name.