itings were studies in erotics
rather than in literature--the actual situations rather than their
literary treatment being the authors' prime concern. During the fourteenth
century, however, questions of literary taste began to be discussed and
there arose a new type of Sanskrit treatise, showing how different kinds
of lover should be treated in poetry and illustrating the correct
attitudes by carefully chosen verses. In all these writings the standard
of reference was human passion. The lovers of poetry might bear only a
slight relation to lovers in real life. Many of the situations envisaged
might rarely, if ever, occur. It was sufficient that granted some
favourable accident, some chance suspension of normal circumstances,
lovers could be imagined as acting in these special ways.

It is out of this critical literature that our new development springs. 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_. Here all the standard
situations were once again examined, _nayikas_ and _nayakas_ were newly
distinguished and verses illustrating their appropriate treatments were
systematically included. The book differed, however, in two important ways
from any of its predecessors. It was written in Hindi, Keshav Das himself
supplying both poems and commentary and what was even more significant,
the _nayaka_ or lover was portrayed not as any ordinary well-bred young
man but as Krishna himself.[64] As a girl waits at the tryst it is not for
an ordinary lover but for Krishna that Keshav Das depicts her as longing.

'Is he detained by work? Is he loath to leave his friends? Has he had a
quarrel? Is his body uneasy? Is he afraid when he sees the rainy dark? O
Krishna, Giver of Bliss, why do you not come?'[65]

As a girl waits by her bed looking out through her door, it is the
prospect of Krishna's arrival--not of an ordinary lover's--that makes her
happy.

'As she runs, her blue dress hides her limbs. She hears the wind ruffling
the trees and the birds shifting in the night. She thinks it must be he.
How she longs for love, watching for Krishna like a bird in a cage.'

When the lover arrives at dawn, having failed to come in the night, the
girl (a