Rādhā excels the sources of her charms in every quality, so that each is put to shame. Cf. Prema Sāgara, Ch. LXIII, and
'Straighter than cedar, brighter than glass;
More fine in trip than foot of running roe . . .
Fresher than poplar, smaller than my span.
Shep. Tony (in 'England's Helicon').
4. 'Olifant,'—the elephant is commonly regarded by those least familiar with him, as a clumsy animal, probably on account of his size and weight. For the eastern poet he symbolises strength, grace and symmetry. The old form 'olifant' is therefore used here as if to restore him to his true position by a slight suggestion of mystery.
"The soft and graceful gait of an Indian woman is likened to that of an elephant; and in the East, where a woman's garments permit freedom of movement and sympathetic co-operation of the muscular system this is an apt comparison. In the West the natural swing of the hips, only possible in conjunction with the free, lithe play of the muscles of the foot and torso, is restricted and becomes jerky... The elephant has an exquisite sense of balance and most supple joints, and can even make obeisance with profound dignity."
F. H. Andrews, Journal of Indian Art, X, 52. See also Max Muller,S.B.E., Vol. XI, p. 46, note 2.
11. To save the Worlds, Shiva drank up the poison that appeared at the churning of the Ocean, whence his throat is stained blue. The poet suggests that despair at the sight of Rādhā's beauty was the real cause that Shiva drank.
6. "The Khanjana (wagtail) eyes are characterised by their playful gaiety." (A. N. Tagore, Some notes on Indian Artistic Anatomy, Calcutta, 1914). The 'snakes' are the lines of collyrium drawn on each lower-lid.