8. Pañcam—the dominant. Also in CV, 2. The pitch of each of the seven notes "was originally determined by the rishis of the forest from the sounds of various Birds and Animals uttered at particular seasons and times. . . Pā is the note sounded by the Kokila, the Indian nightingale, at springtime, when after a silence of six months it hails the brightest period of the year and tastes the first sprouts of the new season with an ebullition of joy"—Chinnaswami Mudaliyar, Oriental Music.
10. 'Twice-born,' epithet equally of Brāhmans and birds. The sense is that in this Nature-festival the birds performed the 'the most solempne servise' of the officiating priests.
14. 'For ever and for ever'—since the Krishna Līlā is eternal.
2. Rāsa, the circular dance of Krishna with the gopīs (herd-girls), wherein his form was multiplied and became many; thus described in the Prema Sāgara, and often represented in Rājput drawings, and constantly acted in the Rās-līlā—
'Two and two the gopīs held hands and between each pair was
Hari their friend. . .
Gopi and Nanda-kumara alternate, a round ring of lightnings
and heavy clouds,
The fair Braj girls and the dusky Krishnas, like to a gold
and sapphire necklace.
The Rās Maṇḍala thus described is the exact equivalent of the 'General Dance' to which (in a well-known mediæval carol, 'To-morrow will be my Dancing Day') Christ invites the souls of men,—for the words of the carol see G. R. S. Mead, in 'The Quest,' October, 1910.
8. Vasanta Rāg.
9. Cf. Indian Drawings, II, PI. 2.