4. Jay! jay! in Nawadwip; by Gorang's order Adwaita goes to prepare the
consecration of the drum. Bringing all the Vaish.navas with sound of
"Hari bol," he initiates the great feast. He himself giving garlands
and sandal-paste, converses with his beloved Vaish.navas, Gobind taking
the drum plays ta-ta-tum tum, Adwaita lightly clashes the cymbals.
Hari Das begins the song, Sribas keeps time, Gorang dances at the
kirtan celebration. On all sides the Vaish.navas crowding echo "Hari
bol," to-morrow will be the great feast. To-day consecrate the drum
and hang it up, joyfully saith Bansi sound victory! victory!!

Having thus concluded the initiatory ceremonies in the lst Pallab, the
2nd Pallab begins the real "Kirtan." It contains 26 hymns by masters
who are mostly of comparatively recent date. Of the old masters Gobind
Das and Cha.n.di Das alone appear in this Pallab. We now commence the
long and minutely described series of emotions and flirtations (if so
lowly a word may be used) between Radha and K.rish.na, and this Pallab
and in fact the whole of the first Sakha is on that phase called
"purbaraga" or first symptoms of love. In No. 2, Cha.n.di Das
represents two of Radha's Sakhis, or girl-friends, whispering together
as they watch her from a distance (the punctuation {i.e. colon (:)}
refers to the caesura, not to the sense):

"She stands outside the house, a hundred times restlessly she comes and
goes: depressed in mind, _with_ frequent sighs, she looks towards
the kadamba jungle. Why has Rai (Radhika) become thus? serious is her
error, she has no fear of men, where are her senses, or what god has
possessed her? Constantly restless, she does not cover herself with
the corner of her robe: she sits still for a while, then rises with a
start, her ornaments fall with a clang. Youthful in age, of royal
descent, and a chaste maiden to boot: what does she desire, (why) does