DEVOTIONAL SONGS 417 natural mental bent of the age and the race and the indi- vidual, Raim-prasad was not little in- নস of Baisyab fluenced, directly or indirectly, by the Baisnab idea of 4a/sa/ya. Through- out the history of the Sakta and Baisnab conflict we find, no doubt, the two sects directly antagonistic to each other and in Bharat Chandra, even in Ram-prasad himself, we find the virulence of a militant sectarian zeal. But, as on the one hand, we find a Baisnab poet like Chandidas mak- ing use of fantricimagery and /antric idea of satchakra-_ sadhan,' on the other we see Ram-prasid, a confirmed Sakta poet, considerably influenced and imitation of by Baisnab ideas in his Ka/i-kirtan Brndabanlila, and Arsnahkirtan. Not only does he imitate in places the characteristic diction and imagery of Baisnab padabalis but he deliberately describes the gostha, ras, milan of Bhagabati in imitation of the drndaban-lila of Srikrsna. It does not concern us here whether the girl Parbati figures in a better artistic light with a denu and pachanbadi in her hand or whether the picture deserves the sareastic comments of Aju Gosvami? ; what we need note is that here as well as in his a@yaman7 songs, Ram- prasad is unmistakably utilising Baisnab ideas. This imitation of the drnxdiban-/ila or of the Latsalya bhaba of YaSoda for Bala Gopal was, however, not wholly isolated, সস ॥ কিবা কারিকরের আজব. কারিকুরি। তার মধ্যে ছয় পদ্ম রাখিয়াছে পুরি ॥ সহশ্রারে হয় পদ্ম সহশ্রক দল তার পরে মণিপুর পরম শিবের স্থূল ॥ র quoted from Chandidas in Bir-bhimi (new series) vol. ii, p. 15, which seo for a masterly exposition of Prasadi sangit.
- নাঁজানে পরম তন্ব কাটালের আমলত্ব মেয়ে হয়ে ধেনু কি চরায়। ইত্যাদি
5১ .
