... The ground Where early Love his Psyche’s zone unbound.[4.20.47] In the morning the blue god aids in Radha’s simple toilet. He stains her eye with antimony “which would make the blackest bee envious,” places “a circle of musk on her forehead,” and intertwines “a chaplet of flowers and peacock’s feathers in her dark tresses,” replacing “the zone of golden bells.” The bard concludes as he commenced, with an eulogium on the inspirations of his muse, which it is evident were set to music. “Whatever is delightful in the modes of music, whatever is graceful in the fine strains of poetry, whatever is exquisite in the sweet art of love, let the happy and wise learn from the songs of Jayadeva.” =The Rāsmandal Dance.=—This mystic dance, the _rasmandal_, appears analogous to the Pyrrhic dance, or the fire-dance of the Egyptians. The movements of those who personate the deity and his fair companions are full [544] of grace, and the dialogue is replete with harmony.[4.20.48] The Chaubes[4.20.49] of Mathura and Vindravana have considerable reputation as vocalists; and the effect of the modulated and deep tones of the adult blending with the clear treble of the juvenile performers, while the time is marked by the cymbal or the soothing monotony of the tabor, accompanied occasionally by the _murali_ or flute, is very pleasing. =Govardhana.=—We have a Parnassus in Govardhana, from which sacred hill the god derives one of his principal epithets, Gordhan or Gordhannath, ‘God of the mount of wealth.’[4.20.50] Here he first gave proofs of miraculous power, and a cave in this hill was the first shrine, on his apotheosis, whence his miracles and oracles were made known to the Yadus. From this cave (_gupha_) is derived another of his titles—Guphnath, ‘Lord of the cave,’ distinct from his epithet Gopinath, ‘Lord of the Gopis,’[4.20.51] or pastoral nymphs. On the annual festival held at Govardhana, the sacred mount is purified with copious oblations of milk, for which all the cows of the district are in requisition.