The austerer glories of Mahâdeva, the Lord of the burning ground, attract more the hearts of those who are weary of the world and who see the futility of worldly attractions; but Shrî Kṛiṣhṇa is the God of the household, the God of family life, the God whose manifestations attract in every phase of His Self-revelation; He is human to the very core; born in humanity, as He has said, He acts as a man. As a child, He is a real child, full of playfulness, of fun, of winsome grace. Growing up into boyhood, into manhood, He exercises the same human fascination over the hearts of men, of women, and of children; the God in whose presence there is always joy, the God in whose presence there is continual laughter and music. When we think of Shrî Kṛiṣhṇa we seem to hear the ripple of the river, the rustling of the leaves in the forest, the lowing of the kine in the pasture, the laughter of happy children playing round their parents' knees. He is so fundamentally the God who is human in everything; who bends in human sympathy over the cradle of the babe, who sympathises with the play of the youth, who is the friend of the lover, the blesser of the bridegroom and the bride, who smiles on the young mother when her first-born lies in her arms--everywhere the God of love and of human happiness; what wonder that His winsome grace has fascinated the hearts of men! We are to study Him, then, this morning. Now an Avatâra--I say this to clear away some preliminary difficulties--an Avatâra has two great aspects to the world. First, He is a historical fact. Do not let that be forgotten. When you are reading the story of the great Ones, you are reading history and not fable. But it is more than history; the Avatâras acts out on the stage of the world a mighty drama. He is, as it were, a player on the world's stage, and He plays a definite drama, and that drama is an exposition of spiritual truth. And though the facts are facts of history, they are also an allegory under which great spiritual truths are conveyed to the minds and to the hearts of men. If you think of it only as an allegory, you miss an aspect of the truth; if you think of it only as a history you miss an aspect of the truth. The history of an Avatâra is an exposition of spiritual verities; but though the drama be a real one, it is a drama with an object, a drama with distinct outlines laid down, as it were, by the author, and the Avatâra plays His part on the stage at the same time as He is living out His life as man in the history of the world. That must be remembered, otherwise some of the great lessons of the Avatâra will be misread.