Ragas and Raginis: A Pictorial and Iconographic Study of Indian Musical Modes Based on Original Sources c10.134

c10.134

Lalita (couplet): “Lalita is of a delicate frame of golden complexion, she wears ornaments and robes made of gold; coming out of her chamber in a spring morning, she waits, her mind full of the expectation of her lover. (Quatrain): Dressed in yellow, she carries a garland of fresh campaka flower, mingled with blossoms of mango and aśoka; she has decked her complexion of gold with ornaments of gold, her voice is mistaken for the song of the cuckoo in spring mornings. The Moon leaving the celestial abode (and assuming the form of her face) has secured the rare ambrosia of her sweet and juicy lips. Lalita is seeking union with her beloved (alternately—the melody seeks the notes ‘dha’, ‘ni’, ‘sa’, ‘ga’ and ‘ma’) and coming out of her abode is looking out for him.”¹