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tite can never be quenched.” He that cannot see “this Invisible One, cannot appreciate the beauty of the Visible.’ Such a one only “abuses the living Soul and bows to the Inanimate.” This One has no form to be seen, and yet is “to be seen without any form of his and without your 4ye” and is “ to be tasted without a tongue.” This be- loved Lord “ will give a spiritual fruition to those that love him,” and thereupon the lady that so loves him, “will enjoy that union wherein the distinction between I and thou ceases.”

The dance of the love between the Bhaktas and the one Lord is the basis of the allegorical Rais Lili and the allegory is worked up and extended intell- igibly to a certain point. There is no distinction of caste or sex among the Bhaktas in the eyes of Hari; and the poetical faculty of man has not to overstrain itself in calling Hari the only man and in turning the Bhaktas of both sexes into so many women of one fair sex—emblems of love, sweetness, and frailty.* ‘Lhe distinction of sex was in fact dropped as having no reference to the soul, and this poetical reli-

not explained by the poet. The heads of the Vallabhacharya sect which was founded after his death, embodied one of them in the form of a vow which their dovotees are called upon to take, viz., that they are Gopis of Brij.
 * These and the other allegories here referred to are used and