The first Pallab contains 27 hymns, of these 8 are by Gobind Dâs, 8 by Baishnab Dâs, 3 by Brindâban Dâs, the rest by minor masters. Brindâban Dâs and Parameshwar Dâs were contemporaries of Chaitanya, the others-- including Gobind Dâs, who is perhaps the most voluminous writer of all- -are subsequent to him. Of the hymns themselves the first five are invocations of Chaitanya and Nityânand, and one is in praise of the ceremony of Kîrtan. There is nothing very remarkable in any of them. Number 5 may be taken as a specimen, as it is perhaps the best of the batch.
"Nand's son, lover of the Gopîs, lord of Râdhâ, the playful Syâm:
_Is_ he, Sachi's son, the Indra of Nadiya, the heart-charming dwelling of gods and saints; victory to him who is love embodied to his own beloved, hail! hail to him who is the joy of the existence of his well-beloved! hail to the delight of the eyes of his comrades in Braj! hail to the charm of the sight of the women of Nadiya! hail! hail to Sridam, Sudam, Subal, and Arjun, [Footnote: Names of Chaitanya's disciples.] bound by love to him whose form is as a new cloud! hail to Râm and the rest, beautiful and dear companions! hail to the charmer, the incomparable Gora (Chaitanya)! hail to the mighty younger brother of Balarâm! hail! hail to Nityânand (who is) joy (personified)! Hail to him who destroys the fear of good men, the object of the hope of Gobind Dâs!"
I would call attention here, once for all, to what is one of the principal charms of Vaish.nava hymns, the exquisitely musical rhythm and cadence. They seem made to be sung, and trip off the tongue with a lilt and grace which are irresistible.
This hymn is interesting as shewing how completely Chaitanya is by his followers invested with the attributes of, and identified with, K.rîsh.na; it has no other special merits; nor anything specially interesting from a philological point of view as it is nearly all Sansk.rit.
The next six are in praise of the sect itself, of Adwaita, and the principal disciples. That on Adwaita by his contemporary Brindaban Dâs gives a lively picture of the old Brahman, then follow seven in praise of the Kîrtanias or the old master-singers--Bidyapati, Jayadeva, Cha.n.di Dâs; then four on K.rish.na and Râdhâ, containing only a succession of epithets linked together by jay! jay!