The significance of the union is brought home through a powerful simile of the crest of the sea-waves as they leap up to meet the full moon. The springing joy of the waves is contained in the alliteration of the phrase 'taralita tunga tarangam' and this is juxtaposed against the alliteration of the phrase 'vadana vilokana vikasita vividha vikara vibhanga.'
 
Such poetic dexterity is difficult to match pictorially. The artist employs the multiple figure of Krsna to communicate the myriad emotions which swell up within Him. One Hari sits looking shyly away, the other gazes at a Radha who has just entered the arched bower. The sakhi stands outside, she is no longer on the platform. Kamadeva is perched on a single tree and not in thicket groves. Opposite is the empty bower. The artist recreates the situation. The painting is sensitive but formal - almost inhibited in its expression.