The maid companion in this drama of love is a very versatile actress. She must find ways and means of promoting her mistress's interest with the male party; make marriage possible by discreet intervention and representation with the elders who decide things for her mistress; reprove the seeming carelessness and indifference of the male party, and follow her mistress like a shadow, consoling her in sorrow and separation, promising the speedy return of her lover, or deriding his indifference and his lack of consideration. On occasions when she derides the apparent heartlessness of her mistress's lover, the mistress defends him, and this is just what the maid wants to provoke by her derision. At other moments, when she wishes to reprove this dilatory lover, she can be quite curt and sarcastic.

A lover generally ingratiates himself into the good graces of his beloved through the maid-companion. After the first meeting he comes again with bouquets of flowers gathered from his gardens and fields. These are accepted with joy, and passed on to the mistress, but refused if he be dilatory, to indicate that flowers howsoever pretty are no substitute for a definite day when the wedding might be celebrated. The maid is very pert and says, 'No, thank you ˜ We have these kāntal flowers on our hillsides too.'

With all the trials and sufferings which lovers have to endure, the gossip of the neighbours and the initial hostility of the beloved's kith and kin, love still is worthwhile, and may not be given up even for the whole world (Kur. 300).

Inconstancy and infidelity are described as faults not only of men, but also of women. In some lyrics the coquettish and unrelenting nature of the woman and her eyes themselves which are as cruel as the points of a spear which they resemble are described. The following is probably a disappointed fisherlad's lament, and he certainly plays upon the words and deeds connected with fishing:

Another has few complimentary terms for her, who will not respond to his advances: