Comment: The first embracing is called kshirra - niira aalingana - milk-water embrace, also called tila-tanDula - gingelly seeds and rice. And krita parirambha cumbanayaa - is called jaghanopa shleSa - karajadana kR^ityam cumbanam vaa vidhastsuH | kathayati jaghanopa shleSam enam muniindraH || Then the kissing is called samauSTa - cumbostavam nR^ityati yatra naarii proktam samauSTam kavibhiH puraaNaiH || And then the type of kissing said in - parirabhya kR^itaa adhara paaanam - is called lalaaTika - sa aananda bhaavam shrama miilita aksham lalaatikam tatva vido vadanti ||
alasanimiilitalochanayaa pulakaavalilalitakapolam |
shramajalasakalakalevarayaa varamadanamadaadatilolam |
sakhi - - savikaaram || a pa 6-4
padacCheda - alasa nimiilita lochanayaa pulaka aavali lalita kapolam shrama jala sakala kalevarayaa vara madana madaat ati lolam - sakhi - - savikaaram
अलसनिमीलितलोचनया पुलकावलिललितकपोलम्।
श्रमजलसकलकलेवरया वरमदनमदादतिलोलम्।
सखि - - सविकारम्॥ अ प ६-४
alasanimīlitalocanayā pulakāvalilalitakapolam |
śramajalasakalakalevarayā varamadanamadādatilolam |
sakhi - - savikāram || a pa 6-4
padaccheda - alasa nimīlita locanayā pulaka āvali lalita kapolam śrama jala sakala kalevarayā vara madana madāt ati lolam - sakhi - - savikāram
a pa 6-4. alasa= tired; thereby; nimiilita= slouching; lochanayaa= with eyes [rather, eyelids, and such as I was]; pulaka= tingles; aavali= a series of; lalita= delicate; kapolam= cheeks [of Krishna]; shrama+ jala= strain, water [sweat]; sakala+kalevarayaa= whole, body [such as I was]; vara+madana+madaat= utmost, love-god [passion,] by intemperance; ati+lolam= wholly, giggling; sakhi - savikaaram= as above.
"I was tired hence my eyelids were slouching, his delicate cheeks too, experienced a series of tingles, and whole of my body was wet with sweat, his body too, was wholly jiggling with passionate intemperance... such as we were, now why don't you make him to take delight in me, when my heart and mind are filled with love for him... [a pa 6-4]
Comment: By the slouching eyelids, the type of kissing is called - anaghR^iSTa cumbana - ...yatra lolaa aakhyaatam rasaj~naiH anghR^iSTa sanj~nam || And by embracing his love Krishna is said to have lovely tingling on his cheeks and it is called saattvika vikaara -which is of eight kinds as bharata muni says: svedaH kampaH atha romaancaH svara bhangaH atha vepadhuH | vaivarNyam ashru pralayau iti aSTau saattvikaaH smR^itaaH || - sweating, thrilling, shivering, voice fading, wobbling, colour fading, tears of happiness, or tearless state these eight are temperate moods...
kokilakalaravakuujitayaa jitamanasijata.ntravichaaram |
shlathakusumaakulakuntalayaa nakhalikhitaghanastanabhaaram |
sakhi - - savikaaram || 6-5
padacCheda - kokila kala rava kuujitayaa jita manasija ta.ntra vichaaram shlatha kusuma aakula kuntalayaa nakha likhita ghana stana bhaaram - sakhi - - savikaaram
कोकिलकलरवकूजितया जितमनसिजतंत्रविचारम्।
श्लथकुसुमाकुलकुन्तलया नखलिखितघनस्तनभारम्।
सखि - - सविकारम्॥ ६-५
kokilakalaravakūjitayā jitamanasijataṁtravicāram |
ślathakusumākulakuntalayā nakhalikhitaghanastanabhāram |
sakhi - - savikāram || 6-5
padaccheda - kokila kala rava kūjitayā jita manasija taṁtra vicāram ślatha kusuma ākula kuntalayā nakha likhita ghana stana bhāram - sakhi - - savikāram
a pa 6-5. kokila= Kokila, black singing bird; kala+rava= inexplicable, cooing; kuujitayaa= one who cooing like that [myself]; or, kokila= like koel; kalaraa= like a pigeon; kuujitayaa= calling/cooing; jita= conquered, mastered; manasi+ja= mind, born one [Love-god]; ta.ntra= treatise [of Love, kaama shaastra]; vichaaram= one who is pondering over [Krishna]; shlatha+kusuma= faded, flowers [I was with]; aakula+kuntalayaa= tousled, braid [tousle-haired]; nakha= by nails; likhita= written, scratched; ghana= busty; stana= bosoms; bhaaram= he who has to bear the weight [Krishna]; sakhi - savikaaram= as above.
"Then, when I was cooing and calling like a koel or a pigeon, he who has mastered every treatise of Love was pondering... and then, when my flowers faded and braids tousled he started to scratch my busty bosoms, bearing their weight... such as we were, now why don't you make him to take delight in me, when my heart and mind are filled with love for him... [a pa 6-5]
Comment: The type of scratching with nails is called panjakaja patra - according to sringaara shaastra.
charaNaraNitamaninuupurayaa paripuuritasuratavitaanam |
mukharavishR^i~Nkhalamekhalayaa sakachagrahachu.mbanadaanam |
- sakhi - - savikaaram || a pa 6-6
padacCheda - charaNa raNita mani nuupurayaa paripuurita surata vitaanam mukhara vishR^i.nkhala mekhalayaa sakacha graha chu.mbana daanam - sakhi - - savikaaram
चरणरणितमनिनूपुरया परिपूरितसुरतवितानम्।
मुखरविशृङ्खलमेखलया सकचग्रहचुंबनदानम्।
- सखि - - सविकारम्॥ अ प ६-६
caraṇaraṇitamaninūpurayā paripūritasuratavitānam |
mukharaviśṛṅkhalamekhalayā sakacagrahacuṁbanadānam |
- sakhi - - savikāram || a pa 6-6
padaccheda - caraṇa raṇita mani nūpurayā paripūrita surata vitānam mukhara viśṛṁkhala mekhalayā sakaca graha cuṁbana dānam - sakhi - - savikāram
a pa 6-6. charaNa+raNita= by feet, made to jingle; mani+nuupurayaa= gemmy, anklets; paripuurita= fulfilled; surata+vitaanam= copulation, with a group of [bandha bheda sahita ratim]; mukhara= while [anklets are] jingling; [next] vishR^i.nkhala= unfettered, fallen down ; mekhalayaa= girdle-chain-set; sa+kacha+graha= by, hair bun, on grasping; chu.mbana + daanam= kiss, one who gave as a gift; sakhi - savikaaram= as above.
"My anklets that usually jingle by my feet are made to jingle more when he copulated with me in different conjoining postures, and then my girdle-chain-set has fallen down in that act, and then he grasped my hair bun to give a dole of kiss, such as we were, now why don't you make him to take delight in me, when my heart and mind are filled with love for him... [a pa 6-6]
Comment: The expression surata vitaanam - is many kinds of unions, namely indraaNi bandha etc., explained by vaastyaana kaama suutra-s, possible only for yogis or experts in sringaara shaastra. The girdle-chain-set is not an exaggerated expression, where that girdle ornament contains festoons of golden strings, ranging from a set of three to hundreds. Please see Seetha's Marriage, siitaa kalyaan in Ramayana, where each type is detailed. And making this sort of girdle-chain to fall without unfastening is called prenkhollikita vipariita rati - where vipariita rati - is not a crude type, but again a climatic and masterly act.
Caveat: All this stuff, like masterly acts, climatic union etc., will be good for reading and listening. Better limit them up to that stage. Trying to implement these things, on purchasing cheap books sold on railway platforms, or deducing from such half-baked translations like these, would be harmful, and we are told that a threat of death looms on one's head, if these yogic practices are practiced, without proper knowledge. Just construe that Krishna is a supramundane bhogi and yogi, and salute him. That's all.
ratisukhasamayarasaalasayaa daramukulitanayanasarojam |
niHsahanipatitatanulatayaa madhusuudanamuditamanojam |
- sakhi - - savikaaram || 6-7
padacCheda - rati sukha samaya rasaa alasayaa dara mukulita nayana sarojam niHsaha nipatita tanu latayaa madhu suudanam udita manojam - sakhi - - savikaaram
रतिसुखसमयरसालसया दरमुकुलितनयनसरोजम्।
निःसहनिपतिततनुलतया मधुसूदनमुदितमनोजम्।
- सखि - - सविकारम्॥ ६-७
ratisukhasamayarasālasayā daramukulitanayanasarojam |
niḥsahanipatitatanulatayā madhusūdanamuditamanojam |
- sakhi - - savikāram || 6-7
padaccheda - rati sukha samaya rasā alasayā dara mukulita nayana sarojam niḥsaha nipatita tanu latayā madhu sūdanam udita manojam - sakhi - - savikāram
a pa 6-7. rati+sukha+samaya= union, joy, at time of; rasaa+alasayaa= by delight, relaxing; dara= a little; mukulita= closed; nayana= eyes; sarojam= lotuses; niHsaha= weakened; ni+patita= down, fallen, reposing on lawn; tanu= body; latayaa= creeper plant like [myself, and with me]; udita= arisen; manojam= mind born, Love-god, passion; madhu+ suudanam= Madhu, the demon, subjugator, Krishna; sakhi - savikaaram= as above.
"When I, with my creeper plant-like body was reposing on lawn, relaxing delightedly with union time joyousness, he too was weakened, and his lotus like eyes were half-closed, though reposing on lawn, again arisen was passion in him for me... such as we were, now why don't you make him to take delight in me, when my heart and mind are filled with love for him... [a pa 6-7]
Comment: Here the heroine is utkanThita - ecstatic one, lustfully waiting for the arrival of hero. na eva aagataH samuciteSu api vaasareSu.... viraha jvara taaita angiim utkanThitaam vadati taam bharata kaviindra... bharata muni.
shriijayadevabhaNitamidamatishayamadhuripunidhuvanashiilam |
sukhamutkaNThitagopavadhuukathitam vitanotu saliilam |
- sakhi - - savikaaram || a pa 6-8
padacCheda - shrii jayadeva bhaNitam idam atishaya madhu ripu nidhuvana shiilam sukham utkaNThita gopa vadhuu kathitam vitanotu sa liilam - sakhi - - savikaaram
श्रीजयदेवभणितमिदमतिशयमधुरिपुनिधुवनशीलम्।
सुखमुत्कण्ठितगोपवधूकथितम् वितनोतु सलीलम्।
- सखि - - सविकारम्॥ अ प ६-८
śrījayadevabhaṇitamidamatiśayamadhuripunidhuvanaśīlam |
sukhamutkaṇṭhitagopavadhūkathitam vitanotu salīlam |
- sakhi - - savikāram || a pa 6-8
padaccheda - śrī jayadeva bhaṇitam idam atiśaya madhu ripu nidhuvana śīlam sukham utkaṇṭhita gopa vadhū kathitam vitanotu sa līlam - sakhi - - savikāram
a pa 6-8. shrii= shrii suukti, good saying, or, one who reveres the feet of Goddess Lakshmi; jayadeva = [such a] Jayadeva; bhaNitam+idam= said, this one; atishaya= by far; madhu+ripu= Madhu's, enemy - Krishna's; nidhuvana+shiilam= romances, having accounts of; sa+liilam= having, romantic frolics [of Krishna]; utkaNThita+gopa+vadhuu= ecstacised, milkers', damsel - milkmaid; kathitam= told by her; [vaH= for all of us]; sukham+vi+tanotu= blessedness, amply, pass around; sakhi - - savikaaram= as above.
"This song that contains the accounts of Krishna's romantic frolics, as said by poet Jayadeva, who always worships the feet of Goddess Lakshmi, and as retold by me, an ecstasied milkmaid Raadha, let this song broadly pass blessedness all round, to one and all, and such as I am, a well-wisher of one and all, and wishing now for Krishna, oh, friend, why don't you make him to take delight in me now, when my heart and mind are filled with love for him... [a pa 6-8]
Comment: Some sentences are ellipted in the above summing up for the subtext. This song will not heard, in general, as it is loaded with some 'nakedness' in expression, and peripherally it sounbds 'bad' and no singer can go on singing the praise of alankaara or sringaara shaastra contained in it. Hence it is ill fated to be sung. If at all it is sung, it is singable in guNa kriya raaga, eka taala, again both are unknown tunes and rhythms, and none sings them in the tunes suggested by the poet-singer-dancer Jayadeva these days.
hastasrastavilaasava.nshamanR^ijubhruuvalliimadvallavii |
vR^indotsaaridR^igantaviikshitamatisvedaardragaNdasthalam |
maamudviikshya vilajjitam smitasudhaamugdhaananam kaanane |
govindam vrajasundariigaNavR^itam pashyaami hR^ishhyaami cha || 2-3
padacCheda - hasta srasta vilaasa va.nsham anR^iju bhruu valliimat vallavii bR^inda utsaari dR^iga.nta viikshitam ati sveda aardra gaNDa sthalam maam udviikshya vilajjitam smita sudhaa mugdha aananam kaanane govindam vraja sundarii gaNa vR^itam pashyaami hR^iSyaami cha
हस्तस्रस्तविलासवंशमनृजुभ्रूवल्लीमद्वल्लवी।
वृन्दोत्सारिदृगन्तवीक्शितमतिस्वेदार्द्रगण्दस्थलम्।
मामुद्वीक्श्य विलज्जितम् स्मितसुधामुग्धाननम् कानने।
गोविन्दम् व्रजसुन्दरीगणवृतम् पश्यामि हृष्यामि च॥ २-३
hastasrastavilāsavaṁśamanṛjubhrūvallīmadvallavī |
vṛndotsāridṛgantavīkśitamatisvedārdragaṇdasthalam |
māmudvīkśya vilajjitam smitasudhāmugdhānanam kānane |
govindam vrajasundarīgaṇavṛtam paśyāmi hṛṣyāmi ca || 2-3
padaccheda - hasta srasta vilāsa vaṁśam anṛju bhrū vallīmat vallavī bṛnda utsāri dṛgaṁta vīkśitam ati sveda ārdra gaṇḍa sthalam mām udvīkśya vilajjitam smita sudhā mugdha ānanam kānane govindam vraja sundarī gaṇa vṛtam paśyāmi hṛṣyāmi ca
2-3. he sakhii= of, friend; maam+ut+viikshya= me, up, seeing [seeing me by raising his neck, make sheep's eyes at with goggling eyes, this repeats with every action of Krishna]; hasta+srasta= from hand, slid; vilaasa+va.nsham= playful, Mohana Vamshi, the Flute; an+R^iju= not, straight, awry; bhruu= eyebrows; valliimat= wiry; vallavii+ bR^inda= milk maids', throng of; ut+saari= up, flowing - raising head to catch a glimpse of Raadha from the gang of milkmaids; dR^ik+a.nta= eye, up to end - sidelong glances; viikshitam= seeing; ati+ sveda+aardra= much, sweat, moist; gaNDa+sthalam= cheek, places; maam+udviikshya= me, on goggling; vilajjitam= abashed; smita+sudhaa= smile, called nectar; mugdha+aananam= pretty, faced one; kaanane= in woodlands, in Brindavan; govindam= at Krishna; vraja+ sundarii +gaNa+vR^itam= by Vraj, belles', mob, surrounded by; pashyaami+ hR^iSyaami+ca= I have seen, I am delighted, also.
"Oh, friend, when he was frolicking as he likes with the flocks of milkmaids, I suddenly entered the ronde, then on goggling me his playful flute Mohana Vamshi slid from his hands, and his wiry awry eyebrows raised, and he started to cast sidelong glances at me, as he is abashed to be among the throngs of milkmaids, and then on seeing me his cheeks are muchly moist with sweat, but I saw him in woodlands of Brindavan, whose face is pretty and whose smile is nectarean, and to see him surrounded by mobs of belles of Braj, I must be delighted - Really? [2-3]
Comment: I am delighted, or, I am delighted also etc., words of Raadha are not in appreciation, but they are her snappish words with jealousy and derision. In another way: bR^inda= groups of belles; utsaari= to ward off, in dispelling; driganta viikshitam= with sidelong looks, he who is seeing; meaning that, "when I suddenly gone into ronde, he started to cast sidelong glances at other milkmaids to go away, as he was abashed to be in the company of other girls, while I was present... and such as he was, now why doesn't he come now, when I long for him?" - This is according to her ownership's viewpoint, as he solely belongs to her.
vipralambha - sringaara; diipaka - alankaara; naayaka -dakshiNa; lalaaTaanupraasa; paancaalii riiti; shaarduula vikriiDitam is its metre.
duraalokastokastabakanavakaashokalatikaa |
vikaasaH kaasaaropavanapavano.api vyathayati |
api bhraamyadbhR^iN^giiraNitaramaNiiyaa na mukula |
prasuutishchuutaanaam sakhi shikhariNiiyam sukhayati || 2-4
padacCheda - dur aaloka stoka stabaka navaka ashoka latikaa vikaasaH kaasaara upavana pavanH api vyathayati api [ca] bhraamyat bhR^iN^gii raNita ramaNiiyaa na mukula prasuutiH [api] chuutaanaam sakhi shikhariNii iyam sukhayati
दुरालोकस्तोकस्तबकनवकाशोकलतिका।
विकासः कासारोपवनपवनोऽपि व्यथयति।
अपि भ्राम्यद्भृङ्गीरणितरमणीया न मुकुल।
प्रसूतिश्चूतानाम् सखि शिखरिणीयम् सुखयति॥ २-४
durālokastokastabakanavakāśokalatikā |
vikāsaḥ kāsāropavanapavano'pi vyathayati |
api bhrāmyadbhṛṅgīraṇitaramaṇīyā na mukula |
prasūtiścūtānām sakhi śikhariṇīyam sukhayati || 2-4
padaccheda - dur āloka stoka stabaka navaka aśoka latikā vikāsaḥ kāsāra upavana pavanḥ api vyathayati api ca bhrāmyat bhṛṅgī raṇita ramaṇīyā na mukula prasūtiḥ api cūtānām sakhi śikhariṇī iyam sukhayati
2-4. sakhi= oh, friend; dur+aaloka= impossible, to see round; stoka= small; stabaka= bunches; navaka= new ones; ashoka= Ashoka trees'; latikaa= creeper, twigs; vikaasaH= blooming; kaasaara= having lakes; upavana= fringe lands; pavanH= gentle wind; api+ca= even, also; vyathayati= distressing; api ca= and, also; bhraamyat= whirling; bhR^iN^gii= female honeybees; raNita= sounded by them, their buzzing; ramaNiiyaa= beautiful; shikhariNii= having apexes; iyam+chuutaanaam= this, mango trees'; mukula+prasuutiH= folded, offspring - unblown buds; api = even that; na+sukhayati= not, comforting.
"Oh, friend, for a lonesome girl it is impossible to see round this environ, and this gentle wind that glides upon the lakes and their fringe lands to bloom new twigs of Ashoka trees is distressing, and even the beautiful apexes of mango trees that have unblown buds, on which female honeybees are whirling and whirring, they too, are uncomfortable for me to see... [2-4]
Comment: kaasaara upavana in this the wind is gliding upon the lakes, hence it is cool, and when it is blowing gently on fringe lands, it is getting fragrance, and when it is circling around tress, twigs, and flowers, the whole environ is dullish, gloomy. In mukula prasuuti the vernal mango trees are distressing even when their buds are in the process of parturition, and who knows what they will do when they are fully flowered.
alankaara - samuccaya, lalaaTaanu praasa; vipralambha sringaara; riiti - maagadhi; vritti/chandas - shikhariNi; and the beauty of composition is in including the name of the metre of poem, namely shikhiriNi, in the song itself. Some have understood this shikhiriNi as mountain.
saakuutasmitamaakulaakulagaladdhammillamullaasita |
bhruuvalliikamaliikadarshitabhujaamuulordhvahastastanam |
gopiinaam nibhR^itam niriikshya gamitaakaa~Nkshashciram cintayan |
antarmugdhamanoharam haratu vaH klesham navaH keshavaH || 2-5
padacCheda - saakuuta smitam aakulaa aakula galat dhammillam ullaasita bhruu valliikam aliika darshita bhujaa muula uurdhva hasta stanam gopiinaam nibhR^itam niriikshya gamita aakaa~NkshaH ciram cintayan antaH mugdha manoharam haratu vaH klesham navaH keshavaH
साकूतस्मितमाकुलाकुलगलद्धम्मिल्लमुल्लासित।
भ्रूवल्लीकमलीकदर्शितभुजामूलोर्ध्वहस्तस्तनम्।
गोपीनाम् निभृतम् निरीक्श्य गमिताकाङ्क्शश्चिरम् चिन्तयन्।
अन्तर्मुग्धमनोहरम् हरतु वः क्लेशम् नवः केशवः॥ २-५
sākūtasmitamākulākulagaladdhammillamullāsita |
bhrūvallīkamalīkadarśitabhujāmūlordhvahastastanam |
gopīnām nibhṛtam nirīkśya gamitākāṅkśaściram cintayan |
antarmugdhamanoharam haratu vaḥ kleśam navaḥ keśavaḥ || 2-5
padaccheda - sākūta smitam ākulā ākula galat dhammillam ullāsita bhrū vallīkam alīka darśita bhujā mūla ūrdhva hasta stanam gopīnām nibhṛtam nirīkśya gamita ākāṅkśaḥ ciram cintayan antaḥ mugdha manoharam haratu vaḥ kleśam navaḥ keśavaḥ
2-5. he bhagavad jno= oh, god-loving people; saakuuta= with inner meaning; smitam= having smiles; aakulaa+aakula= thrills and throbs; galat= slipping; dhammillam= hair bun; ullaasita= up raised; bhruu+valliikam= eyebrow, wiry ones; aliika= artfully; darshita= showing; bhujaa+muula= shoulder, corners - armpits; uurdhva+hasta= lifting up, arms; stanam= bosoms; gopiinaam= of milkmaids mugdha+manoharam [yathaa tathaa]= simple-minded, heart-stealers [milkmaids]; [ceSTitam= acts that are being done]; nibhR^itam= secretly; niriikshya= on seeing; antaH= innerly [in his heart]; gamita= relieved, got rid of; aakaa~NkshaH= longings; ciram = for a long time; cintayan= thinking; navaH= ever new; keshavaH= Krishna; vaH= our; klesham= despairs; haratu= steal away.
"Oh, god-loving people, he whose smiles imply something, is seeing milkmaids who are with thrilling and throbbing, by which their hair buns are loosened and braids slipping repeatedly, and they are raising up their arms as though to tie up their plaits, in doing so they are artfully showing are their armpits and bosoms repeatedly, and in doing so, their see-sawing curvaceous eyebrows also confirm their desire for him, and he on seeing these wilful acts of simple-minded beauties of Brindaavan, he got rid of his longings, for he satisfied them to their content, and stayed there thinking for along time, such as he is, he that ever-new Krishna shall deprive us of all of our despairs... [2-5]
Comment: This verse will not be found in other recensions, but available in south. nava Krishna - ever-new Krishna, kshaNe kshaNe yat navataam upaiti tat eva ruupam ramaNiiyataayaaH whoever/whatever gets newness minute by minute, that is the name of beauty. Here Krishna himself is that newness, and he is becoming, new, newer etc., only by these simple-minded acts of milkmaids. subhaaSitena giitena yuvatiinaam ca liilayaa | ceto na bhidyate yasya sa vai mukto athavaa pashuH || 'he who remains unperturbed by good sayings, or by music, or by the lovely acts of womenfolk, he must be a saint or a beast...'
naayaka vidagdha; samuccaya - instrument; alankaara aashiis; sharduula vikriiDita - its metre. With this end benediction the poet is concluding the second chapter.
.
iti shrii jayadeva kR^itau giitagovinde akleshakeshavo naama dvitiiyaH sargaH
इति श्री जयदेव कृतौ गीतगोविन्दे अक्लेशकेशवो नाम द्वितीयः सर्गः
iti śrī jayadeva kṛtau gītagovinde akleśakeśavo nāma dvitīyaḥ sargaḥ
Thus, this is the 2nd chapter in giita govindam of Jayadeva.
mugdha madhussudanam - Winsome Krishna
Chapter [Sarga] 3
Introduction
On establishing Raadha's sincere longing for K in the earlier chapter, now the poet commences this chapter to show how Krishna feels for her, in an equal yearning.
ka.nsaarirapi sa.nsaaravaasanaabandhashR^iN^khalaam |
raadhaamaadhaaya hR^idaye tatyaaja vrajasundariiH || 3-1
words separated - ka.nsa arirH pi sa.nsaara vaasanaa bandha shR^inkhalaam raadhaam aadhaaya hR^idaye tatyaaja vrajasundariiH
कंसारिरपि संसारवासनाबन्धशृङ्खलाम्।
राधामाधाय हृदये तत्याज व्रजसुन्दरीः॥ ३-१
kaṁsārirapi saṁsāravāsanābandhaśṛṅkhalām |
rādhāmādhāya hṛdaye tatyāja vrajasundarīḥ || 3-1
words separated - kaṁsa arirḥ pi saṁsāra vāsanā bandha śṛnkhalām rādhām ādhāya hṛdaye tatyāja vrajasundarīḥ
3-1. ka.nsa+ariH= Kamsa's, enemy [Krishna]; api= even [also, not only Raadha but Krishna also]; sa.nsaara= this worldly; vaasanaa= by nostalgic reminiscences; bandha= bondage; shR^i.nkhalaam= shackle [like]; raadhaam= of Raadha; aadhaaya+hR^idaye= retaining, in heart; tatyaaja+vraja+sundariiH= refrained from, Vraj, beauties.
Even Krishna refrained from the beauties of Vraj, retaining Raadha in his heart, as though she is like his shackle-like bondage in this worldly life, with nostalgic reminiscences of his earlier birth. [3-1]
Comment: If one can enjoy the love of Raadha, he will be shackled to live in this world under love-bondage. When a departed soul cannot find any 'love' in heavens or other worlds, where gods adore and admire each other, and seraphically enjoy their divinity, minus any quotient of living, called love, that soul retains nostalgic reminiscences of this love, and takes a rebirth longing for that love.
itastatastaamanusR^itya raadhikaam
ana~NgabaaNavraNakhinnamaanasaH |
kR^itaanutaapaH ssa kalindanandinii
taTaantaku~Nje vishhasaada maadhavaH || 3-2
words separated - itaH tataH taam anusR^itya raadhikaam ana~Nga baaNa vraNa khinna maanasaH kR^ita anutaapaH saH kalinda nandinii taTa anta ku.nje viSasaada maadhavaH
इतस्ततस्तामनुसृत्य राधिकाम्
अनङ्गबाणव्रणखिन्नमानसः।
कृतानुतापः स्स कलिन्दनन्दिनी
तटान्तकुङ्जे विषसाद माधवः॥ ३-२
itastatastāmanusṛtya rādhikām
anaṅgabāṇavraṇakhinnamānasaḥ |
kṛtānutāpaḥ ssa kalindanandinī
taṭāntakuṅje viṣasāda mādhavaḥ || 3-2
words separated - itaḥ tataḥ tām anusṛtya rādhikām anaṅga bāṇa vraṇa khinna mānasaḥ kṛta anutāpaḥ saḥ kalinda nandinī taṭa anta kuṁje viṣasāda mādhavaḥ
3-2. ana~Nga= formless one's [Love-god's]; baaNa= arrow; vraNa= wounded; khinna+ maanasaH= disheartened, with heart; kR^ita+anutaapaH= made [became,] regretful [for unnecessarily neglecting Raadha]; saH+maadhavaH= he, that Krishna; itaH+tataH= here, there; taam+raadhikaam + anusR^itya= after her, that Raadha, followed [on searching]; kalinda = Mt. Kalinda; nandinii= one who gladdens that Mt., namely River Yamuna, as she originated from this Mt. Kalinda; taTa+anta+ku.nje= on bank, at edge, in bower; viSasaada= slumped.
Wounded with Love-god's arrows disheartened is his heart, thus he is regretful as he was unnecessarily neglectful of Raadha, and hither and thither he searched for her, but when that attempt came to naught, he slumped in a bower edging on the bank of Yamuna river.
- aSTa padi 7 -
mugdha madhusuudana ha.msa giitam -
maamiyam chalitaa vilokya vR^itam vadhuunichayena |
saaparaadhatayaa mayaapi na vaaritaatibhayena |
harihari hataadaratayaa gataa saa kupiteva - dhR^ivam || a pa 7-1
words separated - maam iyam chalitaa vilokya vR^itam vadhuu nichayena sa aparaadhatayaa mayaa api na vaaritaa ati bhayena hari hari hata adaratayaa gataa saa kupitaa iva
- अष्ट पदि ७ -
मुग्ध मधुसूदन हंस गीतम् -
मामियम् चलिता विलोक्य वृतम् वधूनिचयेन।
सापराधतया मयापि न वारितातिभयेन।
हरिहरि हतादरतया गता सा कुपितेव - धृवम्॥ अ प ७-१
- aṣṭa padi 7 -
mugdha madhusūdana haṁsa gītam -
māmiyam calitā vilokya vṛtam vadhūnicayena |
sāparādhatayā mayāpi na vāritātibhayena |
harihari hatādaratayā gatā sā kupiteva - dhṛvam || a pa 7-1
vords separated - mām iyam calitā vilokya vṛtam vadhū nicayena sa aparādhatayā mayā api na vāritā ati bhayena hari hari hata adaratayā gatā sā kupitā iva
a pa 7-1. iyam= this [Raadha]; maam= me; vilokya= on seeing; vadhuu+nichayena= girls, heaps of [flocks of]; vR^itam= surrounded [thronged]; chalitaa= went away [forsook]; sa+aparaadhatayaa+ mayaa+api= with, fault [at fault,] by me, also; ati+bhayena= highly, with fret - fretfully; na+vaaritaa= not, averted; hari+hari= oh, god, oh, god; saa+kupitaa+iva= she is, vexed one, as if; hata+adaratayaa= hurt, attentiveness [I was flippant of her, so she fled flippantly]; gataa= she fled; reprise - hari= oh, god; hata+adaratayaa= marred, courtesy; hari= oh, god; gataa= fled; saa= she is kupitaa+iva=
"On seeing me with thronging folks of girls this Raadha forsook me... unable to avert her parting, as I was also at fault, I fretfully didn't implore her to stay... oh, god, she fled, as if she is an ireful person, which she isn't, in person... oh, god, I was flippant of her, so she fled, that flippantly... [a pa 7-1]
kim karishhyati kim vadishhyati saa chiram viraheNa |
kim dhanena janena kim mama jiivanena gR^iheNa || harihari - kupiteva || a pa 7-2
words separated - kim kariSyati kim vadiSyati saa chiram viraheNa kim dhanena janena kim mama jiivanena gR^iheNa
किम् करिष्यति किम् वदिष्यति सा चिरम् विरहेण।
किम् धनेन जनेन किम् मम जीवनेन गृहेण॥ हरिहरि - कुपितेव॥ अ प ७-२
kim kariṣyati kim vadiṣyati sā ciram viraheṇa |
kim dhanena janena kim mama jīvanena gṛheṇa || harihari - kupiteva || a pa 7-2
words separated - kim kariṣyati kim vadiṣyati sā ciram viraheṇa kim dhanena janena kim mama jīvanena gṛheṇa
a pa 7-2. saa= she; chiram= for a long time; viraheNa= [in my] separation; kim= what [possible deed to relieve herself of that anguish]; kariSyati= she can do; kim+vadiSyati= what, she say [if I go and beg her forgiveness]; mama= to me; dhanena= with money [prosperity]; kim= what [kim prayojanam vinaa raadhaa = what is the use of prosperities without Raadha]; janena= with people [kim prayojanam = what is the use with other without Raadha] gR^iheNa + [kaa]= with a house [what use]; jiivitena+ kim= with [my] life, what [is its usefulness.]
"What would she do to relieve herself of from the long-time anguish owing to my separation... what would she say if I were to go and beg her forgiveness... what is the use of them, the prosperity, people, a palace, or with my very personality, when she won't be with me... [a pa 7-2]
Comment: Here, by saying the 'prosperity' his shriyaH patitvam 'the possessor of Goddess Lakshmi' is suggested. And by the word 'people' his prajaa patitvam 'the mastership of living beings' in leading them in and out of mortality is suggested. And with word 'house' bhuu patitvam 'lordship of abodes' is suggested. There is another variant as mama kim gR^iheNa sukhena 'even if riches are there, what is the use with a house or other comforts without Raadha...' would be its import.
Here we have to dwell a little while on rasa siddhaanta 'Treatises on Aesthetic Pleasure...' where romance is but on expressible component.
A psychological theory that is a peculiarly Indian contribution is that of rasa, which is very often though wrongly, translated as sentiment. Rasa is aesthetic pleasure, which is said to be akin to the sublime bliss of God. The writers of alankaara [rhetoric, poetics] follow the Upanishadic view generally, and say that rasa is one and is Brahman. But it can take different forms, which are usually accepted as nine, corresponding to nine bhaavaa-s [emotions, sentiment]. bhaavaa-s are of two kinds, sthayii bhaava 'stable' bhaavaa-s and sancaarii bhaavaa-s or unstable bhaavaa-s. It is the former that can become rasa. They are sringaara love, viira heroism, karuNa pity, adbhuta wonder, haasya laughter, bhhayaanaka dread, bhiibhatsa disgust, raudra fury, shaanta quiet or peace. At their base lie the corresponding dominant feelings of rati sexual craving, utsaaha energy, shoka sorrow, vismaya astonishment, haasa mirth, bhaya fear, jugupsa aversion, krodha anger, nirveda self-disparagement, which must be assisted by favourable excitants vi bhaava-s, both aalambana essential, uddiipana enhancing, by reinforcing ensuants anu bhaava, namely, voluntary and saatvika bhaava-s expressions and also by certain accessories or subordinate feelings sancaarii bhaava-s, vybhicaarii bhaavaas which follow in the wake of the dominant sentiments and diversify themselves. - The Cultural Heritage of India, Vol. III, The Philosophies.
Thus the explanations expand and expand. When it is said as 'he is appearing like an embodiment of romance... at 1-11, it is Krishna's personification, with which all milkmaids enjoyed all the aesthetic pleasures endowed by him. Some of the many ensuants of this savoury called aesthetic pleasure are noted here. shR^ngaaara is explained as vibhaavairanubhaavaiH ca bhaavaH sancaarii saattvikaiH | janito bodhitaH sphiito vR^iddhaH shR^ingaa iti ucyate - bharata i.e., shR^ingaara will be caused by vibhaava, noticed by anu bhaava, excited by sancaarii bhaava, enhanced by saattvika bhaara then it shines forth as shR^ingaara rasa. And vibhaava-s are defined as: bhaavayanti visheSeNa ye rasaan vai manoharaan | te vibhaavaaH tu kathyante naaTya shaastra kovidaiH || taking its root visheSeNa bhaavayanti [manoharaan rasaan] iti vibhaavaaH 'those that can be heart-pleasingly experienced, they are bhaavaa-s emotions, sentiments, let us call the 'pleasing romantic feelings' a time being.
The shR^ingaara rasa vibhaavaaH are R^itu maalyaa alankaaraiH priya jana gaandharva kaavya sevaabiH | upavana gamana vana vihaaaraiH shR^ingaara rasa samudbhavati 'acts befitting to the season, like wearing garlands and ornaments, moving with dear ones, singing and listing music, reading poetry, pleasure tripping in gardens and pleasure-parks etc., will be excitant factors for pleasing romantic feelings...'
The shR^ingaara rasa anuhaavaaH are nayana vadana prasaadaiH smita madhura vaco dhR^iti pramodaiH ca | madhuraiH svaa anga vikaaraiH tasyaa abhinayaH prayoktavyaH ' smiley faces and sparkling eyes, talking smilingly and melodiously, confidence, happiness, behaving with beautiful bodily gestures, and the like...'
The vyabhicaarii bhaavaaH - a word need be said about this word. The usage of this word is now corrupt and used to mean 'a bitch, or bitching...' That is absolutely wrong from the viewpoint of aesthetics. vyabhicaarii = vi + abhi + caarii; vi = visheSeNa = essentially; abhi = abhimukhyena = before mukhyaH before important one, say the hero; caariNaH = caranti iti vyabhicaariNaH = those that move, behave, comport themselves. And in shR^ingaara vyabhicaara bhaavaaH are shankaa asuuyaa tathaa glaaniH vyaadhi cintaaa smR^itiH | autsukam vismayaH harao vriiDaa unmaadau bhayam tathaa | viSaado jaDataa nidraa bahudhaa capalaa matiH |iti bhaavaa prayoktavyaaH shR^ingaare vyabhicaariNaH || - shR^ingaara tilaka. These are roughly - doubt, jealousy, misgiving, uneasy thinking, reminiscing, self-confidence, happiness, astonishment, hilarity, shyness, craziness, slight fear, sadness, stolidity, sleepiness, uneasiness are the feeling in pleasing romanticism.
Then the shR^ingaara saattvika bhaavaaH expressions in pleasing romantics are sthambhH, svedaH, atha romaancaH, svara bhango atha, vepadhuH | vaivarNyam, ashru pralaya, iti aSTau saattvikaa mataaH || - sh^ingaara tilaka freezing, sweating, bristling, voice change, shuddering, colour fade, tearfulness, self-torment are the eight states. So goes the list of moods and their expressions. With all this software Krishna makes others happy.
'As shR^ingaara has two aspects viz., samyoga [union] and vi yoga [separation,] there are two stages in this rasa, [rasa anubhuuti] , which the devotees enjoy. One in his company as they are in union with him, while the other in his absence they suffer the misery of separation and think of him all the time, so much so that they cannot see or experience anything but Krishna. According to some, the stage of separation is therefore superior to that of union.' - The Cultural Heritage of India. Vol. III, Philosophies.
Coming to our mainstay, Krishna also has a longing feeling for his devotees, personified here as Raadha, whom he once neglected. Here he is in the state of smaraNa avastha 'reminiscing' his wrongdoing and her resent. Doesn't matter. A wrongdoer has a right to beg excuses, entwining threads and laces of many stories, at anytime. Let him do so, but first let him soliloquize what he has to say or feel for Raadha.
chintayaami tadaananam kuTilabhru kopabhareNa |
shoNapadmamivopari bhramataakulam bhramareNa | || harihari - kupiteva || a pa 7-3
words separated - chintayaami tat aananam kuTila bhruu kopa bhareNa shoNa padmam iva upari bhramataa akulam bhramareNa
चिन्तयामि तदाननम् कुटिलभ्रु कोपभरेण।
शोणपद्ममिवोपरि भ्रमताकुलम् भ्रमरेण।॥ हरिहरि - कुपितेव॥ अ प ७-३
cintayāmi tadānanam kuṭilabhru kopabhareṇa |
śoṇapadmamivopari bhramatākulam bhramareṇa | || harihari - kupiteva || a pa 7-3
words separated - cintayāmi tat ānanam kuṭila bhrū kopa bhareṇa śoṇa padmam iva upari bhramatā akulam bhramareṇa
a pa 7-3. kopa+bhareNa= choler, filled with [cholerically]; kuTila+bhruu= curvy [knitted,] eyebrows; upari= over; bhramataa= whirling; bhramareNa= by honeybee; akulam+iva = agitated [frenzied,] resembles ; shoNa= red; padmam= lotus; tat+aananam+chintayaami= that, face, I muse.
"I muse on that face which might be cholerically reddened with knitted eyebrows, and it must be resembling a red-lotus frenzied at a whirling honeybee over it... [a pa 7-3]
Comment: 'I muse on that face...' finishes with a word 'bemusedly...' It is his bounden duty to incite her, not to a resentment or anger, but to a full-fledged choleric state. Otherwise he will not have a chance to beg pardon. A lotus sways many times when jolted by a honeybee, and in doing so its petals widen and contract. Here the bee agitating Raadha is the buzzing thought of Krishna, knitted eyebrows are knitting/opening petals, and reddish lotus like face of Raadha/lotus still reddened, angering at bee/Krishna. upama.
taamaham hR^idi sa.ngataamanisham bhR^isham ramayaami |
kim vane.anusaraami taamiha kim vR^ithaa vilapaami | || harihari - kupiteva || a pa 7-4
words separated - taam aham hR^idi sa.ngataam anisham bhR^isham ramayaami kim vane anusaraami taam iha kim vR^ithaa vilapaami
तामहम् हृदि संगतामनिशम् भृशम् रमयामि।
किम् वनेऽनुसरामि तामिह किम् वृथा विलपामि।॥ हरिहरि - कुपितेव॥ अ प ७-४
tāmaham hṛdi saṁgatāmaniśam bhṛśam ramayāmi |
kim vane'nusarāmi tāmiha kim vṛthā vilapāmi | || harihari - kupiteva || a pa 7-4
words separated - tām aham hṛdi saṁgatām aniśam bhṛśam ramayāmi kim vane anusarāmi tām iha kim vṛthā vilapāmi
a pa 7-4. aham= I am; vane= in woodland; taam= her; kim= why; anusaraami= following [searching]; iha+vR^ithaa= now, futilely; kim+vilapaami= why, I wail [here, I worry]; hR^idi= in heart; anisham= always; sa.ngataam= unified; taam= about her; bhR^isham+ramayaami= highly, I am delighting her; [or, the word 'kim' can be taken as interrog. ad said 'what for, why should I search?']
"Now why should I futilely search her in woodlands, why should I worry for her now, when she is always unified with my heart, and whom I always delight, heartily... [a pa 7-4]
tanvi khinnamasuuyayaa hR^idayam tavaakalayaami |
tanna vedmi kuto gataasi na tena te.anunayaami || harihari - kupiteva || a pa 7-5
words separated - tanvi khinnam asuuyayaa hR^idayam tava aakalayaami tat na vedmi kutaH gataa asi natena te anunayaami
तन्वि खिन्नमसूयया हृदयम् तवाकलयामि।
तन्न वेद्मि कुतो गतासि न तेन तेऽनुनयामि॥ हरिहरि - कुपितेव॥ अ प ७-५
tanvi khinnamasūyayā hṛdayam tavākalayāmi |
tanna vedmi kuto gatāsi na tena te'nunayāmi || harihari - kupiteva || a pa 7-5
words separated - tanvi khinnam asūyayā hṛdayam tava ākalayāmi tat na vedmi kutaḥ gatā asi natena te anunayāmi
a pa 7-5. tanvi= oh, comely Raadha; tava+hR^idayam= your, heart; asuuyayaa+khinnam= by jealousy, downhearted; aakalayaami= [thus] I reckon; kutaH+gataa+asi= where, gone, you are; na+vedmi= not, I know; tat= thereby; natena= head bent [bowing, reverently]; te+anunayaami= you, I appease; [or, tat= thereby, because of your jealousy; kuto gataa asi na vedmi kim? = where you have gone don't I know; I know it; tena= thereby; te= you; na+anunayaami= not, I appease; I needn't appease you, as I am aware of your departure on account of your own jealousy.]
"Oh, comely Raadha, jealousy downhearted your heart, not I, thus I reckon, but I am unaware as to where you have gone, now I reverently beseech you... tell me where you are... [a pa 7-5]
Comment: In the first part of the verse state of ecstasy udvega avasta is said as in: yasmin ramyam aramyam ca syaat prakarSaaya kim can na | vidveSaH praaNitavye sa udvegaH prakiirtitaH || shR^ingaara tilaka In the later part talking beseechingly is said as in bambhramiiti mano yasminautsukyaayitam tataH | vaacaH priyaa aashrayaa eva sa pralaapa smR^ito yathaa || 'who heart long for his dear ones, whose talking will be over his dear ones, that is said to be pralaapanam 'an ecstatic talking.' Next he assumes that Raadha is before him, but not replying him.
dR^ishyase purato gataagatameva me vidadhaasi |
kim pureva samambhramam parirambhaNam na dadaasi || harihari - kupiteva - a pa 7-6
words separated - dR^ishyate purataH gata aagatam iva me vidadhaasi kim puraa iva samambhramam parirambhaNam na dadaa asi
दृश्यसे पुरतो गतागतमेव मे विदधासि।
किम् पुरेव समम्भ्रमम् परिरम्भणम् न ददासि॥ हरिहरि - कुपितेव - अ प ७-६
dṛśyase purato gatāgatameva me vidadhāsi |
kim pureva samambhramam parirambhaṇam na dadāsi || harihari - kupiteva - a pa 7-6
words separated - dṛśyate purataḥ gata āgatam iva me vidadhāsi kim purā iva samambhramam parirambhaṇam na dadā asi
a pa 7-6. me+purataH+dR^ishyase= in my, front, you are appearing; gata+aagatam+iva= comer, goer, as if; vidadhaasi= you do [behave]; puraa+iva= earlier, as with; samambhramam= tantalizingly; parirambhaNam= tight hugging; kim+na+dadaa+asi= why, don't, endow, you.
"You are appearing before me as if you are toing and froing towards me, why don't you endow a tight and tantalising embrace to me as you used to earlier... [a pa 7-6]
Comment: This soliloquizing is as old as Ramayana, as at kim dhaavasi priye nuunam dR^iSTaa asi kamala iikSaNe | vR^ikSeNa aacchaadya ca aatmaanam kim maam na pratibhaaSase || 3-60-26 'Oh lotus eyed lady, in fact I have seen you my dear, then why this running away... even why this veiling of yours with leaves... why not reply me... and many other serenading soliloquies of Rama
kshamyataamaparam kadaapi tavedR^isham na karomi |
dehi sundari darshanam mama manmathena dunomi || harihari - kupiteva - a pa 7-7
words separated - kshamyataam aparam kadaa api tava iidR^isham na karomi dehi sundarii darshanam mama manmathena dunomi
क्शम्यतामपरम् कदापि तवेदृशम् न करोमि।
देहि सुन्दरि दर्शनम् मम मन्मथेन दुनोमि॥ हरिहरि - कुपितेव - अ प ७-७
kśamyatāmaparam kadāpi tavedṛśam na karomi |
dehi sundari darśanam mama manmathena dunomi || harihari - kupiteva - a pa 7-7
words separated - kśamyatām aparam kadā api tava īdṛśam na karomi dehi sundarī darśanam mama manmathena dunomi
a pa 7-7. O, sundarii= O, beauty [for, you take pride in your beauty]; kshamyataam= let [my offence be] pardoned; kadaa+api+aparam= never, again, next [ever]; tava= to you [in your respect]; iidR^isham= this sort of [wrongdoing]; na+karomi= not, I do; mama+dehi+darshanam [or, ramaNam]= to me, give, your audience, [or, enjoyment]; manmathena+dunomi= by Love-god, I am seethed.
"O, beauty, let my offence be pardoned, I will never or ever do this again in your respect... come, give me your audience, as Love-god is seething me... [a pa 7-7]
Comment: In the earlier part of verse an ecstasied mood of love unmaada avasthata atasmimstaditi bhraantiH unmaadaat iva jaayate... is stated.
varNitam jayadevakena hareridam pravaNena |
bindubilvasamudrasa.mbhavarohiNiiramaNena || harihari - kupiteva - a pa 7-8
words separated - varNitam jayadevakena hareH idam pravaNena bindubilva samudra sa.mbhava rohiNii ramaNena
वर्णितम् जयदेवकेन हरेरिदम् प्रवणेन।
बिन्दुबिल्वसमुद्रसंभवरोहिणीरमणेन॥ हरिहरि - कुपितेव - अ प ७-८
varṇitam jayadevakena hareridam pravaṇena |
bindubilvasamudrasaṁbhavarohiṇīramaṇena || harihari - kupiteva - a pa 7-8
vords separated - varṇitam jayadevakena hareḥ idam pravaṇena bindubilva samudra saṁbhava rohiṇī ramaṇena
a pa 7-8. hareH+pravaNena= of Krishna, in devotedness; bindubilva [or, Kendubilva]= in Bindubilva village; samudra= ocean/ocean-like; sa.mbhava= begotten; rohiNii+ramaNena= Star Rohini, [one who] delights namely the moon; jayadevakena= by Jayadeva; idam+varNitam= this is, romanticized.
"O, Raadha, this I appeal to you as romanticized by poet Jayadeva, a devotee of Krishna, whom the poetic ocean called Binbdubilva village has begotten, and who delights starry poetry, as ocean-born moon delight his star of stars, namely Rohini, hence listen to him and tell me where you are... [a pa 7-8]
Comment: This is said to be a grand poetic construct. Unlike the doubtful expression of Kalidasa as at, kaH suuryaH prabhavo vamshaH? Jayadeva is self-assertive in asserting that though he came from a small village, he will be a moon in starry poetry, raising from earth to skyward like the ocean-born moon. This village Bindubilva, or Kendubilva, or Kenduli is said to be in Utkala area. If Utkala historically belongs to Vanga desha it is in Bengal. Else, it is in Orisaa.
hR^idi bisalataahaaro naayam bhujaN^gamanaayakaH
kuvalayadalashreNii kaNThe na saa garaladyutiH |
malayajarajo nedam bhasma priyaarahite mayi
prahara na harabhraantyaanaN^ga krudhaa kimu dhaavasi || 3-4
words separated - hR^idi bisalataa haaraH na ayam bhuja.ngama naayakaH kuvalaya dala shreNii kaNThe na saa garala dyutiH malayaja rajaH na idam bhasma priyaa rahite mayi prahara na hara bhraantyaa ana.nga krudhaa kimu dhaavasi
हृदि बिसलताहारो नायम् भुजङ्गमनायकः
कुवलयदलश्रेणी कण्ठे न सा गरलद्युतिः।
मलयजरजो नेदम् भस्म प्रियारहिते मयि
प्रहर न हरभ्रान्त्यानङ्ग क्रुधा किमु धावसि॥ ३-४
hṛdi bisalatāhāro nāyam bhujaṅgamanāyakaḥ
kuvalayadalaśreṇī kaṇṭhe na sā garaladyutiḥ |
malayajarajo nedam bhasma priyārahite mayi
prahara na harabhrāntyānaṅga krudhā kimu dhāvasi || 3-4
words separated - hṛdi bisalatā hāraḥ na ayam bhujaṁgama nāyakaḥ kuvalaya dala śreṇī kaṇṭhe na sā garala dyutiḥ malayaja rajaḥ na idam bhasma priyā rahite mayi prahara na hara bhrāntyā anaṁga krudhā kimu dhāvasi
3-4. hè+ana.nga= you, bodiless fellow [Love-god]; priyaa+rahite+mayi= darling, without, in my respect; hara+bhraantyaa= Hara, [Shiva,] confusedly; na+prahara= don't, batter; hR^idi= on chest; ayam = this; bisalataa+haaraH= lotus stalks, garland; na+ bhujan gama + naayakaH= not, snakes, king of; kaNThe= at neck; saa= that; kuvalaya + dala + shreNii= black-lotus, petals, row [circlet]; na+garala+ dyutiH= not, in venom's, in hue; idam+malayaja+rajaH= this, sandal-paste's, dried up particles; na+ bhasma= not, ashes; krudhaa + kimu + dhaavasi= rancorously, why [kim u = vexatiously,] run after [hound me.]
"You knavish bodiless Love-god, don't batter me when I am without my darling, and don't chase me confusing me for God Shiva... look, this garland of lotus-stalks on my chest is not king cobra, and the circlet of blue-lotus petals at my neck is not in the hue of venom, and these particles of dried-up sandal-paste on my body are not the ashes on the body of Shiva body... why do you rancorously and vexatiously hound me... [3-4]
Comment: "When Shiva reduced you not even your ashes remained, as he then graced you to be a formless entity... but, if you wish to take that revenge on Shiva, and rancorously and vexatiously chase me mistaking me for Shiva, I will now make you even a nameless, functionless entity... be careful..." is the finishing line.
paaNau maa kuru chuutasaayakam amum maa chaapamaaropaya
kriiDaanirjitavishva muurchhitajanaaghaatena kim paurushham |
tasyaa eva mR^igiidR^isho manasijapreN^khat.hkaTaakshaashuga
shreNiijar.hjaritam manaagapi mano naadyaapi sa.ndhukshate || 3-5
words separated - paaNau maa kuru chuuta saayakam amum maa chaapam aaropaya kriiDaa nirjita vishva muurchhita jana aaghaatena kim paurushham tasyaa eva mR^igii dR^ishaH manasija prenkhat kaTaaksha ashuga shreNii jarjaritam manaagapi manaH na adya api sa.ndhukshate
पाणौ मा कुरु चूतसायकम् अमुम् मा चापमारोपय
क्रीडानिर्जितविश्व मूर्छितजनाघातेन किम् पौरुषम्।
तस्या एव मृगीदृशो मनसिजप्रेङ्खत्कटाक्शाशुग
श्रेणीजर्जरितम् मनागपि मनो नाद्यापि संधुक्शते॥ ३-५
pāṇau mā kuru cūtasāyakam amum mā cāpamāropaya
krīḍānirjitaviśva mūrchitajanāghātena kim pauruṣam |
tasyā eva mṛgīdṛśo manasijapreṅkhatkaṭākśāśuga
śreṇījarjaritam manāgapi mano nādyāpi saṁdhukśate || 3-5
words separated - pāṇau mā kuru cūta sāyakam amum mā cāpam āropaya krīḍā nirjita viśva mūrchita jana āghātena kim pauruṣam tasyā eva mṛgī dṛśaḥ manasija prenkhat kaṭākśa aśuga śreṇī jarjaritam manāgapi manaḥ na adya api saṁdhukśate
3-5. kriiDaa= by sport [love-sport]; nirjita= vanquished; vishva= world one who has it under his control]; manasija= oh, Love-god; paaNau+amum= in hand, that; chuuta= mango [tender leaf]; saayakam= arrow; maa+kuru= don't, make [don't wield it]; chaapam+ maa + aaropaya = bow, don't, string [with bowstring]; muurchhita+jana+aaghaatena= fainted [killed,] people, by killing; kim+ paurushham= what is, valour [kimpaurushham= vainglorious]; mR^igii+dR^ishaH= deer, look [one having them, Raadha]; tasyaa+eva= by them, only; prenkhat= flitting; kaTaaksha [viikshaNa]= tilting glances; ashuga= that go at full tilt [arrows like glances]; shreNii= by rows, by fusillades; jar jaritam = pulverised to particles; manaH= [my] heart; manaagapi= in the least; na+adya= not, now; api+ sa.ndhukshate= composed [or, sa.ntuSyate= happy.]
"Oh, Love-god, agreed that you are the vanquisher of this world with your love-sports, but now don't wield that arrow of tender mango leaf, even if you wiled it, don't string your bow with bowstring to take an aim with that arrow at me... now my heart is disconcerted and pulverised by the fusillades of tilting deer-like glances of Raadha that are at full tilt targeting me... as such, of what worth is your valour in killing them that are already killed... [3-5]
Comment: In other mms this verse is placed as the last verse of this chapter. Here, if anyone is going to ask Krishna, "O one and you say that Love-god is tormenting you, an on the other you say your own ladylove is doing so, in so many 'unusual' words, have you got a method in your madness?" For this Krishna says, "Yes! Yes! Why blame my selfsame Love-god is tormenting, when this girl has become more than this fellow... as in next song of Jayadeva..."
bhruupallavam dhanurapaaN^gataraN^gitani
baaNaaH guNaH shravaNapaaliriti smareNa |
tasyaamanaN^gajayajaN^gamadevataayaam
astraaNi nirjitajaganti kimarpitaani || 3-6
words separated - bhruu pallavam dhanuH apaa.nga tara.ngitani baaNaaH guNaH shravaNa paaliH iti smareNa tasyaam ana.nga jaya ja.ngama devataayaam astraaNi nirjita jaganti kim arpitaani
भ्रूपल्लवम् धनुरपाङ्गतरङ्गितनि
बाणाः गुणः श्रवणपालिरिति स्मरेण।
तस्यामनङ्गजयजङ्गमदेवतायाम्
अस्त्राणि निर्जितजगन्ति किमर्पितानि॥ ३-६
bhrūpallavam dhanurapāṅgataraṅgitani
bāṇāḥ guṇaḥ śravaṇapāliriti smareṇa |
tasyāmanaṅgajayajaṅgamadevatāyām
astrāṇi nirjitajaganti kimarpitāni || 3-6
words separated - bhrū pallavam dhanuḥ apāṁga taraṁgitani bāṇāḥ guṇaḥ śravaṇa pāliḥ iti smareṇa tasyām anaṁga jaya jaṁgama devatāyām astrāṇi nirjita jaganti kim arpitāni
3-6. ana.nga+jaya= Love-god, for the sake of victory; ja.ngama+devataayaam= a mobile, goddess like; tasyaam= in her [in Raadha]; smareNa= by Love-god; bhruu+pallavam+dhanuH= eyebrows, leaflet-like, as bow; apaa.nga+tara.ngitani= slanting-glances, lilting ones; baaNaaH= as arrows; shravaNa+paaliH+guNaH= ear-side, hanging flowery tassels [karNa lataa,] as bowstring; iti= this way [if thought, if seen]; nirjita+jaganti+astraaNi= completely conquerable , worlds, missiles [those missiles that can completely conquer all worlds]; arpitaani + kim = gave [entrusted,] or what?
"Has this Love-god entrusted all his missiles that can completely conquer all the worlds to this mobile goddess like Raadha, or what? If seen in this way, her leaflet like arching eyebrows appears as his bow, her slanting, lilting, slitting glances as his arrows, and the flowery tassels hanging at her ear-sides as that bow's bowstring... Yes! Both are connivers... [3-6]
Comment: 'Then why blame that unseen conniver, let me blame the seeable conniver as to why she became so hostile at me, just for one [among many of my meaningful] mistakes... I will tell her like this, if she is found..."
bhruuchaape nihitaH kaTaakshavishikho nirmaatu marmavyathaam
shyaamaatmaa kuTilaH karotu kabariibhaaro.api maarodyamam |
mohaantaavadayamcha tanvi tanutaam bimbaadharo raagavaan
sad vR^ittastanamaNdalastava katham praaNairmama kriiDati || 3-7
words separated - bhruu chaape nihitaH kaTaaksha vishikhaH nirmaatu marma vyathaam shyaama aatmaa kuTilaH karotu kabariibhaaraH api maarodyamam mohaan taan ava dayam cha tanvi tanutaam bimba adharaH raagavaan sad vR^ittaH stana maNdalaH tava katham praaNaiH mama kriiDati
भ्रूचापे निहितः कटाक्शविशिखो निर्मातु मर्मव्यथाम्
श्यामात्मा कुटिलः करोतु कबरीभारोऽपि मारोद्यमम्।
मोहान्तावदयम्च तन्वि तनुताम् बिम्बाधरो रागवान्
सद् वृत्तस्तनमण्दलस्तव कथम् प्राणैर्मम क्रीडति॥ ३-७
bhrūcāpe nihitaḥ kaṭākśaviśikho nirmātu marmavyathām
śyāmātmā kuṭilaḥ karotu kabarībhāro'pi mārodyamam |
mohāntāvadayamca tanvi tanutām bimbādharo rāgavān
sad vṛttastanamaṇdalastava katham prāṇairmama krīḍati || 3-7
words separated - bhrū cāpe nihitaḥ kaṭākśa viśikhaḥ nirmātu marma vyathām śyāma ātmā kuṭilaḥ karotu kabarībhāraḥ api mārodyamam mohān tān ava dayam ca tanvi tanutām bimba adharaḥ rāgavān sad vṛttaḥ stana maṇdalaḥ tava katham prāṇaiḥ mama krīḍati
3-7. hè+tanvii= oh, beauty; bhruu+chaape= in eyebrow, bow; nihitaH= kept [take an aim] kaTaaksha+ vishikhaH= sidelong, glances; marma+vyathaam= vitals, torture; nirmaatu= may build [may cause]; shyaama+ aatmaa= black, by nature; kuTilaH+kabarii+bhaaraH+api= curvy, hair-bun, weighty one, even [rather, curvy horsewhip like braid]; karotu= may do; maarodyamam= lashing [or, maara+ udayam = Love-gods, activity]; raagavaan+ taan + bimba + adharaH + cha= reddish [or, loveable,] small cucumber like, lips, also; a+ vadayamun = un , speakable; mohaan+tanutaam= infatuation, may increase; sad+vR^ittaH = well, roundly [or, well, behaved, decorous]; tava+stana+maNdalaH= your, bosom, sphere [bosomy bust]; katham+mama+praaNaiH+kriiDati= how, with my, loves, playing; [pashya= see]
"Oh, beauteous Raadha, your sidelong glances taking aim on your bow-like eyebrows may cause torture to the vitals of others, your curvy horsewhip-like weighty braid may lash others in Love-god's activity, and small reddish cucumber like lips of yours may also increase infatuation in others, but see how your decorous bosomy bust is playing with my lives... [3-7]
taani sparshasukhaani te cha taralaaH snigdha dR^ishorvibhramaaH
tad vak.htraa.mbujasaurabham sa cha sudhaasyandii giraam vakrimaa |
saa bimbaadharamaadhuriiti vishhayaasaN^ge.api chenmaanasam
tasyaa lagnasamaadhi hanta virahavyaadhiH katham var.hdhate || 3-8
words separated - taani sparsha sukhaani te cha taralaaH snigdha dR^ishoH vibhramaaH tad vaktra a.mbuja saurabham sa cha sudhaa syandii giraam vakrimaa saa bimba adhara maadhurii iti viSayaa sange api chet maanasam tasyaa lagna samaadhi hanta viraha vyaadhiH katham vardhate
तानि स्पर्शसुखानि ते च तरलाः स्निग्ध दृशोर्विभ्रमाः
तद् वक्त्रांबुजसौरभम् स च सुधास्यन्दी गिराम् वक्रिमा।
सा बिम्बाधरमाधुरीति विषयासङ्गेऽपि चेन्मानसम्
तस्या लग्नसमाधि हन्त विरहव्याधिः कथम् वर्धते॥ ३-८
tāni sparśasukhāni te ca taralāḥ snigdha dṛśorvibhramāḥ
tad vaktrāṁbujasaurabham sa ca sudhāsyandī girām vakrimā |
sā bimbādharamādhurīti viṣayāsaṅge'pi cenmānasam
tasyā lagnasamādhi hanta virahavyādhiḥ katham vardhate || 3-8
words separated - tāni sparśa sukhāni te ca taralāḥ snigdha dṛśoḥ vibhramāḥ tad vaktra aṁbuja saurabham sa ca sudhā syandī girām vakrimā sā bimba adhara mādhurī iti viṣayā sange api cet mānasam tasyā lagna samādhi hanta viraha vyādhiḥ katham vardhate
3-8. taani= those; sparsha+sukhaani= touch, comforts of; te+cha= they, also; taralaaH+ snigdha+ dR^ishoH+vibhramaaH= billowy, friendly, eyes', flirtation; tat+ vaktra + a.mbuja+ saurabham = that, face, lotus-like, perfume; sa+cha= that, also; sudhaa+syandii+giraam+vakrimaa [caaturyam]= ambrosia, pouring, words, finesse; saa+ bimba + adhara+maadhurii= that, small reddish cucumber like, lips, lusciousness; iti= this way; viSayaa+sa.nge+api= in subjects [of sensory organs,] attached to, even; maanasam= heart; tasyaa= in her; lagna+samaadhi+chet= held fast, in [her] concentration, if [if unified in her thought]; viraha+vyaadhiH = disunion, [called] sickness; katham+vardhate= how, escalating; hanta= alas/amazing.
This verse is also explained in this way: sparsha sukhaani = comforts from touching her [now being sensed]; taani = they alone [those that were felt previously, by this sense of touching, namely skin, is satisfied even now]; taralaaH snigdha dR^ishoH vibhramaaH = now the eye filling sights of environ; te cha = they alone [those that were seen earlier – hence sense of seeing is satisfied even now]; vaktra a.mbuja saurabham = now the perfume that is being smelled; tat= that alone [that was smelt earlier, by this sense of smell is still satisfied]; sudhaa syandii giraam vakrimaa = now what all the ears are listening; sa cha= hers, only [those that were heard earlier, hence sense of hearing remains satisfied]; bimba adhara maadhurii = lips still have that palatability; saa = of her [which were once enjoyed, hence sense of taste remains satisfied]; rest as above.
"Those comfortable touches are still lasting, also those flirtations of billowy and friendly eyes are still lingering, that perfume from her lotus-like face is still redolent, those reddish cucumber like lips that pour forth ambrosial words with finesse, and luscious in taste are still immutable from memory, and though no single sense organ is dissatisfied, as each is still enjoying the good old comfort, but my heart is longing for her, in spite of the fact that hearts usually long after someone or something, an unavailable satisfying factor... this is amazingly self-contradictory, as it happens only in 'love...' [3-8]
Comment: If it is asked 'is it enough that the satisfaction of sensory organs is simply sufficient, leaving the motor organs? For this it is replied 'motor organs are subservient to sensory organs, as they cannot perform actions on their own... further, the classification of motor organs is varied and numerous... hence, leave them as they are...'
tiryakkNThavilolamaulitaralottam.hsasyava.mshoccara
ddiiptisthaanakR^itaavadhaanalalanaalakshairnasa.mlakshitaaH |
sa.mmugdhemadhusuudanasyamadhureraadhaamukhendausudhaa
saarekandalitaashcitamdadatunaH kshemam.hkaTaakshormayaH || 3-9
words separated - tiryak kNTha vilola mauli tarala avattamsasya va.msha uccarat diipti sthaana kR^ita avadhaana lalanaa lakshaiH na sa.mlakshitaaH sa.mmugdhe madhusuudanasya madhure raadhaa mukha indau sudhaa saare kandalitaaH ciram dadatu naH kshemam kaTaaksha uurmayaH
तिर्यक्क्ण्ठविलोलमौलितरलोत्तम्सस्यवंशोच्चर
द्दीप्तिस्थानकृतावधानललनालक्शैर्नसंलक्शिताः।
संमुग्धेमधुसूदनस्यमधुरेराधामुखेन्दौसुधा
सारेकन्दलिताश्चितम्ददतुनः क्शेमम्कटाक्शोर्मयः॥ ३-९
tiryakkṇṭhavilolamaulitaralottamsasyavaṁśoccara
ddīptisthānakṛtāvadhānalalanālakśairnasaṁlakśitāḥ |
saṁmugdhemadhusūdanasyamadhurerādhāmukhendausudhā
sārekandalitāścitamdadatunaḥ kśemamkaṭākśormayaḥ || 3-9
words separated - tiryak kṇṭha vilola mauli tarala avattamsasya vaṁśa uccarat dīpti sthāna kṛta avadhāna lalanā lakśaiḥ na saṁlakśitāḥ saṁmugdhe madhusūdanasya madhure rādhā mukha indau sudhā sāre kandalitāḥ ciram dadatu naḥ kśemam kaṭākśa ūrmayaḥ
3-9. tiryak+kNTha= transverse, neck; vilola+mauli= rocking, head; tarala+ avattamsasya= tossing, headgear; madhusuudanasya= of Madhusuudana, of Krishna; va.msha= Mohana Vamshi, his flute; uccarat+diipti+sthaana= sounding off [blurted,] in higher, octave; kR^ita+avadhaana= on making, listening; lalanaa+lakshaiH= girl folks, in lakhs, numerous; na+sa.mlakshitaaH= not, aimed at; sa.mmugdhe= highly, infatuating; madhure= luscious; sudhaa+saare= nectarean, essence having; raadhaa+mukha+indau= in Raadha's, face, called moon; ciram= for a long-time; kandalitaaH= sprouted; kaTaaksha= gracing sidelong glances; uurmayaH= ripples; naH= to us; kshemam+dadatu= impunity, let give.
He whose neck is slanted transversely, whose head is nodding tossing his headgear, while that Krishna started to sound off his transverse flute, Mohana Vamshi, in a higher octave, and then his highly infatuating looks that have sprouted in the moon like face of Raadha, enjoying the luscious and nectarean essence of such a face for a long-time, are now not aiming at those thousands of milkmaids, who have come again to listen his fluting, as those looks are searching for Raadha... let those gracing ripples like sidelong glances endow us impunity in all our actions... [3-9]
Comment: this verse will not be found in northern mms, hence the problem with the construct of na sa.mlakshitaaH may not be observed. This is available in the publication of Gurudev Ranade Institute of Philo and Mysticism, B'lore. There seems to be a riddle in that, and if any scholars can inform the correct construction, this will be amended.
iti giitagovinde mugdhamadhusuudano naama tR^itiiyaH sargaH
इति गीतगोविन्दे मुग्धमधुसूदनो नाम तृतीयः सर्गः
iti gītagovinde mugdhamadhusūdano nāma tṛtīyaḥ sargaḥ
Thus, this is the 3rd chapter called Winsome Krishna in giita govindam of Jayadeva.
snigdhamadhusüdano
Chapter [Sarga] 4 - Suavely Krishna
Introduction
Raadha's friend approaches Krishna to inform about the agony of Raadha owing to her state of separation from Krishna. This is calledduutii yoga a friendly messaging.
yamunaatiiravaaniiraniku~Nje mandamaasthitam |
praaha premabharodbhraantam maadhavam raadhikaasakhii || 4-1
words separated - yamunaa tiiravaaniira nikunje mandam aasthitam praaha prema bhara ud bhraantam maadhavam raadhikaa sakhii
यमुनातीरवानीरनिकुङ्जे मन्दमास्थितम्।
प्राह प्रेमभरोद्भ्रान्तम् माधवम् राधिकासखी॥ ४-१
yamunātīravānīranikuṅje mandamāsthitam |
prāha premabharodbhrāntam mādhavam rādhikāsakhī || 4-1
words separated - yamunā tīravānīra nikunje mandam āsthitam prāha prema bhara ud bhrāntam mādhavam rādhikā sakhī
4-1. raadhikaa= Raadha's; sakhii= friend; yamunaa+tiira= Yamuna, on bank of; vaaniira = rattan plant [Calamus rotang]; niku.nje= in arbour; mandam= slowly [indolently]; aasthitam = [aa+sthitam]= came and staying; prema+bhara= love, overwhelmed by; ud bhraa.ntam= perplexed; maadhavam= to Maadhava, Krishna; praaha= [pra+aaha]= well [in detail,] said [the following.]
Raadha's friend is now approaching him, who has came to another bower and staying at it indolently, for he could not find Raadha even after a through search, hence he is perplexed as he is overwhelmed by his love for Raadha, and to such a Krishna, she says the following details.
aSTa padi 8 - harivallabha ashoka pallavam -
nindatichandanamindukiraNamanuvindatikhedamadhiiram |
vyaalanilayamilanenagaralamivakalayatimalayasamiiram |
maadhavamanasijavishikhabhayaadivabhaavanayaatvayiliinaa |
saa virahe tava diinaa - dhR^ivam || 8-1 a pa
words separated - nindati chandanam indu kiraNam anu vindati khedam adhiiram vyaala nilaya milanena garalam iva kalayati malaya samiiram maadhava manasi ja vishikha bhayaat iva bhaavanayaa tvayi liinaa saa virahe tava diinaa - dhR^ivam
अष्ट पदि ८ - हरिवल्लभ अशोक पल्लवम् -
निन्दतिचन्दनमिन्दुकिरणमनुविन्दतिखेदमधीरम्।
व्यालनिलयमिलनेनगरलमिवकलयतिमलयसमीरम्।
माधवमनसिजविशिखभयादिवभावनयात्वयिलीना।
सा विरहे तव दीना - धृवम्॥ ८-१ अ प
aṣṭa padi 8 - harivallabha aśoka pallavam -
nindaticandanamindukiraṇamanuvindatikhedamadhīram |
vyālanilayamilanenagaralamivakalayatimalayasamīram |
mādhavamanasijaviśikhabhayādivabhāvanayātvayilīnā |
sā virahe tava dīnā - dhṛvam || 8-1 a pa
words separated - nindati candanam indu kiraṇam anu vindati khedam adhīram vyāla nilaya milanena garalam iva kalayati malaya samīram mādhava manasi ja viśikha bhayāt iva bhāvanayā tvayi līnā sā virahe tava dīnā - dhṛvam
a pa 8-1. hè maadhava= oh, Krishna; saa= she [Raadha]; manasi+ja= mind, born one Love -god's; vishikha = those that have pointed ends, arrows; bhayaat+iva= from fear, as though; [tava+] bhaavanayaa [saakshaatkaarayitvaa]= [about you,] on cogitating; tvayi+ liinaa m= in you, engrossed; chandanam+ nindati = sandal-paste, scorns [loathes]; indu+kiraNam = moon's, beams [and their dints = blows or strokes, as with arrows of Love-god]; khedam= desperately; a+dhiiram= without, courage [despondent, or, adhi iiram = adhikam iirayati, adhikam = muchly, iirati= inciting, breeze of sandalwood trees and moonbeams are releasing Love-god's arrows]; anu+vindati= thereby, knowing [to be unbearable, hence reviling them]; vyaala = serpents; nilaya= of abode [sandalwood trees]; milanena = by their mingling; malaya + samiiram= Mt. Malaya's, [sandal-scented] breeze; garalam= poison; iva= as if; kalayati= she reckons; tava+virahe= your, from separation [left in the lurch]; saa+ [prema bhaavanayaa] diinaa= she is, [in the sense of love = forlorn=] lovelorn.
"Hè, Krishna, now Raadha is desperately despondent as she is engrossed in you, and cogitates only on you, and she fears and reviles the dint of moonbeams as though they are the arrows of Love-god. Moreover, she loathes the scent of sandal-paste as if that scent is a poison. She reckons the sandal-scented breeze is as if mixed with venom, for it breezes from Mt. Malaya, an abode of serpents... thus, now she is lovelorn, as you have left her in the lurch... [a pa 8-1]
Or
"Hè, Krishna, she that Raadha appears to be fearing the arrows of Love-god, and thinks that you alone would shield her from them, hence she divines that you are revealed to her by her constant cogitation on you, and emotionally engrossed in you... but, outside her realm of imagination you are unseen... and seen are the arrowy beams of moon, and envenomed sandal-scent of breeze, thus she desperately and despondently reckons both the moon and sandal-scent as the agents of that Love-god, thus she loathes and reviles all of them, but for you... thus, now she is lovelorn, and unbefitting is your leaving her in the lurch... [a pa 8-1]
Comment: This famous song contains two tones, one that of a tongue-lashing of a friend, with somewhat harsh words of milkmaid, niSTura vaakya, nindaa vaacka which is limitable only to text. Its construal is: candanam kaamam adhikam iirayati; tava bhaavanayaa, tava saakshaatkaareNa, tayi liinaa... etc. Moreover, the other tone is the entreaty of a devotee, with stuti vaakya, praardhanaa vaakya devotional eulogy, extolling, praise song, which is tunefully adopted by singers with most piteous requisition to comeback to Raadha. The reprise in this song is only for words saa virahe tava diinaa... saa tava virahe diinaa... 'she is lovelorn, without you...' but many take some more lines, unnecessarily.
aviralanipatitamadanasharaadivabhavadavanaayavishaalam |
svahR^idayamar.hmaNivarmakarotisajalanaliniidalajaalam | saa virahe tava diinaa || 8-2 a pa
words separated - avirala nipatita madana sharaat iva bhavat avanaaya vishaalam sva hR^idaya mar.hmaNi varma karoti sajala nalinii dala jaalam
अविरलनिपतितमदनशरादिवभवदवनायविशालम्।
स्वहृदयमर्मणिवर्मकरोतिसजलनलिनीदलजालम्। सा विरहे तव दीना॥ ८-२ अ प
aviralanipatitamadanaśarādivabhavadavanāyaviśālam |
svahṛdayamarmaṇivarmakarotisajalanalinīdalajālam | sā virahe tava dīnā || 8-2 a pa
words separated - avirala nipatita madana śarāt iva bhavat avanāya viśālam sva hṛdaya marmaṇi varma karoti sajala nalinī dala jālam
a pa 8-2. saa= she that Raadha; a+virala= without, gap [incessant]; nipatita= falling [darting]; madana = Love-god's; sharaat= from arrows; bhavat= your; avanaaya= to safeguard; iva= as if; vishaalam= wide; sajala= with water [wet petals]; nalinii+dala= lotus, petals; jaalam= a group of [sprays of]; sva= her own; hR^idaya = heart; marmaNi= in innermost recesses; varma= leather coat of mail; karoti= she is making; saa virahe - diinaa = as above.
"She that Raadha is making a coat of mail with the sprays of wide and wet lotus petals, in the innermost recesses of her heart, against the incessantly darting arrows of Love-god targeting her it... methinks... maybe to safeguard you who are snugly settled in there, I dunno... but, now she is lovelorn, as you have left her in the lurch... [a pa 8-2]
Or
"Hè, Krishna, you know how delicate is Raadha's heart, and targeting it Love-god is incessantly flinging fiery flowery arrows, but uncaring for herself she is bravely preparing a lotus-petal shield, like that of a leathern or metallic shield used by brave warriors, only to protect you, as she ensconced you in the innermost recesses of her heart... and those petals are wide enough to cover you, and wet enough, for they are wet with water and with her love as well, to give enough resistance to you from their heat... hence, she is lovelorn, and unbefitting is your leaving her in the lurch... [a pa 8-2]
Comment: The Love-god has five arrows and they are: aravindam asokam ca cutam ca navamallika nilotpalam ca pañcai te pañca banaa× asya sayakaa× || 1.aravinda = a lotus [nelumblum speciosum], 2. ashoka = a flower of hellebore origin, 3. chutam = mango flower, 4.nava mallika = new jasmine, 5.neela utpala = blue costus, are the five arrows of Manmatha. Their functions are: -unmädanaà täpanaà ca þoÿöa stambhana× tadä | sammohanaà ca kämasya païca bäöäà prakŸrtitäà (unm˜dana× t˜pana× ca þoÿõa stambhana× tad˜ | sammohana× ca k˜masya paðca b˜õ˜× prakŸrtit˜× ||)|| The five states associated with each arrow are: 1 unmaada = maniacal state; 2 tapana = fervent state; 3 shoshana = wasting away; 4 sthambhana = standstill state; 5 sammohana = stupefaction.
kusumavishikhasharatalpamanalpavilaasakalaakamaniiyam |
vratamiva tava parirambhasukhaaya karoti kusumashayaniiyam | saa virahe tava diinaa || 8-3 a pa
words separated - kusuma vishikha shara talpam analpa vilaasa kalaa kamaniiyam vratam iva tava pari rambha sukhaaya karoti kusuma shayaniiyam
कुसुमविशिखशरतल्पमनल्पविलासकलाकमनीयम्।
व्रतमिव तव परिरम्भसुखाय करोति कुसुमशयनीयम्। सा विरहे तव दीना॥ ८-३ अ प
kusumaviśikhaśaratalpamanalpavilāsakalākamanīyam |
vratamiva tava parirambhasukhāya karoti kusumaśayanīyam | sā virahe tava dīnā || 8-3 a pa
words separated - kusuma viśikha śara talpam analpa vilāsa kalā kamanīyam vratam iva tava pari rambha sukhāya karoti kusuma śayanīyam
a pa 8-3: saa= she is; an+alpa= not, less; vilaasa+kalaa= voluptuousness, with arts of; kamaniiyam= beautiful; kusuma= flowery; shayaniiyam= one on which one can repose, reclinable bed; tava= your; pari+rambha= overly [tightly,] hugging; sukhaaya= [desiring that] comfort; kusuma+vishikha+shara= flowers, with pointed ends, arrows [one who has flowers as his pointed arrows, i.e., Manmatha, Love-god]; talpam= bed; vratam+iva= a ceremony, as if; karoti= making; saa virahe - diinaa = as above.
"She that Raadha is making a beautiful flowery reclinable bed with all her arts of voluptuousness, with the flowery arrows of Love-god, desiring to repose on it in a your comfortable tight embrace, as if it is a ceremony... but, now she is lovelorn, as you have left her in the lurch... [a pa 8-3]
Or
" Hè, Krishna, though the flower arrows darted by Love-god are pinching her heart, she is preparing a flowery and reclinable bed with them alone, as if it is a ceremony, desiring to instate you in there, and to ceremoniously repose in your tight but comfortable embrace... hence, think not that she is idling, as she is ceremonially preparing a love-seat idolizing you... therefor, leave her not in the lurch, as she is lovelorn... [a pa 8-3]
Comment: This girl Raadha has a sense of delicacy. Usually devotees arrange a small golden or silver throne to gods in their worship rooms, and place an idol on it, and run the rote of what they have learnt. Here, she is making a flowery bed to give painless seating, and a seat collapsible even as a bed, if he wants to repose. Stones replaced the thrones of gods in temples, as we see har kankar me shankar... god in every granite rock.
vahaticavalitavilochanajaladharamaananakamalamudaaram |
vidhumivavikaTavidhuntudadantadalanagalitaamR^itadhaaram | saa virahe tava diinaa || 8-4 a pa
words separated - vahati ca valita vilochana jala dharam aanana kamalam udaaram vidhum iva vikaTa vidhuntuda danta dalana galita amR^ita dhaaram
वहतिचवलितविलोचनजलधरमाननकमलमुदारम्।
विधुमिवविकटविधुन्तुददन्तदलनगलितामृतधारम्। सा विरहे तव दीना॥ ८-४ अ प
vahaticavalitavilocanajaladharamānanakamalamudāram |
vidhumivavikaṭavidhuntudadantadalanagalitāmṛtadhāram | sā virahe tava dīnā || 8-4 a pa
words separated - vahati ca valita vilocana jala dharam ānana kamalam udāram vidhum iva vikaṭa vidhuntuda danta dalana galita amṛta dhāram
a pa 8-4: saa= she that Raadha; valita= squirmy [galita= slippery, calita= moving rolling glances]; vilochana= eyes; jala+dharam [bharam= filled with] = water, bearer, clouds like; udaaram= beauteous; aanana+kamalam= face, lotus; vikaTa= uneven, sawtoothed; vidhun+tuda= moon, biter [Raahu's, eclipsing planet]; danta= by teethe; dalana= by way of biting; galita= slid; amR^ita= ambrosial; dhaaram= streams; vidhum+iva= moon, as if; vahati+ca= bearing up, also; saa virahe - diinaa = as above.
"She that Raadha bears up a lotus like beauteous face, that have cloud like blackish eyes with squirmy glances, which now appears like the moon bitten by the sawtoothed Rahu, the eclipsing villainous planet, and while that moon sheds streams of ambrosia when bitten by teeth, she is shedding streams of tears, smitten by love... thus, she is lovelorn, as you have left her in the lurch... [a pa 8-4]
Or
" Hè, Krishna, beauteous will be the face of Raadha like a lotus, but her lotus like eyes are streaming tears like black clouds, and that moonfaced Raadha is searching for you with her squirmiest glances, as moon would, when bitten by teeth of sawtoothed Raahu, though still streaming his ambrosial moonshine... thus, caught in the cobweb of time neither of them is a sinner, isn't so... so, leave her not in the lurch, as she is lovelorn... [a pa 8-4]
Comment: This is full with similes - eyes shed tears, clouds shed raindrops; even if eclipsed, moon doesn't loose shine, and even if shedding tears a beautiful face doesn't loose its beauty; even if bitten by sawtoothed eclipsing planet Raahu, moon doesn't stop outpouring of his ambrosial moonshine; even if smitten by alienation, a girl won't stop outpouring her heartfelt love, and so on...
vilikhatirahasikura~Ngamadenabhavantamasamasharabhuutam |
praNamatimakaramadhovinidhaayakarecasharamnavachuutam | saa virahe tava diinaa || 8-5 a pa
words separated - vilikhati rahasi kuranga madena bhavantam asama shara bhuutam praNamati makaram adhaH vinidhaaya kare ca sharam nava chuutam
विलिखतिरहसिकुरङ्गमदेनभवन्तमसमशरभूतम्।
प्रणमतिमकरमधोविनिधायकरेचशरम्नवचूतम्। सा विरहे तव दीना॥ ८-५ अ प
vilikhatirahasikuraṅgamadenabhavantamasamaśarabhūtam |
praṇamatimakaramadhovinidhāyakarecaśaramnavacūtam | sā virahe tava dīnā || 8-5 a pa
words separated - vilikhati rahasi kuranga madena bhavantam asama śara bhūtam praṇamati makaram adhaḥ vinidhāya kare ca śaram nava cūtam
a pa 8-5. saa= she is; rahasi= in aloneness; kuranga+madena= deer's, fat [kastuuri, musk]; a+sama+ sharaH= not, equalling, arrow [an unequalled archer, Love-god]; bhuutam= like that of, in the shape of [not, ghost pl.]; bhavantam= you; vilikhati= writing [sketching, picturing]; adhaH= down under [aasana sthaane= at the place of seat]; makaram= crocodile; kare= in hand; nava+chuutam+ sharam+ ca= new, mango, [leafy] arrow, also; vinidhaaya= on properly placing; praNamati= adoring.
"She that Raadha in all her aloneness is sketching you in the shape of shapeless Love-god with deer musk, and even sketching a crocodile as his seat, and placing a mango leaflet in his hand, since it is his arrow, and then she is adoring that sketch saying, "oh, god, save my body and soul..." that way she is lovelorn, as you have left her in the lurch... [a pa 8-5]
Or
" Hè, Krishna, formless Love-god had to be given your form, as Raadha is unaware of any other form of love, hence she in her loneliness is painting you using deer musk as paint, and in confusion painting a crocodile as his seat, instead of portraying it on his flag... but without confusion she is properly placing a leaflet of mango in his hand for his arrow, as she is repeatedly shot by such arrows, and beholding that sketch she is single-mindedly adoring you, through him, and through that sketch, to save her from her pangs of passion... hence, leave her not in the lurch, as she is lovelorn... [a pa 8-5]
Comment: In this stanza the adoration of Love-god agreeable for alienated ladyloves is suggested. This is called kaama puuja as said by bharata muni; devataa puujanam kuryaat dadyaat bali bhuje balim, likhet kaanta prati kR^itim paaThayet shuka shaarikaaH | gaNayet avadhi dinam giitam gaayet tad ankitam, evam vidha vinodena nayet kaalam viyoginii || Alienated ladyloves spend time by worshipping gods, offering oblations, sketching rough shapes of their dear ones, counting the balance of days for his arrival, teaching singing to parrots and songbirds, singing lyrics comprising his name....
dhyaanalayenapuraH parikal.hpyabhavantamatiivaduraapam |
vilapatihasativiSiidatiroditicha~nchatimu~nchatitaapam | saa virahe tava diinaa || 8-6 a pa
words separated - dhyaana layena puraH pari kalpya bhavantam atiiva duraapam vilapati hasati viSiidati roditi chanchati munchati taapam
ध्यानलयेनपुरः परिकल्प्यभवन्तमतीवदुरापम्।
विलपतिहसतिविषीदतिरोदितिचञ्चतिमुञ्चतितापम्। सा विरहे तव दीना॥ ८-६ अ प
dhyānalayenapuraḥ parikalpyabhavantamatīvadurāpam |
vilapatihasativiṣīdatiroditicañcatimuñcatitāpam | sā virahe tava dīnā || 8-6 a pa
words separated - dhyāna layena puraḥ pari kalpya bhavantam atīva durāpam vilapati hasati viṣīdati roditi cancati muncati tāpam
a pa 8-6: saa= she that Raadha; dhyaana+layena= in meditation, engrossed; atiiva+dur+aapam= highly, impossible, one to get [highly inaccessible for others, Krishna]; bhavantam= you; puraH= in front of; parikalpya= imagining; vilapati= snaps at; hasati= sneers; viSiidati= sinks; roditi= sobs; chanchati[bhramati ] = strays taapam= simmer; munchati= leaves off [simmers down.]
"She that Raadha, thinking that you shall be highly inaccessible to others, she is engrossed in meditation on you, and on imagining you in her front, in the form of that musk painting, she snaps, sneers, sinks, sobs, strays, and simmers down her simmer... [a pa 8-6]
Or
"Hè, Krishna, she knows that you are highly inaccessible to anyone, and such as you are, she wants to possess you for herself, only for herself, thus she personifies you in that musk painting in her imagination and engrossed in her meditation on you through that painting, in doing so she snaps at you saying, 'you beguiler, now you're here... what happened all the time... go, go away to those doltish girls, for they alone match you...'
And then sneers at that unmoving painting to say, 'oh, still you're loitering here without making a move... that's why I call you a beguiler... but, now I beguiled you to win you...'
Then sinks down saying, 'ah, poor me, I can't make you happy with my clasps and clings for you're in a picture... alas...'
Then she sobs clinging to that painting; (aside: where a wail is the ultimate weapon of a woman;) and then she strays from there thinking, 'if I go away from this place, this beguiler surely follows me, then I can chide him to accept...'
Then she simmers down her simmering mind meditating on you concluding, 'yes, he's with me... he'll be with me... why should I worry...' hence, Krishna, leave her not in the lurch, as she is lovelorn... [a pa 8-6]
Comment: The words - snaps, sneers, sinks, sobs, and strays etc., are not just a cluster of words jumbled by the poet. Each has its own significance and some of them are compiled here, as said by ancient commentators. For the wail-weapon of woman: bharata muni says; rudita mudita maatram yoSitaam vigraheSu... 'when a women start their siren like wailing, men are supposed to yield...' hence, siren has this meaning too - 4 a - a dangerously fascinating woman; a temptress; b - a tempting pursuit etc., and hence, wailing is the congenital weapon of a woman - Natura dat unicuique quod sibi conveniens est. Nature gives to each what is appropriate. So that is that.
pratipadamidamapinigadatimaadhavatavacharaNepatitaaham |
tvayivimukhemayisapadisudhaanidhirapitanutetanudaaham | saa virahe tava diinaa || 8-7 a pa
words separated - prati padam idam api nigadati maadhava tava charaNe patitaa aham tvayi vimukhe mayi sapadi sudhaa nidhiH api tanute tanu daaham - a tanu daaham
प्रतिपदमिदमपिनिगदतिमाधवतवचरणेपतिताहम्।
त्वयिविमुखेमयिसपदिसुधानिधिरपितनुतेतनुदाहम्। सा विरहे तव दीना॥ ८-७ अ प
pratipadamidamapinigadatimādhavatavacaraṇepatitāham |
tvayivimukhemayisapadisudhānidhirapitanutetanudāham | sā virahe tava dīnā || 8-7 a pa
words separated - prati padam idam api nigadati mādhava tava caraṇe patitā aham tvayi vimukhe mayi sapadi sudhā nidhiḥ api tanute tanu dāham - a tanu dāham
a pa 8-7: saa= she that Raadha; prati+padam= at each, step; idam+api+nigadati= this, even, says - asserts; maadhava= oh, Maadhava; aham+tvayi+charaNe+ patitaa= I, on your, feet, fallen; sapadi= now; tava= of yours; mayi= in me; vi+mukhe= away, faced - paraa~Nmukhata= uninterested, insouciant]; sudhaa+nidhiH+api= ambrosia, treasure trove = moon with cool moonshine, even; tanu+daaham= body's, thirst; tanute= increasing; or, a+tanu+daaham= without, body - bodiless Love-god, fervidity - love fever; tanute= making rampant; saa virahe - diinaa = as above.
"She that Raadha is even asserting this on each and every step of hers, "Oh, Maadhava, though you are insouciant towards me as of now, the moon, who is supposed to be the treasure trove of coolant ambrosial moonshine, is making my love fever rampant..." thus, she who is lovelorn is mediating on you, as you have left her in the lurch... [a pa 8-7]
Or
"Hè, Krishna, that Raadha is even asserting this on each and every step of hers, "Oh, Maadhava, your first wife Goddess Lakshmi's brother and your brother-in-law, namely the moon, a pot of ambrosial moonshine, who didn't dare to raise an eye at me, when you were with me... now he alone is torturing me, presuming that I have done wrong to his sister, and presuming that you are uninterested in me... hence, oh, Maadhava, come to me, lest he will not think I am his another sister..." so, Krishna, leave her not in the lurch, as she is lovelorn... [a pa 8-7]
shriijayadevabhaNitamidamadhikam yadi manasaa naTaniiyam |
harivirahaakulavallavayuvatisakhiivachanam paThaniiyam | saa virahe tava diinaa || 8-8 a pa
words separated - shrii jayadeva bhaNitam idam adhikam yadi manasaa naTaniiyam hari viraha aakula vallava yuvati sakhii vachanam paThaniiyam
श्रीजयदेवभणितमिदमधिकम् यदि मनसा नटनीयम्।
हरिविरहाकुलवल्लवयुवतिसखीवचनम् पठनीयम्। सा विरहे तव दीना॥ ८-८ अ प
śrījayadevabhaṇitamidamadhikam yadi manasā naṭanīyam |
harivirahākulavallavayuvatisakhīvacanam paṭhanīyam | sā virahe tava dīnā || 8-8 a pa
words separated - śrī jayadeva bhaṇitam idam adhikam yadi manasā naṭanīyam hari viraha ākula vallava yuvati sakhī vacanam paṭhanīyam
a pa 8-8. hè, vaiSNavaaH= hè, devotees of Vishnu; idam+jayadeva+bhaNitam= this one, by Jayadeva, said; shrii= shrii suukti - auspicious saying; adhikam+yadi= highly, reverently, if [if deemed highly reverent]; manasaa = heartily; naTaniiyam= actable [relishable]; hari= Krishna; viraha= heartsick; aakula= flustered; vallava= milkers'; yuvati= damsel's; sakhii= friend's; vachanam= words; paThaniiyam= readable [memorable.]
"hè, Vishnuites, if you deem this auspicious saying said by Jayadeva, through the girlfriend of milkers girl, namely Raadha, as highly reverent to relish, then this alone is memorable for all of us... [as these words have a conductance to conduct spirituality...] [a pa 8-8]
Comment: Vishnuites is Oxford's nomenclature for vaiSNavaites and the word naTaniiyam is to be taken as 'relishable' as said by bharata naaTya shaatra: naaTya shabdo rase mukhyaH nearly: 'relishing the mood is the essence of dance/drama/performing arts...'
Throughout these songs, or whole of the chapter, the heroine is said as virahotkaNThita, out of eight forms of naayika, the heroine. They are 1 - vaasava sajjika; 2 - utkaNThita; 3 - svaadhiina bhartuka; 4 - kalahaantarita; 5 - vipralabdha; 6 - abhisaarika; 7 - khaNDita; 8 - proSita bhartrika. And virahotkaNThita is - yasyaaH samucite api ahni pravaasii na eti vallabha | saa smaraan alasam taptaa virahotakaNThitaa mataa || Which heroine will be burning with bodily fire on a befitting day, to whose presence her lover does not come at such time, she is viraha = by separation, utkaNThita ecstasized.
aavaaso vipinaayate priyasakhiimaalaapi jaalaayate
taapo.api shvasitena daavadahanajvaalaakalaapaayate |
saapi tvadviraheNa hanta hariNiiruupaayate haa katham
kandarpo.api yamaayate virachayanshaarduulavikriiDitam || 4-3
words separated - aavaasaH vipinaayate priya sakhii maala api jaalaayate taapH api shvasitena daava dahana jvaalaa kalaapaayate saa api tvat viraheNa hanta hariNii ruupaayate haa katham kandarpaH api yamaayate virachayan shaarduula vikriiDitam
आवासो विपिनायते प्रियसखीमालापि जालायते
तापोऽपि श्वसितेन दावदहनज्वालाकलापायते।
सापि त्वद्विरहेण हन्त हरिणीरूपायते हा कथम्
कन्दर्पोऽपि यमायते विरचयन्शार्दूलविक्रीडितम्॥ ४-३
āvāso vipināyate priyasakhīmālāpi jālāyate
tāpo'pi śvasitena dāvadahanajvālākalāpāyate |
sāpi tvadviraheṇa hanta hariṇīrūpāyate hā katham
kandarpo'pi yamāyate viracayanśārdūlavikrīḍitam || 4-3
words separated - āvāsaḥ vipināyate priya sakhī māla api jālāyate tāpḥ api śvasitena dāva dahana jvālā kalāpāyate sā api tvat viraheṇa hanta hariṇī rūpāyate hā katham kandarpaḥ api yamāyate viracayan śārdūla vikrīḍitam
4-3. hè, Krishna; aavaasaH= house; vipinaayate= became forest; priya+sakhii+maala= dear, friends, rows [flocks of]; api= even; jaalaayate= became net like restrainers; shvasitena= by sighing; taapH+ api= bodily heat, even; daavadahana= wildfire's; jvaalaa= tongues; kalaapaayate= became myriads [of tongues of fire]; saa+api= she even; hariNii+ruupaayate= she-deer, became such a deer; haa= hah; kandarpaH= one who gladdens people, Love-god; api= even he; virachayan= on scripting [all these scenes]; shaarduula= tiger; vi+kriiDitam= verily, sporting [hunting, on the prowl for hunt] yamaayate= became Death-god; hanta= alas; tvat+viraheNa= by your, lovesickness; katham= how; [jiivati= she lives.]
"hè, Krishna, her house became an empty forest, hence she came out, but a flock of her dear friends became a human-net to hold her in, presuming a possibility of some untoward action by her, but bringing them round she came to a real forest, and sitting there lonely she is sighing in her bodily heat, but that bodily heat became a wildfire, and her sighs became myriads of tongues of that wildfire, and whole of that forest is afire, then even she became like a she-deer caught in that wild fire, and when she wanted to flee, hah, that Love-god who scripted all these scenes, even he became a roaring, growling, prowling Death-godlike tiger... alas, languishing in lovesickness for you, how can she possibly live! [4-3]
Comment: What a deer can do when triangularly caught between wildfire, tiger and a hunter with a snare? So also, Raadha is unhappy, caught between wildfire like bodily heat, deathlike, tigerish Love-god, and human-netlike misapprehensive friends. The first foot details udvega avastha - ecstatic state - A trance induced by intense religious devotion; does not show reduced bodily functions that are typical of other trances. Other foots detail the vyaadi avastha - where vyaadhi is not necessarily a bedridden condition, but an uneasy predicament, as yoga says. Its condition is like this: abhiiSTa sangama abhaavaat vyaadiH santaapa lakshaNaH | atra santaapa nishshsvau shiita vastu niSevaNam | na uttaram bhaaSate prasne na iikshate ca shruNoti ca || roughly: because of the lack of desired object, a sort of uneasiness occurs; anguishing, sighing, devouring cool items, non-replying questions of dear ones, or even not looking at them eye to eye... are its states. This poet Jayadeva is an expert in using the name of the metre of his poem, as an item of portrayal in his versification. This verse is said in shaarduula vikriiDitam, which he incorporated in last foot. This is not for 'just punning' the verse, but to use those objects in that name of metre, as objects of poetic thought.
aSTapadi 9 - sigdha madhusuudana rasaavalayam -
stanavinihitamapi haaramudaaram |
saa manute kR^ishatanuratibhaaram |
raadhikaa kR^iSNa raadhikaa | raadhikaa tava virahe keshava || 9-1 a pa
words separated - stana vinihitam api haaram udaaram saa manute kR^isha tanuH ati bhaaram raadhikaa-tava virahe keshava
अष्टपदि ९ - सिग्ध मधुसूदन रसावलयम् -
स्तनविनिहितमपि हारमुदारम्।
सा मनुते कृशतनुरतिभारम्।
राधिका कृष्ण राधिका। राधिका तव विरहे केशव॥ ९-१ अ प
aṣṭapadi 9 - sigdha madhusūdana rasāvalayam -
stanavinihitamapi hāramudāram |
sā manute kṛśatanuratibhāram |
rādhikā kṛṣṇa rādhikā | rādhikā tava virahe keśava || 9-1 a pa
words separated - stana vinihitam api hāram udāram sā manute kṛśa tanuḥ ati bhāram rādhikā-tava virahe keśava
aSTapadi - 9-1. hè, keshava= hè, Krishna; kR^isha+tanuH= frail, bodied; stana+ vinihitam = on bosom, arranged [adorning,] udaaram= invaluable [feather-light]; haaram+api= [pearl] string, even; manute= [she] feels; ati+bhaaram= much, weighing, weighty; saa+ raadhikaa = such as she is, Raadha; tava= in your/for you; vi+rahe= without, having [parted from you]; virahe [virahiNi]= pining for; reprise - raadhikaa kR^isha raadhika | raadhikaa virahe tava keshava.
"hè, Krishna, she with her frailly body feels even a feather-light pearly string adorning her bosom is weighty, and such as she is, she is pining for you, for she is parted from you... [a pa 9-1]
Comment: The reprise as above is singers' delight and droppable in these word-to-word transcriptions.
sarasamasR^iNamapi malayajapa~Nkam |
pashyativiSamivavapuSisashaa~Nkam | raadhikaa-tava virahe keshava || 9-2 a pa
words separated - sa rasa masR^iNam api malayaja pa.nkam pashyati viSam iva vapuSi sa sha.nkam
सरसमसृणमपि मलयजपङ्कम्।
पश्यतिविषमिववपुषिसशाङ्कम्। राधिका-तव विरहे केशव॥ ९-२ अ प
sarasamasṛṇamapi malayajapaṅkam |
paśyativiṣamivavapuṣisaśāṅkam | rādhikā-tava virahe keśava || 9-2 a pa
words separated - sa rasa masṛṇam api malayaja paṁkam paśyati viṣam iva vapuṣi sa śaṁkam
a pa 9-2: api= even though; malaya+ja= Mt. Malaya, born; pa.nkam= cream [cosmetic cream obtained on rubbing sandalwood sticks on gritstone]; vapuSi= on body; sa+rasa= with, fluidity [soggy]; masR^iNam = satiny; pashyati= sees [looks down on]; viSam= venom; iva= as if; sa sha.nkam; raadhikaa ...virahe= as above.
"Even though the sandal-cream on her body is soggy, satiny, thus balsamic, she looks down on it as if it is a venom... thus, she is pining for you, for she is parted from you... [a pa 9-2]
shvasitam pavanam anupam apariNaaham |
madanadahanamivavahatisadaaham | raadhikaa-tava virahe keshava || 9-3 a pa
words separated - shvasita pavanam anupama pariNaaham madana dahanam iva vahati sa daaham
श्वसितम् पवनम् अनुपम् अपरिणाहम्।
मदनदहनमिववहतिसदाहम्। राधिका-तव विरहे केशव॥ ९-३ अ प
śvasitam pavanam anupam apariṇāham |
madanadahanamivavahatisadāham | rādhikā-tava virahe keśava || 9-3 a pa
words separated - śvasita pavanam anupama pariṇāham madana dahanam iva vahati sa dāham
a pa 9-3: an+upama= not, similar - uncommon, abnormal; pariNaaham= overlong [in duration]; shvasita+ pavanam= breathed, air [sighs]; madana+dahanam= Love-god's, flame; iva= as if; sa+ daaham= with, flames [flamelike]; vahati= bears [overburdened]; raadhikaa...virahe= as above.
"Her abnormally overlong flamelike sighs are overburdening her, as if they are the flames of Love-god... hence, she is pining for you, for she is parted from you... [a pa 9-3]
dishidishikiratisajalakaNajaalam |
nayananalinamivavigalitanaalam | raadhikaa-tava virahe keshava || 9-4 a pa
words separated - dishi dishi kirati sa jala kaNa jaalam nayana nalinam iva vigalita naalam
दिशिदिशिकिरतिसजलकणजालम्।
नयननलिनमिवविगलितनालम्। राधिका-तव विरहे केशव॥ ९-४ अ प
diśidiśikiratisajalakaṇajālam |
nayananalinamivavigalitanālam | rādhikā-tava virahe keśava || 9-4 a pa
words separated - diśi diśi kirati sa jala kaṇa jālam nayana nalinam iva vigalita nālam
a pa 9-4: sa+jala+kaNa+jaalam= with, water [tear,] drops, group of [sea of]; vigalita+naalam+iva= slipped down, tubular stem, like; nayana+nalinam= eyes [sight,] black-lotuses; dishi+dishi+kirati= direction, direction, make to fall [bestrews, cast about for]; raadhikaa...virahe= as above.
"She with her eyes that look like black-lotuses, slipped from their stems, are filled with a sea of teardrops, and she is casting about her sight for you, in every direction... that way, she is pining for you, for she is parted from you... [a pa 9-4]
Comment: In this stanza a kind of manmatha avastha state in lovesickness called jaData stolidity is indicated. yatra dhyaati niHshankam jaDataa saa prakiirtitaa | atra sprsha anabhij~natve vaivarNam shithilaam gataa | akriiDa anga kR^iti stambhana shvaasa kR^ishataadayaH || roughly: just contemplating fearlessly; unknowing even if touched; colour change; withering of limbs; no pleasure strolling; body attaining stolidity; sighing; emaciation are its features.
nayanaviSayamapikisalayatalpam |
kalayativihitahutaashanavikalpam | raadhikaa - tava virahe keshava || 9-5 a pa
words separated - nayana viSayam api kisalaya talpam kalayati vihita hutaashana vikalpam
नयनविषयमपिकिसलयतल्पम्।
कलयतिविहितहुताशनविकल्पम्। राधिका - तव विरहे केशव॥ ९-५ अ प
nayanaviṣayamapikisalayatalpam |
kalayativihitahutāśanavikalpam | rādhikā - tava virahe keśava || 9-5 a pa
words separated - nayana viṣayam api kisalaya talpam kalayati vihita hutāśana vikalpam
a pa 9-5. nayana+viSayam+api= eyes, subject of, even [though eye-filling]; kisalaya+talpam= coppery tender leaves, a bed of; vihita+hutashana= made, flame [bed like]; vikalpam+kalayati= doubtfully, reckons; raadhikaa...virahe= as above.
"Though the subject of her eyes is an eye-filling bed of coppery tender leaves, she reckons it as a flamy bed... that way, she is pining for you, for she is parted from you... [a pa 9-5]
Comment: The red-brown colour of coppery leaves taamratva, is a causative factor for anguish santaapatva, in separation.
tyajatinapaaNitalenakapolam |
baalashashinamivasaayamalolam | raadhikaa - tava virahe keshava || 9-6 a pa
words separated - tyajati na paaNi tale na kapolam baala shashinam iva saayam alolam
त्यजतिनपाणितलेनकपोलम्।
बालशशिनमिवसायमलोलम्। राधिका - तव विरहे केशव॥ ९-६ अ प
tyajatinapāṇitalenakapolam |
bālaśaśinamivasāyamalolam | rādhikā - tava virahe keśava || 9-6 a pa
words separated - tyajati na pāṇi tale na kapolam bāla śaśinam iva sāyam alolam
a pa 9-6. saa= she; saayam [kaalam] in evenings; baala= tender [7 (of age) early, youthful]; a+lolam= not, moving [motionless]; shashinam+iva= moon, akin to; kapolam= cheek; paaNi+talena= on palm's, surface ; na+tyajati= not, removes; [saa ca = she is also] a+lolam= not, moving [motionless]; raadhikaa ... virahe = as above.
"She neither removes her moonlike cheek, a cheek akin to youthful but motionless moon of evenings, placed on her palm, nor she is motional... and statically she is pining for you, for she is parted from you... [a pa 9-6]
haririti haririti japati sakaamam |
virahavihitamaraNena nikaamam | raadhikaa - tava virahe keshava || 9-7 a pa
words separated - hariH iti hariH iti japati sa kaamam viraha vihita maraNena nikaamam
हरिरिति हरिरिति जपति सकामम्।
विरहविहितमरणेन निकामम्। राधिका - तव विरहे केशव॥ ९-७ अ प
haririti haririti japati sakāmam |
virahavihitamaraṇena nikāmam | rādhikā - tava virahe keśava || 9-7 a pa
words separated - hariḥ iti hariḥ iti japati sa kāmam viraha vihita maraṇena nikāmam
a pa 9-7. saa= she; viraha+vihita= by wistfulness, ordained; maraNena= death; [iva= as if]; sa+ kaamam = with, wish [wishful to tell last words]; nikaamam= always; hariH+iti+hariH+iti= Hari, thus, Hari, thus; japati= chanting, intoning; raadhikaa...virahe= as above.
"She is as if dying, a death ordained by her own wistfulness, and hence wishful to tell her dying words she is always intoning thus as, "Hari... Hari..." hence, she is dying pining for you, for she is parted from you... [a pa 9-7]
shriijayadevabhaNitamitigiitam |
sukhayatukeshavapadamupaniitam | raadhikaa - tava virahe keshava || 9-8 a pa
words separated - shrii jayadeva bhaNitam iti giitam sukhayatu keshava padam upa niitam
श्रीजयदेवभणितमितिगीतम्।
सुखयतुकेशवपदमुपनीतम्। राधिका - तव विरहे केशव॥ ९-८ अ प
śrījayadevabhaṇitamitigītam |
sukhayatukeśavapadamupanītam | rādhikā - tava virahe keśava || 9-8 a pa
words separated - śrī jayadeva bhaṇitam iti gītam sukhayatu keśava padam upa nītam
a pa 9-8. iti= this way; keshava+padam= to Krishna's, feet; upa+niitam= nearby, brought to [that draws nigh of those feet, or, dedicated to his feet]; jayadeva+bhaNitam= Jayadeva, said by; shrii+ giitam= auspicious, song; sukhayatu= comforts; [vayam= us, singers, listeners.]
"This way, this auspicious song said by Jayadeva, and dedicated at the feet of Krishna through me, the friend of Raadha, comfort all of us, its singers like me and Raadha, or its listeners like you... thus Raadha is pining for Krishna, parted from him... [a pa 9-8]
saaromaa~Nchatisiitkarotivilapatyutkmpatetaamyati
dhyaayatyudbhramatipramiilatipatatyudyaatimuurcChatyapi |
etaavatyatanujvarevaratanurjiivennakimterasaat
svarvaidyapratimaprasiidasiyadityakto.anyathaanaantakaH || 4-5
words separated - saa romaacati siit karoti vilapati ut kmpate taamyati dhyaayati udbhramati pramiilati patati udyaati muurcChati api etaavati atanu jvare vara tanuH jiivet na kim te rasaat svar vaidya pratima prasiidasi yadi tyaktaH anyathaa na antakaH
सारोमाङ्चतिसीत्करोतिविलपत्युत्क्म्पतेताम्यति
ध्यायत्युद्भ्रमतिप्रमीलतिपतत्युद्यातिमूर्च्छत्यपि।
एतावत्यतनुज्वरेवरतनुर्जीवेन्नकिम्तेरसात्
स्वर्वैद्यप्रतिमप्रसीदसियदित्यक्तोऽन्यथानान्तकः॥ ४-५
sāromāṅcatisītkarotivilapatyutkmpatetāmyati
dhyāyatyudbhramatipramīlatipatatyudyātimūrcchatyapi |
etāvatyatanujvarevaratanurjīvennakimterasāt
svarvaidyapratimaprasīdasiyadityakto'nyathānāntakaḥ || 4-5
words separated - sā romācati sīt karoti vilapati ut kmpate tāmyati dhyāyati udbhramati pramīlati patati udyāti mūrcchati api etāvati atanu jvare vara tanuḥ jīvet na kim te rasāt svar vaidya pratima prasīdasi yadi tyaktaḥ anyathā na antakaḥ
4-5. saa= she is; romaacati= hair bristling [frisson, tingling sensations - romaancavatii iva aacarati - abhilaaSaaparatvam - awaiting his arrival with tingling sensations in her body]; siit karoti = noisily breathing [onomatopoeically respirinmg - cintaa smR^iti kaaraNena niH svanam 'he is not coming, what to do... huh, ah, oh etc.]; vilapati= extolling naayaka guNa gaNa kiirtana 'he alone is a great hero, he alone is beautiful...]; ut+kmpate= highly thrills katham iidR^ishii viraham taarayaami... 'how can I swim over this wistfulness...']; taamyati+ dhyaayati = taking pain, meditating [ by these two udvega avastha ecstasied state is suggested]; ud bhramati = whirling around [showing places of pleasure taking about them pralaapaana ]; pramiilati= eyelids are half-closed [state of love-madness madanonmaada avastha ]; patati= falls down [off her own feet - vihvalatvam ]; udyaati= getting up [ vyaadhi avastha - struggling to raise from a decumbent posture]; api= furthermore; muurcChati= swooning jaDatva, acetanatvaavastha ]. Then Krishna may ask "When she swooned and under a delirious situation , you may call a doctor, not definitely me..." Presuming this the milkmaid is continuing her thread; hè, svar= heavenly; vaidya= doctor; pratima= in similarity. [That is, you are the one similar to Ashwin brothers, not just twin gods of medicine, but they also possess most beautiful aspect. So, Krishna, you possess not only a beautiful physique like Ashwin Kumar-s but you are also the presiding deity to cure the mental illnesses - either that of Raadha, or that of Arjuna, at a later time... so you come.] etaavati= this much; a+tanu= without, body - bodiless Love-god; jvare= in fever [afflicted by that bodiless fellow]; [tvam= you] yadi= if; prasiidasi= oblige; vara+tanuH= beautiful, bodied [Raadha]; te+rasaat= by your, quintessence [of graceful love]; na+jiivet+kim= not, going to live, why [why doesn't she live, she will live by that grace of yours]; anyathaa= otherwise; [tvattaH= more than you]; na+antakaH= no, ender [no other eliminator is there, than you]; or, in other mms - tyaktaH + hastakaH = leaving off, moving hands etc., i.e., as of now she is doing all these bizarre things as her sensory organs have gone astray, and if you do not come now, her motor organs too will cease to function.] [Another mms - tvattaH anyathaa antakaH - na bhavet.]
vyaadhi para artha : saa+romaacati= she is, bristling as if with cold etc; siit karoti= sighing heavily; vilapati= insanely talking; ut kmpate= shivering; taamyati= drooping; dhyaayati = in delirium; udbhramati= swings up; pramiilati= shutting eyelids with rolling eyes; patati+udyaati= stumbles, gets up; muurcChati+ api= swoons, even; etaadR^ishii sannipaata jvare= etaavati atanu jvare= in this kind of morbid sickness; svar vaidya pratima prasiidasi yadi; te+rasaat= by your, rasa= paada rasa; ghuTika, vaTi = medicated mercury tablet; vara tanuH jiivet na kim; anyathaa= otherwise, if you don't give a tablet; tyaktaH hastakaaH = leaves of, motor functions.
"hè, Krishna, Raadha is now in a kind of morbid lovesickness. She frissons, sighs, raves, shivers, droops, swings up, goes into delirium with rolling eyes with half-shut eyelids. Next, she gets up, stumbles and swoons. For this kind of sickness, you alone are the godlike doctor. As such, if you come to give a potion of medicine, called your love-grace, she definitely survives. Otherwise, she has to breath her last...' [4-5]
Comment: It will be painful to the casually peripheral readers to read the gist, if all the trash of naayakii bhaava-s, lakshaNa diipikaa-s as in the first word-to-word section is repeated. Hence, only the list of words, minus their function, is re-rolled here.
smaraaturaam daivatavaidyahR^idya
tvada~Ngasa~NgaamR^itamaatrasaadhyaam |
vimuktabaadhaam kurushhe na raadhaam
upendra vajraadapi daaruNo.asi || 4-6
words separated - smara aaturaam daivata vaidya hR^idya tvat anga sanga amR^ita maatra saadhyaam vimukta baadhaam kuruSe na raadhaam upendra vajraat api daaruNaH asi
स्मरातुराम् दैवतवैद्यहृद्य
त्वदङ्गसङ्गामृतमात्रसाध्याम्।
विमुक्तबाधाम् कुरुषे न राधाम्
उपेन्द्र वज्रादपि दारुणोऽसि॥ ४-६
smarāturām daivatavaidyahṛdya
tvadaṅgasaṅgāmṛtamātrasādhyām |
vimuktabādhām kuruṣe na rādhām
upendra vajrādapi dāruṇo'si || 4-6
words separated - smara āturām daivata vaidya hṛdya tvat anga sanga amṛta mātra sādhyām vimukta bādhām kuruṣe na rādhām upendra vajrāt api dāruṇaḥ asi
4-6. daivata+vaidya= gods', doctor [Ashwin Kumar like]; hR^idya= heart-pleasing one [heartthrob, swain, hè, Krishna]; upendra= oh, Upendra, Vishnu's another name; smara= Manmatha, Love-god; aaturaam= for the agonised one, Raadha; tvat= your; anga= body; sanga= touch; amR^ita+maatra= ambrosia, just by it; saadhyaam= possible [to relieve her sickness]; raadhaam= Raadha be; vimukta= relieved; baadhaam= from agony; na kuruSe [yadi]= not, going to do, [if]; vajraat+api+daaruNaH= than thunderbolt, even, horrible; [tvam= you] asi = you, are.
"Oh, heart-pleasing one like Ashwin Kumar-s, the doctors of gods, if you are not going to possibly relieve Raadha from the agony caused by Love-god, just by the ambrosial touch of your body, oh, Upendra, you will be a more horrible being than Indra's Thunderbolt, mark you... [4-6]
Comment: Unseen Indra hurls his Thunderbolt from a distant place and it pains the target, only when it meets its target. Nevertheless, this fellow is here before her eyes, and he has not hurled any bolt or dart at Raadha, but hurt her with his charm. Hence, he alone should ease it; otherwise, he will be more horrible and ungodly in his demeanour.
kandarpajvarasanjvaraakulatanoraashcharyamasyaashchiram
chetashchandanachandramaHkamaliniichintaasu sa.ntaamyati |
kintu klaantivashena shiitalataram tvaamekameva kshaNam
dhyaayantii rahasi sthitaa kathamapi kshiiNaa kshaNam praaNiti || 4-7
words separated - kandarpa jvara sa.njvara aakula tanoH aashcharyam asyaaH chiram chetaH chandana chandramaH kamalinii chintaasu santaamyati kintu klaanti vashena shiitala taram tvaam ekam eva priyam dhyaayantii rahasi sthitaa katham api kshiiNaa kshaNam praaNiti
कन्दर्पज्वरसन्ज्वराकुलतनोराश्चर्यमस्याश्चिरम्
चेतश्चन्दनचन्द्रमःकमलिनीचिन्तासु संताम्यति।
किन्तु क्लान्तिवशेन शीतलतरम् त्वामेकमेव क्शणम्
ध्यायन्ती रहसि स्थिता कथमपि क्शीणा क्शणम् प्राणिति॥ ४-७
kandarpajvarasanjvarākulatanorāścaryamasyāściram
cetaścandanacandramaḥkamalinīcintāsu saṁtāmyati |
kintu klāntivaśena śītalataram tvāmekameva kśaṇam
dhyāyantī rahasi sthitā kathamapi kśīṇā kśaṇam prāṇiti || 4-7
words separated - kandarpa jvara saṁjvara ākula tanoḥ āścaryam asyāḥ ciram cetaḥ candana candramaḥ kamalinī cintāsu santāmyati kintu klānti vaśena śītala taram tvām ekam eva priyam dhyāyantī rahasi sthitā katham api kśīṇā kśaṇam prāṇiti
4-7. asyaaH= hers, Raadha's; tanoH= body; kandarpa+jvara= Love, sickness; sa.njvara= by anguish; aakula= flurried; chetaH= heart; chandana= sandal-paste; chandramaH= moon; kamalinii= clusters of lotuses; chintaasu= in thinking [wanting them]; chiram= for a long; santaamyati= facing difficulties [flustered]; aashcharyam [kim]= surprising [or, what, unsurprising]; kintu= but; klaanti+vashena= enervation, controlled by; rahasi= in lonely place; sthitaa= staying; priyam+tvaam= dearer, you; ekam +eva= one, only; shiitala+taram= cooling agent [invigorative,] higher in degree [best]; dhyaayantii = contemplating; kshiiNaa+api= emaciated, though; katham+api= how, even [somehow]; kshaNam+ praaNiti= for a moment, bears lives.
"What surprise can be there if lovesickness flurries Raadha's body and flusters her heart to cherish cooling agents like sandal-paste, moon and his shine, clusters of lotuses and the like? However, it is surprising that though she is enervated and emaciated, she is contemplating on you, on you alone, staying in a lonely place, asserting that you alone are the supreme cooling agent than others, and somehow she is bearing up her lives for a moment... [4-7]
kshaNamapi virahaH puraa na sehe
nayananimiilanakhinnayaa yayaa te |
shvasiti kathamasau rasaalashaakhaam
chiraviraheNa vilokya puSpitaagraam || 4-8
words separated - kshaNam api virahaH puraa na sehe nayana nimiilana khinnayaa yayaa te shvasiti katham asau rasaala shaakhaam chira viraheNa vilokya puSpita agraam
क्शणमपि विरहः पुरा न सेहे
नयननिमीलनखिन्नया यया ते।
श्वसिति कथमसौ रसालशाखाम्
चिरविरहेण विलोक्य पुष्पिताग्राम्॥ ४-८
kśaṇamapi virahaḥ purā na sehe
nayananimīlanakhinnayā yayā te |
śvasiti kathamasau rasālaśākhām
ciraviraheṇa vilokya puṣpitāgrām || 4-8
words separated - kśaṇam api virahaḥ purā na sehe nayana nimīlana khinnayā yayā te śvasiti katham asau rasāla śākhām cira viraheṇa vilokya puṣpita agrām
4-8. puraa= earlier [when you were with her]; te+virahaH= your, evanesce [fade from sight]; nayana= eyes; nimiilana= for blinking; khinnayaa= saddening; tayaa= by her; kshaNam + api= for a moment, even; na+sehe= not, tolerant; asau= such as she was; chira+ viraheNa= long time, by separation/ heartstrings; puSpita+agraam+rasaala+ shaakhaam = flowered, [tree ] top, mango, branches [flowered branches at mango tree tops, say spring, Vasanta season]; vilokya= on observing; katham= how; shvasiti= breathes [her life.]
"Earlier when you were with her she was saddening even to have a blink on her eyes, intolerant of a momentary evanesce of your form from her sight, even for a moment, such as she was, now how can she observe this spring season with flowered branches on mango treetops, and possibly breathe her lives... [4-8]
vR^iSTivyaakulagokulaavanarasaaduddhR^ityagovardhanam
bibhradvallavavallabhaabhiradhikaanandaaccira.mcumbitaH |
dar.hpeNaivatadar.hpitaadharataTiisinduuramudraankito
baahurgopatanostanotubhavataa.mshreyaa.msika.msadviSaH || 4-9
words separated - vR^iSTi vyaakula gokula avana rasaat uddhR^itya govardhanam bibhrat vallava vallabhaabhiH adhika aanandaat cira.m cumbitaH darpeNa eva tat arpita adhara taTii sinduura mudra ankitaH baahuH gopa tanoH tanotu bhavataam shreyaansi ka.msa dviSaH
वृष्टिव्याकुलगोकुलावनरसादुद्धृत्यगोवर्धनम्
बिभ्रद्वल्लववल्लभाभिरधिकानन्दाच्चिरंचुम्बितः।
दर्पेणैवतदर्पिताधरतटीसिन्दूरमुद्रान्कितो
बाहुर्गोपतनोस्तनोतुभवतांश्रेयांसिकंसद्विषः॥ ४-९
vṛṣṭivyākulagokulāvanarasāduddhṛtyagovardhanam
bibhradvallavavallabhābhiradhikānandācciraṁcumbitaḥ |
darpeṇaivatadarpitādharataṭīsindūramudrānkito
bāhurgopatanostanotubhavatāṁśreyāṁsikaṁsadviṣaḥ || 4-9
words separated - vṛṣṭi vyākula gokula avana rasāt uddhṛtya govardhanam bibhrat vallava vallabhābhiḥ adhika ānandāt ciraṁ cumbitaḥ darpeṇa eva tat arpita adhara taṭī sindūra mudra ankitaḥ bāhuḥ gopa tanoḥ tanotu bhavatām śreyānsi kaṁsa dviṣaḥ
4-9. vR^iSTi= by thunderstorms; vyaakula= put to chaos; gokula= stock of cowherds; avana= to protect; rasaat= interestedness; uddhR^itya= uplifted; govardhanam= Mt. Govardhana; bibhrat= [the hand] that upheld [that mountain]; vallava= cowherds'; vallabhaabhiH= milkmaids; adhika= highly; aanandaat= from gladness; ciram+cumbitaH= ever, kissed; darpeNa+eva= pridefully, only; tat= by them [milkmaids]; arpita= dedicated; adhara+taTii= lips, lips of [outer-lips]; sinduura= vermilion [lipstick colour]; mudra+ankitaH= with marks, imprinted; gopa [baalaka]+tanoH= in cowboy's, body; kamsa+dviSaH= King Kamsa's, despiser's; baahuH= arm [palm]; bhavataam= to you; shreyaa.nsi= prosperities; tanotu= let accord.
"Which hand has uplifted and upheld Mt. Govardhana as an asylum, in the interest of protecting the stock of cowherds when they were put to chaos of Indra's thunderstorms... thereby, which hand will ever be kissed by the pridefully gladdened milkmaids, who dedicatedly imprint the vermilion marks of their outer-lips, let that Divine palm of that despiser of evil-willed Kamsa, which by chance is now with the body of a cowboy, accord prosperities to you all... [4-9]
Comment: This concluding benedictory verse is unavailable in northern versions. It is hoped that Krishna's lifting a mammoth mountain need not be reiterated here, as that is a well known incident.
iti giitagovinde snigdhamadhusuudano naama chaturthaH sargaH
इति गीतगोविन्दे स्निग्धमधुसूदनो नाम चतुर्थः सर्गः
iti gītagovinde snigdhamadhusūdano nāma caturthaḥ sargaḥ
Thus, this is the 4th chapter, called Suavely Krishna in giita govindam of Jayadeva.
saakaanksha punDariikaaksham
Chapter [Sarga] 5 - Passionate Krishna
Introduction
Raadha's friend comes back to Raadha and narrates how Krishna is lovelorn as Raadha left abruptly. The poet dwells on 'anguish in separation' vipralambha shR^ingaara from the first chapter to tenth, and in eleventh and twelth he unifies the hero and heroine of the song. That mood of anguishful separation will be heightened from now on.
ahamiha nivasaami yaahi raadhaam
anunaya madvachanena chaanayethaaH |
iti madhuripuNaa sakhii niyuk.htaa
svayamidametya punarjagaada raadhaam || 5-1
words separated - aham iha nivasaami yaahi raadhaam anunaya mat vachanena aanayethaaH iti madhu ripuNaa sakhii niyuk.htaa svayam idam etya punaH jagaada raadhaam || 5-1
अहमिह निवसामि याहि राधाम्
अनुनय मद्वचनेन चानयेथाः।
इति मधुरिपुणा सखी नियुक्ता
स्वयमिदमेत्य पुनर्जगाद राधाम्॥ ५-१
ahamiha nivasāmi yāhi rādhām
anunaya madvacanena cānayethāḥ |
iti madhuripuṇā sakhī niyuktā
svayamidametya punarjagāda rādhām || 5-1
words separated - aham iha nivasāmi yāhi rādhām anunaya mat vacanena ānayethāḥ iti madhu ripuṇā sakhī niyuktā svayam idam etya punaḥ jagāda rādhām || 5-1
5-1. aham+iha+nivasaami= I will, here, remain; yaahi= you go; raadhaam+anunaya= Raadha, convince; mat+vachanena= my, by word [as I told to come here]; aanayethaaH= fetch [her]; iti= that way; madhu+ripuNaa= by Madhu, the demon's, enemy [Krishna]; sakhii + niyukhtaa = friend, assigned; svayam= in person; punaH+etya= again, having come back [to Raadha]; idam+jagaada+raadhaam= this, said, to Raadha.
When Krishna said to the girlfriend of Raadha this way, "I'll remain only at this bower, you go and convince Raadha, and tell her that I want her to come here..." then assigned by Krishna thus, she came back to Raadha and said this in person. [5-1]
aSTapadi 10 - harisamudayagaruDapadam -
vahati malayasamiire madanamupanidhaaya |
sphuTati kusumanikare virahihR^idayadalanaaya |
tava virahe vanamaalii sakhi siidati raadhe || 10-1 a pa
words separated - vahati malaya samiire madanam upa nidhaaya sphuTati kusuma nikare virahi
hR^idaya dalanaaya tava virahe vanamaalii sakhi siidati raadhe
अष्टपदि १० - हरिसमुदयगरुडपदम् -
वहति मलयसमीरे मदनमुपनिधाय।
स्फुटति कुसुमनिकरे विरहिहृदयदलनाय।
तव विरहे वनमाली सखि सीदति राधे॥ १०-१ अ प
aṣṭapadi 10 - harisamudayagaruḍapadam -
vahati malayasamīre madanamupanidhāya |
sphuṭati kusumanikare virahihṛdayadalanāya |
tava virahe vanamālī sakhi sīdati rādhe || 10-1 a pa
words separated - vahati malaya samīre madanam upa nidhāya sphuṭati kusuma nikare virahi
hṛdaya dalanāya tava virahe vanamālī sakhi sīdati rādhe
aSTapadi 10-1. sakhi+raadhe= oh, friend - dear, Raadha; malaya+samiire= in sandal, breeze; madanam= Love-god; upa+nidhaaya= nearby, keeping [keeping close to]; vahati [sati]= breezing [so to say]; kusuma+nikare= in flowers, bunches of; virahi+hR^idaya+ dalanaaya = estranged [people's,] hearts, ripping apart; sphuTati [sati]= unfolding [so to say] ; tava + virahe = for you, in pain of separation - lorn in your love; vanamaalii= one who wears leafy garland, Krishna; siidati= sinking down - listlessly longing for you; reprise: tava virahe vanamaalii sakhi siidati raadhe.
"hè, dear Raadha, keeping Love-god close to it the sandal-breeze is breezing there, and it is unfolding bunches of flowers, as though to rip the hearts of estranged lovers, and there alone that Krishna is listlessly longing for you, lorn in your love... [10-1 a pa]
dahati shishiramayuukhe maraNamanukaroti |
patati madanavishikhe vilapati vikalataro.ati || 10-2 a pa
words separated - dahati shishira mayuukhe maraNam anu karoti patati madana vishikhe vilapati vikala taraH ati
दहति शिशिरमयूखे मरणमनुकरोति।
पतति मदनविशिखे विलपति विकलतरोऽति॥ १०-२ अ प
dahati śiśiramayūkhe maraṇamanukaroti |
patati madanaviśikhe vilapati vikalataro'ti || 10-2 a pa
words separated - dahati śiśira mayūkhe maraṇam anu karoti patati madana viśikhe vilapati vikala taraḥ ati
a pa 10-2. shishira+mayuukhe= with coolant, moonbeams [by moon]; dahati+ [sati]= burning [while] ; maraNam+anu karoti= death, tagging along; madana+vishikhe= Love-god's, sharp arrows; patati [sati]= falling [while]; vikala+taraH= frantic, higher in degree - highly frantic; ati+vilapati= greatly, rueful; reprise.
"While the moon is burning him with his coolant moonbeams, he is tagging along the death-line, and while the sharp arrows of Love-god are falling on him, he is highly frantic and greatly rueful... thus, that Krishna is listlessly longing for you, lorn in your love... [10-2 a pa]
dhvanati madhupasamuuhe shravaNamapidadaati |
manasi valitavirahe nishi nishi rujamupayati || 10-3 a pa
words separated - dhvanati madhupa samuuhe shravaNam apidadhaati manasi valita virahe nishi nishi rujam upayati
ध्वनति मधुपसमूहे श्रवणमपिददाति।
मनसि वलितविरहे निशि निशि रुजमुपयति॥ १०-३ अ प
dhvanati madhupasamūhe śravaṇamapidadāti |
manasi valitavirahe niśi niśi rujamupayati || 10-3 a pa
words separated - dhvanati madhupa samūhe śravaṇam apidadhāti manasi valita virahe niśi niśi rujam upayati
a pa 10-3. madhupa+samuuhe= honeybees, swarms of; dhvanati [sati]= buzzes [while]; shravaNam = hearing [ears]; apidadhaati= keep lids [lids ears with palms]; manasi= in heart [come to mind]; valita, [kalita]= annoyance; virahe [sati]= parting [while in]; nishi+nishi= night, by night; rujam= pangs; upayaati= getting, [undergoing.]
"While swarms of honeybees start to buzz he lids his ears with palms, and while the annoyance of your parting comes to mind, night after night, he undergoes pangs of love... thus, that Krishna is listlessly longing for you, lorn in your love... [10-3 a pa]
vasati vipinavitaane tyajati lalitadhaama
luThati dharaNishayane bahu vilapati tava naama || 10-4 a pa
words separated - vasati vipina vitaane tyajati lalita dhaama luThati dharaNi shayane bahu vilapati tava naama
वसति विपिनविताने त्यजति ललितधाम
लुठति धरणिशयने बहु विलपति तव नाम॥ १०-४ अ प
vasati vipinavitāne tyajati lalitadhāma
luṭhati dharaṇiśayane bahu vilapati tava nāma || 10-4 a pa
words separated - vasati vipina vitāne tyajati lalita dhāma luṭhati dharaṇi śayane bahu vilapati tava nāma
a pa 10-4. [saH= he]; vasati= lingering; vipina+vitaane= woods, thicket of; tyajati= leaves off; lalita + dhaama= heat-pleasing, house; luThati= writhes; dharaNi+shayane= earth [sward,] on bed; bahu= in many [kinds]; vilapati= utters [descants]; tava+naama= your, name.
"Leaving off his heart-pleasing house he lingers in the thickets of woods, and writhing on the beds of swards, he descants on your name, many a time... thus, that Krishna is listlessly longing for you, lorn in your love... [10-4 a pa]
raNati pikasamavaaye pratidishamanuyaati |
hasati manujanicaye virahamapalapati neti || 10-5 a pa
words separated- raNati pika samavaaye prati disham anuyaati hasati manuja nicaye viraham apalapati na iti
रणति पिकसमवाये प्रतिदिशमनुयाति।
हसति मनुजनिचये विरहमपलपति नेति॥ १०-५ अ प
raṇati pikasamavāye pratidiśamanuyāti |
hasati manujanicaye virahamapalapati neti || 10-5 a pa
words separated- raṇati pika samavāye prati diśam anuyāti hasati manuja nicaye viraham apalapati na iti
a pa 10-5. pika+samavaaye= Kokila-s, flocks of; raNati [sati]= re-echoing [while]; prati+disham= to each direction; anuyaati= goes ahead [rushes]; manuja+nicaye= people, by lots; hasati [sati]= laughing at [while]; na= nothing; iti+viraham+apalapati= thus, pangs of love, conceals.
"While flocks of Kokila-s are re-echoing their singings, he rushes to each and every direction unable to listen those love-songs, and while lots of people laugh at him, for his mad-rush in love, he conceals his pangs of love saying thus as, 'nothing... nothing...' thus, that Krishna is listlessly longing for you, lorn in your love... [10-5 a pa]
sphurati kalaravaraave smarti maNitameva |
tavaratisukhavibhave gaNayati suguNamatiiva || 10-6 a pa
words separated - sphurati kalarava raave smarti maNitam eva tava rati sukha vibhave gaNayati suguNam atiiva
स्फुरति कलरवरावे स्मर्ति मणितमेव।
तवरतिसुखविभवे गणयति सुगुणमतीव॥ १०-६ अ प
sphurati kalaravarāve smarti maṇitameva |
tavaratisukhavibhave gaṇayati suguṇamatīva || 10-6 a pa
words separated - sphurati kalarava rāve smarti maṇitam eva tava rati sukha vibhave gaṇayati suguṇam atīva
a pa 10-6. kalarava+raave= pigeons, cooing; sphurati [sati]= coming to mind [while]; smarti= reminisces; maNitam+eva= love-murmurs, only; tava+rati+sukha= your, hymeneal, comfort; vibhave= in sublimity; gaNayati+suguNam+atiiva= reckons, excellent, highly.
"While the cooing of pigeons comes to his mind, he reminisces them only as love-murmurs, and he reckons the sublimity of hymeneal comfort with you, as highly excellent... thus, that Krishna is listlessly longing for you, lorn in your love... [10-6 a pa]
tvadabhidashubhamaasam vadati nari shR^iNoti |
tamapijapatisarasam yuvatiSu naratimupaiti || 10-7 a pa
words separated - tvat abhida shubha maasam vadati nari shR^iNoti tam api japati sarasam yuvatiSu na ratim upaiti
त्वदभिदशुभमासम् वदति नरि शृणोति।
तमपिजपतिसरसम् युवतिषु नरतिमुपैति॥ १०-७ अ प
tvadabhidaśubhamāsam vadati nari śṛṇoti |
tamapijapatisarasam yuvatiṣu naratimupaiti || 10-7 a pa
words separated - tvat abhida śubha māsam vadati nari śṛṇoti tam api japati sarasam yuvatiṣu na ratim upaiti
a pa 10-7. tvat= your; abhida= name having; shubha+maasam= auspicious, month; nari+vadati [sati]= people, speak of [while]; shR^iNoti= hearing; tam+api= that, even; sa+rasam+japati= with, aesthetic pleasure, reminisces; yuvatiSu+ratim= in [other] girls, interestedness; na+upaiti= not, getting.
"While people speak of the name of a month, similar to your name, he listens to it, and even reminisces that name with aesthetic pleasure, as he is now disinterested in other girls... thus, that Krishna is listlessly longing for you, lorn in your love... [10-7 a pa]
Comment: The month named after Raadha is Vishaakha, vaishaakhe maadhavo raadhaH 'Vishaakha is the name of Maadhava, or of Raadha [apart from that of a month...]'
bhaNati kavijayadeve virahivilasitena |
manasi rabhasavibhave harirudayatu sukR^itena || 10-8 a pa
words separated bhaNati kavi jayadeve virahi vilasitena manasi rabhasa vibhave hariH udayatu sukR^itena
भणति कविजयदेवे विरहिविलसितेन।
मनसि रभसविभवे हरिरुदयतु सुकृतेन॥ १०-८ अ प
bhaṇati kavijayadeve virahivilasitena |
manasi rabhasavibhave harirudayatu sukṛtena || 10-8 a pa
words separated bhaṇati kavi jayadeve virahi vilasitena manasi rabhasa vibhave hariḥ udayatu sukṛtena
a pa 10-8. kavi+jayadeve= poet, Jayadeva; virahi+vilasitena= passional frolics [of Krishna]; bhaNati [sati]= tells [while]; sukR^itena= by the merit [people]; rabhasa= enthusiasm [in devotion to Krishna]; vibhave= in that felicity; manasi+hariH+udayatu= in hearts, Krishna, let dawn.
While poet Jayadeva tells about the passional frolics of Krishna, let Krishna dawn in the hearts of merited people, by their own merit... [a pa 10-8]
Comment: The stanzas at 5, 6, and 7 do not appear in Mumbai, or in northern editions. As they are without eight sub-songs, this whole song is said to be an interpolation, to which southern versions further interpolate three sub-songs, as above.
puurvam yatra samam tvayaa ratipateraasaaditaH siddhayaH
tasminneva niku~Njamanmathamahaatiirthe punarmaadhavaH |
dhyaaya.nstvaamanisham japannapi tavaivaalaapama.ntraavaliim
bhuuyastvatkuchaku.mbhanirbharapariira.mbhaamR^itam vaa.nchhati || 5-3
words separated - puurvam yatra samam tvayaa ratipateH aasaaditaH siddhayaH tasmin eva niku~Nja manmatha mahaa tiirthe punaH maadhavaH dhyaayan tvaam anisham japan api tava eva alaapa ma.ntraavaliim bhuuyaH tvat kucha ku.mbha nirbhara pariira.mbha amR^itam vaa.ncChati || 5-3
पूर्वम् यत्र समम् त्वया रतिपतेरासादितः सिद्धयः
तस्मिन्नेव निकुङ्जमन्मथमहातीर्थे पुनर्माधवः।
ध्यायंस्त्वामनिशम् जपन्नपि तवैवालापमंत्रावलीम्
भूयस्त्वत्कुचकुंभनिर्भरपरीरंभामृतम् वांछति॥ ५-३
pūrvam yatra samam tvayā ratipaterāsāditaḥ siddhayaḥ
tasminneva nikuṅjamanmathamahātīrthe punarmādhavaḥ |
dhyāyaṁstvāmaniśam japannapi tavaivālāpamaṁtrāvalīm
bhūyastvatkucakuṁbhanirbharaparīraṁbhāmṛtam vāṁchati || 5-3
words separated - pūrvam yatra samam tvayā ratipateḥ āsāditaḥ siddhayaḥ tasmin eva nikuṅja manmatha mahā tīrthe punaḥ mādhavaḥ dhyāyan tvām aniśam japan api tava eva alāpa maṁtrāvalīm bhūyaḥ tvat kuca kuṁbha nirbhara parīraṁbha amṛtam vāṁcchati || 5-3
5-3. puurvam= earlier; yatra= where; samam [krishnena]+tvayaa= along with Krishna, by you; ratipateH= by Love-god; aasaaditaH+siddhayaH= reacquired, achievements; tasmin+eva= in there [bower, alone; niku~Nja= bower; manmatha+mahaa+tiirthe= Love-god, sacred, riverine [bower]; maadhavaH= Krishna; punaH= again; tvaam= about you; anisham= ceaselessly; dhyaayan= meditating ; tava + eva= your, only; alaapa= chatting; mantra+ aavaliim = chants, strings of; japan + api= chanting, even; bhuuyaH= again; tvat + kucha+ ku.mbha= your, bosoms, called pots; nirbhara+ pari ra.mbha = tight, embrace; amR^itam = called ambrosia, moksha; vaa.ncChati= he is desiring.
"Earlier, where you were with Krishna in a riverine bower on Yamuna River, where Love-god reacquired all his achievements through your conjugation, now Krishna is in that bower only, ceaselessly meditating only upon you, by making your words of chat as his strings of chants, and again desirous of moksha by a tight embrace of your pot-like ambrosial bosoms...
Comment: Whoever wants a final release meditates on far away place, preferably on a riverbank and in a bower, preferring solitude in ascesis. This is as said in manjuuSa: gR^ihe goSTana aaraama nadii naga sura aalaye | anugrahaat guroH siddiH shiighram syaat uttarottam 'in a solitary place, cowshed, forest, gardens, on riverbanks, seashore, in temples if hymns are chanted, one can attain his moksha, with the blessings of his teacher...' Here, Krishna is compared with a meditator, Raadha his goddess, her various chitchatting as hymns to her, and the finality of his meditation culminates in an embrace, which itself is moksha through supreme love.
aSTapadi 11 -saakaa.nksha pu.nDariikotkadhaa madhuram -
ratisukhasaare gatamabhisaare madanamanoharavesham |
na kuru nitambini gamanavila.mbanamanusara tam hR^idayesham |
gopii piinapayodharamardanaca.ncalakarayugashaalii |
dhiira samiire yamunaa tiire vasati vane vanamaalii - dhR^ivam || 11-1 a pa
words separated - rati sukha saare gatam abhisaare madana manohara vesham na kuru nitambini gamana vila.mbanam anusara tam hR^idaya iisham gopii piina payodhara mardana ca.ncala kara yuga shaalii dhiira samiire yamunaa tiire vasati vane vanamaalii
अष्टपदि ११ -साकांक्श पुंडरीकोत्कधा मधुरम् -
रतिसुखसारे गतमभिसारे मदनमनोहरवेशम्।
न कुरु नितम्बिनि गमनविलंबनमनुसर तम् हृदयेशम्।
गोपी पीनपयोधरमर्दनचंचलकरयुगशाली।
धीर समीरे यमुना तीरे वसति वने वनमाली - धृवम्॥ ११-१ अ प
aṣṭapadi 11 -sākāṁkśa puṁḍarīkotkadhā madhuram -
ratisukhasāre gatamabhisāre madanamanoharaveśam |
na kuru nitambini gamanavilaṁbanamanusara tam hṛdayeśam |
gopī pīnapayodharamardanacaṁcalakarayugaśālī |
dhīra samīre yamunā tīre vasati vane vanamālī - dhṛvam || 11-1 a pa
words separated - rati sukha sāre gatam abhisāre madana manohara veśam na kuru nitambini gamana vilaṁbanam anusara tam hṛdaya īśam gopī pīna payodhara mardana caṁcala kara yuga śālī dhīra samīre yamunā tīre vasati vane vanamālī
a pa 11-1. hè+nitambini= oh, high-hipped one, Raadha; rati+sukha+saare= [a place which has] connubial, blissful, quintessentially; abhisaare+gatam= in preset place, gone [available]; madana+ manohara+vesham= arousable, lovely [here, not like Love-god's getup, as he is formless to wear any getup; even if it is so, it is an inferior getup than that of Krishna ] heart-stealing, with mien [not getup, again]; na+kuru= don't, do; gamana+ vilambanam = in going, delay; anusara+tam+hR^idaya+iisham= follow, him, [your] heart's, lord; gopii= milk maids; piina+payodhara= bosomy, busts [hence the milkmaids are too cocky, with vanity]; mardana= [lexically] in massaging [or, manipulate, to engineer of, to artifice] ; ca.ncala= moving [active, or, have a sleight of hand]; kara+yuga+shaalii= hands, a couple of, having; dhiira+ samiire= in gentle, wind [breezy]; yamunaa + tiire= on Yamuna, riverbank; vasati+ vane= located in [lingering in,] garden; vanamaalii = one who wears leafy garland, Krishna.
"Oh, high-hipped Raadha, he is available in that preset place, a quintessentially blissful place for connubial bliss, with his lovely and heart-stealing mien, hence follow the lord of your heart, who alone has a couple of hands that have a selight of hand to engineer the busty bosoms of milkmaids of their vanity... don't linger to go... for Krishna is lingering in that breezy garden on that riverbank of Yamuna... [a pa 11-1]
naamasametamkR^itasa.nketamvaadayatemR^iduveNum |
bahumanutenanutetanusa.ngatapavanachalitamapireNum || 11-2 a pa
words separated - naama sametam kR^ita sa.nketam vaadayate mR^idu veNum bahu manute nanu te tanu sa.ngata pavana chalitam api reNum
नामसमेतम्कृतसंकेतम्वादयतेमृदुवेणुम्।
बहुमनुतेननुतेतनुसंगतपवनचलितमपिरेणुम्॥ ११-२ अ प
nāmasametamkṛtasaṁketamvādayatemṛduveṇum |
bahumanutenanutetanusaṁgatapavanacalitamapireṇum || 11-2 a pa
words separated - nāma sametam kṛta saṁketam vādayate mṛdu veṇum bahu manute nanu te tanu saṁgata pavana calitam api reṇum
a pa 11-2. hè+Raadhe; te+naama+sametam= your, name, coupled with [while fluting he uses your names as lyrics, and that flute sings 'ha, Raadha, 'o, beauty, o, goddess of love etc]; kR^ita+ sa.nketam = made, indication [he made an indication to bring to that preset bower where he will be fluting; or, kR^ita + sa.nketam+vaadayate+mR^idu+veNum= to make, indication, he plays, softly; [he indicates his place of tarrying with his soft fluting]; nanu= definitely; te+tanu+sa.ngata= to your, body, attached; pavana+ chalitam +api+reNum= by air, moved, even, particle [of pollen etc]; bahu+manute [aalingane]= highly, dotes on, [to embrace.]
"O, Raadha, he uses your lyrical names in his fluting, he indicates himself with such a soft fluting, he dotes on to embrace any particle of pollen on your body, when wafted by air to his near, then why harping about your embrace... [a pa 11-2]
patatipatatrevichalatipatreshankitabhavadupayaanam |
rachayatishayanamsachakitanayanampashyatitavapanthaanam || 11-3 a pa
words separated - patati patatre vichalati patre shanita bhavat upa yaanam rachayati shayanam sa chakita nayanam pashyati tava pa.nthaanam
पततिपतत्रेविचलतिपत्रेशन्कितभवदुपयानम्।
रचयतिशयनम्सचकितनयनम्पश्यतितवपन्थानम्॥ ११-३ अ प
patatipatatrevicalatipatreśankitabhavadupayānam |
racayatiśayanamsacakitanayanampaśyatitavapanthānam || 11-3 a pa
words separated - patati patatre vicalati patre śanita bhavat upa yānam racayati śayanam sa cakita nayanam paśyati tava paṁthānam
a pa 11-3. patatre= wing [of bird]; patati= while falling, flapping; patre+vichalati= leaves, while rustling; shankita= in suspense; bhavat+upa+yaanam= your, nearby, arrival; rachayati+shayanam= makes, [leafy] bed; sa+chakita+nayanam= with, flustered, eyes; pashyati+tava+pa.nthaanam= looks about, your, path [of arrival.]
"When wings of birds flap, or when leaves of trees rustle, he prepares a leafy bed suspenseful of your drawing nigh, and with flustered eyes he looks about your path of arrival... [a pa 11-3]
mukharamadhiiram tyaja manjiiram ripumiva keliSulolam |
chala sakhi kunjam satimirapu.njam shiilaya niilanicholam || 11-4 a pa
words separated - mukharam adhiiram tyaja manjiiram ripum iva keliSu lolam chala sakhi kunjam sa timira pu.njam shiilaya niila nicholam
मुखरमधीरम् त्यज मन्जीरम् रिपुमिव केलिषुलोलम्।
चल सखि कुन्जम् सतिमिरपुंजम् शीलय नीलनिचोलम्॥ ११-४ अ प
mukharamadhīram tyaja manjīram ripumiva keliṣulolam |
cala sakhi kunjam satimirapuṁjam śīlaya nīlanicolam || 11-4 a pa
words separated - mukharam adhīram tyaja manjīram ripum iva keliṣu lolam cala sakhi kunjam sa timira puṁjam śīlaya nīla nicolam
a pa 11-4. hè sakhii= o, friend; keliSu= in disports [of courtship]; lolam= moving [bumping; adhiiram + mukharam= highly, jangling - dissonant; manjiiram= solid anklets; ripum+iva= enemy, like; tyaja= discard; sa+timira+pu.njam+kunjam= with, darkness, shades, to bower; chala= start; niila+ nicholam + shiilaya= black, shawl, wear.
"O, Raadha, discard your solid silver anklets like your enemy, as they will be highly dissonant when they are bumping in disports of courtship, but wear a blackish shawl, and start towards that darkly shady bower... [a pa 11-4]
urasimuraarerupahitahaareghanaivataralabalaake |
taTidivapiiterativipariiteraajasisukR^itavipaake || 11-5 a pa
words separated - urasi muraareH upahita haare ghana iva tarala balaake taTit iva piite rati vipariite raajasi sukR^ita vipaake
उरसिमुरारेरुपहितहारेघनैवतरलबलाके।
तटिदिवपीतेरतिविपरीतेराजसिसुकृतविपाके॥ ११-५ अ प
urasimurārerupahitahāreghanaivataralabalāke |
taṭidivapīterativiparīterājasisukṛtavipāke || 11-5 a pa
words separated - urasi murāreḥ upahita hāre ghana iva tarala balāke taṭit iva pīte rati viparīte rājasi sukṛta vipāke
a pa 11-5. hè+piite= o, yellowy girl; [tvam= you]; sukR^ita+vipaake= on [your] merit, fructifying; rati+vipariite= love's foreplay; upahita+haare= having, pearly pendants; tarala+balaake= flittering, cranes; ghana+iva= cloud, like [cloudy, unclear, un-understandable Krishna, cf. prajnaanam ghana eva; sthite = existing]; muraareH+urasi= Krishna's, on chest; taTit+iva+ raajasi= streak of lightning, alike, you will beam forth.
"O, yellowy-golden Raadha, when you will be in foreplay with him, then your pearly pendants will be dangling on the cloudlike chest of Krishna, like flittering flights of cranes on a cloud, then you will beam forth like a streak of lightning on that cloudy Krishna, if only your merit fructifies... [a pa 11-5]
Comment: Here Raadha is said to be goldenly yellow indicating the initially yellowish lightings piitaa varSaaya vij~neyaa on an all-giving cloudlike Krishna. Though other comparison in similes, - 'cloud-Krishna's chest, pearl strings-cranes rows, golden Raadha- golden lightning' are agreeable some hold objection in their placement. The lightning will be above clouds, and cranes will be below clouds. Here Krishna is below, over whom pendants are dangling, above which Raadha is beaming forth like lightning. Even then it is replied that the cranes are above the lowered cloud, called Krishna, who is lowering himself for a devotee, then Raadha is shining forth above those two obects - upraised is her personality. It is then abhuuta upama, as Poet Dandi said: sarva padma prabhaa saaraH samaahR^ita iva kvacit | tava aananam vibhaati it taam abhuuta upamaam viduH 'o, beauty, you face is shining forth as though it has the collection of all the resplendence of all lotuses...'
Or, this can be explained as, tarala - cancala - flirtatious; balaake= coquettish girl; as said in shaashvata nighaNtu 'an everlasting lexicon' balaakaa baka panktantau syaat balaakaa bisa kaNThikaa, balaakaa kaamukii proktaa balaakaa ravako mataH meaning 'oh, Raadha, you can outdo Krishna, who is an embodiment of millions and millions of Love-gods, if only you can youself place yourself on his chest, then only your merit fructifies...'
vigalitavasanam parihR^itarasanam ghaTaya jaghanamapidhaanam |
kisalayashayane paN^kajanayane nidhimiva harSanidaanam || 11-6 a pa
words separated - vigalita vasanam parihR^ita rasanam ghaTaya jaghanam apidhaanam kisalaya shayane pankaja nayane nidhim iva harSa nidaanam
विगलितवसनम् परिहृतरसनम् घटय जघनमपिधानम्।
किसलयशयने पङ्कजनयने निधिमिव हर्षनिदानम्॥ ११-६ अ प
vigalitavasanam parihṛtarasanam ghaṭaya jaghanamapidhānam |
kisalayaśayane paṅkajanayane nidhimiva harṣanidānam || 11-6 a pa
words separated - vigalita vasanam parihṛta rasanam ghaṭaya jaghanam apidhānam kisalaya śayane pankaja nayane nidhim iva harṣa nidānam
a pa 11-6. hè+pankaja+nayane= o, lotus-petal, eyed one; vigalita+vasanam= slither down, clothing parihR^ita+rasanam [rashanaanam]= stolen [snaked,] waist-strings; [on their own, not divested herself ]; [vinaa= without]; apidhaanam+jaghanam= covering, on hips; harSa+nidaanam= for bliss, primary source; nidhim+iva= treasure trove, like; kisalaya+shayane= on tender leaves, bed of; ghaTaya= treasure up.
"O, lotus-petal-eyed Raadha, if you eye him, who is an aggregate of all kinds of love, your clothing slithers down, waist-string sneaks out, your hips will be shorn of any covering on their own, then why don't you treasure up your body, the primary source of bliss, on a bed of tender leaves, like a treasure trove... [a pa 11-6]
Comment: Here a repeat of idea said at a pa 6-2, in Ch. 2 is there. The dress and peripherals peel off on their own in ecstasy, may it be in love or madness.
harirabhimaaniirajaniridaaniimiyamapiyaativiraamam |
kurumamavachanamsatvararachanampuurayamadhuripukaamam || 11-7 a pa
words separated - hariH abhimaanii rajaniH idaaniim iyam api yaati viraamam kuru mama vachanam sa tvara rachanam puuraya madhu ripu kaamam
हरिरभिमानीरजनिरिदानीमियमपियातिविरामम्।
कुरुममवचनम्सत्वररचनम्पूरयमधुरिपुकामम्॥ ११-७ अ प
harirabhimānīrajaniridānīmiyamapiyātivirāmam |
kurumamavacanamsatvararacanampūrayamadhuripukāmam || 11-7 a pa
words separated - hariḥ abhimānī rajaniḥ idānīm iyam api yāti virāmam kuru mama vacanam sa tvara racanam pūraya madhu ripu kāmam
a pa 11-7. hariH+abhimaanii= Krishna, self-respecting boy [lest, he may depart concluding that you disgraced him]; idaaniim= now; iyam+rajaniH+api= this, night, even; yaati+viraamam= slips by, to its cessation; sa+tvara= with, haste; rachanam= artful [words of mine]; kuru+mama+vachanam= make happen, my, words; madhu+ripu= demon Madhu's, enemy - Krishna's; kaamam+puuraya= desire, fulfil.
"On one hand Krishna is a self-respectful one and on the other now this night is slipping by to it cessation, make happen my words that are artful in hastening you, thus let Krishna's be fulfilled... there Krishna is listlessly longing for you, lorn in your love... [10-7 a pa]
shriijayadeve kR^itahariseve bhaNati paramaramaNiiyam |
pramuditahR^idayam harimatisadayam namata sukR^itakamaniiyam || 11-8 a pa
words separated - shrii jayadeve kR^ita hari seve bhaNati parama ramaNiiyam pramudita hR^idayam harim ati sadayam namata sukR^ita kamaniiyam
श्रीजयदेवे कृतहरिसेवे भणति परमरमणीयम्।
प्रमुदितहृदयम् हरिमतिसदयम् नमत सुकृतकमनीयम्॥ ११-८ अ प
śrījayadeve kṛtahariseve bhaṇati paramaramaṇīyam |
pramuditahṛdayam harimatisadayam namata sukṛtakamanīyam || 11-8 a pa
words separated - śrī jayadeve kṛta hari seve bhaṇati parama ramaṇīyam pramudita hṛdayam harim ati sadayam namata sukṛta kamanīyam
a pa 11-8. kR^ita= on making; shrii+hari= Shri Krishna's; seve= service [on worshipping]; jayadeve= by Jayadeva; parama+ramaNiiyam= highly, pleasant; bhaNati= is being said; ati+sadayam= highly, graceful one; sukR^ita+kamaniiyam= by merit, desirable one; harim= at Krishna; pramudita+ hR^idayam [yathaa tathaa]= gladdening, [his] heart [as it were]; namata= bow down before [adore.]
On worshipping Shri Krishna, Jayadeva is saying this highly pleasant poem on that highly graceful one, and one desirable by our merit, and thus oh, devotees, adore Krishna, only to gladden his heart... [a pa 11-8]
vikirati muhuH shvaasaandishaaH puro muhuriikshate
pravishati muhuH ku.nja.mgu.njanmuhurbahu taamyati |
rachayati muhuH shayyaa.mparyaakulaMmuhuriikshate
madanakadanaklaantaH kaante priyastava var.htate || 5-5
words separated - vikirati muhuH shvaasaan dishaaH puraH muhuH iikshate pravishati muhuH ku.njam gu.njan muhuH bahu taamyati rachayati muhuH shayyaam paryaakulam muhuH iikshate madana kadana klaantaH kaante priyaH tava vartate
विकिरति मुहुः श्वासान्दिशाः पुरो मुहुरीक्शते
प्रविशति मुहुः कुंजंगुंजन्मुहुर्बहु ताम्यति।
रचयति मुहुः शय्यांपर्याकुलंमुहुरीक्शते
मदनकदनक्लान्तः कान्ते प्रियस्तव वर्तते॥ ५-५
vikirati muhuḥ śvāsāndiśāḥ puro muhurīkśate
praviśati muhuḥ kuṁjaṁguṁjanmuhurbahu tāmyati |
racayati muhuḥ śayyāṁparyākulaṁmuhurīkśate
madanakadanaklāntaḥ kānte priyastava vartate || 5-5
words separated - vikirati muhuḥ śvāsān diśāḥ puraḥ muhuḥ īkśate praviśati muhuḥ kuṁjam guṁjan muhuḥ bahu tāmyati racayati muhuḥ śayyām paryākulam muhuḥ īkśate madana kadana klāntaḥ kānte priyaḥ tava vartate
5-5. hè+kaante= o, desirable one, Raadha; tava+priya= your, lover; vikirati+shvaasaan + muhuH= strews, sighs, oftentimes; puraH+dishaaH+iikshate+muhuH= in his fore, directions, look about, often; muhuH + pravishati+gu.njan+ku.njam= often, enters, buzzing, bowers; muhuH+bahu+ taamyati= often, highly, scorching [in love]; muhuH+rachayati+ shayyaam= often, makes, bed; muhuH+ paryaakulam+ iikshate= often, bewilderedly, looks over; tava+priyaH+vartate= your, lover, deports himself; madana+ kadana + klaantaH= love's, in war, worsted.
"O, Raadha, your lover bestrews his sighs oftentimes as you are unapparent, he often looks about frontally in all directions for your reappearance unceasingly, and often enters buzzing bowers presuming that you are hidden in them unobservedly, often highly scorched by love-heat, he often prepares leafy love-beds unprofitably, and he often looks over all the directions unforgettably, thus your lover now deports himself, worsted in the war of love... [5-5]
tvadvaamyena sama.msamagramadhunaa tigmaa.nshurasta.mgato
govindasya manorathena cha sama.mpraapta.mtamaH saandrataam |
kokaanaa.mkaruNasvanena sadR^ishii diirghaa madabhyarthanaa
tanmugdhe viphala.mvilambanamasau ramyo.abhisaarakshaNaH || 5-6
words separated - tvat vaamyena samam samagram adhunaa tigmaa.nshuH astam gataH govindasya manorathena cha samam praaptam tamaH saandrataam kokaanaam karuNa svanena sadR^ishii diirghaa mat abhyarthanaa tat mugdhe viphalam vilambanam asau ramyaH abhisaara kshaNaH
त्वद्वाम्येन समंसमग्रमधुना तिग्मांशुरस्तंगतो
गोविन्दस्य मनोरथेन च समंप्राप्तंतमः सान्द्रताम्।
कोकानांकरुणस्वनेन सदृशी दीर्घा मदभ्यर्थना
तन्मुग्धे विफलंविलम्बनमसौ रम्योऽभिसारक्शणः॥ ५-६
tvadvāmyena samaṁsamagramadhunā tigmāṁśurastaṁgato
govindasya manorathena ca samaṁprāptaṁtamaḥ sāndratām |
kokānāṁkaruṇasvanena sadṛśī dīrghā madabhyarthanā
tanmugdhe viphalaṁvilambanamasau ramyo'bhisārakśaṇaḥ || 5-6
words separated - tvat vāmyena samam samagram adhunā tigmāṁśuḥ astam gataḥ govindasya manorathena ca samam prāptam tamaḥ sāndratām kokānām karuṇa svanena sadṛśī dīrghā mat abhyarthanā tat mugdhe viphalam vilambanam asau ramyaḥ abhisāra kśaṇaḥ
5-6. mugdhe= you, missy Raadha; tvat+vaamyena= your, awry, misgivings; [or, in other mms: tvat baapSpena= with your tears - as you are tearless ; tvat vaakyena= with your speech - as you are speechless]; samam= matching to; samagram= completely; adhunaa = now; tigma+anshuH= one with scorching, sunrays - sun; astam+gataH= in to dusk, went; govindasya + manorathena +cha= Govinda-s, with passion, also; samam= matching; praaptam + tamaH+saandrataam= gaining, to darkness, density; diirghaa+mat+abhyarthanaa= prolonged, my, entreaty; kokaanaam+karuNa+ svanena = Cakravaka birds', pathetic, callings ; sadR^ishii [aabhuut]= matching [became]; tat= thereby; viphalam= wasteful; vilambanam= delaying; asau+abhisaara+kshaNaH= this, going to preset place, moment; ramyaH= will be delightful, enjoyable.
"You missy Raadha, matching to your fading misgivings the scorching sun is now dusking, matching to the densely passion of Krishna the darkness is gaining density, matching to the pathetic callings of Cakravaka-s, the lovebirds, my entreaties are prolonged... thereby wasteful is this delaying, and enjoyable is this moment in going to the preset place of love... [5-6]
saa maam drakshyati vakshyati smarakathaam pratya~Ngamaali.nganaiH
priitim yaasyati ra.msyate sakhi samaagatyeti chi.ntaakulaH |
sa tvaam pashyati vepate pulakayatyaana.ndati svedyati
pratyudgacChati muur.hcChati sthiratamaHpu.nje niku.nje sthitaH || 5-7
words separated - saa maam drakshyati vakshyati smara kathaam pratya~Ngam aali.nganaiH priitim yaasyati ra.msyate sakhi samaagatya iti chi.ntaakulaH sa tvaam pashyati vepate pulakayati aana.ndati svedyati pratyudgacChati muur.hcChati sthira tamaH pu.nje niku.nje sthitaH
सा माम् द्रक्श्यति वक्श्यति स्मरकथाम् प्रत्यङ्गमालिंगनैः
प्रीतिम् यास्यति रंस्यते सखि समागत्येति चिंताकुलः।
स त्वाम् पश्यति वेपते पुलकयत्यानंदति स्वेद्यति
प्रत्युद्गच्छति मूर्च्छति स्थिरतमःपुंजे निकुंजे स्थितः॥ ५-७
sā mām drakśyati vakśyati smarakathām pratyaṅgamāliṁganaiḥ
prītim yāsyati raṁsyate sakhi samāgatyeti ciṁtākulaḥ |
sa tvām paśyati vepate pulakayatyānaṁdati svedyati
pratyudgacchati mūrcchati sthiratamaḥpuṁje nikuṁje sthitaḥ || 5-7
words separated - sā mām drakśyati vakśyati smara kathām pratyaṅgam āliṁganaiḥ prītim yāsyati raṁsyate sakhi samāgatya iti ciṁtākulaḥ sa tvām paśyati vepate pulakayati ānaṁdati svedyati pratyudgacchati mūrcchati sthira tamaḥ puṁje nikuṁje sthitaḥ
5-7. hè+sakhi= o, friend; saH= he; sthitaH= while staying; sthira+tamaH+pu.nje+ nikunje = thick, dark, shaded, in bower; saa+samaagatya= she, on coming closely; maam+ drakshyati= me, she sees; vakshyati+smara+kathaam= says, love [pangs',] stories; prati+ a~Ngam+aali.nganaiH= each, limb, when hugged; priitim+yaasyati= delight, she goes into; ra.msyate= disports; iti [cintayan]= this way, [while thinking]; chi.nta+aakulaH= anxiously, agitated; tvaam= at you; pashyati= sees, awaits vepate= shudders; pulakayati= thrills; svedyati= sweats; aana.ndati= gladdens; pratyudgacChati= goes forward; muurcChati= nonplussed.
"O, friend, he staying in a bower filled with thick dark shades thinks, 'she draws nigh of me, sees me, tells stories of her love-pangs, hugging every limb of mine she goes into delight, thus she disports with me...' and this way he is anxiously agitated, hence he shudders for his aloneness, but thrills for your expected arrival, again sweats for it is darkening, but gladdens to go forward to welcome you, again he becomes nonplussed for your absence... [5-7]
Comment: This verse will be placed as 2nd verse in 11 chapter of this work in other mms. Even then the meaning would be the same, but this characterisation then belongs to Raadha.
aashleShaadanu chu.mbanaadanu nakhollekhaadanu svaantaja
prodbodhaadanu sa.mbhramaadanu rataara.mbhaadanu priitayoH |
anyaarthamgatayorbhramaanmilitayoH sambhaaSaNairjaanato
rdampatyoriha ko na ko na tamasi vriiDaavimishro rasaH || 5-8
words separated - aashleShaat anu chu.mbanaat anu nakha ullekhaat anu svaanta ja pra udbodhaat anu sa.mbhramaat anu rataara.mbhaat anu priitayoH anya artham gatayoH bhramaat militayoH sambhaaSaNaiH jaanatoH dampatyoH iha ko na ko na tamasi vriiDaa vimishraH rasaH
आश्लेषादनु चुंबनादनु नखोल्लेखादनु स्वान्तज
प्रोद्बोधादनु संभ्रमादनु रतारंभादनु प्रीतयोः।
अन्यार्थम्गतयोर्भ्रमान्मिलितयोः सम्भाषणैर्जानतो
र्दम्पत्योरिह को न को न तमसि व्रीडाविमिश्रो रसः॥ ५-८
āśleṣādanu cuṁbanādanu nakhollekhādanu svāntaja
prodbodhādanu saṁbhramādanu ratāraṁbhādanu prītayoḥ |
anyārthamgatayorbhramānmilitayoḥ sambhāṣaṇairjānato
rdampatyoriha ko na ko na tamasi vrīḍāvimiśro rasaḥ || 5-8
words separated - āśleṣāt anu cuṁbanāt anu nakha ullekhāt anu svānta ja pra udbodhāt anu saṁbhramāt anu ratāraṁbhāt anu prītayoḥ anya artham gatayoḥ bhramāt militayoḥ sambhāṣaṇaiḥ jānatoḥ dampatyoḥ iha ko na ko na tamasi vrīḍā vimiśraḥ rasaḥ
5-8. aashleShaat= [firstly] by hugging; anu= next; chu.mbanaat= from kissing; anu= next; nakha+ ullekhaat= with nail, writing [scratches] anu= next; svaanta+ja= with mind, born [desires]; pra+ udbodhaat = clearly, instructed [highly excited]; anu= next; sam bhramaat= with excitement; anu= next; rataara.mbhaat= with foreplay; anu+priitayoH= step by step, [transport into[ blissfulness; anyaa+ artham = for other, [love mates] aiming at; gatayoH= those [lovers] who have gone; bhramaat = on meandering [in those and those bowers]; militayoH= meeting [again]; sambhaaSaNaiH= by conversations [in which man talks about another woman, and woman talks about another man]; jaanatoH= on knowing [that, is this my wife - is this my husband]; dampatyoH= by couples; vriiDaa+ vi+mishraH= with shame, well, mixed; rasaH= aesthetic pleasure; iha= here; tamasi= in such dark nights; kaH+na= what is, null; kaH+na= what is, void [in the negative - everything is enjoyment in aesthetic pleasure.]
"In these dark nights libertine couples start meandering in still darker bowers for their cherished lovers, but unwittingly one meets one's own wife/husband, and then their escapade firstly starts with hugging, next with kissing, next with nail scratching, next highly excited by excitement and desire they enter into foreplay, and then step by step they culminate it into their conjugal bliss... after that when they converse, he comes to know that she is his wife, and she comes to know likewise... and caught unawares, they mix that bliss in shame and depart shamefully, nil desperandum... and in such passsional nights, aesthetic pleasure seeking is null and void - Really? [5-8]
Comment: Jayadeva is less sung for his 'treatise on aesthetic pleasures' - rasa siddhaanta and Dr. Raj Brahmbhatt in his 'History of Sexual Medicine' says, Ratimanjari 'the garland of love - is the work of poet Jayadeva. This treatise is very short, written in an elegant style...' It is said that this song contains, though not all of the nine, but many rasa-s moods. Firstly by hugging, a sort of 'fear' is occurring bhaya sthaayii bhaava - bhayaanaka rasa because it is a stealthy hugging. Next, after coaxing and combing, kissing and scratching is started, hence she should be in a pitiable mood, as the woman in question will almost be departing confusedly but dragged forcefully by that man. Then should be crying, as she does not know who is doing what. Hence it is - 'piteous mood' karuNa rasa. Then, on entering into foreplay an enthusiastic bravery viira rasa bechances. Then, during that enjoyment, an astonishment is caused vismaya saha cari - adbhuta rasa, which leads to contented smiling, which gives rise even to laughter. It is haasa sahita haasya rasa.
This verse opens with the very words and the step-by-step eightfold enjoyment, as Bharata says in naaTya shaastra: aaSleSa cumbana nakha kshata kaama bodha shiighratva maithunam ananta mukha prabodham | priitiH tato api rasa bhaavanam eva kaaryam evam nitaanta caturaaH suciram ramante || . Of course, there is opposition to the eightfold course of enjoyment, but it is negated, taking the saying of aesthetician called Rudra iirSyaa kula striiSu na naayakasya niH shanka keliH na paraa anganaasu 'jealousy in a chaste woman, men's unrestrained indulgence in other's women are taboos...'
All this is for licentious human couples, but not in respect of higher gods or lower animals, because humans alone can enjoy aesthetic pleasure rasa aasvaadana, which facility is nonexistent in others kinds of existence. And here Raadha's friend is quoting from her human experience, and through Jayadeva's poetic expertise. So, nothing can be ascribed to role-players like nonexistent poetic characters, or those with supra existence, i.e., divine couple. This is only to remind the poetic ability of Jayadeva.
sabhayachakitam.hvinyasyantiim.hdR^ishautimirepathi
pratitaru muhuH sthitvaa mandam.hpadaani vitanvatiim |
kathamapi rahaH praaptaama~Ngairana~Ngatara~NgibhiH
sumukhi subhagaH pashyansatvaamupaitu kR^itaarthataam || 5-9
words separated - sa bhaya chakitam vinyasyantiim dR^ishau timire pathi prati taru muhuH sthitvaa mandam padaani vitanvatiim katham api rahaH praaptaam angaiH ananga tarangibhiH sumukhi subhagaH pashyan saH tvaam upaitu kR^itaarthataam
सभयचकितम्विन्यस्यन्तीम्दृशौतिमिरेपथि
प्रतितरु मुहुः स्थित्वा मन्दम्पदानि वितन्वतीम्।
कथमपि रहः प्राप्तामङ्गैरनङ्गतरङ्गिभिः
सुमुखि सुभगः पश्यन्सत्वामुपैतु कृतार्थताम्॥ ५-९
sabhayacakitamvinyasyantīmdṛśautimirepathi
pratitaru muhuḥ sthitvā mandampadāni vitanvatīm |
kathamapi rahaḥ prāptāmaṅgairanaṅgataraṅgibhiḥ
sumukhi subhagaḥ paśyansatvāmupaitu kṛtārthatām || 5-9
words separated - sa bhaya cakitam vinyasyantīm dṛśau timire pathi prati taru muhuḥ sthitvā mandam padāni vitanvatīm katham api rahaḥ prāptām angaiḥ ananga tarangibhiḥ sumukhi subhagaḥ paśyan saḥ tvām upaitu kṛtārthatām
5-9. su+mukhi= oh, pretty, faced one, Raadha; su+bhagaH= highly desirable one Krishna [subhaga= a youthful, mannish eligible youngster, muchly desirable by all girls of age - say, a prince charming]; saH= he that Krishna; bhaya+chakitam= by fear, wincing; dR^ishau= looks; timire= in darkness; pathi= on pathway; vinyasyantiim= she who is keeping [keep an eye on, watchfully, or, dancers' stage searching like stage walking]; prati+taru+ muhuH + sthitvaa= every, tree, at foot, on staying awhile [unable to run or rush due to weight of bust or bums]; mandam+padaani+vitanvatiim= slowly [not slowly, but gracefully,] feet, placing [dancer's footwork is suggested, and a graceful lady is not supposed to rush to her man, lest he may mistake her for a strumpet; ananga+tarangibhiH+angaiH= Love-god's, weaves limbs [her limbs are nothing but the passional tiderips of a sea called Love-god]; katham+api= somehow, even [somehow veiling herself with black cloths, some how treading unseen by others, somehow made up her mind to go to him, at least now]; rahaH+praaptaam = in secrecy, he who chanced [to meet you]; tvaam+pashyan= you, on seeing [seeing you in darkness! Absurd? No, explained later]; kR^ita+arthataam+upaitu= achive, purpose [consummation,] let him achieve.
"O, pretty-faced Raadha, Krishna being an unique Prince Charming, will find you out, while you advance to him casting your fearful glances wincingly on your unenlightened path, walking gracefully on that indiscernibly darkened pathway, watching your own step, and while pausing awhile at every foot of a tree, either by your hesitation, or by your graceful footwork, and you with passional tiderips like limbs of yours, if you somehow reach him, even if in unknowable secrecy, even if it is an unknown darkness, he certainly sees you, and let him achieve that consummation on your reaching him...
Comment: the philo-ing giita govindam is avowedly not taken up in this work; but it is to be incorporated induced by the itching commentaries. This has two shades. One belongs dancers and the other to devotees. Keeping dancers side away for a while, on devotee's side it is like this. Krishna has not come to Raadha but asked her friend to fetch her to him, only to examine her devotedness. That being so, here it is said, 'he sees you...' taking the word dR^ishau and the root for this word is dR^ishi meaning 'discern' vivakshita j~naana arthakatvam a kind of gnosis... 'You can 'Gnosticise' him and he does the same, if only you come into union with him, first psychically, then bodily. To achieve that you have to fearfully wince you glances in searching for him in the wild darkness of unenlightened state. You have to tread an unenlightened path, where unenlightened path is - physically a darksome way, and in the sense 'give spiritual insight to (a person)...' you have to have your own enlightenment to search for him in the dark... you have watch your step otherwise you may misstep, pause it at each tree of knowledge to learn more about that object you search... and then you should have a graceful footwork, lest your running, rushing, and racing will appear as your greediness and it would result into futility... this is as far as spiritual mind is concerned - ahamta I-ness'. Then all your bodily limbs, for whose passional tiderips sake you are staging all this drama, they shall be surrendered unto him, and let them merge into one colliding tiderip called universal love. Much more is there, but leave it as it may. Here ends the 5th chapter in northern mms. Southerners have another verse as below.
raadhaamugdhamukhaaravindamadhupasstrailokyamaulisthalii
nepathyocitaniilaratnamavaniibhaaraavataaraa.ntakaH |
svacChanda.mvrajasu.ndariijanamanastoSapradoSodayaH
ka.msadhva.msanadhuumaketuravatutvaamdevakiina.ndanaH || 5-10
words separated - raadhaa mugdha mukha aravinda madhupaH trailokya mauli sthalii nepathya ucita niila ratnam avanii bhaara avataara a.ntakaH svacChandam vraja su.ndarii jana manaH toSa pradoSa udayaH ka.msa dhva.msana dhuumaketuH avatu tvaam devakii na.ndanaH
राधामुग्धमुखारविन्दमधुपस्स्त्रैलोक्यमौलिस्थली
नेपथ्योचितनीलरत्नमवनीभारावतारांतकः।
स्वच्छन्दंव्रजसुंदरीजनमनस्तोषप्रदोषोदयः
कंसध्वंसनधूमकेतुरवतुत्वाम्देवकीनंदनः॥ ५-१०
rādhāmugdhamukhāravindamadhupasstrailokyamaulisthalī
nepathyocitanīlaratnamavanībhārāvatārāṁtakaḥ |
svacchandaṁvrajasuṁdarījanamanastoṣapradoṣodayaḥ
kaṁsadhvaṁsanadhūmaketuravatutvāmdevakīnaṁdanaḥ || 5-10
words separated - rādhā mugdha mukha aravinda madhupaḥ trailokya mauli sthalī nepathya ucita nīla ratnam avanī bhāra avatāra aṁtakaḥ svacchandam vraja suṁdarī jana manaḥ toṣa pradoṣa udayaḥ kaṁsa dhvaṁsana dhūmaketuḥ avatu tvām devakī naṁdanaḥ
5-10. raadhaa= Raadha's; mugdha+mukha+aravinda= comely, face, lotus [like]; madhupaH = he is a honeybee; trailokya= belonging to triad of words [for all people and their kings]; mauli+sthalii= at head, place [at crown place]; nepathya= as background [as an ornament, jewel]; ucita= befitting [decorative]; niila+ratnam= blue, diamond [sapphire]; avanii+bhaara= for earth, a burden; avataara= incarnate [Shishupaala etc., self-conceited ones]; a.ntakaH= remover; svacChandam= blithely; vraja+su.ndarii+jana = Brindavan, beauties, folks [milkmaids]; manaH+toSa= hearts, he who gladdened; pradoSa= crepuscle [crepuscular Zool. appearing or active in twilight., so a crepuscular gloaming] gloaming; udayaH= dawning; ka.msa= Kamsa's; dhva.msana= in destroying; dhuuma ketuH= comet; devakii+na.ndanaH= Devaki, delighter; avatu+ tvaam= grace, you [you all listeners, besides Raadha.]
He who is the honeybee hovering on the lotus called the comely face of Raadha, he who is a decorative sapphirine jewel at the helm of crowns of all people and their kings in the triad of worlds, he who is the remover of burdensome incarnates on earth like Shishupaala etc., and he who is the crepuscular gloaming dawning in eventides to blithely gladden the hearts of milkmaid beauties of Braindaavan, and he who is a cometary destroyer of evildoers like Kamsa, he that delighter of his mother Devaki, shall grace you all, along with Raadha.
Comment: This chapter has a subtitle abhisaarika varNana 'portrayal of a heroine who makes advances to her lover...' and as explained in treatises of aesthetics her role-play will be like this madana anala santaptaa yaa abhisaarayati priyam, jyotsnii tamasvinii yaana yogyaa ambara vibhuuSaNaa | svayam ca abhisaret yaatu saa bhavet abhisaarikaa - rasaarNavam 'one who proceeds to her lover in the darkness of moonlit nights, attired and decorated with befitting material, parched by love heat, is called abhisaarika nigh-nearing ladylove...'
iti giitagovinde saakaankshapuNDariikaaksho naama pa.nchamaH sargaH
इति गीतगोविन्दे साकान्क्शपुण्डरीकाक्शो नाम पंचमः सर्गः
iti gītagovinde sākānkśapuṇḍarīkākśo nāma paṁcamaḥ sargaḥ
Thus, this is the 4th chapter, called Passionate Krishna, in giita govindam of Jayadeva.
dhanya- dhR^iSta vaikuNTho
Chapter [Sarga] 6 Inconsiderate Krishna
Introduction
Raadha's friend returns to Krishna to inform about the ecstatic state of Raadha.
atha taam gantumashaktaam chiramanuraktaam lataagR^ihe dR^iSTvaa |
tachcharitam govinde manasijamande sakhii praaha || 6-1
pa Che- atha taam gantum ashaktaam chiram anuraktaam lataa gR^ihe dR^iSTvaa tat charitam govinde manasija mande sakhii praaha || 6-1
अथ ताम् गन्तुमशक्ताम् चिरमनुरक्ताम् लतागृहे दृष्ट्वा।
तच्चरितम् गोविन्दे मनसिजमन्दे सखी प्राह॥ ६-१
atha tām gantumaśaktām ciramanuraktām latāgṛhe dṛṣṭvā |
taccaritam govinde manasijamande sakhī prāha || 6-1
pa che- atha tām gantum aśaktām ciram anuraktām latā gṛhe dṛṣṭvā tat caritam govinde manasija mande sakhī prāha || 6-1
6-1. atha= then; sakhii= girlfriend; taam= her [Raadha]; dR^iSTvaa= on seeing; gantum +ashaktaam= to go [immediately,]unable[uncompliant to];chiram+lataa+gR^ihe+anuraktaam = for a long, in creeper, house [bower,] interested [dawdling]; [meaning that Raadha is clinging to this bower expecting Krishna to come here, unyielding]; tat+caritam= that, episode; govinde manasija+ mande= to Krishna, by Love-god, dreary-minded; pra+aaha= clearly said [started to tell in this episode of poem.]
Then the girlfriend of Raadha, on coming to Raadha from Krishna, and on seeing Raadha who is still dawdling in the same bower, and uncompliant to go to Krishna immediately, that girlfriend again returned to Krishna, and started to tell clearly about that episode of Raadha's unyieldingness. [6-1]
aSTapadi 12 - dhanya -dhR^iSTa- vaikuNTham -
pashyati dishi dishi rahasi bhavantam | tadadharamadhuramadhuuni pibantam|
naatha hare hare jagannaatha hare | siidati raadhaa vaasagR^ihe - dhR^ivam || 12-1 a pa
pa cChe- pashyati dishi dishi rahasi bhavantam | tadadharamadhuramadhuuni pibantam naatha hare hare jagannaatha hare | siidati raadhaa vaasagR^ihe - dhR^ivam
अष्टपदि १२ - धन्य -धृष्ट- वैकुण्ठम् -
पश्यति दिशि दिशि रहसि भवन्तम्। तदधरमधुरमधूनि पिबन्तम्।
नाथ हरे हरे जगन्नाथ हरे। सीदति राधा वासगृहे - धृवम्॥ १२-१ अ प
aṣṭapadi 12 - dhanya -dhṛṣṭa- vaikuṇṭham -
paśyati diśi diśi rahasi bhavantam | tadadharamadhuramadhūni pibantam|
nātha hare hare jagannātha hare | sīdati rādhā vāsagṛhe - dhṛvam || 12-1 a pa
pa cche- paśyati diśi diśi rahasi bhavantam | tadadharamadhuramadhūni pibantam nātha hare hare jagannātha hare | sīdati rādhā vāsagṛhe - dhṛvam
a pa 12-1. h諮aatha= oh, lord; hare= oh, Krishna; jagannatha= master of worlds; hare= oh, stealer of sins; raadhaa= Raadha; vaasagR^ihe= in a bower; siidati= saddened/aweary; tadadhara, or tvatadhara - tvat= those, other milkmaids' [here tvat shabda anya shabda paryaaya, ta kaaraanta, sarva naama - tvacChabdo.anya vaacii dviH paThitaH... dvaavapi anudaattau-prakriyaa prasaada grantha, sarva naama vyaakhya];adhara+madhura+ madhuuni = lips', luscious, nectar; rahasi= in secrecy; pibantam= swilling; bhavantam= for you; pashyati +dishi+dishi= looking [for you,] in direction, direction; reprise - raadhaa= Raadha; siidati= is aweary; vaasagR^ihe= in an arbour.
"h謠lord Krishna, master of worlds, stealer of sins, saddened Raadha is in a bower, and she looks for you, a secret swiller of nectar from the lips of other milkmaids, in all directions... thus, Raadha is aweary in an arbour...
Comment: Here the poet uses a pun for the word naatha hare meaning an impetuous bull roped at nose for restraining its impetuosity. naadham = naasaa rajjum, harati = gR^ihNaati, iti naadha hari 'when Raadha is patiently waiting in that bower your not coming to her is bullish, hence you are not only a gopala, but also a horny bull...' Then he may ask 'why she is so touchy, she could have come here...' for this she is saying as below.
tvadabhisaraNarabhasena valantii | patati padaani kiyanti chalantii || 12-2 a pa
pa cChe - tvat abhisaraNa rabhasena valantii patati padaani kiyanti chalantii
त्वदभिसरणरभसेन वलन्ती। पतति पदानि कियन्ति चलन्ती॥ १२-२ अ प
tvadabhisaraṇarabhasena valantī | patati padāni kiyanti calantī || 12-2 a pa
प च्छे - त्वत् अभिसरण रभसेन वलन्ती पतति पदानि कियन्ति चलन्ती
pa cche - tvat abhisaraṇa rabhasena valantī patati padāni kiyanti calantī
a pa 12-2. tvat+abhisaraNa= to you, in coming; rabhasena+valantii= speed [enthusiasm] having [groggy, muzzy]; kiyanti+padaani+chalantii+ patati= some, steps, on walking, falls.
"Muzzy with enthusiasm in coming to you, she walks some steps but falls... hence, Raadha is aweary in an arbour... [a pa 12-2]
Vividly: 'She walks a few steps, but your infidelity comes to her mind and she stops, but takes some more steps, your duplicity stops her, yet after some more steps your chicanery reminds her to stop... in this back and forth dance-stepping, her steps stumble and she tumbles... yet she is some how living but for thinking on you...' from choreographers viewpoint. How she is 'living' is said next.
vihitavishadabisakisalayavalayaa | jiivati paramiha tava ratikalayaa || a pa 12-3
pa cChe- vihita vishada bisa kisalaya valayaa jiivati param iha tava rati kalayaa
विहितविशदबिसकिसलयवलया। जीवति परमिह तव रतिकलया॥ अ प १२-३
vihitaviśadabisakisalayavalayā | jīvati paramiha tava ratikalayā || a pa 12-3
प च्छे- विहित विशद बिस किसलय वलया जीवति परम् इह तव रति कलया
pa cche- vihita viśada bisa kisalaya valayā jīvati param iha tava rati kalayā
a pa 12-3. Raadha; vihita= on making; vishada= fresh/cool; bisa+kisalaya= lotus, tender leaves, or stems; valayaa= [lexically] by bracelets - but a veil, cover, soother for the present burning]; tava+param+rati+ kalayaa= your, blissful, [earlier enjoyed] association, by dream; iha+jiivati= now, living.
"On making fresh and cooling tender lotus leaves as a soothing veil against the present burning, she is now living by the help of dreams on your blissful association, enjoyed earlier by her... [a pa 12-3]
muhuravalokitamaNDanaliilaa | madhuripurahamiti bhaavanashiilaa || a pa 12- 3
pa cChe- muhuH avalokita maNDana liilaa madhu ripuH aham iti bhaavana shiilaa
मुहुरवलोकितमण्डनलीला। मधुरिपुरहमिति भावनशीला॥ अ प १२- ३
muhuravalokitamaṇḍanalīlā | madhuripurahamiti bhāvanaśīlā || a pa 12- 3
प च्छे- मुहुः अवलोकित मण्डन लीला मधु रिपुः अहम् इति भावन शीला
pa cche- muhuḥ avalokita maṇḍana līlā madhu ripuḥ aham iti bhāvana śīlā
a pa 12-4. muhuH= repeatedly; avalokita= having observed; maNDana+liilaa= ornament's, flaunts; madhu+ripuH+ aham= Madhu's, enemy, I am; iti= thus; bhaavana= thinking; shiilaa= with feeling; [vartate= conducting herself.]
On observing the flaunt of her ornaments, that are readjusted to look like those of yours, and on assuming your persona she says thus as 'I am Krishna...' [a pa 12-4]
Vividly. She looks at her ornaments to examine whether they are befitting for a meeting with you. She adjusts them to look better. In doing so, she unwittingly adjusts head ornament as peacock feather, puts some dangling earring as your knobbly earrings, holds her strings of pearls or a necklace as your flute, and so on. And then on seeing herself like that she declares 'I am Krishna...'
Here the core subject of this work is posted. Raadha not only identifies herself with Krishna, but also declares that she is Krishna. Other non-romantic characters like Seetha, Savitri et al appears to not have averred like this, except divinity like naaraayaNi - aham naaraayaNii naam saa vaiSNavii paraa - I am indeed Naaraayanee [i.e. Lakshmi] the supreme essence of Vishnu -Lakshmi Tantra 3.1
tvaritamupaiti na kathamabhisaaram| haririti vadati sakhiimanuvaaram || a pa 12-5
pa cChe- tvaritam upaiti na katham abhisaaram hariH iti vadati sakhiim anuvaaram
त्वरितमुपैति न कथमभिसारम्। हरिरिति वदति सखीमनुवारम्॥ अ प १२-५
tvaritamupaiti na kathamabhisāram| haririti vadati sakhīmanuvāram || a pa 12-5
प च्छे- त्वरितम् उपैति न कथम् अभिसारम् हरिः इति वदति सखीम् अनुवारम्
pa cche- tvaritam upaiti na katham abhisāram hariḥ iti vadati sakhīm anuvāram
a pa 12-5. hariH= Krishna; tvaritam= swiftly; abhisaaram= to preset place; katham= how [why]; na+upaiti= not, coming; iti= thus; anuvaaram= repeatedly, all the while; sakhiim+ vadati= to friend, saying [asking.]
" 'As to why Krishna is not coming swiftly to the preset place?' Thus she that Raadha is asking her friend, all the while... [a pa 12-5]
shliSyati chumbati jaladharakalpam | harirupagata iti timiramanalpam|| a pa 12-6
pa cChe- shliSyati chumbati jaladhara kalpam hariH upagata iti timiram analpam
श्लिष्यति चुम्बति जलधरकल्पम्। हरिरुपगत इति तिमिरमनल्पम्॥ अ प १२-६
śliṣyati cumbati jaladharakalpam | harirupagata iti timiramanalpam|| a pa 12-6
प च्छे- श्लिष्यति चुम्बति जलधर कल्पम् हरिः उपगत इति तिमिरम् अनल्पम्
pa cche- śliṣyati cumbati jaladhara kalpam hariḥ upagata iti timiram analpam
a pa 12-6. hariH+upagata+iti= Krishna, drew nigh, thus [on thinking]; jaladhara+kalpam = cloud, like; an+alpam= not, small [pitch-black]; timiram= darkness; shliSyati+chumbati= hugs, kisses.
"When she steps out that bower she sees the pitch-black cloudlike darkness, and thinking that Krishna drew her nigh, she hugs and kisses that darkness...
bhavati vilambini vigalitalajjaa | vilapati roditi vaasakasajjaa || a pa 12-7
pa cChe - bhavati vilambini vigalita lajjaa vilapati roditi vaasaka sajjaa
भवति विलम्बिनि विगलितलज्जा। विलपति रोदिति वासकसज्जा॥ अ प १२-७
bhavati vilambini vigalitalajjā | vilapati roditi vāsakasajjā || a pa 12-7
प च्छे - भवति विलम्बिनि विगलित लज्जा विलपति रोदिति वासक सज्जा
pa cche - bhavati vilambini vigalita lajjā vilapati roditi vāsaka sajjā
a pa 12-7. vaasaka= in her dwelling place; sajjaa= rati liilopakaraNaiH sajjita= readying herself decorating with befitting ornaments; bhavati+vilambini= by you, delayed [in coming there]; vigalita+lajjaa= slithered, shame; vilapati= she whines; roditi= whimpers.
"She readying her self decorated in befitting ornaments is waiting in her dwelling place, but when you delay in your coming, slithered is her shame, and she whines and whimpers...
Comment: The word vaasaka sajjika is a name to the romantic heroine waiting for her hero, and the poet uses this word for another purpose as above. In this song the heroine with such mood and the hero is shaTha.
shriijayadevakaveridamuditam| rasikajanam tanutaamatimuditam || a pa 12-8
pa pcChe - shrii jayadeva kaveH idam uditam rasika janam tanutaam ati muditam
श्रीजयदेवकवेरिदमुदितम्। रसिकजनम् तनुतामतिमुदितम्॥ अ प १२-८
śrījayadevakaveridamuditam| rasikajanam tanutāmatimuditam || a pa 12-8
प प्च्छे - श्री जयदेव कवेः इदम् उदितम् रसिक जनम् तनुताम् अति मुदितम्
pa pcche - śrī jayadeva kaveḥ idam uditam rasika janam tanutām ati muditama pa 12-8. shrii= shrii suukti = auspicious saying; jayadeva+kaveH= Jayadeva, by poet; idam+ uditam = this, [that is] said; rasika + janam= for aesthetic, people; ati+muditam= highly, gladdening; tanutaam = may cause.
May this auspicious song said by poet Jayadeva cause utmost gladness to aesthetic people... [Annex: 'For it is a treatise of divinely romantic aesthetics...] [12-8]
vipulapulakapaaliH sphiitasiitkaaramantaH
janitajaDimaakaakuvyaakulam vyaaharantii |
tava kitava vidhatte.amandakandarpachintaam
rasajaladhinimagnaa dhyaanalagnaa mR^igaakshii || 8-3
pa cChe- vipula pulaka paaliH sphiita siitkaaram antaH janita jaDimaa kaaku vyaakulam vyaaharantii tava kitava vidhatte amanda kandarpa chintaam rasa jaladhi nimagnaa dhyaana lagnaa mR^igaakshii
विपुलपुलकपालिः स्फीतसीत्कारमन्तः
जनितजडिमाकाकुव्याकुलम् व्याहरन्ती।
तव कितव विधत्तेऽमन्दकन्दर्पचिन्ताम्
रसजलधिनिमग्ना ध्यानलग्ना मृगाक्शी॥ ८-३
vipulapulakapāliḥ sphītasītkāramantaḥ
janitajaḍimākākuvyākulam vyāharantī |
tava kitava vidhatte'mandakandarpacintām
rasajaladhinimagnā dhyānalagnā mṛgākśī || 8-3
pa cche- vipula pulaka pāliḥ sphīta sītkāram antaḥ janita jaḍimā kāku vyākulam vyāharantī tava kitava vidhatte amanda kandarpa cintām rasa jaladhi nimagnā dhyāna lagnā mṛgākśī
6-3. h諫itava= he dhuurta= you, beguiler; [saa] mR^igaakshii= [she that] deer-eyed Raadha; vipula+pulaka+paaliH= ample, thrills, ranges [series]; sphiita= increasing; siitkaaram yathaa tathaa= whining [meaning that she caught hold of you in her contemplation, and when you started to express your love with your danta nakha kshata cumbana aalinganaadi caryaaH - she deeming avoiding your advances, she pulls herself away from you, but coos and whines in pleasure etc]; antaH+janita+jaDimaa= internally, born, stolidity jaDatva; kaaku= grumbles; vyaakulam+vyaaharantii= embarrassedly, behaving [behaving in an odd fashion in that trans by gestures of pulling away from you, when you have tried failingly to kiss her by catching her bun - thereby she went into a haava called kuTTamita and started saying words of refusal - niSedha vaakyaaH, which to others appear to be foolish]; tava+vidhatte= by you, imposed; amanda+kandarpa+chintaam= not less [high,] passion, worried one; rasa+jaladhi+ nimagnaa= aesthetic pleasure, called deep-sea, deluged in; dhyaana+lagnaa= in thought, tenacious.
"You beguiler, brooding on you she that deer-eyed Raadha is in ecstasy, and in that state when she thinks that she got you at her near, her thrilling sensations are ample and in series, and in her phantasmic trance, born out of internal stolidity, she is behaving in an embarrassed manner with grumbles of avoidance, and all this is imposed by you and she, a worried one with high passion, is tenacious to your thought, and deluged in deep-sea, called aesthetic pleasure... sudhaakara rasa aarNavam. [6-3]
Comment: It is quite common for anyone to get shivers and shudders if drenched in cold for a long time. Then they articulate shivers owing to their freezing cold. Here, the situation is reverse. The body is burning with desire, and she is deluged in an ocean, which is like molten lava. Then her shivers and shudders shall be more than ordinary cold caught person.
The stolidity occurred to her is the jaDatva the fifth sate in aesthetics of love manmatha avastha The a feeling called haava is caused and that haava is called kuTTamita . The causing scene for kuTTamita haava to a heroine is as like this: kesha adhara aadi grahaNe mudamaanaa api maanase | duHkhitena bahiH kupyuet atra kuTTamitam tu tat || 205 'a heroine who is happy inwardly but pretends to be painful, uninterested, resentful etc., when the hero handles her by her bun, in trying to kiss her etc., is kuTTamita haava - rasaarNava sudhaakaram
A word about this treatise rasaarNava sudhaakaram This is written by Simhabhuupaala, an erstwhile Telugu king. This book perhaps is ill fated to be republished and remained in the shelves of archives. But this is made available per kindness of Gaudiya Grantha Mandir, in bare Sanskrit text, at granthamandira.org with an assurance 'a separate edition with examples will be offered soon - Jan Brzezinski...' In this book the situations to use words kitava, dhuurta are also incorporated. But they are not elaborated here. Next this girl hurries Krishna to reach Raadha, before it is too late.
a~NgeSvaabharaNam karoti bahushaH patre.api sa.nchaariNi
praaptam tvaam parisha~Nkate vitanute shayyaam chiram dhyaayati |
ityaakalpavikalpatalparachanaasa.nkalpaliilaashata
vyaasaktaapi vinaa tvayaa varatanurnaiSaa nishaam neSyati || 12-4
pa cChe - a.ngeSu aabharaNam karoti bahushaH patre api sa.nchaariNi praaptam tvaam parisha.nkate vitanute shayyaam chiram dhyaayati iti aakalpa vikalpa talpa rachanaa sa.nkalpa liilaa shata vyaasaktaa api vinaa tvayaa varatanuH na eSaa nishaam neSyati
अङ्गेष्वाभरणम् करोति बहुशः पत्रेऽपि संचारिणि
प्राप्तम् त्वाम् परिशङ्कते वितनुते शय्याम् चिरम् ध्यायति।
इत्याकल्पविकल्पतल्परचनासंकल्पलीलाशत
व्यासक्तापि विना त्वया वरतनुर्नैषा निशाम् नेष्यति॥ १२-४
aṅgeṣvābharaṇam karoti bahuśaḥ patre'pi saṁcāriṇi
prāptam tvām pariśaṅkate vitanute śayyām ciram dhyāyati |
ityākalpavikalpatalparacanāsaṁkalpalīlāśata
vyāsaktāpi vinā tvayā varatanurnaiṣā niśām neṣyati || 12-4
pa cche - aṁgeṣu ābharaṇam karoti bahuśaḥ patre api saṁcāriṇi prāptam tvām pariśaṁkate vitanute śayyām ciram dhyāyati iti ākalpa vikalpa talpa racanā saṁkalpa līlā śata vyāsaktā api vinā tvayā varatanuḥ na eṣā niśām neṣyati
6-4. varatanuH= best bodied [curvaceous (esp. of a woman) having a shapely curved figure, Raadha]; eSaa= this way; a.ngeSu+aabharaNam+karoti= on limbs, jewellery, making [decorating, by this akalpa is said]; bahushaH= many times; patre= leaves [or feather, wings]; api= even if; sa.nchaariNi= moving [rustling]; tvaam+praaptam= you, bechanced; parishankate = surmises [by this vikalpa is said]; vitanute+ shayyaam = makes, bed [by this shayya racana is said]; chiram+dhyaayati= for a long time, contemplates on you [with this sankalpa is said]; iti= this way; aakalpa= sva dehaalankaara carya= decorating with befitting items for a meet; vikalpa= fidgety - expecting arrival, but failing to find]; talpa+rachanaa= bed, making - a precautionary preparation, without annoying her hero; sankalpa= mulls over - single minded devotion; liilaa [vilaasaaH ]= attitudinizes [2 speak, write, or behave affectedly]; shata= in hundreds of ways; vyaasaktaa [vi+aasaktaa= with high, rapture [nympholepsy= n. ecstasy or frenzy caused by desire of the unattainable - NOT nymphomania pl.] api= even with; vinaa+ tvayaa= without, you; nishaam+ na+neSyati= night, not, able to lead off.
"She that curvaceous Raadha, with every jewellery of every description, she is decorating her limbs... with every rattle of wings or rustle of leaves she surmises that you have bechanced... with every flower and every tender leaf she makes a bed, lest no time need be wasted... thus, she is contemplating on you for a long, long a time... and thus she attitudinizes her normal attitude with over-decoration, over-titillation, over-preparation, and with over-meditation, hence she is unable to lead off nights, without you... [6-4]
Comment: Hoping that no more pedantry is required here, we go to next verse, which is a benedictory conclusion unseen in many other mms. On this below mentioned verse the commentator of rasamanjari has not commented, but one commentator known as kumbhakarNa has commented in his work, and unsure is that, whether critical editions have referenced this or not, because this is not a critical version, but a criticisable one.
kim vishraamyasi kR^iSNabhogibhavane bhaaNDiirabhuumiruhi
bhraata ryaahi nadR^iSTigocaramitassaanandanandaaspadam |
radhaayaavacanam tadadhvagamukhaanna.ndaantikegopato
govindasyajayanti saayamatithipraashastyagarbhaagiraH || 6-5
pa cChe - kim vishraamyasi kR^iSNa bhogi bhavane bhaaNDiira bhuumiruhi bhraataH yaahi na dR^iSTi gocaram itaH sa ananda nanda aaspadam radhaayaa vacanam tat adhvaga mukhaat na.nda antike gopataH govindasya jayanti saayam atithi praashastya garbhaaH giraH
किम् विश्राम्यसि कृष्णभोगिभवने भाण्डीरभूमिरुहि
भ्रात र्याहि नदृष्टिगोचरमितस्सानन्दनन्दास्पदम्।
रधायावचनम् तदध्वगमुखान्नंदान्तिकेगोपतो
गोविन्दस्यजयन्ति सायमतिथिप्राशस्त्यगर्भागिरः॥ ६-५
kim viśrāmyasi kṛṣṇabhogibhavane bhāṇḍīrabhūmiruhi
bhrāta ryāhi nadṛṣṭigocaramitassānandanandāspadam |
radhāyāvacanam tadadhvagamukhānnaṁdāntikegopato
govindasyajayanti sāyamatithiprāśastyagarbhāgiraḥ || 6-5
pa cche - kim viśrāmyasi kṛṣṇa bhogi bhavane bhāṇḍīra bhūmiruhi bhrātaḥ yāhi na dṛṣṭi gocaram itaḥ sa ananda nanda āspadam radhāyā vacanam tat adhvaga mukhāt naṁda antike gopataḥ govindasya jayanti sāyam atithi prāśastya garbhāḥ giraḥ
6-5. h諢hraataH= oh, brother [oh, traveller]; kR^iSNa+bhogi+bhavane= black, cobra, palace of; [or, shleSa: kR^iSNa+bhogi+bhavane= someone called Krishna, an enjoyer, in his abode]; bhaaNDiira+ bhuumi+ruhi= banyan tree with holes in trunk; [or, shleSa: bhaaNDiira= treasure house; bhuumi+ruhi= from earth, arose [Krishna who came into existence as an earthly being]; kim+vishraamyasi= why, you take respite; yaahi= go away; sa+aananda= with, happiness; nanda+aaspadam= Nanda's [Krishna's father,] a hospice [house of Nanda]; itaH= from here; na+ dR^iSTi+gocaram [kim?]= not, to eye, visible, [or what?]; adhvaga+mukhaat= a wayfarer's, from face; radhaayaa+tat+vacanam= Raadha's, that, words; na.nda+antike= at father Nanda, nearby; gopataH= cowherd; govindasya= of Krishna; saayam+atithi+praashastya = evening time, guest invitee, as though welcoming] with praise; garbhaaH [narmagarbha]= impregnated [with inner meaning]; giraH= words; jayanti= are paramount.
Vividly. Raadha is asking Krishna to come to a particular place for their pleasure tripping. But she cannot tell it directly to Krishna as his father Nanda and others are there tending cattle. In the meanwhile she caught sight of a traveller tarrying under a banyan tree. She immediately yelled at him saying, "Oh, traveller, why do you take respite under that banyan tree with holes in its trunk into which black cobras truck in and out... oh, brother, won't you see that house of Nanda, a happiest hospice... please go there for a boundless hospitality... [aside: but leave that tree at once... for it is our preset retreat, and it shall serve as a happy abode for Krishna, the enjoyer..."] containing such words of Raadha, impregnated with inner meaning in inviting an evening time invitee, either a traveller or a beguiler, this song shall be paramountly devotional... so sayest poet Jayadeva... [6-5]
iti giitagovinde dhanya- dhR^iSta vaikuNTho naama SaSTaH sargaH
इति गीतगोविन्दे धन्य- धृष्त वैकुण्ठो नाम षष्टः सर्गः
iti gītagovinde dhanya- dhṛṣta vaikuṇṭho nāma ṣaṣṭaḥ sargaḥ
Thus, this is the 6th chapter, called Inconsiderate Krishna, in giita govindam of Jayadeva.
naagaranaaraayaNaH
Chapter [Sarga] 7- Shifty Krishna
Introduction
When a devotee of Krishna receives shuddha sattva , 'purest attribute' it is transformed later into rati or prema ankura. Then it ripens into prema, not general love but a sense of 'mineness' i.e., a feeling that Krishna belongs to me, none else. On some more devotion it ripens into sneha 'divided togetherness' an unsatisfied feeling with words and play of Krishna, because he is a separate entity as yet. This ripens to maana 'intense love' where he/she conceals his own feelings, on account of real/unreal grievance, and then on he/she starts to show jealousy, anger or petulance etc., towards Krishna. These maana abhimaana contain maadana bhaava, a maddening delight, essentially possessed by Raadha, none else, not even by Krishna. [Source: The Cultural Heritage of India, Vol. IV - Religions.] This chapter details that exclusive maadana mahaa bhaava of Raadha in her angering, tongue-lashing, upbraiding etc.
atraantarecha kulaTaakulavartmapaata
sa.njaatapaataka iva sphuTalaaJNchhanashriiH |
vR^indaavanaantaramadiipayada.nshujaalai
rdiksundariivadanachandanabindurinduH || 7-1
pa cChe - atra antare ca kulaTa aakula vartma paata sa.njaata paataka iva sphuTa laa.ncChana shriiH vR^indaavana antaram adiipayat a.nshu jaalaiH dik sundarii vadana chandana binduH induH
अत्रान्तरेच कुलटाकुलवर्त्मपात
संजातपातक इव स्फुटलाञ्छनश्रीः।
वृन्दावनान्तरमदीपयदंशुजालै
र्दिक्सुन्दरीवदनचन्दनबिन्दुरिन्दुः॥ ७-१
atrāntareca kulaṭākulavartmapāta
saṁjātapātaka iva sphuṭalāñchanaśrīḥ |
vṛndāvanāntaramadīpayadaṁśujālai
rdiksundarīvadanacandanabindurinduḥ || 7-1
pa cche - atra antare ca kulaṭa ākula vartma pāta saṁjāta pātaka iva sphuṭa lāṁcchana śrīḥ vṛndāvana antaram adīpayat aṁśu jālaiḥ dik sundarī vadana candana binduḥ induḥ
7-1. atra+antare+ca= in the, meanwhile, even; kulaTa+aakula= by fancy women, flocks; vartma= their pathway; paata= by spoiling, obstructing; sa.njaata= caused thereby; paataka + iva= blemish, infamy, like [a badge of infamy bechanced on his face, because his moonbeams are obstructive to the sneaky fancy women; sphuTa= clear; laa.ncChana= badge [of infamy]; shriiH= having brilliance; dik+sundarii = [eastern] direction, called beauty; vadana + chandana + binduH= on [her] face, sandal, a blob of; induH = moon; a.nshu+jaalaiH= moonbeams, with laces of; vR^indaavana+antaram+adiipayat= Brindavan, interior of, brightened up.
In the meanwhile, he who bears a brilliant but clear badge of infamy on his face, for he incurred sin by obstructing the pathways of flocks of sneaky fancy women, that moon brightened up the interiors of Brindavan with the laces of his moonbeams, himself staying like the sandal-blob on the forehead of the beauty, called the eastern sky. [7-1]
Gita Govinda Tika (original) con 149 páginas
25 Enero 2010: La diferencia estriba en que en este día tiene los versos en devanagari y transliteración.
- Gita Govinda Tika - 4ª Parte
- Gita Govinda Tika - 3ª Parte
- Gita Govinda Tika - 2ª Parte
- Gita Govinda Tika - 1ª Parte
11 Enero 2010
- Gita Govinda Tika 4ª Parte - Jayadeva
- Gita Govinda Tika 3ª Parte - Jayadeva
- Gita Govinda Tika 2ª Parte - Jayadeva
- Gita Govinda Tika 1ª Parte - Jayadeva
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