Comment: In the meanwhile - during the time when girlfriend is telling about Raadha to Krishna. A sinner has to bear a badge of infamy, may it be the black spot on moon, or this impertinent boy Krishna for his non-arrival at Raadha.
prasarati shashadharabimbe vihitavilambe cha maadhave vidhuraa |
virachitavividhavilaapam saa paritaapam chakaarochchaiH || 7-2
pa cChe- prasarati shasha dhara bimbe vihita vilambe ca maadhave vidhuraa virachita vividha vilaapam saa paritaapam chakaara ucChaiH
प्रसरति शशधरबिम्बे विहितविलम्बे च माधवे विधुरा।
विरचितविविधविलापम् सा परितापम् चकारोच्चैः॥ ७-२
prasarati śaśadharabimbe vihitavilambe ca mādhave vidhurā |
viracitavividhavilāpam sā paritāpam cakāroccaiḥ || 7-2
pa cche- prasarati śaśa dhara bimbe vihita vilambe ca mādhave vidhurā viracita vividha vilāpam sā paritāpam cakāra ucchaiḥ
7-2. saa= she that Raadha; shasha+dhara+bimbe= rabbit, bearing, discoid [moon]; prasarati= while emanating [coming sprightly]; [ellipse, murali+dhara] maadhave+ca= by [flute bearing] Krishna, also; vihita+vilambe= imposed, tardiness [belatedly]; vidhuraa= by the anguished Raadha; virachita+ vividha+vilaapam = made [underwent,] many a, heartache; ucChaiH+paritaapam+chakaara= utter, anguish, made [underwent.]
While that discoidal moon bearing a rabbit is sprightly coming, and while this Krishna bearing a flute is not coming belatedly, she that anguished Raadha, underwent many a heartache, and an utter anguish. [7-2]
aSTapdi - 13 - naagara naaraayaNa rasaavalayam
kathitasamaye.api harirahaha na yayau vanam |
mama viphalamidamamalaruupamapi yauvanam ||
yaami he kamiha sharaNam | sakhiijanavachanava.nchitaaham -dhR^ivam || a pa 13-1
pa cChe - kathita samaye api hariH ahaha na yayau vanam mama viphalam idam amala ruupam api yauvanam yaami he kam iha sharaNam sakhii jana vachana va.nchitaa aham
अष्टप्दि - १३ - नागर नारायण रसावलयम्
कथितसमयेऽपि हरिरहह न ययौ वनम्।
मम विफलमिदममलरूपमपि यौवनम्॥
यामि हे कमिह शरणम्। सखीजनवचनवंचिताहम् -धृवम्॥ अ प १३-१
aṣṭapdi - 13 - nāgara nārāyaṇa rasāvalayam
kathitasamaye'pi harirahaha na yayau vanam |
mama viphalamidamamalarūpamapi yauvanam ||
yāmi he kamiha śaraṇam | sakhījanavacanavaṁcitāham -dhṛvam || a pa 13-1
pa cche - kathita samaye api hariḥ ahaha na yayau vanam mama viphalam idam amala rūpam api yauvanam yāmi he kam iha śaraṇam sakhī jana vacana vaṁcitā aham
a pa 13-1. he [sakhii, vidhe]= oh, [friend, god]; hariH= Krishna; kathita+samaye+api= on said, time, even; vanam+na+yayau= to Brindavan, not, arrived; mama+idam+yauvanam= my, this, youth; a+mala +ruupam+api= not, blemished, mien [beauty,] even; viphalam= wasteful; iha= here [in forest]; kam+ sharaNam+yaami= whom, as shelter [haven,] I can go; [respite] aha ha= ah, aha; aham= I am; sakhii+ jana + vachana +va.nchitaa= by friends, flocks of, words [cajolery,] befooled.
Krishna didn't turn up on the appointed time at Brindavan, wasteful is my youth and unblemished beauty without him, whom I can approach as a haven in this forest... aha ha, those girl flocks cajolery befooled me... [a pa 13-1]
yadanugamanaaya nishi gahanamapi shiilitam |
tena mama hR^idayamidamasamasharakiilitam || a pa 13-2
pa cChe- yat anugamanaaya nishi gahanam api shiilitam tena mama hR^idayam idam asama shara kiilitam
यदनुगमनाय निशि गहनमपि शीलितम्।
तेन मम हृदयमिदमसमशरकीलितम्॥ अ प १३-२
yadanugamanāya niśi gahanamapi śīlitam |
tena mama hṛdayamidamasamaśarakīlitam || a pa 13-2
pa cche- yat anugamanāya niśi gahanam api śīlitam tena mama hṛdayam idam asama śara kīlitam
a pa 13-2. yat= for which [Krishna]; anugamanaaya= to go in tow; nishi= in night; gahanam+api+ shiilitam = forest, even though, is searched [ellipse- adR^ishyena - but, unseen] ; tena= by him [Krishna]; mama+idam+ hR^idayam = mine, this, heart; asama+ [adR^ishyamaana] shara= by Love-god's, [unseeable, unseen] arrow; kiilitam= impaled; [respite] aha ha= ah, aha; aham= I am; sakhii+ jana+ vachana + va.nchitaa= by friends, flocks of, words [cajolery,] befooled.
For which unseen Krishna I have searched the forest even though it is night, he alone became an unseen arrow of still unseen Love-god, and impaling this heart of mine... aha ha, those girl flocks cajolery befooled me... [a pa 13-2]
mama maraNameva varamativitathaketanaa |
kimiha viSahaami virahaanalachetanaa || a pa 13-3
pacChe- mama maraNam eva varam ati vitatha ketanaa kim iha viSaami viraha anala achetanaa
मम मरणमेव वरमतिवितथकेतना।
किमिह विषहामि विरहानलचेतना॥ अ प १३-३
mama maraṇameva varamativitathaketanā |
kimiha viṣahāmi virahānalacetanā || a pa 13-3
pacche- mama maraṇam eva varam ati vitatha ketanā kim iha viṣāmi viraha anala acetanā
a pa 13-3. ati+vitatha+ketanaa= utterly, shattered, [this] preset place; a+chetanaa= [I am] without, spirit; [aham iha= I, here in this preset place, for it lost its worth by his non-arrival]; viraha+anala= disunion, fire of [put to the torch]; kim+iha+vi+Saami= why, here [ at this preset place,] I am tolerating, put up with; mama+maraNam+eva+varam= to me, death, alone, best.
Utterly shattered is the worth of this preset place, thus I too am spiritless, and then why should I put up with this place that is putting me to the torch of disunion, thus death alone is best to me... [a pa 13-3]
maamahaha vidhurayati madhuramadhuyaaminii |
kaa api harimanubhavati kR^itasukR^itakaaminii || a pa 13-4
pa cChe - maam ahaha vidhurayati madhura madhu yaaminii kaapi harim anubhavati kR^ita sukR^ita kaaminii
मामहह विधुरयति मधुरमधुयामिनी।
का अपि हरिमनुभवति कृतसुकृतकामिनी॥ अ प १३-४
māmahaha vidhurayati madhuramadhuyāminī |
kā api harimanubhavati kṛtasukṛtakāminī || a pa 13-4
pa cche - mām ahaha vidhurayati madhura madhu yāminī kāpi harim anubhavati kṛta sukṛta kāminī
a pa 13-4. madhura+madhu+yaaminii= pleasant, spring's, night; maam+vi+dhurayati= me, verily, excruciating; ahaha= aha ha; kaa+api= someone, maybe; kR^ita+su+kR^ita= on making, good, fortune [lucky girl by her merit in last birth]; kaaminii= voluptuous girl; harim+anubhavati= with Krishna, making merry [I lost that chance - ensues.]
Though this night of spring is pleasant it is excruciating me... maybe some lucky and merited voluptuous girl might be making merry with Krishna... aha ha, I lost it... [a pa 13-4]
ahaha kalayaami valayaadimaNibhuuSaNam |
harivirahadahanavahanena bahuduuSaNam || a pa 13-5
pa cChe - aha ha kalayaami valaya aadi maNi bhuuSaNam hari viraha dahana vahanena bahu duuSaNam
अहह कलयामि वलयादिमणिभूषणम्।
हरिविरहदहनवहनेन बहुदूषणम्॥ अ प १३-५
ahaha kalayāmi valayādimaṇibhūṣaṇam |
harivirahadahanavahanena bahudūṣaṇam || a pa 13-5
pa cche - aha ha kalayāmi valaya ādi maṇi bhūṣaṇam hari viraha dahana vahanena bahu dūṣaṇam
a pa 13-5. valaya+aadi= bicep-let, and others; maNi+bhuuSaNam= gem-studded, jewellery; hari+ viraha+dahana+vahanena= for Krishna, anguish, blaze, carrying [have a bearing on, every ornament has a bearing upon my anguish for Krishna]; kalayaami= I reckon; bahu+duuSaNam= highly, contemptible; aha ha= aha, ha.
These bicep-lets and every other gem-studded jewellery I wear, bears a blaze of my anguish for Krishna, hence I reckon them as highly contemptible wear... ah ha... [a pa 13-5]
Comment: It is really worthless to decorate themselves, if unseen by their lovers. striiNaam priya aaloka phalo hi veSaH . After all, the result of these cosmetics results when seen by her dear one.
kusumasukumaaratanumatanusharaliilayaa |
sragapi hR^idi hanti maamativishhamashiilayaa || a pa 13-6
pa cChe - kusuma sukumaara tanum atanushara liilayaa srak api hR^idi hanti maam ati viSama shiilayaa
कुसुमसुकुमारतनुमतनुशरलीलया।
kusumasukumāratanumatanuśaralīlayā |
स्रगपि हृदि हन्ति मामतिविषमशीलया॥ अ प १३-६
sragapi hṛdi hanti māmativiṣamaśīlayā || a pa 13-6
pa cche - kusuma sukumāra tanum atanuśara līlayā srak api hṛdi hanti mām ati viṣama śīlayā
a pa 13-6. srak+api= garland, even [I am wearing along with ornaments for Krishna]; ati+viSama+ shiilayaa = highly, poisonous, in their import [has an effect]; a+tanu= un, bodied one [bodiless Love-god's]; shara+liilayaa= arrows, by sport of; kusuma+sukumaara+tanum= flower, delicate, bodied [such as I am]; maam+hR^idi+hanti= my, heart, rending.
Even the garland I wear is rending my heart, whose flower like delicate body is already rent by sporting arrows of Love-god, that have a poisonous effect... [a pa 13-6]
Comment: The arrows of Love-god rend the soul not body, but it is still better god for love that is rending the heart. apuurava iyam dhanur vidyaa manmathasya mahaatmanaH | shariiram akshatam kR^itvaa bhinatti antargatam manaH || . Though the arrows tortured her body, her own garland has become a poisonous cosmetic, for it has a bearing upon Krishna.
ahamiha nivasaami navigaNitavetasaa |
smarati madhusuudano maamapi na chetasaa || a pa 13-7
pa cChe - aham iha nivasaami na vigaNita vetasaa smarati madhusuudanaH maam api na chetasaa
अहमिह निवसामि नविगणितवेतसा।
स्मरति मधुसूदनो मामपि न चेतसा॥ अ प १३-७
ahamiha nivasāmi navigaṇitavetasā |
smarati madhusūdano māmapi na cetasā || a pa 13-7
pa cche - aham iha nivasāmi na vigaṇita vetasā smarati madhusūdanaḥ mām api na cetasā
a pa 13-7. na+vigaNita+vetasaa= not, counting, Vetasa tree [uncaring a tree that excites - kaama uddiipaka paadapa]; aham+iha+nivasaami= I am, here, lingering; madhusuudanaH= Krishna; maam= me; chetasaa+api= [locus of feelings and intuitions] by bosom, even; na+smarati= not, reminisces.
I am lingering at this excitatory Vetasa tree, uncaring for its excitative effect, but that Krishna doesn't reminisce me, even in his bosom... [a pa 13-7]
haricharaNasharaNajayadevakavibhaaratii |
vasatu hR^idi yuvatiriva komalakalaavatii || a pa 13-8
pa cChe- hari charaNa sharaNa jayadeva kavi bhaaratii vasatu hR^idi yuvatiH iva komala kalaavatii
हरिचरणशरणजयदेवकविभारती।
वसतु हृदि युवतिरिव कोमलकलावती॥ अ प १३-८
haricaraṇaśaraṇajayadevakavibhāratī |
vasatu hṛdi yuvatiriva komalakalāvatī || a pa 13-8
pa cche- hari caraṇa śaraṇa jayadeva kavi bhāratī vasatu hṛdi yuvatiḥ iva komala kalāvatī
a pa 13-8. komala= exquisite; kalaavatii= fine-limbed damsel [or, a damsel expert in 64 arts - catuSaTi kalaa prapuurNa]; hari+charaNa+sharaNa= Krishna', at feet, resorting to; jayadeva+ kavi + bhaaratii= Jayadeva, poet's, idiolect [the form of language used by an individual person - the lang. used in here is peculiarly particular to Jayadeva. Neither earlier poets, nor the later could use such a complicatedly delicate construction]; yuvatiH+iva= damsel, like; hR^idi+vasatu= in bosoms, let her abide.
Let the idiolect of poet Jayadeva, whose only resort is at the feet of Krishna, be abiding in the bosoms of all, like an exquisite, fine-limbed damsel, well-versed in sixty-four arts... [a pa 13-8]
Comment: The comparison is between a delicately limbed damsel and the delicately worded poem, which shows even the poet's expertise in sixty-for arts, unlike a curvaceous girl minus brains. upama.
tatkim kaamapi kaaminiimabhisR^itaH kim vaa kalaakelibhiH
baddho bandhubhirandhakaariNi vanaabhyarNe kimudbhraamyati |
kaantaH klaantamanaa manaagapi pathi prasthaatumevaakshamaH
sa.nketiikR^itama~njuva~njulalataaku~nje.api yannaagataH || 7-4
pa cChe- tat kim kaam api kaaminiim abhisR^itaH kim vaa kalaa kelibhiH baddho bandhubhiH andhakaariNi vanaabhyarNe kim udbhraamyati kaantaH klaanta manaa manaag api pathi prasthaatum eva akshamaH sa.nketii kR^ita ma.nju va.njula lataa ku.nje api yat na aagataH || 7-4
तत्किम् कामपि कामिनीमभिसृतः किम् वा कलाकेलिभिः
बद्धो बन्धुभिरन्धकारिणि वनाभ्यर्णे किमुद्भ्राम्यति।
कान्तः क्लान्तमना मनागपि पथि प्रस्थातुमेवाक्शमः
संकेतीकृतमञ्जुवञ्जुललताकुञ्जेऽपि यन्नागतः॥ ७-४
tatkim kāmapi kāminīmabhisṛtaḥ kim vā kalākelibhiḥ
baddho bandhubhirandhakāriṇi vanābhyarṇe kimudbhrāmyati |
kāntaḥ klāntamanā manāgapi pathi prasthātumevākśamaḥ
saṁketīkṛtamañjuvañjulalatākuñje'pi yannāgataḥ || 7-4
pa cche- tat kim kām api kāminīm abhisṛtaḥ kim vā kalā kelibhiḥ baddho bandhubhiḥ andhakāriṇi vanābhyarṇe kim udbhrāmyati kāntaḥ klānta manā manāg api pathi prasthātum eva akśamaḥ saṁketī kṛta maṁju vaṁjula latā kuṁje api yat na āgataḥ || 7-4
7-4. yat=by which reason; kaantaH= beloved, Krishna; kR^ita+sa.nketii= on making, suggested spot; ma.nju+va.njula+lataa+ku.nje+api= heart-pleasing, cane, viny, to bower, even; na+aagataH= not, arrived; tat= thereby [imaginable is that he]; kaam+api+kaaminiim= whoever, even, voluptuous girl; abhisR^itaH+kim= going after, or what?; vaa= otherwise; bandhubhiH= with his relatives; kalaa kelibhiH= arts [song,] sports [dance with others]; baddhaH+kim= tied up, or what?; andhakaariNi+ vana abhyarNe= pitch dark, in preset forest [in some area]; udbhraamyati+kim= roaming round, or what? klaanta+manaa= despaired, at heart [by my dissociation];' manaag+api= in the least, even; pathi +prasthaatum+eva= on way [this side,] to make a move, even; a+kshamaH+kim= un, able, or what? [sandeha alankaara.]
By which reason that beloved Krishna is not coming to this suggested spot, with its heart-pleasing cane-viny bower... thereby, is he going after whoever voluptuous girl, or what? Otherwise, is he bounded by his relatives, or tied up in song and dance with others, or what? Or, is he roaming round and round in these places of pitch-dark forest, or what? Or, is he unable to make a move towards this side, as his heart is despaired by my dissociation... or what? [7-4]
athaagataam maadhavamantareNa
sakhiimiyam viikshya viSaadamuukaam |
visha.nkmaanaa ramitam kayaapi
janaardanam dR^iSTavadetadaaha || 7-5
pa cChe- atha aagataam maadhavam antareNa sakhiim iyam viikshya viSaada muukaam visha.nkmaanaa ramitam kayaa api janaardanam dR^iSTavat etat aaha
अथागताम् माधवमन्तरेण
सखीमियम् वीक्श्य विषादमूकाम्।
विशंक्माना रमितम् कयापि
जनार्दनम् दृष्टवदेतदाह॥ ७-५
athāgatām mādhavamantareṇa
sakhīmiyam vīkśya viṣādamūkām |
viśaṁkmānā ramitam kayāpi
janārdanam dṛṣṭavadetadāha || 7-5
pa cche- atha āgatām mādhavam antareṇa sakhīm iyam vīkśya viṣāda mūkām viśaṁkmānā ramitam kayā api janārdanam dṛṣṭavat etat āha
7-5. atha= then; maadhavam+antareNa= Krishna, on leaving; aagataam= returned; viSaada+muukaam= by sadness, silent; sakhiim+viikshya= girlfriend, on seeing; janaardanam= Krishna is; kayaa+api= by someone, even; ramitam= delighted; iyam= this Raadha; vi shanka maanaa= on doubting; dR^iSTavat= as though seeing with her own eyes; etat= all this [his episode in next song]; aaha= said.
Then on seeing her girlfriend, who has returned from Krishna, but remained silent owing her sadness, doubting that some girl is delighting him, Raadha recounts that episode, as though she is seeing with own eyes. [7-5]
aSTapadi - 14 - hariramitaca.mpakashekharam -
smarasamarocitaviracitaveshaa |
galitakusumabharavilulitakeshaa |
kaapi madhuripuNaa vilasati yuvatiradhikaguNaa || a pa 14-1
pa cChe- smara samara uchita virachita veshaa galita kusuma bhara vilulita keshaa kaapi madhuripuNaa
अष्टपदि - १४ - हरिरमितचंपकशेखरम् -
स्मरसमरोचितविरचितवेशा।
गलितकुसुमभरविलुलितकेशा।
कापि मधुरिपुणा विलसति युवतिरधिकगुणा॥ अ प १४-१
aṣṭapadi - 14 - hariramitacaṁpakaśekharam -
smarasamarocitaviracitaveśā |
galitakusumabharavilulitakeśā |
kāpi madhuripuṇā vilasati yuvatiradhikaguṇā || a pa 14-1
pa cche- smara samara ucita viracita veśā galita kusuma bhara vilulita keśā kāpi madhuripuṇā
a pa 14-1. smara+samara= Love-god, for combat [grapples of courtship= 2 archaic term for lovemaking]; uchita+virachita+veshaa= befitting, well done [well dressed,] getup; galita= slithered; kusuma= flowers; bhara= by weight of [flowers; or, if it is dara= layers]; vi+lulita= verily, entangled; keshaa= braid; kaa+api= some girl [a certain girl,] even; yuvatiH= a damsel; ati+adhika+guNaa= [by her] very, high, talent; madhu+ripuNaa= by Madhu's, enemy Krishna ; vilasati= romantically frolicking.
"She is well-dressed in befitting getup for a grapple of courtship, as her weighty flowers are slithering, and as her braids are muchly tangling, that damsel is rollicking romantically with Krishna... methinks she is muchly talented... [a pa 14-1]
Comment: When Krishna grappled that girl's bun for a kiss, she wanted to whisk, and in her wriggling to take an upper hand over him, her braid is loosened and slithered, hence flowers too wriggly rolled down, yet she is dominant and on his overside, called puruSa aayata While saying madhu ripu the sense of maadhurya ripu is what is meant by Raadha: 'he is unaware of niceties in relishing love maadhurya anabhij~natva because a rustic girl, less proficient than Raadha has overcome on him. The word yuvatiH suggests that the girl has a doership strii kartR^itva - vipariita surata is indicated. Raadha is saying that 'this girl is more talented...' then it a subjective statement of envy plus jealousy. Because she beckoned him to come to certain bower, but this girl brought him round to her place and enjoying with him in a domineering position - hence she should be more talented... as a second thought.
vilasati yuvatiH ati adhika guNaa
hariparirambhaNavalitavikaaraa | kuchakalashopari taralitahaaraa || a pa 14-2
pa cChe- hari parirambhaNa valita vikaaraa kucha kalasha upari taralita haaraa
विलसति युवतिः अति अधिक गुणा
हरिपरिरम्भणवलितविकारा। कुचकलशोपरि तरलितहारा॥ अ प १४-२
vilasati yuvatiḥ ati adhika guṇā
hariparirambhaṇavalitavikārā | kucakalaśopari taralitahārā || a pa 14-2
pa cche- hari parirambhaṇa valita vikārā kuca kalaśa upari taralita hārā
a pa 14-2. hari+pari+rambhaNa= Krishna, when tightly hugging; valita+vikaaraa= swirling, with romantic jerks; kucha+kalasha= bosoms, flagons like [flagon = a large vessel usu. with a handle, spout, and lid, to hold wine etc. for the Eucharist]; upari=overside; taralita+haaraa= swinging, pearly pendants; [reprise:] kaa + api = some girl [a certain girl,] even; yuvatiH= a damsel; ati+adhika+guNaa= [by her] very, high, talent; madhu+ripuNaa= by Madhu's, enemy - Krishna; vilasati= romantically frolicking. [a pa 14-2]
"When she is tightly hugging Krishna with her flagon-like bosoms, on which pearly pendants are swinging, her body is swirly and jerky... thus that damsel is rollicking romantically with Krishna... methinks she is muchly talented... [a pa 14-2]
vichaladalakalalitaananachandraa |
tadadharapaanarabhasakR^itatandraa || a pa 14-3
pa cChe- vichalat alaka lalita aanana chandraa tat adhara paana rabhasa kR^ita tandraa
विचलदलकललिताननचन्द्रा।
तदधरपानरभसकृततन्द्रा॥ अ प १४-३
vicaladalakalalitānanacandrā |
tadadharapānarabhasakṛtatandrā || a pa 14-3
pa cche- vicalat alaka lalita ānana candrā tat adhara pāna rabhasa kṛta tandrā
a pa 14-3. vi+chalat= liltingly, pulsating; alaka= hair-locks; lalita+aanana+chandraa= pretty, face, moon; tat= his [Krishna's]; adhara+paana= lip, swilling [long kiss]; rabhasa= by speediness [ by happiness]; kR^ita+tandraa= made [became,] dozily.
"Her hair-locks are liltingly pulsating on her prettily moony face, and she is taking a long kiss of his lip, she is happily dozy... hence, methinks she is muchly talented, for that damsel is romantically rollicking with Krishna... [a pa 14-3]
cha.nchalakuNDaladalitakapolaa |
mukharitarasanajaghanagatilolaa || a pa 14-4
pa cChe- cha.nchala kuNDala dalita kapolaa mukharita rasana jaghana gati lolaa
चंचलकुण्डलदलितकपोला।
मुखरितरसनजघनगतिलोला॥ अ प १४-४
caṁcalakuṇḍaladalitakapolā |
mukharitarasanajaghanagatilolā || a pa 14-4
pa cche- caṁcala kuṇḍala dalita kapolā mukharita rasana jaghana gati lolā
a pa 14-4. cha.nchala+kuNDala= swaying, knobby ear-hangings, dalita+kapolaa= bumping, cheeks [she has]; mukharita+rasana= clinking, waist-strings with jingle-bells [which she has on her waist]; jaghana + gati + lolaa= hip, in its going [swinging,] swaying.
"Her knobby ear-hangings are bumping her cheeks, her waist-strings with jingle bells are clinking when her hip is swingingly swaying, while that damsel is rollicking romantically with Krishna... methinks she is muchly talented... [a pa 14-4]
dayitavilokitalajjitahasitaa |
bahuvidhakuujitaratirasarasitaa || a pa 14-5
pa cChe- dayita vilokita lajjita hasitaa bahu vidha kuujita rati rasa rasitaa
दयितविलोकितलज्जितहसिता।
बहुविधकूजितरतिरसरसिता॥ अ प १४-५
dayitavilokitalajjitahasitā |
bahuvidhakūjitaratirasarasitā || a pa 14-5
pa cche- dayita vilokita lajjita hasitā bahu vidha kūjita rati rasa rasitā
a pa 14-5. dayita+vilokita= by lover, when seen; lajjita= coyly; hasitaa= smiley; bahu+vidha + kuujita = in many, ways, cooed; rati+rasa= in courtship, joy; rasitaa= while enjoying. [NB. This has two imports unsaid in the poem, but derivable from treatises on romance, and they two are combined below.]
"When her lover sees her she is coyly, for she is aggressive like a man, and when not she triumphantly smiley, for her becoming an aggressor like a man, thus on enjoying courtship she is cooing in many a way... but, that damsel is rollicking romantically with Krishna... maybe she is muchly talented... [a pa 14-5]
vipulapulakapR^ithuvepathubha.ngaa |
shvasitanimiilitavikasadana.ngaa || a pa 14-6
pa cChe- vipula pulaka pR^ithu vepathu bha.ngaa shvasita nimiilita vikasata ana.ngaa
विपुलपुलकपृथुवेपथुभंगा।
श्वसितनिमीलितविकसदनंगा॥ अ प १४-६
vipulapulakapṛthuvepathubhaṁgā |
śvasitanimīlitavikasadanaṁgā || a pa 14-6
pa cche- vipula pulaka pṛthu vepathu bhaṁgā śvasita nimīlita vikasata anaṁgā
a pa 14-6. vipula+pulaka= with broad, tingles [she is]; pR^ithu+vepathu= wide, throbs [she is]; bha.ngaa= tarangaa= like waves [weaves also come and go, in wide and broad nature]; shvasita= [in courtship] with soughs; nimiilita= half-closed [shuts eyes]; vikasata+ana.ngaa= broadened, Love-god [rather, love for Krishna is broadened in her soul.]
"Like waves, broad tingles and wide throbs are coming and going on her body, but she soughs and shuts her eyes, as love in broadened in her soul... thus, that damsel is rollicking romantically with Krishna... maybe she is muchly talented... [a pa 14-6]
shramajalakaNabharasubhagashariiraa |
paripatitorasi ratiraNadhiiraa || a pa 14-7
pa cChe- shrama jala kaNa bhara subhaga shariiraa paripatita urasi rati raNa dhiiraa
श्रमजलकणभरसुभगशरीरा।
परिपतितोरसि रतिरणधीरा॥ अ प १४-७
śramajalakaṇabharasubhagaśarīrā |
paripatitorasi ratiraṇadhīrā || a pa 14-7
pa cche- śrama jala kaṇa bhara subhaga śarīrā paripatita urasi rati raṇa dhīrā
a pa 14-7. shrama= by strain [in courting]; jala+kaNa= water, particles [sweat drops] bhara= filled with; subhaga+shariiraa= beautiful, bodied [one like, appearing; though her pearly pendants have swirled onto her back in grapple, her chest is filled with pearl-like sweat drops. So, when no ornament is there on her chest, it appears to have pearly ornaments - hence she is beatiful]; rati+raNa+dhiiraa= in courting, combat, challenger; pari+patita+urasi= overside, fallen [relaxedly,] on chest.
Owing to the strain of courting drops of sweat filled her chest thus she is a beauty, and owing to the same strain, that challenger in the courting combats has fallen overside of his chest relaxedly... she is muchly talented... that's why, that damsel is rollicking romantically with Krishna... [a pa 14-7]
Comment: This kind of posture is called hamsa liilaka bandha; naarii paada dvyayam dattvaa kaantasya uru yugo api | kaTim aandolayet aashu bandho ayam hamsa liilakaH || rati rahasya. and this needs no literal trasl., now.
shriijayadevabhaNitahariramitam |
kalikalushhaM janayatu parishamitam || a pa 14-8
pa cChe- shrii jayadeva bhaNita hari ramitam kali kaluSam janayatu parishamitam
श्रीजयदेवभणितहरिरमितम्।
कलिकलुषं जनयतु परिशमितम्॥ अ प १४-८
śrījayadevabhaṇitahariramitam |
kalikaluṣaṁ janayatu pariśamitam || a pa 14-8
pa cche- śrī jayadeva bhaṇita hari ramitam kali kaluṣam janayatu pariśamitam
a pa 14-8. jayadeva+bhaNita= by Jayadeva, uttered; shrii+hari+ramitam= Shri, Krishna's, gladdening [by a milkmaid]; kali+kaluSam= connected to Kali era, blemish; parishamitam+janayatu= completely subduing, may cause.
The episode of a milkmaid gladdening Shri Krishna, as Jayadeva utters it, this may cause a complete subdual to the blemishes in Kali Era... [14-8]
virahapaaNDumuraarimukhaambuja
dyutirayam tirayannapi vedanaam |
vidhuratiiva tanoti manobhuvaH
suhR^idaye hR^idaye madanavyathaam || 7-7
pa cChe- viraha paaNDu muraari mukha ambuja dyutiH ayaM tirayan api vedanaam vidhuH atiiva tanoti manobhuvaH suhR^it aye hR^idaye madana vyathaam
विरहपाण्डुमुरारिमुखाम्बुज
द्युतिरयम् तिरयन्नपि वेदनाम्।
विधुरतीव तनोति मनोभुवः
सुहृदये हृदये मदनव्यथाम्॥ ७-७
virahapāṇḍumurārimukhāmbuja
dyutirayam tirayannapi vedanām |
vidhuratīva tanoti manobhuvaḥ
suhṛdaye hṛdaye madanavyathām || 7-7
pa cche- viraha pāṇḍu murāri mukha ambuja dyutiḥ ayaṁ tirayan api vedanām vidhuḥ atīva tanoti manobhuvaḥ suhṛt aye hṛdaye madana vyathām
7-7. aye= oh, friend; ayam+vidhuH= this, moon; manobhuvaH+suhR^it= Love-god's, good friend [moon]; viraha= [my] anguish in dissociation; paaNDu= pale faced; muraari= Krishna's; mukha+ ambuja+dyutiH= face, lotus-like, its resplendence; vedanaam+tirayan+api= anguishes , covering up [abated,] even though; hR^idaye+madana+vyathaam+atiiva+tanoti= in heart, love's, anguish, muchly, intensifying [unabated.] [Explained below, vividly.]
"Oh, friend, this moon earlier had a pale face like that of the lotus-like face of Krishna, by which my anguish in dissociation was somewhat abated, waiting for him... but now, unabated is the palish silveriness of this very moon, as his friend Love-god is abetting him to take vengeance on me, as I am unmoving to Krishna, thus my anguish too, is muchly unabated... [7-7]
aSTapadi - 15 - harirasamanmathatilakam
samuditamadane ramaNiivadane chumbanavalitaadhare |
mR^igamadatilakam likhati sapulakam mR^igamiva rajaniikare |
ramate yamunaapulinavane vijayii muraariradhunaa - iti dhR^ivam || a pa 15-1
pa cChe- samudita madane ramaNii vadane chumbana valita adhare mR^iga mada tilakam likhati sa pulakam mR^igam iva rajanii kare ramate yamunaa pulina vane vijayii muraariH adhunaa
अष्टपदि - १५ - हरिरसमन्मथतिलकम्
समुदितमदने रमणीवदने चुम्बनवलिताधरे।
मृगमदतिलकम् लिखति सपुलकम् मृगमिव रजनीकरे।
रमते यमुनापुलिनवने विजयी मुरारिरधुना - इति धृवम्॥ अ प १५-१
aṣṭapadi - 15 - harirasamanmathatilakam
samuditamadane ramaṇīvadane cumbanavalitādhare |
mṛgamadatilakam likhati sapulakam mṛgamiva rajanīkare |
ramate yamunāpulinavane vijayī murāriradhunā - iti dhṛvam || a pa 15-1
pa cche- samudita madane ramaṇī vadane cumbana valita adhare mṛga mada tilakam likhati sa pulakam mṛgam iva rajanī kare ramate yamunā pulina vane vijayī murāriḥ adhunā
a pa 15-1. he sakhii= of friend; sam+udita= well, uprisen [up surged]; madane= passion [in a girl]; chumbana+valita+adhare= for a kiss, swerved [turn sharply; change direction abruptly - she withdraws her face, primarily; in text as 'lalita aanane' then it is beautiful face for it will be kissed]; ramaNii+ vadane= a comely girl's, face; rajanii+kare+ mR^igam + iva= in night, maker [in moon,] deer, like; sa+pulakam= with, thrills [for the girl]; mR^iga+ mada + tilakam+ likhati= deer's, fat [musk,] mark [usu. on forehead,] making; [reprise] vijayii+muraariH= prizewinner [prized,] Krishna; adhunaa= presently; yamunaa + pulina + vane = River Yamuna's, on sand dunes, groves; ramate= is frolicking. upama - Her face is in simile with moon and tilaka, or mark with deer.
"Oh, friend, loo... he is swerving the face of a comely girl, in whom passion is up-surging, for a kiss, and like the deer mark in moon, he is making a mark with musk on her face with his kiss, while she thrills... thus that prized Krishna is presently frolicking on the sand dunes and in the groves of Yamuna River... [a pa 15-1]
ghanachayaruchire rachayati chikure taralitataruNaanane |
kurabakakusumam chapalaasushhamam ratipatimR^igakaanane || a pa 15 -2
pa cChe- ghana chaya ruchire rachayati chikure taralita taruNa aanane kuravaka kusumam chapalaa suSamam rati pati mR^iga kaanane
घनचयरुचिरे रचयति चिकुरे तरलिततरुणानने।
कुरबककुसुमम् चपलासुषमम् रतिपतिमृगकानने॥ अ प १५ -२
ghanacayarucire racayati cikure taralitataruṇānane |
kurabakakusumam capalāsuṣamam ratipatimṛgakānane || a pa 15 -2
pa cche- ghana caya rucire racayati cikure taralita taruṇa ānane kuravaka kusumam capalā suṣamam rati pati mṛga kānane
a pa 15-2. ghana+chaya+ruchire= clouds, gather, in sheen [he is sheeny like a cloudscape]; taralita= made to ripples [on seeing such a one riffle like thrills occur in girls]; taruNa+aanane= on a beauty's, face; rati+pati= Rati's, husband, [or lord of love - of Love-god]; mR^iga+kaanane= beast / deer, a forest of; chikure= in head hair; chapalaa+suSamam= scintillating, lightning [like]; kuravaka+ kusumam = Kuravaka [mehandi,] red flower; rachayati= decorating.
"He who is sheeny like a cloudscape, and on seeing whom riffles of thrills occur in girls, such a Krishna is decorating a red flower that is scintillating like lightning, in the braid of a beauty, in that forest where that beastly Love-god is on the prowl... [a pa 15-2]
Comment: In doing so, Krishna has forgotten Raadha for his continued staying in that forest where the brutal beast-like Love-god is still on the prowl. If this mR^iga is taken as deer, then the above vyaaaja ninda 'sarcasm in devotion' of Raadha is lost.
ghaTayati sughane kuchayugagagane mR^igamadaruchiruuSite |
maNisaramamalam taarakaapaTalam nakhapadashashibhuuSite || a pa 15-3
pa cChe- ghaTayati su ghane kucha yuga gagane mR^iga mada ruchira uuSite maNi saram amalam taarakaa paTalam nakha pada shashi bhuuSite
घटयति सुघने कुचयुगगगने मृगमदरुचिरूषिते।
मणिसरममलम् तारकापटलम् नखपदशशिभूषिते॥ अ प १५-३
ghaṭayati sughane kucayugagagane mṛgamadarucirūṣite |
maṇisaramamalam tārakāpaṭalam nakhapadaśaśibhūṣite || a pa 15-3
pa cche- ghaṭayati su ghane kuca yuga gagane mṛga mada rucira ūṣite maṇi saram amalam tārakā paṭalam nakha pada śaśi bhūṣite
a pa 15-3. mR^iga+mada= deer, musk; ruchira+uuSite= shine, bestrewn [bedaubed, cosmetic]; su+ghane= highly massy, with clouds; nakha+pada= fingernail, dent [like]; shashi+bhuuSite= with [crescent] moon, decorated with; kucha+yuga+gagane= bosoms, twosome, on sky of [on overside]; amalam= impeccable; maNi+saram= gemmy [pearly,] pendant; taarakaa+paTalam [iva]= starts, cluster of [like pendant]; ghaTayati= adjusting. [Meaning said vividly as upama/simile is to be explained.]
"Oh, friend, now he is adjusting an impeccable pearly pendant on the overside of her two bosoms that shine like deer musk, that which is bedaubed on them... in doing so his fingernails are making crescentic dents on those bosoms... and that skyey bust appears to be a sky with two massy clouds and that pearly pendant as the star studded sky, and those crescentic dents as crescent moons... [15-3]
Comment: The comparison between crescentic dents and crescent moon is as said panca saayaka: artha indu samkaasham idam nakha kshatam artha indu kathitam samaanataH | kakshaa nitamba stana paarshva madhye daatavya etat karajam sadaa eva || - panca saayaka in treatise of romance, Five Arrows.
jitabisashakale mR^idubhujayugale karatalanaliniidale |
marakatavalayam madhukaranichayam vitarati himashiitale || a pa 15-4
pa cChe- jita bisa shakale mR^idu bhuja yugale kara tala nalinii dale marakata valayam madhukara nichayam vitarati hima shiitale
जितबिसशकले मृदुभुजयुगले करतलनलिनीदले।
मरकतवलयम् मधुकरनिचयम् वितरति हिमशीतले॥ अ प १५-४
jitabisaśakale mṛdubhujayugale karatalanalinīdale |
marakatavalayam madhukaranicayam vitarati himaśītale || a pa 15-4
pa cche- jita bisa śakale mṛdu bhuja yugale kara tala nalinī dale marakata valayam madhukara nicayam vitarati hima śītale
a pa 15-4. muraari= Krishna; jita+bisa+shakale= triumphant [than] lotus, stalks; hima+shiitale= snowy, cool; kara+tala= hand's, surface [with palms]; nalinii+dale= [like] lotus, leaves; mR^idu+ bhuja + yugale = softish, shoulders, a pair of; marakata+valayam= emerald, armlet; madhukara + nichayam [iva] = honey-makers [honey bees,] a swarm [alike]; vitarati= he is keeping [adjusting.]
"Now he is adjusting emeraldine armlets on the pair of her palms that liken to snowily coolish lotus leaves, while her shoulders are softish like lotus itself, and arms triumph over the tender stalks of lotuses, thus those emeralds in those armlets are alike a swarm of honeybees, hovering over that lotus-like girl... [a pa 15-4]
ratigR^ihajaghane vipulaapaghane manasijakanakaasane |
maNimayarasanam toraNahasanam vikirati kR^itavaasane || a pa 15-5
pa cChe- rati gR^iha jaghane vipulaapaghane manasija kanaka aasane maNimaya rasanam toraNa hasanam vikirati kR^ita vaasane
रतिगृहजघने विपुलापघने मनसिजकनकासने।
मणिमयरसनम् तोरणहसनम् विकिरति कृतवासने॥ अ प १५-५
ratigṛhajaghane vipulāpaghane manasijakanakāsane |
maṇimayarasanam toraṇahasanam vikirati kṛtavāsane || a pa 15-5
pa cche- rati gṛha jaghane vipulāpaghane manasija kanaka āsane maṇimaya rasanam toraṇa hasanam vikirati kṛta vāsane
a pa 15-5. muraariH= Krishna; vipula+apaghane= on beamy, hip; manasija+kanaka+aasane= Love-god's, golden, throne; kR^ita+vaasane= rendered voluptuous [or, while she is enrobing her hips; or - as vaasana has many meanings= she has a desire to have him, or, she is made to undergo some thinking that bechanced during last birth; here she is rendered voluptuous will be matching because of the proximity of words of throne of Love-god etc;] rati+gR^iha+jaghane= lust, house homelike, on hip; maNimaya + rasanam = gem-studded, waist-strings; toraNa+hasanam= arched [festoons - as a welcome sign]; vikirati= strews around [because he could not tie that string on hip, because his mood changed as soon as he touched her broadly hip, and she too clings to him for his magic touch.]
Krishna is now trying to tie her gem-studded waist-strings like arched welcome festoons on her homelike beamy hip, for it homes lust and houses the golden throne of Love-god, but he had to strew it around, for both of them are subjected to sudden voluptuousness by that tenant-like king on the throne in that house, called Love-god... [15-5]
charaNakisalaye kamalanilaye nakhamaNigaNapuujite |
bahirapavaraNam yaavakabharaNam janayati hR^idi yojite || a pa 15-6
pa cChe- charaNa kisalaye kamala nilaye nakha maNi gaNa puujite bahiH apavaraNam yaavaka bharaNam janayati hR^idi yojite
चरणकिसलये कमलनिलये नखमणिगणपूजिते।
बहिरपवरणम् यावकभरणम् जनयति हृदि योजिते॥ अ प १५-६
caraṇakisalaye kamalanilaye nakhamaṇigaṇapūjite |
bahirapavaraṇam yāvakabharaṇam janayati hṛdi yojite || a pa 15-6
pa cche- caraṇa kisalaye kamala nilaye nakha maṇi gaṇa pūjite bahiḥ apavaraṇam yāvaka bharaṇam janayati hṛdi yojite
a pa 15-6. kamala+nilaye= Lakshmi's, abode; nakha+maNi+gaNa+puujite [bhuuSite]= nails, jewels [like,] adored with; charaNa+kisalaye= feet, leaflets; hR^idi+yojite= on chest, on joining [on placing -or on think thus in his heart]; bahiH+apavaraNam= as outer, covering [outer, peripheral - because those feet are already rosy]; yaavaka+bharaNam+janayati= lac reddish colour, decoration, causing [he is making, painting.]
"On placing her leaflet like feet on his supine chest, that are the abode of Lakshmi, and that are adored with jewel like rosy nails, he is decorating them with reddish lac colour on the already rosy feet... [a pa 15-6]
ramayati sadR^isham kaamapi subhR^isham khalahaladharasodare |
kimaphalamavasam chiramiha virasam vada sakhi viTapodare || a pa 15-7
pa cChe- ramayati su dR^isham kaam api subhR^isham khalahaladhara sodare kim aphalam avasam chiram iha virasam vada sakhi viTapa udare
रमयति सदृशम् कामपि सुभृशम् खलहलधरसोदरे।
किमफलमवसम् चिरमिह विरसम् वद सखि विटपोदरे॥ अ प १५-७
ramayati sadṛśam kāmapi subhṛśam khalahaladharasodare |
kimaphalamavasam ciramiha virasam vada sakhi viṭapodare || a pa 15-7
pa cche- ramayati su dṛśam kām api subhṛśam khalahaladhara sodare kim aphalam avasam ciram iha virasam vada sakhi viṭapa udare
a pa 15-7. halahaladhara= plough wielder [plougher]; sodare= by brother of; kaam+api= someone, even [one nameless, fameless, run-of-the-mill girl]; su+dR^isham= good, eyes [she has, i.e., Krishna is hoodwinked by her mesmeric eyes]; subhR^isham= very hastily; ramayati= making merry [with her]; iha+viTapa+udare= here, in tree's, belly [inside arbour]; vi+rasam= without, spirit [futilely]; a+ phalam= without, fruit; chiram= for a long; kim+avasam= why, tarry; vada+sakhi= speak up, friend.
"When that plougher's brother is very hastily merrymaking with an anonymous girl, hoodwinked by her mesmeric eyes, why should I futilely and fruitlessly tarry inside an arbour for a long... speak up, oh, friend... [15-7]
Comment: The plougher's brother indicates Raadha's disdain for the lowbrow taste of Krishna, who takes delights in a bumpkin, leaving queen like herself. A farmer's brother can be a Farmer Jr., but will not be a charmer... better leave him, as he is... If iambs fit in - Crotchety, thy name is woman!
The plougher's brother indicates Raadha's disdain for the lowbrow taste of Krishna, who takes delights in a bumpkin, leaving queen like herself. A farmer's brother can be a Farmer Jr., but will not be a charmer... better leave him, as he is... And if iambs fit in - Crotchety, thy name is woman!
iha rasabhaNane kR^itahariguNane madhuripupadasevake |
kaliyugacharitam na vasatu duritam kavinR^ipajayadevake || a pa 15-8
pa cChe- iha rasa bhaNane kR^ita hari guNane madhu ripu pada sevake kali yuga charitam na vasatu duritam kavi nR^ipa jayadevake
इह रसभणने कृतहरिगुणने मधुरिपुपदसेवके।
कलियुगचरितम् न वसतु दुरितम् कविनृपजयदेवके॥ अ प १५-८
iha rasabhaṇane kṛtahariguṇane madhuripupadasevake |
kaliyugacaritam na vasatu duritam kavinṛpajayadevake || a pa 15-8
pa cche- iha rasa bhaṇane kṛta hari guṇane madhu ripu pada sevake kali yuga caritam na vasatu duritam kavi nṛpa jayadevake
a pa 15-8. rasa+bhaNane= blissful essence, saying; iha+kR^ita+hari+guNane= now, made [said,] Krishna's, praise song; madhuripu+pada+sevake = Krishna's, at feet, worshipper; kavi+ nR^ipa= poet's, king; jayadevake= by Jayadeva [by his saying]; kali+yuga+charitam= in Kali, era, treading; duritam= profanation; na+vasatu= not, dwells [not to be attached; come on... for it is experienceable, experience it oh, devotees... is ensuant.]
Let not the profanation that is treading its way in this Kali era be attached to the king of poets Jayadeva, for he is a worshipper at the feet of Krishna, further he is saying his 'experienceable blissful essence' in this praise song on Krishna... come on, experience it, oh, devotees... [a pa 15-8]
naayaataH sakhi nirdayo yadi shaThastvam, duuti kim duuyase
svacChandam bahuvallabhaH sa ramate kim tatra te duushhaNam |
pashyaadya priyasa.ngamaaya dayitasyaakR^ishhyamaaNam guNaiH
utkaNThaartibharaadiva sphuTadidam chetaH svayam, yaasyati || 7-9
pa cChe- na ayaataH sakhi nirdayaH yadi shaThaH tvam duuti kim duuyase svacCha.ndam bahu vallabhaH saH ramate kim tatra te duuSaNam pashya adya priya sa.ngamaaya dayitasya akR^iSyamaaNam guNaiH utkaNTha aarti bharaat iva sphuTat idam chetaH svayam yaasyati
नायातः सखि निर्दयो यदि शठस्त्वम् दूति किम् दूयसे
स्वच्छन्दम् बहुवल्लभः स रमते किम् तत्र ते दूषणम्।
पश्याद्य प्रियसंगमाय दयितस्याकृष्यमाणम् गुणैः
उत्कण्ठार्तिभरादिव स्फुटदिदम् चेतः स्वयम् यास्यति॥ ७-९
nāyātaḥ sakhi nirdayo yadi śaṭhastvam dūti kim dūyase
svacchandam bahuvallabhaḥ sa ramate kim tatra te dūṣaṇam |
paśyādya priyasaṁgamāya dayitasyākṛṣyamāṇam guṇaiḥ
utkaṇṭhārtibharādiva sphuṭadidam cetaḥ svayam yāsyati || 7-9
pa cche- na ayātaḥ sakhi nirdayaḥ yadi śaṭhaḥ tvam dūti kim dūyase svacchaṁdam bahu vallabhaḥ saḥ ramate kim tatra te dūṣaṇam paśya adya priya saṁgamāya dayitasya akṛṣyamāṇam guṇaiḥ utkaṇṭha ārti bharāt iva sphuṭat idam cetaḥ svayam yāsyati
15-9. hè sakhi; duuti= oh, friend, my messenger; nir+dayaH= without, mercy; shaThaH = a philanderer; yadi+na+ayaataH= if, not, come; kim+tvam+duuyase= why, you, worry; saH +bahu+ vallabhaH= he has, many, sweethearts; svacCha.ndam+ramate= by his own volition, he takes delight; tatra= in that matter; kim+te+duuSaNam= why, your, belittling, disparage; adya= now; utkaNTha= ecstasy; aarti= anguish; bharaat+iva= filled with, as though; sphuTat +idam+chetaH= bursts, this, heart [of mine]; dayitasya+guNaiH+ aakR^iSya maaNam = by lover's, plus points, being attracted [magnetized] ; priya+ sa.ngam- aaya = with lover, to conjoin; svayam+yaasyati= on its own, [my soul] goes [merges in him]; pashya= you may see.
"Oh, friend, if that merciless philanderer has not turned up why you worry as my messenger... when he has many sweethearts and he takes delight in them by his own volition, then why do you disparage him... and when my heart is filled with anguish, brought by my ecstasy in waiting for him, this heart of mine appears to burst at anytime, for it is still being magnetized by his plus points, and if that happens my soul merges only in him, you may see it... [15-9]
Comment: In fact this girlfriend is sorry faced unable to see the plight of Raadha. But Raadha being as tongue-lasher, next only to Seetha of Valmiki, in a kind of identification she lashes her tongue at this girl. These messengers have a part to play when sent on delegation such delegations, unlike our present day ambassadors who always parrot out 'I will ask my govt. and xerox that reply to your govt....' . In Ramayana Hanuma burns Lanka after seeing Seetha. Krishna shows his Cosmic Body after the failure of peace talks in Bharata.
So also, this girl must have done something that is rendering her silent. Commentators bring another shade of meaning. Though its word-to-word translation is not given, the gist is like this: 1st stanza: you are worrying because you might have had an ungratified bout with him, unsayable to me. And you objectionably worry for my saying about him as a 'philanderer, merciless one' because he might have 'philandered' with you for he is too 'merciful.' 2nd stanza: I myself say that he has many sweethearts, and said this even previously. So you took chance to become one, though at present you are sent as my agent. 3rd and 4th stanzas: I don't mind his volitions and vacillations with your like, but I have none else than him from day one. So, when my heart bursts and soul merges in him, then you all put together have your butterflying and philandering... don't worry, just wait for it...
aSTapadi - 16 - harinaaraayaNamadanaayaasam
anilataralakuvalayanayanena |
tapati na saa kisalayashayanena
sakhi yaa ramitaa vanamaalinaa - iti dhR^ivam || a pa 16-1
pa cChe- anila tarala kuvalaya nayanena tapati na saa kisalaya shayanena sakhi yaa ramitaa vanamaalinaa
अष्टपदि - १६ - हरिनारायणमदनायासम्
अनिलतरलकुवलयनयनेन।
तपति न सा किसलयशयनेन
सखि या रमिता वनमालिना - इति धृवम्॥ अ प १६-१
aṣṭapadi - 16 - harinārāyaṇamadanāyāsam
anilataralakuvalayanayanena |
tapati na sā kisalayaśayanena
sakhi yā ramitā vanamālinā - iti dhṛvam || a pa 16-1
pa cche- anila tarala kuvalaya nayanena tapati na sā kisalaya śayanena sakhi yā ramitā vanamālinā
a pa 16-1. sakhi= oh, friend; yaa= she [who is]; ramitaa= sated [gratify (desire, or a desirous person) to the full]; anila+tarala= by breeze, waved, ripply [billowy]; kuvalaya + nayanena = blue-lotus [like,] with eyes; vanamaalinaa= by Krishna; saa= she; kisalaya + shayanena = tender-leaves, on bed; na+tapati = not [never,] sears [cause (esp. emotional) pain or great anguish to]; [reprise: sakhi= oh, friend; yaa= she [who is]; ramitaa= sated; vanamaalinaa= by one who is garlanded with all-sanctifying basil leaves.
"She who is sated by that billowy blue lotus eyed Krishna, she never sears on any bed of leaflets... oh, friend... for, she is sated by one garlanded with basil-leaves... [a pa 16-1]
vikasitasarasijalalitamukhena |
sphuTati na saa manasijavishikhena || a pa 16-2
pa cChe- vikasita sarasija lalita mukhena - yaa ramitaa vanamaalinaa - sphuTati na saa manasija vishikhena
विकसितसरसिजललितमुखेन।
स्फुटति न सा मनसिजविशिखेन॥ अ प १६-२
vikasitasarasijalalitamukhena |
sphuṭati na sā manasijaviśikhena || a pa 16-2
pa cche- vikasita sarasija lalita mukhena - yā ramitā vanamālinā - sphuṭati na sā manasija viśikhena
a pa 16-2. vikasita+sarasi+ja= bloomed, lake, born one [lotus like] lalita+mukhena= with attractive [rapturous,] face; [ellipt. yaa ramitaa vanamaalinaa = she who is sated]; saa+manasi+ja= she, with mind, born one [Love-god's]; vi+shikhena= with sharp, arrowheads; na+sphuTati= not [never,] shatters.
"She who is sated by that one with a bloomed lotus like rapturous face, Love-god's sharp arrowheads never shatters her... for, she is sated by one garlanded with basil-leaves... [a pa 16-2]
amR^itamadhuramR^idutaravachanena |
jvalati na saa malayajapavanena || a pa 16-3
pa cChe - amR^ita madhura mR^idu tara vachanena jvalati na saa malaya ja pavanena
अमृतमधुरमृदुतरवचनेन।
ज्वलति न सा मलयजपवनेन॥ अ प १६-३
amṛtamadhuramṛdutaravacanena |
jvalati na sā malayajapavanena || a pa 16-3
pa cche - amṛta madhura mṛdu tara vacanena jvalati na sā malaya ja pavanena
a pa 16-3. amR^ita+madhura= ambrosial, lusciousness; mR^idu+tara= dulcet, finely; vachanena= by words; saa= she [yaa ramitaa]; malaya+ja+pavanena= in Mt. Malaya, born [hence, sandal scented, reeze; na+jvalati= never, singes.
"She who is sated by him whose words have ambrosial lusciousness and finely dulcified, she never singes in any sandal breeze... for, she is sated by one garlanded with basil-leaves... [a pa 16-3]
sthalajalaruharuchikaracharaNena |
luThati na saa himakarakiraNena || a pa 16-4
pa cChe- sthala jala ruha ruchi kara charaNena luThati na saa hima kara kiraNena
स्थलजलरुहरुचिकरचरणेन।
लुठति न सा हिमकरकिरणेन॥ अ प १६-४
sthalajalaruharucikaracaraṇena |
luṭhati na sā himakarakiraṇena || a pa 16-4
pa cche- sthala jala ruha ruci kara caraṇena luṭhati na sā hima kara kiraṇena
a pa 16-4. sthala+jala+ruha]= on land, water, born [i.e., lotuses born on ground rather than in lakes - dry land lotuses]; ruchi= brilliance [having]; kara+charaNena= arms, feet; saa= she [as above]; hima+ kara+kiraNena= by coolness, make [moon,] in his beams; na+luThati= never, welters.
She who is sated by him whose arms and feet have the brilliance of land lotuses, she never welters in cooling moonshine... for, she is sated by one garlanded with basil-leaves... [a pa 16-4]
sajalajaladasamudayaruchireNa |
dalati na saa hR^idi chiraviraheNa || a pa 16-5
pa cChe- sa jala jalada samudaya ruchireNa dalati na saa hR^idi viraha bhareNa
सजलजलदसमुदयरुचिरेण।
दलति न सा हृदि चिरविरहेण॥ अ प १६-५
sajalajaladasamudayarucireṇa |
dalati na sā hṛdi ciraviraheṇa || a pa 16-5
pa cche- sa jala jalada samudaya rucireṇa dalati na sā hṛdi viraha bhareṇa
a pa 16-5. sa+jala= with water; jala+da= water, giver -cloud; samudaya= masses of; ruchireNa= he has their glitter; saa= she [as above]; hR^idi= in heart; viraha+bhareNa= grief of rift, by weight of; na+ dalati= never, rends.
"She who is sated by him whose glitter is like that of masses of clouds, her heart never gets rent by the weight of grief in rift... for, she is sated by one garlanded with basil-leaves... [a pa 16-5]
kanakanikaSaruchishuchivasanena |
shvasati na saa parijanahasanena || a pa 16-6
pa cChe- kanaka nikaSa ruchi shuchi vasanena shvasati na saa parijana hasanena
कनकनिकषरुचिशुचिवसनेन।
श्वसति न सा परिजनहसनेन॥ अ प १६-६
kanakanikaṣaruciśucivasanena |
śvasati na sā parijanahasanena || a pa 16-6
pa cche- kanaka nikaṣa ruci śuci vasanena śvasati na sā parijana hasanena
a pa 16-6. kanaka= gold's; nikaSa= a streak or line of gold made on a touchstone [but not the touchstone itself]; ruchi= in shine; shuchi+vasanena= all-purifying, by robes; saa= she [as above]; parijana= of people around; hasanena= their laughing of [a laughingstock]; na+shvasati= never, sighs for.
"She who is sated by him whose all-purifying ochry robe that is akin in shine with pure golden streaks on touchstone, she will never sigh for her becoming a laughingstock among kith and kin... for, she is sated by one garlanded with basil-leaves... [a pa 16-6]
sakalabhuvanajanavarataruNena |
vahati na saa rujamatikaruNena || a pa 16-7
pa cChe- sakala bhuvana jana vara taruNena vahati na saa rujam ati karuNena
सकलभुवनजनवरतरुणेन।
वहति न सा रुजमतिकरुणेन॥ अ प १६-७
sakalabhuvanajanavarataruṇena |
vahati na sā rujamatikaruṇena || a pa 16-7
pa cche- sakala bhuvana jana vara taruṇena vahati na sā rujam ati karuṇena
a pa 16-7. sakala+bhuvana+jana= in all, worlds, and their in-dwellers; vara+taruNena= best one, with bloom of youth; ati+karuNena= by his utmost, mercy [grace, unmerited favour of God]; saa= she [as above]; rujam= bodily pain [by separation]; na+vahati= never, endures.
"She who is sated by him who is the only best one with bloom of youth among all the in-dwellers in the triad of worlds, and the only one with utmost grace, she will never endure bodily pain of separation... [a pa 16-7]
shriijayadevabhaNitavachanena |
pravishatu harirapi hR^idayamanena || a pa 16-8
pa cChep- shrii jayadeva bhaNita vachanena pravishatu hariH api hR^idayam anena
श्रीजयदेवभणितवचनेन।
प्रविशतु हरिरपि हृदयमनेन॥ अ प १६-८
śrījayadevabhaṇitavacanena |
praviśatu harirapi hṛdayamanena || a pa 16-8
pa cchep- śrī jayadeva bhaṇita vacanena praviśatu hariḥ api hṛdayam anena
a pa 16-8. anena= by this; jayadeva= by Jayadeva; bhaNita+shrii+vachanena= said, blest, sentences [import, songs - or bhaNita+milanena= said something about women conjoining with Krishna; or - anena+bhaNita = by chanting, or singing along these lyrics said by Jayadeva - will be the meaning] hariH+api= Krishna, even; pravishatu+hR^idayam= will enter, heart [the heart of Raadha, or in our hearts too, filling our hearts with love.]
On singing this song along these sonmgs that contain blest import, let Krishna enter the hearts of one and all, to fill them all with love. [a pa 16-8]
Comment: This one song seeds the concept of a-chintya-bheda-a-bhedaa bhaava 'unheeding differences or non-difference' you leap at Krishna...' so to say. This is also called Bengal school or gauDiya paddhati etc., and these days unheard is this name, thus it is relegated to a paddhati 'custom' rather than a darshana 'philosophy' though later to saDdarshana-s. Both this and advaita of Shankara are same, though the ways of both of its thinkers differ. Its practises are evident than its real name. This concept of Bengal school nominates Krishna as the ununderstandable Brahman of Shankara, as the ever-effulgent, ever-overflowing, ever-rising flood of rasa is in Krishna.
Better this philosophy be retained, though not with this too technical title, but with some suitable title, say premaadvaita, like that of Ramanuja's vishiSTaadvaita, in view of its loveable tenets.
manobhavaanandana chandanaanila
prasiida re dakshiNa m.ncha vaamataam |
kshaNam jagatpraaNa nidhaaya maadhavam
puro mama praaNaharo bhavishhyasi || 7-11
pa cChe- manaH bhava aanandana chandana anila prasiida re dakshiNa mu.ncha vaamataam kshaNam jagat praaNa nidhaaya maadhavam puraH mama praaNa haraH bhavishhyasi
मनोभवानन्दन चन्दनानिल
प्रसीद रे दक्शिण म्ंच वामताम्।
क्शणम् जगत्प्राण निधाय माधवम्
पुरो मम प्राणहरो भविष्यसि॥ ७-११
manobhavānandana candanānila
prasīda re dakśiṇa mṁca vāmatām |
kśaṇam jagatprāṇa nidhāya mādhavam
puro mama prāṇaharo bhaviṣyasi || 7-11
pa cche- manaḥ bhava ānandana candana anila prasīda re dakśiṇa muṁca vāmatām kśaṇam jagat prāṇa nidhāya mādhavam puraḥ mama prāṇa haraḥ bhaviṣyasi
7-11. manaH+bhava= heart's, idea [love is heartfelt idea, it won't occur on much rumination - so, this is Love-god]; aanandana= you please [such Love-god as his friend]; chandana+ anila= sandal, breeze; re+dakshiNa= arè - tactful one [arè urè turè- are addressing in dissent, or in affection]; vaamataam+ mu.ncha= radicalism, your extremism, leave off; hè+ jagat + praaNa= hè, world's, life; kshaNam+ maadhavam= for a moment, Krishna be; mama + puraH + nidhaaya= my, before, on keeping; prasiida= be gracious [in wafting the lovable sandal breeze on Krishna, in order to make him come to me unbearable of that lovely breeze - otherwise]; praaNa+haraH+bhavishhyasi= life, stealer, you will become.][Meaning is stretched below.]
rè, tactful sandal breeze, think not that you alone are a tactful one for your being the friend of Love-god, but breeze around Krishna, still better a tactician, and see whether you can fetch and place him in my presence, restive for my separation, and then I address you hè, life of the world.... otherwise, it is you who becomes the stealer of my life, rather than a life-giver... think of it...
ripuriva sakhiisa.nvaaso.ayam shikhiiva himaanilo
vishhamiva sudhaarashmiryasmindunoti manogate |
hR^idayamadaye tasminnevam punarvalate balaat
kuvalayadR^ishaam vaamaH kaamo nikaamanira.nkushaH || 7-12
pa cChe- ripuH iva sakhii sa.nvaasaH ayam shikhii iva hima anilaH viSam iva sudhaa rashmiH yasmin dunoti manaH gate hR^idayam adaye tasmin evam punaH valate balaat kuvalaya dR^ishaam vaamaH kaamaH nikaama nira.nkushaH
रिपुरिव सखीसंवासोऽयम् शिखीव हिमानिलो
विषमिव सुधारश्मिर्यस्मिन्दुनोति मनोगते।
हृदयमदये तस्मिन्नेवम् पुनर्वलते बलात्
कुवलयदृशाम् वामः कामो निकामनिरंकुशः॥ ७-१२
ripuriva sakhīsaṁvāso'yam śikhīva himānilo
viṣamiva sudhāraśmiryasmindunoti manogate |
hṛdayamadaye tasminnevam punarvalate balāt
kuvalayadṛśām vāmaḥ kāmo nikāmaniraṁkuśaḥ || 7-12
pa cche- ripuḥ iva sakhī saṁvāsaḥ ayam śikhī iva hima anilaḥ viṣam iva sudhā raśmiḥ yasmin dunoti manaḥ gate hṛdayam adaye tasmin evam punaḥ valate balāt kuvalaya dṛśām vāmaḥ kāmaḥ nikāma niraṁkuśaḥ
7-12. yasmin= which one [which Krishna]; manaH+gate= in [my] heart, having entered; ayam= his; sakhii+sa.nvaasaH= girlfriends, staying in their togetherness, flirting; ripuH + iva + dunoti = enemy, like, anguishing [me]; hima+anilaH= cool, breeze; shikhii+iva= tongues of fire, like [dunoti= agonising me]; sudhaa+rashmiH= nectarine, moonbeams; viSam+iva+ [dunoti ] = venom, like, [afflicting me]; tasmin= in him; a+daye= one without, mercy, merciless Krishna; evam+hR^idayam= this way, heart; balaat= vehemently; punaH= repeatedly; valate= swivelling; nikaama= persistent; nir+a.nkushaH= without, goad [unstoppable]; kaamaH = Love-god; kuvalaya+dR^ishaam= those with slanting, glances [winsome girls]; vaamaH = becoming leftist, extremist, a desperado.
"He who has entered my heart and abiding in it, is flirting with his girlfriends, and that is anguishing me like an enemy... cool breezes are agonising me like tongues of fire... nectarine moonbeams are afflicting me like venom... yet, my heart is repeatedly swivelling around such a merciless Krishna... this persistent and unstoppable Love-god is really a desperado to winsome girls, isn't so! [7-12]
baadhaam vidhehi malayaanila pa.nchabaaNa
praaNaangR^ihaaNa na gR^iham punaraashrayishhye |
kim te kR^itaantabhagini kshamayaa tarangaiH
a.ngaani si.ncha mama shaamyatu dehadaahaH || 7-13
pa cChe- baadhaam vidhehi malaya anila pa.nch abaaNa praaNaan gR^ihaaNa gR^iham punaH na aashrayiSye kim te kR^itaa.nta bhagini kshamayaa tara.ngai rangaani si.ncha mama shaamyatu deha daahaH
बाधाम् विधेहि मलयानिल पंचबाण
प्राणान्गृहाण न गृहम् पुनराश्रयिष्ये।
किम् ते कृतान्तभगिनि क्शमया तरन्गैः
अंगानि सिंच मम शाम्यतु देहदाहः॥ ७-१३
bādhām vidhehi malayānila paṁcabāṇa
prāṇāngṛhāṇa na gṛham punarāśrayiṣye |
kim te kṛtāntabhagini kśamayā tarangaiḥ
aṁgāni siṁca mama śāmyatu dehadāhaḥ || 7-13
pa cche- bādhām vidhehi malaya anila paṁc abāṇa prāṇān gṛhāṇa gṛham punaḥ na āśrayiṣye kim te kṛtāṁta bhagini kśamayā taraṁgai rangāni siṁca mama śāmyatu deha dāhaḥ
7-13. hè malaya+anila= oh, sandal breeze; baadhaam+vidhehi= pain [vengeance,] wreck on me; pa.nch+abaaNa= oh, five, arrowed one - Love-god; praaNaan+gR^ihaaNa= lives, take [extricate, paca praaNaaH - pancha baaNaaH]; punaH+gR^iham+na+aashrayiSye= again, home, not, wish to fall back on; kR^ita= made as, rendered as; a.nta= antakaH, Ender, Yama's; bhagini= sister [oh, River Yamuna, you now appear to be rendered as a sister of life ending Yama]; kshamayaa+kim= of your patience, nonchalance, is of what use; tara.ngaiH + mama + angaani= with your ripples, my, limbs; si.ncha= drench, make wet [no suicidal tendency is apparent please, for this is a stubborn girl]; mama+deha+daahaH +shaamyatu= my, body, heat, let dampen [make less forceful.]
"hè, sandal breeze wreck your vengeance on me, hè, Love-god extricate my five-lives with your five arrows, for unwished is my falling back on my home... hè, River Yamuna, you too seem to have become a sister of life-ending Yama by your nonchalance, of what use is it... drench my limbs with your ripples, thus let my body heat dampen... [7-12]
praatarniilanicolamacyutamurassa.mviitapiitaa.mbaram
radhaayaashkitam vilokya hasati svairam sakhiimaNDale |
vriiDaaca.ncalama.ncalam nayanayoraadhaaya raadhaanane
svaadusmeramukho.ayamastujagadaana.ndadaayana.ndaatmajaH || 7-14
pa cChe- praataH niila nicolam acyutam uraH sa.mviita piita a.mbaram radhaayaaH cakitam vilokya hasati svairam sakhii maNDale vriiDaa ca.ncalam a.ncalam nayanayoH aadhaaya raadha aanane svaadu smera mukhaH ayam astu jagat aana.ndadaaya na.nda aatmajaH
प्रातर्नीलनिचोलमच्युतमुरस्संवीतपीतांबरम्
रधायाश्कितम् विलोक्य हसति स्वैरम् सखीमण्डले।
व्रीडाचंचलमंचलम् नयनयोराधाय राधानने
स्वादुस्मेरमुखोऽयमस्तुजगदानंददायनंदात्मजः॥ ७-१४
prātarnīlanicolamacyutamurassaṁvītapītāṁbaram
radhāyāśkitam vilokya hasati svairam sakhīmaṇḍale |
vrīḍācaṁcalamaṁcalam nayanayorādhāya rādhānane
svādusmeramukho'yamastujagadānaṁdadāyanaṁdātmajaḥ || 7-14
pa cche- prātaḥ nīla nicolam acyutam uraḥ saṁvīta pīta aṁbaram radhāyāḥ cakitam vilokya hasati svairam sakhī maṇḍale vrīḍā caṁcalam aṁcalam nayanayoḥ ādhāya rādha ānane svādu smera mukhaḥ ayam astu jagat ānaṁdadāya naṁda ātmajaḥ
7-14. praataH= in early morning; niila+nicolam= black, blanket [of Raadha]; acyutam= at Krishna [who wrapped it around him]; piita+a.mbaram= ochry [silk dress of Krishna]; sa.mviita+ radhaayaaH = is wrapped around]; uraH= at Raadha's bust; cakitam [yathaa tathaa]= in order to confuse; vilokya= on seeing; sakhii+maNDale= her friends, circle; svairam + hasati = teasingly, laughing; sati= that being so; raadha+aanane= on Raadha's, face; vriiDaa = coyly; ca.ncalam+ nayanayoH = fluttering, of eyes; a.ncalam= ends, slanting glances; aadhaaya = on keeping; svaadu+ smera + mukhaH= lovely, smiling, faced one; ayam+na.nda+ aatmajaH= he, that Nanda's, son; jagat+ aana.ndadaaya+astu= for world's, delightful, let him be. [Meaning amplified for a verbal picture.]
In early morning when Raadha and Krishna are coming out of their love resort, Krishna is wrapped in Raadha's black blanket, and Raadha's bust is wrapped with Krishna ochry silks. On seeing this, her friend's circle started to laugh teasingly in order to confuse her. That being so, Krishna with coyly fluttering eyes kept on his slanting glances on Raadha in a 'what-to-do-now' attitude. Hence, let that lovely and smiley-faced son of Nanda be delightful to the entire world. [7-14]
iti giitagovinde vipralabdhaavarNane naaganaaraayaNo naama saptamaH sargaH
इति गीतगोविन्दे विप्रलब्धावर्णने नागनारायणो नाम सप्तमः सर्गः
iti gītagovinde vipralabdhāvarṇane nāganārāyaṇo nāma saptamaḥ sargaḥ
Thus, this is the 7th chapter, called nagara naaraayaNaH - Shifty Krishna, in giita govindam of Jayadeva.
vilakshyalakshmiipatiH
Chapter [Sarga] 8 - Apologetic Krishna
Introduction
Krishna appears before Raadha from out of thin air, on the next day morning. But Raadha, on seeing his appearance and apologetic look, starts her raves and raves at him.
atha kathamapi yaaminiim viniiya smarasharajarjaritaapi saa prabhaate |
anunayavachanam vadantamagre praNatamapi priyamaaha saabhyasuuyam || 8-1
pa cChe- atha katham api yaaminiim viniiya smara shara jarjaritaa api saa prabhaate anunaya vachanam vadantam agre praNatam api priyam aaha saabhyasuuyam
अथ कथमपि यामिनीम् विनीय स्मरशरजर्जरितापि सा प्रभाते।
अनुनयवचनम् वदन्तमग्रे प्रणतमपि प्रियमाह साभ्यसूयम्॥ ८-१
atha kathamapi yāminīm vinīya smaraśarajarjaritāpi sā prabhāte |
anunayavacanam vadantamagre praṇatamapi priyamāha sābhyasūyam || 8-1
pa cche- atha katham api yāminīm vinīya smara śara jarjaritā api sā prabhāte anunaya vacanam vadantam agre praṇatam api priyam āha sābhyasūyam
8-1. atha= then; katham+api= somehow, even; yaaminiim= night [that which has four quarters and is to be spent with an uncertainty, means - with the problem of separateness]; viniiya= [somehow] spent; smara+shara+jarjaritaa+api= Love-god's, by arrows, battered, even though; saa= she, Raadha; prabhaate= in morning; agre= before [her Krishna appeared in her fore]; anunaya+vachanam+vadantam= with apologetic, words, speaking; praNatam+api = praying with adjoined palms, even though; priyam= to her lover [Krishna]; aaha= [she] spoke; saabhyasuuyam= with jealousy [petulantly.]
Then, somehow on spending an un-spendable night with her problem of aloneness, and even though she is battered by the arrows of Love-god, but in the morning when somehow Krishna revealed himself in her fore, and though he started speaking with apologetic words, and even with his palm-fold, she that Raadha spoke to him petulantly. [8-1]
Comment: Now she becomes khaNDita naayika one among eight kinds of poetic heroines, who speaks disparagingly on noticing her man spent time with other heroines.
aSTapadi - 17- lakshmiipatiratnaavali -
rajanijanitagurujaagararaagakSaayitamalasanimesham |
vahati nayanamanuraagamiva sphuTamuditarasaabhinivesham ||
harihari yaahi maadhava yaahi keshava maa vada kaitavavaadam
taamanusara sarasiiruhalochana yaa tava harati viSaaadam dhR^ivam || a pa 17-1
pa cChe - rajani janita guru jaagara raaga kaSaayitam alasa nimesham vahati nayanam anuraagam iva sphuTam udita rasa abhinivesham hari hari yaahi maadhava yaahi keshava maa vada kaitava vaadam taam anusara sarasiiruha lochana yaa tava harati viSaadam
अष्टपदि - १७- लक्श्मीपतिरत्नावलि -
रजनिजनितगुरुजागररागक्षायितमलसनिमेशम्।
वहति नयनमनुरागमिव स्फुटमुदितरसाभिनिवेशम्॥
हरिहरि याहि माधव याहि केशव मा वद कैतववादम्
तामनुसर सरसीरुहलोचन या तव हरति विषादम् धृवम्॥ अ प १७-१
aṣṭapadi - 17- lakśmīpatiratnāvali -
rajanijanitagurujāgararāgakṣāyitamalasanimeśam |
vahati nayanamanurāgamiva sphuṭamuditarasābhiniveśam ||
harihari yāhi mādhava yāhi keśava mā vada kaitavavādam
tāmanusara sarasīruhalocana yā tava harati viṣāadam dhṛvam || a pa 17-1
pa cche - rajani janita guru jāgara rāga kaṣāyitam alasa nimeśam vahati nayanam anurāgam iva sphuṭam udita rasa abhiniveśam hari hari yāhi mādhava yāhi keśava mā vada kaitava vādam tām anusara sarasīruha locana yā tava harati viṣādam
a pa 17-1. rajani+janita= night, caused; guru+jaagara= by much, waking; raaga= reddened / with red colour cosmetic [of your love]; kaSaayitam= a little reddened [your eyes]; alasa+ nimesham= weakly, wink; udita+rasa+abhinivesham= sprang up [buoyancy,] in romance [enjoying shR^ingaara,] expertise; tava+nayanam+sphuTam+vahati= your, eyes, clearly, bear [those marks]; anuraagam+iva= interestedness [in her alone,] as though; yaahi+ maadhava= away with you, Krishna; maa+vada+ kaitava+ vaadam = don't, tell, feign = archaic - invent an excuse etc, dialogue; sarasiiruha+lochana= oh, lotus-like, eyed one [ here, the pair of eyes are luring, lure-eyed one ; taam+anusara= her, tag along; yaahi+keshava= be off, Keshava [one with beautiful head hair, one who is interested in lovely women that adore their hairdos beautifully]; yaa+harati+viSaadam= she who, takes away, your woe; hari hari= oh god, oh god - oh boy, oh boy [in disdain; this is a catchword of those days, made available by the poet as he has not said this poem for kings, queens, or courtiers. This is still retained in Indian vocabulary, in forms like - hai rè hai, vaarè vaa, ayoyo, aDeDe, raamaraama... etc., as an expression of disdain, disgust, or sorry.]
"Your buoyant eyes that ever express your expertise in your self-indulgence in romances, are now weakly winking, and reddened both by the night-caused nightlong waking, and by the reddish colour of facial-cosmetic of your lover, hence they now clearly bear the mark of your interestedness in her alone... away with you, hè, Krishna, you with your lotus-like luring eyes... tag along her alone, who takes your woe away... be off, Keshava, and tell no feign dialogue to me - oh boy, oh boy... [a pa 17-1]
Comment: Then he is about to concoct something like 'I was searching for you sleeplessly, and I searched nightlong, hence my eyes are reddish... but... yet... that...' and then Raadha cuts in to rap out the following.
kajjalamalinavilochanachumbanavirachitaniilimaruupam |
dashanavasanamaruNam tava kR^iSNa tanoti tanoranuruupam || a pa 17-2
pa cChe - kajjala malina vilochana cu.mbana virachita niilima ruupam dashana vasanam aruNam tava kR^iSNa tanoti tanoH anuruupam
कज्जलमलिनविलोचनचुम्बनविरचितनीलिमरूपम्।
दशनवसनमरुणम् तव कृष्ण तनोति तनोरनुरूपम्॥ अ प १७-२
kajjalamalinavilocanacumbanaviracitanīlimarūpam |
daśanavasanamaruṇam tava kṛṣṇa tanoti tanoranurūpam || a pa 17-2
pa cche - kajjala malina vilocana cuṁbana viracita nīlima rūpam daśana vasanam aruṇam tava kṛṣṇa tanoti tanoḥ anurūpam
a pa 17-2. hè kR^iSNa= oh yeah?, Krishna; kajjala+malina= by mascara, besmirched; vilochana+ cu.mbana = eyes, by kissing; virachita+niilima+ruupam= besmeared, blackness, air of; dashana+vasanam= teeth, covering [lips]; aruNam= reddish [lips]; tava+tanoH+tanoti= to your, [colour of] body, enriching; reprise - yaahi+maadhava... yaa+harati+ viSaadam= as above.
"Oh, yeah? Krishna, by kissing her eyes that are besmirched by mascara, some blackness is besmeared on your reddish lips, thus those lips with an air of blackness are enriching your body colour, that is already blackish... go off, oh boy... oh boy... [17-2]
vapuranuharati tava smarasa.ngarakharanakharakshatarekham |
marakatashakalakalitakaladhautalipireva ratijayalekham || a pa 17-3
pa cChe - vapuH anuharati tava smara sa.ngara khara nakha rakshata rekham marakata shakala kalita kala dhauta lipiH eva rati jaya lekham
वपुरनुहरति तव स्मरसंगरखरनखरक्शतरेखम्।
मरकतशकलकलितकलधौतलिपिरेव रतिजयलेखम्॥ अ प १७-३
vapuranuharati tava smarasaṁgarakharanakharakśatarekham |
marakataśakalakalitakaladhautalipireva ratijayalekham || a pa 17-3
pa cche - vapuḥ anuharati tava smara saṁgara khara nakha rakśata rekham marakata śakala kalita kala dhauta lipiḥ eva rati jaya lekham
a pa 17-3. tava+vapuH= your, body; smara+sa.ngara= Love-god's, war [warring in love-war]; khara + nakhara+kshata+rekham= sharp, fingernail, chafes, streaks; marakata+shakala= on emeralds, pieces of; kalita= carved; kala dhauta lipiH= with golden streaks; rati jaya lekham = in love affairs, of victory [merit,] certificate; anuharati+iva= resemble, like.
"Your body is chafed with streaks of sharp fingernails, and they resemble the golden streaks carved on the pieces of emeralds, in your certificate of merit in love affairs... then you must be warring in love-war... go off, oh boy... oh boy... [17-3]
charaNakamalagaladalaktasiktamidam tava hR^idayamudaaram |
darshayatiiva bahirmadanadrumanavakisalayaparivaaram || a pa 17-4
pa cChe - charaNa kamala galat alakta siktam idam tava hR^idayam udaaram darshayati iva bahiH madana druma nava kisalaya pari vaaram
चरणकमलगलदलक्तसिक्तमिदम् तव हृदयमुदारम्।
दर्शयतीव बहिर्मदनद्रुमनवकिसलयपरिवारम्॥ अ प १७-४
caraṇakamalagaladalaktasiktamidam tava hṛdayamudāram |
darśayatīva bahirmadanadrumanavakisalayaparivāram || a pa 17-4
pa cche - caraṇa kamala galat alakta siktam idam tava hṛdayam udāram darśayati iva bahiḥ madana druma nava kisalaya pari vāram
a pa 17-4. idam+udaaram= this, broad [or, bounteous]; tava+hR^idayam= your, chest; charaNa+ kamala = from feet, lotuses; galat+alakta+siktam= slid, red feet-paint, wet with; madana+druma= Love-god, [called] tree; nava+kisalaya+parivaaram= new, tender leaves, whorled with; darshayati+iva+ bahiH= showing, as though, at outside.
"Because this bounteous chest of yours is wet with the red feet-paint slid from some lotus-footed girl, it appears like an all-embracing tree like Love-god in side that chest, but now showing itself from out of that chest, whorled with new tender leaves... so you must be at love-war... go off, oh boy... oh boy... [17-4]
Comment: The simile is between coppery red leaflets of tree and reddish foot-paint of girls, and between the love-giving Krishna, and shade/comfort giving tree. If a tree is wetted many times, it will bear leaves anew. If love is satiated it bears newer fruits. This posture is called krodha bandha - vaatsaayana the main treatise on aesthetic romance.
dashanapadam bhavadadharagatam mama janayati chetasi khedam |
kathayati kathamadhunaapi mayaa saha tava vapuretadabhedam || a pa 17-5
pa cChe- dashana padam bhavat adhara gatam mama janayati chetasi khedam kathayati katham adhunaa api mayaa saha tava vapuH etat abhedam
दशनपदम् भवदधरगतम् मम जनयति चेतसि खेदम्।
कथयति कथमधुनापि मया सह तव वपुरेतदभेदम्॥ अ प १७-५
daśanapadam bhavadadharagatam mama janayati cetasi khedam |
kathayati kathamadhunāpi mayā saha tava vapuretadabhedam || a pa 17-5
pa cche- daśana padam bhavat adhara gatam mama janayati cetasi khedam kathayati katham adhunā api mayā saha tava vapuḥ etat abhedam
a pa 17-5. bhavat+adhara+gatam= your, lip, gone in; dashana+padam= tooth, foot [bite]; mama +chetasi+janayati+khedam= in my, heart, causing, agony; api+adhunaa= even, now; tava+ vapuH= your, body; mayaa+saha= me, along with; etat= all this [said, alleged singleness]; a+bhedam= un, separated [entity of Radhamaadhavatvam; mama cetasi= my, heart]; katham+ kathayati= how, says it.
"The tooth-bite abiding on your lip is causing agony in my heart, even now how can my heart say to me that we are allegedly unseparated, bodily... go off, oh boy... oh boy... [17-5]
Comment: Some heavy-duty Philo on 'oneness of Radhakrishna' is imbued in this one stanza. This gives root to one viewpoint called darshana - a cintya bheda a bheda bhaava generally - heedless of difference and non-difference - in supreme soul and individual soul, while the Philo thinking prior to this was manifoldly different. Then the argument is - 'though your lip is bitten, I feel pain in it, for we two may be different bodily but one in soul - a bheda/non-difference . 'I have bitten my lip so ecstatically, hence I don't feel pain' - a bheda . 'Your lip is bitten, not mine' bheda/difference . 'Though your lip is bitten, I feel that mine too is bitten - bheda-a-bheda - difference, yet non-difference. So go the endless arguments, understandably. Philosophising all this, at this level of understanding the wordsmithy of Jayadeva, would be futile.
bahiriva malinataram tava kR^iSNa mano.api bhaviSyati nuunam |
kathamatha va.nchayase janamanugatamasamasharajvaraduunam || a pa 17-6
pa cChe - bahiH iva malina taram tava kR^iSNa manoH api bhaviSyati nuunam katham atha va.nchayase janam anugatam asama shara jvara duunam
बहिरिव मलिनतरम् तव कृष्ण मनोऽपि भविष्यति नूनम्।
कथमथ वंचयसे जनमनुगतमसमशरज्वरदूनम्॥ अ प १७-६
bahiriva malinataram tava kṛṣṇa mano'pi bhaviṣyati nūnam |
kathamatha vaṁcayase janamanugatamasamaśarajvaradūnam || a pa 17-6
pa cche - bahiḥ iva malina taram tava kṛṣṇa manoḥ api bhaviṣyati nūnam katham atha vaṁcayase janam anugatam asama śara jvara dūnam
a pa 17-6. tava+manoH+api= your, heart, even; bahiH+iva= outside, like [like your body]; malina+ taram= grimy, higher in degree [grimier]; nuunam= definitely; bhaviSyati= will be [seems to be]; atha [samprashna]= why because [otherwise]; asama+ shara= Love-god's, by arrows; jvara= with fever; duunam = agonised; anugatam+janam= following, people [your adherents, admirers]; katham+vanchayase = how, you let down kR^iSNa= hè, Krishna [be off.]
"Even your heart seems to be grimier than your begrimed body, definite is that, otherwise how can you let down your own admirers, agonised in the fever caused by Love-god's arrows? Away with you Krishna, oh boy... oh boy... [17-6]
bhramati bhavaanabalaakavalaaya vaneSu kimatra vichitram |
prathayati puutanikaiva vadhuuvadhanirdayabaalacharitram || a pa 17-7
pa cChe - bhramati bhavaan abalaa kavalaaya vaneSu kim atra vichitram prathayati puutanika iva vadhuu vadha nirdaya baala charitram
भ्रमति भवानबलाकवलाय वनेषु किमत्र विचित्रम्।
प्रथयति पूतनिकैव वधूवधनिर्दयबालचरित्रम्॥ अ प १७-७
bhramati bhavānabalākavalāya vaneṣu kimatra vicitram |
prathayati pūtanikaiva vadhūvadhanirdayabālacaritram || a pa 17-7
pa cche - bhramati bhavān abalā kavalāya vaneṣu kim atra vicitram prathayati pūtanika iva vadhū vadha nirdaya bāla caritram
a pa 17-7. bhavaan= you are; bhramati= you roam; vaneSu= in forests [in Brindavan]; abalaa+ kavalaaya = womenfolk, to wolf down; kim+atra+vichitram= what, therein, surprise [unsurprising it is]; puutanika+iva= Putana [the killing of demoness,] as with; vadhuu+vadha= women, in killing; nirdaya= merciless; baala+charitram+prathayati= childhood, legends, explains.
"You roam in Brindavan only to wolf down womenfolk, unsurprising is that, as with the killing of demoness Putana in your childhood, merciless legends of your childhood explain that you are an women killer... Away with you, oh boy... oh boy... [17-7]
shriijayadevabhaNitarativa.nchitakhaNDitayuvativilaapam |
shR^iNuta sudhaamadhuram vibudhaa vibudhaalayato.api duraapam || a pa 17-8
pa cChe- shrii jayadeva bhaNita rati va.nchita khaNDita yuvati vilaapam shR^iNuta sudhaa madhuram vibudhaa vibudha aalayataH api duraapam || 8-2
श्रीजयदेवभणितरतिवंचितखण्डितयुवतिविलापम्।
शृणुत सुधामधुरम् विबुधा विबुधालयतोऽपि दुरापम्॥ अ प १७-८
śrījayadevabhaṇitarativaṁcitakhaṇḍitayuvativilāpam |
śṛṇuta sudhāmadhuram vibudhā vibudhālayato'pi durāpam || a pa 17-8
pa cche- śrī jayadeva bhaṇita rati vaṁcita khaṇḍita yuvati vilāpam śṛṇuta sudhā madhuram vibudhā vibudha ālayataḥ api durāpam || 8-2
a pa 17-8. hè vibudhaaH= oh, literati; sudhaa+madhuram= [than] nectar, nectareous; vibudha= gods; aalayataH+api= abode of, even from; dur+aapam= impossible to get; jayadeva+bhaNita+ shrii[suukti ] = by Jayadeva, said, promising [song]; rati+va.nchita= from intimacy, cheated; khaNDita+ yuvati+ vilaapam = disregarded, heroine's, lament; shR^iNuta= be listened.
"Oh, literati, that promising song said by Jayadeva, that which is nectareous than nectar, and an impossible one to get even from the heaven, and that says about 'a disregarded heroine' cheated form intimacy, may be listened... [17-8]
tavedam pashyantyaaH prasaradanuraagam bahiriva
priyaapaadaalaktachchhuritamaruNachchhaayahR^idayam |
mamaadya prakhyaatapraNayabharabhangena kitava
tvadaalokaH shokaadapi kimapi lajjaam janayati || 8-3
pa cChe- tava idam pashyantyaaH prasarat anuraagam bahiH iva priyaa paada alakta cCuritam aruNa cChaaya hR^idayam mama adya prakhyaata praNaya bhara bhangena kitava tvat aalokaH shokaat api kim api lajjaam janayati
तवेदम् पश्यन्त्याः प्रसरदनुरागम् बहिरिव
प्रियापादालक्तच्छुरितमरुणच्छायहृदयम्।
ममाद्य प्रख्यातप्रणयभरभन्गेन कितव
त्वदालोकः शोकादपि किमपि लज्जाम् जनयति॥ ८-३
tavedam paśyantyāḥ prasaradanurāgam bahiriva
priyāpādālaktacchuritamaruṇacchāyahṛdayam |
mamādya prakhyātapraṇayabharabhangena kitava
tvadālokaḥ śokādapi kimapi lajjām janayati || 8-3
pa cche- tava idam paśyantyāḥ prasarat anurāgam bahiḥ iva priyā pāda alakta curitam aruṇa cchāya hṛdayam mama adya prakhyāta praṇaya bhara bhangena kitava tvat ālokaḥ śokāt api kim api lajjām janayati
8-3. hè kitava= you beguiler; tvat+aalokaH= [such as you are,] on your, appearance; priyaa+ paada+alakta+ cCuritam= [your] love's, with her feet's red paint, bedaubed [chest, thereby]; bahiH+prasarat +anuraagam= out, flowing, [your] fondness [for her]; iva [sthitam]= as though [it appears]; pashyantyaaH= on seeing; tava+idam+aruNa+cChaaya+hR^idayam= your, this, red, coloured [covered,] chest; mama+prakhyaata+praNaya+bhara= for me, [mine] highly renowned, love's, weight [here, a weighty primacy]; bhangena=owing to shattering; adya= now; shokaat+api= from grief, than; kim+api= what, even [to say]; lajjaam+janayati= disgrace, causing.
"You beguiler, on your appearance with a chest bedaubed by the red foot-paint of your love, where that red paint appears to be your fondness for her, outflowing from out of that chest, and on seeing this otherwise red coloured chest, the primacy of that highly renowned love of mine with you is shattered, thereby, to say nothing of grief, a disgrace is causing in me... what more can be said... [8-3]
antarmohanamaulighuurNanacalanma.ndaaravibhra.mshana
stha.mbhaakarSaNadR^iptiharSaNamahaama.ntraH kura.ngiidR^ishaam |
dR^ipyaddanavaduuyamaanadiviSaddurvaaraduHkhaapadaam
bhra.nshaH ka.msaripossamarpayatu vashshreyaansi va.mshiiravaH || 8-4
pa cChe - antaH mohana mauli ghuurNana calat mandaara vibhra.mshana stha.mbha akarSaNa dR^ipti harSaNa mahaa ma.ntraH kura.ngii dR^ishaam dR^ipyat danava duuyamaana diviSat durvaara duHkha aapadaam bhra.nshaH ka.msa ripoH samarpayatu vaH shreyaansi va.mshii ravaH
अन्तर्मोहनमौलिघूर्णनचलन्मंदारविभ्रंशन
स्थंभाकर्षणदृप्तिहर्षणमहामंत्रः कुरंगीदृशाम्।
दृप्यद्दनवदूयमानदिविषद्दुर्वारदुःखापदाम्
भ्रंशः कंसरिपोस्समर्पयतु वश्श्रेयान्सि वंशीरवः॥ ८-४
antarmohanamaulighūrṇanacalanmaṁdāravibhraṁśana
sthaṁbhākarṣaṇadṛptiharṣaṇamahāmaṁtraḥ kuraṁgīdṛśām |
dṛpyaddanavadūyamānadiviṣaddurvāraduḥkhāpadām
bhraṁśaḥ kaṁsaripossamarpayatu vaśśreyānsi vaṁśīravaḥ || 8-4
pa cche - antaḥ mohana mauli ghūrṇana calat mandāra vibhraṁśana sthaṁbha akarṣaṇa dṛpti harṣaṇa mahā maṁtraḥ kuraṁgī dṛśām dṛpyat danava dūyamāna diviṣat durvāra duḥkha āpadām bhraṁśaḥ kaṁsa ripoḥ samarpayatu vaḥ śreyānsi vaṁśī ravaḥ
8-4. kura.ngii+dR^ishaam= for those who have deer like glances, for beauties; antaH+ mohana= innerly [within heart of hearts,] faint [ecstasizes]; mauli+ghuurNana= head, by nodding; calat+ mandaara+vibhra.mshana= moving, mandaara flower, sliding down; sthambha + akarSaNa+ dR^ipti+harSaNa= spellbinding, magnetising, agonising, gladdening; mahaa+ mantraH=supreme, hymn; dR^ipyat+danava+duuyamaana= self-conceited, demons, scorching ; diviSat+ durvaara+duHkha+aapadaam= for gods, unrelieved, woeful, impediments; bhranshaH = one destructive to; ka.msa= Kamsa [the evil king]; ripoH [+kamsa+daanava]= enemy [of Kamsa and other demons];' va.mshii+ravaH= Mohana Vamshi flute, fluting; vaH+ shreyaansi+ samarpayatu = to you all, riches, will endow [in mms shreyaamsi+ vipolayatu it is the same meaning, but when said vyapohatuvo.ashreyaamsi = vaH a shreyaamshi vyapohayatu = all your problems be relieved by that flute notes.]
That which ecstasies the hearts of hearts of deer-eyed beauties, that which makes his head to nod, by which nodding vermilion mandara flowers slide down, that which is a supreme hymn with spellbinding, magnetising, agonising, gladdening effects, that which is scorching to self-conceited demons, and that which is destructive to the unrelieved woeful impediments of gods in destructing Kamsa, the evil king, thereby the only enemy of demons, that fluting tunes of that Divine Flute Mohana Vamshi, shall endow riches to you all. [8-4]
Comment: The spellbinding, magnetising, agonising, gladdening effects, called mohana, vashiikaraNa, maaraNa, sthambhana, aakarSaNa are deducible from the treatises of aesthetic romance.
iti giitagovinde khaNDitaavarNane vilakshyalakshmiipatirnaama aSThamaH sargaH
इति गीतगोविन्दे खण्डितावर्णने विलक्श्यलक्श्मीपतिर्नाम अष्ठमः सर्गः
iti gītagovinde khaṇḍitāvarṇane vilakśyalakśmīpatirnāma aṣṭhamaḥ sargaḥ
Thus, this is the 8th chapter, called vilaksha/vilakshya lakshmiipatiH - Apologetic Krishna, in Gita Govindam of Jayadeva.
mugdhamukundam
Chapter [Sarga] 9 - Unpretentious Krishna
Raadha's friend admonishes her for her misdemeanour with Krishna, though he is somewhat unpretentiousness.
taamatha manmathakhinnaam ratirasabhinnaam viSaadasampannaam |
anuchintitaharicharitaam kalahaantaritamuvaacha sakhii || 9-1
pa cChe - taam atha manmatha khinnaam rati rasa bhinnaam viSaada sampannaam anuchintita hari charitaam kalahaantaritam uvaacha sakhii
तामथ मन्मथखिन्नाम् रतिरसभिन्नाम् विषादसम्पन्नाम्।
अनुचिन्तितहरिचरिताम् कलहान्तरितमुवाच सखी॥ ९-१
tāmatha manmathakhinnām ratirasabhinnām viṣādasampannām |
anucintitaharicaritām kalahāntaritamuvāca sakhī || 9-1
pa cche - tām atha manmatha khinnām rati rasa bhinnām viṣāda sampannām anucintita hari caritām kalahāntaritam uvāca sakhī
9-1. atha= then; manmatha+khinnaam= by Love-god, rendered helpless [worsted]; rati+rasa+ bhinnaam = love's, longing for savour, wrecked [or, separated from having it]; viSaada+sampannaam= woe, wealthy; anu+chintita= continually, thinking; hari+charitaam= Krishna's, demeanour; kalahaantaritam = to kalahaantarita - one among eight types of poetic heroines - 'sorry-after-squabble' heroine; taam= to her, that Raadha; sakhii= girlfriend; uvaacha= advised.
Then to Raadha, who is by now worsted by Love-god, whose savour for love is just wrecked, hence she is wealthy in her woes, yet who is continually thinking about Krishna's demeanour, to such a 'sorry-after-squabble' heroine of Krishna, her girlfriend advised. [9-1]
Comment: The mood of this kalahaantarita 'sorry-after-squabble' heroine will be like this: praaNeshvaram praNaya kopa [bhareNa] bisheSa bhiitam | yaa caaTukaaram avadhiirya visheSa vaagbhiH | sa.mtapyate madana vahni shikhaa sahasrasaiH | baaSa aakula ca kalahaa.ntarita hi saa syaat || One who lashes her tongue at her lover with many possible synonyms for a single misdeed, till the point of his helpless leaving, and then she starts unilateral repentance, wet with tears and wearying for his reappearance. In this mood the hero is anukuula obliging fellow, heroine as above, and the friend duuti a harbinger-cum-prognosticator.
- ama.ndamuku.ndam -
harirabhisarati vahati madhupavane |
kimaparamadhikasukham sakhi bhavane |
maadhave maa kuru maanini maanamaye -dhR^ivam || a pa 18-1
pa cChe - hariH abhisarati vahati madhu pavane kim aparam adhika sukham sakhi bhavane maadhave maa kuru maanini maanam aye
- अमंदमुकुंदम् -
हरिरभिसरति वहति मधुपवने।
किमपरमधिकसुखम् सखि भवने।
माधवे मा कुरु मानिनि मानमये -धृवम्॥ अ प १८-१
- amaṁdamukuṁdam -
harirabhisarati vahati madhupavane |
kimaparamadhikasukham sakhi bhavane |
mādhave mā kuru mānini mānamaye -dhṛvam || a pa 18-1
pa cche - hariḥ abhisarati vahati madhu pavane kim aparam adhika sukham sakhi bhavane mādhave mā kuru mānini mānam aye
a pa 18-1. hè maanini=vain, proud - cocky; ayè= you, girlie [Raadha]; maadhave= about Maadhava [ maa= Lakshmi's, dhava = husband - don't think that he belongs to Lakshmi alone, he is yours too]; maanam+maa+kuru= cockiness, don't, do; madhu+pavane+vahati= autumnal, breeze while breezing; hariH= Krishna; abhi+sarati= towards [your preset place] comes; [reprise] hè+sakhi= o, dear; bhavane= in home, in your realm, [or, bhuvane= in your realm of love]; aparam+adhika+sukham+kim= to boot, better, elatedness, what [is it, or you have.]
"You, cocky girlie, don't show off your cockiness, for Krishna comes to you when the autumnal breeze breezes... O, dear, what better rapt you've at home, to boot... [a pa 18-1]
taalaphalaadapi gurumatisarasam |
kim viphaliikuruSe kuchakalasham || a pa -18-2
pa cChe - taala phalaat api gurum ati sarasam kim viphalii kuruSe kucha kalasham
तालफलादपि गुरुमतिसरसम्।
किम् विफलीकुरुषे कुचकलशम्॥ अ प -१८-२
tālaphalādapi gurumatisarasam |
kim viphalīkuruṣe kucakalaśam || a pa -18-2
pa cche - tāla phalāt api gurum ati sarasam kim viphalī kuruṣe kuca kalaśam
a pa 18-2. taala+phalaat+api+gurum= palm, fruit, than, heavier; ati+sa+rasam= much [plethoric,] with, juice; kucha+kalasham= bosoms, pot-like [jaatyaikavacanam, common nouns]; kim+viphalii+kuruSe= why, fall into disuse, you make.
"Heavier than palm-fruits, plethoric in juice are these pot-like bosoms of yours, why do make them fall into disuse... O, dear, what better rapt you've at home, to boot... [a pa 18-2]
Comment: This comparison has some illustration about nature, apart from just romance. Palm tree, as all know, is the tallest fruiting tree, and its fruits, not dates, are therefore supposed to be the loftiest among all fruits, both height wise and their content wise. They fruit palm juice in a three-eye sap sockets, and that juice is poor man's much liked cool drink in summer. It instantaneously reduces body heat, minus any side effects, and hence, the palm fruits are praiseworthy for a cooling effect. If these are left unused, for want of some toddy taper, or a climber to go to such a height, as they are 'not-so-easy- to-get' variety, they become stony and fall. Even then, they will be put to use by burning them in grass, for eating its kernel, which has no such medicinal effects. This is in mundane variety of understanding poet's words in commonplace parlance.
The other sense attached to such anga pratyanga varNana 'limb by limb poetising' - it is to be said, whenever a female deity or goddess is pictured, it doesn't go without such descriptions, because a mother is identifiable by bust by the offspring, which was once useful for its birth. Minus them he is nowhere. In Lalita Sahasra naama, such mother is said to have 'stony breasts...' kaThina sthala maNDalaa... meaning - let millions and millions take birth; this nature somehow nourishes them, for her mamma knows no wizening effect. So, let us give nature its own due.
kati na kathitamidamanupadamachiram |
maa parihara harimatishayaruchiram || a pa 18-3
pa cChe - kati na kathitam idam anupadam achiram maa parihara harim atishaya ruchiram
कति न कथितमिदमनुपदमचिरम्।
मा परिहर हरिमतिशयरुचिरम्॥ अ प १८-३
kati na kathitamidamanupadamaciram |
mā parihara harimatiśayaruciram || a pa 18-3
pa cche - kati na kathitam idam anupadam aciram mā parihara harim atiśaya ruciram
a pa 18-3. hè maaninii= O, cocky girl; atishaya+ruchiram= surpassingly, delectable; harim= Krishna be; maa+parihara= don't, shun away; idam= this [word, little talk]; a+chiram= not, long before [just now]; kati= how many times; anu+padam= at each, step; na+kathitam= not, said [by me, of course.]
"O, cocky girl, don't shun that Krishna, for he is surpassingly delectable, and how many times I haven't said this little talk, just now and on each and every step of yours... [a pa 18-3]
Comment: Yet, Raadha goes on refusing Krishna... for she is an emblem of happiness for Krishna hlaadinii shakti, and a symbol of unquenchable desire, like nature. Krishna will always be trying to quench it, but rarely nature gets satisfied, and demands him to be always with him, instead of incarnating himself now and then, to see her or her wellbeing. Krishna's appearance and disappearance in raasa liila, the ronde dance, in Brindavan symbolises with god's periodic visitation to earth. When it is said, that god created whole universe, in any ism, why he or his messengers chance only upon earth? Why don't they go to Mars, Moon, or to some Black Hole? That too, in India he has to come personally without sending some of his deputies. Because, that so-called Nature, hlaadini shakti, is only here on this Blue Dot, however querulous she might be. So, instead of remarrying that nature with that god, let us give her, her own due.
kimiti viSiidasi rodiSi vikalaa |
vihasati yuvatisabhaa tava sakalaa || a pa 18-4
pa cChe- kim iti viSiidasi rodiSi vikalaa vihasati yuvati sabhaa tava sakalaa
किमिति विषीदसि रोदिषि विकला।
विहसति युवतिसभा तव सकला॥ अ प १८-४
kimiti viṣīdasi rodiṣi vikalā |
vihasati yuvatisabhā tava sakalā || a pa 18-4
pa cche- kim iti viṣīdasi rodiṣi vikalā vihasati yuvati sabhā tava sakalā
a pa 18-4. kim+iti+viSiidasi= why, this way, you lament; vi+kalaa+rodiSi= less, lustre [lacklustre, namby-pamby] you wail; vi+hasati= verily, laughing at; tava+sakalaa= your, all; yuvati+sabhaa= girls, guild [a medieval association of craftsmen or merchants, here milkmaids.]
"This way, why do you lament and wail, you namby-pamby, all of your girlfriends in our guild are laughing at you, really... [a pa 18-4]
Comment: Nature's, say this earth's worrying, weeping, and wailing for the arrival of that Ultimate onto her is as old as Fish Incarnation. Every time he comes here, does some tricks and gets out as soon as his feats are over. But she wants him to be with her, and he escapes from her on politely feigning something, and all this comes mean - you be in your place, I'll be in my place, but I come to you only, only to go from your proximity, as Jean-Paul Sartre prefers to say:L'existence précède et commande l'essence, Existence precedes and rules essence. This is the Indian type of vyaavhaarika, paaramaarthika satta a colleague at loggerheads, of his 'Being and Nothingness.'
sajalanaliniidalashiitalashayane |
harimavalokya saphala nayane || a pa 18-5
pa cChe - sa jala nalinii dala shiitala shayane harim avalokya saphala nayane
सजलनलिनीदलशीतलशयने।
हरिमवलोक्य सफल नयने॥ अ प १८-५
sajalanalinīdalaśītalaśayane |
harimavalokya saphala nayane || a pa 18-5
pa cche - sa jala nalinī dala śītala śayane harim avalokya saphala nayane
a pa 18-5. sa+jala= with, water [or, mR^idula= softish]; nalinii+dala= lotus, petals; shiitala+ shayane= cool [refreshing,] on bed; harim+avalokya= at Krishna, contemplate; [then only you will become; sa+phala+nayane= with, fruit, your eyes will be [or, one with fructified eyes, for she had once seen him.]
"Contemplate on Krishna, who is on a freshening bed of moist lotus petals, then your eyes comes to fruition... [a pa 18-5]
Comment: You are that lotus bed, serving as his sustainment. See that way with your third eye, then only you realise your being is not different form that of his.
janayasi manasi kimiti gurukhedam |
shR^iNu mama vachanamaniihitabhedam || a pa 18-6
pa Che- janayasi manasi kim iti guru khedam shR^iNu mama vachanam aniihita bhedam
जनयसि मनसि किमिति गुरुखेदम्।
शृणु मम वचनमनीहितभेदम्॥ अ प १८-६
janayasi manasi kimiti gurukhedam |
śṛṇu mama vacanamanīhitabhedam || a pa 18-6
pa che- janayasi manasi kim iti guru khedam śṛṇu mama vacanam anīhita bhedam
a pa 18-6. kim+iti= why, this way; guru+khedam= heavy, sadness; manasi+janayasi= in heart, you give raise; shR^iNu+mama+vachanam= listen, to my, words; aniihita= unwished for [unenviable,] bhedam= having inequality [among you too -finishing line, without broadening vyaaakhya.]
"Why you give raise to a heavy sadness in your heart this way, listen to my words that contain an unenviable inequality among you two... [18-6]
harirupayaatu vadatu bahumadhuram |
kimiti karoSi hR^idayamatividhuram || a pa 18-7
pa cChe- hariH upayaatu vadatu bahu madhuram kim iti karoSi hR^idayam ati vidhuram
हरिरुपयातु वदतु बहुमधुरम्।
किमिति करोषि हृदयमतिविधुरम्॥ अ प १८-७
harirupayātu vadatu bahumadhuram |
kimiti karoṣi hṛdayamatividhuram || a pa 18-7
pa cche- hariḥ upayātu vadatu bahu madhuram kim iti karoṣi hṛdayam ati vidhuram
a pa 18-7. hariH+upayaatu= Krishna, comes [to you]; vadatu+bahu+madhuram= speaks, much, melodiously; kim+iti+karoSi+hR^idayam= why, this way, you render, your heart; ati+vidhuram = muchly, wrench.
"Krishna comes to you, talks to you much melodiously, then why you wrench your heart this much... [a pa 18-7]
Comment: This and the above 'inequality' statements have some bearing to the sayings of Bhagavad Gita, more so aatma samyamna yoga of it. Don't sit thinking 'he' and 'me' - a-cintya-bheda-a-bheda - for none knows what connection exists between the Ultimate and the later.
shriijayadevabhaNitamatilalitam |
sukhayatu rasikajanam haricharitam || a pa 18-8
pa cChe- shrii jayadeva bhaNitam ati lalitam sukhayatu rasika janam hari charitam
श्रीजयदेवभणितमतिललितम्।
सुखयतु रसिकजनम् हरिचरितम्॥ अ प १८-८
śrījayadevabhaṇitamatilalitam |
sukhayatu rasikajanam haricaritam || a pa 18-8
pa cche- śrī jayadeva bhaṇitam ati lalitam sukhayatu rasika janam hari caritam
a pa 18-8. jayadeva+bhaNitam= by Jayadeva, said; ati+lalitam= very, subtle; shrii+hari+ charitam= providential, Krishna's, allegory; sukhayatu+rasika+janam= give bliss, to revelling, people [in his lore.]
Let the allegory of providential Krishna, said by Jayadeva, be blissful to the revellers in his lore... [a pa 18-8]
snigdhe yatparuSaasi yatpraNamati stabdhaasi yadraagiNi
dveSasthaasi yadunmukhe vimukhataam yaataasi tasminpriye |
tadyuktam tadvipariitakaariNi tava shriikhaNDacharchaa viSam
shiitaa.nshustapano himam hutavahaH kriiDaamudo yaatanaaH || 9-3
pa cChe- snigdhe yat paruSaa asi yat praNamati stabdhaa asi yat raagiNi dveSasthaa asi yat unmukhe vimukhataam yaataa asi tasmin priye tat yuktam tat vipariitakaariNi tava shriikhaNDa charchaa viSam shiitaa.nshuH tapanaH himam hutavahaH kriiDaa mudaH yaatanaaH
स्निग्धे यत्परुषासि यत्प्रणमति स्तब्धासि यद्रागिणि
द्वेषस्थासि यदुन्मुखे विमुखताम् यातासि तस्मिन्प्रिये।
तद्युक्तम् तद्विपरीतकारिणि तव श्रीखण्डचर्चा विषम्
शीतांशुस्तपनो हिमम् हुतवहः क्रीडामुदो यातनाः॥ ९-३
snigdhe yatparuṣāsi yatpraṇamati stabdhāsi yadrāgiṇi
dveṣasthāsi yadunmukhe vimukhatām yātāsi tasminpriye |
tadyuktam tadviparītakāriṇi tava śrīkhaṇḍacarcā viṣam
śītāṁśustapano himam hutavahaḥ krīḍāmudo yātanāḥ || 9-3
pa cche- snigdhe yat paruṣā asi yat praṇamati stabdhā asi yat rāgiṇi dveṣasthā asi yat unmukhe vimukhatām yātā asi tasmin priye tat yuktam tat viparītakāriṇi tava śrīkhaṇḍa carcā viṣam śītāṁśuḥ tapanaḥ himam hutavahaḥ krīḍā mudaḥ yātanāḥ
9-3. yat= by which reason; tasmin+priye= that, lover; snigdhe [sati]= when friendly; paruSaa+ asi= unfriendly, you are; yat= by what; praNamati= he adjoins his palms at you, to appease; stabdhaa+asi= uncommunicative [unappeasable,] you are; yat= by which; raagiNi= he is inclined in you; dveSasthaa +asi= disinclined, you are; yat= by what reason; unmukhe= he is pro-faced [favourable]; vimukhataam +yaataaasi= face turned away [disfavour,] you go into a state; tat= by that reason alone; hè vipariita kaariNi= oh, intemperance, causer of - intemperate Raadha; tava= to you; shriikhaNDa+ charchaa= sandal-paste, body cream; viSam = [becoming] venom; shiitaa+anshuH= one with cool, beams - moon; tapanaH= burner - [becoming as] sun; himam= snow; hutavahaH= [becoming as] fire; kriiDaa+mudaH= in romantic games, cheers; yaatanaaH = [becoming as] tortures; yuktam= meetly.
"By which reason you are unfriendly when that lover of yours is friendly, unappeasable when he is appeasing, disinclined when he is inclined, and your falling into disfavour when he is favourable... oh, intemperate Raadha, by that intemperance of yours, your sandal-paste skincare becoming a venom, cooling moon as a scorching sun, snow as a fire, cheers in romantic sport as hellish tortures, is meetly. [9-3]
saa.ndraana.ndapura.ndaraadidiviSadbR^indairama.ndaadaraat
aanamrairmakuTendraniilamaNibhissa.ndarshite.ndi.ndiram |
svacCha.nda.mmakara.ndasundaramilanmandaakiniimeduram
shrii govindapadaaravi.ndamashubhaskandaayavandaamahe || 9-4
pa cChe- saandra aananda purandara aadi diviSat bR^indaiH amanda aadaraat aanamraiH makuTa indra niila maNibhiH sa.ndarshita indindiram svacChandam makaranda sundara milat mandaakinii meduram shrii govinda pada aravi.ndam ashubha skandaaya vandaamahe
सांद्रानंदपुरंदरादिदिविषद्बृन्दैरमंदादरात्
आनम्रैर्मकुटेन्द्रनीलमणिभिस्संदर्शितेंदिंदिरम्।
स्वच्छंदंमकरंदसुन्दरमिलन्मन्दाकिनीमेदुरम्
श्री गोविन्दपदारविंदमशुभस्कन्दायवन्दामहे॥ ९-४
sāṁdrānaṁdapuraṁdarādidiviṣadbṛndairamaṁdādarāt
ānamrairmakuṭendranīlamaṇibhissaṁdarśiteṁdiṁdiram |
svacchaṁdaṁmakaraṁdasundaramilanmandākinīmeduram
śrī govindapadāraviṁdamaśubhaskandāyavandāmahe || 9-4
pa cche- sāndra ānanda purandara ādi diviṣat bṛndaiḥ amanda ādarāt ānamraiḥ makuṭa indra nīla maṇibhiḥ saṁdarśita indindiram svacchandam makaranda sundara milat mandākinī meduram śrī govinda pada araviṁdam aśubha skandāya vandāmahe
9-4. a+manda+aadaraat= by his not, slowed [by his alacritous,] fondness; saandra+ aananda = with utmost, exultation; purandara+aadi= Indra, et al; diviSat+bR^indaiH= by heavenly, droves; aanamraiH+makuTa= with reverently bent, crowns; indra+niila+maNibhiH = by sapphire, blue, gems in those crowns; sa.ndarshita+indindiram= shown, swarms of honey bees; svacChandam= at will; makaranda= honey; sundara+milat= lovelily, meeting [river flowing]; mandaakinii= by River Ganga; meduram= overspread [bathed with]; shrii+govinda+ pada= Shri Krishna's, feet; aravi.ndam= lotus feet; a+shubha= bad, fortunes; skandaaya= for ruination; vandaamahe= let us pray.
At whom heavenly droves like Indra et al come owing to his alacritous fondness for them, having come they reverently bend their crowns before him, thereby the sapphire blue gems in their crowns appear to be the swarms of honeybees hovering on honey-like water of River Ganga, flowing at her will and bathing his feet, thus for the ruination of bad fortunes let us pray at that lotus-like feet of Shri Krishna. [9-4]
iti giitagovinde kalahaantaritaavarNane mandamukundo naama navamaH sargaH
इति गीतगोविन्दे कलहान्तरितावर्णने मन्दमुकुन्दो नाम नवमः सर्गः
iti gītagovinde kalahāntaritāvarṇane mandamukundo nāma navamaḥ sargaḥ
Thus, this is the 9th chapter, called mugdhamukundam - Unpretentious Krishna, in Gita Govindam of Jayadeva.
chaturachaturbhujaH
Chapter [Sarga] 10 - Tactful Krishna
Krishna appears before Raadha from thin air, and finding her somewhat lessened in her recalcitrance, he starts to pull the wool over her eyes, tactfully. But she is still reticent.
atraantare masR^iNaroSavashaadasiima niHshvaasanissahamukhiim sumukhiimupetya |
savriiDamiikshitasakhiivadanaam dinaante saanandagadgadapadam harirityuvaacha || 10-1
atra antare masR^iNa roSa vashaat asiima niHshvaasa nissaha mukhiim sumukhiim upetya sa vriiDam iikshita sakhii vadanaam dina ante sa aananda gadgada padam hariH iti uvaacha
अत्रान्तरे मसृणरोषवशादसीम निःश्वासनिस्सहमुखीम् सुमुखीमुपेत्य।
सव्रीडमीक्शितसखीवदनाम् दिनान्ते सानन्दगद्गदपदम् हरिरित्युवाच॥ १०-१
atrāntare masṛṇaroṣavaśādasīma niḥśvāsanissahamukhīm sumukhīmupetya |
savrīḍamīkśitasakhīvadanām dinānte sānandagadgadapadam harirityuvāca || 10-1
atra antare masṛṇa roṣa vaśāt asīma niḥśvāsa nissaha mukhīm sumukhīm upetya sa vrīḍam īkśita sakhī vadanām dina ante sa ānanda gadgada padam hariḥ iti uvāca
10-1. atra= at there; antare= in the mean while; hariH= Krishna; dina+ante= day, at end of -that evening; masR^iNa= with precipitated [hot-headed, excited]; roSa+vashaat= indignation, owing to; a+siima= not, within bounds, boundless; niHshvaasa= with suspires; nissaha +mukhiim= helplessly, face having; sa+vriiDam= with, shy; [sa vriiDaam...upetya - 'Krishna came shyly' can also be said]; iikshita+sakhii+vadanaam= seeing, her friend's, face; su+mukhiim= one with lovely, face - to her; upetya= came near; sa+aanandam= with, rejoice; gad+gada+padam= [but] with, quavering, words; iti+uvaacha= this way, said.
In this meanwhile on that evening, when she is with a helpless face with boundless suspires, and when she is seeing her friend's face with a 'whatamitodo' look, for she is hotheaded owing to indignation, Krishna came near of such lovely faced Raadha, though rejoicingly, but spoke these words, quaveringly. [10-1]
aSTapdi - 19 - caturacaturbhujaraagaraajica.ndodyotitam -
vadasi yadi ki.nchidapi dantaruchikaumudii harati daratimiramatighoram |
sphuradadharasiidhave tava vadanachandramaa rochayatu lochanachakoram ||
priye chaarushiile priye chaarushiile mu.ncha mayi maanamanidaanam
sapadi madanaanalo dahati mama maanasam dehi mukhakamalamadhupaanam
priye chaarushiile priye chaarushiile - dhR^ivam || a pa 19-1
pa cChe- vadasi yadi ki.nchit api danta ruchi kaumudii harati dara timiram ati ghoram sphurat adhara siidhave tava vadana chandramaa rochayatu lochana chakoram priye chaaru shiile mu.ncha mayi maanam a nidaanam sapadi madana analo dahati mama maanasam dehi mukha kamala madhu paanam
अष्टप्दि - १९ - चतुरचतुर्भुजरागराजिचंदोद्योतितम् -
वदसि यदि किंचिदपि दन्तरुचिकौमुदी हरति दरतिमिरमतिघोरम्।
स्फुरदधरसीधवे तव वदनचन्द्रमा रोचयतु लोचनचकोरम्॥
प्रिये चारुशीले प्रिये चारुशीले मुंच मयि मानमनिदानम्
सपदि मदनानलो दहति मम मानसम् देहि मुखकमलमधुपानम्
प्रिये चारुशीले प्रिये चारुशीले - धृवम्॥ अ प १९-१
aṣṭapdi - 19 - caturacaturbhujarāgarājicaṁdodyotitam -
vadasi yadi kiṁcidapi dantarucikaumudī harati daratimiramatighoram |
sphuradadharasīdhave tava vadanacandramā rocayatu locanacakoram ||
priye cāruśīle priye cāruśīle muṁca mayi mānamanidānam
sapadi madanānalo dahati mama mānasam dehi mukhakamalamadhupānam
priye cāruśīle priye cāruśīle - dhṛvam || a pa 19-1
pa cche- vadasi yadi kiṁcit api danta ruci kaumudī harati dara timiram ati ghoram sphurat adhara sīdhave tava vadana candramā rocayatu locana cakoram priye cāru śīle muṁca mayi mānam a nidānam sapadi madana analo dahati mama mānasam dehi mukha kamala madhu pānam
a pa 19-1. chaaru+shiile= o, sweet one, by your heart - rather, o, my sweetheart; priye= o, dear; mayi= on me; a+nidaanam= without, cause; maanam= petulance [choler]; mu.ncha= release - cast off; sapadi= presently; madana+analaH= love's, fire; dahati= burns; mama+ maanasam= my, bosom; mukha+kamala= face, lotus's [or say, lotusy]; madhu+paanam+dehi= nectar, lend me; ki.nchit+api+vadasi= a bit, at least, you say; yadi= even if [that talk of yours contain good or bad of mine, then your lips open and your teeth sparkles, with that sparkling]; tava+ danta+ruchi+kaumudii= of your teeth [called,] beautiful, moonshine; ati+ghoram= highly, horrendous; dara+timiram= dark [tenebrous,] gloom [melancholy, not tamas - darkness, Krishna cannot have tamas, word obsolete now, unlike dara haasam]; harati= steals; tava+ vadana+candra maaH = your, face, [called] moon; lochana+chakoram= [to my] eyes, [called] cakora birds; sphurat= scintillating; adhara+siidhave= lips, with nectar; rochayatu= let them [eyes called birds] cheer up.
"O, dear... now lend me nectar from your lotusy face... or, say at least a bit of it... or, even if you say good or bad of me, but say it... then that moonshine from the sparkle of your teeth steals the highly tenebrous gloom in me... o, sweetheart, let the cakora birds called mine eyes cheer up with nectar from those scintillating lips on your moony face... o, dear sweetheart, cast off causeless choler on me, for the fire of love burns by bosom... [a pa 19-1]
satyamevaasi yadi sudati mayi kopinii dehi kharanakhasharaghaatam |
ghaTaya bhujabandhanam janaya radakhaNDanam
yena vaa bhavati sukhajaatam || a pa 19-2
pa cChe - satyam eva asi yadi sudati mayi kopinii dehi khara nakha shara ghaatam ghaTaya bhuja bandhanam janaya rada khaNDanam yena vaa bhavati sukha jaatam
सत्यमेवासि यदि सुदति मयि कोपिनी देहि खरनखशरघातम्।
घटय भुजबन्धनम् जनय रदखण्डनम्
येन वा भवति सुखजातम्॥ अ प १९-२
satyamevāsi yadi sudati mayi kopinī dehi kharanakhaśaraghātam |
ghaṭaya bhujabandhanam janaya radakhaṇḍanam
yena vā bhavati sukhajātam || a pa 19-2
pa cche - satyam eva asi yadi sudati mayi kopinī dehi khara nakha śara ghātam ghaṭaya bhuja bandhanam janaya rada khaṇḍanam yena vā bhavati sukha jātam
a pa 19-2. su+dati= o, toothily dear; tvam= you; satyam+eva= truly, that way; mayi+ kopinii+yadi+asi= on me, furious, if, you are; dehi= give; khara+nakha+shara+ ghaatam = sharp, fingernails, arrow, gashes; [if you are dissatisfied with it]; ghaTaya+bhuja+ bandhanam = splice, your arms, to shackle me; [even if your are dissatisfied with such an incarceration, then]; janaya+rada+ khaNDanam= cause, teeth, tearing; vaa= or else; yena= by which [punishment for my misdeeds, you feel happy, that you give; I tell these tricks as my mother tricked me this way and fastened me to a grindstone, cart etc in my childhood - now do the same, of course, with different items]; sukha+jaatam+bhavati= happiness, causes, in you, those [punishments that will be cuasing such happiness.]
"O, toothily dear, if you are that way truly furious of me, gash me with you arrowy fingernails ... if not, splice your arms to shackle me down... if not, tear me with your teeth... or, make do in whichever way you feel happy... howsoever o, sweetheart, cast off causeless choler on me... [a pa 19-2]
tvamasi mama bhuuSaNam tvamasi mama jiivanam tvamasi bhavajaladhiratnam |
bhavatu bhavatiiha mayi satatamanurodhini tatra mama hR^idayamatiyatnam || a pa 19-3
pa cChe- tvam asi mama bhuuSaNam tvam asi mama jiivanam tvam asi bhava jaladhi ratnam bhavatu bhavatii iha mayi satatam anurodhini tatra mama hR^idayam ati yatnam
त्वमसि मम भूषणम् त्वमसि मम जीवनम् त्वमसि भवजलधिरत्नम्।
भवतु भवतीह मयि सततमनुरोधिनि तत्र मम हृदयमतियत्नम्॥ अ प १९-३
tvamasi mama bhūṣaṇam tvamasi mama jīvanam tvamasi bhavajaladhiratnam |
bhavatu bhavatīha mayi satatamanurodhini tatra mama hṛdayamatiyatnam || a pa 19-3
pa cche- tvam asi mama bhūṣaṇam tvam asi mama jīvanam tvam asi bhava jaladhi ratnam bhavatu bhavatī iha mayi satatam anurodhini tatra mama hṛdayam ati yatnam
a pa 19-3. tvam+asi+mama+bhuuSaNam= you, are, to me, ornament [grace - 3 an attractive feature]; tvam+asi+mama+jiivanam= you, are, to me, existence, or quintessence [metaphysics ens]; tvam+asi= you, are; bhava+jaladhi+ratnam= [for the temporal] world, ocean-like, jewel [not only my jewel, but being with me you will be the lone jewel of love, in this ocean-like, unnavigabe world]; iha+mayi= here, in my respect [in this somatic world; elliptic: praNate= while I pray, or sue you]; bhavatii+anurodhini+bhavatu= you may, be gracious to me [as against - virodhinii - one at loggerheads]; tatra= in that matter; mama+ hR^idayam+satatam= my, heart is, ever; ati+yatnam= more, effortful.
"You are my grace, ens, and a jewel for this temporal world... hence, here in this unnavigable somatic world I sue you to be gracious to me, for my heart is ever effortful in that matter... [a pa 19-3]
Some notes on these lines are at the end of this song.
niilanalinaabhamapitanvitavalochanam dhaarayatikokanadaruupam |
kusumasharabaaNabhaavenayadira.njayati kR^iSNamidametadanuruupam || a pa 19-4
pa cChe- niila nalina aabham api tanvi tava lochanam dhaarayati kokanada ruupam kusuma shara baaNa bhaavena yadi ra.njayati kR^iSNam idam etat anuruupam
नीलनलिनाभमपितन्वितवलोचनम् धारयतिकोकनदरूपम्।
कुसुमशरबाणभावेनयदिरंजयति कृष्णमिदमेतदनुरूपम्॥ अ प १९-४
nīlanalinābhamapitanvitavalocanam dhārayatikokanadarūpam |
kusumaśarabāṇabhāvenayadiraṁjayati kṛṣṇamidametadanurūpam || a pa 19-4
pa cche- nīla nalina ābham api tanvi tava locanam dhārayati kokanada rūpam kusuma śara bāṇa bhāvena yadi raṁjayati kṛṣṇam idam etat anurūpam
a pa 19-5. priyè= oh, dear; tava= your; kucha+kumbhayoH+upari= bosoms, pot-like, on overside; maNi+ma.njarii= set of gems, gem chest pendant, a cluster of sapphires; sphuratu= let glitter [with the pinkness of your eyes reflected on them]; tava+hR^idaya+desham= your, chest, place [bust]; ra.njayatu= [if] it delights [me, one with sapphirine in hue, such as I am; where the comparison of bosoms with pots suggests puuNa kumbha, puurNa kalasha, and gemmed pendant manjari to auspicious garlands used before the start of any auspicious ritual, here that ausoiciuous event is the union of Raadhakrishan; elliptic yadi= if - used to say yadi tava hR^idaya desham, mama hR^idaya desham ranjayatu= if your bust with blue-gems pendant delights me on its contact with my indigo-blue chest]; tava+rashanaa+api= your, girdle strings with tinkle bells, even; ghana+jaghana+maNDale= on curvy, hip, areas [waistline; then in that bustle]; rasatu= make tintinnabulations; manmatha+nidesham+ ghoSayatu = Love-god's, bidding, let it repeatedly announce.
"O, dear, let that cluster of sapphire gems on your pot-like bosoms be glittering with the pinkness of your eyes, and with such gems if your bust delights me on its contact with my indigo-blue chest, and in that bustle even that girdle strings with tinkle bells on your curvy waistline will repeatedly announce the bidding of Love in their tintinnabulations... [a pa 19-5]
sphuratu kuchakumbhayorupari maNima.njarii ra.njayatu tava hR^idayadesham |
rasatu rashanaapi tava ghanajaghanamaNDale ghoSayatu manmathanidesham || a pa 19-5
pa cChe - sphuratu kuchakumbhayoH upari maNi ma.njarii ra.njayatu tava hR^idaya desham rasatu rashanaa api tava ghana jaghana maNDale ghoSayatu manmatha nidesham
स्फुरतु कुचकुम्भयोरुपरि मणिमंजरी रंजयतु तव हृदयदेशम्।
रसतु रशनापि तव घनजघनमण्डले घोषयतु मन्मथनिदेशम्॥ अ प १९-५
sphuratu kucakumbhayorupari maṇimaṁjarī raṁjayatu tava hṛdayadeśam |
rasatu raśanāpi tava ghanajaghanamaṇḍale ghoṣayatu manmathanideśam || a pa 19-5
pa cche - sphuratu kucakumbhayoḥ upari maṇi maṁjarī raṁjayatu tava hṛdaya deśam rasatu raśanā api tava ghana jaghana maṇḍale ghoṣayatu manmatha nideśam
a pa 19-4. hè tanvi= o, svelte Raadha; niila+nalina+aabham= blue, lotus, in hue; api= though; tava+lochanam= your, eyes; kokanada+ruupam+dhaarayati= pink-lotus, effect, they bear; idam= tava kopa locanam= these, ireful eyes of yours; kusuma+shara+baaNa+bhaavena = flower, arrow shooter's [Love-god's pink lotus arrow] arrow, with rendition; kR^iSNam= one who is in indigo-blue [maam api= me, too]; ra.njayati+yadi= you delight, if; [or, ra.njayasi yadi - will be used by some]; etat+anuruupam= all this [ire, fury and pinkness of yours,] will be most becoming.
"O, svelte Raadha, though your eyes will be in the hue of blue-lotuses, they now bear a pinkly effect of pinkish lotuses in all their ire... albeit, if they render themselves as the one and only pink lotus arrow of Love, and shoot to delight me, to render me with my indigo-blue hue as the very pink of love... then all this ire, eyes, and their pink will be most becoming... [a pa 19-4]
sthalakamalaga.njanam mamahR^idayara.njanam janitaratira.ngaparabhaagam |
bhaNamasR^iNavaaNi karavaaNi caraNadvayam sarasalasadalaktakaraagam || a pa 19-6
pa cChe- sthala kamala ga.njanam mama hR^idaya ra.njanam janita rati ra.nga para bhaagam bhaNa masR^iNa vaaNi karavaaNi caraNa dvayam sarasa lasat alaktaka raagam
स्थलकमलगंजनम् ममहृदयरंजनम् जनितरतिरंगपरभागम्।
भणमसृणवाणि करवाणि चरणद्वयम् सरसलसदलक्तकरागम्॥ अ प १९-६
sthalakamalagaṁjanam mamahṛdayaraṁjanam janitaratiraṁgaparabhāgam |
bhaṇamasṛṇavāṇi karavāṇi caraṇadvayam sarasalasadalaktakarāgam || a pa 19-6
pa cche- sthala kamala gaṁjanam mama hṛdaya raṁjanam janita rati raṁga para bhāgam bhaṇa masṛṇa vāṇi karavāṇi caraṇa dvayam sarasa lasat alaktaka rāgam
a pa 19-6. hè masR^iNa vaaNi= o, one with melodious, voice [mellisonant] Raadha; sthala+ kamala= land, lotuses [terrene lotus, that grows on ground]; ga.njanam= gainsays; mama+ hR^idaya+ra.njanam= my, heart, delight; janita= while causing [I can make them more excellent on the stage in the play of passion]; rati+ra.nga= play of passion, on the stage [ranga= literally, adeptness, expertise in arts; unless one is adept he/she cannot go on the stage]; para bhaagam= excellence [both feet will have mutually excellent splendour, excellently adept in footwork while on the stage of love]; caraNa+dvayam= foot, couple of; sarasa= passionately; lasat= shining; alaktaka= lac, rosy cosmetic of foot; [some mms sagana galada lakta] raagam= crimsoned; [yadi= if]; karavaaNi= I [can] do; [if I can maquillage [= applying makeup] to your feet with crimson lac, the red cosmetic of feet, you will be delighted, hence]; bhaNa= what-do-you-say [or, what-d'ye-say - after how-d'ye-do.]
"O, mellisonant Raadha, those that gainsay land-lotuses are the delighters of my heart, and I can maquillage them with crimson red foot-cosmetic, then they will be mutually excellent, splendorous, and adept in footwork on the stage in the play of passion, that which will be delightful to you, what-d'ye-say... [a pa 19-6]
smaragaralakhaNDanam mama shirasimaNDanam dehi padapallavamudaaram |
jvalatimayidaaruNomadanakad anaanalo haratutadupaahitavikaaram || a pa 19-7
pa cChe- smara garala khaNDanam mama shirasi maNDanam dehi pada pallavam udaaram jvalati mayi daaruNaH madana kadana anaaH haratu tat upaahita vikaaram
स्मरगरलखण्डनम् मम शिरसिमण्डनम् देहि पदपल्लवमुदारम्।
ज्वलतिमयिदारुणोमदनकद् अनानलो हरतुतदुपाहितविकारम्॥ अ प १९-७
smaragaralakhaṇḍanam mama śirasimaṇḍanam dehi padapallavamudāram |
jvalatimayidāruṇomadanakad anānalo haratutadupāhitavikāram || a pa 19-7
pa cche- smara garala khaṇḍanam mama śirasi maṇḍanam dehi pada pallavam udāram jvalati mayi dāruṇaḥ madana kadana anāḥ haratu tat upāhita vikāram
a pa 19-7. hè preyasi= o, love; mama+shirasi+maNDanam= on my, head, [a distinctive] ornament [motif]; udaaram= glory [resplendent majesty or magnificence; great beauty]; smara+garala+khaNDanam = Love-god's, venom, dissevers [antivenin, antivenom]; [tava= your]; pada+pallavam= foot, tender-leafy; [mama shirasi= on my, head]; dehi= give, [with stressed dha - dhehi= place, keep; dhayati, dhiita - to kiss, to suckle]; mayi= in me; daaruNaH = intolerable; madana= Love-god's; kadana= kadanam kaluSe taape - vishva kosha, scorching, not war]; analaH= fire [other mms aruNah= reddish like flame]; jvalati= burning;tat+upaahita = to that [fire of Love-god's scorching,] connective to; vikaaram= disquietude, desperateness etc., abnormalities; haratu= let [those feet] spirit away; [or straightly, tread my body to tread on that Love-god, to tread out his fire.]
"O, love, that tender-leafy foot of yours is an antivenin to the venom of Love-god, place it on my head, and make it my motif and my glory... for, that scorching fire of Love-god is burning me intolerably... hence, tread my body to tread on that Love-god, to tread out his fire and its abnormalities... [a pa 19-7]
itichaTulachaaTupaTuchaarumuravairiNo raadhikaamadhivachanajaatam |
jayatijayadevakavijayadevakavibhaaratiibhuuSitam maaniniijanajanitanitaatishaatam || a pa 19-7
pa cChe- iti chaTula chaaTu paTu chaaru mura vairiNaH raadhikaam adhi vachana jaatam jayati jayadeva kavi bhaaratii bhuuSitam maaninii jana janita ati shaatam
इतिचटुलचाटुपटुचारुमुरवैरिणो राधिकामधिवचनजातम्।
जयतिजयदेवकविजयदेवकविभारतीभूषितम् मानिनीजनजनितनितातिशातम्॥ अ प १९-७
iticaṭulacāṭupaṭucārumuravairiṇo rādhikāmadhivacanajātam |
jayatijayadevakavijayadevakavibhāratībhūṣitam māninījanajanitanitātiśātam || a pa 19-7
pa cche- iti caṭula cāṭu paṭu cāru mura vairiṇaḥ rādhikām adhi vacana jātam jayati jayadeva kavi bhāratī bhūṣitam māninī jana janita ati śātam
a pa 19-8. iti= this way; chaTula= cute [caTulaH sundare cale - dhraNi nighaNTu]; chaaTu = with words easy and dear to remember - catchy; paTu= endearing words - canny; chaaru= charming words; maaninii+jana+janitam= in women, folk, caused; shaatam= with comfort; jayadeva+kavi+bhaaratii+bhuuSitam= by Jayadeva, poet's, poetry, adorned with; [or, jaya padmaaavatii ramaNa jayadeva kavi bhaaratii bhaNitam ati shaantam - in other mms]; mura vairiNoaH= of Krishna; raadhikaam+adhi= Raadha is, made as target; vachana+ jaatam= words, cluster of; ati+jayati= highly, winning [highly thrilling.]
This way, let the words of Krishna targeting Raadha adorn the poetry of poet Jayadeva, and be comforting to womenfolk, and because they are cute, catchy, canny, and charming, let they remain highly thrilling... [a pa 19-8]
Comment: If Bhagavad Gita ca be understood in a trice without any help of commentaries, this chapter too is understandable, indepth. Otherwise we should be content with its prima facie meaning. In this song apparently unnecessary or commonplace words seem to be encrusted; either by original poet or in this work, and at end he foreordains them to be highly thrilling. In saying such a loose construct 'you're my ornament, you're my existence, you're my jewel...' or 'keep your feet on my head... tread over me...' etc., can we possibly attach some laxity to the poet's thought? Not so. This song is loaded with Philo of the then egging and revolting method of raadhamaadhava tradition. Some of it can be incorporated here, but at the cost of lusciousness of this song, and owing to many dissensions - it is skipped. Usually separated lovers get all oddities in their behaviour, to the level of delirium and swooning. The sandal-breezes becomes venom and the Love-god the serpent, and then the eagle has to come to scare the snake. And comparing heroine's feet, if compared to the claws of eagle, as some technical parison it, will be OK, but becomes too much, called aakshepa ruupaka, and Jayadeva as a writer of the treatise on aesthetics of poetry, called candraaloka may not incorporate such words. In this book, chapters are named as mayuukha-s in which the items discussed are prathama mayuukha: kaavya hetu, lakshaNa, ruuDhi, yaugika kathana; next, chapters and their subjects are: dvittiya mayuukha: doSa varNana; tR^itiiya mayuukha: dasha vidha visheSa lakshaNa niruupaNa; caturthaH; dasha guNa nirvacana; pancama: shabda artha alankaara parisankjhyaana. None later to Jayadeva bothered about the ideas given in the third chapter. This book or details about it may be available in magnum opuses of aacaarya sushiila kumar de, or that of Dr. Shankaran et al, or in some archives, as all will just extol Jayadeva, but none makes his works available to enthusiasts.
parihara kR^itaantanke sha.nkaa.mtvayaasatatamghana
stanajaghanaya.a.akraante svaante paraanavakaashini |
vishati vitanoranyo dhanyo nako.api mamaa.mtaram
praNayini pariira.mbhaara.mbhe vidhehi vidheyataam || 10-3
pa cChe - parihara kR^ita aantanke sha.nkaam tvayaa satatam ghana stana jaghanayaa aakraante svaante paraa anavakaashini vishati vitanoH anyaH dhanyaH na kaH api mam a.ntaram praNayini pariira.mbha aara.mbhe vidhehi vidheyataam
परिहर कृतान्तन्के शंकांत्वयासततम्घन
स्तनजघनयऽऽक्रान्ते स्वान्ते परानवकाशिनि।
विशति वितनोरन्यो धन्यो नकोऽपि ममांतरम्
प्रणयिनि परीरंभारंभे विधेहि विधेयताम्॥ १०-३
parihara kṛtāntanke śaṁkāṁtvayāsatatamghana
stanajaghanaya''krānte svānte parānavakāśini |
viśati vitanoranyo dhanyo nako'pi mamāṁtaram
praṇayini parīraṁbhāraṁbhe vidhehi vidheyatām || 10-3
pa cche - parihara kṛta āntanke śaṁkām tvayā satatam ghana stana jaghanayā ākrānte svānte parā anavakāśini viśati vitanoḥ anyaḥ dhanyaḥ na kaḥ api mam aṁtaram praṇayini parīraṁbha āraṁbhe vidhehi vidheyatām
10-3. hè kR^ita+aantanke= o, one who surmised, some doubt [jealous or, having grief about my infidelity]; pari+hara+sha.nkaam= completely, give up, your doubt; ghana+stana+ jaghanayaa= by one who has massy, bosom, hips; tvayaa= [such as you are,] by you; satatam= always; paraa= to others [other heroines]; an+avakaashini= no, room [on your making no room]; sva+ante= in my, interior - in my heart of hearts; aakraante sati= pervading, while; vi+tanoH+anyaH= one without, body - bodiless Love-god, other than;dhanyaH++kaH+api= fortunate one, who will be; mam= in my; a.ntaram+na+vishati= heart, not, enters; praNayini= oh, dear; pariira.mbha= embrace [pl note in - parirambhaNa - there is no sound of heaviness of her breasts]; aara.mbhe= in starting of; vidheyataam= as befitting deed [or, kainkarya pradiiyataam = accord me bondage, thraldom]; vidhehi= grant me [or, enthral me.]
"O, jealous Raadha, completely give up your doubt about my infidelity, while you with your bosomy bust and rotund hip are always pervading my heart of hearts, making no room to others, who is that 'other' fortunate one to enter it, excepting that Love-god for he is formless... hence, o, dear, grant me thraldom and start enthralling me, with an embrace... [10-3]
Comment: In this poem kaavya linga - alankaara; naayika - prauDha; naayaka - pragalbha; vipralambha sR^ingaare - priyaa sanga siddhi Now, this boy changes his tune and starts entreating her, as though he is temporarily disloyal, where disloyalty is temporary every time.
mugdhe vidhehi mayi nirdayadantada.nsha dorvallibandhanibiDastanapiiDanaani |
chaNDi tvameva mudamudvaha pa.ncabaaNa chaNDaalakaaNDadalanaadasavaH prayaanti || 10-4
pa cChe- mugdhe vidhehi mayi nirdaya danta da.nsha doH valli bandha nibiDa stana piiDanaani chaNDi tvameva mudam udvaha pa.ncabaaNa chaNDaala kaaNDa dalanaat asavaH prayaanti || 10-4
मुग्धे विधेहि मयि निर्दयदन्तदंश दोर्वल्लिबन्धनिबिडस्तनपीडनानि।
चण्डि त्वमेव मुदमुद्वह पंचबाण चण्डालकाण्डदलनादसवः प्रयान्ति॥ १०-४
mugdhe vidhehi mayi nirdayadantadaṁśa dorvallibandhanibiḍastanapīḍanāni |
caṇḍi tvameva mudamudvaha paṁcabāṇa caṇḍālakāṇḍadalanādasavaḥ prayānti || 10-4
pa cche- mugdhe vidhehi mayi nirdaya danta daṁśa doḥ valli bandha nibiḍa stana pīḍanāni caṇḍi tvameva mudam udvaha paṁcabāṇa caṇḍāla kāṇḍa dalanāt asavaḥ prayānti || 10-4
1-4. mugdhe= sva hita avaj~na= o, coyest Raadha; mayi= [if think I have dalliance] in me; vidhehi= subject [me to]; nir+daya= without, mercy; danta+da.nsha= teeth, slashes; doH = arms; valli= fibrillar; bandha= snares; nibiDa+stana+piiDanaani= oppressive, bosom, squeezes; chaNDi= o, shrew; asavaH+prayaanti= lives, started to leave; pa.nca+baaNa= one who wields five, arrows - Love-god; chaNDaala= [here] cruel, fellon; kaaNDa= by arrows; dalanaat= cleavage of; tvam+eva+mudam= you, alone, happiness; ut+vaha= on, carry [carry on, continue to be happy.]
"O, coyest Raadha, should you think that some dalliance is in me, then mercilessly subject me to slashes of teeth, snares of your fibrillar arms, squeezes of your oppressive bosoms... o, shrew, now my lives have started to leave, for arrows of that felonious Love-god are cleaving, be happy when they leave... [10-4]
Comment: In this naayaka - anukuula; naayika - mugdha; rasavat - alanakaara; guNa - praasaada; riiti - vaidarbhi; In the next step, according to vaastaayana nyaaya the hero tries to bring round the heroine, by flattering her beauty.
shashimukhi tavabhaatibha.ngurabhruuH yuvajanamohanakaraalakaalasarpii |
tadutaviSabha.njanaayayuunaam tvadadharashiidhushudaivasiddhama.ntraH || 1-5
pa cChe- shashi mukhi tava bhaati bha.ngura bhruuH yuva jana mohana karaala kaala sarpii tat udita viSa bha.njanaaya yuunaam tvat adhara shiidhu shuda eva siddha ma.ntraH
शशिमुखि तवभातिभंगुरभ्रूः युवजनमोहनकरालकालसर्पी।
तदुतविषभंजनाययूनाम् त्वदधरशीधुशुदैवसिद्धमंत्रः॥ १-५
śaśimukhi tavabhātibhaṁgurabhrūḥ yuvajanamohanakarālakālasarpī |
tadutaviṣabhaṁjanāyayūnām tvadadharaśīdhuśudaivasiddhamaṁtraḥ || 1-5
pa cche- śaśi mukhi tava bhāti bhaṁgura bhrūḥ yuva jana mohana karāla kāla sarpī tat udita viṣa bhaṁjanāya yūnām tvat adhara śīdhu śuda eva siddha maṁtraḥ
1-5. hè shashi+mukhi= o, moon, faced one; tava= your; ba.ngura+bhruuH= curvy, eyebrows; yuva+jana= for young, people; mohana= swooning; karaala+kaala+sarpii+bhaati= dangerous, black, cobra, shines forth [like that of]; tat= from it [from cobra like eyebrow]; udita+viSa+ bha.njanaaya= spewed out, poison, to antidote; yuunaam= for youths [bitten by such love-cobra]; tvat+adhara= your, lip's; shiidhu= intoxicant like; shuda+eva= nectar, alone; siddha+ ma.ntraH= self-manifested, chant.
"O, moonfaced Raadha, your curvy eyebrow is shining forth like a dangerous black cobra that makes anyone to swoon, and your lips' intoxicating nectar alone is the antidote to such a poison spewed out by such cobra like eyebrow, like a self-manifested mystic chant... [10-5]
Comment: Other hymns yield results after much chanting and painful practice. But the lovely nectar of her lips spills out in a spell without those many practises or hardships, for she is an embodiment of love.
vyathayati vR^ithaa maunam tanvi prapaJNchaya pa.nchamam
taruNI madhuraalaapaistaapam vinodaya dR^iSTibhiH |
sumukhi vimukhiibhaavam taavadvimu.ncha na mu.ncha maam
svayamatishayasnigdho mugdhe priyi.ayamupasthitaH || 10-6
pa cChe- vyathayati vR^ithaa maunam tanvi prapa.nchaya pa.nchamam taruNI madhura aalaapaiH taapam vinodaya dR^iSTibhiH sumukhi vimukhii bhaavam taavat vimu.ncha na mu.ncha maam svayam atishaya snigdhaH mugdhe priyaH ayam upasthitaH
व्यथयति वृथा मौनम् तन्वि प्रपञ्चय पंचमम्
तरुणी मधुरालापैस्तापम् विनोदय दृष्टिभिः।
सुमुखि विमुखीभावम् तावद्विमुंच न मुंच माम्
स्वयमतिशयस्निग्धो मुग्धे प्रियिऽयमुपस्थितः॥ १०-६
vyathayati vṛthā maunam tanvi prapañcaya paṁcamam
taruṇī madhurālāpaistāpam vinodaya dṛṣṭibhiḥ |
sumukhi vimukhībhāvam tāvadvimuṁca na muṁca mām
svayamatiśayasnigdho mugdhe priyi'yamupasthitaḥ || 10-6
pa cche- vyathayati vṛthā maunam tanvi prapaṁcaya paṁcamam taruṇī madhura ālāpaiḥ tāpam vinodaya dṛṣṭibhiḥ sumukhi vimukhī bhāvam tāvat vimuṁca na muṁca mām svayam atiśaya snigdhaḥ mugdhe priyaḥ ayam upasthitaḥ
10-6. hè tanvi= o, curvaceous Raadha; vR^ithaa+maunam= pointless, muteness; vyathayati+maam= despairing, me; hè taruNI= o, damsel; madhura+aalaapaiH= with sweet, words; prapa.nchaya= spread out [communicate, talk freely]; pa.nchamam= in fifth note [like koel]; dR^iSTibhiH+taapam= by [favouring] looks; vi+nodaya= to side, cast; hè sumukhi= o, gracious faced one; vi+mukhii+bhaavam= tuned away, faced [ungracious,] notion [sumukhi cannot become a vimukhi or durmukhi]; taavat+vimu.ncha= all that, cast off; na+mu.ncha+ maam= don't, leave off, me; hè mugdhe= you, blasé girl; atishaya+snigdhaH= with abounding, passion; ayam+priyaH= that, lover of yours; svayam+upasthitaH= personally, is in your presence [he is now self-manifest.]
"O, curvaceous Raadha, despairing is your pointless muteness... o, damsel, talk melodious words freely and in fifth note like koel... cast off all that ungracious notion for yours is a graceful countenance, and don't leave me in lurch... o, blasé girl, he who has abounding passion, that lover of yours is presently self-manifest... [10-6]
Comment: In this naayaka - anukuula; guNa - prasaada; vR^itti - vaidarbhi; giiti - maaagadhi; alankaara - yathaa sa.nkhya; vR^itaa - hariNi 'Until the time of arrival you make fuss about my non-attendance, and when I am present you turn away your face... girlish caprice... isn't it!'
bandhuukadyutibaandhavo.ayamadharaH snigdho madhuukacChaviH
gaNDashchaNDi chakaasti niilanalinashriimochanam lochanam |
naasaatyeti tilaprasuunapadaviim kundaabhadaanti priye
praayastvanmukhasevayaa vijayate vishvam sa puSpaayudhaH || 10-7
pa cChe - bandhuuka dyuti baandhavaH ayam adharaH snigdho madhuuka cChaviH gaNDaH chaNDi chakaasti niila nalina shrii mochanam lochanam naasaa atyeti tila prasuuna padaviim kunda aabha daanti priye praayaH tvat mukha sevayaa vijayate vishvam sa puSpaa ayudhaH
बन्धूकद्युतिबान्धवोऽयमधरः स्निग्धो मधूकच्छविः
गण्डश्चण्डि चकास्ति नीलनलिनश्रीमोचनम् लोचनम्।
नासात्येति तिलप्रसूनपदवीम् कुन्दाभदान्ति प्रिये
प्रायस्त्वन्मुखसेवया विजयते विश्वम् स पुष्पायुधः॥ १०-७
bandhūkadyutibāndhavo'yamadharaḥ snigdho madhūkacchaviḥ
gaṇḍaścaṇḍi cakāsti nīlanalinaśrīmocanam locanam |
nāsātyeti tilaprasūnapadavīm kundābhadānti priye
prāyastvanmukhasevayā vijayate viśvam sa puṣpāyudhaḥ || 10-7
pa cche - bandhūka dyuti bāndhavaḥ ayam adharaḥ snigdho madhūka cchaviḥ gaṇḍaḥ caṇḍi cakāsti nīla nalina śrī mocanam locanam nāsā atyeti tila prasūna padavīm kunda ābha dānti priye prāyaḥ tvat mukha sevayā vijayate viśvam sa puṣpā ayudhaḥ
10-7. hè chaNDi= o, ireful one[ ayam= this [tava= your]; adharaH= lips; bandhuuka+ dyuti+baandhavaH= Bandhuuka blood red flower, in resplendence, relative of [by this the blood draining arrow of Manmatha, Love-god is said]; snigdhaH+gaNDaH= soft, cheek's [colour]; madhuuka+cChaviH+chakaasti= Madhuuka, pale yellow coloured flowers, shine, outshines [by this paling and dulling flower arrow of Love-god is said]; lochanam= eyes [colour]; niila+ nalina+shrii= black, lotuses', splendour; mochanam= carry off [by this the maddening effect caused by Love-god's blue lotus is said]; hè kunda+aabha+daanti= o, jasmine, whitely whitish hue, your teeth [with this the whitening, blanching jasmine arrow of is said, as the sparkle of teeth is lost]; hè priye= o, dear; naasaa= by nose's [colour]; tila+ prasuuna= gingelly flowers', children - flower's buds; padaviim= their status; ati+eti= over, stepping [transcending; by this the draavaNa shakti -desiccating power of Love-god's arrow is said; and on seeing that, it appears that all those flowery arrows are used on you to render you to this state]; saH= he, [who was rendered bodiless by God Shiva Love-god]; puSpaa+ ayudhaH = flower, weaponed Love-god; tvat+mukha+ sevayaa= your, face, on adoring; vishvam+vijayate+praayaH= world, victorious, perhaps.
"O, ireful dear, your should-have-been rosy lips turned red and look like the relatives of blood red flowers of Bandhuuka... that way, your soft blushing cheeks at one time are now palish and outshine the shine of pale yellow flowers of Madhuuka, and your gullible wide eyes are now wide-eyed and carry off the bluesy splendour of blue-black lotuses, and oh, dear with sparkly teeth, your teeth are now sparkless like the hue of whitely white jasmine flowers, and oh, dear your nose is transcending the lacklustre colour of gingelly flowers, by this I surmise that perhaps the Love-god is victorious on all the world, only after adoring your face... [10-7]
dR^ishau tava madaalase vadanamindumatyujjvalam
gatirjanamanoramaa vidhutara.mbhamuurudvayam |
ratistava kalaavatii ruchirachitralekhe bhruvau
aho vibudhayauvatam vahasi tanvii pR^ithviigataa || 10-8
pa cChe- dR^ishau tava madaalase vadanam indum ati ujjvalam gatiH jana manoramaa vidhuta ra.mbham uuru dvayam ratiH tava kalaavatii ruchira chitralekhe bhruvau aho vibudha yauvatam vahasi tanvii pR^ithvii gataa
दृशौ तव मदालसे वदनमिन्दुमत्युज्ज्वलम्
गतिर्जनमनोरमा विधुतरंभमूरुद्वयम्।
रतिस्तव कलावती रुचिरचित्रलेखे भ्रुवौ
अहो विबुधयौवतम् वहसि तन्वी पृथ्वीगता॥ १०-८
dṛśau tava madālase vadanamindumatyujjvalam
gatirjanamanoramā vidhutaraṁbhamūrudvayam |
ratistava kalāvatī ruciracitralekhe bhruvau
aho vibudhayauvatam vahasi tanvī pṛthvīgatā || 10-8
pa cche- dṛśau tava madālase vadanam indum ati ujjvalam gatiḥ jana manoramā vidhuta raṁbham ūru dvayam ratiḥ tava kalāvatī rucira citralekhe bhruvau aho vibudha yauvatam vahasi tanvī pṛthvī gatā
10-8. hè tanvii= o, comely Raadha; tava+dR^ishau+mada+alase= your, eyes, by passion, dozy [second meaning - Madaalasa is the name of one celestial apsara, courtesan in Indra's heaven. So, in heaven there is one Madaalasa, but here in you, yourself plus that Madaalasa are appearing]; vadanam+indum+ati+ujjvalam= your face, for moon, superbly, shining [your face is making the moon to highly shine; 2nd meaning: there is one courtesan called Indumati]; gatiH+jana+manaH+ramaa= your gait, for people, heart, pleasing -or, breathtaking [2nd meaning - another celestial namely Manorama]; uuru+dvayam+vidhuta +ra.mbham= thighs, two, confute, [beauty of] soft, solid, yet very light thigh-like stems of banana plant [2nd meaning - the famous court dancer Rambha, in the quartet of Rambha, Urvasi, Menaka, Tilottama - in Indra's court]; tava+ratiH= your frolicking; kalaa+vatii= artistry, having [has artistic features like haava, bhaava, kilikincita, moTTaayita, bibboka, and the like expressions] bhruvau+ruchira= eyebrows, enchanting; chitra+ lekhe= astounding, marks [of foliages painted with erasable tattooing on face, hands, chest and on other visible parts; 2nd meaning - Citralekha is another courtesan]; tvam+pR^ithvii+ gataa = you, on earth, though entered [present]; vibudha+yauvatam+vahasi= celestial, damsels' [beauty,] nearing; aho= what a surprise.
"O, comely Raadha, your eyes are dozy with passion, your face makes the moon to shine superbly, your gait is breathtaking to people, both your thighs confute the softness and lightness of thigh-like stems of banana plants, and your frolicking is artistic with nuances of tone, depth, spirit and ardour of expressions, your eyebrows are enchanting like the painted foliage designs, and though you are an earthling you bear the look of celestial beauties... surprising! [10-8]
Comment: Here many tend to give the names of celestial courtesans as main import. Raadha is no courtesan, and even if she were to be such, she has none other than Krishna to court with. It is said that when the main import mukhya artha is undecipherable, then you go by lakshaNa allegorical meaning, but not to arrive at secondary or lexical, or apparent meaning gauNa artha, and here that rule is specific. Though the poet uses these names, and though the vaacaka lupta upama 'metaphor minus comparing word' is suggestive, in view of absence of commonality anugaami dharma of 'courtesan-ship in Raadha...' these are to be left off. Ultimately the utter flattery of this boy reduces to 'you are beauteous like celestials...' where heaven of Indra is said as a first class waiting room on a railway platform, and when the merit is counted down, one has to vacate it though he holds a ticket kshiiNe puNye martya lokaaH pravishanti... , and because the main characters are drawn from somewhat higher realms, than the platform-like Indra's heaven, secondary meanings do not imply. This song's metre is pR^ithvii vR^itta and the poet uses it not for pun, but again makes use of that name as an object in the poem.
sa priitim tanutaam hariH kuvalayaapiiDena saartham raNe
raadhaa piinapayodharasmaraNakR^itku.mbhena sa.mbhedavaan |
yatra svidyatimiilatikshaNamapi kshipra.mtadaalokanaat
ka.msasyaalamabhuujjitam jitamiti vyaamohakolaahalaH || 10-9
pa cChe- sa priitim tanutaam hariH kuvalayaapiiDena saartham raNe raadhaa piina payodhara smaraNa kR^it ku.mbhena sa.mbhedavaan yatra svidyati miilati kshaNam api kshipram tat aalokanaat ka.msasya alam abhuut jitam jitam iti vyaamoha kolaahalaH
स प्रीतिम् तनुताम् हरिः कुवलयापीडेन सार्थम् रणे
राधा पीनपयोधरस्मरणकृत्कुंभेन संभेदवान्।
यत्र स्विद्यतिमीलतिक्शणमपि क्शिप्रंतदालोकनात्
कंसस्यालमभूज्जितम् जितमिति व्यामोहकोलाहलः॥ १०-९
sa prītim tanutām hariḥ kuvalayāpīḍena sārtham raṇe
rādhā pīnapayodharasmaraṇakṛtkuṁbhena saṁbhedavān |
yatra svidyatimīlatikśaṇamapi kśipraṁtadālokanāt
kaṁsasyālamabhūjjitam jitamiti vyāmohakolāhalaḥ || 10-9
pa cche- sa prītim tanutām hariḥ kuvalayāpīḍena sārtham raṇe rādhā pīna payodhara smaraṇa kṛt kuṁbhena saṁbhedavān yatra svidyati mīlati kśaṇam api kśipram tat ālokanāt kaṁsasya alam abhūt jitam jitam iti vyāmoha kolāhalaḥ
10-9. raNe= in war; raadhaa+piina+payodhara+smaraNa+kR^it= Raadha's, bosomy, bust, reminiscence, [Krishna] on making [on reminiscing, when he is in war with Kamsa and while he is confronting an attacking elephant]; ku.mbhena= with elephantoid forehead; kuvalayaapiiDena = named as the same KuvalayaapiiDa [kuvalaya= rotund forehead, aapiiDa= severely jabs - a warring elephant]; saartham= along [with that elephant]; sa.mbhedavaan= when encountering it; yatra= where, or he who is that Krishna is; svidyati - svedana = sweats; api= even; kshaNam= for a moment; miilati= be with half-closed eyes; tat+aalokanaat+ kshipram = that [Krishna's pausing combat,] on seeing, immediately; alam+jitam+jitam= enough, he is conquered, he is conquered; iti= thus; ka.msasy+vyaamoha+ kolaahalaH +abhuut= Kamsa's, foolish, brouhahas, were there; saH+hariH= such a, Krishna; priitim+ tanutaam= blitheness, may make happen.
When Krishna is in war and confronting with the elephant of Kamsa, namely KuvalapiiDa, with its unassailable jabbing forehead, he sweated to see that forehead, and his eyes are half-closed for a moment, as that forehead resembles the bosomy bust of Raadha, and Raadha danced on his memory, and on seeing that backtracking Krishna, Kamsa made foolish brouhahas, shouting 'enough, Krishna is conquered... he is conquered...' let such Krishna, who retraces his steps at the very memory of lovely Raadha, make our lives blithesome. [10-9]
iti giitagovinde chaturachaturbhujo naama dashamaH sargaH
इति गीतगोविन्दे चतुरचतुर्भुजो नाम दशमः सर्गः
iti gītagovinde caturacaturbhujo nāma daśamaḥ sargaḥ
Thus, this is the 10th chapter, called caturacaturbhuja - Tactful Krishna, in Gita Govindam of Jayadeva.
Chapter [Sarga] 11 - saanandadaamodaram
Now Raadha approaches Krishna, somehow reconciling herself about Krishna's frolicking with other maids, at the persuasion of her girlfriends. There are many variations in mms of this one chapter in India, and hence the verses found more may be taken as regional insurgencies.
suchiramanunayena priiNayitvaa mR^igaakshiim
gatavati kR^itaveshe keshave ku.njashayyaam |
rachitaruchirabhuuSaam dR^ishhTimoshhe pradoshhe
sphurati niravasaadaam kaapi raadhaam jagaada || 11-1
pa cChe- suchiram anunayane priiNayitvaa mR^iga akshiim gatavati kR^ita veshe keshave ku.nja shayyaam rachita ruchira bhuuSaam dR^iSTi moSe pradoSe sphurati niravasaadaam kaapi raadhaam jagaada
सुचिरमनुनयेन प्रीणयित्वा मृगाक्शीम्
गतवति कृतवेशे केशवे कुंजशय्याम्।
रचितरुचिरभूषाम् दृष्टिमोषे प्रदोषे
स्फुरति निरवसादाम् कापि राधाम् जगाद॥ ११-१
suciramanunayena prīṇayitvā mṛgākśīm
gatavati kṛtaveśe keśave kuṁjaśayyām |
racitarucirabhūṣām dṛṣṭimoṣe pradoṣe
sphurati niravasādām kāpi rādhām jagāda || 11-1
pa cche- suciram anunayane prīṇayitvā mṛga akśīm gatavati kṛta veśe keśave kuṁja śayyām racita rucira bhūṣām dṛṣṭi moṣe pradoṣe sphurati niravasādām kāpi rādhām jagāda
11-1. kR^ita+veshe+keshave= on making getup, [on befittingly dressing up,] Krishna; su+chiram+ anunayena= for a long, coaxing; priiNayitvaa= on gladdening; mR^iga+akshiim= fawn, eyed Raadha; gatavati+ku.nja+shayyaam= having gone, in bower's, couch [awwaiting her]; dR^iSTi+moSe+ pradoSe+sphurati sati = eye, stealing [dimming,] late evening, when gleaming; rachita+ruchira+ bhuuSaam= on decorating, very tasty, decorations; nir+ avasaadaam = to one without, sinking mood - Raadha; kaapi= someone, another milkmaid; raadhaam+jagaada [idam]= to Raadha, said, [this way.]
On coaxing Raadha for a long time and gladdening her Krishna dressed up in a befitting manner to receive her, and awaited her on a couch in a bower, and Raadha too, when the eye-dimming duskily late evening is gleamy, decorated herself with a black smock-frock like dress and black blanket, and suchlike befitting apparels required in meeting her lover, and to such a un-dispirited Raadha, some milkmaid spoke in this way. [11-1]
Comment: Some other milkmaid encourages Raadha when her dispiritedness is alleviated by Krishna, as she was so reluctant to others so far. This episode is the reported speech of other milkmaids and that of the poet, in explaining how a coyly girl is abashed to meet her man on the first day, and such scenes are usual even to day at nuptials.
aSTa padi 20 - shriiharitaalaraajijaladharavilasitam -
virachitachaaTuvachanarachanam charaNe rachitapraNipaatam |
sa.mprati ma.njulava.njulasiimani kelishayanamanuyaatam ||
mugdhe madhumathanam anugatamanusara raadhe - dhR^ivam || a pa 20-1
pa cChe- virachita chaaTu vachana rachanam charaNe rachita praNipaatam sa.mprati ma.njula va.njula siimani keli shayanam anuyaatam mugdhe madhu mathanam anugatam anusara raadhe
अष्ट पदि २० - श्रीहरितालराजिजलधरविलसितम् -
विरचितचाटुवचनरचनम् चरणे रचितप्रणिपातम्।
संप्रति मंजुलवंजुलसीमनि केलिशयनमनुयातम्॥
मुग्धे मधुमथनम् अनुगतमनुसर राधे - धृवम्॥ अ प २०-१
aṣṭa padi 20 - śrīharitālarājijaladharavilasitam -
viracitacāṭuvacanaracanam caraṇe racitapraṇipātam |
saṁprati maṁjulavaṁjulasīmani keliśayanamanuyātam ||
mugdhe madhumathanam anugatamanusara rādhe - dhṛvam || a pa 20-1
pa cche- viracita cāṭu vacana racanam caraṇe racita praṇipātam saṁprati maṁjula vaṁjula sīmani keli śayanam anuyātam mugdhe madhu mathanam anugatam anusara rādhe
a pa 20-1. hè mugdhe = oh, naively girl; virachita= one who has made; chaaTu+ vachana +rachanam= cloying, words, crafty one [one who coaxed and combed you with crafty words]; sa.mprati+charaNe+rachita+praNipaatam= presently, at [your] feet, who made, salutation; ma.njula+va.njula+siimani= heart-stealing, Vanjula plants [a bower,] in areas of; keli+ shayanam+anuyaatam= disporting, bed, gone onto; anu+gatam= in tow, follower [your seeker]; raadhe= oh, Raadha; anu+sara= in tow, go [you seek]; madhu+mathanam= Madhu the demon, he who humbled - Krishna.
"Oh, naively girl, he who has coaxed and combed you with his crafty words, he who paid his devoirs to your feet, he is there on the bed of disport in the areas of heart-stealing bowers, hence, you seek him, for that Krishna is the seeker of yours... [20-1]
Comment: The word iha and the foot kuru muraare m.ngala shataani is unseen in northern Nagara mms. And many words and expressions in this song vary with that of Northern mms.
ghanajaghanastanabhaarabhare darama.ntharacharaNavihaaram |
mukharitamaNima.njiiramupaihi vidhehi maraalanikaaram || a pa 20-2
pa cChe- ghana jaghana stana bhaara bhare dara ma.nthara charaNa vihaaram mukharita maNi ma.njiiram upaihi vidhehi maraala nikaaram
घनजघनस्तनभारभरे दरमंथरचरणविहारम्।
मुखरितमणिमंजीरमुपैहि विधेहि मरालनिकारम्॥ अ प २०-२
ghanajaghanastanabhārabhare daramaṁtharacaraṇavihāram |
mukharitamaṇimaṁjīramupaihi vidhehi marālanikāram || a pa 20-2
pa cche- ghana jaghana stana bhāra bhare dara maṁthara caraṇa vihāram mukharita maṇi maṁjīram upaihi vidhehi marāla nikāram
a pa 20-2. ghana+jaghana= one with massy, hips; stana+bhaara+bhare= bust's, massy, burdened with; dara+ma.nthara+charaNa+vihaaram= little, slowly, feet's, going [saauntering] mukharita+maNi+ ma.njiiram= with tinkling, by gemmed, anklets; upaihi= go near [approach]; vidhehi= make happen; maraala +nikaaram= swans [clucking,] meaningless.
"Oh, Raadha, massy is your hipline, burdened is your bust with equally massy bust, hence let your feet saunter a little and slowly, then let those feet tinkle the gemmy anklets, and let those tinkles make the clucks of swans meaningless, thus you approach him, for he seeks you... [a pa 20-2]
Comment: This time is appropriate to seek Krishna because swans will be clucking at this time, and the tinkles of anklets will be drowned in those clucks, which others may not decipher, excepting Krishna, the seeker. Further, swans' clucks, rather their voicing than ducks clucking, are an auspicious omen kR^iSNa anusarvaasu api darshanena hamsasya shabdena ca kaarya siddhiH – vasanta raajiiya grantha that too, more auspicious when putting one's best foot forward.
shR^iNu ramaNiiyataram taruNiijanamohanamadhuripuraavam |
kusumasharaasanashaasanavandini pikanikare bhaja bhaavam || a pa 20-3
pa cChe- shR^iNu ramaNiiya taram taruNii jana mohana madhu ripu raavam kusuma sharaasana shaasana vandini pika nikare bhaja bhaavam
शृणु रमणीयतरम् तरुणीजनमोहनमधुरिपुरावम्।
कुसुमशरासनशासनवन्दिनि पिकनिकरे भज भावम्॥ अ प २०-३
śṛṇu ramaṇīyataram taruṇījanamohanamadhuripurāvam |
kusumaśarāsanaśāsanavandini pikanikare bhaja bhāvam || a pa 20-3
pa cche- śṛṇu ramaṇīya taram taruṇī jana mohana madhu ripu rāvam kusuma śarāsana śāsana vandini pika nikare bhaja bhāvam
a pa 20-3. hè mugdhe= [here] unknowledgeable, ignorant girl; ramaNiiya+taram= pleasurable, higher in degree [best possible]; taruNii+jana+mohana= damsel, folks of, [that which] amuses; madhu+ ripu+ raavam= Madhu's, enemy's, musicality of flute; [if it is madhupa viraavam; madhupa= honeybees, viraavam= humming then it is hearing only the humming of bees, but not the flute of Krishna; so the madhupa is honeybee called Krishna, for that bee swills the honey of flower called Raadha] shR^iNu= hark to; kusuma+ sharaasana= flowers, arrow wielder - Love-god's; shaasana+vandini= by order of, minstrels; pika+nikare= in koels, flight of; bhaavam+bhaja= idea, you get.
"O, ignorant girl, hark to the best possible musicality of Krishna's flute, that which amuses flocks of damsels, and hark to the flight of koels, that sing by the order of Love-god with the same musicality, as though they are the minstrels of Love-god, thus you get an idea in this ambience, and seeks him for he seeks you... [a pa 20-3]
anilataralakisalayanikareNa kareNa lataanikurambam |
preraNamiva karabhoru karoti gatim pratimu.ncha vilambam || a pa 20-4
pa cChe- anila tarala kisalaya nikareNa kareNa lataa nikura.mbam preraNam iva karabhoru karoti gatim prati mu.ncha vilambam
अनिलतरलकिसलयनिकरेण करेण लतानिकुरम्बम्।
प्रेरणमिव करभोरु करोति गतिम् प्रतिमुंच विलम्बम्॥ अ प २०-४
anilataralakisalayanikareṇa kareṇa latānikurambam |
preraṇamiva karabhoru karoti gatim pratimuṁca vilambam || a pa 20-4
pa cche- anila tarala kisalaya nikareṇa kareṇa latā nikuraṁbam preraṇam iva karabhoru karoti gatim prati muṁca vilambam
a pa 20-4. karabha= measure from tip of last finger to wrist, palmful, thick; uuru= having thighs; lataa+nikura.mbam= climber-plants, whole of [ensemble of]; anila+tarala= by wind, wavy; kisalaya+ nikareNa= by tender leaves, bunches of; kareNa+preraNam+iva= with hand, encouraging, as though; karoti= they do; gatim+prati+vilambam= going, about, delay; mu.ncha= cast off.
"O, thick-thighed girl, the wind is waving the ensemble of climber plants, and the ensemble of their tender leaves look as though their hands, encouragingly waving at you to go, hence cast off the delay about your going to him... and seek him for he seeks you... [a pa 20-4]
Comment: The breezing and trees' tender leaves etc., have good omen while setting out on a purposeful journey. vaame madhura vaak pakshii vR^ikshaH pallavito agrataH | anukuulo vahan vaayuH prayaaNe shubha suucakaH – shakuna shaastra 'birds singing on left, seeing trees with just born leaves, breezes breezing the way set out, all these are good omens for a journey...'
sphuritamana.ngatara.ngavashaadiva suuchitahariparira.mbham |
pR^icCha manoharahaaravimalajaladhaaramamum kuchaku.mbham || a pa 20-5
pa cChe- sphuritam ana.nga tara.nga vashaat iva suuchita hari pari ra.mbham pR^icCha manohara haara vimala jala dhaaram amum kucha ku.mbham
स्फुरितमनंगतरंगवशादिव सूचितहरिपरिरंभम्।
पृच्छ मनोहरहारविमलजलधारममुम् कुचकुंभम्॥ अ प २०-५
sphuritamanaṁgataraṁgavaśādiva sūcitaharipariraṁbham |
pṛccha manoharahāravimalajaladhāramamum kucakuṁbham || a pa 20-5
pa cche- sphuritam anaṁga taraṁga vaśāt iva sūcita hari pari raṁbham pṛccha manohara hāra vimala jala dhāram amum kuca kuṁbham
a pa 20-5. hè mugdhe= you ignorant girl; ana.nga= by Love-god's; tara.nga+vashaat+iva= purls, owing to control [in tide-ripped,] as if; sphuritam= fluctuating crabwise; suuchita= indicating; hari+pari+ ra.mbham= Krishna's, spiral, embrace; manohara= pleasant; haara= pearly pendants; vimala+jala+ dhaaram = immaculate, water [streams,] purling; amum+kucha+ ku.mbham= this, bosoms, pot-like; pR^icCha= ask them [the bosoms.]
"You ignorant girl, those pleasant pearly pendants now appear to be purling streams of immaculate waters, for they are spirally fluctuating on your bosoms, as if tide-ripped in the purls of Love-god, ask them whether they indicate a spiralling embrace of Krishna bechances or not... [a pa 20-5]
Comment: The simile/metaphors used here are between:– waves – pearl-pendants; purls of love – purl-like motion of pendant on heaving bosoms; water spills only if brook/stream is full; love spill only when it is bosom-full; stream with full immaculate water – bosoms with plethoric pristine love; pot like bosoms – streams with pot and pots of water; Love-god's activity is seasonal – longing for love is time oriented; and the upsurge and getting tide-ripped is common to both water and love.
When it is said ananga taranga it is construed that Raadha is rasa tarangiNi a purl of essence of enjoyable, blissful love purl of Krishna, where purl is a stream of a brook etc., flowing with a swelling, swirling motion and babbling sound. She too is a single stream of loveliest love essence. And when the bosoms of women surge with passion, of course in with a righteous intention, then the swell of bosoms portend a definite embrace from their loved men. nityam naaryaaH stane kampaH priya sangama suucakaH – shakuna shaastra Then Raadha may say 'stop all this orthodox nonsense, how can I go to him when all of you are eyeing at me, am I shameless or what?' for this that girlfriend replies now on.
adhigatamakhilasakhiibhiridam tava vapurapi ratiraNasajjam |
chaNDi rasitarashanaaravaDiNDimamabhisara sarasamalajjam || a pa 20-s6
pa cChe- adhigatam akhila sakhiibhiH idam tava vapuH api rati raNa sajjam chaNDi rasita rashana rava DiNDimam abhisara sarasam alajjam
अधिगतमखिलसखीभिरिदम् तव वपुरपि रतिरणसज्जम्।
चण्डि रसितरशनारवडिण्डिममभिसर सरसमलज्जम्॥ अ प २०-स्६
adhigatamakhilasakhībhiridam tava vapurapi ratiraṇasajjam |
caṇḍi rasitaraśanāravaḍiṇḍimamabhisara sarasamalajjam || a pa 20-s6
pa cche- adhigatam akhila sakhībhiḥ idam tava vapuḥ api rati raṇa sajjam caṇḍi rasita raśana rava ḍiṇḍimam abhisara sarasam alajjam
a pa 20-6. hè mugdhe= you ignorant girl; tava+idam+vapuH+api= your, this, body, even; rati+ raNa+sajjam= passion, battle of, primed for; adhigatam+akhila+sakhiibhiH= familiar, to all, girlfriends; hè chaNDi= you wildcat; rasita+rashana+rava+DiNDimam= thrumming, waist-strings' tinkle bells', by sound, drumming like sound paraspara virodhaa alankaara where delicate tinkling of 2mm bells of waist-strings magnified a war drum beats- to say 'become a love-warrior']; a+lajjam= without, embarrassment - unembarrassed; sa+rasam= with, romance; abhi+sara= towards [him,] you make move.
"You ignorant girl, even this body of yours is primed for the battle of passion, and it is familiar to all your girlfriends, hence you wildcat, make a move towards him to the rhythm of the belling sound of your waist-strings like a love-warrior, be unembarrassed but be romantic... [a pa 20-6]
smarasharasubhaganakhena kareNa sakhiimavala.mbya saliilam |
chala valayakvaNitairavabodhaya haramapi nijagatishiilam || a pa 20-7
pa cChe- smara shara subhaga nakhena kareNa sakhiim avala.mbya saliilam chala valaya kvaNitaH avabodhaya haram api nija gati shiilam
स्मरशरसुभगनखेन करेण सखीमवलंब्य सलीलम्।
चल वलयक्वणितैरवबोधय हरमपि निजगतिशीलम्॥ अ प २०-७
smaraśarasubhaganakhena kareṇa sakhīmavalaṁbya salīlam |
cala valayakvaṇitairavabodhaya haramapi nijagatiśīlam || a pa 20-7
pa cche- smara śara subhaga nakhena kareṇa sakhīm avalaṁbya salīlam cala valaya kvaṇitaḥ avabodhaya haram api nija gati śīlam
a pa 20-7. hè mugdhe= you innocent girl; smara+shara+ subhaga+nakhena= Love-god's, arrows [like,] beautiful, fingernails; kareNa+sakhiim+ avala.mbya= hand of, girlfriend, hanging on; sa+liilam= with, grace; chala= you move; valaya+ kvaNitaH+nija+gati+ shiilam= round silver bracelets', by clanging, your, movement's [approach,] way of; avabodhaya+ haram+ api= make known, to Krishna, even.
"You innocent girl, move gracefully hanging on to your girlfriend, by your hand that has beautiful fingernails on par with Love-god's arrows, and let the way of your approach be known even to Krishna, by the way of the clanging of your bracelets... [a pa 20-7]
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