shriijayadevabhaNitamadhariikR^itahaaramudaasitavaamam |
harivinihitamanasaamadhitiSThatu kaNThataTiimaviraamam || a pa 20-8
pa cChe- shrii jayadeva bhaNitam adharii kR^ita haaram udaasita vaamam hari vinihita manasaam adhitiSThatu kaNTha taTiim aviraamam
श्रीजयदेवभणितमधरीकृतहारमुदासितवामम्।
हरिविनिहितमनसामधितिष्ठतु कण्ठतटीमविरामम्॥ अ प २०-८
śrījayadevabhaṇitamadharīkṛtahāramudāsitavāmam |
harivinihitamanasāmadhitiṣṭhatu kaṇṭhataṭīmavirāmam || a pa 20-8
pa cche- śrī jayadeva bhaṇitam adharī kṛta hāram udāsita vāmam hari vinihita manasām adhitiṣṭhatu kaṇṭha taṭīm avirāmam
pa 20-8. adharii+kR^ita= flat, made to – flattened out; haaram= pearl-pendants; udaasita= smoothed out [outdoes]; vaamam= tortuousness; jayadeva+ bhaNitam= Jayadeva, said song; shrii suukti= auspicious, saying; hari= in Krishna; vinihita= embedded; manasaam= those that have such hearts [steadfast o Krishna's disports]; kaNTha+taTiim= [on their] throats, on the banks [riverbanks of a river like throat are lips – on the tips of lips of adorers]; a+viraamam = without, remitting; adhitiSThatu= preside over.
Let this auspicious song said by Jayadeva, that which outdoes the pendants of pearls, for the song is strung up with more soothing words than pearls, and that which has no tortuosites in outlining the sports of Raadhakrishna, preside over the lips of adorers of Krishna, unremittingly... [a pa 20-8]
akshNornikshipada.njanam shravaNayostaapichChaguchChaavaliim
muurdhni shyaamasarojadaama kuchayoH kastuurikaapatrakam |
dhuurtaanaamabhisaarasa.mbhrama juSaam viSva~njiiku.nje sakhi
dhvaantam niilanicholachaaru sudR^ishaam pratya.ngamaali.ngati || 11-3
pa cChe- akshNoH nikshipat a.njanam shravaNayoH taapi.nchCha guchCha aavaliim muurdhni shyaama saroja daama kuchayoH kastuurikaa patrakam dhuurtaanaam abhisaara sa.mbhrama juSaam viSvak niku.nje sakhi dhvaantam niila nichola chaaru sudR^ishaam pratya.nga aali.ngati
अक्श्णोर्निक्शिपदंजनम् श्रवणयोस्तापिच्छगुच्छावलीम्
मूर्ध्नि श्यामसरोजदाम कुचयोः कस्तूरिकापत्रकम्।
धूर्तानामभिसारसंभ्रम जुषाम् विष्वञ्जीकुंजे सखि
ध्वान्तम् नीलनिचोलचारु सुदृशाम् प्रत्यंगमालिंगति॥ ११-३
akśṇornikśipadaṁjanam śravaṇayostāpicchagucchāvalīm
mūrdhni śyāmasarojadāma kucayoḥ kastūrikāpatrakam |
dhūrtānāmabhisārasaṁbhrama juṣām viṣvañjīkuṁje sakhi
dhvāntam nīlanicolacāru sudṛśām pratyaṁgamāliṁgati || 11-3
pa cche- akśṇoḥ nikśipat aṁjanam śravaṇayoḥ tāpiṁccha guccha āvalīm mūrdhni śyāma saroja dāma kucayoḥ kastūrikā patrakam dhūrtānām abhisāra saṁbhrama juṣām viṣvak nikuṁje sakhi dhvāntam nīla nicola cāru sudṛśām pratyaṁga āliṁgati
11-3. sakhi= oh, friend; akshNoH+a.njanam= in eyes, mascara; shravaNayoH= at sides of ears; taapi.nchCha= black flowers'; guchCha= bunches; aavaliim= strings of; muurdhni= on forehead; shyaama+saroja+daama= black, lotuses, chaplet; kuchayoH= on bosoms; kastuurikaa = black musk's; patrakam= leafage designs; nikshipat= while keeping [decorating]; niila+ nichola= black, blanket; chaaru+dhvaantam= delightful, shade of night; dhuurtaanaam= for coquettes; abhisaara+sa.mbhrama+juSaam= going to their lovers, with flurry, muddled up; su+dR^ishaam= good, glanced - girls with sidelong-glances; prati+a.nga= each, limb; niku.nje= in bowers; viSvak= everywhere; aali.ngati= embracing.
"Oh, friend, the shade of night is decorating her eyes with mascara, ear-sides with black Tamala flowers, forehead with the chaplets of black lotuses, bosoms with leafage designs of black musk, and thus this delightful shade of night, gleaming like a black covering blanket, is embracing each limb of coquettish girls with sidelong-glances, everywhere in bowers... [11-3]
kaashmiiragauravapuSaamabhisaarikaaNaam
aabaddharekhamabhito ruchima.njariibhiH |
etattamaaladalaniilatamam tamishram
tatpremahemanikaSopalataam tanoti || 11-4
pa cChe- kaashmiira gaura vapuSaam abhisaarikaaNaam aabaddha rekham abhito ruchi ma.njariibhiH etat tamaala dala niila tamam tamishram tat prema hema nikaSa upalataam tanoti
काश्मीरगौरवपुषामभिसारिकाणाम्
आबद्धरेखमभितो रुचिमंजरीभिः।
एतत्तमालदलनीलतमम् तमिश्रम्
तत्प्रेमहेमनिकषोपलताम् तनोति॥ ११-४
kāśmīragauravapuṣāmabhisārikāṇām
ābaddharekhamabhito rucimaṁjarībhiḥ |
etattamāladalanīlatamam tamiśram
tatpremahemanikaṣopalatām tanoti || 11-4
pa cche- kāśmīra gaura vapuṣām abhisārikāṇām ābaddha rekham abhito ruci maṁjarībhiḥ etat tamāla dala nīla tamam tamiśram tat prema hema nikaṣa upalatām tanoti
11-4. kaashmiira+gaura+vapuSaam= saffron, ocherish [i.e., in kumkum's colour,] with bodies [complexioned]; abhisaarikaaNaam= those that go towards a preset place of lover [coquettes treading towards their lovers]; abhitaH= around; ruchi+ma.njariibhiH= glints, clusters of [manimanjariibhiH= by the cluster of gems]; aabaddha+rekham= trussed up, streaks; tamaala+ dala= like black Tamala leaves; niila+tamam= black, more than; etat+ tamishram= this, dark of night; tat= for that, [love for Krishna]; prema= [for his] love; hema= for gold; nikaSa= on touchstone; upalataam= streaked line; tanoti= let [this dark night] enrich.
Let this dark of night with its more black Tamala leaves be a touchstone of gold for deciding the love for Krishna, trussed up with many a streaked line of glinting clusters of gold streaks on it, where those streaks are the saffrony ocherish complexioned coquettes treading towards their lovers. [11-4]
Subtext: While voluptuous women tread towards their lovers in night, their ornaments give out glints at the smallest possible light, thus making their golden yellow complexion more striking on the black background of night, like a streak of pure gold on a touchstone among other streaks, thus if Raadha, in all her love for Krishna, ventures to tread the darkness, called ignorance, she shines forth like a loveable streak of pure gold.
haaraavaliitaralakaa.nchanakaa.nchidaama
ma.njiiraka.nkaNamaNidyutidiipitasya |
dvaare niku.njanilayasyaharim niriikshya
vriiDaavatiim atha sakhiim iyam ityuvaaca || 11-5
pa cChe- haaraa avalii tarala kaa.nchana kaa.nchii daama ma.njiira ka.nkaNa maNi dyuti diipitasya dvaare niku.nja nilayasya harim niriikshya vriiDaavatiim atha sakhiim iyam iti uvaaca
हारावलीतरलकांचनकांचिदाम
मंजीरकंकणमणिद्युतिदीपितस्य।
द्वारे निकुंजनिलयस्यहरिम् निरीक्श्य
व्रीडावतीम् अथ सखीम् इयम् इत्युवाच॥ ११-५
hārāvalītaralakāṁcanakāṁcidāma
maṁjīrakaṁkaṇamaṇidyutidīpitasya |
dvāre nikuṁjanilayasyaharim nirīkśya
vrīḍāvatīm atha sakhīm iyam ityuvāca || 11-5
pa cche- hārā avalī tarala kāṁcana kāṁcī dāma maṁjīra kaṁkaṇa maṇi dyuti dīpitasya dvāre nikuṁja nilayasya harim nirīkśya vrīḍāvatīm atha sakhīm iyam iti uvāca
11-5. haaraa+avalii+tarala= pearl-pendants, cluster of, their central jewel; kaanchana+ kaanchii daama = golden, waist-string; manjiira= anklets [keyuura= bicep-lets]; ka.nkaNa= bracelets; maNi= jewels; dyuti= by resplendence of [these ornaments]; diipitasya= brightened [by his self-refulgence]; niku.nja+nilayasya+dvaare= bowery, abode's, entryway; harim+ niriikshya= at Krishna, on making eyes at; vriiDaavatiim= one who is bashful, Raadha; sakhiim = at such girlfriend; iyam= this girlfriend-cum- messenger; atha+iti+ uvaaca = then, this way [in next song,] spoke; the meaning of this is amplified.
On reaching the preset place to meet Krishna, Raadha found him at the very entryway of his abode of bower, which is brightened by his self-refulgence, as well by the jewels in his ornaments, like the central jewel in the cluster of his pearl-pendants, jewels in anklets, bracelets, and golden waist-string, and then on making eyes at him she became bashful, and then to such a bashful Raadha, this friend-cum-messenger spoke in this most celebrated song that follows. [11-5]
- aSTa padi 21 - saana.ndadaamodara prema druma pallavam -
ma.njutaraku.njatalakelisadane | iha vilasa ratirabhasahasitavadane ||
pravisha raadhe maadhavasamiipamiha - kuru muraare m.ngala shataani - dhR^ivam || a pa 21-1
pa cChe- ma.nju tara ku.nja tala keli sadane iha vilasa rati rabhasa hasita vadane pravisha raadhe maadhava samiipam iha - kuru muraare m.ngala shataani
- अष्ट पदि २१ - सानंददामोदर प्रेम द्रुम पल्लवम् -
मंजुतरकुंजतलकेलिसदने। इह विलस रतिरभसहसितवदने॥
प्रविश राधे माधवसमीपमिह - कुरु मुरारे म्ंगल शतानि - धृवम्॥ अ प २१-१
- aṣṭa padi 21 - sānaṁdadāmodara prema druma pallavam -
maṁjutarakuṁjatalakelisadane | iha vilasa ratirabhasahasitavadane ||
praviśa rādhe mādhavasamīpamiha - kuru murāre mṁgala śatāni - dhṛvam || a pa 21-1
pa cche- maṁju tara kuṁja tala keli sadane iha vilasa rati rabhasa hasita vadane praviśa rādhe mādhava samīpam iha - kuru murāre mṁgala śatāni
a pa 21-1. raadhe= O, Raadha; iha= in here, in this bower; maadhava+samiipam+ pravisha = to Krishna's, nearby, enter; hasita= made to smile, [not laughing as in dicts., what made her to smile? next -] rati+rabhasa= intimacy, in ecstasy - this ecstatic state made her to smile; vadane = wearking such a such a simpering smile on her face; ma.nju+tara= enrapturing, highly; ku.nja+ tala= bower's, span, stretch, area [ this word 'tala' is usually translated as surface, ground of bower, meaning that 'Raadha you lay down on the ground of bower' - better this may please be stopped, and let it be said as the realm of your lover's bower' without ruining Raadha stature]; keli+sadane= disport, mansion of; vilasa = you rejoice; iha+kuru+m.ngala+shataani+muraare= now, make happen [accords,] graces, in hundreds [manifold,] oh Krishna - for Raadha came to you.
"Enter in here Raadha, for your face wears a simpering smile in the ecstasy for intimacy, draw nigh of Krishna to rejoice, in the highly enrapturing realm of your lover's bower, and a mansion of his passional disports as well, and thereby let Krishna accord manifold graces... enter Raadha, into the enrapturing realm of your lover... [a pa 21-1]
Comment: The word iha and the foot kuru muraare m.ngala shataani are unseen in northern Nagara mms. And many words and expressions in this song vary with that of Northern mms.
navabhavadashokadalashayanasaare | vilasa kuchakalashataralahaare
pravisha raadhe maadhavasamiipamiha - kuru muraare m.ngala shataani - || a pa 21-2
pa cChe- nava bhavat ashoka dala shayana saare vilasa kucha kalasha tarala haare pravisha raadhe maadhava samiipam iha kuru muraare m.ngala shataani
नवभवदशोकदलशयनसारे। विलस कुचकलशतरलहारे
प्रविश राधे माधवसमीपमिह - कुरु मुरारे म्ंगल शतानि -॥ अ प २१-२
navabhavadaśokadalaśayanasāre | vilasa kucakalaśataralahāre
praviśa rādhe mādhavasamīpamiha - kuru murāre mṁgala śatāni - || a pa 21-2
pa cche- nava bhavat aśoka dala śayana sāre vilasa kuca kalaśa tarala hāre praviśa rādhe mādhava samīpam iha kuru murāre mṁgala śatāni
a pa 21-2. kucha+ kalasha= on bosoms, pot-like [bulging bosoms]; tarala+haare= tossing, one having pendants; [raadhe= O, Raadha]; nava+bhavat+ashoka+dala= newly, sprouting, Ashoka flowers', petals; shayana+saare= on couch, the best; vilasa= rejoice yourself; [respite: pravisha raadhe maadhava...shataani= as above.]
"O, Raadha with tossing pendants on your bulging bosoms, rejoice on the best couch of petals of newly sprouting Ashoka flowers... hence, enter into the enrapturing realm of your lover... [a pa 21-2]
kusumachayarachitashuchivaasagehe | iha vilasa kusumasukumaaradehe || a pa 21-3
pa cChe- kusuma chaya rachita shuchi vaasa gehe iha vilasa kusuma sukumaara dehe
कुसुमचयरचितशुचिवासगेहे। इह विलस कुसुमसुकुमारदेहे॥ अ प २१-३
kusumacayaracitaśucivāsagehe | iha vilasa kusumasukumāradehe || a pa 21-3
pa cche- kusuma caya racita śuci vāsa gehe iha vilasa kusuma sukumāra dehe
a pa 21-3. kusuma+sukumaara+dehe= flower-like, exquisite, one with such physique; kusuma+ chaya+rachita= flowers, heaps of, made with; shuchi= clean [meaning that this cottage is unsullied by another heroine previously]; vaasa+gehe= living, house [bedchamber]; iha+vilasa= now, you rejoice.
"O, one with flower-like exquisite build, rejoice in the clean bedchamber made up with heaps of flowers... enter into such an enrapturing realm of your lover... [a pa 21-3]
calamalayavanapavanasurabhishiite | vilasa madanasharanikarabhiite || a pa 21-4
pa cChe- cala malaya vana pavana surabhi shiite iha vilasa madana shara nikara bhiite
चलमलयवनपवनसुरभिशीते। विलस मदनशरनिकरभीते॥ अ प २१-४
calamalayavanapavanasurabhiśīte | vilasa madanaśaranikarabhīte || a pa 21-4
pa cche- cala malaya vana pavana surabhi śīte iha vilasa madana śara nikara bhīte
a pa 21-4. madana+shara+nikara+bhiite= Love-god's, arrows, group of, one who is scared so far; cala= move in; malaya+vana+pavana= sandal, wood's, breeze; surabhi+shiite= fragranced, cooled [bower, which is afresh in fragrance, but not redolent of any early time love of Krishna]; iha+vilasa= in here, you rejoice.
"Oh, you who are scared by the group of five flowery arrows of Love-god, move into the bower, fragranced and cooled by the breezes from the woods of sandalwood, to rejoice... [a pa 21-4]
vitatabahuvallinavapallavaghane | vilasachiramalasapiinajaghane || a pa 21-5
pa cChe- vitata bahu valli nava pallava ghane iha vilasa chiram alasa piina jaghane
विततबहुवल्लिनवपल्लवघने। विलसचिरमलसपीनजघने॥ अ प २१-५
vitatabahuvallinavapallavaghane | vilasaciramalasapīnajaghane || a pa 21-5
pa cche- vitata bahu valli nava pallava ghane iha vilasa ciram alasa pīna jaghane
a pa 21-5. alasa+piina+jaghane= husky, burly, one having a such a hips; vitata= verily intertwined; bahu+valli= with many, climber plants; nava+pallava+ghane= new, leaflets, mass of; iha= in here, this bower; vilasa+chiram= rejoice for a long time.
"O, Raadha, with your burly, husky hips, enter into this bower verily intertwined with many a climber-plant and with mass of new leaflets, and in her you rejoice for a long... [a pa 21-5]
madhumuditamadhupakulakalitaraave | vilasa kushumasharasarasabhaave || a pa 21-5
pa cChe- madhu mudita madhupa kula kalita raave iha vilasa kushuma shara sarasa bhaave
मधुमुदितमधुपकुलकलितरावे। विलस कुशुमशरसरसभावे॥ अ प २१-५
madhumuditamadhupakulakalitarāve | vilasa kuśumaśarasarasabhāve || a pa 21-5
pa cche- madhu mudita madhupa kula kalita rāve iha vilasa kuśuma śara sarasa bhāve
a pa 21-6. kushuma+shara= flowery, arrows - wielder, Love-god, passionate; sa+rasa= with, romance; bhaave= having such a mood; [other mms - madana rasa rabhasa bhaava; madana shara rabhasa bhaave etc] madhu= with honey [swilling]; mudita= gladdened; madhupa+kula= honeybees, swarms of; kalita+raave= blent, with humming; iha+vilasa= in here, you rejoice.
"O, Raadha with passionate romantic mood, enter this bower that is blent with the humming of swarms of honeybees that are gladdened by swilling honey... in here you rejoice... [a pa 21-6]
madhutaralapikanikaraninadamukhare | vilasa dashanaruchiruchirashikhare || a pa 21-7
pa cChe- madhu tarala pika nikara ninada mukhare iha vilasa dashana ruchi ruchira shikhare
मधुतरलपिकनिकरनिनदमुखरे। विलस दशनरुचिरुचिरशिखरे॥ अ प २१-७
madhutaralapikanikaraninadamukhare | vilasa daśanaruciruciraśikhare || a pa 21-7
pa cche- madhu tarala pika nikara ninada mukhare iha vilasa daśana ruci rucira śikhare
a pa 21-7. dashana= of teeth; ruchi= brightness; ruchira= charming; shikhare= edge of teeth [one whose teeth edges sparkle brightly when her lip is half open; or, dashana ruchi= teeth's, brightness; rucira= beautiful; shikhare= rubies according to shaashvata nighaNTu: pakva daaDima biija aabhaam maaNikyam shikharam viduH madhu= in vernal season [on chewing tender leaves]; tarala= fluttering; pika= koels; nikara= flocks of; ninada= [with lustful] callings; mukhare= in reverberation; iha+vilasa= in here, you rejoice.
"O, Raadha with bright sparkle on teeth edges, enter in here where it is reverberating with the lustful callings of koels that have just chewed tender leaves in this vernal season... in here you rejoice... [a pa 21-7]
vihitapadmaavatiisukhasamaaje | bhaNati jayadevakaviraaje || a pa 21-8
pa cChe- vihita padmaavatii sukha samaaje bhaNati jayadeva kavi raaja raaje iha vilasa || 11-6
विहितपद्मावतीसुखसमाजे। भणति जयदेवकविराजे॥ अ प २१-८
vihitapadmāvatīsukhasamāje | bhaṇati jayadevakavirāje || a pa 21-8
pa cche- vihita padmāvatī sukha samāje bhaṇati jayadeva kavi rāja rāje iha vilasa || 11-6
a pa 21-1. raadhe= O, Raadha; iha= in here, in this bower; maadhava+samiipam+ pravisha = to Krishna's, nearby, enter; hasita= made to smile, [not laughing as in dicts., what made her to smile? next -] rati+rabhasa= intimacy, in ecstasy - this ecstatic state made her to smile; vadane = wearking such a such a simpering smile on her face; ma.nju+tara= enrapturing, highly; ku.nja+ tala= bower's, span, stretch, area [ this word 'tala' is usually translated as surface, ground of bower, meaning that 'Raadha you lay down on the ground of bower' - better this may please be stopped, and let it be said as the realm of your lover's bower' without ruining Raadha stature]; keli+sadane= disport, mansion of; vilasa = you rejoice; iha+kuru+m.ngala+shataani+muraare= now, make happen [accords,] graces, in hundreds [manifold,] oh Krishna - for Raadha came to you.
"Enter in here Raadha, for your face wears a simpering smile in the ecstasy for intimacy, draw nigh of Krishna to rejoice, in the highly enrapturing realm of your lover's bower, and a mansion of his passional disports as well, and thereby let Krishna accord manifold graces... enter Raadha, into the enrapturing realm of your lover... [a pa 21-1]
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.
tvaam chittenachiram vahannayamatishraanto bhR^isham taapitaH
kandarpeNa ca paatumichChati sudhaasa.mbaadhabi.mbaadharam |
asyaa.nkam tadala.nkuru kshaNamiha bhruukshepalakshmiilava
kriite daaseva upasevitapadaa.mbhoje kutaH sa.mbhramaH || 11-7
pa cChe- tvaam chittena chiram vahan ayam ati shraa.ntaH bhR^isham taapitaH ka.ndarpeNa ca paatum ichChati sudhaa sa.mbaadha bi.mba adharam asya a.nkam tat ala.nkuru kshaNam iha bhruu kshepa lakshmii lava kriite daasa iva upasevita pada a.mbhoje kutaH sambhramaH
त्वाम् चित्तेनचिरम् वहन्नयमतिश्रान्तो भृशम् तापितः
कन्दर्पेण च पातुमिच्छति सुधासंबाधबिंबाधरम्।
अस्यांकम् तदलंकुरु क्शणमिह भ्रूक्शेपलक्श्मीलव
क्रीते दासेव उपसेवितपदांभोजे कुतः संभ्रमः॥ ११-७
tvām cittenaciram vahannayamatiśrānto bhṛśam tāpitaḥ
kandarpeṇa ca pātumicchati sudhāsaṁbādhabiṁbādharam |
asyāṁkam tadalaṁkuru kśaṇamiha bhrūkśepalakśmīlava
krīte dāseva upasevitapadāṁbhoje kutaḥ saṁbhramaḥ || 11-7
pa cche- tvām cittena ciram vahan ayam ati śrāṁtaḥ bhṛśam tāpitaḥ kaṁdarpeṇa ca pātum icchati sudhā saṁbādha biṁba adharam asya aṁkam tat alaṁkuru kśaṇam iha bhrū kśepa lakśmī lava krīte dāsa iva upasevita pada aṁbhoje kutaḥ sambhramaḥ
11-7. ayam+chiram+tvaam+chittena+vahan= he, for a long time, you, by heart, while bears; ati+shraa.ntaH= much, tired out; ka.ndarpeNa+bhR^isham+taapitaH+ca= [therefore] by Love-god, highly, scorching him [as that Love-god prowls only for such helpless lovers]; [therefore] sudhaa+sa.mbaadha+bi.mba+adharam= for nectar, damaging, [your] small red cucumber like, lower lip [your roseate lips and their nectar outclasses, surpasses the heavenly nectar]; paatum+ichChati= to drink, he cherishes; tat= therefore; asya+a.nkam+kshaNam+ ala.nkuru= his, in flank, for a moment, lend the grace [of your body]; [Raadha may ask ' took my words amiss, how can I be with him... for that, the girlfriend is saying]; [tava] bhruu+ kshepa+ lakshmii+lava+kriite= [your] eyebrow, movement's, richness, least, buyable [he is buyable by the richness of the least raise of your eyebrow; something like - simoniacal - the buying or selling of ecclesiastical privileges, e.g. pardons or benefices]; daasa+iva= servant, like a; upasevita+pada+a.mbhoje= reverenced, [your] feet, lotus-like [he reveres your lotusy feet like a servant]; iha= in this matter; sambhramaH+kutaH= hesitation, where is.
"His heart is much tired out while bearing you in it, therefore Love-god is highly scorching him, therefore he cherishes to drink nectar of your roseate lips that transcends the heavenly nectar, therefore lend the grace of your body on his flank, at least for a moment... where is the question of your hesitation when he is buyable by the richness of the least raise of your eyebrow... he reveres your lotusy feet like a servant... believe me..." [11-7]
saa sasaadhvasasaana.ndam govi.nde lolalochanaa |
si.njaanama.njuma.njiiram pravivesha niveshanam || 11-8
pa cChe- saa sa saadhvasa sa anandam govinde lola lochanaa si.njaana ma.nju ma.njiiram pravivesha niveshanam
सा ससाध्वससानंदम् गोविंदे लोललोचना।
सिंजानमंजुमंजीरम् प्रविवेश निवेशनम्॥ ११-८
sā sasādhvasasānaṁdam goviṁde lolalocanā |
siṁjānamaṁjumaṁjīram praviveśa niveśanam || 11-8
pa cche- sā sa sādhvasa sa anandam govinde lola locanā siṁjāna maṁju maṁjīram praviveśa niveśanam
11-8. govinde+lola+lochanaa= on Krishna, fluttery, eyes [eying Krishna with sidelong-glances]; saa= she that Raadha; sa+saadhvasa= with, fear [here - doubt]; sa+anandam= with delight; si.njaana= clanging; ma.nju= charming; ma.njiiram= making anklets [she slowly sneaked in, in doing so her anklets are clanging to her footwork, indicating her entrance - dancers delight]; pravivesha+niveshanam= entered, disporting bower.
Then Raadha with her sidelong-glances on Krishna, and with a doubt and delight, entered that disporting bower, and while her anklets clanged in tune with her stepping. [11-8]
- aSTa padi - 22 - saana.ndagovinda raaga shreNi kusuma aabharaNam -
raadhaavadanavilokanavikasitavividhavikaaravibha.ngam
jalanidhimiva vidhumaNDaladarshanataralitatu.ngatara.ngam |
harimekarasam chiramabhilaSitavilaasam
saa dadaarsha guruharSavasha.nvadavadanamana.nganivaasam |
hirim eka rasam- nivaasam - dhR^ivam || a pa 22-1
pa Che- raadhaa vadana vilokana vikasita vividha vikaara vibha.ngam jala nidhim iva vidhu maNDala darshana taralita tu.nga tara.ngam harim eka rasam chiram abhilaSita vilaasam saa dadaarsha guru harSa vasha.nvada vadanam ana.nga nivaasam
- अष्ट पदि - २२ - सानंदगोविन्द राग श्रेणि कुसुम आभरणम् -
राधावदनविलोकनविकसितविविधविकारविभंगम्
जलनिधिमिव विधुमण्डलदर्शनतरलिततुंगतरंगम्।
हरिमेकरसम् चिरमभिलषितविलासम्
सा ददार्श गुरुहर्षवशंवदवदनमनंगनिवासम्।
हिरिम् एक रसम्- निवासम् - धृवम्॥ अ प २२-१
- aṣṭa padi - 22 - sānaṁdagovinda rāga śreṇi kusuma ābharaṇam -
rādhāvadanavilokanavikasitavividhavikāravibhaṁgam
jalanidhimiva vidhumaṇḍaladarśanataralitatuṁgataraṁgam |
harimekarasam ciramabhilaṣitavilāsam
sā dadārśa guruharṣavaśaṁvadavadanamanaṁganivāsam |
hirim eka rasam- nivāsam - dhṛvam || a pa 22-1
pa che- rādhā vadana vilokana vikasita vividha vikāra vibhaṁgam jala nidhim iva vidhu maṇḍala darśana taralita tuṁga taraṁgam harim eka rasam ciram abhilaṣita vilāsam sā dadārśa guru harṣa vaśaṁvada vadanam anaṁga nivāsam
a pa 22-1. eka+rasam= with single, [passionate] emotion [towards Raadha]; chiram+ abhilaSita+ vilaasam= for long time, desired, frolicking [with Raadha]; guru+ harSa+ vasha.nvada+vadanam= high, ecstatic happiness, went under control of, [his face]; ana.nga+ nivaasam= [aggregate] bodiless love, abode of; raadhaa+vadana+vilokana= Raadha's, face, on seeing; vikasita+vividha+vikaara+ vibha.ngam = unfolded, various, change of [passional] attitudes, as ripples [in many kinds of undulating emotions]; vidhu+maNDala+ darshana= moon's, sphere, on appearance of; taralita+tu.nga+ tara.ngam = flurried, high, tides; jala+ nidhim +iva= water, treasure [ocean,] like; saa= she that Raadha; dadaarsha= saw at; harim= at Krishna.
He who is with a single passional emotion towards Raadha alone, and he who desired to frolic with Raadha for a long time, and who is an abode of aggregate love, and whose face now went under the control of high ecstatic happiness on seeing Raadha, unfolding many an undulating passional emotions like ripples, similar to an ocean in which high tides flurry on the appearance of moon, Raadha saw at such Krishna. [a pa 22-1]
haaramamalatarataaramurasi dadhatam parirabhya viduuram |
sphuTataraphenakada.mbakara.mbitamiva yamunaajalapuuram || a pa 22-2
pa cChe- haaram amala tara taaram urasi dadhatam parirabhya viduuram sphuTa tara phena kada.mba kara.mbitam iva yamunaa jalapuuram
हारममलतरतारमुरसि दधतम् परिरभ्य विदूरम्।
स्फुटतरफेनकदंबकरंबितमिव यमुनाजलपूरम्॥ अ प २२-२
hāramamalataratāramurasi dadhatam parirabhya vidūram |
sphuṭataraphenakadaṁbakaraṁbitamiva yamunājalapūram || a pa 22-2
pa cche- hāram amala tara tāram urasi dadhatam parirabhya vidūram sphuṭa tara phena kadaṁba karaṁbitam iva yamunā jalapūram
a pa 22-2. amala+tara+taaram+haaram= pure, higher [purest,] having pearls, pendant; urasi+ viduuram= on chest, lengthy; parirabhya= bracingly [close on his chest]; dadhatam= wearing; sphuTa+ tara= clear, higher [clearest]; phena+ kada.mba + kara.mbitam= foam, mass of [bubbles,] merging; yamunaa+jala+puuram+iva= River Yamuna, water, course, like; saa= she that Raadha; dadaarsha= saw at; harim= at Krishna.
He who is wearing lengthy pendants of purest pearls close on his sappharine chest, that look like the mass of white bubbles merging in the course of sappharine waters of River Yamuna, at such a Krishna Raadha saw. [a pa 22-2]
shyaamalamR^idulakalevaramaNDalamadhigatagauradukuulam |
niilanalinamiva piitaparaagapatalabharavalayitamuulam || a pa 22-3
pa cChe- shyaamala mR^idula kalevara maNDalam adhigata gaura dukuulam niila nalinam iva piita paraaga patala bhara valayita muulam
श्यामलमृदुलकलेवरमण्डलमधिगतगौरदुकूलम्।
नीलनलिनमिव पीतपरागपतलभरवलयितमूलम्॥ अ प २२-३
śyāmalamṛdulakalevaramaṇḍalamadhigatagauradukūlam |
nīlanalinamiva pītaparāgapatalabharavalayitamūlam || a pa 22-3
pa cche- śyāmala mṛdula kalevara maṇḍalam adhigata gaura dukūlam nīla nalinam iva pīta parāga patala bhara valayita mūlam
a pa 22-3. shyaamala+mR^idula+ kalevara+ maNDalam= sapphirine, satiny, body, around; adhigata+gaura+dukuulam= possessed [wearing,] ochreish, silk cloth; piita+paraaga+patala= yellowish, pollen, a collection of; bhara+ valayita +muulam= remarkably, spiralled, on stem; niila+nalinam+iva= blue-black, lotus, like [sthitam = avialable, standing.]
Around his sapphirine satiny body he is wearing an ocherish silk cloth, with that he looks like a black lotus, at whose stem a collection of yellowish pollen is remarkably spiralled, Raadha saw at such blue-black-lotus-like Krishna. [a pa 22-3]
taraladR^iga.nchalachalanamanoharavadanajanitaratiraagam |
sphuTakamalodarakhelitakha.njanayugamiva sharadi taDaagam || a pa 22-4
pa cChe - tarala dR^ik a.nchala chalana manohara vadana janita rati raagam sphuTa kamala udara khelita kha.njana yugam iva sharadi taDaagam
तरलदृगंचलचलनमनोहरवदनजनितरतिरागम्।
स्फुटकमलोदरखेलितखंजनयुगमिव शरदि तडागम्॥ अ प २२-४
taraladṛgaṁcalacalanamanoharavadanajanitaratirāgam |
sphuṭakamalodarakhelitakhaṁjanayugamiva śaradi taḍāgam || a pa 22-4
pa cche - tarala dṛk aṁcala calana manohara vadana janita rati rāgam sphuṭa kamala udara khelita khaṁjana yugam iva śaradi taḍāgam
a pa 22-4. tarala+dR^ik+a.nchala+chalana= moving, eye, edges [Raadha with sidelong glances,] by casting [such glances]; manohara+vadana+ janita+rati+raagam= delightful, face, caused [showing,] for intimacy, interestedness; sharadi= in autumn; sphuTa+kamala+ udara= unfolded, lotus, in belly; khelita+ kha.njana+yugam= playing, small birds, couple of; taDaagam +iva [sthitam]= lake, like [standing.]
On Raadha's casting sidelong glances, his delightful face is showing an interestedness for intimacy; hence he is like a lake in autumn, wherein a couple of small birds are playing in the belly of an unfolded lotus, Raadha saw at such Krishna. [a pa 22-4]
vadanakamalaparishiilanamilitamihirasamakuNDalashobham |
smitaruchiruchirasamullasitaadharapallavakR^itaratilobham || a pa 22-5
pa cChe- vadana kamala parishiilana milita mihira sama kuNDala shobham smita ]ruchi ruchira samullasita adhara pallava kR^ita rati lobham
वदनकमलपरिशीलनमिलितमिहिरसमकुण्डलशोभम्।
स्मितरुचिरुचिरसमुल्लसिताधरपल्लवकृतरतिलोभम्॥ अ प २२-५
vadanakamalapariśīlanamilitamihirasamakuṇḍalaśobham |
smitarucirucirasamullasitādharapallavakṛtaratilobham || a pa 22-5
pa cche- vadana kamala pariśīlana milita mihira sama kuṇḍala śobham smita ruci rucira samullasita adhara pallava kṛta rati lobham
a pa 22-5. vadana+kamala+parishiilana= [Raadha's face, as well as Krishna's face] like lotus; to check [as a lotus unfolds when sun comes]; milita= inclusive of [having]; mihira+sama+ kuNDala+ shobham= suns, equal to, knobby ear-hangings, splendour; smita+ruchi= smile's, by resplendence; ruchira= agreeable; samullasita= enthusiastic [to swill nectar from Raadha's lips]; adhara+pallava+ kR^ita= lips, leaflet like, made [showing]; rati+lobham= for intimacy, longing.
His lotus like face has knobby ear-hangings, equal in splendour of many suns, that have come to check the lotus like face of Raadha, and the agreeable resplendence of his smile on his leaflet like lips is showing his longing for intimacy, and he is enthusiastic to swill the nectar from Raadha's lips, and Raadha saw at such Krishna. [a pa 22-5]
shashikiraNachChuritodarajaladharasundarasakusumakesham |
timiroditavidhumaNdalanirmalamalayajatilakanivesham || a pa 22-6
pa cChe- shashi kiraNa chChurita udara jala dhara sundara sa kusuma kesham timira udita vidhu maNdala nirmala malaya ja tilaka nivesham
शशिकिरणच्छुरितोदरजलधरसुन्दरसकुसुमकेशम्।
तिमिरोदितविधुमण्दलनिर्मलमलयजतिलकनिवेशम्॥ अ प २२-६
śaśikiraṇacchuritodarajaladharasundarasakusumakeśam |
timiroditavidhumaṇdalanirmalamalayajatilakaniveśam || a pa 22-6
pa cche- śaśi kiraṇa cchurita udara jala dhara sundara sa kusuma keśam timira udita vidhu maṇdala nirmala malaya ja tilaka niveśam
a pa 22-6. shashi+kiraNa+chChurita= by moon, beams, brightened; udara= centrally; jala+ dhara= water, bearing [black cloud]; sundara+sa+kusuma+ kesham = charming, [inlaid] with, flowers, head-hair; timira+udita= from sombre [sky,] uprisen; vidhu+maNdala = moon's, orb like; nirmala= spotless; malayaja+ tilaka+ nivesham= sandal paste, forehead mark, kept [on forehead.]
Alike a black watery cloud centrally brightened by moonbeams, his charming head-hair inlaid with flowers, and his blue-blackish forehead is marked with a spotless white sandal paste, that itself is like the uprising orb of moon on sombre sky, and Raadha saw at such Krishna. [a pa 22-6]
vipulapulakabharadanturitam ratikelikalaabhiradhiiram |
maNigaNakiraNasamuuhasamujjvalabhuuSaNasubhagashariiram || a pa 22-7
pa cChe- vipula pulaka bhara danturitam rati keli kalaabhiH adhiiram maNi gaNa kiraNa samuuha samujjvala bhuuSaNa subhaga shariiram
विपुलपुलकभरदन्तुरितम् रतिकेलिकलाभिरधीरम्।
मणिगणकिरणसमूहसमुज्ज्वलभूषणसुभगशरीरम्॥ अ प २२-७
vipulapulakabharadanturitam ratikelikalābhiradhīram |
maṇigaṇakiraṇasamūhasamujjvalabhūṣaṇasubhagaśarīram || a pa 22-7
pa cche- vipula pulaka bhara danturitam rati keli kalābhiḥ adhīram maṇi gaṇa kiraṇa samūha samujjvala bhūṣaṇa subhaga śarīram
a pa 22-7. vipula+pulaka+bhara+danturitam= broad, thrilling, filled with, uneven [muddling on]; rati+keli+kalaabhiH= by passionate, play [immediately,] by arts; a+dhiiram = not, firm [disquieted]; maNi+gaNa= gems, clusters of; kiraNa+samuuha= with their rays, collection of; samujjvala+ bhuuSaNa= well brightened, ornaments; subhaga+shariiram= with auspicious [with a halo around him,] build [he is self-refulgent.]
He who is muddling on with broad thrilling sensations, he who is disquieted to immediately all known arts of passionate play is self-refulgent with the collection of rays from the cluster of gems in a halo around his auspicious build, and at such haloed Krishna. [22-7]
shriijayadevabhaNitavibhavadviguNiikR^itabhuuSaNabhaaram |
praNamata hR^idi suchiram vinidhaaya harim sukR^itodayasaaram || a pa 22-8
pa cChe- shrii jayadeva bhaNita vibhava dviguNii kR^ita bhuuSaNa bhaaram praNamata hR^idi suchiram vinidhaaya harim sukR^ita udaya saaram
श्रीजयदेवभणितविभवद्विगुणीकृतभूषणभारम्।
प्रणमत हृदि सुचिरम् विनिधाय हरिम् सुकृतोदयसारम्॥ अ प २२-८
śrījayadevabhaṇitavibhavadviguṇīkṛtabhūṣaṇabhāram |
praṇamata hṛdi suciram vinidhāya harim sukṛtodayasāram || a pa 22-8
pa cche- śrī jayadeva bhaṇita vibhava dviguṇī kṛta bhūṣaṇa bhāram praṇamata hṛdi suciram vinidhāya harim sukṛta udaya sāram
a pa 22-8. hè vaishNavaaH= oh, adorers of Vishnu; shrii= the auspicious saying; jayadeva+ bhaNita= by Jayadeva, said; vibhava= by its glory; dviguNii+kR^ita= doubly, made; bhuuSaNa +bhaaram= Krishna's decorations', weight [i.e., Krishna has his own divine ornaments that are doubly enriched by poet's words in this song, which also serve as his ornament, poet is further adding ornament to his chosen god]; sukR^ita+ udaya= merit, for the onset of; saaram= [Krishna is the] essence; harim+hR^idi+suchiram+ vinidhaaya+ praNamata= let Krishna be, in hearts, for a long time, firmly keeping, you all revere.
O, the adorers of Vishnu, this glorious and auspicious song rendered by Jayadeva is doubling the weight of Krishna's jewels, for every word is yet another ornament to him, hence keep Krishna firm in you hearts and revere him with this song for a long time, as he alone is the essence to set out merit. [a pa 22-8]
atikramyaapaa.ngam shravaNapathaparyantagamana
prayaasenevaakshNostaralatarabhaavam gamitayoH |
idaaniim raadhaayaaH priyatamasamaalokasamaye
papaata svedaambuprasara iva harSaashrunikaraH || 11-10
pa cChe- atikramya apaa.ngam shravaNa patha paryanta gamana prayaasena iva akshNoH tarala tara bhaavam gamitayoH idaaniim raadhaayaaH priyatama samaaloka samaye papaata sveda ambu prasara iva harSa ashru nikaraH
अतिक्रम्यापांगम् श्रवणपथपर्यन्तगमन
प्रयासेनेवाक्श्णोस्तरलतरभावम् गमितयोः।
इदानीम् राधायाः प्रियतमसमालोकसमये
पपात स्वेदाम्बुप्रसर इव हर्षाश्रुनिकरः॥ ११-१०
atikramyāpāṁgam śravaṇapathaparyantagamana
prayāsenevākśṇostaralatarabhāvam gamitayoḥ |
idānīm rādhāyāḥ priyatamasamālokasamaye
papāta svedāmbuprasara iva harṣāśrunikaraḥ || 11-10
pa cche- atikramya apāṁgam śravaṇa patha paryanta gamana prayāsena iva akśṇoḥ tarala tara bhāvam gamitayoḥ idānīm rādhāyāḥ priyatama samāloka samaye papāta sveda ambu prasara iva harṣa aśru nikaraḥ
11-10. idaaniim= presently; raadhaayaaH+akshNoH= Raadha's, eyes [glances]; apaa.ngam+ atikramya = edge of eyes, on crossing over; shravaNa+ patha+paryanta= ears, in the path of, up to [ears]; gamana +prayaasena+iva= in going, by strain of; tarala+tara= fluttering, much; bhaavam+ gamaitayoH = such sensation, entered; priya+tama= loveable, most; samaaloka+ samaye= at gazing, time; harSa+ ashru+nikaraH= happy, tears, heaps of; sveda+ambu+prasara + iva= sweat, drops, flowing, as if [her ears strained and sweated to see him because of his self-refulgence]; papaata= [tears] fell.
Presently Raadha's glances have crossed over the edges of eye-sockets, widening along the path unto ears so as to reach ears, as to use a wide-angle, and in that strain they felt much fluttering sensation, and on gazing her most loveable lover with such wide-eyes adoration heaps of happy tear flows have fallen, as though her glances strained and sweated to see him at a long last time. [11-10]
bhajya.ntyaastalpaantam kR^itakapaTakaNDuutipihita
smitam yaate gehaadbahirapihitaaliiparijane |
priyaasyam pashyantyaaH smaraparavashaaakuutasubhagam
salajjaa lajjaapi vyagamadiva duuram mR^igadR^ishaH || 11-11
pa cChe- bhajya.ntyaaH talpaa.ntam kR^ita kapaTa kaNDuuti pihita smitam yaate gehaat bahiH api hitaalii parijane priya aasyam pashyantyaaH smara shara samaakuula subhagam sa lajjaa lajjaa api vyagamat iva duuram mR^iga dR^ishaH
भज्यंत्यास्तल्पान्तम् कृतकपटकण्डूतिपिहित
स्मितम् याते गेहाद्बहिरपिहितालीपरिजने।
प्रियास्यम् पश्यन्त्याः स्मरपरवशाकूतसुभगम्
सलज्जा लज्जापि व्यगमदिव दूरम् मृगदृशः॥ ११-११
bhajyaṁtyāstalpāntam kṛtakapaṭakaṇḍūtipihita
smitam yāte gehādbahirapihitālīparijane |
priyāsyam paśyantyāḥ smaraparavaśāakūtasubhagam
salajjā lajjāpi vyagamadiva dūram mṛgadṛśaḥ || 11-11
pa cche- bhajyaṁtyāḥ talpāṁtam kṛta kapaṭa kaṇḍūti pihita smitam yāte gehāt bahiḥ api hitālī parijane priya āsyam paśyantyāḥ smara śara samākūla subhagam sa lajjā lajjā api vyagamat iva dūram mṛga dṛśaḥ
11-11. hitaalii+parijane+yaate= well-wishers, friends, when went away; gehaat+bahiH= from house [bowers,] to outside; kR^ita+kapaTa+kaNDuuti= on making, pretence, of itching; pihita+ smitam= concealing, smile; talpa+antam+bhajya.ntyaaH= bed's, edge, on reaching; smara+ paravasha+ aakuuta= Love-god, controlled, thinking [when body language is changed when possessed by love]; subhagam+priya+aasyam+pashyantyaaH= auspicious, dear one's, face, on seeing; mR^iga+dR^ishaH= fawn, eyed Raadha's; lajjaa+api= prudery, even; sa lajjaa+ iva= became prudish, as if; duuram= far way; vyagamat= [vi ava gamat]= went away [left her off.]
When her well-wishing friends have gone away from that bower, concealing her happy smile under the pretence of some itching she neared the edge of bed, and on seeing her dear one's auspicious face her body language is changing as she is possessed by Love-god, and even the prudery of that fawn eyed Raadha became as though effected by a bit of prude and left her off. [11-11]
saana.ndam na.ndasuunurdishatuparataram samma.nda.mma.ndama.ndam
raadhaamaadhaayabaahvorvivaramanudhR^iDham piiDayanpriiti |
yogaat tu.ngautasyaa urojaavatanuvaratanornirgatau
maasmabhuutaam pR^iSTam nirbhidyatasmaadbahiritivalitagriivamaalokaya.ntaH || 11-12
pa cChe- saana.ndam na.nda suunH dishatu parataram samma.ndam ma.nda ma.ndam
raadhaam aadhaaya baahvoH vivaram anu dhR^iDham piiDayan
priiti yogaat tu.ngau tasyaa urojau atanu vara tanoH nirgatau maa smabhuutaam
pR^iSTam nirbhidya tasmaat bahiH iti valita griivam aalokaya.ntaH
सानंदम् नंदसूनुर्दिशतुपरतरम् सम्मंदंमंदमंदम्
राधामाधायबाह्वोर्विवरमनुधृढम् पीडयन्प्रीति।
योगात् तुंगौतस्या उरोजावतनुवरतनोर्निर्गतौ
मास्मभूताम् पृष्टम् निर्भिद्यतस्माद्बहिरितिवलितग्रीवमालोकयंतः॥ ११-१२
sānaṁdam naṁdasūnurdiśatuparataram sammaṁdaṁmaṁdamaṁdam
rādhāmādhāyabāhvorvivaramanudhṛḍham pīḍayanprīti |
yogāt tuṁgautasyā urojāvatanuvaratanornirgatau
māsmabhūtām pṛṣṭam nirbhidyatasmādbahiritivalitagrīvamālokayaṁtaḥ || 11-12
pa cche- sānaṁdam naṁda sūnḥ diśatu parataram sammaṁdam maṁda maṁdam
rādhām ādhāya bāhvoḥ vivaram anu dhṛḍham pīḍayan
prīti yogāt tuṁgau tasyā urojau atanu vara tanoḥ nirgatau mā smabhūtām
pṛṣṭam nirbhidya tasmāt bahiḥ iti valita grīvam ālokayaṁtaḥ
11-12. ma.nda+ma.ndam= slowly, slowly; raadhaam+baahvoH+vivaram+anu= Raadha is, arms, in the middle, towards [his chest]; aadhaaya= on taking; priiti+yogaat+dhR^iDham+ piiDayan= fondness, added, tightly, on hugging; atanu+vara+tanoH+tasyaaH= slender, best, bodied, of her; tu.ngau+ urojau= jutting, bosoms; pR^iSTam+nirbhidya = [his] back, piercing; bahiH+tasmaat+ nirgatau= to outside, of that [back,] coming out; maa+smabhuutaam+ iti= not, to happen that way, thus; valita+ griivam [yathaa tathaa ]= [quickly] turning, neck [as if to check, mischevously]; aalokaya.ntaH= seeing [his back]; na.nda+suunH= Nanda's, son; saana.ndam= with happiness; parataram+samma.ndam+ dishatu= highest, happiness, [to us] let him give.
Then, on taking Raadha into his arm-fold, with added fondness in tightly hugging her, he felt as though the jutting bosoms of that slender bodied Raadha have come out of his back piercing chest and back, and saying to himself 'it should not have happened... have they come our of my back - really...' and to check himself he quickly turned his head from Raadha to looking at his back, mischievously, and let such a mischievous Krishna with all his happiness to be in togetherness with Raadha, accord all of us all the happiness. [11-12]
jayashriivinyastairmahita iva ma.ndaarakusumaiH
svayam si.ndhureNadviparaNamudaamudrita iva |
bhujapiiDa kriiDaahatakuvalayaapiiDakariNaH
prakiirNaasR^igbi.ndurjayati bhujada.nDo murajitaH || 11-13
pa cChe- jayashrii vinyastaiH mahita iva ma.ndaara sukumaiH svayam si.ndhureNa dvipa raNa mudaa mudrita iva bhuja piiDa kriiDa hata kuvalayaapiiDa kariNaH prakiirNa asR^ik bi.nduH jayati bhuja da.nDaH mura jitaH
जयश्रीविन्यस्तैर्महित इव मंदारकुसुमैः
स्वयम् सिंधुरेणद्विपरणमुदामुद्रित इव।
भुजपीड क्रीडाहतकुवलयापीडकरिणः
प्रकीर्णासृग्बिंदुर्जयति भुजदंडो मुरजितः॥ ११-१३
jayaśrīvinyastairmahita iva maṁdārakusumaiḥ
svayam siṁdhureṇadviparaṇamudāmudrita iva |
bhujapīḍa krīḍāhatakuvalayāpīḍakariṇaḥ
prakīrṇāsṛgbiṁdurjayati bhujadaṁḍo murajitaḥ || 11-13
pa cche- jayaśrī vinyastaiḥ mahita iva maṁdāra sukumaiḥ svayam siṁdhureṇa dvipa raṇa mudā mudrita iva bhuja pīḍa krīḍa hata kuvalayāpīḍa kariṇaḥ prakīrṇa asṛk biṁduḥ jayati bhuja daṁḍaḥ mura jitaḥ
11-13. prakiirNa+asR^ik+bi.nduH= bestrewn, blood, drops; jayashrii+vinyastaiH= by Prosperity of Victory, kept [sprinkled]; ma.ndaara+kusumaiH+mahita+iva= with Mandaara [red flowers used in worships,] flowers, worshipped, as if; dvipa+raNa+mudaa= with elephant, warring, happy; svayam+ si.ndhureNa+mudrita+iva= by himself, with red victory powder, imprinted, as if; bhuja+ piiDa+ kriiDa= by hand, grip, sport; hata+kuvalayaapiiDa+ kariNaH= killed, Kuvalayaapida, named elephant; mura+ jitaH= Mura's, conqueror [Krishna]; bhuja+ da.nDaH+jayati= shoulder, blade, be victorious [many evils.]
When Krishna was warring he twisted the trunk of an elephant named Kuvalayaapiida, whirled and killed it. Then its blood drops are bestrewn on his hand. Then the Prosperity of Victory, deified form of Goddess Lakshmi insofar as victories are concerned sprinkle red flowed used in worships on Krishna, and Krishna happy as he is to war with an elephant seemed ho have imprinted on his hand red powder used in the worship of victorious combatants. Let such all-conquering arms of Krishna be victorious on many evils.
saundaryaikanidherana.ngalalanaalaavaNyaliilaajuSaH
raadhaayaahR^idipalavalemanasijakriiDaikara.ngasthale |
ramyorojasarojakhelanarasitvaadaatmanaH khyaapayan
dhyaaturmaanasaraajaha.msanibhataa.mdeyaanmuku.ndomudam || 11-14
a cChe- saundarya eka nidheH ana.nga lalanaa laavaNya liilaa juSaH raadhaayaaH hR^idi palavale manasi ja kriiDaa eka ra.nga sthale ramya uroja saroja khelana rasitvaat aatmanaH khyaapayan dhyaatuH maanasa raaja ha.msa nibhataam deyaat muku.ndaH mudam
सौन्दर्यैकनिधेरनंगललनालावण्यलीलाजुषः
राधायाहृदिपलवलेमनसिजक्रीडैकरंगस्थले।
रम्योरोजसरोजखेलनरसित्वादात्मनः ख्यापयन्
ध्यातुर्मानसराजहंसनिभतांदेयान्मुकुंदोमुदम्॥ ११-१४
saundaryaikanidheranaṁgalalanālāvaṇyalīlājuṣaḥ
rādhāyāhṛdipalavalemanasijakrīḍaikaraṁgasthale |
ramyorojasarojakhelanarasitvādātmanaḥ khyāpayan
dhyāturmānasarājahaṁsanibhatāṁdeyānmukuṁdomudam || 11-14
a cche- saundarya eka nidheḥ anaṁga lalanā lāvaṇya līlā juṣaḥ rādhāyāḥ hṛdi palavale manasi ja krīḍā eka raṁga sthale ramya uroja saroja khelana rasitvāt ātmanaḥ khyāpayan dhyātuḥ mānasa rāja haṁsa nibhatām deyāt mukuṁdaḥ mudam
11-14. saundarya+eka+nidheH= for grandeur, single, treasure trove; ana.nga+lalanaa= Love-god's, wife [Rati Devi]; laavaNya+liilaa+juSaH= [such Rati Devi's] body language, bodily gestures [as in dance poses,] added with; raadhaayaaH of Raadha; manasi+ja= mind, born [for passion]; kriiDaa= for playing; eka+ra.ngasthale= single, stage of performance; hR^idi+ palavale = heart, called lake; aatmanaH= he [Krishna]; ramya+uroja+saroja= charming, bosoms, called lotuses; khelana= while plyaing with; rasitvaat= one who enjoyed that bliss; dhyaatuH= to the meditators [on him]; maanasa= heart/lake called Maanasa Sarovar; raaja+ ha.msa= kingly swan; nibhataam= similitude; khyaapayan= while establishing; muku.ndaH+ mudam+deyaat= Krishna, gladness, let accord.
She who is a single treasure trove for the grandeur, added with the body language and bodily gestures of the wife of Love-god, called Rati Devi, famous for her beauty, and she who is the single stage for the performance of Krishna's love dance, and let Krishna disport with the lotuses called the bosoms of Raadha, in the heart called lake of such Raadha's heart, himself becoming a kingly swan in similitude, let him also play in the lake-like contemplative minds of his devotees, and thus let Krishna accord gladness to on and all. [11-14]
iti giitagovinde saana.ndadaamodaro naama ekaadashaH sargaH
इति गीतगोविन्दे सानंददामोदरो नाम एकादशः सर्गः
iti gītagovinde sānaṁdadāmodaro nāma ekādaśaḥ sargaḥ
Thus, this is the 11th chapter, called saanandadaamodara - Delighted Krishna, in Gita Govindam of Jayadeva.
Chapter [Sarga] 12 - Exultant Krishna
At last Raadha meets Krishna, and Krishna who is waiting for a long time for Raadha gladdens on her coming thus yields himself to every wish of hers. They thus unite themselves to keep everything united.
supriitapiitaambaraH
gatavati sakhiibR^inde.amandatrapaabharanirbhara
smaraparavashaakuutasphiitasmitasnapitaadharam |
sarasamanasam dR^ishhTvaa hR^iSTaam muhurnavapallava
prasavashayane nikshiptaakshiimuvaacha hariH priyyaam || 12-1
pa cChe - gatavati sakhii bR^inde amanda trapaa bhara nirbhara smara paravasha aakuuta sphiita smita snapita adharam sarasa manasam dR^iSTvaa hR^iSTaam muhuH nava pallava prasava shayane nikshipta akshiim uvaacha hariH priyyaam
सुप्रीतपीताम्बरः
गतवति सखीबृन्देऽमन्दत्रपाभरनिर्भर
स्मरपरवशाकूतस्फीतस्मितस्नपिताधरम्।
सरसमनसम् दृष्ट्वा हृष्टाम् मुहुर्नवपल्लव
प्रसवशयने निक्शिप्ताक्शीमुवाच हरिः प्रिय्याम्॥ १२-१
suprītapītāmbaraḥ
gatavati sakhībṛnde'mandatrapābharanirbhara
smaraparavaśākūtasphītasmitasnapitādharam |
sarasamanasam dṛṣṭvā hṛṣṭām muhurnavapallava
prasavaśayane nikśiptākśīmuvāca hariḥ priyyām || 12-1
pa cche - gatavati sakhī bṛnde amanda trapā bhara nirbhara smara paravaśa ākūta sphīta smita snapita adharam sarasa manasam dṛṣṭvā hṛṣṭām muhuḥ nava pallava prasava śayane nikśipta akśīm uvāca hariḥ priyyām
a pa 23-1. hè kaamini= oh, loving Raadha; kisalaya+shayana+tale= on tender leafy, bed, surface of; charaNa +nalina+vinivesham+kuru= [delicate] feet, lotuses, placement, to make; suvesham= well arranged [bed]; tava+pada+pallava+vairi= your, feet's, tender leaves, an adversary[of any delicacy];idam= this [bed]; paraabhavam+anubhavatu= adversity, let suffer; hè raadhe= oh, Raadha; adhunaa+anugatam= presently, disposed [to you]; naaraayaNam = he who is the mover of beings, basis of living beings, or, who is a receptacle of water, rasa] Krishna ; kshaNam+anusara= for a while, follow.
"Place your lotus like delicate feet on the delicate surface of the tender leafy bed, oh, loving Raadha, thus let this well-arranged bed for its delicacy suffer an adversity, as your more delicate tender leaf like feet are the adversaries of any delicacy... thus, oh, Raadha, follow the mover of beings for a while, as he is well-disposed to you... [a pa 23-1]
aSTa padi 23 - madhuripuvidyaadharaliilam
kisalayashayanatale kuru kaamini charaNanalinavinivesham |
tava padapallavavairiparaabhavamidamanubhavatu suvesham |
kshaNamadhunaa naaraayaNam | anugatamanusara raadhe -dhR^ivam || a pa 23-1
pa cChe - kisalaya shayana tale kuru kaamini charaNa nalina vinivesham tava pada pallava vairi paraabhavam idam anubhavatu suvesham kshaNam adhunaa naaraayaNam anugatam anusara raadhe
अष्ट पदि २३ - मधुरिपुविद्याधरलीलम्
किसलयशयनतले कुरु कामिनि चरणनलिनविनिवेशम्।
तव पदपल्लववैरिपराभवमिदमनुभवतु सुवेशम्।
क्शणमधुना नारायणम्। अनुगतमनुसर राधे -धृवम्॥ अ प २३-१
aṣṭa padi 23 - madhuripuvidyādharalīlam
kisalayaśayanatale kuru kāmini caraṇanalinaviniveśam |
tava padapallavavairiparābhavamidamanubhavatu suveśam |
kśaṇamadhunā nārāyaṇam | anugatamanusara rādhe -dhṛvam || a pa 23-1
pa cche - kisalaya śayana tale kuru kāmini caraṇa nalina viniveśam tava pada pallava vairi parābhavam idam anubhavatu suveśam kśaṇam adhunā nārāyaṇam anugatam anusara rādhe
a pa 23-1. hè kaamini= oh, loving Raadha; kisalaya+shayana+tale= on tender leafy, bed, surface of; charaNa +nalina+vinivesham+kuru= [delicate] feet, lotuses, placement, to make; suvesham= well arranged [bed]; tava+pada+pallava+vairi= your, feet's, tender leaves, an adversary[of any delicacy];idam= this [bed]; paraabhavam+anubhavatu= adversity, let suffer; hè raadhe= oh, Raadha; adhunaa+anugatam= presently, disposed [to you]; naaraayaNam = he who is the mover of beings, basis of living beings, or, who is a receptacle of water, rasa] Krishna ; kshaNam+anusara= for a while, follow.
"Place your lotus like delicate feet on the delicate surface of the tender leafy bed, oh, loving Raadha, thus let this well-arranged bed for its delicacy suffer an adversity, as your more delicate tender leaf like feet are the adversaries of any delicacy... thus, oh, Raadha, follow the mover of beings for a while, as he is well-disposed to you... [a pa 23-1]
karakamalena karomi charaNamahamaagamitaasi viduuram |
kshaNamupakuru shayanopari maamiva nuupuramanugatishuuram || a pa 23-2
pa cChe- kara kamalena karomi charaNam aham aagamitaa asi viduuram kshaNam upakuru shayana upari maam iva nuupuram anugati shuuram
करकमलेन करोमि चरणमहमागमितासि विदूरम्।
क्शणमुपकुरु शयनोपरि मामिव नूपुरमनुगतिशूरम्॥ अ प २३-२
karakamalena karomi caraṇamahamāgamitāsi vidūram |
kśaṇamupakuru śayanopari māmiva nūpuramanugatiśūram || a pa 23-2
pa cche- kara kamalena karomi caraṇam aham āgamitā asi vidūram kśaṇam upakuru śayana upari mām iva nūpuram anugati śūram
a pa 23-2. viduuram= long-way-off; aagamitaa+asi= [by me] arrived, you are [at me; hence]; aham+kara+kamalena= I will, with hands, lotus like; charaNam+karomi = feet, I mend [or, taking caraNa maham as single unit = caraNa= feet's; maham= worship= I worship your feet]; maam+iva= me like; anugati+shuuram+ nuupuram= in following, an expert - faithful follower, her anklet follows her very sincerely without slipping off, hence that anklet is to be taken care of; shayana+upari+ kshaNam+ upakuru= bed, on surface, for a while, place it.
I made you to arrive at me from long-way-off, hence I with my lotus like hands mend the strain of your feet, and hence place those feet on the surface of bed, to give rest to your anklets, for they are the faithful followers of yours, like me... [a pa 23-2]
vadanasudhaanidhigalitamamR^itamiva rachaya vachanamanukuulam |
virahamivaapanayaami payodhararodhakamurasi dukuulam || a pa 23-3
pa cChe- vadana sudhaa nidhi galitam amR^itam iva rachaya vachanam anukuulam viraham iva apanayaami payodhara rodhakam urasi dukuulam
वदनसुधानिधिगलितममृतमिव रचय वचनमनुकूलम्।
विरहमिवापनयामि पयोधररोधकमुरसि दुकूलम्॥ अ प २३-३
vadanasudhānidhigalitamamṛtamiva racaya vacanamanukūlam |
virahamivāpanayāmi payodhararodhakamurasi dukūlam || a pa 23-3
pa cche- vadana sudhā nidhi galitam amṛtam iva racaya vacanam anukūlam viraham iva apanayāmi payodhara rodhakam urasi dukūlam
a pa 23-3. vadana= from [your] face; sudhaa+nidhi= nectar's, treasure of - moon; galitam+ amR^itam + iva= slither, nectar, like [sthitam= available before me]; rachaya+anukuulam+ vachanam= make [say something,] heartening, words; [tava= on your]; urasi= on bust; payodhara+ rodhakam= for bosoms, [here] covering; [ellipt] payodhara= for swelling bosoms; rodhakam= obstructing, bridle like; dukuulam = piece of cloth; viraham+iva= [your] anguish in separation, like; apanayaami= I am detaching; [a love's bosoms will be swelling when she is anguishing in separation for her lover.]
"Say something Raadha, and let heartily nectarean words slither from that moonlike face yours... and this piece of your breast cloth which so far served as a bridle on your swelling bosoms, this I am removing along with your anguish in separation from me... hence, follow the mover of beings for a while, as he is well-disposed to you... [a pa 23-3]
priyaparira.mbhaNarabhasavalitamiva pulakitamatiduravaapam |
madurasi kuchakalasham viniveshaya shoshhaya manasijataapam || a pa 23-4
pa cChe- priya parira.mbhaNa rabhasa valitam iva pulakitam ati duravaapam mat urasi kucha kalasham viniveshaya shoSaya manasija taapam
प्रियपरिरंभणरभसवलितमिव पुलकितमतिदुरवापम्।
मदुरसि कुचकलशम् विनिवेशय शोषय मनसिजतापम्॥ अ प २३-४
priyapariraṁbhaṇarabhasavalitamiva pulakitamatiduravāpam |
madurasi kucakalaśam viniveśaya śoṣaya manasijatāpam || a pa 23-4
pa cche- priya pariraṁbhaṇa rabhasa valitam iva pulakitam ati duravāpam mat urasi kuca kalaśam viniveśaya śoṣaya manasija tāpam
a pa 23-4. priya+parira.mbhaNa= lover, for tight embrace; rabhasa+valitam+iva= bustle, added, as if; pulakitam= thrilling; ati+duravaapam= highly, unbearable [bulging]; kucha+ kalasham= bosoms, pot-like; mat+urasi+viniveshaya= on my, chest, keep; shoSaya+manasija+ taapam= lessen, Love-god's, scorching.
"Those highly bulging bosoms of yours now look as if a bustling is added to them for a tight embrace of lover, hence, keep them on the chest of mine to lessen the scorch of Love-god... [a pa 23-4]
adharasudhaarasamupanaya bhaamini jiivaya mR^itamiva daasam |
tvayi vinihitamanasam virahaanaladagdhavapuSamavilaasam || a pa 23-5
pa cChe- adhara sudhaa rasam upanaya bhaamini jiivaya mR^itam iva daasam tvayi vinihita manasam viraha anala dagdha vapuSam a vilaasam
अधरसुधारसमुपनय भामिनि जीवय मृतमिव दासम्।
त्वयि विनिहितमनसम् विरहानलदग्धवपुषमविलासम्॥ अ प २३-५
adharasudhārasamupanaya bhāmini jīvaya mṛtamiva dāsam |
tvayi vinihitamanasam virahānaladagdhavapuṣamavilāsam || a pa 23-5
pa cche- adhara sudhā rasam upanaya bhāmini jīvaya mṛtam iva dāsam tvayi vinihita manasam viraha anala dagdha vapuṣam a vilāsam
a pa 23-5. bhaamini= oh, dear; adhara+sudhaa+rasam+upanaya= lip's, nectarean, essence, get me [let me get]; tvayi+vinihita+manasam= in you, kept [hinged one,] with heart; viraha+anala+ dagdha+ vapuSam = separation, fire, burnt, with body; a+vilaasam= without, blithe; mR^itam+ iva= dead one, like, [sthitam= available, lingering one]; daasam+jiivaya= devotee, let live.
"Oh, dear, let me get the nectarean essence of your lips, as my heart is hinged on you, my body is burnt with the fire of our separation, and I am lingering on like a deadpan without any blithesomeness, hence let your devotee live... [a pa 23-5]
shashimukhi mukharaya maNirashanaaguNamanuguNakaNThanidaanam |
shrutiyugale pikarutavikale mama shamaya chiraadavasaadam || a pa 23-6
pa cChe- shashi mukhi mukharaya maNi rashanaa guNam anuguNa kaNTha nidaanam shruti yugale pika ruta vikale mama shamaya chiraat avasaadam
शशिमुखि मुखरय मणिरशनागुणमनुगुणकण्ठनिदानम्।
श्रुतियुगले पिकरुतविकले मम शमय चिरादवसादम्॥ अ प २३-६
śaśimukhi mukharaya maṇiraśanāguṇamanuguṇakaṇṭhanidānam |
śrutiyugale pikarutavikale mama śamaya cirādavasādam || a pa 23-6
pa cche- śaśi mukhi mukharaya maṇi raśanā guṇam anuguṇa kaṇṭha nidānam śruti yugale pika ruta vikale mama śamaya cirāt avasādam
a pa 23-6. hè shashi mukhi= oh, moon, faced one; anuguNa= in tune with; kaNTha+nidaanam= throat's, voicing [utterances]; maNi+rashanaa+guNam= jewelled, waist-strings, chains; mukharaya= let sound, let tinkle [ by this a vipariita surata called - hamsa liila is said]; pika+ ruta+vikale= koels, by callings, roughened; mama+shruti+yugale= in my, ears, pair of; chiraat= for a long time; avasaadam= sinking sensation; shamaya= pacify.
"Oh, moonfaced Raadha let the chains of bejewelled waste-strings of yours tinkle in tune with your utterances, and let the long time sinking sensation in the pair of my ears, caused and roughened by the callings of koels, be pacified by your utterances... [a pa 23-6]
maamativiphalarushhaa vikaliikR^itamavalokitumadhunedam |
miilitalajjitamiva nayanaM tava virama visR^ija ratikhedam || a pa 23-7
pa cChe- maam ati viphala ruSaa vikalii kR^itam avalokitum adhunaa idam miilati lajjitam iva nayanam tava virama visR^ija ratikhedam
मामतिविफलरुषा विकलीकृतमवलोकितुमधुनेदम्।
मीलितलज्जितमिव नयनं तव विरम विसृज रतिखेदम्॥ अ प २३-७
māmativiphalaruṣā vikalīkṛtamavalokitumadhunedam |
mīlitalajjitamiva nayanaṁ tava virama visṛja ratikhedam || a pa 23-7
pa cche- mām ati viphala ruṣā vikalī kṛtam avalokitum adhunā idam mīlati lajjitam iva nayanam tava virama visṛja ratikhedam
a pa 23-7. ati+viphala+ruSaa= with highly, unavailing, anger; vikalii+kR^itam+maam+ avalokitum= agitated one, made as, at me, to see; [tava= your]; idam+nayanam= this, eye; adhunaa+lajjitam+iva= presently, shying, as if; miilati= closing, down casting; virama= leave [that downcast glance]; visR^ija+ rati khedam= leave off, disquietude in love.
"You made me an agitated soul with your highly unavailing anger, and to see me, an agitated one, your eyes are presently downcast their glances... but, leave that downcast glance and leave off disquietude in love... [a pa 23-7]
shriijayadevabhaNitamidamanupadanigaditamadhuripumodam |
janayatu rasikajaneshhu manoramaratirasabhaavavinodam || a pa 23-8
pa cChe- shrii jayadeva bhaNitam idam anupada nigadita madhu ripu modam janayatu rasika janeSu manorama rati rasa bhaava vinodam || 12-2
श्रीजयदेवभणितमिदमनुपदनिगदितमधुरिपुमोदम्।
जनयतु रसिकजनेषु मनोरमरतिरसभावविनोदम्॥ अ प २३-८
śrījayadevabhaṇitamidamanupadanigaditamadhuripumodam |
janayatu rasikajaneṣu manoramaratirasabhāvavinodam || a pa 23-8
pa cche- śrī jayadeva bhaṇitam idam anupada nigadita madhu ripu modam janayatu rasika janeṣu manorama rati rasa bhāva vinodam || 12-2
a pa 23-8. shrii+jayadeva+bhaNitam= auspicious [saying,] Jayadeva, said by; anu+pada= in every, foot; ni+gadita= emphatically, said; madhu ripu= Krishna's; modam= gladness; idam= this song; rasika janeSu= among romantic, people; manorama= heart-pleasing; rati rasa bhaava vinodam = romantic enjoyment mood of, merriment; janayatu= let cause.
"This auspicious song rendered by Jayadeva emphatically lays down in each foot about what causes gladness to Krishna, hence let this song heart-pleasingly romanticise the moods of romantic people... [a pa 23-8]
pratyuuhaH pulakaa.nkureNa nibiDaashleSanimeSeNa ca
kriiDaakuuta vilokite adhara sudhaa paane kathaa narmabhi |
aanandaadhigamena manmathakalaayuddhe.api yasminaabhuut
udbhuutassatayorbabhuuvasurataara.mbhaH priya.mbhaavukaH || 12-3
pa cChe- pratyuuhaH pulaka a.nkureNanibiDa aashleSa nimeSeNa ca kriiDa aakuuta vilokite adhara sudhaa paane kathaa narmabhi aananda adhigamenamanmatha kalaa yuddhe api yasmin aabhuut udbhuutaH saH tayoH babhuuva surata ara.mbhaH priya.m bhaavukaH
प्रत्यूहः पुलकांकुरेण निबिडाश्लेषनिमेषेण च
क्रीडाकूत विलोकिते अधर सुधा पाने कथा नर्मभि।
आनन्दाधिगमेन मन्मथकलायुद्धेऽपि यस्मिनाभूत्
उद्भूतस्सतयोर्बभूवसुरतारंभः प्रियंभावुकः॥ १२-३
pratyūhaḥ pulakāṁkureṇa nibiḍāśleṣanimeṣeṇa ca
krīḍākūta vilokite adhara sudhā pāne kathā narmabhi |
ānandādhigamena manmathakalāyuddhe'pi yasminābhūt
udbhūtassatayorbabhūvasuratāraṁbhaḥ priyaṁbhāvukaḥ || 12-3
pa cche- pratyūhaḥ pulaka aṁkureṇanibiḍa āśleṣa nimeṣeṇa ca krīḍa ākūta vilokite adhara sudhā pāne kathā narmabhi ānanda adhigamenamanmatha kalā yuddhe api yasmin ābhūt udbhūtaḥ saḥ tayoḥ babhūva surata araṁbhaḥ priyaṁ bhāvukaḥ
12-3. This verse is titled as surataarambha candra haasam : yasmin= wherein [in which romance]; nibiDa+aaSleSa= in tight, embrace; pulaka+ a.nkureNa= hair, sprouts [thrills of body, or by the word sprout, a blade of grass coming in between them in their embrace, is a hurdle]; kriiDa+aakuuta+vilokite= in sports, intentionally, while seeing [at each other]; nimeSeNa + ca= by winking, also; adhara+sudhaa+paane= lips', nectar, while swilling; kathaa+ narmabhiH= tales, secret; manmatha+kalaa+yuddhe+api= Love-god's, art, war of; aananda+ adhigamena= in pleasure, deriving; pratyuuhaH+aabhuut= obstacles, occurred; saH= that; tayoH = to two of them, Raadha Krishna; udbhuuta+surata+ aara.mbhaH= bechanced, starting of romance; priya.m+bhaavukaH+babhuuva= highly, desirable, they became.
In which romance some obstacles have occurred, like body thrills while in tight embrace, or winking while intently looking at each other, or when telling a secret tale while swilling the nectar of lips, or even in deriving pleasure during the art of love-war, those obstacles too, have become highly desirable onesto both of them, for they are brief separations in union. [12-3]
dorbhyaam sa.myamitaH payodharabhaareNaapiiDitaH paaNijaiH
aaviddho dashanaiH kshataadharapuTaH shroNitaTeanaahataH |
hastenaanamitaH kace.adharamadhusya.ndena sammohitaH
kaantaH kaamapitR^iptimaapatadaho kaamasya vaamaagatiH || 12-4
pa cChe- dorbhyaam sa.myamitaH payodhara bhaareNa aapiiDitaH paaNijaiH aaviddho dashanaiH kshataa adhara puTaH shroNi taTena aahataH hastena aanamitaH kace adhara madhu sya.ndena sammohitaH kaantaH kaam api tR^iptim aapa tat aho kaamasya vaamaagatiH
दोर्भ्याम् संयमितः पयोधरभारेणापीडितः पाणिजैः
आविद्धो दशनैः क्शताधरपुटः श्रोणितटेनाहतः।
हस्तेनानमितः कचेऽधरमधुस्यंदेन सम्मोहितः
कान्तः कामपितृप्तिमापतदहो कामस्य वामागतिः॥ १२-४
dorbhyām saṁyamitaḥ payodharabhāreṇāpīḍitaḥ pāṇijaiḥ
āviddho daśanaiḥ kśatādharapuṭaḥ śroṇitaṭeanāhataḥ |
hastenānamitaḥ kace'dharamadhusyaṁdena sammohitaḥ
kāntaḥ kāmapitṛptimāpatadaho kāmasya vāmāgatiḥ || 12-4
pa cche- dorbhyām saṁyamitaḥ payodhara bhāreṇa āpīḍitaḥ pāṇijaiḥ āviddho daśanaiḥ kśatā adhara puṭaḥ śroṇi taṭena āhataḥ hastena ānamitaḥ kace adhara madhu syaṁdena sammohitaḥ kāntaḥ kām api tṛptim āpa tat aho kāmasya vāmāgatiḥ
12-4. This verse is titled as kaama tR^ipta kaaminiii haasam : dorbhyaam+samyamitaH = by both arms, fastened;payodhara+bhareNa+aapiiDitaH=by bosoms, weight, burdened; paaNi +jaiH= by hand, born ones - nails; aaviddhaH= scratched; dashanaiH+ kshataa+adhara+ puTaH = by teeth, bitten, lips, edges; shroNi+taTena= river, banks [riverbank like hips]; aahataH = pounded;hastena+anamitaH+kace= by hand, pulled, hair; adhara+madhu+syandena + sammohitaH = lips, honey [liquor,] by flow of, bemused; kaantaH= lover [Krishna]; kaam+api = somewhat, something - unsayable; tR^iptim+aapa= satisfaction, he got; tat= thereby; aho +kaamasya+vaamaa+gatiH= aho, Love-god's, left [hence, what an unspeakable deviant] behaviour.
Fastened by both arms, burdened under bosoms' weight, scratched by nails, bitten by teeth at lips, pounded by riverbanks like hips, pulled by head-hair by hand to bend face to pour liquor-like honey of lips... huh... even if tortures of love are many, her lover is deriving some unsayable satisfaction... aho, unspeakable is the deviant behaviour of Love-god... isn't so? [12-4]
Comment: The torture imposed on a slave, like fastening, overburdening under weight, lashes and scratches, pulling head hair etc., is imposed in respect of god, as that punishment can be imposed by any his devotee, for that god will be found and catchable after a long time search.
vaamaa.nke ratikelisa.nkularaNaara.mbhetayaa saahasa - praa
yam kaa.ntajayaayaki.nciduparipraara.mbhiyatsa.mbhramaat |
niSpandaa jaghanasthalii shithilitaaa dorvallirutkampitam
vaksho militamakshi pauruSarasaH striiNaam kutassidhyati || 12-5
pa cChe- vaama a.nke rati keli sa.nkula raNa aara.mbhe tayaa saahasa praayam kaa.nta jayaaya ki.ncit upari praara.mbhi yat sa.mbhramaat niSpandaa jaghana sthalii shithilitaaa dorvalliH utka.mpitam vaksho militam akshi pauruSa rasaH striiNaam kutaH sidhyati
वामांके रतिकेलिसंकुलरणारंभेतया साहस - प्रा
यम् कांतजयायकिंचिदुपरिप्रारंभियत्संभ्रमात्।
निष्पन्दा जघनस्थली शिथिलिता दोर्वल्लिरुत्कम्पितम्
वक्शो मिलितमक्शि पौरुषरसः स्त्रीणाम् कुतस्सिध्यति॥ १२-५
vāmāṁke ratikelisaṁkularaṇāraṁbhetayā sāhasa - prā
yam kāṁtajayāyakiṁcidupariprāraṁbhiyatsaṁbhramāt |
niṣpandā jaghanasthalī śithilitāa dorvallirutkampitam
vakśo militamakśi pauruṣarasaḥ strīṇām kutassidhyati || 12-5
pa cche- vāma aṁke rati keli saṁkula raṇa āraṁbhe tayā sāhasa prāyam kāṁta jayāya kiṁcit upari prāraṁbhi yat saṁbhramāt niṣpandā jaghana sthalī śithilitāa dorvalliḥ utkaṁpitam vakśo militam akśi pauruṣa rasaḥ strīṇām kutaḥ sidhyati
12-5. This verse is titled as pauruSa rasa prema vilaasham : yat= by which reason; vaama+a.nke= from left, flank; tayaa= by her; rati+keli+sa.nkula raNa+aara.mbhe= love, sports, huddle, war, started; kaa.nta+jayaaya= lover, to conquer; sa.mbhramaat= frenziedly [or, ecstatically]; saahasa+praayam= venturing, overbearingly; upari+ki.ncit+praara.mbhi= on him, for a while, commenced; [tat= by that reason]; jaghana+ sthalii+niSpandaa= hips, area, unmoved; dorvalliH+shithilitaaa= tendril like arms, caved in; vakshaH+utka.mpitam= bust, throbbed [breathless]; akshi+militam= eyes, drooped; striiNaam= for women; pauruSa+rasaH = manly, mood [intrusiveness]; kutaH+sidhyati= from where, accessible.
By which reason she rose from his left flank, and commenced huddle of love-war on him for a while like a sport in a frenzied, venturing, and overbearing manner, aiming only to conquer her lover, for that reason alone, unmoved is her hip, tendril like arms caved in, bust throbbed breathlessly, and her eyes drooped... wherefrom women can attain manly intrusiveness! [12-5]
tasyaaH paaTalapaaNijaa.nkitamuro nidraakaSaaye dR^ishau
nirdhauto.adharashoNimaavilulitaH srastaaH srajomuurdhajaaH |
kaanciidaama darashlathaa.ncalamiti praatarnikhaatairdR^ishoH
ebhiH kaamasharaistadadbhutamabhuut patyurmanaH kiilitam || 12-6
pa cChe- tasyaaH paaTala paaNija a.nkitam uro nidraa kaSaaye dR^ishau nirdhautaH adhara shoNimaa vilulitaH srastaaH srajaH muurdhajaaH kaa.ncii daama dara shlatha a.ncalam iti praataH nikhaataiH dR^ishoH ebhiH kaama sharaiH tat adbhutam abhuut patyuH manaH kiilitam
तस्याः पाटलपाणिजांकितमुरो निद्राकषाये दृशौ
निर्धौतोऽधरशोणिमाविलुलितः स्रस्ताः स्रजोमूर्धजाः।
कान्चीदाम दरश्लथांचलमिति प्रातर्निखातैर्दृशोः
एभिः कामशरैस्तदद्भुतमभूत् पत्युर्मनः कीलितम्॥ १२-६
tasyāḥ pāṭalapāṇijāṁkitamuro nidrākaṣāye dṛśau
nirdhauto'dharaśoṇimāvilulitaḥ srastāḥ srajomūrdhajāḥ |
kāncīdāma daraślathāṁcalamiti prātarnikhātairdṛśoḥ
ebhiḥ kāmaśaraistadadbhutamabhūt patyurmanaḥ kīlitam || 12-6
pa cche- tasyāḥ pāṭala pāṇija aṁkitam uro nidrā kaṣāye dṛśau nirdhautaḥ adhara śoṇimā vilulitaḥ srastāḥ srajaḥ mūrdhajāḥ kāṁcī dāma dara ślatha aṁcalam iti prātaḥ nikhātaiḥ dṛśoḥ ebhiḥ kāma śaraiḥ tat adbhutam abhūt patyuḥ manaḥ kīlitam
12-6. This verse is titled as kaamaadbhuta abhinava mR^igaanka lekham : tasyaaH+ uraH= her, chest; paaTala+paaNija+a.nkitam= by red, fingernails, scratched [by this redness, the red flower called paaTala, one of the flower-arrows of Manmatha, is cited dR^ishau+ nidraa + kaSaaye= eyes [eyeballs,] by sleeplessness, reddened by this redness, the red lotus arrow of Love-god is cited adhara+ shoNimaa+nirdhautaH= lips, redness, washed out by this redness, the red mehendi, a red flower from the plant that gives leaves to reddened decoration to palms, is said. The flower of this plant is another arrow of Love-god muurdha jaaH+vilulitaH = head hair, tousled; srastaaH+srajaH= slithered, sprays of flowers; kaa.ncii daama+dara+ shlatha + a.ncalam= golden waist-strings, a little, slipped, at edges by this gold of waistband the golden coloured flower arrow, the fifth arrow of Love-god is cited ; iti= this way; praataH= in early morning; dR^ishoH+nikhaataiH= in glances, shafted; ebhiH+kaama+ sharaiH = by these, Love-god's, arrows; patyuH+manaH= husband's [Krishna's,] heart; kiilitam = torn; tat+adbhutam+abhuut= that, a wonder, happened again.
Her chest bore red scratches scratched with red fingernails, and her eyes reddened by sleeplessness, roseate colour of lips is washed out, hair tousled, flower-sprays in bun slithered, golden waist-string loosened and dangling, all owing to the shafts of Love-god... but when her husband caught sight of such an arrow-stuck love on the next morning, those very same arrows presently stuck in her body are now shafted and stuck in his eyes... isn't it not doubly wondrous... [12-6]
Comment: One mms said to contain one more verse after this, reading:
tvaam apraapya mayi svayamvaraparaam kshiirodatiirodare |
sha.nke su.ndari kaalakuuTam apiban muuDho mR^iDaanii patiH |
ittham purva kathaabhiH asya manao nikshipya vaamaa.ncalam |
taadhaayaaH stanakorakoparicalan netro hariH paatu vaH ||
त्वाम् अप्राप्य मयि स्वयम्वरपराम् क्शीरोदतीरोदरे।
शंके सुंदरि कालकूटम् अपिबन् मूढो मृडानी पतिः।
इत्थम् पुर्व कथाभिः अस्य मन निक्शिप्य वामांचलम्।
ताधायाः स्तनकोरकोपरिचलन् नेत्रो हरिः पातु वः॥
tvām aprāpya mayi svayamvaraparām kśīrodatīrodare |
śaṁke suṁdari kālakūṭam apiban mūḍho mṛḍānī patiḥ |
ittham purva kathābhiḥ asya manao nikśipya vāmāṁcalam |
tādhāyāḥ stanakorakoparicalan netro hariḥ pātu vaḥ ||
vyaakoshaH keshapaashastaralitamalakaiH svedamokshaukapolau
kliSTaa bi.mbaadharashriiH kucalasharucaahaaritaahaarayaSTiH |
kaa.nciikaantirhataashaa stanajaghanapada.mpaaNinaacChadyasadyaH
pashya.ntii satrapaa.ntadapi vilulitaa mugdhakantirdhinoti || 12- 7
pa cChe- vyaakoshaH kesha paashaH taralitam alakaiH sveda mokshau kapolau kliSTaa bi.mba adhara shriiH kucala sharucaa haaritaa haara yaSTiH kaa.ncii kaantiH hata aashaa stana jaghana pada.m paaNinaa aacChadya sadyaH pashya.ntii satrapaan tat api vilulitaa mugdha kantiH dhinoti
व्याकोशः केशपाशस्तरलितमलकैः स्वेदमोक्शौकपोलौ
क्लिष्टा बिंबाधरश्रीः कुचलशरुचाहारिताहारयष्टिः।
कांचीकान्तिर्हताशा स्तनजघनपदंपाणिनाच्छद्यसद्यः
पश्यंती सत्रपांतदपि विलुलिता मुग्धकन्तिर्धिनोति॥ १२- ७
vyākośaḥ keśapāśastaralitamalakaiḥ svedamokśaukapolau
kliṣṭā biṁbādharaśrīḥ kucalaśarucāhāritāhārayaṣṭiḥ |
kāṁcīkāntirhatāśā stanajaghanapadaṁpāṇinācchadyasadyaḥ
paśyaṁtī satrapāṁtadapi vilulitā mugdhakantirdhinoti || 12- 7
pa cche- vyākośaḥ keśa pāśaḥ taralitam alakaiḥ sveda mokśau kapolau kliṣṭā biṁba adhara śrīḥ kucala śarucā hāritā hāra yaṣṭiḥ kāṁcī kāntiḥ hata āśā stana jaghana padaṁ pāṇinā ācchadya sadyaḥ paśyaṁtī satrapān tat api vilulitā mugdha kantiḥ dhinoti
12-7. vyaakoshaH+kesha+paashaH= unloosened, hair, braids; taralitam+alakaiH= moving [unruly,] hair locks sveda+mokshau+kapolau= sweat, releasing, cheeks; kliSTaa+ bi.mba + adhara+shriiH= faded, red, lips, splendour; kucala sharucaa= pot-like bosoms [luxury ]; haaritaa+haara+yaSTiH= stolen, by pearly, pendants [the lustre of pearly pendants is submerged in her body colour, as there is no bodice]; kaa.ncii+kaantiH+hata+aashaa= waist-string's, brilliance, marred, at hope; stana jaghana pada.m= bust, waist, places; sadyaH= then; paaNinaa+aacChadya= by hands, covering; pashya.ntii+satrapaan= glancing, embarrassedly; mugdha+kantiH= one with beautiful, resplendence; saa = she that Raadha; tat+ vilulitaa+api= by that, untidy, even; dhinoti= gladdening [Krishna.]
Her braid unloosened, hair-locks unruly, cheeks sweating, red splendour of lips faded, hue of pearl-pendants merged with body colour, hopeless is the golden brilliance of waist-string, and such a Raadha then started to glance embarrassedly, covering her bust and hips with hands and arms, and though 'that' rendered her that untidy, she is gladdening Krishna with her own beautiful resplendence. [12-7]
iiSanmlitadR^iSTi mugdhavilasatsiitkaaradhaaraavashaat
avyaktaakulakelikaakuvikasadda.ntaa.mshudhautaadharam |
shaa.ntastabdhapayodharam bhR^ishapariSva.ngaatkura.ngiidR^ishau
harSotkarSavimuktanissahatanordhanyodhayatyaananam || 12-8
pa cChe - iiSat milita dR^iSTi mugdha vilasat siitkaara dhaaraa vashaat avyakta aakula keli kaaku vikasat da.nta a.mshu dhauta adharam shaa.nta stabdha payodharam bhR^isha pariSva.ngaat kura.ngii dR^ishau harSa utkarSa vimukta nissaha tanoH dhanyaH dhayati aananam
ईषन्म्लितदृष्टि मुग्धविलसत्सीत्कारधारावशात्
अव्यक्ताकुलकेलिकाकुविकसद्दंतांशुधौताधरम्।
शांतस्तब्धपयोधरम् भृशपरिष्वंगात्कुरंगीदृशौ
हर्षोत्कर्षविमुक्तनिस्सहतनोर्धन्योधयत्याननम्॥ १२-८
īṣanmlitadṛṣṭi mugdhavilasatsītkāradhārāvaśāt
avyaktākulakelikākuvikasaddaṁtāṁśudhautādharam |
śāṁtastabdhapayodharam bhṛśapariṣvaṁgātkuraṁgīdṛśau
harṣotkarṣavimuktanissahatanordhanyodhayatyānanam || 12-8
pa cche - īṣat milita dṛṣṭi mugdha vilasat sītkāra dhārā vaśāt avyakta ākula keli kāku vikasat daṁta aṁśu dhauta adharam śāṁta stabdha payodharam bhṛśa pariṣvaṁgāt kuraṁgī dṛśau harṣa utkarṣa vimukta nissaha tanoḥ dhanyaḥ dhayati ānanam
12-8. dhanyaH= he [that Krishna is] highly merited soul; harSa+utkarSa+vimukta+ nissaha+ tanoH= by gladness, by ecstasy, released, impatient, with such a physique [physique of Raadha]; kura.ngii+ dR^ishau = one with deer like, glances; iiSat+milita+dR^iSTi= a little, closed, sight; mugdha+vilasat+ siitkaara+dhaaraa+vashaat = girlish, elating, sighs, series, controlled; avyakta+aakula+keli+kaaku= unclear, flurried, in sport, murmurs; vikasat+da.nta+ a.mshu+dhauta+adharam= brightening, teeth's, glitter, washed, lower lip; aananam= a face [having such a glittering teeth]; bhR^isha+pariSva.ngaat= by tight, hugging; shaa.nta+stabdha +payodharam= silenced, quietened, bosoms; dhayati= one who swills [kisses] such a beauty.
Krishna tightly embraced the deer-like glanced Raadha who is released from the ecstatic impatience owing to her gladness to meet Krishna and whose bosoms are silenced and quietened, little closed are her eyes, a series of girlishsighs are controlling her, she is emitting unclear and flurried murmurs, and her face is awash with the gleam of sparkles of her teeth, hence he who kissed such a beauteous face that Krishna is the highly merited soul. [12-8]
atha sahasaa supriitam surataa.ntesaanitaantakhinnaa.ngii |
raadhaa jagaada saadaramidamaana.ndena govi.ndam || 12- 9
pa cChe- atha sahasaa supriitam surata ante saa nitaanta khinna a.ngii raadhaa jagaada saadaram idam aana.ndena govi.ndam
अथ सहसा सुप्रीतम् सुरतांतेसानितान्तखिन्नांगी।
राधा जगाद सादरमिदमानंदेन गोविंदम्॥ १२- ९
atha sahasā suprītam suratāṁtesānitāntakhinnāṁgī |
rādhā jagāda sādaramidamānaṁdena goviṁdam || 12- 9
pa cche- atha sahasā suprītam surata ante sā nitānta khinna aṁgī rādhā jagāda sādaram idam ānaṁdena goviṁdam
12-9. atha= then; saa+raadhaa= she, that Raadha; surata+ante= act, at end of; nitaanta +khinna+a.ngii= absolutely, tired, with limbs; sahasaa= quickly [for, she cannot be in that shabby condition, and she is now helpless to decorate herself with a presentable getup]; supriitam+govi.ndam= to gladdened, Govinda; aana.ndena= with [her own] gladness; idam= this sentence; saadaram+jagaada= with tenderness, said.
Then, she that Raadha, whose limbs are absolutely tired after the act, quickly said this to the gladdener of all beings, namely Govinda, intermingling her own gladness.
aSTa padi -24- supriitapiitaa.mbarataalashrNi -
kuru yaduna.ndana cha.ndanashishiratareNakareNapayodhare |
mR^igamadapatrakamatra manobhavama~Ngalakalashasahodare |
nijagaada saa yaduna.ndane
kriiDati hR^idayaana.ndane - dhR^ivam || a pa 24-1
pa cChe- kuru yadu na.ndana cha.ndana shishira tareNa kareNa payodhare mR^iga mada patrakam atra manobhava ma~Ngala kalasha sahodare nijagaada saa yadu na.ndane kriiDati hR^idaya ana.ndane
अष्ट पदि -२४- सुप्रीतपीतांबरतालश्र्णि -
कुरु यदुनंदन चंदनशिशिरतरेणकरेणपयोधरे।
मृगमदपत्रकमत्र मनोभवमङ्गलकलशसहोदरे।
निजगाद सा यदुनंदने
क्रीडति हृदयानंदने - धृवम्॥ अ प २४-१
aṣṭa padi -24- suprītapītāṁbaratālaśrṇi -
kuru yadunaṁdana caṁdanaśiśiratareṇakareṇapayodhare |
mṛgamadapatrakamatra manobhavamaṅgalakalaśasahodare |
nijagāda sā yadunaṁdane
krīḍati hṛdayānaṁdane - dhṛvam || a pa 24-1
pa cche- kuru yadu naṁdana caṁdana śiśira tareṇa kareṇa payodhare mṛga mada patrakam atra manobhava maṅgala kalaśa sahodare nijagāda sā yadu naṁdane krīḍati hṛdaya anaṁdane
a pa 24-1. saa= she that Raadha; hR^idaya+ana.ndane= to hearts, delighter [Krishna]; yadu + na.ndane= Yadu clan's, delight [Krishna]; kriiDati= when he is disporting, enjoyiong [archaic. relaxation]; ni+jagaada= insistently, spoke; hè yadu na.ndana= o, Yadu's son [Krishna ]; cha.ndana= sandal-paste shishira+tareNa= dew, [cooler] than; kareNa= with palms; mano bhava= mind born one, Love-god's [place of]; ma~Ngala+kalasha+sahodare= auspicious, vessel's, co-birthed [where these vessels are two, one - full with nectar brought by Dhanvantari during the churning of Milk Ocean, and some drops of which fell on earth when Garuda was bringing it, thereby those drops sprinkled on herbs and plants, making them useful for medicinal use; the other - Goddess Lakshmi herself as she emerged out of the same ocean. As a symbolic representation for Lakshmi Devi, a vessel decorated with sandal paste, anong with water, milk, leafs, sacred rice etc, will be arranged in the first instance of any worship. Here, Raadha is identifying herself as a co-born one to Lakshmi from Milky Ocean, or with the vessel of nectar brought by Dhanvantari]; atra+payodhare = there, on those [nectarous] bosoms; mR^iga+mada= musk-deer's, fat- musk; patrakam= foliage; kuru= make, paint.
When Krishna is enjoying himself she that Raadha insistently spoke this to the delighter of hearts and the clan of Yadu, "paint musky foliages on my bosoms, the abode of Love-god, and the co-born ones to auspicious vessel, O the delight of Yadu's clan, paint on them with your own palms that are cooler than the sandal-paste... [a pa 24-1]
Comment: In all these bits of songs Krishna is addressed as a makeup artist, or a hairdresser, or as a painter etc. It does not matter. Heroes are supposed to know how women decorated, paint faces, dress etc., because they are supposed to be experts in all sixty-four arts catuH shaSTi kalaa prapuurNa. In Ramayana when Kaika gives a dress usable for forest dwelling to Seetha, Seetha is at loss to understand as to how to wear it. Then Rama winds that sari around her detailing how to secure it, before all women in palace-chambers, who are jerking tears for the misfortune bechganced on the topmost princes like Seetha.
And in audios or dances on this song, we will be usually listening nijagaa dha saa instead of nijagaada saa i.e., adding a stress to dha that stress is a singer's or dancer's delight, to make a heel tap in dance movement with that stress.
alikulaga.njanama.njanakam ratinaayakasaayakamochane |
tvadadharachu.mbanala.mbitakajjala ujjvalaya priya lochane || 24-2
pa cChe- ali kula ga.njanakam a.njanakam rati naayaka saayaka mochane tvat adhara cu.mbana la.mbita kajjala ujjvalaya priya lochane
अलिकुलगंजनमंजनकम् रतिनायकसायकमोचने।
त्वदधरचुंबनलंबितकज्जल उज्ज्वलय प्रिय लोचने॥ २४-२
alikulagaṁjanamaṁjanakam ratināyakasāyakamocane |
tvadadharacuṁbanalaṁbitakajjala ujjvalaya priya locane || 24-2
pa cche- ali kula gaṁjanakam aṁjanakam rati nāyaka sāyaka mocane tvat adhara cuṁbana laṁbita kajjala ujjvalaya priya locane
a pa 24-2. hè priye= o, dear; rati+naayaka= love, hero [Love-god]; saayaka+mochane= arrows, that release [i.e., that which release sidelong-glances as effective a Love-god's arrows, my eyes]; tvat+adhara+ cumbana+lambita= by your, lip, while kissing, dangled [stippled]; kajjala= mascara; lochane= on such eyes; ali+kula= honeybees, swarms of; ga.njanam= that belies; a.njanakam= mascara; ujjvalaya= brighten up.
"My eyes release sidelong-glances that are akin to the arrows of Love-god, but when you kissed them their mascara is stippled, Oh, dear, brighten them up, with such mascara that belies the blackness of swarms of honeybees... [a pa 24-2]
nayanakura.ngatara.ngavikaasaniraasakare shrutimaNDale |
manasijapaashavilaasadhare shubhavesha niveshaya kuNDale || a pa 24-3
pa cChe- nayana kura.nga tara.nga vikaasa niraasa kare shruti maNDale manasija paasha vilaasa dhare shubha vesha niveshaya kuNDale
नयनकुरंगतरंगविकासनिरासकरे श्रुतिमण्डले।
मनसिजपाशविलासधरे शुभवेश निवेशय कुण्डले॥ अ प २४-३
nayanakuraṁgataraṁgavikāsanirāsakare śrutimaṇḍale |
manasijapāśavilāsadhare śubhaveśa niveśaya kuṇḍale || a pa 24-3
pa cche- nayana kuraṁga taraṁga vikāsa nirāsa kare śruti maṇḍale manasija pāśa vilāsa dhare śubha veśa niveśaya kuṇḍale
24-3. shubha+vesha= oh, auspiciously, attired one; nayana+kura.nga= eyes, [called] deer; tara.nga +vikaasa= springing, encouraging [freeness]; niraasa+kare= hopeless, makers; manasija+paasha+ vilaasa+ dhare= Love-god's, reins, with an air, bearing; shruti+maNDale= on ear, areas [lobes]; kuNDale+ niveshaya = knobby earrings, restore.
"My ears make the springing freeness of my deer-like glances of my eyes hopeless by reining them, O auspiciously attired one, restore knobby earrings on those ears that bear an air of Love-god's reins... [24-3]
bhramarachayam racahaya.ntamupari ruchiram suchiram mama sanmukhe |
jitakamale vimale parikarmaya narmajanakamalakam mukhe || a pa 24-4
pa cChe- bhramara chayam racahaya.ntam upari ruchiram suchiram mama sanmukhe jita kamale vimale parikarmaya narma janakam alakam mukhe
भ्रमरचयम् रचहयंतमुपरि रुचिरम् सुचिरम् मम सन्मुखे।
जितकमले विमले परिकर्मय नर्मजनकमलकम् मुखे॥ अ प २४-४
bhramaracayam racahayaṁtamupari ruciram suciram mama sanmukhe |
jitakamale vimale parikarmaya narmajanakamalakam mukhe || a pa 24-4
pa cche- bhramara cayam racahayaṁtam upari ruciram suciram mama sanmukhe jita kamale vimale parikarmaya narma janakam alakam mukhe
24-4. hè kamala aanana= O, lotus-faced Krishna [ellipted from next song]; jita+kamale+vimale = conquered [more,] lotus [in full bloom,] in immaculacy; mama+ mukhe+ upari= my, face, over; suchiram= always; bhramara+chayam= honeybees, swarms of; racahaya.ntam= crafted, designed [iva sthitam= as if, staying]; narma+janakam= lure, causing; ruchiram+alakam= beautiful, hair-locks; sanmukhe= before me [standing before me, so that I can be in your close proximity - proximity is the wish than adjusting hair-locks]; parikarmaya= make [readjust.]
"My face is more immaculate than a lotus in full boom and it always had luring and beautiful hair-locks crafted like swarms of honeybees, O, lotus-faced one, readjust them standing before me... [24-4]
mR^igamadarasavalitam lalitam kuru tilakamalikarajaniikare |
vihitakala.nkakalam kamalaanana vishramitashramashiikare || a pa 24-5
pa cChe- mR^iga mada rasa valitam lalitam kuru tilakam alika rajanii kare vihita kala.nka kalam kamala anana vishramita shrama shiikare
मृगमदरसवलितम् ललितम् कुरु तिलकमलिकरजनीकरे।
विहितकलंककलम् कमलानन विश्रमितश्रमशीकरे॥ अ प २४-५
mṛgamadarasavalitam lalitam kuru tilakamalikarajanīkare |
vihitakalaṁkakalam kamalānana viśramitaśramaśīkare || a pa 24-5
pa cche- mṛga mada rasa valitam lalitam kuru tilakam alika rajanī kare vihita kalaṁka kalam kamala anana viśramita śrama śīkare
24-5. kamala anana= oh, lotus faced one' vishramita= lulled; shrama+shiikare= strain's, drops - sweat drops; alika rajanii kare= on forehead [called,] moon; mR^iga mada+rasa+valitam [tilakam]= with musk's, liquid, rubbed in [cinnabar paste]; vihita+kala.nka+kalam= having, blotch, phase of moon; tilakam+ lalitam +kuru= mark on forehead, beautifully, you make [repaint.]
"My forehead is moonlike and on it sweat-drops are lulled by now, and by rubbing cinnabar paste in liquefied musk, O, lotus-faced one, beautifully repaint my forehead mark, like that of the blotch on the face of moon... [24-5]
Comment: The comparison is in between the face of Krishna and Raadha. A lotus is an opposer of moon, but moon blemishes that lotus as and when they face each other. Here too, she is saying 'though my moonlike face is an opponent to lotuses, retain my blotch on my forehead, and be smiley like a lotus...'
mama ruchire chikure kuru maanada maanasijadhvajachaamare |
ratigalite lalite kusumaani shikhaNDishikhaNDakaDaamare || a pa 24-6
pa cChe- mama ruchire chikure kuru maanada maanasija dhvaja chaamare rati galite lalite kusumaani shikhaNDi shikhaNDaka Daamare
मम रुचिरे चिकुरे कुरु मानद मानसिजध्वजचामरे।
रतिगलिते ललिते कुसुमानि शिखण्डिशिखण्डकडामरे॥ अ प २४-६
mama rucire cikure kuru mānada mānasijadhvajacāmare |
ratigalite lalite kusumāni śikhaṇḍiśikhaṇḍakaḍāmare || a pa 24-6
pa cche- mama rucire cikure kuru mānada mānasija dhvaja cāmare rati galite lalite kusumāni śikhaṇḍi śikhaṇḍaka ḍāmare
24-6. hè maanada= oh, adorable one; ruchire= cute one; maanasija+dhvaja+ chaamare= Love-god's, on flagstaff, pennon; rati+galite= in love-play, scrambled up; lalite= pretty; shikhaNDi+ shikhaNDaka= peacock's, plumage; Daamare= threatens; mama+chikure= in my, braid bun; kusumaani+kuru= flowers, you deck.
"My bun is cute like the pennon on the flagstaff of Love-god, but that is scrambled up in love-act, oh, adorable one, you deck flowers in that pretty bun that threatens the beauty of peacock's plumage... [24-6]
sarasaghane jaghane mama sha.mbaradaaraNavaaraNakandare |
maNirashanaavasanaabharaNaani shubhaashaya vaasaya sundare || a pa 24-7
pa cChe- sarasa ghane jaghane mama sha.mbara daaraNa vaaraNa kandare maNir ashanaa vasana aabharaNaani shubhaashaya vaasaya sundare
सरसघने जघने मम शंबरदारणवारणकन्दरे।
मणिरशनावसनाभरणानि शुभाशय वासय सुन्दरे॥ अ प २४-७
sarasaghane jaghane mama śaṁbaradāraṇavāraṇakandare |
maṇiraśanāvasanābharaṇāni śubhāśaya vāsaya sundare || a pa 24-7
pa cche- sarasa ghane jaghane mama śaṁbara dāraṇa vāraṇa kandare maṇir aśanā vasana ābharaṇāni śubhāśaya vāsaya sundare
24-7. hè shubhaashaya= oh, one with auspicious aims [or, shubha+aa+shaya = one in whose hands all good fortunes are]; sarasa= burly [or, one with romantic zeal]; ghane= big one; sha.mbara= Shambara the demon; daaraNa= in ripping; vaaraNa= elephant - [the elephant of Love-god that ripped a demon named Shambara - elephantine]; kandare= slope of mountain; sundare= picturesque; mama+jaghane= my, on buttocks, on hips; maNi+rashanaa= bejewelled, waist-strings; vasana= dresses; aabharaNaani= ornaments; vaasaya= decorate.
"My hips are big and burly and will be like the picturesque and elephantine mountain-slopes, oh, one with gracing hand, decorate them with dresses and bejewelled ornaments, and waist-strings... [24-7]
Comment: Again the word LOINS is used here by some in translating jaghana, while jaghana is lexically buttock. If some modesty is required to say 'buttocks', as many abhor terms like 'buttocks, behinds, and bottoms...' in their sycophant westernisation, this may be said as it nearest part 'hips'. We are asked to do so in Kalidas' Ritu samhaaram, and we obliged it, to not to become too pedantic. But bringing hind parts to front to say her 'loins are like elephantine caves...' how far it is ethical? Any reader may examine in any word to see whether Raadha opened up her loins, or at least said about them. This work Gita Govinda already carries a mark of kshudra kaavya , why the other Indian pundits add some more to it? Perhaps, this may be owing to the reason of ruination of romantic arts, or due to the burial of Bharata Muni or Vaastaayana, or romance in living itself.
Here the stress used by the poet is for reminding nature's curvaceous beauty, but not the contours of a personified goddess or deity. It is necessary to identify Raadha with whole Nature, and Krishna with the delighter of that Nature, as none else can satisfy her.
shriijayadevavachasi ruchire hR^idayam sadayam kuru maNDane |
haricharaNasmaraNaamR^itakR^itakalikalushhabhavajvarakhaNDane || a pa 24-8
pa cChe- shrii jayadeva vachasi ruchire hR^idayam sadayam kuru maNDane hari charaNa smaraNa amR^ita nirmita kali kaluSa jvara khaNDane
श्रीजयदेववचसि रुचिरे हृदयम् सदयम् कुरु मण्डने।
हरिचरणस्मरणामृतकृतकलिकलुषभवज्वरखण्डने॥ अ प २४-८
śrījayadevavacasi rucire hṛdayam sadayam kuru maṇḍane |
haricaraṇasmaraṇāmṛtakṛtakalikaluṣabhavajvarakhaṇḍane || a pa 24-8
pa cche- śrī jayadeva vacasi rucire hṛdayam sadayam kuru maṇḍane hari caraṇa smaraṇa amṛta nirmita kali kaluṣa jvara khaṇḍane
24-8. he Krishna; ruchire= delicate [mellowly]; maNDane= [sahR^ihadya hR^idayaiH]= decorative [like the central ruby on chest pendant]; hari+charaNa+smaraNa= Krishna, on feet, meditating; amR^ita+ nirmita= by that nectar, built up; kali+kaluSa+jvara+khaNDane= Kali era, impurities, fevers caused by it, eradicator of; jayadeva+vachasi= Jayadeva, said by; shrii= auspicious saying; hR^idayam+sadayam+kuru= your heart, benign, you make.
Oh, Krishna, you make your heart benign to listen the auspicious saying rendered by Jayadeva, which is built up with the nectar derived from the meditation on the feet of yours, and which is an eradicator of fevers caused by the impurities of Kali Era... [24-8]
rachaya kuchayoH patram chitram kuruSva kapolayoH
ghaTaya jaghae kaa.nchiima.ncha srajam kabariibhare |
kalaya valayashreNiim paaNau pade kuru nuupurau
iti nigaditaH priitaH piitaambaro.api tathaakarot || 12-11
pa cChe- rachaya kuchayoH patram chitram kuruSva kapolayoH ghaTaya jaghae kaa.nchiim a.ncha srajam kabariibhare kalaya valaya shreNiim paaNau pade kuru nuupurau iti nigaditaH priitaH piitaambaraH api tathaa akarot
रचय कुचयोः पत्रम् चित्रम् कुरुष्व कपोलयोः
घटय जघ कांचीमंच स्रजम् कबरीभरे।
कलय वलयश्रेणीम् पाणौ पदे कुरु नूपुरौ
इति निगदितः प्रीतः पीताम्बरोऽपि तथाकरोत्॥ १२-११
racaya kucayoḥ patram citram kuruṣva kapolayoḥ
ghaṭaya jaghae kāṁcīmaṁca srajam kabarībhare |
kalaya valayaśreṇīm pāṇau pade kuru nūpurau
iti nigaditaḥ prītaḥ pītāmbaro'pi tathākarot || 12-11
pa cche- racaya kucayoḥ patram citram kuruṣva kapolayoḥ ghaṭaya jaghae kāṁcīm aṁca srajam kabarībhare kalaya valaya śreṇīm pāṇau pade kuru nūpurau iti nigaditaḥ prītaḥ pītāmbaraḥ api tathā akarot
12-11. hè Krishna; kuchayoH+patram+rachaya= on bosoms, foliages, you paint; kapolayoH + chitram+ kuruSva= on cheeks, a design called citraka, you make; jaghae+ kaa.nchiim +ghaTaya= on hips, waist-strings, you fasten; kabariibhare+srajam+a.ncha= in bun, spray of flowers, clip; paaNau+valaya+ shreNiim +kalaya= at wrists, armlets, array of, slip on; pade+kuru+nuupurau= at feet, you arrange, two anklets; iti= this way; nigaditaH= on who is said by her; priitaH= gladdened; piitaambaraH= one clad in yellow silks; api= even he; tathaa + akarot= that way, he did.
When Raadha said this way to Krishna, "paint foliages on my bosoms, make designs on cheeks, fasten waist-strings on hips, clip sprays in bun, slip on an array of armlets at wrists, arrange anklets at ankles...' even Krishna is gladdened and did whatever she said. [12-11]
yadgaa.ndharvakalaasu kaushalamanudhyaanam ca yadvaishhNavam
yacChR^i.ngaaravivekatatvaracanaakaavyeSu liilaayitam |
tatsarvam jayadevapaNDitakaveH kR^ishhNaikataanaatmanaH
saaanadaaH parishodhaya.ntu sudhiyaH shriigiitagovidataH || 12-12
pa cChe- yat gaa.ndharva kalaasu kaushalam anudhyaanam ca yat vaiSNavam yat shR^i.ngaara viveka tattva racanaa kaavyeSu liilaayitam tat sarvam jayadeva paNDita kaveH kR^iSNa ekataana atmanaH sa aanadaaH parishodhaya.ntu sudhiyaH shrii giita govidataH
यद्गांधर्वकलासु कौशलमनुध्यानम् च यद्वैष्णवम्
यच्छृंगारविवेकतत्वरचनाकाव्येषु लीलायितम्।
तत्सर्वम् जयदेवपण्डितकवेः कृष्णैकतानात्मनः
सानदाः परिशोधयंतु सुधियः श्रीगीतगोविदतः॥ १२-१२
yadgāṁdharvakalāsu kauśalamanudhyānam ca yadvaiṣṇavam
yacchṛṁgāravivekatatvaracanākāvyeṣu līlāyitam |
tatsarvam jayadevapaṇḍitakaveḥ kṛṣṇaikatānātmanaḥ
sāanadāḥ pariśodhayaṁtu sudhiyaḥ śrīgītagovidataḥ || 12-12
pa cche- yat gāṁdharva kalāsu kauśalam anudhyānam ca yat vaiṣṇavam yat śṛṁgāra viveka tattva racanā kāvyeṣu līlāyitam tat sarvam jayadeva paṇḍita kaveḥ kṛṣṇa ekatāna atmanaḥ sa ānadāḥ pariśodhayaṁtu sudhiyaḥ śrī gīta govidataḥ
12-12. sudhiyaH= oh, sagacious ones; yat= which; gaa.ndharva+kalaasu+kaushalam= in music, arts, expertise; yat= which; vaiSNavam+anudhyaanam+ca= Vaishnavaite, way of thinking, also; yat= which; shR^i.ngaara= romantic [narration of vipralambha, sambhoga shR^ingaara]; viveka+tattva= discrimination, actuality; racanaa [sahita - madhyama pada lopi]= a rendering having all such; kaavyeSu= in [this] treatise; liilaayitam= incorporated; tat+sarvam= that, all; kR^iSNa+ekataana+ atmanaH= on Krishna, concentrating, soul; jayadeva+paNDita+kaveH= by Jayadeva, pundit, by poet; shrii+giita+govidataH= from shrii, Gita, Govinda poem; sa+aanadaaH+parishodhaya.ntu= with, gladness, may be evaluated.
Oh, sagacious people, that which expertise of poet and pundit Jayadeva in the way of thinking of Vaishnavaites, expertise in musical arts, discrimination between just romanticization of humanly characters, and telling apart that romance is also a godsend gift to humans, where Vishnu is the first one to relish the taste of romance, and where this Universe is his romantic feigning, and Jayadeva's telling it in its actuality are incorporated and rendered by Jayadeva, let all such things be evaluated in this treatise Shri Gita Govindam. [12-12]
shriibhojadevaprabhavasya raamaadeviisutashriijayadevakasya |
paraasharaadipriyavargakaNThe shriigiitagovidakavitvamastu || 12-13
pa cChe- shrii bhojadeva prabhavasya raamaadevii sutaH shrii jayadevakasya paraashara adi priya varga kaNThe shrii giita govida kavitvam astu
श्रीभोजदेवप्रभवस्य रामादेवीसुतश्रीजयदेवकस्य।
पराशरादिप्रियवर्गकण्ठे श्रीगीतगोविदकवित्वमस्तु॥ १२-१३
śrībhojadevaprabhavasya rāmādevīsutaśrījayadevakasya |
parāśarādipriyavargakaṇṭhe śrīgītagovidakavitvamastu || 12-13
pa cche- śrī bhojadeva prabhavasya rāmādevī sutaḥ śrī jayadevakasya parāśara adi priya varga kaṇṭhe śrī gīta govida kavitvam astu
12-13. shrii+bhojadeva+prabhavasya= Shri, Bhojadeva, offspring of; raamaadevii+ sutaH = Ramadevi's, son; shrii jayadevakasya= Jayadeva's; shrii giita govida= Shri Gita Govinda; kavitvam = poetry [songs]; paraashara+adi+priya+varga+kaNThe+astu= Parashara, other, dear, ones, on throat [on tongue,] let it abide.
Jayadeva being the offspring of Shri Bhojadeva and Ramadevi let his song giita govindam abide on the tongues of Parashara and other friends. [12-13]
saadhvii maadhviika ci.ntaanabhavatibhavatashsharkare karkasha.asi
draakshe drakshya.ntiketvaam amR^itamR^itamasi kshiiraniira.mrasaste |
maaka.nda kra.ndakaa.ntaadharadhara na tulaam gacChayacChantibhaavam
yaavacChR^igaarasaaramshubhamivajayadevasyavaidagdhyavaacaH || 12-14
pa cChe- saadhvii maadhviika ci.ntaa na bhavati bhavataH sharkare karkashaa asi draakshe drakshya.nti ke tvaam amR^ita mR^itam asi kshiira niira.m rasaH te maaka.nda kra.nda kaa.nta adhara dhara na tulaam gacCha yacChanti bhaavam yaavat shR^igaara saaram shubham iva jayadevasya vaidagdhya vaacaH
साध्वी माध्वीक चिंतानभवतिभवतश्शर्करे कर्कशऽसि
द्राक्शे द्रक्श्यंतिकेत्वाम् अमृतमृतमसि क्शीरनीरंरसस्ते।
माकंद क्रंदकांताधरधर न तुलाम् गच्छयच्छन्तिभावम्
यावच्छृगारसारम्शुभमिवजयदेवस्यवैदग्ध्यवाचः॥ १२-१४
sādhvī mādhvīka ciṁtānabhavatibhavataśśarkare karkaśa'si
drākśe drakśyaṁtiketvām amṛtamṛtamasi kśīranīraṁrasaste |
mākaṁda kraṁdakāṁtādharadhara na tulām gacchayacchantibhāvam
yāvacchṛgārasāramśubhamivajayadevasyavaidagdhyavācaḥ || 12-14
pa cche- sādhvī mādhvīka ciṁtā na bhavati bhavataḥ śarkare karkaśā asi drākśe drakśyaṁti ke tvām amṛta mṛtam asi kśīra nīraṁ rasaḥ te mākaṁda kraṁda kāṁta adhara dhara na tulām gaccha yacchanti bhāvam yāvat śṛgāra sāram śubham iva jayadevasya vaidagdhya vācaḥ
12-14. maadhviika= oh, white flower that yield flower-wines; bhavataH+ci.ntaa= your, thinking [that you alone are the soft intoxicant]; saadhvii+na+bhavati= good, not, it becomes; sharkare+karkashaa+ asi= o, sugar, bitter, you are; draakshe= o, grapes; tvaam+ke+ drakshyanti = you, who will see; amR^ita+mR^itam+asi= o, nectar, dead, you are; kshiira= o, milk; te+ rasaH+niira.m= your, taste, is water; maaka.nda+kra.nda= o, sweet mango fruit, you wail; kaa.nta+adhara= o, damsel's, lip; tulaam+na+dhara= balance, do not, bear; gacCha= get away [from my path to Hari]; jayadevasya+ vaidagdhya+vaacaH= Jayadeva's, crafty, sayings; shubham+iva= auspiciousness, like; yaavat+ shR^igaara+saaram+bhaavam+yacChanti= all, romantics, essence, a concept, giving.
O, white flower of soft wine, your thinking that you alone are the toxicant is unbefitting as Jayadeva's poetry is here... o, sugar, you are embittered... o, grape, who will see you from now on... o, undying, un-deadening nectar, dead you are... o, milk, watered is your taste... o, sweet mango fruit, bewail from now on... you, the lip of damsel, under-balanced is your sweetness , hence get away from my path to Hari... thus, like the auspiciousness, Jayadeva's crafty sayings will also accord all the essences of romantics. [12-14]
ittham kelitatirvihR^itya yamunaakuule samam raadhayaa
tadromaavalimauktikaavaliyuge veNiibhramam bibhrati |
tatraahlaadakucaprayaagaphalayorlipsaavatorhastayoH
vyaapaaraaH puruSottamasyadadatusphiitaam mudaam sampadam || 12-15
pa cChe-ittham keli tatiH vihR^itya yamunaakuule samam raadhayaa tat romaavali mauktika aavali yuge veNii bhramam bibhrati tatra ahlaada kuca prayaaga phalayoH lipsaavatoH hastayoH vyaapaaraaH puruSottamasya dadatu sphiitaam mudaam sampadam
इत्थम् केलिततिर्विहृत्य यमुनाकूले समम् राधया
तद्रोमावलिमौक्तिकावलियुगे वेणीभ्रमम् बिभ्रति।
तत्राह्लादकुचप्रयागफलयोर्लिप्सावतोर्हस्तयोः
व्यापाराः पुरुषोत्तमस्यददतुस्फीताम् मुदाम् सम्पदम्॥ १२-१५
ittham kelitatirvihṛtya yamunākūle samam rādhayā
tadromāvalimauktikāvaliyuge veṇībhramam bibhrati |
tatrāhlādakucaprayāgaphalayorlipsāvatorhastayoḥ
vyāpārāḥ puruṣottamasyadadatusphītām mudām sampadam || 12-15
pa cche-ittham keli tatiḥ vihṛtya yamunākūle samam rādhayā tat romāvali mauktika āvali yuge veṇī bhramam bibhrati tatra ahlāda kuca prayāga phalayoḥ lipsāvatoḥ hastayoḥ vyāpārāḥ puruṣottamasya dadatu sphītām mudām sampadam
12-15. ittham= this way; yamunaakuule= on Yamuna, riverbanks; keli+tatiH= disports, many of them; samam+raadhayaa= along with, Raadha; vihR^itya= while pleasure tripping; tat= that [Raadha's]; romaavali= curly hairlocks; mauktika+aavali= pearls, pendants; yuge= a pair; veNii+bhramam= stream, illusion [illusion as they are the streams of Ganga, Yamuna]; bibhrati = while he [Krishna is] getting; tatra= in that [in those streams of happiness]; ahlaada= pleasant; kuca= bosoms; prayaaga phalayoH= banyan fruits; lipsaavatoH= interested [to catch them]; puruSottamasya+hastayoH= Krishna's, hands; vyaapaaraaH= in such activity; sphiitaam +mudaam= heightened, with gladness; sampadam+dadatu= riches, let grant.
This way while Krishna is pleasure tripping on the riverbanks of Yamuna in many a disport with Raadha, and while he is adjusting her hairlocks and pearly pendants, he got an illusion that those pendants are like the river streams of Ganga or Yamuna, and on seeing a pair of large fruits floating in those streams, he thought them to be Raadha's bosoms and tried to rescue them. While Krishna hands are engaged in such an activity with gladness, let those hands gladly accord all riches to one and all. [12-15]
iti jayadeva giitagovide supriitapiitaa.mbaro naama dvaadashaH sargaH - itthamidam kaavyam paripuurNam
इति जयदेव गीतगोविदे सुप्रीतपीतांबरो नाम द्वादशः सर्गः - इत्थमिदम् काव्यम् परिपूर्णम्
iti jayadeva gītagovide suprītapītāṁbaro nāma dvādaśaḥ sargaḥ - itthamidam kāvyam paripūrṇam
Thus, this is the 12th and completing chapter, called supriita piitaambaraH - Exultant Krishna, in Gita Govindam of Jayadeva.
Gita Govinda Tika (original) con 149 páginas
Gita Govinda Tika - 3ª Parte
Gita Govinda Tika - 2ª Parte
Gita Govinda Tika - 1ª Parte
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