Chapter [Sarga] 3 - Winsome Krishna


On establishing Raadha's sincere longing for Krishna in the earlier chapter, now the poet commences this chapter to show how Krishna feels for her, in an equal yearning.

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k<sairrip s<sarvasnabNxz&<olam!,
raxamaxay ùdye tTyaj ìjsuNdrI>. 3-1

pdCDed - k<s Air> Aip s<sar vasna bNx z&<olam! raxam! Aaxay ùdye tTyaj ìj suNdrI>

3-1. ka.nsa ariH= Kamsa's, enemy [Krishna]; api=even [also, not only Raadha but Krishna also]; sa.nsaara=this worldly; vaasanaa=by nostalgic reminiscences; bandha=bondage; shR^i.nkhalaam=shackle [like]; raadhaam=of Raadha; aadhaaya hR^idaye=retaining, in heart; tatyaaja vraja sundariiH=refrained from, Vraj, beauties.

Even Krishna refrained from the beauties of Vraj, retaining Raadha in his heart, as though she is like his shackle-like bondage in this worldly life, with nostalgic reminiscences of his earlier birth. [3-1]

 If one can enjoy the love of Raadha, he will be shackled to live in this world under love-bondage. When a departed soul cannot find any 'love' in heavens or other worlds, where gods adore and admire each other, and seraphically enjoy their divinity, minus any quotient of living, called love, that soul retains nostalgic reminiscences of this love, and takes a rebirth longing for that love.

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#tSttStamnus&Ty raixkam! An¼ba[ì[ioÚmans>,
k«tanutap> Ss kilNdniNdnI tqaNtk…<je iv;sad maxv>. 3-2

pdCDed - #t> tt> tam! Anus&Ty raixkam! An¼ ba[ ì[ ioÚ mans> k«t Anutap> s>
kilNd niNdnI tq ANt k…<je iv;sad maxv

3-2. ana~Nga= formless one's [Love-god's]; baaNa=arrow; vraNa=wounded; khinna  maanasaH=disheartened, with heart; kR^ita anutaapaH=made [became,] regretful [for unnecessarily neglecting Raadha]; saH maadhavaH=he, that Krishna; itaH tataH=here, there; taam raadhikaam   anusR^itya=after her, that Raadha, followed [on searching]; kalinda =Mt. Kalinda; nandinii=one who gladdens that Mt., namely River Yamuna, as she originated from this Mt. Kalinda; taTa anta ku.nje=on bank, at edge, in bower; viSasaada=slumped.

Wounded with Love-god's arrows disheartened is his heart, thus he is regretful as he was unnecessarily neglectful of Raadha, and hither and thither he searched for her, but when that attempt came to naught, he slumped in a bower edging on the bank of Yamuna river.

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- Aò pid 7 -
 muGx mxusUdn h<s gItm! -
maimym! cilta ivlaeKy v&tm! vxUincyen,
sapraxtya myaip n vairtaitÉyen,
hirhir htadrtya gta sa k…iptev - x&vm!. A p 7-1

pdCDed - mam! #ym! cilta ivlaeKy v&tm! vxU incyen s Apraxtya mya Aip n vairta
 Ait Éyen hir hir ht Adrtya gta sa k…ipta #v -

a pa 7-1. iyam= this [Raadha]; maam= me; vilokya=on seeing; vadhuu nichayena= girls, heaps of [flocks of]; vR^itam=surrounded [thronged]; chalitaa=went away [forsook]; sa aparaadhatayaa  mayaa api=with, fault [at fault,] by me, also; ati bhayena=highly, with fret - fretfully; na vaaritaa=not, averted; hari hari=oh, god, oh, god; saa kupitaa iva=she is, vexed one, as if; hata adaratayaa=hurt, attentiveness [I was flippant of her, so she fled flippantly]; gataa=she fled; reprise - hari=oh, god; hata adaratayaa=marred, courtesy; hari=oh, god; gataa=fled; saa=she is; kupitaa iva= resenting, as if.

"On seeing me with thronging folks of girls this Raadha forsook me... unable to avert her parting, as I was also at fault, I fretfully didn't implore her to stay... oh, god, she fled, as if she is an ireful person, which she isn't, in person... oh, god, I was flippant of her, so she fled, that flippantly... [a pa 7-1]

ikm! kir:yit ikm! vid:yit sa icrm! ivrhe[,
ikm! xnen jnen ikm! mm jIvnen g&he[. hirhir - k…iptev. A p 7-2

pdCDed - ikm! kir:yit ikm! vid:yit sa icrm! ivrhe[,
ikm! xnen jnen ikm! mm jIvnen g&he[ -

a pa 7-2. saa= she; chiram= for a long time; viraheNa= [in my] separation; kim= what [possible deed to relieve herself of that anguish]; kariSyati=she can do; kim vadiSyati=what, she say [if I go and beg her forgiveness]; mama= to me; dhanena= with money [prosperity]; kim= what [kim prayojanam vinaa raadhaa = what is the use of prosperities without Raadha]; janena= with people [kim prayojanam = what is the use with other without Raadha] gR^iheNa [kaa]= with a house [what use]; jiivitena  kim=with [my] life, what [is its usefulness.]

"What would she do to relieve herself of from the long-time anguish owing to my separation... what would she say if I were to go and beg her forgiveness... what is the use of them, the prosperity, people, a palace, or with my very personality, when she won't be with me... [a pa 7-2]

 Here, by saying the 'prosperity' his shriyaH patitvam 'the possessor of Goddess Lakshmi' is suggested. And by the word 'people' his prajaa patitvam 'the mastership of living beings' in leading them in and out of mortality is suggested. And with word 'house' bhuu patitvam 'lordship of abodes' is suggested. There is another variant as mama kim gR^iheNa sukhena 'even if riches are there, what is the use with a house or other comforts without Raadha...' would be its import.

Here we have to dwell a little while on rasa siddhaanta 'Treatises on Aesthetic Pleasure...' where romance is but on expressible component.

A psychological theory that is a peculiarly Indian contribution is that of rasa, which is very often though wrongly, translated as sentiment. Rasa is aesthetic pleasure, which is said to be akin to the sublime bliss of God. The writers of alankaara [rhetoric, poetics] follow the Upanishadic view generally, and say that rasa is one and is Brahman. But it can take different forms, which are usually accepted as nine, corresponding to nine bhaavaa-s [emotions, sentiment]. bhaavaa-s are of two kinds, sthayii bhaava 'stable' bhaavaa-s and sancaarii bhaavaa-s or unstable bhaavaa-s. It is the former that can become rasa. They are sringaara love, viira heroism, karuNa pity, adbhuta wonder, haasya laughter, bhhayaanaka dread, bhiibhatsa disgust, raudra fury, shaanta quiet or peace. At their base lie the corresponding dominant feelings of rati sexual craving, utsaaha energy, shoka sorrow, vismaya astonishment, haasa mirth, bhaya fear, jugupsa aversion, krodha anger, nirveda self-disparagement, which must be assisted by favourable excitants vi bhaava-s, both aalambana essential, uddiipana enhancing, by reinforcing ensuants anu bhaava, namely, voluntary and saatvika bhaava-sexpressions and also by certain accessories or subordinate feelings sancaarii bhaava-s, vybhicaarii bhaavaas which follow in the wake of the dominant sentiments and diversify themselves. - The Cultural Heritage of India, Vol. III, The Philosophies.

Thus the explanations expand and expand. When it is said as 'he is appearing like an embodiment of romance... at 1-11, it is Krishna's personification, with which all milkmaids enjoyed all the aesthetic pleasures endowed by him. Some of the many ensuants of this savoury called aesthetic pleasure are noted here. shR^ngaaara is explained as vibhaavairanubhaavaiH ca bhaavaH sancaarii saattvikaiH | janito bodhitaH sphiito vR^iddhaH shR^ingaa iti ucyate - bharata i.e., shR^ingaara will be caused by vibhaava, noticed by anu bhaava, excited by sancaarii bhaava, enhanced by saattvika bhaara then it shines forth as shR^ingaara rasa. And vibhaava-s are defined as: bhaavayanti visheSeNa ye rasaan vai manoharaan | te vibhaavaaH tu kathyante naaTya shaastra kovidaiH || taking its root visheSeNa bhaavayanti [manoharaan rasaan] iti vibhaavaaH 'those that can be heart-pleasingly experienced, they are bhaavaa-s emotions, sentiments, let us call the 'pleasing romantic feelings' a time being.

The shR^ingaara rasa vibhaavaaH are R^itu maalyaa alankaaraiH priya jana gaandharva kaavya sevaabiH | upavana gamana vana vihaaaraiH shR^ingaara rasa samudbhavati 'acts befitting to the season, like wearing garlands and ornaments, moving with dear ones, singing and listing music, reading poetry, pleasure tripping in gardens and pleasure-parks etc., will be excitant factors for pleasing romantic feelings...'

The shR^ingaara rasa anuhaavaaH are nayana vadana prasaadaiH smita madhura vaco dhR^iti pramodaiH ca | madhuraiH svaa anga vikaaraiH tasyaa abhinayaH prayoktavyaH ' smiley faces and sparkling eyes, talking smilingly and melodiously, confidence, happiness, behaving with beautiful bodily gestures, and the like...'

The vyabhicaarii bhaavaaH - a word need be said about this word. The usage of this word is now corrupt and used to mean 'a bitch, or bitching...' That is absolutely wrong from the viewpoint of aesthetics. vyabhicaarii = vi   abhi   caarii; vi = visheSeNa = essentially; abhi = abhimukhyena = before mukhyaH before important one, say the hero; caariNaH = caranti iti vyabhicaariNaH = those that move, behave, comport themselves. And in shR^ingaara vyabhicaara bhaavaaH are shankaa asuuyaa tathaa glaaniH vyaadhi cintaaa smR^itiH | autsukam vismayaH harao vriiDaa unmaadau bhayam tathaa | viSaado jaDataa nidraa bahudhaa capalaa matiH |iti bhaavaa prayoktavyaaH shR^ingaare vyabhicaariNaH || - shR^ingaara tilaka. These are roughly - doubt, jealousy, misgiving, uneasy thinking, reminiscing, self-confidence, happiness, astonishment, hilarity, shyness, craziness, slight fear, sadness, stolidity, sleepiness, uneasiness are the feeling in pleasing romanticism.

Then the shR^ingaara saattvika bhaavaaH expressions in pleasing romantics are sthambhH, svedaH, atha romaancaH, svara bhango atha, vepadhuH | vaivarNyam, ashru pralaya, iti aSTau saattvikaa mataaH || - sh^ingaara tilaka freezing, sweating, bristling, voice change, shuddering, colour fade, tearfulness, self-torment are the eight states. So goes the list of moods and their expressions. With all this software Krishna makes others happy.

'As shR^ingaara has two aspects viz., samyoga [union] and vi yoga [separation,] there are two stages in this rasa, [rasa anubhuuti] , which the devotees enjoy. One in his company as they are in union with him, while the other in his absence they suffer the misery of separation and think of him all the time, so much so that they cannot see or experience anything but Krishna. According to some, the stage of separation is therefore superior to that of union.' - The Cultural Heritage of India. Vol. III, Philosophies.

Coming to our mainstay, Krishna also has a longing feeling for his devotees, personified here as Raadha, whom he once neglected. Here he is in the state of smaraNa avastha 'reminiscing' his wrongdoing and her resent. Doesn't matter. A wrongdoer has a right to beg excuses, entwining threads and laces of many stories, at anytime. Let him do so, but first let him soliloquize what he has to say or feel for Raadha.

icNtyaim tdannm! k…iqlæu kaepÉre[,
zae[pÒimvaepir æmtak…lm! æmre[. hirhir - k…iptev. A p 7-3

pdCDed - icNtyaim tt! Aannm! k…iql æU kaep Ére[ zae[ pÒm! #v %pir æmta Ak…lm! æmre[

a pa 7-3. kopa bhareNa= choler, filled with [cholerically]; kuTila bhruu=curvy [knitted,] eyebrows; upari=over; bhramataa=whirling; bhramareNa=by honeybee; akulam iva =agitated [frenzied,] resembles; shoNa=red; padmam=lotus; tat aananam chintayaami=that, face, I muse.

"I muse on that face which might be cholerically reddened with knitted eyebrows, and it must be resembling a red-lotus frenzied at a whirling honeybee over it... [a pa 7-3]

 'I muse on that face...' finishes with a word 'bemusedly...' It is his bounden duty to incite her, not to a resentment or anger, but to a full-fledged choleric state. Otherwise he will not have a chance to beg pardon. A lotus sways many times when jolted by a honeybee, and in doing so its petals widen and contract. Here the bee agitating Raadha is the buzzing thought of Krishna, knitted eyebrows are knitting/opening petals, and reddish lotus like face of Raadha/lotus still reddened, angering at bee/Krishna. upama.

tamhm! ùid s<gtaminzm! É&zm! rmyaim,
ikm! vne=nusraim taimh ikm! v&wa ivlpaim,. hirhir - k…iptev. A p 7-4

pdCDed - tam! Ahm! ùid s<gtam! Ainzm! É&zm! rmyaim ikm! vne Anusraim tam! #h ikm! v&wa ivlpaim

a pa 7-4. aham= I am; vane=in woodland; taam= her; kim=why; anusaraami=following [searching]; iha vR^ithaa=now, futilely; kim vilapaami=why, I wail [here, I worry]; hR^idi=in heart; anisham=always; sa.ngataam=unified; taam=about her; bhR^isham ramayaami=highly, I am delighting her; [or, the word 'kim' can be taken as interrog. ad said 'what for, why should I search?']

"Now why should I futilely search her in woodlands, why should I worry for her now, when she is always unified with my heart, and whom I always delight, heartily... [a pa 7-4]

tiNv ioÚmsUyya ùdym! tvaklyaim,
tÚ veiÒ k…tae gtais n ten te=nunyaim. hirhir - k…iptev. A p 7-5

pdCDed - tiNv ioÚm! AsUyya ùdym! tv Aaklyaim tt! n veiÒ k…t> gta Ais nten te Anunyaim

a pa 7-5. tanvi= oh, comely Raadha; tava hR^idayam=your, heart; asuuyayaa khinnam=by jealousy, downhearted; aakalayaami=[thus] I reckon; kutaH gataa asi=where, gone, you are; na vedmi=not, I know; tat=thereby; natena=head bent [bowing, reverently]; te anunayaami=you, I appease; [or, tat=thereby, because of your jealousy; kuto gataa asi na vedmi kim? =where you have gone don't I know; I know it; tena=thereby; te=you; na anunayaami=not, I appease; I needn't appease you, as I am aware of your departure on account of your own jealousy.]

"Oh, comely Raadha, jealousy downhearted your heart, not I, thus I reckon, but I am unaware as to where you have gone, now I reverently beseech you... tell me where you are... [a pa 7-5]

 In the first part of the verse state of ecstasy udvega avasta is said as in: yasmin ramyam aramyam ca syaat prakarSaaya kim can na | vidveSaH praaNitavye sa udvegaH prakiirtitaH || shR^ingaara tilaka In the later part talking beseechingly is said as in bambhramiiti mano yasminautsukyaayitam tataH | vaacaH priyaa aashrayaa eva sa pralaapa smR^ito yathaa || 'who heart long for his dear ones, whose talking will be over his dear ones, that is said to be pralaapanam 'an ecstatic talking.' Next he assumes that Raadha is before him, but not replying him.

†Zyse purtae gtagtmev me ivdxais,
ikm! purev smMæmm! pirrMÉ[m! n ddais. hirhir - k…iptev - A p 7-6

pdCDed - †Zyte purt> gt Aagtm! #v me ivdxais ikm! pura #v smMæmm! pirrMÉ[m! n dda Ais

a pa 7-6. me purataH dR^ishyase=in my, front, you are appearing; gata aagatam iva=comer, goer, as if; vidadhaasi=you do [behave]; puraa iva=earlier, as with; samambhramam = tantalizingly; parirambhaNam=tight hugging; kim na dadaa asi=why, don't, endow, you.

"You are appearing before me as if you are toing and froing towards me, why don't you endow a tight and tantalising embrace to me as you used to earlier... [a pa 7-6]

 This soliloquizing is as old as Ramayana, as at kim dhaavasi priye nuunam dR^iSTaa asi kamala iikSaNe | vR^ikSeNa aacchaadya ca aatmaanam kim maam na pratibhaaSase || 3-60-26 'Oh lotus eyed lady, in fact I have seen you my dear, then why this running away... even why this veiling of yours with leaves... why not reply me... and many other serenading soliloquies of Rama.

]Mytamprm! kdaip tve†zm! n kraeim,
deih suNdir dzRnm! mm mNmwen Ênaeim. hirhir - k…iptev - A p 7-7

pdCDed - ]Mytam! Aprm! kda Aip tv $†zm! n kraeim deih suNdrI dzRnm! mm mNmwen Ênaeim

a pa 7-7. O, sundarii= O, beauty [for, you take pride in your beauty]; kshamyataam=let [my offence be] pardoned; kadaa api aparam=never, again, next [ever]; tava=to you [in your respect]; iidR^isham = this sort of [wrongdoing]; na karomi=not, I do; mama dehi darshanam [or, ramaNam] = to me, give, your audience, [or, enjoyment]; manmathena dunomi=by Love-god, I am seethed.

"O, beauty, let my offence be pardoned, I will never or ever do this again in your respect... come, give me your audience, as Love-god is seething me... [a pa 7-7]

 In the earlier part of verse an ecstasied mood of love unmaada avasthata atasmimstaditi bhraantiH unmaadaat iva jaayate... is stated.

vi[Rtm! jydevken hreirdm! àv[en,
ibNÊibLvsmuÔs<Évraeih[Irm[en. hirhir - k…iptev - A p 7-8

pdCDed - vi[Rtm! jydevken hre> #dm! àv[en ibNÊibLv smuÔ s<Év raeih[I rm[en.

a pa 7-8. hareH pravaNena= of Krishna, in devotedness; bindubilva [or, Kendubilva]=in Bindubilva village; samudra=ocean/ocean-like; sa.mbhava=begotten; rohiNii ramaNena=Star Rohini, [one who] delights namely the moon; jayadevakena=by Jayadeva; idam varNitam=this is, romanticized.

"O, Raadha, this I appeal to you as romanticized by poet Jayadeva, a devotee of Krishna, whom the poetic ocean called Binbdubilva village has begotten, and who delights starry poetry, as ocean-born moon delight his star of stars, namely Rohini, hence listen to him and tell me where you are... [a pa 7-8]

 This is said to be a grand poetic construct. Unlike the doubtful expression of Kalidasa as at, kaH suuryaH prabhavo vamshaH? Jayadeva is self-assertive in asserting that though he came from a small village, he will be a moon in starry poetry, raising from earth to skyward like the ocean-born moon. This village Bindubilva, or Kendubilva, or Kenduli is said to be in Utkala area. If Utkala historically belongs to Vanga desha it is in Bengal. Else, it is in Orisaa.

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ùid ibsltaharae naym! Éuj¼mnayk>
k…vlydlïe[I k{Qe n sa grl*uit>,
mlyjrjae nedm! ÉSm iàyarihte miy
àhr n hræaNTyan¼ ³…xa ikmu xavis. 3-4
pdCDed - ùid ibslta har> n Aym! Éuj<gm nayk> k…vly dl ïe[I k{Qe n sa grl *uit> mlyj rj> n #dm! ÉSm iàya rihte miy àhr n hr æaNTya An<g ³…xa ikmu xavis

3-4. hè ana.nga= you, bodiless fellow [Love-god]; priyaa rahite mayi=darling, without, in my respect; hara bhraantyaa=Hara, [Shiva,] confusedly; na prahara=don't, batter; hR^idi=on chest; ayam =this; bisalataa haaraH=lotus stalks, garland; na  bhujan gama   naayakaH=not, snakes, king of; kaNThe= at neck; saa= that; kuvalaya   dala   shreNii=black-lotus, petals, row [circlet]; na garala  dyutiH=not, in venom's, in hue; idam malayaja rajaH=this, sandal-paste's, dried up particles; na  bhasma= not, ashes; krudhaa   kimu   dhaavasi=rancorously, why [kim u = vexatiously,] run after [hound me.]

"You knavish bodiless Love-god, don't batter me when I am without my darling, and don't chase me confusing me for God Shiva... look, this garland of lotus-stalks on my chest is not king cobra, and the circlet of blue-lotus petals at my neck is not in the hue of venom, and these particles of dried-up sandal-paste on my body are not the ashes on the body of Shiva body... why do you rancorously and vexatiously hound me... [3-4]

 "When Shiva reduced you not even your ashes remained, as he then graced you to be a formless entity... but, if you wish to take that revenge on Shiva, and rancorously and vexatiously chase me mistaking me for Shiva, I will now make you even a nameless, functionless entity... be careful..." is the finishing line.

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pa[aE ma k…é cUtsaykm! Amum! ma capmaraepy
³IfainijRtivñ mUiDRtjna"aten ikm! paEé;m!,
tSya @v m&gI†zae mnisjàeNot!kqa]azug
ïe[Ijr!jirtm! mnagip mnae na*aip s<xu]te. 3-5
pdCDed - pa[aE ma k…é cUt saykm! Amum! ma capm! Aaraepy ³Ifa inijRt ivñ mUiDRt jn Aa"aten ikm! paEé;m! tSya @v m&gI †z> mnisj àeNot! kqa] Azug ïe[I jjRirtm! mnagip mn> n A* Aip s<xu]te

3-5. kriiDaa= by sport [love-sport]; nirjita=vanquished; vishva=world one who has it under his control]; manasija=oh, Love-god; paaNau amum=in hand, that; chuuta=mango [tender leaf]; saayakam=arrow; maa kuru=don't, make [don't wield it]; chaapam  maa   aaropaya =bow, don't, string [with bowstring]; muurchhita jana aaghaatena=fainted [killed,] people, by killing; kim  paurushham=what is, valour [kimpaurushham= vainglorious]; mR^igii dR^ishaH=deer, look [one having them, Raadha]; tasyaa eva=by them, only; prenkhat=flitting; kaTaaksha [viikshaNa]=tilting glances; ashuga=that go at full tilt [arrows like glances]; shreNii=by rows, by fusillades; jar jaritam =pulverised to particles; manaH=[my] heart; manaagapi=in the least; na adya=not, now; api  sa.ndhukshate=composed [or, sa.ntuSyate= happy.]

"Oh, Love-god, agreed that you are the vanquisher of this world with your love-sports, but now don't wield that arrow of tender mango leaf, even if you wiled it, don't string your bow with bowstring to take an aim with that arrow at me... now my heart is disconcerted and pulverised by the fusillades of tilting deer-like glances of Raadha that are at full tilt targeting me... as such, of what worth is your valour in killing them that are already killed... [3-5]

 In other mms this verse is placed as the last verse of this chapter. Here, if anyone is going to ask Krishna, "O one and you say that Love-god is tormenting you, an on the other you say your own ladylove is doing so, in so many 'unusual' words, have you got a method in your madness?" For this Krishna says, "Yes! Yes! Why blame my selfsame Love-god is tormenting, when this girl has become more than this fellow... as in next song of Jayadeva..."

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æUp‘vm! xnurpa¼tri¼tin
ba[a> gu[> ïv[pailirit Smre[,
Aôai[ inijRtjgiNt ikmipRtain. 3-6
pdCDed - æU p‘vm! xnu> Apa<g tr<igtin ba[a> gu[> ïv[ pail> #it Smre[ tSyam! An<g jy j<gm devtayam! Aôai[ inijRt jgiNt ikm! AipRtain

3-6. ana.nga jaya= Love-god, for the sake of victory; ja.ngama devataayaam=a mobile, goddess like; tasyaam=in her [in Raadha]; smareNa=by Lovegod; bhruu pallavam dhanuH=eyebrows, leaflet-like, as bow; apaa.nga tara.ngitani=slanting-glances, lilting ones; baaNaaH=as arrows; shravaNa paaliH guNaH=ear-side, hanging flowery tassels [karNa lataa,] as bowstring; iti=this way [if thought, if seen]; nirjita jaganti astraaNi=completely conquerable , worlds, missiles [those missiles that can completely conquer all worlds]; arpitaani   kim =gave [entrusted,] or what?

"Has this Love-god entrusted all his missiles that can completely conquer all the worlds to this mobile goddess like Raadha, or what? If seen in this way, her leaflet like arching eyebrows appears as his bow, her slanting, lilting, slitting glances as his arrows, and the flowery tassels hanging at her ear-sides as that bow's bowstring... Yes! Both are connivers... [3-6]

 'Then why blame that unseen conniver, let me blame the seeable conniver as to why she became so hostile at me, just for one [among many of my meaningful] mistakes... I will tell her like this, if she is found..."

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æUcape iniht> kqa]ivizoae inmaRtu mmRVywam!
ZyamaTma k…iql> kraetu kbrIÉarae=ip marae*mm!,
maehaNtavdyMc tiNv tnutam! ibMbaxrae ragvan!
sd! v&ÄStnm{dlStv kwm! àa[EmRm ³Ifit. 3-7
pdCDed - æU cape iniht> kqa] ivizo> inmaRtu mmR Vywam! Zyam AaTma k…iql> kraetu kbrIÉar> Aip marae*mm! maehan! tan! Av dym! c tiNv tnutam! ibMb Axr> ragvan! sdœ v&Ä> Stn m{dl> tv kwm! àa[E> mm ³Ifit

3-7. hè tanvii= oh, beauty; bhruu chaape= in eyebrow, bow; nihitaH= kept [take an aim] kaTaaksha  vishikhaH = sidelong, glances; marma vyathaam=vitals, torture; nirmaatu=may build [may cause]; shyaama  aatmaa=black, by nature; kuTilaH kabarii bhaaraH api=curvy, hair-bun, weighty one, even [rather, curvy horsewhip like braid]; karotu=may do; maarodyamam=lashing [or, maara  udayam = Love-gods, activity]; raagavaan  taan   bimba   adharaH   cha=reddish [or, loveable,] small red cucumber like, lips, also; a  vadayamun =un , speakable; mohaan tanutaam = infatuation, may increase; sad vR^ittaH =well, roundly [or, well, behaved, decorous]; tava stana maNdalaH = your, bosom, sphere [bosomy bust]; katham mama praaNaiH kriiDati=how, with my, loves, playing; [pashya= see]

"Oh, beauteous Raadha, your sidelong glances taking aim on your bow-like eyebrows may cause torture to the vitals of others, your curvy horsewhip-like weighty braid may lash others in Love-god's activity, and small reddish cucumber like lips of yours may also increase infatuation in others, but see how your decorous bosomy bust is playing with my lives... [3-7]

Verse Locator

tain SpzRsuoain te c trla> iõGx †zaeivRæma
td! vk!Ça<bujsaErÉm! s c suxaSyNdI igram! vi³ma,
sa ibMbaxrmaxurIit iv;yas¼e=ip ceNmansm!
tSya l¶smaix hNt ivrhVyaix> kwm! vr!xte. 3-8
pdCDed - tain SpzR suoain te c trla> iõGx †zae> ivæma> tt! v± A<buj saErÉm! s c suxa SyNdI igram! vi³ma sa ibMb Axr maxurI #it iv;ya sNge Aip cet! mansm! tSya l¶ smaix hNt ivrh Vyaix> kwm! vxRte

3-8. taani= those; sparsha sukhaani= touch, comforts of; te cha= they, also; taralaaH  snigdha  dR^ishoH vibhramaaH=billowy, friendly, eyes', flirtation; tat  vaktra   a.mbuja  saurabham =that, face, lotus-like, perfume; sa cha=that, also; sudhaa syandii giraam vakrimaa [caaturyam]=ambrosia, pouring, words, finesse; saa  bimba   adhara maadhurii=that, small reddish cucumber like, lips, lusciousness; iti=this way; viSayaa sa.nge api=in subjects [of sensory organs,] attached to, even; maanasam= heart; tasyaa= in her; lagna samaadhi chet= held fast, in [her] concentration, if [if unified in her thought]; viraha vyaadhiH =disunion, [called] sickness; katham vardhate=how, escalating; hanta=alas/amazing.

This verse is also explained in this way: sparsha sukhaani = comforts from touching her [now being sensed]; taani = they alone [those that were felt previously, by this sense of touching, namely skin, is satisfied even now]; taralaaH snigdha dR^ishoH vibhramaaH =now the eye filling sights of environ; te cha =they alone [those that were seen earlier – hence sense of seeing is satisfied even now]; vaktra a.mbuja saurabham =now the perfume that is being smelled; tat= that alone [that was smelt earlier, by this sense of smell is still satisfied]; sudhaa syandii giraam vakrimaa =now what all the ears are listening; sa cha=hers, only [those that were heard earlier, hence sense of hearing remains satisfied]; bimba adhara maadhurii =lips still have that palatability; saa = of her [which were once enjoyed, hence sense of taste remains satisfied]; rest as above.

"Those comfortable touches are still lasting, also those flirtations of billowy and friendly eyes are still lingering, that perfume from her lotus-like face is still redolent, those reddish cucumber like lips that pour forth ambrosial words with finesse, and luscious in taste are still immutable from memory, and though no single sense organ is dissatisfied, as each is still enjoying the good old comfort, but my heart is longing for her, in spite of the fact that hearts usually long after someone or something, an unavailable satisfying factor... this is amazingly self-contradictory, as it happens only in 'love...' [3-8]

 If it is asked 'is it enough that the satisfaction of sensory organs is simply sufficient, leaving the motor organs? For this it is replied 'motor organs are subservient to sensory organs, as they cannot perform actions on their own... further, the classification of motor organs is varied and numerous... hence, leave them as they are...'

Verse Locator

sarekNdiltaiítMddtun> ]emm!kqa]aemRy>. 3-9
pdCDed - ityRk! K{Q ivlael maEil trl AvÄMsSy v<z %½rt! dIiÝ Swan k«t Avxan llna l]E> n s<li]ta> s<muGxe mxusUdnSy mxure raxa muo #NdaE suxa sare kNdilta> icrm! ddtu n> ]emm! kqa] ^mRy

3-9. tiryak kNTha= transverse, neck; vilola mauli=rocking, head; tarala  avattamsasya =tossing, headgear; madhusuudanasya=of Madhusuudana, of Krishna; va.msha=Mohana Vamshi, his flute; uccarat diipti sthaana=sounding off [blurted,] in higher, octave; kR^ita avadhaana=on making, listening; lalanaa lakshaiH=girl folks, in lakhs, numerous; na sa.mlakshitaaH=not, aimed at; sa.mmugdhe=highly, infatuating; madhure=luscious; sudhaa saare=nectarean, essence having; raadhaa mukha indau=in Raadha's, face, called moon; ciram=for a long-time; kandalitaaH=sprouted; kaTaaksha=gracing sidelong glances; uurmayaH=ripples; naH=to us; kshemam dadatu=impunity, let give.

He whose neck is slanted transversely, whose head is nodding tossing his headgear, while that Krishna started to sound off his transverse flute, Mohana Vamshi, in a higher octave, and then his highly infatuating looks that have sprouted in the moon like face of Raadha, enjoying the luscious and nectarean essence of such a face for a long-time, are now not aiming at those thousands of milkmaids, who have come again to listen his fluting, as those looks are searching for Raadha... let those gracing ripples like sidelong glances endow us impunity in all our actions... [3-9]

 This verse will not be found in northern mms, hence the problem with the construct of na sa.mlakshitaaH may not be observed. This is available in the publication of Gurudev Ranade Institute of Philo and Mysticism, Benguluru. There seems to be a riddle in that, and if any scholars can inform the correct construction, this will be amended.


#it gItgaeivNde muGxmxusUdnae nam t&tIy> sgR>

Thus, this is the 3rd chapter called Winsome Krishna in giita govindam of Jayadeva.

Verse Locator for Ch. 3 - mugdha madhussudanaH - Winsome Krishna

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Sept, 2003, Desiraju Hanumanta Rao