Somehow reconciling herself about Krishna's frolicking with other maids Rādha approaches Krishna when her girlfriend persuades her. There are many variations in verses of this chapter in other mms, and hence the verses found more may be taken as regional insurgencies.
सुचिरमनुनयेन प्रीणयित्वा मृगाक्षीम्
गतवति कृतवेशे केशवे कुंजशय्याम्।
रचितरुचिरभूषाम् दृष्टिमोषे प्रदोषे
स्फुरति निरवसादाम् कापि राधाम् जगाद॥ ११-१
प च्छे - सुचिरम् अनुनयने प्रीणयित्वा मृग अक्षीम् गतवति कृत वेशे केशवे कुंज शय्याम्
रचित रुचिर भूषाम् दृष्टि मोषे प्रदोषे स्फुरति निरवसादाम् कापि राधाम् जगाद
11-1. kR^ita veshe keshave= on making getup, [on befittingly dressing up,] Krishna; su chiram anunayena priiNayitvaa= for a long time, with coaxing words, on gladdening; mR^iga akShiim= fawn, eyed Rādha; ku.nja shayyaam gatavati [sati]= in bower, on couch, having gone, [awaiting for her, while being so]; kaapi= some other milkmaid, who; rachita ruchira bhuuSaam= while decorating [Rādha], very tasty, decorations; dR^iSTi moSe pradoSe = eye, stealing [dimming,] late evening; sphurati sati= when [that late evening is] gleaming; nir + avasaadaam= to one without, sinking mood - to Rādha; rādha am [idam] jagaada = to Rādha, [this way], said.
On gladdening Rādha after a long time coaxing, Krishna has gone to a bower dressing up in a befitting manner to receive a ladylove, and waited there for a long time on a bowery-couch awaiting her arrival; then, while the eventide is gleaming, some milkmaid-girlfriend neared that un-dispirited Rādha, and said this to her while readjusting her ornaments and mantles like black-smock-frock like dress and black blanket etc that are befitting to a ladylove stealthily drawing nigh of her lover. [11-1]
अष्ट पदि - २० श्रीहरितालराजिजलधरविलसितम्
विरचितचाटुवचनरचनम् चरणे रचितप्रणिपातम्।
संप्रति मङ्जुलवङ्जुलसीमनि केलिशयनमनुयातम्॥
मुग्धे मधुमथनम् अनुगतमनुसर राधे - धृवम्॥ अ प २०-१
प च्छे - विरचित चाटु वचन रचनम् चरणे रचित प्रणिपातम्
संप्रति मंजुल वंजुल सीमनि केलि शयनम् अनुयातम्
मुग्धे मधु मथनम् अनुगतम् अनुसर राधे
a pa 20-1. virachita= one who has made; chaaTu vachana rachanam= coyly, words, crafty one [one who coaxed and combed you with crafty words]; sa.mprati charaNe rachita praNipaatam= presently, at [your] feet, who made, salutation; ma.njula va.njula siimani= heart-stealing, vanjula plants [a bower,] in areas of; keli shayanam anuyaatam= disporting, bed, gone onto;
hè mugdhe= oh, naively girl; raadhe= oh, Rādha; anu gatam= in tow, he who followed you [who fell for you - fall in love with, be infatuated with you - say your seeker, or one who has got a great following, a shelterer of seekers]; anu sara= in tow, go [you seek to, resort to]; madhu mathanam= Madhu the demon, he has humbled that demon - Krishna.
"Seek him, Oh, naively girl, who coaxed and combed you with his crafty words by paying his devoirs to your feet, for he is now available on the lovebed in the heart-stealing vamnjula bowers; seek to that Krishna for he is falling for you... [20-1]
The word iha and the foot kuru muraare m.ngala shataani are unseen in northern naagara mms. That way, many words and expressions in this song vary with those of Northern mms.
मुखरितमणिमङ्जीरमुपैहि विधेहि मरालनिकारम्॥ अ प २०-२
प च्छे - घन जघन स्तन भार भरे दर मंथर चरण विहारम्
मुखरित मणि मंजीरम् उपैहि विधेहि मराल निकारम्
a pa 20-2. ghana jaghana= of massy, hips; stana bhaara= of bust, massiveness of; bhare= those that are burdened with - your feet feel strained to carry massy hips and massive bosom; dara mkanda ga= a little, slowly, going - feet; or, dara ma.nthara = a little, [slowly] stirring; charaNa vihaaram= such your feet's, footwork - pacing - mincing steps [vidhehi= make happen]; mukharita maNi ma.njiiram= with tinkling, by gemmed, anklets; [madhu, mathanam = Krishna]; upaihi= upa ehi= to near, you go [approach]; maraala nikaaram= swans [clucking,] meaningless; vidhehi= you make; or, vikaaram - [gamana] vikaaram= go in the gait of swans.
Seek him strutting slowly with feet fatigued in tugging your massy hip and massive bust, making gemmy anklets to tinkle, thus making the gait and clucks of swans meaningless... for he is your seeker... [a pa 20-2]
This time is appropriate to seek Krishna because swans coming home will be clucking at this time, and the tinkles of anklets will be drowned in those clucks, which others may not decipher, excepting Krishna, the seeker. Further, swans' clucks, rather their voicing than ducks clucking, are an auspicious omen kR^iSNa anusarvaasu api darshanena hamsasya shabdena ca kaarya siddhiH – vasanta raajiiya grantha that too, more auspicious when putting one's best foot forward.
शृणु रमणीयतरम् तरुणीजनमोहनमधुरिपुरावम्।
कुसुमशरासनशासनवन्दिनि पिकनिकरे भज भावम्॥ अ प २०-३
प च्छे - शृणु रमणीय तरम् तरुणी जन मोहन मधु रिपु रावम्
कुसुम शरासन शासन वन्दिनि पिक निकरे भज भावम्
a pa 20-3. hè mugdhe= [here] unknowledgeable, ignorant girl; ramaNiiya taram= pleasurable, higher in degree [best possible]; further; taruNii jana mohana= damsel, folks of, [that which] amuses, inveigles; madhu ripu raavam= Madhu's, enemy's, musicality of flute; [if it is madhupa viraavam; madhupa= honeybees; viraavam= muchhumming; then it is - hearing only the humming of bees, but not the flute of Krishna; so the madhupa is honeybee called Krishna, the swiller of honey of a flower called, Rādha] shR^iNu= hark to; kusuma sharaasana= flowers, arrow-seat - flowery bow wielder - Lovegod's; shaasana vandini= by order [of that Lovegod], [those that have become his] minstrels; pika nikare= koels, flights of; bhaavam bhaja= idea, you get.
"Seek him by harkening to the best possible music of his flute that inveigles the flocks of damsels; seek him by harkening to the flights of koels that sing with the same musicality as if they are the minstrels of Lovegod singing by his order; in this way, seek him by getting some pointers to his place, as he is your seeker... [a pa 20-3]
अनिलतरलकिसलयनिकरेण करेण लतानिकुरम्बम्।
प्रेरणमिव करभोरु करोति गतिम् प्रतिमुंच विलम्बम्॥ अ प २०-४
प च्छे - अनिल तरल किसलय निकरेण करेण लता निकुरंबम्
प्रेरणम् इव करभ ऊरु करोति गतिम् प्रति मुंच विलम्बम्
a pa 20-4. karabha= measure from tip of last finger to wrist, palmful sized; uuru= one having such thighs; lataa nikura.mbam= climber-plants, whole of [ensemble of]; anila tarala= by wind, wavy; kisalaya nikareNa= by tender leaves, bunches of; kareNa preraNam iva= with hand, encouraging, as though; karoti= they do; gatim prati vilambam= in going, towards that place, delay; mu.ncha= leave off - don't make delay ingoing there.
"Seek him while breeze sways the ensemble of climber plants in that direction, while the assortments of their leaflets looking like tiny hands wave to you in that direction, as if bidding you to proceed in that way; stop dawdling away and seek him for he is your seeker... [a pa 20-4]
The breezing, an agreeable sway of trees and their tender leaves etc., have good omen while setting out on a purposeful journey. vaame madhura vaak pakShii vR^ikShaH pallavito agrataH | anukuulo vahan vaayuH prayaaNe shubha suucakaH – shakuna shaastra 'birds singing on left, seeing trees with just born leaves, breezes breezing the way set out, all these are good omens for a journey...'
पृच्छ मनोहरहारविमलजलधारममुम् कुचकुम्भम्॥ अ प २०-५
प च्छे - स्फुरितम् अनंग तरंग वशात् इव सूचित हरि परिरंभम्
पृच्छ मनोहर हार विमल जल धारम् अमुम् कुच कुम्भम्
a pa 20-5. hè mugdhe= you ignorant girl; ana.nga= by Lovegod's; tara.nga vashaat iva= purls, owing to control [tide-ripped,] as if; sphuritam= fluctuating crabwise; suuchita= indicating; hari pari ra.mbham= Krishna's, spiral, embrace; manohara= pleasant; haara= pearly pendants; vimala jala dhaaram= immaculate, water [streams,] purling; amum kucha ku.mbham = this, bosoms, pot-like; pR^icCha= ask them [the bosoms.]
Seek him, for those pleasant pearly pendants spirally fluctuating crabwise on your potlike bosoms, as if thaumaturgic Lovegod tideripped them to purl, now appear as purling streams of immaculate waters spilling out of brimful pots; ask those pitchers whether they indicate a spiralling embrace of Krishna bechances or not, and then seek him who is your seeker... [a pa 20-5]
The simile/metaphors used here are between :– waves – pearl-pendants; purls of love – purl-like motion of pendant on heaving bosoms; water spills only if brook/stream is full; love spill only when it is bosom-full; stream with full immaculate water – bosoms with plethoric pristine love; pot like bosoms – streams with pot and pots of water; Lovegod's activity is seasonal – longing for love is time oriented; and the upsurge and getting tide-ripped is common to both water and love.
When it is said ananga taranga it is construed that Rādha is rasa tarangiNi, a purl of essence of enjoyable, blissful love-purl of Krishna, where purl is a stream of a brook etc., flowing with a swelling, swirling motion and with babbling sound. She too is a single stream of loveliest love essence. And when the bosoms of women surge with passion, of course, with a righteous intention, then the swell of bosoms portend a definite embrace from their loved men. nityam naaryaaH stane kampaH priya sangama suucakaH – shakuna shaastra Then Rādha may say 'stop all this orthodox nonsense, how can I go to him when all of you are eyeing at me, am I shameless or what?' for this that girlfriend replies now on.
अधिगतमखिलसखीभिरिदम् तव वपुरपि रतिरणसज्जम्।
चण्डि रसितरशनारवडिण्डिममभिसर सरसमलज्जम्॥ अ प २०-६
प च्छे - अधिगतम् अखिल सखीभिः इदम् तव वपुः अपि रति रण सज्जम्
चण्डि रसित रशन रव डिण्डिमम् अभिसर सरसम् अलज्जम्
a pa 20-6. hè mugdhe= you ignorant girl; tava idam vapuH api= your, this, body, even; rati raNa sajjam= passion, battle of [for grapples of courtship], primed for; adhigatam akhila sakhiibhiH= familiar, to all, girlfriends; hè chaNDi= you wildcat; rasita rashana rava DiNDimam= making to thrum, waist-strings', tinkle bells, by sound, drumming like sound paraspara virodhaa alankaara where delicate tinkling of 2mm bells of waist-strings magnified as war drum beats- to say 'become a love-warrior - for the grapples of courtship']; a + lajjam= without, embarrassment - unembarrassedly; sa rasam= with, romance; abhi sara= towards [him,] you make move.
"Seek him for your body is primed for the battle of passion, which to all your girlfriends is well-known; hence, oh, ignorant wildcat, chime tinkle bells of your waist-strings like the drumbeats of combatants and make a move towards him like a love-warrior to that rhythm, unembarrassedly but romantically, for he is your seeker... [a pa 20-6]
स्मरशरसुभगनखेन करेण सखीमवलंब्य सलीलम्।
चल वलयक्वणितैरवबोधय हरिमपि निजगतिशीलम्॥ अ प २०-७
प च्छे - स्मर शर सुभग नखेन करेण सखीम् अवलंब्य सलीलम्
चल वलय क्वणितः अवबोधय हरिम् अपि निज गति शीलम्
a pa 20-7. hè mugdhe= you innocent girl; smara shara subhaga nakhena= Lovegod's, arrows [like,] beautiful, with fingernails; kareNa sakhiim avala.mbya= hand of [arms], girlfriend [that is me], hanging on [to me - I will support your near-swoon posture]; sa liilam= with, grace; chala= you move; valaya kvaNitaH nija gati shiilam= round silver bracelets', by clanging, your, movement's [approach,] way of - let them herald your arrival; avabodhaya harim api= make known, to Krishna, even.
"Seek him by moving gracefully while the clinks of your bracelets herald your oncoming to him; if need be, by bracing yourself on my shoulders with your arms that have beautiful fingernails, akin to the flowery arrows of Lovegod, so that you may not swoon to a waltz; still and all, seek him for he is your seeker... [a pa 20-7]
हरिविनिहितमनसामधितिष्ठतु कण्ठतटीमविरामम्॥ अ प २०-८
प च्छे - श्री जयदेव भणितम् अधरी कृत हारम् उदासित वामम्
हरि विनिहित मनसाम् अधितिष्ठतु कण्ठ तटीम् अविरामम्
a pa 20-8. adharii kR^ita haaram= to ground, that makes; one that flattens, pearl-pendants; udaasita vaamam= smoothed out [straightened], tortuousness; jayadeva bhaNitam shrii suukti= by Jayadeva, said, auspicious, saying; hari= in Krishna; vinihita= embedded; manasaam= those that have such hearts [steadfast on Krishna's disports]; kaNTha taTiim= [on their] throats, on the banks [as riverbanks are to a river, so are the edges of lips to throats - on the tips of lips of adorers]; a + viraamam= without, remitting; adhitiSThatu= preside over.
Let this auspicious song said by Jayadeva, that flattens pendants of pearls to ground, for this song is strung up with more soothing words than pearls, and that which has no tortuosities in outlining the sports of rādha-krishna, preside over the tips of lips of adorers of Krishna, unremittingly... [a pa 20-8]
मूर्ध्नि श्यामसरोजदाम कुचयोः कस्तूरिकापत्रकम्।
धूर्तानामभिसारसंभ्रम जुषाम् विष्वङ्निकुञ्जे सखि
ध्वान्तम् नीलनिचोलचारु सुदृशाम् प्रत्यङ्गमालिङ्गति॥ १-२
प प च्छे - अक्ष्णोः निक्षिपत् अंजनम् श्रवणयोः तापिन्च्छ गुच्छ आवलीम्
मूर्ध्नि श्याम सरोज दाम कुचयोः कस्तूरिका पत्रकम्
धूर्तानाम् अभिसार संभ्रम जुषाम् विष्वक् निकुंजे सखि
ध्वान्तम् नील निचोल चारु सुदृशाम् प्रति अंगम् आलिंगति
11-2. sakhi= oh, friend; dhvaantam= this delightful, shade of night, gloaming; niila nichola chaaru= black, blanket, agreeable to; where and what he is doing; viSvak= everywhere; aali.ngati = embracing; whom?; akShNoH a.njanam= those that apply - in eyes, mascara; shravaNayoH= at sides of ears; taapi.nchCha guchCha aavaliim= black flowers', bunches, strings of; muurdhni= on forehead; shyaama saroja daama= black, lotuses, chaplet; kuchayoH= on bosoms; kastuurikaa patrakam= black musk's, leafage designs; nikShipat= those who are keeping, those that are decorated with these items; who are they: dhuurtaanaam= coquettes; abhisaara sa.mbhrama juSaam= in going to their lovers, with flurry, those that are muddled up; su dR^ishaam= good, glanced - girls with sidelong-glances; niku.nje= in bowers; prati a.nga= each, limb; viSvak= from everywhere; aali.ngati= he that gloaming is embracing; before going into the embrace of this dusk, better go into the embrace of your lover.
"This gloaming gleaming like a black covering blanket is everywhere embracing each limb of coquettish girls with sidelong-glances, decorated with black mascara in eyes, black tamaala flowers on ear-sides, black lotus chaplets on forehead, black musk leafage designs on busts, and those that are muddled up in flurrying towards their swains in darkling; so, oh, friend, before going into the embrace of this dusk, better seek the embrace of your seeker. [11-2]
तत्प्रेमहेमनिकषोपलताम् तनोति॥ ११-३
पच्छे - काश्मीर गौर वपुषाम् अभिसारिकाणाम्
आबद्ध रेखम् अभितः रुचि मंजरीभिः
एतत् तमाल दल नील तमम् तमिस्रम्
तत् प्रेम हेम निकष उपलताम् तनोति
11-3. That which is with: abhisaarikaaNaam= of those that go towards a preset place of lover [coquettes treading towards their lovers]; kaashmiira gaura vapuSaam= their saffron, ocherish [i.e., in kumkum's colour,] with their bodies [with gleams of their complexion]; ruchi ma.njariibhiH= with glints, clusters of - gleaming from the golden complexion of ladyloves [or, maNi manjariibhiH = by the cluster of gems]; further, that which is; abhitaH= all around; aabaddha rekham= trussed up, with arrays of; tamaala dala niila tamam= like black tamaala, leaves, their blackness, greater in degree; etat tamishram= this, dark of night; tat= for that, [love for Krishna]; prema= [for his] love; hema nikaSa upalataam= for gold,on touchstone, like streaked lines; tanoti= is enriching.
This schistose dark nightfall is more blackened with the arrays of black tamaala leaves arraying all around, on which jasper ocherish saffrony complexions of coquettes flurrying towards their lovers are glinting like clusters of gold-streaks on a touchstone; so, let this crepuscule become a touchstone for the selectable streaks of gold, called love for Krishna... [11-3]
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 Rādha, in all her love for Krishna, ventures to tread the darkness, called ignorance, she shines forth like a loveable streak of pure gold.
द्वारे निकुङ्जनिलयस्य हरिम् निरीक्ष्य
व्रीडावतीमथ सखीमियमित्युवाच॥ ११-४
प च्छे - हार आवली तरल कांचन कांची दाम
मंजीर कंकण मणि द्युति दीपितस्य
द्वारे निकुंज निलयस्य हरिम् निरीक्ष्य
व्रीडावतीम् अथ सखीम् इयम् इति उवाच
11-4. atha= then; haaraa aavalii tarala= with pearl-pendants, cluster of, their central jewel; kaa.nchana kaa.nchii daama= with golden, waist-string; manjiira= anklets [keyuura= bicep-lets]; ka.nkaNa= bracelets; maNi= jewels; dyuti= by resplendence of [these ornaments]; diipitasya = brightened [by his own self-refulgence]; niku.nja nilayasya dvaare= bowery, abode's, at entryway - who is standing there; harim niriikShya= at Krishna, on making eyes at; iyam [duutii]= this girlfriend-cum- messenger; vriiDaavatiim = at one who is becoming bashful, Rādha; sakhiim= at such girlfriend Rādha; iti uvaaca= this way [in next song,] spoke.
On reaching the preset place to meet Krishna, Rādha found him at the very entryway of that bowery abode, which is brightened 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, as well by his self-refulgence; then on making eyes at him Rādha became bashful, and then to such a bashful Rādha, this friend-cum-messenger spoke in this way. [11-4]
अष्ट पदि २१ - सानन्ददामोदर प्रेम द्रुम पल्लवम्
इह विलस रतिरभसहसितवदने॥
प्रविश राधे माधवसमीपमिह
- कुरु मुरारे म्ंगल शतानि - धृवम्॥ अ प २१-१
प च्छे - मंजु तर कुंज तल केलि सदने
इह विलस रति रभस हसित वदने
प्रविश राधे माधव समीपम् इह
- कुरु मुरारे मंगल शतानि -
a pa 21-1. rati rabhasa hasita vadane raadhè;
rati rabhasa= of intimacy, in ecstasy - this ecstatic state made her to smile; hasita= made to smile; vadane= O, one who wears such a simpering smile on your face in the ecstasy of intimacy; raadhè= such as you are: O, Rādha;
ma.nju tara= enrapturing, highly; ku.nja tala= nikunja abhyantara desham tadeva= bower's, interior [this word 'tala' is ridiculously translated as surface, ground of bower, meaning that 'Rādha you lay down on the ground of bower'; when saying atala, vitala, paatala, rasaatala etc, we don't say a-ground, vi-ground, paa-ground etc, but interiors, or inner cores of earth; better this may please be stopped, and let it be said as the interior of snuggery, a realm of your lover's bower'; without ruining Rādha stature]; keli sadane= disport, mansion of = kRishna dhaamam= realm, abode, seat = a country mansion, esp. with large grounds - wherever he is there it is a snuggery for romantic disports - raasa liilaa-s, raasa kriiDaa-s; maadhava samiipam = to Krishna's, close proximity; pravisha= not pravesha = enter,but - pra+vish= stay put - stay snugly; but we generally end up in 'enter here...'
iha= in here, in this snuggery - an enrapturing realm of your lover; vilasa= show your savoir faire in romantics, unfurl your romantics taking rejoice in them;
iha= now; hè muraare= oh, Krishna; kuru m.ngala shataani = make happen [accord] graces, in hundreds [manifold] - for Rādha has come to you.
"Oh, one with a simpering smile just sprouted out of ecstasy for an intimacy on your gleaming face, O, Rādha, enter the seat of passional disports of Krishna and stay snugly in the enrapturing realm of your lover in close proximity of maadhava... now, O, Krishna, you have to accord manifold graces for Rādha neared you... [a pa 21-1]
The word iha and the foot kuru muraare m.ngala shataani are unseen in northern naagara mms. And many words and expressions in this song vary with Northern mms.
विलस कुचकलशतरलहारे ॥ अ प २१-२
प च्छे - नव भवत् अशोक दल शयन सारे
विलस कुच कलश तरल हारे
a pa 21-2. hè kucha kalasha tarala haare raadhe;
kucha kalasha= on bosoms, pot-like [bulging bosoms]; tarala haare= tossing, one having such tossing pendants; hè raadhe= such as you are: O, Rādha; nava bhavat ashoka dala= on newly, sprouted, ashoka flowers', petals; shayana saare= on couch, the best one; vilasa= rejoice yourself; [respite: pravisha raadhe maadhava...shataani= as above.]
"O, Rādha with tossy pendants on bulging bosoms, here rejoice on the best couch made of newly sprouted petals of ashoka flowers... enter and stay snugly in the enrapturing realm of your lover... [a pa 21-2]
इह विलस कुसुमसुकुमारदेहे॥ अ प २१-३
प च्छे - कुसुम चय रचित शुचि वास गेहे
इह विलस कुसुम सुकुमार देहे
a pa 21-3. kusuma sukumaara dehe raadhe;
kusuma sukumaara dehe= O, one with flower-like, exquisite, physique; kusuma chaya rachita= flowers, heaps of, made with; shuchi= clean [meaning that this cottage is unsullied by another heroine previously, or a sanctum sanctorum; vaasa gehe= living, house [penetralium of sanctity, innermost shrines or recesses; ultimately - a bedchamber]; iha vilasa= now, you rejoice.
"O, one with flower-like exquisite build, Rādha, take delight here that has an inmost pristine bedchamber heaped up with heaps of flowers... enter and stay snugly in the enrapturing realm of your lover... [a pa 21-3]
विलस मदनशरनिकरभीते॥ अ प २१-४
प च्छे - चल मलय वन पवन सुरभि शीते
इह विलस मदन शर निकर भीते
a pa 21-4. madana shara nikara bhiite hè raadhe= by Lovegod, arrows, group of, one who is scared so far;
or, madana shara rabhasa bhaave hè raadhe= by Lovegod, arrows, ecstatic for intimacy, one having such mood;
or, vilasadalilalit giite hè raadhe: vilasat ali lalita giite= one who is shining forth, like honeybees', melodious, music - one who is melodiously humming and buzzing for Krishna as with a flower inviting honeybees;
cala= with transiting breezes; [or, mR^idu= by delicate breezes]; malaya vana pavana= coming from Mt. malaya's - sandal, woods, breeze; [ghana= richly] 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 so far scared by the pentad of flowery arrows of Lovegod, move into the bower fully fragranced and cooled with transient breezes from the sandalwoods of Mt. malaya, and stay snugly in the enrapturing realm of your lover... [a pa 21-4]
विलस चिरमलसपीनजघने॥ अ प २१-५
प च्छे - वितत बहु वल्लि नव पल्लव घने
विलस चिरम् अलस पीन जघने
a pa 21-5. alasa piina jaghane hè raadhe= one with husky, burly, hips - O, Rādha;
or, piina kucha kumbha jaghane raadhe = one with burly bosoms, and massy fundaments;
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, one with burly, husky hips, Rādha, in this bower verily intertwined with many a climber-plant and decorated with a mass of new leaflets, you stay snugly in the enrapturing realm of your lover, for a long time to come... [a pa 21-5]
विलस कुसुमशरसरसभावे॥ अ प २१-६
प च्छे - मधु मुदित मधुप कुल कलित रावे
इह विलस कुसुम शर सरस भावे
a pa 21-6. kushuma shara sa rasa bhaave, hè raadhe; kushuma shara= flowery, arrows - wielder, Lovegod, passionate; sa rasa= with, romance; bhaave= having such a mood; [
or, madana shara rabhasa bhaave hè raadhe; or, madana rasa rabhasa bhaava hè raadhe;
madhu= with honey [swilling]; mudita= gladdened; madhupa kula= honeybees, swarms of; kalita raave= blent, with humming; iha vilasa= in here, you rejoice.
"O, one with passionate romantic mood, Rādha, enter this bower booming with swarms of humming honeybees exhilarated in swilling honey... stay snugly in the enrapturing realm of your lover, in here... [a pa 21-6]
विलस दशनरुचिरुचिरशिखरे॥ अ प २१-६
प च्छे - मधु तरल पिक निकर निनद मुखरे
इह विलस दशन रुचि रुचिर शिखरे
a pa 21-7. dashana ruchi ruchira shikhare hè raadhe
dashana= of teeth; ruchi= brightness; ruchira= charming; shikhare= edge of teeth [one oh, one with brightly sparkling teeth edges - if you give a toothy smile;
or, dashana ruchi= teeth's, brightness; rucira= beautiful; shikhare= as with rubies - according to shaashvata nighaNTu - shikhare means rubies: pakva daaDima biija aabhaam maaNikyam shikharam viduH; oh, one withrosy rubies for your teeth;
madhu= in vernal season [on chewing tender leaves]; tarala= fluttering; pika= koels; nikara= flocks of; ninada= [with lustful] callings; mukhare= bower reverberating with; iha vilasa= in here, you rejoice.
"O, one with sparkly teeth, Rādha, enter this bower reverberating with lustful callings of koels on their chewing just sprouted tender mango leaves in this vernal season... in here you rejoice staying snugly cleaving to your lover... [a pa 21-7]
भणति जयदेवकविराजे॥ अ प २१-८
प च्छे - विहित पद्मावती सुख समाजे
भणति जयदेव कवि राज राजे इह विलस
a pa 21-8. vihita= make happen, matched up; padmaavatii= with padmaavati [poet's wife]; sukha samaaje= saukhya parampara= in the chain of comforts [where the unbroken chain is strung with her help in choreographing, wifehood etc, leaving the poet to go on telling this song, without any nagging, unlike Saint Tukaram's wife;
or, vihita= arranged; padmaavati= Goddess LakShmi's; sukha= comfortable; samaaje= ensconcing i.e., the idol of Goddess LakShmi is ensconced in a comfortable sitting in the temple at his village, variously called as Indubilva, Tindubilva etc., and he positing himself before those idols composed this poem - so they say];
jayadeva = while Jayadeva; kavi raaja raaje= kavi chandra = for poets, a moon; kavi raaja candra raajaraajaH kubere api saarvabhoume sudhaakare - vishvakosha; moonlike poet among poets; bhaNati [sati]= while saying, shedding moonbeams-like nuances; iha vilasa= in here, you rejoice.
"While the moonlike poet Jayadeva is rendering this song, matched up with his wife who with a chain of comforts enabled the poet to adore Krishna, O, Rādha, you rejoice in here with him, by which let Krishna accord manifold graces to one and all... [a pa 21-8]
त्वाम् चित्तेनचिरम् वहन्नयमतिश्रान्तो भृशम् तापितः
कन्दर्पेण च पातुमिच्छति सुधासंबाधबिंबाधरम्।
अस्यांकम् तदलंकुरु क्षणमिह भ्रूक्षेपलक्ष्मीलव
क्रीते दासेवोपसेवितपदांभोजे कुतस्संभ्रमः॥ ११-५
प च्छे - त्वाम् चित्तेन चिरम् वहन् अयम् अति श्रांतः भृशम् तापितः
कंदर्पेण च पातुम् इच्छति सुधा संबाध बिंब अधरम्
अस्य अंकम् तत् अलंकुरु क्षणम् इह भ्रू क्षेप लक्ष्मी लव
क्रीते दास इव उपसेवित पद अंभोजे कुतः संभ्रमः
11-5. ayam= he; tvaam= you; chiram chittena vahan= for a long time, by heart, while sustaining - thoughts about you; [gamayati= comporting himself]; ati shraa.ntaH= much, tired out; kim ca= not only that; 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 that 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]; [Rādha may ask ' he 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..." [11-5]
सा ससाध्वससानंदम् गोविन्दे लोललोचना।
शिङ्जानमङ्जुमङ्जीरम् प्रविवेश निवेशनम्॥ ११-६
प च्छे - सा स साध्वस स अनन्दम् गोविन्दे लोल लोचना
सिंजान मंजु मंजीरम् प्रविवेश निवेशनम्
11-6. govinde lola lochanaa= on Krishna, fluttery, eyes [eying Krishna with sidelong-glances]; saa= she that Rādha; sa saadhvasa= with, fear [here - with 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 tinkling to her footwork, indicating her entrance - dancers delight]; pravivesha niveshanam= entered, disporting bower.
Then, Rādha entered that disporting bower casting sidelong glances, doubtfully yet delighfully, to the rhythm of her tinkling anklets in tune with her footwork. [11-6]
अष्ट पदि - २२ - सानन्दगोविन्द राग श्रेणि कुसुम आभरणम्
सा ददार्श गुरुहर्षवशंवदवदनमनंगनिवासम्।
हिरिम् एक रसम् - - - निवासम् - धृवम्॥ अ प २२-१
प छे - राधा वदन विलोकन विकसित विविध विकार विभंगम्
जल निधिम् इव विधु मण्डल दर्शन तरलित तुंग तरंगम्
हरिम् एक रसम् चिरम् अभिलषित विलासम्
सा ददार्श गुरु हर्ष वशंवद वदनम् अनंग निवासम्
a pa 22-1. Then; saa= she that Rādha; [saw him who is] eka rasam= he who is with single, [passionate] emotion [towards Rādha]; chiram abhilaSita vilaasam= for long time, desired, his frolicking [with Rādha ]; guru harSa vasha.nvada vadanam= [under the control of] high, ecstatic happiness, that went under control of, with such a face; ana.nga nivaasam= [aggregate] bodiless love, abode of; or ana.nga vikaasam= Lovegod, splendorous like; and with all these attributes on seeing; Rādhaa vadana vilokana= Rādha'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= [as if] moon's, sphere, on appearance of; taralita tu.nga tara.ngam= [as if] flurried, high, tides; jala nidhim iva= water, treasure [ocean,] as with; saa= she that Rādha; dadaarsha= saw at; harim= at Krishna.
There she saw him whose visage, like a deep-blue-sea tideripping on sighting moon's face, is now surging a spate of passion-tides, for high ecstasy of sighting moonlike face of Rādha laid hold of it, since he longed to frolic only with her for a long; thus, she saw such a face of his, which is an abode for aggregate love. [a pa 22-1]
हारममलतरतारमुरसि दधतम् परिरभ्य विदूरम्।
स्फुटतरफेनकदम्बकरम्बितमिव यमुनाजलपूरम्॥ अ प २२-२
प च्छे - हारम् अमल तर तारम् उरसि दधतम् परिरभ्य विदूरम्
स्फुट तर फेन कदंब करंबितम् इव यमुना जलपूरम्
a pa 22-2. amala tara= pure, higher [purest]; taaram= that has central locket with gems; haaram= one wearing such pearls, pendant; viduuram urasi parirabhya= lengthily, on chest, bracing [wearing a long pendant close on his chest]; dadhatam= wearing; sphuTa tara= clear, higher [clearest]; phena kada.mba kara.mbitam= foam, mass of [bubbles,] filling it; yamunaa jala puuram iva= River Yamuna, water, course, like; saa= she that Rādha ; dadaarsha= saw at; harim= at Krishna.
She saw him with a sapphirine chest filled with lengthy pendants of purest pearls swivelling on it, akin to the streaming sapphirine waters of River Yamuna filled with pearly bubbles veering on them; thus, she saw him with such a chest, a sanctum for aggregate sanctums. [a pa 22-2]
नीलनलिनमिव पीतपरागपटलभरवलयितमूलम्॥ अ प २२-३
प च्छे - श्यामल मृदुल कलेवर मण्डलम् अधिगत गौर दुकूलम्
नील नलिनम् इव पीत पराग पटल भर वलयित मूलम्
a pa 22-3. shyaamala= sapphirine; mR^idula= satiny; kalevara maNDalam [manDanam]= with body's, built; adhigata= possessed [wearing]; gaura dukuulam= piita ambaram= 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= available, standing.]
She saw him standing like a blueblack lotus remarkably spiralled with a peck of ocherish pollen at its satiny stem, for the body this boy with satiny build also has a wraparound of vestal silks ochry in colour vesture; thus she saw him in purest silks, an abode of aggregate purification. [a pa 22-3]
स्फुटकमलोदरखेलितखङ्जनयुगमिव शरदि तडागम्॥ अ प २२-४
प च्छे - तरल दृक् अंचल चलन मनोहर वदन जनित रति रागम्
स्फुट कमल उदर खेलित खंजन युगम् इव शरदि तडागम्
a pa 22-4. tarala dR^ik a.nchala chalana= moving, eye, to edges [Krishna / Rādha with sidelong glances,] by casting [such glances]; manohara vadana janita rati raagam= delightful, face, caused [showing,] for intimacy, interestedness - ready for an intercourse - is a commonplace saying, no use with it; sharadi= in autumn; sphuTa kamala udara= unfolded, lotus, in belly of which; khelita kha.njana yugam= playing, small black-birds, a couple of; taDaagam iva [sthitam]= lake, like [standing.]
She saw him with a delightful face that is ready for countenancing the synthesis of his seeker in him, casting sidelong glances with a pair of lotusy eyes, with which that face that looked like a serene vernal lotuslake wherein two small black birds flitting in the belly of a just unfolded lotus; thus, she saw him with such a face, an abode of aggregate devoirs. [a pa 22-4]
स्मितरुचिरुचिरसमुल्लसिताधरपल्लवकृतरतिलोभम्॥ अ प २२-५
प च्छे - वदन कमल परिशीलन मिलित मिहिर सम कुण्डल शोभम्
स्मित रुचि रुचिर समुल्लसित अधर पल्लव कृत रति लोभम्
a pa 22-5. vadana kamala parishiilana= [Rādha '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, their splendour; smita ruchi= smile's, by resplendence; ruchira= agreeable; samullasita= enthusiastic [to swill nectar from Rādha 's lips]; adhara pallava kR^ita= lips, leaflet like, made [showing]; rati lobham= for intimacy, longing.
She saw him with knobby ear-hangings, equalling the splendour of many suns, swinging up to his lips, as if a pair of suns are toing and froing to check up the lotus called the face of Rādha, while the adjacent leaflet like lips are with an agreeable resplendence of smile in the enthusiasm to swill the nectar from the lotusy lips of Rādha; thus, she saw him with such ear-hangings that an abode of aggregate erudition, while lips are an abode of aggregate gusto. [a pa 22-5]
तिमिरोदितविधुमण्डलनिर्मलमलयजतिलकनिवेशम्॥ अ प २२-६
प च्छे - शशि किरण च्छुरित उदर जल धर सुन्दर स कुसुम केशम्
तिमिर उदित विधु मण्डल निर्मल मलय ज तिलक निवेशम्
a pa 22-6. shashi kiraNa chChurita= by moon, beams, brightened; udara= centrally; jala dhara= water, bearing [like a black cloud]; sundara sa kusuma kesham= charming, [inlaid] with, flowers, with such a hairdo; timira udita= from sombre [sky,] uprisen; vidhu maNdala= moon's, orb like; nirmala= spotless; malaya+ja tilaka nivesham= Mt. malaya, born - sandal paste, forehead mark, kept [on forehead.]
Alike a benign raincloud centrally inlaid with bright moonbeams, his charming hairdo is inlaid with brilliant flowers; his blueblack benignant forehead is marked with a spotless white sandal paste, that itself is like the uprising orb of benign moon on sombre sky, and Rādha saw him with such a hairdo, an abode of aggregate raininess; forehead an abode of aggregate benignancy. [a pa 22-6]
मणिगणकिरणसमूहसमुज्ज्वलभूषणसुभगशरीरम्॥ अ प २२-७
प च्छे - विपुल पुलक भर दन्तुरितम् रति केलि कलाभिः अधीरम्
मणि गण किरण समूह समुज्ज्वल भूषण सुभग शरीरम्
a pa 22-7. vipula pulaka bhara [dara] danturitam= broad, thrilling sensations], filled with, [a little], uneven [topsy-turvy , perplexed]; rati keli kalaabhiH a + dhiiram= by passionate, play, arts [manoeuvre], not, firm [unsteady]; 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.]
A little perplexed with ample thrilling sensations for Rādha drew nigh of him; a little unsteady for his indulgences in romantic flings, but brightly refulgent in the rays scintillating from the clusters of gems of his ornaments forming a halo around his auspicious build, and Rādha saw such haloed Krishna, an abode of aggregate hallowedness. [22-7]
प्रणमत हृदि सुचिरम् विनिधाय हरिम् सुकृतोदयसारम्॥ अ प २२-८
प च्छे - श्री जयदेव भणित विभव द्विगुणी कृत भूषण भारम्
प्रणमत हृदि सुचिरम् विनिधाय हरिम् सुकृत उदय सारम्
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]
इदानीम् राधायाः प्रियतमसमालोकसमये
पपात स्वेदाम्बुप्रसर इव हर्षाश्रुनिकरः॥ ११-७
प च्छे - अतिक्रम्य अपांगम् श्रवण पथ पर्यन्त गमन
प्रयासेन इव अक्ष्णोः तरल तर भावम् गमितयोः
इदानीम् राधायाः प्रियतम समालोक समये
पपात स्वेद अम्बु प्रसर इव हर्ष अश्रु निकरः
11-7. idaaniim= presently; raadhayaaH akShNoH= Rādha 's, eyes [glances]; that are; 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 Rādha's fisheye glances crossing over the edges of eyes widened along the path unto ears so as to reach ears, in which strain those eyes felt much fluttering sensation; but on gazing her most loveable lover with such wide-eyed adoration heaps of happy tears started to flow, as though her glances sweated with strain in seeing him at a long last time. [11-7]
स्मितम् याते गेहाद्बहिरपिहितालीपरिजने।
प्रियास्यम् पश्यन्त्याः स्मरपरवशाकूतसुभगम्
सलज्जा लज्जाऽपि व्यगमदिव दूरम् मृगदृशः॥ ११-८
प च्छे - भज्यंत्याः तल्प अन्तम् कृत कपट कण्डूति पिहित
स्मितम् याते गेहात् बहिः अपि हित आली परिजने
प्रिय आस्यम् पश्यन्त्याः स्मर शर समाकूल सुभगम्
स लज्जा लज्जा अपि व्यगमत् इव दूरम् मृग दृशः
11-8. hita alii 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= by Lovegod, with a controlled, thinking [her body language changed when possessed by love]; subhagam priya aasyam pashyantyaaH= auspicious, dear one's, face, on seeing; mR^iga dR^ishaH= fawn, eyed Rādha 's; lajjaa api= prudery, even; sa lajjaa iva= became prudish, as if; duuram= far way; vyagamat= [vi ava gamat]= went away [prudery left her off.]
When her well-wishing friends have gone away from that bower, concealing her happy smile by feigning some itching on some limb, she neared the edge of bed; then, on seeing her dear one's auspicious face her body language changed as Lovegod ensorcelled her, and even the prudery of that fawn eyed Rādha became as though effected by a bit of prude, left her off. [11-8]
सानन्दम् नन्दसूनुर्दिशतुपरतरम् सम्मदं मन्दमन्दम्
योगात् तुङ्गौतस्या उरोजावतनुवरतनोर्निर्गतौ मास्मभूताम्
पृष्टम् निर्भिद्यतस्माद्बहिरितिवलितग्रीवमालोकयंतः॥ ११-९
प च्छे - स आनंदम् नंद सूनुः दिशतु पर तरम् सम्मदम् मंद मंदम्
राधाम् आधाय बाह्वोः विवरम् अनु धृढम् पीडयन् प्रीति
योगात् तुंगौ तस्या उरोजौ अतनु वर तनोः निर्गतौ मा स्मभूताम्
पृष्टम् निर्भिद्य तस्मात् बहिः इति वलित ग्रीवम् आलोकयन्तः
11-9. ma.nda ma.ndam= slowly, slowly; Rādhaam baahvoH vivaram anu= Rādha is, arms, in the middle, towards [his chest]; aadhaaya= on taking; priiti yogaat dhR^iDham piiDayan= with fondness, added, on tightly, 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, mischievously]; 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 Rādha into his armfold, and hugging her tightly with an added fondness, Krishna felt the jutting bosoms of that slender bodied Rādha have jutted into his chest and came out of his back; on saying an aside, 'it should not have happened... have they come out of my back - really...' and to check his punctured back, he quickly turned his head from Rādha to take a look of his back, mischievously, filling that bower with her cackles; let such mischievous Krishna with all his happiness to be in togetherness with Rādha, accord all of us all the happiness. [11-9]
जयश्रीविन्यस्तैर्महित इव मन्दारकुसुमैः
स्वयम् सिन्दूरेणद्विपरणमुदामुद्रित इव।
प्रकीर्णासृग्बिन्दुर्जयति भुजदण्डो मुरजितः॥ ११-१०
प च्छे - जयश्री विन्यस्तैः महित इव मन्दार सुकुमैः
स्वयम् सिन्दूरेण द्विप रण मुदा मुद्रित इव
भुज पीड क्रीड हत कुवलयापीड करिणः
प्रकीर्णा सृक् बिन्दुः जयति भुज दण्डः मुर जितः
11-10. mura jitaH= demon mura's, conqueror [Krishna's]; bhuja da.nDaH= shoulder, blade - warring arms; how are they; prakiirNa asR^ik bi.nduH= bestrewn, with blood, drops - on them; that look like:
jayashrii vinyastaiH= by Prosperity of Victory, kept [sprinkled]; ma.ndaara kusumaiH mahita iva= with mandaara [red flowers used in worships,] flowers, worshipped with, as if; dvi + pa= elephant that drinks with two inlets, mouth and trunk; dvi+pa raNa mudaa= with such elephant, when warring, who is 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= demon mura's, conqueror [Krishna]; bhuja da.nDaH jayati= shoulder, blade, be victorious [many evils.]
On the dexterous arms of Krishna, in which now Rādha is held in tight embrace, once a few drops of blood of combating demon mura spilled, which then looked like the bloodred mandaara flowers sprinkled from heaven by jaya-shrii, jaya-lakShmi, Lady Victory on his victorious arms; later when Krishna, a happy one in hand-to-hand encounters with any given elephant, or given elephantine problems, had come to grips with an equally demonic elephant of king kamsa, called kuvalayaapiida, those very red marks appeared as vermilion powder, used for smearing on victorious combatants, which he himself smeared on his victorious arms, declaring them as winning hands over vice; let such all-conquering arms of Krishna be victorious on many evils. [11-10]
अ च्छे - सौन्दर्य एक निधेः अनंग ललना लावण्य लीला जुषः
राधायाः हृदि पल्वले मनसि ज क्रीडा एक रंग स्थले
रम्य उरोज सरोज खेलन रसित्वात् आत्मनः ख्यापयन्
ध्यातुः मानस राज हंस निभताम् देयात् मुकुन्दः मुदम्
11-11. 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; RādhaayaaH= of Rādha; 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 playing 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= in similitude; khyaapayan= while establishing; muku.ndaH mudam deyaat= Krishna, gladness, let accord.
Let that Krishna, who is already a kingly swan playing in the lake-like contemplative minds of his devotees, has now become a kingly swan in the lake called the heart of Rādha, for she on gaining possession of romantic body language and gestures from the famed consort of Lovegod, namely Lady rati-devi, has now become a single treasure trove of grandeur, and a single stage for Krishna's love-dance performance, in which Krishna ever disports with her lotusy bosoms, that kingly swan called Krishna ever accord gladness to one and all. [11-11]
इति गीतगोविन्दे सानन्ददामोदरो नाम एकादशः सर्गः
Thus, this is the 11th chapter, called saanandadaamodara - Delighted Krishna, in Gita Govindam of Jayadeva.
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Dec, 2003, Desiraju Hanumanta Rao; Revised Nov 08