Rādha's friend comes back to Rādha and narrates how Krishna is lovelorn as Rādha left abruptly. The poet dwells on 'anguish in separation' vipralambha shR^ingaara from the first chapter to tenth, and in eleventh and twelfth he unifies the hero and heroine of the song. That mood of anguishful separation will be heightened from now on.
अहमिह निवसामि याहि राधाम् अनुनय मद्वचनेन चानयेथाः।
इति मधुरिपुणा सखी नियुक्ता स्वयमिदमेत्य पुनर्जगाद राधाम्॥ ५-१
प-च्छे :- अहम् इह निवसामि याहि राधाम् अनुनय मत् वचनेन आनयेथाः
इति मधु रिपुणा सखी नियुक्ता स्वयम् इदम् एत्य पुनः जगाद राधाम्
5-1. aham iha nivasaami= I will, here, will remain; yaahi= you go; raadhaam anunaya= Rādha, convince; mat vachanena= my, by word [as I tell her to come here]; aanayethaaH= fetch [her]; iti= in this way; madhu ripuNaa= by demon Madhu, enemy of [Krishna]; niyukhtaa =, when assigned; sakhii= girlfriend; svayam= in person; etya= having come back [to Rādha]; punaH raadhaam idam jagaada = again, to Rādha this, she said.
When Krishna assigned the girlfriend of Rādha saying, "I'll remain only at this bower, you go and convince Rādha, and tell her that I want her to come here..." she personally returned to Rādha and said this to her. [5-1]
अष्टपदि १० - हरिसमुदयगरुडपदम्
वहति मलयसमीरे मदनमुपनिधाय । स्फुटति कुसुमनिकरे विरहिहृदयदलनाय।
तव विरहे वनमाली सखि सीदति॥ अ प १०-१
प-छे :- वहति मलय समीरे मदनम् उप निधाय स्फुटति कुसुम निकरे
विरहि हृदय दलनाय तव विरहे वनमाली सखि सीदति राधे - धृवम्
aSTapadi: 10-1. sakhi raadhe= oh, dear friend, Rādha; malaya samiire= while sandal, breeze; madanam= Lovegod; upa nidhaaya= nearby, keeping [keeping close to]; vahati [sati]= while breezing - while the breezes from Mt. malaya are breezing loaded with Lovegod; kusuma nikare= in flowers, bunches of; virahi hR^idaya dalanaaya = estranged [people's,] hearts, [as if] to rip apart; sphuTati [sati]= while unfolding [so to say] ; tava virahe = for you, in pain of separation - lorn in your love; vanamaalii= one who wears leafy garland, Krishna; siidati= sinking down - listlessly longing for you; reprise: sakhi tava virahe vanamaalii siidati raadhe.
"hè, dear Rādha, while the sandal-breeze from Mt. malaya is breezing there laden with Lovegod; while blossoms are blooming there as if ready to rend the bosoms of estranged lovers with spearheads of their petals, there alone that Krishna is listlessly longing for you, lorn in your love... [10-1 a pa]
दहति शिशिरमयूखे मरणमनुकरोति।
पतति मदनविशिखे विलपति विकलतरोऽति॥ अ प १०-२
प-छे :- दहति शिशिर मयूखे मरणम् अनु करोति पतति मदन विशिखे विलपति विकल तरः अति
a pa 10-2. shishira mayuukhe= with coolant, moonbeams [by moon]; dahati [sati]= burning [while] ; maraNam anu karoti= death, tagging along; madana vishikhe= Lovegod's, sharp arrows; patati [sati]= falling [while]; vikala taraH= frantic, higher in degree - highly frantic; ati vilapati= greatly, rueful; or, ati vi kalii karoti= much, without, hue, he is becoming - he is becoming palish; reprise.
"While cool moonbeams are burning him he is tagging along the death-line; while the sharp arrows of Lovegod are plunging on him he is highly frantic and greatly rueful... thus, that Krishna is listlessly longing for you, lorn in your love... [10-2 a pa]
ध्वनति मधुपसमूहे श्रवणमपिददाति ।
मनसि वलितविरहे निशि निशि रुजमुपयति॥ अ प १०-३
प-छे :- ध्वनति मधुप समूहे श्रवणम् अपिदधाति मनसि वलित विरहे निशि निशि रुजम् उपयति
a pa 10-3. madhupa samuuhe= honeybees, swarms of; dhvanati [sati]= buzzes [while]; shravaNam = hearing [ears]; apidadhaati= keep lids [lids ears with palms]; manasi= in heart [come to mind]; valita, [kalita]= annoyance; virahe [sati]= [your] parting [while in]; nishi nishi= night, by night; rujam= pangs; upayaati= getting, [undergoing.]
"While swarms of honeybees start buzzing silverily he lids his ears with palms; while the annoyance of your parting comes to mind, night after night, he undergoes pangs of love... thus, that Krishna is listlessly longing for you, lorn in your love... [10-3 a pa]
वसति विपिनविताने त्यजति ललितधाम ।
लुठति धरणिशयने बहु विलपति तव नाम॥ १०-४
प-छे :- वसति विपिन विताने त्यजति ललित धाम लुठति धरणि शयने बहु विलपति तव नाम
a pa 10-4. [saH= he]; vasati= lingering; vipina vitaane= woods, thicket of; tyajati= leaves off; lalita dhaama= magnificent, mansion; luThati= writhes; dharaNi shayane= earth [sward,] on bed; bahu= in many [kinds]; vilapati= utters [descants]; tava naama= your, name.
"Leaving off his magnificent mansion he lingers in the thickets of woods; writhing on sward-beds he descants on your name time and time again... thus, that Krishna is listlessly longing for you, lorn in your love... [10-4 a pa]
रणति पिकसमवाये प्रतिदिशमनुयाति ।
हसति मनुजनिचये विरहमपलपति नेति॥ अ प १०-५
प छे- रणति पिक समवाये प्रति दिशम् अनुयाति हसति मनुज निचये विरहम् अपलपति न इति
a pa 10-5. pika samavaaye= Kokila-s, flocks of; raNati [sati]= re-echoing [while]; prati disham= to each direction; anuyaati= goes ahead [rushes]; manuja nicaye= people, by lots; hasati [sati]= laughing at [while]; na= nothing; iti viraham apalapati= thus, pangs of love, conceals.
"While flocks of kokila birds re-echo their yodelling cries, he rushes to each and every direction unable to listen those love-songs; while lots of people laugh at him for his mad-rush in love, he conceals his love-pangs saying, 'nothing... nothing...'; thus, that Krishna is listlessly longing for you, lorn in your love... [10-5 a pa]
स्फुरति कलरवरावे स्मर्ति मणितमेव।
तवरतिसुखविभवे गणयति सुगुणमतीव॥ अ प १०-६
प-छे :- स्फुरति कलरव रावे स्मर्ति मणितम् एव तव रति सुख विभवे गणयति सुगुणम् अतीव
a pa 10-6. kalarava raave= pigeons, cooing; sphurati [sati]= coming to mind [while]; smarti = reminisces; maNitam eva= love-murmurs, only; tava rati sukha vibhave = with you, hymeneal, comfort, sublimity of - sublimity of hymnal comfort with you; gaNayati suguNam atiiva= reckons, excellent, highly.
"While the cooing of pigeons comes to his mind, he reckons on them only as love-murmurs; he reckons the sublimity of hymeneal comfort with you as exceptionally excellent... thus, that Krishna is listlessly longing for you, lorn in your love... [10-6 a pa]
त्वदभिदशुभमासम् वदति नरि शृणोति ।
तमपिजपतिसरसम् युवतिषु नरतिमुपैति॥ अ प १०-७
प-छे :- त्वत् अभिद शुभ मासम् वदति नरि शृणोति तम् अपि जपति सरसम् युवतिषु न रतिम् उपैति
a pa 10-7. tvat= your; abhida= name - one that is having your name, your namesake; shubha maasam= auspicious, month; nari= people; vadati [sati] = speak of [while]; shR^iNoti= on hearing; tam api= that, even - even the mention of that month's name; sa rasam japati= with, aesthetic pleasure, he reminisces; yuvatiSu ratim= in [other] girls, interestedness; na upaiti= not, getting.
"While people mention the name of an auspicious month that is your namesake, he listens to it attentively, and even reminisces that name of the month with aesthetic pleasure, as he is now disinterested in other girls... thus, that Krishna is listlessly longing for you, lorn in your love... [10-7 a pa]
The month that is the namesake of Rādha is vishaakha; vaishaakhe maadhavo raadhaH; vishaakha is the name of Maadhava, or of Rādha, for Rādha and Mādhava are one and the same.
भणति कविजयदेवे विरहिविलसितेन ।
मनसि रभसविभवे हरिरुदयतु सुकृतेन॥ अ प १०-८
प-छे::- भणति कवि जयदेवे विरहि विलसितेन मनसि रभस विभवे हरिः उदयतु सुकृतेन
a pa 10-8. kavi jayadeve= poet, Jayadeva; virahi vilasitena= passional frolics [of Krishna]; bhaNati [sati] = tells [while]; sukR^itena= by the merited people]; rabhasa= enthusiasm [in devotion to Krishna]; vibhave= in that felicity; manasi hariH udayatu= in their hearts, Krishna, let dawn.
While poet Jayadeva tells about the passional frolics of Krishna, let Krishna dawn in the hearts of merited people, by their own merit of devotion... [a pa 10-8]
The stanzas at 5, 6, and 7 do not appear in Mumbai, or in northern editions. As they are without eight sub-songs, this whole song is said to be an interpolation, to which southern versions further interpolate three sub-songs, as above.
पूर्वम् यत्र समम् त्वया रतिपतेरासादितः सिद्धयः
तस्मिन्नेव निकुङ्जमन्मथमहातीर्थे पुनर्माधवः।
ध्यायंस्त्वामनिशम् जपन्नपि तवैवालापमंत्रावलीम्
भूयस्त्वत्कुचकुंभनिर्भरपरीरंभामृतम् वाङ्छति॥ ५-२
प-छे :- पूर्वम् यत्र समम् त्वया रतिपतेः आसादितः सिद्धयः तस्मिन् एव निकुङ्ज
मन्मथ महा तीर्थे पुनः माधवः ध्यायन् त्वाम् अनिशम् जपन् अपि तव एव
अलाप मंत्रावलीम् भूयः त्वत् कुच कुंभ निर्भर परीरंभ अमृतम् वाङ्छति
5-2. puurvam= earlier; yatra= where; samam [krishnena] tvayaa= along with Krishna, by you; ratipateH aasaaditaH siddhayaH = by Lovegod, reacquired, achievements are; tasmin eva= in there [in that bower, alone]; niku~Nja= bower; which is a; manmatha mahaa tiirthe= Lovegod's, great, sanctum [bower]; maadhavaH= Krishna; punaH= again; tvaam= about you; anisham= ceaselessly; dhyaayan= meditating; tava eva= your, only; alaapa ma.ntra aavaliim = chatting, chants, strings of; japan api= chanting, even; bhuuyaH= again; tvat kucha ku.mbha= your, bosoms, called pots; nirbhara pari ra.mbha = tight, embrace; amR^itam = called ambrosia, moksha; vaa.ncChati= he is desiring.
"Earlier, where you were with Krishna in a riverine bower that which is a sanctum of Lovegod, on the riverbank of yamuna, where Lovegod once reacquired all his achievements through your conjugation with Krishna, now Krishna is in that bower only, ceaselessly meditating only upon you, by making your words of chat as the strings of his chants, once more desirous of moksha by a tight embrace of your pot-like ambrosial bosoms... [5-2]
Whoever wants a final release meditates on far away place, preferably on a riverbank and in a bower, preferring solitude in ascesis. This is as said in manjuuSa: gR^ihe goSTana aaraama nadii naga sura aalaye | anugrahaat guroH siddiH shiighram syaat uttarottam 'in a solitary place, cowshed, forest, gardens, on riverbanks, seashore, in temples if hymns are chanted, one can attain his moksha, with the blessings of his teacher...' Here, Krishna is compared with a meditator, Rādha his goddess, her various chitchatting as hymns to her, and the finality of his meditation culminates in an embrace, which itself is moksha through supreme love.
अष्टपदि ११ -साकांक्श पुंडरीकोत्कधा मधुरम्
रतिसुखसारे गतमभिसारे मदनमनोहरवेशम् ।
न कुरु नितम्बिनि गमनविलंबनमनुसर तम् हृदयेशम् ।
गोपी पीनपयोधरमर्दनचंचलकरयुगशाली ।
धीर समीरे यमुना तीरे वसति वने वनमाली - धृवम्॥ अ प ११-१
प-छे :- रति सुख सारे गतम् अभिसारे मदन मनोहर वेशम् न कुरु नितम्बिनि
गमन विलंबनम् अनुसर तम् हृदय ईशम् गोपी पीन पयोधर मर्दन
चंचल कर युग शाली धीर समीरे यमुना तीरे वसति वने वनमाली
a pa 11-1. hè nitambini= oh, high-hipped one, Rādha; rati sukha saare= [a place which has] connubial, blissful, quintessentially; abhisaare gatam= in preset place, he has gone in [available]; madana manohara vesham= in an arousing, lovely, mien [here, veSam is not getup; not like Lovegod's getup, as he is formless to wear any getup; even if it is so, it is an inferior getup than that of Krishna ]; na kuru= don't, do; gamana vilambanam = in going, delay; anusara tam hR^idaya iisham= follow, him, [your] heart's, lord; gopii = milk maids; piina payodhara= bosomy, busts [hence the milkmaids are too cocky, with vanity]; mardana= [lexically] in massaging [or, manipulate, to engineer of, to artifice] ; ca.ncala= moving [active, or, have a sleight of hand]; kara yuga shaalii= hands, a couple of, he who is having;
reprise: dhiira samiire= in gentle, wind [breezy]; yamunaa tiire= on Yamuna, riverbank; vasati vane= located in [lingering in,] garden; vanamaalii = one who wears leafy garland, Krishna.
"Oh, high-hipped Rādha, he is now available in that preset place, a quintessentially blissful place for connubial bliss, with his lovely and heart-stealing mien; hence go nigh of the lord of your heart who alone has a couple of hands that have a sleight of hand to engineer the busty bosoms of milkmaids of their vanity... don't linger to go... for Krishna is lingering in that breezy garden on that riverbank of Yamuna... [a pa 11-1]
बहुमनुतेननुतेतनुसंगतपवनचलितमपिरेणुम्॥ अ प ११-२
प-छे :- नाम समेतम् कृत संकेतम् वादयते मृदु वेणुम् बहु मनुते
ननु ते तनु संगत पवन चलितम् अपि रेणुम्
a pa 11-2. hè raadhe; te naama sametam= your, name, coupled with [while fluting he uses your names as lyrics, and that flute sings 'ha, Rādha, 'o, beauty, o, goddess of love etc]; kR^ita sa.nketam = made, indication [he made an indication to bring you to that preset bower where he will be fluting; or, kR^ita sa.nketam vaadayate mR^idu veNum= to make, indication, he plays, softly; [he indicates his place of tarrying with his soft fluting]; nanu= definitely; te tanu sa.ngata= to your, body, attached; pavana chalitam api reNum= by air, moved, even, particle [of pollen etc]; bahu manute [aalingane]= highly, dotes on, [to embrace]; reprise: dhiira samiire &c
"O, Rādha, he uses your lyrical names as the lyrics of his fluting; he indicates himself with such a soft fluting; he dotes on to embrace any particle of pollen vagrant from your body, when air wafts them to his near, then why harping about your embrace... so, doesn't linger to go... [a pa 11-2]
रचयतिशयनम्सचकितनयनम्पश्यतितवपन्थानम्॥ अ प ११-३
प-छे :- पतति पतत्रे विचलति पत्रे शन्कित भवत् उप यानम्
रचयति शयनम् स चकित नयनम् पश्यति तव पंथानम्
a pa 11-3. patatre= wing [of bird]; patati= while falling, flapping; patre vichalati= leaves, while rustling; shankita= in suspense; bhavat upa yaanam= your, nearby, arrival; rachayati shayanam= makes, [leafy] bed; sa chakita nayanam= with, flustered, eyes; pashyati tava pa.nthaanam= looks about, your, path [of arrival.]; reprise: dhiira samiire &c.
"When wings of birds flap, or when leaves of trees rustle, he prepares a leafy bed suspenseful of your drawing nigh, and with flustered eyes he looks about your path of arrival... so, don't linger to go... [a pa 11-3]
मुखरमधीरम् त्यज मन्जीरम् रिपुमिव केलिषुलोलम् ।
चल सखि कुन्जम् सतिमिरपुंजम् शीलय नीलनिचोलम्॥ अ प ११-४
प-छे :- मुखरम् अधीरम् त्यज मन्जीरम् रिपुम् इव केलिषु लोलम्
चल सखि कुन्जम् स तिमिर पुंजम् शीलय नील निचोलम्
a pa 11-4. hè sakhii= o, friend; keliSu= in disports [of courtship]; lolam= moving [bumping]; adhiiram mukharam= highly, jangling - dissonant; manjiiram= solid anklets; ripum iva= your enemy, as if they are; tyaja= discard; sa timira pu.njam kunjam= with, darkness, shades, to such a bower; chala= start; niila nicholam shiilaya= black, shawl, on wearing.
"O, Rādha, discard your loudmouthed solid-silver anklets as if they are your enemies, since they braggartly clang and clank when they are bumping in disports of courtship; but wear a blackish shawl, and start towards that darkly shady bower... so, don't linger to go... [a pa 11-4]
तटिदिवपीतेरतिविपरीतेराजसिसुकृतविपाके॥ अ प ११-५
प-छे :- उरसि मुरारेः उपहित हारे घन इव तरल बलाके
तटित् इव पीते रति विपरीते राजसि सुकृत विपाके
a pa 11-5. hè piite= o, yellowy girl; [tvam= you]; sukR^ita vipaake= on [your] merit, fructifying; rati vipariite= while in love's foreplay; upahita haare= having, pearly pendants; tarala balaake= flittering, cranes; ghana iva= cloud, like [cloudy, unclear, un-understandable Krishna, cf. prajnaanam ghana eva; sthite = existing]; muraareH urasi= Krishna's, on chest; taTit iva raajasi= streak of lightning, alike, you will beam forth.
"O, yellowy-golden Rādha, when you will be in foreplay with him, then your pearly pendants will be dangling on the cloudlike chest of Krishna, like flittering flights of cranes on a cloud, then you yourself will beam forth like a streak of lightning on that cloudlike Krishna, if only your merit fructifies... so, don't linger to go... [a pa 11-5]
Here Rādha is said to be goldenly yellow indicating the initially yellowish lightings piitaa varSaaya vij~neyaa on an all-giving cloudlike Krishna. Though other comparison in similes, - 'cloud-Krishna's chest, pearl strings-cranes rows, golden Rādha- golden lightning' are agreeable some hold objection in their placement. The lightning will be above clouds, and cranes will be below clouds. Here Krishna is below, over whom pendants are dangling, above which Rādha is beaming forth like lightning. Even then it is replied that the cranes are above the lowered cloud, called Krishna, who is lowering himself for a devotee, then Rādha is shining forth above those two obects - upraised is her personality. It is then abhuuta upama, as Poet Dandi said: sarva padma prabhaa saaraH samaahR^ita iva kvacit | tava aananam vibhaati it taam abhuuta upamaam viduH 'o, beauty, you face is shining forth as though it has the collection of all the resplendence of all lotuses...'
Or, this can be explained as, tarala - cancala - flirtatious; balaake= coquettish girl; as said in shaashvata nighaNtu 'an everlasting lexicon' balaakaa baka panktantau syaat balaakaa bisa kaNThikaa, balaakaa kaamukii proktaa balaakaa ravako mataH meaning 'oh, Rādha, you can outdo Krishna, who is an embodiment of millions and millions of Lovegods, if only you can place yourself on his chest, then only your merit fructifies...'
विगलितवसनम् परिहृतरसनम् घटय जघनमपिधानम् ।
किसलयशयने पङ्कजनयने निधिमिव हर्षनिदानम्॥अ प ११-६
प-छे :- विगलित वसनम् परिहृत रसनम् घटय जघनम् अपिधानम्
किसलय शयने पन्कज नयने निधिम् इव हर्ष निदानम्
a pa 11-6. hè pankaja nayane= o, lotus-petal, eyed one; vigalita vasanam= slither down, clothing; parihR^ita rasanam [rashanaanam] = stolen [snaked,] waist-strings; [on their own, not divested herself]; [vinaa= without]; apidhaanam jaghanam= covering, on hips; harSa nidaanam= for bliss, primary source; nidhim iva= treasure trove, like; kisalaya shayane= on tender leaves, bed of; ghaTaya= treasure up.
"O, lotus-petal-eyed Rādha, if you eye him, who is an aggregate of all kinds of love, your clothing slithers down, waist-string sneaks out, your hips will be shorn of any covering on their own, then why don't you treasure up your body, the primary source of bliss, on a bed of tender leaves, like a treasure trove... [a pa 11-6]
Here a repeat of idea said at a pa 6-2, in Ch. 2 is there. The dress and peripherals peel off on their own in ecstasy, may it be in love or madness.
कुरुममवचनम्सत्वररचनम्पूरयमधुरिपुकामम्॥ अ प ११-७
प-छे :- हरिः अभिमानी रजनिः इदानीम् इयम् अपि याति विरामम्
कुरु मम वचनम् स त्वर रचनम् पूरय मधु रिपु कामम्
a pa 11-7. hariH abhimaanii= Krishna, self-respecting boy [lest, he may depart concluding that you disgraced him]; idaaniim= now; iyam rajaniH api= this, night, even; yaati viraamam= slips by, to its cessation; sa tvara= with, haste; rachanam= artful [words of mine]; kuru mama vachanam= make happen, my, words; madhu ripu= demon Madhu's, enemy - Krishna's; kaamam puuraya= desire, fulfil.
"On one hand Krishna is a self-respectful one and on the other now this night is slipping by to it cessation, make happen my words that are artful in hastening you, thus let Krishna's be fulfilled... there Krishna is listlessly longing for you, lorn in your love... so, don't linger to go... [10-7 a pa]
श्रीजयदेवे कृतहरिसेवे भणति परमरमणीयम्।
प्रमुदितहृदयम् हरिमतिसदयम् नमत सुकृतकमनीयम्॥ अ प११-८
प-छे :- श्री जयदेवे कृत हरि सेवे भणति परम रमणीयम्
प्रमुदित हृदयम् हरिम् अति सदयम् नमत सुकृत कमनीयम्
a pa 11-8. kR^ita= on making; shrii hari= Shri Krishna's; seve= service [on worshipping]; jayadeve= by Jayadeva; parama ramaNiiyam= highly, pleasant; bhaNati= is being said; ati sadayam= highly, graceful one; sukR^ita kamaniiyam= by merit, desirable one; harim= at Krishna; pramudita hR^idayam [yathaa tathaa]= gladdening, [his] heart [as it were]; namata= bow down before [adore.]
On worshipping shrI Krishna, Jayadeva is saying this highly pleasant poem on that highly graceful one who is a desirable by our merit, and thus oh, devotees, adore Krishna, only to gladden his heart... [a pa 11-8]
विकिरति मुहुः श्वासान्दिशाः पुरो मुहुरीक्षते
प्रविशति मुहुः कुंजंगुंजन्मुहुर्बहु ताम्यति।
रचयति मुहुः शय्यांपर्याकुलंमुहुरीक्षते
मदनकदनक्लान्तः कान्ते प्रियस्तव वर्तते॥ ५-३
प-छे :- विकिरति मुहुः श्वासान् दिशाः पुरः मुहुः ईक्षते
प्रविशति मुहुः कुंजम् गुंजन् मुहुः बहु ताम्यति रचयति मुहुः शय्याम्
पर्याकुलम् मुहुः ईक्षते मदन कदन क्लान्तः कान्ते प्रियः तव वर्तते
5-3. hè kaante= o, desirable one, Rādha; tava priya= your, lover; vikirati shvaasaan muhuH= strews, sighs, oftentimes; puraH dishaaH iikshate muhuH= in his fore, directions, h looks about, often - searches; muhuH pravishati gu.njan ku.njam= often, enters, buzzing, bowers; muhuH bahu taamyati= often, highly, scorching [in love]; muhuH rachayati shayyaam= often, makes, bed; muhuH paryaakulam iikshate= often, bewilderedly, looks over; tava priyaH vartate= your, lover, deports himself; madana kadana klaantaH= love's, in war, worsted.
"O, Rādha, your lover bestrews his sighs oftentimes as you are unapparent; he often looks about frontally in all directions for your reappearance unceasingly; often enters buzzing bowers presuming that you are hidden in them unobservedly; often highly scorched by love-heat, he often prepares leafy love-beds unprofitably; he often looks over all the directions unforgettably; thus your lover now deports himself, worsted in the war of love... [5-5]
त्वद्वाम्येन समंसमग्रमधुना तिग्मांशुरस्तंगतो
गोविन्दस्य मनोरथेन च समंप्राप्तंतमः सान्द्रताम्।
कोकानांकरुणस्वनेन सदृशी दीर्घा मदभ्यर्थना
तन्मुग्धे विफलंविलम्बनमसौ रम्योऽभिसारक्षणः॥ ५-४
प-छे :- त्वत् वाम्येन समम् समग्रम् अधुना तिग्मांशुः अस्तम् गतः गोविन्दस्य
मनोरथेन च समम् प्राप्तम् तमः सान्द्रताम् कोकानाम् करुण स्वनेन सदृशी दीर्घा
मत् अभ्यर्थना तत् मुग्धे विफलम् विलम्बनम् असौ रम्यः अभिसार क्षणः
5-4. mugdhe= you, missy Rādha; tvat vaamyena= your, awry, misgivings; or, as in other mms: tvat baapSpena= with your tears - as you are tearless; tvat vaakyena= with your speech - as you are speechless; samam= matching to; samagram= completely; adhunaa= now; tigma anshuH= one with scorching, sunrays - sun; astam gataH= in to dusk, went; govindasya manorathena cha= Govinda-s, with passion, also; samam= matching; praaptam tamaH saandrataam= gaining, to darkness, density; diirghaa mat abhyarthanaa = prolonged, my, entreaty; kokaanaam karuNa svanena = cakravaka birds', pathetic, callings; sadR^ishii [aabhuut]= matching [became]; tat= thereby; viphalam= wasteful; vilambanam= delaying; asau abhisaara kshaNaH= this, going to preset place, moment; ramyaH= will be delightful, enjoyable.
"You missy Rādha, matching to your fading misgivings the scorching sun is now dusking; matching to the densely passion of Krishna the darkness is gaining density; matching to the pathetic callings of cakravaka-s, the lovebirds, my entreaties are prolonged... thereby wasteful is this delaying, and enjoyable is this moment in going to the preset place of love... so, don't linger to go... [5-4]
सा माम् द्रक्ष्यति वक्ष्यति स्मरकथाम् प्रत्यङ्गमालिंगनैः
प्रीतिम् यास्यति रंस्यते सखि समागत्येति चिंताकुलः।
स त्वाम् पश्यति वेपते पुलकयत्यानंदति स्वेद्यति
प्रत्युद्गच्छति मूर्च्छति स्थिरतमःपुंजे निकुंजे स्थितः॥ ५-५
प-छे :- सा माम् द्रक्ष्यति वक्ष्यति स्मर कथाम् प्रत्यङ्गम् आलिंगनैः प्रीतिम्
यास्यति रंस्यते सखि समागत्य इति चिंताकुलः स त्वाम् पश्यति वेपते
पुलकयति आनंदति स्वेद्यति प्रत्युद्गच्छति मूर्च्छति स्थिर तमः पुंजे निकुंजे स्थितः
5-5. hè sakhi= o, friend; saH= he; sthitaH= while staying; sthira tamaH pu.nje nikunje = thick, dark, shaded, in such a bower; and muses like; saa samaagatya= she [Raadha], on coming closely; maam drakshyati= me, she sees; vakshyati smara kathaam= says, love [pangs',] stories; prati a~Ngam aali.nganaiH= each, limb, when hugged; priitim yaasyati= delight, she goes into; ra.msyate= disports; iti [cintayan]= this way, [while thinking]; chi.nta aakulaH= anxiously, agitated; tvaam= at you; pashyati= sees, awaits; vepate= shudders; pulakayati= thrills; svedyati= sweats; aana.ndati= gladdens; pratyudgacChati= goes forward; muurcChati= nonplussed.
"O, friend, staying in a bower filled with thick dark shades he is musing, 'she draws nigh of me, sees me, tells stories of her love-pangs, hugging every limb of mine she goes into delight, thus she disports with me...' and this way he is anxiously agitated, hence he shudders for his aloneness, but thrills for your expected arrival, again sweats for it is darkening, but gladdens to go forward to welcome you, again he becomes nonplussed for your absence... [5-5]
This verse will be placed as 2nd verse in 11 chapter of this work in other mms. Even then the meaning would be the same, but this characterisation then belongs to Rādha.
आश्लेषादनु चुंबनादनु नखोल्लेखादनु स्वान्तज
प्रोद्बोधादनु संभ्रमादनु रतारंभादनु प्रीतयोः।
र्दम्पत्योरिह को न को न तमसि व्रीडाविमिश्रो रसः॥ ५-६
प-छे :- आश्लेषात् अनु चुंबनात् अनु नख उल्लेखात् अनु स्वान्त-ज प्र-उद्बोधात् अनु संभ्रमात्
अनु रतारंभात् अनु प्रीतयोः अन्य अर्थम् गतयोः भ्रमात् मिलितयोः
सम्भाषणैः जानतोः दम्पत्योः इह को न को न तमसि व्रीडा विमिश्रः रसः
5-6. aashleShaat= [firstly] by hugging; anu= next; chu.mbanaat= from kissing; anu= next; nakha ullekhaat= with nail, writing [scratches] anu= next; svaanta ja= with mind, born [desires]; pra udbodhaat = clearly, instructed [highly excited]; anu= next; sam bhramaat = with excitement; anu= next; rataara.mbhaat= with foreplay; anu priitayoH= step by step, [transport into[ blissfulness; anyaa artham = for other, [love mates] aiming at; gatayoH= those [lovers] who have gone; bhramaat = on meandering [in those and those bowers]; militayoH= meeting [again]; sambhaaSaNaiH= by conversations [in which man talks about another woman, and woman talks about another man]; jaanatoH= on knowing [that, is this my wife - is this my husband]; dampatyoH= by couples; vriiDaa vi mishraH= with shame, well, mixed; rasaH= aesthetic pleasure; iha= here; tamasi= in such dark nights; kaH na= what is, null; kaH na= what is, void [in the negative - everything is enjoyment in aesthetic pleasure.]
"In these dark nights libertine couples start meandering in still darker bowers for their cherished lovers, but unwittingly one meets one's own wife/husband, and then their escapade firstly starts with hugging, next with kissing, next with nail scratching, next highly excited by excitement and desire they enter into foreplay, and then step by step they culminate it into their conjugal bliss... after that when they converse, he comes to know that she is his wife, and she comes to know likewise... and caught unawares, they mix that bliss in shame and depart shamefully, nil desperandum... and in such passsional nights, aesthetic pleasure seeking is null and void - isn't it... [5-6]
Jayadeva is less sung for his 'treatise on aesthetic pleasures' - rasa siddhaanta and Dr. Raj Brahmbhatt in his 'History of Sexual Medicine' says, Ratimanjari 'the garland of love - is the work of poet Jayadeva. This treatise is very short, written in an elegant style...' It is said that this song contains, though not all of the nine, but many rasa-s moods. Firstly by hugging, a sort of 'fear' is occurring bhaya sthaayii bhaava - bhayaanaka rasa because it is a stealthy hugging. Next, after coaxing and combing, kissing and scratching is started, hence she should be in a pitiable mood, as the woman in question will almost be departing confusedly but dragged forcefully by that man. Then should be crying, as she does not know who is doing what. Hence it is - 'piteous mood' karuNa rasa. Then, on entering into foreplay an enthusiastic bravery viira rasa bechances. Then, during that enjoyment, an astonishment is caused vismaya saha cari - adbhuta rasa, which leads to contented smiling, which gives rise even to laughter. It is haasa sahita haasya rasa.
This verse opens with the very words and the step-by-step eightfold enjoyment, as Bharata says in naaTya shaastra: aaSleSa cumbana nakha kshata kaama bodha shiighratva maithunam ananta mukha prabodham | priitiH tato api rasa bhaavanam eva kaaryam evam nitaanta caturaaH suciram ramante || . Of course, there is opposition to the eightfold course of enjoyment, but it is negated, taking the saying of aesthetician called Rudra iirSyaa kula striiSu na naayakasya niH shanka keliH na paraa anganaasu 'jealousy in a chaste woman, men's unrestrained indulgence in other's women are taboos...'
All this is for licentious human couples, but not in respect of higher gods or lower animals, because humans alone can enjoy aesthetic pleasure rasa aasvaadana, which facility is nonexistent in others kinds of existence. And here Rādha's friend is quoting from her human experience, and through Jayadeva's poetic expertise. So, nothing can be ascribed to role-players like nonexistent poetic characters, or those with supra existence, i.e., divine couple. This is only to remind the poetic ability of Jayadeva.
प्रतितरु मुहुः स्थित्वा मन्दम्पदानि वितन्वतीम्।
कथमपि रहः प्राप्तामङ्गैरनङ्गतरङ्गिभिः
सुमुखि सुभगः पश्यन्सत्वामुपैतु कृतार्थताम्॥ ५-७
प-छे :- राधा मुग्ध मुख अरविन्द मधुपः त्रैलोक्य मौलि स्थली नेपथ्य उचित नील रत्नम् अवनी भार अवतार अंतकः स्वच्छन्दम् व्रज सुंदरी जन मनः तोष प्रदोष उदयः कंस ध्वंसन धूमकेतुः अवतु त्वाम् देवकी नंदनः
5-7. su mukhi= oh, pretty, faced one, Raadha; su bhagaH= highly desirable one Krishna [subhaga= a youthful, mannish, eligible youngster, muchly desirable by all girls of age – say, a prince charming]; saH= he that Krishna; bhaya chakitam= by fear, wincing; timire dR^ishau pathi vinyasyantiim= in darkness, looks, on pathway, she who is keeping [keep an eye on the path treading, watchfully, or, dancers’ stage searching like stage walking]; prati taru muhuH sthitvaa= at every, tree, awhile, on pausing [she who is unable to run or rush towards her lover due to weight of bust or bums]; mandam padaani vitanvatiim= slowly [not slowly, but gracefully,] feet, while placing [dancer’s footwork is suggested, and a graceful lady is not supposed to rush to her man, lest he may mistake her for a strumpet; ananga tarangibhiH angaiH= Lovegod’s, weaves, on limbs [she whose limbs are nothing but the passional tiderips of a sea called Lovegod]; katham api= somehow, even [somehow veiling herself with black cloths, somehow treading unseen by others, somehow made up her mind to go to him, at least now]; rahaH praaptaam= in secrecy, she who arrived [to meet Krishna]; tvaam pashyan= you, on seeing [seeing you in darkness! Absurd? No, explained later]; kR^ita arthataam upaitu= achievement, purpose [consummation,] let him achieve.
"Let that unique Prince Charming Krishna achieve consummate bliss if you somehow approach him casting your fearful glances wincingly on your unenlightened path, watching your own step, pausing awhile at every foot of a tree either by your hesitation or by your graceful footwork, with passion tideripping in every limb of yours; thus if you somehow reach him, even if in unknowable secrecy, even if it is an unknown darkness, he certainly sees you; thus let him achieve that consummation on your reaching him... [5-7]
The philo-ing giita govindam is avowedly not taken up in this work; but it is to be incorporated induced by the itching commentaries. This has two shades. One belongs dancers and the other to devotees. Keeping dancers side away for a while, on devotee's side it is like this. Krishna has not come to Rādha but asked her friend to fetch her to him, only to examine her devotedness. That being so, here it is said, 'he sees you...' taking the word dR^ishau and the root for this word is dR^ishi meaning 'discern' vivakshita j~naana arthakatvam a kind of gnosis... 'You can 'Gnosticise' him and he does the same, if only you come into union with him, first psychically, then bodily. To achieve that you have to fearfully wince you glances in searching for him in the wild darkness of unenlightened state. You have to tread an unenlightened path, where unenlightened path is - physically a darksome way, and in the sense 'give spiritual insight to (a person)...' you have to have your own enlightenment to search for him in the dark... you have watch your step otherwise you may misstep, pause it at each tree of knowledge to learn more about that object you search... and then you should have a graceful footwork, lest your running, rushing, and racing will appear as your greediness and it would result into futility... this is as far as spiritual mind is concerned - ahamta I-ness'. Then all your bodily limbs, for whose passional tiderips sake you are staging all this drama, they shall be surrendered unto him, and let them merge into one colliding tiderip called universal love. Much more is there, but leave it as it may. Here ends the 5th chapter in northern mms. Southerners have another verse as below.
प-छे :- राधा मुग्ध मुख अरविन्द मधुपः त्रैलोक्य मौलि स्थली नेपथ्य
उचित नील रत्नम् अवनी भार अवतार अंतकः स्वच्छन्दम् व्रज सुंदरी जन मनः
तोष प्रदोष उदयः कंस ध्वंसन धूमकेतुः अवतु त्वाम् देवकी नंदनः
5-8. raadhaa= Rādha's; mugdha mukha aravinda= comely, face, lotus [like]; madhupaH = he is a honeybee; trailokya= belonging to triad of words [for all people and their kings]; mauli sthalii= at head, place [at crown place]; nepathya= as background [as an ornament, jewel]; ucita= befitting [decorative]; niila ratnam= blue, diamond [sapphire]; avanii bhaara= for earth, a burden; avataara= incarnate [shishupaala etc., self-conceited ones]; a.ntakaH= remover; svacChandam= blithely; vraja su.ndarii jana = Brindavan, beauties, folks [milkmaids]; manaH toSa= hearts, he who gladdened; pradoSa= crepuscle [crepuscular Zool. appearing or active in twilight., so a crepuscular gloaming] gloaming; udayaH= dawning; ka.msa= kamsa's; dhva.msana= in destroying; dhuuma ketuH= comet; devakii na.ndanaH= devaki, delighter; avatu tvaam= [let such a Krishna]grace, you [you all listeners, besides Rādha.]
He who is the honeybee hovering on the lotus called the comely face of Rādha, he who is a decorative sapphirine jewel at the helm of crowns of all people and their kings in the triad of worlds, he who is the remover of burdensome incarnates on earth like shishupaala et al, and he who is the crepuscular gloaming dawning in eventides to blithely gladden the hearts of milkmaid beauties of brindaavan, and he who is a destroyer of evildoers like kamsa, that delighter of his mother devaki, namely Krishna, shall grace you all, along with Rādha. [5-8]
This chapter has a subtitle abhisaarika varNana 'portrayal of a heroine who makes advances to her lover...' and as explained in treatises of aesthetics her role-play will be like this madana anala santaptaa yaa abhisaarayati priyam, jyotsnii tamasvinii yaana yogyaa ambara vibhuuSaNaa | svayam ca abhisaret yaatu saa bhavet abhisaarikaa - rasaarNavam 'one who proceeds to her lover in the darkness of moonlit nights, attired and decorated with befitting material, parched by love heat, is called abhisaarika nigh-nearing ladylove...'
इति गीतगोविन्दे साकाङ्क्षपुण्डरीकाक्षो नाम पंचमः सर्गः
Thus, this is the 4th chapter, called Passionate Krishna, in giita govindam of Jayadeva.
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Oct, 2003, Desiraju Hanumanta Rao, Revised Nov 08