When a devotee of Krishna receives shuddha sattva, purest attribute, it is transformed later into rati or prema ankura. Then it ripens into prema, not general love but a sense of mineness i.e., a feeling that Krishna belongs to me, none else. On some more devotion it ripens into sneha 'divided togetherness' an unsatisfied feeling with words and play of Krishna, because he is a separate entity as yet. This ripens to maana 'intense love' where he/she conceals his own feelings, on account of real/unreal grievance, and then on he/she starts to show jealousy, anger or petulance etc., towards Krishna. These states, maana abhimaana-s contain maadana bhaava, a maddening delight, essentially possessed by Rādha, none else, not even by Krishna. [Source: The Cultural Heritage of India, Vol. IV - Religions.]
This chapter details that exclusive maadana mahaa bhaava of Rādha in her angering, tongue-lashing, upbraiding etc.
The songs in this chapter, aSThapadi-s, contain the flames from the stomach-burn of Raadha, but singers sing and dancers dance in a most joyful manner, because they contain mesmeric Sanskrit wordsmithy. Actually they should expose roSham, a+sahanam, say something like - ire, choler, belligerence etc of firebrand-like Raadha. Better let them read to understand these songs to convey correct mood.
अत्रान्तरेच कुलटाकुलवर्त्मपात संजातपातक इव स्फुटलाञ्छनश्रीः ।
वृन्दावनान्तरमदीपयदंशुजालै र्दिक्सुन्दरीवदनचन्दनबिन्दुरिन्दुः॥ ७-१
प छे - अत्र अन्तरे च कुलट आकुल वर्त्म पात संजात पातक इव स्फुट लांच्छन श्रीः
वृन्दावन अन्तरम् अदीपयत् अंशु जालैः दिक् सुन्दरी वदन चन्दन बिन्दुः4 इन्दुः
7-1. atra antare ca= in the, meanwhile, even; kulaTa aakula= by coquettish women, flocks; vartma= their pathway; paata= by spoiling, obstructing; sa.njaata= caused thereby; paataka iva= blemish, infamy, like [a badge of infamy bechanced on his face, because his moonbeams are obstructive to the sneaky fancy women]; sphuTa= clear; laa.ncChana= badge [of infamy]; shriiH= having brilliance; dik sundarii= [eastern] direction, called beauty; vadana chandana binduH= on [her] face, sandal, a blob of; induH= moon; a.nshu jaalaiH= moonbeams, with laces of; vR^indaavana antaram adiipayat = Brindavan, interior of, brightened up.
In the meanwhile, he who bears a brilliant but clear badge of infamy on his face, for he incurred sin by obstructing the pathways of flocks of sneaky fancy women, that moon brightened up the interiors of Brindavan with the laces of his moonbeams, himself staying like the sandal-blob on the forehead of the beauty, called the eastern sky. [7-1]
In the meanwhile means: during the time when girlfriend is telling about Rādha to Krishna. A sinner has to bear a badge of infamy, may it be the black spot on moon, or this impertinent boy Krishna for his non-arrival at Rādha.
प्रसरति शशधरबिम्बे विहितविलम्बे च माधवे विधुरा ।
विरचितविविधविलापम् सा परितापम् चकारोच्चैः॥ ७-२
प छे- प्रसरति शश धर बिम्बे विहित विलम्बे च माधवे विधुरा
विरचित विविध विलापम् सा परितापम् चकार उच्छैः॥ ७-२
7-2. saa= she that Rādha; shasha dhara bimbe= rabbit, bearing, discoid [moon]; prasarati= while emanating [coming sprightly]; [ellipse, murali dhara] maadhave ca= by [flute bearing] Krishna, also; vihita vilambe= imposed, tardiness [belatedly]; vidhuraa= by the anguished Rādha; virachita vividha vilaapam= made [underwent,] many a, heartache; ucChaiH paritaapam chakaara = utter, anguish, made [underwent.]
While that discoidal moon bearing a rabbit is sprightly coming, and while this Krishna bearing a flute is not coming belatedly, she that anguished Rādha underwent many a heartache, and an utter anguish. [7-2]
अष्टप्दि - १३ - नागर नारायण रसावलयम्
कथितसमयेऽपि हरिरहह न ययौ वनम् ।
मम विफलमिदममलरूपमपि यौवनम्॥
यामि हे कमिह शरणम्सखीजनवचनवंचिताहम् - धृवम्॥ अ प १३-१
प छे- कथित समये अपि हरिः अहह न ययौ वनम् मम
विफलम् इदम् अमल रूपम् अपि यौवनम् यामि हे कम् इह
शरणम् सखी जन वचन वंचिता अहम्
a pa 13-1. he [sakhii= oh, friend; vidhe= god]; hariH= Krishna; kathita samaye api= on saying, time, even - even on giving appointment; vanam na yayau= to Brindavan, not, arrived; mama idam yauvanam= my, this, youth; a mala ruupam api= not, blemished, mien [beauty,] even; viphalam= wasteful; iha= here [in forest]; kam sharaNam yaami= whom, as shelter [haven,] I can go; [respite] aha ha= ah, aha; aham= I am; sakhii jana vachana va.nchitaa= by friends, flocks of, words [cajolery,] befooled.
Krishna didn't turn up on the appointed time at Brindavan, wasteful is my youth and unblemished beauty without him, whom I can approach as a haven in this forest... aha ha, those girl flocks cajolery befooled me... [a pa 13-1]
यदनुगमनाय निशि गहनमपि शीलितम्
तेन मम हृदयमिदमसमशरकीलितम्॥ अ प १३-२
प छे- यत् अनुगमनाय निशि गहनम् अपि शीलितम्
तेन मम हृदयम् इदम् असम शर कीलितम्
a pa 13-2. yat= for which [Krishna]; anugamanaaya= to go in tow; nishi= in night; gahanam api shiilitam = forest, even though, is searched [ellipse- adR^ishyena - but, unseen]; tena= by him [Krishna]; mama idam hR^idayam = mine, this, heart; asama [adR^ishyamaana] shara= by Love-god's, [unseeable, unseen] arrow; kiilitam= impaled; [respite] aha ha= ah, aha; aham= I am; sakhii jana vachana va.nchitaa= by friends, flocks of, words [cajolery,] befooled.
For which unseen Krishna I have searched the forest even though it is night, he alone became an unseen arrow of still unseen Love-god, and impaling this heart of mine... aha ha, those girl flocks cajolery befooled me... [a pa 13-2]
मम मरणमेव वरमतिवितथकेतना ।
किमिह विषहामि विरहानलचेतना॥ अ प १३-३
प छे- मम मरणम् एव वरम् अति वितथ केतना
किम् इह विषामि विरह अनल अचेतना
a pa 13-3. ati vitatha ketanaa= utterly, shattered, [this] preset place; a + chetanaa= [I am] without, spirit; [aham iha= I, here in this preset place, for it lost its worth by his non-arrival]; viraha anala= disunion, fire of [put to the torch]; kim iha vi Saami= why, here [ at this preset place,] I am tolerating, put up with; mama maraNam eva varam= to me, death, alone, best.
Utterly shattered is the worth of this preset place, thus I too am spiritless, and then why should I put up with this place that is putting me to the torch of disunion, thus death alone is best to me... [a pa 13-3]
मामहह विधुरयति मधुरमधुयामिनी ।
का अपि हरिमनुभवति कृतसुकृतकामिनी॥ अ प १३-४
प छे - माम् अहह विधुरयति मधुर मधु यामिनी
कापि हरिम् अनुभवति कृत सुकृत कामिनी
a pa 13-4. madhura madhu yaaminii= pleasant, spring's, night; maam vi dhurayati= me, verily, excruciating; ahaha= aha ha; kaa api= someone, maybe; kR^ita su kR^ita= on making, good, fortune [lucky girl by her merit in last birth]; kaaminii= voluptuous girl; harim anubhavati= with Krishna, making merry [I lost that chance - ensues.]
Though this night of spring is pleasant it is excruciating me... maybe some lucky and merited voluptuous girl might be making merry with Krishna... aha ha, I lost it... [a pa 13-4]
अहह कलयामि वलयादिमणिभूषणम् ।
हरिविरहदहनवहनेन बहुदूषणम्॥ अ प १३-५
प छे - अह ह कलयामि वलय आदि मणि भूषणम्
हरि विरह दहन वहनेन बहु दूषणम्
a pa 13-5. valaya aadi= bicep-let, and others; maNi bhuuSaNam= gem-studded, jewellery; hari viraha dahana vahanena= for Krishna, anguish, blaze, carrying [have a bearing on, every ornament has a bearing upon my anguish for Krishna]; kalayaami= I reckon; bahu duuSaNam= highly, contemptible; aha ha= aha, ha.
These bicep-lets and every other gem-studded jewellery I wear, bears a blaze of my anguish for Krishna, hence I reckon them as highly contemptible wear... ah ha... [a pa 13-5]
It is really worthless to decorate themselves, if unseen by their lovers. striiNaam priya aaloka phalo hi veSaH . After all, the result of these cosmetics results when seen by her dear one.
स्रगपि हृदि हन्ति मामतिविषमशीलया॥ अ प १३-६
प छे - कुसुम सुकुमार तनुम् अतनु शर लीलया
स्रक् अपि हृदि हन्ति माम् अति विषम शीलया
a pa 13-6. srak api= garland, even [I am wearing along with ornaments for Krishna]; ati viSama shiilayaa = highly, poisonous, in their import [has an effect]; a + tanu= un, bodied one [bodiless Love-god's]; shara liilayaa= arrows, by sport of; kusuma sukumaara tanum= flower, delicate, bodied [such as I am]; maam hR^idi hanti= my, heart, rending.
Even the garland I wear is rending my heart, whose flower like delicate body is already rent by sporting arrows of Love-god, that have a poisonous effect... [a pa 13-6]
The arrows of Love-god rend the soul not body, but it is still better god for love that is rending the heart. apuurava iyam dhanur vidyaa manmathasya mahaatmanaH | shariiram akShatam kR^itvaa bhinatti antargatam manaH || Though the arrows tortured her body, her own garland has become a poisonous cosmetic, for it has a bearing upon Krishna..
अहमिह निवसामि नविगणितवेतसा ।
स्मरति मधुसूदनो मामपि न चेतसा॥ अ प १३-७
प छे - अहम् इह निवसामि न विगणित वेतसा
स्मरति मधुसूदनः माम् अपि न चेतसा
a pa 13-7. na vigaNita vetasaa= not, counting, Vetasa tree [uncaring a tree that excites - kaama uddiipaka paadapa]; aham iha nivasaami= I am, here, lingering; madhusuudanaH= Krishna; maam= me; chetasaa api= [locus of feelings and intuitions] by bosom, even; na smarati= not, reminisces.
I am lingering at this excitatory Vetasa tree, uncaring for its excitative effect, but that Krishna doesn't reminisce me, even in his bosom... [a pa 13-7]
वसतु हृदि युवतिरिव कोमलकलावती॥ अ प १३-८
प छे- हरि चरण शरण जयदेव कवि भारती वसतु हृदि युवतिः इव कोमल कलावती
a pa 13-8. komala= exquisite; kalaavatii= fine-limbed damsel [or, a damsel expert in 64 arts - catuSaTi kalaa prapuurNa]; hari charaNa sharaNa= Krishna', at feet, resorting to; jayadeva kavi bhaaratii= Jayadeva, poet's, idiolect [the form of language used by an individual person - the lang. used in here is peculiarly particular to Jayadeva. Neither earlier poets, nor the later could use such a complicatedly delicate construction]; yuvatiH iva= damsel, like; hR^idi vasatu= in bosoms, let her abide.
Let the idiolect of poet Jayadeva, whose only resort is at the feet of Krishna, be abiding in the bosoms of all, like an exquisite, fine-limbed damsel, well-versed in sixty-four arts... [a pa 13-8]
The comparison is between a delicately limbed damsel and the delicately worded poem, which shows even the poet's expertise in sixty-for arts, unlike a curvaceous girl minus brains. upama.
तत्किम् कामपि कामिनीमभिसृतः किम् वा कलाकेलिभिः
बद्धो बन्धुभिरन्धकारिणि वनाभ्यर्णे किमुद्भ्राम्यति ।
कान्तः क्लान्तमना मनागपि पथि प्रस्थातुमेवाक्षमः
संकेतीकृतमञ्जुवञ्जुललताकुञ्जेऽपि यन्नागतः॥ ७-३
प छे- तत् किम् काम् अपि कामिनीम् अभिसृतः किम् वा कला केलिभिः
बद्धो बन्धुभिः अन्धकारिणि वनाभ्यर्णे किम् उद्भ्राम्यति
कान्तः क्लान्त मना मनाग् अपि पथि प्रस्थातुम् एव अक्षमः
संकेती कृत मंजु वंजुल लता कुंजे अपि यत् न आगतः
7-3. yat=by which reason; kaantaH= beloved, Krishna; kR^ita sa.nketii= on making, suggested spot; ma.nju va.njula lataa ku.nje api= heart-pleasing, cane, viny, to bower, even; na aagataH= not, arrived; tat= thereby [imaginable is that he]; kaam api kaaminiim= whoever, even, voluptuous girl; abhisR^itaH kim= going after, or what?; vaa= otherwise; bandhubhiH= with his relatives; kalaa kelibhiH= arts [song,] sports [dance with others]; baddhaH kim= tied up, or what?; andhakaariNi vana abhyarNe= pitch dark, in preset forest [in some area]; udbhraamyati kim= roaming round, or what?; klaanta manaa= despaired, at heart [by my dissociation]; manaag api= in the least, even; pathi prasthaatum eva= on way [this side,] to make a move, even; a+ kShamaH kim= un, able, or what? [sandeha alankaara.]
By which reason that beloved Krishna is not coming to this suggested spot, with its heart-pleasing cane-viny bower... thereby, is he going after whoever voluptuous girl, or what? Otherwise, is he bounded by his relatives, or tied up in song and dance with others, or what? Or, is he roaming round and round in these places of pitch-dark forest, or what? Or, is he unable to make a move towards this side, as his heart is despaired by my dissociation... or what? [7-3]
अथागताम् माधवमन्तरेण सखीमियम् वीक्ष्य विषादमूकाम् ।
विशङ्कक्माना रमितम् कयापि जनार्दनम् दृष्टवदेतदाह॥ ७-४
प छे- अथ आगताम् माधवम् अन्तरेण सखीम् इयम् वीक्ष्य विषाद
मूकाम् विशंक्माना रमितम् कया अपि जनार्दनम् दृष्टवत् एतत् आह
7-4. atha= then; maadhavam antareNa= Krishna, on leaving; aagataam= returned; viSaada muukaam= by sadness, silent; sakhiim viikShya= girlfriend, on seeing; janaardanam= Krishna is; kayaa api= by someone, even; ramitam= delighted; iyam= this Rādha; vi shanka maanaa= on doubting; dR^iSTavat= as though seeing with her own eyes; etat= all this [his episode in next song]; aaha= said.
Then on seeing her girlfriend, who has returned from Krishna, but remained silent owing her sadness, doubting that some girl is delighting him, Rādha recounts that episode, as though she is seeing with own eyes. [7-4]
अष्टपदि १४ - हरिरमितचंपकशेखरम्
स्मरसमरोचितविरचितवेशा ।गलितकुसुमभरविलुलितकेशा ।
कापि मधुरिपुणा विलसति युवतिरधिकगुणा॥ अ प १४-१
प च्छे- स्मर समर उचित विरचित वेशा गलित कुसुम भर
विलुलित केशा कापि मधुरिपुणा विलसति युवतिः अति अधिक गुणा
a pa 14-1. smara samara= Love-god, for combat [grapples of courtship= 2 archaic term for lovemaking]; uchita virachita veshaa= befitting, well done [well dressed,] getup; galita= slithered; kusuma= flowers; bhara= by weight of [flowers; or, if it is dara= layers]; vi+lulita= verily, entangled; keshaa= braid; kaa api= some girl [a certain girl,] even; yuvatiH= a damsel; ati adhika guNaa= [by her] very, high, talent; madhu ripuNaa= by Madhu's, enemy Krishna; vilasati= romantically frolicking.
"She is well-dressed in befitting getup for a grapple of courtship, as her weighty flowers are slithering, and as her braids are muchly tangling, that damsel is rollicking romantically with Krishna... methinks she is muchly talented... [a pa 14-1]
When Krishna grappled that girl's bun for a kiss, she wanted to whisk, and in her wriggling to take an upper hand over him, her braid is loosened and slithered, hence flowers too wriggly rolled down, yet she is dominant and on his overside, called puruSa aayata. While saying madhu ripu the sense of maadhurya ripu is what is meant by Rādha: 'he is unaware of niceties in relishing love maadhurya anabhij~natva because a rustic girl, less proficient than Rādha has overcome on him. The word yuvatiH suggests that the girl has a doership strii kartR^itva - vipariita surata is indicated. Rādha is saying that 'this girl is more talented...' then it a subjective statement of envy plus jealousy. Because she beckoned him to come to certain bower, but this girl brought him round to her place and enjoying with him in a domineering position - hence she should be more talented... as a second thought.
हरिपरिरम्भणवलितविकारा ।कुचकलशोपरि तरलितहारा॥ अ प १४-२
प छे- हरि परिरम्भण वलित विकारा कुच कलश उपरि तरलित हारा
a pa 14-2. hari pari rambhaNa= Krishna, when tightly hugging; valita vikaaraa= swirling, with romantic jerks; kucha kalasha= bosoms, flagons like [flagon = a large vessel usu. with a handle, spout, and lid, to hold wine etc. for the Eucharist]; upari=overside; taralita haaraa= swinging, pearly pendants; [reprise:] kaa api = some girl [a certain girl,] even; yuvatiH= a damsel; ati adhika guNaa= [by her] very, high, talent; madhu ripuNaa= by Madhu's, enemy - Krishna; vilasati= romantically frolicking. [a pa 14-2]
"When she is tightly hugging Krishna with her flagon-like bosoms, on which pearly pendants are swinging, her body is swirly and jerky... thus that damsel is rollicking romantically with Krishna... methinks she is muchly talented... [a pa 14-2]
विचलदलकललिताननचन्द्रा ।तदधरपानरभसकृततन्द्रा॥ अ प १४-३
प च्छे- विचलत् अलक ललित आनन चन्द्रा तत् अधर पान रभस कृत तन्द्रा
a pa 14-3. vi chalat= liltingly, pulsating; alaka= hair-locks; lalita aanana chandraa= pretty, with face, moonlike; tat= his [Krishna's]; adhara paana= lip, swilling [long kiss]; rabhasa= by speediness [ by happiness]; kR^ita tandraa= made [became,] dozily.
"Her hair-locks are liltingly pulsating on her prettily moony face, and she is taking a long kiss of his lip, she is happily dozy... hence, methinks she is muchly talented, for that damsel is romantically rollicking with Krishna... [a pa 14-3]
चंचलकुण्डलदलितकपोला ।मुखरितरसनजघनगतिलोला॥ अ प १४-४
प च्छे - चंचल कुण्डल दलित कपोला मुखरित रसन जघन गति लोला
a pa 14-4. cha.nchala kuNDala= swaying, knobby ear-hangings, dalita kapolaa= bumping, cheeks [she has]; mukharita rasana= clinking, waist-strings with jingle-bells [which she has on her waist]; jaghana gati lolaa= hip, in its going [swinging,] swaying.
"Her knobby ear-hangings are bumping her cheeks, her waist-strings with jingle bells are clinking when her hip is swingingly swaying, while that damsel is rollicking romantically with Krishna... methinks she is muchly talented... [a pa 14-4]
दयितविलोकितलज्जितहसिता ।बहुविधकूजितरतिरसरसिता॥ अ प १४-५
प च्छे - दयित विलोकित लज्जित हसिता बहु विध कूजित रति रस रसिता
a pa 14-5. dayita vilokita= by lover, when seen; lajjita= coyly; hasitaa= smiley; bahu vidha kuujita = in many, ways, cooed; rati rasa= in courtship, joy; rasitaa= while enjoying. [NB. This has two imports unsaid in the poem, but derivable from treatises on romance, and they two are combined below.]
"When her lover sees her she is coyly, for she is aggressive like a man, and when not she triumphantly smiley, for her becoming an aggressor like a man, thus on enjoying courtship she is cooing in many a way... but, that damsel is rollicking romantically with Krishna... maybe she is muchly talented... [a pa 14-5]
विपुलपुलकपृथुवेपथुभंगा ।श्वसितनिमीलितविकसदनंगा॥ अ प १४-६
प च्छे - विपुल पुलक पृथु वेपथु भंगा श्वसित निमीलित विकसत अनन्गा
a pa 14-6. vipula pulaka= with broad, tingles [she is]; pR^ithu vepathu= wide, throbs [she is]; bha.ngaa= tarangaa= like waves [weaves also come and go, in wide and broad nature]; shvasita= [in courtship] with soughs; nimiilita= half-closed [shuts eyes]; vikasata ana.ngaa= broadened, Love-god [rather, love for Krishna is broadened in her soul.]
"Like waves, broad tingles and wide throbs are coming and going on her body, but she soughs and shuts her eyes, as love in broadened in her soul... thus, that damsel is rollicking romantically with Krishna... maybe she is muchly talented... [a pa 14-6]
श्रमजलकणभरसुभगशरीरा ।परिपतितोरसि रतिरणधीरा॥ अ प १४-७
प च्छे - श्रम जल कण भर सुभग शरीरा परिपतित उरसि रति रण धीरा
a pa 14-7. shrama= by strain [in courting]; jala kaNa= water, particles [sweat drops] bhara= filled with; subhaga shariiraa= beautiful, bodied [one like, appearing; though her pearly pendants have swirled onto her back in grapple, her chest is filled with pearl-like sweat drops. So, when no ornament is there on her chest, it appears to have pearly ornaments - hence she is beautiful]; rati raNa dhiiraa= in courting, combat, challenger; pari patita urasi= overside, fallen [relaxedly,] on chest.
Owing to the strain of courting, drops of sweat filled her chest thus she is a beauty, and owing to the same strain that challenger in the courting combats has fallen overside of his chest relaxedly... she is muchly talented... that's why, that damsel is rollicking romantically with Krishna... [a pa 14-7]
This kind of posture is called hamsa liilaka bandha; naarii paada dvyayam dattvaa kaantasya uru yugo api | kaTim aandolayet aashu bandho ayam hamsa liilakaH || rati rahasya. and this needs no literal trasl., now.
श्रीजयदेवभणितहरिरमितम् ।कलिकलुषं जनयतु परिशमितम्॥ अ प १४-८
प च्छे - श्री जयदेव भणित हरि रमितम् कलि कलुषम् जनयतु परिशमितम्
a pa 14-8. jayadeva bhaNita= by Jayadeva, uttered; shrii hari ramitam= Shri, Krishna's, gladdening [by a milkmaid]; kali kaluSam= connected to Kali era, blemish; parishamitam janayatu= completely subduing, may cause.
The episode of a milkmaid gladdening Shri Krishna, as Jayadeva utters it, this may cause a complete subdual to the blemishes in Kali Era... [14-8]
विरहपाण्डुमुरारिमुखाम्बुज द्युतिरयम् तिरयन्नपि वेदनाम् ।
विधुरतीव तनोति मनोभुवः सुहृदये हृदये मदनव्यथाम्॥ ७-५
प च्छे- विरह पाण्डु मुरारि मुख अम्बुज द्युतिः अयं तिरयन् अपि वेदनाम्
विधुः अतीव तनोति मनोभुवः सुहृत् अये हृदये मदन व्यथाम्
7-5. aye= oh, friend; ayam vidhuH= this, moon; manobhuvaH suhR^it= Love-god's, good friend [moon]; viraha= [my] anguish in dissociation; paaNDu= pale faced; muraari= Krishna's; mukha ambuja dyutiH= face, lotus-like, its resplendence; vedanaam tirayan api= anguishes, covering up [abated,] even though; hR^idaye madana vyathaam atiiva tanoti= in heart, love's, anguish, muchly, intensifying [unabated.]
"Oh, friend, this moon earlier had a pale face like that of the lotus-like face of Krishna, by which my anguish in dissociation was somewhat abated, waiting for him... but now, unabated is the palish silveriness of this very moon, as his friend Love-god is abetting him to take vengeance on me, as I am unmoving to Krishna, thus my anguish too, is muchly unabated... [7-5]
अष्टपदि - १५ - हरिरसमन्मथतिलकम्
समुदितमदने रमणीवदने चुम्बनवलिताधरे ।
मृगमदतिलकम् लिखति सपुलकम् मृगमिव रजनीकरे ।
रमते यमुनापुलिनवने विजयी मुरारिरधुना - इति धृवम्॥ अ प १५-१
प च्छे - समुदित मदने रमणी वदने चुम्बन वलित अधरे
मृग मद तिलकम् लिखति स पुलकम् मृगम् इव रजनी करे
रमते यमुना पुलिन वने विजयी मुरारिः अधुना
a pa 15-1. he sakhii= of friend; sam uditamadane= well, uprisen [up surged], passion [in a girl]; chumbana valita adhare= for a kiss, swerved [turn sharply; change direction abruptly - she withdraws her face, primarily; in text as 'lalita aanane' then it is beautiful face for it will be kissed]; ramaNii vadane= a comely girl's, face; rajanii kare mR^igam iva= in night, maker [in moon,] deer, like; sa pulakam= with, thrills [for the girl]; mR^iga mada tilakam likhati= deer's, fat [musk,] mark [usually on forehead,] making; [reprise] vijayii muraariH= prizewinner [prized,] Krishna; adhunaa= presently; yamunaa pulina vane= River Yamuna's, on sand dunes, groves; ramate= is frolicking. upama - Her face is in simile with moon and tilaka, or mark with deer.
"Oh, friend, loo... he is swerving the face of a comely girl, in whom passion is up-surging, for a kiss, and like the deer mark in moon, he is making a mark with musk on her face with his kiss, while she thrills... thus that prized Krishna is presently frolicking on the sand dunes and in the groves of Yamuna River... [a pa 15-1]
घनचयरुचिरे रचयति चिकुरे तरलिततरुणानने ।
कुरबककुसुमम् चपलासुषमम् रतिपतिमृगकानने॥ अ प १५-२
प च्छे - घन चय रुचिरे रचयति चिकुरे तरलित तरुण आनने
कुरवक कुसुमम् चपला सुषमम् रति पति मृग कानने
a pa 15-2. ghana chaya ruchire= clouds, gather, in sheen [he is sheeny like a cloudscape]; taralita= made to ripples [on seeing such a one riffle like thrills occur in girls]; taruNa aanane= on a beauty's, face; rati pati= Rati's, husband, [or lord of love - of Love-god]; mR^iga kaanane= beast / deer, a forest of; chikure= in head hair; chapalaa suSamam= scintillating, lightning [like]; kuravaka kusumam = Kuravaka [mehandi,] red flower; rachayati= decorating.
"He who is sheeny like a cloudscape, and on seeing whom riffles of thrills occur in girls, such a Krishna is decorating a red flower that is scintillating like lightning, in the braid of a beauty, in that forest where that beastly Love-god is on the prowl... [a pa 15-2]
In doing so, Krishna has forgotten Rādha for his continued staying in that forest where the brutal beast-like Love-god is still on the prowl. If this mR^iga is taken as deer, then the above vyaaaja ninda 'sarcasm in devotion' of Rādha is lost.
घटयति सुघने कुचयुगगगने मृगमदरुचिरूषिते ।
मणिसरममलम् तारकापटलम् नखपदशशिभूषिते॥ अ प १५-३
प च्छे - घटयति सु घने कुच युग गगने मृग मद रुचिर ऊषिते
मणि सरम् अमलम् तारका पटलम् नख पद शशि भूषिते
pa 15-3. mR^iga mada= deer, musk; ruchira uuSite= shine, bestrewn [bedaubed, cosmetic]; su ghane= highly massy, with clouds; nakha pada= fingernail, dent [like]; shashi bhuuSite= with [crescent] moon, decorated with; kucha yuga gagane= bosoms, twosome, on sky of [on overside]; amalam= impeccable; maNi saram= gemmy [pearly,] pendant; taarakaa paTalam [iva]= starts, cluster of [like pendant]; ghaTayati= adjusting. [Meaning said vividly as upama/simile is to be explained.]
"Oh, friend, now he is adjusting an impeccable pearly pendant on the overside of her two bosoms that shine like deer musk, that which is bedaubed on them... in doing so his fingernails are making crescentic dents on those bosoms... and that skyey bust appears to be a sky with two massy clouds and that pearly pendant as the star studded sky, and those crescentic dents as crescent moons... [15-3]
The comparison between crescentic dents and crescent moon is as said panca saayaka: artha indu samkaasham idam nakha kShatam artha indu kathitam samaanataH | kakShaa nitamba stana paarshva madhye daatavya etat karajam sadaa eva || - panca saayaka in treatise of romance, Five Arrows.
जितबिसशकले मृदुभुजयुगले करतलनलिनीदले ।
मरकतवलयम् मधुकरनिचयम् वितरति हिमशीतले॥ अ प १५-४
प च्छे- जित बिस शकले मृदु भुज युगले कर तल नलिनी दले
मरकत वलयम् मधुकर निचयम् वितरति हिम शीतले
a pa 15-4. muraari= Krishna; jita bisa shakale= triumphant [than] lotus, stalks; hima shiitale= snowy, coolness; kara tala= hand's, surface [with palms]; nalinii dale= [like] lotus, leaves; mR^idu bhuja yugale = softish, shoulders, a pair of; marakata valayam= emerald, armlet; madhukara nichayam [iva] = honey-makers [honey bees,] a swarm [alike]; vitarati= he is keeping [adjusting.]
"Now he is adjusting emeraldine armlets on the pair of her palms that liken to snowily coolish lotus leaves, while her shoulders are softish like lotus itself, and arms triumph over the tender stalks of lotuses, thus those emeralds in those armlets are alike a swarm of honeybees, hovering over that lotus-like girl... [a pa 15-4]
रतिगृहजघने विपुलापघने मनसिजकनकासने ।
मणिमयरसनम् तोरणहसनम् विकिरति कृतवासने॥ अ प १५-५
प च्छे - रति गृह जघने विपुलापघने मनसिज कनक आसने
मणिमय रसनम् तोरण हसनम् विकिरति कृत वासने
a pa 15-5. muraariH= Krishna; vipula apaghane= on beamy, hip; manasija kanaka aasane= Love-god's, golden, throne; kR^ita vaasane= rendered voluptuous [or, while she is enrobing her hips; or - as vaasana has many meanings= she has a desire to have him, or, she is made to undergo some thinking that bechanced during last birth; here she is rendered voluptuous will be matching because of the proximity of words of throne of Love-god etc;] rati gR^iha jaghane= lust, house homelike, on hip; maNimaya rasanam = gem-studded, waist-strings; toraNa hasanam= arched [festoons - as a welcome sign]; vikirati= strews around [because he could not tie that string on hip, because his mood changed as soon as he touched her broadly hip, and she too clings to him for his magic touch.]
Krishna is now trying to tie her gem-studded waist-strings like arched welcome festoons on her homelike beamy hip, for it homes lust and houses the golden throne of Love-god, but he had to strew it around, for both of them are subjected to sudden voluptuousness by that tenant-like king on the throne in that house, called Love-god... [15-5]
चरणकिसलये कमलनिलये नखमणिगणपूजिते ।
बहिरपवरणम् यावकभरणम् जनयति हृदि योजिते॥ अ प १५-६
प च्छे - चरण किसलये कमल निलये नख मणि गण पूजिते
बहिः अपवरणम् यावक भरणम् जनयति हृदि योजिते
a pa 15-6. kamala nilaye= lakSmii's, abode; nakha maNi gaNa puujite [bhuuSite]=nails, jewels [like,] adored with; charaNa kisalaye= feet, leaflets; hR^idi yojite= on chest, on joining [on placing, or on thinking thus in his heart]; bahiH apavaraNam= as outer, covering [outer, peripheral - because those feet are already rosy]; yaavaka bharaNam janayati= lac reddish colour, decoration, causing [he is making, painting.]
"On placing her leaflet like feet on his supine chest, that are the abode of lakSmii, and that are adored with jewel like rosy nails, he is decorating them with reddish lac colour on the already rosy feet... [a pa 15-6]
रमयति सदृशम् कामपि सुभृशम् खलहलधरसोदरे ।
किमफलमवसम् चिरमिह विरसम् वद सखि विटपोदरे॥ अ प १५-७
प च्छे - रमयति सु दृशम् काम् अपि सुभृशम् खलहलधर सोदरे
किम् अफलम् अवसम् चिरम् इह विरसम् वद सखि विटप उदरे
a pa 15-7. halahaladhara= plough wielder [plougher]; sodare= by brother of; kaam api= someone, even [one nameless, fameless, run-of-the-mill girl]; su dR^isham= good, eyes [she has, i.e., Krishna is hoodwinked by her mesmeric eyes]; subhR^isham= very hastily; ramayati= making merry [with her]; iha viTapa udare= here, in tree's, belly [inside arbour]; vi rasam= without, spirit [futilely]; a+phalam= without, fruit; chiram= for a long; kim avasam= why, tarry; vada sakhi= speak up, friend.
"When that plougher's brother is very hastily merrymaking with an anonymous girl, hoodwinked by her mesmeric eyes, why should I futilely and fruitlessly tarry inside an arbour for a long... speak up, oh, friend... [15-7]
The plougher's brother indicates Rādha's disdain for the lowbrow taste of Krishna, who takes delights in a bumpkin, leaving queen like herself. A farmer's brother can be a Farmer Jr., but will not be a charmer... better leave him, as he is... If iambs fit in - Crotchety, thy name is woman!
इह रसभणने कृतहरिगुणने मधुरिपुपदसेवके ।
कलियुगचरितम् न वसतु दुरितम् कविनृपजयदेवके॥ अ प १५-८
प च्छे - इह रस भणने कृत हरि गुणने मधु रिपु पद सेवके
कलि युग चरितम् न वसतु दुरितम् कवि नृप जयदेवके
a pa 15-8. rasa bhaNane= blissful essence, saying; iha kR^ita hari guNane= now, made [said,] Krishna's, praise song; madhuripu pada sevake = Krishna's, at feet, worshipper; kavi nR^ipa= poet's, king; jayadevake= by Jayadeva [by his saying]; kali yuga charitam= in Kali, era, treading; duritam = profanation; na vasatu= not, dwells [not to be attached; come on... for it is experienceable, experience it oh, devotees... is ensuant.]
Let not the profanation that is treading its way in this Kali era be attached to the king of poets Jayadeva, for he is a worshipper at the feet of Krishna, further he is saying 'experienceable blissful essence' available in this praise song on Krishna... come on, experience it, oh, devotees... [a pa 15-8]
नायातः सखि निर्दयो यदि शठस्त्वम् दूति किम् दूयसे
स्वच्छन्दम् बहुवल्लभः स रमते किम् तत्र ते दूषणम् ।
पश्याद्य प्रियसंगमाय दयितस्याकृष्यमाणम् गुणैः
उत्कण्ठार्तिभरादिव स्फुटदिदम् चेतः स्वयम् यास्यति॥ ७-६
प च्छे - न अयातः सखि निर्दयः यदि शठः त्वम् दूति किम् दूयसे
स्वच्छंदम् बहु वल्लभः सः रमते किम् तत्र ते दूषणम्
पश्य अद्य प्रिय संगमाय दयितस्य अकृष्यमाणम् गुणैः
उत्कण्ठ आर्ति भरात् इव स्फुटत् इदम् चेतः स्वयम् यास्यति
7-6. hи sakhi; duuti= oh, friend, my messenger; nir dayaH= without, mercy; shaThaH= a philanderer; yadi na ayaataH= if, not, come; kim tvam duuyase= why, you, worry; saH bahu vallabhaH= he has, many, sweethearts; svacCha.ndam ramate= by his own volition, he takes delight; tatra= in that matter; kim te duuSaNam= why, your, belittling, disparage; adya= now; utkaNTha= ecstasy; aarti= anguish; bharaat iva= filled with, as though; sphuTat idam chetaH= bursts, this, heart [of mine]; dayitasya guNaiH aakR^iSyamaaNam= by lover's, plus points, being attracted [magnetized]; priya sa.ngam- aaya= with lover, to conjoin; svayam yaasyati= on its own, [my soul] goes [merges in him]; pashya= you may see.
"Oh, friend, if that merciless philanderer has not turned up why you worry as my messenger... when he has many sweethearts and he takes delight in them by his own volition, then why do you disparage him... and when my heart is filled with anguish, brought by my ecstasy in waiting for him, this heart of mine appears to burst at anytime, for it is still being magnetized by his plus points, and if that happens my soul merges only in him, you may see it... [15-6]
In fact this girlfriend is sorry faced unable to see the plight of Rādha. But Rādha being as tongue-lasher, next only to Seetha of Valmiki, in a kind of identification she lashes her tongue at this girl. These messengers have a part to play when sent on delegation such delegations, unlike our present day ambassadors who always parrot out 'I will ask my govt. and xerox that reply to your govt....' . Hanuma in Ramayana burns Lanka after seeing Seetha. In mahabharata Krishna shows his Cosmic Body after the failure of peace talks in Bharatas. They are more than just plenepotentiaris.
So also, this girl must have done something that is rendering her silent. Commentators bring another shade of meaning. Though its word-to-word translation is not given, the gist is like this:
1st stanza: you are worrying because you might have had an ungratified bout with him, unsayable to me. And you objectionably worry for my saying about him as a 'philanderer, merciless one' because he might have 'philandered' with you for he is too 'merciful to you.'
2nd stanza: I myself say that he has many sweethearts, and said this even previously. So you took chance to become one among them, though at present you are sent as my agent.
3rd and 4th stanzas: I don't mind his volitions and vacillations with your like, but I have none else than him from day one. So, when my heart bursts and soul merges in him, then you all put together will have your free butterflying and philandering... don't worry, just wait for it...
In duuti yoga, duuti-s have to bear with all these aspersions - it doesn't matter...
अष्टपदि - १६ - हरिनारायणमदनायासम्
तपति न सा किसलयशयनेन ।
सखि या रमिता वनमालिना - इति धृवम्॥ अ प १६-१
प च्छे- अनिल तरल कुवलय नयनेन तपति न सा किसलय शयनेन
सखि या रमिता वनमालिना - धृवम्
a pa 16-1. sakhi= oh, friend; yaa= she [who is]; ramitaa= sated [gratify (desire, or a desirous person) to the full]; anila tarala= by breeze, waved, ripply [billowy]; kuvalaya nayanena= blue-lotus [like,] with eyes; vanamaalinaa= by Krishna; saa= she; kisalaya shayanena= tender-leaves, on bed; na tapati= not [never,] sears [cause (esp. emotional) pain or great anguish to]; [reprise: sakhi= oh, friend; yaa= she [who is]; ramitaa= sated; vanamaalinaa= by one who is garlanded with all-sanctifying basil leaves.
"She who is sated by that billowy blue lotus eyed Krishna, she never sears on any bed of leaflets... oh, friend... for, she is sated by one garlanded with basil-leaves... [a pa 16-1]
स्फुटति न सा मनसिजविशिखेन॥ अ प १६-२
प च्छे- विकसित सरसिज ललित मुखेन
- या रमिता वनमालिना -
स्फुटति न सा मनसिज विशिखेन
a pa 16-2. vikasita sarasi ja= bloomed, lake, born one [lotus like] lalita mukhena= with attractive [rapturous,] face; [ellipt. yaa ramitaa vanamaalinaa = she who is sated]; saa manasi ja= she, with mind, born one [Love-god's]; vi shikhena= with sharp, arrowheads; na sphuTati= not [never,] shatters.
"She who is sated by that one with a bloomed lotus like rapturous face, Love-god's sharp arrowheads never shatters her... for, she is sated by one garlanded with basil-leaves... [a pa 16-2]
ज्वलति न सा मलयजपवनेन॥ अ प १६-३
प च्छे - अमृत मधुर मृदु तर वचनेन ज्वलति न सा मलय ज पवनेन
a pa 16-3. amR^ita madhura= ambrosial, lusciousness; mR^idu tara= dulcet, finely; vachanena= by words; saa= she [yaa ramitaa vanamaalinaa]; malaya ja pavanena= in Mt. malaya, born [hence, sandal scented, by breeze; na jvalati= never, singes.
"She who is sated by him whose words have ambrosial lusciousness and finely dulcified, she never singes in any sandal breeze... for, she is sated by one garlanded with basil-leaves... [a pa 16-3]
लुठति न सा हिमकरकिरणेन॥ अ प १६-४
प च्छे - स्थल जल रुह रुचि कर चरणेन लुठति न सा हिम कर किरणेन
a pa 16-4. sthala jala ruha= on land, water, born [i.e., lotuses born on ground rather than in lakes - dry land lotuses]; ruchi= brilliance [having]; kara charaNena= arms, feet; saa= she [as above]; hima kara kiraNena= by coolness, make [moon,] in his beams; na luThati= never, welters.
She who is sated by him whose arms and feet have the brilliance of land lotuses, she never welters in cooling moonshine... for, she is sated by one garlanded with basil-leaves... [a pa 16-4]
दलति न सा हृदि चिरविरहेण॥ अ प १६-५
प च्छे- स जल जलद समुदय रुचिरेण दलति न सा हृदि विरह भरेण
a pa 16-5. sa jala= with water; jala da= water, giver -cloud; samudaya= masses of; ruchireNa= he has their glitter; saa= she [as above]; hR^idi= in heart; viraha bhareNa= grief of rift, by weight of; na dalati= never, rends.
"She who is sated by him whose glitter is like that of masses of clouds, her heart never gets rent by the weight of grief in rift... for, she is sated by one garlanded with basil-leaves... [a pa 16-5]
श्वसति न सा परिजनहसनेन॥ अ प १६-६
प च्छे - कनक निकष रुचि शुचि वसनेन श्वसति न सा परिजन हसनेन
a pa 16-6. kanaka= gold's; nikaSa= a streak or line of gold made on a touchstone [but not the touchstone itself]; ruchi= in shine; shuchi vasanena= all-purifying, by robes; saa= she [as above]; parijana= of people around; hasanena= their laughing of [a laughingstock]; na shvasati= never, sighs for.
"She who is sated by him whose all-purifying ochry robe that is akin in shine with pure golden streaks on touchstone, she will never sigh for her becoming a laughingstock among kith and kin... for, she is sated by one garlanded with basil-leaves... [a pa 16-6]
वहति न सा रुजमतिकरुणेन॥ अ प १६-७
प च्छे- सकल भुवन जन वर तरुणेन वहति न सा रुजम् अति करुणेन
a pa 16-7. sakala bhuvana jana= in all, worlds, and their in-dwellers; vara taruNena= best one, with bloom of youth; ati karuNena= by his utmost, mercy [grace, unmerited favour of God]; saa= she [as above]; rujam= bodily pain [by separation]; na vahati= never, endures.
"She who is sated by him who is the only best one with bloom of youth among all the in-dwellers in the triad of worlds, and the only one with utmost grace, she will never endure bodily pain of separation... [a pa 16-7]
प्रविशतु हरिरपि हृदयमनेन॥ अ प १६-८
प च्छे - श्री जयदेव भणित वचनेन प्रविशतु हरिः अपि हृदयम् अनेन
a pa 16-8. anena= by this; jayadeva= by Jayadeva; bhaNita shrii vachanena= said, blest, sentences [import, songs - or bhaNita milanena= said something about women conjoining with Krishna; or - anena bhaNita = by chanting, or singing along these lyrics said by Jayadeva - will be the meaning]; hariH api= Krishna, even; pravishatu hR^idayam= will enter, heart [the heart of Rādha, or in our hearts too, filling our hearts with love.]
On singing this song along these sonmgs that contain blest import, let Krishna enter the hearts of one and all, to fill them all with love. [a pa 16-8]
This one song seeds the concept of a-chintya-bheda-a-bhedaa bhaava 'unheeding differences or non-difference' you leap at Krishna...' so to say. This is also called Bengal school or gauDiya paddhati etc., and these days unheard is this name, thus it is relegated to a paddhati 'custom' rather than a darshana 'philosophy' though later to saDdarshana-s. Both this and advaita of Shankara are same, though the ways of both of its thinkers differ. Its practises are evident than its real name. This concept of Bengal school nominates Krishna as the ununderstandable Brahman of Shankara, as the ever-effulgent, ever-overflowing, ever-rising flood of rasa is in Krishna.
Better this philosophy be retained, though not with this too technical title, but with some suitable title, say premaadvaita, like that of Ramanuja's vishiSTaadvaita, in view of its loveable tenets.
मनोभवानन्दन चन्दनानिल प्रसीद रे दक्षिण म्ंच वामताम् ।
क्षणम् जगत्प्राण निधाय माधवम् पुरो मम प्राणहरो भविष्यसि॥ ७-९
प च्छे- मनः भव आनन्दन चन्दन अनिल प्रसीद रे दक्षिण मुंच वामताम्
क्षणम् जगत् प्राण निधाय माधवम् पुरः मम प्राण हरः भविष्यसि
7-7. manaH bhava= heart's, idea [love is heartfelt idea, it won't occur on much rumination - so, this is Love-god]; aanandana= you please [such Love-god as his friend]; chandana anila= sandal, breeze; re dakShiNa= arи - tactful one [arи urи turи- are addressing in dissent, or in affection]; vaamataam mu.ncha= radicalism, your extremism, leave off; hи jagat praaNa= hи, world's, life; kShaNam maadhavam= for a moment, Krishna be; mama puraH nidhaaya= my, before, on keeping; prasiida= be gracious [in wafting the lovable sandal breeze on Krishna, in order to make him come to me unbearable of that lovely breeze - otherwise]; praaNa haraH bhavishhyasi= life, stealer, you will become.]
rè, tactful sandal breeze, think not that you alone are a tactful one for your being the friend of Love-god, but breeze around Krishna, still better a tactician, and see whether you can fetch and place him in my presence, restive for my separation, and then I address you hи, life of the world.... otherwise, it is you who becomes the stealer of my life, rather than a life-giver... think of it... [7-7]
रिपुरिव सखीसंवासोऽयम् शिखीव हिमानिलो
विषमिव सुधारश्मिर्यस्मिन्दुनोति मनोगते ।
हृदयमदये तस्मिन्नेवम् पुनर्वलते बलात्
कुवलयदृशाम् वामः कामो निकामनिरंकुशः॥ ७-१०
प च्छे- रिपुः इव सखी संवासः अयम् शिखी इव हिम अनिलः
विषम् इव सुधा रश्मिः यस्मिन् दुनोति मनः गते
हृदयम् अदये तस्मिन् एवम् पुनः वलते बलात् कुवलय दृशाम् वामः कामः निकाम निरंकुशः
7-8. yasmin= which one [which Krishna]; manaH gate= in [my] heart, having entered; ayam= his; sakhii sa.nvaasaH= girlfriends, staying in their togetherness, flirting; ripuH iva dunoti= enemy, like, anguishing [me]; hima anilaH= cool, breeze; shikhii iva= tongues of fire, like [dunoti= agonising me]; sudhaa rashmiH= nectarine, moonbeams; viSam iva [dunoti]= venom, like, [afflicting me]; tasmin= in him; a+ daye= one without, mercy, merciless Krishna; evam hR^idayam = this way, heart; balaat= vehemently; punaH= repeatedly; valate= swivelling; nikaama= persistent; nir a.nkushaH= without, goad [unstoppable]; kaamaH= Love-god; kuvalaya dR^ishaam= those with slanting, glances [winsome girls]; vaamaH= becoming leftist, extremist, a desperado.
"He who has entered my heart and abiding in it, is flirting with his girlfriends, and that is anguishing me like an enemy... cool breezes are agonising me like tongues of fire... nectarine moonbeams are afflicting me like venom... yet, my heart is repeatedly swivelling around such a merciless Krishna... this persistent and unstoppable Love-god is really a desperado to winsome girls, isn't so! [7-8]
बाधाम् विधेहि मलयानिल पंचबाण प्राणान्गृहाण न गृहम् पुनराश्रयिष्ये ।
किम् ते कृतान्तभगिनि क्षमया तरन्गैः अङ्गानि सिङ्च मम शाम्यतु देहदाहः॥ ७-११
प च्छे- बाधाम् विधेहि मलय अनिल पंच बाण प्राणान् गृहाण गृहम् पुनः न आश्रयिष्ये
किम् ते कृतांत भगिनि क्षमया तरंगैः अंगानि सिंच मम शाम्यतु देह दाहः
7-9. hи malaya anila= oh, sandal breeze; baadhaam vidhehi= pain [vengeance,] wreck on me; pa.nch abaaNa= oh, five, arrowed one - Love-god; praaNaan gR^ihaaNa= lives, take [extricate, panca praaNaaH = pancha baaNaaH]; punaH gR^iham na aashrayiSye= again, home, not, wish to fall back on; kR^ita= made as, rendered as; a.nta= antakaH, Ender, Yama's; bhagini= sister [oh, River Yamuna, you now appear to be rendered as a sister of life ending Yama]; kShamayaa kim= of your patience, nonchalance, is of what use; tara.ngaiH mama angaani= with your ripples, my, limbs; si.ncha= drench, make wet [no suicidal tendency is apparent please, for this is a stubborn girl]; mama deha daahaH shaamyatu= my, body, heat, let dampen [make less forceful.]
"hè, sandal breeze, wreck your vengeance on me, hè, Love-god extricate my five-lives with your five arrows, for unwished is my falling back on my home... hè, River Yamuna, you too seem to have become a sister of life-ending yama by your nonchalance, of what use is it... drench my limbs with your ripples, thus let my body heat dampen... [7-13]
रधायाश्कितम् विलोक्य हसति स्वैरम् सखीमण्डले ।
व्रीडाचंचलमंचलम् नयनयोराधाय राधानने
प च्छे- प्रातः नील निचोलम् अच्युतम् उरः संवीत पीत अंबरम्
रधायाः चकितम् विलोक्य हसति स्वैरम् सखी मण्डले
व्रीडा चंचलम् अंचलम् नयनयोः आधाय राध आनने
स्वादु स्मेर मुखः अयम् अस्तु जगत् आनंददाय नंद आत्मजः
7-10. praataH= in early morning; niila nicolam= black, blanket [of Rādha]; acyutam= at Krishna [who wrapped it around him]; piita a.mbaram= ochry [silk dress of Krishna]; sa.mviita radhaayaaH= is wrapped around]; uraH= at Rādha's bust; cakitam [yathaa tathaa]= in order to confuse; vilokya= on seeing; sakhii maNDale= her friends, circle; svairam hasati= teasingly, laughing; sati= that being so; Rādha aanane= on Rādha's, face; vriiDaa= coyly; ca.ncalam nayanayoH= fluttering, of eyes; a.ncalam= ends, slanting glances; aadhaaya= on keeping; svaadu smera mukhaH= lovely, smiling, faced one; ayam na.nda aatmajaH= he, that Nanda's, son; jagat aana.ndadaaya astu= for world's, delightful, let him be.
In early morning when Rādha and Krishna are coming out of their love resort, Krishna is wrapped in Rādha's black blanket, and Rādha's bust is wrapped with Krishna ochry silks. On seeing this, her friend's circle started to laugh teasingly in order to confuse her. That being so, Krishna with coyly fluttering eyes kept on his slanting glances on Rādha in a 'what-to-do-now' attitude. Hence, let that lovely and smiley-faced son of Nanda be delightful to the entire world. [7-10]
इति गीतगोविन्दे विप्रलब्धावर्णने नागनारायणो नाम सप्तमः सर्गः
Thus, this is the 7th chapter, called nagara naaraayaNaH - Shifty Krishna, in giita govindam of Jayadeva.
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Oct, 2003, Desiraju Hanumanta Rao; Revised: Nov 08