Dynasty of Emperor Raghu
|19 chapter -- 57 verses|
The reign of agnivarNa, the son and successor of king sudarshana, is described in this Canto. From the very commencement of his reign, we are told, he gave himself up to all kinds of dissipation which brought his life to a sudden close. His faithful ministers consign his body to the flames secretly on a spot in the palace-garden, after having performed all the obsequial ceremonies with the help of family priests. The queen is in an interesting condition. She is put in charge of the kingdom as Regina in behalf of the unborn child.
Notes and commentary of Kishanrao Madhavarao Joglekar on this 19th canto is made available here 0.5 MB pdf for further reading.
स्वे पदे तनयमग्नितेजसम्।
पश्चिमे वयसि नैमिषम् वशी॥ १९-१
sve pade tanayamagnitejasam |
paścime vayasi naimiṣam vaśī || 19-1
sve pade tanayamagnitejasam |
pashchime vayasi naimiSham vashI || 19-1
agnivarNam abhiShichya rAghavaH sve pade tanayam agni tejasam shishriye shrutavatAm a+pashchimaH pashchime vayasi naimiSham vashI
19-1. shrutavatAm a+pashchimaH=foremost among those versed in Vedic lore; vashI= a self-controlled one; rAghavaH= such Raghava - here kingsudarshana; pashchime vayasi=in the latter part of his life; sve pade= in his, position of king; agni tejasam tanayam agnivarNam= fire like in resplendence, his son, agni-varNa; abhiShichya= having anointed; naimiSham shishriye= in naimisha forest, took shelter.
Kingsudarshana, the descendant of Raghu dynasty, who was self-restrained, and who was the foremost among those versed in Vedic lore, having placed his son agnivarNa who was like the very fire in lustre, on his own throne as king, retired to the naimisha forest in the latter part of his life. [19-1]
तत्र तीर्थसलिलेन दीर्घिकाः
संचिकाय फलनिःस्पृहस्तपः॥ १९-२
tatra tīrthasalilena dīrghikāḥ
talpamantaritabhūmibhiḥ kuśaiḥ |
saṁcikāya phalaniḥspṛhastapaḥ || 19-2
tatra tIrthasalilena dIrghikAH
talpamantaritabhUmibhiH kushaiH |
sa.nchikAya phalaniHspR^ihastapaH || 19-2
tatra tIrtha salilena dIrghikAH talpam antarita bhUmibhiH kushaiH saudha vAsam uTajena vismR^itaH sa.nchikAya phala niHspR^ihaH tapaH
19-2. tatra= in that forest;tIrtha salilena dIrghikAH= by the sacred water, royal swimming pools; antarita bhUmibhiH kushaiH talpam = by the Kusha grass covering the ground, royal bed-stead; uTajena saudha vAsam= by cottage, living in palace chambers; vismR^itaH= on forgetting; phala niHspR^ihaH tapaH sa.nchikAya= not aiming at any fruit from his ascesis, gathered together asceticism.
That Kingsudarshana who was made to forget the royal swimming pools by the declivities of sacred water, royal bed-stead by the Kusha grass mats on the ground, and living in royal palace by hut dwelling, practised asceticism without aiming at any fruit from it. [19-2]
लब्धपालनविधौ न तत्सुतः
खेदमाप गुरुणा हि मेदिनी।
न प्रसाधयितुमस्य कल्पिता॥ १९-३
labdhapālanavidhau na tatsutaḥ
khedamāpa guruṇā hi medinī |
na prasādhayitumasya kalpitā || 19-3
labdhapAlanavidhau na tatsutaH
khedamApa guruNA hi medinI |
na prasAdhayitumasya kalpitA || 19-3
labdha pAlana vidhau na tat sutaH khedam Apa guruNA hi medinI bhoktum eva bhuja nirjita dviShA na prasAdhayitum asya kalpitA
19-3. tat sutaH= his, sonagnivarNa; labdha pAlana vidhau= in received, rulership, in its procedure; khedam na Apa= problems, he did not, encounter; hi= why because; bhuja nirjita dviShA= [his father sudarshana] by the strength of his arms, eradicated, enemies; guruNA medinI asya bhoktum eva kalpitA = by father, earth, to him [to agnivarNa], to enjoy, only, made over;na prasAdhayitum = [na tu kaNTaka shodhanam = not for thorn searching] not merely, for the purpose of embellishment.
King sudarshana's son agnivarNa did not experience any trouble in the work of taking care of what had come in his possession, namely the kingdom; for, the earth was intended by the father, who had overcome the enemies by the force of his arms, for enjoyment of the son but not merely for the purpose of his embellishing it as a king. [19-3]
kāścana svayamavartayatsamāḥ |
strīvidheyanavayauvano'bhavat || 19-4
kAshchana svayamavartayatsamAH |
strIvidheyanavayauvano.abhavat || 19-4
saH adhikAram abhikaH kulochitam kAshchana svayam avartayat samAH sa.nniveshya sachiveShu ataHparam strI vidheya nava yauvanaH abhavat
19-4. abhikaH saH= voluptuary one, he that agnivarNa; kulochita.n= in a manner suited to his family tradition; adhikAram kAshchana samAH svayam avartayat= administration of government, for some years, he personally, conducted; ataHpara. sachiveShu sa.nniveshya= later, among ministers, keeping [governance]; strI vidheya nava yauvanaH abhavat= and thenceforward devoted his youth to the enjoyment of young women.
That voluptuary king agnivarNa personally conducted the administration of government for some years in the manner suited to his family tradition, then relegated it to his ministers, and thenceforward devoted his youth to the enjoyment of young women. [19-4]
तस्य वेश्मसु मृदङ्गनादिषु।
tasya veśmasu mṛdaṅganādiṣu |
pūrvamutsavamapohadutsavaḥ || 19-5
tasya veshmasu mR^ida~NganAdiShu |
pUrvamutsavamapohadutsavaH || 19-5
kAminI sahacharasya kAminaH tasya veshmasu mR^ida~NganAdiShu R^iddhimantam adhikarddhiH uttaraH pUrvam utsavam apohat utsavaH
19-5. kAminI sahacharasya= one living constantly in the company of amorous women; kAminaH = that lascivious king; tasya mR^ida~NganAdiShu veshmasu= in his, resounding with drumbeats, in such palace; adhikarddhiH= with more musical instruments; uttaraH utsavaH=later time, festivity; R^iddhimantam= loaded with music; pUrvam utsavam apohat= earlier, festivity, replaced.
In the palace of that lascivious king who was keeping the company of amorous women that is reverberating with rhythm instruments, each succeeding festivity was more magnificent than the previous one which itself was sufficiently grand. [19-5]
सोढुमेकमपि स क्षणान्तरम्।
न व्यपैक्षत समुत्सुकाः प्रजाः॥ १९-६
soḍhumekamapi sa kṣaṇāntaram |
na vyapaikṣata samutsukāḥ prajāḥ || 19-6
soDhumekamapi sa kShaNAntaram |
na vyapaikShata samutsukAH prajAH || 19-6
indriya artha parishUnyam akShamaH soDhum ekam api saH kShaNa-antaram antaH eva viharan divA nisham na vyapaikShata samutsukAH prajAH
19-6. indriya artha parishUnyam= enjoyment of sense objects, when devoid of; ekam api kShaNa-antaram soDhum akShamaH= one, at least, interval, to tolerate, he is impatient; saH= he that agnivarNa; divA nisham antaH eva viharan = day, and night, inside [palace], only, spending time; samutsukAH prajAH na vyapaikShata= people, eager to see him, did not care for.
Not being able to tolerate even a momentary interval without the enjoyment of the sensory pleasures and amusing himself night and day inside palace, he did not care for his subjects eager to have an audience. [19-6]
गौरवाद्यदपि जातु मन्त्रिणाम्
दर्शनम् प्रकृतिकाङ्क्षितम् ददौ।
केवलेन चरणेन कल्पितम्॥ १९-७
gauravādyadapi jātu mantriṇām
darśanam prakṛtikāṅkṣitam dadau |
kevalena caraṇena kalpitam || 19-7
gauravAt yadapi jAtu mantriNAm darshanam prakR^iti kA~NkShitam dadau tat gavAkSha vivara AvalambinA kevalena charaNena kalpitam
19-7. jAtu= once in a while; mantriNAm gauravAt= on ministers, with respect; prakR^iti kA~NkShita.n= by people, wanted; yadapi darshanam dadau= if, his audience, he were to give; tat= that; gavAkSha vivara AvalambinA kevalena charaNena kalpitam= in window's, aperture, dangling, just, with his foot, it is given.
If he were to give an audience to the interested people, that too when pressed by his ministers, he used to put forward his foot through the aperture of a window, deeming that his foot is enough for the people to have a glance rather than showing his face. [19-7]
spṛṣṭapaṅkajatulādhirohaṇam || 19-8
spR^iShTapa~NkajatulAdhirohaNam || 19-8
tam kR^ita praNatayoH anujIvinaH komala Atma nakha rAga rUShitam bhejire nava divAkara Atapa spR^iShTa pa~Nkaja tulA adhirohaNam
19-8. komala Atma nakha rAga rUShitam= tender ones, his own, nails, with the red lustre covered; nava divAkara Atapa spR^iShTa pa~Nkaja tulA adhirohaNam= by new, sun's, sunshine, touched, red-lotus, equality, those that have; ta.n= foot shown in window; anujIvinaH kR^ita praNatayoH bhejire = dependents, making obeisance, they served.
Even then, his dependant subjects making their obeisance to the foot shown through window and served it which was covered with the red lustre of his tender nails and which therefore acquired the likeness of the red-lotus touched by the rays of the early morning sun. [19-8]
स व्यगाहत विगाढमन्मथः॥ १९-९
kṣobhalolakamalāśca dīrghikāḥ |
sa vyagāhata vigāḍhamanmathaḥ || 19-9
kShobhalolakamalAshcha dIrghikAH |
sa vyagAhata vigADhamanmathaH || 19-9
yauvana unnata vilAsinI stana kShobha lola kamalAH cha dIrghikAH gUDha mohana gR^ihAH tat ambubhiH sa vyagAhata vigADha manmathaH
19-9. vigADha manmathaH saH= with deep-rooted Lovegod - one who had excessive passion, he that agnivarNa; yauvana unnata= by youthfulness, high - erect ones; vilAsinI stana= such passionate women's, bosoms; kShobha= with them stirred; lola kamalAH cha= swaying, lotuses; tat ambubhiH= those, waters of swimming pools; gUDha mohana gR^ihAH= apartment set apart for sensual enjoyment; or may be taken in the sense of 'the portion of the body below the waist' - especially of women; dIrghikAH vyagAhata = such swimming pools, he entered.
In the royal swimming pools where lotuses are made to rock by the voluptuous women dashing the water with their bosoms that are erect by virtue of their youthfulness, king agnivarNa used to enter excited with excessive passion. [19-9]
Some say that it is immaterial whether he enters a swimming pool or a pond of water, but this verse inherently states that this king made love with women in swimming pools, by taking gUDha mohana gR^ihAH vyagAhata= secretive, love, house of, he entered.
arpitaprakṛtakāntibhirmukhaiḥ || 19-10
arpitaprakR^itakAntibhirmukhaiH || 19-10
tatra seka hR^ita lochana a~njanaiH dhauta rAga paripATala adharaiH a~NganAH tam adhikam vyalobhayan arpita prakR^ita kAntibhiH mukhaiH
19-10. tatra= in there; a~NganAH= those voluptuous women; seka hR^ita lochana a~njanaiH= by water, removed, eyes', mascara; dhauta rAga paripATala adharaiH= washed off, red-colour [lipstick paints], with such lips; therefore; arpita prakR^ita kAntibhiH mukhaiH = restored, to natural, charm with such faces; tam adhikam vyalobhayan= him, they greatly, captivated.
While going all the way with him in swimming pools, the charming women attracted him into the bargain by their faces to which natural beauty had been restored when water washed away the mascara of their eyes along with the colour of lipstick on lips. [19-10]
अभ्यपद्यत स वासितासखः
पुष्पिताः कमलिनीरिव द्विपः॥ १९-११
pānabhūmiracanāḥ priyāsakhaḥ |
abhyapadyata sa vāsitāsakhaḥ
puṣpitāḥ kamalinīriva dvipaḥ || 19-11
pAnabhUmirachanAH priyAsakhaH |
abhyapadyata sa vAsitAsakhaH
puShpitAH kamalinIriva dvipaH || 19-11
ghrANa kAnta madhu gandha karShiNIH pAna bhUmi rachanAH priyAsakhaH abhyapadyata sa vAsitA sakhaH puShpitAH kamalinIH iva dvipaH
19-11. priyAsakhaH saH= ladies', man, he agnivarNa; ghrANa kAnta madhu gandha karShiNIH = to sense of smell, attractive, wine's, bouquet, fascinating; pAna bhUmi rachanAH= drinking, booths, arrangement; vAsitA sakhaH dvipaH = of she-elephants, friend, an elephant; puShpitAH kamalinIH iva= blossomed, lotus-pond, as with; abhyapadyata= he neared - habituated.
When in the company of his beloved women that ladies man king agnivarNa is habituated to the cocktail lounges that are attractive on account of the bouquet of the wine fascinating to the sense of smelling just as an elephant in company of his mates approaches a lotus-pond fragrant with blown lotuses. [19-11]
tena dattamabhileṣuraṅganāḥ |
so'pibadbakulatulyadohadaḥ || 19-12
tena dattamabhileShura~NganAH |
so.apibadbakulatulyadohadaH || 19-12
sAtireka mada kAraNam rahaH tena dattam abhileShuH a~NganAH tAbhiH api upahR^itam mukha Asavam saH apibat vakula tulya dohadaH
19-12. a~NganAH rahaH= those women, in private; sAtireka mada kAraNa.n= the cause of excessive intoxication; tena dattam mukha Asava.n= by him, given, a mouthful of wine; abhileShuH= they yearned for it; vakula tulya= vakula flower, like; dohadaH= coveted object - wine that enriches the bloom of vakula flowers; saH api= he, too; tAbhiH upahR^itam apibat= by the ladies, given wine, he drank.
The pretty women yearned to get from him a mouthful of wine, the cause of excessive intoxication, given by him in secret. He, too, expecting the coveted object, like vakula flower, drank in the nectar of mouthfuls of wine given by them by their lips.
The vakula - Mimusops Elengi - is said to send forth flowers when a woman throws a quantity of wine from her mouth at its foot.
वल्लकी च हृदयंगमस्वना
वल्गुवागपि च वामलोचना॥ १९-१३
tasya ninyaturaśūnyatāmubhe |
vallakī ca hṛdayaṁgamasvanā
valguvāgapi ca vāmalocanā || 19-13
tasya ninyaturashUnyatAmubhe |
vallakI cha hR^idaya.ngamasvanA
valguvAgapi cha vAmalochanA || 19-13
a~Nkam a~Nka parivartana uchite tasya ninyatuH a+shUnyatAm ubhe vallakI cha hR^idaya.ngama svanA valguvAk api cha vAmalochanA
19-13. a~Nka parivartana uchite= objects which were fit to be on his lap; ubhe= two of them; tasya a~Nkam= his, lap; a+shUnyatAm ninyatuH= not, emptiness of lap, they made; those two are; hR^idaya.ngama svanA vallakI cha= heart pleasingly, sounding, vINa; valguvAk vAmalochanA api cha = beautifully, voiced, lady with charming eyes.
Two objects which were fit to be on his lap viz. the lute which sent forth notes that thrilled the heart of the hearer and the beautiful-eyed lady having a charming voice, both of them did not allow his lap to remain vacant. [19-13]
स स्वयम् प्रहतपुष्करः कृती
पार्श्ववर्तिषु गुरुष्वलज्जयत्॥ १९-१४
sa svayam prahatapuṣkaraḥ kṛtī
lolamālyavalayo haranmanaḥ |
pārśvavartiṣu guruṣvalajjayat || 19-14
sa svayam prahatapuShkaraH kR^itI
lolamAlyavalayo haranmanaH |
pArshvavartiShu guruShvalajjayat || 19-14
sa svayam prahata puShkaraH kR^itI lola mAlya valayaH haran manaH nartakIH abhinaya atila~NghinIH pArshva vartiShu guruShu alajjayat
19-14. kR^itI = skilled one in playing musical instruments; svayam prahata puShkaraH= himself, striking, the sides of rhythm instrument; lola mAlya valayaH= while dangling, his garlands, and bracelets; manaH haran= [playing] in heart, stealing manner; saH= he that agnivarNa; abhinaya atila~NghinIH nartakIH= in adopting dance gestures, when going out of step, such dancers; guruShu pArshva vartiShu= even while their dance teachers are avalable there; alajjayat= he made them to feel shy of their dancing.
King agnivarNa being an expert in playing musical instruments used to play rhythm instrument in a heart-stealing manner; when he played that instrument spellbindingly with rapid movement of his flower bracelets the dancers unable to keep in step with his accelerando used to go out of step; this rhythmless dancing used to make the dancers look small, for their dance masters though available there could not come to the rescue of those dancers. [19-14]
चारु नृत्यविगमे स तन्मुखम्
cāru nṛtyavigame sa tanmukham
svedabhinnatilakam pariśramāt |
atyajīvadamarālakeśvarau || 19-15
chAru nR^ityavigame sa tanmukham
svedabhinnatilakam parishramAt |
atyajIvadamarAlakeshvarau || 19-15
chAru nR^itya vigame sa tat mukham sveda bhinna tilakam parishramAt prema datta vadana anilaH piban atya-jIvat amara alakeshvarau
19-15. chAru= beautiful - face of dancer; nR^itya vigame= dance, at the end of; parishramAt sveda bhinna tilaka.n= by strain, sweat, washed, tilaka on her forehead; tat mukha.n= that, face of dancer; saH prema datta vadana anilaH piban= he, with love, given, facial, air, while drinking - while kissing; amara alaka Ishvarau atya-jIvat = than gods, or of alaka city, lords, he enjoyed better.
With an aura of lover-ridden freshness on his face he used to kiss the face of that dancer at the conclusion of dance; while her face looked more charming with half-effaced tilaka mark on her forehead by perspiration produced by fatigue of dancing; in doing so he seemed to live more happily than the lords of gods and of alaka city, namely Indra and Kubera respectively. [19-15]
If sudor of lovemaking has a fragrance of its own kind, mada-jala-gandha, agreeable only at the time, ethereal gods lack it; so, this man luckier than gods to have a sniff of it.
काम्यवस्तुषु नवेषु सङ्गिनः।
सामिभुक्तविषयाः समागमा॥ १९-१६
kāmyavastuṣu naveṣu saṅginaḥ |
sāmibhuktaviṣayāḥ samāgamā || 19-16
kAmyavastuShu naveShu sa~NginaH |
sAmibhuktaviShayAH samAgamA || 19-16
tasya sAvaraNa dR^iShTa sa.ndhayaH kAmya vastuShu naveShu sa~NginaH vallabhAbhiH upasR^itya chakrire sAmi bhukta viShayAH samAgamA
19-16. naveShu kAmya vastuShu sa~NginaH= in new, in desirable, objects, interested in; tasya = his; sAvaraNa= in an enshrouded manner - secretly; dR^iShTa= or evidently; sa.ndhayaH= instrumentalities; samAgamA= for a rendezvous - with prospective ladyloves; vallabhAbhiH= by his queens, or by voluptuous women he already had; upasR^itya= on going to the secret places of rendezvous; sAmi bhukta= half, enjoyed; viShayAH= subject; chakrire= they made.
The meetings sought by him who had set his mind on new beauties, in which the rendezvous were secured either secretly through the instrumentality of messengers or openly by himself were interrupted by his mistresses presenting themselves at the secret places of rendezvous and made such new adventures as half-enjoyed. [19-16]
Lest that king may not care to see the faces of ladyloves already available on a long list for ever.
भ्रूविभङ्गकुटिलम् च वीक्षितम्।
वञ्चयन्प्रणयिनीरवाप सः॥ १९-१७
bhrūvibhaṅgakuṭilam ca vīkṣitam |
vañcayanpraṇayinīravāpa saḥ || 19-17
bhrUvibha~NgakuTilam cha vIkShitam |
va~nchayanpraNayinIravApa saH || 19-17
a~NgulI kisalaya agra tarjanam bhrU vibha~Nga kuTilam cha vIkShitam mekhalAbhiH asakR^it cha bandhanam va~nchayan praNayinIH avApa saH
19-17. saH praNayinIH va~nchayan= he, his mistresses, when duping; from them he got; a~NgulI kisalaya agra tarjana.n= with fingers, tender leaves like, severe, threatening; bhrU vibha~Nga kuTilam vIkShitam cha = by knitting of eyebrows, seeing, also; mekhalAbhiH asakR^it bandhanam cha= with girdle, many times, chaining, also; avApa= he got.
When he tried to hoodwink his mistresses in preference to new or other ladyloves, he received severe censures like threatening with their sprout like forefinger, a stare with knitted eyebrows, and repeated tying by their girdles from the ladyloves at hand. [19-17]
Both offence and punishment will become the acts of romance in a romantic mood, whether he is a prince or a pauper.
तेन दूतिविदितम् निषेदुषा
शुश्रुवे प्रियजनस्य कातरम्
विप्रलम्भपरिशङ्किनो वचः॥ १९-१८
tena dūtividitam niṣeduṣā
pṛṣṭhataḥ suratavārarātriṣu |
śuśruve priyajanasya kātaram
vipralambhapariśaṅkino vacaḥ || 19-18
tena dUtividitam niSheduShA
pR^iShThataH suratavArarAtriShu |
shushruve priyajanasya kAtaram
vipralambhaparisha~Nkino vachaH || 19-18
tena dUti viditam niSheduShA pR^iShThataH surata vAra rAtriShu shushruve priyajanasya kAtaram vipralambha parisha~NkinaH vachaH
19-18. surata vAra rAtriShu= for lovemaking, on the appointed day's, in night; dUti vidita.n= only to chamber-maid, known to;pR^iShThataH niSheduShA= at the back side [of his ladylove], one who sits - remaining there without her knowledge; tena= by him; vipralambha parisha~NkinaH= separation, doubting; priyajanasya kAtaram vachaH= ladylove's, scared, words; shushruve= he used to hear.
On the nights of the appointed days for enjoyment he used to enter and skulk in the mansions of his ladylove of which only the chamber-maid is aware; because he has not turned up the ladylove starts love-prattle about his interestedness in her, or otherwise, and hearing these weasel words the king used o be amuse himself. [19-18]
वर्तते स्म स कथंचिदालिखन्
nartakīṣvasulabhāsu tadvapuḥ |
vartate sma sa kathaṁcidālikhan
aṅgulīkṣaraṇasannavartikaḥ || 19-19
nartakIShvasulabhAsu tadvapuH |
vartate sma sa katha.nchidAlikhan
a~NgulIkSharaNasannavartikaH || 19-19
laulyam etya gR^ihiNI parigrahAt nartakIShu a+sulabhAsu tat vapuH vartate sma sa katha.nchit Alikhan a~NgulI kSharaNa sanna vartikaH
19-19. gR^ihiNI parigrahAt= when his wives, detained [him in palace without going to dancing-girls];nartakIShu a+sulabhAsu satIShu = when dancing-girls, are inaccessible; laulyam etya= uneasiness, on getting into; a~NgulI kSharaNa sanna vartikaH= from fingers, b y sweat, slipping, with paintbrush; saH= he agnivarNa; tat vapuH Alikhan= that, bodily shape, trying to paint; katha.nchit vartate sma = somehow, he behaved, himself.
When his queens somehow detained him in palace without letting him to go to the dancing girls, that agnivarNa eager to join the dancing-girls who were difficult to be got at, remained in palace with no small uneasiness by painting the images of his mistresses while the paintbrush was slipping from his nervously sweat-wet fingers. [19-19]
देव्य उज्झितरुषः कृतार्थताम्॥ १९-२०
āyatāśca madanānmahīkṣitam |
devya ujjhitaruṣaḥ kṛtārthatām || 19-20
prema garvita vipakSha matsarAt AyatAt cha madanAt mahIkShitam ninyuH utsava vidhi chChalena tam devya ujjhita ruShaH kR^itArthatAm
19-20. prema garvita = with love, proud-hearted - queens; vipakSha matsarAt= opposite faction of co-wives, with jealousy on them; AyatAt [pravR^iddha] madanAt cha= among themselves, [developed] passion; devyaH= such queens; ujjhita ruShaH= leaving off, anger; tam mahIkShitam= him, the king; utsava vidhi chChalena= under the pretext of requiring him for the performance of some festive ceremony; kR^itArthatAm ninyuH= led him into'" condition which was pleasing to them.
The queens, through jealousy towards their rival-ladyloves, and inflated with pride 0n account of having secured the full love of the king, and through ardent love for him, gave up their anger against him and under the pretext of requiring his presence for performing some festive ceremony led him into a condition which was pleasing to them. [19-20]
प्राञ्जलिः प्रणयिनीः प्रसादयन्
सोऽदुनोत्प्रणयमन्थरः पुनः॥ १९-२१
darśanena kṛtakhaṇḍanavyathāḥ |
prāñjaliḥ praṇayinīḥ prasādayan
so'dunotpraṇayamantharaḥ punaḥ || 19-21
darshanena kR^itakhaNDanavyathAH |
prA~njaliH praNayinIH prasAdayan
so.adunotpraNayamantharaH punaH || 19-21
prAtaH etya paribhoga shobhinA darshanena kR^ita khaNDana vyathAH prA~njaliH praNayinIH prasAdayan saH adunot praNaya mantharaH punaH
19-21. saH prAtaH etya= he, on next morning, having come; paribhoga shobhinA darshanena= by the appearance which manifested his enjoyment of or indulgence in intercourse. kR^ita khaNDana vyathAH= made to, by his going to other ladies, from that pain; praNayinIH prA~njaliH prasAdayan= his beloveds, with adjoined palms, endeavouring to pacify; praNaya mantharaH= languid or listless on account of his affection being centred elsewhere. punaH adunot= again, started.
He who used to come in the next morning after enjoying somewhere else, and endeavouring to pacify his beloveds with folded-hands, being himself listless in his affection towards them, only pained them who were made to smart with pain by the sight which evinced his enjoyment elsewhere last night. [19-21]
प्रत्यभैत्सुरवदन्त्य एव तम्।
pratyabhaitsuravadantya eva tam |
krodhabhinnavalayairvivartanaiḥ || 19-22
pratyabhaitsuravadantya eva tam |
krodhabhinnavalayairvivartanaiH || 19-22
svapna kIrtita vipakSham a~NganAH pratyabhaitsuH avadantya eva tam prachChadAnta galita ashru bindubhiH krodha bhinna valayaiH vivartanaiH
19-22. svapna kIrtita vipakSham= in dream who called out the names, of their rival ladyloves; tam= him; a~NganAH avadantya eva= his mistresses, without talking anything, only; prachChadAnta= on bed mattresses; galita ashru bindubhiH= slipped, tear, drops; krodha bhinna valayaiH= in anger, broken, glass bangles; vivartanaiH= with their rolling - on bed; severely rebuked him.
His mistresses even without uttering a word severely rebuked him who called out the names of their rivals in dream, by rolling away from him in the bed on which they shed tears on the coverlet, and smashed their bracelets in anger. [19-22]
etya dūtikṛtamārgadarśanaḥ |
so'varodhabhayavepathūttaram || 19-23
etya dUtikR^itamArgadarshanaH |
so.avarodhabhayavepathUttaram || 19-23
kL^ipta puShpa shayanAn latA gR^ihAn etya dUti kR^ita mArga darshanaH anvabhUt parijana a~NganA ratam saH avarodha bhaya vepathu uttaram
19-23. saH= he; dUti kR^ita mArga darshanaH san = by maidservants, shown, path, who had been directed; kL^ipta puShpa shayanAn latA gR^ihAn etya= with flowers decorated couches, in the arbours of creepers, having come into; avarodha bhaya vepathu uttaram = from his wives in palace, fear, shivering with, seen clearly; parijana a~NganA ratam anvabhUt= with female attendants, intercourse, he enjoyed.
When maidservants clandestinely led him to the arbours wherein flower-decorated couches are arranged, there not finding his peeress he used to enjoy an intercourse with available female attendants, albeit shudderingly for fear of his wives in palace-chambers. [19-23]
The king has been described as having numerous mistresses and leading the life of a rake. As such he mistakes one ladylove for another; and it is in allusion to this that the stanza gives the sarcastic address of one of the mistresses, when she has been called by the name of another One,
नाम वल्लभजनस्य ते मया
प्राप्य भाग्यमपि तस्य काङ्क्ष्यते।
लोलुपम् ननु मनो ममेति तम्
nāma vallabhajanasya te mayā
prāpya bhāgyamapi tasya kāṅkṣyate |
lolupam nanu mano mameti tam
gotraviskhalitamūcuraṅganāḥ || 19-24
nAma vallabhajanasya te mayA
prApya bhAgyamapi tasya kA~NkShyate |
lolupam nanu mano mameti tam
gotraviskhalitamUchura~NganAH || 19-24
nAma vallabha janasya te mayA prApya bhAgyam api tasya kA~NkShyate lolupam nanu manaH mama iti tam gotra viskhalitam UchuH a~NganAH
19-24. mayA te vallabha janasya nAma prApya= by me, your, ladylove's, name, on getting - when you called me by her name; tasya bhAgyam api kA~NkShyate= her, fortune [of being with you], it is aspiring; nanu= oho; mama manaH lolupa.n= my, heart's, what a greed; iti a~NganAH= thus, some ladylove; gotra viskhalitam= who uttered a different name in sleep; tam UchuH= to him, said [sarcastically].
"Now I got the name of another ladylove of yours, for you addressed me with that name; my heart is fluttering to have her fortune of being with you like her... oho, what a greedy heart I have..." Thus the pretty-limbed damsel sarcastically said to him, who was blundering in calling her by her own name. [19-24]
उत्थितस्य शयनम् विलासिनः
तस्य विभ्रमरतान्यपावृणोत्॥ १९-२५
utthitasya śayanam vilāsinaḥ
tasya vibhramaratānyapāvṛṇot || 19-25
utthitasya shayanam vilAsinaH
tasya vibhramaratAnyapAvR^iNot || 19-25
chUrNa babhru lulita srak Akulam Chinna mekhalam alaktaka a~Nkitam utthitasya shayanam vilAsinaH tasya vibhramaratAni apAvR^iNot
19-25. chUrNa babhru= by scattering of powder of kumkuma etc, one that become tawny; lulita srak Akula.n= covered with crushed garlands; Chinna mekhalam= broken pieces of girdle on it; alaktaka a~Nkitam= smeared over by red lac dye; shayana.n= such a love bed; utthitasya vilAsinaH tasya= who got up from it, of the libidinous king, his bed; vibhramaratAni apAvR^iNot= his the sportful debaucheries, indicated.
The couch which had become tawny on account of the scattered red powder, which was covered with crushed garlands, which had the broken pieces girdle on it, which was smeared over by the red lac dye, indicated the sportful debaucheries of the libidinous king who had left it. [19-25]
स स्वयम् चरणरागमादधे
योषिताम् न च तथा समाहितः।
sa svayam caraṇarāgamādadhe
yoṣitām na ca tathā samāhitaḥ |
mekhalāguṇapadairnitambibhiḥ || 19-26
sa svayam charaNarAgamAdadhe
yoShitAm na cha tathA samAhitaH |
mekhalAguNapadairnitambibhiH || 19-26
sa svayam charaNarAgam Adadhe yoShitAm na cha tathA samAhitaH lobhyamAna nayanaH shlatha a.nshukaiH mekhalA guNa padaiH nitambibhiH
19-26. saH svayam yoShitAm charaNarAgam Adadhe= he, personally, of damsels, foot-paint, used to paint; shlatha a.nshukaiH nitambibhiH= slipped, clothing, on their hips; mekhalA guNa padaiH= girdle, string, dwelling place - their hips; lobhyamAna nayanaH= lured, having such eyes - eyes lured by the bare hips; tathA samAhitaH= thus, with concentrated look; na cha Adadhe= not, also, done - he ceased to paint their feet.
He used to personally paint the feet of the damsels with red lac dye; but he was not very attentive in it as his eyes had been attracted by their hips from over which the garments had dropped and which were marked by the scars from the strings of the girdle. [19-26]
विघ्नितेच्छमपि तस्य सर्वतो
hastarodhi raśanāvighaṭṭane |
vighnitecchamapi tasya sarvato
manmathendhanamabhūdvadhūratam || 19-27
hastarodhi rashanAvighaTTane |
vighnitechChamapi tasya sarvato
manmathendhanamabhUdvadhUratam || 19-27
chumbane viparivartita adharam hasta rodhi rashanA vighaTTane vighnita ichCham api tasya sarvataH manmatha indhanam abhUt vadhU ratam
19-27. chumbane viparivartita adharam= when wished to kiss, they turned away, their lips; rashanA vighaTTane hasta rodhi= girdle, when untying, hand, pushed away; sarvataH vighnita ichCham api= everywhere, obstacles, to his desires, though they are there; vadhU ratam= amorous sports with young girls; tasya manmatha indhanam abhUt= his, all actions became the fuel to excite his carnal desires.
When the ladyloves put more and more obstacle to his advances his entanglement in amorous sports escalated; when he endeavoured to snatch a kiss, they used to turn away their lips; when he thrust forward his hand to untie the girdle, they push it away from the girdle; such refusals and rebuffs helped to increase his concupiscence more and more. [19-27]
छायया स्मितमनोज्ञया वधूः
ह्रीनिमीलितमुखीश्चकार सः॥ १९-२८
chāyayā smitamanojñayā vadhūḥ
hrīnimīlitamukhīścakāra saḥ || 19-28
ChAyayA smitamanodnyayA vadhUH
hrInimIlitamukhIshchakAra saH || 19-28
darpaNeShu paribhoga darshinIH narma pUrvam anupR^iShTha sa.nsthitaH san ChAyayA smita manoj~nyayA vadhUH hrI nimIlita mukhIH chakAra saH
19-28. saH darpaNeShu paribhoga darshinIH= he, while damsels observing the marks left behind of the enjoyment overnight; narma pUrvam= for merriment; anupR^iShTha sa.nsthitaH san= at their back, while staying; smita manoj~nyayA ChAyayA = with smiles, pleasant, by his own reflection in mirror; vadhUH hrI nimIlita mukhIH= damsel, with shyness, downcast, face;chakAra= he made.
That young king agnivarNa used to mirthfully stand behind the young damsels while they were observing themselves in mirrors with the marks of enjoyment they had last night, and he used to make their faces downcast with bashfulness when they espied his image with pleasing smiles at their behind in that mirror. [19-28]
प्रार्थयन्त शयनोत्थितम् प्रियाः
तम् निशात्ययविसर्गचुम्बनम्॥ १९-२९
prārthayanta śayanotthitam priyāḥ
tam niśātyayavisargacumbanam || 19-29
prArthayanta shayanotthitam priyAH
tam nishAtyayavisargachumbanam || 19-29
kaNTha sakta mR^idu bAhu bandhanam nyasta pAda talam agra pAdayoH prArthayanta shayana utthitam priyAH tam nishAtyaya visarga chumbanam
19-29. priyAH= his ladyloves;shayana utthitam tam= from bed, who got up, him; kaNTha sakta mR^idu bAhu bandhanam= putting their arms around his neck; agra pAdayoH nyasta pAda talam= with the soles of their feet placed on the fore part of his feet; nishAtyaya visarga chumbanam= after close of night, parting kiss;prArthayanta= the begged of him.
On the conclusion of the night his mistresses putting their arms around his neck and the soles of their feet on the fore part of his feet, used to seek parting kiss from him. [19-29]
पिप्रिये न स तथा यथा युवा
pipriye na sa tathā yathā yuvā
vyaktalakṣmaparibhogamaṇḍanam || 19-30
pipriye na sa tathA yathA yuvA
vyaktalakShmaparibhogamaNDanam || 19-30
prekShya darpaNa talastham AtmanaH rAja veSham ati shakra shobhinam pipriye na sa tathA yathA yuvA vyakta lakShma paribhoga maNDanam
19-30. yuvA saH= young man, he that agnivarNa; ati shakra shobhinam= more than, magnificence; darpaNa talastham= [reflected] on mirror's, surface; AtmanaH rAja veSham prekShya= his own, king's, costume, having seen; tathA na pipriye= in that way, not, satisfied; yathA vyakta lakShma paribhoga maNDanam= as to how, clear, marks, of amorous act, a group of; pipriye= he used to satisfy.
That young man agnivarNa used to feel not as much gratified to behold his own reflection in the mirror with regal costume surpassing than that of Indra in splendour, as to see his reflection with the marks of his dalliances distinctly appearing on his body. [19-30]
प्रस्थितम् तमनवस्थितम् प्रियाः।
विद्म हे शठ पलायनच्छलानि
अञ्जसेति रुरुधुः कचग्रहैः॥ १९-३१
prasthitam tamanavasthitam priyāḥ |
vidma he śaṭha palāyanacchalāni
añjaseti rurudhuḥ kacagrahaiḥ || 19-31
prasthitam tamanavasthitam priyAH |
vidma he shaTha palAyanachChalAni
a~njaseti rurudhuH kachagrahaiH || 19-31
mitra kR^ityam apadishya pArshvataH prasthitam tam anavasthitam priyAH vidma hè shaTha palAyana chChalAni a~njasa iti rurudhuH kacha grahaiH
19-31. mitra kR^ityam apadishya= friend's, work, feigning; pArshvataH prasthitam= to another place, going; anavasthitam= unsteady one;tam= him; priyAH= his beloved;hè shaTha= you, scamp; palAyana chChalAni= [these words of yours] are to escape from here; a~njasa vidma= truth, I know; iti kacha grahaiH rurudhuH= saying so, by seizing the hair of him, she stopped him.
"You scamp! We know your tricks of escaping from our clutches." With these words the damsels used to prevent from going away from them by seizing his headhair, who was excited and who was about to go to some other place under the pretext of attending the business of his friend. [19-31]
kaṇṭhasūtramapadiśya yoṣitaḥ |
pīvarastanaviluptacandanam || 19-32
kaNThasUtramapadishya yoShitaH |
pIvarastanaviluptachandanam || 19-32
tasya nirdaya rati shrama alasAH kaNTha sUtram apadishya yoShitaH adhyasherata bR^ihat bhuja antaram pIvara stana vilupta chandanam
19-32. nirdaya rati shrama alasAH yoShitaH= on account of the fatigue caused by excessive amorous pleasures, weary, damsels; kaNTha sUtram apadishya= under the pretence of an embrace called kaNTha-sUtra; pIvara stana vilupta chandanam= by rubbing of their full breasts, removed, sandal paste; asya bR^ihat bhuja antaram= on such of his, broad chest; adhyasherata = they reclined.
The young girls weary on account of the fatigue caused by excessive amorous pleasures used to recline on the broad chest, from where the sandal paste was removed by the rubbing of their full breasts, under the pretence of an embrace called kaNTha-sUtra. [19-32]
संगमाय निशि गूढचारिणम्
कामुकेति चकृषुस्तमङ्गनाः॥ १९-३३
saṁgamāya niśi gūḍhacāriṇam
cāradūtikathitam purogatāḥ |
kāmuketi cakṛṣustamaṅganāḥ || 19-33
sa.ngamAya nishi gUDhachAriNam
chAradUtikathitam purogatAH |
kAmuketi chakR^iShustama~NganAH || 19-33
sa.ngamAya nishi gUDha chAriNam chAra dUti kathitam purogatAH va~nchayiShyasi kutaH tamaH vR^itaH kAmuketi chakR^iShuH tam a~NganAH
19-33. sa.ngamAya nishi gUDha chAriNam= for enjoyment, in nights, his secret [nocturnal] movements; chAra dUti kathitam= reported to them by maidservants who were on the look-out; purogatAH [satyaH]= going in advance; hè kAmuketi= you, lecher; tamaH vR^itaH kutaH va~nchayiShyasi= shrouded in darkness, why this deception on us; thus; tam a~NganAH chakR^iShuH = at him, his ladyloves, vented their anger.
The damsels receiving information from counter spying maidservants about his secret nocturnal movements for enjoyment, used to intercept and draw him to themselves by reprimanding him with these words, "you lecher, shrouded in darkness you move scrumptiously, why this deception on us..." [19-33]
रात्रि जागरपरो दिवाशयः॥ १९-३४
rātrijāgaraparo divāśayaḥ || 19-34
rAtrijAgaraparo divAshayaH || 19-34
yoShitAm uDu pateH iva archiShAm sparsha nirvR^itim asau avApnuvan Aruroha kumudAkara upamAm rAtri jAgara paraH divA shayaH
19-34. uDu pateH archiShAm iva= stars, lord's, luminescence, as with; yoShitAm sparsha nirvR^itim avApnuvan= damsels, touch, comfort, he got; rAtri jAgara paraH divA shayaH= in nights, one who is wakeful, in daytime, sleeping; asau kumuda Akara upamAm Aruroha = he, of a pond full of white lotuses, similitude, he got.
Habituated to the touch of his beloved ladies this prince agnivarNa used to wake up in nights and sleep during day-time, whereby he acquired the semblance of a pond full of white lotuses that blooms by night and aestivates by day. [19-34]
शिल्पकार्य उभयेन वेजिताः
तम् विजिह्मनयना व्यलोभयन्॥ १९-३५
vīṇayā nakhapadāṅkitoravaḥ |
śilpakārya ubhayena vejitāḥ
tam vijihmanayanā vyalobhayan || 19-35
vINayA nakhapadA~NkitoravaH |
shilpakArya ubhayena vejitAH
tam vijihmanayanA vyalobhayan || 19-35
veNunA dashana pIDita adharA vINayA nakha pada a~Nkita UravaH shilpakArya ubhayena vejitAH tam vijihma nayanA vyalobhayan
19-35. dashana pIDita adharA= by teeth, indented, lips; nakha pada a~Nkita UravaH= by nails, marks, spread, on thighs; veNunA vINayA ubhayena vejitAH= by flute, and by vINa, by both, troubled; shilpakAryaH= musician-girls; tam vijihma nayanA vyalobhayan= him, with sidelong glances, lured.
The sopranos of flute and vINa though suffering pain of his biting their lips and their thighs indented with nail marks during last night's escapade; but when insisted to play those musical instruments on next day, they not only charmed him with their performances on the flutes and vINA-s but with their luring sidelong glances at him. [19-35]
स्त्रीषु नृत्यमुपधाय दर्शयन्।
स प्रयोगनिपुणैः प्रयोक्तृभिः
संजघर्ष सह मित्रसंनिधौ॥ १९-३६
strīṣu nṛtyamupadhāya darśayan |
sa prayoganipuṇaiḥ prayoktṛbhiḥ
saṁjagharṣa saha mitrasaṁnidhau || 19-36
strIShu nR^ityamupadhAya darshayan |
sa prayoganipuNaiH prayoktR^ibhiH
sa.njagharSha saha mitrasa.nnidhau || 19-36
a~Nga sattva vachana Ashrayam mithaH strIShu nR^ityam upadhAya darshayan saH prayoga nipuNaiH prayoktR^ibhiH sa.njagharSha saha mitra sa.nnidhau
19-36. a~Nga sattva vachana Ashrayam nR^ityam=the various parts of the body, inborn spirit, and instruction, that derives its excellence from them, such a dance performance; mithaH strIShu upadhAya= in sequestered place, dancing women, on retaining; darshayan saH= showing niceties of dancing, he; mitra sa.nnidhau= friends, in their presence; prayoga nipuNaiH= performance, experts; prayoktR^ibhiH saha = with dance masters; sa.njagharSha = he used to dispute - about the styles of dancing.
Arranging dance performances in sequestered places for himself and for a coterie of friends, he used to harangue about the excellence of dancing vis-a-vis using various body parts, inherent spirit of dancers, and instruction received from teachers; in doing so, used to handle the limbs of dancers, like their feet, arms or even bosoms, as a part of his demonstration; should there be any objection, he used to enter into a musicological quarrel, in spite of the presence of proficient dance masters on the scene. [19-36]
कृत्रिमाद्रिषु विहारविभ्रमः॥ १९-३७
tasya nīparajasāṅgarāgiṇaḥ |
kṛtrimādriṣu vihāravibhramaḥ || 19-37
tasya nIparajasA~NgarAgiNaH |
kR^itrimAdriShu vihAravibhramaH || 19-37
a.nsa lambi kuTaja arjuna srajaH tasya nIpa rajasa a~Nga rAgiNaH prAvR^iShi pramada barhiNeShu abhUt kR^itrima adriShu vihAra vibhramaH
19-37.prAvR^iShi= in rainy season; a.nsa lambi kuTaja arjuna srajaH= on shoulders, dangling, kuTaja, and arjuna flowers, garland; nIpa rajasa a~Nga rAgiNaH= whose body was covered with the pollen of the kadamba; tasya= to him; pramada barhiNeShu= with passion filled, peacocks; kR^itrima adriShu vihAra vibhramaH abhUt= on artificial, hillocks, pleasure tripping, amusement, happened.
During the rainy season he used to indulge in amorous sports on the artificial hillocks which had excited peacocks on them, on wearing garlands of kuTaja and arjuna flowers reaching down from his shoulders, body covered with the pollen of the kadamba flowers. [19-37]
विग्रहाच्च शयने पराङ्मुखीः
न अनुनेतुमबलाः स तत्वरे।
ता विवृत्य विशतीर्भुजान्तरम्॥ १९-३८
vigrahācca śayane parāṅmukhīḥ
na anunetumabalāḥ sa tatvare |
tā vivṛtya viśatīrbhujāntaram || 19-38
vigrahAchcha shayane parA~NmukhIH
na anunetumabalAH sa tatvare |
tA vivR^itya vishatIrbhujAntaram || 19-38
vigrahAt cha shayane parA~NmukhIH na anunetum abalAH sa tatvare AchakA~NkSha ghana shabda viklavAH tAH vivR^itya vishatIH bhuja antaram
19-38. saH= he; vigrahAt shayane parA~NmukhIH abalAH = by love-quarrel, on bed, away faced, ladylove; anunetum na tatvare= to pacify, he did not hasten; ghana shabda viklavAH= by clouds, thundering, scared; vivR^itya= turning to his side; bhuja antaram vishatIH= on chest, reclining; tAH AchakA~NkSha= them, he wished.
In the nights of that rainy season, when a young woman in bed turned her face away from him following a love-quarrel, he did not hasten to persuade her; but when the same woman turned towards him to recline on his chest when frightened by the rumbling of the clouds, he cherished her most. [19-38]
मेघमुक्तविशदाम् स चन्द्रिकाम्॥ १९-३९
yāminīṣu lalitāṅganāsakhaḥ |
meghamuktaviśadām sa candrikām || 19-39
yAminIShu lalitA~NganAsakhaH |
meghamuktavishadAm sa chandrikAm || 19-39
kArtikIShu sa vitAna harmya bhAk yAminIShu lalita a~NganA sakhaH anvabhu~Nkta surata shrama apahAm megha mukta vishadAm sa chandrikAm
19-39. kArtikIShu yAminIShu= of kArtIka month, nights; sa vitAna harmya bhAk= with awning, on mansion, on reaching them; lalita a~NganA sakhaH= who had beautiful women for his co company; saH= he; surata shrama apahAm= which removed the fatigue resulting from libidinous sports; megha mukta vishadAm chandrikAm= by clouds, released, bright, moonlight; anvabhu~Nkta = he enjoyed.
Reaching the awning on the terrace of his mansion, having beautiful women as his companions, he used to enjoy the nights of kArtIka month under the bright cloudless moonlight that removes the fatigue of his libidinous activity. [19-39]
सैकतम् स सरयूम् विवृण्वतीम्
saikatam sa sarayūm vivṛṇvatīm
śroṇibimbamiva haṁsamekhalam |
saudhajālavivarairvyalokayat || 19-40
saikatam sa sarayUm vivR^iNvatIm
shroNibimbamiva ha.nsamekhalam |
saudhajAlavivarairvyalokayat || 19-40
saikatam sa sarayUm vivR^iNvatIm shroNi bimbam iva ha.nsa mekhalam sva priyA vilasita anukAriNIm saudha jAla vivaraiH vyalokayat
19-40. ha.nsa mekhalam= rws of swans, for its girdle; saikatam shroNi bimbam iva= sandbeds, hips, rotund ones, as with; vivR^iNvatIm= showing; sva priyA vilasita anukAriNIm= his own, beloved's, beauty, mimicking; sarayUm= such a Sarayu river; saH saudha jAla vivaraiH vyalokayat= he, from mansion's, lattices, apertures, he saw.
Even when casually looking at River Sarayu through the lattices of mansion-windows, he with infatuation used to connote her beauty to the beauty of his beloveds, surmising her rotund sandbeds with the roundish hips, and rows of swans as girdles there on of his ladyloves, as if a denuded damsel is standing at his side. [19-40]
हैमनैर्निवसनैः सुमध्यमाः॥ १९-४१
haimanairnivasanaiḥ sumadhyamāḥ || 19-41
haimanairnivasanaiH sumadhyamAH || 19-41
marmaraiH aguru dhUpa gandhibhiH vyakta hema rashanaiH tam ekataH jahruH Agrathana mokSha lolupam haimanaH nivasanaiH su madhyamAH
19-41. marmaraiH= making rustling sound - c.f. murmurs in English; aguru dhUpa gandhibhiH= with fragrant, fumigation, scented; vyakta hema rashanaiH= clearly seen, golden, girdles; haimanaH nivasanaiH= in hemantha season, worn clothing; su madhyamAH= slim waisted ones; ekataH Agrathana mokSha lolupam= on one side of hip, knot of hip cloth, trying to unknot, who is interested in; tam jahruH = him, they attracted.
In hemantha season, women with charming waists drew away to themselves - by means of their garments which were rustling, which were fragranced with fumigation, which being very fine showed the golden waist-bands from underneath - him who was eager to tie and untie the knots of their garments at their waists. [19-41]
साक्षिताम् शिशिररात्रयो ययुः॥ १९-४२
garbhaveśmasu nivātakukṣiṣu |
sākṣitām śiśirarātrayo yayuḥ || 19-42
garbhaveshmasu nivAtakukShiShu |
sAkShitAm shishirarAtrayo yayuH || 19-42
arpita stimita dIpa dR^iShTayaH garbha veshmasu nivAta kukShiShu tasya sarva surata antara kShamAH sAkShitAm shishira rAtrayo yayuH
19-42. nivAta kukShiShu= windless, interiors; garbha veshmasu= of innermost apartments; arpita stimita dIpa dR^iShTayaH= with eyes in the form of lamps burning unfiickeringly in the corners; sarva surata antara kShamAH= capable of giving opportunities for the enjoyment of diverse pleasures; shishira rAtrayaH= wintry nights; tasya sAkShitAm yayuH= became the whiteness of his doings.
The wintry nights - which, as it were, stared steadily with eyes called flickerless lamps burning in the corners of the innermost apartments where there was no breeze; and which nights on account of their great length were capable of giving opportunities for the enjoyment of diverse pleasures - became the whiteness of all his doings. [19-42]
दक्षिणेन पवनेन संभृतम्
प्रेक्ष्य चूतकुसुमम् सपल्लवम्।
तम् दुरुत्सहवियोगमङ्गनाः॥ १९-४३
dakṣiṇena pavanena saṁbhṛtam
prekṣya cūtakusumam sapallavam |
tam durutsahaviyogamaṅganāḥ || 19-43
dakShiNena pavanena sa.nbhR^itam
prekShya chUtakusumam sapallavam |
tam durutsahaviyogama~NganAH || 19-43
dakShiNena pavanena sa.nbhR^itam prekShya chUta kusumam sa pallavam anvanaiShuH avadhUta vigrahAH tam durutsaha viyogam a~NganAH
19-43. a~NganAH= women; dakShiNena pavanena sa.nbhR^itam= by the southerly, breeze, sprouted out; sa pallavam chUta kusumam= with foliage, mango bl0ssoms; prekShya= having seen; avadhUta vigrahAH= giving up their quarrels with him;durutsaha viyogam= whose separation was unbearable; tam anvanaiShuH = him, they followed.
During vasantha, the spring / vernal season, the pretty women beholding the mango bl0ssms with foliage sprouted out by the southerly breezes gave up their quarrels with him, and conciliated him whose separation was unbearable to them. [19-43]
ताः स्वमङ्कमधिरोप्य दोलया
मुक्तरज्जु निबिडम् भयच्छलात्
कण्ठबन्धनमवाप बाहुभिः॥ १९-४४
tāḥ svamaṅkamadhiropya dolayā
muktarajju nibiḍam bhayacchalāt
kaṇṭhabandhanamavāpa bāhubhiḥ || 19-44
tAH svama~Nkamadhiropya dolayA
muktarajju nibiDam bhayachChalAt
kaNThabandhanamavApa bAhubhiH || 19-44
tAH svam a~Nkam adhiropya dolayA pre~Nkhayan parijana apaviddhayA mukta rajju nibiDam bhaya chChalAt kaNTha bandhanam avApa bAhubhiH
19-44. tAH svam a~Nkam adhiropya= them the women, his own, on lap, placing; parijana apaviddhayA= when servant maids are pulling the ropes, they are asked to leave off the ropes at high swing; dolayA mukta rajju= swing's, released, rope; pre~Nkhayan= going on high swing; bhaya chChalAt= fear, feigning; bAhubhiH nibiDam kaNTha bandhanam avApa= with arms, tight, hugging, he, obtained.
Placing his ladyloves on his lap and swinging on a swinging-board rocked to and fro by the female attendants those attendants were asked let go the rope when there was a high swing, whereby he gained a firm embrace of the women under the pretext of fear of falling down. [19-44]
श्रोणिलम्बिमणिमेखलैः प्रियाः॥ १९-४५
śroṇilambimaṇimekhalaiḥ priyāḥ || 19-45
shroNilambimaNimekhalaiH priyAH || 19-45
tam payodhara niShikta chandanaiH mauktika grathita chAru bhUShaNaiH grIShma veSha vidhibhiH siShevire shroNi lambimaNi mekhalaiH priyAH
19-45.priyAH= his ladyloves; payodhara niShikta chandanaiH= on bosoms, smeared, sandal paste; mauktika grathita chAru bhUShaNaiH= with charming ornaments strung with pearls; shroNi lambimaNi mekhalaiH= girdles studded with jewels hung on the hips; grIShma veSha vidhibhiH= summer, dress, in method of; tam siShevire= him, they attended.
His beloveds waited upon him with arrangements of dress suited to summer; those arrangements are: their bosoms smeared with sandal paste, wearing charming ornaments strung with pearls, and the girdles studded with jewels hung on the hips. [19-45]
तेन तस्य मधुनिर्गमात्कृशः
raktapāṭalasamāgamam papau |
tena tasya madhunirgamātkṛśaḥ
cittayonirabhavatpunarnavaḥ || 19-46
raktapATalasamAgamam papau |
tena tasya madhunirgamAtkR^ishaH
chittayonirabhavatpunarnavaH || 19-46
yat sa lagna sahakAram Asavam rakta pATala samAgamam papau tena tasya madhu nirgamAt kR^ishaH chitta yoniH abhavat punaH navaH
19-46. saH= he; lagna sahakAram rakta pATala samAgamam= mixed, mango-sprouts, and mixed with the red pATala flowers; Asavam papau= liquor, he drank; iti yat= that which topic is there; tena= by that liquor;madhu nirgamAt kR^ishaH = spring season, on passing by, weakened; tasya chitta yoniH= his, passion; punaH navaH abhavat= again, rejuvenated, it became.
He drank wine mixed with the juice of sprouts of mango leaflets and with that of the red pATala flowers, whereby his passion which had ebbed down in consequence of the passing away of the spring season had been rejuvenated afresh. [19-46]
अन्यकार्यविमुखः स पार्थिवः।
anyakāryavimukhaḥ sa pārthivaḥ |
atyavāhayadanaṅgavāhitaḥ || 19-47
anyakAryavimukhaH sa pArthivaH |
atyavAhayadana~NgavAhitaH || 19-47
evam indriya sukhAni nirvishan anya kArya vimukhaH sa pArthivaH Atma lakShaNa niveditAn R^itUn atyavAhayat ana~Nga vAhitaH
19-47. evam ana~Nga vAhitaH= in this way, by Lovegod, carried away - he that king; anya kArya vimukhaH= averse to all other work; saH pArthivaH= that king; indriya sukhAni nirvishan= sense-pleasures, by enjoying; Atma lakShaNa niveditAn= each season indicated by its characteristic features; R^itUn atyavAhayat= seasons, he spent - in lechery alone.
Thus enjoying the various pleasures of the senses, that king who had become apathetic to all other work indulged in the lecherous pleasures alone, in all of the different seasons, succumbing to the mischief of Lovegod. [19-47]
तम् प्रमत्तमपि न प्रभावतः
दक्षशाप इव चन्द्रमक्षिणोत्॥ १९-४८
tam pramattamapi na prabhāvataḥ
dakṣaśāpa iva candramakṣiṇot || 19-48
tam pramattamapi na prabhAvataH
dakShashApa iva chandramakShiNot || 19-48
tam pramattam api na prabhAvataH shekuH Akramitum anya pArthivAH AmayaH tu rati rAga sa.nbhavaH dakSha shApa iva chandram akShiNot
19-48. pramattam api= daft about [libidinous pleasures], even though; tam= him; prabhAvataH= by reputation of his prowess;anya pArthivAH Akramitum na shekuH= other, kings, to invade, not, capable; rati rAga sa.nbhavaH AmayaH tu= by addictedness to libidinous pleasures but produced, disease, but; dakSha shApa chandram iva= prajApati dakSha's, curse, to the moon, as with; akShiNot= debilitated him.
Although he is daft about libidinous pleasures other kings were not able to invade him owing to his dynastic reputation of prowess; but, ailment produced by his addiction to lasciviousness has certainly invaded him like the curse of dakSha-prjApati to the moon. [19-48]
The Moon, being considered by the Hindus as a masculine deity, makes his complete revolution with respect to the stars in 27 days and odd hours. Hindu astronomers divide the heavens into 27 constellations or lunar stations and the Moon is supposed to be the husband of these twenty-seven constellations, twelve of which have given names to twelve lunar months. Among his 27 wives the Moon had a stronger predilection for star rohiNi, the fourth. Star vishAkha was extremely jealous of this and persuaded her father dakSha-prajApati to curse the Moon for his greater partiality towards rohiNi, whereby the moon decreases every fortnight like a T.B. patient, only to recoup in the next fortnight, that too at partial withdrawal of the curse.
दृष्टदोषमपि तन्न सोऽत्यजत्
दुःखमिन्द्रियगणो निवार्यते॥ १९-४९
dṛṣṭadoṣamapi tanna so'tyajat
saṅgavastu bhiṣajāmanāśravaḥ |
duḥkhamindriyagaṇo nivāryate || 19-49
dR^iShTadoShamapi tanna so.atyajat
sa~Ngavastu bhiShajAmanAshravaH |
duHkhamindriyagaNo nivAryate || 19-49
dR^iShTa doSham api tat na saH atyajat sa~Nga vastu bhiShajAm an+AshravaH svAdubhiH tu viShayaiH hR^itaH tataH duHkham indriya gaNaH nivAryate
19-49. bhiShajAm an+AshravaH= medical men's [advise], not listening - uncaring for; saH= he; dR^iShTa doSham api= evident, is the problem, though; tat sa~Nga vastu na atyajat= those, addictions, he did not, leave off; indriya gaNaH svAdubhiH viShayaiH hR^itaH= when sense, groups, by attractive, allurements, are stolen - overcome; tataH duHkham nivAryate= from them, painful, is returning - old habit die hard.
Not giving any heed to the advice of his physicians he did not give up those objects to which he was addicted, although they were felt to be of bringing on evil result; for, old habit die hard. [19-49]
कामयानसमवस्थया तुलाम्॥ १९-५०
sāvalambagamanā mṛdusvanā |
kāmayānasamavasthayā tulām || 19-50
sAvalambagamanA mR^idusvanA |
kAmayAnasamavasthayA tulAm || 19-50
tasya pANDu vadana alpa bhUShaNA sa avalamba gamanA mR^idu svanA rAjayakShma pari-hAniH Ayayau kAma-yAna samavasthayA tulAm
19-50. tasya= his; pANDu vadana= palish face; alpa bhUShaNA= very minimal, ornamentation; sa avalamba gamanA = moving supported by attendants; mR^idu svanA= enfeebled, voice; with these features; rAjayakShma pari-hAniH Ayayau= consumptive disease's, disrepair, has come; kAma-yAna samavasthayA tulAm= with all these features it became similar to the condition of a lovelorn individual.
His consumptive disease's made his face pallid, wear a few light ornaments, move thereabout hanging on the shoulders of his servants, voice enfeebled, and with all these it became similar to the condition of a lovelorn individual. [19-50]
व्योम पश्चिमकलास्थितेन्दु वा
वामनार्चिरिव दीपभाजनम्॥ १९-५१
vyoma paścimakalāsthitendu vā
paṅkaśeṣamiva gharmapalvalam |
vāmanārciriva dīpabhājanam || 19-51
vyoma pashchimakalAsthitendu vA
pa~NkasheShamiva gharmapalvalam |
vAmanArchiriva dIpabhAjanam || 19-51
vyoma pashchima kalA sthita indu vA pa~Nka sheSham iva gharma palvalam rAj~ni tat kulam abhUt kShaya Ature vAmana archiH iva dIpa bhAjanam
19-51. rAj~ni kShaya Ature sati= when king, is with consumptive disease; tat kulam= that Raghu's dynasty; pashchima kalA sthita indu vyoma vA= in last, digit, staying, moon, like the sky; pa~Nka sheSham gharma palvalam iva= mud, remaining, summer, pool, as with; vAmana archiH dIpa bhAjanam iva= with diminutive, flame, a lamp as with; abhUt= it became.
While the king was wasting away with consumption his dynasty appeared like the sky having the moon in his last digit, or like the waterless summer puddle with only mud remaining, or like the lamp having a diminutival flame. [19-51]
बाढमेष दिवसेषु पार्थिवः
कर्म साधयति पुत्रजन्मने।
शश्वदूचुरघशङ्किनीः प्रजाः॥ १९-५२
bāḍhameṣa divaseṣu pārthivaḥ
karma sādhayati putrajanmane |
śaśvadūcuraghaśaṅkinīḥ prajāḥ || 19-52
bADhameSha divaseShu pArthivaH
karma sAdhayati putrajanmane |
shashvadUchuraghasha~NkinIH prajAH || 19-52
atha madhu vanitAnAm netra nirveshanIyam manasi-ja taru puShpam rAga bandha pravAlam akR^itaka vidhi sarvA~NgINam Akalpa jAtam vilasita padam Adyam yauvanam sa prapede
18-52. atha= later; saH= he; vanitAnAm netra nirveshanIyam madhu= women's, eyes [called bees], [by them] enjoyable, having such honey called youth; rAga bandha pravAlam manasi-ja taru puShpam= which had foliage in the form of a continuity love, such Lovegod called a tree, its flower; akR^itaka vidhi sarvA~NgINam Akalpa jAtam= which had a collection of decorations arranged in a manner which was not artificial; Adyam vilasita padam= unparalleled condition of life for enjoyment; yauvanam prapede= such a youth, he got.
Now he reached youth - the unparalleled condition of enjoying life - which was the honey to be enjoyed by the eyes of women, which was as it were the flower of the tree in the form of the god of Lovegod, which had foliage in the form of a continuity of love and had a collection of decoration arranged in a manner which was not artificial and which covered all the parts of his body.
Full soon he reached/The flower of youth, sweet season of delight,/A charm for women's love, the perfect bloom/That crowns Desire's fair tree, from passion's plant/Luxuriant shoot, or charm of loveliness /Spread over all his limbs, boon nature's gift.
The picture in this stanza is a highly wrought one - please refer to Joglekar's notes.
स त्वनेकवनितासखोऽपि सन्
न प्रदीप इव वायुमत्यगात्॥ १९-५३
sa tvanekavanitāsakho'pi san
pāvanīmanavalokya saṁtatim |
na pradīpa iva vāyumatyagāt || 19-53
sa tvanekavanitAsakho.api san
pAvanImanavalokya sa.ntatim |
na pradIpa iva vAyumatyagAt || 19-53
saH tu aneka vanitA sakhaH api san pAvanIm an+avalokya sa.ntatim vaidya yatna paribhAvinam gadam na pradIpa iva vAyum atyagAt
19-53 saH tu aneka vanitA sakhaH san api= he, though, many, wives, he had; pAvanIm sa.ntatim an+avalokya= to heaven leading, offspring, not seeing; vaidya yatna paribhAvinam= physicians, to their endeavour, which is baffling; gadam= his disease; pradIpa vAyum iva= a lamp, [onslaught of] a gust, as with; na atyagAt= has not, overcome.
Although he had many wives yet he got no issue which would bring him absolution: or he could get over the disease which baffled the skill of the physicians just like the flame of a lamp that cannot withstand a gust - thus he breathed his last. [19-53]
तम् गृहोपवनव संगताः
संभृते शिखिनि गूढमादधुः॥ १९-५४
tam gṛhopavanaeva saṁgatāḥ
paścimakratuvidā purodhasā |
saṁbhṛte śikhini gūḍhamādadhuḥ || 19-54
tam gR^ihopavanaeva sa.ngatAH
pashchimakratuvidA purodhasA |
sa.nbhR^ite shikhini gUDhamAdadhuH || 19-54
tam gR^iha upavana eva sa.ngatAH pashchima kratu vidA purodhasA roga shAntim apadishya mantriNaH sa.nbhR^ite shikhini gUDham AdadhuH
19-54. pashchima kratu vidA purodhasA= in lateral, rites, well-versed, with priests - priests who were well-versed in the performance of funeral rites; sa.ngatAH = joining with them; mantriNaH= ministers; gR^iha upavana eva= house's, in back-garden, alone; roga shAntim apadishya= under the pretext of performing some fire-ritual for the cure of the disease; tam = him; sa.nbhR^ite shikhini gUDham AdadhuH= in flaming, fire, secretly, placed - cremated.
The ministers joining hands with the family-priests who were well-versed in the performance of funeral rites secretly consigned the body of the king to the flaming fire arranged in the backyard of the palace, and when people exclaimed about fire in the backyard of palace, the ministers dissembled the people by saying that some vaidik fire ritual is going on in backyard for the cure of king's disease. [ 19-54]
आशु तस्य सहधर्मचारिणी।
प्रत्यपद्यत नराधिपश्रियम्॥ १९-५५
āśu tasya sahadharmacāriṇī |
pratyapadyata narādhipaśriyam || 19-55
Ashu tasya sahadharmachAriNI |
pratyapadyata narAdhipashriyam || 19-55
taiH kR^ita prakR^iti mukhya sa.ngrahaiH Ashu tasya saha-dharma-chAriNI sAdhu dR^iShTa shubha garbha lakShaNA pratyapadyata narAdhipa shriyam
19-55. Ashu= quickly; kR^ita prakR^iti mukhya sa.ngrahaiH= making, among subjects, important ones, a gathering of; taiH= by ministers;sAdhu dR^iShTa shubha garbha lakShaNA= who manifested signs of an auspicious foetus; tasya saha-dharma-chAriNI= his wedded wife; narAdhipa shriyam pratyapadyata = king's, grandeur, she obtained - she is made as Regina.
The ministers involving the elderly leaders of the people quickly made the prime-queen who manifested signs of an auspicious pregnancy as Regina. [19-55]
वंशाभिषेकविधिना शिशिरेण गर्भः॥ १९-५६
uṣṇairvilocanajalaiḥ prathamābhitaptaḥ |
vaṁśābhiṣekavidhinā śiśireṇa garbhaḥ || 19-56
uShNairvilochanajalaiH prathamAbhitaptaH |
va.nshAbhiShekavidhinA shishireNa garbhaH || 19-56
tasyAH tathAvidha narendra vipatti shokAt uShNaiH vilochana jalaiH prathama abhitaptaH nirvApitaH kanaka kumbha mukha ujjhitena va.nsha abhiSheka vidhinA shishireNa garbhaH
19-56. tathAvidha narendra vipatti shokAt= that way, king's, demise, by grief; uShNaiH vilochana jalaiH= with hot, eyes, water - with tears of sadness; prathama abhitaptaH= firstly, chafed; tasyAH garbhaH= her, pregnancy;kanaka kumbha mukha ujjhitena= by golden, pots, mouths, fallen - water; shishireNa va.nsha abhiSheka vidhinA= cool, dynastic, anointment, in the procedure of; nirvApitaH = cooled off.
Her pregnancy was first excited by the hot tears coming out of her eyes on account of the grief at the death of the king in that manner; however, when water is poured out of the spouts of golden jars while anointing her as Regina it gave a cooling effect to her enceinte condition for the continuance of Raghu's lineage. [19-56]
तम् भावार्थम् प्रसवसमयाकाङ्क्षिणीनाम् प्रजाना
मन्तर्गूढम् क्षितिरिव नभोबीजमुष्टिम् दधाना।
मौलैः सार्धम् स्थविरसचिवैर्हेमसिंहासनस्था
राज्ञी राज्यम् विधिवदशिषद्भर्तुरव्याहताज्ञा॥ १९-५७
tam bhāvārtham prasavasamayākāṅkṣiṇīnām prajānā
mantargūḍham kṣitiriva nabhobījamuṣṭim dadhānā |
maulaiḥ sārdham sthavirasacivairhemasiṁhāsanasthā
rājñī rājyam vidhivadaśiṣadbharturavyāhatājñā || 19-57
tam bhAvArtham prasavasamayAkA~NkShiNInAm prajAnA
mantargUDham kShitiriva nabhobIjamuShTim dadhAnA |
maulaiH sArdham sthavirasachivairhemasi.nhAsanasthA
rAdnyI rAjyam vidhivadashiShadbharturavyAhatAdnyA || 19-57
tam bhAvArtham prasava samaya AkA~NkShiNInAm prajAnAm antar gUDham kShitiH iva nabho bIja muShTim dadhAnA maulaiH sArdham sthavira sachivaiH hema si.nhAsanasthA rAj~nyI rAjyam vidhivat ashiShat bhartuH avyAhata Aj~nyA
19-57. prasava samaya AkA~NkShiNInAm= she who was eagerly awaiting the hour of delivery; prajAnAm bhAvArtham= for the welfare of the people; kShitiH antar gUDham= under-ground, remaining concealed; nabhsaH bIja muShTim iva= sowed in the month of shrAvaNa, grain, a handful, as with; tam dadhAnA= that, bearing - bearing the child of agnivarNa in her womb; hema si.nhAsanasthA= on golden throne, sitting; avyAhata Aj~nyA= issuing incontrovertible, orders; rAj~nyI= that Regina;maulaiH= with elders; sthavira sachivaiH sArdham= with [ the help of ] hereditary old ministers; bhartuH rAjyam= husband's, kingdom; vidhivat ashiShat= conscientiously, ruled.
While her foetus snuggling comfortably in her womb just as the earth holds a handful of grain sowed in shrAvaNa month in her womb that are definite to yield results, that Regina, supported by elders and experienced ministers conscientiously ruled the kingdom of her husband issuing incontrovertible orders for the welfare of the subjects from a golden throne, awaiting the hour of parturition of the prospective king of Raghu's dynasty. [19-57]
इति महाकवि कालिदास कृत रघुवंश महाकाव्ये एकोनविंशति - अन्तिम - सर्गः॥
iti mahākavi kālidāsa kṛta raghuvaṁśa mahākāvye ekonaviṁśati - antima - sargaḥ ||
Krishnarao Mahadeva Joglekar, 1916 - KMJ, or Joglekar
Gopala Raghunath Nandargikar, 1897 GRN
pithy, terse sayings or foots of poem appearing in comment section - from The Story of Raghu's Line by Kalidasa; translated by P. De Lacy Johnston, Published by Adine House, London, 1902 - De Lacy or Lacy
upama is roughly said as metaphor, transferred epithet, or condensed simile, or expanded simile, or whatever, but not stabilised, as with atishayokti and utpreksha both made to fall under the category of a hyperbole.
u.mA o : upamAna - comparable object; or the object itself.
u.me oc : upameya - object compared.
sA.dha c: sAdhAraNa dharma: commonality in sharing attributes.
sA. vA cw: sAdharaNa vAcaka: coupula, conjunctional word used.
anu.dha uq : anugAmi dharma : underlying quality of factors.
bimba om, or O: object to be mirrored.
prati-bimba mo: reflected object with mirror symmetry, mirrored object.
shleSa innuendo: lexically mixing, imbibed in; better we use this innuendo= 2 a remark with a double meaning, usu. suggestive; till pundits object.
zeugma : a figure of speech using a verb or adjective with two nouns, to one of which it is strictly applicable while the word appropriate to the other is not used (e.g. with weeping eyes and [sc. grieving] hearts).
syllepsis : a figure of speech in which a word is applied to two others in different senses (e.g. caught the train and a bad cold) or to two others of which it grammatically suits one only (e.g. neither they nor it is working) - but not innuendo, or double meaning.
atishayokti - hybo: hyperbole.
utpreksha - mglq: magniloqui, gasconade.
Out of many mind-boggling Sanskrit poetics, upama is one, and only 23 of its shades are presented here as illustration. Please construe that hero is telling these se ntences to his heroine.
1] candra iva mukham manoj~nam = Like moon your face is heart-pleasing - upama alankAra.
2] candra iva mukham mukham iva candraH - That moon is like your face, and your face is like that moon - upameya upamA alankAra.
3] mukham iva mukham = face is face - ananvaya alankAra.
4] mukham iva candraH - moon is like your face - pratIpa alankAra
5] candram dR^iSTvA mukham smarAmi - on seeing I reminisce your face - smaraNa alankAra
6] mukham eva candraH - your face is moon alone - rUpaka alankAra
7] mukha candreNa tApaH shAmayati - on seeing moonlike face of yours, fervidity is lessening - pariNAma alankAra
8] kim idam mukham? uta aho! candraH - is this your face or that moon? - sandeha alankAra.
9] candra iti cakorAH tvat mukham anudhAvanti - thinking your face is moon songbirds are after it - bhrAntimat alankAra
10] candra iti cakorAH, kamala iti bhramarAH tvat mukhe ra~njanti - thinking your face to be moon, songbirds and bees [wish to take] delight in it.
11] camdro ayam, na mukham - this is moon, but not a face - apahnava
12] idam nUnam candraH - this is definitely the moon - utpreksha
13] candro ayam bhUpatiH - this king is the moon - atishayokti
14] mukhena candra kamale nirjite - moon or lotus is conquered by your face - tulya yogitA alankAra
15] nishi candraH tvat mukham ca hR^iSyati - night's moon delights your face - dIpaka alankAra
16] tvat mukha eva aham rajyAmi, candra eva cakoro rajyate - I take delight in your face, while songbirds take delight in that moon - prati vastu upama
17] divi candro yathA, bhuvi tathA tvat mukham bhAti - as to how the moon shines in the sky, thus your face shines forth on the earth - dR^iSTAnta alankAra
18] mukham candra shriyam bhibharti - your face is bearing the shine of that moon - nidarshana alankAra
19] niSkalankam mukham candrAt atiricyate - immaculate face of yours is surpassing that moon - vyatireka alankAra
20] tvat mukheva saha nishAsu candro hR^iSyati - along with your face, moon is also delightful in nights - saha ukti alankAra
21] mukham netra a.nka ruciram, smita jyostno upashobhitam - your face is delightful with eyes called its embellishments, and with moonshine like smiles - samAsa ukti alankAra
22] abjena tvat mukham tulyam hariNA hitasaktinA - your face vies with moon who has a deer in him, [or, your face vies with rising sun with lotus...] abhanga sabhanga shleSa alankAra
23] mukhasya puirataH candro niSprabhaH - before your face moon is loosing his shine a prastuta prashamsha.
desiraju hanumanta rao, Sept 2010
desirajuhrao at yahoo.com