bAla krishna  
lIlAshuka bilvamangala
virachita
shrI kRiShNa karNAmRitam
...an euphony on krishna
first chapter -- 113 verses

(primary attempt from Telugu recensions of the poem
- - - will be recast, hopefully)

.

चिन्तामणिर्जयतु सोमगिरिर्गुरुर्मे
शिक्षागुरुश्च भगवान् शिखिपिञ्छमौलिः।
यत्पादकल्पतरुपल्लवशेखरेषु
लीलास्वयंवररसम् लभते जयश्रीः॥ १-१
(वसन्त-तिलक)

चिन्तामणिः जयतु सोमगिरिः गुरुः मे(जयतु) शिक्षा गुरुः च भगवान्
शिखि पिञ्छ मौलिः (जयतु) यत् पाद कल्प तरु पल्लव शेखरेषु-
(यत्) जय श्रीः लीला स्वयंवर रसम् लभते(सा) जयतु

cintāmaṇirjayatu somagirirgururme
śikṣāguruśca bhagavān śikhipiñchamauliḥ |
yatpādakalpatarupallavaśekhareṣu
līlāsvayaṁvararasam labhate jayaśrīḥ || 1-1
(vasanta-tilaka)

cintāmaṇiḥ jayatu somagiriḥ guruḥ me (jayatu)
śikṣā guruḥ ca bhagavān śikhi piñcha mauliḥ (jayatu)
yat pāda kalpa taru pallava śekhareṣu (yat) jaya śrīḥ līlā svayaṁvara rasam labhate (sā) jayatu

cintAmaNirjayatu somagirirgururme
shikShAgurushca bhagavAn shikhipi~nChamauliH |
yatpAdakalpatarupallavashekhareShu
lIlAsvayaMvararasam labhate jayashrIH || 1-1
(vasanta-tilaka)

flute









cintAmaNiH jayatu somagiriH guruH me[ jayatu] shikShA guruH ca bhagavAn shikhi pi~nCha mauliH [jayatu] yat pAda kalpa taru pallava shekhareShu [yat] jaya shrIH lIlA svayaMvara rasam labhate [sA] jayatu

1-1. cintA-maNiH = thought-fulfilling talisman - who is this chinatamaNi nominated at the very start of the poem, as if it indicates AshIs, namaskAram or vastu-nirdesham for the poem…

It may mean anything:

this poem itself is a verse by verse ponderation - chintanam- on that sapphirine jewel - ujjvala niila maNi;

or

cintAmaNiH = bhakta-chintAmaNi - who is like a talisman fulfilling every wish of devotees - krishna; jayatu= let him be - sarvotkR^iShTa - pre-eminent, all-glorious;

or

cintAmaNiH = a hymn called chintAmaNi; jayatu= let it be - sarvotkR^iShTa - pre-eminent, all-glorious;

or

cintAmaNiH [iva] guruH me = teacher, of mine who can be likened to talisman; [nAmataH] somagiriH= [namely] somagiri; jayatu= let him be - sarvotkR^iShTa - pre-eminent; because, it is he who initiated me to 'gopAla mantra' earlier to which I had been chanting chintamaNi hymn;

or

cintAmaNiH= a harlot called cintAmaNi; jayatu= let her be - sarvotkR^iShTa - celebrated, because she is instrumental in diverting me from my epicurean way of life to that of a dedicated theist;

objection:

how is it the poet is saluting a harlot at the very start of his poem… does this come under ashiir namaskriya or vastu-nirdesham… yes, this is that only… whether it is hermit or a harlot, if he/she becomes an eye-opener they are praiseworthy;

and

shikShA guruH ca = one who is responsible for - sat kArya pravR^itti and duShkArya nivR^itti - instituting into demeanour, and withdrawing from misdemeanour, a supreme mentor in such behavioural patterns - god; bhagavAn= one who has six attributes - j~nAna, vIrya, vairAgya, aishwarya, yashas, shrI - six attributes of supreme god; such a god sporting; shikhi pi~ncha= a feather of peacock; mauliH= on the crown of his head - [jayatu= let such a god be all glorious];

what if he sports a feather of a peacock or that of a parrot, or that of crow on his head… not so… it has a meaning: in all his incarnations this god has never moved close to commoners, but always wielded bow and arrows, or axe, or fangs of a wild boar etc, all the while running after demons and the like. But, this boy krishna is reared up in commoner's home, moved and played with commoners, alleviated common problems of commoners, and thus he became the commoner's common god. In order to retain this commoner's identity he sported a feather of peacock, simplest possible headgear of a cowboy, rather than sporting unusual crowns or high-flow getups. Further, no other feather has an 'eye' symbol on it excepting the feather of peacock, a symbol for more vigilant j~nAna netram;

that being so;

yat= whose; pAda= feet called; kalpa-taru= all-endowing-tree; pallava shekhareShu = tender-leaves-like, best ones - whose tender feet are akin to the tender leaflets of the best tree among all trees - namely kapa-vRksha, hence those feet are the only recourse to a devotee because they accord all your longings like a kalpa-vRiksha, and then, jaya-shrIH, the lady called victory will woo such devotees on her own;

or

yat pAda kalpa-taru pallava= whose, feet, that are like the tender leaflets ofkalpa-taru; shekhareShu= on their heads - those who decorate those leaflet-like decorations as headgear - rather best dressed males, jaya-shrIH, the lady called victory will woo them; - kliShTa anvayam. So, yat pAda is to be taken as the reverent feet of god alone.

then

jaya-shrIH= the lady called prosperousness; lIlA= with her flirtatiousness; svayaM vara= self-choosing; rasaM= interestedness; labhate= acquires - that lady called winsomeness will flirtatiously choose on her own such of those devotees who adore the feet of that god whose feet are akin to the tender leaflets of al-according kalpa vRiksha; jayatu= that being so, let such a lady called prosperousness be glorious - meaning that such a lady called prosperousness be glorious because she is always associated with the devotees of that boy-god.

Let chinata-maNi hymn be all-glorious for it has motivated a pathless me to tread a path of rectitude; let the harlot chinta-maNi be celebrated for she detoured my pathway towards strict fealty to god; and all-glory to my chinta-maNi-like mentor, AchArya somagiri, for he, like a talisman, has accorded gopAla mantram to me with which alone my god-realisation has come true; whereas that god-realisation has come to me through discerning that god's very little, all-endowing and tender feet… which feet are so tender, all-endowing, and very little like the newborn leaflets of kalpa-vRiksha… and which feet if assiduously adored by devotees the lady called prosperousness will be too willing to woo them on her own like a flirtatious femme fatale… thus that god with such all-endowing and leaflet-like feet, namely bAla-kRiShNa, the subject-matter, nirdeshita-vastu, of this poem be ever glorious. [1-1]

The above is according to the delineation of tanjanagaram tevapperumALLayyagAru, who is the earliest possible translator of this work to prose. Every Telugu translation will have this piece for the first verse, but not for the rest of them. It is not clear whether his work is available nowadays in total or not.

--o)0(o--

1-2. Proem: Now the poet is establishing the transcendental being, para-tattva-vastu-nirdeshana, duly refuting those that refute the existence of transcendental / supreme being. In doing so, the poet is putting forth mangaLa-AcharaNa, propitious starting.

अस्ति स्वस्तरुणीकराग्रविगलत्कल्पप्रसूनाप्लुतम्
वस्तु प्रस्तुतवेणुनादलहरीनिर्वाणनिर्व्याकुलम्।
स्रस्त स्रस्त निरुद्धनीवीविलसद्गोपीसहस्रावृतम्
हस्तन्यस्तनतापवर्गमखिलोदारम् किशोराकृति॥ १-२
(शार्दूल-विक्रीडितम्)

अस्ति स्वस्तरुणीकराग्रविगलत्कल्पप्रसूनाप्लुतम्
वस्तु प्रस्तुतवेणुनादलहरीनिर्वाणनिर्व्याकुलम्।
स्रस्त स्रस्त निरुद्धनीवीविलसद्गोपीसहस्रावृतम्
हस्तन्यस्तनतापवर्गमखिलोदारम् किशोराकृति॥ १-२

asti svastaruṇīkarāgravigalatkalpaprasūnāplutam
vastu prastutaveṇunādalaharīnirvāṇanirvyākulam |
srasta srasta niruddhanīvīvilasadgopīsahasrāvṛtam
hastanyastanatāpavargamakhilodāram kiśorākṛti || 1-2
(śārdūla-vikrīḍitam)

asti svaḥ taruṇī kara agra vigalat kalpa prasūna āplutam
vastu prastuta veṇu nāda laharī nirvāṇa nirvyākulam
srasta srasta niruddha nīvī vilasat gopī sahasra āvṛtam
hasta nyasta nata apavargam akhila udāraṁ kiśora ākṛti

ati svastaruNIkarAgravigalatkalpaprasUnAplutam
vastu prastutaveNunAdalaharInirvANanirvyAkulam |
srasta srasta niruddhanIvIvilasadgopIsahasrAvR^itam
hastanyastanatApavargamakhilodAram kishorAkR^iti || 1-2
(shArdUla-vikrIDitam)


vamshi_barham









asti svaH taruNI kara agra vigalat kalpa prasUna Aplutam vastu prastuta veNu nAda laharI nirvANa nirvyAkulam srasta srasta niruddha nIvI vilasat gopI sahasra AvR^itam hasta nyasta nata apavargam akhila udAraM kishora AkR^iti [asti]

anvaya: kishora AkR^iti vastu asti; this the poet is emphasising with the following adjectives / factors.

1-2. pra+stuta= highly, celebrated; veNu nAda laharI= flute's, melodies, in the waves of; nirvANa= with a transcendental bliss - prapancha upashamana rUpa Anandam - nir + vyAkulam = without, disturbance - while the world is in an undisturbed state;

svaH taruNI= heavenly, damsels; kara agra vigalat = from their hands, from fingertips; vigalat = slipping, sprinkling from fingertips; [or, vilasat= being brightened] - flowers slowly sprinkled from their fingertips as in worshipping a deity; kalpa = kalpa-vRiksha trees - called harichandana, pArijAta, kalpaka, santAna trees; prasUna= their children of - namely the flowers of kalpa trees; AplutaM= one who is being inundated, flower-showered;

srasta srasta= slipping, slithering; niruddha nIvI= holding fast, sari knots [frontal pleats] - preventing sari-s from altogether falling down; vilasat gopI= sprightly, milkmaids; sahasra= thousands of them; AvR^itaM= one who is hemmed in with such milkmaids;

hasta= in hands; nyasta= kept - holding salvation -moksha in his hand; akhila= among all gods; udAraM= he who is most munificent; [in giving] apa + vargam= salvation - moksha; to those that are; nata= for the obeisant - his true devotees;

such a Being:

kishora AkR^iti = like a cub, in a stripling's; vastu= a demonstrable manifestation that abides in the triad of times, certain Being - in the form of shaishava-krishna; asti= is there.

A certain Being is there fluting highly celebrated melodies from his transverse flute in whose effluence of mellowness, which is nothing else than the conspectus of Om-kAra, whole of the sessile and mobile beings is sempiternally enraptured with a transcendental bliss; on whom the celestial damsels are showering flowers brought from the divine trees, slowly tossing from the tips of their fingers as if they overwhelm a deity with flowers in the process of puSpa-pUja, flower-worship, because that Being is the god of gods; at whom thousands of sprightly milkmaids are rushing and hedging him in, while the knots of their sari-s are loosened, yet prudishly holding the frontal-pleats of those sari-s fast from slipping and slithering altogether; in whose hands the conferrable salvation is there which he accords most munificently, than the other godheads, to all of his true devotees; such a Being is there in the form of a stripling - call him, if you may, as shaishava-krishna… [1-2]

In skka -  prAsa and yati -  alliteration and casura - will be overflowing in verses as is usual with Telugu verses. Here the word sta is repeating itself in asti, svastaruNi, vastuprastuta, srasta, srasta, hastanyasta. This is a point in determining the nativity of the poet.

--o)0(o--

चातुर्यैकनिधानसीमचपलापाङ्गच्छटामन्थरम्
लावण्यामृतवीचिलालितदृशं लक्ष्मीकटाक्षादृतम्।
कालिन्दीपुलिनाङ्गणप्रणयिनङ्कामावताराङ्कुरम्
बालम् नीलममी वयम् मधुरिमस्वाराज्यमाराध्नुमः॥ १-३
(शार्दूल-विक्रीडितम्)

चातुर्य एक निदान सीम चपल अपाङ्ग च्छटा मन्थरम्
लावण्यामृत वीचि लोलित दृशम् लक्ष्मी कटाक्ष आदृतम्
कालिन्दी पुलिन अङ्गण प्रणयिनं काम अवतार अङ्कुरम्
बालम् नीलम् अमी वयम् मधुरिम स्वाराज्यम् आराध्नुमः

cāturyaikanidhānasīmacapalāpāṅgacchaṭāmantharam
lāvaṇyāmṛtavīcilālitadṛśaṁ lakṣmīkaṭākṣādṛtam |
kālindīpulināṅgaṇapraṇayinaṅkāmāvatārāṅkuram
bālam nīlamamī vayam madhurimasvārājyamārādhnumaḥ || 1-3 (śārdūla-vikrīḍitam)

cāturya eka nidāna sīma capala apāṅga cchaṭā mantharam
lāvaṇyāmṛta vīci lolita dṛśaṁ lakṣmī kaṭākṣa ādṛtam
kālindī pulina aṅgaṇa praṇayinaṁ kāma avatāra aṅkuram
bālam nīlam amī vayam madhurima svārājyam ārādhnumaḥ

cAturyaikanidhAnasImacapalApA~NgacChaTAmantharam
lAvaNyAmR^itavIcilAlitadR^ishaM lakShmIkaTAkShAdR^itam |
kAlindIpulinA~NgaNapraNayina~NkAmAvatArA~Nkuram
bAlam nIlamamI vayam madhurimasvArAjyamArAdhnumaH || 1-3 (shArdUla-vikrIDitam)

vamshi_barham










cAturya eka nidAna sIma capala apA~Nga cChaTA mantharam lAvaNya amR^ita vIchI lolita dR^ishaM lakShmI kaTAkSha AdR^itam kAlindI pulina a~NgaNa praNayinaM kAma avatAra a~Nkuram bAlam nIlam amI vayam madhurima svArAjyam ArAdhnumaH

anvaya: amI vayaM nIlam bAlaM ArAdhnumaH; other expressions are adjectives to that boy.

1-3. cAturya= for expertise, finesse; eka= unique; nidhAna [not nidAna]= treasure trove; sIma= limits, realm; one who is a unique realm housing all-attractiveness;

capala= fluttering; apA~Nga= sidelong glances; cChaTA= with aggregation; mantharaM= overloaded with; one who is abounding with fluttering sidelong glances;

lAvaNya= brilliant; amR^ita vIci = by nectar, ripples of; lAlita [not lolitia]= endeared by; dR^ishaM= one who has such an eyesight, ken;

lakShmI= goddess of prosperousness; kaTAkSha= by her sidelong glances; AdR^itam= one who is highly adored;

kAlindI= of River yamuna; pulina A~NgaNa= sandbanks, thresholds; praNayinaM= one who loves; one who loves to sport on the thresholds of the sandbanks of river yamuna;

kAma= lovegod manmatha's; avatAra= for incarnation, for emergence; a~NkuraM= a seedling, an inculcator; one who is the cause for the emergence of manmatha in the aspect of pradyumna, or, one who is responsible in inculcating romance in the hearts of milkmaids;

madhurima+svArAjyam= nectarean, dominion; whose sphere itself is a sweet dominion;

such a;

nIlam bAlaM= blue-black, boy - say ujjvala nIlamaNim - sapphirine boy;

amI vayaM ArAdhnumaH= these [worldly people], we, will worship - let us, the mortals, worship him.

Him who is a unique realm housing all-attractiveness by his very nature, because there is nothing to prove another entity that has his grace in according salvation to his devotees; who is abounding with brilliant and fluttering sidelong glances where each glance is an endeared one to each ripple of nectar, hence his single glance will be nectariferous to his devotees; whom no less than the goddess of prosperousness, lakshmi, adores highly with her benign sidelong glances indicating her own subservience to him; who loves to sport on the thresholds of the sandbanks of river yamuna just to mingle with ordinary people, and who is responsible for inculcating a romantic feeling in the hearts of an exclusive group of milkmaids… let us, the earthbound mortals, worship that sapphirine boy, called bAla-jrishna,whose sphere itself is a pleasurable suzerainty… [1-3]

--o)0(o--

बर्होत्तम्सविलासकुन्तलभरम् माधुर्यमग्नाननम्
प्रोन्मीलन्नवयौवनम् प्रविलसद्वेणुप्रणादामृतम्।
आपीनस्तनकुट्‌मलाभिरभितो गोपीभिराराधितम्
ज्योतिश्चेतसिनश्चकास्तु जगतामेकाभिरामाद्भुतम्॥ १-४
(शार्दूल-विक्रीडितम्)

बर्ह उत्तंस विलासि कुन्तल भरम् माधुर्य मग्न आननम्
प्र उन्मीलत् नव यौवनम् प्र विलसत् वेणु प्रणाद अमृतम्
आपीन स्तन कुट्‌मलाभिः अभितः गोपीभिः आराधितम्
ज्योतिः चेतसि नः (चकास्तु) जगताम् एक अभिराम अद्भुतम्

barhottamsavilāsakuntalabharam mādhuryamagnānanam
pronmīlannavayauvanam pravilasadveṇupraṇādāmṛtam |
āpīnastanakuṭmalābhirabhito gopībhirārādhitam
jyotiścetasinaścakāstu jagatāmekābhirāmādbhutam || 1-4
(śārdūla - vikrīḍitam)

barha uttaṁsa vilāsi kuntala bharam mādhurya magna ānanam pra unmīlat nava yauvanam pra vilasat veṇu praṇāda amṛtam āpīna stana kuṭmalābhiḥ abhitaḥ gopībhiḥ ārādhitam jyotiḥ cetasi naḥ cakāstu -chakAstu- jagatām eka abhirāma adbhutam

barhottaMsavilAsikuntalabharam mAdhuryamagnAnanam
pronmIlannavayauvanam pravilasadveNupraNAdAmR^itam |
ApInastanakuT.hmalAbhirabhito gopIbhirArAdhitam
jyotishcetasinashcakAsti jagatAmekAbhirAmAdbhutam || 1-4
(shArdUla-vikrIDitam)

vamshi_barham










barha uttaMsa vilAsi kuntala bharaM mAdhurya magna AnanaM pra unmIlat nava yauvanaM pra vilasat veNu praNAda amR^itam ApIna stana kuTmalaabhiH abhitaH gopIbhiH ArAdhitaM jyotiH cetasi naH cakAsti [chakAstu] jagatAm eka abhirAma adbhutam

1-4. A certain luminescence with:

barha= with peacock feathers; uttaMsa= shirobhUshaNa = as headgear; vilAsi= shining forth; kuntala= hair-locks; bharaM= laden with; mAdhurya magna AnanaM= in sweetness, soaked, face;

pra+unmIlat= verily, burgeoning; nava yauvanaM= fresh, youthfulness;

pra+vilasat= highly, flourishing; veNu praNAda amR^itam= flute's, melody, nectar;

ApIna stana kuTmalaabhiH= [those that have] tumid, breasts, bud-like - protuberances; abhitaH gopIbhiH ArAdhitaM= hedged around, by milkmaids, one who is worshipped;

jagatAm= for entire world; eka= one and only; abhirAma= most delightful; hence it is; adbhutam= wonderful;

jyotiH= a certain luminescence;

naH cetasi cakAsti = in our, heart, it is irradiant.

A certain luminescence is irradiant in our hearts portrayable to have a visage soused in ambrosial sweetness, atop which spruced up hair-locks are dangling, atop which there shines a headgear stuffed with the feathers of peacocks, whose fresh youthfulness is burgeoning, and whose fluting is issuing flourishing melodies of nectar; around whom the milkmaids with tumid breasts protuberant like buds are hedging and worshipping him, and who with such a portraiture betokens to be the one and only delightful, therefore wonderful, luminescence for the entire world, called bAla-krishna… [1-4]

--o)0(o--

मधुरतरस्मिताऽमृतविमुग्धमुखाम्‌बुरुहम्
मदशिखिपिञ्छिलाङ्छितमनोज्ञकचप्रचयम्।
विषयविषामिषग्रसनगृध्नुनिचेतसिमे
विपुल विलोचनम् किमपि धाम चकास्ति चिरम्॥ १-५

कोकिलम्; प्राकृत- चर्चरी; some call it as नर्कुट

मधुर तर स्मित अमृत विमुग्ध मुख अम्बु रुहम्
मद शिखि पिङ्छि लाङ्छित मनोज्ञ कच प्रचयम्
विषय विष आमिष ग्रसन गृध्नुनि चेतसि मे
विपुल विलोचनम् किम् अपि धाम चकास्ति चिरम्

madhuratarasmitā'mṛtavimugdhamukhāmburuham
madaśikhipiñchilāṅchitamanojñakacapracayam |
viṣayaviṣāmiṣagrasanagṛdhnunicetasime
vipula vilocanam kimapi dhāma cakāsti ciram || 1-5
(kokilam; prākṛta- carcarī; some call it as narkuṭa)

madhura tara smita amṛta vimugdha mukha ambu ruham
mada śikhi piṅchi lāṅchita manojña kaca pracayam
viṣaya viṣa āmiṣa grasana gṛdhnuni cetasi me
vipula vilocanam kim api dhāma cakāsti ciram

madhuratarasmitA.amR^itavimugdhamukhAm.hburuham
madashikhipi~nChilA~NChitamanoj~nakacapracayam |
viShayaviShAmiShagrasanagR^idhnunicetasime
vipula vilocanam kimapi dhAma cakAsti ciram || 1-5
(kokilam; prAkR^ita= charcharI; some say: narkuTa)

vamshi_barham

madhura tara smita amR^ita vimugdha mukha ambu ruham mada shikhi pi~NChi lA~NChita manoj~na kaca pracayam viShaya viSha AmiSha grasana gR^idhnuni cetasi me vipula vilocanam kim api dhAma cakAsti [chakAstu] ciram

anvaya: viSha AmiSha grasana gR^idhnuni, me chetasi, kimapi, vipula vilocanaM dhAma, ciram cakAsti;

1-5. Which luminescence is further:

madhura-tara= charming, to higher degree; smita= wearing a smile; amR^ita= called ambrosia; vimugdha= highly attractive; mukha= face; ambu-ruhaM= called water born one - a lotus, a lotuslike face;

mada shikhi pinchi= proud, peacock's, feathers; lA~NChita= adorned with; manoj~na kaca pracayam= delightful, hairdo, with a bunch of;

vipula vilocanaM= with broad, eyes;

kim+api= whys and wherefores - an ineffable form; dhAma= luminescence;

viShaya= subjects, as in subjectivism; viSha AmiSha= poisoned, meat; grasana= in devouring; gR^idhnuni= interested; such as I was who used to run after poison like materialistic pleasures; as to how a poisoned meat firstly tastes very well, but kills the eater at a later time, the subjective thinking or the materialistic pleasures taste well in the beginning but ruin the eater later;

me= in my; cetasi= heart; ciram cakAsti= for along time, had been fulgent.

That highly attractive lotuslike countenance of that luminescence is with an ambrosial smile, that heartens his devotees; sporting a hairdo adorned with a bunch of varicoloured feathers of proud peacocks that enthrals his devotees; spanning a pair of broad eyes that is eye-catching for devotees... and in me, who am so far fascinated by all worldly things that are more like baits with poisoned meat that tantalises at first but sure to become self-ruinous, that self-luminous being with an ineffable compose had been fulgent in my heart for a long time, which is now taking the shape of a boy called bAla-krishna... [1-5]

These factors appear as repetitive telling - punarukti doSha. It is not so, because they are just adumbrative up to now and the poet is taking them up one by one, starting at feet and slowly tilting up to face - in the order of nakha-shikha-paryantam.

--o)0(o--

मुकुलायमाननयनाम्बुजम् विभोः
मुरलीनिनादमकरन्दनिर्भरम्।
मुकुरायमाणमृदुगण्डमण्डलम्
मुखपञ्कजम् मनसि मे विजृम्भताम्॥ १-६
(मञ्जु-भाषिणी)

मुकुलायमान नयन अम्बुजम् विभोः मुरली निनाद मकरन्द निर्भरम्
मुकुरायमाण मृदु गण्ड मण्डलम् मुख पंकजम् मनसि मे विजृम्भताम्

mukulāyamānanayanāmbujam vibhoḥ
muralīninādamakarandanirbharam |
mukurāyamāṇamṛdugaṇḍamaṇḍalam
mukhapañkajam manasi me vijṛmbhatām || 1 - 6
(mañju - bhāṣiṇī)

mukulāyamāna nayana ambujam vibhoḥ
muralī nināda makaranda nirbharam
mukurāyamāṇa mṛdu gaṇḍa maṇḍalam mukha
paṁkajam manasi me vijṛmbhatām

mukulAyamAnanayanAmbujam vibhoH
muraliininAdamakarandanirbharam |
mukurAyamANamR^idugaNDamaNDalam
mukhapa~Nkajam manasi me vijR^imbhatAm || 1-6
(ma~nju-bhAhiNi)

vamshi_barham

mukulAyamAna nayana ambujam vibhoH muralI ninAda makaranda nirbharam mukurAyamANa mR^idu gaNDa maNDalam mukha pa~Nkajam manasi me vijR^imbhatAm

anvaya: vibhoH mukha maNDalaM me manasi vijR^imbhatAm.

1-6. muralI= flute's; ninAda= musicality, mellisonance; makaranda= called nectar; nirbharam = filled with - nectarlogged; mukulAyamAna= curling down, half-closed; nayana ambujaM= eyes, called lotuses - his eyes are half-closed when he is fluting; mukurAyamANa mR^idu gaNDa maNDalaM= becoming mirror-like, soft, cheek area - when fluting his cheeks are little bulged whereby those rotund cheeks are shining like the spotless surface of a looking glass; vibhoH mukha pa~NkajaM= lord's, such a face, called a lotus; me manasi vijR^im- bhatAm = in my, heart, let it be prevailing.

When that flutist-boy is fluting, those nectarean melodies have mellisonantly nectarlogged his visage, eyelids on his lotusy eyes are half-slouched rapturously, and his discoid cheeks shone forth like the spotless surface of a looking glass when they further bulged to pipe the flute, enjoyably... hence, let my heart be filled with that chubby boy called krishna... [1-6]

--o)0(o--

कमनीयकिशोरमुग्धमूर्तेःकलवेणुक्वणितादृताननेन्दोः।
मम वाचि विजृम्भताः मुरारेःमधुरिम्णः कणिकापि कापि कापि॥ १-७
(अर्थसम वृत्तम्।औपच्छन्दसिकम्)

कमनीय किशोर मुग्ध मूर्तेः कल वेणु क्वणित आदृत आनन इन्दोः
मम वाचि विजृम्भताः मुरारेः मधुरिम्णः कणिक अपि कापि कापि

kamanīyakiśoramugdhamūrteḥ
kalaveṇukvaṇitādṛtānanendoḥ |
mama vāci vijṛmbhatāḥ murāreḥ
madhurimṇaḥ kaṇikāpi kāpi kāpi || 1-7
(artha-sama-vittam)

kamanīya kiśora mugdha mūrteḥ kala veṇu kvaṇita
ādṛta ānana indoḥ mama vāci vijṛmbhatāḥ
murāreḥ madhurimṇaḥ kaṇika api kāpi kāpi

kamanIyakishoramugdhamUrteH
kalaveNukvaNitAdR^itAnanendoH |
mama vAci vijR^imbhatAH
murAreHmadhurimNaH kaNikA.api kApi kApi || 1-7
(artha-sama-vRittam)

vamshi_barham

kamanIya kishora mugdha mUrteH kala veNu kvaNita AdR^ita Anana indoH mama vAci vijR^imbhatAH murAreH madhurimNaH kaNika api kApi kApi

anvaya: murAreH madhurimNaH kApi kApi kaNika api mama vAci vijR^imbhatAm

1-7. kamanIya= much sought after, everybody wishes to see him time and again; kishora= cublike, youngish; mugdha mUrteH= one with a heart-pleasing, physique; kala= avyakta madhurima - indescribable, melody; veNu kvaNita= flute's, fluted melodies; AdR^ita= idolised by - a face that is idolised by such melodies; Anana indoH= face, called moon; such as it is - that face of; murAreH= of mura-ari; madhurimNaH= of mellifluence; kApi kApi= somewhat, somewhat - even a tiniest part of it - lavalesha of it; kaNika api= a particle of it, even; mama vAci vijR^imbhatAM= in my, speech - poetry, let it predominate.

Perhaps my words may be lacking sweetness to portray him who has a heart-sweetening, yet ineffable, physique of an youngling which anyone would love to see oftentimes with their mortal eyes; whose face likened to the ambrosian moon is sapid for it emanates indescribable melodies with an ambrosial constituent, together with an immortal tenor, through fluting his flute called vamshi; hence, let a tiniest particle of that inexplicable honey-sweetness natural to him fall on my tongue so that I can portray a fraction of the sweetness of krishna... [1-7]

--o)0(o--

मदशिखण्डिशिखण्डविभूषणम्
मदनमन्थरमुग्धमुखाम्बुजम्।
व्रजवधूनयनाङ्चलवङ्छितम्
विजयताम् मम वाङ्मयजीवितम्॥ १-८
(द्रुत-विलम्बित)

मद शिखण्डि शिखण्ड विभूषणम् मदन मन्थर मुग्ध मुख अम्बुजम्
व्रज वधू नयन अङ्चल वङ्छितम् विजयताम् मम वाङ्‌मय जीवितम्

madaśikhaṇḍiśikhaṇḍavibhūṣaṇam
madanamantharamugdhamukhāmbujam |
vrajavadhūnayanāṅcalavaṅchitam
vijayatām mama vāṅmayajīvitam || 1-8 (druta-vilambita)

mada śikhaṇḍi śikhaṇḍa vibhūṣaṇam madana manthara
mugdha mukha ambujam vraja vadhū nayana aṅcala
vaṅchitam vijayatām mama vāṅmaya jīvitam

madashikhaNDishikhaNDavibhUShaNam
madanamantharamugdhamukhAmbujam|
vrajavadhUnayanA~Ncalava~NChitam
vijayatAm mama vA~NmayajIvitam || 1-8
(druta-vilambita)

vamshi_barham

mada shikhaNDi shikhaNDa vibhUShaNam madana manthara mugdha mukha ambujam vraja vadhU nayana a~Ncala va~NChitam (nayana a~Njana ra~njitam) vijayatAm mama vA~N.hmaya jIvitam

1-8. mukha ambujam= one having face, called lotus; mada shikhaNDi shikhaNda vibhUShaNaM = proud, peacock's, with feathers, adorned with; madana manthara mugdha= lovegod, coming under the weight of, that became more lovely;vraja vadhU= vraja village, maidens of; nayana a~ncala= by eyes, edges - by sidelong glances of; va~ncitaM= manipulated; mama= to my; vA~Nmaya= literary works; jIvitam= as life-principle, subject-matter; vijayatAM= let him be outshine.

May that sapphirine boy, who with a lotusy face that is embellished with the feathers of proud peacocks surmounted on his tiara has became cannily lovely when the Lovegod manmatha saddle upon him, whereby who vivaciously hobnobbed with the maidens of vraja village when their manipulatory sidelong glances have bested him, be all-excelling because the life-principle of my literary works is that boy - krishna... [1-8]

Let him transcend any other god in graciousness while I sing the praises of that boy.

--o)0(o--

पल्लवारुणपाणिपङ्कजसङ्गिवेणुरवाऽऽकुलम्
फुल्लपाटलपाटलीपरिवादिपादसरोरुहम्।
उल्लसन्मधुराधरद्युतिमञ्जरीसरसाननम्
वल्लवीकुचकुम्भकुङ्कुमपङ्किलम् प्रभुमाश्रये॥ १-९
(चर्चरी)

पल्लव अरुण पाणि पङ्कज सङ्गि वेणु रव आकुलम्
फुल्ल पाटल पाटली परिवादि पाद सरो रुहम्
उल्लसत् मधुर अधर द्युति मञ्जरी सरस आननम्
वल्लवी कुच कुम्भ कुङ्कुम पङ्किलम् प्रभुम् आश्रये

pallavāruṇapāṇipaṅkajasaṅgiveṇuravā''kulam
phullapāṭalapāṭalīparivādipādasaroruham |
ullasanmadhurādharadyutimañjarīsarasānanam
vallavīkucakumbhakuṅkumapaṅkilam prabhumāśraye || 1 - 9 (carcarī)

pallava aruṇa pāṇi paṅkaja saṅgi veṇu rava ākulam
 phulla pāṭala pāṭalī parivādi pāda saro ruham
ullasat madhura adhara dyuti mañjarī sarasa ānanam
vallavī kuca kumbha kuṅkuma paṅkilam prabhum āśraye

pallavAruNapANipa~Nkajasa~NgiveNuravAkulam
phullapATalapATalIparivAdipAdasaroruham |
ullasanmadhurAdharadyutima~njarIsarasAnanam
vallavIkucakumbhaku~Nkumapa~Nkilam prabhumAshraye || 1-9 (mattakokila)

vamshi_barham

pallava aruNa pANi pa~Nkaja sa~Ngi veNu rava Akulam phulla pATala pATalI parivAdi pAda saro ruham ullasat madhura adhara dyuti ma~njarI sarasa Ananam vallavI kuca kumbha ku~Nkuma pa~Nkilam prabhum Ashraye

anvaya: prabhum Ashraye; how does that prabhu look...

1.-9. phulla= flushed; pATala= of pATala flowers; pATalI= agglomeration; pari + vAdi = counter-talked - detesting; pAda= with such feet that detest pATali flowers' fineness because his feet are superiorly lotusy; saro + ruham= lake-born ones - lotuses - one standing with such lotusy feet; pallava= tender leaflets like; aruNa= rosy in colour; pANi= palms called; pa~Nka + ja= mud-born ones, say lotuses - palms that look like lotuses; sa~Ngi [veNu]= [flute] attached to those palms - flute held in those rosy palms, almost incessantly; veNu rava AkulaM= fluting, the melodies, busily involved in - very busy in non-stop fluting of beautiful melodies from his flute; ullasat= that which is shining forth - his face, with; madhura adhara dyuti ma~njarI = of his sweet, lips, resplendence, a bouquet of - a bunch of scintilla scintillating from his fluting lips; with such of those attributes his face is; sa + rasa= with, flavour; AnanaM= face - a flavourful face delectable for devotees; vallavI= milkmaids; kuca kumbha= breasts, pitcher like; ku~Nkuma = vermilion powder available on those pitchery breasts;pa~NkilaM= besmeared on his body; such and such a; prabhum= one who is capable to safeguard, the lord; Ashraye= I take shelter of.

Standing on his pinkish lotusy feet that look down on the naturally beautiful bouquets of rosy pATali flowers; holding his flute called vamshi fast in his lotusy palms whose crimson hue detests the light-coppery hue of just sprouted tender leaflets; busying himself in fluting divine melodies whereon his twirling lips are sending forth clusters of scintilla with which the brilliance of his face became a flavourful honeydew for devotees; as such the milkmaids of vraja village are cuddlesome with him, whereby the vermilion powder available on their pitchery-breasts is smudged on his physique; such as he is, let me too ardently cling to that lissom lord, krishna... [1-9]

Or

Let me seek his shelter who looked with all the reddish blotches on his blue-blackish body like a flowered trunk of a worshippable tree, atop which there is a brilliant plumage of peacocks for leaves, and upon which reddish palms, feet, lips and vermilion marks are there for colourful sprays, since trees are the natural hospices of wayfarers...

Or

Let me seek the shelter of that bhakta-chintA-maNi, the talisman of devotees, which is in sapphire blue colour encrusted with true corals of pinkish-red hue...

--o)0(o--

अपाङ्गरेखाभिरभङ्गुराभि
रनङ्गरेखारसरङ्जिताभिः।
अनुक्षणम् वल्लवसुन्दरीभि
रभ्यस्यमानम् विभुमाश्रयामः॥ १-१०
(उपेन्द्रव्रज)

अपाङ्ग रेखाभिः अ+भङ्गुराभिः अनङ्ग रेखा रस रञ्जिताभिः
अनुक्षणम् वल्लव सुन्दरीभिः अभ्यस्यमानम् (अभ्यर्चमानम्) विभुम् आश्रयामः

apāṅgarekhābhirabhaṅgurābhi
ranaṅgarekhārasaraṅjitābhiḥ |
anukṣaṇam vallavasundarībhi
rabhyasyamānam vibhumāśrayāmaḥ || 1-10
(upendravraja)

apāṅga rekhābhiḥ a+bhaṅgurābhiḥ
anaṅga rekhā rasa rañjitābhiḥ
anukṣaṇam vallava sundarībhiḥ
abhyasyamānam [abhyarchamānam] vibhum āśrayāmaḥ

apA~NgarekhAbhirabha~NgurAbhi
rana~NgarekhArasara~NjitAbhiH |
anukShaNam vallavasundarIbhi
rabhyasyamAnam vibhumAshrayAmaH || 1-10
(upendravraja)

vamshi_barham

apA~Nga rekhAbhiH a+bha~NgurAbhiH ana~Nga rekhA rasa ra~njitAbhiH anukShaNam vallava sundarIbhiH abhyasyamAnam [abhyarchamAnam] vibhum AshrayAmaH

1-10. vallava sundarIbhiH= by milkmaids, beauties; ana~Nga rekhA= that are like - lovegod's, streaks [as in a streak of mischief]; if it is lekhA= then, as if they are the love letters from lovegod - ra, Da, la yoH abhedaH; rasa ra~njitAbhiH= with quintessence, blotched up; a + bha~NgurAbhiH= not, aslant, or skewing - straight hitting the their target - heart of krishna; apA~Nga rekhAbhiH= edges of eyes, lines - sidelong glances; anukShaNaM abhyasyamAnaM= every moment, who is being worshipped; him; vibhum AshrayAmaH= of that lord, let us seek his protégé.

Whom the comely milkmaids of vraja village always worship by longingly staring at him with their sidelong glances that are like the straight shooting shafts of lovegod dripping wet with that lovegod's voluptuousness, let us seek his protégé of that lord krishna... [1-10]

Steady gazing at the worshipped - tadeka dRiSTi - is a method of devotion as in bhramara-kITa nyAya.

--o)0(o--

हृदयेममहृद्यविभ्रमाणाम्
हृदयम् हर्षविशाललोलनेत्रम्।
तरुणम् व्रजबालसुन्दरीणाम्
तरलङ्किङ्चन धाम सन्निधत्ताम्॥ १-११
(अर्थ सम वृत्तम् औपच्छन्दसिकम्)

हृदये मम हृद्य विभ्रमाणाम् हृदयम् हर्ष विशाल लोल नेत्रम्
तरुणम् व्रज बाल सुन्दरीणाम् तरलम् किङ्चन धाम सन्निधत्ताम्

hṛdayemamahṛdyavibhramāṇām
hṛdayaṁ harṣaviśālalolanetram |
aruṇaṁ vrajabālasundarīṇām
taralaṅkiṅcana dhāma sannidhattām || 1 - 11
(arthasama vittam)

hṛdaye mama hṛdya vibhramāṇām hṛdayam
harṣa viśāla lola netram taruṇam vraja bāla
sundarīṇām taralam kiṅcana dhāma sannidhattām

hR^idayemamahR^idyavibhramANAm
hR^idayam harShavishAlalolanetram |
taruNam vrajabAlasundarINAm
tarala~Nki~Ncana dhAma sannidhattAm || 1-11
(artha-sama-vRittam aupacChjandasikam)

vamshi_barham

hR^idaye mama hR^idya vibhramANAm hR^idayam harSha vishAla lola netram taruNam vraja bAla sundarINAm taralam ki~Ncana dhAma sannidhattAm

1-11. taruNaM= youthful - impatience; hence; taralaM= vacillating; harSha vishAla lola netram= by ecstasy, one with broad, shifting, eyes - shifting glances with broad eyes; hR^idya vibhramANAM= heart-pleasingly, vivacious; vraja bAla sundarINAM= vraja village's, young, of beauties; hR^idayaM= who is the heart of, or, who is imprisoned - bandi - in the hearts of those beauties - a fellow subservient to them, such a; ki~ncana= certain; dhAma= self-refulgence; mama hR^idaye sannidhattAm= in my, heart, be ensconced [let me too make him a bandi in the bandi-khAna called my heart];

or

taruNaM vraja bAla sundarINAM= for youthful and young beauties of vraja village; taralaM= one who is like the central locket of their necklaces.

One who is a vacillant and with shifting glances in his wide-eyed ecstasy owing to his youthful impatience; one who enjoys the durance pleasure in the hearts of heart-pleasingly vivacious young and youthful beauties of vraja village; let my heart too ensconce him who is an ineffable self-refulgence called - krishna... [1-11]

--o)0(o--

निखिलभुवनलक्ष्मीनित्यलीलास्पदाभ्याम्
कमलविपिनवीथीगर्वसर्वङ्कषाभ्याम्।
प्रणमदभयदान प्रौढिगाढोद्धताभ्याम्
किमपि वहतु चेतः कृष्णपादाम्बुजाभ्याम्॥ १-१२
(मालिनी)

निखिल भुवन लक्ष्मी नित्य लील आस्पदाभ्याम्
कमल विपिन वीथी गर्व सर्वन्+कषाभ्याम्
प्रणमत् अभय दान प्रौढि गाढ उद्दताभ्याम्
किम् अपि वहतु (मम) चेतः कृष्ण पाद अम्बुजाभ्याम्

nikhilabhuvanalakṣmīnityalīlāspadābhyām
kamalavipinavīthīgarvasarvaṅkaṣābhyām |
praṇamadabhayadāna prauḍhigāḍhoddhatābhyām
kimapi vahatu cetaḥ kṛṣṇapādāmbujābhyām || 1-12
(mālinī)

nikhila bhuvana lakṣmī nitya līla āspadābhyām
kamala vipina vīthī garva sarvan+kaṣābhyām
praṇamat abhaya dāna prauḍhi gāḍha uddatābhyām
kim api vahatu (mama) cetaḥ kṛṣṇa pāda ambujābhyām

nikhilabhuvanalakShmInityalIlAspadAbhyAm
kamalavipinavIthIgarvasarva~NkaShAbhyAm |
praNamadabhayadAna prauDhigADhoddhatAbhyAm
kimapi vahatu cetaH kR^iShNapAdAmbujAbhyAm || 1-12
(mAlinI)

vamshi_barham

nikhila bhuvana lakShmI nitya lIla AspadAbhyAm kamala vipina vIthI garva sarvan-kaShAbhyAm praNamat abhaya dAna prauDhi gADha uddatAbhyAm kim api vahatu- mama- cetaH kR^iShNa pAda ambujAbhyAm

1.12. nikhila bhuvana lakShmI= entire, worlds', for the presiding deities of self-luminosity; nitya lIla AspadAbhyAM= that are always, sporting, places - pleasure parks; kamala vipina vIthI = lotuses, for the stands of, and their stretches; garva sarvankaShAbhyAm= their proud ness, that make void; praNamat= to those that are venerating; abhaya dAna= safeguard, in giving; prauDhi = in that sagacity; gADha uddhatAbhyAM= highly, emphatic; kR^iShNa pAda ambujAbhyAm = [by ruminating on] krishna's, feet, called lotuses; [mama] cetaH= [let my] heart; kimapi = something [an inexplicable bliss]; vahatu= waft it along.

Excogitating on the pair of the lotusy feet of that sapphirine boy that are always the funfairs for the entire host of presiding deities of self-luminosity in all the worlds; that fie upon the eye-feasting stands and stretches of lovely lotuses; that with sagacity are emphatic in according security to obeisant devotees, such as they are let my heart called a brook contentedly drift wafting the memoirs of those lotusy feet of krishna... [1-12]

--o)0(o--

प्रणयपरिणताभ्याम्प्राभव्ऽऽलम्बनाभ्याम्
प्रतिपदललिताभ्याम् प्रत्यहम् नूतनाभ्याम्।
प्रतिमुहुरधिकाभ्याम् प्रस्नुवल्लोचनाभ्याम्
प्रभवतु हृदये नः प्राणनाथः किशोरः॥ १-१३(मालिनी)

प्रणय परिणताभ्याम् प्राभव आलम्बनाभ्याम् (श्रीभर आलम्बनाभ्यम्)
प्रतिपद ललिताभ्याम् प्रति अहम् नूतनाभ्याम् प्रति मुहुर् अधिकाभ्याम्
प्रस्नुवत् (प्रस्फुरत्) लोचनाभ्याम् प्रभवतु(प्रवहतु) हृदये नः प्राण नाथः किशोरः

praṇayapariṇatābhyāmprābhav''lambanābhyām
pratipadalalitābhyām pratyaham nūtanābhyām |
pratimuhuradhikābhyām prasnuvallocanābhyām
prabhavatu hṛdaye naḥ prāṇanāthaḥ kiśoraḥ || 1-13 (mālinī)

praṇaya pariṇatābhyām prābhava ālambanābhyām
(śrībhara ālambanābhyam) pratipada lalitābhyām
prati aham nūtanābhyām prati muhur adhikābhyām
prasnuvat (prasphurat) locanābhyām prabhavatu
(pravahatu) hṛdaye naḥ prāṇa nāthaḥ kiśoraḥ

praNayapariNatAbhyAmprAbhav.a.alambanAbhyAm
pratipadalalitAbhyAm pratyaham nUtanAbhyAm |
pratimuhuradhikAbhyAm prasnuvallochanAbhyAm
prabhavatu hR^idaye naH prANanAthaH kishoraH || 1-13
(mAlinI)

vamshi_barham

praNaya pariNatAbhyAm prAbhava AlambanAbhyAm (shrIbhara AlambanAbhyam) pratipada lalitAbhyAm prati aham nUtanAbhyAm prati muhur adhikAbhyAm prasnuvat (prasphurat) lochanAbhyAm prabhavatu (pravahatu) hR^idaye naH prANa nAthaH kishoraH

1-13. praNaya pariNatAbhyAM= with love, consummated - love rewarding, that have graciosity; prAbhava AlambanAbhyAM= for governance, a purchase = a firm hold on a thing to move it or to prevent it from slipping; pratipada lalitAbhyAM= every time, charming; pratiahaM nUtanAbhyAm= every day, having new-look; prati muhur adhikAbhyAM= every moment, flourishing with benignancy; prasnuvat [pra + snu + vat= well, delivering, as if]= showering grace on devotees; lochanAbhyAm= one who is with such a pair of his eyes; prANa-nAthaH= life, lord of the; kishoraH= youngling; naH hR^idaye prabhavatu= in our, hearts, let him preponderate.

Espying everything with the pair of his eyes that have graciosity, which are a purchase for equitable governance, which every time are charming to look at, every day assuming a new-look, every moment flourishing with benignancy, and which evermore shower benevolence; hence, let our hearts too come under the sway of that young boy who is the lord of our lives, namely krishna... [1-13]

--o)0(o--

माधुर्यवारिधिमदान्धतरङ्गभङ्गी
शृङ्गारसङ्कुलितशीतकिशोरवेषम्।
आमन्दहासललिताननचन्द्रबिम्बम्
आनन्दसम्‌प्लवमनुप्लवताम् मनो मे॥ १-१४
(वसन्त-तिलकम्)

माधुर्य वारिधि मद अन्ध(मद अम्बु) तरंग भंगी
शृंगार संकुलित शीत किशोर वेषम्
आमन्द हास ललित आनन चन्द्र बिम्बम्
आनन्द संप्लवम् अनुप्लवताम् मनः मे

mādhuryavāridhimadāndhataraṅgabhaṅgī
śṛṅgārasaṅkulitaśītakiśoraveṣam |
āmandahāsalalitānanacandrabimbam
ānandasamplavamanuplavatām mano me || 1-14
(vasanta-tilakam)

mādhurya vāridhi mada andha (mada ambu) taraṁga
bhaṁgī śṛṁgāra saṁkulita śīta kiśora veṣam
āmanda hāsa lalita ānana candra bimbam
ānanda saṁplavam anuplavatām manaḥ me

mAdhuryavAridhimadAndhatara~Ngabha~NgI-
shR^i~NgArasa~NkulitashItakishoraveSham |
AmandahAsalalitAnanacandrabimbam
AnandasamplavamanuplavatAM mano me || 1-14
(vasanta-tilaka)

vamshi_barham

mAdhurya vAridhi mada andha (mada ambu) tara.nga bha.ngI shR^i.ngAra sa.nkulita shIta kishora veSham Amanda hAsa lalita Anana candra bimbam Ananda sa.mplavam anuplavatAm manaH me

1-14. A+manda hAsa= always, cutely, smiling; lalita Anana candra bimbam= on exquisite, face, like moon's, orb; mAdhurya = for a mellowly beauty; vAridhi= an ocean; mada andha= haughtiness, blinded by - overweening; tara~Nga= swelling waves; bha~NgI= wave train - rows of waves [not breaking]; shR^i~NgAra sa~Nkulita= passion, commingled; shIta= cool look - benign look for the onlookers; kishora veSham= who is donning toddler's, get-up; Ananda samplavam= such an oceanic effusion of bliss; me manaH= my, bosom, anu + plavatAM= may be floating in those tides; or that nectar-ocean; anuplavatAM = may pour into - pour into our hearts such love toward thee &c - Collects.

Manifesting a cute smile on his exquisite face akin to the orb of the moon, he who is an ambrosial ocean with a train of passion-tides surging with overweening passion; yet, he dons a toddler's getup and a benign look for the onlookers; wherefore, let my heart also be buoyant in that effusion of bliss - satya-j~nAna-Ananda swarUpa vAridhi - called krishna... [1-14]

When my heart is afloat in such and such a nectarean ocean, can any mud called sin befoul it - venganAmAtya.

--o)0(o--

अव्याजमङ्जुलमुखाम्बुजमुग्धभावै
रास्वाद्यमाननिजवेणुविनोदनादम्।
आक्रीडतामरुणपादसरोरुहाभ्या-
मार्द्रे मदीयहृदये भुवनार्द्रमोजः॥ १-१५
(वसन्त तिलक)

अव्याज मंजुल मुख अंबुज मुग्ध भावैः आस्वाद्यमान
निज वेणु विनोद नादम् आक्रीडताम् अरुण पाद सरो रुहाभ्याम्
आर्द्रे मदीय हृदये भुवन आर्द्रम् ओजः

avyājamaṅjulamukhāmbujamugdhabhāvai
rāsvādyamānanijaveṇuvinodanādam |
ākrīḍatāmaruṇapādasaroruhābhyā-
mārdre madīyahṛdaye bhuvanārdramojaḥ || 1-15
(vasanta tilaka)

avyāja maṁjula mukha aṁbuja mugdha bhāvaiḥ
āsvādyamāna nija veṇu vinoda nādam
ākrīḍatām aruṇa pāda saro ruhābhyām
ārdre madīya hṛdaye bhuvana ārdram ojaḥ

avyAjama~NjulamukhAmbujamugdhabhAvai
rAsvAdyamAnanijaveNuvinodanAdam|
AkrIDatAmaruNapAdasaroruhAbhyA-
mArdre madIyahR^idaye bhuvanArdramojaH || 1-15
(vasanta tilaka)

vamshi_barham

avyAja ma.njula mukha a.mbuja mugdha bhAvaiH AsvAdyamAna nija veNu vinoda nAdam
AkrIDatAm aruNa pAda saro ruhAbhyAm Ardre madIya hR^idaye bhuvana Ardram ojaH

1-15. avyAja = nirupAdhika = unembellished by other decorations, by nature; ma~njula mukha ambuja=one with charming, face, called lotus; mugdha bhAvaiH= with lovely, body language like - bhrU vikshepAdi vyApAra - twisting eyebrows, half-closing and half-opening of lids, protruding lips etc; AsvAdyamAna= while enjoying - absorbed in; nija veNu vinoda nAdam= his own, flute's, enjoyable, melodies; bhuvana Ardram ojaH= people in worlds, bedewing - melody-drenching, his esprit; aruNa pAda saro- ruhAbhyAm= with his rosy, feet, called lake, sprung ones - lotuses; Ardre= moist - deliquescing with devotion; madIya hR^idaye= in my, heart; AkrIDatAm= let him play.

One with a lotusy countenance that is charming by its own nature, expressing a lovely facial language of a virtuoso while engrossed in the melodies he is fluting at full tilt, bears a melody-drenching-esprit that is bedewing all the contemplators of the world; let my heart deliquesced in devotion to him become a playground for that lotusy footed little boy called krishna... [1-15]

--o)0(o--

मणिनूपुरवाचालम् वन्देतच्चरणम् विभोः।
ललितानि यदीयानि लक्ष्माणि व्रजवीथिषु॥ १-१६
(अनुष्टुप्)

मणि नूपुर वाचालम् वन्दे तत् चरणम् विभोः
ललितानि यदीयानि लक्ष्माणि व्रज वीथिषु

maṇinūpuravācālam vandetaccaraṇam vibhoḥ |
lalitāni yadīyāni lakṣmāṇi vrajavīthiṣu || 1-16
(anuṣṭup)

maṇi nūpura vācālam vande tat caraṇam vibhoḥ
lalitāni yadīyāni lakṣmāṇi vraja vīthiṣu

maNinUpuravAcAlam vandetaccaraNam vibhoH |
lalitAni yadIyAni lakShmANi vrajavIthiShu || 1-16
(anuShTup)

vamshi_barham

maNi nUpura vAcAlam vande tat caraNam vibhoH lalitAni yadIyAni lakShmANi vraja vIthiShu

1-16. yadIyAni= of which - belonging to feet; lakShmANi= birthmarks - like padma, hala, kulisha, ankusha etc marks on soles; vraja vIthiShu lalitAni= for vraja village, streets, became tinsels - his two little feet became the unworn ornaments of vraja streets when he miss-stepped on them; them vibhoH= lord's; maNi nUpura vAcAlaM= when jewel studded, anklets, ranting highly - when they are jingling highly; tat caraNaM= those , feet; vande= I bow to.

Which little feet bear the birthmarks like padma, hala, kulisha, ankusha and the like on their soles denoting the exalted birth of that boy, which little feet became the unworn ornaments of vraja streets when he miss-stepped on them, which little feet are adorned with gem-studded anklets that tintinnabulate a lot, hence, I too adore those little feet of that lord, namely krishna...
[1-16]

--o)0(o--

ममचेतसिस्फुरतु वल्लवीविभो-
र्मणिनूपुरप्रणयि मञ्जुशिङ्जितम्।
कमलावनेचरकलिन्दकन्यका-
कलहंसकण्ठकलकूजितादृतम्॥ १-१७
(मञ्जु भाषिणि)

मम चेतसि स्फुरतु वल्लवी विभोः मणि नूपुर प्रणयि मंजु शिन्जितम्
कमला वने चर कलिन्द कन्यका कलहंस कण्ठ कल कूजिता आदृतम्

mamacetasisphuratu vallavīvibhor
maṇinūpurapraṇayi mañjuśiṅjitam |
kamalāvanecarakalindakanyakā
kalahaṁsakaṇṭhakalakūjitādṛtam || 1-17
(mañju bhāṣiṇi)

mama cetasi sphuratu vallavī vibhoḥ maṇi nūpura
praṇayi maṁju śinjitam kamalā vane cara
kalinda kanyakā kalahaṁsa kaṇṭha kala kūjitā ādṛtam

mamacetasisphuratu vallavIvibhoH
maNinUpurapraNayi ma~Njushi~Njitam |kamalAvanecarakalindakanyakA
kalahaMsakaNThakalakUjitAdR^itam || 1-17
(ma~Nju-bhAShiNi)

vamshi_barham

mama cetasi sphuratu vallavI vibhoH maNi nUpura praNayi ma.nju shi.njitam kamalA vane cara kalinda kanyakA kalahaMsa kaNTha kala kUjitA AdR^itam

1-17. kamalA vane= in lotus, lakes, or, stretches in which kamala, goddess lakshmi moves [word kamala is used to denote this goddess]; cara= moving; kalinda kanyakA= of Mt. kalinda's, daughter - in the lakes belonging to the daughter of Mt. kalinda, of River kAlindi; [cara= moving;] kalahaMsa= of swans; kaNTha kala kUjitA= throats, beautiful, cackling; AdR^itam= esteemed [AdR^isham= on level with]; vallavI vibhoH= milkmaids, master of - because he is the maestro of their dancing; anklets' sound; maNi nUpura = of jewelled, anklets; praNayi= congenial with - sounds of anklets congenial to the giggling of swans etc; ma~nju shi~njitam= heart-pleasing, callings; mama cetasi sphuratu= in my, heart, be revealed, resonate.

When that sapphirine boy is running after the lotus wielding goddess lakshmi while she is maundering in her haunts called the lotus-lakes in the laps of River kAlindi, the daughter of Mt. kalinda, his jewelled anklets are jingling, whereby, the swans accustomed to those lakes are counter-cackling presuming that the jingles are the callings from their mates, besides, those tintinnabulations even served as rhythm for the cadential dancing - rAsotstavam - of milkmaids - under his orchestration like a master danseur - gopA~NganA-jana-rAsa-utstava-nR^itta- gIta - kalanA - sAchivya - dhaureya; hence, my heart too may resonate with those heart-pleasing jingles that are congenial to the escort of lakshmi, giggling of swans, and that served as lilt for the dance of milkmaids, which emanate from the anklets of that boy called krishna... [1-17]

--o)0(o--

1-18: Proem: A celebrated stanza with singsong lyric.

तरुणारुण करुणामय विपुलायत नयनम्
कमलाकुच कलशीभर विपुलीकृत पुलकम्।
मुरलीरव तरलीकृत मुनिमानस नलिनम्
मम खेलतु मदचेतसि मधुराधर ममृतम्॥ १-१८ (ललित गति)

तरुण अरुण करुणा मय विपुल आयत नयनम् कमला कुच कलशी भर
विपुली कृत पुलकम् मुरली रव तरली कृत मुनि मानस
नलिनम् मम खेलतु- खेलति- मद चेतसि मधुर अधरम् अमृतम्

taruṇāruṇa karuṇāmaya vipulāyata nayanam
kamalākuca kalaśībhara vipulīkṛta pulakam |
muralīrava taralīkṛta munimānasa nalinam
mama khelatu madacetasi madhurādhara mamṛtam || 1-18
(lalita gati)

taruṇa aruṇa karuṇā maya vipula āyata nayanam
kamalā kuca kalaśī bhara vipulī kṛta pulakam
muralī rava taralī kṛta muni mānasa nalinam mama
khelatu- khelati- mada cetasi madhura adharam amṛtam

taruNAruNa-karuNAmaya-vipulAyata-nayanam
kamalAkuca-kalashIbhara-vipulIkR^ita-pulakam |
muralIrava-taralIkR^ita-munimAnasa-nalinam
mama khelatu-madacetasi-madhurAdhara-mamR^itam || 1-18
(lalita-gati)

vamshi_barham

taruNa aruNa karuNA maya vipula Ayata nayanam kamalA kuca kalashI bhara vipulI kR^ita pulakam muralI rava taralI kR^ita muni mAnasa nalinam mama khelatu [khelati] mada cetasi madhura adharam amR^itam

anvaya: mama mada cetasi [tat] madhura adharam amR^itam khelatu [or, khelati] - how does that amR^itam look?

If it is khelati, then it is - that little Being is already merry-making in my heart; if khelati is present continuous - now frolicking, that boy cannot go on making merry in an unenlightened heart - mada chetasi, or jaDa chetasi; if it is khelatu, a hopeful prospect, then it is - let that little being make merry in my heart; in any case, the ensuing question is - how to visualise that boy? - this is answered in other compounds of the verse.

1-18. taruNa aruNa= taruNa abja aruNam = lightly, like just born lotus, with pinkish redness - eyes lightly reddened at edges, in the hue of just born lotus; eyes of beautiful people will not be whitely white, they are supposed have rosy streaks at edges; karuNAmaya= filled with graciousness; vipula Ayata nayanaM= with broad, sizeable, eyes - broad and beaming eyes; kamalA= of goddess lakshmi; kuca-kalashI= breasts, pitcher-like; bhara= under the weight of them; [pulakI] vipulI kR^ita pulakam= extensively, made, titillation; muralI rava taralI kR^ita = by flute's, melody, billowy, made as; muni mAnasa nalinaM= sages, hearts, called lotuses; made the lotuslike hearts of sages billowy with the ripples of the melodies of his flute; madhura adharam amR^itam= luscious, lower lip, with ambrosia - whatever comes from the door of his lips, whether they are words like bhagavadgIta or fluting cosmic melodies, all that is ambrosial; mama mada cetasi in my, quiescent, heart - a heart that became functionless - pAravashya jaDIbhUtam - otiose in devotion to him; khelatu= that Being is frolicking.

That boy has broad and beaming eyes that are a little roseate at edges, and yet plethoric with graciousness; his graceful physique titillates extensively under the weight of chubby breasts of goddess lakshmi; he makes the lotuslike hearts of sages billowy with the ripples of his fluted melodies; his lips always give expression to nectarine scores or lyrics; and so, in an otiose heart of mine that is unconversant with the graciosity of gods, ticklishness of devotees, toings and froings of saintly hearts, or of the nectary lyrics or music, let there be merry making of that boy called krishna... [1-18]

--o)0(o--

आमुग्धमर्धनयनाम्बुजचुम्‌ब्यमान
हर्षाकुलव्रजवधूमधुराननेन्दोः।
आरब्धवेणुरवमादि किशोरमूर्तेः
आविर्भवन्ति मम चेतसि केऽपि भावाः॥१-१९
(वसन्त-तिलक)

आ+मुग्धम् अर्ध नयन अम्बुज चुम्‌ब्यमान हर्ष आकुल व्रज वधू
मधुर आनन इन्दोः आरब्ध वेणु रवम् आदि(आत्त) किशोर मूर्तेः
आविर्भवन्ति (आविर्भवन्तु) मम चेतसि के अपि भावाः

āmugdhamardhanayanāmbujacumbyamāna
harṣākulavrajavadhūmadhurānanendoḥ |
ārabdhaveṇuravamādi kiśoramūrteḥ
āvirbhavanti mama cetasi ke'pi bhāvāḥ || 1-19
(vasanta-tilaka)

ā+mugdham ardha nayana ambuja cumbyamāna
harṣa ākula vraja vadhū madhura ānana indoḥ
ārabdha veṇu ravam ādi (ātta) kiśora mūrteḥ
āvirbhavanti (āvirbhavantu) mama cetasi ke api bhāvāḥ

AmugdhamardhanayanAmbujacum.hbyamAna
harShAkulavrajavadhUmadhurAnanendoH |
ArabdhaveNuravamAdi kishoramUrteH
Avirbhavanti mama cetasi ke.api bhAvAH || 1-19
(vasanta-tilaka)

vamshi_barham

A+mugdham ardha nayana ambuja cum.hbyamAna harSha Akula vraja vadhU madhura Anana indoH Arabdha veNu ravam Adi (Atta) kishora mUrteH Avirbhavanti (Avirbhavantu) mama cetasi ke api bhAvAH

1-19. Arabdha veNu ravam= with the commencement of, flute's, melodious fluting; vraja vadhU= vraja village, milkmaids of; harSha Akula = with ecstasy, highly excited; and they fenced him off ready to trip their light fantastic toes in step with his music; then; ardha nayana ambuja = with half-closed, eyes of that flutist, called lotuses; madhura Anana indoH= sweet, faces of those milkmaids, called moons;cumbyamAna= as if he is kissing with such half-closed eyes; Adi kishora mUrteH= of primordial, boy - neologism, on par with Adi varAha mUrti; ke api bhAvAH= some imponderable, romantic exploits - shRingAra cheShTA-s - of that boy; mama cetasi= in my, heart; A + mugdham= in all respects, entrancingly; Avirbhavantu= welling forth - splashing on my mental screen.

With the commencement of his melodious fluting with his flute, called mohana vamshi, the milkmaids of vraja village are rendered ecstatically excited and they rushed to him only to fence him off, then they readied themselves around him to trip their light fantastic toes in step with his music, then that boy fluting with half-closed lids made eyes at them which, in effect, is kissing those girls just with his eyesight; as such, let my mental screen be further splashed with such all-entrancing and imponderable romantic deeds of that primordial baby boy, called krishna... [1-19]

--o)0(o--

कलक्वणितकङ्कणङ्करनिरुद्धपीताम्बरङ्
क्रमप्रसृतकुन्तलङ्गलितबर्हभूषम् विभोः।
पुनःप्रसृतिचापलम्प्रणयिनीभुजायन्त्रितम्-
ममस्फुरतुमानसेमदनकेलिशय्योत्थितम्॥ १-२०(पृथ्वी)

कल क्वणित कङ्कणम् कर निरुद्ध पीत अम्बरम् क्लम (क्रम) प्रसृत कुन्तलम्
ललित (कलित - गलित) बर्ह भूषम् विभोःपुनः प्रसृति(प्रकृति) चापलम् प्रणयिनी भुजा यन्त्रितम् मम स्फुरतु मानसे मदन केलि शय्य उत्थितम्

kalakvaṇitakaṅkaṇaṅkaraniruddhapītāmbaraṅ
kramaprasṛtakuntalaṅgalitabarhabhūṣam vibhoḥ |
punaḥprasṛticāpalampraṇayinībhujāyantritam-
mamasphuratumānasemadanakeliśayyotthitam || 1-20 (pṛthvī)

kala kvaṇita kaṅkaṇam kara niruddha pīta ambaram
klama (krama) prasṛta kuntalam lalita (kalita - galita) barhabhūṣam vibhoḥ punaḥ prasṛti (prakṛti) cāpalam
praṇayinī bhujā yantritam mama
sphuratu mānase madana keli śayya utthitam

kalakvaNitaka~NkaNa~NkaraniruddhapItAmbara~N-kramaprasR^itakuntala~NgalitabarhabhUSham vibhoH |
punaHprasR^iticApalampraNayinIbhujAyantritam-mamasphuratumAnasemadanakelishayyotthitam || 1-20 (pR^ithvI)

vamshi_barham

kala kvaNita ka~NkaNam kara niruddha pIta ambaram krama [klama] prasR^ita kuntalam lalita [kalita] galita-barha bhUSham vibhoH punaH prakR^iti [prasR^iti ] cApalam praNayinI bhujA yantritam mama sphuratu mAnase madana keli shayya utthitam

1-20. vibhoH= lord's; madana keli shayya= lovegod's, sport, bed - lovemaking bed; utthitam= the way of his getting up from that; which can be pictured in this way; kala kvaNita ka~NkaNaM= beautifully, clanging, bracelets are; kara niruddha pIta ambaraM= with hand, stopped, ochry, robe - from altogether falling down; krama= one by one;[klama= after fatigue] pra sR^ita kuntalaM= loosening, hair-locks; galita barha bhUShaM= slipped, peacock's [feather], his decoration on tiara; punaH= again; prasR^iti= in straightening them; [prakR^iti= to bring them back to normalicy] cApalaM= who is hectic; praNayinI bhujA yantritaM= by his ladylove's, with her arms, who is controlled - say who is being repeatedly pulled in onto her; mama mAnase sphuratu= in my, consciousness, let [the scenes of his get out of love-bed] shine forth.

Whenever he pulls out of lovemaking-bed he will be in a messed-up condition; his ladylove will be grappling and repeatedly pulling him in onto her, while his hands will be busy in fiddling with his ochry robe from slithering altogether, in readjusting the peacock's feather slipped just now back on his tiara, and in neatening up his dishevelled hair rumpled just now, his bracelets will be clanging more than necessary, ready to be caught in flagrante delicto; he neither can cleave from, nor to her; wherefore, let my consciousness shine forth with such scenes of affaires d’amour of that fumbling boy called krishna... [1-20]

--o)0(o--

स्तोकस्तोकनिरुध्यमानमृदुलप्रस्यन्दिमन्दस्मितम्
प्रेमोद्भेदनिरर्गलप्रसृमरप्रव्यक्तरोमोद्गमम्।
श्रोतृ श्रोत्रमनोहर व्रजवधूलीलामिथो जल्पितम्
मिथ्यास्वाप मुपास्महे भगवतः क्रीडानिमीलद्दृशः॥ १-२१
(शार्दूल-विक्रीडितम्)

स्तोक स्तोक निरुध्यमान मृदुल प्रस्यन्दि मन्द स्मितम्
प्रेम उद्भेद निरर्गल प्रसृमर प्रव्यक्त रोम उद्गमम्
श्रोतुम् श्रोत्र मनोहरम् व्रज वधू लीला मिथो जल्पितम्
मिथ्या स्वापम् उपास्महे भगवतः क्रीडा निमीलत् दृशः(दृशोः)

stokastokanirudhyamānamṛdulaprasyandimandasmitam
premodbhedanirargalaprasṛmarapravyaktaromodgamam |
śrotṛ śrotramanohara vrajavadhūlīlāmitho jalpitam
mithyāsvāpa mupāsmahe bhagavataḥ krīḍānimīladdṛśaḥ || 1-21(śārdūla-vikrīḍitam)

stoka stoka nirudhyamāna mṛdula prasyandi manda smitam
prema udbheda nirargala prasṛmara pravyakta roma udgamam
śrotum śrotra manoharam vraja vadhū līlā mitho jalpitam
mithyā svāpam upāsmahe bhagavataḥ krīḍā nimīlat dṛśaḥ (dṛśoḥ)

stokastokanirudhyamAnamR^idulaprasyandimandasmitam
premodbhedanirargalaprasR^imarapravyaktaromodgamam |
shrotR^i shrotramanohara vrajavadhUlIlAmitho jalpitammithyAsvApa mupAsmahe bhagavataH krIDAnimIladdR^ishaH || 1-21
(shArdUla-vikrIDitam)

vamshi_barham

stoka stoka nirudhyamAna mR^idula prasyandi manda smitam prema udbheda nirargala prasR^imara pravyakta roma udgamam shrotum shrotra manoharam vraja vadhU lIlA mitho jalpitaM mithyA svApam upAsmahe bhagavataH krIDA nimIlat dR^ishaH -dR^ishoH-

1-21. krIDA nimIlat dR^ishoH= playfully - feigningly, closed, of the eyes; bhagavataH= of that god; mithyA svApam= dissimulated, sleep; upAsmahe= we adore, let us adore - let us adore the illusory sleep of that god shewn on the playfully closed eyes; if it is - dR^ishaH - it is an adj. of god, then = krIDA nimIlat dR^ishaH= let us adore that god with playfully closed eyes showing an illusory sleep;

what does this sleep contain: it contains;

vraja vadhU lIlA= vraja village's, of milkmaids, about their escapades; mitho jalpitaM= mutually, prattled - conversations of milkmaids; that are; shrotR^i= for listeners; shrotra manoharaM= ear, pleasing ones;

listening which the sleeper is reacting with:

stoka stoka= a little, a little; nirudhyamAna= that is being restrained, repressed; mR^idula prasyandi= subtly, out flowing - let out; manda smitaM= modest, smiling - of the sleeper;

because that tittle-tattle is about thelIla, escapades of milkmaids with the same sleeper; and because they are shrotR^i shrotra manoharaM, ear-delighting for listeners, it is necessary for the sleeper-listener to soliloquize his inner feelings, though silently; hence there are:

prema udbheda= out of love, spurting; nir+argala= without, constrain - effusive; pra + sR^imara = spreading all over the body; as such; pra+vyakta= clearly, manifest; roma udgamam= hair, raisings - thrilling sensations - that illusive sleep has all these factors.

When that sapphirine boy closed his eyes for a sleep, then he overheard the ear-filling gossip of milkmaids about their romantic escapades with him, whereby there is an outburst of smiles on his face that are though meant to be irrepressible yet half-repressed, deeply orotund yet half-modest and boisterously loud yet became teeny-weeny; and because these smiles are spurting out of his love for the conversers, effusive thrilling sensations are clearly manifest spreading all over the body of that unsleeping boy, sleepless in the cause of his devotees; therefore, let us adore the dissimulated sleep - mithyA nidra, kapaTa nidra - of that boy called krishna... [1-21]

--o)0(o--

विचित्रपत्राङ्कुरशालि बाला
स्तनान्तरम् मौनिमनोन्तरम् वा।
अपास्य बृन्दावनपादपास्य
मुपास्यमन्य न्न विलोकयामः॥ १-२२
(उपेन्द्र-वज्रा)

विचित्र पत्र अङ्कुर शालि बाला स्तन अन्तरम् मौनि मनो
अन्तरम् (याम वनान्तरम्) वा अपास्य बृन्दावन पादप
आस्यम् (पाद लास्यम्) उपास्यम् अन्यम् न विलोकयामः

vicitrapatrāṅkuraśāli bālā
stanāntaram maunimanontaram vā |
apāsya bṛndāvanapādapāsya
mupāsyamanya nna vilokayāmaḥ || 1-22
(upendra-vajrā)

vicitra patra aṅkura śāli bālā stana antaram
mauni mano antaram (yāma vanāntaram) vā
apāsya bṛndāvana pādapa āsyam (pāda lāsyam)
upāsyam anyam na vilokayāmaḥ

vicitrapatrA~NkurashAli bAlA
stanAntaram maunimanontaram vA |
apAsya bR^indAvanapAdapAsya
mupAsyamanya nna vilokayAmaH || 1-22
(upendra-vajrA)

vamshi_barham

vicitra patra a~Nkura shAli bAlA stana antaram mauni mano antaram [yAma vanAntaram] vA apAsya bR^indAvana pAdapa Asyam [pAda lAsyam] upAsyam anyam na vilokayAmaH

1-22. vicitra patra a~Nkura= with a variety of, leaves, leaflets - motifs of leaves and creepers painted with erasable tattoos on women's busts; shAli bAlA = those having them, girls - milkmaids; stana antaraM= breasts, in between - the region of heart in the chest; vA= either; [yAma vanAntaraM] mauni mano antaram= sages', mind, inside of - in the deep of the minds of sages; vA= or; apAsya= barring; bR^indAvana= in bR^indAvana; [pAda lAsyam] pAdapa Asyam= trees, on the faces of - on the main stems, boles, of trees where women usually venerate; upAsyam= obtainable - accessible place of krishna; anyaM= another place; na vilokayAma= do not, we perceive.

Barring three places, viz., the inter-bosom busts of vraja lasses that are painted with a variety of motifs of leaves and creepers as erasable tattoos, or the unfathomable minds of sages, or the main axes of trees in bR^indAvana garden, we do not come across any other place for the prompt accessibility of that boy called krishna... [1-22]

--o)0(o--

1-23; Proem: Starting with this verse and continued to next four verses, the poet wishes to catch sight, at least in his perspicuity, of the life-principle of his poem - namely krishna.

सार्धम् समृद्धैरमृतायमानै रातायमानैर्मुरलीनिनादैः।
मूर्धाभिषिक्तम् मधुराकृतीनाम् बालम् कदा नाम विलोकयिष्ये॥१-२३
(इन्द्र-वज्र)

सार्धम् समृद्धैः अमृतायमानैः आतायमानैः (आध्मायमानैः) मुरली निनादैः
मूर्ध अभिषिक्तम् मधुर आकृतीनाम् बालं कदा नाम विलोकयिष्ये

sārdham samṛddhairamṛtāyamānai
rātāyamānairmuralīninādaiḥ |
mūrdhābhiṣiktam madhurākṛtīnām
bālam kadā nāma vilokayiṣye || 1-23
(indra-vajra)

sārdham samṛddhaiḥ amṛtāyamānaiḥ ātāyamānaiḥ (ādhmāyamānaiḥ) muralī ninādaiḥ mūrdha abhiṣiktaṁ
madhura ākṛtīnām bālaṁ kadā nāma vilokayiṣye

sArdham samR^iddhairamR^itAyamAnai
rAtAyamAnairmuralIninAdaiH |
mUrdhAbhiShiktam madhurAkR^itInAm
bAlam kadA nAma vilokayiShye || 1-23
(indra-vajra)

vamshi_barham

sArdham samR^iddhaiH amR^itAyamAnaiH AtAyamAnaiH [AdhmAyamAnaiH] muralI ninAdaiH mUrdha abhiShiktaM madhura AkR^itInAm bAlaM kadA nAma vilokayiShye

1-23. AdhmAyamAnaiH= that is being blown, flute filled with wind; as such the flutings are; samR^iddhaiH= replete with all enjoyable strains; as such those melodies are; amR^itAya- mAnaiH = nectareous; muralI ninAdaiH sArdhaM= flute's, melodies, one who is with; madhura AkR^itInAM mUrdha-abhiShiktaM= among beautiful, entities, one who surmounts; bAlaM= at such a boy; kadA nAma= when can [I / we]; vilokayiShye= see, behold him.

Because he is fluting his flutings are replete with all enjoyable strains, and because they are with enjoyable strains they are nectarous; such as he is who is circumfusing such melodies of fluting is not only a flutist but the one who surmounts all the prepossessing personalities... but, huh, when can I see such a captivating boy called krishna... [1-23]

But, when can I see that boy, when can I lift him up in my hands, and when can I press his roseate feet to my eyes, alas... bAluni grakkuna gAnchi ettikoni kannula nokkudu tat padAbjamul... ennaDo? - vengayAmAtya.

--o)0(o--

शिशिरीकुरुते कदा नु शिखिपिङ्छाभरणशिशुर्दृशोः।
युगलम् विगलन्मधुद्रव स्मितमुद्रामृदुना मुखेन्दुना॥ १-२४
(वैतालीयम्)

शिशिरी कुरुते कदा नु (मनः) शिखि पिङ्च आभरणः शिशुः दृशोः
युगलम् विगलत् मधु द्रव स्मित मुद्रा मृदुना मुख इन्दुना

śiśirīkurute kadā nu
śikhipiṅchābharaṇaśiśurdṛśoḥ |
yugalam vigalanmadhudrava-
smitamudrāmṛdunā mukhendunā || 1-24
(vaitālīyam)

śiśirī kurute kadā nu śikhi piṅca ābharaṇaḥ
śiśuḥ dṛśoḥ yugalam vigalat madhu drava
smita mudrā mṛdunā mukha indunā

shishirIkurute kadA nu
shikhipi~NChAbharaNashshhishurdR^ishoH |yugalam vigalanmadhudrava-
smitamudrAmR^idunA mukhendunA || 1-24 (vaitAlIyam)

vamshi_barham

shishirI kurute kadA nu [manaH] shikhi [shikhara] pi~Ncha AbharaNaH shishuH dR^ishoH yugalam vigalat madhu drava smita mudrA mR^idunA mukha indunA

1-24. shikhi pi~Ncha AbharaNaH = peacock's, feather, one who has it as his trinket; shishuH= that boy; vigalat madhu drava smita mudrA= flowing, honey, fluid - smooth, smile, with such a gesture - indicative of - one whose smiles are indicative of smooth flowing honey; mR^idunA mukha indunA= with a satiny, face, like that of moon; naH dR^ishoH yugalaM= our, eyes, pair of; kadA nu= when, really; shishirI kurute= cool, he makes - cools down.

That boy wears a peacock's feather as a trinket on his chaplet - as if to boast his having a wisdom-eye symbolised by the eyelike marking on that feather; he with a satiny face of the moon smiles that model upon the smooth flowing honeydew - as if to boast his showering lunar nectar everywhere around; but when, really when will this pair of eyes of ours that is overwrought to see him be assuaged by that boy called krishna... [1-24]

--o)0(o--

कारुण्यकर्बुरकटाक्षनिरीक्षणेन
तारुण्यसंवलितशैशववैभवेन।
आपुष्णता भुवनमद्भुतविभ्रमेण
श्रीकृष्णचन्द्र शिशिरीकुरु लोचनम् मे॥ १-२५
(वसन्त-तिलकम्)

कारुण्य कर्बुर कटाक्ष निरीक्षणेन तारुण्य संवलित शैशव वैभवेन
आपुष्णता भुवनम् अद्भुत विभ्रमेण श्री कृष्ण चन्द्र शिशिरीकुरु लोचनम् मे

kāruṇyakarburakaṭākṣanirīkṣaṇena
tāruṇyasaṁvalitaśaiśavavaibhavena |
āpuṣṇatā bhuvanamadbhutavibhrameṇa
śrīkṛṣṇacandra śiśirīkuru locanam me || 1-25
(vasanta-tilakam)

kāruṇya karbura kaṭākṣa nirīkṣaṇena tāruṇya saṁvalita
śaiśava vaibhavena āpuṣṇatā bhuvanam adbhuta
vibhrameṇa śrī kṛṣṇa candra śiśirīkuru locanam me

kAruNyakarburakaTAkShanirIkShaNena
tAruNyasa.mvalitashaishavavaibhavena |
ApuShNatA bhuvanamadbhutavibhrameNa
shrIkR^iShNacandra shishirIkuru locanam me || 1-25
(vasanta-tilakam)

vamshi_barham

kAruNya karbura kaTAkSha nirIkShaNena tAruNya saMvalita shaishava vaibhavena ApuShNatA bhuvanam adbhuta vibhrameNa shrI kR^iShNa candra shishirIkuru locanam me

1-25. kAruNya karbura kaTAkSha nirIkShaNena [saMvalita= integrated with] = with graciousness, iridescent, sidelong, glances - one who is integrated with gracious and opalescent sidelong glances - colour combination changes with the kind of devotee - prema bhakta, dAsya bhakta, vAtsalya bhakta etc.; bhuvanam ApuShNatA = world, those [glances] that are dowsing, nourishing - his gracious are vitalising worlds; adbhuta vibhrameNa; adbhuta =by wondrous: govardhana uddharaNa Adi Ascharya janaka kAryeNa; vibhrameNa [vikrameNa] = with exploits[saMvalita= integrated with such activity] - your boyish form can undertake unimaginable exploits; tAruNya saMvalita shaishava vaibhavena= with youthfulness, embodied with, infanthood, with the gloriousness of - though he is an infant, youthfulness pops up, though he comports himself like a youth, yet childhood peeps in - hence he has a divya mangala vigraham which is with the glory of both babyishness and mannishness; hè shrI kR^iShNa candra= oh, shrI krishna, moonish one; me locanaM shishirIkuru= my, eyes, please cool down.

Endowed with opalescent sidelong glances that are gracing and vitalising all the world, which is a possibility with the unfledged; credited with wondrous exploits like lifting a mountain, shambling a cart, stifling a serpent etc, an impossibility even for the fully-fledged; with these factors your august for - divya mangala vigraha - is beaming forth with the gloriousness of infancy embedded with the magnificence of juvenescence; such as you are, make an appearance to cool down the burning eyes of mine with your cool kindliness, prithee, oh, moonish krishna... [1-25]

---o)0(o--

कदा वा कालिन्दीकुवलयदलश्यामलतराः
कटाक्षा लक्ष्यन्ते किमपि करुणावीचिनिचिताः।
कदा वा कन्दर्पप्रतिभटजटाचन्द्रशिशिराः
किमप्यन्तस्तोषम् ददति मुरलीकेलिनिनदाः॥ १-२६
(शिखरिणी)

कदा वा कालिन्दी कुवलय दल श्यामल तराः कटाक्षा लक्ष्यन्ते किम् अपि
करुणा वीचि निचिताः कदा वा कन्दर्प प्रति-भट जटा चन्द्र शिशिराः
किम् अपि अन्तः-तोषं ददति(दधति) मुरली केलि निनदाः

kadā vā kālindīkuvalayadalaśyāmalatarāḥ
kaṭākṣā lakṣyante kimapi karuṇāvīcinicitāḥ |
kadā vā kandarpapratibhaṭajaṭācandraśiśirāḥ
kimapyantastoṣam dadati muralīkelininadāḥ || 1-26
(śikhariṇī)

kadā vā kālindī kuvalaya dala śyāmala tarāḥ
kaṭākṣā lakṣyante kim api karuṇā vīci nicitāḥ
kadā vā kandarpa prati-bhaṭa jaṭā candra śiśirāḥ
kim api antaḥ-toṣaṁ dadati (dadhati) muralī keli ninadāḥ

kadA vA kAlindIkuvalayadalashyAmalatarAH
kaTAkShA lakShyante kimapi karuNAvIcinicitAH |
kadA vA kandarpapratibhaTajaTAcandrashishirAH
kimapyantastoSham dadati muralIkelininadAH || 1-26 (shikhariNI)

vamshi_barham

kadA vA kAlindI kuvalaya dala shyAmala tarAH kaTAkShA lakShyante kim api karuNA vIci nicitAH kadA vA kandarpa prati-bhaTa jaTA candra shishirAH kim api antaH-toSham dadati [dadhati] muralI keli ninadAH

1-26. kAlindI kuvalaya dala shyAmala tarAH= River yamuna's, black-lotuses, petals, blackish, more than - that which are more blue-blackish than the petals of blue-black-lotuses blooming in river yamuna;

kim api= indescribable; karuNA vIci nicitAH kaTAkShA= commiseration, ripples, heaped up with, sidelong glances - the ripples of his trifling sidelong glances are indescribable and they are replete with commiseration;

yAmunotpalasitetaraloladayArdradR^igvilAsonnati - vengaya;

kadA vA= whether at anytime; lakShyante= can be seen by me;

kandarpa prati-bhaTa = lovegod's - manmatha's, counter-soldier, counter-attacker - enemy of manmatha - namely god shiva;; jaTA candra shishirAH= his hair-locks', moon, coolish - those flutings that are coolish like the cool moon ensconced in the hair-locks of the retaliator of lovegod, namely shiva;

shambhujaTATavItaTAsannasudhAMshushItalalasanmuralIninAdAmR^itam - vengaya;

muralI keli ninadAH= flute's, amusing, melodies;

kim api= indescribable; antaH-toShaM= inmost, happiness - in heart of hearts; kadA vA= at which time; dadati= will be giving.

It is unbeknownst whether at any time I am blessed to glimpse at least a trivial glimpse from the edge of his eyes, from out of his myriad glances that are indescribable, darker than the dark-blue lotuses blossoming in rive yamuna, and that are ripply replete with commiseration; it is equally unbeknownst whether at any time I am blessed to undergo an indescribable happiness in my inmost heart with the audibility of amusing flute-melodies that are more cooler like the cool moon ensconced in the hair-locks of the retaliator of lovegod, namely shiva, from the flute called mohana vamshi of that boy called krishna... [1-26]

--o)0(o--

अधीरमालोकितमार्द्रजल्पितङ्गतञ्चगम्भीरविलासमन्थरम्।
अमन्दमालिङ्गितमाकुलोन्मदस्मितञ्च ते नाथ वदन्ति गोपिकाः॥ १-२७
(वंशस्थ)

अ+धीरम् आलोकितम् आर्द्र जल्पितम् गतम् च गम्भीर
विलास मन्थरम् अ+मन्दम् आलिङ्गितम् (आलोकितम्) आकुल
उन्मद स्मितम् च ते नाथ वदन्ति गोपिकाः

adhīramālokitamārdrajalpitaṅ-
gatañcagambhīravilāsamantharam |
amandamāliṅgitamākulonmada-
smitañca te nātha vadanti gopikāḥ || 1-27
(vaṁśastha)

a+dhīram ālokitam ārdra jalpitam gatam ca
gambhīra vilāsa mantharam a+mandam
āliṅgitam (ālokitam) ākula unmada smitam ca
te nātha vadanti gopikāḥ

adhIramAlokitamArdrajalpita~N-
gata~ncagambhIra-vilAsamantharam |
amandamAli~NgitamAkulonmada-
smita~nca te nAtha vadanti gopikAH || 1-27
(vaMshastha)

vamshi_barham

a+dhIram Alokitam Ardra jalpitam gatam ca gambhIra vilAsa mantharam a+mandam Ali~Ngitam [Alokitam] Akula unmada smitam ca te nAtha vadanti gopikAH

1-27. nAtha= oh, lord; te= your; Alokitam a+dhIram= about seeing, not, steady - about your unsteady, shifting glances; gataM= about going - about your gait; that is; gambhIra vilAsa mantharam= weightily, vacillating, tardy - as sluggishly staggering gait; Ardra jalpitaM ca= about your romantically, said words, also; Akula ut+mada smitaM= about your - hectically, with heightened, passion, smiles smiled; Ali~Ngitam ca a+mandam = about your embraces, also, not, as slothful ones - impassioned embraces; gopikAH vidanti= milkmaids, are recounting.

There is much prating among the milkmaids of your vraja village about your shifty glances from one lass to another, about your sulking walking to one damsel from another, about your amatory talk to one dame than the other, about your bantering smiles at one maid from another, and about your airtight hugging of all the milkmaids, of course, in severalty; and because they say that you are such a mischievous swain, my eyes strain to have a glimpse you... oh, krishna... [1-27]

--o)0(o--

अस्तोकस्मितभरमायताऽयताक्षम्
निःशेषस्तनमृदितम् व्रजाङ्गनाभिः।
निस्सीमस्तबकितनीलकान्तिधारम्
दृश्यासम् त्रिभुवनसुन्दरम् महस्ते॥ १- २८
(प्रहर्षिणी)

अ+स्तोक स्मित भरम् आयत आयत अक्षम् निःशेष स्तन मृदितम्
व्रज अंगनाभिः निः सीम स्तबकित नील कान्ति धारम्
दृश्यासम् त्रि भुवन सुन्दरम् महः ते

astokasmitabharamāyatā'yatākṣam
niḥśeṣastanamṛditam vrajāṅganābhiḥ |
nissīmastabakitanīlakāntidhāram
dṛśyāsam tribhuvanasundaram mahaste || 1- 28
(praharṣiṇī)

a+stoka smita bharam āyata āyata akṣam niḥśeṣa stana
mṛditam vraja aṁganābhiḥ niḥ sīma stabakita nīla
kānti dhāram dṛśyāsam tri bhuvana sundaram mahaḥ te

astokasmitabharamAyatA.ayatAkSham
niHsheShastanamR^iditam vrajA~NganAbhiH |
nissImastabakitanIlakAntidhAram
dR^ishyAsam tribhuvanasundaram mahaste || 1- 28
(praharShiNI)

vamshi_barham

a+stoka smita bharam Ayata Ayata akSham niHsheSha stana mR^iditam vraja a.nganAbhiH
niH sIma stabakita nIla kAnti dhAram dR^ishyAsam tri bhuvana sundaram mahaH te

1-28. That which is: a+stoka smita bharam= not, less, smiles, dense with- which is with compelling grins; Ayata Ayata= wider that the wide - that which are comparable with any wide things; akShaM= having such eyes; vraja a~NganAbhiH= by vraja, damsels; niHsheSha stana mR^iditaM= completely, with bosoms, pressurised; niHsIma= boundless; stabakita= made as bouquets, sprays [of glistening flowers]; nIla kAnti dhAraM = [your body's] bluish, light-beams; [you who are] sporting; tri-bhuvana sundaraM= in three worlds, most beautiful one; te mahaH= your, greatest [such a form of yours];dR^ishyAsaM= let it be seen [by me].

With a countenance laden with compelling grins, eyes far-reaching and wide, build grated under the busty bosoms of vraja damsels, body sporting sapphirine lambencies that boundlessly effuse everywhere as if sprays of glistening flowers are darting, your form is said to be the most charming one in all the three worlds; as such youare, let me, as an aesthetician, have a glimpse of that greatest form of yours, oh, krishna... [1-28]

--o)0(o--

मयिप्रसादम् मधुरैः कटाक्षैर्वम्‌शीनिनादानुचरैर्विधेहि।
त्वयिप्रसन्नेकिमिहाऽपरैर्नस्त्वय्यप्रसन्नेकिमिहाऽपरैर्नः॥ १-२९
(उपेन्द्र-वज्र)

मयि प्रसादम् मधुरैः कटाक्षैः वंशी निनाद अनुचरैः विधेहि
त्वयि प्रसन्ने किम् इह अपरैः नः त्वयि अ-प्रसन्ने किम् इह अपरैः नः

mayiprasādam madhuraiḥ kaṭākṣair
vamśīninādānucarairvidhehi |
tvayiprasannekimihā'parairna
stvayyaprasannekimihā'parairnaḥ || 1-29
(upendra-vajra)

mayi prasādam madhuraiḥ kaṭākṣaiḥ vaṁśī nināda
anucaraiḥ vidhehi tvayi prasanne kim iha
aparaiḥ naḥ tvayi a+prasanne kim iha aparaiḥ naḥ

mayiprasAdam madhuraiH kaTAkShair
vam.hshIninAdAnucarairvidhehi |
tvayiprasannekimihA.aparairna
stvayyaprasannekimihA.aparairnaH || 1-29
(upendra-vajra)

vamshi_barham

mayi prasAdam madhuraiH kaTAkShaiH vaMshI ninAda anucaraiH vidhehi tvayi prasanne kim iha aparaiH naH tvayi a-prasanne kim iha aparaiH naH

1-29. Your: madhuraiH kaTAkShaiH= pleasing, glances; vaMshI ninAda anucaraiH= flute called vamshi's, melodies, assorting well with; hence; mayi prasAdaM vidhehi= on me, grace, accord; tvayi prasanne sati= [omnipotent] you, [if you show] beneficence, on me; iha= here in this world; a + paraiH= with others - with other fellow beings, naH kim [kAryam] = to us, what - what business we got to do with them; tvayi a+prasanne sati= if you are, not, gracious; iha= then; a + paraiH= not, with the other; or, with another, alien super-self - with another parama-Atma; naH kim [prayojanam]= what - what is the use with him - because there is none than you.

What business I have got to do with others in this world if your grace befalls on me - since my souls is elated; contrarily, if your grace goes amiss in my respect, what business I have got with another Super-Soul - since there is ne plus ultra than you; as such, let your graceful glances that assort well with the tuneful melodies of your flute mohana vamshi graciously sink in on me, oh krishna... [1-29]

--o)0(o--

निबद्धमुग्धाङ्जलिरेषयाचे नीरन्ध्रदैन्योन्नतिमुक्तकण्ठम्।
दयानिधेधे देव भवत्कटाक्षदाक्षिण्यलेशेन सकृन्निषिङ्च॥१-३० (उपेन्द्र-वज्र)

निबद्ध मुग्ध (मूर्ध) अञ्जलिः एष याचे नीरन्ध्र दैन्य उन्नत मुक्त कण्ठम्
दया निधे देव भवत् कटाक्ष दाक्षिण्य लेशेन सकृत् निषिंच

nibaddhamugdhāṅjalireṣayāce
nīrandhradainyonnatimuktakaṇṭham |
dayānidhedhe deva bhavatkaṭākṣa
dākṣiṇyaleśena sakṛnniṣiṅca || 1-30(upendra-vajra)

nibaddha mugdha (mūrdha) añjaliḥ eṣa yāce
nīrandhra dainya unnata mukta kaṇṭham dayā nidhe
deva bhavat kaṭākṣadākṣiṇya leśena sakṛt niṣiṁca

nibaddhamugdhA~NjalireShayAce
nIrandhradainyonnatimuktakaNTham |
dayAnidhedhe deva bhavatkaTAkSha
dAkShiNyaleshena sakR^inniShi~Nca || 1-30
(upendra-vajra)

vamshi_barham

nibaddha mugdha [mUrdha] a~njaliH eSha yAce nIrandhra dainya unnata mukta
kaNTham dayA nidhe deva bhavat kaTAkSha dAkShiNya leshena sakR^it niShi.nca

1-30. daya ambudhe= oh, mercy, ocean of; eSha= this me - such as I am; nibaddha mugdha a~njaliH san= one who made, deferential, palm-fold; nIrandhra dainya= compacted with, dolour; unnata mukta kaNTham yathA tathA= loudly, released, with voice - making insistent prayer; yAce- I beg of you; hè deva= oh, god;bhavat kaTAkSha dAkShiNya leshena= your, edge of eye, look with mercy, with an iota of it; sakR^it niShi~nca= just once, drench.

Such as I am, oh, ocean of mercy, I beg of you with this deferential palm-fold of mine and in an insistent voice compacted with dolour, drench me with a whit of your merciful sidelong glance just for once... oh, god, krishna... [1-30]

What ebbs in the ocean of your merciful glances if a ripple of sidelong glance wets me - dInasharaNya santatoddAma bhavat kR^ipArasasudhAmadhurAbditara~NgapAlilon emi korata... - vengaya.

--o)0(o--

पिङ्छावतम्‌सरचनोचितकेशपाशे
पीनस्तनीनयनपङ्कजपूजनीये।
चन्द्रारविन्दविजयोद्यतवक्त्रबिम्बे
चापल्य मेति नयनम् तव शैशवे नः॥ १-३१
(वसन्त-तिलक)

पिङ्छ अवतन्स रचना उचित केश पाशे पीन स्तनी नयन पंकज पूजनीये
चन्द्र अरविन्द विजय उद्यत वक्त्र बिम्बे चापल्यम् एति नयनम् तव शैशवे नः

piṅchāvatamsaracanocitakeśapāśe
pīnastanīnayanapaṅkajapūjanīye |
candrāravindavijayodyatavaktrabimbe
cāpalya meti nayanam tava śaiśave naḥ || 1-31
(vasanta-tilaka)

piṅcha avatansa racanā ucita keśa pāśe
pīna stanī nayana paṁkaja pūjanīye candra
aravinda vijaya udyata vaktra bimbe
cāpalyam eti nayanam tava śaiśave naḥ

pi~NChAvatam.hsaracanocitakeshapAshe
pInastanInayanapa~NkajapUjanIye |
candrAravindavijayodyatavaktrabimbe
cApalya meti nayanam tava shaishave naH || 1-31
(vasanta-tilaka)

vamshi_barham

pi~NCha avatansa racanA ucita kesha pAshe pIna stanI nayana pa.nkaja pUjanIye candra aravinda vijaya udyata vaktra bimbe cApalyam eti nayanam tava shaishave naH

1- 31. [tava shaishave= in your, childhood - your face in your childhood]; pi~NcCha avataMsa racanA ucita= for peacock's feather, as an adornment, in wearing, a befitting one [your hairdo]; kesha pAshe= having such hair, locks - your childhood face that is adorned with hairlocks that are accustomed for the feathers of peacock as adornments;pIna-stanI nayana pa~Nkaja pUjanIye = for busty girls', eyes, that are lotuslike - your face is highly adored with lotusy eyes of busty girls; candra aravinda vijaya udyata = moon, lotuses readied- that face which is ready to gain victory over those two; with such a childish face of yours; vaktra bimbe= your face, orb of; tava shaishave= in your, childhood; in such a childhood of yours; naH nayanaM cApalyam eti = our, eyes, into fidgetiness, going.

That which adorned with hairlocks that are accustomed for pinning the peacock feathers as adornments; that which the busty girls of vraja hold in high adoration just with their eyes; and that which is ever ready to vanquish either the moon or a lotus, that sapphirine orb called your babyish form is making our eyes fidgety as we would like to see more and more of that bAla-krishna... [1-31]

--o)0(o--

त्वच्छैशवम् त्रिभुवनाद्भुतमित्यवैमि
यच्चापलम् च मम वागविवादगम्यम्।
तत्किम् करोमि विरलम् मुरलीविलासि
मुग्धम् मुखाम्बुजमुदीक्षितुमीक्षणाभ्याम्॥ १-३२
(वसन्त-तिलक)

त्वत् शैशवम् त्रि भुवन अद्भुतम् इति अवैमि (अवेहि)
यत्v(मत्) चापलम् च मम वाक् अविवाद गम्यम्
(मम वा तव वा अधिग्मयम्) तत् (तदा)
किम् करोमि विरणत् (विरलम्) मुरली विलास (विलासि)
मुग्धम् मुख अम्बुजम् उत्-ईक्षितुम् ईक्षणाभ्याम्

tvacchaiśavam tribhuvanādbhutamityavaimi
yaccāpalam ca mama vāgavivādagamyam |
tatkim karomi viralam muralīvilāsi
mugdham mukhāmbujamudīkṣitumīkṣaṇābhyām || 1-32
(vasanta-tilaka)

tvat śaiśavam tri bhuvana adbhutam iti avaimi
(avehi) yat (mat) cāpalam ca mama vāk avivāda
gamyam (mama vā tava vā adhigmayam)
tat (tadā) kim karomi viraṇat (viralam)
muralī vilāsa (vilāsi) mugdham
mukha ambujam ut-īkṣitum īkṣaṇābhyām

tvacChaishavam tribhuvanAdbhutamityavaimi
yaccApalam ca mama vAgavivAdagamyam |
tatkim karomi viralam muralIvilAsi
mugdham mukhAmbujamudIkShitumIkShaNAbhyAm || 1-32
(vasanta-tilaka)

vamshi_barham

tvat shaishavam tri bhuvana adbhutam iti avaimi (avehi) yat (mat) cApalam ca mama vAk a+vivAda gamyam (mama vaa tava vaa adhigmayam) tat (tadA) kim karomi viraNat (viralam) muralI vilAsa (vilAsi) mugdham mukha ambujam ut-IkShitum IkShaNAbhyAm

1-32. tvat shaishavaM= your, childhood; tri-bhuvana adbhutam iti = in triad of worlds, an astonishing one, thus; avaimi= I am aware;mama cApalaM ca = my, disquietude, also; yat tat= which is there, that is; adbhutam iti avaimi= astounding, thus, I am aware; vAk= with words; a + vivAda gamyam= without, dialectics, attainable - your form is beyond dialectical disputation; vi raNat muralI vilAsa mugdhaM = that which is highly sounded, flute, by its playing, verily charming - that face whose charms is heightened when he is fluting with puffing cheeks, whiffing lips etc; such a;mukha ambujam= face, called lotus; IkShaNAbhyAm= with the pair of my eyes - an eye-filling manner; ut+IkShitum= up, seeing - to crane and stare inquisitively - for becoming a rubberneck; kiM karomi= what, I have to do - what more can I do excepting praying for your grace.

I am aware that your childhood is a marvel in the triad of worlds; I am also aware that my disquietude for a glimpse of you is equally marvellous; in spite of this awareness I am still hankering after that possibility with which I can glimpse your infantile lotusy face, attaining which is beyond dialectics, and whose charm is heightened when melodies are vibrantly fluted with teeny-weeny facial expressions; as such, what more have I to do to become more perfect rubberneck just to fill my eyes with a glimpse of your lotusy face... tell me... oh, krishna... [1-32]

--o)0(o--

पर्याचितामृतरसानि पदार्थभङ्गी
वल्गूनि वल्गितविशालविलोचनानि।
बाल्याधिकानिमदवल्लवभाविनीतानि
भावे लुठन्ति सुदृताम् तव जल्पितानि॥ १-३३
(वसन्त-तिलक)

पर्याचित अमृत रसानि पद अर्थ भङ्गी वल्गूनि वल्गित विशाल
विलोचनानि बाल्य अधिकानि मद वल्लव भावितानि (भामिनीभिः)
भावे लुठन्ति सुदृशाम् (सुकृताम्) तव जल्पितानि

paryācitāmṛtarasāni padārthabhaṅgī
valgūni valgitaviśālavilocanāni |
bālyādhikānimadavallavabhāvinītāni
bhāve luṭhanti sudṛtām tava jalpitāni || 1-33
(vasanta-tilaka)

paryācita amṛta rasāni pada artha bhaṅgī valgūni
valgita viśāla vilocanāni bālya adhikāni
mada vallava bhāvitāni (bhāminībhiḥ)
bhāve luṭhanti sudṛśām (sukṛtām) tava jalpitāni

paryAcitAmR^itarasAni padArthabha~NgI
valgUni valgitavishAlavilocanAni |
bAlyAdhikAnimadavallavabhAvinItAni
bhAve luThanti sudR^itAm tava jalpitAni || 1-33
(vasanta-tilaka)

vamshi_barham

paryAcita amR^ita rasAni pada artha bha~NgI valgUni valgita vishAla vilocanAni bAlya adhikAni mada vallava bhAvitAni (bhAminIbhiH) bhAve luThanti sudR^ishAm (sukR^itAm) tava jalpitAni

1-33. On one hand:

pari-acita amR^ita rasAni= completely, coated with, nectar's, essence; pada artha bha~NgI valgUni = words', their meanings, their pattern, [all these are] harmonious / or, padArtha= matter; bha~NgI= the nature of; valgUni= harmonious words - harmonious words that contained the nature of matter - from maNi-suvarNAdi padArthA-s to the essential being of this world - what all you have said in many gIta-s about this world, living in this world, and passing from this world - para-tattva bodha;

On the other hand:

valgita vishAla vilocanAni= much flittering, broad, eyes; bAlya adhikAni= for boyhood, out of the ordinary - your sayings / exploits that are untypical of a boy; mada vallava bhASitAni [here not bhAvitAni] = by concupiscent, milkmaids, that are chattered; iha-loka-sambandhita;

such words / actions you exhibited:

tava jalpitAni= your, said - what all you have said and done;

su + dR^ishAM= those with good, eyes - milkmaids with lovely eyes / or, those farsighted sages and saints; bhAve luThanti = in their thoughts, wallowing;

Or

tava jalpitAni= your, said words - what all you have talked, either romantically with milkmaids, or philosophically to arjuna et al;

mada vallava bhAvitAni= by proud, cowherds - say, by all commoners; which words or actions have been adored by one and all in all these days;

but, those sayings are:

bAlya adhikAni= for boys, too much - verboten, beyond the pale; because, if boys take to your teachings arbitrarily, they either become debauchlors by your romantic sports - rAsa lIlAs stuff; or they will become pseudo-sanyasi-s by your bhagavadgita stuff;

yet they are:

su + dR^ishAM= for them with good, observation - those who have prescient outlook like sages and saints;

bhAve luThanti = in their thoughts, your sayings will be gyrating - those sagacious persons have to ruminate over your saying;

because they are:

pari-acita amR^ita rasAni= they are completely, coated with, nectar's, essence;

pada artha bha~NgI valgUni = with ref to their wordage, their meanings, their pattern, all those sayings are harmonious;

valgita vishAla vilocanAni= that are circumspectly scanned, with broad-based, vi+locanAni= vi + alochitAni= verily, well thought of; foresighted sayings with far-reaching effects;

Whatever sweet-talk you have talked with mellifluent wordage and tonality that is honeylogged; whatever you have seen with your flittering broad eyes in an untypical way of boyishness that is provocative; all that is much discussed among the concupiscent milkmaids, and hence your looks and language are wallowing in the minds of those milkmaids with lovely eyes... [1-33]

Or

Whatever you have said with harmonious wordage and tonality all that is nectarlogged, whatever you have seen with your flittering broad eyes in your boyhood in an untypical way of boyishness albeit like a teenager, which is much discussed among the concupiscent milkmaids, all those words and deeds are reeling in the minds of farsighted sages and saints...

Or

What all you have said, either romantically to milkmaids, or philosophically to arjuna et al, they are all adored by one and all in all these days; but, those sayings are beyond the pale of boys; yet, they will be rolling over in the minds of those that have prescient outlook like sages and saints, because those words of yours arecompletely nectarlogged and with ref to their wordage, meanings and pattern, all those sayings are harmonious because they are circumspectly scanned, broad-based, and well thought of sayings with far-reaching effects...[1-33]

--o)0(o--

पुनःप्रसन्नेनमुखेन्दुतेजसा
पुरोऽवतीर्णस्य कृपामहाम्बुधेः।
तदेव लीलामुरलीरवाऽमृतम्
समाधिविघ्नाय कदा नु मे भवेत्॥ १-३४
(वंशस्थ)

पुनः प्रसन्नेन मुख इन्दु तेजसा पुरः अवतीर्णस्य
कृपा महा अम्बुधेः तत् एव लीला मुरली रव अमृतम्

punaḥprasannenamukhendutejasā
puro'vatīrṇasya kṛpāmahāmbudheḥ |
tadeva līlāmuralīravā'mṛtam
samādhivighnāya kadā nu me bhavet || 1-34
(vaṁśastha)

punaḥ prasannena mukha indu tejasā puraḥ avatīrṇasya
kṛpā mahā ambudheḥ tat eva līlā muralī rava
amṛtam samādhi vighnāya kadā nu me bhavet

punaHprasannenamukhendutejasA
puro.avatIrNasya kR^ipAmahAmbudheH |
tadeva lIlAmuralIravA.amR^itam
samAdhivighnAya kadA nu me bhavet || 1-34
(vaMshastha)

vamshi_barham

punaH prasannena mukha indu tejasA puraH avatIrNasya kR^ipA mahA ambudheH tat eva lIlA muralI rava amR^itam samAdhi vighnAya kadA nu me bhavet

1.34. punaH prasannena mukha indu tejasA = perpetually, acquiescent, with such a face, called moon, which will be self- resplendent; puraH avatIrNasya= in my fore, having descended - after revealing himself to me; kR^ipA mahA ambudheH= for graciousness, great, ocean of; tat= that - with his most famous; lIlA muralI rava amR^itaM eva= sportive, flute's, sounding, called nectar, with that alone; me samAdhi vighnAya= my, meditation, for disrupting; some will place the opening word punaH= again here, meaning 'when he will come again...' as if krishna has come in earlier times also; or, this punaH can be taken as 'when does his childhood reoccur; but, perpetually is the meaning in general sense; kadA nu bhavet= when, really, will happen - when does he come - really.

Revealing himself to me with his perpetually self-resplendent moonlike face that is ever acquiescent, when does he really play his most famous and nectar-filled melodies on his flute in a playful manner only to disrupt my meditation on that great ocean of graciousness called krishna... [1-34]

--o)0(o--

भावेनमुग्धचपलेनविलोकनेन
मन्मानसेकिमपिचापलमुद्वहन्तम्।
लोलेनलोचनरसायनमीक्षणेन
लीलाकिशोरमुपगूहितुमुत्सुकोऽस्मि॥ १-३५
(वसन्त-तिलक)

भावेन(बालेन) मुग्ध चपलेन विलोकनेन (विलोकितेन)
मत्(अस्मत्) मानसे किम् अपि चापलम् उद्वहन्तम्
लोलेन लोचन रसायनम् ईक्षणेन लीला किशोरम्
उपगूहितुम् उत्सुकः अस्मि (उत्सुकाः स्मः)

bhāvenamugdhacapalenavilokanena
manmānasekimapicāpalamudvahantam |
lolenalocanarasāyanamīkṣaṇena
līlākiśoramupagūhitumutsuko'smi || 1-35
(vasanta-tilaka)

bhāvena (bālena) mugdha capalena vilokanena
(vilokitena) mat (asmat) mānase kim api cāpalam
udvahantam lolena locana rasāyanam īkṣaṇena
līlā kiśoram upagūhitum utsukaḥ asmi (utsukāḥ smaḥ)

bhAvenamugdhacapalenavilokanena
manmAnasekimapicApalamudvahantam|
lolenalocanarasAyanamIkShaNena
lIlAkishoramupagUhitumutsuko.asmi || 1-35
(vasanta-tilaka)

vamshi_barham

bhAvena (bAlena) mugdha capalena vilokanena (vilokitena) mat (asmat) mAnase kim api cApalam udvahantam lolena locana rasAyanam IkShaNena lIlA kishoram upagUhitum utsukaH asmi (utsukAH smaH)

1.35. mugdha capalena vilokanena [vilokitena]= captivating, undulating, with such glances [or, that whish is seen, it is seen with such and such looks]; in addition to them; bhAvena= with such body language, charming demeanour - ceShTA-s; [or bAlena= very delicate, not boyish]; mat mAnase= in my consciousness; kim api= anirvAcya= inexpressible; cApalam ut+vahantam= such a restless, up, heaving - he who is inciting; who further is; locana rasAyanam= for eyes, an elixir; who; lIlA kishoram= sportively, became a cub - who has become an attitudiniser as a boy for the sake of his sport;

adhyAdhAra from previous stanza: me samAdhi vighnAya puraH avatIrNasya= if he were to reveals himself in my fore to disrupt my concentration;

lolena IkShaNena upa+gUhitum = with vacillant - ambitious, eyes, cave in on him - clench him inescapably; utsukAH smaH= desperate for, I am;

I am desperate for clenching that sapphirine-boy-cum-attitudiniser, in an inescapable hug just with my ambitiously vacillant eyes, if only he were to reveal himself to my eyes, why because my mind is highly-strung with an inexpressible ado, caused by the captivatingly undulating glances and by the charming struts and postures of that boy, and because he is the panacea of every eye, called krishna... [1-35]

--o)0(o--

अधीरबिम्बाधरविभ्रमेण
हर्षार्द्रवेणुस्वरसम्पदा च।
अनेन केनाऽपि मनोहरेण
हा हन्त हा हन्तमनोधिनोति॥ १-३६(उपेन्द्र-वज्र)

अधीर बिम्ब अधर विभ्रमेण हर्ष आर्द्र वेणु स्वर संपदा च
अनेन केन अपि मनोहरेण मनः दुनोति(दुनोषि) हा हन्त हा हन्त

adhīrabimbādharavibhrameṇa
harṣārdraveṇusvarasampadā ca |
anena kenā'pi manohareṇa
hā hanta hā hantamanodhinoti || 1-36
(upendra-vajra)

adhīra bimba adhara vibhrameṇa harṣa ārdra
veṇu svara saṁpadā ca anena kena api manohareṇa
manaḥ dunoti (dunoṣi) hā hanta hā hanta

adhIrabimbAdharavibhrameNa
harShArdraveNusvarasampadA ca |
anena kenA.api manohareNa
hA hanta hA hantamanodhinoti || 1-36
(upendra-vajra)

vamshi_barham

a+dhIra bimba adhara vibhrameNa harSha Ardra veNu svara sa.mpadA ca anena kena api manohareNa manaH dunoti (dunoShi) hA hanta hA hanta

1.36. hA hanta= what a pity; kena api= by someone; manaH hareNa= by some mAnasa-chora, by some heart stealer; anena= by this, an intangible entity called krishna, kR^iShNAkhya vastu; a+dhIra= not, steady - motile; bimba = that which is like the reddish small-cucurbit fruit; adhara= such like lower lip; vibhrameNa= by that lip's quick motility; or, manaH hareNa= by heart-stealing - melodies; harSha Ardra = with rapture, blent with - that are blissfully rapturous; veNu svara sampadA ca= flute's, musical notes, by the plenitude of, as well; [me] manaH dhinoti= [my] mind, is delighting, enthralled; [dhunoti= my mind is put to tumult; dhunoSi= you cause it to tremble]; hA hanta= what a pity.

What a pity, a certain heart-stealer is putting my mind to turmoil by nebulously closing and disclosing his little reddish fruit-like lips that are bugling and knobbing when he is huffing and puffing his flute, as well with the plenitude of heart-stealing and blissfully rapturous musical notes thereout, what a pity, intangible is that toddler-flutist, called krishna... [1-36]

--o)0(o--

यावन्नमेनिखिलमर्मदृढाभिघात
निःसन्धिबन्धनमुपैति नवोपतापः।
तावद्विभो भवतु तावकवक्त्रचन्द्र
चन्द्राऽतपद्विगुणिता मम चित्तधारा॥ १-३७
(वसन्त-तिलक)

यावत् न मे निखिल मर्म दृढ अभिघात निःसन्धि बन्धनम्
उपैति नव उप तापः (कोऽपि तापः) तावत् विभो
भवतु तावक वक्त्र चन्द्र चन्द्र आतप द्विगुणिता मम चित्त धारा

yāvannamenikhilamarmadṛḍhābhighāta
niḥsandhibandhanamupaiti navopatāpaḥ |
tāvadvibho bhavatu tāvakavaktracandra
candrā'tapadviguṇitā mama cittadhārā || 1-37
(vasanta-tilaka)

yāvat na me nikhila marma dṛḍha abhighāta
niḥsandhi bandhanam upaiti nava upa tāpaḥ
(ko'pi tāpaḥ) tāvat vibho bhavatu tāvaka
vaktra candra candra ātapa dviguṇitā mama citta dhārā

yAvannamenikhilamarmadR^iDhAbhighAta
niHsandhibandhanamupaiti navopatApaH |
tAvadvibho bhavatu tAvakavaktracandra
candrA.atapadviguNitA mama cittadhArA || 1-37
(vasanta-tilaka)

vamshi_barham

yAvat na me nikhila marma dR^iDha abhighAta niHsandhi bandhanam upaiti nava upa tApaH (ko.api tApaH) tAvat vibho bhavatu tAvaka vaktra candra candra Atapa dviguNitA mama citta dhArA

1-37. hè vibho= oh, lord; nava upatApaH= new, agony - an unfamiliar agony of its own kind, death rattle - maraNa vedana; me= my; nikhila marma= on all, pivotal parts of body; dR^iDha abhighAta= dR^iDhatvam abhighAtam= firmness, that which mars down; niH + sandhi bandhanam = without, hinges, when limbs become - raw-boned, resulting in caducity, old age; yAvat na udeti= as long as, not, coming upon me; tAvat= till then; mama citta dhArA= my, consciousness', stream; tAvaka vaktra candra= your, face, called moon; candra Atapa= by moon's, shine; dviguNitA= doubled, boosted, snowballed; bhavatu= let it be;

tAvaka sudhAdhArAlaveNuswanon- nata lAvaNyaramAnivAsamukhachandra jyotsna - uppongeDu gAta - vengayAmAtya.

As long as hitherto unfamiliar death-rattle do not descend on me, so long let the stream of consciousness flowing through my mind's eye, a single faculty that will still be working when all my other limbs are battered and hang loose on their joints owing to caducity, be snowballed in the moonlight streaming from your moonlike face... oh, lord... krishna... [1-37]

--o)0(o--

यावन्न मे नर दशा दशमीम् दृशोऽपि
रन्ध्रादुदेति तिमिरीकृतसर्वभावा।
लावण्यकेलिभवनम् तव तावदेतु
लक्ष्यासमुत्‌क्वणितवेणुमुखेन्दुबिम्बम्॥ १-३८
(वसन्त-तिलक)

यावत् न मे नर दशा दशमी दृशः अपि
(ननु नर दशाम् दशमिम् कुतः अपि)
रन्ध्रात् उदेति (उपैति) तिमिरी कृत सर्व भावा
लावण्य केलि भवनम् (सदनम्) तव एव लक्ष्म्या
समुत् क्वणित  वेणु मुख इन्दु बिम्बम्

yāvanna me nara daśā daśamīm dṛśo'pi
randhrādudeti timirīkṛtasarvabhāvā |
lāvaṇyakelibhavanam tava tāvadetu
lakṣyāsamutkvaṇitaveṇumukhendubimbam || 1-38
(vasanta-tilaka)

yāvat na me nara daśā daśamī dṛśaḥ api
(nanu nara daśām daśamim kutaḥ api)
randhrāt udeti (upaiti) timirī kṛta sarva bhāvā
lāvaṇya keli bhavanam (sadanam)
tava eva lakṣmyā samut kvaṇita
veṇu mukha indu bimbam

yAvanna me nara dashA dashamIm dR^isho.api
randhrAdudeti timirIkR^itasarvabhAvA |
lAvaNyakelibhavanam tava tAvadetu
lakShyAsamut.hkvaNitaveNumukhendubimbam || 1-38
(vasanta-tilaka)

vamshi_barham

yAvat na me nara dashA dashamI dR^ishaH api (nanu nara dashAm dashamim kutaH api)
randhrAt udeti (upaiti) timirI kR^ita sarva bhAvA lAvaNya keli bhavanam (sadanam) tava eva lakShmyAH samut kvaNita veNu mukha indu bimbam

1. 38. timirI kR^ita sarva bhAvA = gloomy, made as, all, perceptions; dashami nara dashA satI = in tenth, human, stage that being so - last 10 years of hundred years of lifespan, or the ultimate stage in the series of shaishava, bAlya, yauvana, kaumAra etcdashA-s - maraNa dasha; me dR^ishaH randhrAt api = my, vision's, outlets, even from; yAvat= before long; na udeti= not, going to take birth - before the onset of darkness through the sockets of my eyes; tAvat= till then; lakShmyAH= by its beauty; lAvaNya keli bhavanaM= for elegance, which is a play, house; tava= your; sam+ut+kvaNita veNu= with highly mellisonant, flute; a face lipping flute for such melodies; mukha indu bimbam= face, called moon's, orb; [adyAdhAra; ellipt. from above stanza: mama chitta dhArA= stream of my consciousness]; etu= let it go.

Before the gloom of dotage seeps through my eye-sockets after obfuscating every other faculty of mine in the terminal stage of life, let my stream of consciousness surge towards the moon's orb called your face, wherefrom highly mellisonant flute-melodies will be surging, and whereat grandeur made a splendid playhouse for itself, just to envisage you, oh, krishna... [1-38]

Telugu poet velagapUDi venganAmAtya has left out this stanza because the import of this and the previous one are almost the same.

--o)0(o--

आलोललोचनविलोकितकेलिधारा
नीराजिताग्रसरणेः करुणाम्बुराशेः।
आर्द्राणिवेणुनिनदैः प्रतिनादपूरैः
आकर्णयामि मणिनूपुरशिञ्जितानि॥ १-३९
(वसन्त-तिलक)

आलोल लोचन विलोकित केलि धारा नीराजित अग्र सरणेः
(चरणैः) करुण अम्बु राशेः आर्द्राणि वेणु निनदैः
प्रति-नाद पूरैः आकर्णयामि (आकर्णयामि)
मणि नूपुर शिंजितानि

ālolalocanavilokitakelidhārā
nīrājitāgrasaraṇeḥ karuṇāmburāśeḥ |
ārdrāṇiveṇuninadaiḥ pratinādapūraiḥ
ākarṇayāmi maṇinūpuraśiñjitāni || 1-39
(vasanta-tilaka)

ālola locana vilokita keli dhārā nīrājita agra
saraṇeḥ (caraṇaiḥ) karuṇa ambu rāśeḥ ārdrāṇi
veṇu ninadaiḥ prati-nāda pūraiḥ ākarṇayāmi
(ākarṇayāmi) maṇi nūpura śiṁjitāni

AlolalocanavilokitakelidhArA-nIrAjitAgra
caraNaiH karuNAmburAsheH |
ArdrANiveNuninadaiH pratinAdapUraiH
AkarNayAmi maNinUpurashi~njitAni || 1-39
(vasanta-tilaka)

vamshi_barham

Alola locana vilokita keli dhArA nIrAjita agra saraNeH (caraNaiH) karuNa ambu rAsheH ArdrANi veNu ninadaiH prati-nAda pUraiH AkarNayAmi (AkarNayAmi) maNi nUpura shi.njitAni

1-39. Alola locana vilokita = swivelling, with eyes, that which is seen - the foreyard, or, the who are seeing him with swivelling eyes - milkmaids; keli dhArA= with playful, series of looks - his own looks at the ground before him, or the looks of milkmaids at him; nIrAjita= as if worshipped by swaying burning camphor - at him by milkmaids, or, by him at the foreground; agra saraNeH [caraNaiH]= the foreground of, [ground before his feet, while he is advancing with dancing feet, and while the milkmaids are promenading before him with back-step dancing - the ground in between] or, saraNi= the way in which we do things; karuNa ambu rAsheH= of that one who is for - graciosity, water, heap of - an ocean of grace; prati-nAda pUraiH= reverberations, filled with; veNu ninadaiH= accompanied by flute's, melodies; ArdrANi = wet with - nectarlogged with; maNi nUpura shi~njitAni= his bejewelled, anklets', tintinnabulation; AkarNayAmi= I am listening.

When that sapphirine boy is advancing by tripping his light fantastic toe, looking a little downwards with his flute-wedged-face, the ground in his fore appears to have been hallowed just with his swivelling and playful looks, as is done by swaying burning camphor at deities in daily worship, whereof I am able to listen to the nectarlogged and vibrant melodies flowing from his flute to the accompaniment of tintinnabulation of jewelled anklets of that ocean of grace called krishna... [1-39]

Or

While that sapphirine boy is advancing with forward trotting, the milkmaids dancing in his fore with backstep trotting seem to be hallowing him just with their swivelling and playful looks that are akin to the smoothable flares of camphor lit in the daily worship of deities, and even in that bustle, audible are the nectarlogged and vibrant melodies flowing from his flute to the accompaniment of tintinnabulation of jewelled anklets of that ocean of grace called krishna...

The first construct, krishna hallowing the earth, has a base on the hymn of mahA- nArAyaNa upanishad - ashva krAnte, ratha krAnte atha viShNukrAnte vasundharA - 'why horses of ritual or chariot like sages, oh, vasundhara, not less than viShNu treaded on you...'; the second meaning is situational.

--o)0(o--

हे देव हे दयित हे भुवनैकबन्धो
हे कृष्ण हे चपल हे करुणैकसिन्धो
हे नाथ हे रमण हे नयनाभिराम
हा हा कदा नु भवितासि पदम् दृशोर्मे॥ १-४०
(वसन्त-तिलक)

हे देव हे दयित हे जगत् एक बन्धो(भुवनैक बन्धो) हे कृष्ण
हे चपल हे करुणैक सिन्धो हे नाथ हे रमण हे नयन अभिराम
हा हा कदा नु भविता असि पदम् दृशोः मे

he deva he dayita he bhuvanaikabandho
he kṛṣṇa he capala he karuṇaikasindho
he nātha he ramaṇa he nayanābhirāma
hā hā kadā nu bhavitāsi padam dṛśorme || 1-40
(vasanta-tilaka)

he deva he dayita he jagat eka bandho
(bhuvanaika bandho) he kṛṣṇa he capala
he karuṇaika sindho he nātha he ramaṇa
he nayana abhirāma hā hā kadā nu
bhavitā asi padam dṛśoḥ me

he deva he dayita he bhuvanaikabandho
he kR^iShNa he capala he karuNaikasindho |
he nAtha he ramaNa he nayanAbhirAma
hA hA kadA nu bhavitAsi padam dR^ishorme || 1-40
(vasanta-tilaka)

vamshi_barham

he deva he dayita he jagat eka bandho (bhuvanaika bandho) he kR^iShNa he capala he karuNaika sindho he nAtha he ramaNa he nayana abhirAma hA hA kadA nu bhavitA asi padam dR^ishoH me

1-40. Is there anything deducible from list of words used in verse; Let us see what is there in this divine conversation:

Poet: When can I apperceive you, hè deva... oh, god...

Krishna: How can you, immortals are unapparent... aprakAshamAna...

Poet: How can it be, you cannot go against the definition of deva - dyotanAt iti deva, or dIpyate, prakAshate, krIDate - iti deva - gods are self-luminous, self-manifest etc, hence, I said deva... svataH siddha prakAsha svabhAva...

K: Maybe, what is the guarantee that you like me most...?

P: That is why I said dayita... you alone are the most cherished one...

K: There are many more cherishing me... not you alone...

P: I know, I know, hence I said - hè jagat eka bandho... universal friend... and universal entities do not distinguish between cherishers by degrees of difference...

K: I may appear to some, and I may not for others, it is my will...

P: Yes, yes, hence I said, chapala... most mercurial entity... but I also said karuNa eka sindho - a singular ocean of mercy, in that you have more mercy than mercuriality... so I need your visitation...

K: What big bond exists between you and me to make that ocean of mercy to outflow its shore...

P: That of master-servant... hence I said hè nAtha... because of that sva-svAmi-bhAva-rUpa-visheSha, it will be apt you to please your servants...

K: Lords appear at the pleasure of their lordships, not at the beck and call of servants...

P: That's why I said that you are ramaNa, a delighter of one and all without echalonic distinctions... hence reveal yourself to me...

K: Agreed that I am ramaNa, so let me take and give delight to your heart of hearts, why showing myself before your eyes...

P: Because you are nayana abhirAma, the ultimate eye-feast... ad infinitum;

All said and done;

hè kR^iShNa=; mè dR^ishoH padaM= my, sight's, object; kadA nu bhavitA asi hA hA= when, really, you will be, alas, alas.

Oh, Krishna, when can I really feast my eyes on you...?

--o)0(o--

अमून्यधन्यानि दिनान्तराणि
हरे त्वदालोकनमन्तरेण।
अनाथबन्धो करुणैकसिन्धो
हा हन्त हा हन्त कथम् नयामि॥ १-४१(उपेन्द्र-वज्र)

अमूनि अ+धन्यानि दिन अन्तराणि(दिक् अन्तराणि)
हरे त्वत् आलोकनम् अन्तरेण अनाथ बन्धो करुण एक सिन्धो
हा हन्त हा हन्त कथम् नयामि

amūnyadhanyāni dināntarāṇi
hare tvadālokanamantareṇa |
anāthabandho karuṇaikasindho
hā hanta hā hanta katham nayāmi || 1-41
(upendra-vajra)

amūni a-dhanyāni dina antarāṇi (dik antarāṇi) hare
tvat ālokanam antareṇa anātha bandho
karuṇa eka sindho hā hanta hā hanta katham nayāmi

amUnyadhanyAni digAntarANi
hare tvadAlokanamantareNa |
anAthabandho karuNaikasindho
hA hanta hA hanta kathaM nayAmi || 1-41

vamshi_barham

amUni a+dhanyAni dina antarANi [dik antarANi] hare, tvat Alokanam antareNa, anAtha bandho, karuNa eka sindho, hA hanta hA hanta, kathaM nayAmi

1-41. karuNa eka sindho= for mercy, singular, ocean; anAtha bandho= helpless one's, fosterer of; hè hare= one who steals heart by his transcendental charm; tvat Alokanam antareNa= you, seeing, without - because I could not see you in all these days, these days are; a+dhanyAni= not, lucky, unavailing; such as those days are; amUni dina antarANi= these, days - some more days yet to come; kathaM nayAmi= how, can I while away;hA hanta hA hanta= oh, my god, oh, my god.

Oh singular ocean of mercy, days beyond recall are unavailing because you are undetectable, in the face of it, oh, fosterer of the helpless, how to while away some more worthless days till my last day without catching a glimpse of you... oh god, oh, god... tell me oh, krishna... [1-41]

--o)0(o--

किमिह शृणुमः कस्य ब्रूमः कथम् कृतमाशया
कथयत कथाम् धन्या मन्या महे हृदयेशयम्।
मधुरमधुरस्मेराकारे मनोनयनोत्सवे
कृपणकृपणा कृष्णे तृष्णा चिरम बत लम्बते॥ १-४२
(हरिणी)

किम् इह शृणुमः(किम् इव कृणुमः) कस्य ब्रूमः कथम् कृतम् आशया
(कृतम् कृतम् आशया) कथयत कथाम् धन्याम् (अन्याम्)
अहो हृदये शयम्(हृदये शयः) मधुर मधुर स्मेर आकारे
मनो नयन उत्सवे कृपण कृपणा कृष्णे तृष्णा चिरम लम्बते बत

kimiha śṛṇumaḥ kasya brūmaḥ katham kṛtamāśayā
kathayata kathām dhanyā manyā mahe hṛdayeśayam |
madhuramadhurasmerākāre manonayanotsave
kṛpaṇakṛpaṇā kṛṣṇe tṛṣṇā ciraṁ bata lambate || 1-42
(hariṇī)

kim iha śṛṇumaḥ (kim iva kṛṇumaḥ) kasya brūmaḥ
katham kṛtam āśayā (kṛtam kṛtam āśayā)
kathayata kathām dhanyām (anyām) aho
hṛdaye śayam (hṛdaye śayaḥ) madhura madhura
smera ākāre mano nayana utsave kṛpaṇa kṛpaṇā kṛṣṇe
tṛṣṇā ciraṁ lambate bata

kimiva shR^iNumaH kasya brUmaH katham kR^itamAshayA
kathayata kathAm dhanyA manyA mahe hR^idayeshayam |
 madhuramadhurasmerAkAre manonayanotsave
kR^ipaNakR^ipaNA kR^iShNe-
tR^iShNA ciraM bata lambate || 1-42 (hariNI)

vamshi_barham

kim iva shR^iNumaH (kim iha kR^iNumaH) kasya brUmaH katham kR^itam AshayA (kR^itam kR^itam AshayA) kathayata kathAm dhanyAm (anyAm) aho hR^idaye shayam
(hR^idaye shayaH) madhura madhura smera AkAre mano nayana utsave kR^ipaNa kR^ipaNA kR^iShNe tR^iShNA ciraM lambate bata

1-42. madhura madhura smera AkAre= sweetest of the sweet, brilliant, who is with such a form, or, with such a smile; mano nayana utsave= for mental, eye, who is a festivity; kR^iShNe= regarding such krishna; kR^ipaNa kR^ipaNA tR^iShNA= saddest than the sadder, ambition; ciraM lambate= for a long time, dangling - in my heart; bata= alas; dhanyAH= oh, blessed - fellow devotees; kim iva shR^iNumaH= what we have to hear of it - how to entertain it;kasya brUmaH= to whom, we shall complain; katham AshayA kR^itam= how, with that expectation, [my heart] made - my heart becomes contented;hR^idaye shayam kR^iShNe= in heart, reposing - who is instated in my heart; katham manyAmahe= how to, reckon upon him - or his revelation; bata= alas.

Or

bata= say, oh, people; madhura madhura smera AkAre= sweetest, of the sweet, brilliant, who is with such a form; mano nayana utsave= for mental, eye, who is a festivity - netra manobhirAma; kR^iShNe= regarding such krishna; kR^ipaNa kR^ipaNA tR^iShNA= saddest than the sadder, ambition; ciraM lambate= for a long time, dangling - in my heart; AshayA katham kR^itam= with that expectation, how to, made - my heart becomes contented; kim iva shR^iNumaH= what we have to hear of it - what advise I have;kasya brUmaH= to whom, we shall complain - whom should I consult; kR^iShNe hR^idaye shayam = about krishna, in heart, reposing; aho= what a surprise; anyAm dhanyAm kathAm kathayata= another, blessed, method, you please tell - will you please tell me another blessed way to fulfil my wish.

How can I see into the entrails of my heart of hearts, wherein certain boy is reposing with brilliant and sweatiest form that which is beholder's eye-festival, because such a pitiably rueful desire to see him with my own eyes is dangling in my mind for a long time... how to make my heart satisfied with that desire, what advise I can have, whom should I consult, will anybody tell me whether there is any other blessed way to glimpse therein for that sapphirine boy called krishna... [1-42]

---o)0(o--

आभ्याम्विलोचनाभ्या-
मम्बुजदलललितलोचनम्बालम्।
द्वाभ्यामपिपरिरब्धुम्
दूरे मम हन्त दैवसामग्री॥ १- ४३
(आर्या गीति)

आभ्याम् विलोचनाभ्याम् अम्बुज दल ललित लोचनम् बालम्
द्वाभ्याम् अपि परिरब्धुम् दूरे मम हन्त दैव सामग्री

ābhyāmvilocanābhyā-
mambujadalalalitalocanambālam |
dvābhyāmapiparirabdhum
dūre mama hanta daivasāmagrī || 1- 43
(āryā gīti)

ābhyām vilocanābhyām ambuja dala lalita locanam
bālam dvābhyām api parirabdhum
dūre mama hanta daiva sāmagrī

AbhyAmvilocanAbhyA
mambujadalalalitalochanambAlam |
dvAbhyAmapiparirabdhum
dUre mama hanta daivasAmagrI || 1- 43
(AryA gIti)

vamshi_barham

AbhyAm vilocanAbhyAm ambuja dala lalita lochanam bAlam dvAbhyAm api parirabdhum dUre mama hanta daiva sAmagrI

1-43. AbhyAm vilocanAbhyAm = with these, two eyes - that have seen very imposing things like parvatAdi mahad vastUni, mountains etc; ambuja dala lalita lochanAm= lotus, petal like, very delicate, one having eyes - Krishna; bAlam= boy - though he is kid; dvAbhyAm api= with these both - eyes, even - even though he is just a kid to my sight that has seen huge things; whenever I wished to;parirabdhum= to enfold, embrace; [hR^idaye shayam= in heart, who is reposing - krishna] daiva sAmagrI= divine, apparatus - fortune; mama dUre= from me, remote; hanta= what am I to do.

All the while these two eyes of mine have seen very imposing things in the world; but whenever I spot that lovely kid with very delicate lotus-petal like eyes reposing in my heart with the very same eyes, and wished to take him up in my arms for a tight embrace thinking that he is very tiny, he is hoodwinking the very same eyes and slipping... what am I to do when the divine widget called fortune is very far away from me in cuddling that boy, called krishna... [1-43]

---o)0(o--

अश्रान्तस्मितमरुणारुणाधरोष्ठम्
हर्षार्द्रद्विगुणमनोज्ञवेणुगीतम्।
विभ्राम्यद्विपुलविलोचनार्धमुग्धम्
वीक्षिष्येतववदनाम्बुजम् कदा नु॥१-४४
(प्रहर्षिणी)

अ+श्रान्त स्मितम् अरुण अरुण अधर ओष्ठम् हर्ष आर्द्र द्विगुण
मनोज्ञ वेणु गीतम् विभ्राम्यत् विपुल विलोचन
अर्ध मुग्धम् वीक्षिष्ये तव वदन अम्बुजम् कदा नु

aśrāntasmitamaruṇāruṇādharoṣṭham harṣārdradviguṇamanojñaveṇugītam |
vibhrāmyadvipulavilocanārdhamugdham
vīkṣiṣyetavavadanāmbujam kadā nu || 1- 44
(praharṣiṇī)

a+śrānta smitam aruṇa aruṇa adhara oṣṭham
harṣa ārdra dviguṇa manojña veṇu gītam
vibhrāmyat vipula vilocana ardha mugdham
vīkṣiṣye tava vadana ambujam kadā nu

ashrAntasmitamaruNAruNAdharoShTham
harShArdradviguNamanoj~naveNugItam |
vibhrAmyadvipulavilocanArdhamugdham
vIkShiShyetavavadanAmbujam kadA nu || 1- 44
(praharShiNI)

vamshi_barham

a+shrAnta smitam aruNa aruNa adhara oShTham harSha Ardra dviguNa manoj~na veNu gItam vibhrAmyat vipula vilocana ardha mugdham vIkShiShye tava vadana ambujam kadA nu

1-44. a + shrAnta smitam= with not, remitting, smile - a face which has such a smile; aruNa aruNa adhara oShThaM= reddest, than the redder, with such a lower, lip; harSha Ardra dviguNa manoj~na veNu gItam= rapture, wet with - rhapsodically, doubled - exalted, flute's, fluting - the face that has such melodies - from which such melodies are flowing; vibhrAmyat vipula vilocana ardha mugdhaM= verily swaying, broad, eyes, half, closed - which face has got those sidelong glances; such a; tava vadana ambujaM= your, face, called lotus; kadA nu vIkShiShye = when, really, can I see.

Adorned with a perpetual smile on the rubicund lips upon the rhapsodically gleeful face that is exalted with the rapturous melodies fluted therefrom, whereon broad and half-closed eyes sway a lot edgewise... such as it is when can I really glimpse that face of yours called lotus... oh, krishna... [1-44]

----o)0(o--

लीलायताभ्याम् रसशीतलाभ्याम्
नीलारुणाभ्याम् नयनाम्बुजाभ्याम्।
आलोकयेदद्भुतविभ्रमाभ्याम्
बालः कदा कारुणिकः किशोरः॥ १-४५
(इन्द्र-वज्रा)

लीलायताभ्याम् रस शीतलाभ्याम् नील अरुणाभ्याम्
नयन अम्बुजाभ्याम् आलोकयेत् अद्भुत
विभ्रमाभ्याम् बालः (काले) कदा कारुणिकः किशोरः

līlāyatābhyām rasaśītalābhyām
nīlāruṇābhyām nayanāmbujābhyām |
ālokayedadbhutavibhramābhyām
bālaḥ kadā kāruṇikaḥ kiśoraḥ || 1-45
(indra-vajrā)

līlāyatābhyām rasa śītalābhyām nīla aruṇābhyām
nayana ambujābhyām ālokayet adbhuta
vibhramābhyām bālaḥ (kāle) kadā kāruṇikaḥ kiśoraḥ

lIlAyatAbhyAm rasashItalAbhyAm
nIlAruNAbhyAm nayanAmbujAbhyAm | AlokayedadbhutavibhramAbhyAm
bAlaH kadA kAruNikaH kishoraH || 1-45
(indra-vajrA)

vamshi_barham

lIlAyatAbhyAm rasa shItalAbhyAm nIla aruNAbhyAm nayana ambujAbhyAm Alokayet adbhuta vibhramAbhyAm bAlaH (kAle) kadA kAruNikaH kishoraH

1-45. kAruNikaH kishoraH= that merciful, boy; lIlA AyatAbhyAM= with exhilarant, broad - eyes; rasa shItala AbhyAM= sR^ingAra rasa shItala= with the romantics, elixir of, cooling - calmative; nIla aruNAbhyAM= black at the irises; rosy at edges of eyeballs; adbhuta vibhrama AbhyAM= marvellously, zigzagging; nayana ambujAbhyAm= with such eyes, called lotuses; kAle kadA= time, at which; [mAm] Alokayet - me, he will glance.

His eyes are broad, exhilarant, founts for the calmative elixir of romantics, centrally ebon peripherally rosy, and marvellously zigzagging; but, what might be the slated time for him to just throw a glance at me, for that merciful boy with such and such lotusy eyes is called, krishna... [1-45]

--o)0(o--

बहुलचिकुरभारम् बद्धपिङ्छावतंसम्
चपलचपलनेत्रम् चारुबिम्बाधरोष्ठम्।
मधुरमृदुलहासम् मन्दरोदारलीलम्
मृगयति नयनम् मे मुग्ध वेषम् मुरारेः॥ १-४६
(मालिनी)

बहुल चिकुर भारम्(भारा) बद्ध पिङ्छ अवतंसम् चपल चपल नेत्रम्
चारु बिम्ब अधर ओष्ठम् मधुर मृदुल हासम् मन्दर
उदार लीलम् मृगयति नयनम् मे मुग्ध वेषम् मुरारेः

bahulacikurabhāram baddhapiṅchāvataṁsam
capalacapalanetram cārubimbādharoṣṭham |
madhuramṛdulahāsam mandarodāralīlam
mṛgayati nayanam me mugdha veṣam murāreḥ || 1-46
(mālinī)

bahula cikura bhāram (bhārā-) baddha piṅcha
avataṁsam capala capala netram cāru bimba
adhara oṣṭham madhura mṛdula hāsam mandara udāra
līlam mṛgayati nayanam me mugdha veṣam murāreḥ

bahulacikurabhAram baddhapi~NChAvata.msam
capalacapalanetram cArubimbAdharoShTham |
madhuramR^idulahAsam mandarodAralIlam
mR^igayati nayanam me mugdha veSham murAreH || 1-46
(mAlinI)

vamshi_barham

bahula cikura bhAraM [bhArA] baddha pi~Ncha avataMsaM capala capala netraM cAru bimba adhara oShTham madhura mR^idula hAsaM mandara udAra lIlaM mR^igayati nayanaM me mugdha veShaM murAreH

anvaya: me nayanam muraareH mugdha veSham mRigayati.

1-46. bahula cikura bhAraM= much, tresses, weight of - having a bushy hairdo; baddha pi~Ncha avataMsaM= fastened, peacock's feathers, as ornament - with a bandeau of peacock feathers; capala capala netraM= darting, bolting, with such eyes; cAru bimba adhara oShTham= charming, red-fruit-like, lower lip; madhura mR^idula hAsaM= prettily, delicate, with smile; mandara = mandara adri dhR^iti= like Mt. mandara's constancy; udAra lIlaM= in perpetuity, are his [demeanour in] toying [with world]; me nayanaM [tam] mR^igayati = my, eyes [him], searches; murAreH mugdha veShaM= that Krishna, in a delighting, getup.

Luxuriant is his hairdo on which a bandeau of peacock feathers is there, beneath which his eyes are bolting and darting, beneath which his charming crimsony lips ever wear a prettily delicate smile; with them he whose demeanour in toying with world is in utter constancy and in outright perpetuity like mountain mandara; my eyes search for such a boy in such a get-up, called Krishna... [1-46]

--o)0(o--

बहुलजलदच्छाया चोरम् विलासभरालसम्
मदशिखिशिखालीलोत्तंसम् मनोज्ञमुखाम्बुजम्|
कम् अपि कमलापाङ्गोदग्रप्रसङ्ग जडम् जग -
न्मधुरिमपरीपाकोद्रेकम् वयम् मृगयामहे॥१-४७
(हरिणि)

बहुल जलद च्छाया चोरम् विलास भर अलसम् मद शिखि शिखा लील
उत्तंसम् मनोज्ञ मुख अम्बुजम् कम् अपि करुणा (कमल)
अपाङ्ग उदग्र प्रसङ्ग जडम् जगत् (प्रसन्न जितम् जगत् )
 मधुरिम परीपाक उद्रेकम् वयम् मृगयामहे

bahulajaladacchāyā coram vilāsabharālasam
madaśikhiśikhālīlottaṁsam manojñamukhāmbujam |
kam api kamalāpāṅgodagraprasaṅga jaḍam jaga -
nmadhurimaparīpākodrekam vayam mṛgayāmahe ||1-47 (hariṇi)

bahula jalada cchāyā coram vilāsa bhara alasam
mada śikhi śikhā līla uttaṁsam manojña mukha ambujam
kam api karuṇā (kamala) apāṅga udagra prasaṅga
jaḍam jagat (prasanna jitam jagat) madhurima
parīpāka udrekam vayam mṛgayāmahe

bahulajaladacChAyA choram vilAsabharAlasam
madashikhishikhAlIlottaMsam manoj~namukhAmbujam |
kam api kamalApA~Ngodagraprasa~Nga jaDam jaga-
nmnmadhurimaparIpAkodrekam vayam mR^igayAmahe ||1-47
(hariNi)

vamshi_barham

bahula cikura bhAram (bhArA-) baddha pi~NCha avataMsam capala capala netram cAru bimba adhara oShTham madhura mR^idula hAsam mandara udAra lIlam mR^igayati nayanam me mugdha veSham murAreH

anvaya: kam api madhurima parIpAka udrekaM vayaM mR^igayAmahe

1-47. bahula jalada cChAyA=thick, water-clouds', hue of; choraM= one whose beauty stole the beauty of clouds' hue for his complexion; vilAsa bhara alasaM= [one that] in playful act, by their burden, a little sluggish - his lotusy face; mada shikhi= an excited, peahen's;shikhA= plumage; lIlA uttaMsaM= [whose beauty has got it] as a sportive, headgear;manoj~na mukha ambujam= such a delightful, face, called lotus;

karuNA apA~Nga udagram [yathaa tathaa] = filled with benignity, sidelong glances, surging;

kamalA apA~Nga udagram= with lotus-petal like eyes, side glances, squirting;

prasanna jagat jaDaM = silenced, world's, inertia; whose sidelong glances ever remove world's inertia;

pra+sa~Nga jagat jitam= always attached, world, conquered = who won over the world by ever attaching his sidelong glances on it; kliSTaanvayi;

madhurima parIpAka udrekaM = a tenderness, that reached a culmination, and welling forth;

kam api= some such [beauty]; vayaM mR^igayAmahe= we are, scouting about.

That haecceity which stole the blueblack hue of rainclouds for its complexion; a little sang-froid under the strain of continuous disporting with the world; with a delightful lotusy lineament lined with lusty peahen's plumage, and we explore some such prodigy with benign sidelong glances that ever erase the inertia of world, namely Krishna... [1-47]

----o)0(o--

परामृश्यम् दूरे परिषदि मुनीनाम् व्रजवधू
दृशाम्‌दृश्यम् शश्वत्त्रिभुवनमनोहारि वपुषम्।
अनामृश्यम् वाचा अनिदमुदयानामपि कदा
दरीदृश्ये देवम् दरदलितनीलोत्पल निभम्॥ १-४८
(शिखरिणी)

परामृश्यन् दूरे परिषदि मुनीनाम् (पथि पथि मुनीनाम्) व्रज वधू
दृशाम् (दृशा) दृश्यम् शश्वत् त्रि भुवन मनोहारि वदनम् (वपुषम्)
अनामृश्यम् वाचाम् अन्+इदम्+उदयानाम्+अपि
(मुनि समुदयानाम् अपि)
कदा दरी दृश्ये देवम् दर दलित नील उत्पल निभम् (रुचिम्)

parāmṛśyan dūre pariṣadi munīnām vrajavadhū
dṛśāmdṛśyam śaśvattribhuvanamanohāri vapuṣam |
anāmṛśyam vācā anidamudayānāmapi kadā
darīdṛśye devam daradalitanīlotpala nibham || 1-48
(śikhariṇī)

arāmṛśyan dūre pariṣadi munīnām
(pathi pathi munīnām) vraja vadhū dṛśām (dṛśā) dṛśyam
śaśvat tri bhuvana manohāri vadanam anāmṛśyam vācām an+idam+udayānām+api (muni smudayānām api) kadā darī dṛśye devam dara dalita nīla utpala nibham (rucim)

parAmR^ishyan dUre pariShadi munInAm vrajavadhUdR^ishAm.hdR^ishyam shashvattribhuvanamanohAri vapuSham |anAmR^ishyam vAcA anidamudayAnAmapi kadAdarIdR^ishye devam daradalitanIlotpala nibham || 1-48
(shikhariNI)

vamshi_barham

parAmR^ishyan dUre pariShadi munInAm (pathi pathi munInAm) vraja vadhU dR^ishAm (dR^ishA) dR^ishyam, shashvat tri bhuvana manohAri vadanam, anAmR^ishyam vAcAm,
an+idam+udayAnAm+api (muni smudayAnAm api) kadA darI dR^ishye devam dara dalita nIla utpala nibham (rucim)

1-48. an+idam udayAnAm [= udaya AdInaam] = not [impossible], [to tell] this is his] start, or birth, or his growth - inexplicable is the data about his birth, starting point, growth etc;

vAcAm api= by statements [of Veda-s, Upanishad-s etc], even by them; an+AmR^ishyaM= not, touched upon;

therefore:

munInAM pariShadi parAmR^ishyan api= in sages, assemblages, [this topic of his Being is] dealt with, even though; dUre= he is very far - it is a far cry to decipher Him;

but;

vraja vadhU dR^ishAM dR^ishyaM= for vraja, beauties', eyes, that Being is apperceived;

such as he is who;

shashvat tri bhuvana manohAri vadanam = always, tri, world, heart-stealing, with such a face;

dara dalita nIla utpala rucim = a little, bloomed, blue, lotus-like, in shine with;

devaM = at such a luminary;

kadA darI dR^ishye = when, to the end [eyefully], can I have a look.

Neither the sages concluded in their conclaves, nor Vedic statements have consolidated about the being-ness of that Being, which at the same time is apperceivable to the eyes of boorish vraja beauties; even so, that Being glowing in the hue of just bloomed blue-lotus, ever wears a heart-stealing smile on its countenance, stealing the triad of the world; when can I have an eyeful look at that self-luminance called Krishna... [1-48]

----o)0(o--

लीलाऽऽननाम्बुजमधीरमुदीक्षमाणम्
नर्माणिवेणुविवरेषुनिवेशयन्तम्।
डोलायमाननयनम् नयनाभिरामम्
देवम् कदा नु दयितम् व्यतिलोकयिष्ये॥ १-४९(वसन्त-तिलक)

लील अनन अम्बुजम् अ+धीरम् उदीक्षमाणम् वेणु विवरेषु नर्माणि
निवेशयन्तम् डोलायमान(लोलायमान) नयनम् नयन अभिरामम्
देवम् दयितम् (वन्दे) कदा नु व्यतिलोकयिष्ये

līlā''nanāmbujamadhīramudīkṣamāṇam
narmāṇiveṇuvivareṣuniveśayantam |
ḍolāyamānanayanam nayanābhirāmam
devam kadā nu dayitam vyatilokayiṣye || 1-49
(vasanta-tilaka)

līla anana ambujam a+dhīram udīkṣamāṇam
veṇu vivareṣu narmāṇi niveśayantam
ḍolāyamāna (lolāyamāna) nayanam
nayana abhirāmam devam dayitam (vande)
kadā nu vyatilokayiṣye

lIlA.a.ananAmbujamadhIramudIkShamANa
mnarmANiveNuvivareShuniveshayantam |
DolAyamAnanayanam nayanAbhirAmam
devam kadA nu dayitam vyatilokayiShye || 1-49
(vasanta-tilaka)

vamshi_barham

lIla anana ambujam, a+dhIram udIkShamANam, veNu vivareShu narmANi niveshayantam,
DolAyamAna (lolAyamAna) nayanam, nayana abhirAmam, devam, dayitam, (vande) kadA nu vyatilokayiShye

1-49. lIla anana ambujam= with sprightliness, a face, lotus-like; a+dhIram udIkShamANaM = not, steadily, seeing - searching here and there with too much tilting of his face, face casting about for; veNu vivareShu= in flute's, holes; narmANi= covert messages in the form of flutings; niveshayantam = one who is entering - piping the flute; lolAyamAna nayanaM = with wigwagging, eyes; nayana abhirAmaM= who for any eyes, a delighter - an eye-feast; devaM [or vande]= a certain phosphorescence - luminosity without combustion or perceptible heat; dayitam= a dear one to one and all; kadA nu vyatilokayiShye= when, really, can I see; [vande= when can I personally adore him].

With wigwagging eyes on sprightly lotusy face, both agilely casting about for his adorers, at the same time piping flute with covert messages to his beloveds - he is an eye-feast; when can I really see that self-refulgence, a dear one to one and all, called Krishna... [1-49]

--o)0(o--

लग्नम् मुहुर्मनसि लम्पटसम्प्रदायि
रेखावलेखिनि रसज्ञमनोज्ञवेषम्।
लज्जन्मृदुस्मितमधुस्नपिताधराम्शु
राकेन्दुलालितमुखेन्दु मुकुन्दबाल्यम्॥ १-५०
(वसन्त-तिलक)

लग्नम् मुहुः मनसि लम्पट सम्प्रदायि(संप्रदायम्) रेख
अवलेखिनि (लेका विलेखन) रसज्ञ मनोज्ञ वेषम्
लज्जत् (रज्जत्) मृदु स्मित मधु स्नपित अधर अंशु
राकेन्दु लालित मुख इन्दु मुकुन्द बाल्यम्

lagnam muhurmanasi lampaṭasampradāyi
rekhāvalekhini rasajñamanojñaveṣam |
lajjanmṛdusmitamadhusnapitādharāmśu
rākendulālitamukhendu mukundabālyam || 1-50
(vasanta-tilaka)

lagnam muhuḥ manasi lampaṭa sampradāyi
(saṁpradāyam) rekha avalekhini (lekā vilekhana)
rasajña manojña veṣam lajjat (rajjat) mṛdu smita
madhu snapita adhara aṁśu
rākendu lālita mukha indu mukunda bālyam

lagnam muhurmanasi lampaTasampradAyi
rekhAvalekhini rasaj~namanoj~naveSham |
lajjanmR^idusmitamadhusnapitAdharAmshu
rAkendulAlitamukhendu mukundabAlyam || 1-50
(vasanta-tilaka)

vamshi_barham

lagnam muhuH manasi lampaTa sampradAyi (sa.mpradAyam) rekha avalekhini (lekA vilekhana) rasaj~na manoj~na veSham lajjat (rajjat) mR^idu smita madhu snapita adhara aMshu rAkendu lAlita mukha indu mukunda bAlyam

1-50. rasaj~na manoj~na veSham = for aesthetic people, heart-pleasing, is his getup;

lajjat= a little coyly; mR^idu= delicately; smita madhu snapita= smiles, called honey, drenched in; adhara= such lips; aMshu = with glow of such lips;

rAka indu= night's, shiner = by moon; lAlita= nurtured by [that moon] ; mukha indu = with such a face, called moon;

mukunda bAlyam = mukunda's, boyhood;

rekha Avalekhini = silhouetted, picture;

manasi muhuH lagnaM= in my, heart, repeatedly, riveted;

lampaTa sampradAyam = of entanglement, a regularity - regularly making me short-winded for his sAkShAtkAram - a sort of entelechy; [bhavati= it is becoming.]

His getup with a glow on coyly lips that are drenched in the honey called his delicate smiles, with a moonlike face that is tended by no less than full moon, will be heart-pleasing for aesthetic people; that silhouette of his boyhood picture is repeatedly stowing in my heart, only to make me short-winded for an entelechy of that boy called Krishna... [1-50]

--o)0(o--

अहिमकरकरनिकरमृदुमृदितलक्ष्मी
सरसतरसरसिरुहसदृशदृशि देवे।
व्रजयुवतिरतिकलह विजयिनिजलीला
मदमुदितवदनशशिमधुरिमणि लीये॥ १-५१
(शशि-कला/शशि-शोभ)

अ+हिम कर कर निकर मृदु मृदित लक्ष्मी सरस तर सरसि रुह
सदृश दृशि देवे व्रज युवति रति कलह विजयि निज लीला
मद मुदित वदन शशि मधुरिमणि लीये

ahimakarakaranikaramṛdumṛditalakṣmī
sarasatarasarasiruhasadṛśadṛśi deve |
vrajayuvatiratikalaha vijayinijalīlā
madamuditavadanaśaśimadhurimaṇi līye || 1- 51
(śaśi-kalā / śaśi-śobha)

a+hima kara kara nikara mṛdu mṛdita lakṣmī
sarasa tara sarasi ruha sadṛśa dṛśi deve
vraja yuvati rati kalaha vijayi nija līlā
mada mudita vadana śaśi madhurimaṇi līye

ahimakarakaranikaramR^idumR^iditalakShmI
sarasatarasarasiruhasadR^ishadR^ishi deve |
vrajayuvatiratikalaha vijayinijalIlA
madamuditavadanashashimadhurimaNi lIye || 1- 51
(shashi-kalA / shashi-shobha)

vamshi_barham

a+hima kara kara nikara mR^idu mR^idita lakShmI sarasa tara sarasi ruha sadR^isha dR^ishi deve vraja yuvati rati kalaha vijayi nija lIlA mada mudita vadana shashi madhurimaNi lIye

1-51. a+hima kara = not, snow, maker - by sun's; kara nikara= rays, a heap of; mR^idu= delicately; mR^idita= touched; lakShmI= grandeur; sarasa tara= delicacy, to higher degree; sarasi ruha = lake, born, ones - lotuses; sadR^isha= sufficient unto; dR^ishi= one with such delicate eyes; deve= of that luminary; vraja yuvati= with vraja, milkmaids; rati kalaha= when in grapples of courtship; vijayi= one who is always winning - Krishna; with such winning spree there chanced a rhapsodic state - yogic trance - on his face; nija lIlA mada= with his own, sports, with rhapsodic state; mudita vadana shashi= with a gladdened, face, called moon;madhurimaNi= in that rapturousness [of that face]; lIye = I am engulfed, enraptured - let me blend my being in that.

Filamentous are his eyes similar to the grandeur of just bloomed lotus when delicately touched by a host of dainty rays of tender sun, on a rhapsodic moon called his face that is ever gleeful for his ever winning nature in the grapples of courtships with the beauties of vraja village; I am enrapt in the rapturousness of the face of that luminary called Krishna... [1-51]

--o)0(o--

करकमलदलदलितललिततरवंशी
कलनिनदगलदमृतघनसरसि देवे।
सहजरसभरभरितदरहसितवीथी
सततवहदधरमणिमधुरिमणि लीये॥१-५२
(शशि-कला। शशि शोभ)

कर कमल दल दलित(कलित) ललित तर वंशी कल निनद
गलत् अमृत घन सरसि देवे सहज रस भर भरित दर हसित वीथी
सतत वहत् अधर मणि मधुरिमणि लीये

karakamaladalakalitalalitatarvaṁśī
kalaninadagaladamṛtaghanasarasi deve |
sahajarasabharabharitadarahasitavīthī
satatavahadadharamaṇimadhurimaṇi līye ||1 - 52
(śaśi - kalā | śaśi śobha)

kara kamala dala dalita (kalita) lalita tara vaṁśī
kala ninada galat amṛta ghana sarasi deve
sahaja rasa bhara bharita dara hasita vīthī
satata vahat adhara maṇi madhurimaṇi līye

karakamaladaladalitalalitataravaMshI
kalaninadagaladamR^itaghanasarasi deve |
sahajarasabharabharitadarahasitavIthI
satatavahadadharamaNimadhurimaNi lIye || 1-52
(shashi-kalA / shashi shobha)

vamshi_barham

kara kamala dala dalita (kalita) lalita tara vaMshI kala ninada galat amR^ita ghana sarasi deve sahaja rasa bhara bharita dara hasita vIthI satata vahat adhara maNi madhurimaNi lIye

1-52. kara kamala dala= hands, lotus like, petals - petals of lotus like hands - with petaline fingers;

dalita= modulated tunes [kalita= commingled tunes]; lalita tara= fine, very; vaMshI= of such a flute called mohanavamshi;

kala ninada= euphonic, melodies; galat amR^ita = gliding, ambrosia; ghana sarasi= having a great, lake [a serene ambrosian lake called his face];

sahaja rasa bhara= intrinsic, with quintessence, filled; bharita dara hasita = filled with, a little, smiles; vIthI= rows, ripples of smiles;

satata vahat adhara maNi madhurimaNi= always, cascading, lips, called jewels, which possesses such mellifluence; deve= of that luminescence; lIye = let me blend my being in that.

Petaline are his fingers that modulate very fine tunes on his bamboo flute called mohana vamshi, which euphonic melodies are like gliding ambrosial streams filling a serene ambrosian lake called his face, on which lake ripply are his smiles filled with his intrinsic quintessence; my being is blent in such a mellifluence that ever cascades from those jewelly lips of that boy called Krishna... [1-52]

कुसुमशरशरसमरकुपितमदगोपी-
कुचकलशघुसृणरसलसदुरसि देवे।
मदमुदितमृदुहसितमुषितशशिशोभा
मुहुरधिकमुखमधुरिमणिलीये॥१-५३ (शशि-कला - variant)

कुसुम-शर शर-समर कुपित मद-गोपी कुच-कलश घुसृण रस
लसत् उरसि देवे मद मुदित [लुलित] मृदु हसित मुषित
शशि शोभा मुहुः अधिक मुख-कमल मधुरिमणि लीये

kusumaśaraśarasamarakupitamadagopī-
kucakalasaghusṛṇarasalasadurasi deve |
madamuditamṛduhasitamuṣitaśaśiśobhā
muhuradhikamukhamadhurimaṇilīye ||1-53
(śaśi-kalā - variant)

kusuma-śara śara-samara kupita mada-gopī kuca-kalasa
ghusṛṇa rasa lasat urasi deve mada mudita
[lulita] mṛdu hasita
muṣita śaśi śobhā muhuḥ adhika mukha-kamala madhurimaṇi līye

kusumasharasharasamarakupitamadagopI-
kucakalasaghusR^iNarasalasadurasi deve |
madamuditamR^iduhasitamuShitashashishobhA
muhuradhikamukhamadhurimaNilIye ||1-53
(shashi-kalA - variant)

flute

kusuma-shara shara-samara kupita mada-gopI kuca-kalasa ghusR^iNa rasa lasat urasi deve mada mudita [lulita] mR^idu hasita muShita shashi shobhA muhuH adhika mukha-kamala madhurimaNi lIye

1-53. kusuma-shara= [wielder of] flower, arrows - Lovegod; shara-samara= in [flowery] arrows, battle - in a love-battle in which flower throwing game will be there like shooting arrows - conducted by Lovegod; kupita= those that are resenting - because they loose the game; mada-gopI= of cheeky, milkmaids; kuca-kalasa= on bosoms, pot like; ghusR^iNa rasa= body cosmetic's, residue - usually red sandal paste; urasi lasat= with a chest, that is shining with [their breast paint is dabbed on his chest when he embraced them];  and whose face is; mada mudita [lulita]= with pride, gleeful [commingled]; mR^idu hasita= prettily, smiling; muShita shashi shobhA= [which face has already] filched, moon's grandeur; muhuH adhika= repeatedly, enriched; mukha-kamala madhurimaNi= face, called lotus's, sweetness; deve = in such a resplendence, of that god ;  lIye= [let me] dissipate into.

  Ever glowing is his chest with the deposits of body cosmetic dabbed from the potlike bosoms of milkmaids because his wont is to embrace those maids tightly when they will be resenting in suffering defeat in the flower-throw love games played almost like a fusillade of flowery arrows as if waged by lovegod; ever gleeful is his prideful face with a pretty smile for it has already filched the grandeur of the moon, whereby its radiance is repeatedly anew, and hence, let me dissipate in the daintiness that drizzle form the lotuslike face of that boy called Krishna... [1-53]

-o)0(o--

आनम्रामसितभ्रुवोरुपचितामक्षीणपक्ष्माङ्कुरे-
ष्वालोलामनुरागिणोर्नयनयोरार्द्राम्मृदौजल्पिते।
आताम्रामधरामृते मदकलामम्लान वंशीरवेष्व्-
आशास्तेममलोचनं व्रजशिशोर्मूर्तिं जगन्मोहिनीम्॥१-५४
(शार्दूल-विक्रीडितम्)

आ-नम्राम् असित भ्रुवोर् उपचिताम् अक्षीण पक्ष्म अङ्कुरेषु आलोलाम् अनुरागिणोः
नयनयोः आर्द्रां मृदौ जल्पिते आ-ताम्राम् अधर अमृते मद कलाम्
अम्लान वंशी रवेषु आशास्ते मम लोचनं व्रज शिशोः मूर्तिं जगन् मोहिनीम्

ānamrāmasitabhruvorupacitāmakṣīṇapakṣmāṅkure-
ṣvālolāmanurāgiṇornayanayorārdrāmmṛdaujalpite | ātāmrāmadharāmṛte madakalāmamlāna vaṁśīraveṣv-āśāstemamalocanaṁ vrajaśiśormūrtiṁ jaganmohinīm ||1-54 (śārdūla-vikrīḍitam)

ā-namrām asita bhruvor upacitām akṣīṇa pakṣma aṅkureṣu ālolām anurāgiṇoḥ nayanayoḥ ārdrāṁ mṛdau jalpite ā-tāmrām adhara amṛte mada kalām amlāna vaṁśī raveṣu āśāste mama locanaṁ vraja śiśoḥ mūrtiṁ jagan mohinīm

AnamrAmasitabhruvorupacitAmakShINapakShmA~Nkure-
ShvAlolAmanurAgiNornayanayorArdrAmmR^idaujalpite |
AtAmrAmadharAmR^ite madakalAmamlAna vaMshIraveShv-
AshAstemamalocanaM vrajashishormUrtiM jaganmohinIm ||1-54
(shArdUla-vikrIDitam)


vamshi_barham

A-namrAm asita bhruvor upacitAm akShINa pakShma a~NkureShu AlolAm anurAgiNoH nayanayoH ArdrAM mR^idau jalpite A-tAmrAm adhara amR^ite mada kalAm amlAna vaMshI raveShu AshAste mama locanaM vraja shishoH mUrtiM jagan mohinIm

1-54. In his features he is: jagan mohinIm= to world, mesmeric;

because,  in point of:

a+sita bhruvoH = not, white [black], eyebrows; A-namrAma little bent - arching like a bow;

a+kShINa pakShma a~NkureShu= not lessening [thick], eyelashes, in fine strands; upacitAm= that are beamy; anurAgiNoH= benignant; nayanayoH = eyes; AlolAm= that are roving;

 mR^idau jalpite= softish, in speaking style;

ArdrAm, adhara amR^ite A+tAmrAm= drenched with, lips', nectar, reddish - lips;

 a+mlAna= not, fading, hence gambhIra - reverberant; vaMshI raveShu= in flute called vamshi, in its tunes; mada kalAm= indecipherable, yet melodious;

vraja shishoH mUrtiM= village vraja's, boy, his form; mama locanaM AshAste= my, eyes, are yearning [to see, or, hallowing him - mangaLAcharaNa].

Curvy are his eyebrows, wedged behind the thickset fine strands of eyelashes, his eyes are beamy, benignant and roving, speaking style softish, roseate lips wet with nectar, indecipherable yet melodious flutings from his flute called mohana-vamshi are vibrant, and my eyes visually hallow the world-enchanting form of that boy from vraja village, called Krishna... [1-54]

--o)0(o--

तत् कैशोरन्तच्चवक्त्रारविन्दन् तत्कारुण्यम् तेचलीलाकटाक्षाः।
तत्सौन्दर्यंसाचमन्दस्मितश्रीस्-सत्यम्सत्यन्दुर्लभम्दैवतेषु॥१-५५  (शालिनी)

तत् कैशोरम् तच् च वक्त्र अरविन्दम् तत् कारुण्यम् ते च लीला कटाक्षाः
तत् सौन्दर्यं सा च मन्द स्मित श्रीः सत्यम् सत्यम् दुर्लभम् दैवतेषु

tat kaiśorantaccavaktrāravindan-
tatkāruṇyaṁ tecalīlākaṭākṣāḥ |
tatsaundaryaṁsācamandasmitaśrīs-satyaṁsatyandurlabhaṁdaivateṣu ||1-55  (śālinī)

tat kaiśoraṁ tac ca vaktra aravindaṁ tat kāruṇyaṁ te ca līlā kaṭākṣāḥ tat saundaryaṁ sā ca manda smita śrīḥ satyaṁ satyaṁ durlabhaṁ daivateṣu

 tat kaishorantaccavaktrAravindan-
tatkAruNyaM tecalIlAkaTAkShAH |
tatsaundaryaMsAcamandasmitashrIs-
satyaMsatyandurlabhaMdaivateShu ||1-55  (shAlinI)

vamshi_barham

tat kaishoraM tac ca vaktra aravindaM tat kAruNyaM te ca lIlA kaTAkShAH tat saundaryaM sA ca manda smita shrIH satyaM satyaM durlabhaM daivateShu

1-55. tat = - here this word tat means 'that which reflected in my heart' - my mental picture of him - but not as 'that which belongs to Krishna' - so, the other tat words used here may be taken like this; kaishoraM= [that boy's,] boyishness; ca= and; tat vaktra aravindaM= that which reflected in my heart,  [that boy's] face, called lotus; tat kAruNyaM= that which reflected in my heart,  [that boy's] grace; ca= further; te lIlA-kaTAkShAH= those, his playful, sidelong glances; tat saundaryaM = that reflected in my heart, charismatic charm [of that boy]; ca= further; sA manda smita shrIH= those, cute, smiles', brilliance; durlabhaM daivateShu= hard to find, [even] among gods; satyaM satyaM= really, truly.

That which reflected in my heart when I am in a state of concentration induced by meditation, smAdhi niShTha, are forsooth impossible to find among other gods... say, his boyishness, his cuddly lotus face, gentle tenor of grace-according nature in his facial expressions, those frisky sidelong glances, that charismatic charm, even the brilliance of the cute smiles of that sapphirine-boy, called Krishna... [1-55]

--o)0(o--

विश्वोपप्लवशमनैकबद्धदीक्षम्
विश्वासस्तबकितचेतसाम्जनानाम्।
पश्यामः प्रतिनवकान्तिकन्दलार्द्रम्-
पश्यामःपथिपथिशैशवं मुरारेः॥१-५६  (प्रहर्षिणी)

विश्व उपप्लव शमन एक बद्ध दीक्षं विश्वास स्तबकित
चेतसम् जनानाम् पश्यामः [प्रश्याम] प्रति नव कान्ति
कन्दल आर्द्रम् पश्यामः पथि पथि शैशवम् मुरारेः

viśvopaplavaśamanaikabaddhadīkṣaṁ
viśvāsastabakitacetasāmjanānām |
paśyāmaḥ pratinavakāntikandalārdram-
paśyāmaḥpathipathiśaiśavaṁ murāreḥ ||1-56  (praharṣiṇī)

viśva upaplava śamana eka baddha dīkṣaṁ viśvāsa stabakita
cetasam janānāmpaśyāmaḥ [praśyāma] prati nava kānti kandala ārdram paśyāmaḥ pathi pathi śaiśavam murāreḥ

tat kaishorantaccavaktrAravindan-
tatkAruNyaM tecalIlAkaTAkShAH |
tatsaundaryaMsAcamandasmitashrIs-
satyaMsatyandurlabhaMdaivateShu ||1-56 (shAlinI)

vamshi_barham

vishva upaplava shamana eka baddha dIkShaM vishvAsa stabakita cetasam janAnAm
pashyAmaH [pra+shyAma] prati nava kAnti kandala Ardram pashyAmaH pathi pathi shaishavam murAreH

1-56. murAreH shaishavam= Krishna's, childhood; prati nava= each, new - ever new; kAnti kandala Ardram= luminescence's, sprouts, wet with - saturated with ever fresh pencils of sapphirine luminescence; pashyAmaH= we are seeing - it is obvious;

or, if it is: pra+shyAma= verily, bluish - the above sapphirine luminescence;

vishvAsa stabakita cetasam= vishvAsa= trustiness - that this boy is the lone saviour; stabakita= made [that trust] as sprays and bouquets; cetasam janAnAm= with such hearts, of people - for people whose hearts have become sprays and bouquets of complete trustiness in that boy;pathi pathi= on every path - of our conscience - antaHkaraNa lpravRittti-s; vishva upaplava shamana= every, outbreak, quelling; eka baddha dIkSham= the only, tied in - avowed, commitment - the only avowed source to quell every outbreak befalling on his adherers; pashyAmaH= we are seeing - we discern.

On every path of our conscience we chance upon that stripling saturated with ever fresh pencils of sapphirine luminescence, and discern him as the only avowed source to quell every outbreak befalling on his adherers who mutated their hearts as sprays and bouquets of complete trustiness in that boy called Krishna... [1-56]

--o)0(o--

Proem: The following verse is to be taken as conversation among women of mathura city on seeing krishna and blarAma wandering on the streets of mathura, when they have come there at the behest of king kamsa.

मौलिश्चन्द्रकभूषणा मरकतस्तम्भाभिरामं वपु
र्वक्त्रङ्चित्रविमुग्धहासमधुरम्बालेविलोलेदृशौ।
वाचश्शैशवशीतला मदगजश्लाघ्या विलासस्थितिर्
मन्दम्मन्दमयेकष मथुरावीथीम्मितोगाहते॥१-५७
(शार्दूल-विक्रीडितम्)

मौलिः चन्द्रक भूषणा [भूषणो] मरकत स्तम्भ अभिरामम् वपुः
वक्त्रम् चित्र विमुग्ध हास मधुरम् बाले विलोले दृशौ वाचः
शैशव शीतला मद गज श्लाघ्या विलास स्थितिः
मन्दम् मन्दम् अये एक एष मथुरा वीथीम् इतः गाहते

mauliścandrakabhūṣaṇā marakatastambhābhirāmaṁ vapu
rvaktraṅcitravimugdhahāsamadhurambāleviloledṛśau |
vācaśśaiśavaśītalā madagajaślāghyā vilāsasthitir
mandammandamayekaeṣa mathurāvīthīmmitogāhate ||1-57
(śārdūla-vikrīḍitam)

mauliḥ candraka bhūṣaṇā [bhūṣaṇo] marakata stambha
abhirāmam vapuḥ vaktram citra vimugdha hāsa
madhuram bāle vilole dṛśau vācaḥ śaiśava śītalā
mada gaja ślāghyā vilāsa sthitiḥ mandam mandam
aye eka eṣa mathurā vīthīm itaḥ gāhate

 

  maulishcandrakabhUShaNA marakatastambhAbhirAmaM vapu
rvaktra~NcitravimugdhahAsamadhurambAleviloledR^ishau |
vAcashshaishavashItalA madagajashlAghyA vilAsasthitir
mandammandamayekaeSha mathurAvIthImmitogAhate ||1-57
(shArdUla-vikrIDitam)

vamshi_barham

mauliH candraka bhUShaNA [bhUShaNo] marakata stambha abhirAmam vapuH vaktram citra vimugdha hAsa madhuram [hAsa laharI vinyAsa dhanya adharam - in another mms] bAle vilole dR^ishau vAcaH shaishava shItalA mada gaja shlAghyA vilAsa sthitiH mandam mandam aye eka eSha mathurA vIthIm itaH [mitho] gAhate

1-57. aye bAle= oh, dear; mauliH candraka bhUShaNA [bhUShaNo] = crown of hairdo, with peacock feathers, adorned; vapuH= body; marakata= [more than] blue-beryl; stambha= column;abhirAmam = delightful; vaktram= face; citra vi+mugdha hAsa citra [mthuram]= with amazing; vi+mugdha= very fascinating; hAsa = with such a smile; [in another mms - hAsa laharI vinyAsa dhanya adharam = with smiles, ripples of, sportively, hallowed, lips = one having  lips hallowed with sportively emanating ripples of pretty smiles - and hence that face is sweetly]; madhuram = sweetly; dR^ishau vi+lole= looks, verily, roving; vAcaH shaishava shItalA = speech, boyishly, bracing; vilAsa sthitiH= strutting, stance; mada gaja shlAghyA= by prideful, elephants, praiseworthy; mandam mandam= slowly, slowly; itaH= from here; [mithaH= secretly]; mathurA vIthIm gAhate= mathura city, in streets, entering; ka eSha = who is this.

"Oh, dear, look at that boy with peacock feathers tucked in coiffure, build more delightful than a column of blue-beryl, countenance sweetly with a fascinatingly splendid smile, eyes roving, speech puerilely bracing, strutting stance more exemplary than that a proud elephant; who might be he, entering the streets of mathura city from there... [1-57]

C.F Song of Solomon ch. 5, v. 14: His hands are as gold rings set with the beryl: his belly is as bright ivory overlaid with sapphires. His legs are as pillars of marble... &c

--o)0(o--

पादौ पादविनिर्जिताम्बुजवनौ पद्मालयालङ्कृतौ
पाणीवेणुविनोदनप्रणयिनौ पर्याप्तशिल्पश्रियौ।
बाहूदोहदभाजनम् मृगदृशां माधुर्यधारागिरो
वक्त्रं वाग्विभवातिलङ्घितम् अहो बालम् किम् एतन्महः॥१-५८
(शार्दूल-विक्रीडितम्)

पादौ पाद [वाद] विनिर्जित अम्बुज वनौ पद्म आलया अलङ्कृतौ [आलम्बितौ]
पाणी वेणु विनोदन प्रणयिनौ पर्याप्त शिल्प श्रियौ बाहू दोहद भाजनम् मृग दृशाम्
माधुर्य धारा गिरो [किरौ] वक्त्रम् वाक् विभव अति लङ्घितम्
[वाक् विषय अभि लङ्घितम्]  अहो बालspan lang="sa">म् किम् एतत् महः

pādau pādavinirjitāmbujavanau padmālayālaṅkṛtau
pāṇīveṇuvinodanapraṇayinau paryāptaśilpaśriyau |
bāhūdohadabhājanaṁ mṛgadṛśāṁ mādhuryadhārāgiro
vaktraṁ vāgvibhavātilaṅghitam aho bālaṁ kim etanmahaḥ ||1-58 (śārdūla-vikrīḍitam)

pādau pāda [vāda] vinirjita ambuja vanau padma ālayā alaṅkṛtau [ālambitau] pāṇī veṇu vinodana praṇayinau paryāpta
śilpa śriyau bāhū dohada bhājanaṁ mṛga dṛśāṁ mādhurya
 dhārā giro [kirau] vaktraṁ vāk vibhava ati laṅghitam
[vāk viṣaya abhi laṅghitam]  aho bālaṁ kim etat mahaḥ

pAdau pAdavinirjitAmbujavanau padmAlayAla~NkR^itau
pANIveNuvinodanapraNayinau paryAptashilpashriyau |
bAhUdohadabhAjanaM mR^igadR^ishAM mAdhuryadhArAgiro
vaktraM vAgvibhavAtila~Nghitam aho bAlaM kim etanmahaH ||1-58  (shArdUla-vikrIDita)

vamshi_barham

pAdau pAda [vAda] vinirjita ambuja vanau, padma AlayA ala~NkR^itau [], pANI veNu vinodana praNayinau, paryApta shilpa shriyau, bAhU dohada bhAjanaM mR^iga dR^ishAM mAdhurya dhArA giro [kirau] vaktraM vAk vibhava ati la~Nghitam [vAk viShaya abhi la~Nghitam]  aho bAlaM kim etat mahaH

1-58. yasya pAdau= which boy's, feet;

pAda [vAda] vinirjita ambuja vanau; pAda= by a fraction, say 1/4th part [vAda= in disputation whether the feet are delicate or the lotuses are delicate]; vi+nirjita= completely, bested; ambuja vanau = lotuses, forests of - genera of lotuses; - his feet that have already humbled down all the genera of lotuses in the matter of delicacy - are the abode of Lakshmi;

padma AlayA ala~NkR^itau= lotus-lake, resident of, embellished with - with goddess Lakshmi [lambitau= she who reckons on those feet];

yasya pANI= which boy's, hands: veNu vinodana praNayinau = playing flute, in such merriment, they are delighted;

yasya bAhU= which boy's, arms; paryApta shilpa shriyau= suffices, for architectural, beauty;

or, paryAya shilpa shriyau, where paryAya = the other word - arms are the other word for the symmetrical architecture of the build;

or, paryApta shilpa.a.ashrayA= paryApta shilpa AshrayA= almost as above - unreckoned usage;

further those arms are:

mR^iga dR^ishAM= for fawn, eyed maids; dohada bhAjanaM = catalytic, convertors - they catalyze fawneyed maids to become ardent devotees if they chance to go into the hug of those arms;

yasya girau = which boy's, speech; mAdhurya dhArA= sweetness, streams [kirau= sweetness sprinklers];

 yasya vaktraM= which boy's, face; vAk vibhava ati la~Nghitam= speech's, cornucopia, much, jumped over - beyond the scope of the cornucopian speech - to describe;

[vAk viShaya abhi la~Nghitam= beyond the subject matter of speech

with these attributes:

etat mahaH = all this self-luminance; bAlaM kim= that of a boy, is it so?

aho = what a wonder.

Some divine resplendence in the form of a boy is beaming on my heart, whose feet have bested all the genera of lotuses in the matter of delicacy and which are reckoned on by the goddess Lakshmi, the resident of the very same lotuslakes amid lacklustre lotuses vis-à-vis the feet of that boy; which boy's hands always take delight in the merriment of playing flute melodiously; arms are the other word for the symmetrical beauty of the build, which for fawneyed maids are the catalysts to become ardent devotees if they chance to go into the hug of those arms; face is beyond the scope of the cornucopian speech to delineate; with all of them is this the self-luminescence of just a boy called Krishna... [1-58]

--o)0(o--

Proem:  The word nAma used in the following verse is a kAkvartha, gainsay;
 it can be suffixed to each expression in the three foots.

बर्हं नाम विभूषणम् बहुमतं वेषायशेषैरलम्
वक्त्रन्द्वित्रिविशेषकान्तिलहरी विन्यासधन्याधरम्।
शीलैरल्पधियामगम्यविभवैः शृङ्गारभङ्गीमयम्
चित्रं चित्रम् अहो विचित्रम् अहहो चित्रं विचित्रं महः॥१-५९  (शार्दूल-विक्रीडित)

बर्हं [एतत्] नाम विभूषणं बहुमतं वेषाय शेषैः अलं वक्त्रं द्वि त्रि विशेष कान्ति लहरी
विन्यास धन्य अधरम् शीलैः [शिल्पैः] अल्प हियाम् अगम्य विभवैः
शृङ्गार भङ्गी मयं चित्रं चित्रम् अहो विचित्रम् अहहो चित्रं विचित्रं महः

barhaṁ nāma vibhūṣaṇaṁ bahumataṁ veṣāyaśeṣairalaṁ
vaktrandvitriviśeṣakāntilaharī vinyāsadhanyādharam |
śīlairalpadhiyāmagamyavibhavaiḥ śṛṅgārabhaṅgīmayaṁ
citraṁ citram aho vicitram ahaho citraṁ vicitraṁ mahaḥ ||1-59
(śārdūla-vikrīḍita)

barhaṁ [etat] nāma vibhūṣaṇaṁ bahumataṁ veṣāya śeṣaiḥ alaṁ vaktraṁ dvi tri viśeṣa kānti laharī vinyāsa dhanya adharam śīlaiḥ [śilpaiḥ] alpa hiyām agamya vibhavaiḥ śṛṅgāra bhaṅgī mayaṁ citraṁ citram aho vicitram ahaho citraṁ vicitraṁ mahaḥ

barhaM nAma vibhUShaNaM bahumataM veShAyasheShairalaM
vaktrandvitrivisheShakAntilaharI vinyAsadhanyAdharam |
shIlairalpadhiyAmagamyavibhavaiH shR^i~NgArabha~NgImayaM
citraM citram aho vicitram ahaho citraM vicitraM mahaH ||1-59  (shArdUla-vikrIDita)

vamshi_barham

barhaM [etat] nAma vibhUShaNaM bahumataM veShAya sheShaiH alaM vaktraM dvi tri visheSha kAnti laharI vinyAsa dhanya adharam shIlaiH [shilpaiH] alpa hiyAm agamya vibhavaiH shR^i~NgAra bha~NgI mayaM citraM citram aho vicitram ahaho citraM vicitraM mahaH

1-59. bahumataM vibhUShaNaM= much appreciated, ornament; barhaM nAma= [just a] peacock feather, is it so; veShAya sheShaiH alaM [nAma] = for getup, remaining [ornaments], barely necessary - other ornaments are unneeded, or what;

vaktraM= face; dvi tri= two, three; visheSha= is withspecific marks = two white, one red coloured vertical tilaka marks - kastuuri tilakam lalATa phalake; kAnti laharI= with the glitter of that tilakam's radiance; vinyAsa nAma= with the panoply - face is gleaming forth, is it so;

dhanya adharam nAma= [further that face is] gleaming with celebrated, lips, is it so;

alpa dhiyAm= for those with low, intellects; a+gamya vibhavaiH shIlaiH= with an imponderable, splendorous, manifestation - you make a picture of yourself, is it so;

shR^i~NgAra bha~NgI mayaM = [that too] with a romantic, body language, filled with;

mahaH= this resplendence is; citraM citram aho vicitram ahaho citraM vicitraM = is beyond exclamatory speech.

Much appreciated ornament of yours is just a peacock feather and other ornaments are unneeded, is it so; your face gleams forth just with the glitter of one, two, three vertical lines, two white and one red line in between them, say your kastUri tilakam, making other ornaments needless, is it so; further, to enrich the glister of that face one glistening lower lip of yours that is celebrated for its nectarine speech is enough, is it; but you make an imponderable and splendorous manifestation of yourself to the less learned in an ostentatious getup, is isn't it; but, what really is that wondrous, incredible, unbelievable, inexplicable [and what not] self-refulgence, with or without ensemble, called Krishna...  [1-59 ]

Or

veShAya= for makeup; dvi tri= two, three; visheSha kAnti laharI= exemplar, radiance, undulations; vinyAsa= with their panoply; dhanya adharam= celebrated, lip;  

shR^i~NgAra bha~NgI mayaM= with romantic, facial language, filled with;

etat vaktraM = this, face - of yours;

bahumataM vibhUShaNaM nAma= highly adored, ornament, by itself;

 alpa dhiyAm= for those with low, intellect;

 a+gamya vibhavaiH= those that are not, obtainable - highly precious; sheShaiH shilpaiH= with other, ornaments; alaM= enough; unintelligent think of decorating you with precious jewellery - but it is a waste; because;

[etat] mahaH= [this] super-self-luminance of his is; citraM citram aho vicitram ahaho citraM vicitraM= highly wondrous.  

Extrinsic is any other ornament as the intrinsic value of his face abounding with romantic facial language which itself is a highly adored ornament on which the maquillage is his celebrated lips with panoplied undulations of exemplar radiance; but unintelligent think of decorating him with precious jewellery which is a waste, because fabulous, wondrous and prodigious is self-effulgence of that boy called Krishna...

--o)0(o--

अग्रे सम्ग्रयति कामपि केलिलक्ष्मी
मन्यासु दिक्ष्वपि विलोचनमेव साक्षि।
हा हन्त हस्तपथदूरमहो किमेत
दाशाकिशोरमयमम्ब जगत्त्रयं मे॥१-६०  (वसन्त-तिलकम्)

अग्रे सम्ग्रयति काम् अपि केलि लक्ष्मीम् अन्यासु दिक्षु अपि विलोचनम् एव
साक्षि हा हन्त हस्त पथ दूरम् [हस्तम् अथ दूरम्] अहो किम्
एतत् असीत् [आशा] किशोर-मयम् अम्ब जगत् त्रयं मे

agre samgrayati kāmapi kelilakṣmī
manyāsu dikṣvapi vilocanameva sākṣi |
hā hanta hastapathadūramaho kimeta
dāśākiśoramayamamba jagattrayaṁ me ||1-60
(vasanta-tilaka)

agre samgrayati kām api keli lakṣmīm anyāsu dikṣu api vilocanam eva sākṣi hā hanta hasta patha
dūram [hastam atha dūram] aho kim etat asīt [āśā]
kiśora-mayam amba jagat trayaṁ me

agre samgrayati kAmapi kelilakShmI
manyAsu dikShvapi vilocanameva sAkShi |
hA hanta hastapathadUramaho kimeta
dAshAkishoramayamamba jagattrayaM me ||1-60
(vasanta-tilaka)

vamshi_barham

agre samgrayati kAm api keli lakShmIm anyAsu dikShu api vilocanam eva sAkShi hA hanta hasta patha dUram [hastam atha dUram] aho kim etat asIt [AshA] kishora-mayam amba jagat trayaM me

1. 60. agre= before [my eyes]; kAm api = some inexplicable - form of a sapphirine boy; keli lakShmIm samagrayati= with his play's, charm, piling up; not only in my fore but; anyAsu dikShu api = in other, directions, even; the charm of his playing is being filled; for this; vilocanam eva sAkShi = [my mental] eye, alone, is the witness; but that boy is always; hasta patha dUram = cubit, path, distant - a cubit length away; [hastam atha dUram = atha hastam dUram; atha = then - after extending my hand; hastam dUram = a cubit's length, away - whenever I extend my arm to grab him, he is away by one cubit]; aho amba= oh, mother; etat kim= all this, what is; me= to me; jagat trayaM= worlds, triad of; [AshA] kishora-mayam = [suppositious] boy, jam-packed with; AsIt= has become; hA hanta= oh, god.  

That boy's spellbinding playing is filling not only in my forefront but everywhere around me, for which my ken alone is the testifier; but, whenever I extend my arms to take that boy into my fold he is off by an arm's length; oh, mother, what is all this! All worlds seem packed with this suppositious boy called Krishna...  [1-60]

--o)0(o--

चिकुरम्बहुलम्विरलम्भ्रमरम्मृदुलम्वचनम्विपुलम्नयनम्।
अधरम्मधुरम्वदनम्ललितम्चपलङ्चरितङ्चकदानुभवे॥१-६१  (तोटकम्)

चिकुरम् बहुलम् विरलम् भ्रमरम् मृदुलम् वचनम् विपुलम् नयनम् अधरम्
मधुरम् वदनम् ललितम् चपलम् चरितम् च कदा अनुभवे [कदा नु विभोः]

cikurambahulamviralambhramaram-
mṛdulamvacanamvipulamnayanam |
adharammadhuramvadanamlalitam-
capalaṅcaritaṅcakadānubhave ||1-61  (toṭakam)

cikuram bahulam viralam bhramaram mṛdulam vacanam vipulam nayanam adharam madhuram vadanam lalitam capalam caritam ca kadā anubhave [kadā nu vibhoḥ]

cikurambahulamviralambhramaram-
mR^idulamvacanamvipulamnayanam |
adharammadhuramvadanamlalitam-
capala~Ncarita~NcakadAnubhave ||1-61  (toTakam)

vamshi_barham

cikuram bahulam viralam bhramaram mR^idulam vacanam vipulam nayanam adharam madhuram vadanam lalitam capalam caritam ca kadA anubhave [kadA nu vibhoH]

1-61. [shrI kR^iShNasya= of Krishna;] bahulam cikuram= thick, is the coiffure; viralam bhramaram = many, are the hairlocks flitting on forehead like honeybees; mR^idulam vacanam= softish, is the speech; vipulam nayanam= broad, are his eyes; madhuram adharam= mellifluous, are his lips; lalitam vadanam= pretty, is his face; capalam caritam ca = mercurial, is his comport, too - so far as milkmaids are concerned; kadA= when can that; anubhave = come into direct experience.

Thick is his coiffure, beelike hairlocks many, speech softish, eyes broad, lips mellifluous, with them his face is pretty, albeit he in his comport with milkmaids is mercurial... when can all these traits are experienceable directly of this boy called Krishna... [1-61]

--o)0(o--

परिपालय नः कृपाऽलयेत्यसकृज्जल्पितमात्मबान्धवः।
मुरलीमृदुलस्वनान्तरे विभुराकर्णयिताकदानुनः॥१-६२  (वैतालीयम्)

परिपालय नः कृपा अलय इति असकृत् जल्पितम् आत्म [आर्त] बान्धवः
मुरली मृदुल स्वनः अन्तरे विभुः आकर्णयिता कदा नु नः

paripālaya naḥ kṛpālayetyasakṛjjalpitamātmabāndhavaḥ |
muralīmṛdulasvanāntare vibhurākarṇayitākadānunaḥ ||1-62  (vaitālīyam)

paripālaya naḥ kṛpā alaya iti asakṛt jalpitam ātma [ārta]
bāndhavaḥ muralī mṛdula svanaḥ antare vibhuḥ ākarṇayitā kadā nu naḥ

paripAlaya naH kR^ipA.alayetyasakR^ijjalpitamAtmabAndhavaH |
muralImR^idulasvanAntare vibhurAkarNayitAkadAnunaH ||1-62  (vaitAlIyam)

vamshi_barham

paripAlaya naH kR^ipA alaya iti asakR^it jalpitam Atma [Arta] bAndhavaH muralI mR^idula svana antare vibhuH AkarNayitA kadA nu naH

1-62. hè kR^ipA alaya= oh, grace, a hospice of; naH paripAlaya = us, you lead; iti= in this way; naH= our [prayers]; a+sakR^it jalpitam = not, for once, said - prayers; Atma bAndhavaH vibhuH= intimate, associate [ of jIva loka], such lord; muralI mR^idula svana antare  = flute's, mellifluent, tunes, in between; kadA nu AkarNayitA = when, really, he will listen.

 We have been praying time and time again, "oh, lord the hospice of grace, lead us unto you..."; but it is unclear when does this obsecration come to the ears of that guardian of living beings amidst the zigzagging melodies of his flute, in which he is always engrossed, since it is the wont of that boy called Krishna... [1-62]

--o)0(o--

कदा नु कस्याम् नु विपद्दशायाम्
कैशोरगन्धिः करुणाम्बुधिर्नः।
विलोचनाभ्यां विपुलाऽयताभ्याम्
आलोकयिष्यन् विषयीकरोति॥१-६३  (उपेन्द्र-वज्र)

कदा नु कस्यां नु विपत् दशायां कैशोर गन्धिः करुणाम्बुधिर् नः
विलोचनाभ्यां विपुलायताभ्याम् आलोकयिष्यन् विषयीकरोति

kadā nu kasyāṁ nu vipaddaśāyāṁ
kaiśoragandhiḥ karuṇāmbudhirnaḥ |
vilocanābhyāṁ vipulā'yatābhyām
ālokayiṣyan viṣayīkaroti ||1-63  (upendra-vajra)

kadā nu kasyāṁ nu vipat daśāyāṁ kaiśora gandhiḥ karuṇa ambudhiḥ naḥ vilocanābhyāṁ vipula āyatābhyām ālokayiṣyan viṣayīkaroti

kadA nu kasyAM nu vipaddashAyAM
kaishoragandhiH karuNAmbudhirnaH |
vilocanAbhyAM vipulA.ayatAbhyAm
AlokayiShyan viShayIkaroti ||1-63  (upendra-vajra)

vamshi_barham

hkadA nu kasyAM nu vipat dashAyAM kaishora gandhiH karuNAmbudhir naH vilocana- AbhyAM vipulAyatAbhyAm AlokayiShyan viShayIkaroti

1-63. kadA nu= when, really; kasyAM nu= at what stage, really; vipat dashAyAM= of pernicious, state; kaishora gandhiH= one who has childhood, redolence; karuNa ambudhiH= for grace, an ocean of; naH= us; vipula AyatAbhyAm vilocanAbhyAM= with his broad, widened eyes - not knitting eyes, but with a wide-eyed inspection; AlokayiShyan= wishing to see [us in ill] viShayIkaroti= makes [us] as subject [of his eyes]

or, kasyAM nu vipat dashAyAM= in whatever problematic state; kaishora gandhiH= he who is redolent of a boy; rather who has boyish impetuosity to spring at that problem &c; kadA nu viShayIkaroti &c.

At what time and stage of our pernicious state does that ocean of grace redolent with perpetual childishness make us as a subject of his broad-wide eyes as we will be freed from our fatality with a wink of that boy called Krishna... [1-63]

He sprang at the problems of draupadi, gajendra, prahlAda et al only at climax. Because they are the legendary personalities they sustained all those ordeals. But we will be extinct in the first stage of such problem. Then, when will we fall in his eyesight?

 This is soliloquized thinking of short-lived poet or evanescent milkmaids.

--o)0(o--

मधुरमधरबिम्बे मञ्जुलम् मन्दहासे
शिशिरम् अमृतनादे शीतलम् दृष्टिपाते।
विपुलम् अरुणनेत्रे विश्रुतम् वेणुवादे
मरकतमणिनीलम् बालम् आलोकये नु॥१-६४  (मालिनी)

मधुरम् अधर बिम्बे मञ्जुलम् मन्द हासे शिशिरम् अमृत नादे
शीतलम् दृष्टि पाते विपुलम् अरुण नेत्रे विश्रुतम् वेणु नादे [वादे]
मरकत मणि नीलम् बालम् आलोकये नु [आलोकयेयम् किम्]

madhuramadharabimbe mañjulaṁ mandahāse
śiśiram amṛtanāde śītalaṁ dṛṣṭipāte |
vipulam aruṇanetre viśrutaṁ veṇuvāde
marakatamaṇinīlaṁ bālam ālokaye nu ||1-64  (mālinī)

madhuram adhara bimbe mañjulaṁ manda hāse śiśiram
amṛta nāde śītalaṁ dṛṣṭi pāte vipulam aruṇa netre viśrutaṁ
veṇu nāde [vāde] marakata maṇi nīlaṁ bālam ālokaye nu [ālokayeyam kim]

madhuramadharabimbe ma~njulaM mandahAse
shishiram amR^itanAde shItalaM dR^iShTipAte |
vipulam aruNanetre vishrutaM veNuvAde
marakatamaNinIlaM bAlam Alokaye nu ||1-64  (mAlinI)

vamshi_barham

madhuram adhara bimbe ma~njulaM manda hAse shishiram amR^ita nAde shItalaM dR^iShTi pAte vipulam aruNa netre vishrutaM veNu nAde [vAde] marakata maNi nIlaM bAlam Alokaye nu [Alokayeyam kim]

1-64. adhara bimbe madhuram= anent his red-fruit like lips, he is lovable; manda hAse ma~njulaM = as to his pretty smile, he is euphoric; amR^ita nAde shishiram= [in voicing his] nectarous, asseverations, he is refreshing - like a breath of fresh air; dR^iShTi pAte shItalaM= in making his sight, fall [on his subjects], he is the coolth; aruNa netre vipulam= with a little reddened broad eyes, he is all-encompassing; veNu nAde [vAde] vishrutaM= in making flute, melodies, he is legendary; marakata maNi nIlaM bAlam= emerald, jewel, bluish, boy - that boy glistening like a blue-beryl jewel; Alokaye nu [Alokayeyam]= when can I glimpse, indeed.

 Anent his red-fruit like lips he is lovable; as to his pretty smile, he is euphoric; in voicing his nectarous asseverations, he is like a breath of fresh air; in zeroing in his sight on his subjects, he is the dampener of strife; in fluting melodies he is legendary; hence can I, at any time, have a glimpse of that boy resemblant of a beryl jewel effusing bluish luminescence all around, called Krishna... [1-64]

--o)0(o--

माधुर्यादपिमधुरम्मन्मथतातस्यकिमपिकैशोरम्।
चापल्यादपिचपलम्  चेतोमम हरति हन्त किङ्कुर्मः॥१- ६५ (आर्या)

माधुर्यात् अपि मधुरं मन्मथ तातस्य किम् अपि कैशोरम्
चापल्य्त् अपि चपलम् चेतो मम [बत] हरति हन्त किं कुर्मः

mādhuryādapimadhuraṁ
manmathatātasyakimapikaiśoram |
cāpalyādapicapalaṁcetomama
harati hanta kiṅkurmaḥ
|| 1- 65 (āryā)

mādhuryāt api madhuraṁ manmatha tātasya
kim api kaiśoram cāpalyt api capalaṁ
cetaḥ mama [bata] harati hanta kiṁ kurmaḥ

mAdhuryAdapimadhuraM manmathatAtasyakimapikaishoram |
cApalyAdapicapalaM cetomama harati hanta ki~NkurmaH ||1- 65
(AryA)

vamshi_barham

mAdhuryAt api madhuraM manmatha tAtasya kim api kaishoram cApalyt api capalaM ceto mama [bata] harati hanta kiM kurmaH

1-65. manmatha tAtasya= manmatha's, father's - Krishna's, because Krishna is the father of pradyumna, an incarnation of lovegod; kaishoram= [that Krishna's] childhood; madhuraM mAdhuryAt api = any sweetly thing, than, sweetest- most cherishable; cApalyt api capalaM= any other fanciable thing, than, he is most fanciest - a preemtable entity - chApalyam is our gratuitous vacillation in our cravings - nirhetuka Asakti in any given subject; kim api= why then - to tell about my yearning for him;cetaH mama harati= heart, mine, stealing; [bata] hanta= oh, god; kiM kurmaH= what to do.

In universe, the childhood of that boy who is the old-boy of lovegod himself is a charm than any other charming thing; most fanciable than any other fanciest things - then why tell about my fancying for him; what else can be done when my heart itself is scooped up by that boy called Krishna... [1-65]

--o)0(o--

वक्षःस्थलेचविपुलंनयनोत्पलेच मन्दस्मितेचमृदुलंमदजल्पितेच।
बिम्बाधरेचमधुरंमुरलीरवेच बालंविलासनिधिमाकलयेकदा नु॥१-६६
(वसन्त-तिलकम्)

वक्षः स्थले च विपुलम् नयन उत्पले च मन्द स्मिते च मृदुलम् मद जल्पिते च
बिम्ब अधरे च मधुरम् मुरली रवे च बालम् विलास निधिम् आकलये कदा नु

vakṣaḥsthalecavipulaṁnayanotpaleca
mandasmitecamṛdulaṁmadajalpiteca |
bimbādharecamadhuraṁmuralīraveca
bālaṁvilāsanidhimākalayekadā nu ||1-66
(vasanta-tilakam)

vakṣaḥ sthale ca vipulaṁ nayana utpale ca manda smite ca
mṛdulaṁ mada jalpite cabimba adhare ca madhuraṁ muralī
rave ca bālaṁ vilāsa nidhim ākalaye kadā nu

vakShaHsthalecavipulaMnayanotpaleca
mandasmitecamR^idulaMmadajalpiteca |
bimbAdharecamadhuraMmuralIraveca
bAlaMvilAsanidhimAkalayekadA nu ||1-66
(vasanta-tilaka)

vamshi_barham

vakShaH sthale ca vipulaM nayana utpale ca manda smite ca mR^idulaM mada jalpite ca
bimba adhare ca madhuraM muralI rave ca bAlaM vilAsa nidhim Akalaye kadA nu

1-66. vipulaM= sizeable; vakShaH sthale ca= his chest, and; nayana utpale ca= eyes, lotuslike ones, also; mR^idulaM= satiny; manda smite ca mada jalpite ca = in his pretty smile, and soft talk, also; madhuraM= pleasant; bimba adhare ca muralI rave ca= in red-fruit like lips, and, in fluting melodies, also; bAlaM= at such a boy; vilAsa nidhim= for charming comportment, a treasure trove of;  kadA nu Akalaye= when, really, can I lay eyes on him.

Though a boy his chest and lotus like eyes are sizable, his soft talk and pretty smile satiny, his lips and fluted melodies winsome; for being a treasure trove of attitudinized comportment, when can I really lay eyes on that boy called Krishna... [1-66]

--o)0(o--

आर्द्रावलोकितदयापरिणद्धनेत्र माविष्कृतस्मितसुधामधुराधरोष्ठम्।
आद्यंपुमांसमवतंसितबर्हिबर्हम्-आलोकयन्तिकृतिनःकृतपुण्यपुञ्जाः॥१-६७
(वसन्त-तिलकम्)

आर्द्र अवलोकित दया [धुरा] परिणद्ध नेत्रम् आविष्कृत स्मित सुधा मधुर अधर ओष्ठम् आद्यं पुमांसम् अवतंसित बर्हि बर्हम् आलोकयन्ति कृतिनः कृत पुण्य पुञ्जाः

ārdrāvalokitadayāpariṇaddhanetra
māviṣkṛtasmitasudhāmadhurādharoṣṭham |
ādyaṁpumāṁsamavataṁsitabarhibarham-
ālokayantikṛtinaḥkṛtapuṇyapuñjāḥ ||1-67
(vasanta-tilakam)

ārdra avalokita dayā [dhurā] pariṇaddha netram āviṣkṛta
smita sudhā madhura adhara oṣṭham ādyaṁ pumāṁ
sam avataṁsita barhi barham
ālokayanti kṛtinaḥ kṛta puṇya puñjāḥ

ArdrAvalokitadayApariNaddhanetra
mAviShkR^itasmitasudhAmadhurAdharoShTham |
AdyaMpumAMsamavataMsitabarhibarham-
AlokayantikR^itinaHkR^itapuNyapu~njAH ||1-67
(vasanta tilakam)

vamshi_barham

Ardra avalokita dayA [dhurA] pariNaddha netram AviShkR^ita smita sudhA madhura adhara oShTham AdyaM pumAMsam avataMsita barhi barham Alokayanti kR^itinaH kR^ita puNya pu~njAH

1-67. Ardra avalokita= moistened [with graciousness], having such glances; that are from; dayA pariNaddha netram= with grace, coalesced, eye - has graceful eyes casting glances that are moist with nothing else than graciousness;

 AviShkR^ita= instituted; smita sudhA= smile's, nectarine; madhura adhara oShTham= sweet, lower, lip - lips always donning an evanescent nectarine smile;

AdyaM pumAMsam= at such primordial person; avataMsita barhi barham= who is donning for his headgear, peacock's, feather;

kR^ita puNya punjAH = those who made, merits, arrays of - those whose bodies are glowing with abundant rays of puNya, religious merit, in the aureoles around them - saints, sages, vraja milkmaids et al;

kR^itinaH= such great souls; Alokayanti = are disposed to behold him.

Great souls with abundant rays of puNya, religious merit, radiating from the aureoles around them are well disposed to behold the form of that primordial person embellished with graceful eyes that cast glances moistened with nothing else than graciousness; lips enriched with an ever-evanescent nectarine smile; headgear decked just with a peacock's feather; that being so, how  a dullard like me can get a glimpse of that boy called Krishna... [1-67]

--o)0(o--

मारः स्वयं नु मधुर द्युति मण्डलम् नु माधुर्यम् एव नु मनो नयनामृतं नु।
वेणीमृजो नु मम जीवितवल्लभो नु बालो ऽयम् अभ्युदयते मम लोचनाय॥१-६८
(वसन्त-तिलक)

मारः स्वयम् नु मधुर द्युति मण्डलं नु माधुर्यम् एव नु मनो नयनामृतम् नु
वाणी [वेणी] मृजो नु मम जीवित वल्लभो नु बालो अयम् अभ्युदयते मम लोचनाय

māraḥ svayaṁ nu madhura dyuti maṇḍalaṁ nu
mādhuryam eva nu mano nayanāmṛtaṁ nu |
veṇīmṛjo nu mama jīvitavallabho nu
bālo 'yam abhyudayate mama locanāya ||1-68
(vasanta-tilakam)

māraḥ svayaṁ nu madhura dyuti maṇḍalaṁ nu mādhuryam
 eva nu mano nayanāmṛtaṁ nu vāṇī [veṇī] mṛjo nu mama
jīvita vallabho nu bālo ayam abhyudayate mama locanāya

mAraH svayaM nu madhura dyuti maNDalaM nu
mAdhuryam eva nu mano nayanAmR^itaM nu |
veNImR^ijo nu mama jIvitavallabho nu
bAlo .ayam abhyudayate mama locanAya ||1-68  (vasanta-tilakam)

vamshi_barham

mAraH svayaM nu madhura dyuti maNDalaM nu mAdhuryam eva nu mano nayanAmR^itaM nu vANI [veNI] mR^ijo nu mama jIvita vallabho nu bAlo ayam abhyudayate mama locanAya

1-68. mama locanAya= for my, eyes - in my visual picture; ayam bAlaH abhi+udayate = a boy [boy's image], presently, emerging; who might be this boy; ayam bAlaH = this, boy - is this boy; svayaM mAraH nu = actually, lovegod himself, is that so; madhura dyuti maNDalaM nu = pleasing, luminous, sphere, is it - pleasantly shining moon, or what; mAdhuryam eva nu = embodiment of whole beauty, alone, is it; manaH nayana amR^itaM nu = for mind, eyes, nectar, or what; [mama] vANI mR^ijo nu = my, speech's, immaculacy, or what; [veNI mR^ijA= for my dishevelled hair, a straightener, or what]; whoever he is, will he become;  mama jIvita vallabho nu= my, life's, mate, will he become.

or, abhi mama lochanAya ayam udayate = before, my, eyes, he is emerging.

Some boy's picture is emerging on my visual canvas; who he might be; maybe lovegod in person; maybe pleasantly shining discoid of moon; mayhap beau idéal of beauty itself; or, is it the picture of my own optic and noetic nectar, or is it the picture of my idiolect's immaculacy, or what; whosever it might be, can I make that boy in the graven image my alter ego, viz. Krishna... [1-68]

--o)0(o--

बालोऽयम् आलोलविलोचनेन वक्त्रेण चित्रीकृतदिङ्मुखेन।
वेषेण घोषोचितभूषणेन मुग्धेन दुग्धे नयनोत्सवं नः॥१-६९
(इन्द्र-व्रज)

बालः अयम् आलोल विलोचनेन वक्त्रेण चित्रीकृत दिक् मुखेन
वेषेण घोष उचित भूषणेन मुग्धेन दुग्धे नयन उत्सवं नः

bālo'yam ālolavilocanena
vaktreṇa citrīkṛtadiṅmukhena |
veṣeṇa ghoṣocitabhūṣaṇena
mugdhena dugdhe nayanotsavaṁ naḥ ||1-69
(indra-vraja)

bālaḥ ayam ālola vilocanena vaktreṇa citrīkṛta dik mukhena
veṣeṇa ghoṣa ucita bhūṣaṇena mugdhena dugdhe nayana utsavaṁ naḥ

bAlo.ayam Alolavilocanena
vaktreNa citrIkR^itadi~Nmukhena |
veSheNa ghoShocitabhUShaNena
mugdhena dugdhe nayanotsavaM naH ||1-69  (indra-vraja)

vamshi_barham

bAlaH ayam Alola vilocanena vaktreNa citrIkR^ita dik mukhena veSheNa ghoSha ucita bhUShaNena mugdhena dugdhe nayana utsavaM naH

1-69. ayam bAlaH= this, boy; vaktreNa= with a face - that has; Alola vilocanena = shifting, eyes - roving glances; citrIkR^ita dik mukhena = tilakI kR^ita dik anganA muykena= he is like the kastUri tilaka, mark on foreheads, on the faces of every lady called quarters, or, whose face mirror-images on every horizon; ghoSha ucita veSheNa= for a cowman's hamlet, befitting, in getup;   mugdhena bhUShaNena = with cute, ornaments;  naH nayana utsavaM = our, eyes', jollity;  [ayam bAlaH= this, boy]; dugdhe = he is milking.

A cowman milks a cow when its udder becomes heavy on seeing its calf. So also, this boy whose face is weighable with the tilaka on the foreheads of ladies called the ten quarters, on which his eyes are roving, and who is adorned with cute ornaments and a getup befitting to a cowboy, he is milking jollity from our eyes that have become weighty in mentation upon his form; but, palpably, when can I see that boy called Krishna... [1-69]

--o)0(o--

आन्दोलिताग्रभुजम् आकुललोलनेत्रलीलम्
आर्द्रस्मितार्द्रवदनाम्बुजचन्द्रबिम्बम्।
शिङ्जान भूषण चितं शिखि पिङ्च मौलिम्
शीतं विलोचन रसायनम् अभ्युपैति॥१-७०
(वसन्त-तिलकम्)

आन्दोलित अग्र भुजम् आकुल लोल नेत्र लीलम् आर्द्र स्मित
आर्द्र वदन अम्बुज चन्द्र बिम्बम् शिङ्जान-भूषण-चितम्
शिखि-पिङ्च-मौलिम्  शीतं विलोचन रसायनम् अभि उपैति

āndolitāgrabhujam ākulalolanetralīlam
ārdrasmitārdravadanāmbujacandrabimbam |
śiṅjāna bhūṣaṇa citaṁ śikhi piṅca mauliṁ
śītaṁ vilocana rasāyanam abhyupaiti ||1-70
(vasanta-tilakam)

āndolita agra bhujam ākula lola netra līlam ārdra smita
ārdra vadana ambuja candra bimbam śiṅjāna-bhūṣaṇa-citaṁ
śikhi-piṅca-mauliṁ śītaṁ vilocana rasāyanam abhi upaiti

AndolitAgrabhujam AkulalolanetralIlam
ArdrasmitArdravadanAmbujacandrabimbam |
shi~NjAna bhUShaNa citaM shikhi pi~Ncha mauliM
shItaM vilocana rasAyanam abhyupaiti ||1-70  (vasanta-tilakam)

vamshi_barham

Andolita agra bhujam Akula lola netra lIlam Ardra smita Ardra vadana ambuja candra bimbam shi~NjAna-bhUShaNa-citaM shikhi-pi~Ncha-mauliM shItaM vilocana rasAyanam abhyupaiti

1-70. some boy's form is tumbling towards us with: Andolita agra-bhujam= budging, a little, fore of shoulders - forearms; Akula lola netra lIlamm= athirst, spinning, eyes, sportiness; Ardra smita= wet with nectar, smiled; Ardra vadana= wet, faced - wherefrom ambrosial sweetness is drizzly; ambuja candra bimbam= [ analogous to] a lotus, or the orb of moon; shi~NjAna bhUShaNa citaM= with jingling, ornaments, decked with; shikhi pi~Ncha mauliM= with peacock, feather, on coiffure; shItaM vilocana rasAyanam= coolish, for an eye, panacea of - sarvas roga nivAriNi = heal-all; abhi upa eti = coming forward.

Swinging arms this way and that; athirst eyes spinning hither and thither; sporting a nectarine smile on a face relative to a cuddly lotus or orbicular moon wherefrom ambrosial sweetness is drizzly here and there; decked with a peacock feather on coiffure and many a jingling ornament that tintinnabulate now and then, some boy's form is tottering towards us looking like a coolish eye-panacea, called Krishna... [1-70]

--o)0(o--

पशुपालबालपरिषद्विभूषणःशिशुरेष शीतलविलोललोचनः।
मृदुलस्मितार्द्रवदनेन्दुसम्पदामदयन्मदीयहृदयं विगाहते॥१-७१
(मञ्जु-भाषिणि)

पशु पाल बाल परिषद् विभूषणः शिशुः एष शीतल विलोल लोचनः
मृदुल स्मित आर्द्र वदन इन्दु सम्पदा मदयन् मदीय हृदयं विगाहते

paśupālabālapariṣadvibhūṣaṇaḥ
śiśureṣa śītalavilolalocanaḥ |
mṛdulasmitārdravadanendusampadā
madayanmadīyahṛdayaṁ vigāhate ||1-71
(mañju-bhāṣiṇi)

paśu pāla bāla pariṣad vibhūṣaṇaḥ
śiśuḥ eṣa śītala vilola locanaḥ
mṛdula smita ārdra vadana indu sampadā
madayan madīya hṛdayaṁ vigāhate

pashupAlabAlapariShadvibhUShaNaH
shishureSha shItalavilolalocanaH |
mR^idulasmitArdravadanendusampadA
madayanmadIyahR^idayaM vigAhate ||1-71  (ma~nju-bhAShiNi)

vamshi_barham

pashu pAla bAla pariShad vibhUShaNaH shishuH eSha shItala vilola locanaH mR^idula smita Ardra vadana indu sampadA madayan madIya hR^idayaM vigAhate

1-71. eSha= this; shishuH= boy; shItala vilola locanaH= with cooling, swaying [watch over], eyes; pashu pAla= cow, minders; bAla pariShat vibhUShaNaH= for younger, group [of cowboys] he is a bijou; mR^idula smita Ardra vadana indu sampadA= satiny, smiles, wringing [nectar], with such a face, called moon, with its exuberance; madayan= to enrich [my] pride and joy; madIya hR^idayaM vigAhate= my, heart, he is imbuing.

Only to inflate my pride and joy this boy is imbuing into my heart with the exuberance of his satiny smiles on a moonlike face that is wringing nectar, on which his cooling eyes are swaying to ride herd on every minion, is the bijou of younger batch of cattlemen, called Krishna... [1-71]

--o)0(o--

Proem: The following stanza obtains only in gauDIya recension. There is no Telugu verse for this.

किमिदमधरवीथीकॢप्तवंशीनिनादम् किरति नयनयोर्नः कामपिप्रेमधाराम्।
तदिदम् अमरवीथीदुर्लभम् वल्लभम् न्स् स्त्रिभुवनकमनीयं दैवतं जीवितम् च॥१-७२
(मालिनि)

किम् इदम् अधर वीथी कॢप्त वंशी निनादम् किरति नयनयोः
नः काम् अपि प्रेम धाराम् तद् इदम् अमर वीथी दुर्लभम् वल्लभम्
नः त्रि भुवन कमनीयम् दैवतम् जीवितम्

kimidamadharavīthīkḷptavaṁśīninādaṁ
kirati nayanayornaḥ kāmapipremadhārām |
tadidam amaravīthīdurlabhaṁ vallabhaṁ nstribhuvanakamanīyaṁ daivataṁ jīvitaṁ ca ||1-72
  (mālini)

kim idam adhara vīthī kḷpta vaṁśī ninādaṁ kirati
nayanayoḥ naḥ kām api prema dhārām tad idam
amara vīthī durlabhaṁ vallabhaṁ naḥ
tribhuvana kamanīyaṁ daivataṁ jīvitaṁ ca

kimidamadharavIthIkL^iptavaMshIninAdaM
kirati nayanayornaH kAmapipremadhArAm |
tadidam amaravIthIdurlabhaM vallabhaM ns
stribhuvanakamanIyaM daivataM jIvitaM ca ||1-72  (mAlini)

vamshi_barham

kim idam adhara vIthI kL^ipta vaMshI ninAdaM kirati nayanayoH naH kAm api prema dhArAm tad idam amara vIthI durlabhaM vallabhaM naH tribhuvana kamanIyaM daivataM jIvitaM ca

1-72. [yat] naH nayanayoH= [that which] our, in two eyes - perspicacity; kAm api = something - inexplicable; prema dhArAm kirati= love's, stream, bestrews; further that which; adhara vIthI= on lips', pathway; kL^ipta= made to stand - free flowing melodies; vaMshI ninAdaM= his flute called vasmshi, its melodious fluting; idam kim = this, what is; amara vIthI durlabhaM = gods', in pathways, unobtainable - unobtainable even in then pathways of heavens, or in heaven itself; tri bhuvana kamanIyaM= by triad, of worlds, cherishable one; tat idam = therefore, this [Being called Krishna]; naH= to us; vallabhaM= is an adorable one; daivataM= god; jIvitaM ca = life-principle, even.

What is this entity that is bestrewing streams of love in our perspicacity; who is this quiddity holding his flute called mohana-vamshi on the ambit of his lips making melodious flutings flowing everywhere; such an active principle, highly cherishable by the triad of worlds, mayhap unobtainable in the whole gamut of heavens, and hence such a paragon is our beloved, god and even our life-principle too, as well, called Krishna... [1-72]

--o)0(o--

तद् इदम् उपनतम् तमालनीलम्तरलविलोचनतारकाभिरामम्।
मुदितम् उदितवक्त्रचन्द्रबिम्बम्मुखरितवेणुविलासि जीवितम् मे॥१-७३
(पुष्पिताग्र)

तत् इदम् उपनतम् तमाल नीलं तरल विलोचन तारक अभिरामम्
मुदितम् उदित वक्त्र चन्द्र बिम्बम् मुखरित वेणु विलास [विलासि] जीवितम् मे

tad idam upanataṁ tamālanīlaṁ
taralavilocanatārakābhirāmam |
muditam uditavaktracandrabimbaṁ
mukharitaveṇuvilāsi jīvitaṁ me ||1-73
(puṣpitāgra)

tat idam upanataṁ tamāla nīlaṁ tarala vilocana tāraka
 abhirāmam muditam udita vaktra candra bimbaṁ
mukharita veṇu vilāsa [vilāsi] jīvitaṁ me

tad idam upanataM tamAlanIlaM
taralavilocanatArakAbhirAmam |
muditam uditavaktracandrabimbaM
mukharitaveNuvilAsi jIvitaM me ||1-73  (puShpitAgra)

vamshi_barham

tat idam upanataM tamAla nIlaM tarala vilocana tAraka abhirAmam muditam udita vaktra candra bimbaM mukharita veNu vilAsa [vilAsi] jIvitaM me

1-73. tarala vilocana tAraka abhirAmam [lolitataTillatAlalitalocanaprasannata]= wavery, broad-eyes, with their [blackish] pupils, that are lovely; mudita muditam = smiling, smiling - complacently smiling, smugly smiling; vaktra candra bimbaM= face called moon's, orb; mukharita veNu vilAsa jIvitaM = vibrating, flute's [melodies], for sonance [nAdamaya. shabdAyamAna - sonare sonant], life-principle [life-principle for the sonance of vibrant melodies of his flute]; tat idam= that, this - such as it is - that brilliant form

[prasannatodvelamukhendumaNDala- navInavilAsakalAkalApam];

tamAla nIlaM= [brilliant] like [blueblack] tamAla trees, blueblackish [some enigmatic form]; me upanataM= coming in my fore.

Such as it is that form with blackish and lovely pupils on very broad and wavery eyes on a smugly smiling face akin to orbicular moon, upon which his transverse flute mohana-vamshi is emitting vibrating melodies, that enigmatic form brilliant like blueblackish tamAla tree, and that which is the life-principle of the sonance from that flute, is toddling towards me, called Krishna... [1-73]

--o)0(o--

चापल्यसीम चपलानुभवैकसीम
चातुर्यसीम चतुराननशिल्पसीम।
सौरभ्यसीम सकलाद्भुतकेलिसीम
सौभाग्यसीम तदिदं व्रजभाग्यसीम॥१-७४
(वसन्त-तिलकम्)

चापल्य सीम चपलानुभवैक सीम चातुर्य सीम चतुरानन शिल्प सीम
सौरभ्य सीम सकलाद्भुत केलि सीम सौभाग्य सीम तद् इदं व्रज भाग्य सीम

cāpalyasīma capalānubhavaikasīma
cāturyasīma caturānanaśilpasīma |
saurabhyasīma sakalādbhutakelisīma
saubhāgyasīma tadidaṁ vrajabhāgyasīma ||1-74
(vasanta-tilakam)

cāpalya sīma capalānubhavaika sīma cāturya sīma caturānana
 śilpa sīma saurabhya sīma sakalādbhuta keli sīma
saubhāgya sīma tad idaṁ vraja bhāgya sīma

cApalyasIma capalAnubhavaikasIma
cAturyasIma caturAnanashilpasIma |
saurabhyasIma sakalAdbhutakelisIma
saubhAgyasIma tadidaM vrajabhAgyasIma ||1-74
(vasanta-tilakam)

vamshi_barham

cApalya sIma capalAnubhavaika sIma cAturya sIma caturAnana shilpa sIma saurabhya sIma sakalAdbhuta keli sIma saubhAgya sIma tad idaM vraja bhAgya sIma

1-74. cApalya sIma= for archness, he is the bourne, archetype; capala anubhava eka sIma= for chapala, i.e., goddess Lakshmi, for her revelling, [he is] the only, abode; or, capala anubhava= for revelling escapades of milkmaids in his respect; eka sIma = he is the ultimate, goal; cAturya sIma= for astuteness, he is the final; caturAnana shilpa sIma= of four-faced one [Creator's], [creative] ability [for an objet d’art], he is the acme; saurabhya sIma= in generosity [like surabhi - all-giving cow], he is supreme; sakala adbhuta keli sIma= for all, wondrous, prank-playing, he is the final; saubhAgya sIma= for prosperousness, he is the epitome; above all; vraja bhAgya sIma= for vraja village, he is providential, zenith of; tat idaM= that, this - such as it is that form; [me upanataM= coming in my fore. ]

An archetype of archness, an ideal seat for all revelries of goddess Lakshmi, or, for the scrupling milkmaids, when he is in his country seat; an embodiment of astuteness; an objet d'art of the Creator; an epitome of generosity; a wondrous prankster, of course, for the good; an  emblematised prosperity; above all, the zenithal providence of vraja village; such as it is that form of that boy is nearing me, called Krishna... [1-74]

--o)0(o--

माधुर्येणद्विगुणशिशिरंवक्त्रचन्द्रंवहन्ती
वंशीवीथीविगलदमृतस्रोतसा सेचयन्ती।
मद्वाणीनांविहरणपदंमत्तसौभाग्यभाजां
मत्पुण्यानांपरिणतिरहो नेत्रयोः सन्निधत्ते॥१-७५
(पुष्पिताग्र)

माधुर्येण द्वि गुण शिशिरं वक्त्र चन्द्रम् वहन्ती वंशी वीथी विगलत्
अमृत स्रोतसा सेचयन्ती मत् वाणीनां विहरण पदं मत्त सौभाग्य
भाजाम् मत् पुण्यानाम् परिणतिः अहो नेत्रयोः सन्निधत्ते

mādhuryeṇadviguṇaśiśiraṁvaktracandraṁvahantī
vaṁśīvīthīvigaladamṛtasrotasā secayantī |
madvāṇīnāṁviharaṇapadaṁmattasaubhāgyabhājāṁ
matpuṇyānāṁpariṇatiraho netrayoḥ sannidhatte ||1-75  (puṣpitāgra)

mādhuryeṇa dvi guṇa śiśiraṁ vaktra candraṁ vahantī vaṁśī vīthī vigalat amṛta srotasā secayantī mat vāṇīnāṁ viharaṇa padaṁ matta saubhāgya bhājāṁ mat puṇyānāṁ pariṇatiḥ aho netrayoḥ sannidhatte

mAdhuryeNadviguNashishiraMvaktracandraMvahantI
vaMshIvIthIvigaladamR^itasrotasA secayantI |
madvANInAMviharaNapadaMmattasaubhAgyabhAjAM
matpuNyAnAMpariNatiraho netrayoH sannidhatte ||1-75
(puShpitAgra)

vamshi_barham

mAdhuryeNa dvi guNa shishiraM vaktra candraM vahantI vaMshI vIthI vigalat amR^ita srotasA secayantI mat vANInAM viharaNa padaM matta saubhAgya bhAjAM mat puNyAnAM pariNatiH aho netrayoH sannidhatte

1-75. mat vANInAM viharaNa padaM= [that which is] for my, speeches - modus loquendi, a gambolling, ground [basis]; matta saubhAgya bhAjAM= ecstatically, in prosperity, partaking - in which my merits are ecstatically partaking of the prosperity of visualising him; mat puNyAnAM pariNatiH= my, virtuous merits', consummation - consummation of my merits that are ecstatically partaking of prosperity of visualising him; netrayoH= of my eyes - that consummation of my merits is presenting the form of that boy before my eyes, which form is; mAdhuryeNa dvi guNa shishiraM = [by virtue of double] lusciousness, doubly, coolant; such a form; vaktra candraM vahantI= face, called moon, one who is having; and one who is drenching the hearts of devotees with melodies from; vaMshI = [from his flute called] vamshi, vIthI= from the pathways of that flute - i.e., the holes of flute from which melodies make pathways; vigalat amR^ita srotasA= [with melodies] sliding therefrom, ambrosial, streams - ambrosial streams slithering from the pathways called holes of his transverse flute called mohana-vamshi; secayantI = drenching - the hearts of devotees with melodies of such flute; [mat netrayoH] sannidhatte = [before my eyes] he is presenting himself; aho = what a wonder.

That which is the elemental gambolling ground of my loquacity, that which is azurine in his form with its doubly coolant nature with paired lusciousness, one by virtue of the luscious moonlike face itself, while the other by the virtue of ambrosial streams slithering to drench the hearts of devotees from the pathways called holes of his transverse flute, namely mohana-vamshi, is presenting itself before my eyes, for my consummated merits last life are ecstatically partaking of the prosperity of visualising that boy called Krishna… [1-75]

--o)0(o--

Proem: Now the poet is offering namaskAram to that form that has presented itself before his vision.

तेजसे अस्तु नमो धेनुपालिने लोकपालिने।
राधापयोधरोतसङ्गशायिने शेषशायिने॥१-७६  (अनुष्ठुप्)

तेजसे अस्तु नमः धेनु पालिने लोक पालिने
राधा पयोधर उतसङ्ग शायिने शेष शायिने

tejase astu namo dhenupāline lokapāline |
rādhāpayodharotasaṅgaśāyine śeṣaśāyine ||1-76
(anuṣṭhup)

tejase astu namaḥ dhenu pāline loka pāline rādhā
payodhara utasaṅga śāyine śeṣa śāyine

tejase astu namo dhenupAline lokapAline |
rAdhApayodharotasa~NgashAyine sheShashAyine ||1-76
(anuShThup)

vamshi_barham

tejase astu namaH dhenu pAline loka pAline rAdhA payodhara utasa~Nga shAyine sheSha shAyine

1-76. dhenu pAline= oh, cow, herder [loka dRiSTyA - in the guesstimate of commoners, cows are lakShaNa for living beings]; loka pAline= oh, world's, sovereign [paramArtha dRiSTyA - in the estimate of philosophers]; rAdhA payodhara utasa~Nga shAyine= on rAdha's, breasts, ridges of, oh, recliner [loka sAdhAraNa sRingAra puruSha dRiSTyA - in the idée reçue of people as just as a ladies’ man]; sheSha shAyine= on multi-hooded serpent, oh, recliner [paramAtma dRiSTyA - transcendentally,]; whatever it is - it is, in all faits accomplis, the; tejase= oh, self-refulgence; namaH astu= Hail, [holy Light... since God is light, &c-- Milton]

Hail, thou that art the sentinel of living beings in the sentiments of living beings, but contrarily thou that art the sovereign of worlds in the sensation of philosophers - thus hail thee; hail, thou that art just a ladies' man in the idées reçues of common people, for thou reclinest on the ridgy bosoms of rAdha, yet contrarily thou that art the recliner on the multi-hooded serpent sheSha, as nArAyana - thus hail thee; quidquid id est; hail thee that now fillest my vision as a self- refulgent sapphirine lambency, called Krishna...  [1-76]

--o)0(o--

धेनुपालदयितास्तनस्थली धन्यकुङ्कुमसनाथकान्तये।
वेणुगीतगतिमूलवेधसे तेजसे तदिदमोम्नमोनमः॥१-७७  (रथोद्धत)

धेनु पाल दयिता स्तन स्थली धन्य कुङ्कुम सनाथ कान्तये
वेणु गीत गति मूल वेधसे तेजसे तत् इदम् म् नमः नमः

dhenupāladayitāstanasthalī
dhanyakuṅkumasanāthakāntaye |
veṇugītagatimūlavedhase
tejase tadidamomnamonamaḥ
[brahmarāśimahase namonamaḥ] ||1-77
(rathoddhata)

dhenu pāla dayitā stana sthalī dhanya kuṅkuma
sanātha kāntaye  veṇu gīta gati mūla vedhase
tejase tat idam m namaḥ namaḥ

dhenupAladayitAstanasthalI
dhanyaku~NkumasanAthakAntaye |
veNugItagatimUlavedhase
tejase tadidamomnamonamaH ||1-77
(rathoddhata)

vamshi_barham

dhenu pAla dayitA stana sthalI dhanya ku~Nkuma sanAtha kAntaye veNu gIta gati mUla vedhase tejase tat idam Om namaH namaH [brahma rAshi mahase namo namaH]

1-77. dhenu pAla  dayitA stana sthalI dhanya ku~Nkuma sanAtha kAntaye;

dhenu pAla dayitA= cow, herders', dear ones - milkmaids'; stana sthalI= on [their] bosoms', places - that which is there on the ups-and-downs of those bosoms - upastyaka - adhityaka sthalI; dhanya ku~Nkuma= fabulous, saffron powder; sa+nAtha= with, holding - embellished with; kAntaye= one who is having that tinge - of course, on his chest and body;;

 veNu gIta gati=  for your flute's, melody, you are a course - in fact, for any musicality existing in nature;

and further; mUla vedhase= root, cause - cause for all effects;

tejase= oh, resplendence; tat idam= that's why, this; Om= Om; namaH namaH= hail, hail.

[brahma rAshi= brahma's, farragoes - veda, vedAnta etc mélange; mahase= radiant factor of [those scriptures]; namo namaH= hail, hail.

Hail him whose sapphirine body is now glowing varicolouredly, mainly with vermilion dabs of kumkum, for that body is now embellished with the dabs glow of fabulous saffron and other cosmetics rubbed on the ups-and-downs of bosoms of milkmaids when he hugged those maids; fabulous because they so far adored the bosoms of equally fabulous milkmaids; thus dabbed on to his chest and body when he embraced them they make him to look gorgeous; hail him who is the root and branch of any musicality in the universe; hail him who is the cause of every effect; or, who is manifest in every lore of brahma; as such, predicating Om I repeatedly revere that self-resplendence called Krishna... [1-77]

---o)0(o--

मृदुक्वणन्नूपुरमन्थरेण बालेन पादाम्बुजपल्लवेन।
अनुक्वणन् मञ्जुलवेणुगीतम् आयाति मे जीवितम् आत्तकेलि॥१-७८
(उपेन्द्र-वज्र)

मृदु-क्वणन्-नूपुर-मन्थरेण बालेन पादाम्बुज-पल्लवेन अनुक्वणन्
मञ्जुल-वेणु-गीतम् आयाति मे जीवितम् आत्त-केलि

mṛdukvaṇannūpuramanthareṇa
bālena pādāmbujapallavena |
anukvaṇan mañjulaveṇugītam
āyāti me jīvitam āttakeli ||1-78
(upendra-vajra)

mṛdu-kvaṇan-nūpura-manthareṇa bālena pādāmbuja-pallavena
anukvaṇan mañjula-veṇu-gītam āyāti me jīvitam ātta-keli

mR^idukvaNannUpuramanthareNa
bAlena pAdAmbujapallavena |
anukvaNan ma~njulaveNugItam
AyAti me jIvitam Attakeli ||1-78  (upendra-vajra)

vamshi_barham

mR^idu-kvaNan-nUpura-manthareNa bAlena pAdAmbuja-pallavena anukvaNan ma~njula-veNu-gItam AyAti me jIvitam Atta-keli

1-78. [idam mama jiivitam ayAti= here comes my life principle]; how does it look; it is looking nice with; mR^idu kvaNat nUpura = softly, jingling, anklet-bells; manthareNa pulsating sound - rhythmic swish-swash sounds occurring while churning, one for right pull and the other for left pull - onomatopoeically ghal, ghal sounds made by a chunk of jingle bells on anklets, not the jingle of one or two bells; some take manthara as heavy, thumping, or slow treading; bAlena pAda ambuja pallavena= tender, feet, [akin to] lotus, leaflets; ma~njula veNu gItam = mellifluous, flute's, melodies; anusmarat / anukvaNat / anusvanat= reminiscing / making to chime to the tune of anklet bells / making to buzz to the tune of anklet bellsAtta keli= one who espoused, the sport [a sport in the form of creation, maintenance, dissolution of universe]; me jIvitam= my, life-principle; AyAti= here comes.  

Placing his tender feet akin to the leaflets of lotuses rhythmically to the ghal-ghal sounds of anklets' jingle-bell-chunks; playing mellifluous melodies on his flute to the rhythmicity of those ghal-ghal sounds; here comes that boy who espoused the sport of universe, and who incidentally is the élan vital of my life, called Krishna... [1-78]

--o)0(o--

सोऽयम् विलासमुरलीनिनदामृतेन
सिञ्चन्नुदञ्चितमिदंममकर्णयुग्मम्।
आयाति मे नयनबन्धुरनन्यबन्धुर्-
नन्दकन्दलितकेलिकटाक्षलक्षः॥१-७९
(वसन्त-तिलक)

सः अयम् विलास मुरली निनद अमृतेन सिञ्चन्न् उदञ्चितम्
इदम् मम कर्ण युग्मम् आयाति मे नयन बन्धुः अनन्य
बन्धुः आनन्द कन्दलित केलि कटाक्ष लक्शः [लक्ष्मीः]

so'yaṁ vilāsamuralīninadāmṛtena
siñcannudañcitamidaṁmamakarṇayugmam |
āyāti me nayanabandhurananyabandhur-
ānandakandalitakelikaṭākṣalakṣaḥ ||1-79
(vasanta-tilaka)

saḥ ayaṁ vilāsa muralī ninada amṛtena siñcann udañcitam idaṁ mama karṇa yugmam āyāti me nayana bandhuḥ ananya bandhuḥ ānanda kandalita keli kaṭākṣa lakśaḥ [lakṣmīḥ]

so.ayaM vilAsamuralIninadAmR^itena
si~ncannuda~ncitamidaMmamakarNayugmam |
AyAti me nayanabandhurananyabandhur-
AnandakandalitakelikaTAkShalakShaH ||1-79  (vasanta-tilakam)

vamshi_barham

saH ayaM vilAsa muralI ninada amR^itena si~ncann uda~ncitam idaM mama karNa yugmam AyAti me nayana bandhuH ananya bandhuH Ananda kandalita keli kaTAkSha lakshaH [lakShmIH]

1-79. Ananda kandalita= bliss, sprouts of; keli kaTAkSha= sportive, sidelong glances; laksha = with umpteen such glances; or, lakShmIH= with the grandeur of such glances - he being the form of cosmic bliss, his umpteen sidelong glances are nothing more than the innumerable sprouts of that bliss; with the grandeur of such sidelong glances;

an+anya bandhoH= no, other, near and dear = to them that have no other one as their near and dear relative - to such orphaned eras of mine; me nayana bandhuH= to my, eyes, a [dear] relative; saH ayaM= such as he is he; ut+a~ncitam= to up, perked - whose ears are perked up - ecstasised to listen the divine music; idaM mama karNa yugmam= these, my, ears, a pair of; vilAsa muralI ninada amR^itena= playing merrily, flute's, melody, nectarean - with nectarean melody merrily played on flute; si~ncann= as if to drench - those ears; AyAti = he is coming.

Beaming the grandeur of illimitable sidelong glances that are none other than the sprouts of his cosmic bliss, aiming to drench my ecstasised ears with nectarean melodies merrily played on his flute, here comes that lone cognate of my orphaned eyes, called Krishna... [1-79]

--o)0(o--

दूराद्विलोकयतिवारणखेलगामीधाराकटाक्षभरितेनविलोचनेन।
आरादुपैतिहृदयङ्गमवेणुनादवेणीदुघेनदशनावरणेन देवः॥१-८०
(वसन्त-तिलक)

दूरात् विलोकयति वारण खेल [केलि] गामी धारा
कटाक्ष भरितेन विलोचनेन आरात् उपैति हृदयङ्गम
वेणु नाद वेणी दुघेन [मुखेन] दशन अवरेण [अंशु भरेण] देवः

dūrādvilokayativāraṇakhelagāmī
dhārākaṭākṣabharitenavilocanena |
ārādupaitihṛdayaṅgamaveṇunāda-
veṇīdughenadaśanāvaraṇena devaḥ ||1-80
(vasanta-tilaka)

dūrāt vilokayati vāraṇa khela [keli] gāmī dhārā kaṭākṣa
bharitena vilocanena ārāt upaiti hṛdayaṅgama veṇu nāda veṇī dughena [mukhena] daśana avareṇa [aṁśu bhareṇa] devaḥ

dUrAdvilokayativAraNakhelagAmI
dhArAkaTAkShabharitenavilocanena |
ArAdupaitihR^idaya~NgamaveNunAda-
veNIdughenadashanAvaraNena devaH ||1-80
(vasanta-tilaka)

vamshi_barham

dUrAt vilokayati vAraNa khela [keli] gAmI dhArA kaTAkSha bharitena vilocanena ArAt upaiti hR^idaya~Ngama veNu nAda veNI dughena [mukhena] dashana avareNa [aMshu bhareNa] devaH

1-80. hR^idaya~Ngama veNu nAda veNI dughena =heart-pleasing, flute's, melody, freshet, one who is milking [such milking process of freshets of melodies];

vAraNa khela gAmI= elephant, in sportiness, going - one who treads in sportiness of an elephant;

dashana AvaraNena= by teeth's, coverings - by lips ; [upalakShitena= one who is deduced by his lipping the flute];

[saH ayam ] devaH= [such as he is], that luminary;

dhArA kaTAkSha bharitena vilocanena= with flowing, grace, filled, eyes;

dUrAt vilokayati= from distance, he is seeing; ArAt upaiti = to near, he is coming.

Or

vAraNa keLi gAmI= elephant, in sportiness, going - one who treads in sportiness of an elephant;

[saH ayam ] devaH= [such as he is], that luminary;

dhArA kaTAkSha bharitena vilokitena= with flowing, grace, filled, with his vision;

dUrAt vilokayati= from distance, he is seeing;

hR^idaya~Ngama veNu nAda veNI mukhena = heart-pleasing, flute's, melody, freshet, with such an outlet [mouth of that boy from where those melodies are fresheting;

dashana amshuka bhareNa= by teeth's, coverings, by weight of - with such bulbous lips; or, dashana amshu bhareNa= with teeth's, sparkle, filled with = with a toothy grin;

ArAt upaiti = to near, he is coming.

Or

[saH ayam ] devaH= [such as he is], that luminary;

dhArA kaTAkSha bharitena vilocanena= with flowing, grace, filled, eyes;

dUrAt vilokayati= from distance, he is seeing;

and that; vAraNa khela gAmI= elephant, in sportiness, going - one who treads in sportiness of an elephant;

hR^idaya~Ngama veNu nAda veNI dughena = with heart-pleasing, flute's, melody, freshets, one who is milking [who is in the milking process of freshets of melodies];

dashana AvaraNena= by teeth's, coverings - by lips; [upalakShitena= one who is deduced by such unseen lips that must be bulbous, for they are kissable, since they are lipping mellisonant melodies on flute];

ArAt upaiti = to near, he is coming.

That sapphirine-blaze whose eyes filled with flowing grace is envisioning me from yonder azured vault; and now that gibbous lipped one is approaching me in his elephantine gait milking freshets of heart-pleasing melodies on his flute, called Krishna... [1-80]

--o)0(o--

त्रिभुवन सरसाभ्यां दिव्यलीलाकुलाऽऽभ्याम्
दृशिदृशि शिशिराभ्यां दीप्तभूषापदाभ्याम्।
अशरणशरणाभ्यां अद्भुताभ्याम्पदाभ्याम्
अयमयमनुकूजद्वेणुरायाति देवः॥१-८१
(मालिनि)

त्रि भुवन सरसाभ्यां दिव्य लीला आकुलाभ्यां दृशिदृशि शिशिराभ्याम्
[दिशि दिशि तरलाभ्याम्] दीप्त भूषा पदाभ्याम् [दृप्त भूषापराभ्याम् ओर् दीप्त भूषा आदराभ्याम्] अशरण शरणाभ्याम् अद्भुताभ्यां पदाभ्याम्
अयम् अयम् अनुकूजत् वेणुः आयाति देवः

tribhuvana sarasābhyāṁ divyalīlākulā''bhyāṁ
dṛśidṛśi śiśirābhyāṁ dīptabhūṣāpadābhyām |
aśaraṇaśaraṇābhyāṁ adbhutābhyāmpadābhyām
ayamayamanukūjadveṇurāyāti devaḥ ||1-81
(mālini)

tri bhuvana sarasābhyāṁ divya līlā ākulābhyāṁ dṛśidṛśi śiśirābhyāṁ [diśi diśi taralābhyāṁ] dīpta bhūṣā padābhyām [dṛpta bhūṣāparābhyām or dīpta bhūṣā ādarābhyām] aśaraṇa śaraṇābhyāṁ adbhutābhyāṁ padābhyām ayam ayam anukūjat veṇuḥ āyāti devaḥ

tribhuvana sarasAbhyAM divyalIlAkulA.a.abhyAM
dR^ishidR^ishi shishirAbhyAM dIptabhUShApadAbhyAm |
asharaNasharaNAbhyAM adbhutAbhyAmpadAbhyAm
ayamayamanukUjadveNurAyAti devaH ||1-81
(mAlini)

vamshi_barham

tri bhuvana sarasAbhyAM divya lIlA AkulAbhyAM dR^ishidR^ishi shishirAbhyAM [dishi dishi taralAbhyAM] dIpta bhUShA padAbhyAm [dR^ipta bhUShAparAbhyAm, or,  dIpta bhUShA AdarAbhyAm]  asharaNa sharaNAbhyAM adbhutAbhyAM padAbhyAm ayam ayam anukUjat veNuH AyAti devaH

1-81. tri bhuvana sarasAbhyAM= for triad, of worlds, that cause felicity;  

dIpta bhUShA padAbhyAm= for brilliant, ornaments, a tenancy of;

dIpta bhUShA AdarAbhyAm= for brilliant, ornaments, a lessor of;

dR^ipta bhUShA AparAbhyAm= for pompous, ornaments, other than - those that disdain the pompous ornaments for they themselves are the ornaments nonpareil - feet of Krishna;

dR^ishi dR^ishi= to every sight, or, in every sight of beholder– whoever sees those feet in whatever way; shishirAbhyAM= those feet accord coolness on that beholder;

dishi dishi= in every direction; taralAbhyAM= moving, on the move - nimble footed;

divya lIlA AkulAbhyAM = with divine, stride [that take in their own strides], concern themselves with;

 a+sharaNa sharaNAbhyAM= for un+sheltered, shelter giving ones;

adbhutAbhyAM = with phenomenal, feet;

padAbhyAm= with such [wondrous] feet;

ayam ayam devaH= he alone, he alone, that luminary;  

anukUjat veNuH= fluting, flute;

AyAti = here comes.

Or

devaH= that luminary; anu+kUjat veNuH- with footwork to the tunes of his flute - where those little feet are; tri bhuvana sarasAbhyAM, adbhutAbhyAM, dIpta bhUShA padAbhyAm, divya lIlA AkulAbhyAM, dR^ishi dR^ishi hishirAbhyAM, a+sharaNa sharaNAbhyAM; padAbhyAm= with such and such feet; ayam AyAti ayam AyAti= here he comes, here he cones.

Here comes that luminescent boy with footwork run to the melodies of his fluting, where those two feet are the cause of felicity for triad of worlds, for they are the lessors of brilliance to any pompous ornament, since they themselves are the jewels nonpareil, hence those two nimble little nioble feet take their own strides like a graceful elephant-walk, hence those two feet are the shelterers of shelterless, as such they alone are phenomenal; waddling on them here comes that boy, called Krishna…  [1-81]

--o)0(o--

सोयं मुनीन्द्रजनमानसतापहारी सोयं मदव्रजवधूवसनापहारी।
सोयं तृतीयभुवनेश्वरदर्पहारी सोयं मदीयहृदयाम्बुरुहापहारी॥१-८२
(वसन्ततिलक)

सः अयं मुनीन्द्र जन मानस ताप हारी सः अयं मद व्रज वधू वसन अपहारी
सः अयं तृतीय भुवन ईश्वर दर्प हारी सः अयं मदीय हृदय अम्बु रुह अपहारी

soyaṁ munīndrajanamānasatāpahārī
soyaṁ madavrajavadhūvasanāpahārī |
soyaṁ tṛtīyabhuvaneśvaradarpahārī
soyaṁ madīyahṛdayāmburuhāpahārī ||1-82
(vasantatilaka)

saḥ ayaṁ munīndra jana mānasa tāpa hārī
saḥ ayaṁ mada vraja vadhū vasana apahārī
saḥ ayaṁ tṛtīya bhuvana īśvara darpa hārī
saḥ ayaṁ madīya hṛdaya ambu ruha apahār

soyaM munIndrajanamAnasatApahArI
soyaM madavrajavadhUvasanApahArI |
soyaM tR^itIyabhuvaneshvaradarpahArI
soyaM madIyahR^idayAmburuhApahArI ||1-82
(vasantatilaka)

vamshi_barham

saH ayaM munIndra jana mAnasa tApa hArI saH ayaM mada vraja vadhU vasana apahArI
saH ayaM tR^itIya bhuvana Ishvara darpa hArI saH ayaM madIya hR^idaya ambu ruha apahArI

1-82. [yaH= he who is]; muni indra jana= sages, best ones, such hosts – of sages; mAnasa tApa hArI= heartily, scorch, remover; saH= that one; ayam= is this one;

 [yaH= he who is]; mada vraja vadhU vasana apahArI= cocky, vraja village’s, of damsels, cloths, divester; saH= that one; ayam= is this one;

[yaH= he who is]; tR^itIya bhuvana Ishvara=- third, world’s, lord – lord of heaven, where the other two worlds are earth and hell; darpa hArI= conceit, amercer of; saH= that one; ayam= is this one;

[yaH= he who is]; madIya hR^idaya ambu ruha apahArI= mine, heart, called water, born one – lotus – lotusy heart of mine, purloiner of; saH= that one; ayam= is this one;

It is he, of whom we say as the remover of the scorch of hearts of host of best sages and saints; the divester of the cloths of cocky damsels of vraja village; the amercer of the conceit of indra, the lord of the heaven; and who, incidentally, is the purloiner of the lotusy of heart of mine, it is he who is coming this way, called Krishna…  [1-82]

--o)0(o--

सर्वज्ञत्वे च मौग्ध्ये च सार्वभौमम् इदं मम।
निर्विशन्नयनं तेजो निर्वाणपदम् अश्नुते॥१-८३
(अनुष्ठुप्)

सर्वज्ञत्वे च मौग्ध्ये च सार्वभौमम् इदं मम [महः]
निर्विशन् नयनं तेजो [हन्त] निर्वाण पदम् अश्नुते

sarvajñatve ca maugdhye ca sārvabhaumam idaṁ mama |
nirviśannayanaṁ tejo nirvāṇapadam aśnute ||1-83
(anuṣṭhup)

sarvajñatve ca maugdhye ca sārvabhaumam idaṁ mama [mahaḥ] nirviśan nayanaṁ tejo [hanta] nirvāṇa padam aśnute

sarvaj~natve ca maugdhye ca
sArvabhaumam idaM mama |
nirvishannayanaM tejo
nirvANapadam ashnute ||1-83  (anuShThup)

vamshi_barham

sarvaj~natve ca maugdhye ca sArvabhaumam idaM mama [mahaH] nirvishan nayanaM tejo [hanta] nirvANa padam ashnute

1-83. sarvaj~natve ca= in omniscience, and; maugdhye ca= in charisma, as well; sArvabhaumam= this all-surpassing entity; idaM [mahaH] tejaH= this, [super] luminosity; mama nayanaM= my, eyes – my field of vision; nirvishan= while entering – while my viasion  is focussed forward at that luminescence; nirvANa padam= salvation, state of; ashnute= it is enjoying.  

While plunging an anticipative glance to glimpse this all-surpassing splendorous entity, nonpareil in omniscience and in charisma as well, my mental eye purportedly seems enjoying a state of eternal bliss, whether or not the appearance of that boy is physical, illusional, or a figment of my own imagination, of that boy called Krishna… [1-83]

--o)0(o--

कृष्णानम् एतत् पुनरुक्तशोभाम् उष्णेतरांशोर् उदयान्मुखेन्दोः।
तृष्णाम्बुराशिं द्विगुणीकरोति कृष्णाऽह्वयं किञ्चन जीवितं मे॥१-८४
(इन्द्रवज्र)

कृष्णानम्  [पुष्णानम्] एतत् पुनः उक्त शोभाम् उष्ण इतर अंशोः
उदयान् मुख इन्दोः तृष्ण अम्बु राशिम्
द्वि गुणी करोति कृष्णाह्वयं किञ्चन जीवितम् मे

kṛṣṇānam etat punaruktaśobhām
uṣṇetarāṁśor udayānmukhendoḥ |
tṛṣṇāmburāśiṁ dviguṇīkaroti
kṛṣṇā'hvayaṁ kiñcana jīvitaṁ me ||1-84
(indravajra)

kṛṣṇānam  [puṣṇānam] etat punaḥ ukta śobhām uṣṇa itara
aṁśoḥ udayān mukha indoḥ tṛṣṇa ambu rāśiṁ
dvi guṇī karoti kṛṣṇāhvayaṁ kiñcana jīvitaṁ me

kR^iShNAnam etat punaruktashobhAm
uShNetarAMshor udayAnmukhendoH |
tR^iShNAmburAshiM dviguNIkaroti
kR^iShNA.ahvayaM ki~ncana jIvitaM me ||1-84  (indravajra)

vamshi_barham

kR^iShNAnam  [puShNAnam] etat punaH ukta shobhAm uShNa itara aMshoH udayAn mukha indoH tR^iShNa ambu rAshiM dvi guNI karoti kR^iShNAhvayaM ki~ncana jIvitaM me

1-84. uShNa itara aMshoH= hotness, other than, one who has got such beams – one whose beams are other than hot - cool-beamed-moon; udayan= on coming up – on the rise of moon [wrf to moon]; punaH ukta shobha= shobhA punarukti= repeatedly, said, grandeur – redundantly saying that moon is bright, moon is marvellous etc;  kR^iShNAnam= = one that is trouncing - hi.nsati  - Krishna also means hi.msa = trouncer – one who defeats heavily - so, this resplendence before my mental eye is trouncing the grandeur of moon, because that resplendence itself is far greater than the moon;  [or, puShNAnam= one who enriches, krishna is enriching the already shining moon on sky by his own original refulgence, since moon is always dependant on sun or god for acquiring his shine]; kR^iShNa Ahvaya [vastuH]= Krishna, called, some entity;  [udayan= on his coming in my fore - wrf to poet];me ki~ncana jIvitaM = my, small time, life; etat mukha indoH= by such and such, face called moon; [me] tR^iShNa ambu rAshiM= [mine], thirst, called, water, heaps = my oceanic thirst; dvi guNI karoti = redouble, it is [that moon called Krishna] making. Krishna

Or

kR^iShNAhvayaM= some entity called as Krishna; ki~ncana= an unexplainable entity; me etat= mine, before – that which is appearing before me; [me] jiivitam= which entity, in fact,  is [my] life principle; such as it is that entity with its; mukha indoH= face, called moon; uShNa itara aMshoH= hotness, other than, who has got such beams – one whose beams are other than hit, cool-beamed-moon; [cleaved as] udayAt [ not as udayam, or udayan]= by the uprise of his face [before me, like moon on sky]; punarukta shobhAm kR^iShNAnam = pleonastic ,  grandeur, making – the rise of this boy’s face is making the grandeur of moon as a mere pleonastic statement often repeated; and this is as well making; me tR^iShNa ambu rAshiM= thirst called ocean; dvi guNI karoti= double fold, it is making;

Or

mukha indoH udayAt= whose face, called, moon, on its rising; uShNa itara aMshoH = moon’s, punarukta shobhAm= much said, grandeur;puShNAnam =  [that face] is enriching; kR^iShNa AhvayaM= that which is called as Krishna; ki~ncana= that which is an inexplicable entity; jIvitaM me = for being a life principle, of mine; me= of my, me like dedicates, say poet, rAdha, gopikA-s et al;  tR^iShNa ambu rAshiM dvi guNI karoti= [my] thirst, called an ocean, it is redoubling.

Advent to the rise of the face of this boy with a moon like face, the grandeur of the face of moon on sky is fading out, yet it is recouping nourished by the innate grandeur of the face of this boy, seeing which the oceans are tide ripping – that which is natural; equally, the very same moonlike face of that boy is redoubling the rip tides in my oceanic desire to see him fully afore me - that which feeling is inculcated naturally, for he is the life principle of mine, called Krishna...  [1-84]

In this verse ShNA is the shravaNa mathura prAsa, earpleasing alliterative word.

--o)0(o--

तदेतद् आताम्रविलोचनश्रीसम्भाविताऽशेषविनम्र वर्गम् गर्वम्।
मुहुर्मुरारेर्मधुराधरोष्ठं मुखाम्बुजं चुम्बति मानसं मे॥१-८५
(उपेन्द्रवज्र)

तत् एतत् आ-ताम्र विलोचन श्री सम्भावित अशेष विनम्र वर्गम् [गर्वम्]
मुहुः मुरारेः मधुर अधर ओष्ठं मुख अम्बुजं चुम्बति मानसं मे

tadetad ātāmravilocanaśrī
sambhāvitā'śeṣavinamra vargam garvam |
muhurmurārermadhurādharoṣṭhaṁ
mukhāmbujaṁ cumbati mānasaṁ me ||1-85
(upendravajra)

tat etat ā-tāmra vilocana śrī sambhāvita aśeṣa vinamra
vargam [garvam] muhuḥ murāreḥ madhura adhara oṣṭhaṁ
mukha ambujaṁ cumbati mānasaṁ me

tadetad AtAmravilocanashrI
sambhAvitA.asheShavinamra vargam garvam |
muhurmurArermadhurAdharoShThaM
mukhAmbujaM cumbati mAnasaM me ||1-85  (upendravajra)

vamshi_barham

tat etat A-tAmra vilocana shrI sambhAvita asheSha vinamra vargam [garvam] muhuH murAreH madhura adhara oShThaM mukha ambujaM cumbati mAnasaM me

1-85. A-tAmra vilocana shrI = by his roseate, eyes’, magnificence;sambhAvita= those that are honoured; a+sheSha = without, remainder – unnumbered; vinamra= devotees; vargam= hosts; [garvam= proudness of devotees – unnumbered devotees are very proud because the magnificence of that boy’s roseate eyes has fallen on them; [yat] mukha ambujaM murAreH = [that which is a] lotusy face, of Krishna [is there]; the face of such a boy who has such an innumerable proudish devotees – Krishna’s face]; [yat] madhura adhara oShThaM= [that which face has] nectarine, lips; [yat] me mAnasaM cumbati muhuH = [that which] my, heart, kisses, repeatedly;  tat= that boy with a kissy face – cumbati  is NOT exactly kissing or sucking, but lipping, grazing as in ‘the cue-ball barely kissed the black...’ verbally touching heartily; etat = that one is this one only.

 This face must be that of prodigy having roseate eyes that have ennobled hosts of his devotees for which those devotees feel their own proper pride; this must be the face of that wunderkind on which nectarine lips are pouting, which I sense by his nectareous flutings emanating from them; this must be the kissy face of whiz-kid on which my lips always mumble; otherwise – why  the oceanic thirst of mine to see him should rip tide; yes, this one is that one only, called Krishna... [1-85]

--o)0(o--

करौ शरदुदङ्चीताम्बुजविलासशिक्षागुरू
पदौ विबुधपादपप्रथमपल्लवोल्लङ्घिनौ।
दृशौ दलितदुर्मदत्रिभुवनोपमानश्रियौ
विलोकय विलोचनामृतमहो महचैशवम्॥१-८६
 (पृथ्वि)

करौ शरत् उदङ्चित अम्बु ज विलास शिक्षा गुरू [शरदि ज अम्बुज क्रम विलास शिक्षा गुरू] पदौ विबुध पादप प्रथम पल्लव उल्लङ्घिनौ दृशौ दलित दुर्मद त्रि भुवन उपमान श्रियौ विलोकय विलोचन अमृतम् अहो महः शैशवम्

karau śaradudaṅcītāambujavilāsaśikṣāgurū
padau vibudhapādapaprathamapallavollaṅghinau |
dṛśau dalitadurmadatribhuvanopamānaśriyau
vilokaya vilocanāmṛtamaho mahacaiśavam ||1-86  (pṛthvi)

karau śarat udaṅcita ambuja vilāsa śikṣā gurū [śaradi ja ambuja krama vilāsa śikṣā gurū] padau vibudha pādapa prathama pallava ullaṅghinau dṛśau dalita durmada
tri bhuvana upamāna śriyau vilokaya vilocana
amṛtam aho mahaḥ śaiśavam

karau sharaduda~NchiitAambujavilAsashikShAgurU
padau vibudhapAdapaprathamapallavolla~Nghinau |
dR^ishau dalitadurmadatribhuvanopamAnashriyau
vilokaya vilocanAmR^itamaho mahachaishavam ||1-86
  (pR^ithvi)

vamshi_barham

karau sharat uda~Nchita ambuja vilAsa shikShA gurU [sharadi ja ambuja krama vilAsa shikShA gurU] padau vibudha pAdapa prathama pallava ulla~Nghinau dR^ishau dalita durmada tri bhuvana upamAna shriyau vilokaya vilocana amR^itam aho mahaH shaishavam

1-86. hè vilocana= oh, eye - or, of mine; or, of anyone who wishes to ponder on him; amR^ita mahaH= one having ambrosial, resplendence;

[or, amRitam aho; or, amRitam mahat aho= eyes, to the eye of perceiver, ambrosial= one having ambrosial eyes in the viewpoint of the perceiver; nirupamAna locanam yasya saH]

 karau= his two arms are; sharat uda~Nchita= in autumn, that have risen – just bloomed in autumn; ambu+ja= water born ones – lotuses; vilAsa shikShA gurU= [for lotuses] intricacies, teaching, mentors - his arms are the mentors teaching niceties to just born lotuses - in delicacy;

[sharadi ja ambuja krama vilAsa shikShA gurU = same as above, except krama= methodically, methodical tutors]

vilokaya mahaH shaishavam= behold, the greatest, boy;

whose:

 padau= two feet are; vibudha= gods’; pAda+pa= with feet, drinkers – those that drink with their feet – trees, heavenly trees; prathama pallava= first, leaflets – tender leaves; ulla~Nghinau= put to rout; in the matter of delicacy, his feet outdo the just born leaflets on heavenly trees called mandAra, pArijAta etc, for which trees wars were waged later;

  dR^ishau= looks are; dalita= those whose [durmada is] hewed asunder; dur+mada= bad, ego – those with vainglorious ego – say, kamsa, narakAsura et al, or, arrogance; tri bhuvana= in all three worlds; upamAna [vastu]= any king, demon or a thing; kings like kaMsa et al, demons like narakAsura, vRiShabhAsura et al; or anything like shakaTAsura – cart-demon, torrential rain of Indra, or elephant like kuvalayApIDa etc;  shriyau= [eye have] their grandeur – whether it is a king, demon or a thing, it will have some magnificence in its ambience. When that king, demon or a thing is destroyed or nullified, whatever grandeur available with each will not die with them, but reaches their destroyer [vijeta], whereby, that destroyer’s eyes will be peculiarly gleaming with this accumulated grandeur. All said and done, this boy is such a victor on bad elements possessing victor-gleaming eyes.

or, his two eyes will subjugate the arrogance of any beautiful thing comparable, say, evocative of so-0called ‘beauty’ in any world - beau idéal = ideal beauty.

 O, third-eye, behold the eyes of this boy that ambrosially glisten transcending the grandeur of anything in any world cognate with the concept called ‘beauty, or say, excellence’; infantile feet agnatic with the infant-leaves on heavenly trees – both are spiritual species of tenderness with a coppery surface; puerile and undulatory arms simulative of just born lotuses, and they are worthy enough to be the mentors of those spriggy blossoms pensile on stacks, in the subject-matter called – delicacy; behold to hold that boy called Krishna... [1-86]

--o)0(o--

आचिन्वानम् अहनिहनिहनि साकारान् विहारक्रमान्
आरुन्धानम् अरुन्धतीहृदयमप्यार्द्रस्मित्ऽऽर्द्रश्रिया।
आतन्वानमनन्यजन्मनयनशाघ्यामनर्घ्यां दशाम्
आनन्दं व्रजसुन्दरीस्तनतटीसाम्राज्यम् उज्जृम्भते॥१-८७
(शार्दूलविक्रीडितम्)

आचिन्वानम् अहनि अहनि अहनि स आकारान् विहार क्रमान् आरुन्धानम्
अरुन्धती हृदयम् अपि आर्द्र स्मित आस्य श्रिया आतन्वानम् अनन्य जन्म
नयन शाघ्याम् अनर्घ्यां दशाम् आनन्दं व्रज-सुन्दरी स्तन तटी साम्राज्यम् उज्जृम्भते

ācinvānam ahaniahaniahani sākārān vihārakramān
ārundhānam arundhatīhṛdayamapyārdrasmit''rdraśriyā |
ātanvānamananyajanmanayanaśāghyāmanarghyāṁ daśām
ānandaṁ vrajasundarīstanataṭīsāmrājyam ujjṛmbhate ||1-87
(śārdūlavikrīḍitam)

ācinvānam ahani ahani ahani sa ākārān vihāra kramān ārundhānam arundhatī hṛdayam api ārdra smita āsya śriyā ātanvānam ananya janma nayana śāghyām anarghyāṁ daśām ānandaṁ vraja-sundarī stana taṭī sāmrājyam ujjṛmbhate

AcinvAnam ahaniahaniahani sAkArAn vihArakramAn
ArundhAnam arundhatIhR^idayamapyArdrasmit.a.ardrashriyA |
AtanvAnamananyajanmanayanashAghyAmanarghyAM dashAm
AnandaM vrajasundarIstanataTIsAmrAjyam ujjR^imbhate ||1-87  (shArdUlavikrIDitam)

vamshi_barham

AcinvAnam ahani ahani ahani sa AkArAn vihAra kramAn ArundhAnam arundhatI hR^idayam api Ardra smita Asya shriyA AtanvAnam ananya janma nayana shAghyAm anarghyAM dashAm AnandaM vraja-sundarI stana taTI sAmrAjyam ujjR^imbhate

1-87. ahani ahani ahani= day, after day, after day - perpetually;

sa+AkArAn vihAra kramAn AcinvAnam –

sa+AkArAn= with certain manifestation – as deva-deva, Omnipresent, he does not have any manifestation – a+prAkRita dehi. It is we who anthropomorphised him for our convenience.  To appease our anthropogenic thinking he too took up an anthropoid physique to become a Roman in Rome, called Krishna. Then, how Krishna’s wearing a human body differs from that of rAma and parashurAma, as they too took up Darwinian bodies. Not so. There is nothing peculiar with the bAlya-krIDA-s of bAla-rAma orbAla-parashurAma, but we have a lot of activity with bAla-kRiSNa, right from his suckler-hood, that too, amazing feats, day after day, that too peculiarly connected with sRingAram, romanticism, as recapitulated in the other foots of this verse - arundhatI hR^idayam api , ananya janma nayana shAghyAm, vraja-sundarI stana taTI sAmrAjyam etc.

 vihAra kramAn AcinvAnam= frolicsome, programs, heaping up – evolving many methods for frolicking - though this boy is without shape and structure originally, aprAkRita swarUpa, he assumed certain form and evolves many frolicking measures day by day, thus appears anew day by day;

Ardra smita Asya shriyA = wet [with nectar], smiles, face’s, grandeur – with s face filled with the grandeur of nectareous smiles;

arundhatI hR^idayam api = Lady arundhati’s, heart, even it were to be; A-rundhAnam = a little, impeded – this boy made the heart of most excellent husband-devout lady arundhati, wife of sage vashiSTha, to lean on him amorously; then what is the fate of ordinary women;

ananya janma= an+anya+janma= not [like], any other, soul – one whose birth / rebirth are unlike any fellow – manmatha – lovegod; his charm is an unsurpassable one, said so, because he down not have any shape so love is shapeless;

ananya janma= an+anya+janma= not [having], other, birth = those who took only one birth - gopikA-s; this genre of gopikA-s are neither exiting before Krishna, nor took rebirth after Krishna – they are all great sages and saints came as milkmaids only to take proximate delight in the supreme - so, the are not Cow & Gate milkmaids; this boy is their eyefiller;

ananya janma= an+anya+janma= not [having], another, birth – great sages and saints – all souls salvaged from kArmic cycle; this boy is the eye-feast of their third eyes;

 nayana shAghyAm= for the eyes of such a lovegod/sages/milkmaids, he is an applaudable boy – an eye filler, eye-feast;

vraja-sundarI stana taTI sAmrAjyam= of vraja-village, beauties, bosoms, superficies, sovereignty; he who is the sovereign of the sovereignty called the superficies of the bosoms of milkmaids of vraja village; with the word taTI linked to stana – his tight embrace of them is indicated, vyanjitam, indicating his wholehearted indulgence with them – not superficial.

 anarghyAM dashAm AtanvAnam= an invaluable, epoch, flaring out;

A+mandaM [Anandam] ut+jR^imbhate= slowly and slowly, [that bliss called Krishna] coming up; arising, revealing before our eyes.

Lo and behold, that amorphous Being who can morph himself into many forms for the evolvement of many methods of perpetual frolicking congruous for his jocundity, nitya lIlA vibhUti, who is now in the form of a sapphirine-boy whose face filled with the grandeur of nectareous smiles; who made the unbendable heart of most excellent husband-devout lady arundhati, wife of sage vashiSTha, to amorously rub up against his own, owing to his charm; which charm has all encomia in the eyes of lovegod/sages/milkmaids, according as their visional appreciation; with which charm he reigned high on the empire called the superficies of the bosoms of vraja milkmaids flaring out an invaluable rapturous epoch; such as he is that sapphirine-boy is now fading in slowly and slowly on our visual field, called Krishna...  [1-87]

Some critics observe this as a prakshipata verse, an interpolated one.

--o)0(o--

समुच्च्वसितयौवनं तरलशैशवालङ्कृतम्
मदच्चुरितलोचनम् मदनमुग्धहासामृतम्।
प्रतिक्षणविलोभनम् प्रणयपीतवंशीमुखम्
जगत्त्रय विमोहनम् जयति मामकम् जीवितम्॥१-८८
(पृथ्वि)

सम्उच्च्वसित [तत् उच्च्वसित] यौवनम् तरल शैशव अलङ्कृतम्  मद च्चुरित
लोचनम् मदन मुग्ध हास अमृतम् प्रतिक्षण विलोभनम् प्रणय पीत वंशी मुखम्
जगत् त्रय विमोहनम् [मनोहरम्] जयति मामकम् जीवितम्

samuccvasitayauvanaṁ taralaśaiśavālaṅkṛtaṁ
madaccuritalocanaṁ madanamugdhahāsāmṛtam |
pratikṣaṇavilobhanaṁ praṇayapītavaṁśīmukhaṁ
jagattraya vimohanam jayati māmakaṁ jīvitam ||1-88  (pṛthvi)

samuccvasita [tat uccvasita] yauvanaṁ tarala śaiśava alaṅkṛtaṁ mada ccurita locanaṁ madana mugdha hāsa amṛtam  pratikṣaṇa vilobhanaṁ praṇaya pīta vaṁśī mukhaṁ jagat traya vimohanam [manoharaṁ] jayati māmakaṁ jīvitam

samucchvasitayauvanaM taralashaishavAla~NkR^itaM
madacchuritalocanaM madanamugdhahAsAmR^itam |
pratikShaNavilobhanaM praNayapItavaMshImukhaM
jagattraya vimohanam jayati mAmakaM jIvitam ||1-88  (pR^ithvi)

vamshi_barham

sam+ucchvasita [tat ucchvasita] yauvanaM tarala shaishava ala~NkR^itaM mada cchurita locanaM madana mugdha hAsa amR^itam  prati+kShaNa vilobhanaM praNaya pIta vaMshI mukhaM jagat traya vimohanam [manoharaM] jayati mAmakaM jIvitam

anvayam: jagat traya vimohanam mAmakaM jIvitam jayati.

1-88. sam+ut+vasita yauvanaM= with freshly breathed, juvenescence;

tarala shaishava ala~NkR^itaM= [yet] flippant, childhood, bedecked with;

mada cchurita locanaM= with amour propre, loaded, eyes – looks loaded with gravitas;

madana mugdha hAsa amR^itam= by lovegod [galvanized], beautiful, smiles, called nectar – his nectarous smiles seem to be primed up with thousands of lovegods;

prati+kShaNa vilobhanaM= every moment, deluding – with such a face;

praNaya pIta vaMshI mukhaM [or, vamshi+mukam= face of the flute – head end of transverse flute with single hole to fill air] = with a penchant, drunk, [his flute called] vashi, with such a face – his face seems to be continuously drinking the face of his flute, vamshi, because he has a penchant for that flute;agat traya vi+mohanam= worlds, three, captivator of;
     
  mAmakaM jIvitam= one who is my, life’s principle; jayati = hail-ho.

Hail him who is with freshly breathed juvenescence, yet with the caparisons of childhood’s flippancy still persisting; eyes look loaded with gravitas; lips spilling lovegod-hatched smiles that look nectariferous in their beauty; pouting seems continually drinking the face of his flute, vamshi, as he has a penchant for heavenly music; such as he is he who is the entrancer of the triad of the worlds, and who ipso facto is my life-principle, he is emerging before me... hail that boy called Krishna... [1-88]

--o)0(o--

चित्रम् तदेतच्चरणारविन्दम् चित्रम् तदेतन्नयनारविन्दम्।
चित्रं तदेतद्वदनारविन्दम् चित्रं तदेतद्पुनरस्म्ब चित्रम्॥१-८९
(इन्द्रवज्र)

चित्रम् तत् एतत् चरण अरविन्दं चित्रम् तत् एतत् नयन अरविन्दम् चित्रम्
तत् एतत् वदन अरविन्दम् चित्रम् तत् एतत् पुनः
[पुनरेव  पुनः एव वपुरस्य  वपुः अस्य] अम्ब चित्रम्

citraṁ tadetaccaraṇāravindaṁ
citraṁ tadetannayanāravindam |
citraṁ tadetadvadanāravindaṁ
citraṁ tadetadpunarasmba citram ||1-89
(indravajra)

citraṁ tat etat caraṇa aravindaṁ citraṁ
tat etat nayana aravindam citraṁ
tat etat vadana aravindaṁ citraṁ tat etat punaḥ [punareva punaḥ eva vapurasya  vapuḥ asya] amba citram

citraM tadetaccaraNAravindaM
citraM tadetannayanAravindam |
citraM tadetadvadanAravindaM
citraM tadetadpunarasmba citram ||1-89  (indravajra)

vamshi_barham

citraM tat etat caraNa aravindaM citraM tat etat nayana aravindam citraM tat etat vadana aravindaM citraM tat etat punaH [punareva – punaH eva; vapurasya = vapuH asya] amba citram

1-89. tat= his; etat= this – appearing afore me; vadana aravindam = face, called lotus; citraM= superb; sahasra sahIrShya puruSaH;

tat= his; etat= this – appearing afore me; nayana aravindam = feet, called lotuses; citraM= superb; sahasra akshaH;

tat= his; etat= this – appearing afore me; caraNa aravindaM= feet, called lotuses; citraM= superb; sahasra pAt;

amba= oh, mother!!

tat etat punaH =his, all these, face, feet, eyes etc nominated by Scriptures; citram citraM= marvelous, astounding.

 [punareva vapurasya = punaH eva vapuH asya= to say repeatedly, his body / entity itself is superb]

tAtparyam = sulabham.

--o)0(o--

अखिलभुवनैकभूषणम् अधिभूषितजलधिदुहितृकुचकुम्भम्।
जयुवतिहारवल्ली मरकतनायकमहामणिम् वन्दे॥१-९०
(आर्य)

अखिल भुवन एक भूषणम् अधिभूषित जलधि दुहितृ कुच कुम्भम्
व्रज युवति हार्अवल्ली मरकत नायक महामणिम् वन्दे

akhilabhuvanaikabhūṣaṇam
adhibhūṣitajaladhiduhitṛkucakumbham |
vrajayuvatihāravallī
marakatanāyakamahāmaṇiṁ vande ||1-90
(ārya)

akhila bhuvana eka bhūṣaṇam adhibhūṣita jaladhi duhitṛ
kuca kumbham vraja yuvati hāravallī marakata nāyaka mahāmaṇiṁ vande

akhilabhuvanaikabhUShaNam
adhibhUShitajaladhiduhitR^ikucakumbham |
vrajayuvatihAravallI
marakatanAyakamahAmaNiM vande ||1-90  (Arya)

vamshi_barham

akhila bhuvana eka bhUShaNam;  adhi+bhUShita jaladhi duhitR^i kuca kumbham vraja yuvati hAr+avallI marakata nAyaka mahAmaNiM vande

1-90. akhila bhuvana eka bhUShaNam= to entire, worlds, the only, one who is the jewel; jaladhi duhitR^i kuca kumbham = ocean’s, daughter – goddess lakhmi, on her bosoms, pitcherlike ones; adhi+bhUShita= one who has adorned those bosoms – with mAngalyam – marriage-necklace; vraja yuvati hAra+avallI= vraja village’s, damsels’, pearly pendants; marakata nAyaka mahA maNiM= one who is an emeraldine, central, great, jewel; vande= I adore.

I adore him who has adorned the pitcherlike bosoms of the daughter of Milky Ocean, namely goddess lakshmi, with a betrothal bond, mAngalyam; who is the emeraldine central jewel in the pearly strings pendant on the bosoms of vraja damsels; why all this, I adore that sapphirine-boy who the only jewel in all the words, called Krishna... [1-90]

Or

I adore him who adorned the pitcherlike bosoms of the daughter of Milky Ocean, namely goddess lakshmi, and who became the emeraldine central jewel in the helices of pearly pendants called vraja damsels when they circumcircled him in ronde dances – rAsa kRIDa; why all this, I adore that sapphirine-boy, who is the only jewel for all the words, called Krishna...

 

....gopikAvilasitahAranIlamaNivishvajagadvalayaprakAshikojjvalamahanIyaratna-
manivAritakAliyabhogibhogamaNDalagirivrajamai velayu nandatanUju bhajayintun....
vengayAmAtya.

--o)0(o--

कान्ताकचग्रहणविग्रहबब्धलक्ष्मीखण्डाङ्गरागलवरञ्जितमञ्जुलश्रीः।
गण्डस्थलीमुकुरमण्डलखेलमानघर्माङ्कुरः किम् अपि गुम्फति कृष्णदेवः॥१-९१
(वसन्ततिलक)

कान्ता कच ग्रहण विग्रह बद्ध [लब्ध] लक्ष्मी खण्ड अङ्ग राग रस  रञ्जित मञ्जुल श्रीः
गण्ड-स्थली मुकुर मण्डल खेल-मान घर्माङ्कुरः किम् अपि खेलति कृष्ण देवः

kāntākacagrahaṇavigrahababdhalakṣmī
khaṇḍāṅgarāgalavarañjitamañjulaśrīḥ |
gaṇḍasthalīmukuramaṇḍalakhelamāna
gharmāṅkuraḥ kim api gumphati kṛṣṇadevaḥ ||1-91
(vasantatilaka)

kāntā kaca grahaṇa vigraha baddha [labdha] lakṣmī
khaṇḍa aṅga rāga rasa  rañjita mañjula śrīḥ
gaṇḍa-sthalī mukura maṇḍala khela-māna
gharmāṅkuraḥ kim api khelati kṛṣṇa devaḥ

kAntAkacagrahaNavigrahababdhalakShmI
khaNDA~NgarAgalavara~njitama~njulashrIH |
gaNDasthalImukuramaNDalakhelamAna
gharmA~NkuraH kim api gumphati kR^iShNadevaH ||1-91
  (vasantatilaka)

vamshi_barham

kAntA kaca grahaNa vigraha baddha [labdha] lakShmI khaNDa a~Nga rAga rasa  ra~njita ma~njula shrIH gaNDa-sthalI mukura maNDala khela-mAna gharmA~NkuraH kim api khelati kR^iShNa devaH

1-91. kAntA kaca grahaNa= beloved’s, hair-bun, while seizing; vigraha baddha [labdha] = in that tussle, bedaubed [received]; khaNDa a~Nga-rAga lakShmI = sandalwood stick’s paste [that has flaked out], body cosmetic, with its grandeur; rasa ra~njita= with that cosmetic’s, smearing on him; ma~njula shrIH= one who is with such beautiful, grandeur;

kalikAbhogapayodharAntaralasatkAshmIrasambandhagandhivakshasthaluDai.... vengayAmAtya.

gaNDa-sthalI mukura maNDala= on cheeks, called missors, at the place; khela-mAna =as if [sweat drops] playing [on those mirror like cheeks]; gharma a~NkuraH= just started small sweat drops; kR^iShNa devaH= Krishna – his resplendence; kim api = indescribable; khelati= playing – appearing to be playing before us.

In the tussle of seizing his beloved by her hair-bun in the combats of courtship, red and biscuit coloured sandal-paste used as her body cosmetic has flaked out and dabbed on his chest; besides, just pouted tiny drops of sweat have also started to trot on his mirror-like cheeks; with these variegated colours of sandal paste flakes and pearl-like sweat drops, his own sapphirine grandeur became ineffably multicoloured its resplendence; such as he is he is before our eyes... behold him, if you can, that boy called Krishna... [1-91]

--o)0(o--

मधुरंमधुरम् वपुरस्य विभोर्मधुरंमधुरम् वदनम् मधुरम्।
मधुगन्धि मृदुस्मितम् एतदहो मधुरंमधुरंमधुरंमधुरम्॥१-९२
(तोटक)

मधुरम् मधुरम् वपुः अस्य विभोः मधुरम् मधुरम् वदनम् मधुरम्
मधु गन्धि मृदु स्मितम् एतद् अहो मधुरम् मधुरम् मधुरम् मधुरम्

madhuraṁmadhuraṁ vapurasya vibhor
madhuraṁmadhuraṁ vadanaṁ madhuram |
madhugandhi mṛdusmitam etadaho
madhuraṁmadhuraṁmadhuraṁmadhuram ||1-92
(toṭaka)

madhuraṁ madhuraṁ vapuḥ asya vibhoḥ madhuraṁ
madhuraṁ vadanaṁ madhurammadhu gandhi mṛdu smitam
etad aho madhuraṁ madhuraṁ madhuraṁ madhuram

madhuraMmadhuraM vapurasya vibhor
madhuraMmadhuraM vadanaM madhuram |
madhugandhi mR^idusmitam etadaho
madhuraMmadhuraMmadhuraMmadhuram ||1-92  (toTaka)

vamshi_barham

madhuraM madhuraM vapuH asya vibhoH madhuraM madhuraM vadanaM madhuram
madhu gandhi mR^idu smitam etad aho madhuraM madhuraM madhuraM madhuram

1-92. asya vibhoH madhuraM vapuH madhuraM madhuraM = this, loveable, lord’s, form, is sweet and dear;

madhu-gandhi= [having flower’s] nectar, redolent of; mR^idu smitam= adorned with delicate, smiles; asya vibhoH= of this, lord; madhuram vadanaM= adorable, face; madhuraM madhuraM= is sweet and lovely;

aho = oho;

since this ambience is redolent of flower’s loverly nectar, as a whole;

 etat= all this is; madhuraM madhuram madhuraM= sweet, dear, and lovely.

Sweet and dear is the loveable form of that lord-boy; sweet and lovely is the face of that lord-boy gleaming with delicate smiles that are redolent of flowery nectar; oh, why enumerate one or two, whole of this milieu itself is sweet, dear, and lovely, for he is immanent here, called Krishna... [1-92]

--o)0(o--

शृङ्गाररससर्वस्वम् शिखिपिञ्चविभूषणम्।
अङ्गीकृतनराकारम् आश्रये भुवनाश्रयम्॥१-९३
(अनुष्ठुप्)

शृङ्गार रस सर्वस्वम् शिखि पिञ्च विभूषणम् अङ्गीकृत
नर-आकारम् आश्रये भुवन आश्रयम्

śṛṅgārarasasarvasvaṁ śikhipiñcavibhūṣaṇam |
aṅgīkṛtanarākāram āśraye bhuvanāśrayam ||1-93
(anuṣṭhup)

śṛṅgāra rasa sarvasvaṁ śikhi piñca vibhūṣaṇam
aṅgīkṛta nara-ākāram āśraye bhuvana āśrayam

shR^i~NgArarasasarvasvaM
shikhipi~nchavibhUShaNam |
a~NgIkR^itanarAkAram
Ashraye bhuvanAshrayam ||1-93  (anuShThup)

vamshi_barham

shR^i~NgAra rasa sarvasvaM shikhi pi~ncha vibhUShaNam a~NgIkR^ita nara-AkAram Ashraye bhuvana Ashrayam

1-93. shR^i~NgAra rasa sarvasvaM= romance, quintessence, everything – an all-inclusive aesthete for the quintessence of romance; shikhi pi~ncha vibhUShaNam= peacock’s feather, decorated with; a~NgIkR^ita nara-AkAram= volitionally, human, form – one who assumed; bhuvana Ashrayam= world, shelterer; Ashraye= I take shelter in him.

In him who is the all-inclusive aesthete for the quintessence of romance; who is adorned with a peacock’s feather in his headgear; who took up human incarnation on his own, and who is the shelterer of all worlds, called Krishna... [1-93]

What is shR^i~NgAram and why it is often told... shR^i~Ngam iyarti iti shR^i~NgAram... one that ascends, places itself, on the crowning point of all kinds of enjoyments  among AhAra, nidra, maithuna etc – or, the zenithal experience to living beings - hence it is shR^i~NgAram; shR^i~NgAra eva mathuraH, paraH prahlAdano rasaH – Anandavardhana. Varicoloured creation starts with this shR^i~NgAram only.

What is peacock’s feather and why it is repeatedly eulogised... it is of its own kind, and it is equally variegated in colour with the created world. To signify that particular ascription khyAti, to himself, in creation the world, he sports a plume of peacock. mAyAguNajAlakarbura - sakalajagannirmANavajichitryanissIma khyAti pratIka - mayUra barhaM. – Pt. mallampalli sharabhayya.

Hence we, worldly beings, should be thankful that our world is at the helm of this sapphirine-boy, not at some unwanted place on his body.

---o)0(o--

नाऽद्याऽपि पश्यति कदाचन दर्शनेन
चित्तेनचोपनिषदा सुदृशाम् सहस्रम्।
स त्वम् चिराम् नयनयोरनयोः पदव्याम्
स्वामिन् कदा नु कृपया मम संनिधत्से॥१-९४
(वसन्ततिलक)

न अद्य अपि पश्यति कदाचन दर्शनेन चित्तेन च उपनिषदा सुदृशां सहस्रम्
स त्वं चिराम् नयनयोः अनयोः पदव्यां स्वामिन् कदा नु कृपया मम संनिधत्ते

nā'dyā'pi paśyati kadācana darśanena
cittenacopaniṣadā sudṛśāṁ sahasram |
sa tvaṁ cirām nayanayoranayoḥ padavyāṁ
svāmin kadā nu kṛpayā mama saṁnidhatse ||1-94
(vasantatilaka)

na adya api paśyati kadācana darśanena cittena ca
upaniṣadā sudṛśāṁ sahasramsa tvaṁ cirām nayanayoḥ
anayoḥ padavyāṁ svāmin kadā nu kṛpayā mama saṁnidhatte

nA.adyA.api pashyati kadAcana darshanena
cittenacopaniShadA sudR^ishAM sahasram |
sa tvaM cirAm nayanayoranayoH padavyAM
svAmin kadA nu kR^ipayA mama saMnidhatse ||1-94
(vasantatilaka)

vamshi_barham

na adya api pashyati kadAcana darshanena cittena ca upaniShadA sudR^ishAM sahasram
sa tvaM cirAm nayanayoH anayoH padavyAM svAmin kadA nu kR^ipayA mama saMnidhatte

1-94. su+dR^ishAM sahasram= those with explorative, sight, thousands of them – sAmkhya philosophers;

cittena ca= chitta vRitti nirodhanene – those who by controlling their mind and body – yoga practitioners;

upaniShadA ca = those who base their philosophy mainly on the statements of Upanishads; vedAnta philosophers;

adya api= even today; or, kadAcana= any time to come;

darshanena cittena upaniShadA ca api= with naked eyes, in heart of hearts, or even by the statements of Upanishads;

cirAm= though working for a long time;

adya api= even today;

tvaM na pashyati= you, not, they are perceiving;

hè svAmin= oh, god;

saH tvasm= such as you are;

mama anayoH nayanayoH padavyAM= my, these, eyes, path – in the field of vision of these eyes of mine;

kR^ipayA kadA nu saMnidhatse= with mercy, when, really, you are gracing me with your proximity.

Or

adyApi= even today; kadApi= at any time to come; kaH api= any man, even; kA api = any female, even;

yasya = in whose respect – in your respect;

nidarshanAya= or, for your archetype to illustrate;

citte = in their heart of hearts

tathA = likewise;

su+dR^ishAM upaniShadAM sahasram= or, those that have clear-cut philosophy, like the statement of scriptures, thousands of them;

kim api= any single thing - to give example to you;

na pashyati= not, able to see – unfindable;

sa tvaM; hè svAmin!  anayoH mama nayanayoH padavyAM;

kayA= with which fructification of merit;

cirAm / chirAya = permanently;

kR^ipayA saMnidhatse nu= with grace, you blessed with you proximity, really.

Thousands of those with explorative vision, say sAnkhya philosophers, or those who control their mind and body, say yogic practitioners, or those who base their philosophy on thousands of Upanishadic statements, say vedAnta theorizers, though working for a long time at least to infer you, they could not do so even today, nor they can do so in future; such as you are, oh, god, with which remnant merit of mine in my last life you now graced to appear in my ken... oh, Krishna... [1-94]

---o)0(o--

केयम् कान्तिः केशव त्वन्मुखेन्दोः कोऽयम् वेषः कापि वाचाम् अभूमिः।
सेऽयम् सोऽयम् स्वादुतामङ्जुलश्रीर्भूयो भूयो भूयशत्वां नमामि॥१-९५
(शालिनि)

का इयम् कान्तिः केशव त्वत् मुख इन्दोः कः अयं वेषः
क अपि वाचाम् अभूमिः सा अयम् सा अयम्
[सेयम् सोयम् सा अयम् सः आयम्] स्वादुता
[स्वादताम् सुआदताम्] मङ्जुल श्री [अञ्जलिः ते] भूयो भूयो भूयः त्वां नमामि

keyaṁ kāntiḥ keśava tvanmukhendoḥ
ko'yaṁ veṣaḥ kāpi vācām abhūmiḥ |
se'yaṁ so'yaṁ svādutāmaṅjulaśrīr-
bhūyo bhūyo bhūyaśatvāṁ namāmi ||1-95
(śālini)

kā iyaṁ kāntiḥ keśava tvat mukha indoḥ kaḥ ayaṁ veṣaḥ ka api vācām abhūmiḥ sā ayaṁ sā ayaṁ [seyam soyam  sā  ayam saḥ āyam] svādutā [svādatām suādatām] maṅjula śrī [añjaliḥ te] bhūyo bhūyo bhūyaḥ tvāṁ namāmi

keyaM kAntiH keshava tvanmukhendoH
ko.ayaM veShaH kApi vAcAm abhUmiH |
se.ayaM so.ayaM svAdutAma~NjulashrIr-
bhUyo bhUyo bhUyashatvAM namAmi ||1-95  (shAlini)

vamshi_barham

kA iyaM kAntiH keshava tvat mukha indoH kaH ayaM veShaH ka api vAcAm a+bhUmiH sA ayaM sA ayaM [seyam soyam = sA + ayam saH+ Ayam] svAdutA [= su+AdatAm] ma~Njula shrI [a~njaliH te] bhUyo bhUyo bhUyaH tvAM namAmi

1-95. hè keshava; tvat mukha indoH iyaM kAntiH kA = your, face, called moon’s, this, brightness, what a; api ayaM veShaH kaH= then, this, getup, what a; sA ayaM sA ayaM= sA, sA= those, and those; iyam iyam= this, and this – brightness, moon-face, getup etc external things; svAdutA= charm; [sA iyam= this brightness; saH ayam= that, get up;] [seyam soyam = sA + ayam, saH+ Ayam] [svAdatAm= su+AdatAm= let them verily abide in you] ma~Njula + shrI= [your] grandeur of resplendence; vAchAm a+bhUmiH= for words, groundless; tat= thereby; bhUyo bhUyo= again, again; bhUyashaH= many more times; tvAM namAmi [a~njaliH te] = to you, I make palmfold - adore.

What a beautiful brightness beams from your moon like face; what a beautiful getup you don in; these moonbeams, that charmy face, this boyish getup, that grandeur of resplendence – all these things are unfounded steeples of litany, withal, let them remain with you complacently; I for myself will just put a namaskAram to you, again and again, ever and evermore, for you are saccidAnandamUrti... oh, Krishna... [1-95]

----o)0(o--

वदनेन्दुविनिर्जितः शशी दशधा देव पदcd प्रपद्यते।
अधिकां श्रियम् अश्नुतेतराम् तव कारुण्यविजृम्भितम् कियत्॥१-९६
(वैतालीय)

वदन इन्दु विनिर्जितः शशी दशधा देव पदम् प्रपद्यते अधिकाम्
श्रियम् अश्नुतेतराम् तव कारुण्य विजृम्भितम् कियत्

vadanenduvinirjitaḥ śaśī
daśadhā deva padaṁ prapadyate |
adhikāṁ śriyam aśnutetarāṁ
tava kāruṇyavijṛmbhitaṁ kiyat ||1-96  (vaitālīya)

vadana indu vinirjitaḥ śaśī daśadhā deva padaṁ prapadyate adhikāṁ śriyam aśnutetarāṁ tava kāruṇya vijṛmbhitaṁ kiyat

vadanenduvinirjitaH shashI
dashadhA deva padaM prapadyate |
adhikAM shriyam ashnutetarAM
tava kAruNyavijR^imbhitaM kiyat ||1-96  (vaitAlIya)

vamshi_barham

vadana indu vi+nirjitaH shashI ashadhA deva padaM prapadyate adhikAM shriyam ashnutetarAM tava kAruNya vijR^imbhitaM kiyat

1-96. hè deva; shashI= moon; [tava] vadana indu vi+nirjitaH san= by [your] face, called moon, having been put to rout; [tava] padam prapadyate = in ten ways, [your,] feet, on resigning himself; adhikAM shriyam dashadhA ashnutetarAM= much more, luminescence, in ten ways, he is getting; tava kAruNya vijR^imbhitaM kiyat= your, grace’s, endowment, how much.

Put to rout by your moonlike face, skyey moon resigned at your feet; yet he seems to have acquired tenfold luminescence by abiding as crescentic moons on your ten toenails and shining manifoldly; what an expansible grace of yours...oh, Krishna... [1-96]

The crescentic moons on nails at the junction of skin and nails are metaphored here.

--o)0(o--

तत्त्वन्मुखम्कथमिवाऽब्जसमानकक्षम्वाङ्ग्माधुरीबहुलपर्वकलासमृद्धम्।
तत्किम्भवेत्तदपरम् भुवनैककान्तम्यस्यत्वदाननसमासुषमासदास्यात्॥ १-९७
(वसन्ततिलकम्)

तत् त्वत् मुखम् कथम् इव अब्ज समान कक्षं वाक् माधुरी
बहुल पर्व कला समृद्धम् तत् किम् भवेत् तत् अपरम् भुवन
एक कान्तम् यस्य त्वत् आनन समा सुषमा सदा स्यात्

-यद्वा-

तत् त्वन्मुखम् कथम् इवाऽम्बुजतुल्यकक्षम्वाचामवाचि ननु पर्वणि पर्वणीन्दोः।
तत् किं ब्रुवे किम् अपरं भुवनैककान्तवेणु त्वदाननमनेन समम् नु यत् स्यात्॥

तत् त्वत् मुखम् कथम् इव अम्बुज तुल्य कक्षम् वाचाम् अवाचि ननु
पर्वणि पर्वणि इन्दोः तत् किम् ब्रुवे किम् अपरम् भुवन
एक कान्त वेणु त्वत् आननम् अनेन समं नु यत् स्यात्

tattvanmukhamkathamivā'bjasamānakakṣaṁ
vāṅgmādhurībahulaparvakalāsamṛddham |
tatkimbhavettadaparam bhuvanaikakāntam
yasyatvadānanasamāsuṣamāsadāsyāt || 1-97
(vasantatilaka)

tat tvat mukham katham iva abja samāna kakṣaṁ
vāk mādhurī bahula parva kalā samṛddham
tat kim bhavet tat aparam bhuvana eka kāntam yasya
tvat ānana samā suṣamā sadā syāt

-yadvā-

tat tvanmukhaṁ katham ivā'mbujatulyakakṣaṁ
vācām avāci nanu parvaṇi parvaṇīndoḥ |
tat kiṁ bruve kim aparaṁ bhuvanaikakānta-
veṇu tvadānanam anena samaṁ nu yat syāt ||

tat tvat mukhaṁ katham iva ambuja tulya kakṣaṁ
vācām avāci nanu parvaṇi parvaṇi indoḥ tat kiṁ
bruve kim aparaṁ bhuvana  eka kānta veṇu
tvat ānanam anena samaṁ nu yat syāt

tattvanmukhamkathamivA.abjasamAnakakShaM
A~NgmAdhurIbahulaparvakalAsamR^iddham |
atkimbhavettadaparam bhuvanaikakAntam
yasyatvadAnanasamAsuShamAsadAsyAt || 1-97  (vasantatilaka)

-yadvA-

tat tvanmukhaM katham ivA.ambujatulyakakShaM
vAcAm avAci nanu parvaNi parvaNIndoH |
tat kiM bruve kim aparaM bhuvanaikakAnta-
veNu tvadAnanam anena samaM nu yat syAt
|

vamshi_barham

tat tvat mukham katham iva abja samAna kakShaM vAk mAdhurI bahula parva kalA samR^iddham tat kim bhavet tat a+param bhuvana eka kAntam yasya tvat Anana samA suShamA sadA syAt

1-97. vAk mAdhurI= in words’, lusciousness; bahula parva-kalA samR^iddham= umpteen, festive-day shafts of radiance, embellished; tat tvat mukham= that, your, face; ab+ja samAna kakShaM= water-born one [ab+ja = either lotus, or moon = both are water born ones] equal, in parity; katham iva bhavet= how can it be;

yasya= to which thing or being; tvat Anana samA= your, face, equalling with; suShamA = in resplendence; sadA syAt= always, will be there;

a+param bhuvana eka kAntam syAt [yadi] = another one, for all worlds, the only, desirable thing, that which is there [if it is there - what is it];

tat kim = what is, it.

Or

tat tvanmukhaM katham ivA.ambujatulyakakShaM
vAcAm avAci nanu parvaNi parvaNIndoH |
tat kiM bruve kim aparaM bhuvanaikakAnta-
veNu tvadAnanam anena samaM nu yat syAt |

tatat= such [an exemplary face]; tvat mukhaM= your, face; ambuja tulya kakShaM katham iva= how can it be place at par with a lotus or the moon;

indoH parvaNi parvaNi vAcAm a+vAci nanu= moon’s [resplendence], on full moon day, or on new moon day, for words, not, sayable, isn’t it;

tvat Ananam bhuvana  eka kAnta veNu= your, face, for worlds, the only, cherished one, with a flute on it;

tat = that being so;

yat anena samaM syAt= which one, with this [face of yours], equal, will be – which one is there that is equal to your face

tat aparaM kim nu bruve = that, another one, what is, we really, speak of – if a similar thing is there, what do we call it.

Should we compare your face with a lotus, then that statement is amiss for lotus shuts down in nighttimes; should we comparer your face to the moon, then that too is a remiss, for moon's digits vary; what is that thing / being that has an equalling resplendence of yours by which we can infer you; if any other thing / being is there that which is most cherishable and the only desirable thing by all worlds, then what is it... I deign to say nothing is there other than you, oh, Krishna... [1-97]

--o)0(o--

शुश्रूषसे यदि वचः श्रुणु मामकीनम् पूर्वैरपूर्वकविभिर्नकटाक्षितम् यत्।
नीराजनक्रमधुराम् भवदाननेन्दोःनिर्व्याजमर्हतिचिरायशशिप्रदीपः॥१-९८
(वसन्ततिलक)

शुश्रूषसे यदि शृणु वचः श्रुणु मामकीनम्
[शुश्रूषसे यदि शृणु प्रणिधान पूर्वं] पूर्वैः अपूर्व कविभिः
न कटाक्षितम् यत् नीराजन क्रम धुराम् भवत् आनन इन्दोः
निर्व्याजम् अर्हति चिराय शशि प्रदीपः

śuśrūṣase yadi vacaḥ śruṇu māmakīnam
pūrvairapūrvakavibhirnakaṭākṣitaṁ yat |
nīrājanakramadhurāṁ bhavadānanendoḥ
nirvyājamarhaticirāyaśaśipradīpaḥ ||1-98
(vasantatilaka)

śuśrūṣase yadi śṛṇu vacaḥ śruṇu māmakīnam
[śuśrūṣase yadi śṛṇu praṇidhāna pūrvaṁ]
pūrvaiḥ apūrva kavibhiḥ na kaṭākṣitaṁ
yat nīrājana krama dhurāṁ bhavat ānana indoḥ nirvyājam arhati cirāya śaśi pradīpaḥ

shushrUShase yadi vacaH shruNu mAmakInam
pUrvairapUrvakavibhirnakaTAkShitaM yat |
nIrAjanakramadhurAM bhavadAnanendoH
nirvyAjamarhaticirAyashashipradIpaH ||1-98  (vasantatilaka)

vamshi_barham

shushrUShase yadi shR^iNu vacaH shruNu mAmakInam [shushrUShase yadi shR^iNu praNidhAna pUrvaM] pUrvaiH apUrva kavibhiH na kaTAkShitaM yat nIrAjana krama dhurAM bhavat Anana indoH nirvyAjam arhati cirAya shashi pradIpaH

1-98. hè krishna; shushrUShase yadi= you are interested, if; pUrvaiH= in earlier time; a+pUrva kavibhiH=most eminent, poets – vyAsa, vAlmIki et al; yat na kaTAkShitaM = which statement, not, seen in a sidelong glance at least – unsaid feature; such an unsaid statement; mAmakInam vacaH shR^iNu= said in my, words, you listen – got it, Krishna; [shushrUShase yadi shR^iNu = same as above; praNidhAna+pUrvaM= with salutation];

shashi pra+dIpaH= moon, called well-lit lamp; bhavat Anana indoH= of your, face, called moon; nIrAjana =lamp circumcircling to ward off bad-sight– Arati;  krama dhurAM= its procedure, onus of; cirAya= permanently; nir+vyAjam= unqualifiedly; arhati = it is befitting for him to become a lamp in plate.

If you pay attention I would like to tell one thing about the moon that the former poets-extraordinary have unsaid; we will be circumcircling lit lamps, or camphor cakes, around the face of youngsters to ward of any minatorial-sights falling on them; finding no better lamp, it behoves us to place that moon in our platter to give Arati to you, for which alone that moon makes the grade, got it... Krishna... [1-98]

The two verses 97 and 98 are said to be interpolations. Hence, some translators / commentators have not translated them in Telugu versions. However, vengayamAtya has rendered verses on these two.

----o)0(o--

अखण्डनिर्वाणरसप्रवाहैर्विखण्डिताशेषरसान्तराणि।
नियन्त्रितोद्वान्तसुधार्णवानिजयन्तिशीतानितवस्मितानि॥१-९९
(उपेन्द्रवज्र)

अखण्ड निर्वाण रस प्रवाहैः विखण्डित अशेष रस अन्तराणि
अयन्त्रित उद्वान्त सुधा अर्णवानि जयन्ति शीतानि तव स्मितानि

akhaṇḍanirvāṇarasapravāhair
ikhaṇḍitāśeṣarasāntarāṇi |
niyantritodvāntasudhārṇavāni
jayantiśītānitavasmitāni ||1-99

(upendravajra)

akhaṇḍa nirvāṇa rasa pravāhaiḥ vikhaṇḍita aśeṣa rasa
antarāṇi ayantrita udvānta sudhā arṇavāni jayanti śītāni tava smitāni

akhaNDanirvANarasapravAhair
vikhaNDitAsheSharasAntarANi |
niyantritodvAntasudhArNavAni
jayantishItAnitavasmitAni ||1-99  (upendravajra)

vamshi_barham

akhaNDa nirvANa rasa pravAhaiH vikhaNDita asheSha rasa antarANi ayantrita udvAnta sudhA arNavAni jayanti shItAni tava smitAni

1-99. a+khaNDa= un, broken – continuous; nirvANa rasa= seventh-heavenliness [not Buddhists’ nirvANa – happiness after final journey], with its fluidic-quintessence; pravAhaiH= with such torrents – niratishayasukharasapravAhA-s; Krishna’s smiles analogized with unbroken rapids and torrents of fluidic seventh-heavenliness;

 vi+khaNDita= cut down to size – look down on; a+sheSha= not, with a remainder - complete; rasa antarANi= quintessences, other kinds; other kinds of fluidic heavens on earth are discountenanced before it;

ni+yantrita [a+yantrita, a+niyantrita] udvAnta sudhA arNavAni = with uncontrolled, outpouring, nectarous, oceans;

 shItAni tava smitAni = such a refreshing things, are your, smiles; jayanti hail them.

Thine smiles are sallying forth like boundless nectarous oceans outpouring with unbroken chutes and falls of fluidic seventh-heavenliness on earth that discountenanceth all other kinds of fluidic heavenly joys on earth... hail to thine refreshing smiles... oh, Krishna... [1-99]

----o)0(o--

मन्दारमूलेमदनाभिरामम् बिम्बाधरापूरितवेणुनादम्।
गोगोपगोपीजनमध्यसंस्थम् गोपम् भजे गोकुलपूर्णचन्द्रम्॥  १-१००

मन्दार मूले मदन अभिरामम् बिम्ब अधर आपूरित वेणु नादम्
गो गोप गोपी जन मध्य संस्थम् गोपम् भजे गो कुल पूर्ण चन्द्रम्

mandāramūlemadanābhirāmam
bimbādharāpūritaveṇunādam |
gogopagopījanamadhyasaṁstham
gopam bhaje gokulapūrṇacandram ||  1-100

mandāra mūle madana abhirāmam bimba adhara
āpūrita veṇu nādam go gopa gopī jana madhya saṁstham gopam bhaje go kula pūrṇa candram

mandAramUlemadanAbhirAmam
bimbAdharApUritaveNunAdam |
gogopagopIjanamadhyasaMstham
gopam bhaje gokulapUrNachandram ||  1-100

vamshi_barham

mandAra mUle madana abhirAmam bimba adhara ApUrita veNu nAdam go gopa gopI jana madhya saMstham gopam bhaje go kula pUrNa chandram

1-100. mandAra mUle =  at mandAra tree, or say kalpavRiksham,, at its base; madana abhirAmam= like lovegod, on who beams forth with charm; bimba adhara= at his bimba-fruit like roseate lips; ApUrita veNu nAdam= winded, flute’s, melody or, veNu nALam= flute’s, bamboo-tube; go gopa gopI= cows, cowherds, milkmaids; jana madhya saMstham= such flocks, in midst, one who stationed himself;gopam= such a cow-boy; who is;  go kula pUrNa chandram= for cow-herders’ ethnic, who is like a full moon; aham bhaje = I venerate.

Him who circumstanced at the base of mandAra tree beaming forth like lovegod, winding his flute with his roseate lips, circumscribed by cows, and cowherds, milkmaids; and who bechanced  like the glistening fullmoon of herdsmen community, I revere that cow-boy called Krishna... [1-100]

--o)0(o--

कामम् सन्तु सहस्रशः कतिपये सारस्यधौरेयकाः
कामं वा कमनीयतापरिमलस्वाराज्यबद्धव्रताः।
नैवेतैर्विवदामहे न च वयम् देव प्रियं ब्रूमहे
यत् सत्यम् रमणीयतापरिणतिस्त्वय्येव पारंगता॥१-१०१
(शार्दूलविक्रीडितम्)

कामं सन्तु सहस्रशः कतिपये सारस्य धौरेयकाः कामं वा कमनीयता परिमल
स्वाराज्य बद्ध व्रताः नैवेतैः [नैवैवम् न एव एवम्] विवदामहे न च वयं देव
प्रियम् ब्रूमहे यत् सत्यं रमणीयता परिणतिः त्वयि एव पारं गता

kāmaṁ santu sahasraśaḥ katipaye sārasyadhaureyakāḥ
kāmaṁ vā kamanīyatāparimalasvārājyabaddhavratāḥ |
naivetairvivadāmahe na ca vayaṁ deva priyaṁ brūmahe
yat satyaṁ ramaṇīyatāpariṇatistvayyeva pāraṁgatā ||1-101
(śārdūlavikrīḍitam)

kāmaṁ santu sahasraśaḥ katipaye sārasya dhaureyakāḥ
kāmaṁ vā kamanīyatā parimala svārājya baddha vratāḥ
naivetaiḥ [naivaivam na eva evam] vivadāmahe na ca vayaṁ
deva priyaṁ brūmahe yat satyaṁ ramaṇīyatā pariṇatiḥ tvayi eva pāraṁ gatā

kAmaM santu sahasrashaH katipaye sArasyadhaureyakAH
kAmaM vA kamanIyatAparimalasvArAjyabaddhavratAH |
naivetairvivadAmahe na ca vayaM deva priyaM brUmahe
yat satyaM ramaNIyatApariNatistvayyeva pAraMgatA ||1-101  (shArdUlavikrIDitam)

vamshi_barham

kAmaM santu sahasrashaH katipaye sArasya dhaureyakAH kAmaM vA kamanIyatA parimala svArAjya baddha vratAH naivetaiH [naivaivam= na eva evam] vivadAmahe na ca vayaM deva priyaM brUmahe yat satyaM ramaNIyatA pariNatiH tvayi eva pAraM gatA

1-101. hè deva; kAmaM santu= perhaps, there may be; katipaye= a few; sArasya dhaureyakAH= in persons with most charming and beautiful physiques – astoka manohara avayava shobhitA-s; so, they must be pro-aesthetic;

vA kAmaM= or, perhaps;

kamanIyatA parimala svArAjya baddha vratAH= beauty, in exponential, dominion, fastened, connoisseurs, avowed ones; connoisseurs muddle up in the domain of exponential beauty – rasaj~nA-s;

sahasrashaH [santu] = thousands of them, there may be;

taiH [naivaivam= na eva evam] = with them; vayaM= we; vivadAmahe na = dispute, not;

evam-= likewise; vayaM= we; priyaM ca= blarney, also; brUmahe na= we talk, not;

yat= by which reason - since;

ramaNIyatA pariNatiH= tastefulness, artisticness and its, maxima; tvayi eva= in you, alone; pAraM gatA= to other shore, gone - fully-fledged; satyaM= truly.

 There may be a few pro-aesthetic people for they themselves will be exquisitely charming – manohara dehadhArI-s; or, there may be thousands of connoisseurs avowedly muddle up in the domains of exponential beauty – rasaj~nA-s; we are neither at variance with them, nor use blarney about them, why because, all those handsomeness, tastefulness, artisticness etc are there with you full-fledgedly reaching their maxima... oh, Krishna... [1-100]

--o)0(o--

गलद्व्रीडा लोला मदनविनता गोपवनिता
मदस्फीतम् वीतम् किम् अपि मधुरा चापलधुरा।
समुज्जृम्भा गुम्फा मधुरिमकिरां मादृशगिराम्
त्वयि स्थाने जाते दधति चपलम् जन्म सफलम्॥१-१०२
(शिखरिणि)

गलत् व्रीडा लोला मदन वैता [विनता] गोप-वनिता मधु [मद] स्फीतम् गीतम् [वीतम्] किम् अति [अपि] मधुरा चापल धुरा समुज्जृम्भा गुम्फा मधुरिम गिराम् [किराम्] मादृश गिराम् त्वयि स्थाने याते दधति चपलम् जन्म सफलम्

-यद्वा-

गलद्व्रीडा लोला मदनविनता गोपवनिता
मदस्फीतं वीतम् किम् अपि मधुरा चापलधुरा।
समुज्जृम्भा गुम्फा मधुरिमकिराम् मादृशगिराम्
यि स्थाने जाते दधति चपलम् जन्म सफलम् ||

galadvrīḍā lolā madanavinatā gopavanitā
madasphītaṁ vītaṁ kim api madhurā cāpaladhurā |
samujjṛmbhā gumphā madhurimakirāṁ mādṛśagirāṁ
tvayi sthāne jāte dadhati capalaṁ janma saphalam ||1-102  (śikhariṇi)

galat vrīḍā lolā madana vaitā [vinatā] gopa-vanitā madhu [mada] sphītaṁ gītam [vītaṁ] kim ati [api] madhurā cāpala dhurā samujjṛmbhā gumphā madhurima girām [kirāṁ] mādṛśa girāṁ tvayi sthāne yāte dadhati capalaṁ janma saphalam

-yadvā-

galadvrīḍā lolā madanavinatā gopavanitā
madasphītaṁ vītaṁ kim api madhurā cāpaladhurā |
samujjṛmbhā gumphā madhurimakirāṁ mādṛśagirāṁ
vayi sthāne jāte dadhati capalaṁ janma saphalam

galadvrIDA lolA madanavinatA gopavanitA
madasphItaM vItaM kim api madhurA cApaladhurA |
samujjR^imbhA gumphA madhurimakirAM mAdR^ishagirAM
tvayi sthAne jAte dadhati capalaM janma saphalam ||1-102  (shikhariNi)

vamshi_barham

galat vrIDA lolA madana vaitA [vinatA] gopa-vanitA madhu [mada] sphItaM gItam [vItaM] kim ati [api] madhurA cApala dhurA samujjR^imbhA gumphA madhurima girAm, [kirAM] mAdR^isha girAM tvayi sthAne yAte dadhati capalaM janma saphalam

1-102. tvayi sthAne sati= when you have become an expedient, resort;

gopa-vanitAH galat vrIDAH= milkmaids’, slithered is, shyness;

lolA madana vanitAH [jAtA]= = in you interested, [milkmaids became] lovegod’s, wife – ratI-devi; they have become – once they are interested in you the shylymilkmaids too have suddenly became the lookalikes of rati-devi, the wife of lovegod;

gItam madhu sphItaM [jAtam]= [an ordinary] song, with nectar, breadthed with, [it has become so];

 cApala dhurA madhurA [jAtA] = your flippancy’s, gravity, increasing [it became];

mAdR^isha girAM gumphA= me like [poets’] words, verbosity;

madhurima girAm = like melodious wordiness – of vAlmIki, vyAsa; sam+ut+jR^imbhA [jAtA] = upsurged;

capalaM janma sa+phalam dadhati= vagrant, life [too], is becoming, bearing – fructified;

sthAne= all this is appropriate.

Or

galadvrIDA lolA madanavinatA gopavanitA
madasphItaM vItaM kim api madhurA cApaladhurA |
samujjR^imbhA gumphA madhurimakirAM mAdR^ishagirAM
tvayi sthAne jAte dadhati capalaM janma saphalam

gopa-vanitA= milkmaids; lolA= when interested in you; madana vi+natA= by lovegod, subdued – coming under the spell of romance; therefore; galat vrIDA= slithered is they shyness – became less coyly;

kim api mada [muda] sphItaM vItam mathurA cApala dhurA

kim api= that which is indescribable; mada [muda] sphItaM= that which is with carefreeness, [or, with gladness], amplified; vItam= that which has gone [your childhood]; cApala dhurA = flippancy [of adolescence,] under its spell; mathurA= is refreshing – since your childhood is a bygone thing, your adolescence now loaded with amplified carefreeness, and of course with flippancy, it is indescribably refreshing]

madhurima kirAm mAdR^isha girAM sam+ud+jR^imbhA gumphA;

madhurima kirAm= honeyness, bestrewing;

mAdR^isha girAM gumphA sam+ud+jR^imbhA = me like [poets’] words, piecing together, jumped up;

tvayi sthAne jAte sati= you, [as our] cardinal principle, on becoming;

capalaM janma saphalam dadhati= vagrant, life [too], is becoming, bearing – fructified;

Once they are interested in you the usually shyly milkmaids too have suddenly became the unusual lookalikes of rati-devi, the wife of lovegod, as their coyishness slithered down; an ordinary song when sung on you assumed extraordinary nectarine succulence; gone is your boyhood whereby the flippancy of your adolescence is gravitating indefinably; clichéd verbiage of me like artless poets when said on you has metamorphosed into monumental poetry like that of vAlmIki, vyAsa et al; why all these small things, our lives themselves have become frugiferous when you have become our cardinal principle... oh, Krishna... [1-102]

--o)0(o--

भुवनम् भवनम् विलासिनी श्रीः तनयस्तामरसासनः स्मरश्च।
परिचारपरम्पराः सुरेन्द्राः तदपि त्वच्चरितम् विभो विचित्रम्॥१-१०३
(औपच्छन्दसिक)

भुवनम् भवनम् विलासिनी श्रीः तनयः तामरस आसनः स्मरः
च परिचार परम्पराः सुरेन्द्राः तदपि त्वत् चरितम् विभो विचित्रम्

bhuvanaṁ bhavanaṁ vilāsinī śrīḥ
tanayastāmarasāsanaḥ smaraś ca |
paricāraparamparāḥ surendrāḥ
tad api tvaccaritaṁ vibho vicitram ||1-103
(aupacchandasika)

bhuvanaṁ bhavanaṁ vilāsinī śrīḥ tanayaḥ tāmarasa āsanaḥ
smaraḥ ca paricāra paramparāḥ surendrāḥ tadapi tvat caritaṁ vibho vicitram

bhuvanaM bhavanaM vilAsinI shrIH
tanayastAmarasAsanaH smarash ca |
paricAraparamparAH surendrAH
tadapi tvaccaritaM vibho vicitram ||1-103  (aupacChandasika)

vamshi_barham

bhuvanaM bhavanaM vilAsinI shrIH tanayaH tAmarasa AsanaH smaraH ca paricAra paramparAH surendrAH tadapi tvat caritaM vibho vicitram

1-103. hè vibho; bhuvanaM bhavanaM= water – Milky Ocean, is your abode; shrIH vilAsinI= goddess lakshmi [or, universal grandeur,] is your consort; tAmarasa AsanaH= lotus-seated god – brahma; smaraH ca= lovegod manmatha, also; tanayaH= your sons; sura+indrAH= jheavens lord – indra, and indra like other lords et al; paricAra paramparAH= yes-men’s, bracket; tadapi= even so; tvat caritaM vicitram= your, [present] legend, exceptional – a a hilarious mirth.

Your abode is Milky Ocean; your consort is universal grandeur, goddess lakshmi; your sons are lotus-seated brahma and lotus-wielder manmatha; your yes-god-bracket heavens lord indra and his coequals – Really? Then, how about your present legend of a flirtatious cow-boy, gokula jAra chora charitam – a laughable side-splitting or what, oh, Krishna... [1-103]

gokula vATambuna jAra chora kRiti lokul navvan kAnkshinture! – vengayAmAtya.

--o)0(o--

देवस्त्रिलोकीसौभाग्यकस्तूरीमकराङ्कुरः।
जीयाद्व्रजाङ्गनानङ्गकेलिललितविभ्रमः॥१-१०४
(अनुष्ठुप्)

देव त्रिलोकी सौभाग्य कस्तूरी तिलक अङ्कुरः  व्रज अङ्गना
अनङ्ग केलि लालित विभ्रमः देवस् जीयात्

devastrilokīsaubhāgyakastūrīmakarāṅkuraḥ |
jīyādvrajāṅganānaṅgakelilalitavibhramaḥ ||1-104
(anuṣṭhup)

deva trilokī saubhāgya kastūrī tilaka aṅkuraḥ  vraja
aṅganā anaṅga keli  lālita vibhramaḥ devas jīyāt

devastrilokIsaubhAgyakastUrImakarA~NkuraH |
jIyAdvrajA~NganAna~NgakelilalitavibhramaH ||1-104  (anuShThup)

vamshi_barham

trilokI saubhAgya kastUrI tilaka a~NkuraH  vraja a~NganA ana~Nga keli lAlita vibhramaH devas jIyAt

1-104. trilokI saubhAgya kastUrI tilaka a~NkuraH= for the damsel called triad of worlds, indicating her well-being, [you are the] kasturi mark on her forehead, a tiny mark one;   vraja a~NganA= of vraja village’s maidens; ana~Nga keli= in romantic escapades; lAlita vibhramaH= you who handled them so aptly and delicately; devas jIyAt= oh, god, hail thee.

Oh, god, on cosmic level you are the kastUri mark on the forehead of the damsel called the triad of worlds indicating her well-being; on microcosmic level you are the boy who manoeuvred the romantic escapades with vraja milkmaids so aptly and delicately, hail to thee oh, Krishna... [1-104]

Here the black kastUri facial cosmetic is used as a metonym for blueblack Krishna.

--o)0(o--

प्रेमदं च मे कामदं च मे वेदनं च मे वैभवं च मे।
जीवनं च मे जीवितं च मे दैवतं च मे देव नापरम्॥१-१०४

प्रेमदं च मे कामदं च मे वेदनं च मे वैभवं च मे जीवनं
च मे जीवितं च मे दैवतं च मे देव न अपरम्

premadaṁ ca me kāmadaṁ ca me
vedanaṁ ca me vaibhavaṁ ca me |
jīvanaṁ ca me jīvitaṁ ca me
daivataṁ ca me deva nāparam ||1-104

premadaṁ ca me kāmadaṁ ca me vedanaṁ ca me
vaibhavaṁ ca me jīvanaṁ ca me jīvitaṁ ca me
daivataṁ ca me deva na aparam

premadaM ca me kAmadaM ca me
vedanaM ca me vaibhavaM ca me |
jIvanaM ca me jIvitaM ca me
daivataM ca me deva nAparam ||1-104

vamshi_barham

premadaM ca me kAmadaM ca me vedanaM ca me vaibhavaM ca me jIvanaM ca me jIvitaM ca me daivataM ca me deva nAparam

1-104. mè prema daM ca= to me, bliss – shuddha prIti, Anandam, one that gives it, also; mè kAma daM ca= to me, fruition, giver, also; mè vedanaM ca = to me, gnostic struggle, also; mè vaibhavaM ca= my, opulence – abundance, profuseness, not just wealth, but anything, say wealth of emotions etc – aishvaryam, also; me jIvanaM ca= my, livelihood – the purpose of my living - not just food and sustenance etc, jIvita sattA; mè jIvitaM ca= my, life – the very purpose of my life, also; deva= oh, god; mè daivataM ca = my, god, also; aparam na= other than [you], there is none.

Other than you, there is none who gives me perfect bliss, fruition of my longing, answer to my gnostic struggle, profuseness of emotions, mission of my living, very purpose of my life, oh, god, Krishna... [1-104]

By the three items in these foots 1] prema = Ananda; 2] vedana = j~nAna; 3] jiivanam = sastta, the poet is expressing advaita tattva in the unison of jIvAtma and paramAtma.

This construct is based on the namakam of rudra prashna - sham ca me, mayaH ca me.. sudinam ca me... etc.

--o)0(o--

माधुर्येणविजृभन्ताम् वाचोनस्तववैभवे।
चापल्येनविवर्धन्ताम् चिन्तानस्तवशैशवे॥१-१०५
 (अनुष्टुप्)

माधुर्येण विजृभन्ताम् [विवर्धन्ताम्] वाचः नः तव वैभवे
चापल्येन विवर्धन्ताम् चिन्ता नः तव शैशवे

mādhuryeṇavijṛbhantāṁ vāconastavavaibhave |
cāpalyenavivardhantāṁ cintānastavaśaiśave ||1-105  (anuṣṭup)

mādhuryeṇa vijṛbhantāṁ [vivardhantāṁ] vācaḥ naḥ
tava vaibhave cāpalyena vivardhantāṁ cintā naḥ tava śaiśave

mAdhuryeNavijR^ibhantAM vAconastavavaibhave |
cApalyenavivardhantAM cintAnastavashaishave ||1-105  (anuShTup)

vamshi_barham

mAdhuryeNa vijR^ibhantAM [] vAcaH naH tava vaibhave cApalyena vivardhantAM cintA naH tava shaishave

1-105. naH vAcaH= our, words; tava vaibhave mAdhuryeNa vijR^ibhantAM [vivardhantAM]= in your, accomplishments, with honeyness, let them boom [ let them enhance]; naH cintA= our, emotions; tava shaishave cApalyena vivardhantAM= in your, childhood’s, flippancy, let them embellished.

Let our diction boom orotund in extolling your honeyness and accomplishments like govardhana-uddharaNa etc; let our heartfelt emotions embellish with the acts of your childhood flippancy like gokula jAra chora Adi bAly kRIDA-s... oh, Krishna... [1-105]

--o)0(o--

यानि त्वच्चरितामृतानि रसनालेह्यानि धन्यात्मनाम्
ये वा चापलशैशव व्यतिकरा राधाऽपराधोन्मुखाः।
या वा भावितवेणुगीतगतयो लीलामुखाम्भोरुहे
धारावाहिकया वहन्तु हृदये तान्येव तान्येव मे॥ १-१०६
(शार्दूलविक्रीडितम्)

यानि त्वत् चरित अमृतानि रसना लेह्यानि धन्य आत्मनां ये वा चापल
शैशव यव्यतिकरा राधा अपराध उन्मुखाः या वा भावित वेणु गीत गतयोः
लीला मुख अम्भोरुहे धारा वाहिकया वहन्तु हृदये तानि एव तानि एव मे

yāni tvaccaritāmṛtāni rasanālehyāni dhanyātmanāṁ
ye vā cāpalaśaiśava vyatikarā rādhā'parādhonmukhāḥ |
yā vā bhāvitaveṇugītagatayo līlāmukhāmbhoruhe
dhārāvāhikayā vahantu hṛdaye tānyeva tānyeva me || 1-106
(śārdūlavikrīḍitam)

yāni tvat carita amṛtāni rasanā lehyāni dhanya ātmanāṁ
ye vā cāpala śaiśava yavyatikarā rādhā aparādha unmukhāḥ
yā vā bhāvita veṇu gīta gatayoḥ līlā mukha ambhoruhe
dhārā vāhikayā vahantu hṛdaye tāni eva tāni eva me

yAni tvaccaritAmR^itAni rasanAlehyAni dhanyAtmanAM
ye vA cApalashaishava vyatikarA rAdhA.aparAdhonmukhAH |
yA vA bhAvitaveNugItagatayo lIlAmukhAmbhoruhe
dhArAvAhikayA vahantu hR^idaye tAnyeva tAnyeva me || 1-106
 (shArdUlavikrIDitam)

vamshi_barham

yAni tvat carita amR^itAni rasanA lehyAni dhanya AtmanAM ye vA cApala shaishava yavyatikarA rAdhA aparAdha unmukhAH yA vA bhAvita veNu gIta gatayoH lIlA mukha ambhoruhe dhArA vAhikayA vahantu hR^idaye tAni eva tAni eva me

1-106. yAni= those acts / deeds; tvat carita amR^itAni= of yours, legends, nectareous – those nectareous legends that are there; which to the; dhanya AtmanAM rasanA lehyAni= for the blessed souls, that are becoming savouries;

vA= or;

ye= those deeds; rAdhA aparAdha unmukhAH= [that are in respect of] rAdha, to give offence to her, [always] tending towards;

vA= or;

shaishava cApala vyatikarA = juvenile’s, offhandedness, filled with;

vA yA= or, those acts that are there;

lIlA mukha ambhoruhe= from your sporty, face, called lotus;bhAvita veNu gIta gatayoH= emanating, flute’s, songs, purls – purls of mellisonant music emanating from your lotusy face thru your flute;

tAni eva tAni eva= those very acts, those very deeds;

me hR^idaye dhArA-vAhikayA vahantu = in my, heart, like a perennial stream, let cascade.

Those nectareous legends of yours which to the blessed souls have become savouries; or those deeds of yours that have always been tending towards giving offence to rAdha; or the other childhood legends of yours that are replete with your juvenile offhandedness; or, your sempiternal act of issuing purls of mellisonant music from your lotusy face thru your flute mohana-vamshi; let those very acts, those very deeds cascade into the atoll called my heart in a perennial stream... oh, Krishna... [1-106]

--o)0(o--

Proem: Assuming that Krishna may ask: “What is it you achieve by writing this eulogy on me at this length... if you want mukti, salvation, it is a free stuff I can you with one namaskAram... why all this” For thi the poet is saying “Other than that...” in this verse.

भक्तिस्त्वयि स्थिरतरा भगवन् यदि स्यात्
दैवेन नः फलति दिव्यकिशोरवेषे।
मुक्तिस्स्वयम् मुकुलिताञ्जलिः सेवतेऽस्मान्
धर्मार्थकामगतयः समयप्रतीक्षाः॥१-१०७
(वसन्ततिलकम्)

भक्तिः त्वयि स्थिर-तरा भगवन् यदि स्यात् दैवेन नः फलति दिव्य किशोर वेषे
मुक्तिः स्वयं मुकुलित अञ्जलिः सेवते अस्मान् धर्म अर्थ काम गतयः समय प्रतीक्षाः

bhaktistvayi sthiratarā bhagavan yadi syāt
daivena naḥ phalati divyakiśoraveṣe |
muktissvayaṁ mukulitāñjaliḥ sevate'smān
dharmārthakāmagatayaḥ samayapratīkṣāḥ ||1-107
(vasantatilakam)

bhaktiḥ tvayi sthira-tarā bhagavan yadi syāt daivena naḥ
phalati divya kiśora veṣe muktiḥ svayaṁ mukulita añjaliḥ
sevate asmān dharma artha kāma gatayaḥ samaya pratīkṣāḥ

bhaktistvayi sthiratarA bhagavan yadi syAt
daivena naH phalati divyakishoraveShe |
muktissvayaM mukulitA~njaliH sevate.asmAn
dharmArthakAmagatayaH samayapratIkShAH ||1-107
(vasantatilakam)

vamshi_barham

bhaktiH tvayi sthira-tarA bhagavan yadi syAt daivena naH phalati divya kishora veShe
muktiH svayaM mukulita a~njaliH sevate asmAn dharma artha kAma gatayaH samaya pratIkShAH

1-107. daivena= fortunately; naH divya kishora veShe phalati= to us, as a divine, boy’s, in the outfit of, [you who] resulted as;

tvayi= [such as you are] in you; sthira-tarA= immutable, much [higher in degrees of comparison]; bhaktiH= devotion; syAt yadi= it is there, if;

muktiH= [the lady called] salvation; svayaM= herself; mukulita a~njaliH athA tathA = as if bowing with palm fold [of course, to us]; asmAn sevate= us, she will minister to us;

dharma artha kAma gatayaH= [the other factors like] dharma, artha etc; samaya pratIkShAH= will be waiting for their time, and bechance on us as and when needed; so, mukrti or gikti are unneeded from you. We want you. That’s all.

If our devotion towards you who fortunately came off in the outfit of a divine whippersnapper remains much more than the word ‘immutable’, then the demoiselle called salvation, mukti, or moksha, herself will be ministering to us with a deferential palmfold; sequentially, the other factors like dharma, artha, kAma will be waiting in the wings to perform their bit on the dot... hence, we wish nothing else than to you hold you in our lap... oh, boy Krishna... [1-107]

--o)0(o--

जय जय जय देव देव देव त्रिभुवनमङ्गलदिव्यनामधेय।
जय जय जय बाल कृष्ण देव श्रवणमनोनयनामृतावतार॥१-१०८
(पुष्पिताग्र)

जय जय जय देव देव देव त्रिभुवन मङ्गल दिव्य नामधेय जय जय जय
बाल [देव] कृष्ण देव श्रवण मनो नयन आमृत अवतार

jaya jaya jaya deva deva deva
tribhuvanamaṅgaladivyanāmadheya |
jaya jaya jaya bāla kṛṣṇa deva
śravaṇamanonayanāmṛtāvatāra ||1-108
(puṣpitāgra)

jaya jaya jaya deva deva deva tribhuvana maṅgala divya nāmadheya jaya jaya jaya bāla [deva]
kṛṣṇa deva śravaṇa mano nayana āmṛta avatāra

jaya jaya jaya deva deva deva
tribhuvanama~NgaladivyanAmadheya |
jaya jaya jaya bAla kR^iShNa deva
shravaNamanonayanAmR^itAvatAra ||1-108
 (puShpitAgra)

vamshi_barham

jaya jaya jaya deva deva deva tribhuvana ma~Ngala divya nAmadheya jaya jaya jaya bAla [deva] kR^iShNa deva shravaNa mano nayana AmR^ita avatAra

1-108. shravaNa mano nayana AmR^ita avatAra= ear-pleasing, heart-pleasing, eye-pleasing, ambrosian, incarnate; jaya = hail to thee;

tri bhuvana ma~Ngala divya nAmadheya= for triad of worlds, propitious, divine, names – one having them; jaya= hail to thee;

deva deva jaya = god of gods, hail to thee; deva jaya= oh, god, hail to thee; hè deva bAla kR^iShNa; jaya jaya = oh, godly, bAla kR^iShNa, hail, hail to thee;

tAtparyam = sulabham.

--o)0(o--

तुभ्यम् निर्भरहर्षवर्षविवशाऽऽवेशस्फुटाविर्भव-
भूयश्चापलविभूषितेषु सुकृतांभावेषुनिर्भासते।
श्रीमद्गोकुलमण्डनायमहतेवाचांविदूरस्फुरन्-
माधुर्यैकरसार्णवायमहसेकस्मैचिदस्मैनमः॥१-१०९
(शार्दूलविक्रीडितम्)

तुभ्यम् निर्भर हर्ष वर्ष विवश आवेश स्फुटा आविर्भवत् भूय चापल विभूषितेषु
सुकृताम् भावेषु निर्भासते श्रीमत् गोकुल मण्डनाय महते वाचां विदूर स्फुरत्
माधुर्य एक रस अर्णवाय महसे कस्मैचित् अस्मै नमः

tubhyaṁ nirbharaharṣavarṣavivaśā''veśasphuṭāvirbhava-
bhūyaścāpalavibhūṣiteṣu sukṛtāṁbhāveṣunirbhāsate |
śrīmadgokulamaṇḍanāyamahatevācāṁvidūrasphuran-mādhuryaikarasārṇavāyamahasekasmaicidasmainamaḥ ||
1-109
(śārdūlavikrīḍitam)

tubhyaṁ nirbhara harṣa varṣa vivaśa āveśa sphuṭā āvirbhavat
bhūya cāpala vibhūṣiteṣu sukṛtāṁ bhāveṣu nirbhāsate
śrīmat gokula maṇḍanāya mahate vācāṁ vidūra sphurat
mādhurya eka rasa arṇavāya mahase kasmaicit asmai namaḥ

tubhyaM nirbharaharShavarShavivashA.a.aveshasphuTAvirbhava-
bhUyashcApalavibhUShiteShu sukR^itAMbhAveShunirbhAsate |
shrImadgokulamaNDanAyamahatevAcAMvidUrasphuran-
mAdhuryaikarasArNavAyamahasekasmaicidasmainamaH ||1-109
(shArdUlavikrIDitam)

vamshi_barham

tubhyaM nirbhara harSha varSha vivasha Avesha sphuTA Avirbhavat bhUya cApala vibhUShiteShu sukR^itAM bhAveShu nirbhAsate shrImat gokula maNDanAya mahate vAcAM vidUra sphurat mAdhurya eka rasa arNavAya mahase kasmaicit asmai namaH

1-109. nirbhara harSha varSha vivasha Avesha sphuTA Avirbhavat bhUyaH cApala vibhUShiteShu:

nirbhara= uncontainable; harSha varSha= ecstasy, in the rain of; vi+vasha Avesha= with baffled, gusto; sphuTa Avirbhavat bhUyaH cApala= clearly, upsurging, with much, waver; vibhUShiteShu= those that adorned with these factors - sukR^ita puruShA-s;

su+kR^itAM bhAveShu nirbhAsate= = merited souls [like us], in their thoughts, one who is glistening forth – you, oh, Krishna;

shrImat gokula maNDanAya= for the most revered, cowherds’ community, one who is an adornment to it;

mahate vAcAM [dUre] = for great words, very far - far beyond the Upanishadic statements;

vidUra sphurat mAdhurya eka rasa arNavAya= at a very far place, shining forth, who for honeyness, the only, elixir, ocean; one who is the only entity with oceanic honeyness like an ambrosian ocean, shining forth a very distant horizon;

kasmaicit asmai mahase= to something which is an indescribable Being, to that entity, which is in the mode of self-effulgence;

 tubhyaM namaH= to you, we hail.

To that indescribable self-refulgence shining forth with oceanic honeyness like an ambrosian ocean at a very distant horizon; yet, that is shining forth in the hearts of merited souls who in the uncontainable rain of ecstasy will be clearly making their wavery thoughts about their ‘oneness with you’ in an upsuring passion to the outside world, though they themselves are devoid of outside world and live in a cote deluged under the thoughts on you; that effulgence that is far beyond the Upanishadic statements; yet, that has resulted as an adorable baby-cowboy in the most revered cowherds’ community of vraja – signifying that that effulgence is not far away but in our midst only... I worship that effulgence called Krishna... [1-109]

The expression ‘he is far away, an ambrosial ocean etc – reminds the first mantra of mahA nArAyaNopaniShad –ambhasya pAre... bhuvanasya madhye... nAkasya pRiSTe... mahato mahIyAn.... etc.

--o)0(o--

अनुग्रहद्विगुणविशाललोचनैर्अनुस्वनद्विगुणगलत्द्रवामृतैः।
यतो यतः प्रसरति मे विलोचनंततस्ततः स्फुरतु तवैव वैभवम्॥१-११०
(रुचिर)

अनुग्रह द्विगुण विशाल लोचनैः अनुस्वन द्विगुण गलत् द्रव अमृतैः
[अनुस्मरन् मृदु मुरली रव अमृतैः] यतः यतः प्रसरति
मे विलोचनं ततः ततः स्फुरतु तव एव वैभवम्

anugrahadviguṇaviśālalocanair
anusvanadviguṇagalatdravāmṛtaiḥ |
yato yataḥ prasarati me vilocanaṁ
tatastataḥ sphuratu tavaiva vaibhavam ||1-110
(rucira)

anugraha dviguṇa viśāla locanaiḥ anusvana dviguṇa galat
drava amṛtaiḥ [anusmaran mṛdu muralī rava
amṛtaiḥ] yataḥ yataḥ prasarati me vilocanaṁ
tataḥ tataḥ sphuratu tava eva vaibhavam

anugrahadviguNavishAlalocanair
anusvanadviguNagalatdravAmR^itaiH |
yato yataH prasarati me vilocanaM
tatastataH sphuratu tavaiva vaibhavam ||1-110  (rucira)

vamshi_barham

anugraha dviguNa vishAla locanaiH anusvana dviguNa galat drava amR^itaiH [anusmaran mR^idu muralI rava amR^itaiH] yataH yataH prasarati me vilocanaM tataH tataH sphuratu tava eva vaibhavam

1-110. anugraha dviguNa vishAla locanaiH= filled with compassion, with doubly, broad, eyes; anusvana dviguNa galat drava amR^itaiH= with intonation, redoubling, flowing, fluidic, nectar [like music]   [anusmaran mR^idu muralI rava amR^itaiH= when reminisced, softish, flute’s, music, nectar] yataH yataH prasarati me vilocanaM= to where, to where, slides, my, glance; tataH tataH sphuratu tava eva vaibhavam= there, and there, be evident, your, alone, magnificence.

Wherever I see, let your magnificence with eyes doubly broadening with compassion, and your face fluting free flowing fluidic nectar like music redoubled with intonational cosmic rhythm, be evident thereabout, ubiquitously... [1-110]

This verse is deemed as an extra text – adhika pATham.

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धन्यानाम् सरसाऽनुलापसरणीसौभाग्यम् अभ्यस्यताम्
कर्णानाम् विवरेषु काम् अपि सुधावृष्टिम् दुहानम् मुहुः।
वन्यानाम् सुदृशाम् मनोनयनयोर्मग्नस्य देवस्य नः
कर्णानां वचसां विजृम्भितम् अहो कृष्णस्य कर्णामृतम्॥१-१११
(शार्दूलविक्रीडितम्)

धन्यानाम् सरस अनुलाप सरणी सौभाग्यम् अभ्यस्यताम् कर्णानाम् विवरेषु काम् अपि सुधा वृष्टिम् दुहानम् मुहुः  वस्यानाम् [वन्यानाम्] सुदृशाम् मनो  नयनयोः मग्नस्य देवस्य नः कर्णानाम् वचसाम् विजृम्भितम् अहो कृष्णस्य कर्णामृतम्

dhanyānāṁ sarasā'nulāpasaraṇīsaubhāgyam abhyasyatāṁ
karṇānāṁ vivareṣu kām api sudhāvṛṣṭiṁ duhānaṁ muhuḥ |
vanyānāṁ sudṛśāṁ manonayanayormagnasya devasya naḥ
karṇānāṁ vacasāṁ vijṛmbhitam aho kṛṣṇasya karṇāmṛtam ||1-111  (śārdūlavikrīḍitam)

dhanyānāṁ sarasa anulāpa saraṇī saubhāgyam abhyasyatāṁ karṇānāṁ vivareṣu kām api sudhā vṛṣṭiṁ duhānaṁ muhuḥ  vasyānāṁ [vanyānāṁ] sudṛśāṁ mano  nayanayoḥ magnasya devasya naḥ karṇānāṁvacasāṁ vijṛmbhitam aho kṛṣṇasya karṇāmṛtam

dhanyAnAM sarasA.anulApasaraNIsaubhAgyam abhyasyatAM
karNAnAM vivareShu kAm api sudhAvR^iShTiM duhAnaM muhuH |
vanyAnAM sudR^ishAM manonayanayormagnasya devasya naH
karNAnAM vacasAM vijR^imbhitam aho kR^iShNasya karNAmR^itam ||1-111  (shArdUlavikrIDitam)

vamshi_barham

dhanyAnAM sarasa anulApa saraNI saubhAgyam abhyasyatAM karNAnAM vivareShu kAm api sudhA vR^iShTiM duhAnaM muhuH  vasyAnAM [vanyAnAM] sudR^ishAM mano  nayanayoH magnasya devasya naH karNAnAM vacasAM vijR^imbhitam aho kR^iShNasya karNAmR^itam

1-111. vasyAnAM = those that are adherents [or, vanyAnAM those that are rustic, countrymen and women] – say milkmaids of vraja;

 dhanyAnAM= those that dwell in forests practising tapas – elevated souls;

su+dR^ishAM= those that are good, sighted – with j~nAna dRiSThi - percipient people;

mano nayanayoH magnasya devasya= in [their] mind, vision, imbued with, of such a god– Krishna as its central theme;

naH karNAnAM vacasAM vijR^imbhitam= to our like people, for ears, with words, that which is bubbling over;

such as it is that poem called:

kR^iShNasya karNAmR^itam= to [the listener] Krishna, [which poem is] ear, nectar;

dhanyAnAM= for the deserving souls;

that which is:

karNAnAM vivareShu= in ear, holes; kAm api sudhA vR^iShTiM= some indescribable, ambrosian, shower; muhuH duhAnaM = repeatedly, that which is milking;

sarasa anulApa saraNI saubhAagyam= pleasant, words, trend-setting, brilliance; abhyasyatAM = let them, scholars, women, dedicates et al practice – enjoy.

One who is imbued into to the vision and hearts of adherents like milkmaids of vraja, elevated souls, or percipient people, that god is the central theme of this poem, which to our like commoners will be bubbling with nectarean words in our ears, whereby this poem has become shrI kRiShNa karna-amRitamAn Euphony to Krishna”, which in turn milks indescribable ambrosian showers of pleasant words on the ears of all the other listeners, either homely women or astute scholars, in a trend-setting brilliance; let one and all hum this song said on the boy, called Krishna... [1-111]

This verse is also deemed as an extra text – adhika pATham.

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किमिदमधरवीधीकॢप्तवंशीनिनादम्
तिनयनयोर्नः कामपिप्रेमधाराम्।
तदिदममरवीधीदुर्लभम् वल्लभम् नः
त्रिभुवनकमनीयम्दैवतम्जीवितम् च॥ १-११२ (हरिणि??)

किम् इदम् अधर वीधी कॢप्त वंशी निनादम् किरति नयनयोः नः काम् अपि प्रेम
धाराम् तत् इदम् अमर वीधी दुर्लभम् नः त्रि भुवन कमनीयम् दैवतम् जीवितम् च

kimidamadharavīdhīkḷptavaṁśīninādam
kiratinayanayornaḥ kāmapipremadhārām |
tadidamamaravīdhīdurlabham vallabham naḥ
tribhuvanakamanīyamdaivatamjīvitam ca || 1-112
(hariṇi??)

kim idam adhara vīdhī kḷpta vaṁśī ninādam kirati nayanayoḥ naḥ kām api  prema dhārām tat idam amara vīdhī durlabham
naḥ tri bhuvana kamanīyam daivatam jīvitam ca

kimidamadharavIdhIkL^iptava.mshIninAdam
kiratinayanayornaH kAmapipremadhArAm |
tadidamamaravIdhIdurlabham vallabham naH
tribhuvanakamanIyamdaivatamjIvitam ca || 1-112 (hariNi??)

vamshi_barham

kim idam adhara vIdhI kL^ipta va.mshI ninAdam kirati nayanayoH naH kAm api prema dhArAm tat idam amara vIdhI durlabham naH tri bhuvana kamanIyam daivatam jIvitam ca

1-112. adhara vIdhI= on lips’, avenue – transverse on lips; kL^ipta va.mshI ninAdam=vamshI’s, musicality; kim idam= what is this; naH nayanayoH kAm api prema dhArAm kirati= on our, vision – percipience, a certain, love - vibes, bestrewing; tat idam= that this Thing, Being; amara vIdhI durlabham= in heaven’s, avenues, an unobtainable one; bhuvana kamanIyam= in triad, of worlds, most exquisite thing; naH vallabham = to us, much cherished one; daivatam jIvitam ca= god, and life, too.

A certain Thing is besprinkling rapturously scored fluting with transverse flute placed on the avenues of his lips, and bestrewing vibes on our percipience – what is this? This most exquisite Being in the triad of world seems an unobtainable entity even on the avenues of heaven; wherefore this Being is the much cherishable one to us all, our god and life too, call it, if you may, as Krishna... [1-112]

This verse is said to have a place as an extra text in the text taken by shrI chaitanya mahaprabhu when he visited Andhra. But it is not included in the text presented by gauDIya grantha mandira website.

However, the above English translation is according to the Telugu translation form Sanskrit, rendered by shrI jannAbhaTla vAsudeva shAshtry, in the publication of this book by shrI gaudIya maTham, Guntur, Andhra Pradesh [1991] – so says Dr. tangirAla venkaTa subba rao, who published full book of this work with Telugu translation rendered by shivashrI mallapally sharabhayya; this book containing exhaustive preface of Prof. subba rao is available with M/s vishAlAndhra publications, Hyderabad.

I sought permission from Dr. subba rao to anglicise his preface and incorporate it here. But my letter sent thru ordinary post has not reached him. If any reader is aware of his postal address, email, etc kindly inform them to me to renew my request.

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ईशानदेवचरणाऽभरणेन नीवी
दामोदरस्थिरयशःस्तवकोद्भवेन।
लीलाशुकेन रचितम् तव कृष्णदेव
कर्णामृतं वहतु कल्पशतान्तरेऽपि॥१-११३
(वसन्ततिलकम्)

ईशान-देव चरण आभरणेन नीवी दामोदर स्थिर यशः स्तबक उद्भवेन [उद्गमेन]
लीलाशुकेन रचितम् तव कृष्ण देव कर्णामृतं वहतु कल्प शत अन्तरे अपि

īśānadevacaraṇā'bharaṇena nīvī
dāmodarasthirayaśaḥstavakodbhavena |
līlāśukena racitaṁ tava kṛṣṇadeva
karṇāmṛtaṁ vahatu kalpaśatāntare'pi ||1-113
(vasantatilakam)

īśāna-deva caraṇa ābharaṇena nīvī dāmodara sthira
yaśaḥ stabaka udbhavena [udgamena] līlāśukena racitaṁ
tava kṛṣṇa deva karṇāmṛtaṁ vahatu kalpa śata antare api

IshAnadevacaraNA.abharaNena nIvI
dAmodarasthirayashaHstavakodbhavena |
lIlAshukena racitaM tava kR^iShNadeva
karNAmR^itaM vahatu kalpashatAntare.api ||1-113  (vasantatilakam)

vamshi_barham

IshAna-deva caraNa AbharaNena nIvI dAmodara sthira yashaH stabaka udbhavena [udgamena] lIlAshukena racitaM tava kR^iShNa deva karNAmR^itaM vahatu kalpa shatAntare.api

1-113. IshAna-deva caraNa AbharaNena= IshAna-deva alias somagiri [poet’s guru]. to his feet, one who is like an ornament [such as I am];

nIvI dAmodara= lady nIvi or nili, and dAmodara – poet’s parents; sthira yashaH = for their firm, renown; stabaka udbhavena= a bouquet, one who has come up – the poet who is an offshoot of those parents to buttress the renown of those parents firmly; lIlA-shukena= by such a son and poet with penname – lIlA-shuka; racitaM= penned;

or:

nivI + dAma + udara= knotted, thread, at [lower] stomach = cummerbund n. = a waist sash. [Hindustani & Persian kamar-band ‘loin-band’; Telugu: mola tADu] – a kid who roamed about with just with a loin-band on his body – Krishna;

nIvI= knot [of headstall rope of calves]; dAma udara= garlanded at [lower] stomach –one who has it around his waist; vexed with his childhood menace, his mother yashoda once tied this sapphirine-boy such a halter around his waist, and fastened the other end to a grain-pounding stone;

 sthira= for the firm; yashaH= glory [of that boy]; stabaka = [which glory is in the shape of] a bouquet; udgamena = one that is winging up and up; lIlA shukena= by that playful, parrot – the poet called greedy parrot; racitaM= penned;

 tava= your – on Krishna’s side; on the ears of all of your listeners – on listeners’ side;

 karNa amR^itaM= to your, ears, honeyed-poem – called shrI kRiShNa karNAmRitam;

deva kR^iShNa= hè god, Krishna;

kalpa shatAntare api vahatu= for eras, hundred to come, even, let it flow.

Let this poem agglomerating euphonies to that sapphirine-boy, as such parenthetically euphonious to all the listeners as well, penned by the poet pennamed as lIla-shuka, for he is a greedy parrot, to wit, winging up and up to taste the bouquet called the unfaltering magnificence of that boy, insomuch as that glory-bouquet looked like parrots- wont, an unripe fruit, be glissading for eras to come in the name of "An Euphony on Krishna", "shI kR^iShNa karNAnR^itam"... [1-113]

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.

इति श्रीलीलाशुक विरचिते श्रीकृष्णकर्णामृते प्रथम शतकम् समाप्तम्

iti śrīlīlāśuka viracite śrīkṛṣṇakarṇāmṛte prathama śatakam samāptam

giirvaaNi Introduction
shrI kRiShNa karNAmRitam - ch 1
shrI kRiShNa karNAmRitam - ch 2
shrI kRiShNa karNAmRitam - ch 3

desiraju hanumanta rao, Dec 08 / April 09

desirajuhrao at yahoo.com