bAla krishna  
lIlAshuka bilvamangala
virachita
shrI kRiShNa karNAmRitam
...an euphony on krishna
second chapter -- 111 verses

 

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अभिनवनवनीतस्निग्धम् आपीतदुग्धम्
दधिकणपरिदिग्धम् मुग्धम् अङ्गम् मुरारेः।
दिशतु भुवनकृच्छ्रच्छेदितापिङ्चगुच्छ
च्छविनवशिखिपिङ्चालाङ्चितम् वाङ्चितम् नः॥ २-१

  अभिनव नवनीत स्निग्धम् आपीत दुग्धम् दधि कण परि-दिग्धम्
मुग्धम् अङ्गम् मुरारेः दिशतु भुवन कृच्छ्र च्छेदि
तापिङ्च गुच्छ च्छवि नव शिखि पिङ्च आलाङ्चितम् वाङ्चितम् नः

abhinavanavanītasnigdham āpītadugdham
dadhikaṇaparidigdham mugdham aṅgam murāreḥ |
diśatu bhuvanakṛcchraccheditāpiṅcaguccha
cChavinavaśikhipiṅcālāṅcitam vāṅcitam naḥ || 2-1

  abhinava navanīta snigdham āpīta dugdham  dadhi kaṇa pari-digdham mugdham aṅgam murāreḥ diśatu bhuvana kṛcchra cchedi tāpiṅccha guccha cChavi nava śikhi piṅccha ālāṅcitam vāṅcitam naḥ

abhinavanavanItasnigdham ApItadugdhaM
dadhikaNaparidigdhaM mugdham a~NgaM murAreH |
dishatu bhuvanakR^icChracCheditApi~NchagucCha
cChavinavashikhipi~NchAlA~NchitaM vA~NchitaM naH || 2-1

flute

abhinava navanIta snigdham ApIta dugdhaM  dadhi kaNa pari-digdhaM mugdham a~NgaM murAreH dishatu bhuvana kR^icChra cChedi tApi~Ncha gucCha cChavi nava shikhi pi~Ncha AlA~NchitaM vA~NchitaM naH

2-1. abhi nava= very, new; nava nIta= newly, brought in = [navanItam] just churned butter;snigdham = slickly – his body is slickly as he boyishly dabbed just churned butter on his body while savouring it; A+pIta dugdhaM= fully, consumed, milk – belly is bulging as he just consumed enough milk; dadhi kaNa pari-digdhaM= with curd, particles, fully, dabbed;

 tApi~Ncha  gucCha= black flowers [of kAnuga trees; cChavi= in the hue of those flowers - with hairdo in this hue; nava shikhi pi~Ncha= [with] new, on coiffure, peacock’s feather; A+lA~NchitaM= beautifully decorated;

then, it is the common form of any boy from cowherd community, what is so odd about it;

not so – this form is something more:

bhuvana kR^icChra cChedi= worldly, calamities, that which cuts off;

murAreH mugdham a~NgaM=murAri’s, [such and such] charming, body;

naH vA~NchitaM dishatu= our, desired things, let him give.

  Let the juvenescent form of that boy, slickly with just churned butter and dappled with silvers of curds on his body while he savoured them; belly chubby with just partaken milk; with a peacock feather beautifully decorated on his blackish coiffure that resembles the black flower bouquets; and that form which desolates all the worldly calamities yield all our cherished desires. [2-1]

The poet is starting the second phase of his euphony by describing the bAlya-kaumAra dasha, juvenescent form of that boy. In this verse shabda alankAra vRittyanuprAsa is used: in foots one and two, the word ga, in third and fourth the word cCha are used; svabhAvokti is used as the form of that boy is depicted in as-is-where-is condition; rasa: vAtsalyam.

--o)0(o--

 

याम् दृष्ट्वा यमुनाम् पिपासुरनिशम् व्यूहो गवाम् गाहते
विद्युत्वान् इति नीलकण्ठनिवहो याम् द्रष्टुम् उत्कण्ठते।
उत्तंसाय तमालपल्लवम् इति च्छिन्दन्ति याम् गोपिकाः
कान्तिः कालियशासनस्य वपुषः सा पावनीः पातु नः॥ २-२

  याम् दृष्ट्वा यमुनाम् पिपासुः अनिशम् व्यूहः गवाम् गाहते
विद्युत्वान् इति नीलकण्ठ निवहः याम् द्रष्टुम् उत्कण्ठते
उत्तंसाय तमाल पल्लवम् इति च्छिन्दन्ति याम्
गोपिकाः कान्तिः कालिय शासनस्य वपुषः सा पावनीः पातु नः

yām dṛṣṭvā yamunām pipāsuraniśam
vyūho gavām gāhate
vidyutvān iti nīlakaṇṭhanivaho yām
draṣṭum utkaṇṭhate |
"uttaṁsāya tamālapallavam iti cchindanti
yām gopikāḥ kāntiḥ kāliyaśāsanasya
vvapuṣaḥ sā pāvanīḥ pātu naḥ || 2-2

  yām dṛṣṭvā yamunām pipāsuḥ aniśam vyūhaḥ gavām gāhate vidyutvān iti nīlakaṇṭha nivahaḥ yām draṣṭum utkaṇṭhate uttaṁsāya tamāla pallavam iti cchindanti yām gopikāḥ kāntiḥ kāliya śāsanasya vapuṣaḥ sā pāvanīḥ pātu naḥ

yAM dR^iShTvA yamunAm pipAsuranishaM vyUho gavAM gAhate
vidyutvAn iti nIlakaNThanivaho yAM draShTum utkaNThate |
uttaMsAya tamAlapallavam iti cChindanti yAM gopikAH
kAntiH kAliyashAsanasya vapuShaH sA pAvanIH pAtu naH || 2-2


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yAM dR^iShTvA yamunAm pipAsuH anishaM vyUhaH gavAM gAhate vidyutvAn iti nIlakaNTha nivahaH yAM draShTum utkaNThate uttaMsAya tamAla pallavam iti cChindanti yAM gopikAH kAntiH kAliya shAsanasya vapuShaH sA pAvanIH pAtu naH

2-2. yAM dR^iShTvA= which, on seeing – on seeing which sapphirine bodily hue of that boy;

or, yAM yamunAm dR^iShTvA= deeming the blackness of the bodily hue of that boy as the blackish yamuna river;

pipAsuH gavAM vyUhaH= thirsty, cows, herds of;anishaM yamunAm gAhate= always, into yamuna river, they rush in;

yAM [dR^iShTvA] = which [on seeing which sapphirine hue]; nIla+kaNTha nivahaH= bright-blue- necked ones – peacocks, flocks; vidyutvAn= one who has vidyut, electricity, in him – namely clouds; iti= thinking so; draShTum utkaNThate= to see at [such cloud], desperate for;

yAM [dR^iShTvA] = which [on seeing which sapphirine hue]; gopikAH= milkmaids; uttaMsAya tamAla pallavam = for hairdressing, tamAla trees’, leaflets; iti= thinking so; cChindanti= start plucking;

sA pAvanIH kAntiH= that, hallowing, sapphirine brilliance;

of that;

kAliya shAsanasya vapuShaH = black-cobra, controller’s, bodily [bodily lustre of the controller of a black cobra called kAlIya];

naH pAtu = us, let it hallow.

Seeing which sapphirine hue, herds of cows reckon it as the blueblack Yamuna River and enter it thirstily; spotting which ebonic hue, flocks of peacocks will become rubbernecked deeming it as that of raincloud; marking which hyacinthine hue, milkmaids start plucking it for their hairdressing, taking it as the hue of the black leaflets of tamAla trees; thus that bodily hue of that controller of black-cobra, called kAlIya, is all-sanctus, hence, let that all-hallowing sapphirine hue hallow us too. [2-2]

It is impossible and unnatural for cows, peacocks and girls to deem this bodily hue for another item of their wish. Yet the poet is justifying the expressions as natural and possible with brAmntimadalankAra. This for bhakti bhAvukA-s is an aloukika bhakti bhAvanA bhUmika.

Here the word used for cloud is vidyutavAn, as in shaktimAn, buddhivAn, matimAn etc, used in lAkshaNika prayoga. By such usage the poet of this 2nd cent-verses, is the same poet who commented sarasvati kaNTHAbharaNa, daiva vyAkhya etc, and the writer of first cent – that is bilvamangala. This is for those who refute the 2nd cent as some interpolation. Pt. PSRA.

 Gods will have such and such lustres for which we have no objection – dyotanAt iti deva. But, here this hue is pervading earthly things like rives, clouds and leaflets, making it an enterable, enjoyable and pluckable hue for the users – if they can. So, the spread of such hue itself is sanctifying. Hence, it is the brill of ujjvala nIlamaNi.

--o)0(o--

देवः पायात् पयसि विमले यामुने मज्जतीनाम्
याचन्तीनाम् अनुनयपदैर्वङ्चितान्यंशुकानि।
लज्जालोलैर् अलसविलसैर् उन्मिषत्पङ्चबाणैः
गोपस्त्रीणाम् नयनकुसुमैरर्चितः केशवो नः॥ २-३

  देवः पायात् पयसि विमले यामुने मज्जतीनाम् याचन्तीनाम्
अनुनय पदैः वङ्चितानि अंशुकानि लज्जा लोलैः अलस विलसैः उन्मिषत्
पङ्चबाणैः गोप स्त्रीणाम् नयन कुसुमैः अर्चितः केशवो नः

devaḥ pāyāt payasi vimale yāmune majjatīnām
yācantīnām anunayapadairvaṅcitānyaṁśukāni |
lajjālolair alasavilasair unmiṣatpaṅcabāṇaiḥ
gopastrīṇām nayanakusumairarcitaḥ keśavo naḥ || 2-3

  devaḥ pāyāt payasi vimale yāmune majjatīnām yācantīnām anunaya padaiḥ vaṅcitāni aṁśukāni lajjā lolaiḥ alasa vilasaiḥ unmiṣat paṅcabāṇaiḥ gopa strīṇām nayana kusumaiḥ arcitaḥ keśavo naḥ

devaH pAyAt payasi vimale yAmune majjatInAM
yAcantInAM anunayapadairva~NcitAnyaMshukAni |
lajjAlolair alasavilasair unmiShatpa~NcabANaiH
gopastrINAM nayanakusumairarcitaH keshavo naH || 2-3

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devaH pAyAt payasi vimale yAmune majjatInAM yAcantInAM anunaya padaiH va~NcitAni aMshukAni lajjA lolaiH alasa vilasaiH unmiShat pa~NcabANaiH gopa strINAM nayana kusumaiH arcitaH keshavo naH

2-3. vimale yAmune payasi majjatInAM= in pristine, of river yamuna, waters, those that are taking a dip; va~NcitAni aMshukAni= those who are duped, of their cloths;

anunaya padaiH yAcantInAM = those with pacifying, words, imploring [to give back their cloths]; gopa strINAM= of milkmaids [whose eyes are]; lajjA lolaiH= with coyness, fluttering;

as such;

alasa vilasaiH= that are feebly, glimmering; unmiShat pa~NcabANaiH= upsurging, romanticism [five arrows here are metonymic for romance – not lovegod, as such];  nayana kusumaiH = with such, eyes [of milkmaids], called flowers;

arcitaH = one who is worshipped; devaH keshavo naH pAyAt= such a self-resplendent god, keshava, us, protect.

This boy once filched the cloths of milkmaids while they are taking a dip in the clear waters of river yamuna. Unmindful of their nakedness, later they came out of river to riverbank only to find their robes missing. They again went into riverwater drowning their body, keeping their heads atop the sheet of water and started imploring upon that boy to return their cloths held in his lap,. That being the known episode, how they besought their cloths - by wheedling or by worshipping?

Owing to lack of actual flowers in that midstream, those au naturel milkmaids worshipped that boy with flowers called their eyes, which flowery eyes then glimmered feebly as they fluttered with coyness, yet surcharged with spurting romance. Hence, let that boy worshipable in anyway, keshava, safeguard us all. 

This verse reflects the madhura bhakti of the poet for he penned this transforming himself as a milkmaid worshipping that keshava, shunning all bodily inhibitions, and drowning himself in the stream of sapphirine hue of that boy that is akin to yamuna waters.

In this verse the words majjatInAm, yAchantInAm are used in accordance with the rule of pANini - acChInadyornum – aSTa 7- a 1 pA, 80 th sUtram. That is num Agamam at shatR pratyaya – indicates the grammarian’s standpoint of this poet.

The import of this verse is vastrAkarSaNa yoga dhyAnam, as contained in gopAla kRShNa mantrta rAjam as indicated by sanatkumAra samhita:

kadambavRikShamArUDham gopI vastrApahAriNIm |
 kRShNam dhyAtvA artha rAtre tu japen mantram sahasrakam ||

--o)0(o--

मातर्नातः परम् अनुचितम् यत् खलानाम् पुरस्तात्
अस्ताशङ्कम् जठरपिठरी पूर्तये नर्तितासि।
तत् क्षन्तव्यम् सहजसरले वत्सले वाणि कुर्याम्
प्रायश्चित्तम् गुणगणनया गोपवेषस्य विष्णोः॥ २-४

  मातः न अतः परम् अनुचितम् यत् खलानाम् पुरस्तात् अस्त आशङ्कम् जठर पिठरी पूर्तये नर्तिता असि तत् क्षन्तव्यम् सहज सरले वत्सले वाणि कुर्याम् प्रायश्चित्तम् गुण गणनया गोप वेषस्य विष्णोः

mātar nātaḥ param anucitam yat khalānām purastāt
astāśaṅkam jaṭharapiṭharī pūrtaye nartitāsi |
tat kṣantavyam sahajasarale vatsale vāṇi kuryām
prāyaścittam guṇagaṇanayā gopaveṣasya viṣṇoḥ || 2-4

  mātaḥ na ataḥ param anucitam yat khalānām purastāt asta āśaṅkam jaṭhara piṭharī pūrtaye nartitā asi tat kṣantavyam sahaja sarale vatsale vāṇi kuryām prāyaścittam guṇa gaṇanayā gopa veṣasya viṣṇoḥ

mAtarnAtaH param anucitaM yat khalAnAM purastAt
astAsha~NkaM jaTharapiTharI pUrtaye nartitAsi |
tat kShantavyaM sahajasarale vatsale vANi kuryAM
prAyashcittaM guNagaNanayA gopaveShasya viShNoH || 2-4

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mAtaH na ataH param anucitaM yat khalAnAM purastAt asta Asha~NkaM jaThara piTharI pUrtaye nartitA asi tat kShantavyaM sahaja sarale vatsale vANi kuryAM prAyashcittaM guNa gaNanayA gopa veShasya viShNoH

2-4. hè mAtaH vANi = oh, mother, saraswati; sahaja sarale= [thou art] naturally, gentle; vatsale= oh, motherly one;

such as you are, I with;

asta Asha~NkaM= with declined, qualms; khalAnAM purastAt= loutish, before;

jaThara piTharI pUrtaye= stomach, [called] a small mud-pot, to fill it;

nartitA asi= made [you] to dance, you are [by me];

[iti ] yat= that which fact is there;

ataH param anucitaM [kAryam] na [asti] = than that, [another] unbefitting [deed] is not there;

tat kShantavyaM= that [unbefitting deed], may please be excused;

then how do I atone for those misdeeds;

viShNoH gopa veShasya = towards viShNu, in a cowboy’s getup; guNa gaNanayA= by extolling his merited deeds; prAyashcittaM kuryAM= atonement, I will undertake.

Oh, goddess saraswati, thou art naturally gentle and most benevolent one; but I, oh, motherly goddess, made you to dance before loutish people suppressing my conscience; there is no other unbefitting act than this; I may please be excused, because I did so just to fill the mud-pot called my stomach; but, how do I atone for my misdeed towards you? Oh, yes, I will make amends in extolling the merited deeds of viShNu in the form of a baby cowboy, verily by bringing you into play. [2-4]

Similar is the prayer of bammera pothana to goddess srasvati in Telugu bhAgavata purANam

--o)0(o--

अङ्गुल्यग्रैररुणकिरणैर्मुक्तसंरुद्धरन्ध्रम्
वारम् वारम् वदनमरुता वेणुमापूरयन्तम्।
व्यत्यस्ताङ्घ्रिम् विकचकमलच्छायविस्तारिनेत्रम्
वन्दे बृन्दावनसुचरितम् नन्दगोपालसूनुम्॥ २-५

  अङ्गुलि अग्रैः अरुण किरणैः मुक्त संरुद्ध रन्ध्रम् वारम् वारम् वदन
मरुता वेणुम् आपूरयन्तम् व्यत्यस्त अङ्घ्रिम् विकच कमल
च्छाय विस्तारि नेत्रम् वन्दे वृन्दावन सुचरितम् नन्द गोपाल सूनुम्

aṅgulyagrairaruṇakiraṇairmuktasaṁruddharandhram
vāram vāram vadanamarutā veṇumāpūrayantam |
vyatyastāṅghrim vikacakamalacChāyavistārinetram
vande bṛndāvanasucaritam nandagopālasūnum || 2-5

  aṅguli agraiḥ aruṇa kiraṇaiḥ mukta saṁruddha randhram vāram vāram vadana  marutā veṇum āpūrayantam vyatyasta aṅghrim vikaca kamala
cChāya vistāri netram vande vṛndāvana sucaritam nanda gopāla sūnum

a~NgulyagrairaruNakiraNairmuktasaMruddharandhraM
vAraM vAraM vadanamarutA veNumApUrayantam |
vyatyastA~NghriM vikacakamalacChAyavistArinetraM
vande bR^indAvanasucaritaM nandagopAlasUnum || 2-5

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a~Nguli agraiH aruNa kiraNaiH mukta saMruddha randhraM vAraM vAraM vadana marutA veNum ApUrayantam vyatyasta a~NghriM vikaca kamala cChAya vistAri netraM vande vR^indAvana sucaritaM nanda gopAla sUnum

2-5. aruNa kiraNaiH a~Nguli agraiH= those that have reddish, shimmer, with such finger edges; mukta saMruddha randhraM= closed, opened, holes [key-holes of flute];

vAraM vAraM vadana marutA veNum ApUrayantam= again, and again, with mouth’s, air, flute, one who is filling;

 vyatyasta a~NghriM= crosswise, legged - footed – kriShNa transversely places the toes of right foot on the dorsum of left foot while playing flute;

 vikaca kamala cChAya vistAri netraM= fully blown up, like the hue of lotuses, very wide, eyes – one having them;

bR^indAvana= for the cowherds, cows and milkmaids of brindavana, sucaritaM= as if he is the boon;

 or, sucaritaM= he who moved freely with one and all in brindavana; nanda gopAla sUnum= nanda, cowherd’s, son; vande= I salute.

At the outset let me salute the son of the cowherd nanda, who perchance is the bounty bestowed on the cows, cowherds and milkmaids of brindavana for their merited deeds; who with his wide eyes that in the hue of fully blown roseate lotuses cursorily searching for listeners; and who standing cross-legged fills breath in his flute mohana-vamshi, rapidly moving his fingers on the key-holes of that flute, while the edges of those fingers shimmer with a roseate gleam. [2-5]

--o)0(o--

मन्दम् मन्दम् मधुरनिनदैर्वेणुमापूरयन्तम्
बृन्दम् बृन्दावनभुवि गवाम् चारयन्तम् चरन्तम्।
चन्दोभागे शतमखमखध्वंसिनाम् दानवानाम्
हन्तारम् तम् कथय रसने गोपकन्याभुजङ्गम्॥ २-६

मन्दम् मन्दम् मधुर निनदैः वेणुम् आपूरयन्तम् बृन्दम् बृन्दावन भुवि गवाम् चारयन्तम् चरन्तम् चन्दो भागे शत-मख मख ध्वंसिनाम्
दानवानाम् हन्तारम् तम् कथय रसने गोप-कन्या भुजङ्गम्

mandam mandam madhuraninadairveṇumāpūrayantam
bṛndam bṛndāvanabhuvi gavām cārayantam carantam |
candobhāge śatamakhamakhadhvaṁsinām dānavānām
hantāram tam kathaya rasane gopakanyābhujaṅgam || 2-6

mandam mandam madhura ninadaiḥ veṇum āpūrayantam bṛndam bṛndāvana bhuvi gavām cārayantam carantam cando bhāge śata-makha makha dhvaṁsinām dānavānām hantāram
tam kathaya rasane gopa-kanyā bhujaṅgam

mandaM mandaM madhuraninadairveNumApUrayantaM
bR^indaM bR^indAvanabhuvi gavAM cArayantaM carantam |
chandobhAge shatamakhamakhadhvaMsinAM dAnavAnAM
hantAraM taM kathaya rasane gopakanyAbhuja~Ngam || 2-6

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mandaM mandaM madhura ninadaiH veNum ApUrayantaM bR^indaM bR^indAvana bhuvi gavAM cArayantaM carantam chando bhAge shata-makha makha dhvaMsinAM dAnavAnAM hantAraM taM kathaya rasane gopa-kanyA bhuja~Ngam

2-6.hè rasane= oh, my tongue; mandaM mandaM= mandram mandram = not too loud a tune; madhura ninadaiH veNum ApUrayantaM=with sweet, mellifluous, melodies, flute, one who is fluting; bR^indAvana bhuvi= in brindavana woodlands; gavAM bR^indaM cArayantaM= cow, herds, one who is making them to graze; carantam= one who is moving thereabout, as well;

chando bhAge= in the matter of sharing Vedic ritual oblations – and in disputes arising there from;

shata-makha= Indra’s; makha dhvaMsinAM dAnavAnAM =Vedic ritual, destroyers, demons; hantAraM= one who is an eliminator of those demons; taM gopa-kanyA = about him, who for milkmaids; bhuja~Ngam= a sneaky lover – for snake sneaks on it shoulders - uncaught; kathaya= [oh, tongue] you say.

Speak, oh tongue, speak about him who flutes sweet and mellifluous melodies in not too loud a tune; speak of him who wanders in the woodlands of brindavana and meanders with cows while they graze; speak of him who is the annihilator of those demons that impinge the Vedic rituals aimed at Indra and others; speak, oh, tongue, of him who is an immortal inamorato of milkmaids of brindavana. [2-6]

--o)0(o--

णीमूले विरचितघनश्यामपिङ्छावचूडो
विद्युल्लेखावलयित इव स्निग्धपीताम्बरेण।
माम् आलिङ्गन् मरकतमणिस्तम्भगम्भीरबाहुः
स्वप्ने दृष्टस्तरुणतुलसीभूषणो नीलमेघः॥  २-७

  वेणीमूले विरचित घन श्याम पिङ्छ अवचूडः विद्युत् लेखा वलयित इव स्निग्ध पीत अम्बरेण माम् आलिङ्गन् मरकत मणि स्तम्भ
गम्भीर बाहुः स्वप्ने दृष्टः तरुण तुलसी भूषणः नील मेघः

veṇīmūle viracitaghanaśyāmapiṅchāvacūḍo
vidyullekhāvalayita iva snigdhapītāmbareṇa |
mām āliṅgan marakatamaṇistambhagambhīrabāhuḥ
svapne dṛṣṭastaruṇatulasībhūṣaṇo nīlameghaḥ || 2-7

  veṇīmūle viracita ghana śyāma piṅcha avacūḍaḥ vidyut lekhā valayita iva snigdha pīta ambareṇa mām āliṅgan marakata maṇi stambha gambhīra bāhuḥ svapne dṛṣṭaḥ taruṇa tulasī bhūṣaṇaḥ nīla meghaḥ

veNImUle viracitaghanashyAmapi~NChAvacUDo
vidyullekhAvalayita iva snigdhapItAmbareNa |
mAm Ali~Ngan marakatamaNistambhagambhIrabAhuH
svapne dR^iShTastaruNatulasIbhUShaNo nIlameghaH || 2-7

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veNImUle viracita ghana shyAma pi~NCha avacUDaH vidyut lekhA valayita iva snigdha pIta ambareNa mAm Ali~Ngan marakata maNi stambha gambhIra bAhuH svapne dR^iShTaH taruNa tulasI bhUShaNaH nIla meghaH

2-7. veNI mUle = coiffure, at the base of its frontal end dangling on forehead; viracita = well decorated; ghana shyAma pi~NCha avacUDaH = blueblack, peacock feather, one who has it as hair decoration; snigdha pIta ambareNa= [who has a wraparound] of smooth, ochreish, silks; vidyut lekhA valayita iva [nIla meghaH]= electric, streaks, wrapping around, as though, a dark cloud; taruNa tulasI bhUShaNaH= new, tulasi leaves [garland], one who is wearing; nIla meghaH= one who is very beautiful like a very dark cloud – applicable to other items  like coiffure, arms, chest etc; marakata maNi stambha gambhIra bAhuH= with his emeraldine, columns like, gritty, arms; mAm Ali~Ngan svapne dR^iShTaH= me, embracing, in dream, I saw.

With a dark cloudlike coiffure, tucked with a beautiful peacock feathers, falling a little onto his forehead; with a dark cloudlike body wrapped up in smooth ochreish silks, as if a dark cloud is enwrapped with electric streaks; with a dark cloudlike chest adorned with new leaflets of tulasi, whose greenness is reflected on his gritty arms making them to look like great emeraldine columns, such as he is he embraced me with those arms – so I saw in a dream. [2-7] 

kriShNa has not embraced the poet. These are not the words of the poet, but they are the words of rAdha with a girlfriend – rAdja vachana, Or the words of one milkmaid with another milkmaid.  Or, they are the words of any common girl meditating on gopAla kriShNa. The import of this verse has a bearing on gopAla kriShNa ShoDashAksharI mantra dhyanam – as said insantkumAra samhita. Cf.

vAmAnka sthitAyA vAmapANi padmasthayA |
 padmAvatArayAshliSTam rukminyA kanakAbhayA || etc.

--o)0(o--

कृष्णे हृत्वानिचयनिचयम् कूलकुङ्जाधिरूढे
मुग्धा काचिन्मुहुरनुनयैः किम्न्विति व्याहरन्ती।
सभ्रूभङ्गम् सदरहसितम् सत्रपम् सानुरागम्
चाया शौरेः करतलगतान्यम्बराणि आचकर्ष॥ २-८

  कृष्णे हृत्वा निचय निचयम् कूल कुङ्ज अधिरूढे मुग्धा काचित् मुहुः अनुनयैः किम् नु इति व्याहरन्ती स भ्रू भङ्गम् स दर हसितम् स त्रपम्
स अनुरागम् चाया शौरेः कर तल गतानि अम्बराणि आचकर्ष

kṛṣṇe hṛtvānicayanicayam kūlakuṅjādhirūḍhe
mugdhā kācinmuhuranunayaiḥ kimnviti vyāharantī |
sabhrūbhaṅgam sadarahasitam satrapam sānurāgam
cāyā śaureḥ karatalagatānyambarāṇi ācakarṣa || 2-8

  kṛṣṇe hṛtvā nicaya nicayam kūla kuṅja adhirūḍhe mugdhā kācit muhuḥ anunayaiḥ kim nu iti vyāharantī sa bhrū bhaṅgam sa dara hasitam sa trapam sa anurāgam cāyā śaureḥ kara tala gatāni ambarāṇi ācakarṣa

kR^iShNe hR^itvAnicayanicayaM kUlaku~NjAdhirUDhe
mugdhA kAcinmuhuranunayaiH kimnviti vyAharantI |
sabhrUbha~NgaM sadarahasitaM satrapaM sAnurAgaM
chAyA shaureH karatalagatAnyambarANi AcakarSha || 2-8

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kR^iShNe hR^itvA nicaya nicayaM kUla ku~Nja adhirUDhe mugdhA kAcit muhuH anunayaiH kiM nu iti vyAharantI sa bhrU bha~NgaM sa dara hasitaM sa trapaM sa anurAgaM chAyA shaureH kara tala gatAni ambarANi AcakarSha

2-8. kR^iShNe nicaya nicayaM hR^itvA= kriShNa, cloths, heap, on stealing; kUla ku~Nja adhirUDhe sati= on riverbank, a shrouded tree, ascended and sat there; kAcit mugdhA = someone, a naive damsel – who could not locate kriShNa in the tree shrouded with leaves; muhuH anunayaiH= repeatedly, requesting him; kiM nu iti= by saying what is this;

sa bhrU bha~NgaM= with, eyebrows, knotted;sa dara hasitaM= with a little, smile; sa trapaM= with some coyness; sa anurAgaM= with some fondness; vyAharantI= she had been requesting him; but;

chAyA shaureH= from reflected, kriShNa – on the sheet of water; kara tala gatAni ambarANi= in hand, that have gone in, cloths; AcakarSha= she pulled back.

When kriShNa stole the cloths of bathing milkmaids and ascended a tree on the riverbank and sat on a branch shrouded in the leaves with those cloths in his lap, some naïve girl started pleading with him saying repeatedly ‘what is this… what is this…’, that too with a chagrined face on which eyebrows are knitted, a little smile along with some coyness and fondness are present, as well. But it is of no use. Then, thinking that begging him is futile, she started grabbing cloths from his hand. That effort has also become slippery, because she dragged cloths from the image of kriShNa reflected on the sheet of Yamuna waters, who she had been addressing this far. Thus she became hopeless and helpless.  [2-8]

The import of this verse is vastrAkarSaNa yoga dhyAnam, as contained in gopAla kRShNa mantrta rAjam as indicated by sanatkumAra samhita: ibid: 2-3.

--o)0(o--

अपि जनुषि परस्मिन्नात्तपुण्यो भवेयम्
तटभुवि यमुनायास्तादृशो वंशनालः।
अनुभवति य एष श्रीमदाभीरसूनोः
अधरमणिसमीपन्यासधन्याम् अवस्थाम्॥ २-९

  अपि जनुषि परस्मिन्न् आत्त पुण्यो भवेयम् तट भुवि यमुनायाः
तादृशो वंश नालः अनुभवति य एष श्रीमत् आभीर सूनोः
अधर मणि समीप न्यास धन्याम् अवस्थाम्

api januṣi parasminnāttapuṇyo bhaveyam
taṭabhuvi yamunāyāstādṛśo vaṁśanālaḥ |
anubhavati ya eṣa śrīmadābhīrasūnoḥ
adharamaṇisamīpanyāsadhanyām avasthām || 2-9

  api januṣi parasminn ātta puṇyo bhaveyam taṭa bhuvi yamunāyāḥ tādṛśo vaṁśa nālaḥ anubhavati ya eṣa śrīmat ābhīra sūnoḥ adhara maṇi samīpa nyāsa dhanyām avasthām

api januShi parasminnAttapuNyo bhaveyaM
taTabhuvi yamunAyAstAdR^isho vaMshanAlaH |
anubhavati ya eSha shrImadAbhIrasUnoH
adharamaNisamIpanyAsadhanyAM avasthAm || 2-9

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api januShi parasminn Atta puNyo bhaveyaM taTa bhuvi yamunAyAH tAdR^isho vaMsha nAlaH anubhavati ya eSha shrImat AbhIra sUnoH adhara maNi samIpa nyAsa dhanyAM avasthAm

2-9. ya eSha vaMsha nAlaH= this one, which is, a bamboo, hollow stick; shrImat AbhIra sUnoH= of wealth-giving, cow herder’s, son; adhara maNi samIpa nyAsa= at lips, called jewels, nearby, by placing; dhanyAM avasthAm anubhavati = hallowed, state, it is getting; tAdR^isaH= likewise; yamunAyAH taTa bhuvi vaMsha nAlaH= on yamuna river’s, banks, bamboo, stick; parasmin januShi api= in another, birth, even; Atta puNyo= acquired, merited one; api bhaveyaM = whether, can I become.

There are numerous bamboo groves on the riverbanks of yamuna, but only one hollowed stem is merited to be placed on the jewel called the lower lip of that cow herder’s son who bestows any kind of wealth, thus that hollowed stem is enjoying a hallowed state. Can I, with any acquired merit, take birth in any forthcoming births, at least as a bamboo stem on the riverbank of yamuna to get such a consecrated birth?

--o)0(o--

अयि परिचिनु चेतः प्रातरम्भोजनेत्रम्
कबरकलितचङ्छत्पिङ्छदामाभिरामम्।
बलभिदुपलनीलम् वल्लवीभागधेयम्
निखिलनिगमवल्लीमूलकन्दम् मुकुन्दम्॥२-१०

अयि परिचिनु चेतः प्रातः अम्भोज नेत्रम् कबर कलित चङ्चत्
पिङ्ह दाम अभिरामम् वलभिद् उपल नीलम् वल्लवी भागधेयम्
निखिल निगम वल्ली मूल कन्दम् मुकुन्दम्

ayi paricinu cetaḥ  prātarambhojanetram
kabarakalitacaṅchatpiṅchadāmābhirāmam |
balabhidupalanīlam vallavībhāgadheyam
nikhilanigamavallīmūlakandam mukundam ||2-10

  ayi paricinu cetaḥ  prātaḥ ambhoja netram kabara kalita caṅcat piṅha dāma abhirāmam valabhid upala nīlam vallavī bhāgadheyam nikhila nigama vallī mūla kandam mukundam

ayi paricinu cetaH  prAtarambhojanetraM
kabarakalitaca~NChatpi~NChadAmAbhirAmam |
balabhidupalanIlaM vallavIbhAgadheyaM
nikhilanigamavallImUlakandaM mukundam ||2-10

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ayi paricinu cetaH  prAtaH ambhoja netraM kabara kalita ca~Ncat pi~Nha dAma abhirAmam valabhid upala nIlaM vallavI bhAgadheyaM nikhila nigama vallI mUla kandaM mukundam

2-10.ayi cetaH= oh, heart; prAtaH ambhoja netraM= [one who is having] morning time, lotuslike, eyes – lalia ambhoruha netra; kabara kalita ca~Ncat= in coiffure, well decorated, glowing, pi~Nha dAma= with a handful of peacock feathers; abhirAmam= one who is beautiful with them; balabhid upala nIlaM= Indra, bluish, gem like – glowing like indranIla Mani – samujwala paurandra nIla gAtra;vallavI bhAgadheyaM= milkmaids’, serendipitous find – gopa ramaNi lAvaNya pAtra; nikhila nigama vallI mUla kandaM= for all, scriptures, called creeping plants, for their roots, rootstock; mukundam paricinu = let kriShNa be, maintained as a familiarity – always keep him abreast.

Oh, heart, always keep that mukunda abreast, envisioning his broad eyes akin to the just sprung lotuses with the day-spring; his beautiful knot of glowing peacock feathers knotted on his coiffure; his conformation brilliantly sparkling like an indra-nIla-Mani, a choicest and rare aquamarine gem; a serendipitous find of milkmaids in brindavana, and who forms the rootstock of all the creepers called scriptures. [2-10]

--o)0(o--

अयि मुरलि मुकुन्दस्मेरवक्त्रारविन्द
श्वसनमधुरसंज्ङे त्वाम् प्रणम्याद्य याचे।
अधरमणिसमीपम् प्राप्तवत्याम् भवत्याम्
कथय रहसि कर्णे मद्दशाम् नन्दसूनोः॥ २-११

  अयि मुरलि मुकुन्द स्मेर वक्त्र अरविन्द श्वसन मधुर संज्ङे त्वाम्
प्रणम्य अद्य याचे अधर मणि समीपम् प्राप्तवत्याम् भवत्याम्
कथय रहसि कर्णे मद् दशाम् नन्द सूनोः

ayi murali mukundasmeravaktrāravinda
śvasanamadhurasaṁṅe tvām praṇamyādya yāce |
adharamaṇisamīpam prāptavatyām bhavatyām
kathaya rahasi karṇe maddaśām nandasūnoḥ || 2-11

  ayi murali mukunda smera vaktra aravinda
śvasana madhura saṁṅe tvām praṇamya adya yāce
 adhara maṇi samīpam prāptavatyām bhavatyām
kathaya rahasi karṇe mad daśām nanda sūnoḥ

ayi murali mukundasmeravaktrAravinda
shvasanamadhurasaMj~ne tvAM praNamyAdya yAce |
adharamaNisamIpaM prAptavatyAM bhavatyAM
kathaya rahasi karNe maddashAM nandasUnoH || 2-11

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ayi murali mukunda smera vaktra aravinda shvasana madhura saMj~ne tvAM praNamya adya yAce adhara maNi samIpaM prAptavatyAM bhavatyAM kathaya rahasi karNe mad dashAM nanda sUnoH

anvaya: ayi murali! nanda sUnoH karNe rahasi mat dashAM kathaya.

2-11.mukunda smera vaktra aravinda = of mukunda, smiley face, called a lotus; shvasana madhura saMj~ne= breath’s, honey like, one who knows it – the flute;

ayi murali= oh, flute;

adya tvAM praNamya yAce= now, to you, on saluting, I am begging;

bhavatyAM adhara maNi samIpaM prAptavatyAM satyAm= by you, [when you are at his] lower lip, called [which lower lip is such] a jewel, very nearly, on your going – when he lifts you up to his lower lip called padma rAga maNi and you are very close to it ready for fluting; nanda sUnoH karNe= in that nanda’s son’s, ear; mat dashAM rahasi kathaya= my, pitiable state, sub rosa, you tell him.

I am aware, oh, flute, that you are well aware of the sweetness of the breath of that smiley and lotusy face ofmukunda; as such I reverently beg you to whisper sweetly and sub rosa into the ear of the son of nanda about my wretched state, whenever you are closely drawn to his jewelly lower lip for fluting. [2-11]

--o)0(o--

सजलजलदनीलम् वल्लवीकेलिलोलम्
तसुरतरुमूलम् विद्युदुल्लासिचेलम्।
सुररिपुकुलकालम् सन्मनोबिम्बलीलम्
नतसुरमुनिजालम् नौमि गोपालबालम्॥ २-१२

  सजल जलद नीलम् वल्लवी केलि लोलम् श्रित सुर तरु मूलम् विद्युत् उल्लासि चेलम् सुर रिपु कुल कालम् सत् मनस् बिम्ब लीलम्
नत सुर मुनि जालम् नौमि गोपाल बालम्

sajalajaladanīlam vallavīkelilolam
śritasuratarumūlam vidyudullāsicelam |
suraripukulakālam sanmanobimbalīlam
natasuramunijālam naumi gopālabālam || 2-12

  sajala jalada nīlam vallavī keli lolam śrita sura taru mūlam vidyut ullāsi celam sura ripu kula kālam sat manas bimba līlam nata sura
muni jālam naumi gopāla bālam

sajalajaladanIlaM vallavIkelilolaM
shritasuratarumUlaM vidyudullAsicelam |
suraripukulakAlaM sanmanobimbalIlaM
natasuramunijAlaM naumi gopAlabAlam || 2-12

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sajala jalada nIlaM vallavI keli lolaM shrita sura taru mUlaM vidyut ullAsi celam sura ripu kula kAlaM sat manas bimba lIlaM nata sura muni jAlaM naumi gopAla bAlam

anvaya: naumi gopAla bAlam

2-12.sa jala jalada nIlaM= with water, cloud, one in such a blueblack shade of a raincloud; vallavI keli lolaM= with milkmaids, in sports, one who is enamoured;

shrita sura taru mUlaM= one who is ensconced, in gods', tree -  at the base of pArijAta tree;

or, one who is the base of a tree to all gods - sura-taru-mUlam; under which gods take shelter – sura shrita; hence he is shrita – a shelterer, not a sheltered one;

 vidyut ullAsi celam= lightning like, fluttering, one having such a robe;

or, whose robe’s glitter makes the lightning to fulgurate;

sura ripu kula kAlaM= for gods, enemies, host, the End-Timer – like time-ending yama;

 sat manas bimba lIlaM= in high-souled dedicates, minds, reflection, who causes sportively;

nata sura muni jAlaM= bowing, gods, saints, one who has such hosts;

 naumi gopAla bAlam= I revere that cow boy.

Let me revere that cowboy gleaming in sapphirine hue akin to a raincloud; ever enamoured in the sports with milkmaids, a celestial tree sheltering all gods; glitter of whose yellow silk robes makes the lightning to glitter; a halter of the time of gods’ enemies, namely the demons; a reflective on the mirror like minds of high-souled dedicates according as their thinking as jIvachaitanyam, antaryAmi, pratyak tattva and what not, as such one who has hosts of gods and saints bowing before him. [2-12]

The import of this verse is gopAlakriShNa dwAdasha aksharI mantra dhyaanam:

dhyAyet kalp drumAdhasthAn maNipIThAsanam shubham |
 kR^iShNam pItAmbaradharm sa~Nkhachakra dharm || etc

--o)0(o--

अधरबिम्बविडम्बितविद्रुमम् मधुरवेणुनिनादविनोदिनम्।
कमलकोमलकम्रमुखाम्बुजम् कम् अपि गोपकुमारम् उपास्महे॥ २-१३

अधर बिम्ब विडम्बित विद्रुमम् मधुर वेणुन्निनादन्विनोदितम् कमल
कोमल कम्र मुख अम्बुजम् कम् अपि गोप कुमारम् उपास्महे

adharabimbaviḍambitavidrumam
madhuraveṇuninādavinodinam |
kamalakomalakamramukhāmbujam
kam api gopakumāram upāsmahe || 2-13

adhara bimba viḍambita vidrumam madhura veṇunninādanvinoditam kamala komala kamra mukha ambujam kam api gopa kumāram upāsmahe

adharabimbaviDambitavidrumaM
madhuraveNuninAdavinodinam |
kamalakomalakamramukhAmbujaM
kam api gopakumAram upAsmahe || 2-13

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adhara bimba viDambita vidrumaM madhura veNunninAdanvinoditam kamala komala kamra mukha ambujaM kam api gopa kumAram upAsmahe

anavaya: kam api gopa kumAram upAsmahe

2-13. adhara bimba viDambita vidrumaM= by his lower lip, despised is, the coral; madhura veNu ninAda vinodinam= mellifluous, flute, with melodies, one who is enraptured; kamala komala kamra mukha ambujaM= lotus like, delicate, beautiful, one with such a lotusy face; kam api= someone who is a; gopa kumAram= cowboy; upAsmahe= we adore.

Let us adore someone who is cowboy whose lips despise corals in their hue, for corals do not shower nectar while his lips can; who is enraptured in the fluting of mellifluous melodies, for this universe swings in seraphic strains; whose lotusy countenance is delicately beautiful like just bloomed lotus, for there occurs a luxurious languor on seeing a lotus or his face. [2-13]

--o)0(o--

अधरे विनिवेश्य वंशनालम्
विवराण्यस्य सलीलम् अङ्गुलीभिः।
मुहुर् अन्तरयन् मुहुर् विवृण्वन्
मधुरम् गायति माधवो वनान्ते॥ २-१४

अधरे विनिवेश्य वंश नालम् विवराणि अस्य स लीलम् अङ्गुलीभिः
मुहुः अन्तरयन् मुहुः विवृण्वन् मधुरम् गायति माधवो वनान्ते

adhare viniveśya vaṁśanālam
vivarāṇyasya salīlam aṅgulībhiḥ |
muhur antarayan muhur vivṛṇvan
madhuram gāyati mādhavo vanānte || 2-14

adhare viniveśya vaṁśa nālam vivarāṇi asya sa līlam aṅgulībhiḥ muhuḥ antarayan muhuḥ vivṛṇvan
madhuram gāyati mādhavo vanānte

 adhare viniveshya vaMshanAlaM
vivarANyasya salIlam a~NgulIbhiH |
muhur antarayan muhur vivR^iNvan
madhuraM gAyati mAdhavo vanAnte || 2-14

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adhare viniveshya vaMsha nAlaM vivarANi asya sa lIlam a~NgulIbhiH muhuH antarayan muhuH vivR^iNvan madhuraM gAyati mAdhavo vanAnte

anvaya: vanAnte mAdhavo madhuraM gAyati

2-14. adhare vaMsha nAlaM viniveshya= on lips, bamboo, hollow stem – the flute mohan vamshi, on keeping; asya vivarANi sa lIlam a~NgulIbhiH= muhuH antarayan= repeatedly, closing; = muhuH vivR^iNvan= repeatedly, opening; mAdhavaH= mA+dhava= mother’s husband, goddess lakshmi’s husband– viShNu in the form of kriShNa; vana ante = in woodlands [of brindavana], in the midst of– here ante means ‘midst of’, not at fringe lands of brindavana; madhuraM gAyati= beautifully, singing – fluting; [tam bAlam AshrayethA= let us seek shelter of that boy].

Seek shelter of that boy who placing his flute mohana-vamshi on his lips; oft-closing and oft-opening the holes of that flute with his little fingers, he is mellisonantly fluting in the midst of brindavana gardens; s eek ye first the kingdom of that music, and all these things shall be added unto you… [2-14]

There are hardly three texts still put to use by singers and dancers in kriShNa  bhakti; 1] jayadeva gItagovindam; 2] shrI kriShNa  karNAmRitam; 3] sadAshiva brahmendra swamy’s kIrtans.

In regard to the above stanza depicting kriShNa ‘s fluting the following kIrtana of sadAshiva brahmendra
swamy
is to be remembered here:

gAyati vanamAli -- madhuram, gAyati vanamAli |
puShpa sugandha sumalaya samIre munijana sevita yamunA tIre
 madhuram, gAyati vanamAli… etc

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वदने नवनीतगन्धवाहम् वचने तस्करचातुरीधुरीणम्।
नयने कुहनाश्रुम् आश्रयेथाः चरणे कोमलताण्डवम् कुमारम्॥ २-१५

वदने नवनीत गन्ध वाहम् वचने तस्कर चातुरी धुरीणम् नयने
कुहन अश्रुम् आश्रयेथाः चरणे कोमल ताण्डवम् कुमारम्

vadane navanītagandhavāham
vacane taskaracāturīdhurīṇam |
nayane kuhanāśrum āśrayethāḥ
caraṇe komalatāṇḍavam kumāram || 2-15

vadane navanīta gandha vāham vacane taskara
cāturī dhurīṇam nayane  kuhana aśrum
āśrayethāḥ caraṇe komala tāṇḍavam kumāram

vadane navanItagandhavAhaM
vacane taskaracAturIdhurINam |
nayane kuhanAshrum AshrayethAH
caraNe komalatANDavaM kumAram || 2-15

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vadane navanIta gandha vAhaM vacane taskara cAturI dhurINam nayane kuhana ashrum AshrayethAH caraNe komala tANDavaM kumAram

anvayam: kumAram AshrayethAH

2-15. vadane navanIta gandha vAhaM= in mouth, fresh butter’s, smell, one who is redolent with; vacane taskara cAturI dhurINam= by speech, purloiner’s, falter, one who is an expert in; nayane kuhana ashrum= in eyes, pseudo, rheumy; caraNe komala tANDavaM= by feet, liltingly, dancing; kumAram AshrayethA= such a boy’s [shelter], let us seek his shelter.

Let us take shelter of that boy.

In self-opposed thinking: But is he just a boy, for his mouth is redolent of just consumed fresh butter – no boy consumes that much butter; by speech he seems to an expert in the faltering speech of a purloiner – while any boy is straight to shoulder; by his eyes he is pseudoly rheumy at the taunts and twits of his mother yashoda for his pinches and pilfers – while every boy sheds tears honestly; by his feet he seems to be a lilting tripper of his light fantastic toe – while any boy falters, fumbles and falls… paradoxically a double standard personality, or what…

In conclusion:  hook on to him, then you will know… first take shelter…

The import of the verse is shrI gopAla kriShNa ekAdasha akshara mantra dhyAnam, as contained in sanatkumAra samhita:

 hantAram navanItAdi chauryeNa vraja yoShitAm |
gopAla bAlaiH vR^itam kR^iShNam dhyAyet mantram imam japet…  etc.

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अमुनाऽखिलगोपगोपनार्थम् यमुनारोधसि नन्दनन्दनेन।
दमुना वनसम्भवः पपे नः किमुनाऽसौ शरणार्थिनाम् शरण्यः॥ २-१६

अमुना अखिल गोपगोपन अर्थम् यमुना रोधसि नन्द नन्दनेन दमुना
वन सम्भवः पपे नः किम् उ न असौ शरणार्थिनाम् शरण्यः

amunā'khilagopagopanārtham
yamunārodhasi nandanandanena |
damunā vanasambhavaḥ pape naḥ
kimunā'sau śaraṇārthinām śaraṇyaḥ || 2-16

amunā akhila gopagopana artham yamunā rodhasi nanda nandanena damunā vana sambhavaḥ pape naḥ kim u na asau śaraṇārthinām śaraṇyaḥ

amunA.akhilagopagopanArthaM
yamunArodhasi nandanandanena |
damunA vanasambhavaH pape naH
kimunA.asau sharaNArthinAM sharaNyaH || 2-16

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amunA akhila gopagopana arthaM yamunA rodhasi nanda nandanena damunA vana sambhavaH pape
 naH kim u na asau sharaNArthinAM sharaNyaH

2-16. nanda nandanena= by the son of nanda; amunA= by that one, that boy; akhila gopa gopana arthaM= all, cowherds, for protecting; yamunA rodhasi= on yamuna, riverbanks; vana sambhavaH damunA = in woods, arisen, wildfire; pape= had been drunk – isn’t it; asau= such as he is; sharaNArthinAM= shelter, seekers; naH= such as we are, for us; sharaNyaH= our shelterer; na kimu= will not he become [our shelterer] or what.

This boy, the son of nanda, once drank the wildfire caused on the riverbank of yamuna as easily as drinking water; this he did only to protect all the community of cows and cowherds; then, will he not become our protector too, as we are ardently seeking his shelter and protection? He will… firstly let us seek his shelter… [2-16]

Alliteration is in the word munA occurring four times in four foots.

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जगदादरणीयजारभावम् जलजापत्यवचोविचारगम्यम्।
तनुताम् तनुताम् शिवेतराणाम् सुरनाथोपलसुन्दरम् महो नः॥ २-१७

  जगत् आदरणीय जार भावम् जलज अपत्य वचो विचार गम्यम्
तनुताम् तनुताम् शिव इतराणाम् सुर नाथ उपल सुन्दरम् महः नः

jagadādaraṇīyajārabhāvam
jalajāpatyavacovicāragamyam |
tanutām tanutām śivetarāṇām
suranāthopalasundaram maho naḥ || 2-17

  jagat ādaraṇīya jāra bhāvam jalaja apatya vaco vicāra gamyam tanutām tanutām śiva itarāṇām sura nātha upala sundaram mahaḥ naḥ

jagadAdaraNIyajArabhAvaM
jalajApatyavacovicAragamyam |
tanutAM tanutAM shivetarANAM
suranAthopalasundaraM maho naH || 2-17

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jagat AdaraNIya jAra bhAvaM jalaja apatya vaco vicAra gamyam tanutAM tanutAM shiva itarANAM sura nAtha upala sundaraM mahaH naH

2-17. jagat AdaraNIya jAra bhAvaM= by world, acceptable, philandering disposition, such a thinking – accepted by sagacious people, hence it is acceptable to commoners;

jalaja apatya vaco vicAra gamyam= lotus, born one [brahma], by his words [by Veda-s alone], by their examination, one who is attainable by them;

sura nAtha upala sundaraM= like, indra-nIla jewel, one whose self-resplendence is such;

mahaH= such a great sapphirine brilliance - kriShNa named paramArtha tattvam;

naH shiva itarANAM tanutAM= our, blissful situations, other than, [and their] tenuity; tanutAM= let [that brilliance] keep as a tenuity itself.

Let that vasty sapphirine brilliance, namely kriShNa named paramArtha tattvam, which acquired a philanderer’s stature in the parlance of commoners, but which philandering is viewed altogether differently by sagacious persons, for that so-called fornicator is knowable only through the words of child of lotus, namely brahma, keep the tenuity of our non-blissful situations as a tenuity itself. [2-17]

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या शेखरे श्रुतिगिराम् हृदि योगभोजाम्
पादाम्बुजे च सुलभा व्रजसुन्दरीणाम्।
सा कापि सर्वजगताम् अभिरामसीमा
कामाय नो भवतु गोपकिशोरमूर्तिः॥ २-१८

  या शेखरे श्रुति गिराम् हृदि योग भोजाम् पाद अम्बुजे च
सुलभा व्रज सुन्दरीणाम् सा कापि सर्व जगताम्
अभिराम सीमा कामाय नः भवतु गोप किशोर मूर्तिः

yā śekhare śrutigirām hṛdi yogabhojām
pādāmbuje ca sulabhā vrajasundarīṇām |
sā kāpi sarvajagatām abhirāmasīmā
kāmāya no bhavatu gopakiśoramūrtiḥ || 2-18

  yā śekhare śruti girām hṛdi yoga bhojām pāda ambuje ca sulabhā vraja sundarīṇām sā kāpi sarva jagatām abhirāma sīmā kāmāya naḥ bhavatu gopa kiśora mūrtiḥ

yA shekhare shrutigirAM hR^idi yogabhojAM
pAdAmbuje ca sulabhA vrajasundarINAm |
sA kApi sarvajagatAM abhirAmasImA
kAmAya no bhavatu gopakishoramUrtiH || 2-18

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yA shekhare shruti girAM hR^idi yoga bhojAM pAda ambuje ca sulabhA vraja sundarINAm sA kApi sarva jagatAM abhirAma sImA kAmAya naH bhavatu gopa kishora mUrtiH

anvaya: sA gopa kishora mUrtiH naH kAmAya bhavatu

2-18. kApi = that ‘something’ [the form of that cowboy, which is]; sarva jagatAM abhirAma = in all, worlds for all pleasant things - available in all worlds; sImA= is the limit – his beauty becomes the limitary to all beautiful things in all worlds are put together;

gopa kishora mUrtiH = one in cowherd’s, cub’s, form;

yA= which form - is evident;

shruti girAM shekhare= scriptures, words, is at the helm of;

yoga bhojAM hR^idi= yogic practices, those that are practising – sagacious people, in hearts;

vraja sundarINAm pAda ambuje ca= vraja village’s, of beauties, at their feet, that are like lotuses, also;

sulabhA= easily [obtainable, self-evident];

sA gopa kishora mUrtiH= that, cow herder’s, cub’s, form - entity;

naH kAmAya bhavatu = our, prosperity, let it become, let it bestow.

There uis ‘Something’ which is the limitary beauty for all the beautiful things in all worlds put together, is readily self-manifest in the form a of cow-herder’s son; at the helm of Vedic utterances; in the hearts of sagacious people, and at the lotusy feet of milkmaids of vraja village, as such, that 'something', namely the sapphirine brilliance, may accord prosperity to all of us . [2-18]

 Usually poets will be describing gods, nakha-shikha paryantam, shikha-nakha paryantam - tip to toe, or vice versa; here the poet is placing that ‘something’ at top of Vedic sayings, at middle of sage’s hearts and at the feet of milkmaids – intending to portray him as omnipresent – sarva vyApaka.

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आमुग्धमर्धनयनाम्बुजचुम्‌ब्यमान

अत्यन्तबालम् अतसीकुसुमप्रकाशम्
दिग्वाससम् कनकभूषणभूषिताङ्गम्।
विस्रस्तकेशम् अरुणाधरम् आयताक्षम्
कृष्णम् नमामि मनसा वसुदेवसूनुम्॥ २-१९

  अत्यन्त बालम् अतसी कुसुम प्रकाशम् दिक् वाससम् कनक
भूषणभूषित अङ्गम् विस्रस्त केशम् अरुण अधरम्
आयत अक्षम् कृष्णम् नमामि मनसा वसुदेव सूनुम्

atyantabālam atasīkusumaprakāśam
digvāsasam kanakabhūṣaṇabhūṣitāṅgam |
visrastakeśam aruṇādharam āyatākṣam
kṛṣṇam namāmi manasā vasudevasūnum || 2-19

  atyanta bālam atasī kusuma prakāśam dik vāsasam kanakabhūṣaṇabhūṣita aṅgam visrasta keśam aruṇa adharam āyata akṣam kṛṣṇam namāmi manasā vasudeva sūnum

atyantabAlam atasIkusumaprakAshaM
digvAsasaM kanakabhUShaNabhUShitA~Ngam |
visrastakesham aruNAdharam AyatAkShaM
kR^iShNaM namAmi manasA vasudevasUnum || 2-19

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atyanta bAlam atasI kusuma prakAshaM dik vAsasaM kanakabhUShaNabhUShita a~Ngam visrasta kesham aruNa adharam Ayata akShaM kR^iShNaM namAmi manasA vasudeva sUnum

anvaya: manasA vasudeva sUnum kR^iShNaM namAmi

2-19.atyanta bAlam= very, young; atasI kusuma prakAshaM= a black flower, one having such blackish hue; dik vAsasaM= quarters, are his cloths - stripped down to skin; kanaka bhUShaNa bhUShita a~Ngam = with gold, ornaments, decorated, limbs;
visrasta kesham
= hanging loose, hair; aruNa adharam= reddish, lipped; Ayata akShaM= broad, eyed one; manasA vasudeva sUnum kR^iShNaM namAmi= heartily, at such a son of vasudeva, namely kriShNa, I adore.

Why should I delve deep into the indecipherable vedantic sayings, inaccessible hearts of sages, or on the ultramundane feet of milkmaids to find a little boy? He is right before me as a very youngling whose outfit is as naked as the quarters of compass, who in his hue is like a black atasi flower; decorated with golden ornaments; head-hair hanging loose; lips roseate and eyes very broad and wide. Let me heartily adore that boy. [2-19]

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हस्ताङ्घ्रिनिक्वणितकङ्कणकिङ्किणीकम्
मध्ये नितम्बम् अवलम्बितहेमसूत्रम्।
मुक्ताकलापमुकुलीकृतकाकपक्षम्
वन्दामहे व्रजचरम् वसुदेवभाग्यम्॥ २-२०

हस्त अङ्घ्रि निक्वणित कङ्कण किङ्किणीकम् मध्ये नितम्बम् अवलम्बित हेम सूत्रम्
मुक्ता कलाप मुकुली कृत काक पक्षम् वन्दामहे व्रज चरम् वसुदेव भाग्यम्

hastāṅghrinikvaṇitakaṅkaṇakiṅkiṇīkam
madhye nitambam avalambitahemasūtram |
muktākalāpamukulīkṛtakākapakṣam
vandāmahe vrajacaram vasudevabhāgyam || 2-20

hasta aṅghri nikvaṇita kaṅkaṇa kiṅkiṇīkam madhye nitambam avalambita hema sūtram muktā kalāpa mukulī kṛta kāka pakṣam vandāmahe vraja caram vasudeva bhāgyam

hastA~NghrinikvaNitaka~NkaNaki~NkiNIkaM
madhye nitambam avalambitahemasUtram |
muktAkalApamukulIkR^itakAkapakShaM
vandAmahe vrajacaraM vasudevabhAgyam || 2-20

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hasta a~Nghri nikvaNita ka~NkaNa ki~NkiNIkaM madhye nitambam avalambita hema sUtram muktA kalApa mukulI kR^ita kAka pakShaM vandAmahe vraja caraM vasudeva bhAgyam

anvaya: vraja caraM vasudeva bhAgyam vandAmahe

 2-20.hasta a~Nghri nikvaNita ka~NkaNa ki~NkiNIkaM= on wrist, on ankles, tintinnabulating, golden annuli, anklets with chains of small bells; madhye nitambam avalambita hema sUtram= across, on buttocks, dangling, golden, thread; muktA kalApa mukulI kR^ita= with pearl-strings, adorned, well-tucked [coiffure]; kAka pakShaM= crows, wings – sides of head hair hanging loose on sides like blackish crows wings; vraja caraM vasudeva bhAgyam= in vraja village, one who moves about, that one who is his father vasudeva’s, fortune;  vandAmahe= I adore such  boy.

Is he not ravishing while moving about in vraja village with tintinnabulating golden annuli on wrists and chains of bells on his ankles, a golden thread hanging loose on his buttocks, strings of pearl tucked in his coiffure with sides pitch black like the wings of crow – if yes, let us adore that godsend of his father vasudeva. [2-20]

The import of the verse is shrI gopAla kR^iShNa aShTAksharI mantra dhyAnam, as contained in sanatkumAra samhita:

pa~NcahAyanamIshAnam dhAvamAnam rajA~NgNe |
ki~NkiNI nUpura grIvA karNabhUShNojvalam smaret ||

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बृन्दावनद्रुमतलेषु गवाम् गणेषु
वेदावसानसमयेषु च दृश्यते यत्।
तद् वेणुनादनपरम् शिखिपिङ्चचूडम्
ब्रह्म स्मरामि कमलेक्षणम् अभ्रनीलम्॥ २-२१

बृन्दावन द्रुम तलेषु गवाम् गणेषु वेद अवसान समयेषु च
दृश्यते यत् तत् वेणु नादन परम् शिखि पिङ्च चूडम् ब्रह्म
स्मरामि कमल ईक्षणम् अभ्र नीलम्

bṛndāvanadrumataleṣu gavām gaṇeṣu
vedāvasānasamayeṣu ca dṛśyate yat |
tad veṇunādanaparam śikhipiṅcacūḍam
brahma smarāmi kamalekṣaṇam abhranīlam || 2-21

bṛndāvana druma taleṣu gavām gaṇeṣu veda avasāna samayeṣu ca dṛśyate yat tat veṇu nādana param śikhi piṅca cūḍam brahma smarāmi kamala īkṣaṇam abhra nīlam

bR^indAvanadrumataleShu gavAM gaNeShu
vedAvasAnasamayeShu ca dR^ishyate yat |
tad veNunAdanaparaM shikhipi~NchacUDaM
brahma smarAmi kamalekShaNam abhranIlam || 2-21

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anvaya: kamaleIkShaNam abhranIlam brahma smarAmi

bR^indAvana druma taleShu gavAM gaNeShu veda avasAna samayeShu ca dR^ishyate yat tat veNu nAdana paraM shikhi pi~Ncha cUDaM brahma smarAmi kamala IkShaNam abhra nIlam

2-21. yat= which entity; vR^indAvana druma taleShu= in brindavana, trees, at their bases; gavAM gaNeShu= among cows, herds of; veda avasAna samayeShu ca= Veda-s, at their end-parts, also – in Vedanta; dR^ishyate= being seen, self-evident; tat= that entity; veNu nAdana paraM= in flute, melodies, one that is enraptured; shikhi pi~Ncha cUDaM= peacock’s feathers, one which got them as headgear; kamala IkShaNam= lotusy, eyed one; abhra nIlam= like sky, blueblack; brahma= [that itself  is] brahma – paramArtha tattva; smarAmi = I ruminate on it.

That entity manifest at the feet of trees in brindavana woodlands, palpable amongst herds of cows, conspicuous in upanishad-s, is explicit in the form of sapphirine radiance that which is always enraptured in the melodies of flute, wearing a headgear of peacock’s feathers, eyes lotusy and hue blueblack like the sky… he is none else than brahma, the paramArtha tattva… whom else do you want… let us ruminate on that sapphirine entity… [2-21]

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व्यत्यस्तपादम् अवतंसितबर्हिबर्हम्
साचीकृतानननिवेशितवेणुरन्ध्रम्।
तेजः परम् परमकारुणिकम् पुरस्तात्
प्राणप्रयाणसमये मम सन्निधत्ताम्॥ २-२२

व्यत्यस्त पादम् अवतंसित बर्हि बर्हम् साची कृत आनन निवेशित वेणु
रन्ध्रम् परमकारुणिकम् पुरस्तात् प्राण प्रयाण समये मम सन्निधत्ताम्

vyatyastapādam avataṁsitabarhibarham
sācīkṛtānananiveśitaveṇurandhram |
tejaḥ param paramakāruṇikam purastāt
prāṇaprayāṇasamaye mama sannidhattām || 2-22

vyatyasta pādam avataṁsita barhi barham sācī kṛta ānana niveśita veṇu randhram paramakāruṇikam purastāt prāṇa prayāṇa samaye mama sannidhattām

vyatyastapAdam avataMsitabarhibarhaM
sAcIkR^itAnananiveshitaveNurandhram |
tejaH paraM paramakAruNikaM purastAt
prANaprayANasamaye mama sannidhattAm || 2-22

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anvaya: paraM tejaH prANa prayANa samaye mama purastAt sannidhattAm

vyatyasta pAdam avataMsita barhi barhaM sAcI kR^ita Anana niveshita veNu randhram paramakAruNikaM purastAt prANa prayANa samaye mama sannidhattAm

2-22.vyatyasta pAdam= crosswise, legged; avataMsita barhi barhaM= decorated with petcock’s, plumage; sAcI kR^ita= made, transverse; Anana niveshita= on face, placed; veNu randhram= flute’s, holes; parama kAruNikaM= highly, benevolent; paraM tejaH= that super, radiance; prANa prayANa samaye= at lives, departing, time; mama purastAt sannidhattAm= in my, presence, let it be there.

Let that highly benevolent super-radiance, legs kept crosswise while fluting, decorated with petcock’s plumage, flutes’ holes placed transversely on his lips, show up at least at the time of the departure of my lives.  [2-22]

 --o)0(o--

 

घोषप्रघोषशमनाय मथोगुणेन
मध्ये बबन्ध जननी नवनीतचोरम्।
तद्बन्धनम् त्रिजगताम् उदराश्रयाणाम्
आक्रोशकारणम् अहो नितराम् बभूव॥ २-२३

  घोष प्रघोष शमनायमथो गुणेन मध्ये बबन्ध जननी नवनीत चोरम् तत् बन्धनम् त्रि जगताम् उदर आश्रयाणा आक्रोश कारणम् अहो नितराम् बभूव

ghoṣapraghoṣaśamanāya mathoguṇena
madhye babandha jananī navanītacoram |
tadbandhanam trijagatām udarāśrayāṇām
ākrośakāraṇam aho nitarām babhūva || 2-23

  ghoṣa praghoṣa śamanāyamatho guṇena madhye babandha jananī navanīta coram tat bandhanam tri jagatām udara āśrayāṇā ākrośa kāraṇam aho nitarām babhūva

ghoShapraghoShashamanAya mathoguNena
madhye babandha jananI navanItacoram |
tadbandhanaM trijagatAm udarAshrayANAm
AkroshakAraNam aho nitarAM babhUva || 2-23

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ghoSha praghoSha shamanAyamatho guNena madhye babandha jananI navanIta coram tat bandhanaM tri jagatAm udara AshrayANA Akrosha kAraNam aho nitarAM babhUva

2-23. ghoSha praghoSha shamanAya= hue, and cry [of milkmaids], in order to silence; jananI= mother yashoda; navanIta coram= thief, of butter; matho guNena= with churning stick’s, rope; madhye babandha= in his middle [at waistline], tied him [to pounding stone]; tat bandhanaM= that, fastening; udara AshrayANAm= in belly, those that are abiding; tri jagatAm= for triad of worlds; nitarAM Akrosha kAraNam babhUva= unbearable, oppressive, cause, it became; aho = alas.

To silence the hue and cry of milkmaids about the butter-thieving activity of this boy, his mother yashoda once fastened him to a pounding stone tying a churner’s rope at his middle. Though that boy is least irked with that fastening, the triad of worlds abiding in his belly felt an unbearable oppressive fastening of hangman’s noose around their necks, alas… [2-23]

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शैवा वयम् न खलु तत्र विचारणीयम्
पङ्चाक्षरीजपपरा नितराम् तथापि।
चेतो अस्मदीयम् अतसीकुसुमावभासम्
स्मेराननम् स्मरति गोपवधूकिशोरम्॥ २-२४

  शैवा वयम् न खलु तत्र विचारणीयम् पङ्चाक्षरी जप परा नितराम् तथा अपि।
चेतः अस्मदीयम् अतसी कुसुम अवभासम् स्मेर आननम् स्मरति गोप वधू किशोरम्

śaivā vayam na khalu tatra vicāraṇīyam
paṅcākṣarījapaparā nitarām tathāpi |
ceto asmadīyam atasīkusumāvabhāsam
smerānanam smarati gopavadhūkiśoram || 2-24

  śaivā vayam na khalu tatra vicāraṇīyam paṅcākṣarī japa parā nitarām tathā api cetaḥ asmadīyam atasī kusuma avabhāsam smera ānanam smarati gopa vadhū kiśoram

shaivA vayaM na khalu tatra vicAraNIyaM
pa~NcAkSharIjapaparA nitarAM tathApi |
ceto [as]madIyam atasIkusumAvabhAsaM
smerAnanaM smarati gopavadhUkishoram || 2-24

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shaivA vayaM na khalu tatra vicAraNIyaM pa~NcAkSharI japa parA nitarAM tathA api  cetaH [as]madIyam atasI kusuma avabhAsaM smera AnanaM smarati gopa vadhU kishoram

2-24.shaivA vayaM tatra vicAraNIyaM na khalu = shaivaites, we are, in that, doubt, is not there, indeed;nitarAM pa~NcAkSharI japa parA= further more, panchAkshari hymn, we are practisers of; tathA api = even then; asmadIyam cetaH= our, heart; atasI kusuma avabhAsaM= one who is in the hue of black atasi flower; smera AnanaM= with a pleasant, face; gopa vadhU kishoram= cow herder’s wife’s, son - yashoda; smarati= reminisces.

We are shaivaites and we practisers of panchadashaakshari hymn - no doubt about it; even then our heart reminisces on that pleasant faced boy in the hue of blackish atasi flower who is the darling of his mother yashoda. [2-24]

It should be asmadIyam because first foot has vayam, plural royal we, instead of madIyam - mine. -  Pt. PSRA.

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कारुण्यकर्बुरकटाक्षनिरीक्षणेन

राधा पुनातु जगदच्युतदत्तचित्ता
मन्थानमाकलयती दधिरिक्तपात्रे।
तस्याः स्तनस्तवकचङ्चललोलदृष्टिः
देवोऽपि दोहन धिया वृषभम् निरुन्धन्॥ २-२५

  राधा पुनातु जगत् अच्युत दत्त चित्ता मन्थानम् आकलयती दधि रिक्त पात्रे तस्याः स्तन स्तबक चङ्चल लोल दृष्टिः देवः अपि दोहन धिया वृषभम् निरुन्धन्

rādhā punātu jagadacyutadattacittā
manthānamākalayatī dadhiriktapātre |
tasyāḥ stanastavakacaṅcalaloladṛṣṭiḥ
devo'pi dohana dhiyā vṛṣabham nirundhan || 2-25

  rādhā punātu jagat acyuta datta cittā manthānam ākalayatī dadhi rikta pātre tasyāḥ stana stabaka caṅcala lola dṛṣṭiḥ devaḥ api dohana dhiyā vṛṣabham nirundhan

rAdhA punAtu jagadacyutadattacittA
manthAnamAkalayatI dadhiriktapAtre |
tasyAH stanastavakaca~NcalaloladR^iShTiH
devo.api dohana dhiyA vR^iShabham nirundhan || 2-25

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rAdhA punAtu jagat acyuta datta cittA manthAnam AkalayatI dadhi rikta pAtre tasyAH stana stabaka ca~Ncala lola dR^iShTiH devaH api dohana dhiyA vR^iShabham nirundhan

2-25. acyuta datta cittA= to achyuta, given, heart; dadhi rikta pAtre= in curd, lacking, vessel; manthAnam AkalayatI rAdhA= churning rod, one who is stirring, such a rAdha; jagat punAtu= world, let her sanctify; tasyAH stana stabaka ca~Ncala lola dR^iShTiH= on her, bosoms, bouquets like, with fitting, glances; devaH api= god, even; dohana dhiyA vR^iShabham nirundhan= to milk [a cow], with an intent, an ox, he is restraining - coaxing and combing.

In a way: rAdha jagat punAtu; devaH api jagat punAtu

 In a reverie on kriShNa rAdha is churning an empty curd pot, likewise intending to milk a cow kriShNa is coaxing an ox, mulling over the bouquets called her bosoms – love is whimsical, isn’t it. Let both rAdha and kriShNa in such an unified state bless the world. [2-25]  

This stanza is reflected in haribhakti rasAmRita sindhu at 2nd vibhA. 4th lahari with the same opening line, but with some word changes, as an example to prauDha Anandam.

rAdhA punAtu jagad acyuta-datta-cittA

manthAnakaM vidadhatI dadhi-rikta-pAtre |

yasyAH stana-stavaka-ca~Ncala-locanAli

rdevo.api ruddha-hR^idayo dhavalaM dudoha ||

The dhavalatvam said here is the suddha-svacCha-dhavala-hR^idaya-prakAsham of those two. This is not a stupid mindlessness of those lovers, as in common man’s parlance, but it is called a mahAbhAva sthiti, where they attain manolayam in anyonyavinihita Atma sthiti. It has no kAma-gandham. In such a unified state those two will bestow the blissfulness to the world – is its import.

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गोधूलिधूसरितकोमलकुन्तलाग्रम्
गोवर्धनोद्धरणकेलीकृतप्रयासम्।
गोपीजनस्य कुचकुम्कुममुद्रिताङ्गम्
गोविन्दमिन्दुवदनम् शरणम् भजामः॥२-२६

गोधूलि धूसरित कोमल कुन्तल ग्रं गोवर्धन द्धरण केली कृत प्रयासम्
गोपी  जनस्य कुच कुम्कुम मुद्रित अङ्गम्
 गोविन्दम् इन्दु वदनम् शरणम् भजामः

godhūlidhūsaritakomalakuntalāgram
govardhanoddharaṇakelīkṛtaprayāsam |
gopījanasya kucakumkumamudritāṅgam
govindaminduvadanam śaraṇam bhajāmaḥ ||2-26

godhūli dhūsarita komala kuntala agraṁ govardhana uddharaṇa kelī kṛta prayāsaṁ gopī janasya kuca kumkuma mudrita aṅgaṁ govindam indu vadanaṁ śaraṇaṁ bhajāmaḥ

godhUlidhUsaritakomalakuntalAgraM
govardhanoddharaNakelIkR^itaprayAsaM |
gopIjanasya kucakumkumamudritA~NgaM
govindaminduvadanaM sharaNaM bhajAmaH || 2-26

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godhUli dhUsarita komala kuntalAgraM govardhanoddharaNakelIkR^ita prayAsaM gopI

anvaya: govindaM sharaNaM bhajAmaH 

2-26. go dhUli dhUsarita komala kuntala agraM= cows, with dust, spattered, delicate, coiffure’s, ends – curls; go vardhana= cows, enriching – mountain; uddharaNa kelI kR^ita prayAsaM= in lifting up [that mountain], owing to that sport, caused, one with a little strain;
gopI janasya kuca kumkuma mudrita a~NgaM=
milkmaid, flocks’, on bosoms,, vermilion powder, imprinted, one with such bodily limbs; indu vadanaM govindaM= moon like, one whose face is, such a go-vindam; sharaNaM bhajAmaH= shelter, let us seek.

Let us seeks shelter of that moon-faced boy who is often denominated with a prefix go, as ingo-vinda, go-pAla, go-vardhana giridhAri etc, where we have to pore over Vedic sayings as to what this word go means; who with hoof-dust of cow herds spattered on his curls; limbs splattered with vermilion powder of the bosoms of milkmaids; one with a little hebetude of lifting go-vardhana giridhAri for seven days, though such feats are a sport for him. [2-26]

govindam=  go = oh, beasts [dwi pAda pashavaH]; vind [from root vid] = be conscious of.

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Proem: varAha avatara vaibhavam.    

यद्रोमरन्ध्रपरिपूर्तिविधावदक्षा
वाराहजन्मनि बभूवुरमी समुद्राः।
तम् नाम नाथम् अरविन्ददृशम् यशोदा
पाणिद्वयान्तरजलैः स्नपयाम् बभूव॥ २-२७

  यत् रोम रन्ध्र परिपूर्ति विधौ अदक्षा वाराह जन्मनि बभूवुः अमी समुद्राः
तम् नाम नाथम् अरविन्द दृशम् यशोदा पाणि द्वय अन्तर जलैः स्नपयाम् बभूव

yadromarandhraparipūrtividhāvadakṣā
vārāhajanmani babhūvuramī samudrāḥ |
tam nāma nātham aravindadṛśam yaśodā
pāṇidvayāntarajalaiḥ snapayām babhūva || 2-27

  yat roma randhra paripūrti vidhau adakṣā vārāha janmani babhūvuḥ amī samudrāḥ
tam nāma nātham aravinda dṛśam yaśodā pāṇi dvaya antara jalaiḥ snapayām babhūva

yadromarandhraparipUrtividhAvadakShA
vArAhajanmani babhUvuramI samudrAH |
taM nAma nAtham aravindadR^ishaM yashodA
pANidvayAntarajalaiH snapayAM babhUva || 2-27

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yat roma randhra paripUrti vidhau a+dakShA vArAha janmani babhUvuH amI samudrAH taM nAma nAtham aravinda dR^ishaM yashodA pANi dvaya antara jalaiH snapayAM babhUva

2-27. amI samudrAH= these apparent, oceans; vArAha janmani= in his wild boar, incarnation; yat= whose; roma randhra= hair follicles – skin pores; paripUrti vidhau= in filling [drenching] completely, in that activity; a+dakShA babhUvuH= not, capable, they became; taM= such as he is, him; aravinda dR^ishaM= lotusy, eyed one; nAtham nAma= world protector, such as he is; his; pANi dvaya antara jalaiH= in palms, two, inside, with water –with her palmfuls, of water; yashodA snapayAM babhUva- yashoda, his to bathe, started to.

All the oceans put together failed to drench the skin pores of this boy when he was in wild-boar incarnation; such as he is, to him the poor mother yashoda could gave a bath just with a few palmfuls of water; hence we seek shelter of that lotusy eyed protector-boy of the world, since he alone makes the possible as impossible, and impossible as possible – Ascharyam vaiShNavam. [2-27]

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वरमिममुपदेशमाद्रियध्वम् निगमवनेषु नितान्तचारखिन्नाः।
विचिनुत भवनेषु वल्लवीनामुपनिषदर्थमुलूखलेनिबद्धम्॥ २-२८

  वरम् इमम् उपदेशम् आद्रियध्वम् निगम वनेषु नितान्त चार खिन्नाः
विचिनुत भवनेषु वल्लवीनाम् उपनिषद् अर्थम् उलूखले निबद्धम्

varamimamupadeśamādriyadhvam
nigamavaneṣu nitāntacārakhinnāḥ |
vicinuta bhavaneṣu vallavīnā
mupaniṣadarthamulūkhalenibaddham || 2-28

  varam imam upadeśam ādriyadhvam nigama vaneṣu nitānta cāra khinnāḥ
vicinuta bhavaneṣu vallavīnām upaniṣad artham ulūkhale nibaddham

varamimamupadeshamAdriyadhvaM
nigamavaneShu nitAntacArakhinnAH |
vicinuta bhavaneShu vallavInA
mupaniShadarthamulUkhalenibaddham || 2-28

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varam imam upadesham AdriyadhvaM nigama vaneShu nitAnta cAra khinnAH vicinuta bhavaneShu vallavInAm upaniShad artham ulUkhale nibaddham

anvyam: upaniShad artham ulUkhale nibaddham

2-28. nigama vaneShu nitAnta = in scriptures, called forests, up to their end [chapters]; cAra khinnAH= [you saints and sages who] have been delving deep into them, whereby [you all have become] dejected [for not clearly finding Him there];

Let me say a good word to you all, which is;

varam imam upadesham= [become] the best, [let] this, edification; AdriyadhvaM = [listen to it and] acquiesce to it; ulUkhale nibaddham upaniShad artham= to a pounding stone, tied, Upanishad-s, drift of; vallavInAm bhavaneShu= in milkmaids’, houses; vicinuta= let it be searched.

Oh, ye, sages and saints, you all might be vexed with your delving deep into the thick forests called scriptures like upanishad-s etc for their connotative drift personified; why beating around the bush; go to any house of milkmaids, it is there, unable to go anywhere, standing with blinking eyes of a petty-thief, for he is tied to just a pounding stone. Search there you will find that so-called connotation of scriptures. [2-28]

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देवकीतनयपूजनपूतः पूतनारिचरणोदकधौतः।
द्यहम् स्मृतधनङ्जयसूतःकिम् करिष्यति स मे यमदूतः॥ २-२९

देवकी तनय पूजन पूतः पूतन अरि चरण उदक धौतः
यदि अहं स्मृत धनङ्जय सूतः किं करिष्यति स मे यमदूतः

devakītanayapūjanapūtaḥ
pūtanāricaraṇodakadhautaḥ |
yadyaham smṛtadhanaṅjayasūtaḥ
kim kariṣyati sa me yamadūtaḥ || 2-29

devakī tanaya pūjana pūtaḥ pūtana ari caraṇa udaka dhautaḥ yadi ahaṁ smṛta dhanaṅjaya sūtaḥ kiṁ kariṣyati sa me yamadūtaḥ

mdevakItanayapUjanapUtaH
pUtanAricaraNodakadhautaH |
yadyahaM smR^itadhana~NjayasUtaH
kiM kariShyati sa me yamadUtaH || 2-29

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devakI tanaya pUjana pUtaH pUtana ari caraNa udaka dhautaH yadi ahaM smR^ita dhana~Njaya sUtaH

anvaya: sa yama dUtaH me kiM kariShyati

2-29. [yadi] aham= [if] I am; devakI tanaya pUjana pUtaH= devaki’s, son, by worshipping, sanctified; pUtana ari= demoness pUtana’s, enemy – kriShNa; caraNa udaka dhautaH= with his foot’s, water, anointed – anointed by ganga’s water; smR^ita dhana~Njaya sUtaH= reminisced [prayed], arjuna’s, charioteer; [syAm] yadi= if I were to be; saH yama dUtaH me kiM kariShyati= that, yama’s, errand-boy, in my respect, what he can do.

If I were to be sanctified by worshipping that son of lady devaki, anointed by river ganga’s water flown directly from the toenail of the enemy of demoness pUtana, muse constantly over that charioteer of arjuna, what is it an errand-boy of lord yama can do to me? Nothing… no fear of routine death for we will get shAshavta Ananda on our eternal-release. [2-29]

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भासताम् भवभयैकभेषजम् मानसे मम मुहुर् मुहुर् मुहुः।
गोपवेषम् उपसेदुषः स्वयम् यापि कापि रमणीयता विभोः॥ २-३०

  भासताम् भव भय एक भेषजम् मानसे मम मुहुः मुहुः मुहुः
गोप वेषम् उपसेदुषः स्वयम् याऽपि काऽपि रमणीयता विभोः

bhāsatām bhavabhayaikabheṣajam
mānase mama muhur muhur muhuḥ |
gopaveṣam upaseduṣaḥ svayam
yāpi kāpi ramaṇīyatā vibhoḥ || 2-30

  bhāsatām bhava bhaya eka bheṣajam mānase mama muhuḥ
muhuḥ muhuḥ gopa veṣam upaseduṣaḥ svayam yā'pi kā'pi ramaṇīyatā vibhoḥ

bhAsatAM bhavabhayaikabheShajaM
mAnase mama muhur muhur muhuH |
gopaveSham upaseduShaH svayaM
yApi kApi ramaNIyatA vibhoH || 2-30

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bhAsatAM bhava bhaya eka bheShajaM mAnase mama muhuH muhuH muhuH gopa veSham upaseduShaH svayaM yA.api kA.api ramaNIyatA vibhoH

anvaya: me mAnase vibhoH yA.api kA.api ramaNIyatA bhAsatAM

2-30.svayaM gopa veSham upaseduShaH = on his own cowherd’s, form, who has donned;vibhoH= of that lord; who is a; bhava bhaya eka bheShajaM= for worldly, fear, one and only, remedy; such lord’s; yA.api kA.api= something, or anything; ramaNIyatA= elegance; mama mAnase= in my, thought process; muhuH muhuH muhuH= again, and again, and again; bhAsatAM = let it glisten.

Let any, an iota at least, of the elegance of that lord be glistening recurrently in my thought process, for he is the only remedy for the disease called recurrent life and death cycle, who now presented himself donning the form of little cowboy. [2-30]

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कर्णलम्बितकदम्बमङ्जरी केसरारुणकपोलमण्डलम्।
निर्मलम् निगमवागगोचरम् नीलिमानम् अवलोकयामहे॥ २-३१

कर्ण लम्बित कदम्ब मङ्जरी केसर अरुण कपोल मण्डलम्
निर्मलम् निगम वाक् अगोचरम् नीलिमानम् अवलोकयामहे

karṇalambitakadambamaṅjarī
kesarāruṇakapolamaṇḍalam |
nirmalam nigamavāgagocaram
nīlimānam avalokayāmahe || 2-31

karṇa lambita kadamba maṅjarī kesara aruṇa kapola maṇḍalam
nirmalam nigama vāk agocaram nīlimānam avalokayāmahe

karNalambitakadambama~NjarI
kesarAruNakapolamaNDalam |
nirmalaM nigamavAgagocaraM
nIlimAnam avalokayAmahe || 2-31

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karNa lambita kadamba ma~NjarI kesara aruNa kapola maNDalam nirmalaM nigama vAk agocaraM nIlimAnam avalokayAmahe

anvaya: nigama vAk agocaraM nIlimAnam avalokayAmahe

2-31.karNa lambita = up to ears, dangling; kadamba ma~NjarI= kabamba flowers, sprays of; kesara aruNa kapola maNDalam= with vermilion colour, reddened, cheeks, area;   nirmalaM= very immaculate; nigama vAk a+gocaraM= for Vedic, sayings, not, conspicuous; nIlimAnam= a peculiar sapphirine bluish radiance; avalokayAmahe [avalokayAma] = we are seeing [let us see].

Let us envision that peculiar sapphirine radiance, which by its nature is immaculate and aloft the Vedic sayings, with reddish cheeks for the kadamba flower sprays are dangling from ears onto them, thus making them vermilion. [2-31]

The import of this verse is as contained in gopAlarAja  mantra, yakshopayoga prayogam:

nIlotpaladala shyAmam – pItavAsasam achyutam…
japenmantram yakshArthI trisahasrakam.  etc.

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साचिसङ्चलितलोचनोत्पलम् सामिकुट्मलितकोमलाधरम्।
वेगवल्गितकराङ्गुलिमुखम् वेणुनादरसिकम् भजामहे॥ २-३२

  साचि सङ्चलित लोचन उत्पलम् सामि कुट्मलित कोमल अधरम्
वेग वल्गित कर अङ्गुलि मुखम् वेणु नाद रसिकम् भजामहे

sācisaṅcalitalocanotpalam
sāmikuṭmalitakomalādharam |
vegavalgitakarāṅgulimukham
veṇunādarasikam bhajāmahe || 2-32

  sāci saṅcalita locana utpalam sāmi kuṭmalita komala adharam
vega valgita kara aṅguli mukham veṇu nāda rasikam bhajāmahe

sAcisa~NcalitalocanotpalaM
sAmikuTmalitakomalAdharam |
vegavalgitakarA~NgulimukhaM
veNunAdarasikaM bhajAmahe || 2-32

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sAci sa~Ncalita locana utpalaM sAmi kuTmalita komala adharam vega valgita kara a~Nguli mukhaM veNu nAda rasikaM bhajAmahe

anvayam: veNu nAda rasikaM bhajAmahe

2-32. sAci sa~Ncalita locana utpalaM= crosswise, flitting, eyes, called black lotuses; sAmi kuTmalita komala adharam= half [curved], bud like, delicate, lip; vega valgita kara a~Nguli mukhaM= speedily, closing and opening, hand’s, fingers, their tip;veNu nAda rasikaM= such one - flute, fluting, one who is a connoisseur; bhajAmahe= we adore.

Let us adore that connoisseur of fluting enjoying it by casting sidelong glances with his black-lotus like eyes, delicate lower lip half curved looking like half bloomed bud, and florets like fingertips rapidly closing and opening on that flute. [2-32]

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स्यन्दने गरुडमण्डितध्वजे कुण्डिनेशतनयाधिरोपिता।
केनचिन्नवतमालपल्लवश्यामलेन पुरुषेण नीयते॥ २-३३

  स्यन्दने गरुड मण्डित ध्वजे अधिरोपिता नव तमाल पल्लव
केनचित् श्यामलेन पुरुषेण कुण्डिनेश तनया नीयते

syandane garuḍamaṇḍitadhvaje
kuṇḍineśatanayādhiropitā |
kenacinnavatamālapallava
śyāmalena puruṣeṇa nīyate || 2-33

  syandane garuḍa maṇḍita dhvaje adhiropitā nava tamāla
pallava kenacit śyāmalena puruṣeṇa kuṇḍineśa tanayā nīyate

syandane garuDamaNDitadhvaje
kuNDineshatanayAdhiropitA |
kenacinnavatamAlapallava
shyAmalena puruSheNa nIyate || 2-33

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syandane garuDa maNDita dhvaje adhiropitA nava tamAla pallava kenacit shyAmalena puruSheNa kuNDinesha tanayA nIyate

anvayam: kenacit shyAmalena puruSheNa kuNDinesha tanayA nIyate

2-33.garuDa maNDita dhvaje syandane= divine eagle, decorated, flag, of the chariot - a chariot decorated with Divine Eagle flag;

adhiropitA= one who is place on such a chariot; kuNDina Isha tanayA= kuNDina, of kingdom, king – namely bhISma, his daughter – daughter of kuNDina king bhIShma, namely rukmiNi;

kenacit = by someone; nava tamAla pallava= some fellow who is looking like - new, black tamAla leaflets; shyAmalena puruSheNa=by a blue blackish, male person; nIyate= she is being taken away.

Lo and behold, some blue-black person looking like black tamAla leaflets is spiriting away the daughter of the king of kuNDina province, namely rukmiNi, keeping her atop a chariot adorned with a labarum carrying Divine Eagle, namely garuDa, on it. [2-33]

This verse is said to be the immediate poetic reaction of this poet on his visiting the temple of rukmiNi devi, available on the path towards bhIma-rathI [bhIma-chandrabhAga] river, from pANDuranga temple, in paNDarI-puram. The metre taken up by him is rathothata; ratha= [the metre] like a chariot; ut hatA = up, taking – going swiftly.

phaNirge – is the ancient name of paNDarI-puram, declined from Sanskrit to the present usage name. – Immortal India part 1. - Pt. PSRA.

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मा यात पन्थाः पथि भीमरथ्याः दिगम्बर कोऽपि तमालनीलः।
विन्यस्त हस्तोऽपि नितम्बबिम्बे धूर्त समाकर्षति चित्तवित्तम्॥  २-३४

  मा यात पन्थाः पथि भीमरथ्याः दिगम्बर कोऽपि तमाल नीलः
विन्यस्त हस्तः अपि नितम्ब बिम्बे धूर्त समाकर्षति चित्त वित्तम्

mā yāta panthāḥ pathi bhīmarathyāḥ
digambara ko'pi tamālanīlaḥ |
vinyasta hasto'pi nitambabimbe
dhūrta samākarṣati cittavittam ||  2-34

  mā yāta panthāḥ pathi bhīmarathyāḥ digambara
ko'pi tamāla nīlaḥ vinyasta hastaḥ api nitamba bimbe
dhūrta samākarṣati citta vittam

mA yAta panthAH pathi bhImarathyAH
digambara ko.api tamAlanIlaH |
vinyasta hasto.api nitambabimbe
dhUrta samAkarShati cittavittam ||  2-34

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mA yAta panthAH pathi bhImarathyAH digambara ko.api tamAla nIlaH vinyasta hastaH api nitamba bimbe dhUrta samAkarShati citta vittam

anvaya: bho, pAnthA! bhImarathyAH pathi pathi mA yAta

2-34.bho, pAnthAH= oh, travellers; mA yAta bhImarathyAH pathi = do, not, go, on the path of bhIma river [towards pandaripuram]; why because; kaH api= someone who is; digambara= [some boy] in birthday suit; tamAla nIlaH= looking like blackish tamAla tree; dhUrtaH= some rascal; nitamba bimbe vinyasta hastaH api= on buttocks – on both flanks, who kept both of his hands; citta vittam= hearts, called monies; samAkarShati = he drags away.

Oh, travellers, hop not on the path of bhIma River towards pandaripuram, why because, someone is out there in birthday suit looking like blackish tamAla tree, standing with both palms on waistlines, and that rascal plunders your wealth called - hearts.

That boy is beautiful viThala deva in sAlagrAma shilA rUpam in pandaripouram.

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rAsakrIDASThakam
Eight verses, from 35 to 42, describe the rAsa-krIDa of mAdhava.

अङ्गनाम् अङ्गनाम् अन्तरा माधवो
माधवम् माधवम् चान्तरेणाङ्गना।
इत्थमाकल्पिते मण्डले मध्यगः
सङ्जगौ वेणुना देवकीनन्दनः॥ २-३५ 

  अङ्गनाम् अङ्गनाम् अन्तरा माधवः माधवम् माधवम् च अन्तरेण अङ्गना
इत्थम् आकल्पिते मण्डले मध्य गः सङ्जगौ वेणुना देवकी नन्दनः

aṅganām aṅganām antarā mādhavo
mādhavam mādhavam cāntareṇāṅganā |
itthamākalpite maṇḍale madhyagaḥ
saṅjagau veṇunā devakīnandanaḥ || 2-35 

  aṅganām aṅganām antarā mādhavaḥ mādhavam mādhavam ca antareṇa aṅganā ittham ākalpite maṇḍale madhya gaḥ saṅjagau veṇunā devakī nandanaḥ

a~NganAm a~NganAm antarA mAdhavo
mAdhavaM mAdhavaM cAntareNA~NganA |
itthamAkalpite maNDale madhyagaH
sa~Njagau veNunA devakInandanaH || 2-35

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a~NganAm a~NganAm antarA mAdhavaH mAdhavaM mAdhavaM ca antareNa a~NganA ittham Akalpite maNDale madhya gaH sa~Njagau veNunA devakI nandanaH

anvayam: devakInandanaH veNunA sa~Njagau

2-35.a~NganAm a~NganAm antarA mAdhavaH= a damsel, a damsel, in between [them] mAdhava; mAdhavaM mAdhavaM ca antareNa a~NganA = mAdhava, mAdhava, in between [them] a damsel; ittham Akalpite maNDale = in this way, in an improvised, a circle, in its centre;

madhya gaH= while he is staying; or, madhya gaH= in madhyama octave – a dvani visheSha;

devakI nandanaH veNunA sa~Njagau = lady devaki’s son, with flute, sang well.

Betwixt a damsel and a damsel there is mAdhava; betwixt mAdhava and mAdhava there is a damsel; thus a ronde of dancers has been formed; and staying in the centre of that circle that son of lady devaki, namely mAdhava, sang well on his flute. [2-36]

Whether kriShNa assumed different forms and stayed in between milkmaids; or one milkmaid assumed the other milkmaid standing at her side in the ronde as kriShNa - is a disputed affair. It is unsaid here and bhAgavata as well. that kriShNa assumed many tricky forms in rAsa-krIDa. So, one gopika mentally pictured the other gopika as kriShNa, since they see kriShNa everywhere, and enjoyed his presence, but not his physique.

In the first foot the word antare is to be read as antarA according to antarAntareNa yukte 2 a. 3 pa. suutra of pANini, in the sense of ‘in between’ - antrA, antareNa, and as said by shrI nArAyaNa bhaT – antarA v.antareNA.asau kshmAm ramAm ca sthito hariH – in his prakriyA sarvasvam. Pt. PSRA.

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केकिकेकादृतानेकपङ्करुहा लीनहंसावलीहृद्यता हृद्यता।
कंसवंशाटवीदाहदावानलः सङ्जगौ वेणुना देवकीनन्दनः॥ २-३६

  केकि केक आदृत अनेक पङ्क रुह आलीन हंस आवली हृद्यता आहृद् यता।
कंस वंश अटवी दाह दावानलः सङ्जगौ वेणुना देवकी नन्दनः

kekikekādṛtānekapaṅkaruhā
līnahaṁsāvalīhṛdyatā hṛdyatā |
kaṁsavaṁśāṭavīdāhadāvānalaḥ
saṅjagau veṇunā devakīnandanaḥ || 2-36

  keki keka ādṛta aneka paṅka ruha ālīna haṁsa āvalī hṛdyatā āhṛd yatā kaṁsa vaṁśa aṭavī dāha dāvānalaḥ saṅjagau veṇunā devakī nandanaḥ

kekikekAdR^itAnekapa~NkaruhA
lInahaMsAvalIhR^idyatA hR^idyatA |
kaMsavaMshATavIdAhadAvAnalaH
sa~Njagau veNunA devakInandanaH || 2-36

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keki keka AdR^ita aneka pa~Nka ruha AlIna haMsa AvalI hR^idyatA AhR^id yatA kaMsa vaMsha aTavI dAha dAvAnalaH sa~Njagau veNunA devakI nandanaH

2-36. keki keka AdR^ita = peacocks’, warbling, one that is inciting – fluting of kriShNa; aneka pa~Nkaruha = from many, mud-born ones – lotuses; AlIna haMsa AvalI= rising up, swans, flocks; hR^idyatA= happiness; AhR^id yatA= one that is acquiring – fluting; with such a melody; kaMsa vaMsha aTavI dAha dAvAnalaH= for king kamsa, and his dynasty, called forest, for burning, one who is like a wildfire; devakI nandanaH= such a son of devaki; veNunA sa~Njagau= with flute, sang superbly.

Seeing the mass of sapphirine blue peacocks surmised it as a raincloud and started warbling animatedly on the lakeshore; listening the warble of peacocks, swans rose up to fly off from the lotuses in lakewater, where they are swimming so far to the tunes of fluting, but settled back finding no raincloud, continuing their neck-swinging-swimming in tune with that fluting; thus that wildfire to the forest called the dynasty of king kamsa, namely the son of lady devaki, fluted his flute mohana-vamshi to the utter delight of nature. [2-36]

Swans do not swim in muddy warters of rain. It is to be settled.

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क्वापि वीणाभिराराविणाकम्पितः
क्वापि वीणाभिराकिङ्किणी नर्तितः।
क्वापि वीणाभिरामान्तरम् गापितः
सङ्जगौ वेणुना देवकीनन्दनः॥ २-३७

  क्वः अपि वीण अभिराविण आकम्पितः क्वः अपि वीणाभिरा कङ्क्षिणी नर्तितः
क्वः अपि वीण अभिराम अन्तरम् गापितः सङ्जगौ वेणुना देवकी नन्दनः

kvāpi vīṇābhirārāviṇākampitaḥ
kvāpi vīṇābhirākiṅkiṇī nartitaḥ |
kvāpi vīṇābhirāmāntaram gāpitaḥ
saṅjagau veṇunā devakīnandanaḥ || 2-37

  kvaḥ api vīṇa abhirāviṇa ākampitaḥ kvaḥ api vīṇābhirā kaṅkṣiṇī nartitaḥ kvaḥ api vīṇa abhirāma antaram gāpitaḥ saṅjagau veṇunā devakī nandanaḥ

kvApi vINAbhirArAviNAkampitaH
kvApi vINAbhirAki~NkiNI nartitaH |
kvApi vINAbhirAmAntaraM gApitaH
sa~Njagau veNunA devakInandanaH || 2-37

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kvaH api vINa abhirAviNa AkampitaH kvaH api vINAbhirA ka~NkShiNI nartitaH kvaH api vINa abhirAma antaraM gApitaH sa~Njagau veNunA devakI nandanaH

2-37. kvaH api= at one time; vINAbhiH ArAviNa [abhirAma Arava] AkampitaH= like vINa instrument, lilting music, swinging; kvaH api= at another time; vINAbhirA ka~NkShiNI nartitaH= like vINa, with his anklet bells, dancing; kvaH api= at another time; vINa abhirAma antaraM = like vINa, with melodies voices, in pauses; gApitaH= one who has others singing – he followed the singing of milkmaids in the pauses; devakI nandanaH veNunA sa~Njagau = lady devaki’s son, with flute, sang well.

At one time he is lilting with the lilting vINa-like music of his flute; at another time he is dancing to the vINa-like music of his flute to the rhythm of tintinnabulation of his anklet bells; at some other pause-times he is following the singing of milkmaids with vINa like voices, thus that devaki’s son sang well to the rhyme and rhythm of ronde tunes. [2-37]

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चारुचन्द्रावलीलोचनैश्चुम्बितो गोपगोवृन्दगोपालिकावल्लभः।
वल्लवीवृन्दवृन्दारकः कामुकः सङ्जगौ वेणुना देवकीनन्दनः॥ २-३८

  चारु चन्द्र आवली लोचनैः चुम्बितः गोप गो बृन्द गोपालिका वल्लभः
वल्लवी बृन्द बृन्दारकः कामुकः सङ्जगौ वेणुना देवकीनन्दनः

cārucandrāvalīlocanaiścumbito
gopagovṛndagopālikāvallabhaḥ |
vallavīvṛndavṛndārakaḥ kāmukaḥ
saṅjagau veṇunā devakīnandanaḥ || 2-38

  cāru candra āvalī locanaiḥ cumbitaḥ gopa go bṛnda gopālikā vallabhaḥ vallavī bṛnda bṛndārakaḥ kāmukaḥ saṅjagau veṇunā devakīnandanaḥ

cArucandrAvalIlocanaishcumbito
gopagovR^indagopAlikAvallabhaH |
vallavIvR^indavR^indArakaH kAmukaH
sa~Njagau veNunA devakInandanaH || 2-38

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cAru candra AvalI locanaiH cumbitaH gopa go bR^inda gopAlikA vallabhaH vallavI bR^inda bR^indArakaH kAmukaH sa~Njagau veNunA devakInandanaH

2-38. cAru= beautiful; candra AvalI = crescentic silver ornaments like, or, like the fanlike peacock open-plumage; locanaiH= with such eyes; cumbitaH= one who is touched – not kissed – i.e. one who is constantly gazed; gopa= for cowmen; go bR^inda= cow, herds; gopAlikA= cow-women; vallabhaH= the lord of – here a darling; vallavI bR^inda bR^indArakaH= to milkmaids, a [a select ] group of, a god to them; kAmukaH= romantic hero – vilakshaNa shR^ingAra nAyaka; devakInandanaH veNunA sa~Njagau = thus that devaki’s son sang well.

That darling of cows, cowmen and women of vraja community, godlike to the select group of milkmaids of that vraja village, a romantic hero and the son of lady devaki sang well in ronde dance to the heart’s content of that select group of milkmaids in ronde who are gazing upon him with broad eyes, as broad as their wide crescentic silver ornaments of bosoms. [2-38]

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मौलिमालामिलन्मत्तभृङ्गीलता
भीतभीतप्रियाविभ्रमालिङ्गितः।
स्रस्तगोपीकुचाभोगसम्मेलितः
सङ्जगौ वेणुना देवकीनन्दनः॥ २-३९

  मौलि माला मिलत् मत्त भृङ्गी लता भीत भीत प्रिया विभ्रम आलिङ्गितः
स्रस्त गोपी कुच आभोग सम्मेलितः सङ्जगौ वेणुना देवकीनन्दनः

maulimālāmilanmattabhṛṅgīlatā
bhītabhītapriyāvibhramāliṅgitaḥ |
srastagopīkucābhogasammelitaḥ
saṅjagau veṇunā devakīnandanaḥ || 2-39

  mauli mālā milat matta bhṛṅgī latā bhīta bhīta priyā vibhrama āliṅgitaḥ srasta gopī kuca ābhoga sammelitaḥ saṅjagau veṇunā devakīnandanaḥ

maulimAlAmilanmattabhR^i~NgIlatA
bhItabhItapriyAvibhramAli~NgitaH |
srastagopIkucAbhogasammelitaH
sa~Njagau veNunA devakInandanaH || 2-39

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mauli mAlA milat matta bhR^i~NgI latA bhIta bhIta priyA vibhrama Ali~NgitaH srasta gopI kuca Abhoga sammelitaH sa~Njagau veNunA devakInandanaH

 2-39. mauli mAlA milat matta bhR^i~NgI latA= on coiffure, on pray of flowers, flitting, proud, female honeybees, a chain of; bhIta bhIta priyA= much scared, loves – milkmaids are fearing the swarming honeybees on his coiffure; vibhrama Ali~NgitaH= hastily, when embraced; srasta= with slithering [upper cloth]; gopI kuca Abhoga= milkmaids’, bosoms, wide surface; sammelitaH= well cleaved to; devakInandanaH veNunA sa~Njagau= such a son of devaki, sang well.

In the intermittence of ronde dance, milkmaids are stepping to and fro in approaching him, scared by a chain of honeybees swarming on the spray of flowers decked in his coiffure, whilst their upper cloths are slithering in that haste, whilst he offhandedly embraced and cleaved to the wide surface of their bosoms to their delectation, thus that son of devaki sang, danced and embraced one and all in that ronde dance. [2-39]

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चारुचामीकराभासभामाविभुः वैजयन्तीलतावासितोरःस्थलः।
नन्दबृन्दावने वाशितामध्यगःसङ्जगौ वेणुना देवकीनन्दनः॥ २-४०

  चारु चामीकर आभास भामा विभुः वैजयन्ती लता वासित उरः स्थलः नन्द बृन्दावने वाशित आ मध्य गः वासिता मध्य गः सङ्जगौ वेणुना देवकीनन्दनः

cārucāmīkarābhāsabhāmāvibhuḥ
vaijayantīlatāvāsitoraḥsthalaḥ |
nandabṛndāvane vāśitāmadhyagaḥ
saṅjagau veṇunā devakīnandanaḥ || 2-40

  cāru cāmīkara ābhāsa bhāmā vibhuḥ vaijayantī latā vāsita uraḥ sthalaḥ nanda  bṛndāvane vāśita ā madhya gaḥ vāsitā madhya gaḥ saṅjagau veṇunā devakīnandanaḥ

cArucAmIkarAbhAsabhAmAvibhuH
vaijayantIlatAvAsitoraHsthalaH |
nandabR^indAvane vAshitAmadhyagaH
sa~Njagau veNunA devakInandanaH || 2-40

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cAru cAmIkara AbhAsa bhAmA vibhuH vaijayantI latA vAsita uraH sthalaH nanda bR^indAvane vAshita A madhya gaH [vAsitA madhya gaH] sa~Njagau veNunA devakInandanaH

2-40. cAru cAmIkara AbhAsa bhAmA vibhuH= beautiful, in golden hue, appearing to be like, damsels’, dear one – darling of the damsels glittering in the hue of pure gold;  vaijayantI latA vAsita uraH sthalaH= with vaijayanti, garland, abiding, chest, place – one on whose chest a garland called vaijayanti is abiding; nanda bR^indAvane= in nandagopa’s, brindavana; vAshita A madhya gaH= thereabout available, birds, amongst their coos and cackles, one who is stating; or, vAsitA madhya gaH= milkmaids called she-elephants, one who is amongst them;  or vAsita madhyaga= among women flock, who is; sa~Njagau veNunA devakI nandanaH= such a son of devaki, sang well.

That darling of the damsels who glitter in the hue of pure gold; adorned with a garland called vaijayanti on his chest; abiding amongst the coos and cackles of birds moving thereabout, sang well in brindavana, chiming in with those calls of birds and in tune with the melody of nature. [2-40]

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बालिकातालिकाताललीलालया सङ्गसन्दर्शितभ्रूलताविभ्रमः।
गोपिकागीतदत्तावधानः स्वयम् सङ्जगौ वेणुना देवकीनन्दनः॥ २-४१

  बालिका तालिका ताल लीला लय असङ्ग सन्दर्शित भ्रू लता विभ्रमः
गोपिका गीत दत्त अवधानः स्वयम् सङ्जगौ वेणुना देवकीनन्दनः

bālikātālikātālalīlālayā
saṅgasandarśitabhrūlatāvibhramaḥ |
gopikāgītadattāvadhānaḥ svayam
saṅjagau veṇunā devakīnandanaḥ || 2-41

  bālikā tālikā tāla līlā laya asaṅga sandarśita bhrū latā vibhramaḥ
gopikā gīta datta avadhānaḥ svayam saṅjagau veṇunā devakīnandanaḥ

bAlikAtAlikAtAlalIlAlayA
sa~NgasandarshitabhrUlatAvibhramaH |
gopikAgItadattAvadhAnaH svayaM
sa~Njagau veNunA devakInandanaH || 2-41

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bAlikA tAlikA tAla lIlA laya asa~Nga sandarshita bhrU latA vibhramaH gopikA gIta datta avadhAnaH svayaM sa~Njagau veNunA devakInandanaH

2-41. bAlikA= damsels; tAlikA= called rhythm beaters – that clap their palms for rhythm; tAla lIlA layA asa~Nga = in beats, joined, merged, in that process; sandarshita bhrU latA vibhramaH= one who is showing, eyebrows’, that are like creepers, with flaunt of; svayaM gopikA gIta datta avadhAnaH= for himself, in damsels’, singing, given in, fascination; sa~Njagau veNunA devakInandanaH= as above.

One who is absorbed in the rhythmic clapping of damsels in tune with his fluting, vacillating his creeper like eyebrows in flaunt for that fluting and clapping, and intermittently given in to the fascination of listening to the vocals of milkmaids, thus that deviki’s son sang well in that ronde dance. [2-41]

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पारिजातम् समुद्धृत्य राधावरः रोपयामास भामागृहस्याङ्गने।
शीतशीते बटे यामुनीये तटे सङ्जगौ वेणुना देवकीनन्दनः॥ २-४२

  पारिजातम् समुद्धृत्य राधा वरः परः रोपयामास भामा गृहस्य
अङ्गने शीत शीते वटे यामुनीये तटे सङ्जगौ वेणुना देवकीनन्दनः

pārijātam samuddhṛtya rādhāvaraḥ
ropayāmāsa bhāmāgṛhasyāṅgane |
śītaśīte baṭe yāmunīye taṭe
saṅjagau veṇunā devakīnandanaḥ || 2-42

  pārijātam samuddhṛtya rādhā varaḥ paraḥ ropayāmāsa bhāmā gṛhasya aṅgane śīta śīte vaṭe yāmunīye taṭe saṅjagau veṇunā devakīnandanaḥ

pArijAtaM samuddhR^itya rAdhAvaraH
ropayAmAsa bhAmAgR^ihasyA~Ngane |
shItashIte baTe yAmunIye taTe
sa~Njagau veNunA devakInandanaH || 2-42

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pArijAtaM samuddhR^itya rAdhA varaH [paraH] ropayAmAsa bhAmA gR^ihasya a~Ngane shIta shIte vaTe yAmunIye taTe sa~Njagau veNunA devakInandanaH

2-42. yaH= which kriShNa; samuddhR^itya pArijAtaM= transplanting, pArijAta tree [from indra’s heaven]; ropayAmAsa bhAmA gR^ihasya a~Ngane= got it planted it, in lady satyabhAm’s, house, courtyard of; saH rAdhA varaH = such, rAdha’s, lover; [or, rAdha paraH=[ such one who is dedicate of rAdha] yAmunIye shIta shIte taTe = on river Yamuna’s, cold and not so cold p- refreshing, banks; vaTe= under the banyan tree; sa~Njagau veNunA devakInandanaH=as above.

One who once transplanted divine pArijAta tree from indra’s heaven and got it planted in the courtyard of satyabhAma, that dedicate of rAdha is singing well abiding under a banyan tree on the refreshing riverbank of yamuna in brindavana. Listen to that divine music. [2-42]

In a different mms it is like this: rAdhA vayo rUpayA – mA – sabhAsA – guNaiH angaNe shItashIte… etc; rAdhA vayo rUpayA= one who has age and beauty as rAdha; guNaiH= with her attributes; mA – sabhAsA= who is like goddess lakshmi, in resplendence; with such a lady; a~Ngane pArijAtam ropayAmAsa etc. All said and done it is satyabhAma.

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अग्रे दीर्घतरो ऽयम् अर्जुनतरुस् तस्याग्रतो वर्त्मनी
सा घोषम् समुपैति तत् परिसरे देशे कलिन्दात्मजा।
तस्यास् तीरतमालकाननतले चक्रम् गवाम् चारयन्
गोपः क्रीडति दर्शयिष्यति सखे पन्थानम् अव्याहतम्॥ २-४३

  अग्रे दीर्घतरः  अयम् अर्जुन तरुः तस्य अग्रतः वर्त्मनी सा घोषम् समुपैति
तत् परिसरे देशे कलिन्द आत्मजा तस्याः तीर तमाल कानन तले चक्रम्
गवाम् चारयन् गोपः क्रीडति दर्शयिष्यति सखे पन्थानम् अव्याहतम्

agre dīrghataro 'yam arjunatarus tasyāgrato vartmanī
sā ghoṣam samupaiti tat parisare deśe kalindātmajā |
tasyās tīratamālakānanatale cakram gavām cārayan
gopaḥ krīḍati darśayiṣyati sakhe panthānam avyāhatam || 2-43

  agre dīrghataraḥ  ayam arjuna taruḥ tasya agrataḥ vartmanī sā ghoṣam samupaiti tat parisare deśe kalinda ātmajā tasyāḥ tīra tamāla kānana tale cakram gavām cārayan gopaḥ krīḍati darśayiṣyati sakhe panthānam avyāhatam

agre dIrghataro .ayam arjunatarus tasyAgrato vartmanI
sA ghoShaM samupaiti tat parisare deshe kalindAtmajA |
tasyAs tIratamAlakAnanatale cakraM gavAM cArayan
gopaH krIDati darshayiShyati sakhe panthAnam avyAhatam || 2-43

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agre dIrghataraH  ayam arjuna taruH tasya agrataH vartmanI sA ghoShaM samupaiti tat parisare deshe kalinda AtmajA tasyAH tIra tamAla kAnana tale cakraM gavAM cArayan gopaH krIDati darshayiShyati sakhe panthAnam avyAhatam

 2-43. sakhe= oh, friend; agre ayam dIrghataraH  arjuna taruH= in your fore, that one is, very tall, arjuna tree; tasya agrataH vartmanI= in its, fore, there is a pathway; sA ghoShaM samupaiti= that pathway, reaches, cowmen’s village; tat parisare deshe kalinda AtmajA= in that villages, adjoining, place, Mt. kalinda’s daughter, - river yamuna is there; tasyAH tIra tamAla kAnana tale= on its, bank, in tamAla trees, woods, fringes of;gavAM cakraM cArayan= cows, circle – assembly, grazing; gopaH krIDati= a cowboy, will be playing; saH = he will; avyAhatam panthAnam= not treaded, pathway – a returnless pathway; darshayiShyati = he will be showing to you.

Or

hè sakhe; agre= in the van of chariot; dIrghataraH= a lofty one is there; ayam arjuna-taruH= that one is, arjuna - like arjuna-tree he is the outstanding person; tasya agrataH vartmanI= his, before – one who is sitting - he is the pathway – a pathway that has said bhagavadgIta – kriShNa is there; sA= that pathway called kriShNa; ghoShaM samupaiti= for sound oriented Vedic sayings, he is an omnibus of; tat parisare deshe kalinda AtmajA tasyAH tIra tamAla kAnana tale= same as in meanings said above; gavAM= Upanishads; cakraM= a host of;  cArayan=  making to chew over; gopaH krIDati darshayiShyati panthAnam avyAhatam= as above. This is a difficult parsing and hence a kliShTArtham.

Oh, friend, that very tall tree is there in your fore, adjacent which there is pathway that leads to cowmen’s village. River yamuna is flowing adjoining that village. In the hinterlands of that village and in the woodlands of black tamAla trees available on the riverbank of yamuna, there will be a cowboy playing while grazing cattle. That boy will show you correct and returnless pathway, if you are lost in the crisscross walkways of life.

This verse in the second cited meaning gets the import of a verse in gopAlakriShNa sarvagata eka aksharI mantra dhyAnam as said in sanatkumAra samhita:

pAre dishantam gItArtham dhyAna samudrAlasatkaram…

 …parama aishvarya dAyakm.

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गोधूलिधूसरितकोमलगोपवेशम्
गोपालबालकशतैर् अनुगम्यमानम्।
सायन्तने प्रतिगृहम् पशुबन्धनार्थम्
गच्छन्तम् अच्युतशिशुम् प्रणतोऽस्मि नित्यम्॥ २-४४

  गो धूलि धूसरित कोमल गोप वेशम् गोपाल बालक शतैः अनुगम्यमानम्
सायन्तने प्रति गृहम् पशु बन्धन अआर्थम् गच्छन्तम् अच्युत शिशुम् प्रणतो अस्मि नित्यम्

godhūlidhūsaritakomalagopaveśam
gopālabālakaśatair anugamyamānam |
sāyantane pratigṛham paśubandhanārtham
gacchantam acyutaśiśum praṇato'smi nityam || 2-44

  go dhūli dhūsarita komala gopa veśam gopāla bālaka śataiḥ anugamyamānam sāyantane prati gṛham paśu bandhana aārtham gacchantam acyuta śiśum praṇato asmi nityam

godhUlidhUsaritakomalagopaveshaM
gopAlabAlakashatair anugamyamAnam |
sAyantane pratigR^ihaM pashubandhanArthaM
gacChantam acyutashishuM praNato.asmi nityam || 2-44

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go dhUli dhUsarita komala gopa veshaM gopAla bAlaka shataiH anugamyamAnam sAyantane prati gR^ihaM pashu bandhana aArthaM gacChantam acyuta shishuM praNato asmi nityam

2-44. go dhUli dhUsarita komala gopa veshaM= with cows, hoof dust, spattered, in exquisite, cowboy’s, one who is in such a getup; gopAla bAlaka shataiH anugamyamAnam= with other cowboys, in hundreds, one who is followed; sAyantane= in evenings; pashu bandhana aArthaM= to fasten cows in cowsheds; prati gR^ihaM gacChantam= into every house, one who will be going; acyuta shishuM= none other than nArAyaNa, at that baby boy; nityam praNato asmi = always, I will be reverential - let us revere.

Him who is in an exquisite getup of a cowboy spattered with the hoof dust of cows, who in the evening returns homeward followed by hundreds of other cowboys and visits every house in the community to shed the cows, let us adore, for he is a par excellent cowminder inclusive of dvipAda pashu-s.  [2-44]

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निधिम् लावण्यानाम् निखिलजगदाश्चर्यनिलयम्
निजावासम् भासाम् निरवधिकनिःश्रेयसरसम्।
सुधाधारासारम् सुकृतपरिपाकम् मृगदृशाम्
प्रपद्ये माङ्गल्यम् प्रथमम् अधिदैवम् कृतधियाम्॥ २-४५

  निधिम् लावण्यानाम् निखिल जगत् आश्चर्य निलयम् निज
आवासम् भासाम् निरवधिक निःश्रेयस रसम् सुधा धारा आसारम् सुकृत परिपाकम्
मृग दृशाम् प्रपद्ये माङ्गल्यम् प्रथमम् अधिदैवम् कृत धियाम्

nidhim lāvaṇyānām nikhilajagadāścaryanilayam
nijāvāsam bhāsām niravadhikaniḥśreyasarasam |
sudhādhārāsāram sukṛtaparipākam mṛgadṛśām
prapadye māṅgalyam prathamam adhidaivam kṛtadhiyām || 2-45

  nidhim lāvaṇyānām nikhila jagat āścarya nilayam nija āvāsam bhāsām niravadhika niḥśreyasa rasam sudhā dhārā āsāram sukṛta paripākam mṛga dṛśām prapadye māṅgalyam prathamam adhidaivam kṛta dhiyām

nidhiM lAvaNyAnAM nikhilajagadAshcaryanilayaM
nijAvAsaM bhAsAM niravadhikaniHshreyasarasam |
sudhAdhArAsAraM sukR^itaparipAkaM mR^igadR^ishAM
prapadye mA~NgalyaM prathamam adhidaivaM kR^itadhiyAm || 2-45

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nidhiM lAvaNyAnAM nikhila jagat Ashcarya nilayaM nija AvAsaM bhAsAM niravadhika niHshreyasa rasam sudhA dhArA AsAraM sukR^ita paripAkaM mR^iga dR^ishAM prapadye mA~NgalyaM prathamam adhidaivaM kR^ita dhiyAm

2-45. lAvaNyAnAM nidhiM= for all beautiful attractants, a treasure trove – all beauties culminate in his beauty; nikhila jagat Ashcarya nilayaM = for all worlds’, amazing things, an abode; bhAsAM nija AvAsaM= for all self-radiances, a holding; niravadhika niHshreyasa rasam= for unending, blissfulness, an essence of; sudhA dhArA AsAraM= for nectarine, showers, a rainfall of; sukR^ita paripAkaM= one possessing good deeds’,  a fruition; kR^ita dhiyAm prathamam adhidaivaM= for intellectuals, first and foremost, god; mA~NgalyaM= highly auspicious one; mR^iga dR^ishAM= deer eyed one; prapadye = let us take shelter.

One who is the culmination of all the beauties in all the three worlds; an abode of all imponderable exploits; a tenancy for any self-phosphorescence, the only essence of perpetual blissfulness; the rare rainfall showering not hail but honey; the possessor of fruition of every merited deed of anyone; first and foremost godhead for sages and saints; thus let us take shelter of that most auspicious and fawn-eyed boy. [2-45]

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pArtha sArathi varNana

Verse 46 and 47 descrine the charioteer of arjuna.

आताम्रपाणिकमलप्रणयप्रतोदम्
आलोलहारमणिकुण्डलहेमसूत्रम्।
आविश्श्रमाम्बुकणम् अम्बुदनीलम् अव्या
दाद्यम् धनङ्जयरथाभरणम् महो नः॥ २-४६

  आताम्र पाणि कमल प्रणय प्रतोदम् आलोल हारमणि कुण्डल
हेम सूत्रम् आविःरम अम्बु कणम् अम्बुद नीलम्
अव्यात् आद्यम् धनङ्जय रथ आभरणम् महो नः

ātāmrapāṇikamalapraṇayapratodam
ālolahāramaṇikuṇḍalahemasūtram |
āviśśramāmbukaṇam ambudanīlam avyā
dādyam dhanaṅjayarathābharaṇam maho naḥ || 2-46

  ātāmra pāṇi kamala praṇaya pratodam ālola hāramaṇi kuṇḍala hema sūtram āviḥrama ambu kaṇam ambuda nīlam avyāt ādyam dhanaṅjaya ratha ābharaṇam maho naḥ

AtAmrapANikamalapraNayapratodam
AlolahAramaNikuNDalahemasUtram |
AvishshramAmbukaNam ambudanIlam avyA
dAdyaM dhana~NjayarathAbharaNaM maho naH || 2-46

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AtAmra pANi kamala praNaya pratodam Alola hAramaNi kuNDala hema sUtram AviH rama ambu kaNam ambuda nIlam avyAt AdyaM dhana~Njaya ratha AbharaNaM maho naH

anvayam: dhana~Njaya ratha AbharaNaM naH avyAt

2-46. A+tAmra pANi kamala praNaya pratodam [Alola]= in his reddish, palm called lotus, one that is very friendly [with the palms], a horsewhip is sportily swishing; Alola= dangling [swinging on his chest]; hAra= pearl pendants; maNi kuNDala= knobby ear-hangings; hema sUtram= gold chain – are there; AviHshrama= for he is without, rest;ambu kaNam= water, drops; ambuda nIlam [Alolam]= on cloudlike, blueblack one [they are dangling – sweat drops]; such a; AdyaM mahaH= primordial, resplendence; dhana~Njaya ratha AbharaNaM= who is the insignia of dhananjaya’s chariot; naH avyAt= us, protect – let him chariot our bodies called chariots.

With a horsewhip ever loving to be in his roseate lotusy palms is sportily swishing; pearl pendants, knobby ear-hangings and gold chains flauntily dangling on his chest; owing to the skitter, sweatdrops looking like raindrops swirling around a blackcloud, are swinging on his blueblack body; such a primordial resplendence is now steering the chariot of arjuna; so also, let him steer the chariots called our bodies to their destination. [2-46]

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नखनियमितकण्डून् पाण्डवस्यन्दनाश्वान्
अनुदिनम् अभिषिङ्चन्नङ्जलिस्थैः पयोभिः।
अवतु विततगात्रस्तोत्रनिष्ठ्यूतमौलिः
दशनविधृतरश्मि देवकीपुण्यराशिः॥२-४७

  नख नियमित कण्डून् पाण्डव स्यन्दन अश्वान् अनुदिनम्
अभिषिङ्चन् अङ्जलि स्थैः पयोभिः अवतु वितत गात्र स्तोत्र
निष्ठ्यूत मौलिः दशन विधृत रश्मि देवकी पुण्य राशिः

nakhaniyamitakaṇḍūn pāṇḍavasyandanāśvān
anudinam abhiṣiṅcannaṅjalisthaiḥ payobhiḥ |
avatu vitatagātrastotraniṣṭhyūtamauliḥ
daśanavidhṛtaraśmi devakīpuṇyarāśiḥ ||2-47

  nakha niyamita kaṇḍūn pāṇḍava syandana aśvān anudinam abhiṣiṅcan aṅjali sthaiḥ payobhiḥ avatu vitata gātra stotra niṣṭhyūta mauliḥ daśana vidhṛta raśmi devakī puṇya rāśiḥ

nakhaniyamitakaNDUn pANDavasyandanAshvAn
anudinam abhiShi~Ncanna~NjalisthaiH payobhiH |
avatu vitatagAtrastotraniShThyUtamauliH
dashanavidhR^itarashmi devakIpuNyarAshiH ||2-47

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nakha niyamita kaNDUn pANDava syandana ashvAn anudinam abhiShi~Ncan a~Njali sthaiH payobhiH avatu vitata gAtra stotra niShThyUta mauliH dashana vidhR^ita rashmi devakI puNya rAshiH

anvayam: devakI puNya rAshiH naH avatu

2-47. pANDava syandana ashvAn kaNDUn = pANDava-s, chariot’s, of horses, itching; nakha niyamita= with his fingernails, one who quietens – by combing and scratching horsebacks; a~Njali sthaiH payobhiH anudinam abhiShi~Ncan= with palmfuls, of water, everyday, one who gives a wash to those horses;vitata gAtra=unkinking, his body – one who sits in chariot with an erect torso – a vigilant steersman; stotra niShThyUta mauliH= [stick of] horsewhip, one who tucks, in his headgear; dashana vidhR^ita rashmi=with teeth, held, reins; devakI puNya rAshiH avatu = such a treasure of lady devaki’s merits, [kriShNa], let him safeguard us.

If four white horses of arjuna’s chariot are four Vedas, and this sapphirine one is their charioteer, as a charioteer he will be combing and scratching them occasionally to remove their itch - as almighty coaxes and combs Vedas to remove their discomfort; gives those horses a washing with palmfuls of water – as anointment is incidental to Vedas; sits in chariot vigilantly – as almighty sits erect vigilantly in respect of Vedas and their implementation; tucks the horsewhip in his headgear – as almighty too rolls up his sleeves in prosecuting the sayings of Vedas; holds the reins of those horses occasionally with his teeth when ambidextrously steering– as almighty too holds the reins of Vedas, if it must be, while steering them skilfully; let that treasure of lady devaki’s merits, kriShNa, safeguard us. [2-47]

The Indian horsewhip is not an altogether whip, with which slaves are lashed, but it will have a cubit of round stick with thin leather stripes knotted at one end. So this horseminder is tucking that stick into his headgear when ready to service the horses.

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व्रजयुवतिसहाये यौवनोल्लासिकाये
सकलशुभविलासे कुन्दमन्दारहासे।
निवसतु मम चित्तम् तत्पदायत्तवृत्तम्
मुनिसरजितभानौ नन्दगोपालसूनौ॥ २-४८

  व्रज युवति सहाये यौवन उल्लासि काये सकल शुभ विलासे
कुन्द मन्दार हासे निवसतु मम चित्तम् तत् पद आयत्त
वृत्तम् मुनि सरजित भानौ नन्द गोपाल सूनौ

vrajayuvatisahāye yauvanollāsikāye
sakalaśubhavilāse kundamandārahāse |
nivasatu mama cittam tatpadāyattavṛttam
munisarajitabhānau nandagopālasūnau || 2-48

  vraja yuvati sahāye yauvana ullāsi kāye sakala śubha vilāse kunda mandāra hāse nivasatu mama cittam tat pada āyatta vṛttam muni sarajita bhānau nanda gopāla sūnau

vrajayuvatisahAye yauvanollAsikAye
sakalashubhavilAse kundamandArahAse |
nivasatu mama cittaM tatpadAyattavR^ittaM
munisarajitabhAnau nandagopAlasUnau || 2-48

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vraja yuvati sahAye yauvana ullAsi kAye sakala shubha vilAse kunda mandAra hAse nivasatu mama cittaM tat pada Ayatta vR^ittaM muni sarajita bhAnau nanda gopAla sUnau

anvayaM: nanda gopAla sUnau mama cittaM nivasatu

2-48.vraja yuvati sahAye= for vraja, damsels, who is a consociate; yauvana ullAsi kAye = with youthfulness, flourishing, with a physique; sakala shubha vilAse= all, auspicious things, are his disports; kunda mandAra hAse= like kunda flowers, mandAra flowers, whose smiles are; muni sarajita bhAnau= for sages, called lotuses, one who is a sun; nanda gopAla sUnau= such a nanda’s, son’s; tat pada Ayatta vR^ittaM=that, feet, abiding, in its comport; mama cittaM nivasatu= let my, heart, abide.

Let my heart abide and comport by abiding the feet of nanda’s son kriShNa, for he is the true consociate of vraja damsels; physique flourishing with perpetual youthfulness; a flaunter of all auspicious thinking and deeds; smiley like the kunda and mandAra flowers; a blossomer for heart of sages like the sun for day-lotuses. [2-48]

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अरण्यानीम् आर्द्रस्मितमधुरबिम्बाधरसुधा
सरण्या सङ्क्रान्तैः सपदि मदयन् वेणुनिनदैः।
धरण्या सानन्दोत्पुलकम् उपगूढाङ्घ्रिकमलः
शरण्यानाम् आद्यः स जयतु शरीरी मधुरिमा॥ २-४९

  अरण्यानीम् आर्द्र स्मित मधुर बिम्ब अधर सुधा सरण्या सङ्क्रान्तैः
सपदि मदयन् वेणु निनदैः धरण्या स आनन्द उत्पुलकम्
उपगूढ अङ्घ्रि कमलः शरण्यानाम् आद्यः स जयतु शरीरी मधुरिमा

araṇyānīm ārdrasmitamadhurabimbādharasudhā
saraṇyā saṅkrāntaiḥ sapadi madayan veṇuninadaiḥ |
dharaṇyā sānandotpulakam upagūḍhāṅghrikamalaḥ
śaraṇyānām ādyaḥ sa jayatu śarīrī madhurimā || 2-49

  araṇyānīm ārdra smita madhura bimba adhara sudhā saraṇyā saṅkrāntaiḥ sapadi madayan veṇu ninadaiḥ dharaṇyā sa ānanda utpulakam upagūḍha aṅghri
kamalaḥ śaraṇyānām ādyaḥ sa jayatu śarīrī madhurimā

araNyAnIm ArdrasmitamadhurabimbAdharasudhA
saraNyA sa~NkrAntaiH sapadi madayan veNuninadaiH |
dharaNyA sAnandotpulakam upagUDhA~NghrikamalaH
sharaNyAnAm AdyaH sa jayatu sharIrI madhurimA || 2-49

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araNyAnIm Ardra smita madhura bimba adhara sudhA saraNyA sa~NkrAntaiH sapadi madayan veNu ninadaiH dharaNyA sa Ananda utpulakam upagUDha a~Nghri kamalaH sharaNyAnAm AdyaH sa jayatu sharIrI madhurimA

2-49. Ardra smita madhura bimba adhara = with fresh, smiles, on sweet, lips, sudhA saraNyA sa~NkrAntaiH = with their nectarine, flow and flowing path, conjoined; veNu ninadaiH= with flute’s, melodies; sapadi araNyAnIm madayan= always brindavana woodlands, one who is ecstasising; dharaNyA sa Ananda utpulakam = by mother earth, with her gladness and thrilling; upagUDha a~Nghri kamalaH= embraced, his feet, called lotuses; sharaNyAnAm AdyaH= among shelterers, then first one; sharIrI madhurimA= personified, lusciousness; sa jayatu= such a sweetness, hail to that.

A personified lusciousness is palpable for us, which with its smiley lips is shedding nectarine flow conjoined with melodious tunes of flute on their way out, which tunes ecstasies the woodlands of brindavana ever and anon, on which land of brindavana he stands crosslegged while fluting, whereby mother earth is hugging those lotus like feet gladly and thrillingly, and that delicio-sappharine resplendence is the only haven among all retreats and recourses. [2-49]

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मुग्धम् स्निग्धम् मधुरमुरलीमाधुरीधीरनादैः
कारम् कारम् करणविशम् गोकुलव्याकुलत्वम्।
श्यामम् कामम् युवजनमनोमोहनम् मोहनाङ्गम्
चित्ते नित्यम् निवसतुम् अहो वल्लवीवल्लभम् नः॥ २-५०

  मुग्धम् स्निग्धम् मधुर मुरली माधुरी धीर नादैः कारम् कारम्
करण विशम् गोकुल व्याकुलत्वम् श्यामम् कामम् युव जन
मनो मोहनम् मोहन अङ्गम् चित्ते नित्यम् निवसतु महो वल्लवीवल्लभम् नः

mugdham snigdham madhuramuralīmādhurīdhīranādaiḥ
kāram kāram karaṇaviśam gokulavyākulatvam |
śyāmam kāmam yuvajanamanomohanam mohanāṅgam
citte nityam nivasatum aho vallavīvallabham naḥ || 2-50

  mugdham snigdham madhura muralī mādhurī dhīra nādaiḥ kāram kāram karaṇa viśam gokula vyākulatvam śyāmam kāmam yuva jana mano mohanam mohana aṅgam citte nityam nivasatu maho vallavīvallabham naḥ

mugdhaM snigdhaM madhuramuralImAdhurIdhIranAdaiH
kAraM kAraM karaNavishaM gokulavyAkulatvam |
shyAmaM kAmaM yuvajanamanomohanaM mohanA~NgaM
citte nityaM nivasatum aho vallavIvallabhaM naH || 2-50

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mugdhaM snigdhaM madhura muralI mAdhurI dhIra nAdaiH kAraM kAraM karaNa vishaM gokula vyAkulatvam shyAmaM kAmaM yuva jana mano mohanaM mohana a~NgaM citte nityaM nivasatu maho vallavIvallabhaM naH

2-50.mugdhaM snigdhaM = lovely, friendly – his mien; madhura muralI mAdhurI dhIra nAdaiH= sweet, flute’s, melodies, soul-stirring, with such fluting; karaNa vishaM= senses, subjugating - melodies; gokula vyAkulatvam kAraM kAraM= for cowherd community, commotion, causing much, again causing much; kAmaM shyAmaM= highly blueblackish - complexion; mohana a~NgaM= most beautiful, limbed; yuva jana mano mohanaM= for youngsters, hearts, capturing; vallavI vallabhaM= milkmaids, darling; such a mahaH = great resplendence; nityaM naH citte nivasatum= always, in our, hearts, let it abide.

bhAvam= sulabham.

The import of this verse is easy. This verse appears in one mms only, hence Telugu poets have not rendered translation to this verse which is a list of attributes and lacks the fineness of lIlAshuka’s poetisation.

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विदग्धगोपलविलासिनीनाम्
सम्भोगचिह्नाङ्कितसर्वगात्रम्।
पवित्रम् आम्नायगिराम् अगम्यम्
ब्रह्म प्रपद्ये नवनीतचोरम्॥ २-५१

  विदग्ध गोपल विलासिनीनाम् सम्भोग चिह्न अङ्कित सर्व गात्रम्
पवित्रम् आम्नाय गिराम् अगम्यम् ब्रह्म प्रपद्ये नवनीत चोरम्

vidagdhagopalavilāsinīnām
sambhogacihnāṅkitasarvagātram |
pavitram āmnāyagirām agamyam
brahma prapadye navanītacoram || 2-51

vidagdha gopala vilāsinīnām sambhoga cihna aṅkita sarva gātrampavitram āmnāya girām agamyam brahma prapadye navanīta coram

vidagdhagopalavilAsinInAm
sambhogacihnA~NkitasarvagAtram |
pavitram AmnAyagirAm agamyam
brahma prapadye navanItacoram || 2-51

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vidagdha gopala vilAsinInAm sambhoga cihna a~Nkita sarva gAtram pavitram AmnAya girAm agamyam brahma prapadye navanIta coram

anvayam: navanIta coram brahma prapadye

2-51. vidagdha gopala vilAsinInAM= [with] highly scorched [milkmaids are highly scorched in love for kriShNa], the milkmaid beauties [of vraja village];with such milkmaids; sambhoga cihna = in lovemaking, occurred bodily marks a~Nkita sarva gAtram= dented, all, his body – danta nakha kshatAdi cihnA-s;

navalAvaNyavilAsinInikaranAnAbandhanasambandhasambhavadarthAnkasharIri – is the Telugu translation of vengayAmAtya for this compound, in more complicated Sanskrit, rather than in Telugu;

even then that body is;

 pavitram= all-sanctus;

 AmnAya girAm a+gamyaM= with the words of scriptures, [that physicality of kriShNa] is not easily attainable – vishvaparamAmnAyAntavAcovidheyavihAri - vengaya; navanIta coram= [which body is now in a] butter, thief [getup]; brahma= that itself is brahma; prapadye = L. proponere - so, we  propound him – adore him.

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]

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अन्तर्गृहे कृष्णमवेक्ष्य चोरम्
बध्वा कवाटम् जननीम् गताका।
उलूखले दाम निबद्धमेनम्
तत्रापि दृष्ट्वाऽस्तिमिता बभूव॥ २-५२

अन्तर् गृहे कृष्णम् अवेक्ष्य चोरम् बध्वा कवाटम् जननीम् गत
एका उलूखले दाम निबद्धम् एनम् तत्र अपि दृष्टा अस्तिमिता बभूव

antargṛhe kṛṣṇamavekṣya coram
badhvā kavāṭam jananīm gatāikā |
ulūkhale dāma nibaddhamenam
tatrāpi dṛṣṭvā'stimitā babhūva || 2-52

antar gṛhe kṛṣṇam avekṣya coram badhvā kavāṭam jananīm gata ekā ulūkhale dāma nibaddham enam tatra api dṛṣṭā astimitā babhūva

antargR^ihe kR^iShNamavekShya choram
badhvA kavATam jananIm gataaikA |
ulUkhale dAma nibaddhamenam
tatrApi dR%^iShTvA .astimitA babhUva ||
2-52

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antar gR^ihe kR^iShNam avekShya choram badhvA kavATam jananIm gata ekA ulUkhale dAma nibaddham enam tatra api dR^iShTA a+stimitA babhUva

2-52. ekA= some cowwoman; antar gR^ihe= in the interior [of her own house]; kR^iShNam choram avekShya= kriShNa, as butter thief, on spotting; kavATam badhvA= door [of her interior house], on firmly closing; jananIm gata [AbhUt]= to kriShNa’s mother, has gone; tatra api= there, even – yashoda’s house also; enam ulUkhale dAma nibaddham dR^iShvTA = him, to a pounding-stone, with a rope used to tie calves, securely ties, on see it; a+stimitA babhUva= perturbed, [that cowwoman] she has become; [tam prapadye= him, - we L. proponere - let us adore].

Once a cowwoman spotting this boy stealing butter in her house is amazed as to why this boy always steals butter and milk in others houses when his house is aplenty with milk products; nevertheless, she quickly closed the door of that room, incarcerating that boy, went to that boy’s house to report this thievery to his mother yashoda. There also she found the boy already incarcerated to a pounding-stone with rope used to tie calves, and this cowwoman is re-amazed, thinking whether it is real or unreal, possible or impossible to see same boy at two places. Him who plunges everyone in the duality of opposites – dvandva paristhiti - I adore, who in actuality the Supreme Being – vastutattva paramAtma... so, let us adore such a boy.  [2-52]

रत्नस्थले जानुच्रः कुमारः सङ्क्रान्त मात्मीयमुखारविन्दम्।
आदातुकामस्तदलाभखेदा द्विलोक्य धात्री वदनम् रुरोद॥ २-५३

  रत्न  स्थले जानु चरः कुमारः सङ्क्रान्तम् आत्मीय मुख अरविन्दम्
आदातु कामः तत् अलाभ खेदात् विलोक्य धात्री वदनम् रुरोद

ratnasthale jānucraḥ kumāraḥ
saṅkrānta mātmīyamukhāravindam |
ādātukāmastadalābhakhedā dvilokya
dhātrī vadanam ruroda || 2-53

ratna  sthale jānu caraḥ kumāraḥ saṅkrāntam ātmīya mukha aravindam ādātu kāmaḥ tat alābha khedāt vilokya dhātrī vadanam ruroda

ratnasthale jAnucraH kumAraH
sa~NkrAnta mAtmIyamukhAravindam |
AdAtukAmastadalAbhakhedA dvilokya
dhAtrI vadanam ruroda || 2-53

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ratna sthale jAnu charaH kumAraH sa~NkrAntam AtmIya mukha aravindam AdAtu kAmaH tat alAbha khedAt vilokya dhAtrI vadanam ruroda

2-53. jAnu charaH kumAraH= on knees, one who is crawling, that boy; ratna sthale= on a floor finished with precious stones – highly polished floor; sa~NkrAntam AtmIya mukha aravindam = reflected, his own, face called lotus; on seeing it; AdAtu kAmaH= he started to grab it –as any boy would drag the other boy; tat a+lAbha khedAt= that [face of reflected boy], when not, seizable, with frustration of; dhAtrI vadanam vilokya ruroda= governess’, face, by seeing, he started to wail; [tam prapadye= him, let us adore].

When this boy was a crawling kid he once spotted the reflection of his lotusy face on the polished floor of his house, and started to grab it, but in vain. When that boy in illusion could not be grabbed, this boy started to wail complainingly, seeing the face of his governess. That being the childishness let us adore the very same boy who in essentiality is in the control of all illusions – mAyA vartana brahma tattvam.

C.f. ghaTodakeShu… etc in kriShNa stotram.

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आनन्देन यशोदया समदनम् गोपाङ्गनाभिश्चिरम्
साशङ्कम् बलविद्विषा सुकुसुमैः सिद्धैः पृथिव्याकुलम्।
सेर्ष्यम् गोपकुमारकैः सकरुणम् पौरैर्जनैः सस्मितम्
यो दृष्टः स पुनातु नो मुररिपुः प्रोत्क्षिप्तगोवर्धनः॥2-54

  आनन्देन यशोदया स मदनम् गोप अङ्गनाभिः चिरम् स आशङ्कम् बल विद्विषा सु कुसुमैः सिद्धैः पृथिव्या आकुलम् स ईर्ष्यम् गोप कुमारकैः स करुणम् पौरैः जनैः स स्मितम् यः दृष्टः स पुनातु नो मुर रिपुः प्र-उत्-क्षिप्त गोवर्धनः

ānandena yaśodayā samadanam gopāṅganābhiściram
sāśaṅkam balavidviṣā sukusumaiḥ siddhaiḥ pṛthivyākulam |
serṣyam gopakumārakaiḥ sakaruṇam paurairjanaiḥ sasmitam
yo dṛṣṭaḥ sa punātu no muraripuḥ protkṣiptagovardhanaḥ || 2-54

ānandena yaśodayā sa madanam gopa aṅganābhiḥ ciram sa āśaṅkam bala vidviṣā su kusumaiḥ siddhaiḥ pṛthivyā ākulam sa īrṣyam gopa kumārakaiḥ sa karuṇam pauraiḥ janaiḥ sa smitam yaḥ dṛṣṭaḥ sa punātu no mura ripuḥ pra-ut-kṣipta govardhanaḥ

Anandena yashodayA samadanam gopA~NganAbhishciram
sAsha~Nkam balavidviShA sukusumaiH siddhaiH pR^ithivyAkulam |
serShyam gopakumArakaiH sakaruNam paurairjanaiH sasmitam
yo dR^iShTaH sa punAtu no muraripuH protkShiptagovardhanaH || 2-54


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Anandena yashodayA sa madanam gopa a~NganAbhiH ciram sa Asha~Nkam bala vidviShA su kusumaiH siddhaiH pR^ithivyA Akulam sa IrShyam gopa kumArakaiH sa karuNam pauraiH janaiH sa smitam yaH dR^iShTaH sa punAtu no mura ripuH pra-ut-kShipta govardhanaH

2-54. yaH= which bAla kriShNa; pra+ut+kShipta govardhanaH= very well, uplifted, one who has got Mt. govardhana on his fingertip; yashodayA Anandena= by yashoda, with gladness; gopa a~NganAbhiH sa madanam= by milkmaids, with a romantic longing; bala vidviShA sa Asha~Nkam= by demon bala’s, enemy [Indra], with a doubt; siddhaiH su kusumaiH= by siddha [and cAraNA-s] celestials, with flowers – in a worshipping manner; pR^ithivyA Akulam=by mother earth, with perturbation – because this boy is uprooting mountains – not done so far in the history of earth; gopa kumArakaiH sa IrShyam= by other cowboys, with a kind of jealousy – for none could lift a mountain; pauraiH karuNam= by other people in vraja village, with compassion; janaiH sa smitam= by other onlookers – like yaksha, gandharva, vidyAdhara, et al,with a smile – meaning ‘who else can lift a mountain than him, it is a routine feat for him’; ciram dR^iShTaH= for a long time, one who is gazed upon – when lifting the mountain; mura+ripuH saH naH punAtu= such demon mura’s, enemy, he alone, us, let him protect.

When bAla kriShNa uplifted Mt. govardhana on his fingertip, different people gazed at him differently; his mother gazed at him with gladness as that feat could be achieved by none other than her own son; milkmaids looked at him with a romantic longing to possess such a hero only for themselves; Indra with a doubt about this boy’s next action in ramshackling his throne; salved souls travelling on horizon called siddha-s and cAraNA-s with flower-like looks as in worshipping; by mother earth with a perturbed look for the very same one upheaved everything on her surface when he incarnated himself on her previously; by other cowboys with a pal-to-pal jealousy for none of them could achieve anything against downpour;by other people in vraja village with compassion by the degree of comparison occurring between a boy and a mountain – hastimashaka antaram; by other onlookers – like yaksha, gandharva, vidyAdhara et al,with a smile meaning ‘who else can lift a mountain than him, it is a routine feat for him… just smile it away…’; I therefore adore such a causer of different strokes in different people in different ways - for one occurrence. [2-54]

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उपासताम् आत्मविदः पुराणाः परम् पुमांसम् निहितम् गुहायाम्।
वयम् यशोदाशिशुबाललीला कथासुधासिन्धुषु लीलयामः॥ २-५५

  उपासताम् आत्म विदः पुराणाः परम् पुमांसम् निहितम् गुहायाम्
वयम् यशोदा शिशु बाल लीला कथा सुधा सिन्धुषु लीलयामः

upāsatāmātmavidaḥpurāṇāḥ param pumāṁsamnihitam guhāyām|
vayam yaśodāśiśubālalīlā kathāsudhāsindhuṣu līlayāmaḥ || 2-55

upāsatām ātma vidaḥ purāṇāḥ param pumāṁsam
nihitam guhāyām vayam yaśodā śiśu bāla
līlā kathā sudhā sindhuṣu līlayāmaḥ

upAsatAm AtmavidaH purANAH
param pumAMsam nihitam guhAyAm |
vayam yashodAshishubAlalIlA
kathAsudhAsindhuShu lIlayAmaH || 2-55

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upAsatAm Atma vidaH purANAH param pumAMsam nihitam guhAyAm vayam yashodA shishu bAla lIlA kathA sudhA sindhuShu lIlayAmaH

2-55. purANAH Atma vidaH= if the ancient, soul, knowers - adore someone in their souls; guhAyAm nihitam= in a cave called their souls, ensconced; param pumAMsam upAsatAm= Supreme, Being, let them adore; vayam= we for ourselves; yashodA shishu bAla lIlA kathA sudhA sindhuShu= in yashoda’s, boy, childhood, legends, called nectarine waters; lIlayAmaH= jala krIDAs – we dip ourselves s in water sports.

If the sage and saints adore the Supreme Soul as ensconced in the caves called hearts, let them do so – we have no objection for it; but, we for ourselves will be buoyantly sporting in the nectarine waters called the legends of the baby boy of lady yashoda – for his childhood pranks themselves are the psychoactive abode of that Supreme Being - para tattva sthAnam. [2-55]

--o)0(o--

विक्रेतुकामा किल गोपकन्या मुरारिपादार्पितचित्तवृत्तिः।
दध्यादिकम् मोहवशादवोच द्गोविन्द दामोदर माधवेति॥ २-५६

  विक्रेतु कामा किल गोप कन्या मुरारि पाद अर्पित चित्त वृत्तिः
दधि आदिकम् मोह वशात् अवोचत् गोविन्द दामोदर माधव इति

vikretukāmā kila gopakanyā
murāripādārpitacittavṛttiḥ |
dadhyādikammohavaśādavocad
govindadāmodaramādhaveti || 2-56

vikretu kāmā kila gopa kanyā murāri pāda arpita citta vṛttiḥ dadhi ādikam moha vaśāt avocat govinda dāmodara mādhava iti

vikretukAmA kila gopakanyA murAripAdArpitacittavR^ittiH |
dadhyAdikam mohavashAdavoca dgovinda dAmodara mAdhaveti || 2-56

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vikretu kAmA kila gopa kanyA murAri pAda arpita citta vR^ittiH dadhi Adikam moha vashAt avocat govinda dAmodara mAdhava iti

2-56. gopa kanyA= a cowwoman; dadhi Adikam= curd, etc milk products; vikretu kAmA sati= in selling, [though] having [such] an intention [in her mind]; murAri pAda arpita citta vR^ittiH= at kriShNa’s, feet, dedicated, mental, function; moha vashAt= nandasasmbhava pAdArpita chitta vR^ittivengaya; thoughtlessly; govinda dAmodara mAdhava iti; avocat kila= blurted out.

I carried my curds to the Mathura fair....
How softly the heifers were lowing....
I wanted to cry, `Who will buy
These curds that are white as the clouds in the sky
When the breezes of Shrawan are blowing?'
But my heart was so full of your beauty, Beloved,
They laughed as I cried without knowing:
Govinda! Govinda! Govinda! Govinda!
How softly the river was flowing!

I carried my pots to the Mathura tide....
How gaily the rowers were rowing!...
My comrades called, `Ho! let us dance, let us sing
And wear saffron garments to welcome the spring.
And pluck the new buds that are blowing.'
But my heart was so full of your music, Beloved,
They mocked when I cried without knowing:
Govinda! Govinda! Govinda! Govinda!
How gaily the river was flowing!

I carried my gifts to the Mathura shrine....
How brightly the torches were glowing!...
I folded my hands at the altars to pray
`O shining ones guard us by night and day'--
And loudly the conch shells were blowing.
But my heart was so lost in your worship, Beloved,
They were wroth when I cried without knowing:
Govinda! Govinda! Govinda! Govinda!
How brightly the river was flowing!

[heifer=young cow; wroth=angry]

It is futile to rewrite the bhAvam of the above Sanskrit verse when the Nightingale of India has already penned it. The above is the rendition of Smt. Sarojini Naidu, rendered in 1st person of that gopa kanya, made available per kindness of J. K. Mohana Rao.

This verse is the third verse in govindadAmodara stotra penned by lIlAshuka.

--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.

उलूखलम् वा यमिनाम् मनो वा गोपाङ्गनानाम् कुचकुट्मलम् वा।
मुरारिनाम्नः कलभस्य नूनम् मालानमासीत् त्रयम् एव भूमौ॥ २-५७

  उलूखलम् वा यमिनाम् मनः वा गोप अङ्गनानाम् कुच कुट्मलम् वा
मुरारि नाम्नः कलभस्य नूनम् आलानम् आसीत् त्रयम् एव भूमौ

ulūkhalam vā yaminām mano vā
gopāṅganānām kucakuṭmalam vā |
murārināmnaḥ kalabhasya nūnam
mālānamāsīt trayam eva bhūmau || 2-57

ulūkhalam vā yaminām manaḥ vā gopa aṅganānām kuca kuṭmalam vā murāri nāmnaḥ kalabhasya nūnam ālānam āsīt trayam eva bhūmau

  ulUkhalam vA yaminAm mano vA
gopA~NganAnAm kucakuTmalam vA |
murArinAmnaH kalabhasya nUnam
mAlAnamAsIt trayam eva bhUmau || 2-57

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ulUkhalam vA yaminAm manaH vA gopa a~NganAnAm kuca kuTmalam vA murAri nAmnaH kalabhasya nUnam AlAnam AsIt trayam eva bhUmau

anvayam: murAri kalabhasya bhUmau trayam eva AlAnam AsIt

2-57. bhUmau= on earth;

murAri nAmnaH kalabhasya= for murAri, named elephant;

ulUkhalam vA= a pounding stone, either;

yaminAm manaH vA= sages’, hearts, either;

gopa a~NganAnAm kuca kuTmalam vA= milkmaids, bosoms, called buds, either;

trayam eva= three factors, alone; AlAnam= an iron pillar - used to tie an elephant; AsIt= they became; nUnam= it is definite.

It is definite that only three factors on earth have become the iron stanchions to tie an elephant called murAri; either it is a pounding stone; or the hearts of sages and saints; or the buds like bosoms of milkmaids; no other picket picketed him obviously. So, we propound that self-regulatory principle as paramAtma tattvam. [2-57]

--o)0(o--

करारविन्देन पदारविन्दम् मुखारविन्दे विनिवेशयन्तम्।
वटस्य पत्रस्य पुटे शयानम् बालम् मुकुन्दम् मनसा स्मरामि॥ २-५८

  कर अरविन्देन पद अरविन्दम् मुख अरविन्दे विनिवेशयन्तम्
वटस्य पत्रस्य पुटे शयानम् बालम् मुकुन्दम् मनसा स्मरामि

karāravindena padāravindammukhāravinde viniveśayantam |

vaṭasya patrasya puṭe śayānambālam mukundam manasā smarāmi || 2-58

kara aravindena pada aravindam mukha aravinde
viniveśayantam vaṭasya patrasya puṭe śayānam
bālam mukundam manasā smarāmi

karAravindena padAravindam
mukhAravinde viniveshayantam |
vaTasya patrasya puTe shayAnam
bAlam mukundam manasA smarAmi || 2-58

bk

kara aravindena pada aravindam mukha aravinde viniveshayantam vaTasya patrasya puTe shayAnam bAlam mukundam manasA smarAmi

anvaya: bAlam mukundam manasA smarAmi

2-58. kara aravindena= with hand, called lotus; pada aravindam= catching foot, called lotus; mukha aravinde viniveshayantam= in mouth called lotus, one who is placing;

vaTasya patrasya puTe shayAnam= of banyan tree, leaf, who is reclining; bAlam mukundam manasA smarAmi= on that bAla-mukunda, I heartily, reminisce.

Catching his lotusy foot with lotusy hand that infant is placing it in his lotusy mouth when reclining on a leaf of banyan tree afloat the primordial waters; him I whole heartedly adore as that hand-foot-mouth syndrome is symbolic of sR^iSThi-sthiti-layam; hand indicating creation, foot denoting the slippery foothold for evanescent existence, and mouth for culmination, into where any created existence will be gulped down – inasmuch as the triad of the worlds is in the belly of that boy. [2-58]

This bhAvam is according to Pt. M. Sharabhayya in Dr. TVSRao’s edition of this poem.

--o)0(o--

शम्भो स्वागतम् आस्यताम् इत इतो वामेन पद्मोद्भव
क्रौङ्चारे कुशलम् सुखम् सुरपते वित्तेश नो दृश्यते।
इत्थम् स्वप्नगतस्य कैटभजितजितः श्रुत्वा यशोदा गिरः
किम् किम् बालक जल्पसीत्य् रचितम् थूथूकृतम् पातु वः॥ २-५९

  शम्भो स्वागतम् आस्यताम् इत इतो वामेन पद्म उद्भव
क्रौङ्च अरेः कुशलम् सुखम् सुर पते वित्तेश न
दृश्यते इत्थम् स्वप्न गतस्य कैटभ जितः श्रुत्वा जनन्या गिरः
किम् किम् बालक जल्पसि इति अनुचितम् थू थू कृतम् पातु वः

śambho svāgatam āsyatām ita ito vāmena padmodbhava
krauṅcāre kuśalam sukham surapate vitteśa no dṛśyate |
ittham svapnagatasya kaiṭabhajitajitaḥ śrutvā yaśodā giraḥ
kim kim bālaka jalpasīty racitam thūthūkṛtam pātu vaḥ || 2-59

śambho svāgatam āsyatām ita ito vāmena padma udbhava krauṅca areḥ kuśalam sukham sura pate vitteśa na dṛśyate ittham svapna gatasya kaiṭabha jitaḥ śrutvā jananyā giraḥ kim kim bālaka jalpasi iti anucitam thū thū kṛtam pātu vaḥ

shambho svAgatam AsyatAm ita ito vAmena padmodbhava
krau~NcAre kushalam sukham surapate vittesha no dR^ishyate |
ittham svapnagatasya kaiTabhajitajitaH shrutvA yashodA giraH
kim kim bAlaka jalpasIty racitam thUthUkR^itam pAtu vaH || 2-59

bk

shambho svAgatam AsyatAm ita ito vAmena padma udbhava krau~Nca areH kushalam sukham sura pate vittesha na dR^ishyate ittham svapna gatasya kaiTabha jitaH shrutvA jananyA giraH kim kim bAlaka jalpasi iti anucitam thU thU kR^itam pAtu vaH

2-59. shambho svAgatam= oh, lord shiva, welcome to you; padma udbhava= oh, brahma; itaH itaH= this way, this way please; vAmena AsyatAm= on my left, be seated; krau~Nca-areH kushalam= oh, one to Mt. krunca, an enemy of – oh, kumAra, how are you; sura pate sukham= oh, indra, are you comfortable; vittesha na dR^ishyate= oh, kubera, you are not to be seen these days; ittham svapna gatasya = in this way, into dream, one who has gone in; kaiTabha jitaH= demon kaiTabha, who conquered him – kriShNa; giraH shrutvA= words, on listening; yashodA= lady yashoda; saying; bAlaka kim kim jalpasi iti= oh, boy, what, what, you are taking, thus as; racitam= she made; thU thU kR^itam= thU, thU, sounds she made; pAtu vaH= let him protect us.

One night when that boy was sleeping he went in to dram and started saying, “oh, lord shiva, welcome to you; oh, brahma, come this way, this way please, please be seated on my left; how are you, kumAra; oh, indra, are you comfortable; oh, kubera, you are not to be seen these days…” and listening that dreamtime talk of his son lady yashoda said, “oh, my boy, what is it you are burbling, any evil spirits got you, or what…” saying so she made sounds like thUthU… to ward off those evil spirits. Let that boy who is protected from evil spirits thus, protect us also from such malefic spirits distracting from devotion towards him. [2-59]

These thU... thU… sounds are spitting time sounds made by mothers to ward off malevolent looks and evil spirits by spitting at them.

--o)0(o--

मातः किम् यदुनाथ देहि चषकम् किम् तेन पातुम् पयः
तन्नास्त्यद्य कदास्ति वा निशि निशा का वान्धकारोदयः।
आमील्याक्षियुगम् निशाप्युपगता देहीति मातुर्मुहुर्
वक्षोज अंशुक कर्षणद्यतकरः कृष्णस्स पुष्णातु नः॥ २-६०

  मातः किम् यदुनाथ देहि चषकम् किम् तेन पातुम् पयः 
तन्नास्त्यद्य कदासि वा निशि निशा का वा न्धकार उदयः
 आमील्य अक्षि युगम् निशा अपि उपगता देहि इति मातुः मुहुः
वक्षोजांशुक कर्षण उद्यत करः कृष्णः स पुष्णातु नः

mātaḥ kim yadunātha dehi caṣakam kim tena pātum payaḥ
tannāstyadya kadāsti vā niśi niśā kā vāndhakārodayaḥ |
āmīlyākṣiyugam niśāpyupagatā dehīti māturmuhur
vakṣoja aṁśuka karṣaṇaodyatakaraḥ kṛṣṇassa puṣṇātu naḥ || 2-60

mātaḥ kim yadunātha dehi caṣakam kim tena pātum payaḥ  tannāstyadya kadāsi vā niśi niśā kā vā ndhakāra udayaḥ | āmīlya akṣi yugam niśā api upagatā dehi iti mātuḥ muhuḥ vakṣojāṁśuka karṣaṇa udyata karaḥ kṛṣṇaḥ sa puṣṇātu naḥ

mAtaH kim yadunAtha dehi caShakam kim tena pAtum payaH
tannAstyadya kadAsti vA nishi nishA kA vAndhakArodayaH |
AmIlyAkShiyugam nishApyupagatA dehIti mAturmuhur
vakShoja aMshuka karShaNaodyatakaraH kR^iShNassa puShNAtu naH || 2-60

bk

mAtaH kim yadunAtha dehi caShakam kim tena pAtum payaH tannAstyadya kadAsi vA nishi nishA kA vA ndhakAra udayaH AmIlya akShi yugam nishA api upagatA dehi iti mAtuH muhuH vakShoja aMshuka karShaNa udyata karaH kR^iShNaH sa puShNAtu naH

2-60. mAtaH= mother!

kim yadunAtha= what, my prince;

caShakam dehi= give me tumbler;

kim tena= what for;

payaH pAtum= to drink milk;

tat adya nAsti= drinking milk is not now;

kadAsi vA= then, when;

nishi= in night;

nishA kA vA = what is night;

andhakAra udayaH = when it darkens;

akShi yugam AmIlya= [closing both his eyes];

nishA api upagatA dehi caShakam = night has come now, give me my tumbler;

iti muhuH= in this way, repeatedly; mAtuH vakShoja aMshuka= mother’s, upper cloth;

[muhuH] karShaNa udyata karaH = [repeatedly], for pulling, raised, with such little hands;

sa kR^iShNaH naH puShNAtu = let that, kriShNa,us, safeguard. [2-60]

 

C.f. yA nishAasarvabUtAnAm tasyAm jAgarti…etc - gIta 2-69.

--o)0(o--

कालिन्दीपुलिनोदरेषु मुसली यावद् गतः खेलितुम्
तावत् कार्परिकपयः पिब हरे वर्धिष्यते ते शिखा।
इत्थम् बालतया प्रतारणपराः श्रुत्वा यशोदागिरः
पायान्नः स्वशिखाम् स्पृशन् प्रमुदितः क्षीरेऽर्धपीते हरिः॥ २-६१

  कालिन्दी पुलिन उदरेषु मुसली यावत् गतः खेलितुम् तावत् कार्परिक पयः पिब हरे वर्धिष्यते ते शिखा  इत्थम् बालतया प्रतारण पराः श्रुत्वा यशोदा गिरः पायात्
नः स्व शिखाम् स्पृशन् प्रमुदितः क्षीरे अर्ध पीते हरिः

kālindīpulinodareṣu musalī yāvad gataḥ khelitum
tāvat kārparikapayaḥ piba hare vardhiṣyate te śikhā |
ittham bālatayā pratāraṇaparāḥ śrutvā yaśodāgiraḥ
pāyānnaḥsvaśikhāmspṛśanpramuditaḥ kṣīre'rdhapīte hariḥ || 2-61

kālindī pulina udareṣu musalī yāvat gataḥ khelitum tāvat kārparika payaḥ piba hare vardhiṣyate te śikhā  ittham bālatayā pratāraṇa parāḥ śrutvā yaśodā giraḥ pāyāt naḥ
sva śikhām spṛśan pramuditaḥ kṣīre ardha pīte hariḥ

kAlindIpulinodareShu musalI yAvad gataH khelitum
tAvat kArparikapayaH piba hare vardhiShyate te shikhA |
ittham bAlatayA pratAraNaparAH shrutvA yashodAgiraH
pAyAnnaH svashikhAm spR^ishan pramuditaH kShIre.ardhapIte hariH || 2-61

bk

kAlindI pulina udareShu musalI yAvat gataH khelitum tAvat kArparika payaH piba hare vardhiShyate te shikhA ittham bAlatayA pratAraNa parAH shrutvA yashodA giraH pAyAt naH sva shikhAm spR^ishan pramuditaH kShIre ardha pIte hariH

2-61. hare= oh, hari – oh, dear child; musalI= your brother balarAma; kAlindI pulina udareShu = in river kAlindi’s, sandunes, in their midst; yAvat khelitum gataH= up to which time, to play, he has gone; tAvat= in the meanwhile; kArparika payaH piba= in this cup, milk, you drink; by drinking milk; te shikhA vardhiShyate= your, coiffure, grows; ittham= in this way; bAlatayA pratAraNa parAH= by his being a boy, in order to outmanoeuvre him,she who is trying; yashodA giraH shrutvA = such yashoda’s, words, on listening; kShIre ardha pIte sati= milk, half of the cup, on drinking; sva shikhAm spR^ishan= his coiffure, on touching; hariH pramuditaH= that hari, is very much gladdened – feeling that his head hair grew immediately exactly as said by his mother; such a hari in cowboy’s form with babyish belief on his mother’s words; naH pAyAt = us, let protect.

“Oh, boy, your brother balarAma has gone to play in the sands of yamuna river… sooner he returns drink this milk in this cup…your brother comes at any moment, and you both will have to go to play… by drinking more milk your coiffure becomes big like that of your brother… come on, drink it…” so said yashoda to that boy eschewing a drink of milk. Listening to her outmanoeuvring talk to make him drink a cup of milk, that boy gulped half a cup and immediately checked his coiffure, which seemed to have grown instantaneously – according to the ‘always believable words’ of one's own mother; let that credulous boy protect us also trustfully. [2-61]

--o)0(o--

कैलासो नवनीतति क्षितिभरे प्राग्जग्धमृल्लोष्टति
क्षीरोदोऽपि निपीतदुग्धति लसत्स्मेरे प्रफुल्ले मुखे।
मात्राऽजीर्णभया दृढम्चकितया नष्टाऽस्मि दृष्टः कया
धु धु वत्सक जीव जीव चिरमित्युक्तोऽवतान्नोहरिः॥ २-६२

  कैलासे कैलासे नवनीतति सति क्षिति भरे प्राक् जग्ध मृत् लोष्टति सति क्षीर उदे अपि निपीत दुग्धति सति लसत् स्मेरे प्रफुल्ले मुखे मात्रा अजीर्ण भया धिया दृढम् चकितया नष्टा अस्मि दृष्टः कया धु धु वत्सक जीव जीव चिरम् इति उक्तः अवतात् नः हरिः

kailāso navanītati kṣitibhare prāgjagdhamṛlloṣṭati
kṣīrodo'pi nipītadugdhati lasatsmere praphulle mukhe |
mātrā'jīrṇabhayā dṛḍhamcakitayā naṣṭā'smi dṛṣṭaḥ kayā
dhu dhu vatsaka jīva jīva ciramityukto'vatānnohariḥ || 2-62

kailāse kailāse navanītati sati kṣiti bhare prāk jagdha mṛt loṣṭati sati kṣīra ude api nipīta dugdhati sati lasat smere praphulle mukhe mātrā ajīrṇa bhayā dhiyā dṛḍham cakitayā naṣṭā asmi dṛṣṭaḥ kayā dhu dhu vatsaka jīva jīva ciram iti uktaḥ avatāt naḥ hariḥ

kailAso navanItati kShitibhare prAgjagdhamR^illoShTati
kShIrodo.api nipItadugdhati lasatsmere praphulle mukhe |
mAtrA.ajIrNabhayA dR^iDhamcakitayA naShTA.asmi dR^iShTaH kayA
dhu dhu vatsaka jIva jIva ciramityukto.avatAnnohariH || 2-62

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kailAse [kailAse] navanItati [sati] kShiti bhare prAk jagdha mR^it loShTati [sati] kShIra ude api nipIta dugdhati [sati] lasat smere praphulle mukhe mAtrA ajIrNa bhayA [dhiyA] dR^iDham cakitayA naShTA asmi dR^iShTaH kayA dhu dhu vatsaka jIva jIva ciram iti uktaH avatAt naH hariH

2-62. lasat smere praphulle mukhe= in his highly resplendent, face; kailAse [kailAse] navanItati sati= like a silver mountain, butter, when present; kShiti bhare= belly fully; prAk jagdha mR^it loShTati sati= just then, eaten, mud, clod, when present; kShIra ude api nipIta dugdhati sati= milk ocean, even, completely, gulped, milk, on it becoming; ajIrNa bhayA dhiyA] = indigestion, with the fear of; dR^iDham cakitayA= highly, alarmed; mAtrA= by mother; this is said; naShTA asmi= I am dead; kayA dR^iShTaH [abhU]= by which woman, you are seen; vatsaka= oh, my child; dhu dhu= dhuu, dhuu – sounds she made; ciram jIva jIva= live long, live long my child; iti uktaH= thus, one is said so; hariH= that dear child of yashoda, namely hari; naH avatAt= us, let him protect.

Ones that boy reclining in the lap of his mother opened the mouth agape, in which that mother has spotted butter just like the silvern mountain of Himalayas; a mud clod just then eaten in childish impropriety as massive as earth’s globe; just consumed milk as vast as Milky Ocean, then that mother much worried about the boy’s indigestion problem started saying: “I am dead, oh, boy, which evil woman’s glances fallen on you… thU.. thU..thU… long live, my boy, long live…”; thus, let that boy who is taken care by his mother that warily, take care of us too, that warily. [2-62]

It is said that there is grammarian’s headache in this verse in ‘ti pratyayAnta kriyA padam used in first foots, not correlating with next foots. Hence foots corrected and shown above, as has been presented by Pt. PSRA.

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किङ्चित्कुङ्चितलोचनस्य पिबतः पर्यायपीतस्तनम्
सद्यःप्रस्नुतदुग्धबिन्दुम् अपरम् हस्तेन सम्मार्जतः।
मात्रैकाङ्गुलिम् लालितस्य चुबुके स्मेराननस्याधरे
शौरे क्षीरकणान्विता निपतितादन्तद्युतिः पातु नः॥ २-६३

  किङ्चित् कुङ्चित लोचनस्य पिबतः पर्याय पीत स्तनम् सद्यः प्रस्नुत दुग्ध बिन्दुम् अपरम्
हस्तेन सम्मार्जतः मात्रा एक अङ्गुलिम् लालितस्य चुबुके स्मेर आननस्य अधरे
शौरे क्षीर कण अन्विता निपतिता दन्त द्युतिः पातु नः

kiṅcitkuṅcitalocanasya pibataḥ paryāyapītastanam
sadyaḥprasnutadugdhabindum aparam hastena sammārjataḥ |
mātraikāṅgulim lālitasya cubuke smerānanasyādhare
śaure kṣīrakaṇānvitā nipatitādantadyutiḥ pātu naḥ || 2-63

kiṅcit kuṅcita locanasya pibataḥ paryāya pīta stanam sadyaḥ
prasnuta dugdha bindum aparam hastena sammārjataḥ mātrā
eka aṅgulim lālitasya cubuke smera ānanasya adhare śaure
kṣīra kaṇa anvitā nipatitā danta dyutiḥ pātu naḥ

ki~Ncitku~Ncitalocanasya pibataH paryAyapItastanam
sadyaHprasnutadugdhabindum aparam hastena sammArjataH |
mAtraikA~Ngulim lAlitasya cubuke smerAnanasyAdhare
shaure kShIrakaNAnvitA nipatitAdantadyutiH pAtu naH || 2-63

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ki~Ncit ku~Ncita locanasya pibataH paryAya pIta stanam sadyaH prasnuta dugdha bindum aparam hastena sammArjataH mAtrA eka a~Ngulim lAlitasya cubuke smera Ananasya adhare shaure kShIra kaNa anvitA nipatitA danta dyutiH pAtu naH

2-63. paryAya pIta stanam pibataH = from alternate, rotund, breasts, one who is suckling; ki~Ncit ku~Ncita locanasya= with a little, closed, eyes; sadyaH prasnuta dugdha bindum aparam =just then, trickling, milk, drops, from another [breast]; hastena sammArjataH= with his hand, wiping – rubbing his hand on another breast; mAtrA cubuke eka a~Ngulim lAlitasya= by mother, on cheeks, with one, finger, who is fondled; smera Ananasya= smiley faced one; shaure= of baby kriShNa; adhare kShIra kaNa anvitA nipatitA danta dyutiH= on lip, with milk, a drop of, along with, fallen, teeth’s, lustre; naH pAtu = us, let protect.

Suckling milk from the alternate breasts of his mother with half closed eyes, mopping up just trickled milk from the other breast with his tiny hand, while his mother is pressing a finger on his cheek for this child-play in all her tender fascination for him in breastfeeding, that smiley faced tiny tot kriShNa with a lustre of a milk drop fallen on his lip along with toothy grin protect us, that tenderly. [2-63]

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उत्तुङ्गस्तनमण्डलोपरिलसत्प्रालम्बमुक्तामणे
रन्तर्बिम्बितम् इन्द्रनीलनिकरच्छायानुकारिद्युतेः।
लज्जाव्याजम् उपेत्य नम्रवदना स्पष्टम् मुरारेर् वपुः
पश्यन्ती मुदिता मुदेऽस्तु भवताम् लक्ष्मीर्विवाहोत्सवे॥ २-६४

  उत्तुङ्ग स्तन मण्डल उपरि लसत्  प्रालम्ब मुक्ता मणेः अन्तर् बिम्बितम् इन्द्र नील निकर च्छाय अनुकारि द्युतेः लज्जा व्याजम् उपेत्य नम्र वदना स्पष्टम् मुरारेः वपुः पश्यन्ती मुदिता मुदे अस्तु भवताम् लक्ष्मीः विवाह उत्सवे

uttuṅgastanamaṇḍaloparilasatprālambamuktāmaṇe
rantarbimbitam indranīlanikaracchāyānukāridyuteḥ |
lajjāvyājam upetya namravadanā spaṣṭam murārer vapuḥ
paśyantī muditā mude'stu bhavatām lakṣmīrvivāhotsave || 2-64

uttuṅga stana maṇḍala upari lasat  prālamba muktā maṇeḥ antar bimbitam indra nīla  nikara cchāya anukāri dyuteḥ lajjā vyājam upetya namra vadanā spaṣṭam murāreḥ vapuḥ paśyantī muditā mude astu bhavatām lakṣmīḥ vivāha utsave

uttu~NgastanamaNDaloparilasatprAlambamuktAmaNe*
rantarbimbitam indranIlanikaracChAyAnukAridyuteH |
lajjAvyAjam upetya namravadanA spaShTam murArer vapuH
pashyantI muditA mude.astu bhavatAm lakShmIrvivAhotsave || 2-64

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uttu~Nga stana maNDala upari lasat prAlamba muktA maNeH antar bimbitam indra nIla nikara cChAya anukAri dyuteH lajjA vyAjam upetya namra vadanA spaShTam murAreH vapuH
pashyantI muditA mude astu bhavatAm lakShmIH vivAha utsave

2-64. vivAha utsave= during her marriage, celebration; lakshmi / rukmiNi; lajjA vyAjam upetya= shyness, called pretext, on getting; namra vadanA sati= bowed down, head, though she is;

uttu~Nga stana maNDala upari= her busty, bosoms, on the surface of them; lasat prAlamba muktA maNeH= glittering, pendants of pearls and jewels; antaH bimbitam= in them, reflected;

indra nIla nikara cChAya anukAri dyuteH = indra-nIla gems, a heap of, their reflection, mimicking, with such a resplendence; murAreH vapuH= kriShNa’s, body; spaShTam pashyantI muditA = clearly, one who is seeing, is gladdened; lakShmIH= such a lakshmi / rukmiNi; bhavatAm mude astu = to you all, gladness, let her bring.

In the marriage of lakshmi-nArAyaNa, say kriShNa-rukmiNi, the bride is not able to see the face of her would-be directly on the pretext of coyness of a bride bowing her head a little. But, the sapphirine hue of bridegroom, mimicking the hue of a heap of indra-nIla gems, is clearly reflected on the pearls-jewel-pendants dangling on her busty bosoms, turning them into sapphirine hue, and the bride is gladdened to clearly see the reflected hue of her bridegroom in them. Thus that gladsome lakshmi / rukmiNi bring gladness to you all. [2-64]

Some view this verse as an interpolation.

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कृष्णेनाऽम्ब गतेन रन्तुमधुना मृद्भक्षिता स्वेच्छया
तथ्यम् कृष्ण क एवमाह मुसली मिथ्याम्ब पश्याननम्।
व्यादेहीति विदारिते शिशुमुखे दृष्ट्वा समस्तम् जगन्
माता यस्य जगाम विस्मयपदम् पायात्स नः केशवः॥ २-६५

  कृष्णेन अम्ब रन्तुम् गतेन अधुना मृद् भक्षिता स्वेच्छया तथ्यम् कृष्ण क एवम् आह मुसली
मिथ्या अम्ब पश्य आननम्  व्यादेहि इति विदारिते शिशु मुखे दृष्ट्वा समस्तम्
जगत् माता यस्य जगाम विस्मयपदम् पायात् स नः केशवः

kṛṣṇenā'mba gatena rantumadhunā mṛdbhakṣitā svecchayā
tathyam kṛṣṇa ka evamāha musalī mithyāmba paśyānanam |
vyādehīti vidārite śiśumukhe dṛṣṭvā samastam jagan
mātā yasya jagāma vismayapadam pāyātsa naḥ keśavaḥ || 2-65

kṛṣṇena amba rantum gatena adhunā mṛd bhakṣitā svecchayā tathyam kṛṣṇa ka evam āha musalī mithyā amba paśya ānanam  vyādehi iti vidārite śiśu mukhe dṛṣṭvā samastam jagat mātā yasya jagāma vismayapadam pāyāt sa naḥ keśavaḥ

kR^iShNenA.amba gatena rantumadhunA mR^idbhakShitA svecChayA
tathyam kR^iShNa ka evamAha musalI mithyAmba pashyAnanam |
vyAdehIti vidArite shishumukhe dR^iShTvA samastam jagan
mAtA yasya jagAma vismayapadam pAyAtsa naH keshavaH || 2-65

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kR^iShNena amba rantum gatena adhunA mR^id bhakShitA svecChayA tathyam kR^iShNa ka evam Aha musalI mithyA amba pashya Ananam vyAdehi iti vidArite shishu mukhe dR^iShTvA samastam jagat mAtA yasya jagAma vismayapadam pAyAt sa naH keshavaH

2-65.

balarAma: amba kR^iShNena rantum gatena= oh, mother; by kriShNa, to play, one has gone; by him; adhunA= just now; svecChayA mR^id bhakShitA= wilfully, clods, eaten;

yashoda: kR^iShNa! Tathyam= kriShNa, is it so!

kriShNa: kaH evam Aha= who says so!

yashoda: musalI = your brother, balarAma

kriShNa: mithyA… amba! Ananam pashya = it’s a lie… mother, see my mouth…

yashoda: vyAdehi… open it…

iti= in this way when the discussion continued;
vidArite shishu mukhe samastam jagat dR^iShTvA
= in the opened up, boy’s, mouth, all, world, on seeing; yasya mAtA= whose mother; vismayapadam jagAma= into an amazement, one who has gone in; saH keshavaH naH pAyAt = let that amazing child of an innocent mother, namely keshava, protect all of us.

tAtparyam = sulabham.

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स्वातीसपत्नी किल तारकाणाम् मुक्ताफलानाम् जननीति रोषात्।
सा रोहिणी नीलम् असूत रत्नम् कृतास्पदम् गोपवधूकुचेषु॥ २-६६

  स्वाती सपत्नी किल तारकाणाम् मुक्ता फलानाम् जननि इति रोषात्
सा रोहिणी नीलम् असूत रत्नम् कृत आस्पदम् गोप वधू कुचेषु

svātīsapatnī kila tārakāṇāmmuktāphalānām jananīti roṣāt |
sā rohiṇī nīlam asūta ratnamkṛtāspadam gopavadhūkuceṣu || 2-66

svātī sapatnī kila tārakāṇām muktā phalānām janani iti roṣāt
sā rohiṇī nīlam asūta ratnam kṛta āspadam gopa vadhū kuceṣu

svAtIsapatnI kila tArakANAm muktAphalAnAm jananIti roShAt |
sA rohiNI nIlam asUta ratnam kR^itAspadam gopavadhUkuceShu ||
2-66

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svAtI sapatnI kila tArakANAm muktA phalAnAm janani iti roShAt sA rohiNI nIlam asUta ratnam kR^ita Aspadam gopa vadhU kuceShu

anvayam: rohiNI nIlam ratnam asUta kila

2-66. tArakANAm svAtI sapatnI = among 27 star-wives of moon, svAti star, is a co-wife for other 26 stars; muktA phalAnAm janani = and she is mother-like to highly prized pearls; iti= that being the case of co-wife jealousies; sA rohiNI= she that, rohini – another star-wife of moon; roShAt= with disdain; nIlam ratnam asUta kila= a blue, jewel delivered, they say; which blue gem; gopa vadhU kuceShu= on milkmaids, bosoms; kR^ita Aspadam = acquired, a perfect placement.

Among 27 star-wives of moon svAti and rohiNi are the prominent ones, where star svAti is celebrated as the motherly star of highly prized pearls, for the bivalve shell of mother-pearl readily conceives with the advent of new showers in the period ruled over by svAti star, and pearls are every girl’s fancy. Disdainful of her co-wife’s celebrity, star rohiNi too became motherly star to a most precious sapphirine jewel, which acquired a perfect placement on the most uncommon bosoms of milkmaids of vraja. [2-66]

The poet is punning on kriShNa’s birth that took place when the moon is in the moon-station called rohiNi  constellation.

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नृत्यन्तम् अत्यन्तविलोकनीयम् कृष्णम् मणिस्तम्भगतम् मृगाक्षी।
निरीक्ष्य साक्षादिव कृष्णम् अग्रे द्विधा वितेने नवनीतम् एकम्॥ २-६७

  नृत्यन्तम् अत्यन्त विलोकनीयम् कृष्णम् मणि स्तम्भ गतम् मृग अक्षी
निरीक्ष्य साक्षात् इव कृष्णम् अग्रे द्विधा वितेने नवनीतम् एकम्

nṛtyantam atyantavilokanīyam
kṛṣṇam maṇistambhagatam mṛgākṣī |
nirīkṣya sākṣādiva kṛṣṇam agre
dvidhā vitene navanītam ekam || 2-67

nṛtyantam atyanta vilokanīyam kṛṣṇam maṇi stambha
gatam mṛga akṣī nirīkṣya sākṣāt iva
kṛṣṇam agre dvidhā vitene navanītam ekam

nR^ityantam atyantavilokanIyam
kR^iShNam maNistambhagatam mR^igAkShI |
nirIkShya sAkShAdiva kR^iShNam agre
dvidhA vitene navanItam ekam || 2-67

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nR^ityantam atyanta vilokanIyam kR^iShNam maNi stambha gatam mR^iga akShI nirIkShya sAkShAt iva kR^iShNam agre dvidhA vitene navanItam ekam

2-67. nR^ityantam= one who is [childishly] dancing in her fore; atyanta vilokanIyam= very lovely to see; maNi stambha gatam kR^iShNam= in jewel studded, pillar, one who is reflected; sAkShAt iva= present, as if– as another kriShNa; mR^iga akShI = fawn eyed one– mother yashoda; nirIkShya kR^iShNam agre= on seeing, kriShNa, in her fore [though a he is mirrored object] ekam navanItam dvidhA vitene= one, butter lump, as two, she made. bhrAntimadalankAram.

When child kriShNa is dancing in the house fed and watched by his mother yashoda, his splendid form is reflected in the gem studded pillar of that hall and there appeared twosome Krishna to the onlooker yashoda. Then that fawn eyed lady immediately split one butter lump in her hand as two, to feed that pair of kriShNa-s. Let us adore that boy who is deft in showing such lIlA-s. [2-67]

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वत्स जागृहि विभातम् आगतम् जीव कृष्ण शरदाम् शतम् शतम्।
इत्युदीर्य सुचिरम् यशोदया दृश्यमानवदनम् भजामहे॥ २-६८

  वत्स जागृहि विभातम् आगतम् जीव कृष्ण शरदाम् शतम् शतम्
इति उदीर्य सुचिरम् यशोदया दृश्यमान वदनम् भजामहे

vatsa jāgṛhi vibhātam āgatam
jīva kṛṣṇa śaradām śatam śatam |
ityudīrya suciram yaśodayā
dṛśyamānavadanam bhajāmahe || 2-68

vatsa jāgṛhi vibhātam āgatam jīva kṛṣṇa śaradām śatam śatam
iti udīrya suciram yaśodayā dṛśyamāna vadanam bhajāmahe

vatsa jAgR^ihi vibhAtam Agatam
jIva kR^iShNa sharadAm shatam shatam |
ityudIrya suciram yashodayA
dR^ishyamAnavadanam bhajAmahe || 2-68

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vatsa jAgR^ihi vibhAtam Agatam jIva kR^iShNa sharadAm shatam shatam iti udIrya suciram yashodayA dR^ishyamAna vadanam bhajAmahe

2-68. yashodayA= by yashoda; vatsa jAgR^ihi= oh, boy, wake up; vibhAtam Agatam= morning, has come; jIva kR^iShNa sharadAm shatam shatam = may you live for hundreds, and hundreds of years; iti= in this way; udIrya= said to him while she is waking him up; vadanam suciram dR^ishyamAna = which face, for a long time, she has been watchning – for sleeping children  look serene like almighty; bhajAmahe= we adore that impeccableface.

Let us adore that impeccable face of that boy which for along time watched over by his mother yashoda while waking him up with wake-up time words like, “oh, boy, wake up; it is already dawn; may live for hundreds, and hundreds of years…” [2-68]

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ओष्ठम् जिघ्रन् शिशुर् इति धिया चुम्बितो वल्लवीभिः
कण्ठम् गृह्णन्नरुणितपदम् गाढमालिङ्गिताङ्गः।
दोष्णा लज्जास्पदम् अभिमृशन्नङ्कमारोपितात्मा
धूर्तस्वामी हरतु दुरितम् दूरतो बालकृष्णः॥ २-६९

  ओष्ठम् जिघ्रन् शिशुः इति धिया चुम्बितः वल्लवीभिः कण्ठम् गृह्णन् अरुणित पदम्
गाढम् आलिङ्गित अङ्गः दोष्णा लज्जा आस्पदम् अभिमृशन् अङ्कम्
आरोपित आत्मा धूर्त स्वामी हरतु दुरितम् दूरतो बालकृष्णः

oṣṭham jighran śiśur iti dhiyā cumbito vallavībhiḥ
kaṇṭham gṛhṇannaruṇitapadam gāḍhamāliṅgitāṅgaḥ |
doṣṇā lajjāspadam abhimṛśannaṅkamāropitātmā
dhūrtasvāmī haratu duritam dūrato bālakṛṣṇaḥ || 2-69

oṣṭham jighran śiśuḥ iti dhiyā cumbitaḥ vallavībhiḥ kaṇṭham gṛhṇan aruṇita padam gāḍham āliṅgita aṅgaḥ doṣṇā
lajjā āspadam abhimṛśan aṅkam āropita ātmā
dhūrta svāmī haratu duritam dūrato bālakṛṣṇaḥ

oShTham jighran shishur iti dhiyA cumbito vallavIbhiH
kaNTham gR^ihNannaruNitapadam gADhamAli~NgitA~NgaH |
doShNA lajjAspadam abhimR^ishanna~NkamAropitAtmA
dhUrtasvAmI haratu duritam dUrato bAlakR^iShNaH || 2-69

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oShTham jighran shishuH iti dhiyA cumbitaH vallavIbhiH kaNTham gR^ihNan aruNita padam gADham Ali~Ngita a~NgaH doShNA lajjA Aspadam abhimR^ishan a~Nkam Aropita AtmA dhUrta svAmI haratu duritam dUrato bAlakR^iShNaH

2-69. vallavIbhiH shishuH iti dhiyA cumbitaH san= by milkmaids, [after all he is] a boy, in this, thinking, when he is kissed; oShTham jighran= [that cowwoman’s] lip, cleaving to it; Ali~Ngita a~NgaH san= when, cowwomen, embrace him; aruNita padam kaNTham gADham gR^ihNan= till red coloured blotches are made, necks [of cowwomen], by tightly, grabbing [as in hugging]; a~Nkam Aropita AtmA= when they placed him in their laps; doShNA lajjA Aspadam abhimR^ishan=with hands, their privates, rubbing; dhUrta svAmI= rascals, leader - one with this rascality; bAlakR^iShNaH; duritam dUrato haratu= [our] wrongdoings, distantly, let him take away.

When cowwomen wished to give a kiss to this little boy, thinking him ‘after all a boy’, this boy used cleave to their lips as in draughting kisses; when they wanted to give him a hug, he used to tightly hug their necks till they are reddened with blotches; when they tried to just make him sit in their laps , he used to play with their privates – throwing them into a puzzle whether this is ‘after all a child", or a "seasoned fornicator"; such a puzzler called bAlakriShNa evict all our wrongdoings distantly. [2-69]

--o)0(o--

एते लक्ष्मणजानकीविरहितम् माम् खेदयन्त्यम्बुदा
मर्माणीव च घट्टयन्त्यलम् अमी क्रूराः कदम्बानिलाः।
इत्थम् व्याहृत पूर्वजन्मचरितम् यो राधया वीक्षितः
सेर्ष्यम् शङ्कितया स नः सुखयतु स्वप्नायमानो हरिः॥ २-७०

  एते लक्ष्मण जानकी विरहितम् माम् खेदयन्ति अम्बुदा मर्माणि इव च घट्टयन्ति अलम्
अमी क्रूराः कदम्ब अनिलाः  इत्थम् व्याहृत पूर्व जन्म चरितम् यः राधया वीक्षितः
स ईर्ष्यम् शङ्कितया स नः सुखयतु स्वप्नायमानो हरिः

ete lakṣmaṇajānakīvirahitam mām khedayantyambudā
marmāṇīva ca ghaṭṭayantyalam amī krūrāḥ kadambānilāḥ |
ittham vyāhṛta pūrvajanmacaritam yo rādhayā vīkṣitaḥ
serṣyam śaṅkitayā sa naḥ sukhayatu svapnāyamāno hariḥ || 2-70

ete lakṣmaṇa jānakī virahitam mām khedayanti ambudā marmāṇi iva ca ghaṭṭayanti alam amī krūrāḥ kadamba anilāḥ  ittham vyāhṛta pūrva janma caritam yaḥ rādhayā vīkṣitaḥ sa īrṣyam śaṅkitayā sa naḥ sukhayatu svapnāyamāno hariḥ

ete lakShmaNajAnakIvirahitam mAm khedayantyambudA
marmANIva ca ghaTTayantyalam amI krUrAH kadambAnilAH |
ittham vyAhR^ita pUrvajanmacaritam yo rAdhayA vIkShitaH
serShyam sha~NkitayA sa naH sukhayatu svapnAyamAno hariH || 2-70

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ete lakShmaNa jAnakI virahitam mAm khedayanti ambudA marmANi iva ca ghaTTayanti alam amI krUrAH kadamba anilAH ittham vyAhR^ita pUrva janma caritam yaH rAdhayA vIkShitaH sa IrShyam sha~NkitayA sa naH sukhayatu svapnAyamAno hariH

2-70. lakShmaNa= oh, lakshmaNa; jAnakI virahitam mAm= jAnaki, without, me; ete ambudA khedayanti= these, darkclouds, are tormenting me; amI kadamba anilAH krUrAH= these,kadamba trees, breezes wafting on, have become cruel; marmANi alam ghaTTayanti iva ca= [innermost parts like] heart, easily, chafing off, as though;

ittham pUrva janma caritam vyAhR^ita = in this way, earlier, birth’s, legend, one who is recollecting; yaH hariH svapnAyamAnaH san= which, hari [in kriShNa‘s form], dream-time- babble – one who is making;that too when; sha~NkitayA rAdhayA sa IrShyam vIkShitaH= doubtfully, by rAdha, with jealousy, one who is watched by her; saH naH sukhayatu=he, us,let give comfort.

”Oh, lakshmaNa, these dark clouds are tormenting me; these breezes wafting on kadamba trees have become cruel towards me; all these are appearing to chafe off my heart for I am missing jAnaki…” in this way one who is recollecting the happenings of his previous incarnation and talking while in a sleep, that too, when rAdha is watching his dream-time-talk with a doubt inclusive of jealousy, let that hari endow comforts on all of us. [2-70]

--o)0(o--

ओष्ठम् मुङ्च हरे बिभेमि भवता पानैर्हता पूतना
कण्ठाश्लेषम् अमुम् जहीहि दलितावालिङ्गनेनार्जुनौ।
मा देहि च्छुरितम् हिरण्यकशिपुर्नीतौ नखैः पङ्चताम्
इत्थम् वारितरात्रिकेलिरवताल्लक्ष्म्योपहासाद्धरिः॥ २-७१

ओष्ठम् मुङ्च हरे बिभेमि भवता पानैः हता पूतना कण्ठ आश्लेषम् अमुम् जहीहि
दलितौ आलिङ्गनेन अर्जुनौ मा देहि च्छुरितम् हिरण्यकशिपुः नीतौ नखैः
पङ्चताम् इत्थम् वारित रात्रि केलिः अवतात् लक्ष्म्या उपहासात् धरिः

oṣṭham muṅca hare bibhemi bhavatā pānairhatā pūtanā
kaṇṭhāśleṣam amum jahīhi dalitāvāliṅganenārjunau |
mā dehi cchuritam hiraṇyakaśipurnītau nakhaiḥ paṅcatām
ittham vāritarātrikeliravatāllakṣmyopahāsāddhariḥ || 2-71

oṣṭham muṅca hare bibhemi bhavatā pānaiḥ hatā pūtanā kaṇṭha āśleṣam amum jahīhi dalitau āliṅganena arjunau mā dehi cchuritam hiraṇyakaśipuḥ nītau nakhaiḥ paṅcatām ittham
vārita rātri keliḥ avatāt lakṣmyā upahāsāt dhariḥ

oShTham mu~Nca hare bibhemi bhavatA pAnairhatA pUtanA
kaNThAshleSham amum jahIhi dalitAvAli~NganenArjunau |
mA dehi cChuritam hiraNyakashipurnItau nakhaiH pa~NcatAm
ittham vAritarAtrikeliravatAllakShmyopahAsAddhariH || 2-71

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oShTham mu~Nca hare bibhemi bhavatA pAnaiH hatA pUtanA kaNTha AshleSham amum jahIhi dalitau Ali~Nganena arjunau mA dehi cChuritam hiraNyakashipuH nItau nakhaiH pa~NcatAm ittham vArita rAtri keliH avatAt lakShmyA upahAsAt dhariH

2-71. hare= oh, hari; oShTham mu~Nca bibhemi= lip, release, I am fearing; bhavatA pAnaiH pUtanA hatA = by you, when you are breastfed, demoness pUtan, is killed;
amum kaNTha AshleSham jahIhi
= this, neck, embracing, leave off; Ali~Nganena arjunau dalitau= by your embrace, arjuna trees, are cleaved apart; mA dehi cChuritam= don’t, do, nail dents on my body; nakhaiH hiraNyakashipuH pa~NcatAm nItau = with your nails, demon king hiraNyakashipu, to death, led; ittham= in this way; lakShmyA= by lakshmi; upahAsAt vArita rAtri keliH= jocularly, one who is avoided, in night time, romances; hariH avatAt= let that hari, safeguard us.

One night goddess lakshmi started to avoid hari’s advances with quibbling words, “leave off my lip, oh, hari, for you killed pUtana sucking her breast; ah, don’t hug neck that tight for your hugging cleaved arjuna trees apart; oh, don’t make nail dents on my body for your nails tore hiraNyakashipu to death…”; he who is weaselled out by goddess lakshmi in this way, let him protect us all. [2-71]

--o)0(o--

रामो नाम बभूव  हुम् - तद् अबला सीतेति  हुम् - ताम् पितु
र्वाचा पङ्चवटीतटे विहरतस्तस्याहरद्रावणः।
निद्रार्थम् जननी कथामिति हरेर्हुङ्कारतः शृण्वतः
सौमित्रे क्व धनुर् धनुर् धनुर् इति व्यग्रा गिरः पान्तु वः॥ २-७२

  रामो नाम बभूव  हुम् - तद् अबला सीतेति  हुम् - ताम् पितुः वाचा
पङ्चवटी तटे विहरतः तस्य आहरत् रावणः निद्रार्थम् जननी कथामिति हरेः
हुङ्कारतः शृण्वतः सौमित्रे क्व धनुः धनुः धनुः इति व्यग्रा गिरः पान्तु वः

rāmo nāma babhūva  hum - tad abalā sīteti  hum - tām pitu
rvācā paṅcavaṭītaṭe viharatastasyāharadrāvaṇaḥ |
nidrārtham jananī kathāmiti harerhuṅkārataḥ śṛṇvataḥ
saumitre kva dhanur dhanur dhanur iti vyagrā giraḥ pāntu vaḥ || 2-72

rāmo nāma babhūva  hum - tad abalā sīteti  hum - tām
pituḥ vācā paṅcavaṭī taṭe viharataḥ tasya āharat rāvaṇaḥ nidrārtham jananī kathāmiti hareḥ huṅkārataḥ śṛṇvataḥ saumitre kva dhanuḥ dhanuḥ dhanuḥ iti vyagrā giraḥ pāntu vaḥ

rAmo nAma babhUva – hum - tad abalA sIteti – hum - tAm pitu
rvAcA pa~NcavaTItaTe viharatastasyAharadrAvaNaH |
nidrArtham jananI kathAmiti harerhu~NkArataH shR^iNvataH
saumitre kva dhanur dhanur dhanur iti vyagrA giraH pAntu vaH || 2-72

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rAmo nAma babhUva – hum - tad abalA sIteti – hum - tAm pituH vAcA pa~NcavaTI taTe viharataH tasya Aharat rAvaNaH nidrArtham jananI kathAmiti hareH hu~NkArataH shR^iNvataH saumitre kva dhanuH dhanuH dhanuH iti vyagrA giraH pAntu vaH

2-72. mother: rAmo nAma babhUva= Once there live a prince called Rama;

child: hum;

mother: tat abalA sIta iti= he has a wife called Sita;

child: hum;

pituH vAcA pa~NcavaTI taTe viharataH= when they are in panchavaTi forests as per his father’s orders;

tasya tAm rAvaNaH Aharat= she belonging to him, one called rAvaNa stole - rAma's wife sIta;

iti nidrArtham jananI kathAm= in this way when mother yashoda is telling a bedtime story;

hareH shR^iNvataH= by hari, [this point of story, Sita’s abduction] on listening; hu~NkArataH= ‘hum’ sound is uttered expressing dissent [while the above ‘hum’ sounds arecasual drones];

child: saumitre kva dhanuH dhanuH dhanuH= oh, saumitri, where is my bow… bow… get me my bow – thus that child uttered to utter stupefaction of his mother; iti vyagrA giraH= in this way, with perturbed, words – one who reacted; pAntu vaH= let him protect us.

tAtparyam = sulabham.

Please note that 3rd foot is entirely changing in vanga pATham, when compared with Telugu mms.

--o)0(o--

बालोऽपि शैलोद्धरणाग्रपाणि र्नीलोऽपि नीरन्ध्रतमप्रदीपः।
धीरोऽपि राधानयनावबद्धो जारोऽपि संसारहर कुतस् त्वम्॥ २-७३

  बालः अपि शैल उद्धरण अग्र पाणि र्नीलः अपि नीरन्ध्र तम प्रदीपः
धीरः अपि राधा नयन अवबद्धः जारः अपि संसार हर कुतः त्वम्

bālo'pi śailoddharaṇāgrapāṇi
rnīlo'pi nīrandhratamapradīpaḥ |
dhīro'pi rādhānayanāvabaddho
jāro'pi saṁsārahara kutas tvam || 2-73

bālaḥ api śaila uddharaṇa agra pāṇi rnīlaḥ api
nīrandhra tama pradīpaḥ dhīraḥ api rādhā
nayana avabaddhaḥ jāraḥ api saṁsāra hara kutaḥ tvam

bAlo.api shailoddharaNAgrapANi
rnIlo.api nIrandhratamapradIpaH |
dhIro.api rAdhAnayanAvabaddho
jAro.api saMsArahara kutas tvam || 2-73

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bAlaH api shaila uddharaNa agra pANi rnIlaH api nIrandhra tama pradIpaH dhIraH api rAdhA nayana avabaddhaH jAraH api saMsAra hara kutaH tvam

2-73. tvam bAlaH= you are, a boy; api= even then; shaila uddharaNa agra pANi= for lifting, a mountain, [you have a very capable] end of, a hand - fingertip; rnIlaH= blueblackish fellow; api= yet; nIrandhra tama pradIpaH = pitch dark, darkness, [for removing you are] a very brilliant lamp; dhIraH= highly steadfast fellow; api= nevertheless; rAdhA nayana avabaddhaH= by rAdha’s, eye [movements] tameable one; jAraH= a fornicator; api= even then; saMsAra hara= life-death cycle, remover;

kutaH= how come, you are with mutually self-contradicting dispositions.

bhAvam= sulabham.

Please note that the word ‘samsAra’ is used in the usage style of Telugu people. Sanskrit poets refrain to use it in this way.

--o)0(o--

बालाय नीलवपुषे नवकिङ्किणीक जालाभिरामजघनाय दिगम्बराय।
शार्दूलदिव्यनखभूषणभूषिताय नन्दात्मजाय नवनीतमुषे नमस् ते॥ २-७४

  बालाय नील वपुषे नव किङ्किणीक जाल अभिराम जघनाय दिगम्बराय शार्दूल
दिव्यम् नखम् भूषणम् भूषिताय नन्द आत्मजाय नवनीत मुषे नमः ते

bālāya nīlavapuṣe navakiṅkiṇīka
jālābhirāmajaghanāya digambarāya |
śārdūladivyanakhabhūṣaṇabhūṣitāya
nandātmajāya navanītamuṣe namas te || 2-74

bālāya nīla vapuṣe nava kiṅkiṇīka jāla abhirāma jaghanāya digambarāya śārdūla  divyam nakham bhūṣaṇam
bhūṣitāya nanda ātmajāya navanīta muṣe namaḥ te

bAlAya nIlavapuShe navaki~NkiNIka
jAlAbhirAmajaghanAya digambarAya |
shArdUladivyanakhabhUShaNabhUShitAya
nandAtmajAya navanItamuShe namas te || 2-74

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bAlAya nIla vapuShe nava ki~NkiNIka jAla abhirAma jaghanAya digambarAya shArdUla divyam nakham bhUShaNam bhUShitAya nanda AtmajAya navanIta muShe namaH te

2-74. bAlAya= for that child - who; nIla vapuShe= sapphirine blue, in complexion; nava ki~NkiNIka jAla abhirAma jaghanAya= with newly made, jingle bells, beautiful, one who has on waistline – on which that chain of jingle bells is worn; digambarAya= one in a birthday suit; shArdUla divya nakha bhUShaNam bhUShitAya = one with tiger’s, talismanly, nail, a pendant- a pendant with tiger’s nail as its locket, one who is adorned with; navanIta muShe= for butter, thief; nanda AtmajAya= for nanda’s, son; te namaH = to you, my namaskAram.

Here are my salutations to cowherd nanda’s son who barely is a child, sapphirine blue in complexion, waistline adorned with a newly made golden chain of tiny jingle bells, a pendant hanging on his chest with talismanly tiger-nails as its locket, above all who in birthday suit moves freely in vraja village thieving butter. [2-74]

Wearing tiger’s nails is at one time was for a talisman effect, later became a status symbol, which blind faith depleted the tiger population, besides NOT bringing any palpable change to the wearers.

--o)0(o--

पाणौ पायसभक्तम् आहितरसम् बिभ्रन् मुदा दक्षिणे
सव्ये शारदचन्द्रमण्डलनिभम् हैयङ्गवीनम् दधत्।
कण्ठे कल्पितपुण्डरीकनखमप्युद्दामदीप्तिम् वहन्
देवो दिव्यदिगम्बरो दिशतु नः सौख्यम् यशोदाशिशुः॥ २-७५

  पाणौ पायस भक्तम् आहित रसम् बिभ्रन् मुदा दक्षिणे सव्ये शारद चन्द्र मण्डल
निभम् हैयङ्गवीनम् दधत् कण्ठे कल्पित पुण्डरीक नखम् अपि उद्दाम
दीप्तिम् वहन्देवो दिव्य दिगम्बरः दिशतु नः सौख्यम् यशोदा शिशुः

pāṇau pāyasabhaktam āhitarasam bibhran mudā dakṣiṇe
savye śāradacandramaṇḍalanibham haiyaṅgavīnam dadhat |
kaṇṭhe kalpitapuṇḍarīkanakhamapyuddāmadīptim vahan
devo divyadigambaro diśatu naḥ saukhyam yaśodāśiśuḥ || 2-75

pāṇau pāyasa bhaktam āhita rasam bibhran mudā dakṣiṇe savye śārada candra maṇḍala nibham haiyaṅgavīnam dadhat kaṇṭhe kalpita puṇḍarīka nakham api uddāma dīptim vahan
devo divya digambaraḥ diśatu naḥ saukhyam yaśodā śiśuḥ

pANau pAyasabhaktam Ahitarasam bibhran mudA dakShiNe
savye shAradacandramaNDalanibham haiya~NgavInam dadhat |
kaNThe kalpitapuNDarIkanakhamapyuddAmadIptim vahan
devo divyadigambaro dishatu naH saukhyam yashodAshishuH || 2-75

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pANau pAyasa bhaktam Ahita rasam bibhran mudA dakShiNe savye shArada candra maNDala nibham haiya~NgavInam dadhat kaNThe kalpita puNDarIka nakham api uddAma dIptim vahan devo divya digambaraH dishatu naH saukhyam yashodA shishuH

2-75. dakShiNe pANau= in right, hand; Ahita rasam pAyasa bhaktam mudA bibhrat = containing many tastes, dessert, one who is with gladness, handling; savye pANau= in left, hand; shArada candra maNDala nibham= in autumn, moon’s, orb like, in lustre; haiya~NgavInam= butter made from yesterday’s milk – very fresh butter; dadhat= one who is handling; kaNThe= on neck; uddAma dIptim= one that has spurting radiance - pendant; kalpita puNDarIka nakham api= wedged, tiger’s, nails, even; vahan= one who is carrying; divya digambaraH= one who has devata vastrA-s on his body – ethereal gods wear ethereal dresses - a dressless boy; devaH= such a boy-god; yashodA shishuH= that yashoda’s, child; naH saukhyam dishatu= to us, an eternal bliss, let him show.

That yashoda’s child who gladly handles a cup of freshly prepared dessert containing many a taste in his right hand, a lump of very fresh butter looking like the orb of autumnal moon in the left, wearing a pendant with tiger’s nails wedged in its locket that outspread refulgence, and moves thereabout wearing nothing else on his body, let that baby-god show eternal bliss on all of us. [2-75]

--o)0(o--

किङ्किणिकिणिकिणिरभसै रङ्गणभुवि रिङ्गनैः सदाटन्तम्।
कुङ्कुणुकुणुपदयुगलम् कङ्कणकरभूषणम् हरिम् वन्दे॥ २-७६

  किङ्किणि किणि किणि रभसैः अङ्गण भुवि रिङ्गनैः सदा अटन्तम्
कुङ्कुणु कुणु पद युगलम् कङ्कण कर भूषणम् हरिम् वन्दे

kiṅkiṇikiṇikiṇirabhasai raṅgaṇabhuvi riṅganaiḥ sadāṭantam |

kuṅkuṇukuṇupadayugalam kaṅkaṇakarabhūṣaṇam harim vande || 2-76

kiṅkiṇi kiṇi kiṇi rabhasaiḥ aṅgaṇa bhuvi riṅganaiḥ sadā aṭantam kuṅkuṇu kuṇu pada yugalam kaṅkaṇa kara bhūṣaṇam harim vande

ki~NkiNikiNikiNirabhasai
ra~NgaNabhuvi ri~NganaiH sadATantam |
ku~NkuNukuNupadayugalam
ka~NkaNakarabhUShaNam harim vande || 2-76

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ki~NkiNi kiNi kiNi rabhasaiH a~NgaNa bhuvi ri~NganaiH sadA aTantam ku~NkuNu kuNu pada yugalam ka~NkaNa kara bhUShaNam harim vande

2-76. ki~NkiNi= kiN+kiNi=from tiny jingle bells; kiN rabhasaiH= [L. tin tinnire] with kiN, kiN, sounds – with tintinnabulations; a~NgaNa bhuvi= in his house’s courtyard; ri~NganaiH= with hops and jumps [of a little child]; sadA aTantam= always, who is playing; ku~NkuNu= kuNu+kuNu= kunkuNu= those that make kuN, kuN sounds – anklets with jingle bells; kuNu= with their kuN, kuN sounds; pada yugalam= one whose feet are with; ka~NkaNa= kaN+kaN= kankaNa= with bracelets making kaN, kaN sounds; kara bhUShaNam= wrists, adorned with; harim vande= to such hari in a baby boy’s get up, our salutations.

bhAvam= sulabham

This verse crafted onomatopoeically on Na shabda punAvR^itti, repeatable sound of Na - shabAlankaaram

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सम्बाधे सुरभीणामम्बाम् आयासयन्तम् अनुयान्तिम्।
लम्बालकम् अवलम्बेतम् बालम् तनुविलग्नजम्बालम्॥ २-७७

  सम्बाधे सुरभीणाम् अम्बाम् आयासयन्तम् अनुयान्तिम् लम्ब
अलकम् अवलम्बेतम् बालम् तनु विलग्न जम्बालम्

sambādhe surabhīṇāmambām āyāsayantam anuyāntim |
lambālakam avalambetam bālam tanuvilagnajambālam || 2-77

sambādhe surabhīṇām ambām āyāsayantam anuyāntim lamba alakam avalambe tam bālam tanu vilagna jambālam

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

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sambAdhe surabhINAm ambAm AyAsayantam anuyAntim lamba alakam avalambe tam bAlam tanu vilagna jambAlam

2-77. surabhINAm sambAdhe= among, cow herds; anuyAntim ambAm AyAsayantam= one who is chasing, to such a mother, causing short-breath; lamba alakam= one with hanging curls with dishevelled hair; tanu vilagna jambAlam= on boy, verily dabbed, mud – cow dung etc; tam bAlam avalambe= that, boy, we hang upon.

He who makes his mother short breathed by running crisscross among a pack of cows while she chases to catch him, for she only wanted to tidy him up as his curls dishevelled and hanging loose, body smeared with cow dung, mud, straws pieces and what not, let us dangle upon him who looks apperceivably dirty. [2-77]

This is also an alliterative narration on sound ‘mba’ shabda punAvR^itti. shabdAlankAram. This verse has an import of sampatkR^idaSTAkSharI mantrta dhyAnam: sanatkumArasamhita.

panchahAyanamIshAnam dhAvamAnam vrajAngaNe |
kinkiNi nUpura grIvA karNa bhUShojjvalam smaret ||

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अङ्चितपिङ्चापीडम् सङ्चितसौजन्यवल्लवीवलयम्।
अधरमणिनिहितवेणुम् बालम् गोपालम् अनिशम् अवलम्बे॥ २-७८

  अङ्चित पिङ्च आपीडम् वङ्चित सौजन्य वल्लवी वलयम् अधर मणि
निहित वेणुम् बालम् गोपालम् अनिशम् अवलम्बे

aṅcitapiṅcāpīḍam saṅcitasaujanyavallavīvalayam |
adharamaṇinihitaveṇum bālam gopālam aniśam avalambe || 2-78

aṅcita piṅca āpīḍam vaṅcita saujanya vallavī valayam
adhara maṇi nihita veṇumbālam gopālam aniśam avalambe

a~Ncitapi~NchApIDam sa~NcitasaujanyavallavIvalayam |
adharamaNinihitaveNum bAlam gopAlam anisham avalambe || 2-78

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a~Ncita pi~Ncha ApIDam va~Ncita saujanya vallavI valayam adhara maNi nihita veNum bAlam gopAlam anisham avalambe

2-78. a~Ncita pi~Ncha ApIDam= glistening brightly, tucked with peacock’s feather, with such a head gear;

sa~Ncita saujanya vallavI valayam= gathered, friendly, milkmaids, coterie – one who has it around him;

or, va~Ncita saujanya vallavI valayam= those that hoodwinked, for friendliness, such milkmaids, coterie – as in some mms, vanchita is there instead of sanchita.

adhara maNi nihita veNum= on his lip, called jewel, placed, flute; bAlam= a boy; gopAlam= a cow minder; anisham avalambe= let us always, take shelter of.

Let us always take shelter of that boy, for his being a cow minder standing in the midst of a very friendly coterie of milkmaids gathering around him, while peacock feathers tucked in his headgear glistens very brilliantly. [2-78]

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प्रह्लादभागधेयम् निगममहाद्रेर् गुहान्तराधेयम्।
नरहरि पदाभिधेयम् विबुधविधेयम् ममानुसन्धेयम्॥ २-७९

  प्रह्लाद भागधेयम् निगम महा अद्रेः गुह अन्तः आधेयम्
नरहरि पद अभिधेयम् विबुध विधेयम् मम अनुसन्धेयम्

prahlādabhāgadheyam nigamamahādrer guhāntarādheyam |
narahari padābhidheyam vibudhavidheyam mamānusandheyam || 2-79

prahlāda bhāgadheyam nigama mahā adreḥ guha antaḥ ādheyam narahari pada abhidheyam vibudha vidheyam mama anusandheyam

prahlAdabhAgadheyam nigamamahAdrer guhAntarAdheyam |
narahari padAbhidheyam vibudhavidheyam mamAnusandheyam || 2-79

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prahlAda bhAgadheyam nigama mahA adreH guha antaH Adheyam narahari pada abhidheyam vibudha vidheyam mama anusandheyam

2-79. prahlAda bhAgadheyam= one who is prahlAda’s, fortune; nigama mahA adreH= scriptures, called great, mountain; guha antaH Adheyam= cave, inside, one that is a substratum; narahari pada abhidheyam= lion-man, by name, who is known; vibudha vidheyam= for sagacious people, subservient; mama anusandheyam= to me, focusing point.

One who is prince prahlAda’s fortune, a substratum ensconced in the interiors of caves of the great mountain called scriptures, delineated by the name nara-hari, one subservient to sagacious and makes gods subservient to him. Hence, who is sAkshAt nArAyaNa, let that bAlakriShNa be our focal point. [2-79]

This verse is not showing any indicators to krishna incarnation, like pincha, blueblackness, vraja, nanda, yashoda, gopika, veNu, rAdhika etc specifically used by the poet. Hence some dismiss this verse as an interpolation.

If usage like laksmi alias rukmiNi in other verses is accepted as applied krishna avatAram, here also the words prahlAda, nara-hari etc should be accepted as nArAyaNa becoming man-lion and later as kriShNa, and when the poet is touching almost all the incarnations, somehow or the other – why not this – is the argument of some people.

The poet himself said something about other incarnations at 2-85, avatArA santi anye…

Anyway it is a beautiful verse again with shabdalankAram on sound dheyam in words: bhAgadheyam, Adheyam, abhidheyam, and sandheyam.

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संसारे किम् सारम् कंसारेश्चरणकमलपरिभजनम्।
ज्योतिः किम् अन्धकारेयदन्धकारेरनुस्मरणम्॥ २-८०

  संसारे किम् सारम् कंस अरेः चरण कमल परिभजनम् ज्योतिः
किम् अन्धकारे यत् अन्धक अरेः अनुस्मरणम्

saṁsāre kim sāram kaṁsāreścaraṇakamalaparibhajanam |
jyotiḥ kim andhakāreyadandhakāreranusmaraṇam || 2-80

saṁsāre kim sāram kaṁsa areḥ caraṇa kamala paribhajanam jyotiḥ kim andhakāre yat andhaka areḥ anusmaraṇam

saMsAre kim sAram kaMsAreshcaraNakamalaparibhajanam |
jyotiH kim andhakAreyadandhakAreranusmaraNam || 2-80

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saMsAre kim sAram kaMsa areH caraNa kamala paribhajanam jyotiH kim andhakAre yat andhaka areH anusmaraNam

2-80. saMsAre sAram kim= in life-death cycle, tangible object, what is; paribhajanam kaMsa areH caraNa kamala = completely surrendering,at the feet, called lotuses, of kamsa’s enemy; andhakAre jyotiH kim= even in pitch darkness, [enlightening] light, what is; andhaka areH anusmaraNam= demon andhaka-asura’s, enemy’s, reminiscence; yat= that which is there, that alone – are the recourses.

What is the tangible object in the intangible cycle of like and death? It is the complete surrender at the lotusy feet of king kamsa’s enemy, namely kriShNa. What is the enlightening light even in pitch darkness? It is the constant reminiscence on the enemy of andha-asura, namely god shiva. [2-80]

Based on old saying:

Arogyam bhAkrAdicChet shriyamicCheddhutAshanAt
j~nAnam maheshvarAdicChet mokshamicChejjanArdanAt ||

Again there is shabdAlankAram on sound re in words saMsAre, kaMsAre, andhakAre, andhaka-are.

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कलशनवनीतचोरे कमलादृक्कुमुदचन्द्रिकापुरे।
विहरतु नन्दकुमारे चेतो मम गोपसुन्दरीजारे॥ २-८१

  कलश नवनीत चोरे कमला दृक् कुमुद चन्द्रिका पुरे
विहरतु नन्द कुमारे चेतो मम गोप सुन्दरी जारे

kalaśanavanītacore kamalādṛkkumudacandrikāpure |
viharatu nandakumāre ceto mama gopasundarījāre || 2-81

kalaśa navanīta core kamalā dṛk kumuda candrikā
pure viharatu nanda kumāre ceto mama gopa sundarī jāre

kalashanavanItacore kamalAdR^ikkumudacandrikApure |
viharatu nandakumAre ceto mama gopasundarIjAre || 2-81

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kalasha navanIta core kamalA dR^ik kumuda candrikA pure viharatu nanda kumAre ceto mama gopa sundarI jAre

2-81. kalasha navanIta core= from pots, butter, who is thieving; kamalA= lakshmi / rukmiNi; dR^ik kumuda= for glances, called kumuda flowers; candrikA pure= moonlight, one who is filling it up – a blossomer; gopa sundarI jAre= for cowherds, beauties, a fornicator; nanda kumAre mama ceto viharatu= that nanda’s son,in my heart, let him always be frolicking.

Let nanda’s child be always frolicking in my heart, for he thieves butter from pots, where pots are hearts, butter is heart’s dedication, and thieving is the unknowing liberation of that content; for he,  is the one who sheds moonlight-like his own resplendence, as a blossomer, on the buddy kumuda flowers-like glances of lakshmi, the personified fortune, without whose smiley blessing none can be fortunate; moreover he is the so-called fornicator of the beauties of vraja village, where those milkmaids are sages and saints in female form desiring his nestling attention. [2-81]

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कस्त्वम् बाल बलानुजः किम् इह ते मन्मन्दिराशङ्कया
युक्तम् तत् नवनीतपात्रविवरे हस्तम् किम् अर्थम् न्यसेः।
मातः कङ्चन वत्सकम् मृगयितुम् मा गा विषादम् क्षणाद्
इति एवम् वरवल्लवी प्रतिवचः कृष्णस्य पुष्णातु नः॥ २-८२

  कस् त्वम् बाल बल-अनुजः किम् इह ते मत् मन्दिर आशङ्कया युक्तम्
तत् नवनीत पात्र विवरे हस्तम् किम् अर्थम् न्यसेः मातः कङ्चन वत्सकम्
मृगयितुम् मा गा विषादम् क्षणाद् इति एवम् वर वल्लवी प्रति-वचः कृष्णस्य पुष्णातु नः

kastvam bāla balānujaḥ kim iha te manmandirāśaṅkayā
yuktam tat navanītapātravivare hastam kim artham nyaseḥ |
mātaḥ kaṅcana vatsakam mṛgayitum mā gā viṣādam kṣaṇād
iti evam varavallavī prativacaḥ kṛṣṇasya puṣṇātu naḥ || 2-82

kas tvam bāla bala-anujaḥ kim iha te mat mandira āśaṅkayā yuktam tat navanīta pātra vivare hastam kim artham nyaseḥ mātaḥ kaṅcana vatsakam mṛgayitum mā gā viṣādam kṣaṇād iti evam vara vallavī prati-vacaḥ kṛṣṇasya puṣṇātu naḥ

kastvam bAla balAnujaH kim iha te manmandirAsha~NkayA
yuktam tat navanItapAtravivare hastam kim artham nyaseH |
mAtaH ka~Ncana vatsakam mR^igayitum mA gA viShAdam kShaNAd
iti evam varavallavI prativacaH kR^iShNasya puShNAtu naH || 2-82

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kaHtvam bAla bala-anujaH kim iha te mat mandira Asha~NkayA yuktam tat navanIta pAtra vivare hastam kim artham nyaseH mAtaH ka~Ncana vatsakam mR^igayitum mA gA viShAdam kShaNAd iti evam vara vallavI prati-vacaH kR^iShNasya puShNAtu naH

2-82. milkmaid: kas tvam bAla? Who are you, boy?

kriShNa:bala-anujaH: balarAma’s brother;

milkmaid: iha te kim = what it you are doing here – in my house

kriShNa : mat mandira Asha~NkayA= thought this as our house – and entered;

milkmaid: tat yuktam! navanIta pAtra vivare hastam kim artham nyaseH = its ok, what for you are digging hand in that butter pot;

kriShNa: ka~Ncana vatsakam mR^igayitum= searching for a missing calf; mA gA viShAdam mAtaH = don’t get upset my mother;

evam iti = in this way; kR^iShNasya= of kriShNa;

vara vallavI kShaNAt prati-vacaH= [iti evam vada vallavI prativachaH]= to best, cowwoman, in a trice, repartees shot back - he who shot back; naH puShNAtu = let those quick witted badinages invigorate all of us.

bhAvam = sulabham.

This verse has an import of gopAlakriShNa ekAdashAkshara mantrta dhyAnam: sanatkumArasamhita.
harantam navanItAdi chauryeNa… japet idam ||

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गोपालाजिरकर्दमे विहरसे विप्राध्वरे लज्जसे
ब्रूषे गोकुलहुङ्कृतैः स्तुतिशतैर्मौनम् विधत्से विदाम्।
दास्यम् गोकुलपुंश्चलीषु कुरुषे स्वाम्यम् न दान्तात्मसु
ज्ञातम् कृष्ण तवाङ्घ्रिपङ्कजयुगम् प्रेम्णाचलम् मङ्जुलम्॥ २-८३

  गोपाल अजिर कर्दमे विहरसे विप्र अध्वरे लज्जसे ब्रूषे गो कुल हुङ्कृतैः स्तुति शतैः
मौनम् विधत्से विदाम् दास्यम् गोकुल पुंश्चलीषु कुरुषे स्वाम्यम् न दान्त आत्मसु
ज्ञातम् कृष्ण तवाङ्घ्रि पङ्कज युगम् प्रेम्णा अचलम् मङ्जुलम्

gopālājirakardame viharase viprādhvare lajjase
brūṣe gokulahuṅkṛtaiḥ stutiśatairmaunam vidhatse vidām |
dāsyam gokulapuṁścalīṣu kuruṣe svāmyam na dāntātmasu
jñātam kṛṣṇa tavāṅghripaṅkajayugam premṇācalam maṅjulam || 2-83

gopāla ajira kardame viharase vipra adhvare lajjase brūṣe go kula huṅkṛtaiḥ stuti śataiḥ maunam vidhatse vidām dāsyam gokula puṁścalīṣu kuruṣe svāmyam na dānta ātmasu jñātam kṛṣṇa tavāṅghri paṅkaja yugam premṇā acalam maṅjulam

gopAlAjirakardame viharase viprAdhvare lajjase
brUShe gokulahu~NkR^itaiH stutishatairmaunam vidhatse vidAm |
dAsyam gokulapuMshcalIShu kuruShe svAmyam na dAntAtmasu
j~nAtam kR^iShNa tavA~Nghripa~Nkajayugam premNAcalam ma~Njulam || 2-83

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gopAla ajira kardame viharase vipra adhvare lajjase brUShe go kula hu~NkR^itaiH stuti shataiH maunam vidhatse vidAm dAsyam gokula puMshcalIShu kuruShe svAmyam na dAnta Atmasu j~nAtam kR^iShNa tavA~Nghri pa~Nkaja yugam premNA acalam ma~Njulam

2-83. gopAla kardame ajira viharase= in cowmen’s, swampy, courtyards, you play; but; vipra adhvare lajjase= in brAhmaNA-s, ritual [fields], [to enter] you hesitate; go kula hu~NkR^itaiH brUShe= cow, herds of, to their lowing, you talk; vidAm stuti shataiH maunam vidhatse= scholars’, eulogies, hundreds of, silent, you will become; gokula puMshcalIShu dAsyam kuruShe= cowwomen, of libertine ones, servitude, you undertake; dAnta Atmasu svAmyam na kuruShe= on yogic sages, lordship, you don’t like to do;j~nAtam kR^iShNa= oh, kriShNa, I have known; tavA~Nghri pa~Nkaja yugam= your, feet, called the pair of lotuses; premNA= owing only to love; acalam= unmoving [towards loveless practises / places / aspects]; [or, calam= move to that place where unqualified love is abundant]; hence that pair of lotusy feet are; ma~njulam= delighting.

You prefer to play in the swampy courtyards of cowmen rather than in the Vedic-ritual-leas of brAhmaNA-s; you prefer to reply to the mooing and lowing cow herds rather than the hundreds of eulogies of scholars; you prefer to undertake servitude to the libertine cowwomen rather than becoming a lord of yogic practitioners; but, what for? Oh, yes, I have known fact, I think, that your feet called lotuses budge towards a place or a person where unqualified love – madhura bhakti - is abundant, not otherwise, whereof that pair of your lotusy feet are delighting to us. [2-83]

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नमस्तस्मै यशोदाया दायादायास्तु तेजसे।
यद्धि राधामुखाम्भोजम् भोजम् भोजम् व्यवर्धत॥ २-८४

  नमस् तस्मै यशोदाया दायादायास्तु तेजसे यत्  हि राधामुखाम्भोजम् भोजम् भोजम् व्यवर्धत

namastasmai yaśodāyā dāyādāyāstu tejase |yaddhi rādhāmukhāmbhojam bhojam bhojam vyavardhata || 2-84

namas tasmai yaśodāyā dāyādāyāstu tejase yat  hi rādhāmukhāmbhojam bhojam bhojam vyavardhata

namastasmai yashodAyA dAyAdAyAstu tejase |
yaddhi rAdhAmukhAmbhojam bhojam bhojam vyavardhata || 2-84

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namas tasmai yashodAyA dAyAdAyAstu tejase yat hi rAdhAmukhAmbhojam bhojam bhojam vyavardhata

2-84. yat hi= which [sapphirine resplendence], indeed; rAdhA mukha ambhojam bhojam bhojam= rAdha’s, face, called, lotus, on enjoying, and enjoying – the lusciousness of that lotus called face; vyavardhata= bourgeoned; yashodAyA dAyAdAya vyavardhata = yashoda’s, legatee – legatee enjoying not her property but motherly care – vAtsalyam, one who luxuriated in; tasmai= to such a; tejase= sapphirine effulgence; namas astu = our adorations.

Let us adore that sapphirine effulgence that doubly burgeoned on the continuous care of his mother yashoda, and on the continued enjoyment of the lusciousness the lotusy face of rAdha. [2-84]

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अवताराः सन्तिन्ये सरसिजनयनस्य सर्वतोभद्राः।
कृष्णादन्यः को वा प्रभवति गोगोपिकामुक्त्यै॥ २-८५

  अवताराः सन्ति अन्ये सरसिज नयनस्य सर्वतः भद्राः
कृष्णात् अन्यः कः वा प्रभवति गो गोपिका मुक्त्यै

avatārāḥ santianye sarasijanayanasya sarvatobhadrāḥ |

kṛṣṇādanyaḥ ko vā prabhavati gogopikāmuktyai || 2-85

avatārāḥ santi anye sarasija nayanasya sarvataḥ bhadrāḥ kṛṣṇāt anyaḥ kaḥ vā prabhavati go gopikā muktyai

avatArAH santianye sarasijanayanasya sarvatobhadrAH |
kR^iShNAdanyaH ko vA prabhavati gogopikAmuktyai || 2-85

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avatArAH santi anye sarasija nayanasya sarvataH bhadrAH kR^iShNAt anyaH kaH vA prabhavati go gopikA muktyai

2-85. sarvataH bhadrAH= anywise, auspicious incarnations; sarasija nayanasya= of lotusy eyed one – nArAyaNa-s; anye avatArAH santu= other, incarnations, let them be there; go gopikA muktyai= cows, milkmaids, for emancipation; kR^iShNAt anyaH= kriShNa incarnation, other than; kaH vA prabhavati = which one is, that glorious.

If other incarnations of lotus-eyed nArAyaNa are there that are most auspicious anywise,let them be there; but, which is the incarnation as glorious as kriShNa in emancipating simple cows or rustic milkmaids. [2-85]

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मध्ये गोकुलमण्डलम् प्रतिदिशम् चाम्बारवोज्जृम्भिते
प्रातर्दोहमहोत्सवे नवघनश्यामम् रणन्नूपुरम्।
फाले बालविभूषणम् कटिरट्किङ्किणीमेखलम्
कण्ठे व्याघ्रनखम् च शैशवकलाकल्याणकार्त्स्न्यम् भजे॥ २-८६

  मध्ये गोकुल मण्डलम् प्रति दिशम् च आम्बा रव उत् जृम्भिते प्रातः दोह महा उत्सवे नव घन श्यामम् रणत् नूपुरम् फाले बाल विभूषणम् कटि रट किङ्किणी मेखलम् कण्ठे व्याघ्र नखम् च शैशव कला कल्याण कार्त्स्न्यम् भजे

madhye gokulamaṇḍalam pratidiśam cāmbāravojjṛmbhite
prātardohamahotsave navaghanaśyāmam raṇannūpuram |
phāle bālavibhūṣaṇam kaṭiraṭkiṅkiṇīmekhalam
kaṇṭhe vyāghranakham ca śaiśavakalākalyāṇakārtsnyam bhaje || 2-86

madhye gokula maṇḍalam prati diśam ca āmbā rava ut jṛmbhite prātaḥ doha mahā utsave nava ghana śyāmam raṇat nūpuram  phāle bāla vibhūṣaṇam kaṭi raṭa kiṅkiṇī mekhalam kaṇṭhe vyāghra nakham ca śaiśava kalā kalyāṇa kārtsnyam bhaje

madhye gokulamaNDalam pratidisham cAmbAravojjR^imbhite
prAtardohamahotsave navaghanashyAmam raNannUpuram |
phAle bAlavibhUShaNam kaTiraTki~NkiNImekhalam
kaNThe vyAghranakham ca shaishavakalAkalyANakArtsnyam bhaje || 2-86

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madhye gokula maNDalam prati disham ca AmbA rava ut jhR^imbhite prAtaH doha mahA utsave nava ghana shyAmam raNat nUpuram phAle bAla vibhUShaNam kaTi raTa ki~NkiNI mekhalam kaNThe vyAghra nakham ca shaishava kalA kalyANa kArtsnyam bhaje

2-86. prati disham AmbA rava ut jhR^imbhite= in every, direction, with mooing, sounds, booming out; prAtaH doha mahA utsave= morning time, milking, called a great, celebration gokula maNDalam madhye ca= cowmen’s, circle like vraja village, in the midst of;; nava ghana shyAmam= new, raincloud like, blueblackish one; raNat nUpuram= one with jingling, anklets; phAle bAla vibhUShaNam= one forehead, peepal [ashvattha, Ficus Religiosa] leaf like jewel, one having it; kaTi raTa ki~NkiNI mekhalam= on waistline, jingling, jingle-belled, girdle – one having such a girdle chain; kaNThe vyAghra nakham ca= around neck, tiger’s nail – pendant, also; shaishava kalA kalyANa kArtsnyam= for childhood, charms, auspicious, ensemble of; bhaje= I worship.

In that village vraja when every direction is reverberating at dawn with the moos of cows to milk their calves; when cowmen hurrying to milk those cows as in a celebration, when that sapphirine boy will be roving in their midst with jingling anklets, tintinnabulating girdle chain, wearing an ornament one his forehead in the shape of a peepal leaf, a pendant around his neck with a locket of tiger nails, he looks as if he is the ensemble of childhood charms agglomerated in one boy; and him I worship. [2-86]

This verse has an import of sampatkR^idaSTAkSharI mantrta dhyAnam: sanatkumArasamhita.

pamnchayAyanamIshAnam…. Ujjvala smaret ||

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Proem: In verses 87, 88, 89 the antyAnuprAsa, alliteration on end word, is on word ‘lam

सजलजलदनीलम् दर्शितोदारलीलम्
करतलधृतशैलम् वेणुनादैः रसालम्।
व्रजजनकुलपालम् कामिनीकेलिलोलम्
कलितललितमालम् नौमि गोपालबालम्॥ २-८७

  सजल जलद नीलम् दर्शित उदार लीलम् कर तल धृत शैलम् वेणु नादैः रसालम्
व्रज जन कुल पालम् कामिनी केलि लोलम् कलित ललित मालम् नौमि गोपाल बालम्

sajalajaladanīlam darśitodāralīlam
karataladhṛtaśailam veṇunādaiḥ rasālam |
vrajajanakulapālam kāminīkelilolam
kalitalalitamālam naumi gopālabālam || 2-87

sajala jalada nīlam darśita udāra līlam kara tala dhṛta śailam veṇu nādaiḥ rasālam vraja jana kula pālam kāminī keli lolam kalita lalita mālam naumi gopāla bālam

sajalajaladanIlam darshitodAranIlam
karataladhR^itashailam veNunAdaiH rasAlam |
vrajajanakulapAlam kAminIkelilolam
kalitalalitamAlam naumi gopAlabAlam || 2-87

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sajala jalada nIlam darshita udAra lIlam kara tala dhR^ita shailam veNu nAdaiH rasAlam vraja jana kula pAlam kAminI keli lolam kalita lalita mAlam naumi gopAla bAlam

2-87. sajala jalada nIlam= one with water, water giver - cloud like, blueblackish; darshita udAra lIlam= shown, generous, playful acts; kara tala dhR^ita shailam]= on hand’s, surface, held, mountain; veNu nAdaiH rasAlam= for flute’s, melodies, one who is like sweet mango fruit; vraja jana kula pAlam= for vraja, people, community, saviour; kAminI keli lolam= with flirtatious women, in romance, indulged in – shR^ingAra rasa anubhava Asakti kalita lalita mAlam= adorned with, beautiful garlands; gopAla bAlam naumi = such a gopAlabAla, I venerate.

I adore that bAlakriShNa who is blueblackish like a raincloud full with water, who has shown his playful acts as adventures, held a mountain on his fingertips, melodies of whose fluting are as good as sweet mango fruit, the saviour of cowmen and their community, one indulged in romance with flirtatious cowwomen, and him who is adorned with little garlands. [2-87]

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स्मितललितकपोलम् स्निग्धसङ्गीतलोलम्
ललितचिकुरजालम् चौर्यचातुर्यलीलम्।
शतमखरिपुकालम् शातकुम्भाभचेलम्
कुवलयदलनीलम् नौमि गोपालबालम्॥ २-८८

  स्मित ललित कपोलम् स्निग्ध सङ्गीत लोलम् ललित चिकुर जालम् चौर्य चातुर्य लीलम्
शतमख रिपु कालम् शात कुम्भ आभ चेलम् कुवलय दल नीलम् नौमि गोपालबालम्

smitalalitakapolam snigdhasaṅgītalolam
lalitacikurajālam cauryacāturyalīlam |
śatamakharipukālam śātakumbhābhacelam
kuvalayadalanīlam naumi gopālabālam || 2-88

smita lalita kapolam snigdha saṅgīta lolam lalita cikura jālam caurya cāturya līlam
śatamakha ripu kālam śāta kumbha ābha celam kuvalaya dala nīlam naumi gopālabālam

smitalalitakapolam snigdhasa~NgItalolam
lalitacikurajAlam cauryacAturyalIlam |
shatamakharipukAlam shAtakumbhAbhacelam
kuvalayadalanIlam naumi gopAlabAlam || 2-88

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smita lalita kapolam snigdha sa~NgIta lolam lalita cikura jAlam caurya cAturya lIlam shatamakha ripu kAlam shAta kumbha Abha celam kuvalaya dala nIlam naumi gopAlabAlam

2-88. smita lalita kapolam= with smiles, beautified, cheeks; snigdha sa~NgIta lolam= in pleasant, music, fascinated; lalita cikura jAlam= with beautiful, hanging curs, a bunch of; caurya cAturya lIlam = in thievery, art of, an expert; shatamakha ripu kAlam= for indra’s, enemies, an End-Timer; shAta-kumbha Abha celam= gold pot’s, in hue, whose robe is;kuvalaya dala nIlam= of black lotuses, like petals, blackish in complexion;naumi gopAlabAlam= I venerate gopAlabAla.

I venerate that bAlakriShNa whose cheeks are beautified with his smiles, whose fascination is for melodious music, a bunch of curls hanging on his head sides, an expert in the art and science of thievery, an End-Time to the enemies of Indra, whose robe will be in the hue of pure gold and whose complexion is blueblackish like the petal of a black lotus. [2-88]

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मुरलीनिनदलोलम् मुग्धमयूरचूडम्
दलितदनुजजालम् धन्यसौजन्यलीलम्।
परहितनवहेलम् पद्मसद्मानुकूलम्
नवजलधरनीलम् नौमि गोपालबालम्॥ २-८९

  मुरली निनद लोलम् मुग्ध मयूर चूडम्  दलित दनुज जालम् धन्य सौजन्य लीलम्
पर हित नव हेलम् पद्मब् सद्म अनुकूलम् नव जल धर नीलम् नौमि गोपालबालम्

muralīninadalolam mugdhamayūracūḍam
dalitadanujajālam dhanyasaujanyalīlam |
parahitanavahelam padmasadmānukūlam
navajaladharanīlam naumi gopālabālam || 2-89

muralī ninada lolam mugdha mayūra cūḍam  dalita danuja jālam dhanya saujanya līlam para hita nava helam padmab sadma anukūlam nava jala dhara nīlam naumi gopālabālam

muralIninadalolam mugdhamayUracUDam
dalitadanujajAlam dhanyasaujanyalIlam |
parahitanavahelam padmasadmAnukUlam
navajaladharanIlam naumi gopAlabAlam || 2-89

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muralI ninada lolam mugdha mayUra cUDam dalita danuja jAlam dhanya saujanya lIlam para hita nava helam padmab sadma anukUlam nava jala dhara nIlam naumi gopAlabAlam

2-89. muralI ninada lolam= one who in flute’s, music, luxuriates; mugdha mayUra cUDam= has an exquisite, peacock’s, feather, on headgear; dalita danuja jAlam= one who has riven, demons, a host of; dhanya saujanya lIlam= towards the self-actualised people, a friendly attitude, one who shows; para hita nava helam= to others, useful, new, sportive plays - who shows them;

or para = to others - to enemies; hita= useful for their moksha; nava= new; helam= ravaging techniques – one who adopts newer and newer destruction techniques to eliminate demons;

padma sadma anukUlam= one in lotus, abode – laksmi – to her compliant; nava jala dhara nIlam= new, water, bearer like – like new raincloud, blueblackish; naumi gopAlabAlam = as above.

I adore him who luxuriates in the music of flute, decked peacock feathers in crown, who pulled hosts of demon asunder, shows friendly attitude towards sages and saints, and tricky adventures to commoners, who adopts newer and newer destruction techniques to eliminate demons; a compliant entity to goddess lakshmi, above all who in his hue is conspicuously like a raincloud full with water. [2-89]

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सरसगुणनिकायम् सच्चिदानन्दकायम्
शमितसकलमायम् सत्यलक्ष्मीसहायम्।
शमदमसमुदायम् शान्तसर्वान्तरायम्
सुहृदयजनदायम् नौमि गोपालबालम्॥ २-९०

  सरस गुण निकायम् सत् चित् आनन्द कायम् शमित सकल मायम् सत्य लक्ष्मी सहायम् 
शम दम समुदायम् शान्त सर्व अन्तरायम् सुहृदय जन दायम् नौमि गोपालबालम्

sarasaguṇanikāyam saccidānandakāyam
śamitasakalamāyam satyalakṣmīsahāyam |
śamadamasamudāyam śāntasarvāntarāyam
suhṛdayajanadāyam naumi gopālabālam || 2-90

sarasa guṇa nikāyam sat cit ānanda kāyam śamita sakala māyam satya lakṣmī sahāyam  śama dama samudāyam śānta sarva antarāyam suhṛdaya jana dāyam naumi gopālabālam

sarasaguNanikAyam saccidAnandakAyam
shamitasakalamAyam satyalakShmIsahAyam |
shamadamasamudAyam shAntasarvAntarAyam
suhR^idayajanadAyam naumi gopAlabAlam || 2-90

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sarasa guNa nikAyam sat cit Ananda kAyam shamita sakala mAyam satya lakShmI sahAyam shama dama samudAyam shAnta sarva antarAyam suhR^idaya jana dAyam naumi gopAlabAlam

2-90. sarasa guNa nikAyam= for all admirable, traits, an embodiment of; sat cit Ananda kAyam= satya, j~nAna, Anadam is his person; shamita sakala mAyam= silenced, all, illusory things – within his entity; satya lakShmI sahAyam= Truth, called the Fortune, is his alter-ego; shama dama samudAyam= for desistence, self-control etc yogic practises – he is the epitome; shAnta sarva antarAyam= silenced, all, hindrances; suhR^idaya jana dAyam= for amiable people, he is befitting friend; naumi gopAlabAlam= as above.

I worship that boy for he is an embodiment of all admirable traits, a personified satya, j~nAna, Anadam; subdued all illusory matters within himself; the Fortune called Truth is his altar-ego; an epitome for all yogic practises; steered clear of all hindrances, and who for amiable people friendly. [2-90]

Proem; This verse has yam sound as AnuprAsa – alliteration.

 

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लक्ष्मीकलत्रम् ललिताब्जनेत्रम् पूर्णेन्दुवक्त्रम् पुरुहूतमित्रम्।
कारुण्यपात्रम् कमनीयगात्रम् वन्दे पवित्रम् वसुदेवपुत्रम्॥ २-९१

  लक्ष्मी कलत्रम् ललित अब्ज नेत्रम् पूर्ण इन्दु वक्त्रम् पुरुहूत मित्रम्
कारुण्य पात्रम् कमनीय गात्रम् वन्दे पवित्रम् वसुदेव पुत्रम्

lakṣmīkalatram lalitābjanetram
pūrṇenduvaktram puruhūtamitram |
kāruṇyapātram kamanīyagātram
vande pavitram vasudevaputram || 2-91

lakṣmī kalatram lalita abja netram pūrṇa indu vaktram
puruhūta mitram kāruṇya pātram kamanīya
gātram vande pavitram vasudeva putram

lakShmIkalatram lalitAbjanetram
pUrNenduvaktram puruhUtamitram |
kAruNyapAtram kamanIyagAtram
vande pavitram vasudevaputram || 2-91

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lakShmI kalatram lalita abja netram pUrNa indu vaktram puruhUta mitram kAruNya pAtram kamanIya gAtram vande pavitram vasudeva putram

2-91. lakShmI kalatram= one who has – lakshmi, as his consort; lalita abja netram= beauteous, lotus like, eyes; pUrNa indu vaktram= full, moon like, face; puruhUta mitram= Indra’s, friend; kAruNya pAtram= for mercy,a seat of; kamanIya gAtram= beautiful, bodied one – to gaze more and more at him; pavitram= pure and all-purifier; vasudeva putram vande= vasudeva’s son, I salute.

My salutations to that son of vasudeva who has the personified Fortune as his consort, eyes beauteous like lotuses, face brilliant like full-moon, physique insatiable for repeated gazing, the seat of mercy, a pure one and an all-purifier, a friend of Indra, thus a friend of Universe. [2-91]

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दमयमदमयदुरगम् यमुनाम् अवतीर्य वीर्यशाली यः।
मम रतिम् अमरतिरस्कृति शमनपरः स क्रियात्कृष्णः॥ २-९२

  मदमयम् अदमयत् उरगम् यमुनाम् अवतीर्य वीर्य शाली यः
मम रतिम् अमर तिरस्कृति शमन परः स क्रियात् कृष्णः

madamayamadamayaduragam
yamunām avatīrya vīryaśālī yaḥ |
mama ratim amaratiraskṛti
śamanaparaḥ sa kriyātkṛṣṇaḥ || 2-92

madamayam adamayat uragam yamunām avatīrya vīrya śālī yaḥ mama ratim amara tiraskṛti śamana paraḥ sa kriyāt kṛṣṇaḥ

madamayamadamayaduragam
yamunAm avatIrya vIryashAlI yaH |
mama ratim amaratiraskR^iti
shamanaparaH sa kriyAtkR^iShNaH || 2-92

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madamayam adamayat uragam yamunAm avatIrya vIrya shAlI yaH mama ratim amara tiraskR^iti shamana paraH sa kriyAt kR^iShNaH

2-92. yaH vIrya shAlI= which, courageous one; yamunAm avatIrya= into river yamuna, on plunging; madamayam= that which form indicating ahamkAra – ahamkAra rUpa pariNAmam - kAlIya; such a; uragam= a snake; adamayat= who subjugated; and who has; amara tiraskR^iti shamana paraH= gods, who deject, them silencing, one who is interested; sa kR^iShNaH mama ratim kriyAt = such a, kriShNa, my delight, may enhance.

Not with boyish temerity he plunged in to river yamuna and subjugated the egocentric snake called kAlIya, but as the one who is always interested in persecuting the insurrectionary demons against gods and their jurisdiction; such as he is let that kriShNa enhance all our delights and delectations. [2-92]

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मौलौ मायूरबर्हम् मृगमदतिलकम् चारुललाटपट्टे
कर्णद्वन्द्वे च तालीदलम् अतिमृदुलम् मौक्तिकम् नासिकायाम्।
हारो मन्दारमालापरिमलभरिते कौस्तुभश्योपकण्ठे
पाणौ वेणुश्च यस्य व्रजयुवतियुतः पातु पीताम्बरो नः॥ २-९३

  मौलौ मायूर बर्हम् मृग मद तिलकम् चारु ललाट पट्टे कर्ण द्वन्द्वे च ताली दलम्
अति मृदुलम् मौक्तिकम् नासिकायाम् हारः मन्दार माला परिमल भरिते कौस्तुभः
च उपकण्ठे पाणौ वेणुः च यस्य व्रज युवति युतः पातु पीताम्बरः नः

maulau māyūrabarham mṛgamadatilakam cārulalāṭapaṭṭe
karṇadvandve ca tālīdalam atimṛdulam mauktikam nāsikāyām |
hāro mandāramālāparimalabharite kaustubhaśyopakaṇṭhe
pāṇau veṇuśca yasya vrajayuvatiyutaḥ pātu pītāmbaro naḥ || 2-93

maulau māyūra barham mṛga mada tilakam cāru lalāṭa paṭṭe karṇa dvandve ca tālī dalam ati mṛdulam mauktikam nāsikāyām hāraḥ mandāra mālā parimala bharite kaustubhaḥ ca upakaṇṭhe pāṇau veṇuḥ ca yasya vraja yuvati yutaḥ pātu pītāmbaraḥ naḥ

maulau mAyUrabarham mR^igamadatilakam cArulalATapaTTe
karNadvandve ca tAlIdalam atimR^idulam mauktikam nAsikAyAm |
hAro mandAramAlAparimalabharite kaustubhashyopakaNThe
pANau veNushca yasya vrajayuvatiyutaH pAtu pItAmbaro naH || 2-93

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maulau mAyUra barham mR^iga mada tilakam cAru lalATa paTTe karNa dvandve ca tAlI dalam ati mR^idulam mauktikam nAsikAyAm hAraH mandAra mAlA parimala bharite kaustubhaH cca upakaNThe pANau veNuH ca yasya vraja yuvati yutaH pAtu pItAmbaraH naH

2-93. yasya= on whose; maulau mAyUra barham= on head, peacock’s feathers; cAru lalATa paTTe mR^iga mada tilakam= on beautiful, forehead, with musk deer’s musk – kastUri - a U mark made with it; ca= further; karNa dvandve ati mR^idulam tAlI dalam= on ears, both, very fine, ear-hangings, like the leaf of toddy tree; nAsikAyAm mauktikam= on nose, a pearl-stud; mandAra mAlA parimala bharite hAraH= mandAra-flower-garlands, with the fragrance of, one with small garlands; ca= further; upakaNThe kaustubhaH= down the neck to chest, a pendant with kaustubha jewel as its locket; pANau veNuH= in right hand, a flute; ca= further; vraja yuvati yutaH=one who is surrounded with vraja damsels; such a one clad in; pIta ambaraH= golden silks – by this golden silk wearing both nArAyaNa and kriShNa are deducible; pAtu naH= let him protect us.

On whose coiffure peacock’s feathers are decked, on forehead a U mark made with musk, on ears very fine ear-hangings looking like very young pinnate leaves of palm, on nose a pearl-stud, on shoulders fragrant garland as fragrant as divine mandAra flower bunches, on chest down the neck a pendant with kaustubha jewel as its locket, in right hand a flute, above all who will be amidst a coterie of damsels of vraja village, that one who will always be clad in golden silks and inalienable from nArAyaNa, where the distinction is one treading on earth while the other not, protect us all. [2-93]

Please note that the verse posited at 94th place in printed editions murrain vAri vihAra… is pushed down to 96th place.

--o)0(o--

यासाम् गोपाङ्गनानाम् लसदसिततरालोललीलाकटाक्षा
यन्नासाचारुमुक्तामणिरुचिनिकरव्योमगङ्गाप्रवाहे।
मीनायतेऽपि तासाम् अतिरभसचलच्चारुनीलालकान्ता
भृङ्गायन्ते यद् अङ्घ्रिद्वयसरसिरुहे पातु पीताम्बरो नः॥ २-९४

  यासाम् गोप अङ्गनानाम् लसत् असित तर आलोल लीला कटाक्षाः यत् नासा चारु मुक्ता-मणि रुचि निकर व्योम गङ्गा प्रवाहे मीनायते अपि तासाम् अति रभस चलत् चारु नील अलकाः अन्ताः भृङ्गायन्ते यत् अङ्घ्रि द्वय सरसि रुहे पातु पीताम्बरो नः

yāsām gopāṅganānām lasadasitatarālolalīlākaṭākṣā
yannāsācārumuktāmaṇirucinikaravyomagaṅgāpravāhe |
mīnāyate'pi tāsām atirabhasacalaccārunīlālakāntā
bhṛṅgāyanteyadaṅghridvayasarasiruhe pātu pītāmbaro naḥ ||2-94

yāsām gopa aṅganānām lasat asita tara ālola līlā kaṭākṣāḥ yat nāsā cāru muktā-maṇi ruci nikara vyoma gaṅgā pravāhe mīnāyate api tāsām ati rabhasa calat cāru nīla alakāḥ antāḥ bhṛṅgāyante yat aṅghri dvaya sarasi ruhe pātu pītāmbaro naḥ

yAsAm gopA~NganAnAm lasadasitatarAlolalIlAkaTAkShA
yannAsAcArumuktAmaNirucinikaravyomaga~NgApravAhe |
mInAyate.api tAsAm atirabhasacalaccArunIlAlakAntA
bhR^i~NgAyante yada~Nghridvayasarasiruhe pAtupItAmbaronaH || 2-94

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yAsAm gopa a~NganAnAm lasat asita taraAlola lIlA kaTAkShAH yat nAsA cAru muktA-maNi ruci nikara vyoma ga~NgA pravAhe mInAyate api tAsAm ati rabhasa calat cAru nIla alakAH antAH bhR^i~NgAyante yat a~Nghri dvaya sarasi ruhe pAtu pItAmbaro naH

2-94. yAsAm= which; gopa a~NganAnAm= milkmaids; lasat asita-tara Alola lIlA kaTAkShAH= very bright, very dark, flitting, sportily, sidelong glances; yat nAsA cAru muktA-maNi ruci nikara vyoma ga~NgA pravAhe= which, nose’s, beautiful, pearl-diamond’s, stream of radiance, in such streamy radiance, called skyey river ganga’s, in such a stream; mInAyate= become mini-fishes; api= further; tAsAm= their – milkmaids’; ati-rabhasa calat cAru nIla alakAH antAH= very fast, swinging, beautiful, black, curls, ends; yat= at whose; a~Nghri dvaya sarasi ruhe= feet, a pair of, called lotuses; bhR^i~NgAyante= swarm like bees; saH pItAmbaraH pAtu naH= that one in golden silks, protect us all.

Which sidelong glances of milkmaids darted from their very dark and bright eyes flitting sportily have been swimming like min-fishes in the stream of radiance, akin to the stream of skyey river ganga, floated from the beautiful nose-stud of that boy; which beautiful black curl ends swinging very fast on the cheeks of those milkmaids have been swarming the pair of lotusy feet of that boy like honeybees, let that boy in golden silks protect us. [2-94]

---o)0(o--

यद्वेणुश्रेणीरूपस्थितसुषिरमुखोद्गीर्णनादप्रभिन्ना
एणाक्ष्यस्तत्क्षणेन  त्रुटितनिजपतिप्रेमबन्धा बभूवुः।
अस्तव्यस्तालकान्ताः स्फुरदधरकुचद्वन्द्वनाभिप्रदेशाः
कामावेशप्रकर्षप्रकटितपुलकाः पातु पीताम्बरो नः॥२- ९५

  यत् वेणु श्रेणि रूप स्थित सुषिर मुख उद्गीर्ण नाद प्रभिन्नाः एण अक्ष्यः तत् क्षणेन  त्रुटित
निज पति प्रेम बन्धाः बभूवुः अस्त व्यस्त अलक अन्ताः स्फुरत् अधर कुच द्वन्द्व नाभि प्रदेशाः
काम आवेश प्रकर्ष प्रकटित पुलकाः पातु पीताम्बरो नः

yadveṇuśreṇīrūpasthitasuṣiramukhodgīrṇanādaprabhinnā

eṇākṣyastatkṣaṇena  truṭitanijapatipremabandhā babhūvuḥ |

astavyastālakāntāḥ sphuradadharakucadvandvanābhipradeśāḥ

kāmāveśaprakarṣaprakaṭitapulakāḥ pātu pītāmbaro naḥ ||2- 95

yat veṇu śreṇi rūpa sthita suṣira mukha udgīrṇa nāda prabhinnāḥ eṇa akṣyaḥ tat kṣaṇena  truṭita nija pati prema bandhāḥ babhūvuḥ asta vyasta alaka antāḥ sphurat adhara kuca dvandva nābhi pradeśāḥ kāma āveśa prakarṣa prakaṭita pulakāḥ pātu pītāmbaro naḥ

yadveNushreNIrUpasthitasuShiramukhodgIrNanAdaprabhinnA
eNAkShyastatkShaNena truTitanijapatipremabandhA babhUvuH |
astavyastAlakAntAH sphuradadharakucadvandvanAbhipradeshAH
kAmAveshaprakarShaprakaTitapulakAH pAtu pItAmbaro naH ||2- 95

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yat veNu shreNi rUpa sthita suShira mukha udgIrNa nAda prabhinnAH eNa akShyaH tat kShaNena truTita nija pati prema bandhAH babhUvuH asta vyasta alaka antAH sphurat adhara kuca dvandva nAbhi pradeshAH kAma Avesha prakarSha prakaTita pulakAH pAtu pItAmbaro naH

2-95. yat= whose; veNu= flute’s; shreNi rUpa sthita suShira= a range, in the shape of, that are there, flute’s holes; mukha ut gIrNa nAda= from their faces [of holes], highly evocative, by melody; prabhinnAH= shattered – all other ideas are shattered and they are attracted to that melody; eNa akShyaH= fawn, eyed ones – milkmaids; tat kShaNena= in a trice; truTita nija pati prema bandhAH = cut off, their own, on husbands, love, connections, when they became so - connection called love between a husband and wife is detached – spontaneously – milkmaids have not cut it off on their own; asta vyasta alaka antAH= topsy-turvy,curls, ends; sphurat adhara kuca dvandva nAbhi pradeshAH= with pulsating, lips, a pairs of bosoms, and navel areas; kAma Avesha prakarSha prakaTita pulakAH= by passion, in a fit of, going into, displayed, thrills; babhUvuH= they became so; pItAmbaro pAtu naH= = that one [who made them so] clad in golden silks, protect us all.

At whose highly evocative fluting melody emanating from the rang of holes on his flute the connection called love between a husband and wife of fawn-eyed milkmaids is snapped off instantaneously, and they rushed to him though their maquillage is disorderly and curls untidy, though the pulsation of their lips, pairs of bosoms, and navel areas is palpable, and though their bodies are obviously displaying thrills on their going into a fit of passion in the rush of uniting with that boy, let that boy clad in golden silks protect us all. [2-95]

The above three verses, 93, 94, 95, need be grouped at one place without interjecting another verse, for they are in same vein; start with word yat - yat shabda ghaTita avAntara padam; all the three have similar ending pItAmbaro pAtu naH.

---o)0(o--

मुरारिणा वारिविहारकाले मृगेक्षणानाम् मूषितांशुकानाम्।
करद्वयम् वा कचसंहतिर्वा प्रमीलनम् वा परिधानम् आसीत्॥ २-९६

  मुरारिणा वारि विहार काले मृगेक्षणानाम् मूषित अंशुकानाम् कर द्वयम् वा
कच संहतिर् वा प्रमीलनम् वा परि-धानम् आसीत्

murāriṇā vārivihārakāle mṛgekṣaṇānām mūṣitāṁśukānām |
karadvayam vā kacasaṁhatirvā pramīlanam vā paridhānam āsīt || 2-96

murāriṇā vāri vihāra kāle mṛgekṣaṇānām mūṣita aṁśukānām kara dvayam vā kaca saṁhatir vā pramīlanam vā pari-dhānam āsīt

murAriNA vArivihArakAle
mR^igekShaNAnAm mUShitAMshukAnAm |
karadvayam vA kacasaMhatirvA
pramIlanam vA paridhAnam AsIt || 2-96

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murAriNA vAri vihAra kAle mR^igekShaNAnAm mUShita aMshukAnAm kara dvayam vA kaca saMhatir vA pramIlanam vA pari-dhAnam AsIt

2-96. vAri vihAra kAle= in water, disporting at a time; murAriNA mUShita aMshukAnAm= by murAri, stolen, cloths – of some milkmaids; mR^igekShaNAnAm= [then, for those] fawn-eyed milkmaids; kara dvayam vA= arms, a pair of, either; kaca saMhatiH vA = long braids falling down; pramIlanam vA = closing their eyes, or; pari-dhAnam AsIt= wraparound, it has become.

At a time when murAri stole cloths of milkmaids disporting in water they did not get them back that easily from him. Milkmaids had to pray for their return raising their hands up above their head, on slowly coming out of water. Then their wraparound is a pair of hands, long braids falling down, or their closed eyes. Nothing else. What shame it would be to stand in birthday suit before the birthing entity. [2-96]

This is better shown in an English picture called “Oh, God”. God appears before the naked and sceptical hero in bathroom, and that hero starts hiding his privates by turning away, with a towel, etc while that god stands coolly.

This verse is at 94th place in printed editions. But seems to be a forced insertion there.

----o)0(o--

देवक्या जठराकरे समुदितः क्रीतो गवाम् पालिना
नन्देनानकदुन्दुभेर्निजसुता पण्येन  पुण्यात्मना।
गोपालावलीमुग्धहारतरलो गोपीजानालङ्कृतिः
स्थेयान्नो हृदि सन्ततम् सुमधुरः कोऽपीन्द्रनीलो मणिः॥ २-९७

  देवक्या जठर आकरे समुदितः क्रीतः गवाम् पालिना नन्देन आनकदुन्दुभेः निज  सुता पण्येन पुण्यात्मना गोपाल आवलि मुग्ध हार तरलः गोपी जन अलङ्कृतिः स्थेयात्
नः हृदि सन्ततम् सु-मधुरः कः अपि इन्द्रनीलः मणिः

devakyā jaṭharākare samuditaḥ krīto gavām pālinā
nandenānakadundubhernijasutā paṇyena  puṇyātmanā |
gopālāvalīmugdhahārataralo gopījānālaṅkṛtiḥ
stheyānno hṛdi santatam sumadhuraḥ ko'pīndranīlo maṇiḥ || 2-97

devakyā jaṭhara ākare samuditaḥ krītaḥ gavām pālinā nandena ānakadundubheḥ nija  sutā paṇyena  puṇyātmanā gopāla āvali mugdha hāra taralaḥ gopī jana alaṅkṛtiḥ stheyāt naḥ hṛdi santatam su-madhuraḥ kaḥ api indranīlaḥ maṇiḥ

devakyA jaTharAkare samuditaH krIto gavAm pAlinA
nandenAnakadundubhernijasutA paNyena puNyAtmanA |
gopAlAvalImugdhahArataralo gopIjAnAla~NkR^itiH
stheyAnno hR^idi santatam sumadhuraH ko.apIndranIlo maNiH || 2-97

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devakyA jaThara Akare samuditaH krItaH gavAm pAlinA nandena AnakadundubheH nija sutA paNyena  puNyAtmanA gopAla Avali mugdha hAra taralaH gopI jana ala~NkR^itiH stheyAt naH hR^idi santatam su-madhuraH kaH api indranIlaH maNiH

2-97. devakyA jaThara Akare= from devaki’s, womb, called a treasure trove; samuditaH= a jewel that has taken its birth; gavAm pAlinA= one who rears,cows; [and who is the]; puNyAtmanA nandena= pious, souled, nanda; Anaka-dundubheH= from vasudeva – another name of vasudeva, rarely used, meaning celestial drums were beating when vasudeva was born; nija sutA paNyena krItaH= in barter of his own daughter, bought / brought; gopAla Avali mugdha hAra taralaH= [that jewel has then became] for cow-minders, groups of, enchanting, pendant’s, principal jewel hanging in centre; gopI jana ala~NkR^itiH= for milkmaids, [principal] decorative jewel; such a; su-madhuraH= highly, delighting; kaH api= an inexplicable; indranIlaH maNiH= [like the unobtainable] indra-nIla jewel, that jewel with sapphirine effulgence; naH hR^idi santatam stheyAt = in our, hearts, always, be there.

We all should always have a jewel at our hearts. But what is it and where to get it? It has emanated from the treasure trove called the womb of lady devaki; later, a cow-minder and pious souled nanda got it from vasudeva in barter of his daughter to him; later, it has become the principal jewel in all the pendants of hosts of cowmen; later, it has become the cardinal locket-like jewel among all the necklaces of milkmaids; then, it remained as highly delightful, yet inexplicable jewel with sapphirine effulgence, and that priceless jewel is readily available anywhere, provided you have a heart for it. [2-97]

--o)0(o--

पीठे पीठनिषण्णबालकगले तिष्ठन् स गोपालकः
यन्त्रान्तःस्थितदुग्धभाण्डम् अवकृष्याच्छाद्य घण्टारवम्।
वक्त्रोपान्तकृताङ्जलिः कृतशिरःकम्पम् पिबन्तः पयः
पायाद् आगतगोपिकानयनयोर् गण्डूषफूत्कारकृत्॥ २-९८

  पीठे पीठ निषण्ण बालक गले तिष्ठन् स गोपालकः यन्त्र अन्तः स्थित दुग्ध भाण्डम् अवकृष्य आच्छाद्य घण्टा रवम् वक्त्र उपान्त कृत अङ्जलिः कृत शिरः कम्पम् पिबन्तः पयः पायात् आगत गोपिका नयनयोः गण्डूष फूत्कार कृत्

pīṭhe pīṭhaniṣaṇṇabālakagale tiṣṭhan sa gopālakaḥ
yantrāntaḥsthitadugdhabhāṇḍam avakṛṣyācchādya ghaṇṭāravam |
vaktropāntakṛtāṅjaliḥ kṛtaśiraḥkampam pibantaḥ payaḥ
pāyād āgatagopikānayanayor gaṇḍūṣaphūtkārakṛt || 2-98

pīṭhe pīṭha niṣaṇṇa bālaka gale tiṣṭhan sa gopālakaḥ yantra antaḥ sthita dugdha bhāṇḍam avakṛṣya ācchādya ghaṇṭā ravam vaktra upānta kṛta aṅjaliḥ kṛta śiraḥ kampam pibantaḥ payaḥ pāyāt āgata gopikā nayanayoḥ gaṇḍūṣa phūtkāra kṛt

pIThe pIThaniShaNNabAlakagale tiShThan sa gopAlakaH
yantrAntaHsthitadugdhabhANDam avakR^iShyAcChAdya ghaNTAravam |
vaktropAntakR^itA~NjaliH kR^itashiraHkampam pibantaH payaH
pAyAd AgatagopikAnayanayor gaNDUShaphUtkArakR^it || 2-98

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pIThe pITha niShaNNa bAlaka gale tiShThan sa gopAlakaH yantra antaH sthita dugdha bhANDam avakR^iShya AcChAdya ghaNTA ravam vaktra upAnta kR^ita a~NjaliH kR^ita shiraH kampam pibantaH payaH pAyAt Agata gopikA nayanayoH gaNDUSha phUtkAra kR^it

2-98. pIThe= on small stool; pITha niShaNNa bAlaka gale tiShThan= on that stool, crouching, on such a boy’s, nape of neck, one who is standing; gopAlakaH= that cowboy kriShNa; yantra antaH sthita= in pot-sling [suspended from roof, for safekeeping milk etc from cats etc], inside, positioned; dugdha bhANDam avakR^iShya= milk, pot, on dragging – on tilting; AcChAdya ghaNTA ravam= stopping, bell’s, sound – an alarm bell tied to that pot-sling to caution cat’s attack; vaktra upAnta= to mouth, nearby; kR^ita a~NjaliH= making, palm dish-like; pibantaH payaH kR^ita shiraH kampam= gulping, milk, by making, head, nods – for the good quality of that milk; Agata gopikA = when the landlady came in sensing some problem with milk pot on pot-sling; in her; nayanayoH= eyes; gaNDUSha phUtkAra kR^it= mouthful of milk, he pouted - into her eyes; saH naH pAyAt= such a pouter of milk, u, let protect.

At certain time he who sneaked into someone’s house as is his wont, put a small stool under the pot-sling containing milk pot, made his cohort to sit on the stool in a couched position, placed his two feet on either side of the nape of neck of that crouched boy, got access to milk pot hung up above, with left hand caught the alarm bell and silenced it, placing the thumb of right hand in the neck of pot and making other fingers and palm as a dish on the exterior of neck of the pot, tilted the pot and started to guzzle milk in it with his dish like palm, nodding happily at the savour of milk; just when the landlady has entered that room to check some unwanted disturbance, this boy purringly spouted a mouthful of milk directly into her eyes and did a moonlight flit. Let that sapphirine boy spout and squirt nectar in our lives. [2-98]

--o)0(o--

यज्ञैरीजिमहे धनम् दधिमहे पात्रेषु नूनम् वयम्
वृद्धान्भेजिमहे तपश्चकृमहे जन्मान्तरे दुश्चरम्।
येनास्माकम् अभूदनन्यसुलभा भक्तिर्भवद्वेसिणी
चानूरद्विषि भक्तकल्मषमुषि श्रेयःपुषि श्रीजुषि॥ २-९९

यज्ञैः ईजिमहे धनम् दधिमहे पात्रेषु नूनम् वयम् वृद्धान्भेजिमहे तपः चकृमहे
जन्मान्तरे दुश्चरम् येन अस्माकम् अभूत् अनन्य  सुलभा भक्तिः
भव द्वेसिणी णि चानूर द्विषि भक्त कल्मष मुषि श्रेयःपुषि श्री जुषि

yajñairījimahe dhanam dadhimahe pātreṣu nūnam vayam
vṛddhānbhejimahe tapaścakṛmahe janmāntare duścaram |
yenāsmākam abhūdananyasulabhā bhaktirbhavadvesiṇī
cānūradviṣi bhaktakalmaṣamuṣi śreyaḥpuṣi śrījuṣi || 2-99

yajñaiḥ ījimahe dhanam dadhimahe pātreṣu nūnam vayam vṛddhānbhejimahe tapaḥ cakṛmahe janmāntare duścaram yena asmākam abhūt ananya  sulabhā bhaktiḥ bhava dvesiṇī ṇi cānūra dviṣi bhakta kalmaṣa muṣi śreyaḥpuṣi śrī juṣi

yaj~nbairIjimahe dhanam dadhimahe pAtreShu nUnam vayam
vR^iddhAnbhejimahe tapashcakR^imahe janmAntare dushcaram |
yenAsmAkam abhUdananyasulabhA bhaktirbhavadvesiNI
cAnUradviShi bhaktakalmaShamuShi shreyaHpuShi shrIjuShi || 2-99

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yaj~naiH Ijimahe dhanam dadhimahe pAtreShu nUnam vayam vR^iddhAnbhejimahe tapaH cakR^imahe janmAntare dushcaram yena asmAkam abhUt ananya sulabhA bhaktiH bhava dvesiNI [Ni] cAnUra dviShi bhakta kalmaSha muShishreyaHpuShi shrI juShi

2-99. yena= by which reason; asmAkam= for us; bhava dvesiNI= one who distances life-death cycle; cAnUra dviShi= wrestler of cANura, a despiser; bhakta kalmaSha muShi= devotees’, blemishes, one who steals; shreyaH puShi= devotees, one who enriches; shrI juShi= one who an enjoyer of every fortune; in such Supreme Soul kriShNa; ananya sulabhA bhaktiH= for others, an impossible one - devotion; bhava dvesiNI= present life, a hater of – that devotion; bhakti abhUt= a devotion, that bechanced;by that reason; janma antare= in previous births; vayam nUnam= definitely – perhaps; yaj~naiH Ijimahe= with Vedic rituals, we might have adored god; dhanam pAtreShu dadhimahe= monies, in casks, we might have donated; vR^iddhAn bhejimahe= elders, we might have served; dushcaram tapaH cakR^imahe= impracticable, austerities, we might have undertaken.

What for an unstinted devotion has occurred to us in this lifetime, which is impossible for others and that which is ill-disposed to worldly affairs, towards that boy who distances life-death cycle; a despiser of brute force called wrestler chANUra; a stealer of devotees’ blemishes; an enricher of devotees wellbeing? Perhaps, and definitely, we in previous birth might have adored gods with impracticable Vedic-rituals; donated illimitable monies with casks; served elders with an inexhaustible service, or undertaken inconceivable austerities; enough is enough; let this life-span span with that devotion towards that sapphirine boy. [2-99]

In this verse alliteration is on word Shi as in dviShi–muShi-puShi-juShi. anumAna pramANam is said and unsaid in this verse. puNya siddhi owing to bhagavad bhakti, and bhavad bhakti owing to puNya siddhi – are cyclic according to cause and effect syndrome.

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त्वयि प्रसन्ने मम किम् गुणेन त्वय्य् अप्रसन्ने मम किम् गुणेन।
रक्ते विरक्ते च वरे वधूनाम् निरर्थकः कुङ्कुमपत्रभङ्गः॥ २-१००

  त्वयि प्रसन्ने मम किम् गुणेन त्वय्य् अप्रसन्ने मम किम् गुणेन रक्ते विरक्ते च वरे वधूनाम् निरर्थकः कुङ्कुमपत्रभङ्गः

tvayi prasanne mama kim guṇena
tvayy aprasanne mama kim guṇena |
rakte virakte ca vare vadhūnām nirarthakaḥ kuṅkumapatrabhaṅgaḥ || 2-100

tvayi prasanne mama kim guṇena tvayy aprasanne mama kim guṇena rakte virakte ca vare vadhūnām nirarthakaḥ kuṅkumapatrabhaṅgaḥ

tvayi prasanne mama kim guNena
tvayyaprasanne mama kim guNena |
rakte virakte ca vare vadhUnAm
nirarthakaH ku~Nkumapatrabha~NgaH || 2-100

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tvayi prasanne mama kim guNena tvayy a+prasanne mama kim guNena rakte virakte ca vare vadhUnAm nirarthakaH ku~Nkumapatrabha~NgaH

2-100. tvayi prasanne sati= if you are compassionate towards me; mama mama guNena kim [prayojanam] = what is the use with the external attributes of a devotee; tvayi a+prasanne sati= if you are not compassionate to me; mama guNena kim= again, what is the use with the said attributes; vare rakte sati= if a husband is, interested in his wife; vadhUnAm ku~Nkuma patrabha~NgaH nirarthakaH= a wife’s, decorations with vermilion mark, erasable body tattoos etc, are useless – for that husband loves her in as-is-where-is condition; vi+rakte ca = if that husband is disinterested, also – then also the cosmetics are useless to a lovelorn wife.

If a husband is interested in his wife, her cosmetics are quite useless for he loves her in as-is-where-is condition; those cosmetics are equally useless if her husband is disinterested in her; so also, of what use is my devotee’s ensemble if you are either compassionate, or discompassionate towards me? [2-100]

C.f. verse 1-29 with a similar running.

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गायन्ति क्षणदावसानसमये सानन्दम् इन्दुप्रभा
रुद्धन्त्यो निजदन्तकान्तिनिवहैर् गोपाङ्गना गोकुले।
मथ्नन्त्यो दधि पाणिकङ्कणझणत्कारानुकारम् जवा
द्व्यावलगद्वसनाङ्चला यम् अनिशम् पीताम्बरोऽव्यात् स नः॥ २-१०१

  गायन्ति क्षणद अवसान समये स आनन्दम् इन्दु प्रभा रुद्धन्त्यः निज दन्तकान्ति निवहैः गोप अङ्गना गोकुले मथ्नन्त्यः दधि पाणि कङ्कण झणत् कार अनुकारम् जवात् व्यावलगत् वसन अङ्चला यम् अनिशम् पीताम्बरःऽव्यात् स नः

gāyanti kṣaṇadāvasānasamaye sānandam induprabhā
ruddhantyo nijadantakāntinivahair gopāṅganā gokule |
mathnantyo dadhi pāṇikaṅkaṇajhaṇatkārānukāram javā
dvyāvalagadvasanāṅcalā yam aniśam pītāmbaro'vyāt sa naḥ ||
2-101

gāyanti kṣaṇada avasāna samaye sa ānandam indu prabhā ruddhantyaḥ nija dantakānti nivahaiḥ gopa aṅganā gokule mathnantyaḥ dadhi pāṇi kaṅkaṇa jhaṇat kāra anukāram javāt vyāvalagat vasana aṅcalā yam aniśam pītāmbaraḥ'vyāt sa naḥ

gAyanti kShaNadAvasAnasamaye sAnandam induprabhA
ruddhantyo nijadantakAntinivahair gopA~NganA gokule |
mathnantyo dadhi pANika~NkaNajhaNatkArAnukAram javA
dvyAvalagadvasanA~NcalA yam anisham pItAmbaro.avyAt sa naH ||
2-101

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gAyanti kShaNada avasAna samaye sa Anandam indu prabhA ruddhantyaH nija dantakAnti nivahaiH gopa a~NganA gokule mathnantyaH dadhi pANi ka~NkaNa jhaNat kAra anukAram javAt vyAvalagat vasana a~NcalA yam anisham pItAmbaraH.avyAt sa naH

2-101. nija danta kAnti nivahaiH= their, teeth’s, glitter, with heaps of; indu prabhA= moon’s, shine; [ava] ruddhantyaH= those that barring - moonshine;

javAt= in speed – of churning curds; vyAvalagat vasana a~NcalA= those withmuch fluttering, cloths, edges;

pANi ka~NkaNa jhaNat kAra anukAram – yathA tathA= with their roundlets on arms, [producing] jhaN, jhaN sounds, mimicking – curd-churning sounds;

dadhi mathnantyaH gopa a~NganA = in such a way – those who are churning curd, those milkmaids; gokule=in cowherders’ community;

kShaNada avasAna samaye= night, ending, at time – early in morning; sa Anandam= with pleasure; yam= addressing whom;

anisham gAyanti= [milkmaids] always, sing; sa pItAmbaraH naH avyAt = that one in golden silks, safeguard us all.

With heaps of glitter emitted from their toothy grins that are capable to deter the moonshine; with fluttering upper cloths whirring and buzzing to the twists and turns of their torsos; with the clings and clangs of their roundlets on arms - all in tune and rhyme with the churning sounds - milkmaids of that vraja community will always be singing praise songs amusedly at dawn on nArAyaNa who will be clad in golden silks, blueblack in hue etc, which are equally applicable to the facsimiled boy in their vraja sporting same golden robes, sapphirine in hue – and the like; so, let that nArAyana evinced in boy’s form on earth protect us all. [2-101]

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अंसालम्बितवामकुण्डलधरम् मन्दोन्नतभ्रूलतम्
किङ्चित्कुङ्चितकोमलाधरपुटम् साचिप्रसारेक्षणम् ।
आलोलाङ्गुलिपल्लवैर्मुरलिकाम् आपूरयन्तम् मुदा
मुले कल्पतरोस्त्रिभङ्गललितम् ध्यायेज्जगन्मोहनम्॥ २-१०२

  अंस आलम्बित वाम कुण्डल धरम् मन्द उन्नत भ्रू लतम् किङ्चित् कुङ्चित कोमल अधर पुटम्
साचि प्रसार ईक्षणम् आलोल अङ्गुलि पल्लवैः मुरलिकाम् आपूरयन्तम्
मुदा मुले कल्पतरोः त्रि भङ्ग ललितम् ध्यायेत् जगत् मोहनम्

aṁsālambitavāmakuṇḍaladharam mandonnatabhrūlatam
kiṅcitkuṅcitakomalādharapuṭam sāciprasārekṣaṇam  |
ālolāṅgulipallavairmuralikām āpūrayantam mudā
mule kalpatarostribhaṅgalalitam dhyāyejjaganmohanam || 2-102

aṁsa ālambita vāma kuṇḍala dharam manda unnata bhrū latam kiṅcit kuṅcita komala adhara puṭam sāci prasāra īkṣaṇam ālola aṅguli pallavaiḥ muralikām āpūrayantam mudā
mule kalpataroḥ tri bhaṅga lalitam dhyāyet jagat mohanam

aMsAlambitavAmakuNDaladharam mandonnatabhrUlatam
ki~Ncitku~NcitakomalAdharapuTam sAciprasArekShaNam |
AlolA~NgulipallavairmuralikAm ApUrayantam mudA
mule kalpatarostribha~Ngalalitam dhyAyejjaganmohanam || 2-102

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aMsa Alambita vAma kuNDala dharam manda unnata bhrU latam ki~Ncit ku~Ncita komala adhara puTam sAci prasAra IkShaNam Alola a~Nguli pallavaiH muralikAm ApUrayantam mudA
mule kalpataroH tri bha~Nga lalitam dhyAyet jagat mohanam

2-102. aMsa Alambita vAma kuNDala dharam= on [left] shoulder, dangling, left, ear-hanging, one who is wearing it; manda unnata bhrU latam= a little, uprised, eyebrows called creeper; ki~Ncit ku~Ncita komala adhara puTam = a little, curved, delicate, lips, pouting – as in fluting;sAci prasAra IkShaNam= to sides, beaming, glances – sidelong glances; Alola a~Nguli pallavaiH= with swinging, finger, called, leaflets; mudA muralikAm ApUrayantam = gladly, flute, one who is filling; mule kalpataroH= at the base of, divine kalpataru tree; tri bha~Nga lalitam= in triple, bent posture; dhyAyet jagat mohanam= let us adore, universal, charmer.

Let us adore him whose left ear-hanging is dangling on left shoulder, eyebrows flexed like wavy creeper; delicate lips pouting a little to fill the flute; sidelong glance beaming wide; tender leaves like fingers swinging on flute’s keys; standing in a triple bent posture under the divine kalpataru one who is fluting self-engrossedly and for the engrossment of others, as well. [2-102]

The triple bent posture – tri-bhangi – is a must for sculpting gods. One bend is at neck, one at waistline, and one at knee / leg position – either to left or right. Here his left ear-hanging is dangling on left shoulder. Hence head is bent leftward; torso is to right and feet again to left.

--o)0(o--

मल्लैः शैलेन्द्रकल्पः शिशुरितरजनैः पुष्पचापोऽङ्गनाभिः
गोपैस्तु प्राकृतात्मा दिवि कुलिशभृता विश्वकायोऽप्रमेयः।
क्रुद्धः कंसेन कालो भयचकितदृशा योगिभिर्ध्येयमूर्ति
र्दृष्टो रङ्गावतारे हरिर् अमरगणानन्दकृत् पातु सोऽमान्॥२- १०३

  मल्लैः शैल इन्द्र कल्पः शिशुः इतर जनैः पुष्पचापः अङ्गनाभिः गोपैः तु प्राकृत आत्मा
दिवि कुलिश-भृता विश्वकायः अप्रमेयः क्रुद्धः कंसेन कालः भय चकित दृशा योगिभिः
ध्येय मूर्ति दृष्टः रङ्ग अवतारे हरिः अमर गण आनन्द कृत् पातु सः अस्मान्

mallaiḥ śailendrakalpaḥ śiśuritarajanaiḥ puṣpacāpo'ṅganābhiḥ

gopaistu prākṛtātmā divi kuliśabhṛtā viśvakāyo'prameyaḥ |

kruddhaḥ kaṁsena kālo bhayacakitadṛśā yogibhirdhyeyamūrti

rdṛṣṭo raṅgāvatāre harir amaragaṇānandakṛt pātu so'mān ||2- 103

mallaiḥ śaila indra kalpaḥ śiśuḥ itara janaiḥ puṣpacāpaḥ aṅganābhiḥ gopaiḥ tu prākṛta ātmā divi kuliśa-bhṛtā viśvakāyaḥ aprameyaḥ kruddhaḥ kaṁsena kālaḥ bhaya cakita dṛśā yogibhiḥ dhyeya mūrti dṛṣṭaḥ raṅga avatāre hariḥ amara gaṇa ānanda kṛt pātu saḥ asmān

mallaiH shailendrakalpaH shishuritarajanaiH  puShpa cApo.a~NganAbhiH
gopaistu prAkR^itAtmA divi kulishabhR^itA vishvakAyo.aprameyaH |
kruddhaH kaMsena kAlo bhayacakitadR^ishA yogibhirdhyeyamUrti
rdR^iShTo ra~NgAvatAre harir amaragaNAnandakR^it pAtu so.amAn ||2- 103

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mallaiH shaila indra kalpaH shishuH itara janaiH puShpacApaH a~NganAbhiH gopaiH tu prAkR^ita AtmA divi kulisha-bhR^itA vishvakAyaH aprameyaH kruddhaH kaMsena kAlaH bhaya cakita dR^ishA yogibhiH dhyeya mUrti dR^iShTaH ra~Nga avatAre hariH amara gaNa Ananda kR^it pAtu saH asmAn

2-103. ra~Nga avatAre= into wrestling ring, when descending; mallaiH shaila indra kalpaH= by opponent wrestlers, like a loft mountain, in similitude; itara janaiH shishuH= by ordinary spectators, as a child; a~NganAbhiH puShpa-cApaH= by womenfolk, as lovegod who wield flower-bow; gopaiH tu prAkR^ita AtmA= by cowmen, as an ordinary fellow; divi kulisha-bhR^itA vishvakAyaH a+prameyaH= from firmament, by Indra who wields thunderbolt, as indescribable one, with universe as his form; bhaya cakita dR^ishA kaMsena= with terror stricken, looks, by king kamsa; kruddhaH kAlaH=as an enraged yama – Time god; yogibhiH dhyeya mUrti= by sages, as worshippable entity; dR^iShTaH= he who is seen in such a diversity; who is; amara gaNa Ananda kR^it= for gods, hosts, happiness, endower of; saH hariH asmAn pAtu = such a hari, protect us all.

When he descended on the wrestling ring arrange by king kamsa opponent wrestlers viewed him as a lofty mountain, while other spectators looked down on him as a brashly boy; but womenfolk viewed him as lovegod, while cowherders viewed him as an ordinary fellow; but Indra from firmament viewed him as an indescribable one whose form is this universe, while king kamsa held him with terror stricken flustering eyes as if he is the enraged yama, yet, the sages and saints viewed him praiseworthy Supreme Person – dhyAna yogya saguNa paramAtma - such an endower of happiness to hosts of gods causing diversity of views among onlookers, let that hari endow us with eternal bliss. [2-103]

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संविष्टो मणिविष्ठरेऽङ्कतलमध्यासीनलक्ष्मीमुखे
कस्तूरीतिलकम् मुदा विरचयन् हर्सात् कुचौ संस्पृशन्।
अन्योन्यस्मितचन्द्रिकाकिसलयैराराधयन् मन्मथम्
गोपीगोपपरीवृतो यदुपतिः पायाज्जगन्मोहनः॥ २-१०४

  संविष्टः मणि विष्ठरे अङ्क तल मध्य आसीन लक्ष्मी मुखे कस्तूरी तिलकम्
मुदा विरचयन् हर्सात् कुचौ संस्पृशन् अन्योन्य स्मित चन्द्रिका किसलयैः
आराधयन् मन्मथम् गोपी गो पपरीवृतः यदुपतिः पायात् जगन्मोहनः

saṁviṣṭo maṇiviṣṭhare'ṅkatalamadhyāsīnalakṣmīmukhe
kastūrītilakam mudā viracayan harsāt kucau saṁspṛśan |
anyonyasmitacandrikākisalayairārādhayan manmatham
gopīgopaparīvṛto yadupatiḥ pāyājjaganmohanaḥ || 2-104

saṁviṣṭaḥ maṇi viṣṭhare aṅka tala madhya āsīna lakṣmī mukhe kastūrī tilakam mudā viracayan harsāt kucau saṁspṛśan anyonya smita candrikā kisalayaiḥ ārādhayan manmatham gopī go paparīvṛtaḥ yadupatiḥ pāyāt jaganmohanaḥ

saMviShTo maNiviShThare.a~NkatalamadhyAsInalakShmImukhe
kastUrItilakam mudA viracayan harsAt kucau saMspR^ishan |
anyonyasmitacandrikAkisalayairArAdhayan manmatham
gopIgopaparIvR^ito yadupatiH pAyAjjaganmohanaH || 2-104

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saMviShTaH maNi viShThare a~Nka tala madhya AsIna lakShmI mukhe kastUrI tilakam mudA viracayan harsAt kucau saMspR^ishan anyonya smita candrikA kisalayaiH ArAdhayan manmatham gopI go paparIvR^itaH yadupatiH pAyAt jaganmohanaH

2-104. maNi viShThare saMviShTaH san= on a jewel studded seat, settle comfortably; a~Nka tala madhya AsIna lakShmI mukhe= on his thigh, surface, seated, on goddess lakshmi’s, face; mudA kastUrI tilakam viracayan= joyfully, musk, mark, while shaping; harsAt kucau saMspR^ishan= in a fit of joy, her bosoms, while touching; anyonya smita candrikA kisalayaiH= mutually, with smiles, called moonbeams, called tender leaves; manmatham ArAdhayan= who [both] adoring lovegod – say indulged romance; and at other times; gopI go paparIvR^itaH= with milkmaids, cows, one who I surrounded by; jagat mohanaH yadupatiH pAyAt = universe, an enchanter, gem of yadu clan, protect us.

Seated comfortably on a gem studded seat and keeping his consort lakshmi on his thigh, he who is joyfully shaping the forehead mark on her face with deer musk, in which amusement incidentally touching her bosoms while both of them mutually beaming smiles called moonbeams unfolding like tender leaves; and who at other times hemmed in by a host of milkmaids and cows, I adore such Universal Enchanter who perchance become the gem of yadu clan. [2-14]

--o)0(o--

आकृष्टे वसनाङ्चले कुवलयश्यामा त्रपाधःकृता
दृष्टिः संवलितारुचा कुचयुगे स्वर्णप्रभे श्रीमति।
बालः कश्चन चूतपल्लव इति प्राप्तस्मितास्यश्रियम्
श्लिष्यन् ताम् अथ रुक्मिणीम् नतमुखीम् कृष्णः स पुष्णातु नः॥ २-१०५

  आकृष्टे वसन अङ्चले कुवलय श्यामा त्रपा अधः कृता दृष्टिः संवलिता रुचा कुच युगे स्वर्ण प्रभे श्रीमति बालः कश्चन चूत पल्लव इति प्राप्त स्मित आस्य श्रियम् श्लिष्यन् ताम् अथ रुक्मिणीम् नत मुखीम् कृष्णः स पुष्णातु नः

ākṛṣṭe vasanāṅcale kuvalayaśyāmā trapādhaḥkṛtā
dṛṣṭiḥ saṁvalitārucā kucayuge svarṇaprabhe śrīmati |
bālaḥ kaścana cūtapallava iti prāptasmitāsyaśriyam
śliṣyan tām atha rukmiṇīm natamukhīm kṛṣṇaḥ sa puṣṇātu naḥ || 2-105

ākṛṣṭe vasana aṅcale kuvalaya śyāmā trapā adhaḥ kṛtā dṛṣṭiḥ saṁvalitā rucā kuca yuge svarṇa prabhe śrīmati bālaḥ kaścana cūta pallava iti prāpta smita āsya śriyam śliṣyan tām atha rukmiṇīm nata mukhīm kṛṣṇaḥ sa puṣṇātu naḥ

AkR^iShTe vasanA~Ncale kuvalayashyAmA trapAdhaHkR^itA
dR^iShTiH saMvalitArucA kucayuge svarNaprabhe shrImati |
bAlaH kashcana cUtapallava iti prAptasmitAsyashriyam
shliShyan tAm atha rukmiNIm natamukhIm kR^iShNaH sa puShNAtu naH || 2-105

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AkR^iShTe vasana a~Ncale kuvalaya shyAmA trapA adha HkR^itA dR^iShTiH saMvalitA rucA kuca yuge svarNa prabhe shrImati bAlaH kashcana cUta pallava iti prApta smita Asya shriyam shliShyan tAm atha rukmiNIm nata mukhIm kR^iShNaH sa puShNAtu naH

2-105. [yasyAH] vasana a~Ncale AkR^iShTe sat= [whose] upper cloth [on bosoms] when dragged; shrImati= one with high grandeur; kuvalaya shyAmA= blackish like black lotus – her glances; trapA adhaH kR^itA dR^iShTiH = with shyness, downward, made – looks turned don with coyness; those blackish glances splendour and splendour of golden bosoms; svarNa prabhe kuca yuge rucA= golden, in hue, bosoms, both, with splendour; saMvalitA= entwined – to become goldenly blackish; atha= then this amalgam of colours looked as if it is; kashcana bAlaH cUta pallava= some, very young, mango, sprout – in the colour of that leaflet; iti= thinking this way; [bhrAnti] prApta smita Asya shriyam= illusion, on getting, with smile, face, called the grandeur; tAm= she who is in such a way; rukmiNIm nata mukhIm= rukmiNI, downward, faced one; shliShyan= he who is embracing; saH kR^iShNaH= that kriShNa; naH puShNAtu = let him enrich us with pleasures.

When he dragged off rukmiNi’s upper cloth in sports of love, she bent her head in shyness and her magnificent glances that are in the hue of a black lotus fell on her bosoms which have the splendid glittering hue of golden pots, and on falling those shades of blackish glances and golden hue of bosoms entwined to become goldenly blackish; then she is a little surprised as to why just sprouted leaflets of mango tree have fallen on her bosoms – for those leaflets also glitter copperishly, blackishly, and goldenly colour, and then, when her mood is otherwise and head bent in coyness, kriShNa held her in a tight embrace with all longing for her. Let such a romantic kriShNa together with personified fortune rukmiNi protect us all. [2-105]

--o)0(o--

Proem: The following verse is a vyAja stuti rUp complaint of rukmiNi / rAdha:

ऊर्व्याम् कोऽपि महीधरो लघुतरो दोर्भ्याम् धृतो लीलया
तेन त्वम् दिवि भूतले च सततम् गोवर्धनोद्धारकः।
त्वाम् त्रैलोक्यधरम् वहामिकुचयोर् अग्रेण तदगण्यते
किम् वा केशव भाषणेन बहुना पुण्यैर् यशो लभ्यते॥ २-१०६

  ऊर्व्याम् कः अपि मही धरः लघु तरः दोर्भ्याम् धृतः लीलया तेन त्वम् दिवि भूतले च सततम् गोवर्धन उद्धारकः त्वाम् त्रै लोक्य धरम् वहामि कुचयोः अग्रेण
तत् अगण्यते किम् वा केशव भाषणेन बहुना पुण्यैः यशो लभ्यते

ūrvyām ko'pi mahīdharo laghutaro dorbhyām dhṛto līlayā
tena tvam divi bhūtale ca satatam govardhanoddhārakaḥ |
tvām trailokyadharam vahāmikucayor agreṇa tadagaṇyate
kim vā keśava bhāṣaṇena bahunā puṇyair yaśo labhyate || 2-106

ūrvyām kaḥ api mahī dharaḥ laghu taraḥ dorbhyām dhṛtaḥ līlayā tena tvam divi bhūtale ca satatam govardhana uddhārakaḥ tvām trai lokya dharam vahāmi kucayoḥ agreṇa tat agaṇyate
kim vā keśava bhāṣaṇena bahunā puṇyaiḥ yaśo labhyate

urvyAm ko.api mahIdharo laghutaro dorbhyAm dhR^ito lIlayA
tena tvam divi bhUtale ca satatam govardhanoddhArakaH |
tvAm trailokyadharam vahAmikucayor agreNa tadagaNyate
kim vA keshava bhAShaNena bahunA puNyair yasho labhyate || 2-106

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urvyAm kaH api mahI dharaH laghu taraH dorbhyAm dhR^itaH lIlayA tena tvam divi bhUtale ca satatam govardhana uddhArakaH tvAm trai lokya dharam vahAmi kucayoH agreNa tat agaNyate kim vA keshava bhAShaNena bahunA puNyaiH yasho labhyate

2-106. urvyAm laghu taraH= on earth, lightest of the light; kaH api mahI-dharaH= some trifling, mountain; lIlayA dorbhyAm dhR^itaH= sportily, with palms, you held; tena= by that reason; tvam divi bhUtale ca satatam govardhana uddhArakaH= you, in heaven, on earth, always, Mt. govardhana, lifter – thus you are acclaimed;

but;

tvAm trai lokya dharam = you, three, worlds, the sustainer of; [satatam ] kucayoH agreNa vahAmi = [always] my bosoms, on the top of, I am bearing;

tat agaNyate= that fact, is not, counted upon – because none is calling me as tri-loka-dhara-dhAriNi – I am unsung, isn’t it;

keshava= oh, keshava;

bahunA bhAShaNena kim vA= too much, by talking, what is the use – what is the use of puffery and ballyhoo;

puNyaiH yashaH labhyate= with merits, celebrity, comes.

You uplifted a paltriest mountain on earth, that too for an infinitesimal period, for which you are always celebrated on earth and heaven as “govardhanagiridhAri” etc; but, how about me who am bearing you, the sustainer of the triad of worlds, just on my teats ever and anon; this is an unsung fact, isn’t it; of what use is much puffery and ballyhoo, huh, one’s own merits yield celebrity… [2-106]

“Yet, I am very proud and fortunate to become your substratum, to have your love etc whereby I am more celebrated in all worlds” this is – saubhAgya garva mUlaka kriShNa stuti.

--o)0(o--

सन्ध्यावन्दन भद्रम् अस्तु भवते भोः स्नान तुभ्यम् नमो
भो देवाः पितरश्च तर्पणविधौ नाहम् क्षमः क्षम्यताम्।
यत्र क्वापि निषीद्य यादवकुलोत्तंसस्य कंसद्विषः
स्मारम् स्मारम् अघम् हरामि तदलम् मन्ये किम् अन्येन॥ २-१०७

  सन्ध्यावन्दन भद्रम् अस्तु भवते भोः स्नान तुभ्यम् नमः भो देवाः पितरः च तर्पण विधौ न अहम् क्षमः क्षम्यताम् यत्र क्वापि निषीद्य यादव कुल उत्तंसस्य कंस द्विषः स्मारम् स्मारम् अघम् हरामि तत् अलम् मन्ये किम् अन्येन

sandhyāvandana bhadram astu bhavate bhoḥ snāna tubhyam namo
bho devāḥ pitaraśca tarpaṇavidhau nāham kṣamaḥ kṣamyatām |
yatra kvāpi niṣīdya yādavakulottaṁsasya kaṁsadviṣaḥ
smāram smāram agham harāmi tadalam manye kim anyena || 2-107

sandhyāvandana bhadram astu bhavate bhoḥ snāna tubhyam namaḥ bho devāḥ pitaraḥ ca tarpaṇa vidhau na aham kṣamaḥ kṣamyatām yatra kvāpi niṣīdya yādava kula uttaṁsasya kaṁsa dviṣaḥ smāram smāram agham harāmi tat alam manye kim anyena

sandhyAvandana bhadram astu bhavate bhoH snAna tubhyam namo
bho devAH pitarashca tarpaNavidhau nAham kShamaH kShamyatAm |
yatra kvApi niShIdya yAdavakulottaMsasya kaMsadviShaH
smAram smAram agham harAmi tadalam manye kim anyena || 2-107

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sandhyAvandana bhadram astu bhavate bhoH snAna tubhyam namaH bho devAH pitaraH ca tarpaNa vidhau na aham kShamaH kShamyatAm yatra kvApi niShIdya yAdava kula uttaMsasya kaMsa dviShaH smAram smAram agham harAmi tat alam manye kim anyena

2-107. hè sandhyAvandana bhavate bhadram astu= oh, time oriented oblations, may you prosper; bhoH snAna tubhyam namaH= oh, time oriented bathing, I salute you; bho devAH pitaraH ca= oh, gods and manes; tarpaNa vidhau na aham kShamaH= in offering oblations, I am, incapable; kShamyatAm= I may be excused; yatra kvApi niShIdya= at some place, some where, on sitting; yAdava kula uttaMsasya= of yAdava clan, the main jewel; kaMsa dviShaH= kamsa’s enemy; smAram smAram= on reminiscing, and reminiscing; agham harAmi= sins, I want to get rids of; tat alam manye= that is enough, I think; kim anyena= why performing other procedural duties.

bhAvam =sulabham.

--o)0(o--

हे गोपालक हे कृपाजलनिधे हे सिन्धुकन्यापते
हे कंसान्तक हे गजेन्द्रकरुणापारीण हे माधव।
हे रामानुज हे जगत्त्रयगुरो हे पुण्डरीकाक्ष माम्
हे गोपीजननाथ पालय परम् जानामि न त्वाम् विना॥ २-१०८

  हे गोपालक - हे कृपा जल निधे - हे सिन्धु कन्या पते - हे कंस अन्तक - हे गजेन्द्र अरुणा आरीण - माधव - हे बल राम अनुज - हे जगत् त्रय गुरो - हे पुण्डरीकाक्ष - हे गोपी जन नाथ - त्वाम् विना परम् न जानामि - माम् पालय

he gopālaka he kṛpājalanidhe he sindhukanyāpate
he kaṁsāntaka he gajendrakaruṇāpārīṇa he mādhava |
he rāmānuja he jagattrayaguro he puṇḍarīkākṣa mām
he gopījananātha pālaya param jānāmi na tvām vinā || 2-108

he gopālaka - he kṛpā jala nidhe - he sindhu kanyā pate - he kaṁsa antaka - he gajendra aruṇā ārīṇa - mādhava - he bala rāma anuja - he jagat traya guro - he puṇḍarīkākṣa - he gopī jana nātha - tvām vinā param na jānāmi - mām pālaya

he gopAlaka he kR^ipAjalanidhe he sindhukanyApate
he kaMsAntaka he gajendrakaruNApArINa he mAdhava |
he rAmAnuja he jagattrayaguro he puNDarIkAkSha mAm
he gopIjananAtha pAlaya param jAnAmi na tvAm vinA || 2-108

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anvayam: tvAm vinA param na jAnAmi - mAm pAlaya

he gopAlaka - he kR^ipA jala nidhe - he sindhu kanyA pate - he kaMsa antaka - he gajendra aruNA ArINa - mAdhava - he [bala] rAma anuja - he jagat traya guro - he puNDarIkAkSha - he gopI jana nAtha - tvAm vinA param na jAnAmi - mAm pAlaya

This being a stuti pATham, there is nothing implicit to explain; taatparyam= sulabbham.

--o)0(o--

कस्तूरीतिलकम् ललाटफलके वक्षःस्थले कौस्तुभम्
नासाग्रे नवमौक्तिकम् करतले वेणुम् करे कङ्कणम्।
सर्वाङ्गहरिचन्दनम् च कलयन् कण्ठे च मुक्तावलिम्
गोपस्त्रीपरिवेष्टितो विजयते गोपालचूडामणिः॥ २-१०९

  कस्तूरी तिलकम् ललाट फलके वक्षः स्थले कौस्तुभम् नास अग्रे नव मौक्तिकम् कर तले वेणुम् करे कङ्कणम् सर्व अङ्गे हरि चन्दनम् च कलयन् कण्ठे च
मुक्त आवलिम् गोप स्त्री परिवेष्टितः विजयते गोपाल चूडामणिः

kastūrītilakam lalāṭaphalake vakṣaḥsthale kaustubham
nāsāgre navamauktikam karatale veṇum kare kaṅkaṇam |
sarvāṅgaharicandanam ca kalayan kaṇṭhe ca muktāvalim
gopastrīpariveṣṭito vijayate gopālacūḍāmaṇiḥ || 2-109

kastūrī tilakam lalāṭa phalake vakṣaḥ sthale kaustubham
nāsa agre nava mauktikam kara tale veṇum kare kaṅkaṇam
 sarva aṅge hari candanam ca kalayan kaṇṭhe ca mukta āvalim
gopa strī pariveṣṭitaḥ vijayate gopāla cūḍāmaṇiḥ

kastUrItilakam lalATaphalake vakShaHsthale kaustubham
nAsAgre navamauktikam karatale veNum kare ka~NkaNam |
sarvA~Ngaharicandanam ca kalayan kaNThe ca muktAvalim
gopastrIpariveShTito vijayate gopAlacUDAmaNiH || 2-109

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kastUrI tilakam lalATa phalake vakShaH sthale kaustubham nAsa agre nava mauktikam kara tale veNum kare ka~NkaNam sarva a~Nge hari candanam ca kalayan kaNThe ca mukta Avalim
gopa strI pariveShTitaH vijayate gopAla cUDAmaNiH

2-109. lalATa phalake kastUrI tilakam= on plaquette-like, forehead,U mark made with musk; vakShaH sthale kaustubham= on chest, plate, divine kausthubha jewel wedged to a pendant; nAsa agre nava mauktikam= on nose’s, tip – on nostril, new, pearl – pearl studded nose-stud; kara tale veNum= on hand’s, surface, a flute; kare ka~NkaNam= on wrists, O-rings; sarva a~Nge hari candanam= all, on body, sandal paste cosmetically smeared; ca= further; kaNThe mukta Avalim ca= on neck, pearl-pendants, also; kalayan= making them to scintillate – they are scintillating more because they are on a discrete sapphirine backdrop called his physique; gopa strI pariveShTitaH= by cowherders’, damsels, immured by; [saH] gopAla cUDA maNiH= [he that] cow minders’,crest jewellike boy; vijayate= excelling topmost.

There glimmers a U mark made with deer musk on his plaquette-like little forehead; glistening is the divine kausthubha jewel wedged to a pendant on the pane of his petite chest; glinting is a nose-stud studded with an exquisite pearl on his tiny nostril; clanging are the O-rings on his teeny-weeny wrists; fizzying flute mohana-vamshi in his puny fist; permeating is the fragrance of sandal paste cosmetically smeared on his entire boy; scintillating are the pearly pendants dangling around his neck, more so, for their being on a discrete sapphirine backdrop called his physique; that being his maquillage, he who will be immured by a select coterie of milkmaids, hail that divinest sapphirine boy, the crest jewel of cowminders’ community. [2-109]

This is the most celebrated euphony on kriShNa sung length and breadth of India.

--o)0(o--

लोकानुन्मदयन् श्रुतीर्मुखरयन् क्शोणीरुहान्हर्षयन्
शैलान्विद्रवयन्मृगान्विवशयन्गोबृन्दमानन्दयन्।
गोपान्सम्भ्रमयन्मुनीन्मुकुलयन् सप्तस्वरान्जृम्भय
न्नोम्कारार्थमुदीरयन्विजयते वम्षीनिनादशिशोः॥ २-११०

  लोकान् उत् मदयन् श्रुतीः मुखरयन् क्शोणी रुहान् हर्षयन् शैलान् वि-द्रवयन् ऋगान् विवशयन् गो बृन्दम् आनन्दयन् गोपान् सम्भ्रमयन् मुनीन् मुकुलयन् सप्त स्वरान् जृम्भयन् ओम्कार अर्थम् उदीरयन् विजयते वम्षी निनाद शिशोः

lokānunmadayan śrutīrmukharayan kśoṇīruhānharṣayan
śailānvidravayanmṛgānvivaśayangobṛndamānandayan |
gopānsambhramayanmunīnmukulayan saptasvarānjṛmbhaya
nnomkārārthamudīrayanvijayate vamṣīninādaśiśoḥ || 2-110

lokān ut madayan śrutīḥ mukharayan kśoṇī ruhān harṣayan śailān vi-dravayan ṛgān vivaśayan go bṛndam ānandayan gopān sambhramayan munīn mukulayan sapta svarān jṛmbhayan omkāra artham udīrayan vijayate vamṣī nināda śiśoḥ

lokAnunmadayan shrutIrmukharayan kshoNIruhAnharShayan
shailAnvidravayanmR^igAnvivashayangobR^indamAnandayan |
gopAnsambhramayanmuniinmukulayan saptasvarAnjR^imbhaya
nnomkArArthamudIrayanvijayate vamSIninAdashishoH || 2-110

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lokAn ut madayan shrutIH mukharayan kshoNI ruhAn harShayan shailAn vi-dravayan R^igAn vivashayan go bR^indam Anandayan gopAn sambhramayan muniin mukulayan sapta svarAn jR^imbhayan omkAra artham udIrayan vijayate vamSI ninAda shishoH

2-110. shishoH vaMshI ninAdaH= of that boy [bAlakrishNa’s], flute mohana-vamshi’s, rhapsody; lokAn ut madayan= to make listeners, ecsatised; shrutIH [arthAn] mukharayan= to make scriptures [saying] re-echoed; kshoNI ruhAn harShayan= earth, born ones – trees, to make happy; shailAn vi-dravayan= boulders, to melt; mR^igAn vivashayan= to make wildlife, helpless; go bR^indam Anandayan= cow, hosts, to make glad; gopAn sambhramayan= cowmen, to make rejoicing; muniin mukulayan= sages, making them close their eyes – make complacent; sapta svarAn jR^imbhayan= seven, scales, making to spurt; omkAra artham udIrayan= Om syllable’s, meaning, explaining; vijayate= it is flourishing.

The rhapsody of that blueblack boy’s flute, mohna-vamshi, is fluently flourishing in ecstasising listeners; re-echoing scriptures and their sayings; delighting flora and fauna; melting boulders; exasperating wildlife; gladdening hosts of cows; rejoicing cowmen and their community; making sages and saints complacent; embellishing music identified by its seven musical notes, and when everything is put together – explaining the purport of the syllable Om. [2-110]

The Telugu mms will have the above verse instead of its variant given below:

kAlindIbahulapravAharabhasam saMstambhayan tatkShaNAt
shailAn vidravayan mR^igAn vivashayan govR^indam Anandayan |
gopAn sambhramayan munIn mukulayan saptasvarAn jR^imbhayan
o~NkArArtham udIrayan vijayate vaMshIninAdaH shishoH || 2-110 variant

kAlindI bahula pravAha rabhasam saMstambhayan tat kShaNAt shailAn vidravayan mR^igAn vivashayan govR^indam Anandayan gopAn sambhramayan munIn mukulayan sapta svarAn jR^imbhayan o~NkAra artham udIrayan vijayate vaMshI ninAdaH shishoH

--o)0(o--

यस्यात्मभूतस्य गुरोः प्रसादात् अहम् विमुक्तोऽस्मि शरीरबन्धात्।
सर्वोपदेष्टुः पुरुषोत्तमस्य तस्याङ्घ्रिपद्मम् प्रणतोऽस्मि नित्यम्॥२- १११

  यस्य आत्म भूतस्य गुरोः प्रसादात् अहम् विमुक्तः अस्मि शरीर बन्धात्
सर्व उपदेष्टुः पुरुषोत्तमस्य तस्य अङ्घ्रि पद्मम् प्रणतः अस्मि नित्यम्

yasyātmabhūtasya guroḥ prasādāt
aham vimukto'smi śarīrabandhāt |
sarvopadeṣṭuḥ puruṣottamasya
tasyāṅghripadmam praṇato'smi nityam ||2- 111

yasya ātma bhūtasya guroḥ prasādāt aham vimuktaḥ asmi śarīra bandhāt sarva upadeṣṭuḥ puruṣottamasya tasya aṅghri padmam praṇataḥ asmi nityam

yasyAtmabhUtasya guroH prasAdAt
aham vimukto.asmi sharIrabandhAt |
sarvopadeShTuH puruShottamasya
tasyA~Nghripadmam praNato.asmi nityam ||2- 111

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yasya Atma bhUtasya guroH prasAdAt aham vimuktaH asmi sharIra bandhAt sarva upadeShTuH puruShottamasya tasya a~Nghri padmam praNataH asmi nityam

1-111. Atma bhUtasya = one who is soul like in me; yasya guroH prasAdAt= by which, mentor’s, kindness; aham sharIra bandhAt vimuktaH asmi= myself, from the ties, of body, stand emancipated; sarva [tattva] upadeShTuH= all, [viewpoints], one who taught me; puruSha uttamasya= among all living beings, the best one; tasya a~Nghri padmam = at his, feet, called lotuses; nityam praNataH asmi= always, I will be, revere.

I will always be revering the lotus-feet of my mentor who intrinsically is function like my soul, owing to whom I am able to rescind connection with gross, subtle, and causal – sthUla, sUkshma, kArNa sharIrA-s, for he taught me the nature of para-tattva, the Supreme Being,. [2-111]

This verse appears in one mms only. This has not Telugu rendering by vengayAmAtya. Hence this is deemed to be an interpolation.

--o)0(o--

.

इति लीलाशुक विरचिते श्री कृष्ण कर्णामृते द्वितीय अध्यायम् - द्वितीय शतकम् - समाप्तम्

īti līlāśuka viracite śrī kṛṣṇa karṇāmṛte dvitīya adhyāyam - dvitīya śatakam - samāptam

Thus the second chapter - second hundred verses - of shrI kRiShNa karNAmRitam, euphonised by lIlAshuka, completes here.

 

giirvaaNi Introduction
shrI kRiShNa karNAmRitam - ch 1
shrI kRiShNa karNAmRitam - ch 2
shrI kRiShNa karNAmRitam - ch 3

desiraju hanumanta rao, July 09

desirajuhrao at yahoo.com