bAla krishna  
lIlAshuka bilvamangala
virachita
shrI kRiShNa karNAmRitam
...an euphony on krishna
third & final chapter -- 108 verses

 

.

अस्ति स्वस्त्ययनम् समस्तजगताम् अभ्यस्तलक्ष्मीस्तनम्
वस्तु ध्वस्तरजस्तमोभिर् अनिशम् न्यस्तम् पुरस्तादिव।
हस्तोदस्तगिरीन्द्रमस्तकतरुप्रस्तारविस्तारित
स्रस्तस्वस्तरुसूनसंस्तरलसत्प्रस्तानिराधास्तुतम्॥ ३-१

  अस्ति स्वस्त्ययनम् समस्त जगताम् अभ्यस्त लक्ष्मी स्तनम् वस्तु ध्वस्त
रजः तमोभिः अनिशम् न्यस्तम् पुरस्तात् इव हस्त उदस्त गिरि इन्द्र मस्तक तरु प्रस्तार विस्तारित स्रस्त स्व तरु सून संस्तर लसत् प्रस्तानि राधा स्तुतम्

asti svastyayanam samastajagatām abhyastalakṣmīstanam
vastu dhvastarajastamobhir aniśam nyastam purastādiva |
hastodastagirīndramastakataruprastāravistārita
srastasvastarusūnasaṁstaralasatprastānirādhāstutam || 3-1

  asti svastyayanam samasta jagatām abhyasta lakṣmī stanam vastu dhvasta rajaḥ tamobhiḥ aniśam nyastam purastāt iva hasta udasta giri indra mastaka taru  prastāra vistārita srasta sva taru sūna saṁstara lasat prastāni rādhā stutam

asti svastyayanam samastajagatAm abhyastalakShmIstanam
vastu dhvastarajastamobhir anisham nyastam purastAdiva |
hastodastagirIndramastakataruprastAravistArita
srastasvastarusUnasaMstaralasatprastAnirAdhAstutam || 3-1

flute

asti svastyayanam samasta jagatAm abhyasta lakShmI stanam vastu dhvasta rajaH tamobhiH anisham nyastam purastAt iva hasta udasta giri indra mastaka taru  prastAra vistArita srasta sva taru sUna saMstara lasat prastAni rAdhA stutam

3-1. samasta jagatAm svastyayanam= for all, worlds, a preservative place;

abhyasta lakShmI stanam= that which is habituated, to Fortune's [lakshmi’s], bosoms - it doesn't mean that the entity being established is a sRingAra nAyaka by mentioning bosoms - but that entity is sakala vidha shobhA yuktaH

dhvasta rajaH tamobhiH= for those who have overcome, raja, and tamo guNA-s – say yogis, saints; anisham purastAt iva nyastam = always, their before, as if, that [preservative place] is kept;

hasta udasta giri indra mastaka taru  prastAra vistArita srasta sva taru sUna saMstara lasat

hasta udasta giri- indra= by hand, uplifted, mountain, the great; mastaka taru prastAra = on head [of mountain], trees, a host of; vistArita srasta = well bloomed ones, slipping from trees; svas taru sUna= [as if like] heavenly, tree, offspring of – flowers – like divinely flowers of mandAra, pArijAta trees; saMstara= with heaps of – flowers; lasat= luminous – one that is self-luminous, yet enriched by the luminosity of lowers falling on it, as well;

rAdhA stutam= [above all] by rAdha, one that which is eulogised; such a sapphirine; vastu asti= entity, is there.

A heavenly haven for the triad of worlds; habituated to wallow in the luxury with Fortune; a habitude of sages and yogis surmounted rajo guNa - mode of hyperactivity, and tamo guNa - mode of complete stolidity,as if they are always envisaging it vis-à-vis; which once hazarded to uplift a great mountain whereby umpteen flowers have slipped onto that haven from umpteen trees available on the peak of that uplifted mountain, as if heaven showered divine flowers only to redouble the self-luminosity of it by their own flowery-luminescence; and above all, one that has all the praise from rAdha; such a self-sapphirine-luminous entity is there.  [3-1]

hastodastagirIndramastakataruvyatyastavistAritasrastasvastarusUnasamstaralasatprastAramabhyasta-
padmAstokasamasatakalmashapuronyastambunudyatjjagasvastishrIdamu... etc vengayAmAtya.

Alliteration is on soundsta.

--o)0(o--

 

राधाराधितविभ्रमाद्भुतरसम् लावण्यरत्नाकरम्
साधारण्यपदव्यतीतसहजस्मेराननाम्भोरुहम्।
आलम्बे हरिनीलगर्वगुरुतासर्वस्वनिर्वापणम्
बालम् वैणविकम् विमुग्धमधुरम् मूर्धाभिषिक्तम् महः॥ ३-२

  राध आराधित विभ्रम अद्भुत रसम् लावण्य रत्न आकरम् साधारण्य पद व्यतीत
सहज स्मेर आनन अम्भो-रुहम् आलम्बे हरि-नील गर्व गुरुता सर्वस्व निर्वापणम्
बालम् वैणविकम् वि-मुग्ध मधुरम् मूर्धा अभिषिक्तम् महः

rādhārādhitavibhramādbhutarasam lāvaṇyaratnākaram
sādhāraṇyapadavyatītasahajasmerānanāmbhoruham |
ālambe harinīlagarvagurutāsarvasvanirvāpaṇam
bālam vaiṇavikam vimugdhamadhuram mūrdhābhiṣiktam mahaḥ || 3-2

  rādha ārādhita vibhrama adbhuta rasam lāvaṇya ratna ākaram sādhāraṇya pada vyatīta sahaja smera ānana ambho-ruham ālambe hari-nīla garva gurutā sarvasva nirvāpaṇam bālam vaiṇavikam vi-mugdha madhuram mūrdhā abhiṣiktam mahaḥ

rAdhArAdhitavibhramAdbhutarasam lAvaNyaratnAkaram
sAdhAraNyapadavyatItasahajasmerAnanAmbhoruham |
Alambe harinIlagarvagurutAsarvasvanirvApaNam
bAlam vaiNavikam vimugdhamadhuram mUrdhAbhiShiktam mahaH || 3-2


flute

rAdha ArAdhita vibhrama adbhuta rasam lAvaNya ratna Akaram sAdhAraNya pada vyatIta sahaja smera Anana ambho-ruham Alambe hari-nIla garva gurutA sarvasva nirvApaNam bAlam vaiNavikam vi-mugdha madhuram mUrdhA abhiShiktam mahaH

3-2. rAdha ArAdhita vibhrama adbhuta rasam= by rAdha, that which is adored, vivacious, astounding, an essence of - one whose vivacity is astounding for which rAdha is all praise for him;

lAvaNya [or, lAltya] ratna Akaram= for all charms, a jewel, mine - ocean;

sAdhAraNya pada vyatIta sahaja smera Anana ambho-ruham= general, style, with a transcending [style], with natural, smiles, a face, like that of a lotus;

hari-nIla garva gurutA sarvasva nirvApaNam= indra-nIla jewel, proudness, weight of, [whose physique brings] disparage;

vi-mugdha madhuram= among all beauties, verily beautiful;

vaiNavikam= expert in fluting;

mUrdhA abhiShiktam= [among all resplendences] crowned resplendence;

bAlam= that which is youngling;

mahaH= unique resplendence; Alambe= we follow.

rAdha has all the praise for that crowning resplendence whose sporty demeanour is astounding for her, besides being an ocean of all beautiful charms and graces; its lotusy face wears a peculiarly natural smile that transcends the beaten-track smirks; physique bringing disparage to rarest indra-nIla jewel; an elegance among all elegancies, an expert flutist, and an youngling in effect; we abide by that unique resplendence. [3-2]

--o)0(o--

करिणाम् अलङ्घ्यगतिवैभवम् भजे
करुणावलम्बितकिशोरविग्रहम्।
यमिनाम् अनारतविहारि मानसे
यमुनवनान्तरसिकम् परम् महः॥ ३-३

  करिणाम् अलङ्घ्य गति वैभवम् भजे करुण अवलम्बित किशोर विग्रहम्
यमिनाम् अनारत विहारि मानसे यमुन ब्वन अन्त रसिकम् परम् महः

kariṇām alaṅghyagativaibhavam bhaje
karuṇāvalambitakiśoravigraham |
yaminām anāratavihāri mānase
yamunavanāntarasikam param mahaḥ || 3-3

  kariṇām alaṅghya gati vaibhavam bhaje karuṇa avalambita kiśora vigraham yaminām anārata vihāri mānase yamuna bvana anta rasikam param mahaḥ

kariNAm ala~Nghyagativaibhavam bhaje
karuNAvalambitakishoravigraham |
yaminAm anAratavihAri mAnase
yamunavanAntarasikam param mahaH || 3-3

flute

kariNAm a+la~Nghya gati vaibhavam bhaje karuNa avalambita kishora vigraham yaminAm anArata vihAri mAnase yamuna bvana anta rasikam param mahaH

3-3. kariNAm= for elephants; a+la~Nghya= can not be, surpassed; gati vaibhavam= gait, and its grandeur; karuNa avalambita kishora vigraham= with grace, adapted, a youngling's, form; mAnase yaminAm anArata vihAri= in the minds of, yogis, always, one who meanders; yamuna vana anta rasikam= on Yamuna's, woodlands, inside, who frolics; param mahaH= supreme, radiance; bhaje= we worship.

That supreme radiance graciously adapted a youngling's form in vraja village for our sake whose gait is unsurpassable even to gracefully gaited elephants; an all-time drifter on the minds of yogis and a frolicker in the bosom of brindavana woodlands on the riverbank of river yamuna;  let us adore that supreme radiance. [3-3]

Alliteration is on A sound at end syllables of first words of each foot.

--o)0(o--

अतन्त्रितत्रिजगदपि व्रजाङ्गना नियन्त्रितम् विपुलविलोचनाज्ञया।
निरन्तरम् मम हृदये विजृम्भताम् समन्ततः सरसतरम् परम् महः॥ ३-४

  अतत्रित त्रि जगत् अपि व्रज अङ्गना नियन्त्रितम् विपुल विलोचन आज्ञया
निरन्तरम् मम हृदये विजृम्भताम् समन्ततः सरसतरम् परम् महः

atantritatrijagadapi vrajāṅganā
niyantritam vipulavilocanājñayā |
nirantaram mama hṛdaye vijṛmbhatām
samantataḥ sarasataram param mahaḥ || 3-4

  atatrita tri jagat api vraja aṅganā niyantritam vipula vilocana ājñayā nirantaram mama hṛdaye vijṛmbhatām samantataḥ sarasataram param mahaḥ

atantritatrijagadapi vrajA~NganA
niyantritam vipulavilocanAj~nayA |
nirantaram mama hR^idaye vijR^imbhatAm
samantataH sarasataram param mahaH || 3-4

flute

a+tatrita tri jagat api vraja a~NganA niyantritam vipula vilocana Aj~nayA nirantaram mama hR^idaye vijR^imbhatAm samantataH sarasataram param mahaH

3-4. a+tatrita tri jagat api= not, independent, three, worlds, even though - even though he controls 3 worlds without giving them any independence; vipula vilocana Aj~nayA vraja a~NganA= with broad, eyes, by order of, vraja, of damsels; niyantritam= one who is under the control of [those broad-eyed damsels]; samantataH param= anywise, supreme; sarasa taram= affable - to highest degree; mahaH= such a resplendence; nirantaram mama hR^idaye vijR^imbhatAm =always, in my, heart, be buoyant.

Even though he controls the triad of worlds without giving them any independence, he himself is dependant on the bidding of the sidelong glances of broad-eyed damsels of vraja; let that supreme resplendence always hold sway on my heart, for, anywise he is supreme and in any way he is affable. [3-4]

--o)0(o--

कन्दर्पप्रतिमल्लकान्तिविभवम् कादम्बिनीबान्धवम्
बृन्दारण्यविलासिनीव्यसनिनम् वेषेण भूषामयम्।
मन्दस्मेरमुखाम्बुजम् मधुर्मव्यामृष्टबिम्बाधरम्
वन्दे कन्दलितार्द्रयौवनरसम् कैशोरकम् शार्ङ्गिणः॥ ३-५

कन्दर्प प्रति-मल्ल कान्ति विभवम् कादम्बिनी बान्धवम् वृन्द अरण्य
विलासिनी व्यसनिनम् वेषेण भूषामयम् मन्द स्मेर मुख अम्बुजम् मधुर्म व्यामृष्ट
बिम्ब अधरम् वन्दे कन्दलित आर्द्र यौवन रसम् कैशोरकम् शार्ङ्गिणः

kandarpapratimallakāntivibhavam kādambinībāndhavam
bṛndāraṇyavilāsinīvyasaninam veṣeṇa bhūṣāmayam |
mandasmeramukhāmbujam madhurmavyāmṛṣṭabimbādharam
vande kandalitārdrayauvanarasam kaiśorakam śārṅgiṇaḥ || 3-5

kandarpa prati-malla kānti vibhavam kādambinī bāndhavam vṛnda araṇya vilāsinī vyasaninam veṣeṇa bhūṣāmayam manda smera mukha ambujam madhurma vyāmṛṣṭa bimba adharam vande kandalita ārdra yauvana rasam kaiśorakam śārṅgiṇaḥ

kandarpapratimallakAntivibhavam kAdambinIbAndhavam
bR^indAraNyavilAsinIvyasaninam veSheNa bhUShAmayam |
mandasmeramukhAmbujam madhurmavyAmR^iShTabimbAdharam
vande kandalitArdrayauvanarasam kaishorakam shAr~NgiNaH || 3-5

flute

kandarpa prati-malla kAnti vibhavam kAdambinI bAndhavam vR^inda araNya vilAsinI vyasaninam veSheNa bhUShAmayam manda smera mukha ambujam madhurma vyAmR^iShTa bimba adharam vande kandalita Ardra yauvana rasam kaishorakam shAr~NgiNaH

3-5. kandarpa prati-malla kAnti vibhavam = lovegod's, opponent-wrestler, in such a shine, one who is glorious; kAdambinI bAndhavam= for an array of rainclouds, a relative of - in bodily hue; vR^inda araNya vilAsinI vyasaninam= in brindavana woodlands, coquettes, one who is habituated to; veSheNa bhUShAmayam = by his getup, variously bejewelled; manda smera mukha ambujam= with slight, smile, face, called lotus; madhurma vyAmR^iShTa bimba adharam= with sweetness, subsumed, reddish, lip; kandalita Ardra yauvana rasam= just sprouting, wettish [fresh], youth, with such quality; shAr~NgiNaH kaishorakam vande= one who wears shAranga bow - nArAyaNa, in a boy's form, I adore.

One who is gloriously outshining like an opponent-wrestler of lovegod in love- tourneys; kinsman of any array of rainclouds by his bodily hue; a habitué of the coquettes in brindavana woodlands; by getup variously bejewelled; dons a slight smile on his lotusy face, and reddish lips subsumed with nectarine sweetness; just sprouting youthfulness is freshening and spanking; I adore him who is none else than the wielder of shAranaga bow, namely nArAyaNa. [3-5]

Alliteration is on am sound.

--o)0(o--

आमुक्तमानुषममुक्तनिजानुभाव
मरूढयौवनम् अगूढविदग्धलीलम्।
आमृष्टयौवनम् अनष्टकिशोरभाव
माद्यम् महः कम् अपि माद्यति मानसे मे॥ ३-६

  आमुक्त मानुषम् अमुक्त निज अनुभावम् अरूढ यौवनम् अगूढ विदग्ध लीलम्
आमृष्ट यौवनम् अनष्ट किशोर भावम् आद्यम् महः कम् अपि माद्यति मानसे मे

āmuktamānuṣamamuktanijānubhāva
marūḍhayauvanam agūḍhavidagdhalīlam |
āmṛṣṭayauvanam anaṣṭakiśorabhāva
mādyam mahaḥ kam api mādyati mānase me || 3-6

  āmukta mānuṣam amukta nija anubhāvam arūḍha yauvanam agūḍha vidagdha līlam āmṛṣṭa yauvanam anaṣṭa kiśora bhāvam ādyam mahaḥ kam api mādyati mānase me

AmuktamAnuShamamuktanijAnubhAva
marUDhayauvanam agUDhavidagdhalIlam |
AmR^iShTayauvanam anaShTakishorabhAva
mAdyam mahaH kam api mAdyati mAnase me || 3-6

flute

Amukta mAnuSham a+mukta nija anubhAvam arUDha yauvanam a+gUDha vidagdha lIlam AmR^iShTa yauvanam a+naShTa kishora bhAvam Adyam mahaH kam api mAdyati mAnase me

3-6. kam api= something indescribable [resplendence]; Amukta mAnuSham= a little forsaken [is his entity], for human tendency; a+mukta nija anubhAvam= not, forsaken, his own, uniqueness [of a godhead]; arUDha yauvanam= just now booming, youthfulness; a+gUDha vidagdha lIlam= not, obscured, fervency, its ramifications - though a boy, he is fervent to participate in love games in an unobscured manner; AmR^iShTa yauvanam= verging upon, youthfulness; a+naShTa kishora bhAvam= not, lost, boy's, behaviour; Adyam mahaH= primordial, resplendence; me mAnase mAdyati= in my, heart, frolicking.

Some indescribable resplendence is frolikcing in my heart that appears to have forsaken its original entity to certain degree for the sake of its human tendency on earth, yet that which has not forsaken its own uniqueness of godhood for the sake of humanity; though youthfulness is just now booming, his fervency to be fully romantic is unobscured; though youthfulness is verging upon his age, boyishness is still persisting in him; thus, this must be the double-front of primordial resplendence. [3-6]

--o)0(o--

ते ते भावास्सकलजगतीलोभनीयप्रभावाः
नानातृष्णासुहृदि हृदि मे कामम् आविर्भवन्तु।
वीणावेणुक्वणितलसितस्मेरवक्त्रारविन्दा
न्नाहम् जाने मधुरमपरम् नन्दपुण्याम्बुराशेः॥ ३-७

  ते ते भावाः सकल जगती लोभनीय प्रभावाः ना ना तृष्णा सुहृदि
हृदि मे कामम् आविर्भवन्तु वीणा वेणु क्वणित लसित स्मेर वक्त्र
अरविन्दात् न अहम् जाने मधुरम् अपरम् नन्द पुण्य अम्बु राशेः

te te bhāvāssakalajagatīlobhanīyaprabhāvāḥ
nānātṛṣṇāsuhṛdi hṛdi me kāmam āvirbhavantu |
vīṇāveṇukvaṇitalasitasmeravaktrāravindā
nnāham jāne madhuramaparam nandapuṇyāmburāśeḥ || 3-7

  te te bhāvāḥ sakala jagatī lobhanīya prabhāvāḥ nā
nā tṛṣṇā suhṛdi hṛdi me kāmam āvirbhavantu vīṇā veṇu kvaṇita
lasita smera vaktra aravindāt  na aham jāne
madhuram aparam nanda puṇya ambu rāśeḥ

te te bhAvAssakalajagatIlobhanIyaprabhAvAH
nAnAtR^iShNAsuhR^idi hR^idi me kAmam Avirbhavantu |
vINAveNukvaNitalasitasmeravaktrAravindA
nnAham jAne madhuramaparam nandapuNyAmburAsheH || 3-7

flute

te te bhAvAH sakala jagatI lobhanIya prabhAvAH nA nA tR^iShNA suhR^idi hR^idi me kAmam Avirbhavantu vINA veNu kvaNita lasita smera vaktra aravindAt  na aham jAne madhuram aparam nanda puNya ambu rAsheH

3-7. nA nA tR^iShNA suhR^idi me hR^idi = for many, cherishes, prone, my, heart is; in such a heart; te te bhAvAH= those and those, impulses [regarding that boy]; which are; sakala jagatI lobhanIya prabhAvAH= all, world, in enticing, [that have such an] effect; kAmam Avirbhavantu= abundantly, start coming up; why because;

vINA veNu kvaNita= like vINa, his flute, one flutes; lasita smera= brilliant with, smile; vaktra aravindAt = face, called lotus - whose lotusy face will be enticing with a sweet smile mingled with sweet sounding flute's melody played like vINa; nanda puNya ambu rAsheH= than nanda's, merits, called oceanic waters, massy ones; aparam madhuram = another, sweetness; aham na jAne = I am, not, aware of.

Let those and those impulses about that adolescent-boy, which have an effect to make the entire world enticing, come up in my heart for it is typically prone to get lured by many commonplace cherishes, why because, I am unaware of any other sweetness than the enticing lotusy face of that boy donning a sweet smile, mingled with sweet sounding melody of his fluting tuneful like vINa, and who incidentally is the fruition of oceanic merits of his father nanda. [3-7]

--o)0(o--

सुकृतिभिरादृते सरसवेणुनिनादसुधा
रसलहरीविहारनिरवग्रहकर्णपुटे।
व्रजवरसुन्दरीमुखसरोरुहस्य रसिके
महसि कदा नु मज्जति मदीयमिदम् हृदयम्॥ ३-८

  सुकृतिभिः आदृते सरस वेणु निनाद सुधा रस लहरी विहार निरवग्रह कर्ण पुटे
व्रज वर सुन्दरी मुख सरो-रुहस्य रसिके महसि कदा नु मज्जति मदीयम् इदम् हृदयम्

sukṛtibhirādṛte sarasaveṇuninādasudhā
rasalaharīvihāraniravagrahakarṇapuṭe |
vrajavarasundarīmukhasaroruhasya rasike
mahasi kadā nu majjati madīyamidam hṛdayam || 3-8

  sukṛtibhiḥ ādṛte sarasa veṇu nināda sudhā rasa laharī vihāra niravagraha karṇa puṭe vraja vara sundarī mukha saro-ruhasya rasike mahasi kadā nu majjati madīyam idam hṛdayam

sukR^itibhirAdR^ite sarasaveNuninAdasudhA
rasalaharIvihAraniravagrahakarNapuTe |
vrajavarasundarImukhasaroruhasya rasike
mahasi kadA nu majjati madIyamidam hR^idayam || 3-8

flute

sukR^itibhiH AdR^ite sarasa veNu ninAda sudhA rasa laharI vihAra niravagraha karNa puTe vraja vara sundarI mukha saro-ruhasya rasike mahasi kadA nu majjati madIyam idam hR^idayam

3-8. sukR^itibhiH AdR^ite= that which by merited souls, adored; sarasa veNu ninAda= in tuneful, flute's, melodies; sudhA rasa laharI vihAra= [in such melodies'] nectarine, billows, one who us buoyant; nir+avagraha karNa puTe = not, hindered, ears, called buds - one having; vraja vara sundarI mukha saro-ruhasya rasike= vraja's, best, beauties, their faces, called lotuses, in them who is indulged in; mahasi= that great effulgence; madIyam idam hR^idayam = mine, in this, heart; kadA majjati nu= when, it will submerge, indeed - when my heart sinks in the sAkshAtkArAdya anubhava Ananda samudram.

When does my heart sink in the sea of happiness apperceiving that great effulgence called the blueblack boy whom sages adore, whose buddy ears adore to be buoyant in the nectarine billows of tuneful melodies flowing from his flute, and who is indulged in the lotusy faces of best beauties of vraja village. [3-8]

--o)0(o--

तृष्णातुरे चेतसि जृम्भमानम् मुष्णन् मुहुर् मोहान्धकारम्।
पुष्णातु नः पुण्यदयैकसिन्धोः कृष्णस्य कारुण्यकटाक्षकेलिः॥ ३-९

  तृष्ण आतुरे चेतसि जृम्भमानम् मुष्णन् मुहुः मोह अन्धकारम्
पुष्णातु नः पुण्य दय एक सिन्धोः कृष्णस्य कारुण्य कटाक्ष केलिः

tṛṣṇāture cetasi jṛmbhamānam
muṣṇan muhur mohāndhakāram |
puṣṇātu naḥ puṇyadayaikasindhoḥ
kṛṣṇasya kāruṇyakaṭākṣakeliḥ || 3-9

  tṛṣṇa āture cetasi jṛmbhamānam muṣṇan muhuḥ moha andhakāram puṣṇātu naḥ puṇya daya eka sindhoḥ kṛṣṇasya kāruṇya kaṭākṣa keliḥ

tR^iShNAture cetasi jR^imbhamAnam
muShNan muhur mohAndhakAram |
puShNAtu naH puNyadayaikasindhoH
kR^iShNasya kAruNyakaTAkShakeliH || 3-9

flute

tR^iShNa Ature cetasi jR^imbhamAnam muShNan muhuH moha andhakAram puShNAtu naH puNya daya eka sindhoH kR^iShNasya kAruNya kaTAkSha keliH

3-9. puNya daya eka sindhoH= [one who is for] pious, grace, solitary, ocean; kR^iShNasya kAruNya kaTAkSha keliH= kriShNa's, merciful, benevolence, sporty one;

 tR^iShNa Ature= with desires, impatience; cetasi muhuH jR^imbhamAnam= in my heart, repeatedly, ebullient; moha andhakAram muShNan = in illusory, darkness, to relieve; naH puShNAtu= us, let it [grace of kriShNa] make emboldened.

Let the sporty merciful benevolence of that single ocean of pious grace, called kriShNa, make us emboldened, relieving the illusory cravings in our hearts owing to aviveka, aj~nAna - empty-headedness or pea-brainedness etc - as our hearts are time and gain lured by many desires, whereby they tend to be impatient and ebullient in a world of their own like a frog-in-the-well. [3-9]

Alliteration is on sound ShNa.

--o)0(o--

निखिलनिगममौलिलालितम् पदकमलम् परमस्य तेजसः
व्रजभुवि बहुमन्महेतराम् सरसकरीषविशेषभूषितम्॥ ३-१०

  निखिल निगम मौलि लालितम् पद कमलम् परमस्य तेजसः
व्रज भुवि बहु मन्महेतराम् सरस करीष विशेष भूषितम्

nikhilanigamamaulilālitam
padakamalam paramasya tejasaḥ
vrajabhuvi bahumanmahetarām
sarasakarīṣaviśeṣabhūṣitam || 3-10

  nikhila nigama mauli lālitam pada kamalam paramasya tejasaḥ
vraja bhuvi bahu manmahetarām sarasa karīṣa viśeṣa bhūṣitam

nikhilanigamamaulilAlitam
padakamalam paramasya tejasaH
vrajabhuvi bahumanmahetarAm
sarasakarIShavisheShabhUShitam || 3-10

flute

nikhila nigama mauli lAlitam pada kamalam paramasya tejasaH vraja bhuvi bahu manmahetarAm sarasa karISha visheSha bhUShitam

3-10. nikhila nigama mauli lAlitam= by all, scriptures, their crown - Upanishads, those that are adored - the feet of nArAyaNa; paramasya tejasaH= those that belong to supreme radiance - the feet of nArAyaNa; vraja bhuvi= in vraja village; sarasa karISha visheSha bhUShitam [rUShitam]= spongy, cow dung, muchly, decorated with; such a; pada kamalam= lotusy feet; bahu manmahetarAm = as a great thing, we deem.

Those that are adored as zenithal points of all scriptures, the lotusy feet of Supreme Effulgence, are now muchly enmired with cows and calves spongy dung in vraja village, but, to us they are the most covetable idolatries. [3-10]

--o)0(o--

उदारमृदुलस्मितव्यतिकराभिरामाननम्
मुदा मुहुरुदीर्णया मुनिमनोऽम्बुजाम्रेडितम्।
मदालसविलोचनव्रजवधूमुखास्वादितम्
कदा नु कमलेक्षणम् कम् अपि बालम् आलोकये॥ ३-११

  उदार मृदुल स्मित व्यतिकर अभिराम आननम् मुदा मुहुः उदीर्णया मुनि मनो
अम्बुज आम्रेडितम् मद अलस विलोचन व्रज वधू मुख आस्वादितम्
कदा नु कमल ईक्षणम् कम् अपि बालकम् आलोकये

udāramṛdulasmitavyatikarābhirāmānanam
mudā muhurudīrṇayā munimano'mbujāmreḍitam |
madālasavilocanavrajavadhūmukhāsvāditam
kadā nu kamalekṣaṇam kam api bālam ālokaye || 3-11

  udāra mṛdula smita vyatikara abhirāma ānanam mudā
muhuḥ udīrṇayā muni mano ambuja āmreḍitam
mada alasa vilocana vraja vadhū mukha āsvāditam kadā nu kamala īkṣaṇam kam api bālakam ālokaye

udAramR^idulasmitavyatikarAbhirAmAnanam
mudA muhurudIrNayA munimano.ambujAmreDitam |
madAlasavilocanavrajavadhUmukhAsvAditam
kadA nu kamalekShaNam kam api bAlam Alokaye || 3-11

flute

udAra mR^idula smita vyatikara abhirAma Ananam mudA muhuH udIrNayA muni mano ambuja AmreDitam mada alasa vilocana vraja vadhU mukha AsvAditam kadA nu kamala IkShaNam kam api bAlakam Alokaye

3-11. udAra mR^idula= gracious, delicate; smita vyatikara= smiles, with a lot of; abhirAma Ananam= pleasant, face - one who has it; muhuH udIrNayA mudA muni mano ambuja AmreDitam= repeatedly, burgeoning, on sages, minds, that are like lotuses, with a redoubling effect; mada alasa vilocana vraja vadhU mukha [sukkha] AsvAditam= by lust, languid, eyes;vraja, damsels, with their faces, [whose beauty is] savoured; kam api bAlam= indescribable, boy; kamala IkShaNam= lotus eyed one; kadA Alokaye nu= when can I, see, really.

 When can I see, really, the pleasant face of that ineffable lotusy-eyed boy inundated in gracious and delicate smiles, which face that burgeons on the lotus like minds with a redoubling effect, which face's beauty has been savoured by vraja milkmaids just with their lust-languided eyes. [3-11]

--o)0(o--

व्रजजनमदयोषिल्लोचनोच्छिष्टशेषी
कृतम् अतिचपलाभ्याम् लोचनाभ्याम् उभाभ्याम्।
सकृदपि परिपातुम् ते वयम् पारयामः
कुवलयदलनीलम् कान्तिपुरम् कदा नु॥ ३-१२

  व्रज जनपद जन मद ओर् समदन - गडिय पाठम् योषित् लोचन
उच्छिष्ट शेषी कृतम् अति चपलाभ्याम् लोचनाभ्याम् उभाभ्याम्
सकृत् अपि परिपातुम् ते वयम् पारयामः कुवलय दल नीलम् कान्ति पुरम् कदा नु

vrajajanamadayoṣillocanocchiṣṭaśeṣī
kṛtam aticapalābhyām locanābhyām ubhābhyām |
sakṛdapi paripātum te vayam pārayāmaḥ
kuvalayadalanīlam kāntipuram kadā nu || 3-12

  vraja janapada jana mada or samadana - gaūḍiya pāṭham yoṣit locana ucchiṣṭa śeṣī kṛtam ati capalābhyām locanābhyām ubhābhyām sakṛt api paripātum te vayam pārayāmaḥ
kuvalaya dala nīlam kānti puram kadā nu

vrajajanamadayoShillocanocChiShTasheShI
kR^itam aticapalAbhyAm locanAbhyAm ubhAbhyAm |
sakR^idapi paripAtum te vayam pArayAmaH
kuvalayadalanIlam kAntipuram kadA nu || 3-12

flute

vraja janapada [jana mada, or, samadana - gaUDiya pATham] yoShit locana ucChiShTa sheShI kR^itam ati capalAbhyAm locanAbhyAm ubhAbhyAm sakR^it api paripAtum te vayam pArayAmaH kuvalaya dala nIlam kAnti puram kadA nu

3-12. vraja janapada yoShit locana ucChiShTa sheShI kR^itam

vraja janapada= vraja's, of cowmen; yoShit locana= by their damsels, looks; ucChiShTa sheShI kR^itam= tainted with saliva [of looks], that which is remnant - his sapphirine hue;

 te= your; kuvalaya dala nIlam kAnti puram= like black lotus, petal, blueblackish, [your] resplendence's, stream;

vayam ati capalAbhyAm locanAbhyAm ubhAbhyAm= we, with muchly, flirting, eyes, both of them;

sakR^it api= at any time, even; paripAtum= to drink greedily;

kadA pArayAmaH nu= when we can be capable, indeed.

Agreed that your blueblackish hue like that of the petals of blueblack lotuses is an incessant stream, yet it is tainted with the slaver called the sidelong glances of vraja damsels, yet we with our much flustering eyes would like to greedily savour a little of it, for the reasons beyond our comprehension; when can we possibly become capable to reach any spillway of that stream. [3-12]

--o)0(o--

घोषयोषिदनुगीतयौवनम् कोमलस्तनितवेणुनिस्वनम्।
सारभूतम् अभिरामसम्पदाम् धामतामरसलोचनम् भजे॥ ३-१३

  घोष योषित् अनुगीत यौवनम् कोमल स्तनित वेणु निस्वनम् सार
भूतम् अभिराम सम्पदाम् धाम तामरस लोचनम् भजे

ghoṣayoṣidanugītayauvanam
komalastanitaveṇunisvanam |
sārabhūtam abhirāmasampadām
dhāmatāmarasalocanam bhaje || 3-13

  ghoṣa yoṣit anugīta yauvanam komala stanita veṇu nisvanam
sāra bhūtam abhirāma sampadām dhāma tāmarasa locanam bhaje

ghoShayoShidanugItayauvanam
komalastanitaveNunisvanam |
sArabhUtam abhirAmasampadAm
dhAmatAmarasalocanam bhaje || 3-13

flute

ghoSha yoShit anugIta yauvanam komala stanita veNu nisvanam sAra bhUtam abhirAma sampadAm dhAma tAmarasa locanam bhaje

3-13. ghoSha= in vraja village; yoShit= by damsels; anugIta= praisefully; yauvanam = one who got such adolescence; komala stanita veNu nisvanam= delicately, sounded [like cloud], flute's, thundering; sAra bhUtam abhirAma sampadAm= a fertile field, for all beauty's, riches; tAmarasa locanam= lotus petal like, eyed one; dhAma bhaje= at such a resplendence, we adore.

Whose youthfulness is much sung praisefully by the damsels of vraja; whose fluting resembles cloud's delicate thundering; who for himself is a fertile field for anything called beauty; it is that resplendence in the form of a boy with lotus-petal like eyes we adore. [3-13]

--o)0(o--

लीलया ललितयाऽवलम्बितम् मूलगेहम् इव मूर्तिसम्पदाम्।
नीलनीरदविकासविभ्रमम् बालम् एव वयम् आद्रियामहे॥ ३-१४

  लीलया ललितया अवलम्बितम् मूल गेहम् इव मूर्ति सम्पदाम्
नील नीरद विकास विभ्रमम् बालम् एव वयम् आद्रियामहे

līlayā lalitayā'valambitam
mūlageham iva mūrtisampadām |
nīlanīradavikāsavibhramam
bālam eva vayam ādriyāmahe || 3-14

  līlayā lalitayā avalambitam mūla geham iva mūrti sampadām
nīla nīrada vikāsa vibhramam bālam eva vayam ādriyāmahe

lIlayA lalitayA.avalambitam
mUlageham iva mUrtisampadAm |
nIlanIradavikAsavibhramam
bAlam eva vayam AdriyAmahe || 3-14

flute

lIlayA lalitayA avalambitam mUla geham iva mUrti sampadAm nIla nIrada vikAsa vibhramam bAlam eva vayam AdriyAmahe

3-14. lalitayA lIlayA avalambitam= prettiness, vivacious, one who is an abode of; mUrti sampadAm mUla geham iva= for bodily, charms, treasure, house, as though; nIla nIrada vikAsa vibhramam= blueblack, raincloud like, flourishing, in his physicality; bAlam eva vayam AdriyAmahe= that boy, alone, we, adore.

Let us adore that boy only, for he is an abode of all vivacious prettiness; a treasure house of every bodily charm; in physicality all the grandeur of blueblack rainclouds will be flourishing. [3-14]

--o)0(o--

वन्दे मुरारेश्चरणारविन्द द्वन्द्वम् दयादर्शितशैशवस्य।
वन्दारुवृन्दारकवृन्दमौलि मन्दारमालाविनिमर्दभीरु॥ ३-१५

  वन्दे मुरारेः चरण अरविन्द द्वन्द्वम् दया दर्शित शैशवस्य वन्दारु
बृन्दारक बृन्द मौलि मन्दार माला विनिमर्द भीरु

vande murāreścaraṇāravinda
dvandvam dayādarśitaśaiśavasya |
vandāruvṛndārakavṛndamauli
mandāramālāvinimardabhīru || 3-15

  vande murāreḥ caraṇa aravinda dvandvam dayā darśita
śaiśavasya vandāru bṛndāraka bṛnda mauli mandāra mālā vinimarda bhīru

vande murAreshcaraNAravinda
dvandvam dayAdarshitashaishavasya |
vandAruvR^indArakavR^indamauli
mandAramAlAvinimardabhIru || 3-15

flute

vande murAreH caraNa aravinda dvandvam dayA darshita shaishavasya vandAru bR^indAraka bR^inda mauli mandAra mAlA vinimarda bhIru

3-15. dayA darshita shaishavasya= by grace, shown, of childhood; murAreH= of nArAyaNa - in the form of kriShNa;

vandAru= of those who came to venerate him; bR^indAraka= gods; bR^inda= assemblies; mauli= available on their crowns; mandAra mAlA= mandAra, garlands; vi+ni+marda= for their hustle; bhIru= that are scared of - his feet; such a;

caraNa aravinda dvandvam = feet, called lotuses, a pair of; vande = let us adore.

None else than nArAyaNa is revealing himself in a child's mien called bAlakriShNa, which child has a pair of feet that feel sore when a delicate flower like mandAra, available in the garlands of hosts of gods who came to venerate at his feet, falls on his feet. Let us adore such a delicate feet of the enemy of demon mura. [3-15]

--o)0(o--

यस्मिन् नृत्यति यस्य शेखरभरैः क्रौञ्चद्विषश्चन्द्रकी
यस्मिन् दृप्यति यस्य घोषसुरभिम् जिघ्रन् वृषोर् धूर्जटैः।
यस्मिन् सज्जति यस्य विभ्रमगतिम् वाङ्चन् हरेः सिन्धुर
स्तद् वृन्दावनकल्पकद्रुमवनम् तम् वा किशोरम् भजे॥ ३-१६

  यस्मिन् नृत्यति यस्य शेखर भरैः क्रौञ्च द्विषः चन्द्रकी यस्मिन् दृप्यति
यस्य घोष सुरभिम् जिघ्रन् वृषः धूर्जटैः यस्मिन् सज्जति यस्य विभ्रम गतिम् वाङ्चन् हरेः
सिन्धुरः तत् वृन्दावन कल्पक द्रुम वनम् तम् वा किशोरम् भजे

yasmin nṛtyati yasya śekharabharaiḥ krauñcadviṣaścandrakī
yasmin dṛpyati yasya ghoṣasurabhim jighran vṛṣor dhūrjaṭaiḥ |
yasmin sajjati yasya vibhramagatim vāṅcan hareḥ sindhura
stad vṛndāvanakalpakadrumavanam tam vā kiśoram bhaje || 3-16

  yasmin nṛtyati yasya śekhara bharaiḥ krauñca dviṣaḥ candrakī yasmin dṛpyati yasya ghoṣa surabhim jighran vṛṣaḥ dhūrjaṭaiḥ yasmin sajjati yasya vibhrama gatim vāṅcan hareḥ sindhuraḥ tat vṛndāvana kalpaka druma vanam tam vā kiśoram bhaje

yasmin nR^ityati yasya shekharabharaiH krau~ncadviShashcandrakI
yasmin dR^ipyatiyasya ghoShasurabhim jighran vR^iShor dhUrjaTaiH |
yasmin sajjati yasya vibhramagatim vA~Nchan hareH sindhura
stad vR^indAvanakalpakadrumavanam tam vA kishoram bhaje || 3-16

flute

yasmin nR^ityati yasya shekhara bharaiH krau~nca dviShaH candrakI yasmin dR^ipyati yasya ghoSha surabhim jighran vR^iShaH dhUrjaTaiH yasmin sajjati yasya vibhrama gatim vA~Nchan hareH sindhuraH tat vR^indAvana kalpaka druma vanam tam vA kishoram bhaje

3-16. krau~nca dviShaH candrakI= krauncha mountain's, enemy's - kArtikeya's - vehicle - peacock; yasmin= in which place; yasmin nR^ityati sati= which, kriShNa - while dancing; yasya shekhara bharaiH= whose, coiffure, decked with - peacock feathers; nR^ityati= [peacock vehicle]will be dancing;

dhUrjaTaiH vR^iShaH= lord shiva's, bull; yasmin= in which place; yasmin= which Krishna; dR^ipyati sati = cockily meandering; yasya= whose - Krishna's; ghoSha surabhim jighran dR^ipyati = village's, cows, on smelling cows backs, [that bull] will be proudly roaming;

hareH sindhuraH= Indra's, elephant; yasmin= in which place; yasmin= which -Krishna is; sajjati sati = [Krishna] moves about; yasya vibhrama gatim vA~Nchan= whose, sportily, gait, wishing [to learn]; sajjati = [that elephant is] intently moving about;

tat vR^indAvana kalpaka druma vanam= such a, brindavana, almost like a divine garden with kalpa trees, garden;

  tam vA= that garden, either; kishoram vaa= at that boy, or; bhaje= we adore

Or

krau~nca dviShaH candrakI, yasya shekhara bharaiH yasmin nR^ityati; tatraiva nR^ityati;

dhUrjaTaiH vR^iShaH, yasya ghoSha surabhim jighran yasmin dR^ipyati; tatraiva dR^ipyati;

hareH sindhuraH, yasya vibhrama gatim vA~Nchan yasmin sajjati; tatraiva sajjati;

tadetat bR^indAvana kalpaka druma vanam.

When gods like shiva, kArtikeya and Indra come visiting that boy they come on their vehicles, namely bull, peacock and elephant.

kArtikeya's vehicle peacock, marking that boy's blueblack body as raincloud and his peacock feathers on his crown as own folks, starts delightedly dancing, where that boy is delightfully dancing;

shiva's vehicle nandi the bull, smelling the behinds of cows of that boy, proudly moves about the place, where that boy pridefully moves grazing cows;

indra's vehicle elephant, wishing to learn gait from that boy's gait, intently moves about that place exaltedly, where that boy is majestically is moving thereabout with intentness.

 So, we adore either such a sapphirine boy, or the place he is frolicking, namely brindavana, which is almost like a divine garden with kalpa trees. [3-16]

--o)0(o--

अरुणाधरामृतविशेषितस्मितम् वरुणालयानुगतवर्णवैभवम्।
तरुणारविन्ददलदीर्घलोचनम् करुणामयम् कम् अपि बालम् आश्रये॥ ३-१७

  अरुण अधर अमृत विशेषित स्मितम् वरुण आलय अनुगत वर्ण वैभवम्
तरुण अरविन्द दल दीर्घ लोचनम् करुणा मयम् कम् अपि बालम् आश्रये

aruṇādharāmṛtaviśeṣitasmitam
varuṇālayānugatavarṇavaibhavam |
taruṇāravindadaladīrghalocanam
karuṇāmayam kam api bālam āśraye || 3-17

  aruṇa adhara amṛta viśeṣita smitam varuṇa ālaya
anugata varṇa vaibhavam taruṇa aravinda dala dīrgha locanam
karuṇā mayam kam api bālam āśraye

aruNAdharAmR^itavisheShitasmitam
varuNAlayAnugatavarNavaibhavam |
taruNAravindadaladIrghalocanam
karuNAmayam kam api bAlam Ashraye || 3-17

flute

aruNa adhara amR^ita visheShita smitam varuNa Alaya anugata varNa vaibhavam taruNa aravinda dala dIrgha locanam karuNA mayam kam api bAlam Ashraye

3-17. aruNa adhara amR^ita visheShita smitam= reddish, lip, with nectar, embellished, with smiles; varuNa Alaya anugata [anukR^ita] varNa vaibhavam = by water, abode - namely ocean god, samudra, made to follow, [his] bodily, hue; taruNa aravinda dala dIrgha locanam= just bloomed, aravinda flower's, petal like, broad, eyed one; karuNA mayam= full of grace; kam api bAlam Ashraye= an indescribable boy, we take shelter of.

We take shelter of some indescribable boy whose reddish lips have been embellished with nectarine smiles; whose bodily hue makes lord of ocean to masquerade in the blueblackish complexion; whose eyes look broad like the petals of just bloomed aravinda flowers, and who is full of grace.[3-17]

Alliteration is on repha, re sound.

--o)0(o--

 

लावण्यवीचीरचिताङ्गभूषाम् भूषापदारोपितपुण्यबर्हाम्।
कारुण्यधारालकटाक्षमालाम् बालाम् भजे वल्लववंशलक्ष्मीम्॥ ३-१८

  लावण्य वीची रचित अङ्ग भूषाम् भूषा पद आरोपित पुण्य बर्हाम्
कारुण्य धाराल कटाक्ष मालाम् बालाम् भजे वल्लव वंश लक्ष्मीम्

lāvaṇyavīcīracitāṅgabhūṣām
bhūṣāpadāropitapuṇyabarhām |
kāruṇyadhārālakaṭākṣamālām
bālām bhaje vallavavaṁśalakṣmīm || 3-18

  lāvaṇya vīcī racita aṅga bhūṣām bhūṣā pada
āropita puṇya barhām kāruṇya dhārāla kaṭākṣa
mālām bālām bhaje vallava vaṁśa lakṣmīm

lAvaNyavIcIracitA~NgabhUShAm
bhUShApadAropitapuNyabarhAm |
kAruNyadhArAlakaTAkShamAlAm
bAlAm bhaje vallavavaMshalakShmIm || 3-18

flute

lAvaNya vIcI racita a~Nga bhUShAm bhUShA pada Aropita puNya barhAm kAruNya dhArAla kaTAkSha mAlAm bAlAm bhaje vallava vaMsha lakShmIm

3-18. lAvaNya vIcI racita = grandeur, by billows, crafted; a~Nga bhUShAm= limbs, called ornaments; bhUShA pada Aropita puNya barhAm= at crest-jewel's, place, decked, meritorious, peacock feathers; kAruNya dhArAla kaTAkSha mAlAm= grace, fluent, sidelong glances, with an array of such glances; bAlAm= fem. a young girl; vallava vaMsha lakShmIm= who for cowmen's, dynasty, a Fortune; bhaje= let us adore.

Let us adore that young girly whose limbs are her ornaments for they are crafted by the billows of grandeur, yet petcock feathers are decked on crest for they make a merit of their own; an array of sidelong glances drenched with fluent grace will be beaming from that girl who incidentally is the Fortune of yAdava dynasty. [3-18]

Here and in coming 66th stanza poet addresses balagopAla as bAla, a girl, which perhaps means that the poet is a bAla devi worshipper, besides being a shiva worshipper. Pt. PSRA.

--o)0(o--

मधुरैकरसम् वपुर्विभो र्मथुरावीथिचरम् भजामहे।
नगरीम्ईगशाबलोचना नयनेन्दीवरवर्षवर्षितम्॥ ३-१९

  मधुर एक रसम् वपुः विभोः मथुरा वीथि चरम् भजामहे नगरी
म्ईग शाब लोचना नयन इन्दीवर वर्ष वर्षितम्

madhuraikarasam vapurvibho
rmathurāvīthicaram bhajāmahe |
nagarīmīgaśābalocanā
nayanendīvaravarṣavarṣitam || 3-19

  madhura eka rasam vapuḥ vibhoḥ mathurā vīthi caram bhajāmahe nagarī mīga śāba locanā nayana indīvara varṣa varṣitam

madhuraikarasam vapurvibho
rmathurAvIthicaram bhajAmahe |
nagarIm^IgashAbalocanA
nayanendIvaravarShavarShitam || 3-19

flute

madhura eka rasam vapuH vibhoH mathurA vIthi caram bhajAmahe nagarI m^Iga shAba locanA nayana indIvara varSha varShitam

3-19. mathurA vIthi caram= in mathura city, on streets, while moving; nagarI m^Iga shAba locanA= of that city, deer, fawn, eyed ones; nayana indIvara varSha varShitam= from eyes, called black lotuses, looks called rain, one who is drenched; madhura eka rasam= sweetness, the only, elixir in him; vibhoH vapuH bhajAmahe = such a lord's, [sweet] body, we adore.

When strolling on the streets of mathura city, he who is drenched with an inky-rain called the ebonic sidelong glances issued forth from the hyacinthine eyes akin to black lotuses of fawn-eyed beauties of that city, and who has lusciousness as the only partakable quintessence, him we adore for his embodiment itself is delectable. [3-19]

--o)0(o--

पर्याकुलेन नयनान्तविजृम्भितेन वक्त्रेण कोमलदरस्मितविभ्रमेण।
मन्द्रेण मञ्जुलतरेण च जल्पितेन नन्दस्य हन्त तनये हृदयम् धिनोति॥ ३-२०

  पर्याकुलेन नयन अन्त विजृम्भितेन वक्त्रेण कोमल दर स्मित विभ्रमेण
मन्द्रेण मञ्जुल तरेण च जल्पितेन नन्दस्य हन्त तनये हृदयम् [धुनोति] धिनोति

paryākulena nayanāntavijṛmbhitena
vaktreṇa komaladarasmitavibhrameṇa |
mandreṇa mañjulatareṇa ca jalpitena
nandasya hanta tanaye hṛdayam dhinoti || 3-20

  paryākulena nayana anta vijṛmbhitena vaktreṇa komala dara smita vibhrameṇa mandreṇa mañjula tareṇa ca jalpitena nandasya hanta tanaye hṛdayam [dhunoti] dhinoti

paryAkulena nayanAntavijR^imbhitena
vaktreNa komaladarasmitavibhrameNa |
mandreNa ma~njulatareNa ca jalpitena
nandasya hanta tanaye hR^idayam dhinoti || 3-20

flute

paryAkulena nayana anta vijR^imbhitena vaktreNa komala dara smita vibhrameNa mandreNa ma~njula tareNa ca jalpitena nandasya hanta tanaye hR^idayam [dhunoti] dhinoti

3-20. paryAkulena nayana anta vijR^imbhitena= flustering, eye, ends - sidelong glances, spurting; komala dara smita vibhrameNa vaktreNa= with pretty, light, smiles, flourishing, on face; mandreNa= staid - yet; ma~njula tareNa ca= highly pleasant, also;
jalpitena
= one who talks; nandasya tanaye hR^idayam [dhunoti] dhinoti= nanda's, son, heart, delighting; hanta= what a surprise.

With flustering sidelong glances spurting from his eyes; prettily delicate smiles flourishing on his lips; staid but highly pleasant talk emanating from his tongue - that nanda's son is highly full to hearts, what a surprise. [3-20]

--o)0(o--

कन्दर्पकण्डूलकटाक्षबन्दी रिन्दीवराक्षीरभिलाषमाणान्।
मन्दस्मिताधारमुखारविन्दान् वन्दामहे वल्लवधूर्तपादान्॥ ३-२१

  कन्दर्प कण्डूल कटाक्ष बन्दीः इन्दीवर अक्षीः अभिलाषमाणान्
मन्द स्मित अधार मुख अरविन्दान् वन्दामहे वल्लव धूर्त पादान्

kandarpakaṇḍūlakaṭākṣabandī
rindīvarākṣīrabhilāṣamāṇān |
mandasmitādhāramukhāravindān
vandāmahe vallavadhūrtapādān || 3-21

  kandarpa kaṇḍūla kaṭākṣa bandīḥ indīvara akṣīḥ
abhilāṣamāṇān manda smita adhāra mukha aravindān
vandāmahe vallava dhūrta pādān

kandarpakaNDUlakaTAkShabandI
rindIvarAkShIrabhilAShamANAn |
mandasmitAdhAramukhAravindAn
vandAmahe vallavadhUrtapAdAn || 3-21

flute

kandarpa kaNDUla kaTAkSha bandIH indIvara akShIH abhilAShamANAn manda smita adhAra mukha aravindAn vandAmahe vallava dhUrta pAdAn

3-21. kandarpa kaNDUla= lovegod's, by itching; kaTAkSha bandIH= by sidelong glances, those who fetter their lovers - milkmaids of vraja; indIvara akShIH= such milkmaids whose eyes are like black lotuses; abhilAShamANAn= he who is wanting such milkmaids; manda smita adhAra mukha aravindAn= with light, smiles, on lips, on a face, akin to aravinda flower; vallava dhUrta pAdAn= of cowherders, mischievous fellow's, feet; vandAmahe = we adore.

We adore at the feet of that mischievous boy form vraja village, with mischievous smiles on lips on his face akin to aravinda flower, and whose mischievous sidelong glances restrain loving milkmaids, which milkmaids are no less mischievous, for they are capable of restraining their lovers just with their glances flown from their black-lotusy eyes that have an itch induced by lovegod. [3-21]

--o)0(o--

लीलाटोपकटाक्षनिर्भरपरिष्वङ्गप्रसङ्गाधिक
प्रीते गीतिविभङ्गसङ्करलसद्वेणुप्रणादामृते।
राधालोचनलालितस्य ललितस्मेरे मुरारेर्मुदा
माधुर्यैकरसे मुखेन्दुकमले मग्नम् मदीयम् मनः॥ ३-२२

  लील आटोप कटाक्ष निर्भर परिष्वङ्ग प्रसङ्ग अधिक प्रीते गीति विभङ्ग सङ्कर सञ्गर
सञ्गत लसत् वेणु प्रणाद अमृते राधा लोचन लालितस्य ललित स्मेरे मुरारेः
मुदा माधुर्य एक रसे मुख इन्दु कमले मग्नम् मदीयम् मनः

līlāṭopakaṭākṣanirbharapariṣvaṅgaprasaṅgādhika
prīte gītivibhaṅgasaṅkaralasadveṇupraṇādāmṛte |
rādhālocanalālitasya lalitasmere murārermudā
mādhuryaikarase mukhendukamale magnam madīyam manaḥ || 3-22

  līla āṭopa kaṭākṣa nirbhara pariṣvaṅga prasaṅga adhika prīte gīti vibhaṅga saṅkara sañgara sañgata lasat veṇu praṇāda amṛte rādhā locana lālitasya lalita smere murāreḥ mudā mādhurya eka rase mukha indu kamale magnam madīyam manaḥ

lIlATopakaTAkShanirbharapariShva~Ngaprasa~NgAdhika
prIte gItivibha~Ngasa~NkaralasadveNupraNAdAmR^ite |
rAdhAlocanalAlitasya lalitasmere murArermudA
mAdhuryaikarase mukhendukamale magnam madIyam manaH || 3-22

flute

lIla ATopa kaTAkSha nirbhara pariShva~Nga prasa~Nga adhika prIte gIti vibha~Nga sa~Nkara [sa~ngara, sa~ngata] lasat veNu praNAda amR^ite rAdhA locana lAlitasya lalita smere murAreH mudA mAdhurya eka rase mukha indu kamale magnam madIyam manaH

3-22. rAdhA locana lAlitasya murAreH= by rAdhA's, eyes, one who flourished, such a kriShNa;

lIla ATopa kaTAkSha= with her sporty, sidelong glances;

nirbhara pariShva~Nga prasa~Nga adhika prIte= in warm, hugging [of rAdha], in that matter, one who has more interest;

gIti vibha~Nga sa~Nkara lasat veNu praNAda amR^ite= in songs [on flute], intermitted [tunes], with their commixture, beautified, flute's, fluting, ambrosial one;

 lalita smere= with exquisite, smiles;

mAdhurya eka rase= for lusciousness, as the only, partakable quintessence;
mukha indu kamale
= in face, akin to moon, lotus;

madIyam manaH mudA magnam= my, heart, with gladness, subsumed.

If the face of that boy is an ebullient blueblack lake, then it is a lake very fond of tight hugs from a damsel with sidelong glances, called rAdha; if it replete, it is replete with a commixture of intermitted fluting melodies of a piece with ambrosia; if it smiles, it smiles exquisitely and gracefully; if someone is going to enjoy it, it lets someone to enjoy the lusciousness, the only partakable quintessence contained in it; if something is to be described of it, it can be said as a moon or a lotus, or moonish lotus, or a lotusy moon; my gladdened heart is plummeting without a carom in such a lake . [3-22]

 --o)0(o--

शरणागतवज्रपङ्जरे शरणे शार्ङ्गधरस्य वैभवे।
कृपया धृतगोपविग्रहे कियदन्यन्मृगयामहे वयम्॥ ३-२३

  शरण आगत वज्र पङ्जरे शरणे शार्ङ्गधरस्य वैभवे कृपया
धृत गोप विग्रहे कियत् अन्यन् मृगयामहे वयम्

śaraṇāgatavajrapaṅjare śaraṇe śārṅgadharasya vaibhave |
kṛpayā dhṛtagopavigrahe kiyadanyanmṛgayāmahe vayam || 3-23

  śaraṇa āgata vajra paṅjare śaraṇe śārṅgadharasya vaibhave kṛpayā dhṛta gopa vigrahe kiyat anyan mṛgayāmahe vayam

sharaNAgatavajrapa~Njare sharaNe shAr~Ngadharasya vaibhave |
kR^ipayAdhR^itagopavigrahe kiyadanyanmR^igayAmahe vayam || 3-23

flute

sharaNa Agata vajra pa~Njare sharaNe shAr~Ngadharasya vaibhave kR^ipayA dhR^ita gopa vigrahe kiyat anyan mR^igayAmahe vayam

3-23. sharaNa Agata= for those seeking shelter; vajra pa~Njare= that being a diamond, cage - a hutch; kR^ipayA dhR^ita gopa vigrahe= mercifully [on humans], cowboy's, one in the form of; who is; shAr~Ngadharasya vaibhave= when nArAyaNa's, sovereignty; [asmAkam] sharaNe sati= [for us] as a shelter [when it is there]; vayam anyat kiyat mR^igayAmahe = we, another, which one, we should search.

Why should we seek some other shelter when nArAyaNa's, sovereignty in a cowboy's mien is there, like an indestructible hutch as if made with diamonds, offering shelter to any seeker... [3-23]

--o)0(o--

जगत्त्रयैकान्तमनोज्ञभूमि चेतस्यजस्रम् मम सन्निधत्ताम्।
रमासमास्वादितसौकुमार्यम् राधास्तनाभोगरसज्ञम् ओजः॥ ३-२४

  जगत् त्रय एकान्त मनोज्ञ भूमि चेतसि अजस्रम् मम सन्निधत्ताम् रमा
समास्वादित सौकुमार्यम् राधा स्तन आभोग रसज्ञम् ओजः

jagattrayaikāntamanojñabhūmi
cetasyajasram mama sannidhattām |
ramāsamāsvāditasaukumāryam
rādhāstanābhogarasajñam ojaḥ || 3-24

  jagat traya ekānta manojña bhūmi cetasi ajasram mama sannidhattām ramā samāsvādita saukumāryam
rādhā stana ābhoga rasajñam ojaḥ

jagattrayaikAntamanoj~nabhUmi
cetasyajasram mama sannidhattAm |
ramAsamAsvAditasaukumAryam
rAdhAstanAbhogarasaj~nam ojaH || 3-24

flute

jagat traya ekAnta manoj~na bhUmi cetasi ajasram mama sannidhattAm ramA samAsvAdita saukumAryam rAdhA stana Abhoga rasaj~nam ojaH

3-24. jagat traya ekAnta manoj~na bhUmi= worlds, triad of, an exalted, inspiriting, field - realm; ramA samAsvAdita saukumAryam= by lakshmi, derives pleasure, from his exquisiteness; rAdhA stana Abhoga rasaj~nam = rAdha's, bosoms, ampleness, the reveller of; ojaH= such an élan vital - kriShNa; ajasram= at all times; mama cetasi sannidhattAm= my, heart, let him be close to.

Let that self-luminescence, who is the only exalted realm of exhilaration, from whose exquisiteness goddess lakshmi constantly derives pleasure; and who, in turn, is a constant reveller in the ampleness of rAdha's bosoms; remain close to my heart ever and anon. [3-24]

--o)0(o--

वयम् एते विश्वसिमः करुणाकरमूर्तिकिंवदन्त्यङ्गे।
अपि च विभो तव ललिते चपलतरा मतिर् इयम् बाल्ये॥ ३-२५

  वयम् एते विश्वसिमः करुण आकर मूर्ति किं वदन्ति अङ्गे
अपि च विभो तव ललिते चपल तरा मतिः इयम् बाल्ये

vayam ete viśvasimaḥ karuṇākaramūrtikiṁvadantyaṅge |
api ca vibho tava lalite capalatarā matir iyam bālye || 3-25

  vayam ete viśvasimaḥ karuṇa ākara mūrti kiṁ vadanti
aṅge api ca vibho tava lalite "capala tarā matiḥ iyam bālye

vayam ete vishvasimaH karuNAkaramUrtikiMvadantya~Nge |
api ca vibho tava lalite capalatarA matir iyam bAlye || 3-25

flute

vayam ete vishvasimaH karuNa Akara mUrti kiM vadanti a~Nge api ca vibho tava lalite capala tarA matiH iyam bAlye

 3-25. vibho= oh, lord; ete vayam= these [devotees of yours], that we are; te= reg. you; karuNa Akara mUrti kiM vadanti a~Nge= in the matter of hearsay 'ayam karuNa Akara mUrti; ayam dayA nidhi' - in such hearsays; vishvasimaH= we are believing; api ca= and further; iyam matiH= this, mindset [of ours - is owing to]; lalite tava bAlye= in magnificence, of your, childhood; capala tarA = inquisitive, to higher degree.

 As devotees of yours, oh, lord, we believe certain hearsays about you, like "he is an ocean of grace, he is a treasure trove of mercy...:" etc, why because our mindset is riveted upon the magnificence of your childhood, and our hearts are inquisitively thirsty about it. [3-25] 

---o)0(o--

वत्सपालचरः कोऽपि वत्सः श्रीवत्सलाञ्चनः।
उत्सवाय कदा भावीत्युत्सुके मम लोचने॥ ३-२६

  वत्स-पाल वत्स-वाट चरः कः अपि वत्सः श्री वत्स लाञ्चनः
उत्सवाय कदा भावी इति उत्सुके मम लोचने

vatsapālacaraḥ ko'pi vatsaḥ śrīvatsalāñcanaḥ |
utsavāya kadā bhāvītyutsuke mama locane || 3-26

  vatsa-pāla vatsa-vāṭa caraḥ kaḥ api vatsaḥ śrī vatsa lāñcanaḥ
utsavāya kadā bhāvī iti utsuke mama locane

vatsapAlacaraH ko.api vatsaH shrIvatsalA~nchanaH |
utsavAya kadA bhAvItyutsuke mama locane || 3-26

flute

vatsa-pAla [vatsa-vATa] caraH kaH api vatsaH shrI vatsa lA~nchanaH utsavAya kadA bhAvI iti utsuke mama locane

3-26. vatsa-pAla [vatsa-vATa] caraH= calves, while minding [or, in calves sheds] one who moves about; shrI vatsa lA~nchanaH= a bodily mark called srIvatsa, one who has such a mark on chest; kaH api vatsaH = someone, who is a child; [avayoH] utsavAya= for [our] festivity; kadA= when; bhAvI= he will become [manifest to us]; iti= in this way; mama locane utsuke= my, eyes, are agog.

There are two marks by which we can identify you; one, a blueblack boy meandering with the calves while mending them; the other a bruise on your chest called srIvatsa; in all these days our eyes are agog to spot you, with thinking that someday some boy would reveal himself for our festivity, but, the question "when" remained constant. [3-26]

Alliteration is on syllable tsa.

--o)0(o--

मधुरिमभरिते मनोऽभिरामे मृदुलतरस्मितमुद्रिताननेन्दौ।
त्रिभुवननयनैकलोभनीये महसि वयम् व्रजभाजि लालसाः स्मः॥ ३-२७

  मधुरिम भरिते मनः अभिरामे मृदुल तर स्मित मुद्रित आनन इन्दौ
त्रि भुवन नयन एक लोभनीये महसि वयम् व्रज भाजि लालसाः स्मः

madhurimabharite mano'bhirāme
mṛdulatarasmitamudritānanendau |
tribhuvananayanaikalobhanīye
mahasi vayam vrajabhāji lālasāḥ smaḥ || 3-27

  madhurima bharite manaḥ abhirāme mṛdula tara smita
mudrita ānana indau tri bhuvana nayana eka lobhanīye
mahasi vayam vraja bhāji lālasāḥ smaḥ

madhurimabharite mano.abhirAme
mR^idulatarasmitamudritAnanendau |
tribhuvananayanaikalobhanIye
mahasi vayam vrajabhAji lAlasAH smaH || 3-27

flute

madhurima bharite manaH abhirAme mR^idula tara smita mudrita Anana indau tri bhuvana nayana eka lobhanIye mahasi vayam vraja bhAji lAlasAH smaH

3-27. madhurima bharite= with sweetness [of prettiness], filled with; manaH abhirAme = heart, pleasing; mR^idula tara= with a highly, delicate; smita mudrita= smile, imprinted; Anana indau = with a face, called moon; tri bhuvana nayana eka lobhanIye= three, worlds, eyes of, the only, mesmeriser [that face with smiles]; vraja bhAji = vraja village, made as its abode; in asuch a; mahasi= great resplendence; vayam lAlasAH smaH= we, keen about, we are.

We for ourselves are  keen about a great resplendence domiciled at vraja village, for it will be heart-pleasing with a plethora sweetness of its own prettiness; face imprinted with highly pretty smiles imparting moonshine for it is a lookalike of moon having a mesmeric effect on the eyes of anyone in the triad of worlds. [3-27]

--o)0(o--

मुखारविन्दे मकरन्दबिन्दु निष्यन्दलीलामुरलीनिनादे।
व्रजाङ्गनापाङ्गतरङ्गभृङ्ग सङ्ग्रामभूमौ तव लालसाः स्मः॥ ३-२८

  मुख अरविन्दे मकरन्द बिन्दु निष्यन्द लीला मुरली निनादे
व्रज अङ्गना अपाङ्ग तरङ्ग भृङ्ग सङ्ग्राम भूमौ तव लालसाः स्मः

mukhāravinde makarandabindu
niṣyandalīlāmuralīnināde |
vrajāṅganāpāṅgataraṅgabhṛṅga
saṅgrāmabhūmau tava lālasāḥ smaḥ || 3-28

  mukha aravinde makaranda bindu niṣyanda līlā
muralī ninādevraja aṅganā apāṅga taraṅga bhṛṅga
saṅgrāma bhūmau tava lālasāḥ smaḥ

mukhAravinde makarandabindu
niShyandalIlAmuralIninAde |
vrajA~NganApA~Ngatara~NgabhR^i~Nga
sa~NgrAmabhUmau tava lAlasAH smaH || 3-28

flute

mukha aravinde makaranda bindu niShyanda lIlA muralI ninAde vraja a~NganA apA~Nga tara~Nga bhR^i~Nga sa~NgrAma bhUmau tava lAlasAH smaH

3-28. makaranda bindu niShyanda lIlA muralI ninAde= honey, drops, from streaming, in that fashion, flute's, melody;

vraja a~NganA apA~Nga tara~Nga bhR^i~Nga sa~NgrAma bhUmau= vraja, damsels, sidelong glances, called ripple, curves, in that riptide, an abode of;in such a face;

 tava mukha aravinde = your, face, called aravinda flower;

lAlasAH smaH= we are interested.

Your face has the mellifluousness of flute's melodies as sweet as the streaming drops of honey, and engulfed in the riptides of curly ripples called the sidelong glances of vraja beauties en fête beholding that face, and we on our part also wish to have a glimpse of such a face of yours. [3-28]

--o)0(o--

आत्मारायतलोचनांशुलहरीलीलासुधाप्यायितै
र्गीताम्रेडितदिव्यकेलिभरितैः स्फीतम् वज्रस्त्रीजनैः।
स्वेदाम्भःकणभूषितेन किम् अपि स्मेरेण वक्त्रेन्दुना
पादाम्भोजमृदुप्रचारसुभगम् पश्यामि दृश्यम् महः॥ ३-२९

  आत्मार आयत लोचन अंशु लहरी लीला सुधा आप्यायितैः गीत आम्रेडित दिव्य केलि
भरितैः स्फीतम् वज्र स्त्री जनैः स्वेद अम्भः कण भूषितेन किम् अपि
स्मेरेण वक्त्र इन्दुना पाद अम्भोज मृदु प्रचार सुभगम् पश्यामि दृश्यम् महः

ātmārāyatalocanāṁśulaharīlīlāsudhāpyāyitai
rgītāmreḍitadivyakelibharitaiḥ sphītam vajrastrījanaiḥ |
svedāmbhaḥkaṇabhūṣitena kim api smereṇa vaktrendunā
pādāmbhojamṛdupracārasubhagam paśyāmi dṛśyam mahaḥ ||
3-29

  ātmāra āyata locana aṁśu laharī līlā sudhā āpyāyitaiḥ gīta āmreḍita divya keli bharitaiḥ sphītam vajra strī janaiḥ sveda ambhaḥ kaṇa bhūṣitena kim api smereṇa vaktra indunā pāda ambhoja mṛdu pracāra subhagam paśyāmi dṛśyam mahaḥ

AtAmrAyatalocanAMshulaharIlIlAsudhApyAyitai
rgItAmreDitadivyakelibharitaiH sphItam vajrastrIjanaiH |
svedAmbhaHkaNabhUShitena kim api smereNa vaktrendunA
pAdAmbhojamR^idupracArasubhagam pashyAmi dR^ishyam mahaH || 3-29

flute

Atmra Ayata locana aMshu laharI lIlA sudhA ApyAyitaiH gIta AmreDita divya keli bharitaiH sphItam vajra strI janaiH sveda ambhaH kaNa bhUShitena kim api smereNa vaktra indunA pAda ambhoja mR^idu pracAra subhagam pashyAmi dR^ishyam mahaH

3-29. A+tAmra Ayata locana aMshu laharI lIlA sudhA ApyAyitaiH= a little roseate, broad, eyes, rays called glances, called waves, with that nectar, [vraja damsels] delighted;

 gIta AmreDita divya keli bharitaiH= by singing, redoubled, divine, sports, those that are - milkmaids; with such;

vajra strI janaiH= by vraja's, women, folks;

 sphItam= one who is full with - surrounded by them;

 sveda ambhaH kaNa bhUShitena= with sweat, water, drop, decorated with;

 smereNa vaktra indunA= with smiles, having a face, called moon;

 pAda ambhoja mR^idu pracAra subhagam=with feet, called lotuses, softly, moving [in dancing], beautiful to see;

 dR^ishyam= [pleasant] to see again and again;

kim api mahaH= some, great resplendence;

pashyAmi= [I am mentally] seeing.

I am visualising a great resplendence in the form a boy surrounded by milkmaids gladdened for the casting ray-like glances from their roseate broad eyes as if they are the streams of nectar, in beholding him constantly while he is dancing, with a redoubled enthusiasm in their own singing to his dancing steps, while he is dancing with a smiley face, akin to moon, has little drops of dance induced sweat, while his lotusy feet move softly like lotuses, making him more watchable entity.  [3-29]

The import of this verse has a bearing on a verse in gopAla kalpa, shrIgopAlakriShNa mantrarAjam: gopInAm pANi padmAni gR^ihItvA... etc.

--o)0(o--

पाणौ वेणुः प्रकृतिसुकुमाराकृतौ बाल्यलक्ष्मीः
पार्श्वे बालाः प्रणयसरसालोकितापाङ्गलीलाः।
मौलौ बर्हम् मधुरवदनाम्भोरुहे मौग्ध्यमुद्रे
त्यार्द्राकारम् किम् अपि कितवम् ज्योतिरन्वेषयामः॥ ३-३०

  पाणौ वेणुः प्रकृति सुकुमार आकृतौ बाल्य लक्ष्मीः पार्श्वे बालाः प्रणय सरस
आलोकित अपाङ्ग लीलाः मौलौ बर्हम् मधुर वदन अम्भोरुहे मौग्ध्य
मुद्रा इति आर्द्र आकारम् किम् अपि कितवम् ज्योतिः अन्वेषयामः

pāṇau veṇuḥ prakṛtisukumārākṛtau bālyalakṣmīḥ
pārśve bālāḥ praṇayasarasālokitāpāṅgalīlāḥ |
maulau barham madhuravadanāmbhoruhe maugdhyamudre
tyārdrākāram kim api kitavam jyotiranveṣayāmaḥ || 3-30

  pāṇau veṇuḥ prakṛti sukumāra ākṛtau bālya lakṣmīḥ pārśve bālāḥ praṇaya sarasa ālokita apāṅga līlāḥ maulau barham madhura vadana ambhoruhe maugdhya mudrā iti ārdra
ākāram kim api kitavam jyotiḥ anveṣayāmaḥ

pANau veNuH prakR^itisukumArAkR^itau bAlyalakShmIH
pArshve bAlAH praNayasarasAlokitApA~NgalIlAH |
maulau barham madhuravadanAmbhoruhe maugdhyamudre
tyArdrAkAram kim api kitavam jyotiranveShayAmaH || 3-30

flute

pANau veNuH prakR^iti sukumAra AkR^itau bAlya lakShmIH pArshve bAlAH praNaya sarasa Alokita apA~Nga lIlAH maulau barham madhura vadana ambhoruhe maugdhya mudrA iti Ardra AkAram kim api kitavam jyotiH anveShayAmaH

3-30. pANau veNuH= in palms, flute; prakR^iti sukumAra AkR^itau bAlya lakShmIH = in naturally, pretty, form, childhood's, magnificence; pArshve= at his side; bAlAH praNaya sarasa Alokita apA~Nga lIlAH = young girls, with romance, drenched, seeing, with sidelong glances, sportily; maulau barham= on crest, peacock feathers; madhura vadana ambhoruhe= in sweet, face, called lotus; maugdhya mudrA= modest, impression; iti= in this way; Ardra AkAram= certain dewy, form - whose form itself is graciousness; kitavam= some mischievous boy's form; kim api jyotiH = some indescribable luminescence; anveShayAmaH = we are searching for.

We are searching for some indescribable refulgence in the form of mischievous boy holding flute in palm, magnificence of childhood reflected in his naturally pretty form, romance-drenched young girls casting sidelong glances filing at his sides, peacock feathers on his crest and a modest impression on his face, and who is the embodiment of graciousness. [3-30]

This has verse has got the import of harantam navanItyAdi chauryeNa... gopAlakriShNa eka dasha akhara mantra dhyanam - as in sanatkumAra samhita.

--o)0(o--

आरूढवेणुतरुणाधरविभ्रमेण माधुर्यशालिवदनाम्बुजम् उद्वहन्ती।

आलोक्यताम् किम् अनया वनदेवता वः कैशोरके वयसि कापि च कान्तियष्टिः॥ ३-३१

  आरूढ वेणु तरुण अधर विभ्रमेण माधुर्य शालि वदन अम्बुजम् उद्वहन्ती
आलोक्यताम् किम् अनया वन देवता वः कैशोरके वयसि कापि च कान्ति यष्टिः

ārūḍhaveṇutaruṇādharavibhrameṇa
mādhuryaśālivadanāmbujam udvahantī |
ālokyatām kim anayā vanadevatā vaḥ
kaiśorake vayasi kāpi ca kāntiyaṣṭiḥ || 3-31

  ārūḍha veṇu taruṇa adhara vibhrameṇa mādhurya śāli vadana ambujam udvahantī ālokyatām kim anayā vana devatā vaḥ kaiśorake vayasi kāpi ca kānti yaṣṭiḥ

ArUDhaveNutaruNAdharavibhrameNa
mAdhuryashAlivadanAmbujam udvahantI |
AlokyatAm kim anayA vanadevatA vaH
kaishorake vayasi kApi ca kAntiyaShTiH || 3-31

flute

ArUDha veNu taruNa adhara vibhrameNa mAdhurya shAli vadana ambujam udvahantI AlokyatAm kim anayA vana devatA vaH kaishorake vayasi kApi ca kAnti yaShTiH

3-31. hè vana devatAH= oh, sylvan deities; vaH anayA kim= to you, with this [useless function of not spotting], what [is the use] - what is the use of your staying here as sylvan deities, without spotting some one of your creed we are unable to find;

kAnti yaShTiH= fluorescence, florescence - a creeper sprouting fluorescent flowers - poetic expression;

we will tell about its features;

ArUDha veNu= with uplifted, flute;

taruNa adhara vibhrameNa= tender, its lower lip, with a style;

mAdhurya shAli vadana ambujam udvahantI= sweetness, replete, face, called lotus, it is carrying;

kaishorake vayasi= a child, in age;

kApi= something indescribable;

kAnti yaShTiH AlokyatAm [kim]= such a florescence of fluorescence, have you seen or not.

Oh, sylvan deities, what is the use of your staying here as sylvan deities, without spotting some one of your creed we are unable to find; we will tell some details of it; it is with an upraised flute to its lips, where its lower lip will be tender with a style; lotusy face replete with sweetness; age-wise a boy, but an indescribable boy; have you seen such a florescence of fluorescence anywhere here in this brindavana. [3-32]

--o)0(o--

अनन्यसाधारणकान्तिकान्त माक्रान्तगोपीनयनारविन्दम्।
पुंसः पुराणस्य नवम् विलासम् पुण्येन पूर्णेन विलोकयिष्ये॥ ३-३२

  अनन्य साधारण कान्ति कान्तम् आक्रान्त गोपी नयन अरविन्दम्
पुंसः पुराणस्य नवम् विलासम् पुण्येन पूर्णेन विलोकयिष्ये

ananyasādhāraṇakāntikānta
mākrāntagopīnayanāravindam |
puṁsaḥ purāṇasya navam vilāsam
puṇyena pūrṇena vilokayiṣye || 3-32

  ananya sādhāraṇa kānti kāntam ākrānta gopī nayana aravindam puṁsaḥ purāṇasya navam vilāsam puṇyena pūrṇena vilokayiṣye

ananyasAdhAraNakAntikAnta
mAkrAntagopInayanAravindam |
puMsaH purANasya navam vilAsam
puNyena pUrNena vilokayiShye || 3-32

flute

ananya sAdhAraNa kAnti kAntam AkrAnta gopI nayana aravindam puMsaH purANasya navam vilAsam puNyena pUrNena vilokayiShye

3-32. an+anya sAdhAraNa= not, in any other things, that is generally existing; kAnti kAntam= with a effulgence, much cherished; AkrAnta gopI nayana aravindam= pervaded by, milkmaids', eyes, called lotuses; purANasya puMsaH = Primary Being - nArAyaNa; navam vilAsam= new, posture; pUrNena puNyena vilokayiShye= with full, merits, when can I behold.

If my merits stand fructified, when I can possibly behold the newer attitudinising of the Prime Being, which is the much cherished and delighting effulgence non-existent in any other given object or being, anew in its look, and which reflectively pervades the lotusy eyes of milkmaids for they fix their looks on it. [3-32]

--o)0(o--

साष्टाङ्गपातम् अभिवन्द्य समस्तभावैः सर्वान् सुरेन्द्रनिकरान् इदम् एव याचे।
मन्दस्मितार्द्रमधुराननचन्द्रबिम्बे नन्दस्य पुण्यनिचये मम भक्तिरस्तु॥ ३-३३

  स अष्टाङ्ग पातम् अभिवन्द्य समस्त भावैः सर्वान् सुर इन्द्र निकरान् इदम् एव याचे
मन्द स्मित आर्द्र मधुर आनन चन्द्र बिम्बे नन्दस्य पुण्य निचये मम भक्तिः अस्तु

sāṣṭāṅgapātam abhivandya samastabhāvaiḥ
sarvān surendranikarān idam eva yāce |
mandasmitārdramadhurānanacandrabimbe
nandasya puṇyanicaye mama bhaktirastu || 3-33

  sa aṣṭāṅga pātam abhivandya samasta bhāvaiḥ sarvān sura indra nikarān idam eva yāce manda smita ārdra madhura ānana candra bimbe nandasya puṇya nicaye mama bhaktiḥ astu

sAShTA~NgapAtam abhivandya samastabhAvaiH
sarvAn surendranikarAn idam eva yAce |
mandasmitArdramadhurAnanacandrabimbe
nandasya puNyanicaye mama bhaktirastu || 3-33

flute

sa aShTA~Nga pAtam abhivandya samasta bhAvaiH sarvAn sura indra nikarAn idam eva yAce manda smita Ardra madhura Anana candra bimbe nandasya puNya nicaye mama bhaktiH astu

3-33. sarvAn sura indra nikarAn= all of the, gods, the best ones, and their hosts; sa aShTA~Nga pAtam= with, eight, bodily limbs, falling on ground; abhivandya= on venerating; samasta bhAvaiH= to all intents and purposes;

manda smita Ardra madhura Anana candra bimbe= prettily, smiling, dewy, sweet, face, called moon's, orb - in someone with such attributes;

nandasya puNya nicaye=in nanda's, merits, a heap of; mama bhaktiH astu= my, devotion, remain; idam eva yAce= this, alone, I beg.

I beg all the hosts of best gods, to all intents and purposes, prostrately venerating with eight of my bodily limbs touching the ground, namely chest, head, heart, eyes, voice, feet, arm and ears, for keeping up a steadfast devotion in me towards that treasure trove of nanda's merits, who has pretty smiles on a sweet and sapful face akin to moon's orb - this alone I beg. [3-33]

aShTA~Nga namaskAram:

urasA shirasA dR^iShTyA manasA vachasA tathA |
padbhyAm karAbhyAm karNAbhyAm praNAmo.aShTAnga uchyate ||

--o)0(o--

एषु प्रवाहेषु स एव मन्ये क्षणोऽपि गण्यः पुरुषायुषेषु।
आस्वाद्यते यत्र कयापि भक्त्या नीलस्य बालस्य निजम् चरित्रम्॥ ३-३४

  एषु प्रवाहेषु स एव मन्ये क्षणः अपि गण्यः पुरुष आयुषेषु आस्वाद्यते
यत्र कया अपि भक्त्या  नीलस्य बालस्य निजम् चरित्रम्

eṣu pravāheṣu sa eva manye
kṣaṇo'pi gaṇyaḥ puruṣāyuṣeṣu |
āsvādyate yatra kayāpi bhaktyā
nīlasya bālasya nijam caritram || 3-34

  eṣu pravāheṣu sa eva manye kṣaṇaḥ api gaṇyaḥ puruṣa āyuṣeṣu
āsvādyate yatra kayā api bhaktyā  nīlasya bālasya nijam caritram

eShu pravAheShu sa eva manye
kShaNo.api gaNyaH puruShAyuSheShu |
AsvAdyate yatra kayApi bhaktyA
nIlasya bAlasya nijam caritram || 3-34

flute

eShu pravAheShu sa eva manye kShaNaH api gaNyaH puruSha AyuSheShu AsvAdyate yatra kayA api bhaktyA  nIlasya bAlasya nijam caritram

3-34. eShu pravAheShu= in this, effluxion - of life and death; puruSha AyuSheShu = in man's, lifespan; yatra= in any given moment; kayA bhaktyA api= with whichever kind of devotion;

nIlasya bAlasya= of sapphirine, boy; nijam caritram= svabhAvasiddha, sArvakAlika charitram = true, being - not true history; AsvAdyate= [if it can be] savoured;

kShaNaH api = for a second, even; saH eva gaNyaH= that, alone is, countable as the best; iti manye= thus, I deem.

If the true being of that sapphirine boy is relishable in any given moment with whatever kind of devotion, that moment alone is expedient in one's own lifespan in this perennial effluxion of life-death - thus I count. [3-34

--o)0(o--

निसर्गसरसाधरम् निजदयार्द्रदिव्येक्षणम्
मनोज्ञमुखपङ्कजम् मधुरसार्द्रमन्दस्मितम्।
रसज्ञहृदयास्पदम् रमितवल्लवीलोचनम्
पुनः पुनरुपास्महे भुवनलोभनीयम् महः॥ ३-३५

  निसर्ग सरस अधरम् निज दया आर्द्र दिव्य ईक्षणम् मनोज्ञमुख
पङ्कजम् मधु रस आर्द्र मन्द स्मितम् रसज्ञ हृदय आस्पदम् रमित
वल्लवी लोचनम् पुनः पुनः उपास्महे भुवन लोभनीयम् महः

nisargasarasādharam nijadayārdradivyekṣaṇam
manojñamukhapaṅkajam madhurasārdramandasmitam |
rasajñahṛdayāspadam ramitavallavīlocanam
punaḥ punarupāsmahe bhuvanalobhanīyam mahaḥ || 3-35

  nisarga sarasa adharam nija dayā ārdra divya īkṣaṇam manojñamukha paṅkajam madhu rasa ārdra manda smitam rasajña hṛdaya āspadam ramita vallavī locanam punaḥ punaḥ upāsmahe bhuvana lobhanīyam mahaḥ

nisargasarasAdharam nijadayArdradivyekShaNam
manoj~namukhapa~Nkajam madhurasArdramandasmitam |
rasaj~nahR^idayAspadam ramitavallavIlocanam
punaH punarupAsmahe bhuvanalobhanIyam mahaH || 3-35

flute

nisarga sarasa adharam nija dayA Ardra divya IkShaNam manoj~namukha pa~Nkajam madhu rasa Ardra manda smitam rasaj~na hR^idaya Aspadam ramita vallavI locanam punaH punaH upAsmahe bhuvana lobhanIyam mahaH

3-35. nisarga sarasa adharam= by nature, beautiful, lower lip; nija dayA Ardra divya IkShaNam= his own, grace, wet with, divine, glances; manoj~namukha pa~Nkajam= heart-pleasing, face, called lotus; madhu rasa Ardra manda smitam= with honey, wet, light, smiles; rasaj~na hR^idaya Aspadam= for aestheticians, hearts, substratum; ramita vallavI locanam= rejoiced, milkmaids', eyes - one who made; bhuvana lobhanIyam= all worlds, one made to be covetous - of seeing his charm time and again; mahaH= such an exceptional effulgence; punaH punaH upAsmahe = again, again, we adore.

We unceasingly adore that exceptional effulgence which by nature has entrancing lips, divine glances wet with grace, lotusy face pleasing to hearts, delicate smiles saturated with honey like nectar, and who is the substratum of any aesthetician, who made the eyes of milkmaids rejoiced, and who made all the worlds desperate in seeing his charm ever and ever more. [3-35]

--o)0(o--

स कोऽपि बालः सरसीरुहाक्षः सा च व्रजस्त्रीजनपादधूलिः।
मुहुस्तदेतद् युगलम् मदीये मोमुह्यमानेऽपि मनस्युदेतु॥ ३-३६

  सः कः अपि बालः सरसी रुह अक्षः सा च व्रज स्त्री जन पाद धूलिः मुहुः
तत् एतत् युगलम् मदीये मोमुह्यमाने अपि मनसि उदेतु

sa ko'pi bālaḥ sarasīruhākṣaḥ
sā ca vrajastrījanapādadhūliḥ |
muhustadetad yugalam madīye
momuhyamāne'pi manasyudetu || 3-36

  saḥ kaḥ api bālaḥ sarasī ruha akṣaḥ sā ca vraja strī jana
pāda dhūliḥ muhuḥ tat etat yugalam madīye
momuhyamāne api manasi udetu

sa ko.api bAlaH sarasIruhAkShaH
sA ca vrajastrIjanapAdadhUliH |
muhustadetad yugalam madIye
momuhyamAne.api manasyudetu || 3-36

flute

saH kaH api bAlaH sarasI ruha akShaH sA ca vraja strI jana pAda dhUliH muhuH tat etat yugalam madIye momuhyamAne api manasi udetu

3-36. sarasI-ruha akShaH= lotus, eyed one; kaH api= some one; saH bAlaH = he, that boy; ca= further; sA vraja strI jana pAda dhUliH= that, vraja village's, women, folk's, feet, dust; tat etat yugalam= those two factors; madIye manasi muhuH momuhyamAne [sati] api= in my, heart, repeatedly, making to swoon, even if; madIye manasi udetu= in my, heart, let that thinking come up time and gain.

Even in the state of my swooning and collapsing, let two factors be visualised by me; one - the lotusy eyes of that boy; the other - the dust on the feet of milkmaids of vraja; why because god is great; his true devotees are greater; anything pertaining to those true devotees, may it be dust on their feet, greatest. [3-36]

--o)0(o--

मयि प्रयाणाभिमुखे च वल्लवी स्तनद्वयी दुर्ललितः स बालकः।
शनैः शनैः श्रावितवेणुनिस्वनो विलासवेषेण पुरः प्रतीयताम्॥ ३-३७

  मयि प्रयाण अभिमुखे च वल्लवी स्तन द्वयी दुर्ललितः स बालकः
शनैः शनैः श्रावित वेणु निस्वनः विलास वेषेण पुरः प्रतीयताम्

mayi prayāṇābhimukhe ca vallavī
stanadvayī durlalitaḥ sa bālakaḥ |
śanaiḥ śanaiḥ śrāvitaveṇunisvano
vilāsaveṣeṇa puraḥ pratīyatām || 3-37

  mayi prayāṇa abhimukhe ca vallavī stana dvayī
durlalitaḥ sa bālakaḥ śanaiḥ śanaiḥ śrāvita
veṇu nisvanaḥ vilāsa veṣeṇa puraḥ pratīyatām

mayi prayANAbhimukhe ca vallavI
stanadvayI durlalitaH sa bAlakaH |
shanaiH shanaiH shrAvitaveNunisvano
vilAsaveSheNa puraH pratIyatAm || 3-37

flute

mayi prayANa abhimukhe ca vallavI stana dvayI durlalitaH sa bAlakaH shanaiH shanaiH shrAvita veNu nisvanaH vilAsa veSheNa puraH pratIyatAm

3-37. mayi prayANa abhimukhe sati api ca = myself, for journey, when making myself ready; vallavI stana dvayI durlalitaH= with milkmaids, bosoms, one who played mischievously; shrAvita veNu nisvanaH= one who made to hear, flute's, melodies; sa bAlakaH= that boy; vilAsa veSheNa= in his vivacious, getup; puraH= in my fore; shanaiH shanaiH pratIyatAm= slowly, slowly, reveal himself.

Even if I am preparing myself for final journey, let that boy who mischievously played with the bosoms of milkmaids, besides, lusciously playing flute's melodies, may reveal himself slowly and slowly in the fore of my mental-eye in his vivacious getup. [3-37]

--o)0(o--

अतिभूमिम् अभूमिम् एव वा वचसाम् वासितवल्लवीस्तनम्।
मनसाम् अपरम् रसायनम् मधुराद्वैतम् उपास्महे महः॥ ३-३८

  अतिभूमिम् अभूमिम् एव वा वचसाम् वासित वल्लवी स्तनम्
मनसाम् अपरम् रसायनम् मधुर अद्वैतम् उपास्महे महः

atibhūmim abhūmim eva vā
vacasām vāsitavallavīstanam |
manasām aparam rasāyanam
madhurādvaitam upāsmahe mahaḥ || 3-38

  atibhūmim abhūmim eva vā vacasām vāsita vallavī stanam
manasām aparam rasāyanam madhura advaitam upāsmahe mahaḥ

atibhUmim abhUmim eva vA
vacasAm vAsitavallavIstanam |
manasAm aparam rasAyanam
madhurAdvaitam upAsmahe mahaH || 3-38

flute

ati+bhUmim a+bhUmim eva vA vacasAm vAsita vallavI stanam manasAm aparam rasAyanam madhura advaitam upAsmahe mahaH

3-38. vayam= we; vacasAm= for speech; ati+bhUmim= aloft, ground - transcendental - saguNa brahma;

vA= or else; a+bhUmim= less, ground - groundless - vAchyArtha a+sthAnIya - ungrounded statements - intangible, disembodied - nirguNa brahma;

 vAsita vallavI stanam= sublimated, milkmaids', bosoms - one that has sublimated the primitive milkmaids by its coming into contact of their bosoms, as deities par excellent; manasAm= for devotees, or thinkers; aparam= apUrva - an astounding; rasAyanam= an elixir; mahaH eva= that brilliance, only; madhura advaitam= that luscious, non-duality; upAsmahe= we venerate.

Whether that boy is what Upanishads propound as ekamevA.advitIyam brahma; oras manifest sublimated the primitive milkmaids by coming into contact of their bosoms, as deities par excellent; or, as an unmanifest he is the only astounding elixir sages and thinkers savour, we hold him as a madhura-advaita mUrti : luscious-non-dual entity, and hence our venerations are to him. [3-38]

madhura-advaitam is seemingly understandable word, but it is understandable by once own experience - anubhavaika vedyam.  This aspect is more expounded in puruShAkAravyAkhya of lIlAshuka - opening verses; chaintanya charitAmRitam; haribhaksirasAyanam; advaita vIdhi etc treatises.

--o)0(o--

जननान्तरेऽपि जगदेकमण्डने कमनीयधाम्नि कमलायतेक्षणे।
व्रजसुन्दरीजनविलोचनामृते चपलानि सन्तु सकलेन्द्रियाणि मे॥ ३-३९

  जनन अन्तरे अपि जगत् एक मण्डने कमनीय धाम्नि कमल आयत ईक्षणे
व्रज सुन्दरी जन विलोचन अमृते चपलानि सन्तु सकल इन्द्रियाणि मे

jananāntare'pi jagadekamaṇḍane
kamanīyadhāmni kamalāyatekṣaṇe |
vrajasundarījanavilocanāmṛte
capalāni santu sakalendriyāṇi me || 3-39

  janana antare api jagat eka maṇḍane kamanīya
dhāmni kamala āyata īkṣaṇe vraja sundarī jana
vilocana amṛte capalāni santu sakala indriyāṇi me

jananAntare.api jagadekamaNDane
kamanIyadhAmni kamalAyatekShaNe |
vrajasundarIjanavilocanAmR^ite
capalAni santu sakalendriyANi me || 3-39

flute

janana antare api jagat eka maNDane kamanIya dhAmni kamala Ayata IkShaNe vraja sundarI jana vilocana amR^ite capalAni santu sakala indriyANi me

3-39. janana antare api= in life, another one, even; me sakala indriyANi= my, all, sensory organs - motor organs included; jagat eka maNDane= for worlds, the only, crest-jewel; kamanIya dhAmni= eye-feast, resplendence; kamala Ayata IkShaNe= lotuses like, broad, eyed one; vraja sundarI jana vilocana amR^ite= vraja village, beauties, folks, for eyes, nectar of; capalAni santu= be infatuated [my senses], let them be.

Let ever sensory or motor organ of mine, even in the births to come, be infatuated with the glory of that boy who by himself is an eye-feasting resplendence, a crest-jewel of any world, eyes broad like lotuses, and the nectar for equally broad-eyed beauties of vraja village. [3-39]

--o)0(o--

मुनिश्रेणीवन्द्यम् मदभरलसद्वल्लववधू
स्तनश्रोणीबिम्बस्तिमितनयनाम्भोजसुभगम्।
पुनः श्लाघाभूमिम् पुलकितगिराम् नैगमगिराम्
घनश्यामम् वन्दे किम् अपि कमनीयाकृतिमहः॥ ३-४०

  मुनि श्रेणी वन्द्यम् मद भर लसत् वल्लव वधू स्तन श्रोणी बिम्ब
स्तिमित नयन अम्भोज सु-भगम् पुनः श्लाघा भूमिम् पुलकित गिराम् नैगम
गिराम् घन श्यामम् वन्दे किम् अपि कमनीय आकृति महः

muniśreṇīvandyam madabharalasadvallavavadhū
stanaśroṇībimbastimitanayanāmbhojasubhagam |
punaḥ ślāghābhūmim pulakitagirām naigamagirām
ghanaśyāmam vande kim api kamanīyākṛtimahaḥ || 3-40

  muni śreṇī vandyam mada bhara lasat vallava vadhū
stana śroṇī bimba stimita nayana ambhoja su-bhagam
punaḥ ślāghā bhūmim pulakita girām naigama
girām ghana śyāmam vande kim api kamanīya ākṛti mahaḥ

munishreNIvandyam madabharalasadvallavavadhU
stanashroNIbimbastimitanayanAmbhojasubhagam |
punaH shlAghAbhUmim pulakitagirAm naigamagirAm
ghanashyAmam vande kim api kamanIyAkR^itimahaH || 3-40

flute

muni shreNI vandyam mada bhara lasat vallava vadhU stana shroNI bimba stimita nayana ambhoja su-bhagam punaH shlAghA bhUmim pulakita girAm naigama girAm ghana shyAmam vande kim api kamanIya AkR^iti mahaH

3-40. muni shreNI vandyam= sages, by arrays of, venerable;

mada bhara= love-smitten; lasat= that are glistening; vallava vadhU= of vraja, maids; stana shroNI bimba= on bosoms, on breeches, roundish ones; stimita nayana ambhoja= settled, eyes, called lotuses; su-bhagam= [such a] beautiful [boy]

 punaH= that being so;

 pulakita girAm= with thrilling, words;

naigama girAm= scriptures', words of; shlAghA bhUmim= for laudation, a ground;

ghana shyAmam= darkly, blueblackish one;

kamanIya AkR^iti= an eye-pleasing, entity;

kim api mahaH vande= some ineffable entity, I adore.

Some darkly blueblackish eye-pleasing entity is there whose lotusy eyes wonted to fix their glances on the rotund bosoms and breeches of milkmaids smitten by romance; that being so, the very same entity is the ground for laudation of scriptures with their thrilling words, and a venerable entity for arrays of sages and saints too; that ineffable resplendence is the object of my adoration, as well. [3-40]

--o)0(o--

अनुचुम्बताम् अविचलेन चेतसा मनुजाकृतेर्मधुरिमश्रियम् विभोः।
अयि देव कृष्ण दयितेति जल्पताम् अपि नो भवेयुरपि नाम तादृशाः॥ ३-४१

  अनु चुम्बताम् अविचलेन चेतसा मनुज आकृतेः मधुरिम श्रियम् विभोः
अयि देव कृष्ण दयित इति जल्पताम् अपि नः भवेयुः अपि नाम तादृशाः

anucumbatām avicalena cetasā
manujākṛtermadhurimaśriyam vibhoḥ |
ayi deva kṛṣṇa dayiteti jalpatām
api no bhaveyurapi nāma tādṛśāḥ || 3-41

  anu cumbatām avicalena cetasā manuja ākṛteḥ madhurima
 śriyam vibhoḥ ayi deva kṛṣṇa dayita iti jalpatām api
naḥ bhaveyuḥ api nāma tādṛśāḥ

anucumbatAm avicalena cetasA
manujAkR^itermadhurimashriyam vibhoH |
ayi deva kR^iShNa dayiteti jalpatAm
api no bhaveyurapi nAma tAdR^ishAH || 3-41

flute

anu cumbatAm a+vicalena cetasA manuja AkR^iteH madhurima shriyam vibhoH ayi deva kR^iShNa dayita iti jalpatAm api naH bhaveyuH api nAma tAdR^ishAH

3-41. manuja AkR^iteH vibhoH= in human, form, [available that] lord's; madhurima shriyam= mAdhurya laksmi = luscio- sublimity; a+vicalena cetasA= not, wavering, with a heart; anu cumbatAm= abidingly, kissing - constantly mulling over - those that are;

ayi deva kR^iShNa dayita= oh, god, oh, kriShNa, oh, adorable one;

iti jalpatAm= in this way, those that talking - praying;

tAH tAdR^ishAH [or, dashA] = that kind of derivative happiness - Ananda anubhava dashA visheShA-s;

naH api= to us, also; bhaveyuH api nAma = betide, or not.

Will that kind of happiness derived by some - like sanakasadAnanda sages, by constantly mulling over with unflinching hearts to derive the luscio- sublimity of that lord available in human form; or that kind of happiness derived by some, like nAradAdi muni-s, by constantly singing the names of that almighty as "oh, god, oh, kriShNa, oh, adorable one" - betide on us also, for we are nonentities either in mental devotion or in verbal vociferation. [3-41]

--o)0(o--

किशोरवेषेण कृशोदरीदृशाम् विशेषदृश्येन विशाललोचनम्।
यशोदया लब्धयशो नवाम्बुधे र्निशामये नीलनिशाकरम् कदा॥ ३-४२

  किशोर वेषेण कृश उदरी दृशाम् विशेष दृश्येन विशाल लोचनम्
यशोदया लब्ध यशो नव अम्बुधेः निशामये नील निशा करम् कदा

kiśoraveṣeṇa kṛśodarīdṛśām
viśeṣadṛśyena viśālalocanam |
yaśodayā labdhayaśo navāmbudhe
rniśāmaye nīlaniśākaram kadā || 3-42

  kiśora veṣeṇa kṛśa udarī dṛśām viśeṣa dṛśyena
viśāla locanam  yaśodayā labdha yaśo
nava ambudheḥ niśāmaye
nīla niśā karam kadā

kishoraveSheNa kR^ishodarIdR^ishAm
visheShadR^ishyena vishAlalocanam |
yashodayA labdhayasho navAmbudhe
rnishAmaye nIlanishAkaram kadA || 3-42

flute

kishora veSheNa kR^isha udarI dR^ishAm visheSha dR^ishyena vishAla locanam yashodayA labdha yasho nava ambudheH nishAmaye nIla nishA karam kadA

3-42. kR^isha udarI dR^ishAm= thin, stomached ones, for thin glances - for the glances of slim waisted milkmaids; visheSha dR^ishyena = distinctively, one who is to be seen; kishora veSheNa= one in boy's, getup; yashodayA labdha = by yashoda, one who is obtained from; yasho nava ambudheH= celebrity, called new, ocean; nIla nishA karam= blueblack, night maker - moon - a blueblack moon; vishAla locanam= broad-eyed one; kadA nishAmaye = when can I see.

One whom the slim-waisted milkmaids always beheld with their distinctive glances; one in the getup of a boy; one who arose from the ocean called his mother yashoda's illustriousness like a blueblack moon - when can I see such a boy with board eyes filled with grace. [3-42]

---o)0(o--

प्रकृतिरवतु नो विलासलक्ष्म्याः प्रकृतिजडम् प्रणतापराधवीथ्याम्।
सुकृतिकृतपदम् किशोरभावे सुकृतिमनः प्रणिधानपात्रम् ओजः॥ ३-४३

  प्रकृतिः अवतु नः विलासल क्ष्म्याः प्रकृति जडम् प्रणत अपराध वीथ्याम्
सुकृति कृत पदम् किशोर भावे सुकृति मनः प्रणिधानपात्रम् ओजः

prakṛtiravatu no vilāsalakṣmyāḥ
prakṛtijaḍam praṇatāparādhavīthyām |
sukṛtikṛtapadam kiśorabhāve
sukṛtimanaḥ praṇidhānapātram ojaḥ || 3-43

  prakṛtiḥ avatu naḥ vilāsala kṣmyāḥ prakṛti jaḍam praṇata aparādha vīthyām sukṛti kṛta padam kiśora bhāve
sukṛti manaḥ praṇidhānapātram ojaḥ

prakR^itiravatu no vilAsalakShmyAH
prakR^itijaDam praNatAparAdhavIthyAm |
sukR^itikR^itapadam kishorabhAve
sukR^itimanaH praNidhAnapAtram ojaH || 3-43

flute

prakR^itiH avatu naH vilAsala kShmyAH prakR^iti jaDam praNata aparAdha vIthyAm sukR^iti kR^ita padam kishora bhAve sukR^iti manaH praNidhAnapAtram ojaH

3-43. kishora bhAve= in a boy's, mien; vilAsa lakShmyAH prakR^itiH= for sprightliness, called the wealth, one who is the active principle;

praNata= those who are venerating him; aparAdha vIthyAm= for their wrongings, a series of; prakR^iti jaDam= by nature, a fainéant - French, from fait ‘does’ + néant ‘nothing’ - dispassionate;

sukR^iti manaH praNidhAna pAtram= for meritorious people, their hearts', concentration, one who is worthy of;

sukR^iti kR^ita padam= among meritorious people,made, footing - a foothold for meritorious people;

or

sukR^iti= in highly fortunate; kishora bhAve= boy's, mien; kR^ita padam= who had a firm foothold - well established in boy's mien when compared to other incarnations;

ojaH naH avatu = that resplendence, us, bless.

That resplendence in a boy's mien possesses the active principle called wealthy sprightliness; a fainéant insofar as the series of wrongings of wrongdoers, if they venerate him repentantly; worthy entity for the unfaltering concentration of meritorious people, and even their foothold in slippery slopes called lives; hence, let that blue-brilliance take care of us too. [3-43]

---o)0(o--

अपहसितसुधामदावलेपै रतिसुमनोहरमार्द्रमन्दहासैः।
व्रजयुवतिविलोचनावलेह्यम् रमयतु धाम रमावरोधनम् नः॥ ३-४४

  अपहसित सुधा मद अवलेपैः अति सुमनोहरम् आर्द्र मन्द हासैः
व्रज युवति विलोचन अवलेह्यम् रमयतु धाम रमा अवरोधनम् नः

apahasitasudhāmadāvalepai
ratisumanoharamārdramandahāsaiḥ |
vrajayuvativilocanāvalehyam
ramayatu dhāma ramāvarodhanam naḥ || 3-44

  apahasita sudhā mada avalepaiḥ ati sumanoharam
ārdra manda hāsaiḥ vraja yuvati vilocana avalehyam
ramayatu dhāma ramā avarodhanam naḥ

apahasitasudhAmadAvalepai
ratisumanoharamArdramandahAsaiH |
vrajayuvativilocanAvalehyam
ramayatu dhAma ramAvarodhanam naH || 3-44

flute

apahasita sudhA mada avalepaiH ati sumanoharam Ardra manda hAsaiH vraja yuvati vilocana avalehyam ramayatu dhAma ramA avarodhanam naH

3-44. apahasita sudhA mada [mudhA] ava-lepaiH= contemned, ambrosia's, egoistic, [futile] pride; Ardra manda hAsaiH ati sumanoharam= with dewy, smiles,highly heart pleasing; vraja yuvati vilocana avalehyam = vraja's, damsels, for eyes, a relishable thing; ramA avarodhanam= for lakshmi, [he serves as an] inner palace chamber - for she is a resident in his chest; dhAma= such effulgence; naH ramayatu= us, delight.

 That blueblackish splendour is ever smiling heart-pleasingly with smiles that trickle honey whereby contemning the egoistic pride of ambrosia, an eye-feast for the eyes of vraja damsels, a fulgent plaza of goddess lakshmi, thus, let that splendour ever delight us. [3-44]

----o)0(o--

अङ्कुरितस्मेरदशाविशेषै रश्रान्तहर्षामृतवर्षम् अक्ष्णाम्।
संक्रीडताम् चेतसि गोपकन्या घनस्तनस्वस्त्ययनम् महो नः॥ ३-४५

  अङ्कुरित स्मेर दशा विशेषैः अश्रान्त हर्ष अमृत वर्षम् अक्ष्णाम्
संक्रीडताम् चेतसि गोप कन्या  घन स्तन स्वस्त्ययनम् महः नः

aṅkuritasmeradaśāviśeṣai
raśrāntaharṣāmṛtavarṣam akṣṇām |
saṁkrīḍatām cetasi gopakanyā
ghanastanasvastyayanam maho naḥ || 3-45

  aṅkurita smera daśā viśeṣaiḥ aśrānta harṣa amṛta
varṣam akṣṇām saṁkrīḍatām cetasi gopa kanyā
ghana stana svastyayanam mahaḥ naḥ

a~NkuritasmeradashAvisheShai
rashrAntaharShAmR^itavarSham akShNAm |
saMkrIDatAm cetasi gopakanyA
ghanastanasvastyayanam maho naH || 3-45

flute

a~Nkurita smera dashA visheShaiH ashrAnta harSha amR^ita varSham akShNAm saMkrIDatAm cetasi gopa kanyA  ghana stana svastyayanam mahaH naH

3-45. a~Nkurita smera dashA visheShaiH= sprouted, smiles, their styles, nuances; akShNAm= for the eyes [of beholders]; ashrAnta harSha amR^ita varSham= incessant, ecstatic joy, called ambrosial, rain; gopa kanyA  ghana stana svastyayanam= cow herder's, maids, busty, bosoms, the providence of; mahaH= such a self-luminance; naH cetasi saMkrIDatAm = in our, hearts, let frolic.

Let that self-luminance with a face donning just sprouted stylish smiles showing their own nuances; an incessant ecstatic joy called ambrosial rain to the eyes of beholders, and the providence to the busty milkmaids of vraja, frolic in our hearts also that incessantly. [3-45]

--o)0(o--

मृगमदपङ्कसङ्करविशेषितवन्यमहा
गिरितटगण्डगैरिकघनद्रवविद्रुमितम्।
अजितभुजान्तरम् भजत हे बत गोपवधू
स्तनकलशस्थलीघुसृणमर्दनकर्दमितम्॥ ३-४६

  मृग मद पङ्क सङ्कर विशेषित वन्य महा गिरि तट गण्ड गैरिक घन द्रव विद्रुमितम्
अजित भुज अन्तरम् भजत हे बत गोप वधू स्तन कलश स्थली घुसृण मर्दन कर्दमितम्

mṛgamadapaṅkasaṅkaraviśeṣitavanyamahā
giritaṭagaṇḍagairikaghanadravavidrumitam |
ajitabhujāntaram bhajata he bata gopavadhū
stanakalaśasthalīghusṛṇamardanakardamitam || 3-46

  mṛga mada paṅka saṅkara viśeṣita vanya mahā giri taṭa gaṇḍa gairika ghana drava vidrumitam ajita bhuja antaram bhajata he bata gopa vadhū stana kalaśa sthalī ghusṛṇa mardana kardamitam

mR^igamadapa~Nkasa~NkaravisheShitavanyamahA
giritaTagaNDagairikaghanadravavidrumitam |
ajitabhujAntaram bhajata he bata gopavadhU
stanakalashasthalIghusR^iNamardanakardamitam || 3-46

flute

mR^iga mada pa~Nka sa~Nkara visheShita vanya mahA giri taTa gaNDa gairika ghana drava vidrumitam ajita bhuja antaram bhajata he bata gopa vadhU stana kalasha sthalI ghusR^iNa mardana kardamitam

3-46. mR^iga mada pa~Nka sa~Nkara visheShita= deer's, musk, ooze, enriched with;

 vanya mahA giri taTa gaNDa= of forest, a great mountain, peak, among its boulders; gairika ghana drava vidrumitam= with plants and herbs, [mixed with their] thick, ooze, made as mountain coral reef;

further reddened:

 gopa vadhU stana kalasha sthalI= milkmaids, bosoms, pitcher like, [which is decorated] at that place; ghusR^iNa mardana kardamitam= with meadow saffron, by rubbing, [his chest] begrimed;

ajita bhuja antaram bata = invincible, shoulders, in between - chest - of nArAyaNa;

hè [janAH]= oh, people; bhajata= hold in adoration.  

Looking like a wide precipice of a great forest mountain whose peak is dabbed with the ooze of deer's musk, on which coral like reefs have formed owing to the oozes of plants and herbs growing among its boulders, is the hitherto invincible chest of that great effulgence, where the encrusted coral reefs are the saffron streaks rubbed on that chest when he rubbed against the saffron coated busty bosoms of milkmaids; hence, oh, people, let us adore such impregnable-chested entity. [3-46]

--o)0(o--

आमूलपल्लवितलीलम् अपाङ्गजालै रासिङ्चतीभुवनम् आदृतगोपवेषा।
बालाकृतिर्मृदुलमुग्धमुखेन्दुबिम्बा माधुर्यसिद्धिरवतान्मधुविद्विषो नः॥ ३-४७

  आमूल पल्लवित लीलम् अपाङ्ग जालैः आसिङ्चती भुवनम् आदृत गोप वेषा
बाल आकृतिः मृदुल मुग्ध मुख इन्दु बिम्बा माधुर्य सिद्धिः अवतात् मधु विद्विषो नः

āmūlapallavitalīlam apāṅgajālai
rāsiṅcatībhuvanam ādṛtagopaveṣā |
bālākṛtirmṛdulamugdhamukhendubimbā
mādhuryasiddhiravatānmadhuvidviṣo naḥ || 3-47

  āmūla pallavita līlam apāṅga jālaiḥ āsiṅcatī bhuvanam
ādṛta gopa veṣā bāla ākṛtiḥ mṛdula mugdha mukha
indu bimbāmādhurya siddhiḥ avatāt madhu vidviṣo naḥ

AmUlapallavitalIlam apA~NgajAlai
rAsi~NcatIbhuvanam AdR^itagopaveShA |
bAlAkR^itirmR^idulamugdhamukhendubimbA
mAdhuryasiddhiravatAnmadhuvidviSho naH || 3-47

flute

A+mUla pallavita lIlam apA~Nga jAlaiH A+si~NcatI bhuvanam AdR^ita gopa veShA bAla AkR^itiH mR^idula mugdha mukha indu bimbA mAdhurya siddhiH avatAt madhu vidviSho naH

3-47. apA~Nga jAlaiH= with sidelong glances, with a mesh like; bhuvanam= whole world called tree; A+mUla pallavita lIlam= right from base to treetop, made to sprout leaflets, one who has sportily capability; A+si~NcatI= it is fully drenching [whole world called tree];

AdR^ita gopa veShA= one who assumed a cowboy's mien;

bAla AkR^itiH= in a boy's, form;

mR^idula mugdha mukha indu bimbA = delicate, pretty, with a face, called moon's orb;

madhu vidviShaH= to demon madhu, who is an enemy of; mAdhurya siddhiH= lokottara saundarya paripAka = such a nonpareil embodiment of charm; naH avatAt= us, let protect.

Enmeshing whole world with hi sidelong glances that are fully drenching all worlds called a tree in order to make it sprout leaflet from its base to treetop, that one has assumed a cowboy's mien in the form of just a boy with a delicately pretty face akin to moon's orb, hence, that enemy of demon madhu in the embodiment of nonpareil charm drench us too thoroughly with his grace. [3-47]

----o)0(o--

विरणन्मणिनूपुरम् व्रजे चरणाम्भोजम् उपास्वशार्ङ्गिनः।
सरसे सरसि श्रियान्वितम् कमलम् वा कलहंसनादितम्॥ ३-४८

  विरणन् मणि नूपुरम् व्रजे चरण अम्भोजम् उपास्व शार्ङ्गिनः सरसे
सरसि  श्रिया अन्वितम् कमलम् वा कल हंस नादितम्

viraṇanmaṇinūpuram vraje
caraṇāmbhojam upāsvaśārṅginaḥ |
sarase sarasi śriyānvitam
kamalam vā kalahaṁsanāditam || 3-48

  viraṇan maṇi nūpuram vraje caraṇa ambhojam upāsva śārṅginaḥ
sarase sarasi śriyā anvitam kamalam vā kala haṁsa nāditam

viraNanmaNinUpuram vraje
caraNAmbhojam upAsvashAr~NginaH |
sarase sarasi shriyAnvitam
kamalam vA kalahaMsanAditam || 3-48

flute

viraNan maNi nUpuram vraje caraNa ambhojam upAsva shAr~NginaH sarase sarasi shriyA anvitam kamalam vA kala haMsa nAditam

 3-48. vraje= in vraja village - one who moved there for some time; viraNan maNi nUpuram= verily tintinnabulating, jewelled, anklets;

either those feet;

shAr~NginaH caraNa ambhojam= one who wields shAranga bow - vishNu, kriShNa, his feet, called lotuses;

vA= or;

kala haMsa nAditam sarase= in the midst of royal swans', cacklings,in a lake; sarasi shriyA anvitam= [with the lake-dweller's] magnificence, one which is endowed with - ; kamalam = a lotus - a lake bound lotus is bound to receive the grandeur of the resident of the lake - namely lakshmi - when it stands swinging in a beautiful manner amidst the cackle of royal swans which is at par with the infibulations of anklets;

upAsva= you all adore.

Either you adore the lotusy feet of vishNu alias kriShNa who for some time moved in vraja village with verily tintinnabulating jewelled anklets; or else, you may adore their replica, namely a lake bound lotus standing vivaciously amidst tintinnabulations-like cackles of royal swans. [3-48]

Parallels, dR^iShTAntA-s: kriShNa's lotusy feet - lotus in lake; vraja - lake; anklets - swans; tintinnabulations- cackle; kriShNa pAda Ashrita lakshmi - sarovara jala Ashrita padmam.

----o)0(o--

शरणमशरणानाम् शारदाम्भोजनेत्रम् निरवधिमधुरिम्णा नीलवेषेण रम्यम्।
स्मरशरपरतन्त्रस्मेरनेत्राम्बुजाभि र्व्रजयुवतिभिरव्याद्ब्रह्मसंवेष्टितम् नः॥ ३-४९

  शरणम् अशरणानाम् शारद अम्भोज नेत्रम् निरवधि मधुरिम्णा नील वेषेण
रम्यम् स्मर शर परतन्त्र स्मेर नेत्र अम्बुजाभिः व्रज युवतिभिः अव्यात् ब्रह्म संवेष्टितम् नः

śaraṇamaśaraṇānām śāradāmbhojanetram
niravadhimadhurimṇā nīlaveṣeṇa ramyam |
smaraśaraparatantrasmeranetrāmbujābhi
rvrajayuvatibhiravyādbrahmasaṁveṣṭitam naḥ || 3-49

  śaraṇam aśaraṇānām śārada ambhoja netram niravadhi madhurimṇā nīla veṣeṇa ramyam smara śara paratantra smera netra ambujābhiḥ vraja yuvatibhiḥ avyāt brahma saṁveṣṭitam naḥ

sharaNamasharaNAnAm shAradAmbhojanetram
niravadhimadhurimNA nIlaveSheNa ramyam |
smarasharaparatantrasmeranetrAmbujAbhi
rvrajayuvatibhiravyAdbrahmasaMveShTitam naH || 3-49

flute

sharaNam asharaNAnAm shArada ambhoja netram niravadhi madhurimNA nIla veSheNa ramyam smara shara paratantra smera netra ambujAbhiH vraja yuvatibhiH avyAt brahma saMveShTitam naH

3-49. shArada ambhoja netram= autumnal, lotus like, eyed one; niravadhi madhurimNA = ceaseless, sweetness; nIla veSheNa ramyam= in blueblack, getup, charming; a+sharaNAnAm sharaNam= for shelterless, shelter;

smara-shara paratantra= lovegod, conditioned by; smera netra ambujAbhiH vraja yuvatibhiH= with smiley, eyes, called lotuses, by vraja, damsels; saMveShTitam= one who is surrounded by those damsels; brahma= that Supreme Being; naH avyAt= let us protect.

While his eyes are like autumnal lotuses, charming blueblack getup ceaselessly trickling sweetness, he is the shelter for shelterless ever surrounded by the smiley-lotusy-eyed damsels of vraja village for they are conditioned by lovegod; hence let us adore that Supreme Being in such a state. [3-49]

--o)0(o--

सुव्यक्तकान्तिभरसौरभदिव्यगात्र मव्यक्तयौवनपरीतकिशोरभावम्।
गव्यानुपालनविधौ अनुशिष्टम् अव्या दव्याजरम्यम् अखिलेश्वरवैभवम् नः॥ ३-५०

  सुव्यक्त कान्ति भर सौरभ दिव्य गात्रम् अव्यक्त यौवन परीत किशोर भावम्
गव्य अनुपालन विधौ अनुशिष्टम् अव्यात् अव्याज रम्यम् अखिल ईश्वर वैभवम् नः

suvyaktakāntibharasaurabhadivyagātra
mavyaktayauvanaparītakiśorabhāvam |
gavyānupālanavidhau anuśiṣṭam avyā
davyājaramyam akhileśvaravaibhavam naḥ || 3-50

  suvyakta kānti bhara saurabha divya gātram avyakta yauvana parīta kiśora bhāvam gavya anupālana vidhau anuśiṣṭam avyāt avyāja ramyam akhila īśvara vaibhavam naḥ

suvyaktakAntibharasaurabhadivyagAtra
mavyaktayauvanaparItakishorabhAvam |
gavyAnupAlanavidhau anushiShTam avyA
davyAjaramyam akhileshvaravaibhavam naH || 3-50

flute

suvyakta kAnti bhara saurabha divya gAtram avyakta yauvana parIta kishora bhAvam gavya anupAlana vidhau anushiShTam avyAt avyAja ramyam akhila Ishvara vaibhavam naH

3-50. suvyakta kAnti bhara= clearly evident, resplendence, filled; saurabha divya gAtram= fragrant, divine, body; avyakta yauvana parIta kishora bhAvam = not so evident, youth, encompassed, boy's, mien; gavya anupAlana vidhau anushiShTam= cows, minding, in the art of, having expertise; avyAja ramyam= naturally, charming; akhila Ishvara vaibhavam= all-worlds, lordship's, having magnificence - having magnificence of nArAyaNa; naH avyAt= us, protect.

Clearly evident is the abundant resplendence along with divine fragrance in his form, but the oncoming youthfulness is still playing hide and seek in that boy's mien, nevertheless he is an expert in the art and science of cow rearing, besides being naturally charming; let us keep our redemption in such a magnificence of all-world-lordship, now evident as sapphirine-effulgence. [3-50]

There is some supramundane refulgence and fragrance in nature, apply that to this boy, who ever remains a boy for our anthropomorphic reasons. Cow-rearing = administering humans; resplendence, effulgence etc = paranjyothi tattvam.

----o)0(o--

अनुगतममरीणाम् अम्बरालम्बिनीनाम्
नयनमधुरिमश्रीनर्मनिर्माणसीम्नाम्।
व्रजयुवतिविलासव्यापृतापाङ्गम् अव्यात्
त्रिभुवनसुकुमारम् देवकैशोरकम् नः॥ ३-५१

अनुगतम् अमरीणाम् अम्बर आलम्बिनीनाम् नयन मधुरिम श्री नर्म निर्माण
सीम्नाम् व्रज युवति विलास व्यापृत अपाङ्गम् अव्यात् त्रि भुवन सु-कुमारम् देव कैशोरकं नः

anugatamamarīṇām ambarālambinīnām
nayanamadhurimaśrīnarmanirmāṇasīmnām |
vrajayuvativilāsavyāpṛtāpāṅgam avyāt
tribhuvanasukumāram devakaiśorakam naḥ || 3-51

 anugatam amarīṇām ambara ālambinīnām nayana madhurima śrī narma nirmāṇa sīmnām vraja yuvati vilāsa vyāpṛta apāṅgam avyāt tri bhuvana su-kumāram deva kaiśorakaṁ naḥ

anugatamamarINAm ambarAlambinInAm
nayanamadhurimashrInarmanirmANasImnAm |
vrajayuvativilAsavyApR^itApA~Ngam avyAt
tribhuvanasukumAram devakaishorakam naH || 3-51

flute

anugatam amarINAm ambara AlAmbinInAm nayana madhurima shrI narma nirmANa sImnAm vraja yuvati vilAsa vyApR^ita apA~Ngam avyAt tri bhuvana su-kumAram deva kaishorakaM naH

anvayam: deva kaishorakaM naH avyAt

3-51. ambara AlambinInAm= on the vault of heaven, those that are dependent - goddesses;whose; nayana madhurima shrI= eyes', sweetness, grandeur of; narma nirmANa sImnAm= vivacity, for the craft of, is the upper limit; amarINAm anugatam= [by such] goddesses, one who is followed - one who is looked at constantly;

vraja yuvati vilAsa vyApR^ita apA~Ngam= on vraja's, damsels, vivaciousness, spread over [his looks], one with such sidelong glances;

tri bhuvana su-kumAram deva kaishorakam= in three, worlds, very pretty one, such a god's, boyhood - here mischief, frolicsomeness;

naH avyAt= us, let protect.

At whom the skyey celestials will be hauntingly looking with the sweet grandeur of their eyes that are perhaps the upper limit of vivacity in the craft of Creator; and he who, in sequence, will be obsessively spreading his sidelong glances at the vivaciousness of vraja damsels with his eyes that outpace any craft of Creator; such a frolicsomeness of the only pretty boy in the triad of worlds protect us all. [3-51]

In this stanza the yati, caesura, is placed as in Telugu poetry. 1st foot: at a, A; 2nd foot: na; 3rd: vra, vyA; 4th: tri, de. There are many more verses like this employing yati-sthAna as in Telugu poetic way, which is non-essential for Sanskrit poets. Pt. PSRA

--o)0(o--

आपादम् आचूडम् अतिप्रसक्तै रापीयमाना यमिनाम् मनोभिः।
गोपीजनज्ञातरसाऽवतान्नो गोपालभूपालकुमारमूर्तिः॥ ३-५२

आपादम् आचूडम् अति-प्रसक्तैः आपीयमाना यमिनाम् मनोभिः
गोपी जन ज्ञात रसा अवतात् नः गोपाल भूपाल कुमार मूर्तिः

āpādam ācūḍam atiprasaktai
rāpīyamānā yaminām manobhiḥ |
gopījanajñātarasā'vatānno
gopālabhūpālakumāramūrtiḥ || 3-52

āpādam ācūḍam ati-prasaktaiḥ āpīyamānā yaminām manobhiḥ
gopī jana jñāta rasā avatāt naḥ gopāla bhūpāla kumāra mūrtiḥ

ApAdam AcUDam atiprasaktai
rApIyamAnA yaminAm manobhiH |
gopIjanaj~nAtarasA.avatAnno
gopAlabhUpAlakumAramUrtiH || 3-52

flute

A+pAdam A+cUDam ati-prasaktaiH ApIyamAnA yaminAm manobhiH gopI jana j~nAta rasA avatAt naH gopAla bhUpAla kumAra mUrtiH

anvayam: gopAla bhUpAla kumAra mUrtiH naH avatAt

3-52. ati+prasaktaiH yaminAm manobhiH = much involved, sages, with their hearts, A+pAdam A+cUDam = right from tow, to top; ApIyamAnA= that which is savoured - the magnificence of that boy;

 rasA= that quintessence of his sweetness - philtre = French philtre via Latin philtrum from Greek philtron, from phileo ‘to love’- not present day potation to excite sexual love;

gopI jana j~nAta = to milkmaids, well-known;

gopAla bhUpAla kumAra mUrtiH = such a son of the king of cow herders; naH avatAt= us, protect.

Which quintessence of his sweetness will be quaffed off by highly involved sages and saints till they are chockfull from top to toe, that philtre is very familiar to the milkmaids of vraja; let that potation of love trickling from the prince of cowherders protect us too. [3-52]

दिष्ट्या बृन्दावनमृगदृशाम् विप्रयोगाकुलानाम्
प्रत्यासन्नम् प्रणयचपलापाङ्गवीचीतरङ्गैः।
लक्ष्मीलीलाकुवलयदलश्यामलम् धाम कामान्
पुष्णीयान्नः पुलकमुकुलाभोगभूषाविशेषम्॥ ३-५३

दिष्ट्या बृन्दावन मृग दृशाम् विप्रयोग आकुलानाम् प्रति-आसन्नम् प्रणय चपल
अपाङ्ग वीची तरङ्गैः लक्ष्मी लीला कुवलय दल श्यामलम् धाम
कामान् पुष्णीयात् नः पुलक मुकुल आभोग भूषा विशेषम्

diṣṭyā bṛndāvanamṛgadṛśām viprayogākulānām
pratyāsannam praṇayacapalāpāṅgavīcītaraṅgaiḥ |
lakṣmīlīlākuvalayadalaśyāmalam dhāma kāmān
puṣṇīyānnaḥ pulakamukulābhogabhūṣāviśeṣam || 3-53

diṣṭyā bṛndāvana mṛga dṛśām viprayoga ākulānām
prati-āsannam praṇaya capala apāṅga vīcī taraṅgaiḥ lakṣmī līlā kuvalaya dala śyāmalam dhāma kāmān
puṣṇīyāt naḥ pulaka mukula ābhoga bhūṣā viśeṣam

diShTyA bR^indAvanamR^igadR^ishAm viprayogAkulAnAm
pratyAsannam praNayacapalApA~NgavIcItara~NgaiH |
lakShmIlIlAkuvalayadalashyAmalam dhAma kAmAn
puShNIyAnnaH pulakamukulAbhogabhUShAvisheSham || 3-53

flute

diShTyA bR^indAvana mR^iga dR^ishAm viprayoga AkulAnAm prati-Asannam praNaya capala apA~Nga vIcI tara~NgaiH lakShmI lIlA kuvalaya dala shyAmalam dhAma kAmAn
puShNIyAt naH pulaka mukula Abhoga bhUShA visheSham

anvayam: [kimapi] dhAma naH kAmAn puShNIyAt

3-53. viprayoga AkulAnAm= by separation, those that are agitated; bR^indAvana mR^iga dR^ishAm= of brindavana, fawn, eyed ones - milkmaids;

diShTyA= providentially;

praNaya capala apA~Nga vIcI tara~NgaiH= with romantic, flitting, sidelong glances, called wavelets, and their ripples;

 pulaka mukula= thrills, called buds - efflorescence; Abhoga= [every] square measure [of his body]; bhUShA visheSham= becoming his decorative pieces;

prati-Asannam= when in forefront - of milkmaids;

 lakShmI lIlA kuvalaya dala shyAmalam=goddess lakshmi, vivaciously [handling], black-lotus's, petal-like, blueblackish;

 dhAma= a certain resplendence;

 naH kAmAn puShNIyAt = our, wishes, fulfil.

The fawn-eyed milkmaids of brindavana will be agitated when that boy evanishes from their presence, and they feel providential when that boy reappears, filling him with the ripples of wavelets called their romantic and flitting sidelong glances, making every square measure of his body filled with their thrills called florets, as if he is bejewelled with efflorescence; such a flower-studded sapphirine-aura whose delicacy is as good as the blueblackish petal of black-lotus handled by goddess lakshmi, fill light in our lives. [3-53]

-o)0(o--

जयति गुहशिखीन्द्रपिङ्चमौलिः सुरगिरिगैरिककल्पिताङ्गरागः।
सुरयुवतिविकीर्णसुनवर्ष स्नपितविभूषितकुन्तलः कुमारः॥ ३-५४

जयति गुह शिखि इन्द्र पिङ्च मौलिः सुर गिरि गैरिक कल्पित अङ्ग रागः
सुर युवति विकीर्ण सुन वर्ष स्नपित विभूषित कुन्तलः कुमारः

jayati guhaśikhīndrapiṅcamauliḥ
suragirigairikakalpitāṅgarāgaḥ |
surayuvativikīrṇasunavarṣa
snapitavibhūṣitakuntalaḥ kumāraḥ || 3-54

jayati guha śikhi indra piṅca mauliḥ sura giri gairika kalpita aṅga rāgaḥ sura yuvati vikīrṇa suna varṣa snapita vibhūṣita kuntalaḥ kumāraḥ

jayati guhashikhIndrapi~NchamauliH
suragirigairikakalpitA~NgarAgaH |
surayuvativikIrNasunavarSha
snapitavibhUShitakuntalaH kumAraH || 3-54


flute

jayati guha shikhi indra pi~Ncha mauliH sura giri gairika kalpita a~Nga rAgaH sura yuvati vikIrNa suna varSha snapita vibhUShita kuntalaH kumAraH

anvayam: kumAraH jayati

3-54. guha= god kumAra; shikhi indra= his peacock, the best one; pi~Ncha= its feathers; mauliH= one who has on his crest;

sura giri= of gods, mountain - Mt. Meru; gairika kalpita a~Nga rAgaH= with herbs thereon, made as, bodily, cosmetic;

 sura yuvati vikIrNa suna varSha snapita vibhUShita kuntalaH = by heavenly, damsels, bestrewn, with flower, rain, bathed, and decorated, frontal curls;

kumAraH jayati= such a boy, hail him.

Hail him who has crest of hair adorned with peacock feathers as if they are the droppings of a best peacock like the vehicle of kumAra; locks of curled hair bathed and decorated with the divine flowery rain showered by heavenly maidens; bodily cosmetic is from the herbs of a great mountain no less than the supernal Mt. meru. [3-54

--o)0(o--

मधुरमन्दशुचिस्मितमञ्जुलम् वदनपङ्कजम् अङ्गजवेल्लितम्।
विजयताम् व्रजबालवधूजन स्तनतटीविलुठन्नयनम् विभोः॥ ३-५५

मधुर मन्द शुचि स्मित मञ्जुलम् वदन पङ्कजम् अङ्गज वेल्लितम्
विजयताम् व्रज बाल वधू जन स्तन तटी विलुठत् नयनम् विभोः

madhuramandaśucismitamañjulam
vadanapaṅkajam aṅgajavellitam |
vijayatām vrajabālavadhūjana
stanataṭīviluṭhannayanam vibhoḥ || 3-55

madhura manda śuci smita mañjulam vadana
paṅkajam aṅgaja vellitam vijayatām vraja bāla
vadhū jana stana taṭī viluṭhat nayanam vibhoḥ

madhuramandashucismitama~njulam
vadanapa~Nkajam a~Ngajavellitam |
vijayatAm vrajabAlavadhUjana
stanataTIviluThannayanam vibhoH || 3-55

flute

madhura manda shuci smita ma~njulam vadana pa~Nkajam a~Ngaja vellitam vijayatAm vraja bAla vadhU jana stana taTI viluThat nayanam vibhoH

anvayam: vibhoH a~Ngaja vellitam vijayatAm

3-55. madhura manda shuci smita ma~njulam= sweet, slight, impeccable, smile, is heart-pleasing;

 a~Ngaja vellitam= by romantics, entwined; vraja bAla vadhU jana stana taTI viluThat nayanam = vraja, damsels, folks, bosoms, called cliffs, spinning, eyes;

vibhoH vadana pa~Nkajam= such a lord's, of face, called lotus;

vijayatAm= hail.

Hail the lotusy face of that boyish lord for it will be heart-pleasing with an impeccable smile, sweet and slight; hail his eyes for they will be spinning on the cliffy bosoms of milkmaids of vraja, with love and longing. [3-55]

--o)0(o--

अलसविलसमुग्धस्निग्धस्मितम् व्रजसुन्दरी
मदनकदनस्विन्नम् धन्यम् महद्वदनाम्बुजम्।
तरुणम् अरुणज्योत्स्नाकार्त्स्न्यस्मितस्नपिताधरम्
जयति विजयश्रेणीम् एणीदृशाम् मदयन् महः॥ ३-५६ हरिणी

अलस विलस मुग्ध स्निग्ध स्मितम् व्रज सुन्दरी मदन कदन खिन्नम् धन्यम् महत्
वदन अम्बुजम् तरुणम् अरुण ज्योत्स्ना कार्त्स्न्य स्मित स्नपित अधरम्
जयति विजय श्रेणीम् एणी दृशाम् मदयत् महः

alasavilasamugdhasnigdhasmitam vrajasundarī
madanakadanasvinnam dhanyam mahadvadanāmbujam |
taruṇam aruṇajyotsnākārtsnyasmitasnapitādharam
jayati vijayaśreṇīm eṇīdṛśām madayan mahaḥ || 3-56 (hariṇī)

alasa vilasa mugdha snigdha smitam vraja sundarī madana kadana khinnam dhanyam mahat vadana ambujam taruṇam aruṇa jyotsnā kārtsnya smita snapita adharam jayati
vijaya śreṇīm eṇī dṛśām madayat mahaḥ

alasavilasamugdhasnigdhasmitam vrajasundarI
madanakadanasvinnam dhanyam mahadvadanAmbujam |
taruNam aruNajyotsnAkArtsnyasmitasnapitAdharam
jayati vijayashreNIm eNIdR^ishAm madayan mahaH || 3-56  (hariNI)

flute

alasa vilasa mugdha snigdha smitam vraja sundarI madana kadana khinnam dhanyam mahat vadana ambujam taruNam aruNa jyotsnA kArtsnya smita snapita adharam jayati vijaya shreNIm eNI dR^ishAm madayat mahaH

anvayam: mahat vadana ambujam jayati

3-56. alasa vilasa mugdha snigdha smitam= slow, shining forth, beautiful, sapful, with such a smile;

vraja sundarI madana kadana svinnam= vraja's, with damsels, in love, games, a little sweating;

aruNa jyotsnA kArtsnya [kR^itsna] smita snapita taruNam adharam= like roseate, moonshine, fully, with smiles, bathed, tender, lip;

eNI dR^ishAm vijaya shreNIm = fawn-eyed glances, of eyed damsels, victorious ones, a series of;

or;

vijaya shreNIm eNI dR^ishAm= victories, a series of, of fawn-eyed damsels;

madayat= one that is mesmerising - boy's face;

mahat vadana ambujam= that immaculate, face, called lotus; dhanyam= is providential; mahaH jayati = to that great effulgence, hail.

Hail that Providential and immaculate lotusy face that shines forth with a beautiful and nectarean slight- smile; a little sweating in the love-games with damsels of vraja; with a roseate tender lip fully bathed in smiles and emitting roseate moonshine, and that which is mesmeric to a coterie of fawn-eyed milkmaids. [3-56]

--o)0(o--

राधाकेलिकटाक्षवीक्षितमहावक्षःस्थलीमण्डना
जीयासुः पुलकाङ्कुरास्त्रिभुवनस्वादीयसस्तेजसः।

क्रीडान्तप्रतिसुप्तदुग्धतनयामुग्धावबोधक्षण
त्रासारूढधृढोपगूहनघनास्साम्राज्यसान्द्रश्रियः॥ ३-५७

राधा केलि कटाक्ष वीक्षित महा वक्षःस्थली मण्डना जीयासुः पुलक अङ्कुराः
त्रि भुवन स्वादीयसः तेजसः क्रीड अन्त प्रति सुप्त दुग्ध तनया मुग्धा
अवबोध क्षण त्रास आरूढ धृध उपगूह घनाः साम्राज्य सान्द्र श्रियः

rādhākelikaṭākṣavīkṣitamahāvakṣaḥsthalīmaṇḍanā
jīyāsuḥ pulakāṅkurāstribhuvanasvādīyasastejasaḥ |
krīḍāntapratisuptadugdhatanayāmugdhāvabodhakṣaṇa
trāsārūḍhadhṛḍhopagūhanaghanāssāmrājyasāndraśriyaḥ || 3-57

rādhā keli kaṭākṣa vīkṣita mahā vakṣaḥsthalī maṇḍanā jīyāsuḥ pulaka aṅkurāḥ tri bhuvana svādīyasaḥ tejasaḥ krīḍa anta prati supta dugdha  tanayā mugdhā avabodha kṣaṇa trāsa ārūḍha
dhṛdha upagūha ghanāḥ sāmrājya sāndra śriyaḥ

rAdhAkelikaTAkShavIkShitamahAvakShaHsthalImaNDanA
jIyAsuH pulakA~NkurAstribhuvanasvAdIyasastejasaH |
krIDAntapratisuptadugdhatanayAmugdhAvabodhakShaNa
trAsArUDhadhR^iDhopagUhanaghanAssAmrAjyasAndrashriyaH || 3-57

flute

rAdhA keli kaTAkSha vIkShita mahA vakShaHsthalI maNDanA jIyAsuH pulaka a~NkurAH tri bhuvana svAdIyasaH tejasaH krIDa anta prati supta dugdha tanayA mugdhA avabodha kShaNa
trAsa ArUDha dhR^idha upagUha ghanAH sAmrAjya sAndra shriyaH

anvayam: tri bhuvana svAdIyasaH tejasaH pulaka a~NkurAH jIyAsuH

3-57. krIDa anta = love-game, after; prati supta= again, sleeping; dugdha tanayA= Milk's, daughter - daughter of Milky Ocean; mugdhA= as a coyly lady; avabodha kShaNa trAsa= waking, in the movement of, with a little scar; ArUDha dhR^idha upagUha [upagahana] = making his way up, tight, for an embrace; ghanAH sAmrAjya sAndra shriyaH= a perfect, divine pleasure's, exuberant, fortune - his own thrills are making him to feel that he got into a heavenly domain in her embrace;

 rAdhA keli kaTAkSha vIkShita mahA vakShaHsthalI maNDanA= of rAdha, vivacious, with sidelong glances, that which is seen, on a great, chest, those that adorning [his chest - that boy's thrills];

pulaka a~NkurAH tri bhuvana svAdIyasaH= such thrills, sprouts of, that are for triad of worlds, enjoyable;

tejasaH= of that self-refulgence;

 jIyAsuH= long live.

Long live the exhilarant thrills sprouting on the body of that self-effulgence which he gets more: when he gives a tight embrace to the daughter of Milky Ocean when she, as a coyly lady, suddenly wakes up from sound sleep after a love-game with a little scare, by which embrace he thinks that he got all the felicity as good as obtaining a divine dominion - in divine parlance: and when the vivacious sidelong glances of rAdha are cast on his chest, by which flower-casting he thinks that his chest is being adorned by flower-like sidelong glances of his beloved - in human parlance; in such way he who is ever kept exhilarating enliven us also. [3-57]

--o)0(o--

स्मितस्नुतसुधाधरा मदशिखण्डिबर्हाङ्किता
विशालनयनाम्बुजा व्रजविलासिनीवासिताः।
मनोज्ञमुखपङ्कजा मधुरवेणुनादद्रवा
जयन्तिमम चेतसस्ः चिरमुपासितावासनाः॥ ३-५८

स्मित स्नुत सुधा अधरा मद शिखण्डि बर्ह अङ्किता विशाल
नयन अम्बुजा व्रज विलासिनी वासिताः मनोज्ञ मुख पङ्कजा मधुर
वेणु नाद द्रवा जयन्ति मम चेतसस्ः चिरम् उपासिता वासनाः

smitasnutasudhādharā madaśikhaṇḍibarhāṅkitā
viśālanayanāmbujā vrajavilāsinīvāsitāḥ |
manojñamukhapaṅkajā madhuraveṇunādadravā
jayantimama cetasasḥ ciramupāsitāvāsanāḥ || 3-58

smita snuta sudhā adharā mada śikhaṇḍi barha aṅkitā viśāla nayana ambujā vraja vilāsinī vāsitāḥ manojña mukha paṅkajā madhura veṇu nāda dravā jayanti mama cetasasḥ ciram upāsitā vāsanāḥ

smitasnutasudhAdharA madashikhaNDibarhaa~NkitA
vishAlanayanAmbujA vrajavilAsinIvAsitAH |
manoj~namukhapa~NkajA madhuraveNunAdadravA
jayantimama cetasasH ciramupAsitAvAsanAH || 3-58

flute

smita snuta sudhA adharA mada shikhaNDi barha a~NkitA vishAla nayana ambujA vraja vilAsinI vAsitAH manoj~na mukha pa~NkajA madhura veNu nAda dravA jayanti mama cetasasH ciram upAsitA vAsanAH

anvaya: mama vAsanAH jayanti

3-58. mama cetasasH vAsanAH= my, heart's, [accumulated] impressions [of that boy having these factors];

smita snuta sudhA dharAH= from smiles, taken birth, nectar, one who is bearing; mada shikhaNDi barha a~NkitA= robust, peacock's, feathers, made as insignia - of his crown;  vishAla nayana ambujA= having broad, eyes, called lotuses; vraja vilAsinI vAsitAH= by vraja, [by the vivacity of] damsels, that flourished; manoj~na mukha pa~NkajA= heart-pleasing, having a face, called lotus; madhura veNu nAda dravA= mellifluent, flute's, playing, called fluid - that flows from him; mama cetasasH ciram upAsitA = by my heart, for a long time, adored; vAsanAH= rUpa saMskArAH= impressions about that form; jayanti= hail them.

Hail the impressions about form of that boy formed in and adored by my heart for a long time; those impressions bear nectar born out of his sweet smiles; whose crown adorned with an insignia of a robust peacock's feathers; eyes broad like lotuses; lotusy face heart-pleasing; that are charismatically flourished by the laudatory glances of milkmaids of vraja, and from which fluidized music will be flowing mellifluously, thus let those impressions be incontrovertible not only in my mind and heart but among one and all. [3-58]

--o)0(o--

जीयादसौ शिखिशिखण्डकृतावतंसा

सांसिद्धिकी सरसकान्तिसुधासमृद्धिः।
यद्बिन्दुलेशकणिकापरिमाणभाग्यः
सौभाग्यसीमपदम् अङ्चति पङ्चबाणः॥ ३-५९

जीयात् असौ शिखि शिखण्ड कृत अवतंसा सांसिद्धिकी सरस कान्ति सुधा समृद्धिः
यत् बिन्दु लेश कणिका परिमाण भाग्यः सौभाग्य सीम पदम् अङ्चति पङ्च बाणः

jīyādasau śikhiśikhaṇḍakṛtāvataṁsā
sāṁsiddhikī sarasakāntisudhāsamṛddhiḥ |
yadbinduleśakaṇikāparimāṇabhāgyaḥ
saubhāgyasīmapadam aṅcati paṅcabāṇaḥ || 3-59

jīyāt asau śikhi śikhaṇḍa kṛta avataṁsā sāṁsiddhikī sarasa kānti sudhā samṛddhiḥ yat bindu leśa kaṇikā parimāṇa bhāgyaḥ saubhāgya sīma padam aṅcati paṅca bāṇaḥ

jIyAdasau shikhishikhaNDakR^itAvataMsA
sAMsiddhikI sarasakAntisudhAsamR^iddhiH |
yadbinduleshakaNikAparimANabhAgyaH
saubhAgyasImapadam a~Ncati pa~NcabANaH || 3-59

flute

jIyAt asau shikhi shikhaNDa kR^ita avataMsA sAMsiddhikI sarasa kAnti sudhA samR^iddhiH yat bindu lesha kaNikA parimANa bhAgyaH saubhAgya sIma padam a~Ncati pa~Nca bANaH

 anvayam : asau sarasa kAnti sudhA samR^iddhiH jIyAt

3-59. pa~Nca bANaH= shR^ingAra rasa adhiShTAtR^i tattvam = the elemental entity presiding over the element called love, generallylove-god;

yat= whose [kriShNa's prodigy's]; bindu lesha kaNikA = a drop, a bit of it, an atom of it; parimANa bhAgyaH= having that much sized, luck; saubhAgya sIma padam a~Ncati = fortune's, upper limit, in such a position, [lovegod is] becoming an adornment to that position;

asau= such as it is; shikhi shikhaNDa kR^ita avataMsA= peacock's, feathers, made as, its insignia on crest;

sAMsiddhikI sarasa kAnti sudhA samR^iddhiH = which by its own nature, heart-pleasing, resplendence, called nectar, its enrichment;

jIyAt= hail to it.

Drawing existence from an atomic part of a bit of a drop of Omni-love of the Omnipresent, the elemental love is reigning supreme positioning itself on the other end  of all emotions; then, how about that ne plus ultra love whose existence is made known through the peacock feathers on crown and by its heart-pleasing nectarine face? Hence, all hail to the enrichment of that Universal Love called sapphirine-effulgence.

Or

The beauty of that sapphirine-effulgence is an ocean of ambrosia. manmatha, the Love-god is a creation from an infinitesimal particle of that ocean. With that much charm love-god deems that he is the limit for any charming features and reigns supreme in the matter of 'love'. But one can imagine the incomparable charm of that sapphirine-resplendence which by its own nature is the nectarine refulgence, identity revealed by the peacock feathers on crown, meaning that such refulgence is markable only by mental eye - hasti mashaka antaram.  [3-59]   

--o)0(o--

आयामेन दृशोर्विशालतरयोर् अक्षय्यम् आर्द्रस्मित
च्छायोद्धर्षितशारदेन्दुललितम् चापल्यमात्रम् शिशोः।
आयासान् अपरान् विधूय रसिकैरास्वाद्यमानम् मुहु
र्जीयाद् उन्मदवल्लवीकुचभराधारम् किशोरम् महः॥ ३-६०

आयामेन दृशोः विशाल तरयोः अक्षय्यम् आर्द्र स्मित च्छाया उद्धर्षित शारद इन्दु ललितम् चापल्य मात्रम् शिशोः आयासान् अपरान् विधूय रसिकैः आस्वाद्यमानम् मुहुः जीयात् उन्मद वल्लवी कुच भर आधारम् किशोरम् महः

āyāmena dṛśorviśālatarayor akṣayyam ārdrasmita
cchāyoddharṣitaśāradendulalitam cāpalyamātram śiśoḥ |
āyāsān aparān vidhūya rasikairāsvādyamānam muhu
rjīyād unmadavallavīkucabharādhāram kiśoram mahaḥ || 3-60

āyāmena dṛśoḥ viśāla tarayoḥ akṣayyam ārdra smita cchāyā uddharṣita śārada indu lalitam cāpalya mātram śiśoḥ āyāsān aparān vidhūya rasikaiḥ āsvādyamānam muhuḥ jīyāt unmada vallavī kuca bhara ādhāram kiśoram mahaḥ

AyAmena dR^ishorvishAlatarayor akShayyam Ardrasmita
cChAyoddharShitashAradendulalitam cApalyamAtram shishoH |
AyAsAn aparAn vidhUya rasikairAsvAdyamAnam muhu
rjIyAd unmadavallavIkucabharAdhAram kishoram mahaH || 3-60

flute

AyAmena dR^ishoH vishAla tarayoH akShayyam Ardra smita cChAyA uddharShita shArada indu lalitam cApalya mAtram shishoH AyAsAn aparAn vidhUya rasikaiH AsvAdyamAnam muhuH jIyAt unmada vallavI kuca bhara AdhAram kishoram mahaH

anvayam: kishoram mahaH jIyAt

3-60. vishAla tarayoH dR^ishoH AyAmena = wide, muchly, with eyes, by their width; a+kShayyam= not, abating - filled everywhere;

Ardra smita cChAyA uddharShita shArada indu lalitam= wettish, smiles, with a shade of them, intimidated, autumnal, moon, magnificent;

rasikaiH= by aestheticians; aparAn AyAsAn vidhUya= other, laborious methods, on shaking off; muhuH AsvAdyamAnam= repeatedly, relishable;

unmada vallavI kuca bhara AdhAram= romanticized, milkmaids, bosoms, fullness, having as his terra firma;

 shishoH cApalya mAtram= boy's, impudence, alone- is his form; kishoram= boy like; mahaH= a self-refulgence; jIyAt= hail.

Hail that boyish self-refulgence which by the width of his lovely wide eyes is filling everywhere; magnificent with nectarine smiles, a shade of which intimidates the autumnal moon; repeatedly relishable to aesthetician discarding all the other arduous methods of hermits or anchorites; rotundity of the bosoms of milkmaids is his terra firma; above all that sapphirine-refulgence has boy's impudence as his form. [3-60] 

--o)0(o--

स्कन्धावारसदो व्रजः कतिपये गोपाः सहायादयः
स्कन्धालम्बिनि वत्सदाम्नि धनदा गोपाङ्गनाः स्वाङ्गनाः।
शृङ्गारागिरिगैरिकम् शिव शिव श्रीमन्ति बर्हाणि वा
शृङ्गग्राहिकया तथापि तदिदम् प्राहुस्त्रिलोकेश्वरम्॥ ३-६१

स्कन्ध आवार सदः व्रजः कतिपये गोपाः सहायआदयः स्कन्ध आलम्बिनि वत्स-दाम्नि धनदा गोप अङ्गनाः स्व अङ्गनाः शृङ्गाराः गिरि गैरिकम् शिव शिव श्रीमन्ति बर्हाणि च शृङ्ग ग्राहिकया तथापि तत् इमम् प्राहुः त्रि लोक ईश्वरम्

skandhāvārasado vrajaḥ katipaye gopāḥ sahāyādayaḥ
skandhālambini vatsadāmni dhanadā gopāṅganāḥ svāṅganāḥ |
śṛṅgārāgirigairikam śiva śiva śrīmanti barhāṇi vā
śṛṅgagrāhikayā tathāpi tadidam prāhustrilokeśvaram || 3-61

skandha āvāra sadaḥ vrajaḥ katipaye gopāḥ sahāyaādayaḥ skandha ālambini vatsa-dāmni dhanadā gopa aṅganāḥ sva aṅganāḥ śṛṅgārāḥ giri gairikam śiva śiva śrīmanti barhāṇi ca śṛṅga grāhikayā tathāpi tat imam prāhuḥ tri loka īśvaram

skandhAvArasado vrajaH katipaye gopAH sahAyAdayaH
skandhAlambini vatsadAmni dhanadA gopA~NganAH svA~NganAH |
shR^i~NgArAgirigairikam shiva shiva shrImanti barhANi vA
shR^i~NgagrAhikayA tathApi tadidam prAhustrilokeshvaram || 3-61

flute

skandha AvAra sadaH vrajaH katipaye gopAH sahAya+AdayaH  skandha Alambini vatsa-dAmni dhanadA gopa a~NganAH sva a~NganAH shR^i~NgArAH giri gairikam shiva shiva shrImanti barhANi ca shR^i~Nga grAhikayA tathApi tat imam prAhuH tri loka Ishvaram

anvayam: tadidam shR^i~Nga grAhikayA trilokeIshvaram prAhuH

3-61. vrajaH= vraja village; skandha AvAra sadaH [prajAH]= armies, encampment, assembly, or, their capital [or, subjects];

skandha Alambini vatsya-dAmni= on shoulders, dangling, calf's, rope; dhanadA= money giver - a sceptre seeing which taxes are collected;

katipaye gopAH = a few of the, cowmen; sahAya+AdayaH= ministers and other retinue;

gopa a~NganAH= milkmaids; sva a~NganAH= own, ladies [i.e. queens in palace-chambers];

shR^i~NgArAH= cosmetic materials; giri gairikam vA shrImanti barhANi = herbal colours, or, coloured feathers like those of peacocks; shiva shiva= oh, god, oh, god; shR^i~Nga grAhikayA [nyAyena] = [if judged by] by horn-catch syndrome;

idam tat= this is, that - boy's kingship;

tathApi= even then; [katham] tri loka Ishvaram prAhuH = [how] tri-word, as lord, they say.

A petty village vraja is the capital, or the encampment of armies; rope used to tie calves dangling on shoulders of cowboys is the sceptre seeing which subjects pay taxes; a few cowmen gathering around are ministers and other retinue; nondescript milkmaids are queens in palace-chambers; cosmetic material are either herbal colours or the coloured feathers like those of peacocks, oh, god, oh, god, what a kingship is it when seen by horn-catch syndrome... nevertheless, they say, 'he is the lord of triad of worlds...'he is the Supreme Being....' etc - but how? [3-61]

Horn-catch syndrome: shR^i~Nga grAhika nyAya: A cow herder shows one cow by catching its horn, and tells 'here is my cow...' when he intends to sell a batch, a kind of benchmark - a horn-mark. The buyer is expected to understand that all the other cows have been reared in the fashion of this cow shown, without examining each and every cow in the lot.

--o)0(o--

श्रीमद्बर्हिशिखण्डमण्डनजुषे श्यामाभिरामत्विषे
लावण्यैकरसावसिक्तवपुषे लक्ष्मीसरः प्रावृषे।
लीलाकृष्टरसज्ञधर्ममनसे लीलामृतस्रोतसे
के वा न स्पृहयन्ति हन्त महसे गोपीजनप्रेयसे॥ ३-६२

श्रीमत् बर्हि शिखण्ड मण्डन जुषे श्याम अभिराम त्विषे लावण्य एक रस अवसिक्त वपुषे लक्ष्मी सरः प्रावृषे लीला आकृष्ट रस ज्ञ धर्म मनसे लीला अमृत स्रोतसे के वा न स्पृहयन्ति हन्त महसे गोपी जन प्रेयसे

śrīmadbarhiśikhaṇḍamaṇḍanajuṣe śyāmābhirāmatviṣe
lāvaṇyaikarasāvasiktavapuṣe lakṣmīsaraḥ prāvṛṣe |
līlākṛṣṭarasajñadharmamanase līlāmṛtasrotase
ke vā na spṛhayanti hanta mahase gopījanapreyase || 3-62

śrīmat barhi śikhaṇḍa maṇḍana juṣe śyāma abhirāma tviṣe lāvaṇya eka rasa avasikta vapuṣe lakṣmī saraḥ prāvṛṣe līlā ākṛṣṭa rasa jña dharma manase līlā amṛta srotase ke vā na spṛhayanti hanta mahase gopī jana preyase

shrImadbarhishikhaNDamaNDanajuShe shyAmAbhirAmatviShe
lAvaNyaikarasAvasiktavapuShe lakShmIsaraH prAvR^iShe |
lIlAkR^iShTarasaj~nadharmamanase lIlAmR^itasrotase
ke vA na spR^ihayanti hanta mahase gopIjanapreyase || 3-62

flute

shrImat barhi shikhaNDa maNDana juShe shyAma abhirAma tviShe lAvaNya eka rasa avasikta vapuShe lakShmI saraH prAvR^iShe lIlA AkR^iShTa rasa j~na dharma manase lIlA amR^ita srotase ke vA na spR^ihayanti hanta mahase gopI jana preyase

anvayam: [kasmaicit] mahase kenA na spR^ihayanti

3-62. shrImat barhi shikhaNDa maNDana juShe= prosperous, peacock, feathers, in decorating, much interested;

 shyAma abhirAma tviShe= though blueblackish, very beautiful, with complexion;

lAvaNya eka rasa avasikta vapuShe= pleasance, the only, quintessence, with which drenched, is his form;

 lakShmI saraH prAvR^iShe= for prosperity, called a lake, an abundant rain;

 lIlA AkR^iShTa= by his pastimes, those who are drawn closer; rasaj~na= to such aestheticians; dharma= citta vR^itti= thought-process; manase= who is bent on;

 lIlA amR^ita srotase= who [amuses world with] pastimes, called ambrosial, streams;

gopI jana preyase= for milkmaids, a darling;

such as he is;

mahase= he is great resplendence;

in his respect;

ke vA na spR^ihayanti= who will, not, be responsive; hanta = my god!

That sapphirine-resplendence is keen about decorating peacock feathers on his crown; very beautiful though blueblackish by complexion; whole body drenched with the only quintessence of his, called the pleasance; ever bent on residing in the thought-processes of aestheticians drawn closer to him by virtue of his pastime frolicking; amuser of world with streams of ambrosial pastimes; above all, a darling of milkmaids. Such as he is who will not be responsive to him or his pastimes? ['3-62]

--o)0(o--

आपाटलाधरम् अधीरविलोलनेत्र मामोदनिर्भरितमद्भुतकान्तिपूरम्।
आविःस्मित अमृतमनुस्मृतिलोभनीय मामुद्रिताननम् अहो मधुरम् मुरारेः॥ ३-६३

आपाटल अधरम् अधीर विलोल नेत्रम् आमोद निर्भरितम् अद्भुत कान्ति पुरम्
आविः स्मित अमृतम् अनुस्मृति लोभनीयम् आमुद्रित आननम् अहो मधुरम् मुरारेः

āpāṭalādharam adhīravilolanetra
māmodanirbharitamadbhutakāntipūram |
āviḥsmita amṛtamanusmṛtilobhanīya
māmudritānanam aho madhuram murāreḥ || 3-63

āpāṭala adharam adhīra vilola netram āmoda nirbharitam adbhuta
kānti puram āviḥ smita amṛtam anusmṛti lobhanīyam āmudrita ānanam aho madhuram murāreḥ

ApATalAdharam adhIravilolanetra
mAmodanirbharitamadbhutakAntipUram |
AviHsmita amR^itamanusmR^itilobhanIya
mAmudritAnanam aho madhuram murAreH || 3-63

flute

A+pATala adharam adhIra vilola netram Amoda nirbharitam adbhuta kAnti puram AviH smita amR^itam anusmR^iti lobhanIyam Amudrita Ananam aho madhuram murAreH

 anvayam: murAreH Amudrita Ananam, aho, madhuram

3-63. A+pATala adharam= fully roseate, lips; adhIra vilola netram= bashfully, wavering, eyes; Amoda nirbharitam= [from him causable] gladness, completely filled with - or, fragrances, filled with; adbhuta kAnti pUram= [from him radiating] wonderful, effulgence, filled with; AviH smita amR^itam = flourishing, smiles, called nectar; murAreH Ananam= of murAri, such a face; A+mudrita madhuram= imprinted [with half-closed eyes], is sweet; anusmR^iti lobhanIyam= for reminiscing, luring; aho = oho; or; anusmR^iti lobhanIyam Amudrita Ananam, aho, madhuram

Lips fully roseate, eyes bashfully wavering, a fount of gladness and wonderful refulgence, smiles flourishingly nectareous, such a face of murAri hallmarked with half-closed eyes is luring for reminiscing to devotees or to the romancers, rAdhA Adi shR^ingAra bhAvanA pUrNa hR^idyA-s, oho, what a delectable lad he is. [3-63]

--o)0(o--

जागृहि जागृहि चेतश्चिराय चरितार्थता भवतः।
अनुभूयताम् इदम् इदम् पुरःस्थितम् पूर्णनिर्वाणम्॥ ३-६४

जागृहि जागृहि चेतः चिराय चरितार्थता भवतः अनुभूयताम् इदम् इदम् पुरः स्थितम् पूर्ण निर्वाणम्

jāgṛhi jāgṛhi cetaścirāya caritārthatā bhavataḥ |
anubhūyatām idam idam puraḥsthitam pūrṇanirvāṇam || 3-64

jāgṛhi jāgṛhi cetaḥ cirāya caritārthatā bhavataḥ anubhūyatām
idam idam puraḥ sthitam pūrṇa nirvāṇam

jAgR^ihi jAgR^ihi cetashcirAya caritArthatA bhavataH |
anubhUyatAm idam idam puraHsthitam pUrNanirvANam || 3-64

flute

jAgR^ihi jAgR^ihi cetaH cirAya caritArthatA bhavataH anubhUyatAm idam idam puraH sthitam pUrNa nirvANam

anvayam: cetaH! pUrNa nirvANam puraH sthitam anubhUyatAm

3-64. hè cetahH jAgR^ihi jAgR^ihi= oh, heart, wake up, wake up; bhavataH cirAya caritArthatA= to you, after a long time,fructification of merits [fulfilled]; idam idam= here it is, here it is; pUrNa nirvANam puraH sthitam= full-fledged, salvation, before you, available; anubhUyatAm= experience it.

Wake up, oh, heart, wake up, after a long time your merit are fructified; here it is, the full-fledged salvation is in your fore - kriShNa rUpa niratishaya sukham - leave all other fallacies and experience it. [3-64]

--o)0(o--

चरणयोररुणम् करुणार्द्रयोः कचभरे बहुलम् विपुलम् दृशोः।
वपुषि मञ्जुलम् अञ्जनमेचके वयसि बालमहो मधुरम् महः॥ ३-६५

चरणयोः अरुणम् करुण आर्द्रयोः कच भरे बहुलम् विपुलम् दृशोः
वपुषि मञ्जुलम् अञ्जन मेचके वयसि बालम् अहो मधुरम् महः

caraṇayoraruṇam karuṇārdrayoḥ
kacabhare bahulam vipulam dṛśoḥ |
vapuṣi mañjulam añjanamecake
vayasi bālamaho madhuram mahaḥ || 3-65

caraṇayoḥ aruṇam karuṇa ārdrayoḥ kaca bhare
bahulam vipulam dṛśoḥ vapuṣi mañjulam añjana
mecake vayasi bālam aho madhuram mahaḥ

caraNayoraruNam karuNArdrayoH
kacabhare bahulam vipulam dR^ishoH |
vapuShi ma~njulam a~njanamecake
vayasi bAlamaho madhuram mahaH || 3-65

flute

caraNayoH aruNam karuNa ArdrayoH kaca bhare bahulam vipulam dR^ishoH vapuShi ma~njulam a~njana mecake vayasi bAlam aho madhuram mahaH

anvayam: [kimapi] mahaH madhuram, aho

3-65. caraNayoH aruNam= by feet, roseate; kaca-bhare bahulam= by coiffure, thickset, karuNa ArdrayoH dR^ishoH vipulam= mercy, wet with, by eyes, broad; a~njana mecake vapuShi ma~njulam = like mascara, of eyes, body, charming; vayasi bAlam= by age, very young; mahaH aho madhuram = that resplendence,oho,succulent is that entity.

 Or

karuNa ArdrayoH caraNayoH aruNam= mercy in his heart descended to feet wetting them with mercy, hence feet appear to be mistily roseate, where a dewy rose cools tempers;

dR^ishoH vipulam [vimalam]= by eyes, very broad [or, highly impeccable];

a~njana mecake vapuShi= mascara like bodied one; and he is;

ma~njulam = charming;

Highly succulent is that resplendence in a boy's form, which by virtue of feet is roseate, coiffure thickset, mercy-drenched eyes broad; mascara like body charming; age-wise boyish, where his precursory form of nArAyaNa is ageless.  [3-65]

--o)0(o--

मालाबर्हमनोज्ञकुन्तलभराम् वन्यप्रसूनोक्षिताम्
शैलेयद्रवकॢप्तचित्रतिलकाम् शश्वन्मनोहारिणीम्।
लीलावेणुरवामृतैकरसिकाम् लावण्यलक्ष्मीमयीम्
बालाम् बालतमालनीलवपुषम् वन्दे पराम् देवताम्॥ ३-६६

माला बर्ह मनोज्ञ कुन्तल भराम् वन्य प्रसून उक्षिताम् शैलेय द्रव कॢप्त चित्र तिलकाम् शश्वत् मनो हारिणीम् लीला वेणु रव अमृत एक रसिकाम् लावण्य लक्ष्मी मयीम् बालाम् बाल तमाल नील वपुषम् वन्दे पराम् देवताम्

mālābarhamanojñakuntalabharām vanyaprasūnokṣitām
śaileyadravakḷptacitratilakām śaśvanmanohāriṇīm |
līlāveṇuravāmṛtaikarasikām lāvaṇyalakṣmīmayīm
bālām bālatamālanīlavapuṣam vande parām devatām || 3-66

mālā barha manojña kuntala bharām vanya prasūna ukṣitām śaileya drava kḷpta citra tilakām śaśvat mano hāriṇīm līlā veṇu rava amṛta eka rasikām lāvaṇya lakṣmī mayīm
bālām bāla tamāla nīla vapuṣam vande parām devatām

mAlAbarhamanoj~nakuntalabharAm vanyaprasUnokShitAm
shaileyadravakL^iptacitratilakAm shashvanmanohAriNIm |
lIlAveNuravAmR^itaikarasikAm lAvaNyalakShmImayIm
bAlAm bAlatamAlanIlavapuSham vande parAm devatAm || 3-66

flute

mAlA barha manoj~na kuntala bharAm vanya prasUna ukShitAm  shaileya drava kL^ipta citra tilakAm shashvat mano hAriNIm lIlA veNu rava amR^ita eka rasikAm lAvaNya lakShmI mayIm bAlAm bAla tamAla nIla vapuSham vande parAm devatAm

anvayam: parAm devatAm bAlAm aham vande

3-66. mAlA barha manoj~na kuntala bharAm= with garlands, with peacock's feathers, heart-pleasing, coiffure;

vanya prasUna ukShitAm = with forest, produce, drenched - one suffused in wild-flowers, as in worship;or, one is submerged undertulasi leaves garland;

shaileya drava kL^ipta citra tilakAm= with mountain produce, liquid [deer musk], adorned with, queer, forehead mark;

 shashvat mano hAriNIm= by his own nature, heart-pleasing in appearance - without add-ons like jewellery etc

 lIlA veNu rava amR^ita eka rasikAm= magical, flute's, in melodies, called nectar, alone, obsessed one;

 lAvaNya lakShmI mayIm= attractiveness, called prosperity, an epitome of;

 bAla tamAla nIla vapuSham= tender, blackish tree called tamAla, in such a black hue, bodied one;

 bAlAm parAm devatAm = at such a girlish, supreme goddess - female - i.e. Supreme Being;

aham vande = I, revere.

My salutations are to that girlish supreme goddess who is heart-pleasingly crested with tiny garlands and peacock feathers on coiffure, forehead adorned with a queer mark made by deer musk produced on mountains, whose by appearance itself is eye-quenching without any add-ons like jewellery or other fineries; who is obsessed over the nectarine melodies of magical flute alone, body blueblackish like tender tamAla plant. [3-66]

This verse and 18th say that the poet adores kriShNa in the form of goddess bAla, who will be generally worshipped in the form a shabara damsel - bAlopAsana.

--o)0(o--

गुरुमृदुपदे गूढम् गुल्फे घनम् जघनस्थले
नलिनम् उदरे दीर्घम् बाह्वोर्विशालम् उरःस्थले।
मधुरमधरे मुग्धवक्त्रे विलासिविलोचने
बहुकचभरे वन्यम् वेषे मनोज्ञम् अहो महः॥ ३-६७

गुरु मृदु पदे गूढम् गुल्फे घनम् जघन स्थले नलिनम् उदरे दीर्घम् बाह्वोः विशालम् उरः स्थले मधुरम् अधरे मुग्ध वक्त्रे विलासि विलोचने बहु कच भरे वन्यम् वेषे मनोज्ञम् अहो महः

gurumṛdupade gūḍham gulphe ghanam jaghanasthale
nalinam udare dīrgham bāhvorviśālam uraḥsthale |
madhuramadhare mugdhavaktre vilāsivilocane
bahukacabhare vanyam veṣe manojñam aho mahaḥ || 3-67

guru mṛdu pade gūḍham gulphe ghanam jaghana sthale nalinam udare dīrgham bāhvoḥ viśālam uraḥ sthale madhuram adhare mugdha vaktre vilāsi vilocane bahu kaca bhare vanyam veṣe manojñam aho mahaḥ

gurumR^idupade gUDham gulphe ghanam jaghanasthale
nalinam udare dIrgham bAhvorvishAlam uraHsthale |
madhuramadhare mugdhavaktre vilAsivilocane
bahukacabhare vanyam veShe manoj~nam aho mahaH || 3-67

flute

guru mR^idu pade gUDham gulphe ghanam jaghana sthale nalinam udare dIrgham bAhvoH vishAlam uraH sthale madhuram adhare mugdha vaktre vilAsi vilocane bahu kaca bhare vanyam veShe manoj~nam aho mahaH

anvayam: [kimapi] mahaH manoj~nam, aho

3-67.[The tender features of that boy are:] mR^idu pade guru = soft, by feet, considerably - tender footed; gulphe gUDham= ankle-bone, non-protruding - not yet grown; jaghana sthale ghanam= waist-line, bulky -babyish buttocks; bAhvoH dIrgham= arms, lengthy; uraH sthale vishAlam= chest, broad; udare nalinam= on belly, a lotus like knobby navel - not compacted yet; adhare madhuram= lips, sweetly; vaktre mugdha= face, babyish; vilocane vilAsi= eyes, vivacious; kaca bhare bahu= coiffure, thickset; veShe vanyam= getup, rustic;such a; aho= oho! mahaH= resplendence; manoj~nam= heart-pleasing; [iti aham vacmi= thus I say].

I say the feature of that boy are very tender: his feet considerably soft, ankles fragile, babyish buttocks bulky, arms somewhat lengthy, chest a little broad, a knobby navel on belly, lips sweetly, face puerile, eyes vivacious, coiffure thickset, getup rustic, with them that sapphirine-effulgent-toddler will be an eye-feast. [3-67]

--o)0(o--

जिहानम् जिहानम् सुजानेन मौग्ध्यम् दुहानम् दुहानम् सुधाम् वेणुनादैः।
लिहानम् लिहानम् सुदीर्घैरपाङ्गैः महानन्दसर्वस्वमेतन्नमेतम्॥ ३-६८

जिहानम् जिहानम् सुजातेन सुजानेन मौग्ध्यम् दुहानम् दुहानम् सुधाम् वेणुनादैः
लिहानम् लिहानम् सु-दीर्घैः अपाङ्गैः महा नन्द सर्वस्वम् एतम् नमेतम् नमस्तात्

jihānam jihānam sujānena maugdhyam
duhānam duhānam sudhām veṇunādaiḥ |
lihānam lihānam sudīrghairapāṅgaiḥ
mahānandasarvasvametannametam || 3-68

jihānam jihānam sujātena sujānena maugdhyam duhānam duhānam sudhām veṇunādaiḥ lihānam lihānam su-dīrghaiḥ apāṅgaiḥ mahā nanda sarvasvam etam nametam namastāt

jihAnam jihAnam sujAnena maugdhyam
duhAnam duhAnam sudhAm veNunAdaiH |
lihAnam lihAnam sudIrghairapA~NgaiH
mahAnandasarvasvametannametam || 3-68

flute

jihAnam jihAnam sujAtena [sujAnena] maugdhyam duhAnam duhAnam sudhAm veNunAdaiH lihAnam lihAnam su-dIrghaiH apA~NgaiH mahA nanda sarvasvam etam nametam [namastAt]

anvayam: tametam name

3-68. sujAtena = by noble birth, [or, sujAnena= by advancing youthfulness]; maugdhyam= boyish charm - naïvety; jihAnam jihAnam= acquiring, acquiring - his charm is advancing with the advancement of youth;

veNunAdaiH sudhAm duhAnam duhAnam= by fluting, of melodies called nectar, milking, milking - wringing more melodies by incessant fluting;

su-dIrghaiH apA~NgaiH lihAnam lihAnam = with very wide, sidelong glances, licking, licking = lick one's lips (or colloq. chops) 1] look forward with relish. 2] show one's satisfaction - looking forward with relish for the intimacy of milkmaids, or say devotees

mahA nanda sarvasvam= great, nanda the cowherd's, everything - that boy; here some cleave this as mahA Ananda sarvasavam,which is out place as every other item is said wrf kriShNa;

tam etam name= him, such as he is, I salute; or, etannAmastAt = etam+namaH+stAt = meaning is the same.

Whose naïvety is advancing with the advancement of youth; wringing more melodies by incessant fluting; looking forward with his sidelong glances for a relish of intimacy with milkmaids, such as he is I salute that fortune of great cowherd nanda. [3-68]

A grammarian's headache said to be there in this verse. tyAgArthaka - hA- dhAtu is parsmaipadi. In tAcChUIlyArtham it gets pratyayam:- cAnash. Then it become jihAnam., meaning - leave off. Though grammatically it is a parasmipadi, the poet used it in Atmanepadi. Hence, there occurs confusion. Then, jihAnam jihAnam sujAnena maugdhyam should mean: "I am unable to understand that your childhood is a past thing - i.e., even if you entered into adolescence, your childhood's charm is still lingering..." So says Dr. TVSRao in his edition of this work. Understandably simple, isn't it.

--o)0(o--

लसद्बर्हापीडम् ललितललितस्मेरवदनम्
भ्रमत्क्रीडापाङ्गम् प्रणतजनतानिर्वृतिपदम्।
नवाम्भोदश्यामम् निजमधुरिमामोदभरितम्
परम् देवम् वन्दे परिमिलितकैशोरकरसम्॥ ३-६९

लसत् बर्ह आपीडम् ललित ललित स्मेर वदनम् भ्रमत् क्रीडा अपाङ्गम् प्रणत जनता
निर्वृति पदम् नव अम्भोद श्यामम् निज मधुरिम् आमोद
भरितम् परम् देवम् वन्दे परि-मिलित कैशोरक रसम्

lasadbarhāpīḍam lalitalalitasmeravadanam
bhramatkrīḍāpāṅgam praṇatajanatānirvṛtipadam |
navāmbhodaśyāmam nijamadhurimāmodabharitam
param devam vande parimilitakaiśorakarasam || 3-69

lasat barha āpīḍam lalita lalita smera vadanam bhramat krīḍā apāṅgam praṇata janatā nirvṛti padam nava ambhoda śyāmam nija madhurim āmoda bharitam param devam vande pari-milita kaiśoraka rasam

lasadbarhApIDam lalitalalitasmeravadanam
bhramatkrIDApA~Ngam praNatajanatAnirvR^itipadam |
navAmbhodashyAmam nijamadhurimAmodabharitam
param devam vande parimilitakaishorakarasam || 3-69

flute

lasat barha ApIDam lalita lalita smera vadanam bhramat krIDA apA~Ngam praNata janatA nirvR^iti padam nava ambhoda shyAmam nija madhurim Amoda bharitam param devam vande pari-milita kaishoraka rasam

3-69. lasat barha ApIDam= shining forth, peacock's feathers, as headgear; lalita lalita smera vadanam= cute and exquisite, smiley, face; bhramat krIDA apA~Ngam= swarming, vivacious, sidelong glances; praNata janatA nirvR^iti padam= to the devoted, people, salvation, a niche [2 a comfortable or suitable position in life]; nava ambhoda shyAmam= like a new raincloud, blueblackish; nija madhurim Amoda bharitam= by his own, sweetness, that causes gladness [to devotees], one who is filled [with such gladness of devotees]; pari-milita kaishoraka rasam = a conglomerate of, boy's, lusciousness; param devam vande= such an ultimate god, I revere.  

I revere that Ultimate god glistening forth with shiny peacock's feathers on headgear; smiley face cute and exquisite; vivacious sidelong glances swarming everywhere; a niche of salvation for his devotees; blueblackish like a new raincloud; one who is replete with the requited gladness he causes in his adherers; above all, a conglomerate of babily lusciousness. [3-69]

--o)0(o--

सारस्यसामग्र्यम् इवाननेन माधुर्यचातुर्यम् इव स्मितेन।
कारुण्यतारुण्यम् इवेक्षितेन चापल्यसाफल्यम् इदम् दृशोर् मे॥ ३-७०

सारस्य सामग्र्यम् इव आननेन माधुर्य चातुर्यम् इव स्मितेन
कारुण्य तारुण्यम् इव ईक्षितेन चापल्य साफल्यम् इदम् दृशोः मे

sārasyasāmagryam ivānanena
mādhuryacāturyam iva smitena |
kāruṇyatāruṇyamivekṣitena
cāpalyasāphalyamidamdṛśorme||3-70

sārasya sāmagryam iva ānanena mādhurya cāturyam iva smitena kāruṇya tāruṇyam iva īkṣitena cāpalya sāphalyam idam dṛśoḥ me

sArasyasAmagryam ivAnanena
mAdhuryacAturyam iva smitena |
kAruNyatAruNyam ivekShitena
cApalyasAphalyam idam dR^ishor me || 3-70

flute

sArasya sAmagryam iva Ananena mAdhurya cAturyam iva smitena kAruNya tAruNyam iva IkShitena cApalya sAphalyam idam dR^ishoH me

3-70. Ananena sArasya sAmagryam iva= [by virtue of] face, of sprightliness, an entirety, as if; smitena mAdhurya cAturyam iva= by smiles, sweetness, fineness of, as if; IkShitena kAruNya tAruNyam iva= by glances, mercifulness, youthfulness, as if; idam= this [boy]; me dR^ishoH= my, of [mental] eye; cApalya = a+hetuka gADha Asakti= to thecauseless, firm devotion; sAphalyam= fructification.

My metnal eye perceives him as if he is an entirety of sprightliness by virtue of his face; by smiles as if he is a dab hand at any given sweetness; by glances as if he the personification of ever-youthful mercy; with them this boy appears as if he is the fructification of causeless firm devotion of mine. [3-70]

--o)0(o--

यत्र वा तत्र वा देव यदि विश्वसिमस्त्वयि।
निर्वाणम् अपि दुर्वारमर्वाचीनानि किम् पुनः॥ ३-७१

यत्र वा तत्र वा देव यदि विश्वसिमस् त्वयि निर्वाणम् अपि दुर्वारम् अर्वाचीनानि किम् पुनः

yatra vā tatra vā deva yadi viśvasimastvayi |
nirvāṇam api durvāramarvācīnāni kim punaḥ || 3-71

yatra vā tatra vā deva yadi viśvasimas tvayi nirvāṇam api durvāram arvācīnāni kim punaḥ

yatra vA tatra vA deva yadi vishvasimastvayi |
nirvANam api durvAramarvAcInAni kim punaH || 3-71

flute

yatra vA tatra vA deva yadi vishvasimas tvayi nirvANam api durvAram arvAcInAni kim punaH

3-71. deva= oh, god; yatra vA tatra vA= whichever, whatever, whatsoever - time place and action; yadi [vayam] = if, [we]; vishvasimaH tvayi = have belief, in you; just by the dint of that alone, for us; nirvANam api durvAram= salvation, even, unhindered; arvAcInAni= about lesser effects than salvation, like puruShArthA-s;  kim punaH= why retell about them.

If we believe in you, oh, god, at whichever time, at whatever place, and in whatsoever action, unhindered is our salvation just by the dint of that belief; then why reiterate redundantly about lesser humanly gains? [3-71]

--o)0(o--

रागान्धगोपीजनवन्दिताभ्याम् योगीन्द्रभृङ्गेन्द्रनिषेविताभ्याम्।
आताम्रपङ्केरुहविभ्रमाभ्याम् स्वामिन् पदाभ्याम् अयम् अञ्जलिस्ते॥ ३-७२

राग अन्ध गोपी जन वन्दिताभ्याम् योगि इन्द्र भृङ्ग इन्द्र निषेविताभ्याम्
आताम्र पङ्केरुह विभ्रमाभ्याम् स्वामिन् पदाभ्याम् अयम् अञ्जलिः ते

rāgāndhagopījanavanditābhyām
yogīndrabhṛṅgendraniṣevitābhyām |
ātāmrapaṅkeruhavibhramābhyām
svāmin padābhyām ayam añjaliste || 3-72

rāga andha gopī jana vanditābhyām yogi indra bhṛṅga indra niṣevitābhyām ātāmra paṅkeruha vibhramābhyām svāmin padābhyām ayam añjaliḥ te

 rAgAndhagopIjanavanditAbhyAm
yogIndrabhR^i~NgendraniShevitAbhyAm |
AtAmrapa~NkeruhavibhramAbhyAm
svAmin padAbhyAm ayam a~njaliste || 3-72

flute

rAga andha gopI jana vanditAbhyAm yogi indra bhR^i~Nga indra niShevitAbhyAm A+tAmra pa~Nkeruha vibhramAbhyAm svAmin padAbhyAm ayam a~njaliH te

3-72. hè svAmin= oh, lord;

rAga andha gopI jana vanditAbhyAm= with passion, purblind, milkmaids, by folks, those that are venerated;

 yogi indra bhR^i~Nga indra niShevitAbhyAm= sages, best ones, called honeybees, best ones [among honeybees], those that are highly adored; 

 A+tAmra pa~Nkeruha vibhramAbhyAm= roseate, like red-lotuses, those that have vivace in movement;

such they are, at those;

te padAbhyAm= at your, feet; ayam a~njaliH = this is my, palmfold.

Those that are venerated by milkmaids purblind with passion, that are swarmingly adored by honeybees called the choicest sages, that are sprightly vivace like the swaying and swinging roseate lotusy buds, such as they are, here is my humble palmfold at those roseate lotus-buds called your feet. [3-72] 

--o)0(o--

आर्थानुलापान् व्रजसुन्दरीणा मकृत्रिमाणाम् च सरस्वतीनाम्।
आर्द्राशयेन श्रवणाङ्चलेन सम्भावयन्तम् तरुणम् गृणीमः॥ ३-७३

अर्थ आर्त अनुलापान् व्रज सुन्दरीणाम् अकृत्रिमाणाम् च अकृत्रिम
अश्रान्त च सरस्वतीनाम् आर्द्र आशयेन श्रवण अङ्चलेन सम्भावयन्तम् तरुणम् गृणीमः

ārthānulāpān vrajasundarīṇā
makṛtrimāṇām ca sarasvatīnām |
ārdrāśayena śravaṇāṅcalena
sambhāvayantam taruṇam gṛṇīmaḥ || 3-73

artha ārta anulāpān vraja sundarīṇām akṛtrimāṇām
ca akṛtrima aśrānta ca sarasvatīnām ārdra āśayena
śravaṇa aṅcalena sambhāvayantam taruṇam gṛṇīmaḥ

ArthAnulApAn vrajasundarINA
makR^itrimANAm ca sarasvatInAm |
ArdrAshayena shravaNA~Ncalena
sambhAvayantam taruNam gR^iNImaH || 3-73

flute

artha [Arta] anulApAn vraja sundarINAm akR^itrimANAm ca [akR^itrima ashrAnta ca] sarasvatInAm Ardra Ashayena shravaNa a~Ncalena sambhAvayantam taruNam gR^iNImaH

3-73. vraja sundarINAm= vraja village, of beauties;

 a+kR^itrimANAm = not, artificial - naive [or, akR^itrima a+shrAnta ca= neither artificial, nor fatigued] sarasvatInAm= words, appeals; and;

artha [Arta] anulApAn ca = meaningful [or, anguished] speeches, also;

 Ardra Ashayena= compassion, with a feeling of; shravaNa a~Ncalena= by ears, edge - lending some ear; sambhAvayantam= one who is entertaining;

 taruNam gR^iNImaH = some young man, we praise; [gR^I= speaking]

Here is our praisesong for that young man, who lends an ear with a compassionate feeling to the naive words of the beauties of vraja village, befitting to their rusticity and expressing their anguish.

Or

One who is compassionately listening to the anguished ultramundane speech - apauruSheya shruti sarasvati muhurbhAShaNAH - of milkmaids, if those milkmaids are viewable as saints and sages in early incarnation, though expressed in a loutish language of cowwomen, always wishing to bide their time in almighty's presence and to own him, our praisesong is for him. [3-73]

--o)0(o--

मनसि मम सन्निधत्ताम् मधुरमुखा मन्थरापाङ्गा।
करकलितललितवंशा कापि किशोराकृपालहरी॥ ३-७४

मनसि मम सन्निधत्ताम् मधुर मुखा मन्थर अपाङ्गा
कर कलित ललित वंशा कापि किशोरा कृपा लहरी

manasi mama sannidhattām madhuramukhā mantharāpāṅgā |
karakalitalalitavaṁśā kāpi kiśorākṛpālaharī || 3-74

manasi mama sannidhattām madhura mukhā manthara
apāṅgā kara kalita lalita vaṁśākāpi kiśorā kṛpā laharī

manasi mama sannidhattAm madhuramukhA mantharApA~NgA |
karakalitalalitavaMshA kApi kishorAkR^ipAlaharI || 3-74

flute

manasi mama sannidhattAm madhura mukhA manthara apA~NgA kara kalita lalita vaMshA
kApi kishorA kR^ipA laharI

3-74. madhura mukhA= with a pleasant, face; manthara apA~NgA= with sluggish [eyelids], sidelong glances; kara kalita lalita vaMshA= in hand, flaunted, beautiful flute; kishorA= of young age; kApi kR^ipA laharI= someone, with graciosity, as ripples; mama manasi sannidhattAm = in my, heart, always be present.

Someone with a pleasantly face, sidelong glances through sluggish eyelids, flaunting a beautiful flute, an youngling in age and ripples of grace undulating from him, such as he is, I wish him to be present in my heart ever and anon. [3-74]

--o)0(o--

रक्षन्तु नः शिक्षितपाशुपाल्या बाल्यावृता बर्हिशिखावतंसाः।
प्राणप्रियाः प्रस्तुतवेणुगीताः शीतादृशोः शीतलगोपकन्याः॥ ३-७५

रक्षन्तु नः शिक्षित पाशु पाल्या बाल्य आवृताः बर्हि शिखा अवतंसाः
प्राण प्रियाः प्रस्तुत वेणु गीताः शीताः दृशोः शीतल गोप कन्याः

rakṣantu naḥ śikṣitapāśupālyā
bālyāvṛtā barhiśikhāvataṁsāḥ |
prāṇapriyāḥ prastutaveṇugītāḥ
śītādṛśoḥ śītalagopakanyāḥ || 3-75

rakṣantu naḥ śikṣita pāśu pālyā bālya āvṛtāḥ
barhi śikhā avataṁsāḥ prāṇa priyāḥ prastuta
veṇu gītāḥ śītāḥ dṛśoḥ śītala gopa kanyāḥ

rakShantu naH shikShitapAshupAlyA
bAlyAvR^itA barhishikhAvataMsAH |
prANapriyAH prastutaveNugItAH
shItAdR^ishoH shItalagopakanyAH || 3-75

flute

rakShantu naH shikShita pAshu pAlyA bAlya AvR^itAH barhi shikhA avataMsAH prANa priyAH prastuta veNu gItAH shItAH dR^ishoH shItala gopa kanyAH

3-75. shikShita pAshu pAlyAH= well trained, cow, minders / minder; bAlya AvR^itAH= juvenile-adolescence, those / he who is overlaid with; or, bAla AvR^itAH= surrounded by other cowboys;

barhi shikhA avataMsAH= those that have peacock feathers as headgears / headgear;

prANa priyAH= loveable to anyone; prastuta veNu gItAH= fluting melodies on flutes / flute;

 dR^ishoH shItAH= for onlookers, refreshing - eye-feast;

shItala gopa kanyAH= targeted, by milkmaids - milkmaids whose glances always target them / him; naH rakShantu= such as they are, let them / him protect us.

tAtparyam : sulabham

Here plurality and femininity - bahuttvam, strItvam are adopted in respect of kriShNa.

--o)0(o--

स्मितस्तबकिताधरम् शिशिरवेणुनादामृतम्
मुहुस्तरललोचनम् मदकटाक्षमालाकुलम्।
उरःस्थलविलीनया कमलया समालिङ्गितम्
भुवस्तलम् उपागतम् भुवनदैवतम् पातु नः॥ ३-७६

स्मित स्तबकित अधरम् शिशिर वेणु नाद अमृतम् मुहुः तरल लोचनम्
मद कटाक्ष माला आकुलम् उरःस्थल विलीनया कमलया समालिङ्गितम्
भुवः तलम् उपागतम् भुवन दैवतम् पातु नः

smitastabakitādharam śiśiraveṇunādāmṛtam
muhustaralalocanam madakaṭākṣamālākulam |
uraḥsthalavilīnayā kamalayā samāliṅgitam
bhuvastalam upāgatam bhuvanadaivatam pātu naḥ || 3-76

smita stabakita adharam śiśira veṇu nāda amṛtam muhuḥ tarala locanam mada kaṭākṣa mālā ākulam uraḥsthala vilīnayā kamalayā samāliṅgitam bhuvaḥ talam upāgatam bhuvana daivatam pātu naḥ

smitastabakitAdharam shishiraveNunAdAmR^itam
muhustaralalocanam madakaTAkShamAlAkulam |
uraHsthalavilInayA kamalayA samAli~Ngitam
bhuvastalam upAgatam bhuvanadaivatam pAtu naH || 3-76

flute

smita stabakita adharam shishira veNu nAda amR^itam muhuH tarala locanam mada kaTAkSha mAlA Akulam uraHsthala vilInayA kamalayA samAli~Ngitam bhuvaH talam upAgatam bhuvana daivatam pAtu naH

3-76. smita stabakita adharam= with smiles, made as nosegay, lips; shishira veNu nAda amR^itam= refreshing, flute's, with melodies, made as nectar; muhuH tarala locanam= repeatedly, moving, glances; mada kaTAkSha mAlA Akulam= with prideful, sidelong glances, laden with garlands; uraHsthala vilInayA kamalayA samAli~Ngitam= in chest, who is already unified, ekIbhUtam, with such goddess lakshmi, well embraced; bhuvaH talam upAgatam = on earth's, surface, who has come; such a; bhuvana daivatam= for universe, a god; pAtu naH= protect us.

One whose lips approximate a nosegay arranged with his smiles, flute's melodies emulate nectar, frequent glances proximate with eternal vigilance, prideful sidelong glances reckon him as laden under saucy-garlands, suffusion of goddess lakshmi in his chest takes after his tight hugging of her, let that universal god with all these attributes bechanced on earth protect us all. [3-76]   

--o)0(o--

नयनाम्बुजे भजत कामदुघम् हृदयाम्बुजे किम् अपि कारुणिकम्।
चरणाम्बुजे मुनिकुलैकधनम् वदनाम्बुजे व्रजवधूविभवम्॥ ३-७७

नयन अम्बुजे भजत काम दुघम् हृदय अम्बुजे किम् अपि
कारुणिकम् चरण अम्बुजे मुनि कुल एक धनम्वदन अम्बुजे व्रज वधू विभवम्

nayanāmbuje bhajata kāmadugham
hṛdayāmbuje kim api kāruṇikam |
caraṇāmbuje munikulaikadhanam
vadanāmbuje vrajavadhūvibhavam || 3-77

nayana ambuje bhajata kāma dugham hṛdaya ambuje kim api kāruṇikam caraṇa ambuje muni kula eka dhanamvadana ambuje vraja vadhū vibhavam

nayanAmbuje bhajata kAmadugham
hR^idayAmbuje kim api kAruNikam |
caraNAmbuje munikulaikadhanam
vadanAmbuje vrajavadhUvibhavam || 3-77

flute

nayana ambuje bhajata kAma dugham hR^idaya ambuje kim api kAruNikam caraNa ambuje muni kula eka dhanamvadana ambuje vraja vadhU vibhavam

3-77. nayana ambuje= in the matter of eyes, called lotuses; kAma dugham= desires of devotes, can be milked [from those eyes];

hR^idaya ambuje= in the point of heart, called lotus; kim api kAruNikam= [that heart is] indescribably, graceful;

caraNa ambuje= in terms of feet, called lotuses; muni kula eka dhanam= for sages, a host of, the only, asset [- hence all saints and sages hover around those feet];

vadana ambuje = with respect to face, called lotus; vraja vadhU vibhavam= it is vraja, damsels', gorgeousness; bhajata= hence, adore him.

tAtparyam = sulabham.

---o)0(o--

निर्वासनम् हन्त रसान्तराणाम्
निर्वाणसाम्राज्यम् इवावतीर्णम्।
अव्याजमाधुर्यमहानिधान
मव्याद् व्रजानाम् अधिदैवतम् नः॥ ३-७८

निर्वासनम् हन्त रस अन्तराणाम् निर्वाण साम्राज्यम् इव अवतीर्णम्
अव्याज माधुर्य महा निधानम् अव्यात् व्रजानाम् अधिदैवतम् नः

nirvāsanam hanta rasāntarāṇām
nirvāṇasāmrājyam ivāvatīrṇam |
avyājamādhuryamahānidhāna
mavyād vrajānām adhidaivatam naḥ || 3-78

nirvāsanam hanta rasa antarāṇām nirvāṇa sāmrājyam iva avatīrṇam avyāja mādhurya mahā nidhānam avyāt vrajānām adhidaivatam naḥ

nirvAsanam hanta rasAntarANAm
nirvANasAmrAjyam ivAvatIrNam |
avyAjamAdhuryamahAnidhAna
mavyAd vrajAnAm adhidaivatam naH || 3-78

flute

nirvAsanam hanta rasa antarANAm nirvANa sAmrAjyam iva avatIrNam avyAja mAdhurya mahA nidhAnam avyAt vrajAnAm adhidaivatam naH

3-78. rasa antarANAm= for bhAvanA-s, emotive states, other ones - for any other emotive state; nir+vAsanam= without, a shelter - makes any other emotive state as shelterless - because he is shuddha Ananda rasa rUpa;

nirvANa sAmrAjyam iva avatIrNam= emancipator, sovereignty, as if, incarnated on earth -he incarnated on earth as if he is the sovereignty for salvation;

a+vyAja mAdhurya mahA nidhAnam= without, any cause, for nectarousness, a great repository - a great repository of nectarousness without vested interests;as such he is for the simpletons like;

 vrajAnAm adhidaivatam = vraja villagers, a presiding deity; such as he is; naH avyAt = let him protect us also.

tAtparyam= sulabham.

--o)0(o--

गोपीनामभिमतगीतवेषहर्षा दापीनस्तनभरनिर्भरोपगूढम्।
केलीनामवतु रसैरुपास्यमानम् कालिन्दीपुलिनचरम् परम् महो नः॥ ३-७९

गोपीनाम् अभिमत गीत वेष हर्षात् आपीन स्तन भर निर्भर उपगूढम् केलीनाम्
अवतु रसैः उपास्यमानम् कालिन्दी पुलिन चरम् परम् महो नः

gopīnāmabhimatagītaveṣaharṣā
dāpīnastanabharanirbharopagūḍham |
kelīnāmavatu rasairupāsyamānam
kālindīpulinacaram param maho naḥ || 3-79

gopīnām abhimata gīta veṣa harṣāt āpīna stana bhara nirbhara upagūḍham kelīnām avatu rasaiḥ upāsyamānam kālindī pulina caram param maho naḥ

gopInAmabhimatagItaveShaharShA
dApInastanabharanirbharopagUDham |
kelInAmavatu rasairupAsyamAnam
kAlindIpulinacaram param maho naH || 3-79

flute

gopInAm abhimata gIta veSha harShAt ApIna stana bhara nirbhara upagUDham kelInAm avatu rasaiH upAsyamAnam kAlindI pulina caram param maho naH

3-79. abhimata gIta veSha harShAt= by them [milkmaids] likable, by his music, and by his getup, with happiness caused by such loveable aspects of music and getup of that boy; gopInAm= milkmaids with such endearment;

ApIna stana bhara nirbhara upagUDham=with fully robust, bosoms, bustiness, very tightly, one who is hugged;

kelInAm rasaiH upAsyamAnam= in such and such frolicking, with such an enjoyment, one who is adored - by milkmaids;

  kAlindI pulina caram= on river kAlindi, sand beds, one who is wonted to meander;

 param mahaH=that ultimate, resplendence; naH avatu= us, protect.

tAtparyam= sulabham.

--o)0(o--

खेलताम् मनसि खेचराङ्गना माननीयमृदुवेणुनिस्वनैः।
कानने किम् अपि नः कृतास्पदम् कालमेघकलहोद्वहम् महः॥ ३-८०

खेलताम् मनसि खे चर अङ्गना माननीय मृदु वेणु निस्वनैः
कानने किम् अपि नः कृत आस्पदम् काल मेघ कलह उद्वहम् महः

khelatām manasi khecarāṅganā
mānanīyamṛduveṇunisvanaiḥ |
kānane kim api naḥ kṛtāspadam
kālameghakalahodvaham mahaḥ || 3-80

khelatām manasi khe cara aṅganā mānanīya
mṛdu veṇu nisvanaiḥ kānane kim api
naḥ kṛta āspadam kāla megha kalaha udvaham mahaḥ

khelatAm manasi khecarA~NganA
mAnanIyamR^iduveNunisvanaiH |
kAnane kim api naH kR^itAspadam
kAlameghakalahodvaham mahaH || 3-80

flute

khelatAm manasi khe cara a~NganA mAnanIya mR^idu veNu nisvanaiH kAnane kim api naH kR^ita Aspadam kAla megha kalaha udvaham mahaH

3-80. khe cara a~NganA mAnanIya mR^idu veNu nisvanaiH= by empyrean, damsels, acceptable, softish, fluting, melodies; kAnane kR^ita Aspadam= woodlands of brindavana, on who made as his abode; kAla-megha kalaha udvaham= with raincloud, variance, one who is causing - by his complexion; kim api mahaH= some ineffable, resplendence; naH manasi khelatAm = be playing in my heart.

There is certain ineffable effulgence that made brindavana woodlands as its abode and plays melodies on flute to the applause of empyrean damsels, namely apsarasA-s virtuosic in gAndharva vidya, which self-refulgence is at variance with rainclouds by virtue of its blueblack complexion, such as it is let that little- sapphirine-resplendence play on the playground called my heart.  [3-80]

--o)0(o--

एणीशाबविलोचनाभिरलसश्रोणीभरप्रौढिभि
र्वेणीभूतरसक्रमाभिर् अभितः श्रेणीकृताभिर्वृतः।
पाणी द्वौ च विनोदयन् रतिपतेस्तूणीशयैः सायकै
र्वाणीनामपदम् परम् व्रजजनक्षौणीपतिः पातु नः॥ ३-८१

एणी शाब दृशाव विलोचनाभिः अलस श्रोणी भर प्रौढिभिः वेणी भूत
रस क्रमाभिः अभितः श्रेणी कृताभिः वृतः पाणी द्वौ च विनोदयन्
रतिपतेः तूणी शयैः सायकैः वाणीनाम पदम् परम् व्रज जन क्षौणी पतिः पातु नः

eṇīśābavilocanābhiralasaśroṇībharaprauḍhibhi
rveṇībhūtarasakramābhir abhitaḥ śreṇīkṛtābhirvṛtaḥ |
pāṇī dvau ca vinodayan ratipatestūṇīśayaiḥ sāyakai
rvāṇīnāmapadam param vrajajanakṣauṇīpatiḥ pātu naḥ || 3-81

eṇī śāba dṛśāva vilocanābhiḥ alasa śroṇī bhara prauḍhibhiḥ veṇī bhūta rasa kramābhiḥ abhitaḥ śreṇī kṛtābhiḥ vṛtaḥ pāṇī dvau ca vinodayan ratipateḥ tūṇī śayaiḥ sāyakaiḥ vāṇīnāma padam param vraja jana kṣauṇī patiḥ pātu naḥ

eNIshAbavilocanAbhiralasashroNIbharaprauDhibhi
rveNIbhUtarasakramAbhir abhitaH shreNIkR^itAbhirvR^itaH |
pANI dvau ca vinodayan ratipatestUNIshayaiH sAyakai
rvANInAmapadam param vrajajanakShauNIpatiH pAtu naH || 3-81

flute

eNI shAba [dR^ishAva] vilocanAbhiH alasa shroNI bhara prauDhibhiH veNI bhUta rasa kramAbhiH abhitaH shreNI kR^itAbhiH vR^itaH pANI dvau ca vinodayan ratipateH tUNI shayaiH sAyakaiH vANInAma padam param vraja jana kShauNI patiH pAtu naH

3-81. alasa shroNI bhara prauDhibhiH= sluggish, with buttocks', weight, those that are with such fullness;

veNI bhUta rasa kramAbhiH = [their love becoming] streams [like long swinging braids of women], standing in rows, like columns of romantic brooklets according as their streaming romance;

eNI shAba vilocanAbhiH= fawn-eyed milkmaids;

with such a pack of milkmaids;

shreNI kR^itAbhiH= formed in rows - milkmaids who filed at his sides;

abhitaH vR^itaH= on two sides, hemming in;

rati-pateH tUNI shayaiH sAyakaiH= lady rati-devi's, husband - manmatha, in his quiver, resting, arrows;

[iva]= those two that are like the flowery-arrows of manmatha resting for a time in his quiver;

 dvau ca pANI= with [such flowery-arrows-like] arms; vinodayan= one who is entertaining milkmaids;

 vANInAm+a+padam = for word, not, an orientation - beyond the scope of words;

param= that which is supramundane;

vraja jana kShauNI patiH= such a vraja villages, peoples, leader; pAtu naH= save us.

That leader of vraja people who on his sides has files of fawn-eyed milkmaids sluggish by the weight and fullness of their derrière, yet purling around him like swirling brooklets of romance according as their streaming love towards him; who with his two arms that are akin to the flowery-arrows of manmatha, resting in his quiver for a while, entertaining those milkmaids, may protect us for he is supramundane and beyond the scope of devotional prattle, yet readily obtainable only by madhura-bhakti. [3-81]

In this verse alliteration and yati sthAnam is on the syllable Ni.

--o)0(o--

कालिन्दीपुलिने तमालनिबिडच्छाये पुरःसञ्चर
त्तोये तोयजपत्रपात्रनिहितम् दध्यन्नम् अश्नाति यः।
वामे पाणितले निधाय मधुरम् वेणुम् विषाणम् कटि
प्रान्ते गाश्च विलोकयन् प्रतिकलम् तम् बालम् अलोकये॥ ३-८२

कालिन्दी पुलिने तमाल निविड च्छाये पुरः सञ्चरत् तोये तोयज
पत्र पात्र निहितम् दधि अन्नम् अश्नाति यः वामे पाणि तले निधाय मधुरम् वेणुम्
विषाणम् कटि प्रान्ते गाः च विलोकयन् प्रति कलम् तम् बालम् अलोकये

kālindīpuline tamālanibiḍacchāye puraḥsañcara
ttoye toyajapatrapātranihitam dadhyannam aśnāti yaḥ |
vāme pāṇitale nidhāya madhuram veṇum viṣāṇam kaṭi
prānte gāśca vilokayan pratikalam tam bālam alokaye || 3-82

kālindī puline tamāla niviḍa cchāye puraḥ sañcarat toye toyaja patra pātra nihitam dadhi annam aśnāti yaḥ vāme pāṇi tale nidhāya madhuram veṇum viṣāṇam kaṭi
prānte gāḥ ca vilokayan prati kalam tam bālam alokaye

kAlindIpuline tamAlanibiDacChAye puraHsa~ncara
ttoye toyajapatrapAtranihitam dadhyannam ashnAti yaH |
vAme pANitale nidhAya madhuram veNum viShANam kaTi
prAnte gAshca vilokayan pratikalam tam bAlam alokaye || 3-82

flute

kAlindI puline tamAla niviDa cChAye puraH sa~ncarat toye toyaja patra pAtra nihitam dadhi annam ashnAti yaH vAme pANi tale nidhAya madhuram veNum viShANam kaTi
prAnte gAH ca vilokayan prati kalam tam bAlam alokaye

3-82. yaH= which bAlakriShNa; vAme pANi tale= in left, palm; madhuram veNum= sweet sounding, flute; and; kaTi prAnte= at waistline, place - in girdle; viShANam ca= a small horn [to make sounds at cattle], also; nidhAya= on keeping; prati kalam ca gAH vilokayan= every, minute, at cows, also, while inspecting; tamAla niviDa cChAye= under tamAla tree, thick, shade; puraH sa~ncarat toye= in his fore, moving, [kAlindi's] water - a brooklet of kAlindi flowing thereabout; kAlindI puline= on kAlindi, sand beds; toyaja patra pAtra nihitam= water, born leaf - in lotus-leaf, vessel, placed; dadhi annam= curd rice; ashnAti= who is savouring; tam bAlam alokaye= him; that boy, I visualise.

I visualise that boy who during the recess of cattle minding sits under the thick shade of black tamAla tree whereabouts a brooklet of kAlindi river is plying, by tucking a small cattle-horn in his girth and shifting flute to left hand, before a lotus leaf born in the aits of rive kAlindi containing curd-rice, readying himself to savour that midday meal. [3-82]

--o)0(o--

यद्गोपीवदनेन्दुमण्डनमभूत् कस्तूरिकापत्रकम्

यल्लक्ष्मीकुचशातकुम्भकलशव्याकोशम् इन्दीवरम्।
यन्निर्वाणसाधनविधौ सिद्धाञ्जनम् योगिनाम्
तन्नः श्यामलमाविरस्तु हृदये कृष्णाभिधानम् महः॥ ३-८३

यत् गोपी वदन इन्दु मण्डनम् अभूत् कस्तूरिका पत्रकम् यत् लक्ष्मी कुच शात कुम्भ कलश व्याकोशम् इन्दीवरम् यत् निर्वाण साधन विधौ सिद्ध अञ्जनम् योगिनाम् तत् नः श्यामलम् आविरस्तु हृदये कृष्ण अभिधानम् महः

yadgopīvadanendumaṇḍanamabhūt kastūrikāpatrakam
yallakṣmīkucaśātakumbhakalaśavyākośam indīvaram |
yannirvāṇasādhanavidhau siddhāñjanam yoginām
tannaḥ śyāmalamāvirastu hṛdaye kṛṣṇābhidhānam mahaḥ || 3-83

yat gopī vadana indu maṇḍanam abhūt kastūrikā patrakam yat lakṣmī kuca śāta kumbha kalaśa vyākośam indīvaram yat nirvāṇa sādhana vidhau siddha añjanam yoginām tat naḥ śyāmalam āvirastu hṛdaye kṛṣṇa abhidhānam mahaḥ

yadgopIvadanendumaNDanamabhUt kastUrikApatrakam
yallakShmIkucashAtakumbhakalashavyAkosham indIvaram |
yannirvANasAdhanavidhau siddhA~njanam yoginAm
tannaH shyAmalamAvirastu hR^idaye kR^iShNAbhidhAnam mahaH || 3-83

flute

yat gopI vadana indu maNDanam abhUt kastUrikA patrakam yat lakShmI kuca shAta kumbha kalasha vyAkosham indIvaram yat nirvANa sAdhana vidhau siddha a~njanam yoginAm tat naH shyAmalam Avirastu hR^idaye kR^iShNa abhidhAnam mahaH

3-83. yat= which resplendence;

 gopI vadana indu maNDanam= milkmaids, for faces, called moons, an adornment - for such moon like faces;

kastUrikA patrakam abhUt= with deer musk, foliage-adornment, has become;

yat = which resplendence;

lakShmI kuca shAta kumbha kalasha vyAkosham indIvaram abhUt = goddess lakshmi's, bosoms, called golden, pots,in them unfolding, black lotuses - have become;

yat= which resplendence;

yoginAm nirvANa sAdhana vidhau siddha a~njanam abhUt= for sages, in salvation, obtaining, processes, ready-at-hand, balm, one that has become;

tat shyAmalam kR^iShNa abhidhAnam mahaH= that, blueblackish, kriShNa, named entity, called self-refulgence;

naH hR^idaye AviH astu= in our, heart, let reveal.

 Which self-resplendence has become an adornment of erasable-tattoos made with deer's musk on the moon like faces of milkmaids; which shone forth like unfolding black lotuses placed in the golden pitchers called the bosoms of goddess lakshmi for sanctification of waters in the vessels; which turned out as a fetish readymade balm for sages seeking salvation, that resplendence with a name tag blueblack bAlakriShNa, I adore. [3-83]      

--o)0(o--

फुल्लेन्दीवरकान्तिम् इन्दुवदनम् बर्हावतंसप्रियम्
श्रीवत्साङ्कम् उदारकौस्तुभधरम् पीताम्बरम् सुन्दरम्।
गोपीनाम् नयनोत्पलार्चिततनुम् गोगोपसङ्घावृतम्
गोविन्दम् कलवेणुनादननिरतम्ङ्गभूषम् भजे॥ ३-८४

फुल्ल इन्दीवर कान्तिम् इन्दु वदनम् बर्ह अवतंस प्रियम् श्री वत्स अङ्कम् उदार
कौस्तुभ धरम् पीत अम्बरम् सुन्दरम् गोपीनाम् नयन उत्पल अर्चित तनुम्
गो गोप सङ्घ आवृतम् गोविन्दम् कल वेणु नाद निरतम् दिव्य अङ्ग भूषम् भजे

phullendīvarakāntim induvadanam barhāvataṁsapriyam
śrīvatsāṅkam udārakaustubhadharam pītāmbaram sundaram |
gopīnām nayanotpalārcitatanum gogopasaṅghāvṛtam
govindam kalaveṇunādananiratamṅgabhūṣam bhaje || 3-84

phulla indīvara kāntim indu vadanam barha avataṁsa priyam śrī vatsa aṅkam udāra kaustubha dharam pīta ambaram sundaram gopīnām nayana utpala arcita tanum go gopa saṅgha āvṛtam govindam kala veṇu nāda niratam divya aṅga bhūṣam bhaje

phullendIvarakAntim induvadanam barhAvataMsapriyam
shrIvatsA~Nkam udArakaustubhadharam pItAmbaram sundaram |
gopInAm nayanotpalArcitatanum gogopasa~NghAvR^itam
govindam kalaveNunAdananiratam~NgabhUSham bhaje || 3-84

flute

phulla indIvara kAntim indu vadanam barha avataMsa priyam shrI vatsa a~Nkam udAra kaustubha dharam pIta ambaram sundaram gopInAm nayana utpala arcita tanum go gopa sa~Ngha AvR^itam govindam kala veNu nAda niratam divya a~Nga bhUSham bhaje

3-84. phulla indIvara kAntim= bloomed, black-lotus like, bodily hued; indu vadanam= moon-like, by face; barha avataMsa priyam= peacock's feathers, as crest adornment, who is interested in; shrI vatsa a~Nkam= one who has shrI-vatsa mark on chest; udAra kaustubha dharam= one who is wearing kausthubha jewel; pIta ambaram= yellow silks, clad in; divya a~Nga bhUSham= with best [ornaments], limbs, one who is ornamented; gopInAm nayana utpala arcita tanum= by milkmaid, eyes, called black lotuses, his form, one who is worshipped; go gopa sa~Ngha AvR^itam= by cows, cowherds, groups, one who is surrounded; kala veNu nAda niratam= beautiful, flute's, melody, one who is engrossed; sundaram govindam = beautiful, govinda; bhaje = I worship.

Let my worship be unto that charming go-vinda whose bodily hue is like the fully bloomed black lotus; face moon like; one with predilection to wear peacocks' feathers on crown; one enrobed in ochry silks, shrI-vatsa mark on chest and kausthubha jewel dangling thereon, while every limb is adorned with unreprovable ornaments; always hemmed in by hosts of cows and cowmen; unsurceasingly engrossed in fluting mellifluous melodies, whereby milkmaids tend to worship him with the black lotuses called the eyes. [3-82]

--o)0(o--

यन्नाभीसरसीरुहान्तरपुटे भृङ्गायमाणो विधिर्
यद्वक्श कमलाविलाससद्नम् यच्चक्शुषीचेनिन्दिनौ।
यत्पादाब्जविनिसृता सुरनदी शभोश्शिरो भूषणम्
यन्नामस्मरणम् धुनोति दुरिताम्पायात्स नः केशवः॥ ३-८५

यत् नाभी सरसीरुह अन्तर पुटे भृङ्गायमाणः विधिः यत् वक्श कमला विलास सद्नम् यत् चक्शुषी च इन्दु इनौ यत् पाद अब्ज विनिसृता सुर नदी शभोः श्शिरो भूषणम् यत् नाम स्मरणम् धुनोति दुरितम् पायात् सः नः केशवः

yannābhīsarasīruhāntarapuṭe bhṛṅgāyamāṇo vidhir
yadvakśa kamalāvilāsasadnam yaccakśuṣīcenindinau |
yatpādābjavinisṛtā suranadī śabhośśiro bhūṣaṇam
yannāmasmaraṇam dhunoti duritāmpāyātsa naḥ keśavaḥ || 3-85

yat nābhī sarasīruha antara puṭe bhṛṅgāyamāṇaḥ vidhiḥ yat vakśa kamalā vilāsa sadnam yat cakśuṣī ca indu inau yat pāda abja vinisṛtā sura nadī śabhoḥ śśiro bhūṣaṇam yat nāma smaraṇam dhunoti duritam pāyāt saḥ naḥ keśavaḥ

yannAbhIsarasIruhAntarapuTe bhR^i~NgAyamANo vidhir
yadvaksha kamalAvilAsasadnam yaccakshuShIcenindinau |
yatpAdAbjavinisR^itA suranadI shabhoshshiro bhUShaNam
yannAmasmaraNam dhunoti duritaampAyAtsa naH keshavaH || 3-85

flute

yat nAbhI sarasIruha antara puTe bhR^i~NgAyamANaH vidhiH yat vaksha kamalA vilAsa sadnam yat cakshuShI ca indu inau yat pAda abja vinisR^itA sura nadI shabhoH shshiro bhUShaNam yat nAma smaraNam dhunoti duritam pAyAt saH naH keshavaH

3-85. vidhiH= vidhAta= brahma;

yat nAbhI sarasIruha antara puTe bhR^i~NgAyamANaH [tiShTti]= in whose, navel, lotus, inside, calyx, like a honeybee, [one who sits];

 yat vaksha kamalA vilAsa sadnam= whose, chest, for lakshmi, [made as her] play, house;

yat pAda abja vinisR^itA sura nadI shabhoH shshiro bhUShaNam= from whose, feet, called lotuses, emerged, celestial, river [ganga has become] god shiva's, on head, an ornament;

 indu inau yat cakshuShI ca= moon, sun, [form] whose, eyes;

yat nAma smaraNam dhunoti duritam= whose, name, reminiscing, cleanses, [all] wrongdoings;

saH keshavaH naH pAyAt = such keshva, protect us all.

In the calyx of whose navel-born lotus Creator brahma sits like a honeybee; in whose chest goddess lakshmi made her frolicking adobe; from whose feet the celestial river ganga emerged only to become a head ornament of god shiva; whose eyes are moon and sun - why these many analogies and concomitances - on reminiscing whose name all the sins are attenuated, him I worship and let that keshava protect us all. [3-85]

--o)0(o--

रक्षन्तस्मानसितजलजैरञ्जलिः पादमूले
मीना नाभिसरसि हृदये मारबाणा मुरारेः।
हारा कण्ठे हरिमणिमया वक्त्रपद्मे द्विरेफाः
पिञ्चाचूडाश्चिकुरनिचये घोषयोषित्कटाक्षाः॥ ३-८६

रक्शन्तु अस्मान् रक्षन्तु त्वाम् असित जलजैः अञ्जलिः पाद मूले
मीना नाभि सरसि हृदये मार बाणा मुरारेः हारा कण्ठे हरि मणि
मया वक्त्र पद्मे द्विरेफाः पिञ्च आचूडाः चिकुर निचये घोष योषित् कटाक्षाः

rakṣantasmānasitajalajairañjaliḥ pādamūle
mīnā nābhisarasi hṛdaye mārabāṇā murāreḥ |
hārā kaṇṭhe harimaṇimayā vaktrapadme dvirephāḥ
piñcācūḍāścikuranicaye ghoṣayoṣitkaṭākṣāḥ || 3-86

rakśantu asmān rakṣantu tvām asita jalajaiḥ añjaliḥ pāda mūle mīnā nābhi sarasi hṛdaye māra bāṇā murāreḥ hārā kaṇṭhe hari maṇi mayā vaktra padme dvirephāḥ
piñca ācūḍāḥ cikura nicaye ghoṣa yoṣit kaṭākṣāḥ

rakShantasmAnasitajalajaira~njaliH pAdamUle
mInA nAbhisarasi hR^idaye mArabANA murAreH |
hArA kaNThe harimaNimayA vaktrapadme dvirephAH
pi~nchAcUDAshcikuranicaye ghoShayoShitkaTAkShAH || 3-86

flute

rakshantu asmAn [rakShantu tvAm] asita jalajaiH a~njaliH pAda mUle mInA nAbhi sarasi hR^idaye mAra bANA murAreH hArA kaNThe hari maNi mayA vaktra padme dvirephAH pi~ncha AcUDAH cikura nicaye ghoSha yoShit kaTAkShAH

3-86. ghoSha-yoShit kaTAkShAH= milkmaids', sidelong glances - are becoming;

murAreH pAda mUle= murAri's, feet, at the base of; asita jalajaiH a~njaliH= with black, lotuses, stoup [a holy-water basin] like palmfold; nAbhi sarasi mInAH= at navel, called lake, like fish; hR^idaye mAra bANAH= at heart's place, lovegod's, arrows; kaNThe hari maNi mayA hArA= at neck, indra-nIla jewelled, as necklaces; vaktra padme dvirephAH= at lotusy, face, like honeybees; cikura nicaye pi~ncha AcUDAH = at curly head-hair, [they become] peacock feathers crest ornament; sA kaTAkShAH= those, sidelong glances; asmAn rakshantu= us all, protect.[tvAm rakShantu= protect you - is said to be incongruous with the vein of poetry, hence asmAn rakshantu is taken - Pt. PSRA].

The sidelong glances of milkmaids beamed at murAri mutate at various places of his physique from toe to top. They appear as stoup-like palmfold filed with black lotuses at his feet; like shoals of fish swimming at umbilical place; like ricochetting flowery-arrows of lovegod at heart; as spectacular necklaces encrusted with indra-nIla jewels at neck; swarms of honeybees flitting at his lotusy face; as opalescent peacock feathers on his curly coiffure, such as they are those transmutative sidelong glances of milkmaids protect us all. [3-86]

--o)0(o--

दधिमथननिनादैस्त्यक्तनिद्रः प्रभाते
निभृतपदमगारम् वल्लवीनाम् प्रविष्टः।
मुखकमलसमीरैराशु निर्वाप्य दीपान्
कबलितनवनीतः पातु गोपालबालः॥ ३-८७

दधि मथन निनादैः त्यक्त निद्रः प्रभाते निभृत पदम् अगारम् वल्लवीनाम् प्रविष्टः
मुख कमल समीरैः आशु निर्वाप्य दीपान् कबलित नवनीतः पातु गोपाल बालः

dadhimathananinādaistyaktanidraḥ prabhāte
nibhṛtapadamagāram vallavīnām praviṣṭaḥ |
mukhakamalasamīrairāśu nirvāpya dīpān
kabalitanavanītaḥ pātu gopālabālaḥ || 3-87

dadhi mathana ninādaiḥ tyakta nidraḥ prabhāte nibhṛta padam agāram vallavīnām praviṣṭaḥ mukha kamala samīraiḥ āśu nirvāpya dīpān kabalita navanītaḥ pātu gopāla bālaḥ

dadhimathananinAdaistyaktanidraH prabhAte
nibhR^itapadamagAram vallavInAm praviShTaH |
mukhakamalasamIrairAshu nirvApya dIpAn
kabalitanavanItaH pAtu gopAlabAlaH || 3-87

flute

dadhi mathana ninAdaiH tyakta nidraH prabhAte nibhR^ita padam agAram vallavInAm praviShTaH mukha kamala samIraiH Ashu nirvApya dIpAn kabalita navanItaH pAtu gopAla bAlaH

3-87. prabhAte= in mornings; dadhi mathana ninAdaiH tyakta nidraH= by curd, churning, sounds, who leaves of, sleep; nibhR^ita padam vallavInAm agAram praviShTaH= with soundless, steps, milkmaids, houses, on entering; Ashu mukha kamala samIraiH = by quickly, from face, called lotus, with airs [puffs]; dIpAn nirvApya= lamps [still burning in wee hours of day], on extinguishing; kabalita navanItaH= one who consumed butter [in other houses]; gopAla bAlaH pAtu = let that gopAlabAlakriShNa, protect us.

Waking up in the dawn with the noise of curd churning, tiptoeing into milkmaids houses, quickly putting out lamps still burning with puffs exhaled from his lotusy face, he who is wonted to consume butter in neighbours houses, that gopAlabAlakriShNa protect us all. [3-87]

--o)0(o--

प्रातः स्मरामि दधिघोषविनीतनिद्रम्
निद्रावसानरमणीयमुखारविन्दम्।
हृद्यानवद्यवपुषम् नयनाभिराम
मुन्निद्रपद्मनयनम् नवनीतचोरम्॥ ३-८८

प्रातः स्मरामि दधि घोष विनीत निद्रम् निद्र अवसान रमणीय मुख अरविन्दम्
हृद्य् आनवद्य वपुषम् नयन अभिरामम् उन्निद्र पद्म नयनम् नवनीत चोरम्

prātaḥ smarāmi dadhighoṣavinītanidram
nidrāvasānaramaṇīyamukhāravindam |
hṛdyānavadyavapuṣam nayanābhirāma
munnidrapadmanayanam navanītacoram || 3-88

prātaḥ smarāmi dadhi ghoṣa vinīta nidram nidra avasāna ramaṇīya mukha aravindam hṛdy ānavadya vapuṣam nayana abhirāmam unnidra padma nayanam navanīta coram

prAtaH smarAmi dadhighoShavinItanidram
nidrAvasAnaramaNIyamukhAravindam |
hR^idyA.anavadyavapuSham nayanAbhirAma
munnidrapadmanayanam navanItacoram || 3-88

flute

prAtaH smarAmi dadhi ghoSha vinIta nidram nidra avasAna ramaNIya mukha aravindam hR^idy Anavadya vapuSham nayana abhirAmam unnidra padma nayanam navanIta coram

3-88. prAtaH dadhi ghoSha vinIta nidram= in morning, by curd, churning, who casts aside, sleep; nidra avasAna ramaNIya mukha aravindam = sleep, at end of, freshened, face, called lotus - one with such a face; hR^idya Anavadya vapuSham= heart-pleasing, immaculate - faced one - here our concern is only with face not whole vapuSh; nayana abhirAmam= eye pleasing one; unnidra [ut+nidra] padma= up, from sleep, [like] lotuses - like lotuses just woke up with the arrival of sun in morn; nayanam= with such fresh lotusy eyes; navanIta coram= butter, thief; smarAmi= I mull over.

Let us mull over every morning on that butter thief who bestirs himself at dawn casting aside sleep with the butter churning noises, with an immaculate lotusy face freshened at the end of a sound sleep that will be eye-catching, on which face his two eyes glisten like lotuses just woke up with the arrival of sun in morn. [3-88]

--o)0(o--

फुल्लहल्लकवतंसकोल्लस द्गल्लम् आगमगवीगवेषितम्।
वल्लवीचिकुरवासिताङ्गुली पल्लवम् कम् अपि वल्लवम् भजे॥ ३-८९

फुल्ल हल्लक वतंसक उल्लसत् गल्लम् आगम गवी गवेषितम्
वल्लवी चिकुर वासित अङ्गुली पल्लवम् कम् अपि वल्लवम् भजे

phullahallakavataṁsakollasa
dgallam āgamagavīgaveṣitam |
vallavīcikuravāsitāṅgulī
pallavam kam api vallavam bhaje || 3-89

phulla hallaka vataṁsaka ullasat gallam āgama gavī gaveṣitam vallavī cikura vāsita aṅgulī pallavam kam api vallavam bhaje

phullahallakavataMsakollasa
dgallam AgamagavIgaveShitam |
vallavIcikuravAsitA~NgulI
pallavam kam api vallavam bhaje || 3-89

flute

phulla hallaka vataMsaka ullasat gallam Agama gavI gaveShitam vallavI cikura vAsita a~NgulI pallavam kam api vallavam bhaje

3-89. phulla= fully bloomed; hallaka= red lotus; vataMsaka= floral ornaments tucked on ears at temples dangling onto cheeks; ullasat= with them shining forth; gallam= cheeks; vallavI cikura vAsita a~NgulI pallavam = milkmaids, by curly hair, fragranced, fingers, called tender leaves - one who has his finger fragranced by the fragrance available in the hairdo of milkmaids, as those fingers are wonted to rifle through those hairdos; Agama gavI= by scriptures, words of; gaveShitam= one who is explored; kam api vallavam bhaje=  someone, who is cowboy, I adore him.

Fully bloomed red-lotuses tucked on ears dangling on sides are shining forth as if pecking his blueblackish cheeks; and his fingers are fragranced with the fragrance of milkmaids' hairdos, for those fingers are wonted to rifle through those hairdos, but him, who remained unfathomable even after a peck of rummaging vasty scriptures, let us adore. [3-89]

A flower like lotus knows him, a handsome hairdo of a cowwomen knows him, but not wiseacres anywise versed in scriptures.

In this verse syllable lla is vityAnuprAsa.

--o)0(o--

स्तेयम् हरेर्हरति यन्नवनीतचौर्यम्

जारत्वमस्य गुरुतल्पकृतापराधम्।
हत्याम् दशाननहतिर्मधुपानदोषम्
यत्पूतनास्तनपयः स पुनातु कृष्णः॥ ३-९०

स्तेयम् हरेः हरति यत् नवनीत चोरम् जारत्वम् अस्य गुरुतल्प कृत अपराधम्
हत्याम् दश-आनन हतिः मधु पान दोषम् यत् पूतना स्तन पयः स पुनातु कृष्णः

steyam harerharati yannavanītacauryam
jāratvamasya gurutalpakṛtāparādham |
hatyām daśānanahatirmadhupānadoṣam
yatpūtanāstanapayaḥ sa punātu kṛṣṇaḥ || 3-90

steyam hareḥ harati yat navanīta coram jāratvam asya gurutalpa kṛta aparādham hatyām daśa-ānana hatiḥ madhu pāna doṣam yat pūtanā stana payaḥ sa punātu kṛṣṇaḥ

steyam harerharati yannavanItachauryam
jAratvamasya gurutalpakR^itAparAdham |
hatyAm dashAnanahatirmadhupAnadoSham
yatpUtanAstanapayaH sa punAtu kR^iShNaH || 3-90

flute

steyam hareH harati yat navanIta coram jAratvam asya gurutalpa kR^ita aparAdham hatyAm dasha-Anana hatiH madhu pAna doSham yat pUtanA stana payaH sa punAtu kR^iShNaH

3-90. yat= by which reason; asya hareH = this, hari's; navanIta chauryam= butter, thieving - aspersed, that aspersion; harati steyam = expropriates, sin of stealing gold etc valuable;

asya jAratvam= his, cuckoldry; gurutalpa kR^ita aparAdham= student's adultery with teacher's wife, such an offence; harati= expropriates;

asya= his; dasha-Anana hatyAm= ten-faced rAvaNa's, killing - brahma-hastya in rAma's incarnation; hatiH= neutralises;

pUtanA stana payaH= demoness pUtana, breast, sucking - for killing her; madhu pAna yat doSham= liquor,, drinking, which, flaw - is there; harati= expropriates;

saH kR^iShNaH punAtu = such a, kriShNa, save us all.

 If the aspersions cast upon him are meditated with an atoning heart and with a non-repeating conduct, identical human sins will get absolved. The misdeed of thieving butter expropriates the wrong of stealing gold etc valuables; the misdemeanour of his cuckoldry exonerates even the worst kind of debauchery, say, student's adultery with teacher's wife; his elimination of rAvaNa in the incarnation of rAma, neutralises brAhmaNa-slaying sin; peccadillo of sucking the breast of a demoness pUtana only to eliminate herexculpates thefault of drinking liquor,hence that kriShNa, an all-in-onemisdoings, protect us all.[3-90]

--o)0(o--

मारमारममदीयमानसेमाधवैकनिलये यदृच्छया।
श्रीरमापतिरिहागमेदसौ कस्सहेतनिजवेश्मलङ्घनम्॥ ३-९१

मार मा रम मा वस मदीय मानसे माधव एक निलये यदृच्छया श्री रमा-पतिः
इह आगमेत् आगम इच्छेत् असौ कः सहेत निज वेश्म लङ्घनम्

māramāramamadīyamānasemādhavaikanilaye yadṛcchayā |
śrīramāpatirihāgamedasau kassahetanijaveśmalaṅghanam || 3-91

māra mā rama mā vasa madīya mānase mādhava eka nilaye yadṛcchayā śrī ramā-patiḥ iha āgamet āgama
icchet asau kaḥ saheta nija veśma laṅghanam

mAramAramamadIyamAnasemAdhavaikanilaye yadR^icChayA |
shrIramApatirihAgamedasau kassahetanijaveshmala~Nghanam || 3-91

flute

mAra mA rama [mA vasa] madIya mAnase mAdhava eka nilaye yadR^icChayA shrI ramA-patiH iha Agamet [Agama icChet] asau kaH saheta nija veshma la~Nghanam

3-91. hè mAra= oh, lovegod; mA rama [mA vasa]= don't, delight here [don't stay here]; yadR^icChayA= as you please; madIya mAnase= in my, heart; mAdhava eka nilaye= which is - for mAdhava, an exclusive, house; asau shrI ramA-patiH iha Agamet [Agama icChet] = that, shrI-hari, to here, may come - at any moment; nija veshma la~Nghanam kaH saheta = one's own, house, trespassing, who, tolerates.

"You lovegod, don't stay put as you please in my heart called the exclusive resort of mAdhava... get going, he may come here any moment... who tolerates trespassing on his own house..."  [3-91]

C.f. verse madana parihara... etc in mukundamAla stavam.

--o)0(o--

आकुङ्चितम् जानु करम् च वामम् न्यस्यक्षितौ दक्षिणहस्तपद्मे।
आलोकयन्तम् नवनीतखण्डम् बालम् भजे कृष्णम् उपानताङ्गम्॥ ३-९२

आकुङ्चितम् जानु करम् च वामम् न्यस्य क्षितौ दक्षिण हस्त पद्मे आलोकयन्तम् नवनीत खण्डम् बालम् भजे कृष्णम् उप आनत अङ्गम् ओर् बालम् मुकुन्दम् मनसा स्मरामि

ākuṅcitam jānu karam ca vāmam
nyasyakṣitau dakṣiṇahastapadme |
ālokayantam navanītakhaṇḍam
bālam bhaje kṛṣṇam upānatāṅgam || 3-92

ākuṅcitam jānu karam ca vāmam nyasya kṣitau dakṣiṇa hasta padme ālokayantam navanīta khaṇḍam bālam bhaje kṛṣṇam upa ānata aṅgam or bālam mukundam manasā smarāmi

Aku~Ncitam jAnu karam ca vAmam
nyasyakShitau dakShiNahastapadme |
Alokayantam navanItakhaNDam
bAlam bhaje kR^iShNam upAnatA~Ngam || 3-92

flute

Aku~Ncitam jAnu karam ca vAmam nyasya kShitau dakShiNa hasta padme Alokayantam navanIta khaNDam bAlam bhaje kR^iShNam upa Anata a~Ngam [or bAlam mukundam manasA smarAmi]

3-92. Aku~Ncitam= a little bent; vAmam jAnu karam ca= left, knee, [left] hand, also; kShitau nyasya = on ground, placing - those left knee and hand on ground - crawling position; dakShiNa hasta padme navanIta khaNDam Alokayantam = in right, hand, called lotus, a butter, lump, while seeing; upAnatA~Ngam= a little crouched bodily shape; bAlam kR^iShNam bhaje = such a bAlakriShNa, I adore; [or, as in other mms: bAlam mukundam manasA smarAmi].

That boy in crawling posture keeping left hand and knee in touch with ground, keeping a lump of butter in half-raised lotusy right hand, slouching a little bit and looking at it athirst for gourmandisation, him I adore to my heart's content. [3-92] 

--o)0(o--

जानुभ्याम् अभिधावन्तम् पाणिभ्याम् अतिसुन्दरम्।
सुकुण्डलालकम् बालम् गोपालम् चिन्तयाम्युषः॥ ३-९३

जानुभ्याम् अभिधावन्तम् पाणिभ्याम् अति सुन्दरम्
सु-कुन्तल अलकम् बालम् गोपालम् चिन्तयामि उषः

jānubhyām abhidhāvantam pāṇibhyām atisundaram |
sukuṇḍalālakam bālam gopālam cintayāmyuṣaḥ || 3-93

jānubhyām abhidhāvantam pāṇibhyām ati sundaram
su-kuntala alakam bālam gopālam cintayāmi uṣaḥ

jAnubhyAm abhidhAvantam pANibhyAm atisundaram |
sukuNDalAlakam bAlam gopAlam cintayAmyuShaH || 3-93

flute

jAnubhyAm abhidhAvantam pANibhyAm ati sundaram su-kuntala alakam bAlam gopAlam cintayAmi uShaH

3-93. jAnubhyAm pANibhyAm abhidhAvantam= with both knees, both hands, one who is crawling hither and thither; whereby he looks; ati sundaram= most beautiful looking - like a rolling ball; su-kuNDala alakam= with little ear-hangings, curls of coiffure - swinging; gopAlam bAlam= such a cowboy, baby; uShaH cintayAmi= every morning, I adore.

Hectically crawling hither and thither on knees and hands while his knobby ear-hangings and curls of coiffure swing and sway, whereby looking most beautiful as if a ball of honey is in motion, him I call to mind with every dayspring. [3-93] 

--o)0(o--

विहाय कोदण्डशरौ मुहूर्तम् गृहाण पाण्योर्मणिचारुवेणुम्।
मायूरबर्हम् च निजोत्तमाङ्गे सीतापते त्वाम् प्रणमामि पश्चात्॥ ३-९४

विहाय कोदण्ड शरौ मुहूर्तम् गृहाण पाणौ मणि चारु वेणुम्
मायूर बर्हम् च निज उत्तम अङ्गे सीतापते त्वाम् प्रणमामि पश्चात्

vihāya kodaṇḍaśarau muhūrtam
gṛhāṇa pāṇyormaṇicāruveṇum |
māyūrabarham ca nijottamāṅge
sītāpate tvām praṇamāmi paścāt || 3-94

vihāya kodaṇḍa śarau muhūrtam gṛhāṇa pāṇau
maṇi cāru veṇum māyūra barham ca nija uttama
aṅge sītāpate tvām praṇamāmi paścāt

vihAya kodaNDasharau muhUrtam
gR^ihANa pANyormaNicAruveNum |
mAyUrabarham ca nijottamA~Nge
sItApate tvAm praNamAmi pashcAt || 3-94

flute

vihAya kodaNDa sharau muhUrtam gR^ihANa pANau maNi cAru veNum mAyUra barham ca nija uttama a~Nge sItApate tvAm praNamAmi pashcAt

3-94. sItApate= oh, rAma; muhUrtam pANyoH kodaNDa sharau vihAya= for a while, in your hands, bow, arrows, on leaving off; maNi cAru veNum= jewel like, beautiful, flute; nija uttama a~Nge= on your, best body limb - head; mAyUra barham ca= peacock's feather, also; gR^ihANa= you take up; pashcAt tvAm praNamAmi = later, I, adore you.

Oh, rAma, for a while please leave off your bow and arrows and handle jewelly flute and have peacock's feathers as your headgear, whereafter I can adore you... [3-94]

Not that you are a lesser entity to be worshipped, but I prefer a non-belligerent stance of yours, like the unbelligerent entity, madhura mUrti, of sapphirine-boy... 

---o)0(o--

अयम् क्षीराम्भोधेः पतिरिति गवाम् पालक इति
श्रितोऽस्माभिः क्षीरोपनयनधिया गोपतनयः।
अनेन प्रत्यूहो व्यरचि सततम् येन जननी
स्तनादपि अस्माकम् सकृद् अपि पयो दुर्लभम् अभूत्॥ ३-९५

अयम् क्षीर अम्भोधेः पतिः इति गवाम् पालक इति श्रितः अस्माभिः
क्षीर उपनयन धिया गोप तनयः अनेन प्रत्यूहः व्यरचि सततम् येन
जननी स्तनात् अपि अस्माकम् सकृत् अपि पयः दुर्लभम् अभूत्

ayam kṣīrāmbhodheḥ patiriti gavām pālaka iti
śrito'smābhiḥ kṣīropanayanadhiyā gopatanayaḥ |
anena pratyūho vyaraci satatam yena jananī
stanādapi asmākam sakṛd api payo durlabham abhūt || 3-95

ayam kṣīra ambhodheḥ patiḥ iti gavām pālaka iti śritaḥ asmābhiḥ kṣīra upanayana dhiyā gopa tanayaḥ anena pratyūhaḥ vyaraci satatam yena jananī stanāt api asmākam sakṛt api payaḥ durlabham abhūt

ayam kShIrAmbhodheH patiriti gavAm pAlaka iti
shrito.asmAbhiH kShIropanayanadhiyA gopatanayaH |
anena pratyUho vyaraci satatam yena jananI
stanAdapi asmAkam sakR^id api payo durlabham abhUt || 3-95

flute

ayam kShIra ambhodheH patiH iti gavAm pAlaka iti shritaH asmAbhiH kShIra upanayana dhiyA gopa tanayaH anena pratyUhaH vyaraci satatam yena jananI stanAt api asmAkam sakR^it api payaH durlabham abhUt

3-95. ayam= this fellow is; kShIra ambhodheH patiH iti= Milk Ocean's, lord, thinking in this way;

 gavAm pAlaka iti= [also] cows, minder, thinking in this way;

 kShIra upanayana dhiyA= milk [and milk products], readily getting, with an intention;

asmAbhiH ayam gopa tanayaH shritaH abhUt = by us, this fellow, cow herder's, son, as a shelterer, he became - we took his shelter;

anena yena asmAkam= by which [blind following this fellow], for us;

sakR^it api= at least for once, even;

jananI stanAt payaH api= from mother's, breast, milk, even;

satatam durlabham abhUt = for ever, became impossible to get, has become;

saH pratyUhaH vyaraci = such a, hindrance, has occurred.

 Thinking that this fellow is the lord of Milk Ocean in his quintessential entity and a good cow-minder in the present reification, we have taken shelter of this cow-herder's son with an esurient intent to quaff off lots of cow milk and milk products, by which blind following we are rendered as waifs without mother's milk, at least for once, such being the predicament of ours, we are still dawdling after him. [3-95]

---o)0(o--

हस्तमुक्षिप्य यातोऽसि बलात्कृष्ण किमद्भुतम्।
हृदयाद्यदिनिर्यासि पौरुषम् गणयामि ते॥ ३-९६

हस्तम् उत्क्षिप्य यातोऽसि बलात् कृष्ण किम् अद्भुतम्
हृदयात् यदि निर्यासि पौरुषम् गणयामि ते

hastamukṣipya yāto'si balātkṛṣṇa kimadbhutam |
hṛdayādyadiniryāsi pauruṣam gaṇayāmi te || 3-96

hastam utkṣipya yāto'si balāt kṛṣṇa kim adbhutam
hṛdayāt yadi niryāsi pauruṣam gaṇayāmi te

hastamukShipya yAto.asi balAtkR^iShNa kimadbhutam |
hR^idayAdyadiniryAsi pauruSham gaNayAmi te || 3-96

flute

hastam utkShipya yAto.asi balAt kR^iShNa kim adbhutam hR^idayAt yadi niryAsi pauruSham gaNayAmi te

3-96. kR^iShNa; balAt= by your strength; hastam utkShipya = [my] arms [kept around your shoulders], by lifting, yAtaH asi= you are going away; in this mater; adbhutam kim= what so great about it; hR^idayAt niryAsi yadi= from heart, you exit, if; te pauruSham gaNayAmi = your, guts, I can count on.

When I am caressingly embracing you, you are wriggling off my arms and leaving, what so great bout it; leave my hart if you can, then I count upon your guts... [3-96]

You cannot leave the incarceration in my heart - for you are ever a captive of loving devotees.  These are the words of rAdha or a loving milkmaid. hastam utkShipya is as in shrI rUpagosvAmy's text. Old editions of Telugu text will have hastam AkShipa, where AkShipa is given then same meaning i.e. - wriggling of.

----o)0(o--

तमसि रविर् इवोद्यन्मज्जताम् अम्बुराशौ

प्लव इव तृषितानाम् स्वादुवर्षीव मेघः।
निधिरिव विधनानाम् दीर्घतीव्रामयानाम्
भिषगिव कुशलम् नो दातुम् आयातु शौरिः॥ ३-९७

तमसि रविः इव द्यन्त् उन्मज्जताम् अम्बु राशौ प्लव इव तृषितानाम्
स्वादु वर्षी इव मेघः निधिः इव विधनानाम् दीर्घ तीव्र
आमयानाम् भिषक् इव कुशलम् नः दातुम् आयातु शौरिः

tamasi ravir ivodyanmajjatām amburāśau
plava iva tṛṣitānām svāduvarṣīva meghaḥ |
nidhiriva vidhanānām dīrghatīvrāmayānām
bhiṣagiva kuśalam no dātum āyātu śauriḥ || 3-97

tamasi raviḥ iva dyant unmajjatām ambu rāśau plava iva tṛṣitānām svādu varṣī iva meghaḥ nidhiḥ iva vidhanānām dīrgha tīvra āmayānām bhiṣak iva kuśalam naḥ dātum āyātu śauriḥ

tamasi ravir ivodyanmajjatAm amburAshau
plava iva tR^iShitAnAm svAduvarShIva meghaH |
nidhiriva vidhanAnAm dIrghatIvrAmayAnAm
bhiShagiva kushalam no dAtum AyAtu shauriH || 3-97

flute

tamasi raviH  iva dyant unmajjatAm ambu rAshau plava iva tR^iShitAnAm svAdu varShI iva meghaH nidhiH iva vi+dhanAnAm dIrgha tIvra AmayAnAm bhiShak iva kushalam naH dAtum AyAtu shauriH

3-97. tamasi [sthitAnAm - as in the syndrome vApyam ashvaH]= [for those that are] in darkness; raviH  dyant iva= dawning, sun, as if;

ambu rAshau unmajjatAm plava iva = [for those that are] in waters, drowning, a boat, as if;

tR^iShitAnAm svAdu varShI meghaH iva= [for those that are] thirsty, sweet-water, raining, cloud, as if;

 vi+dhanAnAm nidhiH iva [for those that are] paupers, a treasure trove, as if;

dIrgha tIvra AmayAnAm bhiShak iva= [for those that are] for a long time, seriously, sick, a medicine man, as if;

shauriH= that shauri - one who is a scion of a yAdava kind named shUra - kriShNa is there;

 naH kushalam dAtum AyAtu = to us, all welfare objects, to give, let him come.

If he is the dawning sun for them that are distraught with pitch darkness; if he is a sailboat for them sinking and soaring in deep waters; if he a cloud raining sweet-water to the thirsty; if he is a treasure trove to paupers; if he is medical man to the sick suffering seriously for a long time, let that shauri come to our rescue also with all expedients - for we also sail in the same boat of the above have-nots. [3-97]

--o)0(o--

कोदण्डम् मसृणम् सुगन्धिविशिखम् चक्राब्जपाशाङ्कुशम्
हैमीम्वेणुलताम् करैश्च दधतम् सिन्दूरपुञ्जारुणम्।
कन्दर्पाधिकसुन्दरम् स्मितमुखम् गोपाङ्गनावेष्टितम्
गोपालम् मदनाधिपम् तम् अभजम् त्रैलोक्यरक्षामणिम्॥ ३-९८

कोदण्डम् मसृणम् सुगन्धि विशिखम् चक्र अब्ज पाश अङ्कुशम् हैमीम् वेणु लताम् करैः च दधतम् सिन्दूर पुञ्ज अरुणम् कन्दर्प अधिक सुन्दरम् स्मित मुखम् गोप अङ्गना वेष्टितम् गोपालम् मदन अधिपम् तम् अभजम् त्रै लोक्य रक्षा मणिम्

kodaṇḍam masṛṇam sugandhiviśikham cakrābjapāśāṅkuśam
haimīmveṇulatām karaiśca dadhatam sindūrapuñjāruṇam |
kandarpādhikasundaram smitamukham gopāṅganāveṣṭitam
gopālam madanādhipam tam abhajam trailokyarakṣāmaṇim || 3-98

kodaṇḍam masṛṇam sugandhi viśikham cakra abja pāśa aṅkuśam haimīm veṇu latām karaiḥ ca dadhatam sindūra puñja aruṇam kandarpa adhika sundaram smita mukham gopa aṅganā veṣṭitam gopālam madana adhipam tam abhajam trai lokya rakṣā maṇim

kodaNDam masR^iNam sugandhivishikham cakrAbjapAshA~Nkusham
haimImveNulatAm karaishca dadhatam sindUrapu~njAruNam |
kandarpAdhikasundaram smitamukham gopA~NganAveShTitam
gopAlam madanAdhipam tam abhajam trailokyarakShAmaNim || 3-98

flute

kodaNDam masR^iNam sugandhi vishikham cakra abja pAsha a~Nkusham haimIm veNu latAm karaiH ca dadhatam sindUra pu~nja aruNam kandarpa adhika sundaram smita mukham gopa a~NganA veShTitam gopAlam madana adhipam tam abhajam trai lokya rakShA maNim

3-98. masR^iNam kodaNDam= soft to touch, a bow - sugar cane made as a bow ikShu-kodanDam;

sugandhi vishikham= fragrant, arrows - flowery-arrows;

cakra abja pAsha a~Nkusham= a quoit, water-born one [conch-shell], a noose, a goad;

ca= further;

haimIm veNu latAm= goldenly [excellent], flute, called creeper - bamboo flute;

karaiH dadhatam= with [eight] hands, wielding;

sindUra pu~nja aruNam= like cinnabar, wadding-like, vermilion - on in the hue of;

kandarpa adhika sundaram= lovegod manmatha, far more better than, in charm;

smita mukham= smiley faced one;

gopa a~NganA veShTitam= by milkmaids, one who is surrounded;

madana adhipam= lord of, lovegod manmatha;

trai lokya rakShA maNim= for triad of worlds, saviour-talisman called bhakta-chintAmaNi;

tam go+pAlam abhajam = him, that cow minder, I adored; [rather, I am adoring].

tAtparyam= sulabham.

This is the visualisation of aSTa buja kriShNa.

--o)0(o--

सायम्काले वनान्ते कुसुमितसमये सैकते चन्द्रिकायाम्
त्रैलोक्याकर्षणाङ्गम् सुरनरगणिकामोहनापाङ्गमूर्तिम्।
सेव्यम् शृङ्गारभावैर्नवरसभरितैर्गोपकन्यासहस्रै
र्वन्देऽहम् रासकेलीरतमतिसुभगम् वश्यगोपालकृष्णम्॥ ३-९९

सायम् काले वन अन्ते कुसुमित समये सैकते चन्द्रिकायाम् त्रैलोक्य आकर्षण अङ्गम् सुर नर गणिका मोहन अपाङ्ग मूर्तिम् सेव्यम् शृङ्गार भावैः नवरस भरितैः गोप कन्या सहस्रैः वन्दे अहम् रास केली रतम् अति सुभगम् वश्य गोपालकृष्णम्

sāyamkāle vanānte kusumitasamaye saikate candrikāyām
trailokyākarṣaṇāṅgam suranaragaṇikāmohanāpāṅgamūrtim |
sevyam śṛṅgārabhāvairnavarasabharitairgopakanyāsahasrai
rvande'ham rāsakelīratamatisubhagam vaśyagopālakṛṣṇam || 3-99

sāyam kāle vana ante kusumita samaye saikate candrikāyām trailokya ākarṣaṇa aṅgam sura nara gaṇikā mohana apāṅga mūrtim sevyam śṛṅgāra bhāvaiḥ navarasa bharitaiḥ gopa kanyā sahasraiḥ vande aham rāsa kelī ratam ati subhagam vaśya gopālakṛṣṇam

sAyamkAle vanAnte kusumitasamaye saikate candrikAyAm
trailokyAkarShaNA~Ngam suranaragaNikAmohanApA~NgamUrtim |
sevyam shR^i~NgArabhAvairnavarasabharitairgopakanyAsahasrai
rvande.aham rAsakelIratamatisubhagam vashyagopAlakR^iShNam || 3-99

flute

sAyam kAle vana ante kusumita samaye saikate candrikAyAm trailokya AkarShaNa a~Ngam sura nara gaNikA mohana apA~Nga mUrtim sevyam shR^i~NgAra bhAvaiH navarasa bharitaiH gopa kanyA sahasraiH vande aham rAsa kelI ratam ati subhagam vashya gopAlakR^iShNam

3-99. kusumita samaye= in blooming season -vasanta R^itu; vana ante= in brindavana woodlands; sAyam kAle= in evening times; saikate candrikAyAm= one sand beds [of kAlindi river], under moonlight;

trailokya AkarShaNa a~Ngam = for triad of worlds, an attractive, form - one who is having such an attractive form made himself available for ronde dance to hosts of milkmaids - who;

 sura nara gaNikA mohana apA~Nga mUrtim= for celestial, or humanly, fille de joie, enticing, sidelong glances - one who has sidelong glances that can entice any celestial or human coquettish woman;

 navarasa bharitaiH shR^i~NgAra bhAvaiH= with newer sensibilities, filled, of romantic, thoughts; gopa kanyA sahasraiH= with such [romantic] milkmaids, by thousands of them; sevyam= one who is adorable - one who is surrounded by hosts of milkmaids who are filled with newer and newer romantic thoughts just by the dint of his presence among them;

rAsa kelI ratam= in ronde dance, frolicking, who is involved;

ati subhagam= most, beautiful one;

vashya gopAlakR^iShNam aham= adorable with the epithet of'vashya gopAlakR^iShNa';aham vande= I adore.

In the evenings of blooming season he who presents himself for a ronde dance on the sandbeds of river kAlindi in brindavana woodlands in his most charming personality that can attract entire triad of worlds, and that has sidelong glances which can entice any celestial or human coquettish woman and who is ardently involved in that ronde dance amidst hosts of milkmaids that are filled with newer and newer romantic thoughts just by the dint of his presence among them, I adore that most beautiful form called with the epithet ofvashya gopAlakR^iShNa. [3-99]

----o)0(o--

कदम्बमूले क्रीडन्तम् बृन्दावननिव्शितम्।
पद्मासनस्थितम् वन्दे वेणुम्गायन्तमच्युतम्॥ ३-१००

कदम्ब मूले क्रीडन्तम् बृन्दावन निव्शितम्
पद्म आसन स्थितम् वन्दे वेणुम् गायन्तम् अच्युतम्

kadambamūle krīḍantam bṛndāvananivśitam |
padmāsanasthitam vande veṇumgāyantamacyutam || 3-100

kadamba mūle krīḍantam bṛndāvana nivśitam padma āsana sthitam vande veṇum gāyantam acyutam

kadambamUle krIDantam bR^indAvananivshitam |
padmAsanasthitam vande veNumgAyantamachyutam || 3-100

flute

kadamba mUle krIDantam bR^indAvana nivshitam padma Asana sthitam vande veNum gAyantam achyutam

3-100. kadamba mUle krIDantam= at kadamba tree, base, one who is frolicking; bR^indAvana nivshitam= brindavana, made as his abode; padma Asana sthitam= [at times] in lotus-posture, one who is sitting; veNum gAyantam= flute, who is playing; a+chyutam= one who does not let devotees fall - besides being unvarying; vande= I adore.

tAtparyam= sulabham

----o)0(o--

बालम् नीलाम्बुदाभम् नवमणिविलसत्किङ्किणीजालबद्ध
श्रोणीजङ्घान्तयुग्मम् विपुलरुरुनखप्रोल्लसत्कण्ठभूषम्।
फुल्लाम्भोजाभवक्रम् हतशकटमरुत्पूतनाद्यम् प्रसन्नम्
गोविन्दम् नन्दितेन्द्राद्यमरवरम् अजम् पूजयेद्वासरादौ॥ ३- १०१

बालम् नील अम्बुद आभम् नव मणि विलसत् किङ्किणी जाल बद्ध श्रोणी जङ्घा अन्त युग्मम् विपुल रुरु नख प्रोल्लसत् कण्ठ भूषम् फुल्ल अम्भोज आभ वक्रम् हत शकट मरुत् पूतन आद्यम् प्रसन्नम् गोविन्दम् वन्दित इद्र आदि अमर वरम् अजम् पूजयेत् वासर आदौ

bālam nīlāmbudābham navamaṇivilasatkiṅkiṇījālabaddha
śroṇījaṅghāntayugmam vipularurunakhaprollasatkaṇṭhabhūṣam |
phullāmbhojābhavakram hataśakaṭamarutpūtanādyam prasannam
govindam nanditendrādyamaravaram ajam pūjayedvāsarādau || 3- 101

bālam nīla ambuda ābham nava maṇi vilasat kiṅkiṇī jāla baddha śroṇī jaṅghā anta yugmam vipula ruru nakha prollasat kaṇṭha bhūṣam phulla ambhoja ābha vakram hata śakaṭa marut pūtana ādyam prasannam govindam vandita idra ādi amara varam ajam pūjayet vāsara ādau

bAlam nIlAmbudAbham navamaNivilasatki~NkiNIjAlabaddha  
shroNIja~NghAntayugmamvipularurunakhaprollasatkaNThabhUSham |
phullAmbhojAbhavakram hatashakaTamarutpUtanAdyam prasannam
govindam nanditendrAdyamaravaram ajam pUjayedvAsarAdau || 3- 101

flute

bAlam nIla ambuda Abham nava maNi vilasat ki~NkiNI jAla baddha shroNI ja~NghA anta yugmam vipula ruru nakha prollasat kaNTha bhUSham phulla ambhoja Abha vakram hata shakaTa marut pUtana Adyam prasannam govindam vandita idra Adi amara varam ajam pUjayet vAsara Adau

3-101. nIla ambuda Abham= one like a blueblackish, cloud, in hue;

nava maNi vilasat ki~NkiNI jAla baddha shroNI ja~NghA anta yugmam

nava maNi= nine, jewels; vilasat= shining forth; ki~NkiNI jAla baddha= with jingling bells, lace of chains, engrid; shroNI ja~NghA anta yugmam= at waist, at lower end of calves, at fringes of, on both sides;

vipula ruru nakha prollasat kaNTha bhUSham= with wide, black-striped-deer's, nails, shining forth, in neck, ornament;

phulla ambhoja Abha vakram= bloomed, lotus, in shine, with such a face;

 hata shakaTa marut pUtana Adyam= one who eliminated, cart-demon shakaTAsura, air-demon tR^iNavarta, pUtana et al - demons;

 nandita idra Adi amara varam= one who delighted, Indra et al gods;

prasannam= ready to be graceful;

a+jam= not a created agency; bAlam govindam= such a boyish, govinda; vAsara Adau pUjayet= at day, start, [oh, devotees] adore him.

tAtparyam = sulabham

--o)0(o--

वन्द्यम् देवैर्मुकुन्दम् विकसितकुरुविन्दाभम् इन्दीवराक्षम्
गोगोपीबृन्दवीतम् जितरिपुनिवहम् कुन्दमन्दारहासम्।
नीलग्रीवाग्र्यपिञ्चग्रथनसुविलसत्कुन्तलम् भानुमन्तम्
देवम् पीताम्बराढ्यम् यज यज दिनशो मध्यमाह्ने रमायै॥ ३-१०२

वन्द्यम् देवैः मुकुन्दम् विकसित कुरुविन्द आभम् इन्दीवर अक्षम् गो गोपी ब्वृन्द वीतम् जित रिपु निवहम् कुन्द मन्दार हासम् नील ग्रीव अग्र्य पिञ्च ग्रथन सु-विलसत् कुन्तलम् भानुमन्तम् देवम् पीत अम्बर आढ्यम् यज यज दिनशः मध्यम् आह्ने रमायै

vandyam devairmukundam vikasitakuruvindābham indīvarākṣam
gogopībṛndavītam jitaripunivaham kundamandārahāsam |
nīlagrīvāgryapiñcagrathanasuvilasatkuntalam bhānumantam
devam pītāmbarāḍhyam yaja yaja dinaśo madhyamāhne ramāyai || 3-102

vandyam devaiḥ mukundam vikasita kuruvinda ābham indīvara akṣam go gopī bvṛnda vītam jita ripu nivaham kunda mandāra hāsam nīla grīva agrya piñca grathana su-vilasat kuntalam bhānumantam devam pīta ambara āḍhyam yaja yaja dinaśaḥ madhyam āhne ramāyai

vandyam devairmukundam vikasitakuruvindAbham indIvarAkSham
gogopIbR^indavItam jitaripunivaham kundamandArahAsam |
nIlagrIvAgryapi~nchagrathanasuvilasatkuntalam bhAnumantam
devam pItAmbarADhyam yaja yaja dinasho madhyamAhne ramAyai || 3-102

flute

vandyam devaiH mukundam vikasita kuruvinda Abham indIvara akSham go gopI bvR^inda vItam jita ripu nivaham kunda mandAra hAsam nIla grIva agrya pi~ncha grathana su-vilasat kuntalam bhAnumantam devam pIta ambara ADhyam yaja yaja dinashaH madhyam Ahne ramAyai

3-102. devaiH vandyam= [one who] by gods, adorable; vikasita kuruvinda Abham= bloomed, coral-like, in hue; indIvara akSham= lotusy, eyed one; go gopI bvR^inda vItam= by cows, cowwomen, groups, one who is surrounded by; jita ripu nivaham= [one who has] conquered, enemy, hosts; kunda mandAra hAsam= like red mandAra flower, whose smile is; nIla- grIva agrya pi~ncha grathana su-vilasat kuntalam= by violet-necked-peacocks' feathers, tucked, imposing, one who has such a [an imposing] coiffure tucked with violet-necked-peacocks' feathers; bhAnumantam= one who has [multiples of] Sun-gods, dvAdasha Aditya-s, in him; pIta ambara ADhyam= one with ochry silks, enrobed; devam mukundam= such a god, mukunda; madhyam Ahne= at noon time; ramAyai= for his munificence - saMprApti; dinashaH yaja yaja = everyday, adore and worship.

tAtparyam= sulabham.

--o)0(o--

चक्रान्तध्वस्तवैरिव्रजम् अजितम् अपास्तावनीभारम् आद्यै
रावीतम् नारदाद्यैर्मुनिभिरभिनुतम् तत्त्वनिर्णीतिहेतोः।
सायाह्ने निर्मलाङ्गम् निरुपमरुचिरम् चिन्तयेन् नीलभासम्
मन्त्री विश्वोदयस्थित्यपहरणपदम् मुक्तिदम् वासुदेवम्॥ ३-१०३

चक्र अन्त ध्वस्त वैरि व्रजम् अजितम् अपास्त अवनी भारम् आद्यै आवीतम् नारद आद्यैः मुनिभिः अभि-नुतम् तत्त्व निर्णीति हेतोः सायाह्ने निर्मल अङ्गम् निरुपम रुचिरम् चिन्तयेत् नील भासम् मन्त्री विश्व उदय स्थिति अपहरण पदम् मुक्ति-दम् वासुदेवम्

cakrāntadhvastavairivrajam ajitam apāstāvanībhāram ādyai
rāvītam nāradādyairmunibhirabhinutam tattvanirṇītihetoḥ |
sāyāhne nirmalāṅgam nirupamaruciram cintayen nīlabhāsam
mantrī viśvodayasthityapaharaṇapadam muktidam vāsudevam || 3-103

cakra anta dhvasta vairi vrajam ajitam apāsta avanī bhāram ādyai āvītam nārada ādyaiḥ munibhiḥ abhi-nutam tattva nirṇīti hetoḥ sāyāhne nirmala aṅgam nirupama ruciram cintayet nīla bhāsam mantrī viśva udaya sthiti apaharaṇa padam mukti-dam vāsudevam

cakrAntadhvastavairivrajam ajitam apAstAvanIbhAram Adyai
rAvItam nAradAdyairmunibhirabhinutam tattvanirNItihetoH |
sAyAhne nirmalA~Ngam nirupamaruciram cintayen nIlabhAsam
mantrI vishvodayasthityapaharaNapadam muktidam vAsudevam || 3-103

flute

cakra anta dhvasta vairi vrajam a+jitam apAsta avanI bhAram Adyai AvItam nArada AdyaiH munibhiH abhi-nutam tattva nirNIti hetoH sAyAhne nirmala a~Ngam nirupama ruciram cintayet nIla bhAsam mantrI vishva udaya sthiti apaharaNa padam mukti-dam vAsudevam

3-103. mantrI= one who chants gopAla mantra - gopAla manta anuShThAna para;

sAyAhne= in evening times - should ruminate on;

cakra anta dhvasta vairi vrajam= one who by his quoit's, edge, eliminated, enemies, hosts;

a+jitam= insuperable one;

apAsta avanI bhAram= one removed, earth's, burden;

Adyai AvItam= by First Entity - brahma et al, one who is surrounded;

nArada AdyaiH munibhiH tattva nirNIti hetoH abhi-nutam=by nArada and other sages, in the matter of deciding Being and Beigness, one who is extolled;

nirmala a~Ngam= who has impeccable, bodily limbs - anthropomorphically kara, charNa AdyA;

 nir+upama ruciram= incomparably, beautiful;

vishva udaya sthiti apaharaNa padam [param]= for world's, emergence, existence, expiration, the terrain of;

mukti-dam= salvation, giver;

nIla bhAsam = sapphire-hued one,

vAsudevam cintayet = son of vasudeva, ruminate over him [in evenings].

tAtparyam = sulabham. [3-103]

--o)0(o--

कोदण्डम् ऐक्षवम् अखण्डम् इषुम् च पौष्पम्
चक्राब्जपाशसृणिकाञ्चनवंशनालम्।
बिभ्राणम् अष्टविधबाहुभिरर्कवर्णम्
ध्यायेद्धरिम् मदनगोपविलासवेषम्॥ ३-१०४

कोदण्डम् ऐक्षवम् अखण्डम् इषुम् च पौष्पम् चक्र अब्ज पाश सृणि काञ्चन वंश नालम्
बिभ्राणम् अष्ट विध बाहुभिः अर्क वर्णम् ध्यायेत् हरिम् मदन गोप विलास वेषम्

kodaṇḍam aikṣavam akhaṇḍam iṣum ca pauṣpam
cakrābjapāśasṛṇikāñcanavaṁśanālam |
bibhrāṇam aṣṭavidhabāhubhirarkavarṇam
dhyāyeddharim madanagopavilāsaveṣam || 3-104

kodaṇḍam aikṣavam akhaṇḍam iṣum ca pauṣpam cakra abja pāśa sṛṇi kāñcana vaṁśa nālam bibhrāṇam aṣṭa vidha bāhubhiḥ arka varṇam dhyāyet harim madana gopa vilāsa veṣam

kodaNDam aikShavam akhaNDam iShum ca pauShpam
cakrAbjapAshasR^iNikA~ncanavaMshanAlam |
bibhrANam aShTavidhabAhubhirarkavarNam
dhyAyeddharim madanagopavilAsaveSham || 3-104

flute

kodaNDam aikShavam akhaNDam iShum ca pauShpam cakra abja pAsha sR^iNi kA~ncana vaMsha nAlam bibhrANam aShTa vidha bAhubhiH arka varNam dhyAyet harim madana gopa vilAsa veSham

3-104. akhaNDam aikShavam kodaNDam= one-piece, sugarcane, bow - one handling such a bow in one hand;

ca= further;

pauShpam iShum= flowery, arrows - handling in the other hand;

 cakra abja pAsha sR^iNi = quoit, conch,noose, goad - handling in four hands;

plus;

kA~ncana vaMsha nAlam= golden bamboo tube - fluting mohana vamshi with two other hands;

bibhrANam aShTa vidha bAhubhiH= one who is wielding,with eight, kinds of, hands;

 arka varNam= goldenly in hue like sun;

madana gopa vilAsa veSham= one in cowboy's, vivacious, getup - called madana gopAla, who is the presiding deity of love - madana tattva adhiShThAta;

harim dhyAyet = on such hari, let us meditate.

tAtparyam = sulabham [3-104]

Needless to say worship in this madana gopAla getup is scheduled for nights.

--o)0(o--

अङ्गुल्या कः कवाटम् प्रहरति कुटिले माधवः किम् वसन्तो
नो चक्री किम् कुलालो न हि धर्णिधर्ः किम् द्विजिह्वा फणीद्रः।
नाऽहम्घोराहिमर्दी किमसि खगपति र्नो हरिः किम् क्पीन्द्रः
इत्येवम् गोपकन्या प्रतिवचन जितः पातुनश्चक्रपाणिः॥ ३-१०५

अङ्गुल्या कः कवाटम् प्रहरति कुटिले माधवः किम् वसन्तः नो चक्री किम् कुलालः न हि धर्णिधर्ः किम् द्वि-जिह्वा फणीद्रः न अहम् घोर अहि-मर्दी किम् असि खगपतिः नो हरिः किम् क्पीन्द्रः इति एवम् गोपकन्या प्रतिवचन जितः पातु नः चक्रपाणिः

aṅgulyā kaḥ kavāṭam praharati kuṭile mādhavaḥ kim vasanto
no cakrī kim kulālo na hi dharṇidharḥ kim dvijihvā phaṇīdraḥ |
nā'hamghorāhimardī kimasi khagapati rno hariḥ kim kpīndraḥ
ityevam gopakanyā prativacana jitaḥ pātunaścakrapāṇiḥ || 3-105

aṅgulyā kaḥ kavāṭam praharati kuṭile mādhavaḥ kim vasantaḥ no cakrī kim kulālaḥ na hi dharṇidharḥ kim dvi-jihvā phaṇīdraḥ na aham ghora ahi-mardī kim asi khagapatiḥ no hariḥ kim kpīndraḥ iti evam gopakanyā prativacana jitaḥ pātu naḥ cakrapāṇiḥ

a~NgulyA kaH kavATam praharati kuTile mAdhavaH kim vasanto
no chakrI kim kulAlo na hi dharNidharH kim dvijihvA phaNIdraH |
nA.ahamghorAhimardI kimasi khagapati rno hariH kim kpIndraH
ityevam gopakanyA prativachana jitaH pAtunashcakrapANiH || 3-105

flute

a~NgulyA kaH kavATam praharati? kuTile! mAdhavaH; kim vasantaH? no chakrI; kim kulAlaH? na hi, dharNidharH; kim dvi-jihvA phaNIdraH? na aham ghora ahi-mardI; kim asi khagapatiH? no hariH; kim kpIndraH? iti evam gopakanyA prativachana jitaH pAtu naH cakrapANiH

3-105. In certain night someone knocked at the door of some milkmaid; she is answering the door like this:

milkmaid from inside: a~NgulyA kaH kavATam praharati? = who is knocking my door?

knocker from outside: kuTile! mAdhavaH = you cunning girl, this is mAdhava;

milkmaid: vasantaH, kim? = what is it, autumn?

knocker = no, chakrI = not that, I am wheel-handler;

milkmaid: kulAlaH, kim? = oh, potter, you mean;

knocker:  na hi, dharNidharH= not indeed, I am bearer of earth's globe;

milkmaid:  dvi-jihvA phaNIdraH? kim = oh, you mean double-tongued king of serpents, is it?

 knocker:  na, aham ghora ahi-mardI= no, no, I myself quashed a great serpent;

milkmaid:  khagapatiH asi kim? = so, you are the lordly eagle - is it?

knocker: no hariH = no, I am hari

milkmaid:  kpIndraH kim? = are you? How are you monkey-chief!

 iti evam= in this way; gopakanyA prativachana jitaH= by milkmaid's, by every retort, one who is nonplussed; cakrapANiH= that wielder of disc [of whole universe]; pAtu naH= save us all.[3-105]

The word mAdhava synonyms with autumn; potter handles a wheel while hari wields sudarshana disc; he is the bearer of earth's globe in a tortoise form, while she takes it as thousand-hooded serpent AdisheSha, which serpent has two tongues while the knocker of the door is a double tongued fellow; he curbed a serpent kAlIya while divine eagle garuDa does the same daily; word hari has a dozen meanings of which monkey is one.

This and the next verses rAdhAmohana... are unavailable in many Telugu mms; hence they do not have vengayAmAtya's Telugu translations.

--o)0(o--

Proem: The following verse is a vyAja stuti rUp complaint of rukmiNi / rAdha:

राधामोहनमन्दिरादुपगतश्चन्द्रावलीमूचिवान्
राधेक्षेममयेऽस्ति तस्य वचनम् श्रुत्वआऽह चन्द्रावली ।
कंसक्षेममये विमुग्धहृदये कंसः क्वदृष्टस्त्वया
राधा क्वेति विलज्जितो नतमुखः स्मेरो हरिः पातु नः॥ ३-१०६

राधा मोहन मन्दिरात् उपगतः चन्द्रावलीम् ऊचिवान् राधे क्षेममये अस्ति तस्य वचनम् श्रुत्वआ आह चन्द्रावली कंस क्षेममये विमुग्ध हृदये कंसः क्व दृष्टः त्वया राधा क्व इति विलज्जितः नत मुखः स्मेरः हरिः पातु नः

rādhāmohanamandirādupagataścandrāvalīmūcivān
rādhekṣemamaye'sti tasya vacanam śrutvaā'ha candrāvalī |
kaṁsakṣemamaye vimugdhahṛdaye kaṁsaḥ kvadṛṣṭastvayā
rādhā kveti vilajjito natamukhaḥ smero hariḥ pātu naḥ || 3-106

rādhā mohana mandirāt upagataḥ candrāvalīm ūcivān rādhe kṣemamaye asti tasya vacanam śrutvaā āha candrāvalī kaṁsa kṣemamaye vimugdha hṛdaye kaṁsaḥ kva dṛṣṭaḥ tvayā rādhā kva iti vilajjitaḥ nata mukhaḥ smeraḥ hariḥ pātu naḥ

rAdhAmohanamandirAdupagatashcandrAvalImUcivAn
rAdhekShemamaye.asti tasya vacanam shrutvaA.aha chandrAvalI  |
kaMsakShemamaye vimugdhahR^idaye kaMsaH kvadR^iShTastvayA
rAdhA kveti vilajjito natamukhaH smero hariH pAtu naH || 3-106

flute

rAdhA mohana mandirAt upagataH candrAvalIm UcivAn rAdhe kShemamaye asti tasya vacanam shrutvaA Aha chandrAvalI kaMsa kShemamaye vimugdha hR^idaye kaMsaH kva dR^iShTaH tvayA rAdhA kva iti vilajjitaH nata mukhaH smeraH hariH pAtu naH

 3-106. rAdhA mohana mandirAt upagataH san= from rAdha's, beautiful, from house, having come; kriShNa; candrAvalIm UcivAn= to another milkmaid called chandrAvali, spoke this way:

kkriShNa: aye rAdhe! kShemam asti = how are you rAdha?

tasya vacanam shrutvaA Aha= on hearing these words she asked him;

chandrAvalI: kaMsa! kShemam= how are you, kaMsa!

kriShNa: aye vimugdha hR^idaye! tvayA kaMsaH kva dR^iShTaH= you, innocent girl! Where do you see kaMsa!

chandrAvalI: Where do 'you' see rAdha! [That embarrassed solecist remained silent];

iti= in this way; vilajjitaH= one who is abashed by her repartee; nata mukhaH= head bent for his catachresis; smeraH= yet smiling wholeheartedly; hariH pAtu naH= that hari, protect us all. [3-106]

--o)0(o--

या प्रीतिर्विदुरार्पिते मुररिपो कुन्त्यर्पिते यादृशी
या गोवर्धनमूर्ध्नि या च पृथुके स्तन्ये यशोदार्पिते।
भारद्वाजसमर्पिते शबरिकादत्तेऽधरे योषिताम्
या प्रीतिर्मुनिपत्नीभक्तिरचितेऽत्रापि ताम् ताम् कुरु॥ ३-१०७

या प्रीतिः विदुर अर्पिते मुररिपोः कुन्ति अर्पिते यादृशी या गोवर्धन मूर्ध्नि
या च पृथुके स्तन्ये यशोद अर्पिते भारद्वाज समर्पिते शवरिका दत्ते अधरे योषिताम्
या प्रीतिः मुनि पत्नी भक्तिः अचिते अत्र अपि ताम् ताम् कुरु

yā prītirvidurārpite muraripo kuntyarpite yādṛśī
yā govardhanamūrdhni yā ca pṛthuke stanye yaśodārpite |
bhāradvājasamarpite śabarikādatte'dhare yoṣitām
yā prītirmunipatnībhaktiracite'trāpi tām tām kuru || 3-107

yā prītiḥ vidura arpite muraripoḥ kunti arpite yādṛśī yā govardhana mūrdhni yā ca pṛthuke stanye yaśoda arpite bhāradvāja samarpite śavarikā datte adhare yoṣitām
yā prītiḥ muni patnī bhaktiḥ acite atra api tām tām kuru

yA prItirvidurArpite muraripo kuntyarpite yAdR^ishI
yA govardhanamUrdhni yA ca pR^ithuke stanye yashodArpite |
bhAradvAjasamarpite shabarikAdatte.adhare yoShitAm
yA prItirmunipatnIbhaktiracite.atrApi tAm tAm kuru || 3-107

flute

yA prItiH vidura arpite muraripoH kunti arpite yAdR^ishI yA govardhana mUrdhni yA ca pR^ithuke stanye yashoda arpite bhAradvAja samarpite shavarikA datte adhare yoShitAm
yA prItiH muni patnI bhaktiH acite atra api tAm tAm kuru

3-107. muraripoH= oh, enemy of demon mura; [te= to you]; vidura arpite= by vidura, furnished - small-time dinner; yA prItiH= which kind of contentment is there;

kunti arpite yAdR^ishI [prIti] = by lady kunti given [food], which kind of gladness is there;

govardhana mUrdhni yA [prIti] = on govardhana mount [which kind of satisfaction is there with the food given by fellow cow-minding boys];

 pR^ithuke yA [prIti] ca = in receiving rice-flakes,[which kind of elation is there in r receiving rice-flakes from sudAma / kuchela];

 yashoda arpite stanye [yA prIti] = by yashoda, given, breastfeeding [which kind of euphoria is there in receiving breastfeed from yashoda];

[yA prIti] bhAradvAja samarpite= [which kind of acceptance is there in receiving reception given by] sage bhardvAja [in rAma incarnation];

[yA prIti] shabarikA datte= [which kind of joy is there in receiving half bitten fruits] given by shabari [in rAma incarnation];

yA prItiH muni patnI bhaktiH acite= [which kind of compliance is there in receiving food sincerely given] by the wives of sages [in kriShNa incarnation]

above all;

[yA prIti] yoShitAm adhare= [which kind of exhilaration is there] in the milkmaids', lips;

atra api= in this small present called shrI kR^iShNakarNAmR^itam;
tAm=
that kind of; tAm= gladness; kuru= you please endow.

Whatever contentment you expressed in receiving small-time dinners from vidura, or the gladness from a square meal given by lady kunti, or the satisfaction you derived from the alfresco lunches with fellow cowboys on the mount of govardhana, or the kind of elation in receiving rice-flakes from sudAma / kuchela, or the euphoria from the breastfeed of lady yashoda, or the gladness in receiving reception given by sage bhardvAja, or the joy you had in receiving half bitten fruits from lady shabari, or the compliance you showed in receiving sincerely given food from the wives of sages, or... or... or...or... why this ennuyant list... one thing suffices for all... whatever exhilaration is there to you in smacking the lips of milkmaids, oh, murAri, the same kind of jollity may please be bestowed in receiving this small souvenir called shrI kRiShNa karNAmR^itam. [3-107]

--o)0(o--

क्रिष्णानुस्मरणदेव पाप स्ङ्घातपङ्जरः।
शतधा भेदमायाति गिरिर्वज्रहतो यथा ॥ ३-१०८

क्रिष्ण अनुस्मरणत् एव पाप स्ङ्घात पङ्जरः शतधा भेदम् आयाति गिरिः वज्र हतः यथा

kriṣṇānusmaraṇadeva pāpa sṅghātapaṅjaraḥ |
śatadhā bhedamāyāti girirvajrahato yathā || 3-108

kriṣṇa anusmaraṇat eva pāpa sṅghāta paṅjaraḥ
 śatadhā bhedam āyāti giriḥ vajra hataḥ yathā

kriShNAnusmaraNadeva pApa s~NghAtapa~NjaraH |
 shatadhA bhedamAyAti girirvajrahato yathA  || 3-108

flute

kriShNa anusmaraNat eva pApa s~NghAta pa~NjaraH shatadhA bhedam AyAti giriH vajra hataH yathA 

3-108. kriShNa anusmaraNat eva= kriShNa, by ruminating over, only; pApa s~NghAta pa~NjaraH= sins, hosts, called a cage - where each bar or wire of a cage is a sin, a mesh of sins; vajra hataH giriH yathA= by thunderbolt, struck down, a mountain, as with; shatadhA bhedam AyAti = in hundreds of ways, fragmented, it come to.

As with a mountain fragmented just by the stroke of Thunderbolt, the cage crafted with bars or wires called sins, in which one's soul called parrot is intricately hutched, will be shattered to smithereens just by the dint of ruminating over kriShNa. [3-108]

This verse appears in one edition only. The editions printed in 1905 and 1910 do not have this, and there is no Telugu translation by vengayamAtya. But, this is retained in later time printed versions as some kind of mangalAnushAsanam, though the work of poet evidently concluded with verse 107.

--o)0(o--

.

इति लीलाशुक विरचिते श्री कृष्ण कर्णामृते तृतीयोध्यायम् - तृतीय शतकम् - समाप्तम्
सर्वम् सम्पूर्णम्।

iti līlāśuka viracite śrī kṛṣṇa karṇāmṛte tṛtīyodhyāyam - tṛtīya śatakam - samāptam

sarvam sampūrṇam|

Thus the third and final chapter - third 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, August 09

desirajuhrao at yahoo.com