Rādha's friend returns to Krishna to inform about the ecstatic state of Rādha.
अथ ताम् गन्तुमशक्ताम् चिरमनुरक्ताम् लतागृहे दृष्ट्वा ।
तच्चरितम् गोविन्दे मनसिजमन्दे सखी प्राह॥ ६-१
प छे- अथ ताम् गन्तुम् अशक्ताम् चिरम् अनुरक्ताम् लता गृहे दृष्ट्वा
तत् चरितम् गोविन्दे मनसिज मन्दे सखी प्राह
6-1. atha= then; sakhii= girlfriend; taam= her [Rādha ]; dR^iSTvaa= on seeing; gantum a+shaktaam= to go [immediately,] unable to [uncompliant to]; chiram lataa gR^ihe anuraktaam = for a long, in creeper, house [bower,] interested [dawdling]; [meaning that Rādha is clinging to this bower expecting Krishna to come here, unyielding]; tat caritam= that, episode; govinde manasija mande= to Krishna, who by Lovegod, became dreary-minded; pra aaha = clearly said [started to tell in this episode of poem.]
That girlfriend of Rādha, on coming to Rādha from Krishna, saw Rādha still dawdling in the same bower and uncompliant to go to Krishna immediately; then that girlfriend again returned to Krishna, and started to tell clearly about that episode of Rādha 's unyieldingness. [6-1]
अष्टपदि १२ धन्य -धृष्ट वैकुण्ठम्
पश्यति दिशि दिशि रहसि भवन्तम्। तदधरमधुरमधूनि पिबन्तम्।
नाथ हरे हरे जगन्नाथ हरे। सीदति राधा वासगृहे - धृवम्॥ अ प १२-१
प च्छे- पश्यति दिशि दिशि रहसि भवन्तम् तत् अधर मधुर मधूनि पिबन्तम्
नाथ हरे हरे जगन्नाथ हरे सीदति राधा वासगृहे - धृवम्
a pa 12-1. hи naatha= oh, lord; hare= oh, Krishna; jagannatha= master of worlds; hare= oh, stealer of sins; raadhaa= Rādha; vaasagR^ihe= in a bower; siidati= saddened/aweary; tadadhara, or tvatadhara - tvat= those, other milkmaids' [here tvat shabda anya shabda paryaaya, ta kaaraanta, sarva naama - tvacChabdo.anya vaacii dviH paThitaH... dvaavapi anudaattau-prakriyaa prasaada grantha, sarva naama vyaakhya]; adhara madhura madhuuni = lips', luscious, nectar; rahasi= in secrecy; pibantam= swilling; bhavantam= for you; pashyati dishi dishi= looking [for you,] in direction, direction; reprise - raadhaa= Rādha; siidati= is aweary; vaasagR^ihe= in an arbour.
"he, lord Krishna, master of worlds, stealer of sins, saddened Rādha is in a bower, and she looks for you, a secret swiller of nectar from the lips of other milkmaids, in all directions... thus, Rādha is aweary in an arbour...
Here the poet uses a pun for the word naatha hare meaning an impetuous bull roped at nose for restraining its impetuosity. naadham = naasaa rajjum, harati = gR^ihNaati, iti naadha hari 'when Rādha is patiently waiting in that bower, your not coming to her is bullish, hence you are not only a gopala, but also a horny bull...' Then he may ask 'why she is so touchy, she could have come here...' for this she is saying as below.
पतति पदानि कियन्ति चलन्ती॥ अ प १२-२
प च्छे - त्वत् अभिसरण रभसेन वलन्ती पतति पदानि कियन्ति चलन्ती
a pa 12-2. tvat abhisaraNa= to you, in coming; rabhasena valantii= speed [enthusiasm] having [groggy, muzzy]; kiyanti padaani chalantii patati= some, steps, on walking, falls.
"Muzzy with enthusiasm in coming to you, she walks some steps but falls... hence, Rādha is aweary in an arbour... [a pa 12-2]
Vividly: 'She walks a few steps, but your infidelity comes to her mind and she stops, but takes some more steps, your duplicity comes to her mind and she stops, yet after some more steps your chicanery reminds her to stop... in this back and forth dance-stepping, her steps stumble and she tumbles... yet she is somehow living but for thinking on you...' from choreographers viewpoint. How she is 'living' is said next.
जीवति परमिह तव रतिकलया॥ अ प १२-३
प च्छे- विहित विशद बिस किसलय वलया जीवति परम् इह तव रति कलया
a pa 12-3. Rādha; vihita= on making; vishada= fresh/cool; bisa kisalaya= lotus, tender leaves, or stems; valayaa= [lexically] by bracelets - but a veil, cover, soother for the present burning; tava param rati kalayaa= your, blissful, [earlier enjoyed] association, by dream; iha jiivati= now, living.
"On making fresh and cooling tender lotus leaves as a soothing veil against the present burning, she is now living by the help of dreams on your blissful association, enjoyed earlier by her... [a pa 12-3]
मधुरिपुरहमिति भावनशीला॥ अ प १२- ४
प च्छे- मुहुः अवलोकित मण्डन लीला मधु रिपुः अहम् इति भावन शीला
a pa 12-4. muhuH avalokita = repeatedly, on observing [them and herself in a mirror]; maNDana liilaa= [your] ornament's, following that style - she is decorating herself with ornaments you usually wear; madhu ripuH aham= Madhu's, enemy, I am; iti= thus; bhaavana= thinking; shiilaa= with feeling; [vartate= conducting herself.]
Readjusting her ornaments to look like those of yours and on assuming your persona she repeatedly observes them and says, 'I am Krishna...' [a pa 12-4]
Vividly: She looks at her ornaments to examine whether they are befitting for a meeting with you. She adjusts them to look better. In doing so, she unwittingly adjusts head ornament as peacock feather, puts some dangling earring as your knobbly earrings, holds strings of pearls or a necklace as your flute, and so on. And then, on looking at her own get up she declares 'I am Krishna...'
Here the core subject of this work is posted. Rādha not only identifies herself with Krishna, but also declares that she is Krishna. Other non-romantic characters like Seetha, Savitri et al appear to not have averred like this, except a divinity like naaraayaNi - aham naaraayaNii naam saa vaiSNavii paraa - I am indeed naaraayaNii [i.e. LakShmi] the supreme essence of Vishnu - lakShmi tantra 3.1
त्वरितमुपैति न कथमभिसारम् ।
हरिरिति वदति सखीमनुवारम्॥ अ प १२-५
प च्छे- त्वरितम् उपैति न कथम् अभिसारम् हरिः इति वदति सखीम् अनुवारम्
a pa 12-5. hariH= Krishna; tvaritam= swiftly; abhisaaram= to preset place; katham= how [why]; na upaiti= not, coming; iti= thus; anuvaaram= repeatedly, all the while; sakhiim vadati= to friend, saying [asking; why he doesn't come to me when I am he and he is me.]
All the while she is checking up with her friend exclaiming, "how is that he doesn't come promptly come to my place if he has that much simpatico... but summons me there... [a pa 12-5]
श्लिष्यति चुम्बति जलधरकल्पम् ।
हरिरुपगत इति तिमिरमनल्पम्॥ अ प १२-६
प च्छे- श्लिष्यति चुम्बति जलधर कल्पम् हरिः उपगत इति तिमिरम् अनल्पम्
a pa 12-6. hariH upagata iti= Krishna, drew nigh, thus [on thinking]; jaladhara kalpam = cloud, like; an alpam= not, small [pitch-black]; timiram= darkness; shliSyati chumbati= hugs, kisses.
"When she steps out that bower she sees the pitch-black cloudlike darkness, and thinking that Krishna drew her nigh, she hugs and kisses that darkness... [a pa 12-6]
भवति विलम्बिनि विगलितलज्जा ।
विलपति रोदिति वासकसज्जा॥ अ प १२-७
प च्छे - भवति विलम्बिनि विगलित लज्जा विलपति रोदिति वासक सज्जा
a pa 12-7. vaasaka= in her dwelling place; sajjaa= rati liilopakaraNaiH sajjita= readying herself decorating with befitting ornaments; bhavati vilambini= by you, delayed [in coming there]; vigalita lajjaa= slithered, shame; vilapati= she whines; roditi= whimpers.
"She readying her self decorated in befitting ornaments is waiting in her dwelling place, but when you delay in your coming, slithered is her shame, and she whines and whimpers... [a pa 12-7]
The word vaasaka sajjika is a name to the romantic heroine waiting for her hero, and the poet uses this word for another purpose as above. In this song the heroine with such mood and the hero is shaTha.
रसिकजनम् तनुतामतिमुदितम्॥ अ प १२-८
प प्च्छे - श्री जयदेव कवेः इदम् उदितम् रसिक जनम् तनुताम् अति मुदितम्
a pa 12-8. shrii= shrii suukti = auspicious saying; jayadeva kaveH= Jayadeva, by poet; idam uditam = this, [that is] said; rasika janam= for aesthetic, people; ati muditam= highly, gladdening; tanutaam = may cause.
May this auspicious song said by poet Jayadeva cause utmost gladness to aesthetic people... [Annex: 'For it is a treatise of divinely romantic aesthetics...] [12-8]
तव कितव विधत्तेऽमन्दकन्दर्पचिन्ताम्
रसजलधिनिमग्ना ध्यानलग्ना मृगाक्षी॥ ६-२
प च्छे- विपुल पुलक पालिः स्फीत सीत्कारम् अन्तः
जनित जडिमा काकु व्याकुलम् व्याहरन्ती
तव कितव विधत्ते अमन्द कन्दर्प चिन्ताम्
रस जलधि निमग्ना ध्यान लग्ना मृग अक्षी
6-2. he kitava= he dhuurta= you, beguiler; [saa] mR^igaakShii= [she that] deer-eyed Rādha; vipula pulaka paaliH= ample, thrills, ranges [series]; sphiita= increasing; siitkaaram yathaa tathaa= whining [meaning that she caught hold of you in her contemplation, and when you started to express your love with your danta nakha kShata cumbana aalinganaadi caryaaH - she deeming avoiding your advances, she pulls herself away from you, but coos and whines in pleasure etc]; antaH janita jaDimaa= internally, born, stolidity jaDatva; kaaku= grumbles; vyaakulam vyaaharantii = embarrassedly, behaving [behaving in an odd fashion in that trans by gestures of pulling away from you, when you have tried failingly to kiss her by catching her bun - thereby she went into a haava called kuTTamita and started saying words of refusal - niSedha vaakyaaH, which to others appear to be foolish]; tava vidhatte= by you, imposed; amanda kandarpa chintaam= not less [high,] passion, worried one; rasa jaladhi nimagnaa= aesthetic pleasure, called deep-sea, deluged in; dhyaana lagnaa= in thought, tenacious.
"You beguiler, brooding on you she that deer-eyed Rādha is in ecstasy; in that state when she thinks that she got you at her near, her thrilling sensations are ample and in series; in her phantasmic trance, born out of internal stolidity, she is behaving in an embarrassed manner with grumbles of avoidance; all this is imposed by you and she, a worried one with high passion, is tenacious to your thought and deluged in deep-sea, called aesthetic pleasure... sudhaakara rasa aarNavam. [6-2]
It is quite common for anyone to get shivers and shudders if drenched in cold for a long time. Then they articulate shivers owing to their freezing cold. Here, the situation is reverse. The body is burning with desire, and she is deluged in an ocean, which is like molten lava. Then her shivers and shudders shall be more than ordinary cold caught person.
The stolidity occurred to her is the jaDatva the fifth sate in aesthetics of love manmatha avastha The a feeling called haava is caused and that haava is called kuTTamita . The causing scene for kuTTamita haava to a heroine is as like this: kesha adhara aadi grahaNe mudamaanaa api maanase | duHkhitena bahiH kupyuet atra kuTTamitam tu tat || 205 'a heroine who is happy inwardly but pretends to be painful, uninterested, resentful etc., when the hero handles her by her bun, in trying to kiss her etc., is kuTTamita haava - rasaarNava sudhaakaram
A word about this treatise rasaarNava sudhaakaram This is written by simhabhuupaala, an erstwhile Telugu king. This book perhaps is ill fated to be republished and remained in the shelves of archives. But this is made available per kindness of Gaudiya Grantha Mandir, in bare Sanskrit text, at granthamandira.org with an assurance 'a separate edition with examples will be offered soon - Jan Brzezinski...' In this book the situations to use words kitava, dhuurta are also incorporated. But they are not elaborated here. Next, this girlfriend hurries Krishna to reach Rādha, before it is too late.
अङ्गेष्वाभरणम् करोति बहुशः पत्रेऽपि संचारिणि
प्राप्तम् त्वाम् परिशङ्कते वितनुते शय्याम् चिरम् ध्यायति।
सक्तापि विना त्वया वरतनुर्नैषा निशाम् नेष्यति॥ ६-३
प च्छे - अंगेषु आभरणम् करोति बहुशः पत्रे अपि संचारिणि
प्राप्तम् त्वाम् परिशंकते वितनुते शय्याम् चिरम् ध्यायति
इति आकल्प विकल्प तल्प रचना संकल्प लीला शत
व्यासक्ता अपि विना त्वया वरतनुः न एषा निशाम् नेष्यति
6-3. varatanuH= best bodied; [curvaceous (esp. of a woman) having a shapely curved figure, Rādha]; eSaa= this way; a.ngeSu aabharaNam karoti= on limbs, jewellery, making [decorating, by this akalpa is said]; bahushaH= many times; patre= leaves [or feather, wings]; api= even if; sa.nchaariNi = moving [rustling]; tvaam praaptam= you, bechanced; parishankate = surmises [by this vikalpa is said]; vitanute shayyaam = makes, bed [by this shayya racana is said]; chiram dhyaayati = for a long time, contemplates on you [with this sankalpa is said]; iti= this way; aakalpa= sva dehaalankaara carya= decorating with befitting items for a meet; vikalpa= fidgety - expecting arrival, but failing to find]; talpa rachanaa= bed, making - a precautionary preparation, without annoying her hero; sankalpa= mulls over - single minded devotion; liilaa [vilaasaaH ]= attitudinizes [2 speak, write, or behave affectedly]; shata= in hundreds of ways; vyaasaktaa [vi aasaktaa= with high, rapture [nympholepsy= n. ecstasy or frenzy caused by desire of the unattainable - NOT nymphomania pl.] api= even with; vinaa tvayaa= without, you; nishaam na eSyati= night, not, able to lead off.
"That curvaceous Rādha, with every jewellery of every description, is decorating her limbs; with every rattle of wings or rustle of leaves she surmises that you have bechanced; with every flower and every tender leaf she makes a bed, lest no time need be wasted; thus, she is contemplating on you for a long, long a time... and thus she attitudinizes her normal attitude with over-decoration, over-titillation, over-preparation, and with over-meditation, hence she is unable to lead off nights, without you... [6-3]
Hoping that no more pedantry is required here, we go to next verse, which is a benedictory conclusion unseen in many other mms. On this below mentioned verse the commentator of rasamanjari has not commented, but one commentator known as kumbhakarNa has commented in his work, and unsure is that, whether critical editions have referenced this or not, because this is not a critical version, but a criticisable one.
किम् विश्राम्यसि कृष्णभोगिभवने भाण्डीरभूमिरुहि
भ्रात र्याहि नदृष्टिगोचरमितस्सानन्दनन्दास्पदम्।
गोविन्दस्यजयन्ति सायमतिथिप्राशस्त्यगर्भागिरः॥ ६-४
प छे - किम् विश्राम्यसि कृष्ण भोगि भवने भाण्डीर भूमिरुहि
भ्रातः याहि न दृष्टि गोचरम् इतः स अनन्द नन्द आस्पदम्
रधाया वचनम् तत् अध्वग मुखात् नंद अन्तिके गोपतः
गोविन्दस्य जयन्ति सायम् अतिथि प्राशस्त्य गर्भाः गिरः
6-4. hè bhraataH= oh, brother [oh, traveller]; kR^iSNa bhogi bhavane= black, cobra, palace of; [or, shleSa: kR^iSNa bhogi bhavane= someone called Krishna, an enjoyer, in his abode]; bhaaNDiira bhuumi ruhi= banyan tree with holes in trunk; [or, shleSa: bhaaNDiira= treasure house; bhuumi ruhi= from earth, arose [Krishna who came into existence as an earthly being]; kim vishraamyasi= why, you take respite; yaahi= go away; sa aananda= with, happiness; nanda aaspadam= nanda's [Krishna's father,] a hospice [house of Nanda]; itaH= from here; na dR^iSTi gocaram [kim?]= not, to eye, visible, [or what?]; adhvaga mukhaat= a wayfarer's, from face; radhaayaa tat vacanam= Rādha's, that, words; na.nda antike= at father Nanda, nearby; gopataH= cowherd; govindasya= of Krishna; saayam atithi praashastya = evening time, guest invitee, as though welcoming] with praise; garbhaaH [narmagarbha]= impregnated [with inner meaning]; giraH= words; jayanti= are paramount.
Vividly: Rādha is asking Krishna to come to a particular place for their pleasure tripping. But she cannot tell it directly to Krishna as his father Nanda and others are there tending cattle. In the meanwhile she caught sight of a traveller tarrying under a banyan tree. She immediately yelled at him saying, "Oh, traveller, why do you take respite under that banyan tree with holes in its trunk into which black cobras truck in and out... oh, brother, won't you see that house of Nanda, a happiest hospice... please go there for a boundless hospitality... [aside: but leave that tree at once... for it is our preset retreat, and it shall serve as a happy abode for Krishna, the enjoyer..."] containing such words of Rādha, impregnated with inner meaning in inviting an evening time invitee, either a traveller or a beguiler, this song shall be paramountly devotional... so sayest poet Jayadeva... [6-4]
इति गीतगोविन्दे वासकसज्जावर्णने कुण्ठवैकुण्ठो नाम षष्टः सर्गः
Thus, this is the 6th chapter, called Inconsiderate Krishna, in giita govindam of Jayadeva.
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Oct, 2003, Desiraju Hanumanta Rao; Revised Nov 08