Rādha's friend admonishes her for her misdemeanour with Krishna, though he is somewhat unpretentiousness.
तामथ मन्मथखिन्नाम् रतिरसभिन्नाम् विषादसम्पन्नाम्।
अनुचिन्तितहरिचरिताम् कलहान्तरितमुवाच सखी॥ ९-१
प च्छे - ताम् अथ मन्मथ खिन्नाम् रति रस भिन्नाम्
विषाद सम्पन्नाम् अनुचिन्तित हरि चरिताम् कलहान्तरितम् उवाच सखी
9-1. atha= then; manmatha khinnaam= by Lovegod, rendered helpless [worsted]; rati rasa bhinnaam = love's, longing for savour, wrecked [or, separated from having it]; viSaada sampannaam = woe, wealthy of; anu chintita= continually, thinking; hari charitaam= Krishna's, demeanour; kalahaantaritam= to kalaha-antarita - one among eight types of poetic heroines - 'sorry-after-squabble' heroine; taam= to her, that Rādha; sakhii= girlfriend; uvaacha= advised.
Then to Rādha, who is by now worsted by Lovegod, whose savour for love is just wrecked, hence she is wealthy in her woes, yet who is continually thinking about Krishna's demeanour, to such a 'sorry-after-squabble' heroine of Krishna, her girlfriend advised. [9-1]
The mood of this kalahaantarita 'sorry-after-squabble' heroine will be like this: praaNeshvaram praNaya kopa [bhareNa] bisheSa bhiitam | yaa caaTukaaram avadhiirya visheSa vaagbhiH | sa.mtapyate madana vahni shikhaa sahasrasaiH | baaSa aakula ca kalahaa.ntarita hi saa syaat || One who lashes her tongue at her lover with many possible synonyms for a single misdeed, till the point of his helpless leaving, and then she starts unilateral repentance, wet with tears and wearying for his reappearance. In this mood the hero is anukuula, an obliging fellow, heroine as above, and the friend duuti a harbinger-cum-prognosticator.
अष्ठपदि १८ अमन्दमुकुन्दम्
हरिरभिसरति वहति मधुपवने।
किमपरमधिकसुखम् सखि भवने।
माधवे मा कुरु मानिनि मानमये - धृवम्॥ अ प १८-१
प छे - हरिः अभिसरति वहति मधु पवने किम् अपरम् अधिक सुखम्
सखि भवने माधवे मा कुरु मानिनि मानम् अये
a pa 18-1. hè maanini=oh, vain, proud - cocky girl; ayè= you, girlie [Rādha]; maadhave= about Maadhava [ maa= Lakshmi's, dhava= husband - don't think that he belongs to Lakshmi alone, he is yours too]; maanam maa kuru= cockiness, don't, do; madhu pavane vahati= autumnal, breeze while breezing; hariH= Krishna; abhi sarati= towards [your preset place] comes; [reprise] hè sakhi= o, dear; bhavane= in home, in your realm [or, bhuvane= in your realm of love, in world ]; aparam adhika sukham kim= to boot, a better, elatedness, what [is there, or you have.]
"You, cocky girlie, don't show off your cockiness, for Krishna comes
to you when the autumnal breeze breezes... O, dear, what better rapt you've in the
world, to boot... [a pa 18-1]
हरिरभिसरति वहति मधुपवने।
किमपरमधिकसुखम् सखि भवने।
माधवे मा कुरु मानिनि मानमये - धृवम्॥ अ प १८-१
प छे - हरिः अभिसरति वहति मधु पवने किम् अपरम् अधिक सुखम् सखि
भवने माधवे मा कुरु मानिनि मानम् अये
a pa 18-2. taala phalaat api gurum= palm, fruit, more than that, heavier; ati sa rasam= much [plethoric,] with, juice; kucha kalasham= bosoms, pot-like [jaatyaikavacanam, common nouns]; kim viphalii kuruSe= why, fall into disuse, you make.
"Heavier than palm-fruits, plethoric in juice are these pot-like bosoms of yours, why do make them fall into disuse... O, dear, what better rapt you've at home, to boot... [a pa 18-2]
This comparison has some illustration about nature, apart from just romance. Palm tree, as all know, is the tallest fruiting tree, and its fruits, not dates, are therefore supposed to be the loftiest among all fruits, both height wise and their content wise. They fruit palm juice in a three-eye sap sockets, and that juice is poor man's much liked cool drink in summer. It instantaneously reduces body heat, minus any side effects, and hence, the palm fruits are praiseworthy for a cooling effect. If these are left unused, for want of some toddy taper, or a climber to go to such a height, as they are 'not-so-easy- to-get' variety, they become stony and fall. Even then, they will be put to use by burning them in grass, for eating its kernel, which has no such medicinal effects. This is in mundane variety of understanding poet's words in commonplace parlance.
The other sense attached to such anga pratyanga
varNana 'limb by limb poetising' - it is to be said, whenever a female deity
or goddess is pictured, it doesn't go without such descriptions, because a mother
is identifiable by bust by the offspring, which was once useful for its birth. Minus
them she is nowhere. In lalita sahasra naama, such mother
is said to have 'stony breasts...' kaThina sthala maNDalaa...
meaning - let millions and millions take birth; this mother-nature somehow nourishes
them, for her mamma knows no wizening effect. So, let us give nature its own due.
किम् विफलीकुरुषे कुचकलशम्॥ अ प -१८-२
प छे - ताल फलात् अपि गुरुम् अति सरसम्
किम् विफली कुरुषे कुच कलशम्
a pa 18-3. hè maaninii= O, cocky girl; atishaya ruchiram= surpassingly, delectable; harim= Krishna be; maa parihara= don't, shun away; idam= this [word, little talk]; a + chiram= not, long before [just now]; kati= how many times; anu padam= at each, step; na kathitam= not, said [by me, of course.]
"O, cocky girl, don't shun that Krishna, for he is surpassingly delectable, and how many times I haven't said this little talk, not just now and on each and every step of yours... [a pa 18-3]
Yet, Rādha goes on refusing Krishna... for she is an emblem of
happiness for Krishna hlaadinii shakti, and a symbol
of unquenchable desire, like nature. Krishna will always be trying to quench it,
but rarely nature gets satisfied, and demands him to be always with him, instead
of incarnating himself now and then, to see her or her wellbeing. Krishna's appearance
and disappearance in raasa liila, the ronde dance, in
Brindavan symbolises with god's periodic visitation to earth. When it is said, that
god created whole universe, in any ism, why he or his messengers chance only upon
earth? Why don't they go to Mars, Moon, or to some Black Hole? That too, in India
he has to come personally without sending some of his deputies. Because, that so-called
Nature, hlaadini shakti, is only here on this Blue Dot,
however querulous she might be. So, instead of remarrying that nature with that
god, let us give her, her own due.
किमिति विषीदसि रोदिषि विकला।
विहसति युवतिसभा तव सकला॥ अ प १८-४
प च्छे- किम् इति विषीदसि रोदिषि विकला विहसति युवति सभा तव सकला
a pa 18-4. kim iti viSiidasi= why, this way, you sink down; vi kalaa rodiSi= less, lustre [lacklustre, namby-pamby] you wail; vi hasati= verily, laugh; tava sakalaa= your, all; yuvati sabhaa= girls, guild [a medieval association of craftsmen or merchants, here milkmaids.]
"This way, why do you sink down and wail, you namby-pamby, all of your girlfriends in our guild are laughing at you, really... [a pa 18-4]
Nature's worrying, say this earth's worrying, weeping, and wailing
for the arrival of that Ultimate onto her is as old as Fish Incarnation. Every time
he comes here, does some tricks and gets out as soon as his feats are over. But
Nature wants that God to be always with her, and he escapes from her on politely
feigning something, and all this comes to mean - "you be in your place, I'll be
in my place, but I come to you only, only to go from your proximity..." as Jean-Paul
Sartre prefers to say: L’existence précède et commande l’essence...
Existence precedes and rules essence. This is the Indian variety of
vyaavhaarika satta a colleague at loggerheads with his
'Being and Nothingness.'
हरिमवलोक्य सफल नयने॥ अ प १८-५
प छे - स जल नलिनी दल शीतल शयने हरिम् अवलोक्य सफल नयने
a pa 18-5. sa jala= with, water [or, mR^idula= softish]; nalinii dala= lotus, petals; shiitala shayane= cool [refreshing,] on bed; harim avalokya= at Krishna, contemplate; [then only you will become]; sa phala nayane= with, fruition, for your eyes will be [or, one with fructified eyes, for she had once seen him.]
"Contemplate on Krishna reposing on a freshening bed of moist lotus petals, then your eyes comes to fruition... [a pa 18-5]
You are that lotus bed, serving as his sustainment. See that
way with your third eye, then only you realise your being is not different form
that of his.
जनयसि मनसि किमिति गुरुखेदम्।
शृणु मम वचनमनीहितभेदम्॥ अ प १८-६
pप छे - जनयसि मनसि किम् इति गुरु खेदम्
शृणु मम वचनम् अनीहित भेदम्
a pa 18-6. kim iti= why, this way; guru khedam= heavy, sadness; manasi janayasi= in heart, you give raise; shR^iNu mama vachanam= listen, to my, words; aniihita= unwished for [unenviable,] bhedam= having inequality [among you too -finishing line, without broadening vyaakhya.]
"Why you give raise to a heavy sadness in your heart this way, listen
to my words that explain an unenviable inequality among you two... [18-6]
हरिरुपयातु वदतु बहुमधुरम्।
किमिति करोषि हृदयमतिविधुरम्॥ अ प १८-७
प च्छे- हरिः उपयातु वदतु बहु मधुरम्
किम् इति करोषि हृदयम् अति विधुरम्
a pa 18-7. hariH upayaatu= Krishna, comes [to you]; vadatu bahu madhuram= speaks, much, melodiously; kim iti karoSi hR^idayam= why, this way, you render, your heart; ati vidhuram= muchly, wrench.
"Krishna comes to you, talks to you much melodiously, then why you wrench your heart this much... [a pa 18-7]
This and the above 'inequality' statements have some bearing
to the sayings of Bhagavad Gita, more so aatma samyamna yoga
of it. Don't sit thinking 'he' and 'me' - a-cintya-bheda-a-bheda
- for none knows what connection exists between the Ultimate and the later.
सुखयतु रसिकजनम् हरिचरितम्॥ अ प १८-८
प च्छे- श्री जयदेव भणितम् अति ललितम्
सुखयतु रसिक जनम् हरि चरितम्
a pa 18-8. jayadeva bhaNitam= by Jayadeva, said; ati lalitam= very, subtle; shrii hari charitam= providential, Krishna's, allegory; sukhayatu rasika janam= give bliss, to revelling, people [in his lore.]
Let the allegory of providential Krishna, said by Jayadeva, be blissful
to the revellers in his lore... [a pa 18-8]
स्निग्धे यत्परुषासि यत्प्रणमति स्तब्धासि यद्रागिणि
द्वेषस्थासि यदुन्मुखे विमुखताम् यातासि तस्मिन्प्रिये।
तद्युक्तम् तद्विपरीतकारिणि तव श्रीखण्डचर्चा विषम्
शीतांशुस्तपनो हिमम् हुतवहः क्रीडामुदो यातनाः॥ ९-३
प च्छे- स्निग्धे यत् परुषा असि यत् प्रणमति स्तब्धा असि यत् रागिणि
द्वेषस्था असि यत् उन्मुखे विमुखताम् याता असि तस्मिन् प्रिये
तत् युक्तम् तत् विपरीतकारिणि तव श्रीखण्ड चर्चा विषम्
शीतांशुः तपनः हिमम् हुतवहः क्रीडा मुदः यातनाः
9-3. yat= by which reason; tasmin priye= that, lover; snigdhe [sati]= when friendly; paruSaa asi= unfriendly, you are; yat= by what; praNamati= he adjoins his palms at you, to appease; stabdhaa asi= uncommunicative [unappeasable,] you are; yat= by which; raagiNi= he is inclined in you; dveSasthaa asi= disinclined, you are; yat= by what reason; unmukhe= he is pro-faced [favourable]; vi+mukhataam yaataaasi= face turned away [disfavour,] you go into a state of; tat= by that reason alone; hè vipariita kaariNi= oh, intemperance, causer of - intemperate Rādha; tava= to you; shriikhaNDa charchaa= sandal-paste, body cream; viSam= [becoming] venom; shiitaa anshuH= one with cool, beams - moonbeams; tapanaH= burner - [becoming as] sun; himam= snow; hutavahaH= [becoming as] fire; kriiDaa mudaH= in romantic games, cheers; yaatanaaH= [becoming as] tortures; yuktam= meetly.
"By which reason you are unfriendly when that lover of yours is friendly,
unappeasable when he is appeasing, disinclined when he is inclined, and your falling
into disfavour when he is favourable... oh, intemperate Rādha, by the reason of
that intemperance of yours, your sandal-paste skincare is becoming a venom, cooling
moon as a scorching sun, snow as a fire, cheers in romantic sport as hellish tortures,
and the are all is meetly to unreasonable you. [9-3]
श्री गोविन्दपदारविंदमशुभस्कन्दायवन्दामहे॥ ९-४
प च्छे - सान्द्र आनन्द पुरन्दर आदि दिविषत् बृन्दैः अमन्द
आनम्रैः मकुट इन्द्र नील मणिभिः संदर्शित इन्दिन्दिरम्
स्वच्छन्दम् मकरन्द सुन्दर मिलत् मन्दाकिनी मेदुरम्
श्री गोविन्द पद अरविंदम् अशुभ स्कन्दाय वन्दामहे
9-4. a+manda aadaraat= by his not, slowed [by his alacritous,] fondness; saandra aananda = with utmost, exultation; purandara aadi= Indra, et al; diviSat bR^indaiH= by heavenly, droves; aanamraiH makuTa= with reverently bent, crowns; indra niila maNibhiH= by sapphire, blue, gems in those crowns; sa.ndarshita indindiram= shown, swarms of honey bees; svacChandam= at will; makaranda= honey; sundara milat= lovelily, meeting [river flowing]; mandaakinii= by River Ganga; meduram= overspread [bathed with]; shrii govinda pada= Shri Krishna's, feet; aravi.ndam= lotus feet; a + shubha= bad, fortunes; skandaaya= for ruination; vandaamahe= let us pray.
At whom heavenly droves like Indra et al come owing to his alacritous fondness for them, having come they reverently bend their crowned heads before him, thereby the sapphire blue gems in their crowns appear to be the swarms of honeybees hovering on honey-like water of River ganga, flowing and bathing his feet at her will, thus for the ruination of bad fortunes let us pray at those lotusy feet of Shri Krishna. [9-4]
Here also the poet is using the word skanda,
skandaaya for perishing misfortunes... the title of voluminous
skanda puraaNa, as he has used names of metres, as objects
of his poem.
इति गीतगोविन्दे कलहान्तरितावर्णने मन्दमुकुन्दो नाम नवमः सर्गः
Thus, this is the 9th chapter, called mugdhamukundam - Unpretentious Krishna, in Gita Govindam of Jayadeva.
|Top of Page||1||a pa 18||2||3|
|Previous Sarga||giirvaaNi||Next Sarga|
Nov, 2003, Desiraju Hanumanta Rao; Revised Nov 08