mahAkavi kAlidAsa virachita
	kumArasambhavam The Advent of Kumara
	1 chapter -- 60 verses

The poet begins with a description of the mountain Himalaya, deservedly called as the King of all mountain ranges, for his resourcefulness. From his wife Lady Mèna Devi Mt. Himavan had a son named Mainaka and a daughter called Parvati, who in her former birth was Lady Sati Devi, the daughter of daksha-prjApati and the wife of Shiva. Parvati's childhood and budding youth are then described. When she has attained the marriageable age, the Sage Narada, who is on a visit to Himalaya, foretells that she would win Shiva for her husband. Relying on this prophesy, Himalaya does not particularly bestir himself to search for bridegrooms for his daughter Parvati. In the meanwhile, the god Shiva, after he had lost his wife Lady Sati, had betaken himself to a peak on the Himalaya and was practising ascesis there. When Himalaya comes to know of this, he assigns his daughter Parvati, accompanied by two of her handmaids, to wait upon Shiva in the daily chores of Shiva's ascesis. - M. R. kAle

Notes and commentary of Raghunath Damodar Karmarkar, M. A, Ph.. D., Professor of Sanskrit, New Poona Collegge, Pooua, on S. D. Gajendragadkar's edition, 1923 on this 1st canto is made available here 4.25 MB pdf for further detailed reading.

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asti uttarasyAM dishi devata AtmA himAlayaH nAma naga adhirAjaH pUrva aparau toya nidhI vigAhya sthitaH pR^ithivyA iva mAna daNDaH

1-1- uttarasyAm dishi= deva bhuumitvam suucyate= in northern, frontier; devata AtmA= for gods, which is their soul - a heartland which is the soul of honour for gods; because - adhiSTAta yasya saH, menaka pariNaya, pArvatI janana Adi cetana vyavahAra yogya bhuumi; for, there occurred the marriage of menaka, birth of pArvati etc; himAlayaH  nAma= himAlaya iti prasiddhaH = Himalaya, thus renowned as; naga adhi rAjaH= of mountains, supreme, king - sovereign of mountains; puurva aparau= east, west; vAri nidhI= water, treasures = oceans; vigAhya= on entering, on intercalating a little into the oceanic waters of east and west; pR^ithivyA= for earth; mAna daNDaH iva= measuring, stick, like; sthitaH= he who is upstanding; asti= is there.

On the northern frontier of this country that forms the heartland of gods, intercalating himself into eastern and western oceans like a measuring stick of earth, there stands the sovereign of snowy mountains renowned as Mt. Himalaya. [1-1]

More than one stanza having a syntactical connection have particular names in Sanskrit; thus two stanzas form a yugma; three stanzas a visheShaka; four stanzas a kalApa; and the number of verses ranging from five to fifteen a kulaka. Here stanzas 1 to 16 is a kulaka and eka anvaya; as the poet is using this grouping to portray the nature of Mt. Himalayas in these verses, saH asti= such a Himavan is there in North - is to be tagged to each verse up to 16th verse.

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yaM sarva shailAH parikalpya vatsaM merau sthite dogdhari doha dakShe bhAsvanti ratnAni mahauShadhIH cha pR^ithu upadiShTAM duduhuH dharitrIm

1-2. yam= whom, him that Himavan; sarva+shailAH= all, mountains; vatsam+parikalpya= as calf, on making; merau= Mt. Meru; doha+dakShe= in milking, who is an expert; dogdhari+sthite sati= as milker, while he stood a milker [under the supervision of Mt. Meru, for he is an expert milker of earth]; pR^ithu= by Emperor Prithu; upadiShTAm= as indicated; dharitrIm= Mother Earth [is milked]; bhAsvanti+ ratnAni= glittering, gemstones; mahA+oShadhIH+ ca= great, medicines, medicinal herbs, too; duduhuH= [mountains] milked; [ellipt. saH asti= such Himavan is there in North.

Once all mountains making Mt. Himalaya as a calf, Mother-Earth as cow, while the expert milker Mt. Meru stood as a milker, made the calf called Mt. Himalaya to suckle glittering gemstones and medicinal herbs from the cow called Mother Earth, in the trend earlier set by Emperor Prithu, who was an expert milker of many benefits from such an earth-cow at his times, such a Himavan is there in the North. [1-2]

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ananta ratna prabhavasya yasya himaM na saubhAgya vilopi jAtam ekaH hi doShaH guNa sannipAte nimajjati indoH kiraNeShu iva a~NkaH

1-3. an+anta= not, ending – endless, innumerous; ratna= shreSTa vastuunAm= jewels among products, for highly invaluable products; prabhavasya= being the fountainhead; yasya= whose, that Himavan’s; himam= snow; saubhAgya+vilopi= saundarya vighAtakam= exquisiteness, despoiler; na+jAtam= na Abhuut = has not, become; hi= why because; guNa+sa.mnipAte= in virtues, umpteen; ekaH  doShaH= one, blemish; indoH= moon’s; kiraNeShu= in rays of moonlight; a~NkaH iva= speckle, as with; nimajjati= antar lIyata iti arthaH= wanes; na hi svalpo doSo amita guNAbhibhAvaka eva.

Whose snow has not become a despoiler of his exquisiteness for he is the fountainhead of innumerous products of high value; why because, a single blemish cannot be fingered when umpteen virtues are present; just like a speckle in the moon that does not despoil his exquisiteness, but wanes in the exquisite moonlight; such an unblemished Himavan is there in the North. [1-3]

ananta ratna prabhava: pArvatI rUpa kanya ratnam; vajra vaiDUryAdi maNi ratnAH; devadAru prabhR^iti vR^iksha ratnAH; mR^ita-sanjIvani ityAdi oShadha ratnAH; gangAkhyAdi nadI ratnA-s; somalatAdi yaj!na dravya ratnAH - ityAdi.

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yaH cha apsaraH vibhrama maNDanAnAM sampAdayitrIM shikharaiH bibharti balAhaka chCheda vibhakta rAgAm a+kAla sandhyAm iva dhAtu mattAm

1-4. [kim] ca= further; yaH= he who, he that Himavan; apsaraH= celestial damsels; vibhrama= viparIta nyAsa= inappropriately keeping [decorating]; maNDanAnAm= ornaments; sampAdayitrIm = etat dhAturAdarshinyo apasaraH sandhyA bhrameNa prasAdhanAya tvaranta iti bhAvH= makes confused [state to apasara-s]; valAhaka+cCheda= on cloud, slivers; vibhakta= sankramita= spread over; rAgAm= ochry colour [of sunset]; dhAtu+ mattAm= ores [with their ochry colour,] full with; akAla+sandhyAm+iva= untimely, eventide, like; shikharaiH= peaks; bibharti= dhatte= bearing.

Further, he who bears peaks full with ores of ochry colour of sunset that spreads over the slivers of clouds floating atop it, which in turn makes a confused state among celestial damsels, for they hurriedly decorate their ornaments inappropriately; i.e., necklaces as waist-strings, and headgears as necklaces, hurrying to enjoy the eventides withier lovers, such a lofty mountain with many deposits of colourful ores and minerals is there in the North. [1-4]

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AmekhalaM sa~ncharatAM ghanAnAM chChAyAm adhaH sAnu gatAM niShevya udvejitA vR^iShTibhiH Ashrayante shR^i~NgANi yasya Atapavanti siddhAH

1-5. siddhAH= aNimAdi siddhAH= demigods having eight powers like aNima, mahima, garimA etc; A+mekhalam= nita.mba paryantam= up to waist [waistline of mountain]; sancaratAm= those[demigods] that move about; ghanAnAm+cChAyAm= clouds, in shade of; adhaH+sAnu+gatAm= lower, to peaks, [shadows of clouds that] have gone; niShevya= on enjoying;  vR^iShTibhiH= by rain showers [of those very clouds]; udvejitA [santaH]= distraught by; yasya= whose [Mt. Himavan’s]; Atapavanti+shR^i~NgANi+Ashrayante= sunny, peaks, take recourse to; ati megha maNDalam asya aunnatyam iti bhAvaH.

At whose waistline clouds will meander enabling the demigods to enjoy in their shades, but they the demigods have to take recourse to that mountain’s sunny peaks when they are distraught by cloudbursts of the very same clouds, such a mountain loftier than the clouds is there in the North. [1-5]

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padaM tuShAra sruti dhauta raktaM yasmin a+dR^iShTvA api hata dvipAnAm vidanti mArgaM nakha randhra muktairH muktA-phalaiH kesariNAM kirAtAH

1-6. yasmin= on which [mountain]; kirAtAH= tribal hunters; tuShAra+sruti= snow’s, stream;  dhauta+raktam= washed away, blood; hata+dvipAnAm= having killed, elephants; kesariNAm = of lions; padam= foot [footprints]; a+dR^iSTvA+api= un, seen, even though; nakha + ra.ndhra + muktaiH= nails [claws,] recesses, released from; muktAphalaiH= by pearly white [brain matter of elephants]; mArgam+vidanti= path [of lions,] they [the huntsmen] will be knowing; atra vyAdhAH si.mha ghAtino gajendrAH ca muktAkarA iti bhAvaH.

On which mountain the tribal hunters will know the path of lions that have swatted on the heads of elephants, and just killed them for their brain matter; even though the footprints of lions are unseen, for the blood of elephants together with  snow stream has washed them away from their forefeet, yet the hunters spot the path of lions by the droppings of pearly white brain matter of elephants falling from the recesses of their paws, such mountain, an abode of mutual killers, is there in the North. [1-6]

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nyasta akSharA dhAtu rasena yatra bhUrja tvachaH ku~njara bindu shoNAH vrajanti vidyAdhara sundarINAm ana~Nga lekha kriyaya upayogam

1-7. yatra= where, on which mountain; dhAtu+rasena= mineral ores, with essences [usable as ink]; nyasta+akSharAH = likhita varNAH= written, letters; ku~njara+bi.ndu+shoNAH= of elephants, rash on skin, red in colour – red rashes developed on the skins of elephants in the age of rut; bhuurja+tvacaH= birch, barks [that are in that reddish colour]; vidyAdhara+ sundarINAm = for celestial, beauties;  ana~Nga+lekha= love, letters; kriyaya= lekha karaNe= to write; upayogam+vrajanti= usefulness, they go in for; divyA.ngana vihAra yogaH ayam shaila iti bhAvaH.

Whereon the barks of birch trees will be in crimson red, like that of the skin-rash developed on the skins of ruttish elephants in age, and which barks will be useful for celestial beauties to write love letters using the colours of minerals as ink, such a mountain which is a lovers paradise is there in the North. [1-7]

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yaH pUrayan kIchaka randhra bhAgAn darI mukha utthena samIraNena ut gAsyatAm ichChati kinnarANAM tAna pradAyitvam iva upagantum

1-8. yaH= he who is; darI+mukha+utthena+samIraNena= caves, mouths, emerged, by wind;  kIcaka+ra.ndhra+ bhAgAn+puurayan= bamboo, hole, places, filling; ut+gAsyatAm= highly, to sing – ready to sing in high octaves; kinnarANAm= to kinnara, celestial singers; tAna= shruti= accompaniment, attune; pradAyitvam= vA.mshikatvam= to give himself as a flutist; upaga.ntum + icChati+iva = to near them, willing, as though [appears to be a flutist, at the ready.]

He who is filling the airspaces between the holes of bamboos with the winds emerged from the mouths of his caves, appears to be a willing flutist at the ready, to attune the high octave singing of celestial singers that are ready to sing gAndhAra grAna, a high octave musical note; such a king of mountains with such fluty bamboo grooves is there in the North. [1-8]

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kapola kaNDUH karibhiH vinetuM vighaTTitAnAM sarala drumANAm yatra sruta kShIratayA prasUtaH sAnUni gandhaH surabhI karoti

 1-9. yatra= where; kapola kaNDuuH vinetum = temples, itching, to remove – disencumber themselves; karibhiH= by elephants; vighaTTitAnAm sarala drumANAm= thoroughly scraped, cedar [sarala,] from trees; sruta kshIratayA= surged, by milk [latex of cedar]; prasuutaH= utpannaH= emanated; ga.ndhaH= fragrance; sAnuuni surabhI karoti= in peaks - prominences, fragrant, making.

Where the elephants used to thoroughly scrape the cedar trees to disencumber themselves from the itching of their temples make the latex of those trees to discharge; but the fragrance emanated from the discharged latex is making the prominences of that mountain fragrant, and such a fragrant mountain, a homeland for elephants and trees together with their fragrance, is there in the North. [1-9]

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vane charANAM vanitA sakhAnAM darI gR^iha utsa~Nga niShaktabhAsaH bhavanti yatra oShadhayh rajanyAm a+taila pUrAH surata pradIpAH

1-10. [yatra= where]; rajanyAm= in nights; darI gR^iha= caves, called hoses; utsa.nga= abhyantareSu= interiors; niShakta bhAsaH oShadhayaH = catching, luminance, herbs [self-luminescent herbs]; vanitA sakhAnAm= to ladyloves, dear ones – for lovers; vane carANAm= for forest rangers – for tribal people; a+taila+puurAH= without, oil, filled; surata pradIpAH = intimacy time, lamps; bhavanti = they are becoming.

Where interiors of homelike caves are catching the luminescence form self-luminescent herbs when the tribal lovers are in intimacy with their ladyloves in nights, those herbs themselves are becoming oil-less lamps, and such a nightly self-luminous mountain is there in the North. [1-10]

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udvejayati a~Nguli pArShNi bhAgAn mArge shilI bhUta hime api yatra na durvaha shroNi payodhara ArtAH bhindanti mandAM gatim ashva-mukhyaH

1-11. yatra= where; mArge shilI bhuuta hime= on pathway, condensed, snow is; [therefore]; a.nguli pArShNi bhAgAn= toes, heel, areas; udvejayati api= disquieting [by biting snow,] even though; dur vaha= difficult, to carry; shroNi payodhara= with heavy hips, bosoms; ArtAH= disquieted; ashvamukhyaH= kinnara striyaH= celestial women; mandAm gatim= slowish, in pace – leisurely walking; na bhindanti na tyajanti= not, leaving off – desist from; pAda pIDa kare ati bhAra bhangura sharIratayA na shIghram gantum na shakyata it bhAvaH.

Where the celestial damsels are unable to desist from their usual leisurely walking even if their toes and heels are disquieting to tread on the pathways condensed with snow, appurtenance to the slowed down pace owing to the weight of their broad hips and beamy bosoms, that sort of leisure-mountain is there in the North. [1-11]

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divAkarAt rakShati yaH guhAsu lInaM divA bhItam iva andhakAram kShudre api nUnaM sharaNaM prapanne mamatvam uchchaiH shirasAM satIva

1-12. yaH= he who is; divA bhItam iva= in day – of light, frightened, as though; [or, divA bhItam= owl like]; guhAsu lInam= in caves, lowered itself; a.ndhakAram= darkness; divAkarAt rakShati = from sun, he is safeguarding; uccaiH shirasAm= with high, heads – for noblemen; sharaNam prapanne= shelter, seeking; kShudre api= lowly ones, even; sati iva= gentlemen, like; nuunam mamatvam= definitely, as his own – to be protected like his own person.

He who safeguards the lowly darkness that burrowed itself in his caves, as though that darkens is frightened from the day making sun, is objectionable insofar as his propriety as a shelterer is concerned; but that objection is voidable, as noblemen ought to protect anyone or anything seeking shelter as his own person. [1-12]

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lA~NgUla vikShepa visarpi shobhaiH itaH tataH chandra marIchi gauraiH yasya artha yuktaM giri rAja shabdaM kurvanti vAla vyajanaiH chamaryaH

1-13. camaryaH= chAmara animals with thick haired tails; itaH tataH= this way, that way; lA.nguula vikShepa = their tails, by moving; visarpi shobhaiH= spreading, having elegance; candra marIci gauraiH= moon, beams, with whiteness, vAla vyajanaiH= with furred fanning instruments; yasya giri rAja shabdam= whose, mountains, king, title; artha yuktam kurvanti= meaning, contained, they are making.

On whom the thick furred animals, chAmara, wave their tails spreading breeze in the quality of moonbeams; in doing so they appear to be fanning a royal with furred fanning instruments, and thus they render the title of 'king of the mountains' more meaningful to that mountain that is there in the North. [1-13]

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yatra aMshuka AkShepa vilajjitAnAM yadR^ichChayA kimpuruSha a~NganAnAm darI gR^iha dvAra vilambi bimbAH tiraskariNyaH jaladA bhavanti

1-14. yatra= where; a.mshuka AkShepa vilajjitAnAm= the cloth, by pulling away, much abashed; ki.mpuruSha a.nganAnAm= for celestial, women; yadR^icChayA= luckily; darI gR^iha= at caves, homelike; dvAra vilambi bimbAH jaladA = at door, dangling, clusters of, clouds; tiraskariNyaH bhavanti= door curtains, they are becoming.

Where the clouds dangling on the doorways of homelike caves are luckily becoming door curtains for the much-abashed celestial womenfolk when their upper cloths are suddenly snatched away by their males, such a romantic mountain is there in the North. [1-14]

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bhAgIrathI nirjhara sIkarANAM voDhA muhuH kampita devadAruH yat vAyuH anviShTa mR^igaiH kirAtaiH Asevyate bhinna shikhaNDi barhaH

1-15. bhAgIrathI nirjhara= River Ganga's, watercourses; sIkarANAm voDhA= spray, while carrying - wafting; muhuH kampita devadAruH= time and again, shaking, deodar trees; bhinna= vishleSitAni= outspread; shikhaNDi barhaH= peacock's, plumage; [having these]; yat vAyuH= whose, breeze [Himavan's, breeze]; anviShTa mR^igaiH= those that have searched, animals - for huntsmen; kirAtaiH Asevyate= by tribal people, enjoyed.

On which the breeze wafts the spays of River Ganga's watercourses wobbling the deodar trees time and again, whereby peacocks apprehensive of rainfall outspread their plumage, and commingling all the other perfumes that breeze becomes enjoyable to the tribal people that are fatigued in their hunting, such a breezy mountain is there in the North. [1-15]

Both the actions are in hyperbole. Neither the sages in highest constellation can bend down, nor the sun with downward sunrays can possibly shoot his rays up. This is only to show the loftiness of Himalayas.

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yaj~na a~Nga yonitvam avekShya yasya sAraM dharitrI dharaNa kShamaM cha prajApatiH kalpita yaj~na bhAgaM shaila AdhipatyaM svayam anvatiShThat

1-17. yasya= whose; yaj~na a.nga yonitvam= for ritual, parts [paraphernalia like Soma creeper, wood sticks etc,] being the cause, originator; dharitrI dharaNa kShamam sAram ca= earth, to bear, perseverance, capacity, also; avekShya= on seeing - on examining; prajApatiH svayam= Brahma, personally; kalpita yaj~na bhAgam= arranged, ritual, oblational share; shaila Adhipatyam= mountains, lordship; anvatiShThat= he made [Brahma ordered.]

Whose plenteousness to provide sacred material like special firewood, Soma creepers etc to Vedic rituals, and whose capacity and perseverance to bear the earth is clearly examined by Brahma, whereby Brahma personally ordered for oblational share of oblations in Vedic rituals to him along with the lordship on other mountains, such a munificent mountain BHimavan is there in the North. [1-17]

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yaj~na a~Nga yonitvam avekShya yasya sAraM dharitrI dharaNa kShamaM cha prajApatiH kalpita yaj~na bhAgaM shaila AdhipatyaM svayam anvatiShThat

1-17. yasya= whose; yaj~na a.nga yonitvam= for ritual, parts [paraphernalia like Soma creeper, wood sticks etc,] being the cause, originator; dharitrI dharaNa kShamam sAram ca= earth, to bear, perseverance, capacity, also; avekShya= on seeing - on examining; prajApatiH svayam= Brahma, personally; kalpita yaj~na bhAgam= arranged, ritual, oblational share; shaila Adhipatyam= mountains, lordship; anvatiShThat= he made [Brahma ordered.]

He who is the provisioner to Vedic rituals with sacred material like special firewood, Soma creepers etc, and whose capacity and perseverance to bear the earth is clearly examined by Brahma, whereby Brahma personally ordered for oblational share of Vedic rituals to Himavan along with the lordship on other mountains, such a beneficent mountain is there in the North. [1-17]

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sa mAnasIM meru sakhaH pitR^INAM kanyAM kulasya sthitaye sthiti j~naH menAM munInAm api mAnanIyAm Atma anurUpAM vidhinA upayeme

1-18. meru sakhaH= Mt. Meru's, friend; sthitij~naH= one who is well-mannered; saH= he that Himavan; pitR^INAm mAnasIm= manes, daughter; munInAm api mAnanIyAm= for sages, even, an estimable one; Atma anuruupAm= for himself, worthy one; kulasya sthitaye= for dynasty, flourishing of; menAm kanyAm vidhinA upayeme= Lady Mena, maiden, customarily, he married.

Such a well-mannered lord of the mountains Himavan who is the friend of Mt. Meru customarily married Lady Mena Devi, the daughter of manes called agniShvAt et al, an estimable girl even for sages, thus becoming a worthy maiden for himself for the flourish of his dynasty. [1-18]

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kAla krameNa atha tayoH pravR^itte svarUpa yogye surata prasa~Nge manoramaM yauvanam udvahantyA garbhaH abhavat bhUdhara rAja patnyAH

1-19. atha kAla krameNa= then, time, on the passage of; tayoH= to two of them; svaruupa yogye= to their youth's charm, befitting to; surata prasa.nge pravR^itte sati = in matrimonial, concern [during married life,] when commenced; manoramam= beautiful one; yauvanam udvahantyA= youthfulness, who is bringing about - relative to; bhuu dhara rAja patnyAH= earth, bearing one - mountains', king's, wife; garbhaH abhavat= pregnant, she became.

Then after some time when those two commenced on matrimonial bliss befitting to their youth and its charm, she that beautiful wife of the king of mountains, namely Lady Mena, became pregnant relative to her youthfulness. [1-19]

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asUta sA nAga vadhU upabhogyaM mainAkam ambho nidhi baddha sakhyam kruddhe api pakSha-chChidi vR^itra-shatrau avedanA j~naM kulisha kShatAnAm

1-20. sA= she that Mèna; nAga vadhuu upabhogyam= for nAga, damsels, a pleasurable one;  a.mbhonidhi baddha sakhyam= with ocean, secured, in firm friendship; pakSha cChidi= wings, mangler – Indra; vR^itra shatrau= demon Vritta's,  enemy – Indra; kruddhe api= raged, even if; kulisha kShatAnAm= of Thunderbolts, gashes; a+vedanA+j~nam= not, pain, knower - one who knows no pain of gashes; mainAkam asuuta= to Mt. Mainaka, gave birth.

She that lady Mèna Devi gave birth to Mt. Mainaka, who is a pleasurable husband of nAga damsels, who secured a firm friendship with ocean, and who knows not the pain of gashes even if enraged Indra uses his Thunderbolt to cut deep gashes on his body. [1-20]

Mt. Mainaka resides underneath the ocean and gave hospitality to Hanuma when he leapt the ocean while going to Lanka in search of Seetha.

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atha avamAnena pituH prayuktA dakShasya kanyA bhava pUrva patnI satI satI yoga visR^iShTa dehA tAM janmane shaila vadhUM prapede

1-21. atha= then; dakShasya kanyA= Daksha-prjApati's, daughter; bhava puurva patnI= bhava's [Shiva's,] former, wife; satI= husband devout wife; satI= Sati Devi named; pituH avamAnena prayuktA= by father's, dishonouring, incited; yoga visR^iShTa dehA= through yoga, discarded, body; janmane= to take birth – to take rebirth; tAm shaila vadhuum prapede= her, mountain's, wife, reached.

At that time Shiva's former wife, a husband-devout lady and daksha-prjApati's daughter, namely Sati Devi, incited at her father's dishonouring her husband Shiva discarded her body through yoga; to take a rebirth she made her appearance before Mena Devi, the wife of the king of mountains. [1-21]

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sA bhU dharANAm adhipena tasyAM samAdhimatyAm udapAdi bhavyA samyak prayogAt a+parikShatAyAM nItau iva utsAha guNena sampat

1-22. bhavyA sA= most auspicious one, she is - Sati Devi; bhuudharANAm adhipena= by mountain's, lord; samAdhimatyAm= santati artham - niyama visheSaH = pledged to beget good progeny; tasyAm= in her – in Mena Devi; [is engendered as with]; samyak prayogAt= by perfect, enduing; aparikShatAyAm= a+bhraSTAyAm= unspoilt; nItau= in principles; utsAha guNena sampat iva=  of enterprise, by fervour, riches, as though; udapAdi= utpAditA= is engendered.

The lord of mountains who pledged to beget right progeny engendered that most auspicious Sati Devi from Mena Devi, as with prosperity seeded with principles of perfect enduing and with fervour for enterprise will be unfailing. [1-22]

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prasanna dik pAMsu vivikta vAtaM sha~Nkha svana anantara puShpa vR^iShTi sharIriNAM sthAvara ja~NgamAnAM sukhAya tat janma dinaM babhUva

1-23. prasanna dik= tranquil, are quarters; pAMsu vivikta vAtaM= dust, without, breezes; sha~Nkha svana anantara puShpa vR^iShTi= conch-shell's, sounds, after, flower, rain; tat janma dinaM= on that, birth, day - of Sati Devi; sthAvara ja~NgamAnAM sharIriNAM= sessile, mobile, for their bodies; sukhAya babhUva = pleasant, it became.

With tranquil quarters, dustless breezes, blaring conches followed by drizzling flowers, the birthday of that baby-girl of Lady Mena Devi remained pleasurable to all mobile and sessile beings. [1-23]

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tayA duhitrA sutarAM savitrI sphurat prabhA maNDalayA chakAse vidUra bhUmiH nava megha shabdAt udbhinnayA ratna shalAkayA iva

1-24. sphurat prabhA maNDalayA = sparklingly, bright, with such an aura; tayA duhitrA= with that, daughter; savitrI= that progenitrix - mother Mena; vidUra bhUmiH= to Mt. vidUra, on fringe lands; nava megha shabdAt udbhinnayA = new, cloud's, by thunderclap, that came up; ratna shalAkayA iva= gem, a piece of, as with; sutarAM chakAse = highly, shone forth.

As with the shining forth of fringe lands of Mt. vidUra when a piece of padma-rAga jewel springs up with the thunderclap of new raincloud, the mother Lady Mena shone forth with that baby-girl who was endowed with sparklingly bright aura around her. [1-24]

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dine dine sA parivardhamAnA labdha udayA chAndramasI iva lekhA pupoSha lAvaNyamayAn visheShAn jyotsnA antarANI iva kalA antarANi

1-25. labdha udayA= having got, emergence - birth of the girl, or start of the new moon; dine dine parivardhamAnA = day, by growing; sA= she that baby-girl; chAndramasI lekhA iva= moon's, single digit [on new moon day], s with; lAvaNyamayAn visheShAn= most charming, bodily limbs; jyotsnA antarANI kalA antarANi iva= in moonshine, imbued, charm of moon's digits / charm of her limbs; pupoSha = she flourished.

Obtaining emergence the single-digited moon day by day waxes into full moon where all his digits imbue into the overall charm of moonshine; so also, obtaining birth that baby-girl burgeoned day by day where the charm of her individual limbs culminated into the overall charm of her beauty. [1-25]

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tAM pArvatI iti Abhijanena nAmnA bandhu-priyAM bandhu-janaH juhAva u ma iti mAtrA tapasaH niShiddhA pashchAt uma AkhyAM sumukhI jagAma

1-26. bandhu-priyAM tAM= [she who is her] relatives, a darling of, her; bandhu-janaH = by relatives; Abhijanena nAmnA= with patrilineal, name; pArvatI= pArvati; iti juhAva= thus, they called her; pashchAt mAtrA= later, by her mother; u= oh, girl; ma= don't; iti= thus; tapasaH niShiddhA sumukhI= from ascesis, to forbid, that beautiful faced girl - is called; thence from; uma AkhyAM jagAma= umA, name, she was called.

As a dear child of kith and kin she was affectionately called by her patrilineal name pArvati for she is the daughter of a parvata-rAja; when her mother trying to dissuade this girl with a delicate lineament from high ascesis addressed her as u mA, meaning "oh, girl, don't do it"; later this sobriquet remained her proper name. [1-26]

pArvati = parvatasya apatyam, strI, pArvatI.

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mahI-bhR^itaH putra-vataH api dR^iShTiH tasmin apatye na jagAma tR^iptim ananta puShpasya madhoH hi chUte dvirepha mAlA sa-visheSha sa~NgA

1-27. putra-vataH api= bahu apatyasya api iti arthaH= though he has many sons and daughters; mahI-bhR^itaH dR^iShTiH= Himavan's, outlook; tasmin apatye tR^iptim na jagAma= in that, baby-girl, satisfaction, not, obtained - insatiable are his eyes though he watched her continuously; hi= why because; ananta puShpasya madhoH= [though] endless, are the flowers of vernal season; dvirepha mAlA= honeybees, a string of; chUte sa-visheSha sa~NgA= with mango blossoms, more fondly, attached to.

Though Himavan has many sons and daughters his outlook towards this baby-girl remained insatiable; that said, though the vernal season is laden with innumerable flowers stings of honeybees have a yen for mango blossoms alone. [1-27]

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prabhA mahatyA shikhaya iva dIpaH tri-mArgaya iva tri-divasya mArgaH saMskAravatyA iva girA manIShI tayA saH pUtaH cha vibhUShitaH cha

1-28. prabhA mahatyA shikhaya dIpaH iva= with flare, of great intensity, of a lamp, as with; tri-mArgayA tri-divasya mArgaH iva= with tri-coursed River Ganga, to heaven, pathway, as with; saMskAravatyA girA manIShI iva= with perfected, speech, a scholar, as with; tayA= by that baby-girl; saH= he that Himavan; pUtaH cha vibhUShitaH cha= apotheosized, also, furbished, also.

As to how an intensely flaring light embellishes the lamp, tri-coursed River Ganga sanctifies the path to heaven, perfected speech distinguishes a scholar; thus Himavan is both glorified and graced with that girl. [1-28]

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mandAkinI saikata vedikAbhiH sA kandukaiH kR^itrima putrakaiH cha reme muhuH madhyagatA sakhInAM krIDA rasaM nirvishatI iva bAlye

1-29. sA bAlye= she, in her childhood; krIDA rasaM nirvishatI iva= playing, joyfulness, enjoying - disporting herself, as if; sakhInAM madhyagatA= girlfriends, amongst; mandAkinI saikata vedikAbhiH= river Ganga's, on sandbeds, making sand-podia; kandukaiH= with play-balls; kR^itrima putrakaiH cha= with synthetic, sons - child's toys of boys and girls; muhuH reme= often, she used to play.

In the disport of girlish plays she in her childhood used to play along with her playmates on the sandbeds of River Ganga with play-balls and matching up toys of boys and girls on the raised podia of sand. [1-29]

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tAM haMsa mAlAH sharadi iva ga~NgAM mahauShadhiM naktam iva Atma-bhAsaH sthira upadeshAm upadesha kAle prapedire prAktana janma vidyAH

1-30. sthira upadeshAm = medhAvinI=  [by virtue of] unambiguous, conversance [belonging to her previous birth]; tAM= to her; upadesha kAle= at education, time; prAktana janma vidyAH= pUrva janma abhyasta vidya = previous, life's, erudition - owing to her scholarliness of previous birth; sharadi ga~NgAM haMsa mAlAH iva= in autumn, to River Ganga, swans, rows of flights, as with; naktam mahauShadhiM iva= in nights, [to a self-luminescent] grand herb, as with; Atma-bhAsaH prapedire = self-effulgently - self-revealingly, [that education] came to her.

As with swans galore compulsively winging towards River Ganga from mAnassa-sarovar during autumn, education galore came up to her self-revealingly at the time of her schooling, by virtue of her unambiguous conversance and scholarliness belonging to her previous birth; night-lambent herbs will become auto-effulgent with the nightfall, isn't it. [1-30]

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asambhR^itaM maNDanam a~Nga yaShTeH an+Asava AkhyaM karaNaM madasya kAmasya puShpa vyatiriktam astraM bAlyAt paraM sA atha vayaH prapede

1-31. atha sA= later, she; a~Nga yaShTeH= whose limbs are slender - sylphlike girl [who is like a walking stick]; which beauty of youth is; a+sambhR^itaM maNDanam= not added [accessorial], ornamentation - naturally beautiful; an+Asava AkhyaM madasya karaNaM= not, by name, liquor, called, for exuberance, caused in onlookers; kAmasya puShpa vyatiriktam astraM= Lovegod's, [five] flower-arrows, other than, a flowery arrow; bAlyAt paraM vayaH prapede= childhood's, later, age, she got - she became youthful.

Later, passing the age of childhood comeliness of youth has come upon that sylphlike girl, which with her own natural beauty needed no accessorial embellishment; which with the causation of exultation in the onlookers cannot be called as liquor-intoxication, but which by itself is the non-flowery dart of flower-arrowed Lovegod. [1-31]

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unmIlitaM tUlikayA iva chitraM sUrya aMshubhiH bhinnam iva aravindam babhUva tasyAH chaturasra shobhi vapuH vibhaktaM nava yauvanena

1-32 . nava yauvanena vibhaktaM= by new, youth, well divided - body limbs - well turned out, shapely; tasyAH vapuH= her, physique; tUlikayA unmIlitaM chitraM iva= with paintbrush, given touches, a painting, as with; sUrya aMshubhiH bhinnam aravindam iva= by sun, rays, blossomed, day-lotus, as with; chaturasra= squarely = well-proportioned; shobhi babhUva= that which shines forth, has become - bloomed.

With the advent of youth her physique burgeoned squarely and shapely as if an artist has given final touches to the painted beauty with his paintbrush, and bloomed like the day-lotus blooming with the sunrays. [1-32]

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In this and the following 16 stanzas the poet describes the beauty of Parvathi from foot to head: it is a convention among poets to describe the beauty of the Gods from foot to head and of human beings from head to  foot.

abhyunnata a~NguShTha nakha prabhAbhiH nikShepaNAt rAgam iva udgirantau AjahratuH tasyA charaNau pR^ithivyAM sthala aravinda shriyam avyavasthAm

1-33. abhyunnata a~NguShTha nakha prabhAbhiH= raised, toe's, nail, with its lustre; nikShepaNAt rAgam udgirantau iva= by placing the feet, redness [inside toe nails], outspreading, as if; tasyA charaNau pR^ithivyAM= her, feet, on earth; avyavasthAm - when unsteady - when moving on ground; sthala aravinda shriyam = on land, grown lotuses, their grandeur, AjahratuH= feet got it.

When she placed her feet on ground the ruddiness from inside the little raised big toe and other toenails used to spread thereabout; when she started to move it looked as if the red-lotuses grown on terrain are on the move. [1-33]

 Raised toenails according to sAmudrika shAstram are indicative of high birth fit enough to become an empress.

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sA rAja haMsaiH iva sannata a~NgI gateShu lIlA a~nchita vikrameShu vyanIyata prati upadesha lubdhaiH AditsubhiH nUpura si~njitAni

1-34. prati upadesha lubdhaiH= receiving instruction in return to the instruction they are going to impart, which were covetous of - the swans; nUpura si~njitAni AditsubhiH= her anklets, jingling sound, wanted to learn - swans; rAja haMsaiH= by such royal swans; sannata a~NgI= with her body slightly bent forward due to the weight of her bosoms; sA= that girl pArvati; lIlA a~nchita vikrameShu gateShu = with grace, adorned, stepping, movements; vyanIyata iva= was educated [ by swans], as though - she paced with the grace of swans; anyathA katham asyA hamsa gamanam?

Royal swans covetous of learning the jingling sound of her anklets, which is more euphonic than their own cackling, seemed to have taught their graceful walking to her, for her pacing with a little bent body is more ravishing than that of swans, while the incidental jingling of anklets sounded like answer-calls of calling swans; otherwise, how this girl can stride with the grace of royal swans!?. [1-34]

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vR^itta anupUrve cha na cha Ati dIrghe ja~Nghe shubhe sR^iShTavataH tadIye sheSha a~Nga nirmANa vidhau vidhAtuH lAvaNya utpAdye iva Asa yatnaH

1-35. vR^itta anupUrve cha= round, tapering, also; na Ati dIrghe cha= not, much, long, also; shubhe tadIye ja~Nghe sR^iShTavataH= handsome, her, shanks, having created; vidhAtuH= to Creator Brahma; sheSha a~Nga nirmANa vidhau= remaining, limbs, creation, in the course of; utpAdye lAvaNya= Creator had to create more loveliness at first before he could proceed further in creating other limbs; hence this caused; yatnaH Asa iva= some effort on the part of the Creator, was there, it seems.

It seems the Creator is exhausted of all his paraphernalia to create handsomeness when he created round, perfectly tapering and not too long shanks of hers; in the course of creating her other limbs he must have made more efforts firstly to forgather requisites causative of more prettiness and then he might have embarked on creating other limbs of this girl. [1-35]

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nAga-indra hastAH tvachi karkashatvAt ekAnta shaityAt kadalI visheShAH labdhvApi loke pariNAhi rUpaM jAtAH tat UrvoH upamAna bAhyAH

1-36. nAga-indra hastAH tvachi karkashatvAt= elephant-the best, its trunk, skin's, roughness; ekAnta shaityAt kadalI visheShAH= by its perpetual, chillness, of plantain, stem; loke pariNAhi rUpaM labdhvA api= in world, corpulent, shape, they got, though; tat UrvoH upamAna bAhyAH jAtAH = to her, thighs, similitude, out of, they are becoming.

Though the limber trunks of great elephants and sleek stems of plantains acquired excessive poetic extolment in the world while comparing them to the thighs of womenfolk for their pleasingly plumpy state, it is out of context to compare the thighs of this girl with them, for the indelicacy of elephants' trunks, or the perpetual chilliness of plantain stems are inapposite apropos her thighs.  [1-36]

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etAvatA nanu anumeya shobhaM kA~nchI guNa sthAnam aninditAyAH AropitaM yat girishena pashchAt an-anya-nArI kamanIyam a~Nkam

1-37. aninditAyAH= of that immaculate girl; kA~nchI guNa sthAnam= golden, girdle's, place - hipline; etAvatA nanu = by this fact alone; anumeya shobhaM= that has become imaginable, about it splendidness; yat= which - by which splendidness; pashchAt girishena= later, by god Shiva; an-anya-nArI kamanIyam= not, by other, women, desirable - lap of Shiva; a~Nkam AropitaM = on such a lap, this girl is placed.

The charm of the hipline of this immaculate girl whereon her girdle domiciliates is conjecturable by a single fact that no less than god Shiva ensconced that hip on his lap at a later time, which remained an undreamt happenstance to any other women. [1-37]

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tasyAH praviShTA nata nAbhi randhraM rarAja tanvI nava loma rAjiH nIvIm atikramya sita itarasya tat mekhalA madhya maNeH iva archiH

1-38. tasyAH nIvIm atikramya= her, saree knot, on crossing; nata nAbhi randhraM praviShTA = sunken, navel's, hole, having entered; tanvI nava loma rAjiH= sparse , new, shoots of hair's, their row; sita itarasya = white, other than - other than white jewel, a sapphire; tat= her; mekhalA madhya maNeH = her girdle's, central, jewel; archiH iva rarAja= scintillation, as with, shone forth.

The new row of sparse shoots of hair on her lower abdomen crossing the knot of saree and creeping into her sunken navel scintillate as if they are the sapphires centrally studded in her waistband. [1-38]

Very fine micro-shoots of hair on a girl's lower abdomen are indicative of her non-cumbrous motherhood.

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madhyena sA vedi vilagna madhyA vali trayaM chAru babhAra bAlA ArohaNa arthaM nava yauvanena kAmasya sopAnam iva prayuktam

1-39. vedi vilagna madhyA= vedi vat kR^isha madhyA= like alter of fire, gouged, middle - slim-waisted girl; sA bAlA= that, girl; madhyena= by such slender-waist; chAru vali trayaM= charming, triple, fold; kAmasya ArohaNa arthaM= for Lovegod's, to climb; nava yauvanena prayuktam= by new, youth, crafted; sopAnam iva= flight of stairs, as if; babhAra= she bore on her flanks.

Like the concavity of fire-altar that girl's waist is medially slender; on which equally slender and charming triple folds are there on either side of her flanks, which seemed as a staircase crafted by new juvenescence for the ascension of Lovegod.  [1-39]

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anyonyam utpIDayat utpalAkShyAH stana dvayaM pANDu tathA pravR^iddham madhye yathA shyAma mukhasya tasya mR^iNAla sUtra antaram api alabhyam

1-40. anyonyam utpIDayat pANDu = one with the other, rubbing, ochreish [coloured bosoms]; utpalAkShyAH= of that black-lotus-eyed one; stana dvayaM= bosoms, pair; tathA pravR^iddham= like that, they developed; yathA = as to how; shyAma mukhasya tasya madhye= having black, nipples, in their [bosoms], cleavage; mR^iNAla sUtra antaram api= of a lotus, stalk, gap, even; alabhyam= unavailable.

The ocherish pair of bosoms with black nipples of that lotus-eyed girl grew so thick rubbing one against the other that even a tender stalk of a lotus is unaccommodating in their cleavage. [1-40]

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shirISha puShpa adhika saukumAryau bAhU tadIyau iti me vitarkaH parAjitena api kR^itau harasya yau kaNTha pAshau makara-dhvajena

1-41. tadIyau bAhU= her, two arms; shirISha puShpa adhika saukumAryau= than shirIsha, flower, more, exquisite; iti me vitarkaH= thus, is my, premises; why because; yau= which - arms; parAjitena api makara-dhvajena= defeated one, though, by Lovegod; harasya kaNTha pAshau [kaNTha bandha rajju] kR^itau= Shiva's, as neck, noose [halters], they [the arms] are made.

More exquisite are her arms than the dainty shirISha flowers; thus I posit; why because, trounced Lovegod made those arms as headstalls on the very neck of his trouncer, namely Shiva. [1-41]

 If an eligible young man is living a carefree life, the elders will say: "tie some girl round his neck; then he will come to path..." to keep a tight rein on his unmarried life. So, manmatha used her arms as shackles round the neck of Shiva to bring him round to married life.

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kaNThasya tasyAH tanu bandhurasya muktA kalApasya cha niH+talasya anyonya shobhA jananAt babhUva sAdhAraNaH bhUShaNa bhUShya bhAvaH

1-42. tanu bandhurasya = on slender and beautiful - neck; [or stana bandhurasya= on bosoms, upswinging;] tasyAH kaNThasya= on her, neck; nistalasya = niH+talasya= without flat surface - spherical - round pearls; muktA kalApasya cha= pearl, necklace's, also; anyonya shobhA jananAt= mutual, splendour, by causing; bhUShaNa bhUShya bhAvaH= ornament, ornamented, concept; sAdhAraNaH babhUva= reciprocal, it became.

As to how the strings of spheric pearls tossing on her roundish bosoms from her beautiful slender neck gave elegance to her, so does her rotund bosoms endowed beauty to those globoid pearls; this resulted in the reciprocity of ornament-ornamented syndrome, for her neck bearing a nonpareil natural beauty became an adornment to the adornment proper. [1-42]

Perfectly round pearls are extremely rare and so costly.

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chandraM gatA padma guNAn na bhu~Nkte padma AshritA chAndramasIm abhikhyAm umA mukhaM tu pratipadya lolA dvi saMshrayAM prItim avApa lakShmIH

1-43. lolA [= paribhramaNa shUIla] lakShmIH= vagrant, goddess of splendour - goddess Lakshmi; chandraM gatA= moon, when entered - when she became the splendour of moon; padma guNAn na bhu~Nkte= day-lotus', [fragrance etc] qualities, she cannot, enjoy; padma AshritA= day-lotus, on resorting to - on becoming the splendour of lotus; chAndramasIm abhikhyAm na bhu~Nkte= moonshine's, grandeur, she does not, enjoy; umA mukhaM pratipadya tu= demoiselle umA's, face, on getting into, but; dvi saMshrayAM prItim= both, the factors, with gladness; avApa= she, that goddess of splendour, enjoyed.

When vagrant goddess of splendour becomes the splendour of moon she could not relish in the fragrance, beauty etc factors of a day-lotus; so she goes to the lotus; paradoxically when she becomes the splendour of a day-lotus she could not equally revel in the pageantry of moonshine; so she comes back to the moon; but when the very same goddess of splendour took possession of Uma's face she gladly enjoyed both the factors simultaneously; thus this girl's face has both the grandeur of moonshine and fragrance of lotus.  [1-43]

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puShpaM pravAla upahitaM yadi syAt muktA-phalaM vA sphuTa vidrumastham tataH anukuryAt vishadasya tasyAH tAmra oShTha paryasta ruchaH smitasya

1-44. puShpaM pravAla upahitaM syAt yadi = a [white] flower, among copperish tender leaves, when placed, if it is; muktA-phalaM vA= a pearl, either; sphuTa vidrumastham syAt yadi= among pristine, red corals, if it were to be there; tataH= in that event; vishadasya tAmra oShTha paryasta ruchaH = her immaculate, roseate, on lips, spreading, brilliance - her smile; tasyAH smitasya= her, such a smile; anukuryAt= will be imitating [that white flower among red leaflets and pearl aong corals]

The immaculate smile spreading brilliance on her roseate lips is beyond compare; however, a whitely white flower placed among a spray of coppery leaflets, or a pearl placed among a handful of corals may, at best, simulate it. [1-44]

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svareNa tasyAm amR^ita sruta iva prajalpitAyAm abhijAta vAchi api anya puShTA pratikUla shabdA shrotuH vitantrIH iva tADyamAnA

1-45. abhijAta vAchi= of noble birth, her speech - who has a refined speech owing to her noble birth; tasyAm= of pArvati; amR^ita sruta iva svareNa prajalpitAyAm= nectar, flowing, as if, with such a melodious voice, while she talks; anya puShTA api= by others, one who is nourished, even - kokila nourished in crows nests; tADyamAnA vi+tantrIH iva= pounding, a tuneless string, as with; shrotuH pratikUla shabdA [bhavati]= to listeners, raucous, sound [it becomes].

When she talks with mellifluous voice nectar seems to flow, and in the meantime if it betides to listen to the birdcall of best-voiced kokila, it becomes raucous as with the noise produced by pounding a tuneless string stringed amiss to a musical instrument. [1-45]

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pravAta nIla-utpala nirvisheSham adhIra viprekShitam Ayata-akShyA tayA gR^ihItaM nu mR^iga-a~NganAbhyaH tataH gR^ihItaM nu mR^iga-a~NganAbhiH

1-46. pravAta nIla-utpala nirvisheSham= in currents of air, blue-costuses [another variety of lotuses that specifically grow in Kashmir], not dissimilar from; adhIra viprekShitam= unsteadily, ricocheting here and there; Ayata-akShyA= of that wide-eyed one; tayA mR^iga-a~NganAbhyaH gR^ihItaM nu= from her, deer-ladies, acquired, whether; or else; mR^iga-a~NganAbhiH tataH gR^ihItaM nu= from deer-ladies, by her, acquired, whether.

It is anybody's guess whether female deer acquired their darting glances from this girl or vice-versa, for this wide-eyed girl has unsteadily ricocheting glances not dissimilar from the wigwagging blue-costuses in the puffs of wind. [1-46]

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tasyAH shalAka a~njana nirmitA iva kAntiH bhruvoH Ayata lekhayoH yA tAM vIkShya lIlA chaturAm ana~NgaH sva chApa saundarya madaM mumocha

1-47. Ayata lekhayoH tasyAH bhruvoH= long [ranging], lines, are her, eyebrows - curvilinear; shalAka a~njana nirmitA iva= with paintbrush, black mascara, made, as if; kAntiH= splendidness; yA= that which is there; lIlA chaturAm= graceful movements - of those eyebrows; tAM vIkShya= that, on seeing; ana~NgaH= Lovegod; sva chApa saundarya madaM mumocha= his own, flowery bow's, about its beauty, his pride, he forsworn.

Lovegod had to compulsively apostate his pride of possessing a unique flowery-bow on espying the splendidness of graceful movements of the curvilinear eyebrows of this girl ranging from her temple to temple, as if that brow-line is painted with black mascara by the brushwork of the Creator. [1-47]

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lajjA tirashchAM yadi chetasi syAt asaMshayaM parvata-rAja-putryAH taM kesha-pAshaM prasamIkShya kuryuH vAla priyatvaM shithilaM chamaryaH

1-48. tirashchAM= tiryak jAti jantavaH = animals; chetasi lajjA syAt yadi= in their hearts, shame, is there, if; a+saMshayaM= undoubtedly; parvata-rAja-putryAH= mountain-king's-daughter's; taM kesha-pAshaM prasamIkShya= that, headhair, plaits of hair, on beholding; chamaryaH= female chAmara animals - long-haired yaks; vAla priyatvaM= on their tail, fondness; shithilaM kuryuH= to perdition, they put.

Should animals have a sense of opprobrium in their hearts, then it is certain that Yaks which pride themselves on their long-fur tails, beholding the plaits of headhair of this mountain-princess will put that predilection to perdition. [1-48]

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sarva upamA dravya samuchchayena yathA pradeshaM viniveshitena sA nirmitA vishva-sR^ijA prayatnAt eka stha  saundarya didR^ikShayA iva

1-49. [why so many words]; sA= she; vishva-sR^ijA= by world-creator - Brahma; eka stha  saundarya= at one place, abiding, pulchritudinous; didR^ikShayA iva= to catch a glimpse of, as if; prayatnAt= assiduously; yathA pradeshaM= as per, their location - of limbs and their parts - with symmetrized limbs; viniveshitena= very well emplaced; sarva upamA dravya samuchchayena= all, archetypal, materials, with ensemble of; nirmitA = he crafted.

But why so many words... wishing to gaze the abidance of all kinds of pulchritude at one place, the Creator has assiduously crafted this girl by properly emplacing her symmetrized limbs with the ensemble of all possible archetypal material of beautification. [1-49]

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tAM nAradaH kAma-charaH kadAchit kanyAM kila prekShya pituH samIpe samAdidesha eka vadhUM bhavitrIM premNA sharIrs srdha harAM harasya

1-50. kAma-charaH nAradaH= at will, wandering, sage nArada; kadAchit= at sometime; pituH samIpe kanyAM tAM prekShya= in father's, proximity, damsel, her, on seeing; premNA kila= out of affection, they say; harasya sharIra ardha harAM= Shiva's, body, half, as a partaker of; eka vadhUM= unique, bride; bhavitrIM= she will become; samAdidesha= [thus nArada] predicted.

At certain time the volitional wanderer divine sage nArada spotting this girl in the proximity of her father Himavan, they say, he affectionately predicted that this girl achieves a unique wifehood by partaking half of the physique of Shiva. [1-50]

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guruH pragalbhe api vayasi ataH asyAH tasthau nivR^itta anya vara abhilAShaH R^ite kR^ishAnoH na hi mantra pUtam arhanti tejAMsi aparANi havyam

1-51. guruH ataH= her father, thereby; asyAH pragalbhe vayasi api= to her, come of age, though; nivR^itta anya vara abhilAShaH tasthau= reversed [the thought], [about] other, bridegroom, with such interest, he remained; [tathA] hi= that is indeed correct; mantra pUtam havyam= with hymns, sanctified, offertory; kR^ishAnoH R^ite= ritual-fire, excepting for; aparANi tejAMsi na arhanti= other, incandescence, not, suitable [to receive].

Her father Himavan therefore remained without searching for any other bridegroom though the girl has come of age; his standpoint is indeed correct, for the offertory sanctified with hymns is affordable in the flare of ritual fire, but not in the glare of other material like gold, silver etc. [1-51]

ayAchitAraM na hi devadevam adriH sutAM grAhayituM shashAka abhyarthanA bha~Nga bhayena sAdhuH mAdhyasthyam iShTe apyavalambate arthe

1-52. adriH= mountain Himavan; a+yAchitAraM devadevam =one who has not requested or solicited his daughter as bride, such mahadeva; sutAM grAhayituM na hi shashAka= daughter, to make Shiva to take as bride, not, indeed, capable of; why because; sAdhuH= gentlemen; abhyarthanA bha~Nga bhayena= requisition, denial, by such fear; iShTe api arthe= much wanted, even though, the object - of requisition is; mAdhyasthyam avalambate= mediocrity, they follow.

Mt. Himavan has become unproficient to make Mahadeva to accept his daughter as his wife because that god has not showed any inkling in this regard; at the same time, sage Narada's presage should not go waste; in unison, the girl's age is mounting; so, sitting on these hot-coals he waited for time to solve this treble-blind, why because, gentlemen prefer mediocrity for fear of discomfiture at the denial of their requisition, howsoever equitable it might be. [1-52]

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yadA eva pUrve janane sharIraM sA dakSha roShAt sudatI sasarja tadA prabhR^iti eva vimukta sa~NgaH patiH pashUnAm a+parigrahaH abhUt

1-53. sudatI sA= one with pretty teeth, she; pUrve janane= in earlier, birth - as dAkShAyaNi; yadA eva= when, alone; dakSha roShAt= on daksha-prajApati - her father, in retaliation; sharIraM [jvalane] sasarja= he body [in yogic fire], left off; tadA prabhR^iti eva= from then, only; pashUnAm patiH= animals, lord of - Shiva; vimukta sa~NgaH= pretermitting, conjugality; a+parigrahaH abhUt= not, married, he became.

From the time this pretty-teethed girl immolated herself in yogic fire, as dAkShAyaNi in her previous birth, in retaliation to her father's disesteem towards Mahadeva, thence forward Mahadeva pretermitting conjugality remained unmarried. [1-53]

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sa kR^itti-vAsAH tapase yata AtmA ga~NgA pravAha ukShita devadAru prasthaM hima adreH mR^iga-nAbhi gandhi kiMchit kvaNat kinnaram adhyuvAsa

1-54. kR^itti vAsAH saH= in leatherwear, clad, he that Mahadeva; yata AtmA= self, restrained one; tapase= for ascesis; ga~NgA pravAha ukShita devadAru= by River Ganga's, streams, wetted, deodar trees - a place having them; mR^iga-nAbhi gandhi= having musk's, fragrance; kiMchit kvaNat kinnaram= dulcified, singing, while celestial singers kinnara-s are making; on such a; hima adreH prasthaM adhyuvAsa = Himalaya's, peak, Mahadeva resorted to.

Clad in leatherwear that self-restrained god Mahadeva resorted to a peak of Mt. Himalayas for his ascesis where River Ganga's streams spindrift deodar trees, ambience filled with musk's fragrance and where kinnara-s, the georgic singers, descant dulcified croons. [1-54]

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gaNA nameru prasava avataMsA bhUrja tvachaH sparshavatIH dadhAnAH manaH-shilA vichChuritA niSheduH shaileya naddheShu shilA taleShu

1-55. gaNAH= pramatha gaNAH= consociates - of Shiva; nameru prasava avataMsA= nameru [sura-punnAga], flowers, as their crest-ornaments - as chaplets; sparshavatIH bhUrja tvachaH dadhAnAH= soft to touch, bhUrja tree's, bark, wearing; manaH-shilA vichChuritA= mineral ore, spangled with; shaileya naddheShu= with mountain-asphalt - Black Asphaltum, overspread - places; shilA taleShu niSheduH = on that mountain, peak, they settled - in the neighbourhood of Mahadeva.

Adorning divine punnAga flowers as chaplets, swaddling in the soft barks of bhUrja trees, and spangling their bodies with mineral ores, the affiliates of Mahadeva, pamatha-gaNA-s, settled themselves on the asphaltic tablelands of that peak ready at the beck and call of their master. [1-55]

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tuShAra sa~NghAta shilAH khura agraiH samullikhan darpa kalaH kakudmAn dR^iShTaH kathaMchit gavayaiH vivignaiH a+soDha siMha dhvaniH unnanAda

1-56. tuShAra sa~NghAta shilAH= by snow, petrified, knolls; khura agraiH samullikhan= with hooves, ends, by rasping; darpa kalaH= with proudish, yet with listenable - bellowing; vivignaiH= by scared ones; gavayaiH= gava sadR^isha mR^iga visheShAH= [other] bulllike animals on the snowy peak; kathaMchit dR^iShTaH= somehow, observed - other animals saw this bull with scare; kakudmAn= one which has a hump - bull of Shiva; a+soDha siMha dhvaniH= not, tolerating, lion's, roar; unnanAda= highly bellowed.

Rasping petrified knolls with its hooves, bellowing haughtily yet listenably, Nandi, the bull of Shiva, intolerant of lion's roars gave counter-roars while other animals of the same species watchfully observed it. [1-56]

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tatra agnim AdhAya samit samiddhaM svam eva mUrti bantaram aShTa-mUrtiH svayaM vidhAtA tapasaH phalAnAm kenApi kAmena tapaH chachAra

1-57. tapasaH phalAnAm svayaM vidhAtA= ascesis, result, being himself, the endower of; aShTa-mUrtiH= that eight-form god Shiva; tatra= on that peak; svam eva mUrti antaram= personally, alone, form, another; [kR^itvA= having made]; samit samiddhaM agnim AdhAya= with firewood, enkindled, ritual fire, on alighting; kenApi kAmena= with some [inscrutable] object; tapaH chachAra= ascesis practised.

He himself being the endower of fruits of ascesis that octagonal god Mahadeva started to undertake ascesis with some inscrutable object in his mind on that peak of Himalayas devising yet another form of his, which he worshipped in a regular way of alighting ritual fire enkindling it with sacred firewood and the like. [1-57]

The eight forms of Shiva are: five subtle elements, sun and moon and the Vedic-ritualist.

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anarghyam arghyeNa tam adri-nAthaH svarga okasAm architam archayitvA ArAdhanAya asya sakhI sametAM samAdidesha prayatAM tanUjAm

1-58. adri-nAthaH= lord of mountains, Himavan; anarghyam= him that invaluable one - Shiva; svarga okasAm architam= by heaven, dwellers, one who is venerated; tam= him - Shiva; arghyeNa= water-oblation - means a collection of materials used for worship such as flowers, water, milk, etc; but it is very often used to denote only the water offered for worship; here it means the collection of things for worship; archayitvA= having given; asya ArAdhanAya= to him, to minister to; sakhI sametAM= with [two] handmaids; prayatAM= she who is self-restrained - Uma; tanUjAm samAdidesha= such a daughter, he assigned.

Offering a collection of worship items like water, flowers, milk etc himself to that most precious god Shiva whom no less than heaveanians hold in high respect, that lord of mountains, Himavan, has assigned his self-restrained daughter Uma to minister to him along with two of her handmaidens. [1-58]

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pratyarthibhUtAm api tAM samAdheH shushrUShamANAM girishaH anumene vikAra hetau sati vikriyante yeShAM na chetAMsi ta eva dhIrAH

1-59. girishaH= Shiva; samAdheH = for yogic state - for unswerving state of concentration; pratyarthibhUtAm api= a stymie, even though - woman's presence may militate against yogic concentration; shushrUShamANAM= while she is rendering service; tAM anumene= her, he accepted [to offer service]; vikAra hetau sati= for deflection [of mind], a reason, if it is handy; yeShAM chetAMsi= whose, hearts; na vikriyante= will not, deflect; ta eva dhIrAH= they, alone, are conscientious.

Even though woman is a stymie for unswerving state of concentration Shiva accepted her assistance in his ascesis; only those are conscientious whose minds do not deflect despite the proximal existence of cause for such deflection. [1-59]

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avachita bali puShpA vedi sammArga dakShA niyama vidhi jalAnAM barhiShAM cha upanetrI girisham upachachAra pratyahaM sA su-keshI niyamita parikhedA tat shiraH chandra pAdaiH

1-60. su-keshI sA= one with beautiful hairdo, she that Uma; avachita bali puShpA= heaping up, worship, flowers; vedi sammArga = fire altar, in tidying - not only booming but plastering with cow-dung, drawing decorative creases and separatrices thereon, arranging cow-pats and the like; dakShA= she who is skilled in such maintenance of fire altar and other paraphernalia for ascesis; niyama vidhi jalAnAM [upanetrI]= of ablutions, in the course of, water [fetcher] - this itself is a protocol where the fetcher has to cleanse and place the water pot at a clean place on riverbank or so, then take a holy bath, then again cleanse the pot with water sanctified body, then fill the pot by submerging in water, during which time and later when carrying the pot, the hands fetcher should not touch the water in pot, then bring the pot placing it on flank, or on shoulder, and after bringing it to the place of ceremony, the pot should be kept a secure place; barhiShAM cha upanetrI= sacred grass - darbha-s, also, a fetcher [apart from water]; in this ordeal when she is tired then; tat shiraH chandra pAdaiH= on Shiva's, head, [available] moon's, with crescent - with crescentic moonshine; niyamita parikhedA= mitigated, whose strain is; in this way; prati-ahaM girisham upachachAra= every day, to Shiva, she rendered service.

She that Uma with a comeliest hairdo rendered service to Shiva day after day by procedurally ferrying heaped up flowers, sprucing up fire-altar, fetching up water and sacred darbha-grass and the like, for she is skilful in religious etiquette; should she be fatigued anytime in these daily chores, it was mitigable with the puny moonshine of crescentic moon ensconced in the matted hairlocks of Shiva. [1-60]

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इति कालिदास कृत कुमारसंभव महाकाव्ये प्रथमः सर्गः

iti kālidāsa kṛta kumārasaṁbhava mahākāvye prathamaḥ sargaḥ

Thus this is 1st chapter in Kalidasa's kumArasambhavam, The Esteemed Classic of India

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