Chapter [Sarga] 11 - saanandadaamodaram

Now Raadha approaches Krishna, somehow reconciling herself about Krishna's frolicking with other maids, at the persuasion of her girlfriends. There are many variations in  of this  chapter in other mms, and hence the verses found more may be taken as regional insurgencies.

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suchiramanunayena priiNayitvaa mR^igaakshiim
gatavati kR^itaveshe keshave ku.njashayyaam |
rachitaruchirabhuuSaam dR^ishhTimoshhe pradoshhe
sphurati niravasaadaam kaapi raadhaam jagaada || 11-1

pa cChe- suchiram anunayane priiNayitvaa mR^iga akshiim gatavati kR^ita veshe keshave ku.nja shayyaam rachita ruchira bhuuSaam dR^iSTi moSe pradoSe sphurati niravasaadaam kaapi raadhaam jagaada

11-1. kR^ita veshe keshave= on making getup, [on befittingly dressing up,] Krishna; su chiram anunayena= for a long, coaxing; priiNayitvaa= on gladdening; mR^iga akshiim= fawn, eyed Raadha; gatavati ku.nja shayyaam= having gone, in bower's, couch [awwaiting her]; dR^iSTi moSe pradoSe sphurati sati= eye, stealing [dimming,] late evening, when gleaming; rachita ruchira bhuuSaam= on decorating, very tasty, decorations; nir avasaadaam= to one without, sinking mood - Raadha; kaapi= someone, another milkmaid; raadhaam jagaada [idam]= to Raadha, said, [this way.]

On coaxing Raadha for a long time and gladdening her Krishna dressed up in a befitting manner to receive her, and awaited her on a couch in a bower, and Raadha too, when the eye-dimming duskily late evening is gleamy, decorated herself with a black smock-frock like dress and black blanket, and suchlike befitting apparels required in meeting her lover, and to such a un-dispirited Raadha, some milkmaid spoke in this way. [11-1]

Some other milkmaid encourages Raadha when her dispiritedness is alleviated by Krishna, as she was so reluctant to others so far. This episode is the reported speech of other milkmaids and that of the poet, in explaining how a coyly girl is abashed to meet her man on the first day, and such scenes are usual even to day at nuptials.

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aSTa padi 20 - shriiharitaalaraajijaladharavilasitam

virachitachaaTuvachanarachanam charaNe rachitapraNipaatam |
sa.mprati ma.njulava.njulasiimani kelishayanamanuyaatam ||
mugdhe madhumathanam anugatamanusara raadhe - dhR^ivam || a pa 20-1

pa cChe- virachita chaaTu vachana rachanam charaNe rachita praNipaatam sa.mprati ma.njula va.njula siimani keli shayanam anuyaatam mugdhe madhu mathanam anugatam anusara raadhe

a pa 20-1. hè mugdhe= oh, naively girl; virachita= one who has made; chaaTu vachana rachanam= cloying, words, crafty one [one who coaxed and combed you with crafty words]; sa.mprati charaNe rachita praNipaatam= presently, at [your] feet, who made, salutation; ma.njula va.njula siimani= heart-stealing, Vanjula plants [a bower,] in areas of; keli shayanam anuyaatam= disporting, bed, gone onto; anu gatam= in tow, follower [your seeker]; raadhe= oh, Raadha; anu sara= in tow, go [you seek]; madhu mathanam= Madhu the demon, he who humbled - Krishna.

"Oh, naively girl, he who has coaxed and combed you with his crafty words, he who paid his devoirs to your feet, he is there on the bed of disport in the areas of heart-stealing bowers, hence, you seek him, for that Krishna is the seeker of yours... [20-1]

 The word iha and the foot kuru muraare m.ngala shataani are unseen in northern naagara mms. And many words and expressions in this song vary with that of Northern mms.

ghanajaghanastanabhaarabhare darama.ntharacharaNavihaaram |
mukharitamaNima.njiiramupaihi vidhehi maraalanikaaram || a pa 20-2

pa cChe- ghana jaghana stana bhaara bhare dara ma.nthara charaNa vihaaram
mukharita maNi ma.njiiram upaihi vidhehi maraala nikaaram

a pa 20-2. ghana jaghana= one with massy, hips; stana bhaara bhare= bust's, massy, burdened with; dara ma.nthara charaNa vihaaram= little, slowly, feet's, going [saauntering] mukharita maNi ma.njiiram= with tinkling, by gemmed, anklets; upaihi= go near [approach]; vidhehi= make happen; maraala nikaaram= swans [clucking,] meaningless

"Oh, Raadha, massy is your hipline, burdened is your bust with equally massy bust, hence let your feet saunter a little and slowly, then let those feet tinkle the gemmy anklets, and let those tinkles make the clucks of swans meaningless, thus you approach him, for he seeks you... [a pa 20-2]

 This time is appropriate to seek Krishna because swans will be clucking at this time, and the tinkles of anklets will be drowned in those clucks, which others may not decipher, excepting Krishna, the seeker. Further, swans' clucks, rather their voicing than ducks clucking, are an auspicious omen kR^iSNa anusarvaasu api darshanena hamsasya shabdena ca kaarya siddhiH – vasanta raajiiya grantha that too, more auspicious when putting one's best foot forward.

shR^iNu ramaNiiyataram taruNiijanamohanamadhuripuraavam |
kusumasharaasanashaasanavandini pikanikare bhaja bhaavam || a pa 20-3

pa cChe- shR^iNu ramaNiiya taram taruNii jana mohana madhu ripu raavam
kusuma sharaasana shaasana vandini pika nikare bhaja bhaavam

a pa 20-2. ghana jaghana= one with massy, hips; stana bhaara bhare= bust's, massy, burdened with; dara ma.nthara charaNa vihaaram= little, slowly, feet's, going [saauntering] mukharita maNi ma.njiiram= with tinkling, by gemmed, anklets; upaihi= go near [approach]; vidhehi= make happen; maraala nikaaram= swans [clucking,] meaningless

"Oh, Raadha, massy is your hipline, burdened is your bust with equally massy bust, hence let your feet saunter a little and slowly, then let those feet tinkle the gemmy anklets, and let those tinkles make the clucks of swans meaningless, thus you approach him, for he seeks you... [a pa 20-2]

 This time is appropriate to seek Krishna because swans will be clucking at this time, and the tinkles of anklets will be drowned in those clucks, which others may not decipher, excepting Krishna, the seeker. Further, swans' clucks, rather their voicing than ducks clucking, are an auspicious omen kR^iSNa anusarvaasu api darshanena hamsasya shabdena ca kaarya siddhiH – vasanta raajiiya grantha that too, more auspicious when putting one's best foot forward.

"O, ignorant girl, hark to the best possible musicality of Krishna's flute, that which amuses flocks of damsels, and hark to the flight of koels, that sing by the order of Love-god with the same musicality, as though they are the minstrels of Love-god, thus you get an idea in this ambience, and seeks him for he seeks you... [a pa 20-3]

anilataralakisalayanikareNa kareNa lataanikurambam |
preraNamiva karabhoru karoti gatim pratimu.ncha vilambam || a pa 20-4

pa cChe- anila tarala kisalaya nikareNa kareNa lataa nikura.mbam preraNam iva
karabhoru karoti gatim prati mu.ncha vilambam

a pa 20-4. karabha= measure from tip of last finger to wrist, palmful, thick; uuru= having thighs; lataa nikura.mbam= climber-plants, whole of [ensemble of]; anila tarala= by wind, wavy; kisalaya nikareNa= by tender leaves, bunches of; kareNa preraNam iva= with hand, encouraging, as though; karoti= they do; gatim prati vilambam= going, about, delay; mu.ncha= cast off.

"O, thick-thighed girl, the wind is waving the ensemble of climber plants, and the ensemble of their tender leaves look as though their hands, encouragingly waving at you to go, hence cast off the delay about your going to him... and seek him for he seeks you... [a pa 20-4]

 The breezing and trees' tender leaves etc., have good omen while setting out on a purposeful journey. vaame madhura vaak pakshii vR^ikshaH pallavito agrataH | anukuulo vahan vaayuH prayaaNe shubha suucakaH – shakuna shaastra 'birds singing on left, seeing trees with just born leaves, breezes breezing the way set out, all these are good omens for a journey...'

sphuritamana.ngatara.ngavashaadiva suuchitahariparira.mbham |
pR^icCha manoharahaaravimalajaladhaaramamum kuchaku.mbham || a pa 20-5

pa cChe- sphuritam ana.nga tara.nga vashaat iva suuchita hari pari ra.mbham
pR^icCha manohara haara vimala jala dhaaram amum kucha ku.mbham

a pa 20-5. hè mugdhe= you ignorant girl; ana.nga= by Love-god's; tara.nga vashaat iva= purls, owing to control [in tide-ripped,] as if; sphuritam= fluctuating crabwise; suuchita= indicating; hari pari ra.mbham= Krishna's, spiral, embrace; manohara= pleasant; haara= pearly pendants; vimala jala dhaaram= immaculate, water [streams,] purling; amum kucha ku.mbham= this, bosoms, pot-like; pR^icCha= ask them [the bosoms.]

"You ignorant girl, those pleasant pearly pendants now appear to be purling streams of immaculate waters, for they are spirally fluctuating on your bosoms, as if tide-ripped in the purls of Love-god, ask them whether they indicate a spiralling embrace of Krishna bechances or not... [a pa 20-5]

 The simile/metaphors used here are between:– waves – pearl-pendants; purls of love – purl-like motion of pendant on heaving bosoms; water spills only if brook/stream is full; love spill only when it is bosom-full; stream with full immaculate water – bosoms with plethoric pristine love; pot like bosoms – streams with pot and pots of water; Love-god's activity is seasonal – longing for love is time oriented; and the upsurge and getting tide-ripped is common to both water and love.

When it is said ananga taranga it is construed that Raadha is rasa tarangiNi a purl of essence of enjoyable, blissful love purl of Krishna, where purl is a stream of a brook etc., flowing with a swelling, swirling motion and babbling sound. She too is a single stream of loveliest love essence. And when the bosoms of women surge with passion, of course in with a righteous intention, then the swell of bosoms portend a definite embrace from their loved men. nityam naaryaaH stane kampaH priya sangama suucakaH – shakuna shaastra Then Raadha may say 'stop all this orthodox nonsense, how can I go to him when all of you are eyeing at me, am I shameless or what?' for this that girlfriend replies now on.

adhigatamakhilasakhiibhiridam tava vapurapi ratiraNasajjam |
chaNDi rasitarashanaaravaDiNDimamabhisara sarasamalajjam || a pa 20-s6

pa cChe- adhigatam akhila sakhiibhiH idam tava vapuH api rati raNa sajjam
chaNDi rasita rashana rava DiNDimam abhisara sarasam alajjam

a pa 20-6. hè mugdhe= you ignorant girl; tava idam vapuH api= your, this, body, even; rati raNa sajjam= passion, battle of, primed for; adhigatam akhila sakhiibhiH= familiar, to all, girlfriends; hè chaNDi= you wildcat; rasita rashana rava DiNDimam= thrumming, waist-strings' tinkle bells', by sound, drumming like sound paraspara virodhaa alankaara where delicate tinkling of 2mm bells of waist-strings magnified a war drum beats- to say 'become a love-warrior']; a + lajjam= without, embarrassment - unembarrassed; sa rasam= with, romance; abhi sara= towards [him,] you make move.

"You ignorant girl, even this body of yours is primed for the battle of passion, and it is familiar to all your girlfriends, hence you wildcat, make a move towards him to the rhythm of the belling sound of your waist-strings like a love-warrior, be unembarrassed but be romantic... [a pa 20-6]

smarasharasubhaganakhena kareNa sakhiimavala.mbya saliilam |
chala valayakvaNitairavabodhaya haramapi nijagatishiilam || a pa 20-7

pa cChe- smara shara subhaga nakhena kareNa sakhiim avala.mbya saliilam
chala valaya kvaNitaH avabodhaya haram api nija gati shiilam

a pa 20-7. hè mugdhe= you innocent girl; smara shara subhaga nakhena= Love-god's, arrows [like,] beautiful, fingernails; kareNa sakhiim avala.mbya= hand of, girlfriend, hanging on; sa liilam= with, grace; chala= you move; valaya kvaNitaH nija gati shiilam= round silver bracelets', by clanging, your, movement's [approach,] way of; avabodhaya haram api= make known, to Krishna, even.

"You innocent girl, move gracefully hanging on to your girlfriend, by your hand that has beautiful fingernails on par with Love-god's arrows, and let the way of your approach be known even to Krishna, by the way of the clanging of your bracelets... [a pa 20-7]

 shriijayadevabhaNitamadhariikR^itahaaramudaasitavaamam |
harivinihitamanasaamadhitiSThatu kaNThataTiimaviraamam || a pa 20-8

pa cChe- shrii jayadeva bhaNitam adharii kR^ita haaram udaasita vaamam
hari vinihita manasaam adhitiSThatu kaNTha taTiim aviraamam

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akshNornikshipada.njanam shravaNayostaapichChaguchChaavaliim
muurdhni shyaamasarojadaama kuchayoH kastuurikaapatrakam |
dhuurtaanaamabhisaarasa.mbhrama juSaam viSva~njiiku.nje sakhi
dhvaantam niilanicholachaaru sudR^ishaam pratya.ngamaali.ngati || 11-3

pa cChe- akshNoH nikshipat a.njanam shravaNayoH taapi.nchCha guchCha aavaliim muurdhni shyaama saroja daama kuchayoH kastuurikaa patrakam dhuurtaanaam abhisaara sa.mbhrama juSaam viSvak niku.nje sakhi dhvaantam niila nichola chaaru sudR^ishaam pratya.nga aali.ngati

11-3. sakhi= oh, friend; akshNoH a.njanam= in eyes, mascara; shravaNayoH= at sides of ears; taapi.nchCha= black flowers'; guchCha= bunches; aavaliim= strings of; muurdhni= on forehead; shyaama saroja daama= black, lotuses, chaplet;kuchayoH= on bosoms;kastuurikaa= black musk's; patrakam= leafage designs; nikshipat= while keeping [decorating]; niila nichola= black, blanket; chaaru dhvaantam= delightful, shade of night; dhuurtaanaam= for coquettes; abhisaara sa.mbhrama juSaam= going to their lovers, with flurry, muddled up; su dR^ishaam= good, glanced - girls with sidelong-glances; prati a.nga= each, limb; niku.nje= in bowers; viSvak= everywhere; aali.ngati= embracing.

"Oh, friend, the shade of night is decorating her eyes with mascara, ear-sides with black Tamala flowers, forehead with the chaplets of black lotuses, bosoms with leafage designs of black musk, and thus this delightful shade of night, gleaming like a black covering blanket, is embracing each limb of coquettish girls with sidelong-glances, everywhere in bowers... [11-3]

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kaashmiiragauravapuSaamabhisaarikaaNaam
aabaddharekhamabhito ruchima.njariibhiH |
etattamaaladalaniilatamam tamishram
tatpremahemanikaSopalataam tanoti || 11-4

pa cChe- kaashmiira gaura vapuSaam abhisaarikaaNaam aabaddha rekham abhito ruchi ma.njariibhiH etat tamaala dala niila tamam tamishram tat prema hema nikaSa upalataam tanoti

11-4. kaashmiira gaura vapuSaam= saffron, ocherish [i.e., in kumkum's colour,] with bodies [complexioned]; abhisaarikaaNaam= those that go towards a preset place of lover [coquettes treading towards their lovers]; abhitaH= around; ruchi ma.njariibhiH= glints, clusters of [manimanjariibhiH= by the cluster of gems]; aabaddha rekham= trussed up, streaks; tamaala dala= like black Tamala leaves; niila tamam= black, more than; etat tamishram= this, dark of night; tat= for that, [love for Krishna]; prema= [for his] love; hema= for gold; nikaSa= on touchstone; upalataam= streaked line; tanoti= let [this dark night] enrich.

Let this dark of night with its more black Tamala leaves be a touchstone of gold for deciding the love for Krishna, trussed up with many a streaked line of glinting clusters of gold streaks on it, where those streaks are the saffrony ocherish complexioned coquettes treading towards their lovers. [11-4]

Subtext: While voluptuous women tread towards their lovers in night, their ornaments give out glints at the smallest possible light, thus making their golden yellow complexion more striking on the black background of night, like a streak of pure gold on a touchstone among other streaks, thus if Raadha, in all her love for Krishna, ventures to tread the darkness, called ignorance, she shines forth like a loveable streak of pure gold.

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haaraavaliitaralakaa.nchanakaa.nchidaama
ma.njiiraka.nkaNamaNidyutidiipitasya |
dvaare niku.njanilayasyaharim niriikshya
vriiDaavatiim atha sakhiim iyam ityuvaaca || 11-5

pa cChe- haaraa avalii tarala kaa.nchana kaa.nchii daama ma.njiira ka.nkaNa maNi dyuti diipitasya dvaare niku.nja nilayasya harim niriikshya vriiDaavatiim atha sakhiim iyam iti uvaaca

11-5. haaraa avalii tarala= pearl-pendants, cluster of, their central jewel; kaa.nchana  kaa.nchii daama= golden, waist-string; manjiira= anklets [keyuura= bicep-lets]; ka.nkaNa= bracelets; maNi= jewels; dyuti= by resplendence of [these ornaments]; diipitasya= brightened [by his self-refulgence]; niku.nja nilayasya dvaare= bowery, abode's, entryway; harim niriikshya= at Krishna, on making eyes at; vriiDaavatiim= one who is bashful, Raadha; sakhiim= at such girlfriend; iyam= this girlfriend-cum- messenger; atha iti uvaaca= then, this way [in next song,] spoke; the meaning of this is amplified.

On reaching the preset place to meet Krishna, Raadha found him at the very entryway of his abode of bower, which is brightened by his self-refulgence, as well by the jewels in his ornaments, like the central jewel in the cluster of his pearl-pendants, jewels in anklets, bracelets, and golden waist-string, and then on making eyes at him she became bashful, and then to such a bashful Raadha, this friend-cum-messenger spoke in this most celebrated song that follows. [11-5]

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aSTa padi 21 - saana.ndadaamodara prema druma pallavam

ma.njutaraku.njatalakelisadane |
iha vilasa ratirabhasahasitavadane ||

pravisha raadhe maadhavasamiipamiha
kuru muraare m.ngala shataani - dhR^ivam || a pa 21-1

pa cChe- ma.nju tara ku.nja tala keli sadane iha vilasa rati rabhasa hasita vadane
pravisha raadhe maadhava samiipam iha - kuru muraare m.ngala shataani

a pa 21-1. raadhe= O, Raadha; iha= in here, in this bower; maadhava samiipam pravisha= to Krishna's, nearby, enter; hasita= made to smile, [not laughing as in dicts., what made her to smile? next -] rati rabhasa= intimacy, in ecstasy - this ecstatic state made her to smile; vadane= wearking such a such a simpering smile on her face; ma.nju tara= enrapturing, highly; ku.nja tala= bower's, span, stretch, area [ this word 'tala' is usually translated as surface, ground of bower, meaning that 'Raadha you lay down on the ground of bower' - better this may please be stopped, and let it be said as the realm of your lover's bower' without ruining Raadha stature]; keli sadane= disport, mansion of; vilasa= you rejoice; iha kuru m.ngala shataani muraare= now, make happen [accords,] graces, in hundreds [manifold,] oh Krishna - for Raadha came to you.

"Enter in here Raadha, for your face wears a simpering smile in the ecstasy for intimacy, draw nigh of Krishna to rejoice, in the highly enrapturing realm of your lover's bower, and a mansion of his passional disports as well, and thereby let Krishna accord manifold graces... enter Raadha, into the enrapturing realm of your lover... [a pa 21-1]

 The word iha and the foot kuru muraare m.ngala shataani are unseen in northern Nagara mms. And many words and expressions in this song vary with that of Northern mms.

navabhavadashokadalashayanasaare |
 vilasa kuchakalashataralahaare
pravisha raadhe maadhavasamiipamiha
kuru muraare m.ngala shataani - || a pa 21-2

pa cChe- nava bhavat ashoka dala shayana saare vilasa kucha kalasha tarala haare
pravisha raadhe maadhava samiipam iha kuru muraare m.ngala shataani

a pa 21-2. kucha kalasha= on bosoms, pot-like [bulging bosoms]; tarala haare= tossing, one having pendants; [raadhe= O, Raadha]; nava bhavat ashoka dala= newly, sprouting, Ashoka flowers', petals; shayana saare= on couch, the best; vilasa= rejoice yourself; [respite: pravisha raadhe maadhava...shataani= as above.]

"O, Raadha with tossing pendants on your bulging bosoms, rejoice on the best couch of petals of newly sprouting Ashoka flowers... hence, enter into the enrapturing realm of your lover... [a pa 21-2]

kusumachayarachitashuchivaasagehe |
 iha vilasa kusumasukumaaradehe || a pa 21-3

pa cChe- kusuma chaya rachita shuchi vaasa gehe iha vilasa kusuma sukumaara dehe

a pa 21-3. kusuma sukumaara dehe= flower-like, exquisite, one with such physique; kusuma chaya rachita= flowers, heaps of, made with; shuchi= clean [meaning that this cottage is unsullied by another heroine previously]; vaasa gehe= living, house [bedchamber]; iha vilasa= now, you rejoice.

"O, one with flower-like exquisite build, rejoice in the clean bedchamber made up with heaps of flowers... enter into such an enrapturing realm of your lover... [a pa 21-3]

calamalayavanapavanasurabhishiite |
vilasa madanasharanikarabhiite || a pa 21-4

pa cChe- cala malaya vana pavana surabhi shiite iha vilasa madana shara nikara bhiite

a pa 21-4. madana shara nikara bhiite= Love-god's, arrows, group of, one who is scared so far; cala= move in; malaya vana pavana= sandal, wood's, breeze; surabhi shiite= fragranced, cooled [bower, which is afresh in fragrance, but not redolent of any early time love of Krishna]; iha vilasa= in here, you rejoice.

"Oh, you who are scared by the group of five flowery arrows of Love-god, move into the bower, fragranced and cooled by the breezes from the woods of sandalwood, to rejoice... [a pa 21-4]

vitatabahuvallinavapallavaghane |
vilasachiramalasapiinajaghane || a pa 21-5

pa cChe- vitata bahu valli nava pallava ghane iha vilasa chiram alasa piina jaghane

a pa 21-5. alasa piina jaghane= husky, burly, one having a such a hips; vitata= verily intertwined; bahu valli= with many, climber plants; nava pallava ghane= new, leaflets, mass of; iha= in here, this bower; vilasa chiram= rejoice for a long time.

"O, Raadha, with your burly, husky hips, enter into this bower verily intertwined with many a climber-plant and with mass of new leaflets, and in her you rejoice for a long... [a pa 21-5]

madhumuditamadhupakulakalitaraave |
vilasa kushumasharasarasabhaave || a pa 21-5

pa cChe- madhu mudita madhupa kula kalita raave iha vilasa kushuma shara sarasa bhaave

a pa 21-6. kushuma shara= flowery, arrows - wielder, Love-god, passionate; sa rasa= with, romance; bhaave= having such a mood; [other mms - madana rasa rabhasa bhaava; madana shara rabhasa bhaave etc] madhu= with honey [swilling]; mudita= gladdened; madhupa kula= honeybees, swarms of; kalita raave= blent, with humming; iha vilasa= in here, you rejoice.

"O, Raadha with passionate romantic mood, enter this bower that is blent with the humming of swarms of honeybees that are gladdened by swilling honey... in here you rejoice... [a pa 21-6]

madhutaralapikanikaraninadamukhare |
vilasa dashanaruchiruchirashikhare || a pa 21-7

pa cChe- madhu tarala pika nikara ninada mukhare iha vilasa dashana ruchi ruchira shikhare

a pa 21-7. dashana= of teeth; ruchi= brightness; ruchira= charming; shikhare= edge of teeth [one whose teeth edges sparkle brightly when her lip is half open; or, dashana ruchi= teeth's, brightness; rucira= beautiful; shikhare= rubies according to shaashvata nighaNTu: pakva daaDima biija aabhaam maaNikyam shikharam viduH madhu= in vernal season [on chewing tender leaves]; tarala= fluttering; pika= koels; nikara= flocks of; ninada= [with lustful] callings; mukhare= in reverberation; iha vilasa= in here, you rejoice.

"O, Raadha with bright sparkle on teeth edges, enter in here where it is reverberating with the lustful callings of koels that have just chewed tender leaves in this vernal season... in here you rejoice... [a pa 21-7]

vihitapadmaavatiisukhasamaaje |
bhaNati jayadevakaviraaje || a pa 21-8

pa cChe- vihita padmaavatii sukha samaaje bhaNati jayadeva kavi raaja raaje iha vilasa || 11-6

a pa 21-8. vihita= make happen, matched up; padmaavatii= with Padmaavati [poet's wife]; sukha samaaje= saukhya parampara= in the chain of comforts [where the unbroken chain is strung with her help in choreographing, wifehood, leaving the poet to go on telling this song, without any nagging, unlike Sant Tukaram's wife; or, vihita= arranged; padmaavati= Goddess Lakshmi's; sukha= comfortable; samaaje= ensconcing i.e., the idol of Goddess Lakshmi is ensconced in a comfortable sitting in the temple at his village, variously called as Indubilva, Tindubilva etc., and he positing himself before those idols composed this poem - so they say]; jayadeva kavi= while Jayadeva, the poet; raaja raaje= kavi raaja candra raajaraajaH kubere api saarvabhoume sudhaakare - vishvakosha moonlike poet to shed moonbeams like soft songs; bhaNati= while saying; iha vilasa= in here, you rejoice.

"Enter in here Raadha, for your face wears a simpering smile in the ecstasy for intimacy, draw nigh of Krishna to rejoice, in the highly enrapturing realm of your lover's bower, and a mansion of his passional disports as well, and thereby let Krishna accord manifold graces... enter Raadha, into the enrapturing realm of your lover... [a pa 21-1]

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tvaam chittenachiram vahannayamatishraanto bhR^isham taapitaH
kandarpeNa ca paatumichChati sudhaasa.mbaadhabi.mbaadharam |
asyaa.nkam tadala.nkuru kshaNamiha bhruukshepalakshmiilava
kriite daaseva upasevitapadaa.mbhoje kutaH sa.mbhramaH || 11-7

pa cChe- tvaam chittena chiram vahan ayam ati shraa.ntaH bhR^isham taapitaH ka.ndarpeNa ca paatum ichChati sudhaa sa.mbaadha bi.mba adharam asya a.nkam tat ala.nkuru kshaNam iha
bhruu kshepa lakshmii lava kriite daasa iva upasevita pada a.mbhoje kutaH sambhramaH

11-7. ayam chiram tvaam chittena vahan= he, for a long time, you, by heart, while bears; ati shraa.ntaH= much, tired out; ka.ndarpeNa bhR^isham taapitaH ca= [therefore] by Love-god, highly, scorching him [as that Love-god prowls only for such helpless lovers]; [therefore] sudhaa sa.mbaadha bi.mba adharam= for nectar, damaging, [your] small red cucumber like, lower lip [your roseate lips and their nectar outclasses, surpasses the heavenly nectar]; paatum ichChati= to drink, he cherishes; tat= therefore; asya a.nkam kshaNam ala.nkuru= his, in flank, for a moment, lend the grace [of your body]; [Raadha may ask ' took my words amiss, how can I be with him... for that, the girlfriend is saying]; [tava] bhruu kshepa lakshmii lava kriite= [your] eyebrow, movement's, richness, least, buyable [he is buyable by the richness of the least raise of your eyebrow; something like - simoniacal - the buying or selling of ecclesiastical privileges, e.g. pardons or benefices]; daasa iva= servant, like a; upasevita pada a.mbhoje= reverenced, [your] feet, lotus-like [he reveres your lotusy feet like a servant]; iha= in this matter; sambhramaH kutaH= hesitation, where is.

"His heart is much tired out while bearing you in it, therefore Love-god is highly scorching him, therefore he cherishes to drink nectar of your roseate lips that transcends the heavenly nectar, therefore lend the grace of your body on his flank, at least for a moment... where is the question of your hesitation when he is buyable by the richness of the least raise of your eyebrow... he reveres your lotusy feet like a servant... believe me..." [11-7]

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saa sasaadhvasasaana.ndam govi.nde lolalochanaa |
si.njaanama.njuma.njiiram pravivesha niveshanam || 11-8

pa cChe- saa sa saadhvasa sa anandam govinde lola lochanaa
si.njaana ma.nju ma.njiiram pravivesha niveshanam

11-8. govinde lola lochanaa= on Krishna, fluttery, eyes [eying Krishna with sidelong-glances]; saa= she that Raadha; sa saadhvasa= with, fear [here - doubt]; sa anandam= with delight; si.njaana= clanging; ma.nju= charming; ma.njiiram= making anklets [she slowly sneaked in, in doing so her anklets are clanging to her footwork, indicating her entrance - dancers delight]; pravivesha niveshanam= entered, disporting bower.

Then Raadha with her sidelong-glances on Krishna, and with a doubt and delight, entered that disporting bower, and while her anklets clanged in tune with her stepping. [11-8]

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aSTa padi - 22 - saana.ndagovinda raaga shreNi kusuma aabharaNam

raadhaavadanavilokanavikasitavividhavikaaravibha.ngam
jalanidhimiva vidhumaNDaladarshanataralitatu.ngatara.ngam |
harimekarasam chiramabhilaSitavilaasam
saa dadaarsha guruharSavasha.nvadavadanamana.nganivaasam |
 hirim eka rasam- nivaasam - dhR^ivam || a pa 22-1

pa Che- raadhaa vadana vilokana vikasita vividha vikaara vibha.ngam jala nidhim iva vidhu maNDala darshana taralita tu.nga tara.ngam harim eka rasam chiram abhilaSita vilaasam
saa dadaarsha guru harSa vasha.nvada vadanam ana.nga nivaasam

a pa 22-1. eka rasam= with single, [passionate] emotion [towards Raadha]; chiram abhilaSita vilaasam= for long time, desired, frolicking [with Raadha]; guru harSa vasha.nvada vadanam= high, ecstatic happiness, went under control of, [his face]; ana.nga nivaasam= [aggregate] bodiless love, abode of; raadhaa vadana vilokana= Raadha's, face, on seeing; vikasita vividha vikaara vibha.ngam= unfolded, various, change of [passional] attitudes, as ripples [in many kinds of undulating emotions]; vidhu maNDala darshana= moon's, sphere, on appearance of; taralita tu.nga tara.ngam= flurried, high, tides; jala nidhim iva= water, treasure [ocean,] like; saa= she that Raadha; dadaarsha= saw at; harim= at Krishna.

He who is with a single passional emotion towards Raadha alone, and he who desired to frolic with Raadha for a long time, and who is an abode of aggregate love, and whose face now went under the control of high ecstatic happiness on seeing Raadha, unfolding many an undulating passional emotions like ripples, similar to an ocean in which high tides flurry on the appearance of moon, Raadha saw at such Krishna. [a pa 22-1]

haaramamalatarataaramurasi dadhatam parirabhya viduuram |
sphuTataraphenakada.mbakara.mbitamiva yamunaajalapuuram || a pa 22-2

pa cChe- haaram amala tara taaram urasi dadhatam parirabhya viduuram
sphuTa tara phena kada.mba kara.mbitam iva yamunaa jalapuuram

a pa 22-2. amala tara taaram haaram= pure, higher [purest,] having pearls, pendant; urasi viduuram= on chest, lengthy; parirabhya= bracingly [close on his chest]; dadhatam= wearing; sphuTa tara= clear, higher [clearest]; phena kada.mba  kara.mbitam= foam, mass of [bubbles,] merging; yamunaa jala puuram iva= River Yamuna, water, course, like; saa= she that Raadha; dadaarsha= saw at; harim= at Krishna.

He who is wearing lengthy pendants of purest pearls close on his sappharine chest, that look like the mass of white bubbles merging in the course of sappharine waters of River Yamuna, at such a Krishna Raadha saw. [a pa 22-2]

shyaamalamR^idulakalevaramaNDalamadhigatagauradukuulam |
niilanalinamiva piitaparaagapatalabharavalayitamuulam || a pa 22-3

pa cChe- shyaamala mR^idula kalevara maNDalam adhigata gaura dukuulam
niila nalinam iva piita paraaga patala bhara valayita muulam

a pa 22-3. shyaamala mR^idula kalevara maNDalam= sapphirine, satiny, body, around; adhigata gaura dukuulam= possessed [wearing,] ochreish, silk cloth; piita paraaga patala= yellowish, pollen, a collection of; bhara valayita muulam= remarkably, spiralled, on stem; niila nalinam iva= blue-black, lotus, like [sthitam= avialable, standing.]

Around his sapphirine satiny body he is wearing an ocherish silk cloth, with that he looks like a black lotus, at whose stem a collection of yellowish pollen is remarkably spiralled, Raadha saw at such blue-black-lotus-like Krishna. [a pa 22-3]

taraladR^iga.nchalachalanamanoharavadanajanitaratiraagam |
sphuTakamalodarakhelitakha.njanayugamiva sharadi taDaagam || a pa 22-4

pa cChe - tarala dR^ik a.nchala chalana manohara vadana janita rati raagam
sphuTa kamala udara khelita kha.njana yugam iva sharadi taDaagam

a pa 22-4. tarala dR^ik a.nchala chalana= moving, eye, edges [Raadha with sidelong glances,] by casting [such glances]; manohara vadana janita rati raagam= delightful, face, caused [showing,] for intimacy, interestedness; sharadi= in autumn; sphuTa kamala udara= unfolded, lotus, in belly; khelita kha.njana yugam= playing, small birds, couple of; taDaagam iva [sthitam]= lake, like [standing.]

On Raadha's casting sidelong glances, his delightful face is showing an interestedness for intimacy; hence he is like a lake in autumn, wherein a couple of small birds are playing in the belly of an unfolded lotus, Raadha saw at such Krishna. [a pa 22-4]

vadanakamalaparishiilanamilitamihirasamakuNDalashobham |
smitaruchiruchirasamullasitaadharapallavakR^itaratilobham || a pa 22-5

pa cChe- vadana kamala parishiilana milita mihira sama kuNDala shobham smita
ruchi ruchira samullasita adhara pallava kR^ita rati lobham

a pa 22-5. vadana kamala parishiilana= [Raadha's face, as well as Krishna's face] like lotus; to check [as a lotus unfolds when sun comes]; milita= inclusive of [having]; mihira sama kuNDala shobham= suns, equal to, knobby ear-hangings, splendour; smita ruchi= smile's, by resplendence; ruchira= agreeable; samullasita= enthusiastic [to swill nectar from Raadha's lips]; adhara pallava kR^ita= lips, leaflet like, made [showing]; rati lobham= for intimacy, longing.

His lotus like face has knobby ear-hangings, equal in splendour of many suns, that have come to check the lotus like face of Raadha, and the agreeable resplendence of his smile on his leaflet like lips is showing his longing for intimacy, and he is enthusiastic to swill the nectar from Raadha's lips, and Raadha saw at such Krishna. [a pa 22-5]

shashikiraNachChuritodarajaladharasundarasakusumakesham |
timiroditavidhumaNdalanirmalamalayajatilakanivesham || a pa 22-6

pa cChe- shashi kiraNa chChurita udara jala dhara sundara sa kusuma kesham
timira udita vidhu maNdala nirmala malaya ja tilaka nivesham

a pa 22-6. shashi kiraNa chChurita= by moon, beams, brightened; udara= centrally; jala dhara= water, bearing [black cloud]; sundara sa kusuma kesham= charming, [inlaid] with, flowers, head-hair; timira udita= from sombre [sky,] uprisen; vidhu maNdala= moon's, orb like; nirmala= spotless; malayaja tilaka nivesham= sandal paste, forehead mark, kept [on forehead.]

Alike a black watery cloud centrally brightened by moonbeams, his charming head-hair inlaid with flowers, and his blue-blackish forehead is marked with a spotless white sandal paste, that itself is like the uprising orb of moon on sombre sky, and Raadha saw at such Krishna. [a pa 22-6]

vipulapulakabharadanturitam ratikelikalaabhiradhiiram |
maNigaNakiraNasamuuhasamujjvalabhuuSaNasubhagashariiram || a pa 22-7

pa cChe- vipula pulaka bhara danturitam rati keli kalaabhiH adhiiram maNi gaNa
kiraNa samuuha samujjvala bhuuSaNa subhaga shariiram

a pa 22-7. vipula pulaka bhara danturitam= broad, thrilling, filled with, uneven [muddling on]; rati keli kalaabhiH= by passionate, play [immediately,] by arts; a dhiiram= not, firm [disquieted]; maNi gaNa= gems, clusters of; kiraNa samuuha= with their rays, collection of; samujjvala bhuuSaNa= well brightened, ornaments; subhaga shariiram= with auspicious [with a halo around him,] build [he is self-refulgent.]

He who is muddling on with broad thrilling sensations, he who is disquieted to immediately all known arts of passionate play is self-refulgent with the collection of rays from the cluster of gems in a halo around his auspicious build, and at such haloed Krishna. [22-7]

shriijayadevabhaNitavibhavadviguNiikR^itabhuuSaNabhaaram |
praNamata hR^idi suchiram vinidhaaya harim sukR^itodayasaaram || a pa 22-8

pa cChe- shrii jayadeva bhaNita vibhava dviguNii kR^ita bhuuSaNa bhaaram
praNamata hR^idi suchiram vinidhaaya harim sukR^ita udaya saaram

a pa 22-8. hè vaishNavaaH= oh, adorers of Vishnu; shrii= the auspicious saying; jayadeva bhaNita= by Jayadeva, said; vibhava= by its glory; dviguNii kR^ita= doubly, made; bhuuSaNa bhaaram= Krishna's decorations', weight [i.e., Krishna has his own divine ornaments that are doubly enriched by poet's words in this song, which also serve as his ornament, poet is further adding ornament to his chosen god]; sukR^ita udaya= merit, for the onset of; saaram= [Krishna is the] essence; harim hR^idi suchiram vinidhaaya praNamata= let Krishna be, in hearts, for a long time, firmly keeping, you all revere.

O, the adorers of Vishnu, this glorious and auspicious song rendered by Jayadeva is doubling the weight of Krishna's jewels, for every word is yet another ornament to him, hence keep Krishna firm in you hearts and revere him with this song for a long time, as he alone is the essence to set out merit. [a pa 22-8]

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atikramyaapaa.ngam shravaNapathaparyantagamana
prayaasenevaakshNostaralatarabhaavam gamitayoH |
idaaniim raadhaayaaH priyatamasamaalokasamaye
papaata svedaambuprasara iva harSaashrunikaraH || 11-10

pa cChe- atikramya apaa.ngam shravaNa patha paryanta gamana prayaasena iva
akshNoH tarala tara bhaavam gamitayoH idaaniim raadhaayaaH priyatama samaaloka samaye
papaata sveda ambu prasara iva harSa ashru nikaraH

11-10. idaaniim= presently; raadhaayaaH akshNoH= Raadha's, eyes [glances]; apaa.ngam atikramya= edge of eyes, on crossing over; shravaNa patha paryanta= ears, in the path of, up to [ears]; gamana prayaasena iva= in going, by strain of; tarala tara= fluttering, much; bhaavam gamaitayoH= such sensation, entered; priya tama= loveable, most; samaaloka samaye= at gazing, time; harSa ashru nikaraH= happy, tears, heaps of; sveda ambu prasara  iva= sweat, drops, flowing, as if [her ears strained and sweated to see him because of his self-refulgence]; papaata= [tears] fell.

Presently Raadha's glances have crossed over the edges of eye-sockets, widening along the path unto ears so as to reach ears, as to use a wide-angle, and in that strain they felt much fluttering sensation, and on gazing her most loveable lover with such wide-eyes adoration heaps of happy tear flows have fallen, as though her glances strained and sweated to see him at a long last time. [11-10]

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bhajya.ntyaastalpaantam kR^itakapaTakaNDuutipihita
smitam yaate gehaadbahirapihitaaliiparijane |
priyaasyam pashyantyaaH smaraparavashaaakuutasubhagam
salajjaa lajjaapi vyagamadiva duuram mR^igadR^ishaH || 11-11

pa cChe- bhajya.ntyaaH talpaa.ntam kR^ita kapaTa kaNDuuti pihita smitam yaate gehaat
bahiH api hitaalii parijane priya aasyam pashyantyaaH smara shara samaakuula subhagam
sa lajjaa lajjaa api vyagamat iva duuram mR^iga dR^ishaH

11-11. hitaalii parijane yaate= well-wishers, friends, when went away; gehaat bahiH= from house [bowers,] to outside; kR^ita kapaTa kaNDuuti= on making, pretence, of itching; pihita smitam= concealing, smile; talpa antam bhajya.ntyaaH= bed's, edge, on reaching; smara paravasha aakuuta= Love-god, controlled, thinking [when body language is changed when possessed by love]; subhagam priya aasyam pashyantyaaH= auspicious, dear one's, face, on seeing; mR^iga dR^ishaH= fawn, eyed Raadha's; lajjaa api= prudery, even; sa lajjaa iva= became prudish, as if; duuram= far way; vyagamat= [vi ava gamat]= went away [left her off.]

When her well-wishing friends have gone away from that bower, concealing her happy smile under the pretence of some itching she neared the edge of bed, and on seeing her dear one's auspicious face her body language is changing as she is possessed by Love-god, and even the prudery of that fawn eyed Raadha became as though effected by a bit of prude and left her off. [11-11]

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saana.ndam na.ndasuunurdishatuparataram samma.nda.mma.ndama.ndam
raadhaamaadhaayabaahvorvivaramanudhR^iDham piiDayanpriiti |
yogaat tu.ngautasyaa urojaavatanuvaratanornirgatau
maasmabhuutaam pR^iSTam nirbhidyatasmaadbahiritivalitagriivamaalokaya.ntaH || 11-12

pa cChe- saana.ndam na.nda suunH dishatu parataram samma.ndam ma.nda ma.ndam
 raadhaam aadhaaya baahvoH vivaram anu dhR^iDham piiDayan
 priiti yogaat tu.ngau tasyaa urojau atanu vara tanoH nirgatau maa smabhuutaam
 pR^iSTam nirbhidya tasmaat bahiH iti valita griivam aalokaya.ntaH

11-12. ma.nda ma.ndam= slowly, slowly; raadhaam baahvoH vivaram anu= Raadha is, arms, in the middle, towards [his chest]; aadhaaya= on taking; priiti yogaat dhR^iDham piiDayan= fondness, added, tightly, on hugging; atanu vara tanoH tasyaaH= slender, best, bodied, of her; tu.ngau urojau= jutting, bosoms; pR^iSTam nirbhidya= [his] back, piercing; bahiH tasmaat nirgatau= to outside, of that [back,] coming out; maa smabhuutaam iti= not, to happen that way, thus; valita griivam [yathaa tathaa ]= [quickly] turning, neck [as if to check, mischevously]; aalokaya.ntaH= seeing [his back]; na.nda suunH= Nanda's, son; saana.ndam= with happiness; parataram samma.ndam dishatu= highest, happiness, [to us] let him give.

Then, on taking Raadha into his arm-fold, with added fondness in tightly hugging her, he felt as though the jutting bosoms of that slender bodied Raadha have come out of his back piercing chest and back, and saying to himself 'it should not have happened... have they come our of my back - really...' and to check himself he quickly turned his head from Raadha to looking at his back, mischievously, and let such a mischievous Krishna with all his happiness to be in togetherness with Raadha, accord all of us all the happiness. [11-12]

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jayashriivinyastairmahita iva ma.ndaarakusumaiH
svayam si.ndhureNadviparaNamudaamudrita iva |
bhujapiiDa kriiDaahatakuvalayaapiiDakariNaH
prakiirNaasR^igbi.ndurjayati bhujada.nDo murajitaH || 11-13

pa cChe- jayashrii vinyastaiH mahita iva ma.ndaara sukumaiH svayam si.ndhureNa
dvipa raNa mudaa mudrita iva bhuja piiDa kriiDa hata kuvalayaapiiDa kariNaH prakiirNa
asR^ik bi.nduH jayati bhuja da.nDaH mura jitaH

11-13. prakiirNa asR^ik bi.nduH= bestrewn, blood, drops; jayashrii vinyastaiH= by Prosperity of Victory, kept [sprinkled]; ma.ndaara kusumaiH mahita iva= with Mandaara [red flowers used in worships,] flowers, worshipped, as if; dvipa raNa mudaa= with elephant, warring, happy; svayam si.ndhureNa mudrita iva= by himself, with red victory powder, imprinted, as if; bhuja piiDa kriiDa= by hand, grip, sport; hata kuvalayaapiiDa kariNaH= killed, Kuvalayaapida, named elephant; mura jitaH= Mura's, conqueror [Krishna]; bhuja da.nDaH jayati= shoulder, blade, be victorious [many evils.]

When Krishna was warring he twisted the trunk of an elephant named Kuvalayaapiida, whirled and killed it. Then its blood drops are bestrewn on his hand. Then the Prosperity of Victory, deified form of Goddess Lakshmi insofar as victories are concerned sprinkle red flowed used in worships on Krishna, and Krishna happy as he is to war with an elephant seemed ho have imprinted on his hand red powder used in the worship of victorious combatants. Let such all-conquering arms of Krishna be victorious on many evils.

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saundaryaikanidherana.ngalalanaalaavaNyaliilaajuSaH
raadhaayaahR^idipalavalemanasijakriiDaikara.ngasthale |
ramyorojasarojakhelanarasitvaadaatmanaH khyaapayan
dhyaaturmaanasaraajaha.msanibhataa.mdeyaanmuku.ndomudam || 11-14

a cChe- saundarya eka nidheH ana.nga lalanaa laavaNya liilaa juSaH raadhaayaaH hR^idi palavale manasi ja kriiDaa eka ra.nga sthale ramya uroja saroja khelana rasitvaat aatmanaH khyaapayan dhyaatuH maanasa raaja ha.msa nibhataam deyaat muku.ndaH mudam

11-14. saundarya eka nidheH= for grandeur, single, treasure trove; ana.nga lalanaa= Love-god's, wife [Rati Devi]; laavaNya liilaa juSaH= [such Rati Devi's] body language, bodily gestures [as in dance poses,] added with; raadhaayaaH of Raadha; manasi ja= mind, born [for passion]; kriiDaa= for playing; eka ra.ngasthale= single, stage of performance; hR^idi palavale= heart, called lake; aatmanaH= he [Krishna]; ramya uroja saroja= charming, bosoms, called lotuses; khelana= while plyaing with; rasitvaat= one who enjoyed that bliss; dhyaatuH= to the meditators [on him]; maanasa= heart/lake called Maanasa Sarovar; raaja ha.msa= kingly swan; nibhataam= similitude; khyaapayan= while establishing; muku.ndaH mudam deyaat= Krishna, gladness, let accord.

She who is a single treasure trove for the grandeur, added with the body language and bodily gestures of the wife of Love-god, called Rati Devi, famous for her beauty, and she who is the single stage for the performance of Krishna's love dance, and let Krishna disport with the lotuses called the bosoms of Raadha, in the heart called lake of such Raadha's heart, himself becoming a kingly swan in similitude, let him also play in the lake-like contemplative minds of his devotees, and thus let Krishna accord gladness to on and all. [11-14]

iti giitagovinde saana.ndadaamodaro naama ekaadashaH sargaH

Thus, this is the 11th chapter, called saanandadaamodara - Delighted Krishna, in Gita Govindam of Jayadeva.

Verse Locator for : Chapter 11

Sept, 2003, Desiraju Hanumanta Rao; Revised Oct 08