Gita Govindam - 12 - Jayadeva

At last Raadha meets Krishna, and Krishna who is waiting for a long time for Raadha gladdens on her coming thus yields himself to every wish of hers. They thus unite themselves to keep everything united.

gatavati sakhiibR^inde.amandatrapaabharanirbhara
smaraparavashaakuutasphiitasmitasnapitaadharam |
sarasamanasam dR^ishhTvaa hR^iSTaam muhurnavapallava
prasavashayane nikshiptaakshiimuvaacha hariH priyyaam || 12-1

pa cChe - gatavati sakhii bR^inde amanda trapaa bhara nirbhara smara paravasha aakuuta sphiita smita snapita adharam sarasa manasam dR^iSTvaa hR^iSTaam muhuH nava pallava prasava shayane nikshipta akshiim uvaacha hariH priyyaam

12-1 sakhii bR^inde gatavati= friends, circle, on departure of; amanda trapaa bhara= not, less, coyness, filled with; nirbhara= unmanageable [to contain her coyness]; smara paravasha aakuuta= by Love-god, controlled, with calling [an inwardly felt call or summons]; sphiita= burgeoning; smita snapita= smile, drenched by [laved]; adharam= [with her] lip; muhuH= repeatedly; nava pallava = new, leaves; prasava= just born; shayane= on bed; nikshipta akshiim= she who kept, her eyes [to near it slowly, but not to fall on it like a wildcat]; priyyaam= his love; sarasa manasam= on good terms, at heart [ardent at heart]; hR^iSTaam= one who is gladdened; dR^iSTvaa= on seeing; hariH uvaacha= Krishna, spoke.

When her friends circle departed leaving her alone a lot of unmanageable coyness filled her, and as she is controlled by the calling of Love-god that made her to lave her lips with smiles, hence eyeing downwardly at the love-bed made up with just sprouted tender leaves, but not eye to eye at Krishna, she neared its end and stood there smiling coyly, then Krishna spoke to his love Raadha who by now is gladdened, and arrived with an ardency at heart. [12-1]

aSTa padi 23 - madhuripuvidyaadharaliilam
kisalayashayanatale kuru kaamini charaNanalinavinivesham |
tava padapallavavairiparaabhavamidamanubhavatu suvesham |
kshaNamadhunaa naaraayaNam | anugatamanusara raadhe -dhR^ivam || a pa 23-1

pa cChe - kisalaya shayana tale kuru kaamini charaNa nalina vinivesham tava pada pallava vairi paraabhavam idam anubhavatu suvesham kshaNam adhunaa naaraayaNam anugatam anusara raadhe.

a pa 23-1. hè kaamini= oh, loving Raadha; kisalaya shayana tale= on tender leafy, bed, surface of; charaNa nalina vinivesham kuru= [delicate] feet, lotuses, placement, to make; suvesham = well arranged [bed]; tava pada pallava vairi= your, feet's, tender leaves, an adversary [of any delicacy];idam= this [bed]; paraabhavam anubhavatu= adversity, let suffer; hè raadhe= oh, Raadha; adhunaa anugatam= presently, disposed [to you]; naaraayaNam= he who is the mover of beings, basis of living beings, or, who is a receptacle of water, rasa] Krishna; kshaNam anusara= for a while, follow.

"Place your lotus like delicate feet on the delicate surface of the tender leafy bed, oh, loving Raadha, thus let this well-arranged bed for its delicacy suffer an adversity, as your more delicate tender leaf like feet are the adversaries of any delicacy... thus, oh, Raadha, follow the mover of beings for a while, as he is well-disposed to you... [a pa 23-1]

karakamalena karomi charaNamahamaagamitaasi viduuram |
kshaNamupakuru shayanopari maamiva nuupuramanugatishuuram || a pa 23-2

pa cChe- kara kamalena karomi charaNam aham aagamitaa asi viduuram kshaNam upakuru shayana upari maam iva nuupuram anugati shuuram

a pa 23-2. viduuram= long-way-off; aagamitaa asi= [by me] arrived, you are [at me; hence]; aham kara kamalena= I will, with hands, lotus like; charaNam karomi= feet, I mend [or, taking caraNa maham as single unit= caraNa= feet's; maham= worship= I worship your feet]; maam iva= me like; anugati shuuram nuupuram= in following, an expert - faithful follower, her anklet follows her very sincerely without slipping off, hence that anklet is to be taken care of; shayana upari kshaNam upakuru= bed, on surface, for a while, place it.

I made you to arrive at me from long-way-off, hence I with my lotus like hands mend the strain of your feet, and hence place those feet on the surface of bed, to give rest to your anklets, for they are the faithful followers of yours, like me... [a pa 23-2]

vadanasudhaanidhigalitamamR^itamiva rachaya vachanamanukuulam |
virahamivaapanayaami payodhararodhakamurasi dukuulam || a pa 23-3

pa cChe- vadana sudhaa nidhi galitam amR^itam iva rachaya vachanam anukuulam viraham iva apanayaami payodhara rodhakam urasi dukuulam

a pa 23-3. vadana= from [your] face; sudhaa nidhi= nectar's, treasure of - moon; galitam amR^itam iva= slither, nectar, like [sthitam= available before me]; rachaya anukuulam vachanam= make [say something,] heartening, words; [tava= on your]; urasi= on bust; payodhara rodhakam= for bosoms, [here] covering; [ellipt] payodhara= for swelling bosoms; rodhakam= obstructing, bridle like; dukuulam= piece of cloth; viraham iva= [your] anguish in separation, like; apanayaami= I am detaching; [a love's bosoms will be swelling when she is anguishing in separation for her lover.]

"Say something Raadha, and let heartily nectarean words slither from that moonlike face yours... and this piece of your breast cloth which so far served as a bridle on your swelling bosoms, this I am removing along with your anguish in separation from me... hence, follow the mover of beings for a while, as he is well-disposed to you... [a pa 23-3]

priyaparira.mbhaNarabhasavalitamiva pulakitamatiduravaapam |
madurasi kuchakalasham viniveshaya shoshhaya manasijataapam || a pa 23-4

pa cChe- priya parira.mbhaNa rabhasa valitam iva pulakitam ati duravaapam mat urasi kucha kalasham viniveshaya shoSaya manasija taapam

a pa 23-4. priya parira.mbhaNa= lover, for tight embrace; rabhasa valitam iva= bustle, added, as if; pulakitam= thrilling; ati duravaapam= highly, unbearable [bulging]; kucha kalasham= bosoms, pot-like; mat urasi viniveshaya= on my, chest, keep; shoSaya manasija taapam= lessen, Love-god's, scorching.

"Those highly bulging bosoms of yours now look as if a bustling is added to them for a tight embrace of lover, hence, keep them on the chest of mine to lessen the scorch of Love-god... [a pa 23-4]

adharasudhaarasamupanaya bhaamini jiivaya mR^itamiva daasam |
tvayi vinihitamanasam virahaanaladagdhavapuSamavilaasam || a pa 23-5

pa cChe- adhara sudhaa rasam upanaya bhaamini jiivaya mR^itam iva daasam tvayi vinihita manasam viraha anala dagdha vapuSam a vilaasam

a pa 23-5. bhaamini= oh, dear; adhara sudhaa rasam upanaya= lip's, nectarean, essence, get me [let me get]; tvayi vinihita manasam= in you, kept [hinged one,] with heart; viraha anala dagdha vapuSam= separation, fire, burnt, with body; a vilaasam= without, blithe; mR^itam iva= dead one, like, [sthitam= available, lingering one]; daasam jiivaya= devotee, let live.

"Oh, dear, let me get the nectarean essence of your lips, as my heart is hinged on you, my body is burnt with the fire of our separation, and I am lingering on like a deadpan without any blithesomeness, hence let your devotee live... [a pa 23-5]

shashimukhi mukharaya maNirashanaaguNamanuguNakaNThanidaanam |
shrutiyugale pikarutavikale mama shamaya chiraadavasaadam || a pa 23-6

pa cChe- shashi mukhi mukharaya maNi rashanaa guNam anuguNa kaNTha nidaanam shruti yugale pika ruta vikale mama shamaya chiraat avasaadam

a pa 23-6. hè shashi mukhi= oh, moon, faced one; anuguNa= in tune with; kaNTha nidaanam= throat's, voicing [utterances]; maNi rashanaa guNam= jewelled, waist-strings, chains; mukharaya= let sound, let tinkle [ by this a vipariita surata called - hamsa liila is said]; pika ruta vikale= koels, by callings, roughened; mama shruti yugale= in my, ears, pair of; chiraat= for a long time; avasaadam= sinking sensation; shamaya= pacify.

"Oh, moonfaced Raadha let the chains of bejewelled waste-strings of yours tinkle in tune with your utterances, and let the long time sinking sensation in the pair of my ears, caused and roughened by the callings of koels, be pacified by your utterances... [a pa 23-6]

maamativiphalarushhaa vikaliikR^itamavalokitumadhunedam |
miilitalajjitamiva nayanaM tava virama visR^ija ratikhedam || a pa 23-7

pa cChe- maam ati viphala ruSaa vikalii kR^itam avalokitum adhunaa idam miilati lajjitam iva nayanam tava virama visR^ija ratikhedam

a pa 23-7. ati viphala ruSaa= with highly, unavailing, anger; vikalii kR^itam maam avalokitum= agitated one, made as, at me, to see; [tava= your]; idam nayanam= this, eye; adhunaa lajjitam iva= presently, shying, as if; miilati= closing, down casting; virama= leave [that downcast glance]; visR^ija rati khedam= leave off, disquietude in love.

"You made me an agitated soul with your highly unavailing anger, and to see me, an agitated one, your eyes are presently downcast their glances... but, leave that downcast glance and leave off disquietude in love... [a pa 23-7]

shriijayadevabhaNitamidamanupadanigaditamadhuripumodam |
janayatu rasikajaneshhu manoramaratirasabhaavavinodam || a pa 23-8

pa cChe- shrii jayadeva bhaNitam idam anupada nigadita madhu ripu modam janayatu rasika janeSu manorama rati rasa bhaava vinodam || 12-2

a pa 23-8. shrii jayadeva bhaNitam= auspicious [saying,] Jayadeva, said by; anu pada= in every, foot; ni gadita= emphatically, said; madhu ripu= Krishna's; modam= gladness; idam= this song; rasika janeSu= among romantic, people; manorama= heart-pleasing; rati rasa bhaava vinodam= romantic enjoyment mood of, merriment; janayatu= let cause.

"This auspicious song rendered by Jayadeva emphatically lays down in each foot about what causes gladness to Krishna, hence let this song heart-pleasingly romanticise the moods of romantic people... [a pa 23-8]

pratyuuhaH pulakaa.nkureNa nibiDaashleSanimeSeNa ca
kriiDaakuuta vilokite adhara sudhaa paane kathaa narmabhi |
aanandaadhigamena manmathakalaayuddhe.api yasminaabhuut
udbhuutassatayorbabhuuvasurataara.mbhaH priya.mbhaavukaH || 12-3

pa cChe- pratyuuhaH pulaka a.nkureNanibiDa aashleSa nimeSeNa ca kriiDa aakuuta vilokite adhara sudhaa paane kathaa narmabhi aananda adhigamenamanmatha kalaa yuddhe api yasmin aabhuut udbhuutaH saH tayoH babhuuva surata ara.mbhaH priya.m bhaavukaH

12-3. This verse is titled as surataarambha candra haasam: yasmin= wherein [in which romance]; nibiDa aaSleSa= in tight, embrace; pulaka a.nkureNa= hair, sprouts [thrills of body, or by the word sprout, a blade of grass coming in between them in their embrace, is a hurdle]; kriiDa aakuuta vilokite= in sports, intentionally, while seeing [at each other]; nimeSeNa ca= by winking, also; adhara sudhaa paane= lips', nectar, while swilling; kathaa narmabhiH= tales, secret; manmatha kalaa yuddhe api= Love-god's, art, war of; aananda adhigamena= in pleasure, deriving; pratyuuhaH aabhuut= obstacles, occurred; saH= that; tayoH= to two of them, Raadha Krishna; udbhuuta surata aara.mbhaH= bechanced, starting of romance; priya.m bhaavukaH babhuuva= highly, desirable, they became.

In which romance some obstacles have occurred, like body thrills while in tight embrace, or winking while intently looking at each other, or when telling a secret tale while swilling the nectar of lips, or even in deriving pleasure during the art of love-war, those obstacles too, have become highly desirable onesto both of them, for they are brief separations in union. [12-3]

dorbhyaam sa.myamitaH payodharabhaareNaapiiDitaH paaNijaiH
aaviddho dashanaiH kshataadharapuTaH shroNitaTeanaahataH |
hastenaanamitaH kace.adharamadhusya.ndena sammohitaH
kaantaH kaamapitR^iptimaapatadaho kaamasya vaamaagatiH || 12-4

pa cChe- dorbhyaam sa.myamitaH payodhara bhaareNa aapiiDitaH paaNijaiH aaviddho dashanaiH kshataa adhara puTaH shroNi taTena aahataH hastena aanamitaH kace adhara madhu sya.ndena sammohitaH kaantaH kaam api tR^iptim aapa tat aho kaamasya vaamaagatiH

12-4. This verse is titled as kaama tR^ipta kaaminiii haasam: dorbhyaam samyamitaH= by both palms, fastened;payodhara bhareNa aapiiDitaH=by bosoms, weight, burdened; paaNi jaiH= by hand, born ones - nails; aaviddhaH= scratched; dashanaiH kshataa adhara puTaH= by teeth, bitten, lips, edges; shroNi taTena= river, banks [riverbank like hips]; aahataH= pounded; hastena anamitaH kace= by hand, pulled, hair; adhara madhu syandena sammohitaH= lips, honey [liquor,] by flow of, bemused; kaantaH= lover [Krishna]; kaam api= somewhat, something - unsayable; tR^iptim aapa= satisfaction, he got; tat= thereby; aho kaamasya vaamaa gatiH= aho, Love-god's, left [hence, what an unspeakable deviant] behaviour.

Fastened by both arms, burdened under bosoms' weight, scratched by nails, bitten by teeth at lips, pounded by riverbanks like hips, pulled by head-hair by hand to bend face to pour liquor-like honey of lips... huh... even if tortures of love are many, her lover is deriving some unsayable satisfaction... aho, unspeakable is the deviant behaviour of Love-god... isn't so? [12-4]

The torture imposed on a slave, like fastening, overburdening under weight, lashes and scratches, pulling head hair etc., is imposed in respect of god, as that punishment can be imposed by any his devotee, for that god will be found and catchable after a long time search.

vaamaa.nke ratikelisa.nkularaNaara.mbhetayaa saahasa - praa
yam kaa.ntajayaayaki.nciduparipraara.mbhiyatsa.mbhramaat |
niSpandaa jaghanasthalii shithilitaaa dorvallirutkampitam
vaksho militamakshi pauruSarasaH striiNaam kutassidhyati || 12-5

pa cChe- vaama a.nke rati keli sa.nkula raNa aara.mbhe tayaa saahasa praayam kaa.nta jayaaya ki.ncit upari praara.mbhi yat sa.mbhramaat niSpandaa jaghana sthalii shithilitaaa dorvalliH utka.mpitam vaksho militam akshi pauruSa rasaH striiNaam kutaH sidhyati

12-5. This verse is titled as pauruSa rasa prema vilaasham: yat= by which reason; vaama a.nke= from left, flank; tayaa= by her; rati keli sa.nkula raNa aara.mbhe= love, sports, huddle, war, started; kaa.nta jayaaya= lover, to conquer; sa.mbhramaat= frenziedly [or, ecstatically]; saahasa praayam= venturing, overbearingly; upari ki.ncit praara.mbhi= on him, for a while, commenced; [tat= by that reason]; jaghana sthalii niSpandaa= hips, area, unmoved; dorvalliH shithilitaaa= tendril like arms, caved in; vakshaH utka.mpitam= bust, throbbed [breathless]; akshi militam= eyes, drooped; striiNaam= for women; pauruSa rasaH= manly, mood [intrusiveness]; kutaH sidhyati= from where, accessible.

By which reason she rose from his left flank, and commenced huddle of love-war on him for a while like a sport in a frenzied, venturing, and overbearing manner, aiming only to conquer her lover, for that reason alone, unmoved is her hip, tendril like arms caved in, bust throbbed breathlessly, and her eyes drooped... wherefrom women can attain manly intrusiveness! [12-5]

tasyaaH paaTalapaaNijaa.nkitamuro nidraakaSaaye dR^ishau
nirdhauto.adharashoNimaavilulitaH srastaaH srajomuurdhajaaH |
kaanciidaama darashlathaa.ncalamiti praatarnikhaatairdR^ishoH
ebhiH kaamasharaistadadbhutamabhuut patyurmanaH kiilitam || 12-6

pa cChe- tasyaaH paaTala paaNija a.nkitam uro nidraa kaSaaye dR^ishau nirdhautaH adhara shoNimaa vilulitaH srastaaH srajaH muurdhajaaH kaa.ncii daama dara shlatha a.ncalam iti praataH nikhaataiH dR^ishoH ebhiH kaama sharaiH tat adbhutam abhuut patyuH manaH kiilitam

12-6. This verse is titled as kaamaadbhuta abhinava mR^igaanka lekham: tasyaaH uraH= her, chest; paaTala paaNija a.nkitam= by red, fingernails, scratched [by this redness, the red flower called paaTala, one of the flower-arrows of Manmatha, is cited; dR^ishau nidraa kaSaaye= eyes [eyeballs,] by sleeplessness, reddened by this redness, the red lotus arrow of Love-god is cited; adhara shoNimaa nirdhautaH= lips, redness, washed out by this redness, the red mehendi, a red flower from the plant that gives leaves to reddened decoration to palms, is said. The flower of this plant is another arrow of Love-god muurdha jaaH vilulitaH= head hair, tousled; srastaaH srajaH= slithered, sprays of flowers; kaa.ncii daama dara shlatha a.ncalam= golden waist-strings, a little, slipped, at edges by this gold of waistband the golden coloured flower arrow, the fifth arrow of Love-god is cited; iti= this way; praataH= in early morning; dR^ishoH nikhaataiH= in glances, shafted; ebhiH kaama sharaiH= by these, Love-god's, arrows; patyuH manaH= husband's [Krishna's,] heart; kiilitam= torn; tat adbhutam abhuut= that, a wonder, happened again.

Her chest bore red scratches scratched with red fingernails, and her eyes reddened by sleeplessness, roseate colour of lips is washed out, hair tousled, flower-sprays in bun slithered, golden waist-string loosened and dangling, all owing to the shafts of Love-god... but when her husband caught sight of such an arrow-stuck love on the next morning, those very same arrows presently stuck in her body are now shafted and stuck in his eyes... isn't it not doubly wondrous... [12-6]

tvaam apraapya mayi svayamvaraparaam kshiirodatiirodare |
sha.nke su.ndari kaalakuuTam apiban muuDho mR^iDaanii patiH |
ittham purva kathaabhiH asya manao nikshipya vaamaa.ncalam |
taadhaayaaH stanakorakoparicalan netro hariH paatu vaH ||

vyaakoshaH keshapaashastaralitamalakaiH svedamokshaukapolau
kliSTaa bi.mbaadharashriiH kucalasharucaahaaritaahaarayaSTiH |
kaa.nciikaantirhataashaa stanajaghanapada.mpaaNinaacChadyasadyaH
pashya.ntii satrapaa.ntadapi vilulitaa mugdhakantirdhinoti || 12- 7

pa cChe- vyaakoshaH kesha paashaH taralitam alakaiH sveda mokshau kapolau kliSTaa bi.mba adhara shriiH kucala sharucaa haaritaa haara yaSTiH kaa.ncii kaantiH hata aashaa stana jaghana pada.m paaNinaa aacChadya sadyaH pashya.ntii satrapaan tat api vilulitaa mugdha kantiH dhinoti

12-7. vyaakoshaH kesha paashaH= loosened, hair, braids; taralitam alakaiH= moving [unruly,] hair locks sveda mokshau kapolau= sweat, releasing, cheeks; kliSTaa bi.mba adhara shriiH= faded, red, lips, splendour; kucala sharucaa= pot-like bosoms [luxury ]; haaritaa haara yaSTiH= stolen, by pearly, pendants [the lustre of pearly pendants is submerged in her body colour, as there is no bodice]; kaa.ncii kaantiH hata aashaa= waist-string's, brilliance, marred, at hope; stana jaghana pada.m= bust, waist, places; sadyaH= then; paaNinaa aacChadya= by hands, covering; pashya.ntii satrapaan= glancing, embarrassedly; mugdha kantiH= one with beautiful, resplendence; saa= she that Raadha; tat vilulitaa api= by that, untidy, even; dhinoti= gladdening [Krishna.]

Her braid loosened, hair-locks unruly, cheeks sweating, red splendour of lips faded, hue of pearl-pendants merged with body colour, hopeless is the golden brilliance of waist-string, and such a Raadha then started to glance embarrassedly, covering her bust and hips with hands and arms, and though 'that' rendered her that untidy, she is gladdening Krishna with her own beautiful resplendence. [12-7]

iiSanmlitadR^iSTi mugdhavilasatsiitkaaradhaaraavashaat
avyaktaakulakelikaakuvikasadda.ntaa.mshudhautaadharam |
shaa.ntastabdhapayodharam bhR^ishapariSva.ngaatkura.ngiidR^ishau
harSotkarSavimuktanissahatanordhanyodhayatyaananam || 12-8

pa cChe - iiSat milita dR^iSTi mugdha vilasat siitkaara dhaaraa vashaat avyakta aakula keli kaaku vikasat da.nta a.mshu dhauta adharam shaa.nta stabdha payodharam bhR^isha pariSva.ngaat kura.ngii dR^ishau harSa utkarSa vimukta nissaha tanoH dhanyaH dhayati aananam

12-8. dhanyaH= he [that Krishna is] highly merited soul; harSa utkarSa vimukta nissaha tanoH= by gladness, by ecstasy, released, impatient, with such a physique [physique of Raadha]; kura.ngii dR^ishau= one with deer like, glances; iiSat milita dR^iSTi= a little, closed, sight; mugdha vilasat siitkaara dhaaraa vashaat= girlish, elating, sighs, series, controlled; avyakta aakula keli kaaku= unclear, flurried, in sport, murmurs; vikasat da.nta a.mshu dhauta adharam= brightening, teeth's, glitter, washed, lower lip; aananam= a face [having such a glittering teeth]; bhR^isha pariSva.ngaat= by tight, hugging; shaa.nta stabdha payodharam= silenced, quietened, bosoms; dhayati= one who swills [kisses] such a beauty.

Krishna tightly embraced the deer-like glanced Raadha who is released from the ecstatic impatience owing to her gladness to meet Krishna and whose bosoms are silenced and quietened, little closed are her eyes, a series of girlishsighs are controlling her, she is emitting unclear and flurried murmurs, and her face is awash with the gleam of sparkles of her teeth, hence he who kissed such a beauteous face that Krishna is the highly merited soul. [12-8]

atha sahasaa supriitam surataa.ntesaanitaantakhinnaa.ngii |
raadhaa jagaada saadaramidamaana.ndena govi.ndam || 12- 9

pa cChe- atha sahasaa supriitam surata ante saa nitaanta khinna a.ngii raadhaa jagaada saadaram idam aana.ndena govi.ndam

12-9. atha= then; saa raadhaa= she, that Raadha; surata ante= act, at end of; nitaanta khinna a.ngii= absolutely, tired, with limbs; sahasaa= quickly [for, she cannot be in that shabby condition, and she is now helpless to decorate herself with a presentable getup]; supriitam govi.ndam= to gladdened, Govinda; aana.ndena= with [her own] gladness; idam= this sentence; saadaram jagaada= with tenderness, said.

Then, she that Raadha, whose limbs are absolutely tired after the act, quickly said this to the gladdener of all beings, namely Govinda, intermingling her own gladness.

aSTa padi -24- supriitapiitaa.mbarataalashrNi -
kuru yaduna.ndana cha.ndanashishiratareNakareNapayodhare |
mR^igamadapatrakamatra manobhavama~Ngalakalashasahodare |
nijagaada saa yaduna.ndane
kriiDati hR^idayaana.ndane - dhR^ivam || a pa 24-1

pa cChe- kuru yadu na.ndana cha.ndana shishira tareNa kareNa payodhare mR^iga mada patrakam atra manobhava ma~Ngala kalasha sahodare nijagaada saa yadu na.ndane kriiDati hR^idaya ana.ndane

a pa 24-1. saa= she that Raadha; hR^idaya ana.ndane= to hearts, delighter [Krishna]; yadu na.ndane= to Yadu clan's, delight [ To Krishna]; kriiDati= when he is disporting, enjoyiong [archaic. relaxation]; ni jagaada= insistently, spoke; hè yadu na.ndana= o, Yadu's son [Krishna ]; cha.ndana= sandal-paste; shishira tareNa= dew, [cooler] than; kareNa= with palms; mano bhava= mind born one, Love-god's [place of]; ma~Ngala kalasha sahodare= auspicious, vessel's, co-birthed [where these vessels are two, one - full with nectar brought by Dhanvantari during the churning of Milk Ocean, from which some drops fell on earth when Garuda was bringing it, thereby those drops sprinkled on herbs and plants, making them useful for medicinal use; the other potlike vessel - Goddess Lakshmi herself, as she emerged out of the same ocean. As a symbolic representation for Lakshmi Devi, a vessel in which water, along with sandal paste, milk, green leafs, sacred rice etc will be put and arranged in the first instance of any worship, called ma~Ngala kalasha. Here, Raadha is identifying herself as a co-born one to Lakshmi from Milky Ocean, or with the vessel of nectar brought by dhanvantari]; atra payodhare= there, on those [nectarous] bosoms; mR^iga mada= musk-deer's, fat- musk; patrakam= foliage; kuru= make, paint.

Then, Rādha insistently spoke this to that delighter of hearts and the clan of Yadu as well, when Krishna is enjoying himself: "paint musky foliages on my bosoms that are the abode of Lovegod, and the co-born ones to auspicious vessel, O the delight of Yadu's clan, paint on them with your own palms that are cooler than the sandal-paste... [a pa 24-1]

In all these bits of songs Krishna is addressed as a makeup artist, or a hairdresser, or as a painter etc. It does not matter. Heroes are supposed to know how women decorate, paint faces, dress etc., because they are supposed to be experts in all sixty-four arts catuH shaSTi kalaa prapuurNa. In Ramayana when Kaika gives a dress usable for forest dwelling to Seetha, Seetha is at loss to understand as to how to wear it. Then Rama winds that sari around her detailing how to secure it, before all women in palace-chambers, who are jerking tears for the misfortune bechanced on a topmost princes, Seetha.

And in audios or dances on this song, we will be usually listening nijagaa dha saa instead of nijagaada saa i.e., adding a stress to dha. That stress is a singer's or dancer's delight, to make a heel tap in dance movement with that stress.

alikulaga.njanama.njanakam ratinaayakasaayakamochane |
tvadadharachu.mbanala.mbitakajjala ujjvalaya priya lochane || 24-2

pa cChe- ali kula ga.njanakam a.njanakam rati naayaka saayaka mochane tvat adhara cu.mbana la.mbita kajjala ujjvalaya priya lochane

a pa 24-2. hè priye= o, dear; rati naayaka= love, hero [Love-god]; saayaka mochane= arrows, that release [i.e., that which release sidelong-glances as effective a Love-god's arrows, my eyes]; tvat adhara cumbana lambita= by your, lip, while kissing, dangled [stippled]; kajjala= mascara; lochane= on such eyes; ali kula= honeybees, swarms of; ga.njanam= that belies; a.njanakam= mascara; ujjvalaya= brighten up.

"My eyes release sidelong-glances that are akin to the arrows of Love-god, but when you kissed them their mascara is stippled, Oh, dear, brighten them up, with such mascara that belies the blackness of swarms of honeybees... [a pa 24-2]

nayanakura.ngatara.ngavikaasaniraasakare shrutimaNDale |
manasijapaashavilaasadhare shubhavesha niveshaya kuNDale || a pa 24-3

pa cChe- nayana kura.nga tara.nga vikaasa niraasa kare shruti maNDale manasija paasha vilaasa dhare shubha vesha niveshaya kuNDale

24-3. shubha vesha= oh, auspiciously, attired one; kura.nga= eyes, [called] deer; tara.nga vikaasa= springing, encouraging [freeness]; niraasa kare= hopeless, makers; manasija paasha vilaasa dhare= Love-god's, reins, with an air, bearing; shruti maNDale= on ear, areas [lobes]; kuNDale niveshaya= knobby earrings, restore.

"My ears make the springing freeness of my deer-like glances of my eyes hopeless by reining them, O auspiciously attired one, restore knobby earrings on those ears that bear an air of Love-god's reins... [24-3]

bhramarachayam racahaya.ntamupari ruchiram suchiram mama sanmukhe |
jitakamale vimale parikarmaya narmajanakamalakam mukhe || a pa 24-4

pa cChe- bhramara chayam racahaya.ntam upari ruchiram suchiram mama sanmukhe jita kamale vimale parikarmaya narma janakam alakam mukhe

24-4. hè kamala aanana= O, lotus-faced Krishna [ellipted from next song]; jita kamale vimale= conquered [more,] lotus [in full bloom,] in immaculacy; mama mukhe upari= my, face, over; suchiram= always; bhramara chayam= honeybees, swarms of; racahaya.ntam= crafted, designed [iva sthitam= as if, staying]; narma janakam= lure, causing; ruchiram alakam= beautiful, hair-locks; sanmukhe= before me [standing before me, so that I can be in your close proximity - proximity is the wish than adjusting hair-locks]; parikarmaya= make [readjust.]

"My face is more immaculate than a lotus in full boom and it always had luring and beautiful hair-locks crafted like swarms of honeybees, O, lotus-faced one, readjust them standing before me... [24-4]

mR^igamadarasavalitam lalitam kuru tilakamalikarajaniikare |
vihitakala.nkakalam kamalaanana vishramitashramashiikare || a pa 24-5

pa cChe- mR^iga mada rasa valitam lalitam kuru tilakam alika rajanii kare vihita kala.nka kalam kamala anana vishramita shrama shiikare

24-5. kamala anana= oh, lotus faced one' vishramita= lulled; shrama shiikare= strain's, drops - sweat drops; alika rajanii kare= on forehead [called,] moon; mR^iga mada rasa valitam [tilakam]= with musk's, liquid, rubbed in [cinnabar paste]; vihita kala.nka kalam= having, blotch, phase of moon; tilakam lalitam kuru= mark on forehead, beautifully, you make [repaint.]

"My forehead is moonlike and on it sweat-drops are lulled by now, and by rubbing cinnabar paste in liquefied musk, O, lotus-faced one, beautifully repaint my forehead mark, like that of the blotch on the face of moon... [24-5]

The comparison is in between the face of Krishna and Raadha. A lotus is an opposer of moon, but moon blemishes that lotus as and when they face each other. Here too, she is saying 'though my moonlike face is an opponent to lotuses, retain my blotch on my forehead, and be smiley like a lotus...'

mama ruchire chikure kuru maanada maanasijadhvajachaamare |
ratigalite lalite kusumaani shikhaNDishikhaNDakaDaamare || a pa 24-6

pa cChe- mama ruchire chikure kuru maanada maanasija dhvaja chaamare rati galite lalite kusumaani shikhaNDi shikhaNDaka Daamare

24-6. hè maanada= oh, adorable one; ruchire= cute one; maanasija dhvaja chaamare= Love-god's, on flagstaff, pennon; rati galite= in love-play, scrambled up; lalite= pretty; shikhaNDi shikhaNDaka= peacock's, plumage; Daamare= threatens; mama chikure= in my, braid bun; kusumaani kuru= flowers, you deck.

"My bun is cute like the pennon on the flagstaff of Love-god, but that is scrambled up in love-act, oh, adorable one, you deck flowers in that pretty bun that threatens the beauty of peacock's plumage... [24-6]

sarasaghane jaghane mama sha.mbaradaaraNavaaraNakandare |
maNirashanaavasanaabharaNaani shubhaashaya vaasaya sundare || a pa 24-7

pa cChe- sarasa ghane jaghane mama sha.mbara daaraNa vaaraNa kandare maNir ashanaa vasana aabharaNaani shubhaashaya vaasaya sundare

24-7. hè shubhaashaya= oh, one with auspicious aims [or, shubha aa shaya= one in whose hands all good fortunes are]; sarasa= burly [or, one with romantic zeal]; ghane= big one; sha.mbara= Shambara the demon; daaraNa= in ripping; vaaraNa= elephant - [the elephant of Love-god that ripped a demon named Shambara - elephantine]; kandare= slope of mountain; sundare= picturesque; mama jaghane= my, on buttocks, on hips; maNi rashanaa= bejewelled, waist-strings; vasana= dresses; aabharaNaani= ornaments; vaasaya= decorate.

"My hips are big and burly and will be like the picturesque and elephantine mountain-slopes, oh, one with gracing hand, decorate them with dresses and bejewelled ornaments, and waist-strings... [24-7]

Again the word LOINS is used here by some in translating jaghana, while jaghana is lexically buttock. If some modesty is required to say 'buttocks', as many abhor terms like 'buttocks, behinds, and bottoms...' in their sycophant westernisation, this may be said as it nearest part 'hips'. We are asked to do so in Kalidas' Ritu samhaaram, and we obliged it, to not to become too pedantic. But bringing hind parts to front to say her 'loins are like elephantine caves...' how far it is ethical? Any reader may examine in any word to see whether Raadha opened up her loins, or at least said about them. This work Gita Govinda already carries a mark of kshudra kaavya, why the other Indian pundits add some more to it? Perhaps, this may be owing to the reason of ruination of romantic arts, or due to the burial of Bharata Muni or Vaastaayana, or romance in living itself.

Here the stress used by the poet is for reminding nature's curvaceous beauty, but not the contours of a personified goddess or deity. It is necessary to identify Raadha with whole Nature, and Krishna as the delighter of that Nature, as none else can satisfy Mother Nature.

shriijayadevavachasi ruchire hR^idayam sadayam kuru maNDane |
haricharaNasmaraNaamR^itakR^itakalikalushhabhavajvarakhaNDane || a pa 24-8

pa cChe- shrii jayadeva vachasi ruchire hR^idayam sadayam kuru maNDane hari charaNa smaraNa amR^ita nirmita kali kaluSa jvara khaNDane.

24-8. he Krishna; ruchire= delicate [mellowly]; maNDane= [sahR^ihadya hR^idayaiH]= decorative [like the central ruby on chest pendant]; hari charaNa smaraNa= Krishna, on feet, meditating; amR^ita nirmita= by that nectar, built up; kali kaluSa jvara khaNDane= Kali era, impurities, fevers caused by it, eradicator of; jayadeva vachasi= Jayadeva, said by; shrii= auspicious saying; hR^idayam sadayam kuru= your heart, benign, you make.

Oh, Krishna, you make your heart benign to listen the auspicious saying rendered by Jayadeva, which is built up with the nectar derived from the meditation on the feet of yours, and which is an eradicator of fevers caused by the impurities of Kali Era... [24-8]

rachaya kuchayoH patram chitram kuruSva kapolayoH
ghaTaya jaghae kaa.nchiima.ncha srajam kabariibhare |
kalaya valayashreNiim paaNau pade kuru nuupurau
iti nigaditaH priitaH piitaambaro.api tathaakarot || 12-11

pa cChe- rachaya kuchayoH patram chitram kuruSva kapolayoH ghaTaya jaghae kaa.nchiim a.ncha srajam kabariibhare kalaya valaya shreNiim paaNau pade kuru nuupurau iti nigaditaH priitaH piitaambaraH api tathaa akarot

12-11. hè Krishna; kuchayoH patram rachaya= on bosoms, foliages, you paint; kapolayoH chitram kuruSva= on cheeks, a design called citraka, you make; jaghae kaa.nchiim ghaTaya= on hips, waist-strings, you fasten; kabariibhare srajam a.ncha= in bun, spray of flowers, clip; paaNau valaya shreNiim kalaya= at wrists, armlets, array of, slip on; pade kuru nuupurau= at feet, you arrange, two anklets; iti= this way; nigaditaH= on who is said by her; priitaH= gladdened; piitaambaraH= one clad in yellow silks; api= even he; tathaa akarot= that way, he did.

When Raadha said this way to Krishna, "paint foliages on my bosoms, make designs on cheeks, fasten waist-strings on hips, clip sprays in bun, slip on an array of armlets at wrists, arrange anklets at ankles...' even Krishna is gladdened and did whatever she said. [12-11]

yadgaa.ndharvakalaasu kaushalamanudhyaanam ca yadvaishhNavam
yacChR^i.ngaaravivekatatvaracanaakaavyeSu liilaayitam |
tatsarvam jayadevapaNDitakaveH kR^ishhNaikataanaatmanaH
saaanadaaH parishodhaya.ntu sudhiyaH shriigiitagovidataH || 12-12

pa cChe- yat gaa.ndharva kalaasu kaushalam anudhyaanam ca yat vaiSNavam yat shR^i.ngaara viveka tattva racanaa kaavyeSu liilaayitam tat sarvam jayadeva paNDita kaveH kR^iSNa ekataana atmanaH sa aanadaaH parishodhaya.ntu sudhiyaH shrii giita govidataH

12-12. sudhiyaH= oh, sagacious ones; yat= which; gaa.ndharva kalaasu kaushalam= in music, arts, expertise; yat= which; vaiSNavam anudhyaanam ca= Vaishnavaite, way of thinking, also; yat= which; shR^i.ngaara= romantic [narration of vipralambha, sambhoga shR^ingaara]; viveka tattva= discrimination, actuality; racanaa [sahita - madhyama pada lopi]= a rendering having all such; kaavyeSu= in [this] treatise; liilaayitam= incorporated; tat sarvam= that, all; kR^iSNa ekataana atmanaH= on Krishna, concentrating, soul; jayadeva paNDita kaveH= by Jayadeva, pundit, by poet; shrii giita govidataH= from shrii, Gita, Govinda poem; sa aanadaaH parishodhaya.ntu= with, gladness, may be evaluated.

Oh, sagacious people, that which expertise of poet and pundit Jayadeva in the way of thinking of Vaishnavaites, expertise in musical arts, discrimination between just romanticization of humanly characters, and telling apart that romance is also a godsend gift to humans, where Vishnu is the first one to relish the taste of romance, and where this Universe is his romantic feigning, and Jayadeva's telling it in its actuality are incorporated and rendered by Jayadeva, let all such things be evaluated in this treatise Shri Gita Govindam. [12-12]

shriibhojadevaprabhavasya raamaadeviisutashriijayadevakasya |
paraasharaadipriyavargakaNThe shriigiitagovidakavitvamastu || 12-13

pa cChe- shrii bhojadeva prabhavasya raamaadevii sutaH shrii jayadevakasya paraashara adi priya varga kaNThe shrii giita govida kavitvam astu

12-13. shrii bhojadeva prabhavasya= Shri, Bhojadeva, offspring of; raamaadevii sutaH= Ramadevi's, son; shrii jayadevakasya= Jayadeva's; shrii giita govida= Shri Gita Govinda; kavitvam= poetry [songs]; paraashara adi priya varga kaNThe astu= Parashara, other, dear, ones, on throat [on tongue,] let it abide.

Jayadeva being the offspring of Shri Bhojadeva and Ramadevi let his song giita govindam abide on the tongues of Parashara and other friends. [12-13]

saadhvii maadhviika ci.ntaanabhavatibhavatashsharkare karkasha.asi
draakshe drakshya.ntiketvaam amR^itamR^itamasi kshiiraniira.mrasaste |
maaka.nda kra.ndakaa.ntaadharadhara na tulaam gacChayacChantibhaavam
yaavacChR^igaarasaaramshubhamivajayadevasyavaidagdhyavaacaH || 12-14

pa cChe- saadhvii maadhviika ci.ntaa na bhavati bhavataH sharkare karkashaa asi draakshe drakshya.nti ke tvaam amR^ita mR^itam asi kshiira niira.m rasaH te maaka.nda kra.nda kaa.nta adhara dhara na tulaam gacCha yacChanti bhaavam yaavat shR^igaara saaram shubham iva jayadevasya vaidagdhya vaacaH

12-14. maadhviika= oh, white flower that yield flower-wines; bhavataH ci.ntaa= your, thinking [that you alone are the soft intoxicant]; saadhvii na bhavati= good, not, it becomes; sharkare karkashaa asi= o, sugar, bitter, you are; draakshe= o, grapes; tvaam ke drakshyanti= you, who will see; amR^ita mR^itam asi= o, nectar, dead, you are; kshiira= o, milk; te rasaH niira.m= your, taste, is water; maaka.nda kra.nda= o, sweet mango fruit, you wail; kaa.nta adhara= o, damsel's, lip; tulaam na dhara= balance, do not, bear; gacCha= get away [from my path to Hari]; jayadevasya vaidagdhya vaacaH= Jayadeva's, crafty, sayings; shubham iva= auspiciousness, like; yaavat shR^igaara saaram bhaavam yacChanti= all, romantics, essence, a concept, giving.

O, white flower of soft wine, your thinking that you alone are the toxicant is unbefitting as Jayadeva's poetry is here... o, sugar, you are embittered... o, grape, who will see you from now on... o, undying, un-deadening nectar, dead you are... o, milk, watered is your taste... o, sweet mango fruit, bewail from now on... you, the lip of damsel, under-balanced is your sweetness , hence get away from my path to Hari... thus, like the auspiciousness, Jayadeva's crafty sayings will also accord all the essences of romantics. [12-14]

ittham kelitatirvihR^itya yamunaakuule samam raadhayaa
tadromaavalimauktikaavaliyuge veNiibhramam bibhrati |
tatraahlaadakucaprayaagaphalayorlipsaavatorhastayoH
vyaapaaraaH puruSottamasyadadatusphiitaam mudaam sampadam || 12-15

pa cChe-ittham keli tatiH vihR^itya yamunaakuule samam raadhayaa tat romaavali mauktika aavali yuge veNii bhramam bibhrati tatra ahlaada kuca prayaaga phalayoH lipsaavatoH hastayoH vyaapaaraaH puruSottamasya dadatu sphiitaam mudaam sampadam

12-15. ittham= this way; yamunaakuule= on Yamuna, riverbanks; keli tatiH= disports, many of them; samam raadhayaa= along with, Raadha; vihR^itya= while pleasure tripping; tat= that [Raadha's]; romaavali= curly hairlocks; mauktika aavali= pearls, pendants; yuge= a pair; veNii bhramam= stream, illusion [illusion as they are the streams of Ganga, Yamuna]; bibhrati= while he [Krishna is] getting; tatra= in that [in those streams of happiness]; ahlaada= pleasant; kuca= bosoms; prayaaga phalayoH= banyan fruits; lipsaavatoH= interested [to catch them]; puruSottamasya hastayoH= Krishna's, hands; vyaapaaraaH= in such activity; sphiitaam mudaam= heightened, with gladness; sampadam dadatu= riches, let grant.

This way while Krishna is pleasure tripping on the riverbanks of Yamuna in many a disport with Raadha, and while he is adjusting her hairlocks and pearly pendants, he got an illusion that those pendants are like the river streams of Ganga or Yamuna, and on seeing a pair of large fruits floating in those streams, he thought them to be Raadha's bosoms and tried to rescue them. While Krishna hands are engaged in such an activity with gladness, let those hands gladly accord all riches to one and all. [12-15]

iti jayadeva giitagovide supriitapiitaa.mbaro naama dvaadashaH sargaH
- itthamidam kaavyam paripuurNam

Thus, this is the 12th and completing chapter, called supriita piitaambaraH - Exultant Krishna, in Gita Govindam of Jayadeva.

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Sept, 2003, Desiraju Hanumanta Rao; Revised Oct 08