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.
suprétapétämbaraù
gatavati sakhébånde'mandatrapäbharanirbhara
smaraparavaçäkütasphétasmitasnapitädharam |
sarasamanasam dåñövä håñöäm muhurnavapallava
prasavaçayane nikñiptäkñémuväca hariù priyyäm || 12-1
pa cche - gatavati sakhé bånde amanda trapä
bhara nirbhara smara
paravaça äküta
sphéta smita snapita adharam sarasa manasam
dåñövä håñöäm muhuù nava pallava prasava çayane
nikñipta akñém uväca hariù priyyäm
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]
añöa padi 23 - madhuripuvidyädharalélam
kisalayaçayanatale kuru kämini caraëanalinaviniveçam |
tava padapallavavairiparäbhavamidamanubhavatu suveçam |
kñaëamadhunä näräyaëam | anugatamanusara rädhe -dhåvam || a pa 23-1
pa cche - kisalaya çayana tale kuru kämini caraëa nalina viniveçam
tava pada pallava vairi
paräbhavam idam anubhavatu suveçam kñaëam adhunä näräyaëam anugatam anusara rädhe
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.
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]
karakamalena karomi caraëamahamägamitäsi vidüram |
kñaëamupakuru çayanopari mämiva nüpuramanugatiçüram || a pa 23-2
pa cche- kara kamalena karomi caraëam aham ägamitä asi vidüram
kñaëam upakuru çayana upari mäm iva nüpuram anugati çüram
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.
"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]
vadanasudhänidhigalitamamåtamiva racaya vacanamanukülam |
virahamiväpanayämi payodhararodhakamurasi dukülam || a pa 23-3
pa cche- vadana sudhä nidhi galitam amåtam iva racaya vacanam
anukülam
viraham iva apanayämi payodhara rodhakam urasi dukülam
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.]
"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]
priyaparirambhaëarabhasavalitamiva pulakitamatiduraväpam |
madurasi kucakalaçam viniveçaya çoñaya manasijatäpam || a pa 23-4
pa cche- priya parirambhaëa rabhasa valitam iva pulakitam ati
duraväpam
mat urasi kuca kalaçam viniveçaya çoñaya manasija täpam
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]
adharasudhärasamupanaya bhämini jévaya måtamiva däsam |
tvayi vinihitamanasam virahänaladagdhavapuñamaviläsam || a pa 23-5
pa cche- adhara sudhä rasam upanaya bhämini jévaya måtam iva däsam
tvayi vinihita manasam viraha anala dagdha vapuñam a viläsam
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]
çaçimukhi mukharaya maëiraçanäguëamanuguëakaëöhanidänam |
çrutiyugale pikarutavikale mama çamaya cirädavasädam || a pa 23-6
pa cche- çaçi mukhi mukharaya maëi raçanä guëam anuguëa kaëöha
nidänam
çruti yugale pika ruta vikale mama çamaya cirät avasädam
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]
mämativiphalaruñä vikalékåtamavalokitumadhunedam |
mélitalajjitamiva nayanaà tava virama visåja ratikhedam || a pa 23-7
pa cche- mäm ati viphala ruñä vikalé kåtam avalokitum adhunä idam
mélati
lajjitam iva nayanam tava virama visåja 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]
çréjayadevabhaëitamidamanupadanigaditamadhuripumodam |
janayatu rasikajaneñu manoramaratirasabhävavinodam || a pa 23-8
pa cche- çré jayadeva bhaëitam idam anupada nigadita madhu ripu
modam janayatu
rasika janeñu manorama rati rasa bhäva vinodam
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]
pratyühaù pulakäìkureëa nibiòäçleñanimeñeëa ca
kréòäküta vilokite adhara sudhä päne kathä narmabhi |
änandädhigamena manmathakaläyuddhe'pi yasminäbhüt
udbhütassatayorbabhüvasuratärambhaù priyambhävukaù || 12-3
pa cche- pratyühaù pulaka aìkureëanibiòa äçleña nimeñeëa ca kréòa äküta vilokite adhara sudhä päne kathä narmabhi änanda adhigamenamanmatha kalä yuddhe api yasmin äbhüt udbhütaù saù tayoù babhüva surata arambhaù priyaà bhävukaù
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]
dorbhyäm saàyamitaù payodharabhäreëäpéòitaù päëijaiù
äviddho daçanaiù kñatädharapuöaù çroëitaöeanähataù |
hastenänamitaù kace'dharamadhusyandena sammohitaù
käntaù kämapitåptimäpatadaho kämasya vämägatiù || 12-4
pa cche- dorbhyäm saàyamitaù payodhara bhäreëa äpéòitaù päëijaiù
äviddho
daçanaiù kñatä adhara puöaù çroëi taöena ähataù hastena änamitaù kace adhara madhu
syandena sammohitaù käntaù käm api tåptim äpa tat aho kämasya vämägatiù
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]
Comment: 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.
vämäìke ratikelisaìkularaëärambhetayä sähasa - prä
yam käntajayäyakiïcidupariprärambhiyatsambhramät |
niñpandä jaghanasthalé çithilitäa dorvallirutkampitam
vakño militamakñi pauruñarasaù stréëäm kutassidhyati || 12-5
pa cche- väma aìke rati keli saìkula raëa ärambhe tayä sähasa
präyam känta jayäya
kiïcit upari prärambhi yat sambhramät niñpandä jaghana sthalé çithilitäa
dorvalliù utkampitam vakño militam akñi pauruña rasaù stréëäm kutaù 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]
tasyäù päöalapäëijäìkitamuro nidräkañäye dåçau
nirdhauto'dharaçoëimävilulitaù srastäù srajomürdhajäù |
käncédäma daraçlathäïcalamiti prätarnikhätairdåçoù
ebhiù kämaçaraistadadbhutamabhüt patyurmanaù kélitam || 12-6
pa cche- tasyäù päöala päëija aìkitam uro nidrä kañäye dåçau
nirdhautaù adhara çoëimä vilulitaù
srastäù srajaù mürdhajäù käïcé däma dara çlatha aïcalam iti prätaù nikhätaiù dåçoù
ebhiù käma çaraiù tat adbhutam abhüt patyuù manaù kélitam
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]
Comment: One mms said to contain one more verse after this, reading:
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 ||
vyäkoçaù keçapäçastaralitamalakaiù svedamokñaukapolau
kliñöä bimbädharaçréù kucalaçarucähäritähärayañöiù |
käïcékäntirhatäçä stanajaghanapadampäëinäcchadyasadyaù
paçyanté satrapäntadapi vilulitä mugdhakantirdhinoti || 12- 7
pa cche- vyäkoçaù keça päçaù taralitam alakaiù sveda mokñau
kapolau kliñöä bimba adhara çréù
kucala çarucä häritä hära yañöiù käïcé käntiù hata äçä stana jaghana padaà päëinä
äcchadya
sadyaù paçyanté satrapän tat api vilulitä mugdha kantiù 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]
éñanmlitadåñöi mugdhavilasatsétkäradhärävaçät
avyaktäkulakelikäkuvikasaddantäàçudhautädharam |
çäntastabdhapayodharam bhåçapariñvaìgätkuraìgédåçau
harñotkarñavimuktanissahatanordhanyodhayatyänanam || 12-8
pa cche - éñat milita dåñöi mugdha vilasat sétkära dhärä vaçät
avyakta äkula keli käku vikasat
danta aàçu dhauta adharam çänta stabdha payodharam bhåça pariñvaìgät kuraìgé dåçau
harña utkarña vimukta nissaha tanoù dhanyaù dhayati änanam
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 sahasä suprétam suratäntesänitäntakhinnäìgé |
rädhä jagäda sädaramidamänandena govindam || 12- 9
pa cche- atha sahasä suprétam surata ante sä nitänta khinna aìgé
rädhä jagäda sädaram idam änandena govindam
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 her gladdener Krishna, intermingling her own gladness.
añöa padi -24- suprétapétämbaratälaçrëi -
kuru yadunandana candanaçiçiratareëakareëapayodhare |
mågamadapatrakamatra manobhavamaìgalakalaçasahodare |
nijagäda sä yadunandane | kréòati hådayänandane - dhåvam || a pa 24-1
pa cche- kuru yadu nandana candana çiçira tareëa kareëa payodhare måga mada patrakam atra manobhava maìgala kalaça sahodare nijagäda sä yadu nandane kréòati hådaya anandane
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.
When Krishna is enjoying himself she that Raadha insistently spoke this to the delighter of hearts and the clan of Yadu, "paint musky foliages on my bosoms, the abode of Love-god, 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.
alikulagaïjanamaïjanakam ratinäyakasäyakamocane |
tvadadharacumbanalambitakajjala ujjvalaya priya locane || 24-2
pa cche- ali kula gaïjanakam aïjanakam rati näyaka säyaka mocane
tvat adhara
cumbana lambita kajjala ujjvalaya priya locane
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]
nayanakuraìgataraìgavikäsaniräsakare çrutimaëòale |
manasijapäçaviläsadhare çubhaveça niveçaya kuëòale || a pa 24-3
pa cche- nayana kuraìga taraìga vikäsa niräsa kare çruti maëòale
manasija päça viläsa dhare çubha veça niveçaya kuëòale
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]
bhramaracayam racahayantamupari ruciram suciram mama sanmukhe |
jitakamale vimale parikarmaya narmajanakamalakam mukhe || a pa 24-4
pa cche- bhramara cayam racahayantam upari ruciram suciram 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]
mågamadarasavalitam lalitam kuru tilakamalikarajanékare |
vihitakalaìkakalam kamalänana viçramitaçramaçékare || a pa 24-5
pa cche- måga mada rasa valitam lalitam kuru tilakam alika rajané
kare vihita
kalaìka kalam kamala anana viçramita çrama çékare
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]
Comment: 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 rucire cikure kuru mänada mänasijadhvajacämare |
ratigalite lalite kusumäni çikhaëòiçikhaëòakaòämare || a pa 24-6
pa cche- mama rucire cikure kuru mänada mänasija dhvaja cämare
rati galite lalite kusumäni çikhaëòi çikhaëòaka òämare
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 çambaradäraëaväraëakandare |
maëiraçanävasanäbharaëäni çubhäçaya väsaya sundare || a pa 24-7
pa cche- sarasa ghane jaghane mama çambara däraëa väraëa kandare
maëir açanä vasana äbharaëäni çubhäçaya väsaya 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.
çréjayadevavacasi rucire hådayam sadayam kuru maëòane |
haricaraëasmaraëämåtakåtakalikaluñabhavajvarakhaëòane || a pa 24-8
pa cche- çré jayadeva vacasi rucire hådayam sadayam kuru maëòane
hari caraëa smaraëa amåta nirmita kali kaluña jvara khaëòane
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]
racaya kucayoù patram citram kuruñva kapolayoù
ghaöaya jaghae käïcémaïca srajam kabarébhare |
kalaya valayaçreëém päëau pade kuru nüpurau
iti nigaditaù prétaù pétämbaro'pi tathäkarot || 12-11
pa cche- racaya kucayoù patram citram kuruñva kapolayoù ghaöaya
jaghae
käïcém aïca srajam kabarébhare kalaya valaya çreëém päëau
pade kuru nüpurau iti nigaditaù prétaù pétämbaraù api tathä 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]
yadgändharvakaläsu kauçalamanudhyänam ca yadvaiñëavam
yacchåìgäravivekatatvaracanäkävyeñu léläyitam |
tatsarvam jayadevapaëòitakaveù kåñëaikatänätmanaù
säanadäù pariçodhayantu sudhiyaù çrégétagovidataù || 12-12
pa cche- yat gändharva kaläsu kauçalam anudhyänam ca yat vaiñëavam
yat
çåìgära viveka tattva racanä kävyeñu léläyitam tat sarvam jayadeva paëòita kaveù
kåñëa ekatäna atmanaù sa änadäù pariçodhayantu sudhiyaù çré géta govindataù
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.
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]
çrébhojadevaprabhavasya rämädevésutaçréjayadevakasya |
paräçarädipriyavargakaëöhe çrégétagovidakavitvamastu || 12-13
pa cche- çré bhojadeva prabhavasya rämädevé sutaù çré
jayadevakasya
paräçara adi priya varga kaëöhe çré géta 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]
sädhvé mädhvéka cintänabhavatibhavataççarkare karkaça'si
dräkñe drakñyantiketväm amåtamåtamasi kñéranéraàrasaste |
mäkanda krandakäntädharadhara na tuläm gacchayacchantibhävam
yävacchågärasäramçubhamivajayadevasyavaidagdhyaväcaù || 12-14
pa cche- sädhvé mädhvéka cintä na bhavati bhavataù çarkare karkaçä asi dräkñe drakñyanti ke tväm amåta måtam asi kñéra néraà rasaù te mäkanda kranda känta adhara dhara na tuläm gaccha yacchanti bhävam yävat çågära säram çubham iva jayadevasya vaidagdhya väcaù
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 kelitatirvihåtya yamunäküle samam rädhayä
tadromävalimauktikävaliyuge veëébhramam bibhrati |
tatrählädakucaprayägaphalayorlipsävatorhastayoù
vyäpäräù puruñottamasyadadatusphétäm mudäm sampadam || 12-15
pa cche- ittham keli tatiù vihåtya yamunäküle samam rädhayä tat
romävali
mauktika ävali yuge veëé bhramam bibhrati tatra ahläda kuca prayäga phalayoù
lipsävatoù hastayoù vyäpäräù puruñottamasya dadatu sphétäm mudäm 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 gétagovide suprétapétämbaro näma dvädaçaù sargaù -
itthamidam kävyam paripürëam
Thus, this is the 12th and completing chapter, called supriita piitaambaraH - Exultant Krishna, in Gita Govindam of Jayadeva.
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Next Start Over |
Sept, 2003, Desiraju Hanumanta Rao; Revised Oct 08