iõGxmxusUdnm!
Raadha's friend approaches Krishna to inform about the agony of Raadha owing to her state of separation from Krishna. This is called duutii yoga a friendly messaging.messaging.
ymunatIrvanIrink…'œje mNdmaiSwtm!,
àah àemÉraeÑ aNtm! maxvm! raixkasoI. 4-1
pdCDed - ymuna tIrvanIr ink…Nje mNdm! AaiSwtm! àah àem Ér %dœ æaNtm! maxvm! raixka soI
4-1. raadhikaa= Raadha’s; sakhii= friend; yamunaa tiira= Yamuna, on bank of; vaaniira= rattan plant [Calamus rotang]; niku.nje= in arbour; mandam= slowly [indolently]; aasthitam= [aa sthitam]= came and staying; prema bhara= love, overwhelmed by; ud bhraa.ntam= perplexed; maadhavam= to Maadhava, Krishna; praaha= [pra aaha]= well [in detail,] said [the following.]
Raadha's friend is now approaching him, who has came to another bower and staying at it indolently, for he could not find Raadha even after a through search, hence he is perplexed as he is overwhelmed by his love for Raadha, and to such a Krishna, she says the following details.
Aòpid 8 - hirv‘É Azaek p‘vm!
inNditcNdnimNÊikr[mnuivNditoedmxIrm!,
VyalinlyimlnengrlimvklyitmlysmIrm!,
maxvmnisjivizoÉyaidvÉavnyaTviylIna,
sa ivrhe tv dIna - x&vm!. 8-1 A p
pdCDed - inNdit cNdnm! #NÊ ikr[m! Anu ivNdit oedm! AxIrm!
Vyal inly imlnen grlm! #v klyit mly smIrm!
maxv mnis j ivizo Éyat! #v Éavnya Tviy lIna --- sa ivrhe tv dIna -- raxa
a pa 8-1. hè maadhava= oh, Krishna; saa= she [Raadha]; manasi ja= mind, born one - Love-god’s; vishikha = those that have pointed ends, arrows; bhayaat iva= from fear, as though; [tava ] bhaavanayaa [saakshaat- kaarayitvaa]= [about you,] on cogitating; tvayi liinaa= in you, engrossed; chandanam nindati = sandal-paste, scorns [loathes]; indu kiraNam= moon’s, beams [and their dints = blows or strokes, as with arrows of Love-god]; khedam= desperately; a dhiiram= without, courage [despondent, or, adhi iiram = adhikam iirayati, adhikam= muchly, iirati= inciting, breeze of sandalwood trees and moonbeams are releasing Love-god’s arrows]; anu vindati= thereby, knowing [to be unbearable, hence reviling them]; vyaala= serpents; nilaya= of abode [sandalwood trees]; milanena = by their mingling; malaya samiiram= Mt. Malaya’s, [sandal-scented] breeze; garalam= poison; iva= as if; kalayati= she reckons; tava virahe= your, from separation [left in the lurch]; saa [prema bhaavanayaa] diinaa= she is, [in the sense of love = forlorn=] lovelorn.
"hè, Krishna, now Raadha is desperately despondent as she is engrossed in you, and cogitates only on you, and she fears and reviles the dint of moonbeams as though they are the arrows of Love-god. Moreover, she loathes the scent of sandal-paste as if that scent is a poison. She reckons the sandal-scented breeze is as if mixed with venom, for it breezes from Mt. Malaya, an abode of serpents... thus, now she is lovelorn, as you have left her in the lurch... [a pa 8-1]
Or
"hè, Krishna, she that Raadha appears to be fearing the arrows of Love-god, and thinks that you alone would shield her from them, hence she divines that you are revealed to her by her constant cogitation on you, and emotionally engrossed in you... but, outside her realm of imagination you are unseen... and seen are the arrowy beams of moon, and envenomed sandal-scent of breeze, thus she desperately and despondently reckons both the moon and sandal-scent as the agents of that Love-god, thus she loathes and reviles all of them, but for you... thus, now she is lovelorn, and unbefitting is your leaving her in the lurch... [a pa 8-1]
This famous song contains two tones, one that of a tongue-lashing of a friend, with somewhat harsh words of milkmaid, niSTura vaakya, nindaa vaacka which is limitable only to text. Its construal is: candanam kaamam adhikam iirayati; tava bhaavanayaa, tava saakshaatkaareNa, tayi liinaa... etc. Moreover, the other tone is the entreaty of a devotee, with stuti vaakya, praardhanaa vaakya devotional eulogy, extolling, praise song, which is tunefully adopted by singers with most piteous requisition to comeback to Raadha. The reprise in this song is only for words sA virahe tava diinaa... rAdhA...tava virahe sA diinaa... 'she is lovelorn, without you...' but many take some more lines, unnecessarily.
AivrlinpittmdnzraidvÉvdvnayivzalm!,
Svùdymrœmi[vmRkraeitsjlnilnIdljalm!, sa ivrhe tv dIna. 8-2 A p
pdCDed - Aivrl inpitt mdn zrat! #v Évt! Avnay ivzalm!
Sv ùdy mrœmi[ vmR kraeit sjl nilnI dl jalm!
a pa 8-2. saa= she that Raadha; a virala= without, gap [incessant]; nipatita= falling [darting]; madana= Love-god’s; sharaat= from arrows; bhavat= your; avanaaya= to safeguard; iva= as if; vishaalam= wide; sajala= with water [wet petals]; nalinii dala= lotus, petals; jaalam= a group of [sprays of]; sva= her own; hR^idaya = heart; marmaNi= in innermost recesses; varma= leather coat of mail; karoti= she is making; saa virahe - diinaa = as above.
"She that Raadha is making a coat of mail with the sprays of wide and wet lotus petals, in the innermost recesses of her heart, against the incessantly darting arrows of Love-god targeting her it... methinks... maybe to safeguard you who are snugly settled in there, I dunno... but, now she is lovelorn, as you have left her in the lurch... [a pa 8-2]
Or
"hè, Krishna, you know how delicate is Raadha's heart, and targeting it Love-god is incessantly flinging fiery flowery arrows, but uncaring for herself she is bravely preparing a lotus-petal shield, like that of a leathern or metallic shield used by brave warriors, only to protect you, as she ensconced you in the innermost recesses of her heart... and those petals are wide enough to cover you, and wet enough, for they are wet with water and with her love as well, to give enough resistance to you from their heat... hence, she is lovelorn, and unbefitting is your leaving her in the lurch... [a pa 8-2]
The Love-god has five arrows and they are: aravindam asokam ca cutam ca navamallika nilotpalam ca pañcai te pañca ban asya sayakaa || 1.aravinda = a lotus [nelumblum speciosum], 2. ashoka = a flower of hellebore origin, 3. chutam = mango flower, 4.nava mallika = new jasmine, 5.neela utpala = blue costus, are the five arrows of manmatha. Their functions are: -
unmaadanaH taapanaH ca shoshana sthambhanaH
tadaa |
sammohanaH ca kAmasya panca baanaaH prakiirtitaaH ||
The five states associated with each arrow are: 1 unmaada = maniacal state; 2 tapana = fervent state; 3 shoshana = wasting away; 4 sthambhana = standstill state; 5 sammohana = stupefaction.
k…sumivizozrtLpmnLpivlasklakmnIym!,
ìtimv tv pirrMÉsuoay kraeit k…sumzynIym!, sa ivrhe tv dIna. 8-3 A p
pdCDed - k…sum ivizo zr tLpm! AnLp ivlas kla kmnIym!
ìtm! #v tv pir rMÉ suoay kraeit k…sum zynIym!
a pa 8-3: saa= she is; an alpa= not, less; vilaasa kalaa= voluptuousness, with arts of; kamaniiyam= beautiful; kusuma= flowery; shayaniiyam= one on which one can repose, reclinable bed; tava= your; pari rambha= overly [tightly,] hugging; sukhaaya= [desiring that] comfort; kusuma vishikha shara= flowers, with pointed ends, arrows [one who has flowers as his pointed arrows, i.e., Manmatha, Love-god]; talpam= bed; vratam iva= a ceremony, as if; karoti= making; saa virahe - diinaa = as above.
"She that Raadha is making a beautiful flowery reclinable bed with all her arts of voluptuousness, with the flowery arrows of Love-god, desiring to repose on it in a your comfortable tight embrace, as if it is a ceremony... but, now she is lovelorn, as you have left her in the lurch... [a pa 8-3]
Or
" hè, Krishna, though the flower arrows darted by Love-god are pinching her heart, she is preparing a flowery and reclinable bed with them alone, as if it is a ceremony, desiring to instate you in there, and to ceremoniously repose in your tight but comfortable embrace... hence, think not that she is idling, as she is ceremonially preparing a love-seat idolizing you... therefor, leave her not in the lurch, as she is lovelorn... [a pa 8-3]
This girl Raadha has a sense of delicacy. Usually devotees arrange a small golden or silver throne to gods in their worship rooms, and place an idol on it, and run the rote of what they have learnt. Here, she is making a flowery bed to give painless seating, and a seat collapsible even as a bed, if he wants to repose. Stones replaced the thrones of gods in temples, as we see har kankar me shankar... god in every granite rock.
vhitcviltivlaecnjlxrmannkmlmudarm!,
ivxuimvivkqivxuNtuddNtdlngiltam&txarm!, sa ivrhe tv dIna. 8-4 A p
pdCDed - vhit c vilt ivlaecn jl xrm! Aann kmlm! %darm!
ivxum! #v ivkq ivxuNtud dNt dln gilt Am&t xarm!
a pa 8-4: saa= she that Raadha; valita= squirmy [galita= slippery, calita= moving rolling glances]; vilochana= eyes; jala dharam [bharam= filled with] = water, bearer, clouds like; udaaram= beauteous; aanana kamalam= face, lotus; vikaTa= uneven, sawtoothed; vidhun tuda= moon, biter [Raahu’s, eclipsing planet]; danta= by teethe; dalana= by way of biting; galita= slid; amR^ita= ambrosial; dhaaram= streams; vidhum iva= moon, as if; vahati ca= bearing up, also; saa virahe - diinaa = as above.
"She that Raadha bears up a lotus like beauteous face, that have cloud like blackish eyes with squirmy glances, which now appears like the moon bitten by the sawtoothed Rahu, the eclipsing villainous planet, and while that moon sheds streams of ambrosia when bitten by teeth, she is shedding streams of tears, smitten by love... thus, she is lovelorn, as you have left her in the lurch... [a pa 8-4]
Or
" hè, Krishna, beauteous will be the face of Raadha like a lotus, but her lotus like eyes are streaming tears like black clouds, and that moonfaced Raadha is searching for you with her squirmiest glances, as moon would, when bitten by teeth of sawtoothed Raahu, though still streaming his ambrosial moonshine... thus, caught in the cobweb of time neither of them is a sinner, isn't so... so, leave her not in the lurch, as she is lovelorn... [a pa 8-4]
This is full with similes - eyes shed tears, clouds shed raindrops; even if eclipsed, moon doesn't loose shine, and even if shedding tears a beautiful face doesn't loose its beauty; even if bitten by sawtoothed eclipsing planet Raahu, moon doesn't stop outpouring of his ambrosial moonshine; even if smitten by alienation, a girl won't stop outpouring her heartfelt love, and so on...
iviloitrhisk…r¼mdenÉvNtmsmzrÉUtm!,
à[mitmkrmxaeivinxaykreczrçvcUtm!, sa ivrhe tv dIna. 8-5 A p
pdCDed - iviloit rhis k…rNg mden ÉvNtm! Asm zr ÉUtm!
à[mit mkrm! Ax> ivinxay kre c zrm! nv cUtm!
a pa 8-5. saa= she is; rahasi= in aloneness; kuranga madena= deer’s, fat [kastuuri, musk]; a sama sharaH= not, equalling, arrow [an unequalled archer, Love-god]; bhuutam= like that of, in the shape of [not, ghost pl.]; bhavantam= you; vilikhati= writing [sketching, picturing]; adhaH= down under [aasana sthaane= at the place of seat]; makaram= crocodile; kare= in hand; nava chuutam sharam ca= new, mango, [leafy] arrow, also; vinidhaaya= on properly placing; praNamati= adoring.
"She that Raadha in all her aloneness is sketching you in the shape of shapeless Love-god with deer musk, and even sketching a crocodile as his seat, and placing a mango leaflet in his hand, since it is his arrow, and then she is adoring that sketch saying, "oh, god, save my body and soul..." that way she is lovelorn, as you have left her in the lurch... [a pa 8-5]
Or
" hè, Krishna, formless Love-god had to be given your form, as Raadha is unaware of any other form of love, hence she in her loneliness is painting you using deer musk as paint, and in confusion painting a crocodile as his seat, instead of portraying it on his flag... but without confusion she is properly placing a leaflet of mango in his hand for his arrow, as she is repeatedly shot by such arrows, and beholding that sketch she is single-mindedly adoring you, through him, and through that sketch, to save her from her pangs of passion... hence, leave her not in the lurch, as she is lovelorn... [a pa 8-5]
In this stanza the adoration of Love-god agreeable for alienated ladyloves is suggested. This is called kaama puuja as said by bharata muni; devataa puujanam kuryaat dadyaat bali bhuje balim, likhet kaanta pratipada kR^itim paaThayet shuka shaarikaaH | gaNayet avadhi dinam giitam gaayet tad ankitam, evam vidha vinodena nayet kaalam viyoginii || Alienated ladyloves spend time by worshipping gods, offering oblations, sketching rough shapes of their dear ones, counting the balance of days for his arrival, teaching singing to parrots and songbirds, singing lyrics comprising his name....
Xyanlyenpur> pirkl!PyÉvNtmtIvÊrapm!,
ivlpithsitiv;IditraeiditcÂitmuÂittapm!, sa ivrhe tv dIna. 8-6 A p
pdCDed - Xyan lyen pur> pir kLPy ÉvNtm! AtIv Êrapm!
ivlpit hsit iv;Idit raeidit
cNcit muNcit tapm!
a pa 8-6: saa= she that Raadha; dhyaana layena= in meditation, engrossed; atiiva dur aapam= highly, impossible, one to get [highly inaccessible for others, Krishna]; bhavantam= you; puraH= in front of; parikalpya= imagining; vilapati= snaps at; hasati= sneers; viSiidati= sinks; roditi= sobs; chanchati [bhramati]= strays taapam= simmer; munchati= leaves off [simmers down.]
"She that Raadha, thinking that you shall be highly inaccessible to others, she is engrossed in meditation on you, and on imagining you in her front, in the form of that musk painting, she snaps, sneers, sinks, sobs, strays, and simmers down her simmer... [a pa 8-6]
Or
"hè, Krishna, she knows that you are highly inaccessible to anyone, and such as you are, she wants to possess you for herself, only for herself, thus she personifies you in that musk painting in her imagination and engrossed in her meditation on you through that painting, in doing so she snaps at you saying, 'you beguiler, now you're here... what happened all the time... go, go away to those doltish girls, for they alone match you...'
And then sneers at that unmoving painting to say, 'oh, still you're loitering here without making a move... that's why I call you a beguiler... but, now I beguiled you to win you...'
Then sinks down saying, 'ah, poor me, I can't make you happy with my clasps and clings for you're in a picture... alas...'
Then she sobs clinging to that painting; (aside: where a wail is the ultimate weapon of a woman;) and then she strays from there thinking, 'if I go away from this place, this beguiler surely follows me, then I can chide him to accept...'
Then she simmers down her simmering mind meditating on you concluding, 'yes, he's with me... he'll be with me... why should I worry...' hence, o, Krishna, leave her not in the lurch, as she is lovelorn... [a pa 8-6]
The words - snaps, sneers, sinks, sobs, and strays etc., are not just a cluster of words jumbled by the poet. Each has its own significance and some of them are compiled here, as said by ancient commentators. For the wail-weapon of woman: bharata muni says; rudita mudita maatram yoSitaam vigraheSu... 'when women start their siren like wailing, men are supposed to yield...' hence, in Oxford, siren has this meaning too - 4 a - a dangerously fascinating woman; a temptress; b - a tempting pursuit etc., and hence, wailing is the congenital weapon of a woman - Natura dat unicuique quod sibi conveniens est. Nature gives to each what is appropriate. So that is that.
àitpdimdmipingditmaxvtvcr[epittahm!,
Tviyivmuoemiyspidsuxainixriptnutetnudahm!, sa ivrhe tv dIna. 8-7 A p
pdCDed - àit pdm! #dm! Aip ingdit maxv tv cr[e pitta Ahm! Tviy ivmuoe
miy spid suxa inix> Aip tnute tnu dahm! - A tnu dahm!
a pa 8-7: saa= she that Raadha; pratipada padam= at each, step; idam api nigadati= this, even, says – asserts; maadhava= oh, Maadhava; aham tvayi charaNe patitaa= I, on your, feet, fallen; sapadi= now; tava= of yours; mayi= in me; vi mukhe= away, faced – paraa~Nmukhata= uninterested, insouciant]; sudhaa nidhiH api= ambrosia, treasure trove = moon with cool moonshine, even; tanu daaham= body’s, thirst; tanute= increasing; or, a tanu daaham= without, body – bodiless Love-god, fervidity – love fever; tanute= making rampant; saa virahe - diinaa = as above.
"She that Raadha is even asserting this on each and every step of hers, "Oh, Maadhava, though you are insouciant towards me as of now, the moon, who is supposed to be the treasure trove of coolant ambrosial moonshine, is making my love fever rampant..." thus, she who is lovelorn is mediating on you, as you have left her in the lurch... [a pa 8-7]
Or
"hè, Krishna, that Raadha is even asserting this on each and every step of hers, "Oh, Maadhava, your first wife Goddess Lakshmi's brother and your brother-in-law, namely the moon, a pot of ambrosial moonshine, who didn't dare to raise an eye at me, when you were with me... now he alone is torturing me, presuming that I have done wrong to his sister, and presuming that you are uninterested in me... hence, oh, Maadhava, come to me, lest he will not think I am his another sister..." so, Krishna, leave her not in the lurch, as she is lovelorn... [a pa 8-7]
ïIjydevÉi[timdmixkm! yid mnsa nqnIym!,
hirivrhak…lv‘vyuvitsoIvcnm! pQnIym!, sa ivrhe tv dIna. 8-8 A p
pdCDed - ïI jydev Éi[tm! #dm! Aixkm! yid mnsa nqnIym! hir
ivrh Aak…l v‘v yuvit soI vcnm! pQnIym!
a pa 8-8. hè, vaiSNavaaH= hè, devotees of Vishnu; idam jayadeva bhaNitam= this one, by Jayadeva, said; shrii= shrii suukti – auspicious saying; adhikam yadi= highly, reverently, if [if deemed highly reverent]; manasaa = heartily; naTaniiyam= actable [relishable]; hari= Krishna; viraha= heartsick; aakula= flustered; vallava= milkers’; yuvati= damsel’s; sakhii= friend’s; vachanam= words; paThaniiyam= readable [memorable.]
"hè, Vishnuites, if you deem this auspicious saying said by Jayadeva, through the girlfriend of milkers girl, namely Raadha, as highly reverent to relish, then this alone is memorable for all of us... [as these words have a conductance to conduct spirituality...] [a pa 8-8]
Vishnuites is Oxford's nomenclature for vaiSNavaites and the word naTaniiyam is to be taken as 'relishable' as said by bharata naaTya shaatra: naaTya shabdo rase mukhyaH nearly: 'relishing the mood is the essence of dance/drama/performing arts...'
Throughout these songs, or whole of the chapter, the heroine is said as virahotkaNThita, out of eight forms of naayika, the heroine. They are 1 - vaasava sajjika; 2 - utkaNThita; 3 - svaadhiina bhartuka; 4 - kalahaantarita; 5 - vipralabdha; 6 - abhisaarika; 7 - khaNDita; 8 - proSita bhartrika. And virahotkaNThita is - yasyaaH samucite api ahni pravaasii na eti vallabha | saa smaraan alasam taptaa virahotakaNThitaa mataa || Which heroine will be burning with bodily fire on a befitting day, to whose presence her lover does not come at such time, she is viraha = by separation, utkaNThita ecstasized.
Aavasae ivipnayte iàysoImalaip jalayte
tapae=ip ñisten davdhnJvalaklapayte,
saip TviÖrhe[ hNt hir[Iêpayte ha kwm!
kNdpaeR=ip ymayte ivrcyNzaËRliv³Iiftm!. 4-3
pdCDed - Aavas> ivipnayte iày soI mal Aip jalayte taP> Aip ñisten dav dhn Jvala
klapayte sa Aip Tvt! ivrhe[ hNt hir[I êpayte ha kwm! kNdpR> Aip ymayte ivrcyn! zaËRl
iv³Iiftm!
4-3. hè, Krishna; aavaasaH= [her] house; vipinaayate= became forest; priya sakhii maala= dear, friends, rows [flocks of]; api= even; jaalaayate= became net like restrainers; shvasitena= by sighing; taapH api= bodily heat, even; daavadahana= wildfire’s; jvaalaa= tongues; kalaapaayate= became myriads [of tongues of fire]; saa api= she even; hariNii ruupaayate= she-deer, became such a deer; haa= hah; kandarpaH= one who gladdens people, Love-god; api= even he; virachayan= on scripting [all these scenes]; shaarduula= tiger; vi kriiDitam= verily, sporting [hunting, on the prowl for hunt] yamaayate= became Death-god; hanta= alas; tvat viraheNa= for you, lovesick; katham= how; [jiivati= she lives.]
"hè, Krishna, her house became an empty forest, hence she came out, but a flock of her dear friends became a human-net to hold her in, presuming a possibility of her taking some untoward action, but bringing them round she came to a real forest, and sitting there lonely she is sighing in her bodily heat, but that bodily heat became a wildfire, and her sighs became myriads of tongues of that wildfire, and whole of that forest is afire, then even she became like a she-deer caught in that wild fire, and when she wanted to flee, hah, that Love-god who scripted all these scenes, even he became a roaring, growling, prowling Death-godlike tiger... alas, languishing in lovesickness for you, how can she possibly live! [4-3]
What a deer can do when triangularly caught between wildfire, tiger and a hunter with a snare? So also, Raadha is unhappy, caught between wildfire like bodily heat, deathlike, tigerish Love-god, and human-netlike misapprehensive friends. The first foot details udvega avastha - ecstatic state - A trance induced by intense religious devotion; does not show reduced bodily functions that are typical of other trances. Other foots detail the vyaadi avastha - where vyaadhi is not necessarily a bedridden condition, but an uneasy predicament, as yoga says. Its condition is like this: abhiiSTa sangama abhaavaat vyaadiH santaapa lakshaNaH | atra santaapa nishshsvau shiita vastu niSevaNam | na uttaram bhaaSate prasne na iikshate ca shruNoti ca || roughly: because of the lack of desired object, a sort of uneasiness occurs; anguishing, sighing, devouring cool items, non-replying questions of dear ones, or even not looking at them eye to eye... are its states. This poet Jayadeva is an expert in using the name of the metre of his poem, as an item of portrayal in his versification. This verse is said in shaarduula vikriiDitam, which he incorporated in last foot. This is not for 'just punning' the verse, but to use those objects in that name of metre, as objects of poetic thought.
A:tpid 9 - isGx mxusUdn rsavlym!
Stnivinihtmip harmudarm!,
sa mnute k«ztnuritÉarm!, raixka k«:[ raixka, raixka tv ivrhe kezv. 9-1 A p
pdCDed - Stn ivinihtm! Aip harm! %darm! sa mnute
k«z tnu> Ait Éarm! -raixka-tv ivrhe kezv
9-1. hè, keshava= hè, Krishna; kR^isha tanuH= frail, bodied; stana vinihitam= on bosom, arranged [adorning,] udaaram= invaluable [feather-light]; haaram api= [pearl] string, even; manute= [she] feels; ati bhaaram= much, weighing, weighty; saa raadhikaa= such as she is, Raadha; tava= in your/for you; vi rahe= without, having [parted from you]; virahe [virahiNi]= pining for; reprise - raadhikaa kR^isha raadhika | raadhikaa virahe tava keshava.
"hè, Krishna, she with her frailly body feels even a feather-light pearly string adorning her bosom is weighty, and such as she is, she is pining for you, for she is parted from you... [a pa 9-1]
The reprise as above is singers' delight and droppable in these word-to-word transcriptions.
srsms&[mip mlyjp»m!,
pZyitiv;imvvpui;sza»m!, raixka-tv ivrhe kezv. 9-2 A p
pdCDed - s rs ms&[m! Aip mlyj p<km! pZyit iv;m! #v vpui; s z<km!
a pa 9-2: api= even though; malaya ja= Mt. Malaya, born; pa.nkam= cream [cosmetic cream obtained on rubbing sandalwood sticks on gritstone]; vapuSi= on body; sa rasa= with, fluidity [soggy]; masR^iNam= satiny; pashyati= sees [looks down on]; viSam= venom; iva= as if; sa sha.nkam; raadhikaa...virahe= as above.
"Even though the sandal-cream on her body is soggy, satiny, thus balsamic, she looks down on it as if it is a venom... thus, she is pining for you, for she is parted from you... [a pa 9-2]
ñistpvnmnupmpir[ahm!,
mdndhnimvvhitsdahm!, raixka-tv ivrhe kezv. 9-3 A p
pdCDed - ñist pvnm! Anupm pir[ahm! mdn dhnm! #v vhit s dahm!
a pa 9-3: an upama= not, similar – uncommon, abnormal; pariNaaham= overlong [in duration]; shvasita pavanam= breathed, air [sighs]; madana dahanam= Love-god’s, flame; iva= as if; sa daaham= with, flames [flamelike]; vahati= bears [overburdened]; raadhikaa...virahe= as above.
"Her abnormally overlong flamelike sighs are overburdening her, as if they are the flames of Love-god... hence, she is pining for you, for she is parted from you... [a pa 9-3]
idizidizikritsjlk[jalm! ,
nynnilnimvivgiltnalm!, raixka-tv ivrhe kezv. 9-4 A p
pdCDed - idiz idiz ikrit s jl k[ jalm! nyn nilnm! #v ivgilt nalm!
a pa 9-4: sa jala kaNa jaalam= with, water [tear,] drops, group of [sea of]; vigalita naalam iva= slipped down, tubular stem, like; nayana nalinam= eyes [sight,] black-lotuses; dishi dishi kirati= direction, direction, make to fall [bestrews, cast about for]; raadhikaa...virahe= as above.
"She with her eyes that look like black-lotuses, slipped from their stems, are filled with a sea of teardrops, and she is casting about her sight for you, in every direction... that way, she is pining for you, for she is parted from you... [a pa 9-4]
In this stanza a kind of manmatha avastha state in lovesickness called jaData stolidity is indicated. yatra dhyaati niHshankam jaDataa saa prakiirtitaa | atra sprsha anabhij~natve vaivarNam shithilaam gataa | akriiDa anga kR^iti stambhana shvaasa kR^ishataadayaH || roughly: just contemplating fearlessly; unknowing even if touched; colour change; withering of limbs; no pleasure strolling; body attaining stolidity; sighing; emaciation are its features.
nyniv;ymipikslytLpm!,
klyitiviht÷taznivkLpm!, raixka - tv ivrhe kezv. 9-5 A p
pdCDed - nyn iv;ym! Aip iksly tLpm! klyit iviht ÷tazn ivkLpm!
a pa 9-5. nayana viSayam api= eyes, subject of, even [though eye-filling]; kisalaya talpam= coppery tender leaves, a bed of; vihita hutashana= made, flame [bed like]; vikalpam kalayati= doubtfully, reckons; raadhikaa...virahe= as above.
"Though the subject of her eyes is an eye-filling bed of coppery tender leaves, she reckons it as a flamy bed... that way, she is pining for you, for she is parted from you... [a pa 9-5]
The red-brown colour of coppery leaves taamratva, is a causative factor for anguish santaapatva, in separation.
Tyjitnpai[tlenkpaelm!,
balziznimvsaymlaelm!, raixka - tv ivrhe kezv. 9-6 A p
pdCDed - Tyjit n pai[ tle n kpaelm! bal ziznm! #v saym! Alaelm!
a pa 9-6. saa= she; saayam [kaalam] in evenings; baala= tender [7 (of age) early, youthful]; a lolam= not, moving [motionless]; shashinam iva= moon, akin to; kapolam= cheek; paaNi talena= on palm’s, surface; na tyajati= not, removes; [saa ca = she is also] a lolam= not, moving [motionless]; raadhikaa...virahe= as above.
"She neither removes her moonlike cheek, a cheek akin to youthful but motionless moon of evenings, placed on her palm, nor she is motional... and statically she is pining for you, for she is parted from you... [a pa 9-6]
hiririt hiririt jpit skamm!,
ivrhivihtmr[en inkamm!, raixka - tv ivrhe kezv. 9-7 A p
pdCDed - hir> #it hir> #it jpit s kamm! ivrh iviht mr[en inkamm!
a pa 9-7. saa= she; viraha vihita= by wistfulness, ordained; maraNena= death; [iva= as if]; sa kaamam= with, wish [wishful to tell last words]; nikaamam= always; hariH iti hariH iti= Hari, thus, Hari, thus; japati= chanting, intoning; raadhikaa...virahe= as above.
"She is as if dying, a death ordained by her own wistfulness, and hence wishful to tell her dying words she is always intoning thus as, "Hari... Hari..." hence, she is dying pining for you, for she is parted from you... [a pa 9-7]
ïIjydevÉi[timitgItm!,
suoytukezvpdmupnItm!, raixka - tv ivrhe kezv. 9-8 A p
pdCDed - ïI jydev Éi[tm! #it gItm! suoytu kezv pdm! %p nItm!
a pa 9-8. iti= this way; keshava padam= to Krishna’s, feet; upa niitam= nearby, brought to [that draws nigh of those feet, or, dedicated to his feet]; jayadeva bhaNitam= Jayadeva, said by; shrii giitam= auspicious, song; sukhayatu= comforts; [vayam= us, singers, listeners.]
"This way, this auspicious song said by Jayadeva, and dedicated at the feet of Krishna through me, the friend of Raadha, comfort all of us, its singers like me and Raadha, or its listeners like you... thus Raadha is pining for Krishna, parted from him... [a pa 9-8]
saraema'œcitsITkraeitivlpTyuTKMptetaMyit
XyayTyuÑ mitàmIlitptTyu*aitmUCDRTyip,
@tavTytnuJvrevrtnujIRveÚikMtersat!
SvvER*àitmàsIdisyidTy´ae=NywanaNtk>. 4-5
pdCDed - sa raemacit sIt! kraeit ivlpit %t! KMpte taMyit Xyayit %Ñ
mit àmIlit ptit
%*ait mUCDRit Aip @tavit Atnu Jvre vr tnu> jIvet!
n ikm! te rsat! Svrœ vE* àitm
àsIdis yid Ty´> ANywa n ANtk
4-5. saa= she is; romaacati= hair bristling [frisson, tingling sensations - romaancavatii iva aacarati – abhilaaSaaparatvam - awaiting his arrival with tingling sensations in her body]; siit karoti = noisily breathing [onomatopoeically respirinmg - cintaa smR^iti kaaraNena niH svanam ‘he is not coming, what to do... huh, ah, oh etc.]; vilapati= extolling naayaka guNa gaNa kiirtana ‘he alone is a great hero, he alone is beautiful...]; ut kmpate= highly thrills; kathamiidR^ishii viraham taarayaami... ‘how can I swim over this wistfulness...’]; taamyati dhyaayati= taking pain, meditating [ by these two udvega avastha ecstasied state is suggested]; udbhramati= whirling around [showing places of pleasure taking about them pralaapaana]; pramiilati= eyelids are half-closed [state of love-madness madanonmaada avastha]; patati= falls down [off her own feet - vihvalatvam]; udyaati= getting up [ vyaadhi avastha– struggling to raise from a decumbent posture]; api= furthermore; muurcChati= swooning jaDatva, acetanatvaavastha]. Then Krishna may ask “When she swooned and under a delirious situation, you may call a doctor, not definitely me...” Presuming this the milkmaid is continuing her thread; hè, svar= heavenly; vaidya= doctor; pratipadama= in similarity. [That is, you are the one similar to Ashwin brothers, not just twin gods of medicine, but they also possess most beautiful aspect. So, Krishna, you possess not only a beautiful physique like Ashwin Kumar-s but you are also the presiding deity to cure the mental illnesses - either that of Raadha, or that of Arjuna, at a later time... so you come.] etaavati= this much; a tanu= without, body – bodiless Love-god; jvare= in fever [afflicted by that bodiless fellow]; [tvam= you] yadi= if; prasiidasi= oblige; vara tanuH= beautiful, bodied [Raadha]; te rasaat= by your, quintessence [of graceful love]; na jiivet kim= not, going to live, why [why doesn’t she live, she will live by that grace of yours]; anyathaa= otherwise; [tvattaH= more than you]; na antakaH= no, ender [no other eliminator is there, than you]; or, in other mms – tyaktaH hastakaH = leaving off, moving hands etc., i.e., as of now she is doing all these bizarre things as her sensory organs have gone astray, and if you do not come now, her motor organs too will cease to function.] [Another mms - tvattaH anyathaa antakaH – na bhavet.]
vyaadhi para artha: saa romaacati= she is, bristling as if with cold etc; siit karoti= sighing heavily; vilapati= insanely talking; ut kmpate= shivering; taamyati= drooping; dhyaayati = in delirium; udbhramati= swings up; pramiilati= shutting eyelids with rolling eyes; patati udyaati= stumbles, gets up; muurcChati api= swoons, even; etaadR^ishii sannipaata jvare= etaavati atanu jvare= in this kind of morbid sickness; svar vaidya pratipadama prasiidasi yadi; te rasaat= by your, rasa= paada rasa; ghuTika, vaTi= medicated mercury tablet; vara tanuH jiivet na kim; anyathaa= otherwise, if you don't give a tablet; tyaktaH hastakaaH= leaves of, motor functions.
"hè, Krishna, Raadha is now in a kind of morbid lovesickness. She frissons, sighs, raves, shivers, droops, swings up, goes into delirium with rolling eyes with half-shut eyelids. Next, she gets up, stumbles and swoons. For this kind of sickness, you alone are the godlike doctor. As such, if you come to give a potion of medicine, called your love-grace, she definitely survives. Otherwise, she has to breath her last...' [4-5]
It will be painful to the casually peripheral readers to read the gist, if all the trash of naayakii bhaava-s, lakshaNa diipikaa-s as in the first word-to-word section is repeated. Hence, only the list of words, minus their function, is re-rolled here.
Smraturam! dEvtvE*ù*
Tvd¼s¼am&tmaÇsaXyam!,
ivmu´baxam! k…é;e n raxam!
%peNÔ v¿adip daé[ae=is. 4-6
pdCDed - Smr Aaturam! dEvt vE* ù* Tvt! ANg sNg Am&t maÇ saXyam! ivmu´
baxam! k…é;e n raxam! %peNÔ v¿at! Aip daé[> Ais
4-6. daivata vaidya= gods’, doctor [Ashwin Kumar like]; hR^idya= heart-pleasing one [heartthrob, swain, hè, Krishna]; upendra= oh, Upendra, Vishnu’s another name; smara= Manmatha, Love-god; aaturaam= for the agonised one, Raadha; tvat= your; anga= body; sanga= touch; amR^ita maatra= ambrosia, just by it; saadhyaam= possible [to relieve her sickness]; raadhaam= Raadha be; vimukta= relieved; baadhaam= from agony; na kuruSe [yadi]= not, going to do, [if]; vajraat api daaruNaH= than thunderbolt, even, horrible; [tvam= you] asi = you, are.
"Oh, heart-pleasing one like Ashwin Kumar-s, the doctors of gods, if you are not going to possibly relieve Raadha from the agony caused by Love-god, just by the ambrosial touch of your body, oh, Upendra, you will be a more horrible being than Indra's Thunderbolt, mark you... [4-6]
Unseen Indra hurls his Thunderbolt from a distant place and it pains the target, only when it meets its target. Nevertheless, this fellow is here before her eyes, and he has not hurled any bolt or dart at Raadha, but hurt her with his charm. Hence, he alone should ease it; otherwise, he will be more horrible and ungodly in his demeanour.
kNdpRJvrsNJvrak…ltnaeraíyRmSyaiírm!
cetíNdncNÔm>kmilnIicNtasu s<taMyit,
ikNtu ¬aiNtvzen zItltrm! Tvamekmev ][m!
XyayNtI rhis iSwta kwmip ]I[a ][m! àai[it. 4-7
pdCDed - kNdpR Jvr s<Jvr Aak…l tnae> AaíyRm! ASya> icrm! cet> cNdn cNÔm> kmilnI icNtasu sNtaMyit ikNtu ¬aiNt vzen zItl trm! Tvam! @km! @v iàym! XyayNtI rhis iSwta kwm! Aip ]I[a ][m! àai[it
4-7. asyaaH= hers, Raadha’s; tanoH= body; kandarpa jvara= Love, sickness; sa.njvara= by anguish; aakula= flurried; chetaH= heart; chandana= sandal-paste; chandramaH= moon; kamalinii= clusters of lotuses; chintaasu= in thinking [wanting them]; chiram= for a long; santaamyati= facing difficulties [flustered]; aashcharyam [kim]= surprising [or, what, unsurprising]; kintu= but; klaanti vashena= enervation, controlled by; rahasi= in lonely place; sthitaa= staying; priyam tvaam= dearer, you; ekam eva= one, only; shiitala taram= cooling agent [invigorative,] higher in degree [best]; dhyaayantii = contemplating; kshiiNaa api= emaciated, though; katham api= how, even [somehow]; kshaNam praaNiti= for a moment, bears lives.
"What surprise can be there if lovesickness flurries Raadha's body and flusters her heart to cherish cooling agents like sandal-paste, moon and his shine, clusters of lotuses and the like? However, it is surprising that though she is enervated and emaciated, she is contemplating on you, on you alone, staying in a lonely place, asserting that you alone are the supreme cooling agent than others, and somehow she is bearing up her lives for a moment... [4-7]
][mip ivrh> pura n sehe
nyninmIlnioÚya yya te,
ñisit kwmsaE rsalzaoam!
icrivrhe[ ivlaeKy pui:pta¢am!. 4-8
pdCDed - ][m! Aip ivrh> pura n sehe nyn inmIln ioÚya yya te ñisit kwm!
AsaE rsal zaoam! icr ivrhe[ ivlaeKy pui:pt A¢am!
4-8. puraa= earlier [when you were with her]; te virahaH= your, evanesce [fade from sight]; nayana= eyes; nimiilana= for blinking; khinnayaa= saddening; tayaa= by her; kshaNam api= for a moment, even; na sehe= not, tolerant; asau= such as she was; chira viraheNa= long time, by separation/ heartstrings; puSpita agraam rasaala shaakhaam= flowered, [tree] top, mango, branches [flowered branches at mango tree tops, say spring, Vasanta season]; vilokya= on observing; katham= how; shvasiti= breathes [her life.]
"Earlier when you were with her she was saddening even to have a blink on her eyes, intolerant of a momentary evanesce of your form from her sight, even for a moment, such as she was, now how can she observe this spring season with flowered branches on mango treetops, and possibly breathe her lives... [4-8]
v&iòVyak…lgaek…lavnrsaÊϯTygaevxRnm!
ibæÖ‘vv‘ÉaiÉrixkanNdai½r<cuiMbt>,
drœpe[EvtdirœptaxrtqIisNËrmuÔaiNktae
ba÷gaeRptnaeStnaetuÉvta<ïeya<isk<siÖ;>. 4-9
pdCDed - v&iò Vyak…l gaek…l Avn rsat! %ϯTy gaevxRnm! ibæt! v‘v v‘ÉaiÉ>
Aixk AanNdat!
icr< cuiMbt> dpeR[ @v tt! AipRt Axr tqI isNËr
muÔ AiNkt> ba÷> gaep tnae> tnaetu
Évtam! ïeyaiNs k<s iÖ;
4-9. vR^iSTi= by thunderstorms; vyaakula= put to chaos; gokula= stock of cowherds; avana= to protect; rasaat= interestedness; uddhR^itya= uplifted; govardhanam= Mt. Govardhana; bibhrat= [the hand] that upheld [that mountain]; vallava= cowherds’; vallabhaabhiH = milkmaids; adhika= highly; aanandaat= from gladness; ciram cumbitaH= ever, kissed; darpeNa eva= pridefully, only; tat= by them [milkmaids]; arpita= dedicated; adhara taTii= lips, lips of [outer-lips]; sinduura= vermilion [lipstick colour]; mudra ankitaH= with marks, imprinted; gopa [baalaka] tanoH= in cowboy’s, body; kamsa dviSaH= King Kamsa’s, despiser’s; baahuH= arm [palm]; bhavataam= to you; shreyaa.nsi= prosperities; tanotu= let accord.
"Which hand has uplifted and upheld Mt. Govardhana as an asylum, in the interest of protecting the stock of cowherds when they were put to chaos of Indra's thunderstorms... thereby, which hand will ever be kissed by the pridefully gladdened milkmaids, who dedicatedly imprint the vermilion marks of their outer-lips, let that Divine palm of that despiser of evil-willed Kamsa, which by chance is now with the body of a cowboy, accord prosperities to you all... [4-9]
This concluding benedictory verse is unavailable in northern versions. It is hoped that Krishna's lifting a mammoth mountain need not be reiterated here, as that is a well known incident.
#it gItgaeivNde iõGxmxusUdnae nam ctuwR> sgR
Thus, this is the 4th chapter, called Suavely Krishna in giita govindam of Jayadeva.
Sept, 2003, Desiraju Hanumanta Rao