Raadha's friend returns to Krishna to inform about the ecstatic state of
Raadha.
atha taam gantumashaktaam chiramanuraktaam lataagR^ihe dR^iSTvaa |
tachcharitam govinde manasijamande sakhii praaha || 6-1
pa Che- atha taam gantum ashaktaam chiram anuraktaam lataa gR^ihe dR^iSTvaa tat charitam govinde manasija mande sakhii praaha || 6-1
6-1. atha= then; sakhii= girlfriend; taam= her [Raadha]; dR^iSTvaa= on seeing; gantum ashaktaam= to go [immediately,]unable[uncompliant to];chiram lataa gR^ihe anuraktaam = for a long, in creeper, house [bower,] interested [dawdling]; [meaning that Raadha is clinging to this bower expecting Krishna to come here, unyielding]; tat caritam= that, episode; govinde manasija mande= to Krishna, by Love-god, dreary-minded; pra aaha = clearly said [started to tell in this episode of poem.]
Then the girlfriend of Raadha, on coming to Raadha from Krishna, and on seeing Raadha who is still dawdling in the same bower, and uncompliant to go to Krishna immediately, that girlfriend again returned to Krishna, and started to tell clearly about that episode of Raadha's unyieldingness. [6-1]
aSTapadi 12 - dhanya -dhR^iSTa- vaikuNTham -
pashyati dishi dishi rahasi bhavantam | tadadharamadhuramadhuuni pibantam|
naatha hare hare jagannaatha hare | siidati raadhaa vaasagR^ihe - dhR^ivam ||
12-1 a pa
pa cChe- pashyati dishi dishi rahasi bhavantam | tadadharamadhuramadhuuni pibantam naatha hare hare jagannaatha hare | siidati raadhaa vaasagR^ihe - dhR^ivam
a pa 12-1. hè naatha= oh, lord; hare= oh, Krishna; jagannatha= master of worlds; hare= oh, stealer of sins; raadhaa= Raadha; vaasagR^ihe= in a bower; siidati= saddened/aweary; tadadhara, or tvatadhara - tvat= those, other milkmaids' [here tvat shabda anya shabda paryaaya, ta kaaraanta, sarva naama - tvacChabdo.anya vaacii dviH paThitaH... dvaavapi anudaattau-prakriyaa prasaada grantha, sarva naama vyaakhya]; adhara madhura madhuuni = lips', luscious, nectar; rahasi= in secrecy; pibantam= swilling; bhavantam= for you; pashyati dishi dishi= looking [for you,] in direction, direction; reprise - raadhaa= Raadha; siidati= is aweary; vaasagR^ihe= in an arbour.
"hè, lord Krishna, master of worlds, stealer of sins, saddened Raadha is in a bower, and she looks for you, a secret swiller of nectar from the lips of other milkmaids, in all directions... thus, Raadha is aweary in an arbour...
Comment: Here the poet uses a pun for the word naatha hare meaning an impetuous bull roped at nose for restraining its impetuosity. naadham = naasaa rajjum, harati = gR^ihNaati, iti naadha hari 'when Raadha is patiently waiting in that bower your not coming to her is bullish, hence you are not only a gopala, but also a horny bull...' Then he may ask 'why she is so touchy, she could have come here...' for this she is saying as below.
tvadabhisaraNarabhasena valantii | patati padaani kiyanti chalantii || 12-2 a pa
pa cChe - tvat abhisaraNa rabhasena valantii patati padaani kiyanti chalantii
a pa 12-2. tvat abhisaraNa= to you, in coming; rabhasena valantii= speed [enthusiasm] having [groggy, muzzy]; kiyanti padaani chalantii patati= some, steps, on walking, falls.
"Muzzy with enthusiasm in coming to you, she walks some steps but falls... hence, Raadha is aweary in an arbour... [a pa 12-2]
Vividly: 'She walks a few steps, but your infidelity comes to her mind and she stops, but takes some more steps, your duplicity stops her, yet after some more steps your chicanery reminds her to stop... in this back and forth dance-stepping, her steps stumble and she tumbles... yet she is some how living but for thinking on you...' from choreographers viewpoint. How she is 'living' is said next.
vihitavishadabisakisalayavalayaa | jiivati paramiha tava ratikalayaa || a pa 12-3
pa cChe- vihita vishada bisa kisalaya valayaa jiivati param iha tava rati kalayaa
a pa 12-3. Raadha; vihita= on making; vishada= fresh/cool; bisa kisalaya= lotus, tender leaves, or stems; valayaa= [lexically] by bracelets - but a veil, cover, soother for the present burning]; tava param rati kalayaa= your, blissful, [earlier enjoyed] association, by dream; iha jiivati= now, living.
"On making fresh and cooling tender lotus leaves as a soothing veil against the present burning, she is now living by the help of dreams on your blissful association, enjoyed earlier by her... [a pa 12-3]
muhuravalokitamaNDanaliilaa | madhuripurahamiti bhaavanashiilaa || a pa 12- 3
pa cChe- muhuH avalokita maNDana liilaa madhu ripuH aham iti bhaavana shiilaa
a pa 12-4. muhuH= repeatedly; avalokita= having observed; maNDana liilaa= ornament's, flaunts; madhu ripuH aham= Madhu's, enemy, I am; iti= thus; bhaavana= thinking; shiilaa= with feeling; [vartate= conducting herself.]
On observing the flaunt of her ornaments, that are readjusted to look like those of yours, and on assuming your persona she says thus as 'I am Krishna...' [a pa 12-4]
Vividly. She looks at her ornaments to examine whether they are befitting for a meeting with you. She adjusts them to look better. In doing so, she unwittingly adjusts head ornament as peacock feather, puts some dangling earring as your knobbly earrings, holds her strings of pearls or a necklace as your flute, and so on. And then on seeing herself like that she declares 'I am Krishna...'
Here the core subject of this work is posted. Raadha not only identifies herself with Krishna, but also declares that she is Krishna. Other non-romantic characters like Seetha, Savitri et al appears to not have averred like this, except divinity like naaraayaNi - aham naaraayaNii naam saa vaiSNavii paraa - I am indeed Naaraayanee [i.e. Lakshmi] the supreme essence of Vishnu -Lakshmi Tantra 3.1
tvaritamupaiti na kathamabhisaaram| haririti vadati sakhiimanuvaaram || a pa 12-5
pa cChe- tvaritam upaiti na katham abhisaaram hariH iti vadati sakhiim anuvaaram
a pa 12-5. hariH= Krishna; tvaritam= swiftly; abhisaaram= to preset place; katham= how [why]; na upaiti= not, coming; iti= thus; anuvaaram= repeatedly, all the while; sakhiim vadati= to friend, saying [asking.]
" 'As to why Krishna is not coming swiftly to the preset place?' Thus she that Raadha is asking her friend, all the while... [a pa 12-5]
shliSyati chumbati jaladharakalpam | harirupagata iti timiramanalpam|| a pa 12-6
pa cChe- shliSyati chumbati jaladhara kalpam hariH upagata iti timiram analpam
a pa 12-6. hariH upagata iti= Krishna, drew nigh, thus [on thinking]; jaladhara kalpam = cloud, like; an alpam= not, small [pitch-black]; timiram= darkness; shliSyati chumbati= hugs, kisses.
"When she steps out that bower she sees the pitch-black cloudlike darkness, and thinking that Krishna drew her nigh, she hugs and kisses that darkness...
bhavati vilambini vigalitalajjaa | vilapati roditi vaasakasajjaa || a pa 12-7
pa cChe - bhavati vilambini vigalita lajjaa vilapati roditi vaasaka sajjaa
a pa 12-7. vaasaka= in her dwelling place; sajjaa= rati liilopakaraNaiH sajjita= readying herself decorating with befitting ornaments; bhavati vilambini= by you, delayed [in coming there]; vigalita lajjaa= slithered, shame; vilapati= she whines; roditi= whimpers.
"She readying her self decorated in befitting ornaments is waiting in her dwelling place, but when you delay in your coming, slithered is her shame, and she whines and whimpers...
Comment: The word vaasaka sajjika is a name to the romantic heroine waiting for her hero, and the poet uses this word for another purpose as above. In this song the heroine with such mood and the hero is shaTha.
shriijayadevakaveridamuditam| rasikajanam tanutaamatimuditam || a pa 12-8
pa pcChe - shrii jayadeva kaveH idam uditam rasika janam tanutaam ati muditam
a pa 12-8. shrii= shrii suukti = auspicious saying; jayadeva kaveH= Jayadeva, by poet; idam uditam = this, [that is] said; rasika janam= for aesthetic, people; ati muditam= highly, gladdening; tanutaam = may cause.
May this auspicious song said by poet Jayadeva cause utmost gladness to aesthetic people... [Annex: 'For it is a treatise of divinely romantic aesthetics...] [12-8]
vipulapulakapaaliH sphiitasiitkaaramantaH
janitajaDimaakaakuvyaakulam vyaaharantii |
tava kitava vidhatte.amandakandarpachintaam
rasajaladhinimagnaa dhyaanalagnaa mR^igaakshii || 8-3
pa cChe- vipula pulaka paaliH sphiita siitkaaram antaH janita jaDimaa kaaku vyaakulam vyaaharantii tava kitava vidhatte amanda kandarpa chintaam rasa jaladhi nimagnaa dhyaana lagnaa mR^igaakshii
6-3. hè kitava= he dhuurta= you, beguiler; [saa] mR^igaakshii= [she that] deer-eyed Raadha; vipula pulaka paaliH= ample, thrills, ranges [series]; sphiita= increasing; siitkaaram yathaa tathaa= whining [meaning that she caught hold of you in her contemplation, and when you started to express your love with your danta nakha kshata cumbana aalinganaadi caryaaH - she deeming avoiding your advances, she pulls herself away from you, but coos and whines in pleasure etc]; antaH janita jaDimaa= internally, born, stolidity jaDatva; kaaku= grumbles; vyaakulam vyaaharantii = embarrassedly, behaving [behaving in an odd fashion in that trans by gestures of pulling away from you, when you have tried failingly to kiss her by catching her bun - thereby she went into a haava called kuTTamita and started saying words of refusal - niSedha vaakyaaH, which to others appear to be foolish]; tava vidhatte= by you, imposed; amanda kandarpa chintaam= not less [high,] passion, worried one; rasa jaladhi nimagnaa= aesthetic pleasure, called deep-sea, deluged in; dhyaana lagnaa= in thought, tenacious.
"You beguiler, brooding on you she that deer-eyed Raadha is in ecstasy, and in that state when she thinks that she got you at her near, her thrilling sensations are ample and in series, and in her phantasmic trance, born out of internal stolidity, she is behaving in an embarrassed manner with grumbles of avoidance, and all this is imposed by you and she, a worried one with high passion, is tenacious to your thought, and deluged in deep-sea, called aesthetic pleasure... sudhaakara rasa aarNavam. [6-3]
It is quite common for anyone to get shivers and shudders if drenched in cold for a long time. Then they articulate shivers owing to their freezing cold. Here, the situation is reverse. The body is burning with desire, and she is deluged in an ocean, which is like molten lava. Then her shivers and shudders shall be more than ordinary cold caught person.
The stolidity occurred to her is the jaDatva the fifth sate in aesthetics of love manmatha avastha The a feeling called haava is caused and that haava is called kuTTamita . The causing scene for kuTTamita haava to a heroine is as like this: kesha adhara aadi grahaNe mudamaanaa api maanase | duHkhitena bahiH kupyuet atra kuTTamitam tu tat || 205 'a heroine who is happy inwardly but pretends to be painful, uninterested, resentful etc., when the hero handles her by her bun, in trying to kiss her etc., is kuTTamita haava - rasaarNava sudhaakaram
A word about this treatise rasaarNava sudhaakaram This is written by Simhabhuupaala, an erstwhile Telugu king. This book perhaps is ill fated to be republished and remained in the shelves of archives. But this is made available per kindness of Gaudiya Grantha Mandir, in bare Sanskrit text, at granthamandira.org with an assurance 'a separate edition with examples will be offered soon - Jan Brzezinski...' In this book the situations to use words kitava, dhuurta are also incorporated. But they are not elaborated here. Next this girl hurries Krishna to reach Raadha, before it is too late.
a~NgeSvaabharaNam karoti bahushaH patre.api sa.nchaariNi
praaptam tvaam parisha~Nkate vitanute shayyaam chiram dhyaayati |
ityaakalpavikalpatalparachanaasa.nkalpaliilaashata
vyaasaktaapi vinaa tvayaa varatanurnaiSaa nishaam neSyati || 12-4
pa cChe - a.ngeSu aabharaNam karoti bahushaH patre api sa.nchaariNi praaptam tvaam parisha.nkate vitanute shayyaam chiram dhyaayati iti aakalpa vikalpa talpa rachanaa sa.nkalpa liilaa shata vyaasaktaa api vinaa tvayaa varatanuH na eSaa nishaam neSyati
6-4. varatanuH= best bodied; [curvaceous (esp. of a woman) having a shapely curved figure, Raadha]; eSaa= this way; a.ngeSu aabharaNam karoti= on limbs, jewellery, making [decorating, by this akalpa is said]; bahushaH= many times; patre= leaves [or feather, wings]; api= even if; sa.nchaariNi= moving [rustling]; tvaam praaptam= you, bechanced; parishankate = surmises [by this vikalpa is said]; vitanute shayyaam = makes, bed [by this shayya racana is said]; chiram dhyaayati= for a long time, contemplates on you [with this sankalpa is said]; iti= this way; aakalpa= sva dehaalankaara carya= decorating with befitting items for a meet; vikalpa= fidgety - expecting arrival, but failing to find]; talpa rachanaa= bed, making - a precautionary preparation, without annoying her hero; sankalpa= mulls over - single minded devotion; liilaa [vilaasaaH ]= attitudinizes [2 speak, write, or behave affectedly]; shata= in hundreds of ways; vyaasaktaa [vi aasaktaa= with high, rapture [nympholepsy= n. ecstasy or frenzy caused by desire of the unattainable - NOT nymphomania pl.] api= even with; vinaa tvayaa= without, you; nishaam na neSyati= night, not, able to lead off.
"She that curvaceous Raadha, with every jewellery of every description, she is decorating her limbs... with every rattle of wings or rustle of leaves she surmises that you have bechanced... with every flower and every tender leaf she makes a bed, lest no time need be wasted... thus, she is contemplating on you for a long, long a time... and thus she attitudinizes her normal attitude with over-decoration, over-titillation, over-preparation, and with over-meditation, hence she is unable to lead off nights, without you... [6-4]
Hoping that no more pedantry is required here, we go to next verse, which is a benedictory conclusion unseen in many other mms. On this below mentioned verse the commentator of rasamanjari has not commented, but one commentator known as kumbhakarNa has commented in his work, and unsure is that, whether critical editions have referenced this or not, because this is not a critical version, but a criticisable one.
kim vishraamyasi kR^iSNabhogibhavane bhaaNDiirabhuumiruhi
bhraata ryaahi nadR^iSTigocaramitassaanandanandaaspadam |
radhaayaavacanam tadadhvagamukhaanna.ndaantikegopato
govindasyajayanti saayamatithipraashastyagarbhaagiraH || 6-5
pa cChe - kim vishraamyasi kR^iSNa bhogi bhavane bhaaNDiira bhuumiruhi bhraataH yaahi na dR^iSTi gocaram itaH sa ananda nanda aaspadam radhaayaa vacanam tat adhvaga mukhaat na.nda antike gopataH govindasya jayanti saayam atithi praashastya garbhaaH giraH
6-5. hè bhraataH= oh, brother [oh, traveller]; kR^iSNa bhogi bhavane= black, cobra, palace of; [or, shleSa: kR^iSNa bhogi bhavane= someone called Krishna, an enjoyer, in his abode]; bhaaNDiira bhuumi ruhi= banyan tree with holes in trunk; [or, shleSa: bhaaNDiira= treasure house; bhuumi ruhi= from earth, arose [Krishna who came into existence as an earthly being]; kim vishraamyasi= why, you take respite; yaahi= go away; sa aananda= with, happiness; nanda aaspadam= Nanda's [Krishna's father,] a hospice [house of Nanda]; itaH= from here; na dR^iSTi gocaram [kim?]= not, to eye, visible, [or what?]; adhvaga mukhaat= a wayfarer's, from face; radhaayaa tat vacanam= Raadha's, that, words; na.nda antike= at father Nanda, nearby; gopataH= cowherd; govindasya= of Krishna; saayam atithi praashastya = evening time, guest invitee, as though welcoming] with praise; garbhaaH [narmagarbha]= impregnated [with inner meaning]; giraH= words; jayanti= are paramount.
Vividly. Raadha is asking Krishna to come to a particular place for their pleasure tripping. But she cannot tell it directly to Krishna as his father Nanda and others are there tending cattle. In the meanwhile she caught sight of a traveller tarrying under a banyan tree. She immediately yelled at him saying, "Oh, traveller, why do you take respite under that banyan tree with holes in its trunk into which black cobras truck in and out... oh, brother, won't you see that house of Nanda, a happiest hospice... please go there for a boundless hospitality... [aside: but leave that tree at once... for it is our preset retreat, and it shall serve as a happy abode for Krishna, the enjoyer..."] containing such words of Raadha, impregnated with inner meaning in inviting an evening time invitee, either a traveller or a beguiler, this song shall be paramountly devotional... so sayest poet Jayadeva... [6-5]
iti giitagovinde dhanya- dhR^iSta vaikuNTho naama SaSTaH sargaH
Thus, this is the 6th chapter, called Inconsiderate Krishna, in giita govindam of Jayadeva.
Oct, 2003, Desiraju Hanumanta Rao