Chapter [Sarga] 10 - Tactful Krishna
चतुरचतुर्भुजः
चतुरचतुर्भुजः
Krishna appears before Rādha from thin air, and finding her somewhat lessened in her recalcitrance, he starts to pull the wool over her eyes, tactfully. But she is still reticent.
अत्रान्तरे मसृणरोषवशादसीम निःश्वासनिस्सहमुखीम् सुमुखीमुपेत्य।
सव्रीडमीईक्षतसखीवदनाम् दिनान्ते सानन्दगद्गदपदम् हरिरित्युवाच॥ १०-१
प च्छे - अत्र अन्तरे मसृण रोष वशात् असीम निःश्वास निस्सह मुखीम् सुमुखीम्
उपेत्य स व्रीडम् ईक्षत सखी वदनाम् दिन अन्ते स आनन्द गद्गद पदम् हरिः इति उवाच
10-1. atra= there; antare= in the mean while; hariH= Krishna; dina ante= day, at end of -that evening; masR^iNa= to her who is precipitated [hot-headed, excited]; roSa vashaat= indignation, owing to; a + siima= not, within bounds - frantic; niHshvaasa= with suspires; nissaha mukhiim= with a helpless, face; sa vriiDam= [Rādha] with, shy - with 'whatamitodo' look; [sa vriiDaam... upetya - 'Krishna came shyly' can also be said]; iikShita sakhii vadanaam= she who is observing, her friend's, faceto such a Rādha who has; su mukhiim= a lovely, face - to her; sa aanandam= with, rejoice [Krishna,] upetya= came near; gad gada padam= [but with] groaning and grumbling, words; iti uvaacha= this way, he said.
In this meanwhile along with eventide Krishna rejoicingly came near of lovely faced Rādha, who by then is looking at her friend's face with a 'whatamitodo' look, of course, with boundless suspires as she is hotheadedly bridled; and seeing her in such a mood Krishna, changing gramophonic-plate from rejoice to reprieval, started to speak with these grumbling and gruffing words.[10-1]
अष्टप्दि - १९ - चतुरचतुर्भुजरागराजिचंदोद्योतितम्
वदसि यदि किङ्चिदपि दन्तरुचिकौमुदी हरति दरतिमिरमतिघोरम् ।
स्फुरदधरसीधवे तव वदनचन्द्रमा रोचयतु लोचनचकोरम् ॥
प्रिये ! चारुशीले ! प्रिये ! चारुशीले ! मुंच मयि मानमनिदानम्
सपदि मदनानलो दहति मम मानसम् देहि मुखकमलमधुपानम्
प्रिये ! चारुशीले ! प्रिये ! चारुशीले ! - धृवम्॥ अ प १९-१
प च्छे - वदसि यदि किन्चित् अपि दन्त रुचि कौमुदी हरति दर तिमिरम् अति घोरम्
स्फुरत् अधर सीधवे तव वदन चन्द्रमा रोचयतु लोचन चकोरम्
प्रिये चारु शीले मुंच मयि मानम् अ+निदानम्
सपदि मदन अनलो दहति मम मानसम् देहि मुख कमल मधु पानम्
प्रिये ! चारुशीले ! प्रिये ! चारुशीले ! - धृवम्॥
a pa 19-1. chaaru shiile= O, sweet one, by your heart - rather, O, my sweetheart; priye= O, dear; mayi= on me; a + nidaanam= without, cause; maanam= petulance [choler]; mu.ncha= release - cast off; cast off your causeless choler on me;
sapadi= presently; madana analaH= love's, fire; dahati= burns; mama maanasam= my, bosom;
mukha kamala= of face, called lotus [from your lotusy face]; madhu paanam dehi= nectar, to swill, lend me; give me nectar of your lotusy face to swill;
ki.nchit api vadasi yadi= a bit, at least, you say, if; even if it is said in the least, that talk of yours contain good or bad of mine, then your lips open and your teeth sparkles, with that sparkling];
tava danta ruchi kaumudii= of your teeth [called,] beautiful, moonshine; [harati= steals] ati ghoram= highly, horrendous; dara timiram= dark [tenebrosity,] gloom [melancholy; my stygian melancholy] not tamas - just darkness; Krishna cannot have tamas, word obsolete now, unlike dara haasam]; that twinkle of your teeth - harati= steals;
tava vadana candra maaH= your, face, [called] moon; lochana chakoram= [to my] eyes, [called] cakora birds; sphurat= scintillating; adhara siidhave= lips, with nectar; rochayatu= let them [eyes called birds] cheer up.
"O, dear... now lend me nectar from your lotusy face... or, say at least a bit of it... or, even if you say good or bad of me, but say it... then that moonshine from the sparkle of your teeth steals the highly tenebrous gloom in me... O, sweetheart, let the cakora birds called mine eyes cheer up with nectar from those scintillating lips on your moony face... O, dear sweetheart, cast off causeless choler on me, for love-fire burns my bosom... [a pa 19-1]
Darkness entails fear - bhaya sthaayii bhaavam - and fear entails spoilage of romance - bhagna shRingaara sthaayii bhaavam. So, lovemaking is forbidden in pitch darkness. But, where are wick, oil and matchbox in this bower? Her sparkling teeth, as in any toothpaste advt., are the 1000W bulbs.
सत्यमेवासि यदि सुदति मयि कोपिनी देहि खरनखशरघातम्।
घटय भुजबन्धनम् जनय रदखण्डनम् येन वा भवति सुखजातम्॥ अ प १९-२
प च्छे - सत्यम् एव असि यदि सुदति मयि कोपिनी देहि खर नख शर घातम्
घटय भुज बन्धनम् जनय रद खण्डनम् येन वा भवति सुख जातम्
a pa 19-2. hè su dati= O,dear with beautiful teeth; tvam= you; satyam eva= truly, that way; mayi kopinii yadi asi= on me, furious, if, you are; dehi= give; khara nakha shara ghaatam= sharp, fingernails, arrow, gashes; [if you are dissatisfied with it]; ghaTaya bhuja bandhanam= splice, your arms, to shackle me; [even if your are dissatisfied with such an incarceration, then]; janaya rada khaNDanam= cause, teeth, tearing; vaa= or elsewhy these pick-and-choose punishments; yena= by which kind of punishment [for my misdeeds, you feel happy, that you give; I tell these tricks as my mother tricked me this way and fastened me to a grindstone, cart etc in my childhood - now do the same, of course, with different items]; sukha jaatam bhavati= happiness, causes, in you, those [impose punishments that will be causing such happiness to you.]
"O, toothily dear, if you are that way truly furious of me, gash me with you arrowy fingernails... if not, shackle me down splicing your arms around me... if not, tear me with your teeth... or, make do any punishment in whichever way you feel happy... howsoever O, sweetheart, cast off causeless choler on me... [a pa 19-2]
त्वमसि मम भूषणम् त्वमसि मम जीवनम् त्वमसि भवजलधिरत्नम् ।
भवतु भवतीह मयि सततमनुरोधिनि तत्र मम हृदयमतियत्नम्॥ अ प १९-३
प च्छे - त्वम् असि मम भूषणम् त्वम् असि मम जीवनम् त्वम् असि
भव जलधि रत्नम् भवतु भवती इह मयि सततम् अनुरोधिनि तत्र मम हृदयम् अति यत्नम्
a pa 19-3. tvam asi mama bhuuSaNam= you, are, to me, ornament [grace -an attractive feature]; tvam asi mama jiivanam= you, are, to me, existence, or quintessence [metaphysical ens]; tvam asi= you, are; bhava jaladhi ratnam= [for the temporal] world, ocean-like, jewel [not only my jewel, but being with me you will be the lone jewel of love, in this unnavigabe ocean-like world, as any pauper would be on cloud nine if he chances on a jewel]; iha mayi= here, in my respect [in this somatic world; elliptic: praNate= while I pray, or sue you]; bhavatii anurodhini bhavatu= you may, be gracious to me [as against - virodhinii - one at loggerheads]; tatra= in that matter; mama hR^idayam satatam= my, heart is, ever; ati yatnam= more, effortful.
"You are my grace, ens, and a jewel for this temporal world... hence, here in this unnavigable somatic world I sue you to be gracious to me, for my heart is ever effortful in that matter... [a pa 19-3]
Some notes on these lines are at the end of this song.
नीलनलिनाभमपितन्वितवलोचनम् धारयतिकोकनदरूपम्।
कुसुमशरबाणभावेनयदिरंजयति कृष्णमिदमेतदनुरूपम्॥ अ प १९-४
प च्छे - नील नलिन आभम् अपि तन्वि तव लोचनम् धारयति कोकनद रूपम्
कुसुम शर बाण भावेन यदि रंजयति कृष्णम् इदम् एतत् अनुरूपम्
a pa 19-4. hè tanvi= o, svelte Rādha; tava lochanam= your, eyes will usually be in; niila nalina aabham api= blue, lotus, in hue, though; kokanada ruupam dhaarayati= pink-lotus, effect, they now bear; idam [tava kopa locanam] = this eye - these ireful eyes of yours; kusuma shara baaNa bhaavena= flower, arrow shooter's [as with Lovegod's pink lotus arrow] arrow, in effect; kR^iSNam = I who am in indigo-blue body [maam api= me, too]; ra.njayati yadi= [the arrowy eyes] delight, if; [or, ra.njayasi yadi= if you delight me - will be used by some]; etat anuruupam= all this [ire, fury and pinkness of yours,] will be most becoming.
"O, svelte Rādha, though your eyes will be in the hue of blue-lotuses, they now bear a pinkly effect of pinkish lotuses in all their ire... albeit, if they render themselves as the one and only pink lotus arrow of Love, and delight me shooting with them, rendering my sapphirine hue as the very pink of love, then all this ire, eyes, and their pinkness will be most becoming... [a pa 19-4]
This is raadhaa kyuu gOrii - my kyuu kaalaa - concept.
स्फुरतु कुचकुम्भयोरुपरि मणिमंजरी रंजयतु तव हृदयदेशम् ।
रसतु रशनापि तव घनजघनमण्डले घोषयतु मन्मथनिदेशम्॥ अ प १९-५
प च्छे - स्फुरतु कुचकुम्भयोः उपरि मणि मंजरी रंजयतु तव हृदय देशम्
रसतु रशना अपि तव घन जघन मण्डले घोषयतु मन्मथ निदेशम्
a pa 19-5. priyè= oh, dear; tava= your; kucha kumbhayoH upari= bosoms, pot-like, on overside; maNi ma.njarii= set of gems, gem chest pendant, a cluster of sapphires; sphuratu= let glitter [with the pinkness of your eyes reflected on them]; tava hR^idaya desham= your, chest, place [bust]; ra.njayatu= [if] it delights [me, who am in sapphirine hue, such as I am; where the comparison of bosoms with pots suggests puuNa kumbha, puurNa kalasha, and gemmed pendant manjari to auspicious garlands, toraNaa-s, used before the start of any auspicious ritual, here that auspicious event is the union of rādhakrishan; elliptic yadi= if - used to say yadi tava hR^idaya desham; mama hR^idaya desham ranjayatu= if your bust with blue-gem pendants delights me on its contact with my indigo-blue chest]; tava rashanaa api= your, girdle strings with tinkle bells, even; ghana jaghana maNDale= on curvy, hip, areas [waistline; then in that bustle]; rasatu= make tintinnabulations; manmatha nidesham ghoSayatu= Lovegod's, bidding, let [that girdle] repeatedly announce.
Or
priyè= oh, dear; tava kucha kumbhayoH upari maNi ma.njarii sphuratu= on your, bosoms, pot-like, on overside, cluster of sapphires pendants, let them glitter; tava hR^idaya desham ra.njayasi yadi= your, bust, let it be brilliant; tava rashanaa api ghana jaghana maNDale rasatu / raNatu= your, girdle, even, on your high hip, be bustling; let all of them; manmatha nidesham ghoSayatu= Lovegod's, to bidding, give clarion-call; this parsing is when parsed with ranjayasi yadi = if you delight me -but many will leave off this, saying untenable parsing.
"O, dear, let that cluster of sapphire gems on your pot-like bosoms be glittering doubly with the pinkness of your eyes, and with such gems if your bust delights me on its contact with my sapphirine chest, then the bustle of tinkle bells of girdle strings on your curvy waistline will be repeatedly announcing the bidding of Love with their tintinnabulations... [a pa 19-5]
स्थलकमलगंजनम् ममहृदयरंजनम् जनितरतिरंगपरभागम् ।
भणमसृणवाणि करवाणि चरणद्वयम् सरसलसदलक्तकरागम्॥ अ प १९-६
प च्छे- स्थल कमल गंजनम् मम हृदय रंजनम् जनित रति रंग पर भागम्
भण मसृण वाणि करवाणि चरण द्वयम् सरस लसत् अलक्तक रागम्
a pa 19-6. hè masR^iNa vaaNi= O, one with melodious, voice [mellisonant] Rādha; sthala kamala ga.njanam= land, lotuses [terrene lotus, that grows on ground], that gainsay [those lotuses];
mama hR^idaya ra.njanam= my, heart, those that delight; janita= while causing [I can make them more excellent on the stage of passion while in the play of passion]; rati ra.nga= play of passion, on the stage [ranga= literally, adeptness, expertise in arts; unless one is adept he/she cannot go on the stage]; para bhaagam= excellence [both feet will have mutually excellent splendour, excellently adept in footwork while on the stage of love]; caraNa dvayam= foot, couple of; sarasa= passionately; lasat= shining; alaktaka= with lac, rosy cosmetic of foot; [some mms sagana galada lakta] raagam= crimsoned; [yadi= if]; karavaaNi= [I can] do; [if I can maquillage= applying makeup] to your feet with crimson lac, the red cosmetic of feet, you will be delighted, hence]; bhaNa= what-do-you-say [or, what-d'ye-say - after how-d'ye-do.]
"O, mellisonant Rādha, those feet of yours that gainsay land-lotuses are the delighters of my heart... may I maquillage them with crimson red foot-cosmetic, then both of them will be excellent, splendorous, and adept in footwork on the stage in the play of passion, that which will be delightful to you, what-d'ye-say... [a pa 19-6]
स्मरगरलखण्डनम् मम शिरसिमण्डनम् देहि पदपल्लवमुदारम् ।
ज्वलतिमयिदारुणोमदनकद् अनानलो हरतुतदुपाहितविकारम्॥ अ प १९-७
प च्छे- स्मर गरल खण्डनम् मम शिरसि मण्डनम् देहि पद पल्लवम् उदारम्
ज्वलति मयि दारुणः मदन कदन अनाः हरतु तत् उपाहित विकारम्
a pa 19-7. hè preyasi= O, love; mama shirasi maNDanam= on my, head, [a distinctive] ornament [motif]; udaaram= glory [resplendent majesty or magnificence; great beauty]; smara garala khaNDanam= Lovegod's, venom, dissevers [antivenin, antivenom]; [tava= your]; pada pallavam= foot, tender-leafy; [mama shirasi= on my, head]; dehi= give, [with stressed dha - dhehi= place, keep; dhayati, dhiita - to kiss, to suckle]; mayi= in me; daaruNaH= intolerable; madana= Lovegod's; kadana= kadanam kaluSe taape - vishva kosha, scorching, not war; even war will be scorching]; analaH= fire [other mms aruNaH= reddish like flame]; jvalati= burning; tat upaahita= to that [fire of Lovegod's scorching,] connective to; vikaaram= disquietude, desperateness etc., abnormalities; haratu= let [those feet] spirit away; [or straightly: tread my body to tread on that Lovegod, to tread out his fire.]
"O, love, that tender-leafy foot of yours is an antivenin to the venom of Lovegod, place it on my head, and make it my motif and my glory... for, that scorching fire of Lovegod is burning me intolerably... hence, tread my body to tread on that Lovegod, to tread out his fire and its abnormalities... [a pa 19-7]
इतिचटुलचाटुपटुचारुमुरवैरिणो राधिकामधिवचनजातम् ।
जयतिजयदेवकविभारतीभूषितम् मानिनीजनजनितनितातिशातम्॥ अ प १९-७
प च्छे- इति चटुल चाटु पटु चारु मुर वैरिणः राधिकाम् अधि वचन जातम्
जयति जयदेव कवि भारती भूषितम् मानिनी जन जनित अति शातम्
a pa 19-8. iti= this way; chaTula= cute [caTulaH sundare cale - dhraNi nighaNTu]; chaaTu= with words easy and dear to remember - catchy words; paTu= endearing words - canny; chaaru= charming words; maaninii jana janitam= in women, folk, caused; shaatam= with comfort; jayadeva kavi bhaaratii bhuuSitam= by Jayadeva, poet's, poetry, adorned with; [or, jaya padmaaavatii ramaNa jayadeva kavi bhaaratii bhaNitam ati shaantam - in other mms]; mura vairiNaH= of Krishna; raadhikaam adhi= Rādha is, made as target; vachana jaatam= words, cluster of; ati jayati= highly, winning [highly thrilling.]
Or
iti= this way; chaTula= a topic-changer; chaaTu=one who employs catchy words; paTu= but a who is a capable one; chaaru= a charming one too; mura vairiNaH= by such Krishna; raadhaam adhi= Rādha, spoken to; vachana jaatam=having such words, cluster of;
here foot changes in other mms:
jaya padmaaavatii ramaNa jayadeva kavi bhaaratii bhaNitam ati shaantam;
or
jayatu padmaaavatii ramaNa jayadeva kavi bhaaratii bhaNitam iti giitam;
jayadeva kavi bhaaratii bhuuSitam= by Jayadeva, poet's, poetry, adorned with;
or
padmaaavatii ramaNa jayadeva kavi bhaaratii bhaNitam ati bhuuSitam
ati jayati= highly, winning [highly thrilling.]
This way, let the words of Krishna targeting Rādha adorn the poetry of poet Jayadeva; because they are cute, catchy, canny, and charming, let them remain highly thrilling and comforting to womenfolk... [a pa 19-8]
If Bhagavad Gita ca be understood in a trice without any help of commentaries, this chapter too is understandable, indepth. Otherwise we should be content with its prima facie meaning.In this song apparently unnecessary or commonplace words seem to be encrusted; either by original poet or by interpolators, and at end he foreordains them to be highly thrilling. In saying such a loose construct 'you're my ornament, you're my existence, you're my jewel...' or 'keep your feet on my head... tread over me...' etc., can we possibly attach some laxity to the poet's thought? Not so. This song is loaded with Philo of the then egging and revolting method of rādhamaadhava tradition. Some of it can be incorporated here, but it becomes an overhead transmission, and owing to many dissensions in its own tenets - it is skipped.
Usually separated lovers get all oddities in their behaviour, to the level of delirium and swooning. The sandal-breezes become venom and the Lovegod the serpent, and then the eagle has to come to scare the snake. And comparing heroine's feet, if compared to the claws of eagle, as some technical parison, it will be OK, but becomes too much, called aakShepa ruupaka, and Jayadeva as a writer of the treatise on aesthetics of poetry, called candraaloka may not incorporate such words.
In this book candraaloka, chapters are named as mayuukha-s in which the items discussed are prathama mayuukha: kaavya hetu, lakShaNa, ruuDhi, yaugika kathana; next, chapters and their subjects are: dvittiya mayuukha: doSa varNana; tR^itiiya mayuukha: dasha vidha visheSa lakShaNa niruupaNa; caturthaH; dasha guNa nirvacana; pancama: shabda artha alankaara parisankjhyaana. None later to Jayadeva bothered about the ideas given in the third chapter. This book or details about it may be available in magnum opuses of aacaarya sushiila kumar de, or that of Dr. Shankaran et al, or in some archives, as all will just extol Jayadeva, but none makes his works available to enthusiasts.
परिहर कृतान्तन्के शंकांत्वयासततम्घन
स्तनजघनयऽऽक्रान्ते स्वान्ते परानवकाशिनि ।
विशति वितनोरन्यो धन्यो नकोऽपि ममांतरम्
प्रणयिनि परीरंभारंभे विधेहि विधेयताम्॥ १०-२
प च्छे - परिहर कृत आन्तन्के शंकाम् त्वया सततम् घन
स्तन जघनया आक्रान्ते स्वान्ते परा अनवकाशिनि
विशति वितनोः अन्यः धन्यः न कः अपि मम् अंतरम्
प्रणयिनि परीरंभ आरंभे विधेहि विधेयताम्
10-2. hè kR^ita aantanke= O, one who surmised, some doubt [jealous or, having grief about my infidelity]; pari hara sha.nkaam= completely, give up, your doubt; ghana stana jaghanayaa= by one who has massy, bosom, hips; tvayaa= [such as you are,] by you; satatam= always; paraa= to others [other heroines]; an+avakaashini= no, room [on your making no room]; sva ante= in my, interior - in my heart of hearts; aakraante sati= pervading, while; vi tanoH anyaH= one without, body - bodiless Lovegod, other than; dhanyaH kaH api= fortunate one, who will be, even if - even if some other girl is fortunate enough, she cannot enter by heart now - usual dialogue of a suitor - 'my abidance is with you alone...'; mam= in my; a.ntaram na vishati= heart, not, enters; praNayini= oh, dear; parii ra.mbha = embrace [pl note in parirambhaNa there is no sound of heaviness of her breasts]; aara.mbhe = in starting of; vidheyataam= as befitting deed [or, kainkarya pradiiyataam= bondage, accord me [thraldom]; vidhehi= impose, grant me [or, enthral me.]
"O, jealous Rādha, completely give up your doubt about my infidelity, while you with your bosomy bust and rotund hip are always pervading my heart of hearts, making no room to others... moreover, who is that 'other' fortunate fellow who can enter my heart, excepting that Lovegod for he is formless... hence, O, dear, grant me thraldom and start enthralling me, with an embrace... [10-2]
In this poem kaavya linga - alankaara; naayika - prauDha; naayaka - pragalbha; vipralambha sR^ingaare - priyaa sanga siddhi. Now, this boy changes his tune and starts entreating her, as though he is temporarily disloyal, where that disloyalty is temporary every time.
मुग्धे विधेहि मयि निर्दयदन्तदंश दोर्वल्लिबन्धनिबिडस्तनपीडनानि ।
चण्डि त्वमेव मुदमुद्वह पंचबाण चण्डालकाण्डदलनादसवः प्रयान्ति॥ १०-३
प च्छे- मुग्धे विधेहि मयि निर्दय दन्त दंश दोः वल्लि बन्ध निबिड स्तन पीडनानि
चण्डि त्वमेव मुदम् उद्वह पंचबाण चण्डाल काण्ड दलनात् असवः प्रयान्ति
1-3. mugdhe= sva hita avaj~na= O, coyest Rādha; mayi= [if think I have dalliance] in me; vidhehi= subject [me to]; nir daya= without, mercy; danta da.nsha= teeth, slashes; doH= arms; valli= fibrillar; bandha= snares; nibiDa stana piiDanaani= oppressive, bosom, squeezes; chaNDi= O, shrew; asavaH prayaanti= lives, started to leave; pa.nca baaNa= one who wields five, arrows - Lovegod; chaNDaala= [here] cruel, felon; kaaNDa= by arrows; dalanaat= by cleavage of; tvam eva mudam= you, alone, happiness; ut vaha= on, carry [carry on, continue to be happy.]
"O, coyest Rādha, should you think that some dalliance is with me, then mercilessly subject me to slashes of teeth, snares of your fibrillar arms, squeezes of your oppressive bosoms... O, shrew, now my lives have started to leave, for arrows of that felonious Lovegod are cleaving, be happy when they leave... [10-3]
In this naayaka - anukuula; naayika - mugdha; rasavat - alanakaara; guNa - praasaada; riiti - vaidarbhi; In the next step, according to vaastaayana nyaaya the hero tries to bring round the heroine, by flattering her beauty.
शशिमुखि तवभातिभंगुरभ्रूः युवजनमोहनकरालकालसर्पी ।
तदुतविषभंजनाययूनाम् त्वदधरशीधुशुदैवसिद्धमंत्रः॥ १-४
प च्छे - शशि मुखि तव भाति भंगुर भ्रूः युव जन मोहन कराल काल सर्पी
तत् उदित विष भंजनाय यूनाम् त्वत् अधर शीधु शुद एव सिद्ध मंत्रः
1-4. hè shashi mukhi= O, moon, faced one; tava= your; ba.ngura bhruuH= curvy, eyebrows; yuva jana= for young, people; mohana= for swooning; karaala kaala sarpii bhaati= like dangerous, black, cobra, it is shines forth [like that of]; tat= from it [from cobra like eyebrow]; udita viSa bha.njanaaya= spewed out, poison, to antidote; yuunaam= for youths [bitten by such love-cobra]; tvat adhara= your, lip's; shiidhu= liquor like intoxicant; shuda eva= nectar, alone; siddha ma.ntraH [iva]= self-manifested, chant.
"O, moonfaced Rādha, your curvy eyebrow is shining forth like a dangerous black cobra that makes anyone to swoon, and the nectareous intoxicant of your lips alone is the antidote to such a poison spewed out by such cobra like eyebrow, like a self-manifested mystic chant... [10-4
Other hymns yield results after much chanting and painful practice. But the lovely nectar of her lips spills out in a spell without those many practises or hardships, for she is an embodiment of love.
व्यथयति वृथा मौनम् तन्वि प्रपञ्चय पंचमम्
तरुणी मधुरालापैस्तापम् विनोदय दृष्टिभिः।
सुमुखि विमुखीभावम् तावद्विमुंच न मुंच माम्
स्वयमतिशयस्निग्धो मुग्धे प्रियिऽयमुपस्थितः॥ १०-५
प च्छे - व्यथयति वृथा मौनम् तन्वि प्रपंचय पंचमम्
तरुणी मधुर आलापैः तापम् विनोदय दृष्टिभिः
सुमुखि विमुखी भावम् तावत् विमुंच न मुंच माम्
स्वयम् अतिशय स्निग्धः मुग्धे प्रियः अयम् उपस्थितः
10-5. hè tanvi= O, curvaceous Rādha; vR^ithaa maunam= pointless, muteness; vyathayati maam= despairing, me; hè taruNI= o, damsel; madhura aalaapaiH= with sweet, words; prapa.nchaya= spread out [communicate, talk freely]; pa.nchamam= in fifth note [like koel]; dR^iSTibhiH taapam= by [favouring] looks; vi nodaya= to side, cast; hè sumukhi= o, gracious faced one; vi mukhii bhaavam= tuned away, faced [ungracious,] notion [sumukhi cannot become a vimukhi or durmukhi]; taavat vimu.ncha= all that, cast off; na mu.ncha maam= don't, leave off, me; hè mugdhe= you, blasé girl; atishaya snigdhaH= with abounding, passion; ayam priyaH= that, lover of yours; svayam upasthitaH= personally, is in your presence [he is now self-manifest.]
"O, curvaceous Rādha, despairing is your pointless muteness... o, damsel, talk melodious words freely and in fifth note like koel... cast off all that ungracious notion for yours is a graceful countenance, and don't leave me in lurch... o, blasé girl, he who has abounding passion, that lover of yours is presently self-manifest... [10-5]
In this naayaka - anukuula; guNa - prasaada; vR^itti - vaidarbhi; giiti - maaagadhi; alankaara - yathaa sa.nkhya; vR^itaa - hariNi 'Until the time of arrival you make fuss about my non-attendance, and when I am present you turn away your face... girlish caprice... isn't it!'
बन्धूकद्युतिबान्धवोऽयमधरः स्निग्धो मधूकच्छविः
गण्डश्चण्डि चकास्ति नीलनलिनश्रीमोचनम् लोचनम् ।
नासात्येति तिलप्रसूनपदवीम् कुन्दाभदान्ति प्रिये
प्रायस्त्वन्मुखसेवया विजयते विश्वम् स पुष्पायुधः॥ १०-६
प च्छे - बन्धूक द्युति बान्धवः अयम् अधरः स्निग्धो मधूक च्छविः
गण्डः चण्डि चकास्ति नील नलिन श्री मोचनम् लोचनम्
नासा अत्येति तिल प्रसून पदवीम् कुन्द आभ दान्ति प्रिये
प्रायः त्वत् मुख सेवया विजयते विश्वम् स पुष्पा अयुधः
10-6. hè chaNDi= O, ireful one [ ayam= this [tava= your]; adharaH= lips; bandhuuka dyuti baandhavaH= bandhuuka blood red flower, in resplendence, relative of [by this the blood draining arrow of manmatha, Lovegod is said]; snigdhaH gaNDaH= soft, cheek's [colour]; madhuuka cChaviH chakaasti= madhuuka, pale yellow coloured flowers, shine, outshines [by this paling and dulling flower arrow of Lovegod is said]; lochanam= eyes [colour]; niila nalina shrii= black, lotuses', splendour; mochanam= carry off [by this the maddening effect caused by Lovegod's blue lotus is said]; hè kunda aabha daanti= o, jasmine, whitely whitish hue, your teeth [with this the whitening, blanching jasmine arrow of Lovegod is said, with which the sparkle of teeth, or of the body is lost]; hè priye= o, dear; naasaa= by nose's [colour]; tila prasuuna= gingelly flowers', children - flower's buds; padaviim= their status; ati eti= over, stepping [transcending; by this the draavaNa shakti -desiccating power of Lovegod's arrow is said; and on seeing that, it appears that all those flowery arrows are used on you to render you to this state]; saH= he, [who was rendered bodiless by God Shiva - Lovegod]; puSpaa ayudhaH= flower, weaponed Lovegod; tvat mukha sevayaa= your, face, on adoring; vishvam vijayate praayaH= world, victorious, perhaps.
"O, ireful dear, your should-have-been rosy lips turned red and look like the relatives of blood red flowers of bandhuuka; that way, your one-time soft blushing cheeks are now palish and outshine the shine of pale yellow flowers of madhuuka; your gullible wide eyes
are now wide-eyed and carry off the bluish splendour of blue-black lotuses, because you are bluesy; oh, dear with sparkly teeth, your teeth are now sparkless like the hue of whitely white jasmine flowers; your nose is transcending the lacklustre colour of gingelly flowers, by this I surmise, perhaps, the Lovegod is victorious
on all the world, only after adoring your face... [10-6]
दृशौ तव मदालसे वदनमिन्दुमत्युज्ज्वलम्
गतिर्जनमनोरमा विधुतरंभमूरुद्वयम् ।
रतिस्तव कलावती रुचिरचित्रलेखे भ्रुवौ
अहो विबुधयौवतम् वहसि तन्वी पृथ्वीगता॥ १०-७
प च्छे - दृशौ तव मदालसे वदनम् इन्दुम् अति उज्ज्वलम्
गतिः जन मनोरमा विधुत रंभम् ऊरु द्वयम्
रतिः तव कलावती रुचिर चित्रलेखे भ्रुवौ
अहो विबुध यौवतम् वहसि तन्वी पृथ्वी गता
10-7. hè tanvii= o, comely Rādha; tava dR^ishau mada alase= your, eyes, by passion, dozy;
2nd meaning - madaalasa is the name of one celestial apsara-s, courtesan in Indra's heaven. So, in heaven there is one madaalasa, but here in you, yourself plus that madaalasa are appearing]; vadanam indum ati ujjvalam= your face, for moon, superbly, shining [your face is making the moon to highly shine;
2nd meaning: there is one courtesan called indumati;
gatiH= your gait; jana manaH ramaa= for people, heart, pleasing - or, breathtaking
2nd meaning - another celestial namely manorama is there;
uuru dvayam vidhuta ra.mbham= thighs, two, confute, [beauty of] soft, solid, yet very light thigh-like stems of banana plant;
2nd meaning - the famous court dancer rambha in the quartet of rambha, uurvasi, menaka, tilottama - in Indra's court;
tava ratiH= your frolicking; kalaa vatii= artistry, having [has artistic features like haava, bhaava, kilikincita, moTTaayita, bibboka, and the like expressions]
2nd meaning - kalaa vatii is another celestial, while rati is manmatha's consort;
bhruvau ruchira= eyebrows, enchanting; chitra lekhe= with astounding, marks [of foliages painted with erasable tattooing on face, hands, chest and on other visible parts;
2nd meaning - citralekha is another courtesan;
tvam pR^ithvii gataa= you, on earth, though entered [present]; vibudha yauvatam vahasi= celestial, damsels' [beauty,] nearing; aho= what a surprise.
"O, comely Rādha, your eyes are dozy with passion, your face makes the moon to shine superbly, your gait is breathtaking to people, both your thighs confute the softness and lightness of thigh-like stems of banana plants, and your frolicking is artistic with nuances of tone, depth, spirit and ardour of expressions, your eyebrows are enchanting like the painted foliage designs, and though you are an earthling you bear the look of celestial beauties... surprising! [10-7]
Here many tend to give the names of celestial courtesans as main import. Rādha is no courtesan, and even if she were to be such, she has none other than Krishna to court with. It is said that when the main import mukhya artha is undecipherable, then you go by lakShaNa
allegorical meaning, but not to arrive at secondary or lexical, or apparent meaning gauNa artha, and here that rule is specific. Though the poet uses these names, and though the vaacaka lupta upama 'metaphor minus comparing word' is suggestive, in view of absence of
commonality anugaami dharma of 'courtesan-ship in Rādha...' these are to be left off. Ultimately the utter flattery of this boy reduces to 'you are beauteous like celestials...' where heaven of Indra is said as a first class waiting room on a railway platform, and when the merit is counted down,
one has to vacate it though he holds a ticket kShiiNe puNye martya lokaaH pravishanti... and because the main characters are drawn from somewhat higher realms, than the platform-like Indra's heaven, secondary meanings do not imply. This song's metre is pR^ithvii vR^itta
and the poet uses it not for pun, but again makes use of that name as an object in the poem.
स प्रीतिम् तनुताम् हरिः कुवलयापीडेन सार्थम् रणे
राधा पीनपयोधरस्मरणकृत्कुंभेन संभेदवान् ।
यत्र स्विद्यतिमीलतिक्षणमपि क्शिप्रंतदालोकनात्
कंसस्यालमभूज्जितम् जितमिति व्यामोहकोलाहलः॥ १०-८
प च्छे - स प्रीतिम् तनुताम् हरिः कुवलयापीडेन सार्थम् रणे
राधा पीन पयोधर स्मरण कृत् कुंभेन संभेदवान्
यत्र स्विद्यति मीलति क्षणम् अपि क्शिप्रम् तत् आलोकनात्
कंसस्य अलम् अभूत् जितम् जितम् इति व्यामोह कोलाहलः
10-8. raNe= in war; rādhaa piina payodhara smaraNa kR^it= Rādha's, bosomy, bust, reminiscence, [Krishna] on making [on reminiscing, when he is in war with Kamsa and while he is confronting an attacking elephant]; ku.mbhena= with elephantoid forehead; kuvalayaapiiDena= an kamsa's elephant named as kuvalayaapiiDa [kuvalaya= rotund forehead, aapiiDa= severely jabs - a warring elephant]; saartham= along [with that elephant]; sa.mbhedavaan= when encountering it; yatra= where, or he who is called Krishna; svidyati - svedana= sweats; api= even; kShaNam= for a moment; miilati= be with half-closed eyes; tat aalokanaat kShipram= that [Krishna's pausing combat,] on seeing, immediately; alam jitam jitam= enough, he is conquered, he is conquered; iti= thus; ka.msasya vyaamoha kolaahalaH abhuut= Kamsa's, foolish, brouhahas, were there; saH hariH= such a, Krishna; priitim tanutaam= blitheness, may make happen.
When Krishna is confronting an elephant of Kamsa, namely kuvalapiiDa, with its unassailable jabbing forehead, he sweated to see that forehead, and his eyes are half-closed for a moment, as that forehead resembles the bosomy bust of Rādha and Rādha danced on his memory for a while; then on seeing that backtracking Krishna, Kamsa made foolish brouhahas, shouting 'enough, Krishna is conquered... he is conquered...' let such Krishna, who retraces his steps at the very memory of lovely Rādha, make our lives blithesome. [10-8]
इति गीतगोविन्दे चतुरचतुर्भुजो नाम दशमः सर्गः
Thus, this is the 10th chapter, called caturacaturbhuja - Tactful Krishna, in Gita Govindam of Jayadeva.
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Nov, 2003, Desiraju Hanumanta Rao; Revised : Nov 08