Raadha's friend approaches Krishna to inform about Raadha's agony owing to her state of separation from Krishna. This is called duutii yoga a friendly messaging.
यमुनातीरवानीरनिकुङ्जे मन्दमास्थितम् ।
प्राह प्रेमभरोद्भ्रान्तम् माधवम् राधिकासखी॥ ४-१
पदच्छेद - यमुना तीर वानीर निकुञ्जे मन्दम् आस्थितम् प्राह
प्रेम भर उद्भ्रान्तम् माधवम् राधिका सखी
4-1. raadhikaa sakhii = Raadha’s friend; yamunaa tiira= Rv. 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= perplexedly wandering; Maadhavam= to Maadhava, Krishna; praaha= [pra aaha]= well [in detail,] said [the following.]
Raadha's friend is now approaching Krishna 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.
अ प ८ - हरिवल्लभ अशोक पल्लवम्
सा विरहे तव दीना - धृवम्॥ अ प ८-१
पदच्छेद - निन्दति चन्दनम् इन्दु किरणम् अनु विन्दति खेदम् अधीरम्
व्याल निलय मिलनेन गरलम् इव कलयति मलय समीरम् माधव मनसि ज
विशिख भयात् इव भावनया त्वयि लीना सा विरहे तव दीना - धृवम्
anvaya: hè maadhava; manasi ja vishikha bhayaat iva; bhaavanayaa tvayi liinaa; saa tava virahe diinaa; chandanam; indu kiraNam nindati; a+dhiiram khedam anu vindati; malaya samiiram, vyaala nilaya milanena, garalam iva, kalayati.
a pa 8-1. hè maadhava= oh, Krishna; saa= she [Raadha]; manasi ja= mind, born one - Lovegod’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 Lovegod]; khedam= desperately; a+dhiiram= without, courage [despondent, or, adhi + iiram = adhikam iirayati, adhikam= much; iirati= inciting, breeze of sandalwood trees and moonbeams are releasing Lovegod’s arrows]; anu vindati= thereby, knowing [to be unbearable, hence reviling them]; vyaala= serpents; nilaya= of abode [sandalwood trees]; milanena = [breezes by] their mingling [with sandal trees in their abode, called Mt. malaya]; malaya samiiram= Mt. Malaya’s, breeze [ breezes mixed with sandal-scent]; garalam iva = poison, as if; kalayati= she reckons;
Reprise: tava virahe= your, from separation [without you; because you left her in the lurch]; saa [prema bhaavanayaa] diinaa= she is, [in the sense of love = forlorn=] lovelorn; without you she is lovelorn.
"Engrossed in thoughts about you, hè, Krishna, now Raadha is desperately despondent, always cogitating only upon you; and she fears and reviles the dint of moonbeams as though they are the arrows of Lovegod; she loathes the scent of sandal-paste as if it is a poison, and reckons the sandal-scented breeze is as if mixed with venom, for it breezes from Mt. Malaya, an abode of serpents... thus, without you she is lovelorn... [a pa 8-1]
"hè, Krishna, she that Raadha appears to be fearing the arrows of Lovegod, 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 the realm of her imagination you are unseen; but, seen are the cool moonbeams and refreshing sandal-scented breezes from Mt. malaya; hence, she in her desperation and despondence reckons both of them as hostile because moonbeams are acute like the arrows of Lovegod, while the breezes from Mt. malaya that usually waft malayan sandal-scent are now wafting venom of serpents because serpents usually live spiralling round the sandalwood trees in the woods of malayan mountain... thus without you 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 saa virahe tava diinaa... saa tava virahe diinaa - 'without you she is lovelorn...' but many take some more lines, unnecessarily.
स्वहृदयमर्मणिवर्मकरोतिसजलनलिनीदलजालम्। सा विरहे तव दीना॥ अ प ६-२
पदच्छेद - अविरल निपतित मदन शरात् इव भवत् अवनाय विशालम्
स्व हृदय मर्मणि वर्म करोति सजल नलिनी दल जालम्
anvaya: avirala nipatita madana sharaat iva; bhavat avanaaya; vishaalam, sajalam, nalinii dala jaalam; sva hR^idaya marmaNi varma karoti.
a pa 8-2. saa= she that Raadha; a + virala= without, gap [incessant]; nipatita= falling [darting]; madana= Lovegod’s; sharaat= from arrows; bhavat avanaaya= your, for safeguarding; 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= usually leather armour, now lotus-petal armour; karoti= she is making; saa virahe - diinaa = as above.
"Now Raadha is making an armour of wide and wet lotus petals covering the innermost recesses of her heart, against the incessantly darting arrows of Lovegod targeting that heart... methinks... maybe to safeguard you who are snugly settled in there, I dunno... but, without you she is lovelorn... [a pa 8-2]
"Hè, Krishna, you know how delicate is Raadha's heart, and targeting it Lovegod 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; wet enough, for they are wet with water and with her love as well, to give enough resistance to you from the torridity of Lovegod's arrows... hence, she is lovelorn, and unbefitting is your leaving her in the lurch... [a pa 8-2]
The Lovegod has five arrows and they are: aravindam asokam ca cutam ca navamallika nilotpalam ca panca ete panca banaaH asya sayakaaH || 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.
व्रतमिव तव परिरम्भसुखाय करोति कुसुमशयनीयम्। सा विरहे तव दीना॥ अ प ८-3
पदच्छेद - कुसुम विशिख शर तल्पम् अनल्प विलास कला कमनीयम्
व्रतम् इव तव परि रम्भ सुखाय करोति कुसुम शयनीयम्
anvaya: saa, kusuma vishikha shara talpam; analpa vilaasa kalaa kamaniiyam; kusuma shayaniiyam; tava parirambha sukhaaya; vratam iva; karoti.
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, a bed to recline; tava= your; pari rambha sukhaaya = overly [tightly,] hugging, desiring that comfort; kusuma vishikha= flowers, with pointed ends - one who wields them, Lovegod - love bed with arrowy flowers; shara talpam = such arrowy, flowery bed; vratam iva karoti = an vowed ritual, as if it is she is preparing that bed; saa virahe - diinaa = as above.
"Presently Raadha with all her arts of voluptuousness is making a beautiful bed as if it is her vowed ritual, tedding and spreading pointed arrows of Lovegod, namely fresh flowers, only with a desire to repose on it in a comfortable tight embrace of yours... thus, she is lovelorn without you... [a pa 8-3]
"Though Lovegod is darting flower arrows pinching her heart, she is ceremoniously picking them up and preparing a arrowy-flowery bed with them alone, just desiring to instate you on it, on whose chest she can repose herself in a 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.
विधुमिवविकटविधुन्तुददन्तदलनगलितामृतधारम्। सा विरहे तव दीना॥अ प ८-४
पदच्छेद - वहति च वलित विलोचन जल धरम् आनन कमलम् उदारम्
विधुम् इव विकट विधुन्तुद दन्त दलन गलित अमृत धारम्
amvaya: saa; galita / valita; vilochana jala; dharam; udaaram aanana kamalam; vikaTa vidhum tuda; danta dalana; galita amR^ita dhaaram; vidhum iva; vahati ca
a pa 8-4: saa= she that Raadha; valita= squirmy / galita= slippery / calita= moving, rolling; vilochana jala = eyes, water - tears; dharam= bearing / bharam= filled with;
or, vilochana jala-dharam= eyes, called water- bearers - dark clouds pregnant with rainwater; so also, her eyes that are like dark rainy clouds are about to spue tears at any time. Then how is her face? udaaram= beauteous; aanana kamalam= face, called lotus; though; ikaTa= uneven, sawtoothed; vidhun tuda= moon, biter [Raahu, eclipsing planet]; danta= by teeth; dalana= by way of biting; galita= slid; amR^ita= ambrosial; dhaaram= streams; vidhum iva= moon, as with; vahati ca= bearing up, also; saa virahe - diinaa = as above.
"Dark and squirmy eyes on her lotusy face are now looking like dark rainclouds fraught with fountains of tears, yet hers is a beauteous face like that of the moon that sheds streams of ambrosia even when sawteethed Raahu, the eclipser of moon, bites that face half-and-half; thus she is lovelorn half-bitten and eclipsed by your thought... [a pa 8-4]
"You are aware, hè, Krishna, Raadha's face is beauteous like a lotus; but now her lotusy eyes are streaming tears like black clouds, and Raadha with such half-wet-moon-face is searching for you, as moon would streaming his ambrosial moonshine even when sawteethed Raahu bites his face... thus, caught in the cobweb of time neither of them is a sinner, isn't so... so, don't leave her in lurch... [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 sawteethed eclipsing planet Raahu, moon doesn't stop outpouring ambrosial moonshine; even if smitten by alienation, a girl won't stop outpouring her heartfelt love, and so on...
प्रणमतिमकरमधोविनिधायकरेचशरम्नवचूतम्। सा विरहे तव दीना॥ अ प ८-५
पदच्छेद - विलिखति रहसि कुरन्ग मदेन भवन्तम् असम शर भूतम्
प्रणमति मकरम् अधः विनिधाय करे च शरम् नव चूतम्
anvayam: saa rahasi; kuranga madena; asama shara bhuutam; bhavantam vilikhati; adhaH; makaram; kare nava chuutam sharam ca; vinidhaaya; praNamati
a pa 8-5. saa= she is; rahasi= in aloneness; kuranga madena= with deer’s, fat [kastuuri, musk]; a+ sama sharaH= not, equalling, one who has such arrows - an unequalled archer, Lovegod; bhuutam= one who is like, as good as [that unequalled archer, Lovegod, not, ghost pl.]; bhavantam= you; vilikhati= writing [sketching, picturing]; adho= underneath [aasana sthaane= at the place of seat]; or, athaH= next; makaram= crocodile, [for the flag of Lovegod bears crocodile as his ensign, makara dhvaja] ; kare= in hand; nava chuutam sharam ca= new, mango, [leafy] arrow, also; vinidhaaya= on properly placing; praNamati= wholehearted adoring.
"Using deer musk she in all her loneliness is trying to sketch you who are the counterpart of Lovegod; in doing so, she is painting even a crocodile-bannered-flag in one hand and a mango-floweret-arrow in the other; on doing so, she is adoring that sketch whole heartedly, saying, "oh, god, save my passion and pride..." thus, she is lovelorn without you... [a pa 8-5]
"Using deer musk Raadha is giving shape to the shapeless Lovegod in all her loneliness; but that sketch is resulting into your picture, as Raadha is unaware of any other form of a lover; in doing so, she is confusedly painting a crocodile underneath the seat, instead of painting it on the banner-flag; but without confusion she is properly placing a mango-floweret- arrow in hand, as she is repeatedly shot by such arrows; then, on beholding that sketch she is single-mindedly adoring you, through him and through that sketch, to save her from the pangs of her passion... hence, leave her not in the lurch, as she is lovelorn... [a pa 8-5]
In this stanza the adoration of Lovegod is suggested since adoration of Lovegod is agreeable for alienated ladyloves. 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....
विलपतिहसतिविषीदतिरोदितिचञ्चतिमुञ्चतितापम् । सा विरहे तव दीना॥ अ प ८-६
पदच्छेद - ध्यान लयेन पुरः परि कल्प्य भवन्तम् अतीव दुरापम्
विलपति हसति विषीदति रोदिति चन्चति मुन्चति तापम्
anvaya: saa; atiiva duraapam bhavantam; dhyaana layena; puraH parikalpya; vilapati; hasati; viSiidati; roditi; chanchati / bhramati; taapam munchati
a pa 8-6: saa= she that Raadha; dhyaana = smaraNa= by meditation; layena = chitta ekAgrata unification of thought; atiiva dur aapam= highly, impossible, one to get [highly inaccessible for others, Krishna, one who is not open to advances or influence]; bhavantam= such as you are; puraH= in front of; parikalpya= imagining, on envisioning; vilapati= snaps at; hasati= sneers; viSiidati= sinks; roditi= sobs; chanchati [bhramati]= strays; in doing so; taapam munchati = simmer, dredging up.
"With a single-minded concentration she is envisioning you, who are a highly inaccessible one to others, in her fore in the sketched picture and then she snaps, sneers, sinks, sobs, strays, and simmers down... [a pa 8-6]
"Thinking that you shall be highly inaccessible to anyone excepting her, she single-mindedly concentrates on the deer-musk-painting she sketched and personifying you in her fore:
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 by concluding, 'yes, he's with me... he'll be with me... why should I worry...' hence, 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 a women start their siren like wailing, men are supposed to yield...' hence, 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.
त्वयिविमुखेमयिसपदिसुधानिधिरपितनुतेतनुदाहम्। सा विरहे तव दीना॥ अ प ८-७
पदच्छेद - प्रति पदम् इदम् अपि निगदति माधव तव चरणे पतिता अहम्
त्वयि विमुखे मयि सपदि सुधा निधिः अपि तनुते तनु दाहम् - अ तनु दाहम्
anvaya: saa; hè mAdhava; tava charaNe patitaa aham; tvayi vimukhe [sati]; sapadi; sudhaa nidhiH api; mayi; tanu daaham [a+tanu] daaham; tanute; idam; pratipada padam api ; nigadati.
a pa 8-7: saa= she that Raadha; pratipada padam= at each, step; idam api nigadati= this, even, says – asserts; saying; maadhava= oh, Maadhava; aham tvayi charaNe patitaa= I, on your, feet, fallen; sapadi= now; tava mayi vi mukhe [sati]= you, in my respect, when away, faced – paraa~Nmukhata= uninterested, insouciant]; sudhaa nidhiH = ambrosia, treasure trove = moon with cool moonshine; api= even that moon; tanu daaham= body’s, thirst; tanute= increasing; or, a + tanu= without, body – bodiless Lovegod; daaham= fervidity, lovefever; tanute= making rampant; saa virahe - diinaa = as above.
"On each and every step she is asserting, "I am she who surrendered unto your feet, Oh, Maadhava, but as of now, when you became insouciant towards me, he who is supposed to be the treasure trove of coolant ambrosial moonshine, that moon 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]
"Hè, Krishna, that Raadha is asserting this on each and every step, "As long as I am at your feet, Oh, Maadhava, none dared to raise an eye at me... but now, when you are away from me, your first wife Goddess Lakshmi's brother and your brother-in-law, namely the moon, a pot of ambrosial moonshine, 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 scorch me down..." she is lovelorn thus, without you... [a pa 8-7]
श्रीजयदेवभणितमिदमधिकम् यदि मनसा नटनीयम्।
हरिविरहाकुलवल्लवयुवतिसखीवचनम् पठनीयम्। सा विरहे तव दीना॥ ८-८ अ प
पदच्छेद - श्री जयदेव भणितम् इदम् अधिकम् यदि मनसा नटनीयम्
हरि विरह आकुल वल्लव युवति सखी वचनम् पठनीयम्a pa 8-8.
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= yuvati= milkers’, 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.
आवासो विपिनायते प्रियसखीमालापि जालायते
तापोऽपि श्वसितेन दावदहनज्वालाकलापायते।
सापि त्वद्विरहेण हन्त हरिणीरूपायते हा कथम्
कन्दर्पोऽपि यमायते विरचयन्शार्दूलविक्रीडितम्॥ ४-२
पदच्छेद - आवासः विपिनायते प्रिय सखी माल अपि जालायते तापः अपि
श्वसितेन दाव दहन ज्वाला कलापायते सा अपि त्वत् विरहेण
हन्त हरिणी रूपायते हा कथम् कन्दर्पः अपि यमायते विरचयन् शार्दूल विक्रीडितम्
4-2. hè, Krishna; aavaasaH= [her] house; vipinaayate= became a 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, Lovegod; 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 some untoward action by her; 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; her sighs became myriads of tongues of that wildfire, whereby whole of that forest is afire; then even she became like a she-deer caught in that wild fire; when she wanted to flee, hah, that Lovegod 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! [4-2]
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 Lovegod, and human-netlike misapprehensive friends. The first foot details udvega avastha - ecstatic state - A trance induced by intense religious devotion that does not show reduced bodily functions that are typical of other trances. Other foots detail the vyaadhi 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.
अष्तपदि ९ - सिग्ध मधुसूदन रसावलयम्
स्तनविनिहितमपि हारमुदारम् । सा मनुते कृशतनुरतिभारम् ।
राधिका कृष्ण राधिका । राधिका तव विरहे केशव॥ अ प ९-१
पदच्छेद - स्तन विनिहितम् अपि हारम् उदारम् सा मनुते
कृश तनुः अति भारम् ।राधिका - तव विरहे केशव
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... 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.
सरसमसृणमपि मलयजपङ्कम् । पश्यतिविषमिववपुषिसशाङ्कम् ।
राधिका - तव विरहे केशव॥ अ प ९-२
पदच्छेद - स रस मसृणम् अपि मलयज पंकम् पश्यति विषम् इव वपुषि स शंकम्
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= with, a doubt; raadhikaa...virahe= as above.
"Even though the sandal-cream on her body is soggy, satiny, thus balsamic, she doubtfully 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]
श्वसितपवनमनुपमपरिणाहम् । मदनदहनमिववहतिसदाहम्।
राधिका-तव विरहे केशव॥ अ प ९-३
पदच्छेद - श्वसित पवनम् अनुपम परिणाहम् मदन दहनम् इव वहति स दाहम्
a pa 9-3: an+upama= not, similar – uncommon, abnormal; pariNaaham= overlong [in duration]; shvasita pavanam= breathed, air [sighs]; madana dahanam= Lovegod’s, flame; iva= as if; sa daaham= with, flames [flame like]; vahati= bears [overburdened]; raadhikaa...virahe= as above.
"Her abnormally overlong flamelike sighs are overburdening her, as if they are the flames of Lovegod... hence, she is pining for you, for she is parted from you... [a pa 9-3]
नयननलिनमिवविगलितनालम्। राधिका-तव विरहे केशव॥ अ प ९-४
पदच्छेद - दिशि दिशि किरति स जल कण जालम् नयन नलिनम् इव विगलित नालम्
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.
नयनविषयमपिकिसलयतल्पम् ।कलयतिविहितहुताशनविकल्पम् ।
राधिका - तव विरहे केशव॥ अ प ९-५
पदच्छेद - नयन विषयम् अपि किसलय तल्पम् कलयति विहित हुताशन विकल्पम्
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.
त्यजतिनपाणितलेनकपोलम् । बालशशिनमिवसायमलोलम् ।
राधिका - तव विरहे केशव॥ अ प ९-६
पदच्छेद - त्यजति न पाणि तले न कपोलम् बाल शशिनम् इव सायम् अलोलम्
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]
हरिरिति हरिरिति जपति सकामम् ।विरहविहितमरणेन निकामम् ।
राधिका - तव विरहे केशव॥ अ प ९-७
पदच्छेद - हरिः इति हरिः इति जपति स कामम् विरह विहित मरणेन निकामम्
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 intonating saying, "Hari... Hari..." hence, she is dying pining for you, for she is parted from you... [a pa 9-7]
श्रीजयदेवभणितमितिगीतम् । सुखयतुकेशवपदमुपनीतम् ।
राधिका - तव विरहे केशव॥ अ प॥ ९-८
पदच्छेद - श्री जयदेव भणितम् इति गीतम् सुखयतु केशव पदम् उपनीतम्
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 all... thus Raadha is pining for Krishna, parted from him... [a pa 9-8]
पदच्छेद - सा रोमाचति सीत् करोति विलपति उत् कम्पते ताम्यति
ध्यायति उद्भ्रमति प्रमीलति पतति उद्याति मूर्च्छति अपि
एतावति अतनु ज्वरे वर तनुः जीवेत् न किम् ते रसात्
स्वर् वैद्य प्रतिम प्रसीदसि यदि त्यक्तः अन्यथा न अन्तकः
4-3. In love-lover syndrome: 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 respiring - 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= taking pain; dhyaayati= 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= she is 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 escape-question from Krishna, the milkmaid-messenger is continuing her thread; hè, svar= heavenly; vaidya= doctor; pratipadama= in similarity. [That is, you are the one similar to ashwin brothers, who 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 at a later time that of Arjuna,... so you come.] etaavati= this much; a + tanu= without, body – bodiless Lovegod; 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, [other] murderer - there is no other murderer 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: in doctor-patient relation: 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...' [4-3]
It will be painful to the casually peripheral readers to read the gist, if all the trash of naayakii bhaava-s, lakshaNa diipikaa-s etc, as in the first word-to-word section, are repeated. Hence, only the list of words, minus their function, is re-rolled here.
स्मरातुराम् दैवतवैद्यहृद्य त्वदङ्गसङ्गामृतमात्रसाध्याम्।
विमुक्तबाधाम् कुरुषे न राधाम् उपेन्द्र वज्रादपि दारुणोऽसि॥ ४-४
पदच्छेद - स्मर आतुराम् दैवत वैद्य हृद्य त्वत् अन्ग सन्ग अमृत मात्र साध्याम्
विमुक्त बाधाम् कुरुषे न राधाम् उपेन्द्र वज्रात् अपि दारुणः असि
4-4. daivata vaidya= gods’, doctor [Ashwin Kumar like]; hR^idya= heart-pleasing one [heartthrob, swain, hè, Krishna]; upendra= oh, upendra, Vishnu’s another name as Indra's younger brother; smara= manmatha, Lovegod; 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 Lovegod, just by the ambrosial touch of your body, oh, Upendra, you will be a more horrible being than Indra's Thunderbolt, mark you... [4-4]
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.
किन्तु क्लान्तिवशेन शीतलतरम् त्वामेकमेव क्षणम्
ध्यायन्ती रहसि स्थिता कथमपि क्षीणा क्षणम् प्राणिति॥ ४-५
पदच्छेद - कन्दर्प ज्वर संज्वर आकुल तनोः आश्चर्यम् अस्याः चिरम् चेतः चन्दन चन्द्रमः
कमलिनी चिन्तासु सन्ताम्यति किन्तु क्लान्ति वशेन शीतल तरम् त्वाम् एकम्
एव प्रियम् ध्यायन्ती रहसि स्थिता कथम् अपि क्षीणा क्षणम् प्राणिति
4-5. 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... [4-5]
क्षणमपि विरहः पुरा न सेहे नयननिमीलनखिन्नया यया ते।
श्वसिति कथमसौ रसालशाखाम् चिरविरहेण विलोक्य पुष्पिताग्राम्॥ ४-६
पदच्छेद - क्षणम् अपि विरहः पुरा न सेहे नयन निमीलन खिन्नया यया ते
श्वसिति कथम् असौ रसाल शाखाम् चिर विरहेण विलोक्य पुष्पित अग्राम्
4-6. 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 how can she possibly breathe her lives... [4-6]
पदच्छेद - वृष्टि व्याकुल गोकुल अवन रसात् उद्धृत्य गोवर्धनम्
बिभ्रत् वल्लव वल्लभाभिः अधिक आनन्दात् चिरं चुम्बितः
दर्पेण एव तत् अर्पित अधर तटी सिन्दूर मुद्र अन्कितः
बाहुः गोप तनोः तनोतु भवताम् श्रेयान्सि कंस द्विषः
4-7. 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.
"Let that hand which uplifted and upheld Mt. govardhana as an asylum, in the interest of protecting the stocks of cowherds when Indra put them to chaos with thunderstorms... whereby, which hand will ever be kissed dedicatedly by the pridefully gladdened milkmaids imprinting the vermilion marks of their outer-lips on it... let that Divine blessing-palm of that despiser of evil-willed Kamsa, which by chance is now with the body of a cowboy, accord prosperities to you all... [4-7]
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.
इति गीतगोविन्दे स्निग्धमाधवो नाम चतुर्थः सर्गः
Thus, this is the 4th chapter, called Suavely Krishna in giita govindam of Jayadeva.
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Sept, 2003, Desiraju Hanumanta Rao; Revised Oct 08