Poet Jayadeva wishing to portray the devine love of Raadha and Krishna in his immortal song giita govindam , starts this with a benedictory verse, that indicates the theme of his poetic work, as poets are required to start their poetic works with ashiish, namaskriya, or vastu nirdesha.

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meghairmeduramambaram vanabhuvaH shyaamaastamaaladrumaiH
 naktam bhiirurayam tvameva tadimam raadhe gR^iham praapaya |
 ittham nandanideshitashchalitayoH pratyadhvaku~njadrumam
 raadhaamaadhavayorjayanti yamunaakuule rahaHkelayaH || 1-1

words separated - meghaiH - meduram - a.mbaram - vana bhuvaH - shyaamaaH - tamaala - drumaiH - naktam - bhiiruH - ayam - tvam - eva - tat - imam - raadhe - gR^iham - praapaya - ittham - nanda - nideshitaH - chalitayoH - prati - adhva - ku.nja - drumam - raadhaa - maadhavayoH - jayanti - yamunaa - kuule - rahaH - kelayaH

1-1 . Tiika/word-order/meanings: hè raadhe= hey! Raadha; ambaram meghaiH meduram = sky, with clouds, thick with; vana bhuvaH= wood, areas [lands]; shyaamaaH= are blackened; tamaala drumaiH = with Tamaala, trees; naktam [ca abhivartate]= night [is also drawing nigh]; bhiiruH ayam= [naively] timorous, that one [Krishna is]; tat= thereby; tvam eva= you, alone; imam gR^iham praapaya= him, to home, see he reaches [lead him forth]; ittham nanda nideshitaH= this way, by Nanda, she who is instructed [Raadha]; chalitayoH= while both are on the go [to home]; raadhaa maadhavayoH = of both Raadha, Maadhava; yamunaa kuule= on Yamuna, banks of; prati= each, at each and every; adhva= on pathway; kunja drumam= in arbour, at tree; rahaH kelayaH= sequestered, [Gr . erös, or epithymia, or philia not just love] plays of passion [that are the happenstances, bechanced events]; jayanti= won over, fructified [transcendentally exquisite.]

"Hè! Raadha, clouds are thickening on the sky, black Tamaala trees blacken the woodlands, and night is also drawing nigh... and that one is naively timorous... thereby, you alone lead him home..." this way when Nanda instructed Raadha, both Raadha and Maadhava are on the go homeward, and then the happenstances of their sequestered plays of passion, on each pathway, at every tree, and in each and every arbour on the banks of River Yamuna, are transcendentally exquisite. [1-1]

 This is the 'worm's-eye-view' of this poetic work, but not the invocation of deity of speech / poetics. The invocation is in next verse.

A parable is said about this verse. As usual with any other poet, Jayadeva was also said to be a twiddler of his thumbs, and seeing this his maternal uncle daunts him for not taking up any job or profession like any other youngster. Jayadeva refuses trivial jobs and declares himself as a poet of par excellence, and he can portray ayam 'that' god in an innovative manner and in off the beaten-track. Then his maternal uncle questions who is 'that' god and what is the theme of 'that' poetry about 'that' god. Then this poem emerged from the depths of heart of Jayadeva about ayam, that god and his sequestered deeds. At the last words of this verse, that uncle sprang up to his feet in ire, and almost said to have stifled Jayadeva to death, for uttering such 'blasphemous poetry' on 'that' god.

Then Jayadeva, to stand by his own self-declaration as an eminent poet, started to compose the rest of this work, and puts the next verse, an invocatory poem, to stylus. Thus, though unconnected, this poem remained at the head of the work as a prologue, preamble etc., in the pattern of aashiirvaada, vastu nirdehsa, mangala aadiini... 'blessings, indicative of the topic of poetry, and for auspicious beginning of the poetic works, which the poets usually employ. Here the love-game of Raadha and Maadhava itself became the auspicious, blessing a priori, and content of this poetic work. That way, without naming him as Krishna, Govinda, or Maadhava etc., the poet puts the pronoun on the tongue of Nanda, the father of Krishna, as ayam, ayam bhiiruH... on the lines of kaalidasa, in his kumaara sambhava - 5 - ayam janaaH prahR^iShTa manaaH tapo dhane However, the poet really starts his work with the next verse.

raadhe said by Nanda has three shades; anunaya vaakya 'please Raadha, you take him home, for he is still a boy...' kopa ukti  'said in anger...' 'Raadha, don't you know that he is boyish and naively timorous... when it is dusking and darkening... what is it you play in nights... you go home, and while going take this fellow also to his home... no night wanderings... ' tattva ukti 'with some subtext... 'Raadha, tvam eva you alone, gR^iham 'house, personified by wife, you on becoming wife...' praapaya  'make him prosperous...' 'On your account Krishna became a householder, hence you alone lead him forth and enrich his prosperity as a his wife...'

Raadha did not get her cherished desire fulfilled in a trice, or at a snap of finger. She had to undergo her historical ordeal, put to test by Krishna. Why should she? When she is willing, when Krishna is at her side, when father Nanda permitted, when her maid encourages her... is she still put to test? These would be the pertinent doubts that arise, though they are not the questions in reality. Yes! She is put to litmus test by this most mischievous Krishna, and she had to shed her tears, sob her sobs, frown her resentments etc. Where all this has happened? On each and every pathway to home, at each and every tree, and in each of the bowers. Krishna seems to be there, but he is actually not there, and he is supposedly unavailable, but his fluting is audible very nearly. So, to depict that a true devotee has to undergo a step-by-step process for the culmination of his/her ardent desire, the poet indicates that there are many a pathway to tread, many are the trees of wisdom, and many are the bowers to contemplate lonely and solitarily, not only for Raadha but to any devotee. All these are godsend gifts of nature and humans.

The clouds spreading on sky will naturally be many. Here the word meghaiH is also in plural, but the commentators limit them to number nine, without the sense of innumerability, and simile them with the nine states, out of the ten states of love-pangs or manmatha avastha-s -

 manmatha avasthäù
 dåk manas sankalpa jägaräù kåçatä aratiù |
 hré tyägo unmäda mürcchä antä iti ananga daçä daça

1] eyeing; 2] heart-loosing; 3] endeavour; 4] sleeplessness; 5] shrivelling; 6] disinterestedness in anything; 7] shamelessness; 8] maddening; 9] swooning; 10] trying to end oneself. The word ambaram sky suggests 'openness, sky is the limit for enjoyment... elate yourselves to sky...' And the word vana bhuva 'woodland areas are like heavens, lonely, secluded... thus a secreted heaven is said to be there on earth, on the banks of River Yamuna...' for Krishna is there. And naktam 'night time' is the proper time for such activity, since it is forbidden from dawn to dusk. And yamunaa kuule 'on the banks of Yamuna, exciting environ of Yamuna, with breezes wafting coolness of Yamuna waters and fragrances of flowers on its banks. The openness, solitude, rivers, waters, flowers, fragrances, all of them made that place heavenly. Above all, ayam, 'that' god is here. Then what more does a devotee require for his/her dedication, in order to commingle in him - physically, in mortal's parlance, and psychically in a devotee's experience.

The use of ultramundane word maa dhava Lakshmi's, husband - Vishnu may be observed, even when Krishna is manifestly a mortal, and available just before the eye. Though Krishna is Vishnu and though Rukmini, his first consort, is Lakshmi, Krishna's longing for an ephemeral and poetic embodiment called Raadha is more, and it suggests that god is inclined more towards real devotees, rather than for his coequals, like Rukmini or Lakshmi and the like.

Aesthetics info for Sanskrit students: The whole work revolves round the following aesthetics. 1] uddipanaa bhaavaaH excitants of mood: clouds, woodlands, night, arbours and bowers, riverside, cool breezes etc; 2] aalambana bhaavaaH mood for devotement:Raadha, Yamuna banks, arbours and bowers, solitude etc.; 3] anu bhaava indicatives of mood timorousness, prudishness, coyness of all characters; 4] vybhicaara bhaavaaH deviating moods ecstasy, fear, interestedness, embarrassment etc; 5] sthaayii bhaavaaH common mood longing, desperation, jealousy, resentment etc., with these moods, it is sambhoga vipralambha sR^ingaara and the metre of this verse is shaarduula vikriiDitam .

Though the moods are available in each of the foot, they may not be brought here, as they do not mean anything these days. But in a prima donna-ish fashion, some are said here. From meghaiH to praapaya it is vipralmbha sR^ingaara; iththam to kelayaH it is sambhoga sR^ingaara; shyaamaa tamaala, radhaamaadhavoH are in anu praasaa aalnnkaara; first part of verse has samuccaya alankaara while the later part is having ashiir alankaara and on total it is said in samshR^iSTi alankaara . And the first verse itself is indicative of the activities of Krishna, and his playful acts, disporting, or the frolicking that is termed as raasa liila, raasa kriiDa, krishna liila, which will be heart pleasing.

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vaagdevataacharitachitritachittasadmaa padmaavatiicharaNachaaraNachakravartii | shriivaasudevaratikelikathaasametam etam karoti jayadevakaviH prabandham || 1-2

 words separated - vaak - devataa - charita - chitrita - chitta - sadmaa - padmaavatii - charaNa - chaaraNa - chakravartii - shrii - vaasudeva - rati - keli - kathaa - sametam - etam - karoti - jayadeva - kaviH - prabandham

1-2 . Tiika/word-order/meanings: vaak devataa= speech, deity of; charita= with legend of; chitrita chitta sadmaa= depicted, [painted, with murals, embellished with] heart [soul,] [called] house; caraNa= feet; caaraNa= [which are] massaged by; padmaavatii= Goddess Lakshmi; chakra vartii= wheel, mover [either His own Sudarshana disc, or the wheel of world, i.e., by the grace of one whose feet are massaged by Goddess Lakshmi, Vishnu, the Prime Mover];padmaavatii= padma= lotus; vatii= on who handles it, [one who is presiding deity of aSTaakshari hymn,] Goddess Lakshmi; charaNa = at feet; chaaraNa= by serving; chakravartii = one who became kingly poet; padmaavatii= Padmaavati - as proper noun, one named as Padmaavati, poet's wife; caraNa caaraNa= with feet, by moving, by dancing feet of Padmaavati; chakra vartii = one who became kingly poet; shrii= epitome of Fortune, Lakshmi, here Raadha; vaasudeva= vasu deva = earth's, deity of [Krishna]; rati keli= epithalamic passion [Gr . eros, epithymia, not just love, or lust,] plays; kathaa sametam= episodes, along with [comprising of]; etam= this [one that is abiding in the heart like house with murals, poetic work]; prabandham= poetic work; jayadeva kaviH = Jayadeva [named,] poet; karoti= [he is, or, I am] doing [authoring.]

Saraswati, the presiding Deity of Speech, is embellishing his soul with her legends, like a home ever embellished with murals, and he who has become an emperor among poets by his service at the feet of Goddess Lakshmi, such a poet Jayadeva is now authoring this poetic lore that is so far abiding in such a soul with such murals, called Gita Govindam, which comprises the episodes of plays of passion of Raadha and Krishna. [1-2]

Or

Saraswati, the presiding Deity of Speech, is embellishing his homelike soul, ever embellished with murals-like legends of her literary grace, and he who has become an expert in poetry by the grace of one, whose feet are ever massaged by Goddess Lakshmi, Vishnu or Krishna, who also is the Prime Mover of this world, such a poet Jayadeva is now authoring this poetic lore that is so far abiding in such a soul with such murals, called Gita Govindam, which comprises the episodes of plays of passion of Raadha and Krishna. [1-2]

Or

Saraswati, the presiding Deity of Speech, is embellishing my soul with her legends, like a home ever embellished with murals, and I who became an emperor among poets by my service at the feet of Goddess Lakshmi, and even by the service rendered by my wife Padmaavati, for she tightly fastened my lyrics to tune and rhythm with her dancing feet, such as I am, I the kingly poet Jayadeva, am now authoring this poetic lore that is so far abiding in my soul, called Gita Govindam, which comprises the episodes of plays of passion Raadha and Krishna. [1-2]

 This invocation starts with vaak devataa after Kalidasa's vaak arthaav iva sampR^iktau in his epic Kumaarassambhava. In those days, poetic narration about one's own wife or about her performing arts was a taboo. Jayadeva pooh-poohed this with the above stanza, questioning as to how Satyabhama danced before Krishna, and how Paarvati always dances with always dancing Shiva. Further, devotion does not equate with solitary self-surrender, or by hermetic sainthood, or by murmuring hymns singly. That is for devotees of nirguNa brahma and this ' bhaagavata devotion' culminates only when upacaaraa-s 'devotional offerings' are offered, and the singing and dancing are the end part of any worship. Even today this custom continues, but only as a lip service, Chatram dhaarayaami, caamaram viijayaami, giita vaadya R^ityam pradashayaami 'I hold up an parasol, I fan you, I show dance, sing, play music instruments... oh, god give me what I want...' Instead of worshipping with a dialogue, Jayadeva and Padmaavati danced. It is said the Jayadeva recognised not only a dancer in his wife, but a bhaagavatii pratipatti 'female devotee' in her, and thus both have adored their god jointly.

The analogy between Vaasudeva and Jayadeva is vasubhiH diipyata iti vaasudeva 'one shines forth with his wealth...' If Krishna is resplendent with his charm, Jayadeva is glistening with his wordplay. tasya apatyam vaasudeva 'his son is Vaasudeva...' meaning that one who has come out of his indebtedness towards his father, hence a free bird to take his own wings and to flirt as he may. Jayadeva is equally free to flirt away from the orthodoxy of poetics.

Aesthetics: Heart and house are in simile, hence ruupaka alankaara and at sametametam it is anupraa alankaara - vyanjana vyR^ittena; kaavya guNa - oja; riiti - gaudiiya; vR^itti - bhaarati metre - vasanta tilaka.

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yadi harismaraNe sarasam mano yadi vilaasakalaasu kutuuhalam |
 madhurakomalakaantapadaavaliim shR^iNu tadaa jayadevasarasvatiim || 1-3

words separated - yadi - hari - smaraNe - sarasam - manaH - yadi - vilaasa - kalaasu -
kutuuhalam - madhura- komala - kaa.nta - pada - aavaliim - shR^iNu - tadaa - jayadeva - sarasvatiim

1-3 . he sat jana gaNa [adhyaahR^ita, ellipted word] = oh, graciuous, people, assemblage [rounded off to oh, gracious people]; hari= on Hari, on Krishna; smaraNe= in meditation; manaH= soul; sa rasam= with, elixir [of devotion]; yadi= if, [should it be filled with, plethoric with]; vilaasa= in flirtaceous [women's]; kalaasu= arts [arts of coaxing]; kutuuhalam yadi= curiousness, if [should you have]; tadaa= then; madhura = mellowly; komala = deicate [willowy]; kaanta= heart-pleasing [mellifluous]; pada aavaliim= words, medley of; jaya deva= [about] glorious, god Krishna [or, poet Jayadeva's]; sarasvatiim= divine speech, praise song; shR^iNu= be listened.

Oh, gracious people, should your hearts be plethoric with the elixir of devotion for meditating on Krishna, and should you be curious enough about the arts of coaxing of flirtaceous womenkind, then listen to the praise song of Jayadeva on that glorious god Krishna, that which is a medly of willowy words, worded mellowly and mellifluously... [1-3]

 This verse will be at 4th place in North Indian versions and in South, it is as above. The word used mathura melodious - mellowly, meaning that the words used have shabda gata, artha gata maadhuryam sound based and meaning based melody. In them sound based melody occurs when harsh sounding consonants like Tha Dha are not used, while the meaning based melody occurs when those words are primarily heat-pleasing, yet a little thinking is necessary to derive their meanings, unlike the words of absolute philosophy, which do not give any satisfaction eve after delving deep into them. Again the komala has the two aspects of meaning. In them, sound based delicacy occurs when too much of combining vowels and consonants is not adopted as in nistriaguNya, tymbaka and the like, which usage is called as cakra bandha - padma bandha way of compounding. And the word kaanta is also the same, in that the poetic work is desirable for it has sound based lissomness, and meaning based litheness. The usefulness of this verse is hari smaraNa, vilaasa vidya sikshaNa meditation on Krishna, and how the coaxing and combing of womenfolk will be delightfully inciting. Thus, this work's subject matter contains cognizable god in Krishna, if it is mulled over by his cognitive devotees smaarya smaaraka bhaava; diipaka- alankaara; paancaalii - riiti; kaishikii vR^itti; vR^ittam - dR^ita vilambita With this invocatory poem the poet is embarking on the usual prologues necessary for a poetic work.

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vaachaH pallavayatyumaapatidharaH sandarbhashuddhim giraam
 jaaniite jayadeva eva sharaNaH shlaaghyo duruuhadrute |
 shR^i~Ngaarottarasatprameyarachanairaachaaryagovardhana
 spardhii ko.api na vishrutaH shrutidharo dhoyii kavikshmaapatiH || 1-4

words separated - vaachaH - pallavayati - umaapatidharaH - sa.ndarbha - shuddhim - giraam - jaaniite - jayadeva - eva - sharaNaH - shlaaghyaH - dur - uuha - drute - shR^i.ngaara - uttara sat - prameya - rachanaiH - aachaarya - govardhana - spardhii - kaH - api - na - vishrutaH - shrutidharaH - dhoyii - kavi - kshmaa - patiH

1-4 . umaapatidharaH= Umaapatidhara, [a contemporary poet of Jayadeva]; vaachaH pallavayati = words, spreads [uses words with prolixity and expansile meanings]; sharaNaH= Sharana poet; dur uuha drute= impossible, to think, in speediness [words are unpronounceably speedy]; shlaaghyaH= praiseworthy [Sharana poet]; shR^ingaara= romance; rachanaiH= with writings; uttara= before [prioritized]; sat= best; prameya= inferable subject of poetic work [or, sat= by scholars, prameya= inferable, knowable; aachaarya govardhana= scholar, poet Govardhana; spardhii= antagonist; kaH api na= anyone, even, not there; shrutidharaH vishrutaH= poet Shrutidhara, renowned [for he is a wordsmith]; dhoyii kavi kshmaa patiH = Dhoyii, poet, poets, king of; giraam= of words; sandarbha shuddhim= situational, pureness [properness] jayadeva eva jaaniite= Jayadeva, alone, knows.

Or

umaapatidharaH vaachaH pallavayati= Umaapatidhara, words, spreads [verbose]; sharaNaH= Sharana poet; dur uuha drute= impossible, to think, in speediness [words are unpronounceably speedy]; shlaaghyaH= praiseworthy [Sharana poet]; shR^ingaara = romance; uttara= before [prioritized]; sat= by his work called saccarita; prameya= inferable [as a poet by his work called saccitra]; rachanaiH= with writings; aachaarya govardhana= for [pedagogic] scholar, poet Govardhana; spardhii= antagonist; kaH api na= anyone, even, not there; dhoyii kavi kshmaa patiH = Dhoyii, poet, poets, king of; shruti dharaH vishrutaH= what he has heard, he retains [parroted poetry,] thus renowned; giraam= of words; sandarbha shuddhim= situational, pureness [properness] jayadeva eva jaaniite= Jayadeva, alone, knows.

Poet Umaapatidhara uses words with prolixity and with expansile meanings, poet Sharana is praiseworthy for his unpronounceable speedy wordplay, none is an antagonist to the scholarly poet Govardhana, for he inferentially prioritises romance, poet Shrutidhara is renowned as an expert wordsmith, poet Dhoyii is a king among poets, but poet Jayadeva alone knows the situational properness of words and wordplay. [1-4]

Or

Poet Umaapatidhara is verbose with words of prolixity and with expansile meanings, hence he is a poetaster with strident and shrilly words vaagaaDambaram, poet Sharana is praiseworthy for his unpronounceable speedy wordplay, hence he is unintelligible and unexplainable, and none is an antagonist to the scholarly poet Govardhana, for he prioritises romance alone, thus when he is bereft of other aesthetics, he is unfit to be called as a pedagogic scholar, aachaarya, for his treatise on alankaara shaastra named aaryaa sapta shati, and poet Dhoyii, a self-styled king of poets, is renowned for his parroted poetry, thus he is hardly a poet, but poet Jayadeva alone knows the situational properness of words and wordplay, hence he alone is the poet of the day... [1-4]

 The second meaning is not a ridicule thrown at other poets, but it is like 'throwing hat in the ring...' and avowed declaration that he alone is good at poetry. It was a practice to say one or two verses in praise of good poets and in scorn at bad poets su kavi prashamsa, ku kavi ninda . This is in samuccaya alnkaara; shaarduula vikriiDitam is its metre.

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aSTa padi -1 dasha avataara kiirti dhavalam

From here on the aSTa padi-s will be coming. These will be in eight-footed stanzas, with a repeatable stanza at their end. Though all the stanzas are a single verse, they are now being divided into separate units for the sake of easy reading and for easy incorporation of comment section. These units are given numbers like a pa1-1, a pa 1-2, where a pa represents aSTa padi eight-footed verse 1, and -1, -2, -3 are  its unit.

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pralayapayodhijale dhR^itavaanasi vedam |
 vihitavahitracharitramakhedam ||
keshavaadhR^itamiinashariira jayajagadiishahare || a pa 1-1

 words separated - pralaya - payodhi - jale - dhR^itavaan - asi - vedam - vihita - vahitra -
charitram - akhedam - keshava - dhR^ita - miina - shariira - jaya - jagat - iisha - hare

a pa 1-1 . keshava= oh, Keshava; jagat iisha= worlds, the Almighty of; hare= oh, Hari; pra laya= completely, commingled [deluged]; payodhi= oceans' [all common nouns, jaati eka vacana]; jale= in waters; dhR^ita miina shariira= on donning, fish's, body; vihita= make do [improvising]; vahitra= [like a] ship; charitram= legendary; vedam= Veda-s; a khedam= not, with weariness [indefatigably]; dhR^itavaan asi= upheld, you are; jaya= hail to thee.

Oh, Keshava, oh, Hari, the Almighty of worlds, when worlds were under the deluge of all the waters of all seven seas, you on donning the body of a fish, and improvising yourself as a legendary ship, you indefatigably upheld all the four Veda-s, thus hail to thee... [a pa 1-1]

 The word Keshava is a formation of ka iisha va where kaH is Brahma; iisha is Shiva; va born from Vishnu; ka iti brahmaëo näma éço aham sarva dehinäm aväm ta ange sambhütau tasmät keçavo nämavän - nirukta bhäñyam thus Brahma and Shiva are born from the body of Vishnu. jagadiisha 'you are the controller of all worlds and when they have become uncontrollable you set them in order... that too indefatigably, hence we are reassured of your presence...' Hari 'he who steals away the troubles of his adherents...' sthaayii bhaava - utsaaha; rasa - viira; naayaka lakshaNa - dhiira lalita; alankaara - upama; atishayokti; riiti - artha maagadhi  Next, the incarnation of tortoise is taken up, sequentially. Now let us see some of the dance gestures for this stanza from nritya lakshaNa samhita:

pralaya - pataaka upari pari mardita pataakena gagana dR^iShTyaa ca | payodhi jale - adhaH svastikii kR^ita vicyuta uurdhva tala pataakaabhyaam | dhR^itavaan asi - adho deshaat uddhR^ita muShTinaa | vedam - purasthala niku.ncakena | vihita - shanaiH adhara talii kR^ita muShTikena | vahitra - calita a.nguShTa kara prasaarita puSpa vR^iShTena | charitram - prasaarita uurdhva tala pataakena | akhedam - hR^id gata pataakena mukulayaa dR^iSTyaa ca | keshava - keshava bandhena | dhR^ita - aavar.htanena kR^ita muSTinaa | miina shariira - makara hastakena | jaya - ud.h ddhR^itta hastakena | jagadiisha - lalaaTa sthaana a.njalinaa | hare - viShNava sthaanakena - iti nR^itya lakshaNa sa.mhita

.

kshitirativipulatare tavatiShThatipR^ishhThe |
dharaNidharaNakiNachakragariShThe
keshava dhR^itakacChaparuupa jayajagadiishahare || a pa 1-2

words separated - kshitiH - ati - vipula - tare - tava - tiShThati - pR^ishhThe - dharaNi -
dharaNa - kiNa - chakra - gariShThe - keshava - dhR^ita - kacChapa - ruupa - jaya jagadiisha hare

a pa 1-2 . keshava jagadiisha hare = as above; dhR^ita kacChapa ruupa= assumed, tortoise, form; ati vipula tare= very, wide, much in degree [widest]; dharaNi dharaNa= earth, by bearing weight [or by bearing the weight of Mt . Manthara, when Milky Ocean was churned]; kiNa= tumid, puffed up; chakra tava= circular shell of tortoise, of yours; gariShThe pR^iShThe= on its heightened, back; kshitiH tiShThati = earth, is abiding; jaya= as above.

Oh, Keshava, oh, Hari, the Almighty of worlds, on assuming the form of a tortoise and by bearing the weight of very wide earth, and Mt. Manthara as well, on the heightened back of circular shell of tortoise, that shell is puffed up and tumid, even then the earth is abiding on your back, even today... thus, hail to thee... [a pa 1-2]

 The word tiSThati is in the tense of vartamaana nirdesha 'present continuous' so the earth is on the back of that tortoise, even today.

vasati dashanashikhare dharaNiitavalagnaa |
 shashini kala~Nkakaleva nimagnaa ||
keshava dhR^itasuukararuupa jayajagadiishahare || a pa 1-3

words separated - keshava - dhR^ita - suukara - ruupa - vasati - dashana - shikhare - dharaNii - tava - lagnaa - shashini - kala.nka - kala - iva - nimagnaa - keshava - dhR^ita - suukara - ruupa - jaya jagadiisha hare

a pa 1-3 . keshava jagadiisha hare= as above; dhR^ita suukara ruupa= on assuming, wild boar's, form; tava dashana shikhare= your, fang's, top; lagnaa dharaNii= became stuck, earth; shashini nimagnaa = in moon, embedded; kalaN^ka kala iva= blemish's, streak, like; vasati= is lodged; jaya= hail to thee.

Oh, Keshava, oh, Hari, the Almighty of worlds, on your assuming the form of a wild boar, only to uplift the earth from its sinking to netherworlds you lifted it up, and while uplifting with your snout, the earth is stuck in your crescentic fang, and it is lodged there on that fang, like a streak of blemish in the moon... hail to thee... [a pa 1-3]

 Krishna, earth, and wild boar are black, while boar's fang and crescentic moon like fang is white. While the earth is spinning on the tip of fang, its blackness is appearing as the deer mark in the moon. The earth is, in a way, a blemish to God for he created it, but it separated itself from him, and its inmates always do certain deeds that brings more blemish to him.

tava karakamalavare nakhamadbhutashR^i~Ngam |
dalitahiraNyakashiputanubhR^i~Ngam ||
 keshava dhR^itanarahariruupa jayajagadiishahare || a pa 1-4

words separated - tava - kara - kamala - vare - nakham - adbhuta - shR^i.ngam - dalita -
hiraNyakashipu - tanu - bhR^i.ngam - keshava - dhR^ita - nara - hari - ruupa - jaya jagadiisha hare

a pa 1-4 . keshava jagadiisha hare= as above; dhR^ita nara hari ruupa= on assuming, man, lion, form of; tava kara kamala vare= in your, hand, [called] lotus, the best; dalita hiraNya kashipu tanu = lacerated, Hiranyakashyapa's, body; bhR^iN^gam= [which is like a] honeybee; adbhuta shR^iN^gam nakham [bhaati]= wondrous, tip, of nail [thus those nails shine forth]; jaya= hail to thee.

Oh, Keshava, oh, Hari, the Almighty of worlds, on your assuming the form of man-lion, lacerated is the honeybee like body of demon Hiranyakashyapa just with the tips of fingernails of your hands, that are like best lotuses, thus those fingernails shine forth for their elimination of vice on earth, thus hail to thee... [a pa 1-4]

 It is usual for a honeybee to sting and lacerate delicate lotuses for nectar. But lotus lacerating thick-skinned honeybee is unusual. Though the palms of god are like delicate petals of lotus, they have very sharp and slashing tips of fingernails, like the claws of lion, only to bisect thick-skinned vice, called monstrosity. Hence those tips of fingernails ever shine forth as goodness against evil. alankaara - ruupaka

Chalayasi vikramaNe balimadbhutavaamana |
padanakhaniirajanitajanapaavana ||
keshava dhR^itavaamanaruupa jayajagadiishahare || a pa 1-5

words separated - chhalayasi - vikramaNe - balim - adbhuta - vaamana - pada - nakha -
niira - janita - jana - paavana - keshava - dhR^ita - vaamana - ruupa jaya jagadiisha hare

a pa 1-5 . keshava jagadiisha hare= as above; dhR^ita vaamana ruupa= assuming, dwarf's, mien; adbhuta vaamana= astounding dwarf; pada nakha= from foot's toenail; niira janita= water, emerged; jana paavana= [which is] people, santifier; vikramaNe balim chhalayasi = by treading [three worlds,] Emperor Bali, is being deluded; jaya= hail to thee.

Oh, Keshava, oh, Hari, the Almighty of worlds, on your assuming the mien of a dwarfish boy to tread all the three worlds in three  steps, you became an astounding dwarf, and then emerged is the water from your foot's toenail, namely River Ganga, which became the sanctifier of people on earth, and you always delude people of anti-establishment like Emperor Bali with such an astounding treading of yours, hence hail to thee... [a pa 1-5]

 When Vishnu incarnated himself as Vamana he seeks donation of a three-foot-space from Emperor Bali, and Bali being a no naysayer, accords it. Then the dwarf covers entire earth with one foot, entire heaven with the second, and asks Bali where to keep the third. Bali shows his head and the boy places his third foot on the head of Bali, subduing Bali to netherworlds. In doing so, when that dwarf boy raises his foot to cover heavens, his toenail goes straight to the presence of Brahma. Observing that toenail as his father Vishnu's toenail, Brahma anoints it with sacred waters. When that dwarf-boy withdraws his foot from heaven to place it on Bali's head, the sacred water on toenail poured by Brahma, rushed onto earth as River Ganga. Here the poet is saying that Bali is being deluded each time in each cycle of eras, as a present continuous action.

kshatriyarudhiramaye jagadapagatapaapam |
snapayasi payasi shamitabhavataapam |
keshava dhR^itabhR^ighupatiruupa jayajagadiishahare || a pa 1-6

words separated- kshatriya - rudhiramaye - jagat - apagata - paapam - snapayasi - payasi -
shamita - bhava - taapam - keshava - dhR^ita - bhR^ighu - pati - ruupa - jaya jagadiisha hare

a pa 1-6 . keshava jagadiisha hare= as above; dhR^ita bhR^ighu pati ruupa= on assuming, sage Bhrigu's legatee [Parashu Rama,] saver, saviour's, mien; kshatriya rudhira maye= Kshatriya, blood of, filled with; payasi= in waters [pools of blood waters]; jagat= world [people]; shamita bhava taapam= ceased, worldly, torridity; apagata paapam= swerved off, sin is; snapayasi= you make them to bathe [in blood pools of kings]; jaya= hail to thee.

Oh, Keshava, oh, Hari, the Almighty of worlds, on your assuming the mien of Parashu Rama, the saviour of the world, you have filled five pools with the blood of atrocious Kshatriya kings, thus ceased is the torridity of the worlds, and swerved are the sins of people, as you make them to bathe in those five pools of blood waters, called shamanta pancaka, thus hail to thee... [a pa 1-6]

 In this rasa - bhiibhasta; naayaka - dhiiroddhata; alankaara - svabhaavokti are its aesthetics.

vitarasi dikshu raNe dikpatikamaniiyam |
dashamukhamaulibalim ramaNiiyam ||
keshava dhR^itaraamashariira jayajagadiishahare || a pa 1-7

words separated - vitarasi - dikshu - raNe - dik - pati - kamaniiyam - dasha -
mukha - mauli - balim - ramaNiiyam - keshava - dhR^ita - raama - shariira - jaya jagadiisha hare

a pa 1-7 . keshava jagadiisha hare= as above; dhR^ita raama shariira= on assuming, Rama's, body; dikshu= in all directions, ten of them; dik pati= direction, presiding deity of; kamaniiyam= desired by [those deities]; ramaNiiyam= heart-pleasing [act of]; dasha mukha= ten, faced demon, octahedron Ravana's; mauli= heads; balim= sacrifice; raNe= in war; vitarasi = generously giving; jaya= hail to thee.

Oh, Keshava, oh, Hari, the Almighty of the worlds, on your assuming the body of Rama, an act desired by each of the ten presiding deities of each direction of compass in all the ten directions, namely the sacrifice of ten heads of octahedron Ravana in war, and that heart-pleasing sacrifice you are offering in war ever and anon, thus hail to thee... [a pa 1-7]

 The act is heart pleasing because there are ten presiding deities of quarters and Ravana has ten heads, and the sacrifice is symmetrical; hence, heart pleasing to us, and even to those ten deities like Air-god, Fire-god, and Rain-god et al. Ravana was a terror to these ten gods. When Ravana comes out Air fears to be gusty, Fire become coolant, not a drop of Rain falls on his body - so says Ramayana. naayaka - dhirodaata; alankara - jaatyalankaara Next, though the incarnation of Krishna is to be eulogised as per rule raamo raamaH ca kR^iSNaH ca, but Bala Rama's incarnation is taken up, according to another flex of this rule vanjau vanjau kharvaH tri raamii sa tapo.atapaH And even non-Vedic Buddha is also narrated in here. Thus, the devotional scripts do not care for isms.

vahasi vapuSivishadevasanam jaladaabham |
halahatibhiitimilitayamunaabham ||
keshava dhR^itahaladhararuupa jayajagadiishahare || a pa 1-8

words separated - vahasi - vapuShi - vishade - vasanam - jalada - abham - hala - hati -
bhiiti - milita - yamuna - aabham - keshava - dhR^ita - hala - dhara - ruupa - jaya jagadiisha hare

a pa 1-8 . keshava jagadiisha hare= as above; dhR^ita= on assuming; hala dhara ruupa = plough, wielder, form of; vishade vapuShi= on whitish, body; jala da abham= water, giver [cloud,] in shine with; hala hati bhiiti milita= by plough, hit, fear, blent with; yamuna aabham = River Yamuna, in shine; vasanam vahasi= raiemnt, you bear [you are clad in]; jaya= hail to thee.

Oh, Keshava, oh, Hari, the Almighty of worlds, on your assuming the body of Bala Rama, the wielder of plough, you are clad in blackish cloudlike raiment on your whitish body, and it is rippling like the ripples of River Yamuna, for she is hit by your plough and that fear is blent in her ripples, thus hail to thee... [a pa 1-8]

 Once Bala Rama laid hold of River Yamuna to gratify his desire and when she did not yield he beleaguers her. This is according to mythology. According to water management, he changed the course of her flow by digging a mammoth tunnel with his forceful plough for irrigation purposes. Thus, Yamuna is always fearful of Bala Rama, as she is unaware as to how many more tunnels he is going to dig and alter her course.

nindati yaGYavidherahaha shrutijaatam |
sadayahR^idayadarshitapashughaatam ||
keshava dhR^itabuddhashariira jayajagadiishahare || a pa 1-9

words separated - nindati yaj~na vidheH - a ha ha - shruti jaatam sadaya hR^idaya darshita
pashu ghaatam keshava dhR^ita buddha shariira jaya jagadiisha hare

a. pa. 1-9 . keshava jagadiisha hare= as above; dhR^ita buddha shariira= on assuming, Buddha's, body; sa daya hR^idaya= with, kindness, in heart; darshita= shown [taught by scriptures]; pashu ghaatam= animal, killing; yaj~na vidheH= in Vedic-rituals, methods of; shruti jaatam= scriptural words, collection of; nindati= fault-finding; a ha ha= aha, aha, aha [expression of surprise]; jaya= hail to thee.

Oh, Keshava, oh, Hari, the Almighty of worlds, on your assuming the body of kind-hearted Buddha, you are finding fault with the animal sacrifices in the methods of Vedic-rituals, taught by scriptures, and even with the collection of those scriptural words themselves, what a revamp in religious methods... aha, aha, aha, hail to thee... [a pa 1-9]

mlecChanivahanidhane kalayasikaravaalam |
dhuumaketumiva kimapikaraalam ||
keshava dhR^itakalkishariira jayajagadiishahare || a pa 1-10

words separated - mlecCha nivaha nidhane kalayasi karavaalam dhuuma ketum iva
kim api karaalam keshava dhR^ita kalki shariira jaya jagadiisha hare

a pa 1-10 . keshava jagadiisha hare= as above; dhR^ita kalki shariira= on assuming, Kalki, body of; mlecCha nivaha nidhane= fractious, groups of race, in eliminating; dhuumaketum iva= as with a comet, as with [or, dhuuma ketu= smoke, as symbol; Kalki wields a sword and its golden handle is compared to burning fire, and bloodstained blade with red smoke]; karavaalam kalayasi= sword, you are brandishing; karaalam kim api= dreadful [deeds of yours,] why, even [tell about them, unimaginable to detail them]; jaya= hail to thee.

Oh, Keshava, oh, Hari, the Almighty of worlds, on your assuming the body of Kalki at the end of Kali-yuga, you are brandishing a sword like a comet to eliminate the groups of fractious races, and unimaginable are your horrendous deeds to detail, thus hail to thee... [a pa 1-10]

 The appearance of a comet in the sky is a bad omen and when that comet hits the earth it is still worse. And when Kalki brandishes his sword as gods brandish coments, it is unimaginable and that suggests the end of that era. naayaka - dhiirodaatta; rasa - bhayaanaka  Next, the poet is mingling all of these incarnations into Krishna's incarnation, along with an appeal to listen to his poetry in his glory.

shriijayadevakaveridamuditamudaaram |
shR^iNu sukhadam shubhadam bhavasaaram |
keshava dhR^itadashavidharuupa jayajagadiishahare || a pa 1-11

words separated shrii jayadeva kaveH idam uditam udaaram shR^iNu sukha dam
shubha dam bhava saaram keshava dhR^ita dasha vidha ruupa jaya jagadiisha hare

a pa 1-11 . shrii= deferential prefix to god, or, one who is with her, shrri - Goddess Lakshmi; keshava jagadiisha hare= as above; dhR^ita dasha vidha ruupa= one who can assume, ten, kinds, of forms; udaaram = excellent one; bhava saaram= wordly life, having pith [to get release from it]; shubha dam= wellbeing, giver [blissful]; sukha dam= comfort, giver [blithesome]; idam= this; jayadeva kaveH= Jayadeva, by poet; uditam= articulated by; shR^iNu= listen; jaya= hail to thee.

Oh, shrii Keshava, the Almighty of worlds, as you can assume ten kinds of forms for the sake of humanity, pray, listen to this articulation of poet Jayadeva, which has an excellent pith and kernel of worldly living, and will be blissful and blithesome in getting a release from it, hail to thee... [a pa 1-11]

 With this stanza the poet is dedicating his work in his god and asking him to bear testimony for his work. And if Krishna endorses his work, this will be as good as canonised by him, so that this work will become a valid devotional song. rasa - shaanta; alankaara - paryaayokti The poet is summarising all these incarnations that are so far said separately. This can be sung in maalava raaga; ruupaka taala.

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vedaanuddharate jagannivahate bhuugolamudbibhrate
daityam daarayate balim chhalayate kshatrakshayam kur.hvate |
paulastyam jayate halam kalayate kaaruNyamaatanvate
mlechchhaanmuurchchhayate dashaakR^itikR^ite kR^ishhNaaya tubhyam namaH || 1-5

 words separated - vedaan ud dharate jagat nivahate bhuu golam ud bibhrate daityam daarayate balim cChalayate kshatra kshayam kur.hvate paulastyam jayate halam kalayate kaaruNyam aatanvate mlecChaan muurcChayate dasha akR^iti kR^ite kR^iShNaaya tubhyam namaH

1-5. vedaan+uddharate= Veda-s, one who revives; jagat+nivahate= world, one who bears up; bhuu+golam+ut+bibhrate= eath, globe of, up, lifted to support; daityam+daarayate= demon [Hiranya kashyapa,] one who slashed; balim+cChalayate= Bali, one who deluded; kshatra+kshayam+kurvate= Kshatriya-s, annihilation, one who does; paulastyam+jayate= Pulasya's legatee, Ravana, one who conquers; halam+kalayate= plough, one who wields; kaaruNyam+ aatanvate= pity [non-violence,] one who fosters; mlecChaan+muurcChayate= fractious races, one makes them to swoon [mangler of]; dasha+akR^iti+ kR^ite= ten, semblances, one who puts on; kR^iShNaaya+tubhyam+namaH= [such as he is] Krishna, for you, my reverence.

1-5 . vedaan uddharate= Veda-s, one who revives; jagat nivahate= world, one who bears up; bhuu golam ut bibhrate= eath, globe of, up, lifted to support; daityam daarayate= demon [Hiranya kashyapa,] one who slashed; balim cChalayate= Bali, one who deluded; kshatra kshayam kurvate= Kshatriya-s, annihilation, one who does; paulastyam jayate= Pulasya's legatee, Ravana, one who conquers; halam kalayate= plough, one who wields; kaaruNyam aatanvate= pity [non-violence,] one who fosters; mlecChaan muurcChayate= fractious races, one makes them to swoon [mangler of]; dasha akR^iti kR^ite= ten, semblances, one who puts on; kR^iShNaaya tubhyam namaH= [such as he is] Krishna, for you, my reverence.

The reviver of Veda-s as a fish, bearer of this earth as tortoise, uplifter and supporter of earth as wild boar, slasher of Hiranyakashyapa as lion-man, deluder of Bali as dwarf-boy, annihilator of Kshatriya-s as Parashu Rama, conqueror of Ravana, the legatee of Paulastya, as Rama, wielder of plough as Bala Rama, fosterer of non-violence as Buddha, mangler of fractious races as Kalki, and as you alone can put on ten semblances, thus oh, Krishna, my reverences are unto you... [1-5]

 In all the incarnations Vishnu has not taken a selfsame physique excepting in Krishna incarnation. Vishnu will be in his milky abode and Krishna is brought up in a milky environ. Vishnu comfortably reclines on Thousand-hooded serpent, while Krishna has never been in any uncomfortable position like Rama, Parashu Rama, and Vishnu has three wives whereas Krishna is having eight of them, so on and so forth. Hence, the poet is focussing his attention on Krishna alone. alankaara - diipaka; cChandam - kiiti dhavala; shaarduula vikriiDitam is its metre. With this, the auspicious beginning of the poetic work is over and he is entering into the subject matter of this work. In the next verse, the poet is extolling his lead character Krishna's attributes and endowments. At times some biblical usage of words is adopted, as expressions like 'you, your, you will always be doing...' are somehow dissatisfactory.

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aSTa padi 2 - hari vijaya mangalaa caraNa

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shritakamalaakuchamaNDala dhR^itakuNDala e |
kalitalalitavanamaala jaya jaya deva hare || a pa 2-1

words separated - shrita kamalaa kucha maNDala dhR^ita kuNDala
è kalita lalita vanamaala jaya jaya deva hare

a pa 2-1 . jaya= hail; shrita= sheltered [whorled, embraced]; kamalaa= Goddess Lakshmi’s [where kamalam is lotus, one who abides in lotus]; kucha maNDala= bosomy, roundlets, bust; dhR^ita= bedecked; kuNDala= ear-knobs; è = this is aalaapana and can be taken as a an addressing, or as 'ye' = he who is wearing; this è is musicians and dancers delight; droppable in translation treatises]; kalita= adorned with; lalita= exquisite; vanamaala = garland knotted with Tulasi, Ocimum sanctum, basil, leaves and other flowers; deva= one who accords felicity; hare= Hari, viz., one who steals sins of adherers, here, Krishna; jaya= hail to thee.

Hail thee… for thine chest is ever whorled and embraced by Goddess Lakshmi with her bosomy bust, and which chest is ever adorned with an unfading garland of basil leaves and flowers that dangles unto thy knee, and thine ears ever bedecked with golden knobby ear-hangings, studded with nine jewels, thus to thee, the felicitous sin remover, Krishna, hail to thee… [a pa 2-1]

 At the very start of extolling his hero of his poetic work, the poet has gone straight to the bosomy busts of hero’s consort, and to hear this, it primarily appears to be an erotic word, and if the hearer happens to be an Oedipus, he will be excited even by his mother’s mammaries. But here Goddess Lakshmi is the Supreme Mother and she has Divine mammae, and let millions and millions take birth, she can feed them, indefatigably. Similar is the word used for Lalita in Lalita sahasra naamaavali - kaThina sthana maNDalaa … as one among many of her motherly attributes.

Here she is abiding in the lotus-like heart of Vishnu, say Krishna, thus undifferentiated are the chests, either as that of a male or as the bust of a female. She is said to be shrita - whorled around him like a climbing plant onto a tree. So, the poet attempts to distinguish which is which, and says that he is wearing a garland of basil leaves and flowers, which he alone wears, hence recognise him as Krishna. Because he is so tightly embraced by the personified fortune, he is not becoming a pauper and he is even capable of endowing shelter under that absolute fortune to his devotees, called aashraya - Niiyatvam . So, anyone can seek for his shelter, and he is called shrayaH patiH - Omni-shelterer, again under the aegis of Goddess Lakshmi. And vanamaala indicates hale and healthiness, thus ready to spring to his feet in the period of crisis, i.e., Omnipotent. Ear-knobs indicate learnedness, for they were accorded according to one’s own scholarliness, called makara kuNDala, candra kuNDala, like the present day graduate gowns and headgears. Hence, this is indicative of his Omniscience.

Envisioning Krishna from top to toe indicates his supreme and auspicious physique divya mangala vigraha - besides deified fortune is in his heart. Hence he alone is adorable.

dinamaNiimaNdalamaNDana bhavakhaNDana e |
munijanamaanasaha.nsa jaya jayadeva hare || a pa 2-2

words separated - dina maNi maNdala maNDana bhava khaNDana
muni jana maanasa hamsa -- jaya jaya deva hare

a pa 2-2 . jaya= hail; dina maNi maNdala= day’s, jewel, namely sun, his sphere [in solar system]; maNDana= an embellisher; bhava khaNDana= present world [karmic cycle,] one who whittles; muni jana= for saintly, people; maanasa= mind [called, maanasa sarovar]; hansa= a swan; jaya deva hare= as above.

Hail thee… though yond and yonder, thou art functional from within the solar system, where that sun is just a gem of solar system, while thou art an embellisher of that system in its entirety, and as a swan swims in maanasa sarovar, a blissful lake in Himalayas, thou swimmest in the minds of saintly people, thus whittle, whittle the karmic cycles of thy saintly devotees, thus to thee, the felicitous sin remover, Krishna, hail to thee… [a pa 2-2]

 This connotes Vedic import in saying that Supreme Person is far beyond the solar orbit, but functional through solar system. In iishaavaasyopanishad, at hymn 15, we hear the following mantra, hymn.

AUM hiraNmyaye paatrasyaapihita mukham |
tat tvam puuSan apaa.nvR^iNu satya dharmaaya dR^iSTaye ||

hiraNmayeNa+paatreNa= by golden, disc like lid; satyasya= of truth; apihitam= covered; mukham= face of; tat+tvat= that, your; apaavR^iNu= slide aside; satya+dharmaaya= I as truthful, righteous one; dR^iSTaye= to visualise, [that which is beyond you.]

On looking at the rising red sun, the devotee is asking  "Oh! Pooshan! God Sun, nourisher of the universe, the trueness of the Supreme Person is covered by your golden disk like lid, i.e., your Solar disk, slide it aside, for as a truthful and righteous devotee, I aspire to visualise that which is beyond your golden Solar disc…

  The jewel of the day etc., indicate while sun is a friendly entity to humans, Krishna is far more friendlier to them, as he has sthira sakhitvam - ever friendly like sun; saamarthyam - capability to alleviate from the troubles of karmic cycles; sat sahavaasam - amiable fraternity.

Extolling him in this way indicates that he alone has accorded release to many a saintly soul. Hence, he alone is to be venerated for he not only accords deliverance, but also becomes a blissful partner during lifetime.

kaaliyavishhadharaga~njana janaraJNjana e |
yadukulanalinadinesha jaya jaya deva hare || a pa 2-3

words separated - kaaliya viSha dhara ga.njana jana ra.njana yadu kula nalina dina iisha jaya jaya deva hare

a pa 2-3 . jaya= hail; kaaliya= one called Kaaliiya, multi-hooded serpent; viSha dhara= venom, bearer of; ganjana = abominator of; jana ranjana= people, fascinator of; yadu kula= Yadu, lineage; nalina= [called] lotus; dina iisha= day, ruler of; jaya deva hare= as above.

Hail thee… for thou art the abominator of venomous multi-hooded serpent, called Kaaliiya, thus thou fascinate people, and as the sun makest a lotus abloom, thus to thee, the bloomer of lotus called Yadu’s lineage, Krishna, hail to thee… [a pa 2-3]

 Comment: His capability in abominating and eradicating enemies, thereby his gladdening the panicked friends, his impeccable lineage are extolled, thus the attributes of hero of the poetic are sublime, as they are uttama naayaka lakshaNa.

This serpent is eliminated in his incarnation of Krishna, thus he incarnates himself n earth to save people from the torture imposed by certain negative forces. Therefore he alone is worship-worthy, for he incarnates himself.

madhumuranarakavinaashana garuDaasana e |
surakulakelinidaana jaya jaya deva hare || a pa 2-4

words separated - madhu mura naraka vinaashana garuDa aasana
sura kula keli nidaana  -- jaya jaya deva hare

a pa 2-4 . jaya= hail; madhu mura naraka= Madhu, Mura, Naraka demons; vinaashana = annihilator of; garuDa aasana= Garuda, the Divine Eagle, as your seat [ as vehicle]; sura kula= gods, stock of; keli= disporting; nidaana= prime cause; jaya jayadeva hare= as above.

Hail thee… for thou art the annihilator of endangering demons like Madhu, Mura, and Naraka, and thou art fleetest while sitting on thine fleetly Divine Eagle Garuda, thus to thee, the prime causer of unhindered disporting for the stock of  devout divinities, Krishna, hail to thee… [a pa 2-4]

Even if he does not incarnate manifestly, he is kind enough to eliminate evildoers like these demons, hence he is dependable for unforeseen calamities.

amalakamaladalalochana bhavamochan e |
tribhuvanabhavananidhaana jaya jaya deva hare || a pa 2-5

words separated - amala kamala dala lochana bhava mochana tri bhuvana
bhavana nidhaana jaya jaya deva hare

a pa 2-5 . jaya= hail; a mala= not, blemished [dispassionate, unbigoted]; kamala dala= white-lotus, petal [like]; lochana= eyed one; bhava mochan= mundane life, releaser; tri bhuvana = triad, of worlds; bhavana= becoming, [manifestation]; nidhaana= prime cause [or, as in other mms: tri bhuvana = triad of worlds]; bhavana= called a housing; nidhaana= in-dweller, or a treasure trove; jaya deva hare= as above.

Hail thee… for thou art the prime cause for the manifestation of a housing for the triad of worlds, thus to thee, the releaser of devotees from their mundane existence with thine eyes, that are like petals of white-lotus, unbigoted, and impartial, Krishna, hail to thee… [a pa 2-5]

 Because the hero is said to be the releaser or saviour his attribute is parama aananda lakshaNa, everlasting blissfulness. 

janakasutaakR^itabhuuShaNa jitaduushhaNa e |
samarashamitadashakhaNTha jaya jaya deva hare || a pa 2-6

words separated - janaka sutaa kR^ita bhuuShaNa jita duushhaNa samara
shamita dasha khaNTha jaya jaya deva hare

a pa 2-6 . jaya= hail; janaka sutaa= Janaka’s, daughter, Seetha; kR^ita bhuuShaNa= made you, as an ornament; jita duuShANa= conquered [mitigated,] Dushana is; samara shamita = in war, mollified; dasha khaNTha= ten, throated one, octahedron Ravana; jaya jayadeva hare= as above.

Hail thee… for Janaka’s  daughter Seetha made thee as her pendant ornament, for thou repose on her bust, thus to thee, the mitigator of demon Dushana and the mollifier of octahedral Ravana, hail to thee… [a pa 2-6]

 There is another shade for ‘an ornament to Seetha…’ Rama decorates and paints foliate designs on the body of Seetha, with an erasable tattooing. When Seetha was ill at ease to wear sari of an anchoress, when given by Kaikeyi, Rama demonstrates the folding, tying, and wearing of that dress. Thus by these two, the hero is qualified not only as a romantic hero, but a knower of all arts sarva kalaa vishaarada, and even as a brave and bold enemy subjugator, by way of releasing Dushana from mortality kaaruNya bhaava, and by mollifying the self-conceit of Ravana, taaruNya bhaava are indicated.

abhinavajaladharasundara dhR^itamandara e |
shriimukhachandrachakora jaya jaya deva hare || a pa 2-7

words separated - abhinava jala dhara sundara dhR^ita mandara shrii mukha
chandra chakora jaya jaya deva hare

a pa 2-7 . jaya= hail; abhinava= freshly new; jala dhara= water, bearer [black cloud]; sundara= handsome; dhR^ita mandara= sustainer, of Mt . Mandara, or Manthara; shrii mukha= Goddess Lakshmi’s, face; chandra chakora= moon, chakora bird; jaya deva hare= as above.

Hail thee… for thou art handsome like a fresh and new vapourish blue-black cloud, yet thou sustained voluminous Mt. Mandara when Milky Ocean was churned, and yet thou art like a small chakora bird that gazes at the moon to swill its shine, thus to thee, who gazes at the moonlike face of Goddess Lakshmi, to swill her sheen, hail to thee… a pa [2-7]

 So far the personality of Supreme Person is portrayed with his attributes and endowments svaruupa ruupa guNa vibhuuti and now the poet is appealing on his own, and on behalf of fellow devotees to bestow beneficence.

tavacaraNe praNataavayamiti bhaavaya e |
kurukushalam praNateShu jaya jaya deva hare || a pa 2-8

words separated - tava caraNe praNataa vayam iti bhaavaya kuru kushalam praNateShu jaya jaya deva hare

a pa 2- 8 . jaya= hail; hare= oh, Krishna; tava caraNe praNataa= at your, feet, adoring; vayam= we are; iti bhaavaya= thus, you deem; kuru kushalam= make happen, blessing; praNateShu= among adorers; jaya deva= as above.

Hail to thee, oh, Krishna, deem that we are adoring your own feet and none else, thus let your adorers be blest by your blessing, and thus, oh, felicitous sin remover, hail to thee… [a pa 2-8]

 Comment: This verse may not be found in other mms. Next the poet is taking up the closing verse of this eight-foot verse - aSTa padi.

shriijayadevakaveridam kurute mudam e |
ma~Ngalamujjvalagiitam jaya jaya deva hare || a pa 2-9

words separated - shrii jayadeva kaveH idam kurute mudam ma.ngalam ujjvala giitam jaya jaya deva hare

a pa 2-9 . shrii hare= oh, Shri Krishna; ujjvala= brilliant; giitam [or, giiti]= song; idam jayadeva kaveH= this one, by Jayadeva, poet; maN^galam= auspicious [te= to you]; mudam kurute= rejoice, making; jaya jaya deva= hail, hail, oh, god . Or idam mangalm giitam= this, auspicious, song; jayadeva kaveH mudam kurute= to Jayadeva, poet, rejoice, causing; Or te mangala giitam= on you, auspicious, song; jayadeva kaveH= of Jayadeva, poet; mangalam kurute = auspiciousness, causing [to singers and listeners]

Oh, Shri Krishna, let this brilliant song on you, rendered by poet Jayadeva, be auspicious and rejoicing to you, hail, hail to thee, oh, god…

 Oh, Shri Krishna, this brilliant and auspicious song rendered on you, is rejoicing the poet Jayadeva, hail, hail to thee, oh, god… 

Oh, Shri Krishna, let this brilliant and auspicious song on you, rendered by poet Jayadeva, be auspicious and rejoicing to the singers and listeners as well, hail, hail to thee, oh, god… [a pa 2-9]

 This is sung in bhairavi raaga - tripuTa taala; chandas - mangala; naayaka lakshaNa - dhiira lalita, shR^ingaari; taala - lalita; aalaapana - is available at the end of each foot. 

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padmaapayodharataTiiparirambhalagna
kaashmiiramudritamuro madhusuudanasya |
 vyaktaanuraagamiva kheladana~Ngakheda
 svedaa.mbupuuramanupuurayatu priyam vaH || 1-6

words separated - padmaa payo dhara taTii pari ra.mbha lagna kaashmiira mudritam uraH madhu suudanasya vyakta anuraagam iva khelat ana.nga kheda sveda a.mbu puuram anupuurayatu priyam vaH

1-6 . padmaa= Goddess Lakshmi's; payaH dhara= milk, bearers - bosoms; taTii= perimeter; parirambha= on embracing [pari= in overarching manner; rabh= embracing;] lagna= touched [speckled]; kaashmiira= saffron [vermilion mark on forehead]; mudritam= imprinted; vyakta anuraagam iva= manifest, fondness, like [heartily fondness]; khelat= pulsating [twinkling]; ananga kheda= by plays of passion, strained; sveda ambu puuram = sweat, water [drops,] filled with [pour forth, hR^idaya anuraagam iva= heartily fondness like]; madhu suudanasya= demon Madhu, eliminator of [Krishna's]; uraH= chest; vaH= you all [naH= us also]; anupuurayatu= will accord fulfilment; priyam [a priyam]= likes [and dislikes.]

On tightly embracing the perimeter of Lakshmi's bosom, speckled is her forehead's vermilion mark on his chest, and it is twinkling like an imprint for his heartily fondness that is about to manifest, but sealed by this mark, and he is strained by the plays of passion, thus his chest is pouring forth sweat, as though it is his heartily fondness for her and for all us, hence let that chest of Krishna accord fulfilment to our likes and dislikes... [1-6]

Why his heart should bless us when he has four hands, of which one is said to be a blessing hand? There will be three items of annihilation, namely disc, mace, and conch in three hands and the fourth is said to be abhaya hasta blessing hand. Is it withdrawn or what? Not so, that blessing hand is symbolic one when he alone functions. Here his chest is now under the auspices of Lakshmi, and thus both of them are blessing - a double blessing. She knows that his heart feels fondness for anyone, but she is unbothered if that fondness is for some devotee. It will be bothersome if this god brings in another ladylove, apart from those that are already available. So, a seal is sealed, mudritam on his heart with her vermilion mark, kumkuma, tilaka . By her doubting, we must infer that he has 'such a fondness' for not only for Rukmini and Satyabhama and the like, but even more for Raadha.

This is for establishing the poetics about the hero. naayika - mugdha; naayaka - kushala; rasa - sringaara; alankaara - utpreksha, aashiis, anupraasa; vasanta tilaka is its metre. Next, Raadha's disposition is being narrated according to poetics, as she is the leading lady of this work

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vasante vaasantiikusumasukumaarairavayavaiH
bhramantiim kaantaare bahuvihitakR^iSNaanusaraNaam |
amandam kandarpajvarajanitachintaakulatayaa
valadbaadhaam raadhaam sarasamidamuche sahacharii || 1-7

words separated - vasante vaasantii kusuma sukumaaraiH avayavaiH bhramantiim kaantaare bahu vihita kR^iSNa anusaraNaam amandam kandarpa jvara janita chinta aakulatayaa valad baadhaam raadhaam sa rasam idam uche saha charii

1-7 . vasante= in spring season; kandarpa jvara janita= by Love-god's, fever, caused by [caused by spring fever]; chinta aakulatayaa= by anguish, disquieted; valat [calat] baadhaam = recurrently, distraught [Raadha]; vaasantii kusuma= [delicate] vernal, flower [like]; sukumaaraiH avayavaiH= with dainty, limbed [physique]; bhramantiim kaantaare= meandering, in woodlands; bahu vihita= in many [ways,] make happen [the search]; kR^iShaNa anu saraNaam = Krishna's, one who is following [searching]; raadhaam= to Raadha; sahacharii= girlfriend; sa rasam = with, romanticism [romantically]; a mandam= not, slowly [quickly]; idam uuche= this, said.

In spring season Krishna is playing truant with her, thus she is disquieted by the anguish caused by the spring fever, that which is ignited by Love-god, and thus she is recurrently distraught, and thus she is meandering in woodlands with her daintily limbed physique, similar to a delicate reddish vernal flower, and thus as a searcher for Krishna she searched for him in many a way, but in vain, and to such a Raadha, her girlfriend said this quickly, yet romantically... [1-7]

 Because the hero has not come to her, in spite of her earnest longing, hence the heroine is viraha utkaNThita . A hero having uniform interest in all of his women is dakshiNa naayaka; sringaaram - vipralambha; riiti - vaidarbhi; alankaara - vR^itti anupraasa lupta upama; vR^ittam - sikhiriNi - is the metre of this verse.

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aSTa padi -3 - maadhava utsava kamalaakaram

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lalitalava~Ngalataaparishiilanakomalamalayasamiire | madhukaranikarakarambitakokilakuujitaku~njakuTiire |
viharati haririha sarasavasante | nR^ityati yuvatijanena samam sakhi
- virahijanasya durante - dhR^ivam || a pa 3-1

words separated - lalita lava.nga lataa parishiilana komala malaya samiire madhukara nikara karambita kokila kuujita ku.nja kuTiire viharati hariH iha sa rasa vasante nR^ityati yuvatii janena samam sakhi virahi janasya durante

a pa 3-1 . lalita lavanga lataa= slimly, clove gillyflower plants, tendrils of; parishiilana= [lexically] on examining, [interwoven with their fragrance]; komala= gentle; malaya samiire= Mt . Malaya [with sandalwood trees] breezes; madhu kara nikara= honey, makers [honey bees] swarms of; karambita= intermingled with; kokila kuujita= by Kokila [black singing bird] crooned; kunja kuTiire= bowery, in cabins;

vi rahi= without, having [their lovers, estranged couples]; janasya= of people; dur ante = non, stop endless, incessant [unrequited]; [ellipted] vasante= in springtime; - unrequited are lovelorn people in vernal season; or, dur ante vasante= for adverse, end, to spring fever = terminable is spring fever; in spring alone the unrequitedness of lovelorn people is terminable; lovelorn people are unrequited, otherwise; hariH - iha - 1 sa - ra - 2 sa - vasante

saH= he, [for whom you are searching; where the second sa became saH; saH vasante viharati nR^ityati ca]; hariH= Hari, Krishna; vasante= in spring season; yuvatii janena= with girls of age, folks; samam= even as [at the very moment]; viharati nR^ityati= frolicking, dancing; sakhi = oh, dear; sara= come on [when the first sa with ra became sara = move on, come on]

sa mam= with, glory [gloriously]; yuvati jane nR^ityati= with girls of age, folks of, dances; sa rasa vante [vasante] = with sapful bliss, inclusive of [spring season that which contains the sapful bliss]; na= isn't he [phatic expression minus ? mark]; virahati= frolicking.

Now the gentle breezes with scents of sandalwood from Mt. Malaya, the abode of sandalwood trees, on swivelling round the tendrils of clove gillyflower plants, they are gently breezing, interwoven with both the fragrances... bowery cabins are intermingled with the buzzes of swarms of honeybees and with the croons of Kokila-s... and he for whom you are searching, that Krishna is frolicking and dancing with folks of girls of age in Brindavan, at this very moment for this is spring, isn't it... oh, dear, therefor, come on... let's go... lovelorn people are unrequited, otherwise... [a pa 3-1]

 Here the heroine compared to clove plant and hero to breeze, hence - uddipana vibhaava - an idea escalated.

unmadamadanamanorathapathikavadhuujanajanitavilaape | alikulasa.nkulakusumasamuuhaniraakulabakulakalaape || a pa 3-2

words separated - ut mada madana manoratha pathika vadhuu jana janita
vilaape ali kula sa.nkula kusuma samuuha niraakula bakula kalaape

3-2 . ut mada= heightened, rejoice; madana manoratha= lust, longings [lustfulness]; pathika= of itinerants; vadhuu jana= women, folks of; janita vilaape= caused, ruefulness; ali kula= by honeybee, stock of [swarms of]; sankula= hurley-burley; kusuma samuuha= flowers, groups of [bunches of]; niraakula= full of; vakula= Mimusops elengi, any of various acacia plants with showy yellow flowers; kalaape= in thickets; annexable - hariH iha viharati ... durante.

Now the swarms of honeybees are hurley-burley on the bunches of flowers, and the thickets of spring are full with showy yellow flowers, thereby heightened will be the rejoice and longings of womenfolk of itinerants, but this paraphernalia of spring alone causes ruefulness and spring fever in them, but Krishna is frolicking and dancing with folks of girls of age in Brindavan, at this very moment for this is spring... oh, dear, therefor, come on... let's go... lovelorn people are unrequited, otherwise... [a pa 3-2]

mR^igamadasaurabharabhasavasha.nvadanavadalamaalatamaale | yuvajanahR^idayavidaaraNamanasijanakharuchiki.nshukajaale || a pa 3-3

words separated - mR^iga mada saurabha rabhasa vasha.nvada nava dala maala
tamaale yuva jana hR^idaya vidaaraNa manasija nakha ruchi ki.nshuka jaale

a pa 3-3 . mR^iga= deer; mada= fat [musk]; saurabha= of fragrance; rabhasa= speediness [instantaneous]; vashanvada= self-surrendered [one's own]; nava dala= new, tender leaves having; maala= enwreathing [the environ]; tamaale= having Tamaala trees; yuva jana= young, people's; hR^idaya vidaaraNa= heart, rending; manasi ja= of mind, born one, [Love-god, for he takes birth in one's own mind]; nakha= of nails; ruchi= in shine with; kinshuka= Butea frondosa, with blood red flowers; jaale= bunches of; annexable - hariH iha viharati...durante.

Now the black Tamaala trees are enwreathing the environs with their new tender leaves that have their own fragrance, like that of the instantaneous fragrance of deer's musk, and those blackish Tamaala trees have bunches of reddish flowers, that are like the tender and roseate nails of Love-god, that rend the hearts of youngsters of age, as such Krishna is frolicking and dancing with folks of girls of age in Brindavan, at this very moment for this is spring... oh, dear, therefor, come on... let's go... lovelorn people are unrequited, otherwise... [a pa 3-3]

madanamahiipatikanakadaNDaruchikesarakusumavikaase | militashiliimukhapaaTalipaTalakR^itasmaratuuNavilaase || a pa 3-4

words separated - madana mahii pati kanaka daNDa ruchi kesara kusuma vikaase
milita shilii mukha paaTali paTala kR^ita smara tuuNa vilaase

a pa 3-4 . madana= Love-god; mahii pati= land, lord [king]; kanaka= golden; daNDa= sceptre; ruchi= in shine with; keshara kusuma= Kesara [Mimisops elangi] flowers; vikaase= bloomed; milita = commingled; shilii mukha= iron, faced = arrow / honeybee [bees are metaphorical to the arrows of Love-god, shliSTa ruupaka]; paaTali paTala= cup like daffodil flowers, bunches of; kR^ita= made as [rendered as]; smara = Love-god's; tuuNa vilaase= quiver, in fashion of.

Now the bloomed golden flowers of Kesara are in shine with the sheen of the sceptre of kingly Love-god, the ruler of spring, and the bunches of cup like daffodils are in the fashion with his quivers, and the bees swarming on flowers are rendered as the arrows of that Love-god, bolted on unrequited love pairs in this season, as such Krishna is frolicking and dancing with folks of girls of age in Brindavan, at this very moment for this is spring... oh, dear, therefor, come on... let's go... lovelorn people are unrequited, otherwise... [a pa 3-4]

 The Love-god, Manmatha, has only one quiver and one bow, and only five flower arrows - aravindam, ashokam, cuutam, nava mallika, niilotpala - but here they get multiplied as the love-pairs are many.

vigalitalajjitajagadavalokanataruNakaruNakR^itahaase | virahinikR^intanakuntamukhaakR^itiketakadanturitaashe || a pa 3-5

padacChjeda - vigalita lajjita jagat avalokana taruNa karuNa kR^ita haase virahi
nikR^intana kunta mukha aakR^iti ketaka danturita ashe

a pa 3-5 . virahi= lovelorn ones; vi galita= completely, tumbled [utterly bereft of]; lajjita= having prudishness; jagat= world [lovelorn people]; avalokana= on espying; taruNa karuNa= tender, whitish Karuna flowers; kR^ita haase= made, laugh at; [or, jagat vigalita lajjita = at people, who are utterly bereft of prudishness; avalokana= on espying; taruNa= youngsters of age [who are with their ladyloves]; karuNa= piteously; kR^ita haase= making, saddish grins = [youngsters who are with their ladyloves are grinning sadly at those that are behaving oddly as they are bereft of their prudishness]; virahi= lovelorn ones; nikR^intana= [as though] to lunge, tear asunder; kunta mukha akR^iti= spear, faced, in shape; ketaka= Ketaka, Mogra flowers; danturita ashe= full with, directions of compass.

Now the tender whitish flowers of Karuna are in full bloom, and they on espying the lovelorn people, who are utterly bereft of their prudishness in their lovesick behaviour, appear to be laughing at them, and the long and spear-faced Mogra flowers are in full bloom in all directions, as though ready to lunge and tear asunder the hearts of lovelorn people, as such Krishna is frolicking and dancing with folks of girls of age in Brindavan, at this very moment for this is spring... oh, dear, therefor, come on... let's go... lovelorn people are unrequited, otherwise... [a pa 3-5]

maadhavikaaparimalalalite navamaalikajaatisugandhau |
munimanasaamapi mohanakaariNi taruNaakaaraNabandhau || a pa 3-6

words separated - maadhavikaa parimala lalite nava maalika jaati sugandhau
muni manasaam api mohana kaariNi taruNa a-kaaraNa bandhau

a pa 3-6 . maadhavikaa= of Maadhavai flower plant - Gaertnera racemosa; parimala= fragrance; lalite= gentleness; nava maalika= double jasmine; jaati= jasmines, Jasminum grandiflorum; sugandhau= with pleasant fragrances; [or, as in other mms: nava maalika jaati sugandhau= double jasmines, jasmines', with the fragrances of ]; muni manasaam api= saints, hearts, even; mohana kaariNi = baffle, causers of [bafflers of]; taruNa= for youngsters of age; a+ kaaraNa bandhau [iva] = without, reason [unexpected,] kinsman, [like.]

Now the springtime is fragrant with the gentle fragrance of Maadhavi flowers, even with the pleasant fragrance of double jasmine and jasmines, and such a season can cause bafflement even to the hearts of saintly saints, not to say of youngsters, but springtime is like an unexpected kinsman of those youngsters, as such Krishna is frolicking and dancing with folks of girls of age in Brindavan, at this very moment for this is spring... oh, dear, therefor, come on... let's go... lovelorn people are unrequited, otherwise... [a pa 3-6]

sphuradatimuktalataaparirambhaNamukulitapulakitachuute |
bR^indaavanavipine parisaraparigatayamunaajalapuute || a pa 3-7

words separated - sphurat atimukta lataa pari ra.mbhaNa mukulita pulakita chuute
bR^i.ndaavana vipine pari sara pari gata yamunaa jala puute

a pa 3-7. [vasante= in spring season]; sphurat= vibrate, titillating; ati mukta lataa= Maadhavi, tendrils; pari rambhaNa= by overarched, whorled; mukulita= having buds; pulakita = ticklish; chuute= mango trees; pari sara= around, surging; pari gata= around, going [flowing in an enwreathing and surging manner]; yamunaa jala puute= by River Yamuna, waters, sanctified; bR^indaavana vipine= in Brindavan named, forest; [or, bR^inda= group of yearners, yearning for love of god; avane= that which can alleviate, accord release, moksha; vipine= wilderness, solitude.]

In this spring season, whereat the titillating tendrils of Maadhavi climber plants are whorled around the budding mango trees in an overarching manner, tickling those mango trees, and whereat River Yamuna is flowing in an enwreathing and surging manner, with whose waters that place is sanctified, and in which sanctified place obtainable is the final release, moksha, namely Brindavan, and in which solitude a group of yearners are yearning for the love of Krishna, hence Krishna is frolicking and dancing with groups of girls of age, at this very moment... oh, dear, therefor, come on... let's go... lovelorn people are unrequited, otherwise... [a pa 3-7]

Comment: The climber plants are feminine and the mango trees are masculine. According to the saying vanita, kavita, lata, na aashrayam vinaa shobhate - a maid, a poetry, or a tendril cannot possibly outshine themselves, with not a leg to stand on. Thus, when sessile beings are thrilling and tickling in spring, how about other living beings.

shriijayadevabhaNitamidamudayati haricharaNasmR^itisAram | sarasavasantasamayavanavarNanamanugatamadanavikaaram || a pa 3-8

words separated - shrii jayadeva bhaNitam idam udayati hari charaNa smR^iti
saaram sarasa vasanta samaya vana varNanam anu gata madana vikaaram

a pa 3-8 . shrii hari= Shri Krishna's; charaNa= feet; smR^iti= remembrancer of; saaram= having sapful bliss, [or, smR^iti saaram= for meditating; saaram= the best; sa rasa= plays of passion, sapful bliss, one having such ingredients; or, sarasa= congenial poetry]; vasanta samaya= spring, time; vana= woodlands [or, about gregariously reclusive Brindavan]; varNanam= having depictation; anugata= ingoing, imbibed; madana vikaaram= with passional, immoderations; idam jayadeva bhaNitam= this, Jayadeva, uttered by [poetry]; udayati= dawning, emerging, coming up.

This poem can be a remembrancer of Krishna's feet, for it has all the ingredients to obtain a sapful bliss from it, and this is even a best and congenial poem to meditate upon them, as this has a sapid depictation about the gregariously reclusive Brindavan, and even imbibed are the passional immoderations of springtime fevers, and such a poem is now coming up, as uttered by Jayadeva, on the feet of Shri Krishna... [a pa 3-8]

In this aSTa padi: alankaara - jaati; naayika -madhya; naayaka - dakshiNa; rasa - vipra lambha sringaara; chanda - laya; raaga - vasanta; taala - jhampa. Thus, this aSTa padi named maadhavotsava kamalaakaram  concludes here.

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daravidalitamalliivallichaJNchatparaaga
prakaTitapaTavaasairvaasayan kaananaani |
iha hi dahati chetaH ketakiigandhabandhuH
prasaradasamabaaNapraaNavadgandhavaahaH || 1-8

words separated - dara vidalita mallii valli cha.nchat paraaga prakaTita paTavaasaiH
vaasayan kaananaani iha hi dahati chetaH ketakii gandha bandhuH prasarat
asama baaNa praaNa vat gandha vaahaH

8 . dara= a little, just; vi dalita= unfolded, blooming; mallii valli= jasmine, intertwines of tendrils; chanchat= on jiggling; paraaga= by pollen; prakaTita= made known, disseminating; paTavaasaiH= with perfumed powder-sprays [as in playing Holi festival]; kaananaani vaasayan= woodlands, on making fragrant; ketakii gandha bandhuH= of Ketaki flowers, fragrance of, a relative like [in league with]; prasarat = rambling; asama= unequalled one [Love-god's]; baaNa= bow, [Love-god's bow]; praaNa vat= his lives, as if [or, forcefully by Love-god]; gandha vaahaH= perfume, carrier - breeze; iha= now; chetaH dahati hi= hearts, burning, indeed.

The springtime breeze, on jiggling the intertwines of jasmine tendrils, that are with their just bloomed jasmines, is disseminating their pollen, like the sprays of perfumed powder, thus this breeze is ramblingly disseminating even the fragrance of Ketaki flowers, in league with that of jasmines, thus this breeze is rendering the woodlands fragrant, moreover this breeze, though a coolant fragrance-carrier, it has become as if the life-breath of Love-god, and now it is forcefully burning the hearts of estranged couples, indeed... [1-8]

 This verse has: alankaara - samaasokti, vrittyanupraasa, upama; sringaara - vipralambha; riiti - paancaali; metre - maalini.

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unmiilanmadhugandhalubdhamadhupavyaadhuutachuutaa~Nkura kriiDatkokilakaakaliikalakalairudgiirNakarNajvaraaH |
niiyante pathikaiH katha.nkathamapi dhyaanaanudhaanakshaNa praaptapraaNasamaasamaagamarasollaasairamii vaasaraaH || 1-9

words separated - unmiilat madhu gandha lubdha madhupa vyaadhuuta chuuta a.nkura kriiDat kokila kaakalii kala kalaiH udgiirNa karNa jvaraaH niiyante pathikaiH katham katham api dhyaana anudhaana [avadhaana] kshaNa praapta praaNa samaa samaagama rasa ullaasaiH amii vaasaraaH

9 . madhu gandha lubdha= honey, fragrance, greedy of; madhupa= by honeybees; vyaadhuuta [vi aa dhuuta]= up heaved; unmiilat= unfolding, just sprouted [tender leaves]; chuuta ankura kriiDat= in mango, tender leaves, playing; kokila= Kokila, singing birds; kaakalii= pleasant; kala kalaiH= with singsong coo-cooing [kila, kila-s onomatopoeic words]; udgiirNa karNa jvaraaH= heightened, ear, fever [frenzy]; amii vaasaraaH= these, days; dhyaana= rumination; anudhaana [avadhaana]= interested in [daydreaming]; kshaNa= for a moment; praaNa samaa= lives, coequal [alter ego]; praapta samaagama= bechanced [came to mind,] togetherness; rasa ullaasaiH= in mouth-watering [in ravishing,] felicity; katham katham api= somehow, somehow, even so; pathikaiH = by itinerants; niiyante= led away.

The honeybees greedy for the fragrance of nectar of mango flowers are up heaving the just sprouted leaflets of mango trees, thus the singing birds Kokila-s, which are equally greedy to nibble the new tender leaves of mango trees are in those leaves, but disturbed when swarmed by bees, and they are taking to their wings with their pleasant sing-song coo-cooing, and on listening these clarion calls of Kokila-s heightened is the frenzy of ears of itinerants, for their ladyloves, who are their alter egos, came to their mind for a moment, and these days of springtime are somehow led away by them, by dreamy rumination on their dreamy ravishing felicity together with their ladyloves, as in daydreaming. [1-9]

 This springtime is more bothersome than the bother of separation from their ladyloves, and hence time has predominance on earthlings, may it be humans or others. But humans can quench their desires in drams, and when they can dream about embracing their ladyloves, they can even dream about the all-embracing Krishna. Here Raadha is not advised to be dreamy, but to quickly reach her goal, namely Krishna. Spring is the only season for pastoral poetry and hence it is extolled thus far. alankaara - kaavya linga; riiti -gauDi; shringaara - vipralambha; metre - shaarduula vikrriDitam.

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anekanaariiparirambhasambhrama sphuranmanohaarivilaasalaalasam |
muraarimaaraadupadarshayantyasau sakhii samaksham punaraaha raadhikaam || 1-10

 words separated - aneka naarii pari ra.mbha sa.mbhrama sphurat manohaari vilaasa laalasam
mura arim aaraat upa darshayanti asau sakhii samaksham punaH aaha raadhikaam

10 . asau sakhii= this, girlfriend [of Raadha]; aneka naarii= not one [many,] women of age; pari rambha = in embracing; sambhrama= anxious of; sphurat= erratic [scintillating one]; manaH haari= heart stealing one; vilaasa laalasam= in frolicking, interested; mura arim= demon Mura's, enemy; aaraat= in vicinity; samaksham= within eyeshot; upadarshayanti= she is showing him; raadhikaam punaH aaha= to Raadha, again, telling.

This girlfriend of Raadha is telling her again by showing him, who is in the vicinity and within eyeshot, who is scintillatingly anxious to embrace not one, but many women, one who is a heart-stealer and an interested one in frolicking, more so an enemy of Mura, namely Krishna. [1-10]

 This verse has sringaara - sambhoga; naayaka - dakshiNa; alankaara - anupraas; metre - vamshastha.

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aSTA padi 4 saamoda daamodara bhramara padam

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chandanacharchitaniilakalevarapiitavasanavanamaalii | kelichalanmaNikuNDalamaNDitagaNDayugasmitashaalii |
haririhamugdhavadhuunikare vilaasini vilasati kelipare | dhR^ivam | a pa 4-1

words separated - chandana charchita niila kalevara piita vasana vanamaalii keli chalat maNi kuNDala maNDita gaNDa yuga smita shaalii hariH iha mugdha vadhuu nikare vilaasini vilasati keli pare

a pa 4-1 . chandana= with sandal paste; charchita= bedaubed; niila kalevara= on bluish, body; piita= [pale brownish yellow] ochry; vasana= silk cloths [clad in]; vanamaalii= one who wears a garland of basil leaves and flowers; keli chalat= while playing [while romping,] moving [swaying]; maNi kuNDala= gems [gem studded,] knobby ear-hangings; maNDita= by [ear-knobs] embellished; gaNDa yuga= cheeks, pair; smita shaalii= of smiling on with such disposition [gleeful one]; hariH iha= Krishna, now; vilaasini= ravishing [damsels]; mugdha= coyly; vadhuu nikare= damsels, in group [amidst coterie]; vilasati= frolicking; keli pare= in game [here - in ronde; Fr. ronde = n. a dance in which the dancers move in a circle, raasa liila, raasa kriiDa] rapturous [game.]

He, whose sapphirine-bluish body is bedaubed with sandal paste, clad in ochry silks, and garlanded with a garland of basil leaves and flowers, and whose both cheeks are embellished by the sways of his gem-studded knobby ear-hangings, while he is romping, he that gleeful Krishna is now amidst a coterie of ravishing and coyly damsels, in a rapturous ronde…

 All these stanzas are girlfriend’s dialogue with Raadha, but the addressing ‘oh, Raadha…’ is omitted. With this she has also said, ‘when you are here, an expert in romantic amusement, leaving you Krishna’s frolicking with coyly, simplistic and naïve girls is unbefitting for him… hence, you go at once…’ naayika - utkaNThita .

Many take the word niila kalevara - as an absolute black colour of body, while it is sky-blue-black, on par with ‘sky-blue pink’ n. & adj. n. an imaginary colour, or somewhat semi-sapphirine-blue and similes with the sky itself, as sky is the Absolute - kham brahma . Hence, some hex value is to be derived for this hue of sky-blue-black at least now, or said as somewhat sapphirine-bluish colour. And piita ambara and vanmaala are not just rustling ochry silks and garland of wild leaves, but those basil leaves and silken garments are also the removers of sins.

piinapayodharabhaarabhareNa harim pariramya saraagam |
gopavadhuuranugaayati kaachiduda~nchitapa~nchamaraagam |
haririha - - - - kelipare || a pa 4-2

words separated - piina payodhara bhaara bhareNa harim pari rabhya - ramya - saraagam
gopa vadhuuH anu gaayati kaachit uda.nchita pa.nchama raagam

a pa 4-2 . kaachit= someone; gopa vadhuuH= milker’s, damsel [milkmaid]; piina payo dhara= bosomy, bust; bhaara bhareNa= weight, carrying [weightiness]; sa raagam= with, longing; harim= Krishna; pari rabhya [ramya]= in over [arching manner,] hugging [cleaving to]; udanchita= in a heightened; panchama= fifth [note, octave]; raagam= melodiously; anu= in tune with his fluting]; gaayati= singing; annex: haririha…kelipare = as above.

Someone, a milkmaid, eager to ease the weightiness of her bosomy bust is cleaving to Krishna in a overarching manner, and then in a heightened octave she is singing melodiously, in tune with his fluting, hence, he that gleeful Krishna is now amidst a coterie of ravishing and coyly damsels, in a rapturous ronde… [a pa 4-2]

 The damsel is hugging even before the hero tries to embrace her; hence, she is in eagerness as her naayika lakshaNa is mugdha, a meekish heroine. Some scholars translate this word mugdha as a foolish girl. This translates as - innocent, ignorant, artless rhetorical naayika, artless insofar as romantic advances are concerned. If this black boy and white girl combination is set aside for a while, it is the twosome of devotee-god, trying to achieve oneness, in which the devotee has to make his/her first move to embrace the god, as in markaTa nyaaya - mother monkey and child monkey syndrome, that contrasts with maarjaala nyaaya - cat-kitten syndrome. Swelling bosoms suggests swelling milky devotion, where both emerge from bosom alone, contrary to a lip service.

kaapi vilaasavilolavilochanakhelanajanitamanojam |
dhyaayati mugdhavadhuuradhikam madhusuudanavadanasarojam |
haririha - - - - kelipare || a pa 4-3

words separated - kaa api vilaasa vilola vilochana khelana janita manojam dhyaayati
mugdha vadhuuH adhikam madhu suudana vadana sarojam

a pa 4-3 . kaa api= someone, even; mugdha vadhuuH= meekish, damsel [one who is an inexpert in romancing, sringaara ceSTaaH abhaava ]; vilaasa= by romantic gesticulations [haava bhaava ceSTaaH shuunyata of Krishna, or of that milkmaid]; vi lola= verily, flustered; vi lochana= wide, eyes; khelana= by their play [of eyes, slanting, siding glances]; janita= caused; manaH jam= mind, causer of [one who can give rise to Love-god, Krishna, personified passion]; madhu suudana= demon Madhu’s, eliminator [Krishna’s]; vadana= face; saraH jam = lake, born [lotus, beautiful lotus like beautiful face]; adhikam dhyaayati= highly [fixatedly,] contemplating.

Even someone, a meekish damsel, for being an inexpert in romancing she is helpless, but caused is the passion in her mind, by the romantic gesticulations of Krishna and even by his slanting and sliding glances of his verily flustered wide eyes, thus she at once started gazing at the beautiful lotus like face of the eliminator of demon Madhu, namely Krishna, and fixatedly contemplating on that face, thus, that gleeful Krishna is now amidst a coterie of ravishing and coyly damsels, in a rapturous ronde… [a pa 4-3]

Or

Even someone, a meekish damsel, is impassioned for she is there, and by her inexpert gesticulations of romance, like her slanting and sliding glances with her flustered wide eyes, she caught a sight of the beautiful face of Krishna, beautiful like a lotus, from then on she fixatedly contemplated on that face, for she is an expert in contemplation, thus, that gleeful Krishna is now amidst a coterie of ravishing and coyly damsels, in a rapturous ronde… [a pa 4-3]

 All may not be expert danseuses or songsters, but lovingness is common in all. Some girl came there, but she became a third row ballerina, or fourth row chorus girl, even then that environ enkindles a kind of belongingness in her, and she longed for him in her way - prekSya - prekSaka riiti . Usually contemplations come in when the object to contemplate is not before the eyes. But he is very much there, even then, she is contemplating. Again, she is mugdha, somewhat artless, meekish heroine. Reaching him is the goal, whether it is a bodily reaching, or reaching through contemplation. Some derive the word madhu suudana vadana sarojam basing on the root Suuda ksharaNe as madhu = honey, nectar; suudana = spilling; that lotus like face is pouring forth potable nectar of grace.

kaapi kapolatale militaa lapitum kimapi shrutimuule |
chaaru chuchu.mba nita.mbavatii dayitam pulakairanukuule |
haririha - - - - kelipare || a pa 4-4

words separated - kaa api kapola tale militaa lapitum kim api shruti muule
chaaru chuchu.mba nita.mbavatii dayitam pulakaiH anukuule

a pa 4-4 . kaa api= someone, even; nitambavatii= one with big buttocks; shruti muule= ear, base of [at earhole]; kim api= something, even; lapitum= to say; militaa dayitam= on reaching, her lover [Krishna]; pulakaiH anukuule= by tickles, made convenient [when Krishna’s face is tickly, his cheek is bent for her convenience to kiss it]; kapola tale= on cheek’s, surface; chaaru chuchumba= goodly [amusingly,] kissed.

Even someone with her big buttocks neared him as though to say something in his ear, and on reaching her lover Krishna, his tickly face conveniently turned sideways in all ears for her, thus she kissed his cheek conveniently and amusingly, thus that gleeful Krishna is now amidst a coterie of ravishing and coyly damsels, in a rapturous ronde… [a pa 4-4]

pulakita - tickly, when ladylove touched his ears, his body became tickly and thus he had to move his cheeks sideways; nitambavati - because her buttocks are heavy she could not run a race with Krishna, hence she paused him in his dance saying ‘listen this…’ and then carried off her wish; naayika - prauDha [somewhat artful one]; naayaka - anukuula [acquiescent one.]

kelikalaakutukena cha kaachidamum yamunaajalakuule |
maJNjulavaJNjulakuJNjagatam vichakarshha kareNa dukuule |
haririha - - - - kelipare || a pa 4-5

words separated - keli kalaa kutukena ca kaachit amum yamunaa jala kuule
ma.njula va.njula ku.nja gatam vichakarSa kareNa dukuule

a pa 4-5 . kaachit= someone; keli = [manmatha keli] plays of passions; kalaa= artistry; kutukena ca= with enthusiasm, also; [parihaasena ca= with glee, also]; yamunaa jala kuule = River Yamuna, waters, in bank; manjula= beautiful; vanjula kunja= Ashoka tree, bower; gatam = one who has gone there, frolicking in there; amum= him; dkuule= by his dress; kareNa= with her hand; vichakarSa= lugging along.

Someone, another milkmaid, enthusiastic in the artistry of plays of passion, and passionate to play in the waters of river Yamuna with Krishna, found him frolicking in a beautiful bower at that Ashoka tree, and she is gleefully lugging him along by his dress with her hand, thus that gleeful Krishna is now amidst a coterie of ravishing and coyly damsels, in a rapturous ronde, thus, that gleeful Krishna is now amidst a coterie of ravishing and coyly damsels, in a rapturous ronde… [a pa 4-5]

 Krishna is otherwise busy anyaasakta so she had to lug him along by catching his silk upper coth. Thus naayika - adhiira . It should have said as yamunaa kuule - for Yamuna riverbank. But it is said a river called Yamuna that contains water and banks… a river naturally contains water, then why that redundant usage of water… will be the exclamation. It has two purposes - she is interested in sporting in water with Krishna, and the other is to indicate that water’s cooling effect and sanctification - shaityatva, paavanatva and hence the word waters is used emphatically.

karatalataalataralavalayaavalikalitakalasva.mava.nshe |
raasarase sahanR^ityaparaa hariNaa yuvatiH prashasha.nse |
haririha - - - - kelipare || a pa 4-6

words separated - kara tala taala tarala valaya aavali kalita kala svana va.mshe raasa
rase saha nR^itya paraa hariNaa yuvatiH prashasha.nse

a pa 4-6 . yuvatiH= a maiden; kara tala= hand, surface - with palms; taala= by clapping rhythmically; tarala= moving; valaya= [valaya angada]= heavy wrist metal roundlets; avali= a group of, a set of; kalita= intermingling [touching one to one, clanking, clanks mingling with fluting]; kala svana= avyakta madura svana = undefinable dulcet clanks; vamshe= one who has a flute - va.msha = bamboo - mohana vamshii = name of Krishna’s bamboo flute; raasa= raasa kriiDa = in plays of passion, in ronde; rase= zealous [Krishna]; saha= along with; nR^itya paraa= in dancing, engrossed; hariNaa= by Hari, Krishna; prashashanse= [that maiden is] commended.

While a maiden is engrossed in ronde dancing, along with zealously dancing Krishna, she is clapping her palms in rhythm to his fluting, while doing so the sets of her heavy wrist metal roundlets are clanking in undefinable dulcet clanks, and those rhythmic clanks are intermingling with that fluting, and that flautist of mohana vamshi, the Divine Flute, namely Krishna, is singing the praises unto her, thus, that gleeful Krishna is now amidst a coterie of ravishing and coyly damsels, in a rapturous ronde… [a pa 4-6]

 By employing the word rasa raase it is said, though this girl is an inexpert in superfine singing and dancing, she is expert in her rustic, moorish, and boorish dances, hence she is aware of beat and rhythm - laya taala j~naana, thereby she is praiseworthy.

shlishhyati kaamapi chumbati kaamapi kaamapi ramayati raamaam |
pashyati sasmitacaaruparaamaparaamanugacChati vaamaam |
haririha - - - - kelipare || a pa 4-7

words separated - shlishhyati kaam api chu.mbati kaam api kaam api ramayati raamaam
pashyati saH smita caaru taraam aparaam anu gacChati vaamaam

a pa 4-7 . saH= such as he is, he that Krishna; kaam api= someone, even; shliSyati= cleaves to; kaam api chumbati= someone, even, kisses; kaam api= someone, even; raamaam = delightful damsel; ramayati= delights [her]; smita= beaming; caaru taraam= beauty, in high degree [most beautiful lass]; aparaam= another one; pashyati= sees to her, pay attention to; vaamaam= leftist, querulous one; anu= in tow; gacChati= goes after.

Such frolicsome Krishna is even cleaving to someone, and even kissing someone, and even delighting someone, a delightful damsel, and paying his attention to another beaming and most beautiful damsel, and he is going in tow after one with her slanting glances, thus, that gleeful Krishna is now amidst a coterie of ravishing and coyly damsels, in a rapturous ronde… [a pa 4-7]

 Here the word raamaam is generative from root ramu - ramu kriiDaayaam - one who gives and takes delight in which she is delighted. This word is on the analogy of the name of Rama in Ramayana. When the syllable ‘a’ is prolonged to ‘aa’ - ‘raa maa’ - it becomes feminine delighter and the delighted. And smita caaru taraam or, smita caaru paraam - ‘beamingly smiling’ indicates her readiness for intimacy, expressed in a smile itself. Hence, this piece of poem is floridly smiley. The word vaamaam - is displeased, irritated, peeved, vexed, querulous girl. Even if she were to be so, he can tame her shrewdness and bring her round by going after her. nayaka - catura [artful.]

All these acts are performed sequentially or at a time? At a time only - is the answer. How can one Krishna become many at a time, is its sequel. That is what raasa kriida or raasa liila is, and unimaginable are his acts, deeds, or plays of passion. Thus this poetry, though expressed in mundane parlance, attains a supramundane eros [aspiration toward value] - a divine lusting. The poet says in the next foot ‘that is why this is an amazing act of Krishna - adbhutam .

shriijayadevabhaNitamidamadbhutakeshavakelirahasyam |
vR^indaavanavipine lalitam vitanotu shubhaani yashasyam |
haririha - - - - kelipare || a pa 4-8

words separated - shrii jayadeva bhaNitam idam adbhuta keshava keli rahasyam
vR^indaavana vipine lalitam vitanotu shubhaani yashasyam

a pa 4-8 . yashasyam= endowing gloriousness [if sung or danced to its tunes]; vR^indaavana vipine= in Brindavan, woodlands [what that happens]; lalitam= exquisite [pleasure giver]; adbhuta= admirable; keshava= Krishna’s; keli rahasyam= plays of passion, arcaneness of; idam= this; jayadeva bhaNitam= by Jayadeva, articulated; shrii - shrii suukti = felicitous, saying, lyric, libretto, [with double entendre = n. a word or phrase open to two interpretations, one usu. risqué or indecent, here the whole poem]; shubhaani vitanotu= prosperities, let it radiate [ tr. transmit or demonstrate - life, love, joy, etc. ‘radiates happiness’.]

This song, which endows gloriousness to the devotees of Krishna, if sung or danced to its tunes, and which contains the arcaneness about the exquisite plays of passion of Krishna in equally arcanus Vrindavan, is articulated by Jayadeva, thus let it radiate prosperities to one and all… [a pa 4-8]

 With this the poet concludes this lyric. Here Krishna is adbhuta, because he is manifest separately to each of the milkmaid, in a trice, though remaining himself as one entity. In this lyric the words keli rahasyam are usually translated as secrets sports, or secret love-games etc., taking them to be rahasya keli kalaapam, but the word rahasyam qualifies the word keli . Then they are the secrets about those plays, of which the poet wishes to tell, but not how secretly the plays are played, and Krishna is no covert player, either in these dance dramas of Bhaagavata or in the politics of Maha Bhaarata. chandas - laya .

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vishveShaamanura.njanena janayannaanaana.ndamindiivara shreNiishyaamalakomalairupanayanna~Ngairana~Ngotsavam |
svacCha.ndam vrajasundariibhirabhitaH pratya~Ngamaali~NgitaH
shR^i~NgaaraH sakhi muurtimaaniva madhau mugdho hariH kriiDati || 1-11

words separated - vishveShaam anura.njanena janayan aanaana.ndam indiivara shreNii shyaamala komalaiH upanayan angaiH ana.nga utsavam svacCha.ndam vraja sundariibhiH abhitaH prati a.ngam aali.ngitaH shR^i.ngaaraH sakhi muurtimaan iva madhau mugdho hariH kriiDati

1-11 . sakhi= oh, friend, Raadha; mugdhaH= charming [not meekish]; hariH= Krishna; vishveShaam = for all in the world; anuranjanena= to cause mutual intimacy; aanaanandam janayan= happiness, to cause; indiivara= blue-black lotuses; shreNii= rows of; shyaamala= blue-blackish; komalaiH= daintily; angaiH= with limbs; ana.nga utsavam= Love-god's, festival [vasanta utsavam, carnivalesque excitation]; upa nayan= to near, draw [to draw nigh]; abhitaH= by all [external limbs and internal heartfelt feelings]; svacChandam= unreservedly; prati a.ngam= each, limb; vraja= county called Vraja province; sundariibhiH = by beautiful damsels [of Vraja county]; aali.ngitaH= embraced [Krishna is embraced]; shR^i.ngaaraH iva muurtimaan= romance, like, embodiment of; madhau= in springtime; kriiDati= playing [titillating.]

sakhi= oh, friend; hariH= Krishna [with his personage, that is] mugdhaH= with heart-stealing; vishveShaam= for all in the world; anuranjane= to accord delight; aanaanandam janayan= rejoice, to cause; angaiH= with parts [romanticised factors that are apt to cause happiness, like]; indiivara shreNii= blue- black lotuses, clusters; shyaamala= darker [ambience with black Tamaala trees, nightfall, nightly Yamuna river etc.]; komalaiH= softish [flower beds, greensward, sand dunes]; ana.nga utsavam= Love-god's, festivity [vasantosavam carnivalesque excitation]; upanayan= bringing off; abhitaH= all over; sva cChandam = unreservedly; prati a.ngam= every, limb; vraja sundariibhiH= with Vraja village, beauties [or, beauties who are passing by him]; aali.ngitaH= embraceable; muurtimaan= one having such a body, bodily presence; shR^i.ngaaraH iva= [personified] romance, as though; madhau kriiDati= in springtime, frolicking.

Oh, friend Raadha, charming Krishna is titillating in Brindavan in this springtime, causing happiness and mutual intimacy among all the worldly beings, and by the presence of his sapphirine-bluish and daintily limbed body, that simile with the sprayey rows of blue-black lotuses, he appears to be fetching the annual vasantotsava, the carnivalesque excitation, hence such limbs are unreservedly embraced by the beautiful damsels of Vraja county, either with their bodily limbs or by their heartfelt feelings, thus he is appearing like an embodiment of romance... [1-11]

Or

Oh, friend Raadha, Krishna in Brindavan is with a delighting personage that is heart-stealing for all people, and it is apt to cause rejoice in one and all, added are the romanticised factors of Brindavan, like darkish ambience with black Tamaala trees, nightfall, nightly Yamuna river, and softish flower beds, greensward, and riparian sand dunes, and his very bodily presence is as though the personified romance, bringing off the annual vasantotsava, carnivalesque excitation, and the beauties of Vraja, moving past him are deeming that personality as an unreservedly dependable and embraceable embodiment, hence Krishna is frolicking with them in this springtime, as he reckons them as dependents and embraced devotees... [1-11]

 When it is said - viSveSaam anuranjanena - Krishna being capable to delight whole world in his own nature, here he became a mugdha personality - charmingly graceful youngster, not a foolish boy, and delighted them and got delight from them, though they are nowhere near his Omniscience.

vasantotsava includes many festivals like snaana yaatra - ablution-festival, hindola yaatra - swing- festival, raasa yaatra - festival of circular dance, ratha yaatra - chariot-festival, dolaa yatra or holi festival, in which people come out as in carnivals and colour sprays water and powder sprinkled for amusement. It is annual and takes it root in Krishna liila-s of Brindavan.

alankara - shleSa, diipaka; riiti - vaidarbhi; rasa -sringaaara; sharduula vikriiditam - its metre; and this one verse is replete with incommunicable reflections from bhaaratiiya sringaara shaastra - treatises on aesthetics of romanticism, but they are left out for the present.

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nityotsa.ngavasadbhuja.ngakavalakleshaadiveshaachalam
praaleyaplavanechchhayaanusarati shriikhaNDashailaanilaH |
kim cha snigdharasaalamaulimukulaanyaalokya harshhodayaat
unmiilanti kuhuuH kuhuuriti kalottalaaH pikaanaam giraH || 1-12

words separated - nitya utsa.nga vasat bhuja.nga kavala kleshaat iva iisha achalam praaleya plavana icChayaa anusarati shrii khaNDa shaila anilaH kim cha snigdha rasaala mauli mukulaani aalokya harSha udayaat unmiilanti kuhuuH kuhuuH iti kala uttalaaH pikaanaam giraH

1-12 . shrii khaNDa= Malaya; shaila anilaH= mountain's, breezes; nitya= always; utsa.nga= in close proximity; vasat= living, inhabitation; bhuja.nga= by serpents; kavala= gluttonised; kleshaat= by agony [from their fangs]; iva= as though; praaleya= in snow water; plavana= to plunge down; icChayaa= desirous of; iisha achalam= god's, mountain [iishaH a calam= Shiva's, not, mobile mountain, or, iishaa guruH acalaH = Paarvati, father of= Himalaya - madhyama pada lopa samaasa]; anusarati= following, coursing to; ki.m cha= why, even [further]; rasaala mauli= mango trees, at tops; snigdha mukulaani = tender [eatable,] sprouted buds; aalokya= on seeing; harSha udayaat= rejoice, on dawning, burgeoned; kala uttalaaH = inexplicably melodious, heightened in tone; kuhuuH kuhuuH iti = coo, coo [onomatopoeic words,] thus; pikaanaam giraH= Kokila-s, words, voicing; unmiilanti= unfolding [sallying forth.]

The gentle breezes of Mt. Malaya will always inhabit in close proximity with venomous serpents, only to be gluttonised by serpents, and when repeatedly stricken by their fangs the breezes are in the agony of feverishness, and as though desirous of taking a plunge in the snow waters, to cool of that feverishness, they are coursing to Himalayan mountains... why breezes, even high rejoice is burgeoning in Kokila-s, the black singing birds, on their seeing just sprouted tender buds on mango treetops, thus they sally forth their coo-coo voicing in an inexplicably melodious and heightened tones, thus this springtime is blithesome... [1-12]

 The word kuhu, kuhuuH also means no moon night without a streak of moon. The cooing of Kokila-s is a bother to estranged couple, yet they are singing in fifth octave pancama svara only to intensify the troubles of such couples. The moon is an enemy to the estranged couple, for his very appearance enhances their uneasy passion. And somehow, the no moon day - amaavaashya - can be tolerated. The sounds of black koels are almost like no moon day that intimidates the moon. But the singing of koels is painful, and all this culminates into spring fever, a restless or lethargic feeling sometimes associated with spring.

riiti vaidarbhi; varNaanu praasa - shabda alankaara; upama hetu - ardhaa alankaara; shaarduula vikriiDitam is its metre. Next, the poet while closing the first canto is telling a blessing benediction - aashiirvaada ruupaka mangala aacaraNa.

Verse Locator

raasollaasabhareNavibhramabhR^itaamaabhiiravaamabhruvaam
abhyarNam pariramyanirbharamuraH premaandhayaa raadhayaa |
saadhu tvadvadanam sudhaamayamiti vyaahR^itya giitastuti
vyaajaadutkaTachumbitasmitamanoharii hariH paatu vaH || 1-13

words separated - raasa ullaasa bhareNa vibhrama bhR^itaam aabhiira vaama bhruvaam abhyarNam parirabhya nirbharam uraH prema andhayaa raadhayaa saadhu tvat vadanam sudhaamayam iti vyaahR^itya giita stutii vyaajaat utkaTa cumbita smita manoharii hariH paatu vaH

1-13 . prema andhayaa= by love, blinded [heedless]; raadhayaa= by Raadha; raasa= in ronde dance; ullaasa bhareNa= rejoice, replete with; vibhrama bhR^itaam= overwhelm, bearers [those girls that bear an overwhelmed mood= vivacious girls]; aabhiira= milkmaids; vaama= with curved; bhruvaam= eyebrows; abhyarNam= in close proximity [drawing nigh of him]; uraH= chest [of Krishna]; nirbharam= ardently; parirabhya= hugged; saadhu= by far [enthusiastically]; tvat vadanam= your, face; sudhaa mayam= nectar, abounding with; iti= thus; vyaahR^itya= on saying; giita= song [of Krishna]; stuti= eulogising; vyaajaat=on the pretext of; utkhaTa= excitedly; cumbita = one who is kissed [by Raadha]; smita= by smiles; manaH haarii= heart, stealing; hariH= Hari, Krishna; vaH= us, all of us; paatu= rule over [save our souls.]

Blinded by her love for Krishna, Raadha drew nigh of him, who is among vivacious milkmaids with curvy eyebrows, and who are replete with rejoice while in ronde dancing, but Raadha ardently hugged his chest among all of them, and enthusiastically said thus, "Your face is nectareous...thus your singing must be nectarean...come sing now... " And then, on the pretext of eulogising his singing, she started to kiss him, and he who is thus kissed by Raadha is all smiles for her, and he who steals hearts with his beaming smiles, that Krishna may save our souls... [1-13]

 In this lyric sringaara - vipralambha; naayika -pragalbha; naayaka - mugdha; the manner of hugging is called vR^iksha adhiruuDha - tree-climbing embrace - tarum iva kamitaaram cumbana aartaa adhi roDhum yadabhilaSati naarii tat ca vR^ikshaadhiruuDham; the kissing style is called namitaka - where milkmaids are happy enough with kissing and kisses - abhiirajaaH cumbana haarya cittaaH; alankaara - aashiis, aprastuta prasanga, vyaajoktiu, aakshepa, hetu; since Raadha advanced, some heroine's bravery is there - naayika utsaaha ruupa viira rasa; anuvritti - aarabhaTi; riiti - paancaali; giiti -artha maagadhi; gaana - sthiti laya; Its metre is shaarduula vikriiDitam .

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Thus, this is the 1st chapter in giita govindam of Jayadeva called saamoda daamodaram.

Verse Locator for Gita Govindam : Chapter 1

Sept, 2003, Desiraju Hanumanta Rao; Revised Oct 08