Raadha's friend comes back to Raadha and narrates how Krishna is lovelorn as Raadha left abruptly. The poet dwells on 'anguish in separation' vipralambha shR^ingaara from the first chapter to tenth, and in eleventh and twelth he unifies the hero and heroine of the song. That mood of anguishful separation will be heightened from now on.
ahamiha nivasämi yähi rädhäm
anunaya madvacanena cänayethäù |
iti madhuripuëä sakhé niyuktä
svayamidametya punarjagäda rädhäm || 5-1
words separated - aham iha nivasämi yähi rädhäm anunaya mat vacanena
änayethäù iti madhu ripuëä sakhé niyuktä svayam idam etya punaù jagäda rädhäm
5-1. aham iha nivasaami= I will, here, remain; yaahi= you go; raadhaam anunaya= Raadha, convince; mat vachanena= my, by word [as I told to come here]; aanayethaaH= fetch [her]; iti= that way; madhu ripuNaa= by Madhu, the demon's, enemy [Krishna]; sakhii niyukhtaa = friend, assigned; svayam= in person; punaH etya= again, having come back [to Raadha]; idam jagaada raadhaam= this, said, to Raadha.
When Krishna said to the girlfriend of Raadha this way, "I'll remain only at this bower, you go and convince Raadha, and tell her that I want her to come here..." then assigned by Krishna thus, she came back to Raadha and said this in person. [5-1]
añöapadi 10 - harisamudayagaruòapadam -
vahati malayasamére madanamupanidhäya |
sphuöati kusumanikare virahihådayadalanäya |
tava virahe vanamälé sakhi sédati rädhe - dhåvam|| 10-1 a pa
words separated - vahati malaya samére madanam upa nidhäya sphuöati
kusuma nikare virahi hådaya dalanäya tava virahe vanamälé sakhi sédati rädhe
aSTapadi 10-1. sakhi raadhe= oh, friend - dear, Raadha; malaya samiire= in sandal, breeze; madanam= Love-god; upa nidhaaya= nearby, keeping [keeping close to]; vahati [sati]= breezing [so to say]; kusuma nikare= in flowers, bunches of; virahi hR^idaya dalanaaya = estranged [people's,] hearts, ripping apart; sphuTati [sati]= unfolding [so to say]; tava virahe = for you, in pain of separation - lorn in your love; vanamaalii= one who wears leafy garland, Krishna; siidati= sinking down - listlessly longing for you; reprise: tava virahe vanamaalii sakhi siidati raadhe.
"hè, dear Raadha, keeping Love-god close to it the sandal-breeze is breezing there, and it is unfolding bunches of flowers, as though to rip the hearts of estranged lovers, and there alone that Krishna is listlessly longing for you, lorn in your love... [10-1 a pa]
dahati çiçiramayükhe maraëamanukaroti |
patati madanaviçikhe vilapati vikalataro'ti || 10-2 a pa
words separated - dahati çiçira mayükhe maraëam anu karoti
patati madana viçikhe vilapati vikala taraù ati
a pa 10-2. shishira mayuukhe= with coolant, moonbeams [by moon]; dahati [sati]= burning [while] ; maraNam anu karoti= death, tagging along; madana vishikhe= Love-god's, sharp arrows; patati [sati]= falling [while]; vikala taraH= frantic, higher in degree - highly frantic; ati vilapati= greatly, rueful; reprise.
"While the moon is burning him with his coolant moonbeams, he is tagging along the death-line, and while the sharp arrows of Love-god are falling on him, he is highly frantic and greatly rueful... thus, that Krishna is listlessly longing for you, lorn in your love... [10-2 a pa]
dhvanati madhupasamühe çravaëamapidadäti |
manasi valitavirahe niçi niçi rujamupayäti || 10-3 a pa
words separated - dhvanati madhupa samühe çravaëam apidadhäti
manasi valita viraheniçi niçi rujam upayäti
a pa 10-3. madhupa samuuhe= honeybees, swarms of; dhvanati [sati]= buzzes [while]; shravaNam = hearing [ears]; apidadhaati= keep lids [lids ears with palms]; manasi= in heart [come to mind]; valita, [kalita]= annoyance; virahe [sati]= parting [while in]; nishi nishi= night, by night; rujam= pangs; upayaati= getting, [undergoing.]
"While swarms of honeybees start to buzz he lids his ears with palms, and while the annoyance of your parting comes to mind, night after night, he undergoes pangs of love... thus, that Krishna is listlessly longing for you, lorn in your love... [10-3 a pa]
vasati vipinavitäne tyajati lalitadhäma |
luöhati dharaëiçayane bahu vilapati tava näma || 10-4 a pa
separated - vasati vipina vitäne tyajati lalita dhäma luöhati dharaëi
çayane bahu vilapati tava näma
a pa 10-4. [saH= he]; vasati= lingering; vipina vitaane= woods, thicket of; tyajati= leaves off; lalita dhaama= heat-pleasing, house; luThati= writhes; dharaNi shayane= earth [sward,] on bed; bahu= in many [kinds]; vilapati= utters [descants]; tava naama= your, name.
"Leaving off his heart-pleasing house he lingers in the thickets of woods, and writhing on the beds of swards, he descants on your name, many a time... thus, that Krishna is listlessly longing for you, lorn in your love... [10-4 a pa]
raëati pikasamaväye pratidiçamanuyäti |
hasati manujanicaye virahamapalapati neti || 10-5 a pa
cleaved - raëati pika samaväye prati diçam anuyäti hasati manuja nicaye viraham apalapati na iti
a pa 10-5. pika samavaaye= Kokila-s, flocks of; raNati [sati]= re-echoing [while]; prati disham= to each direction; anuyaati= goes ahead [rushes]; manuja nicaye= people, by lots; hasati [sati]= laughing at [while]; na= nothing; iti viraham apalapati= thus, pangs of love, conceals.
"While flocks of Kokila-s are re-echoing their singings, he rushes to each and every direction unable to listen those love-songs, and while lots of people laugh at him, for his mad-rush in love, he conceals his pangs of love saying thus as, 'nothing... nothing...' thus, that Krishna is listlessly longing for you, lorn in your love... [10-5 a pa]
sphurati kalaravaräve smarti maëitameva |
tavaratisukhavibhave gaëayati suguëamatéva || 10-6 a pa
words separated - sphurati kalarava räve smarti maëitam
eva tava rati sukha vibhave gaëayati suguëam atéva
a pa 10-6. kalarava raave= pigeons, cooing; sphurati [sati]= coming to mind [while]; smarti= reminisces; maNitam eva= love-murmurs, only; tava rati sukha= your, hymeneal, comfort; vibhave= in sublimity; gaNayati suguNam atiiva= reckons, excellent, highly.
"While the cooing of pigeons comes to his mind, he reminisces them only as love-murmurs, and he reckons the sublimity of hymeneal comfort with you, as highly excellent... thus, that Krishna is listlessly longing for you, lorn in your love... [10-6 a pa]
tvadabhidaçubhamäsam vadati nari çåëoti |
tamapijapatisarasam yuvatiñu naratimupaiti || 10-7 a pa
words separated - tvat abhida çubha mäsam vadati nari çåëoti
tam api japati sarasam yuvatiñu na ratim upaiti
a pa 10-7. tvat= your; abhida= name having; shubha maasam= auspicious, month; nari vadati [sati]= people, speak of [while]; shR^iNoti= hearing; tam api= that, even; sa rasam japati= with, aesthetic pleasure, reminisces; yuvatiSu ratim= in [other] girls, interestedness; na upaiti= not, getting.
"While people speak of the name of a month, similar to your name, he listens to it, and even reminisces that name with aesthetic pleasure, as he is now disinterested in other girls... thus, that Krishna is listlessly longing for you, lorn in your love... [10-7 a pa]
The month named after Raadha is Vishaakha, vaishaakhe maadhavo raadhaH 'Vishaakha is the name of Maadhava, or of Raadha [apart from that of a month...]'
bhaëati kavijayadeve virahivilasitena |
manasi rabhasavibhave harirudayatu sukåtena || 10-8 a pa
words separated - bhaëati kavi jayadeve virahi vilasitena
manasi rabhasa vibhave hariù udayatu sukåtena
a pa 10-8. kavi jayadeve= poet, Jayadeva; virahi vilasitena= passional frolics [of Krishna]; bhaNati [sati]= tells [while]; sukR^itena= by the merit [people]; rabhasa= enthusiasm [in devotion to Krishna]; vibhave= in that felicity; manasi hariH udayatu= in hearts, Krishna, let dawn.
While poet Jayadeva tells about the passional frolics of Krishna, let Krishna dawn in the hearts of merited people, by their own merit... [a pa 10-8]
The stanzas at 5, 6, and 7 do not appear in Mumbai, or in northern editions. As they are without eight sub-songs, this whole song is said to be an interpolation, to which southern versions further interpolate three sub-songs, as above.
pürvam yatra samam tvayä ratipateräsäditaù siddhayaù
tasminneva nikuìjamanmathamahätérthe punarmädhavaù |
dhyäyaàstvämaniçam japannapi tavaiväläpamanträvalém
bhüyastvatkucakumbhanirbharaparérambhämåtam väïchati || 5-3
words separated - pürvam yatra samam tvayä ratipateù äsäditaù siddhayaù tasmin eva nikuìja manmatha mahä térthe punaù mädhavaù dhyäyan tväm aniçam japan api tava eva aläpa manträvalém bhüyaù tvat kuca kumbha nirbhara parérambha amåtam väïcchati
5-3. puurvam= earlier; yatra= where; samam [krishnena] tvayaa= along with Krishna, by you; ratipateH= by Love-god; aasaaditaH siddhayaH= reacquired, achievements; tasmin eva= in there [bower, alone; niku~Nja= bower; manmatha mahaa tiirthe= Love-god, sacred, riverine [bower]; maadhavaH= Krishna; punaH= again; tvaam= about you; anisham= ceaselessly; dhyaayan= meditating; tava eva= your, only; alaapa= chatting; ma.ntra aavaliim = chants, strings of; japan api= chanting, even; bhuuyaH= again; tvat kucha ku.mbha= your, bosoms, called pots; nirbhara pari ra.mbha = tight, embrace; amR^itam = called ambrosia, moksha; vaa.ncChati= he is desiring.
"Earlier, where you were with Krishna in a riverine bower on Yamuna River, where Love-god reacquired all his achievements through your conjugation, now Krishna is in that bower only, ceaselessly meditating only upon you, by making your words of chat as his strings of chants, and again desirous of moksha by a tight embrace of your pot-like ambrosial bosoms...
Whoever wants a final release meditates on far away place, preferably on a riverbank and in a bower, preferring solitude in ascesis. This is as said in manjuuSa: gR^ihe goSTana aaraama nadii naga sura aalaye | anugrahaat guroH siddiH shiighram syaat uttarottam 'in a solitary place, cowshed, forest, gardens, on riverbanks, seashore, in temples if hymns are chanted, one can attain his moksha, with the blessings of his teacher...' Here, Krishna is compared with a meditator, Raadha his goddess, her various chitchatting as hymns to her, and the finality of his meditation culminates in an embrace, which itself is moksha through supreme love.
añöapadi 11 -säkäìkña puëòarékotkadhä madhuram -
ratisukhasäre gatamabhisäre madanamanoharaveçam |
na kuru nitambini gamanavilambanamanusara tam hådayeçam |
gopé pénapayodharamardanacaïcalakarayugaçälé |
dhéra samére yamunä tére vasati vane vanamälé - dhåvam || 11-1 a pa
words separated - rati sukha säre gatam abhisäre madana manohara veçam
na kuru nitambini gamana vilambanam anusara tam hådaya éçam gopé péna payodhara
mardana caïcala kara yuga çälé dhéra samére yamunä tére vasati vane vanamälé
a pa 11-1. hè nitambini= oh, high-hipped one, Raadha; rati sukha saare= [a place which has] connubial, blissful, quintessentially; abhisaare gatam= in preset place, gone [available]; madana manohara vesham= arousable, lovely [here, not like Love-god's getup, as he is formless to wear any getup; even if it is so, it is an inferior getup than that of Krishna ] heart-stealing, with mien [not getup, again]; na kuru= don't, do; gamana vilambanam = in going, delay; anusara tam hR^idaya iisham= follow, him, [your] heart's, lord; gopii = milk maids; piina payodhara= bosomy, busts [hence the milkmaids are too cocky, with vanity]; mardana= [lexically] in massaging [or, manipulate, to engineer of, to artifice]; ca.ncala= moving [active, or, have a sleight of hand]; kara yuga shaalii= hands, a couple of, having; dhiira samiire= in gentle, wind [breezy]; yamunaa tiire= on Yamuna, riverbank; vasati vane= located in [lingering in,] garden; vanamaalii = one who wears leafy garland, Krishna.
"Oh, high-hipped Raadha, he is available in that preset place, a quintessentially blissful place for connubial bliss, with his lovely and heart-stealing mien, hence follow the lord of your heart, who alone has a couple of hands that have a selight of hand to engineer the busty bosoms of milkmaids of their vanity... don't linger to go... for Krishna is lingering in that breezy garden on that riverbank of Yamuna... [a pa 11-1]
bahumanutenanutetanusaìgatapavanacalitamapireëum || 11-2 a pa
words separated - näma sametam kåta saìketam vädayate mådu veëum
bahu manute nanu te tanu saìgata pavana calitam api reëum
a pa 11-2. hè Raadhe; te naama sametam= your, name, coupled with [while fluting he uses your names as lyrics, and that flute sings 'ha, Raadha, 'o, beauty, o, goddess of love etc]; kR^ita sa.nketam = made, indication [he made an indication to bring to that preset bower where he will be fluting; or, kR^ita sa.nketam vaadayate mR^idu veNum= to make, indication, he plays, softly; [he indicates his place of tarrying with his soft fluting]; nanu= definitely; te tanu sa.ngata= to your, body, attached; pavana chalitam api reNum= by air, moved, even, particle [of pollen etc]; bahu manute [aalingane]= highly, dotes on, [to embrace.]
"O, Raadha, he uses your lyrical names in his fluting, he indicates himself with such a soft fluting, he dotes on to embrace any particle of pollen on your body, when wafted by air to his near, then why harping about your embrace... [a pa 11-2]
racayatiçayanamsacakitanayanampaçyatitavapanthänam || 11-3 a pa
words separated - patati patatre vicalati patre çankita bhavat upa yänam
racayati çayanam sa cakita nayanam paçyati tava panthänam
a pa 11-3. patatre= wing [of bird]; patati= while falling, flapping; patre vichalati= leaves, while rustling; shankita= in suspense; bhavat upa yaanam= your, nearby, arrival; rachayati shayanam= makes, [leafy] bed; sa chakita nayanam= with, flustered, eyes; pashyati tava pa.nthaanam= looks about, your, path [of arrival.]
"When wings of birds flap, or when leaves of trees rustle, he prepares a leafy bed suspenseful of your drawing nigh, and with flustered eyes he looks about your path of arrival... [a pa 11-3]
mukharamadhéram tyaja manjéram ripumiva keliñulolam |
cala sakhi kunjam satimirapuïjam çélaya nélanicolam || 11-4 a pa
words separated - mukharam adhéram tyaja manjéram ripum iva keliñu lolam
cala sakhi kunjam sa timira puïjam çélaya néla nicolam
a pa 11-4. hè sakhii= o, friend; keliSu= in disports [of courtship]; lolam= moving [bumping; adhiiram mukharam= highly, jangling - dissonant; manjiiram= solid anklets; ripum iva= enemy, like; tyaja= discard; sa timira pu.njam kunjam= with, darkness, shades, to bower; chala= start; niila nicholam shiilaya= black, shawl, wear.
"O, Raadha, discard your solid silver anklets like your enemy, as they will be highly dissonant when they are bumping in disports of courtship, but wear a blackish shawl, and start towards that darkly shady bower... [a pa 11-4]
taöidivapéterativiparéteräjasisukåtavipäke || 11-5 a pa
words separated - urasi muräreù upahita häre ghana iva
tarala baläke taöit iva péte rati viparéte räjasi sukåta vipäke
a pa 11-5. hè piite= o, yellowy girl; [tvam= you]; sukR^ita vipaake= on [your] merit, fructifying; rati vipariite= love's foreplay; upahita haare= having, pearly pendants; tarala balaake= flittering, cranes; ghana iva= cloud, like [cloudy, unclear, un-understandable Krishna, cf. prajnaanam ghana eva; sthite = existing]; muraareH urasi= Krishna's, on chest; taTit iva raajasi= streak of lightning, alike, you will beam forth.
"O, yellowy-golden Raadha, when you will be in foreplay with him, then your pearly pendants will be dangling on the cloudlike chest of Krishna, like flittering flights of cranes on a cloud, then you will beam forth like a streak of lightning on that cloudy Krishna, if only your merit fructifies... [a pa 11-5]
Here Raadha is said to be goldenly yellow indicating the initially yellowish lightings piitaa varSaaya vij~neyaa on an all-giving cloudlike Krishna. Though other comparison in similes, - 'cloud-Krishna's chest, pearl strings-cranes rows, golden Raadha- golden lightning' are agreeable some hold objection in their placement. The lightning will be above clouds, and cranes will be below clouds. Here Krishna is below, over whom pendants are dangling, above which Raadha is beaming forth like lightning. Even then it is replied that the cranes are above the lowered cloud, called Krishna, who is lowering himself for a devotee, then Raadha is shining forth above those two obects - upraised is her personality. It is then abhuuta upama, as Poet Dandi said: sarva padma prabhaa saaraH samaahR^ita iva kvacit | tava aananam vibhaati it taam abhuuta upamaam viduH 'o, beauty, you face is shining forth as though it has the collection of all the resplendence of all lotuses...'
Or, this can be explained as, tarala - cancala - flirtatious; balaake= coquettish girl; as said in shaashvata nighaNtu 'an everlasting lexicon' balaakaa baka panktantau syaat balaakaa bisa kaNThikaa, balaakaa kaamukii proktaa balaakaa ravako mataH meaning 'oh, Raadha, you can outdo Krishna, who is an embodiment of millions and millions of Love-gods, if only you can youself place yourself on his chest, then only your merit fructifies...'
vigalitavasanam parihåtarasanam ghaöaya jaghanamapidhänam |
kisalayaçayane paìkajanayane nidhimiva harñanidänam || 11-6 a pa
words separated - vigalita vasanam parihåta rasanam ghaöaya jaghanam
kisalaya çayane pankaja nayane nidhim iva harña nidänam
a pa 11-6. hè pankaja nayane= o, lotus-petal, eyed one; vigalita vasanam= slither down, clothing parihR^ita rasanam [rashanaanam]= stolen [snaked,] waist-strings; [on their own, not divested herself ]; [vinaa= without]; apidhaanam jaghanam= covering, on hips; harSa nidaanam= for bliss, primary source; nidhim iva= treasure trove, like; kisalaya shayane= on tender leaves, bed of; ghaTaya= treasure up.
"O, lotus-petal-eyed Raadha, if you eye him, who is an aggregate of all kinds of love, your clothing slithers down, waist-string sneaks out, your hips will be shorn of any covering on their own, then why don't you treasure up your body, the primary source of bliss, on a bed of tender leaves, like a treasure trove... [a pa 11-6]
Here a repeat of idea said at a pa 6-2, in Ch. 2 is there. The dress and peripherals peel off on their own in ecstasy, may it be in love or madness.
kurumamavacanamsatvararacanampürayamadhuripukämam || 11-7 a pa
words separated - hariù abhimäné rajaniù idäném iyam api yäti virämam
kuru mama vacanam sa tvara racanam püraya madhu ripu kämam
a pa 11-7. hariH abhimaanii= Krishna, self-respecting boy [lest, he may depart concluding that you disgraced him]; idaaniim= now; iyam rajaniH api= this, night, even; yaati viraamam= slips by, to its cessation; sa tvara= with, haste; rachanam= artful [words of mine]; kuru mama vachanam= make happen, my, words; madhu ripu= demon Madhu's, enemy - Krishna's; kaamam puuraya= desire, fulfil.
"On one hand Krishna is a self-respectful one and on the other now this night is slipping by to it cessation, make happen my words that are artful in hastening you, thus let Krishna's be fulfilled... there Krishna is listlessly longing for you, lorn in your love... [10-7 a pa]
çréjayadeve kåtahariseve bhaëati paramaramaëéyam |
pramuditahådayam harimatisadayam namata sukåtakamanéyam || 11-8 a pa
words separated - çré jayadeve kåta hari seve bhaëati parama ramaëéyam
pramudita hådayam harim ati sadayam namata sukåta kamanéyam
a pa 11-8. kR^ita= on making; shrii hari= Shri Krishna's; seve= service [on worshipping]; jayadeve= by Jayadeva; parama ramaNiiyam= highly, pleasant; bhaNati= is being said; ati sadayam= highly, graceful one; sukR^ita kamaniiyam= by merit, desirable one; harim= at Krishna; pramudita hR^idayam [yathaa tathaa]= gladdening, [his] heart [as it were]; namata= bow down before [adore.]
On worshipping Shri Krishna, Jayadeva is saying this highly pleasant poem on that highly graceful one, and one desirable by our merit, and thus oh, devotees, adore Krishna, only to gladden his heart... [a pa 11-8]
vikirati muhuù çväsändiçäù puro muhurékñate
praviçati muhuù kuïjaìguïjanmuhurbahu tämyati |
racayati muhuù çayyämparyäkulammuhurékñate
madanakadanakläntaù känte priyastava vartate || 5-5
words separated - vikirati muhuù çväsän diçäù puraù muhuù ékñate praviçati
muhuù kuïjam guïjan muhuù bahu tämyati racayati muhuù çayyäm
paryäkulam muhuù ékñate madana kadana kläntaù känte priyaù tava vartate || 5-5
5-5. hè kaante= o, desirable one, Raadha; tava priya= your, lover; vikirati shvaasaan muhuH= strews, sighs, oftentimes; puraH dishaaH iikshate muhuH= in his fore, directions, look about, often; muhuH pravishati gu.njan ku.njam= often, enters, buzzing, bowers; muhuH bahu taamyati= often, highly, scorching [in love]; muhuH rachayati shayyaam= often, makes, bed; muhuH paryaakulam iikshate= often, bewilderedly, looks over; tava priyaH vartate= your, lover, deports himself; madana kadana klaantaH= love's, in war, worsted.
"O, Raadha, your lover bestrews his sighs oftentimes as you are unapparent, he often looks about frontally in all directions for your reappearance unceasingly, and often enters buzzing bowers presuming that you are hidden in them unobservedly, often highly scorched by love-heat, he often prepares leafy love-beds unprofitably, and he often looks over all the directions unforgettably, thus your lover now deports himself, worsted in the war of love... [5-5]
tvadvämyena samaàsamagramadhunä tigmäàçurastaìgato
govindasya manorathena ca samampräptantamaù sändratäm |
kokänäìkaruëasvanena sadåçé dérghä madabhyarthanä
tanmugdhe viphalaàvilambanamasau ramyo'bhisärakñaëaù || 5-6
words separated - tvat vämyena samam samagram adhunä tigmäàçuù astam gataù
govindasya manorathena ca samam präptam tamaù sändratäm
kokänäm karuëa svanena sadåçé dérghä mat abhyarthanä
tat mugdhe viphalam vilambanam asau ramyaù abhisära kñaëaù || 5-6
5-6. mugdhe= you, missy Raadha; tvat vaamyena= your, awry, misgivings; [or, in other mms: tvat baapSpena= with your tears - as you are tearless; tvat vaakyena= with your speech - as you are speechless]; samam= matching to; samagram= completely; adhunaa= now; tigma anshuH= one with scorching, sunrays - sun; astam gataH= in to dusk, went; govindasya manorathena cha= Govinda-s, with passion, also; samam= matching; praaptam tamaH saandrataam= gaining, to darkness, density; diirghaa mat abhyarthanaa = prolonged, my, entreaty; kokaanaam karuNa svanena = Cakravaka birds', pathetic, callings; sadR^ishii [aabhuut]= matching [became]; tat= thereby; viphalam= wasteful; vilambanam= delaying; asau abhisaara kshaNaH= this, going to preset place, moment; ramyaH= will be delightful, enjoyable.
"You missy Raadha, matching to your fading misgivings the scorching sun is now dusking, matching to the densely passion of Krishna the darkness is gaining density, matching to the pathetic callings of Cakravaka-s, the lovebirds, my entreaties are prolonged... thereby wasteful is this delaying, and enjoyable is this moment in going to the preset place of love... [5-6]
sä mäm drakñyati vakñyati smarakathäm pratyaìgamäliìganaiù
prétim yäsyati raàsyate sakhi samägatyeti cintäkulaù |
sa tväm paçyati vepate pulakayatyänandati svedyati
pratyudgacchati mürcchati sthiratamaùpuïje nikuïje sthitaù || 5-7
words separated - sä mäm drakñyati vakñyati smara kathäm pratyaìgam äliìganaiù prétim yäsyati raàsyate sakhi samägatya iti cintäkulaù sa tväm paçyati vepate pulakayati änandati svedyati pratyudgacchati mürcchati sthira tamaù puïje nikuïje sthitaù || 5-7
5-7. hè sakhi= o, friend; saH= he; sthitaH= while staying; sthira tamaH pu.nje nikunje = thick, dark, shaded, in bower; saa samaagatya= she, on coming closely; maam drakshyati= me, she sees; vakshyati smara kathaam= says, love [pangs',] stories; prati a~Ngam aali.nganaiH= each, limb, when hugged; priitim yaasyati= delight, she goes into; ra.msyate= disports; iti [cintayan]= this way, [while thinking]; chi.nta aakulaH= anxiously, agitated; tvaam= at you; pashyati= sees, awaits vepate= shudders; pulakayati= thrills; svedyati= sweats; aana.ndati= gladdens; pratyudgacChati= goes forward; muurcChati= nonplussed.
"O, friend, he staying in a bower filled with thick dark shades thinks, 'she draws nigh of me, sees me, tells stories of her love-pangs, hugging every limb of mine she goes into delight, thus she disports with me...' and this way he is anxiously agitated, hence he shudders for his aloneness, but thrills for your expected arrival, again sweats for it is darkening, but gladdens to go forward to welcome you, again he becomes nonplussed for your absence... [5-7]
This verse will be placed as 2nd verse in 11 chapter of this work in other mms. Even then the meaning would be the same, but this characterisation then belongs to Raadha.
äçleñädanu cumbanädanu nakhollekhädanu sväntaja
prodbodhädanu sambhramädanu ratärambhädanu prétayoù |
rdampatyoriha ko na ko na tamasi vréòävimiçro rasaù || 5-8
words separated - äçleñät anu cumbanät anu nakha ullekhät anu svänta ja pra udbodhät anu sambhramät anu ratärambhät anu prétayoù anya artham gatayoù bhramät militayoù sambhäñaëaiù jänatoù dampatyoù iha ko na ko na tamasi vréòä vimiçraù rasaù || 5-8
5-8. aashleShaat= [firstly] by hugging; anu= next; chu.mbanaat= from kissing; anu= next; nakha ullekhaat= with nail, writing [scratches] anu= next; svaanta ja= with mind, born [desires]; pra udbodhaat = clearly, instructed [highly excited]; anu= next; sam bhramaat = with excitement; anu= next; rataara.mbhaat= with foreplay; anu priitayoH= step by step, [transport into[ blissfulness; anyaa artham = for other, [love mates] aiming at; gatayoH= those [lovers] who have gone; bhramaat = on meandering [in those and those bowers]; militayoH= meeting [again]; sambhaaSaNaiH= by conversations [in which man talks about another woman, and woman talks about another man]; jaanatoH= on knowing [that, is this my wife - is this my husband]; dampatyoH= by couples; vriiDaa vi mishraH= with shame, well, mixed; rasaH= aesthetic pleasure; iha= here; tamasi= in such dark nights; kaH na= what is, null; kaH na= what is, void [in the negative - everything is enjoyment in aesthetic pleasure.]
"In these dark nights libertine couples start meandering in still darker bowers for their cherished lovers, but unwittingly one meets one's own wife/husband, and then their escapade firstly starts with hugging, next with kissing, next with nail scratching, next highly excited by excitement and desire they enter into foreplay, and then step by step they culminate it into their conjugal bliss... after that when they converse, he comes to know that she is his wife, and she comes to know likewise... and caught unawares, they mix that bliss in shame and depart shamefully, nil desperandum... and in such passsional nights, aesthetic pleasure seeking is null and void - Really? [5-8]
Jayadeva is less sung for his 'treatise on aesthetic pleasures' - rasa siddhaanta and Dr. Raj Brahmbhatt in his 'History of Sexual Medicine' says, Ratimanjari 'the garland of love - is the work of poet Jayadeva. This treatise is very short, written in an elegant style...' It is said that this song contains, though not all of the nine, but many rasa-s moods. Firstly by hugging, a sort of 'fear' is occurring bhaya sthaayii bhaava - bhayaanaka rasa because it is a stealthy hugging. Next, after coaxing and combing, kissing and scratching is started, hence she should be in a pitiable mood, as the woman in question will almost be departing confusedly but dragged forcefully by that man. Then should be crying, as she does not know who is doing what. Hence it is - 'piteous mood' karuNa rasa. Then, on entering into foreplay an enthusiastic bravery viira rasa bechances. Then, during that enjoyment, an astonishment is caused vismaya saha cari - adbhuta rasa, which leads to contented smiling, which gives rise even to laughter. It is haasa sahita haasya rasa.
This verse opens with the very words and the step-by-step eightfold enjoyment, as Bharata says in naaTya shaastra: aaSleSa cumbana nakha kshata kaama bodha shiighratva maithunam ananta mukha prabodham | priitiH tato api rasa bhaavanam eva kaaryam evam nitaanta caturaaH suciram ramante || . Of course, there is opposition to the eightfold course of enjoyment, but it is negated, taking the saying of aesthetician called Rudra iirSyaa kula striiSu na naayakasya niH shanka keliH na paraa anganaasu 'jealousy in a chaste woman, men's unrestrained indulgence in other's women are taboos...'
All this is for licentious human couples, but not in respect of higher gods or lower animals, because humans alone can enjoy aesthetic pleasure rasa aasvaadana, which facility is nonexistent in others kinds of existence. And here Raadha's friend is quoting from her human experience, and through Jayadeva's poetic expertise. So, nothing can be ascribed to role-players like nonexistent poetic characters, or those with supra existence, i.e., divine couple. This is only to remind the poetic ability of Jayadeva.
pratitaru muhuù sthitvä mandampadäni vitanvatém |
kathamapi rahaù präptämaìgairanaìgataraìgibhiù
sumukhi subhagaù paçyansatvämupaitu kåtärthatäm || 5-9
words separated - sa bhaya cakitam vinyasyantém dåçau timire pathi prati
muhuù sthitvä mandam padäni vitanvatém katham api rahaù präptäm angaiù
ananga tarangibhiù sumukhi subhagaù paçyan saù tväm upaitu kåtärthatäm || 5-9
5-9. su mukhi= oh, pretty, faced one, Raadha; su bhagaH= highly desirable one Krishna [subhaga= a youthful, mannish eligible youngster, muchly desirable by all girls of age - say, a prince charming]; saH= he that Krishna; bhaya chakitam= by fear, wincing; dR^ishau = looks; timire= in darkness; pathi= on pathway; vinyasyantiim= she who is keeping [keep an eye on, watchfully, or, dancers' stage searching like stage walking]; prati taru muhuH sthitvaa= every, tree, at foot, on staying awhile [unable to run or rush due to weight of bust or bums]; mandam padaani vitanvatiim= slowly [not slowly, but gracefully,] feet, placing [dancer's footwork is suggested, and a graceful lady is not supposed to rush to her man, lest he may mistake her for a strumpet; ananga tarangibhiH angaiH= Love-god's, weaves limbs [her limbs are nothing but the passional tiderips of a sea called Love-god]; katham api= somehow, even [somehow veiling herself with black cloths, some how treading unseen by others, somehow made up her mind to go to him, at least now]; rahaH praaptaam = in secrecy, he who chanced [to meet you]; tvaam pashyan= you, on seeing [seeing you in darkness! Absurd? No, explained later]; kR^ita arthataam upaitu= achive, purpose [consummation,] let him achieve.
"O, pretty-faced Raadha, Krishna being an unique Prince Charming, will find you out, while you advance to him casting your fearful glances wincingly on your unenlightened path, walking gracefully on that indiscernibly darkened pathway, watching your own step, and while pausing awhile at every foot of a tree, either by your hesitation, or by your graceful footwork, and you with passional tiderips like limbs of yours, if you somehow reach him, even if in unknowable secrecy, even if it is an unknown darkness, he certainly sees you, and let him achieve that consummation on your reaching him...
the philo-ing giita govindam is avowedly not taken up in this work; but it is to be incorporated induced by the itching commentaries. This has two shades. One belongs dancers and the other to devotees. Keeping dancers side away for a while, on devotee's side it is like this. Krishna has not come to Raadha but asked her friend to fetch her to him, only to examine her devotedness. That being so, here it is said, 'he sees you...' taking the word dR^ishau and the root for this word is dR^ishi meaning 'discern' vivakshita j~naana arthakatvam a kind of gnosis... 'You can 'Gnosticise' him and he does the same, if only you come into union with him, first psychically, then bodily. To achieve that you have to fearfully wince you glances in searching for him in the wild darkness of unenlightened state. You have to tread an unenlightened path, where unenlightened path is - physically a darksome way, and in the sense 'give spiritual insight to (a person)...' you have to have your own enlightenment to search for him in the dark... you have watch your step otherwise you may misstep, pause it at each tree of knowledge to learn more about that object you search... and then you should have a graceful footwork, lest your running, rushing, and racing will appear as your greediness and it would result into futility... this is as far as spiritual mind is concerned - ahamta I-ness'. Then all your bodily limbs, for whose passional tiderips sake you are staging all this drama, they shall be surrendered unto him, and let them merge into one colliding tiderip called universal love. Much more is there, but leave it as it may. Here ends the 5th chapter in northern mms. Southerners have another verse as below.
kaàsadhvaàsanadhümaketuravatutvämdevakénandanaù || 5-10
words separated - rädhä mugdha mukha aravinda madhupaù trailokya mauli sthalé nepathya ucita néla ratnam avané bhära avatära antakaù svacchandam vraja sundaré jana manaù toña pradoña udayaù kaàsa dhvaàsana dhümaketuù avatu tväm devaké nandanaù || 5-10
5-10. raadhaa= Raadha's; mugdha mukha aravinda= comely, face, lotus [like]; madhupaH = he is a honeybee; trailokya= belonging to triad of words [for all people and their kings]; mauli sthalii= at head, place [at crown place]; nepathya= as background [as an ornament, jewel]; ucita= befitting [decorative]; niila ratnam= blue, diamond [sapphire]; avanii bhaara= for earth, a burden; avataara= incarnate [Shishupaala etc., self-conceited ones]; a.ntakaH= remover; svacChandam= blithely; vraja su.ndarii jana = Brindavan, beauties, folks [milkmaids]; manaH toSa= hearts, he who gladdened; pradoSa= crepuscle [crepuscular Zool. appearing or active in twilight., so a crepuscular gloaming] gloaming; udayaH= dawning; ka.msa= Kamsa's; dhva.msana= in destroying; dhuuma ketuH= comet; devakii na.ndanaH= Devaki, delighter; avatu tvaam= grace, you [you all listeners, besides Raadha.]
He who is the honeybee hovering on the lotus called the comely face of Raadha, he who is a decorative sapphirine jewel at the helm of crowns of all people and their kings in the triad of worlds, he who is the remover of burdensome incarnates on earth like Shishupaala etc., and he who is the crepuscular gloaming dawning in eventides to blithely gladden the hearts of milkmaid beauties of Braindaavan, and he who is a cometary destroyer of evildoers like Kamsa, he that delighter of his mother Devaki, shall grace you all, along with Raadha.
This chapter has a subtitle abhisaarika varNana 'portrayal of a heroine who makes advances to her lover...' and as explained in treatises of aesthetics her role-play will be like this madana anala santaptaa yaa abhisaarayati priyam, jyotsnii tamasvinii yaana yogyaa ambara vibhuuSaNaa | svayam ca abhisaret yaatu saa bhavet abhisaarikaa - rasaarNavam 'one who proceeds to her lover in the darkness of moonlit nights, attired and decorated with befitting material, parched by love heat, is called abhisaarika nigh-nearing ladylove...'
iti gétagovinde säkänkñapuëòarékäkño näma païcamaù sargaù
Thus, this is the 5th chapter, called Passionate Krishna, in giita govindam of Jayadeva.
Oct, 2003, Desiraju Hanumanta Rao