सुप्रीतपीताम्बरः
Rādha meets Krishna at last, and Krishna who is waiting for her for a long time gladdens on her coming, and yields to every wish of hers. They thus unite to keep everything united.
गतवति सखीबृन्देऽमन्दत्रपाभरनिर्भर
स्मरपरवशाकूतस्फीतस्मितस्नपिताधरम्।
सरसमनसम् दृष्ट्वा हृष्टाम् मुहुर्नवपल्लव
प्रसवशयने निक्षिप्ताक्षीमुवाच हरिः प्रियाम्॥ १२-१
प च्छे - गतवति सखी बृन्दे अमन्द त्रपा भर
निर्भर स्मर परवश आकूत स्फीत स्मित स्नपित अधरम्
सरस मनसम् दृष्ट्वा हृष्टाम् मुहुः नव पल्लव
प्रसव शयने निक्षिप्त अक्षीम् उवाच हरिः प्रियाम्
12-1. sakhii bR^inde gatavati= friends, circle, on departure of; a+manda trapaa bhara= not, less, coyness, filled with; nirbhara= unmanageable [to contain her coyness]; smara paravasha aakuuta= by Lovegod, controlled, with calling [an inwardly felt call or summons of Lovegod]; sphiita= burgeoning; smita snapita= smile, drenched by [laved]; adharam= [with her] lip; muhuH= repeatedly; nava pallava prasava= new, leaves, just born; shayane= on bed; nikshipta akshiim= she who kept, her eyes [to near it slowly, but not to fall on it like a wildcat]; priyyaam= his love; sarasa manasam= on good terms, at heart [ardent at heart]; hR^iSTaam= one who is gladdened; dR^iSTvaa= on seeing; hariH uvaacha= Krishna, spoke.
When her friends circle departed leaving her alone, then a lot of unmanageable coyness filled her for Lovegod's calling besieged her, and then with lips laved in smiles, looks cast downward, she neared the love-bed made up with just sprouted leaflets, and stood at its end smiling coyly without eyeing her lover; then, Krishna spoke to his love Rādha who by now is gladdened, and neared him with an ardent heart. [12-1]
अष्ट पदि २३ - मधुरिपुविद्याधरलीलम्
किसलयशयनतले कुरु कामिनि चरणनलिनविनिवेशम्।
तव पदपल्लववैरिपराभवमिदमनुभवतु सुवेशम्।
क्षणमधुना नारायणम् । अनुगतमनुसर राधे - धृवम्॥ अ प २३-१
प च्छे - किसलय शयन तले कुरु कामिनि चरण नलिन विनिवेशम्
तव पद पल्लव वैरि पराभवम् इदम् अनुभवतु सुवेशम्
क्षणम् अधुना नारायणम् अनुगतम् अनुसर राधे
a pa 23-1. hè kaamini= oh, loving Rādha; kisalaya shayana tale= on tender leafy, bed, surface of; charaNa nalina vinivesham kuru= [delicate] feet, lotuses, placement, you make; suvesham = well get-upped, well arranged [bed]; tava pada pallava vairi= your, feet's, tender leaves, an adversary [of any delicacy]; idam= this [bed]; paraabhavam anubhavatu= adversity, let [this bed] suffer;
hè raadhe= oh, Rādha; adhunaa= presently; anugatam= one who is well disposed to you, [or anu gatam= whom people will follow, adhere to]; naaraayaNam= he who is the mover of beings, basis of living beings, or, who is a receptacle of water, rasa] towards such Krishna; kshaNam anusara= for a while, follow;
If it were to be - 'why not follow naaraayaNa for a while for he is well disposed to you now' - then the usage of 3rd pers. naaraayaNa goes waste. Some depth is there in this reprise. Though created by that naaraayaNa, this raadha is an earthling - say Queen Nature, an effect of cause; if anything is an effect it should necessarily follow certain steps to attain that cause; so, you follow him who makes the people, may it be Mother Nature, or Queen Nature, or whoever, to follow him, because he is the prime-mover - is the ultimate meaning.
"Place your delicate lotusy feet on the delicate surface of this tender leafy bed, oh, loving Rādha, thus let this well-arranged bed bragging for its delicacy suffer an adversity, as your more delicate tender leaf like feet are the adversaries of any delicacy...
Oh, Rādha, for a while, why not cleave to him unto to whom people will cleave for he is their wherewithal... [a pa 23-1]
करकमलेन करोमि चरणमहमागमिताऽसि विदूरम्।
क्षणमुपकुरु शयनोपरि मामिव नूपुरमनुगतिशूरम्॥ अ प २३-२
प छे - कर कमलेन करोमि चरणम् अहम् आगमिता असि विदूरम्
क्षणम् उपकुरु शयन उपरि माम् इव नूपुरम् अनुगति शूरम्
a pa 23-2. viduuram= long-way-off; aagamitaa asi= [owing to me] arrived, you are [to my near; hence; aham kara kamalena= I will, with hands, lotus like; charaNam karomi= feet, I mend [or, taking caraNa maham as single unit= caraNa= feet's; maham= worship= I worship your feet]; maam iva= me like; anugati shuuram nuupuram= in following, an expert - a faithful follower, her anklet follows her very sincerely like a faithful follower without slipping off, hence that anklet is to be taken care of; shayana upari kshaNam upakuru= bed, on surface, for a while, place it.
Let me mend the strain of your feet with my lotusy hands for I made you to come a long-way-off; place your feet on the bed for a while to give rest to those faithful followers of yours, of course like me, called your anklets... why not cleave to him &c... [a pa 23-2]
वदनसुधानिधिगलितममृतमिव रचय वचनमनुकूलम्।
विरहमिवापनयामि पयोधररोधकमुरसि दुकूलम्॥ अ प २३-३
प छे - वदन सुधा निधि गलितम् अमृतम् इव रचय वचनम् अनुकूलम्
विरहम् इव अपनयामि पयोधर रोधकम् उरसि दुकूलम्
a pa 23-3. vadana= from [your] face; sudhaa nidhi= nectar's, treasure of - moon; galitam amR^itam iva = slither, nectar, like [sthitam= available before me]; rachaya anukuulam vachanam = make [say something,] heartening, words; [tava= on your]; urasi= on bust; payodhara = for [swelling] bosoms; rodhakam= obstructing, bridle like; dukuulam= kanchukam= piece of cloth; viraham iva= [your] anguish in separation, as with; apa+nayaami= I am detaching; [a love's bosoms will be swelling when she is anguishing in separation for her lover.]
"Say something Rādha, let hearty nectarean words slither from your moonlike face... let me remove, along with your anguish in separation from me, this piece of your breast cloth which so far served as a bridle on your swelling bosoms... why not cleave to him &c... [a pa 23-3]
प्रियपरिरंभणरभसवलितमिव पुलकितमतिदुरवापम्।
मदुरसि कुचकलशम् विनिवेशय शोषय मनसिजतापम्॥ अ प २३-४
प छे - प्रिय परिरंभण रभस वलितम् इव पुलकितम् अति दुरवापम्
मत् उरसि कुच कलशम् विनिवेशय शोषय मनसिज तापम्
a pa 23-4. priya parira.mbhaNa= lover, for tight embrace; rabhasa valitam iva= bustle, added, as if; pulakitam= thrilling; ati duravaapam= highly, unbearable [bulging]; kucha kalasham = bosoms, pot-like; mat urasi viniveshaya= on my, chest, keep; shoSaya manasija taapam= lessen, Lovegod's, scorching.
"Those highly bulging bosoms of yours now look as if a bustling is added to them for a tight embrace of lover, hence, keep them on the chest of mine to lessen the scorch of Lovegod... [a pa 23-4]
अधरसुधारसमुपनय भामिनि जीवय मृतमिव दासम्।
त्वयि विनिहितमनसम् विरहानलदग्धवपुषमविलासम्॥ अ प २३-५
प छे - अधर सुधा रसम् उपनय भामिनि जीवय मृतम् इव दासम्
त्वयि विनिहित मनसम् विरह अनल दग्ध वपुषम् अ-विलासम्
a pa 23-5. bhaamini= oh, ireful dear; adhara sudhaa rasam upanaya= lip's, nectarean, essence, get me [let me get]; tvayi vinihita manasam= in you, kept [hinged one,] with heart; viraha anala dagdha vapuSam= of separation, by fire, burnt, with body; a+ vilaasam= without, blithe; mR^itam iva= dead one, like, [sthitam= available, lingering one]; daasam = devotee; jiivaya= make him to live.
"Oh, dear, let me get the nectarean essence of your lips, as my heart is hinged on you, my body is burnt with the fire of our separation, and I am lingering on like a deadpan without any blithesomeness, hence let your devotee live... [a pa 23-5]
शशिमुखि मुखरय मणिरशनागुणमनुगुणकण्ठनिदानम्।
श्रुतियुगले पिकरुतविकले मम शमय चिरादवसादम्॥ अ प २३-६
प छे - शशि मुखि मुखरय मणि रशना गुणम् अनुगुण कण्ठ निदानम्
श्रुति युगले पिक रुत विकले मम शमय चिरात् अवसादम्
a pa 23-6. hè shashi mukhi= oh, moon, faced one; anuguNa= in tune with; kaNTha nidaanam = throat's, voicing [utterances]; maNi rashanaa guNam= jewelled, waist-strings, chains; mukharaya= let sound, let tinkle [ by this it is: vipariita surata, called hamsa liila is said]; pika ruta vikale= koels, by callings, roughened; mama shruti yugale= in my, ears, pair of; chiraat= for a long time; avasaadam= sinking sensation; shamaya= pacify.
"Oh, moonfaced Rādha, let the chains of bejewelled waist-strings of yours tinkle in tune with your utterances; let your utterances pacify the long time sinking sensation in the pair of my ears, caused and roughened by the fortissimos of koels... [a pa 23-6]
मामतिविफलरुषा विकलीकृतमवलोकितुमधुनेदम्।
मीलतिलज्जितमिव नयनं तव विरम विसृज रतिखेदम्॥ अ प २३-७
प छे - माम् अति विफल रुषा विकली कृतम् अवलोकितुम् अधुना इदम्
मीलति लज्जितम् इव नयनम् तव विरम विसृज रति खेदम्
a pa 23-7. ati viphala ruSaa= with highly, unavailing, anger; vikalii kR^itam= agitated one, made as; maam avalokitum= at me, to see; [tava= your]; idam nayanam= this, [your] eye; adhunaa lajjitam iva= presently, shying, as if; miilati= closing, down casting; virama= leave [that downcast glance]; visR^ija rati khedam= leave off, disquietude in love.
Or
ati viphala ruSaa= with highly, unavailing, anger; vikalii kR^itam = muddled up - you who are muddle up in intense fury; tvayaa= by you; adhunaa avalokitam= presently, one who has been seen - by you; maam= me, such as I am; vi+rama= verily, take delight in [me]; tava nayanam= your, eye; lajjitam iva miilati= shying, as if, closing, looks down cast; idam= this - casting looks down or away, turning away face etc bodylanguage; gata khedam iva = forgone, angst, as with - worry-freely; visR^ija = leave it off.
"You made me an agitated soul with your highly unavailing anger, and to see such an agitated me, your eyes are presently throwing glances downward ... but, now leave that downcast glance and leave off disquietude in love... [a pa 23-7]
श्रीजयदेवभणितमिदमनुपदनिगदितमधुरिपुमोदम्।
जनयतु रसिकजनेषु मनोरमरतिरसभावविनोदम्॥ अ प २३-८
प छे - श्री जयदेव भणितम् इदम् अनुपद निगदित मधु रिपु मोदम्
जनयतु रसिक जनेषु मनोरम रति रस भाव विनोदम्
a pa 23-8. shrii jayadeva bhaNitam= auspicious [saying,] Jayadeva, said by; anu pada= in every, foot; ni gadita= emphatically, said; madhu ripu= Krishna's; modam= gladness; idam= this song; rasika janeSu= among romantic, people; manorama= heart-pleasing; rati rasa bhaava vinodam= romantic enjoyment mood of, merriment; janayatu= let cause.
"This auspicious song rendered by Jayadeva emphatically lays down in each foot about what causes gladness to Krishna, hence let this song heart-pleasingly romanticise the moods of romantic people... [a pa 23-8]
- सुरतारम्भ चन्द्र हासम् -
प्रत्यूहः पुलकाङ्कुरेण निबिडालेषनिमेषेण च
क्रीडाकूत विलोकितेऽधर सुधा पाने कथा नर्मभि।
आनन्दाधिगमेन मन्मथकलायुद्धेऽपि यस्मिनभूत्
उद्भूतस्सतयोर्बभूवसुरतारंभः प्रियंभावुकः॥१२-२
प छे - प्रत्यूहः पुलक अंकुरेण निबिड आष्लेष निमेषेण च
क्रीड आकूत विलोकिते अधर सुधा पाने कथा नर्मभि
आनन्द अधिगमेन मन्मथ कला युद्धे अपि यस्मिन् आभूत्
उद्भूत सः तयोः बभूव सुरत आरंभः प्रियं भावुकः
12-2. This verse is titled as surataarambha candra haasam: yasmin= wherein [in which romance]; nibiDa aaSleSa= in tight, embrace; pulaka a.nkureNa= hair, sprouts [thrills of body, or by the word sprout, a blade of grass coming in between them in their embrace, is a hurdle]; kriiDa aakuuta vilokite= in sports, intentionally, while seeing [at each other]; nimeSeNa ca= by winking, also; adhara sudhaa paane= lips', nectar, while swilling; kathaa narmabhiH= [while telling] tales, secret; manmatha kalaa yuddhe api= Lovegod's, art, war of; aananda adhigamena= in pleasure, deriving; pratyuuhaH aabhuut= obstacles, occurred; saH= that; tayoH= to two of them, Rādha Krishna; udbhuuta surata aara.mbhaH= bechanced, starting of romance; priya.m bhaavukaH babhuuva= highly, desirable ones [those obstacles], they became.
In which romance some obstacles have occurred, like body thrills while in tight embrace, or winking while intently looking at each other, or when telling a secret tale, or while swilling the nectar of lips, or even in deriving
pleasure during the art of love-war, all those obstacles too, have become highly desirable ones to both of them, for they occurred in their reunion after a brief separation. [12-2]
- काम तृप्त कामिनी हासम् -
दोर्भ्याम् संयमितः पयोधरभारेणापीडितः पाणिजैः
आविद्धो दशनैः क्षताधरपुटः श्रोणितटेनाहतः।
हस्तेनानमितः कचेऽधरमधुस्यंदेन सम्मोहितः
कान्तः कामपितृप्तिमापतदहो कामस्य वामागतिः॥ १२-३
प् छे - दोर्भ्याम् संयमितः पयोधर भारेण आपीडितः पाणिजैः
आविद्धो दशनैः क्षता अधर पुटः श्रोणि तटेन आहतः
हस्तेन आनमितः कचे अधर मधु स्यंदेन सम्मोहितः
कान्तः काम् अपि तृप्तिम् आप तत् अहो कामस्य वामा गतिः
12-3. This verse is titled as kaama tR^ipta kaaminiii haasam: dorbhyaam samyamitaH= by both palms, brought together - fastened; payodhara bhareNa aapiiDitaH=by bosoms, weight, burdened; paaNi jaiH= by hand, born ones - nails; aaviddhaH= scratched; dashanaiH kshataa adhara puTaH= by teeth, bitten, lips, edges; shroNi taTena= river, banks [riverbank like hips]; aahataH= pounded; hastena anamitaH kace= by hand, pulled, hair; adhara madhu syandena sammohitaH= lips, honey [liquor,] by flow of, bemused; kaantaH= lover [Krishna]; kaam api= somewhat, something - unsayable; tR^iptim aapa= satisfaction, he got; tat= thereby; aho kaamasya vaamaa gatiH= aho, Lovegod's, left behaviour [what an unspeakable deviant behaviour Lovegod has got] .
Fastened by both arms, burdened under bosoms' weight, scratched by nails, bitten by teeth at lips, pounded by riverbanks like hips, pulled by head-hair by hand to bend face to pour liquor-like honey of lips... huh... even if tortures of this kind in love are many, her lover is deriving some unsayable satisfaction... aha, unspeakable is the deviant behaviour of Lovegod... isn't so? [12-3]
The torture imposed is like that of the methods usually employed on a slave, like fastening, overburdening under weight, lashes and scratches, pulling head hair etc. It is imposed on that god, as that punishment can be imposed by any his devotee, for that god will be found and catchable after a long time search.
- पौरुष रस प्रेम विलासम् -
वामाङ्के रतिकेलिसङ्कुलरणारम्भेतया साहस प्रा-
यम् कांतजयायकिंचिदुपरिप्रारंभियत्संभ्रमात्।
निष्पन्दा जघनस्थली शिथिलिता दोर्वल्लिरुत्कम्पितम्
वक्षो मिलितमक्षि पौरुषरसः स्त्रीणाम् कुतस्सिध्यति॥ १२-४
प छे - वाम अन्के रति केलि सन्कुल रण आरम्भे तया साहस प्रायम्
कान्त जयाय किन्चित् उपरि प्रारम्भि यत् सम्भ्रमात्
निष्पन्दा जघन स्थली शिथिलिता दोर्वल्लिः उत्कम्पितम्
वक्षो मिलितम् अक्षि पौरुष रसः स्त्रीणाम् कुतः सिध्यति
12-4. This verse is titled as pauruSa rasa prema vilaasam: yat= by which reason; tayaa= by her - by Raadha; kaa.nta jayaaya= lover, to conquer; sa.mbhramaat= frenziedly [or, ecstatically]; saahasa praayam= venturing, overbearingly; upari ki.ncit praara.mbhi= foreplay, for a while, commenced; [tat= by that reason]; vaama a.nke= from left, flank - one who is so far sitting on left thigh of Krishna, suddenly started to override him; or, maara + anke = Lovegod, as ensign for both the participants; rati keli sa.nkula raNa aara.mbhe= love, sports, huddle, war, when started; in such a love-war, her; jaghana sthalii niSpandaa= hips, area, unmoved; dorvalliH shithilitaaa= tendril like arms, caved in; vakshaH utka.mpitam= bust, throbbed [breathless]; akshi militam= eyes, drooped; striiNaam= for women; pauruSa rasaH= manly, mood [intrusiveness]; kutaH sidhyati= from where, accessible.
By which reason she rose from the left flank of Krishna, where she is in foreplay, and suddenly commenced the huddle of love-war on him in a frenzied, venturing, and overbearing manner, aiming only to conquer her lover, for that reason alone her hip remained unmoved, tendril like arms caved in, bust breathlessly throbbed, and her eyes drooped... wherefrom women can attain manly intrusiveness! [12-4]
- कामाद्भुत अभिनव मृगाङ्क लेखम् -
तस्याः पाटलपाणिजाङ्कितमुरो निद्राकषाये दृशौ
निर्धौतोऽधरशोणिमाविलुलितः स्रस्ताः स्रजोमूर्धजाः।
काङ्चीदाम दरश्लथाङ्चलमिति प्रातर्निखातैर्दृशोः
एभिः कामशरैस्तदद्भुतमभूत् पत्युर्मनः कीलितम्॥ १२-५
प चे- तस्याः पाटल पाणिज अंकितम् उरो निद्रा कषाये दृशौ
निर्धौतः अधर शोणिमा विलुलितः स्रस्ताः स्रजः मूर्धजाः
कांची दाम दर श्लथ अंचलम् इति प्रातः निखातैः दृशोः
एभिः काम शरैः तत् अद्भुतम् अभूत् पत्युः मनः कीलितम्
12-5. This verse is titled as kaamaadbhuta abhinava mR^igaanka lekham: tasyaaH uraH= her, chest; paaTala paaNija a.nkitam= by red, fingernails, scratched [by this redness, the red flower called paaTala, one of the flower-arrows of Manmatha, is cited; dR^ishau nidraa kaSaaye= eyes [eyeballs,] by sleeplessness, reddened by this redness, the red lotus arrow of Lovegod is cited; adhara shoNimaa nirdhautaH= lips, redness, washed out by this redness, the red mehendi, a red flower from the plant that gives leaves to reddened decoration to palms, is said. The flower of this plant is another arrow of Lovegod; muurdha jaaH vilulitaH= head hair, tousled; srastaaH srajaH= slithered, sprays of flowers; kaa.ncii daama dara shlatha a.ncalam= golden waist-strings, a little, slipped, at edges by this gold of waistband the golden coloured flower arrow, the fifth arrow of Lovegod is cited; iti= this way; praataH= in early morning; dR^ishoH nikhaataiH= in glances, shafted; ebhiH kaama sharaiH= by these, Lovegod's, arrows; patyuH manaH= husband's [Krishna's,] heart; kiilitam= torn; tat adbhutam abhuut= that, a wonder, happened again.
Her chest bore red scratches scratched with red fingernails, eyes reddened with sleeplessness, roseate colour of lips is washed out, hair tousled, flower-sprays in bun slithered, golden waist-string loosened and dangling, all owing to the shafts of Lovegod... but when her husband caught sight of such an love-arrow-stuck ladylove on the next morning, those very same arrows of Lovegod that are presently stuck in her chest, have now tangentially shot and stuck in his eyes... doubly wondrous...isn't it... [12-5]
One mms said to contain one more verse after this, reading:
tvaam apraapya mayi svayamvaraparaam kshiirodatiirodare |
sha.nke su.ndari kaalakuuTam apiban muuDho mR^iDaanii patiH |
ittham purva kathaabhiH asya manao nikshipya vaamaa.ncalam |
taadhaayaaH stanakorakoparicalan netro hariH paatu vaH ||
व्याकोशः केशपाशस्तरलितमलकैः स्वेदमोक्षौकपोलौ
क्लिष्टा बिम्बाधरश्रीः कुचलशरुचाहारिताहारयष्टिः।
काण्चीकान्तिर्हताशा स्तनजघनपदंपाणिनाच्छद्यसद्यः
पश्यन्ती सत्रपांतदपि विलुलिता मुग्धकन्तिर्धिनोति॥ १२-६
प छे - व्याकोशः केश पाशः तरलितम् अलकैः स्वेद मोक्षौ कपोलौ
क्लिष्टा बिंब अधर श्रीः कुचल शरुचा हारिता हार यष्टिः
कांची कान्तिः हत आशा स्तन जघन पदम् पाणिना आच्छद्य सद्यः
पश्यन्ती स त्रपान् तत् अपि विलुलिता मुग्ध कन्तिः धिनोति
12-6. vyaakoshaH kesha paashaH= loosened, hair, braids; taralitam alakaiH= moving [unruly,] hair locks sveda mokshau kapolau= sweat, releasing, cheeks; kliSTaa bi.mba adhara shriiH= faded, red, lips, splendour; kucala sharucaa= pot-like bosoms [luxury ]; haaritaa haara yaSTiH= stolen, by pearly, pendants [the lustre of pearly pendants is submerged in her body colour, as there is no bodice]; kaa.ncii kaantiH hata aashaa= waist-string's, brilliance, marred, at hope; stana jaghana pada.m= bust, waist, places; sadyaH= then; paaNinaa aacChadya= by hands, covering; pashya.ntii satrapaan= glancing, embarrassedly; mugdha kantiH= one with beautiful, resplendence; saa= she that Rādha; tat vilulitaa api= by that, untidy, even; dhinoti= gladdening [Krishna.]
Even when her braid loosened, hair-locks unruly, cheeks sweating, red splendour of lips faded, hue of pearl-pendants merged with paled body colour, golden brilliance of her waist-string became dull, and though she herself
started to glance embarrassedly, covering her bust and hips with hands and arms, and though 'that act' rendered her that untidy, that Raadha gladdened Krishna with her own beautiful resplendence. [12-6]
ईषन्म्लितदृष्टि मुग्धविलसत्सीत्कारधारावशात्
अव्यक्ताकुलकेलिकाकुविकसद्दन्तांशुधौताधरम्।
शान्तस्तब्धपयोधरम् भृशपरिष्वङ्गात्कुरङ्गीदृशौ
हर्षोत्कर्षविमुक्तनिस्सहतनोर्धन्योधयत्याननम्॥ १२-७
प च्छे - ईषत् मिलित दृष्टि मुग्ध विलसत् सीत्कार धारा वशात्
अव्यक्त आकुल केलि काकु विकसत् दन्त अम्शु धौत अधरम्
शान्त स्तब्ध पयोधरम् भृश परिष्वन्गात् कुरंगी दृशौ
हर्ष उत्कर्ष विमुक्त निस्सह तनोः धन्यः धयति आननम्
12-7. dhanyaH= he is a highly merited soul, - who derived pleasure from his ladylove; whose comportment when in act is like this:
harSa utkarSa vimukta nissaha tanoH= [which ladylove is] by gladness, by ecstasy, released, in passivity, with such a physique; one whose physique attained a passivity when the gladness is achieved after a long drawn ecstasy is released;
kura.ngii dR^ishau= which girl's - deer like, glances; iiSat milita dR^iSTi= a little, closed, eyes - a fawn eyed ladylove with half closed eyes;
mugdha vilasat siitkaara dhaaraa vashaat= prettily, elating, with sighs, series, controlled by; avyakta aakula keli kaaku = unclear, flurried, in sport, murmurs; one who is uttering unintelligible murmurs because she went under the control of spate of elating love-sighs, with which she became more pretty;
vikasat da.nta a.mshu dhauta adharam= brightening, with teeth's, glitter, laved, lower lip; aananam= a face [having such a glittering teeth]; one whose face is brightened with lips laved in the sparkle of her teeth;
bhR^isha pariSva.ngaat= by tight, hugging; shaa.nta stabdha payodharam= silenced, rigid, bosoms; one with rigid bosoms silenced in a tight hugging;
[saH] dhanyaH= [he is] a highly merited soul; because he; dhayati= swills [kisses] such a ladylove.
One who derives pleasure from his ladylove when swilling her beauty - which ladylove's physique attains passivity with post-connubial bliss, achieved after a long drawn ecstasy is released; which fawn eyed ladylove will be with half closed eyes owing to that fatigueless physique; which ladylove utters unintelligible murmurs, with which she becomes more pretty, because she goes under the control of spate of elating love-sighs; whose face brightens much with her lips laved in the sparkle of her teeth; whose rigid bosoms will be silenced owing to tight hugging - that soul become a highly merited soul, as in the case of Krishna at present. [12-7]
अथ सहसा सुप्रीतम् सुरतान्तेसानितान्तखिन्नाङ्गी।
राधा जगाद सादरमिदमानन्देन गोविन्दम्॥ १२-८
प छे - अथ सहसा सुप्रीतम् सुरत अन्ते सा नितान्त खिन्न अंगी
राधा जगाद सादरम् इदम् आनन्देन गोविन्दम्
12-8. atha= then; saa raadhaa= she, that Rādha; surata ante= love-act, at end of; nitaanta khinna a.ngii= absolutely, tired, with limbs; sahasaa= quickly [for, she cannot be in that shabby condition, and she is now helpless to decorate herself with a presentable getup]; supriitam govi.ndam= to gladdened, Govinda; aana.ndena= with [her own] gladness; [maNDana vaanchayaa= with a wish to decorate herself presentably]; idam= this sentence; saadaram jagaada= with tenderness, said.
Then, Rādha whose limbs are absolutely tired after the love-act quickly said this to the gladdener of all beings, namely Govinda, mingling her own gladness, with a wish to fix her decoration, fair to middling. [12-8]
अष्ट पदि -२४- सुप्रीतपीताम्बरतालश्रेणि
कुरु यदुनन्दन चन्दनशिशिरतरेणकरेणपयोधरे।
मृगमदपत्रकमत्र मनोभवमङ्गलकलशसहोदरे।
निजगाद सा यदुनन्दने । क्रीडति हृदयानन्दने - धृवम्॥ अ प २४-१
प छे - कुरु यदु नन्दन चन्दन शिशिर तरेण करेण पयोधरे
मृग मद पत्रकम् अत्र मनोभव मङ्गल कलश सहोदरे
निजगाद सा यदु नन्दने । क्रीडति हृदय अनन्दने
a pa 24-1. saa= she that Rādha; hR^idaya ana.ndane= to hearts, delighter [Krishna]; yadu na.ndane= to yadu clan's, delight [to Krishna]; kriiDati= when he is disporting, enjoying [archaic. relaxation]; ni jagaada= insistently, spoke;
hè yadu na.ndana= o, yadu's son [Krishna]; cha.ndana= sandal-paste; shishira tareNa= dew, [cooler] than; kareNa= with palms; mano bhava= mind born one, Lovegod's [place of]; ma~Ngala kalasha sahodare= auspicious, vessel's, co-birthed ones;
[where these vessels are two, one - full with nectar brought by dhanvantari during the churning of Milk Ocean, from which some drops fell on earth when Garuda was bringing it to earth, thereby those drops sprinkled on herbs and plants, making them useful for medicinal use;
the other potlike vessel - Goddess Lakshmi herself, as she emerged out of the same ocean, whose symbolic representation is a vessel in which water, along with sandal paste, milk, green leafs, sacred rice etc will be put and arranged in the first instance of any worship, called ma~Ngala kalasha. Here, Rādha is identifying herself with Lakshmi, or the pot of nectar, by metonymically identifying her bosoms with them;
atra payodhare= there, on those [nectarous] bosoms; mR^iga mada= musk-deer's, fat- musk; patrakam= foliage; kuru= make, paint.
When Krishna is enjoying himself, Rādha insistently spoke this to that delighter of hearts and the clan of yadu:
"O the delight of yadu's clan, paint musky foliages on my bosoms that are the abode of Lovegod, and that are the co-born ones to auspicious vessels... paint on them with your own palms that are cooler than the sandal-paste... [a pa 24-1]
In all these bits of songs Krishna is addressed as a makeup artist, or a hairdresser, or as a painter etc. It does not matter. Heroes are supposed to know how women decorate, paint faces, dress etc., because they are supposed to be experts in all sixty-four arts catuH shaSTi kalaa prapuurNa. In Ramayana when kaika gives a dress usable for forest dwelling to Seetha, Seetha is at loss to understand as to how to wear it. Then Rama winds that sari around her detailing how to secure it, before all women in palace-chambers, while all other women jerk tears for the misfortune bechanced on a topmost princess, namely Seetha.
And in audios or dances on this song, we will be usually listening nijagaa dha saa instead of nijagaada saa i.e., adding a stress to dha.
That stress is a singer's or dancer's delight, to make a heel-tap-whirl on stage during dance movement.
अलिकुलगन्जनमन्जनकम् रतिनायकसायकमोचने।
त्वदधरचुम्बनलम्बितकज्जल उज्ज्वलय प्रिय लोचने॥ २४-२
प छे - अलि कुल गन्जनकम् अन्जनकम् रति नायक सायक मोचने
त्वत् अधर चुम्बन लम्बित कज्जल उज्ज्वलय प्रिय लोचने
a pa 24-2. hè priye= o, dear; rati naayaka= love, hero [Lovegod]; saayaka mochane= arrows, that release [i.e., that which release sidelong-glances as effective a Lovegod's arrows, my eyes]; tvat adhara cumbana lambita= by your, lip, while kissing, dangled [stippled]; kajjala= mascara; lochane= on such eyes; ali kula= honeybees, swarms of; ga.njanam= that belies; a.njanakam= mascara; ujjvalaya= brighten up.
"My eyes release sidelong-glances that are akin to the arrows of Lovegod, but when you kissed them their mascara is stippled, oh, dear, brighten them up with such mascara that belies the blackness of swarms of honeybees...
[a pa 24-2]
नयनकुरङ्गतरङ्गविकासनिरासकरे श्रुतिमण्डले।
मनसिजपाशविलासधरे शुभवेष निवेशय कुण्डले॥ अ प २४-३
प छे - नयन कुरंग तरंग विकास निरास करे श्रुति मण्डले
मनसिज पाश विलास धरे शुभ वेष निवेशय कुण्डले
24-3. shubha vesha= oh, auspiciously, attired one; kura.nga= eyes, [called] deer; tara.nga vikaasa= springing, encouraging [freeness]; niraasa kare= hopeless, makers; manasija paasha vilaasa dhare= Lovegod's, reins, with an air, bearing; shruti maNDale= on ear, areas [lobes]; kuNDale niveshaya= knobby earrings, restore.
"My ears make the springing freeness of my deer-like glances of my eyes hopeless by reining them, O auspiciously attired one, restore knobby earrings on those ears that bear an air of Lovegod's reins... [24-3]
भ्रमरचयम् रचयन्तमुपरि रुचिरम् सुचिरम् मम सन्मुखे।
जितकमले विमले परिकर्मय नर्मजनकमलकम् मुखे॥ अ प २४-४
प छे - भ्रमर चयम् रचायंतम् उपरि रुचिरम् सुचिरम् मम सन्मुखे
जित कमले विमले परिकर्मय नर्म जनकम् अलकम् मुखे
24-4. hè kamala aanana= O, lotus-faced Krishna [ellipted from next song]; jita kamale vimale = conquered [more,] lotus [in full bloom,] in immaculacy; mama mukhe upari= my, face, over; suchiram= always; bhramara chayam= honeybees, swarms of; racahaya.ntam= crafted, designed [iva sthitam= as if, staying]; narma janakam= lure, causing; ruchiram alakam= beautiful, hair-locks; sanmukhe= before me [standing before me, so that I can be in your close proximity - proximity is the wish than adjusting hair-locks]; parikarmaya= make [readjust.]
"My face is more immaculate than a lotus in full boom and it always had luring and beautiful hair-locks crafted like swarms of honeybees, O, lotus-faced one, readjust them standing before me... [24-4]
मृगमदरसवलितम् ललितम् कुरु तिलकमलिकरजनीकरे।
विहितकलङ्ककलम् कमलानन विश्रमितश्रमशीकरे॥ अ प २४-५
प छे - मृग मद रस वलितम् ललितम् कुरु तिलकम् अलिक रजनी करे
विहित कलंक कलम् कमल अनन विश्रमित श्रम शीकरे
24-5. kamala anana= oh, lotus faced one' vishramita= lulled; shrama shiikare= strain's, drops - sweat drops; alika rajanii kare= on forehead [called,] moon; mR^iga mada rasa valitam [tilakam]= with musk's, liquid, rubbed in [cinnabar paste]; vihita kala.nka kalam= having, blotch, phase of moon; tilakam lalitam kuru= mark on forehead, beautifully, you make [repaint.]
"My forehead is moonlike and on it sweat-drops are lulled by now, and by rubbing cinnabar paste in liquefied musk, O, lotus-faced one, beautifully repaint my forehead mark, like that of the blotch on the face of moon... [24-5]
The comparison is in between the face of Krishna and Rādha. A lotus is an opposer of moon, but moon blemishes that lotus as and when they face each other. Here too, she is saying 'though my moonlike face is an opponent to
lotuses, retain my blotch on my forehead, and be smiley like a lotus...'
मम रुचिरे चिकुरे कुरु मानद मानसिजध्वजचामरे।
रतिगलिते ललिते कुसुमानि शिखण्डिशिखण्डकडामरे॥ अ प २४-६
प छे - मम रुचिरे चिकुरे कुरु मानद मानसिज ध्वज चामरे
रति गलिते ललिते कुसुमानि शिखण्डि शिखण्डक डामरे
24-6. hè maanada= oh, adorable one; ruchire= cute one; maanasija dhvaja chaamare= Lovegod's, on flagstaff, pennon; rati galite= in love-play, scrambled up; lalite= pretty; shikhaNDi shikhaNDaka= peacock's, plumage; Daamare= threatens; mama chikure= in my, braid bun; kusumaani kuru= flowers, you deck.
"My bun is cute like the pennon on the flagstaff of Lovegod, but that is now scrambled up in love-act, oh, adorable one, you deck flowers in that pretty bun that threatens the beauty of peacock's plumage... [24-6]
सरसघने जघने मम शम्बरदारणवारणकन्दरे।
मणिरशनावसनाभरणानि शुभाशय वासय सुन्दरे॥ अ प २४-७
प छे - सरस घने जघने मम शंबर दारण वारण कन्दरे
मणिः रशन वसन आभरणानि शुभाशय वासय सुन्दरे
24-7. hè shubhaashaya= oh, one with auspicious aims [or, shubha aa shaya= one in whose hands all good fortunes are]; sarasa= burly [or, one with romantic zeal]; ghane= big one; sha.mbara= shambara the demon; daaraNa= in ripping; vaaraNa= elephant - [the elephant of Lovegod that ripped a demon named shambara - elephantine]; kandare= slope of mountain; sundare= picturesque; mama jaghane= my, on buttocks, on hips; maNi rashanaa= bejewelled, waist-strings; vasana= dresses; aabharaNaani= ornaments; vaasaya= decorate.
"My hips are big and burly like the picturesque and elephantine mountain-slopes, oh, one with gracing hand, decorate them with dresses, jewelled ornaments, and with waist-strings... [24-7]
Again the word LOINS is used here by some in translating jaghana, while jaghana is lexically buttock. If some modesty is required to say 'buttocks', as many abhor terms like 'buttocks, behinds, and bottoms...' in their sycophant westernisation, this may be said as it nearest part 'hips'. We are asked to do so in Kalidas' Ritu samhaaram, and we obliged it, to not to become too pedantic. But bringing hind parts to front to say her 'loins are like elephantine caves...' how far it is ethical? Any reader may examine any word to see whether Rādha opened up her loins, or at least said about them. This work Gita Govinda already carries a mark of kshudra kaavya, why the other Indian pundits add some more to it? Perhaps, this may be owing to the reason of ruination of romantic arts, or due to the burial of Bharata Muni or Vaastaayana, or romance in living itself.
Here the stress used by the poet is for reminding nature's curvaceous beauty, but not the contours of a personified goddess or deity. It is necessary to identify Rādha with whole Nature, and Krishna as the delighter of that
Nature, as none else can satisfy Queen Nature.
श्रीजयदेववचसि रुचिरे हृदयम् सदयम् कुरु मण्डने।
हरिचरणस्मरणामृतनिर्मितकलिकलुषज्वरखण्डने॥ अ प २४-८
प छे - श्री जयदेव वचसि रुचिरे हृदयम् सदयम् कुरु मण्डने
हरि चरण स्मरण अमृत निर्मित कलि कलुष ज्वर खण्डने
24-8. he Krishna; ruchire= delicate [mellowly]; maNDane= [sahR^ihadya hR^idayaiH]= decorative [like the central ruby on chest pendant]; hari charaNa smaraNa= Krishna, on feet, meditating; amR^ita nirmita= by that nectar, built up; kali kaluSa jvara khaNDane= Kali era, impurities, fevers caused by it, eradicator of; jayadeva vachasi= Jayadeva, said by; shrii= auspicious saying; hR^idayam sadayam kuru= your heart, benign, you make.
Oh, Krishna, you make your heart benign to listen to the auspicious saying rendered by Jayadeva, which is built up with the nectar derived from the meditation on the feet of yours, and which is an eradicator of fevers caused
by the impurities of Kali Era... [24-8]
रचय कुचयोः पत्रम् चित्रम् कुरुष्व कपोलयोः
घटय जघने काङ्चीमङ्च स्रजम् कबरीभरे।
कलय वलयश्रेणीम् पाणौ पदे कुरु नूपुरौ
इति निगदितः प्रीतः पीताम्बरोऽपि तथाकरोत्॥ १२-९
प छे - रचय कुचयोः पत्रम् चित्रम् कुरुष्व कपोलयोः
घटय जघने कांचीम् अंच स्रजम् कबरी भरे
कलय वलय श्रेणीम् पाणौ पदे कुरु नूपुरौ
इति निगदितः प्रीतः पीताम्बरः अपि तथा अकरोत्
12-9. hè Krishna; kuchayoH patram rachaya= on bosoms, foliages, you paint; kapolayoH chitram kuruSva= on cheeks, a design called citraka, you make; jaghane kaa.nchiim ghaTaya= on hips, waist-strings, you fasten; kabariibhare srajam a.ncha= in bun, spray of flowers, clip; paaNau valaya shreNiim kalaya= at wrists, armlets, array of, slip on; pade kuru nuupurau= at feet, you arrange, two anklets; iti= this way; nigaditaH= on who is said by her; priitaH= gladdened; piitaambaraH= one clad in yellow silks; api= even he; tathaa akarot= that way, he did.
When Rādha said this way to Krishna, "paint foliages on my bosoms, make designs on cheeks, fasten waist-strings on hips, clip sprays in bun, slip on an array of armlets at wrists, arrange anklets at ankles...' even Krishna
is gladdened and did whatever she said. [12-9]
यद्गान्धर्वकलासु कौशलमनुध्यानम् च यद्वैष्णवम्
यच्छृङ्गारविवेकतत्वरचनाकाव्येषु लीलायितम्।
तत्सर्वम् जयदेवपण्डितकवेः कृष्णैकतानात्मनः
सानदाः परिशोधयन्तु सुधियः श्रीगीतगोविन्दतः॥ १२-१०
प छे - यत् गान्धर्व कलासु कौशलम् अनुध्यानम् च यत् वैष्णवम्
यत् शृंगार विवेक तत्त्व रचना काव्येषु लीलायितम्
तत् सर्वम् जयदेव पण्डित कवेः कृष्ण एकतान आत्मनः
स आनदाः परिशोधयन्तु सुधियः श्री गीत गोविन्दतः
12-10. sudhiyaH= oh, sagacious ones;
yat= which treatise; gaa.ndharva kalaasu kaushalam= in fine arts like music, dance etc, has masterliness;
yat= which treatise; vaiSNavam anudhyaanam ca= viShNu's glories, commemorative of, also;
yat= which treatise that has; shR^i.ngaara= aesthetic romanticism [of vipralambha, sambhoga shR^ingaara]; viveka tattva= determinative logic - say tropological interpretation of divine romance; racanaa [sahita – madhyama pada lopi]= a rendering having all such components;
yat kaavyeSu= which, among poetic treatises; liilaayitam= highly prepossessing; tat sarvam= that, all; kR^iSNa ekataana atmanaH= on Krishna, single-mindedly concentrating, that soul called; jayadeva paNDita kaveH= by Jayadeva, pundit, by poet; shrii giita govidataH= from shrii, giita, govinda poem; sa aanadaaH parishodhaya.ntu= with, gladness, may be evaluated.
Oh, sagacious people, which treatise has masterly depiction of fine arts like music, dance etc; a commemorative poem on the glories of visShNu; containing aesthetic romanticism of numina, with
discrimination between just romanticization of divine characters in human mode, and telling apart that romance is also a godsend gift to humans, where viShNu is the first pleasure-seeker in relishing
the taste of romance, and where this Universe is his romantic feigning; which poem among all poetic works is highly prepossessing - why enumeration of one or two items, this poetic work that contains everything is here before
you for your non-tendentious evaluation which is the august work of poet-pundit jayadeva, named giita govindam.[12-10]
श्रीभोजदेवप्रभवस्य रामादेवीसुतश्रीजयदेवकस्य।
पराशरादिप्रियवर्गकण्ठे श्रीगीतगोविन्दकवित्वमस्तु॥ १२-११
प छे - श्री भोजदेव प्रभवस्य रामादेवी सुतः श्री जयदेवकस्य
पराशर अदि प्रिय वर्ग कण्ठे श्री गीत गोविन्द कवित्वम् अस्तु
12-11. shrii bhojadeva prabhavasya= shrii, bhojadeva, offspring of; raamaadevii sutaH= lady ramadevi's, son; shrii jayadevakasya= Jayadeva's; shrii giita govida= shrii giita govindam; kavitvam= poetry [songs]; paraashara adi priya varga kaNThe astu [chriam]= paraashara, other, dear, ones, on throat [on tongue,] let it abide [long lastingly].
This song giita govindam is the rendering of poet Jayadeva who is the offspring of shrii bhojadeva and lady ramaadevi, and let this song
abide on the tongues of paraashara and other friends, long lastingly. [12-11]
साध्वी माध्वीक चिन्तानभवतिभवतश्शर्करे कर्कशऽसि
द्राक्षे द्रक्ष्यंतिकेत्वाम् अमृतमृतमसि क्षीरनीरंरसस्ते।
माकंद क्रंदकांताधरधर न तुलाम् गच्छयच्छन्तिभावम्
यावच्छृङ्गारसारम्शुभमिवजयदेवस्यवैदग्ध्यवाचः॥ १२-१२
प छे - साध्वी माध्वीक चिंता न भवति भवतः शर्करे कर्कशा असि
द्राक्षे द्रक्ष्यन्ति के त्वाम् अमृत मृतम् असि क्षीर नीरम् रसः ते
माकन्द क्रन्द कान्त अधर धर न तुलाम् गच्छ यच्छन्ति भावम्
यावत् शृङ्गार सारम् शुभम् इव जयदेवस्य वैदग्ध्य वाचः
12-12. maadhviika= oh, white flower that yield flower-wines; bhavataH ci.ntaa= your, thinking [that you alone are the soft intoxicant]; saadhvii na bhavati= good, not, it becomes;
sharkare karkashaa asi= o, sugar, bitter, you are;
draakshe= o, grapes; tvaam ke drakshyanti= at you, who will see;
amR^ita mR^itam asi= o, nectar, dead, you are;
kshiira= o, milk; te rasaH niira.m= your, taste, is waterlike;
maaka.nda kra.nda= o, sweet mango fruit, you wail;
kaa.nta adhara= o, damsel's, lip; tulaam na dhara= balance, do not, bear;
gacCha= get away [from my path to shriihari];
jayadevasya vaidagdhya vaacaH= Jayadeva's, crafty, sayings; shubham iva= auspiciousness, like; yaavat shR^igaara saaram bhaavam yacChanti= all, romantics, essence, a concept, let it be giving.
O, white flower of soft wine, your thinking that you alone are the toxicant is unbefitting as Jayadeva's poetry is here... O, sugar, you are embittered... O, grape, who will see you from now on... O, undying, un-deadening nectar, dead you are... O, milk, watered is your taste... O, sweet mango fruit, bewail from now on... you, the lip of damsel, under-balanced is your sweetness, hence, all of you get away from my path to shriihari...
let the auspicious sayings of Jayadeva's crafty words accord a concept of all the essences of aesthetic romantics. [12-12]
इत्थम् केलिततीर्विहृत्य यमुनाकूले समम् राधया
तद्रोमावलिमौक्तिकावलियुगे वेणीभ्रमम् बिभ्रति।
तत्राह्लादकुचप्रयागफलयोर्लिप्सावतोर्हस्तयोः
व्यापाराः पुरुषोत्तमस्यददतुस्फीताम् मुदाम् सम्पदम्॥ १२-१३
प छे - इत्थम् केलि ततीः विहृत्य यमुना कूले समम् राधया
तत् रोम आवलि मौक्तिक आवलि युगे वेणी भ्रमम् बिभ्रति
तत्र अह्लाद कुच प्रयाग फलयोः लिप्सावतोः हस्तयोः
व्यापाराः पुरुषोत्तमस्य ददतु स्फीताम् मुदाम् सम्पदम्
12-13. ittham= in this way; yamunaa kuule= on yamuna, riverbanks; keli tatiH= disports, many of them; samam raadhayaa= along with, Rādha; vihR^itya= while pleasure tripping; tat= that [Rādha's]; romaavali= curly hairlocks; mauktika aavali= pearls, pendants; yuge= a pair; veNii bhramam= stream, illusion [illusion as they are the streams of ganga, yamuna]; bibhrati= while he [Krishna is] getting; tatra= in that [in those streams of happiness]; ahlaada= pleasant; kuca= bosoms; prayaaga phalayoH= banyan fruits; lipsaavatoH= [hands of Krishna that are] interested [to catch them]; puruSottamasya hastayoH= Krishna's, hands; vyaapaaraaH= [that are engaged] in such activities; sphiitaam mudaam sampadam = bounteous, with blissfulness; riches, dadatulet grant.
This way while Krishna is pleasure tripping on the riverbanks of yamuna in many a disport with Rādha, once he started to adjust her hairlocks and pearly pendants; but, he suddenly got into a conjuration where those pendants appeared as river streams of River ganga or yamuna, and her bosoms, a pair of large palm-fruits adrift those streams; wishing to rescue those palm-fruits, he offhandedly started to grapple her bosoms, only to her sheepishness; let all bounteously gladdening riches be accord to one and all by them that tend to indulge in such activities, namely the - abhaya hasta - blessing hands of Krishna. [12-13]
इति जयदेव गीतगोविदे सुप्रीतपीतांबरो नाम द्वादशः सर्गः - इत्थमिदम् काव्यम् संपूर्णम्
Thus, this is the 12th and completing chapter, called supriita piitaambaraH Exultant Krishna, in Gita Govindam of Jayadeva.
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Dec, 2003, Desiraju Hanumanta Rao; Revised Dec 08