cturctuÉuRj>
Krishna appears before Raadha from thin air, and finding her somewhat lessened in her recalcitrance, he starts to pull the wool over her eyes, tactfully. But she is still reticent.
AÇaNtre ms&[rae;vzadsIm in>ñasinSshmuoIm! sumuoImupeTy,
sìIfmIi]tsoIvdnam! idnaNte sanNdgÌdpdm! hirirTyuvac. 10-1
p CDe- AÇ ANtre ms&[ rae; vzat! AsIm in>ñas inSsh muoIm! sumuoIm!
%peTy
s ìIfm! $i]t soI vdnam! idn ANte s AanNd gÌd pdm! hir> #it %vac
10-1. atra= at there; antare= in the mean while; hariH= Krishna; dina ante= day, at end of -that evening; masR^iNa= with precipitated [hot-headed, excited]; roSa vashaat= indignation, owing to; a siima= not, within bounds, boundless; niHshvaasa= with suspires; nissaha mukhiim= helplessly, face having; sa vriiDam= with, shy; [sa vriiDaam...upetya - 'Krishna came shyly' can also be said]; iikshita sakhii vadanaam= seeing, her friend's, face; su mukhiim= one with lovely, face - to her; upetya= came near; sa aanandam= with, rejoice; gad gada padam= [but] with, quavering, words; iti uvaacha= this way, said.
In this meanwhile on that evening, when she is with a helpless face with boundless suspires, and when she is seeing her friend's face with a 'whatamitodo' look, for she is hotheaded owing to indignation, Krishna came near of such lovely faced Raadha, though rejoicingly, but spoke these words, quaveringly. [10-1]
AòiPd - 19 - cturctuÉuRjragraijc<RNdae*aeittm!
vdis yid ik<icdip dNtéickaEmudI hrit dritimrmit"aerm!,
S)…rdxrsIxve tv vdncNÔma raecytu laecnckaerm!.
iàye caézIle iàye caézIle mu<c miy manmindanm!
spid mdnanlae dhit mm mansm! deih muokmlmxupanm!
iàye caézIle iàye caézIle - x&vm!. A p 19-1
p CDe- vdis yid ik<ict! Aip dNt éic kaEmudI hrit dr itimrm!
Ait "aerm!
S)…rt! Axr sIxve tv vdn cNÔma raecytu laecn ckaerm!
iàye caé zIle mu<c miy manm! A indanm!
spid mdn Anlae dhit mm mansm! deih muo kml mxu panm!manm!
a pa 19-1. chaaru shiile= o, sweet one, by your heart - rather, o, my sweetheart; priye= o, dear; mayi= on me; a nidaanam= without, cause; maanam= petulance [choler]; mu.ncha= release - cast off; sapadi= presently; madana analaH= love's, fire; dahati= burns; mama maanasam= my, bosom; mukha kamala= face, lotus's [or say, lotusy]; madhu paanam dehi= nectar, lend me; ki.nchit api vadasi= a bit, at least, you say; yadi= even if [that talk of yours contain good or bad of mine, then your lips open and your teeth sparkles, with that sparkling]; tava danta ruchi kaumudii= of your teeth [called,] beautiful, moonshine; ati ghoram= highly, horrendous; dara timiram= dark [tenebrous,] gloom [melancholy, not tamas - darkness, Krishna cannot have tamas, word obsolete now, unlike dara haasam]; harati= steals; tava vadana candra maaH= your, face, [called] moon; lochana chakoram= [to my] eyes, [called] cakora birds; sphurat= scintillating; adhara siidhave= lips, with nectar; rochayatu= let them [eyes called birds] cheer up.
"O, dear... now lend me nectar from your lotusy face... or, say at least a bit of it... or, even if you say good or bad of me, but say it... then that moonshine from the sparkle of your teeth steals the highly tenebrous gloom in me... o, sweetheart, let the cakora birds called mine eyes cheer up with nectar from those scintillating lips on your moony face... o, dear sweetheart, cast off causeless choler on me, for the fire of love burns by bosom... [a pa 19-1]
sTymevais yid sudit miy kaeipnI deih ornozr"atm!,
"qy ÉujbNxnm! jny rdo{fnm! yen va Évit suojatm!. A p 19-2
p CDe - sTym! @v Ais yid sudit miy kaeipnI deih or no zr
"atm!
"qy Éuj bNxnm! jny rd o{fnm! yen va Évit suo jatm!
a pa 19-2. su dati= O, dear with beautiful teeth; tvam= you; satyam eva= truly, that way; mayi kopinii yadi asi= on me, furious, if, you are; dehi= give; khara nakha shara ghaatam= sharp, fingernails, arrow, gashes; [if you are dissatisfied with it]; ghaTaya bhuja bandhanam= splice, your arms, to shackle me; [even if your are dissatisfied with such an incarceration, then]; janaya rada khaNDanam= cause, teeth, tearing; vaa= or else; yena= by which [punishment for my misdeeds, you feel happy, that you give; I tell these tricks as my mother tricked me this way and fastened me to a grindstone, cart etc in my childhood - now do the same, of course, with different items]; sukha jaatam bhavati= happiness, causes, in you, those [punishments that will be cuasing such happiness.]
"O, toothily dear, if you are that way truly furious of me, gash me with you arrowy fingernails ... if not, splice your arms to shackle me down... if not, tear me with your teeth... or, make do in whichever way you feel happy... howsoever o, sweetheart, cast off causeless choler on me... [a pa 19-2]
Tvmis mm ÉU;[m! Tvmis mm jIvnm! Tvmis ÉvjlixrÆm!,
Évtu ÉvtIh miy sttmnuraeixin tÇ mm ùdymityÆm!. A p 19-3
p CDe- Tvm! Ais mm ÉU;[m! Tvm! Ais mm jIvnm! Tvm! Ais Év
jlix rÆm!
Évtu ÉvtI #h miy sttm! Anuraeixin tÇ mm ùdym! Ait yÆm!
a pa 19-3. tvam asi mama bhuuSaNam= you, are, to me, ornament [grace - an attractive feature]; tvam asi mama jiivanam= you, are, to me, existence, or quintessence [metaphysical ens]; tvam asi= you, are; bhava jaladhi ratnam= [for the temporal] world, ocean-like, jewel [not only my jewel, but being with me you will be the lone jewel of love, in this ocean-like, unnavigabe world]; iha mayi= here, in my respect [in this somatic world; elliptic: praNate= while I pray, or sue you]; bhavatii anurodhini bhavatu= you may, be gracious to me [as against - virodhinii - one at loggerheads]; tatra= in that matter; mama hR^idayam satatam= my, heart is, ever; ati yatnam= more, effortful.
"You are my grace, ens, and a jewel for this temporal world... hence, here in this unnavigable somatic world I sue you to be gracious to me, for my heart is ever effortful in that matter... [a pa 19-3]
Some notes on these lines are at the end of this song.
nIlnilnaÉmiptiNvtvlaecnm! xaryitkaekndêpm!,
k…sumzrba[Éavenyidr<jyit k«:[imdmetdnuêpm!. A p 19-4
p CDe- nIl niln AaÉm! Aip tiNv tv laecnm! xaryit kaeknd
êpm!
k…sum zr ba[ Éaven yid r<jyit k«:[m! #dm! @tt! Anuêpm!
a pa 19-4. hè tanvi= o, svelte Raadha; niila nalina aabham= blue, lotus, in hue; api= though; tava lochanam= your, eyes; kokanada ruupam dhaarayati= pink-lotus, effect, they bear; idam= tava kopa locanam= these, ireful eyes of yours; kusuma shara baaNa bhaavena= flower, arrow shooter's [Love-god's pink lotus arrow] arrow, with rendition; kR^iSNam= one who is in indigo-blue [maam api= me, too]; ra.njayati yadi= you delight, if; [or, ra.njayasi yadi - will be used by some]; etat anuruupam= all this [ire, fury and pinkness of yours,] will be most becoming.
"O, svelte Raadha, though your eyes will be in the hue of blue-lotuses, they now bear a pinkly effect of pinkish lotuses in all their ire... albeit, if they render themselves as the one and only pink lotus arrow of Love, and shoot to delight me, to render me with my indigo-blue hue as the very pink of love... then all this ire, eyes, and their pink will be most becoming... [a pa 19-4]
S)…rtu k…ck…MÉyaeépir mi[m<jrI r<jytu tv ùdydezm!,
rstu rznaip tv "nj"nm{fle "ae;ytu mNmwindezm!. A p 19-5
p CDe - S)…rtu k…ck…MÉyae> %pir mi[ m<jrI r<jytu tv ùdy dezm!
rstu rzna Aip tv "n j"n m{fle "ae;ytu mNmw indezm!
a pa 19-5. priyè= oh, dear; tava= your; kucha kumbhayoH upari= bosoms, pot-like, on overside; maNi ma.njarii= set of gems, gem chest pendant, a cluster of sapphires; sphuratu= let glitter [with the pinkness of your eyes reflected on them]; tava hR^idaya desham= your, chest, place [bust]; ra.njayatu= [if] it delights [me, one with sapphirine in hue, such as I am; where the comparison of bosoms with pots suggests puuNa kumbha, puurNa kalasha, and gemmed pendant manjari to auspicious garlands used before the start of any auspicious ritual, here that auspiciuous event is the union of Raadhakrishan; elliptic yadi= if - used to say yadi tava hR^idaya desham; mama hR^idaya desham ranjayatu= if your bust with blue-gem pendants delights me on its contact with my indigo-blue chest]; tava rashanaa api= your, girdle strings with tinkle bells, even; ghana jaghana maNDale= on curvy, hip, areas [waistline; then in that bustle]; rasatu= make tintinnabulations; manmatha nidesham ghoSayatu= Love-god's, bidding, let it repeatedly announce.
"O, dear, let that cluster of sapphire gems on your pot-like bosoms be glittering with the pinkness of your eyes, and with such gems if your bust delights me on its contact with my indigo-blue chest, and in that bustle even that girdle strings with tinkle bells on your curvy waistline will repeatedly announce the bidding of Love in their tintinnabulations... [a pa 19-5]
Swlkmlg<jnm! mmùdyr<jnm! jintritr<gprÉagm!,
É[ms&[vai[ krvai[ cr[Öym! srslsdl´kragm!. A p 19-6
p CDe- Swl kml g<jnm! mm ùdy r<jnm! jint rit r<g pr Éagm!
É[ ms&[ vai[ krvai[ cr[ Öym! srs lst! Al´k ragm!
a pa 19-6. hè masR^iNa vaaNi= O, one with melodious, voice [mellisonant] Raadha; sthala kamala= land, lotuses [terrene lotus, that grows on ground]; ga.njanam= gainsays; mama hR^idaya ra.njanam= my, heart, delight; janita= while causing [I can make them more excellent on the stage in the play of passion]; rati ra.nga= play of passion, on the stage [ranga= literally, adeptness, expertise in arts; unless one is adept he/she cannot go on the stage]; para bhaagam= excellence [both feet will have mutually excellent splendour, excellently adept in footwork while on the stage of love]; caraNa dvayam= foot, couple of; sarasa= passionately; lasat= shining; alaktaka= lac, rosy cosmetic of foot; [some mms sagana galada lakta] raagam= crimsoned; [yadi= if]; karavaaNi= [I can] do; [if I can maquillage [= applying makeup] to your feet with crimson lac, the red cosmetic of feet, you will be delighted, hence]; bhaNa= what-do-you-say [or, what-d'ye-say - after how-d'ye-do.]
"O, mellisonant Raadha, those that gainsay land-lotuses are the delighters of my heart, and I can maquillage them with crimson red foot-cosmetic, then they will be mutually excellent, splendorous, and adept in footwork on the stage in the play of passion, that which will be delightful to you, what-d'ye-say... [a pa 19-6]
Smrgrlo{fnm! mm izrism{fnm! deih pdp‘vmudarm!,
Jvlitmiydaé[aemdnkdnanlae hrtutÊpaihtivkarm!. A p 19-7
p CDe- Smr grl o{fnm! mm izris m{fnm! deih pd p‘vm! %darm!
Jvlit miy daé[> mdn kdn Anl> hrtu tt! %paiht ivkarm!
a pa 19-7. hè preyasi= o, love; mama shirasi maNDanam= on my, head, [a distinctive] ornament [motif]; udaaram= glory [resplendent majesty or magnificence; great beauty]; smara garala khaNDanam= Love-god's, venom, dissevers [antivenin, antivenom]; [tava= your]; pada pallavam= foot, tender-leafy; [mama shirasi= on my, head]; dehi= give, [with stressed dha - dhehi= place, keep; dhayati, dhiita - to kiss, to suckle]; mayi= in me; daaruNaH= intolerable; madana= Love-god's; kadana= kadanam kaluSe taape - vishva kosha, scorching, not war]; analaH= fire [other mms aruNaH= reddish like flame]; jvalati= burning; tat upaahita= to that [fire of Love-god's scorching,] connective to; vikaaram= disquietude, desperateness etc., abnormalities; haratu= let [those feet] spirit away; [or straightly, tread my body to tread on that Love-god, to tread out his fire.]
"O, love, that tender-leafy foot of yours is an antivenin to the venom of Love-god, place it on my head, and make it my motif and my glory... for, that scorching fire of Love-god is burning me intolerably... hence, tread my body to tread on that Love-god, to tread out his fire and its abnormalities... [a pa 19-7]
#itcqulcaqupqucaémurvEir[ae raixkamixvcnjatm!,
jyitjydevkivjydevkivÉartIÉUi;tm! mainnIjnjintintaitzatm!. A p 19-8
p CDe- #it cqul caqu pqu caé mur vEir[> raixkam! Aix vcn jatm!
jyit jydev kiv ÉartI ÉUi;tm! mainnI jn jint Ait zatm!
a pa 19-8. iti= this way; chaTula= cute [caTulaH sundare cale - dhraNi nighaNTu]; chaaTu= with words easy and dear to remember - catchy words; paTu= endearing words - canny; chaaru= charming words; maaninii jana janitam= in women, folk, caused; shaatam= with comfort; jayadeva kavi bhaaratii bhuuSitam= by Jayadeva, poet's, poetry, adorned with; [or, jaya padmaaavatii ramaNa jayadeva kavi bhaaratii bhaNitam ati shaantam - in other mms]; mura vairiNaH= of Krishna; raadhikaam adhi= Raadha is, made as target; vachana jaatam= words, cluster of; ati jayati= highly, winning [highly thrilling.]
This way, let the words of Krishna targeting Raadha adorn the poetry of poet Jayadeva, and be comforting to womenfolk, and because they are cute, catchy, canny, and charming, let they remain highly thrilling... [a pa 19-8]
If Bhagavad Gita ca be understood in a trice without any help of commentaries, this chapter too is understandable, indepth. Otherwise we should be content with its prima facie meaning. In this song apparently unnecessary or commonplace words seem to be encrusted; either by original poet or in this work, and at end he foreordains them to be highly thrilling. In saying such a loose construct 'you're my ornament, you're my existence, you're my jewel...' or 'keep your feet on my head... tread over me...' etc., can we possibly attach some laxity to the poet's thought? Not so. This song is loaded with Philo of the then egging and revolting method of raadhamaadhava tradition. Some of it can be incorporated here, but at the cost of lusciousness of this song, and owing to many dissensions - it is skipped. Usually separated lovers get all oddities in their behaviour, to the level of delirium and swooning. The sandal-breezes becomes venom and the Love-god the serpent, and then the eagle has to come to scare the snake. And comparing heroine's feet, if compared to the claws of eagle, as some technical parison, it will be OK, but becomes too much, called aakshepa ruupaka, and Jayadeva as a writer of the treatise on aesthetics of poetry, called candraaloka may not incorporate such words.
In this book candraaloka, chapters are named as mayuukha-s in which the items discussed are prathama mayuukha: kaavya hetu, lakshaNa, ruuDhi, yaugika kathana; next, chapters and their subjects are: dvittiya mayuukha: doSa varNana; tR^itiiya mayuukha: dasha vidha visheSa lakshaNa niruupaNa; caturthaH; dasha guNa nirvacana; pancama: shabda artha alankaara parisankjhyaana. None later to Jayadeva bothered about the ideas given in the third chapter. This book or details about it may be available in magnum opuses of aacaarya sushiila kumar de, or that of Dr. Shankaran et al, or in some archives, as all will just extol Jayadeva, but none makes his works available to enthusiasts.
pirhr k«taNtNke z<ka<TvyasttM"n
Stnj"ny==³aNte SvaNte pranvkaizin,
ivzit ivtnaerNyae xNyae nkae=ip mma<trm!
à[iyin prIr<Éar<Ée ivxeih ivxeytam!. 10-3
p CDe - pirhr k«t AaNtNke z<kam! Tvya sttm! "n Stn j"nya
Aa³aNte SvaNte pra Anvkaizin ivzit ivtnae> ANy> xNy>
n k> Aip mm! A<trm! à[iyin prIr<É Aar<Ée ivxeih ivxeytam!
10-3. hè kR^ita aantanke= O, one who surmised, some doubt [jealous or, having grief about my infidelity]; pari hara sha.nkaam= completely, give up, your doubt; ghana stana jaghanayaa= by one who has massy, bosom, hips; tvayaa= [such as you are,] by you; satatam= always; paraa= to others [other heroines]; an+avakaashini= no, room [on your making no room]; sva ante= in my, interior - in my heart of hearts; aakraante sati= pervading, while; vi tanoH anyaH= one without, body - bodiless Love-god, other than;dhanyaH kaH api= fortunate one, who will be; mam= in my; a.ntaram na vishati= heart, not, enters; praNayini= oh, dear; pariira.mbha= embrace [pl note in - parirambhaNa - there is no sound of heaviness of her breasts]; aara.mbhe= in starting of; vidheyataam= as befitting deed [or, kainkarya pradiiyataam= accord me bondage, thraldom]; vidhehi= grant me [or, enthral me.]
"O, jealous Raadha, completely give up your doubt about my infidelity, while you with your bosomy bust and rotund hip are always pervading my heart of hearts, making no room to others, who is that 'other' fortunate one to enter it, excepting that Love-god for he is formless... hence, o, dear, grant me thraldom and start enthralling me, with an embrace... [10-3]
In this poem kaavya linga - alankaara; naayika - prauDha; naayaka - pragalbha; vipralambha sR^ingaare - priyaa sanga siddhi. Now, this boy changes his tune and starts entreating her, as though he is temporarily disloyal, where that disloyalty is temporary every time.
muGxe ivxeih miy indRydNtd<z daevRi‘bNxinibfStnpIfnain,
ci{f Tvmev mudmuÖh p<cba[ c{falka{fdlnadsv> àyaiNt. 10-4
p CDe- muGxe ivxeih miy indRy dNt d<z dae> vi‘ bNx inibf Stn
pIfnain ci{f
Tvmev mudm! %Öh p<cba[ c{fal ka{f dlnat! Asv> àyaiNt
1-4. mugdhe= sva hita avaj~na= o, coyest Raadha; mayi= [if think I have dalliance] in me; vidhehi= subject [me to]; nir daya= without, mercy; danta da.nsha= teeth, slashes; doH= arms; valli= fibrillar; bandha= snares; nibiDa stana piiDanaani= oppressive, bosom, squeezes; chaNDi= O, shrew; asavaH prayaanti= lives, started to leave; pa.nca baaNa= one who wields five, arrows - Love-god; chaNDaala= [here] cruel, felon; kaaNDa= by arrows; dalanaat= by cleavage of; tvam eva mudam= you, alone, happiness; ut vaha= on, carry [carry on, continue to be happy.]
"O, coyest Raadha, should you think that some dalliance is in me, then mercilessly subject me to slashes of teeth, snares of your fibrillar arms, squeezes of your oppressive bosoms... o, shrew, now my lives have started to leave, for arrows of that felonious Love-god are cleaving, be happy when they leave... [10-4]
In this naayaka - anukuula; naayika - mugdha; rasavat - alanakaara; guNa - praasaada; riiti - vaidarbhi; In the next step, according to vaastaayana nyaaya the hero tries to bring round the heroine, by flattering her beauty.
zizmuio tvÉaitÉ<guræU> yuvjnmaehnkralkalspIR,
tÊtiv;É<jnayyUnam! TvdxrzIxuzudEvisÏm<Ç>. 10-5
p CDe- ziz muio tv Éait É<gur æU> yuv jn maehn kral kal spIR
tt! %idt iv; É<jnay yUnam! Tvt! Axr zIxu zud @v isÏ m<Ç>
1-5. hè shashi mukhi= o, moon, faced one; tava= your; ba.ngura bhruuH= curvy, eyebrows; yuva jana= for young, people; mohana= swooning; karaala kaala sarpii bhaati= dangerous, black, cobra, shines forth [like that of]; tat= from it [from cobra like eyebrow]; udita viSa bha.njanaaya= spewed out, poison, to antidote; yuunaam= for youths [bitten by such love-cobra]; tvat adhara= your, lip's; shiidhu= intoxicant like; shuda eva= nectar, alone; siddha ma.ntraH= self-manifested, chant.
"O, moonfaced Raadha, your curvy eyebrow is shining forth like a dangerous black cobra that makes anyone to swoon, and your lips' intoxicating nectar alone is the antidote to such a poison spewed out by such cobra like eyebrow, like a self-manifested mystic chant... [10-5]
Other hymns yield results after much chanting and painful practice. But the lovely nectar of her lips spills out in a spell without those many practises or hardships, for she is an embodiment of love.
Vywyit v&wa maEnm! tiNv àpÂy p<cmm!
té[I mxuralapEStapm! ivnaedy †iòiÉ>,
sumuio ivmuoIÉavm! taviÖmu<c n mu<c mam!
SvymitzyiõGxae muGxe iàiy=ymupiSwt>. 10-6
p CDe- Vywyit v&wa maEnm! tiNv àp<cy p<cmm! té[I mxur AalapE>
tapm! ivnaedy †iòiÉ>
sumuio ivmuoI Éavm! tavt! ivmu<c n mu<c mam! Svym! Aitzy iõGx> muGxe iày> Aym! %piSwt>
10-6. hè tanvi= O, curvaceous Raadha; vR^ithaa maunam= pointless, muteness; vyathayati maam= despairing, me; hè taruNI= o, damsel; madhura aalaapaiH= with sweet, words; prapa.nchaya= spread out [communicate, talk freely]; pa.nchamam= in fifth note [like koel]; dR^iSTibhiH taapam= by [favouring] looks; vi nodaya= to side, cast; hè sumukhi= o, gracious faced one; vi mukhii bhaavam= tuned away, faced [ungracious,] notion [sumukhi cannot become a vimukhi or durmukhi]; taavat vimu.ncha= all that, cast off; na mu.ncha maam= don't, leave off, me; hè mugdhe= you, blasé girl; atishaya snigdhaH= with abounding, passion; ayam priyaH= that, lover of yours; svayam upasthitaH= personally, is in your presence [he is now self-manifest.]
"O, curvaceous Raadha, despairing is your pointless muteness... o, damsel, talk melodious words freely and in fifth note like koel... cast off all that ungracious notion for yours is a graceful countenance, and don't leave me in lurch... o, blasé girl, he who has abounding passion, that lover of yours is presently self-manifest... [10-6]
In this naayaka - anukuula; guNa - prasaada; vR^itti - vaidarbhi; giiti - maaagadhi; alankaara - yathaa sa.nkhya; vR^itaa - hariNi 'Until the time of arrival you make fuss about my non-attendance, and when I am present you turn away your face... girlish caprice... isn't it!'
bNxUk*uitbaNxvae=ymxr> iõGxae mxUkCDiv
g{fíi{f ckaiSt nIlnilnïImaecnm! laecnm!,
nasaTyeit itlàsUnpdvIm! k…NdaÉdaiNt iàye
àaySTvNmuosevya ivjyte ivñm! s pu:payux>. 10-7
p CDe - bNxUk *uit baNxv> Aym! Axr> iõGxae mxUk CDiv> g{f> ci{f
ckaiSt nIl niln ïI maecnm! laecnm! nasa ATyeit itl àsUn pdvIm!
k…Nd AaÉ daiNt iàye àay> Tvt! muo sevya ivjyte ivñm! s pu:pa Ayux>
10-7. hè chaNDi= O, ireful one[ ayam= this [tava= your]; adharaH= lips; bandhuuka dyuti baandhavaH= Bandhuuka blood red flower, in resplendence, relative of [by this the blood draining arrow of Manmatha, Love-god is said]; snigdhaH gaNDaH= soft, cheek's [colour]; madhuuka cChaviH chakaasti= Madhuuka, pale yellow coloured flowers, shine, outshines [by this paling and dulling flower arrow of Love-god is said]; lochanam= eyes [colour]; niila nalina shrii= black, lotuses', splendour; mochanam= carry off [by this the maddening effect caused by Love-god's blue lotus is said]; hè kunda aabha daanti= o, jasmine, whitely whitish hue, your teeth [with this the whitening, blanching jasmine arrow of is said, as the sparkle of teeth is lost]; hè priye= o, dear; naasaa= by nose's [colour]; tila prasuuna= gingelly flowers', children - flower's buds; padaviim= their status; ati eti= over, stepping [transcending; by this the draavaNa shakti -desiccating power of Love-god's arrow is said; and on seeing that, it appears that all those flowery arrows are used on you to render you to this state]; saH= he, [who was rendered bodiless by God Shiva Love-god]; puSpaa ayudhaH= flower, weaponed Love-god; tvat mukha sevayaa= your, face, on adoring; vishvam vijayate praayaH= world, victorious, perhaps.
"O, ireful dear, your should-have-been rosy lips turned red and look like the relatives of blood red flowers of Bandhuuka... that way, your soft blushing cheeks at one time are now palish and outshine the shine of pale yellow flowers of Madhuuka, and your gullible wide eyes are now wide-eyed and carry off the bluesy splendour of blue-black lotuses, and oh, dear with sparkly teeth, your teeth are now sparkless like the hue of whitely white jasmine flowers, and oh, dear your nose is transcending the lacklustre colour of gingelly flowers, by this I surmise that perhaps the Love-god is victorious on all the world, only after adoring your face... [10-7]
†zaE tv mdalse vdnimNÊmTyuJJvlm!
gitjRnmnaerma ivxutr<ÉmUéÖym!,
ritStv klavtI éicricÇleoe æuvaE
Ahae ivbuxyaEvtm! vhis tNvI p&WvIgta. 10-8
p CDe- †zaE tv mdalse vdnm! #NÊm! Ait %JJvlm!
git> jn mnaerma ivxut r<Ém! ^é Öym! rit> tv klavtI éicr icÇleoe æuvaE
Ahae ivbux yaEvtm! vhis tNvI p&WvI gta
10-8. hè tanvii= o, comely Raadha; tava dR^ishau mada alase= your, eyes, by passion, dozy [second meaning - Madaalasa is the name of one celestial apsara, courtesan in Indra's heaven. So, in heaven there is one Madaalasa, but here in you, yourself plus that Madaalasa are appearing]; vadanam indum ati ujjvalam= your face, for moon, superbly, shining [your face is making the moon to highly shine; 2nd meaning: there is one courtesan called Indumati]; gatiH jana manaH ramaa= your gait, for people, heart, pleasing -or, breathtaking [2nd meaning - another celestial namely Manorama]; uuru dvayam vidhuta ra.mbham= thighs, two, confute, [beauty of] soft, solid, yet very light thigh-like stems of banana plant [2nd meaning - the famous court dancer Rambha, in the quartet of Rambha, Urvasi, Menaka, Tilottama - in Indra's court]; tava ratiH= your frolicking; kalaa vatii= artistry, having [has artistic features like haava, bhaava, kilikincita, moTTaayita, bibboka, and the like expressions] bhruvau ruchira= eyebrows, enchanting; chitra lekhe= astounding, marks [of foliages painted with erasable tattooing on face, hands, chest and on other visible parts; 2nd meaning - Citralekha is another courtesan]; tvam pR^ithvii gataa= you, on earth, though entered [present]; vibudha yauvatam vahasi= celestial, damsels' [beauty,] nearing; aho= what a surprise.
"O, comely Raadha, your eyes are dozy with passion, your face makes the moon to shine superbly, your gait is breathtaking to people, both your thighs confute the softness and lightness of thigh-like stems of banana plants, and your frolicking is artistic with nuances of tone, depth, spirit and ardour of expressions, your eyebrows are enchanting like the painted foliage designs, and though you are an earthling you bear the look of celestial beauties... surprising! [10-8]
Here many tend to give the names of celestial courtesans as main import. Raadha is no courtesan, and even if she were to be such, she has none other than Krishna to court with. It is said that when the main import mukhya artha is undecipherable, then you go by lakshaNa allegorical meaning, but not to arrive at secondary or lexical, or apparent meaning gauNa artha, and here that rule is specific. Though the poet uses these names, and though the vaacaka lupta upama 'metaphor minus comparing word' is suggestive, in view of absence of commonality anugaami dharma of 'courtesan-ship in Raadha...' these are to be left off. Ultimately the utter flattery of this boy reduces to 'you are beauteous like celestials...' where heaven of Indra is said as a first class waiting room on a railway platform, and when the merit is counted down, one has to vacate it though he holds a ticket kshiiNe puNye martya lokaaH pravishanti... , and because the main characters are drawn from somewhat higher realms, than the platform-like Indra's heaven, secondary meanings do not imply. This song's metre is pR^ithvii vR^itta and the poet uses it not for pun, but again makes use of that name as an object in the poem.
s àIitm! tnutam! hir> k…vlyapIfen sawRm! r[e
raxa pInpyaexrSmr[k«Tk…<Éen s<Éedvan!,
yÇ iSv*itmIlit][mip i]à<tdalaeknat!
k<sSyalmÉUi¾tm! ijtimit Vyamaehkaelahl>. 10-9
p CDe- s àIitm! tnutam! hir> k…vlyapIfen sawRm! r[e
raxa pIn pyaexr Smr[ k«t! k…<Éen s<Éedvan!
yÇ iSv*it mIlit ][m! Aip i]àm! tt! Aalaeknat!
k<sSy Alm! AÉUt! ijtm! ijtm! #it Vyamaeh kaelahl>
10-9. raNe= in war; raadhaa piina payodhara smaraNa kR^it= Raadha's, bosomy, bust, reminiscence, [Krishna] on making [on reminiscing, when he is in war with Kamsa and while he is confronting an attacking elephant]; ku.mbhena= with elephantoid forehead; kuvalayaapiiDena= named as the same KuvalayaapiiDa [kuvalaya= rotund forehead, aapiiDa= severely jabs - a warring elephant]; saartham= along [with that elephant]; sa.mbhedavaan= when encountering it; yatra= where, or he who is that Krishna is; svidyati - svedana= sweats; api= even; kshaNam= for a moment; miilati= be with half-closed eyes; tat aalokanaat kshipram= that [Krishna's pausing combat,] on seeing, immediately; alam jitam jitam= enough, he is conquered, he is conquered; iti= thus; ka.msasy vyaamoha kolaahalaH abhuut= Kamsa's, foolish, brouhahas, were there; saH hariH= such a, Krishna; priitim tanutaam= blitheness, may make happen.
When Krishna is in war and confronting with the elephant of Kamsa, namely KuvalapiiDa, with its unassailable jabbing forehead, he sweated to see that forehead, and his eyes are half-closed for a moment, as that forehead resembles the bosomy bust of Raadha, and Raadha danced on his memory, and on seeing that backtracking Krishna, Kamsa made foolish brouhahas, shouting 'enough, Krishna is conquered... he is conquered...' let such Krishna, who retraces his steps at the very memory of lovely Raadha, make our lives blithesome. [10-9]
#it gItgaeivNde cturctuÉuRja nam dzm> sgR
Thus, this is the 10th chapter, called caturacaturbhuja - Tactful Krishna, in Gita Govindam of Jayadeva.
Sept, 2003, Desiraju Hanumanta Rao; Revised Oct 08