Chapter [Sarga] 2 - aklesha keshava
A¬ezkezvm!
Intolerant of Krishna’s flirtatious behaviour with other girls, Raadha deviates from ronde and complains all her feelings to her friend. Even in her complaining that Krishna is cheerfully irresponsible – blithesome Krishna, for his prema, love divine. aklesha keshava, she extols Krishna’s enrapturing nature.
ivhrit vne raxa saxar[à[ye hraE ivgilt injaeTk;aRdI:yaRvzen gtaNyt>,
Kvicdip ltak…Ãe guÃNmxuìtm{flI muorizore lIna dInaPyuvac rh> soIm!. 2-1
pdCDed - ivhrit vne raxa saxar[ à[ye hraE ivgilt inj %Tk;aRt!
$:yaR vzen gt ANyt> Kvict!
Aip lta k…<je gu<jt! mxu ìt m{flI muor izore lIna dIna Aip %vac rh> soIm!
2-1. hare= by Krishna; saadhaaraNa= general [fairly, in a fair and square manner]; praNaye= in lovingness [Krishna, whose love is equipoise in respect of other milkmaids and herself]; vane viharati = in woodlands, while pleasure-tripping; vi galita= muchly [steeply,] slithered; nija= one's own [Raadha's]; utkarSaat= by her superiority complex, [privilege]; iirSyaa vashena= begrudge, by control of [overtaken by]; anyataH gata= elsewhere, gone; raadhaa= Raadha; kvachit api= somewhere, even; gu.njat madhuvrata= humming, honeybees, swarms of; maNDalii= spiralling; mukhara= with noise; shikhare= at spire [of bower]; lataa ku.nje= in tendrils, of bower; liinaa= steeped in; diinaa= forlornly [Raadha]; rahaH= in solitude; sakhiim = to girlfriend; api uvaacha= even, said.
Steeply slithered is Raadha's privilege, for Krishna's love is equipoise in respect of all other milkmaids and herself, and thus some grudge overtook her when he is pleasure-tripping with others, hence she has gone elsewhere, somewhere into a bower of tendrils, that which is noisy with the humming of honeybee-swarms spiralling at its spire, and when she steeped into that bower she forlornly said this to her girlfriend, in solitude. [2-1]
She became a forlorn one as the humming noise of bees is increasing her passion for Krishna bhramaraiH kaamoddiipita hence, unable to endure it she has become somewhat a forlorn one, who otherwise is a resolute girl.
Again the word rahaH sakhiim uvaaca is sometimes said as ' she told her secrets...' etc. But whole world knows what her secret is, i.e., to have Krishna for herself... Hence, it is - said in solitude - what she is going to say is not to be heard by others... even if someone is going to eavesdrop she/he shall presume it as the humming of bees, as she is going to tell next aSTa padi in a tune and wording almost like the buzz of bees.
Then, diinaa api forlorn one, even so; even so she became a forlorn one by losing her pride, she got guts in regaining it - cf., Ramayana, 4-6-23, tataH saH raaghavaH diinaH sugriivam idam abraviit... even if Rama became a forlorn one, he spoke to Sugreeva self-confidently.
In this verse it is vipralambha sringaara, as Raadha is intolerant of Krishna's separation; rasavad alankaara - as she is ecstatic; shabda alankaara called varNa anupraasa; naayika -prauDha; metre - hariNi.
A p - 5 - mxuirpu rÆ ki{Qk -
s<cldxrsuxamxurXvinmuoirtmaehnv<zm! cilt†g<clc<clmaEilkpaelivlaelvt<sm!,
rase hirimh ivihtivlasm! Smrit mnae mm k«tpirhasm! - x&vm!. A p 5-1
pdCDed - s<clt! Axr suxa mxur Xvin muoirt maehn v<zm! cilt †g<cl
c<cl maEil
kpael ivlael vt<sm! rase hirm! #h iviht ivlasm! Smrit mnae mm k«t pirhasm
a pa 5-1. sa.ncarat or sa.nchalat= pulsating; adhara= from lips; sudhaa madhura= with ambrosial, sweetness, [lusciousness]; dhvani= by melody; mukharita= sounded, fluted; mohana= causing delight, or, Mohana named; va.nsham= flute; chalita= flitting; dR^ik a.nchala = eye, ends - sidelong glances; cha.nchala= swaying, nodding; mauli= head, or half-crown, or peacock feathers; kapola = on cheeks; vilola= dangling, swaying; vata.nsam= knobby ear-hangings; [next stanza is a reprise in next foots]; iha= here; raase= in ronde dance; vihita vilaasam= having, frolics; kR^ita= made; parihaasam= fun of me, or, uncared-for, with blithe indifference towards me; [api cet = even, though]; mama manaH smarati= my, heart, reminds; harim= of Krishna [alone.]
"Oh, friend, while Krishna's lips are pulsatile on his delightful flute Mohana Vamshi, ambrosial lusciousness is fluted melodiously, and while his head with half-crown and peacock feathers is nodded, his sidelong glances are flitting from one maid to the other, to observe their observation of his fluting fugues, and in doing so, his knobby ear-hangings are swaying onto both of his cheeks, in tune with all the fugues, thus he is frolicking here in ronde dance, blithely making fun of me... albeit, my heart reminds me of Krishna alone... [a pa 5-1]
cNÔkcaémyUrizo{fkm{flvliytkezm!,
àcurpurNdrxnurnuriÃtmeÊrmuidrsuvezm!. A p 5-2
pdCDed - cNÔk caé myUr izo{fk m{fl vliyt kezm! àcur purNdr xnu>
Anur<ijt meÊr muidr suvezm! - rase hirimh - - pirhasm!
a pa 5-2. chandraka= plumage of peacock; chaaru= beautiful; mayuura= of peacock; shikhaNDaka= tail plumes with eyelike markings; maNDala= with wreath; valayita= enwreathed; kesham= [blackish] hairstyle; prachura= expansive; purandara dhanuH= Indra's, bow = rainbow; anura.njita= decorated with, with a wraparound; medura= thickly; mudira= [like] cloud; su vesham= beautiful, attire; reprise: raase harimiha - - parihaasam= as above.
"He, whose blackish hairstyle is enwreathed with a wreath of beautiful plumery of peacock with their eyelike markings, is like thick blue-black, or cerulean cloud with a wraparound of rainbow as its beautiful attire... such as he is, he is frolicking here in ronde, blithely making fun of me... albeit, my heart reminds me of Krishna alone... [a pa 5-2]
Here there are two concepts. One, any seen peacock is reminding her of Krishna as he has peacock plumes in his crown. The other, every cloud is appearing like him, as blue-black, cerulean hue is common to both, and common are the colourful rainbow on a cloud and rainbow-like attire on this boy. Hence she is in a fit of the blues.
gaepkdMbintMbvtImuocuMbnliMÉtlaeÉm!,
bNxujIvmxuraxrp‘vmu‘istiSmtzaeÉm!. A p 5-3
pdCDed - gaep kd<b int<b vtI muo cu<bn l<iÉt laeÉm! b<xu jIv
mxur Axr
p‘vm! %‘ist iSmt zaeÉm! - rase hirimh - - pirhasm!
a pa 5-3. gopa= milkmaids; kada.mba= group of [samuuha, brindam, nikurambam, kadambam - amara kosha; not Kadamba tree]; nita.mba vatii= with beamy buttocks, women having them [gagana jaghana]; mukha= face; chu.mbana= in kissing; la.mbhita= that which is acquired [his own interestedness]; lobham= interested in; ba.ndhujiiva= Bandhuuka flower, a rosy red flower; madhura= dainty; adhara= lower lip; pallavam= tender leaf like; ullasita= beaming; smita= smile; shobham= by which he is shining forth; reprise; raase harimiha - - parihaasam= as above.
"He, who has acquired an interestedness in making the group of milkmaids with beamy buttocks to kiss his face, and on whose dainty and tender-leaf like lower lip, that resembles the roseate Bandhuuka flower, a beaming smile ever shines forth... he is frolicking here in ronde, blithely making fun of me... albeit, my heart reminds me of Krishna alone... [a pa 5-3]
Please read the word mukha as face, but not as mouth, since mouth's function is different from that of lips, insofar as kissing is concerned. Whenever Raadha sees a Bandhuuka flower, a rosy red flower, Krishna's delicate lower lip is coming to her mind, but unavailable is his face, as other round-bottomed girls are invading it. Then why not Raadha follow the suite of other girls? How can she do so, when others are mobbing him? Moreover she wants him, only for herself, without any sharing or partaking. Then the friend may question her, asking 'why you are after that boy when he is after those many?' For that Raadha's answer is: 'He is fully interested in me... none else... la.mbhita lobham... but he acquired an interestedness, created by those girls, when all those girls forcibly dragged him away, so allowed them to kiss his face... hence, I extol him and his attributes, as he really belongs to me...'
Round-bottomed milkmaids... ni.ndaa vaacaka... Raadha is sneering at other girls for their ungainly physique, as Raadha herself is the most beautiful girl.
vipulapulakabhujapallavavalayitavallavayuvatisahasram ,
karacharaNorasi maNigaNabhuushhaNakiraNavibhinnatamisram ,, A p 5-4
padacCheda - vipula pulaka bhuja pallava valayita vallava yuvati
sahasram kara
charaNa urasi maNi gaNa bhuuSaNa kiraNa vibhinna tamisram - raase harimiha - - parihaasam
a pa 5-4. vipula= immense; pulaka= with frisson; bhuja pallava= arms, tender leaf like; valayita= encircled [embraced]; vallava yuvati sahasram= cowmen, maids, thousands [and thousands of milkmaids]; kara charaNa urasi= on hands, feet, chest; maNi gaNa bhuuSaNa = jewels, sets of, jewelry; kiraNa= [by that jewelry's] shaft of light, [luminosity]; vibhinna tamisram= dispelled, darkness [gloom]; raase harimiha - - parihaasam= as above.
"He, who is embraced by thousands and thousands of milkmaids with their tender leaf-like arms, which are with immense frisson, and which luminosity of sets of jewelry on his hands, feet and chest dispels darkness, he is frolicking here in ronde, blithely making fun of me... albeit, my heart reminds me of Krishna alone... [a pa 5-4]
The word tamisram is not the darkness of night alone, but the general darkness, gloom, ignorance etc., as in tamasomaa jyotir gamayaH. A single ray of light from his jewellery is enough to dispel any kind of darkness, then what more can be said of his total jewellery and about himself. Thus the ignorance of all the other milkmaids is dispelled, call them as sages and saints of Ramayana times, as you may, as a kind of deliverance.
On Raadha's side, she is remembering their starting time episodes. When they started homeward the night was falling, and the pathway was darksome. Krishna played her along till she came very near to him. But when she neared him all the darkness around them is dispelled only because of the luminosity of his jewellery, and she was prudish to be with him in broad daylight like resplendence. She ran away into darkness. But he is already there with his luminosity and it was inescapable for her to avoid him, in many an attempt. In the meanwhile other milkmaids came and carried him away, and she is disgruntled, and now she is grunting about it.
jaladapaTalavaladinduvinandakachandanatilakalalaaTam ,
piinapayodharaparisaramardananirdayahR^idayakavaaTam ,, A p 5-5
padacCheda - jalada paTala valat indu vinindaka chandana tilaka
lalaaTam piina
payodhara parisara mardana nirdaya hR^idaya kavaaTam - raase harimiha - - parihaasam
a pa 5-5. jalada= in clouds; paTala= crowds of; calat or valat= moving; indu= moon; vi nindaka= verily, deploring; chandana tilaka= sandal paste, mark on forehead; lalaaTam= having forehead; piina= busty; payodhara= bosoms; [maNDala= area, bust] parisara= nearby, closely, tightly; mardana= on rubbing; nir daya= without, mercy, implacable; hR^idaya kavaaTam= heart [chest,] door; raase harimiha - - parihaasam= as above.
"He, by whose sandal paste's roundish mark on his forehead, that roundel moon moving in the crowds of clouds is highly deplorable, and he whose chest hardened by tight rubbing of busty bosoms of milkmaids, thus his implacable heart is encased in his strong-doored chest, he is frolicking here in ronde, blithely making fun of me... albeit, my heart reminds me of Krishna alone... [a pa 5-5]
The moon moving in clouds is reminding her about the round sandal-paste mark on Krishna's forehead. The moon may not be moving in clouds as in shaakhaa-candra nyaaya, but Krishna's head is definitely and constantly nodding while piping his flute. Then his face is like a mass of clouds, and mark on forehead is brilliant than the semi-visible moon in clouds. Though he is boy his chest is so hardened to keep his all-loving heart in a strong-doored strongroom. From his childhood his chest is rubbed against busty bosomy breasts, either of women of Vraj or demoness Puutana from Madhura. Hence this boy is calculatingly entertaining unassuming milkmaids, but heedless of Raadha, as her claim is for ownership of the very same boy, and hence Raadha is with this discontentment, yet not able to forget him.
mi[mymkrmnaehrk…{flmi{ftg{fmudarm!,
pItvsnmnugtmuinmnujsurasurvrpirvarm!. A p 5-6
pdCDed - mi[ my mkr mnaehr k…{fl mi{ft g{fm! %darm! pIt vsnm!
Anugt
muin mnuj sur Asur vr pirvarm! - rase hirimh - - pirhasm!
a pa 5-6. maNi maya= gems, full with; makara= crocodile; manohara= heart-stealing; kuNDala= knobby ear-hangings; maNDita= decorated, [illuminates as in 3 decorate (an initial letter, a manuscript, etc.) with gold, silver, or brilliant colours etc.]; gaNDam= cheeks; udaaram =glorious one; piita vasanam= ochry silks, as raiment; anu gata= in tow, followed by; muni= sage; manuja= human; sura= gods; asura= demon; vara parivaaram= best, followers, fraternity; raase harimiha - - parihaasam= as above.
"He, whose gem-studded crocodile-like knobby ear-hangings will be heart-stealing when they illuminate his sapphirine-blue cheeks, when they swing onto them, and he who has ochry silks as his raiment, and who has a best fraternity of gods, demons, and men in his tow, and such a glorious one is frolicking here in ronde, blithely making fun of me... albeit, my heart reminds me of Krishna alone... [a pa 5-6]
Here his followers are said in singular, but we usually take it as plural for generalisation. In singularity they are: among gods it is Sage Narada; among demons it is Emperor Bali; among humans it is Bhiishma pitaamah, where all the three symbolise 'surrendering, forfeiture, dedication...' Narada is an out-and-out dedicatee of Vishnu and his incarnations, Emperor Bali is a non-naysayer, and Bhiishma is renowned for his forfeiture of a vast kingdom for the sake of one solemn promise. Of course, Raadha as an illiterate 'thumb-impression' girl may not know all these things, but the poet knows, and hence he puts these expressions on her tongue, since she too is no less a devotee. She as a poor girl from a hamlet may not have kingdoms to forego like Bhiishma, spheres of worlds like Bali, and utmost scriptural knowledge like Narada. But she is female and female's body and soul alone are her property or possessions, hence she wants to surrender them in the Supreme Being.
ivzdkdMbtle imiltm! kilklu;Éym! zmyNtm!,
mamip ikmip trNgdn¼†za mnsa rmyNtm!. A p 5-7
pdCDed - ivzd kd<b tle imiltm! kil klu; Éym! zmy<tm! mam! Aip
ikm! Aip
tr<gt! An<g †za mnsa rmy<tm! - rase hirimh - - pirhasm!
a pa 5-7. vishada= serene; kada.mba tale= at Kadamba tree, base; militam=mingled, arrived at; kali= praNaya kalaha = niggling in romance/ Kali, the fourth era; kaluSa= manaH kaaluSya= blemish; bhayam = fear; shamaya.ntam= mollifier; kim api= how, even [impossible to tell, unspeakably]; tara.ngat= tidal; ana.nga dR^ishaa= with Love-god's, look [with passionate looks]; manasaa= with heart, soulfully; maam api= me, even; ramaya.ntam = exhilarate; raase harimiha - - parihaasam= as above.
"He, who is arrived at the foot of a serene Kadamba tree for me, and he who is a mollifier of niggles in romance, and he who can exhilarate even me with his tidally passionate looks and soulfully, he is frolicking here in ronde, blithely making fun of me... albeit, my heart reminds me of Krishna alone... [a pa 5-7]
kadamba tale militam: He who is mixed up or mingled in the darkness at a peaceful Kadamaba tree, pre-set by me, only to hoodwink me; kali kaluSa... one as above, and the other is the mollifier of the blemishes of Kali era, the fourth era; drishaa, manasaa ca - not only by his gracious looks and but with his kind heart also; maam api - even me, as I deserve supreme love and affection of the Supreme lokottara prema arhiNii - raadhika, hence I reminisce about him...
ïIjydevÉi[tmitsuNdrmaehnmxuirpuêpm!,
hircr[Smr[m! àit sMàit pu{yvtamnuêpm!. A p 5-8
pdCDed - ïI jydev Éi[tm! Ait suNdr maehn mxu irpu êpm! hir cr[
Smr[m! àit sMàit pu{yvtam! Anuêpm! - rase hirimh - - pirhasm!
a pa 5-8. shrii= shrii suukti= sacred saying; jayadeva bhaNitam= by Jayadeva, said; ati sundara= most, beautiful; mohana= enrapturing [physically rapturous to milkmaids, divinely to whole of the world]; madhu ripu= Madhu, the demon's, enemy's Krishna; ruupam = form; hari charaNa= Krishna's, feet; smaraNam prati= cogitate, for; samprati= presently [in this kali yuga]; puNyavataam= pietistic people; anuruupam = befitting; raase harimiha - - parihaasam= as above.
"He, who has a most beautiful and all-enrapturing form, on whom a sacred saying is said by Jayadeva, a befitting saying for pietistic people to cogitate over the feet of Krishna in this Kali era, he is frolicking here in ronde, blithely making fun of me... albeit, my heart reminds me of Krishna alone... [a pa 5-8]
The last line of reprise is generally removed in this verse, as it will be confusing whether Raadha is saying this, or it is the poet's saying. But if read with next verse, it is Raadha's dialogue that is continued.
g[yit gu[¢amm! Éamm! æmadip nehte
vhit c pirtae;m! dae;m! ivmuÂit Ërt>,
yuvit;u vlSt&:[e k«:[e ivhairi[ mam! ivna
punrip mnae vamm! kamm! kraeit kraeim ikm!. 2-2
pdCDed - g[yit gu[ ¢amm! Éamm! æmat! Aip nehte vhit c pirtae;m!
dae;m! ivmu<cit Ërt>
yuvit;u vlt! t&:[e k«:[e ivhairi[ mam! ivna pun> Aip mn> vamm! kamm! kraeit kraeim
ikm!
2. sakhii= oh friend; mama manaH vaamam= my, heart, is divergent; maam vinaa= me, without [leaving out; vihaariNii= frolicking; yuvatiSu= among damsels; valat tR^iSNe= over, ambitiously; kR^iSNe= in Krishna; [mama manaH= my, heart] punaH api= again, even [repeatedly]; kaamam= desire; karoti= doing [inciting]; guNa graamam gaNayati= [his] traits, group of [lot of,] reckoning; [mama manaH= my, heart] bhramaat api= by mistake, even; bhaamam nehate= resentment, thinks not; doshham duurataH vimu.nchati= error, distantly, discarding; [mama manaH= my, heart] paritoSam vahati ca= gladness, bearing up, also; kim karomi= what, I should do.
"Oh, friend, my heart is diverging from my control... my heart is repeatedly inciting desire in me for that Krishna alone, though he is overambitiously frolicking with other damsels, leaving me out, yet my heart is reckoning a lot of of his traits... and discarding his errors distantly my heart does not think of resenting him even by mistake, more so, my heart bears up gladness on thinking about him... what should I do... [2-2]
vaamam - mutually contradictory states of mind; gladdening in an unbefitting time; though he is erroneous, thinking that he does not err; though he has no inclination in her, presuming that he is absolutely predisposed towards her - all these are vaamam- leftish states.
The mood of heroine is known as utkaNThita - heroine in ecstasy. In verse of Bharata muni uddaapanamanmatha mahaa jvara vepamaanaam romaa.ncaka kaNTakitam a.nga ka.mpam a.ngakam aavaha.ntiim | sa.mveda vepadhu ghanotkalika akula a.ngiim utkaNThitaam vadati taam bharataH || She who is in high fervidity of lovesickness, limbs in frisson, anguished, quivering, highly ecstatic, her Bharata muni calls tkaNThita naayika... Though these songs of Jayadeva peripherally appear as just wordplay and singable songs, they are replete with moods, gestures, and postures etc., as contained in naaTya shaastra, the treatise of dance of Bharata. Let's load them later.
There is no reason or motive as why she should love Krishna; hence alankaara is vibhaavana alankaara; though he is frolicking with other girls she is all praise for him, hence viSeSokti alankaara; in other places there is yamaka alankara; hariNi - is its metre.
Aò pid 6 - A¬ez kezv m<jrI itlkm! -
inÉ&tink…Ãg&hm! gtyainizrhisinlIyvsNtm!,
ciktivlaeiktsklidza ritrÉsÉre[hsNtm!,
sio he keizmwnmudarm! rmy mya sh mdnmnaerwÉaivtya sivkarm! - x&vm!. A p 6-1
pdCDed - inÉ&t ink…Ã g&hm! gtya iniz rhis inlIy vsNtm! cikt ivlaeikt
skl idza
rit rÉsÉre[ hsNtm! sio he keiz mwnm! %darm! rmy mya sh mdn mnaerw Éaivtya sivkarm!
a pa 6-1. he sakhi= oh, friend; udaaram= generous, bounteous one in giving pleasure [Krishna]; sa vikaaram= naanaa sringaara vikaaraiH = with, lustful comportment; nibhR^ita = lonely; niku~nja gR^iham= bower, cabin= alcove; gatayaa= one who has gone [Raadha -when I have gone in]; mayaa saha= me, along with; nishi= in night; rahasi= secretly; niliiya= merged, hiding; vasantam= on who stays there; chakita= startled [when I was startled]; vilokita= seen around; sakala = all; dishaa= directions; mayaa saha= me, along with; rati= intimacy; rabhasa= hastiness; bhareNa - or - raseNa= filled with, or, desiring to; hasantam= smilingly; keshi mathanam= Keshi, the demon, subjugator of; madana manoratha= love, heart seeking, desirous of [my heart is filled with love for him]; bhaavitayaa= one who with such thinking [I, who has such a mind, heart and mind are eager for his love]; mayaa saha= me, along with [in me]; ramaya= you make him to take delight in me.
"Oh, friend, one night when I have gone into a lonely alcove, as a prearranged place to meet him, he that bounteous pleasure-giver was already there along with me, coming earlier than me, but hiding in the darkness... and I was startled when he was unavailable there and started to see all around for him, then he appeared with all his lustful comportment and smiling wryly at me, for not finding him who is already there... and then he, filled with hastiness for an intimacy, he met me... now why don't you make him to take delight in me, when my heart and mind are filled with love for him... [a pa 6-1]
Keshi madhanam - Krishna beguiles the demon Keshi in order to eliminate him. A beguiler must be capable enough to get his things done, so Krishna's vancakatva, saamarathya are suggested here. He beguiles everyone who goes on a wrong track, only to bring him to the right path. In this verse he is said to be hasantam - laughing at her for not finding him who is already at her side, suggests that he beguiles manyone, if he/she seeks him for their ulterior motives.
àwmsmagmli¾tya pqucaquztErnukªlm!,
m&ÊmxuriSmtÉai;tya iziwlIk«tj"nÊkªlm!, sio - - sivkarm!. A p 6-2
pdCDed - àwm smagm li¾tya pqu caqu ztE> Anukªlm!
m&Ê mxur iSmt Éai;tya iziwlI k«t jxn Êkªlm! sio - - sivkarm!
a pa 6-2. prathama samaagama= first, meeting; lajjitayaa= bashful; paTu= capable [reassuring words]; chaaTu shataiH= good words, hundreds of; anukuulam= agreeable [he made me agreeable to him]; mR^idu madhura smita= softly, sweetly, smiling; bhaaSitayaa= one who is speaking [Raadha, myself]; shithilii kR^ita= collapse, made to [stripped down]; jaghana= hip; dukuulam= silk dress; sakhi - savikaaram= reprise, as above.
"On my first meeting I was bashful, but he said hundreds of reassuring good words, and then when I was speaking softly, sweetly and smilingly, my silken dress stripped down from my hips... now why don't you make him to take delight in me, when my heart and mind are filled with love for him... [a pa 6-2]
prathama samaagama lajjita - damsels are bashful, silent, and uncertain, na uktaH kasmaat it nava vadhuu ceSTitam cintayantii pascaattapam vahati taruNii premNi jaate rasaj~nayaa... bharata muni
paTu caaru shataiH anukuulam - hero has some techniques of speaking good and soft words in first meeting - prathamam iha deyam puuga puSpaadikam syaat mridu madhu vacobhiH vojayet tat sannidhaanam...
shithilii kR^ita - antarbhaavita Nic` - the silk dress collapsed on its own, neither Raadha nor Krishna are responsible for it - kaante talpam paagate shithilitaa niivii svayam bandhanaat... bharata muni
jaghana dukuulam - it is already a slippery silk sari, just tied with a simple knot and a golden girdle string - mekhala - is helping it to remain on her hips. But when the heroine has seen Super hero - naakaya uttama - her ecstasy made that knot to loosen and girdle string to unfasten - niivii ca skhalati sthitaa api su dhR^iDham kaamengite yoSitaam...
ikslyzyninveiztya icrmuris mmEv zyanm!,
k«tpirrMÉ[cuMbnya pirr_y k«taxrpanm!, sio - - sivkarm!. A p 6-3
pdCDed - iksly zyn inveiztya icrm! %ris mm @v zyanm!
k«t pirrMÉ[ cuMbnya pirr_y k«t Axrpanm! sio - - sivkarm!
a pa 6-3. kisalaya= tender grass, lawn; shayana= as bed; niveshitayaa= placed in [on reposing me]; chiram= all the time; mama urasi eva= on my, chest, only; shayaanam= reposing; kR^ita= on making; pari rambhaNa= bracing, embraces; chumbanayaa= with kisses; pari rabhya= in besetting manner, hugging [graspingly]; kR^ita adhara paanam= done, lower lip, swilled; sakhi - savikaaram= as above.
"After reposing me on a bed like lawn he reposed on my chest all the time, and on making bracing embraces and kisses, he used to hug me and swill my lower lip, graspingly... now why don't you make him to take delight in me, when my heart and mind are filled with love for him... [a pa 6-3]
The first embracing is called kshirra - niira aalingana - milk-water embrace, also called tila-tanDula - gingelly seeds and rice. And krita parirambha cumbanayaa - is called jaghanopa shleSa - karajadana kR^ityam cumbanam vaa vidhastsuH | kathayati jaghanopa shleSam enam muniindraH || Then the kissing is called samauSTa - cumbostavam nR^ityati yatra naarii proktam samauSTam kavibhiH puraaNaiH || And then the type of kissing said in - parirabhya kR^itaa adhara paaanam - is called lalaaTika - sa aananda bhaavam shrama miilita aksham lalaatikam tatva vido vadanti ||
AlsinmIiltlaecnya pulkavilliltkpaelm!,
ïmjlsklklevrya vrmdnmdaditlaelm!, sio - - sivkarm!. A p 6-4
pdCDed - Als inmIilt laecnya pulk Aavil lilt kpaelm! ïm jl skl
klevrya vr mdn mdat! Ait laelm! - sio - - sivkarm!
a pa 6-4. alasa= tired; thereby; nimiilita= slouching; lochanayaa= with eyes [rather, eyelids, and such as I was]; pulaka= tingles; aavali= a series of; lalita= delicate; kapolam= cheeks [of Krishna]; shrama jala= strain, water [sweat]; sakala kalevarayaa= whole, body [such as I was]; vara madana madaat= utmost, love-god [passion,] by intemperance; ati lolam= wholly, giggling; sakhi - savikaaram= as above.
"I was tired hence my eyelids were slouching, his delicate cheeks too, experienced a series of tingles, and whole of my body was wet with sweat, his body too, was wholly jiggling with passionate intemperance... such as we were, now why don't you make him to take delight in me, when my heart and mind are filled with love for him... [a pa 6-4]
By the slouching eyelids, the type of kissing is called - anaghR^iSTa cumbana - ...yatra lolaa aakhyaatam rasaj~naiH anghR^iSTa sanj~nam || And by embracing his love Krishna is said to have lovely tingling on his cheeks and it is called saattvika vikaara -which is of eight kinds as bharata muni says: svedaH kampaH atha romaancaH svara bhangaH atha vepadhuH | vaivarNyam ashru pralayau iti aSTau saattvikaaH smR^itaaH || - sweating, thrilling, shivering, voice fading, wobbling, colour fading, tears of happiness, or tearless state these eight are temperate moods...
kaeiklklrvkªijtya ijtmnisjt<Çivcarm!,
ðwk…sumak…lk…Ntlya noiliot"nStnÉarm! , sio - - sivkarm!. A p 6-5
pdCDed - kaeikl kl rv kªijtya ijt mnisj t<Ç ivcarm! ðw k…sum
Aak…l k…Ntlya
no iliot "n Stn Éarm! - sio - - sivkarm!
a pa 6-5. kokila= Kokila, black singing bird; kala rava= inexplicable, cooing; kuujitayaa= one who cooing like that [myself]; or, kokila= like koel; kalaraa= like a pigeon; kuujitayaa= calling/cooing; jita= conquered, mastered; manasi ja= mind, born one [Love-god]; ta.ntra= treatise [of Love, kaama shaastra]; vichaaram= one who is pondering over [Krishna]; shlatha kusuma= faded, flowers [I was with]; aakula kuntalayaa= tousled, braid [tousle-haired]; nakha= by nails; likhita= written, scratched; ghana= busty; stana= bosoms; bhaaram= he who has to bear the weight [Krishna]; sakhi - savikaaram= as above.
"Then, when I was cooing and calling like a koel or a pigeon, he who has mastered every treatise of Love was pondering... and then, when my flowers faded and braids tousled he started to scratch my busty bosoms, bearing their weight... such as we were, now why don't you make him to take delight in me, when my heart and mind are filled with love for him... [a pa 6-5]
The type of scratching with nails is called panjakaja patra - according to sringaara shaastra.
cr[ri[tminnUpurya pirpUirtsurtivtanm!,
muorivz&Œlmeolya skc¢hcu<bndanm!, - sio - - sivkarm!. A p 6-6
pdCDed - cr[ ri[t min nUpurya pirpUirt surt ivtanm! muor ivz&<ol
meolya skc ¢h cu<bn danm! - sio - - sivkarm!
a pa 6-6. charaNa raNita= by feet, made to jingle; mani nuupurayaa= gemmy, anklets; paripuurita= fulfilled; surata vitaanam= copulation, with a group of [bandha bheda sahita ratim]; mukhara= while [anklets are] jingling; [next] vishR^i.nkhala= unfettered, fallen down ; mekhalayaa= girdle-chain-set; sa kacha graha= by, hair bun, on grasping; chu.mbana daanam= kiss, one who gave as a gift; sakhi - savikaaram= as above.
"My anklets that usually jingle by my feet are made to jingle more when he copulated with me in different conjoining postures, and then my girdle-chain-set has fallen down in that act, and then he grasped my hair bun to give a dole of kiss, such as we were, now why don't you make him to take delight in me, when my heart and mind are filled with love for him... [a pa 6-6]
The expression surata vitaanam - is many kinds of unions, namely indraaNi bandha etc., explained by vaastyaana kaama suutra-s, possible only for yogis or experts in sringaara shaastra. The girdle-chain-set is not an exaggerated expression, where that girdle ornament contains festoons of golden strings, ranging from a set of three to hundreds. Please see Seetha's Marriage, siitaa kalyaan in Ramayana, where each type is detailed. And making this sort of girdle-chain to fall without unfastening is called prenkhollikita vipariita rati - where vipariita rati - is not a crude type, but again a climatic and masterly act.
Caveat: All this stuff, like masterly acts, climatic union etc., will be good for reading and listening. Better limit them up to that stage. Trying to implement these things, on purchasing cheap books sold on railway platforms, or deducing from such half-baked translations like these, would be harmful, and we are told that a threat of death looms on one's head, if these yogic practices are practiced, without proper knowledge. Just construe that Krishna is a supramundane bhogi and yogi, and salute him. That's all.
ritsuosmyrsalsya drmuk…iltnynsraejm!,
in>shinpitttnultya mxusUdnmuidtmnaejm!, - sio - - sivkarm! . A p 6-7
pdCDed - rit suo smy rsa Alsya dr muk…ilt nyn sraejm! in>sh
inpitt tnu ltya mxu sUdnm! %idt mnaejm! - sio - - sivkarm!
a pa 6-7. rati sukha samaya= union, joy, at time of; rasaa alasayaa= by delight, relaxing; dara= a little; mukulita= closed; nayana= eyes; sarojam= lotuses; niHsaha= weakened; ni patita= down, fallen, reposing on lawn; tanu= body; latayaa= creeper plant like [myself, and with me]; udita= arisen; manojam= mind born, Love-god, passion; madhu suudanam= Madhu, the demon, subjugator, Krishna; sakhi - savikaaram= as above.
"When I, with my creeper plant-like body was reposing on lawn, relaxing delightedly with union time joyousness, he too was weakened, and his lotus like eyes were half-closed, though reposing on lawn, again arisen was passion in him for me... such as we were, now why don't you make him to take delight in me, when my heart and mind are filled with love for him... [a pa 6-7]
Here the heroine is utkanThita - ecstatic one, lustfully waiting for the arrival of hero. na eva aagataH samuciteSu api vaasareSu.... viraha jvara taaita angiim utkanThitaam vadati taam bharata kaviindra... bharata muni.
ïIjydevÉi[timdmitzymxuirpuinxuvnzIlm!,
suomuTki{QtgaepvxUkiwtm! ivtnaetu slIlm!, - sio - - sivkarm!. A p 6-8
pdCDed - ïI jydev Éi[tm! #dm! Aitzy mxu irpu inxuvn zIlm!
suom! %Tki{Qt gaep vxU kiwtm! ivtnaetu s lIlm! - sio - - sivkarm!
a pa 6-8. shrii= shrii suukti, good saying, or, one who reveres the feet of Goddess Lakshmi; jayadeva = [such a] Jayadeva; bhaNitam idam= said, this one; atishaya= by far; madhu ripu= Madhu's, enemy - Krishna's; nidhuvana shiilam= romances, having accounts of; sa liilam= having, romantic frolics [of Krishna]; utkaNThita gopa vadhuu= ecstacised, milkers', damsel - milkmaid; kathitam= told by her; [vaH= for all of us]; sukham vi tanotu= blessedness, amply, pass around; sakhi - - savikaaram= as above.
"This song that contains the accounts of Krishna's romantic frolics, as said by poet Jayadeva, who always worships the feet of Goddess Lakshmi, and as retold by me, an ecstasied milkmaid Raadha, let this song broadly pass blessedness all round, to one and all, and such as I am, a well-wisher of one and all, and wishing now for Krishna, oh, friend, why don't you make him to take delight in me now, when my heart and mind are filled with love for him... [a pa 6-8]
Some sentences are ellipted in the above summing up for the subtext. This song will not heard, in general, as it is loaded with some 'nakedness' in expression, and peripherally it sounbds 'bad' and no singer can go on singing the praise of alankaara or sringaara shaastra contained in it. Hence it is ill fated to be sung. If at all it is sung, it is singable in guNa kriya raaga, eka taala, again both are unknown tunes and rhythms, and none sings them in the tunes suggested by the poet-singer-dancer Jayadeva these days.
hStöStivlasv<zmn&juæUv‘ImÖ‘vI
v&NdaeTsair†gNtvIi]tmitSvedaÔRg{dSwlm!,
mamuÖIúy ivli¾tm! iSmtsuxamuGxannm! kanne
gaeivNdm! ìjsuNdrIg[v&tm! pZyaim ù:yaim c. 2-3
pdCDed - hSt öSt ivlas v<zm! An&ju æU v‘Imt! v‘vI b&Nd %Tsair †g<t vIi]tm! Ait Sved AaÔR g{f Swlm! mam! %ÖIúy ivli¾tm! iSmt suxa muGx Aannm! kanne gaeivNdm! ìj suNdrI g[ v&tm! pZyaim ù:yaim c
2-3. he sakhii= of, friend; maam ut viikshya= me, up, seeing [seeing me by raising his neck, make sheep's eyes at with goggling eyes, this repeats with every action of Krishna]; hasta srasta= from hand, slid; vilaasa va.nsham= playful, Mohana Vamshi, the Flute; an R^iju= not, straight, awry; bhruu= eyebrows; valliimat= wiry; vallavii bR^inda= milk maids', throng of; ut saari= up, flowing - raising head to catch a glimpse of Raadha from the gang of milkmaids; dR^ik a.nta= eye, up to end - sidelong glances; viikshitam= seeing; ati sveda aardra= much, sweat, moist; gaNDa sthalam= cheek, places; maam udviikshya= me, on goggling; vilajjitam= abashed; smita sudhaa= smile, called nectar; mugdha aananam= pretty, faced one; kaanane= in woodlands, in Brindavan; govindam= at Krishna; vraja sundarii gaNa vR^itam= by Vraj, belles', mob, surrounded by; pashyaami hR^iSyaami ca= I have seen, I am delighted, also.
"Oh, friend, when he was frolicking as he likes with the flocks of milkmaids, I suddenly entered the ronde, then on goggling me his playful flute Mohana Vamshi slid from his hands, and his wiry awry eyebrows raised, and he started to cast sidelong glances at me, as he is abashed to be among the throngs of milkmaids, and then on seeing me his cheeks are muchly moist with sweat, but I saw him in woodlands of Brindavan, whose face is pretty and whose smile is nectarean, and to see him surrounded by mobs of belles of Braj, I must be delighted - Really? [2-3]
I am delighted, or, I am delighted also etc., words of Raadha are not in appreciation, but they are her snappish words with jealousy and derision. In another way: bR^inda= groups of belles; utsaari= to ward off, in dispelling; driganta viikshitam= with sidelong looks, he who is seeing; meaning that, "when I suddenly gone into ronde, he started to cast sidelong glances at other milkmaids to go away, as he was abashed to be in the company of other girls, while I was present... and such as he was, now why doesn't he come now, when I long for him?" - This is according to her ownership's viewpoint, as he solely belongs to her.
vipralambha - sringaara; diipaka - alankaara; naayaka -dakshiNa; lalaaTaanupraasa; paancaalii riiti; shaarduula vikriiDitam is its metre.
ÊralaekStaekStbknvkazaeklitka
ivkas> kasaraepvnpvnae=ip Vywyit,
Aip æaMyѯ¼Iri[trm[Iya n muk…l
àsUitíUtanam! sio izoir[Iym! suoyit. 2-4
pdCDed - Êrœ Aalaek Staek Stbk nvk Azaek litka ivkas> kasar %pvn
pvN> Aip Vywyit Aip c
æaMyt! É&¼I ri[t rm[Iya n muk…l àsUit> Aip cUtanam! sio izoir[I #ym! suoyit
2-4. sakhi= oh, friend; dur aaloka= impossible, to see round; stoka= small; stabaka= bunches; navaka= new ones; ashoka= Ashoka trees'; latikaa= creeper, twigs; vikaasaH= blooming; kaasaara= having lakes; upavana= fringe lands; pavanH= gentle wind; api ca= even, also; vyathayati= distressing; api ca= and, also; bhraamyat= whirling; bhR^iN^gii= female honeybees; raNita= sounded by them, their buzzing; ramaNiiyaa= beautiful; shikhariNii= having apexes; iyam chuutaanaam= this, mango trees'; mukula prasuutiH= folded, offspring - unblown buds; api = even that; na sukhayati= not, comforting.
"Oh, friend, for a lonesome girl it is impossible to see round this environ, and this gentle wind that glides upon the lakes and their fringe lands to bloom new twigs of Ashoka trees is distressing, and even the beautiful apexes of mango trees that have unblown buds, on which female honeybees are whirling and whirring, they too, are uncomfortable for me to see... [2-4]
kaasaara upavana in this the wind is gliding upon the lakes, hence it is cool, and when it is blowing gently on fringe lands, it is getting fragrance, and when it is circling around tress, twigs, and flowers, the whole environ is dullish, gloomy. In mukula prasuuti the vernal mango trees are distressing even when their buds are in the process of parturition, and who knows what they will do when they are fully flowered.
alankaara - samuccaya, lalaaTaanu praasa; vipralambha sringaara; riiti - maagadhi; vritti/chandas - shikhariNi; and the beauty of composition is in including the name of the metre of poem, namely shikhiriNi, in the song itself. Some have understood this shikhiriNi as mountain.
sakªtiSmtmak…lak…lglÏiMm‘mu‘aist
æUv‘IkmlIkdizRtÉujamUlaeXvRhStStnm!,
gaepInam! inÉ&tm! inrIúy gimtaka'œ]iírm! icNtyn!
ANtmuRGxmnaehrm! hrtu v> ¬ezm! nv> kezv>. 2-5
pdCDed - sakªt iSmtm! Aak…la Aak…l glt! xiMm‘m! %‘aist æU v‘Ikm! AlIk dizRt Éuja mUl ^XvR hSt Stnm! gaepInam! inÉ&tm! inrIúy gimt Aaka'œ]> icrm! icNtyn! ANt> muGx mnaehrm! hrtu v> ¬ezm! nv> kezv>
2-5. he bhagavad jano= oh, god-loving people; saakuuta= with inner meaning; smitam= having smiles; aakulaa aakula= thrills and throbs; galat= slipping; dhammillam= hair bun; ullaasita= up raised; bhruu valliikam= eyebrow, wiry ones; aliika= artfully; darshita= showing; bhujaa muula= shoulder, corners - armpits; uurdhva hasta= lifting up, arms; stanam= bosoms; gopiinaam= of milkmaids mugdha manoharam [yathaa tathaa]= simple-minded, heart-stealers [milkmaids]; [ceSTitam= acts that are being done]; nibhR^itam= secretly; niriikshya= on seeing; antaH= innerly [in his heart]; gamita= relieved, got rid of; aakaa~NkshaH= longings; ciram = for a long time; cintayan= thinking; navaH= ever new; keshavaH= Krishna; vaH= our; klesham= despairs; haratu= steal away.
"Oh, god-loving people, he whose smiles imply something, is seeing milkmaids who are with thrilling and throbbing, by which their hair buns are loosened and braids slipping repeatedly, and they are raising up their arms as though to tie up their plaits, in doing so they are artfully showing are their armpits and bosoms repeatedly, and in doing so, their see-sawing curvaceous eyebrows also confirm their desire for him, and he on seeing these wilful acts of simple-minded beauties of Brindaavan, he got rid of his longings, for he satisfied them to their content, and stayed there thinking for along time, such as he is, he that ever-new Krishna shall deprive us of all of our despairs... [2-5]
This verse will not be found in other recensions, but available in south. nava Krishna - ever-new Krishna, kshaNe kshaNe yat navataam upaiti tat eva ruupam ramaNiiyataayaaH whoever/whatever gets newness minute by minute, that is the name of beauty. Here Krishna himself is that newness, and he is becoming, new, newer etc., only by these simple-minded acts of milkmaids. subhaaSitena giitena yuvatiinaam ca liilayaa | ceto na bhidyate yasya sa vai mukto athavaa pashuH || 'he who remains unperturbed by good sayings, or by music, or by the lovely acts of womenfolk, he must be a saint or a beast...'
naayaka vidagdha; samuccaya - instrument; alankaara aashiis; sharduula vikriiDita - its metre. With this end benediction the poet is concluding the second chapter.
.
#it ïI jydev k«taE gItgaeivNde A¬ezkezvae nam iÖtIy> sgR>
Thus, this is the 2nd chapter, aklesha kevashavam, in giita govindam of Jayadeva.
Verse Locator for Gita Govindam : Chapter 2
2003, Desiraju Hanumanta Rao