xNy -x&ò- vEk…{Qm!
Raadha's friend returns to Krishna to inform about the ecstatic state of Raadha.
Aw tam! gNtumz´am! icrmnur´am! ltag&he †:q!va,
t½irtm! gaeivNde mnisjmNde soI àah. 6-1
p De- Aw tam! gNtum! Az´am! icrm! Anur´am! lta g&he
†:q!va tt! cirtm! gaeivNde mnisj mNde soI àah
6-1. atha= then; sakhii= girlfriend; taam= her [Raadha]; dR^iSTvaa= on seeing; gantum ashaktaam= to go [immediately,]unable[uncompliant to]; chiram lataa gR^ihe anuraktaam = for a long, in creeper, house [bower,] interested [dawdling]; [meaning that Raadha is clinging to this bower expecting Krishna to come here, unyielding]; tat caritam= that, episode; govinde manasija mande= to Krishna, by Love-god, dreary-minded; pra aaha = clearly said [started to tell in this episode of poem.]
Then the girlfriend of Raadha, on coming to Raadha from Krishna, and on seeing Raadha who is still dawdling in the same bower, and uncompliant to go to Krishna immediately, that girlfriend again returned to Krishna, and started to tell clearly about that episode of Raadha's unyieldingness. [6-1]
Aòpid 12 - xNy -x&ò- vEk…{Qm!
pZyit idiz idiz rhis ÉvNtm!, tdxrmxurmxUin ipbNtm!,
naw hre hre jgÚaw hre, sIdit raxa vasg&he - x&vm!. 12-1 A p
p CDe- pZyit idiz idiz rhis ÉvNtm!, tdxrmxurmxUin ipbNtm!
naw hre hre jgÚaw hre sIdit raxa vasg&he - x&vm!
a pa 12-1. hè naatha= oh, lord; hare= oh, Krishna; jagannatha= master of worlds; hare= oh, stealer of sins; raadhaa= Rādha; vaasagR^ihe= in a bower; siidati= saddened/aweary; tadadhara, or tvatadhara - tvat= those, other milkmaids' [here tvat shabda anya shabda paryaaya, ta kaaraanta, sarva naama - tvacChabdo.anya vaacii dviH paThitaH... dvaavapi anudaattau-prakriyaa prasaada grantha, sarva naama vyaakhya]; adhara madhura madhuuni = lips', luscious, nectar; rahasi= in secrecy; pibantam= swilling; bhavantam= for you; pashyati dishi dishi= looking [for you,] in direction, direction; reprise - raadhaa= Rādha; siidati= is aweary; vaasagR^ihe= in an arbour.
"hè, lord Krishna, master of worlds, stealer of sins.... saddened Rādha is in a bower, and she looks for you, a secret swiller of nectar from the lips of other milkmaids, in all directions... thus, Rādha is aweary in an arbour...
Here the poet uses a pun for the word naatha hare meaning an impetuous bull roped at nose for restraining its impetuosity. naadham = naasaa rajjum, harati = gR^ihNaati, iti naadha hari 'when Rādha is patiently waiting in that bower, your not coming to her is bullish, hence you are not only a gopala, but also a horny bull...' Then he may ask 'why she is so touchy, she could have come here...' for this she is saying as below.
TvdiÉsr[rÉsen vlNtI, ptit pdain ikyiNt clNtI. 12-2 A p
---naw hre hre jgÚaw hre sIdit raxa vasg&he---
p CDe - Tvt! AiÉsr[ rÉsen vlNtI ptit pdain ikyiNt clNtI
---naw hre hre jgÚaw hre sIdit raxa vasg&he ---
a pa 12-2. tvat abhisaraNa= to you, in coming; rabhasena valantii= speed [enthusiasm] having [groggy, muzzy]; kiyanti padaani chalantii patati= some, steps, on walking, falls.
"Muzzy with enthusiasm in coming to you, she walks a few steps but falls... hence, Rādha is aweary in an arbour... [a pa 12-2]
Vividly: This song is a choreographer's' delight: She walks a few steps, but your infidelity comes to her mind and she stops, but takes some more steps, your duplicity comes to her mind and she stops, yet after some more steps your chicanery reminds her to stop... in this back and forth dance-stepping, her steps stumble and she tumbles... yet she is somehow living but for thinking on you...' from choreographers viewpoint. How she is 'living' is said next.
ivihtivzdibsikslyvlya, jIvit primh tv ritklya. A p 12-3
p CDe- iviht ivzd ibs iksly vlya jIvit prm! #h tv rit klya
a pa 12-3. Rādha; vihita= on making; vishada= fresh/cool; bisa kisalaya= lotus, tender leaves, or stems; valayaa= [lexically] by bracelets - but a veil, cover, soother for the present burning; tava param rati kalayaa= your, blissful, [earlier enjoyed] association, by dream; iha jiivati= now, living.
"On making fresh and cooling tender lotus leaves as a soothing veil against the present burning, she is now living by the help of dreams on your blissful association, enjoyed earlier by her... [a pa 12-3]
mu÷rvlaeiktm{fnlIla, mxuirpurhimit ÉavnzIla. A p 12-4
p CDe- mu÷> Avlaeikt m{fn lIla mxu irpu> Ahm! #it Éavn zIla
a pa 12-4. muhuH avalokita = repeatedly, on observing [them and herself in a mirror]; maNDana liilaa= [your] ornament's, following that style - she is decorating herself with ornaments you usually wear; madhu ripuH aham= Madhu's, enemy, I am; iti= thus; bhaavana= thinking; shiilaa= with feeling; [vartate= conducting herself.]
On observing the flaunt of her ornaments that are readjusted to look like those of yours, and on assuming your persona she declares - 'I am Krishna...' [a pa 12-4]
Vividly. She looks at her ornaments to examine whether they are befitting for a meeting with you. She adjusts them to look better. In doing so, she unwittingly adjusts head ornament as peacock feather, puts some dangling earring as your knobbly earrings, holds her strings of pearls or a necklace as your flute, and so on. And then on seeing herself like that she declares 'I am Krishna...'
Here the core subject of this work is posted. Raadha not only identifies herself with Krishna, but also declares that she is Krishna. Other non-romantic characters like Seetha, Savitri et al appears to not have averred like this, except divinity like naaraayaNi - aham naaraayaNii naam saa vaiSNavii paraa - I am indeed Naaraayanee [i.e. Lakshmi] the supreme essence of Vishnu -Lakshmi Tantra 3.1
TvirtmupEit n kwmiÉsarm!, hiririt vdit soImnuvarm!. A p 12-5
p CDe- Tvirtm! %pEit n kwm! AiÉsarm! hir> #it vdit soIm! Anuvarm!
a pa 12-5. hariH= Krishna; tvaritam= swiftly; abhisaaram= to preset place; katham= how [why]; na upaiti= not, coming; iti= thus; anuvaaram= repeatedly, all the while; sakhiim vadati= to friend, saying [asking; why he doesn't come to me when I am he and he is me.]
All the while she is checking up with her friend exclaiming, "how is that he doesn't come promptly come to my place if he has that much simpatico... but summons me there... [a pa 12-5]
ið:yit cuMbit jlxrkLpm!, hirépgt #it itimrmnLpm!. A p 12-6
p CDe- ið:yit cuMbit jlxr kLpm! hir> %pgt #it itimrm! AnLpm!
a pa 12-6. hariH upagata iti= Krishna, drew nigh, thus [on thinking]; jaladhara kalpam = cloud, like; an alpam= not, small [pitch-black]; timiram= darkness; shliSyati chumbati= hugs, kisses.
"When she steps out that bower she sees the pitch-black cloudlike darkness, and thinking that Krishna drew her nigh, she hugs and kisses that darkness... [a pa 12-6]
Évit ivliMbin ivgiltl¾a, ivlpit raeidit vasks¾a. A p 12-7
p CDe - Évit ivliMbin ivgilt l¾a ivlpit raeidit vask s¾a
a pa 12-7. vaasaka= in her dwelling place; sajjaa= rati liilopakaraNaiH sajjita= readying herself decorating with befitting ornaments; bhavati vilambini= by you, delayed [in coming there]; vigalita lajjaa= slithered, shame; vilapati= she whines; roditi= whimpers.
"Readying herself by decorating in befitting ornaments she is waiting in her dwelling place, but when you delay in your coming, slithered is her shame, and she whines and whimpers... [a pa 12-7]
The word vaasaka sajjika is a name to the romantic heroine waiting for her hero, and the poet uses this word for another purpose as above. In this song the heroine with such mood and the hero is shaTha.
ïIjydevkveirdmuidtm!, riskjnm! tnutamitmuidtm!. A p 12-8
p PCDe - ïI jydev kve> #dm! %idtm! risk jnm! tnutam! Ait muidtm!
a pa 12-8. shrii= shrii suukti = auspicious saying; jayadeva kaveH= Jayadeva, by poet; idam uditam = this, [that is] said; rasika janam= for aesthetic, people; ati muditam= highly, gladdening; tanutaam = may cause.
May this auspicious song said by poet Jayadeva cause utmost gladness to aesthetic people... [Annex: 'For it is a treatise of divinely romantic aesthetics...] [12-8]
ivpulpulkpail> S)ItsITkarmNt
jintjifmakak…Vyak…lm! VyahrNtI,
tv iktv ivxÄe=mNdkNdpRicNtam!
rsjlixinm¶a Xyanl¶a m&ga]I-६-२
p CDe- ivpul pulk pail> S)It sITkarm! ANt> jint jifma kak…
Vyak…lm!
VyahrNtI tv iktv ivxÄe AmNd kNdpR icNtam! rs jlix inm¶a Xyan l¶a m&ga]I
6-2. he kitava= he dhuurta= you, beguiler; [saa] mR^igaakShii= [she that] deer-eyed Rādha; vipula pulaka paaliH= ample, thrills, ranges [series]; sphiita= increasing; siitkaaram yathaa tathaa= whining [meaning that she caught hold of you in her contemplation, and when you started to express your love with your danta nakha kShata cumbana aalinganaadi caryaaH - she deeming avoiding your advances, she pulls herself away from you, but coos and whines in pleasure etc]; antaH janita jaDimaa= internally, born, stolidity jaDatva; kaaku= grumbles; vyaakulam vyaaharantii = embarrassedly, behaving [behaving in an odd fashion in that trans by gestures of pulling away from you, when you have tried failingly to kiss her by catching her bun - thereby she went into a haava called kuTTamita and started saying words of refusal - niSedha vaakyaaH, which to others appear to be foolish]; tava vidhatte= by you, imposed; amanda kandarpa chintaam= not less [high,] passion, worried one; rasa jaladhi nimagnaa= aesthetic pleasure, called deep-sea, deluged in; dhyaana lagnaa= in thought, tenacious.
"You beguiler, brooding on you she that deer-eyed Rādha is in ecstasy; in that state when she thinks that she got you at her near, her thrilling sensations are ample and in series; in her phantasmic trance, born out of internal stolidity, she is behaving in an embarrassed manner with grumbles of avoidance; all this is imposed by you and she, a worried one with high passion, is tenacious to your thought and deluged in deep-sea, called aesthetic pleasure... sudhaakara rasa aarNavam. [6-2]
It is quite common for anyone to get shivers and shudders if drenched in cold for a long time. Then they articulate shivers owing to their freezing cold. Here, the situation is reverse. The body is burning with desire, and she is deluged in an ocean, which is like molten lava. Then her shivers and shudders shall be more than ordinary cold caught person.
The stolidity occurred to her is the jaDatva the fifth sate in aesthetics of love manmatha avastha The a feeling called haava is caused and that haava is called kuTTamita . The causing scene for kuTTamita haava to a heroine is as like this: kesha adhara aadi grahaNe mudamaanaa api maanase | duHkhitena bahiH kupyuet atra kuTTamitam tu tat || 205 'a heroine who is happy inwardly but pretends to be painful, uninterested, resentful etc., when the hero handles her by her bun, in trying to kiss her etc., is kuTTamita haava - rasaarNava sudhaakaram
A word about this treatise rasaarNava sudhaakaram This is written by simhabhuupaala, an erstwhile Telugu king. This book perhaps is ill fated to be republished and remained in the shelves of archives. But this is made available per kindness of Gaudiya Grantha Mandir, in bare Sanskrit text, at granthamandira.org with an assurance 'a separate edition with examples will be offered soon - Jan Brzezinski...' In this book the situations to use words kitava, dhuurta are also incorporated. But they are not elaborated here. Next, this girlfriend hurries Krishna to reach Rādha, before it is too late.
A¼e:vaÉr[m! kraeit b÷z> pÇe=ip s<cairi[
àaÝm! Tvam! pirz»te ivtnute zYyam! icrm! Xyayit,
#TyakLpivkLptLprcnas<kLplIlazt
Vyas´aip ivna Tvya vrtnunER;a inzam! ne:yit. 12-3
p CDe - A<ge;u AaÉr[m! kraeit b÷z> pÇe Aip s<cairi[ àaÝm!
Tvam! pirz<kte
ivtnute zYyam! icrm! Xyayit #it AakLp ivkLp tLp rcna s<kLp lIla zt Vyas´a
Aip ivna Tvya vrtnu> n @;a inzam! n ए:yit
6-3. varatanuH= best bodied; [curvaceous (esp. of a woman) having a shapely curved figure, Rādha]; eSaa= this way; a.ngeSu aabharaNam karoti= on limbs, jewellery, making [decorating, by this akalpa is said]; bahushaH= many times; patre= leaves [or feather, wings]; api= even if; sa.nchaariNi = moving [rustling]; tvaam praaptam= you, bechanced; parishankate = surmises [by this vikalpa is said]; vitanute shayyaam = makes, bed [by this shayya racana is said]; chiram dhyaayati = for a long time, contemplates on you [with this sankalpa is said]; iti= this way; aakalpa= sva dehaalankaara carya= decorating with befitting items for a meet; vikalpa= fidgety - expecting arrival, but failing to find]; talpa rachanaa= bed, making - a precautionary preparation, without annoying her hero; sankalpa= mulls over - single minded devotion; liilaa [vilaasaaH ]= attitudinizes [2 speak, write, or behave affectedly]; shata= in hundreds of ways; vyaasaktaa [vi aasaktaa= with high, rapture [nympholepsy= n. ecstasy or frenzy caused by desire of the unattainable - NOT nymphomania pl.] api= even with; vinaa tvayaa= without, you; nishaam na eSyati= night, not, able to lead off.
"That curvaceous Rādha, with every jewellery of every description, is decorating her limbs; with every rattle of wings or rustle of leaves she surmises that you have bechanced; with every flower and every tender leaf she makes a bed, lest no time need be wasted; thus, she is contemplating on you for a long, long a time... and thus she attitudinizes her normal attitude with over-decoration, over-titillation, over-preparation, and with over-meditation, hence she is unable to lead off nights, without you... [6-3]
Hoping that no more pedantry is required here, we go to next verse, which is a benedictory conclusion unseen in many other mms. On this below mentioned verse the commentator of rasamanjari has not commented, but one commentator known as kumbhakarNa has commented in his work, and unsure is that, whether critical editions have referenced this or not, because this is not a critical version, but a criticisable one.
ikm! ivïaMyis k«:[ÉaeigÉvne Éa{fIrÉUmIéih
æat yaRih n†iògaecrimtSsanNdnNdaSpdm!,
rxayavcnm! tdXvgmuoaÚ<daiNtkegaeptae
gaeivNdSyjyiNt saymitiwàazSTygÉaRigr>. 6-5
p CDe - ikm! ivïaMyis k«:[ Éaeig Évne Éa{fIr ÉUmIéih æat> yaih n †iò gaecrm! #t> s AnNdd AaSpdm! rxaya vcnm! tt! AXvg muoat! n<d AiNtke gaept> gaeivNdSy jyiNt saym! Aitiw àazSTy gÉaR> igr
6-4. hè bhraataH= oh, brother [oh, traveller]; kR^iSNa bhogi bhavane= black, cobra, palace of; [or, shleSa: kR^iSNa bhogi bhavane= someone called Krishna, an enjoyer, in his abode]; bhaaNDiira bhuumi ruhi= banyan tree with holes in trunk; [or, shleSa: bhaaNDiira= treasure house; bhuumi ruhi= from earth, arose [Krishna who came into existence as an earthly being]; kim vishraamyasi= why, you take respite; yaahi= go away; sa aananda= with, happiness; nanda aaspadam= nanda's [Krishna's father,] a hospice [house of Nanda]; itaH= from here; na dR^iSTi gocaram [kim?]= not, to eye, visible, [or what?]; adhvaga mukhaat= a wayfarer's, from face; radhaayaa tat vacanam= Rādha's, that, words; na.nda antike= at father Nanda, nearby; gopataH= cowherd; govindasya= of Krishna; saayam atithi praashastya = evening time, guest invitee, as though welcoming] with praise; garbhaaH [narmagarbha]= impregnated [with inner meaning]; giraH= words; jayanti= are paramount.
Vividly: Rādha is asking Krishna to come to a particular place for their pleasure tripping. But she cannot tell it directly to Krishna as his father Nanda and others are there tending cattle. In the meanwhile she caught sight of a traveller tarrying under a banyan tree. She immediately yelled at him saying, "Oh, traveller, why do you take respite under that banyan tree with holes in its trunk into which black cobras truck in and out... oh, brother, won't you see that house of Nanda, a happiest hospice... please go there for a boundless hospitality... [aside: but leave that tree at once... for it is our preset retreat, and it shall serve as a happy abode for Krishna, the enjoyer..."] This song containing such words of Rādha, impregnated with inner meaning in inviting an evening time-invitee, shall be paramountly devotional... so sayest poet Jayadeva... [6-4]
#it gItgaeivNde xNy - x&ò - vEk…{Qae nam ;ò> sgR
Thus, this is the 6th chapter, called Inconsiderate Krishna, in giita govindam of Jayadeva.
Oct, 2003, Desiraju Hanumanta Rao; Revised Nov 08
