nägaranäräyaëaù
When a devotee of Krishna receives shuddha sattva , 'purest attribute' it is
transformed later into rati or prema ankura. Then
it ripens into prema, not general love but a sense of 'mineness' i.e., a
feeling that Krishna belongs to me, none else. On some more devotion it ripens into
sneha 'divided togetherness' an unsatisfied feeling with words and play of Krishna, because he is a
separate entity as yet. This ripens to maana 'intense love' where he/she
conceals his own feelings, on account of real/unreal grievance, and then on he/she starts to show jealousy,
anger or petulance etc., towards Krishna. These maana abhimaana contain
maadana bhaava, a maddening delight, essentially possessed by Raadha, none
else, not even by Krishna. [Source: The Cultural Heritage of India, Vol. IV - Religions.] This chapter
details that exclusive maadana mahaa bhaava of Raadha in her angering,
tongue-lashing, upbraiding etc.
aträntareca kulaöäkulavartmapäta
saïjätapätaka iva sphuöaläïchanaçréù |
våndävanäntaramadépayadaàçujälai
diksundarévadanacandanabindurinduù || 7-1
pa cche - atra antare ca kulaöa äkula vartma päta saïjäta pätaka iva sphuöa läïcchana çréù våndävana antaram adépayat aàçu jälaiù dik sundaré vadana candana binduù induù 7-1
7-1. atra antare ca= in the, meanwhile, even; kulaTa aakula= by fancy women, flocks; vartma= their pathway; paata= by spoiling, obstructing; sa.njaata= caused thereby; paataka iva= blemish, infamy, like [a badge of infamy bechanced on his face, because his moonbeams are obstructive to the sneaky fancy women; sphuTa= clear; laa.ncChana= badge [of infamy]; shriiH= having brilliance; dik sundarii= [eastern] direction, called beauty; vadana chandana binduH= on [her] face, sandal, a blob of; induH= moon; a.nshu jaalaiH= moonbeams, with laces of; vR^indaavana antaram adiipayat= Brindavan, interior of, brightened up.
In the meanwhile, he who bears a brilliant but clear badge of infamy on his face, for he incurred sin by obstructing the pathways of flocks of sneaky fancy women, that moon brightened up the interiors of Brindavan with the laces of his moonbeams, himself staying like the sandal-blob on the forehead of the beauty, called the eastern sky. [7-1]
In the meanwhile - during the time when girlfriend is telling about Raadha to Krishna. A sinner has to bear a badge of infamy, may it be the black spot on moon, or this impertinent boy Krishna for his non-arrival at Raadha.
prasarati çaçadharabimbe vihitavilambe ca mädhave vidhurä |
viracitavividhaviläpam sä paritäpam cakäroccaiù || 7-2
pa cche- prasarati çaça dhara bimbe vihita vilambe ca mädhave vidhurä
viracita vividha viläpam sä paritäpam cakära ucchaiù
7-2. 7-2. saa= she that Raadha; shasha dhara bimbe= rabbit, bearing, discoid [moon]; prasarati= while emanating [coming sprightly]; [ellipse, murali dhara] maadhave ca= by [flute bearing] Krishna, also; vihita vilambe= imposed, tardiness [belatedly]; vidhuraa= by the anguished Raadha; virachita vividha vilaapam= made [underwent,] many a, heartache; ucChaiH paritaapam chakaara = utter, anguish, made [underwent.]
While that discoidal moon bearing a rabbit is sprightly coming, and while this Krishna bearing a flute is not coming belatedly, she that anguished Raadha, underwent many a heartache, and an utter anguish. [7-2]
añöapdi - 13 - nägara näräyaëa rasävalayam
kathitasamaye'pi harirahaha na yayau vanam |
mama viphalamidamamalarüpamapi yauvanam ||
yämi he kamiha çaraëam | sakhéjanavacanavaïcitäham - dhåvam || a pa 13-1
pa cche - kathita samaye api hariù ahaha na yayau vanam mama viphalam idam amala rüpam api yauvanam yämi he kam iha çaraëam sakhé jana vacana vaïcitä aham
a pa 13-1. he [sakhii, vidhe]= oh, [friend, god]; hariH= Krishna; kathita samaye api= on said, time, even; vanam na yayau= to Brindavan, not, arrived; mama idam yauvanam= my, this, youth; a mala ruupam api= not, blemished, mien [beauty,] even; viphalam= wasteful; iha= here [in forest]; kam sharaNam yaami= whom, as shelter [haven,] I can go; [respite] aha ha= ah, aha; aham= I am; sakhii jana vachana va.nchitaa= by friends, flocks of, words [cajolery,] befooled.
Krishna didn't turn up on the appointed time at Brindavan, wasteful is my youth and unblemished beauty without him, whom I can approach as a haven in this forest... aha ha, those girl flocks cajolery befooled me... [a pa 13-1]
yadanugamanäya niçi gahanamapi çélitam |
tena mama hådayamidamasamaçarakélitam || a pa 13-2
pa cche- yat anugamanäya niçi gahanam api çélitam tena mama
hådayam idam asama çara kélitam
a pa 13-2. yat= for which [Krishna]; anugamanaaya= to go in tow; nishi= in night; gahanam api shiilitam = forest, even though, is searched [ellipse- adR^ishyena - but, unseen]; tena= by him [Krishna]; mama idam hR^idayam = mine, this, heart; asama [adR^ishyamaana] shara= by Love-god's, [unseeable, unseen] arrow; kiilitam= impaled; [respite] aha ha= ah, aha; aham= I am; sakhii jana vachana va.nchitaa= by friends, flocks of, words [cajolery,] befooled.
For which unseen Krishna I have searched the forest even though it is night, he alone became an unseen arrow of still unseen Love-god, and impaling this heart of mine... aha ha, those girl flocks cajolery befooled me... [a pa 13-2]
mama maraëameva varamativitathaketanä |
kimiha viñahämi virahänalacetanä || a pa 13-3
pa cche- mama maraëam eva varam ati vitatha ketanä kim iha viñämi viraha anala acetanä
a pa 13-3. ati vitatha ketanaa= utterly, shattered, [this] preset place; a chetanaa= [I am] without, spirit; [aham iha= I, here in this preset place, for it lost its worth by his non-arrival]; viraha anala= disunion, fire of [put to the torch]; kim iha vi Saami= why, here [ at this preset place,] I am tolerating, put up with; mama maraNam eva varam= to me, death, alone, best.
Utterly shattered is the worth of this preset place, thus I too am spiritless, and then why should I put up with this place that is putting me to the torch of disunion, thus death alone is best to me... [a pa 13-3]
mämahaha vidhurayati madhuramadhuyäminé |
kä api harimanubhavati kåtasukåtakäminé || a pa 13-4
pa cche - mäm ahaha vidhurayati madhura madhu yäminé käpi
harim anubhavati kåta sukåta käminé
a pa 13-4. madhura madhu yaaminii= pleasant, spring's, night; maam vi dhurayati= me, verily, excruciating; ahaha= aha ha; kaa api= someone, maybe; kR^ita su kR^ita= on making, good, fortune [lucky girl by her merit in last birth]; kaaminii= voluptuous girl; harim anubhavati= with Krishna, making merry [I lost that chance - ensues.]
Though this night of spring is pleasant it is excruciating me... maybe some lucky and merited voluptuous girl might be making merry with Krishna... aha ha, I lost it... [a pa 13-4]
ahaha kalayämi valayädimaëibhüñaëam |
harivirahadahanavahanena bahudüñaëam || a pa 13-5
pa cche - aha ha kalayämi valaya ädi maëi bhüñaëam hari viraha
dahana vahanena bahu düñaëam
a pa 13-5. valaya aadi= bicep-let, and others; maNi bhuuSaNam= gem-studded, jewellery; hari viraha dahana vahanena= for Krishna, anguish, blaze, carrying [have a bearing on, every ornament has a bearing upon my anguish for Krishna]; kalayaami= I reckon; bahu duuSaNam= highly, contemptible; aha ha= aha, ha.
These bicep-lets and every other gem-studded jewellery I wear, bears a blaze of my anguish for Krishna, hence I reckon them as highly contemptible wear... ah ha... [a pa 13-5]
It is really worthless to decorate themselves, if unseen by their lovers. striiNaam priya aaloka phalo hi veSaH. After all, the result of these cosmetics results when seen by her dear one.
kusumasukumäratanumatanuçaralélayä |
sragapi hådi hanti mämativiñamaçélayä || a pa 13-6
pa cche - kusuma sukumära tanum atanu çara lélayä srak api hådi
hanti mäm ati viñama çélayä
a pa 13-6. srak api= garland, even [I am wearing along with ornaments for Krishna]; ati viSama shiilayaa = highly, poisonous, in their import [has an effect]; a tanu= un, bodied one [bodiless Love-god's]; shara liilayaa= arrows, by sport of; kusuma sukumaara tanum= flower, delicate, bodied [such as I am]; maam hR^idi hanti= my, heart, rending.
Even the garland I wear is rending my heart, whose flower like delicate body is already rent by sporting arrows of Love-god, that have a poisonous effect... [a pa 13-6]
The arrows of Love-god rend the soul not body, but it is still better god for love that is rending the heart. apuurava iyam dhanur vidyaa manmathasya mahaatmanaH | shariiram akshatam kR^itvaa bhinatti antargatam manaH || . Though the arrows tortured her body, her own garland has become a poisonous cosmetic, for it has a bearing upon Krishna.
ahamiha nivasämi navigaëitavetasä |
smarati madhusüdano mämapi na cetasä || a pa 13-7
pa cche - aham iha nivasämi na vigaëita vetasä smarati madhusüdanaù mäm api na cetasä
a pa 13-7. na vigaNita vetasaa= not, counting, Vetasa tree [uncaring a tree that excites - kaama uddiipaka paadapa]; aham iha nivasaami= I am, here, lingering; madhusuudanaH= Krishna; maam= me; chetasaa api= [locus of feelings and intuitions] by bosom, even; na smarati= not, reminisces.
I am lingering at this excitatory Vetasa tree, uncaring for its excitative effect, but that Krishna doesn't reminisce me, even in his bosom... [a pa 13-7]
haricaraëaçaraëajayadevakavibhäraté |
vasatu hådi yuvatiriva komalakalävaté || a pa 13-8
pa cche- hari caraëa çaraëa jayadeva kavi bhäraté vasatu hådi yuvatiù iva komala kalävaté
a pa 13-8. komala= exquisite; kalaavatii= fine-limbed damsel [or, a damsel expert in 64 arts - catuSaTi kalaa prapuurNa]; hari charaNa sharaNa= Krishna', at feet, resorting to; jayadeva kavi bhaaratii= Jayadeva, poet's, idiolect [the form of language used by an individual person - the lang. used in here is peculiarly particular to Jayadeva. Neither earlier poets, nor the later could use such a complicatedly delicate construction]; yuvatiH iva= damsel, like; hR^idi vasatu= in bosoms, let her abide.
Let the idiolect of poet Jayadeva, whose only resort is at the feet of Krishna, be abiding in the bosoms of all, like an exquisite, fine-limbed damsel, well-versed in sixty-four arts... [a pa 13-8]
The comparison is between a delicately limbed damsel and the delicately worded poem, which shows even the poet's expertise in sixty-for arts, unlike a curvaceous girl minus brains. upama.
tatkim kämapi käminémabhisåtaù kim vä kaläkelibhiù
baddho bandhubhirandhakäriëi vanäbhyarëe kimudbhrämyati |
käntaù kläntamanä manägapi pathi prasthätumeväkñamaù
saìketékåtamaïjuvaïjulalatäkuïje'pi yannägataù || 7-4
pa cche- tat kim käm api käminém abhisåtaù kim vä kalä kelibhiù baddho bandhubhiù andhakäriëi vanäbhyarëe kim udbhrämyati käntaù klänta manä manäg api pathi prasthätum eva akñamaù saìketé kåta maïju vaïjula latä kuïje api yat na ägataù
7-4. yat=by which reason; kaantaH= beloved, Krishna; kR^ita sa.nketii= on making, suggested spot; ma.nju va.njula lataa ku.nje api= heart-pleasing, cane, viny, to bower, even; na aagataH= not, arrived; tat= thereby [imaginable is that he]; kaam api kaaminiim= whoever, even, voluptuous girl; abhisR^itaH kim= going after, or what?; vaa= otherwise; bandhubhiH= with his relatives; kalaa kelibhiH= arts [song,] sports [dance with others]; baddhaH kim= tied up, or what?; andhakaariNi vana abhyarNe= pitch dark, in preset forest [in some area]; udbhraamyati kim= roaming round, or what? klaanta manaa= despaired, at heart [by my dissociation];' manaag api= in the least, even; pathi prasthaatum eva= on way [this side,] to make a move, even; a kshamaH kim= un, able, or what? [sandeha alankaara.]
By which reason that beloved Krishna is not coming to this suggested spot, with its heart-pleasing cane-viny bower... thereby, is he going after whoever voluptuous girl, or what? Otherwise, is he bounded by his relatives, or tied up in song and dance with others, or what? Or, is he roaming round and round in these places of pitch-dark forest, or what? Or, is he unable to make a move towards this side, as his heart is despaired by my dissociation... or what? [7-4]
athägatäm mädhavamantareëa
sakhémiyam vékñya viñädamükäm |
viçaìkmänä ramitam kayäpi
janärdanam dåñöavadetadäha || 7-5
pa cche- atha ägatäm mädhavam antareëa sakhém iyam vékñya viñäda
mükäm viçaìkmänä ramitam kayä api janärdanam dåñöavat etat äha
7-5. atha= then; maadhavam antareNa= Krishna, on leaving; aagataam= returned; viSaada muukaam= by sadness, silent; sakhiim viikshya= girlfriend, on seeing; janaardanam= Krishna is; kayaa api= by someone, even; ramitam= delighted; iyam= this Raadha; vi shanka maanaa= on doubting; dR^iSTavat= as though seeing with her own eyes; etat= all this [his episode in next song]; aaha= said.
Then on seeing her girlfriend, who has returned from Krishna, but remained silent owing her sadness, doubting that some girl is delighting him, Raadha recounts that episode, as though she is seeing with own eyes. [7-5]
añöapadi - 14 - hariramitacampakaçekharam -
smarasamarocitaviracitaveçä |
galitakusumabharavilulitakeçä |
käpi madhuripuëä vilasati yuvatiradhikaguëä || a pa 14-1
pa cche- smara samara ucita viracita veçä galita kusuma bhara vilulita
keçä käpi madhuripuëä vilasati yuvatiù ati adhika guëä
a pa 14-1. smara samara= Love-god, for combat [grapples of courtship= 2 archaic term for lovemaking]; uchita virachita veshaa= befitting, well done [well dressed,] getup; galita= slithered; kusuma= flowers; bhara= by weight of [flowers; or, if it is dara= layers]; vi lulita= verily, entangled; keshaa= braid; kaa api= some girl [a certain girl,] even; yuvatiH= a damsel; ati adhika guNaa= [by her] very, high, talent; madhu ripuNaa= by Madhu's, enemy Krishna; vilasati= romantically frolicking.
"She is well-dressed in befitting getup for a grapple of courtship, as her weighty flowers are slithering, and as her braids are muchly tangling, that damsel is rollicking romantically with Krishna... methinks she is muchly talented... [a pa 14-1]
When Krishna grappled that girl's bun for a kiss, she wanted to whisk, and in her wriggling to take an upper hand over him, her braid is loosened and slithered, hence flowers too wriggly rolled down, yet she is dominant and on his overside, called puruSa aayata While saying madhu ripu the sense of maadhurya ripu is what is meant by Raadha: 'he is unaware of niceties in relishing love maadhurya anabhij~natva because a rustic girl, less proficient than Raadha has overcome on him. The word yuvatiH suggests that the girl has a doership strii kartR^itva - vipariita surata is indicated. Raadha is saying that 'this girl is more talented...' then it a subjective statement of envy plus jealousy. Because she beckoned him to come to certain bower, but this girl brought him round to her place and enjoying with him in a domineering position - hence she should be more talented... as a second thought.
hariparirambhaëavalitavikärä |
kucakalaçopari taralitahärä || a pa 14-2
pa cche- hari parirambhaëa valita vikärä kuca kalaça upari taralita härä
a pa 14-2. hari pari rambhaNa= Krishna, when tightly hugging; valita vikaaraa= swirling, with romantic jerks; kucha kalasha= bosoms, flagons like [flagon = a large vessel usu. with a handle, spout, and lid, to hold wine etc. for the Eucharist]; upari=overside; taralita haaraa= swinging, pearly pendants; [reprise:] kaa api = some girl [a certain girl,] even; yuvatiH= a damsel; ati adhika guNaa= [by her] very, high, talent; madhu ripuNaa= by Madhu's, enemy - Krishna; vilasati= romantically frolicking. [a pa 14-2]
"When she is tightly hugging Krishna with her flagon-like bosoms, on which pearly pendants are swinging, her body is swirly and jerky... thus that damsel is rollicking romantically with Krishna... methinks she is muchly talented... [a pa 14-2]
vicaladalakalalitänanacandrä |
tadadharapänarabhasakåtatandrä || a pa 14-3
pa cche- vicalat alaka lalita änana candrä tat adhara päna rabhasa kåta tandrä
a pa 14-3. vi chalat= liltingly, pulsating; alaka= hair-locks; lalita aanana chandraa= pretty, with face, moonlike; tat= his [Krishna's]; adhara paana= lip, swilling [long kiss]; rabhasa= by speediness [ by happiness]; kR^ita tandraa= made [became,] dozily.
"Her hair-locks are liltingly pulsating on her prettily moony face, and she is taking a long kiss of his lip, she is happily dozy... hence, methinks she is muchly talented, for that damsel is romantically rollicking with Krishna... [a pa 14-3]
caïcalakuëòaladalitakapolä |
mukharitarasanajaghanagatilolä || a pa 14-4
pa cche- caïcala kuëòala dalita kapolä mukharita rasana jaghana gati lolä
a pa 14-4. cha.nchala kuNDala= swaying, knobby ear-hangings, dalita kapolaa= bumping, cheeks [she has]; mukharita rasana= clinking, waist-strings with jingle-bells [which she has on her waist]; jaghana gati lolaa= hip, in its going [swinging,] swaying.
"Her knobby ear-hangings are bumping her cheeks, her waist-strings with jingle bells are clinking when her hip is swingingly swaying, while that damsel is rollicking romantically with Krishna... methinks she is muchly talented... [a pa 14-4]
dayitavilokitalajjitahasitä |
bahuvidhaküjitaratirasarasitä || a pa 14-5
pa cche- dayita vilokita lajjita hasitä bahu vidha küjita rati rasa rasitä
a pa 14-5. dayita vilokita= by lover, when seen; lajjita= coyly; hasitaa= smiley; bahu vidha kuujita = in many, ways, cooed; rati rasa= in courtship, joy; rasitaa= while enjoying. [NB. This has two imports unsaid in the poem, but derivable from treatises on romance, and they two are combined below.]
"When her lover sees her she is coyly, for she is aggressive like a man, and when not she triumphantly smiley, for her becoming an aggressor like a man, thus on enjoying courtship she is cooing in many a way... but, that damsel is rollicking romantically with Krishna... maybe she is muchly talented... [a pa 14-5]
vipulapulakapåthuvepathubhaìgä |
çvasitanimélitavikasadanaìgä || a pa 14-6
pa cche- vipula pulaka påthu vepathu bhaìgä çvasita nimélita vikasata anaìgä
a pa 14-6. vipula pulaka= with broad, tingles [she is]; pR^ithu vepathu= wide, throbs [she is]; bha.ngaa= tarangaa= like waves [weaves also come and go, in wide and broad nature]; shvasita= [in courtship] with soughs; nimiilita= half-closed [shuts eyes]; vikasata ana.ngaa= broadened, Love-god [rather, love for Krishna is broadened in her soul.]
"Like waves, broad tingles and wide throbs are coming and going on her body, but she soughs and shuts her eyes, as love in broadened in her soul... thus, that damsel is rollicking romantically with Krishna... maybe she is muchly talented... [a pa 14-6]
çramajalakaëabharasubhagaçarérä |
paripatitorasi ratiraëadhérä || a pa 14-7
pa cche- çrama jala kaëa bhara subhaga çarérä paripatita urasi rati raëa dhérä
a pa 14-7. shrama= by strain [in courting]; jala kaNa= water, particles [sweat drops] bhara= filled with; subhaga shariiraa= beautiful, bodied [one like, appearing; though her pearly pendants have swirled onto her back in grapple, her chest is filled with pearl-like sweat drops. So, when no ornament is there on her chest, it appears to have pearly ornaments - hence she is beatiful]; rati raNa dhiiraa= in courting, combat, challenger; pari patita urasi= overside, fallen [relaxedly,] on chest.
Owing to the strain of courting, drops of sweat filled her chest thus she is a beauty, and owing to the same strain that challenger in the courting combats has fallen overside of his chest relaxedly... she is muchly talented... that's why, that damsel is rollicking romantically with Krishna... [a pa 14-7]
This kind of posture is called hamsa liilaka bandha; naarii paada dvyayam dattvaa kaantasya uru yugo api | kaTim aandolayet aashu bandho ayam hamsa liilakaH || rati rahasya. and this needs no literal trasl., now.
çréjayadevabhaëitahariramitam |
kalikaluñaà janayatu pariçamitam || a pa 14-8
pa cche- çré jayadeva bhaëita hari ramitam kali kaluñam janayatu pariçamitam
a pa 14-8. jayadeva bhaNita= by Jayadeva, uttered; shrii hari ramitam= Shri, Krishna's, gladdening [by a milkmaid]; kali kaluSam= connected to Kali era, blemish; parishamitam janayatu= completely subduing, may cause.
The episode of a milkmaid gladdening Shri Krishna, as Jayadeva utters it, this may cause a complete subdual to the blemishes in Kali Era... [14-8]
virahapäëòumurärimukhämbuja
dyutirayam tirayannapi vedanäm |
vidhuratéva tanoti manobhuvaù
suhådaye hådaye madanavyathäm || 7-7
pa cche- viraha päëòu muräri mukha ambuja dyutiù ayaà tirayan api vedanäm vidhuù atéva tanoti manobhuvaù suhåt aye hådaye madana vyathäm || 7-7
7-7. aye= oh, friend; ayam vidhuH= this, moon; manobhuvaH suhR^it= Love-god's, good friend [moon]; viraha= [my] anguish in dissociation; paaNDu= pale faced; muraari= Krishna's; mukha ambuja dyutiH= face, lotus-like, its resplendence; vedanaam tirayan api= anguishes, covering up [abated,] even though; hR^idaye madana vyathaam atiiva tanoti= in heart, love's, anguish, muchly, intensifying [unabated.]
"Oh, friend, this moon earlier had a pale face like that of the lotus-like face of Krishna, by which my anguish in dissociation was somewhat abated, waiting for him... but now, unabated is the palish silveriness of this very moon, as his friend Love-god is abetting him to take vengeance on me, as I am unmoving to Krishna, thus my anguish too, is muchly unabated... [7-7]
añöapadi - 15 - harirasamanmathatilakam -
samuditamadane ramaëévadane cumbanavalitädhare |
mågamadatilakam likhati sapulakam mågamiva rajanékare |
ramate yamunäpulinavane vijayé muräriradhunä - iti dhåvam || a pa 15-1
pa cche- samudita madane ramaëé vadane cumbana valita adhare måga mada tilakam likhati sa pulakam mågam iva rajané kare ramate yamunä pulina vane vijayé muräriù adhunä
a pa 15-1. he sakhii= of friend; sam udita= well, uprisen [up surged]; madane= passion [in a girl]; chumbana valita adhare= for a kiss, swerved [turn sharply; change direction abruptly - she withdraws her face, primarily; in text as 'lalita aanane' then it is beautiful face for it will be kissed]; ramaNii vadane= a comely girl's, face; rajanii kare mR^igam iva= in night, maker [in moon,] deer, like; sa pulakam= with, thrills [for the girl]; mR^iga mada tilakam likhati= deer's, fat [musk,] mark [usu. on forehead,] making; [reprise] vijayii muraariH= prizewinner [prized,] Krishna; adhunaa= presently; yamunaa pulina vane= River Yamuna's, on sand dunes, groves; ramate= is frolicking. upama - Her face is in simile with moon and tilaka, or mark with deer.
"Oh, friend, loo... he is swerving the face of a comely girl, in whom passion is up-surging, for a kiss, and like the deer mark in moon, he is making a mark with musk on her face with his kiss, while she thrills... thus that prized Krishna is presently frolicking on the sand dunes and in the groves of Yamuna River... [a pa 15-1]
ghanacayarucire racayati cikure taralitataruëänane |
kurabakakusumam capaläsuñamam ratipatimågakänane || a pa 15-2
pa cche- ghana caya rucire racayati cikure taralita taruëa änane kuravaka kusumam
capalä suñamam rati pati måga känane
a pa 15-2. ghana chaya ruchire= clouds, gather, in sheen [he is sheeny like a cloudscape]; taralita= made to ripples [on seeing such a one riffle like thrills occur in girls]; taruNa aanane= on a beauty's, face; rati pati= Rati's, husband, [or lord of love - of Love-god]; mR^iga kaanane= beast / deer, a forest of; chikure= in head hair; chapalaa suSamam= scintillating, lightning [like]; kuravaka kusumam = Kuravaka [mehandi,] red flower; rachayati= decorating.
"He who is sheeny like a cloudscape, and on seeing whom riffles of thrills occur in girls, such a Krishna is decorating a red flower that is scintillating like lightning, in the braid of a beauty, in that forest where that beastly Love-god is on the prowl... [a pa 15-2]
In doing so, Krishna has forgotten Raadha for his continued staying in that forest where the brutal beast-like Love-god is still on the prowl. If this mR^iga is taken as deer, then the above vyaaaja ninda 'sarcasm in devotion' of Raadha is lost.
ghaöayati sughane kucayugagagane mågamadarucirüñite |
maëisaramamalam tärakäpaöalam nakhapadaçaçibhüñite || a pa 15-3
pa cche- ghaöayati su ghane kuca yuga gagane måga mada rucira
üñite maëi saram amalam tärakä paöalam nakha pada çaçi bhüñite
a pa 15-2. ghana chaya ruchire= clouds, gather, in sheen [he is sheeny like a cloudscape]; taralita= made to ripples [on seeing such a one riffle like thrills occur in girls]; taruNa aanane= on a beauty's, face; rati pati= Rati's, husband, [or lord of love - of Love-god]; mR^iga kaanane= beast / deer, a forest of; chikure= in head hair; chapalaa suSamam= scintillating, lightning [like]; kuravaka kusumam = Kuravaka [mehandi,] red flower; rachayati= decorating.
"Oh, friend, now he is adjusting an impeccable pearly pendant on the overside of her two bosoms that shine like deer musk, that which is bedaubed on them... in doing so his fingernails are making crescentic dents on those bosoms... and that skyey bust appears to be a sky with two massy clouds and that pearly pendant as the star studded sky, and those crescentic dents as crescent moons... [15-3]
The comparison between crescentic dents and crescent moon is as said panca saayaka: artha indu samkaasham idam nakha kshatam artha indu kathitam samaanataH | kakshaa nitamba stana paarshva madhye daatavya etat karajam sadaa eva || - panca saayaka in treatise of romance, Five Arrows.
jitabisaçakale mådubhujayugale karatalanalinédale |
marakatavalayam madhukaranicayam vitarati himaçétale || a pa 15-4
pa cche- jita bisa çakale mådu bhuja yugale kara tala naliné dale marakata valayam
madhukara nicayam vitarati hima çétale
a pa 15-4. muraari= Krishna; jita bisa shakale= triumphant [than] lotus, stalks; hima shiitale= snowy, cool; kara tala= hand's, surface [with palms]; nalinii dale= [like] lotus, leaves; mR^idu bhuja yugale = softish, shoulders, a pair of; marakata valayam= emerald, armlet; madhukara nichayam [iva] = honey-makers [honey bees,] a swarm [alike]; vitarati= he is keeping [adjusting.]
"Now he is adjusting emeraldine armlets on the pair of her palms that liken to snowily coolish lotus leaves, while her shoulders are softish like lotus itself, and arms triumph over the tender stalks of lotuses, thus those emeralds in those armlets are alike a swarm of honeybees, hovering over that lotus-like girl... [a pa 15-4]
ratigåhajaghane vipuläpaghane manasijakanakäsane |
maëimayarasanam toraëahasanam vikirati kåtaväsane || a pa 15-5
pa cche- rati gåha jaghane vipuläpaghane manasija kanaka äsane maëimaya rasanam
toraëa hasanam vikirati kåta väsane
a pa 15-5. muraariH= Krishna; vipula apaghane= on beamy, hip; manasija kanaka aasane= Love-god's, golden, throne; kR^ita vaasane= rendered voluptuous [or, while she is enrobing her hips; or - as vaasana has many meanings= she has a desire to have him, or, she is made to undergo some thinking that bechanced during last birth; here she is rendered voluptuous will be matching because of the proximity of words of throne of Love-god etc;] rati gR^iha jaghane= lust, house homelike, on hip; maNimaya rasanam = gem-studded, waist-strings; toraNa hasanam= arched [festoons - as a welcome sign]; vikirati= strews around [because he could not tie that string on hip, because his mood changed as soon as he touched her broadly hip, and she too clings to him for his magic touch.]
Krishna is now trying to tie her gem-studded waist-strings like arched welcome festoons on her homelike beamy hip, for it homes lust and houses the golden throne of Love-god, but he had to strew it around, for both of them are subjected to sudden voluptuousness by that tenant-like king on the throne in that house, called Love-god... [15-5]
caraëakisalaye kamalanilaye nakhamaëigaëapüjite |
bahirapavaraëam yävakabharaëam janayati hådi yojite || a pa 15-6
pa cche- caraëa kisalaye kamala nilaye nakha maëi gaëa püjite bahiù apavaraëam
yävaka bharaëam janayati hådi yojite
a pa 15-6. kamala nilaye= Lakshmi's, abode; nakha maNi gaNa puujite [bhuuSite]= nails, jewels [like,] adored with; charaNa kisalaye= feet, leaflets; hR^idi yojite= on chest, on joining [on placing -or on think thus in his heart]; bahiH apavaraNam= as outer, covering [outer, peripheral - because those feet are already rosy]; yaavaka bharaNam janayati= lac reddish colour, decoration, causing [he is making, painting.]
"On placing her leaflet like feet on his supine chest, that are the abode of Lakshmi, and that are adored with jewel like rosy nails, he is decorating them with reddish lac colour on the already rosy feet... [a pa 15-6]
ramayati sadåçam kämapi subhåçam halahaladharasodare |
kimaphalamavasam ciramiha virasam vada sakhi viöapodare || a pa 15-7
pa cche- ramayati su dåçam käm api subhåçam halahaladhara sodare kim aphalam avasam ciram iha virasam vada sakhi viöapa udare
a pa 15-7. halahaladhara= plough wielder [plougher]; sodare= by brother of; kaam api= someone, even [one nameless, fameless, run-of-the-mill girl]; su dR^isham= good, eyes [she has, i.e., Krishna is hoodwinked by her mesmeric eyes]; subhR^isham= very hastily; ramayati= making merry [with her]; iha viTapa udare= here, in tree's, belly [inside arbour]; vi rasam= without, spirit [futilely]; a+phalam= without, fruit; chiram= for a long; kim avasam= why, tarry; vada sakhi= speak up, friend.
"When that plougher's brother is very hastily merrymaking with an anonymous girl, hoodwinked by her mesmeric eyes, why should I futilely and fruitlessly tarry inside an arbour for a long... speak up, oh, friend... [15-7]
The plougher's brother indicates Raadha's disdain for the lowbrow taste of Krishna, who takes delights in a bumpkin, leaving queen like herself. A farmer's brother can be a Farmer Jr., but will not be a charmer... better leave him, as he is... If iambs fit in - Crotchety, thy name is woman!
The plougher's brother indicates Raadha's disdain for the lowbrow taste of Krishna, who takes delights in a bumpkin, leaving queen like herself. A farmer's brother can be a Farmer Jr., but will not be a charmer... better leave him, as he is... And if iambs fit in - Crotchety, thy name is woman!
iha rasabhaëane kåtahariguëane madhuripupadasevake |
kaliyugacaritam na vasatu duritam kavinåpajayadevake || a pa 15-8
pa cche- iha rasa bhaëane kåta hari guëane madhu ripu pada sevake kali yuga caritam na vasatu duritam kavi nåpa jayadevake
a pa 15-8. rasa bhaNane= blissful essence, saying; iha kR^ita hari guNane= now, made [said,] Krishna's, praise song; madhuripu pada sevake = Krishna's, at feet, worshipper; kavi nR^ipa= poet's, king; jayadevake= by Jayadeva [by his saying]; kali yuga charitam= in Kali, era, treading; duritam = profanation; na vasatu= not, dwells [not to be attached; come on... for it is experienceable, experience it oh, devotees... is ensuant.]
Let not the profanation that is treading its way in this Kali era be attached to the king of poets Jayadeva, for he is a worshipper at the feet of Krishna, further he is saying his 'experienceable blissful essence' in this praise song on Krishna... come on, experience it, oh, devotees... [a pa 15-8]
näyätaù sakhi nirdayo yadi çaöhastvam düti kim düyase
svacchandam bahuvallabhaù sa ramate kim tatra te düñaëam |
paçyädya priyasaìgamäya dayitasyäkåñyamäëam guëaiù
utkaëöhärtibharädiva sphuöadidam cetaù svayam yäsyati || 7-9
pa cche- na ayätaù sakhi nirdayaù yadi çaöhaù tvam düti kim düyase svacchandam bahu vallabhaù saù ramate kim tatra te düñaëam paçya adya priya saìgamäya dayitasya akåñyamäëam guëaiù utkaëöha ärti bharät iva sphuöat idam cetaù svayam yäsyati
15-9. hè sakhi; duuti= oh, friend, my messenger; nir dayaH= without, mercy; shaThaH= a philanderer; yadi na ayaataH= if, not, come; kim tvam duuyase= why, you, worry; saH bahu vallabhaH= he has, many, sweethearts; svacCha.ndam ramate= by his own volition, he takes delight; tatra= in that matter; kim te duuSaNam= why, your, belittling, disparage; adya= now; utkaNTha= ecstasy; aarti= anguish; bharaat iva= filled with, as though; sphuTat idam chetaH= bursts, this, heart [of mine]; dayitasya guNaiH aakR^iSyamaaNam= by lover's, plus points, being attracted [magnetized]; priya sa.ngam- aaya= with lover, to conjoin; svayam yaasyati= on its own, [my soul] goes [merges in him]; pashya= you may see.
"Oh, friend, if that merciless philanderer has not turned up why you worry as my messenger... when he has many sweethearts and he takes delight in them by his own volition, then why do you disparage him... and when my heart is filled with anguish, brought by my ecstasy in waiting for him, this heart of mine appears to burst at anytime, for it is still being magnetized by his plus points, and if that happens my soul merges only in him, you may see it... [15-9]
In fact this girlfriend is sorry faced unable to see the plight of Raadha. But Raadha being as tongue-lasher, next only to Seetha of Valmiki, in a kind of identification she lashes her tongue at this girl. These messengers have a part to play when sent on delegation such delegations, unlike our present day ambassadors who always parrot out 'I will ask my govt. and xerox that reply to your govt....' . In Ramayana Hanuma burns Lanka after seeing Seetha. Krishna shows his Cosmic Body after the failure of peace talks in Bharata.
So also, this girl must have done something that is rendering her silent. Commentators bring another shade of meaning. Though its word-to-word translation is not given, the gist is like this: 1st stanza: you are worrying because you might have had an ungratified bout with him, unsayable to me. And you objectionably worry for my saying about him as a 'philanderer, merciless one' because he might have 'philandered' with you for he is too 'merciful.' 2nd stanza: I myself say that he has many sweethearts, and said this even previously. So you took chance to become one, though at present you are sent as my agent. 3rd and 4th stanzas: I don't mind his volitions and vacillations with your like, but I have none else than him from day one. So, when my heart bursts and soul merges in him, then you all put together have your butterflying and philandering... don't worry, just wait for it...
añöapadi - 16 - harinäräyaëamadanäyäsam
anilataralakuvalayanayanena |
tapati na sä kisalayaçayanena
sakhi yä ramitä vanamälinä - iti dhåvam || a pa 16-1
pa cche- anila tarala kuvalaya nayanena tapati na sä kisalaya çayanena sakhi yä ramitä vanamälinä
a pa 16-1. sakhi= oh, friend; yaa= she [who is]; ramitaa= sated [gratify (desire, or a desirous person) to the full]; anila tarala= by breeze, waved, ripply [billowy]; kuvalaya nayanena= blue-lotus [like,] with eyes; vanamaalinaa= by Krishna; saa= she; kisalaya shayanena= tender-leaves, on bed; na tapati= not [never,] sears [cause (esp. emotional) pain or great anguish to]; [reprise: sakhi= oh, friend; yaa= she [who is]; ramitaa= sated; vanamaalinaa= by one who is garlanded with all-sanctifying basil leaves.
"She who is sated by that billowy blue lotus eyed Krishna, she never sears on any bed of leaflets... oh, friend... for, she is sated by one garlanded with basil-leaves... [a pa 16-1]
vikasitasarasijalalitamukhena |
sphuöati na sä manasijaviçikhena || a pa 16-2
pa cche- vikasita sarasija lalita mukhena - yä ramitä vanamälinä - sphuöati na sä manasija viçikhena
a pa 16-2. vikasita sarasi ja= bloomed, lake, born one [lotus like] lalita mukhena= with attractive [rapturous,] face; [ellipt. yaa ramitaa vanamaalinaa = she who is sated]; saa manasi ja= she, with mind, born one [Love-god's]; vi shikhena= with sharp, arrowheads; na sphuTati= not [never,] shatters.
"She who is sated by that one with a bloomed lotus like rapturous face, Love-god's sharp arrowheads never shatters her... for, she is sated by one garlanded with basil-leaves... [a pa 16-2]
amåtamadhuramådutaravacanena |
jvalati na sä malayajapavanena || a pa 16-3
pa cche - amåta madhura mådu tara vacanena jvalati na sä malaya ja pavanena
a pa 16-3. amR^ita madhura= ambrosial, lusciousness; mR^idu tara= dulcet, finely; vachanena= by words; saa= she [yaa ramitaa]; malaya ja pavanena= in Mt. Malaya, born [hence, sandal scented, by breeze; na jvalati= never, singes.
"She who is sated by him whose words have ambrosial lusciousness and finely dulcified, she never singes in any sandal breeze... for, she is sated by one garlanded with basil-leaves... [a pa 16-3]
sthalajalaruharucikaracaraëena |
luöhati na sä himakarakiraëena || a pa 16-4
pa cche- sthala jala ruha ruci kara caraëena luöhati na sä hima kara kiraëena
a pa 16-4. sthala jala ruha= on land, water, born [i.e., lotuses born on ground rather than in lakes - dry land lotuses]; ruchi= brilliance [having]; kara charaNena= arms, feet; saa= she [as above]; hima kara kiraNena= by coolness, make [moon,] in his beams; na luThati= never, welters.
She who is sated by him whose arms and feet have the brilliance of land lotuses, she never welters in cooling moonshine... for, she is sated by one garlanded with basil-leaves... [a pa 16-4]
sajalajaladasamudayarucireëa |
dalati na sä hådi ciraviraheëa || a pa 16-5
pa cche- sa jala jalada samudaya rucireëa dalati na sä hådi viraha bhareëa
a pa 16-5. sa+jala= with water; jala+da= water, giver -cloud; samudaya= masses of; ruchireNa= he has their glitter; saa= she [as above]; hR^idi= in heart; viraha+bhareNa= grief of rift, by weight of; na+ dalati= never, rends.
"She who is sated by him whose glitter is like that of masses of clouds, her heart never gets rent by the weight of grief in rift... for, she is sated by one garlanded with basil-leaves... [a pa 16-5]
kanakanikañaruciçucivasanena |
çvasati na sä parijanahasanena || a pa 16-6
pa cche- kanaka nikaña ruci çuci vasanena çvasati na sä parijana hasanena
a pa 16-6. kanaka= gold's; nikaSa= a streak or line of gold made on a touchstone [but not the touchstone itself]; ruchi= in shine; shuchi vasanena= all-purifying, by robes; saa= she [as above]; parijana= of people around; hasanena= their laughing of [a laughingstock]; na shvasati= never, sighs for.
"She who is sated by him whose all-purifying ochry robe that is akin in shine with pure golden streaks on touchstone, she will never sigh for her becoming a laughingstock among kith and kin... for, she is sated by one garlanded with basil-leaves... [a pa 16-6]
sakalabhuvanajanavarataruëena |
vahati na sä rujamatikaruëena || a pa 16-7
pa cche- sakala bhuvana jana vara taruëena vahati na sä rujam ati karuëena
a pa 16-7. sakala bhuvana jana= in all, worlds, and their in-dwellers; vara taruNena= best one, with bloom of youth; ati karuNena= by his utmost, mercy [grace, unmerited favour of God]; saa= she [as above]; rujam= bodily pain [by separation]; na vahati= never, endures.
"She who is sated by him who is the only best one with bloom of youth among all the in-dwellers in the triad of worlds, and the only one with utmost grace, she will never endure bodily pain of separation... [a pa 16-7]
çréjayadevabhaëitavacanena |
praviçatu harirapi hådayamanena || a pa 16-8
pa cchep- çré jayadeva bhaëita vacanena praviçatu hariù api hådayam anena
a pa 16-8. anena= by this; jayadeva= by Jayadeva; bhaNita shrii vachanena= said, blest, sentences [import, songs - or bhaNita milanena= said something about women conjoining with Krishna; or - anena bhaNita = by chanting, or singing along these lyrics said by Jayadeva - will be the meaning]; hariH api= Krishna, even; pravishatu hR^idayam= will enter, heart [the heart of Raadha, or in our hearts too, filling our hearts with love.]
On singing this song along these sonmgs that contain blest import, let Krishna enter the hearts of one and all, to fill them all with love. [a pa 16-8]
This one song seeds the concept of a-chintya-bheda-a-bhedaa bhaava 'unheeding differences or non-difference' you leap at Krishna...' so to say. This is also called Bengal school or gauDiya paddhati etc., and these days unheard is this name, thus it is relegated to a paddhati 'custom' rather than a darshana 'philosophy' though later to saDdarshana-s. Both this and advaita of Shankara are same, though the ways of both of its thinkers differ. Its practises are evident than its real name. This concept of Bengal school nominates Krishna as the ununderstandable Brahman of Shankara, as the ever-effulgent, ever-overflowing, ever-rising flood of rasa is in Krishna.
Better this philosophy be retained, though not with this too technical title, but with some suitable title, say premaadvaita, like that of Ramanuja's vishiSTaadvaita, in view of its loveable tenets.
manobhavänandana candanänila
praséda re dakñiëa mïca vämatäm |
kñaëam jagatpräëa nidhäya mädhavam
puro mama präëaharo bhaviñyasi || 7-11
pa cche- manaù bhava änandana candana anila praséda re dakñiëa muïca vämatäm
kñaëam jagat präëa nidhäya mädhavam puraù mama präëa haraù bhaviñyasi
7-11. manaH bhava= heart's, idea [love is heartfelt idea, it won't occur on much rumination - so, this is Love-god]; aanandana= you please [such Love-god as his friend]; chandana anila= sandal, breeze; re dakshiNa= arè - tactful one [arè urè turè- are addressing in dissent, or in affection]; vaamataam mu.ncha= radicalism, your extremism, leave off; hè jagat praaNa= hè, world's, life; kshaNam maadhavam= for a moment, Krishna be; mama puraH nidhaaya= my, before, on keeping; prasiida= be gracious [in wafting the lovable sandal breeze on Krishna, in order to make him come to me unbearable of that lovely breeze - otherwise]; praaNa haraH bhavishhyasi= life, stealer, you will become.]
rè, tactful sandal breeze, think not that you alone are a tactful one for your being the friend of Love-god, but breeze around Krishna, still better a tactician, and see whether you can fetch and place him in my presence, restive for my separation, and then I address you hè, life of the world.... otherwise, it is you who becomes the stealer of my life, rather than a life-giver... think of it...
ripuriva sakhésaàväso'yam çikhéva himänilo
viñamiva sudhäraçmiryasmindunoti manogate |
hådayamadaye tasminnevam punarvalate balät
kuvalayadåçäm vämaù kämo nikämaniraìkuçaù || 7-12
pa cche- ripuù iva sakhé saàväsaù ayam çikhé iva hima anilaù viñam iva sudhä
raçmiù yasmin dunoti manaù gate hådayam adaye tasmin evam punaù valate
balät kuvalaya dåçäm vämaù kämaù nikäma niraìkuçaù
7-12. yasmin= which one [which Krishna]; manaH gate= in [my] heart, having entered; ayam= his; sakhii sa.nvaasaH= girlfriends, staying in their togetherness, flirting; ripuH iva dunoti= enemy, like, anguishing [me]; hima anilaH= cool, breeze; shikhii iva= tongues of fire, like [dunoti= agonising me]; sudhaa rashmiH= nectarine, moonbeams; viSam iva [dunoti]= venom, like, [afflicting me]; tasmin= in him; a+ daye= one without, mercy, merciless Krishna; evam hR^idayam = this way, heart; balaat= vehemently; punaH= repeatedly; valate= swivelling; nikaama= persistent; nir a.nkushaH= without, goad [unstoppable]; kaamaH= Love-god; kuvalaya dR^ishaam= those with slanting, glances [winsome girls]; vaamaH= becoming leftist, extremist, a desperado.
"He who has entered my heart and abiding in it, is flirting with his girlfriends, and that is anguishing me like an enemy... cool breezes are agonising me like tongues of fire... nectarine moonbeams are afflicting me like venom... yet, my heart is repeatedly swivelling around such a merciless Krishna... this persistent and unstoppable Love-god is really a desperado to winsome girls, isn't so! [7-12]
bädhäm vidhehi malayänila païcabäëa
präëängåhäëa na gåham punaräçrayiñye |
kim te kåtäntabhagini kñamayä tarangaiù
aìgäni siïca mama çämyatu dehadähaù || 7-13
pa cche- bädhäm vidhehi malaya anila païc abäëa präëän gåhäëa gåham punaù na äçrayiñye
kim te kåtänta bhagini kñamayä taraìgai rangäni siïca mama çämyatu deha dähaù
7-13. hè malaya anila= oh, sandal breeze; baadhaam vidhehi= pain [vengeance,] wreck on me; pa.nch abaaNa= oh, five, arrowed one - Love-god; praaNaan gR^ihaaNa= lives, take [extricate, paca praaNaaH - pancha baaNaaH]; punaH gR^iham na aashrayiSye= again, home, not, wish to fall back on; kR^ita= made as, rendered as; a.nta= antakaH, Ender, Yama's; bhagini= sister [oh, River Yamuna, you now appear to be rendered as a sister of life ending Yama]; kshamayaa kim= of your patience, nonchalance, is of what use; tara.ngaiH mama angaani= with your ripples, my, limbs; si.ncha= drench, make wet [no suicidal tendency is apparent please, for this is a stubborn girl]; mama deha daahaH shaamyatu= my, body, heat, let dampen [make less forceful.]
"hè, sandal breeze, wreck your vengeance on me, hè, Love-god extricate my five-lives with your five arrows, for unwished is my falling back on my home... hè, River Yamuna, you too seem to have become a sister of life-ending Yama by your nonchalance, of what use is it... drench my limbs with your ripples, thus let my body heat dampen... [7-12]
prätarnélanicolamacyutamurassaàvétapétämbaram
radhäyäçkitam vilokya hasati svairam sakhémaëòale |
vréòäcaïcalamaïcalam nayanayorädhäya rädhänane
svädusmeramukho'yamastujagadänandadäyanandätmajaù || 7-14
cche- prätaù néla nicolam acyutam uraù saàvéta péta ambaram radhäyäù cakitam vilokya
hasati svairam sakhé maëòale vréòä caïcalam aïcalam nayanayoù ädhäya
rädha änane svädu smera mukhaù ayam astu jagat änandadäya nanda ätmajaù
7-14. praataH= in early morning; niila nicolam= black, blanket [of Raadha]; acyutam= at Krishna [who wrapped it around him]; piita a.mbaram= ochry [silk dress of Krishna]; sa.mviita radhaayaaH= is wrapped around]; uraH= at Raadha's bust; cakitam [yathaa tathaa]= in order to confuse; vilokya= on seeing; sakhii maNDale= her friends, circle; svairam hasati= teasingly, laughing; sati= that being so; raadha aanane= on Raadha's, face; vriiDaa= coyly; ca.ncalam nayanayoH= fluttering, of eyes; a.ncalam= ends, slanting glances; aadhaaya= on keeping; svaadu smera mukhaH= lovely, smiling, faced one; ayam na.nda aatmajaH= he, that Nanda's, son; jagat aana.ndadaaya astu= for world's, delightful, let him be.
In early morning when Raadha and Krishna are coming out of their love resort, Krishna is wrapped in Raadha's black blanket, and Raadha's bust is wrapped with Krishna ochry silks. On seeing this, her friend's circle started to laugh teasingly in order to confuse her. That being so, Krishna with coyly fluttering eyes kept on his slanting glances on Raadha in a 'what-to-do-now' attitude. Hence, let that lovely and smiley-faced son of Nanda be delightful to the entire world. [7-14]
iti gétagovinde vipralabdhavarëane näganäräyaëo näma saptamaù sargaù
Thus, this is the 7th chapter, called nagara naaraayaNaH - Shifty Krishna, in giita govindam of Jayadeva.
Oct, 2003, Desiraju Hanumanta Rao