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r rdha --- is a maha bhava - 'an ecstatic concept about an exquisite beaut...' and she is the
cnosure of this mini-epic gita govindam or !ita !ovinda of "aadeva. #his wor$ !ita !ovindam is
a %rica% dance-drama& p%ussed with the then romantics& poetic aesthetics and what not with a theme
of vipra%ambha sringara - anguish in separation and 'o in uniting of divine coup%e rdha and
(rishna. #he poet sings to the 'o of (rishna& wishing him to be a%was 'oous togetherness of
rdha& addressing him various% %i$e !ovinda& )aadhava& *ari& (eshava etc.& according to the
situation& and hence it is ca%%ed !ita !ovindam& %i$e bha'a govindam i.e.& devout ourse%f unto
!ovinda. +or eas comprehension we have put a%% the names as (rishna. ,nd rdha is none e%se
than (rishna& the ver fount of his %i%a sa$ti creative power. -he transmutes his g%or into prema
ananda& the .enith of b%issfu% happiness& in which a%one he ta$es p%easure. #his is the idea of gita
govindam
#hat being the viewpoint of ,bso%ute #heo%og& ta$ing ho%d of ,pp%ied #heo%og our poet "aadeva
brings rdha a %itt%e c%oser to our nature& under the o.one sphere within this /arth% 0ature that
which is a%so crafted b that !od for our habitation& to depict her romance with (rishna to our
viewpoint. *ence& rdha can be construed as 1ueen 0ature& in a wa of interpretation of this mini-
epic.
,nd that 1ueen 0ature a%was %ongs for her togetherness with that !od as she $nows none e%se.
2ut that !od& as a $night of cosmic-roads& wi%% never sta put with her for a %ong time& and if the
%eauge together& there wi%% be fro%ic$ing and merrma$ing to the nth& because she is his h%aadini
sha$ti& where sha$ti does not trans%ate here as power as in taantric par%ance& but it means primmar
agent - primar source of god's de%ightment. 3hat more is required to have unseen !od with
seeab%e )other& or 1ueen& or whatever - 0ature. 4s it not *o%5
#he dancing& singing& fro%ic$ing and merrma$ing of (rishna with this tpe of unique mi%$maids is
rasa %i%a& rasa $ri6a. #his dancing in a circ%e& a ronde dance as we ca%% it& in itse%f is a particu%ar
dance& b the singing of man mi%$maids to the f%uting of one (rishna. #his happens on% in
2rindavan& a%%- ho% wood%and with thic$ets of basi% p%ants& conceived on% for the congregation of
such mi%$maids for their communion with (rishna.
',s heat is to fire& as co%d is to ice& as sweetness to hone so are god's qua%ities to himse%f& so is
rdha to (rishna. rdha& or rdhi$a& is (rishna's power brought into p%a so that he ma have a
partner in his game& who ma supersensuous% share his %ove. *er %ove is the highest possib%e& and
it is when identified with her as the -upreme 7over of !od that the sou% attains perfection. '"ust as
(rishna is essentia%% god and beond 0ature& so too is rdha essentia%% god& immacu%ate...'
naarada pancaraatra. -he is the power b which god creates& herse%f remaining beond what he
creates through her. -he remains ever immacu%ate even whi%e manifesting through 0ature's three
'modes' sattva& ra'o& tamo& gun0a-s& or subt%e e%ements8 she cannot be bound b the %aws of their
interaction& for she is the source of their activit #he !ospe% of 0arada.
9n an autumna% fu%% moon night& the gopi-s or gopi$a-s& or mi%$maids& attracted b the f%ute of
(rishna& went out of their homes and met him in the groves of 2rindavan. *e first tried to send
them bac$& but fai%ed. #hen the raasa began on the beach of :amuna& and when the gopi$a-s were
besides themse%ves with ecstas& (rishna sudden% disappeared from the scene. 3hen the came to
$now of this& their sorrow $new no bounds. #he searched for him in ever grove& bewai%ing a%% the
whi%e. 3hen the came bac$... he sudden% reappeared in their midst. #he dance was resumed...
the roamed... p%aed... bathed in :amuna waters... #he ;u%tura% *eritage of 4ndia& <o%. =& #he
>e%igions #he >ama$rishna )ission.
gopi$a-s or the mi%$maids in 2rindavan are not mere gir%ish mi%$maids& but the are a%% saints and
sages in their ear%ier incarnation& or the <eda-s themse%ves& so sas the tradition. ,nd (rishna
according his proximit to each one& wants to satisf ever sou%. 9n such an occassion of rasa %i%a or
rasa $ri6a (rishna had to deviate from rdha in this ronde dance& in order to satisf others. rdha's
femininit spews fire at (rishna. #hese are the opening episodes of this drama& and we have to
fo%%ow through it& rather giving a trai%er of it.
#hese rasa %i%a rasa $ri6a-s are not 'ust %ustfu% erotic dances& but the have esoteric meaning. 3e are
tring to inc%ude esoteric meaning of this ronde dance in appropriate episode& and we are gathering
some info about it. ,%% dancing& singing and fro%ic$ing of a devotee for a perfect communion with
her devoted being& as said b:
4n spite of the man $inds of %ove& which in !ree$ are designated as phi%ia ?friendship@& eros
?aspiration toward va%ue@& and epithmia ?desire@& in addition to agape& ?#heo. ;hristian %ove& esp. as
distinct from erotic %ove&@ which is the creation of the -pirit& there is one point of identit in a%%
these qua%ities of %ove& which 'ustifies the trans%ation of them a%% b A%oveA8 and that identit is the
'urge toward the reunion of the separated&' which is the inner dnamics of %ife. 7ove in this sense is
one and indivisib%e.A Bau% #i%%ich& -stematic #heo%og& vo%.C& ?;hicago: Dniversit of ;hicago
Bress& EFGC@& ECH.
#he prob%em of rdha is a%most that of -t. #heresa 'for whom ecstas is betrotha% %eading up to the
spiritua% marriage 'in which the sou% a%was remains in its centre with !od...' #he 4nterior ;ast%e&
-eventh )ansion& ;h. 44 sec. I =.& via -. >dha$rishnan's /astern >e%igions and 3estern #hought.
*ere a%so& the poet portras that spiritua% betrotha% of rdha with (rishna in this wor$. ,nd what
%ust can be attached to a devotee& if he/she sings this Bsa%m: ' -ing unto the 7ord a new song: sing
praises %usti% unto him with a good courage...' Bsa%m CC& v. C.
4f an periphera%% casua% reader wou%d %i$e to deride or despise such phi%osophisation of apparent%
erotic expressions& the are requested to first% read artic%es of ;hristian theo%ogists on rdha& %i$e
*on'b%e 6avid ;. -cott& and ,dam ;%ar$e et a%& whose ur%s are given at the end of this page.
3hen there are scores of websites on "aadeva and his %ife& it wi%% be unbefitting for this page to re-
narrate the same. *owever& we ma dare sa that none has given an word for word trans%ation for
this wor$& nor for the comp%ete trans%ation of !ita !ovinda& excepting that someone's attempt ha%ted
at the song on the eu%og of ten incarnations. #here can be no exact trans%ation of this wor$ in an
%anguage& inc%uding the regiona% %anguages of 4ndia& because of the wordsmith of this poet. #his is
as observed b Brof. #.(oteshvara >ao& >eader& -(6 Dniversit. *e cites& for examp%e& one %etter
running into the next word& to give a comp%ete% different meaning %i$e: vasante vaasantii - va& vaa8
$usuma& su$umaarai* - su& $u8 baadhaam& rdhaam - aa& dhaa.#he other main feature of "aadeva is
wordp%a. <er sma%% words with cadence& pause& tempo etc.& as in %a%ita - %avanga - %ataa -
parishii%ana - on% a %etterwith extended p%a. #his is art of "aadeva and there are man such
examp%es to cite.
#ans%ations or trash%ations: 2ecause "aadeva's wa of writing is so we%%-$nit& it does not mean that
others shou%d not trans%ate in regiona% %anguages or foreign ones& so sas the above professor. 2ut
the remain a photocop with man toner patches. 3e cannot possib% attain that de%icac or word
arrangement in our %anguages. *ence& if we are trans%ating& or ca%%ing them trans%ations& the ma
p%ease be viewed as 'communicating poet's ideas through other tongue with man redundant
words...' and hence we ma be doing trash%ations.
#here are five gurus of "aadeva peeping into this !ita !ovinda& name% EJ <a%mi$i for designing
the wor$& me%odrama& anguish in separation of %ead characters. >amaana is in I=& KKK verses and
this wor$ is in EI chapters. *a%f of that number I=. 2ut the a-#a padi-s& eight-footed songs are in
I= numbers. 0ext IJ 2harata )uni - for dance drama. CJ <aastaaana - for romance. =J (a%idasa -
for word se%ection& brevit& sma%% words with big meanings& a%%iterations etc. LJ "aadeva on his
own& as a trendsetter to %anguage& grammar& poetic aesthetics etc.
#here are man commentaries on this wor$& but rasi$a pria of (umbha& and rasa man'ari of
-han$ara )isra& shruti ran'ani of #iruma%a 6eva >aaa& are renowned ones in -ans$rit wor%d.
#here is a commentar ca%%ed nrita %a$sha0a samhita b -ri (. <aasudeva -aastr. #his is an
exhaustive and unique commentar& not commentar exact% but a dance treatise& usefu% for an
form of dancing schoo%s& since ever word of "aadeva is interpreted to have dance gestures&
abhinaa& mudra-s& bhangima-s. #his can be ref%ected here once in a whi%e& because of that wor$'s
exce%%ence& and %imitation of this wor$. #his boo$ is avai%ab%e with #an'avore -arasvati )aha%
7ibrar& #an'avore& #ami% 0adu state& 4ndia.
9n musica% side it is sung throughout 4ndia and there are man cassettes& ;6s. 2ut some of the
best renderings can be %istened from *)<'s cassette -B*9- C=KL. , comp%ete dance ba%%et is
recent% Mmeaning IKKC&J te%ecast on sans$ar #< channe%& 4ndia.
An appeal to the readers
,%% trans%ations are approximations& and this is one among them. +urther& the wro$ presented here is
not a poetic scho%ar% or highbrow wor$& but an e%ucidation of the words and expressions used b
the poet& in prose& fu%% with orthodox& circuitous& serpentine& se%f-coi%ing presentation in 4ndian
routine& on% to exp%ain words used b the poet& which considerab% we%%s the gist part of the wor$.
*ence& the readers are requested to go more b the word-for-word section than gist. 4f an mista$es&
tpos and the %i$e are noticed& the ma $ind% be to%erated / informed. pramaado api dhiimataam
3hatever extra words that appear in the gist of song& than found in word-to-word section& the ma
p%ease be construed as e%%ipted words& incorporated to bring out a meaningfu% paragraph or
emphasis. #he words arranged in word-to-word meanings are in accordance with anvaa $rama&
p%acement of words of -ans$rit to give a prosaic meaning.
Revision to UTF
EJ #he text is being s%ow% revised to D#+ mode. >eaders ma p%ease enab%e D#+ to see it.
IJ -o a%so& p%ease do not turn off pop up windows feature in browsers& for D#+ fi%es& since verses in
>oman#ranscript and 4trans are provided through friend% pop up windows.
CJ #ext in o%d fonts is a%so avai%ab%e in -anas$ritFFc%assic font& which ma be accessed thru the
090-D#+ %in$s given be%ow::

#his minni-epic is in twe%ve chapters and each chapter is given a heading as be%ow:
Chapter [Sarga] 1-UTF enabled text
All pervasive Exuberant Krishna

Boet "aadeva wishing to portra the divine %ove of >dha and (rishna in his immorta% song giita
govindam starts this with a benedictor verse that indicates the theme of his poetic wor$& as poets
are required to start their poetic wor$s with ashiish& namas$ria& or vastu nirdeshanam.
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E-E. #ii$a/word order/meanings: hN raadheO heP >dha8 ambaram meghai* meduram O s$& with
c%ouds& thic$ with8 tamaa%a drumai* O with tamaa%a& trees8 vana bhuva* O wood& %ands8
shaamaa*O are b%ac$ened8 na$tam Mca abhivartateJO night Mis a%so drawing nighJ8 bhiiru* aamO
Mnaive%J timorous& that one M(rishna isJ8 tatO thereb8 tvam evaO ou& a%one8 imam g>Qiham
praapaaO him& to home& see he reaches M%ead him forthJ8 ittham nanda nideshita*O this wa& b
0anda& she who is instructed M>%dhaJ8 cha%itao*O whi%e both are on the go Mto homeJ8 r%dhaa
maadhavao* O of both >dha& )dhava8 amunaa $uu%eO on :amuna& ban$s of8 pratiO each& at
each and ever8 adhvaO on pathwa8 $un'a drumamO in arbour& at tree8 raha* $e%aa*O
sequestered& M!r. erRs& or epithmia& or phi%ia not 'ust %oveJ p%as of passion Mthat are the
happenstances& bechanced eventsJ8 'aantiO won over& fructified M%et them be transcendenta%%
exquisite.J
AhNP >dha& c%ouds are thic$ening on the s$& b%ac$ #amaa%a trees b%ac$en the wood%ands& and night
is a%so drawing nigh... and that one is naive% timorous... thereb& ou a%one %ead him home...A this
wa when 0anda instructed >dha& both >dha and )dhava are on the go homeward& and then the
happenstances of their sequestered p%as of passion& on each pathwa& at ever tree& and in each and
ever arbour on the ban$s of >iver :amuna& are transcendenta%% exquisite. ME-EJ

#his is the 'worm's ee view' of this poetic wor$& but not the invocation of deit of speech / poetics.
#he invocation is in next verse.
, parab%e is said about this verse. ,s usua% with an other poet& "aadeva was a%so said to be a
twidd%er of his thumbs& and seeing this materna% unc%e daunts him for not ta$ing up an 'ob or
profession %i$e an other oungster. "aadeva refuses trivia% 'obs and dec%ares himse%f as a poet of
par exce%%ence& and he can portra aam 'that' god in an innovative manner and in off the beaten
trac$. #hen his materna% unc%e questions who SthatT god is& and the theme of 'that' poetr& about 'that'
god. #hen this poem emerged from the depths of heart of "aadeva about aam& Sthat godT and his
sequestered deeds. ,t the %ast words of this verse& that unc%e sprang up to his feet in ire& and a%most
said to have stif%ed "aadeva to death& for uttering such 'b%asphemous poetr' on 'that' god.
#hen "aadeva& to stand b his own se%f dec%aration as an eminent poet& started to compose the rest
of this wor$& and put the next verse& an invocator poem& to st%us. #hus& though unconnected& this
poem remained at the head of the wor$ as a pro%ogue& preamb%e etc.& in the pattern of aashiirvaada&
vastu nirdehsa& manga%a aadiini 'a sort of b%essings& indicative of the topic of poetr& and for
auspicious beginning of the poetic wor$sT etc which the poets usua%% emp%o. *ere the %ove game
of >dha and )dhava itse%f became the auspicious& b%essing a priori& and content of this poetic
wor$. #hat wa& without naming him as (rishna& !ovinda& or )dhava etc.& the poet puts the
pronoun on the tongue of 0anda& the father of (rishna& as aam& aam bhiiru*... on the %ines of
$aa%idasa& who did the same in his $umaara sambhavam L aam 'anaa* prah>Qi-h#a manaa* tapo
dhane *owever& the poet rea%% starts his wor$ with the next verse.
raadhe said b 0anda has three shades8 anunaa vaa$a '>dha& p%ease ta$e him home& for he is sti%%
a bo...T $opa u$ti Ssaid in anger...' '>dha& don't ou $now that he is boish and naive% timorous...
when it is dus$ing and dar$ening... what is it ou p%a in nights... ou go home& and whi%e going
ta$e this fe%%ow a%so to his home... no night wanderings... '8 tattva u$ti 'with some subtext... '>dha&
tvam eva ou a%one are his& g>Qiham 'house& personified b wife ou on becoming wife...' praapaa
'ma$e him prosperous...' '9n our account (rishna became a househo%der8 hence ou a%one %ead him
forth and enrich his prosperit as his wife...'
>dha did not get her cherished desire fu%fi%%ed in a trice& or at a snap of finger. -he had to undergo
her historica% ordea%& put to test b (rishna. 3h shou%d she5 3hen she is wi%%ing& when (rishna is
at her side& when father 0anda permitted& when her maid encourages her... is she sti%% put to test5
#hese wou%d be the pertinent doubts that arise& though the are not the questions in rea%it. :esP -he
is put to %itmus test b this most mischievous (rishna& and she had to shed her tears& sob her sobs&
frown her resentments etc. 3here a%% this has happened5 9n each and ever pathwa to home& at
each and ever tree& and in each of the bowers. (rishna seems to be there& but actua%% he is not
there8 though he is supposed% unavai%ab%e& but his f%uting is audib%e ver near%. -o& to depict that a
true devotee has to undergo a step b step process for the cu%mination of his/her ardent desire& the
poet indicates that there are man a pathwa to tread& man are the trees of wisdom& and man are
the bowers to contemp%ate %one% and so%itari%& not on% for >dha but to an devotee. ,%% these are
godsend gifts of nature and humans.
#he c%ouds spreading on s$ wi%% natura%% be man. *ere the word meghai* is a%so in p%ura%& but
the commentators %imit them to number nine& without the sense of innumerabi%it& and simi%e them
with the nine states& out of the ten states of %ove pangs or manmatha avastha s:
manmatha avastha s
d>Qi$& manas& san$a%pa& 'aagaraa*& $>Qishataa& arati* U
hrii taago& unmaada& muurc;haa& antaa& iti ananga dashaa dasha
EJ eeing8 IJ heart %oosing8 CJ endeavour8 =J s%eep%essness8 LJ shrive%%ing8 GJ disinterestedness in
anthing8 HJ shame%essness8 VJ maddening8 FJ swooning8 EKJ tring to end onese%f. #he word
ambaram s$ suggests 'openness& s$ is the %imit for en'oment8 e%ate ourse%ves to s$...' ,nd the
word vana bhuva 'wood%and areas are %i$e heavens& %one%& sec%uded... thus a secreted heaven is said
to be there on earth& on the ban$s of >iver :amuna...' because (rishna is present there. ,nd na$tam
'night time' is the proper time for such activit& since it is forbidden from dawn to dus$. ,nd
amunaa $uu%e 'on the ban$s of :amuna& exciting environ of :amuna& with bree.es wafting
coo%ness of :amuna waters and fragrances of f%owers on to its ban$s. #he openness& so%itude& rivers&
waters& f%owers& fragrances& a%% of them made that p%ace heaven%. ,bove a%%& aam& 'that' god is
here. #hen what more does a devotee require for his/her dedication& in order to comming%e in him
phsica%%& in morta%'s par%ance& and pschica%% in a devotee's experience.
9n the use of u%tramundane word maa dhava %a$-mii's& husband <ishnu ma be observed& even
when (rishna is manifest% a morta%& and avai%ab%e 'ust before the ee. #hough (rishna is <ishnu
and though >u$mini& his first consort& is %a$-mii& (rishna's %onging for an ephemera% and poetic
embodiment ca%%ed >dha is more& and it suggests that god is inc%ined more towards rea% devotees&
rather than for his coequa%s& %i$e >u$mini or %a$-mii and the %i$e.
,esthetics info for -ans$rit students: #he who%e wor$ revo%ves round the fo%%owing aesthetics. EJ
uddipanaa bhaavaa* excitants of mood: c%ouds& wood%ands& night& arbours and bowers& riverside&
coo% bree.es etc8 IJ aa%ambana bhaavaa* mood for devotement: >dha& :amuna ban$s& arbours and
bowers& so%itude etc.8 CJ anu bhaava indicatives of mood timorousness& prudishness& coness of a%%
characters8 =J vbhicaara bhaavaa* deviating moods ecstas& fear& interestedness& embarrassment
etc8 LJ sthaaii bhaavaa* common mood %onging& desperation& 'ea%ous& resentment etc.& with these
moods& it is sambhoga vipra%ambha s>Qingaara and the metre of this verse is shaarduu%a
vi$rii6itam.
#hough the moods are avai%ab%e in each foot of who%e poem& the ma not be brought in here& as
the do not mean anthing these das. 2ut in a prima donna ish fashion& some are said here. +rom
meghai* to praapaa it is vipra%mbha s>Qingaara8 iththam to $e%aa* it is sambhoga s>Qingaara8
shaamaa tamaa%a& radhaamaadhavo* are in anu praasaa aa%nn$aara8 first part of verse has
samuccaa a%an$aara whi%e the %ater part is having ashiir a%an$aara and on tota% it is said in
samsh>Qi-#i a%an$aara. ,nd the first verse itse%f is indicative of the activities of (rishna& and his
p%afu% acts& disporting& or the fro%ic$ing that is termed as raasa %ii%a& raasa $rii6a& $rishna %ii%a&
which wi%% be heart p%easing.
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E-I. #ii$a/word order/meanings: vaa$ devataaO speech& deit of8 charitaO with %egend of8 chitrita
chitta sadmaaO depicted& Mpainted& with mura%s& embe%%ished withJ heart Msou%&J Mca%%edJ house8
cara0aO feet8 caara0aO Mwhich areJ massaged b8 padmaavatiiO !oddess %a$-mii8 cha$ra vartiiO
whee%& mover Meither *is own -udarshana disc& or the whee% of wor%d& i.e.& b the grace of one
whose feet are massaged b !oddess %a$-mii& <ishnu& the Brime )overJ8 padmaavatiiO padmaO
%otus8 vatiiO on who hand%es it& Mone who is presiding deit of a-#aa$-hari hmn&J !oddess
%a$-mii8 chara0a O at feet8 chaara0aO b serving8 cha$ravartii O one who became $ing% poet8
padmaavatiiO Badmaavati as proper noun& one named as Badmaavati& poet's wife8 cara0a caara0aO
with feet& b moving& b ma$ing the feet of his wife Badmaavati to dance8 cha$ra vartii O one who
became $ing% poet8 shriiO epitome of +ortune& %a$-mii& here >dha8 vaasudevaO vasu deva O
earth's& deit of M(rishnaJ8 rati $e%iO epitha%amic passion M!r. eros& epithmia& not 'ust %ove& or %ust&J
p%as8 $athaa sametamO episodes& a%ong with Mcomprising ofJ8 etamO this Mone that is abiding in the
heart %i$e house with mura%s& poetic wor$J8 prabandhamO poetic wor$8 'aadeva $avi* O "aadeva
Mnamed&J poet8 $arotiO Mhe is& or& 4 amJ doing Mauthoring.J
-araswati& the presiding 6eit of -peech& embe%%ishing his sou% with her %egends& %i$e a home ever
embe%%ished with mura%s& and he who has become an emperor among poets b his service at the feet
of !oddess %a$-mii& such a poet "aadeva is now authoring this poetic %ore ca%%ed !ita !ovindam
that is so far abiding in such a sou% with such mura%s& which %ore comprises the episodes of p%as of
passion of >dha and (rishna. ME-IJ
9r
-araswati& the presiding 6eit of -peech& embe%%ishing his home%i$e sou%& ever embe%%ished with
mura%s %i$e %egends of her %iterar grace& and he who has become an expert in poetr b the grace of
one whose feet are ever massaged b !oddess %a$-mii& name% <ishnu or (rishna& who a%so is the
Brime )over of this wor%d& such a poet "aadeva is now authoring this poetic %ore ca%%ed !ita
!ovindam that is so far abiding in such a sou% with such mura%s& which %ore comprises the episodes
of p%as of passion of >dha and (rishna.
9r
-araswati& the presiding 6eit of -peech& embe%%ishing m sou% with her %egends& %i$e a home ever
embe%%ished with mura%s& and 4 who became an emperor among poets b m service at the feet of
!oddess %a$-mii& and even b the service rendered b m wife Badmaavati& for she tight% fastened
m %rics to tune and rhthm with her dancing feet& such as 4 am& 4 the $ing% poet "aadeva& am
now authoring this poetic %ore ca%%ed !ita !ovindam& which is so far abiding in m sou%& an d it
comprises the episodes of p%as of passion >dha and (rishna.
#his invocation starts with vaa$ devataa after (a%idasa's vaa$ arthaav iva samp>Qi$tau in epic
$umaarassambhavam. 4n those das& poetic narration about one's own wife or about her performing
arts was a taboo. "aadeva pooh poohed this with the above stan.a& questioning as to how
-atabhama danced before (rishna& and how Baarvati a%was dances with a%was dancing -hiva.
+urther& devotion does not equate with so%itar se%f surrender& or b hermetic sainthood& or b
murmuring hmns sing%. #hat is for devotees of nirgu0a brahma and this ' bhaagavata devotion'
cu%minates on% when upacaaraa s 'devotiona% offerings' are offered& and the singing and dancing are
the end part of an worship. /ven toda this custom continues& but on% as a %ip service& ;hatram
dhaaraaami& caamaram vii'aaami& giita vaada n>Qitam pradashaaami '4 ho%d up an paraso%& 4
fan ou& 4 show dance& sing& p%a music instruments... oh& god give me what 4 want...' 4nstead of
worshipping with a dia%ogue& "aadeva and Badmaavati danced. 4t is said the "aadeva recognised
not on% a dancer in his wife& but a bhaagavatii pratipatti 'fema%e devotee' in her& and thus both have
adored their god 'oint%.
#he ana%og between <aasudeva and "aadeva is vasubhi* diipata iti vaasudeva 'one shines forth
with his wea%th...' 4f (rishna is resp%endent with his charm& "aadeva is g%istening with his
wordp%a. tasa apatam vaasudeva 'his son is <aasudeva...' meaning that one who has come out of
his indebtedness towards his father& hence a free bird to ta$e his own wings and to f%irt as he ma.
"aadeva is equa%% free to f%irt awa from the orthodox of poetics.
,esthetics: *eart and house are in simi%e& hence ruupa$a a%an$aara and at sametametam it is
anupraa a%an$aara van'ana v>Qittena8 $aava gu0a o'a8 riiti gaudiia8 v>Qitti bhaarati metre
vasanta ti%a$a.
<erse 7ocator
!< + +/!$
++'# (< -0 1-A
#23 : ! < +
+/! + +B # C (< -
E-C. hN sat 'ana ga0a Madhaah>Qita& e%%ipted wordJ O oh& gracious& peop%e& assemb%age Mrounded off
to oh& gracious peop%eJ8 hariO on *ari& on (rishna8 smara0eO in meditation8 mana* O sou%8 sa
rasamO with& e%ixir Mof devotionJ8 adiO if& Mshou%d it be fi%%ed with& p%ethoric withJ8 vi%aasaO in
f%irtaceous Mwomen'sJ8 $a%aasuO arts Marts of coaxingJ8 $utuuha%am adiO curiousness& if Mshou%d ou
haveJ8 tadaaO then8 madhura O me%%ow%8 $oma%a O de%icate Mwi%%owJ8 $aantaO heart p%easing
Mme%%if%uousJ8 pada aava%iimO words& med%e of8 'aa devaO MaboutJ g%orious& god (rishna Mor& poet
"aadeva'sJ8 sarasvatiimO divine speech& praise song8 sh>Qi0uO be %istened.
9h& gracious peop%e& shou%d our hearts be p%ethoric with the e%ixir of devotion for meditating on
(rishna& and shou%d ou be curious enough about the arts of coaxing of f%irtaceous women$ind&
then %isten to the praise song of "aadeva on that g%orious god (rishna& which is a med%e of
wi%%ow words& worded me%%ow% and me%%if%uous%... ME-CJ
#his verse wi%% be at =th p%ace in 0orth 4ndian versions and in -outh& it is as above. #he word used
mathura me%odious me%%ow%& meaning that the words used have shabda gata& artha gata&
maadhuram sound based and meaning based me%od. 4n them sound based me%od occurs when
harsh sounding consonants %i$e #ha 6ha are not used& whi%e the meaning based me%od occurs
when those words are primari% heart p%easing& et a %itt%e thin$ing is necessar to derive their
meanings& un%i$e the words of abso%ute phi%osoph& which do not give an satisfaction eve after
de%ving deep into them. ,gain the $oma%a has the two aspects of meaning. 4n them& sound based
de%icac occurs when too much of combining vowe%s and consonants is not adopted as in
nistriagu0a& tmba$a and the %i$e& which usage is ca%%ed as ca$ra bandha padma bandha wa of
compounding. ,nd the word $aanta is a%so the same& in that the poetic wor$ is desirab%e for it has
sound based %issomness& and meaning based %itheness. #he usefu%ness of this verse is hari smara0a&
vi%aasa vida si$-ha0a meditation on (rishna& and how the coaxing and combing of womenfo%$
wi%% be de%ightfu%% inciting. #hus& this wor$'s sub'ect matter contains cogni.ab%e god in (rishna& if
it is mu%%ed over b his cognitive devotees smaara smaara$a bhaava8 diipa$a a%an$aara8 paancaa%ii
riiti8 $aishi$ii v>Qitti8 v>Qittam d>Qita vi%ambita 3ith this invocator poem the poet is embar$ing
on the usua% pro%ogues necessar for a poetic wor$.
<erse 7ocator
7 #D# '.(E
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(< F M! (5 L: " 7 C7. .
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E-=. umaapatidhara*O Boet Dmaapatidhara& Ma contemporar poet of "aadevaJ8 vaacha*
pa%%avaati O words& spreads Muses words with pro%ixit and expansi%e meaningsJ8 shara0a*O poet
-harana8 dur uuha druteO impossib%e& to thin$& in speediness Mwords are unpronounceab% speedJ8
sh%aagha*O praiseworth M-harana poetJ8 sh>QingaaraO romance8 rachanai*O with writings8
uttaraO before Mprioriti.edJ8 satO best8 prameaO inferab%e sub'ect of poetic wor$ Mor& satO b
scho%ars& prameaO inferab%e& $nowab%e8 aachaara govardhanaO scho%ar& poet !ovardhana8
spardhiiO antagonist8 $a* api naO anone& even& not there8 shrutidhara* vishruta*O poet
-hrutidhara& renowned Mfor he is a wordsmithJ8 dhoii $avi $-hmaa pati* O 6hoii& poet& poets&
$ing of8 MbutJ giraamO of words8 sandarbha shuddhimO situationa%& pureness MpropernessJ 'aadeva
eva 'aaniiteO "aadeva& a%one& $nows.
9r
umaapatidhara* vaacha* pa%%avaatiO Dmaapatidhara& words& spreads MverboseJ8 shara0a*O
-harana poet8 dur uuha druteO impossib%e& to thin$& in speediness Mwords are unpronounceab%
speedJ8 sh%aagha*O praiseworth M-harana poetJ8 sh>Qingaara O romance8 uttaraO before
Mprioriti.edJ8 satO b his wor$ ca%%ed saccarita8 prameaO inferab%e Mas a poet b his wor$ ca%%ed
saccitraJ8 rachanai*O with writings8 aachaara govardhanaO for MpedagogicJ scho%ar& poet
!ovardhana8 spardhiiO antagonist8 $a* api naO anone& even& not there8 dhoii $avi $-hmaa pati*
O 6hoii& poet& poets& $ing of8 shruti dhara* vishruta*O what he has heard& he retains Mparroted
poetr&J thus renowned8 giraamO of words8 sandarbha shuddhimO situationa%& pureness MpropernessJ
'aadeva eva 'aaniiteO "aadeva& a%one& $nows.
Boet Dmaapatidhara uses words with pro%ixit and with expansi%e meanings8 poet -harana is
praiseworth for his unpronounceab%e speed wordp%a8 none is an antagonist to the scho%ar% poet
!ovardhana& for he inferentia%% prioritises romance8 poet -hrutidhara is renowned as an expert
wordsmith8 poet 6hoii is a $ing among poets8 but poet "aadeva a%one $nows the situationa%
properness of words and wordp%a. ME-=J
9r
Boet Dmaapatidhara is verbose with pro%ix words and expansi%e meanings& hence he is a poetaster
with strident and shri%% words vaagaa6ambaram8 poet -harana is praiseworth for his
unpronounceab%e speed wordp%a& hence he is uninte%%igib%e and unexp%ainab%e8 none is an
antagonist to the scho%ar% poet !ovardhana& for he prioritises romance a%one& and when he is bereft
of other aesthetics he is unfit to be ca%%ed as a pedagogic scho%ar& name% aachaara& for his treatise
on a%an$aara shaastra named aaraa sapta shati8 poet 6hoii& a se%f st%ed $ing of poets& is renowned
for his parroted poetr& thus he is hard% a poet8 but poet "aadeva a%one $nows the situationa%
properness of words and wordp%a& hence he a%one is the poet of the da...
#he second meaning is not a ridicu%e thrown at other poets& but it is %i$e 'throwing hat in the ring...'
and avowed dec%aration that he a%one is good at poetr. 4t was a practice to sa one or two verses in
praise of good poets and in scorn at bad poets su $avi prashamsa& $u $avi ninda. #his is in
samuccaa a%n$aara8 shaarduu%a vi$rii6itam is its metre.
<erse 7ocator
4N # 1- ( +.
aSTa padi 1-dasha avataara iirti dhavala!
+rom here on the a-#a padi-s wi%% be coming. #hese wi%% be in eight footed stan.as& with a
repeatab%e stan.a at their end. #hough a%% the stan.as are a sing%e verse& the wi%% be divided into
separate units for the sa$e of eas reading and for eas incorporation of comment section. #hese
a-#hapadi-s wi%% not be given a ruuning number& but the are numbered separate%. *ere the are
given numbers %i$e a paE-E-& a pa I& where a pa represents a-#a padi& eight footed verse& E& and E& I&
C are its units.
.
"#- $ !!979O0
+(( --(!0 4 # 1-1
#23 : " # - 4 ! !9
79 4O +( ( - - P( !
a pa E-E. dh>Qita miina shariiraO on donning& fish's& bod8 $eshavaO oh& (eshava8 pra %aaO
comp%ete%& comming%ed Mde%ugedJ8 paodhiO oceans' Ma%% common nouns& 'aati e$a vacanaJ8 'a%eO
in waters8 vihitaO ma$e do MimprovisingJ8 vahitraO M%i$e aJ ship8 charitramO %egendar8 vedamO
<eda s8
9r& vihita vahitra charitram vedam vihita O those that are preordained to be8 vahitra charitramO
shipsT& histor W on the ana%og of ships8 vedamO <edas8 <edas that are preordained to be ana%ogous
to ships in transporting sou%s to other side of %ifeTs seashore8
aX$hedamO without& weariness Mindefatigab%J8 dh>Qitavaan asiO uphe%d& ou are8 'agat iishaO
wor%ds& the ,%might of8 hareO oh& *ari8 'aaO hai% to thee.
3hen a%% the waters of a%% seven seas de%uged the earth& oh& $eshava& donning the bod of a fish ou
indefatigab% uphe%d a%% the four <eda s& which b themse%ves are foreordained to be ana%ogous to
ships in transporting sou%s to the other shore of %ife& thereb oh& *ari& ou are the ,%might of a%%
the wor%ds& hai% to thee... Ma pa E-EJ
#he word (eshava is a formation of $a iisha va where $a* is 2rahma8 iisha is -hiva8 va born from
<ishnu8 $a iti brahma0o n,ma e-o aham sarva dehinaam avaam ta ange sambhuutau tasmaat
$eshavo naamavaan niru$ta bhaa-am. #hus 2rahma and -hiva are born from the bod of <ishnu.
'agadiisha 'ou are the contro%%er of a%% wor%ds and when the have become uncontro%%ab%e ou set
them in order... that too indefatigab%& hence we are reassured of our presence...' *ari 'he who
stea%s awa the troub%es of his adherents...' sthaaii bhaava utsaaha8 rasa viira8 naaa$a %a$-ha0a
dhiira %a%ita8 a%an$aara upama8 atishao$ti8 riiti artha maagadhi 0ext& the incarnation of tortoise is
ta$en up& sequentia%%. 0ow %et us see some of the dance gestures for this stan.a from nrita
%a$-ha0a samhita:
" #+ L# # . #+ QR 7$ # - 4 + + 2 M*.
#+S$ 4 4 ( LE

N$ #& + 5 7+$ ! ( 4 +
N+$ !9 7 45 N + " #Q# N$ 79 " M*. #+$ 4O !

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:
!+$ -( U & 45-$ ! Q< &+ % V< 5!
.
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a pa E-I. dh>Qita $ac;hapa ruupaO assuming& tortoise& form8 ati vipu%a tareO ver& wide& much in
degree Mwidest& or massiveJ8 dhara0iO one that is sustained b earth W mountain8 dhara0aO b
bearing the weight of such a )t. )anthara when )i%$ 9cean was churned8 $i0aO crustaceous
Mbac$J& she%% became crustaceous with hexagona% crusts b the friction of )t. manthara8 cha$ra
gari-h#he O circu%ar& on carapace she%% of tortoise8 tava p>Qi-h#heO on our& bac$8 $-hiti*
ti-h#hati O earth& is abiding8 $eshava 'agadiisha hare O as above8 'aaO as above.
,ssuming the form of a tortoise& oh& (eshava& ou positioned earth on our tortoiseshe%% that has
a%read became crustaceous when )t. manthara rasped it during the churning of )i%$ 9cean&
whereb the earth is unsin$ab% abiding on our bac$& even toda... thereb& oh& *ari& ou are the
,%might of wor%ds& hai% to thee... Ma pa E-IJ
#his tortoise %ifted )t. manthara once& and %ater the earth from sin$age into waters. #he word
ti-#hati is in the tense of vartamaana nirdesha 'present continuous' so the earth is on the bac$ of that
tortoise& even toda.
.
((O <8 $(( +X+ 80
+( /+G# --(!0 4 # 1-A
#23 : +( /+ G# ( (O < 8
(( +5+ + % 8 +( /+ G# - -( !
a pa E-C. dh>Qita suu$ara ruupaO on assuming& wi%d boar's& form8 $eshavaO o& $eshava8 tava
dashana shi$hareO on our& fang's& edge8 %agnaa dhara0iiO became stuc$& earth8 shashini nimagnaa
O in moon& embedded8 $a%a0Q$a $a%a ivaO b%emish's& strea$& %i$e8 vasatiO is %odged8 'agadiisha hare
'aa O as above.
,ssuming the form of a wi%d boar& 9h& (eshava& ou %ifted up the sin$ing earth with our snout& but
stuc$ and %odged on the edge of our otherwise b%emish%ess fangs& she %oo$ed more %i$e the b%emish
embedded on the otherwise b%emish%ess moon& et ou& as an eterna% sustainer of earth& a%%owed her
to abide and spin there& whereof oh& *ari& ou are the ,%might of wor%ds& hai% to thee... Ma pa E-CJ
(rishna& earth& and wi%d boar are b%ac$8 whi%e boar's fang and crescentic moon %i$e fang are white.
3hi%e the earth is spinning on the tip of fang& its b%ac$ness is appearing as the deer mar$ in the
moon. #he earth is& in a wa& a b%emish to god for he created it& but it separated itse%f from him& and
its inmates a%was do certain deeds that bring more b%emishes to him.
#he gods do not come into phsica% contact with earth and earth%ings. 4f gods have an errand on
earth the have to transmogrif their forms to dwe%% on earth. 4f an earth%ing goes into the rea%m of
gods& it is a b%emish on the gods who entertained them. *ere& b%emish or otherwise *ari is bearing
earth on his fang.

++ OY

(H $ !Z+(#H0
+( !G# --(!0 4 # 1-K
#23 : + + O 4Y

(5
!Z+(# 5 + ( ! G# - -( !
a pa E-=. dh>Qita nara hari ruupaO on assuming& man& %ion& form8 $eshavaO hN $ashava8 tava $ara
$ama%a vareO on our& hand& Mca%%edJ %otus& the best8 adbhuta sh>Qi0Qgam O wondrous& tip W fingers
that have a wondrous nai%s8 da%ita hira0a $ashipu O that have %acerated& hira0a$ashapa's8 tanu
bh>Qi0QgamO bod& Mca%%ed aJ honebee8 na$ham MbhaatiJO such nai%s&Mshine forthJ8 'agadiisha
hareO as above8 'aaO hai% to thee.
,ssuming the form of man %ion& oh& (eshava& ou with our %otus pa%ms that have wondrous nai%s
tore the ston bodied demon hira0a$ashapa& as wondrous as a peta%ine tine rending hard bodied
honebee& thus those fingernai%s ever shine forth for their e%imination of vice on earth& whereb oh&
*ari& ou are the ,%might of wor%ds& hai% to thee... Ma pa E-=J
#he peta%um in 7ate 7atin means Smeta% p%ateT. 4t is usua% for a honebee to sting and %acerate
de%icate %otuses for nectar. 2ut %otus %acerating thic$ s$inned honebee is unusua%. #hough the
pa%ms of god are %i$e de%icate peta%s of %otus& the have ver sharp and s%ashing tips of fingernai%s&
%i$e the c%aws of %ion& on% to bisect thic$ s$inned vice& ca%%ed monstrosit. *ence those tips of
fingernai%s ever shine forth as a warning for evi%. a%an$aara ruupa$a.
3 =< Y

$ #O--#0
+( G# --(!0 4 # 1-[
#23 : 3 =< 4Y

#
O - - # +( G# - -( !
a pa E-L. adbhutaO oh& astounding one8 vaamanaO oh& demon e%iminator8 pada na$ha niira 'anita
'ana paavana pada na$haO from foot's& toenai%8 niira 'anitaO with water& that emerged8 'ana
paavanaO peop%e& oh& sanctifier of8 dh>Qita vaamana ruupaO when assumed& dwarf's& mien8
vi$rama0eO whi%e treading Mthree wor%dsJ8 ba%im chha%aasiO /mperor 2a%i& is being de%uded8
'agadiisha hareO as above8 'aaO hai% to thee.
9h& astounding one& oh& e%iminator of demons& oh& sanctifier of peop%e with the water that has
emerge from our toenai%& name% >iver ganga& oh& de%uder of antagonists %i$e /mperor 2a%i when
ou incarnated as a dwarf bo& whereb oh& *ari& ou are the ,%might of wor%ds& hai% to thee... Ma
pa E-LJ
3hen <ishnu too$ incarnation of dwarf bo he see$s donation of a three foot space from /mperor
2a%i& and 2a%i being a no nasaer& accords it. #hen the dwarf covers entire earth with one foot&
entire heaven with the second& and as$s 2a%i where to $eep the third. 2a%i shows his head and the
bo p%aces his third foot on the head of 2a%i& subduing 2a%i to netherwor%ds. 4n doing so& when that
dwarf bo raises his foot to cover heavens& his toe goes straight to the presence of 2rahma.
9bserving that toe as his father <ishnu's toe& 2rahma anoints it with sacred waters. 3hen that dwarf
bo withdraws his foot from heaven to p%ace it on 2a%i's head& then the sacred water poured on that
toenai% b 2rahma& rushed onto earth as >iver !anga. *ere the poet is saing that 2a%i is being
de%uded each time in each cc%e of eras& as a present continuous action.
V9 -### $ # # (#$
+( #G# --(!0 4 # 1-\
#23 : V9 - 4# ## # #
( # +( # G# - -( !
a pa E-G. dh>Qita bh>Qighu pati ruupaO on assuming& sage 2hrigu's %egatee MBarashu >ama&J
saviour's& mien8 $eshavaO o& $eshava8 $-hatria rudhira maeO (shatria& b%ood& fi%%ed up with8
paasiO in such waters Mpoo%s of b%oodJ8 apagata paapamO swerved off& sin8 shamita bhava taapamO
ceased& wor%d%& torridit8 'agatO wor%d Mpeop%eJ8 snapaasiO ou ma$e them to bathe Min poo%s of
b%ood of $ingsJ8 'agadiisha hareO as above8 'aaO hai% to thee.
,ssuming the mien of Barashu >ama& the saviour of the wor%d& 9h& $eshava& ou fi%%ed five poo%s
ca%%ed shamanta panca$a with the b%ood of atrocious (shatria $ings& and ma$ing the wor%d to
bathe in it& thus ceased is the wor%d% torridit of peop%e and swerved are their sins& whereb oh&
*ari& ou are the ,%might of wor%ds& hai% to thee... Ma pa E-GJ
4n this rasa bhiibhasta8 naaa$a dhiiroddhata8 a%an$aara svabhaavo$ti are its aesthetics.
V < #+ $ ( O] <0
+( ( --(!0 4 # 1-^
#23 : V < + # + ( O
] < +( ( - -( !
a pa E-H. dh>Qita raama shariira Mor& raghupati ruupaJ O on assuming& >ama's& bod8 $eshavaO o&
$eshava8 di$-huO in a%% directions& di$ pati $amaniiam O directions& presiding deit name% indra&
or the presiding deities of directions& as desired b Mhim& or themJ8 rama0iiamO heart p%easing&
much wanted act8 dasha mu$ha mau%i O ten& faced demon& Moctahedron >avana'sJ& heads8 ba%im
ra0e vitarasiO as offertories& in war& ou are generous% giving8 'agadiisha hareO as above8 'aaO
hai% to thee.
,ssuming the form of >ama& 9& $eshava& ou are generous% offering the ten heads of >avana as
offertories in a ritua% ca%%ed war& which is a much sought after act b the %ord and ever presiding
deit of a%% ten directions of compass& whereb oh& *ari& as an e%iminator of evi% ever and anon& ou
are the ,%might of wor%ds& hai% to thee... Ma pa E-HJ
#he act is heart p%easing because there are ten presiding deities of quarters and >avana has ten
heads& and the sacrifice is smmetrica%8 hence& heart p%easing to us& and even to those ten deities %i$e
,ir god& +ire god& and >ain god et a%. >avana was a terror to these ten gods. 3hen >avana comes
out& airgod fears to be gust& firegod become coo%ant& not a drop of rain fa%%s on his bod so sas
>amaana. naaa$a dhirodaata8 a%an$ara W 'aata%an$aara.
0ext& though the incarnation of (rishna is to be eu%ogised as per ru%e raamo raama* ca $>Qi-0a*
ca& but ba%a rama's incarnation is a%so ta$en up& according to another f%ex of this ru%e van'au van'au
$harva* tri raamii sa tapo.atapa* ,nd even non <edic 2uddha is a%so narrated in here. #hus& the
devotiona% scripts do not care for isms.
! #_( - $ !!0
+( !G# --(!0 4 # 1-`
#23 : ! #_ ( - 4 ! !
C +( ! G# - -( !
a pa E-V. dh>Qita ha%a dhara ruupa O on assuming& p%ough& wie%der& form of8 $eshavaO o& $eshava8
vishade vapu-hiO on whitish& bod8 'a%a da aabhamO water& giver Mc%oud&J in shine with8 ha%a hati
bhiiti mi%itaO b p%ough& hit& fear b%ent with8 amuna aabham O %i$e >iver :amuna& in shine8
vasanam vahasiO raiment& ou bear Mou are c%ad inJ8 'agadiisha hareO as above8 'aaO hai% to thee.
,ssuming the form of p%ough wie%ding ba%a raama& 9h& (eshava& ou are c%ad in b%ac$ish raiment
on our whitish bod& which robe resemb%es the b%ac$ rain giving c%oud and ripp%ing b%ac$ waters of
>iver :amuna& for she a%was ripp%es afraid of a smite from our p%ough& whereb oh& *ari& as a
contro%%er of natura% resources& ou are the ,%might of wor%ds& hai% to thee... Ma pa E-VJ
9nce ba%a raama %aid ho%d of >iver :amuna to gratif his desire and when she did not ie%d he
be%eaguers her. #his is according to mtho%og. ,ccording to water management& he changed the
course of her f%ow b digging a mammoth tunne% with his forcefu% p%ough for irrigation purposes.
#hus& :amuna is a%was fearfu% of ba%a raama& as she is unaware as to how man more tunne%s he is
going to dig and a%ter her course.
' a!! ?- $ !

(.#( 0
+( E( --(!0 4 # 1-b
#23 : ' a 4 ! ! ? - !

(. #( + ( E ( - -( !
a. pa. E-F. dh>Qita buddha shariiraO on assuming& 2uddha's& bod8 sa daa h>QidaaO with&
$indness& in heart8 o& $eshava8 shruti 'aatamO scriptura% words& co%%ection of8 a'Yna vidhe*O in
<edic ritua%s& methods of8 darshitaO shown Mtaught b scripturesJ8 pashu ghaatamO anima%& $i%%ing8
nindatiO fau%t finding8 a ha haO aha& aha& aha Mexpression of surpriseJ8 'agadiisha hareO as above8
'aaO hai% to thee.
,ssuming the bod of $ind hearted 2uddha& 9& $eshava& ou find fau%t with the anima% sacrifices in
the methods of <edic ritua%s taught b scriptures& and even with the co%%ection of those scriptura%
words themse%ves& what a revamp in re%igious methods... aha& aha& aha& whereb oh& *ari& as a
modifier of sstem ou are the ,%might of wor%ds& hai% to thee... Ma pa E-FJ
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a pa E-EK. dh>Qita $a%$i shariiraO on assuming& (a%$i& bod of8 o& $eshava8 m%ec;ha nivaha
nidhaneO fractious& groups of race& in e%iminating8 $araa%am O a dreadfu% one sword8 dhuuma$etum
ivaO a comet with smo$ tai%& as with Mor& dhuuma $etuO smo$e& as smbo%J8 (a%$i wie%ds a sword
whose go%den hand%e is compared to burning fire& and b%oodstained b%ade with red smo$eJ8
$aravaa%amO sword&8 $a%aasiO ou are brandishing8 $im apiO wh& even Mwhat to te%% further&
unimaginab%e to detai% themJ8
,assuming the form of (a%$i at the end of (a%i uga& 9& $eshava& ou wi%% be brandishing a comet
%i$e sword to e%iminate the groups of fractious races& and unimaginab%e are our horrendous deeds
to detai%& hence oh& *ari& ou are the ,%might of wor%ds& thus hai% to thee... Ma pa E-EKJ
#he appearance of a comet in the s$ is a bad omen and when that comet hits the earth it is sti%%
worse. ,nd when (a%$i brandishes his sword as gods brandish comets& it is unimaginab%e and that
suggests the end of that era. naaa$a dhiirodaatta8 rasa bhaaana$a.
0ext& the poet is ming%ing a%% of these incarnations into (rishna's incarnation& a%ong with an appea%
to %isten to his poetr in his g%or.
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a pa E-EE-. 'agadiisha hareO as above8 dh>Qita dasha vidha ruupaO one who can assume& ten& $inds&
of forms8 o& $eshava8 udaaram O exce%%ent one8 su$ha damO comfort& giver Mb%ithesomeJ8 shubha
damO we%%being& giver Mb%issfu%J8 bhava saaramO wor%d% %ife& having pith Mto get re%ease from itJ8
'aadeva $ave*O "aadeva& b poet8 uditamO articu%ated b8 idamO this8 shriiO shrii suu$tiO
auspicious saing8 sh>Qi0uO ou %isten8 'aaO hai% to thee.
9h& (eshava& 9& *ari& the ,%might of wor%ds who assumed ten $inds of forms for the sa$e of
humanit& pra& %isten to this auspicious articu%ation of poet "aadeva& which has an exce%%ent pith
and $erne% of wor%d% %iving& and wi%% be an aid for b%issfu% and b%ithesome re%ease from this wor%d&
hai% to thee... Ma pa E-EEJ
3ith this stan.a the poet is dedicating his wor$ in his god and as$ing him to bear testimon for his
wor$. ,nd if (rishna endorses his wor$& this wi%% be as good as canonised b him& so that this wor$
wi%% become a va%id devotiona% song. rasa shaanta8 a%an$aara paraao$ti. #he poet is summarising
a%% these incarnations that are so far said separate%. #his can be sung in maa%ava raaga8 ruupa$a
taa%a.
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E-L. vedaan uddharateO <eda s& one who revives8 'agat nivahateO wor%d& one who bears up8 bhuu
go%am ut bibhrateO earth& g%obe of& up& %ifted to support8 daitam daaraateO demon
M*irana$ashapa&J one who s%ashed8 ba%im c;ha%aateO 2a%i& one who de%uded8 $-hatra $-haam
$urvateO (shatria s& annihi%ation& one who does8 pau%astam 'aateO Bu%asa's %egatee& name%
>avana& one who conquers8 ha%am $a%aateO p%ough& one who wie%ds8 $aaru0am aatanvateO pit
Mnon vio%ence&J one who fosters8 m%ec;haan muurc;haateO fractious races& one ma$es them to
swoon Mmang%er ofJ8 dasha a$>Qiti $>QiteO ten& semb%ances& one who puts on8 $>Qi-h0aaa
tubham nama*O Msuch as he isJ (rishna& for ou& m reverence.
,s a reviver of <eda s as a fish& bearer of this earth as tortoise& up%ifter and supporter of earth as
wi%d boar& s%asher of *irana$ashapa as %ion man& de%uder of 2a%i as dwarf bo& annihi%ator of
(shatria s as Barashu >ama& conqueror of >avana& the %egatee of Bau%asta& as >ama& wie%der of
p%ough as ba%a raama& fosterer of non vio%ence as 2uddha& mang%er of fractious races as (a%$i& ou
a%one can put on ten semb%ances& thus oh& (rishna& m reverences are unto ou... ME-LJ
4n a%% the incarnations <ishnu has not ta$en a se%fsame phsique excepting in (rishna incarnation.
<ishnu wi%% be in his mi%$ abode and (rishna is brought up in a mi%$ environ. <ishnu
comfortab% rec%ines on #housand hooded serpent& whi%e (rishna has never been in an
uncomfortab%e position %i$e >ama& Barashu >ama& and <ishnu has three wives whereas (rishna is
having eight of them& so on and so forth. *ence& the poet is focussing his attention on (rishna
a%one. a%an$aara diipa$a8 c;handam $iiti dhava%a8 shaarduu%a vi$rii6itam is its metre. 3ith this& the
auspicious beginning of the poetic wor$ is over and he is entering into the sub'ect matter of this
wor$. 4n the next verse& the poet is exto%%ing his %ead character (rishna and his attributes and
endowments.
<erse 7ocator
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aSTa padi " hari vi#a$a !angalaa %ara&a
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a pa I E-. 'aaO hai%8 shritaO she%tered Mwhor%ed& embracedJ8 $ama%aaO b !oddess %a$-miiTs Mwhere
$ama%am is %otus& she who abides in %otusJ8 $ucha ma06a%aO bosom& round%ets bust8 dh>QitaO
bedec$ed8 $u06a%aO ear $nobs8 eO this is aa%aapana and can be ta$en as a an addressing& or as e O
he who is wearing8 Mthis is musicians de%ight and dropped in dance treatisesJ8 $a%itaO adorned with8
%a%itaO exquisite8 vanamaa%a O gar%and $notted with #u%asi& 9cimum sanctum& basi%& %eaves and
other f%owers8 devaO one who accords fe%icit& one who manifests b his se%f %uminosit8 hareO
*ari& vi..& one who stea%s sins of adherers& here& (rishna8 'aaO hai% to thee.
*ai% theeZ for thine chest is ever whor%ed in the embrace of !oddess %a$-mii with her bosom
bust8 which chest is ever adorned with an unfading gar%and of basi% %eaves and f%owers that dang%es
unto th $nee8 thine ears ever bedec$ed with go%den $nobb ear hangings studded with nine 'ewe%s8
thus to thee& the fe%icitous sin removing se%f %uminosit ca%%ed (rishna& hai% to theeZ Ma pa I EJ
,t the ver start of exto%%ing his hero of his poetic wor$& the poet has gone straight to the bosom
busts of heroTs consort& and to hear this& it primari% appears to be an erotic word& and if the hearer
happens to be an 9edipus& he wi%% be excited even b his motherTs mammaries. 2ut here !oddess
%a$-mii is the -upreme )other and she has 6ivine mammae& and %et mi%%ions and mi%%ions ta$e
birth& she can feed them& indefatigab%. -imi%ar is the word used for %a%ita in %a%ita sahasra
naamaava%i $a#hina sthana ma06a%aaZ as one among man of her mother% attributes.
*ere %a$-mii& the personified fortune& is abiding in the %otus %i$e heart of <ishnu& sa (rishna& thus
undifferentiated are the chests& either as that of a ma%e or as the bust of a fema%e. -he is said to be
shrita whor%ed around him %i$e a c%imbing p%ant onto a tree. -o& the poet attempts to distinguish
which is which& and sas that he is wearing a gar%and of basi% %eaves and f%owers& which he a%one
wears& hence recognise him as (rishna. 2ecause he is so tight% embraced b the personified
fortune& he never becomes a pauper and he ever endows she%ter under that abso%ute fortune to his
devotees& ca%%ed aashraa 0iiatvam. -o& anone can see$ for his she%ter& as such he is ca%%ed
shraa* pati* 9mni she%terer& of course& under the aegis of !oddess %a$-mii. 3ithout her he is
nothing. ,nd vanamaa%a indicates ha%e and hea%thiness& thus read to spring to his feet in the period
of crisis& i.e.& 9mnipotent. /ar $nobs indicate %earnedness& for the were accorded according to
oneTs own scho%ar%iness& ca%%ed ma$ara $u06a%a& candra $u06a%a& %i$e the present da graduate /
post graduate gowns and headgears. *ence& this is indicative of his 9mniscience.
/nvisioning (rishna from top to toe indicates his supreme and auspicious phsique diva manga%a
vigraham besides deified fortune is in his heart. *ence he a%one is adorab%e.
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a pa I I. 'aaO hai%8 dina ma0i O daTs& 'ewe%& name% sun8 ma0da%aO his sphere %i$e Mse%f g%owing
so%ar sstem %i$eJ8 ma06anaO an embe%%isher& one having such form (rishna8 bhava $ha06anaO
present wor%d M$armic cc%e&J one who whitt%es8 muni 'anaO for saint%& peop%e8 maanasaO mind
Mca%%ed& maanasa sarovarJ8 hansaO a swan8 'aa deva hareO as above.
*ai% theeZ though ond and onder& thou art functiona% from within the so%ar sstem& where that
sun is 'ust a gem of so%ar sstem& whi%e thou art an embe%%isher of that sstem in its entiret8 as a
swan swims in maanasa sarovar& a b%issfu% %a$e in *ima%aas& thou swimmest in the minds of saint%
peop%e8 thus whitt%e& whitt%e the $armic cc%es of th saint% devotees8 thus to thee& the fe%icitous sin
remover ca%%ed (rishna& hai% to theeZ Ma pa I IJ
4t is eas to sa that 'thou hast the semb%ance of sun... thine form is bri%%iant %i$e sun...' 2ut it is
reverse. -un is bri%%iant %i$e ou because ou are the embe%%isher of so%ar sstem... #hou& from
whom the da star derived his effu%gence... as -3" hast put it& wou%d be nearest& because ma06ana
is the embe%%isher of dina ma0i ma06a%a.
#his connotes <edic import in saing that -upreme Berson& who is far beond the so%ar orbit& but
functiona% through so%ar sstem. 4n iishaavaasopanishad& at hmn E-L& we hear the fo%%owing
mantra& hmn.
h !Z #9#! O $ #/_ 4#B< i N0
hira0mae0a paatre0aO b go%den& disc %i$e %id8 satasaO of truth8 mu$hamO face8 apihitamO
covered8 tat tvatO that& ours8 apaav>Qi0uO s%ide aside8 sata dharmaaaO 4 as truthfu%& righteous
one8 d>Qi-#aeO to visua%ise& Mthat which is beond ou.J
9n %oo$ing at the rising red sun& the devotee is as$ing A9hP BooshanP !od -un& nourisher of the
universe& the trueness of the -upreme Berson is covered b our go%den dis$ %i$e %id& i.e.& our so%ar
dis$& s%ide it aside& for as a truthfu% and righteous devotee& 4 aspire to visua%ise that which is beond
our go%den so%ar discZ
#he 'ewe% of the da etc.& indicate whi%e sun is a friend% entit to humans& (rishna is far more
friend%ier to them& as he has sthira sa$hitvam ever friend% %i$e sun8 saamartham capabi%it to
a%%eviate from the troub%es of $armic cc%es8 sat sahavaasam amiab%e fraternit.
/xto%%ing him in this wa indicates that he a%one has accorded re%ease to man a saint% sou%. *ence&
he a%one is to be venerated for he not on% accords de%iverance& but a%so becomes a b%issfu% partner
during %ifetime.
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a pa I C. 'aaO hai%8 $aa%iaO one ca%%ed (aa%iia& mu%ti hooded serpent8 vi-ha dharaO venom&
bearer of8 gan'ana O abominator of8 'ana ran'anaO peop%e& fascinator of8 adu $u%aO adu& %ineage8
na%inaO Mca%%edJ %otus8 dina iishaO da& ru%er of sun8 'aa deva hareO as above.
*ai% theeZ for thou art the abominator of venomous mu%ti hooded serpent ca%%ed (aa%iia& thus
thou hast become the fascinator of peop%e8 as the sun ma$est a %otus ab%oom& thou art the sun for the
b%oom of %otus ca%%ed aduTs %ineage& 9& (rishna& hai% to theeZ Ma pa I CJ
*is capabi%it in abominating and eradicating enemies& thereb his g%addening the panic$ed
friends& his impeccab%e %ineage are exto%%ed& ma$ing the poetic attributes of hero sub%ime& ca%%ed
uttama naaa$a %a$-ha0a.
*e incarnates himse%f on earth to save peop%e from the torture imposed b certain negative forces.
#herefore he a%one is worship worth& for he incarnates himse%f. -o& %et us hai% him.
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a pa I =. 'aaO hai%8 madhu mura nara$aO )adhu& )ura& 0ara$a demons8 vinaashana O annihi%ator
of8 garu6a aasanaO !aruda& the 6ivine /ag%e& as our seat Mas vehic%eJ8 sura $u%aO gods& stoc$ of8
$e%iO for their disporting8 nidaanaO prime cause8 'aa 'aadeva hareO as above.
*ai% theeZ for thou art the annihi%ator of endangering demons %i$e )adhu& )ura& and 0ara$a8
sitting on thine f%eet% 6ivine /ag%e !aruda thou art f%eetest in attending devotees' straits8 thus to
thee& the prime causer of unhindered disporting for the stoc$ of devout divinities& 9& (rishna& hai% to
theeZ Ma pa I =J
#he basic function of gods is to attend to the prob%ems of ordinar& in time8 e%iminate evi%doers %i$e
these demons& an time& and to en'o %iving& ever time.
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a pa I L. 'aaO hai%8 aXma%aO not& b%emished Mdispassionate& unbigoted not pure& c%ean etcJ8 $ama%a
da%aO white %otus& peta% M%i$eJ8 %ochanaO eed one8 bhava mochanO mundane %ife& re%easer8 tri
bhuvana O triad& of wor%ds8 bhavanaO becoming& MmanifestationJ8 nidhaanaO prime cause Mor& as in
other mms: tri bhuvana O triad of wor%dsJ8 bhavanaO ca%%ed a housing8 nidhaanaO in dwe%%er& or a
treasure trove8 'aa deva hareO as above.
*ai% theeZ for thou art the prime cause for the manifestation of a residence for the triad of wor%ds8
thou art the re%easer of devotees from mundane existence with thine %otus peta%ine ees that are
unbigoted& 9& (rishna& hai% to theeZ Ma pa I LJ
2ecause the hero is said to be the re%easer or saviour his attribute is parama aananda %a$-ha0a&
ever%asting b%issfu%ness.
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a pa I G. 'aaO hai%8 'ana$a sutaaO "ana$aTs& daughter& -eetha8 $>Qita bhuu-ha0aO made ou& as her
ornament8 'ita duu-h,0aO conquered Mmitigated&J demon 6ushana is8 samara shamita O in war&
mo%%ified8 dasha $ha0#haO ten& throated one& octahedron >avana8 'aa 'aadeva hareO as above.
*ai% theeZ for "ana$aTs daughter -eetha made thee as her pendant ornament& for thou repose on
her bust& thus to thee& the mitigator of demon 6ushana and the mo%%ifier of octahedra% >avana in a
given war& hai% to theeZ Ma pa I GJ
#here is another shade for San ornament to -eetha'. >ama decorates and paints fo%iate designs on
the bod of -eetha& with an erasab%e tattooing. #hus& it means that no %ess than >ama made
decorations on -eetha. -econd%& when -eetha was i%% at ease to wear sari of an anchoress& when
given b (ai$ei whi%e going to forests& >ama demonstrates the fo%ding& ting& and wearing of that
dress. #hus b these two& the hero is qua%ified not on% as a romantic hero& but a $nower of a%% arts
sarva $a%aa vishaarada. ,s a brave and bo%d enem sub'ugator& >ama is depicted as re%easer from
morta%it& b re%easing demon 6ushana from morta%it which is $aaru0a bhaava8 b mo%%ifing the
se%f conceit of >avana& his taaru0a bhaava are indicated.
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a pa I H. 'aaO hai%8 abhinavaO fresh% new8 'a%a dharaO water& bearer Mb%ac$ c%oudJ8 sundaraO
handsome %i$e that c%oud8 dh>Qita mandaraO sustainer& of )t. mandara& or )anthara8 shrii mu$ha
chandra O who for !oddess %a$-miiTs& face& moon for moon%i$e face of shrii8 cha$oraO cha$ora
bird8 'aa deva hareO as above.
*ai% theeZ for thou art handsome %i$e a fresh and vapour b%ue b%ac$ rainc%oud& et thou sustained
vo%uminous )t. mandara when )i%$ 9cean was churned8 et thou& %i$e a tenuous cha$ora bird that
ga.es at the moon to swi%% moonshine& art ga.ing at the moon%i$e face of !oddess %a$-mii to swi%%
her sheen& hai% to theeZ a pa MI HJ
-o far the persona%it of -upreme Berson is portraed with his attributes and endowments svaruupa
ruupa gu0a vibhuuti and now the poet is appea%ing on his own& and on beha%f of fe%%ow devotees to
bestow beneficence.
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a pa I V. 'aaO hai%8 hareO oh& (rishna8 tava cara0e pra0ataaO at our& feet& adoring8 vaamO we
are8 iti bhaavaaO thus& ou deem8 $uru $usha%amO ma$e happen& b%essing8 pra0ate-huO among
adorers8 'aa devaO as above.
*ai% to thee& oh& (rishna& deem that we adore our own feet and nothing e%se& thus %et our adorers
be b%est b our b%essing& and thus& oh& fe%icitous sin remover& hai% to theeZ Ma pa I VJ
#his verse ma not be found in other mms. 0ext the poet is ta$ing up the c%osing verse of this eight
foot verse a-#a padi.
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a pa I F. shrii hareO oh& -hri (rishna8 u''va%aO bri%%iant8 giitam Mor& giitiJO song8 idam 'aadeva
$ave*O this one& b "aadeva& poet8 ma0Qga%amO auspicious MteO to ouJ8 mudam $uruteO re'oice&
ma$ing8 'aa 'aa devaO hai%& hai%& oh& god. 9r& idam manga%m giitamO this& auspicious& song8
'aadeva $ave* mudam $uruteO to "aadeva& poet& re'oice& causing8 9r te manga%a giitamO on ou&
auspicious& song8 'aadeva $ave*O of "aadeva& poet8 manga%am $urute O auspiciousness& causing
Mto singers and %istenersJ
9h& -hri (rishna& %et this bri%%iant song on ou rendered b poet "aadeva& be auspicious and
re'oicing to ou& hai%& hai% to thee& oh& godZ
9h& -hri (rishna& this bri%%iant and auspicious song rendered on ou& is re'oicing the poet "aadeva&
hai%& hai% to thee& oh& godZ
9h& -hri (rishna& %et this bri%%iant and auspicious song on ou rendered b poet "aadeva& be
auspicious and re'oicing to the singers and %isteners as we%%& hai%& hai% to thee& oh& godZ Ma pa I FJ
#his is sung in bhairavi raaga tripu#a taa%a8 chandas manga%a8 naaa$a %a$-ha0a dhiira %a%ita&
sh>Qingaari8 taa%a %a%ita8 aa%aapana is avai%ab%e at the end of each foot.
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E-G. padmaaO !oddess %a$-mii's8 paa* dharaO mi%$& bearers bosoms8 ta#iiO perimeter8
parirambhaO on embracing MpariO in overarching manner8 rabhO embracing8J %agna O touched
Mspec$%edJ8 $aashmiiraO saffron Mvermi%ion mar$ on foreheadJ8 mudritamO imprinted8 va$ta
anuraagam ivaO manifest& fondness& %i$e Mhearti% fondnessJ8 $he%atO pu%sating Mtwin$%ingJ8 ananga
$hedaO b p%as of passion& strained8 sveda ambu puuram O sweat& water Mdrops&J fi%%ed with
Mpouring forthJ8 h>Qidaa anuraagam ivaO hearti% fondness %i$eJ8 madhu suudanasaO demon
)adhu& e%iminator of M(rishna'sJ8 ura*O chest8 va*O ou a%% Mna*O us a%soJ8 anupuuraatuO wi%%
accord fu%fi%ment8 priam M aXpriamJO %i$es Mand dis%i$es.J
9n tight% embracing the perimeter of %a$-mii's bosom& spec$%ed is her forehead's vermi%ion mar$
on his chest that is pouring forth sweat since it is strained in the p%as of passion with her& whereon
that vermi%ion mar$ is twin$%ing %i$e an imprint for his hearti% fondness that is about to manifest&
and effusion on his chest as his hearti% fondness in egress& for her and for a%% us& hence %et that chest
of (rishna accord fu%fi%ment to our %i$es and dis%i$es... ME-GJ
#hat vermi%ion mar$ on his chest appears as a sea% %a$-mii has put& because there is no too generous
accord of fortune. 4t is sea%ed in certain cases. 4f this god is going on according& where is an end for
it5
3h his heart shou%d b%ess us when he has four hands& of which one is said to be a b%essing hand5
#here wi%% be three items of annihi%ation& name% disc& mace& and conch in his three hands and the
fourth one is said to be abhaa hasta& a b%essing hand. 4s it withdrawn now or what5 0ot so& that
b%essing hand is smbo%ic one when he a%one functions. *ere his chest is now under the auspices of
%a$-mii& and thus both of them are b%essing a hearti% doub%e b%essing.
,s a consort she $nows that his heart fee%s fondness for anone& but she is unbothered if that
fondness is for some devotee. 4t wi%% be bothersome if this god brings in another %ad%ove& apart
from the host that is a%read avai%ab%e. -o& a sea% is sea%ed& mudritam on his heart with her vermi%ion
mar$& $um$uma& ti%a$a& as a signa% to prospective %ad%oves& of course& in vain. 2 her doubting& we
must infer that he has 'such a fondness' for not on% for >u$mini and -atabhama and the %i$e& but
even more for >dha.
#his is for estab%ishing the poetics about the hero. naai$a mugdha8 naaa$a $usha%a8 rasa
sringaara8 a%an$aara utpre$-ha& aashiis& anupraasa8 vasanta ti%a$a is its metre. 0ext& >dha's
disposition is being narrated according to poetics& as she is the %eading %ad of this wor$.
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#23 : ' ' + + 4 f' +' ! ! +Q< 4<
4' +'#. k - 7' C+ % L7 ! 7
E-H. vasanteO in spring season Mspring causing spring feverJ8 $andarpa 'vara 'anitaO b 7ove god's&
M%oveJ fever& caused b8 chinta aa$u%ataaaO b anguish& disquieted8 va%at Mca%atJ baadhaam O
recurrent%& distraught M>dhaJ8 vaasantii $usumaO Mde%icateJ verna%& f%ower M%i$eJ8 su$umaarai*
avaavai*O with daint& %imbed MphsiqueJ8 bhramantiim $aantaareO meandering& in wood%ands8
bahu vihitaO in man Mwas&J ma$e happen Mthe searchJ8 $>Qi-ha0a anu sara0aam O (rishna's& one
who is fo%%owing MsearchingJ8 raadhaa.mO to >dha8 saha chariiO a gir%friend8 sa rasam O with&
romanticism Mromantica%%J8 aXmandamO not& s%ow% Mhasti%J8 idam uucheO this& said.
4n spring season (rishna p%aing truant& 7ovegod igniting %ove fever& >dha is disquieted%
anguished8 distraught recurrent% that dainti% %imbed gir% simi%ar to a de%icate reddish verna% f%ower
meandered in wood%ands& unavai%ing% searching for (rishna in man a wa8 to such a disgrunt%ed
>dha& her gir%friend said this hasti%& et romantica%%... ME-HJ
2ecause the hero has not come to her& in spite of her earnest %onging& the heroine is viraha
ut$a0#hita. , hero having uniform interest in a%% of his women is da$-hi0a naaa$a8 sringaaram
vipra%ambha8 riiti vaidarbhi8 a%an$aara v>Qitti anupraasa %upta upama8 v>Qittam si$hiri0i is the
metre of this verse.
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a pa C-E-. %a%ita %avanga %ataaO s%im%& c%ove gi%%f%ower p%ants& tendri%s of8 parishii%anaO M%exica%%J
on examining& Mbree.e on going over those f%owers& interwoven with their fragranceJ8 $oma%aO
gent%e8 ma%aa samiireO )t. ma%aa Mwith sanda%wood treesJ bree.es8 madhu $ara ni$araO hone&
ma$ers Mhone beesJ swarms of8 $arambitaO interming%ed with8 $o$i%a $uu'itaO b $o$i%a Mb%ac$
singing birdJ crooned8 $un'a $u#iireO in bower& cabins8
vi rahiO without& having Mtheir %overs at their side& estranged coup%esJ8 'anasaO of such peop%e8 dur
ante O non& stop end%ess& incessant MunrequitedJ8 Me%%iptedJ vasanteO in such a springtime hat has a%%
this parapherna%ia8 unrequited are %ove%orn peop%e in verna% season8
or& dur ante vasanteO for adverse& end& to spring fever O terminab%e is spring fever8 in spring a%one
the unrequitedness of %ove%orn peop%e is terminab%e8 %ove%orn peop%e are unrequited& otherwise8
hari* iha E-sa ra I sa vasante
sa*O he& Mfor whom ou are searching8 where the second sa became sa*8 Msa* vasante viharati
n>Qitati caJ8 hari*O *ari& (rishna8 vasanteO in spring season8 uvatii 'anenaO with gir%s of age&
fo%$s8 samamO even as Mat the ver momentJ8 viharati n>QitatiO fro%ic$ing& dancing8 sa$hi O oh&
dear8 saraO come on Mwhen the first sa with ra became sara O move on& come onJ
sa mamO with& g%or Mg%orious%J8 uvati 'ane n>QitatiO with gir%s of age& fo%$s of& dances8 sa rasa
vante MvasanteJ O with sapfu% b%iss& inc%usive of Mspring season that which contains the sapfu% b%issJ8
naO isn't he Mphatic expression minus 5 mar$J8 virahatiO fro%ic$ing.
4n this springtime gent%e verna% bree.es from )t. ma%aa& the abode of sanda%wood trees& that
swive% round the s%im% tendri%s of c%ove gi%%f%ower p%ants bree.e gent%& interwoven with both the
fragrances... in this springtime that has bower cabins made %ive% with the interming%ed bu..es of
honebees swarms and croons of (o$i%a throngs... he whom ou are see$ing that (rishna is
g%orious% fro%ic$ing and dancing with fo%$s of gir%s of age in 2rindavan right at this moment& for
this is spring& isn't it... oh& dear& therefore& come on... %et's go... %ove%orn peop%e are unrequited&
otherwise... Ma pa C-EJ
*ere the heroine compared to c%ove p%ant and hero to bree.e& hence uddipana vibhaava an idea
esca%ated.
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C-I. ut madaO heightened& re'oice8 madana manorathaO %ust& %ongings M%ustfu%nessJ8 pathi$a vadhuu
'ana O M%exica%%J of itinerants& women& fo%$s of %over%ess %ad%oves8 'anita vi%aapeO caused&
ruefu%ness8 a%i $u%aO b honebee& stoc$ of Mswarms ofJ8 san$u%aO hur%e bur%e8 $usuma samuuhaO
f%owers& groups of Mbunches ofJ8 niraa$u%aO fu%% of8 va$u%aO )imusops e%engi& an of various acacia
p%ants with show e%%ow f%owers8 $a%aapeO in thic$ets8 annexab%e hari* iha viharati... durante.
4n this springtime that has thic$ets fu%% with bunches of show e%%ow f%owers& on which swarms of
honebees are hur%e bur%e... the season that heightens the 'os and %ongings of womenfo%$
distanced from their %overs& on% to %and them in ruefu%ness and %ovesic$ness& that (rishna is
g%orious% fro%ic$ing and dancing [c... Ma pa C-J
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a pa C-C. m>QigaO deer8 madaO fat Mmus$J8 saurabhaO of fragrance8 rabhasaO speediness
MinstantaneousJ8 vashanvadaO se%f surrendered Mone's ownJ8 nava da%aO having new& tender %eaves8
maa%aO enwreathing Mthe environJ8 tamaa%eO having tamaa%a trees8 uva 'anaO oung& peop%e's8
h>Qidaa vidaara0aO heart& rending8 manasi 'aO of mind& born one& M7ove god& for he ta$es birth in
one's own mindJ8 na$haO of nai%s8 ruchiO in shine with8 $inshu$aO 2utea frondosa& with b%ood red
f%owers8 'aa%eO bunches of8 annexab%e hari* iha viharati...durante.
4n this season that has b%ac$ tamaa%a trees enwreathing the environs with their new tender %eaves
that have their own fragrance a$in to the instantaneous fragrance of deer's mus$& and bunches of
reddish f%owers that ana%ogous to the tender and roseate nai%s of 7ove god read to rend the hearts
of oungsters of age... in such a spring (rishna is fro%ic$ing and dancing [c... Ma pa C-CJ
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a pa C-=. madanaO 7ove god8 mahii patiO %and& %ord M$ingJ8 $ana$a da06aO go%den& sceptre8 ruchiO
in shine with8 $eshara $usumaO (esara M)imisops e%angiJ f%owers8 vi$aaseO b%oomed8 mi%ita O
comming%ed8 shi%ii mu$haO iron& faced O arrow / honebee Mbees are metaphorica% to the arrows of
7ove god& sh%i-#a ruupa$aJ8 paa#a%i pa#a%aO cup %i$e daffodi% f%owers& bunches of8 $>QitaO made
as Mrendered asJ8 smara O 7ove god's8 tuu0a vi%aaseO quiver& in fashion of.
0ow the b%oomed go%den f%owers of $esara are in shine with the sheen of the go%den sceptre of
$ing% 7ove god& the ru%er of spring8 bunches of cup %i$e daffodi%s are in the fashion with his
quivers8 bees swarming on those f%owers are rendered as his arrows read to bo%t on unrequited %ove
pairs8 in such a spring (rishna is fro%ic$ing and dancing [c... Ma pa C-=J
#he 7ove god& )anmatha& has on% one quiver and one bow& and on% five f%ower arrows
aravindam& asho$am& cuutam& nava ma%%i$a& nii%otpa%a but here the get mu%tip%ied as the %ove pairs
are man.
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a pa C-L. virahiO %ove%orn ones8 vi ga%itaO comp%ete%& tumb%ed Mutter% bereft ofJ8 %a''itaO having
prudishness8 'agatO wor%d M%ove%orn peop%eJ8 ava%o$anaO on esping8 taru0a $aru0aO tender&
whitish $aruna f%owers8 $>Qita haaseO made& %augh at8 Mor& 'agat viga%ita %a''ita O at peop%e& who are
utter% bereft of prudishness8 ava%o$anaO on esping8 taru0aO oungsters of age who are with their
%ad%ovesJ8 $aru0aO piteous%8 $>Qita haaseO ma$ing& saddish grins O Moungsters who are with
their %ad%oves are grinning sad% at those that are behaving odd% as the are devoid of their
prudishnessJ8 virahiO %ove%orn ones8 ni$>QintanaO Mas thoughJ to %unge& tear asunder8 $unta mu$ha
a$>QitiO spear& faced& in shape8 $eta$aO $eta$a& mogra f%owers8 danturita asheO fu%% with& directions
of compass.
0ow the fu%% b%oomed tender whitish f%owers of $aruna& esping %ove%orn peop%e& appear to be
%aughing at them for the are utter% devoid of their prudishness in %ovesic$ behaviour... whi%e the
%ong and %ance %i$e mogra f%owers are a%so in fu%% b%oom in a%% directions& as though read to %unge
and tear asunder the hearts of %ove%orn peop%e... in such a spring (rishna is fro%ic$ing and dancing
[c... Ma pa C-LJ
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a pa C-G. maadhavi$aaO of maadhavi f%ower p%ant !aertnera racemosa8 parima%aO fragrance8 %a%iteO
in gent%eness8 nava maa%i$aO doub%e 'asmine8 'aatiO 'asmines& "asminum grandif%orum8 sugandhauO
with p%easant fragrances8 Mor& as in other mms: nava maa%i$a 'aati sugandhauO doub%e 'asmines&
'asmines'& with the fragrances of J8 muni manasaam apiO saints& hearts& even8 mohana $aari0i O
baff%e& causers of Mbaff%ers ofJ8 taru0aO for oungsters of age8 aX $aara0a bandhau MivaJ O without&
reason Munexpected&J $insman& M%i$e.J
#his springtime fragrant with the gent%e fragrance of maadhavi f%owers& doub%ed with the p%easant
fragrance of doub%e 'asmine and 'asmines can cause baff%ement even to the hearts of saint% saints&
not to sa of oungsters& as such season is becoming an unseasonab%e guest for those oungsters& in
such a season (rishna is fro%ic$ing and dancing [c... Ma pa C-GJ
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a pa C-H. MvasanteO in spring seasonJ8 sphuratO vibrate& titi%%ating8 ati mu$ta %ataaO maadhavi&
tendri%s8 pari rambha0aO b overarched& whor%ed8 mu$u%itaO having buds8 pu%a$ita O tic$%ish8
chuuteO mango trees8 pari saraO around& surging8 pari gataO around& going Mf%owing in an
enwreathing and surging mannerJ8 amunaa 'a%a puuteO b >iver :amuna& waters& sanctified8
b>Qindaavana vipineO in 2rindavana& wood%ands8
9r
b>QindaO group of earners& earning for %ove of god8 avaneO that which can a%%eviate& accord
re%ease& mo$-ha8 vipineO i%derness& so%itude.
4n this spring season& where the titi%%ating tendri%s of maadhavi c%imbers whor% around budding
mango trees in an overarching manner tic$%ing those mango trees... where >iver amuna is surging&
enwreathing and sanctifing that p%ace with her waters& where a group of earners are earning for
the %ove of (rishna for fina% re%ease& mo$-ha& is obtainab%e there... in such a sec%uded p%ace ca%%ed
2rindavana& (rishna is fro%ic$ing and dancing [c... Ma pa C-HJ
#he c%imber p%ants are feminine and the mango trees are mascu%ine. ,ccording to the saing vanita&
$avita& %ata& na aashraam vinaa shobhate a maid& poetr& or a tendri% cannot possib% outshine
themse%ves& with not a %eg to stand on. #hus& when sessi%e beings are thri%%ing and tic$%ing in spring&
how about other %iving beings.
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a pa C-V. shrii hariO -hri (rishna's8 chara0aO feet8 sm>QitiO remembrancer of8 saaramO having
sapfu% b%iss& Mor& sm>Qiti saaramO for meditating8 saaramO the best8 sa rasaO p%as of passion& sapfu%
b%iss& one having such ingredients8
9r
sarasaO congenia% poetrJ8 vasanta samaaO spring& time8 vanaO wood%ands Mor& about gregarious%
rec%usive 2rindavanaJ8 var0anamO having depictation8 anugataO ingoing& imbibed8 madana
vi$aaramO with passiona%& immoderations8 idam 'aadeva bha0itamO this& "aadeva& uttered b
MpoetrJ8 udaatiO dawning& emerging& coming up.
#his poem can be a remembrancer of (rishna's feet& for it has a%% the ingredients to obtain a sapfu%
b%iss from them8 this is even a best and congenia% poem to meditate upon those feet as this has a
sapid depictation about the gregarious% rec%usive 2rindavan and its springtime wood%ands8 even
imbibed are the passiona% immoderations of springtime %ove fevers8 such a poem is now coming up&
as uttered b "aadeva& on the feet of -hri (rishna... Ma pa C-VJ
4n this a-#a padi: a%an$aara 'aati8 naai$a madha8 naaa$a da$-hi0a8 rasa vipra %ambha sringaara8
chanda %aa8 raaga vasanta8 taa%a 'hampa. #hus& this a-#a padi named maadhavotsava
$ama%aa$aram conc%udes here.
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E-V. daraO a %itt%e& 'ust8 vi da%itaO unfo%ded& b%ooming8 ma%%ii va%%iO 'asmine& intertwines of tendri%s8
chanchatO on 'igg%ing8 paraagaO b po%%en8 pra$a#itaO made $nown& disseminating8 pa#a vaasai*O
with perfumed powder spras Mas in p%aing ho%i festiva%J8 $aananaani vaasaanO wood%ands& on
ma$ing fragrant8 $eta$ii gandha bandhu*O of $eta$i f%owers& fragrance of& a re%ative %i$e Min %eague
withJ8 prasarat O ramb%ing8 aXsamaO an unequa%%ed one M7ove god'sJ8 baa0aO bow& M7ove god's
bowJ8 praa0a vatO his %ives& as if Mor& forcefu%% b 7ove godJ8 gandha vaaha*O perfume& carrier
bree.e8 ihaO now8 cheta* dahati hiO hearts& burning& indeed.
"igg%ing on the intertwines of 'asmine tendri%s fu%% with 'ust b%oomed 'asmines& the springtime
bree.e is disseminating their po%%en& %i$e the spras of perfumed powder sprin$%ed in springtime
co%ourfu% p%as ca%%ed ho%i$a mahotsavam& sa ho%i8 whi%e ramb%ing so& it is even disseminating the
fragrance of $eta$i f%owers& in %eague with that of 'asmines& rendering who%e wood%ands fragrant8
moreover this bree.e& though a coo%ant fragrance carrier& it has become as if the %ife breath of 7ove
god& and now it is forcefu%% burning the hearts of estranged coup%es& indeed... ME-VJ
#his verse has: a%an$aara samaaso$ti& vrittanupraasa& upama8 sringaara vipra%ambha8 riiti
paancaa%i8 metre maa%ini.
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E-F. madhu gandha %ubdhaO hone& fragrance& greed of8 madhupaO b honebees8 vaadhuuta Mvi
aa dhuutaJO up heaved8 unmii%atO unfo%ding& 'ust sprouted Mtender %eavesJ8 chuuta an$ura $rii6atO
in mango& tender %eaves& p%aing8 $o$i%aO (o$i%a& singing birds8 $aa$a%iiO p%easant8 $a%a $a%ai*O
with singsong coo cooing M$i%a& $i%a s onomatopoeic wordsJ8 udgiir0a $ar0a 'varaa*O heightened&
ear& fever Mfren.J8 amii vaasaraa*O these& das8 dhaanaO rumination8 anudhaana MavadhaanaJO
interested in MdadreamingJ8 $-ha0aO for a moment8 praa0a samaaO %ives& coequa% Ma%ter egoJ8
praapta samaagamaO bechanced Mcame to mind&J togetherness8 rasa u%%aasai*O in mouth watering
Min ravishing&J fe%icit8 $atham $atham apiO somehow& somehow& even so8 pathi$ai* O b itinerants8
niianteO %ed awa.
*onebees greed for the fragrant nectar of mango f%owers are upheaving the 'ust sprouted %eaf%ets
of mango trees8 singing $o$i%a birds f%itting in those %eaves& equa%% greed to nibb%e the new
%eaf%ets of mangos& are sudden% disturbed when bees swarmed mango f%owers and the are ta$ing
to their wings with their p%easant sing song coo cooing8 %istening these c%arion ca%%s of (o$i%a s
heightened is the fren. of ears of itinerants& for their a%ter egos %i$e %ad%oves came to their mind
for a moment& but unavai%ing%8 thus the are somehow spending springtime b dream rumination
on their dream ravishing fe%icit together with their %ad%oves& as in dadreaming. ME-FJ
#his springtime is more bothersome than the bother of separation from their %ad%oves& and hence
time has predominance on earth%ings& ma it be humans or others. 2ut humans can quench their
desires in dreams& and when the can dream about embracing their %ad%oves& the can even dream
about the a%% embracing (rishna. *ere >dha is not advised to be dream& but to quic$% reach her
goa%& name% (rishna. -pring is the on% season for pastora% poetr and hence it is exto%%ed thus far.
a%an$aara $aava %inga8 riiti gau6i8 shringaara vipra%ambha8 metre shaarduu%a vi$rri6itam.
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E-EK. asau sa$hiiO this& gir%friend Mof >dhaJ8 ane$a naariiO not one Mman&J women of age8 pari
rambha O in embracing8 sambhramaO anxious of8 sphuratO erratic Mscinti%%ating oneJ8 mana* haariO
heart stea%ing one8 vi%aasa %aa%asamO in fro%ic$ing& interested8 mura arimO demon )ura's& enem8
aaraatO in vicinit8 sama$-hamO within eeshot8 upadarshaanti O she is showing him8 raadhi$aam
puna* aahaO to >dha& again& te%%ing.
#his gir%friend of >dha is te%%ing her again b showing him who is in the vicinit and within
eeshot& who is scinti%%ating% anxious to embrace not one& but man women& one who is a heart
stea%er and an interested one in fro%ic$ing& more so an enem of )ura& name% (rishna. ME-EKJ
#his verse has sringaara sambhoga8 naaa$a da$-hi0a8 a%an$aara anupraas8 metre vamshastha.
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a pa =-E. -howing him whose get up is: chandanaO with sanda% paste8 charchitaO bedaubed8 nii%a
$a%evaraO on b%uish& bod8 piitaO Mpa%e brownish e%%owJ ochr8 vasanaO si%$ c%oths Mc%ad inJ8
vanamaa%iiO one who wears a gar%and of basi% %eaves and f%owers8 $e%i cha%atO whi%e p%aing Mwhi%e
romping&J moving MswaingJ8 ma0i $u06a%aO gems Mgem studded&J $nobb ear hangings8
ma06itaO b Mear $nobsJ embe%%ished8 ga06a ugaO chee$s& pair8 smita shaa%iiO a smi%er with such
disposition a g%eefu% one8 hari* ihaO (rishna& now8 vi%aasiniO ravishing Mdamse%sJ8 mugdhaO co%8
vadhuu ni$areO damse%s& in group Mamidst coterieJ8 vi%asatiO fro%ic$ing8 $e%i pareO in game Mhere in
ronde8 +r. ronde O n. a dance in which the dancers move in a circ%e& raasa %ii%a& raasa $rii6aJ
rapturous Mgame.J
*is -apphirine bod bedaubed with sanda% paste& c%ad in ochr si%$s& gar%anded with a gar%and of
basi% %eaves and f%owers& chee$s embe%%ished with f%apping gem studded $nobb ear hangings whi%e
he is romping... see that g%eefu% (rishna now amidst a coterie of ravishing and co% damse%s& in a
rapturous rondeZ Ma pa =-EJ
,%% these stan.as are gir%friendTs dia%ogue with >dha& but the addressing Soh& >dhaZT is omitted.
3ith this she has a%so said& Swhen ou are here& an expert in romantic amusement& %eaving ou
(rishnaTs fro%ic$ing with co%& simp%istic and na\ve gir%s is unbefitting for himZ hence& ou go at
onceZT naai$a ut$a0#hita.
)an ta$e the word nii%a $a%evara as an abso%ute b%ac$ co%our of bod& whi%e it is s$ b%ue b%ac$& on
par with Ss$ b%ue pin$T n. [ ad'. n. an imaginar co%our& or somewhat semi sapphirine b%ue and
simi%es with the s$ itse%f& as s$ is the ,bso%ute $ham brahma. *ence& some hex va%ue is to be
derived for this hue of s$ b%ue b%ac$ at %east now& or said as somewhat sapphirine b%uish co%our.
,nd piita ambara and vanmaa%a are not 'ust rust%ing ochr si%$s and gar%and of wi%d %eaves& but
those basi% %eaves and si%$en garments are a%so the removers of sins.
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a pa =-I. $aachitO someone8 gopa vadhuu*O mi%$erTs& damse% Mmi%$maid& vadhuu need not be a
bride / wife a%wasJ8 piina pao dharaO with bosom& bust8 bhaara bhare0aO weight& carring Mb
their weightinessJ8 sa raagamO with& %onging8 harimO at (rishna8 pari rabha MramaJO in over
Marching manner&J hugging Mc%eaving toJ8 udanchita O in a heightened8 panchamaO fifth Mnote&
octaveJ8 raagamO me%odious%8 anuO in tune with his f%utingJ8 gaaatiO singing8 annex: haririhaZ
$e%ipare O as above.
-omeone& a mi%$maid& eager to ease the weightiness of her bosom bust is c%eaving to (rishna in a
overarching manner& and then in a heightened octave she is singing me%odious% in tune with his
f%uting8 hence& he that g%eefu% (rishna [cZ Ma pa =-IJ
#he damse% is hugging even before the hero tries to embrace her8 hence& she is in eagerness as her
naai$a %a$-ha0a is mugdha& a mee$ish heroine. -ome scho%ars trans%ate this word mugdha as a
foo%ish gir%. #his trans%ates as innocent& ignorant& art%ess rhetorica% naai$a& art%ess insofar as
romantic advances are concerned. 4f this b%ac$ bo and white gir% combination is set aside for a
whi%e& it is the twosome of devotee god& tring to achieve oneness& in which the devotee has to
ma$e his/her first move to embrace the god& as in mar$a#a naaa mother mon$e and chi%d
mon$e sndrome& that contrasts with maar'aa%a naaa cat $itten sndrome. -we%%ing bosoms
suggests swe%%ing mi%$ devotion& where both emerge from bosom a%one& contrar to a %ip service.
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a pa =-C. $aa apiO someone& even8 mugdha vadhuu*O mee$ish& damse% Mone who is an inexpert in
romancing& sringaara ce-#aa* abhaava J8 vi%aasaO b romantic gesticu%ations Mof eesJ Mhaava
bhaava ce-#aa* shuunata of (rishna& or of that mi%$maidJ8 vi %o%aO veri%& f%ustered8 vi %ochanaO
wide& ees8 $he%anaO b their p%a Mof ees& s%anting& siding g%ancesJ8 'anitaO caused8 mana* 'amO
mind& causer of Mone who can give rise to 7ove god& (rishna& personified passionJ8 madhu
suudanaO demon )adhuTs& e%iminator M(rishnaTsJ8 vadanaO face8 sara* 'am O %a$e& born M%otus&
beautifu% %otus %i$e beautifu% faceJ8 adhi$am dhaaatiO high% Mfixated%&J contemp%ating.
-ome mee$ish damse% he%p%ess% remaining on the side%ines came into the sight of side%ong g%ances
with romantic gesticu%ations of f%utter wide ees of (rishna& and passion is en$ind%ed in her8 but
that gir%& inexpert in romance& at once started ga.ing at the beautifu% %otus face of the e%iminator of
demon madhu& name% (rishna& and fixated% contemp%ated on it... thus& that g%eefu% (rishna [cZ
Ma pa =-CJ
9r
-ome mee$ish damse% is a%so impassioned for she is there with him8 in her inexpert gesticu%ations
of romance& %i$e tact%ess side%ong g%ances with her f%ustered wide ees& she caught a sight of the
beautifu% %otus face of (rishna8 from then on she fixated% contemp%ated on that face& for she is an
expert in contemp%ation8 thus& that g%eefu% (rishna [cZ Ma pa =-CJ
,%% ma not be expert danseuses or songsters& but %ovingness is common in a%%. -ome gir% came
there& but she became a third row ba%%erina& or fourth row chorus gir%& even then that environ
en$ind%es a $ind of be%ongingness in her& and she %onged for him in her wa pre$-a pre$-a$a riiti.
Dsua%% contemp%ations come in when the ob'ect to contemp%ate is not before the ees. 2ut he is
ver much there& even then& she is contemp%ating. ,gain& she is mugdha& somewhat art%ess& mee$ish
heroine. >eaching him is the goa%& whether it is a bodi% reaching& or reaching through
contemp%ation. -ome derive the word madhu suudana vadana saro'am basing on the root -uuda
$-hara0e as madhu O hone& nectar8 suudana O spi%%ing8 that %otus %i$e face is pouring forth potab%e
nectar of grace.
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a pa =-=. $aa apiO someone& even8 nitambavatiiO one with big buttoc$s8 shruti muu%eO ear& base of
Mat ho%e on ear%obeJ8 $im apiO something& even8 %apitumO to sa8 mi%itaa O on reaching his bent ear
that is now8 pu%a$ai* anu$uu%eO b tic$%es& made convenient Mwhen (rishnaTs face is tic$%& his
chee$ is bent for her convenience to $iss itJ8 $apo%a ta%eO on chee$Ts& surface8 daitamO him that
%over M(rishnaJ8 chaaru chuchumbaO good% Mamusing%&J $issed.
-ome fat bummed gir% neared him feigning to sa something in his ear8 reaching her %over (rishna
whose tic$% face is now convenient% turned sidewas in a%% ears for her8 but she amusing% $issed
his chee$ in a trice in preference to a whisper8 thus that g%eefu% (rishna [c... Ma pa =-=J
pu%a$ita tic$%& when %ad%ove touched his ears& his bod became tic$% and thus he had to move his
chee$s sidewas& which she thought a gesture to %isten to her whisper8 nitambavati because her
buttoc$s are heav she cou%d not run a race with (rishna& hence she paused him in his dance saing
S%isten thisZT and then carried off her wish8 naai$a prau6ha Msomewhat artfu% oneJ8 naaa$a
anu$uu%a Macquiescent one.J
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a pa =-L. $aachitO someone8 $e%i O Mmanmatha $e%iJ p%as of passions8 $a%aaO artistr8 $utu$ena caO
with enthusiasm& a%so8 Mparihaasena caO with g%ee& a%soJ8 amunaa 'a%a $uu%e O >iver :amuna&
waters& on its ban$8 man'u%aO beautifu%8 van'u%a $un'aO asho$a tree& bower8 gatam O one who has
gone there& fro%ic$ing in there8 amumO him8 du$uu%eO b his dress8 $are0aO with her hand8
vicha$ar-aO %ugging a%ong.
,nother mi%$maid enthusiastic in the artistr of p%as of passion& and passionate to p%a in the
waters of river :amuna a%ong with (rishna& found him fro%ic$ing in a beautifu% bower at that asho$a
tree& and sei.ing his garment she is g%eefu%% drawing him towards water& thus that g%eefu% (rishna
[c... Ma pa =-LJ
(rishna is otherwise bus anaasa$ta so she had to %ug him a%ong b catching his si%$ upper c%oth.
naai$a adhiira. #he expression amunaa $uu%e wou%d have been sufficient for :amuna riverban$.
2ut it is said a river ca%%ed :amuna that contains water and ban$s. , river natura%% contains water
and ban$s& then wh that redundant usage of water p%us ban$s5 4t has two purposes she is interested
in sporting in water with (rishna& and the other is to indicate that waterTs coo%ing effect and
sanctification shaitatva& paavanatva and hence the word waters is used emphatica%%.
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a pa =-G. uvati*O a maiden8 $ara ta%aO hand& surface with pa%ms8 taa%aO b c%apping rhthmica%%8
tara%aO moving8 va%aaO Mva%aa angadaJO heav wrist meta% round%ets8 ava%iO a group of& a set of
such brace%ets8 $a%itaO interming%ing Mtouching one to one& c%an$ing& c%an$s ming%ing with f%utingJ8
$a%a svanaO ava$ta madura svana O undefinab%e du%cet c%an$s8 vamsheO one who has a f%ute
va.msha O bamboo mohana vamshii O name of (rishnaTs bamboo f%ute8 raasaO raasa $rii6a O in
p%as of passion& in ronde8 raseO .ea%ous M(rishnaJ8 sahaO a%ong with8 n>Qita paraaO in dancing&
engrossed8 hari0aaO b *ari& (rishna8 prashashanseO Mthat maiden isJ commended.
3hi%e a maiden is engrossed in ronde dancing a%ong with .ea%ous% dancing (rishna& she is
c%apping her pa%ms in rhthm to his f%uting& whi%e doing so sets of her heav brace%ets are c%an$ing
in undefinab%e du%cet c%an$s& interming%ing with that f%uting& thus that f%autist of mohana vamshi&
the 6ivine +%ute& name% (rishna& is f%uting the praises unto her... thus& that g%eefu% (rishna [c...Ma
pa =-GJ
2 emp%oing the word rasa raase it is said& though this gir% is an inexpert in superfine singing and
dancing& she is expert in her rustic& moorish& and boorish dances& hence she is aware of beat and
rhthm %aa taa%a 'Ynaana & thereb she is praiseworth.
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a pa =-H. sa*O such as he is& he that (rishna8 $aam apiO someone& even8 sh%i-atiO c%eaves to8 $aam
api chumbatiO someone& even& $isses8 $aam apiO someone& even8 raamaam O de%ightfu% damse%8
ramaatiO he de%ights MherJ8 smitaO beaming8 caaru taraamO beaut& in high degree Mmost beautifu%
%assJ8 aparaamO another one8 pashatiO sees to her& pa attention to8 vaamaamO %eftist& a f%ight gir%8
anuO in tow8 gac;hatiO goes after.
-uch fro%icsome (rishna is even c%eaving to someone8 $issing someone8 de%ighting someone who is
a de%ightfu% damse%8 paing attention to another most beautifu% damse% with beaming smi%es8
fo%%owing a f%ight gir% with s%anting g%ances& thus& that g%eefu% (rishna [cZ Ma pa =-HJ
*ere the word raamaam is generative from root ramu ramu $rii6aaaam one who gives and ta$es
de%ight in which she is de%ighted. #his word is on the ana%og of the name of >ama in >amaana.
3hen the s%%ab%e SaT is pro%onged to SaaT Sraa maaT it becomes feminine de%ighter and the de%ighted.
,nd smita caaru taraam or& smita caaru paraam Sbeaming% smi%ingT indicates her readiness for
intimac& expressed in a smi%e itse%f. *ence& this piece of poem is f%orid% smi%e. #he word
vaamaam is disp%eased& irritated& peeved& vexed& queru%ous gir%. /ven if she were to be so& he can
tame her shrewdness and bring her round b going after her. naa$a catura Martfu%.J
,%% these acts are performed sequentia%% or at a time5 ,t a time on% is the answer. *ow can one
(rishna become man at a time& is its seque%. #hat is what raasa $riida or raasa %ii%a is& and
unimaginab%e are his acts& deeds& or p%as of passion. #hus this poetr& though expressed in
mundane par%ance& attains a supramundane eros Maspiration toward va%ueJ a divine %usting. #he poet
sas in the next foot Sthat is wh this is an ama.ing act of (rishna adbhutam.
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a pa =-V. v>Qindaavana vipineO in 2rindavana& wood%ands8 charitaO what that happens8
ashasamO endowing g%oriousness Mif sung or danced to its tunesJ8 $eshava $e%i rahasam O
(rishnaTs& p%as of passion& arcaneness of8 'aadeva bha0itam idamO b "aadeva& articu%ated& this8
adbhutam O an admirab%e poem8 %a%itamO exquisite Mp%easure giverJ8 %ibretto& Mwith doub%e entendre
O n. a word or phrase open to two interpretations& one usu. risqu] or indecent& here the who%e
poemJ8 shrii shrii suu$ti O fe%icitous& saing& poem8 shubhaani vitanotuO prosperities& %et it radiate
M tr. transmit or demonstrate %ife& %ove& 'o& etc. Sradiates happinessTJ.
Barsing 4n another wa:
ashasamO endowing g%oriousness Mif sung or danced to its tunesJ8 v>Qindaavana vipineO in
2rindavana& wood%ands Mwhat that happensJ8 %a%itamO exquisite Mp%easure giverJ8 adbhuta O
admirab%e8 $eshavaO (rishnaTs8 $e%i rahasamO p%as of passion& arcaneness of8 idamO this8
'aadeva bha0itamO b "aadeva& articu%ated8 shrii shrii suu$ti O fe%icitous& saing& %ric& %ibretto&
Mwith doub%e entendre O n. a word or phrase open to two interpretations& one usu. risqu] or indecent&
here the who%e poemJ8 shubhaani vitanotuO prosperities& %et it radiate M tr. transmit or demonstrate
%ife& %ove& 'o& etc. Sradiates happinessT.J
#his song& which endows g%oriousness to the devotees of (rishna& if sung or danced to its tunes& and
which contains the arcaneness about the exquisite p%as of passion of (rishna in equa%% arcanus
2rindavana& is articu%ated b "aadeva& thus %et it radiate prosperities to one and a%%Z Ma pa =-VJ
3ith this the poet conc%udes this %ric. *ere (rishna himse%f is an adbhutam& because he is
manifest separate% to each of the mi%$maid in a trice& though remaining himse%f as one entit. 4n
this %ric the words $e%i rahasam are usua%% trans%ated as secrets sports& or secret %ove games etc.&
ta$ing them to be rahasa $e%i $a%aapam & but the word rahasam qua%ifies the word $e%i. #hen the
are the secrets about those p%as& of which the poet wishes to te%%& but not how secret% the p%as are
p%aed& and (rishna is no covert p%aer& either in these dance dramas of 2haagavata or in the
po%itics of )aha 2haarata. chandas %aa.
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E-EE-. sa$hiO oh& friend& >dha8 mugdha*O charming Mnot mee$ishJ8 hari*O (rishna8 vishve-haam
O for a%% in the wor%d8 anuran'anenaO to cause mutua% intimac8 aanaanandam 'anaanO happiness&
to cause8 indiivaraO b%ue b%ac$ %otuses8 shre0iiO rows of8 shaama%aO b%ue b%ac$ish8 $oma%ai*O
dainti%8 angai*O with %imbs8 ana.nga utsavamO 7ove god's& festiva% Mvasanta utsavam&
carniva%esque excitationJ8 upa naanO to near& draw Mto draw nighJ8 abhita*O b a%% Mexterna% %imbs
and interna% heartfe%t fee%ingsJ8 svac;handamO unreserved%8 prati a.ngamO each& %imb8 vra'aO
count ca%%ed <ra'a province8 sundariibhi* O b beautifu% damse%s Mof <ra'a countJ8 aa%i.ngita*O
embraced M(rishna is embracedJ8 sh>Qi.ngaara* iva muurtimaanO romance& %i$e& embodiment of8
madhauO in springtime8 $rii6atiO p%aing Mtiti%%ating.J
9r& in another wa:
sa$hiO oh& friend8 hari*O (rishna Mwith his personage& that isJ mugdha*O with heart stea%ing8
vishve-haamO for a%% in the wor%d8 anuran'aneO to accord de%ight8 aanaanandam 'anaanO re'oice&
to cause8 angai*O with parts Mromanticised factors that are apt to cause happiness& %i$eJ8 indiivara
shre0iiO b%ue b%ac$ %otuses& c%usters8 shaama%aO dar$er Mambience with b%ac$ #amaa%a trees&
nightfa%%& night% :amuna river etc.J8 $oma%ai*O softish Mf%ower beds& greensward& sand dunesJ8
ana.nga utsavamO 7ove god's& festivit Mvasantosavam carniva%esque excitationJ8 upanaanO
bringing off8 abhita*O a%% over8 sva c;handam O unreserved%8 prati a.ngamO ever& %imb8 vra'a
sundariibhi*O b going& beauties Mbeauties who are passing b himJ8 aa%i.ngita*O embraceab%e8
muurtimaanO one having such a bod& bodi% presence8 sh>Qi.ngaara* ivaO MpersonifiedJ romance&
as though8 madhau $rii6atiO in springtime& fro%ic$ing.
9h& friend >dha& charming (rishna is titi%%ating in 2rindavan in this springtime& causing happiness
and mutua% intimac among a%% the wor%d% beings& and b the presence of his sapphirine b%uish and
dainti% %imbed bod& that simi%e with the sprae rows of b%ue b%ac$ %otuses& he appears to be
fetching the annua% vasantotsava& the carniva%esque excitation& hence such %imbs are unreserved%
embraced b the beautifu% damse%s of <ra'a count& either with their bodi% %imbs or b their
heartfe%t fee%ings& thus he is appearing %i$e an embodiment of romance... ME-EEJ
9r
9h& friend >dha& (rishna in 2rindavan is with a de%ighting personage that is heart stea%ing for a%%
peop%e& and it is apt to cause re'oice in one and a%%& added are the romanticised factors of 2rindavan&
%i$e dar$ish ambience with b%ac$ #amaa%a trees& nightfa%%& night% :amuna river& and softish f%ower
beds& greensward& and riparian sand dunes& and his ver bodi% presence is as though the personified
romance& bringing off the annua% vasantotsava& carniva%esque excitation& and the beauties of <ra'a&
moving past him are deeming that persona%it as an unreserved% dependab%e and embraceab%e
embodiment& hence (rishna is fro%ic$ing with them in this springtime& as he rec$ons them as
dependents and embraced devotees...
3hen it is said vi-ve-aam anuran'anena (rishna being capab%e to de%ight who%e wor%d in his own
nature& here he became a mugdha persona%it charming% gracefu% oungster& not a foo%ish bo& and
de%ighted them and got de%ight from them& though the are nowhere near his 9mniscience.
vasantotsava inc%udes man festiva%s %i$e snaana aatra ab%ution festiva%& hindo%a aatra swing
festiva%& raasa aatra festiva% of circu%ar dance& ratha aatra chariot festiva%& do%aa atra or ho%i
festiva%& in which peop%e come out as in carniva%s and co%our spras water and powder sprin$%ed for
amusement. 4t is annua% and ta$es it root in (rishna %ii%a s of 2rindavan.
a%an$ara sh%e-a& diipa$a8 riiti vaidarbhi8 rasa sringaaara8 sharduu%a vi$riiditam its metre8 and this
one verse is rep%ete with incommunicab%e ref%ections from bhaaratiia sringaara shaastra treatises on
aesthetics of romanticism& but the are %eft out for the present.
<erse 7ocator
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E-EI . shrii $ha06aO )a%aa8 shai%a ani%a*O mountain's& bree.es8 nitaO a%was8 utsa.ngaO in c%ose
proximit8 vasatO %ives& inhabits8 bhu'a.ngaO b serpents8 $ava%aO g%uttonised8 $%eshaatO b agon
Mfrom their fangsJ8 ivaO as though8 praa%eaO in snow water8 p%avanaO to p%unge down8 ic;haaaO
desirous of8 iisha acha%amO god's& mountain Miisha* a ca%amO -hiva's& not& mobi%e mountain& or&
iishaa guru* aca%a* O Baarvati& father ofO *ima%aa madhama pada %opa samaasaJ8 anusaratiO
fo%%owing& coursing to8 $i.m chaO wh& even MfurtherJ8 rasaa%a mau%iO mango trees& at tops8 snigdha
mu$u%aani O tender Meatab%e&J sprouted buds8 aa%o$aO on seeing8 har-ha udaaatO re'oice& on
dawning& burgeoned8 $a%a utta%aa* O inexp%icab% me%odious& heightened in tone8 $uhuu* $uhuu*
iti O coo& coo Monomatopoeic words&J thus8 pi$aanaam gira*O (o$i%a s& words& voicing8 unmii%antiO
unfo%ding Msa%%ing forth.J
2oth bree.es and serpents inhabit in the sanda%wood groves of )t ma%aa where serpents repeated%
bite bree.es as the feeding upon them& whereb bree.es undergo fervidit and course northward to
ta$e a p%unge in *ima%aan snow waters to coo% off that feverishness& dea%ing out %ove fervidit en
route8 wh bree.es& even high re'oice is burgeoning in $o$i%a birds on seeing 'ust sprouted tender
buds on mango trees& sudden% sa%%ing forth coo coo voicing in an inexp%icab% me%odious and
heightened tones& on% to heighten unrequited re'oice and %ovesic$ness... thus this springtime is
b%ithesome... ME-EIJ
#he word $uhu& $uhuu* a%so means no moon night& without a strea$ of moon. #he cooing of (o$i%a
s is a bother to estranged coup%e& et the are singing in fifth octave pancama svara on% to intensif
the troub%es of such coup%es. #he moon is an enem to the estranged coup%e& for his ver appearance
enhances their uneas passion. ,nd somehow& the no moon da amaavaasha can be to%erated. #he
sounds of b%ac$ $oe%s are a%most %i$e no moon da that intimidates the moon. 2ut the singing of
$oe%s is more painfu%& and a%% this cu%minates into spring fever& a rest%ess or %ethargic fee%ing
sometimes associated with spring.
riiti vaidarbhi8 var0aanu praasa shabda a%an$aara8 upama hetu ardhaa a%an$aara8 shaarduu%a
vi$rii6itam is its metre. 0ext& the poet whi%e c%osing the first canto is te%%ing a b%essing benediction
aashiirvaada ruupa$a manga%a aacara0a.
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E-EC . prema andhaaaO b %ove& b%inded Mheed%essJ8 raadhaaaO b >dha8 raasaO in ronde dance8
u%%aasa bhare0aO re'oice& rep%ete with8 vibhrama bh>QitaamO overwhe%m& bearers Mthose gir%s that
bear an overwhe%med moodO vivacious gir%sJ8 aabhiiraO mi%$maids8 vaamaO with curved8
bhruvaamO eebrows8 abhar0amO in c%ose proximit Mdrawing nigh of himJ8 ura*O chest Mof
(rishnaJ8 nirbharamO ardent%8 parirabhaO hugged8 saadhuO b far Menthusiastica%%J8 tvat
vadanamO our& face8 sudhaa maamO nectar& abounding with8 itiO thus8 vaah>QitaO on saing8
giitaO song Mof (rishnaJ8 stutiO eu%ogising8 vaa'aatOon the pretext of8 ut$ha#aO excited%8 cumbita
O one who is $issed Mb >dhaJ8 smitaO b smi%es8 mana* haariiO heart& stea%ing8 hari*O *ari&
(rishna8 va*O us& a%% of us8 paatuO ru%e over Msave our sou%s.J
2%inded b her %ove for (rishna& >dha drew nigh of him& who is among vivacious mi%$maids with
curv eebrows& and who are rep%ete with re'oice whi%e in ronde dancing& but >dha ardent%
hugged his chest among a%% of them& and enthusiastica%% said thus& A:our face is nectareous...thus
our singing must be nectarean...come sing now... ^,nd then& on the pretext of eu%ogising his
singing& she started to $iss him& and he who is thus $issed b >dha is a%% smi%es for her& and he who
stea%s hearts with his beaming smi%es& that (rishna ma save our sou%s... ME-ECJ
4n this %ric sringaara vipra%ambha8 naai$a praga%bha8 naaa$a mugdha8 the manner of hugging is
ca%%ed v>Qi$-ha adhiruu6ha tree c%imbing embrace tarum iva $amitaaram cumbana aartaa adhi
ro6hum adabhi%a-ati naarii tat ca v>Qi$-haadhiruu6ham8 the $issing st%e is ca%%ed namita$a
where mi%$maids are happ enough with $issing and $isses abhiira'aa* cumbana haara cittaa*8
a%an$aara aashiis& aprastuta prasanga& vaa'o$tiu& aa$-hepa& hetu8 since >dha advanced& some
heroine's braver is there naai$a utsaaha ruupa viira rasa8 anuvritti aarabha#i8 riiti paancaa%i8 giiti
artha maagadhi8 gaana sthiti %aa8 4ts metre is shaarduu%a vi$rii6itam.
.
% ? - +] ' "& .
#hus& this is the E-st chapter& s,modad,modaram& in giita govindam of $avi 'aadeva.
)erse *o%ator +or ,ita ,ovinda! - Chapter 1
#op of Bage E I C =
a pa E L a pa I G H
a pa C- V F EK a pa =-
EE- EI EC . .
4ntroductio
n
giirvaa0
i
0ext
-arga
IKKC& 6esira'u *anumanta >ao8 >evised IKKV
Chapter [sarga] " - alesha eshava!
.litheso!e Krishna
4(+(
4nto%erant of (rishnaTs f%irtatious behaviour with other gir%s& >dha deviates from ronde dance and
comp%ains a%% her fee%ings to her friend. /ven in her comp%aining that (rishna is cheerfu%%
irresponsib%e W b%ithesome (rishna& for his prema& %ove divine. a$%esha $eshava& she exto%s
(rishnaTs enrapturing nature.
<erse 7ocator
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I-E. harNO b (rishna8 saadhaara0aO genera% Mfair%& in a fair and square mannerJ8 pra0aeO in
%ovingness M(rishna& whose %ove is equipoise in respect of other mi%$maids and herse%fJ8 vane
viharati O in wood%ands& whi%e p%easure-tripping8 vi ga%itaO much% Msteep%&J s%ithered8 ni'aO one's
own M>dha'sJ8 ut$ar-aatO b her superiorit comp%ex& Mprivi%egeJ8 iir-aa vashenaO begrudge& b
contro% of Moverta$en bJ8 anata* gataO e%sewhere& gone8 raadhaaO >dha8 $vachit apiO
somewhere& even8 gu.n'at madhuvrataO humming& honebees& swarms of8 ma06a%iiO spira%%ing8
mu$haraO with noise8 shi$hareO at spire Mof bowerJ8 %ataa $u.n'eO in tendri%s& of bower8 %iinaaO
steeped in8 diinaaO for%orn% M>dhaJ8 raha*O in so%itude8 sa$hiim O to gir%friend8 api uvaachaO
even& said.
-teep% s%ithered is >dha's privi%ege& for (rishna's %ove is equipoise in respect of a%% other
mi%$maids and herse%f& thus some grudge overtoo$ her when he is p%easure-tripping with others&
hence she has gone e%sewhere& somewhere into a bower of tendri%s nois with the humming of
swarms of honebees spira%%ing at its spire& and when she steeped into that bower she for%orn% said
this to her gir%friend& in so%itude. MI-EJ
-he became a for%orn one as the humming noise of bees is increasing her passion for (rishna&
bhramarai* $aamoddiipita8 hence& unab%e to endure it she has become somewhat a for%orn one& who
otherwise is a reso%ute gir%.
,gain the word raha* sa$hiim uvaaca is sometimes said as ' she to%d her secrets...' etc. 2ut who%e
wor%d $nows what her secret is& i.e.& to have (rishna for herse%f... *ence& it is - said in so%itude -
what she is going to sa is not to be heard b others... even if someone is going to eavesdrop she/he
sha%% presume it as the humming of bees& as she is going to te%% next a-#a padi in a tune and wording
a%most %i$e the bu.. of bees.
#hen& diinaa api for%orn one& even so8 even so she became a for%orn one b %osing her pride& she got
guts in regaining it - cf.& >maana& =-G-IC& tata* sa* raaghava* diina* sugriivam idam abraviit...
even if >ama became a for%orn one& he spo$e to sugriiva se%f-confident%.
4n this verse it is vipra%ambha sringaara& as >dha is into%erant of (rishna's separation8 rasavad
a%an$aara - as she is ecstatic8 shabda a%an$aara ca%%ed var0a anupraasa8 naai$a -prau6ha8 metre -
hari0i.
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a pa L-E. sa.ncarat or sa.ncha%atO pu%sating8 adharaO from %ips8 sudhaa madhuraO with ambrosia%&
sweetness& M%usciousnessJ8 dhvaniO b me%od8 mu$haritaO sounded& f%uted8 mohanaO causing
de%ight& or& mohana named8 va.nshamO ba&mboo f%ute8 cha%itaO f%itting8 d>Qi$ a.ncha%a O ee& ends -
side%ong g%ances8 cha.ncha%aO swaing& nodding8 mau%iO head& or ha%f-crown& or peacoc$ feathers8
$apo%a O on chee$s8 vi%o%aO dang%ing& swaing8 vata.nsamO $nobb ear-hangings8 Mnext stan.a is a
reprise in next footsJ8 ihaO here8 raaseO in ronde dance8 vihita vi%aasamO having& fro%ics8 $>QitaO
made8 parihaasamO fun of me& or& uncared-for& with b%ithe indifference towards me8 Mapi cet O even&
thoughJ8 mama mana* smaratiO m& heart& reminds8 harimO of (rishna Ma%one.J
9r
a pa L-E. hN sa$hii8 raase vihita vi%aasamO in ronde dance& one who is having& fro%ics W one who
fro%ic$ing with others in ronde8 $>Qita parihaasamO one who is ma$ing& fun of me& or& uncared-for&
one with b%ithe indifference towards me W one who has utter% ignored me8 Mapi cet O even& thenJ8
harimO of such a (rishna Ma%oneJ8 mama mana* iha smaratiO m& heart& even now in bower&
reminds me8 sa.ncarat or sa.ncha%atO pu%sating8 adharaO sudhaa madhura MdhvaniJ O from %ips& with
ambrosia%& sweetness& M%usciousness of me%odJ8 mu$haritaO sounded& f%uted8 mohanaO causing
de%ight& or& mohana named8 va.nshamO bamboo f%ute8 cha%itaO f%itting8 d>Qi$ a.ncha%a O ee& ends -
side%ong g%ances8 cha.ncha%aO swaing& nodding8 mau%iO ha%f-crown& or peacoc$ feathers W one who
has got such a crown8 $apo%a vi%o%a vata.nsamO on chee$s& dang%ing& swaing& $nobb ear-hangings
W one who has such earhangings8 such a harim8 mama mana* smaratiO m& heart& reminds me8 ihaO
now& even after m %eaving him and coming into this bower.
ADpon whose head a diadem of peacoc$ feathers& nodding with ever nod of his head to ever bar
of his tunes& is there8 upon whose ees side%ong g%ances& f%itting from one maid to the other on% to
observe their observation of his f%uting fugues& are there8 upon whose chee$s his ear-$nobs
de%ightfu%% swa with ever tenor of his f%uting& him m heart reco%%ects... but& here he is fro%ic$ing
in ronde dance& b%ithe% ma$ing fun of me... a%beit& m heart reminds me of (rishna a%one... Ma pa L-
EJ
#his is the na$ha-si$ha paranta var0ana - depiction from toe to top. *ere it is reversed to si$ha-
na$ha paranta var0ana - top to toe& %ater adopted b poet bi%vamanga%a in his shrii $rishna $ar0a
amritm.
7'+7/(OZg+Zg+( $
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a pa L-I. chandra$aO p%umage of peacoc$8 chaaruO beautifu%8 mauuraO of peacoc$8 shi$ha06a$aO
tai%& p%umes with ee%i$e mar$ings8 ma06a%aO with a bunch of8 va%aitaO enwreathed8 $eshamO
Mb%ac$ishJ hairst%e8 prachuraO expansive8 purandara dhanu*O 4ndra's& bow O rainbow8 anura.n'itaO
decorated with& with a wraparound8 meduraO thic$%8 mudiiraO M%i$eJ c%oud8 su veshamO with
beautifu%& attire8 reprise: raase harimiha ... parihaasamO as above.
ADpon whose b%ac$ish hairst%e a sp%endid wreath of peacoc$-p%umer with moon%i$e mar$ings is
there8 upon whose sapphirine bod a spectacu%ar ochr go%den si%$ attire is there with which he
ta$es after a ceru%ean c%oud with a wraparound of a expansive rainbow... him m heart reco%%ects...
such as he is& he is fro%ic$ing here in ronde& b%ithe% ma$ing fun of me... a%beit& m heart reminds
me of that (rishna a%one... Ma pa L-IJ
#here are two concepts here. 9ne& an seen peacoc$ is reminding her of (rishna as he has peacoc$
p%umes in his crown. #he other& ever c%oud is appearing %i$e him& as b%ue-b%ac$& ceru%ean hue& is
common to both& and common are the co%ourfu% rainbow on a c%oud and rainbow-%i$e attire on this
bo. *ence she is in a fit of the b%ues.
#+O7 $
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#D LD ( - !! ... #!
a pa L-C. gopaO mi%$maids8 $ada.mbaO group of Msamuuha& brindam& ni$urambam& $adambam -
amara $osha8 not (adamba treeJ8 nita.mba vatiiO with beam buttoc$s& women having them
Mgagana 'aghanaJ8 mu$haO face8 chu.mbanaO in $issing8 %a.mbhitaO that which is acquired Mhis own
interestednessJ8 %obhamO interested in& curious8 ba.ndhu'iivaO bandhuu$a f%ower& a ros red f%ower8
madhuraO daint8 adharaO %ower %ip8 pa%%avamO tender %eaf %i$e8 u%%asitaO beaming8 smitaO smi%e8
shobhamO b which he is shining forth8 reprise8 raase harimiha ... parihaasamO as above.
ADpon whose face an air of curiousness& in ma$ing the hosts of beam buttoc$ed mi%$maids to $iss&
is there8 upon whose face daint and %eaf%et %i$e %ips that resemb%es the roseate bandhuu$a f%ower
are there8 upon which %ips a beaming smi%e is there& with which he ever shines forth& him m heart
co%%ect... but& he is fro%ic$ing here in ronde& b%ithe% ma$ing fun of me... et& m heart reminds me
of (rishna a%one... Ma pa L-CJ
B%ease read the word mu$ha as face& but not as mouth& since mouth's function is different from that
of %ips& insofar as $issing is concerned. 3henever >dha sees a 2andhuu$a f%ower& a ros red
f%ower& (rishna's de%icate %ower %ip is coming to her mind& but unavai%ab%e is his face& as other
round-bottomed gir%s are invading it. #hen wh not >dha fo%%ow the suite of other gir%s5 *ow can
she do so& when others are mobbing him5 )oreover she wants him& on% for herse%f& without an
sharing or parta$ing. #hen the friend ma question her& as$ing 'wh ou are after that bo when he
is after those man5' +or that >dha's answer is: '*e is fu%% interested in me... none e%se... %a.mbhita
%obham... but he acquired an interestedness& created b those gir%s& when a%% those gir%s forcib%
dragged him awa& so a%%owed them to $iss his face... hence& 4 exto% him and his attributes& as he
rea%% be%ongs to me...'
>ound-bottomed mi%$maids... ni.ndaa vaaca$a... >dha is sneering at other gir%s for their ungain%
phsique& as >dha herse%f is the most beautifu% gir%.
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a pa L-=. vipu%aO immense8 pu%a$aO with frisson8 bhu'a pa%%avaO arms& tender %eaf %i$e8 va%aitaO
encirc%ed MembracedJ8 va%%ava uvati sahasramO cowmen& maids& thousands Mand thousands of
mi%$maidsJ8 $ara chara0a urasiO on hands& feet& chest8 ma0i ga0a bhuu-a0a O 'ewe%s& sets of&
'ewe%r8 $ira0aO Mb that 'ewe%r'sJ shaft of %ight& M%uminositJ8 vibhinna tamisramO dispe%%ed&
dar$ness Mg%oomJ8 raase harimiha ... parihaasamO as above.
ADpon whose chest& hands and feet an assortment of 'ewe%%er is there that dispe%s %uminosit&
especia%% when hosts of mi%$maids embrace him with their %eaf%et %i$e frisson arms& 'ust to dispe%
dar$ness around& him m heart reco%%ects... but& here he is fro%ic$ing in ronde& b%ithe% ma$ing fun
of me... et& m heart reminds me of such a (rishna a%one... Ma pa L-=J
#he word tamisram is not the dar$ness of night a%one& but the genera% dar$ness& g%oom& ignorance
etc.& as in tamasomaa 'otir gamaa*. , sing%e ra of %ight from his 'ewe%%er is enough to dispe%
an $ind of dar$ness& then what more can be said of his tota% 'ewe%%er and about himse%f. #hus the
ignorance of a%% the other mi%$maids is dispe%%ed& ca%% them as sages and saints of >amaana times&
as ou ma& as a $ind of de%iverance.
9n >dha's side& she is remembering their starting time episodes. 3hen the started homeward the
night was fa%%ing& and the pathwa was dar$some. (rishna p%aed her a%ong ti%% she came ver near
to him. 2ut when she neared him a%% the dar$ness around them is dispe%%ed on% because of the
%uminosit of his 'ewe%%er& and she was prudish to be with him in broad da%ight %i$e resp%endence.
-he ran awa into dar$ness. 2ut he is a%read there with his %uminosit and it was inescapab%e for
her to avoid him& in man an attempt. 4n the meanwhi%e other mi%$maids came and carried him
awa& and she is disgrunt%ed& and now she is grunting about it.
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a pa L-L. 'a%ada pa#a%a ca%at or va%at indu O in c%ouds& crowds of& moving& moon8 vi ninda$aO veri%&
dep%oring - %oo$ down on8 chandana ti%a$aO sanda% paste Mmar$ on foreheadJ8 %a%aa#amO one with
such a forehead8 piinaO bust8 paodharaO bosoms8 Mma06a%aO area& bustJ parisaraO nearb&
c%ose%& tight%8 mardanaO on rubbing8 nir daaO without& merc - imp%acab%e8 h>Qidaa
$avaa#amO -heart Mchest&J door8 raase harimiha ... parihaasamO as above.
ADpon whose forehead a roundish mar$ of sanda% paste that a%was spurns rounde% moon moving in
the crowds of c%ouds is there8 upon whose chest bust mi%$maids tight% rub their bosoms& ma$ing it
hardened and a strong-doored-chest encasing his imp%acab%e heartZ him m heart reco%%ectsZ but&
he is fro%ic$ing here in ronde& b%ithe% ma$ing fun of me... a%beit& m heart reminds me of (rishna
a%one... Ma pa L-LJ
#he moon moving in c%ouds is reminding her about the round sanda%-paste mar$ on (rishna's
forehead. #he moon ma not be moving in c%ouds as in shaa$haa-candra naaa& but (rishna's head
is definite% and constant% nodding whi%e piping his f%ute. #hen his face is %i$e a mass of c%ouds&
and sanda% mar$ on forehead is bri%%iant than the semi-visib%e moon in c%ouds. #hough he is bo his
chest is so hardened to $eep his a%%-%oving heart in a strong-doored strongroom. +rom his chi%dhood
his chest is rubbed against bust bosom breasts& either of women of vra'& or of demoness puutana
from madhura. *ence this bo is ca%cu%ating% entertaining unassuming mi%$maids& but heed%ess of
>dha& as her c%aim is for ownership of the ver same bo& and hence >dha is with this
discontentment& et not ab%e to forget him.
<+!+ZgZgZg $
#-#0 [-\
#23 - < + ! +Zg Zg Zg L
# 4 - 4 # - !! ... #!
a pa L-G. ma0i maaO gems& fu%% with8 ma$araO crocodi%e8 manoharaO heart-stea%ing8 $u06a%aO
$nobb ear-hangings8 ma06itaO decorated& Mi%%uminates as in C decorate ?an initia% %etter& a
manuscript& etc.@ with go%d& si%ver& or bri%%iant co%ours etc.J8 ga06amO one with such 'aw%ines8
udaaram O a g%orious one8 piita vasanamO ochr si%$s& c%ad in8 anu gataO in tow& fo%%owed b8
muniO sage8 manu'aO human8 suraO gods8 asuraO demon8 vara parivaaramO best& fo%%owers&
fraternit8 raase harimiha ... parihaasamO as above.
ADpon whose 'aw%ines crocodi%e-%i$e ear-hangings wi%% be swaing& i%%uminating his sapphirine
chee$s with ever %ibration of his f%ute8 upon whose sapphirine bod go%den ochr si%$s with
bri%%iant co%our are there as pu0a vastra& vestire sancta8 m heart reco%%ects such a g%orious one
with a best fraternit of gods& demons& and men fo%%owing himZ but& he is fro%ic$ing here in ronde&
b%ithe% ma$ing fun of me... et& m heart reminds me of (rishna a%one... Ma pa L-GJ
*ere his fo%%owers are said in singu%ar& but we usua%% ta$e it as p%ura% for genera%isation. 4n
singu%arit the are: among gods it is -age naarada8 among demons it is /mperor 2a%i8 among
humans it is 2hiishma pitaamah& where a%% the three smbo%ise 'surrendering& forfeiture&
dedication...' naarada is an out-and-out dedicatee of <ishnu and his incarnations& /mperor 2a%i is a
non-nasaer& and 2hiishma is renowned for his forfeiture of a vast $ingdom for the sa$e of one
so%emn promise. 9f course& >dha as an i%%iterate 'thumb-impression' gir% ma not $now a%% these
things& but the poet $nows& and hence he puts these expressions on her tongue& since she too is no
%ess a devotee. -he as a poor gir% from a ham%et ma not have $ingdoms to forgo %i$e 2hiishma&
forgo spheres of wor%ds %i$e 2a%i& and utmost scriptura% $now%edge %i$e 0arada& 2ut she is fema%e
and fema%e's bod and sou%a%one are her propert or possessions& which she wants to surrender unto
-upreme 2eing.
(+ ++_ (' $
# +# 'H( '0 [^
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45 ( 5 - !! ... #!
a pa L-H. vishadaO serene8 $ada.mba ta%eO at $adamba tree& base8 mi%itamOming%ed& arrived at8 $a%iO
pra0aa $a%aha O nigg%ing in romance/ (a%i& the fourth era8 $a%u-aO mana* $aa%u-aO b%emish8
bhaam O fear8 shamaa.ntamO mo%%ifier8 $im api tara.ngat O a %itt%e& roving8 ana.nga d>Qishaa
manasaa O with 7ove-god's& %oo$ Mwith passionate %oo$sJ& with such intentions8 maam apiO me&
even8 ramaa.ntam O he who has exhi%arated8 raase harimiha ... parihaasamO as above.
ADpon whose face there are roving ees that intentiona%% f%it with passionate %oo$s8 upon him m
heart reco%%ects for he is a mo%%ifier of nigg%es in romance who ear%ier used to come to the base of a
certain serene $adamba tree 'ust to exhi%arate me... but& now he is fro%ic$ing here in ronde& b%ithe%
ma$ing fun of me... a%beit& m heart reminds me of (rishna a%one... Ma pa L-HJ
$adamba ta%e mi%itam: *e who is mixed up or ming%ed in the dar$ness at a peacefu% $adamaba tree&
pre-set b me& on% to hoodwin$ me8 $a%i $a%u-a... one as above& and the other is the mo%%ifier of the
b%emishes of (a%i era& the fourth era8 drishaa& manasaa ca - not on% b his gracious %oo$s but with
his $ind heart a%so8 maam api - even me& as 4 deserve supreme %ove and affection of the -upreme& as
none other can exhi%arate me8 %o$ottara prema arhi0ii - raadhi$a& hence 4 reminisce about him...
?-<'!#G# $
!7<< " 5" #ZG#0 [-`
#23 - ? - < 4 ' ! # G#
! 7< < " 5" #Z 4G# - !! ... #!
a pa L-V. shriiO shrii suu$tiO sacred saing8 'aadeva bha0itamO b 'aadeva& said8 ati sundaraO
most& beautifu%8 mohanaO enrapturing Mphsica%% rapturous to mi%$maids& divine% to who%e of the
wor%dJ8 madhu ripuO )adhu& the demon's& enem's (rishna8 ruupam O form8 pu0avataamO
pietistic peop%e8 hari chara0aO at (rishna's& feet& or& (rishnaTs& comportment W in conducting raasa
%ii%a etc8 smara0am pratiO towards cogitation8 sampratiO present% Min this $a%i ugaJ8 anuruupam O
befitting saing/poem8 raase harimiha ... parihaasamO as above.
ADpon whose beautifu% and a%%-enrapturing form a sacred saing is said b "aadeva& a befitting
saing for pietistic peop%e to cogitate over the feet of (rishna in this (a%i era& him m heart
reco%%ectsZ but& he is fro%ic$ing here in ronde& b%ithe% ma$ing fun of me... a%beit& m heart reminds
me of (rishna a%one... Ma pa L-VJ
#he %ast %ine of reprise is genera%% removed in this verse& as it wi%% be confusing whether >dha is
saing this& or it is the poet's saing. 2ut if read with next verse& it is >dha's dia%ogue that is
continued.
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/ _ Q< +Q< !< # 4# + + + +
I. hN sa$hiiO oh friend8 mama mana* vaamamO m& heart& is divergent8 maam vinaaO me& without
M%eaving me outJ8 vihaari0iiO fro%ic$ing8 uvati-uO among damse%s8 va%at t>Qi-0e $>Qi-0e O one
over& ambitious% Minvo%vedJ in such a (rishna8 Mmama mana*O m& heartJ puna* apiO again& even
Mrepeated%J8 $aamamO abhi%,-aO desire8 $arotiO doing MincitingJ8 gu0a graamam ga0aatiO MhisJ
traits& group of M%ot of&J rec$oning8 Mmama mana*O m& heartJ bhramaat apiO b mista$e& even8
bhaamam nehateO resentment& thin$s not8 doshham duurata* vimu.nchatiO error& distant%&
discarding8 Mmama mana*O m& heartJ parito-am vahati caO g%adness& bearing up& a%so8 $im
$aromiO what& 4 shou%d do.
A) heart is diverging from m contro%& oh& friend& inciting repeated desire in me for that (rishna
a%one& though he is overambitious% fro%ic$ing with other damse%s %eaving me in %urch8 discarding
his errors distant% m heart is rec$oning a %ot of his nob%e traits a%oneZ it does not thin$ of
resenting him even b mista$e8 more so& m heart bears up g%adness on thin$ing about him... what
am 4 to do... MI-IJ
vaamam - mutua%% contradictor states of mind8 g%addening in an unbefitting time8 though he is
erroneous& thin$ing that he does not err8 though he has no inc%ination in her& presuming that he is
abso%ute% predisposed towards her - a%% these are vaamam- %eftish states.
#he mood of heroine is $nown as ut$a0#hita - heroine in ecstas. 4n verse of bharata muni
uddaapanamanmatha mahaa 'vara vepamaanaam romaa.nca$a $a0#a$itam a.nga $a.mpam
a.nga$am aavaha.ntiim U sa.mveda vepadhu ghanot$a%i$a a$u%a a.ngiim ut$a0#hitaam vadati taam
bharata* UU -he who is in high fervidit of %ovesic$ness& %imbs in frisson& anguished& quivering&
high% ecstatic& her bharata muni ca%%s t$a0#hita naai$a. #hough these songs of "aadeva
periphera%% appear as 'ust wordp%a and singab%e songs& the are rep%ete with moods& gestures& and
postures etc of dance forms& as contained in naa#a shaastra& the treatise of dance of bharata. 7et's
%oad them %ater.
#here is no reason or motive as to wh she shou%d %ove (rishna8 hence a%an$aara is vibhaavana
a%an$aara8 though he is fro%ic$ing with other gir%s she is a%% praise for him& hence vi-e-o$ti
a%an$aara8 in other p%aces there is ama$a a%an$ara8 hari0i - is its metre.
4n next song ever expression is from the viewpoint of >dha in a sort of se%f-eu%og. +or e.g.
statements %i$e madana manoratha bhaavitaaa wi%% mean - 'she who is having a desire'8 m>Qidu
madhura smita bhaa-itaaa- 'she who ta%$s dear and soft%'8 $>Qita pari rambha0a chumbanaaa
'she who had $isses after a bracing embrace' etc. 4n summar& these roundabout saings mean:
'because she& who had such and such experience& or facu%t& is e%igib%e even now to get his %ove. -o&
ma$e him to ta$e de%ight in me...' *ere these Crd per. are reduced to Est per. sing& as far as possib%e
<erse 7ocator
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7+ + + ( < !' O ! +( &
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a pa G-E. he sa$hiO oh& friend8 udaaramO M%et thatJ beautifu% one& or a bountifu% one W (rishna8 $eshi
mathanamO demon $eshi& the sub'ugator of W (rishna sub'ugated that demon b begui%ing& hence
$eshi mathana came mean W a habitua% begui%er8 madana manoratha bhaavitaaa O for %ove& heart
see$ing& one who with such thin$ing W 4 who am %onging for %ove of that (rishna& as m heart is
fi%%ed with %ove for him8 maaa sahaO me& a%ong with Min meJ8 sa vi$aaramO with a%%& his actions W
when app%ied to app%icab%e to (rishna& na$ha $-hata aadi naanaa s>ingaara vi$aarai*8 or& when
app%ied to >dha - whi%e 4 show a%% vi$aaraa* - stana naabhii muu%a pra$a#anam itaadi che-#aa*
during our union8 ramaaO so& ou ma$e him to ta$e de%ight Min meJ.
2ecause& once he met me in this wa:
nibh>QitaO %one%& si%ent8 ni$uYn'aO bower& g>QihamO in such a cabin - a%cove8 gataaaO one who
has gone M>dha -when 4 have gone into an a%coveJ8 maaa sahaO me& a%ong with - he who is
besides me8 nishiO in night8 rahasiO secret%8 ni%iiaO merged& hiding8 vasantamO on who is a%read
staing there8 cha$itaO start%ed Mwhen 4 was start%edJ8 vi%o$ita sa$a%a dishaa O M4 who wasJ seeing
around& in a%%& directions8 maaa sahaO me& a%ong with8 ratiO intimac8 rabhasaO hastiness8 bhare0a
- or - rase0aO he who is fi%%ed with& who is agog8 hasantamO one who is smi%ing8 $eshi mathanamO
demon $eshi& the sub'ugator of W such a (rishna8 madana manoratha bhaavitaaa O for %ove& heart
see$ing& one who with such thin$ing W 4 who am desirous& as m heart is fi%%ed with %ove for him8
m mind and heart are eager for his %oveJ8 maaa sahaO me& a%ong with Min meJ8 ramaaO ou ma$e
him to ta$e de%ight Min meJ.
A9ne night when 4 have gone into a prearranged %one% a%cove 4 was start%ed for his truanc and
started to see a%% around for him... but that bounteous p%easure-giver was a%read there& coming
ear%ier and hiding in the dar$ness... then he sudden% appeared from nowhere start%ing me again& but
smi%ing wr% with a%% his %ustfu% comportmentZ then he& fi%%ed with hastiness for an exigent
intimac& met me... oh& friend& wh don't ou ma$e him to ta$e a simi%ar de%ight in me even now&
when m heart and mind are fi%%ed with %ustfu% %onging for him... Ma pa G-EJ
$eshi madhanam - (rishna begui%es the demon $eshi in order to e%iminate him. , begui%er must be
capab%e enough to get his things done& so (rishna's vanca$atva& saamaratha are suggested here. *e
begui%es everone who goes on a wrong trac$& on% to bring him to the right path. 4n this verse he is
said to be hasantam - %aughing at her for not finding him who is a%read at her side& suggests that he
begui%es anone& if he/she see$s him for their u%terior motives.
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a pa G-I. prathama samaagama %a''itaaa O during first& meeting M4 who wasJ bashfu%8 pa#u chaa#u
shatai* O capab%e Mwith reassuring wordsJ& good words& hundreds of8 anu$uu%amO agreeab%e Mhe
made me agreeab%e to himJ8 m>Qidu madhura smitaO soft%& sweet%& smi%ing8 bhaa-itaaaO one
who is spea$ing M>dha& mse%fJ8 shithi%ii $>QitaO co%%apse& made to Mstripped downJ8 'aghanaO hip8
du$uu%amO si%$ dress8 sa$hi - savi$aaramO reprise& as above.
A4 was ver bashfu% on m first trstZ but saing hundreds of reassuring good words he brought me
roundZ then& 4 was spea$ing soft%& sweet% and smi%ing%& unaware when m si%$en dress s%ipped
from m hips... then he& fi%%ed with hastiness for an eager intimac& met me... even now& oh& friend&
wh don't ou ma$e him to ta$e such%i$e de%ight in such%i$e me& when m heart and mind are fi%%ed
with %ustfu% %onging for him... Ma pa G-IJ
prathama samaagama %a''ita - damse%s are bashfu%& si%ent& and uncertain in fist trst& na u$ta*
$asmaat it nava vadhuu ce-#itam cintaantii pascaattapam vahati taru0ii prem0i 'aate
rasa'Ynaaa... bharata muni
pa#u caaru shatai* anu$uu%am - hero has some techniques of spea$ing good and soft words in first
meeting - prathamam iha deam puuga pu-paadi$am saat mridu madhu vacobhi* vo'aet tat
sannidhaanam...
shithi%ii $>Qita - antarbhaavita 0ic_ - the si%$ dress co%%apsed on its own& neither >dha nor (rishna
are responsib%e for it - $aante ta%pam paagate shithi%itaa niivii svaam bandhanaat... bharata muni
'aghana du$uu%am - it is a%read a s%ipper si%$ sari& 'ust tied with a simp%e $not whi%e a go%den
gird%e string - me$ha%a - is he%ping it to remain on her hips. 2ut when the heroine has seen -uper
hero - naa$aa uttama - her ecstas made that $not to %oosen and gird%e string to unfasten - niivii ca
s$ha%ati sthitaa api su dh>Qi6ham $aamengite o-itaam...
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a pa G-C. $isa%aaO tender grass& %awn8 shaanaO as bed8 niveshitaaaO p%aced in Mon reposing meJ8
chiramO a%% the time8 mama urasi evaO on m& chest& on%8 shaaanamO he who reposed on it8
$>QitaO on ma$ing8 pari rambha0aO bracing& embraces8 chumbanaaaO with $isses8 pari rabhaO
in besetting manner& hugging Mgrasping%J8 $>Qita adhara paanamO done& %ower %ip& swi%%ed8 sa$hi
Z savi$aaramO as above.
A>eposing me on a bed-%i$e %awn he reposed on m chest a%% a%ong... ma$ing bracing embraces he
$issed and swi%%ed m %ips grasping%... then he& fi%%ed with hastiness for an intimac& met me... even
now& oh& friend& wh don't ou ma$e such excited (rishna to ta$e a simi%ar de%ight in such%i$e me&
when m heart and mind are fi%%ed with %ustfu% %onging for him... Ma pa G-CJ
#he first embracing is ca%%ed $-hirra - niira aa%ingana - mi%$-water embrace& a%so ca%%ed ti%a-tan6u%a
- ginge%% seeds and rice embrace. ,nd $>ita parirambha cumbanaaa - is ca%%ed 'aghanopa sh%e-a -
$ara'adana $>Qitam cumbanam vaa vidhastsu* U $athaati 'aghanopa sh%e-am enam muniindra* UU
#hen the $issing is ca%%ed samau-#a - cumbostavam n>Qitati atra naarii pro$tam samau-#am
$avibhi* puraa0ai* UU. ,nd then the tpe of $issing said in - parirabha $>Qitaa adhara paaanam -
is ca%%ed %a%aa#i$a - sa aananda bhaavam shrama mii%ita a$-ham %a%aati$am tatva vido vadanti UU
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a pa G-=. a%asaO tired8 thereb8nimii%itaO s%ouching8 %ochanaaaO with ees Mrather& ee%ids& and such
as 4 wasJ8 pu%a$aO ting%es8 aava%iO a series of8 %a%itaO de%icate8 $apo%amO chee$s Mof (rishna& or of
>dhaJ8 shrama 'a%aO strain& water MsweatJ8 sa$a%a $a%evaraaaO whose who%e& bod is& Msuch as 4
wasJ8 vara madana madaatO utmost& %ove-god Mpassion&J b intemperance8 ati %o%amO who%%&
swinging - that (rishna - %et him ta$e de%ight in such%i$e me8 sa$hi - savi$aaramO as above.
A4 was tired then& hence m ee%ids were s%ouching8 his de%icate chee$s too experienced a series of
ting%es8 then who%e of m bod was wet with sweat& whi%e his bod too was high% vibrating with
passionate intemperance8 such as we were& we first met... whi%e he& fi%%ed with hastiness for an
exigent intimac& met me...& oh& friend& wh don't ou ma$e such a passionate (rishna to ta$e
simi%ar de%ight in such%i$e me even now& when m heart and mind are fi%%ed with %ustfu% %onging for
him... Ma pa G-=J
2 the s%ouching ee%ids& the tpe of $issing is ca%%ed - anagh>Qi-#a cumbana -...atra %o%aa
aa$haatam rasa'Ynai* angh>Qi-#a san'Ynam UU ,nd b embracing his %ove& (rishna is said to have
%ove% ting%ing on his chee$s and it is ca%%ed saattvi$a vi$aara -which is of eight $inds as bharata
muni sas: sveda* $ampa* atha romaanca* svara bhanga* atha vepadhu* U vaivar0am ashru
pra%aau iti a-#au saattvi$aa* sm>Qitaa* UU - sweating& thri%%ing& shivering& voice fading& wobb%ing&
co%our fading& tears of happiness& or tear%ess state these eight are temperate moods...
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a pa G-L. $o$i%aO $o$i%a& b%ac$ singing bird8 $a%a ravaO inexp%icab%e& cooing8 $uu'itaaaO one who
cooing %i$e that Mmse%fJ8 or& $o$i%aO %i$e $oe%8 $a%araaO %i$e a pigeon8 $uu'itaaaO ca%%ing / cooing
W4 who has such facu%t8 'ita O one who conquered& mastered8 manasi 'a O mind& born one M7ove-
godJ8 ta.ntraO treatise Mof 7ove& $aama shaastraJ8 vichaaram O one who can ponder over such
%ovema$ing treatises M(rishnaJ8 sh%atha $usumaO s%ithered& f%owers Wf%owers s%ipped from m braid8
aa$u%a $unta%aaaO tous%ed& braid Mm hair tous%edJ8 na$haO b nai%s8 %i$hitaO written& scratched8
ghanaO bust8 stanaO bosoms8 bhaaramO 4 who had to bear the weight Mof such bosoms and that of
(rishna on such bosomsJ8 sa$hi - savi$aaramO as above.
^4 was cooing and ca%%ing %i$e a $oe% or a pigeon when that prodig in ever treatise of %ovema$ing
was further examining the possibi%ities of ta$ing further de%ight in me& whi%e f%owers from m braid
s%ithered& hair tous%ed& and 4 was s%umping under m nai%-scratched buxom bosoms upon which he
is reposingZ a%% this in the good o%d dasZ even now& wh don't ou ma$e him to ta$e de%ight in
such a beddab%e %ad%ove %i$e me& when m heart and mind are fi%%ed with %ustfu% %onging for him...
Ma pa G-LJ
#he tpe of scratching with nai%s is ca%%ed pan'a$a'a patra - according to sringaara shaastra. ,ctua%%
'beddab%e' is considered seductive or sexua%% attractive - ad'. co%%oq. *ere& she served %i$e a bed to
her inamorato.
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a pa G-G. chara0a ra0itaO b feet& made to 'ing%e8 mani nuupuraaaO gemm& an$%ets8 paripuurita
surata vitaanamO fu%fi%%ed& copu%ation& with a group of Mbandha bheda sahita ratimJ8 mu$haraO whi%e
Man$%ets areJ 'ing%ing8 MnextJ viXsh>Qi.n$ha%aO unfettered& fa%%en down8 me$ha%aaa O gird%e-chain-
set8 sa $acha grahaO b& hair bun& on grasping8 chu.mbana daanamO $iss& one who gave as a gift8
sa$hi - savi$aaramO as above.
A) gemm an$%ets that usua%% 'ing%e with ever footstep of mine are made more 'ing% when he
copu%ated with me in different con'oining postures8 and when m gird%e-chain-set has fa%%en down
in that act& then he grasped m hair-bun to give a do%e of $iss... such as we were we met to the
content of our hearts... wh don't ou ma$e him to ta$e de%ight in such%i$e me& even now& when m
heart and mind are fi%%ed with %ustfu% %onging for him... Ma pa G-GJ
#he expression surata vitaanam - is man $inds of unions& name% indraa0i bandha etc.& exp%ained
b vaastaana $aama suutra-s& possib%e on% for ogis or experts in sringaara shaastra. #he gird%e-
chain-set is not an exaggerated expression& where that gird%e ornament contains festoons of go%den
strings& ranging from a set of three to hundreds. B%ease see -eetha's )arriage& siitaa $a%aan in
>amaana& where each tpe is detai%ed. ,nd ma$ing this sort of gird%e-chain to fa%% without
unfastening is ca%%ed pren$ho%%i$ita vipariita rati - where vipariita rati - is not a crude tpe& but again
a c%imatic and master% act.
;aveat: ,%% this stuff& %i$e master% acts& c%imatic union etc.& wi%% be good for reading and %istening.
2etter %imit them up to that stage. #ring to imp%ement these things& on purchasing cheap boo$s
so%d on rai%wa p%atforms& or deducing from such ha%f-ba$ed trans%ations %i$e these& wou%d be
harmfu%& and we are to%d that a threat of death %ooms on one's head& if these ogic practices are
practiced& without proper $now%edge. "ust construe that (rishna is a supramundane bhogi and ogi&
and sa%ute him. 9ne cannot be a ogi un%ess he is a bhogi. #hat's a%%.
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a pa G-H. rati su$ha samaaO union& 'o& at time of8 rasaa a%asaaaO b de%ight& re%axing8 daraO a
%itt%e8 mu$u%itaO c%osed8 naanaO ees8 saro'amO %otuses8 ni*sahaO wea$ened8 ni patitaO down&
fa%%en& reposing on %awn8 tanuO bod8 %ataaaO creeper p%ant %i$e Mmse%f& and with meJ8 uditaO
arisen8 mano'amO mind born& 7ove-god& passion8 madhu suudanamO )adhu& the demon&
sub'ugator& (rishna8 sa$hi - savi$aaramO as above.
A3hen 4 with m creeper-p%ant-%i$e bod was reposing on %awn& re%axing de%ighted% with union-
time-'oousness& he too reposed on %awn as he was wea$ened and his %otus ees were ha%f-shutZ
but& he again sprang up as passion for me sprang up in him againZ such as he was& wh don't ou
ma$e him to ta$e de%ight in me even now& when m heart and mind are fi%%ed with %usting %ove for
him... Ma pa G-HJ
*ere the heroine is ut$an#hita - ecstatic one& %ustfu%% waiting for the arriva% of hero. na eva
aagata* samucite-u api vaasare-u8 viraha 'vara taaita angiim ut$an#hitaam vadati taam bharata
$aviindra... bharata muni.
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a pa G-V. shriiO shrii suu$ti& good saing& or& one who reveres the feet of !oddess 7a$-hmi8
'aadeva O Msuch aJ "aadeva8 bha0itam idamO said& this one8 atishaaO b far8 madhu ripuO
)adhu's& enem - (rishna's8 nidhuvana shii%amO romances& having accounts of8 sa %ii%amO having&
romantic fro%ics Mof (rishnaJ8 ut$a0#hitaO one who is ecstacised - >dha& gopa vadhuuO mi%$ersT&
damse%s W mi%$maid >dha8 $athitamO to%d b her& or to%d thru her8 Mva*O for a%% of usJ8 su$ham vi
tanotuO b%essedness& amp%& pass around8 sa$hi ... savi$aaramO as above.
A7et this song that contains the accounts of (rishna's romantic fro%ics& as narrated b me& an
ecstasied mi%$maid ca%%ed >dha& and as penned b a worshipper of !oddess 7a$-hmi ca%%ed poet
"aadeva& broad% pass b%essedness a%% round& for a%% of usZ such as 4 am a we%%-wisher of one and
a%%& 4 am wishing now to get (rishna to m sideZ oh& friend& wh don't ou ma$e him to ta$e
de%ight in me even now& when m heart and mind are fi%%ed with %ove-%onging for him... Ma pa G-VJ
-ome sentences are e%%ipted in the above song for summing up for the subtext. #his song wi%% not
heard& in genera%& as it is %oaded with some 'na$edness' in expression& and periphera%% it sounds
'bad' and no singer can go on singing for the sa$e the praise of a%an$aara or sringaara shaastra
contained in it. *ence it is i%% fated to be sung. 4f at a%% it is sung& it is singab%e in gu0a $ria raaga&
e$a taa%a& again both are un$nown tunes and rhthms in these das& and none sings them in the
tunes suggested b the poet-singer-dancer "aadeva these das.
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I-C. he sa$hiiO of& friend8 maam ut vii$-haO me& up& seeing Mseeing me b raising his nec$& ma$e
sheep's ees at with gogg%ing ees& this repeats with ever action of (rishnaJ8 hasta srastaO from
hand& s%id8 vi%aasa va.nshamO p%afu%& mohana vamshi& the +%ute8 an X >Qi'uO not& straight& awr8
bhruuO eebrows8 va%%iimatO wir8 va%%avii b>QindaO mi%$ maids'& throng of8 ut saariO up& f%owing -
raising head to catch a g%impse of >dha over the heads of mi%$maid gang8 d>Qi$ a.ntaO ee& up to
end - side%ong g%ances8 vii$-hitamO one who is casting out8 ati sveda aardraO one with - much&
sweat& moist8 ga06a stha%amOon chee$& p%aces8 maam ud vii$-haO me& on gogg%ing8 vi %a''itamO
veri% abashed8 smita sudhaa mugdha aananam O he who has smi%e& ca%%ed nectar& on his prett&
face8 $aananeO in wood%ands& of 2rindavan8 govindamO at (rishna8 vra'a sundarii ga0a v>QitamO
b <ra'& be%%es'& mob& surrounded b8 pashaami h>Qi-aami caO 4 have seen& 4 am de%ighted& a%so.
A9h& friend& when he was fro%ic$ing as he %i$e with the f%oc$s of mi%$maids& 4 sudden% entered the
rondeZ then& on gogg%ing me his p%afu% f%ute mohana vamshi s%id from his hands& his wir awr
eebrows raised& and he started to cast side%ong g%ances at me& as he is abashed to be among the
throngs of mi%$maidsZ then& his chee$s became moist with sweat to see me sudden%Z thus& 4 saw
him& whose face is prett and whose smi%e is nectarean& in wood%ands of 2rindavanZ but to see
him surrounded b mobs of be%%es of 2ra'& 4 must be de%ighted - >ea%%5 MI-CJ
3ords of >dha %i$e '4 am de%ighted& or& 4 am happ etc'& are not in appreciation& but the are her
snappish words with 'ea%ous and derision.
4n another wa: b>QindaO groups of be%%es8 utsaariO to ward off& in dispe%%ing8 d>iganta
vii$-hitamO with side%ong %oo$s& he who is seeing8 meaning that& Awhen 4 sudden% gone into
ronde& he started to cast side%ong g%ances at other mi%$maids to go awa& as he was abashed to be in
their compan& whi%e 4 was present... and such as he was& now wh doesn't he come now& when 4
%ong for him5A - #his is according to her ownership's viewpoint& as he so%e% be%ongs to her.
vipra%ambha - sringaara8 diipa$a - a%an$aara8 naaa$a -da$-hi0a8 %a%aa#aanupraasa8 paancaa%ii riiti8
shaarduu%a vi$rii6itam is its metre.
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I-=. sa$hiO oh& friend8 dur aa%o$aO impossib%e& to see round8 sto$aO sma%%8 staba$aO bunches8
nava$aO new ones8 asho$aO of asho$a trees8 %ati$aaO creeper& twigs8 vi$aasa*O b%ooming8 $aasaara
O having %a$es8 upavanaO fringe %ands8 pavan*O gent%e wind8 api caO even& a%so8 vathaatiO
distressing8 api caO and& a%so8 bhraamatO whir%ing8 bh>Qi0QgiiO fema%e honebees8 ra0itaO
sounded b them& their bu..ing8 rama0iiaaO beautifu%8 shi$hari0iiO having apexes8 iam
chuutaanaamO this& of mango trees8 mu$u%a prasuuti*O fo%ded& offspring - unb%own buds8 api O
even that8 na su$haatiO not& comforting.
A9h& friend& for a %onesome gir% it is impossib%e to see around this environ... this gent%e wind that
g%ides upon the %a$es and their fringe %ands ma$ing new twigs of asho$a trees to b%oom is
distressing... even the beautifu% apexes of mango trees that have unb%own buds& on which fema%e
honebees are whir%ing and whirring& the too& are uncomfortab%e for me to see... MI-=J
$aasaara upavana in this the wind is g%iding upon the %a$es& hence it is coo%& and when it is b%owing
gent% on fringe %ands& it is getting fragrance& and when it is circ%ing around tress& twigs& and
f%owers& it is further coo%ed and co%%ecting those f%owers fragrances. 2ut it is who%% torrid for her.
3h wind a%one& who%e environs is du%%ish& g%oom and feverish. 4n mu$u%a prasuuti the verna%
mango trees are distressing even when their buds are in the process of parturition& and who $nows
what the wi%% do when the are fu%% f%owered.
a%an$aara - samuccaa& %a%aa#aanu praasa8 vipra%ambha sringaara8 riiti - maagadhi8 vritti/chandas -
shi$hari0i8 and the beaut of composition is in inc%uding the name of the metre of poem& name%
shi$hiri0i& in the song itse%f. -ome have understood this shi$hiri0i as mountain.
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I-L. hN bhagavad 'anoO oh& god-%oving peop%e8 saa$uutaO with inner meaning8 smitamO having
smi%es8 aa$u%aa aa$u%aO thri%%s and throbs8 ga%atO s%ipping8 dhammi%%amO hair bun8 u%%aasitaO up
raised8 bhruu va%%ii$amO eebrow& wir ones8 a%ii$aO artfu%%8 darshitaO showing8 bhu'aa muu%aO
shou%der& corners - armpits8 uurdhva hastaO %ifting up& arms8 stanamO bosoms8 gopiinaamO of
mi%$maids mugdha manoharam Mathaa tathaaJO simp%e-minded& heart-stea%ers Mmi%$maidsJ8
Mce-#itamO acts of those mi%$maidsJ8 nibh>QitamO secret%8 nirii$-haO on seeing8 anta*O inner%
Min his heartJ8 gamitaO re%ieved& got rid of8 aa$aaY0$-ha*O %ongings8 ciram O for a %ong time8
cintaanO thin$ing8 nava*O ever new8 $eshava*O (rishna8 va*O our8 $%eshamO despairs8 haratuO
stea% awa.
A9h& god-%oving peop%e& he whose smi%es imp% something is seeing mi%$maids who are with
thri%%ing and throbbing& b which their hair buns are %oosened and braids s%ipping repeated%8 the
are raising up their arms as though to tie up their p%aits& in doing so the are artfu%% showing are
their armpits and bosoms repeated%& in doing so& their see-sawing curvaceous eebrows a%so
confirm their desire for him& and he on seeing these wi%fu% acts of simp%e-minded beauties of
2rindavan& he got rid of his %ongings& for he satisfied them to their content& and staed there
thin$ing for a%ong time& such as he is& he that ever-new (rishna sha%% deprive us of a%% of our
despairs... MI-LJ
#his verse wi%% not be found in other recensions& but avai%ab%e in south. nava (rishna - ever-new
(rishna& $-ha0e $-ha0e at navataam upaiti tat eva ruupam rama0iiataaaa* whoever/whatever
gets newness minute b minute that is the name of beaut. *ere (rishna himse%f is that newness&
and he is becoming& new& newer etc.& on% b these simp%e-minded acts of mi%$maids. subhaa-itena
giitena uvatiinaam ca %ii%aaa U ceto na bhidate asa sa vai mu$to athavaa pashu* UU 'he who
remains unperturbed b good saings& or b music& or b the %ove% acts of womenfo%$& he must be
a saint or a beast...'
naaa$a vidagdha8 samuccaa - instrument8 a%an$aara aashiis8 sharduu%a vi$rii6ita - its metre. 3ith
this end benediction the poet is conc%uding the second chapter.
.
% ? - +] ' 4(+( v .
#hus& this is the Ind chapter& a$%esha $evashavam& in giita govindam of "aadeva.
)erse *o%ator +or ,ita ,ovinda! - Chapter "
#op of Bage E a pa L I a pa G
C = L . .
Brevious sarga giirvaa0i 0ext -arga
IKKC& 6esira'u *anumanta >ao& >evised: 9ct KV
Chapter [sarga] ' - /inso!e Krishna
8 /
9n estab%ishing >dha's sincere %onging for (rishna in the ear%ier chapter& now the poet commences
this chapter to show how (rishna fee%s for her& in an equa% earning.
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- t- '
C-E. $a.nsa ari*O $amsa's& enem M(rishnaJ8 apiO even Ma%so& not on% >dha but (rishna a%so fe%t
for the absence of >adhaJ8 sa.nsaaraO this wor%d%8 vaasanaaO b nosta%gic reminiscences - of
ear%ier births8 bandhaO bondage8 sh>Qi.n$ha%aam Mraadhaam JO shac$%e M%i$eJ Msuch a raadhaJ8
raadhaam aadhaaa h>Qidae O such a >dha& on retaining& in his heart8 tataa'a vra'a sundarii*O
%eft off - bade adieu& to other vra'& beauties.
/ven (rishna with certain nosta%gic reminiscences of >dha& since she impressed on his heart %i$e a
shac$%e-%i$e bondage in this wor%d% %ife& bade adieu to other beauties of vra'. MC-EJ
4f one can en'o the %ove of >dha& he wi%% be shac$%ed to %ive in this wor%d under %ove-bondage.
3hen a departed sou% cannot find an '%ove' in heavens or other wor%ds& where gods adore and
admire each other& and seraphica%% en'o their divinit& minus an quotient of %iving& ca%%ed %ove&
that sou% retains nosta%gic reminiscences of this wor%d% %ove& and %onging further for that %ove& that
sou% ta$es a rebirth.
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+# +'' U'+z- _ 0 A-@
#- 3 :- % 4 + 4H < t< Od
+ 4# +' ' U 4' + 5 - _
C-I. anaY0gaO b form%ess one's M7ove-god'sJ8 baa0aO arrow8 vra0aO wounded8 $hinna
maanasa*O disheartened& with such a heart8 $>Qita anutaapa*O made Mbecame&J regretfu% Mfor
unnecessari% neg%ecting >dhaJ8 sa* maadhava*O he& that (rishna8 ita* tata*O here& there8 taam
raadhi$aam anus>QitaO after her& that >dha& fo%%owed Mon searchingJ8 $a%inda O )t. (a%inda8
nandiniiO one who g%addens that )t.& name% >iver :amuna& as she originated from this )t.
(a%inda8 ta#a anta $u.n'eO on ban$& at edge& in a bower8 vi-asaadaO s%umped.
3ounded with the arrows of 7ovegod disheartened is his heart& thus he is regretfu% for his
unnecessar neg%ect of >dha8 he searched for her hither and thither& but when that attempt came to
naught& he s%umped in a bower edging on the ban$ of amuna river. MC-IJ
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a pa H-E. iamO this M>dhaJ8 maamO me8 vi%o$aO on seeing8 me who was8 vadhuu nichaena O
with gir%s& heaps of Mf%oc$s of mi%$maidsJ8 v>QitamO surrounded MthrongedJ8 cha%itaa O she went
awa Mforsoo$J8 sa apa>dhataaa maaa apiO with& fau%t Mat fau%t&J b me& a%so8 ati bhaenaO
high%& with fret - 4 was high% fretfu%%8 that is wh 4 did not8 na vaaritaa O not& averted her8 hari
hariO oh& god& oh& god8 saa $upitaa ivaO she is& vexed one& as if8 hata adarataaa O hurt&
attentiveness M4 was f%ippant of her& so she f%ed f%ippant%J8 gataaO she f%ed8 reprise : hariO oh& god8
hata aadaraataaaO marred& courtes8 hariO oh& god8 gataaO f%ed8 saaO she is8 $upitaa ivaO
resenting& as if.
A9n seeing me amidst thronging fo%$s of mi%$maids this >dha forsoo$ me... unab%e to avert her
parting& as 4 was a%so at fau%t& 4 fretfu%% didn't imp%ore her to sta... oh& god& she f%ed& as if she is an
irefu% person& which she isn't... oh& god& 4 was f%ippant of her& so she f%ed that f%ippant%... Ma pa H-EJ
+ +Q + Q 7 !< $
+ - + - !< $ !! +# $ 4 # ^-@
# - 3:- + +Q + Q 7 !< U
+ - + - !<
a pa H-I. saaO she8 chiramO for a %ong time8 virahe0aO Min mJ separation8 $imO what Mpossib%e
deed to re%ieve herse%f of that anguishJ8 $ari-atiO she can do8 $im vadi-atiO what& she sas Mif 4
go and beg her forgivenessJ8 mamaO to me8 dhanenaO with mone MprosperitJ8 $imO what M$im
prao'anam vinaa >dhaa O what is the use of prosperities without >dhaJ8 'anenaO with peop%e
M$im prao'anam O what is the use Mwith others without >dhaJ g>Qihe0a M$aaJO with a house
Mwhat useJ8 'iivitena $imO with MmJ %ife& what Mis its usefu%ness.J
A3hat wou%d she do to re%ieve herse%f from the %ong-time anguish owing to m separation... what
wou%d she sa if 4 were to go and beg her forgiveness... what is the use of prosperit& peop%e& a
pa%ace& or with m ver persona%it& when she won't be with me... Ma pa H-IJ
*ere& b saing the 'prosperit' his shria* patitvam 'the possessor of !oddess %a$-mii' is
suggested. ,nd b the word 'peop%e' his pra'aa patitvam 'the mastership of %iving beings' in %eading
them in and out of morta%it is suggested. ,nd with word 'house' bhuu patitvam '%ordship of abodes'
is suggested. #here is another variant as mama $im g>Qihe0a su$hena 'even if riches are there&
what is the use with those riches %i$e house or other comforts without >dha...' wou%d be its import.
*ere we have to dwe%% a %itt%e whi%e on rasa siddhaanta '#reatises on ,esthetic B%easure...' where
romance is but on expressib%e component.
, pscho%ogica% theor that is a pecu%iar% 4ndian contribution is that of rasa& which is ver often
though wrong%& trans%ated as sentiment. >asa is aesthetic p%easure& which is said to be a$in to the
sub%ime b%iss of !od. #he writers of a%an$aara Mrhetoric& poeticsJ fo%%ow the Dpanishadic view
genera%%& and sa that rasa is one and is 2rahman. 2ut it can ta$e different forms& which are usua%%
accepted as nine& corresponding to nine bhaavaa-s: emotions& sentiments. bhaavaa-s are of two
$inds& sthaii bhaava 'stab%e' bhaavaa-s and sancaarii bhaavaa-s or unstab%e bhaavaa-s. 4t is the
former that can become rasa. #he are sringaara %ove& viira heroism& $aru0a pit& adbhuta wonder&
haasa %aughter& bhhaaana$a dread& bhiibhatsa disgust& raudra fur& shaanta quiet or peace. ,t their
base %ie the corresponding dominant fee%ings of rati sexua% craving& utsaaha energ& sho$a sorrow&
vismaa astonishment& haasa mirth& bhaa fear& 'ugupsa aversion& $rodha anger& nirveda se%f-
disparagement& which must be assisted b favourab%e excitants vi bhaava-s& both aa%ambana
essentia%& uddiipana enhancing& b reinforcing ensuants anu bhaava& name%& vo%untar and saatvi$a
bhaava-sexpressions and a%so b certain accessories or subordinate fee%ings sancaarii bhaava-s&
vbhicaarii bhaavaas which fo%%ow in the wa$e of the dominant sentiments and diversif
themse%ves. - #he ;u%tura% *eritage of 4ndia& <o%. 444 - Bhi%osophies.
#hus the exp%anations expand and expand. 3hen it is said as 'he is appearing %i$e an embodiment of
romance... at E-EE& it is (rishna's personification& with which a%% mi%$maids en'oed a%% the aesthetic
p%easures endowed b him. -ome of the man ensuants of this savour ca%%ed aesthetic p%easure are
noted here. sh>Qngaaara is exp%ained as vibhaavairanubhaavai* ca bhaava* sancaarii saattvi$ai* U
'anito bodhita* sphiito v>Qiddha* sh>Qingaa iti ucate U bharata i.e.& sh>Qingaara wi%% be caused
b vibhaava& noticed b anu bhaava& excited b sancaarii bhaava& enhanced b saattvi$a bhaara then
it shines forth as sh>Qingaara rasa. ,nd vibhaava-s are defined asU bhaavaanti vishe-e0a e
rasaan vai manoharaan U te vibhaavaa* tu $athante naa#a shaastra $ovidai* UU ta$ing its root
vishe-e0a bhaavaanti Mmanoharaan rasaanJ iti vibhaavaa* 'those that can be heart-p%easing%
experienced& the are bhaavaa-s emotions& sentiments& %et us ca%% the 'p%easing romantic fee%ings' a
time being.
#he sh>Qingaara rasa vibhaavaa* are >Qitu maa%aa a%an$aarai* pria 'ana gaandharva $aava
sevaabi* U upavana gamana vana vihaaarai* sh>Qingaara rasa samudbhavati 'acts befitting to the
season& %i$e wearing gar%ands and ornaments& moving with dear ones& singing and %isting music&
reading poetr& p%easure tripping in gardens and p%easure-par$s etc.& wi%% be excitant factors for
p%easing romantic fee%ings...'
#he sh>Qingaara rasa anuhaavaa* are naana vadana prasaadai* smita madhura vaco dh>Qiti
pramodai* ca U madhurai* svaa anga vi$aarai* tasaa abhinaa* prao$tava* ' smi%e faces and
spar$%ing ees& ta%$ing smi%ing% and me%odious%& confidence& happiness& behaving with beautifu%
bodi% gestures& and the %i$e...'
#he vabhicaarii bhaavaa* - a word need be said about this word. #he usage of this word is now
corrupt and used to mean 'a bitch& or bitching...' #hat is abso%ute% wrong from the viewpoint of
aesthetics. vabhicaarii O vi abhi caarii8 vi O vishe-e0a O essentia%%8 abhi O abhimu$hena O
before mu$ha* before important one& sa the hero8 caari0a* O caranti iti vabhicaari0a* O
those that move& behave& comport themse%ves. ,nd in sh>Qingaara vabhicaara bhaavaa* are
shan$aa asuuaa tathaa g%aani* vaadhi cintaaa sm>Qiti* U autsu$am vismaa* harao vrii6aa
unmaadau bhaam tathaa U vi-aado 'a6ataa nidraa bahudhaa capa%aa mati* Uiti bhaavaa
prao$tavaa* sh>Qingaare vabhicaari0a* UU sh>Qingaara ti%a$a. #hese are rough% U doubt&
'ea%ous& misgiving& uneas thin$ing& reminiscing& se%f-confidence& happiness& astonishment&
hi%arit& shness& cra.iness& s%ight fear& sadness& sto%idit& s%eepiness& uneasiness are the fee%ing in
p%easing romanticism.
#hen the sh>Qingaara saattvi$a bhaavaa* expressions in p%easing romantics are sthambh*& sveda*&
atha romaanca*& svara bhango atha& vepadhu* U vaivar0am& ashru pra%aa& iti a-#au saattvi$aa
mataa* UU U shQingaara ti%a$a free.ing& sweating& brist%ing& voice change& shuddering& co%our fade&
tearfu%ness& se%f-torment are the eight states. -o goes the %ist of moods and their expressions. 3ith
a%% this software (rishna ma$es others happ.
',s sh>Qingaara has two aspects vi..& samoga MunionJ and vi oga Mseparation&J there are two
stages in this rasa& Mrasa anubhuutiJ & which the devotees en'o. 9ne in his compan as the are in
union with him& whi%e the other in his absence the suffer the miser of separation and thin$ of him
a%% the time& so much so that the cannot see or experience anthing but (rishna. ,ccording to
some& the stage of separation is therefore superior to that of union.' U #he ;u%tura% *eritage of 4ndia.
<o%. 444& Bhi%osophies.
;oming to our mainsta& (rishna a%so has a %onging fee%ing for his devotees& personified here as
>dha& whom he once neg%ected. *ere he is in the state of smara0a avastha 'reminiscing' his
wrongdoing and her resent. 4t doesn't matter. , wrongdoer has a right to beg excuses& entwining
threads and %aces of man stories& at antime. 7et him do so& but first %et him so%i%oqui.e what he
has to sa or fee% for >dha.
7' +Uf +#< $
(<#;# f+ f<$ !! $ +# $ 4 # ^-A
#- 3 :- 7' C +U f/ +# <
(< #; % L# f 4+ f<
a pa H-C. $opa bhare0aOcho%er& fi%%ed with Mhot-temperedJ8 $u#i%a bhruuO curv M$nitted&J
eebrows8 upariO over8 bhramataaO whir%ing8 bhramare0aO b honebee8 a$u%am iva O agitated
Mfren.ied&J resemb%es8 sho0aO red8 padmamO %otus8 tat aananam chintaaamiO that& face& 4 muse.
A4 muse on that face which might be cho%erica%% reddened with $nitted eebrows& and it must be
resemb%ant of a red-%otus fren.ied at a whir%ing honebee over it... Ma pa H-CJ
'4 muse on that face...' finishes with a word 'bemused%...' 4t is his bounden dut to incite her& not to
a resentment or anger& but to a fu%%-f%edged cho%eric state. 9therwise he wi%% not have a chance to
beg pardon. , %otus swas man times when 'o%ted b a honebee& and in doing so its peta%s widen
and contract. *ere the bee agitating >dha is the bu..ing thought of (rishna& $nitted eebrows are
$nitting/opening peta%s& and reddish %otus %i$e face of >dha/%otus sti%% reddened& angering at
bee/(rishna. upama.
! !

5 ( ( $
+ I ! + & #$ !! ... +#$ 4 # ^-K
#- 3 :- 4! !

5 4( ( + 4
%! + & # ' Od/ !

+
a pa H-=. ahamO 4 am8 vaneO in wood%and8 taamO her8 $imO wh8 anusaraamiO fo%%owing
MsearchingJ8 iha v>QithaaO now& futi%e%8 $im vi%apaamiO wh& 4 wai% Mhere& 4 worrJ8 h>QidiO in
heart8 anishamO a%was8 sa.ngataamO unified8 taamO about her8 bh>Qisham ramaaamiO high%& 4
am de%ighting her8 Mor& the word '$im' can be ta$en as interrog. ad said 'what for& wh shou%d 4
search5'J
A0ow wh shou%d 4 futi%e% search her in wood%ands& wh shou%d 4 worr for her now& when she is
a%was unified with m heart& and whom 4 a%was de%ight& who%ehearted%...5 Ma pa H-=J
' Od/ !

+ $
d ; + I$ !! ... +# $ 4 # ^-[
#- 3 :- ' Od 4/ !

C+ ; +
4 4 # U
a pa H-L. hN tanviO oh& come% >dha8 tava h>QidaamO our& heart8 asuuaaa $hinnamO b
'ea%ous& downhearted8 aa$a%aaamiO MthusJ 4 rec$on8 $uta* gataa asiO where& gone& ou are8 na
vedmiO not& 4 $now8 tatO thereb8 natenaO head bent Mbowing& reverent%J8 te anunaaamiO ou& 4
appease8 Mor& tatO thereb& because of our 'ea%ous8 $uto gataa asi na vedmi $im5 O where ou have
gone don't 4 $now8 4 $now it8 tenaO thereb8 teO ou8 na anunaaamiO not& 4 appease8 4 needn't
appease ou& as 4 am aware of our departure on account of our own 'ea%ous.J
A9h& come% >dha& 'ea%ous downhearted our heart& not 4& thus 4 rec$on& but 4 am unaware as to
where ou have gone... now 4 reverent% beseech ou... te%% me where ou are... Ma pa H-LJ
4n the first part of the verse state of ecstas udvega avasta is said as in: asmin ramam aramam
ca saat pra$ar-aaa $im can na U vidve-a* praa0itave sa udvega* pra$iirtita* UU sh>Qingaara
ti%a$a 4n the %ater part ta%$ing beseeching% is said as in bambhramiiti mano asminautsu$aaitam
tata* U vaaca* priaa aashraaa eva sa pra%aapa sm>Qito athaa UU 'whose heart %ongs for his dear
ones& whose ta%$ing wi%% be over his dear ones& that is said to be pra%aapanam 'an ecstatic ta%$ing.'
0ext he assumes that >dha is before him& but not rep%ing him.
# $
+ # f #< $ !! +# $ 4 # ^-\
# - 3:- # C %
+ # % f #< 4
a pa H-G. me purata* d>QishaseO in m& front& ou are appearing8 gata aagatam ivaO comer& goer&
as if8 vidadhaasiO ou do MbehaveJ8 puraa ivaO ear%ier& as with8 samambhramam O tanta%i.ing%8
parirambha0amO tight hugging8 $im na dadaa asiO wh& don't& endow& ou.
A:ou are appearing before me as if ou are toing and froing towards me& wh don't ou endow a
tight and tanta%ising embrace to me as ou used to ear%ier... Ma pa H-GJ
#his so%i%oqui.ing is as o%d as >amaana& where >ama ta%$s to disappeared -eetha: $im dhaavasi
prie nuunam d>Qi-#aa asi $ama%a ii$-a0e U v>Qi$-e0a aacchaada ca aatmaanam $im maam na
pratibhaa-ase UU C-GK-IG '9h %otus eed %ad& in fact 4 have seen ou m dear& then wh this running
awa... even wh this vei%ing of ours with %eaves... wh not rep% me...' etc8 and man other
serenading so%i%oquies of >ama.
V# +# ( + $
! ' (. '& $ !! $ + # $ 4 # ^-^
# - 3:- V 4# + 4# P(
+ ! ' (. '&
a pa H-H. 9& sundariiO 9& beaut Mfor& ou ta$e pride in our beautJ8 $-hamataamO %et Mm
offence beJ pardoned8 $adaa api aparamO never& again& next MeverJ8 tavaO to ou Min our respectJ8
iid>Qisham O this sort of MwrongdoingJ8 na $aromiO not& 4 do8 mama dehi darshanam Mor&
rama0amJ O to me& give& our audience& Mor& en'omentJ8 manmathena dunomiO b 7ovegod& 4 am
seethed.
A9& beaut& %et m offence be pardoned... 4 wi%% never& nevermore do this again in our respect...
come& give me our audience& as 7ovegod is seething me... Ma pa H-HJ
4n the ear%ier part of verse an ecstasied mood of %ove unmaada avasthata atasmimstaditi bhraanti*
unmaadaat iva 'aaate - is stated.
<. -+ ! "< $
'D5!<< $ !! $ + # $ 4 # $ ^-`
#- 3 :- <. -+ ! % "< 'D 5 !< <
a pa H-V. hare* prava0enaO of (rishna& in devotedness8 bindubi%va Mor& (endubi%vaJO in
2indubi%va vi%%age8 samudraO ocean/ocean-%i$e8 sa.mbhavaO begotten8 rohi0ii rama0enaO -tar
>ohini& Mone whoJ de%ights that star - name% the moon8 'aadeva$enaO b "aadeva8 idam
var0itamO this is& romantici.ed.
A9& >dha& this 4 appea% to ou as romantici.ed b poet "aadeva& a devotee of (rishna& whom the
poetic ocean ca%%ed binbdubi%va vi%%age has begotten& and who de%ights starr poetr& as ocean-born
moon de%ight his star of stars& name% >ohini... hence %isten to him and te%% me where ou are... Ma
pa H-VJ
#his is said to be a grand poetic construct. Dn%i$e the doubtfu% expression of (a%idasa as at: $a*
suura* prabhavo vamsha*5 "aadeva is se%f-assertive in asserting that though he came from a
sma%% vi%%age& he wi%% be a moon in starr poetr& raising from earth to s$ward %i$e the ocean-born
moon. #his vi%%age 2indubi%va& or (endubi%va& or (endu%i is said to be in Dt$a%a area. 4f Dt$a%a
historica%% be%ongs to vanga desha i.e.& 2enga%& the poet is a bengaa%ii. /%se& he is 9ria&
<erse 7ocator
!

! -H+
+?< +Zj |$
-- "!
"! !f'H = + 0 A-A
#- 3 :- !

! 4 -5 + + ?< +Zj |
- - % " ! "! ! f' 45 = +
C-C. hN ana.ngaO ou& bodi%ess fe%%ow M7ovegodJ8 priaa rahite maiO dar%ing& without& in m
respect8 hara bhraantaaO hara& M-hiva&J confused% - mista$ing me for god shiva8 na praharaO don't&
%et f% our arrow& don't batter8 h>QidiO on MmJ chest& in heart8 aamO this 8 bisa%ataa haara*O
%otus sta%$s& gar%and - that is there8 na bhu'an gama naaa$a*O is not& sna$es& $ing of8 $a0#heO at
nec$8 saaO that8 $uva%aa da%a shre0iiO b%ac$-%otus& peta%s& row Mcirc%etJ8 na gara%a duti*O not& in
venom's& in hue8 idam ma%aa'a ra'a*O this& sanda%-paste's& dried up partic%es8 na bhasmaO not&
ashes8 $rudhaa $imu dhaavasiO rancorous%& wh M$im u O vexatious%& ou run after Mhound
me.J
A:ou $navish bodi%ess 7ovegod& don't batter me with our arrows when 4 am without m dar%ing8
don't chase me mista$ing me for god -hiva... %oo$& this gar%and of %otus-sta%$s on m chest is not
$ing cobra8 b%ue-%otus peta% circ%et at m nec$ is not the mar$ of venom on -hiva's throat8 these
partic%es of dried-up sanda%-paste on m bod are not the ashes on the bod of -hiva bod... wh do
ou hound me rancorous% and vexatious%... MC-CJ
A3hen -hiva reduced ou& not even ashes of ours remained& and then he graced ou to be a
form%ess entit but with name... now& if ou wish to ta$e that revenge on -hiva& and rancorous% and
vexatious% chase me mista$ing me for -hiva& 4 wi%% now ma$e ou even a name%ess& function%ess
entit... be carefu%...A is the finishing %ine.
<erse 7ocator
#<] + 7/+ 4 7##
=g-. s /3.- + #]_ $
6 ( -"{+UV(
?<--. # |# 5 V0 A-K
#- 3 :- #<] + 7/ + 4 7# C#
=g -. s /3. - C + #]_
6 ( - "'O +UV 4(
?< --. # 4| 4# 5 V
C-=. $rii6aaO b sport M%ove-sportJ8 nir'itaO vanquished8 vishvaO wor%d - one who has it under his
contro%J8 manasi'aO oh& 7ovegod8 paa0au amumO in hand& that8 chuutaO mango Mtender %eafJ8
saaa$amO arrow8 maa $uruO don't& ma$e Mdon't wie%d itJ8 chaapam maa aaropaa O bow& don't&
string Mwith bowstringJ8 muurchhita 'ana aaghaatenaO fainted M$i%%ed&J peop%e& b $i%%ing8 $im
paurushhamO what is& va%our M$impaurushhamO vaing%oriousJ8 m>Qigii d>Qisha*O deer& %oo$ Mone
having them& >dhaJ8 tasaa evaO b them& on%8 pren$hatO f%itting8 $a#aa$-ha Mvii$-ha0aJO
ti%ting g%ances8 ashugaO that go at fu%% ti%t Marrows %i$e g%ancesJ8 shre0iiO b rows& b fusi%%ades8 'ar
'aritam O pu%verised to partic%es8 mana*O MmJ heart8 manaagapiO in the %east8 na adaO not& now8
api sa.ndhu$-hateO composed Mor& sa.ntu-ateO happ.J
A9h& 7ovegod& agreed that ou are the vanquisher of this wor%d with our %ove-sports& but now don't
wie%d that arrow of tender mango %eaf8 even if ou wi%ed it& don't string our bow with bowstring to
ta$e an aim with that mango-%eaft%et-arrow at me... now m heart is disconcerted and pu%verised b
the fusi%%ades of ti%ting deer-%i$e g%ances of >dha that are at fu%% ti%t targeting me... as such& of what
worth is our va%our in $i%%ing someone who is a%read $i%%ed... MC-=J
4n other mms this verse is p%aced as the %ast verse of this chapter.
*ere& if anone is going to as$ (rishna& A9n one hand ou sa in so man 'unusua%' words& that
7ovegod is murdering ou8 on the other ou sa that our own %ad%ove has a%read murdered ou8
both of them are our own creations& have ou got a method in our madness to sa so5A
+or this (rishna sas& A:esP :esP 3h b%ame that fe%%ow 7ovegod& when this gir% has become more
than this fe%%ow... 4 %ac$ a method in m madness& agreed& for m own creation bothers me much...A
and it is detai%ed in next song b the poet.
<erse 7ocator
f/#D #HH < < ?<# <$
H--H 49< -.-' +#.0 A-[
#- 3 :- f/ #D 4#B 5 < < ?< #
% < 45 - -5 49< -. -' + 4#.
C-L. ana.nga 'aaO 7ovegod& for the sa$e of victor8 'a.ngama devataaaamO Mshe who is %i$e aJ -
mobi%e& goddess8 tasaamO in her Min >dhaJ8 smare0aO b 7ovegod8 bhruu pa%%avam dhanu*O
eebrows& %eaf%et-%i$e& as bow8 apaa.nga tara.ngitaniO s%anting-g%ances& %i%ting ones8 baa0aa*O as
arrows8 shrava0a paa%i* gu0a*O ear-side& hanging f%ower tasse%s M$ar0a %ataa&J as bowstring8 itiO
this wa Mif thought& if seenJ8 nir'ita 'aganti astraa0iO comp%ete% conquerab%e & wor%ds& missi%es
Mthose missi%es that can comp%ete% conquer a%% wor%dsJ8 arpitaani $im O gave Mentrusted&J or what5
A*as this 7ove-god entrusted a%% his missi%es that can comp%ete% conquer a%% the wor%ds to this
mobi%e goddess %i$e >dha& or what5 4f seen in this wa& her %eaf%et %i$e arching eebrows appears
as his bow8 her s%anting& %i%ting& s%itting g%ances as his arrows8 f%ower tasse%s hanging at her ear-
sides as the bowstring of that fe%%ow... :esP 2oth are connivers... MC-LJ
'#hen wh b%ame that unseen conniver& %et me b%ame the seeab%e conniver as to wh she became so
hosti%e at me& 'ust for one Mamong man of m meaningfu%J mista$es... 4 wi%% te%% her %i$e this& if she
is found...A
<erse 7ocator
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#- 3 :- f/ 7# ! +UV (O i . l&
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C-G. hN tanviiO oh& beaut8 bhruu chaapeO in eebrow& bow8 nihita*O $ept Mta$e an aimJ
$a#aa$-ha vishi$ha* O side%ong& pardoning g%ances8 marma vathaamO vita%s& torture8 nirmaatu
O ma bui%d Mma causeJ8 shaama aatmaaO b%ac$& b nature8 $u#i%a* $abarii bhaara* apiO curv&
hair-bun& weight one& even Mrather& curv horsewhip %i$e braidJ8 $arotuO ma do8 maarodamam O
%ashing Mor& maara udaam O 7ovegod's& activitJ8 raagavaan taan bimba adhara* chaO
reddish Mor& %oveab%e&J sma%% red cucumber %i$e& %ips& a%so8 a X vadaamun O un & spea$ab%e8 mohaan
tanutaam O infatuation& ma increase8 sad v>Qitta* O we%%& round% Mor& we%%& behaved& decorousJ8
tava stana ma0da%a* O our& bosom& sphere Mbosom bustJ8 $atham mama praa0ai* $rii6atiO
how& with m& %oves& p%aing8 MpashaO seeJ
A9h& beauteous >dha& our side%ong g%ances fitted on our bow-%i$e eebrows to ta$e aim ma
cause torture to the vita%s of others& our curv horsewhip-%i$e weight braid ma %ash others in
7ovegod's activit& and sma%%-reddish cucumber %i$e %ips of ours ma a%so increase infatuation in
others& but see how our decorous bosom bust is p%aing with m %ives... MC-GJ
<erse 7ocator
#(.O 7 8 (.f
+ 9B-] 7 ' =$
_HI# 7'
8 !' !l +& .0 A-^
#- 3 :- #(. O 7 8 ( f
9 45- ] 7 ' =
4 % _ ' 4# 7
8 !' ! l +& .
C-H. taaniO those8 sparsha su$haaniO touch& comforts of8 te chaO the& a%so8 tara%aa* snigdha
d>Qisho* vibhramaa*O bi%%ow& friend%& ees'& f%irtation8 tat va$tra a.mbu'a saurabham O that&
face& %otus-%i$e& perfume8 sa chaO that& a%so8 sudhaa sandii giraam va$rimaa McaaturamJ O
ambrosia& pouring& words& finesse8 saa bimba adhara maadhuriiO that& sma%% reddish cucumber
%i$e& %ips& %usciousness8 itiO this wa8 vi-aaa sa.nge apiO in sub'ects Mof sensor organs&J attached
to& even8 maanasamO heart8 tasaaO in her8 %agna samaadhi chetO he%d fast& in MherJ concentration&
if Mif unified in her thoughtJ8 viraha vaadhi* O disunion& Mca%%edJ sic$ness8 $atham vardhateO how&
esca%ating8 hantaO a%as/ama.ing.
0r
#his verse is a%so exp%ained in this wa - sparsha su$haani O comforts from touching her Mnow
being sensedJ8 taani O the a%one Mthose that were fe%t previous%8 b this sense of touching& name%
s$in& is satisfied even nowJ8 tara%aa* snigdha d>Qisho* vibhramaa* O now the ee fi%%ing sights of
environ8 te cha O the a%one Mthose that were seen ear%ier W hence sense of seeing is satisfied even
nowJ8 va$tra a.mbu'a saurabham O now the perfume that is being sme%%ed8 tatO that a%one Mthat was
sme%t ear%ier& b this sense of sme%% is sti%% satisfiedJ8 sudhaa sandii giraam va$rimaa O now what
a%% the ears are %istening8 sa chaO hers& on% Mthose that were heard ear%ier& hence sense of hearing
remains satisfiedJ8 bimba adhara maadhurii O %ips sti%% have that pa%atabi%it8 saa O of her Mwhich
were once en'oed& hence sense of taste remains satisfiedJ8 rest as above.
A#hose comfortab%e touches are sti%% %asting8 those f%irtations of bi%%ow and friend% ees are sti%%
%ingering8 that perfume from her %otus-%i$e face is sti%% redo%ent8 those %uscious and ambrosia% words
with finesse poured forth from her reddish cucumber %i$e %ips are sti%% immutab%e in memor8
though no sing%e sense organ is dissatisfied& as each is sti%% en'oing the good o%d comfort& m heart
is %onging for her& in spite of the fact that hearts usua%% %ong after someone or something& an
unavai%ab%e satisfing factor... this is ama.ing% se%f-contradictor& as it happens on% in '%ove...' MC-
HJ
4f it is as$ed 'is it enough that the satisfaction of sensor organs is simp% sufficient& %eaving the
motor organs5 +or this it is rep%ied 'motor organs are subservient to sensor organs& as the cannot
perform actions on their own... further& the c%assification of motor organs is varied and numerous...
hence& %eave them as the are...'
<erse 7ocator
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58 / O %']
+' 7 V +UV M.
C-V. tira$ $0#haO transverse& nec$8 vi%o%a mau%iO roc$ing& head8 tara%a avattamsasa O tossing&
headgear8 madhusuudanasaO of )adhusuudana - of (rishna8 va.mshaO mohana vamshi& his f%ute8
uccarat diipti sthaanaO sounding off Mb%urted&J in higher& octave8 $>Qita avadhaanaO on ma$ing&
%istening8 %a%anaa %a$-hai*O gir% fo%$s& in %a$hs - numerous8 na sa.m%a$-hitaa*O not& aimed at8
sa.mmugdheO high%& infatuating8 madhureO %uscious8 sudhaa saareO nectarean& essence having8
>dhaa mu$ha indauO in >dha's& face& ca%%ed moon8 ciramO for a %ong-time8 $anda%itaa* O
sprouted8 $a#aa$-haO gracing side%ong g%ances8 uurmaa*O ripp%es8 na*O to us8 $-hemam dadatu
O impunit& %et give.
-%anting his nec$ transverse%& tossing head with headgear swinging%& (rishna then started to sound
off his transverse f%ute& mohana vamshi& in a higher octave8 then his high% infatuating %oo$s that
have sprouted in the moon %i$e face of >dha& en'oing the %uscious and nectarean essence of her
face for a %ong-time& are now not aiming at those thousands of mi%$maids that have come again to
%isten his f%uting& as those %oo$s are now searching for >dha... %et those ripp%es %i$e gracing
side%ong g%ances endow us impunit in a%% our actions... MC-VJ
#his verse wi%% not be found in northern mms& hence the prob%em with the construct of na
sa.m%a$-hitaa* ma not be observed. #his is avai%ab%e in the pub%ication of !urudev >anade
4nstitute of Bhi%o and )sticism& 2engu%uru. #here seems to be a ridd%e in that& and if an scho%ars
can inform the correct construction& this wi%% be amended.

% ' 8/ .
#hus& this is the Crd chapter ca%%ed 3insome (rishna in giita govindam of "aadeva.
)erse *o%ator +or Ch1 ' - !ugdha !adhussudana2 3 /inso!e Krishna
#op of
Bage
E I
a pa
H
C
= L G H V
4revious
Sarga
Contents &ext Sarga
-ept& IKKC& 6esira'u *anumanta >ao8 >evised: 9ct KV
Chapter [Sarga] ( - Suavel$ Krishna
8
>aadha's friend approaches (rishna to inform about >aadha's agon owing to her state of
separation from (rishna. #his is ca%%ed duutii oga a friend% messaging.
<erse 7ocator
+z- '& $
"! "pf' +O0 K-1
#23 - +, ' C& "!
" Lpf' + O
=-E. raadhi$aa sa$hii O >aadhaTs friend8 amunaa tiiraO >v. amuna& on ban$ of8 vaaniiraO rattan
p%ant M;a%amus rotangJ8 ni$u.n'eO in arbour8 mandamO s%ow% Mindo%ent%J8 aasthitamO M aa sthitamJ
O came and staing8 prema bharaO %ove& overwhe%med b8 ud bhraa.ntamO perp%exed% wandering8
)aadhavamO to )aadhava& (rishna8 praahaO Mpra aahaJO we%% Min detai%&J said Mthe fo%%owing.J
>aadha's friend is now approaching (rishna who has came to another bower and staing at it
indo%ent%& for he cou%d not find >aadha even after a through search. *ence he is perp%exed as he is
overwhe%med b his %ove for >aadha& and to such a (rishna& she sas the fo%%owing detai%s.
<erse 7ocator
4 # ` - !D 4(+ #D
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#23 - ' 7' %' +< 4 ' O 4
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anvaa: hN maadhava8 manasi 'a vishi$ha bhaaat iva8 bhaavanaaa tvai %iinaa8 saa tava virahe
diinaa8 chandanam8 indu $ira0am nindati8 aXdhiiram $hedam anu vindati8 ma%aa samiiram& vaa%a
ni%aa mi%anena& gara%am iva& $a%aati.
a pa V-E. hN maadhavaO oh& (rishna8 saaO she M>aadhaJ8 manasi 'aO mind& born one - 7ovegodTs8
vishi$ha O those that have pointed ends& arrows8 bhaaat ivaO from fear& as though8 Mtava J
bhaavanaaa Msaa$shaat $aaraitvaaJO Mabout ou&J on cogitating8 tvai %iinaaO in ou& engrossed8
chandanam nindati O sanda%-paste& scorns M%oathesJ8 indu $ira0amO moonTs& beams Mand their dints
O b%ows or stro$es& as with arrows of 7ovegodJ8 $hedamO desperate%8 aXdhiiramO without&
courage Mdespondent& or& adhi X iiram O adhi$am iiraati& adhi$amO much8 iiratiO inciting& bree.e of
sanda%wood trees and moonbeams are re%easing 7ovegodTs arrowsJ8 anu vindatiO thereb& $nowing
Mto be unbearab%e& hence revi%ing themJ8 vaa%aO serpents8 ni%aaO of abode Msanda%wood treesJ8
mi%anena O Mbree.es bJ their ming%ing Mwith sanda% trees in their abode& ca%%ed )t. ma%aaJ8 ma%aa
samiiramO )t. )a%aaTs& bree.e M bree.es mixed with sanda%-scentJ8 gara%am iva O poison& as if8
$a%aatiO she rec$ons8
>eprise: tava viraheO our& from separation Mwithout ou8 because ou %eft her in the %urchJ8 saa
Mprema bhaavanaaaJ diinaaO she is& Min the sense of %ove O for%ornOJ %ove%orn8 without ou she is
%ove%orn.
A/ngrossed in thoughts about ou& hN& (rishna& now >aadha is desperate% despondent& a%was
cogitating on% upon ou8 and she fears and revi%es the dint of moonbeams as though the are the
arrows of 7ovegod8 she %oathes the scent of sanda%-paste as if it is a poison& and rec$ons the sanda%-
scented bree.e is as if mixed with venom& for it bree.es from )t. )a%aa& an abode of serpents...
thus& without ou she is %ove%orn... Ma pa V-EJ
9r
AhN& (rishna& she that >aadha appears to be fearing the arrows of 7ovegod& and thin$s that ou
a%one wou%d shie%d her from them8 hence she divines that ou are revea%ed to her b her constant
cogitation on ou& and emotiona%% engrossed in ou... but& outside the rea%m of her imagination ou
are unseen8 but& seen are the coo% moonbeams and refreshing sanda%-scented bree.es from )t.
ma%aa8 hence& she in her desperation and despondence rec$ons both of them as hosti%e because
moonbeams are acute %i$e the arrows of 7ovegod& whi%e the bree.es from )t. ma%aa that usua%%
waft ma%aan sanda%-scent are now wafting venom of serpents because serpents usua%% %ive
spira%%ing round the sanda%wood trees in the woods of ma%aan mountain... thus without ou she is
%ove%orn and unbefitting is our %eaving her in the %urch... Ma pa V-EJ
#his famous song contains two tones& one that of a tongue-%ashing of a friend& with somewhat harsh
words of mi%$maid& ni-#ura vaa$a& nindaa vaac$a which is %imitab%e on% to text. 4ts construa% is:
candanam $aamam adhi$am iiraati8 tava bhaavanaaa& tava saa$shaat$aare0a& tai %iinaa... etc.
)oreover& the other tone is the entreat of a devotee& with stuti vaa$a& praardhanaa vaa$a
devotiona% eu%og& exto%%ing& praise song& which is tunefu%% adopted b singers with most piteous
requisition to comebac$ to >aadha. #he reprise in this song is on% for words saa virahe tava
diinaa... saa tava virahe diinaa - 'without ou she is %ove%orn...' but man ta$e some more %ines&
unnecessari%.
4#(($
!

.<.+--$ ! 0 4 # \-@
#23 - 4 # ( % 4 (
!

.< . + - -
anvaa: avira%a nipatita madana sharaat iva8 bhavat avanaaa8 vishaa%am& sa'a%am& na%inii da%a
'aa%am8 sva h>Qidaa marma0i varma $aroti.
a pa V-I. saaO she that >aadha8 a X vira%aO without& gap MincessantJ8 nipatitaO fa%%ing MdartingJ8
madanaO 7ovegodTs8 sharaatO from arrows8 bhavat avanaaaO our& for safeguarding8 ivaO as if8
vishaa%amO wide8 sa'a%aO with water Mwet peta%sJ8 na%inii da%aO %otus& peta%s8 'aa%amO a group of
Mspras ofJ8 svaO her own8 h>Qidaa O heart8 marma0iO in innermost recesses8 varmaO usua%%
%eather armour& now %otus-peta% armour8 $arotiO she is ma$ing8 saa virahe - diinaa O as above.
A0ow >aadha is ma$ing an armour of wide and wet %otus peta%s covering the innermost recesses of
her heart& against the incessant% darting arrows of 7ovegod targeting that heart... methin$s... mabe
to safeguard ou who are snug% sett%ed in there& 4 dunno... but& without ou she is %ove%orn... Ma pa
V-IJ
9r
A*N& (rishna& ou $now how de%icate is >aadha's heart& and targeting it 7ovegod is incessant%
f%inging fier f%ower arrows8 but uncaring for herse%f she is brave% preparing a %otus-peta% shie%d&
%i$e that of a %eathern or meta%%ic shie%d used b brave warriors& on% to protect ou& as she
ensconced ou in the innermost recesses of her heart... and those peta%s are wide enough to cover
ou8 wet enough& for the are wet with water and with her %ove as we%%& to give enough resistance to
ou from the torridit of 7ovegod's arrows... hence& she is %ove%orn& and unbefitting is our %eaving
her in the %urch... Ma pa V-IJ
#he 7ovegod has five arrows and the are: aravindam aso$am ca cutam ca navama%%i$a ni%otpa%am
ca panca ete panca banaa* asa saa$aa* UU E.aravinda O a %otus Mne%umb%um speciosumJ& I. asho$a
O a f%ower of he%%ebore origin& C. chutam O mango f%ower& =.nava ma%%i$a O new 'asmine& L.nee%a
utpa%a O b%ue costus& are the five arrows of manmatha. #heir functions are: - unmaadana* taapana*
ca shoshana sthambhana* tadaa U sammohana* ca $,masa panca baanaa* pra$iirtitaa* UU #he
five states associated with each arrow are: E unmaada O maniaca% state8 I tapana O fervent state8 C
shoshana O wasting awa8 = sthambhana O standsti%% state8 L sammohana O stupefaction.
+(O(D#D#++$
t #O + +($ ! 0 4 # `-C
#23 - + (O ( D# 4D# + +
t % # O + + (
anvaa: saa& $usuma vishi$ha shara ta%pam8 ana%pa vi%aasa $a%aa $amaniiam8 $usuma shaaniiam8
tava parirambha su$haaa8 vratam iva8 $aroti.
a pa V-C: saaO she is8 anXa%paO not& %ess8 vi%aasa $a%aaO vo%uptuousness& with arts of8 $amaniiamO
beautifu%8 $usumaO f%ower8 shaaniiamO one on which one can repose& a bed to rec%ine8 tavaO
our8 pari rambha su$haaa O over% Mtight%&J hugging& desiring that comfort8 $usuma vishi$haO
f%owers& with pointed ends - one who wie%ds them& 7ovegod - %ove bed with arrow f%owers8 shara
ta%pam O such arrow& f%ower bed8 vratam iva $aroti O an vowed ritua%& as if it is she is preparing
that bed8 saa virahe - diinaa O as above.
ABresent% >aadha with a%% her arts of vo%uptuousness is ma$ing a beautifu% bed as if it is her vowed
ritua%& tedding and spreading pointed arrows of 7ovegod& name% fresh f%owers& on% with a desire
to repose on it in a comfortab%e tight embrace of ours... thus& she is %ove%orn without ou... Ma pa V-
CJ
9r
A#hough 7ovegod is darting f%ower arrows pinching her heart& she is ceremonious% pic$ing them
up and preparing a arrow-f%ower bed with them a%one& 'ust desiring to instate ou on it& on whose
chest she can repose herse%f in a tight but comfortab%e embrace... hence& thin$ not that she is id%ing&
as she is ceremonia%% preparing a %ove-seat ido%i.ing ou... therefor& %eave her not in the %urch& as
she is %ove%orn... Ma pa V-CJ
#his gir% >aadha has a sense of de%icac. Dsua%% devotees arrange a sma%% go%den or si%ver throne to
gods in their worship rooms& and p%ace an ido% on it& and run the rote of what the have %earnt. *ere&
she is ma$ing a f%ower bed to give pain%ess seating& and a seat co%%apsib%e even as a bed& if he
wants to repose. -tones rep%aced the thrones of gods in temp%es& as we see har $an$ar me shan$ar...
god in ever granite roc$.
!77-+$
+U''$ ! 04 # `- K
#23 - ! 7 7 - C + L
% +U ' ' 4
amvaa: saa8 ga%ita / va%ita8 vi%ochana 'a%a8 dharam8 udaaram aanana $ama%am8 vi$a#a vidhum tuda8
danta da%ana8 ga%ita am>Qita dhaaram8 vidhum iva8 vahati ca
a pa V-=: saaO she that >aadha8 va%itaO squirm / ga%itaO s%ipper / ca%itaO moving& ro%%ing8
vi%ochana 'a%a O ees& water - tears8 dharamO bearing / bharamO fi%%ed with8
or& vi%ochana 'a%a-dharamO ees& ca%%ed water- bearers - dar$ c%ouds pregnant with rainwater8 so
a%so& her ees that are %i$e dar$ rain c%ouds are about to spue tears at an time. #hen how is her
face5 udaaramO beauteous8 aanana $ama%amO face& ca%%ed %otus8 though8 i$a#aO uneven&
sawtoothed8 vidhun tudaO moon& biter M>aahu& ec%ipsing p%anetJ8 dantaO b teeth8 da%anaO b wa
of biting8 ga%itaO s%id8 am>QitaO ambrosia%8 dhaaramO streams8 vidhum ivaO moon& as with8 vahati
caO bearing up& a%so8 saa virahe - diinaa O as above.
A6ar$ and squirm ees on her %otus face are now %oo$ing %i$e dar$ rainc%ouds fraught with
fountains of tears& et hers is a beauteous face %i$e that of the moon that sheds streams of ambrosia
even when sawteethed >aahu& the ec%ipser of moon& bites that face ha%f-and-ha%f8 thus she is
%ove%orn ha%f-bitten and ec%ipsed b our thought... Ma pa V-=J
9r
A:ou are aware& hN& (rishna& >aadha's face is beauteous %i$e a %otus8 but now her %otus ees are
streaming tears %i$e b%ac$ c%ouds& and >aadha with such ha%f-wet-moon-face is searching for ou& as
moon wou%d streaming his ambrosia% moonshine even when sawteethed >aahu bites his face... thus&
caught in the cobweb of time neither of them is a sinner& isn't so... so& don't %eave her in %urch... Ma pa
V-=J
#his is fu%% with simi%es - ees shed tears& c%ouds shed raindrops8 even if ec%ipsed& moon doesn't
%oose shine& and even if shedding tears a beautifu% face doesn't %oose its beaut8 even if bitten b
sawteethed ec%ipsing p%anet >aahu& moon doesn't stop outpouring ambrosia% moonshine8 even if
smitten b a%ienation& a gir% won't stop outpouring her heartfe%t %ove& and so on...
O!+H'(/$
"<++7(~7/$ ! 0 4 # `- [
#23 - O ! +' ' 4 ( /
"< + 4 + 7 ( 7/
anvaam: saa rahasi8 $uranga madena8 asama shara bhuutam8 bhavantam vi%i$hati8 adha*8
ma$aram8 $are nava chuutam sharam ca8 vinidhaaa8 pra0amati
a pa V-L. saaO she is8 rahasiO in a%oneness8 $uranga madenaO with deerTs& fat M$astuuri& mus$J8 aX
sama shara*O not& equa%%ing& one who has such arrows - an unequa%%ed archer& 7ovegod8 bhuutamO
one who is %i$e& as good as Mthat unequa%%ed archer& 7ovegod& not& ghost p%.J8 bhavantamO ou8
vi%i$hatiO writing Ms$etching& picturingJ8 adhoO underneath Maasana sthaaneO at the p%ace of seatJ8
or& atha*O next8 ma$aramO crocodi%e& Mfor the f%ag of 7ovegod bears crocodi%e as his ensign&
ma$ara dhva'aJ 8 $areO in hand8 nava chuutam sharam caO new& mango& M%eafJ arrow& a%so8
vinidhaaaO on proper% p%acing8 pra0amatiO who%ehearted adoring.
ADsing deer mus$ she in a%% her %one%iness is tring to s$etch ou who are the counterpart of
7ovegod8 in doing so& she is painting even a crocodi%e-bannered-f%ag in one hand and a mango-
f%oweret-arrow in the other8 on doing so& she is adoring that s$etch who%e hearted%& saing& Aoh&
god& save m passion and pride...A thus& she is %ove%orn without ou... Ma pa V-LJ
9r
ADsing deer mus$ >aadha is giving shape to the shape%ess 7ovegod in a%% her %one%iness8 but that
s$etch is resu%ting into our picture& as >aadha is unaware of an other form of a %over8 in doing so&
she is confused% painting a crocodi%e underneath the seat& instead of painting it on the banner-f%ag8
but without confusion she is proper% p%acing a mango-f%oweret- arrow in hand& as she is repeated%
shot b such arrows8 then& on beho%ding that s$etch she is sing%e-minded% adoring ou& through
him and through that s$etch& to save her from the pangs of her passion... hence& %eave her not in the
%urch& as she is %ove%orn... Ma pa V-LJ
4n this stan.a the adoration of 7ovegod is suggested since adoration of 7ovegod is agreeab%e for
a%ienated %ad%oves. #his is ca%%ed $aama puu'a as said b bharata muni8 devataa puu'anam $uraat
dadaat ba%i bhu'e ba%im& %i$het $aanta pratipada $>Qitim paa#haet shu$a shaari$aa* U ga0aet
avadhi dinam giitam gaaet tad an$itam& evam vidha vinodena naet $aa%am vioginii UU ,%ienated
%ad%oves spend time b worshipping gods& offering ob%ations& s$etching rough shapes of their dear
ones& counting the ba%ance of das for his arriva%& teaching singing to parrots and songbirds& singing
%rics comprising his name....
*# #+r'#$
#!_7o7o7# $ ! 0 4 # `-\
#23 - * # # +Dr ' 4 #
# ! _ 7'7 '7 #
anvaa: saa8 atiiva duraapam bhavantam8 dhaana %aena8 pura* pari$a%pa8 vi%apati8 hasati8
vi-iidati8 roditi8 chanchati / bhramati8 taapam munchati
a pa V-G: saaO she that >aadha8 dhaana O smara0aO b meditation8 %aena O chitta e$,grata
unification of thought8 atiiva dur aapamO high%& impossib%e& one to get Mhigh% inaccessib%e for
others& (rishna& one who is not open to advances or inf%uenceJ8 bhavantamO such as ou are8
pura*O in front of8 pari$a%paO imagining& on envisioning8 vi%apatiO snaps at8 hasatiO sneers8
vi-iidatiO sin$s8 roditiO sobs8 chanchati MbhramatiJO stras8 in doing so8 taapam munchati O simmer&
dredging up.
A3ith a sing%e-minded concentration she is envisioning ou& who are a high% inaccessib%e one to
others& in her fore in the s$etched picture and then she snaps& sneers& sin$s& sobs& stras& and
simmers down... Ma pa V-GJ
9r
A#hin$ing that ou sha%% be high% inaccessib%e to anone excepting her& she sing%e-minded%
concentrates on the deer-mus$-painting she s$etched and personifing ou in her fore:
-he snaps at ou saing 'ou begui%er& now ou're here... what happened a%% the time... go& go awa
to those do%tish gir%s& for the a%one match ou...'
,nd then sneers at that unmoving painting to sa& 'oh& sti%% ou're %oitering here without ma$ing a
move... that's wh 4 ca%% ou a begui%er... but& now 4 begui%ed ou to win ou...'
#hen sin$s down saing& 'ah& poor me& 4 can't ma$e ou happ with m c%asps and c%ings for ou're
in a picture... a%as...'
#hen she sobs c%inging to that painting8 ?aside: where a wai% is the u%timate weapon of a woman8@
and then she stras from there thin$ing& 'if 4 go awa from this p%ace& this begui%er sure% fo%%ows
me& then 4 can chide him to accept...'
#hen she simmers down her simmering mind meditating on ou b conc%uding& 'es& he's with me...
he'%% be with me... wh shou%d 4 worr...' hence& (rishna& %eave her not in the %urch& as she is
%ove%orn... Ma pa V-GJ
#he words - snaps& sneers& sin$s& sobs& and stras etc.& are not 'ust a c%uster of words 'umb%ed b the
poet. /ach has its own significance and some of them are compi%ed here& as said b ancient
commentators. +or& the wai%-weapon of woman: bharata muni sas8 rudita mudita maatram
o-itaam vigrahe-u... 'when a women start their siren %i$e wai%ing& men are supposed to ie%d...'
hence& siren has this meaning too - = a - a dangerous% fascinating woman8 a temptress8 b - a
tempting pursuit etc.& and hence& wai%ing is the congenita% weapon of a woman - 0atura dat
unicuique quod sibi conveniens est. 0ature gives to each what is appropriate. -o that is that.
"##7<#!$
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O # 4# ! - 4 !
anvaa: saa8 hN m,dhava8 tava chara0e patitaa aham8 tvai vimu$he MsatiJ8 sapadi8 sudhaa nidhi*
api8 mai8 tanu daaham MaXtanuJ daaham8 tanute8 idam8 pratipada padam api 8 nigadati.
a pa V-H: saaO she that >aadha8 pratipada padamO at each& step8 idam api nigadatiO this& even& sas W
asserts8 saing8 maadhavaO oh& )aadhava8 aham tvai chara0e patitaaO 4& on our& feet& fa%%en8
sapadiO now8 tava mai vi mu$he MsatiJO ou& in m respect& when awa& faced W paraaY0mu$hataO
uninterested& insouciantJ8 sudhaa nidhi* O ambrosia& treasure trove O moon with coo% moonshine8
apiO even that moon8 tanu daahamO bodTs& thirst8 tanuteO increasing8 or& a X tanuO without& bod W
bodi%ess 7ovegod8 daahamO fervidit& %ovefever8 tanuteO ma$ing rampant8 saa virahe - diinaa O as
above.
A9n each and ever step she is asserting& A4 am she who surrendered unto our feet& 9h& )aadhava&
but as of now& when ou became insouciant towards me& he who is supposed to be the treasure trove
of coo%ant ambrosia% moonshine& that moon is ma$ing m %ove fever rampant...A thus& she who is
%ove%orn is mediating on ou& as ou have %eft her in the %urch... Ma pa V-HJ
9r
A*N& (rishna& that >aadha is asserting this on each and ever step& A,s %ong as 4 am at our feet&
9h& )aadhava& none dared to raise an ee at me... but now& when ou are awa from me& our first
wife !oddess 7a$shmi's brother and our brother-in-%aw& name% the moon& a pot of ambrosia%
moonshine& is torturing me& presuming that 4 have done wrong to his sister& and presuming that ou
are uninterested in me... hence& oh& )aadhava& come to me& %est he wi%% scorch me down...A she is
%ove%orn thus& without ou... Ma pa V-HJ
?-<+ U$
!!+DO7 #j$ ! 0 `- ` 4 #
#23 - ? - < % 4+ U
! ! C+ D O 7 #ja pa V-V.
a pa V-V. hN& vai-0avaa*O hN& devotees of <ishnu8 idam 'aadeva bha0itamO this one& b
"aadeva& said8 shriiO shrii suu$ti W auspicious saing8 adhi$am adiO high%& reverent%& if Mif
deemed high% reverentJ8 manasaa O hearti%8 na#aniiamO actab%e Mre%ishab%eJ8 hariO (rishna8
viraha O heartsic$8 aa$u%aO f%ustered8 va%%avaO uvatiO mi%$ersT& damse%Ts8 sa$hiiO friendTs8
vachanamO words8 pa#haniiamO readab%e Mmemorab%e.J
AhN& <ishnuites& if ou deem this auspicious saing said b "aadeva& through the gir%friend of
mi%$ers gir%& name% >aadha& as high% reverent to re%ish& then this a%one is memorab%e for a%% of us...
as these words have a conductance to conduct spiritua%it... Ma pa V-VJ
<ishnuites is 9xford's nomenc%ature for vai-0avaites and the word na#aniiam is to be ta$en as
're%ishab%e' as said b bharata naa#a shaatra: naa#a shabdo rase mu$ha* near%: 're%ishing the
mood is the essence of dance/drama/performing arts...'
#hroughout these songs& or who%e of the chapter& the heroine is said as virahot$a0#hita& out of eight
forms of naai$a& the heroine. #he are E - vaasava sa''i$a8 I - ut$a0#hita8 C - svaadhiina bhartu$a8
= - $a%ahaantarita8 L - vipra%abdha8 G - abhisaari$a8 H - $ha06ita8 V - pro-ita bhartri$a. ,nd
virahot$a0#hita is - asaa* samucite api ahni pravaasii na eti va%%abha U saa smaraan a%asam
taptaa virahota$a0#hitaa mataa UU 3hich heroine wi%% be burning with bodi% fire on a befitting da&
to whose presence her %over does not come at such time& she is viraha O b separation& ut$a0#hita
ecstasi.ed.
<erse 7ocator
C # "O# -
#I# s !k+#$
# v!< !' !<G# ! +&
+'#uI# 7'(/ . =g0 K-@
#23 - C # " O 4# - # 4#
s ! k +# 4# !<
!' !< G# ! +& +'#. 4# 7 (/ . =g
=-I. hN& (rishna8 aavaasa*O MherJ house8 vipinaaateO became a forest8 pria sa$hii maa%aO dear&
friends& rows Mf%oc$s ofJ8 apiO even8 'aa%aaateO became net %i$e restrainers8 shvasitenaO b sighing8
taap* apiO bodi% heat& even8 daavadahanaO wi%dfireTs8 'vaa%aaO tongues8 $a%aapaaateO became
mriads Mof tongues of fireJ8 saa apiO she even8 hari0ii ruupaaateO she-deer& became such a deer8
haaO hah8 $andarpa*O one who g%addens peop%e& 7ovegod8 apiO even he8 virachaanO on scripting
Ma%% these scenesJ8 shaarduu%aO tiger8 vi $rii6itamO veri%& sporting Mhunting& on the prow% for huntJ
amaaateO became 6eath-god8 hantaO a%as8 tvat virahe0aO for ou& %ovesic$8 $athamO how8
M'iivatiO she %ives.J
AhN& (rishna& her house became an empt forest& hence she came out& but a f%oc$ of her dear friends
became a human-net to ho%d her in& presuming a possibi%it of some untoward action b her8 but
bringing them round she came to a rea% forest8 and sitting there %one% she is sighing in her bodi%
heat& but that bodi% heat became a wi%dfire8 her sighs became mriads of tongues of that wi%dfire&
whereb who%e of that forest is afire8 then even she became %i$e a she-deer caught in that wi%d fire8
when she wanted to f%ee& hah& that 7ovegod who scripted a%% these scenes& even he became a
roaring& grow%ing& prow%ing 6eath-god%i$e tiger... a%as& %anguishing in %ovesic$ness for ou& how
can she possib% %iveP M=-IJ
3hat a deer can do when triangu%ar% caught between wi%dfire& tiger and a hunter with a snare5 -o
a%so& >aadha is unhapp& caught between wi%dfire %i$e bodi% heat& death%i$e& tigerish 7ovegod& and
human-net%i$e misapprehensive friends. #he first foot detai%s udvega avastha - ecstatic state - ,
trance induced b intense re%igious devotion that does not show reduced bodi% functions that are
tpica% of other trances. 9ther foots detai% the vaadhi avastha - where vaadhi is not necessari% a
bedridden condition& but an uneas predicament& as oga sas. 4ts condition is %i$e this: abhii-#a
sangama abhaavaat vaadi* santaapa %a$sha0a* U atra santaapa nishshsvau shiita vastu ni-eva0am
U na uttaram bhaa-ate prasne na ii$shate ca shru0oti ca UU rough%: because of the %ac$ of desired
ob'ect& a sort of uneasiness occurs8 anguishing& sighing& devouring coo% items& non-rep%ing
questions of dear ones& or even not %oo$ing at them ee to ee... are its states. #his poet "aadeva is
an expert in using the name of the metre of his poem& as an item of portraa% in his versification.
#his verse is said in shaarduu%a vi$rii6itam& which he incorporated in %ast foot. #his is not for ''ust
punning' the verse& but to use those ob'ects in that name of metre& as ob'ects of poetic thought.
<erse 7ocator
4Q# b - 8 /
!# ! $ +( $
+ +Q< + $ + ! +(0 4 # b-1
#23 - ! 4# ! L
+( 4 $+ - ! +(
F-E. hN& $eshavaO hN& (rishna8 $>Qisha tanu*O frai%& bodied8 stana vinihitamO on bosom& arranged
Madorning&J udaaramO inva%uab%e Mfeather-%ightJ8 haaram apiO Mpear%J string& even8 manuteO MsheJ
fee%s8 ati bhaaramO much& weighing& weight8 saa raadhi$aaO such as she is& >aadha8 tavaO in
our/for ou8 vi raheO without& having Mparted from ouJ8 virahe Mvirahi0iJO pining for8 reprise -
raadhi$aa $>Qisha raadhi$a U raadhi$aa virahe tava $eshava.
AhN& (rishna& she with her frai%% bod fee%s even a feather-%ight pear% string adorning her bosom is
weight... such as she is& she is pining for ou& for she is parted from ou... Ma pa F-EJ
#he reprise as above is singers' de%ight and droppab%e in these word-to-word transcriptions.
<# -#X $ #_#_(X $
+ - ! +(0 4 # b-@
#23 - < 4# - #5 + # _ % #_ (5+
a pa F-I: apiO even though8 ma%aa 'aO )t. ma%aa& born8 pa.n$amO cream Mcosmetic cream
obtained on rubbing sanda%wood stic$s on gritstoneJ8 vapu-iO on bod8 sa rasaO with& f%uidit
MsoggJ8 mas>Qi0amO satin8 pashatiO sees M%oo$s down onJ8 vi-amO venom8 ivaO as if8 sa
sha.n$amO with& a doubt8 raadhi$aa...viraheO as above.
A/ven though the sanda%-cream on her bod is sogg& satin& thus ba%samic& she doubtfu%% %oo$s
down on it as if it is a venom... thus& she is pining for ou& for she is parted from ou... Ma pa F-IJ
s###<! $ !!!$
+- ! +(0 4 # b-A
#23 - s # 4# #<! ! % ! !
a pa F-C: anXupamaO not& simi%ar W uncommon& abnorma%8 pari0aahamO over%ong Min durationJ8
shvasita pavanamO breathed& air MsighsJ8 madana dahanamO 7ovegodTs& f%ame8 ivaO as if8 sa
daahamO with& f%ames Mf%ame %i$eJ8 vahatiO bears MoverburdenedJ8 raadhi$aa...viraheO as above.
A*er abnorma%% over%ong f%ame%i$e sighs are overburdening her& as if the are the f%ames of
7ovegod... hence& she is pining for ou& for she is parted from ou... Ma pa F-CJ
((+-+<-$
$ +- ! +(0 4 # b-K
#23 - ( ( + - +< - %
a pa F-=: sa 'a%a $a0a 'aa%amO with& water Mtear&J drops& group of Msea ofJ8 viga%ita naa%am ivaO
s%ipped down& tubu%ar stem& %i$e8 naana na%inamO ees Msight&J b%ac$-%otuses8 dishi dishi $iratiO
direction& direction& ma$e to fa%% Mbestrews& cast about forJ8 raadhi$aa...viraheO as above.
A-he with her ees that %oo$ %i$e b%ac$-%otuses& s%ipped from their stems& are fi%%ed with a sea of
teardrops& and she is casting about her sight for ou& in ever direction... that wa& she is pining for
ou& for she is parted from ou... Ma pa F-=J
4n this stan.a a $ind of manmatha avastha& state in %ovesic$ness& ca%%ed 'a6ata& sto%idit& is
indicated. atra dhaati ni*shan$am 'a6ataa saa pra$iirtitaa U atra sprsha anabhi'Ynatve vaivar0am
shithi%aam gataa U a$rii6a anga $>Qiti stambhana shvaasa $>Qishataadaa* UU rough%: 'ust
contemp%ating fear%ess%8 un$nowing even if touched8 co%our change8 withering of %imbs8 no
p%easure stro%%ing8 bod attaining sto%idit8 sighing8 emaciation - are its features.
_#+D# $+!!(+D# $
+ - ! +(0 4 # b-[
#23 - _ 4# + D# + ! !( +D#
a pa F-L. naana vi-aam apiO ees& sub'ect of& even Mthough ee-fi%%ingJ8 $isa%aa ta%pamO copper
tender %eaves& a bed of8 vihita hutashanaO made& f%ame Mbed %i$eJ8 vi$a%pam $a%aatiO doubtfu%%&
rec$ons8 raadhi$aa...viraheO as above.
A#hough the sub'ect of her ees is an ee-fi%%ing bed of copper tender %eaves& she rec$ons it as a
f%am bed... that wa& she is pining for ou& for she is parted from ou... Ma pa F-LJ
#he red-brown co%our of copper %eaves& taamratva& is a causative factor for anguish& santaapatva& in
separation.
-#<+# $ (( $
+ - ! +(0 4 # b-\
#23 - - #< +# (( % 4
a pa F-G. saaO she8 saaam M$aa%amJ in evenings8 baa%aO tender MH ?of age@ ear%& outhfu%J8 a X
%o%amO not& moving Mmotion%essJ8 shashinam ivaO moon& a$in to8 $apo%amO chee$8 paa0i ta%enaO
on pa%mTs& surface8 na ta'atiO not& removes8 Msaa ca O she is a%soJ a X %o%amO not& moving
Mmotion%essJ8 raadhi$aa...viraheO as above.
A-he neither removes her moon%i$e chee$& a chee$ a$in to outhfu% but motion%ess moon of
evenings& p%aced on her pa%m& nor she is motiona%... and statica%% she is pining for ou& for she is
parted from ou... Ma pa F-GJ
! ! -# + $!!< + $
+ - ! +(0 4 # b-^
#23 - ! % ! % -# + ! ! < +
a pa F-H. saaO she8 viraha vihitaO b wistfu%ness& ordained8 mara0enaO death8 MivaO as ifJ8 sa
$aamamO with& wish Mwishfu% to te%% %ast wordsJ8 ni$aamamO a%was8 hari* iti hari* itiO *ari& thus&
*ari& thus8 'apatiO chanting& intoning8 raadhi$aa...viraheO as above.
A-he is as if ding& a death ordained b her own wistfu%ness& and hence wishfu% to te%% her ding
words she is a%was intonating saing& A*ari... *ari...A hence& she is ding pining for ou& for she is
parted from ou... Ma pa F-HJ
?-< $ O+(## $
+ - ! +(0 4 #0 b-`
#23 - ? - < % O +( # L#
a pa F-V. itiO this wa8 $eshava padamO to (rishnaTs& feet8 upaXniitamO nearb& brought to Mthat
draws nigh of those feet& or& dedicated to his feetJ8 'aadeva bha0itamO "aadeva& said b8 shrii
giitamO auspicious& song8 su$haatuO comforts8 MvaamO us& singers& %isteners.J
A#his wa& this auspicious song said b "aadeva& and dedicated at the feet of (rishna through me&
the friend of >aadha& comfort a%% of us - its singers %i$e me and >aadha& or its %isteners %i$e ou a%%...
thus >aadha is pining for (rishna& parted from him... Ma pa F-VJ
<erse 7ocator
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=-C. 4n %ove-%over sndrome: saaO she is8 romaacatiO hair brist%ing Mfrisson& ting%ing sensations -
romaancavatii iva aacarati W abhi%aa-aaparatvam - awaiting his arriva% with ting%ing sensations in
her bodJ8 siit $aroti O noisi% breathing Monomatopoeica%% respiring - cintaa sm>Qiti $aara0ena
ni* svanam She is not coming& what to do... huh& ah& oh etc.J8 vi%apatiO exto%%ing naaa$a gu0a
ga0a $iirtana She a%one is a great hero& he a%one is beautifu%...J8 ut $mpateO high% thri%%s8
$athamiid>Qishii viraham taaraaami... Show can 4 swim over this wistfu%ness...TJ8 taamatiO ta$ing
pain8 dhaaatiO meditating M b these two udvega avastha& ecstasied state& is suggestedJ8
udbhramatiO whir%ing around Mshowing p%aces of p%easure ta$ing about them pra%aapaanaJ8
pramii%atiO ee%ids are ha%f-c%osed Mstate of %ove-madness madanonmaada avasthaJ8 patatiO fa%%s
down Moff her own feet - vihva%atvamJ8 udaatiO getting up M vaadhi avasthaW strugg%ing to raise
from a decumbent postureJ8 apiO furthermore8 muurc;hatiO she is swooning 'a6atva&
acetanatvaavasthaJ. #hen (rishna ma as$ ^3hen she swooned and under a de%irious situation& ou
ma ca%% a doctor& not definite% me...` Bresuming this escape-question from (rishna& the mi%$maid-
messenger is continuing her thread8 hN& svarO heaven%8 vaidaO doctor8 pratipadamaO in simi%arit.
M#hat is& ou are the one simi%ar to ashwin brothers& who not 'ust twin gods of medicine& but the
a%so possess most beautifu% aspect. -o& (rishna& ou possess not on% a beautifu% phsique %i$e
,shwin (umar-s but ou are a%so the presiding deit to cure the menta% i%%nesses - either that of
>aadha& or at a %ater time that of ,r'una&... so ou come.J etaavatiO this much8 a X tanuO without&
bod W bodi%ess 7ovegod8 'vareO in fever Maff%icted b that bodi%ess fe%%owJ8 MtvamO ouJ adiO if8
prasiidasiO ob%ige8 vara tanu*O beautifu%& bodied M>aadhaJ8 te rasaatO b our& quintessence Mof
gracefu% %oveJ8 na 'iivet $imO not& going to %ive& wh Mwh doesnTt she %ive& she wi%% %ive b that
grace of oursJ8 anathaaO otherwise8 Mtvatta*O more than ouJ8 na anta$a*O no& MotherJ murderer -
there is no other murderer than ouJ8 or& in other mms W ta$ta* hasta$a* O %eaving off& moving
hands etc.& i.e.& as of now she is doing a%% these bi.arre things as her sensor organs have gone
astra& and if ou do not come now& her motor organs too wi%% cease to function.J M,nother mms -
tvatta* anathaa anta$a* W na bhavet.J
vaadhi para artha: in doctor-patient re%ation: saa romaacatiO she is& brist%ing as if with co%d etc8 siit
$arotiO sighing heavi%8 vi%apatiO insane% ta%$ing8 ut $mpateO shivering8 taamatiO drooping8
dhaaati O in de%irium8 udbhramatiO swings up8 pramii%atiO shutting ee%ids with ro%%ing ees8
patati udaatiO stumb%es& gets up8 muurc;hati apiO swoons& even8 etaad>Qishii sannipaata 'vareO
etaavati atanu 'vareO in this $ind of morbid sic$ness8 svar vaida pratipadama prasiidasi adi8 te
rasaatO b our& rasaO paada rasa8 ghu#i$a& va#iO medicated mercur tab%et8 vara tanu* 'iivet na
$im8 anathaaO otherwise& if ou don't give a tab%et8 ta$ta* hasta$aa*O %eaves of& motor
functions.
AhN& (rishna& >aadha is now in a $ind of morbid %ovesic$ness. -he frissons& sighs& raves& shivers&
droops& swings up& goes into de%irium with ro%%ing ees with ha%f-shut ee%ids. 0ext& she gets up&
stumb%es and swoons. +or this $ind of sic$ness& ou a%one are the god%i$e doctor. ,s such& if ou
come to give a potion of medicine& ca%%ed our %ove-grace& she definite% survives. 9therwise& she
has to breath her %ast...' M=-CJ
4t wi%% be painfu% to the casua%% periphera% readers to read the gist& if a%% the trash of naaa$ii
bhaava-s& %a$sha0a diipi$aa-s etc& as in the first word-to-word section& are repeated. *ence& on% the
%ist of words& minus their function& is re-ro%%ed here.
<erse 7ocator
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| HH9*$
+_ L#' # <I0 K-K
#23 - C | !

| 4' ' 4 9 *
+_ L#' 4# < 4
=-=. daivata vaidaO godsT& doctor M,shwin (umar %i$eJ8 h>QidaO heart-p%easing one Mheartthrob&
swain& hN& (rishnaJ8 upendraO oh& upendra& <ishnuTs another name as 4ndra's ounger brother8
smaraO manmatha& 7ovegod8 aaturaamO for the agonised one& >aadha8 tvatO our8 angaO bod8
sangaO touch8 am>Qita maatraO ambrosia& 'ust b it8 saadhaamO possib%e Mto re%ieve her sic$nessJ8
>aadhaamO >aadha be8 vimu$taO re%ieved8 baadhaamO from agon8 na $uru-e MadiJO not& going
to do& MifJ8 va'raat api daaru0a*O than thunderbo%t& even& horrib%e8 MtvamO ouJ asi O ou& are.
A9h& heart-p%easing one %i$e ,shwin (umar-s& the doctors of gods& if ou are not going to possib%
re%ieve >aadha from the agon caused b 7ovegod& 'ust b the ambrosia% touch of our bod& oh&
Dpendra& ou wi%% be a more horrib%e being than 4ndra's #hunderbo%t& mar$ ou... M=-=J
Dnseen 4ndra hur%s his #hunderbo%t from a distant p%ace and it pains the target& on% when it meets
its target. 0everthe%ess& this fe%%ow is here before her ees& and he has not hur%ed an bo%t or dart at
>aadha& but hurt her with his charm. *ence& he a%one shou%d ease it8 otherwise& he wi%% be more
horrib%e and ungod% in his demeanour.
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=-L. asaa*O hers& >aadhaTs8 tano*O bod8 $andarpa 'varaO 7ove& sic$ness8 sa.n'varaO b anguish8
aa$u%aO f%urried8 cheta*O heart8 chandanaO sanda%-paste8 chandrama*O moon8 $ama%iniiO c%usters
of %otuses8 chintaasuO in thin$ing Mwanting themJ8 chiramO for a %ong8 santaamati O facing
difficu%ties Mf%usteredJ8 aashcharam M$imJO surprising Mor& what& unsurprisingJ8 $intuO but8 $%aanti
vashenaO enervation& contro%%ed b8 rahasiO in %one% p%ace8 sthitaa O staing8 priam tvaamO
dearer& ou8 e$am evaO one& on%8 shiita%a taramO coo%ing agent Minvigorative&J higher in degree
MbestJ8 dhaaantii O contemp%ating8 $shii0aa apiO emaciated& though8 $atham apiO how& even
MsomehowJ8 $sha0am praa0itiO for a moment& bears %ives.
A3hat surprise can be there if %ovesic$ness f%urries >aadha's bod and f%usters her heart to cherish
coo%ing agents %i$e sanda%-paste& moon and his shine& c%usters of %otuses and the %i$e5 *owever& it is
surprising that though she is enervated and emaciated& she is contemp%ating on ou& on ou a%one&
staing in a %one% p%ace& asserting that ou a%one are the supreme coo%ing agent than others& and
somehow she is bearing up her %ives for a moment... M=-LJ
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=-G. puraaO ear%ier Mwhen ou were with herJ8 te viraha*O our& evanesce Mfade from sightJ8
naanaO ees8 nimii%anaO for b%in$ing8 $hinnaaaO saddening8 taaaO b her8 $sha0am apiO for a
moment& even8 na seheO not& to%erant8 asauO such as she was8 chira virahe0aO %ong time& b
separation/ heartstrings8 pu-pita agraam rasaa%a shaa$haamO f%owered& MtreeJ top& mango& branches
Mf%owered branches at mango tree tops& sa spring& vasanta seasonJ8 vi%o$aO on observing8
$athamO how8 shvasitiO breathes Mher %ife.J
A/ar%ier when ou were with her she was saddening even to have a b%in$ on her ees& into%erant of a
momentar evanesce of our form from her sight& even for a moment& such as she was& now how
can she observe this spring season with f%owered branches on mango treetops& and how can she
possib% breathe her %ives... M=-GJ
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=-H. v>Qi-#iO b thunderstorms8 vaa$u%aO put to chaos8 go$u%aO stoc$ of cowherds8 avanaO to
protect8 rasaatO interestedness8 uddh>QitaO up%ifted8 govardhanamO )t. govardhana8 bibhratO Mthe
handJ that uphe%d Mthat mountainJ8 va%%avaO cowherdsT8 va%%abhaabhi* O mi%$maids8 adhi$aO
high%8 aanandaatO from g%adness8 ciram cumbita*O ever& $issed8 darpe0a evaO pridefu%%& on%8
tatO b them Mmi%$maidsJ8 arpitaO dedicated8 adhara ta#iiO %ips& %ips of Mouter-%ipsJ8 sinduuraO
vermi%ion M%ipstic$ co%ourJ8 mudra an$ita*O with mar$s& imprinted8 gopa Mbaa%a$aJ tano*O in
cowboTs& bod8 $amsa dvi-a*O (ing (amsaTs& despiserTs8 baahu*O arm Mpa%mJ8 bhavataamO to
ou8 shreaa.nsiO prosperities8 tanotuO %et accord.
A7et that hand which up%ifted and uphe%d )t. govardhana as an as%um& in the interest of protecting
the stoc$s of cowherds when 4ndra put them to chaos with thunderstorms... whereb& which hand
wi%% ever be $issed dedicated% b the pridefu%% g%addened mi%$maids imprinting the vermi%ion
mar$s of their outer-%ips on it... %et that 6ivine b%essing-pa%m of that despiser of evi%-wi%%ed (amsa&
which b chance is now with the bod of a cowbo& accord prosperities to ou a%%... M=-HJ
#his conc%uding benedictor verse is unavai%ab%e in northern versions. 4t is hoped that (rishna's
%ifting a mammoth mountain need not be reiterated here& as that is a we%% $nown incident.

% ' 8 7&. .
#hus& this is the =th chapter& ca%%ed -uave% (rishna in giita govindam of "aadeva.
)erse *o%ator +or Ch ( - snigdhna !adhussudana! - Suavel$ Krishna
#op of
Bage
E
a pa
V
I
a pa
F
C = L G H
4revious
Sarga
Contents &ext Sarga
-ept& IKKC& 6esira'u *anumanta >ao8 >evised 9ct KV

+zV#Zg+V
Chapter [Sarga] 5 - 4assionate Krishna
>dha's friend comes bac$ to >dha and narrates how (rishna is %ove%orn as >dha %eft abrupt%.
#he poet dwe%%s on 'anguish in separation' vipra%ambha sh>Qingaara from the first chapter to tenth&
and in e%eventh and twe%fth he unifies the hero and heroine of the song. #hat mood of anguishfu%
separation wi%% be heightened from now on.
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L-E. aham iha nivasaamiO 4 wi%%& here& wi%% remain8 aahiO ou go8 raadhaam anunaaO >dha&
convince8 mat vachanenaO m& b word Mas 4 te%% her to come hereJ8 aanaethaa*O fetch MherJ8 itiO
in this wa8 madhu ripu0aaO b demon )adhu& enem of M(rishnaJ8 niu$htaa O& when assigned8
sa$hiiO gir%friend8 svaamO in person8 etaO having come bac$ Mto >dhaJ8 puna* raadhaam idam
'agaada O again& to >dha this& she said.
3hen (rishna assigned the gir%friend of >dha saing& A4'%% remain on% at this bower& ou go and
convince >dha& and te%% her that 4 want her to come here...A she persona%% returned to >dha and
said this to her. ML-EJ
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! O -
a-#apadi: EK-E. sa$hi raadheO oh& dear friend& >dha8 ma%aa samiireO whi%e sanda%& bree.e8
madanamO 7ovegod8 upa nidhaaaO nearb& $eeping M$eeping c%ose toJ8 vahati MsatiJO whi%e
bree.ing - whi%e the bree.es from )t. ma%aa are bree.ing %oaded with 7ovegod8 $usuma ni$areO in
f%owers& bunches of8 virahi h>Qidaa da%anaaa O estranged Mpeop%e's&J hearts& Mas ifJ to rip apart8
sphu#ati MsatiJO whi%e unfo%ding Mso to saJ 8 tava virahe O for ou& in pain of separation - %orn in
our %ove8 vanamaa%iiO one who wears %eaf gar%and& (rishna8 siidatiO sin$ing down - %ist%ess%
%onging for ou8 reprise: sa$hi tava virahe vanamaa%ii siidati raadhe.
AhN& dear >dha& whi%e the sanda%-bree.e from )t. ma%aa is bree.ing there %aden with 7ovegod8
whi%e b%ossoms are b%ooming there as if read to rend the bosoms of estranged %overs with
spearheads of their peta%s& there a%one that (rishna is %ist%ess% %onging for ou& %orn in our %ove...
MEK-E a paJ
! ((/O <+$
# (O # +I0 4 # 1c-@
#- 3 :- ! (( /O < 4 + # (O # + 4
a pa EK-I. shishira mauu$heO with coo%ant& moonbeams Mb moonJ8 dahati MsatiJO burning
Mwhi%eJ 8 mara0am anu $arotiO death& tagging a%ong8 madana vishi$heO 7ovegod's& sharp arrows8
patati MsatiJO fa%%ing Mwhi%eJ8 vi$a%a tara*O frantic& higher in degree - high% frantic8 ati vi%apatiO
great%& ruefu%8 or& ati vi $a%ii $arotiO much& without& hue& he is becoming - he is becoming pa%ish8
reprise.
A3hi%e coo% moonbeams are burning him he is tagging a%ong the death-%ine8 whi%e the sharp arrows
of 7ovegod are p%unging on him he is high% frantic and great% ruefu%... thus& that (rishna is
%ist%ess% %onging for ou& %orn in our %ove... MEK-I a paJ
* #/! ?<# $
! ( ( -#0 4 # 1c-A
#- 3 :- * # /! ?< 4# ! ( ( - L#
a pa EK-C. madhupa samuuheO honebees& swarms of8 dhvanati MsatiJO bu..es Mwhi%eJ8 shrava0am
O hearing MearsJ8 apidadhaatiO $eep %ids M%ids ears with pa%msJ8 manasiO in heart Mcome to mindJ8
va%ita& M$a%itaJO annoance8 virahe MsatiJO MourJ parting Mwhi%e inJ8 nishi nishiO night& b night8
ru'amO pangs8 upaaatiO getting& Mundergoing.J
A3hi%e swarms of honebees start bu..ing si%veri% he %ids his ears with pa%ms8 whi%e the
annoance of our parting comes to mind& night after night& he undergoes pangs of %ove... thus& that
(rishna is %ist%ess% %onging for ou& %orn in our %ove... MEK-C a paJ
# - $
j <( ! # 0 1c-K
#- 3 :- # - j < ( ! #
a pa EK-=. Msa*O heJ8 vasatiO %ingering8 vipina vitaaneO woods& thic$et of8 ta'atiO %eaves off8 %a%ita
dhaamaO magnificent& mansion8 %u#hatiO writhes8 dhara0i shaaneO earth Msward&J on bed8 bahuO
in man M$indsJ8 vi%apatiO utters MdescantsJ8 tava naamaO our& name.
A7eaving off his magnificent mansion he %ingers in the thic$ets of woods8 writhing on sward-beds
he descants on our name time and time again... thus& that (rishna is %ist%ess% %onging for ou& %orn
in our %ove... MEK-= a paJ
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a pa EK-L. pi$a samavaaeO (o$i%a-s& f%oc$s of8 ra0ati MsatiJO re-echoing Mwhi%eJ8 prati dishamO to
each direction8 anuaatiO goes ahead MrushesJ8 manu'a nicaeO peop%e& b %ots8 hasati MsatiJO
%aughing at Mwhi%eJ8 naO nothing8 iti viraham apa%apatiO thus& pangs of %ove& concea%s.
A3hi%e f%oc$s of $o$i%a birds re-echo their ode%%ing cries& he rushes to each and ever direction
unab%e to %isten those %ove-songs8 whi%e %ots of peop%e %augh at him for his mad-rush in %ove& he
concea%s his %ove-pangs saing& 'nothing... nothing...'8 thus& that (rishna is %ist%ess% %onging for ou&
%orn in our %ove... MEK-L a paJ
n + . <$
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#- 3 :- n + . < 6 O < < 4
a pa EK-G. $a%arava raaveO pigeons& cooing8 sphurati MsatiJO coming to mind Mwhi%eJ8 smarti O
reminisces8 ma0itam evaO %ove-murmurs& on%8 tava rati su$ha vibhave O with ou& hmenea%&
comfort& sub%imit of - sub%imit of hmna% comfort with ou8 ga0aati sugu0am atiivaO rec$ons&
exce%%ent& high%.
A3hi%e the cooing of pigeons comes to his mind& he rec$ons on them on% as %ove-murmurs8 he
rec$ons the sub%imit of hmenea% comfort with ou as exceptiona%% exce%%ent... thus& that (rishna
is %ist%ess% %onging for ou& %orn in our %ove... MEK-G a paJ
( (< $
#-# _ #0 4 # 1c-^
#- 3 :- 4 ( (< 4# -# _ L#
a pa EK-H. tvatO our8 abhidaO name - one that is having our name& our namesa$e8 shubha
maasamO auspicious& month8 nariO peop%e8 vadati MsatiJ O spea$ of Mwhi%eJ8 sh>Qi0otiO on hearing8
tam apiO that& even - even the mention of that month's name8 sa rasam 'apatiO with& aesthetic
p%easure& he reminisces8 uvati-u ratimO in MotherJ gir%s& interestedness8 na upaitiO not& getting.
A3hi%e peop%e mention the name of an auspicious month that is our namesa$e& he %istens to it
attentive%& and even reminisces that name of the month with aesthetic p%easure& as he is now
disinterested in other gir%s... thus& that (rishna is %ist%ess% %onging for ou& %orn in our %ove... MEK-H
a paJ
#he month that is the namesa$e of >dha is vishaa$ha8 vaishaa$he maadhavo raadha*8 vishaa$ha is
the name of )aadhava& or of >dha& for >dha and )dhava are one and the same.
< +- ! $
! +0 4 # 1c-`
#-3::- < + - ! ! L +
a pa EK-V. $avi 'aadeveO poet& "aadeva8 virahi vi%asitenaO passiona% fro%ics Mof (rishnaJ8 bha0ati
MsatiJ O te%%s Mwhi%eJ8 su$>QitenaO b the merited peop%eJ8 rabhasaO enthusiasm Min devotion to
(rishnaJ8 vibhaveO in that fe%icit8 manasi hari* udaatuO in their hearts& (rishna& %et dawn.
3hi%e poet "aadeva te%%s about the passiona% fro%ics of (rishna& %et (rishna dawn in the hearts of
merited peop%e& b their own merit of devotion... Ma pa EK-VJ
#he stan.as at L& G& and H do not appear in )umbai& or in northern editions. ,s the are without
eight sub-songs& this who%e song is said to be an interpo%ation& to which southern versions further
interpo%ate three sub-songs& as above.
<erse 7ocator

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L-I. puurvamO ear%ier8 atraO where8 samam M$rishnenaJ tvaaaO a%ong with (rishna& b ou8
ratipate* aasaadita* siddhaa* O b 7ovegod& reacquired& achievements are8 tasmin evaO in there
Min that bower& a%oneJ8 ni$uY0'aO bower8 which is a8 manmatha mahaa tiirtheO 7ovegod's& great&
sanctum MbowerJ8 maadhava*O (rishna8 puna*O again8 tvaamO about ou8 anishamO cease%ess%8
dhaaanO meditating8 tava evaO our& on%8 a%aapa ma.ntra aava%iim O chatting& chants& strings of8
'apan apiO chanting& even8 bhuua*O again8 tvat $ucha $u.mbhaO our& bosoms& ca%%ed pots8
nirbhara pari ra.mbha O tight& embrace8 am>Qitam O ca%%ed ambrosia& mo$sha8 vaa.nc;hatiO he is
desiring.
A/ar%ier& where ou were with (rishna in a riverine bower that which is a sanctum of 7ovegod& on
the riverban$ of amuna& where 7ovegod once reacquired a%% his achievements through our
con'ugation with (rishna& now (rishna is in that bower on%& cease%ess% meditating on% upon ou&
b ma$ing our words of chat as the strings of his chants& once more desirous of mo$sha b a tight
embrace of our pot-%i$e ambrosia% bosoms... ML-IJ
3hoever wants a fina% re%ease meditates on far awa p%ace& preferab% on a riverban$ and in a
bower& preferring so%itude in ascesis. #his is as said in man'uu-a: g>Qihe go-#ana aaraama nadii
naga sura aa%ae U anugrahaat guro* siddi* shiighram saat uttarottam 'in a so%itar p%ace& cowshed&
forest& gardens& on riverban$s& seashore& in temp%es if hmns are chanted& one can attain his mo$sha&
with the b%essings of his teacher...' *ere& (rishna is compared with a meditator& >dha his goddess&
her various chitchatting as hmns to her& and the fina%it of his meditation cu%minates in an
embrace& which itse%f is mo$sha through supreme %ove.
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a pa EE-E. hN nitambiniO oh& high-hipped one& >dha8 rati su$ha saareO Ma p%ace which hasJ
connubia%& b%issfu%& quintessentia%%8 abhisaare gatamO in preset p%ace& he has gone in Mavai%ab%eJ8
madana manohara veshamO in an arousing& %ove%& mien Mhere& ve-am is not getup8 not %i$e
7ovegod's getup& as he is form%ess to wear an getup8 even if it is so& it is an inferior getup than that
of (rishna J8 na $uruO don't& do8 gamana vi%ambanam O in going& de%a8 anusara tam h>Qidaa
iishamO fo%%ow& him& MourJ heart's& %ord8 gopii O mi%$ maids8 piina paodharaO bosom& busts
Mhence the mi%$maids are too coc$& with vanitJ8 mardanaO M%exica%%J in massaging Mor&
manipu%ate& to engineer of& to artificeJ 8 ca.nca%aO moving Mactive& or& have a s%eight of handJ8 $ara
uga shaa%iiO hands& a coup%e of& he who is having8
reprise: dhiira samiireO in gent%e& wind Mbree.J8 amunaa tiireO on :amuna& riverban$8 vasati
vaneO %ocated in M%ingering in&J garden8 vanamaa%ii O one who wears %eaf gar%and& (rishna.
A9h& high-hipped >dha& he is now avai%ab%e in that preset p%ace& a quintessentia%% b%issfu% p%ace
for connubia% b%iss& with his %ove% and heart-stea%ing mien8 hence go nigh of the %ord of our heart
who a%one has a coup%e of hands that have a s%eight of hand to engineer the bust bosoms of
mi%$maids of their vanit... don't %inger to go... for (rishna is %ingering in that bree. garden on that
riverban$ of :amuna... Ma pa EE-EJ
+5+< $
!5 #7#<0 4 # 11-@
#- 3 :- + 5+ < !
5 # 7 4# <
a pa EE-I. hN raadhe8 te naama sametamO our& name& coup%ed with Mwhi%e f%uting he uses our
names as %rics& and that f%ute sings 'ha& >dha& 'o& beaut& o& goddess of %ove etcJ8 $>Qita sa.n$etam
O made& indication Mhe made an indication to bring ou to that preset bower where he wi%% be
f%uting8 or& $>Qita sa.n$etam vaadaate m>Qidu ve0umO to ma$e& indication& he p%as& soft%8 Mhe
indicates his p%ace of tarring with his soft f%utingJ8 nanuO definite%8 te tanu sa.ngataO to our&
bod& attached8 pavana cha%itam api re0umO b air& moved& even& partic%e Mof po%%en etcJ8 bahu
manute Maa%inganeJO high%& dotes on& Mto embraceJ8 reprise: dhiira samiire [c
A9& >dha& he uses our %rica% names as the %rics of his f%uting8 he indicates himse%f with such a
soft f%uting8 he dotes on to embrace an partic%e of po%%en vagrant from our bod& when air wafts
them to his near& then wh harping about our embrace... so& doesn't %inger to go... Ma pa EE-IJ
##97#9('+# $
7(7+##'&0 4 # 11-A
#- 3 :- # #9 7 #9 ('+ L#
7 ( 7+ # #5 &
a pa EE-C. patatreO wing Mof birdJ8 patatiO whi%e fa%%ing& f%apping8 patre vicha%atiO %eaves& whi%e
rust%ing8 shan$itaO in suspense8 bhavat upa aanamO our& nearb& arriva%8 rachaati shaanamO
ma$es& M%eafJ bed8 sa cha$ita naanamO with& f%ustered& ees8 pashati tava pa.nthaanamO %oo$s
about& our& path Mof arriva%.J8 reprise: dhiira samiire [c.
A3hen wings of birds f%ap& or when %eaves of trees rust%e& he prepares a %eaf bed suspensefu% of
our drawing nigh& and with f%ustered ees he %oo$s about our path of arriva%... so& don't %inger to
go... Ma pa EE-CJ
O - '- # +_ $
7 O +'- #5- ( 70 4 # 11-K
#- 3 :- O 4 - '- # % +_
7 O +'- #5- ( 7
a pa EE-=. hN sa$hiiO o& friend8 $e%i-uO in disports Mof courtshipJ8 %o%amO moving MbumpingJ8
adhiiram mu$haramO high%& 'ang%ing - dissonant8 man'iiramO so%id an$%ets8 ripum ivaO our
enem& as if the are8 ta'aO discard8 sa timira pu.n'am $un'amO with& dar$ness& shades& to such a
bower8 cha%aO start8 nii%a nicho%am shii%aaO b%ac$& shaw%& on wearing.
A9& >dha& discard our %oudmouthed so%id-si%ver an$%ets as if the are our enemies& since the
braggart% c%ang and c%an$ when the are bumping in disports of courtship8 but wear a b%ac$ish
shaw%& and start towards that dar$% shad bower... so& don't %inger to go... Ma pa EE-=J
L#!!+ $
U##-+#+0 4 # 11-[
#- 3 :- L L#! ! % +
U % # # - + #+
a pa EE-L. hN piiteO o& e%%ow gir%8 MtvamO ouJ8 su$>Qita vipaa$eO on MourJ merit& fructifing8
rati vipariiteO whi%e in %ove's forep%a8 upahita haareO having& pear% pendants8 tara%a ba%aa$eO
f%ittering& cranes8 ghana ivaO c%oud& %i$e Mc%oud& unc%ear& un-understandab%e (rishna& cf.
pra'naanam ghana eva8 sthite O existingJ8 muraare* urasiO (rishna's& on chest8 ta#it iva raa'asiO
strea$ of %ightning& a%i$e& ou wi%% beam forth.
A9& e%%ow-go%den >dha& when ou wi%% be in forep%a with him& then our pear% pendants wi%%
be dang%ing on the c%oud%i$e chest of (rishna& %i$e f%ittering f%ights of cranes on a c%oud& then ou
ourse%f wi%% beam forth %i$e a strea$ of %ightning on that c%oud%i$e (rishna& if on% our merit
fructifies... so& don't %inger to go... Ma pa EE-LJ
*ere >dha is said to be go%den% e%%ow indicating the initia%% e%%owish %ightings piitaa var-aaa
vi'Yneaa on an a%%-giving c%oud%i$e (rishna. #hough other comparison in simi%es& - 'c%oud-
(rishna's chest& pear% strings-cranes rows& go%den >dha- go%den %ightning' are agreeab%e some ho%d
ob'ection in their p%acement. #he %ightning wi%% be above c%ouds& and cranes wi%% be be%ow c%ouds.
*ere (rishna is be%ow& over whom pendants are dang%ing& above which >dha is beaming forth %i$e
%ightning. /ven then it is rep%ied that the cranes are above the %owered c%oud& ca%%ed (rishna& who is
%owering himse%f for a devotee& then >dha is shining forth above those two obects - upraised is her
persona%it. 4t is then abhuuta upama& as Boet 6andi said: sarva padma prabhaa saara* samaah>Qita
iva $vacit U tava aananam vibhaati it taam abhuuta upamaam vidu* 'o& beaut& ou face is shining
forth as though it has the co%%ection of a%% the resp%endence of a%% %otuses...'
9r& this can be exp%ained as& tara%a - canca%a - f%irtatious8 ba%aa$eO coquettish gir%8 as said in
shaashvata nigha0tu 'an ever%asting %exicon' ba%aa$aa ba$a pan$tantau saat ba%aa$aa bisa
$a0#hi$aa& ba%aa$aa $aamu$ii pro$taa ba%aa$aa rava$o mata* meaning 'oh& >dha& ou can outdo
(rishna& who is an embodiment of mi%%ions and mi%%ions of 7ovegods& if on% ou can p%ace
ourse%f on his chest& then on% our merit fructifies...'
#!

U -# $
+( #X- !_.04 # 11-\
#- 3 :- #!

U - 4#
+ ( #'+- % !_.
a pa EE-G. hN pan$a'a naaneO o& %otus-peta%& eed one8 viga%ita vasanamO s%ither down& c%othing8
parih>Qita rasanam MrashanaanamJ O sto%en Msna$ed&J waist-strings8 Mon their own& not divested
herse%fJ8 MvinaaO withoutJ8 apidhaanam 'aghanamO covering& on hips8 har-a nidaanamO for b%iss&
primar source8 nidhim ivaO treasure trove& %i$e8 $isa%aa shaaneO on tender %eaves& bed of8
gha#aaO treasure up.
A9& %otus-peta%-eed >dha& if ou ee him& who is an aggregate of a%% $inds of %ove& our c%othing
s%ithers down& waist-string snea$s out& our hips wi%% be shorn of an covering on their own& then
wh don't ou treasure up our bod& the primar source of b%iss& on a bed of tender %eaves& %i$e a
treasure trove... Ma pa EE-GJ
*ere a repeat of idea said at a pa G-I& in ;h. I is there. #he dress and periphera%s pee% off on their
own in ecstas& ma it be in %ove or madness.
!-# $
+77#/#+0 4 # 11-^
#- 3 :- ! 4 - % % 4#
+ 7 7 #/ # +
a pa EE-H. hari* abhimaaniiO (rishna& se%f-respecting bo M%est& he ma depart conc%uding that ou
disgraced himJ8 idaaniimO now8 iam ra'ani* apiO this& night& even8 aati viraamamO s%ips b& to its
cessation8 sa tvaraO with& haste8 rachanamO artfu% Mwords of mineJ8 $uru mama vachanamO ma$e
happen& m& words8 madhu ripuO demon )adhu's& enem - (rishna's8 $aamam puuraaO desire&
fu%fi%.
A9n one hand (rishna is a se%f-respectfu% one and on the other now this night is s%ipping b to it
cessation& ma$e happen m words that are artfu% in hastening ou& thus %et (rishna's be fu%fi%%ed...
there (rishna is %ist%ess% %onging for ou& %orn in our %ove... so& don't %inger to go... MEK-H a paJ
?- +! < #<$
"!

! ++0 4 #11-`
#- 3 :- ? - + ! < # <
" !

! 4 + +
a pa EE-V. $>QitaO on ma$ing8 shrii hariO -hri (rishna's8 seveO service Mon worshippingJ8
'aadeveO b "aadeva8 parama rama0iiamO high%& p%easant8 bha0atiO is being said8 ati
sadaamO high%& gracefu% one8 su$>Qita $amaniiamO b merit& desirab%e one8 harimO at (rishna8
pramudita h>Qidaam Mathaa tathaaJO g%addening& MhisJ heart Mas it wereJ8 namataO bow down
before Madore.J
9n worshipping shr4 (rishna& "aadeva is saing this high% p%easant poem on that high% gracefu%
one who is a desirab%e b our merit& and thus oh& devotees& adore (rishna& on% to g%adden his
heart... Ma pa EE-VJ
<erse 7ocator
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#- 3 :- + ! s ( # ! PV
"( ! + 5 - 5- ! ! 7 ! (
#i+ ! PV + ' +' " .
L-C. hN $aanteO o& desirab%e one& >dha8 tava priaO our& %over8 vi$irati shvaasaan muhu*O strews&
sighs& oftentimes8 pura* dishaa* ii$shate muhu*O in his fore& directions& h %oo$s about& often -
searches8 muhu* pravishati gu.n'an $u.n'amO often& enters& bu..ing& bowers8 muhu* bahu
taamatiO often& high%& scorching Min %oveJ8 muhu* rachaati shaaamO often& ma$es& bed8
muhu* paraa$u%am ii$shateO often& bewi%dered%& %oo$s over8 tava pria* vartateO our& %over&
deports himse%f8 madana $adana $%aanta*O %ove's& in war& worsted.
A9& >dha& our %over bestrews his sighs oftentimes as ou are unapparent8 he often %oo$s about
fronta%% in a%% directions for our reappearance unceasing%8 often enters bu..ing bowers
presuming that ou are hidden in them unobserved%8 often high% scorched b %ove-heat& he often
prepares %eaf %ove-beds unprofitab%8 he often %oo$s over a%% the directions unforgettab%8 thus our
%over now deports himse%f& worsted in the war of %ove... ML-LJ
<erse 7ocator
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++B+< ( i S&.
'8 n5] IV<0 [-K
#- 3 :- y 4 8B( 4 '
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4S&. 8 n 4] 4 V<
L-=. mugdheO ou& miss >dha8 tvat vaamenaO our& awr& misgivings8 or& as in other mms: tvat
baap-penaO with our tears - as ou are tear%ess8 tvat vaa$enaO with our speech - as ou are
speech%ess8 samamO matching to8 samagramO comp%ete%8 adhunaaO now8 tigma anshu*O one with
scorching& sunras - sun8 astam gata*O in to dus$& went8 govindasa manorathena chaO !ovinda-s&
with passion& a%so8 samamO matching8 praaptam tama* saandrataamO gaining& to dar$ness& densit8
diirghaa mat abharthanaa O pro%onged& m& entreat8 $o$aanaam $aru0a svanena O ca$rava$a
birds'& pathetic& ca%%ings8 sad>Qishii MaabhuutJO matching MbecameJ8 tatO thereb8 vipha%amO
wastefu%8 vi%ambanamO de%aing8 asau abhisaara $sha0a*O this& going to preset p%ace& moment8
rama*O wi%% be de%ightfu%& en'oab%e.
A:ou miss >dha& matching to our fading misgivings the scorching sun is now dus$ing8 matching
to the dense% passion of (rishna the dar$ness is gaining densit8 matching to the pathetic ca%%ings
of ca$rava$a-s& the %ovebirds& m entreaties are pro%onged... thereb wastefu% is this de%aing& and
en'oab%e is this moment in going to the preset p%ace of %ove... so& don't %inger to go... ML-=J
<erse 7ocator
J J +& "H5
" 5 O 75+$
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"p23 /23. &#5- + 5 - &0 [-[
#- 3 :- J J +& "H C5 "
5 O % 75+ # #
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L-L. hN sa$hiO o& friend8 sa*O he8 sthita*O whi%e staing8 sthira tama* pu.n'e ni$un'e O thic$& dar$&
shaded& in such a bower8 and muses %i$e8 saa samaagataO she M>aadhaJ& on coming c%ose%8 maam
dra$shatiO me& she sees8 va$shati smara $athaamO sas& %ove Mpangs'&J stories8 prati aY0gam
aa%i.nganai*O each& %imb& when hugged8 priitim aasatiO de%ight& she goes into8 ra.msateO
disports8 iti McintaanJO this wa& Mwhi%e thin$ingJ8 chi.nta aa$u%a*O anxious%& agitated8 tvaamO at
ou8 pashatiO sees& awaits8 vepateO shudders8 pu%a$aatiO thri%%s8 svedatiO sweats8 aana.ndatiO
g%addens8 pratudgac;hatiO goes forward8 muurc;hatiO nonp%ussed.
A9& friend& staing in a bower fi%%ed with thic$ dar$ shades he is musing& 'she draws nigh of me&
sees me& te%%s stories of her %ove-pangs& hugging ever %imb of mine she goes into de%ight& thus she
disports with me...' and this wa he is anxious% agitated& hence he shudders for his a%oneness& but
thri%%s for our expected arriva%& again sweats for it is dar$ening& but g%addens to go forward to
we%come ou& again he becomes nonp%ussed for our absence... ML-LJ
#his verse wi%% be p%aced as Ind verse in EE chapter of this wor$ in other mms. /ven then the
meaning wou%d be the same& but this characterisation then be%ongs to >dha.
<erse 7ocator
C_ 75 ODO '-
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4'&.f.' _<-i
.#! + + tg? 0 [-\
#- 3 :- C_ 4 75 4 O LDO 4 '-- "- Le 4 5f
4 5 4 " 4' 4&. f
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L-G. aash%e-haatO Mfirst%J b hugging8 anuO next8 chu.mbanaatO from $issing8 anuO next8 na$ha
u%%e$haatO with nai%& writing MscratchesJ anuO next8 svaanta 'aO with mind& born MdesiresJ8 pra
udbodhaat O c%ear%& instructed Mhigh% excitedJ8 anuO next8 sam bhramaat O with excitement8 anuO
next8 rataara.mbhaatO with forep%a8 anu priitao*O step b step& Mtransport intoM b%issfu%ness8
anaa artham O for other& M%ove matesJ aiming at8 gatao*O those M%oversJ who have gone8 bhramaat
O on meandering Min those and those bowersJ8 mi%itao*O meeting MagainJ8 sambhaa-a0ai*O b
conversations Min which man ta%$s about another woman& and woman ta%$s about another manJ8
'aanato*O on $nowing Mthat& is this m wife - is this m husbandJ8 dampato*O b coup%es8 vrii6aa
vi mishra*O with shame& we%%& mixed8 rasa*O aesthetic p%easure8 ihaO here8 tamasiO in such dar$
nights8 $a* naO what is& nu%%8 $a* naO what is& void Min the negative - everthing is en'oment in
aesthetic p%easure.J
A4n these dar$ nights %ibertine coup%es start meandering in sti%% dar$er bowers for their cherished
%overs& but unwitting% one meets one's own wife/husband& and then their escapade first% starts with
hugging& next with $issing& next with nai% scratching& next high% excited b excitement and desire
the enter into forep%a& and then step b step the cu%minate it into their con'uga% b%iss... after that
when the converse& he comes to $now that she is his wife& and she comes to $now %i$ewise... and
caught unawares& the mix that b%iss in shame and depart shamefu%%& ni% desperandum... and in such
passsiona% nights& aesthetic p%easure see$ing is nu%% and void - isn't it... ML-GJ
"aadeva is %ess sung for his 'treatise on aesthetic p%easures' - rasa siddhaanta and 6r. >a'
2rahmbhatt in his '*istor of -exua% )edicine' sas& >atiman'ari 'the gar%and of %ove - is the wor$
of poet "aadeva. #his treatise is ver short& written in an e%egant st%e...' 4t is said that this song
contains& though not a%% of the nine& but man rasa-s moods. +irst% b hugging& a sort of 'fear' is
occurring bhaa sthaaii bhaava - bhaaana$a rasa because it is a stea%th hugging. 0ext& after
coaxing and combing& $issing and scratching is started& hence she shou%d be in a pitiab%e mood& as
the woman in question wi%% a%most be departing confused% but dragged forcefu%% b that man.
#hen shou%d be cring& as she does not $now who is doing what. *ence it is - 'piteous mood'
$aru0a rasa. #hen& on entering into forep%a an enthusiastic braver viira rasa bechances. #hen&
during that en'oment& an astonishment is caused vismaa saha cari - adbhuta rasa& which %eads to
contented smi%ing& which gives rise even to %aughter. 4t is haasa sahita haasa rasa.
#his verse opens with the ver words and the step-b-step eightfo%d en'oment& as 2harata sas in
naa#a shaastra: aa-%e-a cumbana na$ha $shata $aama bodha shiighratva maithunam ananta
mu$ha prabodham U priiti* tato api rasa bhaavanam eva $aaram evam nitaanta caturaa* suciram
ramante UU . 9f course& there is opposition to the eightfo%d course of en'oment& but it is negated&
ta$ing the saing of aesthetician ca%%ed >udra iir-aa $u%a strii-u na naaa$asa ni* shan$a $e%i*
na paraa anganaasu ''ea%ous in a chaste woman& men's unrestrained indu%gence in other's women
are taboos...'
,%% this is for %icentious human coup%es& but not in respect of higher gods or %ower anima%s& because
humans a%one can en'o aesthetic p%easure rasa aasvaadana& which faci%it is nonexistent in others
$inds of existence. ,nd here >dha's friend is quoting from her human experience& and through
"aadeva's poetic expertise. -o& nothing can be ascribed to ro%e-p%aers %i$e nonexistent poetic
characters& or those with supra existence& i.e.& divine coup%e. #his is on% to remind the poetic abi%it
of "aadeva.
<erse 7ocator
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#- 3 :- 8 O 4' # 9 ] & # L7 w 4 4 45+
23' t- 5 - _ "_ L +5 *5 /+ 4 + 5
L-H. su mu$hiO oh& prett& faced one& >aadha8 su bhaga*O high% desirab%e one (rishna MsubhagaO
a outhfu%& mannish& e%igib%e oungster& much% desirab%e b a%% gir%s of age W sa& a prince
charmingJ8 sa*O he that (rishna8 bhaa cha$itamO b fear& wincing8 timire d>Qishau pathi
vinasantiimO in dar$ness& %oo$s& on pathwa& she who is $eeping M$eep an ee on the path
treading& watchfu%%& or& dancersT stage searching %i$e stage wa%$ingJ8 prati taru muhu* sthitvaaO at
ever& tree& awhi%e& on pausing Mshe who is unab%e to run or rush towards her %over due to weight of
bust or bumsJ8 mandam padaani vitanvatiimO s%ow% Mnot s%ow%& but gracefu%%&J feet& whi%e p%acing
MdancerTs footwor$ is suggested& and a gracefu% %ad is not supposed to rush to her man& %est he ma
mista$e her for a strumpet8 ananga tarangibhi* angai*O 7ovegodTs& weaves& on %imbs Mshe whose
%imbs are nothing but the passiona% tiderips of a sea ca%%ed 7ovegodJ8 $atham apiO somehow& even
Msomehow vei%ing herse%f with b%ac$ c%oths& somehow treading unseen b others& somehow made up
her mind to go to him& at %east nowJ8 raha* praaptaamO in secrec& she who arrived Mto meet
(rishnaJ8 tvaam pashanO ou& on seeing Mseeing ou in dar$nessP ,bsurd5 0o& exp%ained %aterJ8
$>Qita arthataam upaituO achievement& purpose Mconsummation&J %et him achieve.
A7et that unique Brince ;harming (rishna achieve consummate b%iss if ou somehow approach him
casting our fearfu% g%ances wincing% on our unen%ightened path& watching our own step&
pausing awhi%e at ever foot of a tree either b our hesitation or b our gracefu% footwor$& with
passion tideripping in ever %imb of ours8 thus if ou somehow reach him& even if in un$nowab%e
secrec& even if it is an un$nown dar$ness& he certain% sees ou8 thus %et him achieve that
consummation on our reaching him... ML-HJ
#he phi%o-ing giita govindam is avowed% not ta$en up in this wor$8 but it is to be incorporated
induced b the itching commentaries. #his has two shades. 9ne be%ongs dancers and the other to
devotees. (eeping dancers side awa for a whi%e& on devotee's side it is %i$e this. (rishna has not
come to >dha but as$ed her friend to fetch her to him& on% to examine her devotedness. #hat
being so& here it is said& 'he sees ou...' ta$ing the word d>Qishau and the root for this word is
d>Qishi meaning 'discern' viva$shita 'Ynaana artha$atvam a $ind of gnosis... ':ou can '!nosticise'
him and he does the same& if on% ou come into union with him& first pschica%%& then bodi%. #o
achieve that ou have to fearfu%% wince ou g%ances in searching for him in the wi%d dar$ness of
unen%ightened state. :ou have to tread an unen%ightened path& where unen%ightened path is -
phsica%% a dar$some wa& and in the sense 'give spiritua% insight to ?a person@...' ou have to have
our own en%ightenment to search for him in the dar$... ou have watch our step otherwise ou
ma misstep& pause it at each tree of $now%edge to %earn more about that ob'ect ou search... and
then ou shou%d have a gracefu% footwor$& %est our running& rushing& and racing wi%% appear as our
greediness and it wou%d resu%t into futi%it... this is as far as spiritua% mind is concerned - ahamta 4-
ness'. #hen a%% our bodi% %imbs& for whose passiona% tiderips sa$e ou are staging a%% this drama&
the sha%% be surrendered unto him& and %et them merge into one co%%iding tiderip ca%%ed universa%
%ove. )uch more is there& but %eave it as it ma. *ere ends the Lth chapter in northern mms.
-outherners have another verse as be%ow.
<erse 7ocator
8O'#9]&
#7wB+$
23'5 t-5-_"_
+5 *5 /++5 0 [-`
#- 3 :- 8 O 4' # 9 ] & #
L7 w 4 4 45 + 23' t- 5 -
_ "_ L +5 *5 /+ 4 + 5
L-V. raadhaaO >dha's8 mugdha mu$ha aravindaO come%& face& %otus M%i$eJ8 madhupa* O he is a
honebee8 trai%o$aO be%onging to triad of words Mfor a%% peop%e and their $ingsJ8 mau%i stha%iiO at
head& p%ace Mat crown p%aceJ8 nepathaO as bac$ground Mas an ornament& 'ewe%J8 ucitaO befitting
MdecorativeJ8 nii%a ratnamO b%ue& diamond MsapphireJ8 avanii bhaaraO for earth& a burden8 avataaraO
incarnate Mshishupaa%a etc.& se%f-conceited onesJ8 a.nta$a*O remover8 svac;handamO b%ithe%8 vra'a
su.ndarii 'ana O 2rindavan& beauties& fo%$s Mmi%$maidsJ8 mana* to-aO hearts& he who g%addened8
prado-aO crepusc%e Mcrepuscu%ar aoo%. appearing or active in twi%ight.& so a crepuscu%ar g%oamingJ
g%oaming8 udaa*O dawning8 $a.msaO $amsa's8 dhva.msanaO in destroing8 dhuuma $etu*O
comet8 deva$ii na.ndana*O deva$i& de%ighter8 avatu tvaamO M%et such a (rishnaJgrace& ou Mou a%%
%isteners& besides >dha.J
*e who is the honebee hovering on the %otus ca%%ed the come% face of >dha& he who is a
decorative sapphirine 'ewe% at the he%m of crowns of a%% peop%e and their $ings in the triad of
wor%ds& he who is the remover of burdensome incarnates on earth %i$e shishupaa%a et a%& and he who
is the crepuscu%ar g%oaming dawning in eventides to b%ithe% g%adden the hearts of mi%$maid
beauties of brindaavan& and he who is a destroer of evi%doers %i$e $amsa& that de%ighter of his
mother deva$i& name% (rishna& sha%% grace ou a%%& a%ong with >dha. ML-VJ
#his chapter has a subtit%e abhisaari$a var0ana 'portraa% of a heroine who ma$es advances to her
%over...' and as exp%ained in treatises of aesthetics her ro%e-p%a wi%% be %i$e this madana ana%a
santaptaa aa abhisaaraati priam& 'otsnii tamasvinii aana ogaa ambara vibhuu-a0aa U
svaam ca abhisaret aatu saa bhavet abhisaari$aa - rasaar0avam 'one who proceeds to her %over in
the dar$ness of moon%it nights& attired and decorated with befitting materia%& parched b %ove heat& is
ca%%ed abhisaari$a nigh-nearing %ad%ove...'
.
% ' +zV#Zg+V #5 7 .
#hus& this is the =th chapter& ca%%ed Bassionate (rishna& in giita govindam of "aadeva.
)erse *o%ator +or Ch1 5 giita govinda!
#op of Bage E a pa EK I a pa EE
C = L G H
V . . . .
Brevious
-arga
giirvaa0
i
0ext
-arga
9ct& IKKC& 6esira'u *anumanta >ao& >evised 0ov KV
+k-<. +Zj+Zj
Chapter [Sarga] 6 - 7n%onsiderate Krishna
>dha's friend returns to (rishna to inform about the ecstatic state of >dha.
<erse 7ocator
4& '( 7 ! QR $
27 ' -' O "!0 \-1
# 3- 4& ' 4( 7 4 ! QR
7 ' - ' O "!
G-E. athaO then8 sa$hiiO gir%friend8 taamO her M>dha J8 d>Qi-#vaaO on seeing8 gantum
aXsha$taamO to go Mimmediate%&J unab%e to Muncomp%iant toJ8 chiram %ataa g>Qihe anura$taam O
for a %ong& in creeper& house Mbower&J interested Mdawd%ingJ8 Mmeaning that >dha is c%inging to this
bower expecting (rishna to come here& unie%dingJ8 tat caritamO that& episode8 govinde manasi'a
mandeO to (rishna& who b 7ovegod& became drear-minded8 pra aaha O c%ear% said Mstarted to te%%
in this episode of poem.J
#hat gir%friend of >dha& on coming to >dha from (rishna& saw >dha sti%% dawd%ing in the same
bower and uncomp%iant to go to (rishna immediate%8 then that gir%friend again returned to (rishna&
and started to te%% c%ear% about that episode of >dha 's unie%dingness. MG-EJ
<erse 7ocator
4N# 1@ ' - N +Zj
# ( ( ! '$ / #'$
& ! ! -d& !$ ! - 0 4 # 1@-1
# 23- # ( ( ! ' 4 / #'
& ! ! -d& ! ! -
a pa EI-E. hb naathaO oh& %ord8 hareO oh& (rishna8 'agannathaO master of wor%ds8 hareO oh& stea%er
of sins8 raadhaaO >dha8 vaasag>QiheO in a bower8 siidatiO saddened/awear8 tadadhara& or
tvatadhara - tvatO those& other mi%$maids' Mhere tvat shabda ana shabda paraaa& ta $aaraanta&
sarva naama - tvac;habdo.ana vaacii dvi* pa#hita*... dvaavapi anudaattau-pra$riaa prasaada
grantha& sarva naama vaa$haJ8 adhara madhura madhuuni O %ips'& %uscious& nectar8 rahasiO in
secrec8 pibantamO swi%%ing8 bhavantamO for ou8 pashati dishi dishiO %oo$ing Mfor ou&J in
direction& direction8 reprise - raadhaaO >dha8 siidatiO is awear8 vaasag>QiheO in an arbour.
Ahe& %ord (rishna& master of wor%ds& stea%er of sins& saddened >dha is in a bower& and she %oo$s for
ou& a secret swi%%er of nectar from the %ips of other mi%$maids& in a%% directions... thus& >dha is
awear in an arbour...
*ere the poet uses a pun for the word naatha hare meaning an impetuous bu%% roped at nose for
restraining its impetuosit. naadham O naasaa ra''um& harati O g>Qih0aati& iti naadha hari 'when
>dha is patient% waiting in that bower& our not coming to her is bu%%ish& hence ou are not on% a
gopa%a& but a%so a horn bu%%...' #hen he ma as$ 'wh she is so touch& she cou%d have come here...'
for this she is saing as be%ow.
< '$
# # +' 7'0 4 # 1@-@
# 23 - 4< ' # # +' 7'
a pa EI-I. tvat abhisara0aO to ou& in coming8 rabhasena va%antiiO speed MenthusiasmJ having
Mgrogg& mu..J8 $ianti padaani cha%antii patatiO some& steps& on wa%$ing& fa%%s.
A)u.. with enthusiasm in coming to ou& she wa%$s some steps but fa%%s... hence& >dha is
awear in an arbour... Ma pa EI-IJ
<ivid%: '-he wa%$s a few steps& but our infide%it comes to her mind and she stops& but ta$es some
more steps& our dup%icit comes to her mind and she stops& et after some more steps our
chicaner reminds her to stop... in this bac$ and forth dance-stepping& her steps stumb%e and she
tumb%es... et she is somehow %iving but for thin$ing on ou...' from choreographers viewpoint.
*ow she is '%iving' is said next.
!(+ $
- #! +0 4 # 1@-A
# 23- ! ( + - # %! +
a pa EI-C. >dha8 vihitaO on ma$ing8 vishadaO fresh/coo%8 bisa $isa%aaO %otus& tender %eaves& or
stems8 va%aaaO M%exica%%J b brace%ets - but a vei%& cover& soother for the present burning8 tava
param rati $a%aaaO our& b%issfu%& Mear%ier en'oedJ association& b dream8 iha 'iivatiO now& %iving.
A9n ma$ing fresh and coo%ing tender %otus %eaves as a soothing vei% against the present burning& she
is now %iving b the he%p of dreams on our b%issfu% association& en'oed ear%ier b her... Ma pa EI-CJ
!+Zg $
#! (0 4 # 1@- K
# 23- ! 4+ Zg # 4! % (
a pa EI-=. muhu* ava%o$ita O repeated%& on observing Mthem and herse%f in a mirrorJ8 ma06ana
%ii%aaO MourJ ornament's& fo%%owing that st%e - she is decorating herse%f with ornaments ou usua%%
wear8 madhu ripu* ahamO )adhu's& enem& 4 am8 itiO thus8 bhaavanaO thin$ing8 shii%aaO with
fee%ing8 MvartateO conducting herse%f.J
>ead'usting her ornaments to %oo$ %i$e those of ours and on assuming our persona she repeated%
observes them and sas& '4 am (rishna...' Ma pa EI-=J
<ivid%: -he %oo$s at her ornaments to examine whether the are befitting for a meeting with ou.
-he ad'usts them to %oo$ better. 4n doing so& she unwitting% ad'usts head ornament as peacoc$
feather& puts some dang%ing earring as our $nobb% earrings& ho%ds strings of pear%s or a nec$%ace
as our f%ute& and so on. ,nd then& on %oo$ing at her own get up she dec%ares '4 am (rishna...'
*ere the core sub'ect of this wor$ is posted. >dha not on% identifies herse%f with (rishna& but a%so
dec%ares that she is (rishna. 9ther non-romantic characters %i$e -eetha& -avitri et a% appear to not
have averred %i$e this& except a divinit %i$e naaraaa0i - aham naaraaa0ii naam saa vai-0avii
paraa - 4 am indeed naaraaa0ii Mi.e. 7a$-hmiJ the supreme essence of <ishnu - %a$-hmi tantra C.E
# +& $
! O0 4 # 1@-[
# 23- L# +& 4 ! % O 4
a pa EI-L. hari*O (rishna8 tvaritamO swift%8 abhisaaramO to preset p%ace8 $athamO how MwhJ8 na
upaitiO not& coming8 itiO thus8 anuvaaramO repeated%& a%% the whi%e8 sa$hiim vadatiO to friend&
saing Mas$ing8 wh he doesn't come to me when 4 am he and he is me.J
,%% the whi%e she is chec$ing up with her friend exc%aiming& Ahow is that he doesn't come prompt%
come to m p%ace if he has that much simpatico... but summons me there... Ma pa EI-LJ
Q 7 -+D# $
!# % D#0 4 # 1@-\
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a pa EI-G. hari* upagata itiO (rishna& drew nigh& thus Mon thin$ingJ8 'a%adhara $a%pam O c%oud& %i$e8
an a%pamO not& sma%% Mpitch-b%ac$J8 timiramO dar$ness8 sh%i-ati chumbatiO hugs& $isses.
A3hen she steps out that bower she sees the pitch-b%ac$ c%oud%i$e dar$ness& and thin$ing that
(rishna drew her nigh& she hugs and $isses that dar$ness... Ma pa EI-GJ
k- $
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# 23 - k- # + k-
a pa EI-H. vaasa$aO in her dwe%%ing p%ace8 sa''aaO rati %ii%opa$ara0ai* sa''itaO reading herse%f
decorating with befitting ornaments8 bhavati vi%ambiniO b ou& de%aed Min coming thereJ8 viga%ita
%a''aaO s%ithered& shame8 vi%apatiO she whines8 roditiO whimpers.
A-he reading her se%f decorated in befitting ornaments is waiting in her dwe%%ing p%ace& but when
ou de%a in our coming& s%ithered is her shame& and she whines and whimpers... Ma pa EI-HJ
#he word vaasa$a sa''i$a is a name to the romantic heroine waiting for her hero& and the poet uses
this word for another purpose as above. 4n this song the heroine with such mood and the hero is
sha#ha.
?-+ $
+- 0 4 # 1@-`
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a pa EI-V. shriiO shrii suu$ti O auspicious saing8 'aadeva $ave*O "aadeva& b poet8 idam uditam
O this& Mthat isJ said8 rasi$a 'anamO for aesthetic& peop%e8 ati muditamO high%& g%addening8
tanutaam O ma cause.
)a this auspicious song said b poet "aadeva cause utmost g%adness to aesthetic peop%e...
M,nnex: '+or it is a treatise of divine% romantic aesthetics...J MEI-VJ
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G-I. he $itavaO he dhuurtaO ou& begui%er8 MsaaJ m>Qigaa$-hiiO Mshe thatJ deer-eed >dha8 vipu%a
pu%a$a paa%i*O amp%e& thri%%s& ranges MseriesJ8 sphiitaO increasing8 siit$aaram athaa tathaaO
whining Mmeaning that she caught ho%d of ou in her contemp%ation& and when ou started to
express our %ove with our danta na$ha $-hata cumbana aa%inganaadi caraa* - she deeming
avoiding our advances& she pu%%s herse%f awa from ou& but coos and whines in p%easure etcJ8
anta* 'anita 'a6imaaO interna%%& born& sto%idit 'a6atva8 $aa$uO grumb%es8 vaa$u%am vaaharantii
O embarrassed%& behaving Mbehaving in an odd fashion in that trans b gestures of pu%%ing awa
from ou& when ou have tried fai%ing% to $iss her b catching her bun - thereb she went into a
haava ca%%ed $u##amita and started saing words of refusa% - ni-edha vaa$aa*& which to others
appear to be foo%ishJ8 tava vidhatteO b ou& imposed8 amanda $andarpa chintaamO not %ess Mhigh&J
passion& worried one8 rasa 'a%adhi nimagnaaO aesthetic p%easure& ca%%ed deep-sea& de%uged in8
dhaana %agnaaO in thought& tenacious.
A:ou begui%er& brooding on ou she that deer-eed >dha is in ecstas8 in that state when she thin$s
that she got ou at her near& her thri%%ing sensations are amp%e and in series8 in her phantasmic
trance& born out of interna% sto%idit& she is behaving in an embarrassed manner with grumb%es of
avoidance8 a%% this is imposed b ou and she& a worried one with high passion& is tenacious to our
thought and de%uged in deep-sea& ca%%ed aesthetic p%easure... sudhaa$ara rasa aar0avam. MG-IJ
4t is quite common for anone to get shivers and shudders if drenched in co%d for a %ong time. #hen
the articu%ate shivers owing to their free.ing co%d. *ere& the situation is reverse. #he bod is
burning with desire& and she is de%uged in an ocean& which is %i$e mo%ten %ava. #hen her shivers and
shudders sha%% be more than ordinar co%d caught person.
#he sto%idit occurred to her is the 'a6atva the fifth sate in aesthetics of %ove manmatha avastha #he
a fee%ing ca%%ed haava is caused and that haava is ca%%ed $u##amita . #he causing scene for
$u##amita haava to a heroine is as %i$e this: $esha adhara aadi graha0e mudamaanaa api maanase U
du*$hitena bahi* $upuet atra $u##amitam tu tat UU IKL 'a heroine who is happ inward% but
pretends to be painfu%& uninterested& resentfu% etc.& when the hero hand%es her b her bun& in tring
to $iss her etc.& is $u##amita haava - rasaar0ava sudhaa$aram
, word about this treatise rasaar0ava sudhaa$aram #his is written b simhabhuupaa%a& an erstwhi%e
#e%ugu $ing. #his boo$ perhaps is i%% fated to be repub%ished and remained in the she%ves of
archives. 2ut this is made avai%ab%e per $indness of !audia !rantha )andir& in bare -ans$rit text&
at granthamandira.org with an assurance 'a separate edition with examp%es wi%% be offered soon - "an
2r.e.ins$i...' 4n this boo$ the situations to use words $itava& dhuurta are a%so incorporated. 2ut the
are not e%aborated here. 0ext& this gir%friend hurries (rishna to reach >dha& before it is too %ate.
<erse 7ocator
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G-C. varatanu*O best bodied8 Mcurvaceous ?esp. of a woman@ having a shape% curved figure&
>dhaJ8 e-aaO this wa8 a.nge-u aabhara0am $arotiO on %imbs& 'ewe%%er& ma$ing Mdecorating& b
this a$a%pa is saidJ8 bahusha*O man times8 patreO %eaves Mor feather& wingsJ8 apiO even if8
sa.nchaari0i O moving Mrust%ingJ8 tvaam praaptamO ou& bechanced8 parishan$ate O surmises Mb
this vi$a%pa is saidJ8 vitanute shaaam O ma$es& bed Mb this shaa racana is saidJ8 chiram
dhaaati O for a %ong time& contemp%ates on ou Mwith this san$a%pa is saidJ8 itiO this wa8
aa$a%paO sva dehaa%an$aara caraO decorating with befitting items for a meet8 vi$a%paO fidget -
expecting arriva%& but fai%ing to findJ8 ta%pa rachanaaO bed& ma$ing - a precautionar preparation&
without annoing her hero8 san$a%paO mu%%s over - sing%e minded devotion8 %ii%aa Mvi%aasaa* JO
attitudini.es MI spea$& write& or behave affected%J8 shataO in hundreds of was8 vaasa$taa Mvi
aasa$taaO with high& rapture Mnmpho%epsO n. ecstas or fren. caused b desire of the
unattainab%e - 09# nmphomania p%.J apiO even with8 vinaa tvaaaO without& ou8 nishaam na
e-atiO night& not& ab%e to %ead off.
A#hat curvaceous >dha& with ever 'ewe%%er of ever description& is decorating her %imbs8 with
ever ratt%e of wings or rust%e of %eaves she surmises that ou have bechanced8 with ever f%ower
and ever tender %eaf she ma$es a bed& %est no time need be wasted8 thus& she is contemp%ating on
ou for a %ong& %ong a time... and thus she attitudini.es her norma% attitude with over-decoration&
over-titi%%ation& over-preparation& and with over-meditation& hence she is unab%e to %ead off nights&
without ou... MG-CJ
*oping that no more pedantr is required here& we go to next verse& which is a benedictor
conc%usion unseen in man other mms. 9n this be%ow mentioned verse the commentator of
rasaman'ari has not commented& but one commentator $nown as $umbha$ar0a has commented in
his wor$& and unsure is that& whether critica% editions have referenced this or not& because this is not
a critica% version& but a criticisab%e one.
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G-=. hN bhraata*O oh& brother Moh& trave%%erJ8 $>Qi-0a bhogi bhavaneO b%ac$& cobra& pa%ace of8 Mor&
sh%e-a: $>Qi-0a bhogi bhavaneO someone ca%%ed (rishna& an en'oer& in his abodeJ8 bhaa06iira
bhuumi ruhiO banan tree with ho%es in trun$8 Mor& sh%e-a: bhaa06iiraO treasure house8 bhuumi
ruhiO from earth& arose M(rishna who came into existence as an earth% beingJ8 $im vishraamasiO
wh& ou ta$e respite8 aahiO go awa8 sa aanandaO with& happiness8 nanda aaspadamO nanda's
M(rishna's father&J a hospice Mhouse of 0andaJ8 ita*O from here8 na d>Qi-#i gocaram M$im5JO not&
to ee& visib%e& Mor what5J8 adhvaga mu$haatO a wafarer's& from face8 radhaaaa tat vacanamO
>dha's& that& words8 na.nda anti$eO at father 0anda& nearb8 gopata*O cowherd8 govindasaO of
(rishna8 saaam atithi praashasta O evening time& guest invitee& as though we%comingJ with praise8
garbhaa* MnarmagarbhaJO impregnated Mwith inner meaningJ8 gira*O words8 'aantiO are
paramount.
<ivid%: >dha is as$ing (rishna to come to a particu%ar p%ace for their p%easure tripping. 2ut she
cannot te%% it direct% to (rishna as his father 0anda and others are there tending catt%e. 4n the
meanwhi%e she caught sight of a trave%%er tarring under a banan tree. -he immediate% e%%ed at
him saing& A9h& trave%%er& wh do ou ta$e respite under that banan tree with ho%es in its trun$
into which b%ac$ cobras truc$ in and out... oh& brother& won't ou see that house of 0anda& a
happiest hospice... p%ease go there for a bound%ess hospita%it... Maside: but %eave that tree at once...
for it is our preset retreat& and it sha%% serve as a happ abode for (rishna& the en'oer...AJ containing
such words of >dha& impregnated with inner meaning in inviting an evening time invitee& either a
trave%%er or a begui%er& this song sha%% be paramount% devotiona%... so saest poet "aadeva... MG-=J

% ' +k-<. +Zj+Zj _N .
#hus& this is the Gth chapter& ca%%ed 4nconsiderate (rishna& in giita govindam of "aadeva.
)erse *o%ator +or 7n%onsiderate Krishna - Chapter 6
#op of Bage E a pa EI I =
Brevious
-arga
giirvaa0
i
0ext
-arga
9ct& IKKC& 6esira'u *anumanta >ao8 >evised 0ov KV
Chapter [Sarga] 8- nagara nArA$a&a - Shi+t$ Krishna
<

3hen a devotee of (rishna receives shuddha sattva& purest attribute& it is transformed %ater into rati
or prema an$ura. #hen it ripens into prema& not genera% %ove but a sense of mineness i.e.& a fee%ing
that (rishna be%ongs to me& none e%se. 9n some more devotion it ripens into sneha 'divided
togetherness' an unsatisfied fee%ing with words and p%a of (rishna& because he is a separate entit
as et. #his ripens to maana 'intense %ove' where he/she concea%s his own fee%ings& on account of
rea%/unrea% grievance& and then on he/she starts to show 'ea%ous& anger or petu%ance etc.& towards
(rishna. #hese states& maana abhimaana-s contain maadana bhaava& a maddening de%ight&
essentia%% possessed b >dha& none e%se& not even b (rishna. M-ource: #he ;u%tura% *eritage of
4ndia& <o%. 4< - >e%igions.J
#his chapter detai%s that exc%usive maadana mahaa bhaava of >dha in her angering& tongue-
%ashing& upbraiding etc.
#he songs in this chapter& a-#hapadi-s& contain the f%ames from the stomach-burn of >aadha& but
singers sing and dancers dance in a most 'ofu% manner& because the contain mesmeric -ans$rit
wordsmith. ,ctua%% the shou%d expose ro-ham& aXsahanam& sa something %i$e - ire& cho%er&
be%%igerence etc of firebrand-%i$e >aadha. 2etter %et them read to understand these songs to conve
correct mood.

<erse 7ocator
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H-E. atra antare caO in the& meanwhi%e& even8 $u%a#a aa$u%aO b coquettish women& f%oc$s8 vartmaO
their pathwa8 paataO b spoi%ing& obstructing8 sa.n'aataO caused thereb8 paata$a ivaO b%emish&
infam& %i$e Ma badge of infam bechanced on his face& because his moonbeams are obstructive to
the snea$ fanc womenJ8 sphu#aO c%ear8 %aa.nc;hanaO badge Mof infamJ8 shrii*O having
bri%%iance8 di$ sundariiO MeasternJ direction& ca%%ed beaut8 vadana chandana bindu*O on MherJ face&
sanda%& a b%ob of8 indu*O moon8 a.nshu 'aa%ai*O moonbeams& with %aces of8 v>Qindaavana antaram
adiipaat O 2rindavan& interior of& brightened up.
4n the meanwhi%e& he who bears a bri%%iant but c%ear badge of infam on his face& for he incurred sin
b obstructing the pathwas of f%oc$s of snea$ fanc women& that moon brightened up the
interiors of 2rindavan with the %aces of his moonbeams& himse%f staing %i$e the sanda%-b%ob on the
forehead of the beaut& ca%%ed the eastern s$. MH-EJ
4n the meanwhi%e means: during the time when gir%friend is te%%ing about >dha to (rishna. ,
sinner has to bear a badge of infam& ma it be the b%ac$ spot on moon& or this impertinent bo
(rishna for his non-arriva% at >dha.
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H-I. saaO she that >dha8 shasha dhara bimbeO rabbit& bearing& discoid MmoonJ8 prasaratiO whi%e
emanating Mcoming spright%J8 Me%%ipse& mura%i dharaJ maadhave caO b Mf%ute bearingJ (rishna&
a%so8 vihita vi%ambeO imposed& tardiness Mbe%ated%J8 vidhuraaO b the anguished >dha8 virachita
vividha vi%aapamO made Munderwent&J man a& heartache8 uc;hai* paritaapam cha$aara O utter&
anguish& made Munderwent.J
3hi%e that discoida% moon bearing a rabbit is spright% coming& and whi%e this (rishna bearing a
f%ute is not coming be%ated%& she that anguished >dha underwent man a heartache& and an utter
anguish. MH-IJ
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a pa EC-E. he Msa$hiiO oh& friend8 vidheO godJ8 hari*O (rishna8 $athita samae apiO on saing&
time& even - even on giving appointment8 vanam na aauO to 2rindavan& not& arrived8 mama idam
auvanamO m& this& outh8 a ma%a ruupam apiO not& b%emished& mien Mbeaut&J even8 vipha%amO
wastefu%8 ihaO here Min forestJ8 $am shara0am aamiO whom& as she%ter Mhaven&J 4 can go8 MrespiteJ
aha haO ah& aha8 ahamO 4 am8 sa$hii 'ana vachana va.nchitaaO b friends& f%oc$s of& words
Mca'o%er&J befoo%ed.
(rishna didn't turn up on the appointed time at 2rindavan& wastefu% is m outh and unb%emished
beaut without him& whom 4 can approach as a haven in this forest... aha ha& those gir% f%oc$s
ca'o%er befoo%ed me... Ma pa EC-EJ
( !# (
!

(+0 4 # 1A-@
# 3- 4 ( ! 4# (
!

% 4 ( +
a pa EC-I. atO for which M(rishnaJ8 anugamanaaaO to go in tow8 nishiO in night8 gahanam api
shii%itam O forest& even though& is searched Me%%ipse- ad>Qishena - but& unseenJ8 tenaO b him
M(rishnaJ8 mama idam h>Qidaam O mine& this& heart8 asama Mad>QishamaanaJ sharaO b 7ove-
god's& Munseeab%e& unseenJ arrow8 $ii%itamO impa%ed8 MrespiteJ aha haO ah& aha8 ahamO 4 am8 sa$hii
'ana vachana va.nchitaaO b friends& f%oc$s of& words Mca'o%er&J befoo%ed.
+or which unseen (rishna 4 have searched the forest even though it is night& he a%one became an
unseen arrow of sti%% unseen 7ove-god& and impa%ing this heart of mine... aha ha& those gir% f%oc$s
ca'o%er befoo%ed me... Ma pa EC-IJ
< &+ $
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a pa EC-C. ati vitatha $etanaaO utter%& shattered& MthisJ preset p%ace8 a X chetanaaO M4 amJ without&
spirit8 Maham ihaO 4& here in this preset p%ace& for it %ost its worth b his non-arriva%J8 viraha ana%aO
disunion& fire of Mput to the torchJ8 $im iha vi -aamiO wh& here M at this preset p%ace&J 4 am
to%erating& put up with8 mama mara0am eva varamO to me& death& a%one& best.
Dtter% shattered is the worth of this preset p%ace& thus 4 too am spirit%ess& and then wh shou%d 4 put
up with this p%ace that is putting me to the torch of disunion& thus death a%one is best to me... Ma pa
EC-CJ
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a pa EC-=. madhura madhu aaminiiO p%easant& spring's& night8 maam vi dhuraatiO me& veri%&
excruciating8 ahahaO aha ha8 $aa apiO someone& mabe8 $>Qita su $>QitaO on ma$ing& good&
fortune M%uc$ gir% b her merit in %ast birthJ8 $aaminiiO vo%uptuous gir%8 harim anubhavatiO with
(rishna& ma$ing merr M4 %ost that chance - ensues.J
#hough this night of spring is p%easant it is excruciating me... mabe some %uc$ and merited
vo%uptuous gir% might be ma$ing merr with (rishna... aha ha& 4 %ost it... Ma pa EC-=J
4!! + </_< $
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# 3 - 4! ! + C < /_<
! ! ! ! ! / _<
a pa EC-L. va%aa aadiO bicep-%et& and others8 ma0i bhuu-a0amO gem-studded& 'ewe%%er8 hari
viraha dahana vahanenaO for (rishna& anguish& b%a.e& carring Mhave a bearing on& ever ornament
has a bearing upon m anguish for (rishnaJ8 $a%aaamiO 4 rec$on8 bahu duu-a0amO high%&
contemptib%e8 aha haO aha& ha.
#hese bicep-%ets and ever other gem-studded 'ewe%%er 4 wear& bears a b%a.e of m anguish for
(rishna& hence 4 rec$on them as high% contemptib%e wear... ah ha... Ma pa EC-LJ
4t is rea%% worth%ess to decorate themse%ves& if unseen b their %overs. strii0aam pria aa%o$a pha%o
hi ve-a* . ,fter a%%& the resu%t of these cosmetics resu%ts when seen b her dear one.
++( $
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# 3 - + + 4 (
x+ 4# !

!' 4 _ (
a pa EC-G. sra$ apiO gar%and& even M4 am wearing a%ong with ornaments for (rishnaJ8 ati vi-ama
shii%aaa O high%& poisonous& in their import Mhas an effectJ8 a X tanuO un& bodied one Mbodi%ess
7ove-god'sJ8 shara %ii%aaaO arrows& b sport of8 $usuma su$umaara tanumO f%ower& de%icate&
bodied Msuch as 4 amJ8 maam h>Qidi hantiO m& heart& rending.
/ven the gar%and 4 wear is rending m heart& whose f%ower %i$e de%icate bod is a%read rent b
sporting arrows of 7ove-god& that have a poisonous effect... Ma pa EC-GJ
#he arrows of 7ove-god rend the sou% not bod& but it is sti%% better god for %ove that is rending the
heart. apuurava iam dhanur vidaa manmathasa mahaatmana* U shariiram a$-hatam $>Qitvaa
bhinatti antargatam mana* UU #hough the arrows tortured her bod& her own gar%and has become a
poisonous cosmetic& for it has a bearing upon (rishna..
4!! < $
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a pa EC-H. na viga0ita vetasaaO not& counting& <etasa tree Muncaring a tree that excites - $aama
uddiipa$a paadapaJ8 aham iha nivasaamiO 4 am& here& %ingering8 madhusuudana*O (rishna8 maamO
me8 chetasaa apiO M%ocus of fee%ings and intuitionsJ b bosom& even8 na smaratiO not& reminisces.
4 am %ingering at this excitator <etasa tree& uncaring for its excitative effect& but that (rishna
doesn't reminisce me& even in his bosom... Ma pa EC-HJ
!7<(<-+ $
!

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% + +
a pa EC-V. $oma%aO exquisite8 $a%aavatiiO fine-%imbed damse% Mor& a damse% expert in G= arts -
catu-a#i $a%aa prapuur0aJ8 hari chara0a shara0aO (rishna'& at feet& resorting to8 'aadeva $avi
bhaaratiiO "aadeva& poet's& idio%ect Mthe form of %anguage used b an individua% person - the %ang.
used in here is pecu%iar% particu%ar to "aadeva. 0either ear%ier poets& nor the %ater cou%d use such a
comp%icated% de%icate constructionJ8 uvati* ivaO damse%& %i$e8 h>Qidi vasatuO in bosoms& %et her
abide.
7et the idio%ect of poet "aadeva& whose on% resort is at the feet of (rishna& be abiding in the
bosoms of a%%& %i$e an exquisite& fine-%imbed damse%& we%%-versed in sixt-four arts... Ma pa EC-VJ
#he comparison is between a de%icate% %imbed damse% and the de%icate% worded poem& which
shows even the poet's expertise in sixt-for arts& un%i$e a curvaceous gir% minus brains. upama.
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H-C. atOb which reason8 $aanta*O be%oved& (rishna8 $>Qita sa.n$etiiO on ma$ing& suggested spot8
ma.n'u va.n'u%a %ataa $u.n'e apiO heart-p%easing& cane& vin& to bower& even8 na aagata*O not&
arrived8 tatO thereb Mimaginab%e is that heJ8 $aam api $aaminiimO whoever& even& vo%uptuous gir%8
abhis>Qita* $imO going after& or what58 vaaO otherwise8 bandhubhi*O with his re%atives8 $a%aa
$e%ibhi*O arts Msong&J sports Mdance with othersJ8 baddha* $imO tied up& or what58 andha$aari0i
vana abhar0eO pitch dar$& in preset forest Min some areaJ8 udbhraamati $imO roaming round& or
what58 $%aanta manaaO despaired& at heart Mb m dissociationJ8 manaag apiO in the %east& even8
pathi prasthaatum evaO on wa Mthis side&J to ma$e a move& even8 aX $-hama* $imO un& ab%e& or
what5 Msandeha a%an$aara.J
2 which reason that be%oved (rishna is not coming to this suggested spot& with its heart-p%easing
cane-vin bower... thereb& is he going after whoever vo%uptuous gir%& or what5 9therwise& is he
bounded b his re%atives& or tied up in song and dance with others& or what5 9r& is he roaming round
and round in these p%aces of pitch-dar$ forest& or what5 9r& is he unab%e to ma$e a move towards
this side& as his heart is despaired b m dissociation... or what5 MH-CJ
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H-=. athaO then8 maadhavam antare0aO (rishna& on %eaving8 aagataamO returned8 vi-aada
muu$aamO b sadness& si%ent8 sa$hiim vii$-haO gir%friend& on seeing8 'anaardanamO (rishna is8
$aaa apiO b someone& even8 ramitamO de%ighted8 iamO this >dha8 vi shan$a maanaaO on
doubting8 d>Qi-#avatO as though seeing with her own ees8 etatO a%% this Mhis episode in next songJ8
aahaO said.
#hen on seeing her gir%friend& who has returned from (rishna& but remained si%ent owing her
sadness& doubting that some gir% is de%ighting him& >dha recounts that episode& as though she is
seeing with own ees. MH-=J
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a pa E=-E. smara samaraO 7ove-god& for combat Mgrapp%es of courtshipO I archaic term for
%ovema$ingJ8 uchita virachita veshaaO befitting& we%% done Mwe%% dressed&J getup8 ga%itaO s%ithered8
$usumaO f%owers8 bharaO b weight of Mf%owers8 or& if it is daraO %aersJ8 viX%u%itaO veri%&
entang%ed8 $eshaaO braid8 $aa apiO some gir% Ma certain gir%&J even8 uvati*O a damse%8 ati adhi$a
gu0aaO Mb herJ ver& high& ta%ent8 madhu ripu0aaO b )adhu's& enem (rishna8 vi%asatiO
romantica%% fro%ic$ing.
A-he is we%%-dressed in befitting getup for a grapp%e of courtship& as her weight f%owers are
s%ithering& and as her braids are much% tang%ing& that damse% is ro%%ic$ing romantica%% with
(rishna... methin$s she is much% ta%ented... Ma pa E=-EJ
3hen (rishna grapp%ed that gir%'s bun for a $iss& she wanted to whis$& and in her wrigg%ing to ta$e
an upper hand over him& her braid is %oosened and s%ithered& hence f%owers too wrigg% ro%%ed down&
et she is dominant and on his overside& ca%%ed puru-a aaata. 3hi%e saing madhu ripu the sense of
maadhura ripu is what is meant b >dha: 'he is unaware of niceties in re%ishing %ove maadhura
anabhi'Ynatva because a rustic gir%& %ess proficient than >dha has overcome on him. #he word
uvati* suggests that the gir% has a doership strii $art>Qitva - vipariita surata is indicated. >dha is
saing that 'this gir% is more ta%ented...' then it a sub'ective statement of env p%us 'ea%ous. 2ecause
she bec$oned him to come to certain bower& but this gir% brought him round to her p%ace and
en'oing with him in a domineering position - hence she shou%d be more ta%ented... as a second
thought.
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a pa E=-I. hari pari rambha0aO (rishna& when tight% hugging8 va%ita vi$aaraaO swir%ing& with
romantic 'er$s8 $ucha $a%ashaO bosoms& f%agons %i$e Mf%agon O a %arge vesse% usu. with a hand%e&
spout& and %id& to ho%d wine etc. for the /ucharistJ8 upariOoverside8 tara%ita haaraaO swinging& pear%
pendants8 Mreprise:J $aa api O some gir% Ma certain gir%&J even8 uvati*O a damse%8 ati adhi$a gu0aaO
Mb herJ ver& high& ta%ent8 madhu ripu0aaO b )adhu's& enem - (rishna8 vi%asatiO romantica%%
fro%ic$ing. Ma pa E=-IJ
A3hen she is tight% hugging (rishna with her f%agon-%i$e bosoms& on which pear% pendants are
swinging& her bod is swir% and 'er$... thus that damse% is ro%%ic$ing romantica%% with (rishna...
methin$s she is much% ta%ented... Ma pa E=-IJ
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a pa E=-C. vi cha%atO %i%ting%& pu%sating8 a%a$aO hair-%oc$s8 %a%ita aanana chandraaO prett& with face&
moon%i$e8 tatO his M(rishna'sJ8 adhara paanaO %ip& swi%%ing M%ong $issJ8 rabhasaO b speediness M b
happinessJ8 $>Qita tandraaO made Mbecame&J do.i%.
A*er hair-%oc$s are %i%ting% pu%sating on her pretti% moon face& and she is ta$ing a %ong $iss of his
%ip& she is happi% do.... hence& methin$s she is much% ta%ented& for that damse% is romantica%%
ro%%ic$ing with (rishna... Ma pa E=-CJ
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a pa E=-=. cha.ncha%a $u06a%aO swaing& $nobb ear-hangings& da%ita $apo%aaO bumping& chee$s
Mshe hasJ8 mu$harita rasanaO c%in$ing& waist-strings with 'ing%e-be%%s Mwhich she has on her waistJ8
'aghana gati %o%aaO hip& in its going Mswinging&J swaing.
A*er $nobb ear-hangings are bumping her chee$s& her waist-strings with 'ing%e be%%s are c%in$ing
when her hip is swinging% swaing& whi%e that damse% is ro%%ic$ing romantica%% with (rishna...
methin$s she is much% ta%ented... Ma pa E=-=J
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a pa E=-L. daita vi%o$itaO b %over& when seen8 %a''itaO co%8 hasitaaO smi%e8 bahu vidha $uu'ita O
in man& was& cooed8 rati rasaO in courtship& 'o8 rasitaaO whi%e en'oing. M02. #his has two
imports unsaid in the poem& but derivab%e from treatises on romance& and the two are combined
be%ow.J
A3hen her %over sees her she is co%& for she is aggressive %i$e a man& and when not she
triumphant% smi%e& for her becoming an aggressor %i$e a man& thus on en'oing courtship she is
cooing in man a wa... but& that damse% is ro%%ic$ing romantica%% with (rishna... mabe she is
much% ta%ented... Ma pa E=-LJ
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a pa E=-G. vipu%a pu%a$aO with broad& ting%es Mshe isJ8 p>Qithu vepathuO wide& throbs Mshe isJ8
bha.ngaaO tarangaaO %i$e waves Mweaves a%so come and go& in wide and broad natureJ8 shvasitaO Min
courtshipJ with soughs8 nimii%itaO ha%f-c%osed Mshuts eesJ8 vi$asata ana.ngaaO broadened& 7ove-
god Mrather& %ove for (rishna is broadened in her sou%.J
A7i$e waves& broad ting%es and wide throbs are coming and going on her bod& but she soughs and
shuts her ees& as %ove in broadened in her sou%... thus& that damse% is ro%%ic$ing romantica%% with
(rishna... mabe she is much% ta%ented... Ma pa E=-GJ
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a pa E=-H. shramaO b strain Min courtingJ8 'a%a $a0aO water& partic%es Msweat dropsJ bharaO fi%%ed
with8 subhaga shariiraaO beautifu%& bodied Mone %i$e& appearing8 though her pear% pendants have
swir%ed onto her bac$ in grapp%e& her chest is fi%%ed with pear%-%i$e sweat drops. -o& when no
ornament is there on her chest& it appears to have pear% ornaments - hence she is beautifu%J8 rati
ra0a dhiiraaO in courting& combat& cha%%enger8 pari patita urasiO overside& fa%%en Mre%axed%&J on
chest.
9wing to the strain of courting& drops of sweat fi%%ed her chest thus she is a beaut& and owing to the
same strain that cha%%enger in the courting combats has fa%%en overside of his chest re%axed%... she is
much% ta%ented... that's wh& that damse% is ro%%ic$ing romantica%% with (rishna... Ma pa E=-HJ
#his $ind of posture is ca%%ed hamsa %ii%a$a bandha8 naarii paada dvaam dattvaa $aantasa uru
ugo api U $a#im aando%aet aashu bandho aam hamsa %ii%a$a* UU rati rahasa. and this needs no
%itera% tras%.& now.
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a pa E=-V. 'aadeva bha0itaO b "aadeva& uttered8 shrii hari ramitamO -hri& (rishna's& g%addening
Mb a mi%$maidJ8 $a%i $a%u-amO connected to (a%i era& b%emish8 parishamitam 'anaatuO comp%ete%
subduing& ma cause.
#he episode of a mi%$maid g%addening -hri (rishna& as "aadeva utters it& this ma cause a
comp%ete subdua% to the b%emishes in (a%i /ra... ME=-VJ
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H-L. aeO oh& friend8 aam vidhu*O this& moon8 manobhuva* suh>QitO 7ove-god's& good friend
MmoonJ8 virahaO MmJ anguish in dissociation8 paa06uO pa%e faced8 muraariO (rishna's8 mu$ha
ambu'a duti*O face& %otus-%i$e& its resp%endence8 vedanaam tiraan apiO anguishes& covering up
Mabated&J even though8 h>Qidae madana vathaam atiiva tanotiO in heart& %ove's& anguish& much%&
intensifing Munabated.J
A9h& friend& this moon ear%ier had a pa%e face %i$e that of the %otus-%i$e face of (rishna& b which
m anguish in dissociation was somewhat abated& waiting for him... but now& unabated is the pa%ish
si%veriness of this ver moon& as his friend 7ove-god is abetting him to ta$e vengeance on me& as 4
am unmoving to (rishna& thus m anguish too& is much% unabated... MH-LJ
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a pa EL-E. he sa$hiiO of friend8 sam uditamadaneO we%%& uprisen Mup surgedJ& passion Min a gir%J8
chumbana va%ita adhareO for a $iss& swerved Mturn sharp%8 change direction abrupt% - she
withdraws her face& primari%8 in text as '%a%ita aanane' then it is beautifu% face for it wi%% be $issedJ8
rama0ii vadaneO a come% gir%'s& face8 ra'anii $are m>Qigam ivaO in night& ma$er Min moon&J deer&
%i$e8 sa pu%a$amO with& thri%%s Mfor the gir%J8 m>Qiga mada ti%a$am %i$hatiO deer's& fat Mmus$&J mar$
Musua%% on forehead&J ma$ing8 MrepriseJ vi'aii muraari*O pri.ewinner Mpri.ed&J (rishna8 adhunaaO
present%8 amunaa pu%ina vaneO >iver :amuna's& on sand dunes& groves8 ramateO is fro%ic$ing.
upama - *er face is in simi%e with moon and ti%a$a& or mar$ with deer.
A9h& friend& %oo... he is swerving the face of a come% gir%& in whom passion is up-surging& for a
$iss& and %i$e the deer mar$ in moon& he is ma$ing a mar$ with mus$ on her face with his $iss&
whi%e she thri%%s... thus that pri.ed (rishna is present% fro%ic$ing on the sand dunes and in the
groves of :amuna >iver... Ma pa EL-EJ
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a pa EL-I. ghana chaa ruchireO c%ouds& gather& in sheen Mhe is sheen %i$e a c%oudscapeJ8 tara%itaO
made to ripp%es Mon seeing such a one riff%e %i$e thri%%s occur in gir%sJ8 taru0a aananeO on a beaut's&
face8 rati patiO >ati's& husband& Mor %ord of %ove - of 7ove-godJ8 m>Qiga $aananeO beast / deer& a
forest of8 chi$ureO in head hair8 chapa%aa su-amamO scinti%%ating& %ightning M%i$eJ8 $urava$a
$usumam O (urava$a Mmehandi&J red f%ower8 rachaatiO decorating.
A*e who is sheen %i$e a c%oudscape& and on seeing whom riff%es of thri%%s occur in gir%s& such a
(rishna is decorating a red f%ower that is scinti%%ating %i$e %ightning& in the braid of a beaut& in that
forest where that beast% 7ove-god is on the prow%... Ma pa EL-IJ
4n doing so& (rishna has forgotten >dha for his continued staing in that forest where the bruta%
beast-%i$e 7ove-god is sti%% on the prow%. 4f this m>Qiga is ta$en as deer& then the above vaaa'a
ninda 'sarcasm in devotion' of >dha is %ost.
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pa EL-C. m>Qiga madaO deer& mus$8 ruchira uu-iteO shine& bestrewn Mbedaubed& cosmeticJ8 su
ghaneO high% mass& with c%ouds8 na$ha padaO fingernai%& dent M%i$eJ8 shashi bhuu-iteO with
McrescentJ moon& decorated with8 $ucha uga gaganeO bosoms& twosome& on s$ of Mon oversideJ8
ama%amO impeccab%e8 ma0i saramO gemm Mpear%&J pendant8 taara$aa pa#a%am MivaJO starts&
c%uster of M%i$e pendantJ8 gha#aatiO ad'usting. M)eaning said vivid% as upama/simi%e is to be
exp%ained.J
A9h& friend& now he is ad'usting an impeccab%e pear% pendant on the overside of her two bosoms
that shine %i$e deer mus$& that which is bedaubed on them... in doing so his fingernai%s are ma$ing
crescentic dents on those bosoms... and that s$e bust appears to be a s$ with two mass c%ouds
and that pear% pendant as the star studded s$& and those crescentic dents as crescent moons... MEL-
CJ
#he comparison between crescentic dents and crescent moon is as said panca saaa$a: artha indu
sam$aasham idam na$ha $-hatam artha indu $athitam samaanata* U $a$-haa nitamba stana
paarshva madhe daatava etat $ara'am sadaa eva UU - panca saaa$a in treatise of romance& +ive
,rrows.
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a pa EL-=. muraariO (rishna8 'ita bisa sha$a%eO triumphant MthanJ %otus& sta%$s8 hima shiita%eO
snow& coo%ness8 $ara ta%aO hand's& surface Mwith pa%msJ8 na%inii da%eO M%i$eJ %otus& %eaves8 m>Qidu
bhu'a uga%e O softish& shou%ders& a pair of8 mara$ata va%aamO emera%d& arm%et8 madhu$ara
nichaam MivaJ O hone-ma$ers Mhone bees&J a swarm Ma%i$eJ8 vitaratiO he is $eeping Mad'usting.J
A0ow he is ad'usting emera%dine arm%ets on the pair of her pa%ms that %i$en to snowi% coo%ish %otus
%eaves& whi%e her shou%ders are softish %i$e %otus itse%f& and arms triumph over the tender sta%$s of
%otuses& thus those emera%ds in those arm%ets are a%i$e a swarm of honebees& hovering over that
%otus-%i$e gir%... Ma pa EL-=J
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a pa EL-L. muraari*O (rishna8 vipu%a apaghaneO on beam& hip8 manasi'a $ana$a aasaneO 7ove-
god's& go%den& throne8 $>Qita vaasaneO rendered vo%uptuous Mor& whi%e she is enrobing her hips8 or -
as vaasana has man meaningsO she has a desire to have him& or& she is made to undergo some
thin$ing that bechanced during %ast birth8 here she is rendered vo%uptuous wi%% be matching because
of the proximit of words of throne of 7ove-god etc8J rati g>Qiha 'aghaneO %ust& house home%i$e& on
hip8 ma0imaa rasanam O gem-studded& waist-strings8 tora0a hasanamO arched Mfestoons - as a
we%come signJ8 vi$iratiO strews around Mbecause he cou%d not tie that string on hip& because his
mood changed as soon as he touched her broad% hip& and she too c%ings to him for his magic
touch.J
(rishna is now tring to tie her gem-studded waist-strings %i$e arched we%come festoons on her
home%i$e beam hip& for it homes %ust and houses the go%den throne of 7ove-god& but he had to
strew it around& for both of them are sub'ected to sudden vo%uptuousness b that tenant-%i$e $ing on
the throne in that house& ca%%ed 7ove-god... MEL-LJ
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a pa EL-G. $ama%a ni%aeO %a$-mii's& abode8 na$ha ma0i ga0a puu'ite Mbhuu-iteJOnai%s& 'ewe%s
M%i$e&J adored with8 chara0a $isa%aeO feet& %eaf%ets8 h>Qidi o'iteO on chest& on 'oining Mon p%acing&
or on thin$ing thus in his heartJ8 bahi* apavara0amO as outer& covering Mouter& periphera% - because
those feet are a%read rosJ8 aava$a bhara0am 'anaatiO %ac reddish co%our& decoration& causing
Mhe is ma$ing& painting.J
A9n p%acing her %eaf%et %i$e feet on his supine chest& that are the abode of %a$-mii& and that are
adored with 'ewe% %i$e ros nai%s& he is decorating them with reddish %ac co%our on the a%read ros
feet... Ma pa EL-GJ
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a pa EL-H. ha%aha%adharaO p%ough wie%der Mp%ougherJ8 sodareO b brother of8 $aam apiO someone&
even Mone name%ess& fame%ess& run-of-the-mi%% gir%J8 su d>QishamO good& ees Mshe has& i.e.& (rishna
is hoodwin$ed b her mesmeric eesJ8 subh>QishamO ver hasti%8 ramaatiO ma$ing merr Mwith
herJ8 iha vi#apa udareO here& in tree's& be%% Minside arbourJ8 vi rasamO without& spirit Mfuti%e%J8
aXpha%amO without& fruit8 chiramO for a %ong8 $im avasamO wh& tarr8 vada sa$hiO spea$ up&
friend.
A3hen that p%ougher's brother is ver hasti% merrma$ing with an anonmous gir%& hoodwin$ed b
her mesmeric ees& wh shou%d 4 futi%e% and fruit%ess% tarr inside an arbour for a %ong... spea$ up&
oh& friend... MEL-HJ
#he p%ougher's brother indicates >dha's disdain for the %owbrow taste of (rishna& who ta$es
de%ights in a bump$in& %eaving queen %i$e herse%f. , farmer's brother can be a +armer "r.& but wi%%
not be a charmer... better %eave him& as he is... 4f iambs fit in - ;rotchet& th name is womanP
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a pa EL-V. rasa bha0aneO b%issfu% essence& saing8 iha $>Qita hari gu0aneO now& made Msaid&J
(rishna's& praise song8 madhuripu pada seva$e O (rishna's& at feet& worshipper8 $avi n>QipaO
poet's& $ing8 'aadeva$eO b "aadeva Mb his saingJ8 $a%i uga charitamO in (a%i& era& treading8
duritam O profanation8 na vasatuO not& dwe%%s Mnot to be attached8 come on... for it is
experienceab%e& experience it oh& devotees... is ensuant.J
7et not the profanation that is treading its wa in this (a%i era be attached to the $ing of poets
"aadeva& for he is a worshipper at the feet of (rishna& further he is saing 'experienceab%e b%issfu%
essence' avai%ab%e in this praise song on (rishna... come on& experience it& oh& devotees... Ma pa EL-
VJ
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H-G. hb sa$hi8 duutiO oh& friend& m messenger8 nir daa*O without& merc8 sha#ha*O a
phi%anderer8 adi na aaata*O if& not& come8 $im tvam duuaseO wh& ou& worr8 sa* bahu
va%%abha*O he has& man& sweethearts8 svac;ha.ndam ramateO b his own vo%ition& he ta$es
de%ight8 tatraO in that matter8 $im te duu-a0amO wh& our& be%itt%ing& disparage8 adaO now8
ut$a0#haO ecstas8 aartiO anguish8 bharaat ivaO fi%%ed with& as though8 sphu#at idam cheta*O
bursts& this& heart Mof mineJ8 daitasa gu0ai* aa$>Qi-amaa0amO b %over's& p%us points& being
attracted Mmagneti.edJ8 pria sa.ngam- aaaO with %over& to con'oin8 svaam aasatiO on its own&
Mm sou%J goes Mmerges in himJ8 pashaO ou ma see.
A9h& friend& if that merci%ess phi%anderer has not turned up wh ou worr as m messenger... when
he has man sweethearts and he ta$es de%ight in them b his own vo%ition& then wh do ou
disparage him... and when m heart is fi%%ed with anguish& brought b m ecstas in waiting for
him& this heart of mine appears to burst at antime& for it is sti%% being magneti.ed b his p%us points&
and if that happens m sou% merges on% in him& ou ma see it... MEL-GJ
4n fact this gir%friend is sorr faced unab%e to see the p%ight of >dha. 2ut >dha being as tongue-
%asher& next on% to -eetha of <a%mi$i& in a $ind of identification she %ashes her tongue at this gir%.
#hese messengers have a part to p%a when sent on de%egation such de%egations& un%i$e our present
da ambassadors who a%was parrot out '4 wi%% as$ m govt. and xerox that rep% to our govt....' .
*anuma in >amaana burns 7an$a after seeing -eetha. 4n mahabharata (rishna shows his ;osmic
2od after the fai%ure of peace ta%$s in 2haratas. #he are more than 'ust p%enepotentiaris.
-o a%so& this gir% must have done something that is rendering her si%ent. ;ommentators bring another
shade of meaning. #hough its word-to-word trans%ation is not given& the gist is %i$e this:
Est stan.a: ou are worring because ou might have had an ungratified bout with him& unsaab%e to
me. ,nd ou ob'ectionab% worr for m saing about him as a 'phi%anderer& merci%ess one' because
he might have 'phi%andered' with ou for he is too 'mercifu% to ou.'
Ind stan.a: 4 mse%f sa that he has man sweethearts& and said this even previous%. -o ou too$
chance to become one among them& though at present ou are sent as m agent.
Crd and =th stan.as: 4 don't mind his vo%itions and vaci%%ations with our %i$e& but 4 have none e%se
than him from da one. -o& when m heart bursts and sou% merges in him& then ou a%% put together
wi%% have our free butterf%ing and phi%andering... don't worr& 'ust wait for it...
4n duuti oga& duuti-s have to bear with a%% these aspersions - it doesn't matter...
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a pa EG-E. sa$hiO oh& friend8 aaO she Mwho isJ8 ramitaaO sated Mgratif ?desire& or a desirous person@
to the fu%%J8 ani%a tara%aO b bree.e& waved& ripp% Mbi%%owJ8 $uva%aa naanenaO b%ue-%otus M%i$e&J
with ees8 vanamaa%inaaO b (rishna8 saaO she8 $isa%aa shaanenaO tender-%eaves& on bed8 na
tapatiO not Mnever&J sears Mcause ?esp. emotiona%@ pain or great anguish toJ8 Mreprise: sa$hiO oh&
friend8 aaO she Mwho isJ8 ramitaaO sated8 vanamaa%inaaO b one who is gar%anded with a%%-
sanctifing basi% %eaves.
A-he who is sated b that bi%%ow b%ue %otus eed (rishna& she never sears on an bed of %eaf%ets...
oh& friend... for& she is sated b one gar%anded with basi%-%eaves... Ma pa EG-EJ
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a pa EG-I. vi$asita sarasi 'aO b%oomed& %a$e& born one M%otus %i$eJ %a%ita mu$henaO with attractive
Mrapturous&J face8 Me%%ipt. aa ramitaa vanamaa%inaa O she who is satedJ8 saa manasi 'aO she& with
mind& born one M7ove-god'sJ8 vi shi$henaO with sharp& arrowheads8 na sphu#atiO not Mnever&J
shatters.
A-he who is sated b that one with a b%oomed %otus %i$e rapturous face& 7ove-god's sharp
arrowheads never shatters her... for& she is sated b one gar%anded with basi%-%eaves... Ma pa EG-IJ
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a pa EG-C. am>Qita madhuraO ambrosia%& %usciousness8 m>Qidu taraO du%cet& fine%8 vachanenaO b
words8 saaO she Maa ramitaa vanamaa%inaaJ8 ma%aa 'a pavanenaO in )t. ma%aa& born Mhence&
sanda% scented& b bree.e8 na 'va%atiO never& singes.
A-he who is sated b him whose words have ambrosia% %usciousness and fine% du%cified& she never
singes in an sanda% bree.e... for& she is sated b one gar%anded with basi%-%eaves... Ma pa EG-CJ
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a pa EG-=. stha%a 'a%a ruhaO on %and& water& born Mi.e.& %otuses born on ground rather than in %a$es -
dr %and %otusesJ8 ruchiO bri%%iance MhavingJ8 $ara chara0enaO arms& feet8 saaO she Mas aboveJ8 hima
$ara $ira0enaO b coo%ness& ma$e Mmoon&J in his beams8 na %u#hatiO never& we%ters.
-he who is sated b him whose arms and feet have the bri%%iance of %and %otuses& she never we%ters
in coo%ing moonshine... for& she is sated b one gar%anded with basi%-%eaves... Ma pa EG-=J
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a pa EG-L. sa 'a%aO with water8 'a%a daO water& giver -c%oud8 samudaaO masses of8 ruchire0aO he
has their g%itter8 saaO she Mas aboveJ8 h>QidiO in heart8 viraha bhare0aO grief of rift& b weight of8
na da%atiO never& rends.
A-he who is sated b him whose g%itter is %i$e that of masses of c%ouds& her heart never gets rent b
the weight of grief in rift... for& she is sated b one gar%anded with basi%-%eaves... Ma pa EG-LJ
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a pa EG-G. $ana$aO go%d's8 ni$a-aO a strea$ or %ine of go%d made on a touchstone Mbut not the
touchstone itse%fJ8 ruchiO in shine8 shuchi vasanenaO a%%-purifing& b robes8 saaO she Mas aboveJ8
pari'anaO of peop%e around8 hasanenaO their %aughing of Ma %aughingstoc$J8 na shvasatiO never&
sighs for.
A-he who is sated b him whose a%%-purifing ochr robe that is a$in in shine with pure go%den
strea$s on touchstone& she wi%% never sigh for her becoming a %aughingstoc$ among $ith and $in...
for& she is sated b one gar%anded with basi%-%eaves... Ma pa EG-GJ
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a pa EG-H. sa$a%a bhuvana 'anaO in a%%& wor%ds& and their in-dwe%%ers8 vara taru0enaO best one& with
b%oom of outh8 ati $aru0enaO b his utmost& merc Mgrace& unmerited favour of !odJ8 saaO she Mas
aboveJ8 ru'amO bodi% pain Mb separationJ8 na vahatiO never& endures.
A-he who is sated b him who is the on% best one with b%oom of outh among a%% the in-dwe%%ers in
the triad of wor%ds& and the on% one with utmost grace& she wi%% never endure bodi% pain of
separation... Ma pa EG-HJ
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a pa EG-V. anenaO b this8 'aadevaO b "aadeva8 bha0ita shrii vachanenaO said& b%est& sentences
Mimport& songs - or bha0ita mi%anenaO said something about women con'oining with (rishna8 or -
anena bha0ita O b chanting& or singing a%ong these %rics said b "aadeva - wi%% be the meaningJ8
hari* apiO (rishna& even8 pravishatu h>QidaamO wi%% enter& heart Mthe heart of >dha& or in our
hearts too& fi%%ing our hearts with %ove.J
9n singing this song a%ong these sonmgs that contain b%est import& %et (rishna enter the hearts of
one and a%%& to fi%% them a%% with %ove. Ma pa EG-VJ
#his one song seeds the concept of a-chinta-bheda-a-bhedaa bhaava 'unheeding differences or
non-difference' ou %eap at (rishna...' so to sa. #his is a%so ca%%ed 2enga% schoo% or gau6ia
paddhati etc.& and these das unheard is this name& thus it is re%egated to a paddhati 'custom' rather
than a darshana 'phi%osoph' though %ater to sa6darshana-s. 2oth this and advaita of -han$ara are
same& though the was of both of its thin$ers differ. 4ts practises are evident than its rea% name. #his
concept of 2enga% schoo% nominates (rishna as the ununderstandab%e 2rahman of -han$ara& as the
ever-effu%gent& ever-overf%owing& ever-rising f%ood of rasa is in (rishna.
2etter this phi%osoph be retained& though not with this too technica% tit%e& but with some suitab%e
tit%e& sa premaadvaita& %i$e that of >amanu'a's vishi-#aadvaita& in view of its %oveab%e tenets.
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H-H. mana* bhavaO heart's& idea M%ove is heartfe%t idea& it won't occur on much rumination - so& this
is 7ove-godJ8 aanandanaO ou p%ease Msuch 7ove-god as his friendJ8 chandana ani%aO sanda%&
bree.e8 re da$-hi0aO arb - tactfu% one Marb urb turb- are addressing in dissent& or in affectionJ8
vaamataam mu.nchaO radica%ism& our extremism& %eave off8 hb 'agat praa0aO hb& wor%d's& %ife8
$-ha0am maadhavamO for a moment& (rishna be8 mama pura* nidhaaaO m& before& on $eeping8
prasiidaO be gracious Min wafting the %ovab%e sanda% bree.e on (rishna& in order to ma$e him come
to me unbearab%e of that %ove% bree.e - otherwiseJ8 praa0a hara* bhavishhasiO %ife& stea%er& ou
wi%% become.J
rN& tactfu% sanda% bree.e& thin$ not that ou a%one are a tactfu% one for our being the friend of 7ove-
god& but bree.e around (rishna& sti%% better a tactician& and see whether ou can fetch and p%ace him
in m presence& restive for m separation& and then 4 address ou hb& %ife of the wor%d.... otherwise&
it is ou who becomes the stea%er of m %ife& rather than a %ife-giver... thin$ of it... MH-HJ
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H-V. asminO which one Mwhich (rishnaJ8 mana* gateO in MmJ heart& having entered8 aamO his8
sa$hii sa.nvaasa*O gir%friends& staing in their togetherness& f%irting8 ripu* iva dunotiO enem& %i$e&
anguishing MmeJ8 hima ani%a*O coo%& bree.e8 shi$hii ivaO tongues of fire& %i$e MdunotiO agonising
meJ8 sudhaa rashmi*O nectarine& moonbeams8 vi-am iva MdunotiJO venom& %i$e& Maff%icting meJ8
tasminO in him8 aX daeO one without& merc& merci%ess (rishna8 evam h>Qidaam O this wa&
heart8 ba%aatO vehement%8 puna*O repeated%8 va%ateO swive%%ing8 ni$aamaO persistent8 nir
a.n$usha*O without& goad Munstoppab%eJ8 $aama*O 7ove-god8 $uva%aa d>QishaamO those with
s%anting& g%ances Mwinsome gir%sJ8 vaama*O becoming %eftist& extremist& a desperado.
A*e who has entered m heart and abiding in it& is f%irting with his gir%friends& and that is
anguishing me %i$e an enem... coo% bree.es are agonising me %i$e tongues of fire... nectarine
moonbeams are aff%icting me %i$e venom... et& m heart is repeated% swive%%ing around such a
merci%ess (rishna... this persistent and unstoppab%e 7ove-god is rea%% a desperado to winsome
gir%s& isn't soP MH-VJ
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H-F. hb ma%aa ani%aO oh& sanda% bree.e8 baadhaam vidhehiO pain Mvengeance&J wrec$ on me8
pa.nch abaa0aO oh& five& arrowed one - 7ove-god8 praa0aan g>Qihaa0aO %ives& ta$e Mextricate&
panca praa0aa* O pancha baa0aa*J8 puna* g>Qiham na aashrai-eO again& home& not& wish to
fa%% bac$ on8 $>QitaO made as& rendered as8 a.ntaO anta$a*& /nder& :ama's8 bhaginiO sister Moh&
>iver :amuna& ou now appear to be rendered as a sister of %ife ending :amaJ8 $-hamaaa $imO of
our patience& noncha%ance& is of what use8 tara.ngai* mama angaaniO with our ripp%es& m& %imbs8
si.nchaO drench& ma$e wet Mno suicida% tendenc is apparent p%ease& for this is a stubborn gir%J8
mama deha daaha* shaamatuO m& bod& heat& %et dampen Mma$e %ess forcefu%.J
AhN& sanda% bree.e& wrec$ our vengeance on me& hN& 7ove-god extricate m five-%ives with our
five arrows& for unwished is m fa%%ing bac$ on m home... hN& >iver :amuna& ou too seem to have
become a sister of %ife-ending ama b our noncha%ance& of what use is it... drench m %imbs with
our ripp%es& thus %et m bod heat dampen... MH-ECJ
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H-EK. praata*O in ear% morning8 nii%a nico%amO b%ac$& b%an$et Mof >dhaJ8 acutamO at (rishna
Mwho wrapped it around himJ8 piita a.mbaramO ochr Msi%$ dress of (rishnaJ8 sa.mviita
radhaaaa*O is wrapped aroundJ8 ura*O at >dha's bust8 ca$itam Mathaa tathaaJO in order to
confuse8 vi%o$aO on seeing8 sa$hii ma06a%eO her friends& circ%e8 svairam hasatiO teasing%&
%aughing8 satiO that being so8 >dha aananeO on >dha's& face8 vrii6aaO co%8 ca.nca%am
naanao*O f%uttering& of ees8 a.nca%amO ends& s%anting g%ances8 aadhaaaO on $eeping8 svaadu
smera mu$ha*O %ove%& smi%ing& faced one8 aam na.nda aatma'a*O he& that 0anda's& son8 'agat
aana.ndadaaa astuO for wor%d's& de%ightfu%& %et him be.
4n ear% morning when >dha and (rishna are coming out of their %ove resort& (rishna is wrapped
in >dha's b%ac$ b%an$et& and >dha's bust is wrapped with (rishna ochr si%$s. 9n seeing this& her
friend's circ%e started to %augh teasing% in order to confuse her. #hat being so& (rishna with co%
f%uttering ees $ept on his s%anting g%ances on >dha in a 'what-to-do-now' attitude. *ence& %et that
%ove% and smi%e-faced son of 0anda be de%ightfu% to the entire wor%d. MH-EKJ

% ' "q<. < r .
#hus& this is the Hth chapter& ca%%ed nagara naaraaa0a* - -hift (rishna& in giita govindam of
"aadeva.
)erse *o%ator +or nagara naaraa$a&a2 - Shi+t$ Krishna - Chapter 8
#op of Bage E I a_pa_EC C
a pa E= = a pa_EL L a_pa_EG
G H V F EK
Brevious -arga giirvaa0i 0ext -arga
9ct& IKKC& 6esira'u *anumanta >ao8 >evised: 0ov KV
#
Chapter [Sarga] 9 - Apologeti% Krishna
(rishna appears before >dha from out of thin air& on the next da morning. 2ut >dha on seeing
his appearance and apo%ogetic %oo$& starts her rants and raves at him.
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V-E. athaO then8 saaO she& >aadha8 smara shara 'ar'aritaa apiO 7ovegod's& b arrows& battered& even
though8 $atham apiO somehow8 aaminiimO night Mthat which has four quarters and is to be spent
with an uncertaint& means - with the prob%em of separatenessJ8 viniiaO MsomehowJ spent8
prabhaateO in morning8 agreO before her - (rishna appeared in her foreJ8 anunaa& vachanam /
vinaam& vadantamO with apo%ogetic& words& he who is spea$ing8 pra0atam api O he is
supp%icating& though8 priamO to her %over M(rishnaJ8 aahaO MsheJ spo$e8 saXabhasuuamO with
'ea%ous Mpetu%ant%.J
9n next da mooning >aadha saw (rishna appearing in her fore from nowhere& and started
spea$ing to her apo%ogetica%% and supp%iant% with pa%mfo%d8 but& she had to ta%$ to him petu%ant%&
because she somehow spent %ast night& an unspendab%e night throughout which 7ovegod's arrows
have been battering her& besides the prob%em of her so%itude. MV-EJ
0ow she becomes $ha06ita naai$a one among eight $inds of poetic heroines& who spea$s
disparaging% on noticing her man spent time with other heroines.
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a pa EH-E. hN maadhavaO ou& maadhava8 aahiO awa with ou8 $aitava vaadam maa vadaO
begui%er's& %ingo& don't& harp8 hN $eshavaO oh& $ehava - one with beautifu% head hair& one who is
interested in %ove% women that adore their hairdos beautifu%%8 aahiO be off - reprise.
hN sarasii ruha %ochanaO oh& %otus-%i$e& eed one Mhere& the pair of ees are %uring& one with %uring
ees8 aaO which gir%8 tava vi-aadam haratiO our& woes& ta$es awa8 taam anusaraO her& ou tag
a%ong8
ra'ani 'anitaO night& caused8 guru 'aagaraO b much& wa$ing8 raagaO reddened b passion towards
our gir%friend / with red co%our cosmetic of our gir%friend8 Mtava naanam O our eesJ8
$a-aaitamO a %itt%e reddened8
p%us8
a%asa nimeshamO with wea$ened& win$s8
p%us8
udita rasa abhiniveshamO sprang up Mbuoant&J in romance Men'oing& in sh>QingaaraJ those that
are experts in8 tava naanamO our& ees8 anuraagamO interestedness Min her a%oneJ8 sphu#am
vahatiOc%ear%& bear Mthose mar$sJ8 ivaO as though - the te%% so.
hari hariO oh god& oh god - oh bo& oh bo Min disdain8 this is a catchword of those das& made
avai%ab%e b the poet as he has not said this poem for $ings& queens& or courtiers. #his is sti%%
retained in 4ndian vocabu%ar& in forms %i$e - hai rN hai& vaarN vaa& aoo& a6e6e& raamaraama...
etc.& as an expression of disdain& disgust& or sorr.J
A2e off& (rishna& better harp not on begui%er's %ingo... %eave me a%one...
:our %otus ees& ever-buoant and expressive of our desu%tor indu%gences& are now win$ing
wea$% indicating our uns%eeping8 further the are doub% reddened& b night%ong wa$ing and b
the %ipstic$'s co%our of our %over& c%ear% bearing the mar$ of our curiousness about her... ergo tag
a%ong her who ma$es ou woe%ess... wh me... oh& bo& oh bo... Ma pa EH-EJ
#hen he is about to concoct something %i$e '4 was searching for ou s%eep%ess%... 4 searched
night%ong& hence m ees are reddish... but... et... that...' and then >aadha cuts in to rap out the
fo%%owing.
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a pa EH-I. hN $>Qi-0aO oh& (rishna8 $a''a%a ma%inaO b mascara& besmirched8 vi%ochana
cu.mbanaO on ees& b $issing8 virachita nii%ima ruupamO besmeared& b%ac$ness& a mar$ of8 MtavaJ
dashana vasanam aru0amO on teeth& covering - our %ips Mthat are with theJ g%ow of8 tava tano*
tanotiO to our& Mco%our ofJ bod& enriching8 reprise - aahi maadhava... aa harati vi-aadamO as
above.
A0ow matching is the g%ow of our %ips with the b%ueb%ac$ co%our of our bod for the mascara on
our %ove's ees seems sp%odged on them when ou $issed her... enough of it... be off... (rishna...
[c MEH-IJ
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a pa EH-C. tava vapu*O our& bod8 smara sa.ngaraO %ove's& war Mwarring in %ove-war& in grapp%es of
courtshipJ8 $haraO sharp8 na$haraO with fingernai%' $-hata re$hamO fa%%en& chafes - strea$s8
mara$ata sha$a%aO on emera%ds& pieces of8 $a%itaO carved8 $a%a dhautaO with high% washed - fine%
me%ted - go%d8 %ipi*O strea$s - of go%d8 rati 'aa %e$hamO in %ovema$ing& victor& certificate8
anuharati ivaO exceeds& as if.
, go%den %ettered certificate of merit in %ovema$ing& ornate% chirographed with high% refined go%d&
gi%ded on emera%dine p%aques to boot& seems to have been given to ou... for our ber%%us bod is
exce%%ing with such with carvings of strea$s and scratches of fingernai%s in %ovema$ing... be off
[c... MEH-CJ
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a pa EH-=. idam udaaramO this& broad Mor& bounteousJ8 tava h>QidaamO our& bosom8 chara0a
$ama%a ga%at a%a$ta si$tam Mor& $ama%a da%a %a$ta$a si$tamJO from feet& ca%%ed %otuses& s%id& with red
feet-paint& wet with8 madana drumaO %ove& tree8 nava $isa%aa parivaaramO with new& tender %eaves&
whor%ed8 bahi*O to outside8 darshaati iva O showing - appearing& as though.
A#his broad chest of ours now wet with red-%ac footpaint s%id from some gir%'s %otus feet& appears
as an a%%-embracing %ove-tree whor%ed with %ove-enticing new copper %eaf%ets& to moor anone
coming under its berth... enough are these moorings and strivings... be off... [c... MEH-=J
#he simi%e is between copper red %eaf%ets of tree and reddish foot-paint of gir%s& and between the
%ove-giving (rishna& and shade/comfort giving tree. 4f a tree is wetted man times& it wi%% bear
%eaves anew. 4f %ove is satiated it bears newer fruits. #his posture is ca%%ed $rodha bandha -
vaatsaaana the main treatise on aesthetic romance.
(# - 7 O$
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a pa EH-L. bhavat adhara gatamO our& %ip& gone in8 dashana padamO tooth& foot MbiteJ8 mama
chetasi 'anaati $hedamO in m& heart& causing& agon8
api adhunaaO even& now - even then8
tava vapu*O our& bod8 maaa sahaO me& a%ong with8 etatO a%% this Msaid& a%%eged sing%enessJ8
aXbhedamO not& separated Mentit of raadhamaadhavatvamJ8 mama chetasi O in m& heart8 $atham
$athaatiO how& Mm heart isJ saing so.
tava vapu*O our& bod8 maaa Mvapu*J sahaO m& MbodJ a%ong with8 aXbhedamO not& different8
$atham $athaatiO how& ou sa so.
A#ooth bites on our %ips cause agon to m heart& et m heart sas that we two are inseparab%
one... 4 don't $now wh... be off... [c...
9r
-eeing tooth-bites on our %ips m heart is anguished& even then ou sa that we are inseparab%
one& indisso%ub% concerted etc& etc... co.enage& or what... be off... [c... MEH-LJ
-ome heav-dut Bhi%o on 'oneness of >adha$rishna' is imbued in this one stan.a. #his gives root to
one viewpoint& darshana - aXcinta bheda aXbheda bhaava8 genera%% it is - heed%ess of difference or
non-difference - in supreme sou% and individua% sou%& whi%e the Bhi%o thin$ing prior to this was
manifo%d% different. #hen the argument is - 'though our %ip is bitten& 4 fee% pain in it& for we two
ma be different bodi% but one in sou% - aXbheda/non-difference. '4 have bitten m %ip so
ecstatica%%& hence 4 don't fee% pain' - aXbheda. ':our %ip is bitten& not mine' bheda/difference.
'#hough our %ip is bitten& 4 fee% that mine too is bitten - bheda-a-bheda - difference& et non-
difference. -o goes end%ess arguments& understandab%. Bhi%osophising a%% this& at this %eve% of
understanding the wordsmith of "aadeva& wou%d be futi%e.
! +Q< I# Q / $
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a pa EH-G. $>Qi-0aO hN& (rishna8 tava mano* apiO our& heart& even8 bahi* ivaO externa%& %i$e
M%i$e our externa% bodJ8 ma%ina taramO grim& higher in degree MgrimiestJ8 nuunamO definite%8
bhavi-atiO it wi%% be Mit seems to beJ8
atha - athavaa O samprashnaO if not MotherwiseJ8
asama sharaO 7ovegod's& b arrows8 'vara duunamO with fever& those that scorched - b arrows8 /
'va%a maanamO those that are being b%a.ing in %ove caused b 7ovegod8
anugatam 'anamO fo%%owing& peop%e Mour adherents& admirersJ8 $atham vanchaase O how& ou
deceive - %et down8 Mbe off.J
A:our heart seems definite% grimier than our begrimed bod& if not how come ou %et down our
own admirers& agonised in the %ovefever caused b 7ove-god's arrows5 2e off& (rishna... [c... MEH-
GJ
f + _ +9 79$
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a pa EH-H. bhavaanO ou8 vane-uO in forests Min 2rindavanJ8 aba%aa $aba%aaaO to wo%f down& gir%s
- even ;o%%oq /ng%ish has names %i$e wo%f& %ad-$i%%er etc for a p%abo8 bhramatiO ou roam8 $im
atra vichitramO what& therein& surprise Mit is unsurprisingJ8 vadhuu vadha nirdaaO women& in
$i%%ing& as a merci%ess one8 MtavaJ baa%a charitramO MourJ chi%dhood& %egends& puutani$a ivaO
puutana Mthe $i%%ing of demoness&J as with the %egend of8 prathaatiO exp%ains.
A:ou roam in 2rindavan wood%ands on% to wo%f down womenfo%$8 which is not at a%% surprising8
our chi%dhood %egends amp% exp%ain that ou are a %ad-$i%%er& as in the case of our $i%%ing
demoness puutana... be off... [c MEH-HJ
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a pa EH-V. hN vibudhaa*O oh& %iterati8 sudhaa madhuramO MthanJ nectar& nectareous8 8 'aadeva
bha0ita shrii Msuu$ti J O b "aadeva& said& promising MsongJ8 rati va.nchitaO from intimac&
cheated8 $ha06itaO a sort of heroine8 uvati vi%aapamO a oung %ad's - >aadha's& %ament8 vibudha
aa%aata* api dur aapamO gods& from abode of& even& an impossib%e song to get8 sh>Qi0utaO be
%istened.
A9h& %iterati& this promising song said b "aadeva& that which is nectareous than nectar& and an
impossib%e song to get even from the heaven& and that sas about 'the baw%s of a disregarded
heroine' cheated form intimac& ma be %istened... Ma pa EH-VJ
<erse 7ocator
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V-I. hN $itavaO ou begui%er8 tvat aa%o$a*O Msuch as ou are&J on our& appearance8 priaa paada
a%a$ta c;uritamO MourJ %ove's& with her feet's red paint& bedaubed Mchest& therebJ8 bahi* prasarat
anuraagamO out& f%owing& MourJ fondness Mfor herJ8 iva MsthitamJ O as though Mit appearsJ8
pashantaa*O on seeing8 tava idam aru0a c;haaa h>QidaamO our& this& red& co%oured
Mcovered&J chest8 mama pra$haata pra0aa bharaO for me& MmineJ high% renowned& %ove's& weight
Mhere& a weight primacJ8 bhangenaOowing to shattering8 adaO now8 sho$aat apiO from grief&
than8 $im apiO what& even Mto saJ8 %a''aam 'anaatiO disgrace& causing.
A:ou begui%er& our appearance with a chest bedaubed b the red foot-paint of our %ove reminds
me of our fondness for her outf%owing from that chest8 ga.ing a%% the time at that 'otherwise'
reddened chest& the primac of that high% renowned %ove of mine with ou is shattered& thereb& to
sa nothing of grief& a disgrace is caused in me... what more can be said... MV-IJ

<erse 7ocator
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V-C. $ura.ngii d>QishaamO for those who have deer %i$e g%ances& for beauties8 anta* mohanaO
inner% Mwithin heart of hearts&J faint Mecstasi.esJ8 mau%i ghuur0anaO head& b nodding8 ca%at
mandaara vibhra.mshanaO moving& mandaara f%ower& s%iding down8 sthambha a$ar-a0a d>Qipti
har-a0aO spe%%binding& magnetising& agonising& g%addening8 mahaa mantra*Osupreme& hmn8
d>Qipat daanava duuamaanaO se%f-conceited& demons& scorching8 divi-at durvaara du*$ha
aapadaamO for gods& unre%ieved& woefu%& impediments8 bhransha* $a.msaO (amsa Mthe evi% $ingJ8
ripo* M $amsa daanavaJO enem Mof (amsa and other demonsJ8' va.mshii rava*O mohana vamshi&
the f%ute& f%uting8 va* shreaansi samarpaatu O to ou a%%& riches& wi%% endow Min mms shreaamsi
vipo%aatu it is the same meaning& but when said vapohatuvo.ashreaamsi O va* a shreaamshi
vapohaatu O a%% our prob%ems be re%ieved b that me%odies from f%ute.J
#hat which ecstasies the hearts of hearts of deer-eed beauties& that which ma$es his head to nod&
b which nodding vermi%ion mandara f%owers s%ide down& that which is a supreme hmn with
spe%%binding& magnetising& agonising& g%addening effects& that which is scorching to se%f-conceited
demons& that which is a destructive power to the unre%ieved woefu% impediments of gods in
destructing the evi% $ings %i$e (amsa& thereb that f%utist has become the on% enem of demons&
that f%uting-me%od from that 6ivine +%ute& mohana vamshi& sha%% endow prosperet to ou a%%. MV-CJ
#he spe%%binding& magnetising& agonising& g%addening effects& ca%%ed mohana& vashii$ara0a&
maara0a& sthambhana& aa$ar-a0a are deducib%e from the treatises of aesthetic romance.
.
% ' OZg<. #i 4W .
#hus& this is the Vth chapter& ca%%ed vi%a$-ha/vi%a$-ha %a$-hmiipati* - ,po%ogetic (rishna& in !ita
!ovindam of "aadeva.
)erse *o%ator +or vilaSh$a laSh!iipati2 - Apologeti% Krishna - Chapter 9
#op of Bage E a pa EH I C

Brevious -arga giirvaa0i 0ext -arga
9ct& IKKC& 6esira'u *anumanta >ao8 >evised 0o KV
4'+'
Chapter [Sarga] : - Unpretentious Krishna
>dha's friend admonishes her for her misdemeanour with (rishna& though he is somewhat
unpretentiousness.
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F-E. athaO then8 manmatha $hinnaamO b 7ovegod& rendered he%p%ess MworstedJ8 rati rasa
bhinnaam O %ove's& %onging for savour& wrec$ed Mor& separated from having itJ8 vi-aada
sampannaam O woe& wea%th of8 anu chintitaO continua%%& thin$ing8 hari charitaamO (rishna's&
demeanour8 $a%ahaantaritamO to $a%aha-antarita - one among eight tpes of poetic heroines - 'sorr-
after-squabb%e' heroine8 taamO to her& that >dha8 sa$hiiO gir%friend8 uvaachaO advised.
#hen to >dha& who is b now worsted b 7ovegod& whose savour for %ove is 'ust wrec$ed& hence
she is wea%th in her woes& et who is continua%% thin$ing about (rishna's demeanour& to such a
'sorr-after-squabb%e' heroine of (rishna& her gir%friend advised. MF-EJ
#he mood of this $a%ahaantarita 'sorr-after-squabb%e' heroine wi%% be %i$e this: praa0eshvaram
pra0aa $opa Mbhare0aJ bishe-a bhiitam U aa caa#u$aaram avadhiira vishe-a vaagbhi* U
sa.mtapate madana vahni shi$haa sahasrasai* U baa-a aa$u%a ca $a%ahaa.ntarita hi saa saat UU 9ne
who %ashes her tongue at her %over with man possib%e snonms for a sing%e misdeed& ti%% the point
of his he%p%ess %eaving& and then she starts uni%atera% repentance& wet with tears and wearing for his
reappearance. 4n this mood the hero is anu$uu%a& an ob%iging fe%%ow& heroine as above& and the
friend duuti a harbinger-cum-prognosticator.
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a pa EV-E. hN maaniniOoh& vain& proud - coc$ gir%8 aNO ou& gir%ie M>dhaJ8 maadhaveO about
)aadhava M maaO 7a$shmi's& dhavaO husband - don't thin$ that he be%ongs to 7a$shmi a%one& he is
ours tooJ8 maanam maa $uruO coc$iness& don't& do8 madhu pavane vahatiO autumna%& bree.e whi%e
bree.ing8 hari*O (rishna8 abhi saratiO towards Mour preset p%aceJ comes8 MrepriseJ hN sa$hiO o&
dear8 bhavaneO in home& in our rea%m Mor& bhuvaneO in our rea%m of %ove& in wor%d J8 aparam
adhi$a su$ham $imO to boot& a better& e%atedness& what Mis there& or ou have.J
A:ou& coc$ gir%ie& don't show off our coc$iness& for (rishna comes to ou when the autumna%
bree.e bree.es... 9& dear& what better rapt ou've in the wor%d& to boot... Ma pa EV-EJ
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a pa EV-I. taa%a pha%aat api gurumO pa%m& fruit& more than that& heavier8 ati sa rasamO much
Mp%ethoric&J with& 'uice8 $ucha $a%ashamO bosoms& pot-%i$e M'aatai$avacanam& common nounsJ8
$im vipha%ii $uru-eO wh& fa%% into disuse& ou ma$e.
A*eavier than pa%m-fruits& p%ethoric in 'uice are these pot-%i$e bosoms of ours& wh do ma$e them
fa%% into disuse... 9& dear& what better rapt ou've at home& to boot... Ma pa EV-IJ
#his comparison has some i%%ustration about nature& apart from 'ust romance. Ba%m tree& as a%% $now&
is the ta%%est fruiting tree& and its fruits& not dates& are therefore supposed to be the %oftiest among a%%
fruits& both height wise and their content wise. #he fruit pa%m 'uice in a three-ee sap soc$ets& and
that 'uice is poor man's much %i$ed coo% drin$ in summer. 4t instantaneous% reduces bod heat&
minus an side effects& and hence& the pa%m fruits are praiseworth for a coo%ing effect. 4f these are
%eft unused& for want of some todd taper& or a c%imber to go to such a height& as the are 'not-so-
eas- to-get' variet& the become ston and fa%%. /ven then& the wi%% be put to use b burning them
in grass& for eating its $erne%& which has no such medicina% effects. #his is in mundane variet of
understanding poet's words in commonp%ace par%ance.
#he other sense attached to such anga pratanga var0ana '%imb b %imb poetising' - it is to be said&
whenever a fema%e deit or goddess is pictured& it doesn't go without such descriptions& because a
mother is identifiab%e b bust b the offspring& which was once usefu% for its birth. )inus them she
is nowhere. 4n %a%ita sahasra naama& such mother is said to have 'ston breasts...' $a#hina stha%a
ma06a%aa... meaning - %et mi%%ions and mi%%ions ta$e birth8 this mother-nature somehow nourishes
them& for her mamma $nows no wi.ening effect. -o& %et us give nature its own due.
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a pa EV-C. hN maaniniiO 9& coc$ gir%8 atishaa ruchiramO surpassing%& de%ectab%e8 harimO (rishna
be8 maa pariharaO don't& shun awa8 idamO this Mword& %itt%e ta%$J8 a X chiramO not& %ong before M'ust
nowJ8 $atiO how man times8 anu padamO at each& step8 na $athitamO not& said Mb me& of course.J
A9& coc$ gir%& don't shun that (rishna& for he is surpassing% de%ectab%e& and how man times 4
haven't said this %itt%e ta%$& not 'ust now and on each and ever step of ours... Ma pa EV-CJ
:et& >dha goes on refusing (rishna... for she is an emb%em of happiness for (rishna h%aadinii
sha$ti& and a smbo% of unquenchab%e desire& %i$e nature. (rishna wi%% a%was be tring to quench it&
but rare% nature gets satisfied& and demands him to be a%was with him& instead of incarnating
himse%f now and then& to see her or her we%%being. (rishna's appearance and disappearance in raasa
%ii%a& the ronde dance& in 2rindavan smbo%ises with god's periodic visitation to earth. 3hen it is
said& that god created who%e universe& in an ism& wh he or his messengers chance on% upon
earth5 3h don't the go to )ars& )oon& or to some 2%ac$ *o%e5 #hat too& in 4ndia he has to come
persona%% without sending some of his deputies. 2ecause& that so-ca%%ed 0ature& h%aadini sha$ti& is
on% here on this 2%ue 6ot& however queru%ous she might be. -o& instead of remarring that nature
with that god& %et us give her& her own due.
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a pa EV-=. $im iti vi-iidasiO wh& this wa& ou sin$ down8 vi $a%aa rodi-iO %ess& %ustre M%ac$%ustre&
namb-pambJ ou wai%8 vi hasatiO veri%& %augh8 tava sa$a%aaO our& a%%8 uvati sabhaaO gir%s&
gui%d Ma medieva% association of craftsmen or merchants& here mi%$maids.J
A#his wa& wh do ou sin$ down and wai%& ou namb-pamb& a%% of our gir%friends in our gui%d
are %aughing at ou& rea%%... Ma pa EV-=J
0ature's worring& sa this earth's worring& weeping& and wai%ing for the arriva% of that D%timate
onto her is as o%d as +ish 4ncarnation. /ver time he comes here& does some tric$s and gets out as
soon as his feats are over. 2ut 0ature wants that !od to be a%was with her& and he escapes from her
on po%ite% feigning something& and a%% this comes to mean - Aou be in our p%ace& 4'%% be in m
p%ace& but 4 come to ou on%& on% to go from our proximit...A as "ean-Bau% -artre prefers to sa:
7Texistence pr]cNde et commande %Tessence... /xistence precedes and ru%es essence. #his is the
4ndian variet of vaavhaari$a satta a co%%eague at %oggerheads with his '2eing and 0othingness.'
-(($
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a pa EV-L. sa 'a%aO with& water Mor& m>Qidu%aO softishJ8 na%inii da%aO %otus& peta%s8 shiita%a shaaneO
coo% Mrefreshing&J on bed8 harim ava%o$aO at (rishna& contemp%ate8 Mthen on% ou wi%% becomeJ8
sa pha%a naaneO with& fruition& for our ees wi%% be Mor& one with fructified ees& for she had once
seen him.J
A;ontemp%ate on (rishna reposing on a freshening bed of moist %otus peta%s& then our ees comes
to fruition... Ma pa EV-LJ
:ou are that %otus bed& serving as his sustainment. -ee that wa with our third ee& then on% ou
rea%ise our being is not different form that of his.
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a pa EV-G. $im itiO wh& this wa8 guru $hedamO heav& sadness8 manasi 'anaasiO in heart& ou
give raise8 sh>Qi0u mama vachanamO %isten& to m& words8 aniihitaO unwished for Munenviab%e&J
bhedamO having inequa%it Mamong ou too -finishing %ine& without broadening vaa$ha.J
A3h ou give raise to a heav sadness in our heart this wa& %isten to m words that exp%ain an
unenviab%e inequa%it among ou two... MEV-GJ
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+ +_ !

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4
a pa EV-H. hari* upaaatuO (rishna& comes Mto ouJ8 vadatu bahu madhuramO spea$s& much&
me%odious%8 $im iti $aro-i h>QidaamO wh& this wa& ou render& our heart8 ati vidhuramO
much%& wrench.
A(rishna comes to ou& ta%$s to ou much me%odious%& then wh ou wrench our heart this
much... Ma pa EV-HJ
#his and the above 'inequa%it' statements have some bearing to the saings of 2hagavad !ita& more
so aatma samamna oga of it. 6on't sit thin$ing 'he' and 'me' - a-cinta-bheda-a-bheda - for none
$nows what connection exists between the D%timate and the %ater.
?-<$
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a pa EV-V. 'aadeva bha0itamO b "aadeva& said8 ati %a%itamO ver& subt%e8 shrii hari charitamO
providentia%& (rishna's& a%%egor8 su$haatu rasi$a 'anamO give b%iss& to reve%%ing& peop%e Min his
%ore.J
7et the a%%egor of providentia% (rishna& said b "aadeva& be b%issfu% to the reve%%ers in his %ore... Ma
pa EV-VJ
<erse 7ocator
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F-C. atO b which reason8 tasmin prieO that& %over8 snigdhe MsatiJO when friend%8 paru-aa asiO
unfriend%& ou are8 atO b what8 pra0amatiO he ad'oins his pa%ms at ou& to appease8 stabdhaa
asiO uncommunicative Munappeasab%e&J ou are8 atO b which8 raagi0iO he is inc%ined in ou8
dve-asthaa asiO disinc%ined& ou are8 atO b what reason8 unmu$heO he is pro-faced Mfavourab%eJ8
viXmu$hataam aataaasiO face turned awa Mdisfavour&J ou go into a state of8 tatO b that reason
a%one8 hN vipariita $aari0iO oh& intemperance& causer of - intemperate >dha8 tavaO to ou8
shrii$ha06a charchaaO sanda%-paste& bod cream8 vi-amO MbecomingJ venom8 shiitaa anshu*O
one with coo%& beams - moonbeams8 tapana*O burner - Mbecoming asJ sun8 himamO snow8
hutavaha*O Mbecoming asJ fire8 $rii6aa muda*O in romantic games& cheers8 aatanaa*O
Mbecoming asJ tortures8 u$tamO meet%.
A2 which reason ou are unfriend% when that %over of ours is friend%& unappeasab%e when he is
appeasing& disinc%ined when he is inc%ined& and our fa%%ing into disfavour when he is favourab%e...
oh& intemperate >dha& b the reason of that intemperance of ours& our sanda%-paste s$incare is
becoming a venom& coo%ing moon as a scorching sun& snow as a fire& cheers in romantic sport as
he%%ish tortures& and the are a%% is meet% to unreasonab%e ou. MF-CJ
<erse 7ocator
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F-=. aXmanda aadaraatO b his not& s%owed Mb his a%acritous&J fondness8 saandra aananda O with
utmost& exu%tation8 purandara aadiO 4ndra& et a%8 divi-at b>Qindai*O b heaven%& droves8
aanamrai* ma$u#aO with reverent% bent& crowns8 indra nii%a ma0ibhi*O b sapphire& b%ue& gems
in those crowns8 sa.ndarshita indindiramO shown& swarms of hone bees8 svac;handamO at wi%%8
ma$arandaO hone8 sundara mi%atO %ove%i%& meeting Mriver f%owingJ8 mandaa$iniiO b >iver
!anga8 meduramO overspread Mbathed withJ8 shrii govinda padaO -hri (rishna's& feet8 aravi.ndamO
%otus feet8 a X shubhaO bad& fortunes8 s$andaaaO for ruination8 vandaamaheO %et us pra.
,t whom heaven% droves %i$e 4ndra et a% come owing to his a%acritous fondness for them& having
come the reverent% bend their crowned heads before him& thereb the sapphire b%ue gems in their
crowns appear to be the swarms of honebees hovering on hone-%i$e water of >iver ganga&
f%owing and bathing his feet at her wi%%& thus for the ruination of bad fortunes %et us pra at those
%otus feet of -hri (rishna. MF-=J
*ere a%so the poet is using the word s$anda& s$andaaa for perishing misfortunes... the tit%e of
vo%uminous s$anda puraa0a& as he has used names of metres& as ob'ects of his poem.

% ' +!'<. '+' .
#hus& this is the Fth chapter& ca%%ed mugdhamu$undam - Dnpretentious (rishna& in !ita !ovindam
of "aadeva.
)erse *o%ator +or- Chapter : - Unpretentious Krishna
#op of Bage E a pa EV I C

Brevious -arga giirvaa0i 0ext -arga
0ov& IKKC& 6esira'u *anumanta >ao8 >evised 0ov KV

Chapter [Sarga] 1; - Ta%t+ul Krishna
77.-

(rishna appears before >dha from thin air& and finding her somewhat %essened in her reca%citrance&
he starts to pu%% the woo% over her ees& tactfu%%. 2ut she is sti%% reticent.
<erse 7ocator

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EK-E. atraO there8 antareO in the mean whi%e8 hari*O (rishna8 dina anteO da& at end of -that
evening8 mas>Qi0aO to her who is precipitated Mhot-headed& excitedJ8 ro-a vashaatO indignation&
owing to8 a X siimaO not& within bounds - frantic8 ni*shvaasaO with suspires8 nissaha mu$hiimO
with a he%p%ess& face8 sa vrii6amO M>dhaJ with& sh - with 'whatamitodo' %oo$8 Msa vrii6aam...
upeta - '(rishna came sh%' can a%so be saidJ8 ii$-hita sa$hii vadanaamO she who is observing&
her friend's& faceto such a >dha who has8 su mu$hiimO a %ove%& face - to her8 sa aanandamO with&
re'oice M(rishna&J upetaO came near8 gad gada padamO Mbut withJ groaning and grumb%ing& words8
iti uvaachaO this wa& he said.
4n this meanwhi%e a%ong with eventide (rishna re'oicing% came near of %ove% faced >dha& who b
then is %oo$ing at her friend's face with a 'whatamitodo' %oo$& of course& with bound%ess suspires as
she is hotheaded% brid%ed8 and seeing her in such a mood (rishna& changing gramophonic-p%ate
from re'oice to reprieva%& started to spea$ with these grumb%ing and gruffing words.MEK-EJ

<erse 7ocator
4Nr - 1b - 77.--75|
+z7# '7+] ! $
n 7' 7 77+ 0
" P 7( P " P 7( P 57
# ! ! O+#
" P 7( P " P 7( P - 0 4 # 1b-1
# 23 - +'7 4# ' 7 +] ! 4
n 4 7' 7 7 7+
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# 4 ! ! O + #
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a pa EF-E. chaaru shii%eO 9& sweet one& b our heart - rather& 9& m sweetheart8 prieO 9& dear8
maiO on me8 a X nidaanamO without& cause8 maanamO petu%ance Mcho%erJ8 mu.nchaO re%ease - cast
off8 cast off our cause%ess cho%er on me8
sapadiO present%8 madana ana%a*O %ove's& fire8 dahatiO burns8 mama maanasamO m& bosom8
mu$ha $ama%aO of face& ca%%ed %otus Mfrom our %otus faceJ8 madhu paanam dehiO nectar& to swi%%&
%end me8 give me nectar of our %otus face to swi%%8
$i.nchit api vadasi adiO a bit& at %east& ou sa& if8 even if it is said in the %east& that ta%$ of ours
contain good or bad of mine& then our %ips open and our teeth spar$%es& with that spar$%ingJ8
tava danta ruchi $aumudiiO of our teeth Mca%%ed&J beautifu%& moonshine8 MharatiO stea%sJ ati
ghoramO high%& horrendous8 dara timiramO dar$ Mtenebrosit&J g%oom Mme%ancho%8 m stgian
me%ancho%J not tamas - 'ust dar$ness8 (rishna cannot have tamas& word obso%ete now& un%i$e dara
haasamJ8 that twin$%e of our teeth - haratiO stea%s8
tava vadana candra maa*O our& face& Mca%%edJ moon8 %ochana cha$oramO Mto mJ ees& Mca%%edJ
ca$ora birds8 sphuratO scinti%%ating8 adhara siidhaveO %ips& with nectar8 rochaatuO %et them Mees
ca%%ed birdsJ cheer up.
A9& dear... now %end me nectar from our %otus face... or& sa at %east a bit of it... or& even if ou sa
good or bad of me& but sa it... then that moonshine from the spar$%e of our teeth stea%s the high%
tenebrous g%oom in me... 9& sweetheart& %et the ca$ora birds ca%%ed mine ees cheer up with nectar
from those scinti%%ating %ips on our moon face... 9& dear sweetheart& cast off cause%ess cho%er on
me& for %ove-fire burns m bosom... Ma pa EF-EJ
6ar$ness entai%s fear - bhaa sthaaii bhaavam - and fear entai%s spoi%age of romance - bhagna
sh>ingaara sthaaii bhaavam. -o& %ovema$ing is forbidden in pitch dar$ness. 2ut& where are wic$&
oi% and matchbox in this bower5 *er spar$%ing teeth& as in an toothpaste advt.& are the EKKK3
bu%bs.
+# ! OO($
U -' - OZg O-0 4 # 1b-@
# 23 - 6 4 +# ! O O (
U - ' - OZg O -
a pa EF-I. hN su datiO 9&dear with beautifu% teeth8 tvamO ou8 satam evaO tru%& that wa8 mai
$opinii adi asiO on me& furious& if& ou are8 dehiO give8 $hara na$ha shara ghaatamO sharp&
fingernai%s& arrow& gashes8 Mif ou are dissatisfied with itJ8 gha#aa bhu'a bandhanamO sp%ice& our
arms& to shac$%e me8 Meven if our are dissatisfied with such an incarceration& thenJ8 'anaa rada
$ha06anamO cause& teeth& tearing8 vaaO or e%sewh these pic$-and-choose punishments8 enaO b
which $ind of punishment Mfor m misdeeds& ou fee% happ& that ou give8 4 te%% these tric$s as m
mother tric$ed me this wa and fastened me to a grindstone& cart etc in m chi%dhood - now do the
same& of course& with different itemsJ8 su$ha 'aatam bhavatiO happiness& causes& in ou& those
Mimpose punishments that wi%% be causing such happiness to ou.J
A9& toothi% dear& if ou are that wa tru% furious of me& gash me with ou arrow fingernai%s... if
not& shac$%e me down sp%icing our arms around me... if not& tear me with our teeth... or& ma$e do
an punishment in whichever wa ou fee% happ... howsoever 9& sweetheart& cast off cause%ess
cho%er on me... Ma pa EF-IJ
/_< - -w $
! 9 !

w0 4 # 1b-A
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- w %! 4 9 !

4 w
a pa EF-C. tvam asi mama bhuu-a0amO ou& are& to me& ornament Mgrace -an attractive featureJ8
tvam asi mama 'iivanamO ou& are& to me& existence& or quintessence Mmetaphsica% ensJ8 tvam asiO
ou& are8 bhava 'a%adhi ratnamO Mfor the tempora%J wor%d& ocean-%i$e& 'ewe% Mnot on% m 'ewe%& but
being with me ou wi%% be the %one 'ewe% of %ove& in this unnavigabe ocean-%i$e wor%d& as an
pauper wou%d be on c%oud nine if he chances on a 'ewe%J8 iha maiO here& in m respect Min this
somatic wor%d8 e%%iptic: pra0ateO whi%e 4 pra& or sue ouJ8 bhavatii anurodhini bhavatuO ou ma&
be gracious to me Mas against - virodhinii - one at %oggerheadsJ8 tatraO in that matter8 mama
h>Qidaam satatamO m& heart is& ever8 ati atnamO more& effortfu%.
A:ou are m grace& ens& and a 'ewe% for this tempora% wor%d... hence& here in this unnavigab%e
somatic wor%d 4 sue ou to be gracious to me& for m heart is ever effortfu% in that matter... Ma pa EF-
CJ
-ome notes on these %ines are at the end of this song.
#'7 ++G#$
+(<5 - +Q<G#0 4 # 1b-K
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+ ( < 5 - +Q< % 6 4G#
a pa EF-=. hN tanviO o& sve%te >dha8 tava %ochanamO our& ees wi%% usua%% be in8 nii%a na%ina
aabham apiO b%ue& %otus& in hue& though8 $o$anada ruupam dhaaraatiO pin$-%otus& effect& the now
bear8 idam Mtava $opa %ocanamJ O this ee - these irefu% ees of ours8 $usuma shara baa0a
bhaavenaO f%ower& arrow shooter's Mas with 7ovegod's pin$ %otus arrowJ arrow& in effect8 $>Qi-0am
O 4 who am in indigo-b%ue bod Mmaam apiO me& tooJ8 ra.n'aati adiO Mthe arrow eesJ de%ight& if8
Mor& ra.n'aasi adiO if ou de%ight me - wi%% be used b someJ8 etat anuruupamO a%% this Mire& fur
and pin$ness of ours&J wi%% be most becoming.
A9& sve%te >dha& though our ees wi%% be in the hue of b%ue-%otuses& the now bear a pin$% effect
of pin$ish %otuses in a%% their ire... a%beit& if the render themse%ves as the one and on% pin$ %otus
arrow of 7ove& and de%ight me shooting with them& rendering m sapphirine hue as the ver pin$ of
%ove& then a%% this ire& ees& and their pin$ness wi%% be most becoming... Ma pa EF-=J
#his is raadhaa $uu g9rii - m $uu $aa%aa - concept.
n +7+# <5- 5 - !

( $
(# -Zg _ '&(0 4 # 1b-[
# 23 - n +7+ L# < 5- 5 - !

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a pa EF-L. priNO oh& dear8 tavaO our8 $ucha $umbhao* upariO bosoms& pot-%i$e& on overside8
ma0i ma.n'ariiO set of gems& gem chest pendant& a c%uster of sapphires8 sphuratuO %et g%itter Mwith
the pin$ness of our ees ref%ected on themJ8 tava h>Qidaa deshamO our& chest& p%ace MbustJ8
ra.n'aatuO MifJ it de%ights Mme& who am in sapphirine hue& such as 4 am8 where the comparison of
bosoms with pots suggests puu0a $umbha& puur0a $a%asha& and gemmed pendant man'ari to
auspicious gar%ands& tora0aa-s& used before the start of an auspicious ritua%& here that auspicious
event is the union of rdha$rishan8 e%%iptic adiO if - used to sa adi tava h>Qidaa desham8 mama
h>Qidaa desham ran'aatuO if our bust with b%ue-gem pendants de%ights me on its contact with
m indigo-b%ue chestJ8 tava rashanaa apiO our& gird%e strings with tin$%e be%%s& even8 ghana 'aghana
ma06a%eO on curv& hip& areas Mwaist%ine8 then in that bust%eJ8 rasatuO ma$e tintinnabu%ations8
manmatha nidesham gho-aatuO 7ovegod's& bidding& %et Mthat gird%eJ repeated% announce.
9r
priNO oh& dear8 tava $ucha $umbhao* upari ma0i ma.n'arii sphuratuO on our& bosoms& pot-%i$e&
on overside& c%uster of sapphires pendants& %et them g%itter8 tava h>Qidaa desham ra.n'aasi adiO
our& bust& %et it be bri%%iant8 tava rashanaa api ghana 'aghana ma06a%e rasatu / ra0atuO our&
gird%e& even& on our high hip& be bust%ing8 %et a%% of them8 manmatha nidesham gho-aatuO
7ovegod's& to bidding& give c%arion-ca%%8 this parsing is when parsed with ran'aasi adi O if ou
de%ight me -but man wi%% %eave off this& saing untenab%e parsing.
A9& dear& %et that c%uster of sapphire gems on our pot-%i$e bosoms be g%ittering doub% with the
pin$ness of our ees& and with such gems if our bust de%ights me on its contact with m
sapphirine chest& then the bust%e of tin$%e be%%s of gird%e strings on our curv waist%ine wi%% be
repeated% announcing the bidding of 7ove with their tintinnabu%ations... Ma pa EF-LJ
&+5- !

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a pa EF-G. hN mas>Qi0a vaa0iO 9& one with me%odious& voice Mme%%isonantJ >dha8 stha%a $ama%a
ga.n'anamO %and& %otuses Mterrene %otus& that grows on groundJ& that gainsa Mthose %otusesJ8
mama h>Qidaa ra.n'anamO m& heart& those that de%ight8 'anitaO whi%e causing M4 can ma$e them
more exce%%ent on the stage of passion whi%e in the p%a of passionJ8 rati ra.ngaO p%a of passion& on
the stage MrangaO %itera%%& adeptness& expertise in arts8 un%ess one is adept he/she cannot go on the
stageJ8 para bhaagamO exce%%ence Mboth feet wi%% have mutua%% exce%%ent sp%endour& exce%%ent%
adept in footwor$ whi%e on the stage of %oveJ8 cara0a dvaamO foot& coup%e of8 sarasaO
passionate%8 %asatO shining8 a%a$ta$aO with %ac& ros cosmetic of foot8 Msome mms sagana ga%ada
%a$taJ raagamO crimsoned8 MadiO ifJ8 $aravaa0iO M4 canJ do8 Mif 4 can maqui%%ageO app%ing
ma$eupJ to our feet with crimson %ac& the red cosmetic of feet& ou wi%% be de%ighted& henceJ8
bha0aO what-do-ou-sa Mor& what-d'e-sa - after how-d'e-do.J
A9& me%%isonant >dha& those feet of ours that gainsa %and-%otuses are the de%ighters of m heart...
ma 4 maqui%%age them with crimson red foot-cosmetic& then both of them wi%% be exce%%ent&
sp%endorous& and adept in footwor$ on the stage in the p%a of passion& that which wi%% be de%ightfu%
to ou& what-d'e-sa... Ma pa EF-GJ
OZg (Zg ! ##D $
k<+ 4 !#!+0 4 # 1b-^
# 23- OZg ( Zg ! # #D L
k < + 4 ! L#! +
a pa EF-H. hN preasiO 9& %ove8 mama shirasi ma06anamO on m& head& Ma distinctiveJ ornament
MmotifJ8 udaaramO g%or Mresp%endent ma'est or magnificence8 great beautJ8 smara gara%a
$ha06anamO 7ovegod's& venom& dissevers Mantivenin& antivenomJ8 MtavaO ourJ8 pada pa%%avamO
foot& tender-%eaf8 Mmama shirasiO on m& headJ8 dehiO give& Mwith stressed dha - dhehiO p%ace&
$eep8 dhaati& dhiita - to $iss& to suc$%eJ8 maiO in me8 daaru0a*O into%erab%e8 madanaO 7ovegod's8
$adanaO $adanam $a%u-e taape - vishva $osha& scorching& not war8 even war wi%% be scorchingJ8
ana%a*O fire Mother mms aru0a*O reddish %i$e f%ameJ8 'va%atiO burning8 tat upaahitaO to that Mfire
of 7ovegod's scorching&J connective to8 vi$aaramO disquietude& desperateness etc.& abnorma%ities8
haratuO %et Mthose feetJ spirit awa8 Mor straight%: tread m bod to tread on that 7ovegod& to tread
out his fire.J
A9& %ove& that tender-%eaf foot of ours is an antivenin to the venom of 7ovegod& p%ace it on m
head& and ma$e it m motif and m g%or... for& that scorching fire of 7ovegod is burning me
into%erab%... hence& tread m bod to tread on that 7ovegod& to tread out his fire and its
abnorma%ities... Ma pa EF-HJ
%7U7U#U7< +7- $
--+/_ --(0 4 # 1b-^
# 23- % 7U 7U #U 7 < + 4 7 -
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a pa EF-V. itiO this wa8 cha#u%aO cute Mca#u%a* sundare ca%e - dhra0i nigha0#uJ8 chaa#uO with
words eas and dear to remember - catch words8 pa#uO endearing words - cann8 chaaruO
charming words8 maaninii 'ana 'anitamO in women& fo%$& caused8 shaatamO with comfort8 'aadeva
$avi bhaaratii bhuu-itamO b "aadeva& poet's& poetr& adorned with8 Mor& 'aa padmaaavatii rama0a
'aadeva $avi bhaaratii bha0itam ati shaantam - in other mmsJ8 mura vairi0a*O of (rishna8
raadhi$aam adhiO >dha is& made as target8 vachana 'aatamO words& c%uster of8 ati 'aatiO high%&
winning Mhigh% thri%%ing.J
9r
itiO this wa8 cha#u%aO a topic-changer8 chaa#uOone who emp%os catch words8 pa#uO but a who
is a capab%e one8 chaaruO a charming one too8 mura vairi0a*O b such (rishna8 raadhaam adhiO
>dha& spo$en to8 vachana 'aatamOhaving such words& c%uster of8
here foot changes in other mms:
'aa padmaaavatii rama0a 'aadeva $avi bhaaratii bha0itam ati shaantam8
or
'aatu padmaaavatii rama0a 'aadeva $avi bhaaratii bha0itam iti giitam8
'aadeva $avi bhaaratii bhuu-itamO b "aadeva& poet's& poetr& adorned with8
or
padmaaavatii rama0a 'aadeva $avi bhaaratii bha0itam ati bhuu-itam
ati 'aatiO high%& winning Mhigh% thri%%ing.J
#his wa& %et the words of (rishna targeting >dha adorn the poetr of poet "aadeva8 because the
are cute& catch& cann& and charming& %et them remain high% thri%%ing and comforting to
womenfo%$... Ma pa EF-VJ
4f 2hagavad !ita ca be understood in a trice without an he%p of commentaries& this chapter too is
understandab%e& indepth. 9therwise we shou%d be content with its prima facie meaning.4n this song
apparent% unnecessar or commonp%ace words seem to be encrusted8 either b origina% poet or b
interpo%ators& and at end he foreordains them to be high% thri%%ing. 4n saing such a %oose construct
'ou're m ornament& ou're m existence& ou're m 'ewe%...' or '$eep our feet on m head... tread
over me...' etc.& can we possib% attach some %axit to the poet's thought5 0ot so. #his song is
%oaded with Bhi%o of the then egging and revo%ting method of rdhamaadhava tradition. -ome of it
can be incorporated here& but it becomes an overhead transmission& and owing to man dissensions
in its own tenets - it is s$ipped.
Dsua%% separated %overs get a%% oddities in their behaviour& to the %eve% of de%irium and swooning.
#he sanda%-bree.es become venom and the 7ovegod the serpent& and then the eag%e has to come to
scare the sna$e. ,nd comparing heroine's feet& if compared to the c%aws of eag%e& as some technica%
parison& it wi%% be 9(& but becomes too much& ca%%ed aa$-hepa ruupa$a& and "aadeva as a writer of
the treatise on aesthetics of poetr& ca%%ed candraa%o$a ma not incorporate such words.
4n this boo$ candraa%o$a& chapters are named as mauu$ha-s in which the items discussed are
prathama mauu$ha: $aava hetu& %a$-ha0a& ruu6hi& augi$a $athana8 next& chapters and their
sub'ects are: dvittia mauu$ha: do-a var0ana8 t>Qitiia mauu$ha: dasha vidha vishe-a %a$-ha0a
niruupa0a8 caturtha*8 dasha gu0a nirvacana8 pancama: shabda artha a%an$aara parisan$'haana.
0one %ater to "aadeva bothered about the ideas given in the third chapter. #his boo$ or detai%s
about it ma be avai%ab%e in magnum opuses of aacaara sushii%a $umar de& or that of 6r. -han$aran
et a%& or in some archives& as a%% wi%% 'ust exto% "aadeva& but none ma$es his wor$s avai%ab%e to
enthusiasts.
<erse 7ocator
#! +''+ (5+B
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# 23 - #! + C''+ (5+
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EK-I. hN $>Qita aantan$eO 9& one who surmised& some doubt M'ea%ous or& having grief about m
infide%itJ8 pari hara sha.n$aamO comp%ete%& give up& our doubt8 ghana stana 'aghanaaaO b one
who has mass& bosom& hips8 tvaaaO Msuch as ou are&J b ou8 satatamO a%was8 paraaO to others
Mother heroinesJ8 anXava$aashiniO no& room Mon our ma$ing no roomJ8 sva anteO in m& interior -
in m heart of hearts8 aa$raante satiO pervading& whi%e8 vi tano* ana*O one without& bod -
bodi%ess 7ovegod& other than8 dhana* $a* apiO fortunate one& who wi%% be& even if - even if some
other gir% is fortunate enough& she cannot enter b heart now - usua% dia%ogue of a suitor - 'm
abidance is with ou a%one...'8 mamO in m8 a.ntaram na vishatiO heart& not& enters8 pra0ainiO oh&
dear8 parii ra.mbha O embrace Mp% note in parirambha0a there is no sound of heaviness of her
breastsJ8 aara.mbhe O in starting of8 vidheataamO as befitting deed Mor& $ain$ara pradiiataamO
bondage& accord me Mthra%domJ8 vidhehiO impose& grant me Mor& enthra% me.J
A9& 'ea%ous >dha& comp%ete% give up our doubt about m infide%it& whi%e ou with our bosom
bust and rotund hip are a%was pervading m heart of hearts& ma$ing no room to others... moreover&
who is that 'other' fortunate fe%%ow who can enter m heart& excepting that 7ovegod for he is
form%ess... hence& 9& dear& grant me thra%dom and start enthra%%ing me& with an embrace... MEK-IJ
4n this poem $aava %inga - a%an$aara8 naai$a - prau6ha8 naaa$a - praga%bha8 vipra%ambha
s>Qingaare - priaa sanga siddhi. 0ow& this bo changes his tune and starts entreating her& as though
he is temporari% dis%oa%& where that dis%oa%t is temporar ever time.
<erse 7ocator
8 ! .'5 ( .D'g#g $
7Zg v! #5 7< 7Zg+Zg "'0 1c-A
# 23- 8 ! . ' 5 ( D ' g #g
7Zg Lv! #5 7< 7Zg +Zg 4 "'
E-C. mugdheO sva hita ava'YnaO 9& coest >dha8 maiO Mif thin$ 4 have da%%ianceJ in me8 vidhehiO
sub'ect Mme toJ8 nir daaO without& merc8 danta da.nshaO teeth& s%ashes8 do*O arms8 va%%iO
fibri%%ar8 bandhaO snares8 nibi6a stana pii6anaaniO oppressive& bosom& squee.es8 cha06iO 9&
shrew8 asava* praaantiO %ives& started to %eave8 pa.nca baa0aO one who wie%ds five& arrows -
7ovegod8 cha06aa%aO MhereJ crue%& fe%on8 $aa06aO b arrows8 da%anaatO b c%eavage of8 tvam eva
mudamO ou& a%one& happiness8 ut vahaO on& carr Mcarr on& continue to be happ.J
A9& coest >dha& shou%d ou thin$ that some da%%iance is with me& then merci%ess% sub'ect me to
s%ashes of teeth& snares of our fibri%%ar arms& squee.es of our oppressive bosoms... 9& shrew& now
m %ives have started to %eave& for arrows of that fe%onious 7ovegod are c%eaving& be happ when
the %eave... MEK-CJ
4n this naaa$a - anu$uu%a8 naai$a - mugdha8 rasavat - a%ana$aara8 gu0a - praasaada8 riiti -
vaidarbhi8 4n the next step& according to vaastaaana naaa the hero tries to bring round the
heroine& b f%attering her beaut.
<erse 7ocator
((O 5 f/ -!++#> $
_5 -/ ((E590 1-K
# 23 - (( O 5 f/ - ! + + #>
L _ 5 - / 4 ( ( 6 E 59
E-=. hN shashi mu$hiO 9& moon& faced one8 tavaO our8 ba.ngura bhruu*O curv& eebrows8 uva
'anaO for oung& peop%e8 mohanaO for swooning8 $araa%a $aa%a sarpii bhaatiO %i$e dangerous& b%ac$&
cobra& it is shines forth M%i$e that ofJ8 tatO from it Mfrom cobra %i$e eebrowJ8 udita vi-a
bha.n'anaaaO spewed out& poison& to antidote8 uunaamO for ouths Mbitten b such %ove-cobraJ8
tvat adharaO our& %ip's8 shiidhuO %iquor %i$e intoxicant8 shuda evaO nectar& a%one8 siddha ma.ntra*
MivaJO se%f-manifested& chant.
A9& moonfaced >dha& our curv eebrow is shining forth %i$e a dangerous b%ac$ cobra that ma$es
anone to swoon& and the nectareous intoxicant of our %ips a%one is the antidote to such a poison
spewed out b such cobra %i$e eebrow& %i$e a se%f-manifested mstic chant... MEK-=
9ther hmns ie%d resu%ts after much chanting and painfu% practice. 2ut the %ove% nectar of her %ips
spi%%s out in a spe%% without those man practises or hardships& for she is an embodiment of %ove.
<erse 7ocator
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EK-L. hN tanviO 9& curvaceous >dha8 v>Qithaa maunamO point%ess& muteness8 vathaati maamO
despairing& me8 hN taru04O o& damse%8 madhura aa%aapai*O with sweet& words8 prapa.nchaaO
spread out Mcommunicate& ta%$ free%J8 pa.nchamamO in fifth note M%i$e $oe%J8 d>Qi-#ibhi* taapamO
b MfavouringJ %oo$s8 vi nodaaO to side& cast8 hN sumu$hiO o& gracious faced one8 vi mu$hii
bhaavamO tuned awa& faced Mungracious&J notion Msumu$hi cannot become a vimu$hi or
durmu$hiJ8 taavat vimu.nchaO a%% that& cast off8 na mu.ncha maamO don't& %eave off& me8 hN
mugdheO ou& b%as] gir%8 atishaa snigdha*O with abounding& passion8 aam pria*O that& %over of
ours8 svaam upasthita*O persona%%& is in our presence Mhe is now se%f-manifest.J
A9& curvaceous >dha& despairing is our point%ess muteness... o& damse%& ta%$ me%odious words
free% and in fifth note %i$e $oe%... cast off a%% that ungracious notion for ours is a gracefu%
countenance& and don't %eave me in %urch... o& b%as] gir%& he who has abounding passion& that %over of
ours is present% se%f-manifest... MEK-LJ
4n this naaa$a - anu$uu%a8 gu0a - prasaada8 v>Qitti - vaidarbhi8 giiti - maaagadhi8 a%an$aara -
athaa sa.n$ha8 v>Qitaa - hari0i 'Dnti% the time of arriva% ou ma$e fuss about m non-attendance&
and when 4 am present ou turn awa our face... gir%ish caprice... isn't itP'
<erse 7ocator
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EK-G. hN cha06iO 9& irefu% one M aamO this MtavaO ourJ8 adhara*O %ips8 bandhuu$a duti
baandhava*O bandhuu$a b%ood red f%ower& in resp%endence& re%ative of Mb this the b%ood draining
arrow of manmatha& 7ovegod is saidJ8 snigdha* ga06a*O soft& chee$'s Mco%ourJ8 madhuu$a
c;havi* cha$aastiO madhuu$a& pa%e e%%ow co%oured f%owers& shine& outshines Mb this pa%ing and
du%%ing f%ower arrow of 7ovegod is saidJ8 %ochanamO ees Mco%ourJ8 nii%a na%ina shriiO b%ac$&
%otuses'& sp%endour8 mochanamO carr off Mb this the maddening effect caused b 7ovegod's b%ue
%otus is saidJ8 hN $unda aabha daantiO o& 'asmine& white% whitish hue& our teeth Mwith this the
whitening& b%anching 'asmine arrow of 7ovegod is said& with which the spar$%e of teeth& or of the
bod is %ostJ8 hN prieO o& dear8 naasaaO b nose's Mco%ourJ8 ti%a prasuunaO ginge%% f%owers'&
chi%dren - f%ower's buds8 padaviimO their status8 ati etiO over& stepping Mtranscending8 b this the
draava0a sha$ti -desiccating power of 7ovegod's arrow is said8 and on seeing that& it appears that
a%% those f%ower arrows are used on ou to render ou to this stateJ8 sa*O he& Mwho was rendered
bodi%ess b !od -hiva - 7ovegodJ8 pu-paa audha*O f%ower& weaponed 7ovegod8 tvat mu$ha
sevaaaO our& face& on adoring8 vishvam vi'aate praaa*O wor%d& victorious& perhaps.
A9& irefu% dear& our shou%d-have-been ros %ips turned red and %oo$ %i$e the re%atives of b%ood red
f%owers of bandhuu$a8 that wa& our one-time soft b%ushing chee$s are now pa%ish and outshine the
shine of pa%e e%%ow f%owers of madhuu$a8 our gu%%ib%e wide ees are now wide-eed and carr off
the b%uish sp%endour of b%ue-b%ac$ %otuses& because ou are b%ues8 oh& dear with spar$% teeth& our
teeth are now spar$%ess %i$e the hue of white% white 'asmine f%owers8 our nose is transcending the
%ac$%ustre co%our of ginge%% f%owers& b this 4 surmise& perhaps& the 7ovegod is victorious on a%% the
wor%d& on% after adoring our face... MEK-GJ
<erse 7ocator
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EK-H. hN tanviiO o& come% >dha8 tava d>Qishau mada a%aseO our& ees& b passion& do.8
Ind meaning - madaa%asa is the name of one ce%estia% apsara-s& courtesan in 4ndra's heaven. -o& in
heaven there is one madaa%asa& but here in ou& ourse%f p%us that madaa%asa are appearingJ8
vadanam indum ati u''va%amO our face& for moon& superb%& shining Mour face is ma$ing the moon
to high% shine8
Ind meaning: there is one courtesan ca%%ed indumati8
gati*O our gait8 'ana mana* ramaaO for peop%e& heart& p%easing - or& breathta$ing
Ind meaning - another ce%estia% name% manorama is there8
uuru dvaam vidhuta ra.mbhamO thighs& two& confute& Mbeaut ofJ soft& so%id& et ver %ight thigh-
%i$e stems of banana p%ant8
Ind meaning - the famous court dancer rambha in the quartet of rambha& uurvasi& mena$a& ti%ottama
- in 4ndra's court8
tava rati*O our fro%ic$ing8 $a%aa vatiiO artistr& having Mhas artistic features %i$e haava& bhaava&
$i%i$incita& mo##aaita& bibbo$a& and the %i$e expressionsJ
Ind meaning - $a%aa vatii is another ce%estia%& whi%e rati is manmatha's consort8
bhruvau ruchiraO eebrows& enchanting8 chitra %e$heO with astounding& mar$s Mof fo%iages painted
with erasab%e tattooing on face& hands& chest and on other visib%e parts8
Ind meaning - citra%e$ha is another courtesan8
tvam p>Qithvii gataaO ou& on earth& though entered MpresentJ8 vibudha auvatam vahasiO ce%estia%&
damse%s' Mbeaut&J nearing8 ahoO what a surprise.
A9& come% >dha& our ees are do. with passion& our face ma$es the moon to shine superb%&
our gait is breathta$ing to peop%e& both our thighs confute the softness and %ightness of thigh-%i$e
stems of banana p%ants& and our fro%ic$ing is artistic with nuances of tone& depth& spirit and ardour
of expressions& our eebrows are enchanting %i$e the painted fo%iage designs& and though ou are
an earth%ing ou bear the %oo$ of ce%estia% beauties... surprisingP MEK-HJ
*ere man tend to give the names of ce%estia% courtesans as main import. >dha is no courtesan&
and even if she were to be such& she has none other than (rishna to court with. 4t is said that when
the main import mu$ha artha is undecipherab%e& then ou go b %a$-ha0a a%%egorica% meaning& but
not to arrive at secondar or %exica%& or apparent meaning gau0a artha& and here that ru%e is specific.
#hough the poet uses these names& and though the vaaca$a %upta upama 'metaphor minus comparing
word' is suggestive& in view of absence of commona%it anugaami dharma of 'courtesan-ship in
>dha...' these are to be %eft off. D%timate% the utter f%atter of this bo reduces to 'ou are
beauteous %i$e ce%estia%s...' where heaven of 4ndra is said as a first c%ass waiting room on a rai%wa
p%atform& and when the merit is counted down& one has to vacate it though he ho%ds a tic$et $-hii0e
pu0e marta %o$aa* pravishanti... and because the main characters are drawn from somewhat
higher rea%ms& than the p%atform-%i$e 4ndra's heaven& secondar meanings do not imp%. #his song's
metre is p>Qithvii v>Qitta and the poet uses it not for pun& but again ma$es use of that name as an
ob'ect in the poem.
<erse 7ocator
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EK-V. ra0eO in war8 rdhaa piina paodhara smara0a $>QitO >dha's& bosom& bust& reminiscence&
M(rishnaJ on ma$ing Mon reminiscing& when he is in war with (amsa and whi%e he is confronting an
attac$ing e%ephantJ8 $u.mbhenaO with e%ephantoid forehead8 $uva%aaapii6enaO an $amsa's
e%ephant named as $uva%aaapii6a M$uva%aaO rotund forehead& aapii6aO severe% 'abs - a warring
e%ephantJ8 saarthamO a%ong Mwith that e%ephantJ8 sa.mbhedavaanO when encountering it8 atraO
where& or he who is ca%%ed (rishna8 svidati - svedanaO sweats8 apiO even8 $-ha0amO for a
moment8 mii%atiO be with ha%f-c%osed ees8 tat aa%o$anaat $-hipramO that M(rishna's pausing
combat&J on seeing& immediate%8 a%am 'itam 'itamO enough& he is conquered& he is conquered8 itiO
thus8 $a.msasa vaamoha $o%aaha%a* abhuutO (amsa's& foo%ish& brouhahas& were there8 sa*
hari*O such a& (rishna8 priitim tanutaamO b%itheness& ma ma$e happen.
3hen (rishna is confronting an e%ephant of (amsa& name% $uva%apii6a& with its unassai%ab%e
'abbing forehead& he sweated to see that forehead& and his ees are ha%f-c%osed for a moment& as that
forehead resemb%es the bosom bust of >dha and >dha danced on his memor for a whi%e8 then
on seeing that bac$trac$ing (rishna& (amsa made foo%ish brouhahas& shouting 'enough& (rishna is
conquered... he is conquered...' %et such (rishna& who retraces his steps at the ver memor of
%ove% >dha& ma$e our %ives b%ithesome. MEK-VJ


% ' 77.- ( .
#hus& this is the EKth chapter& ca%%ed caturacaturbhu'a - #actfu% (rishna& in !ita !ovindam of
"aadeva.
)erse *o%ator - Chapter 1;
#op of Bage E a pa EF I C
= L G H V

Brevious -arga giirvaa0i 0ext -arga
0ov& IKKC& 6esira'u *anumanta >ao8 >evised : 0ov KV
Chapter [Sarga] 11 - saanandadaa!odara!
'

-omehow reconci%ing herse%f about (rishna's fro%ic$ing with other maids >dha approaches
(rishna when her gir%friend persuades her. #here are man variations in verses of this chapter in
other mms& and hence the verses found more ma be ta$en as regiona% insurgencies.
<erse 7ocator
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n +# -0 11-1
# 23 - 7 4 "< 4V + ( +( + 5 - (
7 7 /_ N _ "_ n +# -
EE-E. $>Qita veshe $eshaveO on ma$ing getup& Mon befitting% dressing up&J (rishna8 su chiram
anunaena prii0aitvaaO for a %ong time& with coaxing words& on g%addening8 m>Qiga a$-hiimO
fawn& eed >dha8 $u.n'a shaaam gatavati MsatiJO in bower& on couch& having gone& Mawaiting for
her& whi%e being soJ8 $aapiO some other mi%$maid& who8 rachita ruchira bhuu-aamO whi%e
decorating M>dhaJ& ver tast& decorations8 d>Qi-#i mo-e prado-e O ee& stea%ing Mdimming&J %ate
evening8 sphurati satiO when Mthat %ate evening isJ g%eaming8 nir X avasaadaamO to one without&
sin$ing mood - to >dha8 rdha am MidamJ 'agaada O to >dha& Mthis waJ& said.
9n g%addening >dha after a %ong time coaxing& (rishna has gone to a bower dressing up in a
befitting manner to receive a %ad%ove& and waited there for a %ong time on a bower-couch awaiting
her arriva%8 then& whi%e the eventide is g%eaming& some mi%$maid-gir%friend neared that un-dispirited
>dha& and said this to her whi%e read'usting her ornaments and mant%es %i$e b%ac$-smoc$-froc$ %i$e
dress and b%ac$ b%an$et etc that are befitting to a %ad%ove stea%thi% drawing nigh of her %over. MEE-
EJ
<erse 7ocator
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8 & 4 4
a pa IK-E. virachitaO one who has made8 chaa#u vachana rachanamO co%& words& craft one Mone
who coaxed and combed ou with craft wordsJ8 sa.mprati chara0e rachita pra0ipaatamO present%&
at MourJ feet& who made& sa%utation8 ma.n'u%a va.n'u%a siimaniO heart-stea%ing& van'u%a p%ants Ma
bower&J in areas of8 $e%i shaanam anuaatamO disporting& bed& gone onto8
hN mugdheO oh& naive% gir%8 raadheO oh& >dha8 anu gatamO in tow& he who fo%%owed ou Mwho
fe%% for ou - fa%% in %ove with& be infatuated with ou - sa our see$er& or one who has got a great
fo%%owing& a she%terer of see$ersJ8 anu saraO in tow& go Mou see$ to& resort toJ8 madhu mathanamO
)adhu the demon& he has humb%ed that demon - (rishna.
A-ee$ him& 9h& naive% gir%& who coaxed and combed ou with his craft words b paing his
devoirs to our feet& for he is now avai%ab%e on the %ovebed in the heart-stea%ing vamn'u%a bowers8
see$ to that (rishna for he is fa%%ing for ou... MIK-EJ
#he word iha and the foot $uru muraare m.nga%a shataani are unseen in northern naagara mms. #hat
wa& man words and expressions in this song var with those of 0orthern mms.
- 5&7<!$
O<z-#! ! +0 4 # @c-@
# 23 - - 5& 7< !
O < 5- L#! ! +
a pa IK-I. ghana 'aghanaO of mass& hips8 stana bhaaraO of bust& massiveness of8 bhareO those that
are burdened with - our feet fee% strained to carr mass hips and massive bosom8 dara m$anda
gaO a %itt%e& s%ow%& going - feet8 or& dara ma.nthara O a %itt%e& Ms%ow%J stirring8 chara0a vihaaramO
such our feet's& footwor$ - pacing - mincing steps MvidhehiO ma$e happenJ8 mu$harita ma0i
ma.n'iiramO with tin$%ing& b gemmed& an$%ets8 Mmadhu& mathanam O (rishnaJ8 upaihiO upa ehiO to
near& ou go MapproachJ8 maraa%a ni$aaramO swans Mc%uc$ing&J meaning%ess8 vidhehiO ou ma$e8 or&
vi$aaram - MgamanaJ vi$aaramO go in the gait of swans.
-ee$ him strutting s%ow% with feet fatigued in tugging our mass hip and massive bust& ma$ing
gemm an$%ets to tin$%e& thus ma$ing the gait and c%uc$s of swans meaning%ess... for he is our
see$er... Ma pa IK-IJ
#his time is appropriate to see$ (rishna because swans coming home wi%% be c%uc$ing at this time&
and the tin$%es of an$%ets wi%% be drowned in those c%uc$s& which others ma not decipher& excepting
(rishna& the see$er. +urther& swans' c%uc$s& rather their voicing than duc$s c%uc$ing& are an
auspicious omen $>Qi-0a anusarvaasu api darshanena hamsasa shabdena ca $aara siddhi* W
vasanta raa'iia grantha that too& more auspicious when putting one's best foot forward.
(< < <-!#$
+((' #++ - 0 4 # @c-A
# 23 - (< < < - ! #
+ ( ( ' #+ + -
a pa IK-C. hN mugdheO MhereJ un$now%edgeab%e& ignorant gir%8 rama0iia taramO p%easurab%e&
higher in degree Mbest possib%eJ8 further8 taru0ii 'ana mohanaO damse%& fo%$s of& Mthat whichJ
amuses& inveig%es8 madhu ripu raavamO )adhu's& enem's& musica%it of f%ute8 Mif it is madhupa
viraavam8 madhupaO honebees8 viraavamO muchhumming8 then it is - hearing on% the humming
of bees& but not the f%ute of (rishna8 so the madhupa is honebee ca%%ed (rishna& the swi%%er of
hone of a f%ower ca%%ed& >dhaJ sh>Qi0uO har$ to8 $usuma sharaasanaO f%owers& arrow-seat -
f%ower bow wie%der - 7ovegod's8 shaasana vandiniO b order Mof that 7ovegodJ& Mthose that have
become hisJ minstre%s8 pi$a ni$areO $oe%s& f%ights of8 bhaavam bha'aO idea& ou get.
A-ee$ him b har$ening to the best possib%e music of his f%ute that inveig%es the f%oc$s of damse%s8
see$ him b har$ening to the f%ights of $oe%s that sing with the same musica%it as if the are the
minstre%s of 7ovegod singing b his order8 in this wa& see$ him b getting some pointers to his
p%ace& as he is our see$er... Ma pa IK-CJ
4++< +< +$
"< + + "57 0 4 # @c-K
# 23 - 4 + +< +< +5
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a pa IK-=. $arabhaO measure from tip of %ast finger to wrist& pa%mfu% si.ed8 uuruO one having such
thighs8 %ataa ni$ura.mbamO c%imber-p%ants& who%e of Mensemb%e ofJ8 ani%a tara%aO b wind& wav8
$isa%aa ni$are0aO b tender %eaves& bunches of8 $are0a prera0am ivaO with hand& encouraging& as
though8 $arotiO the do8 gatim prati vi%ambamO in going& towards that p%ace& de%a8 mu.nchaO %eave
off - don't ma$e de%a ingoing there.
A-ee$ him whi%e bree.e swas the ensemb%e of c%imber p%ants in that direction& whi%e the
assortments of their %eaf%ets %oo$ing %i$e tin hands wave to ou in that direction& as if bidding ou
to proceed in that wa8 stop dawd%ing awa and see$ him for he is our see$er... Ma pa IK-=J
#he bree.ing& an agreeab%e swa of trees and their tender %eaves etc.& have good omen whi%e setting
out on a purposefu% 'ourne. vaame madhura vaa$ pa$-hii v>Qi$-ha* pa%%avito agrata* U anu$uu%o
vahan vaau* praaa0e shubha suuca$a* W sha$una shaastra 'birds singing on %eft& seeing trees
with 'ust born %eaves& bree.es bree.ing the wa set out& a%% these are good omens for a 'ourne...'
nHH( /7!#5 $
#23 !!- +7+0 4 # @c-[
# 23 - n 45 5 ( % /7 ! #5
#23 ! ! - 4 +7 +
a pa IK-L. hN mugdheO ou ignorant gir%8 ana.ngaO b 7ovegod's8 tara.nga vashaat ivaO pur%s&
owing to contro% Mtide-ripped&J as if8 sphuritamO f%uctuating crabwise8 suuchitaO indicating8 hari pari
ra.mbhamO (rishna's& spira%& embrace8 manoharaO p%easant8 haaraO pear% pendants8 vima%a 'a%a
dhaaramO immacu%ate& water Mstreams&J pur%ing8 amum $ucha $u.mbham O this& bosoms& pot-%i$e8
p>Qic;haO as$ them Mthe bosoms.J
-ee$ him& for those p%easant pear% pendants spira%% f%uctuating crabwise on our pot%i$e bosoms&
as if thaumaturgic 7ovegod tideripped them to pur%& now appear as pur%ing streams of immacu%ate
waters spi%%ing out of brimfu% pots8 as$ those pitchers whether the indicate a spira%%ing embrace of
(rishna bechances or not& and then see$ him who is our see$er... Ma pa IK-LJ
#he simi%e/metaphors used here are between :W waves W pear%-pendants8 pur%s of %ove W pur%-%i$e
motion of pendant on heaving bosoms8 water spi%%s on% if broo$/stream is fu%%8 %ove spi%% on% when
it is bosom-fu%%8 stream with fu%% immacu%ate water W bosoms with p%ethoric pristine %ove8 pot %i$e
bosoms W streams with pot and pots of water8 7ovegod's activit is seasona% W %onging for %ove is
time oriented8 and the upsurge and getting tide-ripped is common to both water and %ove.
3hen it is said ananga taranga it is construed that >dha is rasa tarangi0i& a pur% of essence of
en'oab%e& b%issfu% %ove-pur% of (rishna& where pur% is a stream of a broo$ etc.& f%owing with a
swe%%ing& swir%ing motion and with babb%ing sound. -he too is a sing%e stream of %ove%iest %ove
essence. ,nd when the bosoms of women surge with passion& of course& with a righteous intention&
then the swe%% of bosoms portend a definite embrace from their %oved men. nitam naaraa* stane
$ampa* pria sangama suuca$a* W sha$una shaastra #hen >dha ma sa 'stop a%% this orthodox
nonsense& how can 4 go to him when a%% of ou are eeing at me& am 4 shame%ess or what5' for this
that gir%friend rep%ies now on.
4OO ## <k-$
7Zg (gZg k-0 4 # @c-\
# 23 - 4 4O O % # 4# < k-
7Zg ( gZg 4 4k-
a pa IK-G. hN mugdheO ou ignorant gir%8 tava idam vapu* apiO our& this& bod& even8 rati ra0a
sa''amO passion& batt%e of Mfor grapp%es of courtshipJ& primed for8 adhigatam a$hi%a sa$hiibhi*O
fami%iar& to a%%& gir%friends8 hN cha06iO ou wi%dcat8 rasita rashana rava 6i06imamO ma$ing to
thrum& waist-strings'& tin$%e be%%s& b sound& drumming %i$e sound paraspara virodhaa a%an$aara
where de%icate tin$%ing of Imm be%%s of waist-strings magnified as war drum beats- to sa 'become a
%ove-warrior - for the grapp%es of courtship'J8 a X %a''amO without& embarrassment -
unembarrassed%8 sa rasamO with& romance8 abhi saraO towards Mhim&J ou ma$e move.
A-ee$ him for our bod is primed for the batt%e of passion& which to a%% our gir%friends is we%%-
$nown8 hence& oh& ignorant wi%dcat& chime tin$%e be%%s of our waist-strings %i$e the drumbeats of
combatants and ma$e a move towards him %i$e a %ove-warrior to that rhthm& unembarrassed% but
romantica%%& for he is our see$er... Ma pa IK-GJ
(O +< O5q $
7 < !# -(0 4 # @c- ^
# 23 - ( O +< O 45q
7 < 4 ! 4# - (
a pa IK-H. hN mugdheO ou innocent gir%8 smara shara subhaga na$henaO 7ovegod's& arrows M%i$e&J
beautifu%& with fingernai%s8 $are0a sa$hiim ava%a.mbaO hand of MarmsJ& gir%friend Mthat is meJ&
hanging on Mto me - 4 wi%% support our near-swoon postureJ8 sa %ii%amO with& grace8 cha%aO ou
move8 va%aa $va0ita* ni'a gati shii%amO round si%ver brace%ets'& b c%anging& our& movement's
Mapproach&J wa of - %et them hera%d our arriva%8 avabodhaa harim apiO ma$e $nown& to (rishna&
even.
A-ee$ him b moving gracefu%% whi%e the c%in$s of our brace%ets hera%d our oncoming to him8 if
need be& b bracing ourse%f on m shou%ders with our arms that have beautifu% fingernai%s& a$in to
the f%ower arrows of 7ovegod& so that ou ma not swoon to a wa%t.8 sti%% and a%%& see$ him for he
is our see$er... Ma pa IK-HJ
?-<+!$
!!W +ZjU0 4 # @c- `
# 23 - ? - < 4 + ! L
! ! 4W +Zj U 4
a pa IK-V. adharii $>Qita haaramO to ground& that ma$es8 one that f%attens& pear%-pendants8 udaasita
vaamamO smoothed out MstraightenedJ& tortuousness8 'aadeva bha0itam shrii suu$tiO b "aadeva&
said& auspicious& saing8 hariO in (rishna8 vinihitaO embedded8 manasaamO those that have such
hearts Msteadfast on (rishna's disportsJ8 $a0#ha ta#iimO Mon theirJ throats& on the ban$s Mas
riverban$s are to a river& so are the edges of %ips to throats - on the tips of %ips of adorersJ8 a X
viraamamO without& remitting8 adhiti-#hatuO preside over.
7et this auspicious song said b "aadeva& that f%attens pendants of pear%s to ground& for this song is
strung up with more soothing words than pear%s& and that which has no tortuosities in out%ining the
sports of rdha-$rishna& preside over the tips of %ips of adorers of (rishna& unremitting%... Ma pa IK-
VJ
<erse 7ocator
4J<.V#5 - ?<#z2323
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EE-I. sa$hiO oh& friend8 dhvaantamO this de%ightfu%& shade of night& g%oaming8 nii%a nicho%a chaaruO
b%ac$& b%an$et& agreeab%e to8 where and what he is doing8 vi-va$O everwhere8 aa%i.ngati O
embracing8 whom58 a$-h0o* a.n'anamO those that app% - in ees& mascara8 shrava0ao*O at
sides of ears8 taapi.nch;ha guch;ha aava%iimO b%ac$ f%owers'& bunches& strings of8 muurdhniO on
forehead8 shaama saro'a daamaO b%ac$& %otuses& chap%et8 $uchao*O on bosoms8 $astuuri$aa
patra$amO b%ac$ mus$'s& %eafage designs8 ni$-hipatO those who are $eeping& those that are
decorated with these items8 who are the: dhuurtaanaamO coquettes8 abhisaara sa.mbhrama
'u-aamO in going to their %overs& with f%urr& those that are mudd%ed up8 su d>QishaamO good&
g%anced - gir%s with side%ong-g%ances8 ni$u.n'eO in bowers8 prati a.ngaO each& %imb8 vi-va$O from
everwhere8 aa%i.ngatiO he that g%oaming is embracing8 before going into the embrace of this dus$&
better go into the embrace of our %over.
A#his g%oaming g%eaming %i$e a b%ac$ covering b%an$et is everwhere embracing each %imb of
coquettish gir%s with side%ong-g%ances& decorated with b%ac$ mascara in ees& b%ac$ tamaa%a f%owers
on ear-sides& b%ac$ %otus chap%ets on forehead& b%ac$ mus$ %eafage designs on busts& and those that
are mudd%ed up in f%urring towards their swains in dar$%ing8 so& oh& friend& before going into the
embrace of this dus$& better see$ the embrace of our see$er. MEE-IJ
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EE-C. #hat which is with: abhisaari$aa0aamO of those that go towards a preset p%ace of %over
Mcoquettes treading towards their %oversJ8 $aashmiira gaura vapu-aamO their saffron& ocherish Mi.e.&
in $um$um's co%our&J with their bodies Mwith g%eams of their comp%exionJ8 ruchi ma.n'ariibhi*O
with g%ints& c%usters of - g%eaming from the go%den comp%exion of %ad%oves Mor& ma0i man'ariibhi*
O b the c%uster of gemsJ8 further& that which is8 abhita*O a%% around8 aabaddha re$hamO trussed up&
with arras of8 tamaa%a da%a nii%a tamamO %i$e b%ac$ tamaa%a& %eaves& their b%ac$ness& greater in
degree8 etat tamishramO this& dar$ of night8 tatO for that& M%ove for (rishnaJ8 premaO Mfor hisJ %ove8
hema ni$a-a upa%ataamO for go%d&on touchstone& %i$e strea$ed %ines8 tanotiO is enriching.
#his schistose dar$ nightfa%% is more b%ac$ened with the arras of b%ac$ tamaa%a %eaves arraing a%%
around& on which 'asper ocherish saffron comp%exions of coquettes f%urring towards their %overs
are g%inting %i$e c%usters of go%d-strea$s on a touchstone8 so& %et this crepuscu%e become a touchstone
for the se%ectab%e strea$s of go%d& ca%%ed %ove for (rishna... MEE-CJ
-ubtext: 3hi%e vo%uptuous women tread towards their %overs in night& their ornaments give out
g%ints at the sma%%est possib%e %ight& thus ma$ing their go%den e%%ow comp%exion more stri$ing on
the b%ac$ bac$ground of night& %i$e a strea$ of pure go%d on a touchstone among other strea$s& thus
if >dha& in a%% her %ove for (rishna& ventures to tread the dar$ness& ca%%ed ignorance& she shines
forth %i$e a %oveab%e strea$ of pure go%d.
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EE-=. athaO then8 haaraa aava%ii tara%aO with pear%-pendants& c%uster of& their centra% 'ewe%8
$aa.nchana $aa.nchii daamaO with go%den& waist-string8 man'iiraO an$%ets M$euuraO bicep-%etsJ8
$a.n$a0aO brace%ets8 ma0iO 'ewe%s8 dutiO b resp%endence of Mthese ornamentsJ8 diipitasa O
brightened Mb his own se%f-refu%genceJ8 ni$u.n'a ni%aasa dvaareO bower& abode's& at entrwa -
who is standing there8 harim nirii$-haO at (rishna& on ma$ing ees at8 iam MduutiiJO this
gir%friend-cum- messenger8 vrii6aavatiim O at one who is becoming bashfu%& >dha8 sa$hiimO at
such gir%friend >dha8 iti uvaacaO this wa Min next song&J spo$e.
9n reaching the preset p%ace to meet (rishna& >dha found him at the ver entrwa of that bower
abode& which is brightened b the 'ewe%s in his ornaments& %i$e the centra% 'ewe% in the c%uster of his
pear%-pendants& 'ewe%s in an$%ets& brace%ets& and go%den waist-string& as we%% b his se%f-refu%gence8
then on ma$ing ees at him >dha became bashfu%& and then to such a bashfu% >dha& this friend-
cum-messenger spo$e in this wa. MEE-=J
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a pa IE-E. rati rabhasa hasita vadane raadhN8
rati rabhasaO of intimac& in ecstas - this ecstatic state made her to smi%e8 hasitaO made to smi%e8
vadaneO 9& one who wears such a simpering smi%e on our face in the ecstas of intimac8 raadhNO
such as ou are: 9& >dha8
ma.n'u taraO enrapturing& high%8 $u.n'a ta%aO ni$un'a abhantara desham tadevaO bower's& interior
Mthis word 'ta%a' is ridicu%ous% trans%ated as surface& ground of bower& meaning that '>dha ou %a
down on the ground of bower'8 when saing ata%a& vita%a& paata%a& rasaata%a etc& we don't sa a-
ground& vi-ground& paa-ground etc& but interiors& or inner cores of earth8 better this ma p%ease be
stopped& and %et it be said as the interior of snugger& a rea%m of our %over's bower'8 without ruining
>dha statureJ8 $e%i sadaneO disport& mansion of O $>ishna dhaamamO rea%m& abode& seat O a
countr mansion& esp. with %arge grounds - wherever he is there it is a snugger for romantic
disports - raasa %ii%aa-s& raasa $rii6aa-s8 maadhava samiipam O to (rishna's& c%ose proximit8
pravishaO not pravesha O enter&but - praXvishO sta put - sta snug%8 but we genera%% end up in
'enter here...'
ihaO in here& in this snugger - an enrapturing rea%m of our %over8 vi%asaO show our savoir faire in
romantics& unfur% our romantics ta$ing re'oice in them8
ihaO now8 hN muraareO oh& (rishna8 $uru m.nga%a shataani O ma$e happen MaccordJ graces& in
hundreds Mmanifo%dJ - for >dha has come to ou.
A9h& one with a simpering smi%e 'ust sprouted out of ecstas for an intimac on our g%eaming face&
9& >dha& enter the seat of passiona% disports of (rishna and sta snug% in the enrapturing rea%m of
our %over in c%ose proximit of maadhava... now& 9& (rishna& ou have to accord manifo%d graces
for >dha neared ou... Ma pa IE-EJ
#he word iha and the foot $uru muraare m.nga%a shataani are unseen in northern naagara mms. ,nd
man words and expressions in this song var with 0orthern mms.
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a pa IE-I. hN $ucha $a%asha tara%a haare raadhe8
$ucha $a%ashaO on bosoms& pot-%i$e Mbu%ging bosomsJ8 tara%a haareO tossing& one having such
tossing pendants8 hN raadheO such as ou are: 9& >dha8 nava bhavat asho$a da%aO on new%&
sprouted& asho$a f%owers'& peta%s8 shaana saareO on couch& the best one8 vi%asaO re'oice ourse%f8
Mrespite: pravisha raadhe maadhava...shataaniO as above.J
A9& >dha with toss pendants on bu%ging bosoms& here re'oice on the best couch made of new%
sprouted peta%s of asho$a f%owers... enter and sta snug% in the enrapturing rea%m of our %over... Ma
pa IE-IJ
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a pa IE-C. $usuma su$umaara dehe raadhe8
$usuma su$umaara deheO 9& one with f%ower-%i$e& exquisite& phsique8 $usuma chaa rachitaO
f%owers& heaps of& made with8 shuchiO c%ean Mmeaning that this cottage is unsu%%ied b another
heroine previous%& or a sanctum sanctorum8 vaasa geheO %iving& house Mpenetra%ium of sanctit&
innermost shrines or recesses8 u%timate% - a bedchamberJ8 iha vi%asaO now& ou re'oice.
A9& one with f%ower-%i$e exquisite bui%d& >dha& ta$e de%ight here that has an inmost pristine
bedchamber heaped up with heaps of f%owers... enter and sta snug% in the enrapturing rea%m of
our %over... Ma pa IE-CJ
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a pa IE-=. madana shara ni$ara bhiite hN raadheO b 7ovegod& arrows& group of& one who is scared
so far8
or& madana shara rabhasa bhaave hN raadheO b 7ovegod& arrows& ecstatic for intimac& one having
such mood8
or& vi%asada%i%a%it giite hN raadhe: vi%asat a%i %a%ita giiteO one who is shining forth& %i$e honebees'&
me%odious& music - one who is me%odious% humming and bu..ing for (rishna as with a f%ower
inviting honebees8
ca%aO with transiting bree.es8 Mor& m>QiduO b de%icate bree.esJ8 ma%aa vana pavanaO coming
from )t. ma%aa's - sanda%& woods& bree.e8 MghanaO rich%J surabhi shiiteO fragranced& coo%ed
Mbower& which is afresh in fragrance& but not redo%ent of an ear% time %ove of (rishnaJ8 iha vi%asaO
in here& ou re'oice.
A9h& ou who are so far scared b the pentad of f%ower arrows of 7ovegod& move into the bower
fu%% fragranced and coo%ed with transient bree.es from the sanda%woods of )t. ma%aa& and sta
snug% in the enrapturing rea%m of our %over... Ma pa IE-=J
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a pa IE-L. a%asa piina 'aghane hN raadheO one with hus$& bur%& hips - 9& >dha8
or& piina $ucha $umbha 'aghane raadhe O one with bur% bosoms& and mass fundaments8
vitataO veri% intertwined8 bahu va%%iO with man& c%imber p%ants8 nava pa%%ava ghaneO new& %eaf%ets&
mass of8 ihaO in here& this bower8 vi%asa chiramO re'oice for a %ong time.
A9& one with bur%& hus$ hips& >dha& in this bower veri% intertwined with man a c%imber-p%ant
and decorated with a mass of new %eaf%ets& ou sta snug% in the enrapturing rea%m of our %over&
for a %ong time to come... Ma pa IE-LJ
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a pa IE-G. $ushuma shara sa rasa bhaave& hN raadhe8 $ushuma sharaO f%ower& arrows - wie%der&
7ovegod& passionate8 sa rasaO with& romance8 bhaaveO having such a mood8 M
or& madana shara rabhasa bhaave hN raadhe8 or& madana rasa rabhasa bhaava hN raadhe8
madhuO with hone Mswi%%ingJ8 muditaO g%addened8 madhupa $u%aO honebees& swarms of8 $a%ita
raaveO b%ent& with humming8 iha vi%asaO in here& ou re'oice.
A9& one with passionate romantic mood& >dha& enter this bower booming with swarms of humming
honebees exhi%arated in swi%%ing hone... sta snug% in the enrapturing rea%m of our %over& in
here... Ma pa IE-GJ
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a pa IE-H. dashana ruchi ruchira shi$hare hN raadhe
dashanaO of teeth8 ruchiO brightness8 ruchiraO charming8 shi$hareO edge of teeth Mone oh& one with
bright% spar$%ing teeth edges - if ou give a tooth smi%e8
or& dashana ruchiO teeth's& brightness8 ruciraO beautifu%8 shi$hareO as with rubies - according to
shaashvata nigha0#u - shi$hare means rubies: pa$va daa6ima bii'a aabhaam maa0i$am
shi$haram vidu*8 oh& one withros rubies for our teeth8
madhuO in verna% season Mon chewing tender %eavesJ8 tara%aO f%uttering8 pi$aO $oe%s8 ni$araO f%oc$s
of8 ninadaO Mwith %ustfu%J ca%%ings8 mu$hareO bower reverberating with8 iha vi%asaO in here& ou
re'oice.
A9& one with spar$% teeth& >dha& enter this bower reverberating with %ustfu% ca%%ings of $oe%s on
their chewing 'ust sprouted tender mango %eaves in this verna% season... in here ou re'oice staing
snug% c%eaving to our %over... Ma pa IE-HJ
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a pa IE-V. vihitaO ma$e happen& matched up8 padmaavatiiO with padmaavati Mpoet's wifeJ8 su$ha
samaa'eO sau$ha paramparaO in the chain of comforts Mwhere the unbro$en chain is strung with
her he%p in choreographing& wifehood etc& %eaving the poet to go on te%%ing this song& without an
nagging& un%i$e -aint #u$aram's wife8
or& vihitaO arranged8 padmaavatiO !oddess 7a$-hmi's8 su$haO comfortab%e8 samaa'eO ensconcing
i.e.& the ido% of !oddess 7a$-hmi is ensconced in a comfortab%e sitting in the temp%e at his vi%%age&
various% ca%%ed as 4ndubi%va& #indubi%va etc.& and he positing himse%f before those ido%s composed
this poem - so the saJ8
'aadeva O whi%e "aadeva8 $avi raa'a raa'eO $avi chandra O for poets& a moon8 $avi raa'a candra
raa'araa'a* $ubere api saarvabhoume sudhaa$are - vishva$osha8 moon%i$e poet among poets8
bha0ati MsatiJO whi%e saing& shedding moonbeams-%i$e nuances8 iha vi%asaO in here& ou re'oice.
A3hi%e the moon%i$e poet "aadeva is rendering this song& matched up with his wife who with a
chain of comforts enab%ed the poet to adore (rishna& 9& >dha& ou re'oice in here with him& b
which %et (rishna accord manifo%d graces to one and a%%... Ma pa IE-VJ
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EE-L. aamO he8 tvaamO ou8 chiram chittena vahanO for a %ong time& b heart& whi%e sustaining -
thoughts about ou8 MgamaatiO comporting himse%fJ8 ati shraa.nta*O much& tired out8 $im caO not
on% that8 $a.ndarpe0a bh>Qisham taapita* caO MthereforeJ b 7ove-god& high%& scorching him Mas
that 7ove-god prow%s on% for such he%p%ess %oversJ8 MthereforeJ sudhaa sa.mbaadha bi.mba
adharamO for nectar& damaging& MourJ sma%% red cucumber %i$e& %ower %ip Mour roseate %ips and
their nectar that outc%asses& surpasses& the heaven% nectarJ8 paatum ich;hatiO to drin$& he
cherishes8 tatO therefore8 asa a.n$am $-ha0am a%a.n$uruO his& in f%an$& for a moment& %end the
grace Mof our bodJ8 M>dha ma as$ ' he too$ m words amiss& how can 4 be with him...' for that&
the gir%friend is saingJ8 MtavaJ bhruu $-hepa %a$-hmii %ava $riiteO MourJ eebrow& movement's&
richness& %east& buab%e Mhe is buab%e b the richness of the %east raise of our eebrow8 something
%i$e - simoniaca% - the buing or se%%ing of ecc%esiastica% privi%eges& e.g. pardons or beneficesJ8 daasa
ivaO servant& %i$e a8 upasevita pada a.mbho'eO reverenced& MourJ feet& %otus-%i$e Mhe reveres our
%otus feet %i$e a servantJ8 ihaO in this matter8 sambhrama* $uta*O hesitation& where is.
A*is heart is much tired out whi%e bearing ou in it& therefore 7ove-god is high% scorching him&
therefore he cherishes to drin$ nectar of our roseate %ips that transcends the heaven% nectar&
therefore %end the grace of our bod on his f%an$& at %east for a moment... where is the question of
our hesitation when he is buab%e b the richness of the %east raise of our eebrow... he reveres
our %otus feet %i$e a servant... be%ieve me...A MEE-LJ
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EE-G. govinde %o%a %ochanaaO on (rishna& f%utter& ees Meing (rishna with side%ong-g%ancesJ8 saaO
she that >dha8 sa saadhvasaO with& fear Mhere - with doubtJ8 sa anandamO with de%ight8 si.n'aanaO
c%anging8 ma.n'uO charming8 ma.n'iiramO ma$ing an$%ets Mshe s%ow% snea$ed in& in doing so her
an$%ets are tin$%ing to her footwor$& indicating her entrance - dancers de%ightJ8 pravivesha
niveshanamO entered& disporting bower.
#hen& >dha entered that disporting bower casting side%ong g%ances& doubtfu%% et de%ighfu%%& to
the rhthm of her tin$%ing an$%ets in tune with her footwor$. MEE-GJ
<erse 7ocator
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a pa II-E. #hen8 saaO she that >dha8 Msaw him who isJ e$a rasamO he who is with sing%e&
MpassionateJ emotion Mtowards >dhaJ8 chiram abhi%a-ita vi%aasamO for %ong time& desired& his
fro%ic$ing Mwith >dha J8 guru har-a vasha.nvada vadanamO Munder the contro% ofJ high& ecstatic
happiness& that went under contro% of& with such a face8 ana.nga nivaasamO MaggregateJ bodi%ess
%ove& abode of8 or ana.nga vi$aasamO 7ovegod& sp%endorous %i$e8 and with a%% these attributes on
seeing8 >dhaa vadana vi%o$anaO >dha's& face& on seeing8 vi$asita vividha vi$aara vibha.ngamO
unfo%ded& various& change of Mpassiona%J attitudes& as ripp%es Min man $inds of undu%ating
emotionsJ8 vidhu ma06a%a darshanaO Mas ifJ moon's& sphere& on appearance of8 tara%ita tu.nga
tara.ngamO Mas ifJ f%urried& high& tides8 'a%a nidhim ivaO water& treasure Mocean&J as with8 saaO she
that >dha8 dadaarshaO saw at8 harimO at (rishna.
#here she saw him whose visage& %i$e a deep-b%ue-sea tideripping on sighting moon's face& is now
surging a spate of passion-tides& for high ecstas of sighting moon%i$e face of >dha %aid ho%d of it&
since he %onged to fro%ic on% with her for a %ong8 thus& she saw such a face of his& which is an abode
for aggregate %ove. Ma pa II-EJ
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a pa II-I. ama%a taraO pure& higher MpurestJ8 taaramO that has centra% %oc$et with gems8 haaramO
one wearing such pear%s& pendant8 viduuram urasi parirabhaO %engthi%& on chest& bracing Mwearing
a %ong pendant c%ose on his chestJ8 dadhatamO wearing8 sphu#a taraO c%ear& higher Mc%earestJ8 phena
$ada.mba $ara.mbitamO foam& mass of Mbubb%es&J fi%%ing it8 amunaa 'a%a puuram ivaO >iver
:amuna& water& course& %i$e8 saaO she that >dha 8 dadaarshaO saw at8 harimO at (rishna.
-he saw him with a sapphirine chest fi%%ed with %ength pendants of purest pear%s swive%%ing on it&
a$in to the streaming sapphirine waters of >iver :amuna fi%%ed with pear% bubb%es veering on
them8 thus& she saw him with such a chest& a sanctum for aggregate sanctums. Ma pa II-IJ
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a pa II-C. shaama%aO sapphirine8 m>Qidu%aO satin8 $a%evara ma06a%am Mman6anamJO with
bod's& bui%t8 adhigataO possessed MwearingJ8 gaura du$uu%amO piita ambaramO ochreish& si%$ c%oth8
piita paraaga pata%aO e%%owish& po%%en& a co%%ection of8 bhara va%aita muu%amO remar$ab%&
spira%%ed& on stem8 nii%a na%inam ivaO b%ue-b%ac$& %otus& %i$e MsthitamO avai%ab%e& standing.J
-he saw him standing %i$e a b%ueb%ac$ %otus remar$ab% spira%%ed with a pec$ of ocherish po%%en at
its satin stem& for the bod this bo with satin bui%d a%so has a wraparound of vesta% si%$s ochr in
co%our vesture8 thus she saw him in purest si%$s& an abode of aggregate purification. Ma pa II-CJ
z77!-$
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a pa II-=. tara%a d>Qi$ a.ncha%a cha%anaO moving& ee& to edges M(rishna / >dha with side%ong
g%ances&J b casting Msuch g%ancesJ8 manohara vadana 'anita rati raagamO de%ightfu%& face& caused
Mshowing&J for intimac& interestedness - read for an intercourse - is a commonp%ace saing& no use
with it8 sharadiO in autumn8 sphu#a $ama%a udaraO unfo%ded& %otus& in be%% of which8 $he%ita
$ha.n'ana ugamO p%aing& sma%% b%ac$-birds& a coup%e of8 ta6aagam iva MsthitamJO %a$e& %i$e
Mstanding.J
-he saw him with a de%ightfu% face that is read for countenancing the snthesis of his see$er in
him& casting side%ong g%ances with a pair of %otus ees& with which that face that %oo$ed %i$e a
serene verna% %otus%a$e wherein two sma%% b%ac$ birds f%itting in the be%% of a 'ust unfo%ded %otus8
thus& she saw him with such a face& an abode of aggregate devoirs. Ma pa II-=J
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a pa II-L. vadana $ama%a parishii%anaO M>dha 's face& as we%% as (rishna'sJ face& %i$e %otus8 to
chec$ Mas a %otus unfo%ds when sun comesJ8 mi%itaO inc%usive of MhavingJ8 mihira sama $u06a%a
shobhamO suns& equa% to& $nobb ear-hangings& their sp%endour8 smita ruchiO smi%e's& b
resp%endence8 ruchiraO agreeab%e8 samu%%asitaO enthusiastic Mto swi%% nectar from >dha 's %ipsJ8
adhara pa%%ava $>QitaO %ips& %eaf%et %i$e& made MshowingJ8 rati %obhamO for intimac& %onging.
-he saw him with $nobb ear-hangings& equa%%ing the sp%endour of man suns& swinging up to his
%ips& as if a pair of suns are toing and froing to chec$ up the %otus ca%%ed the face of >dha& whi%e the
ad'acent %eaf%et %i$e %ips are with an agreeab%e resp%endence of smi%e in the enthusiasm to swi%% the
nectar from the %otus %ips of >dha8 thus& she saw him with such ear-hangings that an abode of
aggregate erudition& whi%e %ips are an abode of aggregate gusto. Ma pa II-LJ
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a pa II-G. shashi $ira0a ch;huritaO b moon& beams& brightened8 udaraO centra%%8 'a%a dharaO
water& bearing M%i$e a b%ac$ c%oudJ8 sundara sa $usuma $eshamO charming& Min%aidJ with& f%owers&
with such a hairdo8 timira uditaO from sombre Ms$&J uprisen8 vidhu ma0da%aO moon's& orb %i$e8
nirma%aO spot%ess8 ma%aaX'a ti%a$a niveshamO )t. ma%aa& born - sanda% paste& forehead mar$&
$ept Mon forehead.J
,%i$e a benign rainc%oud centra%% in%aid with bright moonbeams& his charming hairdo is in%aid with
bri%%iant f%owers8 his b%ueb%ac$ benignant forehead is mar$ed with a spot%ess white sanda% paste& that
itse%f is %i$e the uprising orb of benign moon on sombre s$& and >dha saw him with such a hairdo&
an abode of aggregate raininess8 forehead an abode of aggregate benignanc. Ma pa II-GJ
##+' ++$
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a pa II-H. vipu%a pu%a$a bhara MdaraJ danturitamO broad& thri%%ing sensationsJ& fi%%ed with& Ma %itt%eJ&
uneven Mtops-turv & perp%exedJ8 rati $e%i $a%aabhi* a X dhiiramO b passionate& p%a& arts
MmanoeuvreJ& not& firm MunsteadJ8 ma0i ga0aO gems& c%usters of8 $ira0a samuuhaO with their ras&
co%%ection of8 samu''va%a bhuu-a0aO we%% brightened& ornaments8 subhaga shariiramO with
auspicious Mwith a ha%o around him&J bui%d Mhe is se%f-refu%gent.J
, %itt%e perp%exed with amp%e thri%%ing sensations for >dha drew nigh of him8 a %itt%e unstead for
his indu%gences in romantic f%ings& but bright% refu%gent in the ras scinti%%ating from the c%usters of
gems of his ornaments forming a ha%o around his auspicious bui%d& and >dha saw such ha%oed
(rishna& an abode of aggregate ha%%owedness. MII-HJ
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a pa II-V. hN vaish0avaa*O oh& adorers of <ishnu8 shriiO the auspicious saing8 'aadeva bha0itaO
b "aadeva& said8 vibhavaO b its g%or8 dvigu0ii $>QitaO doub%& made8 bhuu-a0a bhaaramO
(rishna's decorations'& weight Mi.e.& (rishna has his own divine ornaments that are doub% enriched
b poet's words in this song& which a%so serve as his ornament& poet is further adding ornament to
his chosen godJ8 su$>Qita udaaO merit& for the onset of8 saaramO M(rishna is theJ essence8 harim
h>Qidi suchiram vinidhaaa pra0amataO %et (rishna be& in hearts& for a %ong time& firm% $eeping&
ou a%% revere.
9& the adorers of <ishnu& this g%orious and auspicious song rendered b "aadeva is doub%ing the
weight of (rishna's 'ewe%s& for ever word is et another ornament to him& hence $eep (rishna firm
in ou hearts and revere him with this song for a %ong time& as he a%one is the essence to set out
merit. Ma pa II-VJ
<erse 7ocator
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EE-H. idaaniimO present%8 raadhaaa* a$-h0o*O >dha 's& ees Mg%ancesJ8 that are8 apaa.ngam
ati$ramaO edge of ees& on crossing over8 shrava0a patha parantaO ears& in the path of& up to
MearsJ8 gamana praaasena ivaO in going& b strain of8 tara%a taraO f%uttering& much8 bhaavam
gamaitao*O such sensation& entered8 pria tamaO %oveab%e& most8 samaa%o$a samaeO at ga.ing&
time8 har-a ashru ni$ara*O happ& tears& heaps of8 sveda ambu prasara ivaO sweat& drops& f%owing&
as if Mher ears strained and sweated to see him because of his se%f-refu%genceJ8 papaataO MtearsJ fe%%.
Bresent% >dha's fishee g%ances crossing over the edges of ees widened a%ong the path unto ears
so as to reach ears& in which strain those ees fe%t much f%uttering sensation8 but on ga.ing her most
%oveab%e %over with such wide-eed adoration heaps of happ tears started to f%ow& as though her
g%ances sweated with strain in seeing him at a %ong %ast time. MEE-HJ
<erse 7ocator
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EE-V. hita a%ii pari'ane aateO we%%-wishers& friends& when went awa8 gehaat bahi*O from house
Mbowers&J to outside8 $>Qita $apa#a $a06uutiO on ma$ing& pretence& of itching8 pihita smitamO
concea%ing& smi%e8 ta%pa antam bha'a.ntaa*O bed's& edge& on reaching8 smara paravasha aa$uutaO
b 7ovegod& with a contro%%ed& thin$ing Mher bod %anguage changed when possessed b %oveJ8
subhagam pria aasam pashantaa*O auspicious& dear one's& face& on seeing8 m>Qiga d>Qisha*O
fawn& eed >dha 's8 %a''aa apiO pruder& even8 sa %a''aa ivaO became prudish& as if8 duuramO far
wa8 vagamatO Mvi ava gamatJO went awa Mpruder %eft her off.J
3hen her we%%-wishing friends have gone awa from that bower& concea%ing her happ smi%e b
feigning some itching on some %imb& she neared the edge of bed8 then& on seeing her dear one's
auspicious face her bod %anguage changed as 7ovegod ensorce%%ed her& and even the pruder of
that fawn eed >dha became as though effected b a bit of prude& %eft her off. MEE-VJ
<erse 7ocator
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EE-F. ma.nda ma.ndamO s%ow%& s%ow%8 >dhaam baahvo* vivaram anuO >dha is& arms& in the
midd%e& towards Mhis chestJ8 aadhaaaO on ta$ing8 priiti ogaat dh>Qi6ham pii6aanO with
fondness& added& on tight%& hugging8 atanu vara tano* tasaa*O s%ender& best& bodied& of her8
tu.ngau uro'auO 'utting& bosoms8 p>Qi-#am nirbhidaO MhisJ bac$& piercing8 bahi* tasmaat
nirgatauO to outside& of that Mbac$&J coming out8 maa smabhuutaam itiO not& to happen that wa&
thus8 va%ita griivam Mathaa tathaaJO Mquic$%J turning& nec$ Mas if to chec$& mischievous%J8
aa%o$aa.nta*O seeing Mhis bac$J8 na.nda suun*O nanda's& son8 saana.ndamO with happiness8
parataram samma.ndam dishatuO highest& happiness& Mto usJ %et him give.
#hen& on ta$ing >dha into his armfo%d& and hugging her tight% with an added fondness& (rishna
fe%t the 'utting bosoms of that s%ender bodied >dha have 'utted into his chest and came out of his
bac$8 on saing an aside& 'it shou%d not have happened... have the come out of m bac$ - rea%%...'
and to chec$ his punctured bac$& he quic$% turned his head from >dha to ta$e a %oo$ of his bac$&
mischievous%& fi%%ing that bower with her cac$%es8 %et such mischievous (rishna with a%% his
happiness to be in togetherness with >dha& accord a%% of us a%% the happiness. MEE-FJ
<erse 7ocator
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EE-EK. mura 'ita*O demon mura's& conqueror M(rishna'sJ8 bhu'a da.n6a*O shou%der& b%ade - warring
arms8 how are the8 pra$iir0a as>Qi$ bi.ndu*O bestrewn& with b%ood& drops - on them8 that %oo$
%i$e:
'aashrii vinastai*O b Brosperit of <ictor& $ept Msprin$%edJ8 ma.ndaara $usumai* mahita ivaO
with mandaara Mred f%owers used in worships&J f%owers& worshipped with& as if8 dvi X paO e%ephant
that drin$s with two in%ets& mouth and trun$8 dviXpa ra0a mudaaO with such e%ephant& when
warring& who is happ8 svaam si.ndhure0a mudrita ivaO b himse%f& with red victor powder&
imprinted& as if8 bhu'a pii6a $rii6aO b hand& grip& sport8 hata $uva%aaapii6a $ari0a*O $i%%ed&
$uva%aaapida& named e%ephant8 mura 'ita*O demon mura's& conqueror M(rishnaJ8 bhu'a da.n6a*
'aatiO shou%der& b%ade& be victorious Mman evi%s.J
9n the dexterous arms of (rishna& in which now >dha is he%d in tight embrace& once a few drops
of b%ood of combating demon mura spi%%ed& which then %oo$ed %i$e the b%oodred mandaara f%owers
sprin$%ed from heaven b 'aa-shrii& 'aa-%a$-hmi& 7ad <ictor on his victorious arms8 %ater when
(rishna& a happ one in hand-to-hand encounters with an given e%ephant& or given e%ephantine
prob%ems& had come to grips with an equa%% demonic e%ephant of $ing $amsa& ca%%ed
$uva%aaapiida& those ver red mar$s appeared as vermi%ion powder& used for smearing on
victorious combatants& which he himse%f smeared on his victorious arms& dec%aring them as winning
hands over vice8 %et such a%%-conquering arms of (rishna be victorious on man evi%s. MEE-EKJ
<erse 7ocator
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EE-EE. saundara e$a nidhe*O for grandeur& sing%e& treasure trove8 ana.nga %a%anaaO 7ove-god's&
wife Mrati-deviJ8 %aava0a %ii%aa 'u-a*O Msuch rati-devi'sJ bod %anguage& bodi% gestures Mas in
dance poses&J added with8 >dhaaaa*O of >dha8 manasi 'aO mind& born Mfor passionJ8 $rii6aaO
for p%aing8 e$a ra.ngastha%eO sing%e& stage of performance8 h>Qidi pa%ava%eO heart& ca%%ed %a$e8
aatmana*O he M(rishnaJ8 rama uro'a saro'aO charming& bosoms& ca%%ed %otuses8 $he%anaO whi%e
p%aing with8 rasitvaatO one who en'oed that b%iss8 dhaatu*O to the meditators Mon himJ8
maanasaO heart/%a$e ca%%ed maanasa sarovar8 raa'a ha.msaO $ing% swan8 nibhataamO in simi%itude8
$haapaanO whi%e estab%ishing8 mu$u.nda* mudam deaatO (rishna& g%adness& %et accord.
7et that (rishna& who is a%read a $ing% swan p%aing in the %a$e-%i$e contemp%ative minds of his
devotees& has now become a $ing% swan in the %a$e ca%%ed the heart of >dha& for she on gaining
possession of romantic bod %anguage and gestures from the famed consort of 7ovegod& name%
7ad rati-devi& has now become a sing%e treasure trove of grandeur& and a sing%e stage for (rishna's
%ove-dance performance& in which (rishna ever disports with her %otus bosoms& that $ing% swan
ca%%ed (rishna ever accord g%adness to one and a%%. MEE-EEJ
% ' ' 6+( .
#hus& this is the EEth chapter& ca%%ed saanandadaamodara - 6e%ighted (rishna& in !ita !ovindam of
"aadeva.
)erse *o%ator +or Chapter 11
#op of Bage E a pa IK I C
= a pa IE L G a pa II
H V F EK EE

Brevious -arga giirvaa0i 0ext -arga
6ec& IKKC& 6esira'u *anumanta >ao8 >evised 0ov KV
Chapter [sarga] 1" - Exultant Krishna
"#
>dha meets (rishna at %ast& and (rishna who is waiting for her for a %ong time g%addens on her
coming& and ie%ds to ever wish of hers. #he thus unite to $eep everthing united.
<erse 7ocator

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EI-E. sa$hii b>Qinde gatavatiO friends& circ%e& on departure of8 aXmanda trapaa bharaO not& %ess&
coness& fi%%ed with8 nirbharaO unmanageab%e Mto contain her conessJ8 smara paravasha aa$uutaO
b 7ovegod& contro%%ed& with ca%%ing Man inward% fe%t ca%% or summons of 7ovegodJ8 sphiitaO
burgeoning8 smita snapitaO smi%e& drenched b M%avedJ8 adharamO Mwith herJ %ip8 muhu*O
repeated%8 nava pa%%ava prasavaO new& %eaves& 'ust born8 shaaneO on bed8 ni$shipta a$shiimO she
who $ept& her ees Mto near it s%ow%& but not to fa%% on it %i$e a wi%dcatJ8 priaamO his %ove8 sarasa
manasamO on good terms& at heart Mardent at heartJ8 h>Qi-#aamO one who is g%addened8
d>Qi-#vaaO on seeing8 hari* uvaachaO (rishna& spo$e.
3hen her friends circ%e departed %eaving her a%one& then a %ot of unmanageab%e coness fi%%ed her
for 7ovegod's ca%%ing besieged her& and then with %ips %aved in smi%es& %oo$s cast downward& she
neared the %ove-bed made up with 'ust sprouted %eaf%ets& and stood at its end smi%ing co% without
eeing her %over8 then& (rishna spo$e to his %ove >dha who b now is g%addened& and neared him
with an ardent heart. MEI-EJ

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a pa IC-E. hN $aaminiO oh& %oving >dha8 $isa%aa shaana ta%eO on tender %eaf& bed& surface of8
chara0a na%ina vinivesham $uruO Mde%icateJ feet& %otuses& p%acement& ou ma$e8 suvesham O we%%
get-upped& we%% arranged MbedJ8 tava pada pa%%ava vairiO our& feet's& tender %eaves& an adversar Mof
an de%icacJ8 idamO this MbedJ8 paraabhavam anubhavatuO adversit& %et Mthis bedJ suffer8
hN raadheO oh& >dha8 adhunaaO present%8 anugatamO one who is we%% disposed to ou& Mor anu
gatamO whom peop%e wi%% fo%%ow& adhere toJ8 naaraaa0amO he who is the mover of beings& basis
of %iving beings& or& who is a receptac%e of water& rasaJ towards such (rishna8 $sha0am anusaraO
for a whi%e& fo%%ow8
4f it were to be - 'wh not fo%%ow naaraaa0a for a whi%e for he is we%% disposed to ou now' - then
the usage of Crd pers. naaraaa0a goes waste. -ome depth is there in this reprise. #hough created
b that naaraaa0a& this raadha is an earth%ing - sa 1ueen 0ature& an effect of cause8 if anthing is
an effect it shou%d necessari% fo%%ow certain steps to attain that cause8 so& ou fo%%ow him who
ma$es the peop%e& ma it be )other 0ature& or 1ueen 0ature& or whoever& to fo%%ow him& because
he is the prime-mover - is the u%timate meaning.
AB%ace our de%icate %otus feet on the de%icate surface of this tender %eaf bed& oh& %oving >dha&
thus %et this we%%-arranged bed bragging for its de%icac suffer an adversit& as our more de%icate
tender %eaf %i$e feet are the adversaries of an de%icac...
9h& >dha& for a whi%e& wh not c%eave to him unto to whom peop%e wi%% c%eave for he is their
wherewitha%... Ma pa IC-EJ
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a pa IC-I. viduuramO %ong-wa-off8 aagamitaa asiO Mowing to meJ arrived& ou are Mto m near8
hence8 aham $ara $ama%enaO 4 wi%%& with hands& %otus %i$e8 chara0am $aromiO feet& 4 mend Mor&
ta$ing cara0a maham as sing%e unitO cara0aO feet's8 mahamO worshipO 4 worship our feetJ8 maam
ivaO me %i$e8 anugati shuuram nuupuramO in fo%%owing& an expert - a faithfu% fo%%ower& her an$%et
fo%%ows her ver sincere% %i$e a faithfu% fo%%ower without s%ipping off& hence that an$%et is to be
ta$en care of8 shaana upari $sha0am upa$uruO bed& on surface& for a whi%e& p%ace it.
7et me mend the strain of our feet with m %otus hands for 4 made ou to come a %ong-wa-off8
p%ace our feet on the bed for a whi%e to give rest to those faithfu% fo%%owers of ours& of course %i$e
me& ca%%ed our an$%ets... wh not c%eave to him [c... Ma pa IC-IJ
7 7+/ $
!# #+ +/ 0 4 # @A-A
# 3 - 4 % 7 7 4+/
! % 4# # + L +/
a pa IC-C. vadanaO from MourJ face8 sudhaa nidhiO nectar's& treasure of - moon8 ga%itam am>Qitam
iva O s%ither& nectar& %i$e MsthitamO avai%ab%e before meJ8 rachaa anu$uu%am vachanam O ma$e Msa
something&J heartening& words8 MtavaO on ourJ8 urasiO on bust8 paodhara O for Mswe%%ingJ bosoms8
rodha$amO obstructing& brid%e %i$e8 du$uu%amO $anchu$amO piece of c%oth8 viraham ivaO MourJ
anguish in separation& as with8 apaXnaaamiO 4 am detaching8 Ma %ove's bosoms wi%% be swe%%ing
when she is anguishing in separation for her %over.J
A-a something >dha& %et heart nectarean words s%ither from our moon%i$e face... %et me remove&
a%ong with our anguish in separation from me& this piece of our breast c%oth which so far served
as a brid%e on our swe%%ing bosoms... wh not c%eave to him [c... Ma pa IC-CJ
"#5 < #+#$
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a pa IC-=. pria parira.mbha0aO %over& for tight embrace8 rabhasa va%itam ivaO bust%e& added& as if8
pu%a$itamO thri%%ing8 ati duravaapamO high%& unbearab%e Mbu%gingJ8 $ucha $a%asham O bosoms& pot-
%i$e8 mat urasi viniveshaaO on m& chest& $eep8 sho-aa manasi'a taapamO %essen& 7ovegod's&
scorching.
A#hose high% bu%ging bosoms of ours now %oo$ as if a bust%ing is added to them for a tight
embrace of %over& hence& $eep them on the chest of mine to %essen the scorch of 7ovegod... Ma pa IC-
=J
4# - $
! !8#_0 4 # @A-[
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a pa IC-L. bhaaminiO oh& irefu% dear8 adhara sudhaa rasam upanaaO %ip's& nectarean& essence& get
me M%et me getJ8 tvai vinihita manasamO in ou& $ept Mhinged one&J with heart8 viraha ana%a dagdha
vapu-amO of separation& b fire& burnt& with bod8 aX vi%aasamO without& b%ithe8 m>Qitam ivaO
dead one& %i$e& MsthitamO avai%ab%e& %ingering oneJ8 daasam O devotee8 'iivaaO ma$e him to %ive.
A9h& dear& %et me get the nectarean essence of our %ips& as m heart is hinged on ou& m bod is
burnt with the fire of our separation& and 4 am %ingering on %i$e a deadpan without an
b%ithesomeness& hence %et our devotee %ive... Ma pa IC-LJ
((O O <(<<+Zj$
? #++ ( 70 4 # @A-\
# 3 - (( O O < ( < 4< +Zj
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a pa IC-G. hN shashi mu$hiO oh& moon& faced one8 anugu0aO in tune with8 $a0#ha nidaanam O
throat's& voicing MutterancesJ8 ma0i rashanaa gu0amO 'ewe%%ed& waist-strings& chains8 mu$haraaO
%et sound& %et tin$%e M b this it is: vipariita surata& ca%%ed hamsa %ii%a is saidJ8 pi$a ruta vi$a%eO $oe%s&
b ca%%ings& roughened8 mama shruti uga%eO in m& ears& pair of8 chiraatO for a %ong time8
avasaadamO sin$ing sensation8 shamaaO pacif.
A9h& moonfaced >dha& %et the chains of be'ewe%%ed waist-strings of ours tin$%e in tune with our
utterances8 %et our utterances pacif the %ong time sin$ing sensation in the pair of m ears& caused
and roughened b the fortissimos of $oe%s... Ma pa IC-GJ
n_ +++$
k- 5 - O0 4 # @A-^
# 3 - 4 n _ + + 4+ 4 %
k- % - O
a pa IC-H. ati vipha%a ru-aaO with high%& unavai%ing& anger8 vi$a%ii $>QitamO agitated one& made
as8 maam ava%o$itumO at me& to see8 MtavaO ourJ8 idam naanamO this& MourJ ee8 adhunaa
%a''itam ivaO present%& shing& as if8 mii%atiO c%osing& down casting8 viramaO %eave Mthat downcast
g%anceJ8 vis>Qi'a rati $hedamO %eave off& disquietude in %ove.
9r
ati vipha%a ru-aaO with high%& unavai%ing& anger8 vi$a%ii $>Qitam O mudd%ed up - ou who are
mudd%e up in intense fur8 tvaaaO b ou8 adhunaa ava%o$itamO present%& one who has been seen
- b ou8 maamO me& such as 4 am8 viXramaO veri%& ta$e de%ight in MmeJ8 tava naanamO our& ee8
%a''itam iva mii%atiO shing& as if& c%osing& %oo$s down cast8 idamO this - casting %oo$s down or
awa& turning awa face etc bod%anguage8 gata $hedam iva O forgone& angst& as with - worr-
free%8 vis>Qi'a O %eave it off.

A:ou made me an agitated sou% with our high% unavai%ing anger& and to see such an agitated me&
our ees are present% throwing g%ances downward ... but& now %eave that downcast g%ance and
%eave off disquietude in %ove... Ma pa IC-HJ
?-<##$
- +-_ 0 4 # @A-`
# 3 - ? - < % 4# #
- + -_
a pa IC-V. shrii 'aadeva bha0itamO auspicious Msaing&J "aadeva& said b8 anu padaO in ever&
foot8 ni gaditaO emphatica%%& said8 madhu ripuO (rishna's8 modamO g%adness8 idamO this song8
rasi$a 'ane-uO among romantic& peop%e8 manoramaO heart-p%easing8 rati rasa bhaava vinodamO
romantic en'oment mood of& merriment8 'anaatuO %et cause.
A#his auspicious song rendered b "aadeva emphatica%% %as down in each foot about what causes
g%adness to (rishna& hence %et this song heart-p%easing% romanticise the moods of romantic
peop%e... Ma pa IC-VJ
<erse 7ocator
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EI-I. #his verse is tit%ed as surataarambha candra haasam: asminO wherein Min which romanceJ8
nibi6a aa-%e-aO in tight& embrace8 pu%a$a a.n$ure0aO hair& sprouts Mthri%%s of bod& or b the word
sprout& a b%ade of grass coming in between them in their embrace& is a hurd%eJ8 $rii6a aa$uuta
vi%o$iteO in sports& intentiona%%& whi%e seeing Mat each otherJ8 nime-e0a caO b win$ing& a%so8
adhara sudhaa paaneO %ips'& nectar& whi%e swi%%ing8 $athaa narmabhi*O Mwhi%e te%%ingJ ta%es& secret8
manmatha $a%aa uddhe apiO 7ovegod's& art& war of8 aananda adhigamenaO in p%easure& deriving8
pratuuha* aabhuutO obstac%es& occurred8 sa*O that8 tao*O to two of them& >dha (rishna8
udbhuuta surata aara.mbha*O bechanced& starting of romance8 pria.m bhaavu$a* babhuuvaO
high%& desirab%e ones Mthose obstac%esJ& the became.
4n which romance some obstac%es have occurred& %i$e bod thri%%s whi%e in tight embrace& or
win$ing whi%e intent% %oo$ing at each other& or when te%%ing a secret ta%e& or whi%e swi%%ing the
nectar of %ips& or even in deriving p%easure during the art of %ove-war& a%% those obstac%es too& have
become high% desirab%e ones to both of them& for the occurred in their reunion after a brief
separation. MEI-IJ
<erse 7ocator
- + r + ! -
Si 5 #<#g #<-
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! +7I5 !
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CE ( V 4 #U ?< U C!
! C +7 4 5 !
+' + 4# r C# 4! +
EI-C. #his verse is tit%ed as $aama t>Qipta $aaminiii haasam: dorbhaam samamita*O b both
pa%ms& brought together - fastened8 paodhara bhare0a aapii6ita*Ob bosoms& weight& burdened8
paa0i 'ai*O b hand& born ones - nai%s8 aaviddha*O scratched8 dashanai* $shataa adhara pu#a*O
b teeth& bitten& %ips& edges8 shro0i ta#enaO river& ban$s Mriverban$ %i$e hipsJ8 aahata*O pounded8
hastena anamita* $aceO b hand& pu%%ed& hair8 adhara madhu sandena sammohita*O %ips& hone
M%iquor&J b f%ow of& bemused8 $aanta*O %over M(rishnaJ8 $aam apiO somewhat& something -
unsaab%e8 t>Qiptim aapaO satisfaction& he got8 tatO thereb8 aho $aamasa vaamaa gati*O aho&
7ovegod's& %eft behaviour Mwhat an unspea$ab%e deviant behaviour 7ovegod has gotJ .
+astened b both arms& burdened under bosoms' weight& scratched b nai%s& bitten b teeth at %ips&
pounded b riverban$s %i$e hips& pu%%ed b head-hair b hand to bend face to pour %iquor-%i$e hone
of %ips... huh... even if tortures of this $ind in %ove are man& her %over is deriving some unsaab%e
satisfaction... aha& unspea$ab%e is the deviant behaviour of 7ovegod... isn't so5 MEI-CJ
#he torture imposed is %i$e that of the methods usua%% emp%oed on a s%ave& %i$e fastening&
overburdening under weight& %ashes and scratches& pu%%ing head hair etc. 4t is imposed on that god&
as that punishment can be imposed b an his devotee& for that god wi%% be found and catchab%e
after a %ong time search.
<erse 7ocator
- #]_ " -
X +X< ! "-
+B-+5 7#"5 5f$
Q#' -& (& .D+#
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# 3 - 4'+ + '+ < C ! "
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EI-=. #his verse is tit%ed as pauru-a rasa prema vi%aasam: atO b which reason8 taaaO b her - b
>aadha8 $aa.nta 'aaaaO %over& to conquer8 sa.mbhramaatO fren.ied% Mor& ecstatica%%J8 saahasa
praaamO venturing& overbearing%8 upari $i.ncit praara.mbhiO forep%a& for a whi%e& commenced8
MtatO b that reasonJ8 vaama a.n$eO from %eft& f%an$ - one who is so far sitting on %eft thigh of
(rishna& sudden% started to override him8 or& maara X an$e O 7ovegod& as ensign for both the
participants8 rati $e%i sa.n$u%a ra0a aara.mbheO %ove& sports& hudd%e& war& when started8 in such a
%ove-war& her8 'aghana stha%ii ni-pandaaO hips& area& unmoved8 dorva%%i* shithi%itaaaO tendri% %i$e
arms& caved in8 va$sha* ut$a.mpitamO bust& throbbed Mbreath%essJ8 a$shi mi%itamO ees& drooped8
strii0aamO for women8 pauru-a rasa*O man%& mood MintrusivenessJ8 $uta* sidhatiO from where&
accessib%e.
2 which reason she rose from the %eft f%an$ of (rishna& where she is in forep%a& and sudden%
commenced the hudd%e of %ove-war on him in a fren.ied& venturing& and overbearing manner&
aiming on% to conquer her %over& for that reason a%one her hip remained unmoved& tendri% %i$e arms
caved in& bust breath%ess% throbbed& and her ees drooped... wherefrom women can attain man%
intrusivenessP MEI-=J
<erse 7ocator

- +Y

4 X O -
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I(< x x-/.-$
+z7 &z7 ".O . (
6 +(Y

/ #. +0 1@-[
# 7- #U #<- 45+ L +_ (]
4 (< x x- /.-
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6 + ( 4Y

4/ # +
EI-L. #his verse is tit%ed as $aamaadbhuta abhinava m>Qigaan$a %e$ham: tasaa* ura*O her& chest8
paa#a%a paa0i'a a.n$itamO b red& fingernai%s& scratched Mb this redness& the red f%ower ca%%ed
paa#a%a& one of the f%ower-arrows of )anmatha& is cited8 d>Qishau nidraa $a-aaeO ees Meeba%%s&J
b s%eep%essness& reddened b this redness& the red %otus arrow of 7ovegod is cited8 adhara
sho0imaa nirdhauta*O %ips& redness& washed out b this redness& the red mehendi& a red f%ower
from the p%ant that gives %eaves to reddened decoration to pa%ms& is said. #he f%ower of this p%ant is
another arrow of 7ovegod8 muurdha 'aa* vi%u%ita*O head hair& tous%ed8 srastaa* sra'a*O s%ithered&
spras of f%owers8 $aa.ncii daama dara sh%atha a.nca%amO go%den waist-strings& a %itt%e& s%ipped& at
edges b this go%d of waistband the go%den co%oured f%ower arrow& the fifth arrow of 7ovegod is
cited8 itiO this wa8 praata*O in ear% morning8 d>Qisho* ni$haatai*O in g%ances& shafted8 ebhi*
$aama sharai*O b these& 7ovegod's& arrows8 patu* mana*O husband's M(rishna's&J heart8
$ii%itamO torn8 tat adbhutam abhuutO that& a wonder& happened again.
*er chest bore red scratches scratched with red fingernai%s& ees reddened with s%eep%essness&
roseate co%our of %ips is washed out& hair tous%ed& f%ower-spras in bun s%ithered& go%den waist-string
%oosened and dang%ing& a%% owing to the shafts of 7ovegod... but when her husband caught sight of
such an %ove-arrow-stuc$ %ad%ove on the next morning& those ver same arrows of 7ovegod that
are present% stuc$ in her chest& have now tangentia%% shot and stuc$ in his ees... doub%
wondrous...isn't it... MEI-LJ
9ne mms said to contain one more verse after this& reading:
tvaam apraapa mai svaamvaraparaam $shiirodatiirodare U
sha.n$e su.ndari $aa%a$uu#am apiban muu6ho m>Qi6aanii pati* U
ittham purva $athaabhi* asa manao ni$shipa vaamaa.nca%am U
taadhaaaa* stana$ora$oparica%an netro hari* paatu va* UU
<erse 7ocator
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+Z7+'!.( -#5 #<23||
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# 3 - l+( +( #( 4+ V] +#]
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+B7 +' ! C( - # #< C23| |
#' 9# 4# 8 +'
EI-G. vaa$osha* $esha paasha*O %oosened& hair& braids8 tara%itam a%a$ai*O moving Munru%&J hair
%oc$s sveda mo$shau $apo%auO sweat& re%easing& chee$s8 $%i-#aa bi.mba adhara shrii*O faded& red&
%ips& sp%endour8 $uca%a sharucaaO pot-%i$e bosoms M%uxur J8 haaritaa haara a-#i*O sto%en& b
pear%& pendants Mthe %ustre of pear% pendants is submerged in her bod co%our& as there is no
bodiceJ8 $aa.ncii $aanti* hata aashaaO waist-string's& bri%%iance& marred& at hope8 stana 'aghana
pada.mO bust& waist& p%aces8 sada*O then8 paa0inaa aac;hadaO b hands& covering8 pasha.ntii
satrapaanO g%ancing& embarrassed%8 mugdha $anti*O one with beautifu%& resp%endence8 saaO she
that >dha8 tat vi%u%itaa apiO b that& untid& even8 dhinotiO g%addening M(rishna.J
/ven when her braid %oosened& hair-%oc$s unru%& chee$s sweating& red sp%endour of %ips faded& hue
of pear%-pendants merged with pa%ed bod co%our& go%den bri%%iance of her waist-string became du%%&
and though she herse%f started to g%ance embarrassed%& covering her bust and hips with hands and
arms& and though 'that act' rendered her that untid& that >aadha g%addened (rishna with her own
beautifu% resp%endence. MEI-GJ
<erse 7ocator
P_'N 8+(
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EI-H. dhana*O he is a high% merited sou%& - who derived p%easure from his %ad%ove8 whose
comportment when in act is %i$e this:
har-a ut$ar-a vimu$ta nissaha tano*O Mwhich %ad%ove isJ b g%adness& b ecstas& re%eased& in
passivit& with such a phsique8 one whose phsique attained a passivit when the g%adness is
achieved after a %ong drawn ecstas is re%eased8
$ura.ngii d>QishauO which gir%'s - deer %i$e& g%ances8 ii-at mi%ita d>Qi-#iO a %itt%e& c%osed& ees - a
fawn eed %ad%ove with ha%f c%osed ees8
mugdha vi%asat siit$aara dhaaraa vashaatO pretti%& e%ating& with sighs& series& contro%%ed b8 ava$ta
aa$u%a $e%i $aa$u O unc%ear& f%urried& in sport& murmurs8 one who is uttering uninte%%igib%e murmurs
because she went under the contro% of spate of e%ating %ove-sighs& with which she became more
prett8
vi$asat da.nta a.mshu dhauta adharamO brightening& with teeth's& g%itter& %aved& %ower %ip8
aananamO a face Mhaving such a g%ittering teethJ8 one whose face is brightened with %ips %aved in the
spar$%e of her teeth8
bh>Qisha pari-va.ngaatO b tight& hugging8 shaa.nta stabdha paodharamO si%enced& rigid& bosoms8
one with rigid bosoms si%enced in a tight hugging8
Msa*J dhana*O Mhe isJ a high% merited sou%8 because he8 dhaatiO swi%%s M$issesJ such a %ad%ove.
9ne who derives p%easure from his %ad%ove when swi%%ing her beaut - which %ad%ove's phsique
attains passivit with post-connubia% b%iss& achieved after a %ong drawn ecstas is re%eased8 which
fawn eed %ad%ove wi%% be with ha%f c%osed ees owing to that fatigue%ess phsique8 which %ad%ove
utters uninte%%igib%e murmurs& with which she becomes more prett& because she goes under the
contro% of spate of e%ating %ove-sighs8 whose face brightens much with her %ips %aved in the spar$%e
of her teeth8 whose rigid bosoms wi%% be si%enced owing to tight hugging - that sou% become a high%
merited sou%& as in the case of (rishna at present. MEI-HJ
<erse 7ocator
4& ! " ''OdH$
- ' '0 1@-`
# 3 - 4& ! " 4' ' Od 45
- % C' '
EI-V. athaO then8 saa raadhaaO she& that >dha8 surata anteO %ove-act& at end of8 nitaanta $hinna
a.ngiiO abso%ute%& tired& with %imbs8 sahasaaO quic$% Mfor& she cannot be in that shabb condition&
and she is now he%p%ess to decorate herse%f with a presentab%e getupJ8 supriitam govi.ndamO to
g%addened& !ovinda8 aana.ndenaO with Mher ownJ g%adness8 Mma06ana vaanchaaaO with a wish to
decorate herse%f presentab%J8 idamO this sentence8 saadaram 'agaadaO with tenderness& said.
#hen& >dha whose %imbs are abso%ute% tired after the %ove-act quic$% said this to the g%addener of
a%% beings& name% !ovinda& ming%ing her own g%adness& with a wish to fix her decoration& fair to
midd%ing. MEI-VJ
<erse 7ocator
4N # -@K- "#?<
+ ' 7'((<+<#$
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4'
a pa I=-E. saaO she that >dha8 h>Qidaa ana.ndaneO to hearts& de%ighter M(rishnaJ8 adu na.ndaneO
to adu c%an's& de%ight Mto (rishnaJ8 $rii6atiO when he is disporting& en'oing Marchaic. re%axationJ8
ni 'agaadaO insistent%& spo$e8
hN adu na.ndanaO o& adu's son M(rishnaJ8 cha.ndanaO sanda%-paste8 shishira tare0aO dew& Mcoo%erJ
than8 $are0aO with pa%ms8 mano bhavaO mind born one& 7ovegod's Mp%ace ofJ8 maY0ga%a $a%asha
sahodareO auspicious& vesse%'s& co-birthed ones8
Mwhere these vesse%s are two& one - fu%% with nectar brought b dhanvantari during the churning of
)i%$ 9cean& from which some drops fe%% on earth when !aruda was bringing it to earth& thereb
those drops sprin$%ed on herbs and p%ants& ma$ing them usefu% for medicina% use8
the other pot%i$e vesse% - !oddess 7a$shmi herse%f& as she emerged out of the same ocean& whose
smbo%ic representation is a vesse% in which water& a%ong with sanda% paste& mi%$& green %eafs& sacred
rice etc wi%% be put and arranged in the first instance of an worship& ca%%ed maY0ga%a $a%asha.
*ere& >dha is identifing herse%f with 7a$shmi& or the pot of nectar& b metonmica%% identifing
her bosoms with them8
atra paodhareO there& on those MnectarousJ bosoms8 m>Qiga madaO mus$-deer's& fat- mus$8
patra$amO fo%iage8 $uruO ma$e& paint.
3hen (rishna is en'oing himse%f& >dha insistent% spo$e this to that de%ighter of hearts and the
c%an of adu:
A9 the de%ight of adu's c%an& paint mus$ fo%iages on m bosoms that are the abode of 7ovegod&
and that are the co-born ones to auspicious vesse%s... paint on them with our own pa%ms that are
coo%er than the sanda%-paste... Ma pa I=-EJ
4n a%% these bits of songs (rishna is addressed as a ma$eup artist& or a hairdresser& or as a painter etc.
4t does not matter. *eroes are supposed to $now how women decorate& paint faces& dress etc.&
because the are supposed to be experts in a%% sixt-four arts catu* sha-#i $a%aa prapuur0a. 4n
>amaana when $ai$a gives a dress usab%e for forest dwe%%ing to -eetha& -eetha is at %oss to
understand as to how to wear it. #hen >ama winds that sari around her detai%ing how to secure it&
before a%% women in pa%ace-chambers& whi%e a%% other women 'er$ tears for the misfortune
bechanced on a topmost princess& name% -eetha.
,nd in audios or dances on this song& we wi%% be usua%% %istening ni'agaa dha saa instead of
ni'agaada saa i.e.& adding a stress to dha. #hat stress is a singer's or dancer's de%ight& to ma$e a hee%-
tap-whir% on stage during dance movement.
4+'-'-+ ++7$
7+k- Lkk " 70 @K-@
# 3 - 4 + '-+ 4'-+ + + 7
4 7 +k- Lkk " 7
a pa I=-I. hN prieO o& dear8 rati naaa$aO %ove& hero M7ovegodJ8 saaa$a mochaneO arrows& that
re%ease Mi.e.& that which re%ease side%ong-g%ances as effective a 7ovegod's arrows& m eesJ8 tvat
adhara cumbana %ambitaO b our& %ip& whi%e $issing& dang%ed Mstipp%edJ8 $a''a%aO mascara8
%ochaneO on such ees8 a%i $u%aO honebees& swarms of8 ga.n'anamO that be%ies8 a.n'ana$amO
mascara8 u''va%aaO brighten up.
A) ees re%ease side%ong-g%ances that are a$in to the arrows of 7ovegod& but when ou $issed
them their mascara is stipp%ed& oh& dear& brighten them up with such mascara that be%ies the
b%ac$ness of swarms of honebees... Ma pa I=-IJ

+HH++ ?Zg$
-#( (_ ( +Zg0 4 # @K-A
# 3 - +5 5 + + ? Zg
- #( ( _ ( +Zg
I=-C. shubha veshaO oh& auspicious%& attired one8 $ura.ngaO ees& Mca%%edJ deer8 tara.nga vi$aasaO
springing& encouraging MfreenessJ8 niraasa $areO hope%ess& ma$ers8 manasi'a paasha vi%aasa dhareO
7ovegod's& reins& with an air& bearing8 shruti ma06a%eO on ear& areas M%obesJ8 $u06a%e niveshaaO
$nobb earrings& restore.
A) ears ma$e the springing freeness of m deer-%i$e g%ances of m ees hope%ess b reining them&
9 auspicious% attired one& restore $nobb earrings on those ears that bear an air of 7ovegod's
reins... MI=-CJ

f7 7'# 7 7 'O$
-+ #+. .-++ O0 4 # @K-K
# 3 - f 7 75 L# 7 7 'O
- + #+. . -+ 4+ O
I=-=. hN $ama%a aananaO 9& %otus-faced (rishna Me%%ipted from next songJ8 'ita $ama%e vima%e O
conquered Mmore&J %otus Min fu%% b%oom&J in immacu%ac8 mama mu$he upariO m& face& over8
suchiramO a%was8 bhramara chaamO honebees& swarms of8 racahaa.ntamO crafted& designed
Miva sthitamO as if& staingJ8 narma 'ana$amO %ure& causing8 ruchiram a%a$amO beautifu%& hair-%oc$s8
sanmu$heO before me Mstanding before me& so that 4 can be in our c%ose proximit - proximit is
the wish than ad'usting hair-%oc$sJ8 pari$armaaO ma$e Mread'ust.J
A) face is more immacu%ate than a %otus in fu%% boom and it a%was had %uring and beautifu% hair-
%oc$s crafted %i$e swarms of honebees& 9& %otus-faced one& read'ust them standing before me... MI=-
=J

+ ++-+$
!+X+ + ??(+0 4 # @K-[
# 3 - + + 4+ - +
! +5+ + + 4 ? ? (+
I=-L. $ama%a ananaO oh& %otus faced one' vishramitaO %u%%ed8 shrama shii$areO strain's& drops -
sweat drops8 a%i$a ra'anii $areO on forehead Mca%%ed&J moon8 m>Qiga mada rasa va%itam Mti%a$amJO
with mus$'s& %iquid& rubbed in Mcinnabar pasteJ8 vihita $a%a.n$a $a%amO having& b%otch& phase of
moon8 ti%a$am %a%itam $uruO mar$ on forehead& beautifu%%& ou ma$e Mrepaint.J
A) forehead is moon%i$e and on it sweat-drops are %u%%ed b now& and b rubbing cinnabar paste in
%iquefied mus$& 9& %otus-faced one& beautifu%% repaint m forehead mar$& %i$e that of the b%otch on
the face of moon... MI=-LJ
#he comparison is in between the face of (rishna and >dha. , %otus is an opposer of moon& but
moon b%emishes that %otus as and when the face each other. *ere too& she is saing 'though m
moon%i$e face is an opponent to %otuses& retain m b%otch on m forehead& and be smi%e %i$e a
%otus...'
7 7+ + -*-7$
+ (OZg(OZg+g0 4 # @K-\
# 3 - 7 7+ + - *- 7
+ (OZg (OZg+ g
I=-G. hN maanadaO oh& adorab%e one8 ruchireO cute one8 maanasi'a dhva'a chaamareO 7ovegod's& on
f%agstaff& pennon8 rati ga%iteO in %ove-p%a& scramb%ed up8 %a%iteO prett8 shi$ha06i shi$ha06a$aO
peacoc$'s& p%umage8 6aamareO threatens8 mama chi$ureO in m& braid bun8 $usumaani $uruO
f%owers& ou dec$.
A) bun is cute %i$e the pennon on the f%agstaff of 7ovegod& but that is now scramb%ed up in %ove-
act& oh& adorab%e one& ou dec$ f%owers in that prett bun that threatens the beaut of peacoc$'s
p%umage... MI=-GJ

- (<<+'$
<(< (( '0 4 # @K-^
# 3 - - (5 < < +'
< ( C< (( '
I=-H. hN shubhaashaaO oh& one with auspicious aims Mor& shubha aa shaaO one in whose hands a%%
good fortunes areJ8 sarasaO bur% Mor& one with romantic .ea%J8 ghaneO big one8 sha.mbaraO
shambara the demon8 daara0aO in ripping8 vaara0aO e%ephant - Mthe e%ephant of 7ovegod that
ripped a demon named shambara - e%ephantineJ8 $andareO s%ope of mountain8 sundareO picturesque8
mama 'aghaneO m& on buttoc$s& on hips8 ma0i rashanaaO be'ewe%%ed& waist-strings8 vasanaO
dresses8 aabhara0aaniO ornaments8 vaasaaO decorate.
A) hips are big and bur% %i$e the picturesque and e%ephantine mountain-s%opes& oh& one with
gracing hand& decorate them with dresses& 'ewe%%ed ornaments& and with waist-strings... MI=-HJ
,gain the word 7940- is used here b some in trans%ating 'aghana& whi%e 'aghana is %exica%%
buttoc$. 4f some modest is required to sa 'buttoc$s'& as man abhor terms %i$e 'buttoc$s& behinds&
and bottoms...' in their scophant westernisation& this ma be said as it nearest part 'hips'. 3e are
as$ed to do so in (a%idas' >itu samhaaram& and we ob%iged it& to not to become too pedantic. 2ut
bringing hind parts to front to sa her '%oins are %i$e e%ephantine caves...' how far it is ethica%5 ,n
reader ma examine an word to see whether >dha opened up her %oins& or at %east said about
them. #his wor$ !ita !ovinda a%read carries a mar$ of $shudra $aava& wh the other 4ndian
pundits add some more to it5 Berhaps& this ma be owing to the reason of ruination of romantic arts&
or due to the buria% of 2harata )uni or <aastaaana& or romance in %iving itse%f.
*ere the stress used b the poet is for reminding nature's curvaceous beaut& but not the contours of
a personified goddess or deit. 4t is necessar to identif >dha with who%e 0ature& and (rishna as
the de%ighter of that 0ature& as none e%se can satisf 1ueen 0ature.
?-7 7 !

+ Zg$
!7<<.++_kOZg0 4 # @K-`
# 3 - ? - 7 7 !

+ Zg
! 7< < 4 . + +_ k OZg
I=-V. he (rishna8 ruchireO de%icate Mme%%ow%J8 ma06aneO Msah>Qihada h>Qidaai*JO decorative
M%i$e the centra% rub on chest pendantJ8 hari chara0a smara0aO (rishna& on feet& meditating8
am>Qita nirmitaO b that nectar& bui%t up8 $a%i $a%u-a 'vara $ha06aneO (a%i era& impurities& fevers
caused b it& eradicator of8 'aadeva vachasiO "aadeva& said b8 shriiO auspicious saing8
h>Qidaam sadaam $uruO our heart& benign& ou ma$e.
9h& (rishna& ou ma$e our heart benign to %isten to the auspicious saing rendered b "aadeva&
which is bui%t up with the nectar derived from the meditation on the feet of ours& and which is an
eradicator of fevers caused b the impurities of (a%i /ra... MI=-VJ
<erse 7ocator
7 +7 #9 79 +Q +#
U - +z7z7 x- +$
+ ?< #<] # + /#]
% " #I# &+0 1@-b
# 3 - 7 +7 #9 79 +Q +#
U - +B7 457 x- +
+ ?< #<] # + /#]
% " # 4# & 4+
EI-F. hN (rishna8 $uchao* patram rachaaO on bosoms& fo%iages& ou paint8 $apo%ao* chitram
$uru-vaO on chee$s& a design ca%%ed citra$a& ou ma$e8 'aghane $aa.nchiim gha#aaO on hips&
waist-strings& ou fasten8 $abariibhare sra'am a.nchaO in bun& spra of f%owers& c%ip8 paa0au va%aa
shre0iim $a%aaO at wrists& arm%ets& arra of& s%ip on8 pade $uru nuupurauO at feet& ou arrange& two
an$%ets8 itiO this wa8 nigadita*O on who is said b her8 priita*O g%addened8 piitaambara*O one
c%ad in e%%ow si%$s8 apiO even he8 tathaa a$arotO that wa& he did.
3hen >dha said this wa to (rishna& Apaint fo%iages on m bosoms& ma$e designs on chee$s&
fasten waist-strings on hips& c%ip spras in bun& s%ip on an arra of arm%ets at wrists& arrange an$%ets
at an$%es...' even (rishna is g%addened and did whatever she said. MEI-FJ
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EI-EK. sudhia*O oh& sagacious ones8
atO which treatise8 gaa.ndharva $a%aasu $ausha%amO in fine arts %i$e music& dance etc& has
master%iness8
atO which treatise8 vai-0avam anudhaanam caO vi-h0u's g%ories& commemorative of& a%so8
atO which treatise that has8 sh>Qi.ngaaraO aesthetic romanticism Mof vipra%ambha& sambhoga
sh>QingaaraJ8 vive$a tattvaO determinative %ogic - sa tropo%ogica% interpretation of divine
romance8 racanaa Msahita W madhama pada %opiJO a rendering having a%% such components8
at $aave-uO which& among poetic treatises8 %ii%aaitamO high% prepossessing8 tat sarvamO that&
a%%8 $>Qi-0a e$ataana atmana*O on (rishna& sing%e-minded% concentrating& that sou% ca%%ed8
'aadeva pa06ita $ave*O b "aadeva& pundit& b poet8 shrii giita govidata*O from shrii& giita&
govinda poem8 sa aanadaa* parishodhaa.ntuO with& g%adness& ma be eva%uated.
9h& sagacious peop%e& which treatise has master% depiction of fine arts %i$e music& dance etc8 a
commemorative poem on the g%ories of vis-h0u8 containing aesthetic romanticism of numina& with
discrimination between 'ust romantici.ation of divine characters in human mode& and te%%ing apart
that romance is a%so a godsend gift to humans& where vi-h0u is the first p%easure-see$er in re%ishing
the taste of romance& and where this Dniverse is his romantic feigning8 which poem among a%%
poetic wor$s is high% prepossessing - wh enumeration of one or two items& this poetic wor$ that
contains everthing is here before ou for our non-tendentious eva%uation which is the august
wor$ of poet-pundit 'aadeva& named giita govindam.MEI-EKJ
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EI-EE. shrii bho'adeva prabhavasaO shrii& bho'adeva& offspring of8 raamaadevii suta*O %ad
ramadevi's& son8 shrii 'aadeva$asaO "aadeva's8 shrii giita govidaO shrii giita govindam8
$avitvamO poetr MsongsJ8 paraashara adi pria varga $a0#he astu MchriamJO paraashara& other&
dear& ones& on throat Mon tongue&J %et it abide M%ong %asting%J.
#his song giita govindam is the rendering of poet "aadeva who is the offspring of shrii bho'adeva
and %ad ramaadevi& and %et this song abide on the tongues of paraashara and other friends& %ong
%asting%. MEI-EEJ
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EI-EI. maadhvii$aO oh& white f%ower that ie%d f%ower-wines8 bhavata* ci.ntaaO our& thin$ing
Mthat ou a%one are the soft intoxicantJ8 saadhvii na bhavatiO good& not& it becomes8
shar$are $ar$ashaa asiO o& sugar& bitter& ou are8
draa$sheO o& grapes8 tvaam $e dra$shantiO at ou& who wi%% see8
am>Qita m>Qitam asiO o& nectar& dead& ou are8
$shiiraO o& mi%$8 te rasa* niira.mO our& taste& is water%i$e8
maa$a.nda $ra.ndaO o& sweet mango fruit& ou wai%8
$aa.nta adharaO o& damse%'s& %ip8 tu%aam na dharaO ba%ance& do not& bear8
gac;haO get awa Mfrom m path to shriihariJ8
'aadevasa vaidagdha vaaca*O "aadeva's& craft& saings8 shubham ivaO auspiciousness& %i$e8
aavat sh>Qigaara saaram bhaavam ac;hantiO a%%& romantics& essence& a concept& %et it be giving.
9& white f%ower of soft wine& our thin$ing that ou a%one are the toxicant is unbefitting as
"aadeva's poetr is here... 9& sugar& ou are embittered... 9& grape& who wi%% see ou from now
on... 9& unding& un-deadening nectar& dead ou are... 9& mi%$& watered is our taste... 9& sweet
mango fruit& bewai% from now on... ou& the %ip of damse%& under-ba%anced is our sweetness& hence&
a%% of ou get awa from m path to shriihari...
%et the auspicious saings of "aadeva's craft words accord a concept of a%% the essences of
aesthetic romantics. MEI-EIJ
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EI-EC. itthamO in this wa8 amunaa $uu%eO on amuna& riverban$s8 $e%i tati*O disports& man of
them8 samam raadhaaaO a%ong with& >dha8 vih>QitaO whi%e p%easure tripping8 tatO that
M>dha'sJ8 romaava%iO cur% hair%oc$s8 mau$ti$a aava%iO pear%s& pendants8 ugeO a pair8 ve0ii
bhramamO stream& i%%usion Mi%%usion as the are the streams of ganga& amunaJ8 bibhratiO whi%e he
M(rishna isJ getting8 tatraO in that Min those streams of happinessJ8 ah%aadaO p%easant8 $ucaO
bosoms8 praaaga pha%ao*O banan fruits8 %ipsaavato*O Mhands of (rishna that areJ interested Mto
catch themJ8 puru-ottamasa hastao*O (rishna's& hands8 vaapaaraa*O Mthat are engagedJ in such
activities8 sphiitaam mudaam sampadam O bounteous& with b%issfu%ness8 riches& dadatu%et grant.
#his wa whi%e (rishna is p%easure tripping on the riverban$s of amuna in man a disport with
>dha& once he started to ad'ust her hair%oc$s and pear% pendants8 but& he sudden% got into a
con'uration where those pendants appeared as river streams of >iver ganga or amuna& and her
bosoms& a pair of %arge pa%m-fruits adrift those streams8 wishing to rescue those pa%m-fruits& he
offhanded% started to grapp%e her bosoms& on% to her sheepishness8 %et a%% bounteous% g%addening
riches be accord to one and a%% b them that tend to indu%ge in such activities& name% the - abhaa
hasta - b%essing hands of (rishna. MEI-ECJ


% - "#B v( . - %& +l 5#/<.
#hus& this is the EIth and comp%eting chapter& ca%%ed supriita piitaambara* /xu%tant (rishna& in !ita
!ovindam of "aadeva.
)erse *o%ator +or Chapter 1" %alled supriitapiitaa1!bara2
#op of Bage E a pa IC I C
= L G H V
a pa I= F EK EE EI
EC . . . .

Brevious -arga giirvaa0i -tart 9ver
6ec& IKKC& 6esira'u *anumanta >ao8 >evised 6ec KV

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