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NITAAI-Veda.nyf > All Scriptures By Acharyas > Kavi Karnapura > Chaitanya Candrodaya > Act Three

Act Three

 

 

Text 1

 

     (tatah pravishati maitri)

     maitri: hadhi hadhi parana-metta-uvvario jo ekko amha-vamsassa kadambo virao jivadi tti sudam, tam na ane kahim vattadi. aham-pi jam nama-mettena jivami, tam-pi so na anedi, ta uddesam karemi. (iti parito 'valokya)  ammo ka i-am purado aacchadi.

 

      tatah—then; pravishati—enters; maitri—Friendship, Friendship; hadhi hadhi—fie, fie; parana-metta—with merely his vital air; uvvario—left to him; jo—who; ekko—sole; amha—of my; vamsassa—family line; kadambo—seedling; virao—Viraga; jivadi—is alive; tti—thus; sutam—I have heard; tam—that; na ane—I do not know; kahim—where; vatöadi—he is living; aham—myself; pi—also; jam—the fact that; nama-mettena—in name alone; jivami—am alive; tam—that; pi—also; so—he; na anedi—does no know; ta—of that; uddesam—notification; karemi-I will give; iti—thus speaking; paritah—around herself; avalokya—looking; ammo—oh; ka—who; i-am—this; purado—in front of me; aachadi—is approaching.

 

     (Friendship enters.)

     Friendship:  Alas! Alas! I heard that my kinsman Renunciation is barely alive. I don't know where he is. I myself am alive only in name. He also does not know where I am. I will tell him. (She looks in all directions.)  Ah, who is this coming here?

 

Text 2

 

     (samskritam ashritya)

 

ananda-murtir amrita-dravavat samantad

    anga-prabham tata itah sa-rasam kiranti

asadayanty atitaram karuna-kaöakshair

     antar-vishuddhim akhilasya puro 'bhyupaiti

 

(iti sa-vismayam alokayati)

 

     samskritam ashritya—resorting to Sanskrit; ananda—of happiness; murtih—the very image; amrita—nectar; drava—liquid; vat—as if consisting of; samantat—in all directions; anga—of her body; prabham—the rays of effulgence; tatah itah—all about; sa-rasam—spiritually enlivening; kiranti—radiating; asadayanti—causing; atitaram—extreme; karuna-kaöa—mercifully glancing; akshaih—of everyone; purah—before me; abhyupaiti—is coming near; iti—thus; sa-vismayam—with amazement; alokayati—observes.

 

     A blissful form like streams of nectar, flooding all directions with the splendor if its limbs, glancing with eyes of mercy, and purifying everyone's heart, now approaches. (She gazes with wonder.)

 

Text 3

 

     (tatah pravishati prema-bhaktih)

 

premabhaktih:  (puro 'valokya) aho keyam.

 

namaika-matram vapur adadhana

     vimlana-kantih paritosha-hina

sotkanöham asman-mukham ikshamana

     shanaih shanair mat-purato 'bhyupaiti

 

     sa-camatkaram—with surprise; katham—how is this; maitri—Friendship; tvam—you; asi—are; ehi—come here; vatse—my dear girl; ehi—come here; iti—thus; alingya—in front of me; nama-eka-matram—in name only; vapuh—her body; adadhana—carrying; vimlana—sullied; kantih—complexion; asmat-mukham—towards me; ikshamana—glancing; shanaih shanaih—very  slowly; mat-puratah—before me; abhyupaiti—is approaching.

 

     (Love of God enters.)

     Love of God:  (glancing in front)  Ah! Who is this, unhappy, her splendor crushed and her body alive in name only, that gazes at me with longing and slowly comes before me?

 

Text 4

 

     maitri:  (nipunam nibhalya)  ammahe, i-am ccea pemma-bhatti-janani kahiena lacchanena lacchiadi, ta uvasappi-a panamami. (ity upashritya)  dei, vandijjasi metti-namadheae ma-e.

 

     nipunam—carefully; nibhalya—looking; ammahe—how amazing; i-am—  ; ccea—indeed; pemma-bhatti-janani—Mother Love of God; kahiena—(which I have heard)  spoken; lacchanena—by the symptoms; lacchiadi—is recognized; ta—her; uvasappi-a—going near; panamami—let me offer my obesiances; iti—having thus spoken; upashritya—going up to her; dei—O goddess; vandijjasi—you are offered respect; metti-namadheae—who is named Friendship; ma-e—by me.

 

     Friendship:  (looking carefully)  Ah! This is Love of God! I recognize her from her description. I will go to her and offer respects. (She approaches)  Goddess, I, Friendship, offer respects to you.

 

Text 5

 

     premabhaktih:  (sa-camatkaram) katham maitri tvam asi, ehi vatse ehi, (ity alingya) maitri, kathaya katham ekakini duravasthita bhramasi.

 

      sa-camatkaram—with surprise; katham—how is this; maitri; Friendship; tvam—you; asi—are; ehi—come here; vatse—my dear girl; ehi—come here; iti—thus; alingya—embracing her; maitri—Maitri; kathaya—please tell me; katham—why; ekakini—alone; duravasthita—in an unhappy condition; bhramasi—you are wandering.

 

     Love of God:  (with surprise)  You are Friendship? Come. Daughter, come here. (She embraces Friendship.)  Friendship, tell me, why, so unhappy, do you wander all alone?

 

Text 6

 

     maitri:  kali-padi-anehim nijjidesu amha-pacchesu bha-a-bhemhalida jividam genhi-a palaida, ado me duravattham kim pucchasi.

 

     kali-padi-anehim—by the associates of Kali; nijjidesu—when they were defeated; amha-pacchesu—my allies; bha-a—with fear; bhemhalida—overcome; jividam—my very life; genhi-a—holding on to; palaida—I fled; ado—therefore; me—my; duravattham—about the sorry condition; kim—why; pucchasi—do you ask.

 

     Friendship:  When my friends were defeated by Kali's friends, overcome with fear, I fled for my life. Why do you ask about my misfortune?

 

Text 7

 

     premabhaktih:  vatse, nirbhayam atah param sthiyatam mat-sangenaiva, tava matamaha-bhaginy asmi.

     maitri:  kaham vi-a.

 

     vatse—my dear; nirbhavam—in ?no fearfulness; atah param—henceforth; sthiyatam—you should be situated; mat-sa/gena—on account of my associ-ation; eva—certainly; tava—your; matamaha—of the maternal grandfather; bhagini—the sister; asmi—I am; kaham—how is that; vi-a—indeed.

 

     Love of God:  Daughter, don't be afraid. Stay with me. I am the sister of your grandmother.

     Friendship:  How is that?

 

Text 8

 

     premabhaktih:  amulam akalaya.

 

bhagavad-anugraha-nama

     janako bhagavaj-janasaktir

janani tayos tu samaye

     bhuriny apatyani

    

     a-mulam—thoroughly; akalaya—please consider; bhagavat-anugraha-nama—named Bhagavad-anugraha, the Lord's mercy; janakah—the father; bhagavat-jana-asaktih—Bhagavad-janasakti, attachment to the Lord's devotees; janani—the mother; tayoh—of them; tu—and; samaye—in course of time; ajanishata—were born; bhurini—many; apatyani—children.

 

     Love of God:  Consider this from the beginning. Your father was the Mercy of the Lord, and your mother Attachment to the Lord's Devotees. In time they had many children.

 

Text 9

 

     api ca,

 

eko viveka-nama tanayo

     bahvyas tu bhakti-samjnikah kanyah

tasya vivekasya mater

     anasuya nama duhitasit

 

     api ca—further; ekah—one; viveka-nama—called Viveka, Discrimination; tanayah—son; bahvyah—several; tu—and; bhakti-samjnikah—collectively named Bhakti, Devotion; kanyah—girls; tasya vivekasya—of him, Viveka; mateh—by his wife Mati, Conviction; anasuya nama—named Anasuya, Non-envy; duhita—a daughter; asit—came.

 

     One, a son, was named Discrimination, and there were many daughters who all were named Devotional Service. Discrimination and his wife Thoughtfulness had a daughter named Non-envy.

 

Text 10

 

     api ca

 

anasuya samabhavam patim

     asadya svabhava jam shuddham

maitrim asuta putrim

     bhavatim mat-tosha-sandhatrim

 

     api ca—further; anasuya—Anasuya; patim—as her husband; samabhavam—Equinimity; asadya—obtaining; svabhava shuddham—two sons called Natural and Pure; maitrim—and Friendship; asuta—she gave birth to; putrim—a daughter; bhavatim—your good self; mat-tosha-sandhatrim—who gives me so much satisfaction.

 

     Nonenvy 'married Equinimity and had two sons, Naturalness and Purity. and you, her daughter Friendship, who have brought me great happiness.

 

Text 11

 

     api ca

 

kanyakah sarasa-nirasa-bhavad

     ayayur dvi-vidhatam prathamam tah

nirasas tu bahudha guna-yogad

     bhejire 'tha dashatam rasa-bhajah

 

     api ca—further; kanyakah—the daughters (of Bhagavad-anugraha and Bhagavad-janasakti); sarasa-nirasa-bhavat—according to their different natures, either possessing or devoid of rasa; tu—furthermore; bahu-dha—many varieties; guna-yogat—according to contact with different modes of material nature; bhejire—they accepted; atha—thence; dashatam—division into ten kinds; rasa-bhajah—those possessing _rasa_.

 

     Because some were filled with nectar and some had no nectar, the daughters named Devotional Service divided into two groups. The daughters of the first group, who, because of touching the modes of material nature had no nectar, were many, and the daughters of the second group, who were full of nectar, were ten.

 

Text 12

 

ujjvaladbhuta-samash ca hasash ca

     preyo vatsala itiha rasah shaö

uttama iti tad-ashraya-bhajo

     bhaktayash ca shad amu rati-yogyah

 

     ujjvala—conjugal love; adbhuta—love of God in astonishment; samah—love in neutrality; ca—and; hasah—relationship in humor; ca—and; preyah—friendship; vatsalah—parental affection; iti—thus; iha—in this world; rasah—varieties of spiritual appreciation; shaö—six; uttamah—topmost; iti—thus; tat-ashraya-bhajah—which are based on these _rasash; bhaktayah—the kinds of devotional service; ca—and; shaö—six; amuh—these; rati-yogyah—are fit to be endowed with true love of the Supreme Lord.

 

     The six kinds of Devotional Service in the six rasas of conjugal love, wonder, neutrality, humor, friendship and parenthood, are the best. They lead to attachment to the Lord.

 

Text 13

 

     maitri:  carama hi pemma-bhatti.

 

     carama—the hightest; hi—thus; pemma-bhatti—premabhakti.

 

     Friendship:  The best is Love of God?

 

Text 14

 

     premabhaktih:  atha kim. tatha hi

 

sarve rashash ca bhavash ca

     taranga iva varidhau

unmajjanti nimajjanti

     yatra sa prema-samjnakah

 

     atha kim—of course; tatha hi—after all; sarve—all; rasah—kinds of relationships; ca—and; bhavah—ecstasies; ca—also; tarangah—waves; iva—as if; varidhau—in the ocean; unmajjanti—they emerge on the surface; nimajjanti—they sink; yatra—wherever; sah—that kind of bhakti; prema-samjnakah—known as _prema_, perfected love of God.

 

     Love of God:  Pure Love of God is like an ocean and all rasas and ecstasies are like waves that rise and fall in it.

 

Text 15

 

khandananda rasah sarve

     so 'khandananda ucyate

akhande khanda-dharma hi

     prithak prithag ivasate

 

     esha te vyakhyato nijanvayah.

  

     khanda-anandah—partial kinds of happiness; rasah sarve—each of the _rasash; sah—that (prema); akhanda-anandah— complete happiness; ucyate—is said to be; akhande—in the complete; khanda-dharmah—the properties of the parts; prithak prithak—each separately; iva—as it were; asate—are present; eshah—this; te—to you; vyakhyatah—explained; nija— your own; anvayah—family succession.

 

     Each rasa has a certain kind of bliss. Pure Love of God has all bliss. In the full bliss of Love of God the different kinds of bliss are all manifest.

     In this way I have described your family.

 

Text 16

 

     maitri:  dei, danim tumam eaini kahim vaccasi.

 

dei—O goddess; danim—right now; tumam—you; eaini—alone; kahim—where; vaccasi—are going.

 

     Friendship:  Goddess, where are you going now, all alone?

 

Text 17

 

     premabhaktih:  maitri, asmakam ashraya-bhutasya bhagavatah kasyapi shri-vishvambhara-devasya vihita-sarvatara-lilasya samprati vrindavaneshvari-bhavam anucikirshor anujnaya sakala-lokasya hridaya-shodhanaya sadhayami.

 

     maitri—Maitri; asmakam—our; ashraya-bhutasya—who is the shelter; bhagavatah kasya api—of that certain Lord; shri-vishvambhara-devasya—Shri Vishvambhara-deva; vihita—having already performed; sarva-avatara—of revealing all His different incarnations; lilasya—the pastimes; samprati—just now; vrindavana-ishvari—of the queen of Vrindavana, Shrimati radharani; bhavam—the sentiment; anucikirshoh—who wishes to emulate; anujnava—on His request; sakala-lokasya—of all people; hridaya—the hearts; shodhanaya—to cleanse; sadhayami—I am going.

 

     Love of God:  Friendship, by the order of Lord Vishvambharadeva, who is the Supreme Personality of Godhead, who is our only shelter, who has enjoyed the pastimes of all incarnations, and who now wishes to taste the love of Vrindavana's queen (Radha), I am working to purify everyone's heart.

 

Text 18

 

     maitri:  kahim.

     premabhaktih:  yatra khalu tad-bhava-bhavuka-subhagam-bhavukataya sarva-bhuvana-priyam-bhavukasya tasya tan-nrityanukaranam bhavishyati.

 

     kahim—where (are you going to do this); yatra—to that place where; khalu—indeed; tat-bhava—that ecstatic mood (of Shrimati radharani); bhavuka—of those who are capable of appreciating it; su-bhagam—the good fortune; bhavukataya— having in mind; sarva—of all; bhuvana—the worlds; priyam-bhavukasya—of the well-wisher; tasya—His; tat—of radha; nritya—of the dancing; anukaranam—the acting out; bhavishyati—will take place.

 

     Friendship:  Where are you going?

     Love of God:  To the place where the Lord, the well-wisher of all the worlds, will act Her (Radha's) part in a play to bless the great devotees.

 

Text 19

 

     maitri:  so jjeva ko padeso.

premabhaktih:  acaryaratnasya puranganam.

 

     so—that; jjeva—and; ko—what; padeso—specific location; acaryaratnasya—of /Acaryaratna, Candrashekhara Prabhu; pura—of the home; anganam—the courtyard.

 

     Friendship:   Where is that?

     Love of God:  Acaryaratna's courtyard.

 

Text 20

 

     maitri:  kadham dava isaro huvi-a itthi-bhavena naccissadi.

 

     kadham—why; dava—since; isaro—the Supreme Lord; huvi-a—being; itthi—of a woman; bhavena—assuming the attitude; naccissadi—is going to play a dramatic role.

 

     Friendship:  Why would the Supreme Personality of Godhead act the role of a woman?

 

Text 21

 

     premabhaktih:  bale, na janasi, ishvarah khalu sarva-rasah sarvesham bhaktanam ashayanurodhad vicitram eva lilam karoti. sva-sva-vasananusarena bhaktas tam tam anukurvanti, atah keshancin nibhritanam bhagavatanam cetasi tad-bhavam aveshayitum sarvottamottamam tad-anukara-lilam karishyati. yatah param anyat sa-rasam nasti.

 

     bale—dear child; na janasi—don't you know; ishvarah—the Supreme Lord; khalu—certainly; sarva-rasah—the reservoir of all kinds of transcendental experience; sarvesham bhaktanam—of all devotees; ashaya—the mentalities; anurodhat—in compliance with; vicitram—variegated; lilam—pastime activities; karoti—He performs; sva-sva—each his own; vasana—desire; anusarena—according to; bhaktah—the devotees; tam tam—of various (pastimes); anukurvanti—they follow the lead; atah—thus; keshancit—of certain; nibhritanam—confidential; bhagavatanam—devotees of the Lord; cetasi—within the hearts; tat-bhavam—the mood of Shrimati radharani; aveshayitum—in order to inspire; sarva-uttama-uttamam—the most superexcellent; tat-anukara-lilam—pastime of imitating Her; karishyati—is going to enact; yatah param—beyond which; anyat—anything else; sa-rasam—more relishable; na asti—there is not.

 

     Love of God:  Child, you don't understand. The Supreme Personality of Godhead, who has all rasas within Himself, enjoys wonderful pastimes to please all the devotees. Each according to his own desire, the devotees follow Him in His pastimes. To bring Her (Radha's) ecstatic love into the hearts of some intimate devotees, the Lord will now act Her transcendental pastimes. Nothing is sweeter than this.

 

Text 22

 

     maitri:  kadhehi, tam naccam kim anga-ruvam kim va pa-inna-am

     premabhaktih: anga-rupam eva.

 

     kadhehi—please tell; tam naccam—that performance; kim—whether; anga-ruvam—a regular drama with formally structured acts; kim va—or else; pa-inëa-am—an informal miscellany; anga-rupam—a play with formal acts; eva—indeed.

 

     Friendship:  Tell me: Will this be a formal play with separate acts, or an improvisation?

     Love of God:  It will be a a play with acts.

 

Text 23

 

     maitri:  kadhehi, ko kassa bhumi-am gehissadi.

     premabhaktih:  vatse 'vadharaya, advaitasya rudratvenatmatvam, svasya ca shri-radha-svarupa-grahaëam anya-janashakyam parama-rahasyatvenayogyam ca matva

 

     kadhehi—and please tell; ko—who; kassa—of whose roles; bhumi-am—the parts; gahissadi—will take; vatse—dear girl; avadharaya—listen with attention; advaitasya—of Advaita /Acarya; rudratvena—on account of being the incarnation of the Supreme in the form of Shadashiva; atmatvam—being thus Himself the Supreme Soul; svasya—by Chaitanya Mahaprabhu Himself; shri-radha-svarupa—of the identity of Shrimati radharaëi; grahaëam—the acceptance; anya-jana—of any other persons; a-akyam—the incapability; parama-rahasyatvena—on account of this being the most sublime secret; ayogyam—(other being) unfit; ca—and; matva—(Lord Chaitanya) thus considering.

 

     Friendship:  Tell me: Who will take what role?

     Love of God:  Daughter, listen. Thinking that He should personally take Radha's role because it is so secret no other person can take it, and thinking that Advaita is the incarnation of Lord Shiva, . . .

 

Text 24

 

advaitam apadayad isha-vesham

     svayam ca radhakritim agrahit sah

iti pratitih kila vastutas tu

     sa eva devo dvi-vidho babhuva

 

     advaitam—Advaita; apadayat—He (Lord Chaitanya) has caused to take on; isha-vesham—the role of Lord Krishna; svayam—Himself; ca—and; radha-akritim—the appearance of radha; agrahit—has assumed; sah—He; iti pratitih—so it seems; kila—but; vastutah—factually; tu—however; sah—He; eva—personally; devah—the Lord; dvi-vidhah—divided into two; babhuva—has become.

 

 .  . . the Lord personally took the role of Radha and gave to Advaita the role of the Supreme Personality of Godhead. The truth is the Lord divided Himself in two for the two roles.

 

Text 25

 

advaito vesha-matreëa

     kevalam caritarthatam

agamat kintu tatrasid

     avirbhutah svayam harih

 

     advaitah—Lord Advaita; vesha-matreëa—even by just wearing the costume (playing the part); kevalam—simply; carita-arthatam—all success; agamat—He has acchieved; kintu—however; tatra—there (in Advaita's body); asit-avirbhutah—became incarnated; svayam—Himself directly; harih—Lord Krishna.

 

     When Advaita dressed for that role, Lord Hari personally came and appeared in Him.

 

Text 26

 

     api ca

 

haridasah sutradharo

     mukundah parirshvikah

vasudevacarya-nama

     nepathya-racana-karah

 

     api ca—also; haridasah—Shrila Haridasa /Thakura; sutradharah—the stage manager; mukundah—Mukunda Datta; pariparvikah—his assistant; vasudeva-acarya-nama—the devotee known as Vasudeva /Acarya; nepathya-racana-karah—the costumer.

 

     Haridasa will be the Sutradhara, Mukunda will be the Pariparshvika, and Vasudeva Acarya will make arrangements behind the scenes.

 

Text 26

 

shri-radha-krishëa-samyoga-

     kariëi jarativa sa

yogamaya bhagavati

     nityananda-tanum shrita

 

     shri-radha-krishëa-samyoga—of the meeting of radha and Krishëa; kariëi—the arranger; jarati—Jarati, the grandmother of Shrimati radharaëi; iva—appearing as; sa—she; yoga-maya—actually Yogamaya; bhagavati—the Lord's own internal potency; nityananda-tanum—the body of Nityananda Prabhu; shrita—has taken shelter of.

 

     Goddess Yogamaya, the elderly lady who arranges the meeting of Shri Radha and Krishëa, will take shelter of Nityananda's body.

 

Text 27

 

     maitri:  samai-ao ke 'mi.

     premabhaktih:  adhikariëo ye 'sminn arthe svayam eva bhagavan avadit prag eva. yatha

 

     samai-ao—the members of the assembly; ke—who; ami—these; adhikariëah—privileged; ye—who are; asmin arthe—in this affair; svayam eva—Himself personally; bhagavan—Lord Mahaprabhu; avadit—stated; prak—beforehand; eva—indeed; yatha—as follow; 

 

     Friendship:  Who will be the audience?

     Love of God:  The Lord has already said who may come. He said:

 

Text 28

 

he shrivasa svayam avahitenadya bhavyam tvayasmin

     yogyo yah syat sa vishati yatha naparas tad vidheyam

 

     he shrivasa—O Shrivasa; svayam—personally; avahitena—with careful attention; adya—on this ocassion; bhavyam—must be considered; tvaya—by you; asmin—in this (performance); yogyah—fit; yah—whoever; syat—may be; sah—he; vishati—should enter; yatha—so that; na aparah—no one else; tat—that; vidheyam—you should enforce.

 

     "Shrivasa, please arrange that only qualified persons, and not others, enter. . ."

 

Text 29

 

     ity ardhokte shrivasenabhaëi deva, kasmin karmaëi yogyayogya-vyavastha karaëiya, kutra va praveshah karayitavya iti. punar devenapy avadi

 

     iti—thus; ardha-ukte—half-spoken; shri-vasena abhaëi—Shrivasa said; deva—O Lord; kasmin—in what; karmaëi—activity; yogya-yogya—of being fit or unfit; vyavastha—determination; karaëiya—is to be done; kutra—in what location; va—and; praveshah—their entrance; karayitavyah—will be done; iti—thus; punah—again; devena—the Lord; api—indeed; avadi—began to speak.

 

     When the words were only half finished, Shrivasa said: “Lord, what will determine who is qualified and who not, and where will they go?" Again the Lord said:

 

Text 30

 

shri-radhatra svayam iyam aho nunam acaryaratna-

     syayavasasyangana-bhuvi rasad vyaktam avirbhavitri

 

     shri-radha—Shrimati radharaëi; svayam iyam—Herself in person; aho—ah; nunam—very soon; acaryaratnasya—of Shri /Acaryaratna; avasasya—of the home; angana-bhuvi—on the courtyard ground; rasat—because of Her ecstatic feelings; vyaktam—manifested; avirbhavitri—will be appearing.

 

     "Shri Radha will sweetly appear in Acaryaratna's courtyard.

 

Text 31

 

     maitri:  tado tado.

    

     tado tado—and then what.

 

     Friendship:  Then? Then?

 

Text 32

 

     premabhaktih:  tatah shrivasena manasi sandihanena bhagavad-vaca iti vihita-nishcayenapi gangadasa-nama  bhagavatah paramapto bhusura-varo dvara-palakatvena nyayoji.

 

     tatah—then; shrivasena—by Shrivasa Prabhu; manasi—in his mind; sandihanena—having some doubt; bhagavad-vacah iti—"these are the Lord's words"; vihita—thus fixing; nishcayena—his determination; api—however; gangadasa-nama-named Gangadasa; bhagavatah—of the Supreme Lord; parama-aptah—most trustworthy; bhu-sura—of the brahmaëas; varah—best; dvara-palakatvena—with the job of guarding the entrance; nyayoji—was engaged (by Shrivasa).

 

     Love of God:  Then, although there was some doubt in his mind, accepting the Lord's order, Shrivasa made the great brahmaëa devotee Gangadasa the doorkeeper.

 

Text 33

 

     maitri:  tado tado.

 

     tado tado—and then.

 

     Friendship:  Then? Then?

 

Text 34

 

     premabhaktih:  tato bhagavata punar api shrivaso nijagade `shrivasa, bhavata naradena bhavitavyam, shuklambareëa tava snatakena bhavyam, gathakah shriramadayas tava sahodaras traya acaryaratna-vidyanidhi ca'  iti devenaiva niyojitah.

 

     tatah—then; bhagavata—by Lord Chaitanya; punah api—once again; shrivasa—Shrivasa Prabhu; nijagade—was addressed; shrivasa—My dear Shrivasa; bhavata—by you; naradena—the role of Narada; bhavitavyam—should be assumed; shuklambareëa—Shuklambara Prabhu; tava—your; snatakena—the brahmacari assistant; bhagyam—should become; gathakah—taking the parts of singers; shrirama-adayah—Shrirama and the others; tava—your; sahodarah—brothers; trayah—three; acaryaratna-vidyanidhi—Prabhus /Acaryaratna and Puëdarika Vidyanidhi; ca—also; iti—thus speaking; devena—by the Lord; eva—even; niyojitah—they were engaged.

 

     Love of God:  Then the Lord told Shrivasa: "Shrivasa, you will be Narada, and Shuklambara will be your brahmacari assitant. The chorus of singers will be Acaryaratna, Vidyanidhi, and your three brothers headed by Shrirama." In this way the Lord assigned the parts.

Text 35

 

     atah param kesham api tatra praveshah, kintu shrivasadi-sahodara-vadhubhih sahacaryaratna-murari-vadhu-prabhritayah prag eva tatra pravishya sthitah adhikara-bhajash ca tah.

 

     atah param—more than that; na kesham api—of no one; tatra—there; praveshah—the entrance; kintu—except that; shrivasa-adi-sahodara—of the four brothers headed by Shrivasa; vadhubhih saha—along with the wives; acaryaratna-murari-vadhu—the wives of Candrashekhara and Murari Gupta; prabhritayah—and some others; prak eva—already; tatra—there; pravishya—having before entered; sthitah—were situated; adhikara-bhajah—qualified persons; ca—also; tah—those women.

 

     Besides these, no one else was allowed entrance. Only the wives of Shrivasa and his brothers, and the wives of Candrashekhara, Murari and some others who had already come were allowed. They were also qualified to be there.

 

Text 36

 

     (nepathye mridanga-taladi-dhvanih)

     premabhaktih:  vatse, shrutam. ayam arabdhah purva-ranganga-bhutah pratyaharah.

 

     nepathye—in the wings; mrdanga—of mridangas, a clay drum used in kirtana; tala—hand-cymbals; adi—and other instruments; dhvanih—the sound; vatse—dear girl; shrutam—did you hear that; ayam—this; arabdhah—has begun; purva-ranga—of the prologue; anga-bhutah—as part of; pratyaharah—the auspicious invocation.

 

      (From behind the scenes the sound of mridangas, karatalas, and other instruments.)

     Love of God:  Child, listen. The play has begun.

 

Text 37

 

     (punar nepathye)

 

jayati jana-nivaso devaki-janma-vado

     yadu-vara-parishat- svair dorbhir asyan adharmam

sthira-cara-vrijina-ghnah susmita-shri-mukhena

     vraja-pura-vanitanam vardhayan kama-devam

 

     punah—again; nepathye—from the wings; jayati—eternally lives gloriously; jana-nivasah—He who lives among human beings like the members of the Yadu dynasty, and is the ultimate resort of all living entities; devaki-janma-vadah—known as the son of Devaki (No one can actually become the father or mother of the Supreme Personality of Godhead. Therefore _devaki-janma-vadan means that He is _knownn as the son of Devaki. Similarly, He is also known as the son of Mother Yashoda, Vasudeva or Nanda Maharaja.); yadu-vara-parishat—served by the members of the Yadu dynasty, or the cowherd men of Vrindavana (all of whom are constant associates of the Supreme Lord and are the Lord's eternal servants); svaih dorbhih—by His own arms, or by His devotees like Arjuna who are just like His own arms; asyan—killing; adharma—demons or the impious; sthira-cara-vrijina-ghnah—the destroyer of all the ill fortune of all living entities, moving and not moving; su-smita—always smiling; shri-mukhena—by His beautiful face; vraja-pura-vanitanam—of the damsels of Vrindavana; vardhayan—increasing; kama-devam—the lusty desires.

 

     Again a Voice From Behind the Scenes: "May Lord Shri Krishëa be all glorious and happy! He is known as the ultimate resort of all living entities, and as Devaki-nandana, the son of Devaki. He is the guide of the Yadu dynasty, and with His mighty arms He kills everything inauspicious as well as every man who is impious. By His presence He destroys all things inauspicious for all living entities, moving and inert. His blissful smiling face always increases the lusty desires of the gopis of Vrindavana."* 

     Note: This is a quote from Shrimad-Bhagavatam (10.90.48).

 

Text 38

 

     api ca

 

sampurëendu-mukhi saroja-nayana koka-stani kairava-

     smaya kambu-shirodhir ambudhi-bhuvo garvasya sarvankasha

mangalyair iva vastubhir viracita nandiva vrindavana-

     krida-kautuka-naöakasya dishatu shri-radhika vah shubham

 

     api ca—also; sampurëa—full; indu—like the moon; mukhi—Her face; saroja—like lotuses; nayana—Her eyes; koka—like smile; kambu—like a conchshell; shirodhih—Her neck; ambudhi-bhuvah—of the goddess of fortune Lakshmi, who took birth out of the ocean of milk; garvasya—of her (Lakshmi's) pride; sarvam-kasha—the oppressor; mangalyaih—all auspicious; iva—as if; vastubhih—out of various substances; viracita—composed; nandi iva—as if the invocatory prayer; vrindavana-krida—of the sports of Vrindavana forest; kautuka—festive; naöakasya—of the drama; dishatu—may She grant; shri-radhika—Shrimati radharaëi; vah—for all of you; shubham—well-being.

 

     "May Shri Radhika, Her face like the full moon, Her eyes like lotuses, Her breasts like cuckoo birds, Her smile like a white lotus, Her neck like a conchshell, and Her beauty crushing Lakshmi's pride, filled with all-auspiciousness, and like the auspicious introduction to this wonderful play of the Lord's pastimes in Vrindavana, bless you all."

 

Text 39

 

     premabhaktih:  satyam evaitat, yan niraöanki maya ayd asau sutradhara-bhumiko haridasah shri-bhagavata-padyam mangalam kurvan nandim papaöha. tan manye ekanko bhaëo vyayogo va rupakam atra nirupayitavyam anena, yato nepathye giyate nandi ity adi tayor lakshaëam. tad vatse, tavasya didriksha vartate.

 

     satyam—true; eva—quite; etat—this; yat—which; niraöanki—had been surmised; maya—by me; yat—that; asau—he; sutradhara-bhumikah—taking the role of Sutradhara; haridasah—Shrila Haridasa /Thakura; shri-bhagavata—of Shrimad-Bhagavatam; padyam—this verse (jayati jana-nivasah etc.); mangalam—auspiciousness; kurvan—thus creating; nandim—the invocation; papaöha—has recited; tat—therefore; manye—I think; eka-ankah bhaëah—"one-act recitation", a type of play in which only one character appears on stage; vyayogah—a type of play recounting military or other heroic exploit, without display of conjugal _rasa_; va—or; rupakam—having the format of; anena—by him; yatah—since; nepathye—off-stage, behind the curtain; giyate—is sung; nandi—the nandi-shloka; iti—thus quoting; adi—the characteristic; tat—so; vatse—dear girl; tava—your; asya—of this; didriksha—the deisre to see; vartate—in there.

 

     Love of God:  It is so. My guess was right. That was the Sutradhara, Haridasa, that recited a verse from Shrimad-Bhagavatam as the auspicious invocation. This shows that the play will be either a one-act bhaëa or a many-act rupaka, for they are both forms in which, as the shastra says, "the introduction is spoken from behind the stage". Child, do you want to see this?

 

Text 40

 

     maitri:  kahim me tarisam bhaadheyam.

 

     kahim—coming from where; me—for me; tarisam—such; bhaadheyam—good fortune.

 

     Friendship:  Why should I be so fortunate?

 

Text 41

 

     premabhaktih:  ka te cinta, maya saha vartitavyam, mat-prabhavat kenapi bhavati na lakshaëiya tvad-anurodhan mayapi tan-nikaöa eva tatha bhutva sthatavyam.

 

     ka—what is; te—your; cinta—worry; maya—me; saha—together with; vartitavyam—you will be; mat-prabhavat—by my influence; kena api—by anyone at all; bhavati—you; na lakshaëiya—wi;; not be visible; tvat—your; anurodhat—by the favor; maya—I; api—also; tat-nikate—in the place of the performance; eva—even; tatha—in that manner (invisible); bhutva—being; sthatvyam—will be present.

 

     Love of God:  Why are you afraid?  I will be with you. By my power no one will see you, and by your kindness no one will see me.

 

Text 42

 

     maitri:  anugahidam amhi.

     premabhakti:  tad ehi. (iti nishkrante.)

     iti praveshakah.

 

     anugahidam—treated mercifully; amhi—I am; tat—therefore; ehi—come; iti—thus; nishkrante—they both exit; iti praveshakah—thus ends the introduction of the Third Act;

 

     Friendship:  I am your debtor.

     Love of God:  Come. (They exit.)

 

Text 43

 

     (tatah pravishati grihita-sutradhara-bhumiko haridasah. kiyad dure upavishöe alakshitakare premabhakti-maitryau ca.)

 

     sutradharah:  (pushpanjalim anjalau kritva)

 

bhasa bhasvarayan disho vishadaya kantim dvija-shreëi-jam

     bibhraëah parito lasat-parimalah proddama-santosha-bhuh

shuddhah pada-saroruhe bhagavatah pushöim nakhendu-shriyam

     tanvan hasa ivaisha naöya-rahasah pushpanjalih kiryate

     (iti tatha kritva)

 

     tatah—next; pravisati—enters; grihita—having assumed; sutradhara-bhumikah—the role of the stage-director; haridasah—Haridasa /Thakura; kiyat—a little; dure—in the distance; upavishöe—are sitting; alakshita-akare—their forms invisible (to the othes on-stage); premabhakti-maitryau— Love of God and Friendship; ca—also; pushpa-anjalim—an offering of flowers; anjalau—between his folded palms; kritva—holding; bhasa—with the  beams of its effulgence; bhasvarayan—illuminating; dishah—the directions; vishadaya—brilliant; kantim-a glow; dvija-shreëi-jam—like that coming from rows of teeth; bibhraëah—bearing; paritah—all around; lasat—clear; parimalah— fragrance; proddama—immense; santosha—satisfaction; bhuh— born of; shuddhah—pure; pada-saroruhe—at the lotus feet; bhagavatah—of the Supreme Lord; pushöim—increase; nakha-indu-shriyam—of the beauty of His moon-like nails; tanvan— genearating; hasah—the smile; iva—as it were; eshah—this; naöya-rahasah—of the mystery of this dramatic performances; pushpa-anjalih—this offering of flowers from folded hands; kiryate—is scattered; iti—thus speaking; tatha kritva—doing so.

 

     (Playing the role of the Sutradhara, Haridasa enters. At some distance, unseen, Friendship and Love of God sit.)

 

     Sutradhara:  (holding a flower-offering in his folded palms)  Illuminating all directions with splendid moonlight, filling all directions with a sweet fragrance, a place of happiness, pure from the touch of the Lord's lotus feet, glorious with the splendor of the moons of His toenails, and like this play's secret smile, this flower-offering is now scattered. (He does that.)

 

Text 44

 

     premabhaktih:  (nivarëya)  suvihitam eva vihitam bhavata. yady api nepathye eva nandi paöhita, tathapi ranga-puja-prasangena bhagavat-pada eva pushpanjalih kirëah. pashya vatse pashya.

 

     nivarëya—observing; su-vihitam—very suitable; eva—indeed; vihitam—done; bhavata—by you; yadi api—although; nepathye—off-stage; eva—indeed; nandi—the nandi; paöhita—was recited; tatha api—nevertheless; ranga-puja—of the traditional on-stage offering of worship; prasangena—taking advantage of the opportunity; bhagavat-pade—at the Lord's feet; eva—indeed; pushpa-anjalih—this flower-offering; kirëah—has been thrwon; pashya—look; vatse—dear girl; pas/ya—look.

 

     Love of God:  (looking)  You have done well. Although the invocation was recited behind the scenes, at the time of worship you have offered this handful of flowers to the Lord. Look, child! Look!

 

Text 46

 

hari kaëöhe shravaëa-yugale kuëdali cavatamsi

     sragvi bhuyasy urasi bhujayor angadi kankaëi ca

apy ushëishi shirasi padayor nupuri naöya-lakshmya

     murtas tejo-bhara iva puro haridasa-pratikah

 

     hari—wearing a necklace; kaëöhe—on his throat; shravaëa—of ears; yugale—on the pair; kuëdali—wearing earrings; ca—and; avatamsi—other ear-ornaments; sragvi—wearing a garland; bhuyasi—broad; urasi—upon him chest; bhujayoh—on his arms; angadi—wearing arm-bands; kankaëi ca—and bracelets; api—also; ushëisi—wearing a turban; shirasi—on his head; padayoh—on his feet; nupuri—wearing ankle-bells; naöya-lakshmyah—on the goddess of Drama; murtah—incarnate; tejah-bharah—the concentrated potency; iva—as if; purah—before us; haridasa—of Haridasa; pratikah—the image.

 

     A necklace on his neck, kuëdalas and avatamsas on his ears, a garland on his broad chest, bracelets and armlets on his arms, a turban on his head, and ankle-bells on his feet, Haridasa is like the personified splendor of the dramatic art.

 

Text 47

 

     maitri:  dei, ëa kkhu a-am satthio maggo.

 

     dei—O goddess; ëa—is not; kkhu—indeed; a-am—this; satthio—the scriptural; maggo—way.

 

     Friendship:  Goddess, this does not follow the path of the scriptures.

 

Text 48

 

     premabhaktih: shruyatam

 

shastriyah khalu margah prithag

     anuragasya margo 'nyah

prathamo 'rhati sa-niyamatam

     aniyamatam antimo bhajate

 

     shriuyatam—please listen; shastriyah—of the shastras; khalu—indeed; margah—the process; prthak—one separate thing; anuragasya—of spontaneous affection; margah—the path; anyah—something else; prathamah—the first; arhati—needs; sa-niyamatam—acceptance of regulation; aniyamatam—freedom from rules; antimah—the latter; bhajate—partakes.

 

     Love of God:  Listen. One path is the rules of scripture. Another path is spontaneous love. The first follows rules. The second does not.

 

Text 49

 

     maitri: aëi-ada-maggeëa calantassa vilambeëa jjevva gamma-laho hoi.

 

     ani-ada—unregulated; maggeëa—by the path; calantassa—of one who is travelling; vilambeëa jjeva—only after delay; gamma—of the desired; laho—the gain; hoi—happens.

 

     Friendship:  The path without rules takes a long time.

 

Text 50

 

     premabhaktih: idam anaikantikam. tatha hi

 

     idam—this; aneka-antikam—not necessarily so; tatha hi—after all.

 

     Love of God:  Not always.

 

Text 51

 

vanyasu taraëi-saraëir

     javena gamyam nayaty aniyato 'pi

na sahaja-kuöileshu punar

     nadi-pravaheshv ati-niyatapi

 

     vanyasu—during the flood season; taraëi—in a boat; saraëih—the passage; javena—quickly; gamyam—the destination; nayati—bring one to; aniyatah—without any set-out path; api—even; na—but  not; sahaja—normally; kuöileshu—when they are crooked; punah—then again; nadi—or rivers; pravaheshu—the currents; ati-niyata api—even though strictly following regulated paths.

 

     During a flood a boat can quickly go without following any established path. At another time even the most established path is difficult on the winding river.

 

Text 52

 

     tad alam anaya vartaya, shriëumas tavat ayam prastauti.

 

     tat—thus; alam—enough; anaya—with this; vartaya—discussion; shriëumah—let us listen; tavat—just kim—what; ayam—he; prastauti—is going to say.

 

     Enough with this talk! Let us listen as the Sutradhara recites.

 

Text 53

 

     sutradharah:  alam ati-vistareëa. bhoh bhoh adyaham bhagavatah kamala-yonesh caraëa-kamalopakaëöhad dainandinam vandandikam nirvahya nivartamano manonnatena daivat tatropasidata naradena samadishöo 'smi.

 

     alam ati-vistareëa—with this excess elaboration; bhoh bhoh—gentlemen; adya—today; aham—I; bhagavatah kamala-yoneh—of Lord Brahma, who was born the lotus growing from the navel of Garbhodakashayi Vishëu; caraëa-kamala—of the lotus feet; upakaëöhaö—from the proximity; daidam-dinam—daily; vandana—prayers; adikam—and other ritual duties; nirvahya—having carried out; nivartamanah—returning; mana-unnatena—as a great honor to me; daivat—by the whim of providence; tatra—to that place; upasidata—who had approached; naradena naradena—by the sage Narada; samadishöah—I was ordered; asmi—I was.

 

     Sutradhara:  Enough with these elaborate speeches! Today, as I was returning from my daily prayers and obeisances at Lord Brahma's lotus feet, the great sage Narada approached me and said:

 

Text 54

 

     yatha hamho gandharva-raja, rajamano 'ti-ciraya mama manoratho varivarti, bhavadbhir narinrityamana bhagavatah shri-vrindavana-vihariëah kapi keli-kaumudi nayana-vishayi-kartavyeti, tat yatha smapadyate 'dya te tatha kaushalena bhavitavyam.

 

     yatha—as follows; hamho—hello; gandharva-raja—O King or artists; rajamanah—persistently; ati-ciraya—for a very long time; mama—my; manorathah—desire; varivarti—has been maintained; bhavadbhih—by your good self; narinrityamana—being enacted; bhagavatah—of the Lord; shri-vrindavana-vihariëah—the enjoyer of Vrindavana pastimes (Shri Krishëa); ka api—some; keli-kaumudi—dramatic amusement; nayana—of the eyes; vishayi—the object; kartavya—should be made; iti—thus; tat—that (desire); yatha—so that; sampadyate—may be fulfilled; adya—today; te—by you; kaushalena—expertly; bhavitavyam—should be done.

 

     "O king of actors, for a long time I have wished that Your dramatic acting would place before my eyes the moonlight of the pastimes of Vrindavana-vihari Krishëa. With your dramatic skill please let this desire be fulfilled today."

 

Text 55

 

     tad aham tatra yatishyate. (iti purato 'valokya) bho bhoh, ita itah.

 

     tat—that; aham—I; tatra—therefore; yatishyate—will endeavor to do; iti—thus speaking; puratah—in front; avalokya—looking; bhoh bhoh—my friend; itah itah—over here.

 

     That I will now try to do. (looking ahead) Oh! Oh! Here! Here!

 

Text 56

 

     (pravishya)

     pariparshvikah:  kim ajnapayati bhavah.

     sutradharah:  marisha, adyaham uparodhito 'smi tatra-bhavata bhagavata naradena.

 

     pravishya—entering; kim—what?; ajnapayati—orders; bhavah—his lordship; marisha—O gentle one; adya—today; aham—I; uparodhitah asmi—met; tatra-bhavata=who was there; bhagavata naradena—Lord Narada.

 

     (Pariparshvika enters.)

     Pariparshvikah:  What does his lordship order?

     Sutradhara:  Gentle one, today I met Lord Narada.

 

Text 57

 

     pariparshvikah:  katham iva.

     sutradharah:  bhagavatah kamala-yoneh (ity adi paöhati).

 

     katham—for what purposes; iva—indeed; bhagavatah kamala-yoneh—of lotus-born Lord Brahma; iti adi—and so on; paöhati—he recites.

 

     Pariparshvika:  What happened?

     Sutradhara:  Today, as I was returning from my daily prayers and obeisances at Lord Brahma's lotus feet, the great sage Narada approached me and said: "O king of actors, for a long time I have wished that Your dramatic acting would place before my eyes the moonlight of the pastimes of Vrindavana-vihari Krishëa. With your dramatic skill please let this desire be fulfilled today." That I will now try to do.

 

Text 58

 

     pariparshvikah:  bhava, katham ayam atma-yoner bhagavata atmajah sanaka-sanandanadinam avaraja atmaramo brahma-bhutah satata-brahmanandanubhava-bhavika-subhagam-bhavukah shri-krishëasya laukikim kelim anubaddha-trishëas tvam idam abhyarthitavan.

 

     bhava—O worthy one; katham—why; ayam—he, Narada; atma-yoneh—of Brahma, who was born directly from the Supreme Lord Vishëu; bhagavatah—of the chief demigod; atma-jah—the son; sanaka-sananda-adinam—of the four Kumaras, headed by Sanaka and Sananda; avara-jah—the younger brother; atma-aramah—self-satisfied; brahma-bhutah—spiritually realized; satata—always; brahma-ananda—of the happiness beyond all material dualities; anubhava—by the perception; bhavika—joyful; su-bhagam—of what is actually auspicious; bhavukah—who is appreciative; shri-krishëasya—of Shri Krishëa; laukikim—mundane; kelim—on the diversions; anubaddha—fixed; trishëah—his avid desire; tvam—to you; abhyarthitavan—has requested.

 

     Pariparshvika:  Lord, how is it that saint Narada, who is the son of Brahma and the younger brother of the sages headed by Sanaka and Sanandana, and who himself always tastes the bliss of Brahman, thirst after Shri Krishëa's earthly pastimes and reqaust this of you?

 

Text 59

 

     sutradharah:  asti rahasyam.

 

atmaramash ca munayo

     nirgrantha apy urukrame

kurvanty ahaitukim bhaktim

     ittham-bhuta-guëo harih

 

     iti bhagavatiya gatha.

 

     asti—there is; rahasyam—a secret; atma-aramah—persons who take pleasure in being transcendentally situated; ca—also; munayah—great saintly person who have completely rejected material aspirations, fruitive activities, and so forth; nirgranthah—without interest in any material desire; api—certainly; urukrame—unto the Supreme Personality of Godhead, Krishëa, whose activities are wonderful; kurvanti—do; ahautikim—causeless, or without material desires; bhaktim—devotional service; ittham-bhuta—so wonderful as to attract the attention of the self-satisfied; guëah—who has transcendental qualities; harih—the Supreme Personality of Godhead; iti—thus; bhagavatiya—of Shrimad-Bhagavatam; gatha—a verse.

 

     Sutradhara:  That is a great secret. Shrimad-Bhagavatam says: (1.7.20): "Those who are self-satisfied and unnatracted by external material desires are also attracted to the loving service of Shri Krishëa, whose qualities are transcendental and whose activities are wonderful."*

 

Text 60

 

     pariparshvikah:  bhavatu nama bhaktim kurvantu, katham laukika-carite 'nurajyanti.

     sutradharah:  maivam vadih.

 

     bhavatu nama—granted that; bhaktim—devotional service; kurvantu—they may perform; katham—but why; laukika-carite—to the earthly activities (of the Lord); anurajyanti—would they become attached; ma—do not; evam—like that; vadih—speak.

 

     Pariparshvika: The saints may engage in devotional service, but why would they become attracted to the Lord's pastimes on earth?

     Sutradhara:  Don't speak in that way.

 

Text 61

 

alaukikitah kila laukikiyam

     lila harer eti rasayanatvam

lilavataranukathati-mridvi

     vishvasya shrishöy-adi katha palikni

 

     alaukikitah—than those which are supernatural; kila—indeed; laukiki—seemingly mundane; iyam—these; lila—pastimes; hareh—of the Supreme Lord Hari; eti rasayanatvam—become more relishable; lila-avatara—of His pastime incarnations anukatha—the authorized discussion; ati-mridvi—very sweet; vishvasya—of the material universes; shrishöi—of the creation; adi—and the maintainance and ultimate destruction; katha—discussion; palkini—hackeyed (in comparison).

 

     Lord Hari's pastimes on earth are sweeter than His pastimes in Vaikuëöha. The stories of His pastime-incarnations are very sweet, and the stories of His creation of the universes are dry and tastelesss.

 

Text 62

 

     ata uktam bhajate tadrishih krida yah shrutva tat-paro bhavet iti sadharaëa-jana-param eva, visheshatas tva ayam shri-naradah shri-vrindavana-vinoda-priyah shri-gopala-maha-manor rishir api, tena yuktam evaitat. tat avilambitam sampadyatam patra-vargasya bhumika-parigrahah.

 

     atah—therefore; uktam—it is said; bhajate—He accepted; tadrishih—such; kridah—play (the pastimes of Vrindana); yah—which; shrutva—having heard; tat-parah—attached to them; bhavet—one will become; iti—thus quoting; sadharaëa—to ordinary; jana—persons; param—is applicable (that statement); eva—even; visheshatah—in particular; tu—but; ayam—this; shri-naradah—Narada Muni; shri-vrindavana-vinoda—the pleasures of Vrindavana; priyah—who cherishes; shri-gopala-maha-manoh—of the great Gopala _mantra_; rishih—the chief initiating sage; api—also; tena—for these reasons; yuktam—is fitting; eva—indeed; etat—this; tat—thus; avilambitam—without delay; sampadyatam—we should do; patra-vargasya—of the acting crew; bhumika-parigrahah—the assigning or roles.

 

     The Bhagavatam (10.33.36) says: "By hearing Lord Krishëa's pastimes one becomes devoted to Him."  In this way even ordinary men become devoted to the Lord. Shri Narada is especially attached to the Lord's pastimes in Vrindavana. He is the teacher of the Gopala maha-mantra. Therefore His attachment is proper. The actors should be given their roles without delay.

 

Text 63

 

     pariparshvikah:  bhava, kshaëam apekshyatam yavad asau muni-varah samayati.

 

     bhava—worthy sir; kshaëam—a little while; apekshyatam—let us wait; yavat—until; asau—he; muni-varah—the best of sages; samayati—arrives.

 

     Pariparshvika:  Lord, let us wait until the great sage arrives.

 

Text 64

 

     sutradharah:  agata-praya eva, na khalu tadrisam antariksha-cariëam paryaöana-vilambah.

 

     agata—he has arrived; prayah—practically; eva—already; na—there is not; khalu—certainly; tadrisam—for such; antariksha—in outer space; cariëam—persons who are capable of travelling freely; paryaöana—in going from one place to another; vilambah—loss of time.

 

     Sutradhara:  He is almost here already. A person who can travel in outer space does not delay.

 

Text 65

 

     pariparshvikah:  evam cet kah prayogo 'nusöhavyas tad apy anujnayatam.

 

     evam cet—if that is the case; kah—which; prayogah—drama; anushöhavyah—is to be performed; tat—that; api—indeed; anujnayatam—please inform me.

 

     Pariparsvika:  If that is so, then tell me: What drama will we perform?

 

Text 66

 

     sutradharah: 

 

grihitva jarati-bhavam

     ya devya yoga-mayaya

sampadyate dana-lila

     saiva radha-mukundayoh

 

     grihitva—having taken; jarati-bhavam—of grandmother Jarati; bhavam—the mood; ya—that; devya yoga-mayaya—by the goddess Yogamaya (the Lord's own internal potency); sampadyate—which is brought about; dana-lila—the pastimes of "exacting the toll"; sa—that; eva—indeed; radha-mukundayoh—of radha and Krishëa.

 

     Sutradhara:  "Radha and Mukunda's Dana-keli", a play Yogamaya, in the form of an elderly lady, wrote.

 

Text 67

 

     pariparshvikah:  katham esha tvaritam sampadayitum shakyate.

     sutradharah:  katham iva.

 

     katham—how; esha—this (pastime); tvaritam—in short time; sampadayitum—to arrange; shakyate—is possible; katham iva—how indeed.

 

     Pariparshvika:  How will we stage this play on such short notice?

     Sutradhara:  How indeed?

 

Text 68

 

     pariparshvikah:  shruyatam.

 

tasmin prayoge bhavatas tanujah

     sarva visheshad gaëana-praviëah

 

     shruyatam—please hear me; tasmin—in that; prayoge—performance; bhavatah—your own; tanu-jah—daughters; sarvah—all; visheshat—particularly; gaëana—to be counted; praviëah—are proficient enough.

 

     Paripashvika:  Listen. Your daughters can expertly perform this play.

 

Text 69

 

     sutradharah:  (sashankam)  kathaya, tasam svasty asti.

     pariparshvikah:  astv eva, kintu.

 

vrindavanam tah prayayuh pramodat

     sambhuya gopishvara-pujanartham

 

     sa-ashankam—doubtfully; kathaya—please tell me; tasam—of them; svasti—qualification; asti—is there; astu—there should be; kintu—however; vrindavanam—to Vrindavana; tah—they; prayayuh—have gone off; pramodat—joyfully; sambhuya—joining together in a hand; gopi-isvara—of lord Shiva in the deity of Gopishvara, "lord of the gopis"; pujana—worship; artham—for the purpose of.

 

     Sutradhara:  (worrying)  Tell me: would they be good for the parts?

     Pariparshvika:  They would be, but they have already happily gone to Vrindavana to worship Lord Gopishvara.

 

Text 70

 

     sutradharah:  kim karomi, katham etat naradah pratyetu, aho tad-abhishapad bhayena bhavyam.

 

     kim—what; karomi—shall I do; katham—how; etat—this fact; naradah—Narada; pratyetu—will accept; aho—oh; tat—his; abhishapat—because of the curse; bhayena—fear; bhavyam—will certainly come about.

 

     Sutradhara:  What will I do? Will Narada accept this excuse? Ah, I fear his curse.

 

Text 71

 

     pariparshvikah:  alam alam cintaya, ta api samagata-praya eva.

     sutradharah:  hanta marisha na janasi.

 

     alam alam—enough; cintaya—with worrying; tah—they (the girls); samagata-prayah—have almost arrived there; eva—already; hanta—alas; marisha—gentle one; na janasi—you do not understand.

 

     Pariparshvika:  Why worry? They will soon return.

     Sutradhara:  Gentle one, you don't understand.

 

Text 72

 

vartmanabhijnah kila tah kumaryo

     na copayuktah katamo 'sti bandhuh

dana-dravotsikta-karah karalah

     stamberamo yatra sa megha-dhama

 

     vartma—with the road; anabhijnah—not familiar; kila—indeed; tah—those; kumariyah—young girls; asti—is there; bandhuh—a friend (to guide them); dana—taken as toll; drava—with items; utsikta—overflowing; karah—his hands; karalah—terrible; stamberamah—the elephant; yatra—where is; sah—he; megha-dhama—(Krishëa, who is dark blue like)  the abode of the clouds.

 

     These girls don't know the road, they have no companion to guide them, and a terrible elephant dark as a raincloud, His hand filled with toll collections, waits for them.

 

Text 73

 

     pariparshvikah:   asti tasam sange yogamaya-prabhava jarati bhavac-chvashruh

     sutradharah:   (vihasya)  tada nishcinta evasmi.

 

     asti—there is; tasam—of them; sa/ge—in the company; yogamaya-prabhava—exhibiting the potency of Yogamaya; jarati—Jarati, the grandmother of Shrimati radharaëi; bhavat—your own; shvashruh—mother-in-law; vihasya—breaking out in laughter; tada—then; nishcintah—freed from anxiety; eva—indeed; asmi—I am.

 

     Pariparshvika:  Your mother-in-law Jarati, who is empowered by Yogamaya, is with them.

     Sutradhara:  (laughing)  Then I will not worry.

 

Text 74

 

ya na pashyati panthanam

     na shriëoti ca ya vacah

sa kim karoti sahayyam

     ya jareva shaririëi

 

     ya—she who; na pashyati—cannot see; pantham—the path; na shriëoti—cannot hear; ca—and; ya—who; vacah—words; sa—she; kim—what; karoti—can give; sahayam—help; ya—who; jara—Old Age; iva—as if; shaririëi—personified.

 

     What can this old lady, who cannot see the road or hear words, do to help them?

 

Text 75

 

     pariparshvikah:  maivam vadih,

 

maha-prabhava khalu yogini sa

     vayo na tasya mati-viplavaya

krameëa vriddha vidhu-maëdaliyam

     na glayati dyotata eva kamam

 

     ma evam vadih—don't speak like that; maha-prabhava—very wonderful; khalu—indeed; yogini—female mystic; sa—she; viplavaya—cause disruption; krameëa—gradually; vriddha—gronw mature (full); vidhu-maëdali—globe of the moon; iyam—this; na glayati—does not be come  weak; dyotate—shining; eva—indeed; kamam—according to her own desire.

 

     Pariparshvika:  Don't talk in that way. She is a powerful yogini. Age has not hurt her mind. As it grows older the waxing moon does not grow weak. It shines brighter than before.

 

Text 76

 

     nepathye:  hamho gandharva-pate,  ko vilambas tad-abhinayasya.

 

     nepathye—in the wings; hamho—O; gandharava-pate—Drama Master; kah—what; vilambah—delay; tat—in that; abhinayasya—performance.

 

     A Voice From Behind the Scenes:  O king of actors, what is the delay in this performance?

 

Text 77

 

     sutradharah:  (shrutim abhiniya)  marisha pashyayam utkaëöhamano muni-varah sa-pramodam abhineshyamaëa-vilokanartham tvaramaëa agacchati.

 

     shrutim abhiniya—acting out that he hears; marisha—gentle soul; pashya—just see; ayam—this; utkaëöhamanah—eager; muni-varah—best of sages; sa-pramodam—joyfully; abhineshyamaëa—what is going to be enacted; vilokana—to see; artham—with the intention; tvaramaëah—hurrying; agacchati—is approaching.

 

     Sutradhara:  (hearing)  O gentle one, look! The great sage joyfully hurries here, eager to see our play.

 

Text 78

 

     asmakam tu na kapi samagri sampadyate, tad vayam ito gatva tasam eva kumariëam anusandhanaya yamah

 

     asmakam—our; tu—however; na ka api—not any; samagri—required paraphernali-a; sampadyate—has been put together; tat—therefore; vayam—we; itah—away from here; gatva—going; tasam—for them; eva—indeed; kumariëam—the girls; anusandhanaya—to search out; yamah—let us go.

 

     We have not made any preparations! Let us go and find these girls.

 

Text 79

 

     pariparshvikah:  yatha rucitam bhavate.

     (iti kshaëam nartitva nishkrantau.)  prastavana

 

     yatha—however; rucitam—is pleasing; bhavate—to you; iti—thus; kshaëam—for a short while; nartiva—after dancing; nishkrantau—the two of them exit; prastavana—at this point the prastavana is spoken.

 

     Pariparshvika:  As it pleases you. (Dancing for a moment, they exit.)

 

Text 80

 

     (tatah pravishati snatakenanugamyamano naradah)

     naradah:  aye gandharva-raja, kim atah param vilambase. (iti tam anusandadhati.)

     premabhaktih:  vatse maitri, pashya pashya.

 

     tatah—next; pravishati—enters; snatakena—by his assistant (a snataka—is a brahmacari who has completed his study with the spiritual master and is about to return home to marry); anugamyamanah—being attended; naradah—Shrila Narada Muni; aye—O; gandharva-raja—Drama Master; kim—why; atah param—any further; vilambase—are you procrastinating; iti—having thus spoken; tam—for the Sutradhara; anusandadhati—he searches; vatse—my dear girl; maitri—Friendship; pashya pashya—look, look.

 

     (Followed by his servant, Narada enters.)

     Narada:  O king of actors, why are you late? (He searches for the Sutradhara.)

     Love of God:  Child Friendship, look! Look!

 

Text 81

 

amse nidhaya mahatim ranayan prakoshöhe

     vametare valaya-vat-kalitaksha-malah

vidyud-vikasvara-vikirëa-jaöa-kalapah

     kailasa-kantir ayam eti surarshir agre

 

     amse—on his shoulder; nidhaya—carrying; mahatim—great; ranayan—playing (on his viëa); prakosthe—on the fore-arm; vama-itare—right; valaya-vat—wearing like a bracelet; kalita-aksha—of carved _japan beads; malah—a round strand; vidyut—like lightning; vikasvara—opened; vikirëa—and scattered; jaöa-kalapah—the locks of his hair; kailasa—of Kailasa mountain, the abode of Lord Shiva; kantih—having the white color and the effulgence; ayam—he; eti—is coming; sura-rishih—the sage of the demigods; agre—in front of us.

 

     Playing the great viëa on his shoulder, japa-beads like a bracelet on His right wrist, and his matted hair like lightning, splendid as Mount Kaliasa, Devarshi Narada comes before us.

 

Text 82

 

     vatse, praëamainam, maha-bhagavatottamo 'yam muni-varah yasya khalv iyam gatha

 

     vatse—my dear; praëama—offer your obeisances; enam—to him; maha-bhagavata—great advanced devotees; uttamah—supreme; ayam—this personality; muni-varah—the best of spiritual authorities; yasya—about whom; khalu—indeed; iyam—this following; gatha—verse.

 

     Child, offer obeisances to him. He is a great sage and devotee. The Bhagavatam (1.6.38) says of him:

 

Text 83

 

aho devarshir dhanyo 'yam

     yat kirtim sharnga-dhanvanah

gayan madyan idam tantrya

     ramayaty aturam jagat

 

     aho—ah; deva-rishih—the sage of the gods; dhanyah—is glorious; ayam—this; yat—one who; kirtim—the glories; sharnga-dhanvanah—of Lord Vishëu, the bearer of the bow Sharnga; gayan—singing; madyan—taking pleasure; idam—this; tantrya-aturam—distressed; jagat—world.

 

     "All glory and success to Shrila Narada Muni because he glorifies the activities of the Personality of Godhead, and so doing he himself takes pleasure and also enlivens all the distressed souls of the universe."*

 

Text 84

 

     maitri:  (praëamya)  dei, tue bhaëidam sirivaso ëara-o huvissadi, kaham daëim sa-am jjevva ëara-o aa-o.

 

     praëamya—after bowing down; dei—O goddess; tue—by you; bhaëidam—was said; sirivaso—Shrivasa Prabhu; ëara-o—Narada; huvissadi—would be; kaham—why; daëim—now; sa-am—himself; jjevva—even; ëara-o—Narada; aa-o—has come.

 

     Friendship:  (offering obeisances)  Goddess, you said, “Shrivasa will take the role of Narada". Why has Narada himself come?

 

Text 85

 

     premabhaktih:  asya sahaja-naradaveshatvan narada-rupata vyaktaiva. advaitades tu tat-tad-aropah. tat tvaya yatha-drishöam eva pratiyatam.

 

     asya—his (Shrivasa); sahaja—natural; narada-aveshatvat—because of being the empowered incarnation of Narada; narada-rupata—his assumption of the form of Narada; vyakta—has been manifested; eva—indeed; advaita-adeh—of Advaita and the others; tu—however; tat-tat—of each of their parts; aropah—pretending; tat—thus; tvaya—by you; yatha-drishöam—whatever you are; eva—just so; pratiyatam—you should accept.

 

     Love of God:  Because he is an empowered incarnation of Narada, Shrivasa manifested Narada's actual form. Advaita and the others are different from their roles. Just accept them as you see them.

 

Text 86

 

     narada:  bho bhoh snataka, katham atra ko 'pi na drishyate.

 

     bhoh bhoh—my friend; snataka—O Snataka; katham—why is it; atra—in this place; kah api—anyone; drishyate—is not to be seen.

 

     Narada:  Snataka, why is no one to be seen?

 

Text 87

 

     snatakah:  surarshe, gandharva-rajas tu vrindavana eva nartitavyam iti tatraiva sa-samagriko gatavan asti, ehi tatraiva gacchavah.

 

     sura-rishe—O _rishin among the gods; gandharva-rajah—the Drama Master; tu—but; vrindavane—in Vrindavana; eva—indeed; martitavyam—the drama is to be performed; iti—thus thinking; tatra—there; eva—indeed; sa-samagrikah—taking along all his theatrical properties; gatavan asti—he has gone; ehi—come now; tatra—there; eva—also; gacchavah—let us go.

 

     Snataka:  Devarshi, the king of actors has taken his troupe to Vrindavana to do his play there. Come, let us go there.

 

Text 88

 

     naradah:  idam vrindavanam na bhavati.

 

     idam—this; vrindavana—Vrindavana forest; na bhavati—is it not.

 

     Narada:  Isn't this Vrindavana?

 

Text 89

 

     snatakah:  bho mahatman, atishaya-harshotkarsheëa svatmapi vismrito bhavata, yac ca tatha vrindavana-paricaya-caturya-dhuryo 'pi vrindavanam na paricinoshi.

 

     bhoh maha-atman—O great soul; atishaya—extreme; harsha—of joy; utkarsheëa—by the excess; sva-atma—your own self; vismritah—is forgotten; bhavata—by you; yat—since; ca—also; tatha—thus; vrindavana-paricaya—familiarity with Vrindavana; caturya—expertize in; dhuryah—famous for; api—even though; vrindavanam—Vrindavana; na paricinomi—you are unable to find out.

 

     Snataka:  O great soul, overcome with bliss, you have  forgotten yourself. Even though you are the greatest authority on Vrindavana, now you do not recognize Vrindavana.

 

Text 90

 

     naradah:  bho bhoh sëataka, satyam evoktam bhavata.

 

     bhoh bhoh—my dear; snataka—mendicant; satyam—truly; eva—indeed; uktam—spoken; bhavata—by you.

 

     Narada:  Snataka, you say the truth.

 

Text 91

 

anandonmada-luptantar-

     bahih-karaëa-vrittayah

paricinvantu ke samyag

     atmanam kim utaparam

 

     tad adisha tasya panthanam.

 

     ananda—of ecstasy; unmada—by the derangement; lupta—bewildered; antah—internal; bahih—and external; karaëa—of their senses; vrttayah—the funcions (persons are thus affected); paricinvantu—may be able to distinguish; ke—who (of them); samyak-atmanam—their own self; kim uta—what to speak of; aparam—anything; else: tat—therefore; adisa—please show me; tasya—to there; panthanam—the path.

 

     Among those whose heart and senses are overcome by the madness of spiritual bliss, who is able even to recognize his own self, what to speak of other things? Please show me the path.

Text 92

 

     snatakah:  bho bho ita itah  (ity ubhau naöyena parikramatah.)

 

     bhoh bhoh—sir; itah itah—this way, this way; iti—thus; ubhau—they both; naöyena—with dancing, gestures; parikramatah—circumbulate the stage.

 

     Snataka:  This way. This way.

     (They walk about.)

 

Text 93

 

     premabhaktih:  (nirupya)  aho maha-bhagavatasya naisargiki vrindavana-ratih.

 

     nirupya—looking on; aho—oh, what; maha-bhagavatasya—of the great Vaishëava; naisargiki—innate; vrindavana-ratih—attraction to Vrindavana.

 

     Love of God:  (looking)  Ah! The great devotee naturally loves Vrindavana.

 

Text 94

 

     naradah:  (naöyena kiyad duram gatva)  hanta bhoh,

 

yat-pare virajam viraji parama-vyometi yad giyate

     nityam chinmaya-bhumi-cimaya-lata-kunjadibhir manjulam

sandrananda-mahomayaih khaga-mriga-vratair vritam sarvatas

     tad vrindavanam ikshyate kim aparam sambhavyam akshëoh phalam

 

     naöyena kiyad duram gatva—going a short distance;  hanta bhoh—Oh!; yat-pare—beyond; virajam—the Viraja River; viraji—manifested; parama-vyoma—spiritual sky; iti—thus; yat—which; giyate—is sung; nityam—eternal; cit-maya—fully alive; bhumi—with its land; cit-maya—also full of spiritual life and consciousness; lata-kunja-adibhih—with its creepers, groves, etc.; manjulam—charming; sandra-ananda—of concentrated bliss; mahah—the opulence; mayaih—who are composed simply of; khaga—with the birds; mriga—and animals vrataih—flocks of; vritam—surrounded; sarvatah—all over; tat—that; vrindavanam—abode of Vrindavana; ikshyate—is seen; kim—what; aparam—other; sambhavyam—can be possible; akshëoh—of the eyes; phalam—desirable object.

 

     Narada:  (walking a short distance) Now we see eternal Vrindavana, beautiful with spiritual places and spritiual vines and other features, everywhere filled with splendid and blissful birds and deer, and glorified in the Vedas as the spiritual sky beyond the Viraja River. What can be better for the eyes to see?

 

Text 95

 

     yatra svayam svayambhur apy asmat-pita yat kincid eva janmabhilashitavan. tatha ca puraëiki gatha "tad bhuri-bhagyam iha janma kim apy aöavyam yad gokule 'pi katamanghri-rajo-'bhishekam"  ity adi. (ity etad eva padyam upaviëayan naöati.)

 

     yatra—where (in Vrindavana); svayam—himself; svayam-bhuh—"self-born" Brahma (so named because he was born directly from Vishëu and thus had no material mother or father); api—also; asmat-pita—my own father; yat kincit eva—any at all; janma—birth; abhilashitavan—desired; tatha—thus; ca—and; pauraëiki—of the Puraëa (Shrimad-Bhagavatam); gatha—the verse; tat—that; bhuri—great; bhagyam—fortune; iha—here; janma—birth; kim api—any; aöavyam—in this forest; yat—by which; gokule—in Gokula, Vrindavana; api—indeed; katama—of any (of the residents); anghri—of their feet; rajah—with the dust; abhishekam—my bath; iti adi—and so on; iti—thus; etat eva—this same; padyam—verse; upaviëayan—accompanying with his viëa; naöati—he acts out.

 

     Even my father, Lord Brahma, wished to take any sort of birth here. He says in the Bhagavatam (10.14.34): (He plays the viëa and dances as he recites the verse) "It would be the greatest fortune for me to take any birth whatever, even that of a blade of grass, within this forest of Gokula, because then I could accept the dust of the residents' feet on my head."*

 

Text 96

 

     snatakah:  evam cet prati-padam eva bhavata premananda-vihvalena bhuyate, tada katham gamyatam.

 

     evam—thus; cet—if; prati-padam—with every step; eva—even; bhavata—your grace; prema-ananda—with the ecstasy of love of God; vihvalena bhuyate—is overwhelmed; tada—then; katham—how; gamyatam—will we make progress.

 

     Snataka:  If at every step you are overcome with the ecstasy of love, how will you go anywhere?

         

Text 97

 

     naradah:  (dhairyam avashöabhya)  adisha margam.

     snatakah:  ita itah.

     (ity ubhau punar naöyena parikramatah.)

 

     dhairyam avashöabhya—mustering his composure; adisha—please show; margam—the way; itah itah—this way, this way; iti—thus; ubhau—both of them; punah—again; natyena—while dancing; parikramatah—wander around the stage.

 

     Narada:  (becoming serious)  Show the way.

     Snataka:  This way. This way.

     (They walk about.)

 

Text 98

 

     (nepathye murali-dhvanih)

     snatakah:  devarshe idam eva vrindavanam, yad esha bhagavato murali-kala akarëyate.

     naradah: (shrutim abhiniya)  aye satyam evattha, tatha hi

 

     nepathye—behind the stage; murali—of a flute; dhvanih—the sound; deva-rishe—O sage of the demigods; idam—this; eva—certainly; vrindavanam—is Vrindavana; yat—because; bhagavatah—of the Lord; murali-kalah—the notes of the flute; akarëyate—are heard; shrutim—the act of hearing; abhiniya—exhibiting; aye—oh; satyam—correctly; eva—indeed; attha—you have spoken; tatha hi—indeed.

 

     (From behind the scenes flute music.)

     Snataka:  Devarshi, this is Vrindavana. I hear the sweet music of the Lord's flute.

     Narada:  (listening)  You say the truth.

 

Text 99

 

madhurima-rasa-vapi-matta-hamsi-prajalpah

     praëaya-kusuma-vaöi-bhringa-sangita-ghoshah

surata-samara-bheri-bhankritih putanarer

     jayati hridaya-damshi ko 'pi vamshi-ninadah

 

     madhurima-rasa—of the sentiments of intimate love God; vapi—in that lake; matta—who are intoxicated; hamsi—of the female swans; prajalpah—the chattering; praëaya—of affection; kusuma-vaöi—in the flower-garden; bhringa—of the bees; sangita—of the singing; ghoshah—the mellow vibration; surata—of conjugal love; samara—on the battlefield; bheri—of the kettle-drums; bhankritih—the murmuring; putana-areh—of Krishëa, the enemy of the Putana witch; jayati—may it be victorious; hrdaya—the heart; damshi—which stings; kah api—that certain; vamshi-ninadah—resounding of the flute.

 

     Glory to Lord Krishëa's flute-music, which bites the heart, which is the maddened chatter of swans in a lake of sweet nectar, which is the song of bees in a flower-garden of love, and which is the roll of drums announcing a battle of transcendental amorous pastimes!

 

Text 100

 

     premabhaktih:  vatse, bhagavatah shri-krishëa-candrasya pravesho bhavita. tad idanim vismaryatam ajanma-duhkham sa-phali-kriyetam ca nayane.

 

     vatse—dear girl; bhagavatah—of the Supreme Lord; shri-krishëa-candrasya—Shri Krishëacandra; praveshah—the entrance; bhavita—is about to happen; tat—therefore; idanim—now; vismaryatam—may be forgotten; a-janma—from birth; duhkham—unhappiness; sa-phali—fruitful; kriyetam—may be made; ca—and; nayane—the eyes.

 

     Love of God:  Child, now Lord Shri Krishëacandra will enter. Now we will forget all we have suffered since birth, and the purpose of our eyes will be fulfilled.

 

Text 101

 

     maitri: savvam tuha caraëa-pasad ado jjevva.

 

     savvam—it all; tuha—of your; caraëa—of the feet; pasadado—by the mercy; jjevva—indeed.

 

     Friendship:  All this is because of the mercy of your feet.

 

Text 102

 

     naradah:  (nipuëam nibhalya)  snataka, satyam eva vraja-raja-kumarasyaiva vamshi-ninado 'yam. yatah

 

     nipuëam—scrutinizingly; nibhalya—looking; snataka—my dear Snataka; satyam—truly; eva—indeed; vraja-raja—of the King of Vraja (Vrindavana); kumarasya—of the royal son; eva—for certain; vamshi-ninadah—the sound of the flute; ayam—this; yatah—because;

 

     Narada:  (carefully looking)  Snataka, it is true. This is the flute-music of Vraja's prince.

 

Text 103

 

vitatir api giriëam muncativashru-dharam

     pulakayati taruëam virudham caisha vargah

vidadhati sarito 'pi srotasah stambham uccair

     hari hari hari-vamshi-nada evojjihite

 

     (ity etad eva padyam purvavad upaviëayan nrityati)

 

     vitatih—the range; api—indeed; giriëam—of mountains; muncati—releases; iva—as if; ashru—of tears; dharam—a torrent; pulakayati—stands erect in ecstasy; taruëam—of trees; virudham ca—and plants; eshah—this; vargah— community; vidadhati—of the current; stambham—paralysis; uccaih—loudly; hari hari hari—O Hari, Hari, Hari; vamshi-nadah—the sounding of the flute; eva—indeed; ujjihite—is rising upwards; iti—thus speaking; etat eva—this same; padyam—verse; purva-vat—as before; upaviëayan—accompanying with his viëa; nrityati—he dances.

 

     (Dancing as he plays the viëa) The mountains shed tears, the leaves of the trees and vines stand erect in ecstasy, and the rivers are stunned. Ah! Ah! Lord Hari's flute-music is manifest.

 

Text 104

 

     snatakah:  yathartham evaitan naöanam. yatah

 

     yatha-artham—fitting; eva— indeed; etat—this; naöanam—dancing; yatah—since.

 

     Snataka:  It is right that you dance, because. . .

 

Text 105

 

shrutibhir api vimrigyam brahma-sampatti-bhajam

     api puru-rasaniyam murta ananda-sarah

yad ahaha bhavitadya shrila-shambhu-svayambhu-

     prabhritibhir abhivandyam pada-padmam drishor nah

 

     shrutibhih—by the Vedas; api—indeed; vimrigyam—sought after; brahma—of the Absolute Truth; realized in its impersonal feature; sampatti—the fortune (liberation); bhajam—for those who have attained; api—also; puru—completely; rasaniyam—relisable; murtah—personified; ananda-sarah—the essence of all bliss; yat—which; ahaha—oh; bhavita—will be; adya—today; shrila-shambhu-svayambhu—by the saintly demigods Shiva and Brahma; prabhritibhih—and others; abhivandyam—worthy of being honored; pada-padmam—the lotus feet; drishoh—before the eyes; nah—our.

 

 . . .the lotus feet that are the form of the greatest bliss, that are sought by the Vedas, relished by those wealthy with spiritual opulences, and worshiped by the great demigods headed by Brahma and Shiva, will now come before our eyes.

 

Text 106

 

     tad devarshe kshaëam apavarya sthatum yujjyate, kim asau saha sahacarair evopasarpati, kim va saubhagya-rasa-gabhirabhir abhira-bhirubhir iti sahasopasarpaëam asampratam.

 

     tat—therefore; deva-rishe—O sage among the devas; kshaëam—momentarily; apavarya—hiding; sthatum—to remain; yujyate—we should; kim—lest; asau—He; saha—along with; sahacaraih—His friends; eva—indeed; upasarpati—arrives here; kim va—or else; saubhagya—fortunate; rasa—on account of their transcendental mood; gabhirabhih—who are sober in attitude; abhira—of the cowherd class; bhirubhih—by the modest women; iti—thus; sahasa—sudden; upasarpaëam—approach; asampratam—untimely.

 

     Devarshi, let us hide for a moment. Will Krishëa come here with His friends? Will the sweet, fortunate, shy, exalted gopis suddenly come here?

 

Text 107

 

     naradah: satyam evattha, tad evam eva kurvah. (iti tatha sthitva)

 

     satyam—correctly; eva—indeed; attha—you have spoken; tat—that; evam eva—just so; kurvah—let us do; iti—thus; tatha—thus; sthitva—situating themselves.

 

     Narada:  You speak the truth. Let us do that. (They do that.)

 

Text 108

 

     (tatah pravishati kadamba-taru-kaëda-kritalambas tri-bhangi lalito muralim vadayan katipayaih sakhibhih saha shri-krishëah.) 

     shri-krishëah:  sakhe, ramyam idam vrindavanasya saubhagyam. tatha hi

 

     tatah—then; pravishati—enters; kadamba-taru-kaëda—a kadamba branch; kritalambas—walking stick; tri-bhangi—threefold bending; lalito—charming and playful; muralim—flute; vadayan—playing; katipayaih—some; sakhibhih—friends; saha—with; shri-krishëah—Shri Krishëa; sakhe—O friend; ramyam—delightful; idam—this; vrindavanasya—of Vrindavana; saubhagyam—beauty; tatha hi—furthermore.

 

     (Carrying a kadamba stick and playing a flute, charming, threefold-bending Shri Krishëa enters with His friends.)

     Shri Krishëa:  Friend, this is the great beauty of Vrindavana.

 

Text 109

 

hasanti vasanti valita-mukulo bala-bakulo

     vishokash cashokah sulabha-vicayash campaka-cayah

anagah punnagah stabaka-kamanah pashya sumanah-

     kuöirah paöira-shvasana-surabhir bhati surabhih

 

     hasanti—laughing; vasanti—this vasanti (a kind of jasmine); valita—newly appeared; mukulah—whose buds; bala— young; bakulah—bakula tree; su-labha—easy; vicayah—to pick out; campaka—of campaka trees; cayah—groups; anagah— sinless; punnagah—punnaga trees; stava—prayers; kamanah— (bowing down as if) wishing to offer; pashya—just see; sumanah—of flowers; kuöirah—this grove; paöira—of the sandalwood tree; shvasana—from the breathing; surabhih—sweet-smellling; bhati—blows; surabhih—fragrance.

 

     Look! The vasanti vine smiles, the young bakula tree is full of buds, the ashoka tree is happy and carefree, the campaka flowers are splendid, the saintly punnaga tree is beautiful with many bunches of flowers, and the sumanah-flower grove is filled with a fragrant breeze.

 

Text 110

 

     vayasyah:  bho va-assa, tujjha edam kila-kaëaëam kadham ramaëijjam ëa huvissadi.

 

     bho—O; va-asa—friend; tujjha—Your; edam—this; kila-kaëanam—pleasure grove; kadham—how; ramaëijjam— attractive; ëa huvissadi—would not be.

 

     Friends:  O friend, why should Your pastime-garden not be very beautiful?

 

Text 111

 

     premabhaktih:  (nivarëya)  aho kim etat.

 

ayam naivadvaito bata na tad idam vesha-racana-

     kala-shilpam kintu svayam iha harih pradurabhavat

yathartham vastv eva prathayati camatkaram adhikam

     yatharthasyakarah sukhayati ca sandehayati ca

 

     nivarëya—watching; aho—oh; kim—what; etat—this; ayam—this; na eva—not indeed; advaitah—Advaita; bata—ah; na—not; tat idam—this; vesha-racana—of putting on of a disguise; kala-shilpam—the artistry; kintu—rather; svayam—personally; harih—Lord Krishna; pradurabhavat—has appeared; yatha-artham—the actual; vastu—thing; eva—indeed; prathayati—affords; camatkaram—wonder; adhikam—greater; yatha-arthasya—of the original; akarah—the form; sukhayati—gives (more) pleasure; ca—and; sandehayati—bewilders (more); ca—and.

 

     Love of God:  (looking)  Ah!  What is this? This is not Advaita. This is not expert costuming and acting. Lord Hari has personally appeared. The real thing is the most wonderful. The real form of Krishëa now pleases us and fills us with wonder.

 

Text 112

 

     (punar nibhalya sa-paramarsham)

 

akrishëah krishëatvam vrajitum asamartho hi bhavati

     svayam krishëo nanakriti-kriti-samarthah kila bhavet

grihitum yogyah syad avayava-kalapam hy avayavi

     kathankaram dhattam avayava-vishesho 'vayavitam

 

     punah—again; nibhalya—looking; sa-paramarsam—(she  speaks) reflectingly; akrishnah—what which is not Krnsna; krishëatvam vrajitum—to become Krishna; asmarthah—incapable; hi—certainly; bhavati—is; svayam—Himself; krishëah—Krishëa; nana—various; akröi—of forms; kriti—the assumption; samarthah—capable of; kila—indeed; bhavet—should be; grihitum—to take; yogyah—able; syat—may be; avayava-kalapam—its many fractional parts; avayavi—the possessing whole; katham-karam—how; dhattam—has assumed; avayava-visheshah—onw particular part; avayavitam—the identity of the whole.

 

     (Looking again and thinking)  A person who is not Krishëa cannot become Krishëa. Krishëa can assume many forms. He, the supreme whole, can assume the form of any of His parts and parcels, but how can one of His parts and parcels assume the form of Him, the whole?

 

Text 113

 

     tad ayam advaita eva na bhavati, napi vesha-racana-kaushalam, kintu svayam krishëa evavatirëah.

 

     tat—therefore; ayam—this; advaitah—Advaitacarya; eva—indeed; na bhavati—is not; na api—neither; vesha-racana-kaushalam—the artistic device of putting on some costume; kintu—but rather; svayam krishëah—Krishëa Himself; eva—indeed; avatirëah—who has descended.

 

     This is not Advaita. This is not expert acting and costuming. Krishëa has personally appeared.

 

Text 114

 

     naradah:  (duran nibhalya sanandam)  aho kim etat.

 

sandrananda-rasabdhi-mantha-viditam sad-bhakta-goshöhyam kripa

     mohinya pariveshitam rati-matam vrindena tatrabhitah

nana-rucy-anupanatah prati-muhuh pitam ca purëam sada

     no jiryaty api nopayati vikritim shyamamritam kincana

 

     durat—from a distance; nibhalya—observing; sa-anandam—ecstatically; aho—oh; kim etat—what is this; sandra—concentrated; ananda-rasa—of the juice of spiritual bliss; abdhi—from that ocean; mantha—that which was churned; viditam—known to be; sat-bhakta—of pure devotees; goshöhyam—within the assembly; kripa—of the Lord's mercy; mohinya—by the Mohini incarnation (see the chapter comments for this story); pariveshitam—distributed; rati-matam—of those apprecite transcendental love; vrindena—by the company; tatra—there; abhitah—on all sides; nana—according to their various tastes; anupanatah—drinking; prati-muhuh—again and again; pitam—drunk; ca—and; purëam—full; sada—always; na u—nor indeed; jiryati—grows old; api na—nor; upayati vkritim—becomes deformed; shyama-amritam—this dark-blue nectar (Krishëa); kincana—at all.

 

     Narada:  (looking from far away, he becomes blissful) Ah! What is this? Churned from the nectar ocean of intense bliss, by the Mohini-incarnation of His mercy given to the happy devotees, and at every moment drunk by them according to their different desires, this perfect dark nectar never changes and never grows old.

 

Text 115

 

     api ca

 

nava-jaladhara-dhama koöi kamabhiramah

     parinaöa-shard-indu-snigdha-mugdhanana-shrih

nava-kamala-palasha-droëi-dirgharuëaksho

     dashana-kusuma-kanti-kanta-bimbadharaushöhah

 

     api ca—further; nava—new; jala-dhara—of clouds; dhama—the reservoir; koöi—thousands; kama—of cupids; abhiramah—more attractive than; pariëata—full-grown; sharat—of autumn; indu—(like) the moon; snigdha—shining; mugdha—innocent; anana—of His face; shrih—the beauty; nava—new; kamala—of a lotus; patasha—like the petals; droëi—the troughs; dirgha—deep; aruëa—reddish; akshah—of His eyes; dashana—of His teeth; kusuma—(which are like) flowers; kanti—because of the brightness; kanta—charming; bimba—like a bimba fruit; adhara-oshöhah—His lips.

 

     He is splendid as a new cloud and more charming than millions of Kamadevas, His face is glorious as the autumn full-moon, His large red eyes are new lotus petals, and His bimba-fruit lips are splendid with the flowers of His teeth.

 

Text 116

 

     ita evabhisarpati. tad ehi kunjantaritau bhutva pashyavah.

     snatakah:  evam eva. (iti tatha kurutah)

 

     itah—in this direction; eva—indeed; abhisarpati—He is approaching; tat—thus; ehi—come; kunja—this arbor; antaritau bhutva—concealing ourselves within; pashyavah—we may observe; evam eva—alright; iti—thus; tatha kurutah—they do so.

 

     He is coming here. Let us hide in this grove and watch.

     Snataka:  So be it. (They do that.)

 

Text 117

 

     shri-krishëah:  sakhe subala, sakhe shridaman, sakhe sudaman, kusumasavo nama batuh priya-sakho me katham drishyate. tad etam mrigayata.

     sakhayah:  yathajnam mrigayamah (iti tad-anveshaëam natayanti)

 

     sakhe subala—O friend Subala; sakhe shridaman—friend Shridama; sakhe sudaman—friend Subala; kusumasavah nama—named Kusumasava; batuh—the young brahmaëa boy; priya-sakhah—dear friend; me—my; katham—why; na drishyate—is not to be seen; tat—so; etam—for him; mrigayata—please look; Shakhayah—those (friends); yatha—as; ajnam—You order; mrigayamah—we will search; iti—thus; tat—for Kusumasava; anveshaëam—searching; naöayanti—they act out.

 

     Shri Krishëa:  Friend Subala, friend Shridama, friend Sudama, why do I not see my dear friend, the brahmaëa Kusumasava? Please go and look for him.

     Friends:  As You order, we will search for him. (They search for him.)

 

Text 118

 

     (pravishyapaöi-kshepeëa sambhranto vidushakah.

     bho va-assa parittahi parittahi.

     shri-krishëah:  katham bhita iva lakshyase.

 

     pravishya—entering; apaöi—the curtain; kshepeëa—by tossing aside; sambhrantah—in a hurry; vidushakah—the buffoon; bho—O; va-assa—friend; parittahi parittahi—save me! save me!: katham—why?: bhitah—afraid: iva—as if: lakshyase—you are seen.

 

     (Tossing the curtain aside, the buffoon hastily enters.)

     Buffoon:  O friend, save me! Save me!

     Shri Krishëa:  Why are you afraid?

 

Text 119

 

     vidushakah:  va-asa, ea joiëi jaradivva disamaëa daivopasaëëa-lalida-bala-lalaëao panca-sao vaëa-majjhamhi aëia govisara-puaëattham kidarambha diööha, tuha puëëeëa aham uvvario, mam gehi-a ëam balim dassadi tti me bha-am jadam.

 

     va-assa—O vayasya; ea—one; joiëi—witch; jaradi ivva disyamana—appearing as if old Age personified; daiva—by chance; upasaëëa—encountered; lalida—charming; bala-lalaëao—young women; panca-sao—five or six; vaëa-majjhamhi—within the forest; aëia—leading them; govisara-puaëa—the ritual worship of Gopishvara; attham—for the purpose of; kida-arambha—having set out; diööha—I saw; tuha—Your; puëëena—by the good grace; aham—I; uvvario—have survived; mam—me; gahi-a—seizing; ëam—certainly; balim—as tribute; dassadi—would have offered; tti—thus; me bha-am jadam—I was afraid.

 

     Buffoon:  Friend, I just now saw an old yogini leading though the forest five pretty young girls to worship Lord Shiva. Only by Your mercy did I escape. They would have captured me and offered me to the deity. That is why I am afraid.

 

Text 120

 

     shri-krishëah:  (vihasya)  vayasya subala, kim etat.

 

     vihasya—laughing loudly; vayasya subala—my friend Subala; kim etat—what is this.

 

     Shri Krishëa:  (laughing)  Friend Subala, what is this?

 

Text 121

 

     subalah:  jnatam iha-sthenaiva maya. adya khalu gopishvara-pujana-krite guru-jana-krite guru-nivaraëe 'pi matamahya mahy-acaraëaya balato balato harshotkarshatah svacchandato vana-gamanaya pravartayishyate radha. tatra tam eva jaratim alokya yogini-bhrantya ayam baöur vibhaya, vibhayata hi sa svabhavad eva deva-mayeva.

 

     jnatam—understood; iha-sthana—standing here; eva—certainly; maya—by me; adya—today; khalu—indeed; ksgopishvara-pujana-krite—for the purpose of worshiping Gopish/vara; guru-jana-krite—by Her elders; guru-nivaraëe—being stricly forbidden; api—even though; matamahya—by Her maternal grandmother (Jarati); mahi-acaraëaya—who is of fine behavior; balatah—by her permission; balatah—impetuosly; harsha-utkarshatah—by the rising of joyful spirits; svacchandatah—feeling independent; vana—to the forest; gamanaya—with the purpose of going; pravartayishyate—had been encouraged to set out; radha—Shrimati radharaëi; tatra—thus; tam—her; eva—indeed; jaratim—Jarati; alokya—seeing; yogini-bhrantya—mistaking her for a witch; ayam—this; baöuh—childish fool; vibhava—became fearful; vibha-ayata—who is a reservoir of splendor; hi—actually; sa—she; sva-bhavat—by her very nature; eva—indeed; deva-maya—the goddess Yogamaya; iva—certainly.

 

     Subala:  I have been standing here, but I understand. Although forbidden by Her elders, with Her grandmother Radha happily came on Her own to the forest to worship Lord Shiva. Seeing the grandmother, and mistakenly thinking her a yogini, this brahmaëa boy became afraid. Actually the grandmother is famous as one of the Lord's internal potencies.

 

Text 122

 

     vidushakah:  hi hi ja-i evvam, taha vi pi-a-va-assassa hatthe ëivadissanti savvao. jam goula-vasiëiëam itthi-kurangiëam rangaëiëam kkhu pi-a-va-assa-guëa-gaëo vaura-jalo.

 

     hi hi—hee, hee; ja-i—if; evvam—that is the case; taha—then; vi—indeed; pi-a-va-assassa—then; vi—indeed; pi-a-va-assassa—of your dear friend (Krishëa); ëivadissanti—will fall; savvao—all of them; jam—because; goula-vasiëiëam—who are residents of Gokula-Vrindavana; itthi—for the women; kurangiëam—(who are just like) deer; rangaëiëam—passionate; kkhu—in fact; pi-a-vassa—of your dear friend; guëa-gaëo—the many great qualities; vaura-jalo—is the hunter's snare.

 

     Buffoon:  Ha ha! If that is so, then all these girls are about to fall into my dear friend's hand. My dear friend's glorious virtues are a hunter's trap to capture the beautiful does that are Gokula's girls.

 

Text 123

 

     naradah:  bhoh snataka, atah param atravasthatum na yujyate, tad ehi yoga-prabhaveëa nabhash-carau bhutva pashyavah  (iti nishkrantau)

 

     bhoh snataka—my dear assistant; atah param—any longer; atra—here; avasthatum—to be situated; na yujyate—is not suitable; tat—therefore; ehi—come; yoga-prabhaveëa—by our mystic power; nabhah-carau—flying in the sky; bhutva—so being; pashyavah—let us observe; iti—thus; nishkrantau—the two of them exit.

 

     Narada:  Snataka, we should not stay here. by our mystic power let us go into the sky and watch from there. (They exit.)

 

Text 124

 

     (nepathye)  hanta ajja, keëa paheëa govisaram aëusaremha, jado

 

     nepathye—heard from the wings; hanta—alas; ajje—O respectable mistress (Jarati); keëa paheëa—by what path; govisaram—the Shiva detiy Gopishvara; aëusaremha—can we reach; jado—since.

 

     A Voice From Behind the Scenes: Alas, noble lady, by what path can we approach Lord Shiva?

 

Text 125

 

vira-i-a öhane öhaëe

     daëam so vaëa-ga-o dhutto

kadda-i sadali-vaggam

     hela-kaëdula-kara-daëdo

 

     vira-i-a—exacting; öhaëe öhaëe—in varios places; daëam—toll; so—He (Krishëa); vaëa—of the forest; ga-o—an elephant; dhutto—cunning; kadòa-i—He causes disturbance; sada—constantly; ali—of girls; vaggam—this band; hela—wanton; kaëòula—itching; kara-daëòo—for tribute exacted as punishment.

 

     Collecting tolls in different places and His hands itching for mischief, a wicked jungle-elephant entices many pious young girls in this place.

 

Text 126

 

     subalah:  vayasya, phalitam asmad-vacah.

     kusumasavah:  ma-e jam uttam va-aëam tam kim ëa phalissadi. ta aliam jjeva gavvam uvvahasi. (krishëam prati)  va-assa, tumhe vi teëa ujjameëa ciööhadha.

     shri-krishëah:  ko sav udyamah.

 

     vayasya—friend; phalitam—fruitful; asmat—our; vacah—words; ma-e—by me; jam—that which; uttam—are spoken; va-aëam—words; tam—those; kim—why; ëa phalissadi—would not prove fruitful; ta—hence; aliam—false; jjeva—indeed; gavvam—pride; uvvahasi—you are bearing; krishëam prati—speaking to Krishëa; va-assa—O friend; tumhe—You; vi—certainly; teëa—for that; ujjameëa—undertaking; citthadha—please station Yourself; kah—what is; asau—that; udyamah—undertaking.

 

     Subala:  Friend, my words have borne their fruit.

     Kusumasava:  Will my words not also bear fruit? You carry a great burden of false pride. (to Krishëa)  Friend, now You should prepare for this event.

     Shri Krishëa:  What is the event?

 

Text 127

 

     Kusumasavah:  ëa sudam 'virai-a öhaëe öhaëe' iccadi jam paòhidam. kimtu vaëa-ga-o tti jam bhaëidam tam uidam jjeva. dhutto tti jam bhaëidam tam kkhu me dukkha-aram.

 

     ëa sudam—didn't You hear; virai-a—exacting; öhaëe öhaëe—in various places; iccadi—and so on; jam—what; paòhidam—was recited; kimtu—whereas; vaëa-ga-o—elephant; tti—thus; jam—which; bhaëidam—was said; tam—that; uidam—proper; jjeva—indeed; dhutto—cheater; tti jam bhaëidam—which was thus spoken; tam—that; kkhu—however; me—to me; dukkha-aram—is a cause of distress.

 

     Kusumasava:  You did not hear the words: " Collecting tolls in different places and His hands itching for mischief, a wicked jungle-elephant entices many pious young girls in this place."? The word "jungle-elephant" is appropriate, but the word "wicked" brings me pain.

 

Text 128

 

     shri-krishëah:  (vihasya savahittham)  vana-gajo dhurta iti katham te duhkha-karam.

 

     vihasya—laughing; sa-avahittham—speaks while concealing His true feelings; vana-gajah—elephant of the forest; dhurtah—trickster; iti—thus speaking; katham—why; te—for you; duhkha-karam—is a source of pain.

 

     Shri Krishëa:  (laughing and hiding His real feelings)  Why does it pain you that a jungle-elephant is called wicked?

 

Text 129

 

     kusumasavah:  ettha vaëe ko avaro vaëa-ga-o.

 

     ettha vaëe—in this forest; ko—who; avaro—other; vana-ga-o—sovereign elephant.

 

     Kusumasava:  Aside from You, is there another elephant in this forest?

 

Text 130

 

     (punar nepathye)

 

avagahi-a uëa maggam

     so viviëe saha-arehim kalahehim

vihara-i daëa-viëoi

     hanta kadham tattha gantavvam

 

     punah—again; nepathye—in the wings; avagahi-a—plunging headlong; uëa—repeatedly; maggam—onto the road; so—He; viviëe—within this woods; sahasarehim—along with His companions; kalahehim—young elephants; vihara-i—is playing; daëa-viëoi—the enjoyer of the pastime of "paying the toll"; hanta—alas; kadham—how; tattha—there; gantavvam—will We ever get.

 

     Again a Voice From Behind the Scenes:  Diving again onto the forest-path, this elephant enjoys the toll-collecting pastime with His elephant-friends. Alas, how will we go to our destination?

 

Text 131

 

     kusumavah:  vassa, amhe kkhaëam kunje ovari-a ciööhamha, java imao vi vissattha huvi-a ittha aacchanti.

     sarve:  evam eva, (iti shri-krishëena saha kunja-pravesham naöayanti.)

 

     va-asa—my friend; amhe—we; kkhaëam—for a moment; kunje—within; the bushes; ovari-a—hiding; ciööhamha—should stay; java—until; imao—these girls; vi—indeed; vissattha—unsuspecting; huvi-a—so being; ittha—here; aacchanti—they come; sarve—all of them; evam—yes, indeed; iti—thus; shri-krishëeëa saha—including Shri Krishëa; kunja-pravesham—entering the overgroeth; naöayanti—they act out.

 

     Kusumasava:  Friend, let us hide for a moment in this grove. Thinking all is safe, these girls will come here.     Everyone:  It is so. (With Krishëa, they enter the grove.)

 

Text 132

 

     (tatah pravishasti pujopopakaraëa-patra-paëibhih saha sahacaribhir jaratyopagamyamana paòu-patravrita nava-kishalaya-shrir iva shrir iva shri-radha)

     shri-radha:  sahio govisara-puaëattham jjevva sambharo aëido.

 

     tatah—then; pravishati—enters; puja-upakaraëa—holding paraphernalia for worship; patra—plates; paëibhih saha—who have in their hands; saha-caribhih—together with Her friends; jaratya—and by Jarati; upagamyamana—being followed; paëòu—white; patra—leaves; avröa—which is covered with; kishalaya—like a new tree-branch; shrih—Her beauty; iva—as if; shri-radha—Shri radha; sahio—friends; govisara-puaëa-attham—for the worship of Lord Gopishvara; savvo—all; jevva—indeed; sambharo—necessary items; aëido—have been taken along.

 

     (Beautiful as the goddess of fortune, and beautiful as a newly-sprouted white-flower bud, and accompanied by her elderly grandmother and friends holding articles of worship in their hands, Shri Radha enters.)

 

     Shri Radha:  Friends, have we brought everything we need to worship Lord Shiva?

 

Text 133

 

     sakhyah:  adha im kimtu milaëam huvissadi tti kusumam jjevva ëa aharidam ido jjeva avacishissam.

 

     sakhyah—Her girlfriends; adha im—of course; kimtu—except that; milaëam—withered; huvissadi—would have become; tti—thus considering; kusumam—the supply of flowers; jjevva—indeed; ëa aharidam—was not brought; ido jjeva—right here; avaciëissam—we may pick (them).

 

     Her Friends:  Yes. We didn't bring the flowers. They would wilt on the way. We will pick them here.

 

Text 134

 

     shri-radha:  pi-am me pi-am ta ehi avaciëumha.

(iti naöyena pushpavacayanam naöayanti)

 

     pi-am me pi-am—that is fine with Me; ta—so; ehi—come now; avaciëumha—let us pick (them); iti—thus having spoken; naöyena—along with dancing; pushpa-avacayanam—picking flowers; naöayanti—they act out.

 

     Shri Radha:  You make Me happy. You make Me happy. Come, we will pick them. (They pick flowers.)

 

Text 135

 

     premabhaktih:  (nivarëya)  aho citram, sa evayam devah nasya kim apy ashakyam. yatah.

 

     nivarëya—whatching; aho—oh; citram—what a wonder; sah—He (Chaitanya Mahaprabhu); eva—certainly; ayam—this personality; devah—is the Supreme Lord; na—there is not; asya—for Him; kim api—anything; ashakyam—impossible; yatah—since.

 

     Love of God:  (looking)  Ah! Wonderful! Chaitanya is the Supreme Personality of Godhead. Nothing is impossible for Him.

 

Text 136

 

mohinyesha babhuva yah sva-kalaya deva-dvisho mohayann

     atmaramam apishvareshvaram api shri-shankaram lobhayan

tasyashcaryam idam na kincid api yat krishëavataro 'pi san

     shri-radhakritim agrahit sva-vapusha devah sa vishvambharah

 

     mohini—the female incarnation Mohini; eshah—He became; yah—who; sva-kalaya—as His own partial expansion; deva-dvishah—the enemies of the demigods; mohayan—bewildering them; atma-aramam—who is self-satisfied; api—although; ishvara-ishvaram—the Lord of all controlling deities; api—although; shri-shankaram—Lord Shiva; lobhayan—making him lusty; tasya—for Him (Lord Chaitanya); ashcaryam—wonder; idam—this; na—not; kincit api—any at all; yat—because; krishna-avatarah—Krishëa Himself descended to earth; api—even; san—being; shri-radha-akritim—the form energy; tritayam—a triplet; abhut—has become; sah—Himself; sakhi—the gopi Lalita; radhika ca—plus Shrimati radharaëi.

 

     For Lord Vishvambhara who, as His partial expansion Mohini-devi, bewildered the demigods' enemies and filled Lord Shiva, the spiritually blissful king of the demigods, with lust, who descended as Lord Krishëa, and who has now assumed Shri Radha's form, nothing is surprising.

 

Text 137

 

     atha va

 

harir ayam atha lilaya sva-shaktya

     vidala-yugatma-kalayavann abhinnah

abhavad iva prithak puman vadhhush ca

     svayam ubhayamsha-samana-rupa-yugat

 

     atha va—or; harir—Lord Hari; ayam—He; atha—then; lilaya=by pastime; sva-shaktya—His own potency; vidala-yugatma-kalayavan—a pea divided into two parts; abhinnah—not different; abhavad—became; iva—like; prithak—different; puman—man; vadhhuh—woman; ca—and; svayam—personally; ubhaya—both; amsha—parts; samana—equal; rupa—forms; yugat—because of the couple.

 

     Or perhaps it is that by His own pastime potency the Lord has divided into two equal parts, a man and a woman, as a pea is divided in two.

 

Text 138

 

     (punar anyato 'valokya)

 

iyam api lalitaiva radhikali

     khalu na gadadhara esha bhusurendrah

harir ayam atha va svayaiva shaktya

     tritayam abhut sa sakhi ca radhika ca

 

     punah—again; anyatah—in another place; avalokya—looking; iyam—this; api—also; lalita—Lalita; eva—certainly; radhika—of Radha; ali—the friend; khalu—certainly; na—not; gadadharah—Lord Krishëa; eshah—He; bhusurendrah—a brahmaëa; harih—Lord Hari; ayam—He; atha va—or; svaya eva shaktya—with His own potency; tritayam—third; abhut—became; sah—He; sakhi—friend; ca—also; radhika—Radha; ca—also.

 

     (looking in another place)  Radhika"s friend Lalita is not  the great brahmaëa Gadadhara. By his own potency Lord Hari has become three: Himself, Radha, and Radha"s friend.

 

Text 139

 

     (punar anyato 'valokya)  aho iyam api yogamaya 'gamaya-shamini shamini niraja nirajakshi dhavalata valata kesha-pashena tama iva shuddha-sattvi-kritya dadhana jarati-vesham vidhaya pravishöa neyam nityananda-tanur nityananda-tanur bhagavan hi svam eva yogamayam ayapayam asa. tasya tu na citram etat. yatah.

 

     punah—again; anyatah—elsewhere; avalokya—looking; aho— oh; iyam—this; yogamaya—Yogamaya; aga-maya—sinful illusion; shamini—who subdues; shamini—peaceful; niraja— from from rajas, the material mode of passion; niraja-akshi— lotus-eyed; dhavalata—with whiteness; valata—covered; kesha-pashena—the hair on her head; tamah—the material mode of ignorance; iva—as if; suddha-shattvi-kritya—transforming it into unadulterated goddness; dadhana—and wearing it upon herself; jarati-vesham—the disguise of Jarati; vidhaya— having created; pravishöa—and entered into; na iyam—this is not; nityananda-tanuh—the body of Lord Nityananda; nitya-ananda-tanuh—whose form is eternally full of bliss; bhagavan—the Lord; hi—indeed; svam eva—herself in person; yogamayam—Yogamaya; ayapayam—He has made her come; tasya—for Him (Nityananda Prabhu); tu—but; na—is not; citram—unusual; etat—this; yatah—since.

 

     (looking in again another place) Goddess Yogamaya, who subdues sins, who is peaceful, who is s untouched by passion, whose eyes are like lotus flowers, and whose hair is white as the darkness of ignorance turned to pure goodness, has appeared as Radha's grandmother. This is not Nityananda. Nityananda, who is the Supreme Personality of Godhead, made Yogamaya appear here. This is not surprising, because. . .

 

Texts 140 and 141

 

nivasa-shayyasana-padukamshuko-

     padhana-varshatapa-varaëadibhih

sharira-bhedais tv avasheshatam gatair

     yathocitam shesha itirito janaih

 

     iti pracinair bhaktair uktam.

 

     nivasa—(as Lord Vishëu's) residence; shayya—bed; asana—throne; paduka—slippers; amshuka—garment; upadhana—pillow; varsha-atapa-varaëa—umbrella; adibhih— and so on; sharira—with bodies; bhedaih—different; tu—and; avasheshatam—the function of shesha, "the remainder" (i.e. everything else besides the Lord's original personal form); gataih—which have  acquired this; yatha-ucitam—suitably; sheshah—Lord Shesha; iti—thus; iritah—is declared; janaih—by men: iti—thus; pracinaih—by ancient; bhaktaih—devotees; uktam—has been said.

 

 . . . as a great devotee in ancient times said (Yamunacarya in Stotra-ratna, Text 37) "O Lord, for your sake Ananta assumes many shapes to become your residence, bed, throne, sandals, garments, pillow, umbrella, parasol, and many other objects. in this way He is kown to the people as Your shesha (paraphernalia)."

 

Text 142

 

     shri-Krishëah:  (radham nivarëya)  sakhe,

 

utkirëa kim u caru karu-patina kamena kim citrita

     premëa citrakareëa kim lavaëima tvashöraiva kunde dhrita

saundaryambudhi-manthanat kim udita madhurya-lakshmir iyam

     vaicitryam janayaty aho ahar ahar drishöapy adrishöeva me

 

     radham—Shri radha; nivarëya—observing; sakhe—my friend; utkirëa—heaped up; kim u—whether; caru—something beautiful; karu-patina—by the lord of artisans; kamena—Cupid; kim—or else; citrita—a  painting; premëa citra-kareëa—by the artist prema; kim—or else; lavaëima—gracefulness; tvashöra—by Tvashöa (Vishvakarma, the arquitect of the heavenly planets); eva—indeed; kunde—upon a jasmine flower; dhrita—erected; saundarya—of exquisiteness; ambhudhi—of the ocean; manthanat—from the churning; kim—whether; udita—risen; madhurya-lakshmih—the goddess Lakshmi of sweetness; iyam—this; vaicityam—variety; janayati—generates; aho—ah; ahah-ahah—day after day; drishöa api—although seen; adrishöa iva—as if never seen before; me—for me.

 

     Shri Krishëa:  (gazing at Radha)  Friend, is this a form created by Kamadeva, the king of artists? Is this a wonder created by the painter Love? Is this a beauty placed by Vishvakarma on a jasmine flower? Is this the goddess of sweetness born from the churning of the ocean of beauty? Every day She fills Me with wonder as if I had never seen Her before.

 

Text 143

 

     atha va,

 

shauöiryam smara-bhupater madhu-mado lavaëya-lakshmyah smayah

     saubhagyasya vinoda-bhur madhurimollasasya hasah shriyah

advaitam guëa-sampadam upanishat keli-vilasavaleh

     keyam locana-candrika-caya-camatkarash cakorekshaëa

(iti sa-spriham alokayati)

 

     atha va—or else; shauöiryam—the haughtiness; smara-bhupateh—of King Cupid; madhu-madah—the intoxication of honey; lavaëya-lakshmyah—of goddess of Youth; smayah—and her pride; saubhagyasya—the sweetness; ullasasya—of joy; hasah—the smile; shriyah—of opulence; advaitam—the nondual totality; guëa-sampadam—of all things invested with specific qualities; upanishat—the philosophical mystery; keli-vilasa-avaleh—of the many  playful sports (of Vrindavana); ka iyam—who is this; locana—at my eyes; candrika-caya—(just as if at)  the moon's rays; camatkarah—looking with surprise; cakora—like those of the _cakoran bird; ikshaëa—her eyes; iti—thus; sa-spriham—with longing; alokayati—glances.

 

     Is this Kamadeva's chivalrous power, or the passion of spring, or the goddess of beauty's smile, or the pastime-place of good fortune, or the sweetness of bliss, or the smile of the goddess of fortune, or the impersonal Brahman whose glories are described in thje Upanishads, or the pastimes of the goddess of playfulness? Who is this girl, Her cakora-bird eyes filled with wonder to see the moonlight of My eyes? (He passionately looks at Her.)

 

Text 144

 

     shri-radha:  ehi lalide, lavanga-kusumam avaciëumha.

(iti parikramati)

 

     ehi lalide—come, Lalita; lavanga—of the clove trees; kusumam—flowers; avaciëumha—let us pick; iti—thus; parikramati—they walk about.

 

     Shri Radha:  Lalita, come. Let's pick these lavanga flowers. (She walks.)

 

Text 145

 

     jarati:  esa lavanga-vadi-a vi kaëhassa adi-peasi, imae ëiyaòam ma gaccha, pacca tumam moavedum ëa sakkissamha.

 

     esa—this; lavanga-vaòi-a—lavanga grove; vi—indeed; kaëhassa—to Krishëa; adi-peasi—very dear; imae ëiyaòam—near it; ma gaccha—do not go; pacca—after that; tumam—You; moavedum—to free; ëa sakkissamha—I will not be able.

.fn 3

 

     Jarati:  Krishëa is fond of this lavanga garden. Don't go there. If You do we cannot rescue You.

 

Text 146

 

     lalita:  ajje, tumam paòibhuttaëeëa sancari-a amhe appaëa-am moavissamha, ka cinta. (iti sa-kautukam sarvah kusumavacayanam naöayanti)

 

     ajje—O honorable lady; tumam—you; padibhuttaëeëa—as the guard; sancari-a—while wandering; amhe—we; appaëa-am—ourselves; moavissamha—will be able to free; ka cinta—what need for worry is there; iti—thus; sa-kautukam—playfully; sarvah—all the girls; kusuma-acacayanam—picking flowers; naöayanti—act out.

 

     Lalita:  We will leave you here and we will protect ourselves. Why worry? (All the girls happily pick flowers.)

 

Text 147

 

     shri-radha:  lalide, paòittahi paòittahi, eso duööho bhamaro badhei.

 

     lalide—O Lalita; paòittahi paòittahi—save Me, save Me; eso—this; duööho—nasty; bhamaro—bee; badhei—is bothering Me.

 

     Shri Radha:  Lalita! Save Me! Save Me! This nasty bee is attacking Me!

 

Text 148

 

     sakhyah:

 

mukki-a lavanga-ladi-am

     cavalo mahusuaëo eso

pi-a-sahi aëi-ada-pemmo

     tuha muha-gandheëa andhie bhama-i

 

     sakhyah—Her girlfriends; mukki-a—giving up; lavanga-ladi-am—the lavanga vine; cavalo—fickle; mahusuaëo—killer of the demon Madhu; eso—this; pi-a-sahi—O dear friend; aëi-ada-pemmo—He whose love is unbridled; tuha—Your; muha—of the mouth; gandhena—by the fragrance; andhio—blinded; bhama-i—is hovering about.

 

     Her Friends:  Dear friend, blinded with love by the scent of Your face, the restless bumblebee Krishëa flew from the lavanga vine and now staggers about before You.

 

Text 149

 

     shri-krishëah:  (avalokya sa-spriham)  sakhe, pashya pashya.

 

mukham anu nipatantam varayanti dvirepham

     bhaya-cakita-calakshi nyan-mukhiyam kareëa

tam api tad-abhibhutam dyuëita-bhrur dhunite

     sa ca rujam abhininye jhankritaih kankaëanam

 

     avalokya—watching; sa-spriham—longingly; sakhe—My friend; pashya pashya—look, look; mukham anu—at Her face; nipatantam—flying; varayanti—warding off; dvirepham—the bee; bhaya—out of fear; cakita—trembling; cala-akshi—and Her eyes moving around; nyak-mukhi—with Her head bent downwards; iyam—She; kareëa—with Her hand; tam—Him; api—and; tat-abhibhutam—defeated by Her hand; kuëita—contracted; bhruh—Her eyebrows; dhunite—She shakes Him away; sah—He; ca—and; rujam—pain; abhininye—has brought upon Himself; jhankritaih—from the jingling; kankaëanam—of Her bracelets.

 

     Shri Krishëa:  (passionately gazing)  Friend, look! Look! Trembling, Her frightened eyes restless, and Her head turned down, She pushes with Her hand a bee landing on Her face. In the tinkling of Her anklets, the bee has found only pain.

 

Text 150

 

     kusumasavah:  va-assa, a-am osaro amhaëam amha lavanga-kusumam esa aharedi, imae aharaëam kadua tumam ahara.

 

     va-assa—O friend; a-am—this is; osaro—opportunity; amhaëam—our; lavanga-kusumam—lavanga flowers; esa—She; aharedi—is taking; imae—Her; aharaëam—over the theft; raëam—a fight; kadua—making; tumam—You; ahara—take them back.

 

     Kusumasava:  Friend, this is our opportunity. She is stealing our lavanga flowers. You should take the stolen flowers by force.

 

Text 151

 

     shri-krishëah:  evam-vidham alokanam evati-surasam, tathapi priya-baöor vaco 'nurodhena tatha kurmah. (iti samupshritya sa-darpam)  ayi lalite, durlalite 'duh ke tava sahasikya-shikshatam etam. kas te mado mad-okasi vrindavane katham svatantryam alabhyate.

 

     evam-vidham—such; alokanam—a sight; eva—is indeed; ati-su-rasam—very relisable; tatha api—nevertheless; priya—who is dear to Me; baöoh—of this boy; vacah—the words; anurodhena—in compliance with; tatha—so; kurmah—shall do; iti—thus speaking; samupashritya—going right up (to Lalita); sa-darpam—speaks arrogantly; ayi lalite—pardon; tava—your; sahasikya—in rashness; shikshatam—training; etam—this; kah—what is; te—your; madah—craziness; mat—My; okasi—in the residential domain; vrindavanae—Vrindavana; katham—how is it; svatantryam—independence; alabhyate—you have assumed.

 

     Shri Krishëa:  This is sweet to see. Still, I must follow my friend's advice. (He approaches and arrogantly says:) Wretched Lalita, who taught you to be so bold? Are you mad? Why are you so wild and reckless in My home of Vrindavana forest?

 

Text 152

 

     varam varam eva me vanam agatya gaty-anavasthaya tata ita itara-jani-vad gatra-garveëa phala-kusuma-sumanjula-lata-viöapa-bhangam acarantyash carantyah parito 'paritosham mama janayanti, nayam tiraskritya mam avajananti ca bhavatyah. bhadram adya vilokitah sthah. atah param asya phalam bhujyatam.

 

     varam varam—again and again; eva—even; me—My; vanam—to the forest; agatya—coming; gati-anavasthaya—without any fixed destination; tatah itah—here and there; itara-jani-vat—like ordinary women; gatra-garveëa—being proud of their bodily beauty; phala—fruits; kusuma—flowers; su-manjula—very nice; lata—creepers; viöapa—and bushes; bhangam acarantyah—causing damage to these; carantyah—walking; paritah—all around; aparitosham—dissatisfaction; mama—my; janayanti—give rise to; nayam—proper behavior; tiraskritya—disregarding; mam—to Me; avajahanti—show disrespect; ca—and; bhavatyah—your good selves; bhadram—it is good; adya—today; vilokitah sthah—you have been seen (in the act); atah param—now; asya—for that; phalam—the result (fruit); bhujyatam—you must suffer.

 

     Again and again you come to My forest and strut here and there as ordinary women proud of their beautiful limbs, and you destroy the fruits, flowers, beautiful vines and forest groves. You have made Me very unhappy. You have acted improperly and insulted Me. Fortunately, today I have seen you. Now you will taste the fruit of your deeds.

 

Text 153

 

     jarati:  are kaëhaòaq kusumehim jjeva edaëam pa-oëam, ëa kkhu phala-bhoattham edahim vaëa-majjhe aadam

 

     are kaëhad—O Krishëa; kusumehim—for the flowers; jjeva—indeed; edaëam—of these girls; pa-oëam—a specific need; ëa—not; kkhu—certainly; phala—frutis; bhoa-attham—for the purpose of enjoying (eating); edahim—they; vaëa-majjhe—into this forest; aadam—ahve come.

 

     Jarati:  O Krishëa, they need flowers. They have not come to the middle of the forest to eat fruit.

 

Text 154

 

     kusumasavah:  ajjie, va-aseëa samam tujjha buddhi ca gada, jado phalam avaraha-daëòo tti ëa aëasi.

 

     ajjie—respected lady; va-aseëa—along with youth; tujjha—your; buddhi—intellignece; ca—also; gada—has gone; jado—because; phalam—by the word "fruit"; avaraha-daëòo tti—"punishment for an offense"; ëa aëasi—you do not understand.

 

     Kusumasava:  Noble lady, your intelligence has gone with your youth. You don't understand that here the word “fruit"  means "punishment for an offense".

 

Text 155

 

     jarati:  bhamhaëa-òimha, cchira-kaëöhosi. tumam jaëesi, vicarehi ko avaraho, avarahe jjeva daëòo ëa kkhu sa-rahasu amhesu.

 

     bhamhaëa-òimha—O infant of a brahmaëa mother; chira—having milk; kaëöho—on the throat; asi—are yet; tumam—you; kim—what; jaëesi—do know; vicarehi—just consider; ko—what; avaraho—is the offense; avarahe—for the real offense; jjeva—is indeed; daëòo—punishment (is due); ëa—not; kkhu—certainly; sa-rahasu—who are respectful (or alternatively, "who are accompanies by radha"); asmasu—for ourselves.

 

     Jarati:  Brahmaëa baby, the milk still clings to your throat. What do you know? Consider what is the offense here. An offender should be punished, not us, Radha's friends.

 

     Note:  "Ava" means "without, "sa" means "with", and "raha" means "Radha". The word "avaraha" (offense) may also be interpreted to mean "without Radha". Jarati here says: We are with Radha. We are not the "Without Radha" people You say should be punished.

 

Text 156

 

     lalita:  a-e baòua, tumha va-asso assa vaëassa ko.

     kusumasavah:  lalide, ahi-ari a-am.

 

     a-e—ah; baòua—foolish boy; tumha-va-asso—young friend; assa—of this; vaëassa—forest; ko—what is He; lalide—O Lalita; ahi-ari—the master; a-am—He.

 

     Lalita:  Child, what is your friend to this forest?

     Kusumasava:  Lalita, He is the master.

 

Text 157

 

     lalita: hoi evvam ëëedam, ahio ja-i ëa hoi, tado kadham amha pi-a-sahie edassa vaëassa edarisi avattha.

 

     hoi—is; evvam—thus; ëëedam—indeed this; ahio ari—a great foe; ja-i—if; ëa hoi—He were not; tado—then; kadham—why; amha—our; pi-a-sahie—belonging to the dear companion (radharaëi); edassa—of this; vaëassa—forest; edarisi—such; avattha—a state.

 

     Lalita:  It is so. If He were not the great enemy, how could our dear friend's forest be in such a sorry state?

 

,fn 1

     Note:  In the previous text Kusumasava claimed that Krishëa is Vrindavana's "ahi-ari" (master). Here Lalita interprets this word to be "ahi-a-ari", which means "the great enemy".

 

Text 158

 

     kusumasavah:  lalide, paëòiccaëam pa-asesi, hodu hodu, amha va-asso edassa vaëassa ahio ari jjeva, edam vaëam tumha pi-a-sahie kadham jadam.

 

     lalide—my dear Lalita; paëòidaccaëam—the qualities of being learned; pa-asesi—you are exhibiting; hodu hodu—that may be; amha—our; va-asso—friend of Krishna; edassa—of this; vaëassa—forest; ahio ari—the terrible enemy; jjeva—is indeed; edam vaëam—this forest; tumha pi-a-sakhie—belonging to your dear girlfriend; kadham—how; jadam—has become.

 

     Kusumasava:  Lalita, you are showing off how smart you are. So be it. So be it. My friend is the great enemy of the forest. How did this forest become your friend's property?

 

Text 159

 

     lalita:  uvabhoo jjeva pamaëam, aëëadha kadham ëisankam kusumaim aharemha.

 

     uvabhoo—enjoyment of facilities; jjeva—indeed; pamaëam—is evidence; aëëadha—otherwise; kadham—why; ëisankam—without fear; kusumaim—flowers; aharemha—we are taking.

 

     Lalita:  She is the enjoyer of the forest. That is the proof. If it were not so, how could we pick flowers without any fear?

 

Text 160

 

     jarati:  saccam jjeva bhaëidam lalidae, maha ëattiëie jjeva edam vaëam jae ettha deada-rueëa ëioida appaëo pari-aëa-rua vunda.

 

     saccam—truly; jjeva—indeed; bhaëidam—spoken; lalidae—by Lalita; maha—my; ëattiëie—of the granddaughter; edam vaëam—this forest; jae—since; ettha—here; deada-rueëa—as the presiding deity; ëioda—is appointed; appaëo—Her own; pari-aëa-rua—who is the personal servant; vunda—the gopi Vrinda.

 

     Jarati:  Lalita speaks the truth. This forest belongs to my granddaughter. She appointed Her friend Vrinda goddess here.

 

Text 161

 

     shri-Krishëah:  (vihasya)  arye, vrinda khalu tava naptryah parijana-rupa.

     jarati:  are kanhaòa ettha ko sandeho, sa jjeva pucchiadu.

 

     vihasya—laughing; arye—O honored one; vrinda—Vrinda-devi; khalu—is it actual so; tava—your; naptryah—of the granddaughter;  parijana-rupa—is the personal associate; are kaëhaò—O Krishëa; ettha—in this matter; ko sandeho—what doubt is there; sa—Her; jjeva—indeed; pucchiadu—go ask.

 

     Shri Krishëa:  (laughing)  Noble lady, goddess Vrinda is your granddaughter's friend?

     Jarati:  Wretched Krishëa, how can there be any doubt? She asked her to become the goddess.

 

Text 162

 

     kusumasavah:  (karëe lagitva)  bho va-assa, sa kkhu edaëam jjeva paccha-vadiëi, sa pamaëaccaëeëa ëa pucchidavva.

 

     karëe lagitva—speaking into His ear; bho va-assa—dear friend; sa—she (Vrinda); kkhu—certainly; adaëam—of these girls; jjeva—indeed; paccha-vadiëi—a proponent; sa—she; pamaëaccaëeëa—as evidence; ëa pucchi davva—should not be asked.

 

     Kusumasava:  (in Krishëa's ear)  Friend, she is on their side. Don't believe her words.

 

Text 163

 

     subalah:  kusumasava, ma bhetavyam. lalite, mad-vayasyasya nama-mudraivatra pramaëam, ya khalu prati-drumam eva virajate.

 

     kusumasava—O Kusumasava; ma bhetavyam—you shouldn't be afraid; lalite—O Lalita; mat-vayasyasya—of the young companion; nama—of the name; mudra—the mark; eva—indeed; atra—here; pramaëam—evidence; ya—which; khalu—in fact; prati-drumam—on every tree; eva—even; virajate—is manifest.

 

     Subala:  Kusumasava, don't be afraid! Lalita, the mark of my friend's name is His proof. His name is on every tree.

 

Text 164

 

     lalita:  ja-i evvam taha-vi amhe ëa avarajjhamha, sa-alao jjeva ladao maha pi-a-sahi-ëamakkharankida, teëa kkhu ladasu ko ahi-aro tuha va-assassa. amhehim lavanga-ladi-aëam jjeva kusumaim aharianti.

 

     ja-i—if; evvam—that is so; taha-vi—then still; amhe—we; ëa avara—jjhamha—are not commiting ofense; sa-alao—all; jjeva—indeed; ladao—the creepers; maha—my; pi-a-sahi—of the dear friend; ëama-akkhara—with the letters of the name; ankida—are inscribed; teëa—thus; kkhu—indeed; ladasu—over the creeper; ko—what; ahi-aro—authority; tuha va-asssassa—of your friend; amhehim—by us; lavanga-ladi-aëam—of the lavanga creepers; jjeva—indeed; kusumaim—the flowers; aharianti—are being taken.

 

     Lalita:  Even if that is so, we have not done any offense. All the vines are stamped with the letters of my dear friend's name. How is your friend master of the vines? We have picked flowers only from the lavanga vines.

 

Text 165

 

     jarati:  lalide, ëimanchaëam de jami, bhaddam jjeva bhaëidam. kaëhaò kisa kalahaesi attaëo ahi-are ciööhantinim edanim saddham, maggasi ja-i, tado magga, ma-e jjeva dadavvaëi lavanga-kusumaim tumam kassa ëa pio hohi.

 

     lalide—O Lalita; ëimmancchaëam de jami—I perform your bathing ceremony (see chapter comments); bhaddam—well; jjeva—indeed; bhaëidam—spoken; kaëhaò—O Krishëa; kisa—why; kalahaesi—You are quarreling; attaëo ahi-are—under Your authority; ciööhantihim—who are standing; edahim saddham—with these; maggasi ja-i—if You want to ask for them; tado—then; magga—ask; ma-e—I; jjeva—indeed; dadavyani—will give; lavanga-kusumaim—the lavanga flowers; tumam—You; kassa—of whom; ëa—not; pio—the darling; hohi—are.

 

     Jarati:  Lalita, I perform arati to you. You have spoken well. Krishëa, why do You quarrel with these girls in Your kingdom?  If You want the flowers, ask for them. I will give the lavanga flowers to You. Who does not love You?

 

Text 166

 

     shri-radha:  (sa-spriham atma-gatam krishëam uddishya samskritena)

 

shyami-karoti bhuvanam vapusha dig-antan

     purëendu-maëòala-mayi kurute mukhena

vaca sudha-rasa-bhrito vidadhati karëan

     drishöya nabho 'mbuja-mayi kurute kim etat

 

     sa-spriham—with longing; atma-gatam—speaking aside; krishëam uddishya—staring of Krishna; samskritena—in Sanskrit; shyami-karoti—makes blackish; bhuvanam—the whole world; vapusha—with its body; dik-antan—the ends of the directions; purëa-indu-maëòala—with the dark full moon; mayi—filled; kurute—makes; mukhena—with its face; vaca—with its speech; sudha-rasa-bhritah—filled with nectarean liquor; vidadhati—makes; karëan—the ears; drishöya—with its glance; nabhah—the sky; ambuja-mayi—full of lotuses; kurute—makes; kim etat—what is this.

 

     Shri Radha:  (passionately says to Herself these words in Sanskrit about Krishëa)  With its body it fills the world with blackness, with its face it fills the directions with the full moon, with its words it fills the ears with nectar, and with its glance it fills the sky with lotuses. What is this thing?

 

Text 167

 

     jarati:  kanhaòa, ëehi kusumaim. (iti tasam ancalatah kusumany adaya krishëopakaëöham vikirati.)

 

     kaëhaò—Krishëa; ëehi—take; kusumaim—the flowers; iti—thus; tasam—of the girls; ancalatah—from the folded-up ends of the garments; kusumani—the flowers; adaya—taking; krishëa-upakaëöham—near Krishëa; vikirati—she scatters them.

 

     Jarati:  Krishëa, take these flowers. (She takes the flowers from the end of the girls' saris and scatters them before Krishëa.)

 

Text 168

 

     shri-radha:  (ancalena mukhan avritya kincit smitva)  ajjie kim kidam. dea-puaëa-kida avacidassa kusumassa irisi avattha kida.

 

     ancalena—with the end of He garment; mukham—her mouth; avritya—having covered; kincit—a little bit; smitva—smiling; ajjie—respectable madame; kim—what; kidam—have you done; dea—of the deity (Gopishvara); puaëa-kide—for the sake of the worship; avacidassa—which was collected; kusumassa—of the flower offering; irisi—like this; avattha—disposing; kida—you have done.

 

     Shri Radha:  (covering Her face with the edge of Her sari, She smiles slightly.)  Noble lady, what have you done? How could you have done this with the flowers we picked to worship Lord Shiva?

 

Text 169

 

     shri-Krishëah:  (radham nivarëye sva-gatam)  aho 'tiramyatvam vartate vasanavrita-mukhayah. yatah.

 

     radham—radha; nivarëya—looking at; sva-gatam—aside; aho—ah; ati-ramyatvam—exceeding charm; vartate—there is; vasana—with Her cloth; avrita-mukhayah—of She who has covered Her face; yatah—as.

 

     Shri Krishëa:  (aside, while looking at radha)  Ah! When She covers Her face with Her sari She becomes very beautiful.

 

Text 170

 

anjani mriga-drisho drig-ancalah

     panjara-stha iva bhati khanjanah

lesha esha hasitasya drishyate

     vastra-puta iva candramo-dravah

 

     anjani—annointed with ointment; mriga-drishah—of the doe-eyed women; drik-ancalah—the corner of the eye; panjaraj-sthah—inside a cage; iva—as if; bhati—shines; khanjanah—a wagtail bird; leshah—the fragment; eshah—this; hasitasya—of the smile; drishyate—can be seen; vastra-putah—which is strained through a cloth; iva—s if; candramah-dravah—camphor.

 

     This doe-eyed girl's mascara-decorated sidelong glance is like a restless khanjana bird in a cage. The little I see of Her smile is like liquid camphor filtered through a cloth.

 

Text 171

 

     lalita:  ajje, adi-bhaaulasi tumam. kim tti cira-parissameëa avacidam kusumam ëaööhi-kidam. ko eso imassa vundavaëassa.

 

     ajje—dear mistress; adi-bha-a-aula—very much disturbed by fear; asi—are; tumam—you; kim—why; tti—in this way; cira-parissameëa—with long endeavor; avacidam—gathered; kusumam—the flower offering; ëatthi-kidam—you have ruined; ko—who; eso—this person (Krishëa); imassa vundavaëassa—in relation to this Vrindavana.

 

     Lalita:  (to Jarati)  Noble lady, you should be afraid. Why did you ruin the flowers we picked with great labor? What is He to Vrindavana forest?

 

Text 172

 

     jarati:  lalide, samatthasi tumam kalaham kadum. alia-gavva-bhara-kaëòulam de hi-a-am, ta kuëaha edehim dhiööhehim saha kalaham, ehi ëattiëi ehi. (iti radham adaya gantum pravritta)

 

     lalide—O Lalita; samattha—quite fit; asi tumam—you are; kalaham—quarrel; kadum—to make; alia—crooked; gavva—of pride; bhara—on account of the burden; kaëòulam—itching; de—your; hi-a-am—heart; ta—therefore; kuëaha—go ahead and make; edehim—with these boys; dhiööhehim—who  are impudent; saha—with them; kalaham—a quarrel; ehi—come; ëatiëi—my granddaughter; ehi—come; iti—thus; radham—Shri radha; adaya—taking; gantum—to leave; pravritta—prepares.

 

     Jarati:  Lalita, you are good at quarreling. False pride makes your heart itch to quarrel. You stay and quarrel with these arrogant boys. Come, granddaughter. Come. (Taking Radha, she is about to leave.)

 

Text 173

 

     shri-radha:  ajje, kahim gantavvam. govisaro ëa accidavvo.

 

     ajje—mistress; ettha—here, in this affair; va-assassa—to our young friend; daëam—payment of the fine; vaööadi—still remains;  kusuma-cori-am—theft of flowers; tuha—your; muham—faces; daööhuëa—looking at; samatthidam—has been ascertained; daëam dauëa—having paid the fine; savvao—all of you; gacchantu—may go.

 

     Shri Radha:  Noble lady, where are we going? We have not yet worshiped Lord Shiva.

 

Text 174

 

     kusumasavah:  ajje, ettha va-assassa daëam vaööhadi. kusuma-cori-am tuha muham datöhuëa samatthidam, daëam dauna savvao gacchantu.

 

     ajje—mistress; ettha—here, in this affair; va-assassa—to our young friend; daëam—payment of the fine; vaööadi—still remains; kusuma-cori-am—theft of flowers; tuha—your; muham—faces; daööhuëa—looking at; samatthidam—has been ascertained; daëam daëam—having paid the fine; savvao—all of you; gacchantu—may go.

 

     Kusumasava:  Noble lady, there is a fine you must pay to my friend. We have seen to your face how you have stolen flowers. Pay your fine and you may all go.

 

Text 175

 

     jarati:  are bamhaëa-baòua kim re daëam.

     kusumasava:  va-assa suala, bhaëiadu.

 

     are—ah; bamhaëa—brahmaëa boy; kim re daëam—what "fine" do you mean; va-assa suala—friend Subala; bhaëiadu—you tell her.

 

     jarati:  Brahmaëa child, what is this "fine"?

     kusumasava:  Friend Subala, tell her.

 

Text 176

 

     subalah:  arye, shruyatam

 

yogyam matva smara-narapatih pashya dattva prasunam

     vrindaraëye nava-kula-vadhu-vrinda-ghaööadhipatye

yatnad asthapayat ayam imam mad-vayasyam yashasyam

     dattva shulkam vrajata sudrisho mastu shushko vivadah

 

     arye—O noble lady; shruyatam—please hear me; yogyam— suitable; matva—considering Him; smara-nara-patih—King Cupid; pashya—just see; dattva—having first given (to Krishëa); prasunam—the flowers; vrinda-araëye—in Vrindavana forest; nava—young; kula—virtuous; vadhu—of women; vrinda—over the band; ghaööha-adhipatye—with authority of customs duties; yatnat—taking great care; asthapayat—invested; ayam—this (Cupid); imam—Him (Krishëa); mat-vayasyam—my young friend; yashasyam—who is glorious; dattva shulkam—paying the tax; vrajata—you may go; sudrisah—my dear beautiful-eyed girls; ma astu—let there not be; shushkah—dry; vivadah—argument.

 

     Subala:  Noble lady, please hear. Look, thinking Him a suitable person, King Kamadeva gave the flowers in Vrindavana forest to my glorious friend and also gave Him authority to collect customs duties from the pious girls here. O beautiful-eyed girls, pay the fine and go. Don't do this dry arguing.

 

Text 177

 

     jarati:  hodu de va-asso daëi, amhaëam kim teëa, sumara-ëarava-iëo vasao ëa amhe.

 

     hodu—granted that; de—your; va-asso—friend; daëi—in the fine-collector; amhaëam kim teëa—what do we have to do with that; sumara—of Smara, Cupid; nara-va-iëo—the master of all mortals; vasao—under the control; ëa—are not; amhe—we.

 

     Jarati:  So be it. Your friend collects fines. What does is that to us? We are not subjects of King Kamadeva.

Text 178

 

     kusumasavah:  hoi, buòòhia-e tuha kahim tassa ahiëada.

     jarati:  (sa-krodham)  are daëa-jogga-pa-attho ja-i hoi, tado sanka kariadi.

 

     hoi—so it is; buòhi-ae—who is very old; tuha—of you; kahim—how; tassa—under him (Cupid); ahiëada—(your) subservience; sa-krodham—angrily; are—ah; daëa-jogga—taxable; pa-attho—some item; ja-i—if; hoi—there is; tado—then; sanka kariadi—one becomes apprehensive.

 

     Kusumasava:  So be it. How could you, and old lady, be one of his subjects?

     Jarati:  (angrily)  Wretch, only if one has done something wrong need she fear paying a fine.

 

Text 179

 

     subalah:  priya-vayasya, svayam asyottaram diyatam.

     shri-krishëah:  (sa-gambhiryam)  hanta bhoh, shruyatam

 

     priya-vayasya—most dear companion; svayam—Yourself; asya—to this; uttaram—the answer; diyatam—should give; sa-gambhiryam—with gravity; hanta bhoh—My dear ladies; shruyatam—please listen.

 

     Subala:  Dear friend, please give the answer Yourself.

     Shri Krishëa:  (with gravity) Listen.

 

Text 180

 

ratnadyam vah kuvalaya-drisham astu va nastu vastu

     prenkhole 'smin bhuja-latikayor bhagadheyo vidheyah

maryadeyam mama nigadita kintu ratnany apimany

     aniyante puraöa-puöikam antara darshayadhvam

 

     ratna-adyam—jewels and other valuables; vah—on the persons of you; kuvalaya-drisham—whose eyes are like lotuses; astu va na astu—there may or may not be (that does not matter to Me); vastu—such items; prenkhole—within the swinging hammock; asmin—this; bhuja-latikayoh—of your creeper-like arms; bhagadheyah—a portion; vidheyah—is what should be turned over; maryada—stipulation; mama—My; nigadita—thus spoken; kintu—but then again; ratnahi—jewels; api—indeed; imani—these; aniyante—(which) are being carried; puraöa-puöikam antara—within this gold vessel; darshayadhvam—let me see them.

 

     You lotus-eyed girls may or may not have many jewels and other valuables. Give Me some of them in the swinging vines of your arms. That is the fine I ask. Show me the jewels in this golden pitcher.

 

Text 181

 

     sakhyah:  puovakaraëassa puòi-a i-am govisarassa.

     kusumasavah:  are mukkha a-am jjeva govisaro, imam jjeva pu-edha.

 

     sakhyah—Shrimati radharaëi's girlfriends; pua-uvakaraëassa—holding paraphernalia of worship; puòi-a—vessel; i-am—this; govisarassa—for Gopishvara; are mukkha—you foolish girls; a-am—this (Krishna); jjeva—is indeed; govi-isaro—Gopishvara, the Lord of the _gopish; imam—Him; jjeva—actually; puedha—you should worship.

 

     Her Friends: This pitcher has the things for Lord Shiva's worship.

     Kusumasava:  Fools! This is Lord Shiva. Worship Him.

 

Text 182

 

     sakhyah:  are mahaalo govisaro.

     kusumasavah:  a-am maha-alo kim hodi, jassa rui-paòalehim savvam jjeva vaëam tamala-vaëëam kidam.

 

     are—ah; mahaälo—Mahäkäla, Shiva; govisaro—is Gopishvara; a-am—this; mahä-älo—Mahäkala (käla also means black); kim—whether; ëa hodi—He is not; jassa—whose; rui-paòalehim—by the rays of abundant bodily effulgence; savvam—all; jjeva—indeed; vaëam—the forest; tamäla-vaëëam—the color of the _tämalan tree; kidam—is made.

 

     Her Friends:  Lord Shiva is the great black god.

     Kusumäsava:  Is He not a great black god? By His splendor the entire forest is black as a tämala tree?

 

Text 183

 

     sakhyah: canda-a-saharo jjeva accidavvo.

     kusumäsavah:  pekkha pekkha, esa candas-seharo ëa hoi (iti barhävatamsam darshayati.)

 

     canda-a-seharo—Lord Shiva, who carries the moon on his head; jjeva—indeed; accidavvo—is to be worshiped; pekkha pekkha—look, look; esa—this; canda-a—the moon (candraka also refers to the eye on a peacock feather); seharo—on His head; ëa hoi—is it not; iti—thus; barha-avatamsam—the peacock-feather ornament in Krishëa's headdress; darshayati—he points out.

 

     Her Friends:  We worship the god that has the moon in his crown.

     Kusumäsava:  Look! Look! Does He not have the moon in His crown?  (He points to Krishëa's peacock feather crown.)

 

Text 184

 

     sakhyah:  vääla, gori-patim pua issamha.

     kusumäsavah:  tumhe gorio ëa bhavadha.

 

     vääla—talkative boy; gori-patim—Shiva, the husband of Gauri; pua issamha—we going to worship; tumhe—all of you; gorio—white-complexioned women (the literal meaning of gauri); ëa bhavadha—are you not.

 

     Her Friends:  Talkative boy, we worship the husband of the fair goddess Gauri.

     Kusumäsava:  You do not have fair complexions?

 

Text 185

 

     jarati:  are baòuä, edäëam pai tuha va-asso tti tumam jäëesi. ciööha ciööha, gäma-majjhe tuha damsaëam ëa lambhissam.

 

     are baòua—you foolish child; edäëam—of these; pa-i—the husband; tuha va-asso—you friend Krishëa; tti—thus; tumam—you; jäëesi—think; ciööha cittha—just you wait; gäma-majjhe—in the village; tuha—of you; damsaëam—the sight; ëa lambhissam—shall I not catch.

 

     Jarati:  Child, you think your friend is the husband of these girls? Stop! Stop! Will I not see you later in the village?

 

Text 187

 

     sakhyah:  are vääla, pasu-va-i puidavvo.

     kusumäsavah:  hanta bho, etti-äo dheëuo jo päledi, so kim pasu-va-i ëa hoi.

 

     are vääla—O talkative one; pasu-va-i—Pashupati (Shiva), the "lord of innocent creatures"; puidavvo—is to be worshiped; hanta bho—my dears; etti-äo—these; dheëuo—cows; jo—He who; päledi—protects; so—He; kim—how; pasu-va-i—Pashupati; ëa hoi—is not.

 

     Her Friends:  Talkative fool, We worship the protector of the helpless.

     Kusumäsava:  He protects these cows. Is He not protector of the helpless?

 

Text 188

 

     sakhyah:  evvam bhaëadha, jassa ede amhe pasuo, so kim pasu-va-i ëa hoi.

 

     evvam bhaëadha—you may say that; jassa—of whom; ede amhe—we ourselves; pasuo—are the sold-out animals; so—He; kim—how; pasu-va-i—Pashupati; ëa hoi—is He not.

 

     Her Friends:  You say that. We are helpless. Why does He not protect us?

 

.Text 189

 

     subalah:  bhavatu vayam sarve eva pashavah, tena bhavan-mate ayam eva pashu-patih, tadäyam evärcyatäm, kim ca, puöikäbhih kritvä kim niyate, tad darshavitvä sukham gamyatäm, kim anena shushka-kalahena.

 

     bhavatu—granted; vayam—you; sarve—all; eva—indeed; pashavah—domesticated animals; tena—therefore; bhavat-mate—in your opinion; ayam—He, Krishna; eva—also; pashu-patih—the master of the animals; tadä—thus; ayam—Him; eva—indeed; arcyatäm—you should worship; kim ca—so, come now; puöikäbhih kritvä—in these vessels; kim—what; niyate—is being carried; tat—that; darshayitvä—having shown; sukham gamyatäm—you may go in peace; kim anena—what is the use of this; shushka-kalahena—fruitless quarreling.

 

     Subala:  So be it. We are all helpless. Because you know He is the protector of the helpless, you should worship Him. Show us what you are carrying in these jars and then you may go in peace. What is the use of this fruitless bickering?

 

Text 190

 

     rädhikä:  bho sakhio, damsedha.

     (sakhyas tathä kurvanti)

 

     Rädhikä—Shri rädhä; bho—dear; sakhio—companions; damsedha damsedha—go ahead and show them; sakhyah—Her girlfriends; tathä—thus; kurvanti—they do.

 

     Rädhikä:  Friends, show them. (Her friends do that.)

 

Text 191

 

     kusumäsavah:  (vilokya)  a-am mi-ama-o, edam kunkumam, edam käläguruam, edam candaëam a-am kappuro, a-am mottä-häro sippa kosaleëa phaëihäro vva kido.

     jarati:  are phaëihärä imam baòuam òamsedha.

 

     vilokya—looking; a-am—this; mi-a-ma-o—musk; edam—this; kunkumam—vermillion; edam—this; käla-aguruam—black fragrant aloe; edam—this; candaëam—sandalwood paste; a-am—this; kappuro—camphor; a-am—this; mottä—of pearls; häro—a necklace; sippa-kosaleëa—with artistic expertise; phaëihäro—a peacock; vva—O peacocks; imam—this; baòuam—foolish boy; damsedha—please bite.

 

     Kusumäsava:  (looking)  This is musk. This is kunkuma. This is black aguru. This is sandal paste. This is camphor. This is artistically made in the shape of a snake.

     Jarati:  Snake, bite this boy!

 

Text 192

 

     kusumäsavah:  ajjie, käli-a-maddaëa-saha-arassa me kudo phaëihärado bha-am, tä edäëam karam däuëa gacchadha.

 

     ajjie—mistress; käli-a-maddaëa—of the subduer of the Käliya serpent (see chapter comments); saha-arassa—the companion; me—my; kudo—wherefrom; phaëi-härado—from the peacocks (the Sanskrit term means literally "serpent-killers"); bha-am—fear; tä—therefore; edäëam—to these boys; karam däuëa—paying the fine; gacchadha—please go.

 

     Kusumäsava:  Noble lady, why would my friend, the subduer of Käliya, fear any snake? Pay the fine and go.

 

Text 193

 

     sakhyah:  hodu, amhe dea-puam kadua gharam gacchamha, tado tuha va-asso tattha ja-i gacchadi, tadä jam sakkiadi, tam jjeva dädavvam.

 

     hodu hodu—so be it; amhe dea—of the deity; puam—worship; kadua—after performing; gharam—home; gacchamha—we will go; tado—then; ja-i—if; gacchadi—He goes; tadä—as that time; jam—whatever; sakkiadi—we can; tam—that; jjeva—indeed; dädavvam—we will give.

 

     Her Friends:  So be it. We will worship Lord Shiva and then go home. If your friend comes there we will give whatever He asks.

 

Text 194

 

     kusumäsava:  are däsie dhidäo, appaëo ahi-ära-ppadesam munci-a tumha gharam gadua maggissadi me va-asso, tä ciööhadha ciööhada. (iti pujopakaraëäny ädätum icchati)

 

     are—ah; däsie—of maidservants; dhidäo—O daughters; appaëo—His own; ahi-ära-ppadesam—sovereign domain; munci-a—giving up; tumha—your; gharam—to the homes; gadua—going; maggissadi—He should beg; me—my; va-asso—friend; tä—so; ciööhadha ciööadha—stand and prepare to fight; iti—thus; puja-upakaraëäni—the paraphernalia of worship; ädätum icchati—is about to take.

 

     Kusumäsava:  Servant girls, must my friend leave His home, go to your home, and beg from you? Stop! Stop! (He is about to seize the paraphernalia of worship.)

 

Text 195

 

     lalitä:  a-e gova-räa-ëandana, deva-ddavvaëi edäëi, evvam apavittäëi kädum na jujji-anti.

 

     a-e govaräa-ëandana—O Krishëa, darling son of the king of the cowherds; deva-ddavväëi—items belonging to the deity; edäëi—these; evvam—in this way; apavittäëi—contaminated; kädum—to be made; ëa jujji-anti—they should not.

 

       Lalitä:  The articles for worshiping the deity should not be dirtied by a cowherd prince!

 

Text 196

 

     rädhä:  lalide, imiëä pphamsidäëi edäëi kadham devassa dädavväëi, tä muncehi muncehi, gharam gadua, aëëova-araëam äëi-a deo accidavvo, tä ajjie, ehi gharam gacchamha. (iti gantum icchati)

 

     lalide—My dear Lalitä; imiëä—by him; pphamsidäëi—have been touched; edäëi—these things; kadham—how; devassa—to the deity; dädavväëi—can be given; ta—therefore; muncehi muncehi—just leave them; gharam gadua—going home; aëëa—other; uva-araëam—requisites; äëi-a—bringing back; deo—Lord Shiva; accidavvo—we will worship; tä—please come; gharam gacchamha—let us return home; iti—thus; gantum icchati—she attempts to leave.

 

     Rädhä:  Lalitä, how can we offer to the deity what He has touched? Give it to Him! Give it! We will go home and bring other things to worship the diety. Noble lady, come. Let us go home. (She attempts to leave.)

 

Text 197

 

     krishëah:  (panthänam äkramya) ayi chatura-manye, kva yäsi.

     rädhä:  (sävahitthämarsham)  mulam jjeva diëëam kim tassa däëam maggasi.

 

     panthänam äkramya—blocking the path; ayi—ah; chaturam-manye—You who thinks herself clever; kva—where; yäsi—are You going; sa-avihittha-amarsham—pretending anger; mulam—the fee; jjeva—is already; diëëam—given; kim—why; tassa—of that; däëam—payment; maggasi—You ask.

 

   Krishëa:  (blocking the path)  Ah, You who think Yourself so clever, where are You going?

     Rädhä:  (feigning anger)  The fine is paid. What fine more do You want?

 

Text 198

 

     krishëah:  (sa-häsämarsham)  kim mulam dattam asti. mulam tv etad eva shruyatäm

 

     sa-häsam amarsham—both laughing and angry; kim—what; mulam—payment; dattam asti—has been given; mulam—the price due; tu—rather; etat—this; eva—indeed; shruyatäm—please hear.

 

     Krishëa:  (laughing and angry)  What payment have You made? This is the price. Listen.

Text 199

 

etat svarëa-saroruham tad-upari shri-nila-ratnotpale

     tat-pashcät kuruvinda-kandala-puöe taträpi muktävali

sarvam drishyata eva kintu nibhritä yä hema-kumbha-dvayi

     kim vänyan nayase 'nayeti tad idam bäle vicäryam mama

 

     etat—this; svarëa—made out of gold; saroruham—lotus flower (Her face); tat-upari—upon that; shri—beautiful; nila-ratna—made of sapphires; utpale—two other lotuses (Her eyes); tat-pashcät—below them; kuruvinda—made of rubies; kandala-puöe—the concavity of Her cheeks; tatra api—and thereupon; ; muktä-ävali—two strings of pearls  (Her teeth); sarvam—all; drishyate—is visible; eva—indeed; kintu—however; nibhritä—hidden; yä—which is; hema—of gold; kumbha-dvayi—pair of water-vessels; kim—what; vä—and; anyat—else; nayase—You are carrying; anayä—illegally; iti—thus; tat idam—that; bäle—My young girl;  vicäryam—must be ascertained; mama—by Me.

    

     This golden lotus, above the pair of sapphire lotuses, and below the pair of ruby jewel-cases holding two strands of pearls. All this I see. You are hiding two golden jars. What else are You hiding? Girl, that I will have to see.

 

     Note:  The golden lotus is Rädhä's head, the two sapphire lotuses Her eyes, the two ruby jewel-cases Her lips, the two strands of pearls Her teeth, and the hidden golden jars Her breasts.

 

Text 200

 

     rädhä:  ko tumam vi-ärassa. ëahi avi-äreëa vi-äro kädum sakki-adi

 

     ko tumam—who are You; vi-ärassa—to be "ascertaining"; ëahi—indeed not; avi-äreëa—rashly; vi-äro kädum—to make ascertainments; sakkiadi—are you allowed.

 

     Rädhä:  Who are you to see? You cannot see!

 

Text 201

 

     jarati:  (dvayor madhyam adhyäsya samskritena)  are yashodä-mätär mä bhava, lobhavatä hridayena katham äcarasi durvinitatvam. tattvam te kathayämi, yadi niräkula-kula-vadhupadrava-drava-kathä kriyate,  tadä na tena bhadram bhavishyati.

 

     dvayoh madhyam—between the two of Them; adhyäsya—interposing herself; samskritena—speaking in Sanskrit; are—O; yashodä-mätäh—You whose mother is Yashodä; mä—do not; taralah—reckless; bhava—be; lobha vatä—with a greedy; hridayena—heart; katham—why; äcarasi—you are enacting; durvinitatvam—impudence; tattvam—the truth; te—to You; kathayämi—I am telling; yadi—if; niräkula—unagitated; kula—aristocratic; vadhu—of these girls; upadrava—disturbance; drava—consisting of; kathä—talk; kriyate—is created; tadä—then; ca—not; tena—by that; te—for You; bhadram—good; bhavishyati—will become.

 

     Jarati:  (placing herself between Them, she says in Sanskrit:)  Son of Yashodä, don't be like that! Why do You act as a villain with a greedy heart? I tell You the truth. If You do something that will create gossip about these pious girls, then it will not be good for You.

 

Text 202

 

     lalitä:  (sa-krodham upashritya samskritena)  kas tvam bhoh.

     krishëah:  nanu mädhavah.

     lalitä:  katham aho vaishäkha äkäravän.

     Krishëah:  mugdhe vidhi janärdano 'smi.

     lalitä:  tad idam brute vanävasthitih.

     krishëah:  mäm govardhana-dhäriëam na dharaëau ko vetti hum.

     lalitä:  himsä he vrisha-han bibharshi tad-agha-dväraiva go-vardhanam.

 

     sa-krodham—angrily; upashritya—going up to Him; samskritena—in Sanskrit; kah—who; tvam—You; bhoh—sir; nanu—indeed; mädhavah—Mädhava; katham—how; aho—oh; vaishäkhah—the month Vaishäkha (Mädhava, beside being a name of Krishëa, is also another name of this lunar month); äkära-vän—bearing the appearance; mugdhe—O foolish one; vidhi—you should know; janärdanah—Lord Janärdana; asmi—I am; tat idam—that; brute—explains; vana—in the forest; avasthitih—Your residence (jana-ardana also means "one who gives pain to living entities); mäm—me; govardhana-dhäriëam—as the lifter of Govardhana Hill; na—does not; dharaëau—on the earth; kah—who; vetti—knows; hum—myself; vardhanam himsä—vardhana means "himsa", "violence"; he vrisha-han—O killer of the demon Vrisha, who appeared in the form of a bull; bibharshi—You are implicated; tat-agha-dvärä—because of that sin; eva—certainly; go-vardhanam—with cow-killing.

 

     Lalitä:  (approaching Krishëa, she angrily says in Sanskrit:)  Who are You?

     Krishëa:  Mädhava.

     Lalitä:  You are the month of April (mädhava) personified?

     Krishëa:  O bewildered one, know that I am Janärdana.      Lalitä:  That explains why You live in the forest.

     Krishëa:  Who in the world does not know Me as the lifter of Govardhana Hill?

     Lalitä:  O killer of a bull, You have sinfully killed a cow!

 

     Note: In this exchange Lalitä deliberately misinterprets Krishëa's words. When He says He is Mädhava, she interprets it as the name for the month April. When He says He is Janärdana (He who rescuses the living entities from sufferings), she interprets it backwards as "He who torments the living entities". When He says He is Govardhana-dhäri (the lifter of Govardhana Hill), she interprets "vardhana" to mean “violence" and claims that He is violent to the cows (go).

 

Text 203

 

     premabhaktih:  aho kautuhalam,

 

yeyam naöair apy abhiniyamänä

     lilä harer eti rasäyanatvam

sä yat svakiyaih svayam ishvareëä-

     bhiniyate tat kim udäharämah

 

     aho—oh; kautuhalam—what sport; yä—which; iyam—this; naöaih—by actors; api—even though; abhiniyamänä—being enacted; lilä—pastime; hareh—of Lord Hari; eti rasäyanatvam—becomes trascendentally relishable; sä—that (pastime); yat—because; svakiyaih—by the Lord's own men; svayam ishvareëa—and by the Lord Himself; abhiniyate—is being performed; tat—therefore; kim-what; udäharämah—can I say.

 

     Love of God:  Wonderful! Lord Hari's pastimes are sweet when portrayed by actors. What can we say when they are portrayed by the Lord Himself and His personal associates?

 

Text 204

 

     api ca

 

sämäjikänäm hi raso naöänäm

     naivaiti panthäh kritishu prasiddhah

hantobhayatve rasa-vit-tvam eshäm

     alaukike vastuni ko virodhah

 

     api ca—furthermore; sämäjikänäm—for the (ordinary) audience; hi—indeed; rasah—spiritual modes of feeling; naöänäm—and for the (ordinary) actors; na eva eti—is not appreciated; panthäh—this doctrine; kritishu—by those who are self-realized; prasiddhah—has been established; hanta—but ah; ubhayatve—for both (the audience and actors); rasa-vittvam—capability to understand the transcendental sentiments; eshäm—for them; alaukike—which is not of this world; vastuni—in such a matter; kah—what; virodhah—limitation.

 

     The devotees know that ordinary actors and an ordinary audience cannot walk on the sweet path of these pastimes. However, here, where both actors and audience are beyond the material world, what obstacle stands in their way?

 

Text 205

 

     api ca

 

alaukikäl laukikam eva shaurer

     vrittam camatkäri tad eva lilä

äkarshakatvam hi jagaj-janänäm

     alaukikatvasya sa ko 'pi hetuh

 

     (iti sa-vismayam älokayati)

 

     alaukikät—than that which is supernatural; laukikam—mundane; eva—indeed; shaureh—of Lord Shauri, the most heroic; vrittam—the activity; camatkäri—creates wonder; tat—that; eva—is indeed; lilä—His "pastime"; äkarshakatvam—the quality of being attractive; hi—certainly; jagat-janänäm—for all people of the world; alaukikatvasya—for being (considered) superwordly; sah—that; kah api—a particular; hetuh—reason; iti—thus speaking; sa-vismayam—with surprise; älokayati—she watches.

 

     Lord Krishëa's activities in the material world are more wonderful than His activities in the spiritual world. That is why they are called His playing (lilä). They attract the people of the material world. That is the proof that they are actually beyond the touch of matter. (Filled with wonder, she looks.)

 

Text 206

 

     kusumäsavah:  äh kuòite duvviëide lalide, maha va-asso duööhääro kido, tä cit/öha ciööha.

 

     äh—ah; kuòile—crooked; duvviëide—ill-disciplined; lalide—Lalitä; maha—my; va-asso—yougn friend; duööha-ääro—misconduct; kido—He has performed (so you say); tä—thus; ciööha ciööha—prepare to fight.

 

     Kusumäsava:  Wicked, crooked, Lalitä, my friend acts badly? Stand! Stand and fight!

 

Text 207

 

     subalah:  (sa-parihäsämarsham)  hanta bhoh, satyam etat.

 

vaktram vo dvijaräja-himsi madirälole drishau rocishä

     murtih käncana-häriëi na viramo gurv-anganä-sangatah

sangi pancama esha panca-vishikhah shuddhis tathäpiha vo

     yan-nämäpy akhilägha-näshi sa param dushöo 'smadiyah sakhä

 

     sa-parihäsam—with laughter; amarsham—also displaying anger; hanta bhoh—my dear (Lalitä); shatyam—is true; etat— this; vaktram—face; yah—your; dvija-räja—of the full-moon (the moon-god is considered the chief of brähmaëas); himsi— which defeats the glory of (literally, commits violence against; killing of a brähmaëa is one of the five mahä-päpas, cardinal sins); madirä—from wine; älole—(as if)  rolling; drishau— your two eyes (intoxication is the second mahä-päpa); rocishä—with its effulgence; murtih—your form; käncana-häriëi— defeating gold (literally, stealing gold; theft is the third mahä-päpa); na viramah—there is no cessation; guru-anganä— with this elder woman (Jarati, but gurv-angana can also be understood as "wife of a guru"; sangatah—of your association (having an illicit affair with the wife of one's spiritual master is another of the five most heinous crimes); sangi—your associates; pancamah—the fifth (sin); eshah—this; panca-vishikhah—Cupid, who possesses five arrows (the experience of each of the five senses); shuddhih—the means of purification; tathä api—nevertheless; iha—in this world (before you go to hell); yat—whose (Krishëa's); näma—name; api—indeed; akhila—of all; agha—sins; näshi—is the destroyer; sah—He; param— very much; dushöah—is wicked (so you say); asmadiyah—our; sakhä—friend.

 

     Subala:  (joking and angry)  It is true. Your face does violence to the moon, the king of brähmaëas. Your eyes roll in intoxication. Your form robs gold of its splendor. You do not stop associating with Your guru's wife. You associate with Kämadeva. That is Your fifth sin. The holy name of my friend, which destroys all sins, is the only way to become pure. Still, You insist that my friend is wicked.

 

     Note: Subala here claims that Rädhä hass committed the five greatest sins: 1. killing a brähmaëa (Because the moon is the king of brähmaëas, the beauty of Her face, which eclipses the moon, has killed a brähmaëa.) 2. intoxication (She is intoxicated by Krishëa's handsomeness.)  3. stealing gold (Her complexion robs gold of its splendor.) 4. intimate association with the guru's wife (Guru means superior. Her grandfather is Her superior. She associates with Her grandmother.) 5. illicit sex (All this time She has been flirting with Krishëa.)

 

Text 208

 

     tad vayasya, ghaööa-pälä hi vinä dhrishöatä-prakaöanena svärtha-kushalä na bhavanti, tad ätmanah prakaöaya shauöiryam.

 

     tat—so; vayasya—O friend Krishëa; ghaööa-päläh—the collectors of customs duties; hi—certainly; vinä—without; dhrishöatä—of boldness; prakaöanena—the exhibition; sva-artha—in achieving their aims; kushaläh—capable; na bhavanti—are not; tat—therefore; ätmanah—Your; prakaöaya—do show; shautiryam—valor.

 

     Friend, collectors of customs duties who are not bold are not very successful. Therefore, now show Your power.

 

Text 209

 

     (krishëo 'ntar-vartini-bhuya rädhäm prishöhatah kritvä sthitavatim jaratim kareëa nikshipya balät rädhä-paöänta-grahaëam abhinayati. jarati balän mocayitvä rädhäm antardhäpayanti svayam apy antardadhäti. nityänandah sva-rupeëa sthito nrityati.)

 

     krishëah—Krishëa; antah-vartini-bhuva—putting Himself in the middle; rädhäm prishöhatah kritvä—with His back to rädhä; sthitavatim—who is standing before Him; jaratim—Jarati; kareëa—with His hand; nikshipya—pushing away; balät—by force; rädhä—of rädhä; paöa-anta—the end of the säri; grahaëam—seizing; abhinayati—freeing; rädhäm—rädhä; antardhäpayanti—and making Her disappear; svayam—herself; api—also; antardadhäti—disappears; nityänandah—Lord Nityänanda; sva-rupeëa—in His own form; sthitah—become manifest; nrityati—is dancing.

 

     (Placing Himself between them, He turns His back to Rädhä, with His hand pushes Jarati, who is standing in front of Him, and tries forcibly to grasp the end of Rädhä's sari. Jarati, freeing Rädhä by force, makes Her disappear and then also disappears herself. Lord Nityänanda becomes manifest, dancing.)

 

Text 210

 

     maitri:  dei, kim ëv idam, kudo a-am a-amhädo ëiccäëando, kahim gadä sä jaradi.

 

     dei—O goddess; kim—what; ëu—indeed; idam—this; kudo—from where; a-am—this; a-amhädo—suddenly; ëiccäëando—Lord Nityänanda; kahim—where; gadä—has gone; sä—she; jaradi—Jarati.

 

     Friendship:  Goddess, what is this? From where has Lord Nityänanda suddenly appeared? Where has Jarati gone?

 

Text 211

 

     premabhaktih:  ayam khalu yogamäyä-prabhävah. svayam asminn ävishya jarati bhutvä samprati rasah  sävashesha eva suraso bhavatiti yathä-samayam antarhitäsau. atah sva-rupeëävatishöhate 'yam nityänandah. yatah,

 

     ayam—this; khalu—indeed; yogamäyä-prabhävah—is the influence of goddess Yogamäyä; svayam—herself (Yogamäyä); asmin—within Him (Nityänanda); ävishya—entering; jarati bhutvä—having become Jarati; samprati—but now; rasah—the transcendental mood; sa-avasheshah—even incomplete; eva—although; su-rasah—delicious enough; bhavati—it is; iti—(Yogamäyä) thus thinking; yathä-samayam—timely; antarhitä—has disappeared; asau—she; atah—thus; sva-rupeëa—in His original form; avatishöhate—is present; ayam—He; nityänandah—Lors Shri Nityänanda; yatah—indeed.

 

     Love of God:  This is the power of Yogamäyä. She entered Nityänanda, became Jarati, and now, thinking this incomplete nectar sweet enough, has disappeared. Now Nityänanda is present in His own form.

 

Text 212

 

svato baliyän sahajo hi bhävah

     sa kritrimam bhävam adhah-karoti

agny-ätapäbhyäm janito jalänäm

     naivoshëa-bhäväsh cira-käla-varti

 

     svatah—innately; baliyän—stronger; sahajah—natural; hi—indeed; bhävan—the mood; sah—it; kritrimam—artificial; bhävam—a mood; adhah-karoti—supplants; agni—by fire; ätapäbhyäm—and the heat of the sun; janitah—created; jalänäm—of bodies of water; na eva—indeed not; ushëa-bhävah—the heated condition; cira-käla-varti—is long-lasting.

 

     The natural condition is always the strongest. It always eclipses whatever is artificial. Water warmed by fire or the sun does not stay warm for long.

 

Text 213

 

     tad idänim etävataiva sthitam näöyam. bhavati hi ishvara-lilaiveyam, na khalu naöa-ritih. pashyädvaito 'dvaita eva.

 

     tat—thus; idänim—now; etävatä—progressed up to this point; sthitam—remains (at this point of development); näöyam—the drama; bhavati—it is; hi—indeed; ishvara—of the Supreme Lord; lilä—a pastime; iyam—this; na—not; khalu—certainly; naöa-ritih—conforming to the ordinary rules of dramatists; pashya—just look; advaitah—Advaita Prabhu; advaitah eva—is Himself again.

 

     Now the play ends. That is the Lord's pastime. It does not follow the ordinary rules of drama. Look! Advaita! Advaita!

 

Text 214

 

     maitri:  ëa äëe däëim bha-avam kiriso hoi.

     nepathye: bho bhoh sannyäsi sannyäsi.

 

     ëa äëe—I do not know; däëim—now; bha-avam—Lord Chaitanya; kiriso—appearing in what form; hoi—He is; nepathye—a voice from off-stage; bhoh bhoh—my dears; sannyäsi sannyäsi—a sannyäsi, a sannyäsi.

 

     Friendship:  I do not see what kind of form Lord Chaitanya has now.

     A Voice From Behind the Scenes:  Look! A sannyäsi! A sannyäsi!

 

Text 215

 

     premabhaktih:  aho kim ayam äkasmiki pratikulä väk, nirupayämi. (iti nirupya)  aye bhagavad-väöim kashcid sannyäsi pravishati, tam älokya kashcid äkroshati, tad ehi sahaiva nishkramävah.

     (iti nishkränte.)

     (iti nishkräntäh sarve.)

 

     aho—ah; kim—what; ayam—these; äkasmiki—unexpected; pratikulä—adverse; väk—words; nirupayämi—let me find out; iti—thus; nirupya—ascertaining; aye—oh; bhagavat—of Lord Chaitanya; väöim—the compound of His home; kashcit—a certain; sannyäsi—sannyäsi; pravishati—is entering; tam—him; älokya—looking at; kashcit—someone; äkroshati—is speaking rebuke; tat—therefore; ehi—please come; saha—together; nishkramävah—let us make our leave; iti—thus; nishkränte—they exit; iti—thus; nishkräntäh—exit; sarve—all the characters.

 

     Love of God:  Ah, what are these horrible unexpected words? I will look. A sannyäsi enters the Lord's garden. Someone stares at him and cries. Let us go. (They both exit.)

     (Everyone exits.)