|NITAAI-Veda.nyf > All Scriptures By Acharyas > Kavi Karnapura > Chaitanya Candrodaya > Act Three|
(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: 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?
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.)
(tatah pravishati prema-bhaktih)
premabhaktih: (puro 'valokya) aho keyam.
namaika-matram vapur adadhana
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?
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.
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?
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?
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?
premabhaktih: amulam akalaya.
janani tayos tu samaye
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.
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.
anasuya samabhavam patim
asadya svabhava jam shuddham
maitrim asuta putrim
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.
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.
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.
maitri: carama hi pemma-bhatti.
carama—the hightest; hi—thus; pemma-bhatti—premabhakti.
Friendship: The best is Love of God?
premabhaktih: atha kim. tatha hi
sarve rashash ca bhavash ca
taranga iva varidhau
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.
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.
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?
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.
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.
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.
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?
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.
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.
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, . . .
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.
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.
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.
kariëi jarativa sa
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.
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:
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. . ."
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:
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.
maitri: tado tado.
tado tado—and then what.
Friendship: Then? Then?
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.
maitri: tado tado.
tado tado—and then.
Friendship: Then? Then?
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.
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.
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.
jayati jana-nivaso devaki-janma-vado
yadu-vara-parishat- svair dorbhir asyan adharmam
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).
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."
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?
maitri: kahim me tarisam bhaadheyam.
kahim—coming from where; me—for me; tarisam—such; bhaadheyam—good fortune.
Friendship: Why should I be so fortunate?
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.
maitri: anugahidam amhi.
premabhakti: tad ehi. (iti nishkrante.)
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.)
(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.)
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!
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.
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.
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.
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.
premabhaktih: idam anaikantikam. tatha hi
idam—this; aneka-antikam—not necessarily so; tatha hi—after all.
Love of God: Not always.
javena gamyam nayaty aniyato 'pi
na sahaja-kuöileshu punar
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.
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.
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:
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."
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!
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.
Pariparshvikah: What does his lordship order?
Sutradhara: Gentle one, today I met Lord Narada.
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.
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?
sutradharah: asti rahasyam.
atmaramash ca munayo
nirgrantha apy urukrame
kurvanty ahaitukim bhaktim
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."*
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.
alaukikitah kila laukikiyam
lila harer eti rasayanatvam
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.
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.
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.
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.
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?
ya devya yoga-mayaya
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.
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?
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.
sutradharah: (sashankam) kathaya, tasam svasty asti.
pariparshvikah: astv eva, kintu.
vrindavanam tah prayayuh pramodat
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.
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.
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.
vartmanabhijnah kila tah kumaryo
na copayuktah katamo 'sti bandhuh
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.
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.
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?
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.
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?
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.
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.
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.)
(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!
amse nidhaya mahatim ranayan prakoshöhe
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.
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:
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."*
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?
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.
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?
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.
naradah: idam vrindavanam na bhavati.
idam—this; vrindavana—Vrindavana forest; na bhavati—is it not.
Narada: Isn't this Vrindavana?
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.
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.
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.
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.)
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.
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?
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."*
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?
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.)
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.
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!
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.
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.
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.
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.
snatakah: yathartham evaitan naöanam. yatah
yatha-artham—fitting; eva— indeed; etat—this; naöanam—dancing; yatah—since.
Snataka: It is right that you dance, because. . .
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.
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?
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.)
(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.
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.
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?
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.
(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?
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.
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.
nava-jaladhara-dhama koöi kamabhiramah
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.
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.)
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.)
(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?
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.
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?
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.
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.
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.)
(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?
vira-i-a öhane öhaëe
daëam so vaëa-ga-o dhutto
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.
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?
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.
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?
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?
avagahi-a uëa maggam
so viviëe saha-arehim kalahehim
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?
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.)
(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?
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.
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.)
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.
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.
harir ayam atha lilaya sva-shaktya
abhavad iva prithak puman vadhhush ca
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.
(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.
(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
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)."
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.
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.)
shri-radha: ehi lalide, lavanga-kusumam avaciëumha.
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.)
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.
Jarati: Krishëa is fond of this lavanga garden. Don't go there. If You do we cannot rescue You.
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.)
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!
cavalo mahusuaëo eso
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.
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.
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.
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?
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.
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.
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".
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.
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.
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?
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".
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?
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?
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.
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.
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.
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.
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.
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?
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?
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.)
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?
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.
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.
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?
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.)
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.
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.
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.
subalah: arye, shruyatam
yogyam matva smara-narapatih pashya dattva prasunam
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.
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.
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.
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.
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.
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.
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?
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.)
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?
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?
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?
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?
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?
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.)
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!
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.
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.
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.)
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!
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.)
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?
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.
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.
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!
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.
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?
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).
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?
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?
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.)
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!
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.)
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.
(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.)
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?
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.
svato baliyän sahajo hi bhävah
sa kritrimam bhävam adhah-karoti
agny-ätapäbhyäm janito jalänäm
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.
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!
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!
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 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.)