Click here to load whole tree
NITAAI-Veda.nyf > All Scriptures By Acharyas > Krishnadasa Kaviraja Goswami > Shuka-sari-stava > Chapter One

Chapter One

 

Text 1

 

atha kshanat tau pratilabdha-bodhav

     utthaya talpopari sannivishtau

purvam prabuddhah prasamikshya sakhyo

     yayuh sakhibhyam saha tat-samipam

 

     atha—then; kshanat—from that moment; tau—They; pratilabdha— attained; bodhau—wakefulness; utthaya—rising; talpa—the couch; upari—above; sannivishtau—situated; purvam—before; prabuddhah— awake; prasamikshya—seeing; sakhyah—the gopi-friends; yayuh— went; sakhibhyam—Subala and Madhumangala; saha—with; tat-samipam—near Them.

 

     Seeing that Radha and Krishna had awakened and risen from Their couch, the gopis, Subala, and Madhumangala, who had all awakened previously, approached the Divine Couple.

 

 

Text 2

 

vrindapy ayat sva-sishyau sa

     balau vidya-visharadau

kalokti-manjuvak-samjnau

     grihitva sharika-shukau

 

     vrinda—Vrinda-devi; api—also; ayat—approached; sva—her own; sishyau—students; sa—she; balau—young; vidya-visaradau—learned; kalokti—Kalokti; manjuvak—Manjuvak; samjnau—named; grihitva—taking; sharika-shukau—male and female parrots.

 

     Taking Manjuvak and Kalokti, the learned male and female parrots carefully trained by her, Vrinda-devi also approached the Divine Couple.

 

 

Text 3

 

 

tatas tau pathato namrau

     jaya vrindavaneshvara

jaya vrindavaneshani

     jayatalyah prasidata

 

     tatah—then; tau—the two parrots; pathatah—recited prayers; namrau—bowing their heads; jaya—all glories; vrindavana-ishvara—to the king of Vrindavana; jaya—all glories; vrindavana-isani—to the queen of Vrindavana; jayata—all glories; alyah—to the gopi-friends of the Divine couple; prasidata—please be merciful to us.

 

 

     Humbly bowing their heads, the two parrots then recited the following prayers.

 

     All glories to the king of Vrindavana! All glories to the queen of Vrindavana! All glories to the gopi-friends of the Divine Couple! We pray that all of You may be pleased with us, and show us Your mercy.

 

 

Text 4

 

 

radha-drig-ingitabhijna

     vrinda vijna samadishat

patheti kiram kiro 'pi

     papathanandayan sabham

 

     radha—of Shrimati Radharani; drik—by the glance; ingita—the hints; abhijna—understanding; vrinda—Vrinda—devi; vijna— intelligent; samadisat—instructed; patha—recite; iti—thus; kiram—to the male parrot; kirah—a parrot; api—although; papatha—recited; anandayan—delighting; sabham—the assembly.

 

 

     Understanding the hint offered by Radharani's glance, intelligent Vrinda-devi commanded the male parrot: recite! In obedience to her order the male parrot recited the following prayers, delighting the entire assembly.

 

 

Text 5

 

 

gunaih svair hina me yad api kavita nati-madhura

     satam svadyathapy acyuta-guna-yutatvena bhavita

ayah shastri sprishta mrigayu-grihaga sparsha-manina

     suvarnatvam prapta bhavati mahatam bhushana-krite

 

     gunaih—virtues; svaih—of my own; hina—devoid; me—my; yat api—although; kavita—poetic prowess; na—not; ati—very; madhura—sweet; satam—by the saintly devotees; svadya—relishable; atha—then; api—even; acyuta—of the infalliabgle Supreme Personality of Godhead; guna—with the transcendental qualities; yutatvena—because of being filled; bhavita—will be; ayah—an iron; sastri—dagger; sprishta—touched; mrigayu—of a hunder; griha-ga—in the home; sparsha-manina—by a touchstone; suvarnatvam—the state of being golden; prapta bhavati—attains; mahatam—of the great souls; bhushana-krite—suitable as an ornament.

 

 

     Even though my poetry has neither good qualities nor sweetness, because it is filled with descriptions of the transcendental qualities of the infallible Supreme Personality of Godhead, it will be relished by the saintly devotees, just as the iron dagger in a hunter's home, when turned to gold by contact with a touchstone, becomes an appropriate ornament for the most elevated persons.

 

 

Text 6

 

 

cakrardhendu-yavasta-kina-kalashais chatra-tri-konambaraish

     capa-svastika-vajra-goshpada-darair minordhva-rekhankushaih

ambhoja-dhvaja-pakva-jambava-phalaih sal-lakshanair ankitam

     jiyac chri-purushottamatva-gamakaih shri-krishna-pada-dvayam

 

     cakra—disc; ardha-indu—half-moon; yava—barleycorn; asta-kona—eight-pointed star; kalasaih—waterpot; chatra—parasol; tri-kona—triangle; ambaraih—sky—capa—bow; svastika—svastika; vajra—thunderbolt; gospada—cow's hoofprint; daraih—conchshell; mina—fish; urdhva-rekha—urdhvarekha marking; anikushaih— rod for controlling elephants; ambhoja—lotus flower; dhvaja— flag; pakva—ripe; jambava-phalaih—jambu fruit; sat— transcndental; lakshanaih—with markings; ankitam—marked; jiyat— all glories; shri-purusha-uttamatva-gamakaih—with the signs of the Supreme Personality of Godhead; shri-krishna—of Shri Krishna; pada—of feet; dvayam—pair.

 

 

     All glories to Shri Krishna's lotus feet which are marked with the signs of the disc, half-moon, barleycorn, eight-pointed star, waterpot, parasol, triangle, sky, bow, svastika, thunderbolt, cow's hoofprint, conchshell, fish, urdhvarekha line, rod for controlling elephants, lotus flower, flag, and ripe jambu fruit, which show that He is the Supreme Personality of Godhead.

 

 

Text 7

 

 

shri-krishnanghri-yugam sakric chruti-gatam sarvanya-trishna-haram

     dhyatam yad vipadam vilopa-nipunam sat-sampadam dayakam

drishtam carutaya camatkriti-padam sarvendriyahladakam

     sprishtam yat klama-hantri nirvriti-karam tan me kriyat kankshitam

 

     shri-krishna—of Shri Krishna; anghri—feet; yugam—pair; sakrit—at once; sruti—to the ears; gatam—gone; sarva—all; anya—for other things; trishna—thirst; haram—removing; dhyatam—meditated on; yat—which; vipadam—of catastrophies; vilopa—in the removal; nipunam—expert; sat—transcendental; sampadam—of opulences; dayakam—the giver; drishtam—seen; carutaya—with beauty; camatkriti—of wonder; padam—the abode; sarva—all; indriya—the senses; ahladakam—delighting; sprishtam—touched; yat—which; klama—fatigue; hantri—destroying; nirvriti—bliss; karam—granting; tat—that; me—by me; kriyat—may be; kankshitam— desired.

 

 

     May I yearn for Shri Krishna's feet which, once heard about remove the thirst for anything else, meditated on remove calamities and grant transcendental good fortune, seen fill with wonder and delight the senses, and touched remove fatigue and give transcendental bliss.

 

 

Text 8

 

 

saubhagyanam sad-rucam sad-gunanam

     sampattinam prakritaprakritanam

lilagaram datri ca dhyata-matram

     sarvasvam nah krishna-padabjam astu

 

     saubhagyanam—of good fortune; sat-rucam—of transcendental beauty; sat-gunanam—of transcendental virtues; sampattinam—of opulences; prakrita—both material; aprakritanam—and spiritual; lila—of transcendental pastimes; agaram—the abode; datr—the giver; ca—also; dhyata—by meditation; matram—only; sarvasvam— be-all-and-end-all; naha—of us; krishna—of Lord Krishna; pada— feet; abjam—lotus flower; astu—may be.

 

 

     May Krishna's lotus feet, which are the home of transcendental pastimes and which when remembered grant good-fortune, transcendental beauty, spiritual virtues, and spiritual and material wealth, be the be-all-and-end-all of our life.

 

 

Text 9

 

 

yasyopasanayapta-shakti-lavatash cintamanitvam shilah

     kashcit kama-gavitvam etya dhavalah kashcic ca kalpagatam

kecid bhumi-ruha babhuvur akhilabhishta-pradah praninam

     tac chri-krishna-padaravinda-yugalam ko nashrayet svapradam

 

     yasya—of which; upasanaya—by the worship; apta—obtained; shakti—of potency; lavatah—from a tiny fragment; cintamanitvam—the state of being a cintamani gem; silah—rocks; kashcit—some; kama-gavitvam—the state of being wish-fulfilling kamadhenu cows; etya—having attained; dhavalah—cows; kashcit—some; ca—also; kalpa-agatam—of those who approach for fulfillment of their desires; kecit—some; bhumi-ruhah—trees; babhuvuh—became; akhila—all; abhista—desires; pradah—granting; praninam—of the living entities; tat—those; shri-krishna—of Shri Krishna; pada—feet; aravinda—lotus; yugalam—pair; kah—who?; na—will not; asrayet— take shelter; sva-pradam—which give themselves.

 

 

     Who will not take shelter of Shri Krishna's lotus feet, which generously offer themselves? With a fragment of the power obtained by worship of them, rocks become cintamani jewels, cows become kamadhenu cows, and trees become kalpa-vriksha trees fulfilling all desires.

 

 

Text 10

 

 

parimala-vasita-bhuvanam

     sva-rasamodita-rasajna-rolambam

giridhara-padambhojam

     kah khalu rasikah samihrite hatum

 

     parimala—with it's fragrance; vasita—scented; bhuvanam—all the worlds; sva-rasa—with it's nectar; amodita—delighted; rasajna—connoussieurs; rolambam—bumble-bees; giridhara—of Lord Giridhari (Krishna); pada—feet; ambhojam—lotus flower; kah—which?; khalu—certainly; rasikah—person expert at relishing transcendental mellows; samihrite—is able; hatum—to abandon.

 

 

     What person who knows its sweetness can abandon the lotus flower of Lord Giridhari's feet, which fills the worlds with its fragrance and delights the bumblebees tasting its honey?

 

 

Text 11

 

 

lavanima-madhu-purnam svanguli-shreni-purnam

     yuvati-nayana-bhringa-vyuha-pitam su-shitam

nakhara-nikara-rocih-kesharam saurabhormi-

     parimalita-dig-antam krishna-padabjam ide

 

     lavanima—of beauty; madhu—with the honey; purnam—filled; sva—own; anguli—of toes; shreni—by the series; purnam—filled; yuvati—of the young gopis; nayana—of the eyes; bhringa—of bumble-bees; vyuha—by the multitudes; pitam—drunk; su-sitam—very cool; nakhara—of toenails; nikara—by the multitude; rocih—splendor; kesharam—filament; saurabha—of sweet fragrance; urmi— by the waves; parimalita—made aromatic; dik-antam—all directions; krishna—of Shri Krishna; pada—feet; abjam—lotus flower; ide—I worship.

 

 

     I worship the cool lotus flower of Lord Krishna's feet and toes, which are filled with the honey of His handsomeness, honey drunk by the bumblebees of the gopis' eyes, which are splendid with the filaments of His toenails, and which flood the directions with waves of sweet fragrance.

 

Text 12

 

 

pancendriyahladi-gunair mahattamai

     raktotpalabjani vadanyatadibhih

kalpa-drumanam jitavac ca pallavah

     kenopameyam caranambujam hareh

 

     panca—five; indriya—senses; ahladi—delighting; gunaih—with virtues; mahattamaih—great; rakta—red; utpala-abjani—lotus flowers; vadanyata—with generosity; adibhih—and other virtues; kalpa-drumanam—of the desire trees; jitavat—defeated; ca—also; pallavas—blossoming twigs; kena—with what?; upameyam— comparable; carana—feet; ambujam—lotus flower; hareh—of Lord Hari.

 

 

     To what may the lotus flower of Lord Hari's feet, which with many virtues and glories that delight the five senses defeats the red lotuses, and with generosity and other virtues defeats the kalpa-vriksha's blossoming twigs, be compared?

 

 

Text 13

 

 

nakha-siti-ruci-ganga krishna-pada-prayage

     tad-upari siti-rocir bhanuja sangatasit

aruna-kirana-dhara dhatri-kanyapy adhastal

     lasati nikhila-sarvabhishta-deyam tri-veni

 

     nakha—of His toenails; siti—fair; ruci—splendor; ganga—Ganges; krishna—of Lord Krishna; pada—of the feet; prayage—at the Prayaga-tirtha; tat—that; upari—above; siti—black; rocih—splendor; bhanuja—Yamuna river; sangata asit—met; aruna—red; kirana-dhara—with effulgence; dhatr-kanya—the Sarasvati river; api—also; adhastat—beneath; lasati—is manifested; bikhila—to everyone; sarva—all; abhista—desires; deya—fulfilling; tri-veni—the confluence of these rivers.

 

 

     Meeting at the Prayaga-tirtha of Krishna's feet, the white Ganga of His toenails, the black Yamuna of the upper part of His feet, and the red Sarasvati of His soles are splendidly manifest, fulfilling all desires.

 

 

Text 14

 

 

apurvah kamsaresh carana-yugalasyaisha mahima

     yad ashritya dhvantam sva-kadana-krite praptam arunam

niyuddhe 'dhah kritvopari lasati yad vikshya sabhayad

     vapur-vyuham kurvann amalam udupo 'py ashrayad idam

 

       apurvah—unprecedented; kamsa-areh—of Shri Krishna, the enemy of Kamsa; carana—of feet; yugalasya—of the pair; esah—this; mahima—glory; yat—which; ashritya—having taken shelter; dhvantam—darkness; sva-kadana-krite—in his defeat; praptam—attained; arunam—the demigod Aruna; niyuddhe—in the battle; adhah—down; kritva—having placed; upari—above; lasati—is splendidly manifested; yat—which; vikshya—seeing; sa-bhayat— with fear; vapuh—of Lord Krishna's transcendental form; vyuham—of the military phalanx; kurvan—doing; amalam—spotless; udupah— the moon; api—even; asrayat—takes shelter; idam—this.

 

 

     Seeing the unprecedented glory of Krishna's feet conquer in battle the red sunrise and throw it down into the darkness, the frightened moon surrendered to the splendid army of Krishna's limbs.

 

 

Text 15

 

 

kaloktih sa tatah shari

     vrindaya prerita drisha

rasajnam vasitam cakre

     krishna-padabja-varnanaih

 

     kaloktih—Kalokti; sa—she; tatah—then; shari—the female parrot; vrindaya—by Vrinda-devi; pprerita—ordered; drisha—by a glance; rasajnam—tongue; vasitam—aromatic; cakre—made; krishna—of Lord Krishna; pada—feet; abja—of the lotus flower; varnanaih— by descriptions.

 

 

     Signaled by Vrinda's glance, the female parrot, Kalokti, made her tongue fragrant with descriptions of Krishna's lotus feet.

 

 

Text 16

 

 

candamshoh plushtha-varshmaruna iha kiranaih krishna-padabja-yugmam

     sita-cchayam pravishto 'ty-aruna-madam abhud vyaptam asyarunimna

utprekshyam kavinam mama tu matam idam krishna-ragati-raktam

     radha-cittam mamaivaspadam idam iti tad vyasnuta svasya dhamna

 

     canda-amsoh—of the fierce sun; plusta—scorced; varsma—whose body; arunah—Aruna; iha—here; kiranaih—with his effulgence; krishna—of Lord Krishna; pada—of the feet; abja—of lotus flowers; yugmam—the pair; sita—cool; chayam—shade; pravishtah—entered; ati—very; aruna-madam—red; abhut—was; vyaptam—pervaded; asya—of him; arunimna—by the redness; utprekshyam—to be compared; kavinam—of the poets; mama—of me; tu—also; matam—opinion; idam—this; krishna—of Lord Krishna; raga—by the love; ati—very much; raktam—reddened; radha—of Shrimati Radharani; cittam—the mind; mama—my; eva—certainly; aspadam—abode; idam—this; iti— thus; tat—that; vyasnuta—pervaded; svasya—of Him; dhamna—by the effulgence.

 

 

     The idea of poets is that Krishna's lotus soles are red because the sunrise, burned by the sun's fierce rays, took shelter of the cooling shade there. My idea is they are red because, full of passionate love, Radha thinks in Her heart: "Krishna's feet are my only shelter".

 

 

Text 17

 

 

lilaravindam aravinda-drisham karabje

     kankollasi-pallavam uroja-suvarna-kumbhe

raktotpalam yad iha hrit-sarasidam ide

     padaravindam aravinda-vilocanasya

 

  lila—for pastimes; aravindam—lotus flower; aravinda—like lotus flowers; drisham—whose eyes; kara—of the hand; abje—in the lotus flower; kankollasi-pallavam—the asoka flower; uroja—of the breasts; suvarna—golden; kumbje—in the vase; rakta—the red; utpalam—lotus flower; yat—which; iha—here; hrit—of the heart; sarasi—in the lake; fidam—this; ide—I glorify; pada— feet; aravindam—lotus flower; aravinda-vilocanasya—of the lotus-eyed Supreme Personality of Godhead.

 

 

     I worship lotus-eyed Krishna's lotus feet, which the lotus-eyed gopis hold as a toy in their lotus hands, as s splendid bloom in the golden vase of their breasts, and as a red lotus growing in the lake of their hearts.

 

 

Text 18

 

 

candrendivara-candanendu-naladac chitam lasat-saurabham

     radhayah stana-sanga-lolupatamam tat-pani-samlalitam

tac chri-kunkuma-carcitam su-lalitam shobhali-lilaspadam

     tac chri-krishna-padambujam bhavatu nah samvahaniyam sada

 

     candra—than the moon; indivara—blue lotus flower; candana—sandalwood; indu—camphor; naladat—and the usira root; sitam—more cooling; lasat-saurabham—and fragrant; radhayah—of Shrimati Radharani; stana—of the breasts; sanga—contact; lolupatamam— very eager; tat—of her; pani—by the hand; samlalitam—caressed; tat—that; shri—of Shrimati Radharani; kunkuma—by the kunkuma; carcitam—anointed; su-lalitam—charming; shobha-ali—of beauty; lila—and playfulness; aspadam—the abode; tat—that; shri-krishna— of Shri Krishna; pada—feet; ambujam—lotus flower; bhavatu—may be; nah—by us; samvahaniyam—massaged; sada—constantly.

 

 

     May we always massage Shri Krishna's graceful lotus feet, which are more cool and fragrant than the moon, lotus, sandalwood, camphor, or ushira, which Radha caresses in Her hands and yearns to place on Her breasts, and which are anointed with kunkuma, and are the playground of handsomeness.

 

 

Text 19

 

 

sabhya-karnau sudha-purnau

     racayan radhayeritah

sa-sharikah shuko 'nyani

     krishnasyangany avarnayat

 

     sabhya—of the assembled gopis; karnau—the ears; sudha—of nectar; purnau—full; racayan—making; radhaya—by Shrimati Radharani; iritah—ordered; sa—with; sharikah—the female parrot; shukah—the male parrot; anyani—the other; krishnasya—of Shri Krishna; angani—limbs; avarnayat—described.

 

 

     Ordered by Radha, the male and female parrot then described Krishna's other limbs, filling the ears of the audience with nectar.

 

 

Text 20

 

 

gulphau bakarer lasato 'ti-cikkanau

     lavanya-bhangocchalitau su-vartulau

kalinda-kanya-tanu-vici-nirjharad

     ddhvaditendivara-korakav iva

 

     gulphau—ankles; baka-areh—of Lord Krishna, the enemy of Bakasura; lasatah—splendidly manifest; ati—very; cikkanau—smooth and glistening;lavanya—of beauty; bhanga-ucchaitau—filled with waves; su—very; vartulau—round; kalinda-kanya—of the Yamuna river; tanu-vici-nirjharat—than the waves; dhvadita—deveated; indivara—of the blue lotus; korakau—buds; iva—like.

 

 

     Glorious, graceful, splashed by waves of handsomeness, more splendid than the Yamuna's turbulent current, and eclipsing the blue lotus, Krishna's ankles shine with great splendor.

 

 

Text 21

 

 

lavanya-dhanya-madhu-purna-tamala-navya-

     parnati-citra-putike ghutike murareh

alihya netra-rasana-shikhaya sakrid ye

     matta vighurnati sada lalanalir arat

 

     lavanya—of beauty; dhanya—with the wealth; madhu—the honey; purna—full; tamala—of a tamala tree; navya—fresh; parna—with the leaf; ati—very; citra—wonderful; putike—cup; ghutike—two ankles; mura-areh—of Lord Krishna, the enemy of the Mura demon; alihya—having licked; netra—of their eyes; rasana—of the tongue; sikhaya—with the tip; sakrit—once; ye—which; matta—intoxicated; vighurnati—staggers; sada—continually; lalana—of the gopis; alih—the bumble-bees; arat—immediately.

 

 

     With the tongue-tips of their eyes once licking from afar Krishna's two ankle tamala-leaf cups filled with the rich honey of exquisite handsomeness, the gopi-bumblebees, now intoxicated, stagger again and again.

 

 

Text 22

 

 

shrimat-padambuja-yugopari putanarer

     nihnutya gulpha-yugalasya mishena dhatra

shri-radhika-nayana-kira-yugasya pushtyai

     manye nyadhayi karamarda-phale su-pakve

 

     shrimat—beautiful; pada—feet; ambuja—lotus; upari—above; putana-areh—of Lord Krishna, the enemy of the Putana demon; nihnutya—concealing; gulpha—of ankles; yugalasya—of the pair; mishena—by a trick; dhatra—by the creator Brahma; shri-radhika—of Shrimati Radharani; nayana—of the eyes; kira—of parrots; yugasya—of the pair; pushtyai—for the nourishment; manye—I consider; nyadhayi—placed; karamarda-phale—two karamarda fruits; su—very; pakve—ripe.

 

 

     I think the creator Brahma, on the pretext of placing ankles above Krishna's handsome lotus feet, placed two ripe karamarda fruits there to feed the two parrots of Shri Radhika's eyes.

 

 

Text 23

 

 

babhau hareh shri-ghutika-yugam tat

     su-shlishtha-parshvam yad avapa shashvat

radha-mano-vritti-kumarikaleh

     kumarayantya laghu-kandukatvam

 

     babhau—manifested; hareh—of Lord Hari; shri-ghutika—of ankles; yugam—pair; tat—that; su-slishtha—attached; parshvam—to the side; yat—which; avapa—attained; shashvat—eternally; radha—of Shrimati Radharani; manah—of the mind; vritti—activities; kumarika—of young girls; aleh—of the multitude; kumarayantya laghu-kandukatvam—the condition of being small balls for playing.

 

 

     The young girls that are Radha's thoughts imagine that Lord Hari's ankles are two small balls for playing.

 

 

Text 24

 

 

gokula-kula-yuvatinam

     dhairyodbhata-vinashtaye 'sty atanoh

hari-jangha-yuga-dambhal

     laghu-parigha-yugam tamala-sarasya

 

     gokula—of gokula; kula-yuvatinam—of the pious young girls; dhairya—of composure; udbhata—of the soldiers; vinastaye—for the destruction; asti—is; atanoh—of the cupid; hari—of Lord Hari; jangha—of shins; yuga—a pair; dambhat—on the pretext; laghu—small; parigha—clubs; tamala-sarasya—of Lord Krishna, who is like the best of tamala trees.

 

 

     In order to rout the strong soldiers that are the chaste composure of the pious young girls of Gokula, the demigod Kama made two small tamala-wood clubs, and disguised them as the shins of Lord Hari.

 

 

Text 25

 

 

marakata-mani-rambha-stambha-sambhedi dhatra

     bhuvana-bhavana-mula-stambhatam lambhitam yat

yuvati-nicaya-cetah-pilu-nilasma-kilam

     pranayatu hari-jangha-yugmam angho-vighatam

 

     marakata-mani—of emeralds; rambha—plantain trees; stambha—columns; sambhedi—combined; dhatra—by the creator Brahma; bhuvana—of the three worlds; bhavana—of the building; mula—at the foundation; stambhatam—the state of being a columns; labhitam—attained; yat—which; yuvati—of young gopis; nicaya—of the multitude; cetah—of the minds; pila—of the elephants; nilasma—sapphire; kilam—elephant goads; pranayatu—may accomplish; hari—of Lord Hari; jangha—of the shins; yugmam—the pair; anghah—of sins; vighatam—the destruction.

 

 

     May Lord Hari's shins, which are two emerald plantain-tree columns placed by the creator Brahma to support the palace of the three planetary systems, and which are two sapphire goads to control the elephants of the gopis' hearts, destroy my sins.

 

 

Text 26

 

 

divyato lavanimamrita-bhange

     caru-hamsaka-kala-lalitante

deha-kanti-yamuna-laghu-dhara-

     san-nibhe muraripoh prasrite te

 

     divyatah—glistening; lavanima—of beauty; amrita—of the nectar; bhange—with waves; caru—beautiful; hamsaka—of swans; kala-lalita—with sweet sounds; ante—on the shore; deha—of the body; kanti—of the beauty; yamuna—of the Yamuna river; laghu— little; dhara—inundation; sat—being so; nibhe—like; mura-ripoh—of Lord Krishna, the enemy of the Mura demon; prasrte— flowed; te—they.

 

 

     Like a Yamuna-current of the glory of His body, filled with nectar waves of handsomeness, and charming with the warbling of graceful swans, Krishna's shins are splendidly manifest.

 

 

Text 27

 

 

saundarya-saushthava-vilokanatah pralubdhe

     janghe mitho militum asya samutsuke ye

te venu-vadana-krite sthiratam gate 'smin

     labdhantare 'nuparirabhya harau ciram stah

 

     saundarya—of beauty; saushthava—excellence; vilokanatah—from seeing; pralubdhe—greedy; janghe—shins; mithah—together; militum—to meet; asya—of that; samukshuke—eager; ye—who; te—they; venu-vadana-krite—during the playing of the flute; sthiratam—an immobile condition; gate—when attained; asmin—this; labdha—attained; antare—the opposite conditin; anuparirabhya—having embraced; harau—on Lord Hari; ciram—for a long time; stah—situated.

 

 

     From seeing each other's sublime handsomeness, Lord Hari's two shins became very eager to meet. When, stunned in ecstasy, Lord Hari played the flute, they, not at all stunned, embraced for a long time.

 

 

     Note: When Lord Hari became stunned, His shins trembled.

 

Text 28

 

 

madhurya-lakshmya rucirasana-dvayam

     lavanya-vally-aguru-parva-yugmakam

shobha-shriyo-'lankriti-petika-yugam

     janu-dvayam bhati manoharam hareh

 

     madhurya—of sweetness; lakshmya—with the opulence; rucira—glistening; asana—of thrones; dvayam—pair; lavanya—of beauty; vallya—with the creeper; aguru—of the fragrant aguru tree; parva—knots; yugmakam—two; shobha—of splendor; shriyah—of the opulence; alankriti—of ornaments; petika—chests; yugam—pair janu—of knees; dvayam—pair; bhati—is manifested; manoharam— enchanting; hareh—of Lord Hari.

 

 

     Lord Hari's charming knees, which are sweetness' two glorious thrones, two knots in a fragrant aguru tree embraced by a vine of handsomeness, and two jewelry chests holding the ornaments of gracefulness, are splendidly manifest.

 

 

Text 29

 

 

ramyoru-parva-dvayam adbhutam harer

     mahendra-nilam laghu samputa-dvayam

asankhya-go-sankhya-kulanganatanes

     te citta-cintamanayo 'tra bhanti yat

 

     ramya—delightful; uru-parva—of knees; dvayam—pair; adbhutam—wonderful; hareh—of Lord Hari; mahendra-nilam—made of sapphires; ;laghu—small; samputa—of jewelry chests; dvayam—pair; asankhya—countless; go-sankhya-kula-angana—of pious gopis; ataneh—of the multitude; te—they; citta—of the thoughts; cintamanayah—cintamani jewels; atra—there; bhanti— shine; yat—which.

 

 

     Lord Hari's charming knees are two wonderful sapphire jewelry chests filled with the cintamani jewels of the thoughts of countless pious young gopis.

 

 

Text 30

 

 

prasara-rane yad baliman nikuncane

     shri-padayor nirvalitam su-mamsalam

shri-radhika-shrikara-lalitam hares

     taj janu-yugmam ruciram shriye 'stu nah

 

     prasara-rane—in the pitched battle; yat—which; baliman—with folds of skin; nikuncane—in contraction; shri-padayoh—of the feet; nirvalitam—gone; su-mamsalam—fleshly; shri-radhika—of Shrimati Radharani; shri-kara—by the hand; lalitam—caressed; hareh—of Lord Hari; tat—that; janu—of knees; yugmam—pair; ruciram—beautiful; shriya—for transcendentral opulence and auspiciousness; astu—may be; nah—for us.

 

 

     May Lord Hari's gracefully bent, broad knees, sprouted from His feet, and now embraced by Shri Radhika's lotus hand in Their ferocious battle, grant auspiciousness to us.

 

 

Text 31

 

 

uru-dvayam su-valitam lalitam bakareh

     pinam su-cikkanam adhah-krama-karshya-yuktam

kandarpa-vrinda-vara-nartaka-lasya-rangam

     lavanya-keli-sadanam hridi nash cakastu

 

     uru—of thighs; dvayam—the pair; su-valitam—beautiful; lalitam—charming; baka-areh—of Lord Krishna, the enemy of Bakasura; pinam—fleshly; su-cikkanam—smooth; adhah—lower; krama—part; karsya—thinness; yuktam—endowed; kandarpa—of cupids; vrinda—of the multitude; vara—excellent; nartaka—of dancers; lasya—dancing; rangam—arena; lavanya—of beauty; keli— of the pastimes; sadanam—the abode; hridi—in the heart; nah—of us; cakastu—may be manifest.

 

 

     May Lord Hari's charming, graceful, broad, smooth, tapering thighs, which are handsomeness' playground and many Kamadevas' dancing arena, be manifest in our hearts.

 

 

Text 32

 

 

jambhari-ratna-ghatitam kim ajanda-shala-

     stambha-dvayam kim atanor makha-yupa-yugmam

kim vedam asti lalana-hridayebha-bandha-

     lana-dvayam na tad idam hari-shakthi-yugmam

 

     jambhari-ratna—of sapphires; ghatitam—fashioned; kim—is this?; ajanda—of the universe; sala—of the palatial building; stambha—of posts; dvayam—the pair; kim—is this?; atanoh—of cupid; makha—for the sacrifice; yupa—os posts; yugmam—the pair; kim—is this?; va—or; idam—this; asti—is; lalana—of the young gopis; hridaya—of the hearts; ibha—of the elephants; bandha—for binding; alana—of posts; dvayam—pair; na—not; tat— this; idam—this; hari—of Lord Hari; sakthi—of thighs; yugmam— the pair.

 

 

     Are these two sapphire columns holding up the palace of the universe? Two sacrificial stakes for the worship of Kamadeva? Two posts to bind the elephants of the gopis' hearts? No. They are the two thighs of Lord Hari.

 

 

Text 33

 

 

uru-cchalac chroni-varanjanocca-

     sthali-bhavadho-mukha-nila-rambhe

ete harer ye lalanakshi-kira-

     pushtyai sva-madhurya-phalair alam stah

 

     uru—of thighs; chalat—on the pretext; sroni—of hips; vara—excellent; anjana—with the ointment; ucca—loftly; sthali—plaace; bhava—being; adhah-mukha—beneath; nila—blue; rambhe—two plantain trees; ete—these two; hareh—of Lord Hari; ye— which; lalana—of the beautiful young gopis; akshi—of the eyes; kira—the parrots; pushtyai—for nourishing; sva—His own; madhurya—of sweetness; phalaih—with the fruits; alam— sufficiently; stah—they are.

 

 

     Disguised as Lord Hari's thighs, two tall and dark banana trees grow to feed fruits of sweetness to the parrots of the gopis' eyes.

 

 

Text 34

 

 

rambhali-garva-bhara-darana-sanniveshe

     mattebha-hasta-mada-mardana-mardave ye

shri-radhika-karabha-santata-sevyamane

     kenopamantu kavayo hari-shakthini te

 

     rambha—of plantain trees; ali—of the host; garva—of pride; bhara—the abundance; darana—tearing apart; sannivese—nearby; matta—mad; ibha—elephant; hasta—the trunk; mada—the pride; mardana—breaking; mardave—softness; ye—which; shri-radhika—of Shrimati Radharani; karabha—by the hand; santata—constantly; sevyamane—being served; kena—with what?; upamantu—may compare; kavayah—the poets; hari—of Lord Hari; sakthini—the two thighs; te—they.

 

 

     To what may poets compare Lord Hari's thighs which, always served by Shri Radhika's lotus hand, tear apart the banana trees' pride and crush the mad elephants' pride in their trunks?

 

 

Text 35

 

 

vistirna-pinam ati-sundara-sannivesham

     rasa-sthalam sarati-kama-natarbudanam

abhira-dhira-ramani-kamaniya-shobham

     shri-shroni-mandalam alam vilasaty aghareh

 

     vistirna-pinam—broad; ati-sundara-sannivesham—very beautiful; rasa—of dancing; sthalam—the arena; sa—accompanied by Rati-devi; kama—of cupid; nata—of dances; arbudanam—of millions; abhira—of the cowherd men; dhira—saintly; ramani—girls; kamaniya—desireable; shobham—splendor; shri-sroni-mandalam—hips; alam—greatly; vilasati—shines; agha-areh—of Lord Krishna, the enemy of Aghasura.

 

 

     A dancing arena for millions of Kamas and Ratis, and their handsomeness the object of the saintly and beautiful young gopis' yearning, Krishna's very handsome broad thighs are splendidly manifest.

 

 

Text 36

 

 

katira-bimbam lasad-urdhva-kaya-

     tamala-nilasma-kritalavalam

krishnasya lavanya-jalali-khelat-

     kanci-marali-valitam vibhati

 

     katira—of the hips; bimbam—circle; lasat—splendid; urdhva—upper part; kaya—of the body; tamala—of the tamala tree; nilasma—sapphire; krita—fashioned; alavalam—irrigation trench; krishnasya—of Lord Krishna; lavanya—of beauty; jala-ali—in the waters; khelat—playing; kanci—of the Lord's belt; marali—the swan; valitam—attracted; vibhati—is manifest.

 

 

     Circling the roots of the sapphire tamala tree of His torso, and the swan of His belt playing in the waters of its handsomeness, the irrigation trench of Krishna's hips shines with great splendor.

 

 

Text 37

 

 

krishnanga-simhasana-santatopa-

     vishtasya radha-hridayasya rajnah

dhatra kritam shroni-mishat sukhaptyai

     nilamshuka-sthula-vidhupadhanam

 

     krishna—of Lord Krishna; anga—of the body; simha-asana—on the throne; santata—continually; upavishtasya—seated; radha—of Shrimati Radharani; hridayasya—of the heart; rajnah—of the monarch; dhatra—by the creator Brahma; kritam—created; sroni—of being hips; mishat—on the pretext; shukha—of happiness; aptyai— for the obtainment; nila—blue; amshuka—cloth; sthula—large; vidhu—charming; upadhanam—pillow.

 

 

     On the pretext of fashioning Krishna's lap, the creator Brahma made a great blue cushion to please Radha"s royal heart, which always sits on the throne of Krishna"s limbs.

 

 

Text 38

 

 

ye gopika-drik-shapharali-kelaye

     lavanya-vanyamrita-purna-palvale

ye radhika-citta-mrigendra-kandare

    te sundare naumi hareh kakundare

 

     ye—which; gopika—of the gopis; drik—of the eyes; shaphari—of the shaphari fishes; ali—of the multitude; kelaye—for the pastimes; lavanya—of transcendental beauty; vanya—of the flood; amrita—of the nectatr; purna—full; palvale—the ponds; ye— which; radhika—of Shrimati Radharani; citta—of the mind; mrigendra—of the lion; kandare—the cave; te—they; sundare— beautiful; naumi—I offer my respectful obeisances; hareh—of Lord Hari; kakundare—to the two hips.

 

 

     I offer my respectful obeisances to Lord Hari's hips, which are a cave for the lion of Radhika's heart and a nectar pool of handsomeness for the playing of the shaphari fishes of the gopis' eyes.

 

 

Text 39

 

 

adhas-tiryag-rekha-sarid-upari sa nabhi-sarasi

     tayor madhye vastir dhruvam agha-ripor asti pulinam

sada rasa-kridam yad iha nija-vritty-adbhuta-nati-

     cayaih shri-radhaya hridaya-nata-rajah pranayati

 

     adhah—below; tiryak—curved; rekha—line; sarit—the stream; upari—above; sa—that; nabhi—of the navel; sarasi—lake; tayoh—of the two; madhye—in the middle; vastih—the lower part of the abdomen; dhruvam—certainly; agha-ripor—of Lord Krishna, the enemy of Agha; asti—is; pulinam—the shore; sada—continually; rasa-kridam—the pastime of the rasa dance; yat—which; iha—here; nija—her own; vriti—activity; adbhuta—wonderful; nati—of dancers; cayaih—with a host; shri-radhayah—of Shrimati Radharani; hridaya—of the heart; nata—of dancers; rajah—the king; pranayati—performs.

 

 

     In between Lord Hari's navel-lake and the river that is the lower line of His abdomen is a plain where the king of dancers, Shri Radha's heart, performs a rasa dance with her many wonderful associates.

 

 

Text 40

 

 

shri-vasti-romavali-nabhi-dambhan

     nipana-sad-rajju-sudhoda-kupan

trisharta-gopi-gana-go-gananam

     panaya dhatasrijad acyutange

 

     shri-vasti—the lower abdomen; roma—of hairs; avali—line; nabhi—navel; dambhat—on the pretext; nipana—for drinking; sat—transcendental; rajju—with ropes; sudha-uda—of nectar; kupan-wells; trisha—by thirst; arta—afflicted; gopi—of gopis; gana—of thehost; go—of cows; gananam—of the host; panaya—for drinking; dhata—the creator Brahma; asrjat—created; acyuta—of the infalliable Personality of Godhead; ange—on the body.

 

 

     On the pretext of fashioning a navel and lower abdomen decorated with a line of hairs, the creator Brahma placed on the body of the infallible Personality of Godhead a series of nectar watering-places to slake the thirst of the surabhi cows that are the vraja-gopis.

 

 

Text 41

 

 

gopi-mano-dhanya-cayanya-vasana-

     tushapaharottara-samskritau vidhih

nilopalolukhalatam ninaya yat

     krishnavalagnam hridi me cakastu tat

 

     gopi—of the gopis; manah—of the thoughts; dhanya—of grain; caya—of the abundance; anya—other; vasana—of desires; tusa—the chaff; apahara—for removing; uttara-samskritau—in the matter of the final perfection; vidhih—the creator Brahma; nila-upala—sapphire; ulukhalatam—to the state of being a mortar; ninya— brought; yat—which; krishna—of Lord Krishna's body; avalagnam—the middle part(the abdomen); hridi—in the heart; me—my; cakastu— may be manifested; tat—that.

 

 

     May Lord Krishna's abdomen, which the creator Brahma transformed into a sapphire grinding-mortar to remove the chaff of material desires from the granary of the gopis' thoughts, appear in my heart.

 

 

Text 42

 

 

krishnavalagnasya mishad uma-pater

     visphardhayaradhanayardite muhuh

purvapara-sthula-vibhaga-samyuto

     dhatra vitirno damaruh smaraya kim

 

     krishna—of Lord Krishna; avalagnasya—of the middle part of the body; mishat—on the pretext; uma-pateh—of Lord Siva, the husband of Uma; vispardhaya—with rivalry; aradhanaya—with worship; ardite—afflicted; muhuh—at every moment; purva—first; apara—and second; sthula—large; vibhaga—with parts; samyutah—endowed; dhatra—by the creator; vitirnah—presented; damaruh— damaru drum; smaraya—to cupid; kim—how is it?

 

 

     Why, on the pretext of fashioning Lord Krishna's waist, did the creator Brahma gave an excellent damaru drum, broad at both ends, to the demigod Kama? Kama attained this gift by always worshiping Brahma, and now that he has it, he is able to challenge Lord Shiva himself.

 

 

Text 43

 

 

harer vakshah-kakudmatyor

     visargam antarasthitam

madhya-dambhad dvayor navyam

     jaihva-mulaksharam vyadhat

 

     hareh—of Lord Hari; vakshah—of the chest; kakudmatyoh—of the hips; visargam—creation; antara—between; asthitam—situated; madhya—of the waist; dambhat—on the pretext; dvayoh—of both of them; navyam—new; jaihva-mula-aksharam—the letter jihvamuliya; vyadhat—placed.

 

 

     On the pretext of fashioning a thin waist, the demigod Brahma placed a jihvamuliya letter between Lord Hari's broad chest and hips.

 

 

     Note: In this verse the Lord's waist is compared to the jihvamuliya letter: )(.

 

 

Text 44

 

 

drishtva bakarer avalagna-saushthavam

     nijavalagnasya ku-kirti-shankaya

durgasu durga-janakasya bhu-bhrito

     darishu parindra-gana vililyire

 

     drishtva—having seen; baka-areh—of Lord Krishna, the enemy of Bakasura; avalagna—of the waist; saushthavam—excellence; nija—of their own; avalagnasya—of the waist; ku-kirti—defemation; sankaya—fearing; durgasu—inaccessible; durga-janakasya—of the Himalaya mountains; bhu-bhritah—of the mountain; darisu—in the caves; parindra—of lions; ganah—the community; vililyire— disappeared.

 

 

     Seeing the handsomeness of Krishna's thin waist, and fearing their own waists would no longer be glorious in comparison, the lions became embarrassed and fled, disappearing into Himalayan caves.

 

 

Text 45

 

 

lavanya-vanya-bhrama-bhanga-purne

     baki-ripor nabhi-hrade gabhire

trisharta-gopi-hridayebha-pali-

     magnaiva nonmajjati sa kadapi

 

     lavanya—of beauty; vanya—the flood; bhrama—with a whirlpool; bhanga—and waves; purne—full; baki-ripoh—of Lord Krishna, the enemy of Putana; nabhi—of the navel; hrade—in the lake; gabhire—deep; trisha—by thirst; arta—afflicted; gopi-of the gopis; hridaya—of the hearts; ibha—of elephants; pali—the herd; magna—drowned; na—not; unmajjati—to emerge; sa—they; kadapi—at any time.

 

 

     Drowning in Krishna's deep navel-lake filled with whirlpools and waves of handsomeness, the thirsty elephants of the gopis' hearts will never rise again.

 

 

Text 46

 

 

shri-krishna-vigraha-tamala-sura-drume 'smin

     shobha-maranda-bhrita-nabhi-sukitaro 'sti

lobhad vadhu-drig-ali-palir iha pravishta

     yat sa punar na hi nireti rase nimagna

 

     shri-krishna—of Lord Krishna; vigraha—of the form; tamala—tamala; sura-drume—in the desire-tree; asmin—in this; shobha—of transcendental beauty; maranda—honey; bhrita—held; nabhi—of the navel; sukotarah—the hollow; asti—is; lobhat—out of greed; vadhu—of the young girls of Vraja; drik—of the eyes; ali—of bumble-bees; palih—the swarm; iha—here; pravishtah—has entered; yat—because; sah—they; punah—again; na—not; hi—certainly; nireti—will emerge; rase—in the nectar; nimagna—immersed.

 

 

     In the tamala desire-tree of Shri Lord Krishna's form is a navel-hollow filled with the honey of handsomeness. Entering there and greedily drowning in the honey, the bumblebees of the gopis' eyes will never come out again.

 

 

Text 47

 

 

vishnor gangajani bali-nutan nicagagre 'nghri-padmat

     tan-matsaryat tri-bali-mahitad urdhvaga nabhi-padmat

shaureh krishnajani tanuruhali-cchalat pashyatam ya

     tasmin pritim janayati param vasanam samvidhuya

 

     vishnoh—from Lord Vishnu; ganga—the Ganges river; ajani—became manifested; bali—by Bali Maharaja; nutat—glorified with prayers; nicaga—descending; agre—from the tip; anghri-padmat—of His lotus feet; tat—of that; matsaryat—out of envy; tri—three; bali—by the Bali Maharaja's of the three folds of skin at the Lord's waist; mahitat—glorified; urdhvaga—ascending; nabhi-padmat—from the lotus-navel; saureh—from Lord Krishna; krishna— the Yamuna river; ajani—was manifested; tanuruha—of hairs; ali— of a multitude; chalat—on the pretext; pasyatam—one may see; ya—which; tasmin—for Him; pritim—love; janayati—creates; param—other; vasanam—desire; samvidhuya—cleansing.

 

 

     The Ganga descended from Lord Vishnu's lotus feet, which were praised by Bali Maharaja. Impelled by jealousy, the Yamuna appeared as a line growing up from Krishna's lotus navel, which is praised by three Balis. One who sees this becomes free of material desires and attains pure love.

 

 

     Note: "Bali" also means fold of skin." The “three Balis" are the three folds of skin at the Lord's waist.

 

 

Text 48

 

 

nabhi-bilat sami samutthita harer

     ya bhati romavali-krishna-pannagi

svam pashyatam sukshmatamapy ahar-nisham

     cittanilan sanculuki-karoti sa

 

     nabhi—of the navel; bilat—from the hole; sami—half; samutthita—emerged; hareh—of Lord Hari; ya—which; bhati—is manifested; roma—of hairs; avali—line; krishna—black; pannagi— snake; svam—own; pasyatam—one should see; sukshmatam—most clever; api—also; ahah—day; nisham—and night; citta—of thoughts; anilan—the winds; sanculuki-karoti—makes into mosels of food; sa—that; snake.

 

 

       See the line-of-hairs black snake half-emerged from the hole that is Lord Hari's navel! This clever line-of-hairs snake lives by day and night swallowing the breezes that are our thoughts.

 

 

Text 49

 

 

lavanima-madhu pitva nabhi-padman murarer

     vraja-yuvati-jananam netra-bhringarbha-kelih

udara-nalina-patre ya papatoccalanti

     tanuruha-tati-dambhat saiva sete pramatta

 

     lavanima—of beauty; madhu—the honey; pitva—having drunk; nabhi—of the navel; padmat—from the lotus flower; murareh—of Lord Krishna, the killer of the Madhu demon; vraja—of Vrajabhumi; yuvati-jananam—of the young girls; netra—of the eyes; bhringa-arbha—of the young bumble-bees; kelih—pastimes; udara—of the abdomen; nalina—lotus; patre—on the petal; ya—which; papata—falls; uccalanti—rising up; tanuruha—of hairs; tati—series; dambhat—on the pretext; sa—that; eva—certainly; sete—rests; pramatta—intoxicated.

 

 

     After drinking the honey of handsomeness from the lotus flower of Krishna's navel, the playful young bumblebees of the vraja-gopis' eyes become intoxicated, and although they try to fly away, they fall onto the lotus petal of His abdomen, where they stay disguised as a line of hairs.

 

 

Text 50

 

 jita-cala-dala-nilambhojini-parna-jalam

     madhurima-hrita-pashyal-loka-netrali-malam

tilakitam iva loma-shreni-kaliyakena

     tri-bhuvana-jaya-lakshmya bhati govinda-tundam

 

     jita—defeated; cala—moving; dala—with petals; nila—blue; ambhojini—of the lotus; parna—of petals; jalam—network; madhurima—by sweetness; hrita—enchanted; pasyat—looking; netra—of eyes; ali—of bumble-bees; malam—with a garland; tilakitam— marked with tilaka; iva—as if; loma—of hairs; shreni-kaliyakena—with a line; tri—the three; bhuvana— worlds; jaya—defeating; lakshmya—with beauty and glory; bhati— is manifest; govinda—of Lord Govinda; tundam—the abdomen.

 

        Defeating a host of trembling blue lotus petals, garlanded  with bumblebees of the gazing eyes of devotees enchanted by its sweetness, and ornamented with the tilaka mark of a line of hairs, Govinda's abdomen shines with a splendor that conquers the three worlds.

 

 

Text 51

 

 

kasturika-lipta-tamala-navya-

     dalosma-hrit-saurabha-mardavabham

atundilam tundilitakhilakshi-

     bhringali divyaty udaram bakareh

 

     kasturika—with musk; lipta—anointed; tamala—tamala; navya—fresh; dala—of the leaf; usma—burning pride; hrit—removing; saurabha—with it's fragrance; mardava—and delicate beauty; abham—appearance; atundilam—thin; tundilita—filled; akhila—of everyone; akshi—of the eyes; bhringa—of bumble-bees; ali—with th multitude; divyati—is splendidly manifest; udaram—the abdomen; baka-areh—of Lord Krishna, the enemy of Bakasura.

 

 

    Decorated with the bumblebees of the devotees' eyes, and with it's delicate handsomeness and sweet fragrance cooling the burning pride of a fresh tamala leaf anointed with musk, Krishna's slender waist shines with great splendor.

 

 

Text 52

 

 

hridy ucchalat-tanuruha-cchala-nihsrita-shri-

     nabhi-hradanupatitadi-rasa-pravaham

alpocca-parshva-yugalam dara-nimna-madhyam

     madhye mano mama harer udaram cakastu

 

     hridi—on the chest; ucchalat—rising; tanuruha—of hairs; chala—on the pretext; nihsrta—flowing; shri-nabhi—navel; hrada—to the lake; anupatita—falling; adi—transcendental; rasa—of nectar; pravaham—river; alpa—a little; ucca—high; parva—sides; yugalam—two; dara—a little; nimna—deep; madhyam—in the middle; madhye—in the middle; manah—the mind; mama—my; harer—of Lord Hari; udaram—the abdomen; cakastu—may be manifest.

 

 

     May the stream of nectar, it's banks a little shallow, and it's middle a little deep, that descends from the mountain of Lord Hari's chest and falls in the lake of His navel, and is disguised as a line of hairs, flow into my thoughts.

 

 

Text 53

 

 

radha-citta-marala-drik-shapharika-shashvad-vilasaspadam

     kanci-sarasa-pali-nisvani-tatam lomali-shaivalakam

lavanyamrita-puritam tribalika-sukshmormi-vibhrajitam

     shri-nabhi-nalinam lasaty agha-ripoh shri-tunda-sat-palvalam

 

     radha—of Shrimati Radharani; citta—of the mind; marala—the swan; drik—of her eyes; shapharika—of the shaphari fishes; shashvat—eternal; vilasa—of pastimes; aspadam—abode; kanci—of the Lord's belt; sarasa—of the cranes; pali—of the host; nisvani—of the cooing sounds; tatam—on the shore; loma—of hairs; ali— series, or bumble-bees; saivalakam—with saivalak plants; lavanya—of beauty; amrita—with the nectar; puritam—filled; tri-balika—of three folds of skin; sukshma—little; urmi—with waves; vibhrajitam—manifested; shri-nabhi—of the navel; nalinam—with the lotus flower; lasati—is splendidly manifest; agha-ripoh—of Lord Krishna, the enemy of Agha demon; shri-tunda—of the abdomen; sat—transcendental; palvalam—pond.

 

 

     A playground for the swan of Radha's thoughts and the shaphari fish of Her eyes, its shores filled with sounds of the cranes of His sash of bells, its moss a line of hairs, filled with the necatar of handsomeness, handsome with gentle waves of three folds of skin, and glorious with the graceful lotus of a navel, the lake of Krishna's abdomen shines with great splendor.

 

 

Text 54

 

 

shri-radhika-parshva-mattalika-yuga-

     sva-preyasi-sparsha-samutsukau sada

shri-parshva-san-nagara-tallajau hareh

     su-vartulau snigdha-mridu virajatah

 

     shri-radhika—of Shrimati Radharani; parshva—of the sides; mattalika—excellent; yuga—pair; sva—own; preyasi—beloveds; saprasa—the touch; samustsukau—eager; sada—always; shri-parshva— the sides; sat—transcendental; nagara—gallants; tallajau— excellent; hareh—of Lord Hari; su—very; vartulau—round; snigdha—smooth, glistening, and beautiful; mridu—soft; virajatah—are splendidly manifest.

 

 

     Yearning for the touch of the two beautiful girls that are the sides of Shri Radhika, the two handsome, gentle, and affectionate heroes that are the two sides of Lord Hari's torso shine with great splendor.

                               

 

Texts 55 and 56

 

 

rekha-svarupa-ramayashrita-vama-bhagam

   shrivatsa-sac-chavi-virajita-dakshinamsam

kanthastha-kaustubha-gabhasti-virajamanam

   shashvad-vilasa-lalitam vana-malikayah

 

shri-ballavi-hridaya-dohada-bhajanam shri-

     radha-mano-nripa-harinmani-simha-pitham

trailokya-yauvata-manohara-madhurikam

     vakshah-sthalam su-vipulam vilasaty aghareh

 

     rekha—of a line; svarupa—in the form; ramaya—by the goddess of fortune; ashrita—sheltered; vama—left; bhagam—side; shrivatsa—of Shrivatsa; sat—transcendental; chavi—splendor; virajita—shining; dakshina—right; amsam—side; kantha—on the neck; stha—situated; kaustubha—of the Kaustubha jewel; gabhasti—effulgence; virajamanam—manifested; shashvat—eternal; vilasa—with pastimes; lalitam—charming; vana-malikayah—of the garland of forest flowers; shri-ballavi—of the gopis; hridaya—of the heart; dohada-bhajanam—the kilking pail (or the object of desires); shri-radha—of Shrimati Radharani; manah—of the mind; nrpa—for the king; harinmani—sapphire; simha-pitham—throne; trailokya—in all the three planetary systems; yauvata—for the young girls; manohara—enchanting; madhurikam—with sweetness; vakshah-sthalam—the chest; su—very; vipulam—broad; vilasati—is splendidly manifest; agha-areh—of Lord Krishna, the enemy of Agha.

 

 

     On its left the goddess of fortune's mark, on its right the splendid Shrivatsa, on its neck the glory of Kaustubha, decorated with a forest-flower garland, the milkpail of the gopis' hearts, a sapphire throne for Radha's regal heart, and its sweetness charming the hearts of young girls in the three worlds, Krishna's broad chest is splendidly manifest.

 

 

Text 57

 

 

muktavali-suradhuni-tanu-roma-raji-

     bhasvat-suta-tarala-kanti-sarasvatinam

sangena mangala-karam tri-jagaj-jananam

     krishnasya naumi tam urah-sthala-tirtha-rajam

 

     mukta—of pearls; avali—the necklace; suradhuni—the celestial Ganges river; tanu—of His body; roma—of hairs; raji— the series; bhasvat-suta—the Yamuna river, the daughter of the sun-god; tarala—the central gem in the necklace; kanti—the splendor; sarasvatinam—the Sarasvati river; sangena—by the touch; mangala—auspiciousness; karam—granting; tri-jagat—in the three planetary systems; jananam—of the people; krishnasya—of Lord Krishna; naumi—I offer my respects and praise; tam—to that;l urah-sthala—of the chest; tirtha—of holy places; rajam—to the monarch.

 

 

     I praise the regal holy place of Krishna's chest, which with its meeting of the white Ganga of His pearl necklaces, the black Yamuna of His line of hairs, and the red Sarasvati of His ruby ornament, brings auspiuciousness to the people of the three worlds.

 

 

Text 58

 

 

doh-stambha-yugmam anu kanti-vati-nibaddha

     vakshah-sthali-lavanimocchalita murareh

ashranta-dolana-vihari-ratisha-yunor

     doleva jishnumani-sanghatita vibhati

 

     doh—of the Lord's arms; stambha—of pillars; yugmam—pair; anu—following; kanti—splendor; vati—the ropes; nibaddha— bound; vakshah-sthali—of the chest; lavanima—beauty; ucchalita— risen; mura-areh—of Lord Krishna, the enemy of the Mura demon; asranta—constant; dolana—swinging; vihari—with the pastimes; rati-isa—Rati and Cupid; yunoh—of the youthful couple; dola—a swing; iva—like; jishnumani—of sapphires; sanghatita—studded; vibhati—is manifest.

 

 

     His arms its two pillars and His bodily luster its ropes, the sapphire swing of the handsomeness of Krishna's chest, where Kama and Rati enjoy pastimes again and again, is splendidly manifest.

 

Text 59

 

 

vaksho harer madana-sakunikasya manye

     gopangana-nayana-khanjana-bandhanaya

shrivatsa-kundalikayanvitam anka-kila-

     lavanya-jala-vitati-sthalatam prapede

 

     vakshah—the chest; hareh—of Lord Hari; madana—of cupid; sakunikasya—of the hunter; manye—I consider; gopa-angana—of the gopis; nayana—of the eyes; khanjana—the Khanjana birds; bandhanaya—for binding; shrivatsa—of the Shrivatsa mark; kundalikaya—with the rope; anvitam—endowed; anka—of the mark of Lakshmi-devi; kila—post; lavanya—of beauty; jala—net; vitati—expansion; sthalatam—state of being the place; prapede— attained.

 

 

     I think Lord Hari's chest is a trap, its net of flowers His handsomeness, its post His mark of Lakshmi, and its noose His mark of Shrivatsa, set by Kamadeva to capture the khanjana birds of the gopis' eyes.

 

 

Text 60

 

 

vakshas-chalat su-laghu-kilaka-yuk-stanakhya-

     shri-cakrika-khacita-parshva-yugam bakareh

shri-radhika-yuvati-ratna-viraji-cetah-

     koshalayasya hariratna-kapatam asti

 

     vakshah—of being a chest; chalat—on the pretext; su—very; laghu—small; kilaka—posts; yuk—endowed; stana—nipple; akhya—named; shri—of beauty; cakrika—circles; khacita—endowed; parshva—sides; yugam—two; baka-areh—of Lord Krishna, the enemy of Bakasura; shri-radhika—of Shrimati Radharani; yuvati—of young girls; ratna—the gem; viraji—splendid; cetah—of the mind; kosa-alayasya—of the treasury; hariratna—sapphire; kapatam—set of doors; asti—is.

 

 

     Disguised as Lord Hari's chest, two sapphire doors with two small, handsome doorknobs disguised as nipples guard the treasury holding youthful Shri Radhika's jewel heart.

 

 

Text 61

 

 

gopalika-hridaya-vanchita-purtaye shri-

     tapincha-kalpa-taru-sundara-kandalau yau

sadhvitva-garva-shasha-ghata-krite satinam

     tapincha-sara-parighau smara-lubdhakasya

 

    gopalika—of the gopis; hridaya—of the hearts; vanchita—the desires; purtaye—for fulfilling; shri-tapincha—tamala; kalpa-taru—desire tree; sundara—beautiful; kandalau—new shoots; yau—which; sadhvitva—chastity; garva—pride; sasa—rabbit; ghata-krite—killing; satinam—of the pious gopis; tapincha—tamala; sara—best; parighau—clubs; smara—of cupid; lubdhakasya—of the cruel hunter.

 

 

     Taking two handsome branches the tamala desire-tree of Shri Krishna'S arms sprouted to fulfill the gopis' heartfelt desires, the cruel hunter Kamadeva made two clubs mercilessly to slaughter the helpless rabbit of the gopis' chastity.

 

 

Text 62

 

 

gopangana-hridaya-tandula-khandanaya

     mahendra-nila-mushalau kushalargale yau

radhadi-hrin-nilaya-vasta-kapatikayah

     radhadi-citta-shuka-panjara-dandike ca

 

     gopa-angana—of the gopis; hridaya—of the hearts; tandula-khandanaya—for threshing the rice; mahendra-nila—sapphire; musalau—clubs; kushala—beautiful; argale—two bolts; yau—which; radha-adi—of the gopis, headed by Shrimati Radharani; hrit—of the hearts; nilaya-vasta—to the residence; kapatikayah—of the door; radha-adi—of the gopis, headed by Shrimati Radharnai; citta—of the mind; shuka—the parrot; panjara—of the cage; dandike—the bars; ca—also.

 

 

     Lord Krishna's arms are two sapphire pestles for threshing the chastity-husk from the rice of the desires in the gopis' hearts. They are two hnadsome bolts on the door to the hearts of Radha and the gopis. They are two bars on the cage holding the parrot of Radha's mind..

 

 

Text 63

 

 

pinayatau lavanimocchalitau su-vrittau

     padmadi-vishva-ramani-kamaniya-shobhau

pina-stani-hridaya-dohada-bhajanam tau

     shrimad-bhujau manasi me sphuratam aghareh

 

     pina—broad; ayatau—and long; lavanima-ucchalitau—full of beauty; su-vrittau—charmingly round; padma—of Lakshmi-devi; adi— beginning with; vishva—of the universe; ramani—by the beautiful women; kamaniya—the object of desire; shobhau—whose beauty; pina-stani—of the gopis, who have beautiful swollen breasts; hridaya—of the heart; dohada-bhajanam—the fulfilment of desire; tau—they; shrimat-bhujau—the two arms; manasi—in the mind; me— of me; sphuratam—may be manifested; agha-areh—of Lord Krishna, the enemy of Aghasura.

 

 

     May Lord Hari's long, broad, handsome, graceful arms, which Lakshmi-devi and the other beautiful women in the universe yearn to attain, and which fulfill the desires of the Vraja-gopis, who have beautiful large breasts, appear in my heart.

 

 

Text 64

 

 

tarunima-madhu-phulla-shri-hares tanv-aranye

     madhurima-madanakhyau kim pravishtau madebhau

su-bhuja-yugala-shunda-pani-sat-pushkarabhyam

     niravadhi caratas tau janu-ruk-pallavani

 

     tarunima—of youthfulness; madhu—in the spring; phulla—blossoming; shri-hareh—of Lord Hari; tanu—of the body; aranye—in the jungle; madhurima—sweetness; madana—conjugal love; akhyau—named; kim—how is it?; pravishtau—entered; mada-mad; ibhau—two elephants; su-bhuja—beautifully curved; yugala—two; sunda—with trunks; pani—hands; sat—excellent; puskarabhyam— with lotus flowers; niravadhi—without obstruction; caratah—they graze; tau—both; janu—at the knees; ruk—of the splendid beauty; pallavani—on the blossoms.

 

 

     Are these the two elephants named Sweetness and Passion now holding excellent lotus flowers in their graceful trunks and feeding on the flowers of handsomeness at the Lord's knees as they roam in the jungle of the body of Lord Hari now blooming in the springtime of youth?

 

 

Text 65

 

 

shri-krishna-dor-yugma-mishena vedhasa

     tan-madhuri-dolikaya samanvitau

ramadi-yoshin-mati-dolanaya kim

     khambhau vicitrau hariratna-jau kritau

 

     shri-krishna—of Lord Krishna; doh—of arms; yugma—pair; mishena— on the pretext; vedhasa—by the creator Brahma; tat—of the Lord; madhuri—of the sweetness; dolikaya—with the swing; samanvitau— endowed; rama—by Lakshmi-devi; adi—headed; yosit—of women; mati—the minds; dolanaya—for swinging; kim—is it?; khambhau—two pillars; vicitrau—wonderful; hariratna-jau—made of sapphire.

 

 

     Did the creator Brahma create two wonderful sapphire posts disguised as Shri Krishna's arms and fitted with a swing of charming sweetness to swing the minds of Lakshmi and all other women?

 

 

Text 66

 

 

smara-nripa-krita-gopi-dhairya-nashabhicara-

     kratu-harimani-yupau dor-mishat krishna-dehe

lasata iha kavinam kavyam etan matam me

     pranaya-shuci-rasabdher nirgatau sat-pravahau

 

     smara-cupid; nrpa—by the king; krita—performed; gopi—of the gopis; dhairya—chaste composure; nasa—of destruction; abhicara—activity; kratu—in the sacrifice; harimani—sapphire; yupau—two posts; doh—of being arms; mishat—on the pretext; krishna—of Lord Krishna; dehe—on the body; lasatah—splendidly manifest; iha—in this matter; kavinam—of the poets; kavyam—the poetry; etat— this; matam—the opinion; me—of me; pranaya—of love; suci— pure; rasa—of the nectar; abdheh—from the ocean; nirgatau— manifest; sat—transcendental; pravahau—two currents.

 

 

     Poets say King Kama placed in Krishna's body two sapphire posts, disguised as arms, for a sacrifice to destroy the gopis' peacefulness. My idea is they are actually two currents in the nectar ocean of transcendental love.

 

 

Text 67

 

 

sankhardhendu-yavankushair ari-gada-cchatra-dhvaja-svastikair

     yupabjasi-halair dhanuh-parighakaih shri-vriksha-mineshubhih

nady-avarta-cayais tathanguli-gatair etair nijair lakshanair

     bhatah shri-purushottamatva-gamakaih pani harer ankitau

 

     sankha—conchshell; ardha-indu—half-moon; yava-barleycorn; ankushaih—rod for controlling elephants; ari-gada—club; chatra—parasol; dhvaja—flag; svastikaih—svastika; yupa—sacrifical post; abja—lotus flower; asi—sword; halaih—plow; dhanuh—bow; parighakaih—parigha club; shri-vrksha—desire tree; mina—fish; isubhih—arrows; nadi-avarta—of whirlpools; cayaih—with a series; tatha—in that way; anguli—on the fingers; gataih— placed; etaih—with these; nijaih—His own; lakshanaih—marks; bhatah—splendidly manifest; shri-purusha-uttama-gataih—in relation to the Supreme Personality of Godhead; pani—the two hands; hareh—of Lord Hari; ankitau—are marked.

 

 

     Lord Krishna's hands are splendidly marked with the signs of the conchshell, half-moon, barleycorn, rod for controlling elephants, club, parasol, flag, svasti mark, sacrificial post, lotus flower, sword, club, bow, parigha weapon, kalpa-vriksha tree, fish, and arrow, and His fingertips are all marked with the sign of the whirlpool, all marks that prove He is the Supreme Personality of Godhead.

 

 

Text 68

 

 

hastau sva-bhava-mridulav api karkashau tau

     shaurer maha-purusha-lakshmatayocur eke

tan nanritam yadi tada kamathi-kathora-

     gopi-stananisha-vimardanam atra hetuh

 

     hastau—the two hands; sva-bhava—by nature; mridulau—soft; api—although; karkasau—hard; tau—they; saureh—of Lord Krishna; maha-purusha—of the Supreme Personality of Godhead; lakshmataya—with the indication; ucuh—say; eke—some; tat—this; na—is not; anritam—untrue; yadi—if; tada—then; kamathi—of turtles; kathora—as stiff; gopi—of the gopis; stana—the breasts; anisa— constantly; vimardanam—afflicting; atra—here; hetuh—the reason.

 

 

     Some say that because Lord Krishna is the Supreme Personality of Godhead, His hands must be very soft and gentle, and others say that for the same reason His hands must be very hard and strong. Both statements are true. We may understand that the Lord's hands are supremely hard because they have such a devastating effect when touch the gopis' breasts, which are as stiff and hard as turtles' shells.

 

 

Text 69

 

 

ananga-sara-jarjara-vraja-navina-ramali-hrid-

     vishalya-karanaushadhi-prathama-pallavau santatau

rasocchalita-radhikorasija-hema-kumbha-dvayi-

     vibhushana-navambuje vraja-vidhoh karau divyatah

 

     ananga—of cupid; sara—by the arrows; jarjara—wounded; vraja—of Vraja; navina—the young; rama—of goddesses of fortune; ali—the multitude; hrit; the hearts; visalya-karana—for curing; ausadhi—from the medicinal herb; prathama—the first; pallavau—shoots; santatau—manifested; rasa—in the nectarean waves of pure love of Krishna; ucchalita—heaving; radhika—of Shrimati Radharani; urasija—of the breasts; hema— golden; kumbha—water pots; dvayi—two; vibhusana—the ornaments; nava—fresh; ambuje—lotus flowers; vraja-vidhoh—of Lord Krishna, the moon of Vraja; karau—the two hands; divyatah—are splendidly manifest.

 

 

     As two freshly sprouted medicinal plants to cure the hearts of Vraja's young goddesses wounded by Kama's arrows, and as two new lotuses in the golden vase breasts of Radhika now helplessly tossed in waves of nectar, Krishna's hands are splendidly manifest.

 

 

Text 70

 

 

shri-kamankusha-tikshna-shuddha-mukutaih purnendu-san-mandalaih

     shlishtanyonya-milad-dalavali-shirah pashcad vibhage kvacit

abje ced abhavishyatam vikasita-shyamambujantar-gate

     shri-panyor upamam tadatra kavayo 'dasyan amubhyam hareh

 

     shri-kama—of cupid; ankusha—with the goads; tikshna—sharp; suddha—pure; muktutaih—with points; purna—full; indu—of moons; sat—being so; mandalaih—with circles; slista—touching anyonya—mutually; milat—meeting; dala—of petals; avali— series; sirah—heads; pascat—behind; vibhage—two parts; kvacit; in a certain way; abje—two red lotus flowers; cet—if; abhavishyatam—could be; vikasita—blossoming; syama—blue; ambuja—lotus flowers; antah-gate—within; shri-panyoh—of the two hands; upamam—metaphor; tada—they; atra—in this connection; kavayah—poets; adasyat—would give; amubhyam—for them; hareh— of Lord Hari.

 

 

     If it were possible for them to say it, poets would say that Lord Hari's hands are red lotus flowers growing in blossoming blue lotus flowers with petals embraced by both full moons and Kamadeva's glistening, sharp goads.

 

 

Text 71

 

 

vrishabha-kakuda-nindi-skandhayos tungatam sat-

     purusha-varatayaivety ahur eke bakareh

mama tu matam idam shri-radhika-dor-mrinali-

     satata-milana-modat phullataivatra hetuh

 

     vrishabha—of bulls; kakuda—the hump; nindi—chastizing; skandhayoh—of the shoulders; tungatam—status of being broad and raised; sat-purusha-varataya—because of being the Supreme Personality of Godhead; eva—certainly; iti—thus; ahuh—they say; eke—some; baka-areh—of Lord Krishna, the enemy of Bakasura; mama—my; tu—but; matam—opinion; idam—this; shri-radhika—of Shrimati Radharani; doh—of the arms; mrnali—of the lotus stems; satata—constant; milana—touch; modat—because of happiness; phullata—blossoming; eva—certainly; atra—in this matter; hetuh—the reason.

 

 

     Some poets say that because He is the Supreme Personality of Godhead, Krishna's broad shoulders rebuke the bull's great hump. My idea is that because Shri Radhika's lotus-stem arms always touch them, His shoulders have blossomed with happiness.

 

 

Text 72

 

 

amsau harer ullasatah samunnatau

     manye lasat-kaustubha-kantha-madhurim

drashtum sadodgrivikayotsukena tam

     parshva-dvayenonnamitau sva-mastakau

 

     amsau—the two shoulders; hareh; of Lord Hari; ullasatah—are splendidly manifest; samunnatau—raised; manye—I think; lasat—glistening; kaustubha—with the Kaustubha gem; kantha—of His neck; madhurim—the sweetness; drastum; to see; sada—always; udgrivikaya—with neck raised; utsukena—with eagerness; tam— that; parshva—sides; dvayena—with both; unnamitau—raised; sva-mastakau—its own heads.

 

 

     I think that Lord Hari's splendid shoulders are broad because His shoulders's heads always crane their necks, eager to see the sweetness of His neck decorated with the glittering Kaustubha gem.

 

 

Text 73

 

 

urdhve su-vistritam adhah krama-karshya-yuktam

     madhurya-bhumi-bhuja asanam aindranilam

lavanya-pura-vahanad dara-nimna-madhyam

     ishtam drisham mriga-drisham hari-prishtham ide

 

     urdhve—above; su-vistrtam—very broad; adhah—below; krama—gradually; karsya—with slenderness; yuktam—endowed; madhurya—Ťof sweetness; bhumi-bhujah—of the king; asanam—the throne; aindranilam—sapphire; lavanya—of beauty; pura-vahanat—from the flood; dara—slender; nimna—depressed; madhyam—middle; istam—worshipped (or desired—the words may also be divided madhya-mistam, which means "whose waist is full of sweetness"); drisham— by the eyes; mriga-drisham—of the gopis, whose eyes are as beautiful as those of the does; hari—of Lord Hari; prshtham—the back; ide—I glorify.

 

 

     I praise Lord Hari's back, which is very broad at the top, which gradually tapers, which is a great sapphire throne for the monarch of sweetness, which is a charming current in a flood of handsomeness, and which is worshiped by the eyes of the deer-eyed gopis.

 

 

Text 74

 

 

su-sthula-mulad dala-karshya-manjula

     sva-madhuri-simha-shirodhi-darpa-hrit

shri-kesha-jutasya vilasa-khatöika

     su-vartula bhati mukunda-kandhara

 

     su-sthula—very broad; mulat—from the base; dala—a little; karsya—with thinness; manjula—charming; sva—own; madhuri— sweetness; simha—of lions; sirodhi—of the necks; darpa—the pride; hrit—removing; shri-kesha-jutasya—of the hair; vilasa—of pastimes; khattika—couch; su-vartula—nicely round; bhati—is splendidly manifest; mukunda—of Lord Mukunda; kandhara—the neck.

 

 

     Graceful, slightly tapering, robbing the lions of pride in their own necks' sweetness, and an exquisite couch where the hairs of His head rest, Lord Mukunda's neck is splendidly manifest.

 

 

Text 75

 

 

pika-tata-sushirali-nada-nindi-svarormis

     tri-bhuvana-jana-netranandi-rekha-traya-shrih

nava-nava-nija-kantya bhushita-shri-manindro

     vilasati baka-shatroh kanöha-nilasma-kambuh

 

     pika—of the cuckoo; tat—the vina; susira—the flute; ali—and of the bumble-bees; nada—the sounds; nindi—chastizing; svara—of sound; urmih—with waves; tri-bhuvana—in the three planetary systems; jana—of the poeple; netra—of the eyes; anandi—the delight; rekha—of line; traya—three; shrih—with beauty; nava-nava—ever new and fresh; nija—with His own; kantya—beauty; bhusita—decorated; shri-mani-indrah—Kaustubha, the king of jewels; vilasati—is splendidly manifested; baka-satroh—of Lord Krishna, the enemy of Bakasura; kanöha—of the neck; nilasma—the sapphire; kambuh—conchshell.

 

 

     Its supremely new splendor decorating the king of jewels, the handsomeness of its three lines delighting the eyes of the people in the three worlds, and its waves of sound rebuking the sounds of the cuckoos, bees, flute, and vina, Lord Hari's sapphire-conchshell neck shines with great splendor.

 

 

Text 76

 

 

kanöho harer lasati kaustubha-raja-hamsa-

     lilamritakshaya-sarah satatam yato 'smat

lavanya-narma-kavita-vara-gana-sampad-

     divyapagah pratidisham kila nihsaranti

 

     kanöha—the neck; hareh—of Lord Hari; lasati—is splendidly manifest; kaustubha—of the Kaustubha gem; raja—regal; hamsa—of the swan; lila—of pastimes; amrita—nectar; akshaya—imperishable; sarah—lake; satatam—always; yatah—from that; asmat—from that; lavanya—of beauty; narma—of pastimes; kavita—poetry; vara—excellent; gana—songs; sampat—opulence; divya— transcendental; apagah—rivers; pratidisam—in all directions; kila—indeed; nihsaranti—flow.

 

 

     An eternal nectar lake where the regal Kaustubha swan enjoys pastimes and many splendid rivers of charming jokes, beautiful poems, and sweet songs always flow in all directions, Lord Hari's neck shines with great splendor.

 

 

Text 77

 

 

nasa-hanv-adharoshöha-ganda-cibuka-shrotradi-divyad-dalam

     shri-dantavali-kesharam smita-madhu bhrajy-ullasat-saurabham

shri-netra-dvaya-khanjanam bhramarikair bhru-bhringi-kalyavritam

     shri-jihvadbhuta-karnikam vijayate shri-krishna-vaktrambujam

 

     nasa—nose; hanu—jaw; adhara-oshöha—lips; ganda—cheeks; cibuka—chin; srotra—ears; adi—beginning with; divyat—resplendant; dalam—with petals; shri-danta—of teeth; avali—series; kesharam—with the filament; smita—of the smile; madhu—with honey; bhraji-ullasat—splendid; saurabham—fragrance; shri-netra—of eyes; svaya—of the pair; khanjanam—with khanjana birds; bhramarikaih—with the bumble-bees of curling locks of hair; bhru—of the eyebrows; bhringi—of the bumble-bees; kalya— with blackness; aavritam—endowed; shri-jihva—of the tongue; adbhuta—wonderful; karnikam—whorl; vijayate—all glories; shri-krishna—of Shri Krishna; vaktra—of the face; ambujam—to the lotus flower.

 

 

     Glories to Shri Krishna's splendid and fragrant lotus face, where the nose, jaw, lips, cheeks, chin, and ears are the glistening petals, the tongue is the wonderful whorl, the handsome teeth are the filaments, the smile is the honey, the eyebrows and curling locks of hair are the black bumblebees, and the eyes are two khanjana birds resting there!

 

 

Text 78

 

 

agha-ripu-mukha-raka-nayako nishkalankah

     samajani nija-lakshma nyasya gopi-kule kim

iti tu ku-kavi-vakyam man-matam srinv akarshit

     sahaja-vimala esha svashritam tat sva-tulyam

 

     agha-ripu—of Lord Krishna, the enemy of Aghasura; mukha—of the face; raka-nayakah—the full moon; niskalankah—free from spots; samajani—was born; nija—His own; lakshma—marks; nyasya—abandoning; gopi—of the gopis; kule—in the family; kim—is it so?; iti—thus; tu—but; ku-kavi—of bad poets; vakyam—the statement; mat—my; matam—opinion; srinu—just hear; akarsit— was; sahaja—by nature; vimalah—spotless; esah—it; sva-ashritam— by taking shelter of it; tat—that; sva-tulyam—equal to it.

 

 

     Bad poets say the full-moon of Krishna's face became spotless by taking birth in a family of gopis. Listen to my opinion: It is pure by nature and those who take shelter of it become as pure as it.

 

 

Text 79

 

 

bandhuke mukurau su kunda-kalika-palyo natat-khanjana-

     vardhendum öila-pushpakam smara-dhanur lolali-malam api

purnendor yadi tat-kalankam udapasyaitany adhasyad vidhih

     shri-krishnasya kavishvara mukham upamasyams tadaivamuna

 

     bandhuke—two bandhuka flowers; mukurau—two mirrors; su—nice; kunda—kunda; kalika—of buds; palyah—a series; natat—dancing; khanjana—of khanjana birds; vardha—enthusing; indum—moon; tila—sesame; pushpakam—flower; smara—of cupid; dhanuh—the bow; lola—moving; ali—of bumble-bees; malam—series; api—even; purna—full; indoh—of the moon; tat—that; kalankam— spots; udapasya—rejacting; etani—these; adhasyat—would have given; vidhih—the creator Brahma; shri-krishnasya—of Lord Krishna; kavi-ishvarah—the best poets; mukham—the face; upamasyan—would have described in metaphors; tada—then; eva—certainly; amuna— by that.

 

 

     If the creator Brahma had furnished the moon not with spots, but with two bandhuka flowers, two mirrors, a series of nice kunda buds, two dancing khanjana birds, a half-moon, a sesame flower, Kama's bow, and a garland of moving bumble-bees, then the best of poets would have described Lord Krishna's face by saying that the moon of Lord Krishna's face has two bandhuka flowers that are His lips, two mirrors that are His cheeks, a series of beautiful kunda buds that are His teeth, two dancing khanjana birds that are His eyes, a half-moon that is His forehead, a sesame flower that is His nose, a Kama's bow that is His eyebrows, and a garland of moving bumblebees that is His curling locks of hair.

 

 

Texts 80 and 81

 

 

balye janany-anguli-lalane yad-

     angushöha-sangad dara-nimna-madhyam

adho-'nguli-dvandva-kritonnatesh ca

     sv-alponnatagramsam ameya-shobham

 

nilotpalasyodayad-indu-kanti-

     phullaika-paurasya-dalopamardi

lavanya-vanyocchalitam-manojnam

     tac chri-hareh shri-cibukam cakasti

 

     balye—in childhood; janani—of His mother; anguli—by the fingers; lalane—in the caress; yat—of whom; angushöha—of the thumb; sangat—from the contact; dara-nimna—small; madhyam— middle; adhah—below; anguli—of finger; dvandva—by a pair; krita—done; unnateh—raised; ca—also—su—very; apla—small; unnata—raised; agra—front; amsam—part; ameya—unlimited; shobham—with beauty; nila—blue; utpalasya—of the lotus flower; udayat—rising; indu—of the moon; kanti—the splendor; phulla— flower; eka—a single; paurasya—previously described; dala— petal; upamardi—chastizing; lavanya—of beauty; vanya—of the waters; ucchalitam—risen; manojnam—charming; tat—that; shri-hareh—of Lord Hari; shri-cibukam—chin; cakasti—is manifested.

 

 

     Flooded with handsomeness, rebuking the rising moon and the blue lotus petal, and in in childhood caressed by His mother, who placed her thumb in its middle and two fingers beneath it, Lord Hari's slightly raised and limitlessly glorious chin shines with great splendor.

 

 

Text 82

 

 

shravana-cibuka-mula-sparshi sat-sannivesham

     jana-nayana-vihangakarshi-madhurya-jalam

vilasati hanu-yugmam shri-hareh stoka-dirgham

     pravitata-mukha-bimbasyanukulya-pravinam

 

     sravana—ears; cibuka—of the chin; mula—and the root; sparshi—touching; sat—of the devotees; sannivesham—the object of worship; jana—of the living entities; nayana—of the eyes; vihanga—the birds; akarsi—attracting; madhura—of sweetness; jalam—the net; vilasati—is splendidly manifest; hanu—of jaws; yugmam—pair; shri-hareh—of Shri Hari; stoka—a little; dirgham— long; pravitata—manifested; mukha—of His face; bimbasya—of the circle; anukulya—in making favorable; pravinam—expert.

 

 

     Slightly long, touching His ears and chin, making His face more handsome, worshiped by the devotees, and a net of sweetness that traps the birds of the people's eyes, Lord Hari's jaws are splendidly manifest.

 

 

Text 83

 

 

svakara-mardava-vinirjita-shashkulikam

     svangati-citra-ghaöana-jita-vistarabham

sviyamshu-jala-gilitakhila-loka-netra-

     cittollasan-makara-kundala-mandala-shri

 

     sva-akara—of its own form; mardava—with the delicateness; vinirjita—defeated; saskulikam—pastry; sva-anga—of its own form; ati—very; citra—wonderful; ghaöana—activities; jita—defeated; vistara—of a handful of kusha grass; abham—the appearance; sviya—with its own; amsu—of splendid beauty; jala— by the net; gilita—swallowed; akhila—of all; loka—living entities; netra—the eyes; citta—and minds; ullasat—glistening; makara—shark-shaped; kundala—of earrings; mandala—of the area; shri—the beauty.

 

 

     With their fineness they defeat the shashkuli pastry and with their gracefulness they defeat kusha grass. With their net of splendor Krishna's glistening, shark-shaped earrings swallow the people's eyes and hearts.

 

 

Text 84

 

 

shri-karna-bhushana-bharad dara-dirgha-randhram

     vishvangana-nayana-mina-manoja-jalam

gopi-mano-harina-bandhana-vagura yat

     shri-radhika-nayana-khanjana-bandha-pashah

 

     shri-karna—of the ears; bhushana-bharat—from the decoration; dara—slightly; dirgha—long; randhram—opening; vishva—of the entire universe; angana—of the women; nayana—of the eyes; mina—for the fishes; manoja—of cupid; jalam—net; gopi—of the gopis; manah—of the minds; harina—of the deer; bandhana—for binding; vagura—trap; yat—that; shri-radhika—of Shrimati Radharani;nayana—of the eyes; khanjana—for the khanjana birds; bandha—for binding; pasah—ropes.

 

 

     A little distant from His earrings are His slightly long ears, which are Kamadeva's net to catch the fish of all women's eyes, traps to capture the deer of the gopis' hearts, and ropes to bind the khanjana birds of Shri Radhika's eyes.

 

 

Text 85

 

 

gandharvika-sa-parihasa-sa-garva-ninda-

     khanjad-vaco-'mrita-rasayana-pana-lolam

shonantaram su-ruciram sama-sannivesham

     tan me hridi sphuratu madhava-karna-yugmam

 

     gandharvika—of Shrimati Radharani; sa—with; parihasa—joking; sa—with; garva—pride; ninda—criticism; khanjat—warbling; vacah—of words; amrita—nectar; rasayana—tonic; pana—beverage; lolam—eager to drink; sona—reddish—antaram—within; su—very; ruciram—handsome; sama-sannivesham—nicely proportioned; tat—that; me—my; hridi—in the heart; sphuratu—may be manifest; madhava—of Lord Madhava; karna—of ears; yugmam—pair.

 

 

     May Lord Madhava's handsome and graceful ears, which are red within, and which thirst to drink the nectar of Shri Radhika's arrogant joking rebukes, appear in my heart.

 

 

Text 86

 

 

krishnasya purna-vidhu-mandala-sannivesham

     radhadharamrita-rasayana-seka-pushöam

ganda-dvayam makara-kundala-nritya-rangam

     bhatindranila-mani-darpana-darpa-hari

 

     krishnasya—of Lord Krishna; purna—full; vidhu—of moons; mandala-sannivesham—circle; radha—of Shrimati Radharani; adhara—of the lips; amrita-rasayana—of the nectar; seka—by the sprinkling; pushöam—nourished; ganda—of cheeks; dvayam—pair; makara—shark-shaped; kundala—of earrings; nritya—of dancing; rangam—arena; bhati—is splendidly manifest; indranila-mani— sapphire; darpana—of the mirror; darpa—pride; hari—removing.

 

 

     Splendid as two full moons, a dancing arena for shark-shaped earrings, robbing sapphire mirrors of their pride, and nourished with nectar sprinkled by Radha's lips, Krishna's cheeks are splendidly manifest.

 

 

Text 87

 

 

paryucchalan-madhurimamrita-nimna-gaya

     avarta-garta-nibha-srikva-yugati-ramyam

shrikanta-danta-visarat-kiranabhishiktam

     dugdhabhidhauta-nava-pallava-nindi-rocih

 

     paryucchalat—manifesting; madhurima—of sweetness; amrita—of nectar; nimnagayah—of the swiftly moving mountain stream; avarta-garta—whirlpools; nibha—like; srkva—the corners of the mouth; yuga—pair; ati—very; ramyam—charming; shri-kanta—of Lord Krishna, the master of the goddess of fortune; danta—from the teeth; visarat—emanating; kirana—by the effulgence; abhisiktam— bathed; dugdha—of milk; abhidhauta—whitened; nava—fresh; pallava—of blossoms; nindi—chastizing; rocih—whose splendor.

 

 

     Bathed in the effulgence of His handsome teeth, rebuking the splendor of new flowers washed in milk, and its corners whirlpools in a gushing stream of the nectar of sweetness, Krishna's mouth is splendidly manifest.

 

 

Text 88

 

 

oshöhopari-shvasana-nirgamanalpa-nimnam

     bandhuka-jic-chavi-darocchvasitaushöha-madhyam

shri-shyamimarunimayor milana-pradeshe

     stokonnatayata-manohara-sima-shobham

 

     oshöha—the lips; upari—above; svasana—of breathing; nirgamana—expulsion; nimnam—depression; bandhuka—the bandhuka flower; jit—defeating; chavi—splendor; dara—small; uccvasita—breath; oshöha—the lips; madhyam—middle; shri-syamima—of the color blue; arunimayoh—and of fthe color red; milana—meeting; pradese—place; stoka—a little; unnata—raised; ayata—extended; manohara—beautiful; sima—boundry; shobham—splendor.

 

 

     He breathes through His slight opening of His lips. Meeting there, the colors red and blue defeat the bandhuka flower's glory. Slightly raised and expanded, they stand at the pinnacle of handsomeness.

 

 

Text 89

 

 

bimbati-manjv-adhara-madhya-gatalpa-rekham

     svam pashyatam itara-raga-hara-svabhavam

shashvan-nijamrita-suvasita-manju-vamshi-

     sukshmayata-dhvanibhir ahrita-vishva-cittam

 

     bimba—than the bimba fruit; ati—more; manju—beautiful; adhara—lips; madhya—in the midst; gata—gone; alpa-small; rekham—line; svam—own; pasyatam—of the beholders; itara—for anything else; raga—attraction; hara—removing; sva-bhavam—by its own nature; shashvat—eternally; nija—own; amrita—nectar; su-vasita—amoratic; manju—charming; vamshi—of the flute; sukshma— elegant; ayata—expanded; dhvanibhih—with sounds; ahrita— enchanted; vishva—of the universe; cittam—the mind.

 

 

     Those who see Lord Krishna's lips, which are more handsome than the bimba fruit, lose all attraction for anything else. Playing beautiful melodies on a flute aromatic with the nectar of His lips, Krishna enchants everyone's heart.

 

 

Text 90

 

 

sarvasva-ratna-pitako vraja-sundarinam

     jivatu-sidhu-casakam vrishabhanujayah

tac-chri-lasad-dashana-lakshana-lakshitam shri-

     krishnadharoshöham anisham hridi me cakastu

 

     sarvasva—entire wealth; ratna—jewels; pitakah—chest; vraja—of Vrajabhumi; sundarinam—of the beautiful girls; jivatu—of the life; sidhu—of nectar; casakam—cup; vrishabhanu-jayaj—of Shrimati Radharani, the daughter of Maharaja Vrishabhanu; tat—that; shri—with beauty; lasat—shining; dasana—with teeth; lakshana—characteristics; lakshitam—characterized; shri-krishna; of Lord Krishna; adhara-oshöham—lips; anisham—day and night; hridi—in the heart; me—of me; cakastu—may be manifested.

 

 

     May Shri Krishna's lips, which are decorated with splendid teeth, and which are a chest of jewels that are the treasure of Vraja's beautiful girls and the cup of nectar drunk by King Vrishabhanu's daughter, always appear in my heart.

 

 

Texts 91 and 92

 

 

svakara-saushöhava-vinindita-kunda-vrinda-

     sat-korakan shikhara-hiraka-mauktikanam

shobhabhimana-bhara-mandala-kanti-leshan

     vama-bhruvam adhara-bimba-shukayamanam

 

jatyaiva paktrima-sudadita-bija-manjun

     shashvat-priyadhara-rasasvadanena shonan

kantaushöha-shonamani-bhedana-kama-öankan

     shriman-mukunda-dashanan subhagah smaranti

 

   sva—their own; akara—of the form; saushöhava—by the excellence; vinindita—chastized; kunda—of kunda flowers; vrinda— of the multitude; sat—of excellent; korakan—buds; sikhara— sikhara gems; hiraka—diamonds; mauktikanam—of pearls; sobha— luster; abhimana—pride, bhara—abundance; mandala—of the area; kanti— splendor; lesan—fragment; vama-bhruvam—of the beautiful-eyebrowed gopis; adhara—of the lips; bimba—for the bimba fruits; sukayamanam—turning into parrots; jatya—by birth; eva— certainly; paktrima—ripe; su—nice; dadima—pomegranate; bija— seeds; manjun—charming; shashvat—eternal; priya—of the dearmost Shrimati Radharani; adhara—by the lips; rasa—nectar; asvadanena— by tasting; sonan—reddened; kanta—of His beloved Shrimati Radharani; oshöha—lips; sonamani—rubies; bhedana—breaking; kama—of cupid; tankan—chisels; shrimat-mukunda—of Lord Mukunda; dasanan—teeth; subhagah—those who are fortunate; smaranti— meditate.

 

 

     Those who are fortunate meditate on Lord Mukunda's teeth as with their handsomeness rebuking jasmine buds and reducing the diamonds', pearls', and shikhara gems' pride in their own glory, as charming as pomegranate seeds, as trasnforming the beautiful-eyebrowed gopis into parrots that yearn to taste the bimba fruits of His lips, as becoming red by always tasting the nectar of His beloved's lips, and as Kamadeva's chisels for cutting the ruby of Her lips.

 

 

Text 93

 

 

jiyan nija-pranayi-vrinda-manas-tamo-ghni

     shri-radhika-pranaya-sagaram edhayanti

atma-prasada-kanikokshita-vishva-loka

     gopi-priyanana-vidhoh smita-kaumudi sa

 

     jiyat—all glories; nija—His own; pranayi—of loving devotees; vrinda—for the multitude; manah—of the mind; tamah— darkness; ghni—removing; shri-radhika—of Shrimati Radhrani; pranaya—of the love; sagaram—the ocean; edhayanti—increasing; atma—own; prasada—of mercy; kanika—with drops; ukshita— sprinkled; vishva—the entire; loka—world; gopi—to the gopis; priya—of the most dear Krishna; anana—of the face; vidhoh—of the moon; smita—of the smile; kaumudi—the moonlight; sa—that.

 

 

     All glories to the moonlight of Lord Gopipriya's smile, which destroys the darkness in the devotees' hearts, sprinkles His mercy on the world, and makes turbulent waves in the ocean of Shri Radhika's love!

 

 

Text 94

 

 

padmadi-divya-ramani-kamaniya-gandham

   gopangana-nayana-bhringa-nipiyamanam

krishnasya venu-ninadarpita-madhurikam

     asyambuja-smita-marandam aham smarami

 

     padma—with Lakshmi-devi; adi—beginning; divya—celestial; ramani—beautiful women; kamaniya—yearned after; gandham—the fragrance; gopa-angana—of the gopis; nayana—of the eyes; bhringa—by the bumble-bees; nipiyamanam—drunk—krishnasya—of Lord Krishna; venu—in the flute; ninada—in the sound; arpita—placed; madhurikam—sweetness; asya—of the face; ambuja—of the lotus flower; smita—of the smile; marandam—honey; aham—I; smarami— meditate.

 

 

     I meditate on Krishna's lotus face's smile's honey, which He places in the sound of His flute, and which the bumblebees of the gopis' eyes drink and Lakshmi and other beautiful celestial goddesses yearn to smell.

 

Text 95

 

 

nana-rasadhya-kavita mani-janma-bhumir

     ashranta-sad-vidha-rasasvadana-pravina

vishvaya vishva-rasadapi hare rasajna

     radhadharamrita-rasasvadanad yathartha

 

     nana—various; rasa—with mellows of interpersonal relationships; adhya—enriched; kavita—of poetry; mani—of the gems; janma—of birth; bhumih—the place; asranta—without experiencing fatigue; sat—six; vidha—kinds; rasa—of tastes; asvadana—relishing; pravina—expert; vishvaya—to the universe; vishva—complete; rasa—transcendental bliss; da—granting; api—also; hareh—of Lord Hari; rasajna—the tongue; radha—of Shrimati Radharani; adhara—of the lips; amrita—of the nectar; rasa—the taste; asvadanat—because of relishing; yatha-artha— appropriately named.

 

 

     Lord Hari's tongue is a jewel mine of many nectar (rasa) poems. It is expert at tasting the six nectars (rasa). It gives nectar (rasa) to the world. It tastes the nectar (rasa) of Shri Radha's lips. Its name rasajna (the knower of nectar) is apt.

 

 

Text 96

 

 

antah-prema-ghrita-smitottama-madhur narmaikshavaih samyuta

     shabdarthobhaya-shakti-sucita-rasadindullasat-saurabha

abhiri-madanarka-tapa-shamani vishvaika-santarpani

     sa jiyad amritabdhi-darpa-damani vani rasala hareh

 

     antah—in the heart; prema—pure love; ghrita—ghee; smita—of hte smile; uttama—best; madhuh—honey; narma—of joking words; aikshavaih—with sugar; samyuta—endowed; sabda—relating to the sound of words; artha—relating to the meanng of words; ubhaya— both; shakti—power; sucita—indicated; rasa—mellows; adi— beginning with; indullasat—of camphor; saurabha—fragrance; abhiri—for the gopis; madana—of cupid; arka—the sun; tapa—the heat; samani—subduing; vishva—of the universe; eka—sole; santarpani—delight; sa—that; jiya—all glories; amrita—of nectar; abdhi—of the ocean; darpa—the pride; damani—quelling; vani—the words; rasala—curds mixed with sugar and spices; hareh—of Lord Hari.

 

 

     Glory to the curds of Lord Hari's nectar words, which are prepared with the ghee of His love, sweetened with the honey of His smile and the sugar of His jokes, and spiced with the camphor of methaphors, alliterations and other literary ornaments, and which delight the world, curbs the nectar ocean's pride, and cool the gopis tormented by the sun of amorous desires!

 

 

Text 97

 

 

arvan-mukhendramani-srishöa-öila-prasuna-

     kantih smarashuga-vishesha ivendranilah

nilasma-kalpa-shuka-cancu-vinindi-rocih

     shri-nasikocca-shikhara vilasaty aghareh

 

     arvak—downwards; mukha—placed; indramani—sapphire; srishöa—fashioned; tila—sheshame; prasuna—flower; kantih—splendor; smara—of cupid; asuga—arrow; visheshah—specific; iva—like; indranilah—sapphire; nilasma—of sapphires; klpta—constructed; shuka—of a parrot; cancu—beak; vinindi—chastizing; rocih—whose splendor; shri-nasika; of the nose; ucca—raised; sikhara—tip; vilasati—is splendidly manifest; agha-areh—of Lord Krishna, the enemy of Aghasura.

 

 

     Glorious as a sapphire sesame-flower tilted downwards, like a sapphire Kama's arrow, and its glory rebuking a sapphire parrot's beak, the handsome tip of Lord Krishna's nose is gloriously manifest.

 

 

Text 98

 

 

lolendukanta-mani-golaka-baddha-cancad-

     indrasma-golaka-samana-kaninike ye

antar-bhramad-bhramara-phulla-sitabja-kosha-

     saubhagya-garva-bhara-khandana-pandite ca

 

     lola—moving; indukanta-mani; of moonstones; golaka—balls; baddha—bound; cancat—moving; indrasma—sapphire; golaka—balls; samana—like; kaninike—pupils; ye—that; antah—within; bhramat—moving; bhramara—bumble-bees; phulla—blossoming; sita—white; abja—of the lotuys flower; kosa—whorl; saubhagya—good fortune; garva—pride; bhara—abundance; khandana—breaking; pandite—learned; ca—also.

 

 

     Lord Krishna's eyes, which are like moving moonstone globes studded with moving sapphires, are expert at breaking the pride of two white lotus whorls where two black bumblebees wander.

 

 

Text 99

 

 

prante 'runimna paritah sitimna

     madhye 'sitimna ca yute vilole

shobha-shriyah kanduka-golake te

     su-citrite shri-vidhi-karuna kim

 

     prante—in the corners; arunimna—reddness; paritah—around; aitimna—whiteness; madhye—in the middle; asitimna—blackness; ca—also; yute—endowed; vilole; moving; shobha—shriyah—of beauty; kanduka-golake—two balls for playing; te—they; su—very; citrite—wonderful; shri-vidhi—of the creator Brahma; karuna—the mercy; kim—is it so?

 

 

     How merciful is the creator Brahma expertly to make for personified handsomeness these two toy balls, red on the edges, white within, and black in the center!

 

 

Text 100

 

 

lavanya-sara-samudaya-sudhati-varshaih

     karunya-sara-nicayamrita-nirjharoghaih

kandarpa-bhava-visaramrita-vanyaya ca

     samplavya sarva-jagad ullasati samantat

 

     lavanya—of beauty; sara—of the essence; samudaya—abundance; sudha—of nectar; ati-varsaih—with the monsoon rains; karunya—of mercy; sara—of the essence; nicaya—of the abundance; amrita—of nectar; nirjhara—of the gushing mountain stream; oghaih—with the floods; kandarpa—of cupid; bhava—of the love; visara—of the abundance; amrita—of nectar; vanyaya—with the inundation; ca—also; samplavya—having slooded; sarva—the entitre; jagat—universe; ullasati—is splendidly manifest; samantat—in all directions.

 

 

     Flooding the world with monsoons of nectar handsomeness, gushing streams of nectar mercy, and a flood of nectar love, Krishna's eyes shine with great glory.

 

 

Text 101

 

 

atyayate su-vipule masrine su-shone

     su-snigdha-pina-ghana-cancala-pakshma-ramye

tarunya-sara-mada-ghusrina-manöhare ca

     netre harer mama hridi sphuratam sada te

 

     ati-ayate—wide open; su-vipule—large; masrine—beautiful; su-sone—nicely reddish; su-snigdha—glistening; pina—large; ghana—of clouds; cancala—moving; pakshma—eyelashes; ramye—delightful; tarunya—of youthfulness; sara—the essence; mada-ghusrina—of saffron; manthare—two treasures; ca—also; netre—the two eyes; hareh—of Lord Hari; mama—my; hridi—in the heart; sphuratam—may become; manifested; sada—eternally; te—they.

 

 

     Large, wide-open, handsome, red, charming with glossy, thick, restless eyelashes, and opulent with the saffron of youth and passion, may Lord Hari's eyes always appear in my heart.

 

 

Text 102

 

 

sadhvi-sva-karma-dridha-dharma-vibheda-daksha-

     kameshu-tikshna-kaöhino vilasaty aghareh

svapne 'pi durlabha-samasta-daridra-goshöhi-

     vanchabhipurana-vadanya-varah kaöakshah

 

     sadhvi—of the pious gopis; sva—own; karma—of activities; drdha—firm; dharma—religious duties; vibheda—breaking; daksha—expert; kama—of cupid; isu—arrows; tikshna—sharp; kathinah—and hard; vilasati—is spkendidly manifest; agha-areh—of Lord Krishna, the enemy of Agha; svapne—in dream; api—even; durlabha— difficult to attain; samasta—all; daridra-goshöhi—of the poor conditioned souls; vancha—desires; abhipurana—fulfilling; vadanya—generous; varah—best; kata-aksha—sidelong glances.

 

 

     Sharp and hard as Kama's arrows, expert at breaking the pious gopis' firm chastity, and generously giving charity beyond what the poor can dream, Lord Krishna's sidelong glance is splendidly manifest.

 

 

Text 103

 

 

ya vishva-yauvata-vilola-manah-kurangan

     avidhya ghurnayati nartana-marganaih svaih

sa bhru-lata mura-ripoh kuöilapi kirtya

     kandarpa-pushpa-trinatam trinatam ninaya

 

     ya—that; vishva—of the universe; yauvata—of the young girls; vilola—moving; manah—of the minds; kurangan—the deer; avidhya—piercing; ghurnayati—cause to writhe; nartana—dancing; margaih—with motions; svaih—own; sa—that; bhru—of the eyebrows; lata—creeper; mura-ripoh—of Lord Krishna, the enemy of the demon Mura; kutila—curved; api—even; kirtya—with its fame; kandarpa—of cupid pushpa-trnatam—the flower-bow; trnatam—to the state of being as insignificant and a blade of grass; ninaya— led.

 

 

     The curving vine of Krishna's eyebrows, which by their fame alone make Kama's flower-bow insignificant as a blade of grass, with many dancing arrows wound the deer of the young gopis' hearts and make them stagger and writhe.

 

 

Text 104

 

 

kim kaliyena haraye sva-suta visrishöa

     tenarpita bhruvi hriyapa tad-atmatam ya

sapatnyato vraja-vadhu-hridayani sarpi

     drishövaiva sa vitanute 'tra vimurchitani

 

     kim—how is it?; kaliyena—by Kaliya; haraye—to Lord Hari; sva-sutas—his daughters; visrishöa—given; tena—by him; arpita; placed; bhruvi—between the eyebrows; hriya—shyly; apa—attained; tat-atmatam—His own mark; ya—who; sapatnyatah—out of rivalry; vraja—of Vraja; vadhu—the girls; hridayani—the hearts; sarpi—the snake; drishöva—having seen; eva—indeed; sa—she; vitanute—made; atra—in this connection; vimurchitani—fainted.

 

 

     Why, when they saw the serpent daughters Kaliya gave to Lord Hari shyly attain the Lord's mark on their eyebrows, did the vraja-gopis' hearts faint with envy?

 

 

Text 105

 

 

cilli-latalaka-varuthaka-ramya-parshvam

     karishnashöami-shashi-nibham giri-dhatu-citram

radha-mano-harina-bandhana-kama-yantra-

     kashmira-caru-tilakam hari-bhalam ide

 

     cilli—of the eyebrows; lata—creeper; alaka—of curling locks of hair; varuthaka—multitude; ramya—charming; parshvam—sides; krishna-astami—on the eight day of the waning moon; sasi—the moon; nibham—like; giri—of Govardhana Hill; dhatu—with the mineral pigments; citram—colorfully decorated; radha—of Shrimati Radharani; manah—of the mind; harina—the deer; bandhana—for binding; kama—cupid's; yantram—rope; kasmira—made of kunkuma— caru—beautiful; tilakam—with tilaka markings; hari—of Lord Hari; bhalam—the forehead; ide—I praise.

 

 

     I glorify Lord Hari's forehead, bounded by His curling locks of hair and the two vines of His eyebrows, splendid as the Krishnashöami moon, decorated with colorful designs and pictures drawn in Govardhana's mineral pigments, and bearing splendid kunkuma tilaka that is Kamadeva's trap to catch the deer of Radha's heart.

 

 

Text 106

 

 

alaka-madhupa-mala shrila-bhaloparishöhad

     vilasati lalita ya ballavi-vallabhasya

nayana-shaphara-bandhe jalatam angananam

     alabhata kila seyam kama-kaivartakasya

 

     alaka—of curling hairs; madhupa—of bumble-bees; mala—swarm; shrila—beautiful; bhala—forehead; uparishöhat—above; vilasati— is splendidly manifest; lalita—charming; ya—that; ballavi—of the gopis; vallabhasya—of the dear lover; nayana—of the eyes; shaphara—the shaphari fishes; bandhe—for catching; jalatam—the state of being a fishing net; angananam—of the girls of Vraja; alabhata—attained; kila—indeed; sa iyam—that; kama—of cupid; kaivartakasya—of the fisherman.

 

 

     The graceful black bee garland of locks of hair that plays above Lord Gopinatha's forehead has become a great net where the fisherman Kamadeva catches the shaphari fishes of the gopis' eyes.

 

 

Text 107-108

 

 

shlaghyayato bhramara-ganjana-cikkanabhah

     sukshmah su-kuncitataro 'ti-ghanah samagrah

kasturika-yug-asitotpala-gandha-hridyah

     kama-dhvajasita-su-camara-caru-shobhah

 

cuda-dviphala-kavarardhaka-juöa-veni-

     juöadi-kala-krita-bandha-vishesha-ramyah

yo hrit-sudha-ruci kurangati radhikayash

     citte sa nah sphuratu keshava-kesha-pashah

 

    shlaghyayatah—glorious; bhramara—bumble-bees; ganjana— chastizing; cikkana—glistening; abhah—appearance; sukshmah— fine; su—very; kuncitatarah—curly; ati—very; ghanah—thick; samagrah—all; kasturika—with musk; yuga—endowed; asita—blue; utpala—lotus flower gandha with the fragrance; hridyah—charming; kama—of cupid; dhvaja—the flag; asita—black; su—splendid; camara—of a camara fan; caru—beautiful; shobhah—splendor; cuda— of the crest; dvi—two; phala—sides; kavara—of strands of hair; ardhaka—half; juta-veni—of hair; juta—locks of hair; adi— beginning with; kala—black; krita—done; bandha—bond; visesa— specific; ramyah—delightful; yah—that; hrit—of the heart; sudha-ruci—on the moon that is full of nectarean effulgence; kurangati—has become a deer; radhikayah—of Shrimati Radharani; citte; in the mind; sah—that hair; nah—of us; sphuratu—may be manifested; keshava—of Lord Krishna; kesha-pasah—the locks of hair.

 

 

     May Lord Keshava's hair: fine, thick, glorious, curling, glistening with a luster that rebukes the black bees' splendor, aromatic as a blue lotus flower anointed with musk, splendid as Kamadeva's flag and black camara, gracefully parted, and now become a deer-mark on the nectar moon of Radhika's heart, appear before us.

 

 

     Note: In Sanskrit literature the shadows on the moon are considered to resemble a deer. For this reason Lord Krishna's hair is compared to the "deer in the moon".

 

 

Text 109

 

 

apara-madhurya-sudharnavani

     nananga-bhusha-caya-bhushanani

jagad-drig-asecanakani shaurer

     varnyani nangani sahasra-vaktraih

 

     apara—limitless; madhurya—of sweetness; sudha—of nectar; arnavani—oceans; nana—various; anga—of the limbs; bhusha—of the ornaments; bhushanani—decorations; jagat—of the entire universe; drik—of the eyes; asecanakani—sprinkling nectar; saureh—of Lord Krishna; varnyani—describeable; na—not; angani— the limbs; sahasra-vaktraih—by Lord Ananta, who has thousands of mouths.

 

 

     Even Lord Ananta with His thousands of voices cannot describe Lord Krishna's limbs, which are limiltless oceans of nectar sweetness, which decorate their ornaments, and which shower nectar on all eyes.

 

 

     Note: Lord Krishna's limbs are so handsome that they decorate the ornaments instead of being decorated by them.

 

 

Text 110

 

 

itirayitva virate sukeshe

     sa-sharike gadgada-ruddha-kanöhe

tad-vak-sudhambhodhi-nimagna-citta

     kshanam sabha sa stimita tadasit

 

     iti—thus; irayitva—having spoken; virate—stopped; suka-ise—when the king among parrots; sa—with; sharike—the female parrot; gadgada-ruddha—choking in ecstasy; kanöhe—when his throat; tat— of him; vak—of the words; sudha—of the nectar; ambhodhi—in the ocean; nimagna—immersed; citta—whose mind; kshanam—for a moment; sabha—the assembly of gopis; sa—that; stimita—stunned; tada—then; asit—became.

 

 

     Then the two parrots, their voices choked with ecstasy, stopped speaking, and the gopi-audience became momentarily stunned, their minds drowning in the nectar ocean of the parrots' words.