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NITAAI-Veda.nyf > All Scriptures By Acharyas > Rupa Goswami > Lalita-Madhava > Act Five

Act Five

 

 

 

Text 1

 

 

     (tatah pravishati paurnamasi.)

 

paurnamasi:

 

sarnginy alika-parivada-shatarpanena

     jatoru-pataka-malimasa-manasanam

seyam girisha-giri-gauravitair nripanam

     dushyair vidarbha-nagari paridushitasti

 

     sarngini—to Lord Krishna, who carries the Sarnga bow; alika-parivada—of lies; sata—of hundreds; arpanena—by offering; jata—manifested; uru—great; pataka—by sins; malimasa— polluted; manasanam—whose hearts; sa iyam—this; girisa-giri— Kailasa, the mountain where Lord Siva resides; gauravitaih—as great; nripanam—of kings; dusyaih—with tents; vidarbha—of Vidarbha; nagari—the city; paridusita—ruined; asti—is.

 

 

     (Paurnamasi enters.)

 

     Paurnamasi:  Many kings, their hearts polluted with the great sin of speaking hundreds of lies to Lord Krishna, have now defiled Vidarbha City by pitching around it their tents, larger than Mount Kailasa.

 

 

Text 2

 

 

     (nephatye)

 

riddha siddhi-vraja-vijayita satya-dharma samadhir

     brahmanando gurur api camatkarayaty eva tavat

yavat premnam madhu-ripu-vashikara-siddhaushadhinam

     gandho 'py antah-karana-sarani-pathatam na prayati

 

     nepathye—from behind the scenes; riddha—excellent; siddhi-vraja—of the groups of material perfections of the yogis (anima, laghima, prapti and so son); vijayita—the victory; satya-dharma—the religious principles of perfection (satya, shama, titiksha and so on); samadhih—the yogic perfection of meditation; brahma-anandah—the spiritual blissful life of the monist; guruh—very high in material considerations; api— although; camatkarayati—they appear very important; eva—only; tavat—that long; yavat—as long as; premnam—of love of Krishna; madhu-ripu—of Krishna, the enemy of the Madhu demon; vashikara—in the controlling; siddha-aushadhinam—which is like perfects herbs that can control snakes; gandhah—a light fragance; api—even; antah„-karana-sarani-panthatam—a traveller on the path of the heart; na prayati—does not become.

 

 

     A voice from behind the scenes: As long as there is not the slightest fragance of pure love for Krishna, which is the perfected medicinal herb for controlling Lord Krishna within the heart, the opulences of material perfection— 3}known as the siddhis, the brahminical perfections [satya, shama, titiksha and so on], the trance of the yogis and the monistic bliss of Brahman— 3}all seem wonderful for men.*

 

 

Text 3

 

 

     paurnamasi:  (vilokya sa-harsham)

 

bhuja-tata-viluthaj-jatanalo 'yam

     madhuripu-kirty-upavinana-pravinah

udayati sharad-indu-rocir-acchah

     katham iha kacchapika-karah surarshih

 

     vilokya—seeing; sa—with; harsham—joy; bhuja—of the arms; tata—on the surface; viluthat—moving; jata—of matted locks of hairs; ancalah—the edge; ayam—he; madhu-ripu—of Lord Krishna, the enemy of the Madhu demon; kirti—the glories; upavinana—at playing on the vina; pravinah—expert; udayati—appears; sarat— autumn; indu—moon; rocih—with the splendor; acchah—splendid; katham—Ah!; iha—here; kacchapika—with a vina; karah—in his hand; sura-rshih—Devarshi Narada.

 

 

     Paurnamasi:  (looking with joy) Ah! Expert in chanting the Lord Krishna's glories, his hand holding a vina, his matted hair reaching down to his shoulders, and his complexion splendid as the autumn moon, here is Devarshi Narada.

 

 

Text 4

 

 

     (pravishya naradah. riddhety adi pathati.)

 

     pravishya—entering; naradah—Narada; rddha—"rddha"; iti— thus; adi—the verse beginning with; pathati—recites.

 

 

     (Enter Narada. He recites Text 2, which begins with the word "riddha.")

 

 

Text 5

 

 

     paurnamasi:  bhagavan abhivadaye.

 

     bhagavan—O Lord; abhivadaye—I offer my respectful obeisances.

 

 

     Paurnamasi:  Lord, I offer my respectful obeisances unto you.

 

 

Text 6

 

 

     naradah:  mukundasya priyam-bhavuki bhava.

 

     mukundasya—of Krishna; priyam-bhavuki—blessed; bhava— become.

 

 

     Narada: May Lord Krishna bless you.

 

 

Text 7

 

 

     paurnamasi:  bhagavan shrutam mukundo mathuratah pratasthe.

 

     bhagavan—O Lord; srutam—heard; mukundah—Krishna; mathuratah—from Mathura; pratasthe—has gone.

 

 

     Paurnamasi:  Lord, I heard that Lord Krishna  has left Mathura.

 

 

Text 8

 

 

     naradah:  atha kim

 

hatva mlecchadhirajam pura-mathana-varan mathuranam avadhyam

     svacchandam kandarantar-nayanaja-dahane maucukunde mukundah

bhuyo bhuyah kadarthi-krita-kutila-jarasandha-dushtabhisandhih

     sindhos tire sa-bandhur nagavati nagare dvarakayam ayasit

 

     atha kim—yes; hatva—having killed; mleccha—of uncivilized men; adhirajam—the king; pura—of the city; mathana—of harm; varat—from the great; mathuranam—of the residents of Mathura; avadhyam—not to be killed; svaccandam—independently; kandara—a cave; antah—within; nayana—from the eyes; ja—produced; dahane—in the fire; maucukunde—from Mucukunda; mukundah—Krishna; bhuyah—again; bhuyah—and again; kadarthi-krita—offended; kutila—crooked; jarasandha—of Jarasandha; dusta-abhisandhih— insults; sindhoh—of the ocean; tire—on the shore; sa—with; bandhuh—his friends and relatives; nagavati—with gardens; nagare—in a city; dvarakayam—in Dvaraka; ayasit—entered.

 

 

     Narada: Yes, it is true. After arranging that an uncivilized king (Kalayavana), who was blessed by Lord Shiva that no resident of Mathura could kill him, be killed in a cave by fire from King Mucukunda's eyes, and after again and again thwarting wicked Jarasandha, with His friends and relatives Lord Krishna went the city of Dvaraka on the hills by the ocean's shore

 

 

Text 9

 

 

     paurnamasi:  bhagavan baliyasa snehanalenasyas tanor antimeshtau sampravrittayam dishtyadya drishto 'si.

 

     bhagavan—O Lord; baliyasa—strong; sneha—of love; alanena—by the fire; asyah—of Her; tanoh—of the body; antima-ishtau—when death; smapravrittayam—occurs; dishtya—by good fortune; adya—now; drishtah—seen; asi—you are.

 

 

     Paurnamasi:  Lord, now that my body is on fire as it approaches its death, I am very fortunate to see you .

 

 

Text 10

 

 

     naradah:  vatse sphutam ekenapi candramasa paurnamasi samriddhyati. kim uta purna-kalaya candravalya.

 

     vatse—O child; sphutam—manifested; ekena—with one; api— even; candramasa—moon; paurnamasi—the full-moon day; samrddhyati—is expanded; kim uta—how much more?; purna-kalaya— with the full moon; candra-avalya—with the series of full moons known as Candravali.

 

 

     Narada:  Child, Paurnamasi is splendid in the moonlight. How splendid then is she in the company of Candravali, who shines as a host of full moons?

 

 

Text 11

 

 

     paurnamasi:  (sasram)  bhagavan asadharana-daruna-darsham candravaleh pratipaksha-paksha-parardham upanta-simani vartate. tatah katham paurnamasyah samriddhi-vartapi.

 

     sa—with; asram—tears; bhagavan—O lord; asadharana— extraordinary; daruna—terrible; darsam—sight; candravaleh—of Candravali; pratipaksha-paksha—of enemies; parardham—millions; upanta-simani—at the corner of the eye; vartate—is; tatah— then; katham—how is it?; paurnamasyah—of Paurnamasi; samrddhi— of prosperity; varta—news; api—even.

 

 

     Paurnamasi: (with tears) Lord, millions of Candravali's uncommonly ferocious enemies have come near. How can there be talk of Paurnamasi's splendor and opulence?

 

 

Text 12

 

 

     naradah:  putri na varakatma-pakshasi. kutas te bahula-vipakshato bhayam.

 

     putri—O daughter; na—not; varaka-atma-paksha—unfortunate; asi—you are; kutah—why?; te—of you; bahula—of many; vipakshatah—enemies; bhayam—fear.

 

 

     Narada:  Daughter, your friends are not small people. Why should you fear these enemies?

 

 

Text 13

 

 

     paurnamasi:  nitantam iyam harinojjhita samvritta. maha-kantish casyah svasa radhika vyatita. tat kuto na bhitih.

 

     nitantam—completely; iyam—she; harina—by Krishna; ujjhita— abandoned; samvritta—was; maha-kantih—very beautiful; ca—also; asyah—of her; svasa—the sister; radhika— Radha; vyatita—died; tat—then; kutah—why?; na—not; bhitih— fear.

 

 

     Paurnamasi:  Krishna completely abandoned  her, and then her beautiful sister Radha died. How could one not be afraid?

 

 

Text 14

 

 

     naradah:  kim adyapy etam radhika-shoko badhate.

 

     kim—whether; adya—now; api—even; etam—her; radhika— because of Radha; sokah—grief; badhate—obstructs.

 

 

     Narada:  Does she still grieve for Radha?

 

 

Text 15

 

 

     paurnamasi:  atha kim. yad iyam bandhu-vatsala rukmini.

 

     atha kim—yes; yat—because; iyam—she; bandhu—to her relative; vatsala—affectionate; rukmini—Rukmini.

 

 

     Paurnamasi:  Yes. Rukmini is very affectionate to her relatives.

 

 

Text 16

 

 

     naradah:  keneyam rukminiti vishravita.

 

     kena—why?; iyam—she; rukmini—Rukmini; iti—thus; vishravita—is called.

 

 

     Narada:  Who gave her the name Rukmini?

 

 

Text 17

 

 

     paurnamasi:  rukminas tatena.

 

     rukminah—of Rukmi; tatena—by the father.

 

 

     Paurnamasi:  Rukmi's father.

 

 

Text 18

 

 

     naradah;  (kshanam pranidhaya svagatam)  nanv etah pura-vraja-ramanyah samana-tattva api vigrahadi-bhinna eva. yad adyapi vraja eva ta vraja-ramanyah prema-murchita vartante. kintu yogamayayaiva viprayoge 'pi priya-sanga-sukha-sangamanaya. tatraivacchadya pura-ramanishu svabhedabhimanenaveshita dirgha-svapna iva samyag anubhavayam babhuvire. yas tuddhava-yana-kurukshetra-yatrayor vritta-vakshyamana-caritras tah. khalv ashtottaraika-shata-shodasha-sahasratas tasmad anye eva tad alam tad-rahasyodghatanena. (prakasham)  kim adhyavasitam bhishmakasya.

 

     kshanam—for a moment; pranidhaya—reflecting; svagatam— speaking to himself; nanu—is it not so?; etah—these girls; pura—the city; vraja—and of Vraja; ramanyah—the beautiful girls; samana—the same; tattvah—nature; api—although; vigraha—bodies; adi—beginning with; bhinnah—different; eva—certainly; yat—because; adya—now; api—also; vraje—in Vraja; eva— certainly; tah—they; vraja—of Vraja; ramanyah—the beautiful girls; prema—with love; murchitah—fainted; vartante—are; kintu—however; yogamayaya—by Yogamaya; eva—certainly; virpayoge—in separation; api—even; priya—of their beloved Krishna; sanga—of the association; sukha—the happiness; sangamanaya—for attaining; tatra—there; eva—certainly; acchadya—covering; pura—of the city; ramanisu—among the beautiful girls; sva—own; abheda—not different; abhimanena— with the conceptions; avesitah—entered; dirgha—a long; svapnah—dream; iva—like; samyak—completely; anubhavayam babhuvire— considered; yah—who; uddhava—of Uddhava; yana—the journey; kurukshetra—to Kurukshetra; yatrayoh—and the journey; vritta— news; vakshyamana—will be spoken; caritah—activities; tah—they; khalu—indeed; asta—eight; eka—one; sata—hundred; sodasa— sixteen; sahasratah—thousand; tasmat—therefore; anyah—others; eva—certainly; tat—then; alam—what is the need?; tat—of this; rahasya—of the secret; udghatanena—of revealing; prakasam— openly; kim—what?; adhyavasitam—was decided; bhishmakasya—by Maharaja Bhishmaka.

 

 

     Narada: (reflecting for a moment, he says to himself)  Are the girls of Dvaraka City and the girls of Vraja Village not the same persons, although appearing in different forms? The girls of Vraja were overwhelmed with love for Krishna. To please them by reuniting them with their beloved, Yogamaya transformed them into the women of Dvaraka. They now think their previous existance in Vraja to be like a long dream, and they think Uddhava's visit and their own journey to Kurukshetra to be only stories. Aside from these 16,108 there are other gopis also. Why should I reveal this secret? (openly) Has King Bhishmaka made his descision?

 

 

Text 19

 

 

     paurnamasi:  yadavendre candravali-samarpanam.

 

     yadava—of the Yadu dynasty; indre—to the king; candravali—of Candravali; arpanam—offering.

 

 

     Paurnamasi:  He wants to give Candravali to Krishna, the king of the Yadus.

 

 

Text 20

 

 

     naradah:  tatah kim ity akulasi.

 

     tatah—then; kim—why?; iti—thus; akula—agitated; asi—you are.

 

 

     Narada:  Then why are you so upset?

 

 

Text 21

 

 

     paurnamasi:  pratikule rukmini ko 'yam bhishmakas tapasvi.

 

     pratikule—averse; rukmini—Rukmi; kah—who?; ayam—he; bhishmaka—Maharaja Bhishmaka; tapasvi—suffering.

 

 

     Paurnamasi:  If Rukmi opposes, what can poor Bhishmaka do?

 

 

Text 22

 

 

     naradah: vidarbha-kumarasya kim aripsitam.

 

     vidarbha-kumarasya—of the prince of Vidarbha; kim—what?; aripsitam—is desired.

 

 

     Narada:  To whom does Rukmi wish to give Candravali?

 

 

Text 23

 

 

     paurnamasi:  cedi-pater abhyarthita-puranam.

 

     cedi—of Cedi; pateh—of the king; abhyarthita—the desire; puranam—fulfillment.

 

 

     Paurnamasi:  He wants to fulfill the desire of Cedi's King Shishupala (and give her to him).

 

 

Text 24

 

 

     naradah:  katham etad bhavaty avadharitam.

 

     katham—how?; etat—this; bhavati—is; avadharitam—known.

 

 

     Narada:  How did he learn of Shishupala's desire?

 

 

Text 25

 

 

     paurnamasi:  rukminyam padyasya preshanena.

 

     rukminyam—to Rukmini; padyasya—of a verse; preshanena—by sending.

 

 

     Paurnamasi:  By Shishupala's sending this letter-in-verse to Rukmini.

 

 

Text 26

 

 

     naradah:  pathyatam idam.

 

     pathyatam—should be read; idam—it.

 

 

     Narada:  Please read it.

 

 

Text 27

 

 

     paurnamasi:

 

pranayo damaghosha-nandane

     shishupale tava yauvancite

naradeva-vare shrutashravo-

     hridayanandi-gune vijrimbhatam

 

     pranayah—love; damaghosa—of Maharaja Damaghosa; nandane— in the son; sisupale—Shishupala; tava—of you; yauvana—with youthfulness; ancite—endowed; naradeva—of kings; vare—the best; srutasravah—of Maharaja Srutasravah (another name of Damaghosa); hridaya—the heart; anandi—delighting; gune—whose virtues; vijrmbhatam—awakens.

 

 

     Paurnamasi:  May your love for youthful Shishupala, who is the best of kings, and whose great virtues delight his father, Damaghosha, awaken.

 

 

Text 28

 

 

     naradah:  tatah kim adhyavasitam taya.

 

     tatah—then; kim—what?; adhyavasitam—was decided; taya—by here.

 

 

     Narada:  What did Rukmini decide?

 

 

Text 29

 

 

     paurnamasi: tad eva parivartita-pancaksharam sancaritam. yatha

 

pranayo mama ghosha-nandane

     pashupale nava-yauvanancite

para-deva-vare druta-shravo-

     hridayanandi-gune vijrimbhatam

 

     tat—that; eva—certainly; parivartita—changed; panca— five; aksharam—words; sancaritam—sent; yatha—just as; pranayah—love; mama—of me; ghosa—of a cowherd; nandane—for the son; pasupale—a cowherd; nava—new; yauvana—with youthfulness; a 24cite—endowed; para—supreme; deva—of gods; vare—the best; druta—at once; sravah—hearing; hridaya—the heart; anandi— delighting; gune—whose virtues; vijrmbhatam—awakens.

 

 

     Paurnamasi:  She changed five words and sent the letter back. It now said: "I have fallen in love with a young gopa who is the son of a cowherd. He is the Supreme Personality of Godhead. Hearing of His transcendental qualities at once fills the heart with transcendental bliss."

 

 

Text 30

 

 

     naradah:  tatas tatah.

 

     tatah—then; tatah—then.

 

 

     Narada:  Then? Then?

 

 

Text 31

 

 

     paurnamasi:  tatas tad alokya shankita-krishnopasattina yuva-rajena dushta-rajanya-mandale nimantrya kundinam aneshyamane paryakulaya vatsaya mam anumantrya sunanda-namna bhusurena mukundaya patrika harita.

 

     tatah—then; tat—this; alokya—seeing; shankita—frightened; krishna—of Krishna; upasattina—of the approach; yuva-rajena—by the prince; dusta—wicked; rajanya—of kings; mandale—in the circle; nimantrya—advising; kundinam—to Kundina; anesyamane—brought; paryakulaya—distraught; vatsaya—by the girl; mam—me; anumantrya—requested; sunanda—Sunanda; namna—by the name; bhusurena—a brahmana; mukundaya—to Mukunda; patrika—a letter; harita—was sent.

 

 

     Paurnamasi:  Reading this letter, and afraid that Krishna might come, Prince Shishupala brought many demonic kings to Kundina City. After consulting with me, the distraught girl (Rukmini) sent a brahmana named Sunanda with a letter to Krishna.

 

 

Text 32

 

 

     narada:  sa kim-vidha.

 

     sa—that; kim-vidha—like what?

 

 

     Narada:  What did it say?

 

 

Text 33

 

 

     paurnamasi:

 

aciram nirasya rasitaih

     pratipaksham rajahamsa-nikurambam

krishna-ghana svamritais

     trishitam candrakavatim sinca

 

     aciram—at once; nirasya—chasing away; rasitaih—with sounds of thunder; pratipaksham—inimical; rajahamsa—of rajahamsa swans; nikurambam—the flock; krishna-ghnana—O dark cloud of Krishna; sva—own; amritaih—with nectar; trsitam—thirsty; candrakavatim—peahen; sinca—please sprinkle.

 

 

     Paurnamasi:  1678}O dark cloud of Krishna, with the sound of Your thunder please quickly chase away these enemy rajahamsa swans and then sprinkle Your nectar-rain on this thirsty candrakravati bird."

 

 

     Note:  Rajahamsa swans are frightened by thunder, but candrakavati birds delight in the monsoon rains.

 

 

Text 34

 

 

     naradah; nunam asya bhusurasya punar avrittir na vrittasti.

 

     nunam—is it not so?; asya—of him; bhusurasya—of the brahmana; punah avrittih—of the return; na—not; vritta—occurred; asti—has.

 

 

     Narada:  The brahmana-messenger hasn't returned?

 

 

Text 35

 

 

     paurnamasi:  atha kim. yad atra daivam rukminy-anukulam.

  

     atha kim—yes; yat—because; atra—in this matter; daivam— destiny; rukmini—to Rukmini; anukulam—is favorable.

 

 

     Paurnamasi:  Yes. Fate is kind to Rukmi.

 

 

Text 36

 

 

     naradah: (sa-smitam)  jagad-ashcarya-caturyayapi kim ity anulomitas tvaya na rukmi.

 

     sa—with; smitam—a smile; jagat—the entire world; ascarya—wonder; caturyaya—whose expertness; api—even; kim—what?; iti—thus; anulomitah—favored; tvaya—by you; na—not; rukmi—Rukmi.

 

 

     Narada:  (smiles)  Your powers fill the entire world with wonder. Why did you not make Rukmi favorable?

 

 

Text 37

 

 

     paurnamasi:  mama caturya-madhvikenaiva dvi-guni-krita-durmadena rukmina cedi-pater avutta-bhavaya kula-devi candrabhaga yagady-upacarais tatharadhita. yatha tad abhishtam eva praty adidesha.

 

     mama—of me; caturya—of expertness; madhvikena—by the madhvika nectar; eva—certainly; dvi-guni-krita—doubled; durmadena—intoxication; rukmina—by Rukmi; cedi-pateh—of Shishupala, the king of Cedi; avutta—of a brother-in-law; bhavaya—for the attainment; kula—worshipped in the family; devi—the deity; candrabhaga—Durga; yaga—sacrificial ceremonies; adi— beginning with; upacaraih—with forms of worship; tatha—in that way; aradhita—worshipped; yatha—just as; tat—of him; abhishtam—the desire; eva—certainly; prati—to; adidesha—accepted.

 

 

     Paurnamasi:  The madhvika liquor of my powers only made Rukmi doubly intoxicated. Praying to get Cedi's King Shishupala as his brother-in-law, Rukmi worshiped the family deity Candrabhaga with many agnihotra-yajnas and other ceremonies. Then the goddess granted his request.

 

 

     Note: The statement is ambiguous. If "pratyadidesha" is taken as one word instead of two, the meaning is "The goddess refused his request."

 

 

Text 38

 

 

     naradah:  kidrisham idam.

 

     kidrsam—like what?; idam—this.

 

 

     Narada:  How was that?

 

 

Text 39

 

 

     paurnamasi:

 

viracayan jananim ati-vismitam

     bhuja-catushtayavan ajanishta yah

sva-bhaginim tava shura-sutatmajo

     gunavatim parineshyati rukminim

 

     viracayan—making; jananim—His mother; ati—very; vismitan—astonished; bhuja—arms; catustayavan—with four; ajanishta—was born; yah—who; sva—own; bhaginim—sister; tava—of you; sura— of Sura; suta—of the son; atmajah—the son; gunavatim—virtuous; parinesyati—will marry; rukminim—Rukmini.

 

 

     Paurnamasi:  The goddess appeared before Rukmi and said:  "Maharaja Sura's grandson who, born with four arms filled His mother with wonder, will marry your virtuous daughter Rukmini."

 

 

Text 40

 

 

     naradah:  (sa-smitam)  prataritam eva tarakari-jananya durjanam janihi.

 

     sa—with; smitam—a smile; prataritam—cheated; eva— certainly; taraka-ari—of Kartitkeya, the enemy of the demon Taraka; jananya—by the mother (Parvati); durjanam—the demon; janihi—you should know.

 

 

     Narada: (smiling)  You should know that goddess Parvati cheated the wicked Rukmi with these words.

 

 

Text 41

 

 

     paurnamasi:  bhagavan kutah prataranam. yatah

 

dure dvaravatindro

     malini[1]-kurute 'dya kundinam khalini

pare varidhi garudo

     didankshavah parshvato bhujagah

         

     bhagavan—O lord; kutah—from what?; prataranam—cheating; yatah—because; dure—far away; dvaravati—of Dvaraka; indrah— the king; malini-kurute—pollute; adya—now; kundinam—Kundina City; khalini—the host of demoniac kings; pare—on the farther shore; varidhi—of the ocean; garudah—Garuda; didankshavah— wishing to bite; parsvatah—by his side; bhujagah—snakes.

 

 

     Paurnamasi: Lord, how did she cheat him? Krishna is now far away, Garuda is on the other side of the ocean, Kundina City is polluted by a host of demons, and (Rukmini is surrounded by guards as ferocious as) snakes eager to bite anyone who comes near.

 

 

Text 42

 

 

     (pravishya)  sunandah:  bhagavati nirbharam adura eva vidarbha-pure dvaravatindrah.

 

     pravishya—entering; bhagavati—O noble lady; nirbharam— greatly; adure—not far away; eva—certainly; vidarbha—of Vidarbha; pure—in the city; dvaravati—of Dvaraka; indrah—the king.

 

 

     Sunanda: (enters)  Noble lady, Krishna is not far from Vidarbha City.

 

 

Text 43

 

 

     paurnamasi:  (sanandam) sunanda badham abhinandaniyo 'si sandesha-harah.

 

     sa—with; anandam—bliss; sunanda—O Sunanda; badham—certainly; abhinandaniyah—jubilant; asi—you are; sandesha— message; harah—carrying.

 

 

     Paurnamasi:  (blissful)  Ah! Sunanda! Welcome! You bring a message.

 

 

Text 44

 

                            

     sunanda:  kritam abhinandanena. dishtandhasya me babhuva vandhya sandesha-harata.

 

     kritam—what is the use; abhinandanena—of this welcome; dishta-andhasya—unfortunate; me—of me; babhuva—has become; vandhya—useless; sandesha—of the message; harata—the carrying.

 

 

     Sunanda:  What is the use of welcoming me? Fate is blind to me. My message-carrying is a failure.

 

 

Text 45

 

 

     paurnamasi:  (sa-shankam)  katham iva.

 

     sa—with; shankam—fear; katham—how?; iva—like.

 

 

     Paurnamasi: (frightened)  Why?

 

 

Text 46

 

 

     sunandah: pathyatam iyam patrika patri-raja-patrasya.

 

     pathyatam—should be read; iyam—this; patrika—letter; patri-raja-patrasya—of Lord Krishna rides on Garuda.

 

 

     Sunanda:  Read this letter from Krishna, who is carried by Garuda.

 

 

Text 47

 

 

     narada: (vacayati)

 

nikhilah sikhinir nayann api

     sukhani jatyasitapangih

ramayati krishnah su-ghano

     vrindavana-gandhinir eva

 

     vacayat—reads; nikhilah—all; sikhinih—the pea-hens; nayan— leading; api—even; sukhani—happinesses; jatya—by nature; asita—dark; apangih—with sidelong glances; ramayati—delights; krishnah—Krishna; su—the handsome; ghanah—cloud; vrindavana—of Vrindavana; gandhinih—with the fragance; eva—certainly.

 

 

     Narada: (reads)  "The black cloud of Krishna brings happiness to the shikhini birds, who gaze at Him from the corners of their dark eyes. He delights the fragant shikhini birds of Vrindavana forest."

 

 

Text 48

 

 

     paurnamasi:  hanta candravaliti nadhigatam madhavena.

 

     hanta—ah!; candravali—Candravali; iti—thus; na—not; adhigatam—understood; madhavena—by Krishna.

 

 

     Paurnamasi:  Ah! Krishna doesn't know she is Candravali.

 

 

Text 49

 

 

     naradah: sunanda kutas tvaya nabhivyaktam aveditam.

 

     sunanda—O Sunanda; kutah—why?; tvaya—by you; na—not; abhivyaktam—revealed; aveditam—communicated.

 

 

     Narada:  Sunanda, why did you not tell Him?

 

 

Text 50

 

 

     sunandah:  ka khalu candravali.

 

     ka—who?; khalu—indeed; candravali—is Candravali.

 

 

     Sunanda: Who is Candravali?

 

 

Text 51

 

 

     paurnamasi:  dushta-nripebhyas trapamanena rukmina svasur gokula-nivasam atra nihnutya candravality-abhidha samvrita.

 

     dusta—from the demoniac; nripebhyah—kings; trapamanena— embarrassed; rukmina—by Rukmi; svasuh—of his sishter; gokula—in Gokula; nivasam—the residence; atra—here; nihnutya—concealing; candravali—Candravali; iti—thus; abhidha—the name; samvrita— concealed.

 

 

     Paurnamasi:  Embarrassed before the demon kings, Rukmi hid the fact that his sister had lived in Gokula Village and was named Candravali.

 

 

Text 52

 

     sunandah: nunam suhridam apy agocaro 'yam arthah. tatra mad-vidhasya ka katha.

 

     nunam—is it not so?; suhridam—by friends; api—even; agocarah—unknown; ayam—this; arthah—fact; tatra—in this; mat-vidhasya—of someone like me; ka—what?; katha—description.

 

 

     Sunanda:  Rukmi hid this from even his friends. How was a person like me to know it?

 

 

Text 53

 

 

     paurnamasi:  tarhi katham asau darvikarari-ketur vidarbham alancakara.

 

     tarhi—nevertheless; katham—why?; asau—He; darvikara-ketuh—Lord Krishna, the master of Garuda; vidarbhan—the country of Vidarbha; alancakara—has decorated.

 

 

     Paurnamasi:  Then why does Krishna, the master of Garuda, now decorate Vidarbha with His presence?

 

 

Text 54

 

 

     sunandah:  sushthu bhaktayoh kratha-kaishikayoh sandesha-saundaryena.

 

     susthu—greatly; bhaktayoh—of two devotees; kratha—Kratha; kaisikayoh—and Kaisika; sandesha—of the message; saundaryena—by the beauty.

 

 

     Sunanda:  Because of the beautiful invitation of the two devotees Kratha and Kaishika.

 

 

Text 55

 

 

     paurnamasi:  nripabhyam kim atra pravrittam.

 

     nripabhyam—by two kings; kim—why?; atra—in this matter; pravrittam—was done.

 

 

     Paurnamasi:  Why did these two kings invite Him?

 

 

Text 56

 

 

     sunandah:  bhagavato hiranyagarbhasya shasanena. tatha hi

 

svasti shri-kratha-kaishikau sva-bhavanad ambhoja-garbhodbhavah

     sarva-kshmapati-durvyatikrama-girav ity adishaty esha vam

shuddhair adhyavasiyatam nripatibhih sardham yuvabhyam muda

     shri-rajendrataya kshitau yadu-pateh punyabhisheka-kriya

 

bhagavato—of the lord; hiranyagarbhasya—Brahma; sasanena—by the order; tatha hi—furthermore; svasti—auspiciousness; shri-kratha—to Kratha; kaisikau—and Kaisika; sva—own; bhavanat— from the abode; ambhoja—of the lotus flower; garbha—birth; udbhavah—manifested; sarva—all; kshmapati—by kings; durvyatikarama—impossible to transgress; girau—whose words; iti—thus; adisati—instructs; eshah—he; vam—to you both; suddahih—with the pure-hearted; adhyavasiyatam—concluded; nripatibhih—the kings; sardham—with; yuvabhyam—by you both; muda—with jubilation; shri-raja-indrataya—as the supreme monarch; kshitau—on the earth; yadu—of the Yadus; pateh—of the king (Krishna); punya—sacred; abhiseka—coronation; kriya— ceremony.

 

 

     Sunanda:  Lord Brahma ordered them: "O Kratha and Kaishika, auspiciousness unto you both. You are so powerful that no king can trangress your order. The two of you, accompanied by all pure-hearted kings, should jubilantly crown Krishna emperor of the entire world is a sacred coronation ceremony."

 

 

Text 57

 

 

     paurnamasi:  dishtya drashtavyo 'yam maya maha-mahotsavah.

 

     dishtya—by good fortune; drashtavyahe—shall be seen; ayam— this; maya—by me; maha—great; maha—great; utsavah—festival.

 

 

     Paurnamasi:  By good fortune I will see this great, great festival.

 

 

Text 58

 

 

     sunandah:  bhagavati nirvyudho 'yam.

 

     bhagavati—O noble lady; nirvyudhah—completed; ayam—this.

 

 

     Sunanda:  Noble lady, it was already done.

 

 

Text 59

 

 

     paurnamasi:  kidrig eshah.

 

     kidrk—like what?; eshah—that.

 

 

     Paurnamasi:  How was it?

 

 

Text 60

 

 

     sunandah:

 

brimhishthe ratna-simhasana-shirasi vare sannivishtasya tushtair

     girbanaih parvatisha-prabhritibhir abhitah stuyamanasya bhuyah

sadyah sampadyamano nripatibhir akhilair divya-kumbhavalibhis

     tatrapurvas tadasid danuja-vijayino raja-rajabhishekah

 

     brmhishthe—on a great; ratna-simhasana-sirasi—jewelled throne; vare—excellent; sannivaishtasya—seated; tustaih— jubilant; girbanaih—by demigods; parvati-isa—by Lord Siva, the husband of Parvati; prabhritibhih—headed; abhitah—completely; stuyamanasya—glorified with prayers; bhuyah—repeatedly; sadyah—at once; sampadyamanah—manifesting; nripatibhih—by the kings; akhilaih—all; divya—glistening; kumbha—of pitchers; avalibhih—with a multitude; tatra—there; apurvah—unprecedented; tada— then; asit—was; danuja-vijayinah—of Lord Krishna, who is always victorious over the demons; raja—of kings; raja—of the king; abhisekah—the ritual bathing at the time of coronation.

 

 

     Sunanda:  Lord Krishna, who is always victorious over the demons, sat on great, beautiful jewelled throne. As Lord Shiva and the other jubilant demigods repeatedly glorified His with prayers, all the kings performed the ritual bathing-ceremony with glistening waterpots. In this way Lord Krishna, who is always victorious over the demons, was crowned the emperor of all kings.

 

 

Text 61

 

 

     naradah:  siddham vindhyaya vedhaso vara-danam.

 

     siddham—perfect; vindhyaya—to the king of the Vindhya Mountains; vedhasah—of Lord Brahma; vara-danam—granting the benediction.

 

 

     Narada:  Lord Brahma answered Mount Vindhya's prayer (that Krishna become his son-in-law).

 

 

Text 62

 

 

     paurnamasi:  bhagavann anushadhi. sadhayami madhavam sadhishthartha-bodhanaya.

 

     bhagavan—O Lord; anusadhi—please instruct me; sadhayami—I shall approach; madhavam—Lord Krishna; sadhishtha-artha-bodhanaya— for advising.

 

 

     Paurnamasi:  Lord, order me, and I will go to Krishna to learn thye truth.

 

 

Text 63

 

 

     (pravishyapati-kshepena)  kancuki:  bhagavati vidarbhendro nivedayati mad-abhyarthitabhyam parthivabhyam rukmini-haranaya rajendram avedayitum prasthitam. tad adya bhavatya tirthena tirtha-padam drashtum icchamiti.

 

     pravishya—entering; apati—the curtain; kshepena—tossing aside; bhagavati—O noble lady; vidarbha—of Vidarbha; indrah— the king; nivedayati—informs; mat—by me; abhyarthitabhyam— requested; parthivabhyam—by the two kings; rukmini—of Rukmini; haranaya—for the kidnapping; raja—of kings; indram—the king; avedayitum—to inform; prathitam—approaching; tat—therefore; adya—now; bhavatya—by you; tirthena—saintly; tirtha-padam—the sacred feet; drashtum—to see; icchami—I desire; iti—thus.

 

 

     Kancuki:  (tossing the curtain aside, she enters)  Noble lady, the king of Vidarbha sends this message: "I requested the two kings (Kratha and Kaishika) to ask Lord Krishna, the king of all kings, to kidnap Rukmini. Today, along with you, I wish to see the sacred feet of Lord Krishna."

 

 

Text 64

 

 

     paurnamasi:  bhagavan mama sadhyam siddham ivabhut. tad anujanihi mam. (iti dvabhyam saha nishkranta.)

 

     bhagavan—O lord; mama—by me; sadhyam—to be done; siddham—completed; iva—as if; abhut—is; tat—that; anujanihi—please order; mam—me; iti—thus; dvabhyam—both of them; saha—with; nishkranta—exits.

 

 

     Paurnamasi:  Lord, it is now accomplished. Please give me permission (to go now). (She exits with both of them.)

 

 

Text 65

 

 

     (nepathye)

 

vishrante vishayakritim parinatim hitva muninam api

     svante nakramate yad-anghri-nakharopanta-prabhapy alpika

citram mad-vidha-pani-kudmala-tati-samvahya-padambuje

     devah so 'yam alankaroti karunah kalyana-palyankikam

 

     nepathye—from behind the scenes; vishrante—resting; visaya-akritim—the range of perception; parinatim—obeisances; hitva— abandoning; muninam—of the sages; api—even; svante—in the heart; na—does not; akaramte—go; yat—of whom; anghri—of the feet; nakhara—of the nails; upanta—of the tips; prabha—the effulgence; api—even; alpika—slight; citram—wonderful; mat— me; vidha—of someone like; pani—of the hand; kudmala—of the bud; tati—by the surface; samvahya—to be massaged; pada—feet; ambuje—lotus flowers; devah—lord; sah ayam—this; alankaroti— decorates; karunah—merciful; kalyana—auspicious; palyankikam— bed.

 

 

      A voice from behind the scenes:  Even in the hearts of the renounced sages the Supreme Personality of Godhead will not place the slightest ray of light from the tip of His toenails How wonderful it is that the merciful Lord decorates my auspicious couch and allows a person like me to massage His lotus feet with flower-bud hands!

 

 

Text 66

 

 

     naradah:  kratha-kaishikayoh suktir iyam.

 

     kratha—of Kratha; kaisikayoh—and Kaisika; suktih—the prayer; iyam—this.

 

 

     Narada:  These are the prayers of Kratha and Kaishika.

 

 

Text 67

 

 

     (punar nepathye shankha-dhvanaih.)

 

     punah—again; nepathye—from behind the scenes; sankha—of a conch-shell; dhvanih—the sound.

 

 

     (The sound of a conchshell is heard from behind the scenes.)

 

 

Text 69

 

 

     naradah:  (vilokya sa-harsham) ahaha

 

kara-yugalena grihitam

     nidhaya vadanambuje dhaman kambum

vraja-rajni-stana-pana-

     smarana-stimito harir jayati

 

     vilokya—looking; sa—with; harsam—joy; ahaha—aha!; kara—of hands; yugalena—by the pair; grihitam—grasped; nidhaya—placing; vadana—of the mouth; ambuje—on the lotus flower; dhaman—blowing; kambum—the conch-shell; vraja—of Vraja; rajni—of the queen; stana—the breast; pana—drinking; smarana—remembering; stimitah—motionless; harih—Lord Krishna; jayati—all glories.

 

 

     Narada:  (gazing with happiness)  All glories to Lord Krishna who, grasping the conchshell with both hands, placing it to His lotus mouth, blowing it, and remembering how He once drank the breast-milk of mother Yashoda, becomes stunned and motionless!

 

 

Text 69

 

 

     (punar nirupya)  katham kratha-kaishikabhyam anugamyamano 'yam purastat parikramati.

 

     punah—again; nirupya—looking; katham—how is it?; kratha— by Kratha; kaisikabhyam—and Kaisika; anugamayamanah—being followed; ayam—He; purastat—in the presence; parikramati—goes.

 

 

     (looking again) Followed by Kratha and Kaishika, He is coming here!

 

 

Text 70

 

 

cancat-kaustubha-kaumudi-samudayah kaumodaki-cakrayoh

     sakhyenojjvalitais tatha jalajayor adhyash caturbhir bhujaih

divyalankaranena sankata-tanuh sangi vihangeshitur

     mam asmarayad esha kamsa-vijayi vaikuntha-goshthi-shriyam

 

     cancat—moving; kaustubha—of the Kaustubha gem; kaumudi—of the moonlight; samudayah—the arisal; kaumodaki—of the Kaumodaki club; cakrayoh—and the sudarsan cakra; sakhyena—with friendship; ujjvalitaih—glistening; tatha—in that way; jalajayoh—of the two objects born from water (the lotus flower and conch-shell); adhyah—enriched; caturbhih—with four; alankaranena—with ornaments; sankata—decorated; tanuh—whose body; sangi—accompanied; vihanga-isituh—by Garuda, the king of birds; mam—me; asmarayat—reminded; eshah—He; kamsa-vijayi—Lord Krishna, who defeated King Kamsa; vaikuntha-goshthi—of Vaikuntha; shriyam—the opulence and splendor.

 

 

     The moonlight of the moving Kaustubha jewel shining, His four arms splendid with the friendship of the Kaumodaki club, Sudarshana cakra, Pancajanya conchshell, and lotus flower, and His form decorated with glistening ornaments, Lord Krishna, who defeated Kamsa and who is now accompanied by Garuda, reminds me of His opulence in Vaikuntha.

 

 

Text 71

 

 

     tad ambaram arudhah kautukam avalokyami. (iti nishkrantah.)

 

     tat—then; ambaram—in the sky; arudhah—ascended; kautukam—this wonder; avalokayami—I see; iti—thus; nishkrantah—exits.

 

 

     Now I will ascend into the sky and watch the Lord's pastimes from there. (He exits.)

 

 

Text 72

 

 

     (tatah pravishati yatha-nirdishtah krishnah.)

 

krishnah:  hanta nripedrau

 

hitair amrita-shalibhir mad-abhisheka-varam jharaih

     samriddhim upalabhya vam vimala-kirti-valli bhuvi

vyatita-sura-kanana parama-murdham arundhati

     rama-smarana-bhusana-stavaka-rashir asid asau

 

     tatah—then; pravishati—enters; yatha—as; nirdhishtah— described; krishnah—Krishna; hanta—O!; nripa-indrau—great kings; hitaih—auspicious; amrita—with nectar; salibhih—filled; mat—of Me; abhiseka—of the ceremonial bathing at the time of coronation; varam—excellent; jharaih—with streams; samrddhim— expansion; upalabhya—attaining; vam—of you; vimala—splendid; kirti—of fame; valli—the creeper; bhuvi—in this world; vyatita—surpassing; sura—of the demigods; kanana—the groves and gardens; parama—of the spiritual world; murdham—to the top; arundhati—stopping; rama—of the goddess of fortune; smarana—of the memory; bhusana—the ornament; stavaka—of bunches of flowers; rasih—a multitude; asit—has become; asau—this.

 

 

     (Lord Krishna as described, enters)

 

     Krishna:  O kings, watered by the auspicious streams of nectar in My coronation, the splendid vine of your fame has grown beyond the gardens of the demigods and entered the spiritual world, where it now blossoms with many flowers to decorate the thoughts of the goddess of fortune.

 

 

Text 73

 

 

     nripau: (sa-prashrayam)

 

ekasminn iha roma-kupa-kuhare brahmanda-bhandavali

     yasya prekshayate gavaksha-padavi-ghurnat-paranupamam

keyam tasya samriddhaye tava vibho rajendrata-gramati

     sautiryena camatkritim tad api nah kam apy asau pushyati

 

sa—with; prasrayam—humbleness; ekasmin—in one; iha—here; roma-kupa-kuhare—bodily pore; brahmanda-bhanda—of universes; avali—a multitude; yasya—of whom; prekshayate—shows; gavaksha— of a window; padavi—the path; ghurnat—moving; paranu—atoms; upamam—for expanding; tava—of You; vibho—O almighty Lord; raja-indrata—the status of king of kings; gramati—of being a village-chief; sautiryena—with the pride; camatkritim—wonder; tat—that; api—even; nah—of us; kam api—a certain; asau—this; pusyati—nourishes.

 

 

     The two kings: (with humbleness)  As many atoms pass through an open window, so a great host of universes passes through a single pore of Your body. O Almighty Lord, how can we actually glorify You? Our praises are like glorifying an emperor by calling him a wonderful village-chief. Your glories fill us with wonder.

 

 

Text 74

 

 

     krishnah:  nripendrau prasanno 'smi. nijabhishtam abhyarthayetham.

 

     nripa-indrau—O great kings; prasannah—please; asmi—I am; nija—own; abhishtam—desire; abhyarthayetham—please request.

 

 

     Krishna:  O great kings, I am very pleased with you. Please ask some benediction from Me.

 

 

Text 75

 

 

     nripau: deva rukmini sa tapasvini tapas tatha na cakara. yena te dasya-saubhagya-bhagadheya-bhajanam bhaved iti suparnad akarnitam. kintu tatha devenanugrihyatam. yatha kathaveshena bhiru-vesha na syat.

 

     deva—O Lord; rukmini—Rukmini; sa—she; tapasvini—ascetic; tapah—austerity; tatha—in that way; na—not; cakara—performed; yena—by which; te—of You; dasya—of service; saubhagya—of good fortune; bhagadheya—a portion; bhajanam—the object; bhavet—may be; iti—thus; suparnat—from Garuda; akarnitam—heard; kintu— however; tatha—in that way; deva—O Lord; anugrihyatam—please be kind; yatha—just as; katha—of this statement; avesena—with the entrance; bhiru—fearsome; vesa—appearance; na—not; syat—may be.

 

 

     The two kings:  Lord, although we have heard from Garuda that poor Rukmini has not performed any austerities to attain the  good fortune of serving You directly, please be merciful to her. Please don't be a cause of fear for her.

 

 

Text 76

 

 

     krishnah:  kidrig anugrahah.

 

     kidrk—like what?; anugrahah—mercy.

 

 

     Krishna:  What kind of mercy?

 

 

Text 77

 

 

     nripau:  durmada-magadhadinam parabhavenasyah kundinad akrishtih. yad adya candrabhagaradhanaya bahih sadhayaty esha.

 

     durmada—wicked; magadha—Jarasandha, the king of Magadha; adinam—of the kings headed by; parabhavena—by the defeat; asyah—of her; kundinat—from Kundina; akrishtih—taking; yat— because; adya—today; candrabhaga—of the goddess Durga; aradhanaya—for worship; bahih—outside; sadhayati—is; esha—she.

 

 

     The two kings:  Defeat Jarasandha and the other demon kings, and take her from Kundina City. Do it today when she leaves the palace to worship goddess Candrabhaga (Durga).

 

 

Text 78

 

 

     krishnah:  kshitindrau badham aharishyami. tad-abhishtam anusthiyatam.

 

     kshiti-indrau—O kings; baddham—certainly; aharishyami—I shall take; tat—this; abhishtam—desire; anusthiyatam—shall be fulfilled.

 

 

     Krishna:  Kings, I will kidnap her. Her desire will be fulfilled.

 

 

Text 79

 

 

     (nripau krishnam pranamya nishkrantau.)

 

     nripau—the kings; krishnam—to Lord Krishna; pranamya—offering respectful obeisances; nishkrantau—exit.

 

 

     (The two kings offer their respectful obeisances to Lord Krishna and then exit.)

 

 

Text 80

 

 

     (nepathye)

 

bhita rudram tyajati girija shyamam aprekshya kantham

     shubhram drishtva kshipati vasanam vismito nila-vasah

kshiram matva shrapayati yami-niram abhiritotka

     gite damodara yashasi te vinaya naradena

 

     bhita—frightened; rudram—Lord Siva; tyajati—abandons; girija—Parvati; syamam—blue; aprekshya—not seeing; kantham—the neck; subhram—white; drishtva—seeing; kshipati—tossess away; vasanam—garment; vismitah—astonished; nila-vasah—Balarama; kshiram—milk; matva—considering; srapayati—churns; yami—of the Yamuna River; niram—the water; abhirika—gopi; utka—eager; gite—when sung; damodara—O Lord Damodara; yasasi—the glory; te—of You; vinaya—with the vina; naradena—by Narada.

 

 

     A voice from behind the scenes: O Krishna, when the great sage Narada was chanting Your glories and playing the vina, the bluish line on the neck of Lord Shiva disappeared. Upon seeing this, Gauri, the wife of Lord Shiva, suspected Lord Shiva of being someone else disguised as her husband, and out of fear she immediately left his company. Upon hearing the chanting of Krishna's name, Lord Balarama saw that His dress had become white, although He was generally accustomed to a bluish dress. And the cowherd girls saw all of the water of the Yamuna River turn into milk, so they began to churn it into butter.*

 

 

Text 81

 

 

     suparnah:  so 'yam ambare tumburuh staviti.

 

     sah ayam—this; ambare—in the sky; tumburuh—Narada; staviti—offers prayers.

 

 

     Suparna:  This is Narada offering prayers from the sky.

 

 

Text 82

 

 

     krishnah:  sakhe khagendra pashya pashya

 

shubhratapatra-patali khala-bhupatinam

     abhrani takshaka-phanakritir avrinoti

yam akalayya prithu-vepathu-dolitani

     dure jaganti bhaya-jarjaratam bhajanti

 

     sakhe—O friend; khaga—of birds; indra—O king; pashya—look!; pashya—look!; subhra—white; atapatra—of parasols; patali—the multitude; khala—of the demoniac; bhupatinam—kings; abhrani—the clouds; takshaka—of the serpent Takshaka; phana-akritih—the hood; avrinoti—covers; yam—which; akalayya—seeing; prithu—greatly; vepathu-dolitani—trembling; dure—from far away; jaganti—the universes; bhaya—with fear; jarjaratam—suffering; bhajanti—attain.

 

 

     Krishna: O friend, O king of birds, look! Look! As if they were the expanded hoods of the great serpent Takshaka, the white parasols of the demon-kings cover the clouds Seeing these parasols from far away, and thinking the great serpent has come, the universes are now trembling in fear.

 

 

Text 83

 

 

     suparnah:  deva badham atapatra-phana-patali laghiyasah kinkarasyasya garutmatah sakrit paksha-vikshepa-kelaye 'pi na paryaptim eshyati. dure vishranyatu sakha me sudarshanah kalpanta-krishanuh.

 

     deva—O Lord; badham—certainly; atapatra—parasol; phana— of serpent's hoods; patali—multitude; laghiyasah—of the insignificant; kinkarasya—servant; asya—of him; garutmatah— Garuda; sakrit—once; paksha—of the wing; vikshepa—striking; kelaye—for a pastime; api—even; na—not; paryapaptim—defence; esyati—will attain; dure—far away; vishramyatu—may rest; sakha—friend; me—my; sudarsanah—the Sudarsana cakra; kalpa—of the kalpa; anta—at the end; krsanuh—the fire.

 

 

     Suparna:  These serpent-hood parasols will not be able to defend themselves from even a single playful blow of the wing of this insignificant servant Garuda. Let my friend, the Sudarshana cakra, who burns like the great fire at the end of the kalpa, stay far away. (I will take care of this myself.)

 

 

Text 84

 

 

     (nepathye)

 

kundina-naraba-i-putti

     anuruba pundari-a-na-anassa

taha eso sahi tissa

     ha hada-devvam vilome-i

 

     nepathye—behind the scenes; kundina—of Kundina; naraba-i-putti—the princess; anuruba—a suitable match; punari-a-na-anassa—for lotus eyed Krishna; taha—in that way; eso—He; sahi—O friend; tissa—of her; ha—alas!; hada—wretched; devvam—fate; vilome-i—has become contrary.

 

 

     A voice from behind the scenes:  Rukmini, the princess of Kundina, is a perfect match for lotus-eyed Krishna. O friend, cruel fate is not friendly to her.

 

 

Text 85

 

 

     suparnah:  pura-strinam vishadoktir iyam.

 

     pura—in the city; strinam—of the women; vishada-uktih—the lament; iyam—this.

 

 

     Suparna:  This is the lamentation of the women in Kundina City.

 

 

Text 86

 

 

     (punar nepathye)

 

kahi ruppini suruba

     kahi damaghosassa nandano mando

na ghada-e gadòaha-kanthe

     vimala no-mali-a-mala

 

     punah—again; nepathye—behind the scenes; kahi—where?; ruppini—Rukmini; suruba—beautiful; kahi—where?; damaghosassa— of Maharaja Damaghosa; nandano—the sun; mando—slow-witted; na— not; ghada-i—is; gaddaha—of a donkey; kanthe—on the neck; vimala—a splendid; no—of fresh; mali-a—malika flowers; mala—a garland.

 

 

     A voice from behind the scenes:  What is the dull-witted son of Maharaja Damaghosha in comparison to beautiful Rukmini?  A splendid garland of newly-blossomed malika flowers should not be placed around the neck of a donkey.

 

 

Text 87

 

 

     suparnah:  vanyaya malaya khalu sulabho 'yam kaustubhi kantho nanyaya.

 

     vanyaya—of forest-flowers; malaya—by the garland; khalu— indeed; su-labhah—easily attained; ayam—this; kaustubhi—that carries the Kaustubha gem; kanthah—the neck; na—not; anyaya—by another.

 

 

     Suparna:  This forest-flower garland will decorate the neck that holds the Kaustubha gem. It will decorate no other neck.

 

 

Text 88

 

 

     (nepathye)

 

jiyad uccair akhila-taruni-manòalakrishti-vidya

     vaidagdhinam nidhir anavadhir yadavambhodhi-candrah

sangramantah-pura-bhuvi puro hanta yam prekshya durad

     astri-loko 'py atanu-cakitah stri-svarupam bibharti

 

     nepathye—behind the scenes; jiyat—all glories; uccaih—greatly; akhila—of all; taruni—young girls; manòala—the circle; akrishti—attraction; vidya—knowledge; vaidagdhinam—of expertize; nidhih—a treasure-house; anavadhih—limitless; yadava—of the Yadu dynasty; ambhodhi—from the ocean; candrah— the moon; sangrama-antah-pura-bhuvi—in the inner apartments of the palace; purah—in the presence; hanta—indeed; yam—whom; prekshya—seeing; durat—from far away; a-stri-lokah—those who are not women; api—even; atanu—by cupid; cakitah—frightened; stri—of women; svarupam—the forms; bibharti—manifest.

 

 

     A voice from behind the scenes:  All glories to Lord Krishna, the splendid moon risen from the ocean of the Yadu dynasty. He is a boundless treasure-house of the art of attracting all young girls. When even soldiers in battle glimpse Him far away in the palace, they tremble with amorous desire and become at once transformed into women.

 

 

Text 89

 

 

     krishnah:  (savyato vilokya)  katham ayam mauktika-cuòo nama mathuro vandi bhogavalim pathati.

 

     savyatah—to the left; vilokya—looking; katham—whether; ayam—this; mauktikacudah—Mauktikacuda; nama—named; mathurah— from Mathura; vandi—the poet; bhogavalim—a virudavali poem; pathati—recites.

 

 

     Krishna:  (glancing to the left)  Is this the poet Mauktikacuòa from Mathura reciting a Bhogavali poem?

 

 

Text 90

 

 

     (punas tatraiva)

 

sphuran-manisaradhikam nava-tamala-nilam harer

     uduòha-ghana-kunkumam jayati hari vakshah-sthalam

uòu-stavakitam sada taòid-udirna-lakshmi-bharam

     yad abhram iva lilaya sphutam adabhram udbhasate

 

     punah—again; tatra—there; eva—certainly; sphurat—glistening; mani—of jewels; sara—a necklace; adhikam—more; nava—young; tamala—tamala tree; nilam—dark; hareh—of Lord Krishna; ududha—borne; ghana—thick; kunkumam—kunkuma; jayati— all glories; hari—charming; vakshah-sthalam—chest; udu—of stars; stavakitam—with blossoms; sada—eternally; tadit— lightning; udirna—manifested; lakshmi—of beauty; bharam— abundance; yat—which; abhram—a cloud; iva—like; lilaya— playfully; sphutam—manifested; adabhram—greatly; udbhasate— shines.

 

 

     Again from behind the scenes:  All glories to Krishna's handsome chest more splendid than a necklace of glittering sapphires, dark as a young tamala tree, decorated with thick kunkuma, and playfully and eternally glistening as a monsoon cloud decorated with bunches of blossoming stars and splendid with a stationary lightning flash!

 

 

Text 91

 

 

     krishnah:  (sa-vyamoham)  ha preyasi radhike ha vrindavana-kalpa-valli ha vishakha-sakhi kutrasi. (iti sotkampam khagendram alambate.)

 

     sa—with; vyamoham—perplexity; ha—O!; preyasi—beloved; radhike—Radha; ha—O; vrindavana—of Vrindavana; kalpa—desire; valli—creeper; ha—O; vishakha—of Visakha; sakhi—friend; kutra—where?; asi—are You; iti—thus; sa—with; utkampam—trembling; khaga—of birds; indram—of the king; alambate—leans.

 

 

     Krishna: (perplexed)  O dear Radha! O desire vine of Vrindavana forest! O friend of Vishakha! Where are You now? (He trembles and leans against Suparna.)

 

 

Text 92

 

 

     suparnah:  (svagatam)  duruhayam gambhira-lilambudher asya keli-velayam madrisho 'pi nimajjati. kas tatranyo varakah. (prakasham)  deva samashvasihi samashvasihi.

 

     svagatam—aside; duruhayam—difficult to enter; gambhira—deep; lila—of transcendental pastimes; ambudheh—of the ocean; asya—of Him; keli—pastime; velayam—on the shore; madrsah—a person like me; api—even; nimajjati—enters; kah—who?; tatra— there; anyah—another; varakah—ordinary person; prakasam— openly; deva—O Lord; samasvasihi—calm down; samasvasihi—calm down.

 

 

     Suparna:  (aside)  Even a person like me will drown in the difficult-to-approach shore of the deep ocean of Lord Krishna's pastimes. What ordinary person will understand it?  (openly)  O Lord, please calm down! Please calm down!

 

 

Text 93

 

 

     (krishnah samashvasya nishvasiti.)

 

     krishnah—Krishna; samasvasya—becoming calm; nisvasiti—sighs.

 

 

     (Krishna becomes calm and sighs.)

 

 

Text 94

 

 

     (nepathye)

 

dhatreyi-kara-puta-sambhritagra-hasta

     paryastakula-jarati-dvijanganabhih

durena pracura-bhataih pariyamana

     vaidarbhi prasarati parvati-grihaya

 

     nepathye—behind the scenes; dhatreyi—of Dhatreyi; kara-puta—the hand; sambhrita—held; agra—of the edge; hasta—the hand; paryasta—surrounded; akula—excited; jarati—elderly; dvija—brahmani; anganabhih—by the ladies; durena—from a distance; pracura—many; bhataih—by soldiers; pariyamana— surrounded; vaidarbhi—Rukmini, the princess of Vidarbha; prasarati—goes; parvati—of goddess Parvati; grihaya—to the temple.

 

 

     A voice from behind the scenes: Holding Dhatreyi by the hand, surrounded by the excited elderly brahmana ladies, and also surrounded at some distance by many soldiers, Rukmini, the princess of Vidarbha is now going to the temple of goddess Parvati.

 

 

Text 95

 

 

     krishnah:  sakhe suparna hatashena rukmina durgamam kritam etad durga-mandiram. tad ehi nata-veshenavam antah pravishavah. (iti nishkrantau.)

 

     sakhe—O friend; suparna—Garuòa; hata-asena—wicked; rukmina—with Rukmi; durgamam—the carefully guarded; kritam— done; etat—this; gurga—of goddess Durga; mandiram—the temple; tat—therefore; ehi—come here; nata—of dances; vesena—in the disguise; avam—Me; antah—within; pravishavah—enter; iti—thus; nishkrantau—They exit.

 

 

     Krishna:  O friend Suparna, the villain Rukmi has placed guards all around Durga's temple. Come, let us enter the temple disguised as dancers. (They exit.)

 

 

Text 96

 

 

(tatah pravishati yatha-nirdishta candravali.)

 

     candravali: hala mahavi sudam ma-e bhadu-ena bhadda-ali-samarahanassa kodi-homam araddham.

 

     tatah—then; pravishati—enters; yatha—as; nirdishta— described; candravali—Candravali; hala—O; mahavi—Madhavi; sudam—heard; ma-e—by me; bhadu-ena—by my brother; bhadda-ali— of Bhadrakali (Durga); samarahanassa—for the worship; kodi— millions; homam—offerings of ghee; araddham—was performed.

 

 

     (As described, Candravali enters.)

 

     Candravali:  O Madhavi, I have heard that my brother has started a sacrifice of ten million offerings of butter to worship goddess Bhadrakali (Durga).

 

 

Text 97

 

 

     madhavi:  bhatöi-dari-e bamhani-o kkhu evvam kadhenti.

 

     bhatti-dari-e—O princess; bamhani-o—the brahmana-ladies; kkhu—indeed; evvam—in this way; kadhenti—speak.

 

 

     Madhavi:  O princess, the brahmana ladies say that.

 

 

Text 98

 

 

     candravali:  (svagatam)  gahiram nam homa-kunòam suni-a cce-a patthidamhi.

 

     svagatam—aside; gahiram—deep; nam—this; homa—of butter; kundam—lake; suni-a—having heard; cce-a—certainly; patthidamhi—I am going.

 

 

     Candravali:  (aside)  I have heard of this deep lake of butter. Now I will go to see it.

 

 

Text 99

 

 

     madhavi:  bhaööi-dari-e tadha-siniddhena bi purisuttamena kim tti tumam na uddisi-asi.

 

     bhatti-dari-e—O princess; tadha—in this way; siniddhena— affectionate; bi—although; purisuttamena—by the best person; kim—why?; tti—thus; tuman—you; na—not; uddisi-asi—you are spoken.

 

 

     Madhavi:  Princess, why did the Supreme Person, Lord Krishna, who loves you, not ask to marry you?

 

 

Text 100

 

 

     candravali: (sanskritena)

 

sharanam iha yo bhratus tasya pratipa-vidhayita

     hita-krid api ya devyas tasyah samagram upekshanam

gatir avikala yo me tasya priyasya ca vismritir

     bata hata-vidhau vame sarvam prayati viparyayan

 

     sanskritena—in Sanskrit; sharanam-iha—here; yah—which; bhratuh—of the brother; tasya—of him; pratipa—the opposite; vidhayita—giving; hita—auspiciousness; krit—granting; api— even; ya—who; devyah—of the goddess; tasyah—of her; samagram— complete; upekshanam—neglect; gatih—destination; avikala— auspicious; yah—who; me—of me; tasya—of Him; priyasya—the beloved; ca—also; vismritih—forgetfulness; bata—alas!; hata— cruel; vidhau—fate; vame—crooked; sarvam—all; prayati— attains; paryayam—the opposite.

 

 

     Candravali:  (in Sanskrit)  My brother has now become my enemy, the auspicious goddess Durga ignores me, and my beloved Lord Krishna has completely forgotten me. O wicked, cruel fate, everything has gone against me.

 

 

Text 101

 

 

     madhavi:  edam pasadam pavishi-a candabha-am nivedamha.

 

     edam—this; pasadam—temple; pavishi—having entered; candabha-am—goddess Candrabhaga (Durga); nivedamha—let us pray.

 

 

     Madhavi:  Let us enter the temple and pray to goddess Candrabhaga (Durga).

 

 

Text 102

 

 

     candravali:  ajje bhaggavi vandavehi candabha-am candi-am.

 

     ajje—O noble one; bhaggavi—Bhargavi; vandavehi—offer respectful obeisances; candabha-am—to goddess Durga; candi-am— passionate.

 

 

     Candravali:  Noble Bhargavi, bow down before goddess Candrabhaga (Durga).

 

 

Text 103

 

 

     bhargavi:  devi candrabhage nandaya vidarbha-nandinim paramabhishöa-varena. (iti vandanam karayati.)

 

     devi—O goddess; candrabhaga—Durga; nandaya—please delingt; vidarbha-nandinaim—the princess of Vidarbha; parama— supreme; abhishöa-varena—with the desired benediction; iti—thus; vandanam—obeisances; karayati—causes.

 

 

     Bhargavi:  Goddess Candrabhaga (Durga), please make the princess of Vidarbha happy by giving her the benediction she desires.

 

 

     Note:  The word "vara" may also mean  husband". Interpreted in this way, the phrase may read:  by giving her the husband she desires."

 

 

Text 104

 

 

     candravali:  (sopalambham sanskritena)

 

akaumaram bhagavati maya hanta krishnasya hetor

     vishrambhena pravana-manasa yat tvam aradhitasi

pratyasannah sa-rabhasam asau tasya pakah prathiyan

     mam dakshinyad yad iha bhavati krishna-vartmany anaishit

 

     sa—with; upalambham—censure; sanskritena—in Sanskrit; akaumaram—since childhood; bhagavati—O goddess; maya—by me; hanta—indeed; krishnasya—of Lord Krishna; hetch—for the purpose; vishrambhena—with faith; pravana—humbly devoted; manasa—with a heart; yat—which; tvam—you; aradhishöa—worshipped; asi—have been; pratyasannah—nearby; sa—with; rabhasam—speed; asau— this; tasya—of that; pakah—fruition; prathiyan—may be expanded; mam—me; dakshinyat—out of kindness; yat—which; iha— here; bhavati—you; krishna—to Krishna; vartmani—on the path; anaisit—led.

 

 

     Candravali:  (complains in Sanskrit)  O goddess, since my childhood I have worshiped you with great faith and ardent devotion in order to obtain Lord Krishna. Now please immediately give me the result of my worship. Out of kindness, please direct me on the path that leads to Lord Krishna.

 

 

Text 105

 

 

     madhavi:  pekkha pekkha pasadahimuhivva samvutta ruddani.

 

     pekkha—look!; pekkha—look!; pasada—with mercy; ahimuhi—favorable; ivva—as if; samvutta—being; ruddani—Rudrani, (Durga).

 

 

     Madhavi:  Look! Look! Goddess Rudrani (Durga) is suddenly smiling with a very merciful expression.

 

 

Text 106

 

 

     candravali:  ajje bhaggavi tumhe ettha savvanim abbhatthedha. aham gadu-a kunòa-tthidam bha-avantam pava-am parikkamissam.

 

     ajje—O noble; bhaggavi—Bhargavi; tumhe—you; ettha—here; savvanim—goddess Durga; abbhatthedha—may offer prayers; aham— I; gadu-a—having gone; kunda—by the pond; tthidam—situated; bha-avantam—the diety; pava-am—the fire; parikkamissam—I shall circumambulate.

 

 

     Candravali:  Noble Bhargavi, you stay here and pray to goddess Sarvani (Durga), and I will go to the pond of butter and circumambulate the sacred fire.

 

 

Text 107

 

 

     (tatah pravishato nartaka-veshau krishna-suparnau.)

 

     tatah—then; pravishatah—enter; nartaka—of dancers; vessau—in the dress; krishna—Krishna; suparnau—and Suparna.

 

 

     (Disguised as dancers, Krishna and Suparna enter.)

 

 

Text 108

 

 

     krishnah:

 

paryashili pashupala-ghaöayam

     keli-ranga-ghatanaya maya yah

sushöhu so 'yam akarot para-durge

     veshayan sacivatam naöa-veshah

 

     paryasili—practiced; pasupala—of a cowherd; ghatayam—in the activity; keli-ranga—pastimes; ghatanaya—for performing; maya—of Me; yah—what; susthu—nicely; sah ayam—that; akarot— has done; para—of others; durge—in the forstress; vesayan— causing to enter; sacitvatam—the state of being an expert councelor; nata—of dancers; vesah—the disguise.

 

 

     Krishna:  When I was a cowherd boy I would often amuse Myself by dancing. That art of dancing has now become the expert counselor who has taught us how to enter this great fortress.

 

 

Text 109

 

 

     suparnah:  deva gaòham ganjitani naöa-veshenarinam netrani narinam tu ranjitani.

 

     deva—O Lord; gadham—deeply; ganjitani—eclipsed; nata—of dancers; vesena—by the appearance; arinam—of the enemies; netrani—the eyes; narinam—of the women; tu—indeed; ranjitani— delighted.

 

 

     Suparna:  O Lord, our disguise as dancers covers the eyes of our enemies and delights the eyes of all the women here.

 

 

Text 110

 

 

     krishnah:  sakhe vihanga-pungava pashya pradurbhavanti bhavyani shakunani.

 

     sakhe—O friend; vihanga—of birds; pungava—O best; pashya—look; pradurbhanavanti—manifests; bhavyani—auspicious; sakunani—omens.

 

 

     Krishna: Friend, greatest of all birds, look! There are many auspicious omens.

 

 

Text 111

 

 

     suparnah: 

 

nabhasi rabhasavadbhih shlaghyamana munindrair

     mahita-kuvalayakshi kirti-shubhramshu-vaktra

nripa-kulam iha hitva cedi-raja-pradhanam

     mura-damana gamishyaty utsuka tvam jaya-shrih

 

     nabhasi—in the sky; rabhasavadbhih—with eagerness; slagghyamana—glorified; muni—of sages; indraih—by the leaders; mahita—glorious; kuvalaya—lotus flower; akshi—whose eyes; kirti—of glory; subhra-amsu—???; vaktra—whose face; nripa—of kings; kulam—the community; iha—here; hitva—abandoning; cedi— of Cedi; raja—the king (Shishupala); pradhanam—who is the first; mura—of the Mura demon; damana—O crusher; gamishyati—will go; utsuka—eager; tvam—to You; jaya—of victory; shrih—the goddess.

 

 

     Suparna:  The goddess of victory, whose face is like a glorious moon, whose eyes are like beautiful lotus flowers, and who is earnestly glorified by the great sages in the heavenly planets, has abandoned Cedi's King Shishupala and his royal allies, and, O crusher of the Mura demon, is now very eager to approach You.

 

 

Text 112

 

 

     krishnah:  sakhe pashya pashya

 

kshvedam akhanòa-samarah kalayanti shura

     sangitinah svara-ghaöam anughaööayanti

uccaih paöhanti shubha-sukta-kulam dvijendra

     ra\shörani kunòina-puri badhiri-karoti

 

     sakhe—O friend; pashya—look!; pashya—look!; kshvedam—the roar of a lion; akhanda—undefeated; samarah—in battle; kalayanti—make; surah—the heroes; sangitinah—the singers and musicians; svara-ghatam—a great sound; anughattayani—follow; uccaih—loudly; pathanti—recite; subha—auspicious; sukta—of prayers; kulam—a host; dvija—of brahmanas; indrah—the leaders; rastrani—all the countries; kunòina—of Kunòina; puri—the city; badhiri-karoti—deafens.

 

 

     Krishna:  Friend, look! Look! The great heroes never defeated in battle roar as lions. The singers and musicians make a great sound, and the best of the brahmanas loudly recite many prayers. This city of Kunòina is deafening the entire country.

 

 

Text 113

 

 

     suparnah:  (puro drishöva)  mriòani-mandirad esha kunòinendra-putri bahir nishkramati.

 

     purah—ahead; drishöva—looking; mrdani—of Durga; mandirat— from the temple; esha—she; kunòina—of Kunòina; indra—of the king; putri—the daughter; bahih—outside; miskranmati—walksh.

 

 

     Suparna:  (looking ahead)  Rukmini, the daughter of the king of Kunòina is now leaving the temple of Mridani (Durga).

 

 

Text 114

 

 

     krishnah:  kamam itah parangana-vilokana-durvilasan nivrittir eva shreyasi. (iti mukham vyavartya)  sakhe bhavataiva pakshancalenakrishya nripabhyam iyam samarpyatam.

 

     kamam—completely; itah—therefore; para—other; angana—women; vilokana—the sight; durvilasat—not very beautiful; nivrittih—cessation; eva—certainly; shreyasi—the most beautiful; iti—thus; mukham—the face; vyavartya—turning; sakhe—O friend; bhavata—by you; eva—certainly; paksha—of a wing; ancalena—with the tip; akrishya—drawing; nripabhyam—with the two kings; iyam— her; samarpyatam—should be placed.

 

 

     Krishna:  This girl is the most beautiful. She eclipses the beauty of other girls. They no longer seem beautiful in comparison to her. (turning His face)  Friend, bring this girl and the two kings (Kratha and Kaishika) here on the tip of your wing.

 

 

Text 115

 

 

     suparnah:  (nirvarnya sa-vismayam)

 

saundaryambunidher vidhaya mathanam dambhena dugdhambudher

     girbanair udahari caru-carita ya sara-sampan-mayi

sa lakshmir api cakshusham cira-camatkara-kriya-caturim

     dhatte hanta tatha na kantibhir iyam rajnah kumari yatha

 

     nirvarnya—gazing; sa—with; vismayam—wonder; saundarya—of beauty; ambunidheh—from the ocean; vidhaya—doing; mathanam— churning; dambhena—on the pretext; dugdha—of milk; ambunidheh— from the ocean; girbanaih—by the demigods; udahari—lifted; caru—beautiful; carita—whose features; ya—who; sara— transcendental; sampat—with opulence; mayi—endowed; sa—she; lakshmih—Lakshmi; api—even; cakshusam—of the eyes; cira—eternal; camatkara—of wonder; kriya—doing; caturim—expertise; dhatte— places; hanta—indeed; tatha—in that way; na—not; kantibhih— with beauty; iyam—this; rajnah—of a king; kumari—the girl; yatha—as.

 

 

     Suparna: (gazing in wonder)  Pretending to appear from the ocean of milk churned by the demigods, goddess Lakshmi took birth from the ocean of beauty. Although Lakshmi is exquisitely beautiful and opulent, and although she eternally fill all eyes with wonder, she is not as beautiful as princess Rukmini.

 

 

Text 116

 

 

     krishnah:  sakhe bhavatu. kim etena. yad esha rupa-matrena na haryo harih.

 

     sakhe—O friend; bhavatu—so be it; kim—what?; etena—is the use of this; yat—because; eshah—He; rupa—a beautiful form; matrena—merely; na—not; haryah—enchante; harih—Krishna.

 

 

     Krishna:  Friend, it is so, but what does it matter? Krishna is not enchanted by mere beauty.

 

 

Text 117

 

 

     candravali:  hala mahavi so vundavana-bi-a-sambhudo me ba-ula-podo tu-e palanijjo.

 

     hala—O; mahavi—Madhavi; sah—that; vundavana—in Vrindavana forest;  bi-a—from a seed; sambhudo—sprung; me—of me; ba-ula—bakula; potah—sprout; tu-e—by you; palanijjo—may be protected.

 

 

     Candravali:  Madhavi, I request you:  Please take care of the young bakula tree I planted with a seed from Vrindavana.

 

 

     Note:  Rukmini here hints that she wishes to commit suicide because she cannot attain Krishna. She is concerned that he pet tree will be protected after she is dead and can no longer care for it.

 

 

Text 118

 

 

     madhavi:  (sasram)  bhaööi-dari-e pasida pasida padibalehi sunandam. jam ettha majjha-vattini bha-avadi vihavari.

 

     sa—with; asram—tears; bhatti-dari-e—O princess; pasida—be kind; pasida—be kind; padibalehi—

 

 

     Madhavi:  Princess, calm down. Calm down. Wait for (the messenger) Sunanda. The goddess of night has only half come.

 

 

Text 119

 

 

     candravali:  muddhe ante-ure na kkhu sulaham edam mangalam me ami-a-kunòam.

 

     muddhe—O foolish girl; ante-pure—in the inner apartments of the palace; na—not; kkhu—indeed; sulaham—easily approachable; edam—this; mangalam—auspicious; me—by me; ami-a—of nectar; kundam—the lake.

 

 

     Candravali:  Fool! By staying in the palace I cannot attain that auspicious nectar lake of immortality.

 

 

     Note: The lake of immortality here is the sacrificial fire. Rukmini wants to commit suicide by jumping into that fire.

 

 

Text 120

 

 

     (iti sasram sankritena)

 

tvad-dig-bodhe 'py akushala-matih sangamayya sva-goshöhe

     durad baòham kim iti kripaya purvam angi-kritaham

nitva deshantaram idam upakshipya sangad idanim

     kim va damodara guna-nidhe ha tvaya vismritasmi

 

     iti—thus; sa—with; asram—tears; sanskritena—in Sanskrit; tvat—of You; dik—the direction; bodhe—in the knowledge; api—even; akusala—not expert; matih—whose consciousness; sangamayya—meeting; sva-goshöhe—in Vrajabhumi; durat—from far away; badham—indeed; kim—how?; iti—thus; kripaya—by mercy; purvam—formerly; angi-krita—accepted; aham—I was; nitva—having brought; desha—country; antaram—to another; idam—thus; upakshipya—tossing away; sangat—from association; idanim—now; kim—whether?; va—or; damodara—O Krishna; guna—of transcendental qualities; nidhe—O treasure house; ha—ah!; tvaya—by You; vismrita—forgotten; asmi—I am.

 

 

     (Shedding tears, she says in Sanskrit)  I was never able really to understand You. Still, You mercifully accepted me in Vrajabhumi. Why have You now given up my company and gone to another country? O Krishna, O treasure-house of all transcendental qualities, why have You forgotten me?

 

 

Text 121

 

 

     (nepathye kala-kalah.)

 

     nepathye—behind the scenes; kala-kalah—a tumult.

 

 

     (A tumultous sound behind the scenes.)

 

 

Text 122

 

 

     krishnah:  paura-strinam autsukyam.

 

     paura—of the city; strinam—of the women; autsukyam— excitement.

 

 

     Krishna:  The women in the city are making a tumultuous sound.

 

 

Text 123

 

 

     suparnah:  deva pashya pashya

 

vaktrani bhanti parito harinekshananam

     arudha-harmya-shirasam bhavad-ikshanaya

yair nirmitani tarasa sarasiruhaksha

     candravali-paricitani nabhas-talani

 

     deva—O Lord; pashya—look!; pashya—look!; vaktrani—the faces; bhanti—are manifested; paritah—everywhere; harina-ikshananam—of the doe-eyed women; arudha—ascended; harmyan—of the palace; sirasam—to the roof; bhavat—You; ikshanaya—to see; yaih—by which; nirmitani—created; tarasa—at once; sarasiruha-aksha—O lotus-eyed one; candravali—by Candravali; paricitani— manifested; nabhah—of the sky; talani—the surface.

 

 

     Suparna:  Lord, look! Look! Up there are the faces of doe-eyed women that climbed to the palace roof to see You. Lotus-eyed one, Candravali is there among them!

 

 

Text 123

 

 

     krishnah:  (sotkanöham)  ha priye candravali ha padma-sakhi katham kaöhorena maya vismritasi. tad adyaiva dvaravatim asadya tavoddeshaya caran acarishyami.

 

     sa—with; utkanöham—longing; ha—O; priye—beloved; candravali—Candravali; ha—O; padma—of Padma; sakhi—friend; katham—how is it?; kaöhorena—hard-hearted; maya—by Me; vismrita—been forgotten; asi—you have; tat—then; adya—now; eva—certainly; dvaravatim—Dvaraka; asadya—attaining; tava—of you; uddeshaya—in relation; caran—going; acarishyami—I shall do.

 

 

     Krishna:  (with longing)  O dear Candravali, O friend of Padma, how have I been so cruel to forget you? Today when I return to Dvaraka I will send messengers to find you.

 

 

Text 124

 

 

     candravali:  nam samiddham purado kunòam pekkhanti nivvudamhi.

 

     nam—this; samiddham—ignited; purado—in the presence; kundam—lake; pekkhanti—seeing; nivvudamhi—I become happy.

 

 

     Candravali:  When I see this lake of burning butter I become happy.

 

 

Text 125

 

 

     krishnah: (sashankam)  sakhe katham anubhuta-purveva kapi sinjita-sarani prasarpya mam ardri-karoti.

 

     sa—with; ashankam—doubt; sakhe—O friend; katham—why?; anubhuta—experiencing; purva—before; iva—as if; ka api—a certain; sinjita—of tinkling sounds; sarani—stream; prasarpya— approaching; mam—Me; ardri-karoti—moishöens.

 

 

     Krishna: (with doubt)  Friend, why am I now sprinkled by a stream of tinkling sounds I have heard somewhere before?

 

 

Text 126

 

 

     suparnah:  niveditam eva devasya. yad atra jagat-traye 'py asya baòham anarghasya kumari-ratnasya pashyami nanyam arghya-haram.

 

     niveditam—spoken; eva—certainly; devasya—by the Lord; yat—which; atra—here; jagat—worlds; traye—in the three; api— also; asya—of this; badham—certainly; anarghasya—priceless; kumari—girl; ratnasya—gem; pashyami—I see; na—not; anyam— another; arghya-haram—worthy.

 

 

     Suparna: As I told You, my Lord, in all the three worlds I do not see anyone but You who can purchase the priceless jewel of this beautiful girl.

 

 

Text 127

 

 

     krishnah:  tarhi drisha parikshaniyam. (ity apangam sa 24carayan)  aye katham gokula-vilasini-sadharana-madhurya-mudra-manòiteyam kumari hridayam mamonmadayati. (punah sanuragam nirupya)  hanta katham saiveyam me prana-vallabha.

 

     tarhi—then; drsa—with a glance; parikshaniyam—should be seen; iti—thus; apangam sancarayan—glancing from the corner of His eye; aye—O; katham—how is it?; gokula—in Gokula; vilasini—of the girls who enjoy pastimes; sadharana—general; madhurya— of sweetness; mudra—with the sign; mandita—marked; iyam—she; kumari—girl; hridayam—heart; mama—My; unmadayati—maddens; punah—again; sa—with; anuragam—love; nirupya—glances; hanta— indeed; katham—how is it?; sa—she; eva—certainly; iyam—she; ma—of Me; prana—as life; vallabha—as dear.

 

 

     Krishna:  Let Me look at her. (He looks from the corner of His eye.)  Ah, how is it that this girl is decorated with the same charming sweetness borne by the gopis who enjoy pastimes in Gokula? How is it that this girl maddens My heart?  (He again glances with love.)  Ah! She is My beloved!

 

 

Text 128

 

 

     (iti sambhramam abhiniya)

 

cetash-candramaner dravam viracayaty uccaih smarambhonidheh

     samrambham vitanoti netra-kumudasyamodam adhyasyati

ullasam paritah prapancayati me romaushadhinam ca ya

     seyam candana-panka-shitalakara labdhadya candravali

 

     iti—thus; sambhramam—agitation; abhiniya—representing dramatically; cetah—of the heart; candramaneh—of the candrakanta jewel; dravam—melting; viracayati—creates; uccaih— greatly; smara—of amorous desire; ambhonidheh—of the ocean; samrabham—agitation; vitanoti—creates; netra—of the eyes; kumudasya—of the lotus flower; amodam—happiness; adhyasyati— creates; ullasam—joy; paritah—everywhere; prapancayati— creates; me—of Me; roma—of the bodily hairs; ausadhinam—of the plants; ca—also; ya—who; sa iyam—she; candana—sandalwood; panka—paste; sitala-kara—the cooling moon; labdha—attained; adya—now; candravali—Candravali.

 

 

     (Agitated)  This host of moons that melts the candrakanta jewel of My heart, brings great tidal waves to the ocean of My love, makes the lotus flowers of My eyes blossom with happiness, and makes the small plants of My body's hairs stand up with joy, is Candravali! Today I have attained My Candravali!

 

 

     Note:  The moon makes candrakanta jewel melt, the ocean become filled with turbulent waves, lotus flowers blossom, and small plants sprout.

 

 

Text 129

 

 

     tad abhyasam abhyupetya madhuryam asyah paryalocayami. (iti parikramati.)

 

     tat—therefore; abhyasam—near; abhyupetya—approaching; madhuryam—the charming sweetness; asyah—of her; paryalocayami— I shall see; iti—thus; parikramati—He walks.

 

 

     I will go close and gaze at her sweet beauty. (He walks.)

 

 

Text 130

 

 

     madhavi:  (krishnam vilokya svagatam) kudo a-ado eso tillo-a-sundaro nacca-a-ra-o.

 

     krishnam—Krishna; vilokya—seeing; svagatam—aside; kudo—from what place?; a-ado—come; eso—He; tillo-a—than the men in all the three worlds; sundaro—more handsome; nacca-a—of dancers; ra-o— the king.

 

 

     Madhavi:  (seeing Krishna, she says to herself:)  From whence has this king of dancers, who is more handsome than all the men in the three worlds, come?

 

 

Text 131

 

 

     candravali:  bha-avam havva-vaha tassa kandappa-koòi-sundarassa pa-aravinda-ju-alassa pase imam vahehi tad ekka-saranam janam. (iti pavakam pranamya)  ha bha-avadi ponëamasi ettha osare kahim gadasi.

 

     bha-avam—O Lord; havva-vaha—fire-god; tassa—of Him; kandappa—of cupids; kodi—than millions; sundarassa—more beautiful; pa-a—feet; aravinda—lotus; ju-alassa—of the pair; pase—to the side; imam—this; vahehi—please take; tad—this; ekka-sharaëam—completelly surrender; janam—person; iti—thus; pavakam—to the sacred fire; praëamya—bows to offer respects; ha—O; bha-avadi—noble; ponnamasi—Paurëamasi; ettha—here; osare—occasion; kahim—on what?; gadasi—have you come.

 

 

     Candravali:  O fire-god, please take this person, whose only shelter is Krishëa, to the two lotus feet of Krishëa, who is more handsome than millions of cupids. (She bows down to offer respects to the fire.)  O noble Paurëamasi, why have you come here?

 

 

Text 132

 

 

     krishëah:  (sa-khedam atma-gatam)  hanta satyam eva maha-sahase kritadhyavasaya seyam ashu-shukshaëim pradakshini-karoti tad aham apetya bhujabhyam avriëomi.

 

     sa—with; khedam—grief; atma-gatam—to Himself; hanta— indeed; satyam—in truth; eva—certainly; maha-sahase—in suicide; krita—done; adhyavasaya—determination; sa iyam—she; asu-sukshaëim—the fire; pradakshini…-karoti—circumambulates; tat— therefore; aham—I; upetya—approaching; bhujabhyam—with both arms; avriëomi—shall surround.

 

 

     Krishëa:  (unhappily says to Himself)  Alas, she has decided to commit suicide by jumping into the fire. Now she is circumambulating the fire. I will go up to her and stop her by holding her in My arms.

 

 

Text 133

 

 

     candravali:  (bashpa-dharam abhinayanti sa-vaiklavyam)  ha bahini radhe ëa jadu milidasi. ha pi-a-sahi pa-ume kahim vattasi. ha amma go-ulesari na diööhasi. ha paraëa-ëadha sihaëòa. . . (ity ardhokte vak-stambham naöayanti sa-vyamoham.)

 

     baspa—of tears; dharam—a stream; abhinayanti—representing dramatically; sa—with; vaillavyam—agitation; ha—O; bahini— sister; radhe—Radha; na—not; jadu—ever; milidasi—shall we meet; ha—O; pi-a—dear; sahi—friend; pa-ume—Padma; kahim— where?; vattasi—have you gone; ha—O; amma—mother; go-ulesari— queen of Gokula; na—not; ditthasi—you are seen; ha—O; paraëa— of life; nadha—O lord; sihanda—O Sikhanda; iti—thus; ardha—in the middle; ukte—of her words; vak—of words; stambham—becoming stunned; naöayanti—representing dramatically; sa—with; vyamoham—bewilderment.

 

 

     Candravali:  (agitated, she sheds a stream of tears)  O sister Radha, we will never meet again! O dear friend Padma, where have you gone? O mother Yashoda, O Queen of Gokula, I will never see you again! O Lord of my life! O Krishëa. . . (She becomes overwhelmed and her voice becomes choked up.)

 

 

Text 134

 

 

mandamhita-ma-arande

     pa-ara-ma-ara-kaëëi-a-siri-saraëe

tassim cce-a muha-pa-ume

     bhamara-u maha paòibhavam ëa-aëam

 

     madamhita—with a gentle smile; ma-arande—with honey; pa-ara—beautiful; ma-ara—shark-shaped; kanni-a—earrings; siri— beauty; sharane—the shelter; tassim—in Him; cce-a—indeed; muha—face; pa-ume—in the lotus flower; bhamara-u—may wander; maha— my ; padibhavam—in the next birth; na-anam—eyes.

 

 

     I pray that birth after birth my eyes may attain Krishëa's lotus face filled with the honey of His gentle smile and decorated with the beauty of His graceful shark-shaped earrings.

 

Text 135

 

 

     krishëah:  (sa-sambhramam kaëöhe parisvajya)  kurangakshi ma jvalaya jaganti.

 

     sa—with; sambhramam—haste; kaëöhe—on the neck; parisvajya—embracing; kuranga-akshi—O doe-eyed girl;  ma—do not; jvalaya—set on fire; jaganti—the universes.

 

 

     Krishëa:  (hastily embraces her on the neck)  Doe-eyed girl, do not set the universes on fire!

 

 

Text 136

 

 

     madhavi:  (sa-rosham)  re maha-sahasi-a dhiööha-ëacca-a-ju-aëa munca ëam maha-ra-a-putti-am.

 

     sa—with; rosam—anger; re—O; maha—very; sahasika—violent; dhitti-a—bold; nacca-a—dancer; yu-ana—young; munca—let go; nam—of her; maha—great; ra-a—of the king; putti-am— the daughter.

 

 

     Madhavi:  (angry) Bold, impudent young dancer, let go of this great princess!

 

 

Text 137

 

 

     krishëah:  (sasram)

 

ayam kaëöhe lagnah shashimukhi janas te praëayavan

     yad apraptya dhanyam tanum atanu-rupam triëayasi

prasidadya praëeshvari virama masminn anugate

     krithah patyav atyahitam idam uro me vidalati

 

     sa—with; asram—tears; ayam—this; kaëöhe—on the neck; lagnah—resting; shashi-mukhi—O moon-faced girl; janah—person; te—you; praëayavan—loves; yat—because; apraptya—by not attaining; dhanyam—good fortune; tanum—body; atanu—of cupid; rupam—the form; trnayasi—you consider insignificant as a blade of grass; prasida—be merciful; adya—now; praëa—of life; ishvari—O queen; virama—pleas stop; ma—do not; asmin—here; anugate—followed; krithah—do; patyau—to your lover; atyahitam— fear; idam—this; urah—the chest; me—of Me; vidalati—tears apart.

 

 

     Krishëa:  (in tears)  O moon-faced girl, this person clinging to your neck loves you. Unable to attain Him, you thought your beautiful body worthless as a blade of grass. O queen of My life, be merciful to Me! Please stop! Don't enter the fire! I am your lover. This tears My chest apart with fear.

 

 

Text 138

 

 

     candravali:  (ashrutim abhiniya)  mahavi munca mu 24ca. ma kkhu dukkhabehi. jam sambhavida-bahu-paccuho eso muhutto. (iti nijanguler abharaëam akrishya)  hala esha ra-aëa-muddi-a jadha purisuttamassa diööhi-maggam lahedhi. tadha tu-e kadavvam. (iti hari-hastangulau mudram niveshyanti sa-shankam atma-gatam)  kadham kaòhino hatthassa pphamso. (ity ashru-dharam unmrijya pashyanti sotkrosham)  kadham so jevva me jividesaro mam parirambhi-a vaharadi. (ity ananda-murcham naöayanti bhu-tale patati.)

 

     asrutim—not hearing; abhiniya—representing dramatically; mahavi—O Madhavi; munca—let go; munca—let go; ma—do not; kkhu—indeed; dukkhabehi—make me unhappy; jam—because; sambhavida—manifested; bahu—many; paccuho—obstacles; eso— this; muhutto—moment; iti—thus; nija—own; anguleh—of the finger; abharaëam—ornament; akrishya—pulling; hala—ah!; esa— this; ra-ana—jewel; muddi-a—ring; jadha—as; purisuttamassa—of the Supreme Personality of Godhead; ditthi—of the eyes; maggam— the path; lahedhi—attains; tadha—then; tu-e—by you; kadavvam— should be done; iti—thus; hari—of Krishëa; hasta—of the hand; angulau—on the finger; nivesayanti—placing; sa—with; shankam— doubt; atma-gatam—to herself; kadham—how is it?; kadhino—hard; hatthassa—of the hand;  pphamso—the touch; iti—thus; asru—of tears; dharam—a stream;  unmrjya—wiping; pashyanti—looking; sa—with; utkrosam—a cry; kadham—how is it?; so—He; jevva— certainly; me—of me; jivida—of the life; isaro—the lord; mam— me; parirambhi-a—embracing; vaharadi—speaks; iti—thus; ananda—in bliss; murcham—fainting; naöayanti—representing dramatically; bhu—of the ground; tale—on the surface; patati— falls.

 

 

     Candravali: (not hearing) Madhavi, let go! Let go! Don't make me suffer like this! There are so many obstacles now. (She pulls a ring from her finger.)  Place this jewel ring on the pathway of the Supreme Person's eyes. (She places the ring on Krishëa's finger. Filled with doubt, she says to herself)  This hand is very hard to the touch. (She wipes away streams of tears. She stares at Him and cries out)  The master of my life embraces me and speaks to me!  (Fainting with happiness, she falls to the ground.)

 

 

Text 139

 

 

     madhavi:  (sanandam)  ammahe accari-a vihiëo cari-a.

 

     sa—with; anandam—bliss; ammahe—aha!; accari-a—wonderful; vihino—of fate; cari-a—the actions.

 

 

     Madhavi:  (blissful) Ah! The actions of destiny are full of wonder.

 

 

Text 140

 

 

     (tatah pravishati bhishmakenanusaryamana paurëamasi.)

 

     tatah—then; pravishati—enters; bhishmakena—by Maharaja Bhishmaka; anusaryamana—followed; paurëamasi—Paurëamasi.

 

 

(Followed by Bhishmaka, Paurëamasi enters.)

 

 

Text 141

 

 

     paurëamasi:

 

udancan-madhuryam vikasita-navambhoruha-padam

     nudantam santapan avihata-rathanga-praëayinam

ajivan mohandha harim anusaranti vara-tanur

     yatha varam puram sthala-viluöhad-angi shapharika

 

     udancat—rising; madhuryam—sweetness; vikasita—blossomed; nava—new; ambhoruha—lotus flowers; padam—foot; nudantam—pushing away; santapan—sufferings; avihata—unconquerable; ratha-anga—Krishëa who holds the Sudarsana disc; praëayinam—the lover; ajivat—lived; moha—with fainting; andha—blinded; harim—Krishëa; anusaranti—following; vara—beautiful; tanuh—whose form; yatha—just as; varam puram—a reservoir of water; sthala— on the ground; viluthat—rolling about; angi—whose body; sapharika—a sapharika fish.

 

 

     Paurëamasi:  Beautiful Candravali has searched for her charming, unconquerable lover Krishëa, who pushes away all kinds of suffering and whose feet are handsome as blossoming lotus flowers. Finding Him, she has fainted. She is like a shapharika fish wriggling on the dry land who has suddenly found a large reservoir of water.

 

 

Text 142

 

 

     (ity upasritya)  vatse candravali madhavad avapta-prasadaya tvaya sandipiteyam sandipani-janani kshaëada. tad utthiyatam. (iti bhujabhyam utthapayati.)

 

     iti—thus; upasritya—approaching; vatse—O child; candravali—Candravali; madhavat—from Krishëa; avapta—obtained; prasadaya—mercy; tvaya—by you; sandipita—aroused; iyam—this; sandipani—Of Sandipani Muni; janani—the mother; kshaëada— happiness; tat—therefore; utthiyatam—rise up; iti—thus; bhujabhyam—with both arms; utthapayati—lifts.

 

 

     (Approaches) Child Candravali, Paurëamasi, the mother of Sandipani Muni, is very happy that you have attained the mercy of Krishëa. Rise up. (With both arms she picks her up.)

 

 

Text 143

 

 

     candravali:  (puro drishöva svagatam) kadham ettha tado me vidabbha-ëadho. (iti lajjam abhiniya paurëamasim antara karoti.)

 

     purah—ahead; drishöva—looking; svagatam—to herself; kadham—how is it?; ettha—here; tado—father; me—my; vidabbha—of Vidarbha; nadho—the king; iti—thus; lajjam—embarrassment; abhiniya—representing dramatically; paurëamasi—Paurëamasi; antara—within; karoti—does.

 

 

     Candravali:  (looks ahead, and then says to herself) Why has my father, the king of Vidarbha, come here?  (embarrassed, she places Paurëamasi between her father and herself.)

 

 

Text 144

 

 

     krishëah:  (sa-vismayam)  bhagavati katham tvam atragatasi.

 

     sa—with; vismayam—wonder; bhagavati—O noble lady; katham—how?; tvam—you; atra—here; agata asi—have come.

 

 

     Krishëa:  (with wonder)  Noble lady, how have you come here?

 

 

Text 145

 

 

     paurëamasi:  hanta gokulacandra candravali-snehena.

 

     hanta—indeed; gokula—of Gokula; candra—O moon; candravali—of Candravali; snehena—out of love.

 

 

     Paurëamasi:  Krishëa, I have come here because I love Candravali.

 

 

Text 146

 

 

     bhishmakah: (sadaram)

 

aviditas tanayam anayan nayann

     upakritim kritavan mama jambavan

muni-manah-praëidheya-padambujas

     tvam asi yena varo duhitur varah

 

     sa—with; adaram—respect; aviditah—unkowning; tanayam—daughter; anayat—from another; nayan—taking; upakritim—a favor; kritavan—did; mama—to me; jambavan—Jambavan; muni—of the sages; manah—in the hearts; praëidheya—to be placed; pada— feet; ambujah—lotus; tvam—You; asi—are; yena—by whom; varah— the chosen; duhituh—of my daughter; varah—husband.

 

 

     Bhishmaka:  (with respect)  Jambavan unknowingly did me a great favor when he brought my daughter here from another place, for now You, the Supreme Lord whose lotus feet the great sages place within their hearts, will become my daughter's husband.

 

 

Text 147

 

 

     paurëamasi: kuëòinendra satyam puëayavatam shikha-maëir asi. tad iyam samarpyatam nija-kula kairava-candrika candravali rajendraya.

 

     kuëòina—of Kuëòina; indra—O king; satyam—in truth; punyavatam—of pious men; sikha—the crest; manih—jewel; asi—you are; tat—therefore; iyam—she; samarpyatam—should be given; nija—own; kula—of the family; kairava—the lotus flower; candrika—moonlight; candravali—Candravali; raja—of kings; indraya—to the king.

 

 

     Paurëamasi:  O king of Kuëòina, in truth you are the crest jewel of pious men. Now Candravali, the moonlight that makes the lotus of your dynasty blossom with glory, should be given to Lord Krishëa, the king of kings.

 

 

Text 148

 

 

     krishëah: (svagatam)  tam jivita-vallabham antareëa candravalim angi-kartum pravartamanam api manasam me naparadhyati. yad iyam tasyah sodara.

 

     svagatam—aside; tam—here; jivita—to the life; vallabham— dear; antareëa—without; candravalim—Candravali; angi-kartum—to accept; pravartamanam—acts; api—although; manasam—heart; me— My; na—does not; aparadhayati—offends; yat—because; iyam—she; tasyah—of her; sodara—the sister.

 

 

     Krishëa:  (aside)  Candravali is Radha's sister. By accepting Candravali without also accepting Radha, who is more dear to Me than My own life, My heart does not offend Radha.

 

 

Text 149

 

 

     bhishmakah:  (sa-vinayam)

 

ayam iha kila kanya-bandhavanam nibandhah

     samucita iti lakshmi-kanta vijnapayami

mama duhitur anujnollanghanad anganayah

     katham api na parasyah paëi-sango vidheyah

 

     sa—with; vinayam—humbleness; ayam—this; iha—here; kila—indeed; kanya—of my daughter; bandhavanam—of the relatives; nibandhah—the agreement; samucitah—suitable; iti—thus; lakshmi—of the goddess of fortune; kanta—O husband; vijnapayami—I request; mama—of me; duhituh—of the daughter; anujna—the order; ullanghanat—transgressing; anganayah—of a girl; katham api—somehow; na—not; parasyah—of another; pani—of the hand; sangah—acceptance; vidheyah—should be done.

 

 

     Bhishmaka:  (humbly)  O husband of the goddess of fortune, my girl's relatives have a request that I will now place before You. Please agree that without my daughter's permission You will not accept the hand of any other girl.

 

 

Text 150

 

 

     (krishëah paurëamasi-mukham ikshate.)

 

     krishëah—Krishëa; paurëamasi—of Paurëamasi; mukham—of the face; ikshate—looks.

 

 

     (Krishëa glances at the face of Paurëamasi.)

 

 

Text 151

 

 

     paurëamasi:  mukunda gokula-kumari-kulani candravali-matra-sheshani durvidagdhena vidhina kritani. tad atra ka kshatih.

 

     mukunda—O Mukunda; gokula—of Gokula; kumari—of the young girls; kulani—the multitudes; candravali—Candravali; matra— alone; sesani—remaining; durvidagdhena—bungling; vidhina—by fate; kritani—done; tat—therefore; atra—in this; ka—what?; kshatih—is the loss.

 

 

     Paurëamasi:  Krishëa, of all the girls of Gokula, bungling fate has left only Candravali alive. In making this promise what is the loss?

 

 

Text 152

 

 

     krishëah:  rajan tathastu.

 

     rajan—O king; tatha—in that way; astu—so be it.

 

 

     Krishëa: King, so be it.

 

 

Text 153

 

 

     suparëah: rajann avadhiyatam

 

shri-nathe vinaya-bhareëa nathite 'smin

     vaidarbhya nija-suhrid-anga-sangamaya

tatrayam bhajati bhayankarah prakamam

     vishramam kshiti-pati-candra te nibandhah

 

     rajan—O king; avadhiyatam—let it be heard; shri-nathe—Lord Narayana, the master of the goddess of fortune; vinaya— humbleness; bhareëa—with great; nathite—prayed; asmin—He; vaidarbhya—by the princess of Vidarbha; nija—own; suhrit—of the friend; anga—of the body; sangamaya—for the association; tatra—in this; ayam—this; bhajati—attains; bhayankarah—terrible; prakamam—voluntarily; vishramam—cessation; kshiti-pati—of kings; candra—O moon; te—of you; nibandhah—the demand.

 

 

     Suparëa:  King, please listen. To attain the association of my friend Krishëa, Rukmiëi, the princess of Vidarbha, very humbly prayed to Lord Narayaëa, the husband of goddess Lakshmi. O moon among kings, for this reason you should abandon this terrible demand.

 

 

Text 154

 

 

     bhishmakah:  tathastu. (iti sadaram abhyupetya)  deva kripaya parigrihyatam iyam paricaryocita kinkari. (iti candravalim samarpayati.)

 

     tatha—so; astu—be it; iti—thus; sa—with; adaram— respect; abhyueptya—approaching; deva—O Lord; kripaya—with kindness; parigrihyatam—may be accepted; iyam—this; paricarya— for service; ucita—suitable; kinkari—maidservants; iti—thus; candravalim—Candravali; samarpayati—gives.

 

 

     Bhishmaka:  So be it. (respectfully approaching)  O Lord, kindly accept this girl as your maidservant. (He gives Candravali.)

 

 

Text 155

 

 

     krishëah:  (sadaram angi-kritya)  rajann anujanihi. dvarakam prayami. (iti sa-parivaro nishkrantah.)

 

     sa—with; adaram—respect; angi-kritya—accepting; rajan—O king; anujanihi—please give permission; dvarakam—to Dvaraka; prayami—I shall go; iti—thus; sa—with; parivarah—His associates; nishkrantah—exits.

 

 

     Krishëa:  (respectfully accepting)  O king, give Me permission that I may now leave for Dvaraka. (He exits with His associates.)

 

 

Text 156

 

 

     (nepathye)

 

saptih sapti ratha iha rathah kunjarah kunjaro me

     tuëas tuëo dhanur uta dhanur bhoh kripani kripani

ka bhih ka bhir ayam ayam aham ha tvaradhvam tvaradhvam

     rajnah putri bata hrita-hrita kamina ballavena

 

     nepathye—from behind the scenes; saptih—horse; saptih—horse; rathah—chariot; iha—here; rathah—chariot; kunjarah—elephant; kunjarah—elephant; me—my; tunah—quiver; tunah— quiver; dhanuh—bow; uta—indeed; dhanuh—bow; bhoh—ah!; kripani—sword; kripani—sword; ka—how; bhih—terrible; ka—how; bhih— terrible; ayam—this; ayam—this; aham—I; ha—ah!; tvaradhvam— hurry; tvaradhvam—hurry; rajnah—of the king; putri—the daughter; bata—indeed; hrita—kidnapped; hrita—kidnapped; kamina—by a lusty; ballavena—cowherd.

 

 

     A voice from behind the scenes: Horses! Horses! Chariots! Chariots! Elephants! Elephants! My quiver! My quiver! My bow! My bow! My sword! My sword! How terrible! How terrible! Hurry! Hurry! A lusty cowherd has kidnapped her! Kidnapped the princess!

 

 

Text 157

 

 

     bhishmakah:  katham upatta-sambhramaëam rajnam kolahalah prathiyan abhut. (nepathyabhimukham alokya)  katham yadu-sainyam akarshan sankarshaëah samagamsta.

 

     katham—how is it?; upatta-sambhramanam—hurrying; rajnam—of the kshatriyas; kolalah—tumultuous sound; prathiyan abhut—is; nepathya-abhimukham—behind the scenes; alokya—glancing; katham—how is it?; yadu—of the Yadu dynasty; sainyam—the army; akarsan—taking; shankarsanah—Balarama; samagamsta—has come.

 

 

     Bhishmaka:  Why are the kings running about and shouting?  (glances behind the scenes)  Why has Balarama come with the armies of the Yadu dynasty?

 

 

Text 158

 

 

     (punar avadhaya sa-smitam)

 

vile kva nu vililyire nripa-pipiòakah piòitah

     pinasmi jagad-andakam na na harih kruddham dhasyati

shaci-griha-kuranga re hasasi kim tvam ity unnadann

     udeti mada-òambara-skhalita-cuòam agre hali

 

     punah—again; avadhaya—listening; sa—with; smitam—a smile; vile—in a hole; dva—where?; nu—indeed; viliyire—are you hiding; nripa—kings; pipidakah—clowns; piditah—wretched; pinasmi—I can destroy; jagat-andakam—the entire universe; na— not; na—not; harih—Lord Krishëa; krudham—anger; dhasyati—will place; saci—of Saci; griha-kuranga—O pet deer; re—O; hasasi— you laugh; kim—why?; udeti—rises; mada-dambara—pride; skhalita—fallen; cudam—crown; agre—in the presence; hali— Balarama.

 

 

     (Listening, Bhishmaka smiles)

 

     A voice from behind the scenes:  O wretched clowns disguised as kings, in what hole are you hiding? I can crush the entire universe into pieces and Lord Krishëa will not be angry with Me! O pet deer of Shaci, why do you laugh so loudly? The crest jewel of your pride is about to fall before Balarama!

 

 

Text 159

 

 

     (punar nepathye)

 

vikroshan dantavakrah kalita-bhaya-bharo hanta vakrah kilasit

     piëòi-shurah shrigali skhalita-ratha-gatir magadho vagadho 'bhut

durad aujjhan nripanam kulam adhi-samaram niskripanam kripaëan

     dhunvane sharnga-dhanvany ari-nidhana-dharam hasya-rangena sardham

 

     punah—again; nepathye—behind the scenes; vikrosan—crying; dantavakrah—Dantavakra; kalita-bhaya-bharah—frightened; hanta—indeed; vakrah—crooked; kila—indeed; asit—is; pindi-surah—cowherd, who is very brave when boasting at home to his family members but frightened in the battlefield; srgali—the jackal; skhalita—fallen; ratha—of the chariot; gatih—the movement; magadhah—the king of Magadha (Jarasandha); vagadhah— speechless; abhut—has become; durat—from a great distance; aujjhan fleeing; nripanam—of the kings; kulam—the community; adhi-samaram—the battle; miskripanam—merciless; kripanan— wretched; dhunvane—moving; sharnga-dhanvani—the Sarnga bow; ari—the enemies; nidhana-dharam—destroying; hasya-rangena— laughter; sardham—with.

 

 

     Again a voice from behind the scenes: Crooked Dantavakra cries in fear. The cowardly jackal Jarasandha is speechless. He turns his chariot and flees. Lord Krishëa raises His sharnga bow, laughs, and kills His enemies in a ferocious battle with merciless kings.

 

 

Text 160

1fn 2

     bhishmakah: (sanandam) nivritta-cinto 'smi samvrittah.

 

     sa—with; anandam—bliss; nivritta—gone; cintah—anxiety; asmi—I am; samvrittah—being.

 

 

     Bhishmaka:  (blissful)  Now my anxiety is gone.

 

 

Text 162

 

 

     (nepathye)

 

khaëòitena vinibaddha-vasasa

    paëòitena raëa-ranga-karmaëi keshavena racitardha-muëòanah     kuëòineshvara-suto viòambitah

 

     nepathye—behind the scenes; khanditena—broken; vinibaddha—bound; vasasa—with garments; panditena—expert; raëa-ranga—of the battefield; karmani—in activities; kesavena—by Lord Krishëa; racita—done; ardha—half; mundanah—shaved head; kuëòina—of Kuëòina; isvara—of the king; sutah—the son; vidambitah—is mocked.

 

 

     A voice from behind the scenes:  Binding him with torn cloth and half-shaving his head, Krishëa, who is expert in battle, mocks the prince of Kuëòina.

 

 

Text 163

 

     bhishmakah:  (sa-shankam) santvayitum ucito 'yam kula-kalima kumarah kadacid vridayasau manasvi praëan api jahyat. (iti nishkrantah.)

 

(iti nishkrantah sarve.)

 

     sa—with; shankam—anxiety; santvayitum—to comfort; ucitah—proper; ayam—he; kula—of the family; kalima—the black spot; kumarah—son; kadacit—sometimes; vridaya—with embarrassment; asau—he; manasvi—proud; praëan—life; api—even; jahyat—would abandon; iti—thus; nishkrantah—exits; iti—thus; nishkrantah— exit; sarve—all.

 

 

     Bhishmaka:  (anxious)  This son, who is the black-spot of our family, should now be consoled so the proud fellow will not die of shame. (He exits.)  (Exit all.)