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

Act Four

 

 

 

 

Scene 1 

 

 

Text 1

 

 

(tatah pravishaty uddhavah.)

 

     uddhavah:

 

ayam sarvajnanam gurur api bhajaty ajna-padavim

     prabhushnunam cuda-manir api jadi-bhavam ayate

sada sandrananda-prakritir api dhatte vidhuratam

     mukundah svi-kurvan pranayini jane prema-vashatam

 

     tatah—then; pravishati—enters; uddhavah—Uddhava; ayam—He; sarva-jnanam—of those who know everything; guruh—the master; api—even; bhajati—attains; ajna—of bewilderment; padavim—the state; prabhusnunam—of those who are all-powerful; cuda-manih—the crest-jewel; api—although; jadi—of being stunned; bhavam—the state; ayate—attains; sada—eternally; sandra—intense; ananda—with transcendental bliss; prakritih—whose nature; api—although; dhatte—attains; vidhuratam—the condition of being anguished; mukundah—Krishna; svi-kurvan—accepting; pranayini-jane—affectionate devotees; prema—by the love; vasatam—the condition of being controlled.

 

 

(Uddhava enters)

 

     Uddhava: Krishna allows Himself to come under the control of His affectionate devotees' love. Controlled by their love, even though He is the master of all omniscient sages, He becomes bewildered. Even though He is the crest-jewel of all omnipotent deities, still He becomes stunned and powerless. Even though His nature is eternal transcendental bliss, still He becomes filled with anguish.

 

 

Text 2

 

 

     (puro vilokya)  katham iyam atra gargi. (ity upasritya)  arye pranamami.

 

     purah—ahead; vilokya—looking; katham—how is it?; iyam—she; atra—here; gargi—Gargi; iti—thus; upasritya—approaching; arye—O noble lady; pranamami—I offer my respectful obeisances.

 

 

     (looking ahead)  Why is Gargi here?  (He approaches her)  Noble lady, I offer my respectful obeisances to you.

 

 

Text 3

 

 

     (pravishya)  gargi:  amacca ciram sincehi bhakti-suha-ppavahena puhavim.

 

     pravishya—enters; amacca—O friend; ciram—eternally; sincehi—sprinkle; bhakti—of devotional service; suha—of the nectar; ppavahena—with the stream; puhavim—the earth.

 

 

     Gargi:  (enters)  O counselor, please always flood the world with the nectar of devotional service.

 

 

Text 4

 

 

     uddhavah:  nunam yadu-rajabhisheka-kautuke tatra-bhavatya rohinya saha gokulad atrayatam aryaya.

 

     nunam—is it not so?; yadu—of the Yadus; raja—of the king; abhiseka-—of the coronation; kautuke—in the festival; tatra-bhavatya—the noble lady; rohinya—Rohini; saha—with; gokulat—from Gokula; atra—here; ayatam—arrived; aryaya—by the noble lady.

 

 

     Uddhava:  To see the coronation of the king of the Yadus the noble lady must have come with Rohini from Gokula.

 

 

Text 5

 

 

     gargi:  nahu nahu. kintu donëam rama-kaëhaëam vvada-bandha-mahusave ahuda-e e go-uleseri-e saddham sama-adam.

 

     nahu—no; nahu—no; kintu—however; donnam—of the two; rama—Balarama;  kanhanam—and Krishëa; vvada-bandha—sacred-thread ceremony; mahusave—in the great festival; ahuda-e—being called; go-ulesari-e—the queen of Gokula; saddham—with; sama-adam—has arrived.

 

 

     Gargi:  No. Not at all. I came with the queen of Gokula, who was called to see the great festival of the sacred-thread ceremony of Krishëa and Balarama.

 

 

Text 6

 

 

     uddhavah:  naloki lokottara devasya ranga-sthala-kelir aryaya.

 

     na—not; aloki—is seen; loka-uttara—extraordinary; devasya—of the Lord; ranga-sthala—in the arena; kelih—pastimes; aryaya—by the noble lady.

 

 

     Uddhava:  The noble lady did not see the Lord's extraordinary pastimes in the arena.

 

 

Text 7

 

 

     gargi:  kerisi sa. kahijja-u.

 

     kerisi—like what?; sa—they; kahijja-u—let it be said.

 

 

     Gargi:  What happened? Tell me.

 

 

Text 8

 

 

     uddhavah:  shruyatam

 

krishëarkah sadhu-cakrotsava-rabhasa-kriti rakta-lokah khalali-

     khadyota-dyota-hari kalita-kuvalayapida-gambhira-nidrah

mallolukan vidhunvan yadu-kula-kamalollasa-kari sa tunge

     ranga-dvarodayadrau danuja-nripa-tamah sudayn pradurasit

 

     shruyatam—let it be heard; krishëa—of Krishëa; arkah—the sun; sadhu—of the saintly devotees; cakra—to the cakravaka birds; utsava-rabhasa—bliss; kriti—bringing; rakta—delighted; lokah—the world; khala—of demons; ali—of the hosts; khadyota—of the fireflies; dyota—the shining; hari—eclipsing; kalita—done; kuvalayapida—of Kuvalayapida; gambhira—deep; nidrah—sleep; malla—of the wrestler; ullukan—the owls; vidhunvan—causing to tremble; yadu—of the Yadus; kula—of the family; kamala—to the lotus flowers; ullasa—blossoming open with happiness; kari—doing; sah—He; tunge—lofty; ranga—of the arena; dvara—of the gate; udaya-adrau—on the horizon; danuja—of the demon; nripa—of the king; tamah—the darkness; sudayan—destroying; pradurasit—is manifest.

 

 

     Uddhava:  Listen. Bringing a great festival of happiness to the cakravaka bird devotees, delighting the entire world, eclipsing the shining of the firefly demons, putting the night-blooming Kuvalayapida flower deeply asleep, chasing away the wrestler owls, making the Yadu dynasty lotuses blossom with happiness, and killing the darkness that is the great king of the demons, the Krishëa-sun has now risen on the horizon of the arena's eastern gate.

 

 

Text 9

 

 

     gargi:  tado tado.

 

     tado—then; tado—then.

 

 

     Gargi:  Then? Then?

 

 

Text 10

 

 

     uddhavah:  tatash ca

 

dvipa-rudhira-mada-shramoda-bindu-

     cchala-ghusriëaguru-candanaih paritah    

jaratha-dashana-daëda-maëditamso

     harir iha ranga-dharantare cukurda

 

     tatah—then; ca—also; dvipa—of the elephants; rudhira—with blood; mada—and ichor; srama-uda—of perspiration; bindu—with drops; chala—a multitude; ghusrna—kunkuma; aguru—aguru; candanaih—with sandalwood paste; paritah—covered; jaratha—of the old elephant; dasana—of the tusk; danda—with the club; mandita—decorated; amsah—whose shoulder; harih—Krishëa; iha—here; ranga—of the arena; dhara—the ground; antare—within; cukurda—plays and leaps.

 

 

     Uddhava:  His shoulder decorated with a club that was the old elephant's tusk, and His body anointed with sandalwood paste, aguru, kunkuma, perspiration, and blood and ichor from the elephant, Krishëa leaps and dances in the arena.

 

 

Text 11

 

 

     tatash ca tatha-vidha-vesho dasha-vidhair esha dashadhanvabhavi. tatha hi

 

daityacaryas tadasye vikritim aruëatam malla-varyah sakhayo

     gaëdaunnatyam khaleshah pralayam rishi-gaëa dhyanam ushëashrum amba

romancam samyuginah kam api nava-camatkaram antah surendra

     lasyam dasah kataksham yayur asita-drishah prekshya range mukundam

 

     tatah—then; ca—also; tatha—in that; vidha—way; vesah—appearing; dasa—ten; vidhaih—with kinds; esah—He; dasadha—in ten ways; anvabhavi-tatha hi—furthermore; daitya—of the demons; acaryah—the teachers; tada—then on the face; vikritim—transformation; arunatam—redness; malla—of wrestlers; varyah—the best; sakkhayah—the friends; ganda-unnatyam—smiling; khala—of the demon; isah—the kings; pralayam—devastation; rsi—of sages; ganah—the multitude; dhanyam—meditation; usna—warm; ashrum—tears; amba—mother; roma-ancam—hairs standing up; samyuginah—the chivalrous fighters; kam api—something; nava—new; camatkaram—wonder; antah—within; sura—of demigods; indrah—the leaders; lasyam—dancing; dasah—the menial servants; kata-aksham—amorous sidelong glances; yayuh—attained; asita—black; drsah—whose eyes; prekshya—seeing; range—in the arena; mukundam—Krishëa.

 

 

     The pwople saw Krishëa in ten ways. Seeing Krishëa in the arena, the demoniac priests curled their lips in distaste, the great wrestlers become red (with anger), Krishëa's friends smiled broadly, the great demons become devastated, the sages become rapt in meditation, His mother wept warm tears, the chivalrous fighters become excited, the hairs on their bodies standing up, the leaders of the demigods become struck with wonder, the menial servants danced, and the girls gazed at Krishëa from the corners of their black eyes.

 

     Note: In this verse the ten rasas: 1.bibhatsa (loathing), 2. raudra (anger), 3. hasya (comedy), 4. bhayanaka (terror); 5. shanta (peaceful meditation), 6. karuëa (compassion), 7. vira (chivalry), 8. adbhuta (wonder), 9. dasya (servitude), and 10. shringara (conjugal love), are manifested one after another.

 

 

Text 12

 

 

     tatash ca

 

vara-keshara-malayancitash

     cala-caëura-camuru-mardanah

kutukoccala-dhir adidarad

     yadu-simhah khala-bhoja-kunjaram

 

     tatah—then; ca—and; vara—beautiful; kesara—of nagakesara flowers; malaya—a garland; ancitah—decorated with; cala—moving; canura—of Canura; camu—army; uru—great; mardanah—crusher; kutuka—eagerness; uccala—rising; dhih—whose intelligence; adidarat—rips apart; yadu—of the Yadu dynasty; simhah—the lion; khala—the demon; bhoja—of the Bhoja dynasty; kunjaram—the elephant.

 

 

     Decorated with a garland of nagakeshara flowers and having just then crushed Caëura's army of fleeing wrestlers, (Krishëa) the lion of the Yadu dynasty, eagerly tore apart (Kamsa) the wicked elephant of the Bhojas.

 

 

Text 13

 

 

     gargi:  ditöhi-a diööhantam gado sahu-jaëaëam maha-vukka-sulo. (ity abhinandam abhiniya)  amacca dhaëëa poëëamasi ja kaëhassa sangam amuncati ranga-kiladi-koduhalam pekkha-i.

 

     ditthi-a—by good fortune; ditthantam—death; gado—attained; sahu-jananam—of the saintly devotees; maha—a great; vukka—plunged into the chest; sulo—a lance; iti—thus; abhinandam—bliss; abhinya—representing dramatically; amacca—O friend; dhanna—fortunate; ponnamasi—Paurëamasi; ja—who; kanhassa—of Krishëa; sangam—the association; amuncati—never abandoning; ranga—in the arena; kila—pastimes; adi—beginning with; koduhalam—eagerness; preksate—sees.

 

 

     Gargi:  By good fortunate he who was a great spear plunged into the chests of the saintly devotees is dead. (She becomes blissful)  O counselor, Paurëamasi, who, never losing Krishëa's association, directly saw the wrestling-arena pastimes, is very fortunate.

 

 

Text 14

 

 

     uddhavah:  kim etad ucyate. yasyah prasangad eva jagad-guror api gurur babhuva sandipanih.

 

     kim—what?; etat—this; ucyate—is said; yasyah—of whom; prasangat—by the association; eva—certainly; jagat—of the entire world; guroh—of the master; api—even; guruh—the spiritual master; babhuva—became; sandipanih—Sandipani.

 

 

     Uddhava:  How can Paurëamasi's good fortune be described?  Because of her close friendship with Krishëa, her son Sandipani has become the spiritual master of the master of all the worlds.

 

 

Text 15

 

 

     gargi: (sanskritena)

 

kamam sarvabhishöa-kandam mukundam

     ya nirbandhat prahinod indhanaya

acaryani sa karoti sma paëyam

     piëyakartham hanta cintamaëindram

 

     sanskritena—in Sanskrit; kamam—at will; sarva—of all;  abhishöa—wishes; kandam—the source; mukundam—Krishëa; ya—who; nirbandhat—with a request; prahinot—sent; indhanaya—for firewood; acaryani—the guru's wife; sa—she; karoti sma—made; panyam—price; pinyaka-artham—for crushed sesame seeds; hanta—indeed; cintamaëi—of cintamaëi jewels; indram—the king.

 

 

     Gargi:  (in Sanskrit)  Even though Krishëa is the Supreme Personality of Godhead who fulfills everyone's desires, still Sandipani Muni's wife would send Him out to gather firewood. She was like a person who purchases crushed sesame seeds by paying a price of the most valuable cintamaëi gem.

 

 

Text 16

 

 

     uddhavah:  shishyacara-pracara-caturiyam caëura-mardanasya. tad atra naparadhyati guroh kalatram.

 

     sishya—of a student; acara-paracara—of activities; caturi—expertness; iyam—this; canura-mardanasya—of Krishëa, the killer of Canura; tat—then; atra—here; na—does not; aparadhyati—offend; guroh—of the spiritual master; kalatram—the wife.

 

 

     Uddhava:  Krishëa's was teaching how the disciple should act. Sandipani's wife did not commit an offense.

 

 

Text 17

 

 

     gargi:  sudam ma-e. mahumangalo kidanta-aë-arado a-adòhi-a uëa hariëa guruëo dakkhiëi-kido.

 

     sudam—heard; ma-e—by me; mahumangalo—Madhumangala; kidanta—of Yamaraja; na-arado—from the city; a-addhi-a—having been brought; una—again; harina—by Krishëa; guruno—to His spiritual master; dakkhini—the priestly remuneration; kido—was.

 

 

     Gargi:  I heard that Krishëa brought Madhumangala from the abode of Yamaraja and gave Him to Sandipani Muni as guru-dakshiëa.

 

     Note: Madhumangala is Sandipani Muni's son.

 

 

Text 18

 

 

     uddhavah:  na kevalam gurava eva dakshiëi-kritah. kintu keli-gurave svatmane 'pi. yad asya saubhagya-kulam maya gokule shrutam.

 

     na—not; kevalam—only; gurave—to the spiritual master; eva—certainly; dakshini-kritah—was dakshiëa; kintu—however; keli—as pastimes; gurave—to the spiritual master; sva—own; atmane—to the self; api—even; yat—because; asya—of him; saubhagya—of good fortune; kulam—the abundance; maya—by me; gokule—in Gokula; shrutam—was heard.

 

 

     Uddhava:  He not only gave Madhumangala as dakshiëa to His spiritual master Sandipani, but He also accepted Madhumangala as His keli-guru (pastime spiritual master) and also gave dakshiëa to him. I heard of Madhumangala's great good fortune in Gokula.

 

 

Text 19

 

 

     gargi:  abi ëama tattha-bhavantena go-ule gadam asi.

 

     api-nama—is it?; tattha-bhavantena—by him; go-ule—to Gokula; gadam asi—went.

 

 

     Gargi:  Did you go to Gokula?

 

 

Text 20

 

 

     uddhavah:  atha kim.

 

     atha kim—certainly.

 

 

     Uddhava: Yes.

 

 

Text 21

 

 

gargi:  kim kadum.

 

     kim—what?; kadum—to do.

 

 

     Gargi:  Why?

 

 

Text 22

 

 

     uddhavah:  devim candravalim anetum.

 

     devim candravalim—Candravali devi; anetum—to bring.

 

 

     Uddhava:  To bring Candravali-devi.

 

 

Text 23

 

 

     gargi:  kim tti esa ëaëita.

 

     kim—where?; tti—thus; esa—she; nanita—was brought.

 

 

     Gargi:  Why did you not bring her?

 

 

Text 24

 

 

     uddhavah:  (sa-bashpam)  rukmiëa gokulad iyam punah kuëòine nita.

 

     sa—with; bashpam—a tear; rukmina—by Rukmi; gokulat—from Gokula; iyam—she; punah—again; kundine—to Kundina; nita—was brought.

 

 

     Uddhava:  (with a tear)  Rukmi took her from Gokula to Kuëòina again.

 

 

Text 25

 

 

gargi:  kudo suda imiëa. go-ule canda-ali.

 

     kudo—from where?; suda—heard; imina—by him; go-ule—in Gokula; canda-ali—Candravali.

 

 

     Gargi:  How did he hear that Candravali was in Gokula?

 

 

Text 26

 

 

     uddhavah:  sakhyuh shishupalasya mukhat.

 

     sakhyuh—of his friend; sisupalasya—Sisupala; mukhat—from the mouth.

 

 

     Uddhava:  (He heard it) from the mouth of his friend Shishupala.

 

 

Text 27

 

 

     gargi:  tiëa bi kudo suda.

 

     tina—by him; bi—also; kudo—from where?; suda—heard.

 

 

     Gargi:  How did Shishupala hear about her?

 

 

Text 28

 

 

     uddhavah:  tatra-bhavatyah shrutashravaso mukhat.

 

     tatra-bhavatyah—staying there; shrutasravasah—of Srutasrava; mukhat—from the mouth.

 

 

     Uddhava:  He heard from the mouth of Shrutasrava-devi, who lives in Vrindavana.

 

     Note: Shrutasrava-devi was Shishupala's mother.

 

 

Text 29

 

 

     gargi:  saccam saccam. sa kkhu bandhado vimukkam bhadaram aëa-adunduhim dattham ëahiharam a-ada asi. tado ma-e cce-a aëahiëëa-e go-ula-gadam savvam rahassam tissa sa-ase ppa-asidam.

 

     saccam—yes; saccam—yes; sa—she; kkhu—indeed; bandhado—from relatives; vimukkam—departed; bhadraram—to the brother; ana-adunduhim—Vasudeva; dattham—to see; na—not; ahiharam—at her father's house; a-ada asi—was; tado—then; ma-e—by me; cce-a—certainly; anahinna-e—without knowing; go-ula—to Gokula; gadam—gone; savvam—all; rahassam—the secrets; tissa—of her; sa-ase—in the presence; ppa-asidam—were revealed.

 

 

     Gargi:  When her brother Vasudeva was released fro prison she went to see him at her father's house. Then I unknowingly told her all the secrets of Gokula.

 

 

Text 30

 

 

     uddhavah:  arye kim atra te dushaëam. mad-vidheshu vidhir eva pratibandhi.

 

     arye—O noble lady; kim—what?; atra—here; te—of you; dusanam—the fault; mat-vidheshu—for those like me; vidhih—fater; eva—certainly; pratibandhi—obstructs.

 

 

     Uddhava:  O noble lady, what faults is there on your part?  Fate always places these obstacles in the path of people like myself.

 

 

Text 31

 

 

     gargi:  bhippha-a-ëandaëe canda-alim ëedum pa-utte kaham ëa kobi padibandhi samvutto.

 

     bhippha—of Maharaja Bhismaka; nandane—when the son; canda-alim—Candravali; nedum—to take away; pa-utte—was engaged; kaham—why?;  na—not; kobi—anyone; padibandhi—obstructing; samvutto—was engaged.

 

 

     Gargi:  Why did no one try to stop Maharaja Bhishmaka's son when he took Candravali?

 

 

Text 32

 

 

     uddhavah:  mathuram asthite ciram sa-bandhave gokulendre. hate ca toshalapara-paryaye govardhane ko 'nyah pratibadhniyat.

 

     mathuram—in Mathura; asthite—staying; ciram—for a long tiem; sa—with; bandhave—His relatives; gokula—of Gokula; indre—when the king; hate—when killed; ca—also; tosala—as Tosala; apara-paryaye—also known; govardhane—when Govardhana; kah—who?;  anyah—else; pratibadhniyat—would oppose him.

 

 

     Uddhava:  At that time Krishëa and His relatives were in Mathura City for a long time and (Candravali's husband) Govardhana, also known as Toshala, had just died. Who else was there to oppose Bhishmaka's son?

 

 

Text 33

 

 

     gargi:  bho somma  pa-uma-kaëëa-a-cadukkam kisa ëaëidam.

 

     bho—O; somma—noble one; pa-uma—Padma; pahudi—beginning with; kanna-a—girls; cadukam—four; kisa—how?; nanidam—were taken away.

 

 

     Gargi:  Noble friend, why didn't he take the four girls led by Padma?

 

 

Text 34

 

 

     uddhavah:

 

padma nagnajitah suta narapater madreshituh shyamala

     bhadra kekaya-cakra-mastaka-maëeh shaibyaysya shaibya tatha

jnatva hanta cirac caturbhir abhito viëa-praviëan muner

     ebhir gopa-patim prasadya vinayaih kanyas tato ninyire

 

     padma—Padma; nagnajitah—of Nagnajit; suta—the daughter; narapateh—of the king; madra—of Madra; isituh—of the king; syamala—Syamala; bhadra—Bhadra; kekaya—of Kekaya; cakra-mastaka-maneh—of the king; saibyasya—of Saibya; saibya—Saibya; tatha—in the same way; jnatva—knowing; hanta—indeed; cirat—for a long time; caturbhih—by the four; abhitah—accompanied; vina-pravinat—expert at playing the vina; muneh—from the sage; ebhih—with them; gopa—of the cowherds; patim—the king; prasadya—requesting; vinayah—with gentlemanly propriety; kanyah—the girls; tatah—then; ninyire—took away.

 

 

     Uddhava:  Padma is actually the daughter of King Nagnajit. Shyama is the daughter of the king of Madra, Bhadra the daughter of the king of Keyaya, and Shaibya the daughter of the king of Shaibya. After learning these facts from Narada Muni, these four kings, after humbly winning the gopa-king Nanda's permission, took their daughters (home to their respective palaces).

 

 

Text 35

 

 

     gargi:  kacca-aëi—vvada-paraëam-go-ula-kaëëanam kim kkhu kusalam.

 

     kacca-ani—Katyayani; vvada—to the vow; paraëam—devoted; go-ula—of Gokula; kannanam—of the girls; kim—what?; kkhu—indeed; kusalam—welfare.

 

 

     Gargi:  Are the girls of Gokula who so devotedly observed the vow of worshiping goddess Katyayani well?

 

 

Text 36

 

 

     uddhavah:  (sa-bashpam)

 

stavam kamakhyayah kam api vidadhante taraëija-

     taöante sambhuya jvarita-hridayani klama-bharaih

sahasraëy uddaëòa-prakritir aciram shoòasha haöhat

     kumariëam tasam aharata shataòhyani danujah

 

     sa—with; bashpam—tears; stavam—prayers; kama—Kama; akhyayah—named; kam api—some; vidadhante—offer; taranija—of the Yamuna River; tata-ante—on the shore; sambhuya—being; jvarita—burning; hridayani—hearts; klama—of distress; bharaih—with a great burden; sahasrani—thousands; uddanda—fierce; prakritih—by nature; aciram—quickly; sodasa—sixteen; hathat—violently; kumarinam—of the girls; tasam—of them; aharata—took away; sata—a hundred; adhyani—plus; danujah—a demon.

 

 

     Uddhava:  (with tears)  Their hearts burning with pain, 16,100 gopis offered prayers to the goddess Kama (for Krishëa's return). As they were praying on the Yamuna's shore, a very ferocious demon violently kidnapped them all.

 

 

Text 37

 

 

     gargi:  abi ëama idam vuttam tumha-pahuëa sudam.

 

     abi nama—perhaps; idam—this; vuttam—news; tumha—of you; pahuna—by the Lord; sudam—was heard.

 

 

     Gargi:  Did your Lord hear of this?

 

 

Text 38

 

 

     uddhavah:  shrutam eva. kintu baòham avishishöam.

 

     shrutam—heard; eva—certainly; kintu—however; badham—certainly; avishishöam—not with details.

 

 

     Uddhava:  He heard, but not the details.

 

 

Text 38

 

 

     gargi:  kerisam tam.

 

     kerisam—like what?; tam—that.

 

 

     Gargi:  What details?

 

 

Text 39

 

 

     uddhavah:  ashöadhika-shatottareshu shoòashasu kumarinam sahasreshu naikapi goshöham adhitishöhatiti.

 

     asta—eight; adhika—plus; sata—a hundred; uttareshu—plus; sodasasu—sixteen; kumarinam—of girls; sahasreshu—thousand; na—not; eka—one; api—even; goshöham—in Vraja; adhitishöhati—stays; iti—thus.

 

 

     Uddhava:  Of the 16,108 gopis not a single one is still in Vraja.

 

 

Text 40

 

 

     gargi:  ko va tasya abaranusandhanassa osaro. jam rahi-e ta-e daruëa-dasa-e nivvudi-lavobi su-dugghado.

 

     ko—what?; va—or; tasya—of Him; abara—other; anusandhassa—of investigation; osaro—opportunity; jam—because; rahi-e—of Radha; daruna—terrible; dasa-e—by the condition; nivvudi—of peace; lavo—a tiny particle; bi—even;su—very; dugghado—difficult to attain.

 

 

     Gargi:  What opportunity has He had to understand what has happened in Vraja. Overwhelmed by Radha's terrible sufferings, He has not found even a moment's happiness.

 

 

Text 41

 

 

     uddhavah:  arye tathyam attha. tata eva baòham vyagraya bhagavatya nirmito 'sti ko 'pi devasya mano-vinodenopayah.

 

     arye—O noble lady; tathyam—the truth; attha—you speak; tatah—therefore; eva—certainly; badham—indeed; vyagraya—earnest; bhagavatya—by the noble lady; nirmitah—created; asti—is; devasya—of the Lord; manah—of the heart; vinoda—for pleasing; upayah—a method.

 

 

     Uddhava:  Noble lady, you speak the truth. For this reason noble, earnest (Paurëamasi) has created a diversion to soothe the Lord's heart.

 

 

Text 42

 

 

     gargi:  keriso sa.

 

     keriso—like what?; sa—that.

 

 

     Gargi:  What was that?

 

 

Text 43

 

 

     uddhavah:  sangita-vidya-vedhasam bharatam abhyarthya ki 24cid apurvam rupakam karitam. tac ca devarshi-tirthena tumburu-haste preshitam. tumburuëa ca gandharvan idam adhyapitam.

 

     sangita—of music; vidya—of the science; vedhasam—the original author; bharatam—Bharata Muni; abhyarthya—requesting; kincit—a certain; apurvam—new; rupakam—play; karitam—created; tat—that; ca—also; devarsi-tirthena—by Devarsi Narada; tumburu—the tumburu; haste—in hand; presitam—conducted; tumburuna—with the tumburu; ca—also; gandharvan—the Gandharvas; idam—this; adhyapitam—taught.

 

 

     Uddhava:  After praying to Bharata Muni, the founder of the art of music, she composed a new musical-drama. Narada Muni sent it in Tumburu's hand and Tumburu taught it to the Gandharvas.

 

 

Text 44

 

 

     gargi:  daëim kebi divva-purisa tattha-hodi-e poëëamasi-e saddham alabanta ma-e diööha. ta ede gandhavva hubissanti.

 

     danim—now; kebi—some; divva-purisa—demigods; tattha-hodi-e—the noble lady; ponnamasi-e—Paurëamasi; saddham—with; alabanta—talking; ma-e—by me; dittha—are seen; ta—therefore; ede—they; gandharva—the actors; hubissanti—will be.

 

 

     Gargi:  I see some demigods talking with noble Paurëamasi. They must be Gandharvas.

 

 

Text 45

 

 

     uddhavah:  atha kim pashyayam madhumangalena saha nritya-vilokanartham aravinda-locanah kuruvinda-mandirasyalindam adhirohate.

 

     atha-kim—yes; pashyayam—I see; madhumangalena—Madhumangala; saha—with; nrtya—the play; vilokana—of seeing; artham—for the purpose; aravinda-locanah—lotus-eyed Krishëa; kuruvinda—of rubies; mandirasya—of the palace; alindam—the porch; adhirohate—climbs.

 

 

     Uddhava:  Yes, it is so. Look! Accompanied by Madhumangala, lotus-eyed Krishëa ascends the balcony of the palace of rubies to see the play.

 

 

Text 46

 

 

     gargi:  aham gadu-a muharam presa-issam.

 

     aham—I; gadu-a—having sons; muharam-presa-issam—I shall send.

 

 

     Gargi:  I will go and bring Mukhara.

 

 

Text 47

 

 

     uddhavah:  aham api bhagavatya saha naöan preshayishyami.

 

     aham—I; api—also; bhagavatya—the noble lady; saha—with; natan—the actors; presayishyami—shall dispatch.

 

 

     Uddhava: Noble Paurëamasi and I will bring the actors.

 

 

Text 48

 

 

     (iti nishkrantau)   (vishkambhakah)

 

     iti—thus; nishkrantau—they exit; viskambhakah—the viskam bhakah.

 

 

     (They both exit.)  Thus ends the vishkambhaka interlude.

 

 

Scene 2

 

 

Text 1

 

 

     (tatah pravishati yatha-nirdishöah krishëah.)

 

     krishëah:  (sa-khedam)

 

ha lilavati ha cakora-nayane ha candra-bimbanane

     ha bimba-pratimaushöhi ha guëavati-goshöhi-puro-vartini

ha goshöhakhila-khanjarita-nayana-murdhabhishikte katham

     ha radhe hata-daiva-durvilasitair yatasi ghoram dasham

 

     tatah—then; pravishati—enters; yatha—as; nirdishöah—described; krishëah—Krishëa; sa—with; khedam—unhappiness; ha—O; lilavati—playful girl; ha—O; cakora—cakora birds; nayane—whose eyes; ha—O; candra—of the moon; bimba—the disc; anane—whose face; ha—O; bimba—of bimba fruit; pratima—the form; osthi—whose lips; ha—O; guëavati—virtuous; goshöhi—of the community; purah-vartini—the foremost; ha—O; goshöha—of Vraja; akhila—all; kunjarita—kunjarita birds; nayana—eyes; murdha—the head; abhisikte—crowned; katham—how is it?; ha—O; radhe—Radha; hata—fatal; daiva—fate; durvilasitaih—by the wicked actions; yata—attained; asi—you have; ghoram—a terrible; dasam—condition.

 

 

     (Krishëa, as described, enters.)

 

     Krishëa:  O playful girl, O girl whose eyes are cakora birds, O moon-faced one, O girl whose lips are bimba fruits, O best of all virtuous girls, O crowned queen of all the girls of Vraja, whose eyes are khanjana birds, O Radha, why have the wicked actions of fate brought You to this terrible end?

 

 

Text 2

 

 

     madhamangala:  pi-a-va-assa adi-dullaha-damsaëa bi rahi-a vijjamanevva me paòibhadi.

 

     pi-a—dear; va-assa—O friend; ati—very; dullaha—difficult; damsana—to see; bi—even; rahi-a—Radha; vijjamana—being; ivva—as if; me—to me; padibhadi—is manifested.

 

 

     Madhumangala:  Dear friend, from this spot it is very difficult for me to see Radha.

 

 

Text 3

 

 

     krishëah:  sakhe satyam ashayaiva kad-arthyamano 'smi yatah

 

nire mankshu mimankshum arta-mukharam uddishya caëòa-dyuter

     duran maëòalatah kripaturataya yat pradurasit tada

ha dhig vag-amritena tena janitas tasyah punah sangama-

     pratyashankura uccakair mama sakhe svantam haöhad vidhyati

 

     sakhe—O friend; satyam—in truth; asayaiva—by hope; kad-arthyamanah—tormented; asmi—I am; yatah—because; nire—in the water; mankshu—quickly; mimankshum—to enter; arta—suffering; mukharam—Mukhara; uddishya—in relation to;  canda-dyuteh—of the sun; durat—from far away; maëòalatah—from the circle; kripa—of compassion; aturataya—with the overwhelming feelings; yat—which; pradurasit—was manifested; tada—then; ha—alas!; dhik—alas!; vak—of words; amritena—with the nectar; tena—by that; janitah—born; tasyah—of Her; punah—again; sangama—of meeting; pratyasa—of hope; ankurah—a blade of grass; uccakaih—greatly; mama—of Me; sakhe—O friend; svantam—the heart; hathat—violently; vidhyati—pierces.

 

 

     Krishëa:  Friend, I am now tortured by hope. When suffering Mukhara was about to drown herself, a voice from the sun planet mercifully told her (that Radha had already entered the celestial world.)  The nectar of those words has now sprouted a single grass-blade of the hope to again meet Radha. That blade of grass is now violently piercing My heart.

 

 

Text 4

 

 

     (kshaëam tushëim sthitva punar uccakaih)

 

prayatum shvaphalkau dhrita-turaga-valge caöula-dhir

     niruddha sakrandam ratham adhirurukshum parijanaih

udasram sa drishöim mayi vikirati krura-manasa

     vilambyalpam ha dhik su-tanur anunitapi na maya

 

     kshaëam—for a moment; tusnim—silence; sthitva—manifesting; punah—again; uccakaih—in a loud voice; prayatum—to go; svaphalkau—when Akrura, the son of Svaphalka; dhrta—held; turaga—of the horses; valge—the reins; catula—unsteady; dhih—whose mind; niruddha—stopped; sa—with; akrandam—crying; ratham—the chariot; adhirurukshum—to climb aboard; parijanaih—by Her friends; mayi—upon Me; vikirati—casts; krura—cruel; manasa—with a heart; vilambya—resting; alpam—slightly; ha—alas!; dhik—alas!; su-tanuh—beautiful girl; anunita—taken; api—even; na—not; maya—by Me.

 

 

     (After a moment's silence, He calls out) Akrura held the horse's reins, about to drive away. Radha's heart trembled with unsteadiness. She cried loudly and tried to climb onto the chariot, but Her friends stopped Her. She cast a tear-filled glance at Me. And I was so cruel at heart that I paused for a moment, and then rode away. Alas! Alas! I did not take that beautiful girl with Me!

 

 

Text 5

 

 

     uddhavah:  deva samanitah peshalo 'yam divya-naröaka-sampradayah.

 

     deva—O Lord; samanitah—assembled; pesalah—expert; ayam—this; divya—splendid; nartaka—of actors; sampradayah—the troupe.

 

 

     Uddhava:  My Lord, the splendid and expert demigod-actors are assembled.

 

 

Text 7

 

 

     krishëah:  sutradhara turëam arabhyatam taurya-trikam.

 

     sutradhara—O Sutradhara; turnam—at once; arabhyatam—should be beguë; taurya-trikam—the singing, music, and dancing.

 

 

     Krishëa:  Sutradhara, let the music, singing, and dancing begin at once.

 

 

Text 6

 

 

     (tatah pravishati gandharvair anugamyamana uddhavah paurëamasi mukhara ca.)

 

     tatah—then; pravishati—enters; gandharvaih—by the actors; anugamyamanah—followed; uddhavah—Uddhava; paurëamasi—Paurëamasi; mukhara—Mukhara; ca—and.

 

 

     (Uddhava, Paurëamasi, and Mukhara enter, followed by the actors.)

 

 

Text 8

 

 

     sutradharah:

 

nija-madhurima-mudramlapitendivara-shrir

     jayati parama-jaitrah ko 'pi radha-kaöakshah

tri-bhuvana-jaya-lakshmi-varyaya datta-dama

     madhu-ripur api yena kriòaya nirjito 'bhut

 

     nija—own; madhurima—of sweetness; mudra—by the chacteristics; amlapita—wilted; indivara—of the lotus flower; shrih—the beauty; jayati—all glories; parama—the supreme; jaitra—conqueror; kah api—a certain; radha—of Radha; kata-akshah—sidelong glance; tri—the three; bhuvana—in the worlds; jaya—of victory; lakshmi—of goddesses; varyaya—by the best; datta—given; dama—a garland; madhu—of Madhu; ripuh—the enemy; api—even; yena—by which; kridaya—playfully; nirjitah—defeated; abhut—is.

 

 

     Sutradhara:  All glories to Radha's supremely victorious sidelong glance, which with its sweetness makes the beauty of the most splendid lotus flowers wilt, and which with its playfulness easily conquers Lord Krishëa, who was Himself garlanded by the goddess of victory victorious in the three worlds.

 

 

Text 9

 

 

     krishëah:  (sa-harsham)  sadhiyan esha hridayanandi nandi-prayogah.

 

     sa—with; harsham—happiness; sadhiyan—should be done; esah—this; hridaya—the heart; anandi—delighting; nandi—of the introductory verse; prayogah—performance.

 

 

     Krishëa:  (with happiness)  This nandi-verse delights My heart.

 

 

Text 10

 

 

     sutradharah:  (parshvato vilokya)  arye kenapi caru-sandhina prabandhena jagad-bandhor asya samaradhanaya kulacaryeëa svargatah preshito 'smi.

 

     parsvatah—from the side; vilokya—glancing; arye—O noble lady; kena api—with a certain; caru—beautifully; sandhina—written; prabandhena—literary composition; jagat—of the universe; bandhoh—of the friend; asya—of Him; samaradhanaya—for the worship; kula—of the community; acaryena—by the spiritual master; svargatah—from the heavenly planetary system; presitah—sent; asmi—I have been.

 

 

     Sutradhara:  (glancing to the side)  O noble lady, Narada Muni, the spiritual master of the demigods has sent me from Svargaloka to worship Lord Krishëa, the friend of the entire universe, with this beautifully written play.

 

 

Text 11

 

 

     naöi:  ajja ko kkhu so dava ppabandho.

 

     ajja—O noble sir; ko—what?; kkhu—indeed; dava—then; ppabandho—literary work.

 

 

     Naöi:  Noble sir, what play is it?

 

 

Text 12

 

 

     sutradhara:

 

rasika-siromaëi-ramaëah

     sulabho gokula-nivasinam eva

sandarbho guëa-garbhah

     sa jayati radhabhisarakhyah

 

tad giyatam mangala-dhruva.

 

     rasika-siromaëi—to Lord Krishëa, the crest-jewel of those expert at relishing transcendental mellows; ramanah—delightful; sulabhah—pleasing; gokula—of Gokula; nivasinam—to the residents; eva—certainly; sandarbhah—literary work; guëa—of transcendental virtues; garbhah—the origin; sah—to that; jayati—all glories; radha—with Radha; abhisara—the meeting; akhyah—named; tat—therefore; giyatam—should be sung; mangala—the auspicious; dhruva—introductory verse.

 

 

     Sutradhara:  All glories to this play filled with all good qualities, pleasing to Lord Krishëa, the crest-jewel of those expert at relishing transcendental mellows, happy for the residents of Gokula, and bearing the name "The Meeting With Radha." Let the auspicious introduction now be sung!

 

 

Text 13

 

 

     naöi:  ajja kam ridum olambi-a ga-issam.

 

     ajja—O noble sir; kam—what?; ridum—season; olambi-a—in relation; ga-issam—shall I sing.

 

 

     Naöi:  O noble sir, what season of the year shall I glorify in my song?

 

 

Text 14

 

 

     sutradharah:  arye pashya pashya

 

shrir esha vana-malikasu milati projjhyadya kundavalim

     smartum pancama-caturim cira-parityaktam yatante pikah

bhaëòirat paripaëòurah sphuöam ami bhrashyanti yatra cchadah

     kalah ko 'py ayam ujjvalah sa-kutuki mandam parispandate

 

     arye—O noble one; pashya—look; pashya—look; shrih—beauty; esa—she; vana—in the forest; malikasu—the malika flowers; milati—meets; projjhya—abandoning; adya—now; kunda—of kunda flowers; avalim—the host; smartum—to remember; pancama—on the fifth note; caturim—skill; cira—for a long time; parityaktam— to abandon; yatante—endeavor; pikah—the cuckoos; bhandirat— from the banyan tree; paripandurah—white; sphuöam—clearly; ami—they; bhrasyanti—fall; yatra—where; chadah—the leaves; kalah—time; kah api—a certain; ayam—this; ujjvalam—splendid spring; sa—with; kutuki—eargerness; mandam—gentle; parispandate— trembles.

 

 

     Sutradhara:  Noble lady, look! Look! Leaving the kunda flowers, beauty enters the malika flowers in the forest. The cuckoos struggle to remember their long-neglected skill in singing the fifth note. Pale leaves fall from the banyan tree. A splendid (spring) time tremblies with eargerness.

 

 

Text 15

 

 

     naöi: 

 

iha jhampidabi parido

     samilada-e phuòam kaöora-e

mahubeëa ho-i lahuëa

     ëa mahavi aëuëida-tthava-a

 

     iha—here; jhampida—covered; bi—also; parido—everywhere; sami-lada-e—by a sami vine; phudam—manifested; katora-e—hard; mahubena—by the bumble-bee; ho-i—is; lahuna—slightly; na—not; mahavi—spring; anunida—pleased; tthava-a—blossoms.

 

 

     Naöi:  Even though it is covered with harsh shami-vines, is it not true that this tiny bumble-bee still loves this cluster of madhavi flowers?

 

 

Text 16

 

 

     sutradharah:  (sa-paritosham)  arye sadhu sadhu prastavocitam eva tavad upanyastam. tatha hi

 

vriddhaya shashvad-arabdha-

     nirodham api radhikam

niravadham sada sadhu

     ramayaty esha madhavah.

 

(iti nishkrantau.)

 

     sa—with; paritosam—pleasure; arye—O noble one; sadhu—well done; sadhu—well done; prastava—introduction; ucitam—suitable; eva—certainly; tavat—then; upanyastam-tatha hi—furthermore; vrddhaya—by the elderly gopi; sasvat—always; arabdha—attempted; nirodham—obstruction; api—although; radhikam—Radha; nirabadham—undisturbed; sada—always; sadhu—nicely; ramayati—pleases with transcendental pastimes; esah—He; madhavah—Krishëa; iti—thus; nishkrantah—they both exit.

 

 

     Sutradhara:  (with pleasure)  Noble girl, well done! Well done! You have spoken the introduction very well. The meaning of your words is:  Even though old Jaöila continually tries to stop Them, Krishëa eternally pleases Radha with transcendental pastimes. (They both exit.)

 

 

 

Text 17

 

 

     (tatah pravishati madhavah)

 

     madhavah:

 

lakshmivan iha dakshiëanila-sakhah sakshan madhur modate

     madyad-bhringa-vihanga-hari vihasaty atrapi vrindavanam

radha yady abhisaram atra kurute so 'yam mahan eva me

     sandrananda-vilasa-sindhu-lahari-hillola-kolahalah

 

     tatah—then; pravishati—enters; madhavah—Krishëa; lakshmivan—beautiful; iha—here; dakshina—southern; anila—breeze; sakhah—whose friend; madhuh—spring; modate—pleases; madyat—jubilant; bhrnga—bumble-bees; vihanga—and birds; hari—charming; vihasati—smiles; atra—here; api—also; vrindavanam—the forest of Vrindavana; radha—Radha; yadi—if; abhisaram—meeting; atra—here; kurute—does; sah ayam—that; mahan—great; eva—certainly; me—to Me; sandra—intense; ananda—of bliss; vilasa—pastime; sindhu—in the ocean; lahari—of waves; hillola—upon waves; kolahalah—an uproar.

 

 

     (Madhava enters.)

 

     Madhava:  Accompanied by it's friend, the southern breeze, beautiful springtime is happy. Charming with jubilant bees and birds, Vrindavana forest smiles. If Radha were to meet Me here, I would be plunged into the crashing waves of the ocean of intensely blissful pastimes.

 

 

Text 18

 

 

     madhumangala:  (vihasya)  hi hi dasi-e putta-ehim surinda-puri-bhandehim dudi-o me pi-a-va-asso paccakkhi-kado.

 

     vihasya—laughing; hi—ha; hi—ha; dasi-e putta-ehim—by the actors; surinda-puri-babhandehim—from the heavenly planets; dudi-o—a second; me—of me; pi-a—dear; va-asso—friend; paccakkhi-kado—is manifested.

 

 

     Madhumangala:  (laughing) Ha ha!  The demigods-actors have created a double of my dear friend Krishëa! 

 

 

Text 19

 

 

     uddhavah:  (sa-camatkaram)

 

nava-murali-marali-hari-hastaravindah

     kavalita-kuruvinda-cchaya-gunjadbhuta-shrih

mridula-pavana-cancat-pincha-cuòancalo 'yam

     madayati hridayam me shyamikanam vilasah

 

     sa—with; camatkaran—wonder; nava—new; murali—flute; marali—swan; hari—charming; hasta—hand; aravindah—lotus flower; kavalita—swallowed up; kuruvinda—of rubies; chaya—the splendor; gunja—gunja; adbhuta—wonderful; shrih—beauty; mrdula—gentle; pavana—in the breeze; cancat—moving; pincha—peacock feather; cuòa—crown; ancalah—the tip; ayam—He; madayati—delights; hridayam—the heart; me—of me;  syamikanam—of blackness; vilasah—the splendor.

 

 

     Uddhava:  (astonished)  His new flute like a swan in the beautiful lotus flower of His hand, the wonderful beauty of His gunja-necklace eclipsing the splendor of rubies, and the tip of His peacock-feather crown moving in the gentle breeze, this dark splendor delights my heart.

 

 

Text 20

 

 

     krishëah: (sautsukyam romancam unmilya)

 

udgirëadbhuta-madhuri-parimalasyabhira-lilasya me

     dvaitam hanta samikshayan muhur asau citriyate caraëah

cetah keli-kutuhalottaralitam satyam sakhe mamakam

     yasya prekshya svarupatam vraja-vadhu-sarupyam anvicchati

 

     sa—with; autsukyam—eagerness; romancam—hairs standing up; unmilya—manifesting; udgirëa—overflowing; adbhuta—wonderful; madhuri—sweetness; parimalasya—whose fragance; abhira—of a cowherd boy; lilasya—who has pastimes; me—My; dvaitam—second form; hanta—alas; samikshayan—showing; muhuh—again and again; asau—that; citriyate—is acting like a picture; caraëah—dramatic actor; cetah—heart; keli-kutuhala—by longing for pastimes; uttaralitam—greatly excited; satyam—actually; sakhe—O dear friend; mamakam—My; yasya—of whom; prekshya—by seeing; sva-rupatam—similarity to My form; vrja-vadhu—of the damsels of Vrajabhumi; sarupyam—a form like the forms; anvicchati—desires.

 

 

     Krishëa:  (the hairs of His body standing up with excitement)  My dear friend, this dramatic actor appears like a second form of My own self. Like a picture, He displays My pastimes as a cowherd boy overflowing with wonderfully attractive sweetness and fragance, which are so dear to the damsels of Vraja. When I see such a display, My heart becomes greatly excited. I long for such pastimes and desire a form exactly like the damsels of Vraja.*

 

 

Text 21

 

 

     tad adya bhavantam prcchami. katham anenaviskrita mamapi mano-hariëi sa kapi rupa-candrika.

 

     tad—therefore; adya—now; bhavantam—of you; prcchami—I ask; katham—how is it?; anena—by him; aviskrita—manifested; mama—of Me; api—even; manah—the heart; harini—enchanting; sa—this; ka api—certain; rupa—of the form; candrika—the moonlight.

 

 

     Now I shall ask this question of you:  How can this actor enchant even My heart with the moonlight of this form?

 

 

Text 22

 

 

     uddhavah:  deva bhavad-bhakti-prabhava-sambhavito 'yam devarsher eva seva-paripaöi-vivartah.

 

     deva—O Lord; bhavat—to You; bhakti—of devotion; prabhava—by the stregnth; sambhavitah—manifested; ayam—this; deva-rseh—of Devarsi Narada; eva—certainly; seva—of service; paripati—of the arrangement; vivartah—the transformation.

 

 

     Uddhava:  Lord, this transformation is possible because of Devarshi Narada's pure devotion to You.

 

 

Text 23

 

 

     krishëah:  (sashcaryam)

 

prapadya naöatam naöan kim ayam asmi ranga-sthale

     sadasy atha sa-dasyatam kim upalabhya pashyami va

iti sphuöa-vinirëaye kim api samvidhanam purah

     samikshya paramadbhutam nimisham apy aham na kshamah

 

     sa—with; ashcaryam—wonder; prapadya—attaining; natatam—the state of being an actor; natan—acting; kim—wheter?; ayam—he; asmi—I am; ranga-sthale—on the stage; sadasi—in the audience; atha—then; sadasyatam—the state of being a member of the audience; kim—whether?; upalabhya—attaining; pashyami—I see; va—or; iti—thus; sphuöa—manifested; vinirnaye—in the conclusion; kim api—something; samvidhanam—arrangement; purah—in the presence; samikshya—seeing; parama—supreme; adbhutam—wonder; nimisma—blinking; api—even; aham—I; na—not; kshamah—am able.

 

 

     Krishëa:  (astonished)  Am I that actor on the stage, or am I the person observing him from the audience? I cannot decide. With unblinking eyes I stare at the great wonder before Me.

 

 

Text 24

 

 

     madhavah:

 

matir aghurëata sardham ali-vrajair

     dhritir abhun madhubhih saha vicyuta

vyakasad-utkalika kalikalibhih

     samam iha priyaya viyutasya me

 

     matih—mind; aghurnata—reels; sardham—with; ali—of bees; vrajaih—the swarms; dhrtih—peaceful composure; abhut—has become; madhubhih—with the honey; saha—with; vicyuta—fallen away; vyakasat—manifested; utkalika—longings; kalika—of budding flowers; alibhih—with multitudes; samam—with; iha—here; priyaya—from the beloved; viyutasya—separated; me—of Me.

 

 

     Madhava:  Now that I am separated from My beloved, these buzzing bees make My head spin. This scent of honey robs Me of all peacefulness, and these budding flowers fill Me with longing (to meet Her again.)

 

 

Text 25

 

 

     tad idanim veëu-gita-samjnaya lalitam abhyarthayishye.

 

     tat—therefore; idanim—now; venu—of the flute; gita—of the music; samjnaya—with the sign; lalitam—Lalita; abhyarthayishye—I shall.

 

 

     Now I with flute-music will place My request before Lalita.

 

 

Text 26

 

 

     (ity adhare veëum vinyasya)

 

akshëor bandhum hari-haya-harin-nagari raga-riktam

     rageëavishkuru guru-rucam bhanaviyam navinam

cakrabhikhyah kim api virahad akulah kaku-laksham

     kurvan mukhyas tvayi sa vayasam arthi-bhavam tanoti

 

     iti—thus; adhare—to the lips; venum—the flute; vinyasya—placing; akshëoh—of the eyes; bandhum—the friend; harihaya—like the sun; harit—yellow; nagari—O heroine; raga—redness; riktam—without; ragena—with love; aviskuru—please manifest; guru—great; rucam—splendor; bhanaviyam—of the daughter of Maharaja Vrsbhanu; navinam—youthful; cakra—Krishëa, who holds the Sudarsana cakra; kim api—somewhat; virahat—out of separation; akulah—distressed; kaku—of plaintive cries; laksham—thousands; kurvan—doing; mukhyah—the foremost; tvayi—to you; sah—He; vayasam—of friends; arthi-bhavam—request; tanoti—extends.

 

 

     (placing the flute to His lips)  O Lalita, O girl splendid as the eastern horizon, please bring before My eyes your friend, the splendid young sun that is Vrishabhanu's beautiful daughter Radha. Krishëa, who holds the cakra, who is your best friend, who is like a cakravaka, the best of birds, tormented by separation from Her, begs you with thousands of plaintive words.

 

 

Text 27

 

 

     krishëah:  (sa-kautukam)  kim ashakyam devarshi-prasadasya. yenayam ananya-vedyam api mad-antariëa-caryam vivriëoti.

 

     sa—with; kautukam—wonder; kim—what?; asakyam—is impossible; devarsi—of Devarsi Narada; prasadasya—of the mercy; yena—by which; ayam—he; ananya—not by others; vedyam—knowable; api—even; mat—of Me; antarina—within the heart; caryam—motions; vivrnoti—reveals.

 

 

     Krishëa:  (astonished)  What is impposible for Devarshi Narada's mercy? By that mercy this actor is able to reveal the innermost feelings of My heart, which remain always unknown to others.

 

 

Text 28

 

 

     madhavah:  (sa-harsham)  katham naöi-dure mano-hariëa-hariëi saiveyam manju-manjira-sinjita-kakali. tad aham madhavi-maëòapam pravishami. (iti nishkrantah)

 

     sa—with; harsham—happiness; katham—indeed; na—not; ati—very; dure—far away; manah—of the heart; harina—the deer; harini—enchanting; sa—this; eva—certainly; iyam—this; manju—charming; manjira—of ankle-bells; sinjita—tikling; kakali—soft; tat—therefore; aham—I; madhavi—of madhavi vine; mandapam—the cottage; pravishami—I shall enter; iti—thus; nishkrantah—exits.

 

 

     Madhava:  (with happiness)  Ah! Not far away is ankle-bell tinkling that charms the deer of My heart. I will enter the cottage of madhavi vines. (He exits.)

 

 

Text 29

 

 

     (tatah pravishati lalitayanugamyamana radha.)

 

     radha:  (sautsukyam puro drishöva)  hala lalide pekkha pekkha. dhaëëa esa tarangaleha. ja kkhu sevalavalli-nibadddha-pa-am ëam hamsi-am mo-avedi. ta phuòam bhisini-pattantarideëa kalamseëa sanghadissadi.

 

     tatah—then; pravishati—enters; lalitaya—by Lalita; anugamyamana—followed; radha—Radha; sa—with; autsukyam—eagerness; purah—ahead; drishöva—looking; hala—O; lalide—Lalita; pekkha—look!; pekkha—look!; dhanna—auspicious; esa—this; taranga—of the waves; lekkha—the lines; ja—which; kkhu—indeed; sevalavalli—by sevala moss; nibaddha—bound; pa-am—whose feet; nam—this; hamsi-am—female swan; mo-avedi—has released; ta—that; phudam—clearly manifested; bhisini—lotus; patta—petals; antaridena—within; kalahamsena—with the male swan; sanghadissadi—meets.

 

 

     (Followed by Lalita, Radha enters.)

 

     Radha:  (eagerly looking ahead) Lalita, look! Look! These waves are auspicious. A female swan trapped in a shaivala vine is now free. Now that swan meets her lover in the garden of lotus petals.

 

     Note:  In this allegory the female swan is Radha, the swan's lover is Krishëa, the shaivala vine is Jaöila, and the waves are Radha's eagerness to meet Krishëa.

 

 

Text 30

 

 

     lalita:  (smitva)  bho hamsi hamsa-ba-iëo pakkha-badeëa cce-a uddhura esa tumam kaddhadi ummi-mala. ta visaddha kantam ahisara.

 

     smitva—smiling; bho—O; hamsi—female swan; hamsa-ba-ino—for the king of swans; pakkha-badena—with love; cce-a—certainly; uddhura—unrestricted; esa—this; tumam—You; kaddhadi—pulls; ummi—of waves; mala—the garland; ta—therefore; visaddha—trusting; kantam—the lover; abhisara—go to meet.

 

 

     Lalita:  (smiling)  O female swan, this garland of waves has great love for the king of swans. That is why these waves pull You in this way. Have faith, and go meet Your lover.

 

 

Text 31

 

 

     krishëah: (sotkaëöham)

 

uccair abhud ananubhuta-cari dasha me

     yasyash cireëa viraha-jvara-jarjarasya

ha hanta seyam iyam ami yam avirasin

     mac-citta-hamsa-sarasi sarasiruhakshi

 

(ity simhasanad utthaya bhujabhyam grahitum parikramati.)

 

     sa—with; utkantham—longing; uccaih—greatly; abhut—is; ananubhuta-cari—unprecedented; dasa—condition; me—of Me; yasyah—of whom; cirena—for a long time; viraha—of separation; jvara—by the flames; jarjarasya—tormented; ha—alas!; hanta—alas!; sa iyam—She; ami—yes; iyam—She; avirasit—appeared; mat—of Me; citta—of the heart; hamsa—for the swan; sarasi—a lake; sarasiruha-akshi—lotus-eyed Radha; iti—thus; simha-asanat—from the throne; utthaya—rising; bhujabhyam—with both arms; grahitum—to grasp; parikramati—goes.

 

 

     Krishëa:  (with longing)  No one has suffered as I. For a long time I have been tormented by the flames of separation from Radha. Now lotus-eyed Radha, who is a lake where the swan of My heart enjoys pastimes, has appeared before Me. (He rises from the throne and goes to embrace the player.)

 

 

Text 32

 

 

     uddhavah:  deva naöya-praëito 'yam arthah.

 

     deva—O Lord; natya—for the play; pranitah—presented; ayam—this; arthah—purpose.

 

 

     Uddhava:  Lord, this is a scene in a play.

 

 

Text 33

 

 

     krishëah:  (sa-dhairyam lajjam abhiniya)

 

sa vaktra-shrir viramita-sharac-candra-nandi-stavasau

     seyam drishöir mada-kala-mrigi-mrigya-madhurya-kelih

sa bhrur esha ratipati-dhanur vibhramabhyasa-gurvi

     gandharvi me kshapayati dhritim hanta gandharvikeva

 

     sa—with; dhairyam—soberness; lajjam—embarrassment; abhiniya—representing dramatically; sa—She; vaktra—of the face; shrih—the beauty; viramita—ceased; sarat—autumn; candra—to the moon; nandi-stava—prayer; asau—this; sa iyam—She; drishöih—glance; mada-kala—musk; mrgi—of the doe; mrgya—sought; madhurya—of sweetness; kelih—the pastime; sa—that; bhruh—eyebrows; esa—this; ratipati—of cupid; dhanuh—the bow; vibhrama-abhayasa-gurvi—with charming playfulness; gandharvi—the actress; me—of Me; kshapayati—destroys; dhrtim—sober peaceful composure; hanta—indeed; gandharvika—Radha; iva—like.

 

 

     Krishëa: (embaressed and sober)  Her face is so beautiful it stops poets from glorifying the autumn moon. Her restless glance has a sweetness sought by the most charming passionate does. Her eyebrow is like Kama's bow. This charming actress destroys My peacefulness just as Radha does.

 

 

Text 34

 

 

     mukhara:  ha ëattiëi rahi-e ji-asi. (iti dhavati)

 

     ha—O; nattini—granddaughter; rahi-e—Radha; ji-asi—You are alive; iti—thus; dhavati—runs.

 

 

     Mukhara:  O granddaughter Radha, You are alive!  (She rushes forward.)

 

 

Text 35

 

 

     paurëamasi:  (patancale dhrtva)  sauhridandhe gandharvam idam gandharvanam.

 

     pata—the cloth; ancale—on the edge; dhrtva—holding; sauhrida—by love; andhe—blinded; gandharvam—an actor; idam—this; gandharvanam—of the Gandharvas.

 

 

     Paurëamasi:  (grasping the edge of her garment)  O woman blinded by love, this is a Gandharva-actor in a play.

 

 

Text 36

 

 

     mukhara:  (sasram)  bha-avadi sura-maëòalam bhettaëa  lo-antaram gada rahi saggalehim gandhavvehim aëidatti takkemi.

 

     sa—with; asram—tears; bha-avadi—O noble lady; sura-maëòalam—the sun-planet; bhettana—breaking through; lo-antaram—another planet; gada—attained; rahi—Radha; saggalehim—on Svargaloka; gandhavvehim—by the Gandharvas; anidatti—brought here; takkemi—I think.

 

 

     Mukhara:  (in tears)  O noble lady, (I think) Radha must have left the sun-planet and gone somewhere else. i think the Gandharvas in Svargaloka have now brought Her to this place (and She now stands before us).

 

 

Text 37

 

 

     radha:  hala lalide pupphaharaëa-koduhalassa ëi-edado tu-e aëijjanti aham abi ëama kim ajja-e muhara-e ditthamhi.

 

     hala—O; lalide—O Lalita; puppha—flowers; aharaëa—for picking; koduhalassa—for the desire; ni-edado—from the house; tu-e—by you; anijjanti—brought; aham—I; abi nama—perhaps; kim—whether?; ajja-e—by the noble lady; muhara-e—Mukhara; ditthamahi—I was seen.

 

 

     Radha, O Lalita, did noble Mukhara see Me as you brought Me from home to pick these flowers?

 

 

Text 38

 

 

     lalita:  na ke-alam ajja-e muhara-e. jaòila-e bi.

 

     na—not; ke-alam—only; ajja-e—noble; muhara-e—by Mukhara; jadila-e—by Jaöila; bi—also.

 

 

     Lalita:  Noble Mukhara was not the only one to see. Jaöila also saw You.

 

 

Text 39

 

 

     mukhara:  (sa-bashpa-gadgadam)  ha vacche saccam ma-e daruëi-e jjalidasi.

 

     sa—with; bashpa—tears; gadgadam—choked up; ha—O; vacche—child; saccam—in truth; ma-e—by me; daruni-e—cruel; jjalidasi—You have burned with suffering.

 

 

     Mukhara:  (choked up with tears)  O child, in truth I was very cruel. I made You burn in the flames of suffering.

 

 

Text 40

 

 

     madhumangala:  (sa-rosham)  rakkhasi vuddhi-e daëim ma kkhu ali-am pemmam pa-adehi. ja kkhu gharobanta-vadi-a-perante cce-a mam daööhuëa kukkuriva bukkasi.

 

     sa—with; rosam—anger; rakkhasi—O demonness; vuddhi-e—O old lady; danim—now; ma—do not; kkhu—indeed; ali-am—false; pemma—love; pa-dehi—manifest; ja—who; kkhu—indeed; ghara—the house; ubanta—near; vadi-a—of the garden; perante—at the boundary; cce-a—certainly; mam—me; datthuna—seeing;  kukkuri—a dog; iva—like; bukkasi—barksh.

 

 

     Madhumangala: (with anger) Old demonness, do not now put on this false show of love. Whenever you saw me near the boundary of the garden by your house you would bark at me as if you had become a dog.

 

 

Text 41

 

 

     mukhara:  ajja mahumangala kim karissam. appa-asida-rahassa-e vancidamhi bha-avadi-e.

 

     ajja—O noble one; mahumangala—Madhumangala; kim—what?; karissam—shall I do; appa-asida—unmanifested; rahassa-e—secret; vancidamhi—I was cheated; bha-avadi-e—by noble Paurëamasi.

 

 

     Mukhara:  Noble Madhumangala, what could I have done? I did not know your secret. Noble Paurëamasi cheated me.

 

 

Text 42

 

 

     radha:  hala ja-i diööhamhi tado uba-am vaharehi.

 

     hala—O; ja-i—if; ditthamhi—I was seen; tado—then; uba-am—a counter-measure; vaharehi—I must take.

 

 

     Radha:  If I was actually seen then Me what to do.

 

Text 43

 

 

     lalita:  hanta manthare pantaram parihari-a  kalamba-sambahena kalindi-tira-maggeëa turi-am gacchamha. (ity ubhe parikramatah.)

 

     hanta—O; manthare—slow one; pantaram—the open road; parihari-a—abandoning; kalaba—by kadamba trees thickly shaded; kalindi—of the Yamuna River; tira—by the shore; maggena—by the path; turi-am—quickly; gacchamba—let us go; iti—thus; ubhe—both; parikramatah—go.

 

 

     Lalita:  Slowly walking Radha, let's leave this open road and run on the kadamba-forest path by the Yamuna shore? (They both walk.)

 

 

Text 44

 

 

     radha:  sahi pisuëehim ëe-urehim kim tti sangamidamhi.

 

     sahi—O friend; pisunehim—traitors; ne-urehim—ankle-bells; kim—what?; tti—thus; sangamidamhi—I go with.

 

 

     Radha:  Why should I wear these ankle-bells? They are traitors (announcing My presence to others).

 

 

Text 45

 

 

     lalita:  vidakka-sila-e jaòila-e buddhim mohedum.

    

     vidakka-sila-e—quick to make guesses; jadila-e—of Jaöila; buddhim—the intelligence; mohedum—to bewilder.

 

 

     Lalita:  Jaöila is very quick. We must fool her.

 

 

Text 46

 

 

     (pravishya) jaöila: (purah pashyanti)  kaham diööhi-pahe ëa lakkhijjahi varisahanavi. ta kahim ëam maggissam. (bhuvas talam avalokya sa-harsham)  ima-im vahu-e pada-im disanti. jam kundala-idi-e sohagga-mudda-e ankida-im. ta imiëa maggeëa maggissam.

 

     pravishya—entering; purah—ahead; pashyanti—looking; kaham—how is it?; ditthi—of the eyes; pahe—on the path; na—not; lakkhijjahi—is seen; varisahanavi—Radha, the daughter of Maharaja Vrishabhanu; ta—therefore; kahim—where; nam—for Her; maggissam—shall I search; bhuvah—of the earth; talam—at the surface; avalokya—looking; sa—with; harsham—happiness; ima-im—these; vahu-e—of the girl; pada-im—the footprints; disanti—are seen; jam—because; kundala—of anklets; a-idi-e—in the form; sohagga—of good fortune; mudda-e—with the marks; ankida-im—is marked; ta—therefore; imina—by this; maggena—path; maggissam—I shall search.

 

 

     Jaöila:  (enters. She looks ahead)  Why has Radha, the daughtger of Maharaja Vrishabhanu, not yet appeared on the path of my eyes? Where will I search for Her? (She looks at the ground and becomes happy) I see the girl's footprints. I know they are Her footprints because they bear the auspicious mark of Her ankle-bells. I will search for Her on this path.

 

 

Text 47

 

 

     radha:  hala ajja ma-e a-uruvvam kim pi sibiëe anuhudam

 

     hala—O; ajja—now; ma-e—by Me; a-uruvvam—unprecedented; kim pi—something; sibine—in a dream; anuhudam—experienced.

 

 

     Radha:  Last night I saw something very unusual in a dream.

 

 

Text 48

 

 

     lalita:  sahi kim tam.

 

     sahi—O friend; kim—what?; tam—was that.

 

 

     Lalita:  Friend, what was it?

 

 

Text 49

 

 

     radha:  lavanga-kuòunge puppham aharanti tumam vrinda-aëa-vasiëa matta-kalahindeëa a-adu-a hatthena gahida-hatthasi samvutta. tado sambhameëa ghummanti-e tuha hadheëa ottha-palla-am damsanteëa tiëa vame tthava-ammi phuranta-tikkha-kamakusam kara-pukkharam. (ity ardhokte sa-romancam anamra-mukhi bhavati.)

 

     lavanga—of clove vines; kudunge—in the grove; puppham—a flower; aharanti—taking; tumam—you; vrinda-ana—of Vrindavana; vasina—by a certain resident; matta—mad; kalahi—of elephants; indena—by the king; a-adu-a—with the gait; hatthena—with a hand; gahida—taken; hattha—hand; asi—you are; samvutta—happened; tado—then; sambhamena—quickly; ghummanti-e—struggling to escape; tuha—of you; hadhena—violently; ottha—of the lips; palla-am—the blossom; damsantena—biting; tina—by Him; vame—on the left; tthava-ammi—cluster of flowers; phuranta—manifesting; tikkha—sharp; kama—of cupid; ankusam—elephant-goad; kara—hand; pukkharam—lotus flower; iti—thus; ardha—half; ukte—in the statement; sa—with; romancam—hairs standing up; anamra—bent downwards; mukhi—whose face; bhavati—is.

 

 

     Radha:  You were picking flowers in the grove of clove-vines when a Vrindavana-vasi who walked like a mad elephant suddenly put His hand in yours. As you struggled to escape, He bit your flower lips and pushed His lotus-hand, which seemed to be cupid's sharp elephant-goad, on your left bunch of flowers (She suddenly stops in the middle of Her speech. Her hairs are standing up and She bows Her head.)

 

     Note: In this statement "bunch of flowers" is a euphemism for "breast".

 

 

Text 50

 

 

     lalita:  (smitva) a-i sarale tujjha hi-a-e katthuri-a-patta-bhangam lihanti-e ma-e paccakkhi-kido sibiëa-sangi-ëa-ara-kunjara-vibbhamasi. ta phuòam kadhehi. ta-i-a-jaëa-sangajogge tassim maha-osare diha-sutta nivi-saha-ari jjhatti ëikkanta ëa ve tti.

 

     smitva—smiling; a-i—O; sarale—honest girl; tujjha—of you; hi-a-e—in the heart; katthuri-a—musk; patta-bhangam—designs and pictures; lihanti-e—drawing; ma-e—by me; paccakkhi-kido—manifest; sibina—in a dream; sangi—meeting; na-ara—hero. kunjara—with an elephant; vibbhama—enjoying pastimes; asi—You are; ta—that; phudam—clearly; kadhehi—please tell; ta-i-a—a third; jana—person; sanga—company; ajogge—unsuitable; tassim—in that; maha—great; osare—opportunity; diha—long; sutta—string; nivi—belt; sah-ari-friend; jjhatti—at once; nikkanta—departed; na—not; ve—or; tti—thus.

 

 

     Lalita:  (smiling)  O honest girl, as I was drawing pictures in musk on Your breasts, You fell sleep and enjoyed pastimes with this elephant-hero in Your dream. Tell me clearly: In that perfect opportunity, where the presence of a third person would be very improper, did Your friend, the sash about Your waist, stay, or did she immediately leave that place?

 

 

Text 51

 

 

     radha:  (svagatam) kadham takkidam atthi dhutta-e. (prakasham sa-bhru-bhangam)  vame kim tti ali-am asankasi.

 

     svagatam—aside; kadham—how is it?; takkidam—guessed; atthi—is; dhutta-e—by this rascal; prakasham—openly; sa—with; bhru—of the eyebrows; bhangam—knitting; vame—O crooked girl; kim—why?; tti—thus; ali-am—a deception; asankasi—do you suspect.

 

 

     Radha:   (aside)  How has this rascal guessed the truth?  (openly, knitting Her eyebrows)  crooked girl, why do you think I lied to you?

 

 

Text 52

 

 

     jaöila:  ëuëam ëe-ura-saddena a-addhida ede hamsa hamsa-ëandiëi-jalado vane dha-anti. ta vahudi-a nadi-dure huvissadi.

 

     nunam—is it not so?; ne-ura—of ankle-bells; saddena—by the sound; a-addhida—attracted; ede—these; hamsa—swans; hamsa-nandini—of the Yamuna River, the daughter of the sun-god; jalado—from the waters; vane—into the forest; dha-anti—run; ta—therefore; vahudi-a—the girl; na—not; adi—very; dure—far away; huvissadi—must be.

 

 

     Jaöila:  Those swans are running from the waters of the Yamuna into the forest. They must be attracted by the tinkling of ankle-bells. The girl cannot be very far away.

 

 

Text 53

 

 

     uddhavah:  aho jarati-namapi buddhi-kaushalam.

 

     aho—aha!; jarati—Jarati; nama—named; api—although; buddhi—in intelligence; kausalam—expert.

 

 

     Uddhava:  Aha! The old lady is very intelligent.

 

 

Text 54

 

 

     lalita: (svagatam)  purado mahavi-maëòabe mahavena hodavam.

 

     svagatam—aside; purado—before us; mahavi—of madhavi vines; mandabe—in the cottage; mahavena—with Krishëa; hodavam—may be.

 

 

     Lalita:  (aside)  Madhava (Krishëa) may be in this cottage of madhavi vines before us.

 

 

Text 55

 

 

     (tatah pravishati vrindayanugamyano madhavah.)

 

     madhavah: (samantad avalokya)

 

hetur me hridayotsavasya vividhah kamam kramad vardhatam

     prapnoty asya guëadhiroha-padavim radhabhisarasya kah

yasminn alpa-taram manoratha-tati-simam api prapite

     sandranandamayi bhavaty anupama sadyo jagad-vishmritih

 

     tatah—then; pravishati—enters; vrindaya—by Vrinda; anugamyamanah—followed; madhavah—Madhava; samantat—in all directions; avalokya—looking; hetuh—the cause; me—of Me; hridaya—of the heart; utsavasya—of the festival of happiness; vividhah—various; kamam—at will; kramat—one after another; vardhatam—may increase; prapnoti—attains; asya—of this; guëa-adhiroha-padavim—equality; radha—with Radha; abhisarasya—with a meeting; kah—what?; yasmin—in which; alpa-taram—smallest; manoratha—of desire; tati-simam—the boundary; api—even; prapite—when attained; sanda—intense; ananda—of bliss; mayi—consisting; bhavati—is; anupama—without equal; sadyah—at once; jagat—the entire world; vismritih—forgetfulness.

 

 

     (Followed by Vrinda, Madhava enters.)

 

     Madhava:  If the many things that bring to Me a great festival of transcendental happiness to My heart were increased without limit, would they equal the happiness I feel by meeting Radha?  If My desire to associate with Radha is even slightly fulfilled, I taste an unparalleled intense bliss that makes Me at once forget the entire world.

 

 

Text 56

 

 

     krishëah:  (paurëamasim avekshya)  hanta vatsale guror api gurvi tvam eva sarvada mam vinodayitum kovidasi. yad adya naöya-kala-cchalena durlabhe tatra gokula-vilase punah praveshito 'smi.

 

     paurëamasim—at Paurëamasi; avekshya—glancing; hanta—O; vatsale—affectionate one; guroh—than your spiritual master; api—even; gurvi—more; tvam—you; eva—certainly; sarvada—in all respects; mam—Me; vinodayitum—to please; kovida—expert; asi—you are; yat—because; adya—now; natya—of drama; kala—of the art; chalena—by the trick; durlabhe—difficult to attain; tatra—there; gokula—of Gokula; vilase—into the pastimes; punah—again; pravesitah—entered; asmi—I am.

 

 

     Krishëa:  (glancing at Paurëamasi)  O affectionate Paurëamasi, in all ways you are very expert at pleasing Me. You are more expert than even your spiritual master (Narada). By the trick of this dramatic performance you hava made Me again enter My very rare and difficult-to-attain Gokula-pastimes.

 

 

Text 57

 

 

     radha:  (madhavam avalokya sanandam atma-gatam)  bho bha-avam aëanda-pajjaëa ëu kkhu rundhi-adu jalasareëa ukkanthida tavassiëi me diööhi-ca-ori. kkhaëam pibedu esa dullaham imassa muha-candassa jonham. (prakasham bhruvau vibhujya)  lalide juttam juttam edam. jam saralaham vancidamhi. (iti nasaya phut-kurvanti sa-lilam roditi.)

 

     madhavam—Madhava; avalokya—seeing; sa—with; anandam—bliss; atma-gatam—to Herself; bho—O; bha-avam—lord; ananda—of bliss; pajjana—O rain; na—not; kkhu—indeed; rundhi-adu—blocked; jalasarena—by the cloud; ukkanthida—longing; tavassini—the ascetic; me—of Me; ditthi—of the eyes; ca-ori—the cakori bird; kkhanam—for a moment; pibedu—may drink; esa—she; dullaham—difficult to obtain; imassa—of this; muha—of the face; candassa—of the moon; jonham—the effulgence; prakasham—openly; bhruvau—eyebrows; vibhujya—knitting; lalide—O Lalita; juttam—proper; juttam—proper; edam—this; jam—because; sarala—honest; aham—I; vancida—cheated; amhi—am; iti—thus; nasaya—with Her nose; phut-kurvanti—blowing; sa—with; lilam—a pastime; roditi—cries.

 

 

     Radha:  (seeing Madhava, She becomes filled with bliss. She says to Herself:)  O My Lord, O raincloud of transcendental bliss, the cakora-bird of My eyes has performed great austerities, longing to attain You. Please allow that cakora-bird to drink for a moment the difficult-to-attain effulgence of the shining moon of Your face. (knitting Her eyebrows, She openly says:)  Lalita, this is right? This is right? I am an honest girl. You have cheated Me! (She blows Her nose and pretends to cry.)

 

 

Text 58

 

 

     lalita:  hala kim tti mam ubalahesi. devva-sanghadidam kkhu edam kim karissam.

 

     hala—O; kim—why?; tti—thus; mama—me; ubalahesi—do You blame; devva—by destiny; sanghadidam—done; kkhu—indeed; edam—this; kim—what?; karissam—shall I do.

 

 

     Lalita:  Why blame me? This is the work of destiny. What can I do?

 

 

Text 59

 

 

     madhavah: (radham avekshya sa-harsham)

 

dhavaty akramitum muhuh shravaëayoh simanam akshëor dvayi

     paushkalyam haratah kucau bali-guëair abadhya madhyam tatah

mushëitash calatam bhruvau caraëayor udyad-dhanur-vibhrame

     radhayas tanu-paööane nara-patau balyabhidhe shiryati

 

     radham—Radha; avekshya—seeing; sa—with; harsham—happiness; dhavati—runs; akramitum—to capture; muhuh—repeatedly; sravayoh—of the ears; simanam—the boundary; akshëoh—of the eyes; dvayi—the pair; prauskalyam—the breadth; haratah—robbing; kucau—the breasts; bali—of three folds of skin; guëaih—with the ropes; abadhya—binding; madhyam—the waist; tatah—then; munitah—stealing; calatam—restlessness; bhruvau—the eyebrows; caraëayoh—of the feet; udyat—rising; dhanuh—of the bow; vibhrame—in the playful motions; radhayah—of Radha; tanu—of the body; pattane—in the city; nara-patau—the kings; balya—youthfulness; abhidhe—named; siryati—is destroyed.

 

 

     Madhava:  (glancing at Radha, He becomes happy)  Radha's eyes continually invade the boundary of Her ears. Her breasts have stolen the subtance of Her waist and bound it with the ropes of tri-bali (three folds of skin at the waist). Playfully lifting their bows, Her eyebrows have arrested Her feet and ordered them not to move. In this way the king named Childhood has withered and died in the city of Radha's body.

 

 

Text 60

 

 

     lalita: (sanskritena)

 

janghadhas-taöa-sangi-dakshiëa-padam kiëcid vibhugna-trikam

     saci-stambhita-kandharam sakhi tirah-saëcari-netraëcalam

vamshim kuömalite dadhanam adhare lolanguli-sangatam

     ringad-bhru-bhramaram varangi paramanandam purah svikuru

 

     sanskritena—in Sanskrit; jangha—of the shin; adhah-taöa—at the lower border; sangi—connected; dakshiëa-padam—teh right foot; kiëcit—slighty; vibhugna-trikam—the middle of the body bent in three places; saci-stumbhita-kandharam—whose neck is fixed in a curve to the side; sakhi—O friend; tirah-saëcari—roaming sideways; netra-aëcalam—whose border of the eyes; vamshim—flute; kuömalite—shut like a flower bud; dadhanam—placing; adhare—on the lips; lola-anguli-sangatam—joined with fingers moving here and there; ringat-bhru—whose slowly moving eyebrows; bhramaram—like bumblebees; varangi—O most beautiful one; paramanandam—the personality of bliss; purah—situated in front; svi-kuru—just accept.

 

 

     Lalita:  (in Sanskrit) O most beautiful friend, please accept the Supreme Personality of Godhead, who is standing before you full of transcendental bliss. The border of His eyes roam side to side, and His eyebrows move slowly like bumblebees on His lotuslike face. Standing with His right foot placed below the knee of His left leg, the middle of His body curved in three places, and His neck gracefully tilted to the side, He takes His flute to His pursed lips and moves His fingers upon it here and there.*

 

 

Text 61

 

 

     jaöila: (sanandam) esa uhine varisahaëavi. (ity upasritya)  a-i ahisara-maggobajjha-iëi lalide. enhim putta-o me ahimaëëu vidure gadotthi. ta suëëam gharam mukki-a kisa tu-e aëida ettha vahuòi.

 

     sa—with; anandam—bliss; esa—She; uhine—on the right; varisahanavi—Radha, the daughter of Maharaja Vrishabhanu; iti—thus; upasritya—approaching; a-i—O; ahisara—of rendezvous; maggobajjha-ini—travelling on the path; lalide—O Lalita; enhim—now; putta-o—son; me—my; ahimannu—Abhimanyu; vidure—far away; gadotthi—has gone; ta—therefore; sunnam—the empty; gharam—house; mukki-a—leaving; kisa—why?; tu-e—by you; anida—brought; ettha—here; vahudi—the girl.

 

 

     Jaöila:  (with bliss)  Here is Vrishabhanu's daughter Radha on my right! (She approaches)  O girl expert at uniting lovers, Now that my son Abhimanyu is far away, why have you taken this girl here and made Her leave Her house empty?

 

 

Text 62

 

 

     lalita:  (sa-shankam atma-gatam)  haddhi haddhi da-iëi-e adahiëa-pa-idi-e daddhamhi vuddhi-a-e. (prakasham) ajje gaggi-e vaëëidam. ajja mahavi-pupphehim pu-ido suro surahi-kodi-ppado hodi tti. mahavi-maëòabam lambhida ma-e rahi. ta pasida pasida.

 

     sa—with; sankam—fear; atma-gatam—to herself; haddhi—alas!; haddhi—alas!; da-ini-e—by this witch; adahina-pa-idi-e—wicked; daddhamhi—I am burning; vuddhi-a-e—old; prakasham—openly; ajje—O noble lady; gaggi-e—by Gargi; vannidam—described; ajja—today; mahavi—with madhavi; pupphehim—flowers; pu-ido—worshipped; suro—the sun-god; surahi—of surabhi cows; kodi—millions; ppado—granting; hodi—is; tti—thus; mahavi—of madhavi vines; mandapam—in the cottage; lambhida—staying; ma-e—by me; rahi—Radha; ta—therefore; pasida—be merciful; pasida—be merciful.

 

 

     Lalita:  (frightened, she says to herself:)  Alas! Alas! I am burned by this wicked old witch. (openly) O noble lady, Gargi said that if we worshiped the sun-god with madhavi flowers he would bestow on us million of surabhi cows. For this reason I brought Radha to this bower of madhavi flowers. Be kind to us! Be kind!

 

 

Text 63

 

 

     jaöila:  (apavarya salika-sneham)  a-i vacche sada mam palohi-a lalida ahisaredi tti maha puttassa purado vahuòi-a ali-am jevva tumam dusedi. ta kim tti lahavam sahesi.

 

     apavarya—concealing her real intentions; sa—with; alika—pretended; sneham—affection; a-i—O; vacche—child; sada—always; mam—Me; palohi-a—enticing; lalida—Lalita; ahisaredi—brings to a rendezvous with Krishëa; tti—thus; maha—of me; puttassa—of the son; purado—in the presence; vahudi-a—the girl; ali-am—falsely; jevva—indeed; tumam—you; dusedi—defames; ta—therefore; kim—whether; tti—thus; lahavam—the offense; sahesi—you will forgive.

 

 

     Jaöila:  (concealing her real intention, she says with pretended affection:)  My child, this girl Radha tells my son that you encourage Her to meet with Krishëa. She continually defames you in this way. Will you forgive Her offense?

 

 

Text 64

 

 

     lalita:  (svagatam)  ammahe koòillam jaòila-e.

 

     svagatam—aside; ammahe—aha!; kodillam—a trick; jadila-e—of Jaöila.

 

 

     Lalita:  (aside)  Aha! This is Jaöila's trick!

 

 

Text 65

 

 

     madhavah: (svagatam)

 

yatrasango manasah

     sphurati gariyan gari/yaso 'py uccaih

niyato vastuni vighnas

     tasminn iti nanrito vadah

 

(iti drig-antena radham pashyann upasarpati.)

 

     svagatam—aside; yatra—where; asangah—attachment; manasah—of the heart; sphurati—is manifest; gariyan—more intense; gariyasah—than the most intense; api—even; uccaih—greatly; niyatah—continual; vastuni—in this; vighnah—obstacle; tasmin—in this; iti—thus; na—not; anrtah—untrue; vadah—statement; iti—thus; drk—of the eyes; antena—with the corner; radham—at Radha; pashyan—looking; upasarpati—approaches.

 

 

     Madhava: (aside) When the heart yearns for something many great obstacles will stand in its way. That is not a lie. (Glancing at Radha from the corner of His eye, He approaches Her.)

 

 

Text 66

 

 

     jaöila:  (nasikagre tarjanim vinyasya shiro dhunvati sashcaryam)  are bali-a-bhu-anga kam damsidum ettha bhammasi.

 

     nasika—of the nose; agre—on the tip; tarjanim—the forefinger; vinyasya—placing; sirah—the head; dhunvati—shaking; sa—with; ashcaryam—astonishment; are—O; bali-a—of young girls; bhu-anga—O debauchee snake; kam—who?; damsidum—to bite; ettha—here; bhammasi—You have come.

 

 

     Jatila:  (placing her forefinger on bthe tip of her nose and shaing her head in astonishment) O debauchee-snake fond of attacking young girls, whom have You come here to bite?

 

 

Text 67

 

 

     madhavah:  lamboshöhi bhavatim eva goshöha-pishacim. (uddhavah smitam karoti.)

 

     lamba—fat; osthi—lips; bhavatim—you; eva—certainly; goshöha—of Vrajabhumi; pisacim—the witch; uddhavah—Uddhava; smitam—a smile; karoti—does.

 

 

     Madhava: Fat-lips, I have come here to bite you, the witch of Vraja.

 

(Uddhava smiles.)

 

 

Text 68

 

 

     krishëah:

 

gokula-kula-jaratinam

     parusha vag api yatha pramodayati

stutir api maha-muninam

     madhura-pada mam sakhe na tatha

 

     gokula—of Gokula; kula—of the community; jaratinam—of the old ladies; parusa—harsh; vak—words; api—although; yatha—in that way; pramodayati—delights; stutih—prayers; api—even; maha—great; muninam—of the sages; madhura—sweet; pada—with words; mam—Me; sakhe—O friend; na—not; tatha—in that way.

 

 

     Krishëa:  My friend, the sweetly worded prayers of the great sages do not please Me as much as these harsh words of the old ladies of Gokula.

 

 

Text 69

 

 

     vrinda:  vriddhe dharma-cakora-jivatu-caritamrita-candrike krishëacandre 'pi katham pratipam bhujanga-bhavam arpayasi.

 

     vrddhe—O old lady; dharma—of piety; cakora—of the cakora bird; jivatu—the maintainer; carita—of the pastimes; amrita—the nectar; candrike—the moonlight; krishëa—of Krishëa; candre—at the moon; api—even; katham—why?; pratipam—disagreeable; bhujanga—of a debauchee; bhavam—the state of being; arpayasi—do you place.

 

 

     Vrinda:  Elderly lady, why do you accuse this Krishëa-moon,  which with the moonlight of His nectar-pastimes sustains the cakora birds of all religious principles, of being a debauchee?

 

 

     Note: The cakora bird is said to sustain itself by drinking moonlight.

 

 

Text 70

 

 

     jaöila: (solluëöham vihasya sanskritena)

 

vrajeshvara-sutasya kah para-vadhu-vinoda-kriya-

     prashasti-bhara-bhushitam guëam avaiti nasya kshitau

yad esha rati-taskarah pathi nirudhya sadhvir balat

     tadiya-kuca-kuòmale karajam om namo vishëave

 

     sa—with; ulluntham—irony; vihasya—laughing; sanskritena—in Sanskrit; vraja—of Vraja; isvara—of the king; sutasya—of the son; kah—who?; para—of others; vadhu—with the wives; vinoda-kriya—pastimes; prasasti—of praise; bhara—with the abundance; bhusitam—decorated; guëam—the virtue; avaiti—knows; na—not; asya—of Him; kshitau—on the earth; yat—because; esah—he; rati-taskarah—the debauchee; pathi—on the path; nirudhya—stopping; sadhvih—chaste girls; balat—forcibly; tadiya—of them; kuca—of the breasts; kudmale—on the buds; karajam—fingernail; om—Om; namah—obeisances; visnave—to Lord Vishnu.

 

 

     Jaöila:  (laughs ironically and then says in Sanskrit) Who does not know how the glories of Prince Krishëa's adulterous pastimes with other's wives have so nicely decorated the earth planet. This debauchee Krishëa stops chaste girls on the road and violently scratches their budding breasts with His fingernails. Om! Obeisances to Lord Vishëu!

 

 

Text 71

 

 

     radha: (svagatam)  ha hada-devva. kim te abaradha rahi.

 

     svagatam—aside; ha—alas; hada—wretched; devva—fate; kim—how; te—you; abaradha—has offended; rahi—Radha.

 

 

     Radha: (aside) O wretched fate, how has this Radha offended you?

 

 

Text 72

 

 

     jaöila:  a-i muddhe vahuòi imassa kala-kundaliëo tikkha-e vanka-diööhi-e phamsida vajja-padimabi jajjari-ho-i. kim uëa tumam no-mali-a-su-umali tabassini. ta turi-am ghara-gabbham gacchamha.

 

(iti lalita-radhabhyam saha nishkranta.)

 

     a-i—O; muddhe—bewildered; vahudi—girl; imassa—of this; kala—black; kundalino—serpent; tikkha-e—sharp; vanka—crooked; ditthi-a—by the gaze; phamsida—touched; vajj-padimabi—the thunderbolt; jajjari-hodi—becomes shattered into pieces; kim—why; una—again; tumam—you; no—fresh; mali-a—malika flower; su-umali—as delicate; tabassini—austere and chaste; ta—therefore; turi-am—quickly; ghara—of the home; gabbham—to the interior; gacchamha—let us go; iti—thus; lalita—Lalita; radhabhyam—and Radha; saha—with; nishkranta—exits.

 

 

     Jaöila:  O beautiful, bewildered girl, a single crooked sharp glance from this black snake Krishëa has the power to shatter thunderbolts to pieces with it's touch. You are an austere, chaste girl as delicate as a malika flower. Why stay here with this Krishëa?  Let's quickly go home. (Accompanied by Lalita and Radha, Jaöila exits.)

 

 

Text 73

 

 

     vrinda:  nagarendra munca vaimanasyam. sampratam bhavad-abhishöa-siddhaye sharika-mukhena lalitam sandishya vishakhaya bhavantam nivedayishyami. (iti nishkranta.)

 

     nagara—of amorous heroes; indra—O king; munca—give up; vaimanasyam—this despondency; sampratam—now; bhavat—of You; abhishöa—of the wish; siddhaye—for the fulfillment; sarika—of the female parrot; mukhena—by the mouth; lalitam—Lalita; sandishya—informing; visakhaya—by Vishakha; bhavantam—You; nivedayishyami—I shall inform; iti—thus; nishkranta—exits.

 

 

     Vrinda:  O king of amorous heroes, give up this unhappiness. In order to fulfill Your desire, I will send one female parrot to speak a message to Lalita, and then I will have Vishakha inform You of what has happened. (She exits.)

 

 

Text 74

 

 

     madhavah: (sa-khedam)

 

dravati manag abhyuditad

     vidhu-kante shishira-bhanujalokat

parvani pidhanam akarod

     ahaha svar-bhanu-bhishaëa jarati

 

     sa—with; khedam—unhappiness; dravati—melts; manak—slightly; abhuditat—risen; vidhu-kante—when the candrakanta jewel of Krishëa; sisira-bhanuja—of the cooling moon of Radha, the daughter of Maharaja Vrishabhanu; alokat—from the sight; parvani—at the time of an eclipse; pidhanam—covering; akarot—did; ahaha—alas!; svar bhanu—the Rahu planet; bhisana—terrifying; jarati—Jarati.

 

 

     Madhava: (with grief)  A glimpse of the cooling moon of King Vrishabhanu's daughter (Radha) was melting this candrakanta jewel until the terrible Rahu planet of that old lady eclipsed it.

 

     Note:  The candrakanta jewel melts in the moonlight.

 

 

Text 75

 

 

     (nishvasya)  vishakham uddeshöum jaöila-grihopanta-paöali-vaöikam gaccheyam (iti parikramya)  katham agre sva-grhanganam abhimanyur adhitishöhati. tad aham atraiva kshaëam antarito bhaveyam. (iti nishkrantah)

 

     nisvasya—sighing; visakham—Vishakha; uddestum—to tell; jaöila—of Jaöila; grha—the house; upanta—near; patali—of patali flowers; vatikam—to the garden; gaccheyam—I shall go; iti—thus; parikramya—walking; katham—how is it; agre—before Me; sva—own; grha—of the house; anganam—in the courtyard; abhimanyuh—Abhimanyu; adhitishöhati—stays; tat—therefore; aham—I; atra—here; eva—certainly; kshaëam—for a moment; antaritah—hidden; bhaveyam—let Me be; iti—thus; nishkrantah—exits.

 

 

     (sighs)  I will go to the garden of paöali flowers near Jaöila's house to find Vishakha. (He walks)  Why is Abhimanyu in the courtyard of the house? I will hide here for a moment. (He exits.)

 

 

Text 76

 

 

     (pravishya)  abhimanyuh:  tiëëi ubasari-a sa-a im mulleëa genhidum gehado kancaëam ëa-issam. ta kahim gada amma.

 

     pravishya—enters; tinni—three; ubasari-a—cows; sa-a-im—hundred; mullena—with the price; genhidum—to take; gehado—from the house; kancanam—gold; na-issam—I shall take; ta—therefore; kahim—where; gada—has gone; amma—my mother.

 

 

     Abhimanyu:  (enters)  From home I will take gold to purchase 300 cows. Where has mother gone?

 

 

Text 77

 

 

     (pravishya)  Jaöila: hanta hanta danim sari-a su-assa kaijjantam nihudam ma-e sudam. jam ahimaëëu-veseëa mahavo enhim maha gharam upassappissadi. ta gadu-a pekkhissam. (iti parikramanti dvari durad abhimanyum alokya)  avvo saccam cce-a eso dhutto a-ado. ta gadu-a pamaëi-am jaëam aëissam. (iti nishkranta)

 

     hanta—ah!; hantah—ah!; danim—now; sari-a—by the female parrot; su-assa—to the male parrot; kahijjantam—being spoken; nihudam—in a secret place; ma-e—by me; sudam—heard; jam—that; ahimannu—of Abhimanyu; vesena—in the disguise; mahavo—Krishëa; enhim—now; maha—my; gharam—house; upassappissadi—will approach; ta—therefore; gadu-a—having gone; pekkhissam—I shall see; iti—thus; prakramanti—walking; dvari—at the door; durat—from a distance; abhimanyum—Abhimanyu; alokya—seeing; avvo—aha!; saccam—in truth; cce-a—certainly; eso—he; dhutto—the rascal; a-ado—has come; ta—therefore; gadu-a—having gone; pamani-am—the genuine; janam—person; anissam—I shall bring; iti—thus; nishkranta—exits.

 

 

     Jaöila:  (enters)  Aha! Aha! In a secluded place I overheard a female parrot tell a male parrot that Madhava (Krishëa)  will go to my house disguised as Abhimanyu. I will go there and see Him. (She walks and from a distance sees Abhimanyu at the door.) Aha! It is true! The rascal has actually come here. I will go now and bring the real Abhimanyu. (She exits.)

 

 

Text 78

 

 

     abhimanyuh: visahe kuttha vaööasi.

 

     visahe—Vishakha; kuttha—where?; vattasi—are you.

 

 

     Abhimanyu:  Vishakha! Where are you?

 

 

Text 79

 

 

     (pravishya)  lalita: (svagatam) ettha kaëham pesidum sari-va-aëeëa visaha gada. (prakasham lajjam abhiniya nicaih) suha-a ettha visaha natthi.

 

     pravishya—enters; svagatam—aside; ettha—here; kanham—Krishëa; pesidum—to send; sari—of the female parrot; va-anena—by the words; visaha—Vishakha; gada—has gone; prakasham—openly; lajjam—embarrassment; abhinya—representing dramatically; nicaih—in a low voice; suha-a—O fortunate son; ettha—here; visaha—Vishakha; na—not; atthi—is.

 

 

     Lalita:  (enters, and says to herself) Hearing the words of the female parrot, Vishakha has gone to bring Krishëa here. (Embarrassed, openly speaking out in a soft voice) O fortunate one, Vishakha is not here.

 

 

Text 80

 

 

     (tatah pravishati gargi-bharuëòa-kundalatabhir avrita jaöila.)

 

     tatah—then; pravishati—enters; gargi—by Gargi; bharuëòa—Bharuëòa; kundalatabhih—and Kundalata; avrita—accompanied; jaöila—Jaöila.

 

 

     (Accompanied by Gargi, Bharuëòa, and Kundalata, Jaöila enters.)

 

 

Text 81

 

 

     jaöila:  kundalade pekkha appaëo sahi-e sosillam.

 

     kundalade—O Kundalata; pekkha—look; appano—of you; sahi-e—of the friend; sosillam—the good character.

 

 

     Jaöila:  Kundalata, see what a good person your friend (Radha) is.

 

 

Text 82

 

 

     kundalata: (drishöva mukham anamayanti)  ha devva rakkha rakkha.

 

     drishöva—glancing; mukham—her face; anamayanti—lowering; ha—O; devva—destiny; rakkha—please protect; rakkha—please protect.

 

 

     Kundalata:  (glances at her, and then lowers her face)  O destiny, please protect me, protect me.

 

 

Text 83

 

 

     bharuëòa:  ajje gaggi pekkha pekkha paccakkho ahimaëëu jevva eso ra-e-na-aro tuha kaëho. ta ali-am na jala-i jaòila me sahi.

 

     ajje—O noble girl, gaggi—Gargi; pekkha—look; pekkha—look; paccakkho—manifested; ahimannu—Abhimanyu; jevva—certainly; samvutto—is; eso—he; ra-i-an-aro—lover; tuha—of you; kanho—Krishëa; ta—therefore; ali-am—the trick; na—not; jala-i—burns; jadila—Jaöila; me—of me; sahi—the friend.

 

 

     Bharuëòa:  Noble Gargi, look! Look! Here is your debauchee Krishëa disguised as Abhimanyu. My friend Jaöila will not be burned by this trick.

 

 

Text 84

 

 

     jaöila:  ajje gaggi ditthi-a daëim sardham im patti-a-idam tu-e. ta aggado sannihijja-e. (iti prishöhatah parikramya purtrasya hastam akarshanti sakshepam)  re go-ula-kisori-lampada-a are para-ghara-lunthaëa-a kaëha tumam pi appaëo puttam mannissadi jaòila. (abhimanyu sa-lajjam mukham avritya vyavartayati.)

 

     ajje—O noble girl; gaggi—O Gargi; ditthi-a—by good fortune; danim—now; patti-a-idam—believed; te-e—by you; ta—therefore; aggado—in the presence; sannihujja-u—may be brought; iti—thus; prsthatah—from behind; parikramya—walking; putrasya—of the son; hastam—the hand; akarsanti—pulling; sa—with; akshepam—contempt; re—O; go-ula—of Gokula; kishori—of the young girls; lampada-a—O debauchee; are—O; para—of other; ghara—of the homes; lunthana-a—O thief; kanha—Krishëa; tumam—you; pi—even; appano—of me; puttam—the son; mannissadi—is thought; jadila—Jaöila; abhimanyuh—Abhimanyu; sa—with; lajjam—embarrassment; mukham—face; avritya—covering; vyavartayati—turns away.

 

 

     Jaöila:  O noble Gargi, by good fortune now you understand the truth. The fellow should be brought here at once. (She walks behind, drags her son there by the hand, and begins to insult him) Debauchee that defiles the young girls of Gokula! Thief that plunders the home of others! Krishëa, does Jaöila believe that you are actually her son Abhimanyu?  (Covering his face in embarrasment, Abhimanyu runs away.)

 

 

Text 85

 

 

     jaöila:  are ra-ahi-unda-a kisa muham dhakkasi. jam de vijja ëa vikka-ida. (iti prasahya sammukhayati.)

 

     are—O; ra-ahi-unda-a—O debauchee; kisa—why?; muham—the face; dhakkasi—do you cover; jam—because; de—of you; vijja-knowledge; na—not; vikka-ida—is sold; iti—thus; prasahya—forcibly; sammukhayati—makes him face her.

 

 

     Jaöila:  Debauchee, why do you cover your face? You can't sell us any of your tricks. (She forces him to face her.)

 

 

Text 86

 

 

     abhimanyuh:  (svagatam)  haddhi haddhi va-uli-a-e amma-e lajja-pajja-ulo vidomhi. ta ido abakkamissam. (iti parikramati.)

 

     svagatam—aside; haddhi—alas!; haddhi—alas!; va-uli-a-e—become crazy; amma-e—by my mother; lajja-pajja-ulo—embarrassed; ta—therefore; ido—from this place; abakkamissam—I shall go; iti—thus; parikramati—he goes.

 

 

     Abhimanyu: (aside)  Alas! Alas! Mother has gone insane and she is embarrassimg me with these insults. I should leave this place. (He goes.)

 

 

Text 87

 

 

     jaöila:  (dhavanti paöancalam akrishya)  re cora eso diòdham gahidosi. kaham pala-esi.

 

     dhavanti—running; pata—of the garment; ancalam—the edge; akrsya—pulling; re—O; cora—thief; eso—he; didham—firmly; gahidosi—you are held; kaham—how?; pala-esi—will you flee.

 

 

     Jaöila:  (runs after him and pulls the edge of his garment) Thief, I am holding you very firmly. How can you run away?

 

 

Text 88

 

 

     abhimanyu: (sapatrapam vyaghutya)  akka bharuëòe ëuëam jaëaëi me bhudahibhuda samvutta.

 

     sa—with; apatrapam—embarrassment; vyaghutya—lowering his head; akka—O noble lady; bharunde—Bharuëòa; nunam—is it not so?; janani—mother; me—my; bhuda—by a ghost; ahibhuda—is possessed; samvutta—is.

 

 

     Abhimanyu:  (lowering his head in embarressment)  Noble Bharuëòa, my mother is possessed by a ghost!

 

 

Text 89

 

 

     (sarvah pratyabhijnaya sa-shabdam hasanti.)

 

     sarvah—all; pratyabhijnaya—to mock; sa—with; sabdam—a sound; hasanti—laugh.

 

 

     (Recognizing him, they all laugh loudly.)

 

 

Text 90

 

 

     jaöila:  (mukham nibhalya svagatam) haddhi haddhi pamado pamado. kaham pavasado putta-o cce-a me sama-ado. (iti sapatrapam uras taòayanti nishkranta.)

 

     mukham—at the face; nibhalya—looking; svagatam—aside; haddhi—alas!; haddhi—alas!; pamado—a madman; pamado—a madman; kaham—whether?; pavasado—from his distant journey; putta-o—son; cce-a—certainly; me—my; sama-ado—come; iti—thus; sa—with; apatrapam—embarrassment; urah—the chest; tadayanti—striking; nishkranta—exits.

 

 

     Jaöila: (looks at Abhimanyu's face and then says to herself:)  Alas! Alas! What a madman! What a madman! I wonder if my son has returned yet from his far-away journey? (Striking her chest without shame, she exits.)

 

 

Text 91

 

 

     bharuëòa:  vaccha saccam unmatta de amma. jam tumam cce-a mahavam maëëedi.

 

     vaccho—O child; saccam—in truth; unmatta—a madwoman; de—your; amma—mother; jam—because; tumam—you; cce-a—certainly; mahavam—Krishëa; mannedi—she thought.

 

 

     Bharuëòa:  Child, your mother has definitely gone mad. She thought you were Madhava (Krishëa).

 

 

Text 92

 

 

     (abhimanyuh smitam karoti.)

 

     abhimanyu—Abhimanyu; smitam—a smile; karoti—does.

 

 

     (Abhimanyu smiles.)

 

 

Text 93

 

 

     kundalata:  vira ahimaëëo puëëavadi me sahi raha. ja-e dakkhiëa sacca-vadiëi siniddha tumha mada sassu laddha. ta amhe gadu-a edam a-uruvam se ëaccaëam bha-avadi-e ëivedamha.

 

(iti tisro nishkrantah.)

 

     vira—O hero; ahimanno—Abhimanyu; punnavadi—pious; me—my; sahi—friend; raha—Radha; ja-e—by whom; dakkhina—priestly remuneration; sacca—truth; vadini—speaking; siniddha—affectionate; tuma—your; mada—mother; sassu—mother-in-law; laddha—attained; ta—therefore; amhe—we; gadu-a—having sons; edam—this; a-uruvam—unprecedented; se—of Her; naccanam—dancing; bha-avadi-e—the noble lady; nivedamha—we shall tell; iti—thus; tisrah—the three; nishkrantah—exit.

 

 

     Kundalata:  O hero Abhimanyu, My friend Radha is faithful and chaste. She is well-behaved, truthful, and affectionate, and She has Your mother as Her mother-in-law. Let us go now and tell noble Paurëamasi of Jaöila's unusual dancing. (The three girls exit.)

 

 

Text 94

 

 

     abhimanyuh:  lalide aëehi madaram. jam turi-am gantu-kamomhi.

 

     lalide—O Lalita; anehi—bring; madaram—mother; jam—because; turi-am—quickly; gantu—to go; kamomhi—I desire.

 

 

     Abhimanyu: Lalita, bring my mother. I want to go at once.

 

 

Text 95

 

 

     lalita:  (nishkramya punah pravishya ca)  vira tumha purado a-antum lajjedi ajja.

 

     niskramya—exiting; punah—again; pravishya—entering; ca—also; vira—O hero; tuma—of you; purado—in the presence; a-antum—to come; lajjedi—is embarrassed; ajja—the noble lady.

 

 

     Lalita:  (exits and enters again)  O hero, the noble lady is ashamed to come before you.

 

 

Text 96

 

 

     abhimanyuh:  hodu. sa-am cce-a pedi-ado kancaëam ghettuëa gamissam. (iti nishkrantah.)

 

     hodu—so be it; sa-am—personally; eva—certainly; pedi-ado—from the bag; kancanam—gold; ghettuna—taking; gamissam—I shall go; iti—thus; nishkrantah—exits.

 

 

     Abhimanyu:  So be it. I will myself take the gold coins from the bag and go about my business. (He exits.)

 

 

Text 97

 

 

     krishëah:  sakkhe mantri-raja paramanandam idam anubhutam evanubhavyamano 'smi caraëaih.

 

     sakkhe—O friend; mantri—of advisors; raja—O king; param—transcendental; anandam—bliss; idam—this; anubhutam—experienced; eva—certainly; anubhavyamanah—enjoying; asmi—I am; caraëaih—by these demigods.

 

 

     Krishëa:  O friend, O king of counselors, these demigods-actors have brought Me great bliss.

 

 

Text 98

 

 

     (pravishya)  vrinda:  lalite laghu palayasva. laghu palayasva. pashya paravartate manyuman esho 'bhimanyuh.

 

     pravishya—enters; lalite—O Lalita; laghu—quickly; palayasva—flee; laghu—quickly; palayasva—flee; pashya—look; paravartate—returns; manyuman—angry; esah—he; abhimanyuh—Abhimanyu.

 

 

     Vrinda: (enters)  Lalita, run! Run! Look! Angry Abhimanyu is coming back.

 

 

Text 99

 

 

     lalita:  (sa-shankam alokya)  daruëa-sandiööhi-am mahurodakkam imassa pekkhaëam padibhadi. ta kalidahimaëëu-rubeëa mahaveëa hodavvam.

 

     sa—with; sankam—fear; alokya—looking; daruna—terrible; sanditthi-am—indication; mahura—charming; udakkam—at the end; imassa—of this;  pekkhanam—sight; padibhadi—is manifested; ta—therefore; kalida—perceived; ahimannu—of Abhimanyu; rubena—in the form; mahavena—by Krishëa; hodavvam—is done.

 

 

     Lalita:  (afraid, she looks)  What was terrible to see at first is now very charming and handsome. This is actually Madhava (Krishëa) disguised as Abhimanyu.

 

 

Text 100

 

 

     vrinda:  (nibhalya sanandam)  kim nama radha-sakhinam dhiyam akshuëëam. pashya pashya

 

manda sandhya-payoda-sodara-rucih saivabhimanyos tanur

     vaktram hanta tad eva kharvaöa-ghaöi-ghoëam vigaòhekshaëam

vyasta saiva gatih karira-kusuma-cchayam tad evambaram

     mudra kapi tathapy asau pishunayaty asya svarupa-cchaöam

 

     nibhalya—looking; sa—with; anandam—bliss; kim—what?; nama—indeed; radha—of Radha; sakhinam—of the friends; dhiyam—of the consciousness; akshunnam—expertness; pashya—look!; pashya—look!; manda—gentle; sandhya—of sunset; payoda—cloud; sodara—brother; rucih—splendor; sa—this; ev—indeed; abhimanyoh—of Abhimanyu; tanuh—the form; vaktram—face; hanta—indeed; tat—this; eva—certainly; kharvata-ghati—a village at the foot of a mountain; ghonam—nose; vigadha—deep; ikshaëam—eyes; vyasta—graceful; sa—this; eva—certainly; gatih—gait; karira—karira; kusuma—of the flower; chayam—splendor; tat—this; eva—certainly; ambaram—garments; mudra—sign; ka api—a certain; tatha api—still; asau—this; pisunayati—indicates; asya—of Him; svarupa—of the form; chatam—the splendor.

 

 

     Vrinda:  (blissfully looking) Abhimanyu's face and form have become like the splendid brother of a sunset raincloud. His nose is like the village at the foot of a mountain. His eyes are deep, His movements graceful, and His garments the color of a karira flower. His form is splendid.

 

 

Text 101

 

 

     (tatah pravishaty abhimanyu-vesho madhavah.)

 

     madhavah: 

 

paritah parivartitam hriya

     kalita-bhru-kuöi-kuncitekshaëam

madhura-dyuti radhika-mukham

     paripashyami kada balad aham

 

     tatah—then; pravishati—enters; abhimanyu—as Abhimanyu; vesah—disguised; madhavah—Krishëa; paritah—everywhere; parivartitam—turned; hriya—with shyness; kalita—done; bhru—of the eyebrows; kuti—knitting; kuncita—crooked; ikshaëam—with glances; madhura—charming; dyuti—splendor; radhika—of Radha; mukham—the face; paripashyami—I shall drink; kada—when; balat—forcibly. aham—I.

 

 

     (Disguised as Abhimanyu, Madhava enters.)

 

     Madhava:  When will I deeply drink the nectar of Radha's sweetly beautiful face, with it's shyly knitted eyebrows and crooked glances going everywhere?

 

 

Text 102

 

 

     (puro drishöva)  lalite kva sa te sakhi-cchadma jivitaushadhih.

 

     purah—ahead; drishöva—looking; lalite—O Lalita; kva—where?; sa—She; te—of you; sakhi—of the friend; chadma—in the disguise; jivita—of My life; osadhih——the medicinal herb.

 

 

     (Looking ahead) Lalita, where is that girl, who in the disguise of being your friend is actually the medicinal herb that sustains My life?

 

 

Text 103

 

 

     lalita:  hala rahe. ido dava.

 

     hala—O; rahe—Radha; ido—there; dava—then.

 

 

     Lalita:  O Radha! Come here.

 

 

Text 104

 

 

     (pravishya)  radha: (sa-lajja-smitam atma-gatam)

 

aëahiööho bi padattho

     pi-eëa angi-ki-o suhabedi

garale bi giri-sagahi-e

     guru-am gori ëa kim rama-i

 

     pravishya—enters; sa—with; lajja—of shyness; smitan—a smile; atma-gatam—to herself; anahittho—unwished; bi—although; pada—of the words; attho—the meaning; pi-ena—by My beloved; angi-ki-o—accepted; suhabedi—delights; garale—when the poison; bi—even; girisa—by Lord Siva; gahi-e—taken; guru-am—husband; gori—Gauri; na—not; kim—why?; rama-i—enjoy pastimes.

 

 

     Radha:  (She enters, shyly smiling, and says to Herself)  I do not like to hear that Abhimanyu has come, but now that this Abhimanyu is My lover Krishëa, the news delights Me. Why should goddess Gauri decline to enjoy pastimes with her husband, Lord Shiva, simply because he has drunk some poison? (Why should I decline to enjoy pastimes with Krishëa, simply because He has disguised as Abhimanyu?)

 

 

Text 104

 

 

     madhavah:  lalite hasta-gata me maha-nidhi-sampat pratiyatam.

 

     lalite—O Lalita; hasta—into the hand; gata—gone; me—of Me; maha—great; nidhi-sampat—treasure; pratiyatam—may come.

 

 

     Madhava:  Lalita, My great treasure has again come into My hand.

 

 

Text 105

 

 

     lalita:  ja-i sa jakkhini viggham ëa karodi.

 

     ja-i—if; sa—she; jakkhini—the yakshini; viggham—an obstacle; na—does not; karodi—do.

 

 

     Lalita:  As long as a wicked yakshiëi does not stop You.

 

 

Text 106

 

 

     (pravishya)  jaöila:  (sa-harsham)  vahudi-e diööhi-a ajja tumam subuddhi-a samvutta. jam puttassa me diööhi-magge gadasi.

 

     pravishya—entering; sa—with; harsham—happiness; vahudi—O girl; ditthi-a—by good fortune; ajja—now; tumam—You; subuddhi-a—intelligent; samvutta—have become; jam—because; puttassa-of the son; me—of me; ditthi—of the eyes; magge—on the pathway; gadasi—You have gone.

 

 

     Jaöila:  (enters, and says with jubilation) My dear girl, because, fortunately, You are so intelligent, You have placed Yourself on the path that leads to my son's eyes.

 

 

Text 107

 

 

     (sarve sambhramam naöayanti.)

 

     sarve—all; sambhramam—awe; natayanti—represent dramatically.

 

 

     (All are struck with awe and wonder.)

 

 

Text 108

 

 

     jaöila:  putta ahimaëëo sanjjharambhe diööhi me suööhu ëa unmila-i.

 

     putta—O son; ahimanno—Abhimanyu; sanjjha-arambhe—at dusk; ditthi—the vision; me—of men; sutthu—nicely; na—not; unmila-i—rises.

 

 

     Jaöila:  Son Abhimanyu, I cannot see very well now that it is dusk.

 

 

Text 109

 

 

     madhavah:  (sa-harsha-smitam)  akka taha anjaëam da-issam. jaha samggadama de diööhi hohi.

 

     sa—with; harsha—pastimes; smitam—smiling; akka—O mother; taha—of you; anjanam—an ointment; da-issam—I shall give; jaha—just as; samaggadama—perfect; de—of you; ditthi—vision; hohi—will be.

 

 

     Madhava:  (happily smiling) Mother, I shall give you an ointment that will enable you to see everything very perfectly.

 

 

     Note: If the word "tama" is interpreted to mean darkness, then this statement reveals the hidden meaning:  I shall give you an ointment that will make you completely blind."

 

 

Text 110

 

 

     krishëah:  (mandam mandam vihasya)  sakkhe mantri-raja dishöyadya bhavata gokula-keli-sudha-sindhu-puline 'vatirëam.

 

     mandam mandam—very gently; vihasya—laughing; sakkhe—O friend; mantri—of counselors; raja—O king; distya—by good fortune; adya—now; bhavata—by you; gokula—in Gokula; keli—of pastimes; sudha—of nectar; sindhu—of the ocean; puline—on the beach; avatirnam—descended.

 

 

     Krishëa:  (with a gentle chukle)  O friend, O king of counselors, you have brought Me to the shore of the nectar-ocean of My pastimes in Gokula.

 

 

Text 111

 

 

     jaöila:  (sanandam)  vaccha kisa tu-e a-aridamhi.

 

     sa—with; anandam—bliss; vaccha—O child; kisa—why?; tu-e—by You; a-aridamhi—I have been called.

 

 

     Jaöila:  (blissful)  Child, why did You call me?

 

 

Text 112

 

 

     vrinda:  sampratam pradosha-nishevyam gomangalam devim ariradhishur asau tvam anujnapayati.

 

     sampratam—now; pradosa-nisevyam—in the early evening; gomangalam—Gomangala; devim—the goddess; ariradhisuh—desiring to worship; asau—He; tvam—you; anujnapayati—begs permission to depart.

 

 

     Vrinda:  Now that the evening is beginning He wants to go and worship the goddess Gomangala. He begs your permission to depart.

 

 

Text 113

 

 

     madhavah: akka vahu de ma-e saddham cecca-taruëo mule gantum ëa icchadi.

 

     akka—O mother; vahu—girl; de—your; ma-e—Me; saddham—with; cecca-taruno—of the caitya tree; mule—to the base; gantum—to go; na—does not; icchadi—wish.

 

 

     Madhava:  Mother, your daughter-in-law does not want to go under the caitya tree with Me.

 

 

Text 114

 

 

     jaöila:  jade rahi ekkam guru-anassa me va-aëam padibalehi. tuëëam jahi imiëa kantena saddham.

 

     jade—O daughter; rahi—Radha; ekkam—one; guru-anassa—of Your superior; me—of me; va-anam—the statement; padibalehi—obey; tunnam—at once; jahi—go; imina—Him; kantena—Your husband; saddham—with.

 

 

     Jaöila:  Daughter Radha, I am Your superior. You must obey my words. I order You to go with Your husband at once.

 

 

Text 115

 

 

     radha:  (svagatam)  ammahe accari-o vihi. (prakasham)  lalide asuttha-dehamhi. ta viëëabehi ëam.

 

     svagatam—aside; ammahe—aha!; accari-o—wonderful; vihi—is fate; prakasham—openly; lalide—O Lalita; asuttha—sick; deha—in body; amhi—I am; vinnabehi—please tell; nam—her.

 

 

     Radha: (aside) Ah! How wonderful are the workings of destiny. (openly)  Lalita, I am feeling ill. Please tell this to Jaöila.

 

 

Text 116

 

 

     jaöila:  kula-putti sireëa me sabidasi.

 

     kula-putti—O daughter; sirena—by the head; me—by me; sabidasi—You are cursed.

 

 

     Jaöila:  O saintly daughter, I swear that You are saintly!

 

 

Text 117

 

 

     (radha madhavam apangena pashyati.)

 

radha—Radha; madhavam—at Madhava; apangena—from the corner of Her eye; pashyati—glances.

 

 

     (Radha glances at Madhava from the corner of Her eye.)

 

 

Text 118

 

 

     madhavah: lalide kuòungo mangala-ranga-ja-aram ajja tumhe karissamha. ta candaëa-gandhobaharam sampadi-a lambhehi. tattha pasahi-am rahi-am aham kira padham sahemi. (iti sarvabhih saha nishkrantah.)

 

     lalide—O Lalita; kudunge—in the forest-grove; mangala—auspicious; ranga—in the place; ja-aram—staying awake; tumhe—we; karissamha—shall do; ta—that; candana—of sandalwood; gandha—fragance; ubaharam—means; padi-a-lambhehi—please bring; tattha—there; pasahi-am—nicely decorated; rahi-am—Radha; aham—I; kira—indeed; padham—first; sahemi—shall meet; iti—thus; sarvabhih—everyone; saha—with; nishkrantah—He exits.

 

 

     Madhava:  Lalita, tonight we will stay awake all night in the auspicious temple in the forest-grove. You bring the sandal perfume. When Radha is nicely decorated I will meet Her there. (Madhava and all the others actors exit.)

 

 

Text 119

 

 

     krishëah:  (paurëamasi praëamya)  bhagavati sandipitartir aham na samartho 'smi dhritim alambitum. kim karavai.

 

     paurëamasi—to Paurëamasi; praëamaya—offering respectful obeisances; bhagavati—O noble lady; sandipita—inflamed; artih—suffering; aham—I; na—not; samarthah—am able; asmi—am; dhrtim—peace of mind; alambitum—to attain; kim—what?; karavai—shall I do.

 

 

     Krishëa:  (offers respectful obeisances to Paurëamasi)  O noble lady, I am burning with suffering. I cannot find any peace of mind. What will I do?

 

 

Text 120

 

 

     paurëamasi:  (svagatam)  prathama-kalpe vyatite candravalir evatra sampratam anukalpah tad adya sandipani-mandira-prayana-kaitavena kuëòinam upayasyami.

 

     svagatam—aside; prathama—the first; kalpe—part; vyatite—concluded; candravalih—Candravali; eva—certainly; atra—here; sampratam—now; anukalpah—follows; tat—therefore; adya—now; sandipani—if Sandipani Muni; mandira—to the house; prayana—journeying; kaitavena—on the pretext; kundinam—to Kundina; upayasyami—I shall go.

 

 

     Paurëamasi: (aside)  Now that the first part of the story is concluded, the part describing Candravali will follow. Now, on th pretext of travelling to Sandipani Muni's home, I will go to the city of Kuëòina.

 

 

Text 121

 

 

     krishëah:  bhagavati vaòabhim adhiroòhum anujnapayami. (iti sarvaih saha nishkrantah.)

 

     bhagavati—O noble lady; vadabhim—to the upper rooms; adhirodhum—to climb; anujnapayami—I request permission; iti—thus; sarvaih—all; saha—with; nishkrantah—exits.

 

 

     Krishëa:  O noble lady, I request your permission to climb (the stairs) to My room at the top of the palace. (With everyone else, Krishëa exits.)