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

Act One

 

 

 

Prastavana (Introduction)

 

 

Text 1

 

 

sura-ripu-sudrisham uroja-kokan

     mukha-kamalani ca khedayam akhandah

ciram akhila-suhric-cakora-nandi

     dishatu mukunda-yashah-shasi mudam vah

 

     sura-ripu—of the enemies of the demigods; sudrisham—of the wives; uroja—the breasts; kokan—like the birds known as cakravaka; mukha—faces; kamalani—like lotuses; ca—also; khedayan—distressing; akhandah—completely without distortion; ciram—for a long time; akhila—of all; suhrit—the friend; cakora-nandi—pleasing to the cakora birds; dishatu—let it give; mukunda—of Shri Krishna; yashah—the glories; shashi—like the moon; mudam—pleasure; vah—to all of you.

 

 

     The beautiful moonlike glories of Mukunda give distress to the lotuslike faces of the wives of the demons and to their raised breasts, which are like gleaming cakravaka birds. Those glories, however, are pleasing to all His devotees, who are like cakora birds. May those glories forever give pleasure to you all.*

 

 

Text 2

 

 

     api ca:

    

ashtau prokshya dig-angana ghana-rasaih patrankuranam shriya

      kurvan manju lata-bharasya ca sada ramavali-mandanam

yah pine hridi bhanujam atula-bham candrakritim cojjvalam

     rundhanah kramate tam atra mudiram krishnam namas kurmahe

 

     api ca—furthermore; astau—the eight; prokshya— sprinkling; dik—of the directions; anganah—the goddesses; ghana-rasaih—with sweet nectar; patra—of leaves; ankuranam—and sprouts; shriya—with beauty; kurvan—doing; manju—charming; lata—of creepers; bharas—of the multitude; ca—also; sada— always; rama—of goddesses of fortune; avali—of the multitude; mandanam—the ornament; yah—who; pine—broad; hridi—to the chest; bhanujam—Shrimati Radharani, the daughter of Maharaja Vrishabhanu; atula—incomparable; bham—beauty; candra—of the moon; akritim—the form; ca—also; ujjvalam—splendid; rundhanah— embracing; kramate—does; tam—to Him; atra—here; mudiram—the dark cloud; krishnam—Lord Krishna; namah kurmahe—we offer our respectful obeisances.

 

 

     Let us offer our respectful obeisances to the dark cloud of Lord Krishna, which showers the goddesses of the eight directions with a rain of sweetness, which eternally decorates the gopis with beautiful vine-grown leaves and flowers, and which embraces to its chest the peerlessly splendid moon of Shri Radha.

 

 

Text 3

 

 

     nandy-ante sutradharah: alam ati-vistarena. samantad avalokya. hanta bhoh. santata-vrindatavi-nikunja-vedika-nivasa-diksha-rasajnasya sphurad-uddanda-pundarika-mandali-mandita-brahma-kunda-tiropanta-sthali-maha-bhaumikasya bhagavato gopishvarataya prasiddhasya candrardha-mauleh svapnavribhutam adesham asadya dipavali-kautukarambhe govardhanaradhanaya radha-kunda-rodhasi madhavi-madhava-mandirasya purvatah sangatani vaishnava-vrindani sva-prabandhena lalita-madhava-namna natakenaham upasthatum paryutsuko 'smi.

 

     nandi—the Nandi-sloka; ante—after; sutradharah—the Sutradhara; alam—enough; ati-vistarena—with these verbose explanations; samantah—everywhere; avalokya—looking; hanta— indeed; bhoh—Oh!; santata—eternally; vrinda-atavi—in the forest of Vrndavana; nikunja—in the groves; vedi—in the courtyards; nivasa—residence; diksha—in religious ceremonies; rasajnasya— expert; sphurat—manifested; uddanda—great; pundarika—of a lotus flower; mandali—area; mandita—decorated; brahma-kunda—of Brahma Kunda; tira—the shore; upanta—near; sthali—place; maha—great; bhamuikasya—of the place; bhagavatah—of the Lord; gopi—of the gopis; isvarataya—as the master; prasiddhasya— celebrated; candra-ardha-mauleh—of Lord Siva, who wears a half-moon crown; svapna—in a dream; avirbhutam—appearance; adesam— order; asadya—attaining; dipavali—Diwali; kautuka-arambhe—on the holy day; govardhana—of Govardhana Hill; aradhanaya—for the worship; radha-kunda—of Radha-khunda; rodhasi—on the bank; madhavi-madhava—of Shri Shri Madhavi-Madhava; mandirasya—the temple; purvatah—before; sangatani—assembled; vaishnava—of Vaishnavas; vrindani—multitudes; sva—own; prabandehena—with literacy composition; lalita-madhava—Lalita-Madhava; namna—with the name; natakena—with a play; aham—if; upasthatum—to serve; paryutuskah—eager; asmi—am.

 

 

     Sutradhara: (After the nandi-shlokas are finished) Enough with these pompous words! (Glancing over the audience) Ah! Ah! Lord Shiva, who is crowned with the half-moon, who is expert in tasting the sweetness of always living in the groves of Vrindavana, who is the lord of Brahma-kunda's shores decorated with hosts of great lotus flowers, and who is famous as the master of the gopis, appeared to me in a dream and ordered me to write this play, named Lalita-Madhava, which I am now eager to present to the many Vaishnavas assembled on this holy day of Diwali to worship Govardhana Hill at the entrance of the Madhavi-Madhava temple on the shores of Radha-kunda,

 

 

Text 4

 

 

nija-pranayitam sudham udayam apnuvam yah kshitau

     kiraty alam urikrita-dvija-kuladhiraja-sthitih

sa luncita-tamas-tatir mama shaci-sutakhyah shashi

     vashikrita-jagan-manah kim api sharma vinyasyatu

 

     nija-pranayitam—own devotinal love; sudham—the nectar; udayam—appearence; apnuvan—obtaining; yah—one who; kshitau— on the surface of the world; kirati—expands; alam—extensively; uri-krita—accepted; dvija-kula-adhiraja-sthitih—the situation of the most exalted of the brahmana community; sah— He; luncita—driven away; tamah—of darkness; tatih—mass; mama—my; shaci-suta-akhyah—known as Shacinandana, the son of mother Shaci; shashi—the moon; vashi-krita—subdued; jagat-manah—the minds of the whole world; kim api—somehow; sharma—auspiciousness; vinyasyatu—let it be bestowed.

 

 

     The moonlike Supreme Personality of Godhead, who is know as the son of mother Shaci, has now appeared on earth to spread devotional service of Himself. He is emperor of the brahmana community. He can drive away all the darkness of ignorance and control the mind of everyone in the world. May that rising moon bestow upon us all good fortune.*

 

 

Text 5

 

 

(akashe) kim bravishi.

 

bhoh hanta katham atra maha-

     sahase kritadhyavasayo 'siti

 

(sutradharah:)bhoh satyam idam vidan-karavani

     tathapi paravan asmi shruyatam

 

     akase—in the sky; kim—what?; bravisi—are you saying; bhoh—Oh; hanta—indeed; katham—how?; atra—here; maha—great; sahase—in boldness; krita—done; adhyavasayah—effort; asi—you are; iti—thus; bhoh—Oh; satyam—in truth; idam—this; vidan-karavani—I carry out the order; tatha-api—still; paravan— dependent on the order; asmi—I am; shruyatam—listen.

 

 

     A Voice from the sky: What are you saying?  How have you become so bold to try this?

     Sutradhara: I must follow this order. I have the order from my superior. Listen:

 

 

Text 6

 

 

kveyam sabha gunavati bata mugdha-rupah

     kvaham jito 'smi guruna guru-gauravena

adya mamadya sharanam sharanam-gatanam

     dattotsavasya karuna karunarnavasya

 

     kva—where?; iyam—this; sabha—assembly; gunavati—virtous; bata—indeed; mugdha—bewildered; rupah—Rupa Gosvami; kva— where?; aham—I; jitah—defeated; asmi—I am; guruna—great; guru—for superior; gauravena—by respect; adya—transcendental; mama—my; adya—now; sharanam—the shelter; sharanam-gatanam—of those who have taken shelter; datta—given; utsavasya—blissful; karuna—mercy; karuna-arnavasya—of He who is an ocean of mercy.

 

 

     Who is this audience? The people in this audience are filled with all good qualities. Who am I? I am foolish Rupa Gosvami. I am awed by this exalted audience. Today I take shelter of they who have taken shelter (of Lord Krishna). Today (I pray for) the mercy of He who is an ocean of mercy and a festival of transcendental bliss..

 

 

Text 7

 

 

     (purastad avalokya)  hanta bhoh krishna-padaravinda-bhringah prasadam vidadhata bhavad-vidhanam eva kripavalambanatra niratankam udyato 'smi.

 

     purastat—before him; avalokya—glancing; hanta—indeed; bhoh—Oh; krishna—of Lord Krishna; pada—of the feet; aravinda—at the lotus flower; bhrngah—O bumble-bees; prasadam—mercy; vidadhata—please give; bhavat—your; vidhanam—like; eva— certainly; kripa—of mercy; avalambanena—by resting; atra—here; niratankam—fearless; udyata—arise; asmi—I.

 

 

     (Glancing at the audience before him)  O devotees like bumble-bees in the lotus flower of Lord Krishna's feet, please give your mercy to me. By resting on the mercy of great souls such as yourselves, I shall become free of all fear.

 

 

Text 8

 

 

yatah:

 

shanta-shriyah parama-bhagavatah samantad

     dvaigunya-punjam api sad-gunatam nayanti

doshavalim aparitapataya mriduni

     jyotimshi vishnu-pada-bhani vibhushayanti

 

     yatah—because; santa—peaceful; shriyah—opulences; parama— supreme; bhagavatah—devotees; samantat—completely; dvaigunya— doubled; punjam—abundance; api—even; sat-gunatam—the state of having transcendental virtues; nayanti—attain; dosa—of night; avalim—the series; aparitapataya—with coolness; mrduni—softly shining; jyotimsi—stars; visnu—of Lord Krishna; pada—to the feet; bhaji—with devotion; vibhusayanti—decorate.

 

 

     Great devotees are peaceful and filled with spiritual opulences. They double others' virtues and are cool to others' faults. They are softly shining, cooling stars that decorate the evening sky of Lord Vishnu's feet.

 

 

 

     Note: "Dosha" here means both " faults" and "evening" and "vishnu-pada" means both  Lord Vishnu's feet" and "sky".

 

 

Text 9

 

 

(iti murdhany anjalim adaya)

 

vaktum paramahamsya-paddhatim iha vyaktim gatanam hi yah

     siddhanam bhuvane babhuva sanakadinam tritiyah pura

sangam bhakti-rasam rahasyam adhuna bhakteshu sancarayann

     ekah so 'vatatara vishva-gurave purnaya tasmai namah

 

     iti—thus; murdhani—to his head; a 24jalim—folded hands; adaya—placing; vaktum—to speak; paramahamsaya—of the paramahamsad; paddhatiim—the path; iha—here; vyaktim— manifestation; siddhanam—of this perfected souls; bhuvane—in the world; babhuva—became; sanaka—by Sanaka—adinam—headed; trtiyah—the third; pura—formerly; sa—within; angam—it's various parts; bhakti—of pure devotional service; rasam—the nectar; rahasyam—confidential; adhuna—now; bhaktesu—to the devotees; sancarayan—teaching; ekah—one; sah-hen avatara— descended; visva—of the universe; gurave—the spiritual master; purnaya—perfect and complete; tasmai—to him; namah—I offer my respectful obeisances.

 

 

     (Placing folded palms to his head) Of the four Sanakadi-kumaras, the perfect souls that in ancient times appeared in this world to describe the path of the swanlike pure devotees, the third one has now descended to teach the devotees the secret nectar of pure dveotional service, I offer my respectful obeisances to him, the spiritual master of the world.

 

 

     Note: Here Shrila Rupa Gosvami describes his elder brother, Shrila Sanatana Gosvami, who was an incarnation of Sanatana Kumara.

 

 

Text 10

 

 

     yad aham niravadya-sangita-vidyayam vidyadharim mananiyam me nata-vrindeshvarim vriddham range sannidhapayitum icchami.

 

     yat—which; aham—I; niravadya—faultless; sangita—of singing; vidyayam—in the science; vidyadharim—the vidyadhari; mananiyam—worthy of respect; me—of me; nata—of actresses; vrinda—of the host; ishvarim—the queen; vrddham—old; range—in the stage; sannidhapayitum—to come near; icchami—I desire.

 

 

     Now I want the very honorable, elderly queen of actresses, who sings like a demigoddess, to come here on the stage.

 

 

Text 11

 

 

     nati: (pravishya) vaccha ranga-mangala-samvihane sampadam ana-hini-itöha-mani-sahmi.

 

     naöi—the actress; pravishya—entering; vaccha—my dear friend; ranga—on the stage; mangala—auspiciousness; samvihane— in the theatrical performance; sampadam—now; ana-hini-ittha—not intent; mana—at heart; sahmi—I am.

 

 

     Naöi: (enters) Dear friend, my heart is not eager to accept this role (as a villaness) in this auspicious play.

 

 

Text 12

 

 

     sutradharah: arye kim ity evam ucyate. pashya pashya.

 

cakasti sharad-utsavah sphurati vaishnavanam sabha

     cirasya girir udgiraty amala-kirti-dharam hareh

kim anyad iha madhavo madhura-murtir udbhasate

     tad esha paramodayas tava vishuddha-punya-shriyah

 

     sutradhara—Sutradhara; arye—O noble lady; kim—what?; iti— thus; evam—in this way; ucyate—is said; pashya—look!; pashya— look!; cakasti—is manifested; sarat—of autumn; utsavah—a festival; sphurati—is manifested; vaishnavanam—of devotees; sabha—an assembly; cirasya—eternal; girih—Govardhana Hill; udgirati—emanates; amala-pure and splendid; kirti—if glories; dharam—a stream; hareh—of Lord Krishna; kim—what; anyat—other; iha—here; madhavah—Lord Krishna; madhura—charming; murtih—diety form; ubbhasate—is manifested; tat—therefore; tava—of you; visuddha—pure; punya—transcendental; shriyah—opulences.

 

 

     Sutradhar: Noble lady!  What are you saying? Look! Look! It is now the festive autumn season, the Vaishnavas are all assembled here, Govardhana Hill is (like a volcano) erupting the splendid, pure, transcendetal glories of eternal Lord Hari, and furthermore, the charming deity form of Lord Madhava is also present. Now you should be on your best behavior.

 

 

Text 13

 

 

     naöi: vaccha mahanubha-a-jana-vvasana-sambhuda esa me adanka-sinkhala na kkhu lo-a-cariya saharani.

 

     naöi—Naöi; vaccha—dear; mahanubha-a-jana—of the great souls; vvasana—of the distress; sambhuda—manifestation; esha— this; me—of men; adanka—of fear; sinkhala—the shackles; na— not; kkhu—indeed; lo-a-cariya saharani—the opinion of ordinary people.

 

 

     Dear friend, I am chained by shackles of fear that these great souls will become unhappy (because of my part in the play). I am not worried about the opinions of ordinary people.

 

 

Text 14

 

 

     sutradharah: arye niyamitam anaikantikani bhavanti mahanubhavanam vyasanani. tatha hi:

 

vipinam yadi va dig-antarani

     tri-divam va gamitam rasatalam va

sva-padantikam anayaty avashyam

     bhagavan bhakta-janam na moktum ishöe

 

     sutradharah—Sutradhara; arye—O noble lady; niyamitam—removed; anaikantikani—many; bhavanti—are; maha-anubhavam—of the great souls; vyasanani—unhappiness; tatha hi—furthermore; vipinam—the forest; yadi—if; va—or; dik-antarani—in various directions; tri-divam—the three celestial planetary systems; va—or; gamitam—taken; rasatalam—to hell; va—or; sva—own; pada— feet; antikam—near; anayati—brings; avasyam—certainly; bhagavan—the Supreme Personality of Godhead; bhakta-janam—the devotee; na—not; moktum—to abandon; iste—wishes.

 

 

     Sutradhara: Noble lady, great souls are always saved from sufferings. Even if, somehow or other, a devotee takes birth (as an animal) in the jungle, (as human being) in one of the directions (of this world), (as a demigod) in the three celestial planets, or (even as a resident) of hell, the Supreme Personality of Godhead always brings him to His (lotus) feet. The Lord never wishes to abandon him.

 

 

Text 15

 

 

     naöi: putta saccam bhanasi; tahavi sinehanam kkhu vive-a-harini pa-i-ditti mujjhahmi.

 

     naöi—Naöi; putta—son; saccam—the truth; bhanasi—you speak; tahavi—nevertheless; sinehanam—of the affectionate devotees; khhu—indeed; vive-a—understanding; harini—removing; pa-i-ditti—activity; mujjhahmi—I am bewildered.

 

 

     Naöi: My son, you speak the truth. Still, my better discrimation has been robbed by love for a certain person, and I am now bewildered.

 

 

Text 16

 

 

     sutradharah: arye kathaya kutra nibaddha-snehasi.

     naöi: putta atthi carana-ula-nandano kovi kalanihi-nama.

 

     sutradharah—Sutradhara; arye—O noble lady; kathaya—please tell; kutra—where; nibaddha—bound; sneha—affectionate; asi—you are; naöi—Naöi; putta—son; atthi—there is; carana—of the Caranas; ula—in the family; nandanah—the descendent; kovi—a certain person; kalanihi—Kalanihi; nama—named.

 

 

     Sutradhar: Noble lady, please tell: to whom are you bound with love?

     Naöi: My son, He is a descendent of the Caranas. His name is Kalanidhi.

 

 

Text 17

 

 

     sutradharah: kas tam na janiyat. yatah:

 

vara-tandava-vithi-pandito

     guna-shali nava-yauvanonmukhah

prathito bhuvi sangarangane

     ripu-bhangoddhura-dhih kalanidhih

 

     sutradharah—Sutradhara; kah—who?; tam—him; na—not; janiyat—may know; yatah—because; vara—excellent; tandava-vithi—in dancing; panditah—learned; guna-sali—endowed with noble virtues; nava-yauvana-unmukhah—charmingly youthful; prathitah—famous; bhuvi—on the earth; sangara-angane—in the batlefield; ripu—of the enemies; bhanga—breaking; uddhura— intent; dhih—whose intelligence; kalanidhih—Kalanidhi.

 

 

     Sutradhara: Who is he? I don't know. (I only know that the name) Kalanidhi means: He who is an expert dancer, endowed with all noble qualites, charmingly youthful, famous in this world, and intent on breaking his enemies in the batlefield.

 

 

Text 18

 

 

     naöi: vihino anu-ullena uvatthido nattini budòhi-e me e sambhavida. tara nama lo-a-ottara kanëa/-a tassa dadum sankappida.

 

     naöi—Naöi; vidhino—by fate; anu-ulena—favorable; uvatthido—attained; nattini—daughter-in-law; buddhi-e—an old lady; me e—by me; sambavida—has been; tara—Tara; nama—named; lo-a-ottara—extraordinary; kanna-a—girl; tassa—to him; dadum— to give; sankappida—desired.

 

 

     Naöi: By the kindness of fate I, an old lady, have obtained an extraordinary daughter-in-law named Tara. Now I will give Her to Kalanidhi.

 

     Note; Tara is another name of Shrimati Radharaëi.

 

 

Text 19

 

 

     sutradharah:

 

loke dhik-kara-bhiya

     vidhis tatha sadhu-vada-lobhena

mithunam mitho 'nurupam

     ghaöayati durghaöam api prasabham

 

     sutradharah—Sutradhara; loke—in the world; dhik-kara—of criticism; bhiya—with fear; vidhih—the creator of Brahma; tatha—in that way; sadhu—of praise; vada—for words; lobhena— with eagerness; mithunam—both; mithah—together; anurupam— following; ghatayati—makes; durghatamrare; api—even; prasabham—strongly.

 

 

     With fear of criticism in this world, and with a desire for praise, with both these motives the creator Brahma created this exquisite girl.

 

 

Text 20

 

 

     naöi: ëam kkhu ahilasanteëa desahi-ariëa kirada-ra-ena ëaccaëa-vilo-aëa-chalado kalaëihim a-ari-a imassa parabhavo ajjhavasiyaditti.

 

     naöi—Naöi; nam—Her; kkhu—indeed; abhilasantena—desiring; desahi-arina—by the monarch; kirada—of the kiratas; ra-ena—by the king; naccana—dancing; vilo-ana—seeing; chalado—on the pretext; kalanihim—Kalanidhi; a-ari-a—calling; imassa—of Him (Krishëa); parabhavo—defeat; ajjhavasiyaditti—was attempted.

 

 

     Naöi: The Kirata-king (Kamsa) desires this girl. On the pretext of seeing a dancing festival, he has called Kalanidhi to the capital and is now trying to defeat him.

 

 

Text 21

 

 

     sutradharah: arye mam jyotir-vidam viddhi. tad adya vartamana-lagnanusareëa tattvam te varëayamiti. (vimrishya sa-harsham)  hanta ma te cinta bhut.

 

     sutradharah—Sutradhara; arye—O noble lady; mam—me; jyotih-vidam—a learned astrologer; viddhi—please know; tat—therefore; adya—today; vartamana—at the present time;  lagna—on the horizon; anusareëa—following; tattvam—the truth; t—to you; varnayami—I shall describe; vimrsya—reflecting for a moment; sa—within; harsam—happiness; hanta—indeed; ma—do not; te—of you; cinta—anxiety; abhut—should be.

 

 

     Sutradhara: Please know that I am a learned astrologer. I shall now explain to you the effect of the heavens on this present moment. (He thinks for a moment, and then happily says:)  Don't worry.

 

 

Text 22

 

 

     tatha hi:

 

naöata kirata-rajam

     nihatya ranga-sthale kalanidhina

samaye tena vidheyam

     guëavati tara-kara-grahaëam

 

     tatha hi—furthermore; naöata—dancing on the stage; kirata-rajam—the ruler of the kirata (uncivilized men) Kamsa; nihatya—killing; ranga-sthale—on the stage; kala-nidhina—the master of all arts; samaye—at the time; tena—by Him; vidheyam—to be done; guëa-vati—at the qualified moment; tara-kara—of the hand of Tara (Radha); grahaëam—the acceptance.

 

 

     While dancing on the stage after having killed the ruler of uncivilized men [Kamsa], Kalanidhi [Lord Krishëa], master of all arts, will at the proper time accept the hand of Tara [Shrimati Radharaëi], who is qualified with all transcendental attributes.*

 

 

Text 23

 

 

     (nepathye)  hanta radha-madhavayoh paëi-bandham kamsa-bhupater bhayad abhivyaktam udahartum asamartho naöata kirata-rajam ity apadeshena bodhayan dhanyah ko 'yam cinta-viklavam mam ashvasayati.

 

     nepathy—from behind the scenes; hanta—indeed; radha-madhavayoh—of Radha-Krishëa; pani-bandham—acceptance of the hand in marriage; kamsa-bhupateh—of King Kamsa; bhayat—because of fear; abhivyaktam—manifested; udahartum—to proclaim; asamarthah—unable; nataata-dani d natata—dancing; kirata—of the kiratas; rajam—the king; iti—thus; apadesena—with the trick; bodhayan—informing; dhanyah—fortunate; kah ayam—a certain person; cinta—with anxiety; viklavam—agitated; mam—me; asvasayati—comforts.

 

 

     Paurëamasi: (from behind the scenes) Afraid of King Kamsa, and thus unable to directly announce the marriage of Radha and Krishëa, a certain person instead tells this story of the dancer and the king of the Kiratas. By this trick this fortunate person tells me the truth and comforts me, who had been filled with anguish.

 

 

Text 24

 

 

     sutradharah: (nepathyabhimukham avalokya) pashya pashya:

 

amba sandipani-muni-pater atra shishyeti sadhvi

     yata loke paricayam risher vallaki-vallabhasya

kasha-shreëi-dhavala-cikura vyaharantiha gargim

     range dhanya pravishati purah sambhramat paurëamasi

 

tad ehi turëam uttara-bhumikam grahitum prayava. (iti nishkrantau) prastavana.

 

     sutradharah—Sutradhara; nepathya—behind the scenes; abhimukham—facing; avalokya—looking; pashya—look!; pashya— look!; amba—the mother; sandipani—of Sandipani; muni—of sages; pateh—the leader; atra—here; sisya—disciple; iti—thus; sadhvi—saintly; yata—come; loke—to this world; paricayam— study; rseh—of the sage; vallaki—of playing the vina; vallabhasya—fond; kasa—of kasa flowers; shreni—with a line; dhavala—white; cikura—with hair; vyahananti—talking; iha— here; gargim—to Gargi; range—on the stage; dhanya—fortunate; pravishati—enters; purah—in the presence; sambhramat—with haste; paurëamasi—Paurëamasi; tat—therefore; ehi—come; turnam—at once; uttara—after; bhumikam—the introduction; grahitum—to take; prayava—let us go; iti—thus; nishkrantau—they both exist; prastavana—the introduction.

 

 

     Sutradhara: (Looking behind the scenes)  Look! Look! Famous in this world as Sandipani Muni's mother and Devarshi Narada's saintly student, fortunate Paurëamasi, whose white hair is decorated with kasha flowers, now hastily enters the stage as she eagerly talks with Gargi. Come quickly. Let us go and see what happens now that this first scene is over. (They both exit. Thus ends the introduction).

 

 

Scene 1

 

 

Text 1

 

 

     (tatah pravishati yatha-nirdishöa paurëamasi), paurëamasi: (hanta radha-madhavayor iti paöhitva) vatse gargi shruyatam:

 

krishëapanga-tarangita-dyumaëija-sambheda-veëi-krite

     radhayah smita-candrika-suradhuni-pure nipiyamritam

antas-tosha-tushara-samplava-lava-vyaliòha-tapoccaya

     krantah sapta jaganti samprati vayam sarvordhva-madhyasmahe

 

     tatah—then; pravishati—enters; yatha—as; nirdista—indicated; paurëamasi—Paurëamasi; paurëamasi—Paurëamasi; hanta—indeed; radha-madhavayoh—of Shri Shri Radha-Krishëa; iti—thus; pathitva—reciting; vaste—child; gargi—Gargi; shruyatam—let it be heard; krishëa—of Lord Krishëa; apanga—of the corners of the eyes; tarangita—making waves; dyumanija—the Yamuna River; sambheda—meeting; veni—Triveni; krite—done; radhayah—of Shrimati Radharaëi; smita—of the smile; candrika—the moonlight; suradhuni—of the celestial Ganges River; pure—in the flood; nipiya—drinking; amritam—the nectar; antah—the heart; tosa— pleasure; tusara—coldness; samplava—immersion; lava—slight; vyalidha—licked up; tapa—burning sufferings; uccaya—multitude; krantah—surpassed; sapta—the seven; jaganti—worlds; samprati— now; vayam—we; sarva—everything; urdhva—above; madhya—in the midst; asmahe—are.

 

 

     (Paurëamasi, appearing as described in the previous text, enters.)

 

     Paurëamasi: (repeats Text 23 of the introduction, and then says)  Child Gargi, listen: As we drink the nectar of the overflowing celestial Ganges of Radha's moonlight smile touching the wave-filled Yamuna of Krishëa's sidelong glance at the Triveëi of Their rendezvous, a flood of pleasant coolness licks away our sufferings and pleases our hearts. Crossing over the seven worlds, now we stand above them all.

 

 

Text 2

 

 

     gargi: ajje ahimaëëuna rahi-e uvvaho tu-e cce-a karido ta kitti puëovi hariëa samam ahilasijja-i.

 

     gargi—Gargi; ajje—O noble lady; ahimannuna—with Abhimanyu; rahi-e—of Shrimati Radharaëi; uvvaho—the marriage; tu-e—by you; cce-a—certainly; karido—was arranged; ta—that; kitti—what?; punovi—again; harina—by Lord Krishëa; samam—with; ahilasijja-i—is desired.

 

 

     Gargi: O noble lady, you yourself arranged Radha's marriage with Abhimanyu. Why would She desire to meet with Krishëa?

 

 

Text 3

 

 

     paurëamasi: putri maya-vivarto 'yam. na ced viri 24cer varamritena samriddher vidhyanagasya tapah-prasunair gumphitam madhava-hrin-medurata-kari-madhuri-makarandam radhika-vaijayantim prithag-janah paëau kurvita.

 

     paurëamasi—Paurëamasi; putri—daughter; maya—of the illusory potency; vivartah—a transformation; ayam—this; na—not; cet—if; virinceh—of Lord Brahma; vara—excellent; amritena—with the nectar; samrddheh—of opulence; vidhya-nagasya—at the Vindhya Hills; tapah—of austerity; prasunaih—with the flowers; gumphitam—strung; madhava—of Lord Krishëa; hrit—the chest; medurata—fulness; kari—doing; madhuri—of sweetness; makarandam—honey; radhika—of Shrimati Radharaëi; baijayantim— the vaijayanti garland; katham—how is it?; prthak-janah—a lowly person; panau—in the hand; kurvita—may do.

 

 

     Paurëamasi: Daughter, this (marriage) is an illusion of maya. How could the vaijayanti garland of Shri Radha, which was strung with Brahma's sweet nectar and Mount Vindhya's austerity flowers, be placed in the hands of an ordinary man?

 

     Note: The word "prithag-janah" (an ordinary man) may also be interpreted to mean "anyone other than Krishëa".

 

 

Text 4

 

 

     gargi: kerisam tam varami-am.

 

     gargi—Gargi; kerisam—like what?; tam—this; varami-am—transcendental sweetness.

 

 

     Gargi: What is this "sweet nectar"?

 

 

Text 5

 

 

     paurëamasi:

 

tad abhishöam eva dhurjaöer

     jitvara-jamatrikam vindhya

guëa-vismapita-bhuvanam

     bhavita tava balika-yugalam

 

     paurëamasi—Paurëamasi; tat—this; eva—certainly; dhurjateh—of Lord Siva; jitvara—victorious; jamatrkam—a son-in-law; vindhya—O king of the Vindhya Hills; guëa—whose qualities; vismapita—astonished; bhuvanam—the world; bhavita— will be; tava—of you; balika—of daughters; yugalam—a pair

 

 

     Paurëamasi: It is Brahma's words "O Mount Vindhya, to fulfill your desire you will have two daughters that will give you a son-in law who will defeat Lord Shiva and whose virtues will fill thw world with wonder."

 

 

Text 6

 

 

     gargi: puttam mukki-a kaëëa-a kaham vinjhassa ahiööha samvutta.

 

     gargi—Gargi; puttam—a son; mukki—a without; kanna-a—a daughter; kaham—why?; vinjassa—of the king of the Vindhya Hills; ahittha—desire; amvutta—attained.

 

 

     Gargi: Why did Mount Vindhya desire a daughter and not a son?

 

 

Text 7

 

 

     paurëamasi: jamatri-sampad-garvitasya gauri-pitur girindrasya vispardhaya.

 

     paurëamasi—Paurëamasi; jamatr—of the son-in-law; sampat—of the opulence; garvitasya—proud; gauri—of Gauri; pituh—of the father; giri-indrasya—the king of the Himalayas; vispardhaya—with rivalry.

 

 

     Paurëamasi: He had become the rival of king Himalaya, who is the father of Gauri and very proud of the opulence of his son-in-law, ( Shiva).

 

 

Text 8

 

 

     gargi: ammahe sa-gottu-kkurisam soòhum eso ëa kkhamo yam pura merum jedu-kamo vi kummajoëim sammaëi-a uëa na baòòhido.

 

     gargi—Gargi; ammahe—wonderful; sa—own; gottu—of the family; kkhurisam—exalted position; sodhum—to tolerate; eso—he; na—not; kkhamo—able; yam—which; pura—formerly; merum—the king of Mount Meru; jedu—to defeat; kamo—desiring; vi—even; kumma jonim—Agastya Muni; sammani—respecting; una—again; na— not; baddhito—increased.

 

 

     Gargi: He could not tolerate the glory of his own family. In ancient times He tried to defeat Mount Meru. He could not rise again after he bowed down to offer respects to Agastya Muni.

 

     Note: Mount Vindhya grew taller and taller until he challanged even his relative, Mount Meru. Agastya Muni visited Mount Vindhya. The mountain bowed down to offer respects. Agastya asked Munt Vindhya to remain in that position until he returned. Agastya never returned and Vindhya could not raise his head again. In this way Mount Vindhya's pride was humbled.

 

 

Text 9

 

 

     paurëamasi: baòham idrig eva sva-bhavo manasvinam.

 

     paurëamasi—Paurëamasi; badham—certainly; idrk—like this; eva—certainly; sva-bhavah—the nature; manasvinam—of thoughtful persons.

 

 

     Paurëamasi: Yes. The intelligent are like that.

 

 

Text 10

 

 

     gargi: kena rahi vinjhado go-ulam labbhida.

 

     gargi—Gargi; kena—how; rahi—Radharaëi; vinjhado—from the Vindhya Hills; go-ulam—Gokula; labbhida—attained.

 

 

     Gargi: How did Radha go from Mount Vindhya to Gokula?

 

 

Text 11

 

 

  paurëamasi: jata-hariëya putanaya.

 

     jata—of children; harinya—by the kidnapper; putanaya—by Putana.

 

 

     Paurëamasi: She was taken by Putana, the kidnapper of children.

 

 

Text 12

 

 

     gargi: (sa-bhayam) ajje jada-hariëihi kkhu bala-a bhu 24ji-anti ta diööhi-a uvvarida kallaëi.

 

     sa—with; bhayam—fear; ajje—O noble lady; jada—of children; harinihi—by the kidnappers; kkhu—indeed; bala-a—children; bhunji-anti—are killed; ta—this; ditthi—a by good fortune; uvvarida—rescued; kallani—fortunate.

 

 

     Gargi: (with fear)  Witches that steal children generally eat their victims. This girl is very fortunate to be saved.

 

 

Text 13

 

 

     paurëamasi: putri lokottaraëam kumaraëam samharaya kumariëam punar apaharayaiva kamsena sa niyukta.

 

     putri—O daughter; loka-uttaraëam—extraordinary; kumaraëam—small boys; samharaya—for killing; kumarinam—of small girls; punah—again; apaharaya—for killing; eva—certainly; kamsena—by Kamsa; sa—she; niyukta—was engaged.

 

 

     Paurëamasi: O daughter, Kamsa ordered her to kill any extraordinary small boys and kidnap any small girls.

 

 

Text 14

 

 

     gargi: katham ettha uhayasmim raëëa pa-uttam.

 

     katham—why?; ettha—in this; uhayasmin—in both these deeds; ranna—by the king; pa-uttam—engaged.

 

 

     Gargi: Why did the king ask her to do those two things?

 

 

Text 15

 

 

     paurëamasi: devya devaki-balikaya vyahareëa.

 

     devyah—of the demigoddess; devaki—of Devaki; balikayah—of the daughter; vyahareëa—by the words.

 

 

     Paurëamasi: (He was pushed) by the words of the Devaki's demigoddess daughter.

 

 

Text 16

 

 

     gargi: keriso vyaharo.

 

     keriso—like what?; vyaharo—those words.

 

 

     Gargi: What were those words?

 

 

Text 17

 

 

     paurëamasi:

 

yas tungena purottamangam aharac cakreëa te sangare

     yam vrindaraka-vrinda-vandita-pada-dvandvaravindam viduh

anandamrita-sindhubhih praëayinam sandoham anandayan

     pradurbhavam avindad esha jagati-kando 'dya candrodaye

 

     yah—who; tungena—upraised; pura—formerly; uttama-angam—the head; aharat—removed; cakreëa—with the cakra; te—of you; sangare—in battle; yam—whom; vrindaraka—of exalted personalities; vrinda—by their multitudes; vandita—worshiped; pada—of feet; dvandva—the pair; aravindam—the lotus flower; viduh—know; ananda—of bliss; amrita—of nectar; sindhubhih—with oceans; praëayinam—of affectionate devotees; sandoham—the multitude; anandayan—delighting; pradurbhavam—manifestation; avindat—found; eshah—He; jagati—of the universes; kandah—the root; adya—now; candra—of the moon; udaye—in the rising.

 

 

     Paurëamasi: She said to Kamsa: "The same person who in your previous birth severed your head with a cakra raised in battle, the same person who the sages know as He whose two lotus feet are worshiped by the demigods, the same person who pleases His loving devotees (by showering them) with oceans of the nectar of bliss, the same person who is the root from which the universe (has sprouted) has now appeared (in this world) at the time of the moon's rising." 

 

 

Text 18

 

 

     kim ca:

 

mattah sattama-madhuribhir adhikah svo va parashvo 'thava

     gantarah kshiti-maëòale prakaöatam ashöau maha-saktayah

vrindishöhe guëa-vrinda-mandirataya tatra sva-sarav ubhe

     rajendro bhavita harasya ca jayi paëau grihita yayoh

 

     kim ca—furthermore; mattah—than me; sattama—transcendental; madhuribhih—with sweetnesses; adhikah—greater; svah—tomorrow; va—or; parasvah—the day after tomorrow; athava—or; gantarah—will attain; kshiti-maëòale—on the earth; prakatam—manifestation; astau—eight; maha—great; saktayah— potencies; vrindiste—excellent; guëa—of transcendental qualities; vrinda—of a host; mandirataya—as palace; tatra— there; svasarau—two sisters; ubhe—birth; raja—of kings; indrah—the king; bhavita—will be; harasya—over Lord Siva; ca— and; jayi—victorious; panau—the hands; grhita—will take; yayaoh—of both.

 

 

     She said: "Today or the day after, eight sublimely sweet shaktis will appear on this earth. Two sisters, who are like great palaces of beautiful transcendental qualities, will also appear. When He defeats Shiva, Lord Krishëa, the king of kings, will accept the hand of both the girls (in marriage)."

 

 

Text 19

 

 

     gargi: ka pa-utti dudi-e vahaëi-e.

 

     ka—what?; pa-utti—activity; dudi—of the second; vahani-e—sister.

 

 

     Gargi: What happened to the second sister?

 

 

Text 20

 

 

     paurëamasi:

 

raksho-ghna-mantra-kritinadri-purohitena

     vitrasa-viklava-mateh samanudrutayah

adya tatah kara-talat kila putanayah

     nadyah plavo paripapata vidarbha-gayah

 

                rakshah—demon; ghna—killing; mantra—mantra; kritina—reciting; adri—of the king of the Vindya Hills; purohitena—by the chief priest; vitrasa—with fear; viklava—agitated; mateh—whose heart; samanudrutayah—hastily fleeing; adya—the first; tatah—then; kara—of the hand; talat—from the surface; kila— indeed; putanayah—of Putana; nadyah—of the river; plavah—the flood; paripata—fells; vidarbha—over the province of Vidarbha; gayah—travelling.

 

 

     Paurëamasi: When Vindhya's chief priest chanted a demon-killing mantra, Putana's heart became struck with fear. As she was hastily flying over Vidarbha province the first of her victims dropped from her and fell into a river's current.

 

 

Text 21

 

 

     gargi: ajje duvvasaso vareëa uppaëa visahaëuëo orasi kaëëa rahi tti kaham savvaëëo vi tado bhaëadi.

 

     ajje—O noble lady; duvvasaso—of Durvasa; vareëa—by the benediction; uppana—manifested; visahanuno—of Maharaja Vrishabhanu; orasi—on the chest;  kanna—a girl; rahi—Radharaëi; tti—thus; kaham—how is it possible?; savvanno—omniscient; vi— indeed; tado—father; bhanati—says.

 

 

     Gargi: My father (Sandipani Muni) is omnicient. Why then, has he said that, (as a result of) a benediction granted by Durvasa Muni, Shrimati Radharaëi appeared from (King) Vrishabhanu's chest?

 

 

Text 22

 

 

     paurëamasi:

 

candrabhanu-vrishabhanu-ramaëyor

     garbhatah kila vikrishya ninaya

balike kamalajarthanaya te

     vindhya-dara-jaöhare hari-maya

 

     candrabhanu—of Candrabhanu; vrishabhanu—and Vrishabhanu; ramanyoh—of thw wives; garbhatah—from the wombs; vikrsya—pulling; ninaya—brought; balike—the two infant girls; kamalaja—of Lord Brahma; arthanaya—by the requesting; te—they; vindhya—of the king of the Vindhya Hills; dara—of the wife; jathare—into the womb; hari—Lord Krishëa; maya—the illusory potency.

 

 

     Paurëamasi: Requested by Brahma, Lord Hari's yogamaya potency removed these two infant girls from the wombs of the wives of Candrabhanu and Vrishabhanu and placed them in the womb of Vindhya's wife.

 

 

Text 23

 

 

     gargi: (sashcaryam) kim pidarehim idam jaëi-adi.

 

     sa—with; ascaryam—astonishment; kim—what?; pidarehim—by the two fathers; idam—of this; jani-adi—was thought.

 

 

     Gargi: (With astonishment) did the two fathers know what happened?

 

 

Text 24

 

 

     paurëamasi: atha kim. sa durvasah katham nijopakaram anavedya vishramyatu.

 

     atha kim—certainly; sah—He; durvasah—Durvasa; katham—why?; nija—own; upakaram—assistance; anavedya—not giving; vishramyatu—would stop.

 

 

     Paurëamasi: Certainly they understood. Why would Durvasa Muni not help them?

 

 

Text 25

 

 

gargi: edam savvam tu-e kadham viëëadam.

 

     edam—this; savvam—everything; tu-e—by you; kadham—how; vinnadam—understood.

 

 

     Gargi: How do you know all this?

 

 

Text 26

 

 

     paurëamasi: guror upadesha-prasadena yenaham radhayam asanjitasmi.

 

     guroh—of the spiritual master; upadesa—of the instruction; prasadena—by the mercy; yena—by which; aham—I; radhayam—to Shrimati Radharaëi; asanjita—attached; asmi—I am.

 

 

     Paurëamasi: (I learned this) by the mercy of my spiritual master's (Narada's) instructions, which have also made me attached to Radha.

 

 

Text 27

 

 

     gargi: nunam ëihada-e rakkhasi-e se kale ekka rahi-a tu-e labdha.

 

     nunam—is it not so; nihada-e—killed; rakkhasi-e—of the demonness; se—of her; kole—on the lap; ekka—one; rahi-a— Radharaëi; tu-e—by you; ladbha—was obtained.

 

 

     Gargi: Is it true that when the witch was killed you took Radha from her lap?

 

 

Text 28

 

 

     paurëamasi: na kevalam eka radhika. pancapy aparah.

 

     na—not; kevalam—only; radhika—Shrimati Radharaëi; panca— five; api—also; aparah—others.

 

 

     Paurëamasi: (I took) not only Radha, but five other girls also.

 

 

Text 29

 

 

     gargi: ka-o kkhu ta-o.

 

     ka-o—who?; kkhu—indeed; ta-o—were they.

 

 

     Gargi: Who were they?

 

 

Text 30

 

 

     paurëamasi:

 

radha-sakhiha lalita lalitasyacandra

     candravali-sahacari rucira ca padma

bhadra ca bhadra-carita shivada ca shaibya

     shyama ca dhama-mudita vividas tavemah

 

     radha—of Shrimati Radharaëi; sakhi—the friend; iha—here; lalita—Lalita; asya—faced; candra—moon; candravali—of Candravali; sahacari—the companion; rucira—beautiful; ca—and; padma—Padma; bhadra—Bhadra; ca—also auspious; carita—who activities; siva—auspiciousness; da—granting; ca—also; saibya—Saibya; syama—Syama; ca—also; dhama—with splendor; mudita— delighted; vividah—various; tava—of you; imah—these.

 

 

     Paurëamasi: They were: 1. Radha's moon-faced friend Lalita, 2. Candravali's beautiful friend Padma, 3. Bhadra, who acts auspiciously, 4. auspicious Shaibya, and 5. splendid and cheerful Shyama.

 

 

Text 31

 

 

     gargi: ima-o kena go-iëam samppida-o.

 

     ima-o—these girls; kena—by what method?; go-inam— among the gopis; samappida-o—were placed.

 

 

     Gargi: How were these girls placed among the gopis?

 

 

Text 32

 

 

     paurëamasi:

 

kumariëam asam nibhritam abhitah pancakam aham

     vibhajyabhiribhyas tvaritam atha radham adhi-guëam

suta te jamatur jarati vrishabhanor iti muda

     yashodaya dhatryam rahasi mukharayam aghaöayam

 

     kumarinam—of the infant girls; asam—of them; nibhritam—secretly; abhitah—in different directions; pancakam—the group of five; aham—I; vibhajya—placing; abhiribhyah—among the gopis; tvaritam—quickly; atha—then; radham—Shrimati Radharaëi; adhi-guëam—endowed with transcendental qualities; suta—the daughter; te—of your; jamatuh—son-in-law; jarati—O elderly lady; vrishabhanoh—Vrishabhanu; iti—thus; muda—with delight; yashodayah—of Yashoda; dhatryam—to the nurse; rahasi—in secret; mukharayam—to Mukhara; aghatayam—I gave.

 

 

     Paurëamasi: Swiftly and secretly I gave these five infant girls to five gopis in different parts (of Vrindavana). In a secret place I happily gave virtuous Radha to Yashoda's nurse, Mukhara, and said: "O elderly one, here is your son-in-law Vrishabhanu's daughter."

 

 

Text 33

 

 

     gargi: phuòam rahi-a-e dudi-a sahi visaha cce-a go-uluppaëëa.

 

     phudam—manifested; rahi-a-e—of Shrimati Radharaëi; dudi-a—second; sahi—friend; visaha—Visakha; cce-a—certainly; go-uluppanna—manifested in Gokula.

 

 

     Gargi: This must be the way Radha's second close friend, Vishakha, appeared in Gokula (Vrindavana).

 

 

Text 34

 

 

     paurëamasi: na hi na hi. yad esha kalindi-pureëa vahyamana jaöilaya lebhe.

 

     na—not; hi—certainly; na—not; hi—certainly; yat—because; esha—she; kalindi—of the Yamuna River; pureëa—by the current; vahyamana—being carried; jaöilaya—by Jatila; lebhe— was obtained.

 

 

     Paurëamasi: No. No. Jaöila found her floating in the Yamuna.

 

 

Text 35

 

 

     gargi: na jaëe. ëa-i-pureëa vahida sa jeööha vinjha-kaëëa-a keëa ladbha.

    

     na—not; jane—I know; na-i—of the river; pureëa—by the current; vahida—carried; sa—she; jettha—elder; vinjha—of the Vindhya King; kanna-a—the daughter; kena—by whom?; ladbha—was obtained.

 

 

     Gargi: I did not know that. Who found the Vindhya's first daughter as she was floating in the river's current?

 

 

Text 36

 

 

     paurëamasi: bhishmakeëa.

 

     bhismakena—by Maharaja Bhismaka.

 

 

     Paurëamasi: Bhishmaka.

 

 

Text 37

 

 

     gargi: avvo doëam vahiëiëam vihaòaëa-kariëi-e bhavidavvada-e niööhurada.

 

     avvo—Oh; donam—of the two; vahininam—sisters; vihadana-karini-e—separating; bhavidavvada-e—of fate; nitthurada—the cruelty.

 

 

     Gargi: Alas, the cruelty of fate, who has separated these two sisters.

 

 

Text 38

 

 

     paurëamasi: putri punah-sangama-kariëyas tasyah karuëa cavadharyatam.

 

     pute putri—daughter; pua punah—again; sangama—meeting; karinyah—effecting; tasyah—of her; karuna—mercy; ca—also; avadharyatam—should be known.

 

 

     Paurëamasi: My daughter, fate then re-united them. In this way fate's mercy may be seen.

 

 

Text 39

 

 

     gargi: kaham vi-a.

 

     kaham—how?; iva—like.

 

 

     Gargi: How did that happen?

 

 

Text 40

 

 

     paurëamasi: saiveyam karalaya naptri candravali. ya khalu panca-varshiki govardhana-vindhyayoh kandaravastavyena jambavata vindhya-vasinya nideshena kuëòinad akrishöa.

 

     sa—she; eva—certainly; ayam—she; karalayah—of Karala; naptri—the granddaughter; candravali—Candravali; ya—who; khalu—indeed; panca—five; varsiki—years of age; govardhana—of Govardhana Hill; vindhyaoh—and the Vindhya Hills; kandara—in the caves; avastavyena—residing; jambavata—by Jambavan; vindhya—in the Vindhya Hills; vasinya—residing; nidesena—by the instruction; kundinat—from Kundina; akrsta—kidnapped.

 

 

     Paurëamasi: Candravali was the granddaughter of Karala. Jambavan, who lived in the caves of Govardhana Hill and the Vindhya Hills, kidnapped the five-year old Candravali and forcibly took her from Kuëòina City. He did this on the orders of (the goddess Durga, who was) staying then in the Vindhya Hills.

 

 

     Note: This goddess Durga is the daughter of Yashoda. After Maharaja Vasudeva brought her back to Mathura, and after King Kamsa unsuccessfully tried to kill her, she escaped to the Vindhya Hills.

 

 

Text 41

 

 

     gargi: (svagatam) sudam ma-e tada-muhado jam candahaëu-pahudiëam kanna-a bhissa-pahudiëam kanna-a ekka-tatta vi viggahadihim bhiëëa jevva tti. ta vaòham ekka-viggahada-samvihaëam ma-a-e cce-a pabancidam. hodu pacchado jaëissam. kim daëim tassa rahassassa uttankaëeëa. (prakasham) nunam go-aòòhaëadi-go-e-him canda-ali-pahudiëam uvvaho vi ma-a-e ëivvahido.

 

     svagatam—aside; sudam—heard; ma-e—by me; tada—of my father; muhado—from the mouth; jam—which; candahanu—Candrabhanu; pahudinam—beginning with; kanna-a—the daughters; bhissa—Bhismaka; pahudinam—beginning with; kanna-a—the daughters; ekka—a single; tatta—nature; vi—indeed; viggahadinam—beginning with their forms; bhinna—different; jevva—certainly; tti—thus; ta—therefore; vadham—certainly; ekka—one; viggahada—state of having a form; samvihanam— arrangement; ma-a-e—by the yogamaya potency; cce-a—certainly; pabancidam—manifested; hodu—it may be; pacchado— afterwards; janissam—I shall understand; kim—what?; danim—now; tassa—of this; rahassassa—confidential information; uttakanena—by the revelation; prakasam—openly; nunam—is it not so?; go-addhahanadi—at Govardhana Hill and other places; go-e-him—by the cowherds; canda-ali—Candravali; pahudinam—the gopis headed by; uvvaho—the marriage; vi—also; ma-a-e—by the yogamaya potency; nivvahido—was checked.

 

 

     Gargi: (aside)  I have heard from my father's mouth that although the (gopis,) headed by Candrabhanu's daughter Candravali, and the (Dvaraka-queens), headed by Bhishmaka's daughter, Rukmiëi, are expansions of the same spiritual potency, nevertheless, their forms are separate and distinct. Now it is said that with the aid of the yogamaya potency, each gopi is identical with a specific queen, and each pair of gopi and queen is a single person in a single form. It must be so. Later I shall  perhaps understand it. What can I understand now of these confidential matters?  (Openly)  It is not that the yogamaya potency forcibly prevented the marriage of Govardhana and the other gopas with Candravali and the other gopis?

 

 

Text 42

 

 

     paurëamasi: atha kim. pati-manyanam ballavanam mamata-matravesha kumarishu darata yad esham prekshaëam api tabhir ati-durghaöam.

 

     atha kim—yes; patim—husbands; manyanam—thinking; ballavanam—of the gopas; mamata—conception of possessiveness; matra—only; avesa—entrance; kumarisu—for the girls; darata— wifehood; yat—which; esham—of them; prekshanam—sight; api—even; tabhih—by them; ati—very; durghatam—difficult to attain.

 

 

     Paurëamasi: Yes. The gopas simply thought these girls were their wives. In fact, they never even saw each other.

 

 

Text 43

 

 

     gargi: ado ëa kkhu accari-o aööhaëam kaëhe gariööo anura-o.

 

     ado—therefore; na—not; khhu—indeed; accari-o—surprising; atthanam—of these eight girls; kanhe—for Lord Krishëa; garittho—very strong; anura-o—love.

 

 

     Gargi: Then it is not at all surprising that these eight girls have such deep love for Lord Krishëa.

 

 

Text 44

 

 

     paurëamasi: ashöanam iti kim ucyate gokule kasyah khalu kurangi-drishas tatra nanuragah.

 

     astanam—of these eight gopis; iti—thus; kim—what?; ucyate—is said; gokule—in Gokula; kasyah—of what girl?; khalu—indeed; kurangi-of a doe; drishah—with the eyes; tatra—for Him; na—not; anuragah—love.

 

 

     Paurëamasi: What to speak of these eight girls, what doe-eyed girl in Gokula did not love Lord Krishëa?

 

 

Text 45

 

 

     gargi: saccam bhaëasi. jam daëim sad-uttara-im solaha-go-ula-kaëëa-a-sahassa-im.

 

katyayani maha-maye

     maha-yoginy adhishvari

nanda-gopa-sutam devi

     patim me kuru te namah

 

edam mantam japantihim pancehim canda-ali-pahudihim sangami-a uëa caëòi-am accanti.

 

     saccam—the truth; bhanasi—you speak; jam—because; danim— now; sad—than a hundred; uttarani—more; solaha—sixteen; go-ula—of Gokula; kanna-a—of girls; sahassa-im—thousand; katyayani—O Katyayani; maha-maye—O great illusory potency; maha-yogini—O great mystic; adhishvari—O mistress; nanda—of Nanda Maharaja; gopa—of the cowherd; sutam—the son; devi—O goddess; patim—as a husband; me—to me; kuru—please do; te— unto you; namah—I offer my respectful obeisances; edam—this; mantam—mantra; japantihim—chanting; pancehim—by the five gopis; canda-ali—by Candravali; pahudihim—headed; sangami-a— meeting together; una—again; candi-am—the goddess Durga; accanti—worship.

 

 

     Gargi: You say the truth. More than 16,100 girls in Gokula are now (deeply in love with Lord Krishëa.)  Five gopis, headed by Candravali, regularly meet together and worship the goddess Durga, chanting the mantra: "O Katyayani (Durga), O Maha-maya (illusory potency), O mystic yogini, O queen (of this world), O goddess, please make Nanda-gopa's son, (Krishëa) my husband. I offer my respectful obeisances to you."

 

 

Text 46

 

 

     paurëamasi:

 

sa kaman paricarika kumarikabhih

     kamakhya vitarati kama-rupa-devi

ity enam vraja-hariëi-drisham upaste

     vargo 'yam guëavati garga-bhashitena

 

     sa—she; kaman—desires; paricarika—the object of worship; kumarikabhih—by young girls; kama—kama; akhya—named; vitarati—grants; kama—of desires; rupa—the form; devi—the goddess; iti—thus; enam—her; vraja—of Vraja; harini—like the doe; drisham—of the girls who have eyes; upaste—worship; vargah—the community; ayam—this; guëavati—O virtous girl; garga—of Garga Muni; bhasitena—by the statement.

 

 

     Paurëamasi: Garga Muni told the gopis: "Goddess Durga is named `Kama' because she is the personification of the fulfillment of desires. When young girls worship her, she naturally grants their requests."  O pious one, because of this advice from Garga Muni, the doe-eyed girls of Vraja now worship goddess Durga.

 

 

Text 47

 

 

     gargi: kena surarahaëe rahi ni-utta.

     paurëamasi: tava tatenaiva.

 

     kena—by whom?; surarahane—in the worship of the sun-god; rahi—Shrimati Radharaëi; ni-utta—is engaged; tava—your; tatena—by the father; eva—certainly.

 

 

     Gargi: Who engaged Radha in worshiping the sun-god?

     Paurëamasi: Your father (Sandipani Muni).

 

 

Text 48

 

 

     gargi: ajje sudam ma-e tada-muhado jam kaëëanam bhaviëa kantena sangamo vippa-o-am uppade-i tti.

 

     ajje—O noble lady; sudam—heard; ma-e—by me; tada—of the father; muhado—from the mouth; jam—because; kannanam—of the girls; bhavina—affectionate; kantena—with the lover; sangamo—association; vippa-o-am—separation; uppade-i—produces; tti—thus.

 

 

     Gargi: O noble lady, I have heard from my father's mouth that the association of these girls with their affectionate lover (Krishëa) eventually leads to their separation from Him.

 

 

Text 49

 

 

     paurëamasi: vatse samyag idam uktam. tena mayapi te kishorika-shiro-ratne niroddhum abhimanyu-govardhanayor jananyau jaöila-bharuëòe nirbandhena niyukte.

 

     vatse—O child; samyak—truthfully; idam—this; uktam—is spoken; tena—by him; maya—by me; api—also; te—they; kishorika—of young girls; sirah—the crest; ratne—jewels; niroddhum—to obstruct; abhimanyu—of Abhimanyu; govardhanayoh—and Govardhana; jananyau—the two mothers; jaöila—Jatila; bharunde— and Bharunda; nirbhandena—persistently; niyukta—engaged.

 

 

     Paurëamasi: Child, he tells the truth. Both he and I have arranged that Abhimanyu's mother, Jaöila, and Govardhana's mother, Bharuëòa, again and again place obstacles in the way of (Radharaëi and Candravali) these two crest-jewels of adolescent girls.

 

 

Text 50

 

 

     gargi: kaham duve so-are tumam na sanghaòesi.

     paurëamasi: sada sancaratam dushöa-kamsa-caraëam vitarka-shankaya.

 

     kaham—why?; duve—the two; so-are—sisters; tumam—you; na—not; sanghadesi—bring together; sada—always; sancaratam— wandering about; dushöa—wicked; kamsa—of Kamsa; caraëam—of the followers; vitarka—of doubt; sankaya—with fear.

 

 

     Gargi: Why do you not bring the two sisters together?     

 

 Paurëamasi: I am afraid of wicked Kamsa's followers, who are always roaming about.

 

 

Text 51

 

 

     gargi: ëam apuvvam vuttantam aëëo ko vi jaëo jaëa-i.

     paurëamasi: na hi na hi. kintu mad-upadesha-balad eva kevalam hari-ramayor jananyau janitah.

 

     nanu—is it not so?; apuvvam—unprecedented; vuttantam—story; anno—else; ko vi—someone; jano—person; jana-i—knows; na—not; hi—certainly; na—not; hi—certainly; kintu—however; mat—of me; upadesa—of the instructions; balat—by the stregnth; eva—certainly; kevalam—only; hari—of Krishëa; ramayoh—and Balarama; jananyau—the two mothers; janitah—understand.

 

 

     Gargi: Does anyone else know of this unusual incident? 

     Paurëamasi: No one. No one. I have told only Krishëa's mother (Yashoda) and Balarama's mother (Rohiëi). Only they know.

 

 

Text 52

 

 

     (nepathye)

 

manced uttishöha padme mukuöa-viracanam munca pinchena bhadre

     shyame damanubandham parihara lalite piëöi ma jaguòani

shari-paöhad vishakhe vyuparama kavari-sankriyam ujjha shaibye

     purvam veveshöi kashöham surabhi-khura-puöi-pamshu-pishöata-punjah

 

     mancat—from bed; uttistha—rise; padme—O Padma; mukuta—of the crown; viracanam—the fashioning; munca—give up; pinchena— with a peacock feather; bhadre—O Bhadra; syame—O Syama; dama— the garland; anubandham—stringing; parihara—abandon; lalite—O Lalita; pinti—crush; ma—do not; jagudani—kunkuma; sari—of the peacocksh; pathat—from reciting; visakhe—O Visakha; vyuparama— give up; kavari—of braids; sankriyam—fashioning; ujjha—give up; saibye—O Saibya; purvam—before (us); vevesti—enters; kastham—the horizon; surabhi—of the surabhi cows; khura—of the hooves; puti—from the openings; pamsu-pistata—of dust; pu 24jah— an abundance.

 

 

     A voice from behind the scenes: Padma, get up from bed! Bhadra, stop making this crown of peacock-feathers! Shyama, stop stringing this flower-garland! Lalita, don't crush this kunkuma into podwer! Vishakha, stop teaching the parrot to recite poetry. Shaibya, stop braiding your hair! The dust by the hooves of the surabhi cows has now entered the horizon!

 

 

Text 53

 

 

     paurëamasi: pashya pashya

 

harim uddishate rajo-bharah

     puratah sangamayaty amum tamah

vrajavama-drisham na paddhatih

     prakaöa sarva-drishah shruter api

 

     pashya—look!;  pashya—look!; harim—Krishëa; uddishate—it indicates; rajah-bharah—dus from the cows; puratah—in front; sangamayati—causes to meet; amum—Krishëa; tamah—the darkness; vrajavama-drisham—of the damsels of Vrindavana; na—not; paddhatih—the course of activites; prakaöa—manifested; sarva-drishah—who know everything; shruteh—of the Vedas; api— as well as.

 

 

     Paurëamasi: Look! Look! The dust from cows and calves on the road creates a kind of darkness indicating that Krishëa is returning home from the pasture. Also, the darkness of evening provokes the gopi[1]s to meet Krishëa. Thus the pastimes of Krishëa and the gopi[1]s are covered by a kind of transcendental darkness and are therefore impossible for ordinary scholars of the Vedas to see.*

 

 

Text 54

 

 

hriyam avagrihya grihebhyah karshati

     radham vanaya ya nipuëa

sa jayati nisriöartha

     vara-vamshaja-kakali duti

 

     hriyam—bashfulness; avagrihya—impeding; grihebhyah—from private house; karshati—attracts; radham—Shrimati Radharani; vanaya—to the forest; ya—which; nipuëa— beign expert; sa—that; jayati—let it be glorified; nisrishöa-artha—authorized; vara-vamshaja—of the bamboo flute; kakali—the sweet tone; duti—the messenger.

 

    

     May the sweet sound of Lord Krishëa's flute, His authorized messenger, be glorified, for it expertly releases Shrimati Radharani from Her shyness and attracts Her from Her home to the forest.*

 

 

Text 55

 

 

     (nepathye)

 

dhanye kajjala-mukta-vama-nayana padme padoòhangada

     sarangi dhvanadeka-nupura-dhara pali skhalan-mekhala

gaëòodyat-tilaka lavangi kamale netrarpitalaktaka

     ma dhavottaralam tvam atra murali dure kalam kujati

 

     neptahye—from behind the scenes; dhanye—O Dhanya; kajjala—mascara; mukta—without; vama—left; nayana—eye; padme—O Padme; pada—on the feet; udha—worn; angada—anklets; sarangi—O Sarangi; dhvanada—tinkling; eka—one; nupura—set of ankle-bells; dhara—wearing; pali—O Pali; skhalat—falling; mekhala— belt; gaëòa—on the cheeks; udyat—running; tilaka—tilaka marking on the forehead; lavangi—O Lavangi; kamale—O Kamala; netra—on the eyes; arpita—placed; alaktaka—red lac for decorating the feet; ma—do not; dhava—run; uttaralam—agitated with haste; tvam—you; atra—here; murali—the flute; dure—far away; kalam—the sweet sound; kujati—warbles.

 

 

     A voice from behind the scenes: Dhanya, you haven't decorated your left eye with mascara! Padma, you've placed armlets on your anklets! Sarangi, you've placed tinkling bells on only one ankle! Pali, your belt is already beginning to slip! Lavangi, you put tilaka markings (meant for your forehead) on your cheek! Kamala, you put red lac (meant for the soles of your feet), on your eyes! Don't run (outside) so quickly! (Krishëa's) sweetly sounding flute is still far away.

 

 

Text 56

 

 

     gargi:

 

ëilambara-ru-i-dhari

     phuòido goboòu-cakka-baleëa

sida-go-maëòala-mahuro

     mahura-cando paripphura-i

 

     nila—dark blue; ambara—sky; ruci—the luster; dhari—manifesting; phudido—manifested; goba—of cowherd boys; udu—of stars; cakka—of the circle; balena—with the strength; sida— white;  go—of cows (or of moonlight); maëòala—with the circle; mahuro—charming; mahura—of the district of Mathura (including Vrndavana Village); cando—the moon; paripphura-i—is manifested.

 

 

     Gargi: Lord Krishëa is as splendid as the darkened (evening) sky. He is like a moon shining in Vrindavana, surrounded by the stars of the gopas and the splendid white moonlight of the cows.

 

 

Text 57

 

 

     paurëamasi: (sanandam)

 

bibhran-nila-cchavim avishamam agra-hastena yashöim

     jushöa-shroni-taöa-rucir asau pita-pattamshukena

nindann indivaram aviralotsarpibhih kanti-purair

     abhiriëam iha viharati prema-lakshmi-vivartah

 

     tadavam yashodam asadayava (iti nishkrante).

 

anka-mukham.

 

     sa—with; anandam—bliss; bibhran—manifesting; nila—blue; chavim—luster; avisamam—charming; agra—the tip; hastena—with his hand; yastim—a stick; justa—endowed; shroni—of hips; tata— slopes; rucih—splendor; asau—He; pita—yellow; patta-amsukena— silk dhoti; nindan—chastising; indivaram—the blue lotus flower; avirala—intense; utsarpibhih—manifesting; kanti—of beauty; puraih—with floods; abhirinam—of the gopis; iha—here; viharati—enjoys transcendental pastimes; prema—of love; lakshmi—of the opulence; vivartah—the transformation; tada—then; avam—we; yashodam—to Yashoda; asadaya—let us go; iti—thus; nishkrante—they both exist; anka—of the act; mukham—the first part.

 

 

     Paurëamasi: (With intense happiness) The dark luster of Krishëa's body is charming. He holds a stick in His hand, and His splendid hips are wrapped in a yellow silk dhoti. The great flood of His transcendental beauty rebukes the blue lotus flower. Enjoying pastimes with the gopis, He appears like a transformation of opulence of transcendental love. Let us go to Yashoda-devi.

 

     (They both exit.)

 

Thus ends the first part of Act 1.

 

 

Scene 2

 

 

Text 1

 

 

     (tatah pravishati vayasyair upasyamanah krishëah.)

 

     krishëah: sakhe madhumangala pashya pashya

 

atanu-triëa-kadambasvada-shaiöhilya-bhajam

     avirala-tara-hambarambha-tamyan-mukhiyam

caöulita-nayana-shrir avali naicikinam

     pathi su-valita-kaëöhi gokulotkaëöhitabhut

 

     tatah—then; pravishati—enters; vayasyaih—by friends; upashyamanah—accompanied; krishëah—Lord Krishëa; sakhe—O friend; madhuma gala—Madhumangala; pashya—look!; pashya—look!; atanu— large; trna—of grass; kadamba—the abundance; asvada—in eating; saithilya—disinterest; bhajam—possessing; avirala—intense; tara—very; hamba—mooing; arambha—activity; tamyat—wilting; mukhi—faces; iyam—this; catulita—restlessly moving; nayana—of eyes; shrih—with the beauty; avali—the herd; naicikinam—of cows; pathi—on the path; su-valita—moving; kaëöhi—whose necks; gokula—for Gokula; utkaëöhita—longing; abhut—have become.

 

 

     (Accompanied by His friends, Lord Krishëa enters)

 

     Krishëa: Friend Madhumangala, look! Look! The Surabhi cows have lost interest in eating the abundant thick grasses and their voices are now choked up with constant mooing. They move their necks here and there and their beautiful eyes restlessly wander on the path. They long to return to Gokula.

 

 

Text 2

 

 

     madhumangala: ditthi-a vacchalahim surahihim kantara-bbhamaëa-khiëëe ettha bamhaëe karuëëam  vira-idam.

 

     ditthi-a—by good-fortune; vacchalahim—affectionate to their calves; surahihim—with the surabhi cows; kantara—in the forest; bbhamana—from wandering; khinne—exhausted; ettha—here; bamhane—to this brahmanas; karunam—mercy; vira-idam—is done.

 

 

     Madhumangala: This is a great kindness for a brahmaëa exhausted from wandering in this great forest with these surabhi cows so affectionate ot their calves.

 

 

Text 3

 

 

     ramah: pashyata pashyata

 

gatva puras tri-chaturaëi javat padani

     pashcad vilokayati hanta tirah-shirodhi

vatsotkarad api baki-mathane garishöha-

     premanubandha-vidhuram pathi dhenu-vrindam

 

     pashyata—look; pashyata—look; gatva—having gone; tri—three; chaturani—or four; javat—quickly; padani—steps; pascat—from behind; vilokayati—looks; hanta—indeed; tirah—tilted; sirodhi—with necks; vatsa—of calves; utkarat—from the multitude; api—even; baki-mathane—for Lord Krishëa, the killer of Putana; garistha—more intense; prema—love; anubandha—in relatinship; vidhuram—afflicted; pathi—on the path; dhenu—of cows; vrindam—the herd.

 

 

     Rama: Look! Look! After taking three or four quick steps, the cows turn from the calves before them and crane their necks to see Krishëa behind them. They love Krishëa more than their own calves.

 

 

Text 4

 

 

     krishëah: (praticim avekshya)

 

vicalitum asamartham vyomni mukta-pratishöhe

     samaya-vipariëamad virya-vishramsanena

shiöhilatara-kareëalambya bhaëòira-cuòam

     carama-giri-shikhayam lambate bhanu-bimbam

 

     praticim—to the west; avekshya—glancing; vicalitum—to move; asamartham—unable; vyomni—in the sky; mukta—removed; pratisthe—support; samaya—of time; viparinamat—from change; virya—of stregnth; vishramasanena—with the loss; sithilatara— slackened; karaëa—with effulgence; alambhya—resting; bhandira— of a banyan tree; cuòam—on the top; carama-giri-sikhayam—on the western horizon; lambate—rests; bhanu—of the sun; bimbam—the disc.

 

 

     Krishëa (looking westward)  The sun is no longer able to move in this sky that now declines to support it. It's strength diminished by the transformation of time, with weakened rays the sun's disc rests first on the top of a banyan tree, and now on the western horizon.

 

 

Text 5

 

 

     ramah: pashyata pashyata

 

vipulotpalika-kuöair

     giri-kuöa-viòambibhir niviòam

vayam abhajama karisha-

     kshoda-paritam vrajabhyarëam

 

     tad adya kalindim avagaòhah pragaòha-parishrantim utsarayamah. (iti sakhibhih saha nishkrantah)

 

     pashyata—look!; pashyata—look!; vipula—abundant; utpalika—of lotus flowers; kutaih—with multitudes; giri—of a mountain; kuta—the summit; vidambibhih—with an imitation; nividam—thick; vayam—we; abhajam—enter; karisa—of cow-dung; kshoda—with the dust; paritam—filled; vraja—of Vraja; abhyarnam—the vicinity; tat—therefore; adya—now; kalindim—in the Yamuna River; avagadhah—plunged; pragadha—great; parishrantim—fatigue; utsarayamah—let us drive away; iti—thus; sakhibhih—His friends; saha—with; nishkrantah—He exits.

 

 

     Rama: Look! Look! Here the tall lotus flowers mock the mountain peaks. Here is a cloud of cow-dung dust. We are near Vraja Village. Let us rid ourselves of this fatigue by diving in the Yamuna.

 

(He exits with His friends.)

 

 

Text 6

 

 

     krishëah: sakhe madhumangala pashya pashya

 

dravan-nava-vidhupala-prakara-datta-padyah shashi

     sa-ratna-taralocchalaj-jaladhi-kalpitargha-kriyah

harit-parijanerita-sphuöataroòu-puspanjalih

     sphurat-tanur udancita-smara-rasormir unmilati

 

     sakhe—O friend; madhumangala—Madhumangala; pashya—look!; pashya—look!; dravat—melting; nava—new; vidhupala-candranta— jewels; prakara—specific; datta—given; padyah—water for washing the feet; sasi—the moon; sa—with; ratna—jewels; tarala—the waves; ucchalat—rising; jaladhi—ocean; kalpita— considered; argha—water for rising the mouth; harit—the directions; parijana—friends; irita—thrown; sphutata-tara— glistening; udu—stars; puspa—of flowers; a 24jalih—with handfuls; sphurat—effulgent; tanuh—whose form; udancita—risen; smara—of amorous love; rasa—of the nectarean mellows; urmih— the waves; unmilati—opens.

 

 

     Krishëa: Friend Madhumangala, look! Look!  Creating padya-water by making the new candrakanta jewels melt and arghya-water by making jewel-filled waves in the ocean, throwing handfuls of flowers, in the form of glittering stars, to it's friends, the different directions, and making great waves in the nectar-ocean of transcendental love, the splendid moon now rises.

 

 

Text 7

 

 

     madhumangala: pi-a-va-assa kim imiëa vara-eëa kalankiëa candeëa. pekkha lada-jalambare nikkalanka-im solaha-canda-maëòala-sahassa-im unmilida-im.

 

     pi-a—dear; va-assa—friend; kim—what is the use?; imina—of this; vara-ena—insingnificant; kalankina—spotted; candena—moon; pekkha—look; lada—of creepers; jala—of the network; ambare—in the sky; nikkalanka-im—spotless; solaha—sixteen; canda—of moons; maëòala—circle; sahassa—thousand; unmilida-im—risen.

 

    

     Madhumangala: Dear friend, what is the use of this tiny spotted moon? Look! In the sky of the network of these vines there are sixteen thousand spotless moons.

 

 

Text 8

 

 

     krishëah: (samikshya)  sakhe samyag attha. bahudha samye 'pi baòham ekena karmaëa mushito 'yam oshadhishah. tatha  hi

 

nava-nava-sudha-sambadho 'pi priyo 'pi drisham sada

     sarasija-vanim mlanam kurvann api prabhaya svaya

shucir api kala-purëo 'py uccaih karanga-dharah shashi

     vraja-mriga-drisham vaktrair ebhih suranga-dharair jitah

 

     samikshya—looking; sakhe—friend; samyak attha—it is true; bahudha—in many ways; samye—in similarity; api—although; badham—certainly; ekena—with a single; karmana—indeed; musitah—stolen; ayam—this; osadhi-isah—the moon, monarch of plants; tatha hi—furthermore; nava-nava—ever-fresh; sudha—with nectar; sambadhah—filled; api—even; priyah—dear; api—even; drisham—to the eyes; sada—always; sarasija—of lotus flowers; vanim—the forest; mlanam—wilted; kurvan—making; api—even; prabhaya—effulgence; svaya—with it's own; sucih—splendid; api—even; kala-purnah—full; api—even; uccaih—greatly; kuranga— the mark of a deer; dharah—bearing; sasi—the moon; vraja—in Vraja; mrga—of does; drisham—with the eyes; vaktraih—by the faces; ebhih—by them; su-ranga-dharaih—golden; jitah—defeated.

 

 

     Krishëa: (looks)  Friend, you say the truth. Although in many ways they are alike, with a single stroke these many moons have clearly eclipsed this one moon (in the sky). Even though it is filled with ever-fresh nectar, even though it is always very pleasing to the eyes, even though it's effulgence wilts the forest of lotus flowers, and even though it is very pure and splendid in it's complete fulness, this moon that bears the mark of a deer is now completely defeated by the beautiful golden faces of the doe-eyed girls of Vraja.

 

 

Text 9

 

 

     madhumangala: bho va-assa juttam ukkaëo 'si jam dakkhiëeëa kalamba-kuòungam kavi akaòòha-mantam padheti.

 

     bho—O; va-assa—friend; juttam—engaged; utkkanno—listening with rapt attention; asi—You are; jam—what; dakkhinena—in the south; kalamba—of kadamba trees; kudungam— the grove; kavi—some girl; akaddha—to attract; mantam—a magic spell; padhedi—recites.

 

 

     Madhumangala: Friend, You listen with rapt attention as in a kadamba-grove to the south, a girl chants a magic spell to attract You.

 

 

Text 10

 

 

     krishëah:

 

seyam divyati shaibyayah

     pavika vishva-pavika

veëur yad vibhramarambhe

     stambham alambate mama

 

     sa iyam—this; divyati—plays; saibyayah—of Saibya; pavika—small flute; visva—the world; pavika—charming; venuh—flute; yat—which; vibhrama—of pastimes; arambhe—in the activity; stambham—the state of being stunned; alambate—attains; mama—of Me.

 

 

     Krishëa: Shaibya's little flute, which enchants the entire world, is now playing. This flute's pastimes have made My own flute become stunned.

 

 

Text 11

 

 

     (ity agrato gatva sautsukyam)

 

tumbi-phala-staniyam

     prabala-sushamadhara kalollasita

harati dhritim mama bhadra

     nava-vallari vallaki casyah

 

     iti—thus; agratah—the presence; gatva—going; sa—with; autsukyam—eagerness; tumbi-phala—tumbi-gourd; stani—breast; iyam—this; prabala—great; susama—beauty; dhara—manifesting; kala—with soft, sweet words; ullasita—splendid; harati— enchants; dhritim—peaceful composure; mama—My; bhadra—Bhadra; nava—young; vallari—vine; vallaki—the lute; ca—and; asyah—of her.

 

 

     (Eagerly going forward) Both Bhadra and her viëa are very beautiful. Both speak sweetly and both have tumbi-gourd breasts. Both are graceful as new flowering vines. Both enchant Me and rob Me of My peacefulness.

 

 

Text 12

 

 

     madhumangala: va-assa accari-am accari-am manjhe jamuëam kavi kacchabi kunkuëa-edi.

 

     va-assa—friend; accari-am—wonderful; accari-am—wonderful; manjhe—in the middle; jamunam prati—the Yamuna; kavi—some girl; kacchabi—a lute; kunkuna-edi—plays.

 

 

     Madhumangala: Wonderful! Wonderful! Friend, some girl is playing a viëa in the middle of the Yamuna!`

 

 

Text 13

 

 

     krishëah: (sa-smitan)

 

smara-keli-naöya-nandim

     shabda-brahma-shriyam muhur dadhati

vahati mudam me mahatim 

     iha mahita shyamala-mahati

 

     sa—with; smitam—a smile; smara—amorous; keli—of pastimes; natya—in the drama; nandim—the invocation; sabda—sound; brahma—spiritual; shriyam—beauty; muhuh—repeatedly; dadhati—places; vahati—carries; mudam—delight; me—to Me; mahatim—great; iha—here; mahita—glorious; syamala—of Syama; mahati—the lute.

 

 

     Krishëa: (smiling)  Repeatedly reciting the beautiful and spiritual invocation to the drama of transcendental amorous pastimes, Shyama's glorious viëa brings Me great happiness.

 

 

Text 14

 

 

     (iti parikramya sa-harsham)

 

kala-sinjita-kalayarad

     avikalaya me premoda-kallolam

padma-kalavi nilaya

     valayah kalayam babhuvur alam

 

     iti—thus; parikramya—walking about; sa—with; harsam— happiness; kala—sweet and soft; si 24jita—tinkling sounds; kalaya—with the artistry; arat—nearby; avikalaya—perfect; me— of Me; prema—of love; oda—of the ocean; kallolam—waves; padma—of Padma; kalavi—on the  wrists; nilayah—placed; valayah— bracelets; kalayam babhuvuh—make a sound; alam—greatly.

 

 

     (Happily walking about)  With their sweet musical tinkling, the bracelets on Padma's wrists are now drowing Me in the waves of (transcendental) love.

 

 

Text 15

 

 

     (iti parito drishöim kshipan) sakhe katham atradya nonmilati candravali-parimalah. tad vam atah karala-grihopanta-vaöikam asadayavah. (iti parikramati)

 

     iti—thus; paritah—everywhere; drishöim—glance; kshipan—casting; sakhe—O friend; katham—how is it?; atra—here; adya—now; na—not; unmilati—opens; candravali—of Candravali; parimalah—the fragance; tat—therefore; vam—we; atah—then; karala—of Karala; grha—the house; upanta—near; vatikam—to the garden; asadayavah—let us go; iti—thus; parikramati—walks.

 

 

     (Glancing in all directions)  Why is not even the fragance of Candravali present here? Let us go to the garden near Karala's house (to see if we can find her). (He begins to walk there.)

 

 

Text 16

 

 

     madhumangala: (puro 'valokya) esha ubaëanda-putassa suhaddassa vahu kuëòaladi-a ido a-acchadi.

 

     purah—before him; avalokya—looking; esha—she; ubananda—of Upananda; putassa—of the son; suhaddassa—Subhadra; vahu—the wife; kundaladi-a—Kundalata; ido—here; a-acchadi—comes.

 

 

     Madhumangala: (looking ahead)  Here comes Kundalata, the wife of Upananda's son Subhadra.

 

 

Text 17

 

 

     kundalata: kaëha a-ale paphullam vanjulam kisa ëa salahasi.

 

     kanha—O Krishëa; a-ale—out of season; paphullam—blossoming; vanjulam—the asoka tree; kisa—why; na—not; salahasi—You glorify.

 

 

     Kundalata: Krishëa, why do You not say something to glorify this ashoka tree blossoming out-of-season?

 

 

Text 18

 

 

     krishëah: (drisham kshipann atma-gatam)  nunam candravali-caraëa-caturi-camatkaro 'yam. (iti sotkaëöham abinandya)

 

etani vanjula-vanantar-udancitani

     kadamba-kujita-kadamba-viòambitani

mantrani karëa-kuharam mama nandayanti

     candravali-kanaka-nupura-sinjitani

 

     drisham—glance; kshipan—casting; atma-gatam—to Himself; nunam—is it not?; candravali—of Candravali; caraëa—of the feet; caturi—expertize; camatkarah—the wonder; ayam—this; iti—thus; sa—with; utkaëöham—longing; abhinandya—dramatically displaying; etani—these; vanjula—of asoka-trees; vana—the forest; antan—within; udancitani—manifested; kadamba—swans; kujita—warbling; kadamba—multitude; vidambitani—like; mantrani—mantras; karna—of the ears; kuharam—the opening; mama—of Me; nandayanti—delight; candravali—of Candravali; kanaka—golden; nupura—of the ankle-bells; si 24jitani—the tinkling.

 

 

     Krishëa: (Glancing at the asoka tree, He says to Himself)  Is this (unseasonal blossoming of the ashoka tree) not the wonderful expert work of Candravali's foot? (With longing) The tinkling of Candravali's golden ankle-bells are like the cooing of a flock of swans. They are a series of mystic mantras that delight My ears. They must have passed through this forest of ashoka trees.

 

 

     Note: It is said that an ashoka tree will suddenly burst into bloom when kicked by a beautiful girl.

 

 

Text 19

 

 

     kundalata: sundara bharuëòa-e gabbha-ghare ëiruddhavi canda-ali ma-e caduri-pabandhena kaòòhiòo.

 

     sundara—O handsome Krishëa; bharunda-e—by Bharunda; gabbha-grhe—in the house; niruddha—confined; vi—even though; canda-ali—Candravali; ma-e—by me; caduri-pabandhena—with skill; kaddhido—brought.

 

 

     Kundalata: O handsome one, even though Bharuëòa confined her at home, I have expertly brought Candravali here.

 

 

Text 20

 

 

     krishëah: bharuëòaya katham akaëòe karkashyam arabdham

 

     bharundaya—by Bharunda; katham—why?; akande—suddenly; karkasyam—harshness; arabdham—is begun.

 

 

     Krishëa: Why has Bharuëòa suddenly become so harsh?

 

 

Text 21

 

 

     kundalata: ëa ke-alam bharuëòa-e jaòila-pahudihim vi savva-vuddhi-ahim.

 

     na—not; ke-alam—only; bharundaya—by Bharunda; jadila— Jatila; pahudihim—beginning with; vi—indeed;  savva—by all; vuddhi-ahim—the elderly gopis.

 

 

     Kundalata: Not only Bharuëòa. Jaöila and all the other old gopis also (have become very harsh).

 

 

Text 22

 

 

     (padmaya saha pravishya) candravali: (sanskritena)

 

racayatu mama vriddha tarjanam durjani sa

     kavalayatu kulendum ko 'pi durvada-rahuh

sahacari-parihartum nakshi-bhringau kshamete

     madhuripu-mukha-padmaloka-madhvika-lobham

 

     padmaya—Padma; saha—with; pravishya—entering; sanskritena—in Sanskrit; racayatu—may do; mama—my; vrddha—old (mother-in-law); tarjanam—rebuke; durjani—wicked; sa—she; kavalayatu—may swallow; kula—of the family; indum—the moon; kah api—some; durvada—of bad reputation; rahuh—the rahu planet; sahacari—O my friend; parihartum—to shun; na—not; akshi—of the eyes; bhrngau—the two bumble-bees; kshamete—are able; madhu-ripu—of Lord Krishëa, the enemy of Madhu; mukha—of the face; padma—of the lotus flower; loka—of the sight; madhvika—the madhvika nectar; lobham—greed.

 

 

     Candravali: (enters with Padma)  My wicked old (mother-in-law) may rebuke me, and the rahu planet of infamous gossip may devour the moon of my family, still, my friend, the two bumble-bees of my eyes cannot stop yearning to taste the madhvika nectar of Krishëa's lotus face.

 

 

Text 23

 

 

     krishëah (candravalim asadya sanandam)

 

nitas tanvi mukhena te paribhavam bhru-kshepa-vikriòaya

     vibhyad vishëu-padam jagama sharaëam tatrapy adhairyam gatah

asadya dvija-rajitam vijayinah sevartham asyojjvalash

     candro 'yam dvija-rajata-padam agat tenasi candravali

 

     candravali—Candravali; asadya—approaching; sa—with; anandam—bliss; nitah—brought; tanvi—O slender girl; mukhena— by the face; te—of you; paribhavam—to defeat; bhru—of the eyebrows; kshepa-vikridaya—by the knitting; vibhyat-visnu-padam— to the sky; jagama—went; sharaëam—shelter; tatra—there; api— also; adhairyam—restlessness; gatah—attained; asadya— attaining; dvija—of teeth; raji—of being a series; tam—the state; vijayinah—of the victorious one; seva—service; artham— for the purpose; asya—of that person; ujjvalah—splendid; candrah—moon; ayam—this; dvija-rajata-padam—the state of being teeth; agat—attained; tena—by this; asi—you are; candra—of moons; avali—as series.

 

 

     Krishëa: (approaching Candravali, He happily says)  O slender girl, your face and the playful movements of your eyebrows have defeated the moon and forced him to flee to the sky where he restlessly moves about, unable to find shelter anywhere. To serve the face that defeated him, the effulgent moon has now assumed the form of your teeth. Because your teeth are thus many (avali) moons (candra), you are Candravali.

 

 

Text 24

 

 

     kundalata:

 

mottima-sara-majjha-ööhi-a

     ra-aëe paòibimba-dambha-samvalida

tuha hi-a-am ëi-a-u-ëa me

     ja-a canda-ali jada

 

     mottima-sara—pearl necklace; majjha—in the middle; tthi-a—situated; ra-ane—in the jewel; padibimba—reflection; dambha— on the pretext; samvalida—mixed; tuha—of You; hi-a-am—the chest; ni-a-u-na—expert; me—of me; ja-a—gone; canda-ali— Candravali; jada—gone.

 

 

     Kundalata: On the pretext of being reflected in Your pearl necklace, the expert Candravali I have brought here now embraces Your chest.

 

 

Text 25

 

 

     krishëah: (smitam kritva) kuëòalatike katham te yata candravali.

 

     smitam—a smile; kritva—doing; kundalatike—O Kundalata; katham—why?; te—by you; yata—brought; candravali—Candravali.

 

 

     Krishëa: (smiles) Kundalata, why have you brought Candravali?

 

 

Text 26

 

 

     kundalata: go-ula-ju-a-ra-a go-a-u-dhano kkhu ima-e ali-o sami. amha de-aro cce-a sacco.

 

     go-ula—of Gokula; yu-a-ra-a—O prince; go-a-dhano—Govardhana Hill; kkhu—indeed; ima-e—of whom; ali-o—pretended; sami—master; amha—my; de-aro—brother-in-law; cce-a—certainly; sacco—true.

 

 

     Kundalata: O prince of Gokula, Govardhana-gopa is an illusion. You are her real husband. So, now I am Your sister-in-law.

 

 

Text 27

 

 

     candravali: (sa-bhru-bhangam apavarya)   dhiööhe kundalada cce-a bhamarakaòòhiëi hodi.

 

     sa—with; bhru—of the eyebrows; bhangam—knitting; apavarya—resisting; dhitthe—bold woman; kundalada—Kundalata; cce-a—certainly; bhamara—a bumble-bee; akaddhini—attracting; hodi—is.

 

 

     Candravali: (resisting with knitted eyebrows) Arrogant woman!  Kundalata is (deliberately) attracting a bee (to bite me).

 

 

Text 28

 

 

     kundalata: de-ara esa ëi-unja-ghariëi kadhedi. cha-illo ëa kkhu eso vunda-ana-bhamaro. jam paphullam pa-u-malim na pibedi.

 

     de-ara—O brother-in-law; esha—this girl; ni-unja—in this forest grove; gharini—lives; kadhedi—says; cha-illo—expert; na—not; kkhu—indeed; eso—this; vunda-ana—of Vrndavana; bhamaro—bumble-bee; jam—because; paphullam—blossoming; pa-uma—of lotus flowers; alim—series; na—does not; pibedi—drink.

 

 

     Kundalata: O Brother-in-law, this girl who lives in the forest is simply talking (idly). This bee of Vrindavana is not very expert, for He has not even (begun to) drink (the honey of) these lotus flowers.

 

 

     Note: The word "pa-u-malim"  may also be interpreted to mean "the friend of Padma". In this way the last sentence of this verse may be interpreted: "This bee of Vrindavana is not very expert, for He has not even (begun to) drink (the honey) of Padma's a friend (Candravali)."

 

 

Text 29

 

 

     padma: ali-a-samsini ciööha ciööha jangala-sancariëo bhamarassa visaha-saha-ari ccea sulaha. ëa kkhu ami-a-uppanna pa-u-mali.

 

     ali-a—false; samsini—speaker; cittha—stand; cittha—stand; jangala—in the forest; sancarino—wandering; bhamarassa—of a bumble-bee; visaha—of Visakha; saha-ari—the friend; ccea—certainly; sulaha—easy to obtain; na—not; kkhu—indeed; ami-a—nectar; uppanna—manifested; pa-u-mali—the friend of Padma gopi.

 

 

     Padma: Lier! Stop! Stop! This bumble-bee wandering in the forest may easily get Vishakha's friend (Radha), but He shall not easily get Padma's friend (Candravali).

 

 

Text 30

 

 

     kundalata: canda-ali viòiòa-udasi. kisa lajjesi. ta alankarehi piëuttunga-thaëa-bandhuna appano hareëa hari-vakkha-thalam.

 

     canda-ali—O Candravali; vidida-udasi—your desire is undertood; kisa—why?; lajjesi—are you ashamed; ta—therefore; alankarehi—you should decorate; pina—large; uttunga—raised; thana—breasts; bandhuna—with the friend; appano—own; hareëa— with the necklace; hari—of Lord Krishëa; vakkha-thalam—the chest.

 

 

     Kundalata: Candravali, we know what you want! Why be ashamed?  Decorate Lord Hari's chest with the necklace that is the friend of Your large raised breasts.

 

 

Text 31

 

 

     candravali: (sabhyasuyam)  kundaladi-e ëi-a-kaëöha-tthida-e ekka-ali-e tumam cce-a alankarehi.

    

     sa—with; abhyasuyam—jealous anger; kundaladi-e—O Kundalata; ni-a—own; kaëöha—on the neck; tthida-e—situated; ekka-ali-e—the single strand of pearls; tumam—you; cce-a— certainly; alankarehi—should decorate.

 

 

     Candravali: (with jelaous anger)  Kundalata, you should decorate it with the strand of pearls on your own neck.

 

 

Text 32

 

 

     kundalata: madhava sthava-iëim karehi canda-ali-e kaëëaladi-am.

 

     madhava—O Krishëa; stava-inim—bunches of flowers; karehi— do; canda-ali-e—of Candravali; kanna—of the ear; ladi-am—the creeper.

 

 

     Kundalata: Madhava (Krishëa), put flowers on the vine of Candravali's ear.

 

 

Text 33

 

 

     candravali: hala pi-a-jaëa-pekkhana-pajju-ssu-assa va-inda-ëandanassa magge na kkhu padibandhini hohi.

 

     hala—ah!; pi-a-jana—His beloved; pekkhana—to see; pajju-ssu-assa—eager; va—of Vraja; inda—the king; nandanassa—of the son; magge—on the path; na—not; khhu—indeed; padibandhini—an obstacle; hohi—become.

 

 

     Candravali: Don't block the path of Vraja's prince when He yearns to see His beloved!

 

 

Text 34

 

 

     kundalata: sahi ka aëëa tu-atto imassa pi-a.

 

     sahi—O friend; ka—who?; anna—else; tu-atto—than you; imassa—of Him; pi-a—is beloved.

 

 

     Kundalata: Friend, aside from you who is His beloved?

 

 

Text 35

 

 

     padma: a-i raha-sahi viramehi.

 

     a-i—O; raha—of Radharaëi; sahi—O friend; viramehi— stop!

 

 

     Padma: Friend of Radha, stop!

 

 

Text 36

 

 

     krishëah:

 

sarojakshi paroksham te

     kadapi hridayam mama

na sprashöum apy alam badha

     radha tv akramya gahate

 

(iti sa-sankam badha-radhayor viparyasam paöhati)

 

     saroja—lotus; akshi—eyes; paroksham—unseen; te—to you; kada api—at anytime; hridayam—the heart; mama—My; na—not; sprastrum—to touch; api—even; alam—greatly; badha—pain; radha—Radharaëi; tu—indeed; akramya—attacking; gahate—enters; iti—thus; sa—with; sankam—fear; badha—of "badha";  radhayoh— and "radha"; viparyasam—inversion; pathati—recites.

 

 

     Krishëa: Lotus-eyed one, when you are not present, suffering never touches My heart, for Radha at once attacks and forcibly enters it. (frightened)  Oh! That's not what I mean. I mean to say that when you are not present Radha never touches My heart, for suffering at once attacks and forcibly enters it.

 

 

Text 37

 

 

     padma: maha-purisa kkhu ëa jadu asacca-bhasiëo honti.

 

     maha—great; purisa—personalities; kkhu—indeed; na—not; jatu—at any time; asacca—lies; bhasino—speaking; honti—are.

 

 

     Padma: Great personalities (as Yourself) never speak lies. (What You first said was not a lie.)

 

 

Text 38

 

 

     (nepathye) kundalade sahu sahu. saccam ëa jaëasi patthara-punja-kaöhoram go-a-dhanam.

 

     nepathye—from behind the scenes; kundalade—O Kundalata; sahu—yes; sahu—yes; saccam—the truth; na—not; janasi—you know; patthara—of rocks; punja—a pile; kathoram—as hard; go-a-u-dhanam—Govardhana.

 

 

     A voice from behind the scenes: Kundalata! Yes! Yes! You don't know how Govardhana has become cruel and hard as a mountain of stones!

 

 

Text 39

 

 

     kundalata: hadhi hadhi. bharuëòa caëòi caëòimanam kuëadi.

 

     hadhi—fie!; hadhi—fie!; bharunda—Bharunda; candi—angry; candimanam—angry; kunadi—makes.

 

 

     Kundalata: To hell with her! To hell with her! Angry Bharuëòa has made Govardhana angry!

 

 

Text 40

 

 

     candravali: (sa-trasam) sahi pa-ume saddulivva gajjadi vuddhi-a. ta avasappamha. (iti padmaya saha nishkranta)

 

     sa—with; trasam—fear; sahi—friend; pa-ume—Padma; saddulivva—like a tiger; gajjadi—growls; vuddhi-a—the old lady; ta—from this place; avasappamha—let us slide away; iti— thus; padmaya—Padma; saha—with; nishkranta—exists.

 

 

     Candravali: (with fear)  Friend Padma, the old lady growls like a tigress. Let us slip away. (Exits with Padma)

 

 

Text 41

 

 

     kundalata: aham go-ulesarim anusarissam. (iti nishkranta) 

 

     aham—I; go-ulessarim—to Yashoda, the queen of Gokula; anusarissam—I shall go; iti—thus; miskranta—exits.

 

 

     Kundalata: I will go to (Yashoda-devi,)  the queen of Gokula. (exits)

 

 

Text 42

 

 

     krishëah: (puro gatva sautsukyam)

 

manasy ayam saumanasasya dhanvanas

     tanoti tankara-kadamba-sambhramam

ananga-khela-khurali-vishrinkhalah

     skhalad-vishakha-kala-mekhala-ravah

 

     krishëah purah—ahead; gatva—going; sa—with; autsukyam—eagerness; manasi—in the heart; ayam—this; saumanasasya—of flowers; dhanvanash—with the bow; tanoti—does; tankara—of the sound of the bowstring; kadamba—abundance; sambhramam—like; ananda—of cupid; khela—pastimes; khurali—archery practice; vishrnkhalah—unrestrained; skhalat—falling; visakha—of Visakha; kala—the sweet; mekhala—of the ash of bells at her waist; ravah—the sound.

 

 

     Krishëa: (Begins to walk. With longing He says)  The sweet tinkling of her sash of bells as Vishakha's practices the archery of uninhibited amorous pastimes has become in My heart the stinging sound of Kamadeva's bow of flowers.

 

 

Text 43

 

 

     (savyato nibhalya) sakhe satyam aha kundalata. yad adya radha-madhuryam api. nanubhuyate. tad aham ambam eva sambhavayeyam. (iti nishkrantah.)

 

     savyatah—from the left; nibhalya—glancing; sakhe—O friend; kundalata—Kundalata; yat—because; adya—now; radha—of Radharaëi; madhuryam—the sweetness; api—even; na—not; anubhuyate—is perceived; tat—therefore; aham—I; iti—thus; nishkrantah—exits.

 

 

     (Looking to His left)  Friend (Madhumangala), Kundalata spoke the truth. She was not sweet as Radha is. I see My mother. (He exits)

 

 

Text 44

 

 

     (tatah pravishati paurëamasi-gargi-rohiëy-adibhir avrita yashoda)

     yashoda: hanta sahi rohiëi ëa jaëe kisa vilamba-i vaccha.

 

     tatah—then; pravishati—enters; paurëamasi—Paurëamasi; gargi—Gargi; rohini—and Rohini; adibhih—beginning with; avrta—accompanied; yashoda—Yashoda; hanta—indeed; sahi—O friend; rohini—Rohini; na—not; jane—I know; kisa—why?; vilamba-i—is so late; vaccha—my son.

 

 

     (Yashoda enters, accompanied by Paurëamasi, Gargi, Rohiëi, and others)

 

     Yashoda: Friend Rohiëi, I don't know why my son is so late!

 

 

Text 45

 

 

     (pravishya)  kundalata: (sa-smitam)  amba ma visida. so kkhu su-vimaëahim ambaralambiëihim vinda-ara-ramaëihim hasida-puppha-variseëa uvasijanto vilambadi.

 

     pravishya—enters; sa—with; smitam—a smile; amba—mother; ma—do not; visida—be unhappy; so—He; khhu—certainly; su-vimanahim—flying in airplanes; ambara-alambinihim—in the sky; vrinda-ara-ramanihim—by beautiful goddesses; hasida—smiling; puppha—of flowers; varisena—with a shower; uvasijanto—worshiped; vilambadi—is delayed.

 

 

     Kundalata: (enters, and says with a smile:)  Dear mother, don't be unhappy. (Your son) is late because many beautiful demigoddesses flying in airplanes in the sky worshiped Him with a shower of smiles and flowers.

 

 

Text 46

 

 

     rohiëi: diööham ma-e tahim di-ahe doëam kumariëam sonderam pekkhi-a vindara-a-sundari-o acchara-o vi vimacchara-o honti.

 

     dittham—seen; ma-e—by me; tahim—on this; di-ahe—day; donam—of two; kumarinam—girls; sonderam—the beauty; pekkhi-a—seeing; vindara-a—the most; sundari-o—beautiful girls; accahara-o—demigoddesses; vi—even; vimacchara-o—envious; honti—become.

 

 

     Rohiëi: Today I have seen the beauty of two girls (so splendid) even the most lovely demigoddesses become envious seeing them.

 

 

Text 47

 

 

     yashoda: a-avadi canda-ali ëa-a-mali-a raha mahavi a savva-o maha asa-o guëa-soraha-pureëa pure-i. tatthavi vaccho vi-a vaccha lahu-i netta-bhingam sondera-ma-arandena anande-i.

 

     a-avadi—O noble lady; canda-ali—Candravali; na-a-mali-a—Navamalika; raha—Radha; mahavi—Madhavi; a—and; savva-o—all; maha—my; asa-o—hopes; guëa—of transcendental virtues; soraha— of the fragance; pureëa—by the flood; pure-i—fills; tatthavi— nevertheless; vaccho—son; vi-a—as if; vaccha—daughter; laghvi—slender, young; netta—of the eyes; bhingam—the bumble-bee; sondera—of beauty; ma-arandera—with the honey; anande-i— delights.

 

 

     Yashoda: O noble lady, Candravali, Navamalika, Radha, and Madhavi fulfill all my desires with the great flood of their good qualities. One boy and one slender young girl especially delight the bumble-bee of my eyes with the honey of Their beauty.

 

 

Text 48

 

 

     paurëamasi: gokuleshvari sarvesham gokula-vasinam idrig eva samudacarah.

 

     gokula—of Gokula; ishvari—O queen; sarvesham—of all; gokula—of Gokula; vasinam—the residents; idrk—like this; eva— certainly; samudhacarah—intention.

 

 

     Paurëamasi: O queen of Gokula, all the people in Gokula feel in this way.

 

 

Text 49

 

 

     gargi: kundalade kisa tumhehim sada g-ulesari-ghare rahi ëijja-i.

 

     kundalade—O Kundalata; kisa—why?; tumhehim—by you; sada—always; go-ulesari—of the queen of Vrndavana; ghare—to the house; rahi—Radharaëi; nijja-i—is brought.

 

 

     Gargi: O Kundalata, why do you again and again bring Radha to the place of Gokula's queen (Yashoda)?

 

 

Text 50

 

 

     yashoda: ta-e sakki-a-im vatthu-im ubabhunjaëo jaëo diha-u ho-i tti duvvaseëa diëëa-varam

 

     ta-e—by Her; sakki-a-im—expertly prepared; vatthu-im— substance; ubabhunjano—eating; jano—a person; diha-u—long-lived; ho-i—becomes; tti—thus; duvvasena—by Durvasa Muni; dinna—granted; varam—benediction; rahi-am—to Radharaëi; suni-a—after hearing; a-aremi—I have arranged.

 

 

     Yashoda: Durvasa Muni gave Radha the benediction that whoever ate Her expert cooking would live a long life. When I heard this, I myself arranged (that Radha always cook for my son).

 

 

Text 51

 

 

     paurëamasi: gokuleshvari krishëam asankya jaöila khidyate.

 

     gokula—of Gokula; ishvari—O queen; krishëam—Krishëa; asankya—fearing and suspecting; jaöila—Jatila; khidyate—suffers.

 

 

     Paurëamasi: O queen of Gokula, Jaöila is suspicious of Krishëa.

 

 

Text 52

 

 

     yashoda: thanandha-ammi vacche ko kkhu ta-e shanka-e osaro.

 

     thananda-ammi—little boy; vacche—of the son; ko—what?; kkhu—indeed; ta-e—by here; sanka-e—suspicion; osaro—occasion.

 

 

     Yashoda: Why does she suspect my little boy?

 

 

Text 53

 

 

     kundalata: (nicaih)  saccam cce-a thanandha-o ra-ulani-e putta-o; jam girindam kandu-edi.

 

     nicaih—in a low voice; saccam—truth; cce-a—certainly; thanandha-o—a little boy; ra-ulani—of the queen; putta-o—the son; jam—because; girindam—Govardhana Hill; kandu-edi—lifted as if it were a toy ball.

 

 

     Kundalata: (in a low voice)  It is true the queen's (Yashoda) son is a little boy. Still, He lifted Govardhana Hill as if it were a toy ball.

 

 

Text 54

 

 

     paurëamasi: (drishöva sa-harsham)

 

prathayan jagad-aëòa-maëòali

     mukuöarohaëayogyatam asau

sphurati vraja-raja-gehini-

     khani-janma purato hariëmaëih

 

     drishöva—having seen; sa—with; harsam—joy; prathayan—manifesting; jagat-aëòa—of the universes; maëòali—in the multitude; mukta—crowns; arohana—establishing; ayogyatam—appropriateness; asau—He; sphurati—is manifested; vraja—of Vraja; raja-gehini—of the queen; khani—from the mine; janma— birth; puratah—in the presence; harinmanih—sapphire.

 

 

     Paurëamasi: (Seeing Krishëa arrive, she happily says) Here is the person that crowns the kings of the many universes. Here is the sapphire born from the jewel-mine of Vraja's queen.

 

 

Text 55

 

 

     (pravishya)  krishëah: matah. unmarjaya sashruni locane. purastad esho 'smi.

 

     pravishya—enters; matah—mother; unmarjaya—wipe; sa-ashruni—tear-filled; locane—eyes; purastat—present; eshah asmi—I am.

 

 

     Krishëa: (enters) Mother, please wipe the tears from your eyes. Here I am.

 

 

Text 56

 

 

     rohiëi: (dipavalya nirajya sanskritena)

 

vinyasya vartmani gavam nayane kathancin

     nitati-dirgha-divasottara-yama-yugmam

ha vatsa vatsalataram bhavad eka-bandhum

     sandhukshayasva jananim upaguhanena

 

     dipa-avalya—with a lamp and other articles of worship; nirajya—offering arati; sanskritena—in Sanskrit; vinyasya—placing; vartmani—on the path; gavam—of the cows; nayane—eyes; kathancit—somehow; nita—brought; ati—very; dirgha—long; divasa—day; uttara—last; yama—of yamas (a period of three hours); yugmam—pair; ha—O; vatsa—child; vatsalataram—most affectionate; bhavat—of You; eka—the sole; bandhum—friend; sandhukshayasva—delight; jananim—Your mother; upaguhanena—with an embrace.

 

 

     Rohiëi: (offers arati with a lamp and other articles of worship, and then says in Sanskrit)  Fixing her eyes on the cowpath, Your mother has passed the last six hours of this very long day with great difficulty. My child, she loves You dearly. Please her with an embrace.

 

 

Text 57

 

 

     krishëah: (matur utsange uttamangam adhaya)  amba dehi me maëi-maëòanam. (iti balya-vilasam prapancayati)

 

     matuh—of His mother; utsange—on the lap; uttamangam—His head; adhaya—placing; amba—mother; dehi—please give; me—Me; mani—jewelled; maëòanam—ornament; iti—thus; balya—childhood; vilasam—pastime; prapa 24cayati—manifests.

 

 

     Krishëa: (placing His head on His mother's lap) Mother, give Me My jewel ornament. (Krishëa plays as a child.)

 

 

Text 58

 

 

     paurëamasi:

 

niculita-giri-dhatu-sphita-patravalika-

     nakhila-surabhi-reëun kshalayadbhir yashoda

kuca-kalasa-vimuktaih sneha-madhvika-madhyais

     tava navam abhishekam dugdha-puraih karoti

 

     niculita—covered; giri—from Govardhana Hill; dhatu—with mineral pigments; sphita—large; patra—of tilaka markings; avalika—series; nakhila—by the hooves; surabhi—of the surabhi cows; renun—the dust; kshalayadbhih—washing away; yashoda—Yashoda; kuca—of the breasts; kalasa—of the waterpots; vimuktaih—released; sneha—of love; madhvika—madhvika nectar; madhyaih—in the midst; tava—of You; navam—new; abhisekam— bath; dugdha—of milk; puraih—with a stream; karoti—does.

 

 

     Paurëamasi:  Yashoda bathes You, washing away, with the milk mixed with the madhvika nectar of her love pouring from the pitchers of her breasts, the covering of dust raised by the surabhi cows' hooves and the tilaka markings drawn in mineral pigments from the (Govardhana) Hill

 

 

Text 59

 

 

     kundalata: (sa-narma-smitam)  kaëha pibehi ra-ulaëi-e thaëëami-am. jam kudunge kudunge vahuëam keliëam pasangeëa kilintosi.

 

     sa—with; narma—playful joking; smitam—a smile; kanha—Krishëa; pibehi—You should drink ra-ulani-e—of the queen; thannami-am—the nectar of the breasts; jam—because; kudunge kudunge—in the various forest groves; vahunam—of the gopis; kelinam—of pastimes; pasangena—with contact; kilintosi—You must be exhausted.

 

 

     Kundalata: (with a playful, joking smile) Krishëa, You should drink the nectar-milk from the queen's breasts. After all, You must be exhausted from enjoying pastimes with the gopis in the forest.

 

 

Text 60

 

 

     yashoda: vacche kisa hasasi. prekkha ajjavi komaram ëa adikkantam. ta ko kkhu doso thaëa-paëe.

 

vacche—O girl; kisa—why?; hasasi—are you smiling; prekkha—look; ajjavi—now; komaram—childhood; na—not; adikkantam—passed; ta—therefore; ko—what; kkhu—indeed; doso—fault; thana—of the milk from the breast; pane—in drinking.

 

 

     Yashoda: My girl, why do you smile (like this?)  Look!  (Krishëa) has not yet passed His early childhood. What is the fault in His drinking (my) breast-milk?

 

 

Text 61

 

 

     kundalata: bha-avadi saccam kadhedi ra-ulaëi. jam ajja eso balaëam maëòaleëa maha-rase kiladi.

 

     bha-avadi—O noble lady; saccam—the truth; kadhedi—speaks; ra-ulani—the queen; jam—because; ajja—now; eso—He; balanam—of the boys (or girls); maëòalena—with a circle; maha-rasa—in the great rasa-dance; kiladi—enjoys pastimes.

 

 

     Kundalata: Noble lady, the queen (Yashoda) speaks the truth. After all, just today Krishëa has played the maha-rasa pastime with the little-boys.

 

 

     Note: The word "balanam" may also be interpreted to mean "of the gopis". In the second interpretation, the text reads: "After all, just today Krishëa has played the maha-rasa pastime with the gopis."

 

 

Text 62

 

 

     yashoda: bha-avadi ko kkhu maha-raso ëama. (krishëah sapatrapam bhru-bhangena kundalatam avalokate.)

     paurëamasi: (smitam kritva)  gopeshvari lasya-lila-visheshah.

 

     bha-avadi—O noble lady; ko—what?; kkhu—indeed; maha-raso—maha-rasa; nama—named; krishëah—Lord Krishëa; sa—with; apatram—embarressment; bhru—of the eyebrows; bhangena—with knitting; kundalatam—at Kundalata; alokate—glances; smitam—a smile; kritva—manifesting; gopa—of the gopas; ishvari—O queen; lasya— of dances; lila—pastimes; viseshah—specific.

 

 

     Yashoda: Noble lady, what is this (pastime) named maha-rasa?  (Krishëa enters embarrassed and glances at Kundalata with knitted eyebrows)

     Paurëamasi: (smiling)  O queen of the gopas, it is a kind of dance.

 

 

Text 63

 

 

     kundalata: (apavarya)

 

tinha-ula ca-ori

     panjari-a-samjada ciram jala-i

pa-am vanjula-kunje

     tarahisa pasarehi

 

     (krishëah bhru-samjnaya svikaram naöayati.)

 

     apavarya—concealing; tinha-ula—agitated with thirst; panjari-a—in a cage; samjada—confined; ciram—for a long time; jala-i—burns with suffering; pa-am—place; vanjula—of asoka trees; kunje—in the grove; tarahisa—Lord Krishëa; bhru—of the eyebrows; samjnaya—with the message; svikaram—acceptance; natayati—manifests dramatically.

 

 

     Kundalata: (concealing her actual intention with the following enigma) A certain caged cakori bird burns with thirst. O Lord of Radha, You should meet it among the ashoka trees. (Krishëa moves His eyebrows in assent.)     

 

 

Text 64

 

 

     (nepathye)

 

tvan-mukhendv-anavalokanodgata-

     sphara-tapa-bhara-dhupitatmanah

ehi vatsa mama dehi shitalam

     kshipram adya parirambha-candanam

 

     nepathye—from behind the scenes; tvat—of You; mukha—of the face; indu—of the moon; anavalokana—from not seeing; udgata—manifested; sphara—great; tapa—suffering; bhara— abundance; dhupita—tormented; atmanah—self; ehi—come; vatsa—O child; mama—to Me; dehi—please give; sitalam—cooling; kshipram—quickly; adya—now; parirambha—of embraces; candanam—the sandalwood paste.

 

 

     A voice from behind the scenes: My heart is tortured with  because I cannot see the moon of Your face. O child, quickly come here. Give Me now the cooling sandalwood paste of Your embrace.

 

 

Text 65

 

 

     krishëah: purastad esha mad-bhavukam ashamsan navukas tishöhati. tad enam anandayami. (iti yashodadibhir avrito nishkrantah)

 

     purastat—in the presence; eshah—he; mat—of Me; bhavukam—the welfare; asamsan—wishing; navukah—father; tisthati—stands; tat—therefore; enam—him; anandayami—I shall please; iti—thus; yashoda—with Yashoda; adibhih—with the others; avrtah— accompanied; nishkrantah—exits.

 

 

     Krishëa: Here is My father, who wishes what is best for Me . Let Me please him. (Accompanied by Yashoda and others, He exits)

 

 

Text 66

 

 

     kundalata: (parikramya)  diööhi-a vaëira-vane lalida-e rahi aëi-adi.

 

     parikramya—walking about; ditthi-a—by a good fortune; vanira—of vanira trees; vane—in the forest; lalida-e—by Lalita; rahi—Radharaëi; ani-adi—is brought.

 

 

     Kundalata: (walking about) By good fortune Lalita has now brought Radharaëi to this forest of vanira trees.

 

 

Text 67

 

 

     (tatah pravishati tatha-vidha radha.)

 

     radha: hala lalide. pasamsi-adu esa tu-e ubatthida kkhaëada. ja-e tumhaëam ka vi suhasa ankuri-adi.

 

     tatah—then; pravishati—enters; tatha-vidha—in that way; radha—Radha; hala—O; lalide—Lalita; pasamsi-adu—should be praised; esha—this; tu-e—by you; ubatthida—situated; khhanada— night; ja-e—by which; tumhanam—of you; suha—of happiness; asa—the directions, or desires; ankuri-adi—causes to sprout.

 

 

     (Then, as described, Radha enters)

 

     Radha: Lalita, you should glorify this evening that makes all directions sprout with happiness.

 

 

     Note: If the word "asha" is interpreted to mean  desire", then the verse may be translated: "Lalita, you should glorify this evening, which makes our desires for transcendental happiness sprout."

 

 

Text 68

 

 

     lalita: ranjedi tti ra-aëi bhaëi-adi.

 

     ranjedi—delights; tti—thus; ra-ani—the night; bhani-adi—is said.

 

 

     Lalita: I say it is a beautiful night.

 

 

Text 69

 

 

     kundalata: (upasritya)  lalide. ajja ra-aëi-muhe isi-hasideëa kadakkha-kuvala-ena phudam tumhehim ëa accido kaëho.

 

     upasrtya—approaching; lalide—O Lalita; ajja—now; ra-ani— of the night; muhe—in the face; isi—slight; hasidena—with a smile; kadakkha—of sidelong glances; kuvala-ena—with the lotus flower; phudam—manifested; tumhehim—by you; na—not; accido— worshiped; kanho—Krishëa.

 

 

     Kundalata: (approaches) Lalita, this lotus flower is the smiling side-long glance on this evening's face. You do not worship Krishëa with this flower.

 

 

Text 70

 

 

     radha: (sa-romancam)  lalide ko kkhu kaëho tti suëi-adi. jeëa ke-alam kaëëasya cce-a adidhi-honteëa ummatti-kijjamhi.

 

     sa—with; romancam—hairs standing; lalide—O Lalita; ko—who?; kkhu—indeed; kanho—Krishëa; tti—thus; suni-adi—is heard; jena—by whom; ke-alam—alone; kannasya—of the ear; cce— certainly; adidhi—a guest; hontena—become; unmatti-kijjamhi— for becoming mad with bliss.

 

 

     Radha: (Her bodily hairs standing up in ecstasy)  Lalita, what is this word Krishëa I have heard?  Now a guest of My ears, this word makes mad with bliss.

 

 

Text 71

 

 

     kundalata: sahi eso lo-ottarassa vatthuëo nisaggo. jam kkhu savvada ubabhunjijjantam vi abhutta-puvvam jevva hodi.

 

     sahi—O friend; eso—this; lo-ottarassa—extraordinary; vatthuno—of the substance; nisaggo—nature; jam—which; kkhu—indeed; savvada—always; ubabhu 24jijjantam—tasted; vi—although; abhutta—as if never tasted; puvvam—before; jevva—certainly; hodi—is.

 

 

     Kundalata: Friend, that is the nature of this extraordinary thing. Even though again and again it is tasted, it is always as if it was never tasted before.

 

 

Text 72

 

 

     Lalita;  kundalade na ke-alam lo-ottarassa vatthuëo. kintu gadhaëura-assa vi. jeëa ni-a-go-aro jaëo kkhaëe kkhaëe apuravo apuravo kari-adi.

 

     kundalade—O Kundalata; na—not; ke-alam—only; lo-ottarassa—extraordinary; vatthuno—of the substance; kintu—however; gadha—deep; anura-assa—of love; vi—also; jena—by which; ni-a—own; go-aro—field of perception; jano—a person; kkhane-khane—at every moment; apuravo—unprecedented; kari-adi— is made.

 

 

     Lalita: Kundalata, it is not only its extraordinary nature, but also the deep love (of the hearer) that makes (this word Krishëa) newer and newer at every moment.

 

 

Text 73

 

 

     radha: lalide adiënuttaro kisa aëëam bhanasi.

 

     lalide—O Lalita; adinnuttaro—without receiving an answer; kisa—what?; annam—further; bhanasi—will you say.

 

 

     Radha: Lalita, without my answering you, what further would you say about this?

 

 

Text 74

 

 

     lalita:

 

navambudhara-maëòali-mada-vidambi-deha-dyutir

     vrajendra-kula-naëòanah sphurati ko 'pi navyo yuva

sakhi sthira-pati-vrata-nikara-nivi-bandhargala-

     cchida-karaëa-kautuki jayati yasya vamshi-dhvanih

 

     nava—fresh; ambudhara—of clouds; maëòali—of a host; mada—the pride; vidambi—mocking; deha—of the body; dyutih—the luster; vraja—of Vraja; indra—of the king; kula—in the family; nandanah—the son; sphurati—is manifested; kah api—a certain person; navyah—a fresh; yuva—youth; sakhi—O friend; sthira—steady; pati—of faithfulness to the husband; vrata—in the vow; nikara—of the multitude of girls; nivi—of the sashes; bandha—the tight knots; argala—the bolts; chida—breaking; karaëa—to do; kautuki—eager; jayati—all glories; yasya—of whom; vamsi—of the flute; dhvanih—the sound.

 

 

     Lalita: All glories to the prince of Vraja, whose bodily luster mocks the pride of the fresh rainclouds, and the sound of whose flute eagerly breaks the lock of the sashes of the most chaste girls faithfully devoted to their husbands.

 

 

Text 75

 

 

     radha (sashram) kundalade avi ëama imassa ekassa vi hada-ëettassa maggam kkhaëam pi narohissadi so me dhaëëassa kaëëassa adidhi.

 

     sa—with; ashram—tears; kundalade—O Kundalata; avi nama—how?; imassa—of Him; ekassa—one; vi—even; hada—struck; nettassa—of the eye; maggam—the path; kkhanam—for a moment; api—even; na—not; arohissadi—has entered; so—He; me—of Me; dhannassa—fortunate; kannassa—of the ear; adidhi—the guest.

 

 

     Radha: (shedding tears)  Kundalata, how is it that even though He has become a guest in My fortunate ear, this person has never entered the path to My unfortunate eyes?

 

 

Text 76

 

 

     Kundalata: a-i tiëha-ule kallam-padosarambhe visaha-e tumam tiëa sangamida si.

 

     a-i—O; tinha—by thirst; a-ule—afflicted; kallam—tomorrow; padosarambhe—in the beginning of evening; visaha-e—by Visakha; tumam—You; tina—wiht Him; sangamida—met; si—will be.

 

 

     Kundalata: O thirsty one, early tomorrow evening Vishakha will bring You to meet this person.    

 

 

Text 77

 

     radha: sahu sumara-idam pi-a-sahi-e. jam ekka-varam cce-a vijjuli-a-vilaso vi-a so tumhaëam go-ula-ju-a-ra-o ëetta-camatkkara-ari samvutto imassa manda-bha-iëo janassa.

 

     sahu—well; sumara-idam—remembered; pia-sahi-e—by My dear friend; jam—because; eka—one; varam—time; cce-a—certainly; vijjuli-a—as lighting; vilasah—splendor; vi-a—as; so—He; tumhanam—of you; go-ula—of Gokula; ju-a-ra-o—the prince; netta—of the eyes; camakkara-ari—astonishing; samvutto— engaged; imassa—of this; manda-bha-ino—unfortunate; janassa— person.

 

 

     Radha: My dear friend has reminded Me well. For once your prince of Gokula will appear like a splendid lightning flash that fills the eyes of this unfortunate person with wonder.

 

 

Text 78

 

 

     (tatah pravishati krishëah)

 

krishëa:

 

kalavinka-kalam kalankayanti

     lalita-kankana-jhankritir vareyam

mama cetasi vetasi-nikunjam

     samaya sangamayam cakara ragam

 

     tatah—then; pravishati—enters; krishëah—Krishëa; kalavinka—of sparrows; kalam—the warbling; kalankayanti—rebuking; lalita—of Lalita; kankana—of bracelets; jhnakritih—tinkling;  vara— excellent; iyam—this; mama—of Me; cetasi—in the heart; vetasi—of bamboo; niku 24jam—the grove; samaya—the occasion; sangamayam cakre—causes to meet; rangam—arena.

 

 

(Krishëa enters.)

 

     Krishëa: The sweet tinkling of Lalita's bracelets, which eclipses the sparrow's singing, now lures My heart into this bamboo grove.

 

 

Text 79

 

 

     (punar utkarëo bhavan sa-pulakam)

 

madhurima-laharibhih stambhayaty ambare ya

     smara-mada-sarasanam sarasanam rutani

iyam udayati radha-kinkini-jhankritir me

     hridi pariëamayanti vikriya-dambaraëi

 

     punah—again; utkarnah—listening with rapt attention; bhavan—being so; sa—with; pulakam—hairs standing in ecstasy; yatha—just as; va—or; lalita-madhave—in Lalita-Madhava; madhurima—of sweetness; laharibhih—with waves; stambhayati—stuns; ambare—in the sky; ya—who; smara—of amorous love; mada—of the happiness; sa—with; rasanam—the nectar; sarasanam—of the sarasa birds; rutani—the warbling; iyam—this; udayati— rises; radha—of Shrimati Radharaëi; kinkini—of the ankle-bells; jhankritih—the tinkling sound; me—of Me; hridi—in the heart; parinamayati—causes transformation; vikriya—transformations of ecstasy; dambrarani—multitudes.

 

 

     (Again He listens with rapt attention. His bodily hairs standg up in ecstasy. He says:)

 

     Moving through the air in waves of sweetness, the tinkling sound of Radha's ankle-bells silences the cooing of the sarasa birds maddened with amorous passsion and fills my heart with a host of ecstasies.

 

 

Text 80

 

 

     radha: (sa-camatkaram sanskritena)

 

kula-varatanu-dharma-grava-vrindani bhindan

     sumukhi nishita-dirghapanga-öanka-cchaöabhih

yugapad ayam apurvah kah puro vishva-karma

     marakata-maëi-lakshair goshöha-kaksham cinoti

 

     sa—with; camaptkaram—astonishment; sanskritena—in Sanskrit; kula-varatanu—of the family women; dharma—in the form of dedication to the husband, etc.; grava-vrindani—the stones; bhindan—splitting; sumukhi—O beautiful-faced one; nishita— sharp; dirgha-apanga—in the form of long outer corners of the eyes; öanka-chaöabhih—by chisels; yugapat—simultaneously; ayam—this; apurvah—unprecedented; kah—who; purah—in front; vishva-karma—creative person; marakata-maëi-lakshaih— with countless emeralds; goshtha-kaksham—a private room for meeting; cinoti—He is constructing.

 

 

     Radha: (filled with wonder, She says in Sanskrit:) O beautiful-faced one, who is this creative person standing before us? With the sharp chisels of His loving glances, He is splitting the hard stones of many women's devotion to their husbands. And with the luster of His body, surpassing the brilliance of countless emeralds, He is simultaneously constructing private meeting places for His pastimes.*

 

 

Text 81

 

 

     lalita: hala so eso de paraëa-ëadho.

 

     hala—ah!; so eso—He; de—of You; paraëa—of the life; nadho—the lord.

 

 

     Lalita: Ah, here is the Lord of Your life.

 

 

Text 82

 

 

     radha: (sonmadam punah sanskritena)

 

sa esha kim u gopika-kumudini-sudhadidhitih

     sa esha kiim u gokula-sphurita-yauva-rajyotsavah

sa esha kim u man-manah-pika-vinoda-pushpakarah

     krishodari drishor dvayim amrita-vicibhih sincati

 

     sa—with; unmadam—madness; punah—again; sanskritena—in Sanskrit; yatha—just as; va—or; lalita-madhave—in Lalita-madhava; sah eshah—this; kim—wheter?; u—indeed; gopika—of the gopis; kumudini—of the lotus flowers; sudhadidhitih—the nectar moon; sah eshah—this; kim—whether; u—indeed; gokula—in Gokula; sphurita—manifested; yauva—of youthfulness; rajya—of the kingdom; utsavah—the festival; sah eshah—this; kim—whether; u— indeed; mat—of Me; manah—of the mind; pika—for the cuckoo bird; vinoda—for pastimes; puspa—of a flower; akarah—in the form; krsa-udari—O slender-waisted girl; drishoh—of eyes; dvayim—pair; amrita—of nectar; vicibhih—with waves; sincati—sprinkes.

 

 

     Radha: (maddened with love, She again says in Sanskrit) Is this a nectar moon to make the lotus flowers of the gopis blossom with happiness? Is this a regal festival of youthfulness appearing in Gokula? Is this a garden of flowers to delight the cuckoo bird of My heart? O slender-waisted one, this person I see splashes My eyes with waves of nectar.

 

 

Text 83

 

 

     krishëah: (sashcaryam)

 

asakrid asakrid esha ka camatkara-vidya

     mama rasa-laharibhis tarsham antas tanoti

viditam ahaha seyam vyayatapanga-lila-

     madhurima-parivaha kapi kalyaëa-vapi

 

     sa—with; ascaryam—astonishment; asakrit asakrit—again and again; esha—this; ka—what?; camatkara—astonishment; vidya— knowledge; mama—of me; rasa—of nectar; laharibhih—with waves; tarsam—thirst; antah—in the heart; tanoti—gives; viditam— known; ahaha—Ah!; sa iyam—this; vyayata—manifested; apanga—of sidelong glances; lila—pastimes; madhurima—sweetness; parivaha—stream; ka api—one; kalyana—of auspiciousness; vapi—lake.

 

 

     Krishëa: (filled with wonder) What wonderful mystic power is this?  Again and again it strikes Me with waves of nectar, but yet it also creates a burning thirst within My heart. Aha! I know. This is a lake of bliss that overflows it's banks in the streams of sweetness that are these playful sidelong glances.

 

 

Text 84

 

 

     (punar nirupya) katham satyam eva. tatha hi

 

yasyam shaivala-manjari viracitasangam rathanga-dvayam

     phullam pankaja-pancakam ca bisayor yugmam ca mulena tam

unmilaty ati-cancalam ca shaphari-dvandvam vraje bhrajate

     seyam shuddhataranuraga-payasa purëa puro dirghika

 

     punah—again; nirupya—looking; katham—how is it?; satyam—true; eva—certainly; tatha hi—furthermore; yasyam—in whom; saivala-majari—moss; viracita—fashioned; asangam—separated; rathanga—of cakravaka birds; dvayam—pair; phullam—blossoming; pankaja—of lotus flowers; pacakam—group of five; ca—also; bisayoh—of lotus stems; yugmam—pair; ca—also; mulena—with root; ca—also; unmilati—opens; ati—very; cancalam—active; ca—also; saphari—of saphari fishes; dvandvam—pair; vraje—in Vraja; bhrajate—are slendid manifest; sa iyam—this; suddhatara—extremely pure; anuraga—of love; payasa—with the waters; purna—filled; purah—in the presence; dirghika—lake.

 

 

     (again gazing at Radha)  Is this really a lake?  (These bodily hairs standing up in ecstasy) are the moss (in this lake). (These breasts) are two cakravaka birds (now swimming) apart. (This face, hands, and feet) are five lotus flowers (and these arms) are two lotus stems. (These eyes) are two restlessly moving shaphari fishes, and (this very pure love) is the clear water that fills this lake that now stands (before Me).

 

 

Text 85

 

 

     radha: hala ëa jaëe kisa ghuëëidamhi. ta dehi me hatthavalambam.

 

     hala—ah!; na—not; jane—I understand; kisa—why?; ghunnidamhi—I have become so dizzy; ta—therefore; dehi—please give; me—to Me; hattha—of your hand; avalambam—the support.

 

 

     Radha: Ah! I don't know why I have become so dizzy. Please hold Me up with your hand.

 

 

Text 86

 

 

     lalita: sahi visaddha hohi. (iti radha-bhujam skandhe nidadhati.)

 

     sahi—friend; visaddha—trusting; hohi—be; iti—thus; radha—of Radha; bhumama—the arm; skandhe—on the shoulder; nidadhati—places.

 

 

     Lalita: Friend, be steady. (She places Radha's arm on her shoulder.)

 

 

Text 87

 

 

     krishëah: (sannidhaya)

 

samikshya tava radhike vadana-bimbam udbhasuram

     trapa-bhara-parita-dhih shrayitum asya tulya-shriyam

shashi kila krishi-bhavan suradhuni-tarangokshitas

     tapasyati kapardinah sphuöa-jaöaöavim ashritah

 

(ity upasarpati)

 

     sannidhaya—coming near; samikshya—seeing; tava—of You; radhike—O Radha; vadana—of the face; bimbam—the circle; udbhasuram—splendid; trapa—of shame; bhara—with an abundance; parita—filled; dhih—whose consciousness; shrayitum—to attain; asya—with it; tulya—equal; shriyam—beauty; sasi—the moon; kila—indeed; krsi—very thin; bhavan—becoming; suradhuni—of the celestial Ganges River; taranga—in the waves; ukshitah— bathing; tapashyati—performs austerities; kapardinah—of Lord Siva; sphuta-jata—of matted locks of hair; atavim—in the forest; ashritah—taking shelter; iti—thus; upasarpati—comes nearer.

 

 

     Krishëa: (coming nearer) Radha, embarrassed by seeing Your splendid face, the moon has entered the forest of Lord Siva's matted hair, where he repeatedly bathes in the waves of celestial Ganges, and has become thin with austere fasting to become as beautiful as Your face. (He approaches nearer.)

 

 

     Krishëa: (coming nearer) Radha, the moon is embarrassed by seeing You splendid face, has now entered the forest of Lord Siva's matted hair, where he repeatedly bathes in the waves of celestial Ganges, and has become thin with austere fasting in order to become as beautiful as Your face. (He approaches nearer.)

 

 

Text 88

 

 

     radha: (drig-antenabhisucya)  lalide rakkhedi mam.

 

     drk-antena—with a sidelong glance; abhisucya—signalling; lalide—Lalita; rakkhedi—protect; mam—me.

 

 

     Radha: (signaling with a sidelong glance) Lalita, protect Me!

 

 

Text 89

 

 

     krishëah:

 

militam militenayam

     vindan phullena phullatam

apangenati-krishëena

     krishëas tava vashi-kritah

 

     militam—closed; militena—closed; ayam—this; vindam—finding; phullena—blossomed; phullatam—the state of being blossomed; apangena—with the sidelong glance; ati—very; krishëena—attractive; krishëah—Krishëa; tava—of You; vashi-kritah— under the dominion.

 

 

     Krishëa: When it closes shut He closes shut. When it blossoms He blossoms. Krishëa is under the dominion of Your dark sidelong glance.

 

 

Text 90

 

 

     radha: (sa-gadgadam)  kundalade nivari-adau eso sundaruttamso. jam guru-parahiëamhi manda-bha-iëi.

 

     sa—with; gadgadam—a choked up voice; kundalade—Kundalata; nivari-adu—should be stopped; eso—He; sundaruttamso—the crest jewel of handsome men; jam—because; guru—to My superiors; parahinamhi—I am subordinate; manda-bha-ini—unfortunate.

 

 

     Radha: (with a choked up voice)  Kundalata, stop this crest jewel of handsome men! I am only an unfortunate girl under the dominion of My elders and superiors.

 

 

Text 91

 

 

     (pravishya)  jaöila: are maha-mohana dhamma-maggado paòidam tu-e savvam cce-a go-ula-bala-ulam ke-alam maha putta-puëëeëa vahudi-a urvvaridatthi. ta ëama-gahaëassa vi ekkam rakkhehi.

 

     (iti radham adaya dvabhyam saha nishkranta.)

 

     pravishya—entering; are—O; maha—great; mohana—bewilderer; dhamma—of religion; maggado—from the path; padidam—made to fall; tu-e—by You; savvam—all; cce-a—indeed; go-ula—of Gokula; bala-ulam—the young girls; ke-alam—only; maha—my; putta—son; punnena—pure; vahudi-a—the young bride; urvvaridatthi—is saved; ta—therefore; nama—of the name; gahanassa—of the speaking; vi—even; ekkam—one; rakkhehi— pleases rescue; iti—thus; radham—Radha; adaya—taking; dvabhyam—with both girls; nishkranta—exits.

 

 

     Jaöila: (enters)  Great trickster, You have made all the young girls of Gokula fall from the path of religion. Only the young bride of my saintly son has escaped (Your clutches). Spare us from having even once to say Your name.

 

     (Taking Radha and the other two girls with her, she exits.)

 

 

Text 92

 

 

     krishëa: prasthita priya. tad aham gavam sambhalanaya  prayava.

 

(iti nishkrantah sarve)

 

     prasthita—gone away; priya—My beloved; tat—then; aham—I; gavam—of the cows; sambhalanaya—to see; prayava—let us go; iti—thus; nishkrantah—exit; sarve—all.

 

 

     Krishëa: My beloved has gone! Let us go find the cows. (They all exit.)