|NITAAI-Veda.nyf > All Scriptures By Acharyas > Rupa Goswami > Vidagdha Madhava > Act Four Venu-harana|
Theft of the Flute
Text 1 (a)
(tatah pravishati nandimukhi).
Nandimukhi: bhanidamhi lalida-e "hala nandimuhi, go-mandale gotöham pa-iööhe ehi kanho tuvaranto go-adòhanahimuham patthido. ta tumam tattha gadu-a su-alam vinëavehi, jadha eso osare ëi-a-vaassassa rahi-am sumaravedi" tti. (parikramya) kadham ettha pa-uma a-accha-i.
tatah—then; pravishati—enters; nandimukhi—Nandimukhi; bhaëidamhi—I was told; lalida-e—by Lalita; hala—O; ëandimuhi—Nandimukhi; go-mangale—when the herd of cows; goööham—the cow-pen; pa-iööhe—enters; ehi—when; kaëhah—Krishëa; tuvarantah—hurridly; go-aòòhaëa—Govardhana hill; ahimuham—near; patthidah—is situated; ta—therefore; tumam—you; tattha—there; gadu-a—having gone; su-alam—Subala; viëëavehi—please inform; jadha—just as; esah—he; osare—on the occasion; ëi-a—own; vaassassa—of the friend; rahi-am—Radha; sumaravedi—causes to remember; tti—thus; parikramya—walking; kadham—how is it?; ettha—here; pa-uma—Padma; a-accha-i—is coming.
Nandimukhi: Lalita said to me, "Friend Nandimukhi, when the cows enter the pasture, Krishëa quickly goes near Govardhana Hill. Please go there and tell Subala to remind his friend Krishëa about Radha." (Begins to walk.) Why does Padma come here?
Text 1 (b)
Padma: hala ëandimuhi, kamam kusalasi. ta kampi uva-am kadhehi jeëa uvviggam canda-alim asasemi.
pravishya—enters; hala—O; ëandimuhi—Nandimukhi; kamam—indeed; kusalasi—you are very expert; ta—therefore; kampi—some; uva-am—remedy; kadhehi—please speak; jeëa—by which; uvvi-ggam—agitated; canda-alim—Candravali; asasemi—I may relieve.
Padma: Nandimukhi, you are very wise. Please tell me what I should do to pacify agitated Candravali.
Text 1 (c)
Nandimukhi: kim se uvve-a-kalaëam.
Padma: hala, jaëasi jjevvamtumam jadha padose savvam kkhu go-ulam vibbhameëa kaëho paccaham ranjedi.
Nandimukhi: adha im.
Padma: sampadam dava ettha dakkhiëe goööhaddhe imassa gandho vi dullaho.
kim—what?; se—of her; uvve-a—of the agitation; kalaëam—cause; hala—O; jaëasi—you know; jjevvam—certainly; tumam—you; jadha—just as; padose—in the beginning of evening; savvam—all; kkhu—indeed; go-ulam—Gokula; vibbhameëa—with pastimes; kaëhah—Krishëa; paccaham—every day; ranjedi—charms and delights; adha im—this is certainly so; sampadam—at the present time; dava—to that extent; ettha—here; dakkhiëe—in the southern; goööhaddhe—part of the pasture; imassa—of Him; gandhah—fragrance; vi—even; dullahah—is difficult to find.
Nandimukhi: Why is she agitated?
Padma: You know. Every eveing Krishëa delights the people of Gokula.
Nandimukhi: Yes. It is so.
Padma: Nowadays it is hard to find even the fragrance of Krishëa in the southern part of Vrindavana.
Text 1 (d)
Nandimukhi: hala, ma duëehi. (saëskritena)
drishöam bimbita-dhatu-citra-racanam shaibya lalaöam maya
shyama-kuntala-camaram ca viluöhad-vanya-srajoòòamaram
gunja-hara-latardha-manjur adhuna bhadra-bhujantas tatha
tathyam viddhi sa nagari-gurur abhud govardhanasyatibhih
hala—O; ma—don't; duëehi—become unhappy; drishöam— seen; bimbita—reflected; dhatu—with mineral pigments; citra— pictures; racanam—construction; shaibya—Shaibya; lalaöam— forehead; maya—by me; syama—Shyama; kuntala—hair; camaram—camara whisk; ca—and; viluöhat—moving about; vanya—of forest flowers; sraja—by the garland; udòamaram—excellent; gunja— of gunja; hara—necklace; lata—of a creeper; ardha—half; manjuh—beautiful; adhuna—now; bhadra—Bhadra; bhuja—of the arm; antah—the end (shoulders); tatha—in the same way; tathyam—the truth; viddhi—please know; sah—He; nagari—of the beautiful gopis; guruh—the spiritual master; abhut—was; govardhanasya—of Govardhana Hill; atithih—the guest.
Nandimukhi: Don't worry. I saw Shaibya, her forehead decorated with pictures and designs. I saw Shyama, her camara hair garlanded with forest flowers. I saw Bhadra, her shoulders decorated with a gunja necklace. Please know that He who is the teacher of all playful and beautiful girls must now be the guest of Govardhana Hill.
kritva vamsim akhila-jagati-gita-sangita-bhangi-
sangi-bhava-prathama-vasatim sanginim vama-paëau
esha premëa vrajati navananandana nanda-sunur
mandam govardhana -shikhariëah kandara-mandiraya
nepathye—offstage; kritva—having performed; vamshim—flute; akhila—entire; jagati—of the universe; gita—song; sangita—the combination of choral and instrumental music; bhangi—of the waves; sangi—complete; bhava—nature; prathama—original; vasatim—residence; sanginim—friend; vrajati—is going; nayana—eyes; anandah—bliss; nanda—of Nanda; sunuh—the son (Krishëa); mandam—slowly; govardhana—of Govardhana Hill; shikharinah—of the summit; kandara—of a cave; mandiraya—for a residence.
Vrinda: (offstage) Holding In His left hand His friend the flute, a flute that has become the home of waves sweet music that splash against all the worlds, and with blissful eyes looking for a cave where He may stay, with great love Nanda's son slowly walks on the summit of Govardhana Hill.
Text 3 (a)
Nandimukhi: pa-ume, tumam imiëa vuttanteëa canda-ali-am suhavehi. aham su-alam aëusarissam. (iti nishkranta).
Padma: (punah pashyanti). esa karala-e ejji-a-e cittam anuvaööanti vaëa-de-ada vunda canda-ali-am sacchalam ëivaredi.
pu-ume—O Padma; tumam—you; imiëa—with this; vuttanteëa—news; canda-ali-am—Candravali; suhavehi—please delight; aham—I; su-alam—to Subala; aëusarissam—shall go; iti—thus; nishkranta-j-she exits; punah—again; pashyanti—looking; esa—this; karala-e—of Karala; ajji-a-e—of the pious woman; cittam—the mind; anuvaööanti—following; vaëa—of the forest; de-ada—the demigoddess; vunda—Vrinda-devi; canda-ali-am—Candravali; sa—with; cchalam—a trick; ëivaredi—hinders.
Nandimukhi: Padma, with this news please make Candravali happy. I will go to Subala. (Nandimukhi exits)
Padma: (looking again) Fully aware of what is in Karala's heart, Vrinda, the goddess of Vrindavana Forest, uses this trick to stop Candravali.
Note: Karala is Candravali's grandmother.
Text 3 (b)
kim radheva durantam icchasi balad unmadam alambitum
mugdhe ma maya mananiya-jarati-vakyam bahir ma vraja
esha smera-vilocanancala-ruca capalyam ullasayann
ayati vraja-sundari-gaëa-mano-maëikya-hari harih
nepathye—offstage; kim—why?; radha—Radha; iva—just like; durantam—wretched; icchasi—do you desire; balat—violently; unmadam—madman; alambitum—to embrace; mugdhe—O bewildered girl; ma—don't accept; mananiya—proud; jarati—old woman; vakyam—words; bahih—outside; ma—don't; vraja—go; eshah—He; smera—amorous; vilocana—of the eyes; ancala—of the corners; ruca—with the luster; capalyam—agitation; ullasayan—causing to manifest; ayati—is arriving; vraja—of Vraja; sundari—of the beautiful girls; gaëa—of the multitude; manah—of the mind; maëikya—the rubies; hari—stealing; harih—Lord Hari.
Vrinda: (offstage) Why, like Radha, do you yearn to embrace that wretched madman? O bewildered girl, don't listen to the words of that proud old lady. Don't go outside. Robbing Vraja's beautiful girls of the rubies that are their hearts, and His smiling eyes splendid, restless, and mischievous, Krishëa comes.
Text 4 (a)
Candravali: (sautkyam samantad avalokya). kadham vunda-e ali-am vva vyahari-adi. kudo ettha kaëho. (iti khedam naöayati).
pravishya—enters; sa—with; autsukyam—anxiety; samantat—in all directions; avalokya—looking; kadham—how is it?; vunda-e—by Vrinda; ali-am—a lie; vva—indeed; vyahari-adi—is spoken; kudah—where?; ettha—here; kaëhah—is Krishëa; iti—thus; khedam—distress; naöayati—represents dramatically.
Candravali: (eagerly looking in all directions) Why does Vrinda lie? Where is Krishëa? (She becomes distraught.)
Text 4 (b)
Padma: (upasritya, saëskritena).
na saëtapam svantad davayasi katham dava-vishamam
ghana-svashaih kim va malinayasi bimbadharam api
vanantan kekabhih sakhi shikhari-kakshe mukharayan
sakhi-sthalyah kalyaëy abhajad upashalyam yadu-patih
upasritya—appoaching; saëskritena—in Sanskrit; na—not; saëtapam—distress; sva-antat—from your heart; daayasi—drive far away; katham—how is it?; dava-vishamam—terrible forest-fire; ghana—deep; svasaih—with sighs; kim va—and why?; malinayasi—are you polluting; bimba—like bimba fruits; adharam—lips; api—and; vana—of the forest; antan—the outskirts; kekabhih—with the cries of teh peacocks; sakhi—O friend; shikhari—on the mountain (Govardhana); kakshe—in the forest; mukharayan—talking; sakhi-sthalyah—of the town Sakhisthali; kalyaëi—O fortunate beautiful girl; abhajat—has attained; upashalyam—the vicinity; yadu—of the Yadu dynasty; patih—the Lord (Krishëa).
Padma: (approaching, she says in Sanskrit) Why not drive that terrible forest-fire from your heart? Why pollute your bimba-fruit lips with those sighs? O beautiful one, making the forest resound with the peacocks' calls, Krishëa now stays near the village of Sakhisthali, by the side of Govardhana Hill
Text 5 (a)
Candravali: (vilokya) kadham pi-a-sahi pa-uma. (iti gadham alingya). avi ëama akkhalidam bhaëida.
vilokya—glancing; kadham—how is it?; pi-a—dear; sahi—friend; pa-uma—Padma; iti—thus; gadham—deeply; alingya—embracing; avi ëama—perhaps; akkhalidam—truthfully; bhaëida—spoken; adha im—it is certainly so.
Candravali: (looking) Is this my dear friend Padma? (tightly embraces her). I hope what you say is true.
Padma: Yes, it is true.
Text 5 (b)
(tatah pravishati subalenanugamyamanah krishëah).
Krishëah: pashya pashya.
prathayati tosham nisharambhah
tatah—then; pravishati—enters; subalena—by Subala; anugamyamanah—followed; krishëah—Krishëa; pashya pashya—look, look; akalita—faint; tapah—heat; taraëeh—of the sun; asta—of the western mountain; shirah—of the peaks; vithibhih—by the series; tirodhanat—because of the dissappearance; asphuöa—unclear; timira—of darkness; vijrimbhah—the yawning; prathayati—increases; tosham—delight; nisha—of the evening; arambhah—the beginning.
(Accompanied by Subala, Krishëa enters).
Krishëa: Look! Look! The faint sun now sets in the peaks of the western mountains. With it's faint yawning of darkness, the beginning of evening is very pleasing.
Text 6 (a)
Subalah: vaassa, ajja go-dohaëam vi aëavekkhi-a salalasao vi kimti ettha laddhosi.
Krishëah: sakhe, mayuram varnayaöa kenacit priyam candravalim smarito 'smi tad-vilokanaya lalaseyam.
Subalah: kerisam mora-vaëëaëam.
vaassa—O friend; ajja—today; gah—of the cows; dohaëam—milking; vi—even; aëavekkhi-a—neglecting; sa—with; lalasah—the delight (of performing pastimes); vi—even; kimti—what?; ettha—here; laddhosi—you have attained; sakhe—O friend; mayuram—the peacock; varnayata—speaking; kenacit—by someone; priyam—beloved; candravalim—Candravali; smaritah—reminded; asmi—I am; tat—of her; vilokanaya—for the sight; lalasa—desire; iyam—this; kerisam—like what?; mora mayura—of the peacocks; vaëëaëam—description.
Subala: Friend, even if You are very happy, if You neglect to milk the cows, what will You gain?
Krishëa: Friend, someone described the peacocks to Me, and that reminded Me of dear Candravali. Now I yearn to see her.
Subala: How did he describe the peacocks?
Text 6 (b)
unmadena puratah shikhaëòina
taëòave prithuni maëòali-kritam
unmadena—intoxicated; puratah—in the presence; shikhaëòina—by a peacock; taëòave—in a frenzied dance; prithuni—extensive; maëòali—into a circle; kritam—made; pashya—just see; nindita—criticized; mahendra—of Lord Indra; karmukam—the bow (the rainbow); krishëa—dark; candra—of the moon; cala—moving; candraka—of peacock feathers; avalim—series.
Krishëa: He said: "Look at the circle-tail (candrakavali) of this wildly dancing peacock, a tail that eclipses even the rainbow."
Text 7 (a)
Subalah: tado a-aööhaëam vamshi-kalam ullasehi.
(krishëo vaktre veëum vinyasyati).
Candravali: (nishamya. saghurëam). savvada suvvantivi vi assuda-ari vi-a vimhavedi dummuhi murali.
tadah—therefore; a-aööhaëam—attractive; vamshi—of the flute; kalam—sweet sound; ullasehi—please manifest; krishëah—Krishëa; vaktre—to His mouth; venum—the flute; vinyasyati—places; nishamya—having heard; sa—with; ghurëam—agitation; savvada—at all times; suvvantivi—although heard; assuda—unheard; ari—pastimes; vi-a—as if; vimhavedi—amazes; dummuhi—harshly speaking; murali—flute.
Subala: Please play some sweet music on Your flute.
(Krishëa places the flute to His mouth.)
Candravali: (Hearing the sound of the flute, she becomes agitated.) Whenever I hear it, that playful rascal flute fills me with wonder.
Text 7 (b)
Krishëah: sakhe subala, adya candravali-prasade tvaya mamanukulena bhavitavyam.
Subalah: adha im.
Padma: hala, pekkha. eso veëu-saëëa-e tumam tuvaravedi go-ulenda-ëandaëo.
sakhe—O friend; subala—Subala; adya—now; candravali—of Candravali; prasade—the favor; tvaya—because of you; mama—of me; anukulena—by the favor; bhavitavyam—may be; adha im—yes, indeed; hala—O; pekkha—look; esah—He; veëu —of the flute; saëëa-e—with the signal; tumam—to you; tuvaravedi—hastening; go-ulenda—of the king of Gokula; ëandaëah—the son (Krishëa).
Krishëa: Friend Subala, today We will try to please Candravali.
Padma: Look! With a signal from His flute, Krishëa, the prince of Gokula, calls you to quickly come to Him.
Text 7 (c)
Candravali: (vilokya. saëskritena).
sakhi murali vishala-cchidra-purëa
laghur atikaëthina tvam granthila nirasasi
tad api bhajasi shvashvac cumbanananda-sandram
hari kara-parirambham kena puëyodayena
vilokya—looking; sanskritena—in Sanskrit; sakhi murali—O dear friend the flute; vishala-jalena—with so many big holes in your body (in other words, full of chidra, which also means "faults"); purëa—full; laghuh—very light; atikaöhina—very hard in constitution; tvam—you; granthila—full of knots; nirasa—without juice; asi—are; tat api—therefore; bhajasi—you obtain through service; shvashvat—continuously; cumbana-ananda—the transcendental bliss of kissing by the Lord; sandram—intense; hari-kara-parirambham—embracing by the hands of Shri Krishëa; kena—by what; puëya-udayena—means of pious activities.
Candravali: (Looking, she says in Sanskerit) My dear friend the flute, you are actually full of many holes or faults. You are light, hard, juiceless and full of knots. But what kind of pious activities have engaged you in the service of being kissed by the Lord and embraced by His hands?*
Text 8 (a)
Krishëah: (puro drishöva, sanandam) sakhe, seyam mama locanendivara-candrika candravali. (iti sadaram upetya).
purah—ahead; drishöva—looking; sa—with; anandam—bliss; sakhe—O friend; sa—she; iyam—this; mama—My; locana—of the eyes; indivara—of the lotus flowers; candrika—moonlight; candravali—Candravali; iti—thus; sa—with; adaram—respect; upetya—approaching.
Krishëa: (Looking ahead, He happily says) Friend, here is Candravali, the moon who makes My lotus eyes bloom.
Text 8 (b)
candras tava mukha-bimbam
candra nakharaëi kuëòale candrau
nava-candras tu lalaöam
satyam candravali tvam asi
priye—O beloved; candrah—moon; tava—your; mukha—of the face; bimbam—circle; candrah—moons; nakharaëi—firgernails and toenails; kuëòale—two earrings; candrau—moons; nava—new; candrah—moon; tu—and; lalaöam—forehead; satyam—in truth; candravali—Candravali; tvam—you; asi—are; candravali—Candravali; lajjate—becomes embarrassed.
Beloved, your face is a moon, your fingernails and toenails are moons, and your forehead is a new moon. In truth, you are a host (avali) of moons (candra).
(Candravali is embarrassed.)
Text 9 (a)
Krishëah: priye, dushöa-danava-damanabhiniveshat tvan-mukha-candra aprekshamaëa yatayama bhavantyo 'pi na yata-yama bhavanti mamamur yaminyah.
priye—O beloved; dushöa—wicked; danava—of the demons; damana—the curbings; abhiniveshat—because of concentration; tvat—your; mukha—of the face; candram—moon; aprekshamaëasya—not seeing; yata-yama—useless; bhavantyah—because of your; api—although; na—not; yata-yamah—useless; bhavanti—they are; mama—My; amuh—these; yaminyah—nights.
Krishëa: Beloved, unable, because I was busy killing so many demons, to see the moon of your face, I wasted so many nights.
Text 9 (b)
Candravali: sundara, bhamarassa via- ëava-ëavaëusariëi de pa-idi kadham cirasanga-ëirasasu pa-umiëisu ahiramadu.
sundara—O handsome boy; bhamarassa—of a bumble-bee; vi-a—just like; ëava—newer; ëava—and newer; aëusariëi—friends; de—Your; pa-idi—nature; kadham—how is it?; cira—for a lont time; asanga—because of contact; ëirarasu—stale; pa-umiëisu—among the lotus flower; ahiramadu—may enjoy.
Candravali: Handsome one, You are like a bumble-bee that always seeks a new companion. Why should You play with us? We are like lotus flowers dried-up by Your long absence.
Text 9 (c)
Krishëah: priye candravali, pratipad-aloke tvam sarvesham nava-navasi. tad adya nirvapaya virahottapam parishvanga-rasena.
priye—dear; candravali—O Candravali; pratipat—of the beginning; aloke—in the sight; tvam—your; sarvesham—of all; nava—newer; nava—and newer; asi—are; tat—therefore; adya—at this moment; nirvapaya—please cool; viraha—of separation; uttapam—the burning distress; parishvanga—of an embrace; rasena—with the nectar.
Krishëa: Dear Candravali, whenever I see you, you are always newer and newer. With the nectar of your embrace please extinguish the flames of separation from you
Text 9 (d)
Padma: pi-a-sahi-viraheëa kudo tumha tavuppatti.
Subalah: a-i, ma kkhu evvam bhaëa. eso canda-ali-viraheëa saëtatto si-ala-e jaladhara-e kacche deham ëikkhivi-a satiëëo ca-uro vi-a ëam jjevva canda-ali-am savvado peccha-i vaasso.
pi-a—dear; sahi—of the friend (Candravali); viraheëa—because of the separation; kudah—why?; tumha—your; tavuppatti—burning distress; a-i—Alas; ma—don't; kkhu—indeed; evvam—in this way; bhaëa—speak; esah—He; canda-ali—of Candravali; viraheëa—because of the separation; saëtattah—burning with distress; si-ala-e—cooling; jaladhara-e—of a rain-cloud; kacche—in the vicinity; deham—body; nikkhivi-a—having placed; satiëëah—thirsty; ca-urah—cakora bird; vi-a—like; ëam—this; jjevva—indeed; canda-alim—Candravali; savvadah—everywhere; peccha-i—sees; vaassah—friend (Krishan).
Padma: How can it be that Krishëa is burning in separation from my dear friend?
Subala: Don't talk like that. As a thirsty cakora bird throws its body before a cooling, water-filled cloud, so my friend, burning in separation from her, always gazes at Candravali.
Text 9 (e)
Krishëah: priye, shruyatam.
samajani mama tapa-nuttaye radha
(iti sambhramam) dhara dhara.
priye—O beloved; sruyatam—this should be heard; vipina—of the forest; antare—within; milanti—assembling; madhura—sweet; rasa—nectar; shitala—cool; sparsha—to the touch; amrita—of nectar; mayi—consisting; tvat—of you; virahe—in the separation; samajani—became manifested; mama—My; tapa—of the burning distress; nuttaye—for removing; radha—Radha; iti—thus; sambhramam—bewildered; dhara dhara—a stream of water, a stream of water.
Krishëa: Beloved, listen. During our separation, when I was in the forest, there was only one thing to relieve My distress. That thing was full of nectar, cooling to the touch and very sweet. That thing was Radha. (bewildered) I mean the stream of water, the stream of water!
Text 10 (a)
Candravali: (sabhyasuyam) gaccha, raham jjeva sevehi.
Krishëah: priye, dharety avadam.
Candravali: jadam kadham doëam vaëëaëam vivaridattaëam.
Krishëah: priye, dvayor varëayoh karëayor va viparitatvam ity asminn asti vicarah.
sa—with; abhyasuyam—anger and jealousy; gaccha—go!; raham—Radha; jjeva—indeed; sevehi—serve!; priye—O beloved; dhara—a stream of water; iti—thus; avadam—I said; jadam—produced; kadham—how is it?; doëam—of the two; vaëëaëam—of the syllables; vivaridattanam—the opposite; priye—O beloved; dvayoh—of the two; varëayoh—syllables; karëayoh—on the ears; va—or; viparitatvam—the opposite; iti—thus; asmin—in this; asti—is; vicarah—consideration.
Candravali: (With jealous anger) Go! Serve Radha!
Krishëa: Beloved, I said "water".
Candravali: Then why did my ears hear something else?
Krishëa: O beloved, your ears did not hear it right.
Text 10 (b)
Candravali: (rosharuëam mukham anamayya). a-i dana-sauëòa. alam eda-e avahittha-e. ajja appaëo maëahariëo suvaëëa-ju-alassa viëëasado sahu mahuri-purida-kaëëamhi kida.
rosha—with anger; aruëam—red; mukham—face; anamayya—bowing; a-i—O; dana-sauëda—generous; alam—what is the need; eda-e—of this; avahittha-e—pretense; ajja—today; appaëah—of the self; maëahariëah—captivating; suvaëëa—gold; ju-alassa—of the two (earrings); viëëasaddah—because of the placing; sahu—very well; mahuri—with nectar; purita—filled; kaëëamhi—my ears; kida—performed.
Candravali: (turns down her head, which is now red with anger) O Krishëa addicted to giving gifts to others, what is the use of pretending? Now my ears are flooded with the sweetness of those two golden syllables, syllables that enchant the heart.
Text 10 (c)
yathartheyam vaëi tava cakita-saranga-nayane
suvarëalankaro madhurayati yat te shruti-yugam
mukhendor antas te bahir api suvarëa-cyutir iyam
mama shrotra-dvandvam nayana-yugalam cakulayati
yatha-artha—appropriate; iyam—this; vaëi—word; tava—your; cakita—trembling; saranga—of a deer; nayane—eyes; suvarëa—of gold; alankarah—ornament; madhurayati—beautiful; yat—because; te—your; shruti—of ears; yugam—pair; mukha—of the face; indoh—of the moon; antah—end; te—of you; bahih—outside; api—even; suvarëa—of the gold; cyutih—falling; iyam—this; mama—My; shrotra—of ears; dvandvam—pair; nayana—of eyes; yugalam—pair; ca—and; akulayati—confuses.
Krishëa: O girl with eyes like a frightened doe, what you say is right. That golden ornament does make your ears very sweet. The beautiful sound of your name arouses My ears and the golden splendor of your face arouses My eyes.
Text 11 (a)
Padma: hala appaëo adiööham sumaranti ma khijjehi. jutto rahaëurattassa imassa raha-ëama-mayi sankadha.
Candravali: (nishvasya) sahi pa-ume, evam ëedam.
hala—O; appaëah—of the self; adiööham—misfortune; sumaranti—remembering; ma—don't; khijjehi—become depressed; juttah—appropriate; raha—of Radha; aëurattassa—of one who is enamored; imassa—of Him; raha—of Radha; ëama—of the name; mayi—consisting; sankadha—speech; nishvasya—sighing; sahi—O friend; pa-ume—Padma; evam ëedam—this is true.
Padma: Ah, don't torture yourself by meditating on Your misfortune. It is natural that boy in love with Radha will always say the name "Radha".
Candravali: (sighs) Friend Padma, so it is.
Text 11 (b)
Krishëah: priye, baòham anashankaniyam evedam. yatah.
tasya shoòasha-kalasya shoòashi
vallabha sphurati ya nabhas-tale
radhaya suvadane katham taya
sangatir bhuvi mamadya sambhavet
priye—O beloved; baòham—assuredly; anashankaniyam—not worthy of suspicion; eva—indeed; idam—this; yatah—because; tasya—of Him; shoòasha—sixteen; kalasya—having phases (the moon); shaòashi—one sixteenth; vallabha—beloved; sphurati—is manifested; ya—who; nabhah—of the sky; tale—on the surface; radhaya—by Radha; suvadane—O beautiful-faced girl; katham—how is it; taya—by her; sangatih—contact; bhuvi—on the ground; mama—My; adya—now; sambhavet—may be possible.
Krishëa: Beloved, please don't worry. O girl with the beautiful face, the word "Radha" means "the beautiful full-moon shining in the sky". How can I, who stand on the earth, meet the moon?
Text 12 (a)
Padma: ca-u-saööhi-kala-saliëo de ëa kkhu savi solaha-kalassa vallaha dullaha
ca-u-saööhi—64; kala—arts; saliëah—expert; de—of You; ëa—not; kkhu—indeed; savi—some girl; solaha-kalassa—of the moon; vallaha—beloved; dullaha—difficult to attain.
Padma: The moon has only sixteen phases, but You are learned in sixty-four arts. It is not so difficult for You to be moon's beloved.
Text 12 (b)
Krishëah: (saprashrayam avalokya).
shankakulo 'tra kalayan kamalayatakshi
sam kaku-lola-hrdayah pravisami naham
sa—with; prashrayam—humbleness; avalokya—glancing; candravali—of Candravali; vadana—of the face; pushkara—lotus flower; sangi—contact; gaëòa—cheeks; candrau—two moons; alikatara—very false; tarka—logic; kalankita—polluted; angau—limbs; shanka—with plaintive words; lola—agitated; hridayah—heart; pravishami—enter; na—not; aham—I.
Krishëa: (looking with love and respect) O girl with the lotus eyes, when I see in the sky of Candravali's face the two moons of her cheeks become blackened by this twisted logic, My heart trembles. Agitated with many fears, I cannot be happy.
Text 13 (a)
Candravali: (savyaja-prasadam) de-a, ëam kkhu go-ula-jaëa-ji-aëa-bhudassa de savva-suha-karida-guëam ka kkhu hada-buddhi-a ëa sahadi. ta ëipphaleëa sanko-eëa sadanko hohi.
sa—with; vyaja—feigned; prasadam—mercy; de-a—O Lord; na—not; kkhu—indeed; go-ula—of Gokula; jaëa—of the people; ji-aëa—the life; bhudassa—produced; de—of You; savva—all; suha—auspiciousness; karida—the state of doing; gunam—quality; na—not; kkhu—indeed; hada—struck; buddhi-a—intelligence; ëa—not; sahadi—is able to control; ta—therefore; ëipphaleëa—useless; sanko-eëa—with shrinking away; ma—don't; sadankah—frightened; hohi—become.
Candravali: (pretending to be merciful) Lord, what foolish girl is not delighted by the all-auspicious qualities of You, the life of Gokula's people. Please don't be frightened and needlessly turn from me.
Text 13 (b)
Krishëah: (svagatam) garishöham api manyu-mudram dhireyam mukha-madhuryeëa nihnute. (prakasham) priye kritam anena gaurava-vishodgareëa. roshokti-madhvikam eva varam varishöham.
svagatam—aside; garishöham—most intense; api—although; manyu—of anger; mudram—symptoms; dhira—sober; iyam—she; mukha—of the face; madhuryeëa—with pleasentness; nihnute—denies; prakasham—openly; priye—O beloved; kritam—useless; anena—with this; gaurava—intense; visha—of poison; udgarena—with the spitting; rosha—angry; ukti—words; madhvikam—sweet nectar; eva—indeed; varam—excellent; varishöham—best.
Krishëa: (aside) With a sweet face this very polite girl hides the signs of her ferocious anger. (openly) Beloved, what is the use of this poison of polite words? The madhvika nectar of angry words is much sweeter.
Text 13 (c)
Candravali: go-ulaëanda, tumha purado muham damsedum ëa pahavami. jam pragabbham vaharanti avaraddhammi ta gharam gamissam.
Krishëah: (sanunayam) priye, prasida prasida. baddho 'yam anjalih.
go-ula—of Gokula; ananda—O bliss; tumha—Your; puradah—presence; muham—face; damsedum—to show; ëa—not; pahavami—I am not able; jam—because; prabbham—arrogant; vaharanti—speaking; avaraddhammi—I am an offender; ta—therefore; gharam—home; gamissam—I shall go; sa—with; anunayam—an appeal; priye—O beloved; prasida—be merciful, be merciful; baddhah—folded; ayam—these; anjalih—folded hands.
Candravali: Bliss of Gokula, I have no power to show my face before You. I spoke arrogantly. I am an offender. Therefore I will go home.
Krishëa: (appealing) Beloved, be kind. Be kind. I am folding My hands.
Text 13 (d)
Candravali: suha-a, ujju-am vi-aharantim kisa mam ali-am sankasi. ta aëujaëehi mam bhadda-ali-damsaëassa. (iti padmaya saha nishkranta).
suha—O fortunate one; ujju-am—in a straightforward way; vi-aharantim—speaking; kisa—why?; mam—me; ali-am—untrue; sankasi—You suspect; ta—therefore; aëujaëehi—please give permission; mam—to me; bhadda-ali—of Bhadrakali; damsaëassa—for the purpose of seeing; iti—thus; padmaya—Padma; saha—along with; nishkranta—exits.
Candravali: O handsome one, I speak the truth. Why do You fear I am tricking You? Please give me permission to see the deity of Goddess Bhadrakali.
(Accompanied by Padma, Candravali exits.)
Text 13 (e)
Krishëah: sakhe, mahanubhavam etam mac-citta-mahakasha-candravalim api baliyas-tamahkandalibhir avaskanditam alokya niraloko 'smi.
Subalah: pi-a-vaassa, kimti evvam bhaëasi. sa kkhu adakkhiëa ëa diööha.
sakhe—O friend; maha—great; anubhavam—splendor; etam—this; mat—My; citta—of the mind; maha—great; akasha—in the sky; candravalim—Candravali; api—although; baliyah—more powerful; tamah-kandalibhih—by the dark rahu planets; avaskanditam—eclipsed; alokya—having seen; niralokah—unable to see; asmi—I am; pi-a—dear; vaassa—friend; kimti—why indeed?; evvam—in this way; bhaëasi—You are speaking; sa—she; kkhu—indeed; adakkhina—cunning; ëa—not; diööha—seen.
Krishëa: Friend, the glorious Candravali-moons I once saw shining in the sky of My heart were attacked by many powerful Rahu planets. I see them no more. Now I stand in the darkness.
Subala: Friend, why do You talk like that? No longer need You look at that unpleasant girl.
Text 13 (f)
Krishëah: sakhe, baòham duruha mahiyasam prakritih. tathedanim.
nyavishata nayanante kapi saralya-nishöha
vacasi ca vinayena stotra-bhangi nyavatsit
ajani ca mayi bhuyan sambhramas tena tasya
vyavriëuta hridi manyum susöhu daksiëyam eva
sakhe—O friend; baòham—greatly; duruha—difficult to understand; mahiyamam—of the great; prakritih—the nature; tatha—therefore; idanim—now; nyavishata—entered; nayana—of the eyes; ante—on the corner; ka api—some girl; saralya—to honesty; nishöha—faithful; vacasi—in words; ca—and; vinayena—with humbleness; stotra—prayers; bhangi—wave; nyavatsit—held; ajani—was produced; ca—and; mayi—in Me; bhuyan—great; sambhramah—reverence; tena—by him; tasyah—of her; vyavriëuta—manifested; hridi—in the heart; manyum—anger; susthu—greatly; daksiëyam—cleverness; eva—indeed.
Krishëa: Friend, the nature of great souls is is not easy to understand. Honest respect she keeps in the corners of her eyes. Prayers she humbly keeps in her voice. Respectful to Me, she politely hides the anger in her heart.
Text 14 (a)
tad ehi manorariëi, tasmin keshara-kunje nivishya candravali-sangomapayam angi-karomi. (iti parikramya) sakhe, seyam bakulavali-manjula nikunja-vithi. pashya pashya.
tat—therefore; ehi—please go; manoharini—O beautiful girl; tasmin—in that; keshara—of bakula trees; kunje—in the grove; nivishya—having entered; candravali—with Candravali; sangama—contact; upayam—remedy; angi-karomi—I shall accept; iti—thus; parikramya—He walks; sakhe—O friend; sa—she; iyam—this; bakula—of bakula trees; avali—with a multitude; manjula—charming; nikunja—of groves; vithi—series; pashya pashya—look, look.
Come. Entering this grove of bakula trees, I will plan a strategy to meet Candravali again. (They walk.) Friend, this forest path is beautiful with many bakula trees. Look! Look!
Text 14 (b)
sphurati saro dakshiëatah
savye vapi samntatah kalyah
pramadam niradhika kurute
sphurati—glittering; sarah—lake; dakshiëatah—from the right side; savye—on the left; vapi—a pond; samantatah—in every direction; kulyah—canals; iti—thus; keshara—of bakula trees; aöavi—forest; iyam—this; pramadam—delight; nira—of water; adhika—abundance; kurute—performs.
On the right is a glittering lake. On the left many small canals in every direction. This water-filled forest of bakula trees is very pleasant.
Note: The word "niradhika" may also be divided “ni-radhika" (without Radha). In this way Shri Radha is mentioned indirectly.
Text 15 (a)
Subalah: (svagatam) laddho ma-e osaro. (prakasham) vassa, sarahi-a jjevva tuha pamadam kura-i kimti ëirahi-a tti bhaëasi.
svagatam—aside; laddhah—attained; ma-e—by me; osarah—opportunity; prakasham—openly; vaassa—O friend; sarahi-a—accompanied by Radha; jjevva—certainly; tuha—Your; pamadam—delight; kura-i—performs; kimti—why indeed?; ëira hi-a—without Radha; tti—thus; bhaëasi—You say.
Subala: (aside) Now is my chance. (openly) Friend, if Radha were here, it would be very pleasant. Why do You say that it would be pleasant "without Radha?".
Note: Subala here assumes the second meaning of the word "niradhika" (without Radha).
Text 15 (b)
Krishëah: (subalam alingya) sakhe, satyam bhavishi. tad adya radhika yathemam keshara-nikunja-lakshmim alankaroti tatha mad-gira saëdishyatam lalita.
Subalah: taha tti. (iti nishkrantah).
subalam—Subala; alingya—embraces; sakhe—O friend; satyam—the truth; bravishi—you speak; tat—therefore; adya—now; radhika—Radha; yatha—just as; imam—this; keshara—of bakula trees; nikunja—of the grove; lakshmim—the beauty; alankaroti—decorates; tatha—in that way; mat—My; gira—by the words; saëdishyatam—should be instructed; lalita—Lalita; taha tti—yes; iti—thus; nishkrantah—he exits.
Krishëa: (embraces Subala) Friend, you say the truth. Radha would make this bakula forest beautiful. To Lalita please repeat My words.
Subala: So be it. (He exists.)
Text 15 (c)
(tatah pravishati padma madhumangalash ca).
Madhumangalah: pa-ume, ma-e ajja vaasseëa caòu-ariëa aëunida vi candavali ëa pasaëëa.
Padma: adha im
tatah—then; pravishati—enters; padma—Padma; madhumangalah—Madhumangala; ca—and; pa-ume—O Padma; sudam—heard; ma-e—by me; ajja—today; vaassena—by the friend (Krishëa); caòu-ariëa—speaking flattering words; aëuëida—appealed; vi—although; candavali—Candravali; ëa—not; pasaëëa—satisfied; adha-im—yes, it is true.
(Padma and Madhumangala enters).
Madhumangala: Padma, I heard that even though He flattered her with many sweet words, today Candravali was not pleased with my friend.
Padma: Yes, it is true.
Text 15 (d)
Madhumangalah: ëuëam vaasso vi sisaëëam vaööa-i. ta jutta doëam sangame amhaëam saha-arida.
Padma: ajja, ado jjevva ma-e aëusaridosi.
ëuëam—now; vaassah—my friend (Krishëa); vi—indeed; visaëëam—dejected; vaööa-i—has become; ta—therefore; jutta—fitting; doëam—of the two; sangame—in the meeting; amhaëam—of us two; saha-arida—assistance; ajja—O pious boy; ado jevva—for this reason; ma-e—by me; aëusaridosi—you are followed.
Madhumangalah: Now my friend is unhappy. We should bring the two of Them togather again.
Padma: Saintly one, you lead, and I will follow you.
Text 15 (e)
Madhumangalah: (puro drishöva) pa-ume, pekkha eso pi-a-vaasso chappada-metta-saha-o kesara-kuëòage kimpi mantedi.
Padma: ajja, lada-jalehim antarida bhavi-a suëamha kim eso bhaëaditti.
(iti tatha sthitau).
purah—ahead; drishöva—having looked; pa-ume—O Padma; pekkha—look; esah—He; pi-a—dear; vaassah—friend; chappada—with a bumble-bee; metta—exclusive; saha-ah—companion; kesara—of bakula trees; kuëòage—in the grove; kimpi—something; mantedi—is speaking; ajja—O pious boy; lada—of the creepers;; jalehim—by the networks; antarida—in the middle; bhavi-a—having gone; suëamha—we shall hear; kim—what; esah—He; bhaëaditti—is saying; iti—thus; tatha—in that way; sthitau—situated.
Madhumangala: (looking ahead) Padma, look! In this bakula forest my dear friend now talks to a bumble-bee.
Padma: Saintly one, let us hide in this network of vines and listen to Him talk.
(They both do that.)
Text 15 (f)
Krishëah: (radham smaran. sotkaëöham).
prasarati yad bhru-cape
shlathajyam akarot smaro dhanuh paushpam
bhushayai me priya sastu
radham—Radha; smaran—remembering; sa—with; utkaëöham—agitation; prasarati—extending; yat—because; bhru—of the eyebrows; cape—in the bow; shlathajyam—greatly loosened; akarot—performed; smarah—cupid; dhanuh—bow; paushpam—fashioned from flowers; madhurima—of charm; maëi—of the jewels; manjusha—the chest; bhushayati—for an ornament; me—of Me; priya—beloved; sa—she; astu—may be.
Krishëa: (Remembering Radha, Krishëa becomes filled with longing.) I wish My beloved, who is a treasury of the jewels of sweetness, and from the bow of whose raised eyebrows Kamadeva shoots arrows of flowers, would become an ornament decorating Me.
Text 16 (a)
Madhumangalah: pa-ume, eso ukkaëtha-e tujjha pi-a-sahim cce-a vaëëedi. ta ehi. turidam gadu-a ëam samaëemha.
Padma: ajja, suööhu ëiööhankidam suëamha jam bahu-vallaho eso.
pa-ume—O Padma; esah—He; ukkaëöha-e—with longing; tujjha—Your; pi-a—dear; sahim—friend (Candravali); cce-a—certainly; vaëëedi—is describing; ta—therefore; ehi—please go; ëam—to her; samaëemha—clearly; ëiööhankidam—spoken; suëamha—we have heard; jam—what; bahu—very; vallahah—affectionate; esah—He.
Madhumangala: Padma, with great longing He describes your dear friend. Let us go and being her at once.
Padma: Saintly one, without doubt we heard Him say He loves her.
Text 16 (b)
Krishëah: (punah sautsukyam)
sa mukha-sushama nirjita-
punah—again; sa—with; autsukyam—longing; sa—she; mukha—face; sushama—very beautiful; nirjita—conquered; raka-candra—the full moon (or Candravali); vali—beutiful wrinkles; lasat—manifesting; madhya—on the waist; iti—thus; ardha—middle; ukte—in the speech.
Krishëa: (Again with longing) The beauty of her face defeats the full moon. Her waist is beautiful with three folds. (Krishëa stops in the middle).
Note: If the second line is divided "raka-candravali lasan-madhya", these words mean "Her face is beautiful. She eclipses Candravali. Her waist is beautiful."
Text 16 (c)
Madhumangalah: pa-ume, alam idam imado pareëa sudeëa tuëëam gacchamha.
Padma: juttam kadhesi.
(ity ubhau javena duram parikramatah).
pa-ume—O Padma; alam—enough!; idam—with this; imadah—from this place; pareëa—with further; sudeëa—with hearing; tuëëam—quickly; gacchamha—let us go; juttam—appropriately; kadhesi—you speak; iti—thus; ubhau—the two; javena—quickly; duram—far away; parikramatah—walk.
Madhumangala: Padma, why should we listen any more? Let us quickly go.
Padma: What you say is right.
(They quickly walk far away).
Text 16 (d)
muhura dhasyati radha
mad-urasi rasika atmanam
muhura—moment; dhasyati—will place; radha—Radha; mat—My; urasi—on the chest; rasika—beautiful; kim—will?; atmanam—personally.
Krishëa: When will beautiful Radha embrace My chest?
Text 17 (a)
Padma: ajja, evvam bhaëami. maëiëi-e pi-a-sahi-e sa-am sama-amejna lahavam hodi. ta paravaööi-a kaëham viëëavehi.
ajja—O pious boy; evvam—in this way; bhaëami—I speak; maëiëi-e—proud; pi-a—dear; sahi-e—of the friend (Candravali); sa-am—personally; sama-amena—with the meeting; lahavam—rightness; hodi—will be; ta—therefore; paravaööi-a—having returned; kaëham—to Krishëa; viëëavehi—please inform.
Padma: O saintly one, this I say: My proud friend may treat Krishëa lightly when He goes to her. Please go and tell Krishëa this.
Text 17 (b)
Madhumangalah: sohaëam mantesi. (iti krishëantim asadya). pi-a-vaassa, pacchaëëeëa bhavi-a savvam de a-aëëidam ma-e ukkhaëöhava-aëam. ta aëavehi. tam jjevva tujjha vallaham turi-am samaëemi.
sohaëam—the proper thing; mantesi—you are speaking; iti—thus; krishëa—Krishëa; antim—the presence; asadya—attains; pi-a—dear; vaassa—O friend; pacchaëëena—by hidding; bhavi-a—having become savvam—all; de—of You; aëëidam—heard; ma-e—by me; ukkaëöha—of longing; va-aëam—words; ta—that; aëavehi—please order; tam—her; jjevva—certainly; tujjha—Your; vallaham—beloved; turi-am—quickly; samaëemi—I shall bring.
Madhumangala: You speak well. (Madhumangala approaches Krishëa). Dear friend, by eavesdropping I heard Your words of longing. Please order me, and I will quickly bring Your beloved.
Text 17 (c)
Krishëah: (sashlagham alingya) sakhe, mad-anugraheëa shighram anaya.
(Madhumangalah parikramya padmaya saha nishkrantah).
sa—with; shlagham—praise; alingya—embracing; sakhe—O friend; mat—My; anugrahena—with blessings; shighram—quickly; anaya—bring; madhumangalah—Madhumangala; parikramya—walking about; padmaya—by Padma; saha—accompanied; nishkrantah—exits.
Krishëa: (Glorifies and embraces Madhumangala) Friend, I bless you. Please quickly bring Her.
(Accompanied by Padma, Madhumangala walks offstage.)
Text 17 (d)
Krishëah: aho paramotkaëöhanam premëam utkaëöha-karitvam.
bhramare 'pi gunjati nikunja-koöare
manute manas tu maëi-nupura-dhvanim
anilena cancati triëancale 'pi tam
puratah priyam upagatam vishankate
ahah—O; parama—supreme; utkaëöhanam—of longing; premëam—of love; utkaëöha—of longing; karitvam—the cause; bhramare—bumble-bees; api—even; gunjati—buzzes; nikunja—of the grove; koöare—in the interior; manute—considers; manah—mind; tu—but; maëi—jewelled; nupura—ankle-bells; dhvanim—sound; anilena—by the wind; cancati—moves; triëa—of the grass; ancale—the border; api—even; tam—her; puratah—presence; priyam—beloved; upagatam—arrived; vishankate—suspect.
Krishëa: Ah! I am overcome by the yearnings of love! When a bumble-bee hums in the grove, my heart thinks it is My beloved's tinkling anklets. When the grass moves in the wind. My heart thinks My beloved has come.
Text 18 (a)
(tatah pravishati padma-madhumangalabhyam sangata candravali).
Candravali: hala pa-ume, kim eso ba-ula-kuëòago disa-i.
Padma: adha im. ta tuëëam ehi. (iti parikramati).
tatah—then; pravishati—enters; padma—by Padma; madhumangalabhyam—and Madhumangala; sangata—accompanied; candravali—Candravali; hala—O; pa-ume—Padma; kim—what; esah—this; ba-ula—of bakula trees; kuëòagah—grove; disa-i—is seen; adha im—yes, indeed; ta—therefore; tuëëam—quickly; ehi—go there; iti—thus; parikramati—she walks.
(Accompanied by Padma and Madhumangala, Candravali enters).
Candravali: Padma, is that the bakula forest I see?
Padma: Yes. Let us quickly go there. (They walk there.)
Text 18 (b)
Krishëah: (nupura-ravam akarëya) hanta, bhurisho bhramito 'smi bhramari-jhankaraih. tad alam vritha pratyudgama-sambhrameëa. (ity udvegam naöayan).
nupura—of the ankle-bells; ravam—the sound; akarëya—hearing; hanta—O; bhurishah—greatly; bhramitah—bewildered; asmi—I am; bhramari—of the bumble-bees; jhankaraih—by the buzzing; tat—therefore; alam—enough; vritha—uselessly; pratyudgama—appearing; sambhramena—with this bewilderment; iti—thus; udvegam—agitation; naöayan—representing dramatically.
Krishëa: (Hears the tinkling of the anklets) Ah, I am fooled by buzzing of the bees. I foolishly think She has come. (He is agitated.)
Text 18 (c)
janah kamam viòambyate
asanne hi ghanarambhe
dvi-guëam ranti catakah
purah—in the presence; phalayam—when the fruit; ashayam—when the hope; (or in the sky); janah—a person; kamam—indeed; viòambyate—is deceived; asanne—near; hi—indeed; ghana—of clouds; arambhe—in the beginning; dvi-guëam—two kinds; rauti—cries; catakah—catake bird.
When there is a little hope, desire increases. When the clouds come, the cataka birds cry twice as loud.
Text 19 (a)
(punar utkarëo bhavan). katham abhyarëe bhushana-shinjitam shruyate. (ity udgrivikam datva. sasambhramam). satyam asau milita me preyasi. (iti tarasa candravali-parshvam agatya).
punah—again; utkarëah-bhavan—becomes attentive; katham—how is it?; abhyarëe—nearby; bhushaëa—of ankle bells; shinjitam—tinkling; shruyate—is heard; iti—thus; udgrivikam—craning His neck with expectation; datva—having done; sa—with; sambhramam—agitation; satyam—in truth; asau—she; milita—arrived; me—My; preyasi—beloved; iti—thus; tarasa—quickly; candravali—of Candravali; parshvam—the side; agatya—goes.
(He becomes very attentive). Why do I hear tinkling ornaments? (Craning His neck with expectation, He is excited.) My beloved has come! (Krishëa rushes to Candravali's side).
Text 19 (b)
mangala-bha radhika mayonmudita
hrit—of the heart; bhringa—the bumble-bee; jangama—moving; lata—creeper; mangala—auspiciousness; bha—radiance; radhika—Radha; maya—by Me; unmuditaj—delighted; iti—thus; ardha-ukte—half-spoken.
Now I see the flowering vine where the bumblebee of My heart flies. Now I see glorious and auspicious Radha, who, . . . (Krishëa stops in mid-sentence.)
Text 19 (c)
(Candravali sershyam madhumangalam alokate.)
Madhumangalah: sahi canda-ali, mangala-bhareëa adhi-asi ti pi-a-vaasso tumam vaëëedi.
candravali—Candravali; sa—with; irshyam—anger; madhumangalam—at Madhumangala; alokate—glances; sahi—O friend; canda-ali—Candravali; mangala—of auspiciousness; bhareëa—with the abundance; adhi-asi—you are; congratulated; ti—thus; pia—dear; vaassah—the dear friend (Krishëa); tumam—you; vaëëedi—is describing.
(Candravali angrily glances at Madhumangala).
Madhumangala: Friend Candravali, you are glorious. Our dear friend describes you.
Text 19 (d)
Krishëah: (savailakshyam atmagatam). hanta, katham anena candravalir evabhisarita, bhavatu. cavöunoktam eva nirvahayami.
sa—with; vailakshyam—embarrassment (Because of the awkward situation); atmagatam—aside; hanta—O; katham—how is it?; anena—by him; candravalih—Candravali; eva—indeed; abhisarita—has been brought; bhavatu—let it be; cavöuna—with flattering words; uktam—spoken; eva—indeed; nirvahayami—I shall perform.
Krishëa: (Surprised, He says to Himself:) Ah, why did he bring Candravali? I will flatter her.
Text 19 (e)
suhrit—of the friend; anuraga—the love; vitandra—awakened; candravalih—Candravali; anjasa—suddenly; alambhi—arrived.
(He says openly:) Her love awakened, My friend Candravali has quickly come.
(Candravali salajjam krishëa-kaëöhe vaijayantim vinyasyati).
ekam prayati paricarya cakora-raji
candram priye nija-manoratha-pura-purtim
candravali kim u mamakshi-cakorayos tvam
pritijm dvayor api na dhasyati sevyamana]
candravali—Candravali; sa—with; lajjam—embarrassment; krishëa—of Krishëa; kaëöhe—on the neck; vaijayantim—Vaijayanti garland; vinyasyati—places; sa—with; anandam—bliss; ekam—one; prayati—attains; paricarya—having worshiped; cakora—of cakora birds; raji—multitude; candram— moon; priye—O beloved; nija—own; manoratha—of desires; pura— the flood; purtim—fulfilling; candravali—O Candravali ( multitude of moons); kim u—how much more?; mama—My; akshi—of the eyes; cakorayoh—of the two cakora birds; tvam—you; pritim—delight; dvayoh—of the two; api—even; na—not; dhasyati—will place; sevyamana—being served.
(Embarrassed, Candravali places a Vaijayanti garland on Krishëa's neck).
Krishëa: (joyful) By worshiping a single moon, a flock of cakora birds finds all its desires fulfilled. O Candravali, you are a great multitude of moons. Why should the two cakora birds of My eyes not find bliss by serving you?
Text 21 (a)
Madhumangalah: (sagarvam) bho vaassa, diööha tu-e majjha vilakkhaëa-vi-akkhaëada, jo kkhu ananta-guëa-saliëavi tu-e mo-a-idum ëa parido so pi-a-sahi-e maëa-gaëöhi ëa-a-guëa-dhariëa ma-e mo-avido.
sa—with; garvam—pride; bhah—O; vaassa—friend; diööha—seen; tu-e—by You; majjha—my; vilakkhaëa—abundant; vi-akkhaëada—sagacity; jah—who; kkhu—indeed; ananta—unlimited; guëa—virtues; saliëavi—although endowed; tu-e—by You; mo-a-idum—to release; ëa—not; paridah—in any way; sah—he; pi-a—dear; sahi-e—towards the friend; maëagaëöhi—offence; ëa-a—new; guëa—qualities; dhariëa-possessing; ma-e—by me; mo-avidah—released.
Madhumangala: (proud) Friend, now You see how clever I am. Although Your virtues are endless, You could not untie Your dear friend's knot of jealous anger. I, a reservoir of ever-new virtues, untied it.
Text 21 (b)
Krishëah: vayasya, tvam uddaëòa-kusuma-kodaëòa-vilasa-shaò-guëye mahasandhi-vigrahilo 'si.
Padma: ajja, puro paphulla-im malli-puppha-im papphuranti. ta ehi, ima-im geëhamha.
(ity ubhau nishkrantau).
vayasya—O friend; tvam—you; uddaëda—extraordinary; kusuma—of flowers; kodaëòa—bow; vilasa—in the pastimes; shaò-guëye—in the six diplomatic maneuvers; maha-saëdhi-vigrahikah—the minister of peace and war; asi—you are; ajja—O pious boy; purah—in the presence; paphulla—blossomed; malli—malli; puppha-im—flowers; papphuranti—are manifest; ta—therefore; ehi—please go; ima—these; geëhamha—let us pick; iti—thus; ubhau—the two; nishkrantau—exit.
Krishëa: Friend, when Kamadeva, who holds a fearsome bow of flowers, considers his six kingly strategies, you are his prime minister of war and peace.
Padma: (Speaking to Madhumangala) Saintly friend, ahead of us are many blossoming jasmineflowers. Come. Let us pick them.
(Padma and Madhumangala exit).
Text 21 (c)
Krishëah: (svagatam) kunje 'smin nagatamatram radham tarkayami. tad anyatah prasthasye. (prakasham) priye, purastan natidure nagara-rangocita naga-kesaraöavi. tad atraivanusaravah.
svagatam—aside; kunje—grove; asmin—in this; na—not; agata-matram—arrived; radham—Radha; tarkayami—I can guess; tat—therefore; anyatah—somewhere else; prasthasye—I shall go; prakasham—openly; priye—O beloved; purastat—from this place; na—not; ati—very; dure—far away; nagara—a city; ranga—arena; ucita—suitable; naga-kesara—of fragrant naga-kesara trees; aöavi—forest; tat—therefore; atra—there; eva—indeed; anusaravah—let us go; iti—thus; nishkrantau—they exit.
Krishëa: (aside) I think Radha is not in this forest. I will go to another forest. (openly) Beloved, not far ahead is a naga-keshara forest right for Our amorous pastimes. Let Us go there.
(Candravali and Krishëa exit.)
Text 21 (d)
(tatah pravishati lalitaya saha sankathayanti radha).
Radha: hala, pekkha pekkha. anda-arehim gholidam savvam disa-muham.
Lalita: pi-a-sahi. timirahisarecidehim salama-ppasahaëehim maëòido tu-e kim kkhu appa.
Radhika: adha im.
tatah—then; pravishati—enters; lalitaya—by Lalita; saha—accompanied; sankathayanti—talking; radha—Radha; hala—O; pekkha pekkha—look, look; andha-arehim—with darkness; gholidam—made terrible; savvam—all; disa—of the directions; muham—the face; pi-a—dear; sahi—O friend; timira—in the darkness; ahisara—a secret rendezvous; ucidehim—appropriate; salama—dark; ppasahanehim—with ornaments; maëòidah—decorated; tu-e—by you; kim—whether; kkhu—indeed; appa—the self; adha im—yes, it is so.
(Talking to Lalita, Radha enters).
Radha: Friend, look! Look! Every direction is covered by terrible darkness.
Lalita: Dear friend, do You wear dark ornaments right for secretly meeting someone in the darkness?
Text 21 (e)
Lalita: (vilokya sasmitam. saëskritena).
dhammillopari nilaratna-racito haras tvaya ropito
vinyastah kuca-kumbhayoh kuvalaya-shreëi-krito garbhagah
ange kalpitam anjanam vinihita kasturika netrayoh
kamsarer abhisara-sambhrama-bharan manye jagad-vismritam
vilokya—glancing; sa—with; smitam—a smile; sankritena—in Sanskrit; dhammilla—the braided hair; upari—above; nilaratna—with sapphires; racitah—fashioned; harah—necklace; tvaya—by you; ropitah—placed; vinyastah—of blue lotus flowers; sreni—into a garland; kritah—fashioned; anjanam—black cosmetics; vinihita—placed; kasturika—musk; netrayoh—on the eyes; kamsa—of Kamsa; areh—of the enemy (Krishëa); abhisara—of the secret rendezvous; sambhrama—with the agitation; bharat—because of the great abundance; manye—I consider; jagat—the universe; vismritam—is forgotten.
Lalita: (She glances, smiles, and says in Sanskrit:) A necklace of sapphires decorates Your braids. A garland of blue lotus flowers rests on Your waterpot breasts. On Your limbs is sandal paste. Around Your eyes is musk. I think that, yearning to meet Krishëa, You have forgotten the world.
Text 22 (a)
Radhika: hala, muncehi parihasam. turi-am uddesehi kesara-kuëòaga-maggam.
hala—O; muncehi—please give up; parihasam—joking; turi-am—quickly; uddesehi—indicate; kesara—of naga-kesara trees; kuëòaga—to the grove; maggam—the path.
Radha: Please don't joke. Quickly show Me the path to the naga-keshara forest.
Text 22 (b)
Lalita: ido ido pi-a-sahi. (iti parikramanti sashankam. sanskritena).
timira-masibhih samvitangyah kadamba-vanantare
sakhi mura-ripum puëyatmanah saranty abhisarikah
tava tu parito vidyud-varëas tanu-dyuti-sucayo
hari hari ghana-dhvantanyetah svavairiëi bhindate
ido idah—here, here; pi-a—dear; sahi—friend; iti—thus; parikramanti—walks; sa—with; shankam—fear; saëskritena—in Sanskrit; timira—of darkness; masibhih—with dark ointments; samvita—concealed; angyah—limbs; kadamba—of kadamba trees; vana—of the forest; antare—in the interior; sakhi—O friend; mura—of the Mura demon; ripum—the enemy (Krishëa); puëya—pure; atmanah—souls; sarati—go; abhisarikah—going to the rendezvous; tava—your; tu—but; paritah—everywhere; vidyut—of lightning; varnah—color; tanu—of the form; dyuti—splendor; sucayah—sharp needles; hari hari—O Radha, O Radha; ghana—intense; dhvantani—darkness; etah—these; sva—own; vairiëi—enemy; bhindate—break.
Lalita: This way. This way, dear friend. (Lalita gingerly walks) Friend, their limbs anointed with dark cosmetics, many saintly girls go to meet Krishëa in the kadamba forest. Alas, alas, the lightning splendor of Your limbs has become Your enemy. Now it breaks the darkness.
Radhika: alam imiëa uvalambheëa. pekkha paccasaëëo ba-ula-kuëòago. (iti sambhramad upasritya saparamarsham. saëskritena).
viduran na ghraëam madayati murareh parimalo
na kunje 'yam tasya sphurati nakhara-dyoti-nikaraih
tatah shanke kasminn api rahasi valli-valayite
parihasankshi priya-sakhi nilinas tava sakha
alam—enough!; imiëa—with this; uvalambheëa—with harsh words; pekkha—look!; paccasaëëah—near; ba-ula—of bakula trees; kuëòagah—grove; iti—thus; sambhramat—with agitation; upasritya—having approached; sa—with; para—great; amarsham—impatience; saëskritena—in Sanskrit; vidurat—from a great distance; na—not; ghraëam—sense of smell; madayati—excites; murareh—of Lord Murari (Krishëa, the killer of the Mura demon); parimalah—fragrance; na—not; kunje—in the grove; ayam—this; tasya—of Him; sphurati—is manifest; nakara—of the fingernails and toenails; dyoti—of the effulgence; nikaraih—by the abundance; tatah—therefore; sanke—I suspect; kasmin api—in some; rahasi—secret place; valli—by creepers; valayite—enclosed; parihasa—to joke; akaëshi—desiring; priya—dear; sakhi—O friend; nilinah—hiding; tava—your; sakha—friend.
Radha: Stop mocking Me! Look! The bakula forest stands before Us. (She walks quickly and passionately. Then She says in Sanskrit:) From afar Krishëa's fragrance does not make the nose mad with bliss. The forest is not filled with the splendor of His fingernails and toenails. Dear friend, I suspect your friend, wishing to play a joke, now hides behind some flowering vine.
Text 24 (a)
Lalita: hala, ehi. vamado kadamba-kuëòagam vi-iëamha.
Radhika: (tatha kurvati) a-i cha-illa, diööhosi diööhosi, kisa angehim anga-im sangovesi. (iti samantan mrigayati).
Lalita: sahi, munca maggaëa-ggaham. ehi keli-kuëòaga-kappaëam kuëamha.
hala—O; ehi—come here; vamadah—on the left; kadamba—of kadamba trees; kuëòagam—grove; vi-aëamha—we see; tatha—in that way; kurvati—doing; a-i—O; cha-illa—clever boy; diööhosi diööhosi—You are seen, You are seen; kisa—why?; angehim—by the limbs; anga-im—limbs; sangovesi—are You hiding; iti—thus; samantat—in all directions; mrigayati—searching; sahi—O friend; munca—please abandon; maggaëa—of searching; ggaham—obstinate whim; ehi—come here; keli-kuëòaga—of Keli-kunja; kappaëam—the decoration; kuëamha—let us perform.
Lalita: Ah! Come. Let's examine these kadamba trees on the left.
Radha: (Does that.) Clever, playful rascal, I see You. I see You. Why do You hide Your limbs? (Radha searches everywhere.)
Lalita: Friend, give up searching. Come. Let's decorate the pastime-forest.
Text 24 (b)
racaya bakula-pushpais toraëam keli-kunje
kuru varam aravindais talpam indivarakshi
upanaya shayanantam sadhu madhvika-patrim
sahacari harir adya shlaghatam kaushalam te
saëskritena—in Sanskrit; racaya—please construct; bakula—bakula; pushpaih—with flowers; toraëam—an archway; keli-kunje—in Keli-kunja; kuru—please construct; varam—excellent; aravindaih—with lotus flowers; talpam—couch; indivara—lotus; akshi—eyes; upanaya—please bring; shayana—of the couch; antam—to the edge; sadhu—nicely; madhvika—of sweet nectar; patrim—a cup; sahacari—O friend; harih—Lord Hari; adya—today; shlaghatam—may praise; kaushalam—the expertise; te—of you.
Radha: (in Sanskrit) Make a bakula-flower archway in the pastime forest. O Lotus-eyed friend, make a couch of blue lotus flowers. Place a cup of madhvika nectar by the couch. Friend, today Krishëa will praise your skill.
Text 25 (a)
Lalita: (tatha kritva) hala, pekkha. kaëho vilambedi. ta kunjam pavisi-a ëam paòivalemha.
tatha—in that way; kritva—having done; hala—O; pekkha—look; kaëhah—Krishëa; vilambedi—is delayed; ta—therefore; kunjam—the grove; pavisi-a—having entered; ëam—Him; paòivalemha—we should wait.
Lalita: (She does that.) Ah! Look! Krishëa is late. Lets enter the forest and wait for Him.
Text 25 (b)
Radhika: (parikramya. udvegam ëaöayanti. saëskritena).
ruddhah kvapi sakhi-hitartha-paraya shanke harih padmaya
praptah kunja-griham yad esa na tamiyame 'py atikramati
paulomi-ratibandhu-dië-mukham asan ha hanta saëtarpayann
unmilaty abhisara-lubdha-ramani-gotrasya shatruh shashi
(ity ubhe nishkrante).
parikramya—walking about; udvegam—agitation; naöayati—represents dramatically; saëskritena—in Sanskrit; ruddhah—obstructed; kva api—at some place; sakhi—of the friend; hita-artha—to the welfare; paraya—devoted; shanke—I suspect; harih—Lord Hari; padmaya—by Padma; praptah—attained; kunja—in the grove; griham—a cottage; yat—because; esah—He; na—not; tam—there; iyame—we should go; api—although; atikramati—he goes beyond; paulomi—of Paulomi (Saci); rati-bandhu—of the husband (Indra); dik-mukham—the direction; asau—this; ha—O; hanta—O; saëtarpayan—delighting; unmilati—is becoming visible; abhisara—a secret rendezvous; lubdha—desiring; ramaëi—beautiful young girls; gotrasya—of the community; shatruh—the enemy; shashi—the moon; iti—thus; ubhe—the two; nishkrante—exit.
Radha: (Agitated, walks about) I think that Lord Hari (Krishëa) has been somewhere stopped by Padma, who is devoted to pleasing her friend (Candravali). For this reason, even though we have come to this cottage in the grove, Krishëa has not come here (to meet us). Alsas, the moon is now rising and delighting the eastern direction, which is presided over by Indra, the husband of Paulomi. That moon is the enemy of beautiful (Young) girls who desire a secret rendezvous (With their lovers).
(Radha and Lalita exit).
(tatah pravishati krishëah).
Krishëah: (samantad avalokya).
asangah kumudakareshu shithilo bhringavalinam abhud
vikshante nija-koöarankitam ami kshoëiruham kaushikah
sankoconmukhatam prayati shanakair auttanapader dyutih
kim bhanur nanu purva-parvata-taöim aroòhum utkaëöhate
tatah—then; pravishati—enters; krishëah—Krishëa; samntat—in all directions; avalokya—looking; asangah—attachment; kumuda—of lotus flowers; akareshu—towards the multitudes; shithilah—slackened; bhringa—of bumble-bees; avalinam—of the multitudes; abhut—was; vikshante—observe; nija—own; koöara—in the hollows; ankitam—marked; ami—these; kshoniruham—tree; kaushikah—owls; sankoca—of shrinking; unmukhatam—expectation; prayati—goes; shanakaih—gradually; auttanapadeh—of the pole star (dhruvaloka); dyutih—effulgence; kim—how?; bhanuh—the sun; nanu—indeed; purva—eastern; parvata—of the mountain; taöim—the slope; aroòhum—to climb; utkaëöhate—raises the neck with eagerness.
Krishëa: (Looking in all directions). The bumble-bees are no longer enthused (to move along) the lotus flowers, and the owls are looking for the trees where their nests are placed. The light of the pole-star is gradually fading. Is the sun now eager to rise on the eastern mountain?
Text 27 (a)
(iti parikramya) na jane navina-vipralambhena sambhrita-nirbhara-samrambha kim nama pratipatsyate 'dya radha. (vimrishya) bhavatu. kesareëa naga-kesaram pratipadayishye. tad amuni naga-kesaraëi vicinuyami. (iti tatha kritva puro 'nusarpan).
iti—thus; parikramya—walking about; na—not; jane—I understand; navina—recent; vipralambhena—by dissapointment; sambhrita—held; nirbhara—great; samrambha—anger; kim nama—whether indeed?; pratipatsyate—will be attained; adya—today; radha—Radha; vimrsya—reflects; bhavatu—let it be; kesareëa—with bakula flowers; naga-kesaram—naga-kesara trees; prati—I shall attain; tat—therefore; amuni—these; naga-kesaraëi—naga-kesara flowers; vicinuyami—I shall collect; iti—thus; tatha—in that way; kritva—having done; purah—in the presence; anusarpan—slides.
(Walking about) I do not know if Radha will be greatly angry and dissapointed (Because I arrived so late at the rendezvous). (Reflects for a moment). Yes, I shall go to the grove of bakula trees and pick these flowers. (Krishëa picks some flowers and returns).
Text 27 (b)
kapaöi sa lata-kuöim imam
sakhi nagad adhunapi madhavah
iti jalpa-paritaya taya
klama-dirgha gamita katham tami
kapaöi—a cheater; sah—He; lata—of creepers; kuöim—collecting; imam—this; sakhi—O friend; na—not; agat—arrived; adhuna—now; api—even; madhavah—Lord Madhava (Krishëa); iti—thus; jalpa—iwth talk; paritaya—filled; taya—by her; klama—of weariness; dirgha—for a long time; gamita—will pass; katham—how?; tami—the night.
Radha will certainly say to her friend. "O friend, even now that cheating boy Madhava (Krishëa) has not come (To the rendezvous in this) grove of bakula trees." How will she be able to pass the night in such great distress?
(parikramya. bakula-kunjam pashyan. savishadam).
tambulam ghanasara-sankritam adah kshiptam puro radhaya
hari hanta harinmaëi-stabakito haro 'yam utsaritah
paushpi ceyam udare-saurabha-mayi cuòa nakhaih khaëòita
tasyah shamsati vipralambha-janitam kunjo 'yam antah klamam
praikramya—walking about; bakula—of bakula trees; kunjam—grove; pashyan—seeing; sa—with; visadam—depression; tambulam—betel nuts; ghanasara—with camphor; saëskritam—fashioned; adah—from there; kshiptam—thrown; purah—in front; radhaya—by Radha; hari—charming; harimaëi—with emeralds; stabakitah—clustered; harah—necklace; ayam—this; udara—great; saurabha—sweet fragrance; mayi—consisting of; cuòa—crown; nakhaih—by the fingernails; khaëòita—ripped apart; tasyah—of her; shamsati—proclaims; vipralambha—from separation; janitam—produced; kunjah—grove; ayam—this; antah—internal; klamam—distress.
(Walking about, Krishëa sees the grove of bakula trees and laments). "Radha has thrown away the mixture of betel nuts and camphor, and she has discarded her charming necklace of emeralds. With her firngernails she has ripped apart the fragrant crown of flowers". In this way the grove of trees proclaims Radha's great distress, (Which was caused by My inability to arrive at the place of rendezvous).
Text 29 (a)
(ity agrato gatva). iyam eva radhayah suryaradhana-vedika. tad asyah parshvam asadayami. (iti parikramati).
iti—thus; agratah—in front; gatva—having gone; iyam—this; eva—certainly; radhayah—of Radha; surya—of the sun-god; aradhana—for the worship; vedika—altar; tat—therefore; asyah—of her; parshvam—side; asadyami—I shall go; iti—thus; parikramati—He walks.
(Walking ahead). This is the altar where Radha worships the sun-god. I shall go near to it. (He approaches the altar).
Text 29 (b)
(tatah pravishati sakhibhyam anugamyamana radha).
Radha: (puro vilokya) hala lalide, pekkha ve-i-a-ëediööho so tujjha cha-illo.
Lalita: sahi, kancaëa-paòimevva kaöhora hohi.
tatah—then; pravishati—enters; sakhibhyam—by two friends (Lalita and Vishakha); anugamyamana—followed; radha—Radha; purah—ahead; vilokya—looking; hala—O; lalide—Lalita; pekkha—look; ve-i-a—to the altar; ëediööhah—near; sah—He; tujjha—your; cha-illah—lover; sahi—O friend; kancana—golden; paòimevva—like a deity; kaöhora—stiff; hohi—please become.
(Accompanied by her two friends, Lalita and Vishakha, Radha enters).
Radha: (Looking ahead) O Lalita, look. Your handsome young man is standing near the altar.
Lalita: O friend, become like a stiff golden deity.
Text 29 (c)
Krishëah: purastad esha saha-parivara priya. tad idam uööankayami. (ity upasritya) lalite, sadhu sadhu. drishöam tava garishöham atra durmantra-tantra-caryayam acaryatvam. yad adya bhavatya kesara- nikunja-vedyam aham ujjagara-vrata-diksham parigrahito 'smi.
purastat—in front; esha—she; saha—accompanied; parivara—by her friends; priya—beloved; tat—therefore; idam—this; uööankayami—I shall play the part; iti—thus; upasritya—approaching; lalite—O Lalita; sadhu sadhu—excellent, excellent; drishöam—observed; tava—your; garishöham—most significant; atra—here; durmantra—of bad advice; tantra—of the network; caryayam—in the activity; acaryatvam—the state of being a teacher; yat—because; adya—today; bhavatya—by you; kesara—of naga-kesara trees; nekunja—in the grove; vedyam—in the sacred area; aham—I; ujjagara—of being awake; vrata—in the vow; diksham—initiation; parigrahitah-asmi—I have accepted.
Krishëa: Here are My beloved (Radha) and her friend (Lalita). I shall go to speak to them. (Krishëa approaches them). O Lalita, well-done, well-done. Now I can see how you are an expert teacher in the matter of giving bad advice. At this altar in the grove of naga-kesara trees, you have now initiated Me in the vow of staying awake (All night).
Text 29 (d)
Lalita: (sasambhramam. sanskrtena). aho vaiparityam, aho vaiparityam.
kuhaka vasanti sakhi tvaya rahite
trutim api kalpadhikam mene
sa—with; sasambhramam—anger; sanskrtena—in Sanskrit; ahah—O; vaiparityam—treachery; ahah—O; vaiparityam—treachery; kesara—of naga-kesara trees; nikunja—of the grove; kuhare—in the interior; kuhaka-kuhaka—onomatopectic sound of the rooster); vasanti—staying; tvaya—by You; rahite—abandoned; shrita—rested; nava—fresh; pallava—of blossoms; sayana—couch; trutim—for a moment; api—even; kalpa—than a kalpa; adhikam—longer; mene—considers.
Lalita: Aha, what treachery, what treachery! You did not arrive until the rooster crowed! Resting on this couch of newly blossomed flowers, my friend Radha waited for You in the middle of this grove of naga-kesara trees. In Your abscense, she considered a fraction of a second to be longer than a kalpa.
Krishëah: (kapaöenaöopam naöayan). aho, dambha-bhararambheshu gambhiryam asyah. (nagara-kesaraëy uddhaöya darshayan).
aratim mama nishi pashyan
aklamyan naga-kesaro 'py asakrit
ebhir netrair ivodasraih
kapaöena—with fraud; aöopam—pride; naöayan—represents dramatically; ahah—O; damha—of cheating; bhara—of the abundance; arambheshu—in the activities; gambhiryam—depth; asyah—of her; nagara-kesaraëi—bakula flowers; uddhatya— ; darshayan—showing; aratim—distress; mama—My nishi—in the night; pashyan—seeing; aklamyam—became unhappy; naga-kesarah—the bakula tree; api—even; asakrit—continually; vigalat—trickling; madhubhih—with honey; kusumaih—by flowers; ebhih—with these; netraih—eyes; iva—as if; udgesraih—weeping.
Krishëa: (with feigned arrogance) Ah, she is expert at deception. (Krishëa points to the bakula flowers). Tonight, seeing My grief, this bakula tree also became unhappy. The flowers of that tree continually drip honey, and they appear to be eyes continually shedding tears.
Text 31 (a)
Lalita: ammahe, dhuttataëam, jam ba-ula-va-iëa kesareëa daëim naga-kesaro vikkhavi-adi.
ammahe—O; dhuttataëam—deception; jam 'yat—because; ba-ula—bakula; va-iëa—signifying; kesareëa—by the inner part of the flowers; daëim—now; naga-kesarah—Naga-kesara; vikkhavi-adi—is understood.
Lalita: Ah, Krishëa is deceptively clever. He used the word kesara“ to mean both the inner part of the bakula-flowersh, and also to mean the naga-kesara“ flowers.
Note: Kesara, can mean both the inner part of any flower, or also the naga-kesara“ flower.
Text 31 (b)
Krishëah: (savyaja-nirvedam)_ lalite, vishramyatu taveyam shabdarthasyatha-kalpanena vacana-cancuta. atha va kas te doshah. drishöa-doshabhir api gaurangibhih sauhardam abhilashyata mayaivaparaddham.
Vishakha: ko kkhu gaurangiëam diööho tu-e doso.
sa—with; vyaja—deception; nirvedam—loathing; lalite—O Lalita; vishramyatu—should stop; tava—your; iyam—this; shabda—of the words; arthasya—of the meaning, in another way; kalpanena—by the interpretation; vacana—words; cancuta—expertise; atha va—or perhaps; kah—faults; api—although; gaurangibhih—fair complexioned gopis; sauhardam—friendship; abhilashyata—desiring; maya—by Me; eva—indeed; aparaddham—offense; kah—what?; kkhu—indeed; gaurangiëam—of the fair-complexioned gopis; diööhah—seen; tue—by you; dosah—fault.
Krishëa: (Pretending to be disgusted) O Lalita please stop this clever playing with words. It is not you who are at fault, but I, who desire to befriend such golden complexioned gopis, who are so eager to find fault with Me.
Vishakha: What fault do You see in the gopis?
Note: drsta-dosabhih“ can be interpreted to mean one who finds fault with othersh, or one who is himself full of fault. Krishëa intended the first, and the gopi assumes the second meaning.
Text 31 (c)
Krishëah: pashya pashya.
vidadhati na krishëa-mudire
gauryah kshaëa-rocisah sthairyam
pashya pashya—look, look; nava—fresh; rasa—nectar; dhariëi—holding; madhure—charming; dharaëi—of the earth; saëtapa—burning distress; hari—removing; visphuraëe—manifestation; vidadhati—grants; na—not; krishëa—of Krishëa; mudire—to the cloud; gauryah—golden; kshaëa-rocishah—momentary flashes of lightning; sthairyam—steadiness.
Krishëa: Look, look. Full of fresh nectarean water, a charming dark cloud has appeared to alleviate the burning heat of the earth. Golden flashes of lightning appear in that cloud for a brief moment only.
(Alternate translation:) Full of the nectarean mellow of conjugal love, the charming dark cloud of Krishëa has appeared to alleviate the burning distreses of the earth. The golden flashes of lightning which are the gopis stay in that cloud for a brief moment only.
Text 32 (a)
Vishakha: tassim kulisa-kuòa-kaöhora-ceööhide taëam komalaëam jutta jjevva tadha pa-utti.
tassim—in this; kulisa—thunderbolt; kuòa—excellent; kaöhora—sharp; ceööhide—performed; taëam—of them; komalaëam—delicate; jutta—appropriate; jjevva—certainly; tadha—in that way; pa-utti—activity.
Vishakha: It is proper for the delicate gopis to act in that way, for Krishëa is as harsh as a thunderbolt.
Text 32 (b)
Lalita: visahe, suëahi kampi gaham. (iti bhringam darshayanti).
campa-aladam siëiddham ëa-a-kancaëa-kanti-kusuma-gaurangi
mukkhi-a dhava-i bhamare cavala cci-a samala honti
visahe—O Vishakha; suëahi—please hear; kampi—a certain; gaham—song; iti—thus; bhringam—the bumble-bee; darsayati—indicates; campa-a—campaka; ladam—creeper; siëiddham—charming; ëa-a—fresh; kancaëa—gold; kanti—splendor; kusuma—flowers; gaurangi—with a fair complexion; mukki-a—having abandoned; dhava-i—runs; bhamarah—bumble-bee; ca ala—quickly moving lightning; cci-a—as if; samala—dark; honti—are.
Lalita: O Vishakha, please listen to this song. (Lalita points to a bumble-bee). This campaka creeper is full of yellow flowers as splendid as fresh gold. Running away from this creeper, this bumble-bee appears to be like streaks of quickly moving black lightning.
(In this allegory Radha is compared to the golden campaka creeper, and Krishëa to the black bumble-bee).
Text 33 (a)
Krishëah: (smitva) satyam vagminam asi rajni.
Lalita: (apavarya) suööhu, ëisankena, va-aëaòovena aëavaraddham jjevva ëa takkemi.
smitva—smiling; satyam—in truth; vagminam—of those who are eloquent; asi—you are; rajni—the queen; apavarya—concealing; suööhu—very well; nisankena—fearless; va-aëa—of words; aòovena—with pride; aëavaraddham—without offense; jjevva—indeed; ëa—not; takkemi—I conjecture.
Krishëa: (Smiles) You are certainly the queen of all those who are eloquent.
Lalita: Because You are speaking so proudly and fearlessly, I do not think that You are free from fault.
Text 33 (b)
vamyad bhaven na viratir nava-yauvananam
vama-bhruvam iti jana-srutir avyalika
caöuni kartum ucitani vimucya khinnam
mam pratyutadya yad amur aparam jayanti
vamyat—because of contrariness; bhavet—there may be; na—not; viratih—cessation; nava—new; yauvananam—of they youths; vama—left; bhruvam—of the eyebrows; iti—thus; jana—of the living entities; srutih—news; avyatika—honest; caöuni—eloquent or flattering words; kartum—to perform; ucitani—appropriate; vimucya—having released; khinnam—depressed; mam—Me; pratyuta—on the contrary; adya—now; amuh—they; aparam—who has no superior; jayanti—conquer.
Krishëa: There is a very truthful common saying that young girls with beautiful crooked eyebrows will not give up their nonsense. Although no one is superior to Me, these girls have conquered Me with their expert clever words.
Text 34 (a)
Lalita: (apavarya) hala, saccam ujja-ara-khinno kaëho. ta pasida.
Radhika: (krishëam apangenavalokya) muddhaëam vancala-kala-vi-addhosi.
apavarya—concealing; hala—O; saccam—in truth; ujja-ara—by staying awake; kkhinnah—unhappy; kaëhah—Krishëa; ta—therefore; pasida—please be merciful; krishëam—Krishëa; apangena—with a sidelong glance; avalokya—looks; muddhaëam—of these who are bewildered; vancana—at cheating; kala—at the art; vi-addhosi—you are expert.
Lalita: (Concealing her actual intention) Be merciful to Krishëa. He is depressed because He has stayed awake (all night).
Radha: (Glances at Krishëa from the corner of her eyes) You are expert at the art of cheating the foolish.
Text 34 (b)
Krishëah: (sanandam) phulla-kesara-kalapenamuna dhammilla-shris tavalankriyatam. vandhyatam mam vindatu mama prayasah. (iti puöikam uddhaöya) priye, pashyamuni sugandhinam agresaraëi kesaraëi yair aham sadyah suvasito 'smi.
sa—with; anandam—bliss; phulla—blossomed; kesara—of naga-kesara flowers; kalapena—with a bundle; amuna—with this; dhamilla—of the braided hair; shrih—beauty; alankriyatam—may be ornamented; vandhyatam—uselessness; ma—may not; vindatu—find; mama—My; prayasah—effort; iti—thus; puöikam—package; uddhatya—opens; priye—O beloved; pashya—just see; amuni—these; sugandhinam—of those which are fragrant; agresaraëi—best; kesaraëi—kesara flowers; yaih—by which; sadyah—at this moment; suvasitah—aromatic; asmi—I am.
Krishëa: (blissful) These blossomed kesara flowers shall decorate your braided hair. Please do not make My efforts go in vain. (Krishëa opens the package of flowers) O beloved, look at these kesara flowers, the best of all fragrant things. I have now become aromatic (By holding these flowers).
Text 34 (c)
Radhika: (sanarma-smitam) ëuëam canda-ali-parimaleëa vasidosi tumam.
Krishëah: priye, parihasikany api te vacamsi na kadacid api vyabhicaranti. yad adya mad-angatas candravali-saurabhyam udancati.
sa—with; narma—joking; smitam—smile; ëuëam—at this moment; canda-ali—of Candravali; parimaleëa—by the fragrance; vasidosi—you have become aromatic; tumam—You; priye—O beloved; parihasikani—joking; api—even; te—your; vacamsi—words; na—not; kadacit—ever; api—even; vyabhicaranti—offend; yat—because; adya—today; mat—My; angatah—from the body; candravali—of Candravali; saurabhyam—sweet aroma; udancati—arises.
Radha: (Angrily turning away) O Lalita, did you hear that?
Krishëa: (Smiling) O beloved, why have you become so impatient simply because these two words are homonymous? By saying the word Candravali, I meant camphor.
Text 34 (e)
Radhika: (sasmitam) samappehi puppha-im. (iti paöancalam prasharayati)
Krishëah: (radha-mukham prekshya. svagatam). hanta, vibhrama-maëòitasya cilli-kodaëòasya taëòava-kala.
sa—with; smitan—a smile; samappehi—pleas give; puppha-im—the flower; iti—thus; paöa—of the sari; ancalam—the corner; prasarayati—extends; radha—of Radha; mukham—the face; prekshya—observing; svagatam—aside; hanta—O; vibhrama—with restlessness; maëòitasya—decorated; cilli-kodaëòasya—eyebrows; taëòava—in fierce dancing; kala—artistry.
Radha: (smiling) Give me the flowers. (Radha extends the corner of her sari).
Krishëa: (Looking at Radha's face, Krishëa says to Himself:) Ah, decorated with restlessness, the eyebrows of Radha are expert in the art of violent dancing.
Text 34 (f)
Vishakha: (janantikam) lalide, pekkha pekkha. sammohaëeëa rahi-e kaòakkha-baëeëa lakkhi-kido puppha-puòi-a-e saddham ancale diëëampi veëum na jaëadi kaëho.
jana-antikam—whispering; lalide—O Lalita; pekkha pekkha—look, look; sammoheëeëa—enchanting; rahi-a—of Radha; kaòakkha—of the sidelong glances; baëena—by the arrow; lakkhi—into a target; kidah—made; puppha—of flowers; puòi-a-e—with the package; saddham—accomapanied; ancale—in the corner; diëëam—placed; pi—although; venum—flute; na—not; jaëadi—perceive; kaëhah—Krishëa.
Vishakha: (Whispers) O Lalita, look, look. Because Raòha has aimed the enchanting arrow of her sidelong glance at Krishëa, Krishëa has become bewildered and He is not aware that He has placed His flute on the edge of Radha's sari, along with the package (Of flowers).
Text 34 (g)
nidragamo 'pi sakhi nanda-sutasya hartum
yam shaknuvanti na parah pashu-pala-balah
dhanya kaöaksha-kalaya kila mohayanti
tam radhikadya purato muralim jahara
sanshkritena—in Sanskrit; nidra—of sleep; agame—on the arrival; api—even; sakhi—O friend; nanda—of Nanda Maharaja; sutasya—of the son (Krishëa); hartum—to steal; yam—which (flute); shaknuvanti—are able; na—not; parah—transcendental; pashu—of the cows; pala—protectors; balah—boys; dhanya—fortunate; kaöaksha—of sidelong glances; kalaya—with the art; kila—indeed; mohayanti—bewildering; tam—that (flute); radhika—Radha; adya—now; puratah—in the presence; muralim—flute; jahara—has stolen.
Lalita: The transcendental cowherd boys are not able to steal away Krishëa's flute, even when He sleeps. The fortunate Radha has nevetheless bewildered Krishëa with the art of her sidelong glances, and she has stolen away the flute, before His very eyes.
Radhika: (apavarya, sanshkritena).
ya nirmati niketa-karma-racanarambhe kara-stambhanam
ratrau-hanta karoti karshaëa-vidhim ya patyur ankad api
gauriëam kurute gurori api puro ya nivi-vidhvamsanam
dhurta gokula-mangalasya murali seyam mamabhud vasha
apavarya—aside; saëskritena—in Sanskrit; ya—which (flute); niketa—household; karma—duties; racana—performance; arambhe—in the beginning; kara—of the hands; stambhanam—numbing; ratrau—at night; hanta—indeed; karoti—causes; karshana—of attracting; vidhim—activity; ya—which; patyuh—of the husband; ankat—from the lap; api—even; gauriëam—of the fair-complexioned gopis; kurute—causes; guroh—of the superiors; api—even; purah—in the presence; ya—which; nivi—of the tight belts; vidhvamsanam—undoing; dhurta—rascal; gokula—of Gokula; mangalasya—of the auspiciousness (Krishëa); murali—flute; sa-iyam—this very; mama—my; abhut—became; vasha—controlled.
Radha: (Aside) This is is the same flute which causes the gopis' hands to become numbed when they perform their household duties. At nightime this flute attracts the golden-complexioned gopis, even from their husband's laps. This flute loosens the gopis tight belts, even in the presence of their superiors. This rascal flute, the property of Krishëa, the auspiciousness of Gokula, is now under my control.
Text 36 (a)
are kuranga, diööho tumhehim pi-a-vaasso.
Krishëah: katham milaty esha madhumangalah.
nepathye—from the wings; are—O; kurangah—deer; ditöhah—seen; tumhehim—by you; pi-a—dear; vaassah—friend; katham—how is it?; milati—meets; eshah—this; madhumangalah—Madhumangala.
Madhumangala: (From offstage) O deer, you are now looking at my dear friend.
Krishëa: How is it that Madhumangala is coming here?
Text 36 (b)
Madhumangalah: sudam subala-muhado jam ajja ëi-unja-majjhe rahi-a jagarida asi. ta gadu-a ëam pocchaha-issam.
pravishya—entering; malya—with a garland; hastah—in hand; sudam—heard; subala—of Subala; muhadah—from the mouth; jam—because; ajja—now; ëi-unja—of the forest; majjhe—in the middle; rahi-a—Radha; jagarida—awake; asi—was; ta—therefore; gadu-a—having gone; ëam—to that place; pocchaha-issam—I shall give courage.
(Madhumangala enters, holding a garland in his hand).
Madhumangala: I have heard from the mouth of Subala, that Radha is staying awake in the middle of the forest. I have therefore come here to give her courage.
Text 36 (c)
(ity upasritya, sanshkritena)
sphurita-kaöaka-kantir dhatubhir maëòitangah
akhila-bhuvana-tungo netra-bhangya vikrishtah
katham iva sakhi radhe krishëa-shailas tvayabhut
iti—thus; upasritya—approaching; saëskritena—in Sanskrit; avirala—dense; vana—of forest flowers; mala—by the garland; alankrita—ornamented; snigdha—charming; murtih—form; sphurita—manifested; kaöaka—golden bracelets; kantih—splendor; dhatubhih—with colorful mineral pigments; maëòita—decorated; angah—limbs; akhila—all; bhuvana—planets; tungah—above; netra—of the eyes; bhangya—by the wave; vikrishtah—stolen; katham—how is it?; iva—just as; sakhi—O friend; radhe—O Radha; krishëa—black; shailah—a stone; tvaya—because of You; abhut—has become.
(Madhumangala approaches Radha).
My dear fried Radha, Krishëa appears very handsome, garlanded with many forest flowers. He wears glistening golden bracelets, and His limbs bear many decorative lines drawn in (colorful) mineral pigments. He is the supreme monarch of all the worlds. How is it, that attracted by the wave of your sidelong glance, He has become stunned, and now appears as a great black stone.
Text 37 (a)
Krishëah: priye, vetti me tamas tami-sambhavam vayasyo 'yam.
Radhika: ajja, damsidam ajja sineha-dakkhiëam jam kantara-sindhu-saëtara-kosala-im sikkhavidamhi.
radhika—Radha; smayate—smiles; priye—O beloved; vetti—understands; me—My; tamah—unhappiness; tami—of night; sambhavam—produced; vayasyah—friend; ayam—this; ajja—O pious boy; damshidam—shown; ajja—now; sineha—of love; dakkhiëam—kindness (or skill); jam—because; kantara—of the forest; sindhu—in the ocean; saëtara—passing over; kosala-im—expertness; sikkhavidamhi—I am instructed.
Krishëa: O beloved, my friend Madhumangala knows how I have become unhappy by the arrival of night.
Radha: O noble boy, you have shown great skill in the art of loving affairs, and in this way You have instructed me in the art if how to expertly cross over the great ocean which is this forest.
Text 37 (b)
Madhumangalah: sahi, sahu amhe uvalahijamha, jehim calantim pi vallim tumam takki-a vane vasantehim sadankam ja-aridam. tumhe kkhu salahi-jjha-i, jahim pi-a-vaassa-sanaham pi kunjam anibbandhena sunnam bhani-a ghare pavisanthihim niradankam suttam.
sahi—O friend; sahu—well; amhe—we; avalahijamha—are reproached; jehim—by whom; calamtim—moving; pi—even; vallim—creeper; tumam—You; takki-a—having considered; vane—in the forest; vasanatehim—by those who reside; sadankam—with a fever; ja-aridam—awake; tumhe—you; kkhu—indeed; salahi-jjha-i—should be praised; jahim—by those who; pi-a—dear; vaassa—friend; sa—with; naham—the lord; pi—even; kunjam—grove; anibbandhena—without objection; sunnam—empty; bhani-a—having become; ghare—in the cottage; pavisantihim—entering; niradankam—without fever; suttam—asleep.
Madhumangala: It is right that You rebuke us. You must have remained awake thinking the movements of the creepers was due to the wild animals in the forest. All glories to You. Now You know there are no wild animals here. In the forest, there is only my dear friend Krishëa. Now, free from any fear, You can go home and go to sleep.
Text 37 (c)
radhika: ajja kim evvam bhanasi. (iti sanskrtena)
nikunjam kamsarer bata nakhara-candravali-ruci-
cchatagras tam nagre muhur api yada preksitam abhut
tada sadyah prodyah-vidhu-hata-kavi-kranti-hataya
maya labdharanye klama-nivaha-purna parinatih
ajja—noble sir; kim—why?; evvam—in this way; bhanasi—do you speak; iti—thus; sanskrtena—in Sanskrit; nikunjam—the forest grove; kamsa-arateh—of Krishëa, the enemy of Kamsa; bata—indeed; nakhara—of the nails; candra—of moons; avalih—the series; ruci—of the splendor; chata—abundance; agrah—the tip; tam—that; na—not; agre—at the beginning; muhuh—for a moment; api—even; yada—when; preksitam—seen; abhut—was; tada—then; sadyah—at once; prodyat—rising; vidhu—by the moon; hata—struck; kavi—of the sun; kranti—the path; hataya—struck; maya—by Me; labdha—attained; aranye—in the forest; klama—of exhaustation; nivaha—with an abundance; purna—filled; parinatih—transformation.
Radhika: Noble sir, why do you speak in this way? When I can no longer see the moonlight of Krishëa's toenails in this forest, then the ordinary moonlight overwhelms Me and I become filled with despair.
Text 38 (a)
madhumangalah: (svagatam) aho kaham kudanga-sangada candra-ali bi rahi-a-e ditthatthi. ta vancanam mukki-a nam ukkarisa-issam. (prakasam sanskrtena)
klantena te vadana-candram anakalayya
svagatam—aside; ahah—ah!; kaham—how?; kudanga—to the forest grove; sangada—met; candra-ali—Candravali; bi—even; rahi—by Radha; ditthatthi—was seen; ta—this; vancanam—treachery; mukki-a—abandoning; nam—Her; ukkarisa-issam—I shall flatter; prakasam—openly; sanskrtena—in Sanskrit; klantena—with despair; te—of You; vadana—of the face; candram—the moon; anakalayya—not seeing; gokula—of Gokula; purandara—of the king; nandanena—by the son; candravali—Candravali.
Madhumangala: (aside) Alas, Radha has seen Candravali meet Krishna in this forest-grove. I will give up trying to cheat Her. I shall simply flatter Her. (He openly says in Sanskrit:) O beautiful girl, when He could not see You, Gokula's prince Krishna became filled with despair. In that condition Candravali . . .
Text 38 (b)
(krsno bhru-sanmjnaya nivarayati).
(sarvah parasparam sakutam avalokayanti).
iti—thus; ardha—halfway; ukte—spoken; krishnah—Krishna; bhru—of the eyebrows; samjnaya—with a signal; nivarayati—checks; sarvah—everyone; parasparam—mutually; sa—with; akutam—meaning; avalokayanti—looks.
(Halfway through Madhumangala's verse Krishna knits His eyebrows, signaling him to stop. Struck with wonder, everyone gazes at each other).
Text 38 (c)
madhumangalah: (svagatam) hanta hanta kidam ma-e bamhana-batu-ocidam cabalam.
svagatam—aside; hanta—alas!; hanta—alas!; kidam—done; ma-e—by me; bamhana—of a brahmana; batu—boy; ocidam—proper; cabalam—recklessness.
Madhumangala: (aside) Alas! Alas! I am a brahmana boy who has spoken very recklessly!
Text 38 (d)
krishnah: (vibhavya) vibhavari-bhavam me variyah kastam baspa-ruddha-kantho 'yam samvrttah. tad aham eva vakyam samapayami. (iti smitva)
sa drsyatah katham api ksapita ksapeyam
vibhavya—reflecting; vibhavari-bhavam—the night; me—of Me; variyah—long; kastam—painful; baspa—with tears; ruddha—choked; kanthah—whose throat; ayam—he; samvrttah—is; tat—therefore; aham—I; eva—certainly; vakyam—the statement; samapayami—shall complete; iti—thus; smitva—smiling; candra—of moon; avalina—entered; nayana—of the eyes; antataya—by the corner; kila—indeed; asya—of that; sa—she; drsyatah—by the sight; katham api—somehow; ksapita—passed; ksapa—the night.
Krishna: (Reflecting) I have had a long night. Madhumangala is so exhausted that his throat is now choked with tears. I shall complete the verse he has begun. (Smiles) Madhumangala meant to say: "The shining of the moon entered the corner of His eyes and reminded Him of Radha. Only in this way was Krishna able to pass the night".
Text 39 (a)
madhumangalah: pi-a-assa savannosi. kim ti maha hi-a-atthidam pajjhaddham na janissasi.
pi-a-dear; va-assa—O friend; savannosi—You are omniscient; kim—how?; ti—thus; maha—my; hi-a-a—in the heart; tthidam—situated; pajjha—of the verse; addham—the other half; na—not; janissasi—You will know.
Madhumangala: Dear friend, You are omnicient. Why should You not know the second half of the verse I kept in my heart?
Text 39 (b)
lalita: rahe ajja bi sandiddhasi. pekkha rati-vilasa-pisuna-im na-arassa canga-im anga-im. (iti sersyam sanskrtena)
bale gokula-yauvata-stana-tati-dattardha-netrad itah
kamam syama-sila-vilasi-hrdayac cetah paravartaya
vidmah kim na hi yad vikrsya kulajah kelibhir esa striyo
dhurtah sankulayan kalanka-tatibhir nihsankam unmuncati
rahe—O Radha; ajja—now; bi—even; sandiddhasi—You are bewildered; pekkha—look!; rati—amorous; vilasa—of pastimes; pisuna-im—the signs; na-arassa—of this rake; canga-im—handsome; anga-im—limbs; iti—thus; sa—with; irsyam—anger; sanskrtena—in Sanskrit; bale—O young girl; gokula—of Gokula; yauvata—of the girls; stana-tati—on the breasts; datta—placed; ardha-netrat—sidelong glances; itah—from Him; kamam—voluntarily; syama-sila—sapphires; vilasi—splendid; hrdayat—chest; cetah—heart; paravartaya—turn; vidmah—we know; kim—whether?; na—not hi—indeed; yat—which; vikrsya—attracting; kulajah—pious; kelibhih—with pastimes; striyah—girls; dhurtah—rake; ankulayan—filling; kalanka-tatibhih—with impurities; nihsankam—without fear; unmuncati—abandon.
Lalita: Radha, now You are bewildered. Look at how the handsome limbs of this rake bear these marks of amorous pastimes. (Angry, she says in Sanskrit:) My dear girl, turn Your heart from this Krishna, whose chest is as splendid as sapphire and whose sidelong glances rest on the breasts of the young girls of Gokula. Do we not already know how this rake Krishna attracts respectable girls, pollutes them, and then fearlessly leaves them.
Text 40 (a)
radhika: haddhi haddhi sutthu vidambidamhi.
haddhi—alas!; haddhi—alas!; sutthu—completely; vidambidamhi—I have been cheated.
Radhika: Alas! Alas! I have been cheated!
Text 40 (b)
krishnah: priye mudhaiva mam dusayasi.
priye—O beloved; mudha—needlessly; eva—certainly; mam—Me; dusayasi—You rebuke.
Krishna: Beloved, You rebuke Me without any good reason.
Text 40 (c)
radhika: (sopalambham, sanskrtena).
muktantar-nimisam madiya-padavim alokamanasya te
jane kesara-renubhir nipatitaih soni-krte locane
sitaih kanana-vayubhir viracito bimbadhare ca vranah
sankocam tyaja deva daiva-hataya na tvam maya dusyase
sa—with; upalambham—censure; sanskrtena—in Sanskrit; mukta—released; antah—within; nimisam—blinking; madiya—My; padavim—path; alokamanas ya—looking; te—of You; jane—I know; kesara—of Kesara flowers; renubhih—with the pollen; nipatitaih—fallen; soni-krte—reddened; locane—eyes; sitaih—cold; kanana—in the forest; vayubhih—by the winds; viracitah—made; bimba—bimba fruit; adhare—on the lips; ca—also; vranah—the wound; sankocam—fear; tyaja—give up; deva—O Lord; daiva—by destiny; hataya—struck; na—not; tvam—You; maya—by Me; dusyase—are rebuked.
Radhika: (taunting Him, She says in Sankrit:) I know that Your eyes are red because some pollen fell in them when, without blinking, You searched for the path to come to Me, and I know that the wound on Your bimba fruit lips was created by the cold forest wind. My Lord, do not be afraid. I am not criticizing You. I have already been attacked by My own destiny.
Text 41 (a)
krishnah: priye tavadhinasya me sankoso 'py alankarayaiva.
priye—O beloved; tava—to You; adhinasya—submissive; me—of Me; sankocah—fear; api—even; alankaraya—to decorate; eva—certainly.
Krishna: Beloved, I am Your submissive servant. My fear is fear to decorate You with ornaments.
Text 41 (b)
radhika: sahino savva-lo-a-vikkhadosi. kadham mamahino duvissasi.
sahinah—independent; savva—all; lo-a-in the worlds; vikkhadosi—You are famous; kadham—how is it?; mama—on Me; ahinah—dependent; duvissasi—You will be.
Radhika: In all the worlds You are famous as the supreme independent. How is it possible for You to become the submissive, dependent servant of Me?
Text 41 (C)
krishnah: tavadhino naham eva kevalo 'smi. kintu te mama dasavataras ca. tatha hi
cancan-mina-vilocanasi kamathotkrsta-stani sangata
krodena sphurata tavayam adharah prahlada-samvardhanah
madhyo 'sau bali-bandhano mukha-ruca ramas tvaya nirjita
lebhe shri-ghanatadya manini manasy angi-krta kalkita
tava—to You; adhinah—subordinate; na—not; aham—I; kevalah—alone; asmi—am; kintu—but; te—They; mama—My; dasa—ten; avatarah—incarnations; ca—also; tatha hi—furthermore; cancat—moving; mina—fish; vilocana—eyes; asi—You are; kamatha—tortoise; utkrsta—beautiful; stani—breasts; sangata—met; krodena—with the middle; sphurata—manifesting; tava—of You; ayam—this; adharah—lips; prahlada—happiness; samvardhanah—increasing; madhyah—waist; asau—this; bali-bandhanah—three folds of skin known as tri-bali; mukha—of the face; ruca—with the splendor; ramah—beautiful girls; tvaya—by You; nirjitah—are defeated; lebhe—attained; shri—of beauty; ghanata—intensity; manini—O noble girl; manasi—in the heart; angi-krta—accepted; kalkita—quarrelsomeness.
Krishna: I am not alone in being Your surrendered servant. My ten incarnations are also Your servants. My fish incarnations Matsya serves the restless fish of Your eyes. My turtle incarnation Kurma serves the two beautiful turtles of Your breasts. My boar incarnation Varaha serves the line of hairs between Your breasts. My Nrsimha incarnation, who delights Prahlada Maharaja, serves Your delightful lips. My Vamana incarnation, who bound Bali Maharaja with ropes, serves Your waist, which is with the folds of skin known as tri-bali. My incarnation of Ramacandra, Parasurama, and Balarama, are subdued by the beauty of Your face, which also defeats the splendor of all beautiful girls. My incarnation of Buddha serves the loveliness of Your body. O noble girl, My incarnation of Kalki serves the crooked anger You harbor in Your heart.
Note: The following ambiguous words conceal the names of the ten incarnations: mina (fish or Matsya), kamatha (turtle or Kurma), kroda (middle or the boar Varaha), prahlada-samvardhana (delightful, or He who increases the pleasure of Prahlada) bali-bandhana (Vamana, who bound Maharaja Bali, or the folds of skin known as tri-bali) rama (Ramacandra, Parasurama, Balarama, or beautiful girls) ghana (Buddha, or intensity), and kalki (Kalki, or one who is impure).
Text 42 (a)
radhika: hala lalide a-annidam tu-e.
hala—O; lalide—Lalita; a-annidam—heard; tu-e—by you.
Radhika: Ah! Lalita! Now you have heard.
Text 42 (b)
lalita: kanha tuha odara tu-ammi jjevva vasanti. jam edanam cinha-im disanti. (sanskrtena)
vanyantar-guru-capalam kathinata go-sangatih panije
krauryam dambha-rucih sucandi-madhura lankesa-vidhvamsanam
asrantonmada-laulyam ista-kadanam nistrimsa-lilonnatir
minendrady-avatarah sphutam ami bhrajanti bhagas tvayi
kanha—O Krishna; tuha—of You; odara—the incarnations; tu-ammi—in You; jjevva—certainly; vasanti—reside; jam—which; edanam—of them; conha-im—the marks; disanti—are seen; sanskrtena—in Sanskrit; vanya—in the water (or forest); guru—great; capalam—restlessness; kathinata—hardness; gah—the earth; sangatih—touching; panije—fingernails; krauryam—cruelty; dambha-rucih—expertize at cheating; su-candi-madhura—ferocity; lanka-isa—of Ravana, the king of Lanka; vidhvamsanam—the destruction; asranta—without fatigue; unmada-laulyam—intoxication; ista—sacrifices; kadanam—tormenting; nistrimsa—sword; lila—pastime; unnatih—raised; mina—of fish; indra—the king; adi—beginning with; avataratah—from the incarnations; sphutam—clearly; ami—they; bhrajanti—are splendidly manifested; bhagah—portions; tvayi—in You.
Lalita: O Krishna, Your incarnations all remain within Your own self. We can clearly see the symptoms of these incarnations in Your character. You possess the restlessness of Matsya, the hardness of Kurma, Varaha's touching the earth, the cruel fingernails of Nrsimha, the ferocity of Parasurama, the power to crush Ravana of Ramacandra, the continual drunkeness of Balarama, Buddha's wish to stop Vedic sacrifices, and Kalki's pastime of attacking with a raised sword. In this way Matsya and the other incarnations are all present within You.
krishnah: (sa-smitam) sakhe pasya pasya
babhuva radha duraradha
tapte mayi na cchayam
sasaka kartum visakheyam
sa—with; smitam—a smile; sakhe—O friend; pasya—look!; pasya—look!; lalita—Lalita; ajani—has become; durlalita—unfriendly; babhuva—has become; radha—Radha; duraradha—inimical; tapte—burning with pain; mayi—to Me; chayam—shade; sasaka—is able; kartum—to do; visakha—branchless tree named Visakha; iyam—this.
Krishna: (Smiles) Friend, look! Look! Lalita has become unfriendly. Radha has become My enemy. I am now burning in pain and the branchless tree named Visakha is unable to give Me any shade.
(iti batoh karan malli-dama grhitva. sa-catu-prananam).
srag iyam uru-guna te citta vithiva radhe
sucir ati-sukumari amodani ca
nakha-pada-sasi-rekha-dhamni pusnatu kantim
tava kuca-siva-murdhni svardhuni-vibhramena
iti—thus; batoh—of Madhumangala; karat—from the hand; malli—of malli flowers; dama—a garland; grhitva—taking; sa—with; catu—flattering words; pranamam—obeisances; srak—garland; iyam—this; uru-guna—very valuable; te—of You; citta—to the heart; vithi—pathway; iva—like; radhe—O Radha; sucih—splendid; ati—very; sukumari—delicate; kamam—perfectly; amodani—fragrant; ca—and; nakha—of fingernails; pada—the marks; sasi—moons; rekha—crescent; dhamni—on the abode; pusnatu—may increase; kathim—the beauty; tava—of You; kuca—of the breasts; siva—of Lord Siva; murdhni—on the head; svardhuni—of the celestial Ganges; vibhramena—as.
(Taking a garland of malli flowers from the hand of Madhumangala, Krishna bows down before Radha and speaks the following prayer:) O Radha, this very precious, splendid, exquisitely delicate, and fragrant garland is like the pathway that leads to Your heart. I pray that this garland may become like a celestial Ganges river that beautifies the Lord Siva's head of Your breasts, which are the abode of the crescent moon of passionate conjugal fingernails scratches.
(iti bhru-smajnaya visakham anukulayan malyam arpayati).
visakha: (malyam nivedayanti. sanskrtena)
yasmin netra-saroruhangana-bhuvah prapte viduram manak
sadyas te nimiso 'pi yati tulanam tanv-angi manvantaraih
tasmin kaku-parayane tava katham kamyani vamyany api
iti—thus; bhru—of the eyebrows; samjnaya—with a gesture; visakham—Visakha; anukulayan—propitiation; malyam—the garland; arpayati—gives; malyam—the garland; nivedayanti—giving; sanskrtena—in Sanskrit; yasmin—in whom; netra—of the eyes; saroruha—of lotus flowers; angana-bhuvah—from the courtyard garden; prapte—attained; viduram—far away; manak—slightly; sadyah—at once; te—of You; nimisah—the blinking of an eye; api—even; api—even; yati—attains; tulanam—equality; tanu-angi—O slender girl; manvantaraih—with many manvantara milleniums; vrnda-aranya—in Vrndavana forest; kadamba—of kadamba trees; mandapa-tata—in the pavillion; krida—of pastimes; bhara—a multitude; akhankale—the Maharaja Indra; tasmin—Him; kaku—to plaintive words; parayane—intent; tava—of You; katham—how is it?; kamyani—desireable; vamyani—contrariness; api—even.
(Moving His eyebrows, Krishna tries to gain Visakha's sympathy. He hands the garland to her and she, in turn, places the garland before Radha).
Visakha: (In Sanskrit) O slender girl, when Your lotus eyes are briefly separated from Lord Krishna, then You immediately feel each moment to be as long as many milleniums. How is it right for You to be so averse to Lord Krishna, the Maharaja Indra who enjoys transcendental pastimes in the cottage and kadamba groves of Vrndavana forest?
Text 46 (a)
radhika: (sabhyasuyam) avehi nibuddhi-e avehi.
sa—with; abhyasuyam—anger; avehi—go away; nibuddhi-e-fool; avehi—go away.
Radhika: (Angry) Go away, fool! go away!
Text 46 (b)
candrakanta-mukhi vallabho janah
arpayan muhur ayam namaskriyam
bhiksate tava kataksa-madhurim
dhuli—with dust; dhusarita—grey; candraka—of the peacock feather; ancalah—the edge; candrakanta—lotus; mukhi—face; vallabhah—dear; janah—person; arpayan—offering; muhuh—repeatedly; ayam—He; namaskrityan—obeisances; bhiksate—begs; tava—of You; kata-aksa—of the sidelong glance; madhurim—the sweetness.
Krishna: O moon-faced girl, His peacock-feather crown covered with dust, Your lover repeatedly bows down before You. He begs for the sweetness of Your sidelong glance.
Text 47 (a)
lalita: rahe jhatti kandharam paravattehi. putthado a-aredi ajji-a.
(radhika tatha karoti).
rahe—Radha; jhatti—at once; kandharam—Your neck; paravattehi—turn; putthadah—from behind; a-arehi—calls; ajji-a—the noble lady; radhika—Radhika; tatha—in that way; karoti—does.
Lalita: Radha, turn Your neck at once. Noble Jatila calls You from behind.
(Radhika does that).
Text 47 (b)
mukhara: (krishnam vilokya. sanskrtena)
vanasaktam cetah pranayati grhad yo viramayan
varenyam bandhunam pranayam api vismarayati yah
karotsange tasya tvam api sarale putri patita
pravisya—entering; krishnam—Krishna; vilokya—seeing; sanskrtena—in Sanskrit; vana—to the forest; asaktam—attached; cetah—heart; pranayati—brings; grhat—from home; yah—who; viramayan—ends; varenyam—excellent; bandhunam—of the relatives; pranayam—the love; api—also; vismarayati—causes to forget; yah—who; maha—great; dhurta—of rogues; sreni—of the multitude; guna—of the qualities; garima—the significance; vistarana—spreading; patoh—expert; kara-utsange—in the hand; tasya—of Him; tvam—You; api—also; sarale—honest; putri—O daughter; patita—have fallen.
Mukhara: (Glancing at Krishna, she says in Sanskrit:) This is the Krishna who lures the gopis from their homes into the forest and makes them forget the love of their relatives. O honest daughter, You have now fallen into the hands of this Krishna, who is more expert than a host of debauchees.
Text 48 (a)
madhumangalah: bho va-assa maruda-va-ali-kida-muhi tujjham vamsiva ettha vuddhi-a patta. ta ettha kim vilambesi.
bhah—O; va-assa—friend; maruda—wind; va-ali—garrolous; kida—made; muhi—whose mouth; tujjham—of You; vamsi—the flute; iva—like; ettha—here; vuddhi-a—the old lady; patta—has attained; ta—therefore; ettha—here; kim—why?; vilambesi—do You loiter.
Madhumangala: O friend, the wind blows through the mouth of this talkative old lady. She is as empty as the hollow shaft of Your flute. Why should You stay here?
Text 48 (b)
krishnah: sakhe kva me vamsi.
sakhe—O friend; kva—where?; me—My; vamsi—flute.
Krishna: Friend, where is My flute?
Text 48 (c)
madhumangalah: sa-am jjevva janasi kaha tti.
sa-am—personally; jjevva—certainly; janasi—You know; kaha—where; tti—thus.
Madhumangala: You know. Where is it?
Text 48 (d)
krishnah: sphutam radhikayaiva hrteyam. tad enam vina katham prasthanam ucitam.
sphutam—clearly; radhikaya—by Radha; eva—certainly; hrta—stolen; iyam—it; tat—therefore; enam—it; vina—without; katham—how?; prasthanam—going; ucitam—is proper.
Krishna: Radha has stolen it. How can I leave without it.
Text 48 (e)
madhumangalah: (sa-parihasam) bho idam kkhu amhanam garu-am bha-a-dhe-am jam imahim mohinihim tumam cori-a na sangovidosi. ta citthadu varagi murali-a. attanam ghettuna pala-amha.
sa—with; parihasam—joking; bhah—O; idam—this; kkhu—indeed; amhanam—of us; garu-am—greatest; bha-a-dhe-am—good fortune; jam—which; inahim—by these; mohinihim—beautiful girls; tumam—You; cori-a—having stolen; na—not; sangobidosi—You are hidden; ta—therefore; citthadu—may stay; varagi—the little; murali-a—flute; attanam—self; ghettuna—taking; pala-amha—let us flee.
Madhumangala: (Joking) Ah! We are lucky these beautiful girls did not steal You. Let the flute stay here. Let us simply run for our lives.
Text 48 (f)
krishnah: (sa-smitam) re vacata tistha. (iti parikramya)
tava naipunyam babhuva punyena
vamsi mama yat tvaya tvaraya
sa—with; smitam—a smile; re—O; vacata—talkative one; tistha—stand; iti—thus; parikramya—walking; sundari—O beautiful girl; bindu-cyutake—in theft (Or in the bindu-cyutaka literary ornament); tava—of You; naipunyam—expertness; babhuva—is; punyena—with purity; sasi-mukhi—O moon-faced girl; vasi-krta abhut—stolen; vamsi—flute; mama—My; yat—which; tvaya—by You; tvaraya—quickly.
Krishna: (Smiles) Talkative friend! Stop! (He walks). O beautiful girl, You are a very expert thief. O moon-faced girl, You have stolen My flute.
Note: The word "bindu-cyutaka" is also the name of a literary ornament where two words, are employed identical except save for the letter m, are employed. The use of the words "vasi" and "vamsi" in this verse is an example of bindu-cyutaka.
Text 49 (a)
radhika: (sa-bhru-bhangam) muncehi nam bhangi-e kalakarobanam. ka janadi tumha vamsi-am.
sa—with; bhru—of the eyebrows; bhangam—knitting; muncehi—give up; nam—this; bhangi-a—with crooked words; kalanka—of fault; arobanam—imposition; ka—who?; janadi—knows; tumha—Your; vamsi-am—flute.
Radhika: (knitting Her eyebrows) Give up these crooked accusations! Who knows what happened to Your flute?
Text 49 (b)
na kacid gopinam bhavati para-vitta-pranayini
satinam asmakam na vada parivadam nanu mudha
sanskrtena—in Sanskrit; na—not; kacit—one; gopinam—of the gopis; bhavati—is; para—of anyone else; vitta—the wealth; pranayini—stealing; satinam—pious; asmakam—of us; na—not; vada—say; parivadam—accusation; nanu—is it not?; mudha—uselessly; iti—thus; ardha—halfway; ukte—spoken.
Lalita: (In Sankrit) No gopi steals another's wealth. We are pious and honest. Please do not needlessly accuse us. (She stops after the first half of the verse).
Text 49 (c)
krishnah: sakhi lalite prasida. darsaya sakhyau daksinyam.
sakhi—O friend; lalite—Lalita; prasida—please be kind; darsaya—please show; sakhyau—to the friend; daksiyam—politeness.
Krishna: Friend Lalita, please be kind. Show some civilized gentleness to your friend.
Text 49 (d)
alam jalpair ebhir vraja nija-niketam drutam ito
vayam kim samvrttas tava kitava venoh pratibhuvah
alam—enough!; jalpaih—words; ebhih—with these; vraja—please go; nija—own; niketam—home; drutam—quickly; itah—from this; vayam—we; kim—whether?; samvrttah—engaged; tava—of You; kitava—O scoundrel; venoh—of the flute; pratibhuvah—guarantee.
Lalita: Enough of this talk! Quickly go home. O scoundrel, how can we guarantee that You will eventually regain Your flute?
Text 49 (e)
radhika: (vrddham asadya) ajje dittham tu-e appano nattino carittam. jam eso amhanam cori-aparivadam dedi.
vrddham—the old lady; asadya—approaching; ajje—O noble lady; dittham—seen; tu-e—by you; appanah—personally; nattinah—of the grandson; caittam—the character; jam—which; esah—he; amhanam—to us; cori-a—of being a thief; parivadam—criticism; dedi—gives.
Radhika: (Approaching the old lady) O noble lady, You have seen the character of your gradson. This person is accusing us of being a thief!
Text 49 (f)
mukhara: (sa-samrambham) re kanhada saccam ma-e vinnadam. jam natti-am rahi-am, maha tumam vidambedum laddhosi.
sa—with; samrambham—anger; re—O; kanhada—Krishna; saccam—the truth; ma-e—by me; vinnadam—is known; jam—which; natti-am—granddaughter; rahi-am—Radhikam; maha—of Me; tumam—You; vidambedum—to mock; laddhosi—You have attained.
Mukhara: (Angry) O Krishna, I know the truth. You have come here only to mock my granddaughter Radhika.
Text 49 (g)
madhumangalah: a-i nitthura-samsini nivvamsi-e vamsi-am hari-a tujjha nattini tumam duggam laddha.
a-i—O; nitthura—harsh; samsini—speaking words; nivvamsi-e—O disreputable woman; vamsi-am—the flute; hari-a—stealing; tujjha—your; nattini—granddaughter; tumam—you; duggam—fortress; laddha—has attained.
Madhumangala: O disreputable woman who speaks harsh words, Your granddaughter stole the flute, and now She takes shelter of You, the fortress to protect Her.
Text 49 (h)
krishnah: arye mukhare satyam aha vayasyah.
arye—O noble lady; mukhare—O Mukhara; satyam—the truth; aha—has spoken; vayasyah—My friend.
Krnsa: O noble Mukhara, My friend speaks the truth.
Text 49 (i)
mukhara: a-i rahi-e abi kim saccam edam.
a-i—O; rahi-e—Radhika; abi kim—whether?; saccam—the truth; edam—this.
Mukhara: O Radhika, is this true?
Text 49 (j)
radhika: ajji-e vundavane indhananam kim mahagghada jada jam hattha-metta vamsakatthi-a amhehim haridavva.
ajji-e—O noble lady; vundavane—in Vrndavana forest; indhananam—of firewood; kim—whether?; mahagghada—great; jada—manifested; jam—which; hattha—a handful; metta—only; vamsaka—of bamboo sticks; atthi-a—eitht; amhehim—by us; haridavva—was taken.
Radhika: O noble lady, in this Vrndavana forest have I taken even a handful of eight bamboo sticks for firewood?
Text 49 (k)
krishnah: (smitva) he pite pracanda-devi yadi venum na jaharthas tatah katham tad-vartayam smita-kudmalollasad utphulla-kapolandolayita-drg-antasi.
smitva—smiling; he—O; pite—fair-complexioned girl; pracanda—angry; devi—O goddess; yadi—if; venum—the flute; na—not; jaharthah—You have stolen; tatah—then; katham—why?; tat—this; vartayam—in the story; smita—smiling; kudmala—flower blossoms; ullasat—from the happiness; utphulla—blossomed; kapola—of the cheeks; andolayita—swinging to and fro; drk—of the eyes; anta—the corners; asi—You are.
Krishna: (Smiling) O fair-complexioned, angry goddess, if You have actually not stolen My flute, then why, as You tell this story, has Your sidelong glance, restlessly swinging to and fro on Your cheeks, suddenly blossomed from the flower-bud of Your smile?
Text 49 (l)
mukhara: (sakrosam) capala ahimanno sadhammini tujjha vandanijja tahabi parihasajja-i.
sa—with; akrosam—anger; capala—O rake; ahimannah—of Abhimanyu; sadhammini—the chaste wife; tujjha—by You; vandanijja—the object of worship; tahabi—still; parihasajja-i—is mocked.
Mukhara: (With anger) Rogue! Even though this girl is the chaste wife of Abhimanyu, and even though She should be respected and even worshipped by You, You still insist on mocking Her in this way.
Text 49 (m)
madhumangalah: muhare ham jannobavi-assa sabami. dittham ma-e puhavi-vilagga-seharena ajja rahi-a vandida pi-ava-assena.
muhare—O Mukhara; esah—he; aham—I; jannobavi-assa—on my sacred thread; sabami—I swear; disstham—seen; ma-e—by me; puhavi—on the ground; vilagga—resting; seharena—with His crown; ajja—today; rahi-a—Radhika; vandida—was bowed down before; pi-a-va-assa—vy my dear friend.
Madhumangala: Mukhara, I swear on my brahmana's thread: Today I have seen my dear friend Krishna place His crown on the ground as He bowed down before Radhika.
Text 49 (n)
mukhara: (sanandam) taòo imassa dhammo vaddhissadi.
sa—with; anandam—bliss; tadah—then; etassa—of Him; dhammah—piety; vaddhissadi—will increase.
Mukhara: (Blissful) That act will increase His piety.
Text 49 (o)
(sarve smitam kurvanti).
sarve—everyone; smitam—smiling; kurvanti—does.
Text 49 (p)
mukhara: kanhade imina tujjha cabalena khijjhissadi ballava-indo nando, ta gadu-a go-mandalam sambhalehi.
kanhada—O Krishna; imina—by this; tujjha—Your; cabalena—irresponsability; khijjhissadi—is unhappy; ballava—of the cowherd men; indah—the king; nandah—Nanda; ta—therefore; gadu-a—going; gah—of cows; mandalam—the herd; sambhalehi—look after.
Mukhara: Krishna, by not being responsible in protecting the cows You have made the cowherd king Nanda very unhappy. Go now and look after the cows.
Text 49 (q)
krishnah: arye vine venum viprakrstaya dhavalavaler akrstir durghata.
arye—O noble lady; vina—without; venum—the flute; viprakrtstayah—excellent; dhavala-avaleh—of the cows; akratih—attracting; durghata—is difficult.
Krishna: O noble lady, without My flute it will be very difficult to call to transcendental cows.
Text 49 (r)
lalita: kanha abalavalino ti kisa ujju-am na kadhesi.
kanha—O Krishna; abala—of girls; avalinah—the multitude; ti—thus; kisa—why?; ujju-am—in a straightforward manner; na—not; kadhasi—You speak.
Lalita: You mean girls, not cows. Why don't You speak in a straightforward way?
Text 49 (s)
krishnah: lalite vrddhayadya sabala yuyam. tatah katham idam kathayisyami.
lalite—O Lalita; vrddhaya—with the elderly lady; adya—now; sabala—strong; yuyam—you are; tatah—therefore; katham—why?; idam—this; kathayisyami—I shall say.
Krishna: Lalita, the presence of elderly Mukhara has given stregnth to you girls. How can I debate with you?
mukhara: (sa-rosam, sanskrtena)
navinagre naptri catula na hi dharmat tava bhayam
na me drstir madhye-dinam api jaratya patur iyam
alindat tvam nandatmaja na yadi re yasi tarasa
tato 'ham nirdosa pathi kiyati hamho madhu-puri
sa—with; rosam—anger; sankrtena—in Sanskrit; navina—young; agre—in the presence; naptri—granddaughter; catula—O rogue; na—not; hi—indeed; dharmat—from religion; tava—of You; bhayam—fear; na—not; me—of me; drstih—sight; madhye—in the middle; dinam—of the day; api—even; jaratyah—an old lady; patuh—expert; iyam—this; alindat—from the porch; tvam—You; nanda—of Nanda Maharaja; atmaja—O son; na—not; yadi—if; yasi—You go; tarasa—at once; tatah—then; aham—I; nirdosa—faultless; pathi—on the path; kiyati—which; hamhah—indeed; madhu-puri—to Mathura City.
Mukhara: (Angry, she says in Sankrit:) My granddaughter is a young girl, and You, rogue, are not afraid to break the rules of religion. I am an old lady and even in midday I cannot see very clearly. O son of Nanda, if You do not leave my doorstep at once, then I shall not be at fault when I take the path to Mathura City.
Note: In the last sentence Mukhara threaten to lodge a complaint with King Kamsa in Mathura City.
Text 50 (a)
madhumangalah: (sa-rosam) dummuhi vuddhi-e tujjha kamsado kim amhe bha-emha jam mahu-puram asannam kahesi.
sa—with; rosam—anger; dummuhi—O foul-mouthed one; vuddhi-e—O old lady; tujjha—of you; kamsadah—from Kamsa; kim—what?; amhe—we; bha-emha—fear; jam—which; mahu-puram—Mathura City; sannam—seated; kahesi—you speak.
Madhumangala: (With anger) Foul-mouthed old lady, what do we have to fear from Kamsa? You may go to the king in Mathura.
Text 50 (b)
mukhara: (sa-vyajam) are cittha. esaham nattini-am ghettuna raja-saham patthidamhi.
(iti radhadibhir anugamyamana niskranta).
sa—with; vyajam—a trick; are—O; cittha—stand; esa—she; aham—I; nattini—my granddaughter; ghettuna—taking; raja-saham—the royal assembly; patthidamhi—I shall depart; iti—thus; radha-adibhih—by the Radha and the other gopis; anugayamana—followed; niskranta—exists.
Mukhara: (Bluffing) Stop! I shall take my granddaughter and go to the king's assembly hall.
(Followed by Radha and the others, she exits).
Text 50 (c)
krishnah: sakhe samagaccha. kalindi-kaccham upetya gavam uddesam karavavah.
sakhe—O friend; samagaccha—come; kalindi—of the Yamuna; kaccham—the shore; upetya—approaching; gavam—of the cows; uddesam—the looking; karavavah—let us do.
Krishëa: Friend, come here. Let us go to the shore of the Yamuna and look for the cows.
Text 50 (d)
(iti parikramya. valita-grivam pasyan socchvasam.)
iti—thus; parikramya—walking; valita-grivam—craning His neck; pasyan—looking; socchvasam—sighing.
(Krishna walks. Craning His neck, He looks. He says with a sigh:)
mudram dhairya-mayim ksanam vivrnute taralya-laksmin ksanam
sopeksah ksanam atanoti bhani-tirautsukya-bhajan ksanam
suddham drstim itah ksanam pranyayate prenkhat-kataksam ksanam
rosena pranayena cakulita-dhi radha dvidha bhidyate
(iti niskrantah sarve).
mudram—mark; dhairya-mayim—peaceful; ksanam—one moment; vivrnute—does; taralya-laksmin—restlessness; ksanam—the next moment; sa—with; upeksah—indifference; ksanam—one moment; atanoti—does; bhanitira—another moment; suddham—pure; drstim—glance; itah—then; ksanam—one moment; pranayate—does; prenkhat—moving; kata-aksam—sidelong glances; ksanam—another moment; rosena—with anger; pranayena—with love; ca—also; akulita—agitated; dhih—whose heart; radha—Radha; dvidha—in two parts; bhidyate—is divided; iti—thus; niskrantah—exit; sarve—all.
One moment She is peaceful, and the next moment She is restless. One moment She neglects Me, and the next moment She is very eager talk with Me. One moment She looks at Me with a pure, innocent glance, and the next moment She looks at Me with a passionate, roving glance from the corner of Her eye. Her heart agitated with both anger and love, this Radha is divided in two.