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NITAAI-Veda.nyf > All Scriptures By Acharyas > Rupa Goswami > Vidagdha Madhava > Act one Venu-nada-vilasa

Act one

Venu-nada-vilasa

Pastimes of Flute-music

 

 

Prastavana (Prologue)

 

 

Text 1

 

 

sudhanam candrinam madhurimonmada-damani

     dadhana radhadi-pranaya-ghana-saraih surabhitam

samantat santapodgama-vishama-samsara-sarani-

     pranitam te trishnam haratu-lila-shikharini

 

     sudhanam—of the nectar; candrinam—produced on the moon; api—even; madhurima—the sweetness; unmada-damani—overpowering the pride; dadhana—distributing; radha-adi—of Shrimati Radharani and Her companions; prana-ghana—of teh concentrated loving affairs; saraih—by the essence; su-rabhitam—a good fragance; samantat—everywhere; santapa—miserable conditions; udgama—generating; vishama—very dangerous; samsara-sarani—on the path of material existence; pranitam—created; te—your; trishnam—desires; haratu—let it take away; hari-lila—the pastimes of Shri Krishna; shikharini—exactly like a combination of yogurt and sugar candy.

 

 

     May the pastimes of Shri Krishna reduce the miseries existing in the material world and nullify all unwanted desires. The pastimes of the Supreme Personality of Godhead are like shikharini, a blend of yogurt and sugar candy. They overpower the pride of even the nectar produced on the moon, for they distribute the sweet fragrance of the concentrated loving affairs of Shrimati Radharani and the gopis.*

 

 

Text 2

 

 

anarpita-carim cirat karunayavatirnah kalau

     sampayitum unnatojjvala-rasam sva-bhaktishriyam

harih purata-sundara-dyuti-kadamba-sandipitah

     sada hridaya-kandare sphuratu vah shaci-nandanah

 

     anarpita—not bestowed; carim—having been formerly; cirat—for a long time; karunaya—by causeless mercy; avatirnah—descended; kalau—in the age of Kali; samarpayitum—to bestow; unnata—elevated; ujjvala-rasam—the conjugal mellow; sva-bhakti—of His own service; shriyam—the treasure; harih—the Supreme Lord; purata—than gold; sundara—more beautiful; dyuti—of splendor; kadamba—with a multitude;  sandipitah—illuminated; sada—always; hridaya-kandare—in the cavity of the heart; sphuratu—let Him be manifest; vah—your; shaci-nandanah—the son of mother Shaci.

 

 

     May the Supreme Lord, who is known as the son of Shrimati Shacidevi, be transcendentally situated in the innermost core of your heart. Resplendent with the radiance of molten gold, He has descended in the age of Kali by His causeless mercy to bestow what no incarnation has ever offered before: the most elevated mellow of devotional service, the mellow of conjugal love.*

 

 

Purport by Shrila Prabhupada:

 

     This verse also appears in Chaitanya-caritamrita Adi-lila (1.4 and 3.4)  In his commentary on Vidagdha-madhava, Shrila Vishvanatha Cakravarti Thakura remarks: maha-prabhoh sphurtim vina rasasvadananupapatter iti bhavah. Without the mercy of Shri Chaitanya Mahaprabhu, one cannot describe the pastimes of the Supreme Personality of Godhead. Therefore Shrila Rupa Gosvami said, vah yushmakam hridaya-guhayam shaci-nandano harih pakshe, simhah sphuratu:  “May Shri Chaitanya Mahaprabhu, who is exactly like a lion that kills all the elephants of desire, be awakened within everyone's heart, for by His merciful blessings one can understand the transcedental pastimes of Krishna."*

 

 

Text 3 (a)

 

 

     sutradharah: alam ati-vistarena. bho bhoh. samakarnyatam. adyanam svapnantare samadishto 'smi bhaktavatarena bhagavata shri-shankaradevena yatha "aye tandava-kala-pandita. iha kila ballavi-cakra-ceto-vritti-makari-vihara-makaralayasya niravadya-venu-vadana-vidyasvadhyaya-siddhinam prathamadhyapakasya sugandhi-pushpavali-saundarya-tundilayam aravinda-bandhavanandindi-tiranta-kanana-lekhayam avalambita-matta-pums-kokila-lilasya paramananda-vardhini govardhana-nitambe sambhrita-navyambudarasya kishora-shiro-maner nanda-nandanasya prema-bharakrishta-hridayo nana-dig-deshatah sampratam rasika-sampradayo vrindavana-vilokanotkanthaya keshi-tirthopakanthe samiyivan. sa ca dhanyah.

 

     sutradharah—Narrator (Shrila Rupa Gosvami); alam—enough; ati—great; vistarena—with this elaborate description; bhoh—gentlemen; bhoh—gentlemen; samakarnyatam—this should be heard; adya—today; aham—I; svapna—sleep; antare—within; samadishtah—instructed; asmi—I am; bhakta—as a devotee; avatarena—who has incarnated; bhagavata—by the Supreme Personality of Godhead; shri-shankara-devena—by Lord Shiva; yatha—in the following manner; aye—O; tandava—of dancing; kala—in the art; pandita—learned; iha—here; kila—indeed; ballavi—of the gopis; cakra—of the multitude; cetah—of the minds; vritti—nature; sakari—sharks; makara-alayasya—of the ocean; niravadya—perfect; venu—flute; vadana—playing; vidya—of the knowledge; asvadhyaya—study; siddhinam-prathama—first; adhyapakasya—of the teacher; sugandhi—aromatic; pushpa—of flowers; avali—because of the multitude; saundarya—beauty; tunilayam—expanded; aravinda—of the lotus flowers; bandhava—of the friend (the sun-god); nandini—of the daughter (the Yamuna river); tira—of the shore; nata—at the edge; kanana—forest; lekhayam—series; avalambita—rested; matta—maddened; pumh—male; kokila—of a cuckoo; lilasya—pastimes; parama—supreme; ananda—bliss; vardhini—increasing; govardhana—of Govardhana Hill; nitambe—on the slope; sambhrita—held; navya—fresh; ambuda—of clouds; adambarasya—of prowess; kishora—of youths; shirah-maneh—of the crown jewel; nanda—of Nanda Maharaja; nandanasya—of the son; prema—of love; bhara—with an abundance; akrishta—attracted; hridayah—hearts; nana—various; dik-—deshatah—from directions; sampratam—at the present moment; rasika—of those who are expert at relishing the mellows of devotional service; sampradayah—community; vrindavana—Vrindavana; vilokana—the sight; utkanthaya—with a desire; keshi-tirtha—the place known as Keshi-tirtha; upakanthe—near; samiyivan—arrived; sah—that community; ca—and; dhanyah—fortunate.

 

 

     Narrator: Why speak so many words? Gentlemen!  Gentlemen! Please hear me! Last night Lord Shiva, the Supreme Personality of Godhead, who had come in the role of a devotee, spoke to me in a dream and said: "O Rupa Gosvami, O expert writer of plays, this delightful place is near Keshi-tirtha, on the slope of Govardhana hill. This grove, on the bank of the Yamuna river, is very pleasant and full of many fragrant beautiful flowers. At this moment, eager to see the forest of Vrindavana, the advanced devotees, expert at relishing the mellows of devotional service, have come here, devotees whose hearts are full of love for Nanda's son, who is the crown jewel of all youths, and who is decorated with many new lotus flowers, playful like a maddened cuckoo, the first teacher of perfect flute players, and an ocean where the sharks of the gopis' hearts play. The devotees here are all very fortunate.

 

 

Text 3 (b)

 

 

kritam gopi-vrindair iha bhagavato marganam abhud

     ihasit kalindi-pulina-valaye rasa-rabhasah

iti shrayam shravam caritam asakrid gokula-pater

     luthann udbashpo 'yam katham  api dinani kshapayati

 

     kritam—performed; gopi—of gopis; vrindaih—by the multitudes; iha—here; bhagavatah—for the Supreme Personality of Godhead; marganam—searching; abhut—was; iha—here; asit—was; kalindi—of the Yamuna river; pulina—on the shore; valaye—in the grove; rasa—of the rasa dance; rabhasah—with the joy; iti—thus; shravam shravam—repeatedly hearing; caritam—the pastimes; asakrit—again and again; gokula—of Gokula; pateh—of the Lord (Shri Krishna); luthan—rolling on the ground; udbashpah—full of tears; ayam—this; katham api—with great difficulty; dinani—days; kshapayati—pass.

 

 

     " `Here the gopis searched for Krishna, and here, in this circle by the Yamuna's shore, they enjoyed a great rasa dance.' Hearing and hearing these pastimes of Gokula's master, weeping, and rolling on the ground, the devotees somehow pass their days.

 

 

Text 4 (a)

 

 

     tad idanim etasya bhakta-vrindasya mukunda-vishlesheddipanena bahir bhavantah pranah kam api tasyaiva keli-sudha-kallolinim ullasayata parirakshaniya bhavata. mat-kripaiva te samagrim samagrayishyati"  iti. tenadiya jagad-guror asya nidesham evanuvartishye

 

     tat—therefore; idanim—now; etasya—of this; bhakta—of devotees; vridasya—of the community; mukunda—of Mukunda; vishlesha—of separation; uddipanena—with the stimulus; bahih—outside; bhavantah—going; pranah—life airs; kam api—some; tasya—of Him; eva—certainly; keli—of the pastimes; sudha—of the nectar; kallolinim—river; ullasayata—manifesting; parirakshaniyah—should be protected; bhavata—by you; mat—my; kripa—mercy; eva—certainly; te—your; samagrim—complete assemblage; samagrayishyati—will fully provide; iti—thus; tena—by that; adya—today; jagat—of the universe; guroh—of the spiritual master (Lord Shiva); asya—of him; nidesham—order; eva—certainly; anuvartishye—I shall obey.

 

 

     "Burning in separation from Lord Mukunda, these devotees are now about to give up their lives. O Rupa Gosvami, please protect them, by giving them a little of the nectar river of Lord Mukunda's pastimes. My mercy will give you the power to do this." In this way Lord Shiva, the spiritual master of the universe, spoke. I will now obey His order.

 

 

Text 4 (b)

 

 

     pariparshvikah: (pravishya)— bhava, bhavata nibaddhasya vidagdha-madhava-namno navina-natakasya prayoganusarena grihita-bhumikah  kushilava ranga-praveshaya tatra-bhavantam anujnapayanti.

 

     sutradharah: marisha, nirmitah kim iti tan-nataka-paripatibhir varnika-parigrahah (kshanam vimrishya)  bhavatu.

 

     pariparshvikah—Assitant Narrator (A student of Rupa Gosvami); pravishya—having entered; bhava—O learned master; bhavata—by you; nibaddhasya—composed; vidagdha-madhava—Vidagdha-Madhava; namnah—according to customs; grihita—having heard; bhumikah—the introduction; kushilavah—actors; ranga—on the stage; praveshaya—for entrance;  tatra—there; bhavantam—to you; anujnapayanti—ask permission; sutradharah—Narrator; marisha—my dear student; nirmitah—created; kim—what?; iti—thus; tat—that; nataka—of the play; paripatibhih—by the arrangements; varnika-parigrahah—the costumes of the various actors; kshanam—for a moment; vimrishya—reflecting; bhavatu—let it be.

 

 

     Assitant Narrator: (enters)  O master, having heard the prologue of your new play, named Vidagdha-Madhava, the actors now ask permission to enter the stage.

 

     Narrator: Dear student, Are the costumes ready? (thinks for a moment) So be it.

 

 

Text 4 (c)

 

 

mamasmin sandarbhe yad api kavita natilalita

     mudam dhasyanty asyam tad api hari-gandhad budha-ganah

apah shalagramaplavana-garimodgara-sarasah

     sudhih ko va kaupir api namita-murdha na pibati

 

     mama—my; asmin—in this; sandarbhe—literary composition; yat api—although; kavita—poetry; na—not; ati—very; lalita—beautiful; mudam—delight; dhasyanti—will experience; asyam—in it; tat api—nevertheless; hari—of Lord Hari; gandhat—from the fragrance; budha-ganah—the learned devotees; apah—water; shalagrama—Shalagrama stone; aplavana—bath; garima—significance; udgara—remaining; sarasah—full of nectar; sudhih—intelligent; kah—who?; va—or; kaupih—from a well; api—even; anmita—offering obeisances; murdha—with his head; na—not; pibati—drinks.

 

 

     Although the poetry in my play is not very beautiful, the wise will take delight in it, for it bears the scent of Lord Hari. What wise man will not bow his head and respectfully drink well-water that has washed a Shalagrama-shila?

 

 

Text 5 (a)

 

 

     pariparshvikah   bhava, ranga-lakshmi-kaushala-stutibhir eva sabhyan abhyarthayamahe, yad ami vidyadibhir devan api tan upalabdhum utsahante kim uta natan asman

 

     pariparshvikah—Assistant Narrator; bhava—O learned master; ranga—on the stage; lakshmi—opulence; kaushala—skillfulness; stutibhih—with prayers; eva—certainly; sabhyan—to the respected audience; abhyarthayamahe—we appeal; sabhyan—to the respected audience; yat—because; ami—these; vidya-adibhih—with their expert knowledge; devan—the demigods; api—even; tan—them; upalabdhum—to criticize; utsahante—are able; kim uta—what to speak; natan—actors; asman—us.

 

 

     Assistant Narrator: O master, please give us beautiful and elegant speeches, for this audience is so learned it will criticize the demigods, what to speak of us actors.

 

 

Text 5 (b)

 

 

     sutradharah: marisha, kritam etaya vrithopacara-caryaya, yatah

    

     sutradharah—Narrator; marisha—my dear student; kritam—enough; etaya—with this; vritha-upacara-caryaya—frivolousness; yatah—because.

 

 

     Narrator: Dear student, why talk in this frivolous way? After all. . .

 

 

Text 5 (c)

 

 

aprekshya klamam atmane vidadhati pritya paresham priyam

     lajjante duritodyamad iva nija-stotranubandhad api

vidya-vitta-kuladibhish ca yad ami yanti kraman namratam

     ramya kapi satam iyam vijayate naisargiki prakriya

 

     aprekshya—not having seen; klamam—sweariness; atmanah—of the self; vidadhati—creates; pritya—with love; paresham—of others; priyam—dear; lajjante—become ashamed; durita-udyamat—because of a sinful deed; iva—just as; nija—own; stotra—prayers; anubandhat—because of many; api—even; vidya—knowledge; vitta—wealth; kula—birth in a high family; adibhih—etc.; ca—and; yat—because; ami—these; yanti—go; kramat—gradually; namratam—to the state of ??; ramya—beautiful; ka api—someone; satam—of the saintly persons; iyam—this; vijayate—all glories; naisargiki—natural; prakriya—conduct.

 

 

     Ignoring their own welfare, the people in this audience are concerned only for the well-being of others. Although wealthy, well-educated and born in exalted families, they are very humble. When they themselves glorified, they become embarrassed, as if they themselves had sinned. All glories to the delightful virtues of this saintly audience.

 

 

Text 6 (a)

 

 

(samantad avalokya, saharsham uccaih)  hamho ballava-simha-priyah. bhagavad-dharmajnoshthi-gurunam api yushmakam samaksam arodhum upakramate, tad imam kshamadhvam capalarabhatim. (iti sapranamam pashyam)

 

     samantat—in all directions; avalokya—having glanced; saharsham—cheerfully; uccaih—with a loud voice; hamhah—O; ballava—of the cowherd men; simha—of the lion  (Shri Krishna); priyah—dear devotees; bhagavat—of the Lord; dharma—of the path of religion; jnoshthi—knowing; gurunam—spiritual masters; api—and; yushmakam—of you; samaksham—in the presence; kim api—greatly; eshah—he; vivakshamanah—desiring to speak; tandavikah—actor; nirapatrapanam—without shame; padavim—to the path; arodhum—to ascend; upakramate—approaches; tat—therefore; imam—this; kshamadhvam—please forgive; capala—because of insolence; arabhatim—boldness; iti—thus; sapranamam—with bowing down; pashyan—seeing.

 

 

     (Looking at all corners of the audience, with a loud and cheerful voice)  O dear devotees of Shri Krishna, the lion of gopas! Beginning to walk on the path of the shameless, a certain actor now wishes to say something to you, the spiritual masters wise in the true religion of worshiping the Lord. Please forgive this rash and arrogant person. (He bows down and then looks in a certain direction.)

 

 

Text 6 (b)

 

 

abhivyakta mattah prakriti-laghu-rupad api budha

     vidhatri siddharthan hari-guna-mayi vah kritir iyam

pulindenapy agnih kim u samidham -unmathya janito

     hiranya-shreninam apaharati nantah-kalushatam

 

     abhivyakta—manifested; mattah—from me; prakriti—by nature; laghu-rupat—situated in a lower position; api—although; budhah—O learned devotees; vidhatri—which may bring about; siddha-arthan—all the objects of perfection; hari-guna-mayi—whose subject matter is the attributes of Krishna; vah—of you; kritih—the poetic play known as Vidagdha-madhava; iyam—this; pulindena—by the lowest class of men; api—although; agnih—a fire; kimu—whether; samidham—the wood; unmathya—rubbing; janitah—produced; hiranya—of gold; shreninam—of quantities; apaharati—vanquishes; na—not; antah—inner; kalushatam—dirty things.

 

 

     O learned devotees, I am by nature ignorant and low, yet even though it is from me that Vidagdha-Madhava has come, it is filled with descriptions of the transcendental attributes of the Supreme Personality of Godhead. Therefore, will not such literature bring about the attainment of the highest goal of life? Although its wood may be ignited by a low-class man, fire can nevertheless purify gold. Although I am very low by nature, this book may help cleanse the dirt from within the hearts of the golden devotees.*

 

 

Text 7 (a)

 

 

     tad idanim abhishta devam bhagavantam anusmritya nritya-madhurim ullasayami. (ity anjalim baddhva)

 

     tat—therefore; idanim—now; abhishta devam—worshipable deity; bhagavantam—the Supreme Personality of Godhead; anusmritya—remembering; nritya—of the drama; madhurim—sweetness; ullasayami—I will manifest; iti—thus; anjalim baddhva—folds his hands.

 

 

     Now, remembering the worshipable Supreme Personality of Godhead, I will show the sweetness of this drama. (He folds his hands.)

 

 

Text 7 (b)

 

 

prapanna-madhurodayah sphurad-amanda-vrindatavi-

     nikunjamaya-mandapa-prakara-madhya-baddha-sthitih

nirankusha-kripambudhir vraja-vihara-rajyan-manah

     sanatana-tanuh  sada mayi tanotu tushtim prabhuh

 

     prapanna—attained for the surrended souls); madhura—the rasa of conjugal love (or kindness); udayah—arisal; sphurat—splendid; amanda—great; vrinda-atavi—forest of Vrindavana; nikunja-maya—full of groves; mandapa—of pavillions (or temples); prakara—with multitudes; madhya-baddha-sthitih—in the center; nirankusha—unchecked; ; kripa—mercy; ambudhih—ocean; vraja—in Vraja; vihara—pastimes; rajyat—taking delight; manah—mind; sanatana—eternal (or Sanatana Gosvami); tanuh—form; sada—always; mayi—to me; tanotu—may extend; tushtim—delight; prabhuh—master.

 

 

     May the Supreme Lord, whose form is eternal, who is supremely sweet and charming, who stays in the glorious forests and pavilions of Vrindavana forest, who is a limitless ocean of mercy, and whose heart delights in His Vraja pastimes, always be pleased with me.

 

 

     Note: Deliberately ambiguous, this verse may also be interpreted as a prayer to Shrila Sanatana Gosvami. Thus it may also mean:

 

     May my spiritual master, Shrila Sanatana Gosvami, who is graceful and charming, who stays in the glorious forests and pavilions of Vrindavana forest, who is a limitless ocean of mercy, and whose heart delights in Lord Krishna's Vraja pastimes, always be pleased with me.

 

 

Text 8 (a)

 

 

     pariparshvikah: bhava, pashya.

 

     pariparshvikah—Assistant Narrator; bhava—O master; pashya—just see.

 

 

     Assistant Narrator: Master, look!

 

 

Text 8 (b)

 

 

bhaktanam udagad anargala-dhiyam vargo nisargojjvalah

     shilaih pallavitah sa ballava-vadhu-bandho prabandho 'py asau

lebhe catvaratam ca tandava-vidher vrindatavi-garbha-bhur

     manye mad-vidha-punya-mandala-paripako 'yam unmilati

 

     bhaktanam—of devotees; udagat—has appeared; anargala-dhiyam—constantly thinking of Radha-Krishna; vargah—the assembly; nisarga-ujjvalah—naturally very advanced; shilaih—with natural poetic decorations; pallavitah—spread like the leaves of a tree; sah—that; ballava-vadhu-bandhah—of the friend of the gopis, Shri Krishna; prabandhah—a literary composition; api—even; asau—that; lebhe—has achieved; catvaratam—the quality of a quadrangular place with level ground; ca—and; tandava-vidheh—for dancing; vrinda-atavi—of the forest of Vrindavana; garbha-bhuh—the inner grounds; manye—I consider; mat-vidha—of persons like me; punya-mandala—of groups of pious activities; paripakah—the full development;  ayam—this; unmilati—appears.

 

 

     The devotees now present are constantly thinking of the Supreme Lord and are therefore highly advanced. This work named Vidadgha-Madhava depicts the characteristic pastimes of Lord Krishna with decorations of poetic ornaments. And the inner grounds of the forest of Vrindavana provide a suitable platform for the dancing of Krishna with the gopis. Therefore I think that the pious activities of persons like us, who have tried to advance in devotional service have now attained maturity.*

 

 

Text 9 (a)

 

 

     tat tvarasva rasa-madhuri-pariveshanaya

     sutradharah: marisha, nirasavali-vaimukhyad vishankamano mathara ivasmi

     pariparshvikah: bhava, kritam atra shankaya. yatah.

 

     tat—therefore; tvarasva—please hurry; rasa—of the mellows of trasncendental pastimes; madhuri—of the sweetness; pariveshanaya—for their distrubution; Sutradharah—Narrator; marisha—my dear servant; nirasa—of those who have no taste for this nectar; avali—of the multitude; vaimhyat—because of the aversion; vishankamanah—frightened; mantharah—slow; iva—as if; asmi—I am; pariparshvikah—Assistant Narrator; bhava—O master; kritam—what is the use?; atra—here; shankaya—with caution; yatah—because.

 

 

     Please hurry. Distribute the nectar of Krishna's pastimes.

     Narrator: Dear student, I proceed very slowly because I fear the harsh words of persons who do not like the nectar of the Lord's pastimes.

     Assitant Narrator: Master, please give up this caution, because.....

 

 

Text 9 (b)

 

 

udasatam nama rasanabhijnah

     kritau tavami rasikah sphuranti

kramelakaih kamam upekshite 'pi

     pikah sukham yanti param rasale

 

     udasatam—let them be indifferent; nama—indeed; rasa—with the transcendental mellows; anabhijnah—unaquainted; kritau—in the creation; tava—your; ami—these; rasikah—those who are expert at relishing the transcendental mellows; sphuranti—shine; kramelakaih—by camels; kamam—voluntarily; upakshite—neglected; api—although; pikah—cuckoos; sukham—happiness; yanti—go; param—supreme; rasale—mango tree.

 

 

     Persons who know how to taste nectar will be delighted by your play, and persons who know nothing of nectar will ignore it. Of their own accord camels avoid the mango trees that delight the poetic pika birds.

 

 

Text 10 (a)

 

 

     tad arabhyatam samajika-cetash-camatkaraya gandharva-brahma-vidya.

     sutradharah: marisha, pashya pashya.

 

     tat—therefore; arabhyatam—may begun; samajika—of the audience; cetah—of the minds; camatkaraya—for the delight; gandharva-brahma-vidya—music; Sutradharah—Narrator; marisha—my dear student; pashya—look at this; pashya—look at this.

 

 

     So the hearts of the audience will be filled with wonder, let the play begin.

     Narrator: Student, look! Look!

 

 

Text 10 (b)

 

 

so 'yam vasanta-samayah yasmin

     purnam tam ishvaram upodha-navanuragam

gudha-graha ruciraya saha radhayasau

     rangaya sangamayita nishi paurnamasi

 

     sah—that; ayam—this; vasanta-samayah—springtime; samijyaya—had arrived; yasmin—in which; purnam—the complete; tam—Him; ishvaram—the Supreme Personality of Godhead; upodha—obtained; nava-anuragam—new attachment; gudha-graha—which covered the stars; ruciraya—very beautiful; saha—with; radhaya—Shrimati Radharani; asau—that full-moon night; rangaya—for increasing the beauty; sangamayita—caused to meet; nishi—at night; paurnamasi—the full-moon night.

 

 

     Springtime had arrived, and the full moon of that season inspired the Supreme Personality of Godhead, who is complete in everything, with new attraction to meet the beautiful Shrimati Radharani at night to increase the beauty of Their pastimes.*

 

 

     Purport by Shrila Prabhupada:

 

     Shrila Bhaktivinoda Thakura interprets this verse in two ways, for Lord Krishna and for Shrimati Radharani. When interpreted for Krishna, the night is understood to have been a dark moon night, and when interpreted for Shrimati Radharani, it is considered to have been a full moon night.

 

 

Text 11 (a)

 

 

     aye nartaka-samanta-sarvabhauma, katham bhavatah karnapuri-bhuta badham nigudheyam sandarbha-manjari, yad aham radhaya sardham ishvaram tam sangamayishyamiti.

     sutradharah: (savismayam nepathyabhimukham avalokya)  aho, katham ita eva bhagavati paurnamasi. pashya pashya.

 

     nepathye—in the actor's dressing room; aye—O; nartaka—of actors; samanta—complete; sarvabhauma—O absolute monarch; katham—how?; bhavatah—your; karna-pura—an ornament for the ears; bhuta—become; badham—indeed; nigudha—concealed; iyam—this; sandarbha—in the form of words; manjari—bouquet of flowers; yat—because; aham—I; radhaya—by Shrimati Radharani; sardham—accompanied; ishvaram—the Supreme Personality of Godhead; tam—Him; sangamayishyami—will I bring together; iti—thus; sutradharah—Narrator; sa-vismayam—with amazement; nepathya—of the actor's dressing rooms; abhimukham—in the direction; avalokya—having seen; ahah—O; katham—how?; itah—in this direction; eva—certainly; bhagavati—celebrated; paurnamasi—Paurnamasi; pashya—just see; pashya—just see.

 

 

     Paurnamasi: (offstage)  O king of actors, how did your ear become decorated with the flower that is the secret of this drama, the secret that I will arrange the meeting of Radha and Krishna?

     Narrator: (surprised, he looks offstage)  Ah! Was that saintly Paurnamasi? Look! Look!

 

 

Text 11 (b)

 

 

vahanti kashayambaram urasi sandipani-muneh

     savitri savitri-samarucir alam pandura-kaca

surarsheh shishyeyam parijanavati nandabhavanad

     ito mandam mandam sphutam utajavithim pravishati

 

     vahanti—carrying; kashaya—reddish; ambaram—garments; urasi—on the breast; sandipani—of Sandipani; muneh—of the sage; savitri—mother; savitri—with Savitri-devi, the wife of Lord Brahma; sama—equal; rucih—splendor; alam—greatly; pandura—white; kaca—hair; sura—of the demigods; risheh—of the sage (Narada); shishya—student; iyam—she; parijanavati—with a friend; nanda—of Nanda Maharaja; bhavanat—from the house; itah—here; mandam mandam—slowly; sphutam—clearly; utaja—of houses; vithim—series (the street); pravishati—enters.

 

 

     Wearing a red cloth over her breast, her hair white, splendid like Goddess Savitri, and accompanied by a friend, Paurnamasi, who is Narada's disciple and Sandipani Muni's mother, now leaves Nanda's palace and slowly walks on the street.

 

 

Text 11 (c)

 

 

     tad avam agratah karaniyam varnikangikaram alocayavah  

(iti nishkrantau)  prastavana

 

     tat—that; avam—we; api—even; agratah—in the beginning; karaniyam—to be done; varnika—costumes and make-up; angi-karam—acceptance; alocayavah—we see; iti—thus; nishdrantau—they exit; prastavana—prologue.

 

 

     Let us see if the actors are in their costumes.

     (They exit.)

 

Thus ends the prologue.

 

 

 

 

 

Scene 1

 

 

Text 12 (a)

 

 

(tatah pravishati sa-parijana paurnamasi.)

 

     paurnamasi: ("aye nartaka-samanta:"  iti pathitva) hanta vatse nandimukhi. kim api kamaniyam gayata sphutam ananditasmi natendrena.

     nandi: bhaavadi. kim jahattham edam

 

     tatah—then; pravishati—enters; sa—with; parijana—her companion; paurnamasi—Paurnamasi; aye—O; nartaka—of actors; samanta—complete; iti—thus; nandimukhi—Nandimukhi; kim api—greatly; kamaniyam—beautifully; gayata—by the singing; sphutam—certainly; anandita—delighted; asmi—I am; nata-indrena—by the Narrator; nandi—Nandimukhi; bhaavadi—O revered mother; kim—whether; kkhu—indeed; jahattham—true; edam—this.

 

 

     (Paurnamasi enters with her companion)

     Paurnamasi: O king of actors, how did your ear become decorated with the flower that is the secret of this drama, the secret that I will arrange the meeting of Radha and Krishna? Child Nandimukhi, by singing this verse, the narrator pleased me.

     Nandi: Noble lady, did he speak the truth?

 

 

Text 12 (b)

 

 

     paurnamasi:

 

sambhavyate phalam alambita-mula-pushtes

     tat tadrisham kva mama bhagya-taror varoru

yenanayoh subhagayor ucita bhaveyam

     shringara-mangalikayor nava-sangamaya

 

     paurnamasi—Paurnamashi; sambhavyate—is produced; alambhita—not attained; mula—of the root; pushteh—of the nourishment; tat—that; tadrisham—like that; kva—where?; mama—my; bhagya—of good fortune; taroh—of the tree; vara-uru—O beautiful girl; yena—by which; anayoh—of the two; subhagayoh—auspicious and beautiful; ucita—proper; bhaveyam—may I become; shringara—pastimes of amorous love; mangalikayoh—auspicious; nava—new; sangamaya—for a meeting.

 

 

     Paurnamasi: O girl with the beautiful thighs, the tree of my good fortune is withered at the root. How will it produce a fruit like that, a fruit that will make me qualified to arrange a new meeting of the beautiful and auspicious divine couple?

 

 

Text 13 (a)

 

 

     nandi: bhaavadi, ja-i visahanu-nandini rahi-a kanhena sangamanijja, tado sangamanu-ulavasam go-ulam ujjhi-a santanu-vasa-sanëe bhaëu-titthe kim ti esha sangovi-a rakkhida asi.

 

     nandi—Nandimukhi; bhaavadi—O respected mother; ja-i—if; vishahaëu—Vrishabhanu; ëandini—the daughter; rahi-a—Shrimati Radharaëi; tu-e—by you; kaëheëa—with Krishëa; sangamanijja—will be united; tadah—then; sangama—for a meeting; aëu-ula—favorable; vasam—residence; go-ulam—Gokula, vrindavana; ujjhi-a—abandoning; santaëu-vasa—Shantanu-vasa; saëëe—named; bhanu-titthe—holy place; kim ti—why?; esa—this; sangovi-a—having concealed; rakkhida—protected; asi—was.

 

 

     Nandi: Noble lady, if you are destined to arrange Vrishabhanu-nandini Radha's meeting with Lord Krishëa, then why did Radha leave the land of Gokula, which is so favorable for that meeting, and secretly reside in the sacred village of Shantanu-vasa?

 

 

Text 13 (b)

 

 

     paurëamasi: vatse, nrishamsatah kamsa-bhupateh shankaya

     nandi: bhaavadi, tahavi kaham raëëa-viëëada raha

 

     paurëamasi—Paurëamasi; vatse—my dear child; nrishamsatah—cruel; kamsa—Kamsa; bhupateh—king; shankaya—because of fear; nandi—Nandimukhi; bhaavadi—O respected mother; tahavi—nevertheless; kaham—how?; raëëa—by King Kamsa; viëëada—perceived; raha—Shrimati Radharaëi.

 

 

     Paurëamasi: Because She fears cruel King Kamsa, my child.

     Nandi: Noble lady, how did the king learn about Radha?

 

 

Text 13 (c)

 

 

     paurëamasi: radha-saundarya-vrindam eva vijnane nidanam. yatah.

 

lokottara guëa-shrih

     prathayati parito nigudham api vastu

pihitam api prayatnad

     vyanakti kasturikam gandhah

 

     radha—of Shrimati Radharaëi; saundarya—of the beauty; vrindam—abundance; eva—certainly; vijnane—in knowledge; nidanam—cause; yatah—because; loka-uttara—extraordinary; guëa—of transcendental qualities; shrih—opulence; nigudham—confidential; api—although; vastu—worthy object; pihitam—concealed; api—although; prayatnat—with great endeavor; vyanakti—manifests; kasturikam—musk; gandhah—aroma.

 

 

     Paurëamasi: He learned about Radha's great beauty in this way: Even if one carefully hides it, musk's sweet scent at once reveals where it is. In the same way, even though they were carefully hidden, Radha's beauty and virtues became known everywhere.

 

 

Text 14 (a)

 

 

     nandi: bha-avadi, jasho-a-dhatta-e muhura-e attaëo ëattiëi rahi-a go-ula-majjhe aëi-a jadila-puttassa ahimaëëuëo hatthe uvvahida tti, tadisam jevva asamanjasam apadidam. jam kaëhado aëëena puriseëa tadisi nam kara-pamsam asajjam. ta kaham tumam ëiccinta vi-a disasi.

 

     bhaavadi—O respected mother; jasho-a—with Yashoda; dhatta-e—mother; muhura-e—with Mukhura; attaëah—own; ëattiëi—grand-daughter; rahi-a—Shrimati Radharaëi; go-ula—Gokula; majjhe—in the middle; ahi-a—having brought; jadila—of Jatila; puttassa—of the son; ahimaëëuëah—of Abhimanyu; hatthe—in the hand; uvvahida—married; tti—thus; tadisam—like him; jevva—certainly; asamanjasam—unsuitable; apadidam—happened; jam—than whom; kaëhadah—than Krishëa; annena—by another; puriseëa—by a man; tadisiëam—of those like that; kara—of the hand; pamsam—touch; asajjam—unbearable; ta—therefore; kaham—how?; tuam—you; ëiccinta—unconcerned; via-a—as if; disasi—are seen.

 

    

     Nandi: Noble lady, Yashoda's nurse, Mukhara, brought her granddaughter Radha to Gokula. Radha then accepted the hand of Abhimanyu, the son of Jatila, in marriage. A more unsuitable match could not have been made!  Radha cannot tolerate the touch of the hand of any man other than Krishëa. O mother, how can you remain aloof when this is happening?

 

 

Text 14 (b)

 

 

     paurëamasi: tasyaiva hetoh

     nandi: kaham vi-a

     paurëamasi: (vihasya)  tad vancanadyartham eva svayam udvahadikam. nitya-preyasya eva khalu tah krishëasya.

     nandi: (saharsham)  ta ëuëam tumam ëiccintasi samvuta, jam esa ajja go-ula-majjhe aëida.

     paurëamasi: Vatse, satyam bravishi. kamsatash cinta me shaithilyam ivopalabdha, kintu dushtabhimanyutah sphutam anya sampratam ajanishta.

     nandi: kerisi sa

 

     tasya—of that; eva—certainly; hetoh—from what cause?; kaham vi-a—how is this possible?; vihasya—laughing; tat—of him; vancana—deception; adi—etc.; artham—for the purpose; eva—certainly; svayam—Himself; yogamayaya—by His energy of yogamaya; mithya—in an inverted way; eva—certainly; pratyayitam—confidential messenger; tat—him; vidhanam—of those who are similar; udvaha—marriage; adikam—etc.; nitya—eternal; preyasyai—most beloved; eva—certainly; khalu—indeed; tah—they; krishëasya—of Krishëa; saharsham—joyfully; ta—therefore; ëuëam—at present; tumam—you; niccinta—without concern; asi—are; samvuta—withdrawn; jam—because; esa—she; ajja—at present; go-ula—of Gokula; majjhe—in the middle; aëida—is brought; vatse—O child; satyam—the truth; bravishi—you are speaking; kamsatah—from Kamsa; cinta—anxious consideration; me—my; shaithilyam—diminution; iva—as it were; upalabdha—attained; kintu—but; dushta—wicked; abhimanyutah—from Abhimanyu; sphutam—certainly; anya—another; sampratam—now; ajanishta—is born; kerisi—like what; sa—is it?

 

 

     Paurëamasi: Why should I care?

     Nandi: How can you talk like that?

     Paurëamasi: (laughing)  This false marriage of Radha and Abhimanyu is simply a trick that Yogamaya has played to cheat Kamsa. Radha and all the other gopis are Krishëa's lovers eternally.

     Nandi: (joyfully) And now that Radha has returned to Gokula, you are free of all worries.

     Paurëamasi: Child, what you say is true. My worry about Kamsa is now less, although now I am beginning to worry about Abhimanyu.

     Nandi: Why is that?

 

 

Text 14 (c)

 

 

     paurëamasi:

 

ballavi-nava-latasu rangiëam

     krishëa-bhringam adhigatya matsari

radhika-purata-padminim ayam

     netum icchati punar vanantaram

 

     ballavi—of the gopis; nava—young; latasu—among the creepers; rangiëam—delighting; krishëa—of Shri Krishëa; bhringam—the bumble-bee; adhigatya—having discovered; matsari—jealous; radhika—of Shrimati Radharaëi; purata—golden; padminim—lotus flower; ayam—this; netum—to lead; icchati—desires; punah—again; vana—Mathura; antaram—within.

 

 

     Paurëamasi: Noticing that the black bumblebee of Krishëa is fond of playing among the new-flowering vines of the gopis, Abhimanyu has become jealous. Now he desires to take the golden lotus flower Radha to another forest.

 

 

Text 15 (a)

 

 

     nandi: tatthavi jo-ama-a jjevva samahaëam karispadi

     paurëamasi: putri, ko janati svatantrayas tasyash caritam, yadidrishe 'rthe tatasthayate.

 

     tattthavi—someplace; jo-ama-a—the Lord's energy of Yogamaya; jjevva—certainly; samahaëam—crucial incident; karissadi—will create; putri—O daughter; kah—who?;  janati—understand; svatantrayah—undependent; tasyah—her; caritam—pastime; yadi—if; idrishe—in this way; arthe—meaning; sa—she; tatasthayate—stands aloof.

 

 

     Nandi: Now Yogamaya will act.

     Paurëamasi: Daughter, independent Yogamaya now stands aloof. Who understands her actions?

 

 

Text 15 (b)

 

 

     nandi: aëëo va ettha ko 'vi uva-o  tthi jeëa eso padibaddho bhave.

     paurëamasi: vatse, tatra maya pratibhuva bhavantya yukti-madhuri-medureëa vag-argalena nisargad agambhiro 'yam vishkambhito 'sti.

     nandi: (saharsham)  bhaavadi, kamsassa go-maëdalajjhakkho go-adòhaëo kaëhaëusariëa canda-ali-caritteëa kudo na kuppa-e.

Paurëamasi: putri, raja-kulopalabdhena gauraveëa garvito 'yam vyaktam api tan na shraddadhati.

 

     aëëah—another; va—or; ettha—here; kah vi—something; uva—remedy; tthi—there is; jena—by which; paòibaddhah—obstructed; bhave—may be; vatse—O child; tatra—there; maya—by me; pratibhuva—security; bhavantya—is; yukti—by a stragem; madhura—with sweetness; medureëa—thick; vak—of words; argalena—by the impediment; nisargat—spontaneously; agambhirah—shallow; ayam—he; vishkambhitah—obstructed; asti—is; saharsham—joyfully; bhaavadi—O respected mother; kamsassa—of Kamsa; go-maëòala—of the pasturing ground for the cows; ajjhakkhah—superintendent; go-aòòhanah—Govardhana Hill; kaëha—of Krishna; anushariëa—following; canda-ali—of Candravali-gopi; caritteëa—by the activities; kudah—why?; na—not; kuppa—I; kuppa-i—become angry; putri—O daughter; raja—of kings; kula—community; upalabdhena—understood; gauraveëa—with gravity; garvitah—proud; ayam—this; vyaktam—manifested; api—although; tat—that; na—not; shraddadhati—believe.

 

 

     Nandi: Is there another way to stop him?

     Paurëamasi: Child, simply by speaking sweet and clever words, I will stop shallow Abhimanyu.

     Nandi: (joyfully)  Respected mother, Govardhana Hill is appointed by King Kamsa to watch over the activities in Gokula. Why does he not become angry at Krishëa for enjoying pastimes with Candravali?

     Paurëamasi: Daughter, Govardhana hill is very proud. He does not think the king's order very important.

 

 

Text 15 (c)

 

 

     nandi: kaham kaëhena paòhamamse sangamo samvuto

     paurëamasi: putri, sangame khalu gaòhanuragitaiva duti babhuva. mad-udyamanam kevalam ajanishta pishta-peshita

 

     kaham—how?; kaëhena—by Krishëa; paòhamamse—on the first day;  sangamah—meeting; samvutah—occurred; putri—O daughter; sangame—full of love; eva—certainly; duti—messenger; babhuva—was; mat—my; udyamanam—of efforts; kevalam—exclusive; ajanishta—produced; pishta-peshita—grinding of what has already been ground.

 

 

     Nandi: How did Krishëa and Candravali first meet?

     Paurëamasi: Daughter, when they first met, they fell deeply in love. For me to do anything more would be to crush what is already powder.

 

 

Text 15 (d)

 

 

     nandi: ajje, tuha kaham erisi bha-avisena-bhavida gaòhaëura-ida uppaëëa, jam appaëo ahitöha-de-amni aëuppaëëe kaëhe ujja-iëim ujjhi-a paòham cce-a go-ulam laddhasi.

     paurëamasi: putri, guru-padanam upadesha-prasadena.

 

     ajje—O revered mother; tuha—your; kaham—how?; erisi—like this; bha-a—love; visesa—specific; bhavida—was; gaòha—intense; aëura-ida—love; uppaëëa—produced; jam—which; appaëah—of the self; ahiööha—worshipable; de-amni—deity; aëuppaëëe—not manifested; kaëhe—Shri Krishëa; ujja-iëim—the city of Ujjayini; ujjhi-a—having left; paòham—at once; cce-a—indeed; go-ulam—to Gokula; laddha asi—you attained; putri—O daughter; guru—of the spiritual master (Narada); padanam—of the lotus feet; upadesha—of instruction; prasadena—by the mercy.

 

 

     Nandi: Noble lady, why do you love Krishëa so deeply that you came to Gokula, leaving Ujjayini because Krishëa was not there?

     Paurëamasi: Daughter, I did it because of the mercy of my guru's advice.

 

 

Text 15 (e)

 

 

     nandi: ettha vasantim tumam maha-bha-o sandipaëi kim kkhu jaëadi.

     paurëamasi: atha kim. yatas tena madhumangalabhidhah svaputro mamatra paricaryartham preshitah.

 

     ettha—there; vasantim—residing; tumam—you; maha-bha-ah—great fortunate; sandipaëi—Sandipaëi Muni; kim—does?; kkhu—indeed; janadi—know; atha kim—yes; yatah—because; tena—by him; madhumangala—Madhumangala; abhidhah—by the name; sva—own; putrah—son; mama—my; atra—sent.

 

 

     Nandi: Does fortunate Sandipaëi Muni know you are here?

     Paurëamasi: Yes. He sent his son, Madhumangala, to serve me.

 

 

Text 15 (f)

 

 

     nandi: mahumangalo tu-e suööhu anuggahido jam eso ëandaëaaë-indi-ara-candassa saha-arada mahusave ëi-utto.

     paurëamasi: putri, mama sarvasva-rupaya radhayah krishëe 'nuraga-vistaraya tvam ca niyujyase.

 

     mahumangalah—Madhumangala; tu-e—by you; suööhu—excellently; anuggahidah—favored; jam—because; esah—he; nanda—of Nanda Maharaja; ëaaë—of the eyes; indi-ara—lotus flower; candassa—of the moon; saha-arada—friendship; mahusave—in a great festival; ni-uttah—engaged; putri—O daughter; mama—my; sarvasva—everything; rupayah—form; radhayah—of Shrimati Radharaëi; krishëe—for Krishëa; anuraga—of love; vistaraya—for the expansion; tvam—you; can—and; niyujyase—are enjoined.

 

 

     Nandi: You are very kind to Madhumangala. You gave him a great festival of friendship for the lotus-moon that is Nanda's son.

     Paurëamasi: Daughter, Radha is my great treasure. Please help Her fall in love with Krishëa.

 

 

Text 15 (g)

 

 

     nandi: (sahandam)  bhaavadi, adibhumim gado se kaëhe anura-o.

     paurëamasi: katham etal lakshitam.

     nandi: jada kahapasange esa kaëhatti ëamam suëadi, tada romancida kampi bha-am vinda-e.

     paurëamasi: putri, yuktam idam. tatha hi.

 

     sa-anandam—joyfully; bhaavadi—O respected mother; adi-bhumim—highest point; gadah—reached; se—her; kaëhe—for Krishëa; anura-ah—love; katham—how?; etat—this; lakshitam—characterized; jada—when; kaha—description; pasange—in contact; esa—she; kaëhatti—of Krishëa; ëamam—name; suëadi—hears; tada—then; romancida—with hairs standing upright; kampi—some; putri—O daughter; yuktam—appropriate; idam—this; tatha hi—for this reason.

 

 

     Nandi:(joyfully)  Noble lady, Radha has already climbed to the highest mountaintop of love for Krishëa.

     Paurëamasi: How do you know?

     Nandi: Whenever, in the course of an ordinary conversation, She hears the name Krishëa, the hairs of Her body stand up, and She shows the symptoms of ecstasy.

     Paurëamasi: Daughter, that is the right response. After all. . .

 

 

Text 15 (h)

 

 

tuëòe taëòavini ratim vitanute tuëòavali-labdhaye

     karëa-kroda-kaòambini ghaöayate karëarbudebhyah spriham

cetah-prangaëa-sangini vijayate sarvendriyanam kritim

     no jane janita kiyabdhir amritaih krishëeti varëa-dvayi

 

     tuëòe—in the mouth; taëòavini—dancing; ratim—the isnpiration; vitanute—expands; tuëòa-avali-labdhaye—to achieve many mouths; karëa—of the ear; kroda—in the hole; kaòambini—sprouting; ghaöayate—causes to appear; karëa-arbudebhyah spriham—the desire for millions of ears; cetah-prangaëa—in the courtyard of the heart; sangini—being a companion; vijayate—conquers; sarva-indriyaëam—of all the senses; kritim—the activity; nah—not; jane—I know; janita—produced; kiyadbhih—of what measures by; amritaih—by nectar; krishëa—the name of Krishëa; iti—thus; varëa-dvayi—the two syllables.

 

 

     I do not know how much nectar of the two syllables `Krish-ëa' have produced. When the holy name of Krishëa is chanted, it appears to dance within the mouth. We then desire many, many mouths. When that name enters the holes of the ears, we desire many millions of ears. And when the holy name dances in the courtyard of the heart, it conquers the activities of the mind, and therefore all the senses become inert.*

 

 

Text 16 (a)

 

 

     nandi: ajje, dohim lalida-visahanim sahihim saddham raha suram arahehi. canda-ali uëa pa-uma-sebba-pahudihim saddham caëòi-am. ta takkemi de-ada-pasa-a-ëippadi-o imaëam iriso kaëhe anura-o.

 

     ajje—O respected mother; dohim—by the two of them; lalida-visahahim—by Lalita and Vishakha; sahihim—with the friends; saddham—accompanied; raha—Shrimati Radharaëi; suram—the sun-god; arahehi—worships; canda-ali—Candravali; uëa—again; pa-uma—Padma-gopi; sebba—Saibya-gopi; pahudihim—beginning with; saddham—along with; caëòi-am—the goddess Parvati; ta—therefore; takkemi—I can guess; de-ada—of the demigods; pasa-a—mercy; ëippadi-ah—achieved; imaëam—of them; irisoh—in this way; kaëhe—for Krishëa; anura-ah—love.

 

 

     Nandi: Noble lady, accompanied by Her friends Lalita and Vishakha, Radha worshipped the sun-god, and, accompanied by Shaibya, Padma and other friends, Candravali worshipped Parvati. I can only guess, that it was by the mercy of these demigods, that these gopis attained such love for Krishëa.

 

 

Text 16 (b)

 

 

     paurëamasi:

 

daivata-seva kevalam

     iha vana-yatranusariëi mudra

vraja-subhruvam tu krishëe

     sahajah prema sa jagarti

 

     daivata—of the demigods; seva—worship; kevalam—only; iha—here; vana—to the forest; yatra—journey; anusariëi—following; mudra—mark; vraja—of Vraja; subhruvam—of the gopis, whose eyebrows are very beautiful; tu—but; krishëe—for Krishëa; sahajah—born at the same time; prema—love; sah—it; jagarti—awakened.

 

 

     Paurëamasi: Although they went to the forest only to worship the demigods, the beautiful-eyebrowed girls of Vraja found that love for Krishëa suddenly awakened within them.

 

 

Text 17 (a)

 

 

     nandi: saccam raha-e sahavi-am ce-a pimmam tatthavi sahiëam kosalam uddi-aëam.

     paurëamasi: putri, mad-gira sandishyatam alekhya-vicakshaëa vishakha yatheyam svaskhi-netraravindayor anandanaya nanda-sunoh praticchandam nirmati.

 

     saccam—truth; raha-e—of Shrimati Radharaëi; sahavi-am—natural; ce-a—certainly; pimmam—love; tatthavi—nevertheless; sahiëam—of her friends; kosalam—good fortune; uddipaëam—stimulus; putri—O daughter; mat—my; gira—by words; sandishyatam—may be shown; alekhya—at drawing pictures; vicakshaëa—expert; vishakha—Vishakha-gopi; yatha—as; iyam—she; sva—her; sakhi—of the friend; netra—of the eyes; aravindayoh—lotus; anandanaya—for the delight; nanda—of Nanda Maharaja; sunoh—of the son (Shri Krishëa); praticchandam—likeness; nirmati—draws.

 

 

     Nandi: Radha's natural love for Krishëa made Her friends fortunate.

     Paurëamasi: Daughter, on my order please ask the skillful artist Vishakha to draw, for the pleasure of her friend's lotus eyes, a picture of Nanda's son.

 

 

Text 17 (b)

 

 

     nandi: jaha aëavedi bhaavadi.

     paurëamasi: mayapi modaka-vrinda-danapadeshad vrindaöavi-madhyam asadya radheti mangalakshara-madhuryeëa madhava-karëayor dvandvam anandiyam.

 

     jaha—as; aëavedi—order; bhaavadi—you; maya—by me; api—even; modaka—candies; vrinda—a multitude; dana—giving; apadeshat—on the pretext; vrinda-aöavi—of the forest of Vrindavana; madhyam—the middle; asaya—having arrived; radha—Radha; iti—thus; mangala—auspicious; akshara—syllales; madhuryeëa—with the sweetness; madhava—of Madhava; karëayoh—of the ears; dvandvam—pair; anandiyam—I may delight.

 

 

     Nandi: As the noble lady orders.

     Paurëamasi: Then, on the pretext of carrying a gift of modaka candies, I will enter Vrindavana forest and delight Krishëa's ears with the sweetness of the two auspicious syllables `Radha'.

 

 

Text 17 (c)

 

 

     nandi: ajje, pekkha eso rama-mahumangala-siridama-pahudihim saha-arehim saddham go-ulado ëikkami-a vundavanam gacchanto kaëho siëiddhehim pidarehim jaso-anandehim lalijja-i

 

     ajje—O respected mother; pekkha—just see; esah—He; rama—by Lord Balarama;  mahumangala—and Madhumangala; siridama—and Shridama; pahudihim—and others; saha-arehim—with friends; saddham—accompanied; go-uladah—from Gokula; nikkami-a—having left; vundavanam—Vrindavana; gacchantah—going; kaëhah—Krishëa; siëiddhehim—affectionate; pidarehim—by His parents; jaso-a—Yashoda; nandehim—and Nanda; lalijja-i—is fondled.

 

 

     Nandi: Noble lady, look! Accompanied by Balarama, Madhumangala, Shridama, and a host of friends, and embraced by affectionate Nanda and Yashoda, His parents, Krishëa now goes from Gokula to Vrindavana forest.

 

 

Text 17 (d)

 

 

     paurëamasi: (vilokya saharsham.)

 

ayam nayana-daëòita-pravara-puëdarika-prabhah

     prabhati nava-jaguda-dyuti-viòambi-pitambarah

araëyaja-parishkriya-damita-divya-veshadaro

     harin-maëi-manohara-dyutibhir ujjvalango harih

 

     vilokya—seeing; esa—with; harsam—joy; ayam—this; nayana—by whose beautiful eyes; daëòita—defeated; pravara—best; puëdarika-prabhah—the luster of the white  lotus flower; prabhati—looks beautiful; nava-jaguòa-dyuti—the brilliance of newly painted kunkuma; viòambi—deriding; pita-ambarah— whose yellow dress; araëya-ja—picked up from the forest; parishkriya—by whose ornaments; damita—subdued; divya-vesha-adarah—the hankering for first-class dress; harin-maëi—of emeralds; manohara—mind-attracting; dyutibhih—with splendor; ujjvala-angah—whose beautiful body; harih—the Supreme Personality of Godhead.

 

 

     Paurëamasi: (joyfully looking at Krishëa) The beauty of Krishëa's eyes surpasses the beauty of white lotus flowers, His yellow garments surpass the brilliance of fresh decorations of kunkuma, His ornaments of selected forest flowers surpass the hankering for the best of garments, and His bodily beauty possesses mind-attracting splendor greater than the jewels known as marakata-maëi (emeralds).'

 

 

Text 17 (e)

 

 

     tad aham modaka-sampadanaya gaccheyam. tvam vishakham yahi.

     (iti nishkrante)

 

     tat—therefore; aham—I; modaka—of candies; sampadanaya—for giving; gaccheyam—will go; tvam—you; vishakham—to Vishakha-gopi; yahi—please go; iti—thus; nishkrante—they exit.

 

 

     I will go to deliver the modaka candies. You go to Vishakha.

 

     (They exit)

 

 

 

 

 

Scene 2

 

 

Text 18

 

 

(tatah pravishati yatha-nirdishöah krishëah.)

 

     Shri Krishëah: (purastad avalokya sanandam)

 

shreëi-bhuta-vapuh-shriyam abhimukhe gomaëòaliëam kramaò

     asam sphaöika-gaëòa-shaila-paöali-paëòu-tvisham vyajatah

shanke jnata-guëa purandara-purac caskanda mandakini

     vrindaraëya-vihari-dhanya-yamuna-seva-pramodarthini

 

     tatah—then; pravishati—enters; yatha-nirdishöah—as described; krishëah—Shri Krishëa; shri-krishëa—Shri Krishëa; purastat—ahead; avalokya—looking; sa-anandam—with happiness; shreëi-bhuta—multitudes; vapuh—of forms; shriyam—of the beauty; abhimukhe—in the presence; gah—of cows; maëòalinam—of the multitudes; kramat—in order; asam—of them; sphaöika—crystal; gaëòa—side; shaila-paöali—of mountains; paëòu—white; tvisham—of the luster; vyajatah—having the appearance; shanke—I think; jnata—understood; guëa—qualities; purandara—of Indra; purat—from the city; caskanda—has descended; mandakini—the celestial Ganges; vrinda-araëya—in the forest of Vrindavna; vihari—performing pastimes; dhanya—auspicious; yamuna—of the Yamuna river; seva—service; pramoda—delight; arthini—for the purpose.

 

 

     (Krishëa, as previously described, enters)

 

     Krishëa: (Looking ahead, He joyfully says)  I think a host of crystal mountains, pretending to be these beautiful cows, has come here. Or perhaps it is the Mandakini Ganga River from the city of Indra that has come, disguised as these cows, to please and serve the glorious Yamuna River that now plays in Vrindavana.

 

 

Text 19

 

 

     nanda: vatsa, sadhu varëitam. kintu goshöha-lakshmir api prishöhatah prekshyatam iti. ( paravritya)

 

vishalair goshalair bahu-shikhara-shakha-vitatibhih

     paritaih sambadhi-krita-savidham ambhodhi-gahanam

samriddham agovardhana-kaöakam akaliya-hradam

     shriyam bibhrad-goshöham sphurati paritas tavakam idam

 

     nandah—Nanda Maharaja; vatsa—O child; sadhu—very well; varëitam—it has been described; kintu—but; goshöha—of the pasturing grounds; lakshmih—the opulence; api—even; prishöhatah—behind us; prekshyatam—may be seen; iti—thus; paravritya—having turned; vishalaih—large; goshalaih—homes for the cows and cowherds; bahu—many; shikhara—spires; shakha—and wings; vitatibhih—with multitudes; paritaih—surrounded; sambadhi-krita—abounding; savidham—near; ambhodhi—as the ocean; gahanam—deep; samriddham—opulence; agovardhana—up to Govardhana; kaöakam—the side; akaliya—up to Kaliya; hradam—lake; shriyam—beauty; bibhrat—holding; goshöham—pasture; sphurati—appears very splendid; paritah—all around; tavakam—you; idam—this.

 

 

     Nanda: Child, You speak well. Look behind us at the beauty of Vraja. (He turns around.) From Govardhana to Kaliya Lake, Your land of Vraja is very beautiful, like a great ocean of beauty glorious with many palaces and goshalas.

 

 

Text 20 (a)

 

 

     krishëah: sakhe madhumangala, duram anuyato 'smi tatena. tad avilambam sardham goshöham pravishyatam.

     Yashoda: jada, kimti avaraëhe vi goööham sumarasi. jam paramadareëa ma-e randhida-im paccaham si-alihonti miööhaëëa-im.

 

     sakhe—O friend; madhumangala—Madhumangala; duram—from a great distance; anuyatah—followed; asmi—I am; tatena—by My father; tat—therefore; avilambam—without delay; ambaya—by my mother; sardham—accompanied; goshöham—Vrindavana; pravishyatam—should be entered; jada—O son; kim ti—why?; avaraëhe—in the afternoon; vi—even; goööham—Vrndavana; na—not; sumarasi—you remember; jam—because; parama—supreme; adareëa—with care; ma-e—by me; randhita-im—cooked; paccaham—every day; si-alihonti—become cold; miööha—palatable; anna-im—foodstuffs.

 

 

     Krishëa: Friend Madhumangala, My father and mother have come to Me from far away. I should quickly go to Vraja Village with My mother.

     Yashoda: Son, why did You not remember to come home in the afternoon? The delicious lunch I carefully cooked is growing cold.

 

 

Text 20 (b)

 

 

     Madhumangalah: go-ulessari, suëahi. (iti sankritena)  gobhyah shape kim api dusaëam asya nasti (iti vag-upakrame krishëah sasneham enam pashyati.)

     Madhumangalah: tabhir yad esha rabhasad abhikrishyamaëah kunjam vishaty adhika-keli-kalotsukabhih  (iti vag-asamaptau)

 

 

     go-ula—of Gokula; issari—O queen (Yashoda); suëahi—please listen; iti—thus; sanskritena—in Sanskrit; gobhyah—cows; shape—I promise; kim api—some; dushaëam—fault; asya—His; na—not; asti—is; iti—thus; vak—of the speech; upakrame—from the beginning; krishëah—Shri Krishëa; sa—with; sneham—affection; enam—at him; pashyati—glances; tabhih—by them (the gopis); yat—because; eshah—He; rabhasat—joyfully; abhikrishyamaëah—enchanted; kunjam—the grove; vishati—enters; adhika—further; keli—pastimes; kala—art; utsukabhih—eager; iti—thus; vak—speech; asamaptau—in the uncompleted state.

 

 

     Madhumangala: (At the beginning of this speech, Krishëa affectionately glances at Madhumangala.) O queen of Gokula, please listen. I swear on the cows that Krishëa is not at fault. He stays in the forest because He is attracted by all the playful girls.. . . (Madhumangala's speech remains unfinished.)

 

 

Text 20 (c)

 

 

     krishëah: (sapatrapam atmagatam)-  vyaktam esha balisho ballavibhir iti vakshyati. tad enam samjnaya nivarayami. (iti shirastiro dhunayati.)

 

     Madhumangalah: bho vaasa, kimti me nivarasi jam ëiccidam ajja ajjaya aggado edam viëëavissam.

 

     krishëah: (svagatam)  hanta, lajja-jale jalma-dhiyaham patito 'smi.

 

     Madhumangalah: pitambaras tvaritam amba suhrid-ghaöabhih.

 

     sapatrapam atmagatam—embarrassed; vyaktam—manifested; eshah—this; balishah—fool; ballavibhih—with the gopis; iti—thus; vakshyati—will speak; tat—therefore; enam—to him; samjnaya—with intelligence; nivarayami—I will stop; iti—thus; shirah—head; tirah—bent; dhunayati—He shakes; bhoh—O; vaassa—friend; kimti—why?; me—to Me; nivaresi—do you obstruct; jam—which; ëiccidam—clearly; ajja—now; ajjayah—of Your pious mother; aggadah-in the presence; edam—this; viëëavissam—I will inform; svagatam—speaking to Himself; hanta—alas; lajja—of embarrassment; jale—in a network; jalma—inconsiderate; dhiya—because of intelligence; aham—I; patitah—fallen; asmi—am; pita—yellow; ambarah—garments; tvaritam—quickly gone; amba—O mother; suhrit—of His friends; ghaöabhih—with multitudes.

 

 

     Krishëa: (embarrassed, He says in an aside)  This fool will describe My pastimes with the gopis. I must signal him to stop.

     Madhumangala: O friend, why do You stop me as I speak to Your saintly mother?

     Krishëa: (aside)  Alas, because of this fool I have fallen into a trap of embarrassment.

     Madhumangala: Dear mother, what I meant was: Krishëa, who wears yellow garments, stays in the forest to play with His friends, the cowherd boys.

 

 

Text 21 (a)

 

 

     Krishëah: (sanandam atmagatam)  katham anyad evasya hrid-gatam.

     Yashoda: vaccha mahumangala, saccam lalida-pahudi-o ova-vali-a-o maha idam kahenti ta òimbha-e hadamhi.

 

     sanandam atmagatam—joyful; katham—how?; anyat—else; eva—certainly; asya—of him; hrit-gatam—intention; vaccha—O child; mahumangala—Madhumangala; saccam—truth; lalida—Lalita-gopi; pahudi-ah—and the others; ova-vali-a-ah—gopis; a—and; maha—my; idam—this; kanhenti—describe; ta—therefore; òimbha-e—by the boys; hadamhi—I am distressed.

 

 

     Krishëa: (joyful, He says in an aside)  How can any other desire stay in My heart?

     Yashoda: Child Madhumangala, it is true. Lalita and the other gopis all tell me: `Those boys harass us'.

 

 

Text 21 (b)

 

 

     nandah: kuöumnini, kaccid anurupa nirupitasti gokule kacid balika yam udvahayamo vatsam.

     yashoda: ajja, duddha-muhassa vacchassa daëim ko kkhu uvvaha-osaro.

     madhumangalah: (apavarya)  vaassa, saccam duddha-muho 'si jam duddha-luddha-im gova-kisori-sahassa-im tujjha muham pi-anti.

     (krishëah smitam karoti.)

 

     kuöumbini—my dear wife; kaccit—is there; anurupa—suitable; nirupita asti—is found; gokule—in Gokula; kacit—some; balika—young girl; yam—to whom; udvahayamah—we will marry off; vatsam—this boy; ajja—O pious husband; duddha-muhassa—of this small child accustomed to drink milk; vacchassa—of the child; daëim—now; kah—how?; kkhu—indeed; uvvaha-osarah—the proper time for marriage; apavarya—aside; vaassa—O friend; saccam—in truth; duddha-muhah asi—You are a small child accustomed to drink milk; jam—which; duddha-luddha-im—desiring to drink the milk; gova-kisori—of young gopis; sahasa—thousands; tujjha—Your; muham—lips; pi-anti—drink; krishëah—Krishëa; smitam karoti—smiles.

 

 

     Nanda: Wife, in Gokula is there a suitable young girl we can marry to this boy?

     Yashoda: Noble master, He is only a little boy. The milk is still in His mouth. Is this the right time to marry Him?

     Madhumangala: (to Krishëa, aside)  Friend, it is true that You have milk in Your mouth. Still, thousands of teenage gopis, greedy after that milk, drink from Your mouth.

 

Text 21 (c)

 

 

     nandah: vatsa, pashya pashya

 

ahaha kamala-gandher atra saundarya-vrinde

     vinihita-nayaneyam tvan-mukhendor mukunda

kuca-kalasha-mukhabhyam ambara-knopam amba

     tava muhur atiharshad varshati kshira-dharam

 

     vatsa—O child; pashya—see; pashya—see; ahaha—O!; kamala—of the lotus flowers; gandheh—of the fragrance; atra—here; saundarya—of beauty; vrinde—abundance; vinihita—placed; nayana—eyes; ayam—she; tvat—Your; mukha—of the face; indoh—of the moon; mukunda—O Mukunda; kuca—breasts; kalasha—water pots; mukhabhyam—from the face; ambara—garments; knopam—moistened; amba—mother; tava—Your; muhuh—constantly; ati-harshat—from great joy; varshati—rains; kshira—of milk; dharam—shower.

 

 

     Nanda: Child, look! Look! O Mukunda fragrant like a lotus flower, her eyes resting in the handsomeness of Your moonlike face, again and again Your mother showers her garments with the milk flowing from her waterpot breasts.

 

 

Text 22

 

 

     (iti shri-krishëam alingya sananadam)

 

jita-candra-paraga-candrika-

     naladendivara-candana-shriyam

parito mayi shaitya-madhurim

     vahati sparsha-mahotsavas tava

 

     iti—thus; shri-krishëam—Krishëa; alingya—embracing; sa-anandam—joyfully; jit—conquered; candra-paraga—of camphor; candrika—moonlight; nalada—of the cooling nalada root; indivara—of the blue lotus flower; candana—of sandalwood; shriyam—beauty; paritah—everywhere; mayi—on me; shaitya—of coolness; madhurim—pleasentness; vahati—carrys; sparsha—of touch; maha-utsavah—great festival; tava—Your.

 

 

     (Nanda joyfully embraces Krishëa)  O Krishëa, the great festival of Your touch brings to me a cool sweetness that defeats camphor, moonlight, nalada roots, lotus flowers, and sandal paste.

 

 

Text 23 (a)

 

 

     krishëah: tata, bubhukshakrishöam api mat-pratikshaya svayam tastambhe go-kadambakam tan nivartetam tatra-bhavantau.

     nandah: yathaha vatsah (iti sasneham krishëam avalokyan sabharyo nishkrantah.)

 

     tata—O father; bubhuksha—by hunger; akrishöam—attracted; api—although; mat—my; pratikshaya—with expectation; svayam—personally; tastambhe—stood still; gah—of the cows; kadambakam—multitude; tat—therefore; nivartetam—should turn back; tatra—there; bhavantau—you; yatha—as; aha—spoken; vatsah—the child; iti—thus; sa-sneham—with affection; krishëam—Krishëa; avalokyan—looking at; sa—with; bharyah—his wife; nishkrantah—he leaves.

 

 

     Krishëa: Father, pulled by hunger, the cows wait for Me. Please return home.

     Nanda: As the child says. (Affectionately gazing at Krishëa, Nanda and Yasoda exit.)

 

 

Text 23 (b)

 

 

     krishëah: (puro 'valokya)

 

sugandhau makanda-prakara-makarandasya madhure

     vinisyande vandi-krita-madhupa-vrindam muhur idam

kritandolam mandonnatibhir anilaish candana-girer

     mamanandam vrinda-vipinam atulam tundilayati

 

     purah—ahead; avalokya—looking; su-gandhau—in the fragrance; makanda-prakara—of the bunches of mango buds; makarandasya—of the honey; madhure—sweet; vinisyande—in the oozing; vandi-krita—grouped together; madhupa-vriëdam—bumblebees; muhuh—again and again; idam—this; krita-andolam—agitated; manda-unnatibhih—moving softly; anilaih—by the breezes; candana-gireh—from the Malaya Hills; mama—My; anandam—pleasure; vrinda-vipinam—the forest of Vrindavana; atulam—very much; tundilayati—increases more and more.

 

 

     Krishëa: (looking ahead) The sweet, fragrant honey oozing from newly grown mango buds is again and again attracting groups of bumblebees, and this forest is trembling in the softly moving breezes from the Malaya Hills, which are full of sandalwood trees. Thus the forest of Vrindavana is increasing My transcendental pleasure.*

 

 

Text 24

 

 

     ramah: shridaman, pashya pashya.

 

vrindavanam divya-lata-paritam

     latash ca pushpa-sphuritagra-bhajah

pushpaëi ca sphita-madhu-vratani

     madhu-vratash ca shruti-hari-gitah

 

     shridaman—O Shridama; pashya—look; pashya—look; vrindavanam—the forest of Vrindavana; divya-lata-paritam—surrounded by transcendental creepers; latah ca—and the creepers; pushpa—by flowers; sphurita—distinguished; agra-bhajah—possessing ends; pushpaëi—the flowers; ca—and; sphita-madhu-vratani—having many maddened bumblebees; madhu-vratah—the bumblebees; ca—and; shruti-hari-gitah—whose songs defeat the Vedic hymns and are pleasing to the ear.

 

 

     Rama: My dear friend Shridama, see how this forest of Vrindavana is full of transcendental creepers and trees. The tops of the creepers are full of flowers, and intoxicated bumblebees are buzzing around them, humming songs that please the ear and surpass even the Vedic hymns.*

 

 

Text 25 (a)

 

 

     krishëah: sakhe madhumangala, bhavad-vidhanam asatti-shamsibhir vamshi-gitair anandayami vrindaöavi-vastavyhn. (ity adhare veëum vinyasyati.)

     ramah: (sashcaryam)  hanta, paraspara-viparyasta-svabhavanam api bhavanam dharma-viparyayah pashyata.

 

     sakhe—O friend; madhumangala—Madhumangala; bhavat—you; vidhanam—of those who are like; asatti—nearby; shamsibhih—sounding; vamshi—of the flute; gitaih—with the songs; anandayami—I delight; vrinda-aöavi—of the forest of Vrindavna; vastavyan—inhabitants; iti—thus; adhare—to His lips; veëum—the flute; vinyasyati—He places; sa—with; ashcaryam—wonder; hanta—O; paraspara—mutual; viparyasta—opposite; svabhavanam—of natures; api—even; bhavanam—of objects; dharma—nature; viparyayah—reverted; pashyata—just see.

 

 

     Krishëa: Friend Madhumangala, staying here with you and the others, I will delight creatures of Vrindavana forest, with the sound of My flute. (Krishëa places the flute to His lips.)

     Rama: (with wonder) Look! They are becoming the opposite of what they were!

 

 

Text 25 (b)

 

 

jata-stambhataya payamsi saritam kaöhinyam apedire

     gravaëo drava-bhava-samvalanatah sakshad ami mardavam

sthairyam vepathuna jahur muhur agaj jaòyad gatim jangamam

     vamsim cumbati hanta yamuna-taöi-kriòa-kuöumbe harau

 

     jata—produced; stambhataya—with the state of being stunned; payamsi—waters; saritam—of the streams; kaöhinyam—stiffness; apedire—attained; gravaëah—stones; drava—fluid; bhava—nature; samvalanatah—from the contact; sakshat—immobility; vepathuna—by trembling; jahuh—abandon; muhuh—at once; agat—from the mountain; jaòyat—from the stiffness; gatim—movement; jangamam—moving; vamsim—flute; cumbati—when He touches to His lips; hanta—indeed; yamuna—of the Yamuna river; taöi—on the back; kriòa-kuöumbe—who performs many pastimes; harau—Lord Hari.

 

 

     When Krishëa, playing by the Yamuna's bank, kisses His flute, the waters of the streams become stunned and solid, the rocks become soft and melt, and the mountains, no longer standing still, tremble and walk about.

 

 

Text 26

 

 

     madhumangala: hi hi accari-am

 

pa-uradara-galanda-cchira-kalloliëihim

     ëa-a-kusuma-ladaëam hanta so-am kuëanti

pivi-a mahura-vamshi-ëada-pi-usa-puram

     phura-i garu-a-saukkha-tthambhida dheëu-patti

 

     hi—O; hi—O; accari-am—how wonderful; galanda—trickling; pa-uradare—very abundant; cchira—of milk; kalloliëihim—with waves; na-a—fresh; kusuma—of flowers; ladaëam—of creepers; hanta—O; so-am—sprinkling; kuëanti—performing; pivi-a—having drunk; mahura—sweet; vamshi—of the flute; ëada—of the sound; pi-usa—of nectar; puram—river; phura-i—is manifested; garu-a—intense; saukkha—with happiness; tthambhida—stunned; dheëu—of cows; patti—multitude.

 

 

     Madhumangala: Oh! Oh! Wonderful! Drinking flood of nectar that is sweet sound of Krishëa's flute, the cows are stunned with bliss. Now they are all sprinkling the flowers with great flowing waves of milk.

 

 

Text 27 (a)

 

 

     (iti krishëam hastena calayan) bho pi-a-vaassa, kisa ëimbbharam gavva-esi. eda-e cce-a veëu-jadi-e esa ummadi-a pa-idi. ettha uëa ëimittamettam kkhu tumam.

 

     iti—thus; krishëam—Shri Krishëa; hastena—by the hand; calayan—leads; bhah—O Lord; pi-a—dear; vaassa—friend; kasi—from what?; ëimbbharam—greatly; gavva-esi—are You so proud; eda-e—of it; cce-a—certainly; veëu—of bamboos; jadi-e—of the family; esa—she; unmadi-a—intoxicating; pa-idi—energy; ettha—here; uëa—again; nimitta—instrument; mettam—only; kkhu—indeed; tumam—you.

 

 

     (With a hand He pushes Krishëa.) Dear friend, why be proud? By its very nature, this flute makes everyone wild with bliss. You are only the flute's helper.

 

 

Text 27 (b)

 

 

     (akashe)

 

rundhann ambu-bhritash camatkriti-param kurvan muhus tumburum

     dhyanad antarayan sanandana-mukhan vismapayan vedhasam

autsukyavalibhir balim caöulayan bhogindram aghurëayan

     bhindann aëòa-kaöaha-bhitim abhito babhrama vamshi-dhvanih

 

     rundhan—blocking; ambu-bhritah—the clouds bearing rain; camatkriti-param—full of wonder; kurvan—making; muhuh—at every moment; tumburum—the King of the Gandharvas, Tumburu; dhyanat—from meditation; antarayan—disturbing; sanandana-mukhan—the great saintly persons headed by Sanandana; vismapayan—causing wonder;  vedhasam—even to Lord Brahma; autsukya-avalibhih—with thoughts of curiosity; balim—King Bali; caöulayan—agitating; bhogi-indram—the King of the Nagas; aghurëayan—whirling around; bhindan—penetrating; aëòa-kaöaha-bhitim—the strong coverings of the universe; abhitah—all around; babhrama—circulated; vamshi-dhvanih—the transcendental vibration of the flute.

 

 

     (A voice in the sky): The transcendental vibration of Krishëa's flute blocked the movements of the rain clouds, struck the Gandharvas full of wonder, and agitated the meditation of great saintly persons like Sanaka and Sananda. It created wonder in Lord Brahma, wrought intense curiosity that agitated the mind of Bali Maharaja, who was otherwise firmly fixed, made Maharaja Ananta, the carrier of the planets, whirl around, and penetrated the strong coverings of the universe. Thus the sound of the flute in the hands of Krishëa created a wonderful situation.*

 

 

Text 28 (a)

 

 

     ramah: (saharsham. urdhvam avalokya svagatam)  katham meghantarito 'yam surarshih padyam upaviëayam asa. (punar akashe kalakalah)

     madhumangalah: (urdhvam avalokya. sabhayam)  abbamhaëëam abbamhaëëam. bho bho, pala-amha pala-amha.

     Shridama: va-ula. kimti ëiraggalam palavasi.

 

     sa—with; harsham—joy; urdhvam—upwards; avalokya—looking; svagatam—aside; katham—how?; megha—clouds; antaritah—within; ayam—this; sura-rishih—Narada, the sage among the demigods; padyam—verse; upaviëayam asa—playing upon the viëa; punah—again; akashe—in the sky; kalakalah—a rumbling sound; urdhvam—upwards; avalokya—looking; sa—with; bhayam—fear; abbamhaëëam—help!; abbamhaëëam—help!; bho bhah—O! O!; pala-amha—let us flee; pala-amha—let us flee; va-ula—O crazy fellow; kimti—why?; niraggalam—without restraint; palavasi—you are speaking foolishly.

 

 

     Rama: (Looking up, He happily says to Himself) Why does Narada, hiding in the clouds, recite poetry and play his viëa?

     (A soft an indistinct sound is again manifest in the sky.)

     Madhumangala: (looking up, frightened)  Help! Help! Run away! Run away!

     Shridama: Fool, why do you speak all this nonsense?

 

 

Text 28 (b)

 

 

     Madhumangalah: (urdhvam avalokya. sabhayam)  are mukkha go-ali-a, kim ëa pekkhasi. eso samaruòha-hamso ëaggeëa bhu-anga-dhariëa keëavi vedaleëa saddham ca-ummuho ko vi jakkho rakkhaso va a-acchadi. (punar vikshya sotkampam.)  hi maëahe, ede a acchihim purida-savvangam kampi daëaam aggekadu-a avare asura gaaëam akkamandi. ta samkemi hada-kamsassa kimkara huvissandi. (iti satrasam krishëa-kakshantare shiras tirayati.)

 

     urdhvam—upwards; avalokya—looking; sa—with; bhayam—fear; are—O!; mukkha—fool; go-ali-a—cowherd boy; kim—do?; ëa—not; pekkhasi—you see; esah—he; samaruòha—ascended; hamsah—swan; ëaggeëa—naked; bhu-anga—snake; dhariëa—holding; kenavi—by someone; vedaleëa—ghost; saddham—accompanied; ca-ummuhah—who has four heads; ko yi—someone; jakkhah—Yaksha; rakkhasah—demon; va—or; a-acchadi—is coming; punah—again; vikshya—looking; sa—with; utkampam—trembling; hi—O!; maëane—we consider; ede—these; a—and; acchihim—with eyes; purida—filled; savva-entire; angam—body; kampi—someone; daëamaam—demon; agge-kadu-a—having placed in front; avare—others; asura—demons; gaaëam—the sky; akkamandi—will enter; ta—that; samkemi—I believe; hada—dead; kamsassa—of Kamsa; kimkara—servants; huvissandi—will become; iti—thus; sa—with; trasam—fear; krishëa—of Krishëa; kaksha—on the side; shirah—head; tirayati—conceals.

 

 

     Madhumangala: (frightened, looking upwards) Foolish gopa, don't you see?  Riding on a swan, and accompanied by a naked ghost grabbing many snakes, a four-headed yaksha or rakshasa approaches us.

     (Madhumangala looks again and trembles). Let by that demon whose body is covered by eyes, all those demons are about to attack us from the sky. That's what I think. I think they are all about to become Kamsa's servants.

     (Frightened Madhumangala hides, placing his head behind Krishëa.)

 

 

Text 28 (c)

 

 

     krishëah: (svagatam)  katham ete veëu-nada-madhuribhir akrishöah payoda-vithim avagahante disham adhishah. (iti punar veëum kvaëayati).

 

     svagatam—aside; katham—how?; ete—these; veëu—of the flute; nada—of the sound; madhuribhih—by the sweetness; akrishöah—attracted; payoda—of clouds; vithim—multitude; avagahante—enter deeply; disham—of the directions; adhishah—controllers; iti—thus; punah—again; veëum—the flute; kvaëayati—He plays.

 

 

     Krishëa: (aside) Why, attracted by the sweetness of the flute-music, do the kings of the directions now hide in the clouds?

     (Krishëa again plays the flute.)

 

 

Text 28 (d)

 

 

     madhumangalah: (vilokya socchvasam atmagatam)  ede duööha-daëa-a vaassassa veëu-sadda-metteëa vimhala bhavi-a sajjhaseëa mujjhanti. ta ji-ido mhi. (iti saöopam parikramya prakasham.)  re re duööha asura, ciööhada. eso ham saveëa caveëa va tumhaëam muëòa-im khaëòemi. (iti daëòam udyamya muhur urdhvam kurdati.)

 

     vilokya—seeing; sa—with; ucchvasam—a deep breath; atmagatam—attained; ede—these; duööha—wicked; daëa-a—demons; vaassassa—of the friend; veëu—of the flute; sadda—of the sound; metteëa—by only; vimhala—agitated; bhavi-a—having become; sajjhasena—with fear; mujjhanti—become bewildered; ta—therefore; ji—alive; mhi—I am; iti—thus; sa—with; atopam—pride; parikramya—strutting about; prakasham—openly; re re—O! O!; duööha—wicked; asura—demons; ciööhada ciööhada—stand!  Stand!; esah—he; ham—I; savena—by the curse; caveëa—by the bow; va—or; tumhaëam—your; muëòa-im—bald heads; khaëòemi—I will crush; iti—thus; dandam—a stick; udyamya—shaking; muhuh—for a moment; kurdati—jumps.

 

 

     Madhumangala: (Looking and sighing deeply). These wicked demons aritated, stunned, and frightened merely by the sound of My friend's flute. I am alive! O wicked demons! Stand! Stand! By cursing you, or by striking you with arrows from my bow, I will crush your bald heads!  (Shaking a stick, Madhumangala jumps about).

 

 

Text 28 (e)

 

 

     ramah: (vihasya)  vayasya, maivam bravih. etau bhagavantau hara-hiraëyagarbhau. savyatash cami purandaradayo vrindarakah.

     madhumangalah: suööhu. (samashvasya)  bho, jaëanteëa cce-a ma-e edam paòihasidam. tado tumhemim kkhu rakkhasa-buddhi-e bhilu-ehim pala-idum pa-uttam.

     krishëah: (smitva)  hamho devanam-priya, nijam eva jalmatam teshu sankramayasi.

 

     vihasya—smiling; ma—don't; evam—in this way; bravih—speak; etau—these; bhagaantau—lords; hara—Shiva; hiraëyagarbhau—and Brahma; savyatah—on the left; ca—and; ami—these; purandara—Indra; adayah—and other demigods; vrindarakah—leaders of the demigods; suööhu—clearly; samashvasya—sighing with relief; bhah—O!; jaëanteëa—undertansding; cce-a—certainly; ma-e—by me; edam—this; paòihasidam—laughable; tadah—therefore; tumhemim—by you; kkhu—indeed; rakkhasa—Rakshasa; buddhi-e—with the conception; bhilu-ehim—by the frightened; pala-idum—to flee; pa-uttam—begun; smitva—smiling; hamhah—O!; devanam—of the demigods; priya—dear; nijam—own; eva—certainly; jaimatam—faultness; teshu—on them; sankramayasi—you transfer.

 

 

     Rama: (smiling) Friend, don't talk like that. These two person are Brahma and Shiva. On their left are Indra and the leaders of the demigods.

     Madhumangala: Indeed! (He sighs with relief.)  I knew all along. I was only joking. But you were afraid. Thinking the demigods were rakshasas, you were going to run away.

     Krishëa: (smiling) Friend of the demigods, in others you see your own foolishness.

 

 

Text 28 (f)

 

 

     ramah: pashyata pashyata.

 

ashöabhih shruti-puöakair

     nava-vaiëava-kakalim kalayan

shata-dhritir api dhriti-mukto

     marala-prishöhe muhur luöhati

 

     pashyata pashyata—look!  Look!; ashöabhih—eight; shruti-puöakaih—with ears; nava—new; vaiëava—from the flute; kakalim—music; kalayan—hearing; shata-dhritih—Lord Brahma, who performed a hundred sacrifices; api—even; dhriti—from composure; muktah—free; marala—of the swan; prishöhe—on the back; muhuh—constantly; luöhati—rolls.

 

 

     Rama: Look! Look! Overcome with ecstasy as with eight ears he listens to Krishëa's flute-music, Brahma rolls about on the back of his swan.

 

 

Text 29

 

 

     (akashe punar viëa-gitih)

 

udite hari-vaktrendau

     veëu-nada-sudha-muci

hanta rudra-samudreëa

     sva-maryada vilanghita

 

     akashe—in the sky; punah—again; viëa—of the vina; gitih—music; udite—arisen; hari—of Lord Hari; vaktra—of the mouth; indau—the moon; veëu—of the flute; nada—of the sound; sudha—nectar; muci—releasing; hanta—O; rudra—of Lord Shiva; samudreëa—by the ocean; sva—own; maryada—limits; vilanghita—surpassed.

 

 

     (Again there is viëa music in the sky.)

     When, splendid with the nectar moonlight of flute music, the moon of Krishëa's face rises, the ocean of the demigod Shiva floods beyond it's boundaries.

 

 

Text 30

 

 

     ramah:

 

sotkaëöham murali-kala-parimalan akarëya ghurëat-tanor

     etasyakshi-sahasratah sura-pater ashruëi sasrur bhuvam

citram vari-dharan vinapi tarasa yair adya dharamayair

     durat pashyata deva-matrikam abhud vrindaöavi-maëòalam

 

     sa—with; utkaëöham—ardent longing; murali—of the flute; kala—of the artistry; parimalan—sweet aroma; akarëya—having heard; ghurëat—shaking; tanoh—body; etasya—of him; akshi—from the eyes; sahasratah—hundreds; sura—of the demigods; pateh—of the king (Indra); ashruëi—tears; sasruh—flowed; bhuvam—to the earth; citram—wonderful; vari-dharan—rainclouds; vina—without; api—even; tarasa—quickly; yaih—by which; adya—today; dhara-mayaih—consisting of rains; durat—from a great distance; pashyata—look; deva—of the demigods; matrikam—area; abhut—became; vrindaöavi—of the forest of Vrindavana; maëòalam—circle.

 

 

     Rama: Just see how, after hearing the transcendental sound of Krishëa's flute, Indra, the king of heaven, is crying in his heavenly kingdom! From his teardrops falling on the ground, Vrindavana appears to have become a celestial residence for the demigods.*

 

 

Text 31 (a)

 

 

     krishëah: (svagatam)  puraëanam amisham purastad vihare sankucanti me ceto-vrittavyah. tad agre yami. (iti taruëam antaram asadya prakasham.)  sakhe madhumangala, pashya madhaviyam vana-madhurim.

 

     svagatam—aside; puranaëam—of elderly persons; amisham—of these; purastat—in the presence; vihare—in pastimes; sankucanti—shrink; me—my; cetah—of the mind; vrittayah—activities; tat—therefore; agre—ahead; yami—I will go; iti—thus; taruëam—of trees; antaram—under; asadya—goes; prakasham—clearly; sakhe—O friend; madhumangala—Madhumangala; pashya—look; madhaviyam—in the spring; vana—of the forest; madhurim—the charming beauty.

 

 

     Krishëa: (aside)  My thoughts turn away from playing before these elderly demigods. I will go ahead. (He goes under some trees.) Friend Madhumangala, look at the sweetness of the of the forest in spring.

 

 

Text 31 (b)

 

 

kvacid bhringi-gitam kvacid anila-bhangi-shishirata

     kvacid; valli-lasyam kvacid amala-malli-parimalah

kvacid dhara-shali karaka-phala-pali-rasa-bharo

     hrishikaëam vrindam pramadayati vrindavanam idam

 

     kvacit—somwhere; bhringi-gitam—the humming songs of the bumblebees; kvacit—somewhere; anila-bhangi-shishirata—coolness from the waves of the mild breezes; kvacit—somewhere; amala-malli-parimalah—the pure fragrance of the mallika flowers; kvacit—somewhere; dhara-shali—abounding in showers; karaka-phala-pali—of pomegranate fruits; rasa-bharah—overabundance of juice; hrishikanam—of the senses; vrindam—to the group; pramadayati—is giving pleasure; vrindavanam—the forest of Vrindavana; idam—this.

 

 

     My dear friend, this forest of Vrindavana is giving great pleasure to our senses in various ways. Somewhere bumblebees are singing in groups, and in some places mild breezes are cooling the entire atmosphere. Somewhere the creepers and tree twigs are dancing, the mallika flowers are expanding their fragrance, and an overabundance of juice is constantly flowing in showers from pomegranate fruits.*

 

 

Text 32 (a)

 

 

     madhumangalah: bho vaassa, eda paduööha-bhanga-bhaankari-e kim kauduhalam tujjha vundaöa-i-e, aham kkhu ca-uvvihehim aëëehim savv-indi-ahariëim go-ulesari-e rasava-im jjevva daööhuëa ranjemi.

 

     bhah—O; vaassa—friend; eda—this; paduööha—wicked; bhanga—of destruction; bhaankari-e—causing fear; kim—what is the use?; me—to me; kauduhalam—delight; tujjha—Your; vundaöa-i-e—of the forest of Vrindavana; aham—I; kkhu—certainly; ca-uvvihehim—with four kinds; aëëehim—of foodstuffs; savv-indi-a—all the senses; hariëim—attracting; go-ula—of Gokula; isari-e—by the queen (mother Yashoda); rasava-im—palatable; jjevva—indeed; daööhuëa—seeing; ranjemi—I become overjoyed.

 

 

     Madhumangala: Friend, how can I be happy in Your Vrindavana forest? I am always afraid some thug will attack me. I become happy when I see the four kinds of delicious food Gokula's queen cooks, food that charms all the senses.

 

 

Text 32 (b)

 

 

     krishëah: vayasya, vandasya vrindaöavim eva. sphutam asyah puraëa-vallaribhir api tavabhishöam phalam ullasayitum samarthyate.

 

     vayasya—O friend; vandasya—you should offer obeisances; vrinda-aöavim—to the forest of Vrindavna; eva—certainly; sphuöam—clearly; asyah—of it; puraëa—ancient; vallaribhih—by creepers; api—even; tava—your; abhishöam—desired; phalam—fruit; ullasayitum—to manifest; samarthyate—is able.

 

 

     Krishëa: Friend, you should bow down before Vrindavana Forest, which has ancient flowering-vines with the power to fulfill your desires.

 

 

Text 32 (c)

 

 

     madhumangalah: bho pi-a-vaassa, tumam saccavaditti savva-lo-ehim bhaëijjasi. ta imassa tujjha vaaëassa ma-e pariccha kadavva. (ity anjalim badhva) bho vallari-e, esoham vandami. buhukkhido me vaasso. ta dentu khaëòa-laòòu-a-im.

 

     bhah—O; pi-a—dear; vaassa—friend; tumam—you; saccavaditti—as one who speaks the truth; savva—all; lo-ehim—by the people; bhaëijjasi—are described; ta—therefore; imassa—of this; tujjha—Your; vaaëassa—of the words; ma-e—by me; pariccha—investigation; kadavva—should be done; iti—thus; anjalim baddhva—he folds his hands; bhah—O; vallari-e—creepers; esoham—I; vandami—offer obeisances to you; buhukkhidah—hungry; me—my; vaassah—friend; ta—therefore; dentu—may give; khaëòa-laòòu-a-im—laòòu candies.

 

 

     Madhumangala: Dear friend, everyone says You are very truthful. I will now conduct an experiment to see if this is true. (Madhumangala folds his palms). O flowering-vines, I bow down before you. My friend is very hungry. Please give Him many sweet laòòu candies.

 

 

Text 32 (d)

 

 

     (pravishya modaka-patra-hasta paurëamasi)

     paurëamasi: candranana, grihaëa rasajnamodakan abhun modakah.

     Ramah: (sasmitam)  vayasya, drishöa jarad-vallari-vadanyata.

     paurëamasi: sankarshaëa, jarad-ballavi-vadanyateti bhaëyatam.

     Krishëah: arye, keyam jarad-ballavi.

     paurëamasi: candramukha, mukhara.

 

     pravishya—entering; modaka—candies; patra—plate; hasta—in her hand; paurëamasi—Paurëamasi; candra—moon; anana—face; grihaëa—please take; rasajna—to the epicures; amodakan—delighting; amun—these; modakan—candies; sa—with; smitam—a smile; vayasya—O friend; drishöa—seen; jarat—ancient; vallari—of the creeper; vadanyata—generosity; sankarshaëa—O Lord Balarama; jarat—ancient; ballavi—gopi; vadanyata—generosity; iti—thus; bhaëyatam—may be described; arye—O pious woman; ka—who?; iyam—this; jarat—elderly; ballavi—gopi; candra—moon; anana—face; mukhara—Mukhara-gopi.

 

 

     (Carrying a plate of candies in her hand, Paurëamasi enters.)

     Paurëamasi: O boy with a face like the moon, please take these candies delightful to the tongue.

     Rama: (smiling) Friend, see the generosity of this ancient flowering-vine!

     Paurëamasi: Balarama, everyone says that elderly gopi is very generous.

     Krishëa: Noble lady, which elderly gopi do you mean?

     Paurëamasi: The gopi Mukhara, O boy with a face like the moon.

 

 

     Note: Here Krishëa uses the word "jarad-vallari" (ancient flowering-vine). Paurëamasi mishears Him and thinks He said "jarad-ballavi" (ancient gopi).

 

 

Text 32 (e)

 

 

     krishëah: taya kim akaëde khaëòa-laòòukani samarpitani.

     paurëamasi: naptri tavad etaya abhimanyoh paëau pariëayita. tad-utsavabhirupah samudacaro 'yam anusasre.

 

     taya—by her; kim—what?; akaëòe—unexpectedly; khaëòa-laòòukani—candies; samarpitami—offered; naptri—grand-daughter; tavat—so much; etaya—by her; abhimanyoh—of Abhimanyu; paëau—the hand; pariëayita—accepted in marriage; tat—of that; utsava—festival; abhirupah—corresponding; samudacarah—gift; ayam—this; anusasre—following the custom.

 

 

     Krishëa: Why does she unexpectedly send these laòòu candies to us?

     Paurëamasi: Her granddaughter will accept the hand of Abhimanyu. Following tradition, she is distributing gifts to celebrate.

 

 

Text 32 (f)

 

 

     krishëah: keyam naptri.

     paurëamasi: radhikabhidhana kacid ananda-kaumudi.

 

     ka—who?; iyam—this; naptri—granddaughter; radhika—Shrimati Radharaëi; abhidhana—named; kacit—some girl; ananda—bliss; kaumudi—moonlight.

 

 

     Krishëa: Who is her granddaughter?

     Paurinamasi: Her name is Radha, and She is delightful like moonlight.

 

 

Text 32 (g)

 

 

     krishëah: (saromancam svagatam)  shrutam nunam ambayoh samvade shashvad asyah saushöhavam. (iti kampamano vriòam naöayati.)

     paurëamasi: (svagatam)  krishëam vilaksham avekshya nunam ramah savyajam asau savyatah prayati.

 

     sa-romancam—hairs standing upright; svagatam—aside; shrutam—heard; nunam—just now; ambayoh—of the two mothers (Yashoda and Rohiëi); samvade—in the conversation; shashvat—constantly; asyah—her; saushöhavam—superexcellent beauty and qualities; iti—thus; kampamanah—trembling; vriòam—bashfulness; naöayati—represents dramatically; svagatam—aside; krishëam—Shri Krishëa; vilaksham—bashful; aveksya—having noticed; nunam—now; ramah—Lord Balarama; savyajam—cleverly; asau—this; savyatah—from the left side; prayati—goes.

 

 

     Krishëa: (The hairs of His body stand upright, and He says to Himself:) In the talk of My two mothers I heard how glorious this girl is. (He becomes embarrassed and trembles.)

     Paurëamasi: (aside) Understanding Krishëa's embarrassment, on some pretext Balarama has gone from Krishëa's left side.

 

 

Text 32 (h)

 

 

     krishëah: (punar atmagatam)  vikriyam sangopayitum prasangantaram angi-kuryam. (prakasham)  arye, adya madhu-vasare tvayapi kacin mahotsava-lakshmir alankriyatam. pashya jarad-valli-shreëir iyam phulla pallavita ca.

 

     punah—again; atma-gatam—to Himself; vikriyam—this transformation; sangopayitum—to conceal; prasanga—love; antaram—within; angi-kuryam—may I accept; prakasham—openly; arye—O pious woman; adya—today; madhu—pleasent; vasare—day; tvaya—by you; api—even; kacit—some; maha—great; utsava—festival; lakshmih—opulences; alankriyatam—should be decorated; pashya—just see; jarat—ancient; valli—of creepers; shreëih—multitudes; iyam—this; phullah—abounding in flowers; pallavitah—blossomed; ca—and.

 

 

     Krishëa: (again, He say to Himself:) To conceal these ecstatic symptoms, I should change the subject of our talking. (speaking openly) Noble lady, this spring day is glorious with a festival of many ornaments. Look! These ancient vines are blossoming with many flowers!

 

 

Text 32 (i)

 

 

     paurëamasi: (sasmitam)  nagara, tavaiva mahotsvanam avasaro 'yam samvrittah. yad atra pushpaëam pallavanam ca trishëaya ballavanam vilasinyah sameshyanti.

 

     sa—with; smitam—a smile; nagara—O clever Krishëa; tava—Your; eva—certainly; maha—great; utsavanam—of festivals; avasarah—opportunity; ayam—this; samrötah—arrived; yat—which; atra—here; pushpaëam—of flowers; pallavanam—of buds; ca—and; trishëaya—by the desire; ballavanam—of the cowherd men; vilasinyah—the beautiful wives; sameshyanti—will assemble.

 

 

     Paurëamasi: (smiling) Hero Krishëa, the day of Your festival has come. Thirsting to gather many flowers and leaves, the playful gopis will soon come here.

 

 

Text 32 (j)

 

 

     krishëah: (sasmitam tiryag avekshya.)  arye, tatah kim.

     paurëamasi: (vihasya)  vilasin, sva-vasananusarad anyatha ma shankishöah. param evam abhiprayami. tatas tasam shunyeshu sadmasu sakhibhis te sukham apahartavyani gavyani.

 

     sa—with; smitam—a smile; tiryak—crookedly; avekshya—looking; arye—O pious woman; tatah kim—how is that?; vihasya—laughing; vilasin—O playful boy; sva—own; vasana—desire; anusarat—because of the nature; anyatha—otherwise; ma—don't; shankishöah—be afraid; param—other; evam—certainly; abhipraya asmi—I intend; tatah—therefore; tasam—of them; shunyeshu—empty; sadmasu—in the houses; sakhibhih—with friends; te—Your; sukham—easily; apahartavyani—will be stollen; gavyani—milk products.

 

 

     Krishëa: (Smiling, He looks at her with crooked eyes.) Noble lady, what is that?      Paurëamasi: (laughing) Playful boy, don't worry. It is not against Your wishes. I will say what I mean. When the gopis' houses are empty, You and Your friends will happily steal their butter and yogurt.

 

 

Text 32 (k)

 

 

     krishëah: dhurte, kim parihasyate. pashya komala-manjarim avacinvatinam ballavinam maëòalena khaëòitani me vrindaöavi-shakhi-viöapani. tad etas te nivaraëiyah.

 

     dhurite—O rascal; kim—why?; parihasyate—is there laughter; pashya—just look; komala—charming; mankarim—blossom; avacinvatinam—collecting; ballavinam—of the gopis; maëòalena—by the multitude; khaëòitani—broken; me—My; vrinda-aöavi—in the forest of Vrindavana; shakhi-viöapani—branches and twigs; tat—therefore; etah—they te—by you; nivaraëiyah—should be prevented.

 

 

     Krishëa: Rogue, why do you laugh? Look! Those branches and twigs in My Vrindavana forest were broken by the gopis when they picked the soft flowers. It is your duty to stop them.

 

 

Text 32 (l)

 

 

     paurëamasi: mohana, navya-stabakottamsina bhavataiva samullasito 'yam kusumeshu-rago ballavinam. tah katham ito nivaryatam.

 

     mohana—O charming boy; navya—fresh; stabaka—bunches of flowers; uttamsina—wearing a crown; bhavata—by You; eva—certainly; samullasitah—delighted; ayam—this; kusumesu—in the flowers; ragah—love; ballavinam—of the gopis; tah—them; katham—how; itah—therefore; nivaryatam—may they be restrained;

 

 

     Paurëamasi: Enchanting boy, It is You, decorated with many flowers, that make the gopis yearn to have flowers. How can I stop them?

 

 

     Note: Ambiguous, this verse may also mean:

 

     "Enchanting boy, It is You, decorated with many flowers, that fill the gopis with passionate desires. How can I stop them?"

 

 

Text 32 (m)

 

 

     krishëah: (smitva)  ayi balaka-valaksha-keshi. kathopakramad vakram eva panthanam adhiruòhasi. yad aparadhikasv api ballavishu paksha-patam na muncasi.

 

     smitva—smiling; ayi—O; balaka—of cranes; valaksha—white; keshi—hairs; katha—of speech; upakramat—from the activity; vakram—crooked; eva—certainly; panthanam—path; adhiruòha—ascended; asi—you are; yat—because; aparadhikasu—offenders; api—although; ballavishu—gopis; paksha-patam—adherence; na—not; muncasi—you abandon.

 

 

     Krishëa: O lady with hair white like crane feathers, with these words you walk a crooked path. You will not renounce your allegiance to these offender-gopis.

 

 

Text 32 (n)

 

 

     paurëamasi: sundara, samprati saradhikah khalu ballavyah katham aparadhikah santu. tena te priyasya punnagasyapi sumanasteyam haöhena karishyanti.

 

     sundara—O beautiful boy; samprati—at the present time; sa—accompanied by; radhikah—Shrimati Radharaëi; khalu—indeed; ballavyah—gopis; katham-how?; aparadhikah—offenders; santu—have become; tena—by that; te—of You; priyasya—dear; punnagasya—of the punnaga tree; api—even; sumana—flower; steyam—theft; haöhena—by force; karishyanti—will do.

 

 

     Paurëamasi: Handsome boy, why are Radha and the gopis now offenders? They will only steal a few flowers from Your favorite punnaga tree.

 

 

     Note: The ambiguous second sentence may also be translated:

 

     "They will only steal the heart of You, the best of males."

 

 

Text 32 (o)

 

 

     krishëah: (svagatam)  hanta, katham maëohariëi saiva daivat punar avartate radhika-varta.

     madhumangalah: (svagatam)  kaham raniti ëama-matta-eëa unmaëa-edi eso. (prakasham)  bho vaassa, ma kkhu ima-e uvari ëibbharam satiëëo hohi.

 

     svagatam—aside; hanta—O; katham—how?; manohariëi—enchanting to the mind; sa—she; eva—certainly; daivat—because of fate; punah—again; avartate—turns; radhika—of Shrimati Radharaëi; varta—news; svagatam—aside; kaham—how?; rahiti—Radha; nama—the name; matta-eëa—only by; unmana-edi—is agitated; esah—He; prakasham—openly; bhah—O; vaassa—friend; ma—don't; kkhu—indeed; ima-e—of this; uvari—in regard; ëibbharam—excessively; satiëëah—full of desire; hohi—become.

 

 

     Krishëa: (aside) Ah! Why has destiny again brought Me news of Radha, news enchants My heart.

     Madhumangala: (aside) Why does the name Radha excite Him so? (openly) Friend, don't become so thirsty after this.

 

 

Text 32 (p)

 

 

     krishëah: (sapraëaya-rosham)  dhig vacala, kutraham satrishëah.

     madhumangalah: bho, ma kuppaha. sarasa-e manoharali-e uvari tti bhaëami.

 

     sa—with; praëaya—love; rosham—anger; dhik—fie!; vacala—O talkative one; kutra—from what?; aham—I; sa-trishëah—full of desire; bhah—O; ma—don't; kuppaha—become angry; sarasa-e—beautiful; manoharali-e—who is attracting the mind; uvari—in relation to; tti—thus; bhaëami—I am speaking.

 

 

     Krishëa: (simultaneosly angry and affectionate) Talkative friend, to hell with you! After what do I thirst?

     Madhumangala: Oh! Don't be angry! I was talking about these sweet "manohara" candies.

 

 

     Note: Madhumangala's words are ambiguous. They may also mean:

 

     "Oh! Don't be angry! I was talking about the beautiful gopis that have stolen Your heart."

 

 

Text 32 (q)

 

 

     krishëah: sakhe, 'smi. nemani manoharakhyani kintu mauktikakhyani laòòukani.

     madhumangalah: (vihasya)  pi-a-vaassa, ëa kkhu aham bhamisile raha-cakked vaööami. kudo bhamissam.

 

     sakhe—O friend; bhrantah—bewildered; asmi—I am; na—not; imani—these; manohara—manohara; akhyani—named; kintu—but; mauktika—mauktika; akhyani—named; laòòukani—laòòu candies; vihasya—laughing; pi-a—dear; vaassa—friend; ëa—not; kkhu—indeed; aham—I; bhami-sile—intent on causing bewilderment; raha—of Radha; cakke—circle; vaööami—turn; kudah—from what cause?; bhamissam—I am causing to become bewildered.

 

 

     Krishëa: Friend, I misunderstood. But these aren't the laòòu candies that are called "manohara"  They are the laòòus called "mauktika".

     Madhumangala: (laughs)  Friend, I would not try to fool You with a pun on the name of the star Radha. Why would I try to fool You?

 

 

Text 32 (r)

 

 

     paurëamasi: (svagatam)  satyam parihasyate baöuna, yad esha bhavodvritta-ceto-vrittitaya vailakshya-bhag abhilakshyate tad adya purëa-kamasmi. (prakasham)  sundara, kritam atrotkaëöhaya. sa vishëu-pada-vithi-sancariëi radha nri-loke kena labhyatam.

 

     svagatam—aside; satyam—in truth; parihasyate—joked; baöuna—by this boy; yat—because; eshah—He; bhava—by love; udvritta—expanded; cetah—heart; vrittitaya—by the activity; vailakshya-bhak—embarrassed; abhilakshyate—appears; tat—therefore; purëa—fulfilled; kama—desires; asmi—I am; prakasham—openly; sundara—O beautiful boy; kritam—performed; atra—here; utkaëöhaya—with longings; sa—she; vishëu—of Lord Vishëu; pada-vithi—the domain (the sky); sancariëi—moving; radha—Radha; nri—of humans; loke—on the sphere; kena—by what?; labhyatam—can be attained.

 

 

     Paurëamasi: (aside) In truth, the brahmaëa boy is teasing Krishëa. His heart overcome with love, Krishëa is now embarrassed. Now all my desires are fulfilled. (openly) The star Radha moves in the sky, the home of Lord Vishëu. How can anyone in the world of humans attain Her? O handsome boy, what is the use of longing after Her?

 

 

Text 33 (s)

 

 

     krishëah: (sasmitam. vishëu-pada-vithim avekshya ramam anusarpan.)  arya, vyatiteyam madhyahna-maryada. tatah kalindi-tire. 'vatirya samapayantu bhavantah pashunam apaniya-trishëam. svadayantu ca svaduni laòòukani. maya tu suhrittamabhyam shridama-subalabhyam saha muhurtam agrato vishramitavyam. (ramah sakhibhih saha nishkrantah).

 

     sa—with; smitam—a smile; vishëu-pada-vithim—at the sky; avekshya—looking; ramam—to Lord Balarama; anusarpan—gooing; arye—O pious Rama; vyatita—passed; madhya-ahna—the middle of the day; maryada—the limit; tatah—therefore; kalindi—of the Yamuna river; tire—on the shore; avatirya—having gone; samapayantu—should bring to an end; bhavantah—You; pashunam—of the cows; apaniya—for water; trishëam—thirst; svadayantu—may relish; ca—and; svaduni—delicious; laòòukani—laòòu candies; maya—by Me; tu—but; suhrittamabhyam—with the two dear friends; shridama—Shridama; subalabhyam—and Subala; saha—along with; muhurtam—a moment; agratah—in front; vishramitavyam—should rest; ramah—Balrama; sakhibhih—by the friends; saha—accompanied; nishkrantah—exits.

 

 

     Krishëa: (Smiling, He glances at the sky. Then He approaches Balarama). Noble friend, it is already late in the afternoon. Please take the cows to the Yamuna's shore and let them satisfy their thirst. Please enjoy these delicious laòòu candies. I will rest for a moment with my dear friends Shridama and Subala.

     (Balarama and the cowherd boy friends exit.)

 

 

Text 32 (t)

 

 

     paurëamasi: (svagatam)  mayapi praticchandasya siddhim avadharayitum gantavyam. (iti krishëam abhinandya parikramati).

 

     svagatam—aside; maya—by me; api—even; praticchandasya—of a picture; siddhim—perfection; avadharayitum—to understand; gantavyam—should be gone to; iti—thus; krishëam—Shri Krishëa; abhinandya—having greeted; parikramati—circumambulates.

 

 

     Paurëamasi: (aside)  I should go and see if the picture of Krishëa is finished. (She respectfully takes leave of Krishëa and then departs.)

 

 

Text 32 (u)

 

 

     krishëah: (padantare sthitva). sakhe shridaman, kim drishöa-purva te jagad-apurva radha.

     (Shridama salajja-smitam mukham avancayati).

     Subalah: vaassa, diööha-puvvetti kim etti-am bhaëasi. ëa imassa vahiëi kkhu esa.

 

     pada—a step; antare—within; sthitva—having stood; sakhe—O friend; shridaman—Shridama; kim—have; drishöa—seen; purva—before; jagat—in the universe; apurva—unprecedented; radha—Radha; shridama—Shridama; sa-lajja—embarrassed; smitam—smile; mukham—face; vancayati—lowers; vaassa—O friend; diööha—seen; puvvetti—before; kim—what?; etti-am—in this way; bhaëasi—are You saying; na—indeed; imassa—his; vahiëi—sister; kkhu—certainly; esa—she.

 

 

     Krishëa: (takes one step, and then pauses)  Friend Shridama, have you ever seen this Radha, the most beautiful girl in the universe?

 

     (Smiling with embarrassment, Shridama lowers his face.)

 

     Subala: Friend, how can You ask if he has seen her? Radha is his sister.

 

 

Text 32 (v)

 

 

     krishëah: tad ehi. kshaëam atra kadamba-sambadhe rodhasi nivishya radhanudhavanad udvegi ceto vamshi-vadana-vinodenayatah kshipami.

 

(iti nishkrantah.)

 

     tat—therefore; ehi—please go; kshaëam—a moment; atra—here; kadamba—of kadamba trees; sambadhe—full; rodhasi—on the shore; nivishya—having stopped; radha—Radha; anubhavanat—because of anxious thought; udvegi—with the pastimes; anyatah—in some other place; kshipami—I will throw; iti—thus; nishkrantah—they exit.

 

 

     Krishëa: Come. Let us go under these kadamba trees by the riverbank. Into pastimes of playing the flute I will throw this heart excited with thoughts of Radha,

 

(They exit.)

 

 

Text 32 (w)

 

 

     paurëamasi: (parikramya purah pashyanti pashyanti sanandam.)  katham ita eva vayasyaya vihasyamaëa vikriòati me vatseyam radhika. (iti latantare sthitva).

 

     parikramya—having circumambulated; purah—before the eyes; pashyanti—seeing; sa—with; anandam—delight; katham—how?; itah—here; eva—certainly; vayasyaya—with a friend; vihasyamana—being made to laugh; vikriòati—playing; me—my; vatsa—daughter; iyam—this; radhika—Shrimati Radharaëi; iti—thus; lata—the creeper; antare—within; sthitva—having stood.

 

 

     Paurëamasi: (Walking about, she looks ahead and becomes joyful.) Why is my child Radha here, playing and joking with a friend? (She hides behind a flowering-vine.)

 

 

Text 33 (x)

 

 

balad akshnor lakshmih kavalayati navyam kuvalayam

     mukhollasah phullam kamala-vanam ullanghayati ca

dasham kashöam ashöa-padam api nayaty angika-rucir

     vicitram radhayah kim api kila rupam vilasati

 

     balat—by force; akshnoh—of the two eyes; lakshmih—the beauty; kavalayati—devours; navyam—newly awakened; kuvalayam—lotus flower; mukha-ullasah—the beauty of the face; phullam—fructified;  kamala-vanam—a forest of lotus flowers; ullanghayati—surpasses; ca—also; dasham—to a situation; kashtam—painful; ashöa-padam—gold; api—even; nayati—brings; angika-rucih—the luster of the body; vicitram—wonderful; radhayah—of Shrimati Radharaëi; kim api—some; kila—certainly; rupam—the beauty; vilasati—manifests.

 

 

     The beauty of Shrimati Radharaëi's eyes forcibly devours the beauty of newly grown blue lotus flowers, and the beauty of Her face surpasses that of an entire forest of fully blossomed lotuses. Her bodily luster seems to place even gold in a painful situation. Thus the wonderful, unprecedented beauty of Shrimati Radharaëi is awakening in Vrindavana.*

 

 

Text 32 (y)

 

 

     tad etayor nirmala-narma-goshöhi-pratibandham parihanti virun-niruddhenadhuna vishakham yami.

     (iti nishkranta.)

 

     tat—therefore; etayoh—of the two; nirmala—pure; narma—joking; goshöhi—conversation; pratibandham—in relation to; parharanti—shunning; virut—by the creepers; niruddhena—hidden; adhuna—now; vishakham—to Vishakha-gopi; yami—I will go; iti—thus; nishkranta—she exits.

 

 

     Not staying to joke with these two, I will go, hidden by these flowering vines, to Vishakha.

 

(Paurëamasi exits.)

 

 

Text 33 (a)

 

 

     (tatah pravishati lalitayanugamyamana radhika.)

     radhika: hala lalide kim karedi ajji-a.

     lalita: sahi, tuha surade-assa pu-akide esa tamala-tale vedi-am ëimmadi.

 

     tatah—then; pravishati—enters; lalitaya—by Lalita; anugamyamama—followed; radhika—Shrimati Radharaëi; hala—O; lalide—Lalita; kim—what?; karedi—is doing; ajji-a—the noble-gopi; sahi—O friend; tuha—your; sura-de-assa—of the sun-god; pu-a—worship; kide—performed; esa—she; tamala—of a tamala tree; tale—at the base; vedi-am—altar; ëimmadi—is constructing.

 

 

     (Followed by Lalita, Radha enters.)

   

     Radhika: Lalita, what is the noble lady doing?

     Lalita: Friend, under that tamala tree she is making an altar to worship the sun-god.

 

 

Text 33 (b)

 

 

     radhika: (puro 'valokya)  hala lalide, sankemi sa cce-a esa vundaòa-i ja-e mahuri tu-e puëo puëo mama vaëëi-adi.

     lalita: hala, sa jjeva esa kaëhassa lila-rukha-vaòi-a.

 

     purah—ahead; avalokya—looking; hala—O; lalide—Lalita; sankemi—I think; sa—this; cce-a—certainly; esa—this; vundaòa-i—the forest of Vrindavana; ja-e—of which; mahuri—beauty; tu-e—by you; puëo puëah—again and again; mama—of me; vaëëi-adi—is described; hala—O; sa—this; jjeva—certainly; esa—this; kaëhassa—of Krishëa; lila—for pastimes; rukkha—tree; vaòi-a—banyan.

 

 

     Radhika: (looking ahead)  I think this must be Vrindavana Forest, whose sweetness you describe again and again.

     Lalita: Friend, this is the banyan tree where Krishëa enjoys pastimes.

 

 

Text 33 (c)

 

 

     radhika: (sautsukyam atmagatam)  aho mahurattam doëam accharaëam. (prakasham)  sahi, kassa tti bhaëasi.

     lalita: (sakuta-smitam)  hala, bhaëami kaëhassa tti.

 

     sa—with; autsukyam—agitation; atma-gatam—aside; ahah—O; mahurattam—sweetness; doëam—of the two; accharaëam—syllables; prakasham—openly; sahi—O friend; kassa—of whom?; tti—thus; bhaëasi—are you speaking; sa—with; akuta—a purpose; smitam—smiled; hala—O; bhaëami—I say; kaëhassa—of Krishëa; tti—thus.

 

 

     Radhika: (agitated, she says to herself:)  What sweetness is in these two syllables?  (openly)  Friend, whom did you say?

     Lalita: (intentionally smiling)  I said Krishëa.

 

 

Text 33 (d)

 

 

     radhika: (punah svagatam)  hanta jassa ëamavi ramavittam ittham mohedi so kkhu kidiso va ëami tti. (iti savahittham prakasham)  hala, ima-im ni-unjovari punjida-im gunja-phala-im bi-iëissam.

 

     punah—again; svagatam—aside; hanta—O; jassa—of whom; namavi—by even the name; rama—of beautiful women; cittam—the minds; ittham—in this way; mohedi—enchants; sah—He; kkhu—indeed; kidisah—someone like this; va—or; nami—named; tti—thus; iti—thus; sa—with; avahittham—concealment of her actual emotions; prakasham—openly; hala—O; ima-im—these; ni-unjovari—in the grove; punjida—assembled; gunja-phala-im—gunja berries; bi-iëissam—I will collect.

 

 

     Radhika: (again, aside)  Ah, this name charms the hearts of beautiful girls. What is the owner of this name like?  (concealing her emotions, she speaks openly.)  I will go and pick those gunja berries in the forest.

 

 

Text 33 (e)

 

 

     lalita: (saparihasam. sanskritena.)

 

deham te bhuvanantarala-virala-cchaya-vilasaspadam

     ma kautuhala-cancalakshi latika-jale pravesham kröhah

navyam anjana-punja-manjula-rucih kunje-cari devata

     kantam kantibhir ankitam iha vane nihshankam akarshati

 

     deham—body; te—your; bhuvana—in the universe; antarala—in the midst; virala—rare; cchaya—shadow; vilasa—of beauty; aspadam—abode; ma—don't; kautuhala—with curiosity; cancala—moving; akshi—eyes; latika—of creerpers; jale—in the network; pravesham—entrance; krithan—do; navyam—young; anjana—of ointments; punja—of a great abundance; manjula—beautiful; rucih—splendor; kunje—in this grove; cari—moving; devata—demigod; kantam—lover; kantibhih—with great beauty; ankitam—marked; iha—here; vane—in this forest; nihshankam—easily; akarshati—enchants.

 

 

     Lalita: (joking, she says in Sanskrit) O girl whose restless eyes are eager to look at everything, O girl whose body is the abode of a splendor and playfulness even the shadow of which cannot be found anywhere in the three worlds, don't enter that trap of flowering-vines. The handsome snd splendid demigod who moves in that forest and who is dark like black mascara will cast a spell on You and make You His newest lover.

 

 

Text 34 (a)

 

 

     radhika: (kincid bhiteva paravritya sanarma-smitam)  sahi lalide, ta-e de-ada-e ëumam tumam a-aööhidasi jam edam jaëasi.

     lalita: (vihasya)  hala, mam kisa esa a-aööhadu. ëa kkhu aham tumam vi-a kantihim ankida.

 

     kincit—somewhat; bhita—afraid; iva—as if; paravritya—having stopped; sa-narma—joking; smitam—smile; sahi—O friend; lalide—Lalita; ta-e—by this; de-ada-e—demigod; ëunam—at present; tumam—you; a-aööhidasi—are attracted; jam—which; edam—this; jaëasi—you know; vihasya—laughing; hala—O; mam—me; kisa—for what reason?; esa—He; a-aööhadu—may attract; ëa—not; kkhu—indeed; aham—I; tumam—you; vi-a—as it were; kantihim—with great beauty; ankida—marked.

 

 

     Radhika: (As if She were afraid, She conceals Her joking smile.) Friend Lalita, you know that this demigod has you in His spell.

     Lalita: (laughs) Ha! Why would He cast a spell on me? It is You who are drawn to His splendor.

 

 

Text 34 (b)

 

 

     Radhika: (nishamya camatkaram svagatam)  ammahe, imassa mohaëattaëam shaddassa. (iti vaishyam naöayati.)

     Lalita: (vilokya svagatam)  hum, esa komalangi kurangi paòhamam ëivaòida.

 

     nishamya—listening; camatkaram—with amazement; svagatam—aside; ammahe—amazing!; imassa—of this; mohaëattaëam—the enchantiness; shaddassa—of the sound; iti—thus; vaivashyam—loss of composure; naöayati—represents dramatically; vilokya—seeing; svagatam—aside; hum—O; esa—this; komala—delicate; angi—body; kurangi—deer; paòhamam—immediately; jale—into the net; ëivaòiòa—fallen.

 

 

     (Flute-music comes from offstage.)

     Radhika: (Listening, She becomes full of wonder. She says to herself:) Wonderful! What an enchanting sound! (She is overcome.)

     Lalita: (looking at Radha, she says to herself:) For the first time the doe with delicate limbs falls into the hunter's trap.

 

 

Text 34 (c)

 

 

     radhika: (prayatnena dhairyam alambya. svagatam.)  avi ëama ëam saddami-apuram uggirantam jaëam pekkhissam.

 

     prayatnena—with great effort; dhairyam—composure; alambya—grasps; svagatam—aside; avi ëama—I wish; ëam—this; sadda—of sound; ami-a—nectar; puram—overflowing river; pekkhissam—that I will see.

 

 

     Radhika: (with great difficulty She regains composure. Then She says to Herself) I must find the person who made the flood of nectar that is this sound.

 

 

Text 34 (d)

 

 

     lalita: (upasritya)  hala rahe, atthi maduvari tuha visuddha-buddhi.

     radhika: hala, kisa evvam bhaëasi. tumam jevva tattha pamaëam.

     lalita: kadhedu pi-asahi kimti akaëòe vivasa asi tumam.

 

     upasritya—approaching; hala—O; rahe—Radha; atthi—there is; mad-uvari—in relation to me; tuha—your; visuddha—pure; buddhi—intelligence; hala—O; kisa—from what?; evvam—certainly; bhaëasi—you are saying; tumam—you; jevva—certainly; tattha—there; pamaëam—evidence; kadhedu—may speak; pi-a—dear; sahi—friend; kimti—what; akaëòe—unexpectedly; vivasa—lost all composure; asi—are; tumam—you.

 

 

     Lalita: (approaches Radha) Radha, do You trust me?

     Radhika: Why do you ask? You can bear witness to that.

     Lalita: Then my dear friend will tell me. Why are You suddenly overwhelmed?

 

 

Text 34 (e)

 

 

     radhika: (salajjam, sanskritena.)

 

nadah kadamba-viöapantarato visarpan

     ko nama karëa-padavim avishan na jahe

ha ha kulina-grihiëi-gaëa-garhaniyam

     yenadya kam api dasham sakhi lambhitasmi

 

     sa—with; lajjam—embarrassment; sanskritena—in Sanskrit; nadah—sound; kadamba—kadamba; viöapa—grove; antaratah—from within; visarpan—moving; kah—what?; nama—indeed; karëa—of the ears; padavim—path; avishan—entering; na—not; jane—I understand; ha ha—O!  O!; kulina—chaste; grihiëi—housewives; gaëa—by the community; garhaëiyam—to be accused; yena—by which; adya—today; kam api—some; dasham—condition; sakhi—O friend; lambhita—attained; asmi—I have.

 

 

     Radhika: (embarrassed, says in Sanskrit) What is this sound from the kadamba trees that now walks on the pathway of My ears? Friend, because of this sound I have now entered a state that is despicable for a chaste housewife.

 

 

Text 35 (a)

 

 

     lalita: hala, eso muralira-o.

     radhika: (savyatham, sanskritena.)

 

ajaòah kampa-sampadi

     sastrad anyo nikrintanah

tapano 'nushëatadharah

     ko 'yam va murali-ravah

 

     hala—O; esah—this; murali—of the flute; ra-ah—sound; sa-vyatham—agitated; ajaòah—without snow; kampa—trembling; dampadi—in the good fortune; sastrat—than a weapon; anyah—other; nikrintanah—cutting; tapanah—the hot summer season; anushëata—not warm; dharah—possessing; kah—what?; ayam—this; va—or; murali—of the flute; ravah—sound.

 

 

     Lalita: Ah, it is the sound of the flute!

     Radhika: (agitated)  What kind of flute-music is this? It brings no snow and cold, but still it makes Me tremble. It is not a weapon, but still it cuts Me. It brings no heart, but still it has set Me on fire.

 

 

Text 36 (a)

 

 

     (ity udvegam naöayanti.)  hala, ëanam murali-ëa-assa aëahiëëa. ta alam vippalambheëa. phuòam eso keëa vi maha-ëa-areëa kovi mohaëa paòhi-adi.

 

     iti—thus; udvegam—agitation; naöayanti—expression dramatically; hala—O!; ëa—not; aham—I; murali—of the flute; ëa-assa—of the sound; aëahiëëa—unaquainted; ta—that; alam—what is the use?; vippalambheëa—of this deception; phuòam—manifested; esah—this; keëa vi—by someone; maha—great; ëa-areëa—by a clever (magician); kovi—some; mohaëa—charming; mantah—mantra; paòhi-adi—is read.

 

 

     (agitated)  I don't understand this flute-music. Enough with this deception! Some charming mantra has been read by a clever magician!

 

 

Text 36 (b)

 

 

     (pravishya citra-paöa-hasta vishakha.)

 

     vishakha: (radham avadharayanti svagatam.)  daëim aëëadisi esa lakkhi-adi. ta ëunam kaëhassa vamsi-a-e òamsida. hodu. pucchissam.

 

     pravishya—entering; citra-paöa—a picture; hasta—in her hand; vishakha—Vishakha-gopi; radham—Shrimati Radharaëi; avadharayati—noticing; svagatam—aside; daëim—at present; aëëadisi—appearing completely different; esa—she; lakkhi-adi—appears; ta—therefore; ëunam—at present; kaëhassa—bitten; hodu—it may be; pucchissam—I will enquire.

 

 

     (Vishakha enters, carrying a picture in her hand.)

     Vishakha: (Observes Radha, and says to herself:)  She is transformed! Perhaps She was bitten by Krishëa's flute. I will ask her about it.

 

 

Text 36 (c)

 

 

     (ity upasritya prakasham. sanskritena.)

 

kshoëim pankilayanti pankaja-rucor akshëoh payo-bindavah

     shvasas taëòayanti paëòu-vadane durad uro-jamshukam

murtim danturayanti santatam ami romanca-punjash ca te

     manye madhava-madhuri shravaëayor abhyasham abhyayayau

 

     iti—thus; upasritya—approaching; prakasham—openly; sankritena—in Sanskrit; kshoëim—earth; pankilayanti—turns into mud; pankaja—lotus; rucoh—splendor; akshëoh—from the eyes; payah-bindavah—tears; shvasah—breath; taëdayanti—dances; paëòu—white; vadane—face; durat—a great distance; uroja—breasts; amshukam—garment; murtim—form; danturayanti—covered with hairs standing upright; santatam—constantly; ami—these; romanca—hairs standing upright; punjah—multitude; ca—and; te—your; manye—I consider; madhava—of Lord Madhava; madhuri—the sweetness; shravaëayoh—of the ears; abhyasham—nearness; abhyayayau—went.

 

 

     (Approaching, she openly says in Sanskrit) O girl whose face has turned white, the tears from your lotus-eyes muddy the ground, Your sighs make Your bodice dance, and the hairs of Your body stand up. I think the sweetness of Krishëa's flute must have entered Your ears.

 

 

Text 37 (a)

 

 

     radhika: (anakarëitakenaiva sotkampam.)  lalide, puëo eso so jjeva kovi saddo vikkamadi.

 

     anakarëitakena—not hearing; sa-utkampam—trembling; lalide—O Lalita; puëah—again; esah—this; sah—this; jjeva—indeed; kovi—some; saddah—sound; vikkamadi—moves.

 

 

     Radhika: (not giving ear to these words, Radha trembles) Lalita, it is that sound again.

 

 

Text 37 (b)

 

 

     lalita: (sanskritena)

 

esha sthairya-bhujanga-sangha-damanasange vihangeshvaro

     vriòa-vyadhi-dhura-vidhunana-vidhau tanvangi dhanvantarih

sadhvi-garva-bharamburashi-culukarambhe tu kumbhodbhavah

     kalindi-taöa-maëòalishu murali-tuëòad dhvanir dhavati

 

     sanskritena—in Sanskrit; eshah—this; sthairya—composure; bhujanga—of snakes; sangha—multitude; damana—defeating; asange—in attachment; vihanga—of birds; ishvarah—the king (Garuòa); vriòa—of shyness; vidhau—in the activity; tanu—delicate; angi—body; dhanvantarih—Lord Dhanvantari; sadhvi—of pious girls; garva—of the pride; bhara—abundance; amburashi—of the ocean; culuka—of drinking; arambhe—in the beginning; tu—and; kumbhodbhavah—Agastya Muni; kalindi—of the Yamuna river; taöa—of the banks; maëòalishu—in the area; murali—of the flute; tuëòat—from the mouth; dhvanih—the sound; dhavati—rung.

 

 

     Lalita: (in Sanskrit) O girl with the slender limbs, in the circle of the Yamuna's shore, from a flute's beak comes a sound that is a Garuòa that defeats the snakes of the gopis' peace, a Dhanvantari that cures the gopis' shyness, an Agastya Muni that drinks up the ocean of the saintly gopis' pride.

 

 

Text 38 (a)

 

 

     radhika: sahi, jada maha hi-a-e kavi guru-i ve-aëa. ta gadu-a supissam.

     vishakha: hala, rahe, tuha ve-aëa-viddhamsaëam kimvi edam osaham maha hatthe vaööadi. ta sevehi ëam.

 

     sahi—O friend; jada—produced; maha—my; hi-a-e—in the heart; kavi—some; guru-i—intense; ve-aëa—distress; ta—that; gadu-a—having gone; supisam—I will sleep; hala—O; rahe—Radha; tuha—your; ve-aëa—suffering; viddhamsaëam—elimination; kimvi—some; edam—this; osaham—medicinal herb; maha—my; hatthe—in the hand; vattadi—is; ta—therefore; sevehi—please take; nam—it.

 

 

     Radhika: Friend, a great suffering has now taken birth in My heart. Only when I leave it behind will I again be able to sleep at night.

     Vishakha: Radha, in my hand is a medicine to cure Your suffering. Take it.

 

 

Text 38 9b)

 

 

     radhika: vishakhe, ehi. anganovakaëöhe phulla-kaëi-ara- maëòali-ccha-am ajjhasi-a pekkhamhe.

     (iti niskrantah sarve.)

 

     vishakhe—O Vishakha; ehi—go!; angana—courtyard; uvakaëöhe—near; phulla—opened; kaëëi-ara—lotus flowers; maëòali—area; ccha-am—shade; ajjhasi-a—having entered; pekkhamhe—we shall see; iti—thus; niskrantah—exit; sarve—all.

 

     Radhika: Vishakha, come. Let us go into the shade of this circle of blossoming karëikara flowers in the courtyard.

 

     (They exit.)

 

     Thus ends Act One.