Jagannath Priya Natakam 1

Srila Ramananda Raya’s

 

Sri Jagannatha-vallabha

 

 

 

 

Act One

 

Pürva-räga

The Beginnings of Love

 

 

Text 1

 

 

svaraïcita-vipaïcika-muraja-venu-saìgétakaà

tri-bhaìga-tanu-vallaré-valita-valgu-hasolbanam

vayasya-kara-talika-raëita-nupurair ujjvalaà

murari-naöanaà sada diçatu çarma loka-traye

 

svara – with sounds; aïcita – bent; vipaïcika – of the lute; muraja – of drums; veëu – and  flute; saìgitakam – with music; tri –  three-fold; bhaìga – bendiìg; tanu – form; vallari – creeper;  valita – moving; valgu – charming; hasa – smiles; ulbanam –  manifestation; vayasya – of friends; kara-talika – with karatalas; ranita – sounded; nupuraiù – with ankle-bells; ujjvalam – splendid; mura-ari – of Lord Kåñëa, the enemy of Mura; natanam – the dancing; sada – eternally; diçatu – may show; sarma – transcendental auspiciousness and bliss; loka – worlds; traye – in the three.

 

May Kåñna’s splendid dancing, which is accompanied by the melodies of the lute, flute, and drum and the tinkling of the gopis’ karatälas and ankle-bells, and which reveals His charming smile and the graceful three-fold movements of the vine of His transcendental form, bring bliss to the three worlds.

 

Text 2

 

 

api ca

 

smitaà nu na sita-dyuti-taralam akñi nambhoruhaà

çrutir na ca jagaj-jaye manasijasya maurvé-lata

mukunda-mukha-manòale rabhasa-mugdha-gopaìgana-

dåg-aïcala-bhavo bhramaù çubha-sataya te kalpatam

 

api ca – furthermore; smitam – smile; nu – indeed;na – not; sita-dyuti – of the moon; taralam – the splendor; akñina – ears;na – not; ca – and; jagat – of the world; jaye – in the conquest; manasijasya – of cupid; maurvi-lata – the bowstring; mukunda – of Lord Kåñëa; mukha – of the face; maëòale – in the circle;rabhasa – by delight; mugdha – intoxicated; gopa-aìgana – of the gopis;drk – of the eyes; aïcala – of the corners; bhavaù – nature;bhramaù – playful; subha – of blessing; sataya – for hundreds; te – ofyou; kalpatam – may be suitable.

 

This is not a smile, but moonlight. These are not eyes, but lotus flowers. These are not ears, but Kämadeva’s bowstring (stretched) for the conquest of the world”. May the blissful gopis’ bewilderment, born from their gazing at Kåñna’s face, bring to you a hundred benedictions.

 

 

Text 3

 

api ca

 

kamaà kama-payonidhià måga-dåçam udbhavayan nirbharaà

cetaù-kairava-kananani yaminam atyantam ullasayan

rakñaù-koka-kulani çoka-vikalany ekantam akalpayann

anandaà vitanotu vo madhuripor vaktrapadeçaù çaçé

 

api ca – furthermore; kamam – indeed; kama – of amorous desires; payonidhim – the ocean; måga-dåçam – of the doe-eyed gopis; udbhavayan – increasing; nirbharam – greatly; cetaù – of the  hearts; kairava – of lotus flowers; kananani – the forests; yaminam – of the yogis; atyantam – greatly; ullasayan – delighting; rakñaù – of the demons; koka – of cakravaka birds; kulani – the multitudes; soka – with unhappiness; vikalani – agitated; eka-antam – exclusive; akalpayan – making; anandam – bliss; vitanotu – may grant; vaù – to you; madhu-ripoù – of Lord Kåñna, the enemyof Madhu; vaktra – as a face; apadesaù – disguised; sasi – themoon.

 

Making great tidal waves in the ocean of the doe-eyed gopis’ amorous desires, delighting the lotus flowers of the yogis’ hearts, and tormenting the cakraväka birds of the demons, may the  moon of Kåñëa’s face, bring you transcendental bliss.

 

 

Text 4  Song in Naöa-räga

 

Text A

 

 

mådula-malayaja-pavana-taralita-cikura-parigata-kalapakaà saci-

taralita-nayana-manmatha-çaìku-saìkula-citta-sundaré-jana-janita-kautukam

 

mådula – gentle; malayaja – from the Malayan Hills; pavana – by the breeze; taralita – moved; cikura – on the hair; parigata – filled; kalapakam – peacock feather; saci – crooked; taralita –  restless; nayana – of the eyes; manmatha – of cupid;saìku – with arrows; saìkula – filled; citta – the heart; sundari-jana – ofthe beautiful gopis; janita – produced; kautukam – eager desire.

 

The peacock feathers in His hair move in the gentle Malayan breeze. The Kämadeva’s arrows from His crooked restless eyes pierce the hearts of the beautiful gopis and arouse their desires.

 

 

Text B Refrain

 

 

manasija-keli-nandita-manasam

bhajata madhuripum indu-sundara-ballavé-mukha-lalasam

 

manasija – of cupid; keli – by the pastimes; nandita – delighted; manasam – whose heart; bhajata – please worship;madhu-ripum – Lord Kåñna, the enemy of Madhu; indu – as the moon;  sundara – beautiful; ballavi – of the gopis; mukha – the face; lalasam – yearning.

 

Worship Kåñëa. His heart is blissful with amorous pastimes. The moons of the beautiful gopis’ faces fill Him with amorous longing.

 

 

Text C

 

laghu-taralita-kandharaà hasita-nava-sundaraà gajapati-prataparudrahådayanugatam anudinamsa-rasaà racayati ramananda-raya iti caru

 

laghu – slightly; taralita – moving; kandharam – neck;hasita – smiling; nava – fresh; sundaram – handsome; gajapatiprataparudra – of Gajapati Mahäräja Pratäparudra; hådaya – in the heart;  anugatam – gone; anudinam – continually; sa – with; rasam – sweet nectar; racayati – creates; ramananda-rayaù – Rämänanda Räya; iti – thus; caru – beautiful.

 

Smiling, youthful Kåñëa is very handsome. His neck trembles slightly. He always stays in Gajapati Mahäräja Pratäparudra’s heart. Rämänanda Räya sings this beautiful sweet song about Him.

 

 

Text 5

 

 

nandy-ante sutradharaù:  alaà ati-vistareëa. priye ita itaù.

 

nandi – the nandi-slokas; ante – after; sutradharaù – the stage-manager; alam – what is the use?; ati-vistareëa – with all this verbose talk; priye – beloved; itah itaù – here and there.

 

(After the nandi-çlokas are concluded).

Sütradhära:  What use is all this talking? Beloved, come here.

 

 

Text 6

 

(praviçya naöé)

 

naöé:  ajja esa hmi ni-a-kiìkari-anaà caraëa-padidaà vilo-ana-pasadehià pasanna-hi-a-aà kaduà bhatta paraà pamanam.

 

praviçya – entering; naöé – the actress; ajja – O noble sir; esa – she; hmi – I am; ni-a – your; kiìkari – maidservant;anam – person; carana – at the feet; padidam – fallen; vilo-ana – of a  glance; pasadehim – with the mercy; pasanna – pleased; hi-aam – heart; kadum – to do; bhatta – husband; param – supreme;pamanam – authority.

 

(Naöi enters).

Naöi:  O noble sir, here I am. I am your maidservant. I fall down at your feet. The mercy of your glance delights my heart. You are my husband, my supreme authority.

 

 

Text 7

 

 

sutradharaù:  (sa-harñam)  cira-samayaà vidagdhocita-veñena yauvana-vilasam anubhavatu bhavati.

 

sa – with; harsam – happiness; cira-samayam – for a long time; vidagdha – expert; ucita – suitable; vesena – with the costume; yauvana – of youth; vilasam – the pastimes; anubhavatu – may experience; bhavati – you.

 

Sütradhära:  (Happily)  May you happily enjoy the pastimes of youth for a long time.

 

 

Text 8

 

naöé:  ajjena kudo ahudamhi.

 

ajjena – by the noble sir; kudo – why?; ahudamhi – I am called.

 

Naöi:  Why have I been called by the noble sir?

 

 

Text 9

 

sutradharaù:  priye na viditaà bhavatyaù prasada-kathanam etat.

 

priye – O beloved; na – not; viditam – understood;bhavatyaù – by you; prasada – kind; kathanam – words; etat – these.

 

Sütradhära:  Beloved, you do not know the kind words (I am about to say?)

 

 

Text 10

 

 

naöé:  sampadi ta soduà mama hi-a-aà kuduhalehià vippharidaà vattadi.

 

sampadi – now; ta – that; sodum – to hear; mama – my;hi-a-am – heart; kuduhalehim – with eagerness; vippharidam – expanded; vattadi – is.

 

Naöi:  Now my heart is filled with eagerness to hear these words.

 

 

Text 11

 

sutradharaù:  priye çånu. adya khalu vasanta-vasaravasare taruna-bhasvad-vimukta-dakñina-dig-vilasiné-stana-malayacalavalambi-vené-bhujaìga-saìgi-samérana-murchita- virahiné-jana-jévatu-vayasy-asvasa-vacaù-prasare vikasita-sita-kirana-prasune ca vimala-nabho-vana-projjåmbhamana- nava-navonmélita-nistala-muktaphala-tulita-tara-mukula-  madhyavalambiné sasuya-nirbhara-nirékñamana-virahiné-jana- caïcala-locanaïcala-latagra-vartiné nirupama-kanti-lakñmé-lubdha-lakñmé-ramaëavasthanocita-citta-dugdhabdhina vibhavadi-pariëata-rasa-rasala-mukula-rasasvada-kovida-puàs-kokilena çré-kaëöha-hara-sahacara-guëa-muktaphala-maëòita-hådayena kià bahuna.

 

priye – beloved; çåëu – listen; adya – today;khalu – indeed; vasanta – spring; vasara – day; avasare – on the occasion;taruna – young; bhasvat – sun; vimukta – left; dakñina – southern;dik –  direction; vilasini – shining; stana – breast;malaya – Malayan; acala – Hills; avalambi – resting; veni – of a braid;bhujaìga – the serpent; sangi – touching; samirana – the breeze; murchita –  fainted; virahini-jana – of lovers separated from the beloved; jivatu – the life; vayasi – friends; asvasa – consolation;vacaù – words; prasare – in the expansion; vikasita – blossomed; sita –  splendid; kirana – effulgence; prasune – in the flower;ca – also; vimala – splendid; nabhaù – of the sky; vana – in the forest; projjrmbhamana – manifesting; nava-nava – ever new and fresh;  unmilita – opened; nistala – round; muktaphala – pearl; tulita – like; tara – of stars; mukula – of buds; madhya – in themiddle; avalambin – resting; sa – with; asuya – envy; nirbhara – great;

nirikñamana – looking; virahini-jana – of lovers separated from the beloved; caïcala – restless; locana – of the eyes; aïcala – ofthe corners; lata – of the creeper; agra – the tip;vartini – staying;  nirupama – incomparable; kanti – of beauty; lakñmi – the opulence; lubdha – greedy; lakñmi – of the goddess of fortune; ramana – of the husband; avasthana – place; ucita – proper; citta – of theheart; dugdha – of milk; abdhina – with the ocean; vibhava-adi – ecstatic devotional love, beginning with vibhava ecstasy; parinata – transformed; rasa – nectar; rasala – mango; mukula – buds;rasa – nectar; asvada – in tasting; kovida – expert; pum – of men; kokilena – by the cuckoo; çré – of the goddess of fortune; kantha – on the neck; hara – the necklace; sahacara – the companion;guna – string; muktaphala – with pearls; maëòita – decorated;hådayena – heart; kim – what?; bahuna – further.

 

Sütradhära:  Beloved, listen. Now that springtime is filled with words of friendly consolation for girls separated from their lovers and fainting from a breeze touched by the snake-braids in the Malayan Hill breasts of the splendid girl of the personified southern direction now herself separated from (her lover) the youthful sun, and now that the white flower of the moon has bloomed, and now that the budding stars are like great new round pearls in the splendid forest of the sky, and now that the vines of restless sidelong glances of girls jealously looking for their lost lovers have blossomed, how can I properly glorify that person whose milk-ocean heart is a proper home for the passionate lover of peerlessly beautiful Lakñmi, that person who is a cuckoo that tastes the nectar mango-bud of vibhava and other ecstasies of spiritual love and whose heart is decorated with the pearl necklace of the transcendental qualities of Lord

Näräyana, the intimate friend of Lakñmi’s necklace?

 

 

Text 12

 

 

yan-namapi niçamya sanniviçate sekandharaù kandaraà

svaà vargaà kala-varga-bhumi-tilakaù sasraà samudvékñate

mene gurjara-bhupatir jarad ivaranyaà nijaà paööanaà

vata-vyagra-payodhi-potagam iva svaà veda gauòeçvaraù

 

yat – of whom; nama – the name; api – even;nisamya – hearing; sannidvisate – enters; sekandharaù – Sekandhara, the king of the yavanas; kandaram – a cave; evam – own; vargam – community; kala-varga – of Kerala; bhumi-tilakaù – the king; sa – with; asram – tears; smaudvikñate – sees; mene – considers; gurjara – ofGujarat; bhupatiù – the king; jarat – old; iva – like;aranyam – forest; nijam – own; pattanam – capital; vata – by the wind;vyagra – tossed  about; payodhi – in the ocean; potagam – a boat; iva – like; svam – own place; veda – considers; gauda – of Bengal; isvaraù – the king.

 

King Pratäparudra, by hearing whose name the yavana king Sekandhara hides in a cave, the king of Kerala sheds tears to see his own realm, the king of Gujarat thinks his capitol a  decaying jungle, and the king of Bengal thinks his kingdom a boat tossed in a hurricane ocean, . . .

 

 

Text 13

 

kaya-vyuha-vilasa éçvara-girer dvaitaà sudhadédhiter

niryasas tu himacalasya yamakaà kñiramburaçer asau

saraù çarada-varidasya kim api svar-vahiné-varino

dvairajyaà vimalé-karoti satataà yat-kérti-raçir jagat

 

kaya-vyuha-vilasaù – the size; isvara – of Lord Siva; gireù – of the mountain; dvaitam – two; sudhadidhiteù – of the moon; niryasaù – the nectar; tu – indeed; hima-acalasya – of the Himalaya  Mountains; yamakam – doubled; kñira – of milk; amburaseù – ofthe ocean; asau – this; saraù – the cream; sarada – autumn;varidasya – of the cloud; kim api – something; svah-vahini – of the celestial Ganges; varinaù – of the water; dvairajyam – doubled;vimali – pure and splendid; karoti – makes; satatam – always; yat – ofwhom; kirtiù – of fame; rasiù – the abundance; jagat – the world.

 

. . . whose great fame, massive as Mount Kailäsa, sweet as a nectar moon, a double of the Himalayas, the ocean of milk, the autumn cloud, and the celestial Ganges, purifies the world, . . .

 

 

Text 14

 

yad-danambukadamba-nirmita-nadé-saàçleña-harñad asau

riìgat-tuìga-taraìga-niùsvana-miñat prastauti yaà varidhiù

nitya-prastuta-sapta-tantubhir abhisyutaà mano nakinaà

yenaitat pratima-cchalena yad amé muïcanti na praìganam

 

yat – of whom; dana – of charity; ambukadamba – by the flood; nirmita – created; nadi – river; samslena – of embracing; harsat – from the joy; asau – this; ringat – moving; tunga – lofty; taraìga –  of waves; nihsvana – of sounds; misat – on the pretext; prastauti –  glorifies; yam – whom; varidhiù – the ocean; nitya – always; prastuta – glorious; sapta-tantubhiù – by sacrifice; abhisyutam –  bound; manaù – heart; nakinam – of the demigods; yena – by which; etat – this;   pratima – of deities; chalena – on the pretext; yat –  which; ami – they; muïcanti – leave; na – do  not; praìganam – the courtyard.

 

. . . whose flowing rivers of charity bring happiness to the ocean and inspire it, on the pretext of great roaring waves, to glorify him, whose continual Vedic sacrifices bind the hearts of the demigods and inspire them, disguised as deities, never to leave his courtyard,. . .

 

 

Text 15

 

tena pratibhaöa-nåpa-ghaöa-

kalagni-rudrena çrémat-prataparudreëa

çré-hari-caraëam adhikåtya

kam api prabandham abhinetum adiñöo ‘smi

 

tena – by him; pratibhata – inimical; nåpa – of kings;ghata – for the hosts; kala-agni-rudreëa – as ferocious as the fire of death; çrémat-pratarudreëa – Çri Mahäräja Pratäparudra; çré-hari –  of Lord Kåñëa; caranam – the feet; adhikåtya – in relation to; kam api – a certain; prabandham – literary work; abhinetum – to write a drama; adistaù – ordered; asmi – I am.

 

. . . and who is a ferocious fire of death for enemy kings, ordered me to write this play about Lord Hari’s lotus feet.

 

 

Text 16

 

yad-uktam

 

madhuripu-pada-léla-çalé tat-tad-gunaòhyaà

sahådaya-hådayanaà kamaà amoda-hetum

abhinava-kåtim anyac-chayaya no nibaddhaà

samabhinaya naöanaà varya kiïcit prabandham

 

yat – by whom; uktam – said; madhu-ripu – of Lord Kåñna, the enemy of the Madhu demon; pada – of the feet; léla – with the pastimes; sali – endowed; tat-tat – various; guna – with literary merits; adhyam – enriched; sa-hådaya – kind; hådayanam – of those whose hearts are; kamam – to their heart’s content; amoda – of happiness; hetum – the source; abhinava – newly;kåtim – written; anyat – of another work; chayaya – as the shadow; na – not; u – indeed; nibaddham – done; samabhinaya – please write a play; natanam – of dramatists; varya – O best; kiïcit – something; prabandham – literary work.

 

He said:  O best of dramatists, please write about Kåñëa’s pastimes a play rich in many virtues, bringing to the kind-hearted devotees as much happiness as they could wish, and newly  written, not another play’s shadow.

 

 

Text 17

 

naöé:  tat kathaya.

 

tat – that; kathaya – please tell.
Naöi: Please describe it.

 

 

Text 18

 

sutradharaù:  katham. aradhanéyo vidyanaà nidhiù. yato  ‘sminn abhidhatu-kamo vakpatir api pratipatti-muòhaù syat.  (kñanaà vimåñya)  aà småtam.

 

katham – how is it possible?; aradhaniyaù – worshippable;  vidyanam – of transcendental knowledge; nidhiù – an ocean; yataù –  because; asmin – in it; abhidatu – to describe;kamaù – desiring;  vak-patiù – Brhaspati; api – even; pratipatti – knowledge;mudhaù –  bewildered; syat – is; kñaëam – for a moment;vimrsya – reflecting;  am – ah!; småtam – remembered.

 

Sütradhära:  How? It is worshipable. It is an ocean of many  kinds of knowledge. Desiring to describe it, even Båhaspati  becomes bewildered. (Reflecting for a moment). Ah! I remember.

 

 

Text 19

 

naöé:  ta kià so.

 

ta – then; kim – what?; so – that.

 

Naöi:  What is it?

 

 

Text 20

 

sutradharaù:  priye sarva-vidyanadi-vilasa-gambhérya- maryada-sthairya-prasadadi-guna-ratnakarasya suraguru- pranéta-néti-kadamba-karambita-mantrasravi-kåta-praguna- påthvéçvarasya çré-bhavananda-rayasya tanujena çré-hari- caranalaìkåta-manasena çré-ramananda-rayena kavina tat-tad- guëalaìkåtaà çré-jagannatha-vallabha-nama gajapati- prataparudra-priyaà ramananda-saìgéta-naöakaà nirmaya  samarpitam abhineñyami.

 

priye – O beloved; sarva – of all; vidya – knowledge;anadi –  beginningless; vilasa – of pastimes; gambhirya – profundity;  maryada – decorum; sthairya – patience; prasada – compassion;adi –  beginning with; guna – of virtues; ratnakarasya – an ocean;  suraguru – by Brhaspati; pranita – presented; niti – instruction; kadamba – multitude; karambita – together; mantra – advice;asravi- kåta – heard; praguna – virtuous; prthvi-isvarasya – of the king;  çré-bhavananda-rayasya – Çri Bhavananda Räya; tanujena – by the  son; çré-hari – of Lord Kåñna; carana – by the feet;alaìkåta –  decorated; manasena – whose heart; çré-ramananda-rayena – by Çri  Rämänanda Räya; kavina – the poet; tat-tat – various;guna – with  virtues; alaìkåtam – decorated; çré-jagannatha-vallabha – Çri  Jagannatha-vallabha; nama – named; gajapati-prataparudra – to  Gajapati Mahäräja Pratäparudra; priyam – dear; ramananda – of  Rämänanda Räya; sangita – with songs; natakam – the play;nirmaya –  creating; samarpitam – placed; abhinesyami – I shall show the play.

 

Sütradhära: Beloved, I will now show the musical play named  Çri Jagannätha-vallabha, which is decorated with many virtues,  which is dear to Gajapati Mahäräja Pratäparudra, and which was  written by the poet Rämänanda Räya, whose heart is decorated with  Lord Hari’s lotus feet, and who is the son of Mahäräja Bhavänanda  Räya, himself a personal student of Båhaspati and an ocean of  virtues, beginning with all knowledge, beginningless cheerfulness,  profound gravity, politeness, patience, and compassion.

 

 

Text 21

 

 

tatha cayaà kaviù sa-vinayam idam avadét

 

na bhavatu guna-gandho ‘py atra nama prabandhe

madhuripu-pada-padmotkértanaà nas tathapi

sa-hådaya-hådayasyananda-sandoha-hetur

niyataà idam ato ‘yaà niñphalo na prayasaù

 

tatha – then; ca – also; ayam – this; kaviù – poet;sa – with;  vinayam – humbleness; idam – this; avadit – said; na – not;bhavatu –  may be; guna – of good qualities; gandhaù – the scent;api – even;  atra – here; nama – indeed; prabandhe – in this composition; madhu- ripu – of Lord Kåñna, the enemy of the madhu demon; pada – feet;  padma – of the lotus flower; utkirtanam – glorification; naù – by  us; tatha api – nevertheless; sa-hådaya – kind;hådayasya – whose  heart; ananda – of bliss; sandoha – an abundance; hetuù – thecause;  niyatam – certainly; idam – this; ataù – therefore;ayam – this;  nisphalaù – fruitless; na – not; prayasaù – endeavor.

 

The author humbly said this:  It may be that this play has  not the slightest fragrance of any good quality. Still, I have  glorified Lord Kåñna’s lotus feet within it. For this reason it  will delight the kind-hearted devotees and my labor will not be  fruitless.”

 

 

Text 22

 

tadadiçyantaà kuçélava varëika-parigrahaya.

 

tada – then; adisyantam – should be directed; kusilavaù – the  actors; varnika – the costumes; parigrahaya – for taking.

 

 

The actors should costume themselves.

 

 

Text 23

 

naöé:  (sanskåtam açritya)  yad ajïapayati svamé. (puro  ‘valokya) paçya paçya.

 

saìkåtam – of Sanskrit; açrétya – taking shelter; yat – as;  ajnapayati – orders; svami – the master; puraù – ahead;avalokya –  looks; paçya – look!; paçya – look!

 

Naöi:  (In Sanskrit)  As the master orders. (looking ahead)   Look! Look!

 

 

Text 24

 

mådula-malaya-vatacanta-véci-pracare

sarasi nava-paragaiù piïjaro ‘yaà klamena

prati-kamala-madhunaà pana-matto dvirephaù

svapiti kamala-koçe niçcalaìgaù pradoçe

 

mådula – gentle; malayan – from the Malaya Hills; vata – by the  breeze; acanta – sipped; vici – of waves; pracare – movement;  sarasi – in a lake; nava – with fresh; parägaiù – pollen;piïjaraù –  orange-coloured; ayam – this; klamena – with exhaustation; prati –  each; kamala – lotus; madhunam – of the honey; pana – bydrinking;  mattaù – intoxicated; dvirephaù – a bumble-bee; svapiti – sleeps;  kamala – a lotus flower; kose – closed; niscala – motionless;aìgaù – whose limbs; pradose – in the beginning of evening.

 

At the beginning of evening, in a lake where a gentle  Malayan breeze sips the waves, a bumble-bee, yellow with new pollen,  intoxicated by drinking the honey of each lotus, and motionless  with exhaustion, now sleeps in a closed lotus flower.

 

 

Text 25

 

sutradharaù:  (sa-harñam) priye sadhu sadhu man-manaù  kutuhala-jalanidhi-vivarte nihitaà bhavatya yato gopaìgana- çatadhara-madhu-pana-nirbhara-keli-klamalasapaghanaù kvacit  prauòha-vadhu-stanopadhanéya-manòita-hådaya-paryaìka-çayé  pétambaro narayanaù  smaritaù.

 

sa – with; harsam – joy; priye – beloved; sadhu – welldone;  sadhu – well done; mat-my; manaù – heart; kutuhala – ofdelight;  jalanidhi – of the oceanl; vivarte – in the whirpol; nihitam – is  placed; bhavatya – by you; yataù – because; gopaìgana – ofgopis;  sata – of hundreds; adhara – of lips; madhu – of the honey;pana –  drinking; nirbhara – many; keli – by pastimes;klama – fatigued;  alasa – motionless; apaghanaù – limbs; kvacit – somewhere;praudha –  experienced; vadhu – decorated; hådaya – chest; paryaìka – on abed;  sayi – resting; pita – yellow; ambaraù – with garments;narayaëaù –  Näräyaëa; smaritaù – is called to mind.

 

Sütradhära:  (With happiness) Beloved, well done! Well done!  Because this makes me remember Lord Näräyaëa who, wearing yellow  garments and His limbs exhausted by enjoying pastimes of drinking  the honey of hundreds of gopis’ lips, lies on a bed, His chest  decorated with the pillow of an expert gopi’s breasts.

 

 

Text 26

 

(nepathye)

 

dvatriàçal-lakñanair yukto

deva-deveçvaro hariù

gopala-balakaiù sardhaà

jagama yamuna-vanam

 

nepathye – from behind the scenes; dvatrimsat – 32;lakñaëaiù – with transcendental qualities; yuktaù – endowed; deva – of the  demigods; deva – of the leader; isvaraù – the controller;hariù –  Lord Kåñëa; gopala – cowherd; balakaiù – boys;sardham – with;  jagama – has gone; yamuna – by the shore of the Yamuna; vanam – to  the forest.

 

A Voice From Behind the Scenes:  Lord Kåñëa, who is endowed  with 32 transcendental qualities, and who is the Supreme  Personality of Godhead, the master of the demigods, has gone with  the cowherd boys to the forest by the Yamunä’s shore.

 

 

Text 27  Song in Kedära-räga

 

Text A

 

mådutara-maruta-vellita-pallava-valli-valita-çikhanòam

tilaka-viòambita-marakata-maëi-tala-bimbita-çaçadhara-khaëòam

 

mådu – gentle; tara – very; maruta – by a breeze;vellita – made  to tremble; pallava-valli – flowers; valita – moving;sikhandam –  peacock feather; tilaka – tilaka marking; vidambita – imitated; marakata-mani – sapphire; tala – surface; bimbita – reflected;  sasadhara – khandam – crescent moon.

 

His flowers and peacock feather tremble in the very gentle  breeze. He is a crescent moon marked with tilaka and reflected in  a sapphire mirror.

 

 

Text B  Refrain

 

yuvati-manohara-veçam

kelaya kalanidhim iva dharaném anu parinata-rupa-viçeñam

 

yuvati – of the young gopis; manaù – the hearts; hara –  enchanting; vesam – whose appearance; kalaya – look!;kalanidhim –  the moon; iva – like; dharanim anu – on the earth; parinata –  transformed; rupa – form; visesam – specific.

 

Look at Him! He is like a moon come to earth. He enchants  the young gopis’ hearts.

 

 

Text C

 

khela-dolayita-mani-kunòala-ruci-ruciranana-çobham

hela-taralita-madhura-vilocana-janita-vadhu-jana-lobham

 

hela – with playfulness; dolayita – swinging; mani – jewelled;  kundala – earrings; ruci – beauty; rucira – beautiful; anana – ofthe  face; sobham – splendor; hela – with amorous passion;taralita –  restlessly moving; madhura – sweet; vilocana – by glances;janita –  born; vadhu-jana – of the gopis; lobham – greedy desire.

 

His handsome face is glorious with playfully swinging jewel- earrings. His restless sweet passionate glances arouse the gopis’  desires.

 

 

Text D

 

gajapati-rudra-naradhipa-cetasi janayatu mudam anuvaram

ramananda-raya-kavi-bhaëitaà madhuripu-rupam udaram

 

gajapati-rudra – Pratäparudra; naradhipa – King; cetasi – in  the heart; janayatu – may arouse; sudam – delight; anuvaram – at every moment; ramananda-raya – Rämänanda Räya; kavi – by thepoet;  bhanitam – spoken; madhu-ripu – of Lord Kåñëa, the enemy of the  Madhu demon; rupam – the form; udaram – handsome.

 

Described by the poet Rämänanda Räya, may Lord Kåñëa’s  transcendental form again and again delight Gajapati Mahäräja  Pratäparudra’s heart.

 

 

Text 28

 

sutradharaù:  (sa-cakitam)  priye matkanéyan çré-kåñna- våndavana-gamanam avedayati. tad vayam api sva-nepathyopacitaya  yama. (iti niñkrantau). prastavana.

 

sa – with; cakitam – fear; priye – beloved; matkaniyan – those like me; çré-kåñna – of Çri Kåñna; våndavana – toVåndävana;  gamanam – to going; avedayati – informs; tat – therefore;vayam – we;  api – also; eva – own; nepathya – behind the scenes; upacitaya –  appropriate; yama – let us go; iti – thus; niñkrantau – theyboth  exit; prantavana – thus ends the introduction.

 

Sütradhära:  (Frightened)  Beloved, to persons like us he  announces Çri Kåñëa’s arrival in Våndävana forest. Let us go  behind the curtain. (They both exit).

Thus ends the prastavanä (introduction).

 

 

Text 29

 

(tataù praviçati yatha-nirdiñöaù kåñëaù).

kåñëaù:  sakhe ratikaëòala paçya paçya ramaëéyakaà  våndavanasya.

 

tataù – then; praviçati – enters; yatha – as; nirdistaù –  indicated; kåñëaù – Kåñëa; sakhe – O friend;ratikandala –  Ratikandala; paçya – look!; paçya – look!; ramaniyakam – at the beauty; våndavanasya – of Våndävana forest.

 

(Kåñëa enters as directed).

Kåñëa:  Friend Ratikaëòala, look! Look at the beauty of  Våndävana forest!

 

 

Text 30

 

tatha hi

 

uddama-dyuti-pallavavali-calat-spåço ‘mé sphurad

bhåìgaliìgita-puñpa-saïjana-dåço madyat-pikanaà ravaiù

arabdhotkalika lataç ca taravaç calola-mauli-çréyaù

praty-açaà madhu-sampadad iva rasalapaà mithaù kurvate

 

tatha pi – furthermore; uddama – great; dyuti – with splendor;  pallava – of blossomed; avali – series; calat – moving; pani – of  hands; sprsaù – touching; ami – these; sphurat – splendid; bhrnga –  by bumble-bees; alingita – embraced; puspa – of flowers;sa – with;  aïjana – mascara; dåçaù – eyes; madyat – jubilant; pikanam – of cuckoos; ravaiù – with the sounds; arabdha – begun;utkalikaù –  pastimes; lataù – creepers; ca – and; taravaù – trees;ca – and;  alola – moving; mauli – of crowns; çréyaù – beauty; prati – inevery;  asam – direction; madhu – of honey; sampadat – from the opulence; iva – as if; rasa – of nectar; alapam – conversations; mithaù –  together; kurvate – do.

 

Touching each other with moving hands of splendid twigs and  buds, gazing at each other with aïjana-anointed eyes of  flowers embraced by black bees, and the glory of their crowns  moving to and fro, the trees and vines sweetly talk with maddened  cuckoos’ words like a treasury of honey.

 

 

Text 31

 

viduñakaù:  bho vayassa tujjha edaà vunda-anaà ramanijjaà  mama una bho-anala-o jjevva. jaththa kahimpi siharini kahimpi  rasala kahimpi surahi ghi-oà kahimpi sali-bhattam.

 

bho – O; vayassa – friend; tujjha – Your; edam – this;vunda- anam – Våndävana; ramanijjam – beautiful; jaththa – just as;  kahimpi – sometimes; siharini – sugar candy; kahimpi – sometimes; rasala – mangoes; kahimpi – sometimes; surahi – of the surabhi cows  (or fragrant); ghi-om – ghee; kahimpi – sometimes;sali – rice;  bhaktam – cooked.

 

Vidüñaka:  O friend, Your Våndävana forest is as beautiful  as my dining-room. Ah, in my dining-room there are sometimes  sweet-candies, sometimes mangoes, sometimes many foods cooked  in fragrant ghee from the surabhi cows, and sometimes cooked  rice.

 

 

Text 32

 

kåñëaù:  sakhe.

 

sakhe – O friend.

 

 

Kåñëa: Friend, . . .

 

 

Text 33  Song in Vasanta-räga

 

 

Text A

 

aparicitaà tava rupam idam bata paçyadivocita-khelam

lalita-vikasvara-kusume-cayair iva hasati cirad ati-velam

 

aparicitam – unknown; tava – by you; rupam – beauty; idam –  this; bata – indeed; paçya – look; diva – for the heavenlyplanets;  ucita – suitable; khelam – playfulness; lalita – charming;  vikasvara – blossoming; kusuma – of flowers; cayaiù – with  multitudes; iva – as is; hasati – smiles and laughs; cirat – fora  longtime; ati – beyond; velam – the season.

 

. . . You don’t know how beautiful it is. Look! It’s like a  pleausre-garden in the heavenly planets. It eternally smiles and  laughs with beautiful flowers eternally in bloom.

 

 

Text B Refrain

 

kalaya sakhe bhuvi saram

tvad-upagamad iva sa-rasam idaà mama våndavanam anuvaram

 

kalaya – look!; sakhe – O friend; bhuvi – on the earth;saram –  the most beautiful; tvat – of you; upagamat – from the  undertanding; iva – as if; sa – with; rasam – nectar;idam – this;  mama – My; våndavanam – Våndävana forest; anuvaram – repeatedly.

 

Friend, again and again look at My sweet Våndävana forest,  the most beautiful place in the world. As if inspired by your  arrival. . .

 

 

Text C

 

mådu-pavanahati-caïcala-pallava-kara-nikarair iva kamam naröitum upadiçatéva bhavantam antatam idam abhiramam

 

mådu – gentle; pavana – of the breezes; ahati – by thestrokes;  caïcala – moving; pallava – blossoming branches; kara – of hands;  nikaraiù – with a host; iva – as if; kamam – if you wish;nartitum –  to dance; upadiçati – instructs; iva – as if;bhavantam – you;  santatam – repeatedly; idam – this place; abhiramam – delightful.

 

. . . with many hands of blossoming branches moving in the  gentle breeze, again and again it gracefully invites you to dance.

 

 

Text D

 

sukhayatu gajapati-rudra-manoharam anudinam idam abhidhanam

ramananda-raya-kavi-racitaà rasika-janaà su-vidhanam

 

sukhayatu – may please; gajapati-rudra – of Gajapati  Pratäparudra; manaù – the heart; haram – enchanting;anudinam – at  every moment; idam – this; abhidhanam – description; ramananda raya – Rämänanda Räya; kavi – by the poet; racitam – created; rasika-janam – those exalted devotees expert at relishing  transcendental mellows; su-vidhanam – beautiful.

 

May this song, written by the poet Rämänanda Räya and  charming Gajapati Mahäräja Pratäparudra’s heart, day after  day please the devotees expert at tasting nectar.

 

 

Text 34

 

sakhe ati-madhuro ‘yaà kokilanaà ravaù.

 

sakhe – O friend; ati – very; madhuraù – sweet;ayam – this;  kokilanam – of the cuckoos; ravaù – the sound.

 

Friend, the cuckoos’ singing is very sweet.

 

 

Text 35

 

viduñakaù:  bho va-assa tujjha vamsi-a ra-o ido bi mahuro  tado bi ahmanaà kantha-ra-o. ta tu-e vamsi vadi-adu ma-e bhi  kantha-ra-o kadavvo.

 

bho – O; va-assa – friend; tujjha – of You; vamsi-e – of the  flute; ra-o – the sound; ido – than this; bi – even;mahuro – more  sweet; tado – than; bi-ahmanam – of us; kantha – of thethroat; ra- o – the sound; ta – therefore; tue – by You; vamsi – the flute;  vadi-adu – should be played; ma-e – by me; bi – also; kantha – ofthe  throat; ra-o – the sound; kadavvo – will be done.

 

Vidüñaka:  Friend, Your flute-music is much sweeter. It is  even sweeter than my singing. Please play Your flute, and I will  sing along.

 

 

Text 36

 

kåñnaù:  yad abhirucitaà vayasyaya. (vaàçéà vadayate).

 

yat – because; abhirucitam – liked; vayasyaya – for a friend;  vamsim – the flute; vadayate – He plays.

 

Kåñëa:  As it pleases My friend. (He plays the flute).

 

 

Text 37

 

viduñakaù:  bho sudo de vamsi-ra-o mamabi kantha-ra-o suni- adu. (iti mukha-vaikåtya paruñaà nadati).

 

bho – O; sudo – heard; te – of You; vamsi – of the flute; ra-o –  the sound; mama – of me; abi – also; kantha – of the throat; ra-o –  the sound; suni-adu – may be heard; iti – thus;mukha – mouth;  vaikåtya – contorting into a funny expression; parusam – with harsh  notes; nadati – sings.

 

Vidüñaka:  I have heard You play the flute, now hear me  sing. (Contorting his face and mouth, he sings with superlative  ugliness).

 

 

Text 38

 

(taru-çikharan avalokya)  bho jidam anmehià tujjha vamsi-e  ra-ehià ede dasi-e putta-a ko-ila nihadaà thida. maha una  kantha-ra-ehià kahià bi pala-ida. ta va-assa ma gavvo de hodu.

 

taru – of the trees; sikharan – at the tops;  avalokya –  looking; bho – O; jidam – defeated;  ahmhehim – by me; tujjha – of You; vamsi-e – of the  flute; ra-ehim – by the sounds; ede – these; dasi- e – of a maidservant; puttaù – the children; ko- ila – cuckoos; nihadam – in a hidden place;  thida – staying; maha – my; una – again; kantha – of the  throat; ra-ehim – with the sounds; kahimbi –   somewhere; pala-ida – have fled; ta – this; va- assa – O friend; ma –  not; gavvo – pride; de – of  You; hodu – may be.

 

(Looking at the treetops)  My singing and Your flute-music  have defeated these low-class cuckoos and made them hide. If I  were to sing again they would fly away. Friend, are You not proud  of Our great accomplishment?

 

 

Text 39

 

kåñnaù:  sakhe paçya paçya. kenapy akarunena bhagnani  navaçoka-pallavani cetaù khedayanti.

 

sakhe – O friend; paçya – look!; paçya – look!; kenaapi – by  some person; akurunena – merciless; bhagnani – broken;nava – new;  asoka – of asoka trees; pallavani – blossoming twigs; cetaù – the  heart; khedayanti – distresses.

 

Kåñëa:  Friend, look! Look! Some merciless person  broke these new açoka twigs! That troubles My heart.

 

 

Text 40

 

viduñakaù:  bho vayassa ma-e dasi-e dhida-o gobi-a eththa  kusumani aharanti. (sa-parihasam)  tumaà bi tado jjeva edaà  vunda-anaà na muïcasi.

 

bho – O; vayassa – friend; sudam – heard; ma-e – by me;dasi-e –  of a maidservant; dhida-o – daughters; gobi-a – gopis; eththa –  here; kusumani – flowers; aharanti – are picking; sa – with;  parihasam – joking; tumam – You; bi – indeed; tado – therefore;  jjeva – certainly; edam – this; vunda-anam – Våndävana; na – donot;  muïcasi – leave.

 

Vidüñaka:  Friend, I heard some low-class gopis  are picking flowers here. (making a joke) That is why You never  leave Våndävana.

 

 

Text 41

 

(nepathye)

 

våndavane viharato madhusudanasya

venu-svanaà çruti-puöena nipéya kamam

udyan-manoja-çithili-kåta-gaòha-lajja

radha viveça kutukena sakhé-kadambam

 

nepathye – from behind the scenes; våndavane – in Våndävana;  viharataù – enjoying pastimes; madhu-sudanasya – of Lord Kåñëa, the  killer of the Madhu demon; veëu – of the flute; svanam – thesound;  çruti-putena – by the ears; nipiya – drinking; kamam – to Her  heart’s content; udyat – rising; manoja – of amorous desires;  sithili-kåta – slackened; gadha – strong; lajja – shyness;radha –  Rädhä; vivesa – entered; kutukena – with eagerness; sakhi – of friends; kadambam – the multitude.

 

A Voice From Behind the Scenes: Her ears drinking playful  Kåñëa’s flute music in Våndävana, and Her great shyness now  slackened, Rädhä eagerly goes to Her friends.

 

 

Text 42  Song in Goëòakiri-räga

 

 

Text A

 

kalayati nayanaà diçi valitam

paìkajaà iva mådu-maruta-calitam

 

kalayati – look; nayanam – eyes; disi disi – in all directions;  valitam – moving; paìkajam – a lotus flower; iva – like; mådu –  gentle; maruta – by the breeze; calitam – moved.

 

Rädhä’s eyes move in all directions, as a lotus moving in a  gentle breeze.

 

 

Text B  Refrain

 

keli-vipinaà praviçati radha

pratipada-samudita-manasija-badha

 

keli – pastimes; vipinam – forest; praviçati – enters;radha –  Rädhä; pratipada – at every moment; samudita – rising;manasija – by  amorous desires; badha – overwhelmed.

 

Tortured by ever-increasing amorous desires, Rädhä enters  the pastime-forest.

 

 

Text C

 

vinidadhati mådu-manthara-padam

racayati kuïjara-gatim anuvadam

 

vinidadhati – does; mådu – gentle; manthara – slow; padam –  steps; racayati – does; kuïjara – of an elephant; gatim – thegait;  anuvadam – like.

 

She walks with gentle, slow steps. She walks as a graceful elephant.

 

Note: In Sanskrit literature the elephant is considered  among the most graceful of creatures.

 

 

Text D

 

janayatu rudra-gajadhipa-muditam

ramananda-raya-kavi-gaditam

 

janayatu – may create; rudra-gajadhipa – of Gajapati Mahäräja  Pratäparudra; muditam – the happiness; ramananda-raya – Rämänanda  Räya; kavi – by the poet; gaditam – spoken.

 

May these words, spoken by the poet Rämänanda Räya, bring  happiness to Gajapati Mahäräja Pratäparudra.

 

 

Text 43

 

viduñakaù:  (karnaà datva)  bho suñöhu ma-e janidam

kåñëaù:  kim.

viduñakaù:  maà jjeva pucchasi.

 

karëam – an ear; datva – giving; bho – O;susthu – nicely; ma-e – by me; janidam – understood; kim – what?; mam – me; jjeva –  certainly; pucchasi – You ask.

 

Vidüñaka:  (Listening)  Ah!  Now I understand.

Kåñëa:  What is it?

Vidüñaka:  Why ask me?

 

 

Text 44

 

(tataù praviçati sakhébhir anugamyamana radhika madanika  vanadevata ca).

 

viduñakaù:  (purato ‘valokya)  bho vayassa pekkha pekkha  kanabi inda-ali-enaà saïcalido kana-a puttali-a ni-ara idha jjeva  a-acchadi. ta edam ekkaà gohni-a pala-issaà mama daridda badu- assa eda-e jjeva kidathada huvissadim. (iti svairaà svairaà  dhartum upasarpati).

 

tataù – then; praviçati – enters; sakhibhiù – by gopifriends;  anugamyamana – followed; radhika – Rädhä; madanika – Madanikä; vanadevata – Vanadevata; ca – and; purataù – ahead; avalokya –  looking; bho – O; vayassa – friend; pekkha – look!;pekkha – look!;  kenabi – by someone; inda-ali-enam – with a rainbow; saïcalido –  walks; kana-a – golden; puttali-a – puppets; ni-ara – a host; idha –  thus; jjeva – certainly; a-acchadi – comes; ta – therefore; edam –  thus; ekkam – one; gohni-a – taking; pala-issam – I shallflee;  mama – my; daridda – poverty-stricken; badu-assa – brahmacari;eda- e – by this; jjeva – certainly; kidaththada – successful;  huvassidam – shall become; iti – thus; svairam svairam – slowly; dhartum – to take; upasarpati – creeps up.

 

 

(Followed by their gopi-friends, Rädhä, Madanikä, and  Vanadevatä enter.)

 

Vidüñaka:  Friend, look! Look! Here comes a rainbow  followed by a troop of golden puppets. I will steal one of  the puppets and run away. Then my poverty-stricken  brahmacärihood will finally become a grand success.

(He slowly creeps up to steal one of them.)

 

 

Text 45

 

kåñnaù:  dhiì murkha nayaà kanaka-puööalika-nikaraù. kintu  gopi-kadambakam idam.

 

dhik – fie!; murkha – O fool; na – not; ayam – this;kanaka –  golden; puttalika – of puppets; nikaraù – a troop;kintu – however;  gopi – of gopis; kadambakam – a group; idam – this.

 

Kåñëa:  Fool, they are not golden puppets. They are  cowherd girls.

 

 

Text 46

 

viduñakaù:  (nirupya vihasya)  suñöhu tu-e takkidaà ta  phalidaà de vunda-anagamanam.

 

nirupya – looking carefully; vihasya – chuckling; susthu –  nicely; tu-e – by You; takkidam – guessed; ta – therefore;phalidam – successful; de – of You; vunda-ana – in Våndävana; agamanam   the  arrival.

 

Vidüñaka:  (He carefully looks at them, and then chuckles)   You have guessed the truth. Now Your arrival in Våndävana is a  grand success.

 

 

Text 47

 

kåñnaù:  dhiì murkha kià phalaà mama våndavanagamanasya.

 

dhik – fie; murkha – O fool; kim – what?; phalam – result; mama – of Me; våndavana – into Våndävana; agamanasya – of the arrival.

 

Kåñëa:  Fool, what benefit do I get by coming to Våndävana  forest?

 

 

Text 48

 

viduñakaù: edanaà dasi-e dhidanaà sa-asado vunda-ana-na-a- pallavanaà padibalanam tti bhanami.

 

edanam – of these; dasi-e – of a maidservant;  dhidanam –  daughters; sa-asado – in the presence; vunda- ana – in Våndävana; na-a – fresh; pallavanam – of  blossoms; padibalanam – protection; tti – thus;  bhanami – I speak.

 

Vidüñaka:  I am talking of Your protecting the flowers of  Våndävana forest from these low-class girls.

 

 

Text 49

 

radha:  (purato ‘valokya)  ajje ma-ani-e ko eso niluppala- dala-komala-ccha-i kana-a ni-ara-viccha-vasano isi-a alambi-a  kandharaà mahura-mahuraà veëuà vade-i.

 

purataù – ahead; avalokya – looking; ajje – O noble lady;ma- ani-e – Madanikä; ko – who?; eso – is this; niluppala – of a blue lotus; dala – petal; komala – beautiful; ccha-i – splendor; kana-a –  of gold; ni-ara – an abundance; viccha – like; vasano – whose  garments; isi-a – slightly; alambi-a – resting on; kandhara – His neck; mahura-mahuram – very sweet; veëum – flute; vadei – plays.

 

Rädhä:  (Looking ahead)  O noble Madanikä, who is this  person splendid as a blue lotus petal, His garments like gold,  and His neck gracefully bending, sweetly playing a flute?

 

 

Text 50

 

madanika:  sakhi na janasi yas tava maya kathitaù.

 

so ‘yaà yuva yuvati-citta-vihaìga-çakhé

sakñad iva sphurati païcaçaro mukundaù

yasmin gate nayanayoù pathi sundarénaà

néviù svayaà çithilatam upayati sadyaù

 

sakhi – O friend; na – not; janasi – You know; yaù – who; tava –  to You; maya – by me; kathitaù – said; sah ayam – he;yuva – youth;  yuvati – of young girls; citta – of the hearts; vihaìga – if the  birds; sakhi – the tree with branches; sakñat – directly;iva – as  if; sphurati – manifested; païcasaraù – cupid;mukundaù – Kåñëa;  yasmin – when He; gate – goes; nayanayoù – of the eyes; pathi – on the path; sundarinam – of beautiful girls; niviù – tight  belts; svayam – spontaneously;  sithilatam – looseness; upayati – attains; sadyaù – at once.

 

Madanikä:  Friend, You don’t know? I will tell You. He is  Kåñëa. He is like Kämadeva himself. He is a tree on whose  branches rest the birds of young girl’s hearts. When He enters  the pathway of beautiful girls’ eyes, tight belts suddenly become  loosened.

 

 

Text 51

 

kåñnaù:  (manag avalokya svagatam)  aho çubha-samaya- jatatvaà kasyacid vastunaù.

 

manak – slightly; avalokya – looking; svagatam – to Himself; aho – ah!; subha – auspicious; samaya – moment;jatatvam – birth;  kasyacit – for a certain; vastunaù – substance.

 

Kåñëa:  (furtively glances, and then says to  Himself)  Ah, somehow this is an auspicious moment.

 

 

Text 52

 

tatha hi

 

yad api na kamalaà niçakaro va

bhavati mukha-pratimo mågekñanayaù

racayati na tathapi jatu tabhyam

upamétir anya-pade padaà yad asya

 

tatha hi – furthermore; yat – which; api – indeed; kamalam –  lotus flower; nisakaraù – moon; va – or; bhavati – is;mukha – of the  face; pratimaù – comparison; måga-ikñaëayan – of this doe-eyed  girl; racayati – does; na – not; tatha api – still;jatu – at any  time; tabhyam – with them; upamitiù – comparison;anya – another;  pade – in a subtance; padam – word; yat – which; asya – of it.

 

If this is neither a lotus nor the moon, but indeed a doe-eyed  girl’s face, then it cannot be compared to either. There is no  other thing to compare it.

 

 

Text 53

 

viduñakaù:  janidaà ma-e dasi-e dhida ehià gobi-ahià  ukkanthida-hi-a-o samvutto bhavam. ta ehi edanaà damsana-pathado  gadu-a siharinihià rasalihià bi appanaà nivvudaà karehma. pekkha  majjhanno jado.

 

janidam – known; ma-e – by me; dasi-e – of a maidservant;  didha-ehim – by these daughters; ukkanthida – longing; hi-a-o –  hearts; samvutto – become; bhavam – You; ta – therefore;ehi – come;  edanam – of them; damsana – of the eyes; pathado – from the path; gadu-a – having gone; sikharihim – sugar-candy; rasalihim – curds  with sugar and spices; bi – also; appanam – ourselves;nivvudam –  enjoyment; karemha – let us do; pekkha – look; majjanno – midday;

jado – is manifested.

 

Vidüñaka:  I know these low-class gopis are yearning after  You. Come, escape the pathway of their eyes, and We will enjoy  eating sugar-candies and curd mixed with sugar and spices. Look!   It is now mid-day.

 

 

Text 54

 

kåñëaù:  sakhe samyag upalakñitam.

 

sakhe – O friend; samyak – correctly; upalakñitam – it is seen.

 

Kåñëa:  Friend, you are right.

 

 

Text 55

 

tatha hi

 

katham iva parikhinna vyoma-matra prayatuà

yad iha galita-vega vajino yuyam ittham

iti vitata-karantaù sann upalabdhum açvan

gaganam iva miméte madhya-madhyasya bhanuù

 

tatha hi – furthermore; katham – how is it?; iva – as if;  parikhinnaù – fatigued; vyoma-matra – in the sky; prayatum – to go;  yat – which; iha – here; galita – swallowed; vegaù – speed;vajinaù –  O horses; yuyam – you; ittham – in this way; iti – thus;vitata –  expanded; kara-antaù – rays of light; san – being so;upalabdhum –  to chastise; asvan – the horses; gaganam – the sky; iva – asif;  mimite – measure; madhya-madhyasya – of the mid-day; bhanuù – the  sun.

 

Saying,  Horses, why is your speed now swallowed up,  as if you are exhausted to run in the sky?” and whipping them  with glaring sunlight, the sun-god travels in the mid-day sky.

 

 

Text 56

 

viduñakaù:  (akuïcita-locanaà ciraà nirikaya)  vayassa ma-e  vannidavvo ra-i-maëòalo. arobi-a cakka-bhamià bhamido jaha  vissakamana suro. ajjabi taha sakkaraà bhamidaà ra-i-maëòalaà  takkemi.

 

akuïcita – without shrinking; locanaù – his eyes; ciram – for a  long time; nirikaya – gazes; vayassa – O friend; ma-e – byme; bi –  indeed; vannidavvo – may be described; ra-i – of the sun;maëòalao – the circle; arobi-a – ascending; cakka – circular; bhamim – path;  bhamido – travelling; jaha – which; vissakamana – by Visvakarma; suro – the sun-god; ajja – now; hi – even;sakkaram – perfectly;  bhamidam – travelling; ra-i – of the sun; maëòalam – the disk; takkemi – I think.

 

Vidüñaka:  (Without blinking, he gazes at the sun for a long  time)  Friend, I can explain the sun. Viçvakarmä made a circular  path for the sun-god’s journey. I think that is why the sun  travels so perfectly in the sky.

 

 

Text 57

 

madanika:  sakhi cira-vihara-pariçrantasi tad ehi gacchava.  (iti niñkrantaù sarve).

 

sakhi – friend; cira – for a long time; vihara – of pastimes;  parispanta – fatigued; asi – You are; tat – therefore;ehi – come; gacchava – let us go; iti – thus;niñkrantaù – exit; sarve – all.

 

Madanikä:  Friend, You must be tired from playing for  such a long time. Come, let us go. (All exit)

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