This sacred composition glorifies Barsana Dham, the divine homeland of Shri Radharani, the Queen of Vrindavan. Each verse (śloka) reveals a hidden jewel of Braj rasa—expressing love, beauty, and the transcendental charm of Ladli Ju’s eternal abode.
Here you can read all verses of Vrishbhanupur Shatakam in English translation, verse by verse. This translation is done by Shri Madhuri Sakhi.
A free downloadable PDF is also available below for offline reading and study.
जयत्यशेषाद्भुतमाधुरी सा, पुरी बृषाहस्करराजकस्य ।
यन्नामशृण्वन्ननु नन्दसूनुर्व्रजत्यवस्थां जडिमाभिधानाम् ॥१॥
jayaty aśeṣādbhuta-mādhurī sā, purī vṛṣāhaskara-rājakasya
yan-nāma-śṛṇvan nanu nanda-sūnur vrajaty avasthāṁ jaḍimābhidhānām |1|
The city of the King of Braj, Shri Vrishbhanuji, ‘Shri Barsana–Vrishbhanupuri’, is endowed with infinite, divine sweetness. Upon hearing the name of this Vrishbhanupuri, the son of Nanda, Shri Krishna, enters a state of inertness, meaning He becomes motionless like an inanimate object. That city is supremely glorious; therefore, all glories to it.
न याति तृप्तिं शतशोऽथ घुष्टं, पिबन् श्रुतिभ्यां मुहुरुन्नताभ्याम् ।
यन्नाम बृन्दारकवृन्दवन्द्यं, सुधारसं वै प्रपिवन्न्ययाजः ॥२॥
na yāti tṛptiṁ śataśo ’tha ghuṣṭaṁ, piban śrutibhyāṁ muhur unnata-abhyām
yat-nāma bṛndāraka-vṛnda-vandyaṁ, sudhā-rasam vai prapiban nyayājaḥ
Even after hearing that divine Name hundreds of times, one (Krishna) never feels satisfied.
The gods themselves bow to it — that Name which, when heard again and again with uplifted ears, fills the heart with the nectar of divine sweetness.
यत्रास्ति श्रीमद्वृषभानुमन्दिरं, प्रभासहस्रामलचन्द्रसुन्दरम् ।
यज्ज्योत्स्नया राजितनन्दमन्दिररे, चिक्रीड बाल्ये ननु नन्दनन्दनः ॥३॥
yatrāsti śrīmad-vṛṣabhānu-mandiraṁ, prabhā-sahasrā-mala-candra-sundaram
yaj-jyotsnayā rājjita-nanda-mandire, cikrīḍa bālye nanu nanda-nandanaḥ |3|
In that place stands the resplendent palace of King Vrishbhanu, radiant like a thousand pure moons.
By the glow of its divine light, even Nanda’s palace was illumined — there, in childhood, the son of Nanda, Shri Krishna, used to play in joy.
वैदूर्येण विनिर्मिता सुललिता यत्रस्थली राजते,
यस्यां कीर्तिसुता प्रपश्यति मुखं तांबूलरागारुणम् ।
स्वं रूपं हरितं विलोक्य किमहो ! कृष्णोऽस्ति मद्देहगो,
लीनश्चेन्मयि वाह्यगः कथमयं चेत्थं वितर्कं गता ॥४॥
vaidūryeṇa vinirmitā sulalitā yatra-sthalī rājate
yasyāṁ kīrti-sutā prapaśyati mukhaṁ tāmbūla-rāga-aruṇam
svaṁ rūpaṁ haritaṁ vilokya kim aho! kṛṣṇo ’sti mad-deha-gaḥ
līnaś cen mayi vāhyagaḥ katham ayaṁ cetthaṁ vitarkaṁ gatā |4|
Where the exquisitely beautiful ground, made of cat’s eye gems (Vaidurya), shines; upon which the daughter of Kirti (Shri Radha) gazes at her face, crimson from the color of betel leaf. Seeing her own form as green, she wonders, “Oh! How can Krishna be in my body? If He, who is external, is merged in me, how can this be?” Thus she fell into contemplation.
(In that city, a floor made of Vaidurya gems shines, which is extremely lovely. In it, the daughter of Kirti, Shri Radha Ji, beholds her own face, reddened by the hue of betel leaf (paan). (The luster of a Vaidurya gem is a greenish-blue color.) Therefore, her own form appears green to Shri Radhikaji, and she contemplates that if Shri Krishnachandra is outside, how is He becoming merged (infused) within her body.)
पादन्यासवशाद्गता मलिनतां सावस्थली राजते,
स्वेदाख्यं ननु सात्विकं प्रतिगता राधापदस्पर्शनात् ।
यद्वन्मुख्यसखी भवत्यतितरां तत्प्रेमपूर्णा सदा,
सेवायायां चतुरा प्रियापदयुगं वक्षःस्थले बिभ्रती ॥५॥
pādanyāsa-vaśād gatā malinataṁ sā vasthalī rājate
svedākhyam nanu sātvikaṁ pratigatā rādhā-pada-sparśanāt
yadvat mukhya-sakhī bhavati atitarāṁ tat-prema-pūrṇā sadā
sevāyāṁ caturā priyā-pada-yugaṁ vakṣaḥ-sthale bibhratī |5|
By the mere touch of Śrī Rādhā’s divine feet, the land that had once become dull and impure now shines resplendently again. That dust, touched by Her lotus feet, transforms even the earth’s heat into the sāttvika sign of divine perspiration.
Just as Her chief sakhī (Lalita) — ever full of pure love — becomes skillful in Her service,
so too does that sacred ground hold upon its bosom the footprints of the Beloved, shining with the glory of devotion.
चलत्पदस्पर्शमवाप्य सास्थली सुनिर्वृताभूत्प्रथमं ततः परम् ।
अन्यत्र तत्पादमवेक्ष्य चेर्ष्यया किंचिन्मलिम्नश्छलतोऽश्रु बिभ्रती ॥६॥
calat-pada-sparśam avāpya sāsthalī sunirvṛtābhūt prathamaṁ tataḥ param |
anyatra tat-pādam avekṣya cerṣyayā kiṁcin-malimnaś-chalato-‘śru bibhratī ||6||
Having received the touch of Her moving feet, that ground first felt fulfilled. Thereafter, seeing Her feet touch another spot, it became somewhat stained out of envy and, feeling deceived, bore tears (in the form of dewdrops).
(In the divine land of Vrishbhanupuri, Shri Kishoriji is walking in the morning. The ground that receives the touch of Her moving feet feels completely gratified. However, when it sees Her feet move to another spot, it experiences a sense of envy. This “stain” or “soiling” is nothing but the land’s tears of separation, which manifest as morning dewdrops. The implied meaning is that not even a single particle of this land can bear separation from Priya-ji, which is why this place is supremely glorious.)
यत्र गह्वरकं नाम वनं द्वन्द्वमनोहरम् ।
नित्यकेलिविलासेन निर्मितं राधया स्वयम् ॥७॥
yatra gahvarakaṁ nāma vanaṁ dvandva-manoharam |
nitya-keli-vilāsena nirmitaṁ rādhayā svayam ||7||
In this city of Vrishabhanu, there is a beautiful forest named ‘Gahvarvan’, which is made all the more enchanting by the Divine Couple (dvandva), Shri Radha-Krishna. This forest was manifested by Bhagavati Radhika Herself from the divine ingredients of Her own eternal, playful pastimes.
ललिताललितानंदमूर्तिःश्रीवृषभानुजा ।
क्रीडति श्यामलेनेह ललितापरिलालिता ॥८॥
lalitā-lalitānaṁda-mūrtiḥ-śrī-vṛṣabhānujā |
krīḍati śyāmaleneha lalitā-parilālitā ||8||
The daughter of Vrishbhanu, Shri Radha, is not only exceedingly charming Herself but is also the very embodiment of charming bliss. Beautifully adorned in every way by Her dear sakhī Lalita, She plays in this sacred land with Her beloved, the dark-complexioned Shri Ghanashyam.
(In this verse, Bhagavati Shriji is called ‘Lalitānandamūrti’. Here, the word ‘mūrti’ (form) signifies ‘sat’ (existence), the word ‘lalita’ (charming) signifies ‘cit’ (consciousness), and the word ‘ānanda’ (bliss) signifies Her unsurpassed joy. In other words, She is the embodiment of saccidānanda. This sacred land of Hers is supremely worthy of all glory.)
गुंजद्भृंग कुलाम्बुजातमुकुलं गायत्सुपुंस्कोकिलं,
नृत्यत्केकिकलं समीरविचलत् – पत्र प्रभाभासितम् ।
नानाचंद्रविनिंदिदीप्तिमदलं राजन्मणींद्रस्थलं,
वाद्यं निर्झरभेरिका कलकलं ध्यायामिकुंजोत्तमम् ॥९॥
guṁjad-bhṛṁga kulāmbu-jāta-mukulaṁ gāyat-supuṁs-kokilaṁ,
nṛtyat-keki-kalaṁ samīra-vicalat – patra prabhā-bhāsitam |
nānā-caṁdra-vinirddīpti-mad-alaṁ rājan-maṇīṁdra-sthalaṁ,
vādyaṁ nirjhara-bherikā kala-kalaṁ dhyāyāmi kuṁjottamama ||9||
(This verse is a meditation on Gahvarvan, adorned with the finest bowers.) I meditate upon that best of forests, where swarms of bees hum on lotus buds, male cuckoos sing sweetly, peacocks dance with soft cooing sounds, and which is brilliantly illuminated by the luster of leaves trembling in the breeze. Its flower petals possess a splendor that puts many moons to shame, its grounds are adorned with the best of jewels, the chirping of birds serves as its music, and the pleasant sound of waterfalls acts as its kettledrums.
अनंगरंगोत्सवसार पूरितं मृदूद्गतैः पल्लवकैः सुशोभितम् ।
हरन्मनः श्यामलगौरगात्रयो र्विशत्यहोमन्मनसीहगह्वरम् ॥१०॥
anaṁga-raṁgotsava-sāra pūritaṁ mṛdūdgataiḥ pallavakaiḥ suśobhitam |
haran-manaḥ śyāmala-gaura-gātrayo rviśaty-aho-man-manasīha gahvaram ||10||
This Gahvarvan, present here in Barsana Dham, is filled with the essence of the festival of Kamadeva (the god of love). It is adorned with soft, newly sprouted leaves. Oh, what a wonder it is that this forest, with its charm, steals the minds of even Shri Radha-Madhava! May that Gahvarvan enter my mind.
(Maharaj ji, who is devoted to the lotus feet of the Shri Radha , expresses his deep attachment to the holy abode. The inherent capacity of the Dhama to captivate the minds of even Radha and Madhava is its complete and wonderful sweetness.)
वियोज्यते वियुक्तं वा न कदापि वियोक्ष्यते ।
क्षणार्द्धसत्कोटियुगं युगलं तत्र गह्वरे ॥११॥
viyojyate viyuktaṁ vā na kadāpi viyokṣyate |
kṣaṇārddha-sat-koṭi-yugaṁ yugalaṁ tatra gahvare ||11||
They are never separated, are not separated now, nor will they ever be separated in the future. In that Gahvarvan, the Divine Couple experiences crores upon crores of ages as if they were but half a moment.
योगे वियुक्तवन्मानि ललितैकाश्रयं स्वयम् ।
करुणाशक्तिसम्पूर्णं गौरं नीलं च गह्वरे ॥१२॥
yoge viyukta-van-māni lalitaikāśrayaṁ svayam |
karuṇā-śakti-sampūrṇaṁ gauraṁ nīlaṁ ca gahvare ||12||
Even in union, they feel as if separated. They are the sole refuge for each other—He whose only shelter is the charming one (Lalita/Radha), and She whose only shelter is the charming one (Lalita/Krishna). In the deep woods of Gahvarvan, the golden and the dark blue splendors are completely filled with the power of compassion.
(The meeting of the Divine Couple is eternal, yet due to the intensity of their love, even in union (samyoga), they experience the feelings of separation (vipralambha). The word ‘Lalita’ means “charming” and also refers to Shri Radha.
तमालसंवेष्टितहेमयूथिका मध्यस्थिता कापि मिलन्नवच्छविः ।
संलक्ष्यते युग्महृदिस्थितेव सा लालित्यरूपाललिता परासखी ॥१३॥
tamāla-saṁveṣṭita-hema-yūthikā madhya-sthitā kāpi milan-nava-cchaviḥ |
saṁlakṣyate yugma-hṛdi-sthiteva sā lālitya-rūpā-lalitā parā-sakhī ||13||
Like a golden jasmine vine entwined around a dark Tamala tree, an indescribable, fresh splendor is manifest in their meeting. It appears as if Lalita, the supreme sakhī and the embodiment of charm, is situated in the heart of the Divine Couple.
(Shri Shyamsundar has the complexion of a Tamala tree, and Shri Priyaji is a vine of golden luster. Just as a golden vine wraps around a dark Tamala tree, so are Vrishbhanunandini and Nandanandan in a mutual embrace. From their union, an indescribable beauty shines forth. It seems as though the supremely charming and beautiful sakhī, Lalita, who is the greatest among the friends, resides in the heart of the Divine Couple, signifying the oneness of Radha and Madhava’s hearts.)
रूपं यल्ललितं द्वयोश्चमिलनं तन्नित्यलालित्यकृत्,
प्रीतिर्वै ललितापरस्परगता वृन्दाटवी चापि हि ।
लालित्येन विनिर्मिता सुललिता शय्यापिं कुञ्जातरे,
श्रीमूर्तिर्ललिता च भूषणपटस्रग्गन्धलालित्यभृत् ॥१४॥
rūpaṁ yal-lalitaṁ dvayoś-ca milanaṁ tan-nitya-lālitya-kṛt,
prītir-vai lalitā-paraspara-gatā vṛndāṭavī cāpi hi |
lālityena vinirmitā sulalitā śayyāpiṁ kuṁjātare,
śrī-mūrtir-lalitā ca bhūṣaṇa-paṭa-srag-gandha-lālitya-bhṛt ||14||
The forms of the Divine Couple are transcendentally charming, and their union creates an ever-new charm. Their mutual, unfailing love is also supremely enchanting, and by their eternal union, Vrindavan too has become exceedingly lovely. The bed made with great charm within the bower is also extremely graceful. Their supremely beautiful divine forms are most delightful, and their ornaments, clothes, garlands, and sandalwood paste all possess the highest charm.
पीत्वा मुखाम्बुज श्री मकरंदामृतमनन्यभावरतिः ।
वाञ्छति निपत्यपदयोः राधायाः श्यामलस्तर्षाम् ॥१५॥
pītvā mukhāmbuja śrī makaraṁdāmṛtam ananya-bhāva-ratiḥ |
vāñchati nipatya-padayoḥ rādhāyāḥ śyāmalas-tarṣām ||15||
Shri Krishna, who possesses exclusive loving devotion (rati) for the supreme mistress Kishori Ju, drinks the nectar of the beautiful honey flowing from Her lotus face. Falling at Her feet, He desires for His thirst to increase even more.
(The second line of this verse displays Ghanashyam Krishna’s devotion and love (rati) for Shri Shyama Ju. In poetics, love directed towards the beloved is called rati. However, if that same love is directed towards God, a Guru, or a sage, it is termed bhava. Here, it is seen as both, justifying his prostration at Her feet.)
शय्यां निर्माय दलकैः संस्थाप्य निजवल्लभाम् ।
तत्रपादाम्बुजे दृग्भ्यां लालयन् रमते प्रियः ॥१६॥
śayyāṁ nirmāya dalakaiḥ saṁsthāpya nija-vallabhām |
tatra pādāmbuje dṛg-bhyāṁ lālayan ramate priyaḥ ||16||
Making a bed of soft flower petals, the beloved (Krishna) seats His own beloved (Radha) upon it. There, in the bower of Gahvarvan, the dear one sports, affectionately caressing Her lotus feet with His eyes.
पदयोः प्रविलाप्य यावकं दयितायाः करकञ्जभङ्गिभिः ।
अतिभावगभीरसागरे विनिमग्नोत्रलुठत्यसौ प्रियः ॥१७॥
padayoḥ pravilāpya yāvakaṁ dayitāyāḥ kara-kañja-bhaṅgibhiḥ |
ati-bhāva-gabhīra-sāgare vinimagnotra-luṭhaty-asau priyaḥ ||17||
With the artful gestures of His own lotus hands, the beloved applies red mahāvara dye to the feet of His sweetheart. Drowned in the ocean of profound ecstatic love, that dear Krishna rolls at Her feet here in Gahvarvan.
अविनिश्चितरूपमाधुरी परपारः प्रतिलभ्य तत्पदम् ।
सुखनावमिवात्रसागरे दयिता रूपमये प्रखेलति ॥१८॥
aviniścita-rūpa-mādhurī parapāraḥ pratilabhya tat-padam |
sukha-nāvam-ivātra-sāgare dayitā rūpa-maye prakhelati ||18||
Krishna, whose beauty is immeasurable and who is beyond everything, obtains Her feet, which are like a boat of bliss, and sports in the ocean of His beloved Kishoriji’s beauty.
निधेहि पदपंकजयुगं मम प्रिये हृदीरयंश्चेत्थमतीवकातरः ।
लुठत्यसौ पार्श्वगतोऽपि राधया लावण्यवश्यः कृपयापि पोषितः॥१९॥
nidhehi pada-paṁkaja-yugaṁ mama priye hṛdīrayaṁś-cettham-atīva-kātaraḥ |
luṭhaty-asau pārśva-gato-‘pi rādhayā lāvaṇya-vaśyaḥ kṛpayāpi poṣitaḥ ||19||
Though always situated by Radha’s side, Nandanandan, who is captivated by Her wonderful beauty and nourished by Her grace, speaks in a plaintive voice, overwhelmed with emotion: “O Priye! Place Your pair of lotus feet upon my heart.” Expressing this feeling, He prostrates Himself at Her feet.
(This implies the Beloved’s complete surrender to Priyaji and his immense love and respect for Her.)
मृदुपद्मपदे मनोहरः करनीलोत्पललालनैः स्पृशन् ।
जडिमानमुपैति भावतो नयनाम्भोजजलेन सेचयन् ॥२०॥
mṛdu-padma-pade manoharaḥ kara-nīlotpala-lālanaiḥ spṛśan |
jaḍimānam-upaiti bhāvato nayanāmbhoja-jalena secayan ||20||
The enchanting Shri Krishnachandra, caressing Priya Ju’s soft lotus feet with His own blue-lotus-like hands, becomes filled with divine emotion. Sprinkling Her lotus feet with the teardrops from His own lotus eyes, He enters a state of inertness due to the excess of emotion.
करपंकजसंपुटे स्थितं चरणं नूपुरभूषितं बभौ ।
सुदृशः किमु वंदिनिःस्वनै र्गदितं राजकुलं वरासने ॥२१॥
kara-paṁkaja-saṁpuṭe sthitaṁ caraṇaṁ nūpura-bhūṣitaṁ babhau |
sudṛśaḥ kimu vaṁdi-niḥsvanai rgaditaṁ rāja-kulaṁ varāsane ||21||
Resting in the cup of His lotus-like hands, the anklet-adorned foot Shri Kishori shines beautifully. Madhava’s lotus hand has become Her excellent throne. Is the royal lineage of the beautiful-eyed mistress being sung by bards? Is She of such a high dynasty that She is entitled to such a seat?
ओष्ठाभ्यां परिचुम्बति मधुरं पदपंकजं प्रिय रसिकः ।
निजहृदयस्थितरागं यावकपाट्यालापयन्निव ॥२२॥
oṣṭhābhyāṁ paricumbati madhuraṁ pada-paṁkajaṁ priya rasikaḥ |
nija-hṛdaya-sthita-rāgaṁ yāvaka-pāṭyālāpayanniva ||22||
The dear Rasika, Shri Shyamsundar, sweetly kisses the lotus feet of Shri Kishoriji with both His lips. Her feet are adorned with red mahāvara dye; it appears as if the deep affection (anurāga) for Priya present in Krishna’s heart is being expressed as the red dye on Her feet.
(In the scriptures, the color of deep affection, anurāga, is described as red. The implied meaning is that Shri Shyama Ju’s feet are always enshrined in Krishna’s heart.)
अतिहर्षितदृक्तनुरुहो दयितापांगजसत्कृपाभरैः ।
अभिनन्दति भाग्यसंपदं स निजां नेत्रमुखैः पदेस्पृशन् ॥२३॥
ati-harṣita-dṛk-tanu-ruho dayitāpāṁgaja-sat-kṛpā-bharaiḥ |
abhinandati bhāgya-saṁpadaṁ sa nijāṁ netra-mukhail pade spṛśan ||23||
As his beloved Bhagavati Radhika glances upon him with Her naturally beautiful, benevolent, and full grace, that crest-jewel of rasikas, Shyamasundar, becomes extremely joyful. His eyes fill with bliss, his body hairs stand on end, and touching Priya’s feet with his eyes and mouth, he praises the wealth of his own great fortune.
(This means Krishna feels that he has achieved the ultimate goal of life by the causeless mercy of Shyama Ju.
अप्रतर्क्या किशोरस्य, प्रीतिः श्यामापदांबुजे ।
भजने भजते वृद्धिं, कर्षत्यपिविहारतः ॥२४॥
apratarkyā kiśorasya, prītiḥ śyāmā-padāṁbuje |
bhajane bhajate vṛddhiṁ, karṣaty-api-vihārataḥ ||24||
The love of Shri Krishna, who is ever-youthful, for the lotus feet of Shri Shyama Ju is beyond logic and imagination. This love increases through His worship of Her, and it attracts Shri Madhava through Shri Priyaji’s playful pastimes.
(This implies that Krishna’s devotion, which is saturated with love for Priya, continuously increases towards His object of worship, ‘Aradhya Shri Kishoriji’.)
प्रवदति राधाराधेत्यति कातर्यभरेणपूरितः सन् ।
विस्मृतसकलशरीरस्तन्नेत्रकटाक्षपातेन ॥२५॥
pravadati rādhā-rādhety-ati kātarya-bhareṇa-pūritaḥ san |
vismṛta-sakala-śarīras-tan-netra-kaṭākṣa-pātena ||25||
Shri Madhava, filled with feelings of utter humility towards the supreme mistress Kishoriji (with the constant mood that “without Kishori’s grace, I have no existence”), chants the mantra “Radha-Radha” day and night. And when Shri Radha glances upon him with Her merciful eyes, He (considering himself blessed and indebted) forgets all awareness of His own charming body.
(This is the culmination of the nectar of love.)
जहार राधा शिरसः शिखण्डकं, कृत प्रणामस्य धवस्य लीलया ।
खेलंत्यहो प्राप्तपदांगुलीजयाऽ – हसन् तदुष्णीषलवापकर्षणात् ॥२६॥
jahāra rādhā śirasaḥ śikhaṇḍakaṁ, kṛta praṇāmasya dhavasya līlayā |
khelaṁty-aho prāpta-padāṁgulī-jayā’ – hasan tad-uṣṇīṣa-lavāpakarṣaṇāt ||26||
As Krishna bows down at Shri Shyama Ju’s feet, Shri Radharani playfully snatches the peacock-feather crown from His head. She begins to play with the crown as if it were a foot-ball and conquers Shri Krishnachandra with just the toe of Her lotus foot. Seeing this pastime, the present gopis become immersed in laughter.
(Here Maharaj ji, filled with Shri Radha’s mood, has established Her unsurpassed uniqueness.)
राधायाःसुविनिःसृता रसमयी नीलांबुजश्रीयुता,
कृष्णात्यद्भुतहस्तसन्मुख सुखानानाविभावच्छटा ।
प्रेमावर्तवती न पारकलना सिंचेति नाम्नासखी,
मत्स्यासेवितमध्यमा मम कदा चित्तं नदीप्लावयेत् ॥२७॥
rādhāyāḥ-suviniḥsṛtā rasamayī nīlāṁbuja-śrī-yutā,
kṛṣṇāty-adbhuta-hasta-sanmukha sukhā-nānā-vibhāva-cchaṭā |
premāvarta-vatī na pāra-kalanā siṁceti nāmnā-sakhī,
matsyāsevita-madhyamā mama kadā cittaṁ nadī-plāvayet ||27||
A nectarean river flows forth from the divine effulgence of Shri Radha, a river made splendid by the divine luster of the blue lotus, Shri Krishna. This river is adorned with the splendor of Krishna’s wonderfully charming hands, face, and other features. In this river, love itself exists as a whirlpool. The middle of the river is served by fish, which are like the eyes present in the middle of Shri Radha’s lotus face .
कृष्णं निधाय पदयोः किशोर्य्याश्चाग्रतः स्थिता ।
तस्मै प्रसादं याचन्ती हसन्ती मेलये कदा ॥२८॥
kṛṣṇaṁ nidhāya padayoḥ kiśoryyāś-cāgrataḥ sthitā |
tasmai prasādaṁ yācaṁtī hasaṁtī melaye kadā ||28||
When will I, standing before Shri Kishoriji, place Shri Krishna at Her feet, and while laughing, plead with Her to be pleased with Him, thus bringing about their union?
द्वयं गृहीत्वा हस्ताभ्यामावध्यभुज बन्धतः ।
स्वस्याः संस्थाप्य हृदये सुखिता स्यामहं कदा॥२९॥
dvayaṁ gṛhītvā hastābhyām-āvadhya-bhuja bandhataḥ |
svasyāḥ saṁsthāpya hṛdaye sukhitā syām-ahaṁ kadā ||29||
When will I, taking hold of the Divine Couple (Shri Radha-Madhava) with my hands, bind them in the bondage of my arms, and placing them upon my heart, become blissful?
(The word ‘dvayam’ refers to a community with two parts, meaning Radha and Madhava are one, though they have a supposed separation for the sake of pastimes. Here, the heartfelt desire of Ali ju in the mood of a sakhī is expressed. The intense desire to bind them in her arms implies that she does not want Priya-Priyatam to be separated from her even for a moment, and that only Radha-Madhava are the cause of supreme bliss.)
स्वांचलेनैव चावृत्य निधायनिजवक्षसि ।
किंचिदुत्सार्य वसनं पश्यामि युगलं कदा ॥३०॥
svāṁcalenaiva cāvṛtya nidhāya-nija-vakṣasi |
kiṁcid-utsārya vasanaṁ paśyāmi yugalaṁ kadā ||30||
When will I, covering the Divine Couple with my own āñcal (the end of a sari) and placing them on my heart, after a little while, slightly move the cloth and behold them?
(Here mahaprabhu, imbued with the mood of a sakhī, is seen expressing his heart’s desire.)
शय्या भूत्वा स्थिता चाहं तौ खेलाते ममोपरि ।
सुचुम्बनादिनिरतौ दृष्ट्वा स्यां सुखिनी कदा ॥३१॥
śayyā bhūtvā sthitā cāhaṁ tau khelāte mamopari |
sucumbanādi-niratau dṛṣṭvā syāṁ sukhinī kadā ||31||
When will I become the unmoving bed of Shri Radha-Madhava, upon which they perform their nectar-filled pastimes? Seeing them engaged in mutual kissing, gazing, and embracing, when will I become blissful?
(Note: A more accurate reading from an ancient manuscript is “syāṁ sukhinī kadā” instead of “syāṁ surivanī kadā”. Also, ‘śayyā’ is more appropriate than ‘śayyāṁ’. The use of the word ‘kadā’ (when) in the preceding four verses proves that even a moment’s separation from Radha-Madhava is unbearable.)
मम हारं सुसंगृह्य संस्थितौ तौ दशाभरात् ।
वार्तालापरतौ लग्नौ मत्कुचाग्रोपबर्हणौ ॥३२॥
mama hāraṁ susaṁgṛhya saṁsthitau tau daśā-bharāt |
vārtālāpa-ratau lagnau mat-kucāgropabarhaṇau ||32||
Holding onto the sakhī’s necklace, Shyama-Shyam are seated in her lap, immersed in a state of love. They are engaged in intimate conversation, closely attached to one another, using the tips of the sakhī’s breasts as their pillow.
(In this way, this image of the Divine Couple, drenched in the nectar of divine love, brings supreme delight to the sakhī’s heart.)
बोधयंतौ हि मां वश्यात् सेवायां प्राण वल्लभौ ।
दृष्ट्वा स्यां सुखिनी कर्हि ललिते हे कृपां कुरु ॥३३॥
bodhayaṁtau hi māṁ vaśyāt sevāyāṁ prāṇa vallabhau |
dṛṣṭvā syāṁ sukhinī karhi lalite he kṛpāṁ kuru ||33||
When will I become delighted upon seeing my life’s beloveds, Shri Radha-Madhava, considering me their obedient servant and instructing me in their service? O Lalita! Please bestow such grace upon me that I may get the opportunity to serve Priya-Priyatam.
(Here the sakhī reveals her inner aspiration.)
सखी ममेयं वरदास्यवर्तिनी सखी ममेयं सुखपोषणे रता ।
इति ब्रुवन्तौ मम दृष्टिपातनं विलोक्यराधापदसंश्रितं भृशम् ॥३४॥
sakhī mameyāṁ vara-dāsya-vartinī sakhī mameyāṁ sukha-poṣaṇe ratā |
iti bruvaṁtau mama dṛṣṭi-pātanaṁ vilokya-rādhā-pada-saṁśritaṁ bhṛśam ||34||
Will Shri Shyama ju ever say about me, “This sakhī of mine is established in the best mood of service, and she is dedicated to our happy nourishment”? Saying this, and seeing me as completely sheltered at the lotus feet of Shri Radhaji, will they cast their glance upon me?
जयत्रपाफुल्लविनम्रवक्त्रका-वानंदखेदोद्वहनोन्मुखौ स्थितौ ।
तौ शारदीसूतिसमीपतः कदा संकोच्य कृष्णं प्रविलोकयेऽहम् ॥३५॥
jayatrapā-phulla-vinamra-vaktrakā-vānaṁda-khedodvahnonmukhau sthitau |
tau śāradī-sūti-samīpataḥ kadā saṁkocya kṛṣṇaṁ pravilokaye-‘ham ||35||
Priya-Priyatam are engaged in blissful pastimes, experiencing mutual victory and defeat. In victory, their lotus faces blossom, and in defeat, they become humble with shyness.
अधिरुह्य धवांसमुच्चवृक्षात् कुसुमं संचिनुते कृशोदरी सा ।
ननु नीराजित जीवनं भ्रमत् स सद्भ्रमरेणाथ ददाति नंदजाय ॥३६॥
adhiruhya dhavāṁsam-ucca-vṛkṣāt kusumaṁ saṁcinute kṛśodarī sā |
nanu nīrājita jīvanaṁ bhramat sa sad-bhramareṇātha dadāti naṁda-jāya ||36||
Climbing upon the shoulders of her beloved Krishnachandra, the slender-waisted Shri Kishoriji picks flowers from a tall tree. Along with the flowers, upon which bees are humming, she offers her own life, which she has already sacrificed for Krishna, to the son of Nanda.
संस्पृश्य तत्पादतलं किशोरकः किशोरिकायाः करकंज-भङ्गिभिः ।
लब्धं मरंदं प्रविलाप्य नेत्रयोः स्वयोर्न तृप्तः पुनरेव वाञ्छति ॥३७॥
saṁspṛśya tat-pāda-talaṁ kiśorakaḥ kiśorikāyāḥ kara-kaṁja-bhaṅgibhi |
labdhaṁ maraṁdaṁ pravilāpya netrayoḥ svayor-na tṛptaḥ punareva vāñchati ||37||
The youthful Kishora (Krishna), through the gestures of his lotus hands, touches the lotus feet of Kishorika (Radha) and applies the nectar-dust obtained from them to his own eyes. Still not satisfied, he desires the dust of Shri Kishoriji’s feet again and again.
(This expresses Krishnachandra’s complete mood of surrender to the supreme mistress Radhikaji.)
निपीय राधामुखनिःसृतासवं चाश्रूणि मुंचन्न वदन्न किंचन ।
सगद्गदं चाथवलादुवाचतां निमज्जितोऽहं पदयोस्तव प्रिये ॥३८॥
nipīya rādhāmukha-niḥsṛtāsavaṁ cāśrūṇi muṁcanna vadanna kiṁcana |
sa-gadgadaṁ cāthavalād-uvācatāṁ nimajjito-‘haṁ padayos-tava priye ||38||
Drinking the nectarous wine flowing from the mouth of Supreme Radhika, Krishna sheds tears of love and is unable to speak due to the excess of affection (for the divinity of that nectar cannot be described by words). With great effort, in a choked, faltering voice, he says: “O Priye Radhike! I am completely drowned in (the beauty and tenderness of) your feet.”
(Just as wine makes a person intoxicated, similarly, Krishna becomes intoxicated by the ‘nectar-wine’ emerging from Shri Radha’s mouth.)
ताम्बूलनिर्यासकपोलशोभितौ विमर्दितस्रग्वरधारिणौ स्वयम् ।
पर्य्यंकवर्यांकमसौपरस्पर मंजन् मषीश्यामदृशौक्षताधरौ ॥३९॥
tāmbūla-niryāsa-kapola-śobhitau vimardita-srag-vara-dhāriṇau svayam |
paryyaṁka-varyāṁkam-asau-parasparaṁ maṁjan maṣī-śyāma-dṛśau-kṣatādharau ||39||
Priya-Priyatam are both seated on a couch. Their charming cheeks are made even more beautiful by the red hue of betel leaf. They are both wearing garlands that have become slightly crushed during their amorous play. Both their lotus eyes appear dark with kohl, and in their pastime of sipping nectar from each other’s lips, the lips of the divine couple have become slightly marked.
(In this way, Shri Radha-Madhava possess a transcendental beauty.)
व्यत्यस्तवस्त्राभरणौ प्रजागरादुन्मत्तनेत्रौ निमिलत्सुपक्ष्मकौ ।
श्रीकुंकुमालिप्तहृदौरतांतरे विजृम्भमाणौ विलसद्निजद्युती ॥४०॥
vyatyasta-vastrābharaṇau prajāgarād-unmatta-netrau nimilat-supakṣmakau |
śrī-kuṁkumālipta-hṛdau-ratāṁtare vijṛmbhamāṇau vilasad-nija-dyutī ||40||
From the amorous pastimes performed in the bower-house, Priya-Priyatam’s clothes and ornaments are dishevelled. Due to staying awake at night, both their eyes are intoxicated (with drowsiness), and their beautiful eyelids are repeatedly closing (meaning they are in a state preceding sleep). The chests of Priya-Priyatam are adorned with lovely saffron paste, and when they both yawn after their love-play, their rows of teeth shine beautifully.
प्रबोधितावंगुलचालनादिभिः स्वप्राणसख्यंगविमोहनोन्मुखौ ।
क्वचिद्धसन्तौ क्व च गायतः कलं, परस्पराश्लेषकरौ क्वचित्पुनः ॥४१॥
prabodhitāv-aṁgula-cālanādibhiḥ sva-prāṇa-sakhy-aṁga-vimohononmukhau |
kvacid-dhasantau kva ca gāyataḥ kalaṁ, parasparāśleṣa-karau kvacit-punaḥ ||41||
Priya-Priyatam have been alerted by hand gestures like the movement of a finger. Radha-Madhava are enchanting the limbs of their very life-breath, their dear sakhī, with their divine beauty. Sometimes they laugh, sometimes they sing in a sweet voice, and at other times, they are bound in a mutual embrace. When will I be able to see such a divine couple?
क्वचित्सुधाधारमुखावलोकना-वेकोत्तरीयं परिवेष्ट्य सुस्थितौ ।
सुभोजितौ दत्तसुवीटिकौ कदा तावालिलालित्यवलाद्विलोकये ॥४२॥
kvacit-sudhādhāra-mukhāvalokanā-vekot-tarīyaṁ pariveṣṭya susthitau |
subhojitau datta-suvīṭikau kadā tāv-āli-lālitya-valād-vilokaye ||42||
(A description of the nectarous pastimes of Priya-Priyatam.) The faces of both Radha and Madhava are the sole repository of nectarous juice. They gaze at each other’s faces without blinking. At other times, they are beautifully situated, wrapped in a single shawl. When will I be able to see them, by the power of the sakhī’s sweetness, after they have partaken of a beautiful meal and been offered fine betel preparations?
(The meaning is that the darshan of the divine couple is possible only by the power of the sakhī’s unparalleled loving devotion, after they have been fed a beautiful meal and offered betel by the sakhīs. In other words, their vision is attainable only through grace.)
निधाय वक्षसि शिरः प्रियस्य करभंगिभिः ।
संक्रीडमाना हरिणा सा विलोक्या कदा मया ॥४३॥
nidhāya vakṣasi śiraḥ priyasya kara-bhaṁgibhiḥ |
saṁkrīḍamānā hariṇā sā vilokyā kadā mayā ||43||
When will I be able to see Shriji, who, placing the head of her beloved Govinda on her breast, sports with Shri Hari through the gestures of her hands?
(The desire for a glimpse of the samyoga-shringara (love in union) of Priya-Priyatam is intensely present in the sakhī’s heart.)
प्रियहारं सुहारेण सुसंयोज्य विचकर्षती ।
पदयोः पतितं प्रेष्ठं दृष्ट्वा हसति राधिका ॥४४॥
priya-hāraṁ suhāreṇa susaṁyojya vikarṣatī |
padayoḥ patitaṁ preṣṭhaṁ dṛṣṭvā hasati rādhikā ||44||
Shri Kishoriji, tying the necklace of her beloved Shyamsundar to her own beautiful necklace, pulls it. The beloved (suddenly) falls at Shri Radhaji’s feet. Seeing him, Vrishbhanunandini begins to laugh.
अतिनम्रसुमुद्रया स्थितं रसिकं प्रेमपरिप्लुतेक्षणम् ।
जगृहे भुजवल्लिलीलया हृदि संस्थाप्य रसाप्लुतं व्यधात् ॥४५॥
ati-namra-sumudrayā sthitaṁ rasikaṁ prema-pariplutekṣaṇam |
jagṛhe bhuja-valli-līlayā hṛdi saṁsthāpya rasāplutaṁ vyadhāt ||45||
The crest-jewel of rasikas, Shyamsundar, stands in a posture of extreme humility, his eyes brimming with the nectar of love. Shri Kishoriji, with the playful pastime of her vine-like arms, takes hold of him (Shri Krishna), places him on her heart, and Madhava becomes immersed in the nectar of love.
आपाययित्वाधरसंश्रितं मधु स्ववक्त्रनिःसारितवीटिकार्पणात् ।
स्वमालिकान्तश्च विधाय माधवं रराम राधा रसकेलिलंपटा ॥४६॥
āpāyayitvādharasaṁśritaṁ madhu sva-vaktra-niḥsārita-vīṭikārpaṇāt |
svamālikāntaśca vidhāya mādhavaṁ rarāma rādhā rasa-keli-laṁpaṭā ||46||
Shri Ladiliji is chewing a betel preparation (bīḍī). Taking it out from her mouth, she offers it to Lalji, and Lalji takes the betel chewed by Kishoriji’s mouth into his own lotus mouth. On this pretext, she makes her beloved drink the honey of her lips.
(The drinking of nectar from the lips is considered the essence of samyoga-shringara. Bhagavati Radhika brings Madhava within her garland, and Shri Kishoriji, who is greedy for nectarous sports (the presiding deity of absolute sweetness), sports with her life’s beloved.)
निजांगसंगोत्थरतामृतांबुधौ मज्जंतमुत्तुंगकुचाख्यतुंबिके ।
निधाय या भीरुमपात्स्वसीत्कृतै – रानंदयंती बहुधा प्रियं श्रितम् ॥४७॥
nijāṁga-saṁgottha-ratāmṛtāṁbudhau majjaṁtam-uttuṁga-kucākhya-tuṁbike |
nidhāya yā bhīrum-apāt-svasītkṛtai – rānaṁdayaṁtī bahudhā priyaṁ śritam ||47||
(A depiction of the intimate pastimes of Priya-Priyatam.) The very embodiment of nectar, Shri Swamini, is engaged in physical union with the pleasure-seeking Rasikavihari. Ramaramana is drowning in the fathomless ocean of nectar arising from this union. Shri Radha, giving the support of her full, gourd-like breasts, rescues her timid beloved and, with her sighs that indicate the culmination of nectar, delights her sheltered Shyamsundar in many ways.
प्रस्वेदकणिकायुक्तं मुखं तस्यास्तु लक्ष्यते ।
अन्तस्थ इव कारुण्य रसः कश्चित् स्रवेद् बहिः ॥४८॥
prasveda-kaṇikā-yuktaṁ mukhaṁ tasyās-tu lakṣyate |
antastha iva kāruṇya rasaḥ kaścit sraved bahiḥ ||48||
The face of Shri Radhaji, who is engaged in eternal amorous play, is covered with beads of perspiration. It seems as if a peculiar nectar of compassion residing within her heart is flowing outwards on the pretext of these sweat droplets.
पिवत्यतृप्तो विवशःप्रियास्यजं स्वास्येन नेत्रांबुजसंस्थितं मधु ।
स्वनेत्रयुग्मेन हृदा हृदिस्थितं सुवाहुयुग्मेन च बाहुजं रसम् ॥४९॥
pivaty-atṛpto vivaśaḥ-priyāsyajaṁ svāsyena netrāṁbuja-saṁsthitaṁ madhu |
svanetra-yugmena hṛdā hṛdi-sthitaṁ suvāhu-yugmena ca bāhujaṁ rasam ||49||
Shri Shyamsundar, overcome with love for Priya, has become helpless. He drinks the nectar flowing from his beloved’s mouth with his own mouth, yet he is not satiated; his thirst for this nectar continuously increases. He drinks the honey from her lotus eyes with his own pair of eyes, the nectar in her heart with his own heart, and the nectar flowing from Priyaji’s arms with his own two arms.
विकीर्णवर कुंतलां चपलचारुनेत्रां चलां
नटद्भृकुटिशोभितां त्रुटितहारभूषावतीम् ।
शुक रुचिर नासिका नहिनहीतिवाक्चातुरीम्
प्रियस्य हृदये स्थितां भजति मन्मनो राधिकाम् ॥५०॥
vikīrṇa-vara kuṁtalāṁ capala-cāru-netrāṁ calāṁ
naṭad-bhrūkuṭi-śobhitāṁ truṭita-hāra-bhūṣāvatīm |
śuka rucira nāsikā nahi-nahīti-vāk-cāturīm
priyasya hṛdaye sthitāṁ bhajati man-mano rādhikām ||50||
My mind worships that Vrishbhanunandini Shri Radhaji, whose supremely lovely hair is dishevelled, whose beautiful eyes are restless, who is adorned with dancing eyebrows, and whose necklace and ornaments have broken during amorous play. Her nose is as lovely as a parrot’s beak, and she repeatedly protests the amorous activities of her beloved with clever words of “no, no,” while being ever-seated in the heart of her dear Shyamsundar.
हे गह्वरवन मध्येहृदयं तव संस्थितौ वदान्यौ तौ ।
गौरश्यामलरूपौ चौरौ द्वौ मे मनोहरत ॥५१॥
he gahvaravana madhye-hṛdayaṁ tava saṁsthitau vadānyau tau |
gaura-śyāmala-rūpau caurau dvau me mano-harata ||51||
(These are the outpourings of a heart filled with devotion for Priya-Priyatam.) O Gahvarvan! In the middle of your heart reside two extremely generous thieves, endowed with the beauty of golden and dark forms, who have stolen my mind away.
(Here, a complaint is being lodged with Gahvarvan as if it were a conscious being, thus expressing the spiritual nature of this forest. The deep faith and reverence for the Dhama is praiseworthy.)
त्वं वनराज ! किशोरीचरण द्वन्द्व ममापि दर्शय भोः ।
श्रीमच्छयामलमूर्तेर्हृदियत्तापं समुद्धरति ॥५२॥
tvaṁ vanarāja! kiśorī-caraṇa dvandva mamāpi darśaya bhoḥ |
śrīmac-chyāmala-mūrter-hṛdi-yat-tāpaṁ samuddharati ||52||
(In this verse, a prayer is made to the king of forests, ‘Gahvar’.) O king of forests! Please let me also have the vision of the lotus feet of Kishori Ju, the same feet that remove the torment residing in the heart of the glorious dark-formed Shri Krishna.
(The ability of the ‘Dhama’ to grant the vision of Priya’s feet is implied.)
नेत्रे बुभुक्षिते मे राधापदयोर्विलोकनायेह ।
तर्पय वृन्दावन मे तद्दर्शनमहिमासुधादानैः ॥५३॥
netre bubhukṣite me rādhā-padayor-vilokanāyeha |
tarpaya vṛndāvana me tad-darśana-mahimā-sudhā-dānaiḥ ||53||
(A desire for the vision of Shri Shyama’s feet is being expressed.) In this land of Braj, my eyes are hungry to see the feet of Shri Radhaji. O Vrindavan! Please satisfy me by granting the nectar of the glory of that vision.
ममाविरास्तां वृषभानुजा सखी सुमंडले नृत्यपरा प्रियेणया ।
संरक्षितावाहुवरार्द्धचंद्रिकां विधाय पश्चात्स्खलनं विभन्यता ॥५४॥
mamāvirāstāṁ vṛṣabhānujā sakhī sumaṁḍale nṛtya-parā priyeṇa yā |
saṁrakṣitā-vāhu-varārddha-caṁdrikāṁ vidhāya paścāt-skhalanaṁ vibhanyatā ||54||
May Vrishbhanunandini Bhagavati Radha, who is equal in fame to Shri Krishna and devoted to dancing in the beautiful Rasa circle with her beloved, appear before me. She who, to prevent her from stumbling during the dance, was protected by Krishnachandra, who formed his beautiful arms into the shape of a half-moon.
क्वचित्सुपुष्पव्यजनंदधत्करे, करोति वायुं वृषभानुजामुखे ।
विलोक्य नृत्यत्पदकैश्च पश्चिमै – र्मुखं प्रियो रासगतो निषेवते ॥५५॥
kvacit-supuṣpa-vyajanaṁ-dadhat-kare, karoti vāyuṁ vṛṣabhānujā-mukhe |
vilokya nṛtyat-padakaiś-ca paścimai – r-mukhaṁ priyo rāsa-gato niṣevate ||55||
Understanding that Shri Radhaji’s feet are becoming weary from dancing in the Rasa-lila, Madhava takes a beautiful fan made of flowers and fans the face of Vrishbhanu’s daughter. At other times, he gazes at her face without blinking.
मध्याह्ने ह्यधिकुञ्जसद्मशयितौ सख्यासुसंवीजितौ,
पर्यङ्के परिमुक्तपुष्पदलकैः संभावित स्वंगकौ ।
अन्योन्यैकदृशा निमीलित दृशौश्वासोल्लसत्कुंतला,
वौषी रे भवनेऽम्बुयन्त्रसलिलैः सिक्ते सुसेव्यौ कदा ॥५६॥
madhyāhne hy-adhi-kuñja-sadma-śayitau sakhyā-susaṁvījitau,
paryaṅke parimukta-puṣpa-dalakaiḥ saṁbhāvita svaṁgakau |
anyonyaika-dṛśā nimīlita dṛśau-śvāsollasat-kuṁtalā,
vauṣī re bhavane-‘mbu-yantra-salilaiḥ sikte susevyau kadā ||56||
In a beautiful bower-house made of vetiver grass, sprinkled with water from fountains, Priya-Priyatam are resting on a couch in the midday. They are being fanned by a sakhī, and their auspicious limbs are adorned with beautiful flower petals. With half-closed eyes, they gaze at each other without blinking, and their hair stirs slightly with their sighs. When will I be able to serve this divine couple in such an ecstatic state?
तौ नृत्यमानौ प्रतिबद्ध चक्षुषौ परस्परं नूपुरसिंजितांघ्रिणा ।
समागमात्संगमितौ हृदाहृदि वक्त्रेणवक्त्रे भुजतो भुजादिभिः ॥५७॥
tau nṛtya-mānau pratibaddha cakṣuṣau parasparaṁ nūpura-siṁjitāṁghriṇā |
samāgamāt-saṁgamitau hṛdā-hṛdi vaktreṇa-vaktre bhujato bhujādibhiḥ ||57||
Shri Radha-Krishna are engaged in the pastime of dancing. The sweet sound of their anklets fills the air. Their eyes are locked on each other. Their bodies are united with bodies, hearts with hearts, faces with faces, and arms with arms in a complete embrace.
गताववस्थां चलनाक्षमौजडां यथा कला कारुतरेण लेखितौ ।
स्वदर्शनार्थायमयाविलोकितौ कदात्मसख्यासुभगौ भविष्यतः ॥५८॥
gatāv-avasthāṁ calanākṣamau-jaḍāṁ yathā kalā kāru-tareṇa lekhitau |
sva-darśanārthāya-mayā-vilokitau kadātma-sakhyā-subhagau bhaviṣyataḥ ||58||
Engrossed in the Rasa dance, Priya-Priyatam, either due to fatigue or being overwhelmed by nectarous emotions, have become unable to move and have entered a state of inertness. They appear as if they have been painted by a skilled artist. When will I, along with my companion sakhīs, be able to see these two beautiful forms for the sake of their darshan?
विदग्ध मिथुनं दृष्ट्वा रासे विवशतां गतम् ।
संस्थापयति शय्यायां ललितोन्नीयबाहुना ॥५९॥
vidagdha mithunaṁ dṛṣṭvā rāse vivaśatāṁ gatam |
saṁsthāpayati śayyāyāṁ laliton-nīya-bāhunā ||59||
Seeing the divine couple, who are supremely skilled in the Rasa-lila, become helpless, the sakhī Lalita lifts them with her arms and places them on a bed.
सगायमानां प्रविलोक्यराधिकां विमूर्छितः संपतितोति विह्वलः ।
स्खलच्छिखंडः स्फुरिताधरांचलोब्यत्यस्तवस्त्राभरणोऽपवेणुकः ॥६०॥
sa-gāyamānāṁ pravilokya-rādhikāṁ vimūrchitaḥ saṁpatito-‘ti vihvalaḥ
skhalac-chikhaṁḍaḥ sphuritādharāṁcalo-vyatyasta-vastrābharaṇo-‘paveṇukaḥ ||60||
Seeing Radhika (who has the voice of a cuckoo) engaged in singing, Shyamsundar becomes extremely overwhelmed, falls down, and faints. His peacock crown slips, his lips tremble, his clothes and ornaments are dishevelled, and the flute falls from his hand.
दृष्ट्वा तथाविधं प्रेष्ठमतिकातर मानसा ।
करुणकंपसंपन्ना निधाय हृदि पश्यति ॥६१॥
dṛṣṭvā tathā-vidhaṁ preṣṭham-ati-kātara mānasā |
karuṇa-kaṁpa-saṁpannā nidhāya hṛdi paśyati ||61||
Seeing her beloved Krishna in such a state, Shri Radhaji’s mind becomes extremely distressed. Filled with compassionate trembling, she holds her beloved to her heart and gazes at him.
उष्णीषं परिवध्य दक्षिणतटी नम्रंलसत्कंचुकं
ग्रीवामंडनमंडितं सुरभिभिः श्रीकुंकुमैश्चित्रितम् ।
स्थाप्यांगेशुभसूत्रकं कटितटे वध्वोत्तरीयंगले
मुक्तादामनिवेश्य सा च सुमुखी मुक्तालका संस्थिता ॥६२॥
uṣṇīṣaṁ parivadhya dakṣiṇa-taṭī namraṁ-lasat-kaṁcukaṁ
grīvā-maṁḍana-maṁḍitaṁ surabhibhiḥ śrī-kuṁkumaiś-citritam |
sthāpyāṁge-śubha-sūtrakaṁ kaṭi-taṭe vadhvot-tarīyaṁ-gale
muktā-dāma-niveśya sā ca sumukhī muktālakā saṁsthitā ||62||
Shri Radhaji has donned a crown. Her body is adorned with a soft bodice. She wears a necklace around her neck, and her divine form is decorated with fragrant saffron. She wears an auspicious skirt at her waist, a shawl around her neck, and a pearl necklace. The beautiful-faced Shyama, with her hair unbound, is seated in a graceful posture.
प्रेष्ठं कंचुकि शाटके प्रदधतं स्वधोर्रुकं चांतरं
नासाभूषणहस्तकाचवलयं ग्रैवेय कंचामलम् ।
वामांगे विनिधाय चुंबनमहाश्लेषादिकं विभ्रती
श्रीराधामममोहनी विजयते प्रेमैक लीलामयी ॥६३॥
preṣṭhaṁ kaṁcuki śāṭake pradadhataṁ svadhorrukaṁ cāṁtaraṁ
nāsā-bhūṣaṇa-hastakāca-valayaṁ graiveya kaṁcāmalam |
vāmāṁge vinidhāya cuṁbana-mahā-śleṣādikaṁ vibhratī
śrī-rādhā-mama-mohanī vijayate premaika līlā-mayī ||63||
Shri Radhaji, wearing a lovely bodice and sari, a beautiful skirt, a nose ornament, divine bangles on her hands, and a pure necklace around her neck, embraces and kisses Krishna’s left side. That enchanting Shri Radha, the very embodiment of loving pastimes, is supremely glorious. All glories to her!
(This implies, “I am prostrated before her.”)
श्रीमत्कुंजसुरद्रुमं मञ्जुुललतां संगृह्य हस्ते स्वके ।
सव्येचांचलकं सुभंगि दधती सज्जालमालांचितम् ॥
शीर्लोऽर्द्धात् शिथिलं यथा स्थिति नयंत्येवादराद्राधिका ।
दोलायत्पदसत्तनुर्विजयते नासास्फुरन्मौक्तिका ॥६४॥
śrīmat-kuṁja-suradrumaṁ maṁjula-latāṁ saṁgṛhya haste svake |
savye-cāṁcalakaṁ subhaṁgi dadhatī sajjāla-mālāṁcitam ||
śīrṣṇo-‘rddhāt śithilaṁ yathā sthiti nayanty-evādarād-rādhikā |
dolāyat-pada-sat-tanur-vijayate nāsā-sphuran-mauktikā ||64||
Residing in the bower-house, Shri Radhikaji has taken hold of a beautiful vine that is embracing the wish-fulfilling Parijata tree in the glorious grove. With her left hand, she respectfully adjusts the beautifully draped end of her sari, which is adorned with a lovely string of pearls and has slipped from her head. Priyaji’s effulgent pearl nose-ring shines brightly, and her feet and divine form are gracefully swaying. All glories to such a Shri Radhikaji!
(She is supremely glorious, and I respectfully bow down to her.)
आंदोलमानाचययुज्जगानशाखागृहं चर्वितपर्ण खण्डम् ।
चखाद संगृह्यतमंजलौसपश्यन्मुखांभोजमधुव्रतं स्वम् ॥६५॥
āṁdolamānā-cayayuj-jagāna-śākhā-gṛhaṁ carvita-parṇa khaṇḍam |
cakhāda saṁgṛhyatamaṁjalau-sa-paśyan-mukhāṁbhoja-madhuvrataṁ svam ||65||
Shri Priyaji is swinging on a swing in a house made of branches. She spits out a piece of chewed betel leaf from her mouth. Shyamsundar, filled with love for Priya and considering himself the honeybee of her lotus face, takes that piece of leaf in his cupped hands and partakes of it.
मज्जीवातुरिहारित साऽसिततनो हृत्कंज संवासिनी ।
राजत्कोटि कलानिधि प्रविभवत्संगर्व निर्वासिनी ।
श्रीमन्मोहननामखेलनमृगव्यावंधिभूयोगुणा-
तन्मूर्द्धस्थितकेशभृंगरसिकैः संपीतपादांबुजा ॥६६॥
maj-jīvātur-ihārita sā-‘sita-tano hṛt-kaṁja saṁvāsinī |
rājat-koṭi kalā-nidhi pravibhavat-sa-garva nirvvāsinī |
śrīman-mohana-nāma-khelana-mṛga-vyāvaṁdhi-bhūyo-guṇā-
tan-mūrddhasthita-keśa-bhṛṁga-rasikaiḥ saṁpīta-pādāṁbujā ||66||
Shri Radhikaji resides in the lotus heart of Ghanashyam. She vanquishes the rising pride of crores of shining moons with her own beauty. She possesses abundant qualities suitable for binding her play-deer named the all-enchanting Mohan. The nectar of Shri Radhaji’s lotus feet is being drunk by the rasika-bees hovering over the beautiful locks of hair on Shri Shyamsundar’s head.
(Meaning, the ‘beloved’ is bowing his head at Priyaji’s feet in प्रणाम, and the ‘bees’ hovering over his head, mistaking her feet for lotuses, are drinking their nectar.)
कुसुमसुंगफितवेणीपीनश्रोणीकुचोरूभारेण ।
त्रुट्यन्मध्येवेयंतिर्यग्ग्रीवाशनैश्चलति ॥६७॥
kusuma-suṁgaphita-veṇī-pīna-śroṇī-kucorū-bhāreṇa |
truṭyan-madhye-veyaṁ-tiryak-grīvā-śanaiś-calati ||67||
Beautiful flowers are woven into Priyaji’s braid. Her hips are heavy, and due to the great weight of her breasts, her waist appears as if it is breaking. Tilting her neck slightly, she walks with a slow, graceful gait.
सख्या नीतां मालां भारभियानहि नहीति चार्वंगी ।
बहुशो निषेधयंती क्वचित्प्रियेणाप्यधारयत्सार्द्धम् ॥६८॥
sakhyā nītāṁ mālāṁ bhāra-bhiyā-nahi nahīti cārvaṁgī |
bahuśo niṣedhayaṁtī kvacit-priyeṇāpy-adhārayat-sārddham ||68||
Fearing its weight, the one with lovely limbs, Ladiliji, refuses the garland brought by a sakhī, saying “no, no.” But sometimes, she wears the garland along with her beloved.
(The intention here is to convey Shri Radhaji’s extreme tenderness and delicacy.)
क्रीडन्त्यानवकुंजमंजुलगृहे नीलालकालीमुखे
शाखातोन्यपतत्सु पुष्पिततरं पुष्पं सुमल्लीभवम् ।
तिर्यग्ग्रीवतयानिधायनयन प्रातं च तस्मिन् स्मितं
भ्रूभंगं दधती तदंगुलिकरेणाऽजिघ्रदा-दाय सा ॥६९॥
krīḍantyā-nava-kuṁja-maṁjula-gṛhe nīlālakālī-mukhe
śākhāto-nyapatat-su puṣpitataraṁ puṣpaṁ sumallī-bhavam |
tiryak-grīvatayā-nidhāya-nayana prātaṁ ca tasmin smitaṁ
bhrū-bhaṁgaṁ dadhatī tad-aṁguli-kareṇā-‘jighradā-dāya sā ||69||
The mistress Radhika is engaged in pastimes in a lovely house made of new bowers. Dark blue locks of hair adorn her lotus face. A beautiful jasmine flower falls from a blossoming branch. Shri Radharani, tilting her neck slightly, catches it on the corner of her eye. With a smile and a playful movement of her eyebrows, she takes it in her hand and smells it.
अंगुष्टतर्जनीभ्यामी रितमालोक्यपुष्पमुन्नृत्यत् ।
नासामौक्तिक मपि किं परिप्लवांग्याः नरीनर्ति ॥७०॥
aṁguṣṭa-tarjanībhyām-ī ritam-ālokya-puṣpam-unnṛtyat |
nāsā-mauktikaṁ-api kiṁ pariplavāṁgyāḥ narīnarti ||70||
The flower, shaken by Shri Radharani’s thumb and forefinger, appears to be dancing. Seeing this, did the pearl in the nose of the one with restless limbs also begin to dance?
नीलालकं परिविलोक्य कपोलपार्श्वे हस्तेन चासिततनुर्वृषभानुजायाः ।
संलालयत्यति सुगन्धिमद भ्रभावस्तत्कुंतलानपरिमेयरसे निमग्नः॥७१॥
nīlālakaṁ parivilokya kapola-pārśve hastena cāsita-tanur-vṛṣabhānujāyāḥ |
saṁlālayaty-ati sugandhim-ada bhra-bhāvas-tat-kuṁtalān-aparimeya-rase nimagnaḥ ||71||
Seeing the fragrant, dark blue locks of hair dangling on the side of Vrishbhanunandini’s cheek, Ghanashyam Shri Krishna, with a natural gesture, adjusts them with his hand and becomes immersed in immeasurable nectar.
प्रियवक्षःस्थितमालामुत्तार्य प्रेयसी स्वहस्तेन ।
धृत्वा निजपाणितले पश्यन्ती तत्र तोलयति ॥७२॥
priya-vakṣaḥ-sthita-mālām-uttārya preyasī sva-hastena |
dhṛtvā nija-pāṇi-tale paśyantī tatra tolayati ||72||
The beloved Priyatama, taking the garland from her beloved Madhava’s chest with her own hand and holding it in her palm, gazes at it without blinking as she weighs it.
नीलांबरागुंठितमुख्यगात्री वेशोन्मदश्यामकृपाविधात्री ।
लावण्य रूपामृतसारपात्री दृश्या कदा गह्वरवासदात्री ॥७३॥
nīlāṁbarāguṁṭhita-mukhya-gātrī veśonmada-śyāma-kṛpā-vidhātrī |
lāvaṇya rūpāmṛta-sāra-pātrī dṛśyā kadā gahvara-vāsa-dātrī ||73||
She whose lovely limbs are veiled in blue garments, who bestows grace upon the Shyamasundar who is intoxicated by her beauty and attire, who is the sole vessel of the essence of the nectar of unparalleled loveliness, and who grants residence in Gahvarvan—when will that Shri Kishoriji be seen by me?
कदा वा खेलंत्या निजवरवरेणोन्मदकला,
कलानंदोद्गारिप्रणयरसभारेणविवशा ।
करिष्ये सद्वातं निजविमलशाट्यंचलमहो,
दधानाहस्ताभ्यांकृतसुकृत पुंजाभृशमहम् ॥७४॥
kadā vā khelaṁtyā nija-vara-vareṇonmada-kalā,
kalānaṁdogāri-praṇaya-rasa-bhāreṇa-vivaśā |
kariṣye sad-vātaṁ nija-vimala-śāṭyaṁcalam-aho,
dadhānā-hastābhyāṁ-kṛta-sukṛta puṁjā-bhṛśam-aham ||74||
When will I, having performed infinite pious deeds and become helpless with the weight of loving nectar that expresses artistic bliss, take the end of my pure sari in my hands and fan my mistress as she plays with her unparalleled beloved, Shyamsundar?
(Meaning, my collection of pious deeds will only be fulfilled when I receive the opportunity for such service.)
सखीवृंदवृता राधा रराज वर गह्वरे ।
तारागणैः संपरीतः शारदेंदुरिवांवरे ॥७५॥
sakhī-vṛṁda-vṛtā rādhā rarāja vara gahvare |
tārā-gaṇaiḥ saṁparītaḥ śāradeṁdur-ivāṁvare ||75||
In the most beautiful Gahvarvan, Shri Radha, surrounded by her group of sakhis, shines just as the autumn full moon shines in the sky, surrounded by hosts of stars.
प्रियस्यवक्षःस्थलपट्टिकोपरिस्थितास्तिकाचिन्नवनागरीमणिः ।
तत्प्रेमसूत्रामलमध्यगुंफितातच्चित्रमुक्ताफललोलकच्छविः ॥७६॥
priyasyavakṣaḥ-sthala-paṭṭikopari-sthitāsti-kācin-nava-nāgarī-maṇiḥ |
tat-prema-sūtrāmala-madhya-guṁphitā-tac-citra-muktā-phala-lolakac-chaviḥ ||76||
Resting upon the tablet of her beloved Shyamsundar’s chest, a certain jewel among clever maidens (Shri Radhaji) shines. It appears as though she is a wonderful, radiant pearl, strung in the middle of the pure thread of Shri Krishna’s love.
कुचाचलेंद्रोपरिमालिकानदीन्यमज्जतात्रब्रजराजनंदनः ।
तत्तारणायेवधृतास्तिश्रृंखलासखीजनैर्पालकनामधेयका ॥७७॥
kucācaleṁdro-parimālikā-nadī-nyamajjatātra-brajarāja-naṁdanaḥ |
tat-tāraṇāy-eva-dhṛtāsti-śṛṁkhalā-sakhī-janair-pālaka-nāmadheya-kā ||77||
The breasts of Shri Radha are like mountains, upon which the river of her necklace flows. In this river, the pleasure-seeking Madhusudan is drowning. To pull him out, the line of sakhīs appears just like a chain placed on the bank of a river to save someone from drowning.
पार्श्वालम्बितवक्रकेशरुचिरासिन्दूर सीमंतिनी
कस्तूरीवरबिंदुभालतिलका मुक्तालसन्नासिका ।
कंठे दर्पककंबुके निदधती मुक्तायुतैर्मालिकाम्
संगम्यद्रुम शाखिकां च दधती हस्तेन सव्येन सा ॥७८॥
pārśvālambita-vakra-keśa-rucirā-sindūra sīmaṁtinī
kastūrī-vara-biṁdu-bhāla-tilakā muktā-lasan-nāsikā |
kaṁṭhe darpaka-kaṁbuke nidadhatī muktā-yutair-mālikām
saṁgamya-druma śākhikāṁ ca dadhatī hastena savyena sā ||78||
Curly locks of hair hang on the sides of Shri Kishoriji’s face, making her look exceedingly beautiful. Her hair parting is adorned with sindoor, her forehead has a tilak of the finest musk, and her nose is decorated with a shining pearl. Around her neck, which defeats the beauty of a conch shell, she wears a pearl necklace, and with her left hand, she holds the branch of a tree.
नासासंस्थितमौक्तिकद्वयमहोमाणिक्यपूर्वापरं,
लोलन्मौक्तिकराजितं छविमयां गुष्टांगुलीयांतरे ।
वामाम्भोजकरस्य चाथ नवल-क्रीडाभराच्चालय
न्त्येकेनाथ निवारितालिनिवहा कृष्णेन दृश्यास्तुमे ॥७९॥
nāsā-saṁsthita-mauktika-dvayam-aho-māṇikya-pūrvāparaṁ,
lolan-mauktika-rājitaṁ chavi-mayāṁ guṣṭāṁgulīyāṁtare |
vāmāmbhoja-karasya cātha navala-krīḍā-bharāc-cālaya
ny-ekenātha nivāritāli-nivahā kṛṣṇena dṛśyās-tume ||79||
(The word ‘Aho’ expresses wonder; the beauty of Shri Kishori is beyond description.) In her lovely nose, two pearls are placed one before the other. Shining pearls adorn the beautiful rings on her fingers and thumb, which are on her left lotus-hand. Inspired by ever-new and sweet pastimes, will that Kishoriji, who is warding off a swarm of pleasure-seeking bees with her right lotus-hand, ever be seen by me along with Shri Krishnachandra?
निजहृदये प्रतिबिम्बं राधा निजानुरक्तस्य ।
किञ्चिद् उवाच हसन्ती कुतः समेतोसि संस्पृशति ॥८०॥
nija-hṛdaye pratibimbaṁ rādhā nijānuraktasya |
kiñcid uvāca hasantī kutaḥ sametosi saṁspṛśati ||80||
Seeing the reflection of him (Shyamsundar), who is deeply attached to her, upon her own heart, Shri Radhaji said with a gentle smile, “From where have you come and settled upon my heart?” Saying this, Shri Radhaji touches him completely.
बद्धुं प्रवृत्ता निजहारतोय-त्तस्यानुविम्बं नवभूवशक्ता ।
अवेत्यदुर्गस्थितमाहचास्माद्वंधाय प्राणप्रिय न प्रयासि ॥८१॥
baddhuṁ pravṛttā nija-hāratoyat-tasyānuvimbaṁ nava-bhūva-śaktā |
avetya-durga-sthitam-āha-cāsmād-vaṁdhāya prāṇa-priya na prayāsi ||81||
Shri Kishori Ji tried to bind the divine reflection of Shri Krishna on her chest with her necklace but was unable to do so. Then, understanding that ‘this Shyamsundar is situated in a fortress,’ Shri Radharani said, “O beloved of my life, Shyamsundar, you are trying to bind me. Surely, you will not leave my heart.”
(The mutual, exceeding affection of Priya-Priyatam is being expressed.)
वध्नात्यसौ मालिकया करद्वयं प्रियः पदाम्भोजयुगे स्मिताननः ।
ऊचे निबद्धोहमहोसदीश्वरि-त्वंबन्धनायैव च किं प्रताम्यसि ॥८२॥
vadhnāty-asau mālikayā kara-dvayaṁ priyaḥ padāmbhoja-yuge smitānanaḥ |
ūce nibaddho-ham-aho-sad-īśvari-tvaṁ-bandhanāyaiva ca kiṁ pratāmyasi ||82||
Situated at Priyaji’s pair of lotus feet, the smiling beloved Krishna ties his own two hands with a garland and says, “O all-powerful Shri Radhe! I have already been bound by you. Why are you striving to bind me, or why are you distressed?”
वपुर्मनो वागसवस्त्वयि प्रिये निर्वाञ्छिता मे सततं वदामि ते ।
त्वयैव दत्तं मम जीवनं पुनस्त्वत्पाद संस्पर्शमुखाभिलाषतः ॥८३॥
vapur-mano vāg-asavas-tvayi priye nirvvāñchitā me satataṁ vadāmi te |
tvayaiva dattaṁ mama jīvanaṁ punas-tvat-pāda saṁsparśa-mukhābhilāṣataḥ ||83||
Shri Krishnachandra says to Priyaji: “O Priye! My body, mind, speech, and life are all in you. You are constantly and singularly desired by me. I am telling you the truth. My life, which is filled with the desire to touch your feet, has been given to me by you alone.”
श्रुत्वा नूपुर सिञ्जितं विहरतोः काञ्चीध्वनिं मञ्जुल,
शय्यायां स्थितयोः परस्परमुखालोकाद् धृतावस्थयोः
भूषाणां मिलनेरवं च ललितं सत्कारितं चोभयो: ।
कुञ्जद्वारि गता गता च जडतां मूर्च्छां प्रयास्ये कदा ॥८४॥
śrutvā nūpura siñjitaṁ viharatoḥ kāñcī-dhvaniṁ mañjulaṁ,
śayyāyāṁ sthitayoḥ paraspara-mukhālokād dhṛtāvasthayoḥ
bhūṣāṇāṁ milane-ravaṁ ca lalitaṁ satkāritaṁ cobhayoḥ |
kuñja-dvāri gatā gatā ca jaḍatāṁ mūrcchāṁ prayāsye kadā ||84||
Hearing the jingling of their anklets and the lovely sound of their waist-bells as they sport on the bed; seeing them captivated by gazing at each other’s faces; hearing the sweet sound of their ornaments meeting; and witnessing their mutual deep affection—when will I, going to the door of the bower-house and observing this divine beauty, become inert and fall unconscious?
प्रियपाणितलेस्वकं करं विनिधायाङ्गुलिभूषणां चितम् ।
अवलोकयितुं गता गृहं मम दृश्या नव नागरी मणि: ॥८५॥
priya-pāṇi-tale-svakaṁ karaṁ vinidhāyāṅguli-bhūṣaṇāṁ citam |
avalokayituṁ gatā gṛhaṁ mama dṛśyā nava nāgarī maṇiḥ ||85||
When will that jewel of clever maidens, Shri Kishoriji, who has placed her own hand, adorned with rings, upon the palm of her beloved Krishna and has gone to observe the bower-house, come into my line of sight?
(Meaning, when will I be able to have the darshan of Swamini, who is overflowing with such moods?)
अतितृष्णमना निजप्रियां करुणा पाङ्गसुधावलेहने ।
मुकुरं निदधत्कराम्बुजे तनु श्रृङ्गारकृते निषेवते ॥८६॥
ati-tṛṣṇa-manā nija-priyāṁ karuṇā pāṅga-sudhā-valehane |
mukuraṁ nidadhat-karāmbuje tanu śṛṅgāra-kṛte niṣevate ||86||
The unparalleled form of sweetness, Shri Krishnachandra, with a mind full of intense thirst, gazes upon his beloved Shri Kishoriji with a merciful and nectar-like glance (as if he is absorbing Priyaji into himself). Holding a mirror in his lotus hand, he readies himself to adorn her.
स्वकरे सितचामरन्दधद् दयितां रत्नवरासने स्थिताम् ।
सभजत्यनुरागभावतोक्षरद् , वैस पतति गृहे क्वचित् ॥८७॥
svakare sita-cāmaraṁ-dadhad dayitāṁ ratna-varāsane sthitām |
sa-bhajaty-anurāga-bhāvato-‘kṣarad , vaisa patati gṛhe kvacit ||87||
His beloved Shri Radhaji is seated on a magnificent, jewel-studded throne. The beloved, holding a white chauri fan in his hand, serves his mistress with a mood full of affection. (Seeing her beauty, tenderness, and generosity,) Shri Krishna sometimes falls down in the bower-house and then somehow composes himself.
मत्पादयोः पतित्वा व्रवीति हार्दांश्चकाकुवादान्स: ।
त्वत्सङ्गोन्मद – चित्तस्त्वदाप्तयेयं यतन् गतवान् ॥८८॥
mat-pādayoḥ patitvā vravīti hārdāṁś-ca kāku-vādān saḥ |
tvat-saṅgonmada – cittas-tvad-āptaye-yaṁ yatan gatavān ||88||
The sakhī Lalita says to the supreme mistress: “That Shri Krishna falls at my feet and speaks heart-touching, plaintive words. His heart is intoxicated to gain your association, and striving to attain you, he has departed.”
(Kāku refers to words spoken by altering the tone of one’s voice.)
किं कार्यं वत राधे त्वमेव वद त्वत्स्वरूपसक्ताय ।
देयं किं मे नाप्तिं मन्यायाप्तावपि ह्यस्मै ॥८९॥
kiṁ kāryaṁ vata rādhe tvam-eva vada tvat-svarūpa-saktāya |
deyaṁ kiṁ me nāptiṁ manyāyāptāv-api hy-asmai ||89||
Lalita continues: “O Shri Radhe! Now you yourself tell me. That blue jewel, Shri Krishna, is extremely attached to your beauty. What can I do for him? What is there of mine that I cannot give him? Truly, everything I have is sacrificed for him.”
विचित्र वल्लीतरु राजिराजिते, विचित्रलीलामयवा: सभाजिते ।
विदग्धराधाधवभाव पूजिते, प्रियाङ्घ्रिसल्लाञ्छनलाञ्छिताजिरे ॥९०॥
vicitra vallī-taru rāji-rājite, vicitra-līlā-maya-vāḥ sabhājite |
vidagdha-rādhā-dhava-bhāva pūjite, priyāṅghri-sal-lāñchana-lāñchitājire ||90||
(Regarding Gahvarvan:) It is adorned with rows of wonderful vines and trees; it is honored by the signs of the Divine Couple’s amazing pastimes; it is worshipped by the moods of the expert in nectarous pastimes, Radhavallabh; and its courtyard is decorated with the auspicious footprints of Krishna’s beloved, Swamini Shri Radhaji. May my mind always delight in such a Shri Gahvarvan. (This connects to the next verse.)
सखीजनोद्गीत वधूगुणोत्करे, सुवल्लकी वादनशब्दशब्दिते ।
सामश्रुते श्रीललिताङ्घ्रिलाञ्छिते, श्रीगह्वरे मे रमतां मन: सदा ॥९१॥
sakhī-janodgīta vadhū-guṇotkare, suvallakī vādana-śabda-śabdite |
sāma-śrute śrī-lalitāṅghri-lāñchite, śrī-gahvare me ramatāṁ manaḥ sadā ||91||
In which Gahvarvan the qualities of the bride, Priya Shri Radhikaji, are sung by the sakhīs; which resounds with the sweet sound of the beautiful Veena; in which beautiful music or the sound of the Samaveda is heard; which is adorned with the footprints of Lalita or with the charming (lalita) footprints of Priya-Priyatam—may my mind constantly delight in such a Shri Gahvarvan.
कर्पूर पूगसम्मिश्रं प्रियेणांतिसमर्पितम् ।
ताम्बूलंभक्षयन्त्यास्यं मुकुरे स्वं प्रपश्यति ॥९२॥
karpūra pūga-sammiśraṁ priyeṇāṁtisamarpitam |
tāmbūlaṁ-bhakṣayanty-āsyaṁ mukure svaṁ prapaśyati ||92||
Chewing the betel leaf, which is mixed with camphor or white betel nut and was offered to her by her beloved who came close, Shri Kishoriji gazes at her own lotus face in a mirror.
प्रियहस्ताद् गृहीतेन स्वयं प्रोञ्छति वाससा ।
ओष्ठप्रान्तं किशोरीयं कदा यास्यति दृक्पथम् ॥९३॥
priya-hastād gṛhītena svayaṁ proñchati vāsasā |
oṣṭha-prāntaṁ kiśorīyaṁ kadā yāsyati dṛk-patham ||93||
When will this Kishori, who is wiping the corners of her lips with a cloth taken from the hand of her beloved, come into my line of sight?
गृहीत्वा ललिता हस्तं हस्तेन सव्य कन्धरे ।
स्ववाहुं दक्षिणं न्यस्य प्रयाति वनकेलये ॥९४॥
gṛhītvā lalitā hastaṁ hastena savya kandhare |
sva-vāhuṁ dakṣiṇaṁ nyasya prayāti vana-kelaye ||94||
Lalitaji, taking the beloved’s hand with her own, has placed it on Shri Radha’s left shoulder. And Shri Radhaji, placing her own right arm on Krishna’s shoulder, is proceeding for forest sports.
उन्मुच्य केशान्यमुनान्ति विभ्रती , तरोरधस्तुंवुरवल्लकीं करे ।
हरिन्मणीं वै तिलकं च भालके सुगायतिप्रेष्टचकोरदर्शना ॥९५॥
unmucya keśāny-amunānti vibhratī, taror-adhastuṁvura-vallakīṁ kare |
harinmaṇīṁ vai tilakaṁ ca bhālake sugāyati-preṣṭha-cakora-darśanā ||95||
Shri Priyaji has unbound her hair. She is seated on the bank of the Yamuna, beneath a tree. In her hand, she holds a Tumburu veena, which surpasses the luster of jewels. A beautiful tilak adorns Shri Radha Ji’s forehead. The Swamini ji, whose eyes have the beauty of the most lovely Chakora bird’s eyes, is engaged in singing beautiful music.
किशोर युगलं स्फुरत्कनकनीलरत्नप्रभं
निकुञ्ज-वरमन्दिरेसुरतकेलिरङ्गोन्मुखम् ।
सुवर्णलतिकामिलत्स्फुटतमालयोरुपमा-
न्दधन्मुखरभूषणं मम मनोरमं मोदते ॥९६॥
kiśora yugalaṁ sphurat-kanaka-nīla-ratna-prabhaṁ
nikuñja-vara-mandire-surata-keli-raṅgonmukham |
suvarṇa-latikā-milat-sphuṭa-tamālayor-upamāṁ-
dadhan-mukhara-bhūṣaṇaṁ mama manoramaṁ modate ||96||
In a most lovely bower-house, the youthful couple (Shri Priya-Priyatam) are seated. Shri Priyaji’s bodily luster is like that of a shining sapphire. The youthful couple is eager to perform amorous pastimes (secluded sports). The beauty of Priya-Priyatam is just like that of a golden vine embracing a most lovely Tamala tree. The divine couple has worn jingling ornaments that are extremely enchanting. This image fills me with joy.
किसलयतल्पे जल्पन्नवलांखेलोन्मुखींवार्ताम् ।
मग्नं प्रेमसमुद्रे किशोरयुगलं मनोहरति ॥९७॥
kisalaya-talpe jalpann-avalāṁ-khelonmukhīṁ-vārtām |
magnaṁ prema-samudre kiśora-yugalaṁ mano-harati ||97||
Seated on a bed of soft sprouts, the youthful couple is engaged in conversation, behaving in a manner befitting new pastimes. Both are drowned in the ocean of love. Such a divine couple’s image steals my mind.
मधूपभोगसम्फुल्लकुसुमव्रातमञ्जुले ।
निलीयमानावालीभिवनेऽन्वेष्यौ कदा ब्रुवे ॥९८॥
madhūpabhoga-samphulla-kusuma-vrāta-mañjule |
nilīyamānāv-ālībhir-vane-‘nveṣyau kadā bruve ||98||
In the lovely bower-forest, made beautiful by clusters of flowers blossoming with the arrival of spring, Priya-Priyatam are hidden. When will they be searched for by the sakhīs? How can I say?
मेघपुष्पकणभ्राजत्कपोलौ रक्तवाससौ ।
पल्लवा वरणेनैव मया छाद्यौ कदाचतौ ॥९९॥
megha-puṣpa-kaṇa-bhrājat-kapolau rakta-vāsasau |
pallavā varaṇenaiva mayā chādyau kadā catau ||99||
Shri Radha-Krishna are adorned in red garments. The ‘cloud’ is showering beautiful water droplets like flowers. The cheeks of the divine couple are greatly adorned by these water droplets. Will I ever get an opportunity to cover them both with an umbrella of leaves to save them from getting wet?
नमस्येहं लोकं नवहुनिगमं ते बहुविधं,
सताम् श्लाघ्यं शुद्धं सुखदहरिभक्तिं च निपुणाम् ।
परं क्रीडा कुञ्जे वन भुवि सदा श्यामहृदये,
कदा द्वंद्वं जाने रुचिरललिता हस्तकलितम् ॥१००॥
namasye-haṁ lokaṁ navahuni-nigamaṁ te bahu-vidhaṁ,
satām ślāghyaṁ śuddhaṁ sukhada-hari-bhaktiṁ ca nipuṇām |
paraṁ krīḍā kuñje vana bhuvi sadā śyāma-hṛdaye,
kadā dvaṁdvaṁ jāne rucira-lalitā hasta-kalitam ||100||
I bow to this world, and I also bow to the various kinds of scriptural knowledge, which are praiseworthy, pure, and appreciated by saints. The blissful and all-capable devotion to Hari is also venerable. However, my only desire is this: in the play-bower of Gahvarvan, which is the very heart of Shyama ju, when will I ever see the divine Radha being served by the hand of the charming Shri Lalitaji?