Krishna appears before Raadha from out of thin air, on the next day morning. But Raadha, on seeing his appearance and apologetic look, starts her raves and raves at him.
atha kathamapi yaaminiim viniiya smarasharajarjaritaapi saa
prabhaate |
anunayavachanam vadantamagre praNatamapi priyamaaha saabhyasuuyam || 8-1
pa cChe- atha katham api yaaminiim viniiya smara shara jarjaritaa api saa prabhaate anunaya vachanam vadantam agre praNatam api priyam aaha saabhyasuuyam
8-1. atha= then; katham api= somehow, even; yaaminiim= night [that which has four quarters and is to be spent with an uncertainty, means - with the problem of separateness]; viniiya= [somehow] spent; smara shara jarjaritaa api= Love-god's, by arrows, battered, even though; saa= she, Raadha; prabhaate= in morning; agre= before [her Krishna appeared in her fore]; anunaya vachanam vadantam= with apologetic, words, speaking; praNatam api priyam= to her lover [Krishna]; aaha= [she] spoke; saabhyasuuyam= with jealousy [petulantly.]
Then, somehow on spending an un-spendable night with her problem of aloneness, and even though she is battered by the arrows of Love-god, but in the morning when somehow Krishna revealed himself in her fore, and though he started speaking with apologetic words, and even with his palm-fold, she that Raadha spoke to him petulantly. [8-1]
Now she becomes khaNDita naayika one among eight kinds of poetic heroines, who speaks disparagingly on noticing her man spent time with other heroines.
aSTapadi - 17- lakshmiipatiratnaavali -
rajanijanitagurujaagararaagakSaayitamalasanimesham |
vahati nayanamanuraagamiva sphuTamuditarasaabhinivesham ||
harihari yaahi maadhava yaahi keshava maa vada kaitavavaadam
taamanusara sarasiiruhalochana yaa tava harati viSaaadam dhR^ivam || a pa 17-1
pa cChe - rajani janita guru jaagara raaga kaSaayitam alasa nimesham vahati nayanam anuraagam iva sphuTam udita rasa abhinivesham hari hari yaahi maadhava yaahi keshava maa vada kaitava vaadam taam anusara sarasiiruha lochana yaa tava harati viSaadam
a pa 17-1. rajani janita= night, caused; guru jaagara= by much, waking; raaga= reddened / with red colour cosmetic [of your love]; kaSaayitam= a little reddened [your eyes]; alasa nimesham= weakly, wink; udita rasa abhinivesham= sprang up [buoyancy,] in romance [enjoying shR^ingaara,] expertise; tava nayanam sphuTam vahati= your, eyes, clearly, bear [those marks]; anuraagam iva= interestedness [in her alone,] as though; yaahi maadhava= away with you, Krishna; maa vada kaitava vaadam sarasiiruha lochana= oh, lotus-like, eyed one [ here, the pair of eyes are luring, lure-eyed one ; taam anusara= her, tag along; yaahi keshava= be off, Keshava [one with beautiful head hair, one who is interested in lovely women that adore their hairdos beautifully]; yaa harati viSaadam= she who, takes away, your woe; hari hari= oh god, oh god - oh boy, oh boy [in disdain; this is a catchword of those days, made available by the poet as he has not said this poem for kings, queens, or courtiers. This is still retained in Indian vocabulary, in forms like - hai rè hai, vaarè vaa, ayoyo, aDeDe, raamaraama... etc., as an expression of disdain, disgust, or sorry.]
"Your buoyant eyes that ever express your expertise in your self-indulgence in romances, are now weakly winking, and reddened both by the night-caused nightlong waking, and by the reddish colour of facial-cosmetic of your lover, hence they now clearly bear the mark of your interestedness in her alone... away with you, hè, Krishna, you with your lotus-like luring eyes... tag along her alone, who takes your woe away... be off, Keshava, and tell no feign dialogue to me - oh boy, oh boy... [a pa 17-1]
Then he is about to concoct something like 'I was searching for you sleeplessly, and I searched nightlong, hence my eyes are reddish... but... yet... that...' and then Raadha cuts in to rap out the following.
kajjalamalinavilochanachumbanavirachitaniilimaruupam
|
dashanavasanamaruNam tava kR^iSNa tanoti tanoranuruupam || a pa 17-2
pa cChe - kajjala malina vilochana cu.mbana virachita niilima ruupam dashana vasanam aruNam tava kR^iSNa tanoti tanoH anuruupam
a pa 17-2. hè kR^iSNa= oh yeah?, Krishna; kajjala malina= by mascara, besmirched; vilochana cu.mbana virachita niilima ruupam= besmeared, blackness, air of; dashana vasanam= teeth, covering [lips]; aruNam= reddish [lips]; tava tanoH tanoti= to your, [colour of] body, enriching; reprise - yaahi maadhava... yaa harati viSaadam= as above.
"Oh, yeah? Krishna, by kissing her eyes that are besmirched by mascara, some blackness is besmeared on your reddish lips, thus those lips with an air of blackness are enriching your body colour, that is already blackish... go off, oh boy... oh boy... [17-2]
vapuranuharati tava smarasa.ngarakharanakharakshatarekham |
marakatashakalakalitakaladhautalipireva ratijayalekham || a pa 17-3
pa cChe - vapuH anuharati tava smara sa.ngara khara nakha rakshata rekham marakata shakala kalita kala dhauta lipiH eva rati jaya lekham
a pa 17-3. tava vapuH= your, body; smara sa.ngara= Love-god's, war [warring in love-war]; khara nakhara kshata rekham= sharp, fingernail, chafes, streaks; marakata shakala= on emeralds, pieces of; kalita= carved; kala dhauta lipiH= with golden streaks; rati jaya lekham anuharati iva= resemble, like.
"Your body is chafed with streaks of sharp fingernails, and they resemble the golden streaks carved on the pieces of emeralds, in your certificate of merit in love affairs... then you must be warring in love-war... go off, oh boy... oh boy... [17-3]
charaNakamalagaladalaktasiktamidam tava hR^idayamudaaram |
darshayatiiva bahirmadanadrumanavakisalayaparivaaram || a pa 17-4
pa cChe - charaNa kamala galat alakta siktam idam tava hR^idayam udaaram darshayati iva bahiH madana druma nava kisalaya pari vaaram
a pa 17-4. idam udaaram= this, broad [or, bounteous]; tava hR^idayam= your, chest; charaNa kamala galat alakta siktam= slid, red feet-paint, wet with; madana druma= Love-god, [called] tree; nava kisalaya parivaaram= new, tender leaves, whorled with; darshayati iva bahiH= showing, as though, at outside.
"Because this bounteous chest of yours is wet with the red feet-paint slid from some lotus-footed girl, it appears like an all-embracing tree like Love-god in side that chest, but now showing itself from out of that chest, whorled with new tender leaves... so you must be at love-war... go off, oh boy... oh boy... [17-4]
The simile is between coppery red leaflets of tree and reddish foot-paint of girls, and between the love-giving Krishna, and shade/comfort giving tree. If a tree is wetted many times, it will bear leaves anew. If love is satiated it bears newer fruits. This posture is called krodha bandha - vaatsaayana the main treatise on aesthetic romance.
dashanapadam bhavadadharagatam mama janayati chetasi khedam |
kathayati kathamadhunaapi mayaa saha tava vapuretadabhedam || a pa 17-5
pa cChe- dashana padam bhavat adhara gatam mama janayati chetasi khedam kathayati katham adhunaa api mayaa saha tava vapuH etat abhedam
a pa 17-5. bhavat adhara gatam= your, lip, gone in; dashana padam= tooth, foot [bite]; mama chetasi janayati khedam= in my, heart, causing, agony; api adhunaa= even, now; tava vapuH= your, body; mayaa saha= me, along with; etat= all this [said, alleged singleness]; a+bhedam= un, separated [entity of Radhamaadhavatvam; mama cetasi= my, heart]; katham kathayati= how, says it.
"The tooth-bite abiding on your lip is causing agony in my heart, even now how can my heart say to me that we are allegedly unseparated, bodily... go off, oh boy... oh boy... [17-5]
Some heavy-duty Philo on 'oneness of Radhakrishna' is imbued in this one stanza. This gives root to one viewpoint called darshana - a cintya bheda a bheda bhaava generally - heedless of difference and non-difference - in supreme soul and individual soul, while the Philo thinking prior to this was manifoldly different. Then the argument is - 'though your lip is bitten, I feel pain in it, for we two may be different bodily but one in soul - a bheda/non-difference . 'I have bitten my lip so ecstatically, hence I don't feel pain' - a bheda . 'Your lip is bitten, not mine' bheda/difference . 'Though your lip is bitten, I feel that mine too is bitten - bheda-a-bheda - difference, yet non-difference. So go the endless arguments, understandably. Philosophising all this, at this level of understanding the wordsmithy of Jayadeva, would be futile.
bahiriva malinataram tava kR^iSNa mano.api bhaviSyati nuunam |
kathamatha va.nchayase janamanugatamasamasharajvaraduunam || a pa 17-6
pa cChe - bahiH iva malina taram tava kR^iSNa manoH api bhaviSyati nuunam katham atha va.nchayase janam anugatam asama shara jvara duunam
a pa 17-6. tava manoH api= your, heart, even; bahiH iva= outside, like [like your body]; malina taram= grimy, higher in degree [grimier]; nuunam= definitely; bhaviSyati= will be [seems to be]; atha [samprashna]= why because [otherwise]; asama shara= Love-god's, by arrows; jvara= with fever; duunam anugatam janam= following, people [your adherents, admirers]; katham vanchayase = how, you let down; kR^iSNa= hè, Krishna [be off.]
"Even your heart seems to be grimier than your begrimed body, definite is that, otherwise how can you let down your own admirers, agonised in the fever caused by Love-god's arrows? Away with you Krishna, oh boy... oh boy... [17-6]
bhramati bhavaanabalaakavalaaya vaneSu kimatra vichitram |
prathayati puutanikaiva vadhuuvadhanirdayabaalacharitram || a pa 17-7
pa cChe - bhramati bhavaan abalaa kavalaaya vaneSu kim atra vichitram prathayati puutanika iva vadhuu vadha nirdaya baala charitram
a pa 17-7. bhavaan= you are; bhramati= you roam; vaneSu= in forests [in Brindavan]; abalaa kavalaaya kim atra vichitram= what, therein, surprise [unsurprising it is]; puutanika iva= Putana [the killing of demoness,] as with; vadhuu vadha= women, in killing; nirdaya= merciless; baala charitram prathayati= childhood, legends, explains.
"You roam in Brindavan only to wolf down womenfolk, unsurprising is that, as with the killing of demoness Putana in your childhood, merciless legends of your childhood explain that you are an women killer... Away with you, oh boy... oh boy... [17-7]
shriijayadevabhaNitarativa.nchitakhaNDitayuvativilaapam |
shR^iNuta sudhaamadhuram vibudhaa vibudhaalayato.api duraapam || a pa 17-8
pa cChe- shrii jayadeva bhaNita rati va.nchita khaNDita yuvati vilaapam shR^iNuta sudhaa madhuram vibudhaa vibudha aalayataH api duraapam || 8-2
a pa 17-8. hè vibudhaaH= oh, literati; sudhaa madhuram= [than] nectar, nectareous; vibudha= gods; aalayataH api= abode of, even from; dur aapam= impossible to get; jayadeva bhaNita shrii [suukti ] = by Jayadeva, said, promising [song]; rati va.nchita= from intimacy, cheated; khaNDita yuvati vilaapam shR^iNuta= be listened.
"Oh, literati, that promising song said by Jayadeva, that which is nectareous than nectar, and an impossible one to get even from the heaven, and that says about 'a disregarded heroine' cheated form intimacy, may be listened... [17-8]
tavedam pashyantyaaH prasaradanuraagam bahiriva
priyaapaadaalaktachchhuritamaruNachchhaayahR^idayam |
mamaadya prakhyaatapraNayabharabhangena kitava
tvadaalokaH shokaadapi kimapi lajjaam janayati || 8-3
pa cChe- tava idam pashyantyaaH prasarat anuraagam bahiH iva priyaa paada alakta cCuritam aruNa cChaaya hR^idayam mama adya prakhyaata praNaya bhara bhangena kitava tvat aalokaH shokaat api kim api lajjaam janayati
8-3. hè kitava= you beguiler; tvat aalokaH= [such as you are,] on your, appearance; priyaa paada alakta cCuritam= [your] love's, with her feet's red paint, bedaubed [chest, thereby]; bahiH prasarat anuraagam= out, flowing, [your] fondness [for her]; iva [sthitam]= as though [it appears]; pashyantyaaH= on seeing; tava idam aruNa cChaaya hR^idayam= your, this, red, coloured [covered,] chest; mama prakhyaata praNaya bhara= for me, [mine] highly renowned, love's, weight [here, a weighty primacy]; bhangena=owing to shattering; adya= now; shokaat api= from grief, than; kim api= what, even [to say]; lajjaam janayati= disgrace, causing.
"You beguiler, on your appearance with a chest bedaubed by the red foot-paint of your love, where that red paint appears to be your fondness for her, outflowing from out of that chest, and on seeing this otherwise red coloured chest, the primacy of that highly renowned love of mine with you is shattered, thereby, to say nothing of grief, a disgrace is causing in me... what more can be said... [8-3]
antarmohanamaulighuurNanacalanma.ndaaravibhra.mshana
stha.mbhaakarSaNadR^iptiharSaNamahaama.ntraH kura.ngiidR^ishaam |
dR^ipyaddanavaduuyamaanadiviSaddurvaaraduHkhaapadaam
bhra.nshaH ka.msaripossamarpayatu vashshreyaansi va.mshiiravaH || 8-4
pa cChe - antaH mohana mauli ghuurNana calat mandaara vibhra.mshana stha.mbha akarSaNa dR^ipti harSaNa mahaa ma.ntraH kura.ngii dR^ishaam dR^ipyat danava duuyamaana diviSat durvaara duHkha aapadaam bhra.nshaH ka.msa ripoH samarpayatu vaH shreyaansi va.mshii ravaH
8-4. kura.ngii dR^ishaam= for those who have deer like glances, for beauties; antaH mohana= innerly [within heart of hearts,] faint [ecstasizes]; mauli ghuurNana= head, by nodding; calat mandaara vibhra.mshana= moving, mandaara flower, sliding down; sthambha akarSaNa dR^ipti harSaNa= spellbinding, magnetising, agonising, gladdening; mahaa mantraH=supreme, hymn; dR^ipyat danava duuyamaana= self-conceited, demons, scorching; diviSat durvaara duHkha aapadaam= for gods, unrelieved, woeful, impediments; bhranshaH ka.msa= Kamsa [the evil king]; ripoH [ kamsa daanava]= enemy [of Kamsa and other demons];' va.mshii ravaH= Mohana Vamshi flute, fluting; vaH shreyaansi samarpayatu = to you all, riches, will endow [in mms shreyaamsi vipolayatu it is the same meaning, but when said vyapohatuvo.ashreyaamsi = vaH a shreyaamshi vyapohayatu = all your problems be relieved by that flute notes.]
That which ecstasies the hearts of hearts of deer-eyed beauties, that which makes his head to nod, by which nodding vermilion mandara flowers slide down, that which is a supreme hymn with spellbinding, magnetising, agonising, gladdening effects, that which is scorching to self-conceited demons, and that which is destructive to the unrelieved woeful impediments of gods in destructing Kamsa, the evil king, thereby the only enemy of demons, that fluting tunes of that Divine Flute Mohana Vamshi, shall endow riches to you all. [8-4]
The spellbinding, magnetising, agonising, gladdening effects, called mohana, vashiikaraNa, maaraNa, sthambhana, aakarSaNa are deducible from the treatises of aesthetic romance.
iti giitagovinde khaNDitaavarNane vilakshyalakshmiipatirnaama aSThamaH sargaH
Thus, this is the 8th chapter, called vilaksha/vilakshya lakshmiipatiH - Apologetic Krishna, in Gita Govindam of Jayadeva.
Oct, 2003, Desiraju Hanumanta Rao