mugdhadamukundam
Raadha's friend admonishes her for her misdemeanour with Krishna, though he is somewhat unpretentiousness.
tämatha manmathakhinnäm ratirasabhinnäm viñädasampannäm |
anucintitaharicaritäm kalahäntaritamuväca sakhé || 9-1
pa cche - täm atha manmatha khinnäm rati rasa bhinnäm viñäda sampannäm anucintita hari caritäm kalahäntaritam uväca sakhé
9-1. atha= then; manmatha khinnaam= by Love-god, rendered helpless [worsted]; rati rasa bhinnaam= love's, longing for savour, wrecked [or, separated from having it]; viSaada sampannaam= woe, wealthy; anu chintita= continually, thinking; hari charitaam= Krishna's, demeanour; kalahaantaritam= to kalahaantarita - one among eight types of poetic heroines - 'sorry-after-squabble' heroine; taam= to her, that Raadha; sakhii= girlfriend; uvaacha= advised.
Then to Raadha, who is by now worsted by Love-god, whose savour for love is just wrecked, hence she is wealthy in her woes, yet who is continually thinking about Krishna's demeanour, to such a 'sorry-after-squabble' heroine of Krishna, her girlfriend advised. [9-1]
The mood of this kalahaantarita 'sorry-after-squabble' heroine will be like this: praaNeshvaram praNaya kopa [bhareNa] bisheSa bhiitam | yaa caaTukaaram avadhiirya visheSa vaagbhiH | sa.mtapyate madana vahni shikhaa sahasrasaiH | baaSa aakula ca kalahaa.ntarita hi saa syaat || One who lashes her tongue at her lover with many possible synonyms for a single misdeed, till the point of his helpless leaving, and then she starts unilateral repentance, wet with tears and wearying for his reappearance. In this mood the hero is anukuula obliging fellow, heroine as above, and the friend duuti a harbinger-cum-prognosticator.
- amandamukundam -
harirabhisarati vahati madhupavane |
kimaparamadhikasukham sakhi bhavane |
mädhave mä kuru mänini mänamaye -dhåvam || a pa 18-1
pa cche - hariù abhisarati vahati madhu pavane kim aparam adhika
sukham sakhi bhavane mädhave mä kuru mänini mänam aye
a pa 18-1. hè maanini=vain, proud - cocky; ayè= you, girlie [Raadha]; maadhave= about Maadhava [ maa= Lakshmi's, dhava= husband - don't think that he belongs to Lakshmi alone, he is yours too]; maanam maa kuru= cockiness, don't, do; madhu pavane vahati= autumnal, breeze while breezing; hariH= Krishna; abhi sarati= towards [your preset place] comes; [reprise] hè sakhi= o, dear; bhavane= in home, in your realm, [or, bhuvane= in your realm of love]; aparam adhika sukham kim= to boot, better, elatedness, what [is it, or you have.]
"You, cocky girlie, don't show off your cockiness, for Krishna comes to you when the autumnal breeze breezes... O, dear, what better rapt you've at home, to boot... [a pa 18-1]
tälaphalädapi gurumatisarasam |
kim viphalékuruñe kucakalaçam || a pa -18-2
pa cche - täla phalät api gurum ati sarasam kim viphalé kuruñe kuca kalaçam
a pa 18-2. taala phalaat api gurum= palm, fruit, than, heavier; ati sa rasam= much [plethoric,] with, juice; kucha kalasham= bosoms, pot-like [jaatyaikavacanam, common nouns]; kim viphalii kuruSe= why, fall into disuse, you make.
"Heavier than palm-fruits, plethoric in juice are these pot-like bosoms of yours, why do make them fall into disuse... O, dear, what better rapt you've at home, to boot... [a pa 18-2]
This comparison has some illustration about nature, apart from just romance. Palm tree, as all know, is the tallest fruiting tree, and its fruits, not dates, are therefore supposed to be the loftiest among all fruits, both height wise and their content wise. They fruit palm juice in a three-eye sap sockets, and that juice is poor man's much liked cool drink in summer. It instantaneously reduces body heat, minus any side effects, and hence, the palm fruits are praiseworthy for a cooling effect. If these are left unused, for want of some toddy taper, or a climber to go to such a height, as they are 'not-so-easy- to-get' variety, they become stony and fall. Even then, they will be put to use by burning them in grass, for eating its kernel, which has no such medicinal effects. This is in mundane variety of understanding poet's words in commonplace parlance.
The other sense attached to such anga pratyanga varNana 'limb by limb poetising' - it is to be said, whenever a female deity or goddess is pictured, it doesn't go without such descriptions, because a mother is identifiable by bust by the offspring, which was once useful for its birth. Minus them he is nowhere. In Lalita Sahasra naama, such mother is said to have 'stony breasts...' kaThina sthala maNDalaa... meaning - let millions and millions take birth; this nature somehow nourishes them, for her mamma knows no wizening effect. So, let us give nature its own due.
kati na kathitamidamanupadamaciram |
mä parihara harimatiçayaruciram || a pa 18-3
pa cche - kati na kathitam idam anupadam aciram mä parihara harim atiçaya ruciram
a pa 18-3. hè maaninii= O, cocky girl; atishaya ruchiram= surpassingly, delectable; harim= Krishna be; maa parihara= don't, shun away; idam= this [word, little talk]; a chiram= not, long before [just now]; kati= how many times; anu padam= at each, step; na kathitam= not, said [by me, of course.]
"O, cocky girl, don't shun that Krishna, for he is surpassingly delectable, and how many times I haven't said this little talk, just now and on each and every step of yours... [a pa 18-3]
Yet, Raadha goes on refusing Krishna... for she is an emblem of happiness for Krishna hlaadinii shakti, and a symbol of unquenchable desire, like nature. Krishna will always be trying to quench it, but rarely nature gets satisfied, and demands him to be always with him, instead of incarnating himself now and then, to see her or her wellbeing. Krishna's appearance and disappearance in raasa liila, the ronde dance, in Brindavan symbolises with god's periodic visitation to earth. When it is said, that god created whole universe, in any ism, why he or his messengers chance only upon earth? Why don't they go to Mars, Moon, or to some Black Hole? That too, in India he has to come personally without sending some of his deputies. Because, that so-called Nature, hlaadini shakti, is only here on this Blue Dot, however querulous she might be. So, instead of remarrying that nature with that god, let us give her, her own due.
kimiti viñédasi rodiñi vikalä |
vihasati yuvatisabhä tava sakalä || a pa 18-4
pa cche- kim iti viñédasi rodiñi vikalä vihasati yuvati sabhä tava sakalä
a pa 18-4. kim iti viSiidasi= why, this way, you lament; vi kalaa rodiSi= less, lustre [lacklustre, namby-pamby] you wail; vi hasati= verily, laughing at; tava sakalaa= your, all; yuvati sabhaa= girls, guild [a medieval association of craftsmen or merchants, here milkmaids.]
"This way, why do you lament and wail, you namby-pamby, all of your girlfriends in our guild are laughing at you, really... [a pa 18-4]
Nature's, say this earth's worrying, weeping, and wailing for the arrival of that Ultimate onto her is as old as Fish Incarnation. Every time he comes here, does some tricks and gets out as soon as his feats are over. But she wants him to be with her, and he escapes from her on politely feigning something, and all this comes mean - you be in your place, I'll be in my place, but I come to you only, only to go from your proximity, as Jean-Paul Sartre prefers to say:L'existence précède et commande l'essence, Existence precedes and rules essence. This is the Indian type of vyaavhaarika, paaramaarthika satta a colleague at loggerheads, of his 'Being and Nothingness.'
sajalanalinédalaçétalaçayane |
harimavalokya saphala nayane || a pa 18-5
pa cche - sa jala naliné dala çétala çayane harim avalokya saphala nayane
a pa 18-5. sa jala= with, water [or, mR^idula= softish]; nalinii dala= lotus, petals; shiitala shayane= cool [refreshing,] on bed; harim avalokya= at Krishna, contemplate; [then only you will become; sa phala nayane= with, fruit, your eyes will be [or, one with fructified eyes, for she had once seen him.]
"Contemplate on Krishna, who is on a freshening bed of moist lotus petals, then your eyes comes to fruition... [a pa 18-5]
You are that lotus bed, serving as his sustainment. See that way with your third eye, then only you realise your being is not different form that of his.
janayasi manasi kimiti gurukhedam |
çåëu mama vacanamanéhitabhedam || a pa 18-6
pa che- janayasi manasi kim iti guru khedam çåëu mama vacanam anéhita bhedam
a pa 18-6. kim iti= why, this way; guru khedam= heavy, sadness; manasi janayasi= in heart, you give raise; shR^iNu mama vachanam= listen, to my, words; aniihita= unwished for [unenviable,] bhedam= having inequality [among you too -finishing line, without broadening vyaakhya.]
"Why you give raise to a heavy sadness in your heart this way, listen to my words that contain an unenviable inequality among you two... [18-6]
harirupayätu vadatu bahumadhuram |
kimiti karoñi hådayamatividhuram || a pa 18-7
pa cche- hariù upayätu vadatu bahu madhuram kim iti karoñi hådayam ati vidhuram
a pa 18-7. hariH upayaatu= Krishna, comes [to you]; vadatu bahu madhuram= speaks, much, melodiously; kim iti karoSi hR^idayam= why, this way, you render, your heart; ati vidhuram= muchly, wrench.
"Krishna comes to you, talks to you much melodiously, then why you wrench your heart this much... [a pa 18-7]
This and the above 'inequality' statements have some bearing to the sayings of Bhagavad Gita, more so aatma samyamna yoga of it. Don't sit thinking 'he' and 'me' - a-cintya-bheda-a-bheda - for none knows what connection exists between the Ultimate and the later.
çréjayadevabhaëitamatilalitam |
sukhayatu rasikajanam haricaritam || a pa 18-8
pa cche- çré jayadeva bhaëitam ati lalitam sukhayatu rasika janam hari caritam
a pa 18-8. jayadeva bhaNitam= by Jayadeva, said; ati lalitam= very, subtle; shrii hari charitam= providential, Krishna's, allegory; sukhayatu rasika janam= give bliss, to revelling, people [in his lore.]
Let the allegory of providential Krishna, said by Jayadeva, be blissful to the revellers in his lore... [a pa 18-8]
snigdhe yatparuñäsi yatpraëamati stabdhäsi yadrägiëi
dveñasthäsi yadunmukhe vimukhatäm yätäsi tasminpriye |
tadyuktam tadviparétakäriëi tava çrékhaëòacarcä viñam
çétäàçustapano himam hutavahaù kréòämudo yätanäù || 9-3
pa cche- snigdhe yat paruñä asi yat praëamati stabdhä asi yat rägiëi dveñasthä asi yat unmukhe vimukhatäm yätä asi tasmin priye tat yuktam tat viparétakäriëi tava çrékhaëòa carcä viñam çétäàçuù tapanaù himam hutavahaù kréòä mudaù yätanäù
9-3. yat= by which reason; tasmin priye= that, lover; snigdhe [sati]= when friendly; paruSaa asi= unfriendly, you are; yat= by what; praNamati= he adjoins his palms at you, to appease; stabdhaa asi= uncommunicative [unappeasable,] you are; yat= by which; raagiNi= he is inclined in you; dveSasthaa asi= disinclined, you are; yat= by what reason; unmukhe= he is pro-faced [favourable]; vimukhataam yaataaasi= face turned away [disfavour,] you go into a state; tat= by that reason alone; hè vipariita kaariNi= oh, intemperance, causer of - intemperate Raadha; tava= to you; shriikhaNDa charchaa= sandal-paste, body cream; viSam= [becoming] venom; shiitaa anshuH= one with cool, beams - moon; tapanaH= burner - [becoming as] sun; himam= snow; hutavahaH= [becoming as] fire; kriiDaa mudaH= in romantic games, cheers; yaatanaaH= [becoming as] tortures; yuktam= meetly.
"By which reason you are unfriendly when that lover of yours is friendly, unappeasable when he is appeasing, disinclined when he is inclined, and your falling into disfavour when he is favourable... oh, intemperate Raadha, by that intemperance of yours, your sandal-paste skincare becoming a venom, cooling moon as a scorching sun, snow as a fire, cheers in romantic sport as hellish tortures, is meetly. [9-3]
sändränandapurandarädidiviñadbåndairamandädarät
änamrairmakuöendranélamaëibhissandarçitendindiram |
svacchandammakarandasundaramilanmandäkinémeduram
çré govindapadäravindamaçubhaskandäyavandämahe || 9-4
pa cche- sändra änanda purandara ädi diviñat båndaiù amanda ädarät änamraiù makuöa indra néla maëibhiù sandarçita indindiram svacchandam makaranda sundara milat mandäkiné meduram çré govinda pada aravindam açubha skandäya vandämahe
9-4. a manda aadaraat= by his not, slowed [by his alacritous,] fondness; saandra aananda= with utmost, exultation; purandara aadi= Indra, et al; diviSat bR^indaiH= by heavenly, droves; aanamraiH makuTa= with reverently bent, crowns; indra niila maNibhiH= by sapphire, blue, gems in those crowns; sa.ndarshita indindiram= shown, swarms of honey bees; svacChandam= at will; makaranda= honey; sundara milat= lovelily, meeting [river flowing]; mandaakinii= by River Ganga; meduram= overspread [bathed with]; shrii govinda pada= Shri Krishna's, feet; aravi.ndam= lotus feet; a shubha= bad, fortunes; skandaaya= for ruination; vandaamahe= let us pray.
At whom heavenly droves like Indra et al come owing to his alacritous fondness for them, having come they reverently bend their crowns before him, thereby the sapphire blue gems in their crowns appear to be the swarms of honeybees hovering on honey-like water of River Ganga, flowing at her will and bathing his feet, thus for the ruination of bad fortunes let us pray at that lotus-like feet of Shri Krishna. [9-4]
Here also the poet is using the word skanda, skandaaya for perishing misfortunes... the title of voluminous skanda puraaNa, as he has used names of metres, as objects of his poem.
iti gétagovinde kalahäntaritävarëane mandamukundo näma navamaù sargaù
Thus, this is the 9th chapter, called mugdhamukundam - Unpretentious Krishna, in Gita Govindam of Jayadeva.
Nov, 2003, Desiraju Hanumanta Rao