Passage 1
एवं श्रुत्वा रसिकेन्द्रस्य दिव्य- रसात्मनो राघवेन्द्रस्य वाचः। गोपाङ्गनास्तुष्टुवुस्ताः समस्ता- स्त्यक्त्वा वियोगप्रसवं चित्ततापम्॥१॥
Having heard these words of Rāghavendra, lord of connoisseurs and embodiment of divine rasa, all the cowherd women cast off the heart’s torment produced by separation and praised him.
Passage 2
अथेप्सितानां व्रजसुन्दरीणां परस्पराबद्धकराम्बुजानाम्। मध्ये स्थितो रामचन्द्रो विरेजे तत्कण्ठयोर्विलसद्बाहुयुग्मः॥२॥
Then Rāmacandra stood shining among the desired women of Vraja, whose lotus hands were bound together. His two arms gleamed around their necks.
Passage 3
इत्थं शतं सहस्रं च मूर्तीः कृत्वा निजात्मनः। रेमे रामो रमोन्मादचलच्चरणतालदृक्॥३॥
In this way Rāma made hundreds and thousands of forms of himself and sported, attentive to the rhythm of feet moving in the ecstasy he inspired.
Passage 4
तासां प्रेयो नाभिमध्योदरान्त- र्लोलान्योन्याबद्धहस्ताम्बुजानाम्। एको हस्तः खे चलन्भावरीत्या कामाम्भोजे भ्राजिनालो विरेजे॥४॥
As the beloved stood among those women, their lotus hands playfully joined to one another between navel and belly, each free hand moved in the air with expressive feeling and shone like the radiant stalk of love’s lotus.
Passage 5
ताः प्रेयसो नूपुरकिङ्किणीनां नादैः स्वाङ्घ्रिस्थायिनां नूपुराणाम्। नादान्मुहुर्मेलयित्वा नटन्त्यः स्वारस्यमापुर्ललितं सामरस्यम्॥५॥
As they danced, they repeatedly joined the sounds of their beloved’s anklets and little bells with those resting upon their own feet. They attained the graceful harmony natural to their own rasa.
Passage 6
तस्मिंश्च रासे तालशङ्खा मृदङ्गाः सझर्झराः पटहाः झल्लरीश्च। भेरीवीणावेणुवाद्यप्रभेदाः सम्मूर्त्तिकाश्चिन्मयाः प्रादुरासुः॥६॥
Within that rāsa, cymbals, conches, mṛdaṅgas, jharjharas, paṭahas, jhallarīs, kettledrums, vīṇās, flutes, and every variety of instrument appeared in embodied, conscious forms.
Passage 7
दृष्ट्वा रासोत्सुकं रामं प्रेयसीश्चापि तस्य ताः। वाद्यवादनकारिण्यः प्रादुरासुर्वरस्त्रियः॥७॥
Seeing Rāma eager for rāsa together with his beloved women, excellent women appeared to play the instruments.
Passage 8
ततानां विततानां च छादितानां समन्ततः। घनानां सुषिराणां च प्रादुरासीन्महान्ध्वनिः॥८॥
A mighty sound arose on every side from the stretched, spread, covered, solid, and hollow classes of instruments.
Passage 9
तं ध्वानमनुकृत्याभूद्दिवि दुन्दुभिजो ध्वनिः। अवाकिरंश्च मन्दारमाल्यानि त्रिदिवौकसः॥९॥
Echoing that resonance, the sound of heavenly drums arose in the sky, while the inhabitants of heaven showered mandāra garlands.
Passage 10
चलच्चरणनूपुरैर्ललितकिङ्किणीनां गणैरनेकवलयैस्तथा विधुतबाहुवल्लीस्थितैः। अभूत्सततकाहलः किमपि तत्र कोलाहलः सुवर्णमणिभूषणप्रकरसिञ्जितैर्मिश्रितः॥१०॥
There arose a continuous, extraordinary clamor from the anklets on moving feet, hosts of graceful little bells, and many bracelets upon swaying creeper-like arms, all mingled with the jingling of masses of gold and jeweled ornaments.
Passage 11
प्रेयसीरनुचकार वल्लभो वल्लभं च ललना अनुचक्रुः। ते परस्परविधेयचातुरीवेधसः शुशुभिरे रसरासे॥११॥
The beloved man imitated his beloved women, and the women imitated their beloved. Masters of the art of responding to one another, they shone in the rāsa of rasa.
Passage 12
प्रेयसीमधुरकण्ठसुस्वरैः प्रेयसो जयति कण्ठसुस्वरः। यत्प्रमोदवनवासिकोकिला मौनमापुरनुसर्तुमक्षमाः॥१२॥
The lovely voice of the beloved triumphed together with the sweet, beautiful voices from his lovers’ throats. The cuckoos dwelling in Pramoda Forest fell silent, unable to follow them.
Passage 13
मध्ये मध्ये कनकलतिकाजातमालैस्तमालै- र्मध्ये मध्ये विलुलिततडिन्मोदमानैः पयोदैः। मध्ये मध्ये कनकमणिभासङ्गशीलैश्च नीलैः प्राप्तुं शक्या न खलु रमणं राममासां विलासाः॥१३॥
Tamāla trees garlanded here and there by golden vines, clouds rejoicing in flashing lightning, and blue jewels joined with gold at intervals could not equal the playful beauty of these women with their lover Rāma.
Passage 14
एवं स ताभिः शुशुभे रमाभिः कामप्यपूर्वां परमां दधानः। वेणुं क्वणन्मध्यगतो दामिनीनां मध्ये तडित्वानिव जातगर्जः॥१४॥
Thus he shone with those Ramās, displaying an unprecedented, supreme beauty. Standing among those lightning-like women and sounding his flute, he resembled a rumbling rain cloud amid flashes of lightning.
Passage 15
मुग्धाङ्घ्रीणां विलासै रणरणकरणत्किङ्किणीनूपुराद्यै- र्दोर्वल्लीनामुञ्चद्वलयकलकलैः सस्मितैर्भ्रूविजृम्भैः। सानङ्गैर्मध्यभङ्गैः कुचपटचलनैः कुण्डलैर्गण्डलोलैः काञ्चीवेणीकलापैः श्लथलसदलकग्रन्थिभिस्ता विरेजुः॥१५॥
The women shone through the play of lovely feet with anklets and little bells ringing raṇa-raṇa; the clatter of bracelets rising upon vine-like arms; smiling movements of the brows; waist-bends charged with Love; the motion of breast-cloths; earrings swinging upon cheeks; girdles and braided hair; and knots of loosened, shining curls.
Passage 16
स्वेदाञ्चितानि वदनानि विभावतीनां स्वेदाञ्चितानि च वपूंषि विलासलासैः। रासोन्मदप्रणयपाणिविकर्षितानां रेजुर्नितान्तसुरतान्तगतानि यद्वत्॥१६॥
The women’s faces and bodies were marked with perspiration from the exuberant dance. Drawn by loving hands in the intoxication of rāsa, they looked exactly as though they had reached the end of lovemaking.
Passage 17
सीता शीतांशुसीता च सुधा श्रीः कमला कला। कामिनी कामदा कामा कमनीया कलावती॥१७॥
Sītā, Śītāṃśu-Sītā, Sudhā, Śrī, Kamalā, Kalā, Kāminī, Kāmadā, Kāmā, Kamanīyā, and Kalāvatī;
Passage 18
राधा कृष्णानुराधा च सुधाधारा मणीरमा। ललनाकोटियूथेषु षोडशैव सुमध्यमाः॥१८॥
Rādhā, Kṛṣṇānurādhā, Sudhādhārā, Maṇī, and Ramā—these sixteen slender-waisted women stood foremost among companies numbering tens of millions.
Passage 19
एता मुख्यतमाः प्रोक्ता यथा कान्तस्तथैव ताः। स्वामिनीशब्दभाजश्च दामिनीतुल्यकान्तयः॥१९॥
These are declared the most eminent. They are just as their beloved is, bear the title “mistress,” and possess the radiance of lightning.
Passage 20
रामेण सह नृत्यन्त्यो रेजिरे रासमण्डले। स्वस्वमण्डलमुख्याश्च प्रेयसा प्रतिलालिताः॥२०॥
Dancing with Rāma, they shone within the rāsa circle. Each was chief of her own company and was cherished in turn by her beloved.
Passage 21
जगुरुच्चैः स्वरेणैताः प्रियकण्ठस्वरोर्जिताः। शुद्धमिश्रप्रभेदाश्च स्वरजातीः सलक्षणाः। प्रियेण सह गायन्त्यः पुपुषुः परमां श्रियम्॥२१॥
Strengthened by the sound of their beloved’s voice, they sang loudly the properly characterized pure, mixed, and other classes of melody. Singing with their beloved, they attained supreme splendor.
Passage 22
काश्चित्परं वेणुरवानुमोहिताः प्रमत्तपुंस्कोकिलकण्ठजित्वरैः। स्वरैरगायन्वनिता वनान्तरे प्रियेण साकं बहुजातसम्भ्रमाः॥२२॥
Some women, utterly enchanted by the flute, sang in the forest with their beloved in voices that conquered the throats of excited male cuckoos, filled with many kinds of rapture.
Passage 23
काश्चित्स्वयूथमवलम्ब्य सह प्रियेण गायन्त्य उच्चतरकण्ठरवाप्तमानाः। अन्याः सुनृत्यकलया दधतीः पटुत्व- मौत्सुक्यसङ्गतहृदो नदयाम्बभूवुः॥२३॥
Some, supported by their own companies, sang with their beloved and won honor through the lofty sound of their voices. Others, displaying skill in the art of fine dance and with hearts joined to eagerness, filled the place with sound.
Passage 24
कदाचिद्वनिता एव सर्वाः सञ्जगुरुच्चकैः। अनृत्यत्प्रिय एकाकी कलाचातुर्यदर्शनैः॥२४॥
At times all the women alone sang loudly while their beloved danced by himself, displaying his mastery of the arts.
Passage 25
कदाचिद्गायतोऽत्युच्चैः प्रेयसस्तुष्टिहेतवे। अनृत्यन्वनिताः सर्वाश्चातुर्याञ्चितविग्रहाः॥२५॥
At times, as their beloved sang at great volume for their delight, all the women danced, their bodies filled with artistry.
Passage 26
काचिच्च रामपरिवर्तनजश्रमेण श्रान्ता गुरुस्तननितम्बभरालसाङ्गी। स्विद्यन्मुखी श्लथलसद्रसना प्रियांसे प्रादाद्भुजं तरलकूजितकङ्कणाढ्या॥२६॥
One woman, exhausted by circling with Rāma, had limbs made languid by the weight of her heavy breasts and hips. Her face perspiring and her shining girdle loosened, she placed upon her beloved’s shoulder an arm adorned with tremulously ringing bracelets.
Passage 27
काचिद्भुजौ दृढतरस्मरपाणिपाशौ कण्ठे निधाय दयितस्य च लम्बमाना। शम्पामयी स्रगिव मेचकमेघलग्ना रेजेतरां तरुणिरग्रिमधर्मकान्तिः॥२७॥
One young woman placed both arms, strong nooses in Love’s hands, around her beloved’s neck and hung from him. Radiant with the foremost beauty proper to youth, she shone like a garland of lightning clinging to a dark cloud.
Passage 28
काचिन्मुखेन रमणस्य निजाङ्कसंस्थं काश्मीरचन्दनकुरङ्गमदानुलिप्तम्। आघ्राय जातपुलका प्रणयोत्करेण गोपी सुगुप्तगतिरेव मुहुश्चुचुम्ब॥२८॥
One gopī smelled the face of her lover as he sat in her lap, anointed with saffron, sandalwood, and musk. Horripilating through the surge of love, she kissed him repeatedly in a carefully concealed movement.
Passage 29
कस्यैचिदाकलितरासविलासनृत्य- विक्षिप्तकुण्डलमणीगणमण्डिते स्वे। गण्डे स्वगण्डफलकं श्रमतो दधत्यै प्रादात्प्रियो हि लतिकादलचर्वितं स्वम्॥२९॥
As one woman, exhausted by the playful rāsa dance, rested her cheek against his, her own cheek adorned by clusters of gems from her displaced earrings, the beloved gave her the vine-leaf betel he had chewed.
Passage 30
अन्या च रासरसितैर्वलयैर्नदन्ती कूजन्महार्हमणिनूपुरमेखलाद्या। पार्श्वस्थितस्य रुचिरं रमणस्य हस्तं श्रान्ता स्तनोपरि निधाय सुखान्यवाप॥३०॥
Another, sounding with bracelets resonant from rāsa and with precious jeweled anklets, girdle, and other ornaments, grew tired and placed the lovely hand of the lover beside her upon her breast, thereby finding happiness.
Passage 31
काचिज्जवेन दयितं परिरभ्य तुङ्ग- वक्षोजविक्षुभितमक्षि चुचुम्ब तस्य। इष्टं पृथक्पृथगनङ्गरसं निगूढ- रासान्तरे पुपुषुरद्भुतकेलिदक्षाः॥३१॥
One quickly embraced her beloved and kissed his eye as it was brushed by her high breast. Skilled in wondrous play, the women separately cultivated the desired rasa of Love within concealed intervals of the rāsa.
Passage 32
गोपाङ्गना रुचिरराजकुमारवर्य- हस्तद्वयाकलितगाढगृहीतकण्ठ्यः। रासक्रियाललितमण्डितमण्डलीषु स्वच्छन्दमेव बहुधा विदधुर्विहारम्॥३२॥
The cowherd women, their necks held closely by both hands of the charming, supreme prince, freely performed many kinds of play in circles beautifully adorned by the actions of rāsa.
Passage 33
कदाचिद्गोपतरुणीमण्डलान्तरमण्डनः। रामः सीतासमं रेजे क्वणद्वेणुयुताधरः॥३३॥
At times Rāma, the ornament within the circle of young cowherd women, shone beside Sītā with the sounding flute at his lips.
Passage 34
कदाचित्स्वाङ्गकान्त्यैव प्रियामन्तर्हितां दधत्। चकार कौतुकं स्त्रीणां क्व गता महिषीत्यहो॥३४॥
At times he concealed his beloved within the radiance of his own body and created wonder among the women: “Ah, where has the Queen gone?”
Passage 35
तासु सम्भ्रान्तचित्तासु स्थित्वा मण्डलमध्यतः। दर्शयन्सहजां लक्ष्मीं जयेति मुहुरीडितः॥३५॥
While their minds were bewildered, he stood at the circle’s center and revealed Sahajā Lakṣmī. Again and again they praised her, crying, “Victory!”
Passage 36
साखिलव्रजकान्ताभिर्दीप्ताभिरपि मण्डले। अप्रधृष्यैव शुशुभे लोकसौन्दर्यजीवनी॥३६॥
Even amid all the radiant beauties of Vraja in the circle, she shone unassailably as the very life of the world’s beauty.
Passage 37
कदाचित्तस्या हस्तेन हस्तमादाय वल्लभः। जगाम कुञ्जभवने दासीवत्तास्तु तस्थिरे॥३७॥
At times the beloved took her hand in his and went into a bower-house, while the other women remained like maidservants.
Passage 38
आज्ञापयिष्यति प्रभ्वी प्रभुर्वा किं न दूत्यमूः। सावधानतया तस्थुः कुञ्जद्वारलसद्दृशः॥३८॥
“Will the Lady or the Lord command some messenger-service?” Thinking so, they waited attentively, their eyes fixed brightly upon the bower door.
Passage 39
कुञ्जालयं सुखं गम्य कृत्वा पूर्णमनोरथम्। एताभ्यां पुनरेताभ्यां जयेत्युच्चैस्तरां जगुः॥३९॥
After the couple had happily entered the bower-dwelling and fulfilled their desire, the women sang ever more loudly, “Victory again and again to these two!”
Passage 40
सम्भुक्तिपानपरिधानविभूषणानि लेपाञ्जनालभनमार्जनव्यञ्जनाद्यैः। तौ ता विशेषधिषणा परिचेरुरुच्चै- र्दासीवदप्यनुपदं कलितावधानाः॥४०॥
Those exceptionally intelligent women attended the two at every step like maidservants, carefully providing meals, drink, clothing, ornaments, ointments, collyrium, fragrant applications, cleansing, delicacies, and the rest.
Passage 41
कान्तेन भूरितरकेलिषु कोविदेन ताः संसदि प्रतिपदं बहुदत्तमानाः। नैतां प्रियां समनुलङ्घितुमीशिरेऽपि पूर्वं विसोढविरहस्मृतिकातराक्ष्यः॥४१॥
Their beloved, expert in abundant play, showed them great honor at every step in the assembly. Even so, their eyes still shaken by memory of the separation they had previously endured, they could not overstep this beloved Lady.
Passage 42
नैवापि तासु वनितासु कुमारकेण सार्द्धं प्रभूतरमणोत्सवसम्भ्रमेषु। प्रत्यूहलेशमकरोद्यदमुष्य साक्षा- न्नित्याङ्गसङ्गमवतः सहजैव लक्ष्मीः॥४२॥
Nor did Sahajā Lakṣmī, eternally united directly with his body, create the slightest obstacle when those women joined the young prince in the rapture of abundant festivals of love.
Passage 43
अश्रान्तरासरसिको रमणः स इत्थं गुप्तस्फुटं प्रकटकेलिविधानदक्षः। रेमे रमैकरमितो रमणो रमाभि- राभीरराजकुलभूषणसुन्दरीभिः॥४३॥
Thus the tireless connoisseur of rāsa, the lover skilled in arranging both hidden and manifest play and delighted solely by Ramā, sported with the beautiful Ramās who adorned the cowherd king’s lineage.
Passage 44
कदाचिन्नृत्यमानानां वनितानां प्रियैः सह। भ्रमरालिरभूद्वीणा कोकिला मुरजध्वनिः॥४४॥
At times, as the women danced with their beloveds, a swarm of bees became the vīṇā and the cuckoos became the sound of drums.
Passage 45
रामरासरसं वीक्ष्य देवा ब्रह्मशिवादयः। विचिन्त्यमाना मनसि बभूवुः प्रेमघूर्णिताः॥४५॥
Beholding the rasa of Rāma’s rāsa, the gods headed by Brahmā and Śiva became dizzy with love as they contemplated it in their minds.
Passage 46
अस्तमाममरनागनगीनां रूपसारभरजोऽप्यभिमानः। किङ्करीवदिह दर्शनमापुरतो रसिकरासरसेषु॥४६॥
Even the pride arising from the concentrated beauty of celestial and Nāga women came to an end. They obtained entrance here only like maidservants, before the connoisseurs within the rasa of rāsa.
Passage 47
आदित्या विश्वेदेवाश्च वसवस्तुषितास्तथा। भास्कराश्चानिलाश्चैव महाराजिकसाध्यकाः॥४७॥
The Ādityas, Viśvedevas, Vasus, Tuṣitas, Bhāskaras, Anilas, Mahārājikas, and Sādhyas;
Passage 48
रुद्राः समुद्रा गिरयो नदा नद्योऽप्सरोगणाः। विद्याधराश्च यक्षाश्च गन्धर्वाश्चैव किन्नराः॥४८॥
the Rudras, oceans, mountains, male and female rivers, hosts of Apsarases, Vidyādharas, Yakṣas, Gandharvas, and Kinnaras;
Passage 49
ग्रहनक्षत्रताराद्याः प्रह्लादश्च विभीषणः। ब्रह्मर्षयो वसिष्ठाद्यास्तथा देवर्षयोऽखिलाः॥४९॥
the planets, lunar mansions, stars, and others; Prahlāda and Vibhīṣaṇa; the Brahmarṣis headed by Vasiṣṭha; and all the divine sages;
Passage 50
लक्ष्मीनारायणौ चैव पार्वतीशङ्करौ तथा। गायत्री चापि सावित्री सरस्वत्यप्सरः शची॥५०॥
Lakṣmī and Nārāyaṇa, Pārvatī and Śaṅkara, as well as Gāyatrī, Sāvitrī, Sarasvatī, the Apsarases, and Śacī;
Passage 51
सर्वे देवगणाश्चैव हर्षिताः स्वस्वचेतसि। योषारूपं समास्थाय रामरासे समाययुः॥५१॥
all these hosts of gods, delighted within their respective hearts, assumed female forms and came into Rāma’s rāsa.
Passage 52
तेषां विमानसन्दोहैरभवत्सङ्कुलं नभः। रामो नवघनश्यामो महारत्नविभूषितः॥५२॥
The sky became crowded with their masses of celestial vehicles. Rāma was dark as a fresh rain cloud and adorned with magnificent jewels.
Passage 53
लक्ष्मीं दधद्गोपिकाभिः संस्थितो रासमण्डले। स्वस्वभावानुसारेण सर्वेषां दर्शनं ददौ॥५३॥
Bearing Lakṣmī and standing with the gopīs in the rāsa circle, he granted each of them a vision in accordance with that person’s own disposition.
Passage 54
गोपीं गोपीमन्तरा रामचन्द्रो रामं रामं चान्तरा गोपनार्यः। इत्थं जाते मण्डले मञ्जुलाभो रेमे रामो रामया राजमानः॥५४॥
Between every two gopīs stood Rāmacandra, and between every two forms of Rāma stood a cowherd woman. When the lovely circle had formed in this way, Rāma sported, shining together with Ramā.
Passage 55
श्रीहस्ताब्जबद्धसम्बद्धकण्ठ्यो- रन्योन्यं वा बद्धबाह्वोर्युवत्यः। वामं हस्तं चोर्द्धयित्वानयोश्च मध्ये रेमे रामचन्द्रः कदाचित्॥५५॥
At times Rāmacandra sported between two young women whose necks were linked by Śrī’s lotus hands and whose arms were bound around one another, raising the left hands of both.
Passage 56
इत्थं द्वेधा मण्डलं कल्पयित्वा पर्यायेण क्रीडमानो वधूभिः। योगाधीशस्तत्र योगीव रामो रेमे स्वानां सम्मुदं वर्धयानः॥५६॥
Forming the circle in two divisions in this way and playing with the women by turns, Rāma, master of yoga, sported there like a yogin and increased the complete joy of his own people.
Passage 57
रासक्रीडावेषविस्त्रस्तबन्धै- र्धम्मिलैः स्वैर्मल्लिकाः संवमन्त्यः। विद्युद्वल्लीजैत्रविद्योतिताङ्ग्यो गोप्यो रासे नाटकं चक्रुरुच्चैः॥५७॥
The bonds of the gopīs’ coiffures loosened in the exertion of rāsa play and released their jasmine flowers. Their bodies flashed more victoriously than lightning-creepers as they performed the drama of rāsa with abandon.
Passage 58
रासे समुद्भूतरमाविलासे श्रीरामचन्द्रेण समं नटन्त्यः। धम्मिलवल्ल्युप्तनितम्बभारं वोढुं न शक्ता वनिता बभूवुः॥५८॥
Dancing with Śrī Rāmacandra in the rāsa where Ramā’s play had arisen, the women became unable to bear the weight of their hips covered by the trailing vines of loosened hair.
Passage 59
नितम्बौ त्रस्तकाञ्चीकौ कुचौ विगतकञ्चुकौ। धम्मिलान्बन्धनोन्मुक्तान्वहन्त्यो रेजिरे स्त्रियः॥५९॥
The women shone with girdles slipping from their hips, bodices gone from their breasts, and coiffures released from their bindings.
Passage 60
खेचरौघाः सह स्त्रीभिश्चन्द्रश्चोडुगणैः सह। रामरासं समालोक्य विस्मितोऽभून्निरन्तरम्॥६०॥
The hosts of sky-dwellers together with their women, and the Moon together with the stars, remained continually astonished as they watched Rāma’s rāsa.
Passage 61
यावद्विजहार भगवान्तावत्कालं रजनीशः संस्थितोऽभूत्। चन्द्रेण स्वस्यां गतौ विस्मृतायां स्वस्वस्थाने खेचराश्चापि तस्थुः॥६१॥
For as long as Bhagavān sported, the Lord of Night remained fixed in place. The Moon forgot his own course, and the sky-dwellers too stayed in their respective positions.
Passage 62
यावन्तस्ता मण्डले गोपनार्य- स्तावद्रूपो राघवेन्द्रो बभूव। अन्योन्यं चालक्ष्य लीलाविनोदं रेमे ताभिर्भूरिदाक्षिण्यशाली॥६२॥
As many cowherd women as stood within the circle, that many forms did Rāghavendra assume. Concealing his playful sport from one another, the Lord of abundant graciousness sported with them.
Passage 63
तासां प्रभूतश्रमकर्षितगोपिकानां वक्त्राणि वारिकणसंवलितालककानि। हस्ताम्बुजेन स ममर्षतरां ततोऽमूः पीयूषपातसुखिता इव सम्बभूवुः॥६३॥
With his lotus hand he carefully wiped the faces of the gopīs who were exhausted by great exertion, their curls covered in droplets of perspiration. They became delighted as though a shower of nectar had fallen upon them.
Passage 64
इत्थं हरेर्भगवतः पुरुषोत्तमस्य रामस्य राघवकुलामलकीर्तनस्य। यः संशृणोति रतिरासविलासलीलां स रामसम्पदमुपैति विमुक्तकामः॥६४॥
Whoever listens completely to this amorous rāsa-play of Bhagavān Hari, Puruṣottama Rāma, whose stainless glory is sung throughout Raghu’s line, becomes free of desire and attains the wealth of Rāma. --- Thus ends the thirty-fifth chapter, “Rāma’s Rāsa,” in the dialogue of Brahmā and Bhuśuṇḍa in the Śrīmad Ādi Rāmāyaṇa. Textual notes The chapter begins on source leaf 289, occupies leaves 289–296, and ends with passage 64 and its complete colophon on physical PDF page 297. All sixty-four passage numbers are sequential in the edition. The scan controls तालदृक् against the auxiliary transcription’s uninterpretable तालवृक् in passage 3, वेणुं against वेणं in passage 14, अवलम्ब्य against अवलम्व्य in passage 23, and विभूषणानि against विभूगणानि in passage 40. The dense and textually difficult opening अस्तमाममरनागनगीनां in passage 46 is retained rather than replaced from conjecture; its English follows the verse’s clear contrast between celestial beauty-pride and admission as maidservants. The edition’s technical instrumental taxonomy in passage 8 and lists of principal women and divine witnesses in passages 17–18 and 47–50 are preserved in full. Sanskrit compounds and sandhi are otherwise normalized only where word division introduces no textual choice.