Original
उपयुक्त उपमा न पाकर संकुचित सरस्वती लीलादर्शी कविके हृदयमें इतना ही कह सकीं, मानो एक हंस हो और एक मयूर; हंसने तो अपने चारु चञ्चुसे मोती उठाकर मुखमें रख लिया, मयूरने पन्नगीको पकड़ लिया, इस प्रकार दौड़कर बलरामने व्रजरानीकी नासिकापर सुशोभित मोती (बुलाक) को पकड़ा एवं श्रीकृष्णचन्द्रने पीठपर बल खाती हुई वेणीको। दोनों भाइयोंने जननीको तत्क्षण गृहकार्य स्थगित कर देनेके लिये विवश कर दिया। दो बार हो चुका, दोनों माखन-रोटीके लिये जननीको पुकार रहे थे। जननी भी पुकार सुन रही थीं, किंतु इस मधुर आह्वानसे झरते हुए सुधारसका आस्वाद लेती हुई, “देखें, ये दोनों उत्तर न पानेपर क्या करते हैं,” इस भावसे झूठ-मूठ ही कामका बहाना करके विलम्ब कर रही थीं।
English translation
Unable to find a fitting comparison, the embarrassed goddess Sarasvatī could say only this within the heart of the poet who beheld the pastime: it was as though there were a swan and a peacock. The swan lifted a pearl with its lovely beak and placed it in its mouth, while the peacock seized a serpent. In just this way Balarāma ran up and caught the pearl ornament at the queen of Vraja's nose, while Kṛṣṇacandra seized the braid coiling down her back. The two brothers forced their mother to stop her household work at once. They had already called twice for butter and bread. Their mother heard them, but she delayed on the false pretext of work, savoring the nectar flowing from their sweet calls and thinking, “Let me see what they do when I do not answer.”
Original
जननीकी यह उपेक्षा राम-श्याम सह नहीं सके, समीप जाकर इस प्रकार पकड़कर उन्हें काम करनेसे रोक दिया। दूर खड़े व्रजेश्वर पुत्रोंकी यह छवि देख रहे हैं, आनन्दसे लोट-पोट हो रहे हैं। पुत्रोंके द्वारा रुद्ध अत्यन्त पुण्यशालिनी व्रजरानीके अन्तस्तलमें भी आनन्दकी धारा बह चलती है। ओह! व्रजेश्वरि! सचमुच तुम्हारे वे अनन्त पुण्यपुञ्ज कैसे, किस जातिके हैं, जिनका यह पुरस्कार तुम्हें आज मिल रहा है?
English translation
Rāma and Śyāma could not endure their mother's neglect. Going close, they caught her in this way and stopped her work. From a distance, Nanda watched the charming sight of his sons and doubled over with delight. A current of bliss also began to flow within the greatly blessed queen of Vraja, held fast by her sons. Ah, queen of Vraja, what kind of limitless treasury of merit must be yours to receive such a reward today?
Original
Braj verses
दोउ भैया मैया पै माँगत, दै री मैया, माखन रोटी।
सुनत भावती बात सुतन की, झूठहि धाम के काम अगोटी॥
बल जू गह्यौ नासिका-मोती, कान्ह कुँवर गहि दृढ़ करि चोटी।
मानौ हंस मोर भष लीन्हे, कबि उपमा बरनै कछु छोटी॥
यह छबि देखि नंद-मन आनँद, अति सुख हँसत जात हैं लोटी।
सूरदास मन मुदित जसोदा, भाग बड़े कर्मनि की मोटी॥
English translation
Both brothers beg their mother, “Mother, give us butter and bread!”
She hears her sons' pleasing words but falsely hides herself behind household work.
Bala seizes the pearl at her nose, while prince Kānha firmly catches her braid.
They seem like a swan and peacock taking their prey, though the poet's comparison is far too small.
Seeing this, Nanda's heart fills with joy, and in supreme happiness he laughs until he rolls about.
Sūradāsa says: Yaśodā's heart rejoices. Her fortune is great and her store of merit immense.
Original
जननीने काम छोड़कर दोनों पुत्रोंको एक साथ गोदमें उठा लिया और वे उन्हें अन्तर्गृहमें ले गयीं। दोनोंके हाथोंपर सुन्दर सुपक्व रोटी एवं एक-एक उज्ज्वल नवनीतपिण्ड रख दिया। फिर तो कृष्ण-बलरामके आनन्दकी सीमा नहीं। बलराम तो रोटी पाते ही आनन्द-कोलाहल करते हुए रोहिणीजीके पास दौड़ गये तथा श्रीकृष्णचन्द्र वहीं जननीके सम्मुख बैठकर सुख-निमग्न-से हुए माखनमण्डित रोटीकी ओर देखने लगे। विकसित अरविन्द-जैसी हथेली है, उसपर रोटी रखी है एवं रोटीपर शुभ्र शशधरके समान उज्ज्वल वर्ण नवनीतखण्ड है। नहीं, नहीं, स्वयं गगनचन्द्र ही मानो श्रीकृष्णचन्द्रका स्पर्श पानेके लिये रवि-किरणोंकी चादरमें अपनेको छिपाये रोटीपर उस रूपमें उतर आया है; किंतु यहाँ आते ही वह सोचने लगा, “क्या यह श्रीकृष्णचन्द्रकी हथेली है? नहीं, हथेली नहीं, यह तो विकसित अरविन्द है।” फिर तो चन्द्रको स्मृति हो आयी, “अरे! अरविन्द तो मेरा सनातन शत्रु है, उसे तो मेरा मुख सुहाता नहीं; संध्याका अनुगमन करते हुए जब-जब मैं दिक्पथमें उतरा हूँ तब-तब इसे निमीलितनेत्र ही मैंने पाया; कभी इसने मेरा स्वागत नहीं किया, फिर मैं इसका मुख क्यों देखूँ!” यह सोचकर ही चन्द्रने नेत्रोंपर ढक्कन लगा लिया; यह रोटी नहीं, मानो नवनीतरूप चन्द्रके नेत्रोंपर लगा हुआ ढक्कन है:
English translation
The mother stopped her work, lifted both sons together into her lap, and carried them inside. She placed a well-cooked piece of bread and a bright lump of fresh butter in each boy's hand. Their delight knew no limit. Balarāma ran noisily and joyfully to Rohiṇī as soon as he received his bread, while Kṛṣṇacandra sat before his mother, absorbed in happiness, gazing at the butter-crowned bread. His palm was like a blooming lotus. Upon it lay the bread, and upon the bread a lump of butter bright as the white moon. No, it seemed that the moon itself had descended there, hiding beneath a covering of sunlight so that it might receive Kṛṣṇacandra's touch. Yet upon arriving it thought, “Is this truly Kṛṣṇacandra's palm? No, it is a blossoming lotus.” Then the moon remembered, “The lotus is my eternal enemy and does not delight in my face. Whenever I follow twilight onto the path of the directions, I find its eyes closed. It has never welcomed me, so why should I look upon its face?” Thus the moon covered its eyes. What appears to be bread is really the lid upon the eyes of the moon in the form of butter:
Original
Braj verse
हरि कर राजत माखन रोटी।
मनु वारिज ससि बैर जानि जिय गह्यौ सुधा सस धौटी॥
English translation
Butter and bread shine in Hari's hand.
Knowing the enmity between lotus and moon, the nectar-moon seems to have drawn a covering over itself.
Original
अस्तु, श्रीकृष्णचन्द्र अपने अम्बुजकोष-सदृश मुखको खोलकर धीरे-धीरे माखन-रोटी मुखके भीतर ले जाते हैं तथा उल्लासभरी दृष्टिसे जननीकी ओर देखने लगते हैं। यह शोभा भी अनुपम ही है। एक बार पुनः वाग्वादिनी (सरस्वती) का प्रयास व्यर्थ हो जाता है; वे समुचित तुलना ढूँढ न सकीं, पर कुछ भी कहे बिना रहा नहीं गया, सर्वथा मोटी उपमा ही उनके मुखसे बरबस निकल गयी:
English translation
Kṛṣṇacandra opened his mouth like the cup of a lotus and slowly carried the butter and bread inside, then looked toward his mother with delight. This beauty too was incomparable. Once again Sarasvatī's effort proved fruitless. She could find no adequate comparison, yet could not remain silent, and so a very crude image escaped her lips:
Original
Braj verses
मेली सजि मुख अंबुज भीतर, उपजी उपमा मोटी।
मनु बराह भूधर सह पुहुमी धरी दसन कीं कोटी॥
English translation
As he places the prepared morsel within his lotus mouth, a rough comparison arises:
it is as though the Boar held the earth together with its mountain upon the tip of his tusk.
Original
जो हो, रोटीका अष्टमांशमात्र भोजन कर अवशिष्टमेंसे कुछ अंश तो श्रीकृष्णचन्द्रने वहीं फेंक दिया तथा कुछ हाथमें लिये बलरामको पुकारते हुए रोहिणीजीके पास दौड़ चले।
English translation
After eating only one eighth of the bread, Kṛṣṇacandra threw down part of what remained and, carrying the rest in his hand, ran toward Rohiṇī while calling for Balarāma.
Original
द्वारपर व्रजेश्वर प्रतीक्षा कर रहे थे, मेरा लाल माखन-रोटी खाकर अब आता ही होगा। प्रतीक्षा पूरी हुई। श्रीकृष्णचन्द्र आये तथा बाबाकी धोती पकड़कर कहने लगे, “बाबा! तुमने तो अभी कलेवा ही नहीं किया और मैं दो बार माखन खा आया। क्या तुम्हें भूख नहीं लगती?” उनके यह कहते-कहते ही दोनोंका आनन्द उमड़ा, दो धाराएँ दो ओरसे बह चलीं, व्रजेशके नेत्रोंसे अश्रुजलके रूपमें, श्रीकृष्णके श्यामल अङ्गोंसे नृत्यके रूपमें। अपने नेत्र पोंछते हुए बाबा देख रहे हैं तथा श्रीकृष्णचन्द्र नृत्य कर रहे हैं। नग्न नील अङ्गोंसे ज्योति झर रही है, बन्धूकवर्ण अधरोंपर हास्य है, जननीके द्वारा स्नेहसे सँवारी हुई अपनी चोटीपर हाथ रखकर उल्लासमें भरे, समस्त अङ्गोंको नचाते हुए वे नाच रहे हैं। नवनीतसिक्त होकर, श्रीकृष्ण-अधरामृतमें स्नानकर, वहाँ बहती हुई आनन्दधाराके तटपर रोटीका एक टूक भी शान्त पड़ा है:
English translation
At the doorway Nanda waited, thinking, “My darling must be coming now after eating his butter and bread.” His wait ended. Kṛṣṇacandra arrived, caught hold of his father's garment, and said, “Father, you have not even eaten breakfast yet, while I have already eaten butter twice. Do you not feel hungry?” Even as he spoke, delight surged within them both and two streams began to flow in opposite directions: tears from Nanda's eyes, and dance from Kṛṣṇa's dark limbs. His father watched while wiping his eyes, and Kṛṣṇacandra danced. Light poured from his unclothed blue limbs, laughter rested upon his bandhūka-red lips, and, full of joy, he placed one hand upon the braid his mother had lovingly arranged and danced with every limb. Soaked in fresh butter and bathed in the nectar of Kṛṣṇa's lips, a piece of bread lay quietly on the bank of that flowing current of bliss:
Original
Braj verse
नगन गात मुसकात तात ढिग नृत्य करत गहि चोटी।
सूरज प्रभु की लहै जु जूठनि लारनि ललित लपोटी॥
English translation
Bare-bodied and smiling beside his father, he dances while holding his braid.
Sūra says: blessed is the morsel left by the Lord, gracefully wrapped in the moisture of his lips.
Original
नाचते हुए ही श्रीकृष्णचन्द्र बलरामकी ओर चल पड़ते हैं, फिर बलरामको साथ लेकर सैकत-पुलिनकी ओर। गोपसखाओंकी मण्डली जुड़ते देर नहीं लगती। आगे-पीछे दौड़कर सभी पुलिनके समीप तमालवनमें एकत्र हो जाते हैं तथा वृक्षोंकी शीतल छायामें क्रीड़ा प्रारम्भ होती है:
English translation
Still dancing, Kṛṣṇacandra set off toward Balarāma, then took him along toward the sandy riverbank. The cowherd companions quickly gathered. Running ahead and behind, they all assembled in the tamāla grove near the bank and began to play beneath the cool shade of the trees:
Original
Braj verses
हाथ तारी देत भाजत, सबै करि करि होड़।
बरजै हलधर, स्याम, तुम जनि चोट लागै गोड़॥
तब कह्यौ मैं दौरि जानत, बहुत बल मो गात।
मेरी जोरी है श्रीदामा, हाथ मारे जात॥
उठे बोलि तबै श्रीदामा, जाहु तारी मारि।
आगें हरि पाछें श्रीदामा, धरधौ स्याम हँकारि॥
जानि कै मैं रह्यौ ठाढ़ी, छुवत कहा जु मोहि।
पेर हरि खीझत सखा सौं, मनहिं कीन्हौ कोहि॥
English translation
Clapping their hands, they run, each one striving to outdo the others.
Haladhara warns, “Śyāma, take care lest your feet be hurt.”
Then he says, “I know how to run, and my body is very strong.
Śrīdāmā is my match, yet he keeps striking with his hand.”
Śrīdāmā springs up and says, “Go on, clap and run!”
Hari runs ahead and Śrīdāmā behind, calling, “Catch Śyāma!”
“I knowingly stood still, so why did you touch me?”
Hari then grew annoyed with his friend and felt anger within his heart.
Original
इधर आधी घड़ी भी नहीं हुई है, किंतु जननीके लिये तो श्रीकृष्ण-अदर्शनका यह काल कोटि युगके समान हो चला। यदि कुलदेव नारायणकी परिचर्याव्यवस्थाका भार व्रजरानीपर न होता तो वे छायाकी भाँति केवल पुत्रका अनुसरण ही करती रहतीं। “इस सेवाका भार मैं किसपर सौंपूँ, न जाने कब कौन-सी त्रुटि रह जाय। मेरे कुलका, मेरे नीलमणिका मङ्गल तो एकमात्र नारायणकी प्रसन्नतापर ही निर्भर है; उनकी यत्किञ्चित् सेवा भी मैं दूसरेसे कराऊँ, यह तो कृतघ्नताकी चरम सीमा हो जायगी।” ये विचार ही व्रजरानीको रोक लेते हैं। रोक लें, नीलमणि मनमें तो निरन्तर नाचते ही रहते हैं। कई बार तो जननी नीलमणिकी मानसिक मूर्तिमें ऐसी तन्मय हो जाती हैं कि उसे सर्वथा सच मानकर उसीसे सुखी-दुखी हो जाती हैं। कलकी ही तो बात है। ग्रीष्मके आतपने एक क्षुद्र बवंडरका संचार कर दिया, तरुश्रेणी एक बार वेगसे हिल गयी। नन्दरानीके मनपर नाचते हुए नीलमणि एवं इस वायु-प्रवाहका संयोग हो गया। साथ ही सजातीय उपकरण पाकर अन्तश्चेतनामें तृणावर्त दैत्यकी संचित स्मृति भी ऊपर उठ आयी। बस, फिर तो नन्दरानी सत्यको भूलकर तृणावर्तका उत्पात उसी क्रमसे प्रत्यक्ष देखने लगीं। जननीके नेत्रोंके सामने एक बार वही दृश्य नाच उठा:
English translation
Not even half a ghaṭī had passed, yet for his mother this time without seeing Kṛṣṇa had already become equal to millions of ages. If the queen of Vraja had not borne responsibility for arranging the worship of the family deity Nārāyaṇa, she would simply have followed her son like a shadow. “To whom can I entrust this service? Who knows what lapse might occur and when? The welfare of my family and of my Nīlamaṇi depends solely upon Nārāyaṇa's pleasure. To have even the smallest part of his service performed by another would be the utmost ingratitude.” These thoughts alone restrained her. They might restrain her body, but Nīlamaṇi danced continuously in her mind. At times she became so absorbed in his mental image that she took it as entirely real and felt joy or sorrow through it. Only yesterday, the summer heat had raised a small whirlwind and the rows of trees shook violently. In Nanda's queen's mind, the dancing Nīlamaṇi became associated with that rush of wind. At the same time, prompted by similar circumstances, the stored memory of the demon Tṛṇāvarta rose within her inner awareness. Then she forgot reality and began directly seeing Tṛṇāvarta's violence unfold in the same sequence as before. That scene once again danced before her eyes:
Original
Braj verses
अकास भूमि धूरि पूरि बृच्छ चूरि ह्वै गये।
प्रचंड धुंधकाल सौं दिसा बिभाग छूवै गये॥
अदृष्ट दृष्टि दुष्ट देह पुष्ट बीज देखिये।
अघात सब्द कौं करै गरज गाज लेखिये॥
अभीर भीर पीर सौं सपीर धेनु जाल में।
अकाल ग्वाल देखि कै बिहाल ग्वाल बाल में॥
निहारि बाल रूप कौं सगर्ब दूर है गयौ।
प्रकोपि नंदलाल कौं उठाइ ब्योम लै गयौ॥
English translation
Dust filled sky and earth, and the trees were shattered.
By the fierce dark storm, even the divisions of the directions seemed erased.
No one could see. Behold that wicked, powerfully embodied demon!
He made a terrible sound, like the roar and crash of thunder.
The cowherds, stricken with fear and pain, rushed anxiously among the herds.
Seeing calamity among the cowherd boys, the cowherd folk became distraught.
Proudly regarding the child's form, the demon had gone far away.
In fury he lifted Nanda's darling and carried him into the sky.
Original
तथा जननी “हाय-हाय” करके दौड़ीं। किंतु समीपमें ही खेलते हुए श्रीकृष्णचन्द्र ठीक उसी समय वहाँ आ गये और बोल उठे, “री मैया! मेरी गेंद उद्यानके सरोवरमें गिर गयी, तू दूसरी गेंद दे दे।” इस ध्वनिसे अमृतकी धारा बह चली, धारामें जननीका मिथ्या स्वप्न बह गया, नीलमणिको हृदयसे लगाकर जननी पुलकित होने लगीं। इसी प्रकार कभी-कभी श्रीकृष्णके बाहर खेलने जानेपर अतीतकी सुखमयी स्मृति भी सजातीय उद्दीपन पाकर जननीके मनमें ऐसी गाढ़ी हो जाती है कि जननी अनुभव करने लगती हैं, मानो इसी क्षण वास्तवमें यह हो रहा है। इतना ही नहीं, तदनुरूप चेष्टा करने लगती हैं। अभी उस दिनकी बात है, वैशाखी अष्टमी थी; व्रजसुन्दरियोंसे परिवृत होकर व्रजरानी अपराजिता-पूजन कर रही थीं। इस अष्टमीकी भावनाने व्रजसुन्दरियोंमें भाद्रपद-अष्टमीकी स्मृति जगा दी; पूजाके बीचमें ही वे सब जोड़ने लगीं कि श्रीकृष्णचन्द्रकी द्वितीय वर्षगाँठमें कितना विलम्ब है। वे दिन गिन रही थीं और व्रजरानीके नेत्रोंके समक्ष प्रथम वर्षगाँठ नाच रही थी। क्षणभरमें ही व्रजेश्वरीकी वृत्ति जन्म-महोत्सवके समीप जा पहुँची और उसमें ऐसी डूबी कि यशोदारानी अपनेको उस समय प्रसूतिगृहमें बैठी अनुभव करने लगीं। वे देख रही थीं, मङ्गलसाजसे सजी, विविध शृङ्गार धारण किये सहस्र-सहस्र व्रजसुन्दरियोंकी अपार भीड़ उमड़ी आ रही है, मेरे नवजात शिशुको देखने आ रही है:
English translation
The mother cried, “Alas, alas!” and ran. But at that very moment Kṛṣṇacandra, who had been playing nearby, came there and called out, “Mother, my ball fell into the garden pond. Give me another ball.” A stream of nectar flowed from that sound and swept away her false dream. She pressed Nīlamaṇi to her heart and thrilled with joy. In the same way, when Kṛṣṇa goes outside to play, a happy memory of the past is sometimes awakened by a similar stimulus and becomes so vivid in his mother's mind that she feels it is actually happening at that very moment. She even begins to act accordingly. One recent day was the eighth lunar day of Vaiśākha. Surrounded by the beautiful women of Vraja, the queen of Vraja was worshiping Aparājitā. The thought of this eighth day awakened in those women the memory of the eighth day of Bhādrapada. In the midst of worship they began calculating how long remained until Kṛṣṇacandra's second birthday. They counted the days, while his first birthday danced before the queen of Vraja's eyes. In a moment her awareness reached that birth festival and became so immersed in it that queen Yaśodā felt herself seated once again in the maternity chamber. She saw an immense crowd of thousands upon thousands of Vraja's beautiful women, arrayed in auspicious finery and many ornaments, surging toward her to see her newborn child:
Original
Braj verses
सुनि सिसु पिय प्यारी, नंद के धाम धारी।
कर गहि भरि भारी सौज आनंद थारी॥
उनमद गति राजैं, मत्त मातंग लाजैं।
मनिगन पट साजैं, रंग सौंधे बिराजैं॥
मृदु तन बर बेली, संग सोहैं सहेली।
भुज भुज गहि झेली, काम की कोक चेली॥
मदन कल कला-सी, अंग सोभा प्रकासी।
छबि तड़ित लता-सी, सोहती मंद हाँसी॥
सुख बस मुख खोलैं, जातु राकेस जोलैं।
मधुकर मधु डोलैं, कंज के कोस मोलैं॥
उर भरि छबिसाला, मंडती मुक्तमाला।
मुखरित सुरजाला, किंकिनी रव रसाला॥
कटि तर दुति दैनी, डोलती चारु बैनी।
कल रव पिक बैनी, गीत गावैं सुनैनी॥
झल झल झल सोहैं, देखि को हैं न मोहैं।
धुनि सुनि मुनि छोहैं, मंजु मंजीर जोहैं॥
चलि सुवन निहारौ, चंद सोभा उज्यासै।
तन मन धन वारौ, चित्त छोड़े न प्यारे॥
इकटक मुख राहैं, नैन और न चाहैं।
फिरि फिरि अवगाहैं, रूप पावै न थाहैं॥
English translation
Hearing of the beloved infant, dear women hasten to Nanda's abode,
their hands bearing weighty trays filled with auspicious gifts and joy.
Their spirited gait shines so proudly that intoxicated elephants would feel ashamed.
They are adorned with jewels and fabrics, resplendent in fragrant colors.
Their tender bodies are lovely vines, and their companions shine beside them.
Arm in arm they sway, young disciples in Love's own school.
The beauty of their limbs glows like the graceful arts of Kāma,
and their gentle smiles shine like vines of lightning.
Their mouths open under the sway of joy, putting the full moon to shame.
Bees hover for honey, valuing the treasure chambers of lotuses.
Pearl necklaces adorn their breasts, mansions filled with beauty.
A sweet music resounds from their jingling girdle bells.
Below the waist their lovely braids sway, bestowing radiance.
Their cuckoo-sweet voices sing songs pleasing to the ear.
They shimmer and shine. Who could see them and not be enchanted?
Hearing their music, even sages are moved as they gaze upon the lovely anklets.
“Come, behold the son whose splendor illumines like the moon.
Offer body, mind, and wealth, for the heart cannot leave the beloved.
Their faces remain fixed upon him, and their eyes desire nothing else.
Again and again they plunge into his beauty, yet never find its depth.”
Original
“रोहिणी बहिन! प्रसूतिगृहका द्वार सर्वथा उन्मुक्त कर दो, इन सबको जी भरकर मेरे पुत्रको देख लेने दो,” व्रजरानी पूजा छोड़कर यह बोल उठीं। गोपसुन्दरियोंने ठठाकर हँस दिया, फिर भी व्रजेश्वरीको ज्ञान नहीं; पूजासम्भार हाथोंमें लिये शान्त बैठी हैं, मानो गोदमें पुत्रको लिये बैठी हों। पूजा स्थगित हो गयी; गोपिकाओंको कोई उपाय न सूझा, जिससे वे यशोदारानीको जगायें। आखिर हँसती हुई रोहिणीजी दौड़ी गयीं, ढूँढ़कर श्रीकृष्णचन्द्रको खेल छुड़ाकर ले आयीं; उनसे पुचकारकर कहा, “बेटा नीलमणि! देख, तेरी मैया पूजासे रूठी बैठी है; तू ठोड़ी पकड़कर मना ले, मेरे लाल!” रोहिणी मैयाकी बात मानकर श्रीकृष्णचन्द्र अपने धूलिधूसरित अङ्गोंको जननीके वक्षःस्थलपर डालकर, चिबुक पकड़कर बोले, “री मैया! तू पूजासे क्यों रूठी?” अब जाकर कहीं मैयाको वस्तुस्थितिका भान हुआ। वे भी हँस पड़ीं। फिरसे स्नान कर पूजामें लगीं। अस्तु, यह श्रीकृष्णस्मृति ही, जिस समय मैया अत्यन्त आवश्यक कार्यमें, जो कार्य उनके बिना हो ही नहीं सकता, उसमें लगी रहनेके कारण श्रीकृष्णसे अलग रहती हैं, उस समय, उनके जीवनका आधार है। अवश्य ही रह-रहकर जब यह स्फुरण होता है कि मेरा नीलमणि मेरे समीप नहीं है, तब प्राणोंमें टीस-सी चलने लगती है। इसीलिये कितनी बार नीलमणिकी मनुहार करते हुए मैयाने उन्हें समझाया भी है:
English translation
“Sister Rohiṇī, open the door of the maternity chamber completely. Let all these women gaze upon my son to their hearts' content!” Abandoning the worship, the queen of Vraja suddenly spoke these words. The cowherd women burst out laughing, yet she still remained unaware. She sat quietly with the articles of worship in her hands, as though holding her son in her lap. The worship came to a halt, and the gopīs could think of no way to awaken queen Yaśodā. At last Rohiṇī ran off laughing, found Kṛṣṇacandra, drew him away from his play, and brought him back. Coaxing him, she said, “Dear Nīlamaṇi, look, your mother is sitting there offended with her worship. Take her chin and win her over, my darling!” Obeying mother Rohiṇī, Kṛṣṇacandra laid his dust-covered limbs across his mother's breast, took her chin, and said, “Mother, why are you angry with the worship?” Only then did she become aware of the actual situation. She too laughed, bathed again, and resumed the worship. Thus, whenever his mother must remain apart from Kṛṣṇa because she is engaged in an indispensable duty that cannot be done without her, remembrance of Kṛṣṇa alone sustains her life. Whenever the realization arises that her Nīlamaṇi is not beside her, a pang courses through her very life-breath. Therefore she has often coaxed and instructed him:
Original
Braj verses
इन अँखियनि आगें तैं मोहन, एकौ पल जनि होहु नियारे।
हौं बलि गई, दरस देखे बिनु, तलफत हैं नैननि के तारे॥
औरौ सखा बुलाइ आपने, इहिं आँगन खेलौ मेरे बारे।
निरखति रहौं फनिग की मनि ज्यों, सुंदर बाल-विनोद तिहारे॥
मधु, मेवा, पकवान, मिठाई, ब्यंजन खाटे, मीठे, खारे।
सूरस्याम जोइ-जोइ तुम चाहौ, सोइ-सोइ माँगि लेहु मेरे बारे॥
English translation
Mohana, do not go out of sight of these eyes even for a single moment.
I am devoted to you. Without seeing you, the stars of my eyes writhe in anguish.
Call your other friends and play here in this courtyard, my child.
Let me watch your lovely childhood games as a serpent watches its jewel.
Honey, dried fruits, cakes, sweets, and dishes sour, sweet, or salty:
Sūra's Śyāma, whatever you desire, ask me for it, my child.
Original
किंतु चञ्चल श्रीकृष्णचन्द्र बाहर चले ही जाते हैं। जननी भी कुलदेव नारायणकी सेवाको, कभी-कभी अन्य कतिपय आवश्यक कार्योंको अपना परम कर्तव्य मानकर उन्मनी-सी हुई यथाविधि पूरा तो कर लेती हैं, पर कार्य पूरा हुआ कि बस, अजातपक्ष शावकके ध्यानमें निमग्न, नीड़की ओर वेगसे उड़ती हुई कपोतीकी भाँति अपने नीलमणिको ढूँढ़ने-देखने चल पड़ती हैं। आज भी नीलमणि खेलनेके लिये कालिन्दीकी ओर चले गये हैं, जननी भी नारायण-सेवाका कार्य करके उधर ही चल पड़ती हैं। शीघ्रतावश सिरसे अञ्चल उतरकर कंधेपर आ गया है, वेणी स्खलित हो रही है, पर उन्हें कुछ पता नहीं। तोरणद्वारके समीप सन्नन्द-पत्नी मिलती हैं, पूछती हैं, “बहिन! इस प्रकार अस्त-व्यस्त हुई कहाँ जा रही हो?” किंतु जननीको अवकाश कहाँ कि ठहरकर उत्तर दें। चलते-चलते ही कह देती हैं:
English translation
Yet restless Kṛṣṇacandra always goes outside. His mother regards the service of the family deity Nārāyaṇa, and sometimes a few other necessary duties, as her highest responsibility and completes them properly though her mind is elsewhere. But the moment the task is finished, absorbed in thoughts of her unfledged chick, she sets out to find and see her Nīlamaṇi, like a mother dove flying swiftly toward her nest. Today too Nīlamaṇi has gone toward the Yamunā to play, and as soon as his mother completes Nārāyaṇa's service, she sets off in that direction. In her haste, the end of her veil slips from her head to her shoulder and her braid comes loose, but she notices nothing. Near the arched gateway she meets Sannanda's wife, who asks, “Sister, where are you going in such disarray?” But the mother has no time to stop and answer. Still walking, she says:
Original
Braj verse
खेलन कौं हरि दूरि गयौ री।
संग संग धावत डोलत हैं, कह धौं बहुत अबेर भयौ री॥
English translation
Hari has gone far away to play, dear sister.
They run and wander together. Tell me, has it not grown very late?
Original
उद्यानसे उस पार तमालतरुके नीचे विशाल, वृषभ, जम्बी, देवप्रस्थ, वरूथप आदि वयस्योंसे सुरक्षित रहकर बलराम, दाम, सुदाम, वसुदाम, श्रीदाम आदिके साथ मेरा नीलमणि शान्तिपूर्वक खेल रहा है, यह देखकर जननीका हृदय शीतल हो जाता है। जननीके स्तनोंसे दूध झरने लगता है। वे दौड़कर श्रीकृष्णचन्द्रको हृदयसे लगा लेती हैं। श्रीकृष्णचन्द्र भी आज गोदमें शीघ्र ही चले आते हैं; क्योंकि आज वे सखाओंसे खेलमें किञ्चित् रूठ गये हैं। जननी एक बार वनकी ओर देखती हैं, फिर नन्दप्रासादके शिखरपर अवस्थित कलशकी ओर। ओह! खेलता हुआ नीलमणि आज इतनी दूर आ गया। आगे सघन वनस्थली है, न जाने कोई हिंस्रजन्तु इसमें घुस आया हो तो? जननी मन-ही-मन काँप उठती हैं। वे सोचती हैं, नहीं, नहीं, चाहे जिस उपायसे हो, इसे इतनी दूर आनेसे रोकना ही है। तत्क्षण मैयाको एक युक्ति भी सूझ जाती है। वे भयकी मुद्रा बनाकर बोल उठती हैं:
English translation
Beyond the garden, beneath a tamāla tree, she sees her Nīlamaṇi peacefully playing with Balarāma, Dāma, Sudāma, Vasudāma, Śrīdāma, and others, guarded by older companions such as Viśāla, Vṛṣabha, Jambī, Devaprastha, and Varūthapa. At this sight her heart grows cool and milk begins to flow from her breasts. She runs and clasps Kṛṣṇacandra to her heart. Today he too readily climbs into her lap, for he has become a little upset with his friends during their game. His mother looks first toward the forest and then toward the finial atop Nanda's palace. Ah, while playing, Nīlamaṇi has come so far today. Dense woodland lies ahead. What if some fierce beast has entered it? She trembles inwardly and thinks, “No, no. By whatever means, I must stop him from coming this far.” At once an idea occurs to her. Assuming a frightened expression, she exclaims:
Original
Braj verse
दूरि खेलन जनि जाहु लला मेरे, बन में आये हाऊ॥
English translation
Do not go far away to play, my darling. Hāū has come into the forest!
Original
अच्छा! वनमें “हाऊ” आया है! श्रीकृष्णचन्द्र जननीकी बात सुनकर हँसने लगते हैं तथा हँसकर पूछते हैं, “मैया! ‘हाऊ’ को किसने भेजा है?”
English translation
So, Hāū has come into the forest! Hearing his mother's words, Kṛṣṇacandra began to laugh and asked with a smile, “Mother, who sent Hāū?”
Original
Braj verse
तब हँसि बोले कान्हर मैया, कौन पठाये हाऊ॥
English translation
Then Kānha laughed and said, “Mother, who has sent Hāū?”
Original
जननीने मन-ही-मन सोचा, मेरी बातका पूरा प्रभाव तो नहीं हुआ, क्योंकि नीलमणि हँस रहा है; पर किञ्चित् भीति इसके नयनोंमें अवश्य आयी है। इसीलिये मैया फिर विविध रचना रचकर वनमें “हाऊ” की विभीषिका पुत्रको बतलाने लगती हैं। श्रीकृष्णचन्द्र बड़े ध्यानसे सुनते रहते हैं। जननीका प्रयास इस बार सफल हो जाता है, नीलमणिके नेत्रोंमें भय भर जाता है। मैयाने देखा, अवसर सुन्दर है। वे बोल उठीं, “मेरे लाल! चलो, हमलोग शीघ्र भागकर अपने घर चले जायँ।” तो यह सुनते ही श्रीकृष्णचन्द्र मैयाकी गोदसे उठ खड़े हुए तथा भाग चलनेके लिये बलरामको भी अपने निकट बुलाने लगे:
English translation
His mother thought, “My words have not had their full effect, for Nīlamaṇi is laughing, yet a trace of fear has certainly entered his eyes.” So she began inventing various details to describe to her son the terror of Hāū in the forest. Kṛṣṇacandra listened very attentively. This time her effort succeeded, and fear filled Nīlamaṇi's eyes. Seeing that the moment was favorable, she exclaimed, “My darling, come, let us quickly run home!” As soon as he heard this, Kṛṣṇacandra stood up from his mother's lap and began calling Balarāma near so that they could flee:
Original
Braj verse
चलौ न बेगि, सवारें जैयै भाजि आपनें धाम।
सूर स्याम यह बात सुनत ही बोलि लिये बलराम॥
English translation
Come quickly, brother. Let us run straight home.
Sūra says: as soon as Śyāma heard these words, he called Balarāma.
Original
Sanskrit verse
भयादस्याग्निस्तपति भयात्तपति सूर्यः।
भयादिन्द्रश्च वायुश्च मृत्युर्धावति पञ्चमः॥
(कठोपनिषद् २।३।३)
English translation
From fear of him, fire gives heat; from fear of him, the sun shines.
From fear of him, Indra, the wind, and Death as the fifth hurry to perform their appointed work.
(Kaṭha Upaniṣad 2.3.3)
Original
भला, जिनके लिये श्रुतियाँ यह निर्देश करती हैं, “इन परमेश्वरके भयसे ही अग्नि तपता रहता है, इन्हींके भयसे सूर्य तप रहा है, इन्हींके भयसे इन्द्र, वायु एवं पाँचवाँ मृत्यु निर्धारित कार्य करते हुए दौड़ते रहते हैं,” उन परब्रह्म पुरुषोत्तम परमेश्वरका “हाऊ” के भयसे भीत होकर भागनेका उपक्रम करना कितना आश्चर्यमय है! बाल्यलीलाबिहारिन्! तुम्हारी इस योगीन्द्रमुनीन्द्रमनमोहिनी लीलाकी जय हो!
English translation
The revealed scriptures declare of him, “From fear of this Supreme Lord, fire continually gives heat; from fear of him, the sun shines; and from fear of him, Indra, the wind, and Death as the fifth hasten to perform their appointed tasks.” How wondrous, then, that the Supreme Brahman, the highest Person and Supreme Lord, should prepare to flee in fear of Hāū! O enjoyer of childhood pastimes, all glory to this pastime of yours that enchants the minds of the greatest yogīs and sages!
Original
अस्तु, भावपरिवर्तन होनेसे पूर्व ही श्रीकृष्णचन्द्रको घर ले चलना है, यह सोचकर मैया यशोदा शीघ्रतापूर्वक चलनेको उद्यत हुई। श्रीकृष्णचन्द्र भी अँगुली पकड़कर चलने लगे। ठीक इसी समय बलरामके मुखपर एक विचित्र तेज छा जाता है। सिरके चारों ओरसे रश्मियाँ-सी निकलने लगती हैं। वाणी परम ओज-समन्वित हो जाती है। एक विचित्र-सी हँसी अधरोंपर नाच उठती है तथा वे अविराम बोलने लगते हैं:
English translation
Thinking that she must take Kṛṣṇacandra home before his mood changed, mother Yaśodā prepared to leave quickly. Kṛṣṇacandra took her finger and began walking. At that very moment a strange radiance spread across Balarāma's face. Rays seemed to issue from all around his head, his voice became filled with supreme vigor, an extraordinary smile played upon his lips, and he began speaking without pause:
Original
Braj verses
चारि बेद लै गयौ संखासुर, जल में रह्यौ लुकाऊ।
मीन रूप धरि कै जब मारथौ, तबहिं रहे कहूँ हाऊ?
मथि समुद्र सुर-असुरनि कैं हित, मंदर जलधि धसाऊ।
कमठ-रूप धरि धरयौ पीठि पर, तहाँ न देखे हाऊ!
जब हिरनाच्छ जुद्ध अभिलाष्यौ, मन में अति गरबाऊ।
धरि बाराह-रूप सो मार्यौ, लै छिति दंत-अगाऊ॥
बिकट रूप अवतार धरयौ जब, सो प्रहलाद बचाऊ।
हिरनकसिपु-वपु नखनि बिदारयौ, तहाँ न देखे हाऊ॥
बामन-रूप धरयौ बलि छलि कै, तीनि परग बसुधाऊ।
स्रम-जल ब्रह्म-कमंडलु राख्यौ, दरसि चरन परसाऊ॥
मारयौ मुनि बिनहीं अपराधहि, कामधेनु लै आऊ।
इकइस बार निछत्र करि छिति, तहाँ न देखे हाऊ॥
राम-रूप रावन जब मार्यौ, दस-सिर बीस-भुजाऊ।
लंक जराइ छार जब कीनी, तहाँ न देखे हाऊ॥
भक्त हेत अवतार धरे, सब असुरनि मारि बहाऊ।
सूरदास प्रभु की यह लीला, निगम नेति नित गाऊ॥
English translation
Śaṅkhāsura carried away the four Vedas and hid beneath the waters.
When you assumed the form of a fish and killed him, was Hāū anywhere there?
For the good of gods and demons, the ocean was churned, but Mount Mandara sank into its waters.
You assumed the form of a tortoise and bore it on your back, yet you saw no Hāū there.
When Hiraṇyākṣa, swollen with pride, desired battle,
you assumed the Boar form, slew him, and raised the earth upon the tip of your tusk.
When you took that formidable incarnation to save Prahlāda,
you tore open Hiraṇyakaśipu's body with your claws, yet saw no Hāū there.
Assuming the Dwarf form, you beguiled Bali and covered the earth in three strides.
Brahmā kept the water of your exertion in his water pot after seeing and touching your feet.
When the sage was slain though blameless and Kāmadhenu was taken away,
you rid the earth of kṣatriyas twenty-one times, yet saw no Hāū there.
When, in the form of Rāma, you slew ten-headed, twenty-armed Rāvaṇa,
and burned Laṅkā to ashes, you saw no Hāū there.
For the sake of devotees you assumed incarnations and swept away all the demons.
Sūradāsa says: the Vedas forever sing “not this, not this” before this pastime of the Lord.
Original
श्रीकृष्णचन्द्र! भूल गये अपने उस लक्षयोजन-परिमित स्वर्णिम मत्स्य-शरीरको? तुम्हारे शरीरपर उस समय एक बृहत् शृङ्ग था, उसमें सत्यव्रतकी नौका बँधी थी; प्रलयका सागर हिलोरें ले रहा था, सींगमें बँधी वह तरणी तरङ्गोंपर संतरण कर रही थी। सप्तर्षि, समस्त प्राणियोंके सूक्ष्मशरीर एवं समस्त बीजोंको साथ लिये सत्यव्रत उसपर बैठे तुम्हारी स्तुति कर रहे थे; तुम प्रलय-समुद्रमें विहार कर रहे थे। ब्रह्मरात्रिका अवसान होनेतक यह विहार चलता रहा। जब ब्रह्माकी निद्रा टूटी तब तुम शङ्खासुर हयग्रीव दैत्यकी ओर दौड़े। इसी दैत्यने, जिस समय ब्रह्मा सोये थे, उनके मुखसे निर्गत चारों वेदोंका, श्रुतियोंका अपहरण कर लिया था, हरण करके जलमें, पातालमें छिपा बैठा था; मत्स्यरूप तुमने उस दैत्यको मार डाला:
English translation
Kṛṣṇacandra, have you forgotten that golden fish body of yours, one hundred thousand yojanas in extent? A great horn stood upon your body then, with Satyavrata's boat tied to it. The ocean of dissolution surged, and the vessel fastened to your horn sailed across its waves. Satyavrata sat aboard with the seven sages, the subtle bodies of all living beings, and every kind of seed, praising you while you sported in the ocean of dissolution. This continued until the night of Brahmā ended. When Brahmā awoke, you rushed toward the demon Hayagrīva, also called Śaṅkhāsura. While Brahmā slept, that demon had stolen the four Vedas, the revealed scriptures issuing from his mouth, and hidden with them in the waters of the netherworld. In your fish form you killed him:
Original
Sanskrit verse
प्रलयपयसि धातुः सुप्तशक्तेर्मुखेभ्यः
श्रुतिगणमपनीतं प्रत्युपादत्त हत्वा।
(श्रीमद्भागवत ८।२४।६१)
English translation
In the waters of dissolution, when the Creator's power lay asleep, the Vedas were stolen from his mouths. The Lord slew the thief and restored that body of revelation.
(Śrīmad Bhāgavata 8.24.61)
Original
वहाँ उस दैत्यके आवासमें अथवा प्रलय-समुद्रके किसी भागमें तो “हाऊ” नहीं मिला। बताओ, कहीं था क्या? तथा उस दिनकी बात याद करो। समुद्रमन्थन होने जा रहा था, किंतु वह सुवर्णमय मन्दर अपने भारसे समुद्रमें निमग्न होने लगा। बलवान् देवोंने, असुरोंने सारी शक्ति लगा ली; पर वे मन्दराचल-मन्थनदण्डको थाम न सके, मन्दर डूब चला। देवोंका मुख म्लान हो गया था। पर तुम्हें दया आ गयी; तुम तत्क्षण एक विशाल विचित्र कच्छपका रूप धारणकर जलराशिमें प्रवेश कर गये, डूबते हुए मन्दरको पीठपर रखकर ऊपर उठा दिया:
English translation
There, in the demon's dwelling or anywhere in the ocean of dissolution, you found no Hāū. Tell me, was it anywhere? Remember also that other day. The ocean was about to be churned, but golden Mount Mandara began sinking beneath its own weight. The mighty gods and demons exerted all their strength, yet could not hold up Mandara, the churning rod, and the mountain sank. The gods' faces grew dejected. Then compassion arose in you. At once you assumed the form of a vast and wondrous tortoise, entered the waters, placed the sinking Mandara upon your back, and raised it up:
Original
Sanskrit verse
कृत्वा वपुः काच्छपमद्भुतं महत्
प्रविश्य तोयं गिरिमुज्जहार॥
(श्रीमद्भागवत ८।७।८)
English translation
Assuming a vast and wondrous tortoise body, he entered the water and lifted the mountain.
(Śrīmad Bhāgavata 8.7.8)
Original
तब कहीं समुद्रमन्थन हो सका। पर “हाऊ” तो उस समुद्रमें भी कहीं न दीखा, तुम्हारे उस लक्षयोजन-विस्तीर्ण पीठके समीप कभी “हाऊ” मैंने नहीं देखा। इससे भी पूर्वकी घटना स्मरण करो, रसातलका वह देश, तुम्हारे विकट वाराहरूपकी दंष्ट्राग्रपर अवस्थित अवनी, तुम पृथ्वीदेवीको लिये आ रहे थे; बलगर्वसे मत्त हिरण्याक्षने तुम्हें ललकारा, “रे अज्ञ! वनपशु! यह धरा तो रसातलकी सम्पत्ति बन चुकी है, इसे छोड़ दे। रे सूकराकृति सुराधम! मैं जानता हूँ, तेरा बल योगमाया है, इसके सिवा तुझमें पौरुष कहाँ? किंतु अब तेरा कल्याण नहीं, तेरे जीवनकी इतिश्री अभी इसी क्षण किये देता हूँ; फिर देव-ऋषि तो छिन्नमूल वृक्षकी भाँति स्वयं ही नष्ट हो जायँगे।” उस समय श्रीकृष्णचन्द्र! तुम्हें याद है, पहले तो तुमने दैत्यसे डरी हुई धरादेवीको जलके ऊपर स्थापित किया, उनमें अपनी आधारशक्ति संचरित कर दी; यह करके हिरण्याक्षसे व्यङ्ग करने लगे, कुछ देर उसकी अभिलाषा पूर्ण करनेके लिये उससे युद्ध करने लगे। अपनी सारी आसुरी मायाका उसने प्रयोग कर लिया, पर तुम अक्षत रहे; अन्तमें उसे एक चपत तुमने लगा दी, बड़ी उपेक्षासे। किंतु वह उपेक्षाकी चपत दैत्यके लिये तो मृत्यु थी; उसके नेत्र निकल आये, शरीर घूमने लगा, हाथ-पैर-केश छिन्न-भिन्न हो गये, झंझावातसे उखड़े हुए विशाल वृक्षकी भाँति हिरण्याक्ष पृथ्वीपर निष्प्राण हो गिर पड़ा:
English translation
Only then could the ocean be churned. Yet Hāū was nowhere to be seen even in that ocean. Never did I see Hāū near your back, which extended for one hundred thousand yojanas. Recall an event earlier still: that realm of Rasātala, with the earth resting upon the tip of the tusk of your formidable Boar form as you carried goddess Earth upward. Drunk with pride in his strength, Hiraṇyākṣa challenged you: “You fool, forest beast! This earth has become the property of Rasātala. Leave it. You base god in the form of a boar, I know that your strength is Yogamāyā. Apart from that, what prowess do you possess? Now there is no hope for your welfare. I shall end your life this very moment, and then the gods and sages will perish of themselves like trees severed at the root.” Kṛṣṇacandra, do you remember? First you placed the terrified goddess Earth above the water and infused her with your sustaining power. Then you mocked Hiraṇyākṣa and fought him for a while to fulfill his desire. He employed all his demonic sorcery, yet you remained unharmed. At last you struck him with one contemptuous slap. But that dismissive blow was death for the demon. His eyes bulged out, his body spun, and his arms, legs, and hair were thrown into disarray. Like a huge tree uprooted by a gale, Hiraṇyākṣa fell lifeless upon the earth:
Original
Sanskrit verse
स आहतो विश्वजिता ह्यवज्ञया
परिभ्रमद्गात्र उदस्तलोचनः।
विशीर्णबाह्वङ्घ्रिशिरोरुहोऽपतद्
यथा नगेन्द्रो लुलितो नभस्वता॥
(श्रीमद्भागवत ३।१९।२६)
English translation
Struck contemptuously by the conqueror of the universe, his limbs whirled and his eyes sprang out. With arms, legs, and hair scattered, he fell like a mighty mountain tree battered down by the wind.
(Śrīmad Bhāgavata 3.19.26)
Original
उस समय कहींपर भी रसातलमें तुमने “हाऊ” देखा था क्या? अच्छा, इसे भी छोड़ो। क्या अपने उस विकराल नृसिंह-शरीरकी तुम्हें विस्मृति हो गयी है? तुम्हारा वह विशाल शरीर स्वर्गको छू रहा था, ग्रीवा कुछ छोटी पर अत्यन्त पुष्ट थी, वक्षःस्थल अत्यन्त प्रशस्त एवं कटिदेश क्षीण था, चन्द्रकिरण-जैसी उज्ज्वल रोमावलि सारे शरीरपर चमचम कर रही थी, शत-शत भुजाएँ चारों ओर फैली हुई थीं। उनमें बड़े-बड़े नख थे, जो आयुधका काम दे रहे थे। तुम्हारी वे तप्तस्वर्ण-जैसी पीली-पीली आँखें, खड्गकी भाँति लपलप करती, क्षुरधारा-जैसी तीक्ष्ण तुम्हारी जिह्वा, ऊपरकी ओर उठे हुए कर्णयुगल, पर्वतकन्दरा-जैसी तुम्हारी नासिका एवं मुख, ये कितने भयंकर थे। इस भयानक रूपसे ही तुम उस स्तम्भके अन्तरालसे सभामें निकले थे, भृत्यकी बात सत्य करने आये थे। प्रह्लादने कहा था, “मेरे प्रभु सर्वत्र हैं, इस खंभेमें भी हैं।” इस वचनसे क्रुद्ध होकर अविश्वासी हिरण्यकशिपु उसका प्राण हरण करने जा रहा था, इसीलिये प्रह्लादके वचनको नित्य-सत्य सिद्ध करने एवं हिरण्यकशिपुका विनाश कर प्रह्लादको बचाने आये थे। हिरण्यकशिपु तुमपर टूट पड़ा, तुम भी उससे खिलवाड़ करने लगे; पर देवता तो अतिशय भयभीत हो रहे थे। उन्हें निर्भय करते हुए तुमने अट्टहास किया; फिर, आयास बिना ही, जैसे सर्प चूहेको पकड़ लेता है, वैसे तुमने हिरण्यकशिपुकी उस देहको दबोच डाला, जिस देहपर वज्रके प्रहारसे भी क्षत नहीं होते थे। अपनी उस वज्रप्रतिम देहको तुम्हारे हाथसे मुक्त करनेके लिये हिरण्यकशिपु चारों ओर छटपट कर रहा था, पर वह छूटता जो न था। सभामण्डपके द्वारपर उसे उठाकर तुम ले गये, जाँघोंपर गिरा दिया; फिर जैसे गरुड़ महाविषधर सर्पको क्षणमें चीर डाले, वैसे तुमने खेल-खेलमें ही उसका शरीर फाड़ डाला:
English translation
Did you see Hāū anywhere in Rasātala then? Very well, let that pass too. Have you forgotten your fearsome Narasiṃha body? That immense form touched heaven. Its neck was somewhat short but immensely powerful, its chest exceedingly broad, and its waist slender. Hair bright as moonbeams glittered all over it, and hundreds of arms spread in every direction. Great claws upon them served as weapons. How terrifying were those yellow eyes like molten gold, your tongue flickering like a sword and keen as a razor's edge, your pair of ears raised upward, and your nose and mouth like mountain caves. In that dreadful form you emerged from within the pillar into the assembly, coming to make your servant's words true. Prahlāda had said, “My Lord is everywhere. He is in this pillar too.” Enraged by those words, the unbelieving Hiraṇyakaśipu was about to take his life. You therefore came to establish Prahlāda's statement as eternally true, destroy Hiraṇyakaśipu, and save Prahlāda. Hiraṇyakaśipu lunged at you, and you began to toy with him, but the gods were terrified. Reassuring them, you roared with laughter. Then, as effortlessly as a snake seizes a mouse, you caught Hiraṇyakaśipu's body, which even the thunderbolt could not wound. He thrashed in every direction to free that adamantine body from your grasp, but could not escape. You carried him to the doorway of the assembly hall, cast him upon your thighs, and, just as Garuḍa tears apart a deadly serpent in an instant, you playfully ripped open his body:
Original
Sanskrit verse
विष्वक् स्फुरन्तं ग्रहणातुरं हरि-
र्व्यालो यथाखुं कुलिशाक्षतत्वचम्।
द्वार्यूर आपात्य ददार लीलया
नखैर्यथाहिं गरुडो महाविषम्॥
(श्रीमद्भागवत ७।८।२९)
English translation
As he writhed all around in anguish beneath that grasp, Hari seized him like a serpent taking a mouse, though the thunderbolt could not pierce his skin. Casting him across his thighs in the doorway, the Lord playfully tore him open with his claws as Garuḍa rends a highly venomous snake.
(Śrīmad Bhāgavata 7.8.29)
Original
बताओ, श्रीकृष्ण! उन अपने नृसिंहविग्रहकी विकट आँखोंसे दैत्येन्द्रपुरीमें तुमने कहीं भी “हाऊ” देखा क्या? अरे, हिरण्यकशिपुको भी जाने दो। प्रह्लादके प्रपौत्र बलिकी गाथा स्मरण करो, वामनरूप हुए तुम भृगुकच्छकी ओर बढ़ रहे थे। तुमपर बलिके ऋत्विजोंकी दृष्टि पड़ी, उन्हें प्रतीत हुआ, मानो भुवनभास्कर उदय हो रहे हों। एकने दूरसे देखकर कहा, अग्नि हैं; दूसरेने कहा, नहीं, सनत्कुमार हैं। छत्र, दण्ड एवं जलपूरित कमण्डलु लिये तुम यज्ञमण्डपमें जा पहुँचे; विरोचनपुत्रसे तुमने तीन पग पृथ्वीकी याचना की। आचार्य शुक्र तुम्हें जान गये; अपने शिष्य बलिको शक्तिभर रोका कि दानका संकल्प मत करना। किंतु उस सत्यप्रतिज्ञ वीर दैत्येन्द्र बलिने संकल्प कर ही दिया। बस, फिर तो तुम्हारा वह बौना शरीर बढ़ा, इतना विशाल बन गया कि पृथ्वी, आकाश, दिशाएँ, स्वर्ग, पाताल, समुद्र, पशु, पक्षी, मनुष्य, देव, ऋषि, सब उसीमें समा गये। बलिने स्पष्ट देखा, तुम्हारे चरणतलमें तो रसातल अवस्थित है, एवं मस्तकमें स्वर्ग; सम्पूर्ण त्रिगुणमय जगतको ही उन्होंने तुममें संस्थित देखा।
English translation
Tell me, Kṛṣṇa, with the fierce eyes of that Narasiṃha form, did you see Hāū anywhere in the demon king's city? But let Hiraṇyakaśipu go as well. Remember the story of Bali, Prahlāda's great-grandson. In the form of Vāmana you approached Bhṛgukaccha. Bali's officiating priests saw you and thought that the sun illuminating all the worlds was rising. One, seeing you from afar, said, “It is Agni.” Another said, “No, it is Sanatkumāra.” Carrying an umbrella, staff, and a water-filled pot, you entered the sacrificial pavilion and asked Virocana's son for three paces of land. Teacher Śukra recognized you and tried with all his power to prevent his disciple Bali from vowing the gift. But that heroic demon king, steadfast in truth, made the vow. Then your dwarf body expanded and became so immense that earth, sky, directions, heaven, netherworld, oceans, animals, birds, humans, gods, and sages all entered within it. Bali clearly saw Rasātala beneath the soles of your feet and heaven in your head. He saw the entire world formed of the three guṇas abiding within you.
Original
note
- भृगुकच्छ नर्मदाके उत्तर तटपर स्थित एक स्थान। यहीं बलिके ऋत्विज् यज्ञानुष्ठान कर रहे थे।
English translation
- Bhṛgukaccha is a place on the northern bank of the Narmadā. Bali's officiating priests were performing the sacrifice there.
Original
इसके पश्चात् एक पगसे ही बलिपरिपालित सारी पृथ्वी तुमने नाप ली, दूसरेसे स्वर्ग नाप लिया, तीसरेके लिये किञ्चित्मात्र भी स्थान नहीं था; क्योंकि तुम्हारा दूसरा पग ही ऊपर उठता हुआ महर्लोक, जनलोक, तपलोकसे भी ऊपर सत्यलोकमें जा पहुँचा था। तुम्हारी नखचन्द्रछटाके सामने सत्यलोककी आभा मलिन हो गयी थी; पद्मयोनिने आनन्दमें भरकर पाद्य अर्पण करते हुए स्वेदविन्दुविभूषित उन चरणोंको प्रक्षालित किया। उस प्रक्षालित जलको धारणकर ब्रह्मकमण्डलुका शेष जल भी पवित्र, पवित्रतम हो गया; वह जल ही सुरधुनीकी धारा बन गयी। आकाशपथसे गिरकर वह त्रिलोकको पवित्र बनानेवाली हुई, तुम्हारी विशद कीर्तिकी मूर्ति वह धारा आजतक तीनों लोक पावन कर रही है:
English translation
After this, with one stride you measured all the earth ruled by Bali, and with the second you measured heaven. Not the slightest place remained for the third, for your second foot rose past Maharloka, Janaloka, and Tapoloka and reached Satyaloka above them all. Before the moonlike radiance of your toenails, Satyaloka's brilliance grew dim. Filled with delight, lotus-born Brahmā offered water for your feet and washed those feet adorned with drops of perspiration. By receiving that foot-washing water, the water remaining in Brahmā's vessel became holy, supremely holy. That water became the current of the celestial Gaṅgā. Falling through the path of the sky, it sanctified the three worlds. That stream, the embodiment of your stainless fame, purifies all three worlds to this day:
Original
Sanskrit verse
धातुः कमण्डलुजलं तदुरुक्रमस्य
पादावनेजनपवित्रतया नरेन्द्र।
स्वर्धुन्यभून्नभसि सा पतती निमार्ष्टि
लोकत्रयं भगवतो विशदेव कीर्तिः॥
(श्रीमद्भागवत ८।२१।४)
English translation
O king, the water in the Creator's vessel was sanctified by washing the foot of the Lord of mighty strides. Falling from the sky, it became the celestial river and cleanses the three worlds, like the Lord's own stainless fame.
(Śrīmad Bhāgavata 8.21.4)
Original
अस्तु, बताओ श्रीकृष्णचन्द्र! दो पगसे ब्रह्माण्ड नापते हुए, तीसरा पग बलिके सिरपर रखते समय कहीं भी तुम्हें “हाऊ” देखनेको मिला क्या? ओह! ऐसे बने हो, मानो क्षत्रियकुलके अगणित छिन्न नरमुण्डोंकी तुम्हें विस्मृति हो गयी हो, उस भीषण रक्तधाराको जैसे भूल गये हो। तुम परशुरामरूपमें अवतीर्ण हुए, महर्षि जमदग्निके पुत्र बने। हैहयाधिपति सहस्रार्जुनने तुम्हारे पिताकी कामधेनु हर ली थी; तुमने देखते-देखते अमितबलशाली सहस्रार्जुनको मार डाला, कामधेनु लौटा ली; किंतु सहस्रार्जुनके पुत्रोंने इसका अमानुषिक बदला लिया; तुम उस समय आश्रममें नहीं थे, वे अर्जुनपुत्र आये। तुम्हारी जननी रेणुकाने रो-रोकर उन्हें रोका भी; पर उन दुष्टोंने अपराधशून्य जमदग्निका सिर काट ही डाला, काटकर भाग गये। फिर तो तुम्हारे परशुसे माहिष्मती नगरी रक्तप्लावित हो उठी। माहिष्मतीके चौकपर दस सहस्र अर्जुनपुत्रोंके कटे सिरोंका पर्वत बन गया था। समस्त क्षत्रियकुल ही उस समय अत्याचारी बन गया था; इसलिये इसी निमित्तसे तुमने इक्कीस बार पृथ्वीको क्षत्रियहीन कर दिया, समन्तपञ्चक-तीर्थमें, कुरुक्षेत्रमें तुमने शोणितसे पूर्ण ह्रद बना दिये थे:
English translation
Now tell me, Kṛṣṇacandra, while measuring the universe in two strides and placing the third upon Bali's head, did you find Hāū anywhere? Ah, you behave as though you have forgotten the countless severed heads of the kṣatriya clans and that dreadful torrent of blood. You descended as Paraśurāma and became the son of the sage Jamadagni. Sahasrārjuna, king of the Haihayas, had stolen your father's wish-fulfilling cow. Before anyone could grasp what had happened, you slew the immeasurably powerful Sahasrārjuna and brought Kāmadhenu back. But Sahasrārjuna's sons took an inhuman revenge. While you were away from the hermitage, those sons of Arjuna came. Your mother Reṇukā wept and pleaded with them, yet those villains cut off the head of the innocent Jamadagni and fled. Your axe then flooded the city of Māhiṣmatī with blood. In its square rose a mountain of the severed heads of ten thousand sons of Arjuna. At that time the entire kṣatriya order had become oppressive. For this reason you rid the earth of kṣatriyas twenty-one times, and at the holy Samantapañcaka in Kurukṣetra you made lakes filled with blood:
Original
Sanskrit verse
त्रिःसप्तकृत्वः पृथिवीं कृत्वा निःक्षत्रियां प्रभुः।
समन्तपञ्चके चक्रे शोणितोदान् ह्रदान् नृप॥
(श्रीमद्भागवत ९।१६।१९)
English translation
Having rid the earth of kṣatriyas twenty-one times, the Lord formed at Samantapañcaka lakes filled with blood, O king.
(Śrīmad Bhāgavata 9.16.19)
Original
भला, बताओ, उस रक्तपातकी यात्रामें कहीं भी तुम्हें “हाऊ” दीख पड़ा क्या? अच्छा, इस क्षत्रियकुल-नाशन रूपको भूल जाओ। क्षत्रियकुलभूषण रघुकुलमणि नयनाभिराम, जलधरश्याम रामरूपको तो स्मरण करो; व्रजेन्द्रपुत्र! कौशलेन्द्रपुत्रकी लीला याद करो। श्रीअवधका वह आँगन, लक्ष्मणसहित विश्वामित्रका अनुगमन, मख-रक्षण, श्रीजनकनन्दिनी सीताके स्वयंवरमें धनुषभञ्जन, अनन्तगुणशालिनी वैदेहीका वरण, अवधपुर लौटते समय परशुरामका गर्वभञ्जन, पितु-आज्ञासे वनगमन, सीताहरण, समुद्रमें सेतुबन्धन, इन सबकी क्या तुम्हें विस्मृति हो गयी है? क्या दशमुख रावणके साथ युद्धकी घटना भी स्मरण नहीं? ओह! तुम्हारे बाणोंसे जर्जर हुई लङ्कानगरीके रणाङ्गणमें निकुम्भ, कुम्भ, धूम्राक्ष, दुर्मुख, सुरान्तक, नरान्तक, प्रहस्त, अतिकाय, विकम्पन, मेघनाद, कुम्भकर्णके शरीर निष्प्राण पड़े थे। तब दशमुख आया था। तुमने अपने धनुषपर संधान किये हुए बाणको उसपर छोड़ दिया; इस बाणने उसके वज्रहृदयको भी विदीर्ण कर दिया; दसों मुखोंसे रक्तकी धारा बह चली। क्षीण पुण्य हुए प्राणी जैसे स्वर्गसे गिर पड़ते हैं, वैसे ही वह विमानसे नीचे गिर पड़ा; पुरजन-परिजन हाहाकार कर उठे:
English translation
Tell me, then, did Hāū appear anywhere during that campaign of bloodshed? Very well, forget the form that destroyed the kṣatriya clans. Remember instead the form of Rāma, ornament of the kṣatriyas, jewel of the Raghu line, delight of the eyes, dark as a rain cloud. Son of Vraja's king, recall the pastimes of the son of Kauśalyā's lord: the courtyard of holy Ayodhyā, following Viśvāmitra with Lakṣmaṇa, protecting the sacrifice, breaking the bow at the svayaṃvara of Sītā, daughter of Janaka, choosing the infinitely virtuous Vaidehī as bride, crushing Paraśurāma's pride while returning to Ayodhyā, going to the forest at your father's command, Sītā's abduction, and building the bridge across the sea. Have you forgotten all these? Do you not remember the battle with ten-headed Rāvaṇa? Ah, in Laṅkā's battlefield, battered by your arrows, the lifeless bodies of Nikumbha, Kumbha, Dhūmrākṣa, Durmukha, Surāntaka, Narāntaka, Prahasta, Atikāya, Vikampana, Meghanāda, and Kumbhakarṇa lay fallen. Then the ten-headed one came. You released at him the arrow set upon your bow. It pierced even his thunderbolt-like heart, and streams of blood flowed from all ten mouths. Just as a being whose merit is exhausted falls from heaven, he fell from his aerial chariot, while townspeople and relatives cried out in anguish:
Original
Sanskrit verse
एवं क्षिपन् धनुषि सन्धितमुत्ससर्ज
बाणं स वज्रमिव तद्धृदयं बिभेद।
सोऽसृग् वमन् दशमुखैर्न्यपतद् विमानाद्
धाहेति जल्पति जने सुकृतीव रिक्तः॥
(श्रीमद्भागवत ९।१०।२३)
English translation
Thus he released the arrow fitted to his bow, and it pierced Rāvaṇa's heart like a thunderbolt. Vomiting blood from his ten mouths, he fell from the aerial car as the people cried, “Alas!” like one falling from heaven when emptied of merit.
(Śrīmad Bhāgavata 9.10.23)
Original
बोलो श्रीकृष्णचन्द्र! श्रीरामचन्द्रके रूपमें तो अवधसे लङ्कापर्यन्त घूमे हो, उस पथमें कहीं भी “हाऊ” तो नहीं दीखा?
English translation
Tell me, Kṛṣṇacandra, in the form of Śrī Rāmacandra you traveled all the way from Ayodhyā to Laṅkā. Did you see Hāū anywhere along that road?
Original
इस प्रकार बलराम आवेशमें बहुत कुछ बोल गये। जननी यशोदा किञ्चित् आश्चर्य करती हुई-सी सुन रही हैं। उन्हें इतना ही प्रतीत हो रहा है कि बलराम उमंगमें भरकर उनके इष्टदेव नारायणकी लीला गा रहे हैं। जननी सोचती हैं, समय-समयपर, नारायण-उत्सवके समय नटोंद्वारा अभिनीत लीलाएँ इसने देखी हैं, सूत-मागधोंके गान इसने सुने हैं, तीक्ष्णबुद्धि बालकको ये लीलाएँ स्मरण हो गयी हैं। वे हँसकर आँचलसे बलरामका मुख पोंछकर कहती हैं, “मेरे लाल बलराम! तू तो बड़ी-बड़ी बात सीख गया!” जननीका हँसना था कि बलरामके मुखका वह विचित्र तेज, वाणीका वह ओज, बाल्येतर सभी भाव अन्तर्हित हो गये। पुनः पूर्वकी माधुरी गौरमुखारविन्दपर खेलने लग जाती है। श्रीकृष्णके प्रवाल-जैसे अरुण अधरोंपर भी मन्द मुसकान तो अवश्य है, पर नेत्रकमलोंमें जननीवर्णित “हाऊ” की स्मृति, तज्जन्य भयके चिह्न भी झलक रहे हैं। हाँ, गोपसखाओंके मुखपर अत्यन्त आश्चर्य छाया हुआ है, बलरामकी बात सुनकर नहीं, आकाशपथमें देववृन्दोंका तुमुल जय-जयकार सुनकर। बालक “जय हो, जय हो,” यह ध्वनि सुन रहे हैं, पर सिर उठानेपर कुछ भी देख नहीं पाते!
English translation
In this way Balarāma, overcome by divine absorption, said a great deal. Mother Yaśodā listened with a touch of wonder. It seemed to her only that Balarāma, filled with enthusiasm, was singing the pastimes of her chosen deity Nārāyaṇa. She thought, “From time to time, during festivals of Nārāyaṇa, he has seen actors perform these pastimes and heard the songs of bards and heralds. This sharp-minded child has remembered them.” Laughing, she wiped Balarāma's face with the end of her veil and said, “My dear Balarāma, you have learned such grand things!” The moment she laughed, the extraordinary brilliance of Balarāma's face, the power of his voice, and every mood beyond childhood disappeared. His former sweetness once again played upon his fair lotus face. A gentle smile certainly rested upon Kṛṣṇa's coral-red lips, yet in his lotus eyes one could also glimpse the memory of the Hāū described by his mother and traces of the fear it had caused. The cowherd boys' faces, meanwhile, were covered in astonishment, not because of Balarāma's speech, but because they heard the tumultuous cries of victory raised by the hosts of gods in the sky. The boys heard the sound, “Victory, victory!” but when they lifted their heads, they could see nothing.
Original
बायीं ओर श्रीकृष्णचन्द्र, दाहिनी ओर बलराम एवं बीचमें जननी हैं; जननीकी अँगुली पकड़े दोनों घरकी ओर जा रहे हैं। पता नहीं कैसे, प्रासादसे तमालवनतकका इतना लंबा पथ क्षणभरमें ही समाप्त हो गया और जननी पुत्रोंको लिये द्वारके सामने आ गयीं। फिर भवनमें प्रवेश कर गयीं। अनेकों भोजन-सामग्रियाँ परोस-परोसकर बड़े स्नेहसे सखाओंके साथ पुत्रोंको भोजन करवाया, फिर उनके खेलमें स्वयं सम्मिलित हो गयीं।
English translation
Kṛṣṇacandra was on the left, Balarāma on the right, and their mother between them. Holding her fingers, both boys walked toward home. Somehow the long road from the tamāla grove to the palace ended in a single moment, and she arrived before the gate with her sons. She entered the house, lovingly served them many kinds of food, fed her sons together with their friends, and then joined their play herself.
Original
आजका दिन गया, संध्या आयी, रजनी आयी, उषा आयी, प्रभात आया। इसी क्रमसे, श्रीकृष्णचन्द्रकी आजकी क्रीड़ा समाप्त हुई। व्यारू हुई, वे सो गये, जननीकी तन्द्रा टूटी, श्रीकृष्णचन्द्रको उन्होंने जगाया। जगाकर, मुख धुलाकर, कलेवा कराकर शृङ्गार करके खेलनेकी अनुमति दे दी। स्वयं आँगनमें बैठकर दधिमन्थन करने लगीं। किंतु श्रीकृष्ण आज खेलने नहीं जाते। जननीके पास खड़े होकर तुरंतका मथित माखन माँगने लगते हैं। जननी इस माखनका मूल्य माँगती है। श्रीकृष्णचन्द्र भी मूल्य चुकानेमें संकोच नहीं करते। अमरवृन्दके आनन्दनादसे अन्तरिक्ष भर जाता है। ओह! त्रिभुवननाथ तो आज माखनके लोभसे नाच रहे हैं:
English translation
The day passed, evening came, night came, dawn came, and morning arrived. In this sequence Kṛṣṇacandra's play for that day ended. The evening meal was served, he went to sleep, and his mother's drowsiness broke. She awakened Kṛṣṇacandra, washed his face, gave him breakfast, adorned him, and permitted him to go play. She then sat in the courtyard and began churning yogurt. But today Kṛṣṇa did not go out to play. Standing near his mother, he began asking for the freshly churned butter. She demanded a price for it, and Kṛṣṇacandra did not hesitate to pay. The sky filled with the immortals' cries of joy. Ah, today the Lord of the three worlds dances out of desire for butter:
Original
Braj verses
जसुमति दधिमंथन करति, बैठी बर धाम अजिर,
ठाढ़े हरि हँसत नान्हि दँतियनि छबि छाजै।
चितबत चित लै चुराइ, सोभा बरनी न जाइ,
मनु मुनि-मन-हरन काज मोहिनि दल साजै॥
जननि कहति नाचौ तुम, दैहौं नवनीत मोहन,
रुनुक-झुनुक चलत पाइ, नूपुर-धुनि बाजै।
गावत गुन सूरदास, बाढ़्यौ जस धुव अकास,
नाचत त्रैलोकनाथ माखन के काजै॥
English translation
Yaśomatī sits in the courtyard of her splendid home, churning yogurt.
Hari stands smiling, the beauty of his tiny teeth spreading radiance.
With one glance he steals the heart. His beauty cannot be described.
It is as though Mohinī has marshaled her forces to enchant the minds of sages.
His mother says, “Dance, and I will give you fresh butter, Mohana.”
As his feet move with a tinkling rhythm, the music of his anklets rings.
Sūradāsa sings his virtues, and his fame grows firm across the sky.
The Lord of the three worlds dances for the sake of butter.