Original
श्रीकृष्णका कालियको अपने चारों ओर घुमाकर शान्त कर देना और फिर उसके फनोंपर कूदकर चढ़ जाना, ललित नृत्य करने लगना; देवताओंद्वारा सुमनवृष्टि तथा ऋषियोंद्वारा स्तवपाठ, गन्धर्वोंद्वारा गान एवं चारणोंद्वारा वाद्यसेवा; कालियका अन्त समयमें प्रभुको पहचान लेना और उनकी शरण वरण करना
English translation
Śrī Kṛṣṇa exhausts Kāliya by making him circle all around, leaps upon his hoods, and begins a graceful dance; the gods shower flowers, the sages recite hymns, the Gandharvas sing, and the Cāraṇas offer instrumental music; at the end of his life, Kāliya recognizes the Lord and takes refuge in him.
Original
हँस-हँसकर खेलते हुए श्रीकृष्णचन्द्र कालियके चारों ओर घूमने लगते हैं—इस प्रकार, मानो खगेन्द्र गरुड़ अपने भक्ष्य किसी क्षुद्र सर्पसे कौतुक करने लगे हों; तथा कालिय भी अवसरकी प्रतीक्षामें, पुनः अपने विषदन्तोंके द्वारा भीषण प्रहार करनेके उद्देश्यसे, नीलसुन्दरके समान ही चक्कर काट रहा है—
English translation
Laughing as he played, Śrī Kṛṣṇacandra began circling Kāliya, just as Garuḍa, king of birds, might sport with a petty serpent destined to become his prey. Kāliya likewise circled with the Dark Beauty, waiting for an opportunity to strike terribly once more with his venomous fangs.
Original
क्रीडन्नमुं परिससार यथा खगेन्द्रो बभ्राम सोऽप्यवसरं प्रसमीक्षमाणः।
(श्रीमद्भागवत १०।१६।२५)
English translation
Playing with him, Kṛṣṇa circled about like the king of birds, while Kāliya also wheeled around, watching closely for an opportunity.
(Śrīmad Bhāgavata 10.16.25)
Original
ताहि कृष्न घेरयौ चहु ओरा। मनहुँ खगेस घेर अहि घोरा॥
जेहि दिसि प्रभु तेहि दिसि ह्वै सोऊ। एहि बिधि भ्रमत फिरे तहँ दोऊ॥
ऐसें काली सौं बनमाली। खेलन लगे सकल गुन साली॥
बाम भाग दिए तिहि उर मेलत। जैसैं गरुड़ सर्प सौं खेलत॥
English translation
Kṛṣṇa encircled him on every side, as though the king of birds surrounded a dreadful serpent.
Whichever way the Lord turned, the serpent turned there as well. Thus the two continued circling one another.
In this way the forest-garlanded Lord, abode of every virtue, began playing with Kāliya.
Keeping the serpent upon his left, he met him breast to breast, just as Garuḍa plays with a snake.
Original
किंतु कालियके बलकी तो एक सीमा है। अनन्त अपरिसीम बलशालीसे होड़ करने जाकर वह कबतक टिक सकता था। देखते-देखते उसकी सम्पूर्ण शक्ति समाप्त हो गयी, घूम-घूमकर वह अत्यन्त श्रान्त हो गया। उसमें अब इतनी सामर्थ्य भी न रही कि अतिशय मन्द गतिसे भी नीलसुन्दरका अनुसरण कर सके। आखिर भ्रान्त-सा हुआ वह एक ओर खड़ा हो गया। दीर्घ निःश्वास आने लगे। आसन्नमृत्यु-जैसी उसकी दशा हो गयी। हाँ, उसके फन अब भी ऊपर ही उठे थे, जिनकी ओटसे अभिमान स्पष्टरूपसे झाँक रहा था। पर अब तो योजना दूसरी ही है। मदोन्मत्त कालिय स्वयं नतमस्तक न हो सका, न सही; करुणावरुणालय श्रीकृष्णचन्द्र उसे अपना चरणस्पर्श दान करनेके लिये चञ्चल हो उठे हैं, वे स्वयं उसे अतिशय विनम्र बनाकर ही छोड़ेंगे। और यह लो, वे दौड़ चले, द्रुतिगतिसे उसके समीप आ गये। उनका वह वामहस्त-कमल ऊपर उठा, सबसे ऊपर उठे हुए कुछ फनोंपर एक अत्यन्त हलकी थपकी-सी उन्होंने लगा दी। फिर तो न जाने उस किसलय-कोमल करमें कितना भार कालियको प्रतीत हुआ और वे उन्नत फन उस भारसे नमित हो ही गये। इतना ही नहीं, उनका वह पीत दुकूल विद्युत्-रेखा-सा झलमल कर उठा और पलक गिरते-न-गिरते नीलसुन्दर उन्हीं झुके हुए सुविस्तृत फनोंपर अनायास उछलकर चढ़ गये, ठीक ऐसे मानो उन्हें अपने शेषशायी स्वरूपकी स्मृति हो आयी हो और चिर अभ्यस्त होनेके कारण अपनी शय्यापर ही वे सुखपूर्वक आरोहण कर रहे हों!
English translation
Kāliya's strength, however, had a limit. How long could he endure after competing with the Infinite Lord of boundless power? Before long all his strength was exhausted, and the ceaseless circling left him utterly weary. He no longer possessed enough power to follow the Dark Beauty even at an exceedingly slow pace. At last, dazed, he stopped to one side. Long breaths escaped him, and his condition resembled approaching death. Yet his hoods remained raised, and pride still peered clearly from behind them.
Now, however, the Lord had another design. Proud Kāliya could not bow his own head, but that did not matter. Śrī Kṛṣṇacandra, the ocean of compassion, became eager to bestow the touch of his feet upon him and would make him profoundly humble himself. He ran swiftly toward the serpent. Raising his lotus left hand, he gave the highest of Kāliya's hoods the lightest tap. Yet Kāliya felt an unknown weight within that hand, soft as a new leaf, and the elevated hoods bent beneath it. The Lord's yellow silk flashed like a streak of lightning, and in less than the blink of an eye the Dark Beauty effortlessly leaped upon those broad, lowered hoods. It was as though he had remembered his form reclining upon Śeṣa and, through long familiarity, was comfortably mounting his own bed.
Original
एवं परिभ्रमहतौजसमुन्नतांस- मानम्य तत्पृथुशिरःस्वधिरूढ आद्यः।
(श्रीमद्भागवत १०।१६।२६)
English translation
Having thus depleted Kāliya's strength through circling, the primeval Lord bent down his raised shoulders and mounted the serpent's broad heads.
(Śrīmad Bhāgavata 10.16.26)
Original
बुझि गयौ ओज उरग कौ ऐसें। नाग दवन के देखत जैसें॥
× × ×
फिरि झपटि चढ़े फन पकरि हाथ। दै भार भरत गति अमित नाथ॥
× × ×
सोहैं नंद-सुबन तहँ ऐसें। सेस उपर नाराइन जैसें॥
English translation
The serpent's strength was extinguished, as though he had merely seen the subduer of serpents.
Then the immeasurable Lord sprang forward, caught a hood with his hand, mounted it, and filled it with his weight.
Nanda's son shone there like Nārāyaṇa upon Śeṣa.
Original
कालिय अपने इस अचिन्त्य सौभाग्यको अनुभव न कर सका, योगीन्द्र-मुनीन्द्र-दुर्लभ श्रीकृष्णचरण-सरोरुहका स्पर्श प्राप्तकर वह परम कृतार्थ हो चुका है, यह अनुभूति उसे नहीं हुई—यह सत्य है। पर अन्तरिक्ष तो ‘जय-जय’ नादसे तत्क्षण ही नादित हो उठा। ऐसे अत्यन्त अधम सर्पको भी अपनी कृपाका अयाचित दान व्रजेन्द्रनन्दन दे सकते हैं, यह प्रत्यक्ष देखकर देववृन्दके आनन्दका पार नहीं रहा है। उन सबके अपलक नेत्र केन्द्रित हो गये हैं—नीलसुन्दरके पदकमलोंपर ही। इस समय उन मृदुल चरणोंकी शोभा भी देखते ही बनती है। कालिय-मस्तकमें स्थित मणिसमूहोंके सम्पर्कमें आकर वे चरणाम्बुज अतिशय अरुणिम प्रतीत हो रहे हैं और अब देखो, नृत्यके तालबन्धका एक विचित्र-सा कम्पन उनमें भर आया है। ओह! स्पष्ट ही तो है—समस्त कलाओंके आदिगुरु ये व्रजेन्द्रनन्दन कालियफनोंपर नृत्य करने जो जा रहे हैं। एक प्राकृत नट भी अपनी कलाका प्रदर्शन करने जाकर, विविध आश्चर्यमय उपकरणोंके सहारे नाचकर अपने कौशलका परिचय देता है, मृत्तिकापात्रोंपर, आकाशमें टँगे रज्जु-खण्डपर, सूक्ष्म तारोंपर विविध तालबन्धोंकी रचना कर दर्शकको मुग्ध कर देता है। फिर अखिलकलाप्रवर्तक सकल-कलानिधि श्रीकृष्णचन्द्र कालिय-फनकी रङ्गशालामें ही अपनी कलाका दर्शन करायें, निर्निमेष नयनोंसे उनकी ओर ही देखते हुए अपने स्वजन व्रजपुरवासियोंके प्राणोंको शीतल करें, इसमें आश्चर्य ही क्या है। अतिशय चञ्चल कालियफनपर अखण्ड सुमधुर तालबन्धकी रचना एक असाधारण अभूतपूर्व कौशल जो होगी। इसीलिये लीलाविहारी इसीकी अवतारणा करने जा रहे हैं—नहीं-नहीं, कर चुके, उनका वह नृत्य आरम्भ हो गया—
English translation
Kāliya could not appreciate this inconceivable good fortune. He had attained supreme fulfillment by receiving the touch of Śrī Kṛṣṇa's lotus feet, a touch rare even for the greatest yogis and sages, yet he did not realize it. This is true. The heavens, however, instantly resounded with cries of “Victory! Victory!” The hosts of gods saw directly that Vrajendra's son could grant unsolicited grace even to such a degraded serpent, and their joy knew no bounds. Their unblinking eyes fixed themselves solely upon the Dark Beauty's lotus feet. How splendid those tender feet appeared! Contact with the masses of jewels upon Kāliya's heads made them seem intensely crimson, and now a strange vibration of rhythmic dance filled them.
It was clear that Vrajendra's son, the original master of every art, was about to dance upon Kāliya's hoods. Even an ordinary performer demonstrates his skill with many wondrous devices, dancing upon clay vessels, a length of rope suspended in the air, or fine wires, fashioning varied rhythms that enchant the audience. What wonder, then, if Śrī Kṛṣṇacandra, source and treasury of all arts, displayed his art upon the stage of Kāliya's hoods and soothed the hearts of his own people of Vraja, who gazed at him without blinking? To create an unbroken, exquisitely sweet rhythm upon Kāliya's exceedingly restless hoods would be an unprecedented and extraordinary feat. The enjoyer of divine play was about to reveal it. No, he had already done so. His dance had begun.
Original
तन्मूर्धरत्ननिकरस्पर्शातिताम्रपादाम्बुजोऽखिलकलादिगुरुर्ननर्त।
(श्रीमद्भागवत १०।१६।२६)
English translation
His lotus feet became intensely crimson from contact with the mass of jewels upon Kāliya's heads, and the original master of every art began to dance.
(Śrīmad Bhāgavata 10.16.26)
Original
पुनि ताके फनपर चढ़ि गए। सकल कला गुरु निर्तत भये॥
फनन तैं निकसि-निकसि मनि परै। पगन में झलमल-झलमल करै॥
तैसिय हरि-नख-मनि की जोति। सब दिसि जगमग-जगमग होति॥
English translation
Then he mounted the serpent's hoods, and the master of every art began to dance.
Jewels slipped out from the hoods and shimmered brightly upon his feet.
The jewel-like radiance of Hari's toenails likewise made every direction blaze with light.
Original
अस्तु, नीलसुन्दरके बिम्बविडम्बी अधरोंपर नित्य व्यक्त स्मितकी वह रेखा सहसा और भी स्फुट हो गयी। सलोने चञ्चल दृग एक बार अन्तरिक्षकी ओर मुड़े और फिर दूसरे ही क्षण श्रीअङ्गोंसे एक विचित्र मनोहर नृत्यकी गतियोंका क्रमशः प्रकाश होने लगा। जिनकी चरणसेविका मायानटीके नियन्त्रणमें अनन्त ब्रह्माण्ड सृष्ट होकर निरन्तर नाच रहे हैं, ब्रह्माण्डके प्रत्येक क्षुद्रतम धूलि-कणसे आरम्भ कर अतिशय महान् सुमेरुपर्यन्त जड़वर्ग एवं कोटाणुसे लेकर ब्रह्मापर्यन्त चेतन-समुदाय अनवरत नृत्य कर रहा है, वे मायाधिपति व्रजेन्द्रनन्दन आज स्वयं कालिय-फनपर नृत्य करने चले हैं! और इस समय इन नटवर-नागरको इतनी त्वरा है कि वीणा-झंकृतिकी, मृदङ्ग आदिके तालकी सहायता प्राप्त हुए बिना ही मञ्चपर उतर आये और नृत्य आरम्भ कर दिया है उन्होंने! वाद्ययन्त्र नहीं है, न सही। उनके मधुमय कण्ठसे निःसृत ‘थै-थै’ का अप्रतिम अभिनव झंकार ही पर्याप्त है। बस, दिग्दिगन्त गूँजने लगा है उनके श्रीमुखसे प्रसरित ‘थैया तथ-तथ, थैया थै-थै, थैया तथ’ के मधुर रवसे और वे स्वयं अपने मुखसे दिये हुए तालपर ही आनन्दित हुए नृत्य कर रहे हैं। अवश्य ही अन्तरिक्षमें अवस्थित उनके ‘तदीय’ जन—गन्धर्व, सिद्ध, सुर, चारण, सुरसुन्दरियोंकी आँखें खुलते देर न लगीं। सबके प्राणोंमें नादित हो उठा नीलसुन्दरके मधुस्यन्दी कण्ठका ‘थै-थै’ नाद और साथ ही जाग उठी अग्रिम कर्तव्यकी स्फूर्ति—
English translation
The ever-present line of a smile upon the Dark Beauty's lips, which put bimba fruit to shame, suddenly grew still more distinct. His lovely, restless eyes turned once toward the heavens, and in the next moment his divine limbs began revealing one enchanting movement of a wondrous dance after another. Under the direction of Māyā, the dancing maidservant at his feet, endless universes arise and continually dance. From the tiniest particle of dust to the immense Mount Sumeru, all insentient things dance without cease, while every conscious being, from microscopic life to Brahmā, dances as well. Today Vrajendra's son, Lord of Māyā, had himself come to dance upon Kāliya's hoods.
This supreme dancer was in such haste that he stepped upon the stage and began without waiting for the resonance of a vīṇā or the rhythm of a mṛdaṅga. If there were no instruments, no matter. The matchless new resonance of “thai, thai,” issuing from his honeyed throat, was enough. Every direction resounded with the sweet sounds “thaiyā tath-tath, thaiyā thai-thai, thaiyā tath” flowing from his divine mouth, while he danced in delight to the rhythm he himself uttered. His own attendants in the heavens, the Gandharvas, Siddhas, gods, Cāraṇas, and celestial women, quickly understood. The Dark Beauty's cry of “thai, thai” from his nectar-flowing throat resounded within all their hearts, and the awareness of their next duty awakened at once.
Original
वाद्यं विनैव स्वमुखेनैवोच्चारितैस्थैथैशब्दैः प्रभुर्नृत्यति तद्वयं कं समयं प्रतीक्षिता इति।
(सारार्थदर्शिनी)
English translation
“The Lord dances without instruments, keeping rhythm solely with the sounds ‘thai, thai’ uttered from his own mouth. For what moment, then, are we waiting?”
(Sārārthadarśinī)
Original
‘ओह! बिना वाद्यके ही अपने मुखसे उच्चारित ‘थै-थै’ शब्दके तालपर ही प्रभु नृत्य कर रहे हैं; फिर हमलोग किस समयकी बाट देख रहे हैं।’
English translation
“The Lord is dancing without instruments, keeping time with the sound ‘thai, thai’ uttered from his own mouth. What occasion are we waiting for?”
Original
अब तो कहना ही क्या है। प्रेममग्न उन गन्धर्वोंने नीलसुन्दरकी ताल एवं लयमें अपनी ताल-लय मिलाकर उनकी गुणावलीकी मधुर तान छेड़ दी। स्नेहपूरित हुए स्वर्ग-चारणगण मृदङ्ग, पणव, आनक आदि वाद्य-यन्त्रोंकी ताल श्रीकृष्णचन्द्रके चरणविन्याससे एककर ताल देने लगे। मधुर गीत गाते हुए देवगण एवं देववधुओंने नन्दनकाननसे मन्दार, पारिजात आदि पुष्पोंका चयन किया; क्षणभरमें सबने ही राशि-राशि कुसुमोंसे अपने दुकूल, अञ्चल-अञ्जलि भर लिये और श्रीकृष्णचन्द्रके चरणप्रान्तमें कुसुमोंकी अविरल धारा बरसने लगी। सचमुच ही सुरगण एवं सुरसुन्दरियोंके द्वारा प्रक्षिप्त, स्नेहसिक्त प्रसूनोंसे कलिन्दकन्याका प्रवाह, हृदका कूल सम्पूर्णतया आस्तृत होने लगा। व्रजेन्द्रनन्दनका माहात्म्य-कीर्तन करते हुए सिद्धगणोंने हरिचन्दन, कुङ्कुम आदि दिव्य सौरभमय विविध चूर्णोंके उपहार बिखेर दिये; समस्त दिशाएँ आमोदित हो उठीं और उधर ऋषिगणोंका स्तवपाठ भी आरम्भ हो गया। सभी अपना सर्वस्व समर्पितकर श्रीकृष्णचन्द्रकी सेवामें तत्क्षण उपस्थित हो गये—
English translation
What more need be said? Absorbed in love, the Gandharvas joined their rhythm and melody to those of the Dark Beauty and began a sweet song celebrating his virtues. Filled with affection, the celestial Cāraṇas matched the beats of mṛdaṅgas, paṇavas, ānakas, and other instruments to the placement of Śrī Kṛṣṇacandra's feet. Singing sweetly, the gods and celestial women gathered mandāra, pārijāta, and other flowers from Nandana Garden. Within moments they filled their garments, hems, and cupped hands with heaps of blossoms, and an unbroken stream of flowers began falling around Śrī Kṛṣṇacandra's feet. Flowers cast by the gods and celestial beauties and saturated with their love completely covered the current of Yamunā and the bank of the lake. Singing the majesty of Vrajendra's son, the Siddhas scattered offerings of fragrant celestial powders such as sandalwood and kuṅkuma. Every direction became perfumed, while the sages began reciting hymns. Offering everything they possessed, all appeared at once to serve Śrī Kṛṣṇacandra.
Original
तं नर्तुमुद्यतमवेक्ष्य तदा तदीय- गन्धर्वसिद्धसुरचारणदेववध्वः। प्रीत्या मृदङ्गपणवानकवाद्यगीत- पुष्पोपहारनुतिभिः सहसोपसेदुः॥
(श्रीमद्भागवत १०।१६।२७)
English translation
Seeing him poised to dance, his Gandharvas, Siddhas, gods, Cāraṇas, and celestial women immediately approached in love, offering mṛdaṅgas, paṇavas, ānakas and other instruments, songs, flowers, gifts, and hymns of praise.
(Śrīmad Bhāgavata 10.16.27)
Original
थैया तथतथ थैया थै थै थैया तथेति गन्धर्वाः। तालं पाठं वादनमारेभिरे उच्चकैर्मुदिताः॥
(श्रीआनन्दवृन्दावनचम्पूः)
English translation
Crying aloud in delight, “thaiyā tath-tath, thaiyā thai-thai, thaiyā tath,” the Gandharvas began marking the rhythm, reciting the dance syllables, and playing their instruments.
(Śrī Ānandavṛndāvanacampū)
Original
प्रभु कहँ नचत देखि सुर-चारन। आए बनि-बनि सेवा कारन॥
देवबधू गावहिं पिकबैनी। अप्सरा संग मिली मृगनैनी॥
पनव मृदंग आदि बहु बाजे। भिन्न भिन्न नाना बिधि राजे॥
करि अस्तुति, सुरसिद्ध गन, सुमन बरषि हरखाइ॥ नचत सु कालीके फननि, कृष्ण देखि सुख पाइ॥
English translation
Seeing the Lord dance, the gods and Cāraṇas came in splendid array to offer service.
The doe-eyed celestial women sang with voices like cuckoos, joining the hosts of Apsarās.
Paṇavas, mṛdaṅgas, and many other instruments sounded, each splendid in a different way.
The gods and Siddhas offered praise and joyfully showered flowers. They found delight in seeing Kṛṣṇa dance upon Kāliya's hoods.
Original
× × ×
सिर डुलति चंद्रिका सरिस माल। कुंडलनि गंड मंडत रसाल॥
जुरि गंधर्व आए समय जान। सुरबधू अपछरा करहि गान॥
सुर भरहि तार दै-दै उचार। बीनादि जंत्र बाजैं अपार॥
English translation
As his head moved, his necklace swayed like moonlight, and his earrings beautifully adorned his cheeks.
Recognizing the moment, the Gandharvas assembled, while celestial women and Apsarās sang.
The gods filled the high register with repeated notes, and countless instruments such as vīṇās resounded.
Original
श्रीकृष्णचन्द्र और भी उत्साहमें भरकर नृत्य करने लगते हैं। गन्धर्वोंका स्तवन जिस क्रमसे चल रहा है, उनकी गद्य-पद्यमयी स्तुति जिस प्रवाहमें व्यक्त हो रही है उसीके अनुरूप ही ताल-संकेतकी व्यञ्जना भी हो रही है तथा अखिल-कलानिधि श्रीकृष्णचन्द्र भी उसी ताल एवं वृत्तमें बँधे हुए ही नृत्य कर रहे हैं। कहीं भी स्खलन नहीं, स्वरका व्यतिक्रम नहीं। साथ ही कालियके एक फनसे दूसरे फनपर वे चले गये हैं, यह तो दीख पड़ता है और वे गये हैं ठीक तालके विरामके समय ही; परंतु स्थान-परिवर्तन करते समय सिद्ध, चारण, गन्धर्व आदि किसीने भी उन्हें सचमुच देखा हो, यह कहते बनता नहीं। बलिहारी है नीलसुन्दरकी इस कलाकी!
English translation
Śrī Kṛṣṇacandra danced with still greater enthusiasm. The Gandharvas' praise proceeded in a particular sequence, their prose and verse flowing in a particular current, and the signals of rhythm arose in exact accord with it. Śrī Kṛṣṇacandra, treasury of every art, danced within that same rhythm and meter. There was no faltering anywhere and no deviation in pitch. Everyone could see that he had passed from one of Kāliya's hoods to another, always precisely at a pause in the rhythm. Yet no Siddha, Cāraṇa, Gandharva, or other witness could say that he had actually seen the Lord while he changed position. All glory to this art of the Dark Beauty!
Original
उद्घाटयन्ति शब्दं तालं पाठं च ते यथा विरुदम्। अयमपि तथैव नृत्यति फणिनः फणतः फणान्तरं गच्छन्॥
(श्रीआनन्दवृन्दावनचम्पूः)
English translation
As they unfold the song, rhythm, and dance syllables according to the hymn of praise, he dances in precisely the same way, passing from one hood of the serpent to another.
(Śrī Ānandavṛndāvanacampū)
Original
और कुछ ही क्षणोंके अनन्तर गन्धर्व-चारणोंकी कला कुण्ठित होने लगी। नृत्य एक शास्त्र है, उसके निर्धारित नियम हैं। गति-विन्यासका कौशल तो कोई अपेक्षाकृत एक-दूसरेसे अधिक प्रदर्शित कर सकता है। दर्शकके हृतारोंको झंकृत कर देनेकी सामर्थ्य सभी नर्तकोंमें समान हो ही नहीं सकती; किंतु प्रत्येक नर्तक ही नृत्य-परम्पराकी सीमामें ही रहता है, कभी उसका अतिक्रमण नहीं करता। नृत्यविशेषमें जो उसकी स्वतन्त्रता रहती है, एक नवीनताका भान जो वह अपने दर्शकोंको करा देता है, वह भी नृत्य-कलाकी एक नियमगत वस्तु ही है; किंतु यहाँ तो व्रजेन्द्रनन्दन देखते-देखते ही सर्वथा स्वकल्पित गतिसे ही नृत्य करने लगते हैं। परम स्वतन्त्र व्रजेन्द्रनन्दनके द्वारा नृत्यकी यह गति-रचना है तो अत्यधिक मनोहर, अत्यन्त मोहक; पर चारण-गन्धर्वोंने कहाँ शिक्षा पायी है ऐसी अद्भुत कलाकी! कब देखा है उन सबने ऐसा प्राणोन्मादी उद्दाम नृत्य? इसीलिये अब सम्भव ही नहीं रहा कि वे श्रीकृष्णचन्द्रके कण्ठमें कण्ठ मिलाकर उनके गीतमें योगदान कर सकें, वाद्ययन्त्रोंको उनके तालमें बाँधे रखकर चल सकें; यहाँतक कि वे ताल-पाठका संकेत भी उच्चारण कर सकें, यह क्षमता भी उनमें न रही—
English translation
Within a few moments, however, the art of the Gandharvas and Cāraṇas began to fail. Dance is a discipline governed by established rules. One performer may display more skill in arranging movements than another, and not every dancer has equal power to make the strings of an audience's heart resound. Yet every dancer remains within the limits of the dance tradition and never transgresses them. Even a dancer's apparent freedom within a particular dance, the sense of novelty conveyed to the audience, is itself governed by the rules of the art.
Here, however, Vrajendra's son suddenly began dancing through movements conceived entirely by himself. The movement created by the supremely independent Lord was exquisitely beautiful and captivating, but where had the Cāraṇas and Gandharvas ever learned such a wondrous art? When had they ever seen such an unrestrained dance that drove the heart into ecstasy? They could no longer join their voices with Śrī Kṛṣṇacandra's song, keep their instruments bound to his rhythm, or even pronounce the signals of the dance syllables.
Original
निजकल्पितया गत्या नृत्यति कृष्णो यथा स्वैरी। न तदनुरूपं गातुं पठितुमप्यमी शेकुः॥
(श्रीआनन्दवृन्दावनचम्पूः)
English translation
Kṛṣṇa, perfectly free, dances with movements of his own invention. The celestial performers could neither sing nor even recite in a manner that matched them.
(Śrī Ānandavṛndāvanacampū)
Original
कौन बताये उन चारण-गन्धर्वोंको—‘अरे! कालियके अन्तस्तलके स्पन्दनपर ही तो व्रजेन्द्रनन्दनकी गति निर्भर करती है।’ उसकी स्तब्धताको आत्यन्तिक रूपसे हर लेनेके लिये ही तो नीलसुन्दरने उसके फनोंपर अपनी रङ्गशालाका निर्माण किया है। पर कालियकी बहिर्मुखता भी अपनी जातिकी एक ही है। वह न जाने रोष-प्रतिशोधकी किन-किन लहरोंमें बह रहा है। भक्तवाञ्छाकल्पतरु व्रजेन्द्रनन्दनको अपने मस्तकपर अवस्थित अनुभव करके वह आनन्दसिन्धुमें सदाके लिये निमग्न न हो सका; अपितु वह तो यह सोच रहा है कि कहीं, तनिक-सा भी अवसर मिल जाय और वह इस ‘शिशु’ को तपनतनयाके प्रवाहमें फेंक दे। इसीलिये रह-रहकर उसके फन उठते हैं; जिस फनमें तनिक भी शक्तिका अनुभव उसे होता है, उसे ही वह ऊपर उठाता है तथा उस साँवरे शिशुको दबोच लेनेका स्वप्न देखता है। सहस्र फन उसके हैं। उनमें एक शत मुख्य हैं तथा उन सौमें ही निरन्तर अत्यन्त उग्र विषका कुण्ड धक्-धक् जलता रहता है और इन्हींमेंसे किसी फनको उठाकर उसका समस्त विष व्रजेन्द्रनन्दनपर उँडेलकर वह उन्हें भस्म कर देना चाहता है; किंतु होता यह है कि जो भी फन नमित नहीं दीखते, ठीक उन्हींपर श्रीकृष्णचन्द्रका पाद-प्रहार होने लगता है। नृत्यके आवेशमें, एक नयी गतिका सृजन करके अपनी अतिशय मनोरम भङ्गिमाको अक्षुण्ण रखते हुए ही, वे उसी फनको बारंबार तालका विरामस्थल बना लेते हैं; वही मस्तक उनकी रङ्गस्थलीमें परिणत हो जाता है और फिर उनके चरण-प्रहारसे टूटकर वह नीचेकी ओर झुक पड़ता है। इस प्रकार एक ओर तो श्रीकृष्णचन्द्र ताण्डवका रस ले रहे हैं, पर साथ ही आनुषङ्गिकरूपसे खल-संयमनकी लीला भी सम्पन्न होती जा रही है। हाँ, कालियके लिये तो अब उसके जीवनदीप बुझते-से दीख रहे हैं। कितनी देरतक वह सह सकता था उनकी ताड़नाको। बार-बारके पदाघातसे उसका एक-एक फन टूट-टूटकर नीचेकी ओर लटकने लगा है। मुखसे, नासाविवरसे अनर्गल रक्तकी धारा बहने लगी है। अत्यधिक व्यथाके भारसे वह मूर्च्छित होने लगा है—
English translation
Who could tell those Cāraṇas and Gandharvas, “The movement of Vrajendra's son depends upon the very throbbing within Kāliya's heart”? The Dark Beauty had built his stage upon the serpent's hoods precisely to remove that inner rigidity completely. Yet Kāliya's outward-turned consciousness was singular even among his kind. No one could say through what waves of rage and revenge he was drifting. Though he felt Vrajendra's son, the wish-fulfilling tree of devotees' desires, standing upon his heads, he could not sink forever into the ocean of bliss. Instead, he thought only of finding the slightest opportunity to cast this “child” into the current of Yamunā, daughter of the sun.
Thus his hoods rose again and again. Whenever he felt even a trace of strength in one, he raised it and dreamed of seizing the dark child. He possessed a thousand hoods, of which one hundred were principal. Within those hundred, pools of fierce venom continually blazed. Kāliya wished to lift one of them, pour all its poison upon Vrajendra's son, and burn him to ashes. Yet every hood that did not appear bowed immediately received a blow from Śrī Kṛṣṇacandra's foot. Absorbed in the dance, the Lord created a new movement while preserving his supremely graceful posture and repeatedly made that very hood the resting point of the rhythm. That head became his stage and then broke beneath the blow of his foot and bent downward.
Thus Śrī Kṛṣṇacandra savored the rasa of the tāṇḍava dance while, as a natural accompaniment, completing the divine play of subduing the wicked. Kāliya now saw the lamp of his life beginning to go out. How long could he endure the Lord's chastisement? Repeated blows from those feet broke his hoods one after another, leaving them hanging downward. Unchecked streams of blood flowed from his mouth and nostrils, and the burden of overwhelming pain made him lose consciousness.
Original
यद् यच्छिरो न नमतेऽङ्ग शतैकशीर्ष्ण- स्तत्तन्ममर्द खरदण्डधरोऽङ्घ्रिपातैः। क्षीणायुषो भ्रमत उल्बणमास्यतोऽसृङ् नस्तो वमन् परमकश्मलमाप नागः॥
(श्रीमद्भागवत १०।१६।२८)
English translation
Dear king, whenever one of the hundred and one heads would not bow, the Lord, chastiser of the cruel, crushed it beneath the blows of his feet. Kāliya's life nearly spent, the serpent reeled about, violently vomiting blood from his mouth and nostrils, and fell into extreme anguish.
(Śrīmad Bhāgavata 10.16.28)
Original
प्रभु तजत उरग के नमित सीस। जे उन्नत, तिन पर नचत ईस॥
निरतत नंद-किसोर जोर पगतल हनि फन-फन। गावत अंबर चढ़े अमर-किंनर-गंध्रप-गन॥
फिरि भर तालनि अनक फनिक फिरि फेनहि डारतु। बमतु रुधिर मुख धार, भार, नहिं अंग सम्हारतु॥
जोइ-जोइ फन अहि उन्नत करै। तहँ तहँ पाँव कान्ह कौ परै॥
पगन की कूटनि दुखित जु भयौ। सर्प कौ दर्प सबै गिरि गयौ॥
English translation
The Lord left untouched the serpent's bowed heads, but danced upon each one that remained raised.
Nanda's young son danced, striking hood after hood forcefully with his feet, while the gods, Kinnaras, and Gandharvas in the heavens sang.
Again he filled the rhythm upon many a hood, while the serpent cast forth foam. Blood streamed from his mouth, and beneath that weight he could no longer control his body.
Whichever hood the serpent raised, there Kṛṣṇa's foot descended.
Tormented by the pounding of those feet, all the serpent's pride collapsed.
Original
आकाशसे अभी भी प्रसूनोंकी वृष्टि हो ही रही है। देवद्रोही इस कालियके गर्वको प्रभुने हर लिया—यह दर्शन देव-समाजके कण-कणको आनन्दित कर दे रहा है। उन्हें तृप्ति नहीं हो रही है नीलसुन्दरके चरणसरोरुहमें कुसुमोंका अभिनन्दन समर्पित करनेसे। और क्या पता—शेषशायी पुराणपुरुषके पादारविन्दमें पाद्य, अर्घ्य, सुमन समर्पित करनेका अवसर तो उन्हें कितनी बार मिल चुका है; पर वहाँ इन नृत्यपरायण नीलसुन्दरकी बङ्किम झाँकी कहाँ? और इसी उल्लासमें ही उनके पुष्पवर्षण—पुराण-पुरुषके पूजनका विराम नहीं हो रहा है!
English translation
Flowers continued raining from the sky. The sight of the Lord removing the pride of this enemy of the gods filled every member of the celestial assembly with joy. They could not satisfy themselves by offering the welcome of flowers at the Dark Beauty's lotus feet. Perhaps they had received many opportunities to offer water, arghya, and blossoms at the lotus feet of the primeval Lord reclining upon Śeṣa, but where in that form had they seen the curving beauty of this Dark Lord absorbed in dance? In such exultation, their shower of flowers, their worship of the primeval Lord, would not cease.
Original
... पुष्पैः प्रपूजित इवेह पुमान् पुराणः॥
(श्रीमद्भागवत १०।१६।२९)
English translation
... the primeval Person appeared here as though worshiped with flowers.
(Śrīmad Bhāgavata 10.16.29)
Original
तेहि-तेहि समै देव-गंधर्बा। किंनर, चारन, मुनिगन सर्बा॥
जसुदानंदन कहँ सब आई। पूजहिं सुमन सुरभि सुख पाई॥
सेषासन जनु पुरुष पुराना। पूजेउ एहि बिधि करि सनमाना॥
English translation
At that very moment the gods and Gandharvas, Kinnaras, Cāraṇas, and all the sages assembled.
They all came to Yaśodā's son and joyfully worshiped him with fragrant flowers.
It was as though the primeval Person reclining upon Śeṣa were being honored and worshiped in this manner.
Original
जो हो, अब कालियका गर्व शमित हो चुका था। उसकी शारीरिक शक्ति तो पूर्णतया क्षीण हो ही चुकी थी; निराश मन भी चिर-निद्रामें प्रविष्ट होने चला। किंतु ठीक यही अपेक्षित क्षण जो है, अवसर है श्रीकृष्णचरण-नख-चन्द्रिकाके आलोकसे अन्तस्तल उद्भासित हो उठनेका। और यही हुआ। कालियके मन, बुद्धि, इन्द्रियों एवं प्राणोंमें एक ज्योति-सी जाग उठी और उसने उसी प्रकाशमें व्रजेन्द्रकुलचन्द्रके स्वरूपको पहचान लिया। ‘पर हाय! शरीरमें तो अब शक्ति नहीं कि वह स्पन्दित भी हो सके, श्रीकृष्णचन्द्रके चरण-सरोजोंमें न्योछावर हो सके! अब क्या हो! बहुत विलम्ब हो गया...!’ फिर भी अन्तिम श्वासकी-सी अवस्थामें कालिय मन-ही-मन पुकार उठा—
English translation
Kāliya's pride was now subdued. His physical strength had been completely exhausted, and his despairing mind was about to enter the sleep of death. Yet this was precisely the awaited moment, the opportunity for his inner being to become illumined by the moonlight of Śrī Kṛṣṇa's toenails. And so it happened. A light arose within Kāliya's mind, intellect, senses, and vital breath, and in that radiance he recognized the true nature of the moon of Vrajendra's dynasty. “Alas, no strength remains in my body even to move, much less to offer itself at Śrī Kṛṣṇacandra's lotus feet! What can I do now? I have delayed too long!” Even so, in a condition resembling his final breath, Kāliya cried out within his mind.
Original
सरन-सरन अब मरत हौं, मैं नहिं जान्यौ तोहि॥
English translation
Shelter, shelter! I am dying now, for I did not recognize you.
Original
स्मृत्वा चराचरगुरुं पुरुषं पुराणं नारायणं तमरणं मनसा जगाम॥
(श्रीमद्भागवत १०।१६।३०)
English translation
Remembering the primeval Person Nārāyaṇa, teacher of all moving and unmoving beings, he sought refuge in him within his mind.
(Śrīmad Bhāgavata 10.16.30)
Original
साथ ही उस ओर नाग-वनिताओंपर योगमायाके द्वारा प्रसारित वह आवरण भी सहसा हट गया। युग-युगसे जिन व्रजेन्द्रनन्दनको वे अपना मन-प्राण समर्पित कर चुकी थीं, प्राणोंकी उत्कण्ठा लिये जिनकी प्रतीक्षा कर रही थीं, वे ही जब उनके आवासमें स्वयं पधारे, तब उन सबने—दर्शनसे कृतार्थ होकर भी—उन्हें नहीं पहचाना। हाँ, इस समय अकस्मात् अपने-आप—जाने कैसे हृत्पटल आलोकित हो उठा और उन सबने देख लिया, जान लिया—‘हमारे चिरजीवनके आराध्य प्राणाधार ही तो वहाँ विराजित हो रहे हैं।’ किंतु पतिदेव—आह! वे तो महाप्रयाणकी ओर अग्रसर हो रहे हैं। नागवधुएँ तत्क्षण उपस्थित हो जाती हैं श्रीकृष्णचन्द्रके चरण-प्रान्तमें ही—
English translation
At the same moment, the covering spread over the serpent women by Yogamāyā suddenly withdrew. For ages they had offered mind and life to Vrajendra's son and awaited him with intense longing. Yet when he personally entered their dwelling, they failed to recognize him even though his vision fulfilled them. Now, suddenly and somehow, their hearts became illumined of themselves, and they saw and understood: “The worshipful support of our lives through all time is seated there.” But their husband, alas, was approaching his final departure. The serpent women immediately came before Śrī Kṛṣṇacandra's feet.
Original
गति सबल अबल स्वाँसानि बल, हहरि सुहिय लहरातु घट। लखि बिकल ब्याल काली सिथिल, तब आई अबला निकट॥
English translation
The wives gathered the strength of their breath and moved forward, their tender hearts surging within them. Seeing the serpent Kāliya distressed and weakened, the helpless women then drew near.