Kelimālā Pada 61
Sourceराग कल्यान डोलत झूलत बिहारी बिहारिनि राग रमि रहोौ। काहू के हाथ अधोटी काहू के वीन काहू के मृदंग कोऊ गहैं तार काहू कें अरगजा छिरकत रंग रह्यौ॥ डॉंड़ीं छाड़ें खेल बढ़्यौ जु परस्पर नहिं जानियत पग क्यौं रह्यौ। श्रीहरिदास के स्वामी स्यामा कुंजबिहारी कौ खेल खेलत काहू न लह्यौ॥
rāga kalyāna ḍolata jhūlata bihārī bihārini rāga rami rahoau| kāhū ke hātha adhoṭī kāhū ke vīna kāhū ke mṛdaṃga koū gahaiṃ tāra kāhū keṃ aragajā chirakata raṃga rahyau|| ḍaॉṃr̤īṃ chār̤eṃ khela bar̤hyau ju paraspara nahiṃ jāniyata paga kyauṃ rahyau| śrīharidāsa ke svāmī syāmā kuṃjabihārī kau khela khelata kāhū na lahyau||
English translation
Bihārī and Bihāriṇī are swaying in a swing, love’s melody has spread; In one person’s hands the adhotī, in another’s the vīṇā, in another’s the drum - someone holds the cymbals - in another’s coloured perfume, continually sprinkling joy. When [they] let go of the swing-rope, [their] mutual play intensified, nobody knew how to stop [their] feet; Nobody has experienced the game-playing of Haridās's sovereigns Śyāmā and Kuñjabihārī.
Normalized Braj controlled against the 1961/62 Mittal witness; English follows Rosenstein's complete critical translation, with note calls and obvious ABBYY spacing/name artefacts removed.
Kelimālā Pada 62
Sourceराग कल्यान हमारौ दान मार्यौ इनि; रातिनि बेचि बेचि जात। घेरौ सखा जानि ज्यौं न पावैं छियौ जिनि।। देखौ हरि के ऊज उठाइवे की बात राति विराति बहू बेटी काहू की निकसति है पुनि। श्रीहरिदास के स्वामी की प्रकृति न फिरी छिया छाँड़ौ किनि ।।
rāga kalyāna hamārau dāna māryau ini; rātini beci beci jāta| gherau sakhā jāni jyauṃ na pāvaiṃ chiyau jini|| dekhau hari ke ūja uṭhāive kī bāta rāti virāti bahū beṭī kāhū kī nikasati hai puni| śrīharidāsa ke svāmī kī prakṛti na phirī chiyā chā~r̤au kini ||
English translation
She did not pay tribute to me. She goes in the nights to sell: Surround her, oh friends, so that she cannot leave. [Rādhā says]: ‘Do not touch [me]!’ Mark Hari’s troublesome talk! Besides, whose wives and daughters go out in the middle of the night? Haridās's sovereign’s nature has not changed. Why don’t you give up this bad disposition?
Normalized Braj controlled against the 1961/62 Mittal witness; English follows Rosenstein's complete critical translation, with note calls and obvious ABBYY spacing/name artefacts removed.
Kelimālā Pada 63
Sourceराग कल्यान गुन रूप भरी विधिना सँवारी दुहूँ कर कंकन एक एक सोहै। छूटे बार गरें पोति दिपति मुख की जोति देखि देखि रीझे तोहिं प्रानपति नैन सलौनी मन मोहै।। सब सखीं निरखि थकित भईं आली ज्यौं ज्यौं प्रानप्यारौ तेरौ मुख जोहै। रस बस करि लीने श्रीहरिदास के स्वामी स्यामा तेरी उपमा कौं कहिधौं को है।।
rāga kalyāna guna rūpa bharī vidhinā sa~vārī duhū~ kara kaṃkana eka eka sohai| chūṭe bāra gareṃ poti dipati mukha kī joti dekhi dekhi rījhe tohiṃ prānapati naina salaunī mana mohai|| saba sakhīṃ nirakhi thakita bhaīṃ ālī jyauṃ jyauṃ prānapyārau terau mukha johai| rasa basa kari līne śrīharidāsa ke svāmī syāmā terī upamā kauṃ kahidhauṃ ko hai||
English translation
The creator made you full of qualities and beauty; a single bracelet gleams on each arm; Your hair loose, beads shine on your neck, looking at the lustre of your face again and again the eyes of the beloved find delight in you, the beautiful one charms his heart; Just as your beloved gazes at your face, so all the sakhīs stood watching in awe, my friend; Oh Haridās's sovereign Śyāmā, you have made [Kṛṣṇa] subject to desire, tell me then, to whom can you be likened?
Normalized Braj controlled against the 1961/62 Mittal witness; English follows Rosenstein's complete critical translation, with note calls and obvious ABBYY spacing/name artefacts removed.
Kelimālā Pada 64
Sourceराग कल्यान अजहूँ कहा कहति है री मारै नैन आरनि। भौहैं ज्यौं धनुष चितवनि बान बॉंफिन फोंक धरें कहत स्याम प्यारनि॥। तू ही जीवन तू ही भूषन तू ही प्रान धन यारनि। श्रीहरिदास के स्वामी स्यामा कुंजबिहारी सौं मेरु भयो बिहारनि॥
rāga kalyāna ajahū~ kahā kahati hai rī mārai naina ārani| bhauhaiṃ jyauṃ dhanuṣa citavani bāna baॉṃphina phoṃka dhareṃ kahata syāma pyārani||| tū hī jīvana tū hī bhūṣana tū hī prāna dhana yārani| śrīharidāsa ke svāmī syāmā kuṃjabihārī sauṃ meru bhayo bihārani||
English translation
What are [you] saying just now, oh friend, as you strike with the awl of your eyes? [Your] eyebrows are like bows, the notches of [your] eyelashes hold the arrows of [your] glances, says Śyāmā to his beloved; You alone are my life now, you alone are my adornment, you alone are my life’s treasure, oh friend; Haridās's sovereign Śyāmā Bihāriṇī became united with Kuñjabihārī, oh friend.
Normalized Braj controlled against the 1961/62 Mittal witness; English follows Rosenstein's complete critical translation, with note calls and obvious ABBYY spacing/name artefacts removed.
Kelimālā Pada 65
Sourceराग सारंग प्यारी तू गुननि राइ सिरमौर। गति में गति उपजति नाना राग रागिनी तार मंदर सुर घोर।। काहू कछू लियौ रेख छाया तौ कहा भयौ झूठी दौर। कहिं श्रीहरिदास लेत प्यारी जू के तिरप लागनि में किसोर।।
rāga sāraṃga pyārī tū gunani rāi siramaura| gati meṃ gati upajati nānā rāga rāginī tāra maṃdara sura ghora|| kāhū kachū liyau rekha chāyā tau kahā bhayau jhūṭhī daura| kahiṃ śrīharidāsa leta pyārī jū ke tirapa lāgani meṃ kisora||
English translation
Oh beloved, you are the paragon among the kings of skills; Movement leads to movement in the various rāgas and rāgiṇīs, with resonant tones high and low; If somebody has acquired something [of your skills], so what? It is a false endeavour, only a semblance of your perfection; Haridās says: Kiśora adopts the beloved’s hand-gestures in the laga steps.
Normalized Braj controlled against the 1961/62 Mittal witness; English follows Rosenstein's complete critical translation, with note calls and obvious ABBYY spacing/name artefacts removed.
Kelimālā Pada 66
Sourceराग सारंग प्यारी तोपै कितौक संग्रह छबिन कौ अंग अंग प्रति नाना भाइ दिखावति। हाथ किन्नरी मध्य सचु पाँइ सुलप राग रागिनी सौं तू मिलि गावति।। कहा कहौं एक जीभ गुन अगनित हारि पर्यौ कछु कहत न आवति। श्रीहरिदास के स्वामी स्यामकहत री प्यारी तू जे जे भाइ ल्यावति।।
rāga sāraṃga pyārī topai kitauka saṃgraha chabina kau aṃga aṃga prati nānā bhāi dikhāvati| hātha kinnarī madhya sacu pā~i sulapa rāga rāginī sauṃ tū mili gāvati|| kahā kahauṃ eka jībha guna aganita hāri paryau kachu kahata na āvati| śrīharidāsa ke svāmī syāmakahata rī pyārī tū je je bhāi lyāvati||
English translation
Oh beloved, how great a collection of beauty there is about you, your each and every limb shows many kinds [of splendour]; Through the kinnarī in your hands bliss is obtained, [you accompany] the sulapa dance, [you] sing in harmony with rāgas and rāgiṇīs; What can I say with one tongue? [Your] skills are countless, I am defeated, I can say nothing, Haridās's sovereign Śyāmā Kuñjabihārī says: Oh beloved, whatever kinds of [qualities] you bring forward.
Normalized Braj controlled against the 1961/62 Mittal witness; English follows Rosenstein's complete critical translation, with note calls and obvious ABBYY spacing/name artefacts removed.
Kelimālā Pada 67
Sourceराग सारंग परस्पर राग जम्यौ समेत किन्नरी मृदंग सुर तार। तीन हूँ सुरनि के तान बंधान धुर धुरपद अपार।। विरस लेत धीरज न रह्यौ तिरप लाग डाट सुर मोरनि सार। श्रीहरिदास के स्वामी स्यामा जे जे अंग की गति लेत अति निपुन अंग अंग अहार।।
rāga sāraṃga paraspara rāga jamyau sameta kinnarī mṛdaṃga sura tāra| tīna hū~ surani ke tāna baṃdhāna dhura dhurapada apāra|| virasa leta dhīraja na rahyau tirapa lāga ḍāṭa sura morani sāra| śrīharidāsa ke svāmī syāmā je je aṃga kī gati leta ati nipuna aṃga aṃga ahāra||
English translation
The rāga was established between them, with the kinnarī, and the cymbals with the drums; With well-timed melodic passages in the three [scales of notes] there was an unsurpassed, set dhrupada. Taking the steps of birasa, there was no composure left, [dancing] tirapa, laga and data, achieving the turnings of the notes. The steps of whichever kind of [dance] Haridās's sovereign Śyāmā takes, she is very skilled in the dance sequences of the limbs.
Normalized Braj controlled against the 1961/62 Mittal witness; English follows Rosenstein's complete critical translation, with note calls and obvious ABBYY spacing/name artefacts removed.
Kelimālā Pada 68
Sourceराग सारंग तोकौं पिय बोलत हैं री लाल ठाढ़े कदंब तर। अबकैं ऐसौ ज्यौ कियें कहा होत है री मारि रही कुसुम सर।। कुंजबिहारी अपनौ अंस तासौं क्यौं कीजै छदम बर। श्रीहरिदास के स्वामी स्यामा ढूंढ़त वन में पाई क्रम क्रम विषम डर॥
rāga sāraṃga tokauṃ piya bolata haiṃ rī lāla ṭhār̤he kadaṃba tara| abakaiṃ aisau jyau kiyeṃ kahā hota hai rī māri rahī kusuma sara|| kuṃjabihārī apanau aṃsa tāsauṃ kyauṃ kījai chadama bara| śrīharidāsa ke svāmī syāmā ḍhūṃr̤hata vana meṃ pāī krama krama viṣama ḍara||
English translation
[Your] beloved is calling you, oh friend, Lāla is standing under the kadamba tree; What is the point of doing such? [sulking] now, oh friend? You kept on striking him with flower arrows! Kuñjabihārī is part of your own self, why should you play this fine trick with him? [Kuñjabihārī] searched for Haridās's sovereign Śyāmā and found her in the forest, approaching her with unparalleled timidity.
Normalized Braj controlled against the 1961/62 Mittal witness; English follows Rosenstein's complete critical translation, with note calls and obvious ABBYY spacing/name artefacts removed.
Kelimālā Pada 69
Sourceराग सारंग चलिये छबीली छबीलौ बोलत। आजु की बानिक पर तृन टूटत है कही न जाय कछु स्याम तोहिं रत॥ सखी लै चली मनाय ज्यौं हित की आई घत। श्रीहरिदास के स्वामी स्यामा बीच ही आइ मिलै तन की सुबास सकल भँवर कलमत ।।
rāga sāraṃga caliye chabīlī chabīlau bolata| āju kī bānika para tṛna ṭūṭata hai kahī na jāya kachu syāma tohiṃ rata|| sakhī lai calī manāya jyauṃ hita kī āī ghata| śrīharidāsa ke svāmī syāmā bīca hī āi milai tana kī subāsa sakala bha~vara kalamata ||
English translation
Come, beautiful one, the handsome one is calling. A protective charm is made [for him in] today’s apparel which cannot be described at all, Śyāmā is engrossed in you; Persuading her, the sakhī took her along, as a stratagem for love came [to the sakhī]; Meanwhile [Kuñjabihārī] came and met Haridās's sovereign Śyāmā, the whole swarm of black bees was intoxicated by her fragrance.
Normalized Braj controlled against the 1961/62 Mittal witness; English follows Rosenstein's complete critical translation, with note calls and obvious ABBYY spacing/name artefacts removed.
Kelimālā Pada 70
Sourceराग सारंग बेनी गूँथि कहा कोऊ जानें मेरी सी तेरी सौं । विच विच फूल सेत पीत राते को करि सकै एरी सौं॥ बैठे रसिक सॅंवारनि बारनि कोमल कर ककही सौं। श्रीहरिदास के स्वामी स्यामा नखसिख लौं बनाई दै काजर नख ही सौं ।।
rāga sāraṃga benī gū~thi kahā koū jāneṃ merī sī terī sauṃ | vica vica phūla seta pīta rāte ko kari sakai erī sauṃ|| baiṭhe rasika saॅṃvārani bārani komala kara kakahī sauṃ| śrīharidāsa ke svāmī syāmā nakhasikha lauṃ banāī dai kājara nakha hī sauṃ ||
English translation
Does anybody know how to braid hair, as I do, on my oath; With white, yellow and red flowers in the middle, who else can do this, on my oath, oh friend. Sitting, the connoisseur does her hair with the comb of his gentle hands. Kuñjabihārī with his fingernail applies collyrium to [the eyes of] Haridās's sovereign Śyāmā.
Normalized Braj controlled against the 1961/62 Mittal witness; English follows Rosenstein's complete critical translation, with note calls and obvious ABBYY spacing/name artefacts removed.