The Second Euphony

English rendering

Let the juvenescent form of that boy, slickly with just churned butter and dappled with silvers of curds on his body while he savoured them; belly chubby with just partaken milk; with a peacock feather beautifully decorated on his blackish coiffure that resembles the black flower bouquets; and that form which desolates all the worldly calamities yield all our cherished desires. [2-1]

Word analysis and exposition

2-1. abhi nava = very, new; nava nIta = newly, brought in = [ navanItam ] just churned butter; snigdham = slickly – his body is slickly as he boyishly dabbed just churned butter on his body while savouring it; A+pIta dugdhaM= fully, consumed, milk – belly is bulging as he just consumed enough milk; dadhi kaNa pari-digdhaM = with curd, particles, fully, dabbed;

tApi~Ncha gucCha = black flowers [of kAnuga trees; cChavi = in the hue of those flowers - with hairdo in this hue; nava shikhi pi~Ncha = [with] new, on coiffure, peacock’s feather; A+lA~NchitaM = beautifully decorated;

then, it is the common form of any boy from cowherd community, what is so odd about it;

not so – this form is something more:

bhuvana kR^icChra cChedi = worldly, calamities, that which cuts off;

murAreH mugdham a~NgaM=murAri’s , [such and such] charming, body;

naH vA~NchitaM dishatu = our, desired things, let him give.

Source commentary

The poet is starting the second phase of his euphony by describing the bAlya-kaumAra dasha , juvenescent form of that boy. In this verse shabda alankAra vRittyanuprAsa is used: in foots one and two, the word ga , in third and fourth the word cCha are used; svabhAvokti is used as the form of that boy is depicted in as-is-where-is condition; rasa: vAtsalyam .

English rendering

Seeing which sapphirine hue, herds of cows reckon it as the blueblack Yamuna River and enter it thirstily; spotting which ebonic hue, flocks of peacocks will become rubbernecked deeming it as that of raincloud; marking which hyacinthine hue, milkmaids start plucking it for their hairdressing, taking it as the hue of the black leaflets of tamAla trees; thus that bodily hue of that controller of black-cobra, called kAlIya, is all-sanctus, hence, let that all-hallowing sapphirine hue hallow us too. [2-2]

Word analysis and exposition

2-2. yAM dR^iShTvA = which, on seeing – on seeing which sapphirine bodily hue of that boy;

or, yAM yamunAm dR^iShTvA = deeming the blackness of the bodily hue of that boy as the blackish yamuna river;

pipAsuH gavAM vyUhaH = thirsty, cows, herds of; anishaM yamunAm gAhate = always, into yamuna river, they rush in;

yAM [ dR^iShTvA ] = which [on seeing which sapphirine hue]; nIla+kaNTha nivahaH= bright-blue- necked ones – peacocks, flocks ; vidyutvAn = one who has vidyut , electricity, in him – namely clouds; iti= thinking so; draShTum utkaNThate= to see at [such cloud], desperate for;

yAM [ dR^iShTvA ] = which [on seeing which sapphirine hue]; gopikAH = milkmaids; uttaMsAya tamAla pallavam = for hairdressing, tamAla trees’, leaflets; iti = thinking so; cChindanti = start plucking;

sA pAvanIH kAntiH = that, hallowing, sapphirine brilliance;

of that;

kAliya shAsanasya vapuShaH = black-cobra, controller’s, bodily [bodily lustre of the controller of a black cobra called kAlIya ];

naH pAtu = us, let it hallow.

Source commentary

It is impossible and unnatural for cows, peacocks and girls to deem this bodily hue for another item of their wish. Yet the poet is justifying the expressions as natural and possible with brAmntimadalankAra . This for bhakti bhAvukA -s is an aloukika bhakti bhAvanA bhUmika .

Here the word used for cloud is vidyutavAn , as in shaktimAn , buddhivAn , matimAn etc, used in lAkshaNika prayoga . By such usage the poet of this 2 nd cent-verses, is the same poet who commented sarasvati kaNTHAbharaNa, daiva vyAkhya etc, and the writer of first cent – that is bilvamangala . This is for those who refute the 2 nd cent as some interpolation. Pt. PSRA.

Gods will have such and such lustres for which we have no objection – dyotanAt iti deva . But, here this hue is pervading earthly things like rives, clouds and leaflets, making it an enterable, enjoyable and pluckable hue for the users – if they can. So, the spread of such hue itself is sanctifying. Hence, it is the brill of ujjvala nIlamaNi .

English rendering

This boy once filched the cloths of milkmaids while they are taking a dip in the clear waters of river yamuna. Unmindful of their nakedness, later they came out of river to riverbank only to find their robes missing. They again went into riverwater drowning their body, keeping their heads atop the sheet of water and started imploring upon that boy to return their cloths held in his lap,. That being the known episode, how they besought their cloths - by wheedling or by worshipping?

Owing to lack of actual flowers in that midstream, those au naturel milkmaids worshipped that boy with flowers called their eyes, which flowery eyes then glimmered feebly as they fluttered with coyness, yet surcharged with spurting romance. Hence, let that boy worshipable in anyway, keshava, safeguard us all.

Word analysis and exposition

2-3. vimale yAmune payasi majjatInAM= in pristine, of river yamuna, waters, those that are taking a dip; va~NcitAni aMshukAni= those who are duped, of their cloths;

anunaya padaiH yAcantInAM = those with pacifying, words, imploring [to give back their cloths]; gopa strINAM = of milkmaids [whose eyes are]; lajjA lolaiH= with coyness, fluttering;

as such;

alasa vilasaiH = that are feebly, glimmering; unmiShat pa~NcabANaiH= upsurging, romanticism [five arrows here are metonymic for romance – not lovegod, as such]; nayana kusumaiH = with such, eyes [of milkmaids], called flowers;

arcitaH = one who is worshipped; devaH keshavo naH pAyAt = such a self-resplendent god, keshava, us, protect.

Source commentary

This verse reflects the madhura bhakti of the poet for he penned this transforming himself as a milkmaid worshipping that keshava, shunning all bodily inhibitions, and drowning himself in the stream of sapphirine hue of that boy that is akin to yamuna waters .

In this verse the words majjatInAm, yAchantInAm are used in accordance with the rule of pANini - acChInadyornum – aSTa 7- a 1 pA, 80 th sUtram . That is num Agamam at shatR pratyaya – indicates the grammarian’s standpoint of this poet.

The import of this verse is vastrAkarSaNa yoga dhyAnam , as contained in gopAla kRShNa mantrta rAjam as indicated by sanatkumAra samhita:

English rendering

Oh, goddess saraswati, thou art naturally gentle and most benevolent one; but I, oh, motherly goddess, made you to dance before loutish people suppressing my conscience; there is no other unbefitting act than this; I may please be excused, because I did so just to fill the mud-pot called my stomach; but, how do I atone for my misdeed towards you? Oh, yes, I will make amends in extolling the merited deeds of viShNu in the form of a baby cowboy, verily by bringing you into play. [2-4]

Similar is the prayer of bammera pothana to goddess srasvati in Telugu bhAgavata purANam

Word analysis and exposition

2-4. hè mAtaH vANi = oh, mother, saraswati; sahaja sarale = [thou art] naturally, gentle; vatsale = oh, motherly one;

such as you are, I with;

asta Asha~NkaM = with declined, qualms; khalAnAM purastAt= loutish, before;

jaThara piTharI pUrtaye= stomach, [called] a small mud-pot, to fill it;

nartitA asi = made [you] to dance, you are [by me];

[iti ] yat= that which fact is there;

ataH param anucitaM [kAryam] na [asti] = than that, [another] unbefitting [deed] is not there;

tat kShantavyaM= that [unbefitting deed], may please be excused;

then how do I atone for those misdeeds;

viShNoH gopa veShasya = towards viShNu , in a cowboy’s getup; guNa gaNanayA = by extolling his merited deeds; prAyashcittaM kuryAM= atonement, I will undertake.

English rendering

At the outset let me salute the son of the cowherd nanda , who perchance is the bounty bestowed on the cows, cowherds and milkmaids of brindavana for their merited deeds; who with his wide eyes that in the hue of fully blown roseate lotuses cursorily searching for listeners; and who standing cross-legged fills breath in his flute mohana-vamshi, rapidly moving his fingers on the key-holes of that flute, while the edges of those fingers shimmer with a roseate gleam. [2-5]

Word analysis and exposition

2-5. aruNa kiraNaiH a~Nguli agraiH = those that have reddish, shimmer, with such finger edges; mukta saMruddha randhraM = closed, opened, holes [key-holes of flute];

vAraM vAraM vadana marutA veNum ApUrayantam = again, and again, with mouth’s, air, flute, one who is filling;

vyatyasta a~NghriM= crosswise, legged - footed – kriShNa transversely places the toes of right foot on the dorsum of left foot while playing flute;

vikaca kamala cChAya vistAri netraM = fully blown up, like the hue of lotuses, very wide, eyes – one having them;

bR^indAvana= for the cowherds, cows and milkmaids of brindavana, sucaritaM = as if he is the boon;

or, sucaritaM = he who moved freely with one and all in brindavana; nanda gopAla sUnum= nanda , cowherd’s, son; vande = I salute.

English rendering

Speak, oh tongue, speak about him who flutes sweet and mellifluous melodies in not too loud a tune; speak of him who wanders in the woodlands of brindavana and meanders with cows while they graze; speak of him who is the annihilator of those demons that impinge the Vedic rituals aimed at Indra and others; speak, oh, tongue, of him who is an immortal inamorato of milkmaids of brindavana. [2-6]

Word analysis and exposition

2-6. hè rasane = oh, my tongue; mandaM mandaM= mandram mandram = not too loud a tune; madhura ninadaiH veNum ApUrayantaM= with sweet, mellifluous, melodies, flute, one who is fluting; bR^indAvana bhuvi= in brindavana woodlands; gavAM bR^indaM cArayantaM = cow, herds, one who is making them to graze; carantam= one who is moving thereabout, as well;

chando bhAge= in the matter of sharing Vedic ritual oblations – and in disputes arising there from;

shata-makha= Indra’s; makha dhvaMsinAM dAnavAnAM = Vedic ritual, destroyers, demons; hantAraM = one who is an eliminator of those demons; taM gopa-kanyA = about him, who for milkmaids; bhuja~Ngam= a sneaky lover – for snake sneaks on it shoulders - uncaught; kathaya = [oh, tongue] you say.

English rendering

With a dark cloudlike coiffure, tucked with a beautiful peacock feathers, falling a little onto his forehead; with a dark cloudlike body wrapped up in smooth ochreish silks, as if a dark cloud is enwrapped with electric streaks; with a dark cloudlike chest adorned with new leaflets of tulasi, whose greenness is reflected on his gritty arms making them to look like great emeraldine columns, such as he is he embraced me with those arms – so I saw in a dream. [2-7]

Word analysis and exposition

2-7. veNI mUle = coiffure, at the base of its frontal end dangling on forehead; viracita = well decorated; ghana shyAma pi~NCha avacUDaH = blueblack, peacock feather, one who has it as hair decoration; snigdha pIta ambareNa= [who has a wraparound] of smooth, ochreish, silks; vidyut lekhA valayita iva [nIla meghaH]= electric, streaks, wrapping around, as though, a dark cloud; taruNa tulasI bhUShaNaH= new, tulasi leaves [garland], one who is wearing; nIla meghaH = one who is very beautiful like a very dark cloud – applicable to other items like coiffure, arms, chest etc; marakata maNi stambha gambhIra bAhuH = with his emeraldine, columns like, gritty, arms; mAm Ali~Ngan svapne dR^iShTaH= me, embracing, in dream, I saw.

Source commentary

kriShNa has not embraced the poet. These are not the words of the poet, but they are the words of rAdha with a girlfriend – rAdja vachana, Or the words of one milkmaid with another milkmaid. Or, they are the words of any common girl meditating on gopAla kriShNa . The import of this verse has a bearing on gopAla kriShNa ShoDashAksharI mantra dhyanam – as said in santkumAra samhita. Cf.

English rendering

When kriShNa stole the cloths of bathing milkmaids and ascended a tree on the riverbank and sat on a branch shrouded in the leaves with those cloths in his lap, some naïve girl started pleading with him saying repeatedly ‘what is this… what is this…’, that too with a chagrined face on which eyebrows are knitted, a little smile along with some coyness and fondness are present, as well. But it is of no use. Then, thinking that begging him is futile, she started grabbing cloths from his hand. That effort has also become slippery, because she dragged cloths from the image of kriShNa reflected on the sheet of Yamuna waters, who she had been addressing this far. Thus she became hopeless and helpless. [2-8]

Word analysis and exposition

2-8. kR^iShNe nicaya nicayaM hR^itvA= kriShNa , cloths, heap, on stealing; kUla ku~Nja adhirUDhe sati= on riverbank, a shrouded tree, ascended and sat there; kAcit mugdhA = someone, a naive damsel – who could not locate kriShNa in the tree shrouded with leaves; muhuH anunayaiH= repeatedly, requesting him; kiM nu iti= by saying ‘ what is this;

sa bhrU bha~NgaM= with, eyebrows, knotted; sa dara hasitaM= with a little, smile; sa trapaM= with some coyness; sa anurAgaM = with some fondness ; vyAharantI = she had been requesting him; but;

chAyA shaureH= from reflected, kriShNa – on the sheet of water; kara tala gatAni ambarANi= in hand, that have gone in, cloths; AcakarSha = she pulled back.

Source commentary

The import of this verse is vastrAkarSaNa yoga dhyAnam , as contained in gopAla kRShNa mantrta rAjam as indicated by sanatkumAra samhita: ibid: 2-3.

English rendering

There are numerous bamboo groves on the riverbanks of yamuna, but only one hollowed stem is merited to be placed on the jewel called the lower lip of that cow herder’s son who bestows any kind of wealth, thus that hollowed stem is enjoying a hallowed state. Can I, with any acquired merit, take birth in any forthcoming births, at least as a bamboo stem on the riverbank of yamuna to get such a consecrated birth?

Word analysis and exposition

2-9. ya eSha vaMsha nAlaH= this one, which is, a bamboo, hollow stick; shrImat AbhIra sUnoH= of wealth-giving, cow herder’s, son; adhara maNi samIpa nyAsa= at lips, called jewels, nearby, by placing; dhanyAM avasthAm anubhavati = hallowed, state, it is getting; tAdR^isaH = likewise; yamunAyAH taTa bhuvi vaMsha nAlaH = on yamuna river’s, banks, bamboo, stick; parasmin januShi api= in another, birth, even; Atta puNyo= acquired, merited one; api bhaveyaM = whether, can I become.

English rendering

Oh, heart, always keep that mukunda abreast, envisioning his broad eyes akin to the just sprung lotuses with the day-spring; his beautiful knot of glowing peacock feathers knotted on his coiffure; his conformation brilliantly sparkling like an indra-nIla-Mani , a choicest and rare aquamarine gem; a serendipitous find of milkmaids in brindavana, and who forms the rootstock of all the creepers called scriptures. [2-10]

Word analysis and exposition

2-10. ayi cetaH = oh, heart; prAtaH ambhoja netraM = [one who is having] morning time, lotuslike, eyes – lalia ambhoruha netra ; kabara kalita ca~Ncat= in coiffure, well decorated, glowing, pi~Nha dAma= with a handful of peacock feathers; abhirAmam = one who is beautiful with them; balabhid upala nIlaM= Indra, bluish, gem like – glowing like indranIla Mani – samujwala paurandra nIla gAtra ; vallavI bhAgadheyaM= milkmaids’, serendipitous find – gopa ramaNi lAvaNya pAtra ; nikhila nigama vallI mUla kandaM = for all, scriptures, called creeping plants, for their roots, rootstock; mukundam paricinu = let kriShNa be, maintained as a familiarity – always keep him abreast.

English rendering

I am aware, oh, flute, that you are well aware of the sweetness of the breath of that smiley and lotusy face of mukunda; as such I reverently beg you to whisper sweetly and sub rosa into the ear of the son of nanda about my wretched state, whenever you are closely drawn to his jewelly lower lip for fluting. [2-11]

Word analysis and exposition

anvaya: ayi murali! nanda sUnoH karNe rahasi mat dashAM kathaya.

2-11. mukunda smera vaktra aravinda = of mukunda , smiley face, called a lotus; shvasana madhura saMj~ne= breath’s, honey like, one who knows it – the flute;

ayi murali= oh, flute;

adya tvAM praNamya yAce = now, to you, on saluting, I am begging;

bhavatyAM adhara maNi samIpaM prAptavatyAM satyAm= by you, [when you are at his] lower lip, called [which lower lip is such] a jewel, very nearly, on your going – when he lifts you up to his lower lip called padma rAga maNi and you are very close to it ready for fluting; nanda sUnoH karNe= in that nanda’s son’s, ear; mat dashAM rahasi kathaya = my, pitiable state, sub rosa , you tell him.

English rendering

Let me revere that cowboy gleaming in sapphirine hue akin to a raincloud; ever enamoured in the sports with milkmaids, a celestial tree sheltering all gods; glitter of whose yellow silk robes makes the lightning to glitter; a halter of the time of gods’ enemies, namely the demons; a reflective on the mirror like minds of high-souled dedicates according as their thinking as jIvachaitanyam, antaryAmi, pratyak tattva and what not, as such one who has hosts of gods and saints bowing before him. [2-12]

Word analysis and exposition

anvaya: naumi gopAla bAlam

2-12. sa jala jalada nIlaM = with water, cloud, one in such a blueblack shade of a raincloud; vallavI keli lolaM = with milkmaids, in sports, one who is enamoured;

shrita sura taru mUlaM= one who is ensconced, in gods', tree - at the base of pArijAta tree;

or, one who is the base of a tree to all gods - sura-taru-mUlam; under which gods take shelter – sura shrita ; hence he is shrita – a shelterer, not a sheltered one;

vidyut ullAsi celam= lightning like, fluttering, one having such a robe;

or, whose robe’s glitter makes the lightning to fulgurate;

sura ripu kula kAlaM = for gods, enemies, host, the End-Timer – like time-ending yama ;

sat manas bimba lIlaM = in high-souled dedicates, minds, reflection, who causes sportively;

nata sura muni jAlaM= bowing, gods, saints, one who has such hosts;

naumi gopAla bAlam= I revere that cow boy.

Source commentary

The import of this verse is gopAlakriShNa dwAdasha aksharI mantra dhyaanam :

Word analysis and exposition

anavaya: kam api gopa kumAram upAsmahe

2-13. adhara bimba viDambita vidrumaM = by his lower lip, despised is, the coral; madhura veNu ninAda vinodinam = mellifluous, flute, with melodies, one who is enraptured; kamala komala kamra mukha ambujaM = lotus like, delicate, beautiful, one with such a lotusy face; kam api = someone who is a; gopa kumAram = cowboy; upAsmahe = we adore.

English rendering

Seek shelter of that boy who placing his flute mohana-vamshi on his lips; oft-closing and oft-opening the holes of that flute with his little fingers, he is mellisonantly fluting in the midst of brindavana gardens; s eek ye first the kingdom of that music, and all these things shall be added unto you… [2-14]

Word analysis and exposition

anvaya: vanAnte mAdhavo madhuraM gAyati

2-14. adhare vaMsha nAlaM viniveshya = on lips, bamboo, hollow stem – the flute mohan vamshi , on keeping; asya vivarANi sa lIlam a~NgulIbhiH = muhuH antarayan = repeatedly, closing; = muhuH vivR^iNvan = repeatedly, opening; mAdhavaH= mA+dhava= mother’s husband, goddess lakshmi’s husband– viShNu in the form of kriShNa; vana ante = in woodlands [of brindavana], in the midst of– here ante means ‘midst of’, not at fringe lands of brindavana; madhuraM gAyati = beautifully, singing – fluting; [ tam bAlam AshrayethA = let us seek shelter of that boy].

Source commentary

There are hardly three texts still put to use by singers and dancers in kriShNa bhakti ; 1] jayadeva gItagovindam; 2] shrI kriShNa karNAmRitam; 3] sadAshiva brahmendra swamy’s kIrtans.

In regard to the above stanza depicting kriShNa ‘s fluting the following kIrtana of sadAshiva brahmendra swamy is to be remembered here:

English rendering

Let us take shelter of that boy.

In self-opposed thinking : But is he just a boy, for his mouth is redolent of just consumed fresh butter – no boy consumes that much butter; by speech he seems to an expert in the faltering speech of a purloiner – while any boy is straight to shoulder; by his eyes he is pseudoly rheumy at the taunts and twits of his mother yashoda for his pinches and pilfers – while every boy sheds tears honestly; by his feet he seems to be a lilting tripper of his light fantastic toe – while any boy falters, fumbles and falls… paradoxically a double standard personality, or what…

In conclusion : hook on to him, then you will know… first take shelter…

Word analysis and exposition

2-15. vadane navanIta gandha vAhaM = in mouth, fresh butter’s, smell, one who is redolent with; vacane taskara cAturI dhurINam = by speech, purloiner’s, falter, one who is an expert in; nayane kuhana ashrum = in eyes, pseudo, rheumy; caraNe komala tANDavaM = by feet, liltingly, dancing; kumAram AshrayethA= such a boy’s [shelter], let us seek his shelter.

Source commentary

The import of the verse is shrI gopAla kriShNa ekAdasha akshara mantra dhyAnam , as contained in sanatkumAra samhita :

English rendering

This boy, the son of nanda, once drank the wildfire caused on the riverbank of yamuna as easily as drinking water; this he did only to protect all the community of cows and cowherds; then, will he not become our protector too, as we are ardently seeking his shelter and protection? He will… firstly let us seek his shelter… [2-16]

Word analysis and exposition

2-16. nanda nandanena = by the son of nanda ; amunA = by that one, that boy; akhila gopa gopana arthaM = all, cowherds, for protecting; yamunA rodhasi= on yamuna, riverbanks; vana sambhavaH damunA = in woods, arisen, wildfire; pape = had been drunk – isn’t it; asau = such as he is; sharaNArthinAM = shelter, seekers; naH = such as we are, for us; sharaNyaH = our shelterer; na kimu = will not he become [our shelterer] or what.

Source commentary

Alliteration is in the word munA occurring four times in four foots.

English rendering

Let that vasty sapphirine brilliance, namely kriShNa named paramArtha tattvam , which acquired a philanderer’s stature in the parlance of commoners, but which philandering is viewed altogether differently by sagacious persons, for that so-called fornicator is knowable only through the words of child of lotus, namely brahma, keep the tenuity of our non-blissful situations as a tenuity itself. [2-17]

Word analysis and exposition

2-17. jagat AdaraNIya jAra bhAvaM = by world, acceptable, philandering disposition, such a thinking – accepted by sagacious people, hence it is acceptable to commoners;

jalaja apatya vaco vicAra gamyam= lotus, born one [brahma], by his words [by Veda-s alone], by their examination, one who is attainable by them;

sura nAtha upala sundaraM = like, indra-nIla jewel, one whose self-resplendence is such;

mahaH = such a great sapphirine brilliance - kriShNa named paramArtha tattvam ;

naH shiva itarANAM tanutAM= our, blissful situations, other than, [and their] tenuity; tanutAM = let [that brilliance] keep as a tenuity itself.

English rendering

There uis ‘Something’ which is the limitary beauty for all the beautiful things in all worlds put together, is readily self-manifest in the form a of cow-herder’s son; at the helm of Vedic utterances; in the hearts of sagacious people, and at the lotusy feet of milkmaids of vraja village, as such, that 'something', namely the sapphirine brilliance, may accord prosperity to all of us . [2-18]

Word analysis and exposition

anvaya: sA gopa kishora mUrtiH naH kAmAya bhavatu

2-18. kApi = that ‘something’ [the form of that cowboy, which is ]; sarva jagatAM abhirAma = in all, worlds for all pleasant things - available in all worlds; sImA = is the limit – his beauty becomes the limitary to all beautiful things in all worlds are put together;

gopa kishora mUrtiH = one in cowherd’s, cub’s, form;

yA= which form - is evident;

shruti girAM shekhare = scriptures, words, is at the helm of;

yoga bhojAM hR^idi = yogic practices, those that are practising – sagacious people, in hearts;

vraja sundarINAm pAda ambuje ca= vraja village’s, of beauties, at their feet, that are like lotuses, also;

sulabhA= easily [obtainable, self-evident];

sA gopa kishora mUrtiH= that, cow herder’s, cub’s, form - entity;

naH kAmAya bhavatu = our, prosperity, let it become, let it bestow.

Source commentary

Usually poets will be describing gods, nakha-shikha paryantam, shikha-nakha paryantam - tip to toe, or vice versa; here the poet is placing that ‘something’ at top of Vedic sayings, at middle of sage’s hearts and at the feet of milkmaids – intending to portray him as omnipresent – sarva vyApaka .

English rendering

Why should I delve deep into the indecipherable vedantic sayings, inaccessible hearts of sages, or on the ultramundane feet of milkmaids to find a little boy? He is right before me as a very youngling whose outfit is as naked as the quarters of compass, who in his hue is like a black atasi flower; decorated with golden ornaments; head-hair hanging loose; lips roseate and eyes very broad and wide. Let me heartily adore that boy. [2-19]

Word analysis and exposition

anvaya: manasA vasudeva sUnum kR^iShNaM namAmi

2-19. atyanta bAlam = very, young; atasI kusuma prakAshaM = a black flower, one having such blackish hue; dik vAsasaM = quarters, are his cloths - stripped down to skin; kanaka bhUShaNa bhUShita a~Ngam = with gold, ornaments, decorated, limbs; visrasta kesham = hanging loose, hair; aruNa adharam= reddish, lipped; Ayata akShaM= broad, eyed one; manasA vasudeva sUnum kR^iShNaM namAmi = heartily, at such a son of vasudeva, namely kriShNa, I adore.

English rendering

Is he not ravishing while moving about in vraja village with tintinnabulating golden annuli on wrists and chains of bells on his ankles, a golden thread hanging loose on his buttocks, strings of pearl tucked in his coiffure with sides pitch black like the wings of crow – if yes, let us adore that godsend of his father vasudeva . [2-20]

Word analysis and exposition

anvaya: vraja caraM vasudeva bhAgyam vandAmahe

2-20. hasta a~Nghri nikvaNita ka~NkaNa ki~NkiNIkaM = on wrist, on ankles, tintinnabulating, golden annuli, anklets with chains of small bells; madhye nitambam avalambita hema sUtram = across, on buttocks, dangling, golden, thread; muktA kalApa mukulI kR^ita = with pearl-strings, adorned, well-tucked [coiffure]; kAka pakShaM = crows, wings – sides of head hair hanging loose on sides like blackish crows wings; vraja caraM vasudeva bhAgyam= in vraja village, one who moves about, that one who is his father vasudeva’s , fortune; vandAmahe = I adore such boy.

Source commentary

The import of the verse is shrI gopAla kR^iShNa aShTAksharI mantra dhyAnam , as contained in sanatkumAra samhita :

English rendering

That entity manifest at the feet of trees in brindavana woodlands, palpable amongst herds of cows, conspicuous in upanishad-s , is explicit in the form of sapphirine radiance that which is always enraptured in the melodies of flute, wearing a headgear of peacock’s feathers, eyes lotusy and hue blueblack like the sky… he is none else than brahma , the paramArtha tattva … whom else do you want… let us ruminate on that sapphirine entity… [2-21]

Word analysis and exposition

anvaya: kamaleIkShaNam abhranIlam brahma smarAmi

2-21. yat = which entity; vR^indAvana druma taleShu = in brindavana, trees, at their bases; gavAM gaNeShu= among cows, herds of; veda avasAna samayeShu ca = Veda-s, at their end-parts, also – in Vedanta; dR^ishyate= being seen, self-evident; tat = that entity; veNu nAdana paraM = in flute, melodies, one that is enraptured; shikhi pi~Ncha cUDaM = peacock’s feathers, one which got them as headgear; kamala IkShaNam = lotusy, eyed one; abhra nIlam = like sky, blueblack; brahma= [that itself is] brahma – paramArtha tattva; smarAmi = I ruminate on it.

English rendering

Let that highly benevolent super-radiance, legs kept crosswise while fluting, decorated with petcock’s plumage, flutes’ holes placed transversely on his lips, show up at least at the time of the departure of my lives. [2-22]

Word analysis and exposition

anvaya: paraM tejaH prANa prayANa samaye mama purastAt sannidhattAm

2-22. vyatyasta pAdam = crosswise, legged; avataMsita barhi barhaM = decorated with petcock’s, plumage; sAcI kR^ita = made, transverse; Anana niveshita = on face, placed; veNu randhram = flute’s, holes; parama kAruNikaM= highly, benevolent; paraM tejaH= that super, radiance; prANa prayANa samaye= at lives, departing, time ; mama purastAt sannidhattAm= in my, presence, let it be there.

English rendering

To silence the hue and cry of milkmaids about the butter-thieving activity of this boy, his mother yashoda once fastened him to a pounding stone tying a churner’s rope at his middle. Though that boy is least irked with that fastening, the triad of worlds abiding in his belly felt an unbearable oppressive fastening of hangman’s noose around their necks, alas… [2-23]

Word analysis and exposition

2-23. ghoSha praghoSha shamanAya = hue, and cry [of milkmaids], in order to silence; jananI = mother yashoda ; navanIta coram = thief, of butter; matho guNena= with churning stick’s, rope; madhye babandha = in his middle [at waistline], tied him [to pounding stone]; tat bandhanaM = that, fastening; udara AshrayANAm = in belly, those that are abiding; tri jagatAm = for triad of worlds; nitarAM Akrosha kAraNam babhUva = unbearable, oppressive, cause, it became; aho = alas.

English rendering

We are shaivaites and we practisers of panchadashaakshari hymn - no doubt about it; even then our heart reminisces on that pleasant faced boy in the hue of blackish atasi flower who is the darling of his mother yashoda . [2-24]

Word analysis and exposition

2-24. shaivA vayaM tatra vicAraNIyaM na khalu = shaivaites , we are, in that, doubt, is not there, indeed; nitarAM pa~NcAkSharI japa parA = further more, panchAkshari hymn, we are practisers of; tathA api = even then; asmadIyam cetaH = our, heart; atasI kusuma avabhAsaM= one who is in the hue of black atasi flower; smera AnanaM = with a pleasant, face; gopa vadhU kishoram= cow herder’s wife’s, son - yashoda ; smarati = reminisces.

Source commentary

It should be asmadIyam because first foot has vayam , plural royal we, instead of madIyam - mine. - Pt. PSRA.

Word analysis and exposition

2-25. acyuta datta cittA = to achyuta , given, heart; dadhi rikta pAtre = in curd, lacking, vessel; manthAnam AkalayatI rAdhA = churning rod, one who is stirring, such a rAdha; jagat punAtu= world, let her sanctify; tasyAH stana stabaka ca~Ncala lola dR^iShTiH= on her, bosoms, bouquets like, with fitting, glances; devaH api= god, even; dohana dhiyA vR^iShabham nirundhan = to milk [a cow], with an intent, an ox, he is restraining - coaxing and combing.

In a way: rAdha jagat punAtu; devaH api jagat punAtu

In a reverie on kriShNa rAdha is churning an empty curd pot, likewise intending to milk a cow kriShNa is coaxing an ox, mulling over the bouquets called her bosoms – love is whimsical, isn’t it. Let both rAdha and kriShNa in such an unified state bless the world. [2-25]

Source commentary

This stanza is reflected in haribhakti rasAmRita sindhu at 2nd vibhA. 4th lahari with the same opening line, but with some word changes, as an example to prauDha Anandam .

The dhavalatvam said here is the suddha-svacCha-dhavala-hR^idaya-prakAsham of those two. This is not a stupid mindlessness of those lovers, as in common man’s parlance, but it is called a mahAbhAva sthiti , where they attain manolayam in anyonyavinihita Atma sthiti . It has no kAma-gandham . In such a unified state those two will bestow the blissfulness to the world – is its import.

English rendering

Let us seeks shelter of that moon-faced boy who is often denominated with a prefix go, as in go-vinda, go-pAla, go-vardhana giridhAri etc, where we have to pore over Vedic sayings as to what this word go means; who with hoof-dust of cow herds spattered on his curls; limbs splattered with vermilion powder of the bosoms of milkmaids; one with a little hebetude of lifting go-vardhana giridhAri for seven days, though such feats are a sport for him. [2-26]

Word analysis and exposition

anvaya: govindaM sharaNaM bhajAmaH

2-26. go dhUli dhUsarita komala kuntala agraM = cows, with dust, spattered, delicate, coiffure’s, ends – curls; go vardhana = cows, enriching – mountain; uddharaNa kelI kR^ita prayAsaM = in lifting up [that mountain], owing to that sport, caused, one with a little strain; gopI janasya kuca kumkuma mudrita a~NgaM= milkmaid, flocks’, on bosoms,, vermilion powder, imprinted, one with such bodily limbs; indu vadanaM govindaM= moon like, one whose face is, such a go-vindam; sharaNaM bhajAmaH = shelter, let us seek.

Source commentary

govindam= go = oh, beasts [ dwi pAda pashavaH ]; vind [from root vid ] = be conscious of.

English rendering

All the oceans put together failed to drench the skin pores of this boy when he was in wild-boar incarnation; such as he is, to him the poor mother yashoda could gave a bath just with a few palmfuls of water; hence we seek shelter of that lotusy eyed protector-boy of the world, since he alone makes the possible as impossible, and impossible as possible – Ascharyam vaiShNavam . [2-27]

Word analysis and exposition

2-27. amI samudrAH= these apparent, oceans; vArAha janmani = in his wild boar, incarnation; yat= whose; roma randhra = hair follicles – skin pores; paripUrti vidhau = in filling [drenching] completely, in that activity; a+dakShA babhUvuH = not, capable, they became; taM= such as he is, him; aravinda dR^ishaM = lotusy, eyed one; nAtham nAma= world protector, such as he is; his; pANi dvaya antara jalaiH= in palms, two, inside, with water –with her palmfuls, of water; yashodA snapayAM babhUva- yashoda, his to bathe, started to.

English rendering

Oh, ye, sages and saints, you all might be vexed with your delving deep into the thick forests called scriptures like upanishad -s etc for their connotative drift personified; why beating around the bush; go to any house of milkmaids, it is there, unable to go anywhere, standing with blinking eyes of a petty-thief, for he is tied to just a pounding stone. Search there you will find that so-called connotation of scriptures. [2-28]

Word analysis and exposition

anvyam: upaniShad artham ulUkhale nibaddham

2-28. nigama vaneShu nitAnta = in scriptures, called forests, up to their end [chapters]; cAra khinnAH= [you saints and sages who] have been delving deep into them, whereby [you all have become] dejected [for not clearly finding Him there];

Let me say a good word to you all, which is;

varam imam upadesham = [become] the best, [let] this, edification; AdriyadhvaM = [listen to it and] acquiesce to it; ulUkhale nibaddham upaniShad artham = to a pounding stone, tied, Upanishad-s, drift of; vallavInAm bhavaneShu = in milkmaids’, houses; vicinuta = let it be searched.

English rendering

If I were to be sanctified by worshipping that son of lady devaki, anointed by river ganga’s water flown directly from the toenail of the enemy of demoness pUtana , muse constantly over that charioteer of arjuna , what is it an errand-boy of lord yama can do to me? Nothing… no fear of routine death for we will get shAshavta Ananda on our eternal-release . [2-29]

Word analysis and exposition

anvaya: sa yama dUtaH me kiM kariShyati

2-29 . [yadi] aham = [if] I am; devakI tanaya pUjana pUtaH = devaki’s , son, by worshipping, sanctified; pUtana ari= demoness pUtana’s , enemy – kriShNa; caraNa udaka dhautaH = with his foot’s, water, anointed – anointed by ganga’s water; smR^ita dhana~Njaya sUtaH = reminisced [prayed], arjuna’s , charioteer; [ syAm] yadi = if I were to be; saH yama dUtaH me kiM kariShyati= that, yama’s , errand-boy, in my respect, what he can do.

English rendering

Let any, an iota at least, of the elegance of that lord be glistening recurrently in my thought process, for he is the only remedy for the disease called recurrent life and death cycle, who now presented himself donning the form of little cowboy. [2-30]

Word analysis and exposition

anvaya: me mAnase vibhoH yA.api kA.api ramaNIyatA bhAsatAM

2-30. svayaM gopa veSham upaseduShaH = on his own cowherd’s, form, who has donned; vibhoH= of that lord; who is a; bhava bhaya eka bheShajaM = for worldly, fear, one and only, remedy; such lord’s; yA.api kA.api = something, or anything; ramaNIyatA = elegance; mama mAnase = in my, thought process; muhuH muhuH muhuH= again, and again, and again; bhAsatAM = let it glisten.

English rendering

Let us envision that peculiar sapphirine radiance, which by its nature is immaculate and aloft the Vedic sayings, with reddish cheeks for the kadamba flower sprays are dangling from ears onto them, thus making them vermilion. [2-31]

Word analysis and exposition

2-31. karNa lambita = up to ears, dangling; kadamba ma~NjarI= kabamba flowers, sprays of; kesara aruNa kapola maNDalam= with vermilion colour, reddened, cheeks, area; nirmalaM = very immaculate; nigama vAk a+gocaraM = for Vedic, sayings, not, conspicuous; nIlimAnam = a peculiar sapphirine bluish radiance; avalokayAmahe [avalokayAma] = we are seeing [let us see].

Source commentary

The import of this verse is as contained in gopAlarAja mantra, yakshopayoga prayogam :

English rendering

Let us adore that connoisseur of fluting enjoying it by casting sidelong glances with his black-lotus like eyes, delicate lower lip half curved looking like half bloomed bud, and florets like fingertips rapidly closing and opening on that flute. [2-32]

Word analysis and exposition

2-32. sAci sa~Ncalita locana utpalaM = crosswise, flitting, eyes, called black lotuses; sAmi kuTmalita komala adharam= half [curved], bud like, delicate, lip; vega valgita kara a~Nguli mukhaM= speedily, closing and opening, hand’s, fingers, their tip; veNu nAda rasikaM= such one - flute, fluting, one who is a connoisseur; bhajAmahe = we adore.

English rendering

Lo and behold, some blue-black person looking like black tamAla leaflets is spiriting away the daughter of the king of kuNDina province, namely rukmiNi , keeping her atop a chariot adorned with a labarum carrying Divine Eagle, namely garuDa , on it. [2-33]

Word analysis and exposition

2-33. garuDa maNDita dhvaje syandane = divine eagle, decorated, flag, of the chariot - a chariot decorated with Divine Eagle flag;

adhiropitA = one who is place on such a chariot; kuNDina Isha tanayA= kuNDina , of kingdom, king – namely bhISma , his daughter – daughter of kuNDina king bhIShma , namely rukmiNi ;

kenacit = by someone; nava tamAla pallava = some fellow who is looking like - new, black tamAla leaflets; shyAmalena puruSheNa =by a blue blackish, male person; nIyate = she is being taken away.

Source commentary

This verse is said to be the immediate poetic reaction of this poet on his visiting the temple of rukmiNi devi, available on the path towards bhIma-rathI [bhIma-chandrabhAga] river, from pANDuranga temple, in paNDarI-puram . The metre taken up by him is rathothata; ratha = [the metre] like a chariot; ut hatA = up, taking – going swiftly.

phaNirge – is the ancient name of paNDarI-puram , declined from Sanskrit to the present usage name. – Immortal India part 1. - Pt. PSRA.

English rendering

Oh, travellers, hop not on the path of bhIma River towards pandaripuram , why because, someone is out there in birthday suit looking like blackish tamAla tree, standing with both palms on waistlines, and that rascal plunders your wealth called - hearts.

Word analysis and exposition

2-34. bho, pAnthAH = oh, travellers; mA yAta bhImarathyAH pathi = do, not, go, on the path of bhIma river [towards pandaripuram ]; why because; kaH api = someone who is; digambara = [some boy] in birthday suit; tamAla nIlaH= looking like blackish tamAla tree; dhUrtaH = some rascal; nitamba bimbe vinyasta hastaH api= on buttocks – on both flanks, who kept both of his hands; citta vittam= hearts, called monies; samAkarShati = he drags away.

Source commentary

That boy is beautiful viThala deva in sAlagrAma shilA rUpam in pandaripouram .

English rendering

Betwixt a damsel and a damsel there is mAdhava; betwixt mAdhava and mAdhava there is a damsel; thus a ronde of dancers has been formed; and staying in the centre of that circle that son of lady devaki , namely mAdhava , sang well on his flute. [2-36]

Word analysis and exposition

2-35. a~NganAm a~NganAm antarA mAdhavaH = a damsel, a damsel, in between [them] mAdhava ; mAdhavaM mAdhavaM ca antareNa a~NganA = mAdhava , mAdhava , in between [them] a damsel; ittham Akalpite maNDale = in this way, in an improvised, a circle, in its centre;

madhya gaH = while he is staying; or, madhya gaH = in madhyama octave – a dvani visheSha;

devakI nandanaH veNunA sa~Njagau = lady devaki’s son, with flute, sang well .

Source commentary

Whether kriShNa assumed different forms and stayed in between milkmaids; or one milkmaid assumed the other milkmaid standing at her side in the ronde as kriShNa - is a disputed affair. It is unsaid here and bhAgavata as well. that kriShNa assumed many tricky forms in rAsa-krIDa . So, one gopika mentally pictured the other gopika as kriShNa, since they see kriShNa everywhere, and enjoyed his presence, but not his physique.

In the first foot the word antare is to be read as antarA according to antarAntareNa yukte 2 a. 3 pa. suutra of pANini, in the sense of ‘in between’ - antrA, antareNa , and as said by shrI nArAyaNa bhaT – antarA v.antareNA.asau kshmAm ramAm ca sthito hariH – in his prakriyA sarvasvam . Pt. PSRA.

English rendering

Seeing the mass of sapphirine blue peacocks surmised it as a raincloud and started warbling animatedly on the lakeshore; listening the warble of peacocks, swans rose up to fly off from the lotuses in lakewater, where they are swimming so far to the tunes of fluting, but settled back finding no raincloud, continuing their neck-swinging-swimming in tune with that fluting; thus that wildfire to the forest called the dynasty of king kamsa, namely the son of lady devaki, fluted his flute mohana-vamshi to the utter delight of nature. [2-36]

Word analysis and exposition

2-36. keki keka AdR^ita = peacocks’, warbling, one that is inciting – fluting of kriShNa; aneka pa~Nkaruha = from many, mud-born ones – lotuses; AlIna haMsa AvalI= rising up, swans, flocks; hR^idyatA = happiness; AhR^id yatA = one that is acquiring – fluting; with such a melody; kaMsa vaMsha aTavI dAha dAvAnalaH= for king kamsa , and his dynasty, called forest, for burning, one who is like a wildfire; devakI nandanaH= such a son of devaki ; veNunA sa~Njagau = with flute, sang superbly.

Source commentary

Swans do not swim in muddy warters of rain. It is to be settled.

English rendering

At one time he is lilting with the lilting vINa-like music of his flute; at another time he is dancing to the vINa-like music of his flute to the rhythm of tintinnabulation of his anklet bells; at some other pause-times he is following the singing of milkmaids with vINa like voices, thus that devaki’s son sang well to the rhyme and rhythm of ronde tunes. [2-37]

Word analysis and exposition

2-37. kvaH api = at one time; vINAbhiH ArAviNa [abhirAma Arava] AkampitaH = like vINa instrument, lilting music, swinging; kvaH api= at another time; vINAbhirA ka~NkShiNI nartitaH= like vINa , with his anklet bells, dancing; kvaH api = at another time; vINa abhirAma antaraM = like vINa, with melodies voices, in pauses; gApitaH= one who has others singing – he followed the singing of milkmaids in the pauses ; devakI nandanaH veNunA sa~Njagau = lady devaki’s son, with flute, sang well .

English rendering

That darling of cows, cowmen and women of vraja community, godlike to the select group of milkmaids of that vraja village, a romantic hero and the son of lady devaki sang well in ronde dance to the heart’s content of that select group of milkmaids in ronde who are gazing upon him with broad eyes, as broad as their wide crescentic silver ornaments of bosoms. [2-38]

Word analysis and exposition

2-38. cAru= beautiful; candra AvalI = crescentic silver ornaments like, or, like the fanlike peacock open-plumage; locanaiH= with such eyes; cumbitaH = one who is touched – not kissed – i.e. one who is constantly gazed; gopa= for cowmen; go bR^inda = cow, herds; gopAlikA = cow-women; vallabhaH = the lord of – here a darling; vallavI bR^inda bR^indArakaH = to milkmaids, a [a select ] group of, a god to them; kAmukaH= romantic hero – vilakshaNa shR^ingAra nAyaka; devakInandanaH veNunA sa~Njagau = thus that devaki’s son sang well.

English rendering

In the intermittence of ronde dance, milkmaids are stepping to and fro in approaching him, scared by a chain of honeybees swarming on the spray of flowers decked in his coiffure, whilst their upper cloths are slithering in that haste, whilst he offhandedly embraced and cleaved to the wide surface of their bosoms to their delectation, thus that son of devaki sang, danced and embraced one and all in that ronde dance. [2-39]

Word analysis and exposition

2-39. mauli mAlA milat matta bhR^i~NgI latA = on coiffure, on pray of flowers, flitting, proud, female honeybees, a chain of; bhIta bhIta priyA = much scared, loves – milkmaids are fearing the swarming honeybees on his coiffure; vibhrama Ali~NgitaH = hastily, when embraced; srasta = with slithering [upper cloth]; gopI kuca Abhoga = milkmaids’, bosoms, wide surface ; sammelitaH = well cleaved to; devakInandanaH veNunA sa~Njagau= such a son of devaki, sang well.

English rendering

That darling of the damsels who glitter in the hue of pure gold; adorned with a garland called vaijayanti on his chest; abiding amongst the coos and cackles of birds moving thereabout, sang well in brindavana, chiming in with those calls of birds and in tune with the melody of nature. [2-40]

Word analysis and exposition

2-40. cAru cAmIkara AbhAsa bhAmA vibhuH = beautiful, in golden hue, appearing to be like, damsels’, dear one – darling of the damsels glittering in the hue of pure gold; vaijayantI latA vAsita uraH sthalaH = with vaijayanti , garland, abiding, chest, place – one on whose chest a garland called vaijayanti is abiding; nanda bR^indAvane = in nandagopa’s , brindavana; vAshita A madhya gaH= thereabout available, birds, amongst their coos and cackles, one who is stating; or, vAsitA madhya gaH = milkmaids called she-elephants, one who is amongst them; or vAsita madhyaga = among women flock, who is; sa~Njagau veNunA devakI nandanaH= such a son of devaki, sang well.

English rendering

One who is absorbed in the rhythmic clapping of damsels in tune with his fluting, vacillating his creeper like eyebrows in flaunt for that fluting and clapping, and intermittently given in to the fascination of listening to the vocals of milkmaids, thus that deviki’s son sang well in that ronde dance. [2-41]

Word analysis and exposition

2-41. bAlikA= damsels; tAlikA = called rhythm beaters – that clap their palms for rhythm; tAla lIlA layA asa~Nga = in beats, joined, merged, in that process; sandarshita bhrU latA vibhramaH = one who is showing, eyebrows’, that are like creepers, with flaunt of; svayaM gopikA gIta datta avadhAnaH = for himself, in damsels’, singing, given in, fascination; sa~Njagau veNunA devakInandanaH = as above.

English rendering

One who once transplanted divine pArijAta tree from indra’s heaven and got it planted in the courtyard of satyabhAma , that dedicate of rAdha is singing well abiding under a banyan tree on the refreshing riverbank of yamuna in brindavana. Listen to that divine music. [2-42]

Word analysis and exposition

2-42. yaH= which kriShNa; samuddhR^itya pArijAtaM = transplanting, pArijAta tree [from indra’s heaven ]; ropayAmAsa bhAmA gR^ihasya a~Ngane = got it planted it, in lady satyabhAm’s , house, courtyard of ; saH rAdhA varaH = such, rAdha’s , lover; [or, rAdha paraH =[ such one who is dedicate of rAdha] yAmunIye shIta shIte taTe = on river Yamuna’s, cold and not so cold p- refreshing, banks; vaTe = under the banyan tree; sa~Njagau veNunA devakInandanaH =as above.

Source commentary

In a different mms it is like this: rAdhA vayo rUpayA – mA – sabhAsA – guNaiH angaNe shItashIte… etc; rAdhA vayo rUpayA = one who has age and beauty as rAdha; guNaiH= with her attributes; mA – sabhAsA= who is like goddess lakshmi, in resplendence; with such a lady; a~Ngane pArijAtam ropayAmAsa etc. All said and done it is satyabhAma.

English rendering

Oh, friend, that very tall tree is there in your fore, adjacent which there is pathway that leads to cowmen’s village. River yamuna is flowing adjoining that village. In the hinterlands of that village and in the woodlands of black tamAla trees available on the riverbank of yamuna, there will be a cowboy playing while grazing cattle. That boy will show you correct and returnless pathway, if you are lost in the crisscross walkways of life.

Word analysis and exposition

2-43. sakhe = oh, friend; agre ayam dIrghataraH arjuna taruH = in your fore, that one is, very tall, arjuna tree; tasya agrataH vartmanI = in its, fore, there is a pathway; sA ghoShaM samupaiti= that pathway, reaches, cowmen’s village; tat parisare deshe kalinda AtmajA= in that villages, adjoining, place, Mt. kalinda’ s daughter, - river yamuna is there; tasyAH tIra tamAla kAnana tale = on its, bank, in tamAla trees, woods, fringes of; gavAM cakraM cArayan= cows, circle – assembly, grazing; gopaH krIDati = a cowboy, will be playing; saH = he will; avyAhatam panthAnam = not treaded, pathway – a returnless pathway; darshayiShyati = he will be showing to you.

hè sakhe; agre = in the van of chariot; dIrghataraH= a lofty one is there; ayam arjuna-taruH = that one is, arjuna - like arjuna- tree he is the outstanding person; tasya agrataH vartmanI = his, before – one who is sitting - he is the pathway – a pathway that has said bhagavadgIta – kriShNa is there; sA = that pathway called kriShNa; ghoShaM samupaiti = for sound oriented Vedic sayings, he is an omnibus of; tat parisare deshe kalinda AtmajA tasyAH tIra tamAla kAnana tale = same as in meanings said above; gavAM = Upanishads; cakraM= a host of; cArayan = making to chew over; gopaH krIDati darshayiShyati panthAnam avyAhatam = as above. This is a difficult parsing and hence a kliShTArtham .

This verse in the second cited meaning gets the import of a verse in gopAlakriShNa sarvagata eka aksharI mantra dhyAnam as said in s anatkumAra samhita :

English rendering

Him who is in an exquisite getup of a cowboy spattered with the hoof dust of cows, who in the evening returns homeward followed by hundreds of other cowboys and visits every house in the community to shed the cows, let us adore, for he is a par excellent cowminder inclusive of dvipAda pashu -s. [2-44]

Word analysis and exposition

2-44. go dhUli dhUsarita komala gopa veshaM = with cows, hoof dust, spattered, in exquisite, cowboy’s, one who is in such a getup; gopAla bAlaka shataiH anugamyamAnam= with other cowboys, in hundreds, one who is followed; sAyantane = in evenings; pashu bandhana aArthaM = to fasten cows in cowsheds ; prati gR^ihaM gacChantam = into every house, one who will be going ; acyuta shishuM = none other than nArAyaNa , at that baby boy; nityam praNato asmi = always, I will be reverential - let us revere.

English rendering

One who is the culmination of all the beauties in all the three worlds; an abode of all imponderable exploits; a tenancy for any self-phosphorescence, the only essence of perpetual blissfulness; the rare rainfall showering not hail but honey; the possessor of fruition of every merited deed of anyone; first and foremost godhead for sages and saints; thus let us take shelter of that most auspicious and fawn-eyed boy. [2-45]

Word analysis and exposition

2-45 . lAvaNyAnAM nidhiM = for all beautiful attractants, a treasure trove – all beauties culminate in his beauty; nikhila jagat Ashcarya nilayaM = for all worlds’, amazing things, an abode; bhAsAM nija AvAsaM = for all self-radiances, a holding; niravadhika niHshreyasa rasam = for unending, blissfulness, an essence of; sudhA dhArA AsAraM = for nectarine, showers, a rainfall of; sukR^ita paripAkaM = one possessing good deeds’, a fruition; kR^ita dhiyAm prathamam adhidaivaM = for intellectuals, first and foremost, god; mA~NgalyaM = highly auspicious one; mR^iga dR^ishAM = deer eyed one; prapadye = let us take shelter.

English rendering

With a horsewhip ever loving to be in his roseate lotusy palms is sportily swishing; pearl pendants , knobby ear-hangings and gold chains flauntily dangling on his chest; owing to the skitter, sweatdrops looking like raindrops swirling around a blackcloud, are swinging on his blueblack body; such a primordial resplendence is now steering the chariot of arjuna ; so also, let him steer the chariots called our bodies to their destination. [2-46]

Word analysis and exposition

2-46. A+tAmra pANi kamala praNaya pratodam [Alola]= in his reddish, palm called lotus, one that is very friendly [with the palms], a horsewhip is sportily swishing; Alola= dangling [swinging on his chest]; hAra= pearl pendants ; maNi kuNDala= knobby ear-hangings; hema sUtram = gold chain – are there; AviHshrama= for he is without, rest; ambu kaNam = water, drops; ambuda nIlam [Alolam] = on cloudlike, blueblack one [they are dangling – sweat drops]; such a; AdyaM mahaH= primordial, resplendence; dhana~Njaya ratha AbharaNaM= who is the insignia of dhananjaya’s chariot; naH avyAt= us, protect – let him chariot our bodies called chariots.

English rendering

If four white horses of arjuna’s chariot are four Vedas, and this sapphirine one is their charioteer, as a charioteer he will be combing and scratching them occasionally to remove their itch - as almighty coaxes and combs Vedas to remove their discomfort; gives those horses a washing with palmfuls of water – as anointment is incidental to Vedas; sits in chariot vigilantly – as almighty sits erect vigilantly in respect of Vedas and their implementation; tucks the horsewhip in his headgear – as almighty too rolls up his sleeves in prosecuting the sayings of Vedas; holds the reins of those horses occasionally with his teeth when ambidextrously steering– as almighty too holds the reins of Vedas, if it must be, while steering them skilfully; let that treasure of lady devaki’s merits, kriShNa, safeguard us. [2-47]

Word analysis and exposition

2-47. pANDava syandana ashvAn kaNDUn = pANDava -s, chariot’s, of horses, itching; nakha niyamita = with his fingernails, one who quietens – by combing and scratching horsebacks; a~Njali sthaiH payobhiH anudinam abhiShi~Ncan = with palmfuls, of water, everyday, one who gives a wash to those horses; vitata gAtra= unkinking, his body – one who sits in chariot with an erect torso – a vigilant steersman; stotra niShThyUta mauliH = [stick of] horsewhip, one who tucks, in his headgear; dashana vidhR^ita rashmi= with teeth, held, reins; devakI puNya rAshiH avatu = such a treasure of lady devaki’s merits, [kriShNa], let him safeguard us.

Source commentary

The Indian horsewhip is not an altogether whip, with which slaves are lashed, but it will have a cubit of round stick with thin leather stripes knotted at one end. So this horseminder is tucking that stick into his headgear when ready to service the horses.

English rendering

Let my heart abide and comport by abiding the feet of nanda’s son kriShNa, for he is the true consociate of vraja damsels; physique flourishing with perpetual youthfulness; a flaunter of all auspicious thinking and deeds; smiley like the kunda and mandAra flowers; a blossomer for heart of sages like the sun for day-lotuses. [2-48]

Word analysis and exposition

anvayaM: nanda gopAla sUnau mama cittaM nivasatu

2-48. vraja yuvati sahAye = for vraja, damsels, who is a consociate; yauvana ullAsi kAye = with youthfulness, flourishing, with a physique; sakala shubha vilAse = all, auspicious things, are his disports; kunda mandAra hAse = like kunda flowers, mandAra flowers, whose smiles are; muni sarajita bhAnau= for sages, called lotuses, one who is a sun; nanda gopAla sUnau= such a nanda’s, son’s; tat pada Ayatta vR^ittaM =that, feet, abiding, in its comport; mama cittaM nivasatu = let my, heart, abide.

English rendering

A personified lusciousness is palpable for us, which with its smiley lips is shedding nectarine flow conjoined with melodious tunes of flute on their way out, which tunes ecstasies the woodlands of brindavana ever and anon, on which land of brindavana he stands crosslegged while fluting, whereby mother earth is hugging those lotus like feet gladly and thrillingly, and that delicio-sappharine resplendence is the only haven among all retreats and recourses. [2-49]

Word analysis and exposition

2-49. Ardra smita madhura bimba adhara = with fresh, smiles, on sweet, lips, sudhA saraNyA sa~NkrAntaiH = with their nectarine, flow and flowing path, conjoined; veNu ninadaiH = with flute’s, melodies; sapadi araNyAnIm madayan = always brindavana woodlands, one who is ecstasising; dharaNyA sa Ananda utpulakam = by mother earth, with her gladness and thrilling; upagUDha a~Nghri kamalaH = embraced, his feet, called lotuses; sharaNyAnAm AdyaH= among shelterers, then first one; sharIrI madhurimA = personified, lusciousness; sa jayatu = such a sweetness, hail to that.

Word analysis and exposition

2-50. mugdhaM snigdhaM = lovely, friendly – his mien ; madhura muralI mAdhurI dhIra nAdaiH = sweet, flute’s, melodies, soul-stirring, with such fluting; karaNa vishaM= senses, subjugating - melodies; gokula vyAkulatvam kAraM kAraM = for cowherd community, commotion, causing much, again causing much; kAmaM shyAmaM= highly blueblackish - complexion; mohana a~NgaM= most beautiful, limbed; yuva jana mano mohanaM = for youngsters, hearts, capturing; vallavI vallabhaM = milkmaids, darling; such a mahaH = great resplendence; nityaM naH citte nivasatum = always, in our, hearts, let it abide.

Source commentary

bhAvam= sulabham .

The import of this verse is easy. This verse appears in one mms only, hence Telugu poets have not rendered translation to this verse which is a list of attributes and lacks the fineness of lIlAshuka’s poetisation.

English rendering

Filamentous are his eyes similar to the grandeur of just bloomed lotus when delicately touched by a host of dainty rays of tender sun, on a rhapsodic moon called his face that is ever gleeful for his ever winning nature in the grapples of courtships with the beauties of vraja village; I am enrapt in the rapturousness of the face of that luminary called Krishna... [1-51]

Word analysis and exposition

anvayam: navanIta coram brahma prapadye

2-51. vidagdha gopala vilAsinInAM = [with] highly scorched [milkmaids are highly scorched in love for kriShNa ], the milkmaid beauties [of vraja village];with such milkmaids; sambhoga cihna = in lovemaking, occurred bodily marks a~Nkita sarva gAtram = dented, all, his body – danta nakha kshatAdi cihnA-s;

navalAvaNyavilAsinInikaranAnAbandhanasambandhasambhavadarthAnkasharIri – is the Telugu translation of vengayAmAtya for this compound, in more complicated Sanskrit, rather than in Telugu;

even then that body is;

pavitram = all-sanctus;

AmnAya girAm a+gamyaM = with the words of scriptures, [that physicality of kriShNa ] is not easily attainable – vishvaparamAmnAyAntavAcovidheyavihAri - vengaya ; navanIta coram = [which body is now in a] butter, thief [getup]; brahma = that itself is brahma; prapadye = L. proponere - so, we propound him – adore him.

English rendering

Once a cowwoman spotting this boy stealing butter in her house is amazed as to why this boy always steals butter and milk in others houses when his house is aplenty with milk products; nevertheless, she quickly closed the door of that room, incarcerating that boy, went to that boy’s house to report this thievery to his mother yashoda. There also she found the boy already incarcerated to a pounding-stone with rope used to tie calves, and this cowwoman is re-amazed, thinking whether it is real or unreal, possible or impossible to see same boy at two places. Him who plunges everyone in the duality of opposites – dvandva paristhiti - I adore, who in actuality the Supreme Being – vastutattva paramAtma.. . so, let us adore such a boy. [2-52]

Word analysis and exposition

2-52. ekA = some cowwoman; antar gR^ihe = in the interior [of her own house]; kR^iShNam choram avekShya= kriShNa , as butter thief, on spotting; kavATam badhvA= door [of her interior house], on firmly closing; jananIm gata [AbhUt] = to kriShNa’s mother, has gone; tatra api = there, even – yashoda’s house also; enam ulUkhale dAma nibaddham dR^iShvTA = him, to a pounding-stone, with a rope used to tie calves, securely ties, on see it; a+stimitA babhUva = perturbed, [that cowwoman] she has become; [ tam prapadye = him, - we L. proponere - let us adore].

English rendering

When this boy was a crawling kid he once spotted the reflection of his lotusy face on the polished floor of his house, and started to grab it, but in vain. When that boy in illusion could not be grabbed, this boy started to wail complainingly, seeing the face of his governess. That being the childishness let us adore the very same boy who in essentiality is in the control of all illusions – mAyA vartana brahma tattvam .

C.f. ghaTodakeShu… etc in kriShNa stotram .

Word analysis and exposition

2-53. jAnu charaH kumAraH = on knees, one who is crawling, that boy; ratna sthale= on a floor finished with precious stones – highly polished floor; sa~NkrAntam AtmIya mukha aravindam = reflected, his own, face called lotus; on seeing it; AdAtu kAmaH = he started to grab it –as any boy would drag the other boy; tat a+lAbha khedAt = that [face of reflected boy], when not, seizable, with frustration of; dhAtrI vadanam vilokya ruroda = governess’, face, by seeing, he started to wail; [ tam prapadye = him, let us adore].

English rendering

When bAla kriShNa uplifted Mt. govardhana on his fingertip, different people gazed at him differently; his mother gazed at him with gladness as that feat could be achieved by none other than her own son; milkmaids looked at him with a romantic longing to possess such a hero only for themselves; Indra with a doubt about this boy’s next action in ramshackling his throne; salved souls travelling on horizon called siddha -s and cAraNA -s with flower-like looks as in worshipping; by mother earth with a perturbed look for the very same one upheaved everything on her surface when he incarnated himself on her previously; by other cowboys with a pal-to-pal jealousy for none of them could achieve anything against downpour;by other people in vraja village with compassion by the degree of comparison occurring between a boy and a mountain – hastimashaka antaram ; by other onlookers – like yaksha, gandharva, vidyAdhara et al,with a smile meaning ‘who else can lift a mountain than him, it is a routine feat for him… just smile it away…’; I therefore adore such a causer of different strokes in different people in different ways - for one occurrence. [2-54]

Word analysis and exposition

2-54. yaH = which bAla kriShNa ; pra+ut+kShipta govardhanaH= very well, uplifted, one who has got Mt. govardhana on his fingertip; yashodayA Anandena = by yashoda, with gladness; gopa a~NganAbhiH sa madanam= by milkmaids, with a romantic longing; bala vidviShA sa Asha~Nkam = by demon bala’s , enemy [Indra], with a doubt; siddhaiH su kusumaiH = by siddha [and cAraNA-s] celestials, with flowers – in a worshipping manner; pR^ithivyA Akulam =by mother earth, with perturbation – because this boy is uprooting mountains – not done so far in the history of earth; gopa kumArakaiH sa IrShyam = by other cowboys, with a kind of jealousy – for none could lift a mountain; pauraiH karuNam = by other people in vraja village, with compassion; janaiH sa smitam = by other onlookers – like yaksha, gandharva, vidyAdhara, et al,with a smile – meaning ‘who else can lift a mountain than him, it is a routine feat for him’; ciram dR^iShTaH = for a long time, one who is gazed upon – when lifting the mountain; mura+ripuH saH naH punAtu = such demon mura’s , enemy, he alone, us, let him protect.

Word analysis and exposition

2-55. purANAH Atma vidaH = if the ancient, soul, knowers - adore someone in their souls; guhAyAm nihitam = in a cave called their souls, ensconced; param pumAMsam upAsatAm= Supreme, Being, let them adore; vayam = we for ourselves; yashodA shishu bAla lIlA kathA sudhA sindhuShu = in yashoda’s , boy, childhood, legends, called nectarine waters; lIlayAmaH= jala krIDAs – we dip ourselves s in water sports.

If the sage and saints adore the Supreme Soul as ensconced in the caves called hearts, let them do so – we have no objection for it; but, we for ourselves will be buoyantly sporting in the nectarine waters called the legends of the baby boy of lady yashoda – for his childhood pranks themselves are the psychoactive abode of that Supreme Being - para tattva sthAnam . [2-55]

English rendering

It is futile to rewrite the bhAvam of the above Sanskrit verse when the Nightingale of India has already penned it. The above is the rendition of Smt. Sarojini Naidu , rendered in 1 st person of that gopa kanya , made available per kindness of J. K. Mohana Rao .

This verse is the third verse in govindadAmodara stotra penned by lIlAshuka .

Word analysis and exposition

2-56. gopa kanyA = a cowwoman; dadhi Adikam= curd, etc milk products; vikretu kAmA sati = in selling, [though] having [such] an intention [in her mind]; murAri pAda arpita citta vR^ittiH = at kriShNa’s , feet, dedicated, mental, function; moha vashAt = nandasasmbhava pAdArpita chitta vR^itti – vengaya ; thoughtlessly; govinda dAmodara mAdhava iti; avocat kila= blurted out.

English rendering

It is definite that only three factors on earth have become the iron stanchions to tie an elephant called murAri ; either it is a pounding stone; or the hearts of sages and saints; or the buds like bosoms of milkmaids; no other picket picketed him obviously. So, we propound that self-regulatory principle as paramAtma tattvam . [2-57]

Word analysis and exposition

2-57. bhUmau = on earth;

murAri nAmnaH kalabhasya= for murAri , named elephant;

ulUkhalam vA = a pounding stone, either;

yaminAm manaH vA= sages’, hearts, either;

gopa a~NganAnAm kuca kuTmalam vA = milkmaids, bosoms, called buds, either;

trayam eva= three factors, alone; AlAnam = an iron pillar - used to tie an elephant; AsIt = they became; nUnam = it is definite.

English rendering

Catching his lotusy foot with lotusy hand that infant is placing it in his lotusy mouth when reclining on a leaf of banyan tree afloat the primordial waters; him I whole heartedly adore as that hand-foot-mouth syndrome is symbolic of sR^iSThi-sthiti-layam ; hand indicating creation, foot denoting the slippery foothold for evanescent existence, and mouth for culmination, into where any created existence will be gulped down – inasmuch as the triad of the worlds is in the belly of that boy. [2-58]

Word analysis and exposition

anvaya: bAlam mukundam manasA smarAmi

2-58. kara aravindena= with hand, called lotus; pada aravindam = catching foot, called lotus; mukha aravinde viniveshayantam = in mouth called lotus, one who is placing;

vaTasya patrasya puTe shayAnam = of banyan tree, leaf, who is reclining ; bAlam mukundam manasA smarAmi = on that bAla-mukunda , I heartily, reminisce.

Source commentary

This bhAvam is according to Pt. M. Sharabhayya in Dr. TVSRao’s edition of this poem.

English rendering

One night when that boy was sleeping he went in to dram and started saying, “oh, lord shiva , welcome to you; oh, brahma, come this way, this way please, please be seated on my left; how are you, kumAra ; oh, indra , are you comfortable; oh, kubera , you are not to be seen these days…” and listening that dreamtime talk of his son lady yashoda said, “oh, my boy, what is it you are burbling, any evil spirits got you, or what…” saying so she made sounds like thU … thU … to ward off those evil spirits. Let that boy who is protected from evil spirits thus, protect us also from such malefic spirits distracting from devotion towards him. [2-59]

Word analysis and exposition

2-59. shambho svAgatam = oh, lord shiva , welcome to you; padma udbhava= oh, brahma; itaH itaH= this way, this way please; vAmena AsyatAm= on my left, be seated; krau~Nca-areH kushalam= oh, one to Mt. krunca , an enemy of – oh, kumAra , how are you; sura pate sukham= oh, indra , are you comfortable; vittesha na dR^ishyate = oh, kubera , you are not to be seen these days; ittham svapna gatasya = in this way, into dream, one who has gone in; kaiTabha jitaH= demon kaiTabha, who conquered him – kriShNa; giraH shrutvA = words, on listening; yashodA = lady yashoda; saying; bAlaka kim kim jalpasi iti = oh, boy, what, what, you are taking, thus as; racitam = she made; thU thU kR^itam= thU , thU , sounds she made; pAtu vaH = let him protect us.

Source commentary

These thU ... thU … sounds are spitting time sounds made by mothers to ward off malevolent looks and evil spirits by spitting at them.

Word analysis and exposition

2-60. mAtaH = mother!

kim yadunAtha = what, my prince;

caShakam dehi = give me tumbler;

kim tena = what for;

payaH pAtum = to drink milk;

tat adya nAsti = drinking milk is not now;

kadAsi vA= then, when;

nishi= in night;

nishA kA vA = what is night;

andhakAra udayaH = when it darkens;

akShi yugam AmIlya = [closing both his eyes];

nishA api upagatA dehi caShakam = night has come now, give me my tumbler;

iti muhuH= in this way, repeatedly; mAtuH vakShoja aMshuka = mother’s, upper cloth;

[muhuH] karShaNa udyata karaH = [repeatedly], for pulling, raised, with such little hands;

sa kR^iShNaH naH puShNAtu = let that, kriShNa ,us, safeguard. [2-60]

Source commentary

C.f. yA nishAasarvabUtAnAm tasyAm jAgarti …etc - gIta 2-69.

English rendering

“Oh, boy, your brother balarAma has gone to play in the sands of yamuna river… sooner he returns drink this milk in this cup…your brother comes at any moment, and you both will have to go to play… by drinking more milk your coiffure becomes big like that of your brother… come on, drink it…” so said yashoda to that boy eschewing a drink of milk. Listening to her outmanoeuvring talk to make him drink a cup of milk, that boy gulped half a cup and immediately checked his coiffure, which seemed to have grown instantaneously – according to the ‘always believable words’ of one's own mother; let that credulous boy protect us also trustfully. [2-61]

Word analysis and exposition

2-61. hare = oh, hari – oh, dear child; musalI = your brother balarAma ; kAlindI pulina udareShu = in river kAlindi’ s, sandunes, in their midst; yAvat khelitum gataH= up to which time, to play, he has gone; tAvat= in the meanwhile; kArparika payaH piba = in this cup, milk, you drink; by drinking milk; te shikhA vardhiShyate = your, coiffure, grows; ittham = in this way; bAlatayA pratAraNa parAH = by his being a boy, in order to outmanoeuvre him,she who is trying; yashodA giraH shrutvA = such yashoda’s , words, on listening; kShIre ardha pIte sati= milk, half of the cup, on drinking; sva shikhAm spR^ishan = his coiffure, on touching; hariH pramuditaH= that hari , is very much gladdened – feeling that his head hair grew immediately exactly as said by his mother; such a hari in cowboy’s form with babyish belief on his mother’s words; naH pAyAt = us, let protect.

English rendering

Ones that boy reclining in the lap of his mother opened the mouth agape, in which that mother has spotted butter just like the silvern mountain of Himalayas; a mud clod just then eaten in childish impropriety as massive as earth’s globe; just consumed milk as vast as Milky Ocean, then that mother much worried about the boy’s indigestion problem started saying: “I am dead, oh, boy, which evil woman’s glances fallen on you… thU.. thU..thU … long live, my boy, long live…”; thus, let that boy who is taken care by his mother that warily, take care of us too, that warily. [2-62]

Word analysis and exposition

2-62. lasat smere praphulle mukhe = in his highly resplendent, face; kailAse [kailAse] navanItati sati = like a silver mountain, butter, when present; kShiti bhare = belly fully; prAk jagdha mR^it loShTati sati = just then, eaten, mud, clod, when present; kShIra ude api nipIta dugdhati sati = milk ocean, even, completely, gulped, milk, on it becoming; ajIrNa bhayA dhiyA ] = indigestion, with the fear of; dR^iDham cakitayA = highly, alarmed; mAtrA = by mother; this is said; naShTA asmi = I am dead; kayA dR^iShTaH [abhU ]= by which woman, you are seen; vatsaka = oh, my child; dhu dhu = dhuu, dhuu – sounds she made; ciram jIva jIva = live long, live long my child; iti uktaH = thus, one is said so; hariH = that dear child of yashoda, namely hari ; naH avatAt = us, let him protect.

Source commentary

It is said that there is grammarian’s headache in this verse in ‘ ti ’ pratyayAnta kriyA padam used in first foots, not correlating with next foots. Hence foots corrected and shown above, as has been presented by Pt. PSRA.

English rendering

Suckling milk from the alternate breasts of his mother with half closed eyes, mopping up just trickled milk from the other breast with his tiny hand, while his mother is pressing a finger on his cheek for this child-play in all her tender fascination for him in breastfeeding, that smiley faced tiny tot kriShNa with a lustre of a milk drop fallen on his lip along with toothy grin protect us, that tenderly. [2-63]

Word analysis and exposition

2-63. paryAya pIta stanam pibataH = from alternate, rotund, breasts, one who is suckling; ki~Ncit ku~Ncita locanasya = with a little, closed, eyes; sadyaH prasnuta dugdha bindum aparam =just then, trickling, milk, drops, from another [breast]; hastena sammArjataH = with his hand, wiping – rubbing his hand on another breast; mAtrA cubuke eka a~Ngulim lAlitasya = by mother, on cheeks, with one, finger, who is fondled; smera Ananasya = smiley faced one; shaure= of baby kriShNa; adhare kShIra kaNa anvitA nipatitA danta dyutiH = on lip, with milk, a drop of, along with, fallen, teeth’s, lustre; naH pAtu = us, let protect.

English rendering

In the marriage of lakshmi-nArAyaNa , say kriShNa-rukmiNi , the bride is not able to see the face of her would-be directly on the pretext of coyness of a bride bowing her head a little. But, the sapphirine hue of bridegroom, mimicking the hue of a heap of indra-nIla gems, is clearly reflected on the pearls-jewel-pendants dangling on her busty bosoms, turning them into sapphirine hue, and the bride is gladdened to clearly see the reflected hue of her bridegroom in them. Thus that gladsome lakshmi / rukmiNi bring gladness to you all. [2-64]

Word analysis and exposition

2-64. vivAha utsave = during her marriage, celebration; lakshmi / rukmiNi ; lajjA vyAjam upetya= shyness, called pretext, on getting; namra vadanA sati = bowed down, head, though she is;

uttu~Nga stana maNDala upari= her busty, bosoms, on the surface of them; lasat prAlamba muktA maNeH= glittering, pendants of pearls and jewels; antaH bimbitam = in them, reflected;

indra nIla nikara cChAya anukAri dyuteH = indra-nIla gems, a heap of, their reflection, mimicking, with such a resplendence; murAreH vapuH = kriShNa’s , body; spaShTam pashyantI muditA = clearly, one who is seeing, is gladdened; lakShmIH= such a lakshmi / rukmiNi ; bhavatAm mude astu = to you all, gladness, let her bring.

Source commentary

Some view this verse as an interpolation.

English rendering

tAtparyam = sulabham.

Word analysis and exposition

2-65.

balarAma : amba kR^iShNena rantum gatena = oh, mother; by kriShNa , to play, one has gone; by him; adhunA = just now; svecChayA mR^id bhakShitA = wilfully, clods, eaten;

yashoda : kR^iShNa! Tathyam = kriShNa, is it so!

kriShNa : kaH evam Aha= who says so!

yashoda : musalI = your brother, balarAma

kriShNa: mithyA… amba! Ananam pashya = it’s a lie… mother, see my mouth…

yashoda : vyAdehi… open it…

iti= in this way when the discussion continued; vidArite shishu mukhe samastam jagat dR^iShTvA = in the opened up, boy’s, mouth, all, world, on seeing; yasya mAtA= whose mother; vismayapadam jagAma = into an amazement, one who has gone in; saH keshavaH naH pAyAt = let that amazing child of an innocent mother, namely keshava, protect all of us.

English rendering

Among 27 star-wives of moon svAti and rohiNi are the prominent ones, where star svAti is celebrated as the motherly star of highly prized pearls, for the bivalve shell of mother-pearl readily conceives with the advent of new showers in the period ruled over by svAti star, and pearls are every girl’s fancy. Disdainful of her co-wife’s celebrity, star rohiNi too became motherly star to a most precious sapphirine jewel, which acquired a perfect placement on the most uncommon bosoms of milkmaids of vraja. [2-66]

Word analysis and exposition

anvayam: rohiNI nIlam ratnam asUta kila

2-66. tArakANAm svAtI sapatnI = among 27 star-wives of moon, svAti star, is a co-wife for other 26 stars; muktA phalAnAm janani = and she is mother-like to highly prized pearls; iti= that being the case of co-wife jealousies; sA rohiNI = she that, rohini – another star-wife of moon; roShAt = with disdain; nIlam ratnam asUta kila = a blue, jewel delivered, they say; which blue gem; gopa vadhU kuceShu= on milkmaids, bosoms; kR^ita Aspadam = acquired, a perfect placement.

Source commentary

The poet is punning on kriShNa’s birth that took place when the moon is in the moon-station called rohiNi constellation.

English rendering

When child kriShNa is dancing in the house fed and watched by his mother yashoda, his splendid form is reflected in the gem studded pillar of that hall and there appeared twosome Krishna to the onlooker yashoda. Then that fawn eyed lady immediately split one butter lump in her hand as two, to feed that pair of kriShNa-s. Let us adore that boy who is deft in showing such lIlA-s . [2-67]

Word analysis and exposition

2-67. nR^ityantam= one who is [childishly] dancing in her fore; atyanta vilokanIyam= very lovely to see; maNi stambha gatam kR^iShNam = in jewel studded, pillar, one who is reflected; sAkShAt iva= present, as if– as another kriShNa ; mR^iga akShI = fawn eyed one– mother yashoda; nirIkShya kR^iShNam agre= on seeing, kriShNa, in her fore [though a he is mirrored object] ekam navanItam dvidhA vitene = one, butter lump, as two, she made. bhrAntimadalankAram .

English rendering

Let us adore that impeccable face of that boy which for along time watched over by his mother yashoda while waking him up with wake-up time words like, “oh, boy, wake up; it is already dawn; may live for hundreds, and hundreds of years…” [2-68]

Word analysis and exposition

2-68. yashodayA= by yashoda; vatsa jAgR^ihi= oh, boy, wake up; vibhAtam Agatam = morning, has come; jIva kR^iShNa sharadAm shatam shatam = may you live for hundreds, and hundreds of years; iti= in this way; udIrya= said to him while she is waking him up; vadanam suciram dR^ishyamAna = which face, for a long time, she has been watchning – for sleeping children look serene like almighty; bhajAmahe = we adore that impeccableface.

English rendering

When cowwomen wished to give a kiss to this little boy, thinking him ‘after all a boy’, this boy used cleave to their lips as in draughting kisses; when they wanted to give him a hug, he used to tightly hug their necks till they are reddened with blotches; when they tried to just make him sit in their laps , he used to play with their privates – throwing them into a puzzle whether this is ‘after all a child", or a "seasoned fornicator"; such a puzzler called bAlakriShNa evict all our wrongdoings distantly. [2-69]

Word analysis and exposition

2-69. vallavIbhiH shishuH iti dhiyA cumbitaH san= by milkmaids, [after all he is] a boy, in this, thinking, when he is kissed; oShTham jighran= [that cowwoman’s] lip, cleaving to it; Ali~Ngita a~NgaH san= when, cowwomen, embrace him; aruNita padam kaNTham gADham gR^ihNan = till red coloured blotches are made, necks [of cowwomen], by tightly, grabbing [as in hugging]; a~Nkam Aropita AtmA = when they placed him in their laps; doShNA lajjA Aspadam abhimR^ishan= with hands, their privates, rubbing; dhUrta svAmI= rascals, leader - one with this rascality; bAlakR^iShNaH ; duritam dUrato haratu = [our] wrongdoings, distantly, let him take away.

English rendering

”Oh, lakshmaNa , these dark clouds are tormenting me; these breezes wafting on kadamba trees have become cruel towards me; all these are appearing to chafe off my heart for I am missing jAnaki …” in this way one who is recollecting the happenings of his previous incarnation and talking while in a sleep, that too, when rAdha is watching his dream-time-talk with a doubt inclusive of jealousy, let that hari endow comforts on all of us. [2-70]

Word analysis and exposition

2-70. lakShmaNa= oh, lakshmaNa ; jAnakI virahitam mAm= jAnaki , without, me; ete ambudA khedayanti= these, darkclouds, are tormenting me; amI kadamba anilAH krUrAH= these, kadamba trees, breezes wafting on, have become cruel; marmANi alam ghaTTayanti iva ca= [innermost parts like] heart, easily, chafing off, as though;

ittham pUrva janma caritam vyAhR^ita = in this way, earlier, birth’s, legend, one who is recollecting; yaH hariH svapnAyamAnaH san= which, hari [in kriShNa ‘s form], dream-time- babble – one who is making;that too when; sha~NkitayA rAdhayA sa IrShyam vIkShitaH= doubtfully, by rAdha , with jealousy, one who is watched by her; saH naH sukhayatu= he, us,let give comfort.

English rendering

One night goddess lakshmi started to avoid hari’s advances with quibbling words, “leave off my lip, oh, hari, for you killed pUtana sucking her breast; ah, don’t hug neck that tight for your hugging cleaved arjuna trees apart; oh, don’t make nail dents on my body for your nails tore hiraNyakashipu to death…”; he who is weaselled out by goddess lakshmi in this way, let him protect us all. [2-71]

Word analysis and exposition

2-71. hare = oh, hari ; oShTham mu~Nca bibhemi = lip, release, I am fearing; bhavatA pAnaiH pUtanA hatA = by you, when you are breastfed, demoness pUtan , is killed; amum kaNTha AshleSham jahIhi = this, neck, embracing, leave off; Ali~Nganena arjunau dalitau= by your embrace, arjuna trees, are cleaved apart; mA dehi cChuritam= don’t, do, nail dents on my body; nakhaiH hiraNyakashipuH pa~NcatAm nItau = with your nails, demon king hiraNyakashipu , to death, led; ittham = in this way; lakShmyA = by lakshmi; upahAsAt vArita rAtri keliH = jocularly, one who is avoided, in night time, romances ; hariH avatAt = let that hari , safeguard us.

English rendering

tAtparyam = sulabham.

Word analysis and exposition

2-72. mother: rAmo nAma babhUva = Once there live a prince called Rama;

child: hum;

mother: tat abalA sIta iti= he has a wife called Sita;

child: hum;

pituH vAcA pa~NcavaTI taTe viharataH = when they are in panchavaTi forests as per his father’s orders;

tasya tAm rAvaNaH Aharat = she belonging to him, one called rAvaNa stole - rAma's wife sIta;

iti nidrArtham jananI kathAm= in this way when mother yashoda is telling a bedtime story;

hareH shR^iNvataH= by hari , [this point of story, Sita’s abduction] on listening; hu~NkArataH = ‘hum’ sound is uttered expressing dissent [while the above ‘hum’ sounds arecasual drones];

child: saumitre kva dhanuH dhanuH dhanuH = oh, saumitri , where is my bow… bow… get me my bow – thus that child uttered to utter stupefaction of his mother; iti vyagrA giraH= in this way, with perturbed, words – one who reacted ; pAntu vaH= let him protect us.

Source commentary

Please note that 3rd foot is entirely changing in vanga pATham, when compared with Telugu mms.

Word analysis and exposition

2-73. tvam bAlaH = you are, a boy; api= even then; shaila uddharaNa agra pANi= for lifting, a mountain, [you have a very capable] end of, a hand - fingertip; rnIlaH= blueblackish fellow; api= yet; nIrandhra tama pradIpaH = pitch dark, darkness, [for removing you are] a very brilliant lamp ; dhIraH = highly steadfast fellow; api= nevertheless; rAdhA nayana avabaddhaH= by rAdha’s , eye [movements] tameable one; jAraH= a fornicator; api = even then; saMsAra hara= life-death cycle, remover;

kutaH= how come, you are with mutually self-contradicting dispositions.

bhAvam= sulabham.

Source commentary

Please note that the word ‘ samsAra’ is used in the usage style of Telugu people. Sanskrit poets refrain to use it in this way.

English rendering

Here are my salutations to cowherd nanda’s son who barely is a child, sapphirine blue in complexion, waistline adorned with a newly made golden chain of tiny jingle bells, a pendant hanging on his chest with talismanly tiger-nails as its locket, above all who in birthday suit moves freely in vraja village thieving butter. [2-74]

Word analysis and exposition

2-74. bAlAya= for that child - who; nIla vapuShe = sapphirine blue, in complexion; nava ki~NkiNIka jAla abhirAma jaghanAya= with newly made, jingle bells, beautiful, one who has on waistline – on which that chain of jingle bells is worn; digambarAya = one in a birthday suit; shArdUla divya nakha bhUShaNam bhUShitAya = one with tiger’s, talismanly, nail, a pendant- a pendant with tiger’s nail as its locket, one who is adorned with; navanIta muShe= for butter, thief; nanda AtmajAya= for nanda’s, son; te namaH = to you, my namaskAram.

Source commentary

Wearing tiger’s nails is at one time was for a talisman effect, later became a status symbol, which blind faith depleted the tiger population, besides NOT bringing any palpable change to the wearers.

Word analysis and exposition

2-75. dakShiNe pANau = in right, hand; Ahita rasam pAyasa bhaktam mudA bibhrat = containing many tastes, dessert, one who is with gladness, handling; savye pANau = in left, hand; shArada candra maNDala nibham = in autumn, moon’s, orb like, in lustre ; haiya~NgavInam= butter made from yesterday’s milk – very fresh butter; dadhat= one who is handling; kaNThe = on neck; uddAma dIptim = one that has spurting radiance - pendant; kalpita puNDarIka nakham api = wedged, tiger’s, nails, even; vahan = one who is carrying; divya digambaraH= one who has devata vastrA -s on his body – ethereal gods wear ethereal dresses - a dressless boy; devaH = such a boy-god; yashodA shishuH= that yashoda’s, child; naH saukhyam dishatu = to us, an eternal bliss, let him show.

That yashoda’s child who gladly handles a cup of freshly prepared dessert containing many a taste in his right hand, a lump of very fresh butter looking like the orb of autumnal moon in the left, wearing a pendant with tiger’s nails wedged in its locket that outspread refulgence, and moves thereabout wearing nothing else on his body, let that baby-god show eternal bliss on all of us. [2-75]

Word analysis and exposition

2-76. ki~NkiNi= kiN+kiNi= from tiny jingle bells; kiN rabhasaiH= [L. tin tinnire ] with kiN, kiN , sounds – with tintinnabulations; a~NgaNa bhuvi = in his house’s courtyard; ri~NganaiH= with hops and jumps [of a little child]; sadA aTantam = always, who is playing; ku~NkuNu= kuNu+kuNu = kunkuNu= those that make kuN , kuN sounds – anklets with jingle bells; kuNu = with their kuN , kuN sounds; pada yugalam= one whose feet are with; ka~NkaNa= kaN+kaN = kankaNa= with bracelets making kaN, kaN sounds ; kara bhUShaNam = wrists, adorned with; harim vande = to such hari in a baby boy’s get up, our salutations.

bhAvam= sulabham

Source commentary

This verse crafted onomatopoeically on Na shabda punAvR^itti , repeatable sound of Na - shabAlankaaram

English rendering

He who makes his mother short breathed by running crisscross among a pack of cows while she chases to catch him, for she only wanted to tidy him up as his curls dishevelled and hanging loose, body smeared with cow dung, mud, straws pieces and what not, let us dangle upon him who looks apperceivably dirty. [2-77]

Word analysis and exposition

2-77. surabhINAm sambAdhe = among, cow herds; anuyAntim ambAm AyAsayantam= one who is chasing, to such a mother, causing short-breath ; lamba alakam = one with hanging curls with dishevelled hair; tanu vilagna jambAlam = on boy, verily dabbed, mud – cow dung etc; tam bAlam avalambe = that, boy, we hang upon.

Source commentary

This is also an alliterative narration on sound ‘ mba’ shabda punAvR^itti . shabdAlankAram . This verse has an import of sampatkR^idaSTAkSharI mantrta dhyAnam: sanatkumArasamhita .

English rendering

Let us always take shelter of that boy, for his being a cow minder standing in the midst of a very friendly coterie of milkmaids gathering around him, while peacock feathers tucked in his headgear glistens very brilliantly. [2-78]

Word analysis and exposition

2-78 . a~Ncita pi~Ncha ApIDam = glistening brightly, tucked with peacock’s feather, with such a head gear;

sa~Ncita saujanya vallavI valayam = gathered, friendly, milkmaids, coterie – one who has it around him;

or, va~Ncita saujanya vallavI valayam= those that hoodwinked, for friendliness, such milkmaids, coterie – as in some mms, vanchita is there instead of sanchita .

adhara maNi nihita veNum = on his lip, called jewel, placed, flute; bAlam = a boy; gopAlam = a cow minder; anisham avalambe = let us always, take shelter of.

English rendering

One who is prince prahlAda’s fortune, a substratum ensconced in the interiors of caves of the great mountain called scriptures, delineated by the name nara-hari , one subservient to sagacious and makes gods subservient to him. Hence, who is sAkshAt nArAyaNa , let that bAlakriShNa be our focal point. [2-79]

Word analysis and exposition

2-79. prahlAda bhAgadheyam= one who is prahlAda’s , fortune; nigama mahA adreH= scriptures, called great, mountain; guha antaH Adheyam = cave, inside, one that is a substratum; narahari pada abhidheyam = lion-man, by name, who is known; vibudha vidheyam= for sagacious people, subservient; mama anusandheyam = to me, focusing point.

Source commentary

This verse is not showing any indicators to krishna incarnation, like pincha, blueblackness, vraja, nanda, yashoda, gopika, veNu, rAdhika etc specifically used by the poet. Hence some dismiss this verse as an interpolation.

If usage like laksmi alias rukmiNi in other verses is accepted as applied krishna avatAram , here also the words prahlAda, nara-hari etc should be accepted as nArAyaNa becoming man-lion and later as kriShNa , and when the poet is touching almost all the incarnations, somehow or the other – why not this – is the argument of some people.

The poet himself said something about other incarnations at 2-85, avatArA santi anye…

Anyway it is a beautiful verse again with shabdalankAram on sound dheyam in words: bhAgadheyam, Adheyam, abhidheyam, and sandheyam.

Word analysis and exposition

2-80. saMsAre sAram kim= in life-death cycle, tangible object, what is; paribhajanam kaMsa areH caraNa kamala = completely surrendering,at the feet, called lotuses, of kamsa’s enemy; andhakAre jyotiH kim = even in pitch darkness, [enlightening] light, what is; andhaka areH anusmaraNam= demon andhaka-asura’s , enemy’s, reminiscence; yat= that which is there, that alone – are the recourses.

What is the tangible object in the intangible cycle of like and death? It is the complete surrender at the lotusy feet of king kamsa’s enemy, namely kriShNa . What is the enlightening light even in pitch darkness? It is the constant reminiscence on the enemy of andha-asura , namely god shiva . [2-80]

Source commentary

Based on old saying :

Again there is shabdAlankAram on sound re in words saMsAre, kaMsAre, andhakAre, andhaka-are.

English rendering

Let nanda’s child be always frolicking in my heart, for he thieves butter from pots, where pots are hearts, butter is heart’s dedication, and thieving is the unknowing liberation of that content; for he, is the one who sheds moonlight-like his own resplendence, as a blossomer, on the buddy kumuda flowers-like glances of lakshmi, the personified fortune, without whose smiley blessing none can be fortunate; moreover he is the so-called fornicator of the beauties of vraja village, where those milkmaids are sages and saints in female form desiring his nestling attention. [2-81]

Word analysis and exposition

2-81. kalasha navanIta core = from pots, butter, who is thieving ; kamalA = lakshmi / rukmiNi ; dR^ik kumuda= for glances, called kumuda flowers; candrikA pure = moonlight, one who is filling it up – a blossomer; gopa sundarI jAre= for cowherds, beauties, a fornicator; nanda kumAre mama ceto viharatu= that nanda’s son,in my heart, let him always be frolicking.

Word analysis and exposition

2-82. milkmaid: kas tvam bAla? Who are you, boy?

kriShNa : bala-anujaH: balarAma’s brother;

milkmaid: iha te kim = what it you are doing here – in my house

kriShNa : mat mandira Asha~NkayA = thought this as our house – and entered;

milkmaid : tat yuktam! navanIta pAtra vivare hastam kim artham nyaseH = its ok, what for you are digging hand in that butter pot;

kriShNa : ka~Ncana vatsakam mR^igayitum = searching for a missing calf; mA gA viShAdam mAtaH = don’t get upset my mother;

evam iti = in this way; kR^iShNasya= of kriShNa;

vara vallavI kShaNAt prati-vacaH = [ iti evam vada vallavI prativachaH ]= to best, cowwoman, in a trice, repartees shot back - he who shot back; naH puShNAtu = let those quick witted badinages invigorate all of us.

Source commentary

This verse has an import of gopAlakriShNa ekAdashAkshara mantrta dhyAnam: sanatkumArasamhita. harantam navanItAdi chauryeNa… japet idam ||

English rendering

You prefer to play in the swampy courtyards of cowmen rather than in the Vedic-ritual-leas of brAhmaNA -s; you prefer to reply to the mooing and lowing cow herds rather than the hundreds of eulogies of scholars; you prefer to undertake servitude to the libertine cowwomen rather than becoming a lord of yogic practitioners; but, what for? Oh, yes, I have known fact, I think, that your feet called lotuses budge towards a place or a person where unqualified love – madhura bhakti - is abundant, not otherwise, whereof that pair of your lotusy feet are delighting to us. [2-83]

Word analysis and exposition

2-83. gopAla kardame ajira viharase = in cowmen’s, swampy, courtyards, you play; but; vipra adhvare lajjase= in brAhmaNA -s, ritual [fields], [to enter] you hesitate; go kula hu~NkR^itaiH brUShe = cow, herds of, to their lowing, you talk; vidAm stuti shataiH maunam vidhatse= scholars’, eulogies, hundreds of, silent, you will become; gokula puMshcalIShu dAsyam kuruShe = cowwomen, of libertine ones, servitude, you undertake; dAnta Atmasu svAmyam na kuruShe = on yogic sages, lordship, you don’t like to do; j~nAtam kR^iShNa= oh, kriShNa, I have known; tavA~Nghri pa~Nkaja yugam = your, feet, called the pair of lotuses; premNA= owing only to love; acalam = unmoving [towards loveless practises / places / aspects]; [or, calam = move to that place where unqualified love is abundant]; hence that pair of lotusy feet are; ma~njulam= delighting.

English rendering

Let us adore that sapphirine effulgence that doubly burgeoned on the continuous care of his mother yashoda, and on the continued enjoyment of the lusciousness the lotusy face of rAdha . [2-84]

Word analysis and exposition

2-84. yat hi= which [sapphirine resplendence], indeed; rAdhA mukha ambhojam bhojam bhojam = rAdha’s , face, called, lotus, on enjoying, and enjoying – the lusciousness of that lotus called face; vyavardhata= bourgeoned; yashodAyA dAyAdAya vyavardhata = yashoda’s, legatee – legatee enjoying not her property but motherly care – vAtsalyam, one who luxuriated in; tasmai= to such a; tejase= sapphirine effulgence; namas astu = our adorations.

English rendering

If other incarnations of lotus-eyed nArAyaNa are there that are most auspicious anywise,let them be there; but, which is the incarnation as glorious as kriShNa in emancipating simple cows or rustic milkmaids. [2-85]

Word analysis and exposition

2-85. sarvataH bhadrAH= anywise, auspicious incarnations; sarasija nayanasya = of lotusy eyed one – nArAyaNa -s; anye avatArAH santu = other, incarnations, let them be there; go gopikA muktyai= cows, milkmaids, for emancipation; kR^iShNAt anyaH= kriShNa incarnation, other than; kaH vA prabhavati = which one is, that glorious.

Word analysis and exposition

2-86. prati disham AmbA rava ut jhR^imbhite = in every, direction, with mooing, sounds, booming out; prAtaH doha mahA utsave = morning time, milking, called a great, celebration gokula maNDalam madhye ca= cowmen’s, circle like vraja village, in the midst of;; nava ghana shyAmam = new, raincloud like, blueblackish one; raNat nUpuram= one with jingling, anklets; phAle bAla vibhUShaNam= one forehead, peepal [ ashvattha , Ficus Religiosa] leaf like jewel, one having it; kaTi raTa ki~NkiNI mekhalam = on waistline, jingling, jingle-belled, girdle – one having such a girdle chain; kaNThe vyAghra nakham ca= around neck, tiger’s nail – pendant, also; shaishava kalA kalyANa kArtsnyam= for childhood, charms, auspicious, ensemble of; bhaje= I worship.

In that village vraja when every direction is reverberating at dawn with the moos of cows to milk their calves; when cowmen hurrying to milk those cows as in a celebration, when that sapphirine boy will be roving in their midst with jingling anklets, tintinnabulating girdle chain, wearing an ornament one his forehead in the shape of a peepal leaf, a pendant around his neck with a locket of tiger nails, he looks as if he is the ensemble of childhood charms agglomerated in one boy; and him I worship. [2-86]

Source commentary

This verse has an import of sampatkR^idaSTAkSharI mantrta dhyAnam: sanatkumArasamhita .

English rendering

I adore that bAlakriShNa who is blueblackish like a raincloud full with water, who has shown his playful acts as adventures, held a mountain on his fingertips, melodies of whose fluting are as good as sweet mango fruit, the saviour of cowmen and their community, one indulged in romance with flirtatious cowwomen, and him who is adorned with little garlands. [2-87]

Word analysis and exposition

2-87. sajala jalada nIlam = one with water, water giver - cloud like, blueblackish; darshita udAra lIlam = shown, generous, playful acts; kara tala dhR^ita shailam] = on hand’s, surface, held, mountain; veNu nAdaiH rasAlam = for flute’s, melodies, one who is like sweet mango fruit; vraja jana kula pAlam = for vraja, people, community, saviour; kAminI keli lolam = with flirtatious women, in romance, indulged in – shR^ingAra rasa anubhava Asakti kalita lalita mAlam= adorned with, beautiful garlands; gopAla bAlam naumi = such a gopAlabAla , I venerate.

English rendering

I venerate that bAlakriShNa whose cheeks are beautified with his smiles, whose fascination is for melodious music, a bunch of curls hanging on his head sides, an expert in the art and science of thievery, an End-Time to the enemies of Indra, whose robe will be in the hue of pure gold and whose complexion is blueblackish like the petal of a black lotus. [2-88]

Word analysis and exposition

2-88. smita lalita kapolam= with smiles, beautified, cheeks; snigdha sa~NgIta lolam= in pleasant, music, fascinated ; lalita cikura jAlam= with beautiful, hanging curs, a bunch of; caurya cAturya lIlam = in thievery, art of, an expert; shatamakha ripu kAlam = for indra’s , enemies, an End-Timer; shAta-kumbha Abha celam = gold pot’s, in hue, whose robe is; kuvalaya dala nIlam= of black lotuses, like petals, blackish in complexion; naumi gopAlabAlam = I venerate gopAlabAla.

English rendering

I adore him who luxuriates in the music of flute, decked peacock feathers in crown, who pulled hosts of demon asunder, shows friendly attitude towards sages and saints, and tricky adventures to commoners, who adopts newer and newer destruction techniques to eliminate demons; a compliant entity to goddess lakshmi, above all who in his hue is conspicuously like a raincloud full with water. [2-89]

Word analysis and exposition

2-89. muralI ninada lolam= one who in flute’s, music, luxuriates; mugdha mayUra cUDam= has an exquisite, peacock’s, feather, on headgear; dalita danuja jAlam = one who has riven, demons, a host of; dhanya saujanya lIlam = towards the self-actualised people, a friendly attitude, one who shows; para hita nava helam = to others, useful, new, sportive plays - who shows them;

or para = to others - to enemies; hita= useful for their moksha; nava= new; helam= ravaging techniques – one who adopts newer and newer destruction techniques to eliminate demons;

padma sadma anukUlam= one in lotus, abode – laksmi – to her compliant; nava jala dhara nIlam= new, water, bearer like – like new raincloud, blueblackish; naumi gopAlabAlam = as above.

English rendering

I worship that boy for he is an embodiment of all admirable traits, a personified satya, j~nAna, Anadam; subdued all illusory matters within himself; the Fortune called Truth is his altar-ego; an epitome for all yogic practises; steered clear of all hindrances, and who for amiable people friendly. [2-90]

Word analysis and exposition

2-90. sarasa guNa nikAyam = for all admirable, traits, an embodiment of ; sat cit Ananda kAyam = satya, j~nAna, Anadam is his person; shamita sakala mAyam = silenced, all, illusory things – within his entity; satya lakShmI sahAyam = Truth, called the Fortune, is his alter-ego; shama dama samudAyam = for desistence, self-control etc yogic practises – he is the epitome; shAnta sarva antarAyam= silenced, all, hindrances; suhR^idaya jana dAyam = for amiable people, he is befitting friend; naumi gopAlabAlam = as above.

Proem; This verse has yam sound as AnuprAsa – alliteration.

English rendering

My salutations to that son of vasudeva who has the personified Fortune as his consort, eyes beauteous like lotuses, face brilliant like full-moon, physique insatiable for repeated gazing, the seat of mercy, a pure one and an all-purifier, a friend of Indra, thus a friend of Universe. [2-91]

Word analysis and exposition

2-91. lakShmI kalatram = one who has – lakshmi, as his consort; lalita abja netram= beauteous, lotus like, eyes; pUrNa indu vaktram = full, moon like, face; puruhUta mitram= Indra’s, friend; kAruNya pAtram= for mercy,a seat of; kamanIya gAtram = beautiful, bodied one – to gaze more and more at him; pavitram= pure and all-purifier; vasudeva putram vande= vasudeva’s son, I salute.

English rendering

Not with boyish temerity he plunged in to river yamuna and subjugated the egocentric snake called kAlIya , but as the one who is always interested in persecuting the insurrectionary demons against gods and their jurisdiction; such as he is let that kriShNa enhance all our delights and delectations. [2-92]

Word analysis and exposition

2-92. yaH vIrya shAlI = which, courageous one; yamunAm avatIrya = into river yamuna, on plunging; madamayam = that which form indicating ahamkAra – ahamkAra rUpa pariNAmam - kAlIya; such a; uragam = a snake; adamayat = who subjugated; and who has; amara tiraskR^iti shamana paraH = gods, who deject, them silencing, one who is interested; sa kR^iShNaH mama ratim kriyAt = such a, kriShNa, my delight, may enhance.

English rendering

On whose coiffure peacock’s feathers are decked, on forehead a U mark made with musk, on ears very fine ear-hangings looking like very young pinnate leaves of palm, on nose a pearl-stud, on shoulders fragrant garland as fragrant as divine mandAra flower bunches, on chest down the neck a pendant with kaustubha jewel as its locket, in right hand a flute, above all who will be amidst a coterie of damsels of vraja village, that one who will always be clad in golden silks and inalienable from nArAyaNa, where the distinction is one treading on earth while the other not, protect us all. [2-93]

Word analysis and exposition

2-93. yasya = on whose; maulau mAyUra barham = on head, peacock’s feathers; cAru lalATa paTTe mR^iga mada tilakam = on beautiful, forehead, with musk deer’s musk – kastUri - a U mark made with it; ca= further; karNa dvandve ati mR^idulam tAlI dalam = on ears, both, very fine, ear-hangings, like the leaf of toddy tree ; nAsikAyAm mauktikam= on nose, a pearl-stud; mandAra mAlA parimala bharite hAraH = mandAra -flower-garlands, with the fragrance of, one with small garlands; ca= further; upakaNThe kaustubhaH = down the neck to chest, a pendant with kaustubha jewel as its locket; pANau veNuH = in right hand, a flute; ca = further; vraja yuvati yutaH =one who is surrounded with vraja damsels; such a one clad in; pIta ambaraH = golden silks – by this golden silk wearing both nArAyaNa and kriShNa are deducible; pAtu naH = let him protect us.

Source commentary

Please note that the verse posited at 94th place in printed editions murrain vAri vihAra… is pushed down to 96th place.

English rendering

Which sidelong glances of milkmaids darted from their very dark and bright eyes flitting sportily have been swimming like min-fishes in the stream of radiance, akin to the stream of skyey river ganga, floated from the beautiful nose-stud of that boy; which beautiful black curl ends swinging very fast on the cheeks of those milkmaids have been swarming the pair of lotusy feet of that boy like honeybees, let that boy in golden silks protect us. [2-94]

Word analysis and exposition

2-94. yAsAm= which; gopa a~NganAnAm = milkmaids; lasat asita-tara Alola lIlA kaTAkShAH = very bright, very dark, flitting, sportily, sidelong glances; yat nAsA cAru muktA-maNi ruci nikara vyoma ga~NgA pravAhe = which, nose’s, beautiful, pearl-diamond’s, stream of radiance, in such streamy radiance, called skyey river ganga’s , in such a stream; mInAyate= become mini-fishes; api= further; tAsAm = their – milkmaids’; ati-rabhasa calat cAru nIla alakAH antAH = very fast, swinging, beautiful, black, curls, ends; yat = at whose; a~Nghri dvaya sarasi ruhe= feet, a pair of, called lotuses; bhR^i~NgAyante = swarm like bees; saH pItAmbaraH pAtu naH = that one in golden silks, protect us all.

English rendering

At whose highly evocative fluting melody emanating from the rang of holes on his flute the connection called love between a husband and wife of fawn-eyed milkmaids is snapped off instantaneously, and they rushed to him though their maquillage is disorderly and curls untidy, though the pulsation of their lips, pairs of bosoms, and navel areas is palpable, and though their bodies are obviously displaying thrills on their going into a fit of passion in the rush of uniting with that boy, let that boy clad in golden silks protect us all. [2-95]

Word analysis and exposition

2-95. yat = whose; veNu = flute’s; shreNi rUpa sthita suShira = a range, in the shape of, that are there, flute’s holes; mukha ut gIrNa nAda = from their faces [of holes], highly evocative, by melody; prabhinnAH= shattered – all other ideas are shattered and they are attracted to that melody; eNa akShyaH = fawn, eyed ones – milkmaids; tat kShaNena= in a trice; truTita nija pati prema bandhAH = cut off, their own, on husbands, love, connections, when they became so - connection called love between a husband and wife is detached – spontaneously – milkmaids have not cut it off on their own; asta vyasta alaka antAH= topsy-turvy,curls, ends; sphurat adhara kuca dvandva nAbhi pradeshAH = with pulsating, lips, a pairs of bosoms, and navel areas; kAma Avesha prakarSha prakaTita pulakAH = by passion, in a fit of, going into, displayed, thrills; babhUvuH = they became so; pItAmbaro pAtu naH= = that one [who made them so] clad in golden silks, protect us all.

Source commentary

The above three verses, 93, 94, 95, need be grouped at one place without interjecting another verse, for they are in same vein; start with word yat - yat shabda ghaTita avAntara padam ; all the three have similar ending pItAmbaro pAtu naH.

English rendering

At a time when murAri stole cloths of milkmaids disporting in water they did not get them back that easily from him. Milkmaids had to pray for their return raising their hands up above their head, on slowly coming out of water. Then their wraparound is a pair of hands, long braids falling down, or their closed eyes. Nothing else. What shame it would be to stand in birthday suit before the birthing entity. [2-96]

Word analysis and exposition

2-96. vAri vihAra kAle = in water, disporting at a time; murAriNA mUShita aMshukAnAm = by murAri , stolen, cloths – of some milkmaids; mR^igekShaNAnAm = [then, for those] fawn-eyed milkmaids; kara dvayam vA = arms, a pair of, either; kaca saMhatiH vA = long braids falling down; pramIlanam vA = closing their eyes, or; pari-dhAnam AsIt = wraparound, it has become.

Source commentary

This is better shown in an English picture called “Oh, God”. God appears before the naked and sceptical hero in bathroom, and that hero starts hiding his privates by turning away, with a towel, etc while that god stands coolly.

This verse is at 94th place in printed editions. But seems to be a forced insertion there.

English rendering

We all should always have a jewel at our hearts. But what is it and where to get it? It has emanated from the treasure trove called the womb of lady devaki; later, a cow-minder and pious souled nanda got it from vasudeva in barter of his daughter to him; later, it has become the principal jewel in all the pendants of hosts of cowmen; later, it has become the cardinal locket-like jewel among all the necklaces of milkmaids; then, it remained as highly delightful, yet inexplicable jewel with sapphirine effulgence, and that priceless jewel is readily available anywhere, provided you have a heart for it. [2-97]

Word analysis and exposition

2-97. devakyA jaThara Akare = from devaki’s, womb, called a treasure trove; samuditaH = a jewel that has taken its birth; gavAm pAlinA = one who rears,cows; [and who is the]; puNyAtmanA nandena = pious, souled, nanda; Anaka-dundubheH = from vasudeva – another name of vasudeva , rarely used, meaning celestial drums were beating when vasudeva was born; nija sutA paNyena krItaH = in barter of his own daughter, bought / brought; gopAla Avali mugdha hAra taralaH= [that jewel has then became] for cow-minders, groups of, enchanting, pendant’s, principal jewel hanging in centre; gopI jana ala~NkR^itiH = for milkmaids, [principal] decorative jewel; such a; su-madhuraH= highly, delighting; kaH api= an inexplicable; indranIlaH maNiH= [ like the unobtainable] indra-nIla jewel, that jewel with sapphirine effulgence; naH hR^idi santatam stheyAt = in our, hearts, always, be there.

English rendering

At certain time he who sneaked into someone’s house as is his wont, put a small stool under the pot-sling containing milk pot, made his cohort to sit on the stool in a couched position, placed his two feet on either side of the nape of neck of that crouched boy, got access to milk pot hung up above, with left hand caught the alarm bell and silenced it, placing the thumb of right hand in the neck of pot and making other fingers and palm as a dish on the exterior of neck of the pot, tilted the pot and started to guzzle milk in it with his dish like palm, nodding happily at the savour of milk; just when the landlady has entered that room to check some unwanted disturbance, this boy purringly spouted a mouthful of milk directly into her eyes and did a moonlight flit. Let that sapphirine boy spout and squirt nectar in our lives. [2-98]

Word analysis and exposition

2-98. pIThe = on small stool; pITha niShaNNa bAlaka gale tiShThan = on that stool, crouching, on such a boy’s, nape of neck, one who is standing; gopAlakaH= that cowboy kriShNa; yantra antaH sthita = in pot-sling [suspended from roof, for safekeeping milk etc from cats etc], inside, positioned; dugdha bhANDam avakR^iShya = milk, pot, on dragging – on tilting; AcChAdya ghaNTA ravam = stopping, bell’s, sound – an alarm bell tied to that pot-sling to caution cat’s attack; vaktra upAnta = to mouth, nearby; kR^ita a~NjaliH = making, palm dish-like; pibantaH payaH kR^ita shiraH kampam = gulping, milk, by making, head, nods – for the good quality of that milk; Agata gopikA = when the landlady came in sensing some problem with milk pot on pot-sling; in her; nayanayoH = eyes; gaNDUSha phUtkAra kR^it = mouthful of milk, he pouted - into her eyes ; saH naH pAyAt = such a pouter of milk, u, let protect.

English rendering

What for an unstinted devotion has occurred to us in this lifetime, which is impossible for others and that which is ill-disposed to worldly affairs, towards that boy who distances life-death cycle; a despiser of brute force called wrestler chANUra ; a stealer of devotees’ blemishes; an enricher of devotees wellbeing? Perhaps, and definitely, we in previous birth might have adored gods with impracticable Vedic-rituals; donated illimitable monies with casks; served elders with an inexhaustible service, or undertaken inconceivable austerities; enough is enough; let this life-span span with that devotion towards that sapphirine boy. [2-99]

Word analysis and exposition

2-99. yena = by which reason; asmAkam = for us; bhava dvesiNI= one who distances life-death cycle; cAnUra dviShi= wrestler of cANura , a despiser; bhakta kalmaSha muShi = devotees’, blemishes, one who steals; shreyaH puShi = devotees, one who enriches; shrI juShi= one who an enjoyer of every fortune; in such Supreme Soul kriShNa ; ananya sulabhA bhaktiH = for others, an impossible one - devotion; bhava dvesiNI = present life, a hater of – that devotion; bhakti abhUt = a devotion, that bechanced;by that reason; janma antare = in previous births; vayam nUnam= definitely – perhaps; yaj~naiH Ijimahe = with Vedic rituals, we might have adored god; dhanam pAtreShu dadhimahe = monies, in casks, we might have donated; vR^iddhAn bhejimahe= elders, we might have served; dushcaram tapaH cakR^imahe= impracticable, austerities, we might have undertaken.

Source commentary

In this verse alliteration is on word Shi as in dviShi–muShi-puShi-juShi . anumAna pramANam is said and unsaid in this verse. puNya siddhi owing to bhagavad bhakti , and bhavad bhakti owing to puNya siddhi – are cyclic according to cause and effect syndrome.

Word analysis and exposition

2-100. tvayi prasanne sati = if you are compassionate towards me; mama mama guNena kim [prayojanam] = what is the use with the external attributes of a devotee; tvayi a+prasanne sati = if you are not compassionate to me; mama guNena kim= again, what is the use with the said attributes; vare rakte sati = if a husband is, interested in his wife; vadhUnAm ku~Nkuma patrabha~NgaH nirarthakaH= a wife’s, decorations with vermilion mark, erasable body tattoos etc, are useless – for that husband loves her in as-is-where-is condition; vi+rakte ca = if that husband is disinterested, also – then also the cosmetics are useless to a lovelorn wife.

If a husband is interested in his wife, her cosmetics are quite useless for he loves her in as-is-where-is condition; those cosmetics are equally useless if her husband is disinterested in her; so also, of what use is my devotee’s ensemble if you are either compassionate, or discompassionate towards me? [2-100]

Source commentary

C.f. verse 1-29 with a similar running.

English rendering

With heaps of glitter emitted from their toothy grins that are capable to deter the moonshine; with fluttering upper cloths whirring and buzzing to the twists and turns of their torsos; with the clings and clangs of their roundlets on arms - all in tune and rhyme with the churning sounds - milkmaids of that vraja community will always be singing praise songs amusedly at dawn on nArAyaNa who will be clad in golden silks, blueblack in hue etc, which are equally applicable to the facsimiled boy in their vraja sporting same golden robes, sapphirine in hue – and the like; so, let that nArAyana evinced in boy’s form on earth protect us all. [2-101]

Word analysis and exposition

2-101. nija danta kAnti nivahaiH = their, teeth’s, glitter, with heaps of; indu prabhA = moon’s, shine; [ava] ruddhantyaH = those that barring - moonshine;

javAt= in speed – of churning curds; vyAvalagat vasana a~NcalA= those withmuch fluttering, cloths, edges;

pANi ka~NkaNa jhaNat kAra anukAram – yathA tathA = with their roundlets on arms, [producing] jhaN, jhaN sounds, mimicking – curd-churning sounds;

dadhi mathnantyaH gopa a~NganA = in such a way – those who are churning curd, those milkmaids; gokule= in cowherders’ community;

kShaNada avasAna samaye = night, ending, at time – early in morning; sa Anandam= with pleasure; yam= addressing whom;

anisham gAyanti = [milkmaids] always, sing; sa pItAmbaraH naH avyAt = that one in golden silks, safeguard us all.

English rendering

Let us adore him whose left ear-hanging is dangling on left shoulder, eyebrows flexed like wavy creeper; delicate lips pouting a little to fill the flute; sidelong glance beaming wide; tender leaves like fingers swinging on flute’s keys; standing in a triple bent posture under the divine kalpataru one who is fluting self-engrossedly and for the engrossment of others, as well. [2-102]

Word analysis and exposition

2-102. aMsa Alambita vAma kuNDala dharam = on [left] shoulder, dangling, left, ear-hanging, one who is wearing it; manda unnata bhrU latam = a little, uprised, eyebrows called creeper; ki~Ncit ku~Ncita komala adhara puTam = a little, curved, delicate, lips, pouting – as in fluting; sAci prasAra IkShaNam = to sides, beaming, glances – sidelong glances ; Alola a~Nguli pallavaiH = with swinging, finger, called, leaflets; mudA muralikAm ApUrayantam = gladly, flute, one who is filling; mule kalpataroH = at the base of, divine kalpataru tree; tri bha~Nga lalitam= in triple, bent posture; dhyAyet jagat mohanam = let us adore, universal, charmer.

Source commentary

The triple bent posture – tri-bhangi – is a must for sculpting gods. One bend is at neck, one at waistline, and one at knee / leg position – either to left or right. Here his left ear-hanging is dangling on left shoulder. Hence head is bent leftward; torso is to right and feet again to left.

English rendering

When he descended on the wrestling ring arrange by king kamsa opponent wrestlers viewed him as a lofty mountain, while other spectators looked down on him as a brashly boy; but womenfolk viewed him as lovegod, while cowherders viewed him as an ordinary fellow; but Indra from firmament viewed him as an indescribable one whose form is this universe, while king kamsa held him with terror stricken flustering eyes as if he is the enraged yama , yet, the sages and saints viewed him praiseworthy Supreme Person – d hyAna yogya saguNa paramAtma - such an endower of happiness to hosts of gods causing diversity of views among onlookers, let that hari endow us with eternal bliss. [2-103]

Word analysis and exposition

2-103. ra~Nga avatAre= into wrestling ring, when descending; mallaiH shaila indra kalpaH= by opponent wrestlers, like a loft mountain, in similitude; itara janaiH shishuH= by ordinary spectators, as a child; a~NganAbhiH puShpa-cApaH = by womenfolk, as lovegod who wield flower-bow; gopaiH tu prAkR^ita AtmA = by cowmen, as an ordinary fellow; divi kulisha-bhR^itA vishvakAyaH a+prameyaH = from firmament, by Indra who wields thunderbolt, as indescribable one, with universe as his form; bhaya cakita dR^ishA kaMsena= with terror stricken, looks, by king kamsa ; kruddhaH kAlaH= as an enraged yama – Time god; yogibhiH dhyeya mUrti = by sages, as worshippable entity; dR^iShTaH= he who is seen in such a diversity; who is; amara gaNa Ananda kR^it = for gods, hosts, happiness, endower of; saH hariH asmAn pAtu = such a hari , protect us all.

English rendering

Seated comfortably on a gem studded seat and keeping his consort lakshmi on his thigh, he who is joyfully shaping the forehead mark on her face with deer musk, in which amusement incidentally touching her bosoms while both of them mutually beaming smiles called moonbeams unfolding like tender leaves; and who at other times hemmed in by a host of milkmaids and cows, I adore such Universal Enchanter who perchance become the gem of yadu clan. [2-14]

Word analysis and exposition

2-104. maNi viShThare saMviShTaH san = on a jewel studded seat, settle comfortably; a~Nka tala madhya AsIna lakShmI mukhe = on his thigh, surface, seated, on goddess lakshmi’s, face; mudA kastUrI tilakam viracayan = joyfully, musk, mark, while shaping; harsAt kucau saMspR^ishan = in a fit of joy, her bosoms, while touching; anyonya smita candrikA kisalayaiH = mutually, with smiles, called moonbeams, called tender leaves; manmatham ArAdhayan= who [both] adoring lovegod – say indulged romance; and at other times; gopI go paparIvR^itaH= with milkmaids, cows, one who I surrounded by ; jagat mohanaH yadupatiH pAyAt = universe, an enchanter, gem of yadu clan, protect us.

English rendering

When he dragged off rukmiNi’s upper cloth in sports of love, she bent her head in shyness and her magnificent glances that are in the hue of a black lotus fell on her bosoms which have the splendid glittering hue of golden pots, and on falling those shades of blackish glances and golden hue of bosoms entwined to become goldenly blackish; then she is a little surprised as to why just sprouted leaflets of mango tree have fallen on her bosoms – for those leaflets also glitter copperishly, blackishly, and goldenly colour, and then, when her mood is otherwise and head bent in coyness, kriShNa held her in a tight embrace with all longing for her. Let such a romantic kriShNa together with personified fortune rukmiNi protect us all. [2-105]

Word analysis and exposition

2-105. [yasyAH] vasana a~Ncale AkR^iShTe sat = [whose] upper cloth [on bosoms] when dragged; shrImati= one with high grandeur; kuvalaya shyAmA= blackish like black lotus – her glances; trapA adhaH kR^itA dR^iShTiH = with shyness, downward, made – looks turned don with coyness; those blackish glances splendour and splendour of golden bosoms; svarNa prabhe kuca yuge rucA = golden, in hue, bosoms, both, with splendour; saMvalitA = entwined – to become goldenly blackish; atha = then this amalgam of colours looked as if it is; kashcana bAlaH cUta pallava = some, very young, mango, sprout – in the colour of that leaflet; iti= thinking this way; [bhrAnti] prApta smita Asya shriyam = illusion, on getting, with smile, face, called the grandeur; tAm = she who is in such a way; rukmiNIm nata mukhIm = rukmiNI , downward, faced one; shliShyan = he who is embracing; saH kR^iShNaH= that kriShNa; naH puShNAtu = let him enrich us with pleasures.

English rendering

You uplifted a paltriest mountain on earth, that too for an infinitesimal period, for which you are always celebrated on earth and heaven as “ govardhanagiridhAri ” etc; but, how about me who am bearing you, the sustainer of the triad of worlds, just on my teats ever and anon; this is an unsung fact, isn’t it; of what use is much puffery and ballyhoo, huh, one’s own merits yield celebrity… [2-106]

Word analysis and exposition

2-106. urvyAm laghu taraH = on earth, lightest of the light; kaH api mahI-dharaH= some trifling, mountain; lIlayA dorbhyAm dhR^itaH = sportily, with palms, you held; tena= by that reason; tvam divi bhUtale ca satatam govardhana uddhArakaH = you, in heaven, on earth, always, Mt. govardhana , lifter – thus you are acclaimed;

but;

tvAm trai lokya dharam = you, three, worlds, the sustainer of; [satatam ] kucayoH agreNa vahAmi = [always] my bosoms, on the top of, I am bearing;

tat agaNyate = that fact, is not, counted upon – because none is calling me as tri-loka-dhara-dhAriNi – I am unsung, isn’t it;

keshava= oh, keshava;

bahunA bhAShaNena kim vA = too much, by talking, what is the use – what is the use of puffery and ballyhoo;

puNyaiH yashaH labhyate = with merits, celebrity, comes.

Source commentary

“Yet, I am very proud and fortunate to become your substratum, to have your love etc whereby I am more celebrated in all worlds” this is – saubhAgya garva mUlaka kriShNa stuti .

English rendering

bhAvam =sulabham.

Word analysis and exposition

2-107. hè sandhyAvandana bhavate bhadram astu = oh, time oriented oblations, may you prosper; bhoH snAna tubhyam namaH = oh, time oriented bathing, I salute you; bho devAH pitaraH ca = oh, gods and manes; tarpaNa vidhau na aham kShamaH = in offering oblations, I am, incapable; kShamyatAm = I may be excused; yatra kvApi niShIdya = at some place, some where, on sitting; yAdava kula uttaMsasya = of yAdava clan, the main jewel; kaMsa dviShaH= kamsa’s enemy; smAram smAram = on reminiscing, and reminiscing ; agham harAmi= sins, I want to get rids of; tat alam manye = that is enough, I think; kim anyena = why performing other procedural duties.

English rendering

This being a stuti pATham , there is nothing implicit to explain; taatparyam= sulabbham .

Word analysis and exposition

anvayam: tvAm vinA param na jAnAmi - mAm pAlaya

English rendering

There glimmers a U mark made with deer musk on his plaquette-like little forehead; glistening is the divine kausthubha jewel wedged to a pendant on the pane of his petite chest; glinting is a nose-stud studded with an exquisite pearl on his tiny nostril; clanging are the O-rings on his teeny-weeny wrists; fizzying flute mohana-vamshi in his puny fist; permeating is the fragrance of sandal paste cosmetically smeared on his entire boy; scintillating are the pearly pendants dangling around his neck, more so, for their being on a discrete sapphirine backdrop called his physique; that being his maquillage, he who will be immured by a select coterie of milkmaids, hail that divinest sapphirine boy, the crest jewel of cowminders’ community. [2-109]

Word analysis and exposition

2-109. lalATa phalake kastUrI tilakam = on plaquette-like, forehead,U mark made with musk; vakShaH sthale kaustubham = on chest, plate, divine kausthubha jewel wedged to a pendant; nAsa agre nava mauktikam = on nose’s, tip – on nostril, new, pearl – pearl studded nose-stud; kara tale veNum= on hand’s, surface, a flute; kare ka~NkaNam= on wrists, O-rings; sarva a~Nge hari candanam= all, on body, sandal paste cosmetically smeared; ca = further; kaNThe mukta Avalim ca = on neck, pearl-pendants, also; kalayan= making them to scintillate – they are scintillating more because they are on a discrete sapphirine backdrop called his physique; gopa strI pariveShTitaH = by cowherders’, damsels, immured by; [saH] gopAla cUDA maNiH = [he that] cow minders’,crest jewellike boy; vijayate= excelling topmost.

Source commentary

This is the most celebrated euphony on kriShNa sung length and breadth of India.

English rendering

The rhapsody of that blueblack boy’s flute, mohna-vamshi , is fluently flourishing in ecstasising listeners; re-echoing scriptures and their sayings; delighting flora and fauna; melting boulders; exasperating wildlife; gladdening hosts of cows; rejoicing cowmen and their community; making sages and saints complacent; embellishing music identified by its seven musical notes, and when everything is put together – explaining the purport of the syllable Om. [2-110]

Word analysis and exposition

2-110. shishoH vaMshI ninAdaH = of that boy [ bAlakrishNa’s ], flute mohana-vamshi’s, rhapsody; lokAn ut madayan = to make listeners, ecsatised; shrutIH [arthAn] mukharayan = to make scriptures [saying] re-echoed; kshoNI ruhAn harShayan = earth, born ones – trees, to make happy; shailAn vi-dravayan = boulders, to melt; mR^igAn vivashayan = to make wildlife, helpless; go bR^indam Anandayan= cow, hosts, to make glad; gopAn sambhramayan= cowmen, to make rejoicing; muniin mukulayan= sages, making them close their eyes – make complacent; sapta svarAn jR^imbhayan= seven, scales, making to spurt; omkAra artham udIrayan= Om syllable’s, meaning, explaining; vijayate = it is flourishing.

Source commentary

The Telugu mms will have the above verse instead of its variant given below:

English rendering

I will always be revering the lotus-feet of my mentor who intrinsically is function like my soul, owing to whom I am able to rescind connection with gross, subtle, and causal – sthUla, sUkshma, kArNa sharIrA -s, for he taught me the nature of para-tattva, the Supreme Being ,. [2-111]

Thus the second chapter - second hundred verses - of shrI kRiShNa karNAmRitam, euphonised by lIlAshuka, completes here.

Word analysis and exposition

1-111. Atma bhUtasya = one who is soul like in me; yasya guroH prasAdAt = by which, mentor’s, kindness; aham sharIra bandhAt vimuktaH asmi = myself, from the ties, of body, stand emancipated; sarva [tattva] upadeShTuH = all, [viewpoints], one who taught me; puruSha uttamasya= among all living beings, the best one; tasya a~Nghri padmam = at his, feet, called lotuses; nityam praNataH asmi = always, I will be, revere.

Source commentary

This verse appears in one mms only. This has not Telugu rendering by vengayAmAtya . Hence this is deemed to be an interpolation.