Third Night · Chapter 5
Sourceपञ्चमो’ध्यायः मन्त्र-पूजा-प्रकरणम् श्री-व्यास उवाच— अथ प्रकट-सौरभोद्गलित-माध्वीकोत्फुल्लसत्- प्रसून-नव-पल्लव-प्रकर-नम्र-शाखैर् द्रुमैः । प्रफुल्ल-नव-मञ्जरी-ललित-वल्लरी-वेष्टितैः स्मरेच् छिशिरितꣳ शिवꣳ सित-मतिस् तु वृन्दावनम् ॥१॥ विकाशि-सुमनो-रमास्वादन-मञ्जुलैः सञ्चरच्- छिलिमुखोद्गतैर् मुखरितान्तरꣳ झङ्कृतैः । कपोत-शुक-शारिकापर-भृतादिभिः पत्रिभिर् विराणितम् इतस् ततो भुजग-शत्रु-नृत्याकुलम् ॥२॥ कलिन्द-दुहितुश् चलल्-लहरि-विप्रुषाꣳ वाहिभिर् विनिद्र-सरसी-रुहोदर-रजश् चयोद्धूसरैः । प्रदीपित-मनोभव-व्रज-विलासिनी-वाससाꣳ विलोलन-परैर् निषेवितम् अनारतꣳ मारुतैः ॥३॥ प्रवाल-नव-पल्लवꣳ मरकत-च्छदꣳ वज्र-मौ- क्तिक-प्रकर-कोरकꣳ कमल-राग-नाना-फलम् । स्थविष्ठम् अखिल-र्तुभिः सतत-सेवितꣳ कामदꣳ तद्-अन्तरम् अपि कल्पकाङ्घ्रिपम् उदञ्चितꣳ चिन्तयेत् ॥४॥ सुहेम-शिखरावलेर् उदित-भानुवद्-भास्वराम् अधो’स्य कनक-स्थलीम् अमृत-शीकरासारिणः । प्रदीप्त-मणि-कुट्टिमाꣳ कुसुम-रेणु-पुञ्जोज्ज्वलाꣳ स्मरेत् पुनर् अतन्द्रितो विगत-षट्तनङ्गाꣳ बुधः ॥५॥ तद्-रत्न-कुट्टिम-निविष्ट-महिष्ठ-योग- पीठे’ष्ट-पत्रम् अरुणꣳ कमलꣳ विचिन्त्य । उद्यद्-विरोचन-सरोचिर् अमुष्य मध्ये सञ्चिन्तयेत् सुख-निविष्ठम् अथो मुकुन्दम् ॥६॥ सूत्राम-रत्न-दलिताञ्जन-मेघ-पुञ्ज- प्रत्यग्र-नील-जलजन्म-समान-भासम् । सुस्निग्ध-नील-घन-कुञ्चित-केश-जालꣳ राजन्-मनोज्ञ-शिति-कण्ठ-शिखण्ड-चूडम् ॥७॥ रोलम्ब-लालित-सुर-द्रुम-सून-कॢप्तोत्तꣳसꣳ समुत्कचनवोत्पल-कर्ण-पूरम् । लोलालक-स्फुरित-भाल-तल-प्रदीप्त- गण्ड-स्थली-मुकुरम् उन्नत-चारु-नासम् ॥८॥ आपूर्ण-शारद-गताङ्कुश-शाङ्क-बिम्ब- कान्ताननꣳ कमल-पत्र-विशाल-नेत्रम् । रत्न-स्फुरन्-मकर-कुण्डल-रश्मि-दीप्त- गण्ड-स्थली-मुकुरम् उन्नत-चारु-नासम् ॥९॥ सिन्दूर-सुन्दरतराधरम् इन्दु-कुन्द- मन्दार-मन्द-हसित-द्युति-दीपिताङ्गम् । वन्य-प्रवाल-कुसुम-प्रचयावकॢप्त- ग्रैवेयकोज्ज्वल-मनोहर-कम्बु-कण्ठम् ॥१०॥ मत्त-भ्रमर-जुष्ट-विलम्बमान- सन्तान-कप्र-सव-दाम-परिष्कृताꣳसम् । हारावली-भगण-राजित-पीवरोरो- व्योम-स्थली-लसित-कौस्तुभ-भानुमन्तम् ॥११॥ श्रीवत्स-लक्षण-सुलक्षितम् उन्नताꣳसम् आजानु-पीन-परिवृत्त-सुजात-बाहुम् । आबन्धुरोदरम् उदार-गम्भीर-नाभिꣳ भृङ्गाङ्गना-निकर-मञ्जुल-रोम-राजिम् ॥१२॥ नाना-मणि-प्रघटिताङ्गद-कङ्कणोर्मि- ग्रैवेय-सार-सन-नूपुर-तुन्द-बन्धम् । द्व्याङ्ग-राग-परिपञ्जरिताङ्ग-यष्टिम् आपीत-वस्त्र-परिवीत-नितम्ब-बिम्बम् ॥१३॥ चारूरु-जानुम् अनुवृत्त-मनोज्ञ-जङ्घ- कान्तोन्नत-प्रपद-निन्दित-कूर्म-कान्तिम् । माणिक्य-दर्पण-लसन्-नखराजि-राजद्- रत्नाङ्गुलि-च्छदन्-सुन्दर-पाद-पद्मम् ॥१४॥ मत्स्याङ्कुशारदर-केतु-यवाब्ज-वज्र- सꣳलक्षितारुण-कराङ्घ्रि-तलाभिरामम् । लावण्य-सार-समुदाय-विनिर्मिताङ्ग- सौन्दर्य-निर्जित-मनोभव-देह-कान्तिम् ॥१५॥ आस्यारविन्द-परिपूरित-वेणु-रन्ध्र- लोलत्-कराङ्गुलि-समीरित-दिव्य-रागैः । शश्वद्-द्रवी-जृत-विकृष्ट-समस्त-जन्तु- सन्तान-सन्ततिम् अनन्त-सुखाम्बु-राशिम् ॥१६॥ गोभिर् मुखाम्बुज-विलीन-विलोचनाभि- रूधोभर-स्खलित-मन्थर-मन्दगाभिः । दन्ताग्र-दष्ट-परिशिष्ट-तृणाङ्कुराभि- रालम्बि-वालधि-लताभिर् अथभिवीतम् ॥१७॥ स-प्रस्रव-स्तन-विचूषण-पूर्ण-निश्च- लास्यावटक्षरित-फेनिल-दुग्ध-मुग्धैः । वेणु-प्रवर्तित-मनोहर-मन्द्रगीत- दत्तोच्च-कर्ण-युगलैर् अपि तर्णकैश् च ॥१८॥ प्रत्यग्र-शृङ्ग-मृदु-मस्तक-सम्प्रहार- सꣳरम्भ-वल्गन-विलोल-खुराग्र-पातैः । आमेदुरैर् बहुल-सास्न-गलैर् उदग्र- पुच्छैश् च वत्सतर-वत्सतरी-निकायैः ॥१९॥ हम्बा-रव-क्षुभित-दिग्-वलयैर् महद्भि- रप्य् उक्षभिः पृथु-ककुद्भर-भार-खिन्नैः । उत्तम्भित-श्रुति-पुटी-परिवीत-वꣳश- ध्वानामृतोद्धत-विकाशि-विशाल-घोणैः ॥२०॥ गोपैः समान-गुण-शील-वयो-विलास- वेशैश् च मूर्च्छित-कल-स्वन-वेणु-वीणैः । मन्द्रोच्चतार-पट-गान-परैर् विलोल- दोर्-वल्लरी-ललित-लास्य-विधान-दक्षैः ॥२१॥ जङ्घान्त-पीवर-कटीर-तटी-निबद्ध- व्यालोल-किङ्किणि-घटारटितैर् अटद्भिः । मुग्धैस् तरक्षु-नख-कल्पित-कण्ठ-भूषै- रव्यक्त-मञ्जु-वचनैः पृथुकैः परीतम् ॥२२॥ अथ सुललित-गोप-सुन्दरीणाꣳ पृथु-निविवीष-नितम्ब-मन्थराणाम् । गुरु-कुच-भर-भङ्गुरावलग्न- त्रिवलि-विजृम्भित-रोम-राजि-भाजाम् ॥२३॥ तद्-अतिमधुर-चारु-वेणु-वाद्या- मृत-रस-पल्लविताङ्गजाङ्घ्रि-पानाम् । मुकुल-विसर-रम्य-रूढ-रोमोद्- गम-समलङ्कृत-गात्र-वल्लरीणाम् ॥२४॥ तद्-अतिरुचिर-मन्द-हास-चन्द्रा- तप-परिजृम्भित-राग-वारिणाशेः । तरलतर-तरङ्ग-भङ्ग-विप्रुट्- प्रकर-सम-श्रम-बिन्दु-सन्ततानाम् ॥२५॥ तद्-अतिललित-मन्द-चिल्लि-चाप च्युत-निशितेक्षण-मार-वाण-वृष्ट्या । दलित-सकल-मर्म-विह्वलाङ्ग- प्रविसृत-दुःसह-वेपथु-व्यथानाम् ॥२६॥ तद्-अतिरुचिर-कम्र-रूप-शोभा- मृत-रस-पान-विधान-लालसाभ्याम् । प्रणय-सलिल-पूर-वाहिनीनाम् अलस-विलोल-विलोचनाम्बुजाभ्याम् ॥२७॥ विश्रꣳसत्-कवरी-कलाप-विगलत्-फुल्ल-प्रसून-श्रवन्- माध्वी-लम्पट-चञ्चरीक-घटया सꣳसेवितानाꣳ मुहुः । मारोन्माद-मद-स्खलन्-मृदु-गिराम् आलोल-काञ्च्य्-उछ्वसन्- नीवी-विश्लथमान-चीन-सिचयान्ताविर्नितम्ब-त्विषाम् ॥२८॥ स्खलित-ललित-पादाम्भोज-मन्दाभिघात- क्वणित-मणि-तुलाकोट्याकुलाशा-मुखानाम् । चलद्-अधर-दलानाꣳ कुड्मलत्-पक्ष्मलाक्षि- द्वय-सरसि-रुहणाम् उल्लसत्-कुण्डलानाम् ॥२९॥ द्राघिष्ठ-श्वसन-समीरणाभि-ताप- प्रम्लानी-भवद्-अरुणोष्ठ-पल्लवानाम् । नानोपायन-विलसत्-कराम्बुजानाम् आलीभिः सतत-निषेवितꣳ समन्तात् ॥३०॥ तासाम् आयत-लोल-नील-नयन-व्याकोश-नीलाम्बुज- स्रग्भिः सम्परिपूजिताखिल-तनुꣳ नाना-विलासास्पदम् । तन्-मुग्धानन-पङ्कज-प्रविगलन्-माध्वी-रसास्वादनीꣳ बिभ्राणꣳ प्रणयोन्मदाक्षि-मधुकृन्-मालाꣳ मनोहारिणीम् ॥३१॥ गोपी-गोप-पशूनाꣳ बहिः स्मरेद् अग्रतो’स्य गीर्वाण-घटाꣳ । वित्तार्थिनीꣳ विरिञ्चि-त्रिनयन- शतमन्यु-पूर्विकाꣳ स्तोत्र-पराम् ॥३२॥ तद्-दक्षिणतो मुनि-निकरꣳ दृढ-धर्म-वाञ्छम् आम्नाय-परम् । योगीन्द्रान् अथ पृष्ठे मुमुक्ष- माणान् समाधिना सनकाद्यान् ॥३३॥ सव्ये सकान्तान् अथ यक्ष-सिद्ध- गन्धर्व-विद्याधर-चारणाꣳश् च । सकिन्नरान् अप्सरसश् च मुख्याः कामार्थिनो नर्तन-गीत-वाद्यैः ॥३४॥ शङ्खेन्दु-कुन्द-धवलꣳ सकलागमज्ञꣳ सौदामनी-तति-पिशङ्ग-जटा-कलापम् । तत्-पाद-पङ्कज-गताम् अचलाञ्च भक्तिꣳ वाञ्छन्तम् उज्झिततरान्य-समस्त-सङ्गम् ॥३५॥ नाना-विध-श्रुति-गणान्वित-सप्त-राग- ग्राम-त्रयी-गत-मनोहर-मूर्छनाभिः । सꣳप्रीणयन्तम् उदिताभिर् अमुꣳ महत्या सञ्चिन्तयेन् नभसि धातृ-सुतꣳ मुनीन्द्रम् ॥३६॥ इति श्री-नारद-पञ्चरात्रे ज्ञानामृत-सारे तृतीय-रात्रे पञ्चमो’ध्यायः ॥५॥ …
pañcamo’dhyāyaḥ mantra-pūjā-prakaraṇam śrī-vyāsa uvāca— atha prakaṭa-saurabhodgalita-mādhvīkotphullasat- prasūna-nava-pallava-prakara-namra-śākhair drumaiḥ | praphulla-nava-mañjarī-lalita-vallarī-veṣṭitaiḥ smarec chiśiritaṁ śivaṁ sita-matis tu vṛndāvanam ||1|| vikāśi-sumano-ramāsvādana-mañjulaiḥ sañcarac- chilimukhodgatair mukharitāntaraṁ jhaṅkṛtaiḥ | kapota-śuka-śārikāpara-bhṛtādibhiḥ patribhir virāṇitam itas tato bhujaga-śatru-nṛtyākulam ||2|| kalinda-duhituś calal-lahari-vipruṣāṁ vāhibhir vinidra-sarasī-ruhodara-rajaś cayoddhūsaraiḥ | pradīpita-manobhava-vraja-vilāsinī-vāsasāṁ vilolana-parair niṣevitam anārataṁ mārutaiḥ ||3|| pravāla-nava-pallavaṁ marakata-cchadaṁ vajra-mau- ktika-prakara-korakaṁ kamala-rāga-nānā-phalam | sthaviṣṭham akhila-rtubhiḥ satata-sevitaṁ kāmadaṁ tad-antaram api kalpakāṅghripam udañcitaṁ cintayet ||4|| suhema-śikharāvaler udita-bhānuvad-bhāsvarām adho’sya kanaka-sthalīm amṛta-śīkarāsāriṇaḥ | pradīpta-maṇi-kuṭṭimāṁ kusuma-reṇu-puñjojjvalāṁ smaret punar atandrito vigata-ṣaṭtanaṅgāṁ budhaḥ ||5|| tad-ratna-kuṭṭima-niviṣṭa-mahiṣṭha-yoga- pīṭhe’ṣṭa-patram aruṇaṁ kamalaṁ vicintya | udyad-virocana-sarocir amuṣya madhye sañcintayet sukha-niviṣṭham atho mukundam ||6|| sūtrāma-ratna-dalitāñjana-megha-puñja- pratyagra-nīla-jalajanma-samāna-bhāsam | susnigdha-nīla-ghana-kuñcita-keśa-jālaṁ rājan-manojña-śiti-kaṇṭha-śikhaṇḍa-cūḍam ||7|| rolamba-lālita-sura-druma-sūna-kḷptottaṁsaṁ samutkacanavotpala-karṇa-pūram | lolālaka-sphurita-bhāla-tala-pradīpta- gaṇḍa-sthalī-mukuram unnata-cāru-nāsam ||8|| āpūrṇa-śārada-gatāṅkuśa-śāṅka-bimba- kāntānanaṁ kamala-patra-viśāla-netram | ratna-sphuran-makara-kuṇḍala-raśmi-dīpta- gaṇḍa-sthalī-mukuram unnata-cāru-nāsam ||9|| sindūra-sundaratarādharam indu-kunda- mandāra-manda-hasita-dyuti-dīpitāṅgam | vanya-pravāla-kusuma-pracayāvakḷpta- graiveyakojjvala-manohara-kambu-kaṇṭham ||10|| matta-bhramara-juṣṭa-vilambamāna- santāna-kapra-sava-dāma-pariṣkṛtāṁsam | hārāvalī-bhagaṇa-rājita-pīvaroro- vyoma-sthalī-lasita-kaustubha-bhānumantam ||11|| śrīvatsa-lakṣaṇa-sulakṣitam unnatāṁsam ājānu-pīna-parivṛtta-sujāta-bāhum | ābandhurodaram udāra-gambhīra-nābhiṁ bhṛṅgāṅganā-nikara-mañjula-roma-rājim ||12|| nānā-maṇi-praghaṭitāṅgada-kaṅkaṇormi- graiveya-sāra-sana-nūpura-tunda-bandham | dvyāṅga-rāga-paripañjaritāṅga-yaṣṭim āpīta-vastra-parivīta-nitamba-bimbam ||13|| cārūru-jānum anuvṛtta-manojña-jaṅgha- kāntonnata-prapada-nindita-kūrma-kāntim | māṇikya-darpaṇa-lasan-nakharāji-rājad- ratnāṅguli-cchadan-sundara-pāda-padmam ||14|| matsyāṅkuśāradara-ketu-yavābja-vajra- saṁlakṣitāruṇa-karāṅghri-talābhirāmam | lāvaṇya-sāra-samudāya-vinirmitāṅga- saundarya-nirjita-manobhava-deha-kāntim ||15|| āsyāravinda-paripūrita-veṇu-randhra- lolat-karāṅguli-samīrita-divya-rāgaiḥ | śaśvad-dravī-jṛta-vikṛṣṭa-samasta-jantu- santāna-santatim ananta-sukhāmbu-rāśim ||16|| gobhir mukhāmbuja-vilīna-vilocanābhi- rūdhobhara-skhalita-manthara-mandagābhiḥ | dantāgra-daṣṭa-pariśiṣṭa-tṛṇāṅkurābhi- rālambi-vāladhi-latābhir athabhivītam ||17|| sa-prasrava-stana-vicūṣaṇa-pūrṇa-niśca- lāsyāvaṭakṣarita-phenila-dugdha-mugdhaiḥ | veṇu-pravartita-manohara-mandragīta- dattocca-karṇa-yugalair api tarṇakaiś ca ||18|| pratyagra-śṛṅga-mṛdu-mastaka-samprahāra- saṁrambha-valgana-vilola-khurāgra-pātaiḥ | āmedurair bahula-sāsna-galair udagra- pucchaiś ca vatsatara-vatsatarī-nikāyaiḥ ||19|| hambā-rava-kṣubhita-dig-valayair mahadbhi- rapy ukṣabhiḥ pṛthu-kakudbhara-bhāra-khinnaiḥ | uttambhita-śruti-puṭī-parivīta-vaṁśa- dhvānāmṛtoddhata-vikāśi-viśāla-ghoṇaiḥ ||20|| gopaiḥ samāna-guṇa-śīla-vayo-vilāsa- veśaiś ca mūrcchita-kala-svana-veṇu-vīṇaiḥ | mandroccatāra-paṭa-gāna-parair vilola- dor-vallarī-lalita-lāsya-vidhāna-dakṣaiḥ ||21|| jaṅghānta-pīvara-kaṭīra-taṭī-nibaddha- vyālola-kiṅkiṇi-ghaṭāraṭitair aṭadbhiḥ | mugdhais tarakṣu-nakha-kalpita-kaṇṭha-bhūṣai- ravyakta-mañju-vacanaiḥ pṛthukaiḥ parītam ||22|| atha sulalita-gopa-sundarīṇāṁ pṛthu-nivivīṣa-nitamba-mantharāṇām | guru-kuca-bhara-bhaṅgurāvalagna- trivali-vijṛmbhita-roma-rāji-bhājām ||23|| tad-atimadhura-cāru-veṇu-vādyā- mṛta-rasa-pallavitāṅgajāṅghri-pānām | mukula-visara-ramya-rūḍha-romod- gama-samalaṅkṛta-gātra-vallarīṇām ||24|| tad-atirucira-manda-hāsa-candrā- tapa-parijṛmbhita-rāga-vāriṇāśeḥ | taralatara-taraṅga-bhaṅga-vipruṭ- prakara-sama-śrama-bindu-santatānām ||25|| tad-atilalita-manda-cilli-cāpa cyuta-niśitekṣaṇa-māra-vāṇa-vṛṣṭyā | dalita-sakala-marma-vihvalāṅga- pravisṛta-duḥsaha-vepathu-vyathānām ||26|| tad-atirucira-kamra-rūpa-śobhā- mṛta-rasa-pāna-vidhāna-lālasābhyām | praṇaya-salila-pūra-vāhinīnām alasa-vilola-vilocanāmbujābhyām ||27|| viśraṁsat-kavarī-kalāpa-vigalat-phulla-prasūna-śravan- mādhvī-lampaṭa-cañcarīka-ghaṭayā saṁsevitānāṁ muhuḥ | māronmāda-mada-skhalan-mṛdu-girām ālola-kāñcy-uchvasan- nīvī-viślathamāna-cīna-sicayāntāvirnitamba-tviṣām ||28|| skhalita-lalita-pādāmbhoja-mandābhighāta- kvaṇita-maṇi-tulākoṭyākulāśā-mukhānām | calad-adhara-dalānāṁ kuḍmalat-pakṣmalākṣi- dvaya-sarasi-ruhaṇām ullasat-kuṇḍalānām ||29|| drāghiṣṭha-śvasana-samīraṇābhi-tāpa- pramlānī-bhavad-aruṇoṣṭha-pallavānām | nānopāyana-vilasat-karāmbujānām ālībhiḥ satata-niṣevitaṁ samantāt ||30|| tāsām āyata-lola-nīla-nayana-vyākośa-nīlāmbuja- sragbhiḥ samparipūjitākhila-tanuṁ nānā-vilāsāspadam | tan-mugdhānana-paṅkaja-pravigalan-mādhvī-rasāsvādanīṁ bibhrāṇaṁ praṇayonmadākṣi-madhukṛn-mālāṁ manohāriṇīm ||31|| gopī-gopa-paśūnāṁ bahiḥ smared agrato’sya gīrvāṇa-ghaṭāṁ | vittārthinīṁ viriñci-trinayana- śatamanyu-pūrvikāṁ stotra-parām ||32|| tad-dakṣiṇato muni-nikaraṁ dṛḍha-dharma-vāñcham āmnāya-param | yogīndrān atha pṛṣṭhe mumukṣa- māṇān samādhinā sanakādyān ||33|| savye sakāntān atha yakṣa-siddha- gandharva-vidyādhara-cāraṇāṁś ca | sakinnarān apsarasaś ca mukhyāḥ kāmārthino nartana-gīta-vādyaiḥ ||34|| śaṅkhendu-kunda-dhavalaṁ sakalāgamajñaṁ saudāmanī-tati-piśaṅga-jaṭā-kalāpam | tat-pāda-paṅkaja-gatām acalāñca bhaktiṁ vāñchantam ujjhitatarānya-samasta-saṅgam ||35|| nānā-vidha-śruti-gaṇānvita-sapta-rāga- grāma-trayī-gata-manohara-mūrchanābhiḥ | saṁprīṇayantam uditābhir amuṁ mahatyā sañcintayen nabhasi dhātṛ-sutaṁ munīndram ||36|| iti śrī-nārada-pañcarātre jñānāmṛta-sāre tṛtīya-rātre pañcamo’dhyāyaḥ ||5|| …
English translation
The Third Night, Ch. IV 181
(1) Dhata, (2) A A 2 ees ryama, (3) Mi ; (6) Vivasvan, (7) Indra, (8 ( site, (4) Varuna, (5) Atisuman (11) Tvasta , (8) Pusa, (9) Ahvaya, (10) Parj i vagta. and (12) Vi : 3, ) Parjanya, Ret isnu are termed bhanu. (12) ow lam d ibi 4 Pigs nyada of ange the nydsas of the twelve lettered mantra Pees hem weer —_ on the two hands, five fingers, and five iosattering the nw ee of the letters of the mantra, ‘ ° a i i i ‘he nyse on the feat, os sly perform, with loving devotion, On the sk Pica a " (the seat for the hairs of the head), forehead, the fee, ars od an tee ears, eyes, mouth, neck, heart, navel, tite a oad ai two feet, the devotee should meditate ; and on fogs; the dncioe rs : on the feet, head, eyes, mouth, heart. anus, o make the nyasa of the letters of the mantra.
He is to mak ~ the five oat the paficdiga nyasa and offer the mantras to P words) and make the nyasa thereof. (14) e Rsi nyasas etc. Now
As before, the devotee is to perform th
I will speak on mudra-bandhan. (15) n the heart and head, On Sikha (a lock of hair r fist, excluding the Thus
Place your ri i excluding the i EG ae : left on the crown of the head) jabs thumb; on Kavaca join the fingers © mudra will be formed. (16)
p Closing the first, raise both you eer ae A fe thumb in fixed there, it is called ‘“dhani” round above the e e forefinger and middle finger be made tO TTD the left thumb be yess it is called astra mudra. If on the two lips, the right thumb i nited with the little finger of the left hand, and ANG amas to Le with the little finget of the right hand ‘fingers be am outward ; and the fore, middle, and ring called the dh ed somewhat, and made ta move round, it 1 enu mudra, very secret and dear to Sri Krgna. (17-18).
a ee Srivatsa, and Kaustubha mudras are well known ; y are not described here ; but the Bhadra mudra looking
like yilva fruit is being mentioned later. (19)
you f the two palms.
r arms and point up your
_:182 Narada-Pajicaratram
The thumb of the left hand is made to point upward ; join it with the right thumb ; press the two thumbs with the other four fingers of the other hand and put it on the breast. This is the Bhadra mudra or Vilvakhya-mudra. By the help of this mudra on the breast, the pure minded devotee should steadily think of Kamavija. (20)
With mind, word, and body, day and night the devotee must try to understand it and then free himself from all sins committed willingly or unwillingly. By this practise, all the Devas and men will always come to him humbled and quite under his control. (21)
Then the devotee is to utter the mantra *“Om hrdaye sudar- Sanaya astraya phat, shewing the astra-mudra to gain Hari bhakti (devotion to Hari). (22)
Thus he should think of the vigraha of Sri Krsna, the Nandanandana the beloved of the Gopis, and the Creator, Preserver and Destroyer of the Universe. This vigraha is approved of by the Srutis. (23)
Here ends the Fourth Chapter of the Third Night in -Sri
Narada Pajicaratra.
CHAPTER V
ON R} R EMEMBERING VRINDAVAN AND ON cies MANTRA WORSHIP N yasa said— Ow the : and meditate re re minded devotee is to call Vrindav: Sweet scents ere the full blown flowers on the weight of the ane the new twings that are being be! stalks and 5 owers and leaves ; the creepers bearing them and eunsige a twining round tne trees, thu maki ng t re J aking them eas. “a being collected on them
The wh 7 piack-bees on Bisse 1 rendered lovely by phthe flowers, sting round and round and tasting the sweet honey ging birds ee by the various sounds of the doves, arrots, arikas, cuckoos and various others and the
dancin gt here of the peacocks to and fro. (2)
an to bis mind trees emitting nt under the new flower s adorning and
the peautiful large
One is to i Jumuna flow i gomeps there the wind as causing the waters i2 and shifting th currents, increasing the eddies and whirlpools, peere ea ar ner the lotuses and as causing the clothes a feelings. (3) y hither and thither, exciting their passionate One is to thi the air, eid alt of the famous tree Kalpa urksa rising high in like calx of a, ' alr of desires, as‘sprouting new shoots Jooking rals, with leaves like emeralds, with birds resembli + luscious taste,.
diamond
big and er adorned with various fruits of s© AN e abode of all the reasons. (4)
* Mee cate we ones are to meditate again wi
ieiden land eae controlled that region with
tio of lowers e bottom rescmbling the rising suo 4° Re ach i having many mines of gems etc.
e Poti sine the “ame has to contemplete the bright eight petalled ger Yogapiyha, (seat of Yoga), and consider
thout apy loth: golden top and d bright with
184 N4@rada Pajicaradtram
himself, located for a while in the lake of the rising sun, meditating there Sri Krgna, the bestower of Mukti (liberation). (6)
The soft blue curling hairs on his head resemble the edges oh masses of blue clouds, studded with excellent gems, enhancing its
beauty. The beautiful peacock feathers shed their lustre, adding to the beauty. (7)
_ The ear ornaments made of fresh lotuses and flowers from Kalpa vrkga, waving gently to and fro add indescribable beauty ; whereas the bright tilak marks on His cheeks made of go-rocana (bright yellow pigment Prepared from the urine or bile of a cow) look grand and beautiful garlands made of beautiful forest flowers
_ are pending on His breast. (8) His face shines like the full autumnal moon : His wide eyes Tesemble the lotus leaves and His cheeks are bright with gems and golden earnings and his high nose looks elegant. (9)
His face is more beautiful tban red vermllion (sindur) ; His smile is more pleasant than the unfolding of the Kund and Mandira flowers ; His neck ornaments, are adorned with forest Prabala flowers, and are exquisitely beautiful. (10)
The garland made of Kalpa vrksa flowers suspended from His shoulders and frequented by large black-bees humming to and fro and the necklaces and Kaustubha garland studded with Surya-
kanta gems falling over His breast are adding immensely to the general beauty. (11)
Both His arms are nicely marked with Srivatsva signs ; His shoulders are high ; His arms extend straight up to His knees ; His
belly is a little undulating ; His navel is quite deep and beautified with hairs resembling female black bees. (12)
His neck arms and wrists are adorned with bracelets and ornaments studded with various gems ; His bodies are besmeared with various celestial perfumeries and His loins are adorned with yellow coloured cloth. (13)
His breasts are lovely,
His thighs are circular and his knees are elevated and beautiful.
His red toes look exceedingly charming
The Th; hirg Night, Ch. V 185
and t : The is pe Nails look like gems and reflect like mirrors. On the whole Neral beauty is beyond description. (14)
The sole of his crimson coloured foot was marked with the
flowing signs, —fish d,b d lotus. Thu it seemeq SHS BOB anner, thunderbolt 3n 5 Ss €ssential that in building His body, the Creator used up all the lustr. S of beauty that He could command, so much so that the
© of the body of Cupid fell to the back ground. (15) oe ae was playing (applying His lotus mouth) on a Pies (apertu us flute (Murali) ; His fingers were playing 07 t . o oi Mena, of the pipe, thus acting magically on all pects fo) a lon SES attracted to the sound and their hearts molten ap
8ed in the endless ocean of bliss. (16) wee cows were all turning to His lotus fac le ere _— thus their bodies bent down. They rete aon alking slowly and chewing fresh blades of grass, ae they Head ned by the Baladhi creeper (like the cow’s tail):
Ine objects of sight. —‘ (17) ae the milk was being milched fro of ng milk in streams, were attracted by the ene
the flute and were hearing the music with rapt a wondrous manner. (18) fin
: They were moving the edges of their horns ¢ throwin’ their round hoofs to and fro. They raised their ta! attempts to look after their calves and heifers 25 their throats and bodies. (19)
Being not at all disturbed by the loud cries of the cow-keepers (milkmen) rending all the quarters of the heavens those © d hearing attentively the sweet nectarlike sounds of the posse Zale their necks and imitating the milkmen in their qualities. pares, age, merriments, and dress joined with them and moved their faces and hands in tune with music and shewed great dexterity in their arts. (20-21)
» Small bells were tied round their legs, 40 ing tiger’s claws were tied round their car nice jingling sounds. — (22)
e, their udders were
they, while ing sounds nio @
m them, pant ttentio
d ornaments resemblsj and these emitted
aE
———————
“I
st ate ee
eS S
186 Narada-Pajicaratia™
The heavy loins of the beautiful Gopikas (milk women) and their slow gaits and the weight of their heavy breasts, shewing the three folds or wrinkles near their navels become fit subjects in the description of Vrindavan. (23)
The twigs of allthe trees and the creepers being drenched with the nectar of the sweet sounds of the flute all expressed their joy in shooting up their ornamental thorns. (24)
The cloud on high looked like canopies over the highly brilliant waters of the Yamuna and their shadows fell on the river thus causing the particles of water assume an indescribable beauty. (25)
The lovely eye brows resembling like adorned bows WEL throwing orrows of Cupid and were as if exerting their influence 10 removing all sorts of mental afflictions of the observers. . (26)
The love of Gopikas flowed from their eyes in streams to drink the nectar of the beauty of the lovely and highly fortunate Sri Krsna. Their eyes looked as if lazy and brisk at the same time. (27)
Their hairs on the head were out of order and full-blown flowers dropped thence, causing their sweet fragrance spread all around. Thus they got excited in their feelings, and, becoming intoxicated, uttered gently words but disconnected ; their body jackets also being loosened from their ties, their breasts became visible. (28)
Their footsteps became iregular and thus their ornaments and jewels emitted a Jingling sound and strange feelings and emotions are thus brought into play. Their lips began to move and their
blue lotus eyes became brisk and the ear-rings seemed as it were-
delighted. (29) The hot breathings of the Gopis withered away the fresh leaves, that blow fully in the sun ; and their hands being beautified
with various articles of gift, looked like lotuses and were.
frequented always by black bees, their constant companions. (30)
When their bodies were all permeated with the sweet. fragrance of the blue lotuses in the shape of their wide brisk
eyes, t
enn Sweet words uttered by the milk women (their mouths € th i
them. a became very charming and agreeable to
J F
a et on the outer compartment of the aforesaid pedestal one aA a remember the hymns uttered by the Gopis and the cows Nimals of the Gopis as well as those uttered by Brahma, Siva
and Indra asking for wealth. (32)
On the south, one as to meditate the multitudes of the Munis,
ee eis Dharma, and the Lords of the Yogis ; on the back, one ae Meditate Snakas and other Rsi deeply immersed in adhi, desiring for emancipation. (33) _ On the left side one has to contemplate the Siddhas with their wives, Yaksas, Gandharvas, Vidyadharas, and the chief kinnaras, apsaras as singing and dancing. (34)
One has to contemplate in the sky that best of the Munis,
Narada, the son of Brahma, who is white like conchshell, the Moon, and the kuad flower, who knows all the Agamas and Tantaras, who wears clotted hairs (Jatas) on the head that resemble like lightning and who is desirous of pure unflinching devotee to His lotus feet, who has forsaken all other companions and who is singing hymns in high melodious tunes the praises of Sri Hari in various seven ragas and in charming Murchanas (a sort of musical intonations) within the three gramas (gamuts, scales in music) and
who is thus satisfying Him. (35-36) Thus ends the Third Night on mamtr fifth adhyaya in Sri Narada
a and worship in the Pajicaratra.
Complete chapter-aligned witnesses. Sanskrit/IAST is the GGM complete amended text, version 1.1, based on Vijñānānanda’s 1997 edition; the displayed Devanagari is transliterated directly from that proofread IAST witness. English is Swami Vijñānānanda’s complete translation, printed pages 181–187 (scan pages 198–204). It was extracted with Tesseract 5 English OCR from the 200 ppi published scan, with chapter boundaries controlled against the printed contents. No unsupported verse-by-verse equivalence is asserted.