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Ujjvala-nīlamaṇi · Chapter 1

Divisions of the Hero

Unit 1 of 151.11.4343 source entries

नामाकृष्ट-रसज्ञः शीलेनोद्दीपयन् सदानन्दम् । निज-रूपोत्सव-दायी सनातनात्मा प्रभुर् जयति ॥१॥

nāmākṛṣṭa-rasajñaḥ śīlenoddīpayan sadānandam | nija-rūpotsava-dāyī sanātanātmā prabhur jayati ||1||

English translation

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Glory to Lord Sanātana, whose very name draws those who know rasa, whose character kindles unending joy, who grants the festival of beholding his own form, and whose nature is eternal.

मुख्य-रसेषु पुरा यः सꣳक्षेपेणोदितो रहस्यत्वात् । पृथग् एव भक्ति-रस-राट् स विस्तरेणोच्यते मधुरः ॥२॥

mukhya-raseṣu purā yaḥ saṁkṣepeṇodito rahasyatvāt | pṛthag eva bhakti-rasa-rāṭ sa vistareṇocyate madhuraḥ ||2||

English translation

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Because of its confidential nature, madhura-rasa was formerly described only briefly among the principal rasas. Now that sovereign of devotional rasa will be treated separately and in detail.

वक्ष्यमाणैर् विभावाद्यैः स्वाद्यताꣳ मधुरा रतिः । नीता भक्ति-रसः प्रोक्तो मधुराख्यो मनीषिभिः ॥३॥

vakṣyamāṇair vibhāvādyaiḥ svādyatāṁ madhurā ratiḥ | nītā bhakti-rasaḥ prokto madhurākhyo manīṣibhiḥ ||3||

English translation

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When sweet love is brought to a relishable condition by the vibhāvas and the other elements to be described, the wise call it the devotional rasa known as madhura.

तत्र विभावेष्व् आलम्बनाः- अस्मिन्न् आलम्बनाः प्रोक्ताः कृष्णस् तस्य च वल्लभाः ॥४॥

tatra vibhāveṣv ālambanāḥ- asminn ālambanāḥ proktāḥ kṛṣṇas tasya ca vallabhāḥ ||4||

English translation

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First, the supporting persons among the vibhāvas: in this rasa, Kṛṣṇa and his beloveds are declared to be the supporting persons.

तत्र कृष्णो, यथा- पद-द्युति-विनिर्धुत-स्मर-परार्ध-रूपोद्धतिर् दृग्-अञ्चल-कलानटीपटिमभिर् मनो-मोहिनी । स्फुरन्-नव-घनाकृतिः परम-दिव्य-लीला-निधिः क्रियात् तव जगत्-त्रयी-युवति-भाग्य-सिद्धिर् मुदम् ॥५॥

tatra kṛṣṇo, yathā- pada-dyuti-vinirdhuta-smara-parārdha-rūpoddhatir dṛg-añcala-kalānaṭīpaṭimabhir mano-mohinī | sphuran-nava-ghanākṛtiḥ parama-divya-līlā-nidhiḥ kriyāt tava jagat-trayī-yuvati-bhāgya-siddhir mudam ||5||

English translation

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Kṛṣṇa, for example: May he who is the fulfillment of the good fortune of all the young women in the three worlds give you joy. The radiance of his feet humbles the proud beauty of countless Cupids; the artistry dancing at the corners of his eyes enchants the mind; his form shines like a fresh raincloud; and he is a treasury of supremely divine play.

अयꣳ सुरम्यो मधुरः सर्व-सल्-लक्षणान्वितः । वलीयान् नव-तारुण्यो वावदूकः प्रियꣳ-वदः ॥६॥

ayaṁ suramyo madhuraḥ sarva-sal-lakṣaṇānvitaḥ | valīyān nava-tāruṇyo vāvadūkaḥ priyaṁ-vadaḥ ||6||

English translation

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He is exceedingly beautiful and sweet, endowed with every auspicious mark, powerful, ever fresh in youth, eloquent, and pleasing in speech.

सुधीः स-प्रतिभो धीरो विदग्धश् चतुरः सुखी । कृतज्ञो दक्षिणः प्रेम-वश्यो गम्भीराम्बुधिः ॥७॥

sudhīḥ sa-pratibho dhīro vidagdhaś caturaḥ sukhī | kṛtajño dakṣiṇaḥ prema-vaśyo gambhīrāmbudhiḥ ||7||

English translation

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He is wise, ingenious, steady, refined, clever, joyful, grateful, courteous, governed by love, and deep as the ocean.

वरीयान् कीर्तिमान् नारी-मोहनो नित्य-नूतनः । अतुल्य-केलि-सौन्दर्य-प्रेष्ठ-वꣳशी-स्वनाङ्कितः ॥८॥

varīyān kīrtimān nārī-mohano nitya-nūtanaḥ | atulya-keli-saundarya-preṣṭha-vaṁśī-svanāṅkitaḥ ||8||

English translation

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He is preeminent and renowned, the enchanter of women, ever new, unequalled in the beauty of his play, and distinguished by the supremely beloved music of his flute.

इत्य् आदयो’स्य शृङ्गारे गुणाः कृष्णस्य कीर्तिताः । उदाहृतिर् अमीषाꣳ तु पूर्वम् एव प्रदर्शिता ॥९॥

ity ādayo’sya śṛṅgāre guṇāḥ kṛṣṇasya kīrtitāḥ | udāhṛtir amīṣāṁ tu pūrvam eva pradarśitā ||9||

English translation

Fresh editorial translation from the Ujjvala-nīlamaṇi-mūla-mātram authority

These and other qualities of Kṛṣṇa in śṛṅgāra have thus been celebrated. Examples of them have already been presented earlier.

1.10

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पूर्वोक्त-धीरोद्दात्तादि-चतुर्-भेदस्य तस्य तु । पतिश् चोपपतिश् चेति प्रभेदाव् इह विश्रुतौ ॥१०॥

pūrvokta-dhīroddāttādi-catur-bhedasya tasya tu | patiś copapatiś ceti prabhedāv iha viśrutau ||10||

English translation

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Kṛṣṇa, who was previously divided into the four types beginning with the noble and self-possessed hero, is further known here in two forms: the husband and the paramour.

1.11

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तत्र पतिः- उक्तः पतिः स कन्याया यः पाणिग्राहको भवेत् ॥११॥

tatra patiḥ- uktaḥ patiḥ sa kanyāyā yaḥ pāṇigrāhako bhavet ||11||

English translation

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The husband: He who takes a maiden's hand in marriage is called her husband.

1.12

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यथा- रुक्मिणꣳ युधि विजित्य रुक्मिणीꣳ द्वारकाम् उपगमय्य विक्रमी । उत्सवोच्छलित-पौर-मण्डलः पुण्डरीक-नयनः करे’ग्रहीत् ॥१२॥

yathā- rukmiṇaṁ yudhi vijitya rukmiṇīṁ dvārakām upagamayya vikramī | utsavocchalita-paura-maṇḍalaḥ puṇḍarīka-nayanaḥ kare’grahīt ||12||

English translation

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For example: After defeating Rukmī in battle, the valiant lotus-eyed Lord brought Rukmiṇī to Dvārakā and took her hand while the assembled citizens overflowed with festivity.

1.13

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यथा वा- कलित-युगल-भावः क्वापि वैदर्भ्य-पुत्र्या मख-भुवि कृत-दीक्षो दक्षिणार्थान् ददानः । विहरति हरिर् उच्चैः सत्यया दीयमानः क्वचिद् अलम् अलसाङ्गः पुण्यके नारदाय ॥१३॥

yathā vā- kalita-yugala-bhāvaḥ kvāpi vaidarbhya-putryā makha-bhuvi kṛta-dīkṣo dakṣiṇārthān dadānaḥ | viharati harir uccaiḥ satyayā dīyamānaḥ kvacid alam alasāṅgaḥ puṇyake nāradāya ||13||

English translation

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Or, for example: At one time Hari, united in conjugal affection with the princess of Vidarbha, receives initiation on the sacrificial ground and distributes the sacrificial gifts. At another, during the Puṇyaka rite, Satyabhāmā loudly gives him to Nārada, and his limbs grow utterly languid.

1.14

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यथा वा (भा.पु. १०.२२.४)- कात्यायनि महा-माये महायोगिन्य् अधीश्वरि । नन्द-गोप-सुतꣳ देवि पतिꣳ मे कुरु ते नमः ॥१४॥

yathā vā (bhā.pu. 10.22.4)- kātyāyani mahā-māye mahāyoginy adhīśvari | nanda-gopa-sutaṁ devi patiṁ me kuru te namaḥ ||14||

English translation

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Or, as in Bhāgavata Purāṇa 10.22.4: O Kātyāyanī, great power of illusion, great mistress of yoga and sovereign goddess, make the son of Nanda Gopa my husband. I bow to you.

1.15

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इति सङ्कल्पम् आचेरुर् या गोकुल-कुमारिकाः । तास्व् एव कियतीनाꣳ तु पति-भावो हराव् अभूत् ॥१५॥

iti saṅkalpam ācerur yā gokula-kumārikāḥ | tāsv eva kiyatīnāṁ tu pati-bhāvo harāv abhūt ||15||

English translation

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The maidens of Gokula made this vow. For some among those very girls, Hari indeed assumed the relation of husband.

1.16

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मूल-माधव-माहात्म्ये श्रूयते तत एव हि । रुक्मिण्य्-उद्वाहतः पूर्वꣳ तासाꣳ परिणयोत्सवः ॥१६॥

mūla-mādhava-māhātmye śrūyate tata eva hi | rukmiṇy-udvāhataḥ pūrvaṁ tāsāṁ pariṇayotsavaḥ ||16||

English translation

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For it is heard in the original Mādhava-māhātmya that the festival of their marriage took place before Kṛṣṇa's wedding with Rukmiṇī.

1.17

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अथोपपतिः- रागेणोल्लङ्घयन् धर्मꣳ परकीया-बलार्थिना । तदीय-प्रेम-वसतिर् बुधैर् उपपतिः स्मृतः ॥१७॥

athopapatiḥ- rāgeṇollaṅghayan dharmaṁ parakīyā-balārthinā | tadīya-prema-vasatir budhair upapatiḥ smṛtaḥ ||17||

English translation

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Now the paramour: The wise remember as a paramour the man who, impelled by passion, crosses the bounds of dharma out of longing for another man's woman and becomes the dwelling place of her love.

1.18

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यथा पद्यावल्याम् (२०५)- सꣳकेतीकृत-कोकिलादि-निनदꣳ कꣳस-द्विषः कुर्वतो द्वारोन्मोचन-लोल-शङ्ख-वलय-क्वाणꣳ मुहुः शृण्वतः । केयꣳ केयम् इति प्रगल्भ-जरती-वाक्येन दूनात्मनो राधा-प्राङ्गण-कोण-कोलि-विटपि-क्रोडे गता शर्वरी ॥१८॥

yathā padyāvalyām (205)- saṁketīkṛta-kokilādi-ninadaṁ kaṁsa-dviṣaḥ kurvato dvāronmocana-lola-śaṅkha-valaya-kvāṇaṁ muhuḥ śṛṇvataḥ | keyaṁ keyam iti pragalbha-jaratī-vākyena dūnātmano rādhā-prāṅgaṇa-koṇa-koli-viṭapi-kroḍe gatā śarvarī ||18||

English translation

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As in Padyāvalī 205: He imitated the agreed calls of the cuckoo and other birds, yet again and again heard the restless jingling of conch-shell bangles as the door was being opened. Then a bold old woman called, ‘Who is there? Who is there?’ Tormented at heart, the enemy of Kaṁsa passed the whole night hidden in the hollow of a jujube tree at the corner of Rādhā's courtyard.

1.19

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अत्रैव परमोत्कर्षः शृङ्गारस्य प्रतिष्ठितः ॥१९॥

atraiva paramotkarṣaḥ śṛṅgārasya pratiṣṭhitaḥ ||19||

English translation

Fresh editorial translation from the Ujjvala-nīlamaṇi-mūla-mātram authority

In this relationship alone is the highest excellence of śṛṅgāra established.

1.20

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तथा च मुनिः- बहु वार्यते खलु यत्र प्रच्छन्न-कामुकत्वꣳ च । या च मिथो दुर्लभता सा मन्मथस्य परमा रतिः ॥२०॥

tathā ca muniḥ- bahu vāryate khalu yatra pracchanna-kāmukatvaṁ ca | yā ca mitho durlabhatā sā manmathasya paramā ratiḥ ||20||

English translation

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Thus says the sage: Where love is repeatedly obstructed, where desire must remain concealed, and where the lovers are difficult for one another to attain - that is the supreme love of Cupid.

1.21

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लघुत्वम् अत्र यत् प्रोक्तꣳ तत् तु प्राकृत-नायके । न कृष्णे रस-निर्यास-स्वादार्थम् अवतारिनि ॥२१॥

laghutvam atra yat proktaṁ tat tu prākṛta-nāyake | na kṛṣṇe rasa-niryāsa-svādārtham avatārini ||21||

English translation

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The inferiority attributed to this condition applies only to an ordinary worldly hero, not to Kṛṣṇa, who descends in order to taste the concentrated essence of rasa.

1.22

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तथा च प्राञ्चः- शृङ्गार-रस-सर्वस्वꣳ शिखि-पिच्छ-विभूषणम् । अङ्गीकृत-नराकारम् आश्रये भुवनाश्रयम् ॥२२॥

tathā ca prāñcaḥ- śṛṅgāra-rasa-sarvasvaṁ śikhi-piccha-vibhūṣaṇam | aṅgīkṛta-narākāram āśraye bhuvanāśrayam ||22||

English translation

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The ancient authorities therefore say: I take refuge in the shelter of all worlds, who has accepted a humanlike form, who wears a peacock feather, and who is the complete treasure of śṛṅgāra-rasa.

1.23

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अनुकूल-दक्षिण-शठा धृष्टश् चेति द्वयोर् अथोच्यन्ते । प्रत्येकꣳ चत्वारो भेदा युक्तिभिर् अमी वृत्त्या ॥२३॥

anukūla-dakṣiṇa-śaṭhā dhṛṣṭaś ceti dvayor athocyante | pratyekaṁ catvāro bhedā yuktibhir amī vṛttyā ||23||

English translation

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Both the husband and the paramour are each described in four forms, according to their conduct and the reasons governing it: faithful, considerate, deceitful, and brazen.

1.24

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शाठ्य-धार्ष्ट्ये परꣳ नाट्य-प्रोक्ते उपपतेर् उभे । कृष्णे तु सर्वꣳ नायुक्तꣳ तत्-तद्-भावस्य सम्भवात् ॥२४॥

śāṭhya-dhārṣṭye paraṁ nāṭya-prokte upapater ubhe | kṛṣṇe tu sarvaṁ nāyuktaṁ tat-tad-bhāvasya sambhavāt ||24||

English translation

Fresh editorial translation from the Ujjvala-nīlamaṇi-mūla-mātram authority

In dramaturgy, deceit and brazenness are assigned only to the paramour. In Kṛṣṇa, however, none of these modes is improper, because every corresponding state can arise in him.

1.25

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तत्रानुकूलः- अतिरक्ततया नार्याꣳ त्यक्तान्य-ललना-स्पृहः । सीतायाꣳ रामवत् सो’यम् अनुकूलः प्रकीर्तितः ॥२५॥

tatrānukūlaḥ- atiraktatayā nāryāṁ tyaktānya-lalanā-spṛhaḥ | sītāyāṁ rāmavat so’yam anukūlaḥ prakīrtitaḥ ||25||

English translation

Fresh editorial translation from the Ujjvala-nīlamaṇi-mūla-mātram authority

Now the faithful hero: A man who, through his profound attachment to one woman, has abandoned every desire for other women is called faithful, as Rāma was toward Sītā.

1.26

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राधायाम् एव कृष्णस्य सुप्रसिद्धानुकूलता । तद्-आलोके कदाप्य् अस्य नान्या-सङ्गः स्मृतिꣳ व्रजेत् ॥२६॥

rādhāyām eva kṛṣṇasya suprasiddhānukūlatā | tad-āloke kadāpy asya nānyā-saṅgaḥ smṛtiṁ vrajet ||26||

English translation

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Kṛṣṇa's faithfulness to Rādhā alone is celebrated everywhere: whenever she is before him, no association with another woman ever enters his remembrance.

1.27

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वैदग्धी-निकुरम्ब-चुम्बित-धियः सौन्दर्य-सारोज्ज्वलाः कामिन्यः कति नाद्य वल्लव-पतेर् दीव्यन्ति गोष्ठान्तरे । राधे पुण्यवती-शिखा-मणिर् असि क्षामोदरि त्वाꣳ विना प्रेङ्खन्ती न परासु यन् मधुरिपोर् दृष्टात्र दृष्टिर् मया ॥२७॥

vaidagdhī-nikuramba-cumbita-dhiyaḥ saundarya-sārojjvalāḥ kāminyaḥ kati nādya vallava-pater dīvyanti goṣṭhāntare | rādhe puṇyavatī-śikhā-maṇir asi kṣāmodari tvāṁ vinā preṅkhantī na parāsu yan madhuripor dṛṣṭātra dṛṣṭir mayā ||27||

English translation

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How many brilliant young women of the lord of the cowherds do not sport today within Vraja, their minds touched by hosts of refinements, each radiant with the very essence of beauty? Yet, Rādhā, slender-waisted one, you are the crest-jewel of the fortunate: in your presence I have never seen the enemy of Madhu's gaze wander playfully toward another.

1.28

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धीरोदात्तानुकूलो, यथा- कुवलय-दृशः सङ्केत-स्था दृग्-अञ्चल-कौशलैर् मनसिज-कला-नाटी-प्रस्तावनाम् अभितन्वताम् । न किल घटते राधा-रङ्ग-प्रसङ्ग-विधायिता व्रत-विलसिते शैथिल्यस्य च्छटाप्य् अघ-विद्विषः ॥२८॥

dhīrodāttānukūlo, yathā- kuvalaya-dṛśaḥ saṅketa-sthā dṛg-añcala-kauśalair manasija-kalā-nāṭī-prastāvanām abhitanvatām | na kila ghaṭate rādhā-raṅga-prasaṅga-vidhāyitā vrata-vilasite śaithilyasya cchaṭāpy agha-vidviṣaḥ ||28||

English translation

Fresh editorial translation from the Ujjvala-nīlamaṇi-mūla-mātram authority

The noble and self-possessed faithful hero, for example: Though lotus-eyed girls wait at appointed meeting places and, through the skill of their sidelong glances, unfold the opening scene of Love's dramatic art, not even the slightest trace of weakness appears in the enemy of Agha's splendid vow to devote himself to the delights of Rādhā.

1.29

Source

धीरललितानुकूलो, यथा- गहनाद् अनुरागतः पितृभ्याम् अपनीत-व्यवहार-कृत्य-भारः । विहरन् सह राधया मुरारिर् यमुना-कूल-वनान्य् अलꣳचकार ॥२९॥

dhīralalitānukūlo, yathā- gahanād anurāgataḥ pitṛbhyām apanīta-vyavahāra-kṛtya-bhāraḥ | viharan saha rādhayā murārir yamunā-kūla-vanāny alaṁcakāra ||29||

English translation

Fresh editorial translation from the Ujjvala-nīlamaṇi-mūla-mātram authority

The playful and graceful faithful hero, for example: Deeply in love and relieved by his parents of the burden of practical duties, Murāri wandered with Rādhā and adorned the forests along the Yamunā's bank.

1.30

Source

धीरशान्तानुकूलो. यथा- ब्रध्नोपास्ति-विधौ तव प्रणयितापूरेण वेशꣳ गते क्ष्मा-देवस्य कथꣳ गुणो’प्य् अघरिपौ द्राग् अद्य सꣳचक्रमे बुद्धिः पश्य विवेक-कौशलवती दृष्टिः क्षमोद्गारिणी वाग् एतस्य मृगाक्षि रूढ-विनया मूर्तिश् च धीरोज्ज्वला ॥३०॥

dhīraśāntānukūlo. yathā- bradhnopāsti-vidhau tava praṇayitāpūreṇa veśaṁ gate kṣmā-devasya kathaṁ guṇo’py agharipau drāg adya saṁcakrame buddhiḥ paśya viveka-kauśalavatī dṛṣṭiḥ kṣamodgāriṇī vāg etasya mṛgākṣi rūḍha-vinayā mūrtiś ca dhīrojjvalā ||30||

English translation

Fresh editorial translation from the Ujjvala-nīlamaṇi-mūla-mātram authority

The peaceful and composed faithful hero, for example: When your beloved, overwhelmed by love, assumed a brāhmaṇa's dress for the rite of worshiping the sun, how quickly the brāhmaṇa's virtues entered the enemy of Agha today! Look, doe-eyed girl: his intelligence is skilled in discrimination, his gaze pours forth forgiveness, his speech is deeply modest, and his bearing is serenely radiant.

1.31

Source

धीरोद्धतानुकूलो, यथा- सत्यꣳ मे परिहृत्य तावक-सखीꣳ प्रेमावदातꣳ मनो नान्यस्मिन् प्रमदाजने क्षणम् अपि स्वप्ने’पि सङ्कल्पते । सार-ग्राहिणि गौरि सद्-गुण-गुरौ मुक्त-व्यलीकोद्यमे मुद्राꣳ किꣳ नु मयि व्यनक्षि ललिते गूढाभ्यसूया-मयीम् ॥३१॥

dhīroddhatānukūlo, yathā- satyaṁ me parihṛtya tāvaka-sakhīṁ premāvadātaṁ mano nānyasmin pramadājane kṣaṇam api svapne’pi saṅkalpate | sāra-grāhiṇi gauri sad-guṇa-gurau mukta-vyalīkodyame mudrāṁ kiṁ nu mayi vyanakṣi lalite gūḍhābhyasūyā-mayīm ||31||

English translation

Fresh editorial translation from the Ujjvala-nīlamaṇi-mūla-mātram authority

The proud and impetuous faithful hero, for example: Truly, apart from your friend, my heart, purified by love, does not form a thought of any other woman for even a moment, not even in a dream. O fair Lalitā, discerning the essence, rich in noble qualities, and free from every deceitful intention, why do you display toward me a bearing filled with concealed resentment?

1.32

Source

अथ दक्षिणः- यो गौरवꣳ भयꣳ प्रेम दाक्षिण्यꣳ पूर्व-योषिति । न मुञ्चत्य् अन्य-चित्तो’पि ज्ञेयो’सौ खलु दक्षिनः ॥३२॥

atha dakṣiṇaḥ- yo gauravaṁ bhayaṁ prema dākṣiṇyaṁ pūrva-yoṣiti | na muñcaty anya-citto’pi jñeyo’sau khalu dakṣinaḥ ||32||

English translation

Fresh editorial translation from the Ujjvala-nīlamaṇi-mūla-mātram authority

Now the considerate hero: Even when his mind turns to another woman, a man who does not abandon respect, apprehension, affection, and courtesy toward his former beloved is to be known as considerate.

1.33

Source

यथा- तथ्यꣳ चन्द्रावलि कथयसि प्रेक्ष्यते न व्यलीकꣳ स्वप्ने’प्यस्य त्वयि मधुभिदः प्रेमशुद्धान्तरस्य । श्रुत्वा जल्पꣳ पिशुनमनसाꣳ तद्विरुद्धꣳ सखीनाꣳ युक्तः कर्तुꣳ सखि सविनये नात्र विश्रम्भभङ्गः ॥३३॥

yathā- tathyaṁ candrāvali kathayasi prekṣyate na vyalīkaṁ svapne’pyasya tvayi madhubhidaḥ premaśuddhāntarasya | śrutvā jalpaṁ piśunamanasāṁ tadviruddhaṁ sakhīnāṁ yuktaḥ kartuṁ sakhi savinaye nātra viśrambhabhaṅgaḥ ||33||

English translation

Fresh editorial translation from the Ujjvala-nīlamaṇi-mūla-mātram authority

For example: Candrāvalī, what you say is true. Not even in a dream is any deceit seen in the enemy of Madhu, whose inner chamber of love for you is pure. O modest friend, after hearing the contrary gossip of malicious-minded companions, it is not proper to break your confidence in him.

1.34

Source

यद् वा- नायिकास्व् अप्य् अनेकासु तुल्यो दक्षिण उच्यते ॥३४॥ [र.अषु. १.८३]

yad vā- nāyikāsv apy anekāsu tulyo dakṣiṇa ucyate ||34|| [ra.aṣu. 1.83]

English translation

Fresh editorial translation from the Ujjvala-nīlamaṇi-mūla-mātram authority

Or, according to another definition: A man who behaves equally toward many heroines is called considerate. [Bhakti-rasāmṛta-sindhu 1.83]

1.35

Source

यथा दश-रूपके (२.७)- स्नाता तिष्ठति कुन्तलेश्वर-सुता वारो’ङ्ग-राज-स्वसुर् द्यूते रात्रिर् इयꣳ जिता कमलया देवी प्रसाद्याद्य च । इत्य् अन्तः-पुर-सुन्दरीः प्रति मया विज्ञाय विज्ञापिते देवेनाप्रतिपत्ति-मूढ-मनसा द्वित्राः स्थितꣳ नाडिकाः ॥३५॥

yathā daśa-rūpake (2.7)- snātā tiṣṭhati kuntaleśvara-sutā vāro’ṅga-rāja-svasur dyūte rātrir iyaṁ jitā kamalayā devī prasādyādya ca | ity antaḥ-pura-sundarīḥ prati mayā vijñāya vijñāpite devenāpratipatti-mūḍha-manasā dvitrāḥ sthitaṁ nāḍikāḥ ||35||

English translation

Fresh editorial translation from the Ujjvala-nīlamaṇi-mūla-mātram authority

As in Daśarūpaka 2.7: ‘The daughter of the king of Kuntala has bathed and waits; it is the turn of the king of Aṅga's sister; Kamalā won this night at dice; and today the queen must be propitiated.’ When I understood the wishes of the women of the inner palace and reported them, the king remained there for two or three nāḍikās, his mind bewildered by indecision.

1.36

Source

यथा वा- पद्मा दृग्-भङ्गिर् अलꣳ कलयति कमला जृम्भते साङ्ग-भङ्गꣳ तारा दोर्-मूलम् अल्पꣳ प्रथयति कुरुते कर्ण-कण्डूꣳ सुकेशी । शैव्या नीव्याꣳ विधत्ते करम् इति युगपन् माधवः प्रेयसीभिर् भावेनाहूयमानो बहु-शिखर-मनाः पश्य कुण्ठो’यम् आस्ते ॥३६॥

yathā vā- padmā dṛg-bhaṅgir alaṁ kalayati kamalā jṛmbhate sāṅga-bhaṅgaṁ tārā dor-mūlam alpaṁ prathayati kurute karṇa-kaṇḍūṁ sukeśī | śaivyā nīvyāṁ vidhatte karam iti yugapan mādhavaḥ preyasībhir bhāvenāhūyamāno bahu-śikhara-manāḥ paśya kuṇṭho’yam āste ||36||

English translation

Fresh editorial translation from the Ujjvala-nīlamaṇi-mūla-mātram authority

Or, for example: Padmā makes an elaborate signal with her eyes; Kamalā stretches while bending her limbs; Tārā reveals a little of the root of her arm; the lovely-haired girl scratches her ear; and Śaivyā places her hand upon the knot of her lower garment. Behold Mādhava: summoned simultaneously by his beloveds through these gestures, his mind divided among many summits of desire, he sits there immobilized.

1.37

Source

शठः- प्रियꣳ वक्ति पुरो’न्यत्र विप्रियꣳ कुरुते भृशम् । निगूढम् अपराधꣳ च शठो’यꣳ कथितो बुधैः ॥३७॥

śaṭhaḥ- priyaṁ vakti puro’nyatra vipriyaṁ kurute bhṛśam | nigūḍham aparādhaṁ ca śaṭho’yaṁ kathito budhaiḥ ||37||

English translation

Fresh editorial translation from the Ujjvala-nīlamaṇi-mūla-mātram authority

The deceitful hero: He speaks affectionately in his beloved's presence but elsewhere acts in ways that greatly displease her, while carefully concealing his offense. The learned call such a man deceitful.

1.38

Source

यथा- स्वप्ने व्यलीकꣳ वनमालिनोक्तꣳ पालीत्य् उपाकर्ण्य विवर्ण-वक्त्रा । श्यामा विनिःश्वस्य मधु-त्रियामाꣳ सहस्र-यामाम् इव सा व्यनैषीत् ॥३८॥

yathā- svapne vyalīkaṁ vanamālinoktaṁ pālīty upākarṇya vivarṇa-vaktrā | śyāmā viniḥśvasya madhu-triyāmāṁ sahasra-yāmām iva sā vyanaiṣīt ||38||

English translation

Fresh editorial translation from the Ujjvala-nīlamaṇi-mūla-mātram authority

For example: Hearing Vanamālī mistakenly utter the name ‘Pālī’ in his sleep, Śyāmā's face lost its color. Sighing deeply, she passed the sweet spring night as though it contained a thousand watches.

1.39

Source

यथा वा- तल्पितेन तपनीय-कान्तिना कृष्ण कुञ्ज-कुहरे’द्य वाससा । अभ्यध्यायि तव निर्व्यलीकता मुञ्च साम-पटलीपटिष्ठताम् ॥३९॥

yathā vā- talpitena tapanīya-kāntinā kṛṣṇa kuñja-kuhare’dya vāsasā | abhyadhyāyi tava nirvyalīkatā muñca sāma-paṭalīpaṭiṣṭhatām ||39||

English translation

Fresh editorial translation from the Ujjvala-nīlamaṇi-mūla-mātram authority

Or, for example: Kṛṣṇa, your guilelessness was proclaimed today in the hollow of the bower by a garment radiant as gold that had been spread out as a bed. Abandon this consummate skill in heaping up conciliatory words.

1.40

Source

अथ धृष्टः- अभिव्यक्तान्य-तरुणी-भोग-लक्ष्मापि निर्भयः । मिथ्या-वचन-दक्षश् च धृष्टो’यꣳ खलु कथ्यते ॥४०॥

atha dhṛṣṭaḥ- abhivyaktānya-taruṇī-bhoga-lakṣmāpi nirbhayaḥ | mithyā-vacana-dakṣaś ca dhṛṣṭo’yaṁ khalu kathyate ||40||

English translation

Fresh editorial translation from the Ujjvala-nīlamaṇi-mūla-mātram authority

Now the brazen hero: Although he plainly bears the marks of enjoying another young woman, he remains fearless and is skilled in false speech. Such a man is called brazen.

1.41

Source

यथा- नखाङ्का न श्यामे घन-घुसृण-रेखा-ततिर् इयꣳ न लाक्षान्तः-क्रुरे परिचिनु गिरेर् गैरिकम् इदम् । धियꣳ धत्से चित्रꣳ वत मृगमदे’प्य् अञ्जनतया तरुण्यास् ते दृष्टिः किम् इव विपरीत-स्थितिर् अभूत् ॥४१॥

yathā- nakhāṅkā na śyāme ghana-ghusṛṇa-rekhā-tatir iyaṁ na lākṣāntaḥ-krure paricinu girer gairikam idam | dhiyaṁ dhatse citraṁ vata mṛgamade’py añjanatayā taruṇyās te dṛṣṭiḥ kim iva viparīta-sthitir abhūt ||41||

English translation

Fresh editorial translation from the Ujjvala-nīlamaṇi-mūla-mātram authority

For example: ‘These are not nail marks, dark-complexioned girl, but a dense array of saffron streaks. This is not lac, cruel one; recognize it as red ochre from the mountain. Astonishingly, you even take musk to be collyrium! How has your youthful vision come to see everything in reverse?’

1.42

Source

उदात्ताद्यैश् चतुर्-भेदैस् त्रिभिः पूर्णतमादिभिः । चतुर्विꣳशत्य् आत्मा पत्य्-आदि-युग्मतः ॥४२॥

udāttādyaiś catur-bhedais tribhiḥ pūrṇatamādibhiḥ | caturviṁśaty ātmā paty-ādi-yugmataḥ ||42||

English translation

Fresh editorial translation from the Ujjvala-nīlamaṇi-mūla-mātram authority

Through the four divisions beginning with the noble and self-possessed, the three degrees beginning with the most complete, and the pair consisting of husband and paramour, the hero assumes twenty-four forms.

1.43

Source

नायकः सो’नुकूलाद्यैः स्यात् षन्-नवतिधोदितः । नोक्तो धूर्तादि-भेदस् तु मुनेः सम्मत्य्-अभावतः ॥४३॥

nāyakaḥ so’nukūlādyaiḥ syāt ṣan-navatidhoditaḥ | nokto dhūrtādi-bhedas tu muneḥ sammaty-abhāvataḥ ||43||

English translation

Fresh editorial translation from the Ujjvala-nīlamaṇi-mūla-mātram authority

When the faithful and the other three modes are further applied, that hero is said to have ninety-six forms. The divisions beginning with the rogue are not stated here, because they lack the sage's approval.