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Ujjvala-nīlamaṇi · Chapter 5

Divisions of the Heroines

Unit 5 of 155.15.103103 source entries

यूथे’प्य् अवान्तर-गणास् तेषु च कश्चिद् गणस् त्रि-चतुराभिः । इह पञ्च-षाभिर् अन्यः सप्ताष्टाभिस् तथेत्य् आद्याः ॥१॥

yūthe’py avāntara-gaṇās teṣu ca kaścid gaṇas tri-caturābhiḥ | iha pañca-ṣābhir anyaḥ saptāṣṭābhis tathety ādyāḥ ||1||

English translation

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

Even within a larger group there are subordinate circles. Some of these circles contain three or four companions, others five or six, and still others seven or eight, with further variations of the same kind.

नासौ नाट्ये रसे मुख्ये यत् परोढा निगद्यते । तत् तु स्यात् प्राकृत-क्षुद्र-नायिकाद्य्-अनुसारतः ॥२॥

nāsau nāṭye rase mukhye yat paroḍhā nigadyate | tat tu syāt prākṛta-kṣudra-nāyikādy-anusārataḥ ||2||

English translation

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

The statement that a woman married to another may be a heroine does not apply to the principal rasa in ordinary drama. There it would pertain only to commonplace and inferior heroines.

तथा चोक्तम्- नेष्टा यद् अङ्गिनि रसे कविभिर् परोढा तद् गोकुलाम्बुजदृशाꣳ कुलम् अन्तरेन । आशाꣳसया रसविधेर् अवतारितानाꣳ कꣳसारिणा रसिकमण्डलशेखरेण ॥३॥

tathā coktam- neṣṭā yad aṅgini rase kavibhir paroḍhā tad gokulāmbujadṛśāṁ kulam antarena | āśāṁsayā rasavidher avatāritānāṁ kaṁsāriṇā rasikamaṇḍalaśekhareṇa ||3||

English translation

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

Thus it is said: Poets do not desire a married woman as the heroine of the principal rasa, except in the case of Gokula's lotus-eyed women. They descended with the enemy of Kaṁsa, the crest-jewel of all connoisseurs, to fulfill the purpose of rasa.

व्रजेन्द्र-नन्दनत्वेन सुष्ठु निष्ठाम् उपेययुः । यासाꣳ भावस्य सा मुद्रा सद्-भक्तैर् अपि दुर्गमा ॥४॥

vrajendra-nandanatvena suṣṭhu niṣṭhām upeyayuḥ | yāsāṁ bhāvasya sā mudrā sad-bhaktair api durgamā ||4||

English translation

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Their devotional disposition became perfectly and exclusively fixed upon the son of the king of Vraja. The distinctive seal of that love is difficult to approach even for exalted devotees.

यथा ललित-माधवे (६.१४)- गोपीनाꣳ पशुपेन्द्र-नन्दन-जुषो भावस्य कस् ताꣳ क्र्ती विज्ञातुꣳ क्षमते दुरूह-पदवी-सञ्चारिणः प्रक्रियाम् । आविष्कुर्वति वैष्णवीम् अपि तनुꣳ तस्मिन् भुजैर् जिष्णुभिर् यासाꣳ हन्त चतुर्भिर् अद्भुत-रुचिꣳ रागोदयः कुञ्चति ॥५॥

yathā lalita-mādhave (6.14)- gopīnāṁ paśupendra-nandana-juṣo bhāvasya kas tāṁ krtī vijñātuṁ kṣamate durūha-padavī-sañcāriṇaḥ prakriyām | āviṣkurvati vaiṣṇavīm api tanuṁ tasmin bhujair jiṣṇubhir yāsāṁ hanta caturbhir adbhuta-ruciṁ rāgodayaḥ kuñcati ||5||

English translation

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As in Lalita-mādhava 6.14: What fortunate person can understand the procedure of the gopīs' love for the son of the cowherd king, which moves upon an inscrutable path? When he reveals even his four-armed form of Viṣṇu, their rising passion, with its wondrous beauty, shrinks back before those mighty arms.

भुजा-चतुष्टयꣳ क्वापि नर्मणा दर्शयन्न् अपि । वृन्दावनेश्वरी-प्रेम्णा द्विभुजः क्रियते हरिः ॥६॥

bhujā-catuṣṭayaṁ kvāpi narmaṇā darśayann api | vṛndāvaneśvarī-premṇā dvibhujaḥ kriyate hariḥ ||6||

English translation

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Even if Hari playfully displays four arms somewhere, the love of the queen of Vṛndāvana causes him to become two-armed again.

यथा- रासारम्भ-विधौ निलीय वसता कुञ्जे मृगाक्षी-गणैर् दृष्टꣳ गोपयितुꣳ स्वम् उद्धुर-धिया या सुष्ठु सन्दर्शिता । राधायाः प्रणयस्य हन्त महिमा यस्य श्रिया रक्षितुꣳ सा शक्या प्रभविष्णुनापि हरिणा नासीच् चतुर्-बाहुता ॥७॥

yathā- rāsārambha-vidhau nilīya vasatā kuñje mṛgākṣī-gaṇair dṛṣṭaṁ gopayituṁ svam uddhura-dhiyā yā suṣṭhu sandarśitā | rādhāyāḥ praṇayasya hanta mahimā yasya śriyā rakṣituṁ sā śakyā prabhaviṣṇunāpi hariṇā nāsīc catur-bāhutā ||7||

English translation

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For example: At the beginning of the rāsa dance he hid in a bower. When the group of doe-eyed women discovered him, his bold intelligence made him reveal his own four-armed form in order to conceal himself. Alas, such was the greatness of Rādhā's love that even mighty Hari could not preserve the splendor of those four arms when she arrived.

अपि च- सामान्याया रसाभास-प्रसङ्गात् तादृग् अप्य् असौ । भाव-योगात् तु सैरिन्ध्री परकीयैव सम्मता ॥८॥

api ca- sāmānyāyā rasābhāsa-prasaṅgāt tādṛg apy asau | bhāva-yogāt tu sairindhrī parakīyaiva sammatā ||8||

English translation

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Moreover, because a common courtesan introduces only a semblance of rasa, she is excluded even when her condition resembles that of these heroines. Sairindhrī, however, is accepted as one who belongs to another because of the genuine devotional disposition joined to her desire.

यथा च प्राञ्चः (शृङ्गार-तिलके १.६२,६४)- सामान्या वनिता वेश्या सा द्रव्यꣳ परम् इच्छता । गुण-हीने च न द्वेषो नानुरागो गुणिन्य् अपि । शृङ्गाराभास एतासु न शृङ्गारः कदाचन ॥९॥ इति ।

yathā ca prāñcaḥ (śṛṅgāra-tilake 1.62,64)- sāmānyā vanitā veśyā sā dravyaṁ param icchatā | guṇa-hīne ca na dveṣo nānurāgo guṇiny api | śṛṅgārābhāsa etāsu na śṛṅgāraḥ kadācana ||9|| iti |

English translation

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As the ancient authority states in Śṛṅgāra-tilaka 1.62 and 1.64: A woman available to all is a courtesan, and she desires wealth above everything. She does not hate a man without qualities, nor does she love even a virtuous man. With such women there is only a semblance of śṛṅgāra, never true śṛṅgāra.

5.10

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स्वकीयाश् च परोढाश् च या द्विधा परिकीर्तिताः । मुग्धा मध्या प्रगल्भेति प्रत्येकꣳ तास् त्रिधा मताः ॥१०॥

svakīyāś ca paroḍhāś ca yā dvidhā parikīrtitāḥ | mugdhā madhyā pragalbheti pratyekaṁ tās tridhā matāḥ ||10||

English translation

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

Both kinds of heroine already celebrated, the hero's own wife and the woman married to another, are each understood in three further divisions: innocent, intermediate, and bold.

5.11

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भेद-त्रयम् इदꣳ कैश्चित् स्वीयाया एव वर्णितम् । तथापि सत्-कवि-ग्रन्थे दृष्टत्वात् तद्-अनादृतम् ॥११॥

bheda-trayam idaṁ kaiścit svīyāyā eva varṇitam | tathāpi sat-kavi-granthe dṛṣṭatvāt tad-anādṛtam ||11||

English translation

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

Some authorities describe these three divisions only for the hero's own wife. That restriction is not accepted here, because the same distinctions are seen in the works of excellent poets.

5.12

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तथा प्राचीनैश् चोक्तम्- उदाहृति-भिदाꣳ केचित् सर्वासाम् एव तन्वते । तास् तु प्रायेण दृश्यन्ते सर्वत्र व्यवहारतः ॥१२॥इति ।

tathā prācīnaiś coktam- udāhṛti-bhidāṁ kecit sarvāsām eva tanvate | tās tu prāyeṇa dṛśyante sarvatra vyavahārataḥ ||12||iti |

English translation

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

Thus the ancient authorities also state: Some writers construct distinct examples for every kind of heroine, and in practice those varieties are generally observed everywhere.

5.13

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तत्र मुग्धा- मुग्धा नव-वयः-कामा रतौ वामा सखी-वशा । रति-चेष्टासु स-व्रीड-चारु-गूढ-प्रयत्न-भाक् ॥१३॥

tatra mugdhā- mugdhā nava-vayaḥ-kāmā ratau vāmā sakhī-vaśā | rati-ceṣṭāsu sa-vrīḍa-cāru-gūḍha-prayatna-bhāk ||13||

English translation

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Among these, the innocent heroine: She is newly youthful and newly awakened to desire, contrary during lovemaking, and governed by her companions. Her charming efforts in the acts of love are concealed by modesty.

5.14

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कृतापराधे दयिते बाष्प-रुद्धावलोकना । प्रियाप्रियोक्तौ चाशक्ता माने च विमुखी सदा ॥१४॥

kṛtāparādhe dayite bāṣpa-ruddhāvalokanā | priyāpriyoktau cāśaktā māne ca vimukhī sadā ||14||

English translation

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When her beloved commits an offense, tears obstruct her gaze. She is unable to utter either affectionate or harsh words, and in jealous pride she always turns her face away.

5.15

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तत्र नव-वयाः- विरमति शैशव-शिशिरे, प्रविशति यौवन-मधौ विशाखायाः । दीव्यति लोचन-कमलꣳ, वदन-सुधाꣳशुश् च विस्फुरति ॥१५॥

tatra nava-vayāḥ- viramati śaiśava-śiśire, praviśati yauvana-madhau viśākhāyāḥ | dīvyati locana-kamalaṁ, vadana-sudhāṁśuś ca visphurati ||15||

English translation

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Her new youth, for example: As the winter of childhood ends and Viśākhā enters the springtime of youth, the lotus of her eyes shines brilliantly and the nectar-moon of her face expands in splendor.

5.16

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यथा वा- बाल्य-ध्वान्त सखे प्रयाहि तरसा राधा-वपुर् द्वीपत- स्तारुण्य-द्युमणेर् यद् एष विजयारम्भः पुरो जृम्भते । कृष्ण-व्योम्नि रुचिर् दरोत्तरलता तारा-द्युतौ काप्य् उरः- पूर्वाद्रौ सुषमोन्नतिः स्मित-कला पश्याद्य वक्त्राम्बुजे ॥१६॥

yathā vā- bālya-dhvānta sakhe prayāhi tarasā rādhā-vapur dvīpata- stāruṇya-dyumaṇer yad eṣa vijayārambhaḥ puro jṛmbhate | kṛṣṇa-vyomni rucir darottaralatā tārā-dyutau kāpy uraḥ- pūrvādrau suṣamonnatiḥ smita-kalā paśyādya vaktrāmbuje ||16||

English translation

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Or, for example: Friend Darkness of Childhood, quickly leave the island of Rādhā's body, for the first advance of the sun-jewel of youth now expands before you. See today the new radiance in the sky of Kṛṣṇa's delight: a lovely fresh restlessness in the stars of her eyes, an indescribable rise of beauty upon the eastern mountain of her breast, and a slender crescent smile upon the lotus of her face.

5.17

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नव-कामा, यथा- बाले कꣳस-भिदः स्मरोत्सव-रसे प्रस्तूयमाने छलात् प्रौढाभीर-वधूभिर् आनत-मुखी त्वꣳ कर्णम् अध्यस्यसि । सव्याजꣳ वन-मालिका-विरचने’प्य् उल्लासम् आलम्बसे रङ्गः को’यम् अवातरद् वद सखि स्वान्ते नवीनस् तव ॥१७॥

nava-kāmā, yathā- bāle kaṁsa-bhidaḥ smarotsava-rase prastūyamāne chalāt prauḍhābhīra-vadhūbhir ānata-mukhī tvaṁ karṇam adhyasyasi | savyājaṁ vana-mālikā-viracane’py ullāsam ālambase raṅgaḥ ko’yam avātarad vada sakhi svānte navīnas tava ||17||

English translation

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

Her newly awakened desire, for example: Young girl, when the mature cowherd women jokingly begin a discussion of the festive rasa of love with the destroyer of Kaṁsa, you lower your face but strain your ear toward them. Even while making a forest garland, you take up delight under a pretext. Tell me, friend, what new dramatic mood has entered your heart?

5.18

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रतौ वामा, यथा- नव-बालिकास्मि कुरु नर्म नेदृशꣳ पदवीꣳ विमुञ्च शिखि-पिञ्छ-शेखर । विरचन्ति पश्य पटवस् तटीम् इमा- मरविन्द-बन्धु-दुहितुर् नत-भ्रुवः ॥१८॥

ratau vāmā, yathā- nava-bālikāsmi kuru narma nedṛśaṁ padavīṁ vimuñca śikhi-piñcha-śekhara | viracanti paśya paṭavas taṭīm imā- maravinda-bandhu-duhitur nata-bhruvaḥ ||18||

English translation

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Her contrariness during lovemaking, for example: I am a newly grown girl, so do not make such jokes with me. Crowned with peacock feathers, leave this path! Look, clever bowed-browed women are arranging themselves along this bank of the Yamunā.

5.19

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यथा वा- यमुना-पुलिने विलोकनान् मे चलिताꣳ स्मेर-सखी-गृहीत-हस्ताम् । अयि मुञ्च करꣳ ममेति कञ्जद्- वचनाꣳ खञ्जन-लोचनाꣳ स्मरामि ॥१९॥

yathā vā- yamunā-puline vilokanān me calitāṁ smera-sakhī-gṛhīta-hastām | ayi muñca karaṁ mameti kañjad- vacanāṁ khañjana-locanāṁ smarāmi ||19||

English translation

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Or, for example: I remember the wagtail-eyed girl on the bank of the Yamunā. When she saw me, she began to leave while a smiling friend held her hand. ‘Oh, release my hand!’ she said in a voice like a lotus.

5.20

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सखी-वशा- व्रज-राज-कुमार कर्कशे सुकुमारीꣳ त्वयि नार्पयाम्य् अमुम् । कलभेन्द्र-करे नवोदयाꣳ नलिनीꣳ कः कुरुते जनः कृती ॥२०॥

sakhī-vaśā- vraja-rāja-kumāra karkaśe sukumārīṁ tvayi nārpayāmy amum | kalabhendra-kare navodayāṁ nalinīṁ kaḥ kurute janaḥ kṛtī ||20||

English translation

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Her being governed by a companion: Prince of Vraja, I will not entrust this tender girl to one as hard as you. What thoughtful person places a newly blossomed lotus in the trunk of a lordly young elephant?

5.21

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यथा वा- न स्वीकृता सखि मया स्रग् इहास्ति कौन्दी किꣳ दीर्घ-रोष-विकटाꣳ भ्रु-कुटीꣳ तनोषि । क्षिप्तेयम् अत्र मम मण्डन-पेटिकायाꣳ चेद् वृन्दया चटुलया किम् अहꣳ करिष्ये ॥२१॥

yathā vā- na svīkṛtā sakhi mayā srag ihāsti kaundī kiṁ dīrgha-roṣa-vikaṭāṁ bhru-kuṭīṁ tanoṣi | kṣipteyam atra mama maṇḍana-peṭikāyāṁ ced vṛndayā caṭulayā kim ahaṁ kariṣye ||21||

English translation

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

Or, for example: Friend, I did not accept any jasmine garland here. Why do you form such a fearsome frown from prolonged anger? If restless Vṛndā threw it into my ornament box, what could I possibly do?

5.22

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सव्रीड-रत-प्रयत्ना, यथा- द्वित्राण्य् एत्य पदानि कुञ्ज-वसतेर् द्वारे विलासोन्मुखी सद्यः कम्प-तरङ्गद्-अङ्ग-लतिका तिर्यग्-विवृत्ता ह्रिया । भूयः स्निग्ध-सखी-गिराꣳ परिमलैस् तल्पान्तम् आसेदुषी स्वान्तꣳ हन्त जहार हारि-हरिणी-नेत्रा मम श्यामला ॥२२॥

savrīḍa-rata-prayatnā, yathā- dvitrāṇy etya padāni kuñja-vasater dvāre vilāsonmukhī sadyaḥ kampa-taraṅgad-aṅga-latikā tiryag-vivṛttā hriyā | bhūyaḥ snigdha-sakhī-girāṁ parimalais talpāntam āseduṣī svāntaṁ hanta jahāra hāri-hariṇī-netrā mama śyāmalā ||22||

English translation

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

Her modest effort in lovemaking, for example: Approaching within two or three steps of the bower's door, eager for amorous play, she suddenly turned sideways in modesty as waves of trembling passed over the vine of her body. Then, carried by the fragrant words of an affectionate friend, she reached the edge of the bed. Alas, my dark beloved, captivating with her doe-like eyes, stole away my heart.

5.23

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रोष-कृत-बाष्प-मौना, यथा- सिद्धापराधम् अपि शुद्ध-मनाः सखी मे त्वाꣳ वक्ष्यते कथम् अदक्षिणम् अक्षमेव । नेमाꣳ विडम्बय कदम्ब-वनी-भुजङ्ग वक्त्रꣳ पिधाय कुरुताम् इयम् अश्रु-मोक्षम् ॥२३॥

roṣa-kṛta-bāṣpa-maunā, yathā- siddhāparādham api śuddha-manāḥ sakhī me tvāṁ vakṣyate katham adakṣiṇam akṣameva | nemāṁ viḍambaya kadamba-vanī-bhujaṅga vaktraṁ pidhāya kurutām iyam aśru-mokṣam ||23||

English translation

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

Her tearful silence born from anger, for example: Though your offense has been established, how could my pure-hearted friend harshly call you unkind? Serpent of the kadamba forest, do not mock her. Let her cover her face and release her tears.

5.24

Source

अथ माने विमुखी- मृद्वी तथाक्षमा चेति सा माने विमुखी द्विधा ॥२४॥

atha māne vimukhī- mṛdvī tathākṣamā ceti sā māne vimukhī dvidhā ||24||

English translation

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

Now her turning away in jealous pride: In such pride the innocent heroine who turns away is of two kinds, gentle and unforgiving.

5.25

Source

तत्र मृद्वी, यथा रस-सुधाकारे (१.१५६)- व्यावृत्ति-क्रमणोद्यमे’पि पदयोः प्रत्युद्गतौ वर्तनꣳ भ्रू-भेदो’पि तद् ईक्षण-व्यसनिना व्यस्मारि मे चक्षुषा । चाटूक्तानि करोति दग्ध-रसना रूक्षाक्षरे’प्य् उद्यता सख्यः किꣳ करवाणि मान-समये सङ्घात-भेदो मम ॥२५॥

tatra mṛdvī, yathā rasa-sudhākāre (1.156)- vyāvṛtti-kramaṇodyame’pi padayoḥ pratyudgatau vartanaṁ bhrū-bhedo’pi tad īkṣaṇa-vyasaninā vyasmāri me cakṣuṣā | cāṭūktāni karoti dagdha-rasanā rūkṣākṣare’py udyatā sakhyaḥ kiṁ karavāṇi māna-samaye saṅghāta-bhedo mama ||25||

English translation

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

The gentle type, as in Rasa-sudhākara 1.156: Although I try to turn away, my feet move toward him. Although I try to knit my brow, my eyes, addicted to seeing him, forget to do so. Though I intend to utter harsh syllables, my wretched tongue produces flattering words. Friends, what can I do? At the time for jealous pride, my whole array of defenses falls apart.

5.26

Source

अक्षमा, यथा- आभीर-पङ्कज-दृशाꣳ बत साहसिक्यꣳ या केशवे क्षणम् अपि प्रणयन्ति मानम् । मानेति वर्ण-युगले’पि मम प्रयाते कर्णाङ्गनꣳ वहति वेपथुम् अन्तरात्मा ॥२६॥

akṣamā, yathā- ābhīra-paṅkaja-dṛśāṁ bata sāhasikyaṁ yā keśave kṣaṇam api praṇayanti mānam | māneti varṇa-yugale’pi mama prayāte karṇāṅganaṁ vahati vepathum antarātmā ||26||

English translation

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

The type unable to sustain her pride, for example: How astonishing is the boldness of those lotus-eyed cowherd women who can maintain jealous pride toward Keśava for even a moment! When the two syllables of the word ‘pride’ merely enter the courtyard of my ears, my inner being begins to tremble.

5.27

Source

अथ मध्या- समान-लज्जा-मदना प्रोद्यत्-तारुण्य-शालिनी । किञ्चित्-प्रगल्भ-वचना मोहान्त-सुरत-क्षमा । मध्या स्यात् कोमला क्वापि माने कुत्रापि कर्कशा ॥२७॥

atha madhyā- samāna-lajjā-madanā prodyat-tāruṇya-śālinī | kiñcit-pragalbha-vacanā mohānta-surata-kṣamā | madhyā syāt komalā kvāpi māne kutrāpi karkaśā ||27||

English translation

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

Now the intermediate heroine: Her modesty and desire are equal; she is adorned with fully emerging youth; her speech is somewhat bold; and she can sustain lovemaking up to the point of fainting. In jealous pride she may at one time be gentle and at another severe.

5.28

Source

तत्र समान-लज्जा-मदना, यथा- विकिरति किल कृष्णे नेत्र-पद्मꣳ स-तृष्णे नमयति मुखम् अन्तः-स्मेरम् आवृत्य राधा । निदधति दृशम् अस्मिन्न् अन्यतः प्रेक्षते’मुꣳ तद् अपि सरसिजाक्षी तस्य मोदꣳ व्यतानीत् ॥२८॥

tatra samāna-lajjā-madanā, yathā- vikirati kila kṛṣṇe netra-padmaṁ sa-tṛṣṇe namayati mukham antaḥ-smeram āvṛtya rādhā | nidadhati dṛśam asminn anyataḥ prekṣate’muṁ tad api sarasijākṣī tasya modaṁ vyatānīt ||28||

English translation

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

Her equal modesty and desire, for example: Rādhā casts the lotus of her eye toward Kṛṣṇa with thirst, then lowers her face while concealing an inward smile. When he places his gaze upon her she looks elsewhere, yet that lotus-eyed girl still increases his delight.

5.29

Source

प्रोद्यत्-तारुण्य-शालिनी, यथा- भ्रुवोर् विक्षेपस् ते कवलयति मीन-ध्वज-धनुः- प्रभारम्भꣳ रम्भा-श्रियम् उपहसत्य् उरु-युगलम् । कुच-द्वन्द्वꣳ धत्ते रथ-चरण-यूनोर् विलसितꣳ वरोरूणाꣳ राधे तरुणिमनि चूडामणिर् असि ॥२९॥

prodyat-tāruṇya-śālinī, yathā- bhruvor vikṣepas te kavalayati mīna-dhvaja-dhanuḥ- prabhārambhaṁ rambhā-śriyam upahasaty uru-yugalam | kuca-dvandvaṁ dhatte ratha-caraṇa-yūnor vilasitaṁ varorūṇāṁ rādhe taruṇimani cūḍāmaṇir asi ||29||

English translation

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

Her fully emerging youth, for example: The movement of your brows devours the first splendor of Love's bow; the beauty of your thighs mocks the grace of plantain trunks; and your pair of breasts displays the playfulness of two young chariot wheels. Rādhā, among all lovely-thighed young women, you are the crest-jewel of youth.

5.30

Source

किञ्चित्-प्रगल्भोक्तिः, यथोद्धव-सन्देशे (५४)- मद्-वक्त्राम्भोरुह-परिमलोन्मत्त-सेवानुबन्धे पत्युः कृष्ण-भ्रमर कुरुषे किꣳतराम् अन्तरायम् । तृष्णाभिस् त्वम् यदि कल-रुत-व्यग्र-चित्तस् तदाग्रे पुष्पैः पाण्डु-च्छविम् अविरलैर् याहि पुꣳनाग-कुञ्जम् ॥३०॥

kiñcit-pragalbhoktiḥ, yathoddhava-sandeśe (54)- mad-vaktrāmbhoruha-parimalonmatta-sevānubandhe patyuḥ kṛṣṇa-bhramara kuruṣe kiṁtarām antarāyam | tṛṣṇābhis tvam yadi kala-ruta-vyagra-cittas tadāgre puṣpaiḥ pāṇḍu-cchavim aviralair yāhi puṁnāga-kuñjam ||30||

English translation

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

Her somewhat bold speech, as in Uddhava-sandeśa 54: O Kṛṣṇa-black bee, why do you so greatly obstruct your master's continuing service, intoxicated by the fragrance of the lotus of my face? If thirst for nectar has made your mind restless with sweet humming, then go before him to the bower of puṁnāga trees, pale with masses of flowers.

5.31

Source

मोहान्त-सुरत-क्षमा, यथा- श्रम-जल-निविडाꣳ निमीलिताक्षीꣳ श्लथ-चिकुराम् अनधीन-बाहु-वल्लीम् । मुदित-मनसम् अस्मृतान्य-भावाꣳ रति-शयने निशि गोपिकाꣳ स्मरामि ॥३१॥

mohānta-surata-kṣamā, yathā- śrama-jala-niviḍāṁ nimīlitākṣīṁ ślatha-cikurām anadhīna-bāhu-vallīm | mudita-manasam asmṛtānya-bhāvāṁ rati-śayane niśi gopikāṁ smarāmi ||31||

English translation

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

Her ability to sustain lovemaking until fainting, for example: I remember the gopī upon the bed of love at night, her eyes closed, drenched in perspiration, her hair loosened, the vines of her arms beyond her control, her heart joyful, and every other awareness forgotten.

5.32

Source

माने कोमला, यथा- प्राणास् त्वम् एव किम् इव त्वयि गोपनीयꣳ मानाय केशि-मथने सखि नास्मि शक्ता । एहि प्रयाव रविजा-तट-निष्कुटाय कल्याणि फुल्ल-कुसुमावचय-च्छलेन ॥३२॥

māne komalā, yathā- prāṇās tvam eva kim iva tvayi gopanīyaṁ mānāya keśi-mathane sakhi nāsmi śaktā | ehi prayāva ravijā-taṭa-niṣkuṭāya kalyāṇi phulla-kusumāvacaya-cchalena ||32||

English translation

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

Her gentleness in jealous pride, for example: You alone are my very life, so what could I conceal from you? Friend, I am unable to maintain pride toward the slayer of Keśī. Come, auspicious girl, let us go to the garden on the daughter of the sun's bank under the pretext of gathering blossoming flowers.

5.33

Source

माने कर्कशा, यथा विदग्ध-माधवे (५.३०)- मुधा मानोन्नाहाद् ग्लपयसि किम् अङ्गानि कठिने रुषꣳ धत्से किꣳवा प्रिय-परिजनाभ्यर्थन-विधौ । प्रकामꣳ ते कुञ्जालय-गृह-पतिस् ताम्यति पुरः कृपा-लक्ष्मीवन्तꣳ चटुलय दृगन्तꣳ क्षणम् इह ॥३३॥

māne karkaśā, yathā vidagdha-mādhave (5.30)- mudhā mānonnāhād glapayasi kim aṅgāni kaṭhine ruṣaṁ dhatse kiṁvā priya-parijanābhyarthana-vidhau | prakāmaṁ te kuñjālaya-gṛha-patis tāmyati puraḥ kṛpā-lakṣmīvantaṁ caṭulaya dṛgantaṁ kṣaṇam iha ||33||

English translation

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

Her severity in jealous pride, as in Vidagdha-mādhava 5.30: Hard-hearted girl, why needlessly let your limbs waste away beneath the burden of pride? Why remain angry when your dear companions plead with you? The lord of this bower-dwelling languishes intensely before you. For just a moment, let your sidelong glance dance, rich with the beauty of compassion.

5.34

Source

त्रिधासौ मान-वृत्तेः स्याद् धीराधीरोभयात्मिका ॥३४॥

tridhāsau māna-vṛtteḥ syād dhīrādhīrobhayātmikā ||34||

English translation

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

According to her conduct in jealous pride, the intermediate heroine is of three kinds: composed, unrestrained, and a combination of both.

5.35

Source

तत्र धीर-मध्या- धीरा तु वक्ति वक्रोक्त्या सोत्प्रासꣳ सागसꣳ प्रियम् ॥३५॥

tatra dhīra-madhyā- dhīrā tu vakti vakroktyā sotprāsaṁ sāgasaṁ priyam ||35||

English translation

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

Among these, the composed intermediate heroine addresses her offending beloved with crooked, sarcastic speech.

5.36

Source

यथा- स्वामिन् युक्तम् इदꣳ तवाञ्जन-नवालक्त-द्रवैः सर्वतः सꣳक्रान्तैर् धृत-नील-लोहित-तनोर् यच् चन्द्रलेखा-धृतिः । एकꣳ किन्त्व् अवलोचयाम्य् अनुचितꣳ हꣳहो पशूनाꣳ पते देहार्धे दयिताꣳ वहन् बहुमताम् अत्रासि यन् नागतः ॥३६॥

yathā- svāmin yuktam idaṁ tavāñjana-navālakta-dravaiḥ sarvataḥ saṁkrāntair dhṛta-nīla-lohita-tanor yac candralekhā-dhṛtiḥ | ekaṁ kintv avalocayāmy anucitaṁ haṁho paśūnāṁ pate dehārdhe dayitāṁ vahan bahumatām atrāsi yan nāgataḥ ||36||

English translation

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

For example: My lord, it is fitting that your body, everywhere colored blue and red by fresh collyrium and liquid lac transferred onto it, should bear the appearance of a crescent-marked Śiva. Yet I see one impropriety, O lord of creatures: although you bear your highly honored beloved upon half your body, you have not arrived here together with her.

5.37

Source

अथ अधीर-मध्या- अधीरा परुषैर् वाक्यैर् निरस्येद् वल्लभꣳ रुषा ॥३७॥

atha adhīra-madhyā- adhīrā paruṣair vākyair nirasyed vallabhaṁ ruṣā ||37||

English translation

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

Now the unrestrained intermediate heroine: In anger she drives away her beloved with harsh words.

5.38

Source

यथा- उत्तुङ्ग-स्तन-मण्डली-सहचरः कण्ठे स्फुरन्न् एष ते हारः कꣳसरिपो क्षपा-विलसितꣳ निःसꣳशयꣳ शꣳसति । धूर्ताभीर-वधू-प्रतारित-मते मिथ्या-कथा-घर्घरी- झङ्कारोन्मुखर प्रयाहि तरसा युक्तात्र नावस्थितिः ॥३८॥

yathā- uttuṅga-stana-maṇḍalī-sahacaraḥ kaṇṭhe sphurann eṣa te hāraḥ kaṁsaripo kṣapā-vilasitaṁ niḥsaṁśayaṁ śaṁsati | dhūrtābhīra-vadhū-pratārita-mate mithyā-kathā-ghargharī- jhaṅkāronmukhara prayāhi tarasā yuktātra nāvasthitiḥ ||38||

English translation

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

For example: Enemy of Kaṁsa, this necklace shining upon your neck, the companion of lofty breasts, proclaims without doubt your sport during the night. Your mind has been deceived by some cunning cowherd woman, and now you resound with the rumbling clamor of false stories. Go away at once; it is not proper for you to remain here.

5.39

Source

अथ धीराधीर-मध्या- धीराधीर तु वक्रोक्त्या स-बाष्पꣳ वदति प्रियम् ॥३९॥

atha dhīrādhīra-madhyā- dhīrādhīra tu vakroktyā sa-bāṣpaṁ vadati priyam ||39||

English translation

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

Now the intermediate heroine who combines composure and unrestraint: With tears in her eyes, she addresses her beloved in crooked speech.

5.40

Source

यथा- गोपेन्द्रनन्दन न रोदय याहि याहि सा ते विधास्यति रुषꣳ हृदयाधिदेवी । त्वन्-मौलि-माल्य-हृत-यावक-पङ्कम् अस्याः पाद-द्वयꣳ पुनर् अनेन विभूषयाद्य ॥४०॥

yathā- gopendranandana na rodaya yāhi yāhi sā te vidhāsyati ruṣaṁ hṛdayādhidevī | tvan-mauli-mālya-hṛta-yāvaka-paṅkam asyāḥ pāda-dvayaṁ punar anena vibhūṣayādya ||40||

English translation

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

For example: Son of the cowherd king, do not make me weep. Go, go! She, the presiding goddess of your heart, will become angry with you. Today take this same garland from your crown, which stole the lac-mud from her feet, and use it to decorate those two feet once more.

5.41

Source

यथा वा- ताम् एव प्रतिपद्य काम-वरदाꣳ सेवस्व देवीꣳ सदा यस्याः प्राप्य महा-प्रसादम् अधुना दामोदरामोदसे । पादालक्त-चितꣳ शिरस् तव मुखꣳ ताम्बूल-शेषोज्ज्वलꣳ कण्ठश् चायम् उरोज-कुट्मल-सुहृन्-निर्माल्य-माल्याङ्कितः ॥४१॥

yathā vā- tām eva pratipadya kāma-varadāṁ sevasva devīṁ sadā yasyāḥ prāpya mahā-prasādam adhunā dāmodarāmodase | pādālakta-citaṁ śiras tava mukhaṁ tāmbūla-śeṣojjvalaṁ kaṇṭhaś cāyam uroja-kuṭmala-suhṛn-nirmālya-mālyāṅkitaḥ ||41||

English translation

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

Or, for example: Take refuge in that same goddess who grants the fulfillment of desire, and serve her always. Dāmodara, now you exult after receiving her great remnants: your head is patterned with lac from her feet, your face shines with the remains of her betel, and your neck is marked by a discarded garland that befriended the buds of her breasts.

5.42

Source

सर्व एव रसोत्कर्षो मध्यायाम् एव युज्यते । यद् अस्याꣳ वर्तते व्यक्ता मौग्ध्य-प्रागल्भ्ययोर् युतिः ॥४२॥

sarva eva rasotkarṣo madhyāyām eva yujyate | yad asyāṁ vartate vyaktā maugdhya-prāgalbhyayor yutiḥ ||42||

English translation

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

The fullest excellence of rasa is especially appropriate in the intermediate heroine, because the union of innocence and boldness appears distinctly within her.

5.43

Source

अथ प्रगल्भा- प्रगल्भा पूर्ण-तारुण्या मदान्धोरु-रतोत्सुका । भूरि-भावोद्गमाभिज्ञा रसेनाक्रान्त-वल्लभा । अतिप्रौढोक्ति-चेष्टासौ माने चात्यन्त-कर्कशा ॥४३॥

atha pragalbhā- pragalbhā pūrṇa-tāruṇyā madāndhoru-ratotsukā | bhūri-bhāvodgamābhijñā rasenākrānta-vallabhā | atiprauḍhokti-ceṣṭāsau māne cātyanta-karkaśā ||43||

English translation

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

Now the bold heroine: She possesses fully developed youth, is blinded by confidence, and eagerly desires intense lovemaking. She understands the arising of many emotional states, overwhelms her beloved through rasa, is extremely mature in speech and action, and is exceedingly severe in jealous pride.

5.44

Source

तत्र पूर्ण-तारुण्या, यथा- मुष्णाति स्तन-युग्मम् अभ्रमु-पतेः कुम्भ-स्थली-विभ्रमꣳ विस्फारꣳ च नितम्ब-मण्डलम् इदꣳ रोधः-श्रियꣳ लुण्ठति । द्वन्द्वꣳ लोचनयोश् च लोल-शफरी-विस्फूर्जितꣳ स्पर्धते तारुण्यामृत-सम्पदा त्वम् अधिकꣳ चन्द्रावलि क्षालिता ॥४४॥

tatra pūrṇa-tāruṇyā, yathā- muṣṇāti stana-yugmam abhramu-pateḥ kumbha-sthalī-vibhramaṁ visphāraṁ ca nitamba-maṇḍalam idaṁ rodhaḥ-śriyaṁ luṇṭhati | dvandvaṁ locanayoś ca lola-śapharī-visphūrjitaṁ spardhate tāruṇyāmṛta-sampadā tvam adhikaṁ candrāvali kṣālitā ||44||

English translation

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

Her fully developed youth, for example: Your pair of breasts steals the graceful swelling of the frontal globes of the lord of elephants; this expansive circle of your hips plunders the beauty of a riverbank; and your two eyes rival the darting leaps of restless śapharī fish. Candrāvalī, you are drenched to excess in the rich nectar of youth.

5.45

Source

अथ मदान्धा- निष्क्रान्ते रति-कुञ्जतः परिजने शय्याम् अवापय्य माꣳ स्वैरꣳ गौरि रिरꣳसया मयि दृशꣳ दीर्घाꣳ क्षिपत्य् अच्युते । सद्यः-प्रोद्यद्-उरु-प्रमोद-लहरी-विस्मारितात्म-स्थितिर्नाहꣳ तत्र विदाम्बभूव किम् अभूत् कृत्यꣳ किलातः-परम् ॥४५॥

atha madāndhā- niṣkrānte rati-kuñjataḥ parijane śayyām avāpayya māṁ svairaṁ gauri riraṁsayā mayi dṛśaṁ dīrghāṁ kṣipaty acyute | sadyaḥ-prodyad-uru-pramoda-laharī-vismāritātma-sthitirnāhaṁ tatra vidāmbabhūva kim abhūt kṛtyaṁ kilātaḥ-param ||45||

English translation

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

Now her being blinded by confidence: Fair girl, when the attendants had left the bower of love and placed me upon the bed, Acyuta freely cast a long, desirous glance toward me. A vast wave of joy immediately arose and made me forget my own condition. I did not know what happened there, or what deed came after that.

5.46

Source

उरु-रतोत्सुका, यथा- उदञ्चद्-वैयात्याꣳ पृथु-नख-पदाकीर्ण-मिथुनाꣳ स्खलद्-बर्हाकल्पाꣳ दलद्-अमल-गुञ्जा-मणिसराम् । ममानङ्ग-क्रीडाꣳ सखि वलय-रिक्ती-कृत-कराꣳ मनस् ताम् एवोच्चैर् मणित-रमणीयाꣳ मृगयते ॥४६॥

uru-ratotsukā, yathā- udañcad-vaiyātyāṁ pṛthu-nakha-padākīrṇa-mithunāṁ skhalad-barhākalpāṁ dalad-amala-guñjā-maṇisarām | mamānaṅga-krīḍāṁ sakhi valaya-riktī-kṛta-karāṁ manas tām evoccair maṇita-ramaṇīyāṁ mṛgayate ||46||

English translation

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

Her eagerness for intense lovemaking, for example: Friend, my mind ardently seeks that very sport of Love, radiant with mounting boldness, in which both bodies were covered with broad nail marks, the array of peacock feathers slipped loose, the pure guñjā-jewel necklace broke apart, my hands were emptied of their bracelets, and beautiful cries rang out.

5.47

Source

भूरि-भावोद्गमाभिज्ञा- साचि-प्रेङ्खद्-अपाङ्ग-शृङ्खल-शिखा विस्फारित-भ्रू-लता साकूत-स्मित-कुड्मलावृत-मुखी प्रोत्क्षिप्त-रोमाङ्कुरा । कुञ्जे गुञ्ज-दलौ विराजसि चिरात् कूजद्-विपञ्ची-स्वरा बद्धुꣳ बन्धुर-गात्रि कृष्ण-हरिणꣳ शङ्के त्वम् आकाङ्क्षसि ॥४७॥

bhūri-bhāvodgamābhijñā- sāci-preṅkhad-apāṅga-śṛṅkhala-śikhā visphārita-bhrū-latā sākūta-smita-kuḍmalāvṛta-mukhī protkṣipta-romāṅkurā | kuñje guñja-dalau virājasi cirāt kūjad-vipañcī-svarā baddhuṁ bandhura-gātri kṛṣṇa-hariṇaṁ śaṅke tvam ākāṅkṣasi ||47||

English translation

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

Her understanding of the arising of many emotional states: The pointed links of your chain of sidelong glances swing obliquely; your vine-like brows expand; your face is covered by the bud of an intentional smile; sprouts of horripilation rise upon you; and your voice in the bower resounds like a humming vīṇā string. Graceful-limbed girl, I suspect you desire to bind the deer named Kṛṣṇa.

5.48

Source

रसाक्रान्त-वल्लभा, यथा- अवचिनु कुसुमानि प्रेक्ष्य चारुण्य् अरण्ये विरचय पुनर् एभिर् मण्डनान्य् उज्ज्वलानि । मधुमथन मद्-अङ्गे कल्पयाकल्पम् एतैर् युवतिषु मम भीमꣳ रौतु सौभाग्य-भेरी ॥४८॥

rasākrānta-vallabhā, yathā- avacinu kusumāni prekṣya cāruṇy araṇye viracaya punar ebhir maṇḍanāny ujjvalāni | madhumathana mad-aṅge kalpayākalpam etair yuvatiṣu mama bhīmaṁ rautu saubhāgya-bherī ||48||

English translation

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

Her overwhelming her beloved through rasa, for example: Pick these flowers after observing what is beautiful in the forest. Then fashion radiant ornaments from them. Slayer of Madhu, arrange these decorations upon my limbs, so that among all young women the formidable kettledrum of my good fortune may resound.

5.49

Source

अतिप्रौढोक्तिः, यथा पद्यावल्याꣳ (२८०)- काकुꣳ करोषि गृह-कोण-करीष-पुञ्ज- गूढाङ्ग किꣳ ननु वृथा कितव प्रयाहि । कुत्राद्य जीर्ण-तरणि-भ्रमणातिभीत- गोपाङ्गना-गण-विडम्बन-चातुरी ते ॥४९॥

atiprauḍhoktiḥ, yathā padyāvalyāṁ (280)- kākuṁ karoṣi gṛha-koṇa-karīṣa-puñja- gūḍhāṅga kiṁ nanu vṛthā kitava prayāhi | kutrādya jīrṇa-taraṇi-bhramaṇātibhīta- gopāṅganā-gaṇa-viḍambana-cāturī te ||49||

English translation

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

Her extremely mature speech, as in Padyāvalī 280: Why do you plead so piteously, cheat, your body hidden in a heap of dung in the corner of the house? Surely it is useless; go away! Where today is your cleverness in deceiving the cowherd girls who became terrified while traveling in that decrepit boat?

5.50

Source

अतिप्रौढ-चेष्टा, यथा- सख्यास् तवानङ्ग-रणोत्सवे’धुना ननर्त मुक्ता-लतिका स्तनोपरि । उत्प्लुत्य यस्याः सखि नायकश् चलो धीरꣳ मुहुर् मे प्रजहार कौस्तुभम् ॥५०॥

atiprauḍha-ceṣṭā, yathā- sakhyās tavānaṅga-raṇotsave’dhunā nanarta muktā-latikā stanopari | utplutya yasyāḥ sakhi nāyakaś calo dhīraṁ muhur me prajahāra kaustubham ||50||

English translation

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

Her extremely mature action, for example: Friend, during your present festival of battle with Love, a vine of pearls danced upon your breast. Leaping up from it, your restless hero repeatedly struck away the steady Kaustubha jewel upon my breast.

5.51

Source

माने’त्यन्त-कर्कशा, यथा उद्दव-सन्देशे (५३)- मेदिन्याꣳ ते लुठति दयिता मालती म्लान-पुष्पा तिष्ठन् द्वारे रमणि विमनाः खिद्यते पद्मनाभः । त्वꣳ चोन्निद्रा क्षपयसि निशाम् रोदयन्ती वयस्या माने कस् ते नव-मधुरिमा तꣳ तु नालोकयामि ॥५१॥

māne’tyanta-karkaśā, yathā uddava-sandeśe (53)- medinyāṁ te luṭhati dayitā mālatī mlāna-puṣpā tiṣṭhan dvāre ramaṇi vimanāḥ khidyate padmanābhaḥ | tvaṁ connidrā kṣapayasi niśām rodayantī vayasyā māne kas te nava-madhurimā taṁ tu nālokayāmi ||51||

English translation

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

Her extreme severity in jealous pride, as in Uddhava-sandeśa 53: Your beloved lies upon the earth like a jasmine vine with wilted flowers. Padmanābha stands dejected at your door and suffers. You remain sleepless, pass the night, and make your companions weep. What fresh sweetness do you find in such pride? I cannot see it.

5.52

Source

मान-वृत्तेः प्रगल्भापि त्रिधा धीरादि-भेदतः ॥५२॥ (रषु. १.१०३ब्)

māna-vṛtteḥ pragalbhāpi tridhā dhīrādi-bhedataḥ ||52|| (raṣu. 1.103b)

English translation

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

According to her conduct in jealous pride, the bold heroine is likewise of three types, beginning with the composed. [Bhakti-rasāmṛta-sindhu 1.103b]

5.53

Source

तत्र धीर-प्रगल्भा- उदास्ते सुरते धीरा सावहित्था च सादरा ॥५३॥ (रषु. १.१०४अ)

tatra dhīra-pragalbhā- udāste surate dhīrā sāvahitthā ca sādarā ||53|| (raṣu. 1.104a)

English translation

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

Among these, the composed bold heroine remains indifferent to lovemaking, respectfully concealing her real feelings. [Bhakti-rasāmṛta-sindhu 1.104a]

5.54

Source

यथा- देवी नाद्य मयार्चितेति न हरे ताम्बूलम् आस्वादितꣳ शिल्पꣳ ते परिचित्य तप्स्यति गृहीत्य् अङ्गीकृता न स्रजः । आहूतास्मि गृहे व्रजेशितुर् इति क्षिप्रꣳ व्रजन्त्या वचस्तस्याश्रावि न भद्रयेति विनयैर् मानः प्रमाणीकृतः ॥५४॥

yathā- devī nādya mayārciteti na hare tāmbūlam āsvāditaṁ śilpaṁ te paricitya tapsyati gṛhīty aṅgīkṛtā na srajaḥ | āhūtāsmi gṛhe vrajeśitur iti kṣipraṁ vrajantyā vacastasyāśrāvi na bhadrayeti vinayair mānaḥ pramāṇīkṛtaḥ ||54||

English translation

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

For example: ‘Hari, I have not worshiped the goddess today, so I cannot taste betel. The women of my household would suffer if they recognized your artistry, so I cannot accept this garland. I have been summoned to the home of the ruler of Vraja, so I must go quickly.’ Bhadrā was heard speaking these courteous words, and through them she established the force of her jealous pride.

5.55

Source

यथा वा- कण्ठे नाद्य करोमि दुर्व्रत-हता रम्याम् इमाꣳ ते स्रजꣳ वक्तुꣳ सुष्ठु न हि क्षमास्मि कठिनैर् मौनꣳ द्विजैर् ग्राहिता । का त्वाꣳ प्रोज्झ्य चलेत् खलेयम् अचिरꣳ श्वश्रूर् न चेद् आह्वये इत्थꣳ पालिकया हरौ विनयतो मन्युर् गभीरीकृतः ॥५५॥

yathā vā- kaṇṭhe nādya karomi durvrata-hatā ramyām imāṁ te srajaṁ vaktuṁ suṣṭhu na hi kṣamāsmi kaṭhinair maunaṁ dvijair grāhitā | kā tvāṁ projjhya calet khaleyam aciraṁ śvaśrūr na ced āhvaye itthaṁ pālikayā harau vinayato manyur gabhīrīkṛtaḥ ||55||

English translation

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

Or, for example: ‘I will not place this lovely garland of yours around my neck today, for it has been ruined by an evil vow. I am unable to speak clearly because the hard brāhmaṇas have bound me to silence. What woman would leave you and go? Yet if I do not depart soon, my mother-in-law will call for me.’ With such courteous words Pālikā deepened her anger toward Hari.

5.56

Source

यथा वा- कुचालम्भे पाणिर् न हि मम भवत्या विघटितो मुहुश् चुम्बारम्भे मुखम् अपि न साचीकृतम् अभूत् । परीरम्भे चन्द्रावलि न च वपुः कुञ्चितम् इदꣳ क्व लब्धा मानस्य स्थितिर् इयम् अनालोकित-चरी ॥५६॥

yathā vā- kucālambhe pāṇir na hi mama bhavatyā vighaṭito muhuś cumbārambhe mukham api na sācīkṛtam abhūt | parīrambhe candrāvali na ca vapuḥ kuñcitam idaṁ kva labdhā mānasya sthitir iyam anālokita-carī ||56||

English translation

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

Or, for example: Candrāvalī, when my hand rested upon your breast, you did not remove it. When I repeatedly began to kiss you, you did not turn your face aside. When I embraced you, your body did not contract. Where did you acquire this unprecedented way of maintaining jealous pride?

5.57

Source

अथ अधीर-प्रगल्भा- सन्तर्ज्य निष्ठुरꣳ रोषाद् अधीरा ताडयेत् प्रियम् ॥५७॥ (रषु. १.१०४ब्)

atha adhīra-pragalbhā- santarjya niṣṭhuraṁ roṣād adhīrā tāḍayet priyam ||57|| (raṣu. 1.104b)

English translation

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

Now the unrestrained bold heroine: Harshly threatening her beloved in anger, she may strike him. [Bhakti-rasāmṛta-sindhu 1.104b]

5.58

Source

यथा- मुग्धाः कꣳसरिपो वयꣳ रचयितुꣳ जानीमहे नोचितꣳ ताꣳ नीति-क्रम-कोविदाꣳ प्रिय-सखीꣳ वन्देमहि श्यामलाम् । मल्ली-दामभिर् उच्छलन्-मधुकरैः सꣳयम्य कण्ठे यया साक्षेपꣳ चकितेक्षणस् त्वम् असकृत् कर्णोत्पलैस् ताड्यसे ॥५८॥

yathā- mugdhāḥ kaṁsaripo vayaṁ racayituṁ jānīmahe nocitaṁ tāṁ nīti-krama-kovidāṁ priya-sakhīṁ vandemahi śyāmalām | mallī-dāmabhir ucchalan-madhukaraiḥ saṁyamya kaṇṭhe yayā sākṣepaṁ cakitekṣaṇas tvam asakṛt karṇotpalais tāḍyase ||58||

English translation

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

For example: Enemy of Kaṁsa, we are innocent girls and do not know how to behave improperly. We bow instead to our dear friend Śyāmalā, who is expert in the rules of conduct. Binding your neck with jasmine garlands alive with leaping bees, she repeatedly strikes you with lotus flowers at your ears while your eyes widen in alarm.

5.59

Source

अथ धीराधीर-प्रगल्भा- धीराधीर-गुणोप्तेआ धीराधीरेति कथ्यते ॥५९॥ (रषु. १.१०५)

atha dhīrādhīra-pragalbhā- dhīrādhīra-guṇopteā dhīrādhīreti kathyate ||59|| (raṣu. 1.105)

English translation

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

Now the bold heroine who combines composure and unrestraint: One endowed with qualities of both the composed and unrestrained types is called the combined heroine. [Bhakti-rasāmṛta-sindhu 1.105]

5.60

Source

यथा- स्फुरति न मम जातु क्रोध-गन्धो’पि चित्ते व्रतम् अनु गहनाभूत् किन्तु मौने मनीषा । अघहर लघु याहि व्याज आस्ताꣳ यद् एताः कुसुम-रसनया त्वाꣳ बन्धुम् इच्छन्ति सख्यः ॥६०॥

yathā- sphurati na mama jātu krodha-gandho’pi citte vratam anu gahanābhūt kintu maune manīṣā | aghahara laghu yāhi vyāja āstāṁ yad etāḥ kusuma-rasanayā tvāṁ bandhum icchanti sakhyaḥ ||60||

English translation

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

For example: Not even the faintest scent of anger ever arises in my heart. I have merely made a vow, and my resolve has become fixed in silence. Destroyer of Agha, go away quickly. Leave aside all excuses, for these friends wish to bind you with a rope of flowers.

5.61

Source

यथा वा- कृतागसि हरौ पुरः स्फुरति तꣳ भ्रमद्-भ्रू-लता तिताडयिषुर् उद्धुरा श्रुति-तटाद् विकृष्योत्पलम् । न तेन तम् अताडयत् किम् अपि याहि याहीति सा ब्रुवत्य् अजनि मङ्गला सखि परꣳ पराञ्चन्-मुखी ॥६१॥

yathā vā- kṛtāgasi harau puraḥ sphurati taṁ bhramad-bhrū-latā titāḍayiṣur uddhurā śruti-taṭād vikṛṣyotpalam | na tena tam atāḍayat kim api yāhi yāhīti sā bruvaty ajani maṅgalā sakhi paraṁ parāñcan-mukhī ||61||

English translation

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

Or, for example: When the offending Hari appeared before her, Maṅgalā's vine-like brows began to move. Boldly intending to strike him, she pulled the lotus from beside her ear, yet she did not hit him with it. Saying only, ‘Go, go!’ friend, she turned her face away.

5.62

Source

किशोरिकाणाम् अप्य् आसाम् आकृतेः प्रकृतेर् अपि । प्रागल्भ्याद् इव कासाꣳचित् प्रगल्भात्वम् उदीर्यते ॥६२॥

kiśorikāṇām apy āsām ākṛteḥ prakṛter api | prāgalbhyād iva kāsāṁcit pragalbhātvam udīryate ||62||

English translation

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

Although these heroines are adolescent girls, some are described as bold because their physical form or their natural disposition displays an exceptional maturity.

5.63

Source

मध्या तथा प्रगल्भा च द्विधा सा परिभिद्यते । ज्येष्ठा चापि कनिष्ठा च नायक-प्रणयꣳ प्रति ॥६३॥

madhyā tathā pragalbhā ca dvidhā sā paribhidyate | jyeṣṭhā cāpi kaniṣṭhā ca nāyaka-praṇayaṁ prati ||63||

English translation

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

Both the intermediate and bold heroine are further divided into senior and junior according to the degree of the hero's love for them.

5.64

Source

यथा- सुप्ते प्रेक्ष्य पृथक् पुरः प्रियतमे तत्रार्पयन् पुष्पजꣳ लीलाया नयनाञ्चले किल रजश् चक्रे प्रबोधोद्यमम् । कृष्णः शीतल-ताल-वृन्त-रचनोपायेन पश्याग्रत- स्तारायाः प्रणयाद् इव प्रणयते निद्राभिवृद्धि-क्रमम् ॥६४॥

yathā- supte prekṣya pṛthak puraḥ priyatame tatrārpayan puṣpajaṁ līlāyā nayanāñcale kila rajaś cakre prabodhodyamam | kṛṣṇaḥ śītala-tāla-vṛnta-racanopāyena paśyāgrata- stārāyāḥ praṇayād iva praṇayate nidrābhivṛddhi-kramam ||64||

English translation

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

For example: Seeing his two beloveds sleeping separately before him, Kṛṣṇa scattered flower pollen upon the corner of Līlā's eye in a playful attempt to awaken her. Yet see how, before Tārā, he lovingly began to increase her sleep by gently moving a cool palm-leaf fan.

5.65

Source

यथा वा- दीव्यन्त्यौ दयिते समीक्ष्य रभसाद् अक्षैस् त्र्यहात्म-ग्लहै- र्गौरीꣳ घूर्णितयोपदिश्य हितवद्-दाय-प्रयोगꣳ भ्रुवा । तस्यास् तूर्णम् उपार्जयन्न् इव जयꣳ शिक्षा-वशेनाच्युतः श्यामाम् एव चकार धूर्त-नगरी-सङ्केत-विज् जित्वराम् ॥६५॥

yathā vā- dīvyantyau dayite samīkṣya rabhasād akṣais tryahātma-glahai- rgaurīṁ ghūrṇitayopadiśya hitavad-dāya-prayogaṁ bhruvā | tasyās tūrṇam upārjayann iva jayaṁ śikṣā-vaśenācyutaḥ śyāmām eva cakāra dhūrta-nagarī-saṅketa-vij jitvarām ||65||

English translation

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

Or, for example: Seeing his two beloveds eagerly playing dice with a stake lasting three days, Acyuta instructed the reeling Gaurī through a movement of his brow, as though benevolently teaching her how to cast. Appearing to secure her victory at once, the clever master of secret meetings instead made Śyāmā the winner.

5.66

Source

काचित् काञ्चिद् अपेक्ष्य स्याज् ज्येष्ठेत्य् आपेक्षिकी भिदा । अतो भेद-द्वयम् इदꣳ न कृतꣳ गणनान्तरे ॥६६॥

kācit kāñcid apekṣya syāj jyeṣṭhety āpekṣikī bhidā | ato bheda-dvayam idaṁ na kṛtaṁ gaṇanāntare ||66||

English translation

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

A particular heroine is called senior only in relation to another heroine; the distinction is relative. Therefore this twofold division is not included as an additional category in the final count.

5.67

Source

कन्या मुग्धैव सा किन्तु स्वीयान्योढे उभे बुधैः । मुग्धा-मध्यादि-भेदेन षड्-भेदे परिकीर्तिते ॥६७॥

kanyā mugdhaiva sā kintu svīyānyoḍhe ubhe budhaiḥ | mugdhā-madhyādi-bhedena ṣaḍ-bhede parikīrtite ||67||

English translation

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

An unmarried maiden is always innocent. The hero's own wife and the woman married to another, however, are each celebrated by the learned in the three divisions of innocent, intermediate, and bold, making six forms.

5.68

Source

मध्या-प्रौढे द्विषड्-भेदे प्रोक्ते धीरादि-भेदतः । कन्या स्वीया परोढेति मुग्धा च त्रिविधा मता । इति ताः कीर्तिता पञ्चदश भेदा इहाखिलाः ॥६८॥

madhyā-prauḍhe dviṣaḍ-bhede prokte dhīrādi-bhedataḥ | kanyā svīyā paroḍheti mugdhā ca trividhā matā | iti tāḥ kīrtitā pañcadaśa bhedā ihākhilāḥ ||68||

English translation

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

The intermediate and bold heroines each have six forms through the divisions beginning with composed. The innocent heroine is threefold as maiden, wife, and woman married to another. Thus all the heroines described here number fifteen.

5.69

Source

अथावस्थाष्टकꣳ सर्व-नायिकानाꣳ निगद्यते । तत्राभिसारिका वास-सज्जा चोत्कण्ठिता तथा ॥६९॥

athāvasthāṣṭakaṁ sarva-nāyikānāṁ nigadyate | tatrābhisārikā vāsa-sajjā cotkaṇṭhitā tathā ||69||

English translation

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

Now the eight conditions that may belong to all heroines are described: the heroine who goes to meet her lover, the one dressed and waiting for him, and the one distressed by his delay;

5.70

Source

खण्डिता विप्रलब्धा च कलहान्तरितापि च । प्रोषित-प्रेयसी चैव तथा स्वाधीन-भर्तृका ॥७०॥

khaṇḍitā vipralabdhā ca kalahāntaritāpi ca | proṣita-preyasī caiva tathā svādhīna-bhartṛkā ||70||

English translation

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

the enraged heroine who discovers her lover's infidelity, the one deceived when he fails to come, the one separated after a quarrel, the one whose beloved is away, and the one who keeps her beloved under her control.

5.71

Source

तत्र अभिसारिका, यथा- याभिसारयते कान्तꣳ स्वयꣳ वाभिसरत्य् अपि । सा ज्योत्स्नी तामसी यान-योग्य-वेषाभिसारिका ॥७१॥

tatra abhisārikā, yathā- yābhisārayate kāntaṁ svayaṁ vābhisaraty api | sā jyotsnī tāmasī yāna-yogya-veṣābhisārikā ||71||

English translation

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

Among these, the heroine who goes to meet her lover: She either sends for her beloved or goes to meet him herself. According to the journey and its appropriate dress, she is of the moonlit or the dark-night type.

5.72

Source

लज्जया स्वाङ्ग-लीनेव निःशब्दाखिल-मण्डना । कृतावगुष्ठा स्निग्धैक-सखी-युक्ता प्रियꣳ व्रजेत् ॥७२॥

lajjayā svāṅga-līneva niḥśabdākhila-maṇḍanā | kṛtāvaguṣṭhā snigdhaika-sakhī-yuktā priyaṁ vrajet ||72||

English translation

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

As if withdrawing her limbs into herself from modesty, she silences every ornament, covers herself with a veil, and goes to her beloved accompanied by one affectionate and trusted friend.

5.73

Source

तत्र अभिसारयित्री, यथा- जानीते न हरिर् यथा मम मनः-कन्दर्प-कण्डूम् इमाꣳ माꣳ प्रीत्याभिसरत्य् अयꣳ सखि यथा कृत्वा त्वयि प्रार्थनाम् । चातुर्यꣳ तरसा प्रसारय तथा सस्नेहम् आसाद्य तꣳ यावत् प्राणहरो न चन्द्रहतकः प्राची-मुखꣳ चुम्बति ॥७३॥

tatra abhisārayitrī, yathā- jānīte na harir yathā mama manaḥ-kandarpa-kaṇḍūm imāṁ māṁ prītyābhisaraty ayaṁ sakhi yathā kṛtvā tvayi prārthanām | cāturyaṁ tarasā prasāraya tathā sasneham āsādya taṁ yāvat prāṇaharo na candrahatakaḥ prācī-mukhaṁ cumbati ||73||

English translation

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

The heroine who sends for her beloved, for example: Friend, Hari does not know this tormenting itch of Love within my heart. Petitioned by you, let him come to meet me out of affection. Quickly extend your cleverness: approach him lovingly and arrange everything before that wretched, life-stealing moon kisses the face of the east.

5.74

Source

अथ ज्योत्स्न्याꣳ स्वयम् अभिसारिका, यथा- इन्दुस् तुन्दिल-मण्डलꣳ प्रणयते वृन्दावने चन्द्रिकाꣳ सान्द्राꣳ सुन्दरि नन्दनो व्रज-पतेस् त्वद् वीथिम् उद्वीक्षते । त्वꣳ चन्द्राञ्चित-चन्दनेन खचिता क्षौमेण चालङ्कृता किꣳ वर्त्मन्य् अरविन्द-चारु-चरण-द्वन्द्वꣳ न सन्धित्ससि ॥७४॥

atha jyotsnyāṁ svayam abhisārikā, yathā- indus tundila-maṇḍalaṁ praṇayate vṛndāvane candrikāṁ sāndrāṁ sundari nandano vraja-pates tvad vīthim udvīkṣate | tvaṁ candrāñcita-candanena khacitā kṣaumeṇa cālaṅkṛtā kiṁ vartmany aravinda-cāru-caraṇa-dvandvaṁ na sandhitsasi ||74||

English translation

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

Now the heroine who goes out herself on a moonlit night, for example: The moon has become a swollen orb and spreads dense moonlight through Vṛndāvana. Beautiful girl, the son of Vraja's king watches the path by which you come. Marked with moon-bright sandal paste and adorned in pale silk, why do you not place your two lotus-beautiful feet upon the road?

5.75

Source

तामस्याꣳ, यथा विदग्ध-माधवे (४.२२)- तिमिर-मसिभिः सꣳवीताङ्ग्यः कदम्ब-वनान्तरे सखि बक-रिपुꣳ पुण्यात्मानः सरन्त्य् अभिसारिकाः । तव तु परितो विद्युद्-वर्णास् तनु-द्युति-सूचयो हरि हरि घन-ध्वान्तान्येताः स्ववैरिणि भिन्दते ॥७५॥

tāmasyāṁ, yathā vidagdha-mādhave (4.22)- timira-masibhiḥ saṁvītāṅgyaḥ kadamba-vanāntare sakhi baka-ripuṁ puṇyātmānaḥ saranty abhisārikāḥ | tava tu parito vidyud-varṇās tanu-dyuti-sūcayo hari hari ghana-dhvāntānyetāḥ svavairiṇi bhindate ||75||

English translation

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

The heroine who goes out on a dark night, as in Vidagdha-mādhava 4.22: Friend, blessed heroines cover their limbs with the ink of darkness and move through the kadamba forest to meet the enemy of Baka. Alas, your body's rays, lightning-colored on every side, split apart this dense darkness, their natural enemy.

5.76

Source

अथ वासक-सज्जा- स्ववासक-वशात् कान्ते समेष्यति निजꣳ वपुः । सज्जी-करोति गेहꣳ च या सा वासक-सज्जिका ॥७६॥

atha vāsaka-sajjā- svavāsaka-vaśāt kānte sameṣyati nijaṁ vapuḥ | sajjī-karoti gehaṁ ca yā sā vāsaka-sajjikā ||76||

English translation

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

Now the heroine dressed and waiting: Knowing that her beloved will come to the appointed dwelling under her control, she decorates both her own body and the bower. Such a woman is the heroine dressed and waiting for union.

5.77

Source

चेष्टा चास्याः स्मर-क्रीडा-सङ्कल्पो वर्त्म-वीक्षणम् । सखी-विनोद-वार्त्ता च मुहुर् दूति-क्षणादयः ॥७७॥

ceṣṭā cāsyāḥ smara-krīḍā-saṅkalpo vartma-vīkṣaṇam | sakhī-vinoda-vārttā ca muhur dūti-kṣaṇādayaḥ ||77||

English translation

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

Her actions include imagining the sports of Love, watching the path, enjoying playful conversation with her friends, and repeatedly looking toward the messenger.

5.78

Source

यथा- रति-क्रीडा-कुञ्जꣳ कुसुम-शयनीयोज्ज्वल-रुचिꣳ वपुः सालङ्कारꣳ निजम् अपि विलोक्य स्मित-मुखी । मुहुर् ध्यायꣳ ध्यायꣳ किम् अपि हरिणा सङ्गम-विधिꣳ समृद्ध्यन्ती राधा मदन-मद-माद्यन् मतिर् अभूत् ॥७८॥

yathā- rati-krīḍā-kuñjaṁ kusuma-śayanīyojjvala-ruciṁ vapuḥ sālaṅkāraṁ nijam api vilokya smita-mukhī | muhur dhyāyaṁ dhyāyaṁ kim api hariṇā saṅgama-vidhiṁ samṛddhyantī rādhā madana-mada-mādyan matir abhūt ||78||

English translation

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

For example: With a smiling face Rādhā looked upon the bower of love, radiant with its bed of flowers, and upon her own ornamented body. Again and again she imagined some manner of union with Hari. As her anticipation increased, her mind became intoxicated by the exhilaration of Love.

5.79

Source

अथ उत्कण्ठिता- अनागसि प्रियतमे चिरयत्य् उत्सुका तु या । विरहोत्कण्ठिता भाव-वेदिभिः सा समीरिता ॥७९॥

atha utkaṇṭhitā- anāgasi priyatame cirayaty utsukā tu yā | virahotkaṇṭhitā bhāva-vedibhiḥ sā samīritā ||79||

English translation

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

Now the heroine distressed by separation: When her faultless beloved delays and she becomes agitated with longing, those who understand emotion call her the heroine distressed by separation.

5.80

Source

अस्यास् तु चेष्टा हृत्-तापो वेपथुर् हेतु-तर्कणम् । अरतिर् बाष्प-मोक्षश् च स्वावस्था-कथनादयः ॥८०॥

asyās tu ceṣṭā hṛt-tāpo vepathur hetu-tarkaṇam | aratir bāṣpa-mokṣaś ca svāvasthā-kathanādayaḥ ||80||

English translation

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

Her actions include anguish of heart, trembling, conjecturing the reason for his delay, aversion to everything, shedding tears, and describing her own condition.

5.81

Source

यथा- सखि किम् अभवद् बद्धो राधा-कटाक्ष-गुणैर् अयꣳ समरम् अथवा किꣳ प्रारब्धꣳ सुरारिभिर् उद्धुरैः । अहह बहुलाष्टम्याꣳ प्राची-मुखे’प्य् उदिते विधौ विधु-मुखि! न यन् माꣳ सस्मार व्रजेश्वर-नन्दनः ॥८१॥

yathā- sakhi kim abhavad baddho rādhā-kaṭākṣa-guṇair ayaṁ samaram athavā kiṁ prārabdhaṁ surāribhir uddhuraiḥ | ahaha bahulāṣṭamyāṁ prācī-mukhe’py udite vidhau vidhu-mukhi! na yan māṁ sasmāra vrajeśvara-nandanaḥ ||81||

English translation

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

For example: Friend, has he become bound by the cords of Rādhā's sidelong glances, or has he begun battle with some arrogant demons? Alas, moon-faced girl, the moon has risen in the east on this dark-half eighth night, yet the son of Vraja's king has not remembered me.

5.82

Source

वास-सज्जा-दशाशेषे मानस्य विरताव् अपि । पारतन्त्र्ये तथा यूनोर् उत्कण्ठा स्याद् असङ्गमात् ॥८२॥

vāsa-sajjā-daśāśeṣe mānasya viratāv api | pāratantrye tathā yūnor utkaṇṭhā syād asaṅgamāt ||82||

English translation

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

Longing through failure to unite may also arise after the condition of being dressed and waiting has ended, after jealous pride has ceased, or when either of the young lovers is constrained by dependence upon others.

5.83

Source

अथ विप्रलब्धा- कृत्वा सङ्केतम् अप्राप्ते दैवाज् जीवित-वल्लभे । व्यथमानान्तरा प्रोक्ता विप्रलब्धा मनीषिभिः । निर्वेद-चिन्ता-खेदाश्रु-मूर्च्छा-निःश्वसितादि-भाक् ॥८३॥

atha vipralabdhā- kṛtvā saṅketam aprāpte daivāj jīvita-vallabhe | vyathamānāntarā proktā vipralabdhā manīṣibhiḥ | nirveda-cintā-khedāśru-mūrcchā-niḥśvasitādi-bhāk ||83||

English translation

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

Now the deceived heroine: After arranging a meeting, if the beloved of her life fails to arrive because of fate, the wise call the woman whose heart is tormented a deceived heroine. She experiences self-disgust, anxious thought, sorrow, tears, fainting, sighing, and other states.

5.84

Source

यथा- विन्दति स्म दिवम् इन्दुर् इन्दिरा- नायकेन सखि वञ्चिता वयम् । कुर्महे किम् इह शाधि सादरꣳ द्राग् इति क्लमम् अगान् मृगेक्षणा ॥८४॥

yathā- vindati sma divam indur indirā- nāyakena sakhi vañcitā vayam | kurmahe kim iha śādhi sādaraṁ drāg iti klamam agān mṛgekṣaṇā ||84||

English translation

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

For example: Friend, the moon has reached the heavens, yet we have been deceived by the lord of Lakṣmī. Tell me carefully, what shall we do here now? Speaking thus, the doe-eyed girl fell into exhaustion.

5.85

Source

अथ खण्डिता- उल्लङ्घ्य समयꣳ यस्याः प्रेयान् अन्योपभोगवान् । भोग-लक्ष्माङ्कितः प्रातर् आगच्छेत् सा हि खण्डिता । एषा तु रोष-निःश्वास-तूष्णीꣳ-भावादि-भाग् भवेत् ॥८५॥

atha khaṇḍitā- ullaṅghya samayaṁ yasyāḥ preyān anyopabhogavān | bhoga-lakṣmāṅkitaḥ prātar āgacchet sā hi khaṇḍitā | eṣā tu roṣa-niḥśvāsa-tūṣṇīṁ-bhāvādi-bhāg bhavet ||85||

English translation

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

Now the enraged heroine: If her beloved breaks the appointed time, enjoys another woman, and arrives in the morning marked by the splendor of that enjoyment, she is the enraged heroine. Her states include anger, heavy sighing, and silence.

5.86

Source

यथा- यावैर् धूमलितꣳ शिरो भुज-तटीꣳ ताटङ्क-मुद्राङ्किताꣳ सꣳक्रान्त-स्तन-कुङ्कुमोज्ज्वलम् उरो मालाꣳ परिम्लापिताम् । घूर्णा-कुड्मलिते दृशौ व्रज-पतेर् दृष्ट्वा प्रगे श्यामला चित्ते रुद्र-गुणꣳ मुखे तु सुमुखी भेजे मुनीनाꣳ व्रतम् ॥८६॥

yathā- yāvair dhūmalitaṁ śiro bhuja-taṭīṁ tāṭaṅka-mudrāṅkitāṁ saṁkrānta-stana-kuṅkumojjvalam uro mālāṁ parimlāpitām | ghūrṇā-kuḍmalite dṛśau vraja-pater dṛṣṭvā prage śyāmalā citte rudra-guṇaṁ mukhe tu sumukhī bheje munīnāṁ vratam ||86||

English translation

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

For example: At daybreak Śyāmalā saw the prince of Vraja: his hair discolored by red pigment, his shoulder marked by the impression of an earring, his chest bright with kuṅkuma transferred from breasts, his garland wilted, and his eyes closing as they rolled with fatigue. In her heart the lovely-faced girl adopted Rudra's quality of anger, while upon her face she observed the sages' vow of silence.

5.87

Source

अथ कलहान्तरिता- या सखीनाꣳ पुरः पाद-पतितꣳ वल्लभꣳ रुषा । निरस्य पश्चात् तपति कलहान्तरिता हि सा । अस्याः प्रलाप-सन्ताप-ग्लानि-निःश्वसितादयः ॥८७॥

atha kalahāntaritā- yā sakhīnāṁ puraḥ pāda-patitaṁ vallabhaṁ ruṣā | nirasya paścāt tapati kalahāntaritā hi sā | asyāḥ pralāpa-santāpa-glāni-niḥśvasitādayaḥ ||87||

English translation

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

Now the heroine separated after a quarrel: In anger she rejects her beloved when he falls at her feet before her companions, but later burns with regret. Such a woman is separated after a quarrel. Her states include lamentation, anguish, exhaustion, and sighing.

5.88

Source

यथा- स्रजः क्षिप्ता दूरे स्वयम् उपहृताः केशि-रिपुणा प्रिय-वाचस् तस्य श्रुति-परिसरान्ते’पि न कृताः । नमन्न् एष क्षौणी-विलुठित-शिखꣳ प्रैक्षि न मया मनस् तेनेदꣳ मे स्फुटति पुटपाकार्पितम् इव ॥८८॥

yathā- srajaḥ kṣiptā dūre svayam upahṛtāḥ keśi-ripuṇā priya-vācas tasya śruti-parisarānte’pi na kṛtāḥ | namann eṣa kṣauṇī-viluṭhita-śikhaṁ praikṣi na mayā manas tenedaṁ me sphuṭati puṭapākārpitam iva ||88||

English translation

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

For example: I threw far away the garlands that the enemy of Keśī personally offered. I did not allow his loving words even to reach the edge of my hearing. I did not look at him as he bowed, his crest rolling upon the ground. Because of that, my heart now splits as though placed inside a sealed furnace.

5.89

Source

अथ प्रोषित-भर्तृका- दूर-देशꣳ गते कान्ते भवेत् प्रोषित-भर्तृका । प्रिय-सꣳकीर्तनꣳ दैन्यम् अस्यास् तानव-जागरौ । मालिन्यम् अनवस्थानꣳ जाड्य-चिन्तादयो मताः ॥८९॥

atha proṣita-bhartṛkā- dūra-deśaṁ gate kānte bhavet proṣita-bhartṛkā | priya-saṁkīrtanaṁ dainyam asyās tānava-jāgarau | mālinyam anavasthānaṁ jāḍya-cintādayo matāḥ ||89||

English translation

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

Now the heroine whose beloved is abroad: When her beloved has gone to a distant land, she is the heroine whose beloved is abroad. Her states are praising her beloved, wretchedness, emaciation, wakefulness, neglect of appearance, restlessness, stupor, anxiety, and others.

5.90

Source

यथा- विलासी स्वच्छन्दꣳ वसति मथुरायाꣳ मधु-रिपु- र्वसन्तः सन्तापꣳ प्रथयति समन्ताद् अनुपदम् । दुराशेयꣳ वैरिण्य् अहह मद्-अभीष्टोद्यम-विधौ विधत्ते प्रत्यूहꣳ किम् इह भविता हन्त शरणम् ॥९०॥

yathā- vilāsī svacchandaṁ vasati mathurāyāṁ madhu-ripu- rvasantaḥ santāpaṁ prathayati samantād anupadam | durāśeyaṁ vairiṇy ahaha mad-abhīṣṭodyama-vidhau vidhatte pratyūhaṁ kim iha bhavitā hanta śaraṇam ||90||

English translation

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

For example: The playful enemy of Madhu dwells freely in Mathurā, while spring spreads torment everywhere at every moment. Alas, this hostile false hope obstructs my effort to attain what I desire. What refuge can there be for me here?

5.91

Source

अथ स्वाधीन-भर्तृका- स्वायत्तासन्न-दयिता भवेत् स्वाधीन-भर्तृका । सलिलारण्य-विक्रीडा-कुसुमावचयादि-कृत् ॥९१॥

atha svādhīna-bhartṛkā- svāyattāsanna-dayitā bhavet svādhīna-bhartṛkā | salilāraṇya-vikrīḍā-kusumāvacayādi-kṛt ||91||

English translation

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

Now the heroine who keeps her beloved under her control: When her beloved remains nearby and willingly subject to her, she is the heroine whose beloved is under her control. She engages with him in water play, forest sports, gathering flowers, and similar activities.

5.92

Source

यथा- मुदा कुर्वन् पत्राङ्कुरम् अनुपमꣳ पीन-कुचयोः श्रुति-द्वन्द्वे गन्धाहृत-मधुपम् इन्दीवर-युग्मम् । स-खेलꣳ धम्मिल्लोपरि च कमलꣳ कोमलम् असौ निराबाधाꣳ राधाꣳ रमयति चिरꣳ केशि-दमनः ॥९२॥

yathā- mudā kurvan patrāṅkuram anupamaṁ pīna-kucayoḥ śruti-dvandve gandhāhṛta-madhupam indīvara-yugmam | sa-khelaṁ dhammillopari ca kamalaṁ komalam asau nirābādhāṁ rādhāṁ ramayati ciraṁ keśi-damanaḥ ||92||

English translation

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

For example: Joyfully painting incomparable leaf designs upon her full breasts, placing at her two ears a pair of blue lotuses whose fragrance attracts bees, and playfully setting a tender lotus upon her braided hair, the subduer of Keśī delights the untroubled Rādhā for a long time.

5.93

Source

यथा वा, श्री-गीत-गोविन्दे (१२.२५)- रचय कुचयोश् चित्रꣳ पत्रꣳ कुरुष्व कपोलयोर् घटय जघने काञ्चीꣳ मुग्ध-स्रजा कवरी-भरꣳ । कलय वलय-श्रेणीꣳ पाणौ पदे मणि-नूपुराव् इति निगदितः प्रीतः पिताम्बरो’पि तथाकरोत् ॥९३॥

yathā vā, śrī-gīta-govinde (12.25)- racaya kucayoś citraṁ patraṁ kuruṣva kapolayor ghaṭaya jaghane kāñcīṁ mugdha-srajā kavarī-bharaṁ | kalaya valaya-śreṇīṁ pāṇau pade maṇi-nūpurāv iti nigaditaḥ prītaḥ pitāmbaro’pi tathākarot ||93||

English translation

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

Or, as in Gīta-govinda 12.25: ‘Paint leaf designs upon my breasts; make pictures upon my cheeks; fasten the girdle around my hips; arrange a lovely garland through the mass of my hair; place rows of bracelets upon my hand and jeweled anklets upon my feet.’ Thus instructed, the delighted wearer of yellow cloth did exactly so.

5.94

Source

चेद् इयꣳ प्रेयसा हातुꣳ क्षणम् अप्य् अतिदुःशका । परम-प्रेम-वश्यत्वान् माधवीति तदोच्यते ॥९४॥

ced iyaṁ preyasā hātuṁ kṣaṇam apy atiduḥśakā | parama-prema-vaśyatvān mādhavīti tadocyate ||94||

English translation

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

If, because he is governed by supreme love, her beloved finds it exceedingly difficult to leave her for even a moment, that heroine is therefore called Mādhavī.

5.95

Source

हृष्टाः स्वाधीन-पतिका-वाससज्जाभिसारिकाः । मण्डिताश् च पराः पञ्च खिन्ना मण्डन-वर्जिताः । वाम-गण्डाश्रित-कराश् चिन्ता-सन्तप्त-मानसाः ॥९५॥

hṛṣṭāḥ svādhīna-patikā-vāsasajjābhisārikāḥ | maṇḍitāś ca parāḥ pañca khinnā maṇḍana-varjitāḥ | vāma-gaṇḍāśrita-karāś cintā-santapta-mānasāḥ ||95||

English translation

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

The heroine whose beloved is under her control, the one dressed and waiting, and the one going to meet him are joyful and ornamented. The other five are distressed and without adornment, resting the hand against the left cheek as their minds burn with anxiety.

5.96

Source

उत्तमा मध्यमा चात्र कनिष्ठा चेति तास् त्रिधा । व्रजेन्द्रनन्दने प्रेम-तारतम्येन कीर्तिताः ॥९६॥

uttamā madhyamā cātra kaniṣṭhā ceti tās tridhā | vrajendranandane prema-tāratamyena kīrtitāḥ ||96||

English translation

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

Each of these heroines is further celebrated as superior, intermediate, or junior according to the degree of her love for the son of the king of Vraja.

5.97

Source

भावः स्याद् उत्तमादीनाꣳ यस्या यावान् प्रिये हरौ । तस्यापि तस्याꣳ तावान् स्याद् इति सर्वत्र युज्यते ॥९७॥

bhāvaḥ syād uttamādīnāṁ yasyā yāvān priye harau | tasyāpi tasyāṁ tāvān syād iti sarvatra yujyate ||97||

English translation

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

Whatever degree of loving emotion a superior, intermediate, or junior heroine bears toward her beloved Hari, he bears that same degree of emotion toward her. This principle applies in every case.

5.98

Source

तत्र उत्तमा, यथा- कर्तुꣳ शर्म क्षणिकम् अपि मे साध्यम् उज्झत्य् अशेषꣳ चित्तोत्सङ्गे न भजति मया दत्त-खेदाप्य् असूयाम् । श्रुत्वा चान्तर्विदलति मृषाप्य् आर्ति-वार्ता-लवꣳ मे राधा मूर्धन्य् अखिल-सुदृशाꣳ राजते सद्-गुणेन ॥९८॥

tatra uttamā, yathā- kartuṁ śarma kṣaṇikam api me sādhyam ujjhaty aśeṣaṁ cittotsaṅge na bhajati mayā datta-khedāpy asūyām | śrutvā cāntarvidalati mṛṣāpy ārti-vārtā-lavaṁ me rādhā mūrdhany akhila-sudṛśāṁ rājate sad-guṇena ||98||

English translation

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

Among these, the superior heroine, in Kṛṣṇa's words: To give me even a moment's happiness, she abandons every objective of her own. Even when I cause her pain, she gives no place to resentment within her heart. Hearing even a fragment of a false report that I am suffering, she breaks apart within. By this noble quality, Rādhā shines as the crown of all beautiful-eyed women.

5.99

Source

मध्यमा, यथा- दुर्मानम् एव मनना बहु मानयन्ती किꣳ ज्ञात-कृष्ण-हृदयार्तिर् अपि प्रयासि । रङ्गे तरङ्गम् अखिलाङ्गि वराङ्गनानाꣳ नासौ प्रिये सखि भवत्य् अनुराग-मुद्रा ॥९९॥

madhyamā, yathā- durmānam eva mananā bahu mānayantī kiṁ jñāta-kṛṣṇa-hṛdayārtir api prayāsi | raṅge taraṅgam akhilāṅgi varāṅganānāṁ nāsau priye sakhi bhavaty anurāga-mudrā ||99||

English translation

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

The intermediate heroine, for example: Giving so much honor to nothing but this wretched pride, why do you go away even though you know the anguish in Kṛṣṇa's heart? Lovely-limbed friend, among the waves of emotion displayed by beautiful women, such conduct toward one's beloved is not the seal of deep attachment.

5.100

Source

कनिष्ठा, यथा- दनुजभिद्-अभिसार-प्रस्तुतौ वृष्टिम् उग्राꣳ जन-गमन-विरामाद् उच्चकैः स्तौषि तुष्टा । कथय कथम् इदानीꣳ जृम्भिते मेघ-डिम्भे कुतुकिनि बत कुञ्जे प्रस्थितौ मन्थरासि ॥१००॥

kaniṣṭhā, yathā- danujabhid-abhisāra-prastutau vṛṣṭim ugrāṁ jana-gamana-virāmād uccakaiḥ stauṣi tuṣṭā | kathaya katham idānīṁ jṛmbhite megha-ḍimbhe kutukini bata kuñje prasthitau mantharāsi ||100||

English translation

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

The junior heroine, for example: When preparing to meet the slayer of demons, you joyfully praise a fierce rainstorm because it halts people upon the roads. Tell me, eager girl, now that the young cloud has fully expanded, why are you so slow to set out for the bower?

5.101

Source

पूर्वꣳ याः पञ्चदशधा प्रोक्तास् तासाꣳ शतꣳ तथा । विꣳशतिश् चाभिर् अत्र स्याद् अवस्थाभिः किलाष्टभिः ॥१०१॥

pūrvaṁ yāḥ pañcadaśadhā proktās tāsāṁ śataṁ tathā | viṁśatiś cābhir atra syād avasthābhiḥ kilāṣṭabhiḥ ||101||

English translation

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

The fifteen heroine types described earlier, when combined here with the eight situational conditions, produce one hundred twenty varieties.

5.102

Source

पुनश् च त्रि-विधैर् एभिः प्रभेदैर् उत्तमादिभिः । त्रिशती स्पष्टम् उक्तात्र षष्ट्या युक्ता मनीषिभिः ॥१०२॥

punaś ca tri-vidhair ebhiḥ prabhedair uttamādibhiḥ | triśatī spaṣṭam uktātra ṣaṣṭyā yuktā manīṣibhiḥ ||102||

English translation

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

When these are further multiplied by the three distinctions beginning with superior, the learned clearly enumerate three hundred sixty varieties.

5.103

Source

किꣳ च- यथा स्युर् नायकावस्था निखिला एव माधवे । तथैता नायिकावस्था राधायाꣳ प्रायशो मताः ॥१०३॥

kiṁ ca- yathā syur nāyakāvasthā nikhilā eva mādhave | tathaitā nāyikāvasthā rādhāyāṁ prāyaśo matāḥ ||103||

English translation

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

Moreover, just as every condition of the hero may be found in Mādhava, so nearly every condition of the heroine is understood to be present in Rādhā.