Pada 61
Sourceदोहा वृन्दावन फुलवारि में, पहिरि फूल उरमाल। बिहरत श्री बृषभानुजा, नंदनंदन गोपाल॥ पद नंदनंदन गोपाललाल वृषभानु दुलारी। विहरत वृन्दाबिपिन में, अति प्रीतम प्यारी॥ कर सपरस परसन्न होत, तैसिय फुलवारी। (जै) श्रीभट स्रग दीनी सँवारि, हरि प्रिया उर धारी ॥
dohā vṛndāvana phulavāri meṃ, pahiri phūla uramāla| biharata śrī bṛṣabhānujā, naṃdanaṃdana gopāla|| pada naṃdanaṃdana gopālalāla vṛṣabhānu dulārī| viharata vṛndābipina meṃ, ati prītama pyārī|| kara saparasa parasanna hota, taisiya phulavārī| (jai) śrībhaṭa sraga dīnī sa~vāri, hari priyā ura dhārī ||
English translation
Fresh editorial translation from the Complete Yugala-Śataka source dossier authority
[Tital, Rag-Vilaval] Adorned with flower garlands around Their necks, Śrī Priyā and Priyatama wander through the flower gardens of Śrī Vṛndāvana, effortlessly captivating the hearts of all rasika devotees. Beholding this enchanting vision, Śrī Bhaṭṭa Jī says— In Śrī Vṛndāvana, where flowers of every variety bloom in abundance, Nanda-nandana Śrī Gopāla Lāla and Vṛṣabhānu-dulārī Śrī Rādhikā delight in their plays of love. Their hearts overflow with mutual love. Śrī Gopāla is the Beloved, and Śrī Rādhikā is His most beloved; They are supremely dear to one another. Just as a flourishing flower garden appears radiant with joy and, swaying in the gentle breeze, spreads its fragrance in every direction, so too Śrī Priyā and Priyatama stand before one another with supreme delight, lovingly touching one another's hands. As They wander through the flower garden, Śrī Lāl Jī joyfully adorns Śrī Priyā Jī's bosom with a fragrant garland of flowers. Śrī Bhaṭṭa Jī says that in bliss-bestowing Śrī Vṛndāvana, this eternal pastime of Śrī Priyā-Priyatama flows on forever in complete naturalness.
Normalized Braj root controlled from the complete 1973 facsimile and its repeated Hindi commentary; an independent digital witness is used only where its numbering and text align. English is a fresh editorial rendering grounded in those retained controls.
Pada 62
Sourceदोहा चंचल चिकने लगों हें, अरुन बरन रस अेन। अनियारे अति नागरी, नागर के ए नेन॥ पद नागरी, नागर के नेंन अनियारे। अति अन्तुप निज रूप निहारे, परम प्रान प्रिय प्रीतम प्यारेरे॥ भुकुटि मरोरनि गढ़ भाव सौं, डोरा कोर प्रेम फंदवारे। अरुन बरन पैने रस भीने, चिकने लगो हैं प्रीति पन पारे॥ पलंक ललक मानौ अलिंन नलिन पै, प्रात सुदित हित पंख पसारे। अंजन अमिल रेष ईषद लसि, बसि नागिन मनु खंजन गारे॥ चंचल कमल ललित प्रफुलिंत मनु, भरुतल गति निरखत रसभारे। श्रीभट सुरत समर में कोविद, सुभट कोटि कंद्रप इहाँ हारे ॥
dohā caṃcala cikane lagoṃ heṃ, aruna barana rasa aena| aniyāre ati nāgarī, nāgara ke e nena|| pada nāgarī, nāgara ke neṃna aniyāre| ati antupa nija rūpa nihāre, parama prāna priya prītama pyārere|| bhukuṭi marorani gar̤ha bhāva sauṃ, ḍorā kora prema phaṃdavāre| aruna barana paine rasa bhīne, cikane lago haiṃ prīti pana pāre|| palaṃka lalaka mānau aliṃna nalina pai, prāta sudita hita paṃkha pasāre| aṃjana amila reṣa īṣada lasi, basi nāgina manu khaṃjana gāre|| caṃcala kamala lalita praphuliṃta manu, bharutala gati nirakhata rasabhāre| śrībhaṭa surata samara meṃ kovida, subhaṭa koṭi kaṃdrapa ihā~ hāre ||
English translation
Fresh editorial translation from the Complete Yugala-Śataka source dossier authority
These are the extraordinary eyes of the urbane lover: restless, glossy, red at the corners, sharp, and steeped in rasa. Brows bend above them, love's red threads form snares within them, and lashes spread like bees over lotuses; in the battle of love, millions of Cupids fall before Kṛṣṇa's glance.
Normalized Braj root controlled from the complete 1973 facsimile and its repeated Hindi commentary; an independent digital witness is used only where its numbering and text align. English is a fresh editorial rendering grounded in those retained controls.
Pada 63
Sourceदोहा लोचन स्याम सुधीर के, सोचन बिरह विसाल। बिन ही अंजन ये अहो, खंजन लोचन वाल॥ पद लड़ैती के खंजन लोचना। बिनहीं अंजन दिये बिहारी, बिरह विथा उर मोचना॥ चपल चाल लालै अवलोकत, रूप लुभाय संकोचना। जै श्रीभट्ट सुघर सुधीर स्याम कौ, करत निरन्तर रोचना ॥
dohā locana syāma sudhīra ke, socana biraha visāla| bina hī aṃjana ye aho, khaṃjana locana vāla|| pada lar̤aitī ke khaṃjana locanā| binahīṃ aṃjana diye bihārī, biraha vithā ura mocanā|| capala cāla lālai avalokata, rūpa lubhāya saṃkocanā| jai śrībhaṭṭa sughara sudhīra syāma kau, karata nirantara rocanā ||
English translation
Fresh editorial translation from the Complete Yugala-Śataka source dossier authority
Śrī Rādhā's charming eyes are naturally beautiful which is filled with nectar and looks like the shape of a `khanjan', infatuate Banke Bihari Śrī Krishn with the pangs of separation, even if Her eyes are not beautified with collyrium. Her eyes which are the main source of fascination are fickle, which captivates the heart of Śrī Krishn. Śrī Bhaṭṭa Devacharya says: “Looking at the divine beauty of Her, Śrī Krishn, the most beautiful and calm personality becomes the most restless one”.
Normalized Braj root controlled from the complete 1973 facsimile and its repeated Hindi commentary; an independent digital witness is used only where its numbering and text align. English is a fresh editorial rendering grounded in those retained controls.
Pada 64
Sourceदोहा रस बस हे सरवस दियो, लखि पिय स्याम सुजान। अंजन पषंजन नेन मनु, धरे कटारे सान॥ पद अंजन षंजन नेनर में लखि नंद दुलारे। राधेरे रस बस साँवरे सरबसः दियो प्यारे॥ मेन सैन रन करन,-कों -सान धरे कटारे। - श्रीभट स्याम् सुख-दैन,कौं -स्यामा सचि- घारे ॥
dohā rasa basa he saravasa diyo, lakhi piya syāma sujāna| aṃjana paṣaṃjana nena manu, dhare kaṭāre sāna|| pada aṃjana ṣaṃjana nenara meṃ lakhi naṃda dulāre| rādhere rasa basa sā~vare sarabasaḥ diyo pyāre|| mena saina rana karana,-koṃ -sāna dhare kaṭāre| - śrībhaṭa syām sukha-daina,kauṃ -syāmā saci- ghāre ||
English translation
Fresh editorial translation from the Complete Yugala-Śataka source dossier authority
Seeing the dark collyrium upon Rādhā's wagtail-like eyes, Nanda's darling becomes wholly subject to rasa and gives Her His entire self. Those keen eyes are blades sharpened for Love's combat, yet the heroine turns them only to give Śyāma delight.
Normalized Braj root controlled from the complete 1973 facsimile and its repeated Hindi commentary; an independent digital witness is used only where its numbering and text align. English is a fresh editorial rendering grounded in those retained controls.
Pada 65
Sourceदोहा राधे तेरे रूप की, पटतर कहिये काहि। सरबस तजि रसबस भये, नैन कोर तन चाहि॥ पद नैंक नैन की कोर मोरि मोहन बस कीनें। राधे तेरे रूप की पटतर को दीनें॥ कमल कोस अलि ज्यौं चलैं तारे रँगभीनें। श्रीभट तन अंजन छुवै लालन लव लीने ॥
dohā rādhe tere rūpa kī, paṭatara kahiye kāhi| sarabasa taji rasabasa bhaye, naina kora tana cāhi|| pada naiṃka naina kī kora mori mohana basa kīneṃ| rādhe tere rūpa kī paṭatara ko dīneṃ|| kamala kosa ali jyauṃ calaiṃ tāre ra~gabhīneṃ| śrībhaṭa tana aṃjana chuvai lālana lava līne ||
English translation
Fresh editorial translation from the Complete Yugala-Śataka source dossier authority
[Rag - Rayso, Taal - champak] The sakhīs glorify the beautiful eyes of Śrī Priyā Jī. O Śrī Rādhe! With what can Your incomparable beauty ever be compared? By the mere sidelong glances cast from the corners of Your eyes, You have so completely captivated Śrī Śyāmasundara that He has offered His very all and become entirely Yours. O Rādhe! No rasika poet possesses the ability to describe the beauty of Your eyes. For You have brought under Your control even that Manmohana who enchants the minds of all, simply by casting the slightest sidelong glance from the corners of Your eyes. Just as a bee resting within the petals of a lotus appears exquisitely beautiful, so too the bee-like pupils of Your eyes shine brilliantly, enhanced by the dark collyrium adorning them. Śrī Bhaṭṭa Jī says that the moment Śrī Lāl Jī's gaze falls even slightly upon the sharp, captivating line of kohl adorning Śrī Priyā Jī's eyes, He becomes completely absorbed in beholding Her incomparable beauty.
Normalized Braj root controlled from the complete 1973 facsimile and its repeated Hindi commentary; an independent digital witness is used only where its numbering and text align. English is a fresh editorial rendering grounded in those retained controls.
Pada 66
Sourceदोहा जित जित भामिनि पग धरै, तित तित भावत लाल। करत पलक निज पाँमड़े, रूप विमोहित बाल॥ पद प्यारीजू के प्यारौ रूप विमोहित। करत पलक पाँमड़े बिहारी, धरत चरन भाँमिनी जित॥ यहै प्रीति परतीति निरंतर, दियौ वारि सब चित बित। जै श्रीभट्ट प्रेम बस प्रीतम, निसि बासर जाने न गयौ कित ॥
dohā jita jita bhāmini paga dharai, tita tita bhāvata lāla| karata palaka nija pā~mar̤e, rūpa vimohita bāla|| pada pyārījū ke pyārau rūpa vimohita| karata palaka pā~mar̤e bihārī, dharata carana bhā~minī jita|| yahai prīti paratīti niraṃtara, diyau vāri saba cita bita| jai śrībhaṭṭa prema basa prītama, nisi bāsara jāne na gayau kita ||
English translation
Fresh editorial translation from the Complete Yugala-Śataka source dossier authority
Wherever Śrī Rādhā Rānī places Her lotus feet, Śrī Kṛṣṇa, captivated by Her incomparable beauty, spreads His very eyelids beneath Them as a carpet. Śrī Rādhā Rānī’s incomparable beauty has completely captivated Śrī Kṛṣṇa at every moment. Wherever Śrī Rādhā places Her lotus feet upon the ground, Śrī Kṛṣṇa spreads His eyelids beneath Them as a carpet. Such is His deep attachment to Priyā Jī that He has offered His body, mind, and everything He possesses unto Her. Śrī Bhaṭṭa Devācārya says, “Blessed indeed is beloved Śrī Kṛṣṇa, the crest-jewel of rasikas, whose love for His adored Mistress is so profound that He no longer knows whether it is day or night.”
Normalized Braj root controlled from the complete 1973 facsimile and its repeated Hindi commentary; an independent digital witness is used only where its numbering and text align. English is a fresh editorial rendering grounded in those retained controls.
Pada 67
Sourceदोहा साँवर ससि सँग लसि प्रिया, भरी सरस रस छंद। डोलत हैं श्रीराधिका, अति ही आजु आनंद॥ पद राधिका आज आनन्द में डोलें॥ साँवरे चंद गोविन्द के रस भरी दूसरी कोकिला मधुर स्वर बोलें॥ पहर तन नील पट कनक हारावली हाथ लें आरसी रूप को तोलें॥ कहत श्रीभट्ट व्रजनारिन नागर बनी कृष्ण के शील की ग्रन्थिका खोलें ॥
dohā sā~vara sasi sa~ga lasi priyā, bharī sarasa rasa chaṃda| ḍolata haiṃ śrīrādhikā, ati hī āju ānaṃda|| pada rādhikā āja ānanda meṃ ḍoleṃ|| sā~vare caṃda govinda ke rasa bharī dūsarī kokilā madhura svara boleṃ|| pahara tana nīla paṭa kanaka hārāvalī hātha leṃ ārasī rūpa ko toleṃ|| kahata śrībhaṭṭa vrajanārina nāgara banī kṛṣṇa ke śīla kī granthikā kholeṃ ||
English translation
Fresh editorial translation from the Complete Yugala-Śataka source dossier authority
Just as moonlight appears splendid with the moon, likewise Śrī Rādhikā, the very embodiment of divine rasa, shines most beautifully beside Śrī Śyāmasundara. Today, she is swaying, overflowing with the ecstasy of love-bliss. Absorbed in the rasa of the dark moon-like Śrī Govinda, Śrī Rādhikā Jī joyfully wanders today, while the cuckoos accompany Them with their sweet songs. Śrī Rādhikā Jī is adorned in a blue sari, and a golden ornament graces Her beautiful locks. Holding a mirror in Her hand, She compares Her own beauty with that of Śrī Kṛṣṇa. Śrī Bhaṭṭa Devācārya says, “Today, Śrī Śyāmasundara has assumed the role of a sakhī of Brajaa and, with great humility, is engaged in the loving service of Śrī Rādhikā Jī.”
Normalized Braj root controlled from the complete 1973 facsimile and its repeated Hindi commentary; an independent digital witness is used only where its numbering and text align. English is a fresh editorial rendering grounded in those retained controls.
Pada 68
Sourceदोहा प्रीति रीति रस बस भये, जदपि मनोहर मैन। तदपि रटैं निज मुख सदा, श्रीराधे राधे बैन॥ पद मोहन राधे राधे बैन बोलें। प्रीति रीति रस बस नागरि हरि लियौ प्रेम के मोलैं॥ हास विलास रास राधे सँग, सील आपनौ तोलैं। श्रीभट जदपि मदन मोहन तउ, हारि-हारि सिर डोलैं ॥
dohā prīti rīti rasa basa bhaye, jadapi manohara maina| tadapi raṭaiṃ nija mukha sadā, śrīrādhe rādhe baina|| pada mohana rādhe rādhe baina boleṃ| prīti rīti rasa basa nāgari hari liyau prema ke molaiṃ|| hāsa vilāsa rāsa rādhe sa~ga, sīla āpanau tolaiṃ| śrībhaṭa jadapi madana mohana tau, hāri-hāri sira ḍolaiṃ ||
English translation
Fresh editorial translation from the Complete Yugala-Śataka source dossier authority
[Taal-Champak, Raag - Kedarau] Overpowered by divine love, Manmohana Śrī Śyāmasundara repeatedly chants the holy name of Śrī Rādhā. Although the splendor of His own beauty bewilders even Kāmadeva himself, yet upon beholding the enchanting beauty of Śrī Rādhikā, overflowing with the nectar of divine love, He becomes completely governed by Her loving ways and begins counting the repetition of Her name upon His mālā. Describing this love-intoxicated state, Śrī Bhaṭṭa Jī says— During the rāsa pastimes, beholding the graceful dance of Śrī Priyā Jī and hearing the sweetness of Her melodious voice, Śrī Lāl Jī becomes completely captivated by Her extraordinary love. His heart overflows with divine affection, and He becomes so bound by the ropes of love that it appears as though Śrī Priyā Jī has purchased Him with the price of Her love. Recalling the playful exchanges and loving sports He shared with Śrī Rādhikā during the night, Śrī Lāl Jī repeatedly tries to compose His naturally graceful heart, yet it refuses to remain steady and continues diving into the boundless ocean of divine love. Śrī Bhaṭṭa Jī, relishing this supreme bliss in his sakhī-bhāva, declares that although Śrī Śyāmasundara is Manmatha-Manmatha—He who bewilders even the bewilderer of all—still, upon beholding the incomparable beauty of Śrī Priyā, He Himself comes entirely under Her sway. He gladly accepts defeat before Her, loses all external awareness, gently nods His head again and again, and repeatedly chants the holy name of Śrī Rādhā.
Normalized Braj root controlled from the complete 1973 facsimile and its repeated Hindi commentary; an independent digital witness is used only where its numbering and text align. English is a fresh editorial rendering grounded in those retained controls.
Pada 69
Sourceदोहा गदि सुरली गोपाल की, लीनी ध्िया प्रवीन। अटके ऐंचत परसपर, हरि वह करत अधीन॥ पद मुरली श्री गोपाल की ललना गहि लीनी।ः ( मंजु जुगल अजुलीन की, पंगति दुति दीनी॥ ब नीलर मनिनर कंचन खचित, रंजित मनु -कीनी। ग श्रीभट ऐंचत,परसपर, हरि करत अधघीनी ॥
dohā gadi suralī gopāla kī, līnī dhiyā pravīna| aṭake aiṃcata parasapara, hari vaha karata adhīna|| pada muralī śrī gopāla kī lalanā gahi līnī|ḥ ( maṃju jugala ajulīna kī, paṃgati duti dīnī|| ba nīlara maninara kaṃcana khacita, raṃjita manu -kīnī| ga śrībhaṭa aiṃcata,parasapara, hari karata adhaghīnī ||
English translation
Fresh editorial translation from the Complete Yugala-Śataka source dossier authority
While Gopāla is lost in love, the clever Rādhā seizes His flute in Her delicate hands. When He returns to awareness They pull it back and forth between Them; the dark jewel and golden jewel of Their joined palms shine as Rādhā makes Hari Her captive.
Normalized Braj root controlled from the complete 1973 facsimile and its repeated Hindi commentary; an independent digital witness is used only where its numbering and text align. English is a fresh editorial rendering grounded in those retained controls.
Pada 70
Sourceदोहा चकित नैन लखि बैन भये, व्याकुल अति ही स्याम। हँसी सखी की ओट ह्वै, स्यामा सब सुख धाम॥ पद स्यामा मदन मोहन की हरि लई बंसी। चकितर नैन बेन व्याकुल लखि सखी ओट दैर हंसी इक सखी नेन सैन समुझाये, प्यारी परम प्रसंसी। दे श्रीभटई मुकुट लटक चरननि तट, करत हैं रसिक॑ व तंसी ॥
dohā cakita naina lakhi baina bhaye, vyākula ati hī syāma| ha~sī sakhī kī oṭa hvai, syāmā saba sukha dhāma|| pada syāmā madana mohana kī hari laī baṃsī| cakitara naina bena vyākula lakhi sakhī oṭa daira haṃsī ika sakhī nena saina samujhāye, pyārī parama prasaṃsī| de śrībhaṭaī mukuṭa laṭaka caranani taṭa, karata haiṃ rasika̭ va taṃsī ||
English translation
Fresh editorial translation from the Complete Yugala-Śataka source dossier authority
Overwhelmed by Rādhā's astonishing beauty during the rāsa, Śyāma stares with wide eyes and becomes speechless and restless. Rādhā hides behind a companion and laughs, while a sakhī explains Her playful signal and the crown-tipped lover humbles Himself at Her feet.
Normalized Braj root controlled from the complete 1973 facsimile and its repeated Hindi commentary; an independent digital witness is used only where its numbering and text align. English is a fresh editorial rendering grounded in those retained controls.