seeing through the eyes of scriptures
Shri Krishna-karnamrita
Shri Krishna-karnamrita
by Shrila Bilvamangala Thakura
Text 1*
cintamanir jayati somagirir gurur me
shiksha-gurush ca bhagavan shikhi-pishcha-maulih
yat-pada-kalpataru-pallava-shekhareshu
lila-svayamvara-rasam labhate jayashrih
cintamanih jayati—all glories to Cintamani; soma-girih—Somagiri (the initiating guru); guruh—spiritual master; me—my; shiksha-guruh—instructing spiritual master; ca—and; bhagavan—the Supreme Personality of Godhead; shikhi-pishcha—with peacock feathers; maulih—whose head; yat—whose; pada—of the lotus feet; kalpa-taru—like desire trees; pallava—like new leaves; shekhareshu—at the toenails; lila-svayam-vara—of conjugal pastimes; rasam—the mellow; labhate—obtains; jaya-shrih—Shrimati Radharani.
All glories to Cintamini and my initiating spiritual master, Somagiri. All glories to my instructing spiritual master, the Supreme Personality of Godhead, who wears peacock feathers in His crown. Under the shade of His lotus feet, which are like desire trees, Jayashri (Radharani) enjoys the transcendental mellow of an eternal consort.
Text 2
asti svastaruni-karagra-vigalat-kalpa-prasuna-plutam
vastu prastuta-venu-nada-lahari-nirvana-nirvyakulam
srasta-srasta-niruddha-nivi-vilasad-gopi-sahasravritam
hasta-nyasta-natapavargam akhilodaram kisorakriti
asti—there is; svastaruni—damsels of heaven; kara-agra—fingertips; vigalat—falling; Kalpa—of desire trees; prasuna—flowers; plutam—covered; vastu—an entity; prastuta—famed; venu-nada—flute sound; lahari—waves; nirvana—transcendental beatitude; nirvyakulam—carefree; srasta-srasta—repeatedly falling; niruddha—held up; nivi—undergarments; vilasad—shining; gopi—milkmaids; sahasra—thousands; avritam—surrounded; hasta—into the hads; nyasta—placed; nata—of the surrendered souls; apavargam—liberation; akhila—of all; udaram—most munificent; kishora—of an adolescent boy; akriti—having the appearance or form.
There is an entity who has the appearance of an adolescent boy, and who is being inundated with desire-tree flowers falling from the fingertips of the damsels of heaven. That boy is completely carefree, situated in transcendental beatitude, as He sends forth waves of sound from His famed flute. He is encircled by thousands of effulgent milkmaids, whose garments are becoming loose again and again (from their extreme pleasure at hearing the flute) and who are trying to hold them up. That adolescent boy, the pinnacle of munificence, places liberation from birth and death into the hands of His surrendered devotees.
Text 3
caturyaika-nidana-sima-capalapanga-cchata-mantharam
lavanyamrita-vici-lolita-drisham lakshmi-katakshadritam
kalindi-pulinangana-pranayinam kamavatarankuram
balamnilam amivayam mahurima-svarajyam aradhnumah
caturya—amicableness, amorous restiveness; eka—only; nidana—cause of existence; sima—limit; capala—flickering; apanga—sidelong glances; cchata—the many; mantharam—becomes or makes languid; lavanya—beauty; amrita—nectar; vici—waves; lolita—moving; drisham—eyes; lakshmi—Radharani; kataksha—sidelong glances; adritam—attentively worshiped; kalindi—the Yamuna (daughter of Mount Kalinda); pulina—the bank; angana—the milkmaids; pranayinam—enjoys pastimes with; kama—supramundane love; avatara—the incarnation; ankuram—source or root; balam—adolescent boy; nilam—dark blue; ami—is; vayam—by us; madhurima—love's sweetness; svarajyam—unrestricted dominion; aradhnumah—worshiped.
We worship that dark bluish young boy, in whom culminate the principal stimuli for amorous love, who causes Radha to become languid with the beauty of His dancing sidelong glances, and who in turn becomes languid with love when Shri Radha and Her friends cast their sidelong glances at Him. That boy's beauty, like waves of nectar, engenders an extreme thirst in the eyes of Radha and Her companions, and, conversely, their nectarous beauty makes Him thirsty to see them. He is affectionately worshiped by Radha's wistful glances, and He enjoys loving pastimes with Radha and Her friends on the bank of the Yamuna. We worship that young bluish boy, the source of the god of love, who has attained unchallenged dominion over love's sweetness.
Text 4
barhottamsa-vilasa-kuntala-bharam madhurya-magnananam
pronmilan-nava-yauvanam pravilasad venu-pranadamritam
apina-stana-kudmalabhir abhito gopibhir aradhitam
jyotish cetasi nash cakastu jagatam ekabhiramadbhutam
bharottamsa—peacock feather; vilasa—charming; kuntala—lock of hair; bharam—wearing; madhurya—sweetness; magna—steeped; ananam—face; pronmilat—manifesting; nava—fresh; yauvanam—youthfulness; pravilasat—shining forth brightly, revealing itself; venu—of the flute; pranada—murmur or sound of rapture; amritam—nectar; apina—udderlike; stana—breasts; kudmalabhih—with buds; abhitah—on all sides; gopibhih—the milkmaids of Vraja; aradhitam—adore, worship; jyotih—the effulgence, i.e., Krishna; cetasi—in our hearts; nah—of us; cakastu—let it shine; jagatam—in the universe; eka—the only; abhirama—enjoyer or source of enjoyment; adbhutam—wonderful, amazing.
Let the effulgence personified (i.e., Krishna) shine within our hearts. He is wearing a bright peacock plume on His head, His face is steeped in sweet beauty, His fresh youthfulness is bursting forth, and His flute is pouring out murmuring, nectarous sounds of rapture. On all sides the milkmaids of Vraja, who have blooming, budlike breasts, worship Him in adoration. Indeed, He is, amazingly, the only enjoyer and the only source of enjoyment in the entire universe.
Text 5
madhuratara-smitamrita-vimugdha-mukhamburuham
mada-shikhi-pishcha-lashchita-manojsha-kaca-pracayam
vishaya-vishamisha-grasana-gridhnuni cetasi me
vipula-vilocanam kim api dhama cakastu ciram
madhuratara—very sweet; smita—smiles; amrita—the nectar; vimugdha—very charming; mukha—the face; amburuham—the lotus; mada—proud; shikhi—peacock; pishcha—feather; lashchita—decorated; manojsha—charming, pleasing; kaca—locks of hair; pracayam—profusion; vishaya—that which binds the mind; either worldly objects of attachment or Krishna Himself; visha—poison, or pain of separation from Krishna; amisha—meat, or any coveted thing; grasana—to swallow; gridhnuni—greedy; cetasi—mind; me—my; vipula—wide, like long lotus petals; vilocanam—eyes; kim api—indescribable; dhama—embodiment of brightness; cakastu—let it shine; ciram—forever.
Shri Krishna's eyes are long like petals of a blooming lotus, and His very charming lotuslike face is made all the more charming by His extremely beautiful and sweet, nectarous smiles. His profuse curling locks look delightful with their decoration of a proud peacock's tail-feather. Let Him, the embodiment of all effulgence, forever shine within my heart, which is (outwardly) greedy for the poisonous meat of sense objects, [or (inwardly) greedy for the beauty of Shri Krishna, a beauty that binds the devotee's mind and causes burning pain at the time of separation from Him.]
Text 6
mukulaya-mana-nayanambujam vibhor
murali-ninada-makaranda-nirbharam
mukurayamana-mridu-ganda-mandalam
mukha-pankajam manasi me vijrimbhitam
mukulaya—buds; mana—resembling; nayana—eyes; ambujam—lotus; vibhoh—of the Lord; murali—flute; ninada—sound; makaranda—nectar, honey; nirbharam—full of; mukuraya—mirror; mana—resembling; mridu—delicate; ganda—of the cheeks; mandalam—the orbs; mukha—face; pashkajam—the lotus; manasi—heart, mind; me—my; vijrimbhitam—open within.
May the lotus of my Lord's face blossom within [the lake of] my mind. The eyes of that face resemble lotus buds, being half-closed, and the delicate mirrorlike orbs of its cheeks are puffed with the nectarous honey of the flute-sound.
Text 7
kamaniya-kishora-mugdha-murteh
kala-venu-kvanitadritananendoh
mama vaci vijrimbhitam murarer
madhurimnah kani-kapi kapi kapi
kamaniya—enrapturing; kishora—adolescent; mugdha—artless; murteh—the figure; kala—medodies; venu—flute; kvanita—sounding; adrita—worshiped; anana—face; indoh—the moon; mama—my; vaci—words; vijrimbhitam—let there be expressex; murareh—who is irreproachable and very beautiful, or the enemy of the Mura demon; madhurimnah—of the sweet beauty; kani—a small particle; ka api—even a particle; ka api—of a particle; ka api—of a particle.
Let my words express even a tiny particle of a particle of a particle of the luscious beauty of Murari, whose artless adolescent figure enraptures me, and whose moon-face is worshiped by the soft melodies of His flute.
Text 8
mada-shikhandi-shikhanda-vibhushanam
madana-manthara-mugdha-mukhambujam
vraja-vadhu-nayanashjana-rashjitam
vijayatam mama vanmaya-jivitam
mada—of the impassioned; shikhandi—peacock; shikhanda—the feathers; vibhushanam—decorated; madana—Cupid, or love; manthara—languid; mugdha—charming, artless; mukha—face; ambujam—lotus; vraja-vadhu—the wives of Vraja (the milkmaids); nayana—from the eyes; ashjana—collyrium; rashjitam—decorated; vijayatam—all glories; mama—my; vanmaya—of words; jivitam—the life.
All glories to [Krishna] the life of my words! The collyrium from the eyes of the young girls of Vraja decorates His charming lotus face, which is languid with love, and an impassioned peacock's feather adorns His head.
Text 9
pallavaruna-pani-pankaja-sangi-venu-ravakulam
phulla-patala-patali-parivadi-pada-saroruham
ullasan-madhuradhara-dyuti-mashjari-sarasananam
ballavi-kuca-kumbha-kunkuma-pankilam prabhum ashraye
pallava—like twigs; aruna—reddish; pani—hands; pankaja—lotus; sangi—in contact; venu—flute; rava—sound; akulam—agitated; phulla—fully blossomed; patala—blossom; patali—the patali flower; parivadi—reproach; pada—feet; saroruham—lotus; ullasan—joyful; madhura-adhara—of sweet lips; dyuti—the glow; mashjari—blossoms; sarasa—amiable, luscious; ananam—face; ballavi—of the milkmaids; kuca—breasts; kumbha—pitcherllike; kunkuma—kunkuma powder; pankilam—muddied up; prabhum—the Lord; ashraye—I take shelter.
I take shelter of the Lord [Krshna], who becomes agitated with passion when He hears the sound of His own flute, held in His lotus hands, which resemble newly sprouted reddish twigs. His lotus feet reproach fully blossomed patali flowers with their beauty, and His amiable face sends forth blossoms of brilliance from His delightfully sweet lips. He is smeared with the kunkuma powder from the milkmaids' pitcherlike breasts.
Text 10
apanga-rekhabhir abhangurabhir
ananga-rekha-rasa-rashjitabhih
anukshanam ballava-sundaribhir
abhyarcyamanam vibhum ashrayamah
apanga—from the corners of the eyes; rekhabhih—direct glances; abhangurabhir—unbroken; ananga—Cupid ("the bodiless one"); rekha—direct; rasa—with emotion; rashjitabhih—ruddy; anukshanam—at every moment; ballava—of the cowherd men; sundaribhih—the beauties (i.e., the milkmaids of Vraja); abhyarcyamanam—who is always worshiped; vibhum—of the Lord; ashrayamah—I take shelter.
I take shelter of my Lord [Krishna], whom the beautiful milkmaids worship at every moment with unbroken sidelong glances from eyes tinged red with passion.
Text 11
hridaye mama hridya-vibhramanam
hridayam harsha-vishala-lola-netram
tarunam vraja-bala-sundarinam
taralam kishcana dhama sannidhattam
hridaye—to the heart; mama—my; hridya—in the hearts; vibhramanam—confusions; hridayam—knower of the hearts (of the milkmaids); harsha—extreme pleasure; vishala—wide open; lola—wantonly restless; netram—the eyes; tarunam—a youth; vraja—of Vrndavana; bala—young; sundarinam—of beautiful women; taralam—moving to and fro, or the central gem of a necklace; kishcana—inexpressible; dhama—effulgence; sannidhattam—come near.
Let that effulgent youth [Krishna] come near to my heart. His wantonly restless, wide-open eyes are full of joy, and, being fully aware of the hearts of the beautiful young girls of Vraja, He fills them with the fluttering confusions of love. ??He is fickle, yet He is like the central jewel in the necklace of the milkmaids.
Text 12
nikhila-bhuvana-lakshmi-nitya-lilaspadabhyam
kamala-vipina-vithi-garva-sarvam kashabhyam
pranamad-abhaya-dana-praudhi-gadhadritabhyam
kim api vahatu cetah krishna-padambujabhyam
nikhila—all; bhuvana—the worlds; lakshmi—beauties (i.e., the mildmaids); nitya—eternal; lilah—pastimes; padabhyam—home; kamala—lotus; vipina—vithi—thickets or clusters; garva—pride; sarvam—all; kashabhyam—break down; pranamad—those who bow down (i.e., His devotees); abhaya—fearlessness; dana—giving; praudhi—assurance; gadha—excessively; adritabhyam—worshiped; kim api—something in expressible, inexpressible bliss; vahatu—attain; cetah—my mind; krishna—of Krishna; pada—the feet; ambujabhyam—lotus.
Let my mind attain some inexpressible beatific bliss from [thinking of] Krishna's lotus feet, which are the home of the eternal pastimes of the most beautiful maidens in all the worlds, which destroy the pride of whole clusters of lotuses, and which are highly esteemed for their great eagerness in providing safety for the Lord's humble devotees.
Text 13
pranaya-parinatabhyam shri-bharalambanabhyam
prati-pada-lalitabhyam pratyaham nutanabhyam
prati-muhur adhikabhyam prasphural-locanabhyam
pravahatu hridaye nah prana-nathah kishorah
pranaya—by love (for Radha); parinatabhyam—become full, developed; shri—of beauty; bhara—excessive; alambanabhyam—the abode; prati—every; pada—step; lalitabhyam—acquired charm and elegance; prati—every; ahan—day; nutanabhyam—fresh, novel; prati—every; muhuh—moment; adhikabhyam—more and more; prasphuram—sparkling; locanabhyam—the eyes; pravahatu—continue to attain (a place); hridaye—in hearts; nah—of us; prana—of life; nathah—the Lord; kishorah—the fresh youth (Krishna).
May the Lord of our life, that young boy [Krishna], shine incessantly within our hearts. His eyes, full of love for Radha, are the abode of infinite beauty. Every day they appear newer and newer, at every step they increase their charm and elegance, and at every moment they sparkle more and more brilliantly.
Text 14
madhurya-varidhi-madambu-taranga-bhangi-
shringara-sankulita-shita-kishora-vesham
amanda-hasa-lalitanana-candra-bimbam
ananda-samplavam anu plavatam mano me
madhurya—of sweetness; varidhi—ocean; mada—passion; ambu—water; taranga—waves; bhangi—breaking; shringara—passionate ecstasy; sankulita—distress; shita—cools; kishora—of a youth; vesham—the appearance; amanda—very mild; hasa—by the smile; lalita—sweetened, made charming; anana—face; candra—moon; bimbam—the orb; ananda—bliss; samplavam—a flood; anu—along; plavatam—may float; manah—mind; me—of me.
May my mind float along in the flood of bliss emanating from Krishna's moonlike face, made charming by a very mild smile. Krishna has the appearance of a young boy, and, beautified by the waves of His passionate ecstasy breaking in the ocean of sweetness, He soothes all distress.
Text 15
avyaja-mashjula-mukhambuja-mugdha-bhavair
asvadyamana-nija-venu-vinoda-nadam
akridatam aruna-pada-saroruhabhyam
ardre madiya-hridaye bhuvanardram ojah
avyaja—open, not deceitful; mashjula—lovely; mukha—face; ambuja—lotus; mugdha—amiable, charming, artless; bhavaih—emotions, ecstasies; asvadymana—eagerly tasted; nija—His own; venu—flute; vinoda—playing; nadam—sound; adridatam—may it play; aruna—reddish; pada—feet; saroruhabhyam—by the lotus; ardre—moistened; madiya—my; hridaye—in the heart; bhuvana—the universe; ardram—moistening; ojah—force (of the overflowing current of bliss emanating from Krishna's moonlike face).
Let the force [of the flood of bliss emanating from Krishna's face], which saturates the whole universe, play within my heart, which is moistened by contact with Krishna's lotus feet, by the display of charming, artless emotions on His open, lovely lotus face, and by the melody of His flute, which is relished by Radha.
Text 16
mani-nupura-vacalam
vande tac caranam vibhoh
lalitani yadiyani
lakshmani vraja-vithishu
mani—jeweled; nupura—anklets; vacalam—sound, tinkle; vande—I bow down; tad—those; caranam—the feet; vibhoh—of the Lord; lalitani—decorate; yadiyani—whose; lakshmani—the marks (of the feet); vraja—of Vrindavana; vithishu—the paths.
I bow down to the feet of Lord Krishna, whose jeweled anklets tinkle and whose footprints decorate the paths of Vraja.
Text 17
mama cetasi sphuratu vallavi-vibhor
mani-nupura-pranayi mashju shishjitam
kamala-vanecara-kalinda-kanyaka-
kalahamsa-kantha-kala-kujitadritam
mama—in my; cetasi—mind; sphuratu—let there by manifested; vallavi—of the milkmaids; vibhoh—the master; mani—jeweled; nupura—anklets; pranayi—provided with; mashju—sweet; sishjitam—jingling; kamala—of Kamala (Radha); vanecara—lotus—filled ponds; kalinda—kanyaka—the daughter of Mount Kalinda (i.e., the Yamuna River); kalahamsa—white swans; kantha—in the throats; kala—warbling cries; kujita—melodious; adritam—worshiped, accorded welcome.
May the sweet jingling of the jewled anklets of Krishna, the master of the milkmaids, be manifest in my mind. Kamala's [Radha's] white swans swimming in the lotus-filled ponds of the Yamuna accord that sweet jingling a warm welcome with the melodious warbling from their throats.
Text 18
tarunaruna-karunamaya-vipulayata-nayanam
kamala-kuca-kalashi-bhara-vipuli-krita-pulakam
murali-rava-tarali-krita-muni-manasa-nalinam
mama khelatu mada-cetasi madhuradharam amritam
taruna—like the sun; aruna—red; karunamaya—full of compassion; vipulayata—broad, wide open; nayanam—eyes; kamala—Radha; kuca—breasts; kalashi—pitcherlike; bhara—heavy; vipuli—pressing; krita—caused; pulakam—standing of the hairs on end; murali—flute; rava—sound; tarali—loose, liquified; krita—made; muni—of the sages; manasa—the minds; malinam—lotuses; mama—my; khelatu—play; mada—intoxicated with glee; cetasi—mind; madhura—sweet; adharam—lips; amritam—(filled with) nectar.
May Krishna's nectar-filled sweet lips play in my mind, intoxicated with delight. His broad eyes, reddish like the rising sun, are full of compassion, His hair is standing on end because of touching Kamala's [Radha's] heavy, pitcherlike breasts, and He has melted the lotuslike hearts of the sages with the sound of His flute.
Text 19
amugdham ardha-nayanambuja-cumbyamana-
harshakula-vraja-vadhu-madhurananendoh
arabdha-venu-ravam arta-kishora-murter
avirbhavantu mama cetasi ke 'pi bhavah
amugdham—of the completely charming one; ardha—half-closed; nayana—eyes; ambuja—lotus; cumbyamana—as if kissing; harsha—with joy; akula—agitated; vraja-vadhu—the wives of Vraja (i.e., the milkmaids); madhura—sweetly beautiful; anana—faces; indoh—moon; arabdha—commencement; venu—flute; ravam—sounding; arta—assumed; kishora—youth; murteh—form; avirbhavantu—may there appear; mama—in my; cetasi—mind; ke api—some; bhavah—ecstatic states.
May there appear in my mind some of the ecstatic states of very charming Shri Krishna. As He glances at the milkmaids' sweet moonlike faces, agitating them with joy, He seems to be kissing them with His half-closed eyes. As He begins sounding His flute, He assumes the attitude of an adolescent youth.
Text 20
kala-kvanita-kankanam kara-niruddha-pitambaram
klama-prashrita-kuntalam galita-barha-bhusham vibhoh
punah prakriti-capalam pranayini-bhuja-yantritam
mama sphuratu manase madana-keli-shayyotthitam
kala—soft sound; kvanita—sounding; kankanam—bracelets; kara—by the hand; niruddha—grasped; pita—yellow; ambaram—cloth; klama—fatigue; prashrita—disheveled; kuntalam—hair; galita—slips; barha—peacock; bhusham—plume; vibhoh—of the Lord; punah—again; prakriti—natures; capalam—fickle; pranayini—of the beloved; bhuja—by the arms; yantritam—held; mama—my; sphuratu—let it manifest; manase—in the mind; madana—amorous; keli—play, pastimes; shayya—the bed; utthitam—rising.
May there awaken in my mind a vision of the Lord arising from the bed of amorous play. The bracelets of Radha and Krishna tinkle softly, and Krishna's yellow cloth is grasped by Them both. Their hair is disheveled from fatigue, and Krishna's peacock plume slips from His hair. Again Their fickle, playful natures manifest, and at last Radha holds Krishna with Her arms.
Text 21
stoka-stoka-nirudhyamana-mridula-prasyandi-manda-smitam
premodbheda-nirargala-prashrimara-pravyakta-romodgamam
shrotum shrotra-mano-haram vraja-vadhu-lila-mitho-jalpitam
mithya-svapam upasmahe bhagavatah kridani-milad-drishah
stoka-stoka—drop by drop; nirudhyamana—although held back, or as if held back; mridula—softly, gently; prasyandi—oozes; manda—gentle; smitam—smile; prema—transcendental love; udbheda—rising; nirargala—uncheckable; prashrimara—streaming forth; pravyakta—evident; roma—hair standing on end; udgamam—appearing; shrotum—in order to hear; shrotra—to the ear; manah—the mind; haram—pleasing; vraja—vadhu—the wives of Vraja (i.e., the milkmaids); lila—playful; mithah—mutual; jalpitam—talks; mithya—false; svapam—sleep; upasmahe—we worship; bhagavatah—the Lord; kridani—playfully; milan—closed; drishah—with eyes.
We worship Lord Krishna, who is mischievously keeping His eyes closed, pretending to sleep, in order to hear the milkmaids' playful talks, which are so pleasing to the ear and mind. Though Krishna is trying to restrain Himself, a gentle smile trickles from His lips drop by drop, and He cannot check the rising tide of love, which causes His hair to begin standing on end.
Text 22
vicitra-patrankura-shali-bala-
stanantaram yama vanantaram va
apasya vrindavana-pada-lasyam
upasyam anyam na vilokayamah
vicitra—drawn decorations; patra—with leaves; ankura—with sprouts; shali—resplendent; bala—of the young girl (Radha); stana—greasts; antaram—filled with memories; yama—going; vana—the forest; antaram—inside; va—or; apasya—having disregarded; vrindavana—the forests of Vrindavana; pada—whose feet; lasyam—dancing, or beauty; upasyam—object of worship; anyam—other; na—not; vilokayamah—we do see.
We do not see any object of worship other than Lord Krishna, whether He is deeply in thought, remembering how He decorated the breasts of the resplendent young girl Radha with pictures drawn with leaves and sprouts, or whether He is wandering in Vrindavana Forest, which is adorned with the beauty of His dancidng feet.
Text 23
sardham samriddhair amritayamanair
atayamanair murali-ninadaih
murdhabhishiktam madhurakritinam
balam kada nama vilokayishye
sardham—along with; samriddhaih—fully endowed with musical embellishments; amritayamanaih—like nectar; atayamanaih—pouring forth; murali—flute; ninadaih—sound; murdha—as the head or king; abhishiktam—universally acknowledged; madhura—sweet; akritinam—those with forms; balam—the young boy (Krishna); kada—when; nama—if ever; vilokayishye—shall I see.
When oh when shall I see that young boy Krishna, the unchallenged king of those who are exquisitely beautiful, and when shall I experience along with that vision the flooding nectar of His flute's sound, endowed with the topmost musical embellishments?
Text 24
shishiri-kurute kada nu nah
shikhi-piccha-bharanah shishur drishoh
yugalam vigalan-madhu-drava-
smita-mudra-mriduna mukhenduna
shishiri—cooling; kurute—perform; kada—when; nu—indeed; nah—of us; shikhi—peacock; piccha—plumes; bharanah—adorned; shishuh—the child (Krishna); drishoh—of our eyes; yugalam—the pair; vigalan—trickling; madhu—honey; drava—mild; smita—of the smile; mudra—gesture; mriduna—made soft and gentle; mukha—face; induna—moonlike.
When will that child [Krishna], adorned with peacock plumes, soothe and cool our eyes with a vision of His moonlike face, imbued with gentleness by the trickling honey of His tender smiles?
Text 25
karunya-karbura-kataksha-nirikshanena
tarunya-samvalita-shaishava-vaibhavena
apushnata bhuvanam adbhuta-vibhramena
shri-krishna-candra shishiri-kuru locanam me
karunya—full of mercy; karbura—colored with various tints; kataksha—from the corners of the eyes; nirikshanena—with glances; tarunya—youth; samvalita—touched; shaishava—childhood; vaibhavena—with the magnificence; apushnata—nourishing; bhuvanam—the universe; adbhuta—amazing; vibhramena—with playfulness; shri—krishna—of Krishna; candra—O moon; shishiri—cool down; kuru—please (do); locanam—eyes; me—my.
O moonlike Krishna, please soothe and cool my eyes with Your sidelong glances, tinged with mercy; with the magnificence of your childhood, touched by youth; and with Your wondrous playfulness, which nourishes the whole universe.
Text 26
kada va kalindi-kuvalaya-dala-shyama-taralah
kataksha lakshyante kim api karuna-vici-nicitah
kada va kandarpa-pratibhata-jata-candra-shishirah
kam apy antas tosham dadhati murali-keli-ninadah
kada—when; va—alas; kalindi—the Yamuna; kuvalaya—blue lotus; dala—petals; shyama—blue; taralah—moving to and fro; kataksha—sidelong glances; lakshyante—marked by; kim api—wonderful; karuna—mercy or grace; vici—waves; nicitah—full of; kada—when; va—indeed; kandarpa—of Cupid; pratibhata—the enemy (i.e., Shiva); jata—matted locks; candra—moon; shishirah—cooler; kam api—ineffable; antah—my heart; tosham—joy; dadhati—give; murali—of the flute; keli—playful; ninadah—notes.
When will Krishna cast upon me His sidelong glances, which are as dark blue as the blue lotuses growing in the Yamuna and tremulous with waves of mercy? And when will my heart find ineffable joy in the playful notes of His flute, which are more cooling than the moon held on the head of Shiva, Cupid's enemy?
Text 27
adhiram alokitam ardra-jalpitam
gatam ca gambhira-vilasa-mantharam
amandam alingitam akulonmada-
smitam ca te natha vadanti gopikah
adhiram—fickle; alokitam—glances; ardra—tender, witty ("moist"); jalpitam—talking; gatam—gait; ca—and; gambhira—profound swell; vilasa—passion; mantharam—slowness; amandam—fast, deep, eager; alingitam—embrace; akula—distracting, agitating; unmada—intolicating; smitam—smile; ca—and; te—Your; natha—O Lord; vadanti—describing; gopikah—the milkmaids.
O Lord, the milkmaids are describing your fickle glances, your tender, witty talking, Your slow gait, made graceful by the swell of deep passion, Your eager embraces, and Your distracting, agitating, intoxicating smile.
Text 28
astoka-smita-bharam ayatayataksham
nihshesha-stana-mriditam vrajanganabhih
nihsima-stabakita-nila-kanti-dharam
drishyasam tribhuvana-sundaram mahas te
astoka—continuous; smita—smilings; bharam—bearing; ayatayata—long and wide; aksham—eyes; nihshesha—tightly, completely; stana—breasts; mriditam-embraced; vraja-of Vraja; anganabhih-by the milkmaids of Vraja; nihsima-boundless; stabakita-cluster of blossoms; nila-blue; kanti-of effulgence; dharam-diffusing a flood; drshyasam-may I see; tribhuvana-in the three worlds; sundaram-most magnificently beautiful; mahah-the splendor; te-of You.
[OLord], please let me see Your bodily spendor, which is the most magnificently beautiful in all the three worlds, which bears Your continuous smiles and Your long, wide eyes, which is tightly embraced by the milkmaids of Vraja to their breasts, and which diffuses an endless flood of bluish effulgence, like clusters of blossoms.
Text 29
mayi prasadam madhuraih katakshair
vamshi-ninadanucarair vidhehi
tvayi prasanne kim iha 'parair nas
tvayy aprasanne kim iha 'parair nah
mayi—to me; prasadam—mercy; madhuraih—charming; katakshaih—with sidelong glances; vamshi—of the flute; ninada—the sounds; anucaraih—accompanying, moving with; vidhehi—please grant me; tvayi—by You; prasanne—blessed; kim iha—what (need); aparaih—other, else; nah—for us; tvayi—by You; aprasanne—not blessed; kim iha—what (use); aparaih—other, else; nah—for us.
O Lord, please show me Your mercy by casting upon me Your charming sidelong glances, moving to the accompaniment of Your flute-song. If I have Your blessings, what use are others'? And if I'm without Your blessings, what use are others'?
Text 30
nibaddha-murdhashjalir esha yace
nirandhra-dainyonnati-mukta-kanthah
daya-nidhe deva bhavat-kataksha-
dakshinya-leshena sakrin nishishca
nibaddha—fixed; murdha—on the head; ashjalih—folded palms; esha—this one (I); yace—prays; nirandhra—gapless (constant); dainya—pitiable misery (i.e., pain of separation from Krishna); unnati—increasing; mukta—opened; kanthah—throat; daya—of mercy; nidhe—Ocean; deva—O Lord; bhavad—Your; kataksha—sidelong glance; dakshinya—kindness; leshena—a drop; sakrit—once; nishishca—anoint.
I fix my folded palms upon my head and, given voice by my increasing, ceaseless, pitiable misery, pray, "O Lord, O ocean of mercy, please anoint me just once with a drop of kindness from Your sidelong glance."
Text 31
picchavatamsa-racanocita-kesha-pashe
pina-stani-nayana-pankaja-pujaniye
candraravinda-vijayodyata-vaktra-bimbe
capalyam eti nayanam tava shaishave nah
piccha—peacock feather; avatamsa—crown; racana—adorned; ucita—delightful; kesha—hair; pashe—mass; pina—plump; stani-those who have (plump) breasts (i.e., the milkmaids); nayana-by the eyes; pankaja-lotus; pujaniye-worshiped; candra-moon; aravinda-lotus; vijaya-defeating; udyata-begun; vaktra-face; bimbe-orb; capalyam-restive; eti-have become; nayanam-eyes; tava-Your; shaishave-childlike form; nah-of us.
O Lord, our eyes have become restless to see Your childlike form, with its clustered locks delightfully adorned with a peacock feather. That form, which is worshiped by the buxom milkmaids' lotus eyes, possesses a face that has begun defeating the beauty of the moon and the lotus.
Text 32*
tvac-chaishavam tri-bhuvanadbhutam ity avehi
mac-capalam ca tava va mama vadhigamyam
tat kim karomi viralam murali-vilasi
mugdham mukhambujam udikshitum ikshanabhyam
tvat—Your; shaishavam—early age; tri—bhuvana—within the three worlds; adbhutam—wonderful; iti—thus; avehi—know; mat—capalam—My unsteadiness; ca—and; tava—of YOu; va—or; mama—of Me; va—or; adhigamyam—to be understood; tat—that; kim—what; karomi—I do; viralam—in solitude; murali-valasi—Oplayer of the flute; mugdham—attractive; mukha-ambujam—lotuslike face; udikshitum—to see sufficiently; ikshanabhyam-by the eyes.
O Krishna, O flute-player, the sweetness of Your early age is wonderful within these three worlds. You know My unsteadiness, and I know Yours. No one else knows about this. I want to see Your beautiful, attractive face somewhere in a solitary place, but how can this be accomplished?
Text 33
paryacitamrita-rasani padartha-bhangi-
valguni valgita-vishala-vilocanani
balyadhikani mada-vallava-bhavinibhir
bhave luthanti sukritam tava jalpitani
paryacita—abundantly full of; amrita—nectar; rasani—mellows, feelings of love; pada—artha—witty meanings; bhangi—array, waves; valguni—very pleasant; valgita—with dancing; vishala—wide; vilocanani—eyes; balya—to boyishness; adhikani—natural; mada—impassioned; vallava—of the cowherd men; bhavinibhih—wives; bhave—the state of being, heart; luthanti—exhilarate, stir; sukritam—the lucky, the good; tava—Your; jalpitani—verbal duels, talks.
O Krishna, Your verbal duels with the impassioned, vivacious milkmaids exhilarate the hearts of the fortunate. These talks are filled with the nectar of the exchanges of love, rendered very pleasant by waves of witty meanings, imbued with Your natural boyishness, and punctuated by the movements of Your wide, dancing eyes.
Text 34
punah prasannendu-mukhena tejasa
puro 'vatirnasya kripa-mahambudheh
tad eva lila-murali-ravamritam
samadhi-vighnaya kada nu me bhavet
punah—again; prasanna—spotless; indu—moon; mukhena—of the face; tejasa—effulgence; purah—before me; avatirnasya—appearing; kripa—mercy; maha—great; ambudheh—ocean; tad—that; eva—certainly; lila—(expressive of) pastimes; murali—flute; rava—sound; amritam—nectar; samadhi—meditation, or great disease; vighnaya—interrupt, or remove; kada—when; nu—certainly, indeed; me—of me; bhavet—will it.
Oh, when will Krishna, the great ocean of mercy, appear before me again with His spotless, effulgent moon-face? And when will the nectarous sound of His flute, expressive of His pastimes, remove my great disease? [or, "interrupt my deep meditation?"]
Text 35
balena mugdha-capalena vilokitena
man-manase kim api capalam udvahantam
lolena locana-rasayanam ikshanena
lila-kishoram upaguhitum utsuko 'smi
balena—tender; mugdha—artless, charming; capalena—fickle; viloketena—glances; man—in my; manase—mind; kim api—indescribable; capalam—unsteadiness, agitation; udvahantam—produces; lolena—restless, longing; locana—to the eyes; rasayanam—giving pleasure; ikshanena—with the eyes; lila—playful; kishoram—adolescent (Krishna); upaguhitum—embrace; utsukah—very eager; asmi—I am.
I am very eager to embrace that playful young boy Krishna with my restless, longing eyes. He is delightful to see, and with His tender, artless, darting glances He fills my mind with an indescribable agitation.
Text 36
adhira—bimbadhara-vibhramena
harshardra-venu-svara-sampada ca
anena kenapi mono-harena
ha hanta ha hanta mano dunoshi
adhira—restless; bimba—red, like a bimba fruit; adhara—lips; vibhramena—sportive movements; harsha—glee, joy; ardra—full of feeling; venu—flute; svara—sound; sampada—excellence, glory, abundance; ca—and; anena kenapi—other such things; manah—the mind; harena—stealing away (i.e., very attractive); ha hanta—alas, alas; ha hanta—alas, alas; manah—mind; dunoshi—You are tormenting.
O Krishna, the playful movements of Your restless red lips, the flood of Your joyous flute sounds, and other such enchantments of Yours are, alas, alas, tormenting me!
Text 37
yavan na me mikhila-marma-dridhabhigatam
nihsandhi-bandhanam upaiti na ko 'pi tapah
tavad vibho bhavatu tavaka-vaktra-candra-
candratapa-dvigunita mama citta-dhara
yavan—until; na—not; me—of me; nikhila—all; marma—vital, tender parts; dridha—violently; abhighatam—striking; nihsandhi—tight; bandhanam—bonds, tendons or joints; upaiti—arises, comes about; na—not; kah api—some kind of; tapah—torment; tavad—till then; vibhoh—O Lord; bhavatu—may You; tavaka—Your; vaktra—face; candra—moon; candratapa—awaning; dvigunita—twofold; mama—my; citta—of consciousness; dhara—current.
O Lord, until some terminal disease comes to strike violently at my vital parts and cripple my limbs and joints, may the moon of Your face by the double-thick awning for the current of my consciousness [against the burning heat of separation].
Text 38
yavan na me nara-dasha dashami kuto 'pi
randhrad upaiti timiri-krita-sarva-bhava
lavanya-keli-sadanam tava tavad eva
lakshyasam utkvanita-venu mukhendu-bimbam
yavat—until; na—not; me—my; nara—of man; dasha—stage; dashami—tenth ("the tenth stage of man," death); kutah api—somehow; randhrad—through some flaw; upaiti—attains; timiri—in darkness; krita—producing; sarva—all; bhava—states of existence, or senses; lavanya—of beauty; keli—os pastimes; sadanam—abode; tava—Your; tavat—till then; eva—certainly; lakshyasam—seen, observed (by me); utkvanita—high sounding; venu—flute; mukha-indu-face like the moon; bimbam-orb.
Till the tenth stage of man (death) comes upon me through some physical defect, enveloping me in total darkness, let me ever see the orb of Your moon-face, which is the abode of both the pastimes of beauty and Your high-sounding flute.
Text 39
alola-locana-vilokita-keli-dhara-
nirajitagra-caranaih karunamburasheh
ardrani venu-ninadaih pratinada-purair
akarna-yami mani-nupura-sishjitani
alola—rolling; locana—eyes; vilokita—the glance; keli—playful; dhara—waves; nirajita—illuminated; agra—caranaih—the forefeet; karuna—of mercy; amburasheh—the ocean (Krishna); ardrani—wetted or sweetened; venu—flute; ninadaih—sound; pratinada—resonances; puraih—full of; adarna—ear; yami—I give; mani—bejeweled; nupura—anklets; sishjitani—tilnkling.
My ear catches the tinkling of the bejewelsed anklets of Krishna, the ocean of mercy. That tinkling is sweetened by His effulgent forefeet, which are receiving waves of playful glances from His rolling eyes, and by the flooding resonances of His flute-song.
Text 40*
he deva he dayita he bhuvanaika-bandho
he Krishna he capala he darunaika-sindho
he natha he ramana he nayanabhirama
ha ha kada nu bhavitasi padam drishor me
he deva—O lord; he dayita—O most dear one; he bhuvana—eka—bandho—O only friend of the universe; he krishna—O Lord Krishna; he capala—O restless one; he karuna—eka—sindho—O only ocean of mercy; he natha—O my Lord; he ramana—O my enjoyer; he nayana—abhirama—Omost beautiful to my eyes; ha ha—alas, alas; kada—when; nu—certainly; bhavitasi—will You be; padam—the dwelling place; drishoh me—of my vision.
O my Lord! O dearest one! O only friend of the universe! O Krishna, O restless one, O only ocean of mercy! O my Lord, O my enjoyer, O beloved to my eyes! Alas, when will YOu again be visible to me?
Text 41*
amuny adhanyani dinantarani
hare tvad-alokanam antarena
anartha-bandho karunaika-sindho
ha hanta ha hanta katham nayami
amuni—all those; adhanyani—inauspicious; dina—antarani—other days; hare—O may Lord; tvat—of You; alokanam—seeing; antarena—without; anatha—bandho—Ofriend of the helpless; karuna—ika—sindho—O only ocean of mercy; ha hanta—alas, alas; ha hanta—alas, alas; katham—how; nayami—shall I pass.
O my Lord, O Supreme Personality of Godhead, O friend of the helpless! You are the only ocean of mercy! Because I have not met You, My inauspicious days and nights have ecome unbearable. I do not know how I shall pass the time.
Text 42*
kim iha krinumah kasya brumah kritam kritam ashaya
kathayata katham anyam dhanyam aho hridaye shayah
madhura-madhura-smerakare mano-nayanotsave
kripana-kripana krishne trishna ciram bata lambate
kim—what; iha—here; krinumah—shall I do; kasya—to whom; brumah—shall I speak; kritam—what is done; kritam—done; ashaya—in the hope; kathayata—please speak; katham—words; anyam—other; dhanyam—auspicious; aho—alas; hridaye—within My heart; shayah—lying; madhura—madhura—sweeter than sweetness; smera—smiling; akare—whose form; manah—nayana—to the mind and eyes; utsave—who gives pleasure; kripana—kripana—the best of misers; krishne—for Krishna; trishna—thirst; ciram—at every moment; bata—alas; lambate—is increasing.
Alas, what shall I do? To whom shall I speak? Let whatever I have done in hopes of meeting Krishna be finished now. Please say something auspicious, but do not speak about Krishna. Alas, Krishna is lying within My heart like Cupid; therefore how can I possibly give up talking of Him? I cannot forget Krishna, whose smile is sweeter than sweetness itself and who gives pleasure to my mind and eyes. Alas, my great thirst for Krishna is increasing moment by moment!
Text 43
abhyam vilocanabhyam
amburuha-vilocanam balam
dvabhyam api parirabdhum
dure mama hanta daiva-samagri
abhyam—far away; vilocanabhyam—the sight; amburuha—lotus; vilocanam—with eyes; balam—young boy (Krishna); dvabhyam—doubly far away; api—even; parirabdhum—embracing; dure—far away; mama—my; hanta—alas; daiva—luck; samagri—the entirety.
Alas! For me, a glimpse of that young boy with lotus eyes is far away-doubly so His embraces. Alas, I am completely unlucky!
Text 44
ashranta-smitam arunarunadharoshtham
harshardra-dviguna-manojsha-venu-gitam
vibhramya-dvipula-vilocanardha-mugdham
vikshishye tava vadanambujam kada nu
ashranta—always; smitam—smiling; aruna-aruna-very red; adhara-oshtham-upper and lower lips; harisa-with jubilation; ardra-moistened; dviguna-doubly; manojsha-charming; venu-flute; gitam-song; vibhramya-wandering; dvipula-very wide; vilocana-eyes; ardha-half-closed; mugdham-very charming, artless; vikshishye-I shall see; tava-Your; vadana-face; ambujam-lotus; kada-when; nu-alas, oh.
O Krishna! When oh when shall I see Your lotus face, with its deep red lips, its constant smiling, its very charming flute-song saturated with jubilation, and its delightful, half-closed eyes that sometimes open very wide and wander here and there?
Text 45
lilayitabhyam rasa-shitalabhyam
nilarunabhyam nayanambujabhyam
alokayed adbhuta-vibhramabhyam
kale kada karunikah kishorah
lilayitabhyam—playful; rasa—with mellows, with feelings of love; shitalabhyam—cooling, soothing; nila—blue (at the irises); arunabhyam—reddish (at the corners); nayana—eyes; ambujabhyam—lotus; alokayed—look upon; adbhuta—wonderful; vibhramabhyam—rolling, moving, dancing; kale-the time; kada-when; karunikah-kind, merciful; kishorah-adolescent (Krishna).
When will the time come when that merciful boy Krishna will look upon me with His playful lotus eyes, which are soothing and cooling with loving emotion, reddish at the corners and dark bluish at the irises, and wonderfully rolling and dancing?
Text 46
bahula-cikura-bharam baddha-picchavatamsam
capala-capala-netram caru-bimbadharoshttham
madhura-mridula-hasam mandaroddhara-lilam
mrigayati nayanam me mugdha-vesham murareh
bahula—thick; cikura—locks; bharam—having a large quantity; baddha—tied; piccha—peacock feather; avatamsam—adorned; capala—capala—very unsteady, quickly moving; netram—eyes; caru—fascinating, lovely; bimba—red (like bimba fruits); adhara—oshtham—upper and lower lips; madhura—sweet; mridula—gentle; hasam—laughter; mandara—Mount Mandara; uddhara—lifting; lilam—pastime; mrigayati—searching for; nayanam—eyes; me—of me; mugdha—enchanting, artless; vesham—appearance; murareh—Murari.
My eyes search for that enchantingly adorned one, Murari, whose thick locks bear a peacock plume, and whose gaze darts here and there very quickly. His lovely lips are red like bimba fruits, and with His sweet, gentle laughter he seems to be churning [the ocean of my heart] with Mount Mandara.
Text 47
bahula-jalada-cchaya-coram vilasa-bharalasam
mada-shikhi-sikha-lilottamsam manojsha-mukhambhjam
kam api kamalapangodagra-prasanga-jadam jagan-
madhurima-paripakodrekam vayam mrigayamahe
bahula—thick, dense; jalada—clouds; cchaya—effulgence; coram—stolen; vilasa—playing; bhara—much; alasam—languid; mada—impassioned; shikhi—peacock; sikha—feathers; lila—playful; uttamsam—crest; manojsha—fascinating; mukha—face; ambujam—lotus; kam api—someone; kamala—Radha; apanga—sidelong glances; udagra—upward—pointing; prasanga—long contact; jadam—stunned; jagat—the universe; madhurima—sweetness; paripaka—perfection; udrekam—excess; vayam—we; mrigayamahe—search for.
We are searching for that person who has stolen the effulgence of thick clouds, who has grown a bit languid from playing so much, who wears a crest made from the playful feathers of an impassioned peacock, whose lotus face is so fascinating, who has become stunned by long and close contact with the upward-pointing sidelong glances of Kamala (Radha), and who is the very overabundance of perfection of all the sweet beauty in the universe.
Text 48
paramrshyam dure pathi pathi muninam vraja-vadhu-
drisha drishyam shashvat tribhuvana-mano-hari-vadanam
anamrishyam vaca muni-samudayanam api kada
daridrishye devam dara-dalita-nilotpala-rucim
paramrshyam—sought for; dure—further away; pathi pathi—(further and further) along the path; muninam—of the sages; vraja—of Vraja; vadhu—the wives (i.e., the milkmaids); drisha—to the eyes; drishyam—visible; shashvat—always; tribhuvana—in all three worlds; manah—minds; hari—stealing (i.e., enchanting); vadanam—face; anamrishyam—not found or described; vaca—in words; muni—of sages (like Vyasa, etc.); samudayanam—multitude; api—indeed; kada—when; daridrishye—I shall see; devam—that God; dara—a little; dalita—opened; nilotpala—blue lotus; rucim—luster.
When shall I see to my hearts content my Lord (Krishna), for whom the sages must always search further along the path, but whose face, which enchants all the three worlds, is always visible to the eyes of the milkmaids of Vraja? Wlhen shall I see Him, whose luster resembles a slightly open blue lotus bud, and who is always beyond the reach of the words of the great sages like Vyasa?
Text 49
lilananambujam adhiram udikshamanam
narmani venu-vivareshu niveshayantam
dolayamana-nayanam nayanabhiramam
devam kada nu dayitam vyatilokayishye
lila—sportive; anana—face; ambujam—lotus; adhiram—fickle; udikshamanam—looking out; narmani—amorous joking; venu—flute; vivareshu—holes; niveshayantam—reveals; dolayamana—rolling; devam—the Lord (Krishna); kada—when; nu—indeed; dayitam—my darling; vyatilokayishye—I shall see.
When shall I see my darling Lord (Krishna), who is so fickle yet so delightful to my eyes? His eyes are rolling, and as He looks out from His sportive lotus face He sends a song of loving jokes through the holes of His flute.
Text 50
lagnam muhur manasi lampata-sampradaya-
lekhavalehini rasajsha-manojsha-vesham
rajyan-mridu-smita-mridullasitadharamshu
rakendu-lalita-mukhendu mukunda-balyam
lagnam—clings; muhur—constantly, again and again; manasi—mind; lampata—debauchee; sampradaya—tradition; lekha—drawings; avalehini—fond (of tasting dainties); rasajsha—those knowledgeable of the taste; manojsha—enraptures; vesham—appearance; rajyan—reddened; mridu—gentle; smita—smile; mridu—ullasita—softly glowing, or kunda flowers; adhara—amshu—lip—rays, or teeth; raka—indu—full moon; lalita—cherished; mukha—indu—face like a moon; mukunda—of Mukunda; balyam—adolescent loveliness.
The adolescent loveliness of Mukunda, whose appearance enraptures the conoisseurs, clings to my mind, which is always fond of drawings from the libertine tradition. His moon-face is cherished by the moon itself, and the softly glowing rays of his lips redden His gentle smile [or, His kunda-flower-like teeth are reddened by the effulgence of His gentle smile].
by Shrila Bilvamangala Thakura
Text 1*
cintamanir jayati somagirir gurur me
shiksha-gurush ca bhagavan shikhi-pishcha-maulih
yat-pada-kalpataru-pallava-shekhareshu
lila-svayamvara-rasam labhate jayashrih
cintamanih jayati—all glories to Cintamani; soma-girih—Somagiri (the initiating guru); guruh—spiritual master; me—my; shiksha-guruh—instructing spiritual master; ca—and; bhagavan—the Supreme Personality of Godhead; shikhi-pishcha—with peacock feathers; maulih—whose head; yat—whose; pada—of the lotus feet; kalpa-taru—like desire trees; pallava—like new leaves; shekhareshu—at the toenails; lila-svayam-vara—of conjugal pastimes; rasam—the mellow; labhate—obtains; jaya-shrih—Shrimati Radharani.
All glories to Cintamini and my initiating spiritual master, Somagiri. All glories to my instructing spiritual master, the Supreme Personality of Godhead, who wears peacock feathers in His crown. Under the shade of His lotus feet, which are like desire trees, Jayashri (Radharani) enjoys the transcendental mellow of an eternal consort.
Text 2
asti svastaruni-karagra-vigalat-kalpa-prasuna-plutam
vastu prastuta-venu-nada-lahari-nirvana-nirvyakulam
srasta-srasta-niruddha-nivi-vilasad-gopi-sahasravritam
hasta-nyasta-natapavargam akhilodaram kisorakriti
asti—there is; svastaruni—damsels of heaven; kara-agra—fingertips; vigalat—falling; Kalpa—of desire trees; prasuna—flowers; plutam—covered; vastu—an entity; prastuta—famed; venu-nada—flute sound; lahari—waves; nirvana—transcendental beatitude; nirvyakulam—carefree; srasta-srasta—repeatedly falling; niruddha—held up; nivi—undergarments; vilasad—shining; gopi—milkmaids; sahasra—thousands; avritam—surrounded; hasta—into the hads; nyasta—placed; nata—of the surrendered souls; apavargam—liberation; akhila—of all; udaram—most munificent; kishora—of an adolescent boy; akriti—having the appearance or form.
There is an entity who has the appearance of an adolescent boy, and who is being inundated with desire-tree flowers falling from the fingertips of the damsels of heaven. That boy is completely carefree, situated in transcendental beatitude, as He sends forth waves of sound from His famed flute. He is encircled by thousands of effulgent milkmaids, whose garments are becoming loose again and again (from their extreme pleasure at hearing the flute) and who are trying to hold them up. That adolescent boy, the pinnacle of munificence, places liberation from birth and death into the hands of His surrendered devotees.
Text 3
caturyaika-nidana-sima-capalapanga-cchata-mantharam
lavanyamrita-vici-lolita-drisham lakshmi-katakshadritam
kalindi-pulinangana-pranayinam kamavatarankuram
balamnilam amivayam mahurima-svarajyam aradhnumah
caturya—amicableness, amorous restiveness; eka—only; nidana—cause of existence; sima—limit; capala—flickering; apanga—sidelong glances; cchata—the many; mantharam—becomes or makes languid; lavanya—beauty; amrita—nectar; vici—waves; lolita—moving; drisham—eyes; lakshmi—Radharani; kataksha—sidelong glances; adritam—attentively worshiped; kalindi—the Yamuna (daughter of Mount Kalinda); pulina—the bank; angana—the milkmaids; pranayinam—enjoys pastimes with; kama—supramundane love; avatara—the incarnation; ankuram—source or root; balam—adolescent boy; nilam—dark blue; ami—is; vayam—by us; madhurima—love's sweetness; svarajyam—unrestricted dominion; aradhnumah—worshiped.
We worship that dark bluish young boy, in whom culminate the principal stimuli for amorous love, who causes Radha to become languid with the beauty of His dancing sidelong glances, and who in turn becomes languid with love when Shri Radha and Her friends cast their sidelong glances at Him. That boy's beauty, like waves of nectar, engenders an extreme thirst in the eyes of Radha and Her companions, and, conversely, their nectarous beauty makes Him thirsty to see them. He is affectionately worshiped by Radha's wistful glances, and He enjoys loving pastimes with Radha and Her friends on the bank of the Yamuna. We worship that young bluish boy, the source of the god of love, who has attained unchallenged dominion over love's sweetness.
Text 4
barhottamsa-vilasa-kuntala-bharam madhurya-magnananam
pronmilan-nava-yauvanam pravilasad venu-pranadamritam
apina-stana-kudmalabhir abhito gopibhir aradhitam
jyotish cetasi nash cakastu jagatam ekabhiramadbhutam
bharottamsa—peacock feather; vilasa—charming; kuntala—lock of hair; bharam—wearing; madhurya—sweetness; magna—steeped; ananam—face; pronmilat—manifesting; nava—fresh; yauvanam—youthfulness; pravilasat—shining forth brightly, revealing itself; venu—of the flute; pranada—murmur or sound of rapture; amritam—nectar; apina—udderlike; stana—breasts; kudmalabhih—with buds; abhitah—on all sides; gopibhih—the milkmaids of Vraja; aradhitam—adore, worship; jyotih—the effulgence, i.e., Krishna; cetasi—in our hearts; nah—of us; cakastu—let it shine; jagatam—in the universe; eka—the only; abhirama—enjoyer or source of enjoyment; adbhutam—wonderful, amazing.
Let the effulgence personified (i.e., Krishna) shine within our hearts. He is wearing a bright peacock plume on His head, His face is steeped in sweet beauty, His fresh youthfulness is bursting forth, and His flute is pouring out murmuring, nectarous sounds of rapture. On all sides the milkmaids of Vraja, who have blooming, budlike breasts, worship Him in adoration. Indeed, He is, amazingly, the only enjoyer and the only source of enjoyment in the entire universe.
Text 5
madhuratara-smitamrita-vimugdha-mukhamburuham
mada-shikhi-pishcha-lashchita-manojsha-kaca-pracayam
vishaya-vishamisha-grasana-gridhnuni cetasi me
vipula-vilocanam kim api dhama cakastu ciram
madhuratara—very sweet; smita—smiles; amrita—the nectar; vimugdha—very charming; mukha—the face; amburuham—the lotus; mada—proud; shikhi—peacock; pishcha—feather; lashchita—decorated; manojsha—charming, pleasing; kaca—locks of hair; pracayam—profusion; vishaya—that which binds the mind; either worldly objects of attachment or Krishna Himself; visha—poison, or pain of separation from Krishna; amisha—meat, or any coveted thing; grasana—to swallow; gridhnuni—greedy; cetasi—mind; me—my; vipula—wide, like long lotus petals; vilocanam—eyes; kim api—indescribable; dhama—embodiment of brightness; cakastu—let it shine; ciram—forever.
Shri Krishna's eyes are long like petals of a blooming lotus, and His very charming lotuslike face is made all the more charming by His extremely beautiful and sweet, nectarous smiles. His profuse curling locks look delightful with their decoration of a proud peacock's tail-feather. Let Him, the embodiment of all effulgence, forever shine within my heart, which is (outwardly) greedy for the poisonous meat of sense objects, [or (inwardly) greedy for the beauty of Shri Krishna, a beauty that binds the devotee's mind and causes burning pain at the time of separation from Him.]
Text 6
mukulaya-mana-nayanambujam vibhor
murali-ninada-makaranda-nirbharam
mukurayamana-mridu-ganda-mandalam
mukha-pankajam manasi me vijrimbhitam
mukulaya—buds; mana—resembling; nayana—eyes; ambujam—lotus; vibhoh—of the Lord; murali—flute; ninada—sound; makaranda—nectar, honey; nirbharam—full of; mukuraya—mirror; mana—resembling; mridu—delicate; ganda—of the cheeks; mandalam—the orbs; mukha—face; pashkajam—the lotus; manasi—heart, mind; me—my; vijrimbhitam—open within.
May the lotus of my Lord's face blossom within [the lake of] my mind. The eyes of that face resemble lotus buds, being half-closed, and the delicate mirrorlike orbs of its cheeks are puffed with the nectarous honey of the flute-sound.
Text 7
kamaniya-kishora-mugdha-murteh
kala-venu-kvanitadritananendoh
mama vaci vijrimbhitam murarer
madhurimnah kani-kapi kapi kapi
kamaniya—enrapturing; kishora—adolescent; mugdha—artless; murteh—the figure; kala—medodies; venu—flute; kvanita—sounding; adrita—worshiped; anana—face; indoh—the moon; mama—my; vaci—words; vijrimbhitam—let there be expressex; murareh—who is irreproachable and very beautiful, or the enemy of the Mura demon; madhurimnah—of the sweet beauty; kani—a small particle; ka api—even a particle; ka api—of a particle; ka api—of a particle.
Let my words express even a tiny particle of a particle of a particle of the luscious beauty of Murari, whose artless adolescent figure enraptures me, and whose moon-face is worshiped by the soft melodies of His flute.
Text 8
mada-shikhandi-shikhanda-vibhushanam
madana-manthara-mugdha-mukhambujam
vraja-vadhu-nayanashjana-rashjitam
vijayatam mama vanmaya-jivitam
mada—of the impassioned; shikhandi—peacock; shikhanda—the feathers; vibhushanam—decorated; madana—Cupid, or love; manthara—languid; mugdha—charming, artless; mukha—face; ambujam—lotus; vraja-vadhu—the wives of Vraja (the milkmaids); nayana—from the eyes; ashjana—collyrium; rashjitam—decorated; vijayatam—all glories; mama—my; vanmaya—of words; jivitam—the life.
All glories to [Krishna] the life of my words! The collyrium from the eyes of the young girls of Vraja decorates His charming lotus face, which is languid with love, and an impassioned peacock's feather adorns His head.
Text 9
pallavaruna-pani-pankaja-sangi-venu-ravakulam
phulla-patala-patali-parivadi-pada-saroruham
ullasan-madhuradhara-dyuti-mashjari-sarasananam
ballavi-kuca-kumbha-kunkuma-pankilam prabhum ashraye
pallava—like twigs; aruna—reddish; pani—hands; pankaja—lotus; sangi—in contact; venu—flute; rava—sound; akulam—agitated; phulla—fully blossomed; patala—blossom; patali—the patali flower; parivadi—reproach; pada—feet; saroruham—lotus; ullasan—joyful; madhura-adhara—of sweet lips; dyuti—the glow; mashjari—blossoms; sarasa—amiable, luscious; ananam—face; ballavi—of the milkmaids; kuca—breasts; kumbha—pitcherllike; kunkuma—kunkuma powder; pankilam—muddied up; prabhum—the Lord; ashraye—I take shelter.
I take shelter of the Lord [Krshna], who becomes agitated with passion when He hears the sound of His own flute, held in His lotus hands, which resemble newly sprouted reddish twigs. His lotus feet reproach fully blossomed patali flowers with their beauty, and His amiable face sends forth blossoms of brilliance from His delightfully sweet lips. He is smeared with the kunkuma powder from the milkmaids' pitcherlike breasts.
Text 10
apanga-rekhabhir abhangurabhir
ananga-rekha-rasa-rashjitabhih
anukshanam ballava-sundaribhir
abhyarcyamanam vibhum ashrayamah
apanga—from the corners of the eyes; rekhabhih—direct glances; abhangurabhir—unbroken; ananga—Cupid ("the bodiless one"); rekha—direct; rasa—with emotion; rashjitabhih—ruddy; anukshanam—at every moment; ballava—of the cowherd men; sundaribhih—the beauties (i.e., the milkmaids of Vraja); abhyarcyamanam—who is always worshiped; vibhum—of the Lord; ashrayamah—I take shelter.
I take shelter of my Lord [Krishna], whom the beautiful milkmaids worship at every moment with unbroken sidelong glances from eyes tinged red with passion.
Text 11
hridaye mama hridya-vibhramanam
hridayam harsha-vishala-lola-netram
tarunam vraja-bala-sundarinam
taralam kishcana dhama sannidhattam
hridaye—to the heart; mama—my; hridya—in the hearts; vibhramanam—confusions; hridayam—knower of the hearts (of the milkmaids); harsha—extreme pleasure; vishala—wide open; lola—wantonly restless; netram—the eyes; tarunam—a youth; vraja—of Vrndavana; bala—young; sundarinam—of beautiful women; taralam—moving to and fro, or the central gem of a necklace; kishcana—inexpressible; dhama—effulgence; sannidhattam—come near.
Let that effulgent youth [Krishna] come near to my heart. His wantonly restless, wide-open eyes are full of joy, and, being fully aware of the hearts of the beautiful young girls of Vraja, He fills them with the fluttering confusions of love. ??He is fickle, yet He is like the central jewel in the necklace of the milkmaids.
Text 12
nikhila-bhuvana-lakshmi-nitya-lilaspadabhyam
kamala-vipina-vithi-garva-sarvam kashabhyam
pranamad-abhaya-dana-praudhi-gadhadritabhyam
kim api vahatu cetah krishna-padambujabhyam
nikhila—all; bhuvana—the worlds; lakshmi—beauties (i.e., the mildmaids); nitya—eternal; lilah—pastimes; padabhyam—home; kamala—lotus; vipina—vithi—thickets or clusters; garva—pride; sarvam—all; kashabhyam—break down; pranamad—those who bow down (i.e., His devotees); abhaya—fearlessness; dana—giving; praudhi—assurance; gadha—excessively; adritabhyam—worshiped; kim api—something in expressible, inexpressible bliss; vahatu—attain; cetah—my mind; krishna—of Krishna; pada—the feet; ambujabhyam—lotus.
Let my mind attain some inexpressible beatific bliss from [thinking of] Krishna's lotus feet, which are the home of the eternal pastimes of the most beautiful maidens in all the worlds, which destroy the pride of whole clusters of lotuses, and which are highly esteemed for their great eagerness in providing safety for the Lord's humble devotees.
Text 13
pranaya-parinatabhyam shri-bharalambanabhyam
prati-pada-lalitabhyam pratyaham nutanabhyam
prati-muhur adhikabhyam prasphural-locanabhyam
pravahatu hridaye nah prana-nathah kishorah
pranaya—by love (for Radha); parinatabhyam—become full, developed; shri—of beauty; bhara—excessive; alambanabhyam—the abode; prati—every; pada—step; lalitabhyam—acquired charm and elegance; prati—every; ahan—day; nutanabhyam—fresh, novel; prati—every; muhuh—moment; adhikabhyam—more and more; prasphuram—sparkling; locanabhyam—the eyes; pravahatu—continue to attain (a place); hridaye—in hearts; nah—of us; prana—of life; nathah—the Lord; kishorah—the fresh youth (Krishna).
May the Lord of our life, that young boy [Krishna], shine incessantly within our hearts. His eyes, full of love for Radha, are the abode of infinite beauty. Every day they appear newer and newer, at every step they increase their charm and elegance, and at every moment they sparkle more and more brilliantly.
Text 14
madhurya-varidhi-madambu-taranga-bhangi-
shringara-sankulita-shita-kishora-vesham
amanda-hasa-lalitanana-candra-bimbam
ananda-samplavam anu plavatam mano me
madhurya—of sweetness; varidhi—ocean; mada—passion; ambu—water; taranga—waves; bhangi—breaking; shringara—passionate ecstasy; sankulita—distress; shita—cools; kishora—of a youth; vesham—the appearance; amanda—very mild; hasa—by the smile; lalita—sweetened, made charming; anana—face; candra—moon; bimbam—the orb; ananda—bliss; samplavam—a flood; anu—along; plavatam—may float; manah—mind; me—of me.
May my mind float along in the flood of bliss emanating from Krishna's moonlike face, made charming by a very mild smile. Krishna has the appearance of a young boy, and, beautified by the waves of His passionate ecstasy breaking in the ocean of sweetness, He soothes all distress.
Text 15
avyaja-mashjula-mukhambuja-mugdha-bhavair
asvadyamana-nija-venu-vinoda-nadam
akridatam aruna-pada-saroruhabhyam
ardre madiya-hridaye bhuvanardram ojah
avyaja—open, not deceitful; mashjula—lovely; mukha—face; ambuja—lotus; mugdha—amiable, charming, artless; bhavaih—emotions, ecstasies; asvadymana—eagerly tasted; nija—His own; venu—flute; vinoda—playing; nadam—sound; adridatam—may it play; aruna—reddish; pada—feet; saroruhabhyam—by the lotus; ardre—moistened; madiya—my; hridaye—in the heart; bhuvana—the universe; ardram—moistening; ojah—force (of the overflowing current of bliss emanating from Krishna's moonlike face).
Let the force [of the flood of bliss emanating from Krishna's face], which saturates the whole universe, play within my heart, which is moistened by contact with Krishna's lotus feet, by the display of charming, artless emotions on His open, lovely lotus face, and by the melody of His flute, which is relished by Radha.
Text 16
mani-nupura-vacalam
vande tac caranam vibhoh
lalitani yadiyani
lakshmani vraja-vithishu
mani—jeweled; nupura—anklets; vacalam—sound, tinkle; vande—I bow down; tad—those; caranam—the feet; vibhoh—of the Lord; lalitani—decorate; yadiyani—whose; lakshmani—the marks (of the feet); vraja—of Vrindavana; vithishu—the paths.
I bow down to the feet of Lord Krishna, whose jeweled anklets tinkle and whose footprints decorate the paths of Vraja.
Text 17
mama cetasi sphuratu vallavi-vibhor
mani-nupura-pranayi mashju shishjitam
kamala-vanecara-kalinda-kanyaka-
kalahamsa-kantha-kala-kujitadritam
mama—in my; cetasi—mind; sphuratu—let there by manifested; vallavi—of the milkmaids; vibhoh—the master; mani—jeweled; nupura—anklets; pranayi—provided with; mashju—sweet; sishjitam—jingling; kamala—of Kamala (Radha); vanecara—lotus—filled ponds; kalinda—kanyaka—the daughter of Mount Kalinda (i.e., the Yamuna River); kalahamsa—white swans; kantha—in the throats; kala—warbling cries; kujita—melodious; adritam—worshiped, accorded welcome.
May the sweet jingling of the jewled anklets of Krishna, the master of the milkmaids, be manifest in my mind. Kamala's [Radha's] white swans swimming in the lotus-filled ponds of the Yamuna accord that sweet jingling a warm welcome with the melodious warbling from their throats.
Text 18
tarunaruna-karunamaya-vipulayata-nayanam
kamala-kuca-kalashi-bhara-vipuli-krita-pulakam
murali-rava-tarali-krita-muni-manasa-nalinam
mama khelatu mada-cetasi madhuradharam amritam
taruna—like the sun; aruna—red; karunamaya—full of compassion; vipulayata—broad, wide open; nayanam—eyes; kamala—Radha; kuca—breasts; kalashi—pitcherlike; bhara—heavy; vipuli—pressing; krita—caused; pulakam—standing of the hairs on end; murali—flute; rava—sound; tarali—loose, liquified; krita—made; muni—of the sages; manasa—the minds; malinam—lotuses; mama—my; khelatu—play; mada—intoxicated with glee; cetasi—mind; madhura—sweet; adharam—lips; amritam—(filled with) nectar.
May Krishna's nectar-filled sweet lips play in my mind, intoxicated with delight. His broad eyes, reddish like the rising sun, are full of compassion, His hair is standing on end because of touching Kamala's [Radha's] heavy, pitcherlike breasts, and He has melted the lotuslike hearts of the sages with the sound of His flute.
Text 19
amugdham ardha-nayanambuja-cumbyamana-
harshakula-vraja-vadhu-madhurananendoh
arabdha-venu-ravam arta-kishora-murter
avirbhavantu mama cetasi ke 'pi bhavah
amugdham—of the completely charming one; ardha—half-closed; nayana—eyes; ambuja—lotus; cumbyamana—as if kissing; harsha—with joy; akula—agitated; vraja-vadhu—the wives of Vraja (i.e., the milkmaids); madhura—sweetly beautiful; anana—faces; indoh—moon; arabdha—commencement; venu—flute; ravam—sounding; arta—assumed; kishora—youth; murteh—form; avirbhavantu—may there appear; mama—in my; cetasi—mind; ke api—some; bhavah—ecstatic states.
May there appear in my mind some of the ecstatic states of very charming Shri Krishna. As He glances at the milkmaids' sweet moonlike faces, agitating them with joy, He seems to be kissing them with His half-closed eyes. As He begins sounding His flute, He assumes the attitude of an adolescent youth.
Text 20
kala-kvanita-kankanam kara-niruddha-pitambaram
klama-prashrita-kuntalam galita-barha-bhusham vibhoh
punah prakriti-capalam pranayini-bhuja-yantritam
mama sphuratu manase madana-keli-shayyotthitam
kala—soft sound; kvanita—sounding; kankanam—bracelets; kara—by the hand; niruddha—grasped; pita—yellow; ambaram—cloth; klama—fatigue; prashrita—disheveled; kuntalam—hair; galita—slips; barha—peacock; bhusham—plume; vibhoh—of the Lord; punah—again; prakriti—natures; capalam—fickle; pranayini—of the beloved; bhuja—by the arms; yantritam—held; mama—my; sphuratu—let it manifest; manase—in the mind; madana—amorous; keli—play, pastimes; shayya—the bed; utthitam—rising.
May there awaken in my mind a vision of the Lord arising from the bed of amorous play. The bracelets of Radha and Krishna tinkle softly, and Krishna's yellow cloth is grasped by Them both. Their hair is disheveled from fatigue, and Krishna's peacock plume slips from His hair. Again Their fickle, playful natures manifest, and at last Radha holds Krishna with Her arms.
Text 21
stoka-stoka-nirudhyamana-mridula-prasyandi-manda-smitam
premodbheda-nirargala-prashrimara-pravyakta-romodgamam
shrotum shrotra-mano-haram vraja-vadhu-lila-mitho-jalpitam
mithya-svapam upasmahe bhagavatah kridani-milad-drishah
stoka-stoka—drop by drop; nirudhyamana—although held back, or as if held back; mridula—softly, gently; prasyandi—oozes; manda—gentle; smitam—smile; prema—transcendental love; udbheda—rising; nirargala—uncheckable; prashrimara—streaming forth; pravyakta—evident; roma—hair standing on end; udgamam—appearing; shrotum—in order to hear; shrotra—to the ear; manah—the mind; haram—pleasing; vraja—vadhu—the wives of Vraja (i.e., the milkmaids); lila—playful; mithah—mutual; jalpitam—talks; mithya—false; svapam—sleep; upasmahe—we worship; bhagavatah—the Lord; kridani—playfully; milan—closed; drishah—with eyes.
We worship Lord Krishna, who is mischievously keeping His eyes closed, pretending to sleep, in order to hear the milkmaids' playful talks, which are so pleasing to the ear and mind. Though Krishna is trying to restrain Himself, a gentle smile trickles from His lips drop by drop, and He cannot check the rising tide of love, which causes His hair to begin standing on end.
Text 22
vicitra-patrankura-shali-bala-
stanantaram yama vanantaram va
apasya vrindavana-pada-lasyam
upasyam anyam na vilokayamah
vicitra—drawn decorations; patra—with leaves; ankura—with sprouts; shali—resplendent; bala—of the young girl (Radha); stana—greasts; antaram—filled with memories; yama—going; vana—the forest; antaram—inside; va—or; apasya—having disregarded; vrindavana—the forests of Vrindavana; pada—whose feet; lasyam—dancing, or beauty; upasyam—object of worship; anyam—other; na—not; vilokayamah—we do see.
We do not see any object of worship other than Lord Krishna, whether He is deeply in thought, remembering how He decorated the breasts of the resplendent young girl Radha with pictures drawn with leaves and sprouts, or whether He is wandering in Vrindavana Forest, which is adorned with the beauty of His dancidng feet.
Text 23
sardham samriddhair amritayamanair
atayamanair murali-ninadaih
murdhabhishiktam madhurakritinam
balam kada nama vilokayishye
sardham—along with; samriddhaih—fully endowed with musical embellishments; amritayamanaih—like nectar; atayamanaih—pouring forth; murali—flute; ninadaih—sound; murdha—as the head or king; abhishiktam—universally acknowledged; madhura—sweet; akritinam—those with forms; balam—the young boy (Krishna); kada—when; nama—if ever; vilokayishye—shall I see.
When oh when shall I see that young boy Krishna, the unchallenged king of those who are exquisitely beautiful, and when shall I experience along with that vision the flooding nectar of His flute's sound, endowed with the topmost musical embellishments?
Text 24
shishiri-kurute kada nu nah
shikhi-piccha-bharanah shishur drishoh
yugalam vigalan-madhu-drava-
smita-mudra-mriduna mukhenduna
shishiri—cooling; kurute—perform; kada—when; nu—indeed; nah—of us; shikhi—peacock; piccha—plumes; bharanah—adorned; shishuh—the child (Krishna); drishoh—of our eyes; yugalam—the pair; vigalan—trickling; madhu—honey; drava—mild; smita—of the smile; mudra—gesture; mriduna—made soft and gentle; mukha—face; induna—moonlike.
When will that child [Krishna], adorned with peacock plumes, soothe and cool our eyes with a vision of His moonlike face, imbued with gentleness by the trickling honey of His tender smiles?
Text 25
karunya-karbura-kataksha-nirikshanena
tarunya-samvalita-shaishava-vaibhavena
apushnata bhuvanam adbhuta-vibhramena
shri-krishna-candra shishiri-kuru locanam me
karunya—full of mercy; karbura—colored with various tints; kataksha—from the corners of the eyes; nirikshanena—with glances; tarunya—youth; samvalita—touched; shaishava—childhood; vaibhavena—with the magnificence; apushnata—nourishing; bhuvanam—the universe; adbhuta—amazing; vibhramena—with playfulness; shri—krishna—of Krishna; candra—O moon; shishiri—cool down; kuru—please (do); locanam—eyes; me—my.
O moonlike Krishna, please soothe and cool my eyes with Your sidelong glances, tinged with mercy; with the magnificence of your childhood, touched by youth; and with Your wondrous playfulness, which nourishes the whole universe.
Text 26
kada va kalindi-kuvalaya-dala-shyama-taralah
kataksha lakshyante kim api karuna-vici-nicitah
kada va kandarpa-pratibhata-jata-candra-shishirah
kam apy antas tosham dadhati murali-keli-ninadah
kada—when; va—alas; kalindi—the Yamuna; kuvalaya—blue lotus; dala—petals; shyama—blue; taralah—moving to and fro; kataksha—sidelong glances; lakshyante—marked by; kim api—wonderful; karuna—mercy or grace; vici—waves; nicitah—full of; kada—when; va—indeed; kandarpa—of Cupid; pratibhata—the enemy (i.e., Shiva); jata—matted locks; candra—moon; shishirah—cooler; kam api—ineffable; antah—my heart; tosham—joy; dadhati—give; murali—of the flute; keli—playful; ninadah—notes.
When will Krishna cast upon me His sidelong glances, which are as dark blue as the blue lotuses growing in the Yamuna and tremulous with waves of mercy? And when will my heart find ineffable joy in the playful notes of His flute, which are more cooling than the moon held on the head of Shiva, Cupid's enemy?
Text 27
adhiram alokitam ardra-jalpitam
gatam ca gambhira-vilasa-mantharam
amandam alingitam akulonmada-
smitam ca te natha vadanti gopikah
adhiram—fickle; alokitam—glances; ardra—tender, witty ("moist"); jalpitam—talking; gatam—gait; ca—and; gambhira—profound swell; vilasa—passion; mantharam—slowness; amandam—fast, deep, eager; alingitam—embrace; akula—distracting, agitating; unmada—intolicating; smitam—smile; ca—and; te—Your; natha—O Lord; vadanti—describing; gopikah—the milkmaids.
O Lord, the milkmaids are describing your fickle glances, your tender, witty talking, Your slow gait, made graceful by the swell of deep passion, Your eager embraces, and Your distracting, agitating, intoxicating smile.
Text 28
astoka-smita-bharam ayatayataksham
nihshesha-stana-mriditam vrajanganabhih
nihsima-stabakita-nila-kanti-dharam
drishyasam tribhuvana-sundaram mahas te
astoka—continuous; smita—smilings; bharam—bearing; ayatayata—long and wide; aksham—eyes; nihshesha—tightly, completely; stana—breasts; mriditam-embraced; vraja-of Vraja; anganabhih-by the milkmaids of Vraja; nihsima-boundless; stabakita-cluster of blossoms; nila-blue; kanti-of effulgence; dharam-diffusing a flood; drshyasam-may I see; tribhuvana-in the three worlds; sundaram-most magnificently beautiful; mahah-the splendor; te-of You.
[OLord], please let me see Your bodily spendor, which is the most magnificently beautiful in all the three worlds, which bears Your continuous smiles and Your long, wide eyes, which is tightly embraced by the milkmaids of Vraja to their breasts, and which diffuses an endless flood of bluish effulgence, like clusters of blossoms.
Text 29
mayi prasadam madhuraih katakshair
vamshi-ninadanucarair vidhehi
tvayi prasanne kim iha 'parair nas
tvayy aprasanne kim iha 'parair nah
mayi—to me; prasadam—mercy; madhuraih—charming; katakshaih—with sidelong glances; vamshi—of the flute; ninada—the sounds; anucaraih—accompanying, moving with; vidhehi—please grant me; tvayi—by You; prasanne—blessed; kim iha—what (need); aparaih—other, else; nah—for us; tvayi—by You; aprasanne—not blessed; kim iha—what (use); aparaih—other, else; nah—for us.
O Lord, please show me Your mercy by casting upon me Your charming sidelong glances, moving to the accompaniment of Your flute-song. If I have Your blessings, what use are others'? And if I'm without Your blessings, what use are others'?
Text 30
nibaddha-murdhashjalir esha yace
nirandhra-dainyonnati-mukta-kanthah
daya-nidhe deva bhavat-kataksha-
dakshinya-leshena sakrin nishishca
nibaddha—fixed; murdha—on the head; ashjalih—folded palms; esha—this one (I); yace—prays; nirandhra—gapless (constant); dainya—pitiable misery (i.e., pain of separation from Krishna); unnati—increasing; mukta—opened; kanthah—throat; daya—of mercy; nidhe—Ocean; deva—O Lord; bhavad—Your; kataksha—sidelong glance; dakshinya—kindness; leshena—a drop; sakrit—once; nishishca—anoint.
I fix my folded palms upon my head and, given voice by my increasing, ceaseless, pitiable misery, pray, "O Lord, O ocean of mercy, please anoint me just once with a drop of kindness from Your sidelong glance."
Text 31
picchavatamsa-racanocita-kesha-pashe
pina-stani-nayana-pankaja-pujaniye
candraravinda-vijayodyata-vaktra-bimbe
capalyam eti nayanam tava shaishave nah
piccha—peacock feather; avatamsa—crown; racana—adorned; ucita—delightful; kesha—hair; pashe—mass; pina—plump; stani-those who have (plump) breasts (i.e., the milkmaids); nayana-by the eyes; pankaja-lotus; pujaniye-worshiped; candra-moon; aravinda-lotus; vijaya-defeating; udyata-begun; vaktra-face; bimbe-orb; capalyam-restive; eti-have become; nayanam-eyes; tava-Your; shaishave-childlike form; nah-of us.
O Lord, our eyes have become restless to see Your childlike form, with its clustered locks delightfully adorned with a peacock feather. That form, which is worshiped by the buxom milkmaids' lotus eyes, possesses a face that has begun defeating the beauty of the moon and the lotus.
Text 32*
tvac-chaishavam tri-bhuvanadbhutam ity avehi
mac-capalam ca tava va mama vadhigamyam
tat kim karomi viralam murali-vilasi
mugdham mukhambujam udikshitum ikshanabhyam
tvat—Your; shaishavam—early age; tri—bhuvana—within the three worlds; adbhutam—wonderful; iti—thus; avehi—know; mat—capalam—My unsteadiness; ca—and; tava—of YOu; va—or; mama—of Me; va—or; adhigamyam—to be understood; tat—that; kim—what; karomi—I do; viralam—in solitude; murali-valasi—Oplayer of the flute; mugdham—attractive; mukha-ambujam—lotuslike face; udikshitum—to see sufficiently; ikshanabhyam-by the eyes.
O Krishna, O flute-player, the sweetness of Your early age is wonderful within these three worlds. You know My unsteadiness, and I know Yours. No one else knows about this. I want to see Your beautiful, attractive face somewhere in a solitary place, but how can this be accomplished?
Text 33
paryacitamrita-rasani padartha-bhangi-
valguni valgita-vishala-vilocanani
balyadhikani mada-vallava-bhavinibhir
bhave luthanti sukritam tava jalpitani
paryacita—abundantly full of; amrita—nectar; rasani—mellows, feelings of love; pada—artha—witty meanings; bhangi—array, waves; valguni—very pleasant; valgita—with dancing; vishala—wide; vilocanani—eyes; balya—to boyishness; adhikani—natural; mada—impassioned; vallava—of the cowherd men; bhavinibhih—wives; bhave—the state of being, heart; luthanti—exhilarate, stir; sukritam—the lucky, the good; tava—Your; jalpitani—verbal duels, talks.
O Krishna, Your verbal duels with the impassioned, vivacious milkmaids exhilarate the hearts of the fortunate. These talks are filled with the nectar of the exchanges of love, rendered very pleasant by waves of witty meanings, imbued with Your natural boyishness, and punctuated by the movements of Your wide, dancing eyes.
Text 34
punah prasannendu-mukhena tejasa
puro 'vatirnasya kripa-mahambudheh
tad eva lila-murali-ravamritam
samadhi-vighnaya kada nu me bhavet
punah—again; prasanna—spotless; indu—moon; mukhena—of the face; tejasa—effulgence; purah—before me; avatirnasya—appearing; kripa—mercy; maha—great; ambudheh—ocean; tad—that; eva—certainly; lila—(expressive of) pastimes; murali—flute; rava—sound; amritam—nectar; samadhi—meditation, or great disease; vighnaya—interrupt, or remove; kada—when; nu—certainly, indeed; me—of me; bhavet—will it.
Oh, when will Krishna, the great ocean of mercy, appear before me again with His spotless, effulgent moon-face? And when will the nectarous sound of His flute, expressive of His pastimes, remove my great disease? [or, "interrupt my deep meditation?"]
Text 35
balena mugdha-capalena vilokitena
man-manase kim api capalam udvahantam
lolena locana-rasayanam ikshanena
lila-kishoram upaguhitum utsuko 'smi
balena—tender; mugdha—artless, charming; capalena—fickle; viloketena—glances; man—in my; manase—mind; kim api—indescribable; capalam—unsteadiness, agitation; udvahantam—produces; lolena—restless, longing; locana—to the eyes; rasayanam—giving pleasure; ikshanena—with the eyes; lila—playful; kishoram—adolescent (Krishna); upaguhitum—embrace; utsukah—very eager; asmi—I am.
I am very eager to embrace that playful young boy Krishna with my restless, longing eyes. He is delightful to see, and with His tender, artless, darting glances He fills my mind with an indescribable agitation.
Text 36
adhira—bimbadhara-vibhramena
harshardra-venu-svara-sampada ca
anena kenapi mono-harena
ha hanta ha hanta mano dunoshi
adhira—restless; bimba—red, like a bimba fruit; adhara—lips; vibhramena—sportive movements; harsha—glee, joy; ardra—full of feeling; venu—flute; svara—sound; sampada—excellence, glory, abundance; ca—and; anena kenapi—other such things; manah—the mind; harena—stealing away (i.e., very attractive); ha hanta—alas, alas; ha hanta—alas, alas; manah—mind; dunoshi—You are tormenting.
O Krishna, the playful movements of Your restless red lips, the flood of Your joyous flute sounds, and other such enchantments of Yours are, alas, alas, tormenting me!
Text 37
yavan na me mikhila-marma-dridhabhigatam
nihsandhi-bandhanam upaiti na ko 'pi tapah
tavad vibho bhavatu tavaka-vaktra-candra-
candratapa-dvigunita mama citta-dhara
yavan—until; na—not; me—of me; nikhila—all; marma—vital, tender parts; dridha—violently; abhighatam—striking; nihsandhi—tight; bandhanam—bonds, tendons or joints; upaiti—arises, comes about; na—not; kah api—some kind of; tapah—torment; tavad—till then; vibhoh—O Lord; bhavatu—may You; tavaka—Your; vaktra—face; candra—moon; candratapa—awaning; dvigunita—twofold; mama—my; citta—of consciousness; dhara—current.
O Lord, until some terminal disease comes to strike violently at my vital parts and cripple my limbs and joints, may the moon of Your face by the double-thick awning for the current of my consciousness [against the burning heat of separation].
Text 38
yavan na me nara-dasha dashami kuto 'pi
randhrad upaiti timiri-krita-sarva-bhava
lavanya-keli-sadanam tava tavad eva
lakshyasam utkvanita-venu mukhendu-bimbam
yavat—until; na—not; me—my; nara—of man; dasha—stage; dashami—tenth ("the tenth stage of man," death); kutah api—somehow; randhrad—through some flaw; upaiti—attains; timiri—in darkness; krita—producing; sarva—all; bhava—states of existence, or senses; lavanya—of beauty; keli—os pastimes; sadanam—abode; tava—Your; tavat—till then; eva—certainly; lakshyasam—seen, observed (by me); utkvanita—high sounding; venu—flute; mukha-indu-face like the moon; bimbam-orb.
Till the tenth stage of man (death) comes upon me through some physical defect, enveloping me in total darkness, let me ever see the orb of Your moon-face, which is the abode of both the pastimes of beauty and Your high-sounding flute.
Text 39
alola-locana-vilokita-keli-dhara-
nirajitagra-caranaih karunamburasheh
ardrani venu-ninadaih pratinada-purair
akarna-yami mani-nupura-sishjitani
alola—rolling; locana—eyes; vilokita—the glance; keli—playful; dhara—waves; nirajita—illuminated; agra—caranaih—the forefeet; karuna—of mercy; amburasheh—the ocean (Krishna); ardrani—wetted or sweetened; venu—flute; ninadaih—sound; pratinada—resonances; puraih—full of; adarna—ear; yami—I give; mani—bejeweled; nupura—anklets; sishjitani—tilnkling.
My ear catches the tinkling of the bejewelsed anklets of Krishna, the ocean of mercy. That tinkling is sweetened by His effulgent forefeet, which are receiving waves of playful glances from His rolling eyes, and by the flooding resonances of His flute-song.
Text 40*
he deva he dayita he bhuvanaika-bandho
he Krishna he capala he darunaika-sindho
he natha he ramana he nayanabhirama
ha ha kada nu bhavitasi padam drishor me
he deva—O lord; he dayita—O most dear one; he bhuvana—eka—bandho—O only friend of the universe; he krishna—O Lord Krishna; he capala—O restless one; he karuna—eka—sindho—O only ocean of mercy; he natha—O my Lord; he ramana—O my enjoyer; he nayana—abhirama—Omost beautiful to my eyes; ha ha—alas, alas; kada—when; nu—certainly; bhavitasi—will You be; padam—the dwelling place; drishoh me—of my vision.
O my Lord! O dearest one! O only friend of the universe! O Krishna, O restless one, O only ocean of mercy! O my Lord, O my enjoyer, O beloved to my eyes! Alas, when will YOu again be visible to me?
Text 41*
amuny adhanyani dinantarani
hare tvad-alokanam antarena
anartha-bandho karunaika-sindho
ha hanta ha hanta katham nayami
amuni—all those; adhanyani—inauspicious; dina—antarani—other days; hare—O may Lord; tvat—of You; alokanam—seeing; antarena—without; anatha—bandho—Ofriend of the helpless; karuna—ika—sindho—O only ocean of mercy; ha hanta—alas, alas; ha hanta—alas, alas; katham—how; nayami—shall I pass.
O my Lord, O Supreme Personality of Godhead, O friend of the helpless! You are the only ocean of mercy! Because I have not met You, My inauspicious days and nights have ecome unbearable. I do not know how I shall pass the time.
Text 42*
kim iha krinumah kasya brumah kritam kritam ashaya
kathayata katham anyam dhanyam aho hridaye shayah
madhura-madhura-smerakare mano-nayanotsave
kripana-kripana krishne trishna ciram bata lambate
kim—what; iha—here; krinumah—shall I do; kasya—to whom; brumah—shall I speak; kritam—what is done; kritam—done; ashaya—in the hope; kathayata—please speak; katham—words; anyam—other; dhanyam—auspicious; aho—alas; hridaye—within My heart; shayah—lying; madhura—madhura—sweeter than sweetness; smera—smiling; akare—whose form; manah—nayana—to the mind and eyes; utsave—who gives pleasure; kripana—kripana—the best of misers; krishne—for Krishna; trishna—thirst; ciram—at every moment; bata—alas; lambate—is increasing.
Alas, what shall I do? To whom shall I speak? Let whatever I have done in hopes of meeting Krishna be finished now. Please say something auspicious, but do not speak about Krishna. Alas, Krishna is lying within My heart like Cupid; therefore how can I possibly give up talking of Him? I cannot forget Krishna, whose smile is sweeter than sweetness itself and who gives pleasure to my mind and eyes. Alas, my great thirst for Krishna is increasing moment by moment!
Text 43
abhyam vilocanabhyam
amburuha-vilocanam balam
dvabhyam api parirabdhum
dure mama hanta daiva-samagri
abhyam—far away; vilocanabhyam—the sight; amburuha—lotus; vilocanam—with eyes; balam—young boy (Krishna); dvabhyam—doubly far away; api—even; parirabdhum—embracing; dure—far away; mama—my; hanta—alas; daiva—luck; samagri—the entirety.
Alas! For me, a glimpse of that young boy with lotus eyes is far away-doubly so His embraces. Alas, I am completely unlucky!
Text 44
ashranta-smitam arunarunadharoshtham
harshardra-dviguna-manojsha-venu-gitam
vibhramya-dvipula-vilocanardha-mugdham
vikshishye tava vadanambujam kada nu
ashranta—always; smitam—smiling; aruna-aruna-very red; adhara-oshtham-upper and lower lips; harisa-with jubilation; ardra-moistened; dviguna-doubly; manojsha-charming; venu-flute; gitam-song; vibhramya-wandering; dvipula-very wide; vilocana-eyes; ardha-half-closed; mugdham-very charming, artless; vikshishye-I shall see; tava-Your; vadana-face; ambujam-lotus; kada-when; nu-alas, oh.
O Krishna! When oh when shall I see Your lotus face, with its deep red lips, its constant smiling, its very charming flute-song saturated with jubilation, and its delightful, half-closed eyes that sometimes open very wide and wander here and there?
Text 45
lilayitabhyam rasa-shitalabhyam
nilarunabhyam nayanambujabhyam
alokayed adbhuta-vibhramabhyam
kale kada karunikah kishorah
lilayitabhyam—playful; rasa—with mellows, with feelings of love; shitalabhyam—cooling, soothing; nila—blue (at the irises); arunabhyam—reddish (at the corners); nayana—eyes; ambujabhyam—lotus; alokayed—look upon; adbhuta—wonderful; vibhramabhyam—rolling, moving, dancing; kale-the time; kada-when; karunikah-kind, merciful; kishorah-adolescent (Krishna).
When will the time come when that merciful boy Krishna will look upon me with His playful lotus eyes, which are soothing and cooling with loving emotion, reddish at the corners and dark bluish at the irises, and wonderfully rolling and dancing?
Text 46
bahula-cikura-bharam baddha-picchavatamsam
capala-capala-netram caru-bimbadharoshttham
madhura-mridula-hasam mandaroddhara-lilam
mrigayati nayanam me mugdha-vesham murareh
bahula—thick; cikura—locks; bharam—having a large quantity; baddha—tied; piccha—peacock feather; avatamsam—adorned; capala—capala—very unsteady, quickly moving; netram—eyes; caru—fascinating, lovely; bimba—red (like bimba fruits); adhara—oshtham—upper and lower lips; madhura—sweet; mridula—gentle; hasam—laughter; mandara—Mount Mandara; uddhara—lifting; lilam—pastime; mrigayati—searching for; nayanam—eyes; me—of me; mugdha—enchanting, artless; vesham—appearance; murareh—Murari.
My eyes search for that enchantingly adorned one, Murari, whose thick locks bear a peacock plume, and whose gaze darts here and there very quickly. His lovely lips are red like bimba fruits, and with His sweet, gentle laughter he seems to be churning [the ocean of my heart] with Mount Mandara.
Text 47
bahula-jalada-cchaya-coram vilasa-bharalasam
mada-shikhi-sikha-lilottamsam manojsha-mukhambhjam
kam api kamalapangodagra-prasanga-jadam jagan-
madhurima-paripakodrekam vayam mrigayamahe
bahula—thick, dense; jalada—clouds; cchaya—effulgence; coram—stolen; vilasa—playing; bhara—much; alasam—languid; mada—impassioned; shikhi—peacock; sikha—feathers; lila—playful; uttamsam—crest; manojsha—fascinating; mukha—face; ambujam—lotus; kam api—someone; kamala—Radha; apanga—sidelong glances; udagra—upward—pointing; prasanga—long contact; jadam—stunned; jagat—the universe; madhurima—sweetness; paripaka—perfection; udrekam—excess; vayam—we; mrigayamahe—search for.
We are searching for that person who has stolen the effulgence of thick clouds, who has grown a bit languid from playing so much, who wears a crest made from the playful feathers of an impassioned peacock, whose lotus face is so fascinating, who has become stunned by long and close contact with the upward-pointing sidelong glances of Kamala (Radha), and who is the very overabundance of perfection of all the sweet beauty in the universe.
Text 48
paramrshyam dure pathi pathi muninam vraja-vadhu-
drisha drishyam shashvat tribhuvana-mano-hari-vadanam
anamrishyam vaca muni-samudayanam api kada
daridrishye devam dara-dalita-nilotpala-rucim
paramrshyam—sought for; dure—further away; pathi pathi—(further and further) along the path; muninam—of the sages; vraja—of Vraja; vadhu—the wives (i.e., the milkmaids); drisha—to the eyes; drishyam—visible; shashvat—always; tribhuvana—in all three worlds; manah—minds; hari—stealing (i.e., enchanting); vadanam—face; anamrishyam—not found or described; vaca—in words; muni—of sages (like Vyasa, etc.); samudayanam—multitude; api—indeed; kada—when; daridrishye—I shall see; devam—that God; dara—a little; dalita—opened; nilotpala—blue lotus; rucim—luster.
When shall I see to my hearts content my Lord (Krishna), for whom the sages must always search further along the path, but whose face, which enchants all the three worlds, is always visible to the eyes of the milkmaids of Vraja? Wlhen shall I see Him, whose luster resembles a slightly open blue lotus bud, and who is always beyond the reach of the words of the great sages like Vyasa?
Text 49
lilananambujam adhiram udikshamanam
narmani venu-vivareshu niveshayantam
dolayamana-nayanam nayanabhiramam
devam kada nu dayitam vyatilokayishye
lila—sportive; anana—face; ambujam—lotus; adhiram—fickle; udikshamanam—looking out; narmani—amorous joking; venu—flute; vivareshu—holes; niveshayantam—reveals; dolayamana—rolling; devam—the Lord (Krishna); kada—when; nu—indeed; dayitam—my darling; vyatilokayishye—I shall see.
When shall I see my darling Lord (Krishna), who is so fickle yet so delightful to my eyes? His eyes are rolling, and as He looks out from His sportive lotus face He sends a song of loving jokes through the holes of His flute.
Text 50
lagnam muhur manasi lampata-sampradaya-
lekhavalehini rasajsha-manojsha-vesham
rajyan-mridu-smita-mridullasitadharamshu
rakendu-lalita-mukhendu mukunda-balyam
lagnam—clings; muhur—constantly, again and again; manasi—mind; lampata—debauchee; sampradaya—tradition; lekha—drawings; avalehini—fond (of tasting dainties); rasajsha—those knowledgeable of the taste; manojsha—enraptures; vesham—appearance; rajyan—reddened; mridu—gentle; smita—smile; mridu—ullasita—softly glowing, or kunda flowers; adhara—amshu—lip—rays, or teeth; raka—indu—full moon; lalita—cherished; mukha—indu—face like a moon; mukunda—of Mukunda; balyam—adolescent loveliness.
The adolescent loveliness of Mukunda, whose appearance enraptures the conoisseurs, clings to my mind, which is always fond of drawings from the libertine tradition. His moon-face is cherished by the moon itself, and the softly glowing rays of his lips redden His gentle smile [or, His kunda-flower-like teeth are reddened by the effulgence of His gentle smile].
Views: 571
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Comment by Paramananda das on December 17, 2018 at 1:56pm
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not all slokas here
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