Gopāla-campū 4 страница

sandhyayos tu—

vatsā n mocayatā ṁ dhanā ni duhatā ṁ dugdhā ni sañ cinvatā ṁ

gā ḥ sambhā layatā ṁ gṛ hā n pracalatā ṁ kṛ ṣ ṇ aṁ puraḥ kurvatā m |

tal-lī lā ḥ parigā yatā ṁ pulakitā m aś rā ṇ i cā tanvatā ṁ

gopā nā ṁ bata cittam uccita-madaṁ mac-cittam ā krā mati ||40|| [ś ā rdū lā ]

In the dawn and dusk as well memories arise:

“Let the calves free. Milk the cows. Collect the milk buckets. Gather the cows. Go to the house. Put Kṛ ṣ ṇ a in front. Sing the pastimes of Kṛ ṣ ṇ a. Shed tears while your hairs stand on end! ” The blissful, daily actions of the cowherds overcome my heart.

[63] sadā caitā ni rā ja-vartmā ni tat-kī rtana-catvarā ṇ ī va prasabhaṁ mac-cittam ā karṣ anti | tathā hi—

rā maḥ kṛ ṣ ṇ aḥ kṛ ṣ ṇ a-rā mau ca kṛ ṣ ṇ aḥ

kṛ ṣ ṇ aḥ kṛ ṣ ṇ aḥ kṛ ṣ ṇ a ity eṣ a jalpaḥ |

yā tā yā taṁ kurvatā ṁ sarvadā pi

svairā lā pe ś rū yate tatra tatra ||41|| [ś ā linī ]

The roads strongly attract my heart like the yards filled with kī rtana.

As the people freely converse while coming and going on the roads one can hear constant utterance of “Rā ma! Kṛ ṣ ṇ a! Rā ma! Kṛ ṣ ṇ a! Kṛ ṣ ṇ a! Kṛ ṣ ṇ a! ”

[64] ś rī -kṛ ṣ ṇ a-pramadā nā ṁ pramadā nā ṁ pramada-vana-pā trā ṇ i patrā ṇ i tu varṇ yamā nā ni kavī nā m apatrapā m eva bibhrati, yatas tatratyaṁ sarvam eva citram iti duṣ pratyā yatā ṁ prā pnoti | yeṣ u hi—

The joyful groves of Kṛ ṣ ṇ a’s consorts, which are like lotus petals, are now described. They cause embarrassment to incapable poets since they contain most astonishing objects hard to describe.

kvacit kuñ jā ḥ sadma-bhramakara-rucais tair avayavaiḥ

kvacic citraiḥ sadmā ny api tulita-kuñ jā ni ś ataś aḥ |

jalā ni kvā py udyat-kamala-valitā ni pratipadaṁ

sthalā ny apy evaṁ kvā py atha kim iva kiṁ nirṇ aya-padam ||42|| [ś ikhariṇ ī ]

In some places groves by their components give the impression that they are houses. In some places the hundreds of houses give the impression that they are only bowers, because of their beauty. In some places there is water thick with blossoming lotuses at every step. And in other places there are land lotuses. How can one describe each object there?

sakhī nā ṁ sā raṇ ya-tridaś a-sudṛ ś ā ṁ gā na-valanā ṁ

muhuḥ prodyan-mū rcchā ṁ madhu-madhura-rā ga-praṇ ayinī m |

hari-premā rta-strī -prathama-racitā ṁ ś ṛ ṇ vati jane

sukhaṁ vā duḥ khaṁ vety avakalayituṁ kaḥ prabhavati ||43|| [ś ikhariṇ ī ]

Hearing the songs composed by the sakhī s and the forest deities with musical embellishments, revealing sweet rā gas, sweeter than honey, describing the pū rva-rā ga of the gopī s filled with the pains of prema for Kṛ ṣ ṇ a, who can determine whether it is happiness or grief?

kvacid gā naṁ sū kṣ maṁ kvacid api ca tauryatrika-kalā

kvacit premṇ ā goṣ ṭ hī kvacid api mahā -keli-kalahaḥ |

iti sphā raṁ tā bhiḥ praṇ aya-maya-sā raṁ viharaṇ aṁ

harer dhyā yan nā nā bhavati kavi-cittaṁ muhur api ||44|| [ś ikhariṇ ī ]

The hearts of poets become constantly filled with various sentiments while meditating on Kṛ ṣ ṇ a as he performs pastimes with the gopī s which are the essence of affection—fine songs, artistic dancing, gathering filled with prema, and great mock quarrels.

premā kā mati tat-kriyā kalahati stambhā di-bhā vā valī

sakhyā ṁ sañ carati ś rutaṁ ca caritaṁ sarva-ś rutaṁ laṅ ghati |

itthaṁ keli-kalā -kalā pa-kalitaṁ vṛ ndā vanā ntar-vane

dampatyor nikhilaṁ vicā ra-padavī m uddhū ya vibhrā jate ||45|| [ś ā rdū la]

Prema behaves like kā ma. The actions of prema create strife. Emotions like being stunned overcome the sakhī s. Hearing of their pastimes surpasses all other subjects heard. The pastimes between Kṛ ṣ ṇ a and the gopī s within the forests of Vṛ ndā vana reign supreme, dispelling all judgment.

akuṇ ṭ hā m utkaṇ ṭ hā ṁ vahati harir ā su pratipadaṁ

harā v apy etā yad vyatimilana-saukhyaṁ vijayate |

aho yasmā d asmin nirupadhi-sakhī -vṛ ndam ubhaya-

prakṛ ṣ ṭ otkaṇ ṭ hitvaṁ viś ati tad idaṁ hanta kim iva ||46|| [ś ikhariṇ ī ]

Kṛ ṣ ṇ a has unlimited attraction for the gopī s at every moment, and the gopī s have similar attraction for him, for there is great happiness in their meeting. But in the happiness of meeting, the sakhī s with unconditional love for him have greater longing than he has. This cannot be described.

api sundaratā ṁ prati tā ḥ, sundaratā ṁ kila vahanti gopā lyaḥ |

yan nirdū ṣ aṇ a-bhū ṣ aṇ a-bhū ṣ aṇ a-kṛ ṣ ṇ e vibhū ṣ aṇ ā yante ||47|| [udgī tiḥ ]

The gopī s possess beauty expressed by the word “beauty. ” They reveal beauty as special ornaments for Kṛ ṣ ṇ a who is decorated with flawless ornaments.

na bhajati lakṣ mī s tulanā m, iti kiṁ stutaye ghaṭ eta rā dhā yā ḥ |

yā lakṣ mī m api jetrī ḥ, sva-rucā gopī ḥ pṛ thak kurute ||48|| [ā ryā ]

Is it possible to praise Rā dhā by saying “Lakṣ mī cannot compare to Rā dhā ”?

The other gopī s, who surpass Lakṣ mī, cannot compete with Rā dhā ’s beauty.

[65] tasmā d asā mpratā ā sā m pratā ya mad-vidhā ya yathā svaṁ varṇ ayituṁ kim uta nirvarṇ ayitum—

Since persons like us are incapable of describing the nature of the gopī s, what can be said of actually seeing them?

ravy-ā di-dyuti-jiṣ ṇ u-divya-dharaṇ i-kṣ auṇ ī -ruhā ntargata-

prā sā da-sthita-siṁ ha-pī ṭ ha-mahasi cchannā nya-dṛ ṣ ṭ i-tviṣ i |

spaṣ ṭ ā tmī ya-dṛ ś i prakī rṇ aka-vikī rṇ ā lī -hitā lī -vṛ tā

rā dhā -mā dhava-mā dhurī -vara-sudhā tṛ ṣ ṇ ā ṁ mudhā yacchati ||49|| [ś ā rdū la]

Rā dhā and Mā dhava are seated on a great throne in splendid place amidst trees on ground made of gems more brilliant than the sun. Their beauty can be seen only by intimate associates and not by others. They are fanned by sakhī s on all sides to keep the bees away. That sweet nectar uselessly tries to satisfy my thirst.

[66] tad evam ā nanda-satra-patrā di-sthitā nā m upari sā ndra-ś ā khā bhir alakṣ ya-talā nā m analpa-kalpa-vṛ kṣ a-lakṣ ā ṇ ā m adhimadhyaṁ rā ja-samā ja-virā jamā nā ṁ varṇ ita-mañ ju-kiñ jalka-karṇ ikā m adhivasantaḥ sadā lasataḥ sa-parivā ra-vā ra-surabhī -pā la-bhū pā la-kumā rasya tasya sarva-cintā tī ta-cintā maṇ i-mayam akṣ ā maṁ sapta-kakṣ yā rā maṁ dhā ma nikā maṁ dhā ma vistā rayan netrā ṇ i vistā rayati | tatra ca bhā samā naṁ tad ā vā sam abhitaḥ satatam upaparā rdhe gaṇ anī yā nā ṁ sajā tī yā nā m advitī yā vasatiḥ | seyam abhisnihya vandibhiḥ sandihyate |

Situated on petals, filled with bliss, are thousands of lofty desire trees whose roots are hidden by thick branches, standing like members of an assembly. In their center is the pericarp of the lotus, with attractive pollen of various colors. In the center is the continually shining abode of the cowherd Kṛ ṣ ṇ a with his associates. It is inconceivable, made of cintā maṇ i, with seven layers, emitting effulgence and causing astonishment to the eyes. Surrounding that shining place is an incomparable abode with billions of other similar cities. Affectionate singers also are uncertain of the full greatness of this place. They say:

abjaṁ tad ā liṅ gitum abja-bandhor

bandhur yayau kiṁ pariveṣ a eṣ aḥ |

gopā layā nā ṁ valayā valir vā

gopeś a-veś mā bhita evam asti ||50|| iti | [indravajrā ]

Around Nanda Mahā rā ja’s palace are many houses placed in a circular pattern. It seems that the halo of the sun is embracing its friend, the lotus of Gokula. Or is this a circular residence surrounding Nanda’s palace?

[67] tad-vā sinas tv evaṁ stū yante—

arthā ḥ sarva-janā rthanā m atigatā ḥ kā mā nikā mā grimā

dharmā ḥ karmaṭ ha-veda-dharma-mahitā mokṣ ā ś ca mokṣ ā tigā ḥ |

teṣ ā ṁ tatra vasanti sevakatayā kṛ ṣ ṇ ā ya tṛ ṣ ṇ ā -juṣ ā ṁ

yad-dhā mā rtha-suhṛ t-priyā tma-tanaya-prā ṇ ā ś ayā s tat-kṛ te ||51|| [ś ā rdū lā ]

The singers praise the inhabitants as follows:

Their acquisitions surpass those of all men’s prayers, their desires are the foremost desires, their dharma is greater than that mentioned in the Vedas, and their liberation surpasses liberation. Artha, dharma, kā ma and mokṣ a reside in Gokula for the inhabitants thirsty for Kṛ ṣ ṇ a, only to serve him. Their houses, wealth, friends, wives, self, sons, life and aspirations are only for Kṛ ṣ ṇ a.

netraṁ ś rotraṁ cittam apy anyad anyat

tucchaṁ yasmin bhā ti kṛ ṣ ṇ aṁ vinā tu |

ghoṣ e tasmiṁ ś cakṣ uṣ aś cakṣ ur evaṁ

ś rautī vā rtā paś ya dṛ ś yā vibhā ti ||52|| [ś ā linī ]

In Gokula the eye, ear, mind and other senses are useless without Kṛ ṣ ṇ a. “Kṛ ṣ ṇ a is the eye of the eye. ”[3] Look! This statement of the Vedas is personified in Gokula.

vibhrā jante sū tra-sañ cā ra-vidyā

pā ñ cā lyaḥ kiṁ viś va-vismā yanā ya |

kiṁ vā gopā ḥ svā ntare kṛ ṣ ṇ a-bhā vair

baddhā ḥ santas tatra tatra bhramanti ||53|| [ś ā linī ]

Do puppets on strings reside in Gokula to astonish the world? Or do the cowherd people bound internally by the strings of love for Kṛ ṣ ṇ a wander here and there?

kiṁ ca—

pitā yaṁ mā teyaṁ pitṛ -sahaja-vargaḥ svayam asau

tathaivā nye cā nya-prathita-hita-sambandha-mahitā ḥ |

vraje khyā tir yaiṣ ā bakaripu-gaṇ e bhā ti khalu tā ṁ

kvacit tulyaḥ premā pathikam anu ś aś vad bhramayati ||54|| [ś ikhariṇ ī ]

It is well know that the inhabitants of Vraja regard themselves as relatives of Kṛ ṣ ṇ a, such as father, mother, or uncle. Such prema of the inhabitants for Kṛ ṣ ṇ a is offered to the perfected devotees according to their desire.

[68] athā nyad api kim api vibhā vya sambhā vyate | tad yadi satā m anubhavam apy anubhavitā, tadā bhavyam eva khaly bhavyam, na cen navya-kā vyatā tu na vyabhicaritā | athavā, tathā pi yat kiñ cid api teṣ ā ṁ vā ñ chitaṁ syā d eveti sarva añ citam eva manyā mahe |

Thinking about it, it becomes possible. If there is genuine realization in the devotees, it is auspicious. If there were no realization, would not new poetry about Kṛ ṣ ṇ a improper? I consider that whatever the devotees desire should be respected.

[69] tat tu sambhā vanaṁ, yathā —atha gopā vā sā bhyantare tā dṛ ś ā m eva sabhyā nā ṁ labhyā sabhā valir upalabhyate, yatra bhū ri-vaicitrī -dhurā ṇ i mahā -gopurā ṇ i purā ṇ ī va virā jante, yeṣ ā ṁ panthā naḥ kila kiñ jalka-valaja-paryantā ḥ samastā d vibhrā jante,

yatra ca parasparam abhimukhā ḥ sumukhā mahā ntas te gṛ hā mithaḥ pṛ thula-ś obhā loka-spṛ hā iva vimṛ ś ya dṛ ś yante, yatra ca siṁ ha-saṁ hananā nā ṁ puruṣ a-siṁ hā nā ṁ niś calā ṅ ghrī ṇ i mahā -siṁ hā sanā ni vicitratayā netrā ṇ ā ṁ paribṛ ṁ haṇ atā m aṁ hante,

yatra ca parā vara-kakṣ yā -vā si-loka-lakṣ ā ṇ i samam eva samakṣ ā ṇ i santi, mithaḥ sukha-ś atā ni varṣ anti, yatra caikatrā sī nā nā m anyatrā pi rū paka-kā vya iva pratirū pā ṇ i rū pā ṇ i pratī yante—na ca tā ni kevalā ni, api tu pratidhvanayaś ca dhvani-kā vya iva dhvanitayā vibhā vyante, yataḥ svacchā ntaḥ -karaṇ ā mahā ntaḥ khalu para-guṇ ā ntarā ṇ y api ā yacchantī ti prathitiḥ prathī yasī; yadā ca tathā prathī yante vibhā vyante ca, tadā hy ā gantukā nā nā -janā s tat-tad-rū pā ṇ ā ṁ jā nā nā ḥ paritaḥ parihā syante;

yatra ca kutrā pi yadā sadā paramā nanda-syanda-sandoha-dohana-kā nti-kandalī -lambhita-sukha-tandraḥ ś rī man-nanda-kula-candraḥ svayam ā loka-sudhayā loka-cakṣ uś -cakora-vā rapā rā ṇ ā m ā pū rayati, tadā tū tsavā nā m api mahā n utsavaḥ sphurati |

In that place where the cowherds live, there are assembly halls suitable for all participants. There are huge gates as big as cities, full of various decorations with roads which radiate in all directions up to the gates which appear like stamens of a lotus. There are huge, beautiful houses facing each other, resplendent and desirable by all. There are huge thrones with immovable legs, for lions among men, firm as lions, whose eyes increase in beauty at all times. There, the inhabitants of the inner and outer chambers of the palaces mix together and shower hundreds of types of happiness. In that place, people sitting in one place appear in counter forms in other places, like figurative poetry. Not only that, they also have echoes, like allusions in poetry, for the great devotees have pure hearts and accept others’ qualities within. This famous trait is well known. Appearing in this way, when new people see those forms, they become the object of laughter for all (because of their confusion).

When Kṛ ṣ ṇ a, full of happiness and abundant beauty, a mass flowing with the highest bliss, satisfies the cakora eyes of the people by his sweet appearance, the greatest festival makes its appearance.

[70] atha sabhā -valayam antarā ca kakṣ yā -pañ cakatayā labdha-bodhaḥ sarva-cittā varodhaḥ sa tu vraja-nṛ pā varodhaḥ samudbhrā jate | tatra tam eva hi saha-mā tara-pitarā di-vṛ ndaḥ ś rī -govindaḥ svayam ā vasati | yatra sabhā -valayā ntar-antaḥ paritaḥ parī taś catasro’py antaḥ pṛ thag-avarodha-lakṣ ā ḥ kakṣ yā lakṣ yante | anyā ca pañ camī dhanyā sarva-madhya-labdha-nyā satayā yatra citrī yate, yasyā ṁ tu mahā -prā ṅ gaṇ a-saṅ ginyā ṁ pratī cī m anu svā ntara-aṅ gam aṅ gaṇ am aṅ gaṇ aṁ parito nikā yā nā ṁ nikā yaḥ sarvato’pi ś reyasyā ś rī mad-vraja-nara-deva-preyasyā samā ś riyate | udī cī m anu sukha-mayū kha-rohiṇ yā rohiṇ yā | prā cī m anu samasta-kṛ ta-sevena ś rī mad-vraja-naradevena | avā cī m anu svajana-sabhā jana-bhojanā pavarjana-prayojana-sā magryā |

Among the assembly halls is the palace of Nanda, attractive to all, which is known to have five compartments. Govinda resides there with his mother and father. Four parts of the palace spread out amidst the assembly halls. Though they are four, they have many thousands of rooms each. The fifth one in the center is most astonishing, with a great courtyard. To the west are houses spread around. Yaś odā lives in this group of houses. To the north Rohiṇ ī lives, overcome by fresh bliss. In the east lives Nanda, who is served by all people. In the south are houses filled with gifts and food for honoring relatives.

[71] atha tad-bahir bahir antaḥ -pura-prayuta-vibhā ga-pracurā ṇ ā ṁ parama-santuṣ ṭ a-jana-puṣ ṭ ā nā ṁ catuṣ ṭ ayī nā ṁ ca kakṣ yā ṇ ā ṁ paś cā n niś cita-paś cimā di-kakubhaṁ ś ubhā ṁ rī tim avalambya sakala-ś arma-dṛ ś varī ś rī mad-vrajeś varī rā ma-ghaṭ ṭ ā bhirā maḥ ś rī mad-balarā maḥ sarva-loka-gatiḥ ś rī mad-vrajā dhipatiḥ sa ca govardhanā nandanaḥ ś rī mad-vrajā dhipati-nandanaḥ patir atī va rā jate |

Outside of the central area are the four divisions. Each is abundant in inner and outer chambers which are nourished by highly satisfied people. Starting from the west, and going to east and other auspicious directions, most auspicious Yaś odā presides. Balarā ma, who engages in play at Rā ma-ghaṭ ta, resides (in the north). Nanda, the goal of all people, resides (in the east) and Kṛ ṣ ṇ a, the joy of Govardhana resides as the master (in the south).

[72] tatra cā harahar aviraha-rahaḥ -keli-kalita-tṛ ṣ ṇ ayo rā ma-kṛ ṣ ṇ ayor vikhyā ta-tat-tan-nā masu madhyama-kakṣ yā -dvaya-dhā masu parama-ramā -gaṇ a-ś reyasī nā ṁ preyasī nā m ā vā sa-prā sā dā valir udbhā sate;

In two areas within the middle compartment, famous with the names of Balarā ma and Kṛ ṣ ṇ a, who are thirsty for private affairs day and night, are the residential palaces of the most exalted women.

[73] yatra cā veś anam anu sā veś aṁ nā nā -kalā -kalā paṁ kalayantī nā m ā lī nā ṁ nija-nija-yū tha-varū thapā yā ḥ paramā pū rva-pū rva-pū rvā nurā gā di-kathā nikā yā ṁ gā yantī nā ṁ madhu-madhura-kā kalī -kulā ni tatrakī yaṁ sarvaṁ tarv-antam ā rdrī kurvanti, kim uta bahu-kaṣ ṭ a-sṛ ṣ ṭ atayā mithunī -bhū taṁ tat tan mithunam |

In these areas groups of sakhī s are engaged in various arts and sing stories of the most astonishing pū rva-rā ga of their group leaders. That sweet singing melts even the trees growing there. It also melts the hearts of the couple who have met after great difficulties.

[74] tayor dvayor ā varaṇ atayā lakṣ ye ye cā nyatare kakṣ ye te rā ma-krṣ ṇ ayor yathā haritaṁ bahir abahir upaveś a-sadeś a-rū pe bhatavaḥ yathā nikaṭ a-taṭ am etayor abhimukhā ni sarvataḥ sukhā ni tayor madhyamayor dvā rā ṇ i adhiyanti

Surrounding these two compartments are two other rooms with outer and inner compartments for sitting. Balarā ma’s is to the north and Kṛ ṣ ṇ a’s is to the south. The blissful doors in the center of these compartments face the doors of the two compartments nearby.

eṣ ā ca sapta-kakṣ yā tula-cā turī -dhū rī ṇ ā purī pratyantara-kakṣ yam eka-bhū ma-dvi-bhū matā di-prakā reṇ ā dhika-bhū mikā -racanā bhir uccatara-rī tikā yā ḥ samā na-mā na-gṛ ha-sva-sva-vī thikā yā dhā riṇ ī goloka-dharaṇ ī loka-hā riṇ ī bhavati | tatra sarvā s tu gṛ ha-lekhā maṇ i-bhitti-sambadhya-madhya-rekhā labdha-dvaividhyā samantā d ubhayataḥ sthita-dvā ratayā paraspara-sammukhatā -ś obhā nandita-dig-antā ḥ kaimutyam ā sā dayanti |

This city with seven layers is most astonishing in construction. The abode of Goloka, with equally sized houses on their own roads, towering many stories high, is attractive to all people. All the rows of houses have gem studded walls. Each of them appears to be two houses because of the reflections of other houses on their jeweled surfaces. With doors on both sides of the houses which face each other, giving joy to all directions, the houses are most astonishing.

[76] yatra ca sarva-madhyamā varodhasyā dhimadhyaṁ bṛ hat-prā ṅ gaṇ am adhikṛ tyā khaṇ ḍ a-puṭ a-bhedana-mukuṭ a-bhaṅ gī -laṅ ginaṁ niś reṇ i-ś reṇ i-miś rā ntaḥ -ś vabhra-ś ubhra-laghu-laghu-dvā ra-sukhā roha-sañ cā ra-merv-ā kā ra-cā rv-aṅ ga-kuṭ ṭ imā d upari paritaḥ stambha-vā ra-saṅ gatam agā ram ekaṁ sarvataś calat-patā kam avalokyate |

Within a huge courtyard in the center of all these buildings is the most beautiful crown jewel of buildings. It is huge like Meru Mountain, with rows of stairs blissful to climb, with many small doors glowing with light. It is supported by fine pillars and shines with a fluttering flag on its summit.

[77] yadā ca tasya sarva-kakudam udañ citasya dhiṣ ṇ yasya purū pari cā laṅ kariṣ ṇ utayā ś rī -kṛ ṣ ṇ aḥ svayaṁ vartiṣ ṇ ur bhavati, tadā sarva-jiṣ ṇ u-tad-uparicariṣ ṇ u-jiṣ ṇ u-nī la-maṇ ir iva kaṁ vā tal-loka-bhaviṣ ṇ u-lokaṁ kā nti-kandalī bhir na puṣ ṇ ā ti?

When Kṛ ṣ ṇ a stands as an ornament on top of that palace, raised to the topmost position, like a great sapphire conquering all places and moving about, does he not nourish all people of that planet by his bodily effulgence?

[78] yā ceyaṁ karṇ ikā yā m upari purī, tad-adhastā d anyā pi samantā d asti, kintu sā prati-kṛ ṣ ṇ a-kā ntā -dhā many eva nijā ṅ gana-nibha-patra-paṅ kti-sī many eva cā yantrita-dvā ra-gaṇ eti pareṣ ā m ajñ ā tā, dyumaṇ ivan-maṇ i-gaṇ a-samujjvalā laya-kalā pā, vā tā nī ta-sujā ta-parimala-sampā tā, nirjanatā -janita-svairatā nā rata-rati-pradā, ś ayyā sana-cchatra-cā marā di-sā magrī ti-bahula-ś atī -prī tidā -nā nā -krī ḍ ā -bhā ṇ ḍ a-maṇ ḍ ala-maṇ ḍ itā khaṇ ḍ a-maṇ ḍ apā, tat-tac-ceṣ ṭ ā dhiṣ ṭ hā na-nara-mṛ ga-pakṣ i-pratikṛ ti-lakṣ a-vilakṣ itā preyasī ṣ u

vibhakta-pradeś a-viś eṣ ā ś eṣ ā layā yate | yatratyena pathā yathā vat preyasī -nā mā nandanaḥ ś rī mā n nanda-nandanas tatra patra-samudyad-udyā na-vṛ ndam amū bhir anuvindann atī va nandati | tasmā d udyā nā d antar-dvā reṇ a caturasraṁ pratyudyā nam api vindati |

This city is on the upper portion of the pericarp. On the lower part of the pericarp is another city. This contains the abodes of all of Kṛ ṣ ṇ a’s beloved women. It is situated at the border of the petals which are like Kṛ ṣ ṇ a’s courtyard. Since the doors are locked, no one knows about this place. The houses shine like the sun with gleaming jewels. The breeze brings the aroma of fine flowers. The place produces constant pleasure by its independent nature arising from its solitude. There are vast pavilions decorated with a multitude of ingredients such as beds, seats, umbrellas and cā maras for pastimes, which give bountiful joy. There are thousands of models of men, animals and birds which actually move about. There are many special places allotted to the consorts, which appear like the abode of Ananta. Walking along the paths, Kṛ ṣ ṇ a, giving bliss to his beloveds, enjoys the various gardens situated on the lotus petals along with these women. From one garden he goes to another square garden by a secret door.

[79] evaṁ ś rī -balarā masya rā ma-ghaṭ ṭ ā khya-nija-krī ḍ ā -vana-gamanaṁ ca tala-vartmanaiva vartate, kintu saṁ kṣ iptatayā nihitena patrā vali-paryantā la-vā la-pihitena mantavyam |

In a similar way Balarā ma goes to his private forest called Rā ma-ghaṭ ta by a level path hidden by pools of water extending to the edge of the lotus petals, which make the path narrow.

[80] tā m etā m uparigatā ṁ ś rī mad-vrajeś vara-purī ṁ pari tu ś lokā ḥ parigī yante—

Poets have glorified the city of Nanda which has just been described.

yastā ṁ patā kā mṛ du-vā ta-kampitā

nā nā mukhī bhā vam itā ḥ punaḥ punaḥ |

saurabhyam ā yā ti yadā yatas tadā

vivṛ tya paś yanti diś ā m amū m iva ||55|| [upajā ti 12]

The flags flutter in various directions because of the soft breeze, but when the fragrance of Kṛ ṣ ṇ a arrives on the wind, all the flags point in the direction of the fragrance.

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