Chapter Twenty-three 21 страница

[79] atha sā nandā pi vṛ ndā punaḥ papraccha—katham ī dṛ ś ī prakriyā nā tipriyā, nā nyathā kriyate sma bhavatyā? bhavatyā ḥ khalu nā ś akyaṁ tarkyate | In bliss Vṛ ndā again asked “Why marriage is not preferred? Why do you accept some other arrangement then? You cannot argue about this. ” [80] paurṇ amā sī uvā ca—rasa-viś eṣ a-sampā dayitrī lī lā vaś yakatā vasara-vaicitrī yaṁ sī tā yā rā vaṇ a-gṛ ha-gativan nā smā bhir apy anyathā kartuṁ ś akyate | rasa-viś eṣ aś caivam eva saṅ gacchate | bhrama-janitatvā d aś lī latā -viś liṣ ṭ e para-sambandhasyā bhā sa-mā tre dṛ ṣ ṭ e sati tā sā ṁ para-nivā raṇ a-kuṇ ṭ hitā nā m utkaṇ ṭ hā -vardhanataḥ sphurad-akharva-sukha-gatyā ṁ sarvā yatyā ṁ viś rā nta-bhrama-nitā nta-sthiratā -nirata-kā nta-prā ptitas tasyā tī va dī ptatā -prā ptir iti | tathā ca bhaviṣ yat-kā vyeṣ u ś rī mad-ujjvala-nī lamaṇ au pramā ṇ ī -kṛ taṁ prā cā ṁ matam | tatra mū laṁ yathā — laghutvam atra yat proktaṁ tat tu prā kṛ tanā yake | na kṛ ṣ ṇ e rasaniryā sasvā dā rtham avatā riṇ i || [1. 21] iti | Occasional varieties necessarily arise in the pastimes of Kṛ ṣ ṇ a, who produces excellent rasa. It is not possible for us to perform acts like Sī tā going to the house of Rā vaṇ a. This is suitable in a particular type of rasa. Because of illusion, the gopī s will only have an appearance of relationship with other men, but are separate from such inferior relationships. In order to increase eagerness of those who are unable to prevent their marriage to others, their love will become most brilliant when Kṛ ṣ ṇ a returns in the future to bestow unlimited joy, since they attain their lover for whom they have fixed attachment when the illusion of marriage to others ceases. In the future, in Ujjvala-nī lamaṇ i, this will be shown, quoting the opinion of previous sages. The text says: The criticism of the material paramour by the author does not apply to Kṛ ṣ ṇ a, who appeared in this world to taste the thick madhura-rasa as upapati. pramā ṇ aṁ yathā, neṣ ṭ ā yad aṅ gini rase kavibhir paroḍ hā tad gokulā mbujadṛ ś ā ṁ kulam antarena | ā ś ā ṁ sayā rasavidher avatā ritā nā ṁ kaṁ sā riṇ ā rasikamaṇ ḍ alaś ekhareṇ a || [5. 3] iti | The proof is this: Poets’ objection to married women enjoying with another man as the main rasa applies only to women other than the women of Gokula, whom Kṛ ṣ ṇ a, the topmost among tasters, made appear in this world because of a special desire for madhura-rasa. [81] atra rasotkarṣ asya tarṣ ata eva kaṁ sā riṇ ā vatā ritā nā m iti tā sā ṁ nityaṁ tan-nija-preyasī tayā vihā ras, tad-avatā ra-samaya eva tu rasa-maya-mahotkarṣ ā ya mā yayā paroḍ ha-vyavahā ra ity ato na doṣ aḥ, pratyuta parama-guṇ a eveti bhā vaḥ | iha cā vatā ritā nā m iti devī -caratā ṁ sā dhā raṇ a-lakṣ mī -caratā ṁ ca na pracā rayati, nā yaṁ ś riyo’ṅ ga u nitā nta-rateḥ prasā daḥ svar-yoṣ itā ṁ nalina-gandha-rucā ṁ kuto’nyā ḥ? [BhP 10. 47. 60] ity anena virodhā t | tenaivā nyatamatā nyathā -kā ritayā tadī ya-parama-lakṣ mī tvam eva tā sā ṁ lakṣ yata iti | Having a great desire for the best rasa, Kṛ ṣ ṇ a makes the gopī s appear in this world. They perform pastimes as his eternal consorts. At that time the parakī ya relationship is produced by mā yā for producing the highest bliss in rasa. There is no fault in this. Rather this is the greatest quality. It should not be said that previously these gopī s were Devī or Lakṣ mī, for “favor was never bestowed upon the goddess of fortune or other consorts in the spiritual world. Indeed, never was such a thing even imagined by the most beautiful girls in the heavenly planets, whose bodily luster and aroma resemble the lotus flower. ” Thus it may be concluded that the gopī s are Kṛ ṣ ṇ a’s supreme Lakṣ mī s, since no others have that exclusive position. tad evaṁ ca nirū pya punar apy ā ha sma—tā dṛ ś aṁ parama-rahasyam ā kā ś ā ya ca na prakā ś anī yam | kintu— rā dhā dī nā ṁ kevalā nā ṁ kevalo nanda-nandanaḥ | varaḥ syā t kevalaṁ tasmā t ke balā t kuryur anyathā? ||14|| [anuṣ ṭ ubh] yataḥ, vraja-lakṣ mī -janatā yā harir iha ramaṇ aḥ paraṁ na paraḥ | katham atha cakora-jā ter vṛ ttiś candrā d bhaved anyaḥ? ||15|| [upagī ti] Concluding in this way, Paurṇ amā sī continued. “This supreme secret should not be broadcast in the sky. But Kṛ ṣ ṇ a will be the only groom of Rā dhā and other gopī s. Who can forcibly make it otherwise? Kṛ ṣ ṇ a is the master of the Lakṣ mī s of Vraja. No one else can enjoy them. Can the cakora bird be attracted to anything accept the moon? ” [82] atha vṛ ndā tu, bhavatu yā thā kathā caṁ | yad idam ā citam, tad ā citam eva | kintv ā yatyā ṁ sarva-sukha-samutthā panaṁ bhavad-abhyutthā nam eva gaty-antarā ya bhavitā iti prā rthya namaskṛ tya ca calitā | Vṛ ndā said “Let that be. What is done should be hidden. But by your efforts in the future, everyone will become happy. ” Praying in this way she offered respects and departed. [83] paurṇ amā sī tu prā ha— avacam avocam uvā ca ca, vacmi hi vaktā smi vakṣ yā mi | ucyā sam idaṁ vacyā ṁ vacā ni no ced avakṣ yaṁ na ||16|| [anuṣ ṭ ubh] Paurṇ amā sī said “I have spoken this, I have spoken this, I spoke this, I speak this, I am speaking this and I will speak this. This should be said. If it were not true I would not say it. ” [84] tad evaṁ tā sā ṁ khelā -mā tra-vilā sinī nā ṁ sva-vā sinī nā ṁ mā tara-pitarā dibhir antaḥ -puryā m asū ryampaś yatayā dhū tā karṇ ana-kṛ ṣ ṇ a-varṇ anatayā ca paritaḥ parī taṁ vā ritā nā m api dī pyamā na-kaiś ora-sā mī pya-samiddhaḥ sva-bhā va-siddhaḥ kṛ ṣ ṇ a-bhā vaḥ svayam udbhū tavā n vā ridā -gamana-samayaṁ samayā kā sā ñ cid vallī -jā tī nā ṁ pallava iva | In this way the young girls played in their houses. Their mothers and fathers, sheltering them, kept them from hearing about Kṛ ṣ ṇ a. But their eternal love for Kṛ ṣ ṇ a spontaneously awoke when they approached the brilliant kaiś ora age, just as certain creepers bloom when the monsoon season arrives. yataḥ — hṛ dayam anaṅ gas tā sā m aviś ad vayasaḥ kramā d eva | ś yā mā ṅ gaḥ sa tu sā ṅ gaṁ viveś a sahasā tataḥ pū rvam ||17|| [anuṣ ṭ ubh] Cupid entered the gopī s hearts as their age advanced. However Kṛ ṣ ṇ a had previously completely entered their hearts. [85] dṛ ṣ ṭ ā ntayanti cedam— ā sī d ā su hareḥ sphū rtir darś ana-ś ravaṇ e vinā | yathā ntaḥ pura-ruddhā su kanyā su madanodgamaḥ ||18|| [anuṣ ṭ ubh] This is illustrated as follows. Just as passion arises in young girls confined to the inner chambers, so the form of Kṛ ṣ ṇ a appeared in the gopī s without even seeing him or hearing about him. [86] ataevoktam— navya-yauvanataḥ pū rvaṁ kṛ ṣ ṇ e tā sā ṁ tu yā ratiḥ | tasyā ṁ nā tiś ayoktiḥ sā sva-bhā voktis tu manyatā m ||19|| [anuṣ ṭ ubh] It is thus said: Before the latter part of kaiś ora, they developed love for Kṛ ṣ ṇ a. That statement is not an exaggeration, but a statement of their very nature. [87] tadā ca, yadā prasaṅ ga-saṅ gatyā kṛ ṣ ṇ eti varṇ a-dvayaṁ karṇ ā bhyarṇ am ā padyate, vaṁ ś ī -vā dyaṁ vā, tadā tam eva paś yantya iva hṛ ṣ yantyaḥ punar apy apaś yantyas tā pam ā pnuvanti sma, kintu kañ cit prati na kiñ cit prakā ś ayā m ā suḥ | cetasi tu bhā vayā m babhū vuḥ, When they heard the word “Kṛ ṣ ṇ a” or “holder of the flute” they saw him and became attracted to him. And not seeing him again, they suffered. They did not reveal this to anyone, but thought of meeting him. yathā — yaḥ kṛ ṣ ṇ a-nā mā kṣ ara-mā dhurī -jharair ā svā dyate veṇ u-kalī -rasair api | sa eva ekā mbuda-rocir eṣ a me kaḥ svā ntam uccaiḥ kurute puru-vyathā m? ||20|| [upajā ti 12] “What indescribable person, having the complexion of a rain cloud, who is relished in a sweet waterfall of the name “Kṛ ṣ ṇ a” and in the sweet liquid emanating from his flute, is afflicting my heart? ” [88] tatra ca ś rī -rā dhā yā bhā vanā, yathā — yā te kṛ ṣ ṇ eti ś abde ś ruti-patham amṛ tā d apy atisvā da-yukte, vaṁ ś ī -vā dye ca ś aś van manasi sapadi yaḥ sphū rtim ā pnoti so’yam | ā janmā bhyā sa-hī no’py atisuparicita-prā ya eveti bhā ti prā pti-vyā vṛ ttitas tu prasabham acirato neṣ yati prā ṇ avargam ||21|| [sragdharā ] Rā dhā thought as follows “When the word “Kṛ ṣ ṇ a” and the sound of the flute, sweeter than nectar, enter my ears, he who appears in my mind immediately comes to me as if he knows me, though I have never seen him since birth. If I do not attain him my life airs will soon leave my body. ” [89] punaś ca samprati svayam eva parasparam ivā ha—rā dhe, kim udagraṁ vyagracittā si? rā dhike, tad etan nā vadadhā si ced avadhā naṁ vidhehi | They speak to her. O Rā dhā! Why is your heart so agitated? O Rā dhā! Though you are not attentive, please listen carefully. ś ravyā ṇ ā ṁ svā da-sā raṁ ś rutir anumanute yat tu yad vā sudhā bdher manthā l labdhaṁ, rasajñ ā sukha-hṛ dija-sukhaṁ citta-vṛ ttir yad eva | kiṁ tat kṛ ṣ ṇ eti varṇ a-dvayam ayam athavā kṛ ṣ ṇ a-varṇ a-dyutī nā m ā jī vyaḥ ko’pi ś aś vat sphurati nava-yuvety ū hayā mohitā smi ||22|| [sragdharā ] What are these two syllables “Kṛ ṣ ṇ a” which the ear takes as the essence of sweetness among all sounds, which the tongue takes as the product churned from an ocean of nectar, and which the mind takes as happiness arising from joy in the heart? Who is that youth who constantly appears to me among all dark complexioned persons, who that youth who maintain my life? Wondering about this, I am bewildered. [90] evaṁ ś rī -kṛ ṣ ṇ asya ca tadī ya-pracariṣ ṇ u-tat-tad-guṇ a-bhaviṣ ṇ u-tṛ ṣ ṇ asya bhā va-ramyatā gamyatā m— nā mni ś rotraṁ sadana-saraṇ au netram ā moda-pū re ghrā ṇ aṁ pṛ ṣ ṭ he vapur api guṇ e sū ktam ā sā ṁ madī yam | mā ṁ projjhyā sī d drutam iti hariḥ svī ya-doṣ aṁ vicā rā t pratyā khyā ya sphuṭ am anusaraṁ tatra citrā yate sma ||23|| [mandā krā ntā ] With a desire to experience Rā dhā ’s pervasive qualities, Kṛ ṣ ṇ a also developed pleasurable symptoms. “My ear is engaged in her name, my eye is engaged in the path to her house, my nose is engaged in her fragrance, my body is engaged in her back, and my voice is engaged in describing her qualities. Rejecting me, she quickly leaves. ” Because of this, Kṛ ṣ ṇ a, refuting his own faults after consideration, remains visibly motionless like a painting. rā dhā ṛ kṣ e kvacana gaṇ ake nā ntikā d varṇ yamā ne dṛ ṣ ṭ vā rā dhā ṁ ghaṭ ayati jane sañ janaṁ svasya dū rā t | rā dhā -gehā n mṛ dula-pavane vā ti nā smā ri tat tat kṛ ṣ ṇ enā smin punar alam asau sasmare saiva rā dhā ||24|| [mandā krā ntā ] When an astrologer speaks of Rā dhā constellation to him, when someone develops attraction on seeing Rā dhā, when the gentle breeze blows from Rā dhā ’s house far away, Kṛ ṣ ṇ a does not pay attention. He simply remembers Rā dhā. [91] tad evam apū rva-kṛ ṣ ṇ a-darś ana-parvaṇ y ajā ta-pū rve yadā tu kā liya-dandaś ū ka-sandalanam ā sī t tadā vidhvasta-nirodhā rā dhā dayo’pi vrajavā si-sā dhā raṇ atayā tatra gacchanti sma | When Kṛ ṣ ṇ a subdued Kā liya, Rā dhā and other gopī s had not yet seen remarkable Kṛ ṣ ṇ a in person. They were not prevented, and went to see the pastime just like other inhabitants of Vraja. [92] etad artham eva kā liya-damanā rthe tā vā n vilambā rambha-sambhā ras tena lambhitaḥ | In order that the gopī s see him, he purposely delayed in subduing Kā liya. [93] tad evaṁ tatra gatavatī nā m api bā lyā m okataḥ ś okataś ca na lokatas tā sā ṁ bhā vaḥ svasya viś eṣ aṁ bhā vayā mā sa, kintu premā tiś aya-mā tram | When the young girls came there from their houses, they did not experience grief as others did, but instead experienced extreme love for Kṛ ṣ ṇ a. tathā hi— yadā dū re nṛ tyaṁ phaṇ i-ś irasi cakre muraripus tadā tā bhiḥ sā kṣ ā d araci sa itī daṁ nahi mṛ ṣ ā | tathā py ā sā ṁ bā lyā d bahujana-samā jā d api ś ucā - vṛ ter bhā vo naiva sva-rasa-mayatā m aṇ v api yayau ||25|| [ś ikhariṇ ī ] All the girls saw Kṛ ṣ ṇ a when he danced in the distance on Kā liya’s heads. That is not false. But they did not think it so pleasurable since they were young and many people were present. yadā kā lī yasya hrada-valayataḥ so’yam uditas tadā rā dhā -mukhyā ḥ prathama-kalanā d eva patitā ḥ | bahir-jñ ā naṁ nā sī d yad api tad api sphū rti-valitā na mū rcchā ṁ nā mū rcchā ṁ yayur ahaha rā trindivam anu ||26|| [ś ikhariṇ ī ] When Kṛ ṣ ṇ a emerged from the lake Rā dhā and other gopī s saw him from the first time. They lost consciousness but saw him internally. They remained in a state of fainting and recovering for days and nights following. yadyapi kṛ ṣ ṇ as tā sā ṁ kalanā d antar-vikā ramā sannaḥ | tadapi ca samayā ntarajā ṁ cakā ra gambhī ratā ṁ ś araṇ am ||27|| [ā ryā ] When Kṛ ṣ ṇ a saw them and was transformed internally, he did not show his feelings, but showed other emotions. [94] tataś ca, prabhā te tā ḥ ś akaṭ a-samā rohitatayā vrajam ā nī tā ḥ katham api svasthatā ṁ yā tā ḥ, When Rā dhā and other gopī s got on carts and returned to the village in the morning, he regained his composure with difficulty. yathā — muhur bandhu-stome tad-upacaraṇ ā d utthita-matau jana-dvā rā tā sā ṁ harir api vimū rcchā ṁ kalitavā n | atha vyagrī bhū yā mṛ tam iva muralyā mṛ du-kalaṁ jagau tā ś ca prā pur bahir-avahitiṁ satvaratayā ||28|| [ś ikhariṇ ī ] When Kṛ ṣ ṇ a decided to meet with his friends, he heard through others that the gopī s had fainted. Feeling pain, he played a sweet melody on his flute and they quickly recovered. [95] kintu tasya vaṁ ś ī -ś aṁ sana-mā dhuryam eva tā sv abhiṣ ajyad avabudhya tad-avadhi tā sā ṁ pratibandhā ya bandhavas tenā tinirbandhaṁ yayur iti kadā cic cirato darś anam api tasya tā su paryavasyati sma | Understanding that the sweetness of his flute caused attachment within them, his friends were not insistent on keeping them away. Thus some time later he met them. [96] atha ś rī -kṛ ṣ ṇ asya ṣ aṣ ṭ he varṣ e gate tā sā ṁ ca tataḥ kiñ cid ū natayā mate samā rabdha-prapañ cā d bhā vā d akṣ ī ṇ ā nā ṁ nava-kaiś ora-lakṣ mī ṇ ā ṁ mud-añ canaṁ tasya ca tā sā ṁ ca tathā jā taṁ yathā parasparaṁ spardhayeva sañ cayam añ cad ā sī t | When Kṛ ṣ ṇ a finished his sixth year and the gopī s were somewhat less in age, bliss appeared in Kṛ ṣ ṇ a and the imperishable, youthful Lakṣ mī s because of the suffusion of love. [97] tatra tasya ś rī -kṛ ṣ ṇ asya, yathā — vaktraṁ pū rṇ a-kapola-kā nti-valitaṁ keś ā bhṛ ś a-ś yā malā netre lola-viś ā la-pā ṭ ala-taṭ e vakṣ aḥ sphū rad-vistṛ ti | bā hu-dvandvam akharva-puṣ ṭ a-ghaṭ anaṁ madhyaḥ kṛ ś as tat-paraḥ sphī tas tadvad urū pṛ thū bhavitum udyā tau sma tasmin hareḥ ||29|| [ś ā rdū la] Kṛ ṣ ṇ a’s youthful form: Kṛ ṣ ṇ a’s face developed full cheeks and his hair became deep black. His eyes became wide with red edges and became fickle. His chest became broad. His arms became very thick. His waist became thin and his hips large. His legs became solid. [98] tatra ca kasyacin marmajñ a-janasya narma-vacanam— tanau ś yā mā lakṣ mī r abhajad ayam antar-hṛ di punaḥ sadā gaurī r itthaṁ kapaṭ am abhipaś yan muraripoḥ | sphuran-netra-dvandvaṁ bhajad aruṇ atā m ī ṣ ad abhito muhuḥ karṇ ā bhyarṇ aṁ vrajati kila kiñ cit kathayitum ||30|| [ś ikhariṇ ī ] One clever poet has joking described this. Kṛ ṣ ṇ a is black in body but golden within. Seeing that deception, his two playful eyes have become slightly red and seem to approach his ears to speak. [99] atha tā sā ṁ, yathā — kaṭ ā kṣ e kṛ ṣ ṇ ā bhā sphuṭ am adharayo rā ga-garimā kapola-dvandvā ntaḥ ś ucir urasi cā rū nnati-ruciḥ | amī ceto-dharmā bahir ahaha yady evam uditā bhavet kiṁ vā tarhi vraja-mṛ gadṛ ś ā ṁ gopana-padam ||31|| [ś ikhariṇ ī ] The gopī s showed symptoms of nava-kaiś ora during the paugaṇ ḍ a period: Their glances were dark, their lips were deep red, their cheeks were spotless, their chests showed breasts. If their exteriors showed their inner natures, what they must have been hiding within! [100] tatra ś rī -rā dhā ṁ prati kasyā ś cid uktiḥ — bhadrā padmā dhaniṣ ṭ hā ś ivi-paś upa-sutā pā likā ś yā malā sā candrā valy apy abhī kṣ ṇ aṁ vayasi nija-nija-ś rī -samutkarṣ i dṛ ṣ ṭ ā | ś rī -rā dhe tvaṁ punaḥ svaṁ jita-kanaka-guṇ aṁ dyotam udyotayantī tad divyaṁ ś yā madhā ma prathayasi paritaḥ kena vā tan na vedmi ||32|| ś ā rdū la] Someone said to Rā dhā “Bhadrā, Padmā, Dhaniṣ ṭ hā, Ś aibya, Pā likā, Ś yā malā and Candrā valī have surpassed Lakṣ mī during this age. O Rā dhā! Your luster defeats the qualities of gold. But I do not know why you radiate a dark hue in all directions. ” [101] tatrā nyasyā vacanam— vilasati kṛ ṣ ṇ a-navā bdaḥ sphuṭ am adhi hṛ dayaṁ praviś ya rā dhā yā ḥ | na bhavati tad yadi katham iva pulakaiḥ saha locane sravataḥ ||33|| [ā ryā ] iti | The fresh cloud of Kṛ ṣ ṇ a has appeared in Rā dhā ’s heart. Otherwise, why does water flow from her eyes along with her hairs standing on end? [102] tat-prabhṛ ti tā sā ṁ bhā vanā ceyam— tad eva yamunā raṇ yaṁ ta eva ca tamā lakā ḥ | tad eva cittam asmā kaṁ sā mprataṁ kim ivā nyathā? ||34|| [anuṣ ṭ ubh] From that time they thought “The forest near the Yamunā is the same. The grove of tamā la trees is the same. Why have our hearts now changed? ” tataś ca— ś ā rada-prathama-ś ubhra-pañ camī bhā vi-rā tri-nikarā bja-saprabham | subhruvā ṁ mukham uroja-yugmam apy ā yata pratidinaṁ mahodayam ||35 || [rathoddhatā ] The faces and breasts daily grew more splendid in the women, like effulgence of the moon and lotus on the fifth lunar day of the waxing moon in the autumn night. yadā rā dhā tā su prathama-vayasā kī rṇ a-kiraṇ ā tadā tā ḥ sarvā ś ca pratihata-samajñ ā ḥ samabhavan | paraṁ nā nā -puṣ pā valiṣ u latikā su prathamataḥ praphullantī khyā tiṁ sadasi suravallī valayate ||36|| [ś ikhariṇ ī ] When among them Rā dhā radiated brilliance in the first year of kaiś ora, the fame all other women disappeared. She was like a flowering desire tree among various flowering creepers. [103] tatra ceyaṁ kiṁ vadantī vadantī -babhū va— indur mandati khañ jarī ṭ a-taruṇ aḥ khañ jann ivā lokyate dū naṁ bhā ti tila-prasū nam aruṇ ā d bimbaṁ guṇ ā l lambate | svarṇ a-ś rī -jayi-varṇ a-jā la-vilasad-vallī na lī nā yate rā dhā yā madhurimṇ i yad vidhuratā m ā pnoti tan-mā dhurī ||37|| [ś ā rdū la] It was common talk. The moon has weakened, the young khañ jana bird glances lamely, the sesame flower blooms withered, the bimba fruit has become devoid of its red color. The creepers whose golden color defeats gold died. Their beauty has been defeated by the beauty of Rā dhā. [104] tad evaṁ labdha-dara-sphore kaiś ore tā sā ṁ sa eva kṛ ṣ ṇ a-premā tṛ ṣ ṇ ā -viś eṣ am ā sā ditavā n | When they attained the slight trace of kaiś ora, their great prema for Kṛ ṣ ṇ a became intense. [105] vratati-tatī nā ṁ kṛ ta-vratatitve labdha-sattve svā ś rayaṁ pratyabhimukha-prasā ras tad-valayana-lā lasam iva | tatra tā sā ṁ bhā vanā, yathā — janmany etad aho kim atra bhavitā yat tasya vakṣ aḥ -sthalaṁ vistī rṇ ā tula-nī la-ratna-masṛ ṇ aṁ spṛ ś yeta mad-vakṣ asā | tā mbū laṁ bata carvitaṁ ca mukhataḥ kṛ ṣ yeta kiṁ man-mukhe- naivaṁ keyam aho mamā dya vimatir dharma-dhrug abhyā gatā ||38|| [ś ā rdū la] Their desire was like a creeper that, on attaining a support, grew luxuriantly. They thought as follows. “What has happened in this birth? Will my chest touch his broad, faultless, soft chest, gleaming like a sapphire? Will the betel taken from his mouth come to my mouth? Ah! How have I developed such bad thoughts which destroy dharma today? ” [106] atha premā pi parama-varimā ṇ am ā sasā da, yathā — pū rvaṁ yat parito harer anubhavā t kaiś oram atyudgataṁ tat tā su sphuritaṁ tam eva vidadhal lī lā bhir uccaiḥ sthitam | apy ā karṇ ana-darś anā di-rahitā s tā devatā viṣ ṭ avac ceṣ ṭ ante sma yataḥ ś aś ā ka nahi yad boddhuṁ janaś cā ṇ v api ||39|| [ś ā rdū la] Their prema attained the highest greatness. That kaiś ora period which previous appeared in them in order to experience Kṛ ṣ ṇ a everywhere, now appeared strongly in them, producing abundant pastimes. Even without seeing him or hearing of him, they acted as if insane. No one could understand their actions. . tatra tu— ś ū nyaṁ paś yati bā ṣ pa-pū ram aniś aṁ momucyate kampate svidyaty udgata-kaṇ ṭ akatvam ayate stambhaṁ punaḥ prā rcchati | glā niṁ gacchati vā citā pi vacanaṁ nā bhā ṣ ate seti tā ṁ paś yantī suhṛ dā ṁ tatir muhur aho rā dhā m aś ocan muhuḥ ||40|| [ś ā rdū la] Among them, Rā dhā stared blankly, shed tears constantly and shivered. She perspired, her hairs stood on end and she became stunned. She became fatigued and did not reply when addressed. Seeing her, friends lamented constantly. [107] tasyā bhā vanā ceyam— rū peṇ ā mṛ ta-sindhuḥ kī rtibhir amṛ ta-dyutir yad api | tad api harir mama hṛ dayaṁ vidahati hā dhig vidhir vā maḥ ||41|| [upagī ti] She thought “Though he is an ocean of nectar by his beauty and sparkling sweetness his fame, Kṛ ṣ ṇ a burns my heart. To hell with the pleasing creator! tasya ca pū rvaṁ hṛ dayam aliptaṁ bhā vaḥ kaḥ punar alipta me sahasā? | smarad api yasya tu viṣ ayā n svayam atha cittaṁ svato’pi jihreti ||42|| [udgī ti] “Kṛ ṣ ṇ a’s heart was previous pure. What emotion has contaminated my heart? Thinking of him constantly, my heart is spontaneously full of shame. ” [108] punaś ca kā liya-damanam anv anubhū taṁ tā sā ṁ bhā vaṁ vibhā vayann ā ha— pitā me sā dhū nā ṁ kula-tilakatā -viś ruta-gatis tathā mā tā sā dhvī -samudaya-vivekā grima-lipiḥ | kathaṁ rā dhā dī nā ṁ para-mṛ gadṛ ś ā ṁ bhā vam abhito bhajaty antaḥ kiṁ vā mama mṛ dulatā mā ṁ klamayati ||43|| [ś ikhariṇ ī ]

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