Chapter Twenty-three 26 страница

ā vṛ tim ajahā d indur vilasati haṁ saś ca nī la-kañ jaṁ ca | vṛ ndā vanam anu hā dhig daivaṁ tat tan na dṛ ś yate tasyā ḥ ||34iti|| [gī ti] “The moon has given up the covering of clouds. The swan and the blue lotus have become beautiful but these are not seen in the autumn in Vṛ ndā vana. What a useless creator! ” rā dhā -kṛ ṣ ṇ ā v ittham anyo’nyam ā ptaṁ daivā t patraṁ ś aś vad ā ś liṣ ya sā ś ru | antaḥ -ś ū nya-svarṇ a-bimbā ntar uptaṁ madhye hā raṁ nā yakaṁ nirmimā te ||35|| [ś ā linī ] Accidently receiving these messages, Rā dhā and Kṛ ṣ ṇ a continually embraced those leaves while weeping, making them the center jewels of a necklace situated within their golden hearts. [32] atra sakhī nā m api svinnatā, yathā — jalaṁ kumudam ambujaṁ vidhu-ruciś ca yasyā ṁ ś arady aho vikasad-ā tmatā m agamad ā ś u tasyā m api | mano nayanam ā nanaṁ daś ana-kā ntir ā sā ṁ punaḥ sadā malinatā m agā d iti kim ā libhiḥ sahyatā m? ||36|| [pṛ thvī ] The sakhī s burned in the fire of separation. Ah! The autumn made the water, water lily, lotus, and moon light blossom with purity, but contaminated the gopī s’ mind, eyes, mouth and lips. How could the sakhī s tolerate this? [33] atra ca varṇ itaṁ labdha-varṇ air api, ā ś liṣ ya sama-ś ī toṣ ṇ aṁ prasū na-vana-mā rutam | janā s tā paṁ juhur gopyo na kṛ ṣ ṇ a-hṛ ta-cetasaḥ || [BhP 10. 20. 45] This is described: Except for the gopī s, whose hearts had been stolen by Kṛ ṣ ṇ a, the people could forget their suffering by embracing the wind coming from the flower-filled forest. This wind was neither hot nor cold. yataḥ — saundaryaṁ tan-nī limā sau dyutiḥ sā lā vaṇ yaṁ tat te ca lī lā -vilā sā ḥ | pī yū ṣ a-ś rī ṇ y aṅ ga-saṅ ge priyā ṇ ā ṁ viś leṣ e tā ny eva hā lā halā ni ||37|| [ś ā linī ] When the lovers met, their beauty, dark complexion, radiance, charm and coquetry became streams of nectar. When they were separated those items were like poison. tataś ca— harer gandhavahā n sarve jagat-prā ṇ atayā viduḥ | tad-viyogena tu kṣ ā mā rā mā s tā n ā ś ugā khyayā ||38|| [anuṣ ṭ ubh] When together with him, the women called the wind coming from Kṛ ṣ ṇ a’s limbs the life air of the universe. But when they were separated from him, they called the wind an arrow. [34] tad evaṁ yadyapy utkaṇ ṭ hā yā ḥ parama-kā ṣ ṭ hā jā tā, tathā pi kā cid api kā ñ cit prati na prakā ś ayā mā sa | adharmeṇ ā pi taṁ bhajā ni, iti yathā tā s tathā kṛ ṣ ṇ o’pi tatra tā nirvidyā nirvidya khidyate sma | Though their eagerness reached a climax, one of them would not reveal her passion to another. “Let me love him though it is immoral. ” This is how they thought. Kṛ ṣ ṇ a also thought in this way. In this way, the ignorant women grieved without cessation. [35] kṛ ṣ ṇ as tū payā ntaram apaś yan netra-vikṣ epa-vetra-vikṣ epa-vitrastā nā m api tā sā ṁ vaś yatā m ayā tā nā m ā vaś yaka-tad-bhā vanā ya vaṁ ś ī -ś aṁ sana-viś eṣ am abhyasyati sma | Finding no other alternative, Kṛ ṣ ṇ a, though fearing the glances of eyes, like being beaten with a stick, when the gopī s did not accept to be controlled, he began playing his flute to control them. [36] yathaiva vakṣ yate tatra tatra tad evā lakṣ ya tā bhiḥ veṇ u-vā dya urudhā nija-ś ikṣ ā ḥ iti | [BhP 10. 35. 14] It will be said in this regard by the gopī s, “O pious mother Yaś odā, your son, who is expert in all the arts of herding cows, has invented many new styles of flute-playing. ” [37] atha prathamatas tan-manā nijā gra-janmanā yugalī -bhū ya muralī -kalī m ā vartayati sma | First, with absorption, he played tunes on the flute in the company of Balarā ma. [38] tatra tu yadā samuddī pita-bhā vā ntare vanā ntare go-cā raṇ e sarva-manaso’py agocarā n sahacarā n vismā payann atikā nta-guṇ a-vrajena nijā grajena saha svayam aharahaḥ saharṣ a utkarṣ aṁ pravī ṇ ayan veṇ u-ś ikṣ ā m ī kṣ ayā m ā sa, || When he would herd the cows in the forest potent with love, he would astonish his friends who were beyond conception by joyfully playing his flute daily, displaying the highest excellence, along with Balarā ma, who was decorated with most attractive qualities. [39] tadā tā sā ṁ tad-rū pa-sphū rtir atī va pū rtim ā yā tā | The gopī s then had a full experience of Kṛ ṣ ṇ a’s sphū rti. [40] sā ca yathā vad eva, yatas tasya bhā va-vaibhavasya svabhā va evā yam, yad dū rataś ca sva-viṣ ayaṁ viṣ ayī karoti | tathā hi— anumā na-gatā tā sā m arthā pattiḥ pratī yate | yataḥ kṛ ṣ ṇ asya dayitā s tā eva nyā ya-paṇ ḍ itā ḥ ||39|| [anuṣ ṭ ubh] This occurred regularly since the nature of prema is that the sought object becomes its target from far off. The logicians class arthā patti (inference from circumstance) as part of inference. Thus one can easily infer that all the women were Kṛ ṣ ṇ a’s lovers. [41] tatra yā ḥ punar atī va snigdhatā -digdha-hṛ dayā s tad duḥ khataḥ ś uṣ katā m avā pur na tu punaḥ svaka-duḥ khaṁ puṣ kalaṁ menire | The gopī s, whose hearts were inundated with prema, dried up because of suffering to attain Kṛ ṣ ṇ a, but they did not pay attention to their suffering. [42] yathā rā dhā yā viś ā khā lalitā paryā yā nurā dhā ca, candrā valyā ḥ ś aivyā padmā cety-ā dayaḥ | tā su tu tā ḥ sva-mā tra-niṣ ṭ hatā ṁ niṣ ṭ aṅ kya svayam eva sa-sauhā rdaṁ nija-hā rdam ā vedayā ñ cakruḥ | tathā pi tatra prathamaṁ rā ma-sahitatā -pihitam eva taṁ lupta-varṇ a-padaṁ varṇ ayā mā suḥ | There were Rā dhā ’s sakhī s like Viś ā khā and Lalitā (also called Anurā dhā ) and Candrā valī ’s sakhī s like Ś aibya and Padmā. Among them, they revealed their desires with confidentiality, expressing their fixed love. Though he was covered somewhat by association with Balarā ma, they began describing Kṛ ṣ ṇ a with incomplete words. [43] tatra gī taṁ, yathā — rā mo rā mā nuja iti yugalam | kṛ ta-naṭ a-veṣ atayā paṭ u rā jati gā yati sakhi-gaṇ a-yugalam | [dhruva] sarasa-rasā laja-pallava-tallaja-pallavitā mala-ś ī rṣ am | nava-yauvana-vana-bī jā ṅ kuram iva dhā rayad-atanu-cikī rṣ am ||b|| vā ñ chita-piñ chā vali-parilā ñ chita-maṇ i-nicayā ñ cita-keś am | dadhad iva hari-dhanur-anugata-tā rā -vali-valitā mbuda-leś am ||c|| valayita-nava-dalad-utpala-karṇ ika-karṇ a-yugā dbhuta-ś obham | latikā kā sā v iti vismayakṛ ti madhukṛ ti vinihita-lobham ||d|| hasta-kamalam abhi kamala-vighū rṇ ana-ramaṇ a-kalā -ramaṇ ī yam | madhupa-gaṇ aṁ prati madhu-kaṇ a-varṣ aṇ am akṛ ta yataḥ kamanī yam ||e|| mā lā mā lā -parimala-bali-bali-vapur ali-valita-sadeś am | ali-jhaṅ kṛ ti-nuti-kolā hala-vaha-bahula-kutū hala-veś am ||f|| sitam asitaṁ vapur asitaṁ pī taṁ vasanaṁ yasya ca gī tam | tad idaṁ yadi gokulam anu gokulam ayati tadā gham atī tam ||g||40|| iti | Their song: Kṛ ṣ ṇ a and Balarā ma, dressing up, sang skillfully with their friends. They covered their pure heads with the best buds from the mango tree, which had been nourished by its sap. They were at the stage of new youth, expressed through the new buds. They had a strong desire for action. They had lovely peacock feathers in their hair, along with gems. They appeared to be wearing a small portion of a cloud accompanied by constellations and a rainbow. Their ears were wonderfully ornamented with fresh blue lotuses. The boys showed eagerness for the bees which asked “What creeper is that? ” Twirling lotuses in their hands they displayed the highest attractiveness, attracting the bees with a pleasant shower of sweetness. Their strong bodies were worshipped by the fragrance of their garlands, surrounded by the bees. They had an extraordinary dress in the form of the loud humming of bees. One was white with blue cloth and the other was blue with yellow cloth. When they bring the cows to Gokula our distress will disappear. [44] api tu tasya gokula-sadeś a-pradeś a-praveś a eva sarveṣ ā m abhiniveś a-hetuḥ, yataḥ — cakṣ ur-bhā jā ṁ phalam idam aho yad vrajasya praveś e gobhiḥ sā kaṁ sakhi-valayitaṁ dṛ ś yate bhrā tṛ -yugmam | yugme tasmin laghur iha mukhā mbhojam asmin muralyā dī ptiḥ kiñ cin nigamana-kalā ś ā li netraṁ ca tatra ||41|| [mandā krā ntā ] All became absorbed in Kṛ ṣ ṇ a as he approached Gokula. “Ah! When we see the two brothers enter Vraja with their friends and cows, our eyes reach perfection. The younger brother has a lotus face, shining with a flute, with eyes which are the essence of all arts. ” [45] atra caiva dhvanitam— dhā mā gatasya samaye sakhi-dhenu-saṅ gi saṅ gā yato viharato harataś ca tasya | kiñ cid vimṛ gyad iva cañ calatā ñ ci-tā raṁ hā rā ṇ i-netram anu vidhyati mā nasaṁ naḥ ||42|| [vasantatilakā ] This is suggested: When he goes about, frolicking and singing with his friends and the cows, his eyes with restless pupils, moving like pearls on a necklace, pierce our hearts. tasmā t— sā kila kulajā kulajā nayane tasyā ḥ paraṁ nayane | veṇ u-vinodī madanaḥ sa bhavati yasyā ḥ svayaṁ madanaḥ ||43|| [upagī ti] Thus the eyes of a noble woman who is enchanted by the flute player who gives her bliss have reached perfection. [46] tad evam aghadamanena tā sā ṁ krama-paramparā taḥ parasparaṁ sva-viṣ ayā bhilā ṣ a-vyañ janā -sañ janaṁ kiñ cil lajjā paryayam ā carya tā dṛ ś a-ramya-sva-vidyā -bala-tā ratamya-viduratayā vidū rato’pi tam avadhā rya para-parataḥ parā rdhyaṁ samardhyamā nā ṁ punar veṇ u-ś ikṣ ā ṁ vilakṣ aṇ ī -kurvatā saṅ karṣ aṇ aḥ kevalaṁ lakṣ yā ya kalpayā ñ cakre | yatra hi sarvam eva yugapan mugdhatā -digdhaṁ babhū va | Overcoming shyness to some extent to reveal his desire when he noticed the gopī s’ affection and having great intelligence corresponding to the strength of his pleasurable awareness of their feelings, while glancing at Balarā ma, he then began improvising on his flute with amazing skill, increasing the beauty of the music at every moment, on the pretext of playing for only Balarā ma. All the gopī s at once became enchanted. [47] yatra ś rī -vraja-devī bhir api nija-bhā va-vyaktiṁ ś aṅ kamā nā bhiḥ saṅ karṣ aṇ aṁ lakṣ yaṁ vidhā ya tad varṇ ayā mā se, yathā — veṇ oḥ ś ikṣ ā m atha racayator dhenu-rakṣ ā di-lakṣ yā n nā nā raṇ yaṁ prati viharator bibhrator yaṣ ṭ i-rajjū | stambhaṁ lole calanam acale kurvator atyapū rvaṁ bhrā tror ā sī d bata tanu-bhṛ tā ṁ dharmato vaiparī tyam ||44|| [mandā krā ntā ] The women of Vraja, shy to reveal their love, describe Kṛ ṣ ṇ a while indicating Balarā ma. Holding their sticks and ropes, wandering in various forests to herd the cows while playing their flutes, making the mountains move and the water motionless, they make life entities manifest opposite qualities. [48] atra caivaṁ dhvanitam— nū nam evaṁ vidadhatoḥ sarveṣ ā ṁ dharma-paryayam | kṛ ṣ ṇ o’mū lam asau cā smad-dharmam unmū layiṣ yati ||45|| [anuṣ ṭ ubh] The following is suggested: Of the two who destroy everyone’s’ dharma, Kṛ ṣ ṇ a completely uproots our sense of dharma. [49] tad evaṁ bhrā tṛ bhyā ṁ saṅ gā ne yugapad eva sarveṣ ā ṁ mohanam ū hamā nenā nujena vicā ritam— Thinking that by playing songs in this way everyone would become bewildered, Kṛ ṣ ṇ a then considered: [50] hanta tā sā m eva mohanā karṣ aṇ e suṣ ṭ hu mamā bhī ṣ ṭ e, tatrā pi rā dhā bhidhā yā ḥ | tasmā t pṛ thag bhavan pṛ thag eva yathā jī vā nā ṁ jā tir yathā -yuktaṁ tayor dvayam ekaṁ vā vahati, kramaś o vyaktir api, tathā ś ikṣ ā rthaṁ prayatiṣ ye | tac ca tat-tan-mā trā tiś ayitā bhī psita-svarā di-marma-samudbhā vanayā sambhaviṣ yati iti | I desire that all of them will become bewildered and attracted, and especially Rā dhā, just as the brā hmaṇ a is special among the jī vas. I will endeavor to play the flute so that gradually bewilderment, attachment, or both will appear. This will occur by the appearance of the essence of notes most desired by the sense objects. [51] tad evaṁ vicā rayatā tena parī kṣ ā -paryā locanā rtham uttaram uttarā ṁ vaś yatā m atī tatarā ṇ y avarā ṇ i sattvā ni kramaś aḥ sva-vaś atā m ā nī tā ni, tathā pi tat-preyasī bhiś citta-kṣ obha-mā traṁ tu lebha eva | Considering this, in order to carry out a test, he began bringing under control all animals. But he only managed to agitate the hearts of the gopī s (not controlling them. ) [52] tatra yathā prathamato gā ḥ prati tad-gā nam avakarṇ itam, tathā varṇ itam, First the cows reacted on hearing the flute. yathā — harer vaktraṁ veṇ u-dhvani-miṣ atayā varṣ ati sudhā ṁ pibaty etā ṁ gavyā yad anu rasanā -karṇ a-yugalam | ahā sī t prastabdhā nija-viṣ ayam anyā tu rasanā kim etat kiṁ naitad bhavati kim ivaitat kim iti vā ||46|| [ś ikhariṇ ī ] Kṛ ṣ ṇ a’s face showered nectar through the song of his flute and the cows drank it by their ears which served as their tongues. And their tongues became stunned, not able to taste grass. “Is this nectar? Can it not be tasted? To what can it be compared? What is the purpose of the nectar? ” [53] atrā pi dhvanitam idam— gavā m asmā kaṁ ca ś ravaṇ am anu veṇ oḥ samadaś ā yadapy eṣ ā jā tā tadapi kila bhedo vilasati | amū s tad-vaktenduṁ sapadi kalayanti pratipadaṁ vayaṁ naitad vidmaḥ kva bhavati yuge tasya kalanam ||47|| [ś ikhariṇ ī ] This is suggested: One hearing the flute we and the cows attained the same state, but there is some difference. The cows at every moment gaze at his moon-like face but we do not know in which yuga we will gaze upon his face. [54] athā pare-dyuś cā parā ṁ ś ikṣ ā m adhikṛ tya vanyā ny api sattvā ni samā hṛ tya mohitā ni, yathā — vaṁ ś aḥ so’yaṁ tu vī taṁ saḥ kaṁ sa-ś atror itī yate | tena ś aṁ sanato yā nti vidhvaṁ saṁ mṛ ga-pakṣ iṇ aḥ ||48|| [anuṣ ṭ ubh] On another day, playing another tune, he attracted and enchanted the other animals. The animals and birds became so enchanted by the sound of the flute that it seemed as if they had been caged. [55] tad api tā bhir udbhā vitam, yathā — vṛ ndā raṇ yaṁ prathayati bhuvaḥ kī rtim atra svayaṁ hi ś rī mā n kṛ ṣ ṇ o viharati padā mbhoja-lakṣ mī ṁ vitanvan | veṇ or vā dye naṭ ana-ghaṭ anaṁ barhiṇ aḥ sabhya-bhā vaṁ vanyā ḥ sarve yayur iti sadā raṅ gatā ṁ yaj jagā ma ||49|| [mandā krā ntā ] This affected the gopī s. Vṛ ndā vana broadcast the glories of the earth, for here Kṛ ṣ ṇ a personally played while marking the land with his lotus feet. By the sound of his flute the peacocks danced and the wild animals became civilized. Vṛ ndā vana had become a dancing arena. [56] atra cedaṁ dhvanitam— vṛ ndā raṇ yasya puṇ yaṁ vrajitum iha na naḥ ś aktir astī ti cā stā ṁ yad barhyā dyā ś ca bhā nti pratipada-sukṛ ta-prodayā d asmad-arhyā ḥ | gṛ hyā ṇ ā ṁ gṛ hyakā ḥ smaḥ sphuṭ am iha tad alaṁ gṛ hyakebhyaś ca garhyā s te tasya svairam ī kṣ ā ṁ vidadhati na tad-ā bhā sam aṇ v apy ayā ma ||50|| [sragdharā ] This is suggested: We do not have the capacity to attain the good fortune of Vṛ ndā vana. We worship the peacocks because of their good fortune at every moment. The domestic animals in the house are worthy of worship. We are more condemned than the animals since they can freely see Kṛ ṣ ṇ a, whereas we cannot even see his shadow. [57] atha dinā ntare’pi tebhyo vicchidya hariṇ yas tathā kṛ tā ḥ | tac ca pū rvavat tā bhir varṇ itam— ā ś caryaṁ sakhi kṛ ṣ ṇ asā ra-dayitā -vṛ ndaṁ milad-bhartṛ kaṁ jā tyā mū ḍ ham api vyatī tya bhavatī r apy evam ī hā ṁ dadhe | ś rutvā veṇ u-kalaṁ hariṁ prati gatis tad-rū pataś citratā tasyā py arcanam ullasat-praṇ ayatas tatrā pi netrā ñ calaiḥ ||51|| [ś ā rdū la] Apart from the domestic animals, on another day the deer became controlled by his flute. The gopī s described this in a similar manner: How amazing! The does gather with the bucks and though of low intelligence, surpass you in their worship. Hearing the flute, they go towards Kṛ ṣ ṇ a, and, stunned by his beauty, worship him with the corners of their eyes with great love. [58] dhvanitam apī dam— vayaṁ jā tyā nā ryaḥ puru-guṇ avatā m ā dṛ tatamā s tathā bhartā ras tat-praṇ aya-naya-siddha-vraja-bhuvaḥ | hariṇ yo nedṛ ś yas tadapi patibhis taṁ yayur aho dhig asmā n duṣ puṇ yā dadhima nahi tā sā m api tulā m ||52|| [ś ikhariṇ ī ] This also is suggested: We who are women by birth are respected by the respectable. Our husbands live in Vraja famous for love of Kṛ ṣ ṇ a. But the does are not like us. They go with their husbands towards Kṛ ṣ ṇ a. We are so sinful! We cannot be equal to the does. [59] dinā ntare tu viś iṣ ya vihaṅ gamā s tathā -bhā vaṁ gamitā ḥ, tatra ca tā bhir abhihitaṁ, asmin vane tu vihagā munayaḥ pradiṣ ṭ ā ḥ kṛ ṣ ṇ as tu tad-gurur iti pratataṁ pratī maḥ | naivā nyathā tad amunā kimapi praṇ ī taṁ mauna-vratena ś ṛ ṇ uyuḥ parito niviṣ ṭ ā ḥ ||53|| [vasantatilakā ] On another day, the birds became transformed. This was described by the gopī s. We know for certain the birds in this forest are sages and Kṛ ṣ ṇ a is their guru. It cannot be otherwise. He has done this astonishing thing. They are all absorbed in listening, maintaining a vow of silence. [60] atra tu sa-nirvedaṁ dhvanitam— yasmā d asau munis te ca munayaḥ sarvataḥ sthitā ḥ | tasmā t kā ñ cit spṛ hā m atra nā ñ citā ṁ kartum arhatha ||54|| [anuṣ ṭ ubh] They also suggested this despondently: Since he and they are dwelling here as sages, it is not proper that our desires can be fulfilled. [61] atha dinā ntare devyo’pi tathā kṛ tā ḥ, tatra tā bhir varṇ anaṁ, yathā — veṇ ū dgā na-guṇ ena tasya paritaḥ kṛ ṣ ṭ e vimā notkare devyo rū pa-vilā sa-mohana-kalā m ā sā dya mohaṁ gatā ḥ | yatredaṁ na viduḥ kim etad abhitaḥ pū rvaṁ ś rutaṁ vī kṣ itaṁ veti srastam abhū t kacā di kim u vā naivety api prā yaś aḥ ||55|| [ś ā rdū la] On another day the devatā women became enchanted. The gopī s described this: When his flute attracted all the divine airplanes, on encountering the attractive skill of his flute with playful form, the devatā women became enchanted. “What is this that I hear and see everywhere? ” They were not aware whether their ornaments and hair had fallen askew or not. [62] atra ca dhvanitam— hanta devyo’pi yatraitā m avasthā m ā pur añ jasā | tadī ya-vraja-bhū -bā lā varā kyas tatra kā vayam? ||56|| [anuṣ ṭ ubh] This is suggested: The devatā women have so easily attained this state. But what is our state, the state of depraved women of Vraja? [63] tad evaṁ cetanā ṁ s tathā vitatha-cetanā n vidhā yā cetanā n api cetanā n ivā caritum ā rabhate sma | acala-maryā dayā paryā ptā ḥ sphuṭ am amū r ā kraṣ ṭ um acetanatā m atikramyā pi duḥ ś akā iti | Thus living beings lost consciousness and inanimate things became conscious. Surpassing mountains in their motionless state, though they were superior to inanimate objects, the gopī s were difficult to attract. [64] tatra nadī -caritaṁ tā bhir evaṁ vicā ritam— dvī pinyaḥ ś ravaṇ ena veṇ u-raṇ iteḥ stambhaṁ gatā ḥ sabhramā ḥ phullat-pū ratayā sphurad-ghana-rasā haṁ sā di-gī ḥ -ś iñ jitā ḥ | unmaryā da-daś ā m itā muraripuṁ dū re’bhisṛ tyā gatā bhaṅ gā lola-bhujaiḥ saroja-valayas tasyā ṅ ghri-yugmaṁ dadhuḥ ||57|| [ś ā rdū la] The gopī s considered the nature of the river. Hearing the flute, the river stopped, overcome with bewilderment. Its waves swelled, the water trembles, and shouted through the calls of swans. It became insane. It approached Kṛ ṣ ṇ a in the distance and with its waves as hands, offered lotuses to his lotus feet. [65] atra cedaṁ dhvanitam— nadyaḥ sindhu-pati-vratā hari hari pratyakta-maryā dikā s taṁ vidrutya milanti ced ahaha kā dī nā s tadā nī ṁ vayam? | kintu svairam amū r udū ḍ ha-sukṛ tā nā smā su tat-tulyatā svalpā pī ti nivṛ ttir eva sukhato yuktā thavā duḥ khataḥ ||58|| [ś ā rdū lavikrī ḍ itam] This is suggested: The rivers, wives of the ocean, quickly go to meet him, overcoming the rules. We are not so fortunate. The rivers have easily accrued pious credits. We cannot compare to them at all. We must become detached from happiness and distress. [66] dinā ntare cā mbhoda-varṇ anaṁ, yathā — murā rer ambhodaḥ suhṛ d iti na vā kevala-rucā svasā dṛ ś yā t kintu vyatikṛ ta-hitatvā d api sadā | asau mallā reṇ a prabalayati taṁ veṇ u-januṣ ā sa cā yaṁ chā yā bhiḥ praś amayati tā paṁ tad-upari ||59|| [ś ikhariṇ ī ] On another day they described the clouds: The clouds are not only his friend because of their similar color, but they are also beneficial to all beings. Kṛ ṣ ṇ a nourished the cloud by the mallā ra-rā ga on his flute, and the cloud relieves him of the heat by placing its shadow over him. [67] atra ca dhvaniḥ — haṁ ho paś ya jaḍ o’pi vā rida-cayaḥ sarvopari sthā yy api cchā yā bhiḥ svarasaiś ca taṁ paricaraty antaś cara-premataḥ | kaṣ ṭ aṁ suṣ ṭ hu vayaṁ tad-eka-ś araṇ a-prā ṇ a-sthitiṁ -manyatā - gaṇ yā s tasya vinā tu sevanam amū r jī vā ma dhig jī vitam ||60|| [sragdharā ] This is suggested: Though the clouds are inanimate and are floating above everyone, because they have prema within, they serve Kṛ ṣ ṇ a by their water and shade. We are unfortunate. We surrender to him, accept him as the protection of our lives and give him all respect. But without service to him our lives are useless. [68] aho, ś ilā mayy api ś ailajā tiḥ sukham evaṁ bhajate, yathā — ś rī mā n govardhanā driḥ sphuṭ am ayam abhitaḥ ś rī -harer dā sa-varyaḥ kṛ ṣ ṇ e rameṇ a yasmā t tam anu muralikā -vā danā yā dhirū ḍ he | labdhair yaḥ sā ttvikā bhaiś caraṇ a-sarasija-sparś ajair aṅ kurā dyaiḥ sarvā ṅ gī na-dravair apy anuga-sakhi-dhanaṁ sevate taṁ cirā ya ||61|| [sragdharā ] Ah! Even the pile of rocks, the mountain has attained happiness: Govardhana is clearly the best servant of Kṛ ṣ ṇ a, for when he climbs the mountain with Balarā ma while playing the flute, it serves him along with the cows and his friends continuously with elegant shoots sprouting by the touch of his lotus feet and by the waterfalls.

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