Chapter Twenty-three 43 страница

dattā bhaya-bhuja-vakṣ aḥ -ś rī -yuja dā syo vayam api te’tra ||69||

O Kṛ ṣ ṇ a with your face surrounded by locks of hair, joyful with earrings! O Kṛ ṣ ṇ a with eyes decorated with a smile! O Kṛ ṣ ṇ a with arms that give fearlessness! O Kṛ ṣ ṇ a with a golden line on your chest! At this place we become your servants. (We are forced to be your servants! )

atra cā piḥ pū rvavat |

The word api as before indicates forbiddance.

tava muralī -kalam api ca rū pa-balam anubhū yā bhavad eva |

druma-kulam api pulakā ṅ kura-saṅ kulam iha kā nā rī deva ||70||

O Lord! Since even the trees have hairs standing on end on experiencing the sound of your flute and the power of your beauty, then what woman would not?

(Since the trees have hairs standing on end on experiencing the sound of your flute and the power of your beauty, why should women do this? )

atra keti kaumutye niṣ edhe vā —

Ka indicates kaumutya, or forbiddance.

vyaktaṁ vraja-bhaya-hara-lī lā -caya devas tvam asi sa ko’pi |

tan no nija-karam api ś irasi ca dhara dā sī nā ṁ bhramato’pi ||71||

O Lord! You remove all fear in Vraja through your pastimes. This is evident everywhere. You have some incontestable power. Just once put your arm on the heads of us, your servants.

Atra na iti no iti vā cchedaḥ

No can mean na (Do not put your arms on our heads).

[73] tad evaṁ sthite—

tathā vilā pa-tā pena na tā sā ṁ vivyathe hariḥ |

yathā rā dhā preṅ khita-bhrū -dhanur iṅ khi-dṛ g-ā ś ugaiḥ ||72||

When this happened, Kṛ ṣ ṇ a suffered from the arrow of her fickle glance fired by her bow-like brows. This was not the pain of lamentation.

atha vyathita-mā nasaḥ prathita-bhā va-kā ruṇ yataḥ

prahasya muditā nanaḥ svaka-rahasyam ullā sayan |

pratisvam anayat priyā druta-matiḥ sva-pā rś vaṁ balī

balā d api balā nujo valayati sma lī lā ṁ prati ||73||

Strong Kṛ ṣ ṇ a, with joyful face, though pained in his heart, revealed his secret out of compassion mixed with his generous intentions, and brought the gopī s to his side by force for pastimes.

ā mṛ ś ann aṅ gulī ḥ pā ṇ iṁ prakoṣ ṭ haṁ bā hum apy atha |

tā sā ṁ hari-karas tṛ ptiṁ nā gā ndhanam ivā dhanaḥ ||74||

As a man is not satisfied on attaining treasure, the gopī s were not satisfied on touching his hand, fingers, arms, forearms and upper arms.

yad api ca rā dhā tā su svam abhijugopā yutā di-saṅ khyā su |

tad api ca hariṇ ā spaṣ ṭ aṁ dṛ ṣ ṭ ā tā rā su candralekheva ||75||

Among the unlimited gopī s who hid themselves from him, Kṛ ṣ ṇ a saw Rā dhā clearly, like the moon among the stars.

rā dhā yarhi svakara-spṛ ṣ ṭ ā jā tā murā rā teḥ |

ativismitaye jajñ e tarhi ca sā tatra candralekheva ||76||

When Rā dhā touched his hand, she caused astonishment in all the gopī s just as the slender moon causes astonishment in the stars.

gopyaḥ kṛ ṣ ṇ aṁ tatra kṛ ṣ ṇ aś ca rā dhā m

ā ś liṣ occair ā vrajan narma-ś arma |

bhā va-ś reṇ yaḥ sthā yi-bhā vaṁ svabhā vo

yadvat puṇ yā d vā sanā ṁ pū rva-labdhā m ||77||

As a vyabhicā ri-bhā va becomes a sthā yi-bhā va and the sthā yi-bhā va becomes a vyabhicā ri-bhā va, and as one attains one’s desires from previous birth by pious acts, so the gopī s embraced Kṛ ṣ ṇ a and the Kṛ ṣ ṇ a embraced Rā dhā and attained joy with joking.

[74] tatra kā ś cid bhī rur iva nibhā lya vana-mā lyaḥ parī hā sataḥ parasparam ū cuḥ —

jalade vilasati vidyud bibhyati hṛ dayā ni bhī rū ṇ ā m |

kiṁ parihasasi sakhi tvaṁ kiṁ na hi paś yasi puraś citram ||78||

One gopī looked on as if afraid. The others, holding garlands and joking among themselves, addressed her.

Lightning appears beautiful in the lap of the clouds. The hearts of the timid become frightened. O friend! Why are you laughing? Are you not seeing something astonishing in front of you?

ā tmā rā mā apy aho yasya gandhā d

brahmā nandaṁ bā ḍ ham ā ccā dayanti |

pū rṇ ā nandaḥ sa svayaṁ hanta tā bhiḥ

svā nandā ya krī ḍ anā ya prayete ||79||

Ah! Kṛ ṣ ṇ a, full of bliss, by whose fragrance the ā tmā rā mas cover up the bliss of Brahman, made efforts to play with the all the gopī s for his own pleasure.

[75] atha samā panam—

ī dṛ g apyayi rā dhe yas tā sā ṁ mukha-nirī kṣ akaḥ |

tvad-utkarṣ a-rasā yā sī d iva tā su parī kṣ akaḥ ||80||

The conclusion:

O Rā dhā! He who is endowed with all qualities examines the faces of the other gopī s in order to taste your excellence.

Chapter Twenty-four

Kṛ ṣ ṇ a’s Disappearance

[1] tataḥ snigdhakaṇ ṭ ha uvā ca—

Snigdhakaṇ ṭ ha spoke.

[2] atha saṅ kṣ epeṇ a varṇ itaṁ, yathā —

tā bhiḥ sametā bhir udā raceṣ ṭ itaḥ

priyekṣ aṇ otphulla-mukhī bhir acyutaḥ |

udā ra-hā sa-dvija-kunda-dī dhitir

vyarocataiṇ ā ṅ ka ivoḍ ubhir vṛ taḥ || [BhP 10. 29. 43] iti |

This is described by Ś ukadeva in brief:

Among the assembled gopī s, the infallible Lord Kṛ ṣ ṇ a appeared just like the moon surrounded by stars. He whose activities are so magnanimous made their faces blossom with his affectionate glances, and his broad smiles revealed the effulgence of his jasmine-bud-like teeth.

[3] tatra prathama-caraṇ aḥ ś loka-sā tkriyayā laṅ kriyayā paricaryate—

kā ntasya tā bhiḥ sva-karaṁ spṛ ś an karaḥ

sarpan paraṁ cā vayavaṁ vitarkitaḥ |

kī rṇ aś ca tasyā ntaram antaraṁ bhajan

dṛ ṣ ṭ aḥ punas taj jitakā ś itā ṁ gataḥ ||1|| [indravaṁ ś ā ]

The first line of that verse arranged with its ornaments will be described:

His hand touched their hands and moved to their other limbs. Noticing this, they pushed his hand away. When his hand took other opportunities they also saw that. In this way they defeated his hand.

[4] atha dvitī ya-caraṇ aḥ —

priyaṁ niyutaś o’py amū r na hi vilokamā nā ḥ samaṁ

nimeṣ am upasedire yad iyam eva divyā sthitiḥ |

priyeṇ a nijam arpitaṁ yad avaloka-ś uddhā mṛ taṁ

samaṁ bubhujire pṛ thak tad adhikaṁ tu kiṁ varṇ yatā m? ||2|| [pṛ thvī ]

The second line is explained:

Though they numbered in the millions when they all saw him, their eyes stopped blinking since the sight was the height of astonishment. They each separately enjoyed that form of pure nectar for their eyes offered by their beloved. How then can the nectar of his lips be described?

[5] atha siṁ hā valoka-nyā yā d dvitī ya-tṛ tī ya-caraṇ au ca, yathā —

yathā dṛ ś ā ṁ diś i diś i tā dadhur muhus

tathā haris tad-abhimukhaṁ dadhe dṛ ś am |

yadā nvabhū d arahita-cā turakṣ yatā

tadā hasī t sphuṭ am asakṛ t kṛ ta-kramam ||3|| [rucirā *]

The second and third lines will be described, reverting back to the second line:

Though the gopī s gazed here and there, he gazed steadily at them. When four eyes met, he laughed repeatedly at each incident.

[6] tadvad uttarā rdhaṁ ca—

kavibhiḥ kṛ ṣ ṇ e ś aś itā tā su ca nakṣ atratā kavitā |

kintu smita-mukha-dī vyad-vilasita-vṛ ndair amī varitā ḥ ||4|| [anuṣ ṭ ubh]

The last two lines are explained:

The poets describe Kṛ ṣ ṇ a as the moon and the gopī s as the constellations. But they were superior because of the sweet smiles and the brilliant dalliance.

[7] tataś ca nā nā -narma-karmaṭ hatayā haṭ havattayā ca kṛ ṣ ṇ ena kiṁ cid asaṁ koce viracite, prā yaś aḥ sarvā vayave cā valocite, nicolā di-viparyaye ca paricite sā sraṁ bahu vihasya tad iha sarvam eva yathā vat paryā citam ā cere |

Because of his various skills and force, Kṛ ṣ ṇ a broke down their reservation, and saw most of their limbs. Recollecting the agreement in exchange for giving back their clothing, with tears and laughter, he undertook all appropriate actions.

[8] tad evam ā cā rya sasukham udaṅ -mukha-gati-caryayā yamunā -tī ra-vana-ś reṇ ī ṁ ś obhayann eṇ ī dṛ ś as tā ḥ sva-kā ntibhir ā cakarṣ a,

Acting in this way, he joyful headed north and beautified the groves on the bank of the Yamunā. He attracted his beloveds by his beauty.

[9] yatra labdha-harṣ aś candramasam api nija-dakṣ iṇ ataḥ samā karṣ ann iva saṅ gitayā ṅ gī cakā ra |

Filled with joy, he attracted the moon to his right side and enjoyed its association.

[10] tad anu ca sarvā bhir arvā cī na-yauvanā bhis tam ekam anusarantī bhir ata eva parasparaṁ saṅ gam apariharantī bhir, ata eva sahasā nupalabdhā nurahasa-kaṇ ikā bhir, ata eva tan-milana-viś eṣ ā ya kalita-purū tkalikā bhiḥ saha, sa haris tā dṛ ś atā m eva parā mṛ ś ati sma—

He began to think of his eagerness in the company of the gopī s possessing fresh youth, who surrendered to him alone, who could not give up his association, who now suddenly attained a private place with him and who were most eager on meeting him.

[11] athā nyathā nupapattyā saṅ gā nasukham evā valambamā naḥ kevalaṁ cañ cac-cañ carī ka-lulita-lalita-sukumā ra-kusumā ñ citaṁ vanam evā yaṁ sarva-guṇ a-ś ā lī vanamā lī cañ cati sma |

Thinking that there was no other method of gaining happiness and accepting the happiness born from beautiful songs, Kṛ ṣ ṇ a, endowed with all qualities, began to wander in the forest filled with fresh flowers touched by wandering bees.

kintu,

saṅ gā naṁ tad idaṁ paraspara-guṇ a-grā mā nubhū tiḥ svataḥ

ś armā py atra manorathā ntara-kṛ teḥ ś aś vad babhū vā spadam |

yatrā liṅ gana-cumbanā di-vidhaye tā sā ṁ harer apy adaḥ

saukhyaṁ lakṣ am abhū t parā vṛ ti-vidhā ṁ cā veś itā nirmame ||5|| [ś ā rdū la]

The singing was a spontaneous realization of their mutual qualities. The happiness was constantly the shelter for all other desires. He experienced unlimited happiness in embracing and kissing them and when the happiness waned, he nurtured it.

[12] tad etad varṇ itaṁ yathā ś rī -bā darā yaṇ inā —

upagī yamā na udgā yan vanitā -ś ata-yū thapaḥ |

mā lā ṁ bibhrad vaijayantī ṁ vyacaran maṇ ḍ ayan vanam || [BhP 10. 29. 44] iti |

Ś ukadeva describes this:

As the gopī s sang his praises, that leader of hundreds of women sang loudly in reply. He moved among them, wearing his Vaijayantī garland, beautifying the Vṛ ndā vana forest.

[13] gā ne viś eṣ aś ca ś rī -parā ś areṇ a—

kṛ ṣ ṇ aḥ ś arac-candramasaṁ kaumudī ṁ kumudā karam |

jagau gopī -janas tv ekaṁ kṛ ṣ ṇ a-nā ma punaḥ punaḥ || [ViP 5. 13. 52]

Parā ś ara describes the song:

Kṛ ṣ ṇ a sang about the autumn, the moon, the moonlight and the Yamunā. But the gopī s sang only about Kṛ ṣ ṇ a.

vidhur ayam ā gatavā n ś aradaṁ prati samprati |

itavā n vidhur atha nahi bhavatī ḥ prati |

mā dhava jaya gokula-vī ra jaya jaya kṛ ṣ ṇ a hare ||a||

Now the moon has arrived in the autumn season. Will the moon not come to you? O Mā dhava, hero of Gokula, Kṛ ṣ ṇ a, Hari! Glory to you!

kumudā kara-calanaṁ na bhaved iti seyaṁ |

kaumudikā gā d idam unneyam |

keś ava jaya hā rda-ś arī ra jaya jaya kṛ ṣ ṇ a hare ||b||

The Yamunā will not move. Thus it should be inferred that the moonlight goes everywhere. O Keś ava, with joyful form! O Kṛ ṣ ṇ a, Hari! Glory to you!

kusuma-vanī madhupair iyam añ cati kā ntim |

mama bhavatī ṣ u prathayatu kā ntim |

ś yā mala jaya hā rda-sarī ra jaya jaya kṛ ṣ ṇ a hare ||c||

The forest of flowers is endowed with bees. May this forest bestow my love upon you! O black Kṛ ṣ ṇ a with affectionate body! O Kṛ ṣ ṇ a, Hari! Glory to you!

puṣ pita-kuñ ja-caye vṛ ndā cita-ś obhā |

bhavad-anugataye kila kṛ ta-lobhā |

mohana jaya saṁ vidi dhī ra jaya jaya kṛ ṣ ṇ a hare ||d||6|| [daś ā vatā rastotra]

In the blossoming groves, the beauty made by Vṛ ndā is eager that you come. O attractive Kṛ ṣ ṇ a, fixed in determination! O Kṛ ṣ ṇ a, Hari! Glory to you!

[14] tad evaṁ gā yate priyā ya pratigṛ ṇ atī ṣ u tā su nava-yuvatī ṣ u punaḥ ś rī -ś uka-vacanā ti-rahasyaṁ,

The gopī s sang their beloved who was singing to them. Ś ukadeva reveals his intimate actions.

yathā —

nadyā ḥ pulinam ā viś ya gopī bhir hima-vā lukam |

juṣ ṭ aṁ [15] tat-taralā nandi-kumudā moda-vā yunā ||

bā hu-prasā ra-parirambha-karā lakoru-

nī vī -stanā labhana-narma-nakhā gra-pā taiḥ |

kṣ velyā valoka-hasitair vraja-sundarī ṇ ā m

uttambhayan rati-patiṁ ramayā ñ cakā ra || [BhP 10. 29. 45-6] iti |

Ś rī Kṛ ṣ ṇ a went with the gopī s to the bank of the Yamunā, where the sand was cooling and the wind, enlivened by the river’s waves, bore the fragrance of lotuses.

There Kṛ ṣ ṇ a threw his arms around the gopī s and embraced them. He aroused Cupid in the beautiful young ladies of Vraja by touching their hands, hair, thighs, belts and breasts, by playfully scratching them with his fingernails, and also by joking with them, glancing at them and laughing with them. In this way the Lord enjoyed his pastimes.

[15] tad etad, yathā —tad evaṁ bhrā maṁ bhrā maṁ jā ta-prasare’py alabdhā vasare sa-tṛ ṣ ṇ a-kṛ ṣ ṇ a-sahita-mahita-mahilā visare’bhilaṣ ita-vilasitā ya viralatā na jā tā |

Though they wandered about and engaged in plentiful flirting without the opportunity for privacy for the desired pastimes did not arise.

[16] ajā tā yā ṁ ca tasyā ṁ kṛ ṣ ṇ ayā taraṅ ga-kara-nikara-citam aharahar avakalitaṁ pulina-viś eṣ am eva tad-ucitaṁ prabalam avakalayā mā sa |

He then thought of the bank of the Yamunā, embraced by her waves, seen everyday, as a suitable place for the rā sa pastimes.

[17] balā nujanmā yaḥ khalu hima-bā lukeva bā lukā yasmiṁ s tā dṛ ś a iti parama-ś ubhra-ś ubhra-guṇ atayā vibhrā jate sma |

This bank whose sand is like camphor shines whiter than the purest silver.

[18] yatraiva ca tā dṛ ś a-sarva-guṇ a-pū rṇ a-pū rṇ imā -nija-dvija-rā ja-virā jamā na-suṣ amā suṣ ama-pratimam-saṅ krama-para-bhā ga-jā garū ka-mahā -mahasā sahasā nayanā ni nā bhyudaya-dayanā ni bhavanti sma |

Because of the great brilliance produced by its excellent qualities which formed a beautiful image of great splendor in the presence of the full moon endowed with all qualities, the bank suddenly could not be seen by the eyes.

[19] yatraiva ca tū likā vad anukū likā bā lukā vastra-mā tram ā staraṇ am apekṣ ate sma; yatraiva ca kalinda-tanayā svayaṁ valita-sakhī nayā saugandhika-sugandha-gandhavā ha-vahanā dinā sevā ṁ vahati sma |

There the favorable sand, like a pillow, needed only the spreading of a cloth. On that bank, the Yamunā rendered devoted service like her friends by winds fragrant with flowers.

[20] tatra cā tra ś rī -keś avaḥ praveś am anubhū ya pratipreyasy api yugmī bhū ya bā hu-prasā rā di-lī lā ṁ ś ī layā mā sa |

Kṛ ṣ ṇ a came there with, acting as a partner for each woman and performing pastimes with each such as embracing.

[21] sā ceyaṁ parama-rahasyeti rahasy eva kiñ cid vyasyate |

Confidential pastimes were enacted with each couple.

[22] yathā mithas tat tan mithunam—

bā hu-prasā ram akarot parirambhaṇ ā ya

bā hū tu tat-karaṇ atā ṁ ciram ī yatur na |

yo yasya naiti vaś atā ṁ sa kathaṁ nu tasya

prā pnotu sā dhakatama-sthitim añ jasaiva? ||7|| [vasantatilakā ]

He spread his arms to embrace them but his arms could not perform their task for a long time. How can one perform a task when one is not in control?

kṛ taṁ ca parirambhanaṁ na parihartum ī ś ā v amū

babhū vatur aghā ri-tat-priya-vadhū -janā v ā tmanā |

kathañ cid api vī rudhā bhavati cet taroḥ saṁ gamas

tayoḥ katham apṛ ktatā svayam anī hayor jā yatā m? ||8|| [pṛ thvī ]

When Kṛ ṣ ṇ a and the gopī s embraced they could not separate themselves for a long time. Like creepers embracing trees, being unconscious, how could they separate?

sakhī nā m apy ā syā -rahita-samaye yat praṇ ayinoḥ

parī rambhā rambhā t prabala-sukha-mū rcchā samajani |

tayos tā ṁ vicchetuṁ param ahaha nā nā -vilasita-

pratī kṣ ā supteva svayam atha jajā gā ra paritaḥ ||9|| [ś ikhariṇ ī ]

Without the presence of Vṛ ndā, on embracing, Kṛ ṣ ṇ a and the gopī s fainted in intense bliss. Ah! Attempts to perform other pastimes such as kissing failed. They gradually recovered from fainting.

tataś ca—

rahasi saṅ kucatī punar apy asau

nija-kareṇ a harer akirat karam |

vyathitatā m iva tā ṁ tu vivṛ ṇ vatī ṁ

tad anumṛ ṣ ṭ i-miṣ ā d ayam aspṛ ś at ||10|| [drutavilambitā ]

One reserved woman pushed away Kṛ ṣ ṇ a’s hand with her own. By the touch of his hand she became pained, but Kṛ ṣ ṇ a touched her again on the pretext of wiping her face.

vadanaṁ tava vṛ ṇ vate bata

bhramarā nā nugatā sti kā cana |

iti lā layati sma sa cchalā d

alakā nā ṁ tatim apy amū m anu ||11|| [viyoginī ]

Ah! The bees are covering your face. Do you not have a friend with you to drive away the bees? On this pretext he touched her locks of hair.

uru-sparś e niraste’pi nī vī m aspṛ kṣ ad acyutaḥ |

niḥ ś aṅ kayā cakā nā ṁ hi tathā caritam ī kṣ yate ||12|| [anuṣ ṭ ubh]

When they prevented him from touching their thighs he touched their dresses. It was seen that he acted fearlessly to attain what he wanted.

kalayati saṁ vastrayati

saṁ hastayate sma tasya yā rā mā |

praṇ ayī sa haris tasyā ḥ

spṛ ś ati ca colī ṁ vitstana-vyā jā t ||13|| [gī ti]

When a woman in shame covered herself with her cloth and pushed away his hand,

Kṛ ṣ ṇ a, full of affection, touched her bodice on the pretext of brushing away dust.

vakṣ as te kim api nirī kṣ yate praphullaṁ

sparś aṁ cā ṇ v api sahate calā kṣ i yan na |

tasmā n man-nakha-nakharañ janī -spṛ g eva

syā n nī ruk tad iti harir jahā sa cā tra ||14|| [praharṣ iṇ ī ][16]

“O woman with fickle eyes! Your chest which cannot tolerate even the slightest touch seems to be swelling with unprecedented love. I will relieve you of pain by the touch of my nails which are a special weapon. ” Saying this, Kṛ ṣ ṇ a laughed.

madhusū danatā ṁ mukhā mbuje

haritā ṁ hṛ d-bhava-kumbhi-kumbhayoḥ |

gatavā n bata nandajaḥ kathaṁ

rati-nā tha-prabhavā ya nā rhati ||15|| [viyoginī ]

Ah! This is a cause of joy! Kṛ ṣ ṇ a is like a lion catching the forehead of the elephant (two breasts) or a bee in the lotus face of the gopī s. Is he not suitable for increasing love?

atha yat kathanī yatocitaṁ

kathitaṁ tat prathitaṁ ca kiñ cana |

yad athā kathitaṁ dvi-karmakaṁ

smṛ ti-rī tyā tad avehi pā ṇ ineḥ ||16|| [viyoginī ]

An object which is desirable (the bee) has been described and an object which is not desirable (lion) has been described. The two objects express his sentiments. They are like a sentence with two objects, one of which is primary and the other secondary. Know this, according to the commentary of Pā ṇ ini. [17] ||16||

[23] ity evaṁ sthite—

gopyas tā ḥ pratipadya sarva-viṣ aya-ś reyā ṁ sam ā tma-priyaṁ

svā dhī naṁ sapadi pratisvam asakṛ t tatrā tigarvaṁ dadhuḥ |

lokaś ced bahu-rā ja-rā ṣ ṭ ra-vasatir jaṅ ganti bhaṅ gaṁ tadā

tasyā ntar-hitatā hiteti kila so’py antardadhe mā dhavaḥ ||17 || [ś ā rdū la]

Knowing that Kṛ ṣ ṇ a, dear to the self and the best of all objects, was dependent on them, the gopī s showed pride. If people live where there are many kings, it is beneficial for them to leave the country since they are continually attacked. Thus Mā dhava also disappeared.

[24] tena ca vicā ritaṁ khalv idaṁ —ahaha, mama paramam uddeś yam eva vismṛ ta-deś yam abhū t, yataḥ sarvā bhir eva nirviś eṣ aṁ ramamā ṇ e mayi ramā -ś iromaṇ ī yamā nā rā dhā pi sā dhā raṇ atā ṁ gatā |

Kṛ ṣ ṇ a considered disappearing:

Ah! My goal was to sport with Rā dhā but this has been forgotten, since I have enjoyed with unlimited women and thus Rā dhā has been put on the level of the others.

[25] kiṁ ca, sva-manoratha-prathanā yā ṁ rā dhā yā ḥ prathamā prathamā nā -gamanatā samprati pratipannā, tasmā n mahā -maha eva mama hitā ya mahī yate | sa ca ś ā radatā -viś ā radatā yā m asyā ṁ paurṇ amā syā ṁ rā sa-rasa eva tū rṇ aṁ pū rṇ atā m arhati | eṣ a tu sarvā sā m aikamatya-pratipatty-anusā rata eva sā ratā m prasā rayati | aikyamataṁ ca pratyekaṁ sā bhimā nā ntarā su parā su kiñ cin mad-udā sī natā -paraṁ dā sī -kartum ā sī dati | tasmā d aś eṣ a-guṇ ā dhikā ṁ rā dhikā m ā dā ya tirodhā ya sthā syā mi iti |

For fulfilling my desires, first the coming of Rā dhā was arranged. A great festival has been arranged for me and will be quickly realized at the time of rasa experienced during the rā sa dance in the full moon filled with the skills of the autumn season.

But that rasa will be best if the gopī s all are of one mind. Each one now thinks that she is superior to the others. To create one-mindedness and make them identify as servants, I will show indifference.

[26] tad etad vibhā vya bhā vyam arthaṁ sā dhayan, mā dhavas tatra tatrā lasa-kara-caraṇ ā di-kriyā ṁ priyā ṁ priyā ṁ praty uvā ca—nū naṁ vañ cita-kā ñ cī -dhvanitayā kayā cid apy atra sthī yata iti nā sthī yate | tac ca mama bhavad-ekā nucā ri-vihā ritayā vicā ritī kriyate | tasmā d atyā yā savatyā bhavatyā sthī yatā m | mayā tu samayā mṛ gayamā ṇ atā ṁ nirmā ya nā tisamaya-virā mam ā gamanī yam |

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