Chapter Twenty-six The Rāsa Dance 1 страница

[1] atha snigdhakaṇ ṭ ha uvā ca—

suvacanam aghaś atroḥ ś ṛ ṇ vatī ś reṇ ir ā sā ṁ
virahajanitaduḥ khaṁ pū rvasiddhaṁ vyadhā vī t |
param iha na tad eva vyā dhunot kintu ś aṅ kā n-

taram api yad amaṁ sta spaṣ ṭ am ā yattam etam ||1|| [mā linī ]

Snigdhakaṇ ṭ ha said:

When the gopī s heard Kṛ ṣ ṇ a’s sweet words their misery from separation disappeared. Not only that, future suffering was also eradicated, because by those words they understood that Kṛ ṣ ṇ a was clearly under their control.

[2] tad evam amū r utphullavadanakañ jasadana-mañ junayanakhañ jarī ṭ ā ḥ sa punar mañ julam ā bhā ṣ ate sma—

yuṣ matkṛ te sma sucirā n manasā smi dū ya-
mā nena yū yam api tastha madartham eva |
tasyā tha durlabhatamasya manorathasya
prā ptā v ihā nurahasaṁ maham ā carā ma ||2|| [vasantatilakā ]

Kṛ ṣ ṇ a then spoke sweetly to the gopī s whose lotus faces were the residence of their khañ jana bird eyes.

“My mind has been burning for your association for a long time, and you have similarly been longing for me. We will undertake a secret festival to fulfill that most rare desire. ”

[3] sa ca rā sa-rū pa eva nirū pyate | tathā hi—

dī paḥ ś ā radabhū ripū ritaś aś ī yatrā sti vṛ ndā vanaṁ
raṅ gaḥ ś rī vrajanā yikā ḥ svayam imā yū yaṁ kalā kovidā ḥ |
taṁ cemaṁ samayaṁ sametya muditaḥ so’haṁ hariḥ kiṁ paraṁ
kartā smi kṣ aṇ am antarā tam api kiṁ rā saṁ vinā bhoḥ priyā ḥ ||3|| [ś ā rdū la]

The festival in the form of the rā sa dance is now described.

“Here is Vṛ ndā vana where the full autumn moon shines, and you are present with all your skills. I am pleased that the time has come. What else can be done except celebrate? O dear women! What can I do to celebrate except have the rā sa dance? ”

[4] ity akṣ ī ṇ atamā vrajajaladhisambhavā kṣ ī ṇ acandramā ḥ sarvā api tā ś cakorā kṣ ī r aṣ aḍ akṣ ī ṇ ayugapad liṅ ganā dinā sukhalakṣ alakṣ itī kṛ tya, balavad ā dṛ tya, rā sanṛ tya-vidhaye nirjambā lam astambajā lam abandhuraṁ bandhuraṁ kamala-bandhujā -pulinam ā vṛ tya, paraspara-kara-saṁ valanayā valayā kā rā ś cakā ra |

The full moon of Kṛ ṣ ṇ a rising in the ocean of Vraja intently and simultaneously honored all the women, like cakora birds, spreading happiness through embraces and kisses. Surrounded by the river bank devoid of low and high ground, devoid of mud, grass or kuś a, he had them join hands in a circle in order to perform the rā sa dance.

[5] kṛ te ca valaye—

kṛ ṣ ṇ ā yā ḥ pulinaṁ gatena ramaṇ enā pū ri kā mas tadā
tenā muṣ ya manas tathā pratipadaṁ tena dvayaṁ cakṣ uṣ oḥ |
tenā ṅ gasphuradaṅ ganā samudayas tenā tha pū rvaṁ paraṁ
sarvaṁ pa rva ca tad bruve kim aparaṁ nā dyā pi viś rā myati ||4 || [ś ā rdū lavikrī ḍ itam]||

They formed the circle. Love became full by Kṛ ṣ ṇ a’s going to the Yamunā ’s bank. By the bank of the river, his mind became full. By his full mind, his eyes became full. By his two eyes being full, all the women became fully satisfied. By all the women the festival became complete from beginning to end. What more can be said? Even today the festival has not stopped.

[6] tad evaṁ sva-kalita-caye valaye vanamā lī ś obhā nicayam upalabhamā naś cintayā mā sa—

upari yathojjvalam indor
valayaṁ pulinaṁ tathā bhuvi ca |
kintu kalaṅ kas tasmin
nirmala-ramaṇ ī -kulā non the bank y atra ||5|| [upagī ti]

In the midst of the circle he had created, Kṛ ṣ ṇ a, attaining a great brilliance, began to think:

As the moon shone above, the bank shone below. Though the moon had spots,

The women on the bank are faultless.

[7] tad aho! cā mī kara-maṇ isarā kā ro’yaṁ ramaṇ ī ya-ramaṇ ī -valayaḥ prati-yugma-madhyaṁ yadi mahā mara-katā yamā na-nā yaka-sambadhyamā natā m ā badhnā ti, tadā hṛ dyatā m ā padyate |

The women are like a necklace of gold mixed with pearls. If there is an emerald center jewel between each pair of women, this would be most attractive.

[8] tac ca tathā veś ena mat-praveś ena paraṁ sidhyatī ti nidhā ya sthitaḥ sann, akasmā d yathā -manorathā kā ram evā vasthitavā n, yathā svayam api katham iti tu na tat-prathanam avā pa |

If I enter between each pair, the arrangement will be perfect.

As he thought like this, his desire was fulfilled. He was between each gopī . He also did not know exactly how it happened.

tataś ca—

hari-hariṇ ā kṣ ī -valitaṁ
pulinaṁ tad valgu bhā ti sma |
sva-pratibimbenā dā d

yad vidhu-bimbā ya sā rū pyam ||6|| [upagī ti]

The bank appeared beautiful with Kṛ ṣ ṇ a and the doe-eyed gopī s. By its reflections the bank was like the moon itself.

suhṛ d indoḥ pulinaṁ tat-
pulinasyā bhū n nata-bhruvā ṁ pracayaḥ |
tat-pracayasya ca valanaṁ
ś rī yuta-gopā la-mū rtī nā m ||7|| [ā ryā ]

The bank was friends with the moon. The gopī s were friends with the bank. The meeting with countless forms of Kṛ ṣ ṇ a was the friend of the gopī s.

yatra ca,

paraspara-karā vali-grathita-maṇ ḍ alī -maṇ ḍ anī r
anusvam abalā milann ubhayatas tadā mā dhavaḥ |
tadī ya-bhujapā ś yayā kalita-mṛ ṣ ṭ a-pṛ ṣ ṭ has tathā
tad-aṁ sa-nihitā tma-dor abhavad eṣ a rā sodyame ||8|| [pṛ thvī ]

The women were in a circle on either side of Kṛ ṣ ṇ a with interlocked hands. The ropes of their arms bound up Kṛ ṣ ṇ a’s flawless back. He placed his arms on their shoulders at the beginning of the rā sa dance.

gaurī -kṛ ṣ ṇ au gaurī -kṛ ṣ ṇ ā v itthaṁ lakṣ e lakṣ e yugme |
vṛ ttā kā re vaṁ ś ī -ś aṁ ś ī rā dhā -saṅ gī tasthau madhye ||9|| [vidyunmā lā ]

There were thousands upon thousands of alternately golden and black forms in a circle and Kṛ ṣ ṇ a with Rā dhā were in the center.

rā saṁ prā rabhata svayaṁ harir asau kaiś orakaṁ mā nayann
ity evaṁ sa parā ś aro’pi bhagavā n prā vocad uccair yataḥ |
tasmā d gopa-vadhū bhir eva saphalaṁ taj-jā tam itthaṁ tu me
haṁ ho paś yata vacmi vā kim aparaṁ romṇ ā ṁ ca jā taṁ mahaḥ ||10||

[ś ā rdū lavikrī ḍ itam]

Praising new youthfulness, Kṛ ṣ ṇ a began the rā sa dance. Parā ś ara has loudly proclaimed this. Youthfulness was made successful by the gopī s’ presence. This I have already described. Ah! Look, what more can I say? My hairs are standing on end.

sa vividha-vanitā -vṛ ndair yadapi bahu-preyasī tadā jajñ e |
tadapi ca rā dhā jñ aptir manye tasyā parā ḥ kṛ tayaḥ ||11|| [ā ryā ]

Though he has many lovers of various types, Rā dhā is his life and others are her functionaries.

tad evam—

anaṅ gam aṅ gena nijena sā ṅ gaṁ

kṛ tvā dhi-raṅ ga-kṣ iti saṅ gamayya |
aṅ gī cakā rā ṅ ga tam aṅ ga-hā rair

navyā ṅ ganā -saṅ gama-maṅ galā ya ||12|| [upajā ti 11]

By his limbs he made Cupid subservient. Taking the women into the arena of pastimes, he began various amorous actions by moving his limbs to gain auspicious association with the young women.

kalita-kanaka-bhā saḥ smera-netrā vidhū ti-

kṣ ubhita-valaya-vī thī -ś iñ jita-vyakta-tā lā ḥ |

vividha-gati-vihā rā naṅ ga-sā rā ṅ ga-hā rā
hari-hari-maṇ i-mū rtī r antarā tā virejuḥ ||13|| [mā linī ]

The women in the midst of sapphire forms of Kṛ ṣ ṇ a surpassed the effulgence of gold. Their eyes were wide. Their bangles jingled as they kept beat by moving their hands. They moved in various gaits and their necklaces attracted Cupid.

tataś ca—

navī na-vinata-bhruvā ṁ nija-navī na-kā nta-cchavī -
juṣ ā ṁ naṭ ana-cā turī -kula-dhurī ṇ a-lī lā -yujā m |
calad-valaya-ś ṛ ṅ khalā valita-nū purā ṇ ā ṁ dhvanir
naṭ ā dhva-nidhi-tā latā ṁ dhvanayati sma yā vad divam ||14|| [pṛ thvī ]

With lowered brows, endowed with forms of fresh beauty, performing pastimes revealing the excellence of clever dancing, they made sounds with the chains of their moving ankle bells which reached the heavens, and which broadcast the excellence of their dancing.

rā se ś iñ jita-tā la-jā lam udabhū t tadvad yathā khecarā n
apy ā kṛ kṣ ad aho vidū ratarataḥ kṛ tveva pū rva-sthitā n |
dyo-yā nā bhidha-mañ ca-sañ caya-gatā vā dyaṁ ca gī taṁ ca ye
sabhyatvaṁ ca samaṁ madā d vidadhataḥ svaṁ nā tra niś cikyire ||15 ||

[ś ā rdū lavikrī ḍ itam]

At the rā sa dance a mixture of various beats arose. Ah! That sound attracted the devatā s wandering in the distant sky. Arriving on chariots they joyously experienced singing, instrumental music and refinement simultaneously and forgot their identities.

[9] tatra devī nā ṁ sañ jalpaḥ —paś ya, paś ya—

hariṇ ā gā nam ā sā di gā nena ramaṇ ī -kulam |
ramaṇ ī bhir atho gā naṁ gā nena sa hariḥ punaḥ ||16|| [anuṣ ṭ ubh]
pulinaṁ vilasat-kṛ ṣ ṇ aṁ kṛ ṣ ṇ aṁ sā liṅ ganā ṅ ganaṁ kalaya |
ā ṅ ganam abhinava-gī taṁ gī taṁ saṅ gī ta-saṅ gi-saṅ gī tam ||17|| [gī ti]

The devatā s talked among themselves: look, look:

Kṛ ṣ ṇ a is singing and he attracts the gopī s. And the women sing and they attract Kṛ ṣ ṇ a.

Look at the bank of the river resplendent with Kṛ ṣ ṇ a and with the gopī s being embraced. List to the novel son sung by the gopī s. They sing a song in accordance with the musical scriptures.

[10] tatra svayam ā rambhe lā sya-sambheda eva jā taḥ | [11] tad yathā bhinayaṁ yathā —

aṅ ga-hā ra-calad-aṅ ga-hā riṣ u
svā ntahā ri vilasadvihā riṣ u |
lā sya-kā riṣ u ca lā syam ā caran
bhrū -naṭ ī -ghaṭ ita-netrā nartakā ḥ ||18|| [rathoddhatā ]

Dancing spontaneously joined the singing, depicting the words of the song:

When the dancers moved most attractively with attractive gestures in all their limbs, their eyes became dancers along with their eyebrows.

[12] tauryatrika-ś aurya-varā ṇ ā ṁ khecarā ṇ ā ṁ vā dye tū dbhū te tā ṇ ḍ ava-maṇ ḍ alaṁ ca sā bhinayam,

The devatā s, most expert in music, dancing and singing, also began dancing to the music with gestures.

yathā —

udyad-dundubhi-maḍ ḍ u-ḍ iṇ ḍ ima-ḍ amar-vā dye mṛ daṅ gaṁ gate
vā dye dyo-pada-vidya-vedya-nadane sadyo’tha vidyotite |
te tarhy udbhaṭ a-nā ṭ ya-nī ti-ghaṭ anā -saṅ ghaṭ ṭ a-niṣ kuṇ ṭ hatā -
sū tkaṇ ṭ hā ḥ pada-pā ṇ i-kaṇ ṭ ha-kaṭ i-sammoṭ ā li-koṭ iṁ dadhuḥ ||19|| [ś ā rdū la]

When the sound of various drums mixed with the music from the heavens, the golden gopī s and all the forms of Kṛ ṣ ṇ a became alert and eager by the profusion of excellent dancing, while their feet, hands, throats and waists became fatigued.

[13] tatra ca ś astra-praś astā nā m iva teṣ ā ṁ kṛ ta-hastakā nā ṁ punar lakṣ yā d acyava eva lakṣ itaḥ |

Like archers who do not fail in hitting their mark, the group, having joined hands, did not fail to achieve their goals.

tathā hi—

hitvā hitvā py atra hastā li-bandhaṁ
tā lā lambā hastakā ni pradarś ya |
gaurī -ś yā mā lā ghavā t pū rṇ amā nā
rā sollā se tadvad ā san punaś ca ||20|| [ś ā linī ]

Though the gopī s and forms of Kṛ ṣ ṇ a had joined hands, they separated their hands according to the beat of the music, showing various gestures. Quickly their minds reached the height of satisfaction. Then again they joined their hands in the bliss of the rā sa dance.

puṣ pa-vṛ ndam apatan muhur muhuḥ
kṛ ṣ ṇ a-gaura-tanu-maṇ ḍ alī m anu |
vṛ ṣ ṭ ir ū rdhvam adharatra nī ra-bhṛ d
vidyud-ā lir iti yatra citratā ||21|| [rathoddhatā ]

Showers of flowers constantly fell upon Kṛ ṣ ṇ a and the golden gopī s. It was astonishing that there was a shower from above the clouds and lightning were below.

[14] atra devā devyaś ca bhavya-bhā va-bhavā n navya-paribhavā t kamalā kṣ aṁ sā kṣ ā d iva sambodhayantas tathā yoga-mā yā yā yogataḥ paraṁ sva-sva-yogyam antaḥ samadhigamya ramyam idaṁ vā dya-kolā halā vṛ tam ujjaguḥ |

The devatā s and their wives, bearing the weight of material life, having been newly defeated, began to praise Kṛ ṣ ṇ a. Understanding what was proper through the influence of Yogamā yā, they began singing to the accompaniment of music.

[15] tad etad ekī kṛ tyā nugī yate—

The song is here compiled and presented:

jaya jaya sad-guṇ a-sā ra |
jagati viś iṣ ṭ aṁ kalayitum iṣ ṭ aṁ gokula-lasad-avatā ra ||a||dhruvam ||

Glory to the essence of all good qualities! You have appeared in Gokula to give happiness to the world.

kamala-bhaveś vara-vaikuṇ ṭ heś vara-patnī -cintita-seva |
rā jasi rā se valita-vilā se nija-ramaṇ ī bhir deva ||b||

O Lord! Brahmā, Ś iva and Lakṣ mī meditate on serving you. You are present with your women in the rā sa dance filled with pastimes.

naṭ avat-parikara nikhila-kalā dhara racita-paraspara-moda |
ā liṅ gana-mukha-vitata-mahā -sukha vallava-vadhu-hṛ ta-toda ||c||

You wear clothing and ornaments like an actor and are endowed with the sixty-four talents. You create joy among all present. You create great joy in the women by embracing them and destroy their pain.

vyativī kṣ aṇ a-kṛ ta-sā ttvika-parivṛ ta-maṇ ḍ alam anu bahu-mū rte |
vraja-taruṇ ī -gaṇ a-racita-nayana-paṇ a-sacita-vaś ī kṛ ti-pū rte ||d||

On seeing each other, you all develop sā ttvika-bhā vas. You are present in many forms in the circle. You have been brought under control by seeing the women of Vraja.

caraṇ a-kañ ja-dhṛ ti-kara-pallava-kṛ ti-cillī -valita-vihā rā n |
madhya-bhaṅ ga-tati-maṇ i-kuṇ ḍ ala-gati-pulaka-sveda-vikā rā n ||e||

They flirt by touching his lotus feet, holding his hand and moving their eyebrows. Their waists bend, their earrings sway, their hairs stand on end and they perspire.

kalayati bhavatā ghana-sā myavatā taḍ id iva sarvā lalanā |
api vaḥ parimiti-taratamatā m iti seyaṁ jñ apayati tulanā ||f||

You are like a cloud and the women are like lightning. This comparison shows your extreme beauty.

sumadhura-kaṇ ṭ he nṛ tyotkaṇ ṭ he tava rati-mā tra-prī te |
tvat-sparś ā mṛ ta-mada-caya-saṁ vṛ ta-citte bhā va-krī te ||g||

The women have sweet voices, are zealous dancers and have affection for only you. Their hearts are filled with the intoxication of your sweet touch. They have purchased you with prema.

yuvatī -jā te gī taja-ś ā tenā vṛ ta-viś va-prabhave |
yas tvaṁ rā jasi tat-sukha-bhā g asi nama etasmai prabhave ||h||

Full of happiness, you stand among these young women who cover the earth with joy arising from the songs. I offer respects to you.

yā saha bhavatā vismayam avatā svara-jā tī r atiś uddham |
gā yati seyaṁ nikhilair geyaṁ kalayati nija-guṇ a-ruddham ||i||

Singing the purest notes with you who maintain astonishment, Rā dhā
reveals song filled with all your qualities which are praised by everyone.

tata utkarṣ aṁ valayita-harṣ aṁ valayati yeyaṁ gā ne |
sā ś rī -rā dhā valitā rā dhā bhavatā kalitā mā ne ||j||

Revealing her excellence and joy while singing, Rā dhā worships you, and you worship her.

yeyaṁ rā se ś ramaja-vilā se vigalan-mallī -valayā |
sā bhavad-aṁ se lasad-avataṁ se dharati karaṁ vara-kalayā ||k||

She becomes tired in the dance, and the jasmine garland falls from her hair. With great artistry she places her arm on your shoulder splendid with an ear ornament.

yā cā ṁ saṁ pari bhuja-parighaṁ paricumbati tava sa-vinodam |
hṛ ṣ yati seyaṁ tan na gaṇ eyaṁ yad roma ca sā modam ||l||

She kisses your iron arms with joy up to the shoulder. She feels inestimable rapture such that her hairs stand on end in joy.

cala-kuṇ ḍ ala-dhara gaṇ ḍ a-mukura-vara samiṣ a-sparś a-vidhā ne |
tā mbū la-drava-parivartā d dravam ayase cumbana-dā ne ||m||

O Kṛ ṣ ṇ a with swaying earrings and with cheeks like mirrors! As a pretext for touching the gopī s you indulge in play by kissing them after giving them chewed betel.

eṣ ā nartana-kī rtana-vartana-ś iñ jita-jā ta-sutā lā |
tava rā mā nuja karam atulā mbujam iṣ am ā dhā dd hṛ di bā lā ||n||

O brother of Balarā ma, the young girl who keeps beat to the dancing and singing with her jingling bangles takes your incomparable lotus hand to her heart.

atha rā sa-krama-parivalita-ś rama-vanitā lambita-deha |
parito-bhramaṇ aka-gaṇ a-viś ramaṇ aka samudita-parama-sneha ||o||

O Kṛ ṣ ṇ a object of sight for the gopī s exhausted from engaging in the rā sa dance! O Kṛ ṣ ṇ a, exhausting those engaged in the revolving dance! O Kṛ ṣ ṇ a filled with the highest affection for the gopī s!

kavi-kṛ ta-niś caya-ś ubhra-yaś aś -caya mā lā -samudaya-hā rin |
jayajayajayajaya jayajayajayajaya jayajaya rā sa-vihā rin ||p||22|| iti | [8 x 8 x 12]

O Kṛ ṣ ṇ a, whose great fame is confirmed by poets! O Kṛ ṣ ṇ a wearing all types of garlands! Glory to you! Glory to you! Glory to you! O performer of the rā sa dance!

[16] rā jasi rā se valita-vilā se ity uktaṁ rū pam evaṁ nirū payanti—

The statement rā jasi ṛ ā se valita-vilā se nija-ramanī bhir deva “you are present with your women in the rā sa dance filled with pastimes” (verse b) is explained.

rū paṁ yan nija-nitya-saubhaga-ś iro-ratnaṁ narā kṛ ty asā v
ā nī yā tra yadī ya-ś akti-vibhavasyā gryā ṁ sthitiṁ praikṣ ayat |
citraṁ vismayate yataḥ svayam api svā ś eṣ a-saṁ veditā
tasmin bhū ṣ aṇ a-bhū ṣ aṇ e’py adhur amū ḥ ś obhā ṁ svayā ś obhayā ||23||

[ś ā rdū lavikrī ḍ itam]

Bringing to earth his human form, the crest jewel of eternal auspiciousness, and showing the extent of its powers, Kṛ ṣ ṇ a became astonished at his one form, though he can perfectly understand his form and qualities. The gopī s made his form, the ornament of ornaments, more beautiful by their beauty.

[17] tad uktam, yan martya-lī laupā yikam [BhP 3. 2. 12] ity ā di, tatrā tiś uś ubhe [BhP 10. 33. 6] ity ā di ca |

It is said:

Kṛ ṣ ṇ a possesses that form suitable for human pastimes to show the full capacity of his yoga-mā yā. That form astonishes even the lord of Vaikuṇ ṭ ha. It is the pinnacle of auspicious qualities and enhances the beauty of his ornaments.

In the midst of the dancing gopī s, Lord Kṛ ṣ ṇ a appeared most brilliant, like an exquisite sapphire in the midst of golden ornaments.

[18] tad evaṁ sati ś rī -rā dhikā yā ṁ tu kaimutyam eva stutyaṁ jā tam |

In that case, what can be said of Rā dhā ’s qualities? How much she should be praised!

[19] yuvatī -jā ta ity ā dā v evaṁ varṇ ayanti—

tā sā ṁ vraja-kiś orī ṇ ā ṁ nityam aprasavā tmanā m |
guṇ aiḥ sa-prasavaiḥ pū rṇ aṁ viś vam apy anvayair iva ||24|| [anuṣ ṭ ubh]

Describing the content of “Full of happiness, you stand among these young women who cover the earth with joy arising from the songs” (verse h), the poets say:

The universe became completely full of the extensive qualities of the youthful Vraja women.

[20] yā saha bhavatā ity ā dā v upaś lokayanti ca—

ś arva-brahma-sureś a-mukhya-diviṣ ad-vṛ ndā ni yad-gā nataḥ
ś aś van moham ayus tam eva dayitaṁ kṛ tvā nugaṁ yā jagau |
sā rdhaṁ tena parā ś camat-kṛ ti-parā s tā ṁ nirmimā ṇ ā m api
vyarthī kṛ tya vivikta-rā ga-valanā ṁ vandā mahe rā dhikā m ||25|| [ś ā rdū la]

Commenting on the verse “Singing the purest notes with you, the maintainer of astonishment” (verse i), Rā dhā reveals song filled with all your qualities which are praised by everyone” the poets give praise:

The gopī s who by singing brought Kṛ ṣ ṇ a under control and who bewildered Ś iva, Brahma and Indra by their songs about Kṛ ṣ ṇ a became astonished along with Kṛ ṣ ṇ a. I praise Rā dhā who made all the rā gas they created useless.

[21] tā m evoddiś ya cala-kuṇ ḍ ala ity ā dā v ca kavayanti—

tad-adhara-rasam ā cā ntaṁ
prā g akṛ ta dvir yad eṣ a tad yuktam |
dvija-saṁ skṛ ta-tā mbū laṁ
katham adyā d anyathā tasyā ḥ ||26|| [ā ryā ]

Elaborating on the phrase “Kṛ ṣ ṇ a with swaying earrings, with cheeks like mirrors” (verse m), the poets say:

It is proper that Kṛ ṣ ṇ a previously performed ā camana twice using the nectar from the lips of Rā dhā. How else could he eat the betel chewed by her teeth?

kiṁ ca—

kṛ ṣ ṇ aḥ snehasya mū laṁ kila lasati vapū -rū pam ity evam asmiṁ s
tā dṛ g nanda-vrajā ntar-jana-sadasi sadaivā nu-bhū ti-pracā raḥ |
so’yaṁ yā sā m amaṁ sta praṇ aya-maya-ṛ ṇ ā ny ā tmani preyasī nā ṁ
tā sā m apy ū rdhvam ū rdhva-prathita-nidhi-maṇ iṁ rā dhikā m eva naumi

||27|| [sragdharā ]

Kṛ ṣ ṇ a is the source of all affection and appears in a bodily form. In that form he spreads experience of affection among all the people of Vraja. I offer respects to Rā dhā, the supreme jewel among all the dear gopī s, to whom he considered himself obligated in love.

rā dhā sva-kā ntaṁ vaś itaṁ vidhā ya
niḥ ś eṣ am ā krī ḍ ati tena sā rdham |
nā haṁ tathetī va ś ivā ś ivā ntas-
tanau nilī nā rdha-tanu-cchalena ||28|| [upajā ti 11]

Subduing her lover, Rā dhā sports with him. Durgā, thinking “I am not like that” merges into the body of Ś iva out of shame, since she is anyway known as half his body.

athavā —

ardhenā rdhena tanvā vyatimilanavato rudrayor eṣ a bhā vaḥ
kā vya-jñ ais tarkyate yaḥ sa punar iha mayā manyatā ṁ bhaṇ yamā naḥ |
premṇ ā yau pū rṇ a-rū pau trijagati viditau rā dhikā -mā dhavā khyau
pū rṇ ā ṅ gatvaṁ tayor apy ati-tad-asamayor nā v apī ty aucitī na ||29 || [sragdharā ]

Poets consider Ś iva and Durgā being parts of one body. Please consider when I say same condition is present in Rā dhā and Kṛ ṣ ṇ a. Both their forms are full of prema and both their forms are famous through the three worlds. Their perfect condition cannot be compared to our condition.

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