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Chapter Twenty-nine

Further Pastimes with the Gopī s

[1] atha rā tri-kathā ṁ punaḥ snigdhakaṇ ṭ haḥ prathayā mā sa—

yadā rā sā d vā saṁ rahasi yayur ā bhī ra-vanitā s

tadā ś aṅ kā ṁ jagmuḥ svayam api tu nā sā ṁ gṛ ha-janā ḥ |
yad anyā s tad-rū pā vyadhita hari-mā yā prati-gṛ haṁ

yathā mī bhir jñ ā taṁ nivavṛ tira etā ḥ patha iti ||1||

Snigdhakaṇ ṭ ha then began speaking in the night (among the sakhī s).

When the gopī s finished the rā sa dance and returned home, the people there were not at all worried because Yoga-mā yā had produced copies of all the gopī s in their houses. The people in the houses thought they had prevented them from going.

[2] atha tad-anantara-rā tri-santatī r nā nā -rasa-rā sa-vilā sā dibhir ativā hayati ś rī -govinde vṛ ndā tu vividha-sā hā yakaṁ samā harati sma, yathā —

upavrajaṁ nyasyati sā tamā lā n

dī prauṣ adhī ś ca vraja-dū ra-deś e |
ity ā di tatrā bhisṛ tau sa-vṛ ndā

vṛ ndā hareḥ sevanam ā cacā ra ||2||

Kṛ ṣ ṇ a passed all the following nights in pastimes of the rā sa dance filled with various rasas. Vṛ ndā assisted in various ways.

Vṛ ndā and her group placed tamā la trees near Vraja and effulgent herbs at a far distance. In this way she served Kṛ ṣ ṇ a for his meetings with the gopī s.

tadā ca—

acī cakā sad vipinā ny ā jī hayad iha priyā ḥ |
rā sā yata-tvarad-rā trī r atrā mū r ajajā garat ||3||

ā rarambhata rambhorū r lambhaṁ lambhaṁ tato hariḥ |
hā rā n iva vihā rā ṁ s tā n kā raṁ kā raṁ dadhe hṛ di ||4||

She made the forests blossom and called the gopī s there. She made them sit there all night in a waking state. He would embrace the gopī s constantly and held the pastimes to his heart like a necklace.

[3] kadā cana caurya-caryayā tā sā ṁ gṛ ham ā yā ti | tatreyaṁ dik—

sā hā yye lalitā yā ḥ kalayan veś aṁ viś ā khā yā ḥ |
viparī te viparī taṁ harir aviś at tamasi veś ma rā dhā yā ḥ ||5||

Sometimes Kṛ ṣ ṇ a would come to their houses like a thief.

With the help of Lalitā he put on Viś ā khā ’s clothing, or with Viś ā khā ’s help would put on Lalitā ’s clothing. Then he would go to Rā dhā ’s house in the dark.

[4] tatrā ndhe tamasi kā myamā na-vā myā m ā liṁ praty ā li-cchala-vacanam—

susakhī yati te subhrū r asau gopa-matallikā |
ś ape tubhyaṁ lapeyaṁ ca svayaṁ sakhyam urī kuru ||6||

In the darkness of night he would speak like a sakhī to resisting Rā dhā .

“O Rā dhā! The best cowherd Kṛ ṣ ṇ a is acting your best friend. I swear that you should accept his friendship. ”

[5] tatra kathaṁ cid api tad-ā gamane vṛ ddhā bhiḥ kiṁ cid ivā vagate kuñ jā neva sva-lī layā kañ ja-locanas tā bhiḥ samaṁ rañ jayati |

When elders somehow found out about his coming to the house, he decorated the bowers in the company of the gopī s with his pastimes.

[6] tatra tat-preyasyā vṛ ddhā bhivañ canā -cañ cutā, yathā —

yas tvā ṁ rā triṣ u vṛ ddhe mā m api devo vibhī ṣ ayate |
sa tu mantribhir utkalito goṣ ṭ hā t kuñ jā n vimardayati ||7||

Rā dhā was expert in cheating the elders of her house.

“O old woman! The devatā who has frightened you and me in the night has been driven away from here by a knower of mantras and is destroying the bowers. ”

[7] tasmā d atrā nyathā mā vagā s tatra ca mā gā iti dhvanitam |

“He is not longer in the house. But do not go to the bowers. ” That is what she hinted by her words.

[8] atha sakhyā ḥ —

satyaṁ jarati mad-ā lyā vara-yuji gaṇ ḍ e makara-vataṁ sā ṅ kaḥ |
na mayā likhitaḥ kutukā n na mṛ ṣ ā -muṣ yā ḥ sapatnyā ca ||8||

One sakhī spoke. “Jewel among the elders! On my friend’s cheek tinted with kuṁ kuma there is certainly a design of a makara ornament. I did not make that design for fun. Some opposing gopī has drawn this on Rā dhā ’s cheek. That is not a lie. ”

[9] atra mama sakhī tvena tasyā ś ca sapatnī tvena virodha-lakṣ aṇ ā -prā pter mayaiva likhita iti tayā dhvanitam | [10] tad-anuvā dinā kavinā tu tasya mrṣ ā tvam iti |

In this statement the suggested meaning is a reversal of the self and the competing gopī: I have drawn the design not the opposing party. The poet indicates that the sakhī ’s words are false.

[11] atha vraja eva vighna-nighnatayā proṣ ita-bhartṛ kā varṇ yate | [12] tatra ś rī -kṛ ṣ ṇ asya bhā vanā —

rā dhā ṁ paś yasi jalpasi spṛ ś asi ca svā tmann athā liṅ gasi

svasmiṁ s tat tad anukriyā m api tayā rabdhā ṁ bhajan nandasi |
viś rambhaṁ na hi manyase tad api ced anyā ṁ daś ā ṁ yā mitas

tat-prā ptiṁ manuṣ e tayā kathaya bho kiṁ te sukhaṁ setsyati ||9||

The women who were separated from Kṛ ṣ ṇ a in Vraja because of many obstacles felt like women whose husband has gone to a distant country. Kṛ ṣ ṇ a thought, “You see Rā dhā. You speak to her, touch her and embrace her. O mind! You become blissful on relishing her actions which you repeat within yourself. If you do not believe in this, you will die. But what happiness will you attain on thinking that you will die? ”

[12] ś rī -kṛ ṣ ṇ aṁ prati sakhī -vacanam—

bhū ṣ aṇ am agni-prā yaṁ bhū ṣ aṇ a-nibham agnim apy asau rā dhā |
tvad-virahe yā kalayati sā katham anyaiḥ samā dheyā ||10||
tasyā ḥ prā ṇ ā bhavā n sā ca bhavat-prā ṇ ā iti sphuṭ am |
etad-vā cā laghū kartuṁ prā ṇ antī ṁ mā ṁ tu dhik prabho ||11||

At that time one sakhī came and spoke to Kṛ ṣ ṇ a.

“In separation Rā dhā experiences ornaments to be burning like fire and fire (death) gives her pleasure. By what method can you appease her? O master! You are her life and she is your life. That is clear. By such words I do not really depict her situation. ”

[13] athotkaṇ ṭ hitā | tatra ca taṁ prati sakhī -vacanam—

tā m eva prerayaty uccair utkaṇ ṭ hā tvā ṁ tu naiti sā |
iti tasyā m asau kṛ ṣ ṇ a vitṛ ṣ ṇ ā -ś arma nā ñ cati ||12||

Her longing is described. One sakhī spoke to Kṛ ṣ ṇ a:

This longing inspires Rā dhā even more, but it does not inspire you. O Kṛ ṣ ṇ a! For this reason her longing does not give her the happiness arising from satisfaction.

asraiḥ kampair vivarṇ a-cchavi-kula-valanair gadgadai romaharṣ aiḥ

svedaiḥ stambhair vimohair murahara dalita-prā ya-dehā ṁ vidhā ya |
na tyaktuṁ na grahī tuṁ katham api suś akā prā ṇ a-ghā tā varodhā d

utkaṇ ṭ hā kaṇ ṭ ha-lagnā ś ana-kavala-nibhā ṁ tā ṁ tu duḥ khā karoti ||13||

Rā dhā is not capable of either accepting or giving up her body, which is split open by tears, shivering, change of color, choked voice, hairs standing on end, perspiration, paralysis, and fainting. This longing, because it obstructs the destruction of life, gives suffering to her, as if she had a lump of food in her throat.

parama-guṇ as tvaṁ mā dhava

doṣ ā pū rṇ a-prabhā vo’si |
katham iva tā ṁ guṇ a-rū pā -

kṛ tim adhicittaṁ samadadhyā ḥ ||14||

O Mā dhava! You are full of good qualities and have full power through your arms. Can you not take this Rā dhā full of good qualities and beauty into your heart and console her?

[15] athā bhisā rikā | tatra tā ṁ prati kasyā ś cid utprā sa-vacanam—

sandhyā yā ṁ kva nu yā si lola-nayanā py agrā yanaikā grahā

tatrā py agratamaṁ sthalaṁ kim api tac cetasy alam bibhratī |
sā caiṣ ā na hi budhyate tava gatir dṛ ṣ ṭ vā tamā laṁ muhur

viṣ ṭ abdhā dhṛ ta-bhaṅ gi-saṅ gi-savayo-madhye muhur lī yase ||15||

Rā dhā going to meet Kṛ ṣ ṇ a is described. A sakhī speaks to Rā dhā using suggestion:

O friend! Where are you going with unsteady eyes? You are most enthusiastic to go forward. Why have you fixed that place in your mind? I do not understand where you are going. Seeing a tamā la tree you become stunned and you merge in the group of sakhī s with deceptive gestures.

ambara-maṇ i-saṁ valitaṁ caramā calam adhijagantha pū rvā drim |
ś aṅ ke yan nija-kṛ tyaṁ kartuṁ kṛ ṣ ṇ ā ntikaṁ yā si ||16||

When the sun sets you depart to a mountain in the east. Thus it seems that you are going to meet Kṛ ṣ ṇ a for some pastimes.

[16] tatrā bhisā ro, yathā —

anyā ś cā bhisaranti bhā va-valitā ḥ ś ubhra-kṣ apā yā ṁ kṛ taiḥ

ś ubhrair veṣ a-varair vidhā ya pihitaṁ svaṁ satyam etad-vacaḥ |
tasmin gopa-varā ṅ ganā ḥ punar amū ḥ kā ntā ṅ ga-saṅ ga-smṛ ter

jā tā nandatayā smita-dyuti-vṛ tā s teṣ ā ṁ vyadhur vyarthatā m ||17||

The appointment:

On a moonlit night many women imbued with love dress in the best white cloth and set forth to meet Kṛ ṣ ṇ a. This is true. In this appointment, all their actions were made useless by recollecting their lover, for then they became filled with bliss and covered with effulgent smiles.

sā mā nā dhikaraṇ yaṁ tejas-tamasor aho kalitam |
kavayanty api yat kṛ ṣ ṇ a-bhrā ntiṁ tamasi vraja-strī ṇ ā m ||18||

Light and darkness became one at that time. Only fools describe the gopī s wandering about for Kṛ ṣ ṇ a in the darkness.

ā rambhā d api kampate hṛ dayakaṁ prasthā nataḥ stambhate

pā da-dvandvam aho manasy anumilan dehaṁ niruddhe priyaḥ |
yā sā ṁ gopa-nata-bhrū vā m abhisṛ tau tā sā ṁ paraṁ kā raṇ aṁ

daivaṁ yan nayate tad-antikam amū s taṁ vā balā t karṣ ati ||19||

They trembled in their hearts at the beginning and their feet became paralyzed on setting out. When Kṛ ṣ ṇ a appeared in their mind their bodies stopped. The cause of their meeting was divine will alone, for that will alone pulled them forcibly towards Kṛ ṣ ṇ a.

[17] kadā cit kā cit kā ṁ cid divā pi kṛ ṣ ṇ a-samī paṁ chalataḥ saṁ valayati, yathā —

ā li paś ya paritaḥ ś ikhi-vṛ ndaṁ

bhī ti-rī ti-rahitaṁ naṭ ad asti |
bā ḍ ham asya viharann adhigamyaṁ

navya-nī rada-varaḥ pratibhā ti ||20||

Sometimes a sakhī would bring another sakhī to meet Kṛ ṣ ṇ a during the daytime by trickery.

“O friend! The peacocks are fearlessly dancing everywhere. It seems that a dark cloud has appeared among the peacocks and is sporting. ”

[18] atra nirjanatvaṁ madhya-sthita-kṛ ṣ ṇ atvaṁ ca dhvanitam | atha vā sakasajjā —

puṣ pā ṇ y ā cinute vicitya cinute talpaṁ vrajasyā ṅ ganā

yan nā sti trijagaty api sphuṭ am aho vaikuṇ ṭ ha-vī thiṣ v api |
evaṁ vā saka-sajjikā lasati sā chā yā -dvitī yā yadā

saṅ giny-ā cita-saṅ gatiḥ punar asau vettī va kiñ cin na hi ||21||

It is suggested that Kṛ ṣ ṇ a was there alone among the peacocks.

The woman decorating herself for a meeting is described next.

She picked flowers and made a special bed, not available in the three worlds Ah! Such a bed is not available even in Vaikuṇ ṭ ha! This gopī, preparing herself all alone, was not aware that her friends had come.

tatra cotkaṇ ṭ hā vaś yā yā ṁ tasyā ṁ taṁ prati sakhī -vacanam—

talpaṁ kṛ tvā bhavad-abhigamaṁ cintayantī samantā t

tatrā dṛ ṣ ṭ e bhavati samaya-kṣ epa-leś ā kṣ amā sā |
cakre cakrā ṅ kita-kara mahā -kampa-sampad-vihastā

ś asta-kalpaṁ kṛ tam api ca tat kalpayantī viś ī rṇ am ||22||

One sakhī spoke to Kṛ ṣ ṇ a about her Rā dhā ’s longing.

“O Kṛ ṣ ṇ a, holder of the cakra! Having prepared a bed, my friend thinks of your arrival. Not seeing you, she cannot tolerate the passing of even a moment of time. Her hands begin to shake terribly and her ornaments and dress become disheveled. ”

[20] atha vipralabdhā | tatra ca taṁ prati sakhī -vacanam—

bhuktiṁ muktiṁ ca tanute na paraṁ bhavad-ā gamaḥ |
bhaktiṁ vyanakti ca vyaktaṁ suhṛ tsu parameś vara ||23||

Sometimes Rā dhā was cheated. A gopī spoke to Kṛ ṣ ṇ a.

“O supreme lord! Your scriptures teach not only enjoyment and liberation but also devotion to friends like us. ”

[21] atha khaṇ ḍ itā | tatra ca taṁ prati sakhī -vacanam—

kuryā s tvaṁ khaṇ ḍ itā ṁ kā ṁ cin nakharā dy-aṅ ga-saṅ gataḥ |
taṁ vinā yā ṁ tathā kā rṣ ī s tatra te mahatī kalā ||24||

The defeated Rā dhā is described. A sakhī spoke to Kṛ ṣ ṇ a.

“You can destroy a woman by showing yourself marked with the fingernails of another woman. But you show great skill in destroying a woman even without this. ”

[22] khaṇ ḍ itā ṁ prati tasyā ḥ suhṛ d-upā lambha-racanaṁ tad-dū tī -vacanam—

mā nini vacmi tvā m aham iha suhṛ dā ṁ tava ś ṛ ṇ otu vṛ ndaṁ ca |
sahajā yā nija-vṛ ttir govinde svayam upā sva tā m eva ||25||

A friend scolded Rā dhā and acted as a messenger.

“O proud woman! Hear what I and our friends are saying. Just worship Kṛ ṣ ṇ a according to your natural tendency. ”

[23] tatra kaṭ horā yamā nā ṁ prati ca—

mā nā gni-maya-dṛ g-vā ṇ aṁ muñ ca tvaṁ kiṁ nu garvasi |
rā dhe kṛ ṣ ṇ aś ca dṛ k-paryak-parjanyā straṁ vimokṣ yati ||26||

The friend speaks to Rā dhā who had become stubborn.

“O Rā dhā! Why are you so proud? Give up your eyes burning with arrows of pride. Kṛ ṣ ṇ a will release his eye weapon—a cloud spreading showers everywhere. ”

[24] atha sambhramā d ā gatasya nakharā di-sparś ā t kṣ atā yamā na-raktimnā samaktasya kā ntasya vacanaṁ tasyā ḥ prativacanaṁ ca |

dayite dayita kathaṁ tvaṁ malina-mukhī dhig na vetsi hā kim idam |
nakha-radana-kṣ atam ū het tvayi supte supti-rā kṣ asī cakre ||27||

Then Kṛ ṣ ṇ a arrived in a flurry, his body red with nail and teeth marks. Kṛ ṣ ṇ a spoke and Rā dhā replied.

“O dearest! ”

“O dearest Kṛ ṣ ṇ a! ”

“Why is your face shriveled? ”

“Don’t you know the cause? Curse you! ”

“What has happened?

“Why do you have wounds from nails and teeth? ”

“While you were sleeping the demoness of sleep did this to me. ”

[25] atha tasyā ḥ sakhyā saṁ vā daḥ —

jalade vilasati vidyud bibhyati hṛ dayā ṇ i bhī rū ṇ ā m |
hasasi hariṁ kimu mugdhe na hi hṛ di citraṁ stuve’ham etasya ||28||

A sakhī spoke to her.

“The timid woman’s heart will shirk when there is lightning playing in the clouds. Silly girl! Why are you smiling at Kṛ ṣ ṇ a? I cannot praise a person with marks on his chest. ”

[26] atha tasyā ḥ kṛ ṣ ṇ aṁ prati—

ā vṛ ṇ utā maruṇ ā ṁ ś ur nakha-pada-sindū ra-cihnā ni |
añ janam api kṛ ṣ ṇ ā bhaṁ tat tu tavauṣ ṭ haḥ sphuṭ aṁ kurute ||29||

Rā dhā spoke to Kṛ ṣ ṇ a:

You are shining red with her red cloth and the crimson marks of her nails. Your lips are clearly blackened with her collyrium.

pū rvā ṁ haritam ā kramya niṣ krā man kṛ ṣ ṇ a-nī radaḥ |
nihnute ś aś abhṛ l-lekhā ṁ harid-antara-lajjayā ||30||

The black cloud, approaching the east direction (Candrā valī ), then comes to us and hides the marks of that encounter out of shame.

strī -bhā vam ā kalayituṁ kamaṭ hā nukā raṁ

gacchan mahā dri-talam ā ś ritavā n bhavā n yat |
tac cā jitasya na tavā nucitaṁ yatas tvaṁ

svā ṁ devatā ṁ ramayituṁ sudhayodyato’si ||31||

You became a turtle supporting the base of Mandara Mountain and showed a woman’s form as Mohinī. You are not worthy of the name Ajita (unsurpassed) because you were actually intent on letting the devatā s enjoy by giving them nectar.

mā mapi hitvā krī ḍ asi tā mapi hitveti nā nṛ taṁ vacanam |
ekaṁ tatra jahā teranyadrū paṁ dadhā ter hi ||32||

Giving me up (hitvā ) you enjoy and accepting her (hitvā ) you enjoy. This is not a lie. Hitvā can mean “give up” and “accept. ”

nī rasā sarasā veti viviktir nā tikā minā m |
paś ya vaṁ ś yā mukhaṁ nā yaṁ pibann ujjhati mā dhavaḥ ||33||

A lusty person has no judgment. That person cannot distinguish the tasty from the insipid. See! Mā dhava drinks the insipid mouth of the flute and cannot give it up.

[27] tatra ś rī -kṛ ṣ ṇ asya vacanam—

rā dhe vapuṣ ā tanvī komala-hṛ dayā tisū kṣ mā dhī r asi ca |
mā naḥ katham etā vā n mā ti tvayi tat tu pṛ cchā mi ||34||
mukham abjaṁ tava rasanā pallava-patrī kathaṁ vacaḥ krū ram |
ā ṁ jñ ā taṁ kila yasmā t tan-mū laṁ bhā ti hṛ d-vajram ||35||

Kṛ ṣ ṇ a spoke:

O Rā dhā! Your body is slender. You have a tender heart and fine intelligence. I ask how your mind can maintain such long-lasting anger.

Your face is soft like a lotus and you’re your tongue is soft like a new petal. But why are your words so cruel? Yes, I know. Your heart is a thunderbolt. That is the cause of your cruelty.

[28] bhavatu ca—

yathā me rocate mā no na prasā das tathā tava |
yatra svā dhī natā -vyaktiṁ kuruṣ e tā ḍ anena ca ||36||
ardito’pi ruṣ ā rā dhe lī lā bjenā smi nā rditaḥ |
hanta mat-kaṇ ṭ akair etat tvad-aṅ ghri-suhṛ d ardyate ||37||

Let that be! I do not derive as much pleasure from your joy as I do from your anger--by which you show your independent nature through words and beatings.

O Rā dhā! I am not pained so much by getting beaten by your play lotus in anger as I am by your dear feet being pierced by thorns.

[29] tad evam upavadamā ne tasmin punas tasyā vacanam—

nirvṛ ty-ambudhi-kumbhajaḥ sthiti-mahā -meghā valī -mā rutaḥ

prā ṇ ā nā ṁ pavanā ś anas tanuvanī -naidā gha-dā vā nalaḥ |
so’yaṁ te viraho yayā bata mayā soḍ hastayā vā kathaṁ

soḍ huṁ hanta na ś akyate nava-navaḥ padmā pate durnayaḥ ||38||

When he pacified her, with his own interests in mind, she replied:

O master of Lakṣ mī! I have tolerated your separation which is like Agastya swallowing the ocean of happiness, like the wind destroying the great cloud of respect, like a snake devouring living beings, and like summer forest fire destroying a forest. How can I tolerate your constant bad conduct?

[30] evaṁ rudatī ṁ sakhī m ā lakṣ ya sakhī taṁ prā ha—

anurā gavatī sandhyā svaccho’yaṁ vā sarastataḥ |
sthā ne tayā tasya saṅ go na rā tryā malinā tmanā ||39||

Seeing Rā dhā weep, her friend spoke to Kṛ ṣ ṇ a.

The evening is red (passion) and the day is clear (purity). It is proper that the two combine, but it is not possible to combine with the contaminated night.

[31] tvayi tu tad-etad-viparī taṁ pratī yate tato na svacchateti vyañ janā |
tataḥ sā mā ninī punas tā m ā ha—

dī pa-jvā lā mama hṛ di gatā sneham uddhū ya vakre

cakre yena pratihati-mitā taṁ kathaṁ nindasi tvam |
nirdvandvā haṁ sapadi bhavitā smy eva so’py eṣ a nā nā -

gopī -saṅ ghā t pramadam ayitā hanta kiṁ kasya duḥ kham ||40||

“But you are the opposite, not pure. ” That is the indication. Angry Rā dhā again spoke to her sakhī.

“My heart was on fire. Why do you criticize him since, after destroying affection in my heart, he destroyed that flame? When affection, the cause of pain, is destroyed, I will immediately be free of happiness and sorrow. He will be happy in association with many gopī s. Ah! Then who will suffer? ”

[32] atha tasya tad-bā ṣ pā pasā raṇ ā ya vyā ja-racanaṁ vacanam—

mī nā d api tan-muktā -

phalam udbhavatī ti ratna-ś ā strā rtham |
paś yann iva mama hastas

tava mukham abhiyā ti mā nini prasabham ||41||

In order to stop Rā dhā ’ tears, Kṛ ṣ ṇ a then spoke some clever words. “O angry gopī ! It is said the scriptures concerning gems that the pearl arises from oysters. As I see some pearls (tears), my hand goes quickly towards your face. ”

[33] tataś ca sā vimukhī -bhavantī manasī daṁ vadantī kalahā ntaritā -bhā vam ā sasā da |

Turning her head away, she spoke internally, showing the mood of a woman disgusted with her lover because of a quarrel (kalahā ntaritā ).

aiṣ ī stvaṁ yadi mā nasa mā nenā muṁ vaś ī kartum |
vaś age’py asmin kṛ ṣ ṇ e tyajasi na kiṁ taṁ vṛ thā -bhū tam ||42||

“O mind! If you want to subjugate Kṛ ṣ ṇ a by your anger when Kṛ ṣ ṇ a comes under control, why should you not give up your anger which is no longer functional? ”

[34] tadā ca sakhī tam uvā ca—

yā tava hṛ daya-vidā raṁ nakharair akaron murā rā te |
tā ṁ manuṣ e priya-dayitā ṁ jvalati tu tasmā d dṛ g asmā kam ||43||
yā khalu mā nam amā naṁ dadhire tvan-mā na-jī vanā dayitā |
ghaṭ ate gopī -vallabha tasyā ḥ sphuṭ am asugamaḥ sugamaḥ ||44||

Rā dhā ’s sakhī spoke to Kṛ ṣ ṇ a.

“O killer of the Mura demon! If you accept the woman who has scratched your chest as your lover, then our eyes will blaze. O lover of the gopī s! The woman who takes anger lightly will make anger towards you her very life. Though associating with you is difficult for her to achieve, it now becomes easy. ”

[35] iti sakhī ṣ u parā ṅ -mukhī ṣ u bahu taṭ asthatā ṁ ghaṭ ayan dū ra-deś ī ya-deś am aṭ ati sma yadā sau, tadā tu—

rā dhā yā dṛ ṣ ṭ a-mā nā yā ḥ sṛ ṣ ṭ a-romā ñ ca-sañ cayā ḥ |
vaiṇ ava-dhvani-jā tī yā jī yā suḥ kī caka-svanā ḥ ||45||

When the sakhī s said this and turned away, Kṛ ṣ ṇ a remained there for some time and then began wandering around at a distance. May the sound of wind in hollow bamboo similar to the sound of Kṛ ṣ ṇ a’s flute, be victorious for it made angry Rā dhā ’s hairs stand on end.

[36] tad avagamya vā mā yā vacanam—

na vadasi paruṣ aṁ ruṣ aṁ na dhatse

manasi ca tatra kathaṁ kṛ tā parā dhe |
hari hari satataṁ vimā nitā haṁ

tvayi bata ś arma kadā pi nā parā dhe ||46||

One sakhī with crooked nature, understanding this, spoke.

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