rahaḥ-kutūhala-vaha-bahala-rahaḥ krīḍākhyam 2 страница

“O Rā dhā! When he becomes offensive why do you not speak roughly with him? Why do you not show anger in your mind? Ah! I am not respected. I am not happy with you. ”

[37] tatra tasyā manaḥ -kathā —

mā naṁ kurviti vakti sā priya-sakhī mā naṁ na vedmi sphuṭ aṁ

kauṭ ilyena yadi prasidhyati sa tat kauṭ ilyam evā tra kim |
hā tasya smita-kañ ja-cā ru-nayanaṁ ś yā masya man-mā nasaṁ

draṣ ṭ uṁ vā ñ chati hanta kaṣ ṭ am aparā ṁ sphū rtiṁ kathaṁ gacchatu ||47||

ā gas-kṛ te’pi tasmai rajyati hṛ dayaṁ khalaṁ tad etan me |
tyaktuṁ tad api na ś akyaṁ katham iva sa hariḥ parityā jyaḥ ||48||

Rā dhā spoke to herself.

“This sakhī says I should be angry. I do not know how to be angry. Though crookedness may used to display anger, I do not know how to be crooked. Ah! My mind desires to see Kṛ ṣ ṇ a’s attractive lotus eyes endowed with a smile. How can my mind appear otherwise? I cannot think what to do. Though he offends me, my heart is attached to him. If I cannot give up my heart, how can I give up Kṛ ṣ ṇ a? ”

tataś ca—

balā n mā naṁ ś ikṣ ayantī r api tatra sakhī -tatī ḥ |
rā dhayā sā rdham ā karṣ an jī yā d veṇ u-kala-svanaḥ ||49||

All glory to the sound of the flute which taught Rā dhā forcibly about her anger and attracted all the sakhī s along with Rā dhā.

[38] tasyā mukham avakalayya tat-tad-upamā -jā tiyatayā saṁ ś ayya sthitavantaṁ kā ntaṁ prati sakhī -vacanam—

Seeing Rā dhā ’s face, Kṛ ṣ ṇ a was in doubt for a suitable analogy. A sakhī present there spoke to him.

tasminn api vidhu-buddhiṁ kartuṁ mā kṛ ṣ ṇ a sā hasaṁ kā rṣ ī ḥ |
sarvaṁ jetṛ tad etad bhrū -dhanur anu netra-vā ṇ am utkṣ ipati ||50||

“Do not boldly think that her face is the moon, for her face conquers all, has bows for eyebrows and shoot arrows through her eyes. ”

tataś ca—

bhramarī vā mbujā raṇ yaṁ ś apharī va jalā ś ayam |
kṛ ṣ ṇ aṁ labdhvā pū rvameva dṛ ṣ ṭ ā sā bhū n na tū ttaram ||51||

When Rā dhā attained Kṛ ṣ ṇ a, she was a like a bee attaining a lotus, rather than like a fish attaining water.

atha svā dhī nabhartṛ kā |

nityaṁ yā yā citā pi priyatama-hariṇ ā necchati sparś a-mā traṁ

vā cā seyaṁ muhus taṁ nidiś ati rasanā m apy aho saṁ varī tum |
tan manye nū nam asyā vayava-samuditir divya-sī dhu-prakā raḥ

saṅ gā d apy aṅ ga yasya prabhavati muhur unmā da-lakṣ mī r amū dṛ k ||52||

Rā dhā had subdued her loved.

Begged by Kṛ ṣ ṇ a, but not desiring to receive his touch, Rā dhā repeatedly orders Kṛ ṣ ṇ a with instructions to tie her belt or cloth. How astonishing! It seems that all his limbs are made of heavenly liquor by whose association his insane pleas increase.

tatra ca vakti rū paṁ yadā kṛ ṣ ṇ as tadā sā rā dhikā dhikam |
ś ṛ ṇ oti naiva tat tasya paś yantī rū pam adbhutam ||53||

When Kṛ ṣ ṇ a speaks of Rā dhā ’s supreme form, she does not hear that description, but instead gazes at his astonishing form.

[39] etad-anantaraṁ sakhī nā ṁ nibhṛ tā lā paḥ —

api lī lā yitam anayā campakalatayā tamā lā dhaḥ |
prā galbhyā t punar etā ṁ tad upari ramaṇ a-spṛ hā ṁ vedmi ||54||

After this, the sakhī s discussed among themselves.

“Rā dhā, like a golden campaka, enjoys pastimes placing herself below Kṛ ṣ ṇ a, who is like a tamā la tree. But because of her boldness I know that she has the desire for enjoyment while being above him. ”

[40] atha ś rī mat-parama-rū pa-gurū padeś a-maya-svapna-kalitaṁ prā tastana-lalita-rā ga-saṁ valitaṁ lalitā -gī tam—

Lalitā began to sing a song in lalita-rā ga of early morning. It had the most excellent form, as if inspired by a dream in which a guru had given instructions.

jā garaṇ ā d atha kuñ ja-vare |
vī kṣ ita-bhā skara-ruci-nikare ||
kā ntā -nidrā -bhaṅ ga-kare |
api saṅ kalita-sva-parikare ||

After waking up in the best of bowers, he sees the glow of the sun. He wakes sleeping Rā dhā and gazes at her followers.

mama dhī r majjati kaṁ sa-hare |
mauli-ś ikhopari-piñ cha-dhare || [dhruvam]

Wearing a peacock feather in his hair, he attracts my mind.

muhur ullā sita-yuvati-kare |
samam anayā bahir anaya-care ||
ghana-gahanā dhvani gamana-pare |
tatra ca bahu kṛ ta-sukha-vitare ||
ā ś ā stambhita-viraha-gare |
dhā mni sanā tana-ś arma-hare || iti ||55||

He excites all the young girls and he externally approaches Rā dhā boldly. He is attached to wandering on the path in the deep forest. He spreads great joy on that path. By hope he destroys the poison of separation. His form gives eternal bliss.

[41] dinā ntare sakhī -saubhā gyam—

kiṁ cid vilokya kuñ je sakhyā ḥ prā galbhyam ekā ntā t |
smerā karam anu muralī ṁ prā gā d barhā valiṁ ś irasi ||56||

The good fortune of Rā dhā on another day is described.

Coming to the bower, a sakhī saw Rā dhā ’s boldness, smiled gently, and placed the flute in her hand and a peacock feather on her head.

[42] tā ṁ prati ś rī -rā dhā kim apī dam ā cā rya provā ca—

ś ete mañ ju-nikuñ ja-talpam anu sa preyā n iti preyasi

tvā ṁ veṇ uṁ kila hartum asya kutukā t prā haiṣ am asmi drutam |
taṁ tu tvaṁ parihṛ tya cā gatavatī ś rā nteva ca prekṣ yase

tad-vartmā ny adurī -cakartha rabhasā yan mā dṛ ś ā ṁ durgamam ||57||

Treating the sakhī in a special way, Rā dhā spoke to her.

“The dear lover is sleeping on a bed in the attractive bower. O dear sakhī ! I ordered you to steal his flute quickly for fun. Taking the flute you came here. I think you must be tired. You must go on another path, a path difficult for us. ”

[43] tad evaṁ tā sā ṁ tasya ca prā vṛ ṣ ija-kṛ ṣ ivad daiva-vaś ata eva vaś e vaś aṁ vade tad-anantaraṁ vasanta-pañ camī m anu vasanta-rā gaṁ janayan gopā la-janī bhir militvā ś rī mā n gopā laḥ khalu khelati sma |

In this way the desires of Kṛ ṣ ṇ a and the gopī s were under the control of divine fate like agriculture during the monsoon seasons. Then on Vasanta-pañ camī, joining the gopī s while playing vasanta-rā ga, Gopā la began his pastimes with them.

[44] tathā hi—tasyā ṁ pañ camyā m utkaṇ ṭ hita-ṣ aṭ -pada-khaṇ ḍ ita-tuṇ ḍ a-mudrā kula-mukula-maṇ ḍ alatayā prathamam unmī liteṣ u keṣ ucit puṇ ḍ rakeṣ u ś rī man-mā dhava-rā dhā dī nā m abā dham ā gamanam asambhā vya bhṛ ś am unmanā yamā nā yā ṁ vṛ ndā yā ṁ sumanā yamā nā kā cid ā li-pā lir ā gamya tā m ullā sitavatī —

On that day, when the mā dhavī creepers first began to blossom with groups of buds whose sealed tips were broken open by zealous bees, Vṛ ndā had been disappointed because it was impossible for Rā dhā and Kṛ ṣ ṇ a and others to meet without restrictions. But a group of her joyful friends came and gave her happiness.

[45] sakhi vṛ nde! katham iva mandatā ṁ vindase? ā gamya ramyam idam avagamyatā m |

“O Vṛ ndā! Why are you so despondent? Come and hear about something pleasant. ”

[46] vṛ ndā ha--kī dṛ ś am?

Vṛ ndā said “What is that? ”

[47] sā prā ha—yā dṛ ś aṁ bhavad-abhirucitam |

A sakhī said “Something you will like. ”

[48] vṛ ndā ha—kathyatā ṁ tathyam |

Vṛ ndā said “Please tell me. ”

[48] sā prā ha—kā cid ā lī mā dhavī -maṇ ḍ alam anu mā dhavaṁ mā dhava-prakā ś a-darś anataḥ samujjṛ mbhita-rā dhā -vipralambha-bā dhaṁ nibhā lya tā m ullolayā mā sa |
ullolya ca saṅ gataś calantī sakhī bhir idaṁ vasanta-rā geṇ a gā yantī vallabham api lambhayā mā sa |

The sakhī said “One friend saw Mā dhava near a mā dhavī creeper. Seeing the intense pain of separation in Rā dhā, she then caused great emotion in Rā dhā. Then in the company of other sakhī s who were singing this song in Vasanta-rā ga she, along with Rā dhā, approached Kṛ ṣ ṇ a.

[49] gā naṁ yathā —

kṛ ṣ ṇ a-vanaṁ sakhi bhā ti saraṅ gam |
bhavatī m iva laghu netum adhī ś aṁ |
sevita-madhura-sa-saṅ gham || [dhruvam]

jā garam itam iva mā dhavikā ś atam anukṛ ta-jṛ mbhā -bhaṅ gam |
cumbati madhupa-gaṇ e kṛ ta-bhaṅ gi smā rayati priya-saṅ gam ||
sarasa-rasā laja-mukula-kulaṁ paripulakayad iva samam aṅ gam |
ā kā ritam iva tava kurute pika-kalam anukalayad anaṅ gam ||
tvā ṁ celā -kali-candana-marutā vā sayatā nulavaṅ gam |
karṣ ati madhuripu-madhu-parvodita-vī ṇ ā -veṇ u-mṛ daṅ gam ||
nī tā yā ṁ tvayi mā dhavi mā dhava-mā dhava-gā na-taraṅ gam |
kirati parā ga-cayaṁ locanam iva naṭ ayati cā ru-kuraṅ gam ||
iti sā labdhvā vallabham aniś aṁ manasā valitā saṅ gam |
jayati nirupama-rū piṇ i madhye yamunā -mā nasa-gaṅ gam ||58||

The song:

The forest of Kṛ ṣ ṇ a is resplendent with pastimes, longing to bring Kṛ ṣ ṇ a and you quickly here. It is full of sweet rasa. Thousands of mā dhavī creepers are waking up as if yawning and, being kissed by bees, are remembering a lover. Vṛ ndā vana’s hairs are standing on end as the mango buds shoot forth. The cuckoos’ cries, increasing desire, seem to be calling for you. This forest filled with clove creepers and with drums, flute and vī ṇ ā meant for Kṛ ṣ ṇ a’s spring festival attracts you with fragrant breezes which make our clothing tremble. O mā dhavī creeper! Bringing you here, the forest scatters pollen full of waves of spring music about Kṛ ṣ ṇ a and makes the eyes dance like skilful antelope. O Rā dhā with incomparable beauty! May Rā dhā whose mind constantly prays to meet Kṛ ṣ ṇ a between the Yamunā and Mā nasa-gaṅ gā remain victorious, having achieved him.

[51] atra ca padyam ekaṁ gadyate—

vana-ruci-ruciraḥ ś rī mā n

madana-vinodā ya nunna-gopī kaḥ |
abhitaḥ surabhita-deś aḥ

sahacari paś ya mā dhavaḥ sphurati ||59||

One verse is added as a commentary:

O friend! See! In this place reside spring, splendid with beautiful forests, wealth, which brings the gopī s close and makes everything fragrant.

[52] tad evaṁ niś amya tatra vindamā nā ṁ vṛ ndā m anu punar evaṁ darś ayā mā sa,

When Vṛ ndā heard this and went to the forest, the sakhī then showed her the following:

yathā —

rā dhā harir api pulaki-vasantam |
gā yati nija-nudam anu vikasantam ||dhruvam||

Rā dhā and Kṛ ṣ ṇ a, expressing their joy which had blossomed, are singing vasanta-rā ga which causes the hair to stand on end.

upadiś ate diś i diś i guṇ ayantam |
pikam anu pañ camam aticirayantam ||

They teach the cuckoo which sings the fifth note very slowly in all directions.

vā santī -madhu rahasi dhayantam |
ś aṁ sati madhuliham anugā yantam ||

They praise the bee drinking spring honey in a solitary spot and buzzing.

madhu-rasam anu gā naṁ ramayantam |
rasayati vinimitam adharam ayantam ||

They relish the enjoyable song, composed according to rules, filled with sweet rasa, as it comes to the lips.

malayaja-surabhi-dhuraṁ khañ jantam |
kavayati gandhavahaṁ prasajantam ||

They praise the wind blowing there, laden with the fragrance of sandalwood.

vā dya-gaṇ aṁ guṇ a-valita-dig-antam |
anunṛ tyati mad-alola-dṛ g-antam ||

They dance with rolling eyes on hearing the music and singing filled with unlimited qualities.

capalā ghana-sama-rucim anu taṁ tam |
naṭ ayati ś ikhi-gaṇ am api nipatantam ||

They make the approaching peacocks dance as if seeing lightning and clouds.

kirati cū rṇ am anu pū rṇ ad-anantam |
samam ā lī la-lalanā bhir anantam ||

He profusely throws powder which spreads over the sky with his gopī friends.

ś rama-jala-kaṇ a-gaṇ am anu vilasantam |
vahati parā ga-bharaṁ rucim anantam ||60|| iti |

He becomes brilliant on being covered in the pollen which shines with drops of perspiration.

[53] atha tā vatī ṁ gatim apy asahamā nā ḥ sahamā nā guravaḥ kuravam ā carya paryavasthayā tā sā ṁ svatantratā m ā vā rya sarvato nirodham udbodhayā mā suḥ |

Not able to tolerate their conduct, the elders scolded them, forbade their independence by argumentation, and made known that they would prevent them from going out.

[54] yatra khalu rakṣ iṇ ī -vargas tā h sarvataḥ samacakṣ iṣ ṭ a | yena svata eva kṛ ṣ ṇ asya ca tad-vaś yatā jā tā | tad evaṁ vidhureṇ a sarvatra ca tatra vidhure sati—

Guards constantly spied on them and thus they became naturally dependent on Kṛ ṣ ṇ a. By separation they all suffered.

padyā ṁ paś yati veṇ um ā kalayati preṣ yā dikaṁ preṣ ayaty

anyaṁ kṛ tsnam upā yam ā carati yat kā ntaḥ sa-kā ntaḥ purā |
tad gurvā di-nirodha-bandha-vidhiṣ u prauḍ heṣ u hā karṣ aṇ aṁ

jajñ e niṣ phalanam eva yena ca tayor marmā ṇ i bhedaṁ yayuḥ ||61||

Kṛ ṣ ṇ a with his lover would inspect the bamboo on the path, wait for his confidential friends, dispatch other suitable persons, and employ all methods. When the elders employed various methods to stop Rā dhā, all actions became as futile as useless agricultural tools for bringing about a meeting of the couple. Rā dhā ’s and Kṛ ṣ ṇ a’s hearts were split apart.

[55] tatra cobhayor manaḥ -kathā, yathā —

na prā g dṛ ṣ ṭ ir amuṣ ya yat priya-janasyā sī t tad uccaiḥ sukhaṁ

manye sā bata sā mprataṁ samabhavad yat tasya tad duḥ kham |
tasya svasya ca yā krameṇ a mamatā jā tā dhunā sā dvayaṁ

cū rṇ ī kartum athecchatī ha kim ahaṁ kartā smi kartā sa kim ||62||

When the obstacles appeared both of them thought as follows:

I did not consider that previously seeing my beloved gave such pleasure. Now, seeing the beloved causes such grief. The arrangement between us has now produced possessiveness and that possessiveness is trying to crush us. What shall I do? What should my lover do?

rā trā v adyā timā traṁ praṇ ayi-janam ahaṁ taṁ dadarś ā py asau mā ṁ

naitā van-mā tram atra pratinava-madanaṁ hanta pasparś a ca drā k |
yady eṣ a svapna eva sphurati na hi tadā py ā tmanaḥ prā ṇ a-rakṣ ā ṁ

manye jā grad-daś ā vā tad api na hi hahā kṛ ṣ ṇ a-kā nte kva nu tvam ||63||

Today in the night I saw my lover and my lover saw me. Not only that, I touched my lover and my lover touched me with fresh love. If that was only a vision in a dream, I cannot maintain my life. And if it was true, I still have no desire to maintain my life. Ah! O dark lover! (or “O beloved of Kṛ ṣ ṇ a! ” if Rā dhā speaks. ) Where are you?

ś yā mā ṅ gam antarā dehaḥ suhṛ daḥ sarva eva ca |
antar-mano-bhidas tā paṁ dadhate vahni-jā lavat ||64|| iti |

Except for the limbs of Rā dhā (or Kṛ ṣ ṇ a), the whole body and all dear friends give pain like fire, which pierces the very heart.

evaṁ saṁ cakrudhus te te rurudhuś ca vadhur yadā |
tadā kṛ ṣ ṇ as tī rtha-yā trā ṁ tṛ ṣ ṇ ayā cchadma nirmame ||65||

When the elders became angry and obstructed the gopī s, Kṛ ṣ ṇ a out of longing used the pretense of a pilgrimage.

yadā kṛ ṣ ṇ ā nuraktā bhiḥ sā yā trā tā bhir ā kali |
mano-rā jyaṁ tadā prā jyam acā yi niracā yi ca ||66||

When all the gopī s attached to Kṛ ṣ ṇ a learned about the pilgrimage, they began to imagine many things.

yadā pratasthe govindo vindan ś akaṭ am unnatam |
tadā dṛ k-pakṣ iṇ ā ṁ tā bhir lakṣ itā bandha-vicyutiḥ ||67||

When he mounted the high cart and departed, their eyes were like khañ jana birds freed from a cage.

rā triṁ rā triṁ vasanti sma yatra te tatra niś citam |
abhū d amū ṣ u samprā ptir vidhor dā kṣ ā yaṇ ī ṣ v iva ||68||

As the moon passes through all the constellations, Kṛ ṣ ṇ a then went to all the gopī s houses and met them every night.

tathā hi—

tā bhiḥ svasya vidū rakā bhir abhisā ro’dyan-madā bhis tadā

gaty-arthaṁ kṛ ta-vā sakā bhir udita-prollā si-tat-kelibhiḥ |
kā bhiś cit parivañ citā bhir ativyā ptā bhir udvā sita-

dvandvā bhir vividha-sva-kelim abhajat tasmin sa kṛ ṣ ṇ aḥ pathi ||69||

On the path Kṛ ṣ ṇ a performed many pastimes with the gopī s, who were far from their relatives, who all expressed joy and desired to go wherever Kṛ ṣ ṇ a was, who experienced all pastimes, who no longer desired to do household chores and who gave up happiness, suffering, hunger and thirst, though some were prevented by the elders.

yarhi ca tī rthaṁ yā tā gokulalokā s tadā harir vidadhe |
guṇ a-jī vi-strī -veś aṁ tā sā m ā satti-saukhyā ya ||70||

When all the residents of Gokula went on pilgrimage, Kṛ ṣ ṇ a put on the clothes of a cultured woman in order to give the gopī s happiness.

[56] tatra jyotir-mantra-yoga-tantra-viduṣ ī -veṣ o, yathā —

sarvajñ e kiṁ trilokyā ṁ sukha-kara-sadanaṁ kṛ ṣ ṇ a-goṣ ṭ haṁ kim asminn

ā jī vyaṁ kṛ ṣ ṇ a-gā naṁ kim atula-bhavika-prā paṇ aṁ kṛ ṣ ṇ a-lipsā |
kiṁ bhogyaṁ kṛ ṣ ṇ a-rū paṁ pariṇ atir iha kā kṛ ṣ ṇ a-labdhiḥ samantā d

ity evaṁ rā dhikā yā ṁ prativacana-kṛ tī pā tu naḥ kṛ ṣ ṇ a-dambhaḥ ||71||

He put on the dress of a woman who knew astrology, mantras, how to transform substances, and how to make puppets dance.

O astrologer! In the three worlds what objects gives people happiness? Association with Kṛ ṣ ṇ a.

What object should one take shelter of in this world? Songs about Kṛ ṣ ṇ a.

What object gives the highest auspiciousness? Desire to attain Kṛ ṣ ṇ a.

What object should be enjoyed? The form of Kṛ ṣ ṇ a.

What is the end result in this world? Attaining Kṛ ṣ ṇ a everywhere.

May Kṛ ṣ ṇ a’s skilful deception, which gave answers to Rā dhā, protect us.

[57] dū tī -veś o yathā —

kā si preś yā kimī yā tava tam anugatā kiṁ guṇ ā tasya tulyā

tatra syā t kiṁ pramā ṇ aṁ vijana-gṛ ha-gatā paś ya me sarvam aṅ gam |
ity evaṁ dig-vitā na-praṇ ihiti-valitaṁ sa-smitaṁ tan-nidiṣ ṭ ā

rā dhā gī r-bhaṅ gi-mā trā t paricitim akarod astu tat kā mya-vastu ||72||

He dressed as a messenger:

Who are you? I am a messenger.

Whose messenger are you? I am your messenger.

Who do you follow and what are your qualities? You are dear to me and I have qualities like you.

What is the proof of this? Go to a solitary place and look at my body.

In this way Kṛ ṣ ṇ a gave instructions to Rā dhā with a smile mixed with devotion that spread everywhere. Rā dhā recognized this word play. May his desire be fulfilled.

[58] tad evaṁ ś rī -rā dhayā tad-viraha-cintā -saṁ bā dhayā pi gata-tad-bā dhayā kvacid anyathā nyathā ca rajany antare punaḥ punar anya-bahu-vidha-veś aṁ keś avaṁ niś ā mya bhaṇ itam,

Though Rā dhā ’s mind was pained by thinking of separation, the obstacles to seeing each other were removed. Seeing Kṛ ṣ ṇ a in different dresses every night, Rā dhā spoke to him.

yathā —

seyaṁ bhiṣ ag-asitā ṅ gī mama hṛ d-dā haṁ cikitsituṁ labdhā |
spṛ ś atī sakhi kara-nā ḍ ī m anyā ṅ gaṁ dhik kutaḥ spṛ ś ati ||73||

O friend! The wife of the doctor has arrived for diagnosis of heart burn and feels the pulse. But why does she touch other parts of my body? I am so unfortunate!

ś yā mā vaiṇ avikī yaṁ

vidū ra-vā sā niś ā rdham udbhū tam |
sakhya-sthalam idam alpaṁ

tan mama talpaṁ tu saṁ kucad bhavatu ||74||

This dark woman expert at playing the flute lives very far away. Half the night has passed. The place where the sakhī s stay is very small. Let my bed be reduced in half for her.

kavir iyam atulā bhavatu ś yā ma-vyaktiḥ svadhī ta-tad-vidyā |
asmā kaṁ raha eṣ ā katham iva jā nā ti tan na jā nā mi ||75||

This dark person has studied all arts. She is incomparable poet. Let that be. I do not know how this woman knows all our secrets.

ś yā mā citra-karī yaṁ citraṁ vijane prakā ś ayati |
mā m iva kā m api yatra sva-tulita-puṁ sā nvitā ṁ sakhi vyadhita ||76||

This dark complexioned artist is making a picture in a solitary place in which she draws a picture of a woman resembling me along with a man who has a dark complexion.

rahasi tad etad vadmi tvayi sakhi na paratra kutrā pi |
tā mbū likī yam asitā mohana-mantraṁ vijā nā ti ||77||

O friend! I say to you in private that there is no one like this woman who lives on betel nut and knows mantras to bewilder people.

seyaṁ mā lā -kā rī -mū rtir mā lā ḥ prasā rayati |
tasya ś yā mala-mū rteḥ kasmā t puṣ peṣ u vā sanā ṁ tanute ||78||

This woman wearing a garland is distributing garlands. But why do her flowers produce a desire for Kṛ ṣ ṇ a?

phala-vikrayiṇ ī ś yā mā phalam iha vividhaṁ prasā rayati |
bilvaṁ kevalam atha kiṁ gṛ hṇ aty asmā n vilokayati ||79||

This dark fruit seller is giving out various fruits. After this, taking only a bilva fruit, why does she look at me?

seyaṁ ś yā mā na satī hā ra-vyatihā ra-sambhavad-dravyā |
aparicitā pi svayam atha maṇ isara-paridhā panaṁ vaṣ ṭ i ||80||

This dark woman with valuable goods like necklaces on her body is not chaste. Though she is not known to me, she wants to put a necklace on me.

yad-avadhi tad-aguru-sattvaṁ tasyā gṛ hṇ ā mi gandha-jī vinyā ḥ |
tad-avadhi guravo mayi sakhi kṛ ṣ ṇ am akṛ ṣ ṇ aṁ ca bruvate ||81||

As long as I take aguru sandalwood pulp from this merchant’s wife, the elders do not say anything about black aguru and sandalwood to me.

[59] atha ś rī vatsa-lakṣ aṇ asyā py etad-upalakṣ aṇ aṁ bahu-racanaṁ vacanaṁ lakṣ aṇ ī yam,

The description of Kṛ ṣ ṇ a is only indicatory. Many words would be needed to describe everything.

yathā —

sī vana-vijñ ā svayam api para-ś ilpā nā ṁ vilokanā t kartrī |
sā haṁ praṇ ayi-vyaktir lokaya gopi sva-hṛ d-gatā ṁ colī m ||82||

O gopī ! I am expert at sewing, but I perform other crafts simply by looking (I do not do any of them). I reveal this to my friends. Look at this bodice on my chest that I made.

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