rahaḥ-kutūhala-vaha-bahala-rahaḥ krīḍākhyam 7 страница

According to the Viṣ ṇ u Purā ṇ a and Vā rā ha Purā ṇ a I shall describe another version of the rā sa dance.

[57] evaṁ samayana-samayā navalokataḥ samayā karaṇ ā ya tad-varṇ anā vagā ha-rocanā su karṇ ajā ha-vilocanā su cetasi racita-tadī ya-ś ocanaḥ ś rī -kamala-locanaḥ samā gamya yathā -yatham avitatha-ramya-sukha-dhā rayā sarvaṁ sukhā kurvann api tā sā ṁ viraha-dahana-jvā lā -viś eṣ ā vaś eṣ a-santapta-bhaṅ gurā pā ṅ ga-pā tra-sapatra-kṛ tas tad apasā raṇ ā ya muralī -kalī -kalayā go-dhanā laya-govardhanā calayor antarā le tā evā nanya-gatitayā saṁ kalayya nirvṛ tiṁ parikalayya ca vasanta-santata-rā sā ya yuktim ukti-viṣ ayā ṁ saṁ valayya tā sā m ā ś ā sā nā nā m ā ś ā ṁ dadamā naḥ sva-vrajataḥ pragarjad-ariṣ ṭ a-kṛ tā riṣ ṭ a-kaṣ ṭ ataḥ prakaṭ am ā kruṣ ṭ aṁ ś rutavā n | ś ruta-mā tre ca tatra nija-nija-vartmanā tā bhiḥ saha sahasā vrajam ā vavrā ja | tad-anantaraṁ tu vṛ ttaṁ pū rvam eva vṛ ttam asti | tatremā ṁ gā thā ṁ prathayanti—

At the time of meeting for the rā sa dance, Kṛ ṣ ṇ a did not see some of the women with broad eyes, who had immersed themselves in descriptions of him to pass their time. He lamented for them. Though Kṛ ṣ ṇ a arrived and made all the gopī s happy with currents of pure, pleasant bliss in a suitable manner, he was pierced by their crooked glances caused by their pain remaining from the intense fire of separation. To extinguish that, he could think of no other method for the gopī s. Ascertaining his bliss with the sound of his flute spreading between the cow sheds and Govardhana, he then thought “I must perform the rā sa dance without interruption during the spring season. ” He thus made the gopī s desire this. He then heard the loud lamentation coming from Vraja when Ariṣ ṭ a roared and afflicted everyone. Hearing that sound, he immediately came to Vraja. What happened later has already been described. The gopī s sang this song:

gatasya rā sa-vikrī ḍ ā m ā gatasya vṛ ṣ ā suram |
devair na dṛ ṣ ṭ aḥ kṛ ṣ ṇ asya sambhramaḥ kim uta ś ramaḥ ||43||

The devatā s saw no confusion in Kṛ ṣ ṇ a when he was performing the rā sa dance and Ariṣ ṭ a came. What to speak of seeing him get fatigued!

[58] yadā khalu riṣ ṭ aḥ so’yam ariṣ ṭ as tadā pi tad-ariṇ ā hariṇ ā nijā viṣ ṭ atā nā pakṛ ṣ tā |
vī ryasya bahu-vikī ryamā ṇ atā m avā ptā sya paryā pta-viṣ ayatā ṁ so’yam anā sī dan diti-sū nur ā sī diti |

When Ariṣ ṭ a was killed, Kṛ ṣ ṇ a did not give up his absorption in his pastimes. His mood of bravery extended to the killing of Ariṣ ṭ a. The demon could not even approach him.

[59] anapakṛ ṣ ṭ ā yā ṁ ca tasyā ṁ saraṅ ga-bhū tā gas tat-saṅ gamataḥ sā gaska iva pā rṣ ṇ i-prahā rā l lambhita-vidaratayā vibhā gam ā gamitaḥ | ya eva vibhā gas tī rthatā ṁ samarthayan nikhila-puruṣ ā rthaṁ pratyavyarthatā m ā sasā da |

Though Kṛ ṣ ṇ a remained absorbed in his pastimes, the place of the fight became contaminated with of sin by the touch of Ariṣ ṭ a. When struck by Kṛ ṣ ṇ a’s heel, the place split and became separate. This place became sacred and became able to fulfill all human goals.

[60] yatra ca ś rī -harir iyaṁ svayam akhilaiḥ sakhibhir majjan sajjanā nā m ā cā raṁ pracā rayā mā sa | pā tā lā n mahā -tī rtham idaṁ samutthitam itī tthaṁ vyajya nimajjya samunmajjya bahu visarjya ca sarva-vraja-janatayā janita-ś armā gī ti-ripu-vijaya-karmā vrajam evā vavrā ja |

Here Kṛ ṣ ṇ a bathed with all the gopī s and broadcast proper behavior for the pious. Indicating that this great site had risen from Pā tā la-loka, he submerged himself in its waters and came out. Leaving the place, happy with the people of Vraja, glorified for killing the enemy, he entered Vraja,

[61] ā vrajya ca ś rī -vraja-rā jā dī n praṇ aya-vinayā bhyā ṁ susabhā jya viś ramaṇ a-vyā jataḥ ś ayyā -gṛ ham ā sajya saṅ ketita-veṇ u-saṁ kvaṇ itena paramā nurā ga-sā garaḥ sarvataḥ ś reyasī r amū ḥ preyasī ḥ pū rva-kṛ ta-vraja-vraja-bā hya-vibhā ga-mayyā ṁ mahyā ṁ saṁ kalayya kenā py avyajyatayā punar api rā sā yā sā ditavā n |

Coming to Vraja he worshipped the elders with affection and courtesy. On the pretext of taking rest, going to the bedroom, an ocean of anurā ga, he called the perfect gopī s by the sweet sound of his flute, filled with messages to go a place outside of Vraja where the gopī s had previously gone, in order to have the rā sa dance again.

tatra ca—

rā dhayā svā ditā yā sī n mā dhurī mā dhavā dhare |
saivā nubhū tā muralī -kalī -khuralikā m anu ||44||

At this time, the sweetness that Rā dhā had tasted on Kṛ ṣ ṇ a’s lips she experienced in the sound of the flute.

tatraiva ca—

abhisā re calacelā vraja-tanvī nā ṁ tatī ruruce |
api kiṁ vijaya-patā kā dadhire’naṅ gasya saṅ gatiḥ ||45||

With their clothing fluttering, the group of Vraja women appeared most beautiful in going to the meeting. It appeared that a group of Cupid’s flags had been posted in front.

[62] yatra ca pathi prathama-labdha-nirgamayā parama-ramayā nikhila-kalitā rā dhayā rā dhayā samam ekā ntataḥ kā ntasya narma mahad eva ś arma pupoṣ a |

The great joking in private between Kṛ ṣ ṇ a and worshipable Rā dhā, who had left the house first, nourished the bliss.

[63] yadā hi cintā -santā pa-tā nta-svā ntā sā kā ntā tā dṛ ś a-vipattim uttī rṇ aṁ taṁ kā ntaṁ rahaḥ saṁ hitavatī tadā lajjā -maryā dā m apy asajjantī pariṣ vajya vyajyamā na-stambha-mukha-sā ttvika-sambhavā ciraṁ vicā ra-rahitatā m ā carati sma |

Internally afflicted with many worries Rā dhā met with Kṛ ṣ ṇ a after he was freed from Ariṣ ṭ a’s disturbance. Giving up shyness she embraced him and developed all the sā ttvika-bhā vas headed by being stunned. For a long time she remained without ability to think.

[64] sa ca tathaiva tā m anucarati sma |

Kṛ ṣ ṇ a responded in the same way.

[65] tataś ca sakhī bhiḥ kathaṁ cana sā ntvitayoḥ kā ntayoḥ kā ntas tu sva-nirmitaṁ tat-kuṇ ḍ aṁ tā sā ṁ dṛ ṣ ṭ i-kirmī ritaṁ nirmimā ṇ aḥ sanarma kā ntā ṁ vyā jahā ra |

After the sakhī s revived them, he showed Rā dhā the pond that he had made and jokingly spoke to her.

[66] paś ya paś ya mama kamalā karo’yaṁ sā gara iva girirā jam ā sajya kamalodbhavaṁ bhā vayitā | sudhā kara ivaika-deś a-sthityā pi nija-rucibhiḥ kumuda-vanaṁ vikā sayitā |
dambholi-pā ṇ ir iva sad ambholitayā vilā sī | ambhoja-janir iva bhuvana-visarjanena prabhā sī | tripura-jiṣ ṇ ur iva saha-sā gara-mā na-ś amanaḥ | ś rī mā n viṣ ṇ ur iva paramahaṁ sa-cakrā ś rayatā -kamanaḥ | ś rī -rā ma iva rohiṇ ī -sukha-saṁ cā rī | kiṁ bahunā, ś rī -rā mā nuja iva ca ś iṣ ṭ a-kaṣ ṭ a-prada-pā pā riṣ ṭ a-hā rī | tad etan mayā khalu kṛ ta-sukṛ ta-prasaraṁ sara idam aciraṁ viracayya caritā rthatā labdhā | bhavatyā tu nedṛ ś a-naipuṇ yaṁ puṇ yaṁ kṛ tam iti guṇ y-anuguṇ atā katham ā psyate?

Look! Look at my pond in the shape of a lotus beside Govardhana and filled with lotuses, like the ocean beside Mandara Mountain giving birth to Lakṣ mī. Like the moon, though situated in one place, making the forest of lotuses blossom by its rays, this pond makes the earth blissful (kumud avanam). As Indra is decorated with a thunderbolt (dambholi), this pond is decorated with pure water and canals (sad ambholi). Just as Brahmā shines by creating the universe, this pond shines by creating water (bhuvana). As Ś iva destroyed the great pride of the ocean, this pond destroys the pride of poison (sahasā gara-mā na-ś amanaḥ ). As Viṣ ṇ u is the shelter of groups of renounced sages, this pond is the shelter of magnificent swans and cakravā ka birds. Just as Balarā ma gives joy to Rohiṇ ī, this pond gives happiness to the cows. Just as I destroyed sinful Ariṣ ṭ a who caused pain to good people, this pond destroys misfortunes of sin which afflict the good people. I have been successful by making this pure pond very quickly and skillfully. But you have not shown such skill or purity. How can you be reckoned among people with good qualities?

[67] atha tasyā ḥ savayasas tv idaṁ parihasanti sma—[68] na vayaṁ vṛ ṣ aghnatā -nighnatayā vighnam ā ptā ḥ | yena prā yaś cittata iva lokasya prā yaś cittam ā rā dhayā maḥ |

Rā dhā ’s friends then laughed. “We will not spread sin by depending on the killing of the bull demon. We respect the hearts of people who have atoned for their sins. ”

[69] kṛ ṣ ṇ aḥ sahā sam ā ha sma—na khalv asau vṛ ṣ aḥ | kiṁ tu vṛ ṣ a-virodhī vṛ ṣ atā -miṣ avā n asuraḥ | tasmā t tat-pakṣ apā titayā bhavatī nā m eva vṛ ṣ aghnatā paryavasyatī ti bhavatī nā m eva niṣ kṛ tiḥ kṛ tir viṣ ayatā m arhati |

[70] tatra ca prajā kṛ taṁ rā janī ti rā janī ti-nyā yena bhavadī ya-rā jā yamā nā yā m asyā m eva sā jā yamā nā syā d ity asā v eva tatra pradhā natayā vadhī yate |

Kṛ ṣ ṇ a said with a laugh “But this was not a bull. He was an afflicter of bulls. He was a demon disguised as a bull. Since you favor the bull killer you are also bull killers. Therefore you should do atonements. Since the sins of the citizens reside in the king, the sin of killing a bull resides in your leader Rā dhā. Therefore she must perform the main atonement. ”

[71] sakhya ū cuḥ —bhavatu, tathā pi yathā -katham api bhavat-prasaṅ gata eva saṅ gataḥ khalv ayaṁ doṣ a iti tan-moṣ a-kṛ te bhavat-kṛ tam evā nukartavyam |

[72] yā khalu bhavan-maṅ galataḥ sarasī -bhū tā yā ḥ savayasaḥ sarasī bhavitā sā punar amara-taraṅ ginī va kṛ ṣ ṇ ā ṅ ga-rā ga-vilā sinī | amṛ ta-nidhi-priyā valir iva bahula-tā rā ṅ gatā -bhā sinī | sū trā ma-gṛ ha-netrī vopendra-deva-ratā modā tirekiṇ ī | sā vitrī -mukha-vicitra-ś rutir iva nā lī kinī | umā -mū rtir iva giri-rā jā d udbhava-dhā trī | mā mū rtir iva hari-hṛ di vilā sa-pā trī | rā ma-ś aktir iva gā mbhī ryataḥ pralambamā na-mada-majjanī | kiṁ bahunā, rā dheva rā dhā ntika-pū rṇ a-vidhor vaś atā -sajjanī ti |

The sakhī s said “Let that be. But her fault is actually related to yours. Therefore destruction of her sin should imitate your action of making the pond. There will be a pond of our friend who is made of rasa, for your auspiciousness. It will be dark like the Gaṅ gā. As the moon shines with many stars as its limbs, so this pond will purify many people’s limbs. As Vā mana gives joy to Ś acī, this pond will be fragrant because your fragrance. Just as the Vedas and gā yatrī are true, this pond will be filled with lotuses. Just as Umā arose from the Himalayas, this pond arises from Govardhana. Just as Lakṣ mī sports on Viṣ ṇ u’s chest, this pond attains beauty on your chest. Just as Balarā ma’s ś akti thoroughly destroyed the pride of Pralamba, this pond will destroy the pride of great, long rivers by its depth. What more can be said? Just as Viś ā khā constellation subdues the nearby moon, so this pond will subdue Kṛ ṣ ṇ a by closeness to Rā dhā.

[73] atha sa-tṛ ṣ ṇ aḥ ś rī -kṛ ṣ ṇ as tu rā dhā -cibukaṁ kareṇ ā dareṇ a darā py unnamya smita-ramyam idam ā ha sma—

tad-vaktraṁ yadi ko vidhuḥ smita-kalā sā cet prabhā niṣ prabhā s

te dambhā yadi bhā ni dhig yadi ca te netre cakorair alam |
itthaṁ sarvajanā d asau saha-gaṇ aṁ svaṁ praty avajñ ā -vacas

tvat-prā ś astya-mayaṁ niś amya hṛ daye rā dhe muhur mlā yati ||46||

With great longing, Kṛ ṣ ṇ a raised Rā dhā ’s chin with his hand respectfully and, smiling, spoke pleasant words.

“If your face appears, what is the use of the moon? If the line of the gentle smile appears, the light of the moon is tarnished. If your teeth become visible, the constellations are nothing. If your eyes are visible, what use is the cakora bird’s drinking the moon rays? O Rā dhā! The hearts of the moon and its associates, on hearing these words which insult the moon’s glory, wither away. ”

[74] atha purataś calitvā kramataḥ sarva-pathī nā bhiḥ sarvā dhvanī nā bhiḥ sarvā ṅ gī na-kamprā bhiḥ sarvā bhir militvā vidhu-vidhū ta-tamasi yaminyā ṁ sa-parvataḥ parvata-rā jam anu ṛ tu-rā ja-virā jamā na-kā nana-gataṁ sarvato’py adhika-vilā sa-vitataṁ rā sam ullā sayā mā sa |

On meeting these women who walked on various crowded pathways with trembling bodies, Kṛ ṣ ṇ a joyfully manifested the rā sa dance filled with many pastimes in spring forests, in the light of the moon near Govardhana.

[75] tatra devī nā ṁ vā ṇ ī —

iyaṁ vidyud idaṁ ś akra-dhanuḥ so’yaṁ navā mbudaḥ |
ś aś vad-ghana-rasaṁ vaṣ an-namū ḥ karṣ ati cā takī ḥ ||47||

The devatā women spoke.

“The new cloud of Kṛ ṣ ṇ a with arms like a rainbow and cloth like lightning, incessantly showering music like rain is attracting the gopī s like cā taka birds. ”

[76] tatra vayaḥ -saubhā gyaṁ, yathā —

kā ntiḥ kā nti-samū ha-jā ta-ghana-jil lā vaṇ yam ī dṛ g-ghana-
prodyan-mauktika-jetṛ rū pa-varimā viś vā di-kṛ n-mohanaḥ |
evaṁ ced ajitasya sā rvadikatā kaiś orake vā tadā

pū rṇ e kaḥ kavitā m iyā n nava-navā s tatrā pi yatra ś riyaḥ ||48||

The auspiciousness of his age is described:

Kṛ ṣ ṇ a’s complexion defeats the most glorious clouds. His beauty defeats the pearls (drops of rain) produced by the clouds. His excellent form bewilders Brahmā. If Kṛ ṣ ṇ a displays such beauty at the beginning of his kaiś ora period who can describe his full kaiś ora age or the ever-fresh beauty manifest then?

[77] yathā ca pura-strī -janoditam anumoditaṁ ś rī -bā darā yaṇ inā —

gopyas tapaḥ kim acaran yad amuṣ ya rū paṁ

lā vaṇ ya-sā ram asamordhvam ananya-siddham |

dṛ gbhiḥ pibanty anusavā bhinavaṁ durā pam

ekā nta-dhā ma yaś asaḥ ś riya aiś varasya || [BhP 10. 44. 14] iti |

Ś ukadeva shows how the women of Mathurā agree:

What austerities must the gopī s have performed! With their eyes they always drink the nectar of Kṛ ṣ ṇ a’s form, which is the essence of loveliness and is not to be equaled or surpassed. That loveliness is the only abode of beauty, fame and opulence. It is self-perfect, ever fresh and extremely rare.

kā ntī nā ṁ mathanā d bhavantu jaladā ḥ kecit kadā cit kvacit

te’py uccair vilasanti tarhi taḍ itaḥ kriḍ anti cet tā dṛ ś ā ḥ |
itthaṁ kṛ ṣ ṇ a-ghane taḍ it-tulanayā tā varṇ ayan ś rī -ś ukas

tā sā m avyabhicā ri-ś obhayitṛ tā ṁ vyā nañ ja paś ya sphuṭ am ||49||

If some clouds sometimes try to compete with Kṛ ṣ ṇ a’s beauty, let that happen. They will become more beautiful than previously. If lightning tries to compete with the gopī s’ beauty, let that happen. The lightning becomes more beautiful. Ś ukadeva, in describing the gopī s as lightning in the cloud of Kṛ ṣ ṇ a, clearly reveals the gopī s’ eternal manifestation of beauty.

[78] tathā ca tena tad-varṇ anam—

pā da-nyā sair bhuja-vidhutibhiḥ sasmitair bhrū -vilā sair

bhajyan madhyaiś cala-kuca-paṭ aiḥ kuṇ ḍ alair gaṇ ḍ alolaiḥ |
svidyan-mukhyaḥ kavara-rasanā -granthayaḥ kṛ ṣ ṇ a-vadhvo

gā yantyas taṁ taḍ ita iva tā megha-cakre virejuḥ ||
[BhP 10. 33. 7] iti |

Ś ukadeva describes this:

As the gopī s sang in praise of Kṛ ṣ ṇ a, their feet danced, their hands gestured, and their eyebrows moved with playful smiles. With their braids and belts tied tight, their waists bending, their faces perspiring, the garments on their breasts moving this way and that, and their earrings swinging on their cheeks, Lord Kṛ ṣ ṇ a’s young consorts shone like streaks of lightning in a mass of clouds.

[79] tatra ca samprati, yathā —

pratikṣ aṇ am amī guṇ ā hari-ramā su vṛ ddhiṁ gatā

dinaṁ dinam iti bruve kim iha sarvadaivaṁ sthite |
nave vayasi kiṁ tarā m iha ca tatra vā kiṁ tamā m

ariṣ ṭ a-ś amanā nta-niś y ajani yatra sā carcarī ||51||

Their beauty at the present time is described.

The qualities of Kṛ ṣ ṇ a’s women increased day by day, second by second. What more can be said? If they were always fresh in their bā lya and paugaṇ ḍ a age, what more freshness they must have in kaiś ora age and what more freshness they must have in full kaiś ora age! Those qualities increased like the singing and dancing on the night of killing Ariṣ ṭ a.

[80] rā sotsavo’yam api, yathā —

yadā pū rvaṁ vṛ ttaḥ ś aradam anu rā saḥ kila tadā

babhū vā dyā rambhad divijam api vā dyā di-sacivam |
yadā nye tat-paś cā d vyaraciṣ ata te tarhy akhilajin-
mahā -saṅ gī tā rhaṁ vyaraci hari-rā dhā dibhir adaḥ ||51||

The rā sa festival is described.

Previously when the rā sa dance occurred in autumn, at the beginning, dancing and singing occurred on earth and in the heavens. At all later rā sa performances Kṛ ṣ ṇ a, Rā dhā and the gopī s produced a rā sa dance full of the greatest music which conquered the whole universe.

upary-uḍ a-gaṇ aḥ kṣ itau surabhi-citra-puṣ pā valis
tathā tad anu candrikā vividha-ratna-lakṣ mī r iha |
sa tatra ś aś a-lā ñ chanī vimala-vaktra-saṅ ghā itas
tad evam ubhayoḥ sthitir gagana-rā sa-raṅ ga-ś riyoḥ ||52||

The sky was full of stars, the earth was full of fragrant, colorful flowers, the moonlight shone from the heavens and a wealth of gems glittered on earth. In the sky was the moon and on earth was an assembly of perfect faces. In both the sky and the rā sa arena there was a wealth of beauty.

divyā ḥ kā nana-vī thayaḥ kṣ iti-dhanaṁ govardhana-kṣ auṇ i-bhṛ n
nā nā -ratna-vilā si-rā sa-valayaṁ ś ubhrā ṁ ś u-ś ubhrā niś ā |
lakṣ mī -vandita-lakṣ ma-yoṣ id-upamā -cā rū pamā -puṁ -lasal-
lā syaṁ rā dhikayā dhikaṁ nikhilakaṁ tat kena kiṁ varṇ yatā m ||53||

The forests were pleasing. Govardhana Mountain produced gems. The rā sa arena was decorated with at variety of jewels. The night was lit by the brilliant moon. Who can describe this scene with Rā dhā, with brilliant dancing by the paragon of women worshipped by Lakṣ mī and by the beautiful paragon among men?

yataḥ —

jyotsnī sa didyute seva sa raṅ gaḥ sva-tulā dhṛ taḥ |
sudṛ ś o’mū r amū dṛ ś yaḥ kṛ ṣ ṇ aḥ svopama eva saḥ ||54||

saundaryam iva sā d-guṇ yaṁ sarvordhvaṁ yatra dī vyati |
sā dguṇ yam iva saundaryaṁ rā dhikā sā khilā dhikā ||55||

Because:

This moonlit night shone like the night in autumn. The place was incomparable. The beautiful eyed gopī s assembled there were like the nitya-siddha ś rutis in the autumn rā sa. Kṛ ṣ ṇ a was beyond compare.

Rā dhā, in whom all qualities shone like beauty exceptionally and in whom beauty shone like all good qualities, was the supreme among all of them.

[81] sa eṣ a eva mahā -rā sa-rasaḥ kiṁ cid ā gama-kṛ tā cā vagamitaḥ |

vasanta-kusumā moda-surabhī -kṛ ta-diṅ -mukhe |
govardhana-girau ramye sthitaṁ rā sa-rasotsukam ||56|| iti |

The great rā sa festival is understood to a small degree by the writers of scripture.

When the directions became perfumed by the aroma of spring flowers, Kṛ ṣ ṇ a stood on pleasing Govardhana with a strong desire for rā sa pastimes.

[82] atha tad-vasanta-rā sa-vilā sa-rajanyā ḥ prā tar eva sakhī bhir agaṇ yā bhiḥ kṛ tā rā dhayā tadī ya-sā hā yaka-saṁ bā dhayā ś rī -rā dhayā sva-kara-kamala-kalite lalite sarva-sukhaṁ valayitum ullale tasmin pallale tayoḥ kā ntayor alam eva sukha-parimalaḥ samullalā sa |

When the morning of the spring rā sa pastimes arrived, and Rā dhā, worshipped by her sakhī s and bringing Kṛ ṣ ṇ a under her control with their help, agitated the water of the pond with her elegant lotus hand to produce all happiness, the supreme excellence of their happiness became more brilliant.

tathā hi—

kadā cit kuṇ ḍ asyā mbhasi viharate karhy api bahiḥ

kadā py antaḥ -kuñ je kvacana-samaye rā sa-valaye |
samaṁ rā dhā -devyā harir akhila-sakhyā li-sukhadaḥ

purā tat tan nityaṁ smarayati mano naḥ svam abhitaḥ ||57||

Sometimes Kṛ ṣ ṇ a, giving pleasure to all the sakhī s, plays in the water of the pond with Rā dhā. Sometimes he plays in the bowers. And sometimes he plays in the rā sa arena. Till the present time, those places all around make our minds constantly remember their pastimes.

[83] kiṁ bahunā ? tatreyam api purā ṇ ā nā ṁ gā thā —

yathā rā dhā priyā viṣ ṇ os tasyā ḥ kuṇ ḍ aṁ priyaṁ tathā |

sarva-gopī ṣ u saivaikā viṣ ṇ or atyanta-vallabhā || iti |

What more can be said? The Purā ṇ as sing about this:

Just as Rā dhā is dear to Kṛ ṣ ṇ a, her pond is dear to him. She is the dearest to Kṛ ṣ ṇ a among all the gopī s.

[84] punaḥ smṛ tim abhinī ya samā panaṁ padyaṁ nijagā da—

anyo’nyaṁ milana-spṛ hā -milanam apy asyā hatir dā navā d
yasmā t tad-dhitarā tta-narma-milanaṁ kuṇ ḍ a-dvayasya kriyā |
sarvā sā m adhi madhyam ujjvalatayā rā sā ntarā la-sthitiḥ

ś rī -rā dhā -jitayor mano mama manā g adyā pi naivojjhati ||58||

Again remembering, the reciter spoke another verse to conclude.

“First there was a desire for meeting and then the meeting. Then the demon caused disturbance. After the demon was killed they met and joked. They produced Ś yama-kuṇ ḍ a and Rā dhā kuṇ ḍ a. Then Rā dhā and Kṛ ṣ ṇ a stood shining amongst all the gopī s in the rā sa arena. My mind cannot stop thinking of this even today. ”

[85] iti vaivaś ya-pā ravaś yam ā sī dan sī dann iva mū rccham ṛ cchan snigdhakaṇ ṭ haḥ sarvā n eva ca tat-tad-bhava-bhavanā n bhā vayā mā sa |

Losing control of himself, exhausted and fainting, Snigdhakaṇ ṭ ha filled all present with the emotions of the events.

[86] tac ca yuktaṁ, yathā —

atipū rvaṁ yad apū rvaṁ nija-matir

durlabham atī va hṛ dyaṁ ca |
vṛ ttaṁ tat pratinavatā ṁ prayā ti

bhū yo’nubhū yamā naṁ ca ||59||

This is appropriate because events from long ago which are remarkable, which are most rare and attractive, can be experienced again and again, and gain freshness at every moment.

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