Vaiṣṇava-toṣaṇī 4 страница

Text 34

tayor niveś anaṁ ś rī mad upā kalpya mahā -matiḥ

sa-sainyayoḥ sā nugayor ā tithyaṁ vidadhe yathā

Translation

Generous King Bhī ṣ maka arranged opulent accommodations for the two Lords, and also for their army and entourage. In this way he afforded them proper hospitality.

He offered accommodation with food, drinks, cloth, and ornaments (ś rī mat) or with crystal pillars and unlimited beauty. He made special palaces for them and offered them as their servant or accepting them as his masters, or with all hospitality (sam). The followers were Gada, Satyaki, Uddhava and others. The four parts of the army were also there. He offered properly, with great devotion (yathā ), with beds, water, food, milk products and butter.

Text 35

evaṁ rā jñ ā ṁ sametā nā ṁ yathā -vī ryaṁ yathā -vayaḥ

yathā -balaṁ yathā -vittaṁ sarvaiḥ kā maiḥ samarhayat

Translation

Bhī ṣ maka gave all desirable things to the kings who had assembled for the occasion, honoring them as befitted their political power, age, their armies and wealth.

He offered valuables to the kings who had gathered to see the wedding (evam), along with their armies or all together (sam-etā nā m) according to their strength (vī ryam), their armies (balam). Those who had more power and armies received more goods. He worshipped all to satisfy their minds fully. In the list of strength, age, armies and wealth the former are greater causes for worship.

Text 36

kṛ ṣ ṇ am ā gatam ā karṇ ya vidarbha-pura-vā sinaḥ

ā gatya netrā ñ jalibhiḥ papus tan-mukha-paṅ kajam

Translation

When the residents of Vidarbha heard that Kṛ ṣ ṇ a had come, they all went to see him. With the cupped palms of their eyes they drank the honey of his lotus face.

The citizens of Vidarbha, men and women, heard that Kṛ ṣ ṇ a, who attracts all hearts or who is the form of the highest bliss (bhagavā n), had come. They gathered near him and drank the sweet beauty of his face, just as a bee drinks the nectar from the lotus out of attachment. They looked for a long time with absorption.

Text 37

asyaiva bhā ryā bhavituṁ rukmiṇ y arhati nā parā

asā v apy anavadyā tmā bhaiṣ myā ḥ samucitaḥ patiḥ

Translation

[The people of the city said: ] Rukmiṇ ī, and no one else, deserves to become his wife, and he also, possessing such flawless beauty, is the only suitable husband for Princess Rukmiṇ ī.

The two are most suitable for each other. The word eva should be understood for both parties. The reason is that he and she are flawless (anavadyā tmā ). They desired the marriage of the two, offering their unlimited piety with devotion.

Text 38

kiñ cit su-caritaṁ yan nas tena tuṣ ṭ as tri-loka-kṛ t

anugṛ hṇ ā tu gṛ hṇ ā tu vaidarbhyā ḥ pā ṇ im acyutaḥ

Translation

May Acyuta, the creator of the three worlds, be satisfied with whatever pious work we may have done and show his mercy by taking the hand of Vaidarbhī.

Commentary

May the creator of the three worlds, he who can do anything, and who is merciful by creating the world so that we can live, be satisfied with whatever pious acts we have done in previous lives.

He is fixed in beauty and qualities (acyutaḥ ). They use the word vaidarbhyā ḥ (she who is from Vidarbha) to indicate that they as residents of Vidarbha have a relationship with her. Because their hearts are overcome with the sweetness of Kṛ ṣ ṇ a’s human pastimes, they use differing words to describe him (tri-loka-kṛ t and acyutaḥ ). They also indicate his extraordinary nature.

Text 39

evaṁ prema-kalā -baddhā vadanti sma puraukasaḥ

kanyā cā ntaḥ -purā t prā gā d bhaṭ air guptā mbikā layam

Translation

Bound by their swelling love, the city’s residents spoke in this way. Then the bride, protected by guards, left the inner palace to visit the temple of Ambikā.

Commentary

The residents spoke among themselves continually in this manner. They were not afraid of Rukmī because they were bound by effects of prema. Kalā means “producing. ” Or they were bound by a particle (kalā ) of prema which was pleasing to them. That prema was suitable for friendly emotions to the Lord and was exalted. They were bound up tightly by that particle of love. What then to speak of Rukmiṇ ī and other women? The word ca indicates that Rukmiṇ ī was aware of what the people spoke. Just as they had prema for her, she experienced prema for them. She also took their speech as an auspicious sign and therefore in joy entered (pra agā t) the Durgā temple.

Texts 40–41

padbhyā ṁ viniryayau draṣ ṭ uṁ bhavā nyā ḥ pā da-pallavam

sā cā nudhyā yatī samyaṅ mukunda-caraṇ ā mbujam

yata-vā ṅ mā tṛ bhiḥ sā rdhaṁ sakhī bhiḥ parivā ritā

guptā rā ja-bhaṭ aiḥ ś raiḥ sannaddhair udyatā yudhaiḥ

mṛ ḍ aṅ ga-ś aṅ kha-paṇ avā s tū ryū a-bheryaś ca jaghnire

Translation

Rukmiṇ ī silently went out on foot to see the lotus feet of the deity Bhavā nī. Accompanied by her mothers and girlfriends and protected by the King’s valiant soldiers, who held their upraised weapons at the ready, she simply absorbed her mind in the lotus feet of Kṛ ṣ ṇ a. And all the while mṛ daṅ gas, conch shells, paṇ avas, horns and other instruments resounded.

Commentary

The details are described in four verses. She (sā ḥ ), who was endowed with such greatness, went on foot, out of respect, because she was going to see Durgā ’ lotus feet. Durgā ’s feet are described as lotuses because of the Rukmiṇ ī ’s devotion. “If Rukmiṇ ī is directly Lakṣ mī, why does she have devotion to Durgā? ” She was constantly meditating on the lotus feet of Mukunda, endowed completely (samyak) with sweetness, which revealed their softness and other qualities (like jasmine flowers). This indicates that neither she nor Kṛ ṣ ṇ a revealed their greatness at this time. Because she was absorbed in devotion, she was silent. She also walked with devotion (vi — niryayau). Being surrounded by many people indicates that she would be hard to steal and was thus in great anxiety. This shows the seed of experiencing joy on suddenly attaining Kṛ ṣ ṇ a, which is described later. She was surrounded by persons who had motherly affection (mā tṛ bhiḥ ). She was surrounded by troops because Rukmī was afraid of Kṛ ṣ ṇ a. They were brave, dressed in armor, and had their weapons raised. These were progressively better means of protecting her. Mṛ daṅ gas, paṇ avas, and tū ryas are drums. Bherī s are wind instruments. Another type of bherī is a drum.

Texts 42–43

nā nopahā ra balibhir vā ramukhyā ḥ sahasraś aḥ

srag-gandha-vastrā bharaṇ air dvija-patnyaḥ sv-alaṅ kṛ tā ḥ

gā yantyaś ca stuvantaś ca gā yakā vā dya-vā dakā ḥ

parivā rya vadhū ṁ jagmuḥ sū ta-mā gadha-vandinaḥ

Translation

Behind the bride followed thousands of prominent courtesans bearing various offerings and presents, along with well-adorned brā hmaṇ as’ wives singing and reciting prayers and bearing gifts of garlands, scents, clothing and jewelry. There were also professional singers, musicians, bards, chroniclers and heralds.

Commentary

The best citizens came with various gifts and articles of worship (balibhiḥ ). The singers sang and the sū tas and others praised (stuvantaḥ ). The musicians played instruments (understood but not written in the text).

Text 44

ā sā dya devī -sadanaṁ dhauta-pā da-karā mbujā

upaspṛ ś ya ś uciḥ ś ā ntā praviveś ā mbikā ntikam

Translation

Upon reaching the goddess’s temple, Rukmiṇ ī first washed her lotus feet and hands and then sipped water for purification. Thus sanctified and peaceful, she came into the presence of mother Ambikā.

She reached the temple of Durgā (deva-sadanam). Another version has devyā ḥ. Ś ā ntā ḥ means her mind was controlled.

Text 45

tā ṁ vai pravayaso bā lā ṁ vidhi-jñ ā vipra-yoṣ itaḥ

bhavā nī ṁ vandayā ṁ cakrur bhava-patnī ṁ bhavā nvitā m

Translation

The older wives of brā hmaṇ as, expert in the knowledge of rituals, led young Rukmiṇ ī in offering respects to Bhavā nī, wife of Ś iva.

Bhā vā nī refers to Pā rvatī. They had Ṛ ukmiṇ i offer respects to bhava-patnim (wife of Ś iva) with devotion (bhavā nvitam). By offering respects to her, offering respects to Ś iva was also accomplished. Or she worshipped her in order to gain similar chastity and good fortune.

Text 46

namasye tvā mbike ’bhī kṣ ṇ aṁ sva-santā na-yutā ṁ ś ivā m

bhū yā t patir me bhagavā n kṛ ṣ ṇ as tad anumodatā m

Translation

[Princess Rukmiṇ ī prayed: ] O mother Ambikā, wife of Lord Siva, I repeatedly offer my obeisances unto you, together with your children. May Kṛ ṣ ṇ a become my husband! Please grant this!

Commentary

This verse is the mantra for offering respects to Durgā. O mother of the universe (ambike)! She is called Ś ivā since she is non-different from Ś iva, having similar qualities and name. Therefore she offers respects to Durgā along with Ś iva. After indicating Durgā ’s qualification of being like Ś iva, she makes her request. May the Lord who is endowed with all unparalleled sweetness and powers (bhagavā n) and who attracts the minds of everyone (kṛ ṣ ṇ aḥ ), what to speak of those who are dedicated to him, be my husband. You two should permit this since you can fulfill desires. Or, may Kṛ ṣ ṇ a permit it. In great longing, she forgets about Durgā.

Texts 47–48

adbhir gandhā kṣ atair dhū pair vā saḥ -sraṅ -mā lya-bhū ṣ aṇ aiḥ

nā nopahā ra-balibhiḥ pradī pā valibhiḥ pṛ thak

vipra-striyaḥ patimatī s tathā taiḥ samapū jayat

lavaṇ ā pū pa-tā mbū la- kaṇ ṭ ha-sū tra-phalekṣ ubhiḥ

Translation

Rukmiṇ ī worshiped the goddess with water, scents, whole grains, incense, clothing, garlands, necklaces, jewelry and other prescribed offerings and gifts, and also with arrays of lamps. The married brā hmaṇ a women each performed worship simultaneously with the same items, also offering savories and cakes, prepared betel nut, sacred threads, fruit and sugar-cane juice.

The articles are not listed in order because Ś ukadeva or Rukmiṇ ī forgot the order, because of being absorbed in Kṛ ṣ ṇ a. Sraja are garlands made of flowers. Mā lya are flowers made into other ornaments. The bṛ ā hmaṇ a women had separate items of worship. She performed worship completely (sampū jayat) using food (upahā ra) and offerings to the directions (balibhiḥ ). At the end lamps were offered. Each was offered fully. At this time she was dependent on these women who were married (patimatī ). Women with husbands offered salt (lavana) and other items according to the custom in order that rasa is attained.

Text 49

tasyai striyas tā ḥ pradaduḥ ś eṣ ā ṁ yuyujur ā ś iṣ aḥ

tā bhyo devyai namaś cakre ś eṣ ā ṁ ca jagṛ he vadhū ḥ

Translation

The ladies gave the bride the remnants of the offerings and then blessed her. She in turn bowed down to them and the deity and accepted the remnants as prasā dam.

The women gave her the remnants with joy and respect. She bowed to them and to Durgā. It is forbidden to accept the remnants from the devatā s, but there is no fault for an unmarried girl to do so (vadhū ḥ ).

Text 50

muni-vratam atha tyaktvā niś cakrā mā mbikā -gṛ hā t

pragṛ hya pā ṇ inā bhṛ tyā ṁ ratna-mudropaś obhinā

Translation

The princess then gave up her vow of silence and left the Ambikā temple, holding on to a friend with her hand, which was adorned with a jeweled ring.

She held the hand of a friend firmly with affection (pragṛ hya), expecting her to point out Kṛ ṣ ṇ a. Or fearing she would fall down, out of control on expecting to see Kṛ ṣ ṇ a, she held her friend’s hand. Actually she did so to show special beauty. In verse 53 it is said, “On the pretext of the procession, Rukmiṇ ī displayed her beauty for Kṛ ṣ ṇ a alone. ” The ring enhanced her hand’s beauty (upaś obhinā ) at the time of the wedding. This indicates that her hand was most beautiful.

Texts 51–55

tā ṁ deva-mā yā m iva dhī ra-mohinī ṁ

su-madhyamā ṁ kuṇ ḍ ala-maṇ ḍ itā nanā m

ś yā mā ṁ nitambā rpita-ratna-mekhalā ṁ

vyañ jat-stanī ṁ kuntala-ś aṅ kitekṣ aṇ ā m

ś uci-smitā ṁ bimba-phalā dhara-dyuti-

ś oṇ ā yamā na-dvija-kunda-kuḍ malā m

padā calantī ṁ kala-haṁ sa-gā minī ṁ

siñ jat-kalā -nū pura-dhā ma-ś obhinā

vilokya vī rā mumuhuḥ samā gatā

yaś asvinas tat-kṛ ta-hṛ c-chayā rditā ḥ

yā ṁ vī kṣ ya te nṛ patayas tad udā ra-hā sa-

vrī dā valoka-hṛ ta-cetasa ujjhitā strā ḥ

petuḥ kṣ itau gaja-rathā ś va-gatā vimū ḍ hā

yā trā -cchalena haraye ’rpayatī ṁ sva-ś obhā m

saivaṁ ś anaiś calayatī cala-padma-koś au

prā ptiṁ tadā bhagavataḥ prasamī kṣ amā ṇ ā

utsā rya vā ma-karajair alakā n apaṅ gaiḥ

prā ptā n hriyaikṣ ata nṛ pā n dadṛ ś e ’cyutaṁ ca

tā ṁ rā ja-kanyā ṁ ratham ā rurakṣ atī ṁ

jahā ra kṛ ṣ ṇ o dviṣ atā ṁ samī kṣ atā m

Translation

Rukmiṇ ī appeared as enchanting as the Lord’s illusory potency, which enchants even the sober and grave. Thus the kings gazed upon her virgin beauty, her shapely waist, and her lovely face adorned with earrings. Her hips were graced with a jewel-studded belt, her breasts were just budding, and her eyes seemed apprehensive of her encroaching locks of hair. She smiled sweetly, her jasmine-bud teeth reflecting the glow of her bimba-red lips. As she walked with the motions of a royal swan, the effulgence of her tinkling ankle bells beautified her feet. Seeing her, the assembled heroes were totally bewildered. Lust tore at their hearts. Indeed, when the kings saw her broad smile and shy glance, they became stupefied, dropped their weapons and fell unconscious to the ground from their elephants, chariots and horses. On the pretext of the procession, Rukmiṇ ī displayed her beauty for Kṛ ṣ ṇ a alone. Slowly she advanced the two moving lotus-whorls of her feet, awaiting the arrival of the Supreme Lord. With the fingernails of her left hand she pushed some strands of hair away from her face and shyly looked from the corners of her eyes at the kings standing before her. At that moment she saw Kṛ ṣ ṇ a. Then, while his enemies looked on, the Lord seized the princess, who was eager to mount his chariot.

She was like the mā yā of Viṣ ṇ u (deva) since she was most beautiful for similar to Mohinī. O vī ra (warrior) or dhī ra (intelligent person)! The details of her beauty are then described with ten descriptive terms. Not only her waist was attractive (sumadhyama) but all limbs were attractive. Hari-vaṁ ṣ a describes this.

Ś yā mā vadā tā sā hy ā sī t pṛ thucā rvā yatekṣ aṇ ā

Tā mroṣ ṭ ha-nayanā pā ṅ ī pī noru-jaghanastanī

Vṛ hatī cā rusarvā ṅ ī tanvī ś acī nibhā nanā

Tā mra-tuṅ ganahī subhrur nī lakuñ cita-mū rdhajā

Atyarthā m rū pataḥ kā ntā pī na-=ś roṇ ipayodharā

Tī kṣ ṇ a-ś uklaiḥ samair dantaiḥ prabhā sadbhir alaṅ kṛ tā

Sananyā pramadā loke rū peṇ a yaś asā ś riyā

Rū piṇ ī rukmiṇ ī devī pā ṇ dura- ksaumavā sinī

She was pure and dark. Her eyes were long and wide. Her lips were red. She glanced with her eyes. Her thighs were firm and ankles were narrow. Her limbs were large and waist was narrow. Her face was like the moon. Her raised nails were red. Her brows and hair were black. She was beautiful because of her form. Her hips and breasts were full. She was ornamented with even, white, sharp, shining teeth. She was incomparable in this world by her beauty, fame and wealth. She wore pale yellow cloth.

She wore unlimited ornaments on her hips and ears. She was at vayaḥ sandhi (ś yā mā m). Thus her breasts were budding (vyañ jat-stanī m). Her limbs, beauty, age and ornaments are described in summary. Then her sweetness is described in verse 51. Her glance was sweet, through her locks of hair. Her smile was sweet. This revealed her teeth slightly. Her gait was sweet. Her ankle bells sounded like a swan, as she walked like a swan.

Directly seeing her, all the gathered warriors, though famous by defeating enemies, fainted in sorrow because they had no hope to attain her. They were frightened by her desire to have Kṛ ṣ ṇ a (tat-kṛ ta-hṛ cchaya). Though brave and mounted on elephants, they fell to the ground from fainting, dropping their weapons. Their hearts were destroyed by Kṛ ṣ ṇ a’s shy glance and best smile, endowed with love, directed to Rukmiṇ ī. They fainted because of agitation, understanding that he would steal her.

On the pretext of going to the temple, she offered or showed her extraordinary beauty to Kṛ ṣ ṇ a alone. She actually went outside the palace so that Kṛ ṣ ṇ a could take her. She did this by gently moving her feet. They were soft like lotus buds. The comparison with the lotus is to show their beautiful. She moved slowly because of their beauty and because of their softness. She waited to attain the Lord, endowed with all powers (bhagavataḥ ). Or she was expecting with great desire (pra) to see him (praptim) with her eyes.

She pushed aside her locks in order to see the Lord clearly. This indicates her cleverness. She saw all the kings who had come (prā ptā n) to help Ś iś upā la. Wanting to see Kṛ ṣ ṇ a, she cast a shy glance everywhere. She did not look at the kings. She sent many glances in order to see everywhere. Or she looked at the kings who were received with shame, caused by her disrespect for them. Or pushing aside her locks which blocked her glances, while glancing here and there for the arrival of the Lord, she saw the kings who had fallen here and there. Later by her glances (apā ṅ gaiḥ ) she saw Kṛ ṣ ṇ a who has standing far away in order to fool the kings. Kṛ ṣ ṇ a does not fail in his determination (acyutam) and never fails to show his form and qualities at any time.

She was eager to mount the chariot because she was a princess. She could not go to his house on foot. Or she could not go on foot because her feet were tender and she was unable to walk that far. Getting down from his chariot, he took her hand in his. Or he put her on his lap in the chariot, while the king looked. They had recovered from fainting. Genitive case indicates lack of respect for the kings. This act shows his boldness, his prowess and quickness. This could happen because he was Kṛ ṣ ṇ a, bhagavā n. Or he attracted all. He was most expert at directly taking her.

Text 56

rathaṁ samā ropya suparṇ a-lakṣ aṇ aṁ

rā janya-cakraṁ paribhū ya mā dhavaḥ

tato yayau rā ma-purogamaḥ ś anaiḥ

ś ṛ gā la-madhyā d iva bhā ga-hṛ d dhariḥ

Translation

Lifting the princess onto his chariot, whose flag bore the emblem of Garuḍ a, Mā dhava drove back the circle of kings. With Balarā ma in the lead, he slowly exited, like a lion removing his prey from the midst of jackals.

He put her quickly and comfortably on the chariot in the seat (sam-ā ropya). The symbol of Garuḍ a indicates defeat of others and moving quickly. Mā dhava means the husband of Lakṣ mī, who was non-different from Rukmiṇ ī. Or it means he was born in the Madhu dynasty to manifest his unlimited powers. Defeating the kings, putting Balarā ma in from, he slowly departed with the Yadus from that place (tataḥ ), without fear. An example is given. The lion by force takes the meat (bhaga-hrṭ ) though surrounded by jackals.

Text 57

taṁ mā ninaḥ svā bhibhavaṁ yaś aḥ -kṣ ayaṁ

pare jarā sandha-mukhā na sehire

aho dhig asmā n yaś a ā tta-dhanvanā ṁ

gopair hṛ taṁ keś ariṇ ā ṁ mṛ gair iva

Translation

The proud kings inimical to the Lord, headed by Jarā sandha, could not tolerate this humiliating defeat. They exclaimed, “Oh, damn us! Though we are mighty archers, mere cowherds have stolen our honor, just as puny animals might steal the honor of lions! ”

Their defeat was criticized because Kṛ ṣ ṇ a had directly taken away the bride. Because of this, their fame was destroyed, since they could not do anything or because their efforts to obtain a bride for Ś iś upā la had failed. All the warriors other than the Yadus (pare) could not tolerate this defeat because they were proud of their valor (mā ninaḥ ). Or the enemies (pare), who were proud, could not tolerate their defeat. Aho indicates lamentation. Though we had bows in our hands, our fame was stolen by cowherds who hold only sticks in their hands, who live in the forest and pay taxes. This is most improper. An example is given. The booty of the lions has been stolen by other animals. Or the fame in prowess of great strength has been stolen when the small animals take the booty. They considered the Yadus who accompanied Kṛ ṣ ṇ a to be cowherds. Thus the plural is used (gopaiḥ ). Another version has asmad-yaṣ a, but this results in no relation to ā tta-dhanvanā m.

Ś rī dhara Svā mī has explained the meaning to be asmā kam ā tta-dhanvanā m, which is easy to understand (the fame of us who hold bows has been stolen).

Chapter Fifty-four

Text 1

ś rī -ś uka uvā ca

iti sarve su-saṁ rabdhā vā hā n ā ruhya daṁ ś itā ḥ

svaiḥ svair balaiḥ parikrā ntā anvī yur dhṛ ta-kā rmukā ḥ

Translation

Ś ukadeva Gosvā mī said: Having thus spoken, all those infuriated kings donned their armor and mounted their conveyances. Each king, bow in hand, was surrounded by his own army as he went after Kṛ ṣ ṇ a.

Commentary

They mounted elephants and other conveyances. When they had fainted they had dropped their weapons and fell on the ground. Now they took up their bows and mounted their elephants again.

Text 2

tā n ā patata ā lokya yā davā nī ka-yū thapā ḥ

tasthus tat-sammukhā rā jan visphū rjya sva-dhanū ṁ ṣ i te

Translation

The commanders of the Yā dava army, seeing the enemy racing to attack, turned to face them and stood firm, O King, twanging their bows.

Commentary

Those (te) who were famous as commanders of the Yā dava armies, who had gathered with Balarā ma previously in anticipation of a fight, faced the enemy. They drew their extraordinary (sva) bows.

Text 3

aś va-pṛ ṣ ṭ he gaja-skandhe rathopasthe ’stra kovidā ḥ

mumucuḥ ś ara-varṣ ā ṇ i meghā adriṣ v apo yathā

Translation

Mounted on the backs of horses, the shoulders of elephants and the seats of chariots, the enemy kings, expert with weapons, rained down arrows upon the Yadus like clouds pouring rain on mountains.

Seated in their chariots (rathopaṣ ṭ he), expert at war (kovidā ḥ ), the enemy headed by Jarā sandha released a shower of arrows. The arrows were spread among the warriors. The showers from horses, elephants and chariots were progressively greater, because of their size. Because they were expert they released showers of arrows as if they were clouds.

Text 4

patyur balaṁ ś arā sā raiś channaṁ vī kṣ ya su-madhyamā

sa-vrī ḍ am aikṣ at tad-vaktraṁ bhaya-vihvala-locanā

Translation

Rukmiṇ ī, her waist bent, seeing her Lord’s army covered by torrents of arrows, shyly looked at his face with fear-stricken eyes.

Her waist (su-madhyamā ) was bent due to meekness caused by shyness. Seeing directly (vī kṣ ya) the army of her husband covered with arrows, she developed dears of fear in her unsteady or agitated eyes. This was because she was the best of women (sumadhyamā ). They are always timid. Seeing the armies covered with arrows shyly she looked at Kṛ ṣ ṇ a’s face since she was the best of women or had an innocent gaze.

Text 5

prahasya bhagavā n ā ha mā sma bhair vā ma-locane

vinaṅ kṣ yaty adhunaivaitat tā vakaiḥ ś ā travaṁ balam

Translation

In response, the Lord laughed and assured her, “Do not be afraid, beautiful-eyed one. This enemy force is about to be destroyed by our troops. ”