asatyam apratiṣṭhaṁ te jagad āhur anīśvaram aparaspara-saṁbhūtaṁ kim anyat kāma-haitukam 9 страница

He enjoyed in houses endowed with all perfections (maharddhiṣ u). Though it was already mentioned that the city had ever increasing wealth, unlimited wealth is mentioned here in relation to the houses particularly. In the ponds within the palaces was pure water endowed with fragrance from pollen of fully blossoming lotuses: fragrant ones, white ones and red ones. In the houses flocks of doves chirped. Or the verse can be connected with the next verse where it is described that Kṛ ṣ ṇ a played in the water.

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The gardens resounded with the humming of bees and chirping of birds. Kṛ ṣ ṇ a played intensely (reme). How? He played with sixteen thousand wives, while being a single husband. That is, simultaneously he pleased each individual wife. That was not impossible for him, since the one form manifested as many, as Nā rada explained on visiting Dvā rakā. Though the city was most attractive, the houses were even more attractive (mahā rddhiṣ u). In relation to water pastimes, Hari-vaṁ ś a gives the following description:

aham iṣ ṭ ā mayā sā rdhaṁ jale vasati keś avaḥ /

iti tā menire sarvā nā rā yaṇ aparā ḥ striyaḥ //

sarvā ḥ surata-cihnā ṅ gyaḥ sarvā ḥ surata-tarpitā ḥ /

mā nam ū huś ca tā ḥ sarvā govinde bahumā najam //

aham iṣ ṭ ā ham iṣ ṭ eti snigdhe parijane tadā /

nā rā yaṇ a-striyaḥ sarvā mudā ś aś lā ghire ś ubhā ḥ //

ekā rpitamano-dṛ ṣ ṭ yo nerṣ yā tā ś cakrire 'ṅ ganā ḥ //

nā rā yaṇ ena devena tarpyamā ṇ a-manorathā ḥ //

ś irā ṁ si garvitā ny ū huḥ sarvā niravaś eṣ ataḥ /

vā llabhyaṁ ke ś iva-mayaṁ vahantyaś cā ru-darś anā ḥ //

All the devoted wives of Kṛ ṣ ṇ a thought, “He desires me. He is with me in the water. ” They were all marked with signs of lovemaking and satisfied with love. They were all proud that they were honored by Kṛ ṣ ṇ a. “Kṛ ṣ ṇ a desires me. ” All the glorious wives praised their good fortune with joy while their attendants rejoiced. The women glanced at him with devotion, never with hatred. All their desires were satisfied by Kṛ ṣ ṇ a. They always carried their heads with pride. The beautiful women carried auspiciousness in their attractive bodies.

Kahlā ra are fragrant. Upala are white lotuses and kumuda are red.

Text 7

vijahā ra vigā hyā mbho hradinī ṣ u mahodayaḥ

kuca-kuṅ kuma-liptā ṅ gaḥ parirabdhaś ca yoṣ itā m

Translation

The Lord would enter those ponds, and also various rivers, and enjoy sporting in the water while his wives embraced him, leaving the red kuṅ kuma from their breasts smeared on his body.

CommentaryIn relation to water pastimes, Hari-vaṁ ś a gives the following description:

aham iṣ ṭ ā mayā sā rdhaṁ jale vasati keś avaḥ /

iti tā menire sarvā nā rā yaṇ aparā ḥ striyaḥ //

sarvā ḥ surata-cihnā ṅ gyaḥ sarvā ḥ surata-tarpitā ḥ /

mā nam ū huś ca tā ḥ sarvā govinde bahumā najam //

aham iṣ ṭ ā ham iṣ ṭ eti snigdhe parijane tadā /

nā rā yaṇ a-striyaḥ sarvā mudā ś aś lā ghire ś ubhā ḥ //

ekā rpitamano-dṛ ṣ ṭ yo nerṣ yā tā ś cakrire 'ṅ ganā ḥ //

nā rā yaṇ ena devena tarpyamā ṇ a-manorathā ḥ //

ś irā ṁ si garvitā ny ū huḥ sarvā niravaś eṣ ataḥ /

vā llabhyaṁ ke ś iva-mayaṁ vahantyaś cā ru-darś anā ḥ //

He played in the spotless, fragrant water (previous verse). Mention of lakes indicates other water bodies also. Hari-vaṁ ś a says they also played in the ocean. The word mahodayaḥ (master) indicates that he was endowed all materials necessary for playing in the water.

kā ś cit kā ṣ ṭ ha-mayais teruḥ plavaiḥ sarvā ṅ ga-ś obhanā ḥ /

krauñ ca-barhiṇ a-nā gā nā m ā kā ra-sadṛ ś aiḥ striyaḥ //

makarā kṛ tibhiś cā nyā mī nā bhair api cā parā ḥ /

bahu-rū pā kṛ ti-dharaiḥ pupluvuś cā parā ḥ striyaḥ //

naubhir gṛ ha-prakā rā bhiś cikrī ḍ ur aparā jitā ḥ /

snā tā nulipta-muditā ḥ sā yā hne 'ndhaka-vṛ ṣ ṇ ayaḥ //

ā yatā ś caturasrā ś ca vṛ ttā ś ca svastikā s tathā /

prā sā dā nauṣ u kauravya vihitā viś vakarmaṇ ā //

Bhakṣ ya-bhojyā ni peyā ni coṣ yaṁ lehyaṁ tathaica ca /

bahuprakā raṁ manasā dhyā te teṣ ā ṁ bhavaty uta //

nā rā yaṇ ā jñ ayā vṛ kṣ ā ḥ puṣ pā ṇ i mumucur bhṛ ś am /

ṛ tavaś cā nurū pā ṇ i vihā yasi gatā s tadā //

vavau manoharo vā to rati-kheda-haraḥ sukhaḥ /

rajobhiḥ sarva-puṣ pā ṇ ā ṁ yuktaś candana-ś aityabhṛ t //

ś ī toṣ ṇ am icchatā ṁ tatra babhū va vasudhā pate /

vā sudevaprasā dena bhaumā nā ṁ krī ḍ atā ṁ tadā //

uvā ha sarva-gandhā ḍ hyaṁ svacchaṁ vā ri mahodadhiḥ /

toyaṁ cā lavaṇ aṁ vī ra vā sudevasya ś ā sanā t //

gulpha-daghnaṁ jā nu-daghnam ū ru-daghnam athā pi vā /

nā ryas tā ḥ stana-daghnaṁ vā jalaṁ samabhikā ṅ kṣ itam //

Some beautiful women crossed the water in wooden boats. Some dressed up as ospreys, peacocks, and elephants. Others resembled makaras or fish. Other women bathed in the water by assuming many forms. The unsurpassable women played in the water using house boats. Joyful with playing in the water, the Andhakas and Vṛ ṣ ṇ is stayed there till evening. Viś vakarmā made square and round palaces in the boats. Just by meditating, foods to be chewed, licked, drunk and sucked appeared in many varieties. By the order of the Lord, flowers blossomed in profusion. The seasons appeared at suitable times. Pleasant breezes, cool as sandalwood, which gave relief from the fatigue of love making, carrying flower pollen, blew in the sky. It became hot or cold by the desire of those playing, by the mercy of Kṛ ṣ ṇ a. The ocean was filled with clear, fragrant water. It became saltless by the order of Kṛ ṣ ṇ a. The women went into the pleasant water up to their calves, to their knees, to their thighs, and to their breasts.

Texts 8–9

upagī yamā no gandharvair mṛ daṅ ga-paṇ avā nakā n

vā dayadbhir mudā vī ṇ ā ṁ sū ta-mā gadha-vandibhiḥ

sicyamā no ’cyutas tā bhir hasantī bhiḥ sma recakaiḥ

pratiṣ iñ can vicikrī ḍ e yakṣ ī bhir yakṣ a-rā ḍ iva

Translation

As Gandharvas joyfully sang his praises to the accompaniment of mṛ daṅ ga, paṇ ava and ā naka drums, and as professional reciters known as Sū tas, Mā gadhas and Vandī s played vī ṇ ā s and recited poems praising him, Kṛ ṣ ṇ a would play with his wives in the water. Laughing, the queens would squirt water on him with syringes, and he would squirt them back. Thus Kṛ ṣ ṇ a would sport with his queens in the same way that the lord of the Yakṣ as sports with the Yakṣ ī nymphs.

He was praised by singers as excellent as Gandarvas or, sometimes the devatā s also came and praised him. Vadayadbhiḥ means by musicians. He was praised by all of them. Sprinkled by syringes he played with the women. He (acyutaḥ ) was at the side of each woman. An example is given to show how one person played with many women. He was like Kuvera playing with many yakṣ a women.

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Kṛ ṣ ṇ a was praised by Gandharvas playing instruments to accompany their singing and by bards reciting Purā ṇ as with accompaniment of vī ṇ ā s. There was also a screen around the water (so others could not see the playing). The wives and Kṛ ṣ ṇ a played in the water using syringes. Kṛ ṣ ṇ a never failed to be at the side of each one of them (acyutaḥ ). To show their boldness they are compared to Kuvera and his women.

Text 10

tā ḥ klinna-vastra-vivṛ toru-kuca-pradeś ā ḥ

siñ cantya uddhṛ ta-bṛ hat-kavara-prasū nā ḥ

kā ntaṁ sma recaka-jihī rṣ ayayopaguhya

jā ta-smarotsmaya-lasad-vadanā virejuḥ

Translation

Under the drenched clothing of the queens, their thighs and breasts would become visible. The flowers tied in their large braids would scatter as they sprayed water on their consort, and on the plea of trying to take away his syringe, they would embrace him. By his touch their amorous feelings would increase, causing their faces to beam with smiles. Thus Kṛ ṣ ṇ a’s queens shone with resplendent beauty.

same

They became more beautiful. They sprinkled him with water. Sma indicates surprise. On the pretext of taking his syringe they embraced him. Their smiles became more attractive (utsmaya). Sometimes utsava is seen instead.

Text 11

kṛ ṣ ṇ as tu tat-stana-viṣ ajjita-kuṅ kuma-srak

krī ḍ ā bhiṣ aṅ ga-dhuta-kuntala-vṛ nda-bandhaḥ

siñ can muhur yuvatibhiḥ pratiṣ icyamā no

reme kareṇ ubhir ivebha-patiḥ parī taḥ

Translation

Kṛ ṣ ṇ a’s flower garland would become smeared with kuṁ kumafrom their breasts, and his abundant locks of hair would become disheveled as a result of his absorption in the game. As the Lord repeatedly sprayed his young consorts and they sprayed him in turn, he enjoyed himself like the king of elephants enjoying in the company of his bevy of she-elephants.

Commentary

The Lord attained the highest bliss. The word tu indicates Kṛ ṣ ṇ a especially. His garland became smeared with kuṁ kuma from their breasts during the water play. Though previously kuṁ kuma colored his garland, now it did not come off. He continually sprinkled them and they continually sprinkled him. He was surrounded by the young women like an elephant surrounded by his wives. The elephants also like to play in the water.

Text 12

naṭ ā nā ṁ nartakī nā ṁ ca gī ta-vā dyopajī vinā m

krī ḍ ā laṅ kā ra-vā sā ṁ si kṛ ṣ ṇ o ’dā t tasya ca striyaḥ

Translation

Afterward, Kṛ ṣ ṇ a and his wives would give the ornaments and clothing they had worn during their water sports to the male and female performers, who earned their livelihood from singing and from playing instrumental music.

Kṛ ṣ ṇ a and his wives rewarded the dancers and other performers who earned their living by singing or playing instruments. The possessive case (naṭ ā nā ṁ ) stands for the dative (gave to the dancers). With great generosity Kṛ ṣ ṇ a and his wives gave the clothing and ornaments worn during their playing.

The possessive case (naṭ ā nā ṁ ) stands for the dative (gave to the dancers).

Text 13

kṛ ṣ ṇ asyaivaṁ viharato gaty-ā lā pekṣ ita-smitaiḥ

narma-kṣ veli-pariṣ vaṅ gaiḥ strī ṇ ā ṁ kila hṛ tā dhiyaḥ

Translation

In this way Kṛ ṣ ṇ a would sport with his queens, totally captivating their hearts with his gestures, talks, glances and smiles, and also with his jokes, grabbing them and embraces.

After describing water pastimes, the special results of the Lord’s unlimited pastimes are described in twelve verses. When Kṛ ṣ ṇ a, who attracts all hearts, played in the palaces and in the water, the minds of the women were stolen by his gestures, talks, glances, smiles, jokes, touches and embracees. These all attracted their hearts. The sequence is in order increasing power to steal the mind. Because these women had special prema, it was suitable that their minds would be stolen (hrtā dhiyaḥ ). Dhiyaḥ means their ability to discriminate and judge properly. Kila means certainly. Because of their special bhā va, certainly this happened.

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Two verses describe an astonishing fact. In this way, sometimes in the house and sometimes in the water, because of his actions and smiles etc. as he played, the women’s intelligence was stolen away by prema which surpassed all discrimination. Kṣ veli means grabbing them. The order of items is of increasing ability to bewilder them. (Embraces were the most bewildering). Kila indicates “Thus it is said” or “Please hear this astonishing fact. ”

Text 14

ū cur mukundaika-dhiyo gira unmatta-vaj jaḍ am

cintayantyo ’ravindā kṣ aṁ tā ni me gadataḥ ś ṛ ṇ u

Translation

The queens would become stunned in ecstatic trance, their minds absorbed in Kṛ ṣ ṇ a alone. Then, thinking that their lotus-eyed Lord was absent, they would talk as if insane. Please hear these words from me as I relate them.

How their minds were stolen is shown. Or the previous verse can mean that Kṛ ṣ ṇ a’s intelligence was stolen by the women’s gestures, smiles etc. The cause of stealing his mind is shown in this verse.

Their minds were absorbed only in Kṛ ṣ ṇ a, the giver of the highest bliss or the distributor of the happiness of prema (mukunda). Sometimes they thought of him, the most beautiful person (aravindā kṣ am), and became silent (agiraḥ ). Sometimes they spoke as if insane, unintelligibly.

Please hear when I speak. Hear carefully, this astonishing topic. Or thinking of him, with minds fixed only on Mukunda, they spoke words. Listen to the words (tā ) that they spoke as I speak (nigataḥ ).

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They sometimes became as if mad, as if disturbed in mind by some drug. They would sometimes remain silent (agiraḥ ) for a moment as if sleeping. Thinking whether Kṛ ṣ ṇ a was present or not present, they concluded he was not there, and talked with loss of all sense of judgment (jaḍ am), like a person talking in his sleep. The reason for their madness was that they thought without deviation only of Kṛ ṣ ṇ a, who freed them from all suffering (mukunda). If he was present, he would remain silent, expecting to hear them speak. This is the type of separation called vaicitrya (in which the lover is present, but thought to be absent. ) This is accepted by Vopadeva in Muktā phala. It is also described by Ś riharṣ a and others.

Text 15

mahiṣ ya ū cuḥ

kurari vilapasi tvaṁ vī ta-nidrā na ś eṣ e

svapiti jagati rā tryā m ī ś varo gupta-bodhaḥ

vayam iva sakhi kaccid gā ḍ ha-nirviddha-cetā

nalina-nayana-hā sodā ra-lī lekṣ itena

Translation

The queens said: O kurarī bird, you are lamenting. Now it is night, and somewhere in this world our husband is asleep in a hidden place. But you are wide awake, O friend, unable to fall asleep. Is it that, like us, you have had your heart pierced to the core by the lotus-eyed Lord’s munificent, playful smiling glances?

I offer respects to the queens, whose hearts were bewildered by prema. By their mercy one can understand the meaning of their words.

Though they had direct association with the Lord, because of intense bhā va, they appeared like others in separation, because of special symptoms or because of the strength of their love. They considered all others to have similar bhā va for the Lord. They considered the kurā ri which naturally cries at night to have pain on not attaining Kṛ ṣ ṇ a. O kurarī! Or it is not at night, and there are no kurarī or other birds. While playing in the water they become subject to transformations like unmā da because of intense prema.

In each verse a different queen speaks. Since they speak as if insane, at the same time, with different statements, there is no relationship between verses, and because of the lack of relationship, the verses possess great qualities individually. However, for the pleasure of the devotees according to my mind, I will make some connections.

O wife of the kurari bird! Though the night has come you are awake and lamenting, with loud cries of pain. You do not cease crying for a moment. You are awake while others are sleeping and dreaming. The Lord has his waking state covered (gupta-bodhaḥ ). “Why does he give up attraction to you and dream? ” His waking state is covered by being in the world (jagati). He cannot know anything at all. Or though he is the form of all knowledge (agupta-bodhaḥ ) he sleeps like others in this world.

O friend! They think of the bird as having similar feelings or friendship. This is natural to prema. Has your heart also been pierced completely by his playful glance? The glance is generous (udā ra). This means that the glance has the power to attract all hcarts or has the ability to happiness to all people. The glance also indicates the great beauty of his eyes. Or because his eyes are like lotuses (nalina-nayana) his glance is of this nature.

Or you lament without cessation (na ṣ eś e). Though all others in this world sleep you alone lament. They imagine the cause according to their bhā va. Like us, has your heart been pierced by the playful, excellent (udara) glance, the smile of his lotus eyes?

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They all speak as one on hearing the voice of kurarī and other birds since they have the same sentiments. All the queens spoke. By its nature, the osprey cries out. They address the bird. O osprey! In this world you alone stay awake sleepless, and do not desire to sleep (ne ś eṣ e), since you loudly lament. Our husband (ī ś varaḥ ), remaining hidden somewhere in the night which prevents anyone from finding him, sleeps. Or, he remains hidden in the night somewhere in the world. Therefore we infer as follows. O friend! Because you are similar to us in lamenting, you are our friend. Your loud lamentation will be helpful to us also.

Text 16

netre nimī layasi naktam adṛ ṣ ṭ a-bandhus

tvaṁ roravī ṣ i karuṇ aṁ bata cakravā ki

dā syaṁ gata vayam ivā cyuta-pā da-juṣ ṭ ā ṁ

kiṁ vā srajaṁ spṛ hayase kavareṇ a voḍ hum

Translation

Poor cakravā kī, even after closing your eyes, you continue to cry pitifully through the night for your unseen mate. Or is it that, like us, you have become the servant of Acyuta and hanker to wear in your braided hair the garland he has blessed with the touch of his feet?

prā ptā vayaṁ tulasi-dā ma padā vasṛ ṣ ṭ aṁ

keś air nivoḍ hum atilaṅ ghya samasta-bandhū n

We simply wish to remain here in the forest so we may carry upon our heads the garlands of tulasī leaves you may neglectfully kick away with your lotus feet. SB 10. 23. 29

Though the bird does not have a braid, they refer to themselves, or imagine this out of madness) in prema. This should be understood in later verses also. Kim can indicate conjecture. Do you cry out because of a desire to carry the garland with devotion?

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Hearing the even more plaintive cry of the cakravā kī they speak. Your dear lover is unseen. You cry with great pain and pitifully. Bata indicates lamentation. We are in a similar situation. We cannot cry so loudly on not seeing our husband, but we cry with a special emotion for the Lord. Becoming a servant like us, do you desire to wear in your hair the garland used as a pillow by the feet of the Lord who is full of all qualities and beauty (acyutasya)? Do you desire his touch indirectly in this way because of you intense love? Touching the feet is only suitable for the bhakti of a wife. Thus they ask the bird about an article that had touched his feet. Or, like us, you have become a servant Becoming his lover, you desire the good fortune suitable for that position. They do not state this directly because of shyness. Similarly the wives of the brā hmaṇ as said:

prā ptā vayaṁ tulasi-dā ma padā vasṛ ṣ ṭ aṁ

keś air nivoḍ hum atilaṅ ghya samasta-bandhū n

We simply wish to remain here in the forest so we may carry upon our heads the garlands of tulasī leaves you may neglectfully kick away with your lotus feet. SB 10. 23. 29

Text 17

bho bhoḥ sadā niṣ ṭ anase udanvann

alabdha-nidro ’dhigata-prajā garaḥ

kim vā mukundā pahṛ tā tma-lā ñ chanaḥ

prā ptā ṁ daś ā ṁ tvaṁ ca gato duratyayā m

Translation

Dear ocean, you are always roaring, not sleeping at night. You constantly stay awake at night. Or is it that, as with us, Mukunda has taken your good qualities and you are hopeless of retrieving them?

They then speak to the ocean roaring with an even louder sound. The ocean is respected because it is a vibhū ti of the Lord. They thus call out with respect, “Bho, bho! ” They repeat the word out of great lamentation. Because of being unable to sleep, you are conspicuously (adhigataḥ ) staying awake in a remarkable way (pra) and roaring. Have you also (ca) come to the unfortunate condition, impossible to overcome. Have your good qualities stolen by the Lord, even though he is the bestower of all bliss? Or have your natural good qualities like steadiness and profundity been stolen by the Lord whose beautiful face reveals teeth white like kunda flowers when he smiles? Because you always roar, you also have attained the state that we have attained.

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They then speak to the ocean roaring with an even louder sound. The ocean is respected because it is a vibhū ti of the Lord. They thus call out with respect, “Bho, bho! ” They repeat the word out of great lamentation. Because of being unable to sleep, you are conspicuously (adhigataḥ ) staying awake in a remarkable way (pra). In moaning like this, do you experience our suffering? Otherwise why do you do this? Considering for a moment, they then speak again. Perhaps he whose nature is to take away all suffering (mukundasya) has taken away your famous characteristics like depth and steadiness. You are like us and have reached a condition that cannot be overcome. What misfortune (hā ).

Text 18

tvaṁ yakṣ maṇ ā balavatā si gṛ hī ta indo

kṣ ī ṇ as tamo na nija-dī dhitibhiḥ kṣ iṇ oṣ i

kaccin mukunda-gaditā ni yathā vayaṁ tvaṁ

vismṛ tya bhoḥ sthagita-gī r upalakṣ yase naḥ

Translation

My dear moon, having contracted a severe case of tuberculosis, you have become so emaciated that you fail to dispel the darkness with your rays. Or is it that you appear dumbstruck because, like us, you cannot remember the encouraging promises Mukunda once made to you?

An example of the moon is given, comparing their pain to the pain of great sickness.

Having caught serious tuberculosis, you cannot destroy the darkness. You remain without speaking because of forgetting the words of Mukunda, whose beautiful face reveals teeth like kunda flowers. O moon! Are you like us?

Or remembering particularly the words of Mukunda, becoming absorbed in them, being silent and thing, we cannot remove the suffering by the rays of our intelligence. You are like us. Having caught tuberculosis, becoming thin, you cannot remove the darkness. But that is not the cause. It is because of special bhā va for Kṛ ṣ ṇ a. Or having caught tuberculosis and becoming thin, you cannot remove the sorrow (tamaḥ ) of the stars, your wives, by the touch of your hand.

Why do you not answer? Forgetting the words of Mukunda, losing power to speak, you are like us.

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“Though the animals and ocean are wailing with more and more intensity because of Kṛ ṣ ṇ a’s absence, why is the moon, full of good qualities, silent? ” They state the answer indirectly. O moon! You have a serious case of tuberculosis, since your form of nectar has disappeared. Thus being weak, you cannot dissipate the darkness by your rays, even at full moon. You cannot destroy the darkness like the sun. Just as we have become thin because of separation from Mukunda and are unable to remove the suffering by ourselves, you are also suffering, but even more! Considering for a moment they speak again. Perhaps you have forgotten the promises he made when he went away, because of strong feelings arising from separation. Becoming thin because of not determining if he will come, you cannot destroy the darkness. Thus, like us, we see that you cannot speak since you do not answer. At least the osprey and others wailed in answer.