Lyrics and Meanings (Ashtapadi)

Aṣhṭapadhi - It is lyrical poetry in 12 chapters, which is further sub-divided into 24 divisions called Prabandhha. Each Prabandhha is again sub-divided into two, comprising eight couplets called Aṣhṭapadhis.

Each song of the Aṣhṭapadhiis set in a special rāga and thāḷa. It is a rhyme of eternal love and supreme devotion. The literal meaning of "Aṣhṭapadhi" is "eight steps".

Gītha Govindha composed in the 12th century by Indian poet Jayadheva in Sanskrit language is a lyrical poetry in twelve chapters, sub-divided into twenty four divisions called Prabandhha. The songs in Gītha Govindha symbolize the eternal love of Lord Kriṣhṇa and his beloved Rādhhā and the sublimation of love in God through complete surrender.

Chapter one and chapter two, four, five and twelve contain two Aṣhṭapadhis each; chapters three, six, eight, nine and ten contain only one Aṣhṭapadhi each. Thus there are twenty-four Aṣhṭapadhi. These Aṣhṭapadhis can be set to music in different melodious ragas, which were appreciated and followed by the poets later period. On which more than hundred commentaries has been written in Sanskrit and over fifty more than hundred commentaries have been written in Sanskrit and over fifty in regional languages in India also in many foreign languages.

Since the Gīthagovindha was composed specifically for dance performance during the night worship of Lord Jagannātha, the composition is so deftly made as to be sung to the beats of a dancer's foot movements. The author himself at the end of the Kāvya again states this fact, where he again emphasizes that the poem was intended to be a prop for meditation on Viṣhṇu and it is clothed in Śhrungāra rasa by the kavi Jayadheva panḍitha immersed in the contemplation of Krishna. The poem became so popular that within a century or so, it spread to all corners of the country from east to south, west and north and was adapted to dance, music, painting and temple worship.

In short, these songs describe the celestial love between Rādhhikā and Kriṣhṇa, The egoistic nature of Rādhhikā, Her anger towards Kriṣhṇa, Her viraha thāpam (sorrow in separation), reunion and their Sallāpam.

Chapter – One:

Aṣhṭapadhī – 4: Sāmodha Dhāmodharam

Chandhana Charchitha

Composer: Jayadheva

Language: Sanskrit

Meanings-Word by word & Overall:www.sanskritdocuments.org/sites/giirvaani

Alignment, Diacriticals & consequent spelling changes, Language & grammar editing, if any and necessary, of existing meaning: Team Ambalam

Chandhana Charchitha Nīlakalevara Pītha Vasana Vanamāli

Kelichalanmaṇi Kunḍala Manḍitha Gandayugaha Smithashālī||2||

Haririha Mugdhha Vadhunikare Vilasini Vilasathi Kelipare ||Dhhruvam||

Pīnapayodhharabhārabharena Harim Pariramya Sarāgam |
Gopavadhhūranugāyathi Kāchidudanchithapanchamarāgam ||3||

Kāpi Vilāsa Vilola Vilochana Khelana Janitha Manojam |

Dhyayathi MugdhaVadhhūradhikam Madhhusūdhana Vadhana Sarojam ||4||

Kāpi Kapolathale Militha Lapithum Kimapi Shruthimūle |

Charu Chuchumba Nithambavathi Dhayitham Pulakairanukūle ||5||

Kelikalā Kuthukena Cha Kāchid-Amum Yamunāvanakūle |

Manjula Vanjula Kunjagatham Vichakarṣha Kareṇa Dhukūle||6||

Karathala Thāla Tharala Valayāvali Kalitha Kalasvana Vamśhe|

Rāsarase Saha Nrthyaparā Hariṇau Yuvathihi Praśhaśhamshe ||7||

Śhliṣhyathi Kāmapi Chumbathi Kāmapi Kāmapi Ramayathi Rāmām|
Paśhyati Sasmitha Chārutharam Aparām Anugacchati Vāmām||8||

Śhrī Jayadheva Bhaṇithamidham Adbhutha Keśhava Keli Rahasyam|

Vrundhāvana Vipine Charitham Vithanothu Śhubhāni Yaśhasyam ||9||

Meaning:

Chandhana Charchitha Nīlakalevara Pītha Vasana Vanamāli

Kelichalanmaṇi Kunḍala Manḍitha Gandayugaha Smithashālī

Chandhana - with sandal paste;

Charchitha - bedaubed;

Nīlakalevara - on bluish, body;

Pītha - pale brownish yellow,ochre;

Vasana - silk clothes,clad in;

Vanamāli - one who wears a garland of basil leaves and flowers;

Kelichalanmaṇi - while playing [while romping,] moving [swaying];

Kunḍala - gem studded knobby ear-hangings;

Manditha - embellished;

Gandayugaha - cheeks, pair;

Smithashālī - of smiling on with such disposition [gleeful one];

Haririha Mugdhha Vadhunikare Vilasini Vilasathi Kelipare ||Dhhruvam||

Pīnapayodhharabhārabharena Harim Pariramya Sarāgam |
Gopavadhhūranugāyathi Kāchidudanchithapanchamarāgam ||

Haririha - Kriṣhṇa, now;

Mugdhha - coyly;

Vadhunikare - damsels, in group [amidst coterie];

Vilasini - ravishing damsels;

Vilasathi - frolicking;

Kelipare - in game

Pīnapayodhhara - bosomy, bust;

Bhārabharena - weightiness;

Harim - Kriṣhṇa;

Pariramya - in over [arching manner,] hugging [cleaving to];

Sarāgam - with, longing;

Gopavadhhūranu - milkmaid damsel;

Gāyathi – sings;

Kāchid= someone;

udanchita - in a heightened;

Panchama - fifth [note, octave];

Rāgam - melodiously;

He, whose sapphire-bluish body is bedaubed with sandal paste, clad in ochre silks, and garlanded with a garland of basil leaves and flowers, and whose both cheeks are embellished by the sways of his gem-studded knobby ear-hangings, while he is romping, Someone, a milkmaid, eager to ease the weightiness of her bosomy bust is cleaving to Kriṣhṇa in a overarching manner, and then in a heightened octave she is singing melodiously, in tune with his fluting. He, that gleeful Kriṣhṇa is now amidst a coterie of ravishing and coyly damsels, in a rapturous ronde.

Note: And pītha ambara and vanamālā are not just rustling ochre silks and garland of wild leaves, but those basil leaves and silken garments are also the removers of sins.

Kāpi Vilāsa Vilola Vilochana Khelana Janitha Manojam |

Dhyayathi MugdhaVadhhūradhikam Madhhusūdhana Vadhana Sarojam||

Kāpi - someone, even;

Vilāsa - by romantic gesticulations

Vilola - verily, flustered;

Vilochana - wide, eyes;

Khelana - by their play [of eyes, slanting, side glances];

Janitha - caused;

manojam - mind, cause of [one who can give rise to love-god, Kriṣhṇa, personified passion]; 

Dhyayathi - highly [fixatedly,]

Mugdha vadhhū - meek damsel,one who is an inexpert in romancing;

Adhikam - contemplating.

Madhhusūdhana - demon Madhu’s eliminator [Kriṣhṇa’s];

Vadhana - face;

Sarojam - lake, born [lotus, beautiful lotus like beautiful face];

Even someone, a meek damsel, is impassioned for she is there, and by her inexpert gesticulations of romance, like her slanting and sliding glances with her flustered wide eyes, she caught a sight of the beautiful face of Kriṣhṇa, beautiful like a lotus, from then on she fixatedly contemplated on that face, for she is an expert in contemplation, (Thus, that gleeful Kriṣhṇa is now amidst a coterie of ravishing and coyly damsels, in a rapturous ronde)

Kāpi Kapolathale Militha Lapithum Kimapi Shruthimūle |

Charu Chuchumba Nithambavathi Dhayitham Pulakairanukūle||

Kāpi - someone;

Kapolathale - on cheek’s, surface;

Militha - on reaching;

Lapithum - to say;

Kimapi - something, even;

Śhruthimūle - ear, base of [at earhole];

Charu - amusingly;

Chuchumba - kissed;

Nithambavathi - one with big buttocks;

Dhayitham - her lover [Kriṣhṇa];

Pulakai - by tickles;

Anukūle - made convenient [when Kriṣhṇa’s face is tickly, his cheek is bent for her convenience to kiss it];

Even someone with her big buttocks neared him as though to say something in his ear, and on reaching her lover Kriṣhṇa, his tickly face conveniently turned sideways in all ears for her, thus she kissed his cheek conveniently and amusingly, (Thus that gleeful Kriṣhṇa is now amidst a coterie of ravishing and coyly damsels, in a rapturous ronde)

Kelikalā Kuthukena Cha Kāchid-Amum Yamunāvanakūle |

Manjula Vanjula Kunjagatham Vichakarṣha Kareṇa Dhukūle||

Keli - plays of passions;

Kalā - artistry;

Kuthukena ca - with enthusiasm, also;

Kāchid - someone;

Amum - him;

Yamunākūle - river in bank;

Manjula - beautiful;

Vanjula - Aśhoka tree;

Kunja - bower;

Gatham - one who has gone there;

Vichakarṣha - lugging along.

Kareṇa - with her hand;

Dhukūle - by his dress;

Someone, another milkmaid, enthusiastic in the artistry of plays of passion, and passionate to play in the waters of river Yamunā with Kriṣhṇa, found him frolicking in a beautiful bower at that Aśhoka tree, and she is gleefully lugging him along by his dress with her hand, (Thus that gleeful Kriṣhṇa is now amidst a coterie of ravishing and coyly damsels, in a rapturous ronde)

Karathala Thāla Tharala Valayāvali Kalitha Kalasvana Vamśhe|

Rāsarase Saha Nrthyaparā Hariṇau Yuvathihi Praśhaśhamshe ||

Karathala - hand, surface - with palms;

Thāla - by clapping rhythmically;

Tharala - moving;

Valaya - [valaya angada] - heavy wrist metal roundlets;

āvali - a group of, a set of;

Kalitha - intermingling [touching one to one, clanking, clanks mingling with fluting];

Kalasvana - un-definable dulcet clanks;

Vamśhe - one who has a flute - name of Kriṣhṇa’s bamboo flute;

Rāsa - in plays of passion, rāse - zealous [Kriṣhṇa];

Saha - along with;

Nrthyaparā - in dancing, engrossed;

Hariṇau - by Hari, Kriṣhṇa;

Yuvathihi - a maiden;

Praśhaśhamshe - commended.

While a maiden is engrossed in ronde dancing, along with zealously dancing Kriṣhṇa, she is clapping her palms in rhythm to his fluting, while doing so the sets of her heavy wrist metal round lets are clanking in un definable dulcet clanks, and those rhythmic clanks are intermingling with that fluting, and that flautist of mohana vamshi, the divine flute, namely Kriṣhṇa, is singing the praises unto her, (Thus, that gleeful Kriṣhṇa is now amidst a coterie of ravishing and coyly damsels, in a rapturous ronde)

Śhliṣhyathi Kāmapi Chumbathi Kāmapi Kāmapi Ramayathi Rāmām|
Paśhyati Sasmitha Chārutharam Aparām Anugacchati Vāmām||

Śhliṣhyathi - such as he is, he that Kriṣhṇa;, even;

Shlisyati - cleaves to;

Kāmapi - someone

Chumbathi - kisses;

Rāmām - delightful damsel;

Ramayathi - delights [her];

Sasmitha - beaming;

Chārutharam - beauty, in high degree [most beautiful lass];

Aparām  another one;

Paśhyati - sees to her, pay attention to;

Vāmām - leftist, querulous one;

Anugacchati - goes after in tow;

Such frolicsome Kriṣhṇa is even cleaving to someone, and even kissing someone, and even delighting someone, a delightful damsel, and paying his attention to another beaming and most beautiful damsel, and he is going in tow after one with her slanting glances, Thus, that gleeful Kriṣhṇa is now amidst a coterie of ravishing and coyly damsels, in a rapturous ronde…

Note:

·         Here the word Rāmām is generative from root Ramu - Ramu Krīḍāyām - one who gives and takes delight in which she is delighted.

·         The word vāmām - is displeased, irritated, peeved, vexed, querulous girl. Even if she were to be so, he can tame her shrewdness and bring her round by going after her.

Śhrī Jayadheva Bhaṇithamidham Adbhutha Keśhava Keli Rahasyam|

Vrundhāvana Vipine Charitham Vithanothu Śhubhāni Yaśhasyam ||

Yaśhasyam - endowing gloriousness [if sung or danced to its tunes];

Vrundhāvana Vipine - in brindavan, woodlands [what that happens];

lalitham - exquisite [pleasure giver];

Adbhutha - admirable;

Keśhava - krishna’s;

Keli Rahasyam  plays of passion, arcaneness of;

Idham - this;

Jayadheva Bhaṇithamidham - by jayadeva, articulated;

Śhrī - shrii suukti - felicitous lyric,

Śhubhāni Vithanothu - prosperities, let it radiate

This song, which endows gloriousness to the devotees of Kriṣhṇa, if sung or danced to its tunes, and which contains the arcane-ness about the exquisite plays of passion of Kriṣhṇa in the equally arcane Vrindhāvan, is articulated by Jayadheva, thus let it radiate prosperities to one and all.

Chapter One

Daśhāvathāra Varṇanam – Description of the ten incarnations

Aṣhṭapadhī – 1: Daśhāvathāra

Composer: Jayadheva

Language: Sanskrit

Meanings-Word by word & Overall:www.sanskritdocuments.org/sites/giirvaani/

Alignment, Diacriticals & consequent spelling changes, Language & grammar editing, if any and necessary, of existing meaning: Team Ambalam

Pralaya-Payodhhi-Jale Dhhṛuthavān Asi Vedhaḿ
Vihitha-Vahithra-Charithram Akhedam
Keśhava Dhhrutha-Mīna-Śharīra Jaya Jagadhīśha Hare

Kṣhithir Iha Vipulathare Thiṣṭhati Thava Pṛṣṭhe
Dhharaṇi-Dhharaṇa-Kiṇa-Chakra-Gariṣṭhe
Keśhava Dhhrutha-Kūrma -Śharīra Jaya Jagadhīśha Hare

Vasathi Daśhana-Śhikhare Dhharaṇī Thava Lagnā
Śhaśhini Kalańka-Kaleva Nimaghnā
Keśhava Dhhrutha-Śūkara-Rūpa Jaya Jagadhīśha Hare

Thava Kara-Kamala-Vare Nakham Adbhutha-Śhruṅgam
Dhalitha-Hiraṇyakaśhipu-Thanu-Bhruṅgam
Keśhava Dhhrutha-Narahari-Rūpa Jaya Jagadhīśha Hare

Chalayasi Vikramaṇe Balim Adbhutha-Vāmana
Padha-Nakha-Nīraja nithajana-Pāvana
Keśhava Dhhrutha-Vāmana-Rūpa Jaya Jagadhīśha Hare

Kṣhathriya-Rudhira-Maye Jagadh-Apagatha-Pāpam
Snapayasi Payasi Śhamitha-Bhava-Thāpam
Keśhava Dhhrutha-Bhṛgupathi-Rūpa Jaya Jagadhīśha Hare

Vitharasi Dikṣhu Raṇe Dik-Pathi-Kamanīyaḿ
Dhaśha-Mukha-Mauli-Balim Ramaṇīyam
Keśhava Dhhrutha-Rāma-Śharīra Jaya Jagadhīśha Hare

Vahasi Vapuṣhi Viśhadhe Vasanaḿ Jaladābhaḿ
Hala-Hathi-Bhīthi-Militha-Yamunābham
Keśhava Dhhrutha-Haladhhara-Rūpa Jaya Jagadhīśha Hare

Nindhasi Yagnya-Vidher Ahaha Śhruthi-Jāthaḿ
Sadhaya-Hṛdhaya Darśhitha-Paśhu-Ghātham
Keśhava Dhhrutha-Buddha-Śharīra Jaya Jagadhīśha Hare

Mleccha-Nivaha-Nidhhane Kalayasi Karavālaḿ
Dhhūmakethum Iva Kim Api Karālam
Keśhava Dhhrutha-Kalki-Śharīra Jaya Jagadhīśha Hare

Śhrī-Jayedheva-Kaver Idham h Udhāraḿ
Śhṛuṇu Sukha-Dhaḿ Śhubhadhaḿ Bhava-Sāram
Keśhava Dhhrutha-Dhaśha-Vidha-Rūpa Jaya Jagadhīśha Hare

Vedhān Uddhharathe Jagannivahathe Bhū-Golam Udbhibhrathe
Dhaithyān Āddhārayathe Baliḿ Chalayathe Kṣhathra-Kṣhayaḿ Kurvathe
Paulasthyaḿ Jayathe Halaḿ Kalayathe Kāruṇyam Āthanvathe
Mlecchān Mūrchayathe Daśhakrruthi-Krruthe Krriṣhṇāya Thubhyaḿ Namaḥ

Meaning:

Pralaya-Payodhhi-Jale Dhhṛuthavān Asi Vedhaḿ
Vihitha-Vahithra-Charithram Akhedam
Keśhava Dhhrutha-Mīna-Śharīra Jaya Jagadhīśha Hare

Keśhava - oh, Keśhava;

Jagadhīśha - The almighty of the world;

Hare - oh, Hari;

Pralaya - completely, commingled (deluged);

Payodhi - oceans' ;

Jale - in waters;

Dhhrutha-Mīna-Śharīra - on donning, fish's, body;

Vihitha - make do (improvising);

Vahithra - (like a) ship;

Charithram - legendary;

Akhedam - not, with weariness (indefatigably);

Dhhṛuthavān Asi - upheld, you are;

Oh, Keśhava, oh, Hari, the almighty of worlds, when worlds were under the deluge of all the waters of all seven seas, you on donning the body of a fish, and improvising yourself as a legendary ship, you indefatigably upheld all the four Vedha-s, thus hail to thee.

Kṣhithir Iha Vipulathare Thiṣṭhati Thava Pṛṣṭhe
Dhharaṇi-Dhharaṇa-Kiṇa-Chakra-Gariṣṭhe
Keśhava Dhhrutha-Kūrma -Śharīra Jaya Jagadhīśha Hare

Keśhava - oh, Keśhava;

Jagadhīśha - the almighty of the world;

Hare - O Hari;

Kṣhitir Iha Vipulathare - very, wide, much in degree (widest);

Dhharaṇi-Dhharaṇa - earth, by bearing

Kina - tumid, puffed up;

chakra+ thava - circular shell of tortoise, of yours;

garishṭhe + prishṭhe - on its heightened, back;

Kṣihthir Thiṣṭhati - earth, is abiding;

Oh, Keśhava, Oh, Hari, the almighty of worlds, on assuming the form of a tortoise and by bearing the weight of very wide earth, and Mt. Manthara as well, on the heightened back of circular shell of tortoise, that is puffed up and tumid, the earth is abiding on your back, even today. Thus, hail to thee.

Vasathi Daśhana-Śhikhare Dhharaṇī Thava Lagnā
Śhaśhini Kalańka-Kaleva Nimaghnā
Keśhava Dhhrutha-Śūkara-Rūpa Jaya Jagadhīśha Hare

Keśhava - oh, Keśhava;

Jagadhīśha - worlds, The almighty of;

Hare - oh, hari;

Dhhrutha-Śūkara-Rūpa - on assuming, wild boar's, form;

Vasathi Daśhana-Śhikhare - your, fang's, top;

Lagnā+Dhharaṇi - became stuck, earth;

Śhaśhini Nimagnā - in moon, embedded;

Kalańka-Kaleva - blemish's, streak, like;

Vasati - is lodged;

Oh, Keśhava, Oh, Hari, the almighty of worlds, on your assuming the form of a wild boar, only to uplift the earth from its sinking to netherworlds and while uplifting with your snout, the earth is stuck in your crescent fang, and it is lodged there on that fang, like a streak of blemish in the moon. Hail to thee.

Thava Kara-Kamala-Vare Nakham Adbhutha-Śhruṅgam
Dhalitha-Hiraṇyakaśhipu-Thanu-Bhruṅgam
Keśhava Dhhrutha-Narahari-Rūpa Jaya Jagadhīśha Hare

Keśhava - oh, Keśhava;

Jagadhīśha - worlds, The almighty of;

Hare - oh, hari;

Dhhrutha-Narahari-Rūpa - on assuming, man, lion, form of;

Thava Kara-Kamala-Vare - in your, hand, (called) lotus, the best;

Dalitha-Hiraṇyakaśhipu - lacerated, Hiraṇyakaśhipu's;

Thanu - body;

Bhruṅgam - (which is like a) honeybee;

Nakham Adbhutha-Śhruṅgam - wondrous, tip, of nail (thus those nails shine forth);

Oh, Keśhava, oh, Hari, the almighty of worlds, on your assuming the form of man-lion, lacerated is the honeybee like body of demon Hiraṇyakaśhipu just with the tips of fingernails of your hands, that are like best lotuses. Those fingernails shine forth for their elimination of vice on earth, thus hail to thee.

Chalayasi Vikramaṇe Balim Adbhutha-Vāmana
Padha-Nakha-Nīraja nithajana-Pāvana
Keśhava Dhhrutha-Vāmana-Rūpa Jaya Jagadhīśha Hare

Dhhrutha-Vāmana-Rūpa - assuming, dwarf's, mien;

Adbhutha-Vāmana - astounding dwarf;

Padha-Nakha-Nīraja nitha - from foot's toenail; water, emerged;

Jana Pāvana - people, santifier;

Vikramaṇe Balim Chalayasi - by treading (three worlds, ) emperor bali, is being deluded;

Oh, Keśhava, oh, Hari, the almighty of worlds, on your assuming the mien of a dwarfish boy to tread all the three worlds in three steps, you became an astounding dwarf, and then emerged from the water from your foot's toenail, namely river Gangā, which became the sanctifier of people on earth, and you always delude people of anti-establishment like emperor Bali with such an astounding treading of yours, hence hail to thee.

Kṣhathriya-Rudhhira-Maye Jagadh-Apagatha-Pāpam
Snapayasi Payasi Śhamitha-Bhava-Thāpam
Keśhava Dhhrutha-Bhṛgupathi-Rūpa Jaya Jagadhīśha Hare

Dhhrutha-Bhṛgupathi-Rūpa - on assuming, sage saver, saviour's, mien;

Kshathriya+ rudhhira+ maye - blood of, filled with;

Payasi - in waters (pools of blood waters);

Jagadh - world (people);

Śhamitha-Bhava-Thāpam - ceased, worldly, torridity;

Apagatha-Pāpam - swerved off, sin is;

Snapayasi - you make them to bathe (in blood pools of kings);

Oh, Keśhava, Oh, Hari, the almighty of worlds, on your assuming the mien of Paraśhu Rāma, the saviour of the world, you have filled five pools with the blood of the atrocious Kṣhathriya kings. Thus ceased is the torridity of the worlds and swerved are the sins of people, as you make them to bathe in those five pools of blood waters, called Śhamantha Panchaka. Hail to thee!

Vitharasi Dhikṣhu Raṇe Dhik-Pathi-Kamanīyaḿ
Dhaśha-Mukha-Mauli-Balim Ramaṇīyam
Keśhava Dhhrutha-Rāma-Śharīra Jaya Jagadhīśha Hare

Dhhrutha-Rāma-Śharīra - on assuming, Ramā's, body;

Dhikṣhu - in all directions, ten of them;

Dhik-Pathi - direction, presiding deity of;

Kamanīyaḿ - desired by (those deities);

Ramanīyaḿ - heart-pleasing (act of);

Daśha-Mukha - ten, faced demon, octahedron ravana's; mauli = heads;

Balim - sacrifice;

Raṇe - in war;

Vitharasi - generously giving;

Oh, Keśhava, oh, Hari, the almighty of the worlds, on your assuming the body of Rāma, an act desired by each of the ten presiding deities of each direction, namely the sacrifice of ten heads of octahedron Rāvaṇa in war, and that heart-pleasing sacrifice you are offering in war ever and thus hail to thee!

Vahasi Vapuṣhi Viśhadhe Vasanaḿ Jaladābhaḿ
Hala-Hathi-Bhīthi-Militha-Yamunābham
Keśhava Dhhrutha-Haladhhara-Rūpa Jaya Jagadhīśha Hare

Dhhrutha-Haladhhara-Rūpa - on assuming plough, wielder, form of;

Vapuṣhi Viśhadhe - on whitish, body;

Jaladābhaḿ - water, giver (cloud,) in shine with;

Hala-Hathi-Bhīthi-Militha - by plough, hit, fear, blent with; Yamunābham - river yamuna, in shine; Vasanaḿ Vahasi - raiment, you bear (you are clad in);

Oh, Keśhava, oh, Hari, the almighty of worlds, on your assuming the body of Balarāma, the wielder of plough, you are clad in blackish cloudlike raiment on your whitish body, and it is rippling like the ripples of river Yamunā, for she is hit by your plough and that fear is blest in her ripples, thus hail to thee!

Nindhasi Yagnya-Vidher Ahaha Śhruthi-Jāthaḿ
Sadhaya-Hṛdhaya Dharśhitha-Paśhu-Ghātham
Keśhava Dhhrutha-Buddha-Śharīra Jaya Jagadhīśha Hare

Dhhrutha-Buddha-Śharīra - on assuming, Buddha's, body;

Sadhaya-Hṛdhaya - with, kindness, in heart;

Dharśhitha - shown (taught by scriptures);

Paśhu-Ghātam - animal, killing;

Yagnya-Vidher - in Vedhic-rituals, methods of;

Śhruthi-Jāthaḿ - scriptural words, collection of;

Nindhasi - fault-finding;

Ahaha - aha, aha, aha (expression of surprise);

Oh, Keśhava, oh, Hari, the almighty of worlds, on your assuming the body of kind-hearted Buddhā, you are finding fault with the animal sacrifices in the methods of vedhic-rituals, taught by scriptures, and even with the collection of those scriptural words themselves, what a revamp in religious methods. Aha ha ha! Hail to thee!

Mleccha-Nivaha-Nidhhane Kalayasi Karavālaḿ
Dhhūmakethum Iva Kim Api Karālam
Keśhava Dhhrutha-Kalki-Śharīra Jaya Jagadhīśha Hare

Dhhrutha-Kalki-Śharīra - on assuming, Kalki, body of;

Mleccha-Nivaha-Nidhhane - fractious, groups of race, in eliminating;

Dhhūmakethum Iva - as with a comet as with

Kalayasi Karavālaḿ - sword, you are brandishing;

Kim Api Karālam - dreadful (deeds of yours);why, even (tell about them, unimaginable to detail them);

Oh, Keśhava, oh, Hari, the almighty of worlds, on your assuming the body of Kalki at the end of kali-yuga, you are brandishing a sword like a comet to eliminate the groups of fractious races, and unimaginable are your horrendous deeds to detail, thus hail to thee!

Śhrī-Jayedheva-Kaver Idham h Udhāraḿ
Śhṛuṇu Sukha-Dhaḿ Śhubhadhaḿ Bhava-Sāram
Keśhava Dhhrutha-Dhaśha-Vidha-Rūpa Jaya Jagadhīśha Hare

Śhrī - deferential prefix to god, or, one who is with her, goddess lakshmi;

Dhhrutha-Dhaśha-Vidha-Rūpa - one who can assume, ten, kinds, of forms;

Udhāraḿ - excellent one;

Bhava-Sāram - wordly life, having pith (to get release from it);

Śhubhadhaḿ - wellbeing, giver (blissful);

Sukha-Dhaḿ - comfort, giver (blithesome);

Idham - this;

Jayedheva-Kaver - Jayadheva, by poet;

Śhṛuṇu - listen;

Oh, Śhrī Keśhava, the almighty of worlds, as you can assume ten kinds of forms for the sake of humanity, pray, listen to this articulation of poet Jayadheva, which has an excellent pith and kernel of worldly living, and will be blissful and blithesome in getting a release from it, hail to thee!

Śhloka

Meaning:

Vedhān Uddhharathe Jagannivahathe Bhū-Golam Udbhibhrathe
Dhaithyān Āddhārayathe Baliḿ Chalayathe Kṣhathra-Kṣhayaḿ Kurvathe
Paulasthyaḿ Jayathe Halaḿ Kalayathe Kāruṇyam Āthanvathe
Mlecchān Mūrchayathe Daśhakrruthi-Krruthe Krriṣhṇāya Thubhyaḿ Namaḥ

For upholding the Vedhas,
for supporting the earth,
for raising the world,
for tearing the demon asunder,
for cheating Bali,
for destroying the warrior class,
for conquering Rāvaṇa,
for wielding the plow,
for spreading compassion,
for routing the barbarians,
homage to you, Kriṣhṇa,
in your ten incarnate forms

Chapter 1

Aṣhṭapadhī – 3: Mādhhavothsava Kamalākaram

Lalitha Lavaṅga

Composer: Jayadheva

Language: Sanskrit

Meanings-Word by word & Overall:www.sanskritdocuments.org/sites/giirvaani

Alignment, Diacriticals & consequent spelling changes, Language & grammar editing, if any and necessary, of existing meaning: Team Ambalam

Lalitha Lavaṅga Lathā Pariśhīlana Komala Malaya Samīre

Madhhukara Nikara Karambitha Kokila Kūjitha Kunja Kuṭīre

Viharathi Haririha Sarasa Vasanthe Nruthyathi Yuvathi Janena Samam Sakhi

Virahi Janasya Duranthe

Vikalitha Lajjitha Jagadh Avalokana Tharuna Karuna Krutha Hāse

Virahi Nikrunthana Kuntha Mukhakruthi Kethaki Danthurithāśhe   || Viharathi ||

Sphuradathi Muktha Lathā Parirambhaṇa Mukulitha Pulakitha Chūthe

Brindhāvana Vipine Parisara Pari Gatha Yamunājala Pūthe || Viharathi ||

Śhrī Jayadheva Bhaṇithamitha Mudhayathu Hari Charaṇa Smruthi Sāram

Sarasa Vasantha Samaya Vana Varṇanam Anugathamadhana Vikāram

Meanings:

Lalitha Lavaṅga Lathā Pariśhīlana Komala Malaya Samīre

Madhhukara Nikara Karambitha Kokila Kūjitha Kunja Kuṭīre

Lalitha Lavaṅga Lathā - slimly, clove gillyflower plants, tendrils of;

Pariśhīlana - [lexically] on examining, [interwoven with their fragrance];

Komala - gentle;

Malaya Samīre - Mount Malaya [with sandalwood trees] breezes;

Madhhukara Nikara - honey, makers [honey bees] swarms of;

Karambitha - intermingled with;

Kokila Kūjitha - by kokila [black singing bird] crooned;

Kunja Kuṭīre - bowery, in cabins;

Viharathi Haririha Sarasa Vasanthe Nruthyathi Yuvathi Janena Samam Sakhi

Virahi Janasya Duranthe

Virahi - without, having [their lovers, estranged couples];

Janasya - of people;

Duranthe - non, stop endless, incessant [unrequited]; [ellipted]

Vasanthe - in springtime; - unrequited are lovelorn people in vernal season

Yuvathi Janena - with girls of age, folks;

Samam - even as [at the very moment];

Viharathi Nruthyathi - frolicking, dancing;

Sakhi - oh, dear;

Sarasa - come on with glory [gloriously];

Sarasa Vasanthe - with sapful bliss, inclusive of [spring season that which contains the sapful bliss];

Viharathi - frolicking.

Now the gentle breezes with scents of sandalwood from mount. Malaya, the abode of sandalwood trees, on swiveling round the tendrils of clove gillyflower plants, they are gently breezing, interwoven with both the fragrances. Bowery cabins are intermingled with the buzzes of swarms of honeybees and with the croons of kokila-s. And he, for whom you are searching, that Kriṣhṇa is frolicking and dancing with folks of girls of age in brindavan, at this very moment for this is spring, isn't it. Oh, dear, therefore, come on, let’s go! Lovelorn people are unrequited, otherwise.

Vikalitha Lajjitha Jagadh Avalokana Tharuna Karuna Krutha Hāse

Virahi Nikrunthana Kuntha Mukhakruthi Kethaki Danthurithāśhe   || Viharathi ||

Virahi - lovelorn ones;

Vikalitha - completely, tumbled [utterly bereft of];

Lajjitha - having prudishness;

Jagadh - world [lovelorn people];

Avalokana - on espying;

Tharuna Karuna - tender, whitish karuna flowers;

Krutha Hāse - made, laugh at;

Virahi - lovelorn ones;

Nikrunthana - [as though] to lunge, tear asunder;

Kuntha Mukhakruthi - spear, faced, in shape;

Kethaki - ketaka, mogra flowers;

Danthurithāśhe - full with, directions of compass.

Now the tender whitish flowers of karuna are in full bloom, and they on espying the lovelorn people, who are utterly bereft of their prudishness in their lovesick behaviour, appear to be laughing at them, and the long and spear-faced mogra flowers are in full bloom in all directions, as though ready to lunge and tear asunder the hearts of lovelorn people. And he, for whom you are searching, that Kriṣhṇa is frolicking and dancing with folks of girls of age in brindavan, at this very moment for this is spring, isn't it. Oh, dear, therefore, come on, Let us go! Lovelorn people are unrequited, otherwise.

Sphuradathi Muktha Lathā Parirambhaṇa Mukulitha Pulakitha Chūthe

Brindhāvana Vipine Parisara Pari Gatha Yamunājala Pūthe || Viharathi ||

Sphuradh - vibrate, titillating;

Adhi Muktha Lathā - maadhavi, tendrils;

Parirambhaṇa - by overarched, whorled;

Mukulitha - having buds;

Pulakitha - ticklish;

Chūthe - mango trees;

Parisara - around, surging;

Pari Gatha - around, going [flowing in an enwreathing and surging manner];

Yamunājala Pūthe - by river yamunā, waters, sanctified;

Brindhāvana Vipine - in brindavan named, forest;

In this spring season, whereat the titillating tendrils of Mādhavi climber plants are whorled around the budding mango trees in an overarching manner, tickling those mango trees, and whereat river Yamunā is flowing in an enwreathing and surging manner, with whose waters that place is sanctified, and in which sanctified place obtainable is the final release, Moksha, namely brindavan, and in which solitude a group of yearners are yearning for the love of Kriṣhṇa,. And he, for whom you are searching, that Kriṣhṇa is frolicking and dancing with folks of girls of age in brindavan, at this very moment for this is spring, isn't it. Oh, dear, therefore, come on, let’s go! Lovelorn people are unrequited, otherwise.

Note: The climber plants are feminine and the mango trees are masculine. According to the saying vanithā, kavithā, lathā, na āshrayam vinā shobhate - a maid, a poetry, or a tendril cannot possibly outshine themselves, with not a leg to stand on. Thus, when sessile beings are thrilling and tickling in spring, how about other living beings.

Śhrī Jayadheva Bhaṇithamitha Mudhayathu Hari Charaṇa Smruthi Sāram

Sarasa Vasantha Samaya Vana Varṇanam Anugathamadhana Vikāram

Śhrī Hari - shri Kriṣhṇa's;

Charaṇa - feet;

Smruthi - remembrancer of;

Sāram - having sapful bliss,

Vasantha Samaya - spring, time;

Vana Varṇanam - woodlands having depictation;

Anugatha - ingoing, imbibed;

Madhana Vikāram - with passional, immoderations;

Idham Jayadheva Bhaṇithamitha - this, Jayadheva, uttered by [poetry];

This poem can be a remembrance of Kriṣhṇa's feet, for it has all the ingredients to obtain a sap full bliss from it, and this is even a best and congenial poem to meditate upon them, as this has a sapid depiction about the gregariously reclusive brindavan, and even imbibed are the passionate immoderations of springtime fevers, and such a poem is now coming up, as uttered by Jayadheva, on the feet of Śhrī Kriṣhṇa.

Chapter 9

Mugdhha Mukundham - Unpretentious Kriṣhṇa'

Aṣhṭapadhī – 18: Mādhhave Mā kuru Mānini

Composer: Jayadheva

Language: Sanskrit

Meanings-Word by word & Overall:www.sanskritdocuments.org/sites/giirvaani

Alignment, Diacriticals & consequent spelling changes, Language & grammar editing, if any and necessary, of existing meaning: Team Ambalam

Tham Athha Manmathha-Khinnam Rathi-Rabhasa-Bhinnam Viṣhādha-Sampannam Anuchinthitha-Hari-Charitham Kalahantharitham Uvācha Rahasi Sakhi ||1||

Harir Abhisarathi Vahathi Madhhu-Pavane |

Kim Aparam Adhhika-Sukham Sakhi Bhavane ||2||

Mādhhave Mā Kuru Mānini Mānamaye ||Dhhruva-Padam ||

Thala-Phalādhapi Gurum Athisarasam |

Kim Viphali-Kuruṣhe Kucha-Kalaśham ||3||

Kathi Na Kathhitham Idham Anupadham Achiram |

Mā Parihara Harim Athiśhaya-Ruchiram ||4||

Kim Ithi Viṣhīdasi Rodhiṣhi Vikala |

Vihasathi Yuvathi-Sabha Thava Sakala ||5||

Sajala-Nalinī-Dhala-Śhīthala-Śhayane |

Harim Avalokaya Saphalaya Nayane ||6||

Janayasi Manasi Kim Ithi Guru-Khedam |

Śhruṇu Mama Vachanam Anihitha-Bhedham ||7||

Harir Upayathu Vadhathu Bahu-Madhhuram |

Kim Ithi Karoṣhi Hridhayam Athividhuram ||8||

Śhrī-Jayadheva-Bhaṇitham Athilalitham |

Sukhayathu Rasika-Janam Hari-Charitham ||9||

Meanings:

Tham Athha Manmathha-Khinnam Rathi-Rabhasa-Bhinnam Viṣhādha-Sampannam Anuchinthitha-Hari-Charitham Kalahantharitham Uvācha Rahasi Sakhi ||1||

Athha - then;

Manmathha-Khinnam - by love-god, rendered helpless;

Rathi-Rabhasa-Bhinnam - love's, longing for savour, wrecked;

Viṣhādha  Sampannam - woe, wealthy;

Anuchinthitha - continually, thinking;

 Hari Charitham - Kriṣhṇa 's, demeanour;

Kalahantharitham - to her, that Rādhhā;

Sakhii - girl friend;

Uvācha - advised.

Then to Rādhhā, who is by now worsted by Cupid, whose savour for love is just wrecked, hence she is wealthy in her woes, yet who is continually thinking about Kriṣhṇa's demeanour, to such a 'sorry-after-squabble' heroine of Kriṣhṇa, her girl friend advised.

Harihi Abhisarathi Vahathi Madhhu-Pavane |

Kim Aparam Adhhika-Sukham Sakhi Bhavane ||2||

Mādhhave Mā Kuru Mānini Mānamaye ||Dhhruva-Padam ||

Hè Mānini-vain, proud - cocky;

Ayè - you, girlie [raadha];

 Mādhhave - about Mādhhava ;

Mānam mā Kuru - cockiness, don't, do;

Madhhu-Pavane Vahathi - autumnal, breeze while breezing;

Harih - Kriṣhṇa;

Abhisarathi - towards [your preset place] comes;

[reprise] hè sakhi - o, dear;

Bhavane - in home, in your realm;

Aparam Adhhika-Sukham Kim - to boot, better, elatedness, what [is it, or you have.]

"You cocky girlie! Don't show off your cockiness, for Kriṣhṇa comes to you when the autumnal breeze breezes. Oh dear, what better rapt you've at home, to boot?”

Thala-Phalādhapi Gurum Athisarasam |

Kim Viphali-Kuruṣhe Kucha-Kalaśham ||3||

Thala-Phalādhapi Gurum - palm, fruit, than, heavier;

Athisarasam - much [plethoric,] with, juice;

Kucha-Kalaśham - bosoms, pot-like;

Kim Viphali-Kuruṣhe - why, fall into disuse, you make.

"Heavier than palm-fruits, plethoric in juice are these pot-like bosoms of yours, why do you make them fall into disuse. Oh dear! What better rapt you've at home, to boot?” 

Note:

·         This comparison has some illustration about nature, apart from just romance. Palm tree, as all know, is the tallest fruiting tree, and its fruits, not dates, are therefore supposed to be the loftiest among all fruits, both height wise and their content wise. They fruit palm juice in a three-eye sap sockets, and that juice is poor man's much liked cool drink in summer. It instantaneously reduces body heat, minus any side effects, and hence, the palm fruits are praiseworthy for a cooling effect. If these are left unused, for want of some toddy tapper, or a climber to go to such a height, as they are 'not-so-easy- to-get' variety, they become stony and fall. Even then, they will be put to use by burning them in grass, for eating its kernel, which has no such medicinal effects. This is in mundane variety of understanding poet's words in commonplace parlance.

·         The other sense attached to such anga prathyaṅga varṇana 'limb by limb poetizing' - it is to be said, whenever a female deity or goddess is pictured, it doesn't go without such descriptions, because a mother is identifiable by bust by the offspring, which was once useful for its birth. Minus them he is nowhere. In lalithā sahasra nāma, such mother is said to have 'stony breasts...' kaṭhina sthala manḍalā... Meaning - let millions and millions take birth; this nature somehow nourishes them, for her mamma knows no wizening effect. So, let us give nature its own due.

Kathi Na Kathhitham Idham Anupadham Achiram |

Mā Parihara Harim Athiśhaya-Ruchiram ||4||

Athiśhaya-Ruchiram - surpassingly, delectable;

Harim – that Hari;

 Mā Parihara - don't, shun away;

Idham - this [word, little talk];

achiram - not, long before [just now];

Kathi - how many times;

anu padham - at each, step;

Na kathhitham - not, said [by me, of course.]

"O cocky girl! Don't shun that Kriṣhṇa, for he is surpassingly delectable, and how many times haven't I said this little talk, just now and on each and every step of yours? 

Note:  Yet, Rādhhā goes on refusing Kriṣhṇa... For she is an emblem of happiness for Kriṣhṇa, hlaadinii Śhakhi, and a symbol of unquenchable desire, like nature. Krishna will always be trying to quench it, but rarely nature gets satisfied, and demands him to be always with her, instead of incarnating himself now and then, to see her or her wellbeing. Kriṣhṇa's appearance and disappearance in Rāsa līlā, the dance in Brindhāvan, symbolizes with god's periodic visitation to earth. When it is said, that god created whole universe, in any ism, why he or his messengers chance only upon earth? Why don't they go to mars, moon, or to some black hole? That too, in India he has to come personally without sending some of his deputies. Because, that so-called nature, Hlādhini śhakthi, is only here on this blue dot, however querulous she might be. So, instead of remarrying that nature with that god, let us give her, her own due.

Kim Ithi Viṣhīdasi Rodhiṣhi Vikala |

Vihasathi Yuvathi-Sabhā Thava Sakala ||5||

Kim ithi Viṣhīdasi - why, this way, you lament;

Vikala Rodhiṣhi - less, lustre [lacklustre, namby-pamby] you wail;

Vihasathi - verily, laughing at;

Thava Sakala - your, all;

Yuvathi-Sabhā - girls, guild [a medieval association of craftsmen or merchants, here milkmaids.]

"This way, why do you lament and wail, you namby-pamby, all of your girlfriends in our guild are laughing at you, really?”

 Note: Nature's, say this earth's worrying, weeping, and wailing for the arrival of that ultimate onto her is as old as the fish incarnation. Every time he comes here, does some tricks and gets out as soon as his feats are over. But she wants him to be with her, and he escapes from her on politely feigning something, and all this comes mean - you be in your place, I'll be in my place, but I come to you only, only to go from your proximity, as Jean-paul Sartre prefers to say: “l'existence précède et commande l'essence” , existence precedes and rules essence. This is the Indian type of vyāvhārika, pāramārthika sattha of his 'being and nothingness.'

Sajala-Nalinī-Dhala-Śhīthala-Śhayane |

Harim Avalokaya Saphalaya Nayane ||6||

Sajala - with, water [or, mr^idula- softish];

Nalinī-Dhala - lotus, petals;

Śhīthala-Śhayane - cool [refreshing,] on bed;

Harim Avalokaya  - at Kriṣhṇa, contemplate;

[then only you will become;]

sa phala nayane - with, fruit, your eyes will be [or, one with fructified eyes, for she had once seen him.]

"Contemplate on Kriṣhṇa, who is on a freshening bed of moist lotus petals, then your eyes comes to fruition.”

Note: You are that lotus bed, serving as his sustainment. See that way with your third eye, then only you realize your being is not different form that of his.

Janaya si Manasi Kim Ithi Guru-Khedam |

Śhruṇu Mama Vachanam Anihitha-Bhedham ||7||

Kim ithi - why, this way;

Guru khedam - heavy, sadness;

Manasi janayasi - in heart, you give raise;

Śhruṇu mama vachanam - listen, to my, words;

Anihitha - unwished for [unenviable,]

Bhedham - having inequality [among you too -finishing line, without broadening vyaakhya.]

"Why you give raise to a heavy sadness in your heart this way, listen to my words that contain an unenviable inequality among you two?”

Harir Upayathu Vadhathu Bahu-Madhhuram |

Kim Ithi Karoṣhi Hridhayam Athividhuram ||8||

Hari upayathu - krishna, comes [to you];

Vadhathu bahu madhhuram - speaks, much, melodiously;

Kim ithi Karoṣhi Hridhayam - why, this way, you render, your heart;

Atividhuram - muchly, wrench.

"Kriṣhṇa comes to you, talks to you much melodiously, then why you wrench your heart this much?”

Note: This and the above 'inequality' statements have some bearing to the sayings of Bhagavadh Gīthā, more so Āthma samyamna yoga of it. Don't sit thinking 'he' and 'me' - a-chinthya-bhedha-a-bhedha - for none knows what connection exists between the ultimate and the later.

Śhrī-Jayadheva-Bhaṇitham Athilalitham |

Sukhayathu Rasika-Janam Hari-Charitham ||9||

Jayadheva bhaṇitham - by Jayadheva, said;

Ati lalitham - very, subtle;

Śhrī  Hari-Charitham - providential, Lord’s allegory;

Sukhayathu Rasika-Janam - give bliss, to revelling, people [in his lore.]

Let the allegory of providential Kriṣhṇa, said by Jayadheva, be blissful to the revellers in his lore.

Chapter 3

Mugdhha Madhusudhanam: Winsome Kriṣhṇa

Aṣhṭapadhī – 7: Mugdhha Madhusudhana Hamsa Krīḍam

Māmiyam Chalitha

Composer: Jayadheva

Language: Sanskrit

Meanings-Word by word & Overall:www.sanskritdocuments.org/sites/giirvaani/.../gg/.../gg_3_frame.htm

Alignment, Diacriticals & consequent spelling changes, Language & grammar editing, if any and necessary, of existing meaning: Team Ambalam

Kamsārirapi Samsāra Vāsanā Baddhhashrunkhalām

rādhhāmādhāya Hrudhaye Thathyāja Vraja Sundharīhi||1||

Ithasthathasthām Anusruthya Rādhhikām Anangabāṇavraṇakhinnamānasaha Kruthānuthāpaha Sa Kalindhanandhinīthaṭāntha Kunje Viṣhasādha Mādhhavaha||2||

1.Māmiyam Chalithā Vilokya Vrutham Vadhhūnichayena

sāparādhathayā Māyāpi Na Varitha Athibhayena ||

Hari Hari Hathādarathayā Gathā Sā Kupithaiva||Dhhruvam||3||

2. Kim Kariṣhyathi Kim Vadiṣhyathi Sā Chiram Virahena

kim Dhanena Janena Kim Mama Jīvithena Gruheṇa||4||

3. Chinthayāmi Thadhānanam Kutilabhru Kopabhareṇa

Śhoṇa Padhmamivopari Bhramathākulam Bhramareṇa||5||

4.Thāmaham Hrudhi Sangathām Aniśham Bruśham Ramayāmi

kim VaneSnusarāmi Thāmiha Kim vruthhā Vilapāmi||6||

5.Thanvi khinnam Asūyayā Hrudhayam Thavākalayāmi

thanna Vedhmi Kutho Gathāsi Na Thena TheSnunayāmi||7||

6.Dhruśhyase Puratho Gathāgatham Eva Me Vidhadhhāsi

kim Pureva Sasambhramam Parirambhaṇam Na Dhadhhāsi||8||

7.Kṣhamyathām Aparam Kadhāpi Thavedhruśham Na Karomi

dhehi Sundhari Darśhanam Mama Manmathena Dhunomi||9||

8.Varṇitham Jayadhevakena Hareridham Pravaṇena

kindhu Bilva Samudhra Sambhava Rohiṇī Ramaṇena ||10||

Meaning:

On establishing Rādhhā's longing for Kriṣhṇa in the earlier chapter, now the poet commences this chapter to show how Kriṣhṇa feels for her, in an equal yearning.

Kamsārirapi Samsāra Vāsanā Baddhhashrunkhalām

rādhhāmādhāya Hrudhaye Thathyāja Vraja Sundharīhi||1||

Ithasthathasthām Anusruthya Rādhhikām Anangabāṇavraṇakhinnamānasaha Kruthānuthāpaha Sa Kalindhanandhinīthaṭāntha Kunje Viṣhasādha Mādhhavaha||2||

Kamsārirapi - kamsa's, enemy [Kriṣhṇa];

Api - even [also, not only Rādhhā but Kriṣhṇa also];

Samsāra - this worldly;

Vāsanā - by nostalgic reminiscences;

Baddhha - bondage;

Shrunkhalām - shackle [like];

Rādhhāam - of Rādhhā;

Ādhāya Hrudhaye - retaining, in heart;

Thathyāja Vraja Sundharīhi - refrained from, Vraja, beauties.

Ananga - formless one's [love-god's];

Bāṇa - arrow;

Vraṇa - wounded;

Khinna  mānasaha - disheartened, with heart;

Kruithā anuthāpaha - made [became,] regretful [for unnecessarily neglecting Rādhhā];

Sādha Mādhhavaha - he, that Kriṣhṇa;

Ithasthathas - here, there;

Thām rādhhikām  

Anusruthya - after her, that Rādhhā, followed [on searching];

Kalindha - mountain named Kalindha;

Nandhini - one who gladdens that mountain, namely river Yamunā, as she originated from this mountain.

Visasādha - slumped.

Even Kriṣhṇa refrained from the beauties of Vraja, retaining Rādhhā in his heart, as though she is like his shackle-like bondage in this worldly life, with nostalgic reminiscences of his earlier birth.

Wounded with love-god's arrows disheartened is his heart, thus he is regretful as he was unnecessarily neglectful of Rādhhā, and hither and thither he searched for her, but when that attempt came to naught, he slumped in a bower edging on the bank of Yamunā river.

1.       Māmiyam Chalithā Vilokya Vrutham Vadhhūnichayena

sāparādhathayā Māyāpi Na Varitha Athibhayena ||

Hari Hari Hathādarathayā Gathā Sā Kupithaiva||Dhhruvam||3||

Iyam - this [Rādhhā]; mām - me;

Vilokya - on seeing;

Vadhū nichayena - girls, heaps of [flocks of];

Vrutham - surrounded [thronged];

Chalithā - went away [forsook];

Sāparādhathayā Māyāpi - with, fault [at fault,] by me, also;

Athibhayena - highly, with fret - fretfully;

Na Varitha - not, averted;

Hari Hari - oh, god, oh, god;

Sā Kupithaiva - she is, vexed one, as if;

Hathādarathayā Gathā - hurt, attentiveness [i was flippant of her, so she fled flippantly] she fled;

Hathādarathayā - marred, courtesy;

Hari - oh, god;

Gathā - fled;

Sā - she is;

Kupithaiva - resenting, as if.

On seeing me, with thronging folks of girls this Rādhhā forsook me... Unable to avert her parting, as I was also at fault, I fretfully didn't implore her to stay... Oh, god, she fled, as if she is an ireful person, which she isn't, in person. Oh, god, I was flippant of her, so she fled, that flippantly.

2.       Kim Kariṣhyathi Kim Vadiṣhyathi Sā Chiram Virahena

kim Dhanena Janena Kim Mama Jīvithena Gruheṇa||4||

Sā - she;

Chiram - for a long time;

Virahena - [in my] separation;

Kim - what [possible deed to relieve herself of that anguish];

Kariṣhyathi - she can do;

Kim Vadiṣhyathi - what, she say [if i go and beg her forgiveness];

Mama- to me;

Dhanena - with money [prosperity];

Kim - what [Kim prayojanam Vinā Rādhhāa - what is the use of prosperities without Rādhhā];

Janena - with people [Kim prayojanam - what is the use with other without Rādhhā]

Jivithena kim-with [my] life, what [is its usefulness.]

What would she do to relieve herself of from the long-time anguish owing to my separation? What would she say if I were to go and beg her forgiveness? What is the use of them, the prosperity, people, a palace, or with my very personality, when she won't be with me?

3.       Chinthayāmi Thadhānanam Kutilabhru Kopabhareṇa

Śhoṇa Padhmamivopari Bhramathākulam Bhramareṇa||5||

Kopabhareṇa - choler, filled with [cholerically];

Kutilabhru - curvy [knitted,] eyebrows;

Vopari Bhramathākulam - over whirling;

Bhramareṇa - by honeybee;

Śhoṇa Padhmam - red lotus;

Chinthayāmi Thadhānanam - that, face, I muse.

I muse on that face which might be cholerically reddened with knitted eyebrows, and it must resemble a red-lotus frenzied at a whirling honeybee over it.

4.      Thāmaham Hrudhi Sangathām Aniśham Bruśham Ramayāmi

kim VaneSnusarāmi Thāmiha Kim vruthhā Vilapāmi||6||

Aham - I am;

Vane - in woodland;

Thām - her;

Kim - why;

Aniśham - following [searching];

Vruthhā - futilely;

Kim Vilapāmi - why, I wail [here, I worry];

Hrudhi - in heart;

Aniśham - always;

Sangathām - unified about her;

Bruśham Ramayāmi - Highly, I am delighting her; [or, the word 'Kim' can be taken as interrog. And said 'what for, why should i search?']

Now why should I futilely search her in woodlands, why should I worry for her now, when she is always unified with my heart, and whom I always delight, heartily?

5.       Thanvi khinnam Asūyayā Hrudhayam Thavākalayāmi

thanna Vedhmi Kutho Gathāsi Na Thena TheSnunayāmi||7||

Thanvi - oh, comely Rādhhā;

Thavā hrudhayam - your, heart;

Asūyayā  khinnam - by jealousy, downhearted;

Aakalayaami - [thus] i reckon;

Kutho Gathāsi - where, gone, you are;

Na vedhmi - not, i know;

thanna - thereby;

TheSnunayāmi - you not, i appease;

I needn't appease you, as I am aware of your departure on account of your own jealousy.

Oh, comely Rādhhā, jealousy covered your heart, not I, thus I reckon, but I am unaware as to where you have gone, now I reverently beseech you. Tell me where you are.

6.       Dhruśhyase Puratho Gathāgatham Eva Me Vidhadhhāsi

Kim Pureva Sasambhramam Parirambhaṇam Na Dhadhhāsi||8||

Me Puratho Dhadhhāsi - in my, front, you are appearing;

Gathāgatham - comer, goer, as if;

Vidhadhhāsi - you do [behave];

Pureva Eva - earlier, as with;

Samsambhamam - tantalizingly;

Parirambhaṇam - tight hugging;

Kim na Na Dhadhhāsi - why, don't, endow, you.

You are appearing before me as if you are coming and going towards me, why don't you endow a tight and tantalizing embrace to me as you used to earlier?

7.       Kṣhamyathām Aparam Kadhāpi Thavedhruśham Na Karomi

dhehi Sundhari Darśhanam Mama Manmathena Dhunomi||9||

O, Sundhari - o, beauty [for, you take pride in your beauty];

Kṣhamyathām - let [my offence be] pardoned;

Aparam Kadhāpi - never, again, next [ever];

Thava - to you [in your respect];

Dhruśham - this sort of [wrongdoing];

Na karomi - not, i do;

Mama dhehi Darśhanam [or, ramanam] - to me, give, your audience, [or, enjoyment];

Manmathena Dhunomi - by love-god, i am seethed.

O, beauty, let my offence be pardoned; I will never or ever do this again in your respect... Come; give me your audience, as love-god is seething me.

8.       Varṇitham Jayadhevakena Hareridham Pravaṇena

kindhu Bilva Samudhra Sambhava Rohiṇī Ramaṇena ||10||

Hareridham Pravaṇena - of Kriṣhṇa, in devotedness;

Kindhu Bilva [or, kendubilva] - in Kindhu Bilva village;

Samudhra - ocean/ocean-like;

Sambhava - begotten;

Rohiṇī Ramaṇena - star rohini, [one who] delights namely the moon;

Jayadhevakena - by jayadeva;

Idham Varṇitham - this is, romanticized.

"O, Rādhhā, this I appeal to you as romanticized by poet Jayadheva, a devotee of Kriṣhṇa, whom the poetic ocean called Kindhu Bilva village has begotten, and who delights starry poetry, as ocean-born moon delight his star of stars, namely Rohiṇi, hence listen to him and tell me where you are.

Chapter 4

Snigdhha Madhhusūdhana

Nindhathi Chandana

Composer: Jayadheva

Language: Sānskrit

Meanings-Word by word & Overall:www.Sānskritdocuments.org/sites/giirvaani/.../gg/.../gg_4_frame.htm

Alignment, Diacriticals & consequent spelling changes, Language & grammar editing, if any and necesSāry, of existing meaning: Team Ambalam

Yamunathīravānīranikunje Mandhamasthitham|

Prāha Premabharothbrantham Mādhhavam Rādhhikāsakhī||

1.Nindhathi Chandhanam Indhu Kiraṇam Anu-Vindhathi Khethamadhhīram|

Vyāla Nilaya Milanena Garalamiva Kalayathi Malaya Sāmīram ||

Sā Virahe Thavadhīnā Mādhhava Manasija Viśhikha Bhayādhiva Bhāvanaya Thvayi Līnā||Dhhruvam||

2. Avirala Nipathitha Madhana Śharādhiva Bhavadhavanāya Viśhālam|

Svahrudhaya Marmaṇi Varma Karothi Sājala Nalinīdhala Jālam||
Sā Virahe Thavadhīnā Mādhhava Manasija Viśhikha Bhayādhiva Bhāvanaya Thvayi Līnā||Dhhruvam||

3. Kusumaviśhikha Śhārathalpam Analpa Vilāsa Kalā Kamanīyam|

Vrathamiva Thava Pariramba Sukhāya Karothi Kusuma Śhayanīyam||
Sā Virahe Thavadhīnā Mādhhava Manasija Viśhikha Bhayādhiva Bhāvanaya Thvayi Līnā||Dhhruvam||

4. Vahathi Cha Galitha Vilochana Jalabharam Ānanakamalam Udhāram|

Vidhhumiva Vikaṭa Vidhhunthudha Dhantha Dhalana Galithāmrutha Dhhāram||
Sā Virahe Thavadhīnā Mādhhava Manasija Viśhikha Bhayādhiva Bhāvanaya Thvayi Līnā||Dhhruvam||

5. Vilikhathi Rahasi Kurangamadhena Bhavantham Asamaśhara Bhūtham|

Praṇamathi Makaramadhho Vinidhhāya Kare Cha Śharam Navachūtham||
Sā Virahe Thavadhīnā Mādhhava Manasija Viśhikha Bhayādhiva Bhāvanaya Thvayi Līnā||Dhhruvam||

6. Prathipadham Idhamapi Nigadhathi Mādhhava Thava Charaṇe Pathithāham|

Thvayi Vimukhe Mayi Sapadhi Sudhhānidhhirapi Thanuthe Thanūdhāham||
Sā Virahe Thavadhīnā Mādhhava Manasija Viśhikha Bhayādhiva Bhāvanaya Thvayi Līnā||Dhhruvam||

7. Dhhyānalayena Pura: Parikalpya Bhavantham Athīva Dhurāpam|

Vilapathi Hasāthi Viṣhīdhathi Rodhithi Chanchathi Munchathi Thāpam||
Sā Virahe Thavadhīnā Mādhhava Manasija Viśhikha Bhayādhiva Bhāvanaya Thvayi Līnā||Dhhruvam||

8. Śhrī Jayadhevabhaṇitham Idhamadhhikam Yadhimanasā Naṭanīyam|

Hari Virahākula Ballava Yuvathi Sakhī Vachanam Paṭhanīyam ||

Sā Virahe Thavadhīnā Mādhhava Manasija Viśhikha Bhayādhiva Bhāvanaya Thvayi Līnā||Dhhruvam||

Meaning:

Rādhhā's friend approaches Kriṣhṇa to inform about the agony of Rādhhā owing to her state of separation from Kriṣhṇa. This is called Dhūthi yoga - friendly messaging.

Yamunāthīravānīranikunje Mandhamasthitham|

Prāha Premabharothbrantham Mādhhavam Rādhhikāsakhī||

Yamunāthīra-on the banks of the river Yamunā

Vānīra- rattan plant, [calamus rotang];

nikunje - in the arbour;

Mandham- slowly [indolently];

Asthitham- came and staying;

Prāha-said;

 Premabhara- overwhelmed by love;

uthbrāntham - perplexed;

Mādhhavam – to Kriṣhṇa

Rādhhikā-another name for Rādhhā;

Sakhī- friend;

Rādhhā 's friend is now approaching him, who has came to another bower and staying at it indolently, for he could not find Rādhhā even after a thorough search. Hence, he is perplexed as he is overwhelmed by his love for Rādhhā, and to such a Kriṣhṇa, she says the following details.

Nindhathi Chandhanam Indhu Kiraṇam Anu-Vindhathi Khethamadhhīram|

Vyāla Nilaya Milanena Garalamiva Kalayathi Malaya Sāmīram ||

Sā Virahe Thavadhīnā Mādhhava Manasija Viśhikha Bhayādhiva Bhāvanaya Thvayi Līnā||Dhhruvam||

Nindhathi- scorns [loathes];

 Chandhanam –sandal;

Indhu Kiraṇam-moon beam;

 Anu-Vindhathi - thereby, knowing;

Khetham- desperately;

Adhhīram- without  courage;

Vyāla - serpents;

Nilaya - of abode [Sandalwood trees];

Milanena - by their mingling;

Garalamiva- like poison;  

Kalayathi - she reckons;

Malaya Samīram- Mt Malaya’s, [Sandal-scented] breeze;

Sā-she- Rādhhā;

 Virahe - from separation;

Thavadhīnā-lovelorn for you;

 Mādhhava- Kriṣhṇa

 Manasija- mind born one;

 Viśhikha- those that have pointed ends, arrows;

 Bhayādhiva- from fear, as though;

 Bhāvanaya - on cogitating;

Thvayi- in you;

 Līnā- engrossed;

O Kriṣhṇa, now Rādhhā is desperately despondent as she is engrossed in you, and cogitates only on you, and she fears and reviles the dint of moonbeams as though they are the arrows of love-god. Moreover, she loathes the scent of Sandal-paste as if that scent is a poison. She reckons the Sandal-scented breeze is as if mixed with venom, for it breezes from Mt Malaya, an abode of serpents... Thus, now she is lovelorn, as you have left her in the lurch...

Avirala Nipathitha Madhana Śharādhiva Bhavadhavanāya Viśhālam|

Svahrudhaya Marmaṇi Varma Karothi Sajala Nalinīdhala Jālam||
Sā Virahe Thavadhīnā Mādhhava Manasija Viśhikha Bhayādhiva Bhāvanaya Thvayi Līnā||Dhhruvam||

 Avirala- incessant;

 Nipathitha - falling [darting];

Madhana - love-god;

Śharādhiva – like the arrows;

Bhavath-your;

avanāya- to safeguard;

 Viśhālam - wide;

Svahrudhaya - her own heart;

Marmaṇi - in innermost recesses;

Varma- leather coat of mail;  

Karothi - she is making;

Sajala - with water [wet petals];

Nalinīdhala – lotus petals;

Jālam- a group of;
Sā Virahe Thavadhīnā Mādhhava Manasija Viśhikha Bhayādhiva Bhāvanaya Thvayi Līnā-

But, now she is lovelorn, as you have left her in the lurch

She, that Rādhhā is making a coat of mail with the sprays of wide and wet lotus petals, in the innermost recesses of her heart, against the incessantly darting arrows of love-god targeting her. I think, it is maybe to safeguard you who are snugly settled in there. I do not know. But, now she is lovelorn, as you have left her in the lurch.

Note:

·         The love-god has five arrows and they are: 1.Aravindha = a lotus [nelumblum speciosum], 2. Aśhoka = a flower of hellebore origin, 3. Chūtham = mango flower, 4.Nava mallikā = new jasmine, 5.Nīla uthpala = blue costus, (aravindham aśhokam cha chūtham cha navamallikā nilothpalam cha pañcha  ethe pañcha bāṇāh asya sāyakāh ||)

·         The five states associated with each arrow are: 1)unmādha = maniacal state; 2) thapana = fervent state; 3)śhoṣhaṇa = wasting away; 4) sthambhana = standstill state and 5) sammohana = stupefaction.

Kusumaviśhikha Śhārathalpam Analpa Vilāsa Kalā Kamanīyam|

Vrathamiva Thava Pariramba Sukhāya Karothi Kusuma Śhayanīyam||
Sā Virahe Thavadhīnā Mādhhava Manasija Viśhikha Bhayādhiva Bhāvanaya Thvayi Līnā||Dhhruvam||

Kusumaviśhikha – flowers with pointed ends;

Śhāra- arrrow;

thalpam - bed;

Analpa – not less;

Vilāsa – voluptuousness;

Kalā – arts;

Kamanīyam- beautiful;

Vrathamiva- a ceremony, as if;

 Thava - your;

Pariramba-

 Sukhāya- [desiring that] comfort;

 Karothi- making;

 Kusuma-flower;

Śhayanīyam- on which one can repose;
Sā Virahe Thavadhīnā Mādhhava Manasija Viśhikha Bhayādhiva Bhāvanaya Thvayi Līnā||Dhhruvam||
But, now she is lovelorn, as you have left her in the lurch.

O Kriṣhṇa, though the flower arrows darted by love-god are pinching her heart, she is preparing a flowery and reclinable bed with them alone, as if it is a ceremony, desiring to instate you in there, and to ceremoniously repose in your tight but comfortable embrace. Think not that she is idling. Therefore, leave her not in the lurch, as she is lovelorn.

Vahathi Cha Galitha Vilochana Jalabharam Ānanakamalam Udhāram|

Vidhhumiva Vikaṭa Vidhhunthudha Dhantha Dhalana Galithāmrutha Dhhāram||
Sā Virahe Thavadhīnā Mādhhava Manasija Viśhikha Bhayādhiva Bhāvanaya Thvayi Līnā||Dhhruvam||

Vahathi - bearing up;

Cha-also;

Galitha- squirmy

 Vilochana - eyes;

Jalabharam- filled with water;

Ānanakamalam - face, lotus;

Udhāram- beauteous;

Vidhhumiva-like the moon ;

 Vikaṭa – uneven;

Vidhhunthudha-one who bites the moon;

 Dhantha -by teeth;

Dhalana - by way of biting;

Galitha- slid;

Amrutha- ambrosial;

 Dhhāram- streams;
Sā Virahe Thavadhīnā Mādhhava Manasija Viśhikha Bhayādhiva Bhāvanaya Thvayi Līnā||Dhhruvam||
But, now she is lovelorn, as you have left her in the lurch.

She that Rādhhā bears up a lotus like beauteous face, that have cloud like blackish eyes with squirmy glances, which now appears like the moon bitten by the Saw toothed rāhu, the eclipsing villainous planet, and while that moon sheds streams of ambrosia when bitten by teeth, she is shedding streams of tears, smitten by love... Thus, she is lovelorn, as you have left her in the lurch.

Vilikhathi Rahasi Kurangamadhena Bhavantham Asamaśhara Bhūtham|

Praṇamathi Makaramadhho Vinidhhāya Kare Cha Śharam Navachūtham||
Sā Virahe Thavadhīnā Mādhhava Manasija Viśhikha Bhayādhiva Bhāvanaya Thvayi Līnā||Dhhruvam||

Vilikhathi- writing [sketching, picturing];

Rahasi- in aloneness;

Kurangamadhena- deer’s fat;

 Bhavantham-you;

 Asamaśhara - not equal arrow;

Bhūtham- like that of, in the shape of;

Praṇamathi- adoring;

 Makaram- crocodile;

 Adhho- down under;

Vinidhhāya- properly placing;

 Kare Cha –also in her hand;

Śharam-arrow;

Navachūtham- new mango leaf;

Sā Virahe Thavadhīnā Mādhhava Manasija Viśhikha Bhayādhiva Bhāvanaya Thvayi Līnā||Dhhruvam||

But, now she is lovelorn, as you have left her in the lurch.

She that Rādhhā in all her aloneness is sketching you in the shape of shapeless love-god with deer musk, and even sketching a crocodile as his seat, and placing a mango leaflet in his hand, since it is his arrow, and then she is adoring that sketch saying, "oh, god, save my body and soul..." that way she is lovelorn, as you have left her in the lurch...

Dhhyānalayena Pura: Parikalpya Bhavantham Athīva Dhurāpam|

Vilapathi Hasāthi Viṣhīdhathi Rodhithi Chanchathi Munchathi Thāpam||
Sā Virahe Thavadhīnā Mādhhava Manasija Viśhikha Bhayādhiva Bhāvanaya Thvayi Līnā||Dhhruvam||

Dhhyāna- in meditation;

Layena- engrossed;

Purah - in front of;

Parikalpya - imagining;

Bhavantham -

Athīva – highly;

Dhurāpam- impossible, one to get;

Vilapathi- snaps at;

 Hasathi – laughs;

Viṣhīdhathi - sinks;

Rodhithi- sobs;  

Chanchathi – strays;

Munchathi –leaves;

Thāpam- leaves off [simmers down]; 

Sā Virahe Thavadhīnā Mādhhava Manasija Viśhikha Bhayādhiva Bhāvanaya Thvayi Līnā||Dhhruvam||

But, now she is lovelorn, as you have left her in the lurch.

She, that Rādhhā, thinking that you shall be highly inaccessible to others, she is engrossed in meditation on you, and on imagining you in her front, in the form of that musk painting, she snaps, sneers, sinks, sobs, strays, and simmers down.

Prathipadham Idhamapi Nigadhathi Mādhhava Thava Charaṇe Pathithāham|

Thvayi Vimukhe Mayi Sapadhi Sudhhānidhhirapi Thanuthe Thanūdhāham||
Sā Virahe Thavadhīnā Mādhhava Manasija Viśhikha Bhayādhiva Bhāvanaya Thvayi Līnā||Dhhruvam||

Prathipadham- at each step;

Idhamapi-this also;

 Nigadhathi- asserts;

 Mādhhava - Kriṣhṇa

Thava-your;

Charaṇe –feet;

Pathithāham- fallen;

Thvayi –on your;

 Vimukhe –facing away;

Mayi – in me;

Sapadhi - now;

Sudhhā- ambrosia;

nidhhirapi - treasure trove;

Thanuthe - increasing;

Thanūdhāham- fervidity – love fever;
Sā Virahe Thavadhīnā Mādhhava Manasija Viśhikha Bhayādhiva Bhāvanaya Thvayi Līnā||Dhhruvam||
But, now she is lovelorn, as you have left her in the lurch.

She, that Rādhhā is even asserting this on each and every step of hers, “O Kriṣhṇa , though you are insouciant towards me as of now, the moon, who is supposed to be the treasure trove of coolant ambrosial moonshine, is making my love fever rampant." Thus, she who is lovelorn is mediating on you, as you have left her in the lurch... [a

Śhrī Jayadhevabhaṇitham Idhamadhhikam Yadhimanasā Naṭanīyam|

Hari Virahākula Ballava Yuvathi Sakhī Vachanam Paṭhanīyam ||

Sā Virahe Thavadhīnā Mādhhava Manasija Viśhikha Bhayādhiva Bhāvanaya Thvayi Līnā||Dhhruvam||

Śhrī Jayadheva-poet Jayadheva;

bhaṇitham –saying;

Idham-this;

adhhikam -  deemed highly reverent;

Yadhi-if;

manasā - heartily;

Naṭanīyam- actable [relish able];

Hari -

Virah- heartsick;

Ākula- flustered;

Ballava – cowherd;

Yuvathi –young woman;

Sakhī –friend;

Vachanam –words;

Paṭhanīyam – to be read;

Sā Virahe Thavadhīnā Mādhhava Manasija Viśhikha Bhayādhiva Bhāvanaya Thvayi Līnā||Dhhruvam||
But, now she is lovelorn, as you have left her in the lurch.

If you deem this auspicious saying by Jayadheva, through the girlfriend of the cowherdess, namely Rādhhā, as highly reverent to relish, then this alone is memorable for all of us[as these words have a conductance spirituality]

Chapter 6

Aṣhṭapadhi - 12

Paśyathi Diśhi Diśhi

Composer: Jayadheva

Language: Sanskrit

Meanings-Word by word & Overall:www.sanskritdocuments.org/sites/giirvaani/.../gg/.../gg_6_frame.htm

Alignment, Diacriticals & consequent spelling changes, Language & grammar editing, if any and necessary, of existing meaning: Team Ambalam

Athha Thām Ganthum Aśhakthām Chiram Anurakthām Latha-Gruhe Druṣhṭvā |

Tach-Charitham Govindhe Manasija-Mandhe Sākhi Praha ||1||

Paśhyathi Diśhi Diśhi Rahasi Bhavantham |

Tvadh-Adhhara-Madhhura-Madhhūni Pibantham ||

Nāthha Hare Jagannāthha Hare 

Sīdathi Rādhhā Avasa-Gruhe ||Dhhruva-Padham ||1||

Tvadh-Abhisaraṇa-Rabhhasena Valanthī |

Pathathi Padhāni Kiyanthi Chalanthī ||2||

Vihitha-Viśhadha-Bisa-Kisalaya-Valayā |

Jīvathi Param Iha Thava Rathi-Kalayā||3||

Muhur Avalokitha-Manḍana-Līlā |

Madhhu-Ripur Aham Ithi Bhāvana-Śhīlā||4||

Thvaritham Upaithi Na Katham Abhisāram |

Harir Ithi Vadhathi Sakhīm Anuvāram ||5||

Śhliṣhyathi Chumbathi Jala-Dhhara-Kalpam |

Harir Upagatha Ithi Thimiram Analpam ||6||

Bhavathi Vilambini Vigalitha-Lajjā |

Vilapathi Rodhithi Vāsaka-Sajjā ||7||

Śhrī-Jayadheva-Kaver Idham Udhitham |

Rasika-Janam Thanuthām Athimudhitham ||8||

Meanings:

Rādhhā 's friend returns to Kriṣhṇa' to inform about the ecstatic state of Rādhhā.

Athha Thām Ganthum Aśhakthām Chiram Anurakthām Latha-Gruhe Druṣhṭvā |

Tach-Charitham Govindhe Manasija-Mandhe Sākhi Praha ||1||

Athha - then;

Thām - her [Rādhhā];

Ganthum Aśhakthām - to go [immediately,]unable [uncompliant to];

Chiram - for a long;

Anurakthām - interested [dawdling];

Latha-Gruhe -, in creeper, house [bower,]

Druṣhṭvā - on seeing; [meaning that Rādhhā is clinging to this bower expecting Kriṣhṇa to come here, unyielding];

Tach - that;

Charitham - episode;

Govindhe - to Kriṣhṇa;

manasija - by love-god;

 mandhe - dreary-minded;

Sākhi - friend;

praha - clearly said [started to tell in this episode of poem.]

Then the girl friend of Rādhhā, on coming to Rādhhā from Kriṣhṇa, and on seeing Rādhhā who is still dawdling in the same bower, and un compliant to go to Kriṣhṇa immediately, that girlfriend again returned to Kriṣhṇa, and started to tell clearly about that episode of Rādhhā's unyieldingness.

Paśhyathi Diśhi Diśhi Rahasi Bhavantham |

Tvadh-Adhhara-Madhhura-Madhhūni Pibantham ||

Nāthha Hare Jagannāthha Hare 

Sīdathi Rādhhā Avasa-Gruhe ||Dhhruva-Padham ||1||

Paśhyathi - looking [for you,]

Diśhi Diśhi - in direction, direction;

Rahasi - in secrecy;

Bhavantham - for you;

Tvadh-Adhhara - those lips;

Madhhura - luscious,

Madhūni - nectar;

Pibantam - swilling;

Nāthha - oh, lord; Hare - oh, Kriṣhṇa;

Jagannātha - master of worlds;

Hare - oh, Kriṣhṇa;

Sīdathi - saddened;

Rādhhāa - Rādhhā;

Avasa-Gruhe - in a bower;

Dhhruva-Padham - weary

"Hè, lord Kriṣhṇa, master of worlds, saddened Rādhhā is in a bower, and she looks for you, who secretly swills the nectar from the lips of other milkmaids, in all directions. Thus, Rādhhā is weary in an arbour.

Tvadh-Abhisaraṇa-Rabhhasena Valanthī |

Pathathi Padhāni Kiyanthi Chalanthī ||2||

Vihitha-Viśhadha-Bisa-Kisalaya-Valayā |

Jīvathi Param Iha Thava Rathi-Kalayā||3||

Tvadh - to you,

Abhisaraṇa - in coming;

Rabhhasena - speed [enthusiasm];

Valanthī  - having [groggy, muzzy];

Kiyanthi – some; 

Padhāni – steps;

Pathathi - on walking; 

Pathathi - Rādhhā falls.

Vihitha - on making;

Viśhadha - fresh/cool;

Bisa-Kisalaya - lotus, tender leaves, or stems;

Valayā-bracelets - but here a veil, cover, soother for the present burning;

jīvathi - living;

Param Iha – now in dreams

Thava - your;

Rathi - Kalayā, blissful association,

Muzzy with enthusiasm in coming to you, she walks some steps but falls. On making fresh and cooling tender lotus leaves as a soothing veil against the present burning, she is now living by the help of dreams on your blissful association, enjoyed earlier by her.

Muhur Avalokitha-Manḍana-Līlā |

Madhhu-Ripur Aham Ithi Bhāvana-Śhīlā||4||

Thvaritham Upaithi Na Katham Abhisāram |

Harir Ithi Vadhathi Sakhīm Anuvāram ||5||

Muhur - repeatedly;

Avalokitha - having observed;

Manḍana Līlā - ornament's, flaunts;

Madhhu - the demon madhu's,

Ripur  - enemy,

Aham  - I am;

Ithi - thus;

Bhāvana - thinking;

Śhīlā - with feeling; [varthathe- conducting herself.]

Thvaritham - swiftly;

Upaithi - coming; Na - not,

Kathham - how [why];

Abhisāram - to preset place;

Harir - Kriṣhṇa

Ithi - thus;

Vadhathi - saying [asking.];

Sakhīm - to friend, 

Anuvāram - repeatedly, all the while;

On observing the flaunt of her ornaments, that are readjusted to look like those of yours, and on assuming your persona she says thus as 'I am Kriṣhṇa...why Kriṣhṇa is not coming swiftly to the preset place?' thus is she, that Rādhhā asking her friend, all the while.

Śhliṣhyathi Chumbathi Jala-Dhhara-Kalpam |

Harir Upagatha Ithi Thimiram Analpam ||6||

Bhavathi Vilambini Vigalitha-Lajjā |

Vilapathi Rodhithi Vāsaka-Sajjā ||7||

Śhliṣhyathi Chumbathi - hugs, kisses;

Jala-Dhhara-Kalpam - cloud, like;

Harir - Kriṣhṇa;

Upagatha - drew nigh,

Ithi - thus [on thinking];

Thimiram - darkness;

Analpam - not small [pitch-black];

Bhavathi - by you;

Vilambini - delayed [in coming there];

Vigalita lajjā - slithered, shame;

Vilapathi - she whines;

Rodhiti - whimpers.

Vāsaka - in her dwelling place;

Sajjā - readying herself decorating with befitting ornaments;

When she steps out that bower she sees the pitch-black cloudlike darkness, and thinking that Kriṣhṇa drew her nigh, she hugs and kisses that darkness. She readying herself decorated in befitting ornaments is waiting in her dwelling place. But when you delay your coming, slithered is her shame, she whines and whimpers.

Śhrī-Jayadheva-Kaver Idham Udhitham |

Rasika-Janam Thanuthām Athimudhitham ||8||

Śhrī - auspicious saying;

Jayadheva-Kaver - Jayadheva, by poet;

Idham Udhitham - this, [that is] said;

Rasika Janam - for aesthetic, people;

Thanutām - may cause;

Athimuditham - highly, gladdening;

May this auspicious song said by poet Jayadheva cause utmost gladness to aesthetic people...

Chapter 10

Chathura Chathurbhujam - Tactful Kriṣhṇa

Aṣhṭapadhī – 19: Priye Chāruśhīle

Composer: Jayadheva

Language: Sanskrit

Meanings-Word by word & Overall:www.sanskritdocuments.org/sites/giirvaani

Alignment, Diacriticals & consequent spelling changes, Language & grammar editing, if any and necessary, of existing meaning: Team Ambalam

Athrānthare Masruṇa-Roṣha-Vaśhām Apāra-

Nihśhvāsa-Nihsaha-Mukhīm Sumukhīmupethya |

Savrīḍam Īkṣhitha-SakhĪ-Vadhanām Dhinānthe

Sānandha-Gadhgadha-Padham Haririthi Uvācha ||

Vadhasi Yadhi Kinchidhapi Dantha-Ruchi-Kaumudhi

Harathi Dharathimiramathighoram |

Sphurad-Adhhara-Śhīdhave Thava Vadhana-Chandramā

Rochayatu Lochana-Chakoram ||1||

Priye Chāruśhīle Muncha Mayi Mānamanidhānam |

Sapadhi Madhanānalo Dhahathi Mama Mānasam

Dhéhi Mukha-Kamala-Madhhu-Pānam ||Dhhruva-Pādham ||

Sathyamevāsi Yadhi Sudhathi Mayi Kopini

Dhehi Khara-Nakhara-Shara-Ghātham |

Ghaṭaya Bhuja-Bandhhanam Janaya Radhakhanḍanam

Yena Vā Bhavathi Sukhajātham ||2||

Thvam Asi Mama Bhūṣhaṇam Thvam Asi Mama Jivanam

Thvam Asi Mama Bhavajaladhhirathnam |

Bhavathu Bhavathīha Mayi Sathatham Anurodhhini

Thathra Mama Hrudhayam Athiyathnam ||3||

Nilanalinābhamapi Thanvi Thava Lochanam

Dharayathi Kokanadha Rūpam |

Kusuma-Śhara-Bāṇa-Bhāvena Yadhi Ranjayasi

Kriṣhṇam Idham Ethad Anurūpam ||4||

Sphuratu Kucha-Kumbhayor Upari Mani-Manjarī

Ranjayathu Thava Hridhaya dheśham |

Rasatu Rashanapi Thava Ghana-Jaghana-Manḍale

Ghośhayathu Manmathha-Nideśham ||5||

Sthhala-Kamala-Ganjanam Mama Hridhaya-Ranjanam

Janitha-Rathi-Ranga-Parabhāgam |

Bhaṇa Masruṇa-Vāṇi Karavāṇi Charaṇa-Dhvayam

Sarasa-Lasadh-Alakthaka-Rāgam ||6||

Smara-Garala-Khanḍanam Mama Śhirasi Manḍanam

Dhehi Padha-Pallavam Udhāram |

Jvalathi Mayi Dhāruṇo Madhana-Kadhanāruṇo

Harathu Thadh-Upahitha-Vikāram ||7||

Ithi Chaṭula-Chāṭu-Paṭu-Chāru Mura-Vairiṇo

Rādhikām Adhi Vachana-Jātham |

Jayathu Jayadheva-Kavi-Bhārathi-Bhūṣhitham

Māninī-Jana-Janitha-Śhātham ||8||

Meaning:

Athrānthare Masruṇa-Roṣha-Vaśhām Apāra-

Nihśhvāsa-Nihsaha-Mukhīm Sumukhīmupethya |

Savrīḍam Īkṣhitha-SakhĪ-Vadhanām Dhinānthe

Sānandha-Gadhgadha-Padham Haririthi Uvācha ||

Athra - at there;

Antare - in the mean while;

Harih - krishna;

Dhina ānthe - day, at end of -that evening;

Masruṇa - with precipitated [hot-headed, excited];

Roṣha-Vaśhām - indignation, owing to;

Nihśhvāsa - with suspires;

Nihsaha-Mukhīm - helplessly, face having;

Savrīḍam - with, shy;

Īkṣhitha SakhĪ-Vadhanām - seeing, her friend's, face;

Sumukhīm - one with lovely, face - to her;

upethya - came near;

Sānandha - with, rejoice;

Gadhgadha-Padham - [but] with, quavering, words;

 ithi uvācha - this way, said.

In this meanwhile on that evening,  when she is with a helpless face with boundless suspires, and when she is seeing her friend's face with a 'what am I to do' look, for she is hotheaded owing to indignation, Kriṣhṇa came near of such lovely faced Rādhhā,  though rejoicing,  but spoke these words, quivering in tone.

Vadhasi Yadhi Kinchidhapi Dhantha-Ruchi-Kaumudhi

Harathi Dharathimiramathighoram |

Sphurad-Adhhara-Śhīdhave Thava Vadhana-Chandramā

Rochayathu Lochana-Chakoram ||1||

Priye Chāruśhīle Muncha Mayi Mānamanidhānam |

Sapadhi Madhanānalo Dhahathi Mama Mānasam

Dhéhi Mukha-Kamala-Madhhu-Pānam ||Dhhruva-Pādham ||

Chāruśhīle - o, sweet one, by your heart - rather, o, my sweetheart;

Priye - o, dear;

Mayi - on me;

A nidhānam - without, cause;

Mānam - petulance [choler];

Muncha- release - cast off;

Sapadhi - presently;

Madhanānalo - love's, fire;

Dahati - burns;

Mama Mānasam - my, bosom;

Mukha Kamala - face, lotus's;

Madhhu-Pānam Dhéhi - nectar, lend me;

Kinchidhapi Dantha Vadhasi - a bit, at least, you say;

Yadhi - even if;

Thava Dantha-Ruchi-Kaumudhi - of your teeth are beautiful, moonshine;

Atighoram - highly, horrendous;

dhara thimiram - dark;

Harathi - steals;

Thava Vadhana-Chandramā - your, face, [called] moon;

Lochana-Chakoram - [to my] eyes, [called] cakora birds;

Sphurad - scintillating;

Adhara siidhave - lips, with nectar;

Rochayatu - let them [eyes called birds] cheer up.

"Oh dear!Now lend me nectar from your lotus like face or say, at least a bit of it. Or, even if you say good or bad of me, do say it. Then that moonshine from the sparkle of your teeth steals the highly tenebrous gloom in me. Oh sweetheart! Let my eyes resembling the chakora birds cheer up with nectar from those scintillating lips on your moon-like face. Oh dear! Cast off causeless choler on me, for the fire of love burns by bosom.”

Note:

·         Here “yadhi” means that talk of yours contain good or bad of mine, then your lips open and your teeth sparkles, with that sparkling.

·         Thimiram indicates melancholy, not thamas - darkness, Kriṣhṇa cannot have thamas.

Sathyamevāsi Yadhi Sudhathi Mayi Kopini

Dhehi Khara-Nakhara-Shara-Ghātham |

Ghaṭaya Bhuja-Bandhhanam Janaya Radhakhanḍanam

Yena Vā Bhavathi Sukhajātham ||2||

Sudhathi - O dear with beautiful teeth;

Sathyameva - truly, that way;

Mayi kopinii yadhi asi - on me, furious, if, you are;

Dhehi - give; khara nakha shara ghātham - sharp, fingernails, arrow, gashes; [if you are dissatisfied with it];

Ghaṭaya Bhuja-Bandhhanam - splice, your arms, to shackle me;

Janaya Radhakhanḍanam - cause, teeth, tearing;

Vā - or else; Yena - by which;

Sukhajātham Bhavathi - happiness, causes, in you, those [punishments that will be causing such happiness.]

"Ohdear! If you, who has beautiful teeth, are that way truly furious of me, gash me with you arrow like fingernails .If not, splice your arms to shackle me down. Else, tear me with your teeth. Or, make do in whichever way you feel happy. Howsoever oh sweetheart! Cast off causeless choler on me.”

Thvam Asi Mama Bhūṣhaṇam Thvam Asi Mama Jivanam

Thvam Asi Mama Bhavajaladhhirathnam |

Bhavathu Bhavathīha Mayi Sathatham Anurodhhini

Thathra Mama Hrudhayam Athiyathnam ||3||

Thvam Asi Mama Bhūṣhaṇam - you, are, to me, ornament;

Thvam Asi Mama Jivanam - you, are, to me, existence, or quintessence [metaphysical];

Thvam asi - you, are;

Bhavajaladhhirathnam - [for the temporal] world, ocean-like, jewel;

Iha mayi - here, in my respect [in this somatic world];

Bhavathīha anurodhhini bhavatu - you may, be gracious to me [as against - virodhinii - one at loggerheads];

Thathra - in that matter;

Mama Hrudhayam Sathatham - my, heart is, ever;

Athiyathnam - more, effortful.

"You are my ornament, my life and a gem of mine in this temporal world. Hence, here, in this un-navigable somatic world I sue you to grace me, for my heart is ever effortful in that matter.”

Note: Rathnam here means ”not only my jewel, but being with me you will be the lone jewel of love, in this ocean-like, un-navigable world”.

Nīlanalinābhamapi Thanvi Thava Lochanam

Dharayathi Kokanadha Rūpam |

Kusuma-Śhara-Bāṇa-Bhāvena Yadhi Ranjayasi

Kriṣhṇam Idham Ethad Anurūpam ||4||

Hè thanvi - O svelte Rādhhā;

Nīlanalinābham - blue, lotus, in hue;

Api - though;

Thava lochanam - your, eyes;

Kokanada ruupam dharayathi - pink-lotus, effect, they bear;

Idham- tava kopa lochanam - these, ireful eyes of yours;

Kusuma-Śhara-Bāṇa-Bhāvena - flower, love-god's pink lotus arrow, with rendition;

Kriṣhṇam - one who is in indigo-blue [maam api- me, too];

Ranjayasi Yadhi - you delight, if; 

Yadhi - will be used by some; 

Ethad Anurūpam - all this [ire, fury and pinkness of yours,] will be most becoming.

"Oh svelte Rādhhā, though your eyes will be in the hue of blue-lotuses, they now bear a pinky effect of pinkish lotuses in all their ire. Albeit, if they render themselves as the one and only pink lotus arrow of love, and shoot to delight me, to render me with my indigo-blue hue as the very pink of love. Then all this ire, your eyes and their pink will be most becoming.”

Sphuratu Kucha-Kumbhayor Upari Mani-Manjarī

Ranjayathu Thava Hridhaya dheśham |

Rasathu Raśhanapi Thava Ghana-Jaghana-Manḍale

Ghośhayathu Manmathha-Nideśham ||5||

Thava - your;

Kucha-Kumbhayor Upari  - bosoms, pot-like, on over side;

Mani-Manjarī - set of gems, gem chest pendant, a cluster of sapphires;

Sphuratu - let glitter [with the pinkness of your eyes reflected on them];

Thava Hridhaya dheśham - your, chest, place [bust];

Ranjayathu - [if] it delights;

Manma Hridhaya dheśham Ranjayathu - if your bust with blue-gem pendants delights me on its contact with my indigo-blue chest];

Thava Raśhanapi - your, girdle strings with tinkle bells, even;

Ghana-Jaghana-Manḍale - on curvy, hip, areas - waistline;

rasathu - make tintinnabulations;

Manmathha-Nideśham Ghośhayathu - love-god's, bidding, let it repeatedly announce.

"Oh dear! Let that cluster of sapphire gems on your pot-like bosoms be glittering with the pinkness of your eyes, and with such gems if your bust delights me on its contact with my indigo-blue chest, and in that bustle even that girdle strings with tinkle bells on your curvy waistline will repeatedly announce the bidding of love in their tintinnabulations.”

Sthhala-Kamala-Ganjanam Mama Hridhaya-Ranjanam

Janitha-Rathi-Ranga-Parabhāgam |

Bhaṇa Masruṇa-Vāṇi Karavāṇi Charaṇa-Dhvayam

Sarasa-Lasadh-Alakthaka-Rāgam ||6||

Hè Masruṇa-Vāṇi - o, one with melodious, voice [mellisonant]

 Sthhala-Kamala - land, lotuses [terrene lotus, that grows on ground];

Ganjanam - gainsays;

mama Hridhaya-Ranjanam - my, heart, delight;

Janitha - while causing;’

Parabhāgam - excellence [both feet will have mutually excellent splendour, excellently adept in footwork while on the stage of love];

Charaṇa-Dhvayam - foot, couple of;

Sarasa - passionately;

Lasadh - shining;

alakthaka - lac, rosy cosmetic of foot;

rāgam - crimsoned;

Yadhi - if]; Karavāṇi - [i can] do; [if i can maquillage [- applying makeup] to your feet with crimson lac, the red cosmetic of feet, you will be delighted, hence];

Bhaṇa- what-do-you-say

"Oh Rādhhā, you are mellisonant, those feet of yours resembling land-lotuses are the delighters of my heart and I can maquillage them with crimson red foot-cosmetic. Then they will be mutually excellent, splendorous, adept in footwork on the stage in the play of passion and that which will be delightful to you, what do you say?”

Chapter 4

Rādhhikā, Thave Virahe Keśhava

Composer: Jayadheva

Language: Sanskrit

Meanings-Word by word & Overall:www.sanskritdocuments.org/sites/giirvaani/.../gg/.../gg_4_frame.htm

Alignment, Diacriticals & consequent spelling changes, Language & grammar editing, if any and necessary, of existing meaning: Team Ambalam

Sthanavinihithamapi Hāramudhāram |
Sā Manuthe Kruśhathanurathibhāram ||
Rādhhikā  Virahe Thava Keśhava||Dhhruvam||

Sarasama Srṇamapi Malayaja Paṅkam |

Paśhyathi Viṣhamiva Vapuṣhi Saśhaṅkam ||Rādhhikā||

Śhwasitha Pavanam Anupama Pariṇāham|

Madhana Dhahanam Iva Vahathi Sadhāham|| Rādhhikā||

Dhiśhi Dhiśhi Kirathi Sajala Kaṇajālam |

Nayana Nalinam Iva Vigalitha Nalam ||Rādhhikā||

Nayana Viṣhayam Api Kisalaya Thalpam|

 Kalayathi Vilaya Huthāśha Kalpam|| Rādhhikā||

Thyajathi Na Pāṇithalena Kapolam|

 Bāla Śhaśhinam Iva Sāyamalolam ||Rādhhikā||

Haririthi Haririthi Japathi Sakāmam |

Viraha Vihitha Maraṇeva Nikāmam|| Rādhhikā||

Śhrī Jayadheva Bhaṇithamithi Gītham |

Sukhayathu Keśhava Padhamupanītham ||Rādhhikā||

Meaning:

Sthanavinihithamapi Hāramudhāram |
Sā Manuthe Kruśhathanurathibhāram ||
Rādhhikā  Virahe Thava Keśhava||Dhhruvam||

Sthana-bosom;

Vinihitham –adorning;

api –also;

Hāram- necklace;

udhāram - feather-light;
Sā –she, Rādhhikā  ;

Manuthe- feels;

 Kruśhathanu- frail bodied;

athibhāram – weighing much;
Rādhhikā  Virahe Thava Keśhava - Rādhhikā is pining for you, O Keśhava, for she is parted from you.

O Keśhava , she with her frailly body feels even a feather-light pearly string adorning her bosom is weighty, and such as she is, she is pining for you, for she is parted from you.

Sarasam asrṇamapi Malayaja Paṅkam |

Paśhyathi Viṣhamiva Vapuṣhi Saśhaṅkam ||Rādhhikā||

Sarasam-with fluid, soggy;

 asrṇamapi- satiny;

 Malayaja- from Mt Malaya;

 Paṅkam - cream [cosmetic cream obtained on rubbing sandalwood sticks on grit stone];

Paśhyathi-sees;

 Viṣhamiva- as if it is poison;

Vapuṣhi – on body;

Saśhaṅkam – with doubt;

||Rādhhikā|| Rādhhikā is pining for you, O Keśhava, for she is parted from you.

Even though the sandal-cream on her body is soggy, satiny, thus balsamic, she looks down on it as if it is a venom. Thus, she is pining for you, for she is parted from you.

Śhwasitha Pavanam Anupama Pariṇāham|

Madhana Dhahanam Iva Vahathi Sadhāham|| Rādhhikā||

Śhwasitha – breathed;

Pavanam-air;

 Anupama- uncommon, abnormal;

 Pariṇāham- overlong [in duration];

Madhana Dhahanam Iva - love-god’s flame;

Vahathi – bears;

Sadhāham- love-god’s flame;

|| Rādhhikā||

Her abnormally overlong flame like sighs are overburdening her, as if they are the flames of love-god. Hence, she is pining for you, for she is parted from you.

Dhiśhi Dhiśhi Kirathi Sajala Kaṇajālam |

Nayana Nalinam Iva Vigalitha Nalam ||Rādhhikā||

Dhiśhi Dhiśhi- directions;

Kirathi- bestrews;

Sajala- with water, tear;

Kaṇajālam – groups of drops;

Nayana –eyes;

Nalinam- lotuses;

Iva- as if;

 Vigalitha- slipped down;

 Nalam - tubular stem;

||Rādhhikā||

She with her eyes that look like black-lotuses, slipped from their stems, are filled with a sea of teardrops, and she is casting about her sight for you, in every direction... That way, she is pining for you, for she is parted from you.

Nayana Viṣhayam Api Kisalaya Thalpam|

 Kalayathi Vihitha Huthāśha Kalpam|| Rādhhikā||

Nayana-eyes;

Viṣhayam-subject;

 Api-also;

 Kisalaya – coppery;

Thalpam- bed;

 Kalayathi - reckons;

Vihitha – made;

Huthāśha – flame;

Kalpam-thinks;

|| Rādhhikā||

Though the subject of her eyes is an eye-filling bed of coppery tender leaves, she reckons it as a flame bed. That way, she is pining for you, for she is parted from you.

Thyajathi Na Pāṇithalena Kapolam|

 Bāla Śhaśhinam Iva Sāyamalolam ||Rādhhikā||

Thyajathi- removes;

Na-not;

Pāṇithalena - on palm’s surface; 

Kapolam- cheek;

 Bāla – tender;

Śhaśhinam – moon;

Iva-akin to;

 Sāyam- in evenings;

alolam – motionless;

||Rādhhikā||

She neither removes her moonlike cheek, a cheek akin to youthful but motionless moon of evenings, placed on her palm, nor is she motional. And statically she is pining for you, for she is parted from you.

Haririthi Haririthi Japathi Sakāmam |

Viraha Vihitha Maraṇeva Nikāmam|| Rādhhikā||

Haririthi Haririthi- lord Hari, thus;

Japathi -chants

Sakāmam- with the wish;

Viraha- by wistfulness;

 Vihitha- ordained;

 Maraṇeva- as if in death;

 Nikāmam- always;

|| Rādhhikā||

She is as if dying, a death ordained by her own wistfulness and hence wishful to tell her dying words she is always intoning thus as, "Hari... Hari..." Hence, she is pining for you, for she is parted from you.

Śhrī Jayadheva Bhaṇithamithi Gītham |

Sukhayathu Keśhava Padhamupanītham ||Rādhhikā||

Śhrī Jayadheva – Poet Jayadheva;

 Bhaṇithamithi- said by; 

Gītham - song;

Sukhayathu – comforts [singers and listeners];

Keśhava -Kriṣhṇa;

Pādham- feet;

upanītham - that draws nigh of those feet;

||Rādhhikā||

This way, the auspicious song said by Jayadheva and dedicated at the feet of Kriṣhṇa through me, the friend of Rādhhā, comfort all of us, its singers like me or its listeners like you. Thus Rādhhā is pining for Kriṣhṇa, parted from him.

Chapter 7

Aṣhṭapadhi – 15

Samudhitha-Madhane

Ramathe Yamunā

Composer: Jayadheva

Language: Sanskrit

Meanings-Word by word &Overall: www.sanskritdocuments.org/sites/giirvaani/giirvaani/gg/sarga7/gg_7_frame.htm

Alignment, Diacriticals & consequent spelling changes, Language & grammar editing, if any and necessary, of existing meaning: Team Ambalam

Viraha-Pāṇḍu-Murāri-Mukhāmbuja-

Dhyuthir Ayam Thirayann Api Vedhanām |

Vidhur Athīva Thanothi Mano-Bhuvah

Suhrudh Aye Hrudhaye Madhana-Vyathhām ||

Samudhithā-Madhane Ramaṇi-Vadhane Chumbana-Valithadhhare |

Mruga-Madha-Thilakam Likhathi Sapulakam Mrugam Iva Rajani-Kare ||1||

Ramathe Yamuna-Pulina-Vane Vijayi Murārir Adhhuna ||Dhruva||||

Ghana-Chaya-Ruchire Rachayathi Chikure Tharalitha-Tharuṇānane |

Kurubaka-Kusurnam Chapala Suṣhamam Rathi-Pathi-Mruga-Kānane ||2||

Ghaṭayathi Sughane Kucha-Yuga-Gagane Mruga-Madha-Ruchi-Ruṣhithe |

Maṇi-Saram Arṇālam Thāraka-Patalam Nakha-Padha-Śhaśhi-Bhūṣhithe ||3||

Jitha-Bisa-Śhakale Mrudhu-Bhuja-Yugale Kara-Thala-Nalinī-Dhale |

Marakatha-Valayam Madhhu-Kara-Nichayam Vitharathi Hima-Śhīthale ||4||

Rathi-Gruha-Jaghane Vipulapaghane Manastja-Kanakāsane |

Maṇi-Maya-Thaṣhaṇam Thoraṇa-Hasanam Vikirathi Ktta-Vāsane||5||

Charaṇa-Kisalaye Kamala-Nilaye Nakha-Maṇi-Gaṇa-Pūjithe |

Bahir-Apavaranām Ya-Vaka-Bharanām Janayathi Hrudhiyojithe ||6||

Ramayathi Subhrusham Kam Api Sudhrusham Khala-Hala-Dhara-Sodhare |

Kim Aphalam Avasam Chiram Iha Virasam Vadha Sakhi Vithapodhare ||7||

Iha Rasa-Bhanane Krutha-Hari-Guṇane Madhu-Ripu-Padha-Sevake |

Kali-Yuga-Rachitham Na Vasathu Dhuritham Kavi-Nrupa-Jayadhevake ||8||

Nāyāthaha Sakhi Nirdhayo Yadhi Śhaṭhas Thvam Dhuti Kim Dhūyase

Svachchandham Bahu-Vallabhah Sa Ramathe Kim Thathra The Dhūṣhaṇam |

Paśhyad Priya-Saṅgamaya Dhayithasyakrushyamānam Guṇair

Uthkantharthi-Bharadh Iva Sphutadh Idham Chethah Svayam Yāsyathi||9||

Meaning:

Viraha-Pāṇḍu-Murāri-Mukhāmbuja-

Dhyuthir Ayam Thirayann Api Vedhanām |

Vidhur Athīva Thanothi Mano-Bhuvah

Suhrudh Aye Hrudhaye Madhana-Vyathhām ||

Aye - oh, friend;

Ayam vidhur - this, moon;

Mano-Bhuvah Suhrudh - love-god's good friend [moon];

Viraha - [my] anguish in dissociation;

Pāṇḍu-Murāri - pale faced Kriṣhṇa's;

Mukhāmbuja- Dhyuthir - face, lotus-like, its resplendence; 

Thirayann Api Vedhanām - anguishes, covering up [abated,] even though;

Hrudhaye Madhana-Vyathhām - in heart, love's, anguish, much, intensifying [unabated.]

"Oh, friend, this moon earlier had a pale face like that of the lotus-like face of Kriṣhṇa, by which my anguish in dissociation was somewhat abated, waiting for him. But now, unabated is the pale silver like look of this very moon, as his friend love-god is abetting him to take vengeance on me, since I am unmoving to Kriṣhṇa. Thus my anguish too, is much unabated

Samudhithā-Madhane Ramaṇi-Vadhane Chumbana-Valithadhhare |

Mruga-Madha-Thilakam Likhathi Sapulakam Mrugam Iva Rajani-Kare ||1||

Ramathe Yamuna-Pulina-Vane Vijayi Murārir Adhhuna ||Dhruva||||

He sakhi - of friend;

Samudhithā - well, uprisen [up surged];

Madhane - passion [in a girl];

Chumbana-Valithadhhare - for a kiss, swerved

[in text as 'lalita ānane' then it is beautiful face for it will be kissed];

Ramaṇi-Vadhane - a comely girl's, face;

Mrugam Iva Rajani-Kare - in night, maker [in moon,] deer, like;

Sapulakam - with, thrills [for the girl];

Mruga-Madha-Thilakam Likhathi - deer's, fat [musk,] mark [usu. On forehead,] making; [reprise]

Adhhuna - presently;

Yamuna-Pulina-Vane - river Yamunā's, on sand dunes, groves;

 Ramathe is frolicking.

"Oh, friend, He is swerving the face of a comely girl, in whom passion is up-surging, for a kiss, and like the deer mark in moon, he is making a mark with musk on her face with his kiss, while she thrills. Thus that prized Kriṣhṇa is presently frolicking on the sand dunes and in the groves of Yamunā river.

Ghana-Chaya-Ruchire Rachayathi Chikure Tharalitha-Tharuṇānane |

Kurubaka-Kusurnam Chapala Suṣhamam Rathi-Pathi-Mruga-Kānane ||2||

Ghana-Chaya-Ruchire - clouds, gather, in sheen [he is shiny like a cloudscape];

Tharalitha - made to ripples [on seeing such a one riffle like thrills occur in girls];

Tharuṇānane - on a beauty's, face;

Rathi Pathi - Rathi's, husband, [or lord of love - of love-god];

Mruga-Kānane - beast / deer, a forest of;

chikure - in head hair;

Chapala Suṣhamam - scintillating, lightning [like];

Kurubaka-Kusurnam - kuravaka [mehandi,] red flower;

Rachayathi - decorating.

"He whose sheen is like a cloudscape, and on seeing whom riffles of thrills occur in girls, such a Kriṣhṇa is decorating a red flower that is scintillating like lightning, in the braid of a beauty, in that forest where that beastly love-god is on the prowl.

Ghaṭayathi Sughane Kucha-Yuga-Gagane Mruga-Madha-Ruchi-Ruṣhithe |

Maṇi-Saram Arṇālam Thāraka-Patalam Nakha-Padha-Śhaśhi-Bhūṣhithe ||3||

Mruga-Madha - deer, musk;

Ruchi-Ruṣhithe - shine, bestrewn [bedaubed, cosmetic];

su ghane - highly massy, with clouds;

nakha pada - fingernail, dent [like];

Śhaśhi-Bhūṣhithe - with [crescent] moon, decorated with;

kucha yuga gagane - bosoms, twosome, on sky of [on overside];

 amalam - impeccable;

 Maṇi-Saram - gemmy [pearly,] pendant;

Thāraka-Patalam [iva] - starts, cluster of [like pendant];

Ghaṭayathi - adjusting;

"Oh, friend, now he is adjusting an impeccable pearly pendant on the over side of her two bosoms that shine like deer musk, that which is bedaubed on them... In doing so his fingernails are making crescentic dents on those bosoms... And that sky bust appears to be a sky with two massy clouds and that pearly pendant as the star studded sky, and those crescentic dents as crescent moons.

Jitha-Bisa-Śhakale Mrudhu-Bhuja-Yugale Kara-Thala-Nalinī-Dhale |

Marakatha-Valayam Madhhu-Kara-Nichayam Vitharathi Hima-Śhīthale ||4||

Murāri - Kriṣhṇa;

Jitha-Bisa-Śhakale - triumphant [than] lotus, stalks;

Hima-Śhīthale - snowy, cool;

Kara Thala - hand's, surface [with palms];

Nalinī-Dhale - [like] lotus, leaves;

Mrudhu-Bhuja-Yugale - softish, shoulders, a pair of;

Marakatha-Valayam - emerald, armlet;

Madhukara nichayam [iva] - honey-makers [honey bees,] a swarm [alike];

Vitharathi - he is keeping [adjusting.]

"Now he is adjusting emerald armlets on the pair of her palms that liken to snow like cool lotus leaves, while her shoulders are soft  like lotus itself, and arms triumph over the tender stalks of lotuses, thus those emeralds in those armlets are like a swarm of honeybees, hovering over that lotus-like girl.

Rathi-Gruha-Jaghane Vipulapaghane Manastja-Kanakāsane |

Maṇi-Maya-Thaṣhaṇam Thoraṇa-Hasanam Vikirathi Ktta-Vāsane||5||

Vipulapaghane - on beamy, hip;

Manastja-Kanakāsane - love-god's, golden, throne;

Ktta-Vāsane - rendered voluptuous [or, while she is enrobing her hips;

Rathi-Gruha-Jaghane - lust, house homelike, on hip;

Maṇi-Maya-Thaṣhaṇam - gem-studded, waist-strings;

Thoraṇa-Hasanam - arched [festoons - as a welcome sign];

Vikirathi - strews around [because he could not tie that string on hip, because his mood changed as soon as he touched her broadly hip, and she too clings to him for his magic touch.]

Kriṣhṇa is now trying to tie her gem-studded waist-strings like arched welcome festoons on her homelike beamy hip, for it homes lust and houses the golden throne of love-god, but he had to strew it around, for both of them are subjected to sudden voluptuousness by that tenant-like king on the throne in that house, called love-god.

Charaṇa-Kisalaye Kamala-Nilaye Nakha-Maṇi-Gaṇa-Pūjithe |

Bahir-Apavaranām Ya-Vaka-Bharanām Janayathi Hrudhiyojithe ||6||

Kamala Nilaye - Lakṣhmi's, abode;

Nakha-Maṇi-Gaṇa-Pūjithe - nails, jewels [like,] adored with;

Charaṇa-Kisalaye - feet, leaflets;

Hrudhiyojithe - on chest, on joining [on placing -or on think thus in his heart];

Bahir-Apavaranām - as outer, covering [outer, peripheral - because those feet are already rosy]; yaavaka Bharanām Janayathi - lace reddish colour, decoration, causing [he is making, painting.]

"On placing her leaf like feet on his supine chest, that are the abode of Lakṣhmi, and that are adorned with jewel like rosy nails, he is decorating them with reddish lac colour on the already rosy feet.

Ramayathi Subhrusham Kam Api Sudhrusham Khala-Hala-Dhara-Sodhare |

Kim Aphalam Avasam Chiram Iha Virasam Vadha Sakhi Vithapodhare ||7||

Hala-Dhara - plough wielder [plougher];

Subhrusham Kam Api  - by brother of someone.

Ramayathi - making merry [with her];

Iha Vithapodhare - here, in tree's, belly [inside arbour];

Virasam - without, spirit [futilely];

Aphalam - without, fruit;

Chiram - for a long;

Vadha sakhi - speak up, friend.

"When that ploughman’s brother is very hastily merrymaking with an anonymous girl, hoodwinked by her mesmeric eyes, why should I futilely and fruitlessly tarry inside an arbor for a long time. Speak up, oh, friend!

Iha Rasa-Bhanane Krutha-Hari-Guṇane Madhu-Ripu-Padha-Sevake |

Kali-Yuga-Rachitham Na Vasathu Dhuritham Kavi-Nrupa-Jayadhevake ||8||

Rasa-Bhanane - blissful essence, saying;

Iha Krutha-Hari-Guṇane - now, made [said,] Kriṣhṇa's, praise song;

Madhu-Ripu-Padha-Sevake - Kriṣhṇa's, at feet, worshipper;

Kavi nrupa - poet's, king;

Jayadhevake - by Jayadheva [by his saying];

Kali-Yuga-Rachitham - in kali, era, treading;

Dhuritham - profanation;

Na vasathu - not, dwells [not to be attached; come on... For it is experience able, experience it oh, devotees... Is ensuant.]

Let not the profanation that is treading its way in this kali era be attached to the king of poets Jayadheva, for he is a worshipper at the feet of Kriṣhṇa, further he is expressing his 'experience able blissful essence' in this praise song on Kriṣhṇa... Come on, experience it, oh, devotees...

Chapter Two

Akleśha Keśhavam - Blithesome Kriṣhṇa

Aṣhṭapadhī – 6: Akleśha Keśhava Manjari Thilakam

Sakhi He

Steeply slithered is Rādhhā’s privilege, for Kriṣhṇa's love is equipoise in respect of all other milkmaids and herself. Thus some grudge overtook her when he is on a pleasure-trip with others. She has gone elsewhere, somewhere into a bower of tendrils noisy with the humming of swarms of honeybees spiraling at its spire, and when she stepped into that bower she forlornly said this to her friend in solitude.

"One night when I have gone into a prearranged lonely alcove I was startled by his truancy and started to see all around for him. But that bounteous pleasure-giver was already there, coming earlier and hiding in the darkness. Then, he suddenly appeared from nowhere startling me again, but smiling wryly with all his lust, filled with hastiness for an exigent intimacy, met me. Oh friend! Why don't you make him to take delight in me even now, when my heart and mind are filled with love and longing for him?

I was very bashful on my first tryst. But saying hundreds of reassuring good words he brought me round. Then, I was speaking softly, sweetly and smilingly, unaware when my silken dress slipped from my hips. He, filled with hastiness for an eager intimacy, met me... Oh friend! Why don't you make him to take delight in me even now, when my heart and mind are filled with love and longing for him?

Kisalaya - tender grass, lawn;

Śhayana - as bed;

Niveśhithayā - placed in [on reposing me];

Chiramuras - all the time on my, chest,

Śhayānam - he who reposed on it;

Kruthaparirambhaṇa - on making bracing, embraces;

Chumbanayā - with kisses;

Parirabhya - in besetting manner, hugging [graspingly];

Kruthādhharapānam - done, lower lip, swilled;

Sakhi ... Savikāram - as above.

Reposing me on a bed-like lawn he lay upon my chest all along. Making bracing embraces he kissed and swilled my lips graspingly. Then he, filled with hastiness for an intimacy, met me. Oh friend! Why don't you make him to take delight in me even now, when my heart and mind are filled with love and longing for him?

Ālasanimīlitha - tired thereby slouching;

Lochanayā - with eyes [rather, eyelids, and such as i was];

Pulakāvalil - a series of tingles;

Lalitha - delicate;

Kapolam - cheeks [of Kriṣhṇa, or of Rādhhā];

Shramajala- strain, water [sweat];

Sakalakalevarayā - whose whole, body is, [such as i was];

aramadhanadhādh - utmost, love-god [passion,] by intemperance;

Athilolam - wholly, swinging - that Kriṣhṇa - let him take delight in suchlike me;

Sakhi ... Savikāram - as above.

I was tired then, hence my eyelids were slouching; his delicate cheeks too experienced a series of tingles; my whole body was wet with sweat, while his body too was highly vibrating with passionate intemperance; such were we when we first met. He, filled with hastiness for an exigent intimacy, met me. Oh friend! Why don't you make him to take delight in me even now, when my heart and mind are filled with love and longing for him?

Kokila - kokila, black singing bird;

Kalarava - inexplicable, cooing;

Kūjithayā - one who cooing like that [myself];

Jitha - one who conquered, mastered;

Śhlathhakusumā - slithered, flowers –flowers slipped from my braid;

Ākulakunthalayā - tousled, braid [my hair tousled];

Nakha - by nails;

likhitha - written, scratched;

Ghana - busty;

Sthana - bosoms; bhāram - i who had to bear the weight [of such bosoms and that of Kriṣhṇa on such bosoms];

Sakhi ... Savikāram - as above.

I was cooing and calling like a koel or a pigeon when that prodigy in every treatise of lovemaking was further examining the possibilities of taking further delight in me, while flowers from my braid slithered, hair tousled, and I was slumping under my nail-scratched buxomly bosoms upon which he is reposing. All this happened in the good old days. Oh friend! Why don't you make him to take delight in me even now, when my heart and mind are filled with love and longing for him?

My gemmy anklets that usually jingle with every footstep of mine are made jinglier when he copulated with me in different conjoining postures; and when my girdle-chain-set has fallen down in that act, and then he grasped my hair-bun to give a dole of kiss... Such as we were we met to the content of our hearts... Oh friend! Why don't you make him to take delight in me even now, when my heart and mind are filled with love and longing for him?

When I with my creeper-plant-like body was reposing on lawn, relaxing delightedly with union-time-joyousness, he too reposed on lawn as he was weakened and his lotus eyes were half-shut… but, he again sprang up as passion for me sprang up in him again… such as he was, Oh friend! Why don't you make him to take delight in me even now, when my heart and mind are filled with love and longing for him?

Let this song that contains the accounts of Kriṣhṇa's romantic frolics, as narrated by me, an ecstatic milkmaid called Rādhhā, and as penned by a worshipper of goddess Lakṡhmi called poet Jayadheva, broadly pass blessedness all round, for all of us… such as I am a well-wisher of one and all, I am wishing now to get Kriṣhṇa to my side…  Oh friend! Why don't you make him to take delight in me even now, when my heart and mind are filled with love and longing for him?

Chapter 5

Aṣhṭapadhī - 10

Tava Virahe Vanamaali

Passionate Kriṣhṇa

Rādhhā 's friend comes back to Rādhhā  and narrates how Kriṣhṇa is lovelorn as Rādhhā  left abruptly. The poet dwells on 'anguish in separation' Vipralambha Śhrungāra from the first chapter to tenth, and in eleventh and twelfth he unifies the hero and heroine of the song. That mood of anguish in separation will be heightened from now on

"Hè, dear Rādhhā , keeping love-god close to it,  the sandal-breeze blows there, and it is unfolding bunches of flowers, as though to rip the hearts of estranged lovers, and there alone that Kriṣhṇa is listlessly longing for you, lorn in your love.

Chapter 8

Vilakṣhmya Lakṣhmīpathim - Apologetic Krishna

Aṣhṭapadhī – 17: Yāhi Mādhhava

Composer: Jayadheva

Language: Sanskrit

Meanings-Word by word & Overall:www.sanskritdocuments.org/sites/giirvaani/.../gg/.../gg_8_frame.htm

Alignment, Diacriticals & consequent spelling changes, Language & grammar editing, if any and necessary, of existing meaning: Team Ambalam

Athha Katham Api Yaminīm Viniya

Smara-Śhara-Jarjarithapi Sa Prabhāthe |

Anuṇaya-Vachanam Vadhantham Agre

Praṇatham Api Priyam Aha Sabhyasūyam ||||

Rajani-Janitha-Guru-Jagara-Rāga-Kaṣhayitham Alasa-Niveśham |

Vahathi Nayanam Anurāgam Iva Sphum Uditha-Rasa-Bhiniveśham ||1||

Han Hari Yahi Mādhhava Yāhi Keśhava Mā Vadha Kaithava-Vadham |

Tham Anusara Sarasi-Ruha-Lochana Ya Thava Harathi Viṣhādham ||Dhhruvam||

Kajjala-Malina-Vilochana-Chumbana-Virachitha-Nilima-Rūpam  |

Daśhana-Vasanam Aruṇam Thava Kriṣhṇa Thanothi Thanor Anurūpam ||2||

Vapur Anuharathi Thava Smara-Sa~Ngara-Khara-Nakhara-Kṣhatha-Rekham |

Marakatha-Shakala-Kalitha-Kala-Dhautha-Liper Iva Rathi-Jaya-Lekham ||3||

Charaṇa-Kamala-Galadh-Alakthaka-Siktham Idham Thava Hridhayam Udharam |

Darśhayathīva Bahir Madhana-Dhrurna-Nava-Kisalaya-Parivāram ||4||

Dhaśhana-Padham Bhavadh-Adhhara-Gatham Mama Janayathi Chethasi Khedham |

Kathhayathi Kathham Adhhunāpi Mayā Saha Thava Vapur Etadh Abhedham ||5||

Bahir Iva Malinatharam Thava Kriṣhṇa ManosApi Bhaviṣhyathi Nūnam |

Kathham Athha Vachayase Janam Anugatham Asama-Shara-Jhvara-Dhunam ||6||

Bhramathi Bhavān Abalā-Kavalāya Vaneṣhu Kim Athra Vichithram |

Prathayathi Puthanikaiva Vadhu-Vadha-Nirdhaya-Bāla-Charithram ||7||

Śhrī-Jayadheva-Bhaṇitha-Rathi-Vanchitha-Khanḍitha-Yuvathi-Vilāpam |

Śhruṇutha Sudhhā-Madhhuram Vibudhha VibudhalayathosApi Dhurāpam ||8||

Meaning:

Kriṣhṇa appears before Rādhhā from out of thin air, on the next day morning. But Rādhhā, on seeing his appearance and apologetic look, starts her raves and raves at him.

Athha Katham Api Yaminīm Viniya

Smara-Śhara-Jarjarithapi Sā Prabhāthe |

Anuṇaya-Vachanam Vadhantham Agre

Praṇatham Api Priyam Aha Sabhyasūyam ||||

Athha - then;

Katham+Api - somehow, even;

Yaminīm - night;

Viniya - (somehow) spent;

Smara+Śhara+Jarjaritha+api - love-god's, by arrows, battered, even though;

Sā - she; Prabhāthe - in morning;

Agre - before (her Kriṣhṇa appeared in her fore);

Anuṇaya+Vachanam+Vadhantham - with apologetic, words, speaking;

Praṇatham+Api - praying with adjoined palms, even though;

Priyam - to her lover (Kriṣhṇa);

Aha - (she) spoke;

Sabhyasuyām - with jealousy (petulantly.)

Then, somehow on spending an un-spendable night with her problem of aloneness, and even though she is battered by the arrows of love-god, but in the morning when somehow Kriṣhṇa revealed himself in her fore, and though he started speaking with apologetic words, and even with his palm-fold, she that Rādhhā spoke to him petulantly.

Rajani-Janitha-Guru-Jagara-Rāga-Kaṣhayitham Alasa-Niveśham |

Vahathi Nayanam Anurāgam Iva Sphum Uditha-Rasa-Bhiniveśham ||1||

Han Hari Yahi Mādhhava Yāhi Keśhava Mā Vadha Kaithava-Vadham |

Tham Anusara Sarasi-Ruha-Lochana Ya Thava Harathi Viṣhādham ||Dhhruvam||

Rajani+Janitha - night, caused;

Guru+Jagara - by much, waking;

Rāga - reddened; Kaṣayitam - a little reddened (your eyes);

Alasa+ Niveśham - weakly, wink;

Uditha+Rasa+Bhiniveśham - sprang up, in romance, expertise;

thava+Nayanam+sphuṭam+vahathi - your, eyes, clearly, bear (those marks);

Anurāgam+Iva - interestedness, as though;

Yahi+ Mādhhava - away with you, Kriṣhṇa;

Mā+dhhava+ Kaithava+ Vadham - don't, tell, feign, dialogue;

Sarasiruha+Lochana - oh, lotus-like, eyed one;

Tham+Anusara - her, tag along;

Yāhi+ Keśhava - be off, Keśhava;

Ya+Harathi+vişhādham - she who, takes away, your woe;

Hari - oh god, oh god.

Your buoyant eyes that ever express your expertise in your self-indulgence in romances, are now weakly winking, and reddened both by the night-caused nightlong waking, and by the reddish colour of facial-cosmetic of your lover, hence they now clearly bear the mark of your interestedness in her alone. Away with you,Oh Kriṣhṇa! You with your lotus-like luring eyes. Tag along her alone, who takes your woe away. Be off! Keśhava, and tell no feign dialogue to me, Oh God! Oh God!

Kajjala-Malina-Vilochana-Chumbana-Virachitha-Nilima-Rūpam  |

Daśhana-Vasanam Aruṇam Thava Kriṣhṇa Thanothi Thanor Anurūpam ||2||

Hè Kriṣhṇa - he, Kriṣhṇa;

Kajjala+Malina - by mascara, besmirched;

Vilochana+ Chumbana - eyes, by kissing;

Virachita+Nilima+Rūpam - besmeared, blackness, air of;

Daśhana+Vasanam - teeth, covering (lips);

Aruṇam - reddish (lips);

Thava+Thanothi - to your, (colour of) body, enriching;

Oh Kriṣhṇa! By kissing her eyes that are besmirched by mascara, some blackness is besmeared on your reddish lips, thus those lips with an air of blackness are enriching your body colour, that is already blackish. Go off!

Vapur Anuharathi Thava Smara-Sangara-Khara-Nakhara-Kṣhatha-Rekham |

Marakatha-Shakala-Kalitha-Kala-Dhautha-Liper Iva Rathi-Jaya-Lekham ||3||

Thava+Vapur - your, body;

Smara+ Sangara - love-god's, war (warring in love-war); 

Khara + Nakhara+Kṣhatha+Rekham - sharp, fingernail, chafes, streaks;

Marakatha+shakala - on emeralds, pieces of;

Kalitha - carved;

Kala-Dhautha-Liper - with golden streaks;

Rathi-Jaya-Lekham - in love affairs, of victory (merit) certificate;

Anuharathi +Iva - resemble, like.

Your body is chafed with streaks of sharp fingernails, and they resemble the golden streaks carved on the pieces of emeralds, in your certificate of merit in love affairs... Then you must be warring in love-war. Go off!

Charaṇa-Kamala-Galadh-Alakthaka-Siktham Idham Thava Hridhayam Udharam |

Darśhayathīva Bahir Madhana-Dhrurna-Nava-Kisalaya-Parivāram ||4||

Idham+Udharam - this, broad (or, bounteous);

Thava+Hridhayam - your, chest;

Charaṇa+ Kamala - from feet, lotuses;

Galadh+ Alakthaka+Siktham - slid, red feet-paint, wet with;

Madhana+Dhruna - love-god, (called) tree;

Nava+Kisalaya+Parivāram - new, tender leaves, whorled with;

Darśhayathi+iva+ Bahir - showing, as though, at outside.

Because this bounteous chest of yours is wet with the red feet-paint slid from some lotus-footed girl, it appears like an all-embracing tree like love-god in side that chest, but now showing itself from out of that chest, whorled with new tender leaves. So you must be at love-war. Go off!

Dhaśhana-Padham Bhavadh-Adhhara-Gatham Mama Janayathi Chethasi Khedham |

Kathhayathi Kathham Adhhunāpi Mayā Saha Thava Vapur Ethadh Abhedham ||5||

Bhavadh+Adhara+Gatham - your, lip, gone in;

Daśhana+Padham - tooth, foot (bite);

Mama +Chethasi+Janayathi+Khedham - in my, heart, causing, agony;

Api+adhhuna - even, now

Thava+ Vapur - your, body;

Mayā+Saha - me, along with;

ethath - all this (said, alleged singleness);

A+bhedham - un-separated;

Kathham+ Kathhayathi - how, says it.

The tooth-bite abiding on your lip is causing agony in my heart, even now how can my heart say to me that we are allegedly un-separated, bodily; Go off!

Bahir Iva Malinatharam Thava Kriṣhṇa ManosApi Bhaviṣhyathi Nūnam |

Kathham Athha Vachayase Janam Anugatham Asama-Śhara-Jhvara-Dhunam ||6||

Thava+Mano+Api - your, heart, even;

bahih+iva - outside, like (like your body);

Malina+ tharam - grimy, higher in degree (grimier);

nunam - definitely;

Bhaviṣyathi - will be (seems to be);

Athha - why because (otherwise);

Asama+ Śhara - love-god's, by arrows;

Jhvara - with fever;

dhunam - agonized;

Anugatham+janam - following, people (your adherents, admirers);

Kathham+Vanchayase - how, you let down.

Even your heart seems to be grimier than your begrimed body, definite is that, otherwise how can you let down your own admirers, agonized in the fever caused by love-god's arrows? Away with you Kriṣhṇa!

Bhramathi Bhavān Abalā-Kavalāya Vaneṣhu Kim Athra Vichithram |

Prathayathi Pūthanikaiva Vadhu-Vadhha-Nirdhaya-Bāla-Charithram ||7||

Bhavān - you are;

Bhramathi - you roam;

Vaneṣhu - in forests (in Brundhāvan);

Abalā+ Kavalāya - womenfolk, to wolf down;

Kim+Athra+Vichithram - what, therein, surprise (unsurprising it is);

Pūthanikā+iva - pūthanā (the demoness,) as with;

Vadhu+vadhha - women, in killing;

Nirdhaya - merciless; Bāla+Charithram+Prathayathi - childhood, legends, explains.

You roam in Vrindhāvana only to wolf down womenfolk, unsurprising is that, as with the killing of demoness pūthanā in your childhood. Merciless legends of your childhood explain that you are a women killer. Away with you!

Śhrī-Jayadheva-Bhaṇitha-Rathi-Vanchitha-Khanḍitha-Yuvathi-Vilāpam |

Śhruṇutha Sudhhā-Madhhuram Vibudhha VibudhalayathosApi Dhurāpam ||8||

Hè Vibudhha - oh, literati;

Sudhhā+Madhhuram - (than) nectar, nectareous;

Vibudhha + Alayathaha+api - abode of gods, even from;

Dur+āpam - impossible to get;

Jayadheva+Bhaṇitha+ Śhrī - by Jayadheva, said, promising (song);

Rathi+vanchitha - from intimacy, cheated;

Khanḍitha+ Yuvathi+ Vilāpam - disregarded, heroine's, lament;

Śhruṇutha - be listened.

Oh literati! That promising song said by Jayadheva, that which is nectarous than nectar, and an impossible one to get even from the heaven, and that says about 'a disregarded heroine' cheated from intimacy, may be listened.

Chapter 7

Nāgara Nārāyaṇam

Aṣhṭapadhī -

Yāmihe Kamiha Śharaṇam

Composer: Jayadheva

Language: Sanskrit

Meanings-Word by word &Overall: www.sanskritdocuments.org/sites/giirvaani/giirvaani/gg/sarga7/gg_7_frame.htm

Alignment, Diacriticals & consequent spelling changes, Language & grammar editing, if any and necessary, of existing meaning: Team Ambalam

Athrānthare Cha Kulaṭā-Kula-Varthma-Ghātha

Sanjātha-Pāthaka Iva Sphuṭa-Lānchana-Śhrīh |

Vrindhāvanāntharam Adhīpayadh Amśhu-Jālair

Dhik-Sundharī-Vadhana-Chandana-Bindhur Indhuh ||1||

Prasarathi Śhaśha-Dhhara-Bimbe Vihitha-Vilambe Cha Mādhhave Vidhuurā |

Virachitha-Vividhha-Vilāpam Sāparithāpam Chakārochchaih ||2||

Kathhitha-SamayesApi Harir Ahaha Na Yayau Vanam |

Mama Viphalam Idham Amala-Rūpam Api Yauvanam |

Yāmi He Kam Iha Śharaṇam Sakhi-Jana-Vachana-Vanchithā ||Dhruvam||1||

Yadh-Anugamanāya Niśhi Gahanam Api Śhīlitham |

Thena Mama Hrudhayam Idham Asama-Śhara-Kīlitham ||2||

Mama Maraṇam Eva Vāram Ithi Vitatha-Kethana |

Kim Iha Vishahami Virahanalam Achethana ||3||

Mam Ahaha Vidhurayathi Madhhura-Madhhu-Yāmini |

Kapi Harim Anubhavathi Krītha-Sukrītha-Kāmini ||4||

Ahaha Kalayami Valayadhi-Mani-Bhūśhaṇam |

Hari-Viraha-Dhahana-Vahanena Bahu-Dhūṣhanam ||5||

Kusuma-Sukumāra-Thanum Athanu-Śhara-Lilaya |

Srag Api Hridhi Hanthi Mam Athiviṣhama-Shilaya ||6||

Aham Iha Nivasami Na-Gaṇitha-Vana-Vethasa |

Smarathi Madhhusūdhano Mām Api Na Chethasa ||7||

Hari-Charaṇa-Śharaṇa-Jayadheva-Kavi-Bharathi |

Vasathu Hridhi Yuvathir Iva Komala-Kalāvathi ||8||

Meaning:

Athrānthare Cha Kulaṭā-Kula-Varthma-Ghātha

Sanjātha-Pāthaka Iva Sphuṭa-Lānchana-Śhrīh |

Vrindhāvanāntharam Adhīpayadh Amśhu-Jālair

Dhik-Sundharī-Vadhana-Chandana-Bindhur Indhuh

Athrānthare Cha - Atra antare ca- in the, meanwhile, even;

Kulaṭā-Kula - by fancy women, flocks;

Varthma - their pathway;

Sanjātha-Pāthak -  by spoiling, obstructing caused thereby;

Sphuța Lānchana - clear badge [of infamy];

Śhrīh - having brilliance;

Dhik sundharī - [eastern] direction, called beauty;

Vadana chandana bindhur - on [her] face, sandal, a blob of;

Induh - moon;

Amśhu-Jālair - moonbeams, with laces of;

Vrindhāvanāntharam Adhīpayadh - brindavan, interior of, brightened up.

In the meanwhile, he who bears a brilliant but clear badge of infamy on his face, for he incurred sin by obstructing the pathways of flocks of sneaky fancy women, that moon brightened up the interiors of brindavan with the laces of his moonbeams, himself staying like the sandal-blob on the forehead of the beauty, called the eastern sky.

Prasarathi Śhaśha-Dhhara-Bimbe Vihitha-Vilambe Cha Mādhhave Vidhurā |

Virachitha-Vividhha-Vilāpam Sāparithāpam Chakārochchaih ||2||

Śhaśha-Dhhara-Bimbe - rabbit, bearing, discoid [moon];

Prasarathi - while emanating;

Mādhhave - by flute bearing Kriṣhṇa, cha -also;

Vihitha vilambe - imposed, tardiness [belatedly];

Vidhurā - by the anguished Rādhhā;

Virachitha-Vividhha-Vilāpam - made [underwent,] many a, heartache;

Sāparithāpam Chakārochchaih - utter, anguish, made [underwent.]

While that discoid moon bearing a rabbit is sprightly coming, and while this Kriṣhṇa bearing a flute is not coming belatedly, she that anguished Rādhhā, underwent many a heartache, and an utter anguish.

Kathhitha-Samayes Api Harir Ahaha Na Yayau Vanam |

Mama Viphalam Idham Amala-Rūpam Api Yauvanam |

Yāmi He Kam Iha Śharaṇam Sakhi-Jana-Vachana-Vanchithā ||Dhruvam||1||

Kathhitha-Samayes Api - on said, time, even;

Vanam na yayau - to brindavan, not, arrived;

Mama idham yauvanam - my, this, youth;

Amala - not, blemished,

Rūpam - beauty, api -even;

Viphalam - wasteful;

Yāmi He Kam Iha Śharaṇam - here [in forest] whom, as shelter [haven,] I can go; [respite];

Aham - i am;

Sakhi-Jana-Vachana-Vanchithā - by friends, flocks of, words [cajolery,] befooled.

Kriṣhṇa didn't turn up on the appointed time at brindavan, wasteful is my youth and unblemished beauty without him, whom I can approach as a haven in this forest... Aha ha, those girl flocks cajolery be fooled me.

Yadh-Anugamanāya Niśhi Gahanam Api Śhīlitham |

Thena Mama Hrudhayam Idham Asama-Śhara-Kīlitham ||2||

Yadh - for which [Kriṣhṇa];

Anugamanāya - to go in tow;

Niśhi - in night;

Gahanam Api Śhīlitham - forest, even though, is searched;

Thena - by him [Kriṣhṇa];

Mama Hrudhayam Idham - mine, this, heart;

Asama-Śhara-Kīlitham - by love-god's, [unseen] arrow impaled; [respite]

Aha ha - ah, aha; aham - i am;

For which unseen Kriṣhṇa Ī have searched the forest even though it is night, he alone became an unseen arrow of still unseen love-god, and impaling this heart of mine. Aha ha! Those girl flocks cajolery be fooled me.

Mama Maraṇam Eva Vāram Ithi Vitatha-Kethana |

Kim Iha Vishahami Virahanalam Achethana ||3||

Ithi Vitatha-Kethana - utterly, shattered, [this] preset place;

Achethana -  I am;

Virahanalam - disunion, fire of [put to the torch];

Kim Iha Vishahami - why, here, I am tolerating, put up with;

Mama Maraṇam Eva Vāram - to me, death, alone, best.

Utterly shattered is the worth of this preset place, thus I too am spiritless, and then why should I put up with this place that is putting me to the torch of disunion, thus death alone is best to me.

Mam Ahaha Vidhurayathi Madhhura-Madhhu-Yāmini |

Kapi Harim Anubhavathi Krītha-Sukrītha-Kāmini ||4||

Madhhura-Madhhu-Yāmini - pleasant, spring's, night;

Mam Ahaha Vidhurayathi - me, verily, excruciating;

Krītha-Sukrītha - lucky girl by her merit in last birth;

Kāmini - voluptuous girl;

Harim Anubhavathi - with Kriṣhṇa, making merry

Though this night of spring is pleasant it is excruciating me. Maybe some lucky and merited voluptuous girl might be making merry with Kriṣhṇa.

Ahaha Kalayami Valayadhi-Mani-Bhūśhaṇam |

Hari-Viraha-Dhahana-Vahanena Bahu-Dhūṣhanam ||5||

Ahaha kalayami Aha ha, I lost it!

Valayadhi- bicep-let, and others;

Mani-Bhūśhaṇam - gem-studded, jewellery;

Hari-Viraha-Dhahana-Vahanena - for Kriṣhṇa, anguish, blaze, carrying;

Kalayami - I reckon;

Bahu-Dhūṣhanam - highly, contemptible; aha ha- aha, ha.

These arm-lets and every other gem-studded jewellery I wear, bears a blaze of my anguish for Kriṣhṇa, hence I reckon them as highly contemptible wear. Ah ha!

Note: It is really worthless to decorate themselves, if unseen by their lovers.- Sthrīnām priya āloka phalo hi veśhah. After all, the result of these cosmetics are, when seen by her dear one.

Kusuma-Sukumāra-Thanum Athanu-Śhara-Lilaya |

Srag Api Hridhi Hanthi Mam Athiviṣhama-Shilaya ||6||

Kusuma – flower;

Sukumāra – delicate; 

Thanum - bodied such as I am;

Athanu- bodiless (love-god);

Śhara-Lilaya - arrows, by sport of;

Srag api - garland, even I am wearing along with ornaments for Kriṣhṇa;

Hridhi - heart,

Hanthi - rending.

Mam - my; 

Athiviṣhama-Shilaya - highly poisonous in their import has an effect;

Even the garland I wear is rending my heart, whose flower like delicate body is already rent by sporting arrows of love-god, that have a poisonous effect. The arrows of love-god rend the soul not body, but it is still better god for love that is rending the heart.

Note: Apūrva iyam dhanur vidhyā manmathasya mahāthmanah | śharīram akṣhatham krīthvā bhinathi anthargatham manah || Though the arrows tortured her body, her own garland has become a poisonous cosmetic, for it has a bearing upon Kriṣhṇa.

Aham Iha Nivasami Na-Gaṇitha-Vana-Vethasa |

Smarathi Madhhusūdhano Mām Api Na Chethasa ||7||

Aham Iha Nivasami - i am, here;

Na-Gaṇitha-Vana-Vethasa - not, counting, vetasa tree, lingering;

Smarathi - reminisces;

Madhhusūdhano - Kriṣhṇa;

Mām - me;

Na - not,

Chethasa - by bosomeven;

I am lingering at this excitatory vethasa tree, uncaring for its exciting effect, but that Kriṣhṇa doesn't reminisce me, even in his bosom.

Hari-Charaṇa-Śharaṇa-Jayadheva-Kavi-Bharathi |

Vasathu Hridhi Yuvathir Iva Komala-Kalāvathi ||8||

Hari – Kriṣhṇa;

Charaṇa - at feet;

Śharaṇa - resorting to;

Jayadheva kavi - Jayadheva, poet's,

Bharathi - idiolect;

Vasathu Hridhi - let her abide in bosoms;

Yuvathir Iva - damsel, like;

Komala - fine-limbed;

Kalāvathi - well-versed in arts.

Let the idiolect of poet Jayadheva, whose only resort is at the feet of Kriṣhṇa, be abiding in the bosoms of all, like an exquisite, fine-limbed damsel, well-versed in (sixty-four) arts.

Note: idiolect - the form of language used by an individual person - the language. Used in here is peculiarly particular to Jayadheva. Neither earlier poets, nor the later could use such a complicatedly delicate construction.