निशारम्भलीलाभावनावर्णनNiśārambhalīlābhāvanāvarṇanam

Then, in the beautiful Vṛndāvana, while the spring breeze from the Malaya mountains was blowing, the night arrived, as if desiring to see Govinda.

atha bṛndāvane ramye vasantamalayānile |

govindaṃ draṣṭukāmeva rajanī samupāgatā ||1||

atha -- then

bṛndāvane -- in Vṛndāvana

ramye -- beautiful

vasanta-malaya-anile -- (while) the spring breeze from the Malaya mountains (was blowing)

govindam -- Govinda

draṣṭu-kām-iva -- as if desiring to see

rajanī -- the night

samupāgatā -- arrived

atha vasantamalayānile ramye bṛndāvane, rajanī govindam draṣṭukām iva samupāgatā.

• The verse employs utprekṣā (poetic conceit), personifying the night as a devotee longing for the vision of Govinda.
• The mention of the "Malaya breeze" sets a romantic and auspicious atmosphere, typical of the Vṛndāvana-līlā setting.

At that time, in Rādhā's grove, her friends, Citrā and others, themselves adorned with clothes and ornaments, joyfully decorated Rādhikā.

tadā nikuñje rādhāyāḥ sakhyaścitrādayo mudā |

rādhikāṃ bhūṣayāmāsurvastrābharaṇabhūṣitāḥ ||2||

tadā -- at that time

nikuñje -- in the grove

rādhāyāḥ -- of Rādhā

sakhyaḥ -- friends

citrādayaḥ -- Citrā and others

mudā -- with joy

rādhikām -- Rādhikā

bhūṣayāmāsuḥ -- decorated

vastra-ābharaṇa-bhūṣitāḥ -- adorned with clothes and ornaments

tadā nikuñje rādhāyāḥ sakhyaḥ citrādayaḥ vastra-ābharaṇa-bhūṣitāḥ santaḥ mudā rādhikām bhūṣayāmāsuḥ.

• The verse highlights the intimate service (sevā) performed by the sakhīs, emphasizing their role in enhancing Rādhā’s beauty for Kṛṣṇa.
• The term 'mudā' (with joy) underscores that the act of decorating is not merely a chore but a source of transcendental bliss for the companions.

Campakalatā lovingly dressed Rādhikā in a silk garment marked with swans, and Citrā [dressed her in] a breast-band.

haṃsāṅkitakṣaumavastraṃ dhārayāmāsa rādhikām |

priyeṇa campakalatā citrāñca stanapaṭṭikām ||

haṃsāṅkita -- marked with swans

kṣauma-vastram -- silk garment

dhārayāmāsa -- caused to wear / dressed

rādhikām -- Rādhikā

priyeṇa -- lovingly

campakalatā -- Campakalatā

citrā -- Citrā

ca -- and

stanapaṭṭikām -- breast-band

campakalatā priyeṇa rādhikām haṃsāṅkitakṣaumavastraṃ dhārayāmāsa, citrā ca stanapaṭṭikām.

• The verse highlights the intimate service (sevā) performed by the sakhīs (friends) for Rādhikā.
• The mention of "haṃsāṅkita" (swan-marked) silk reflects the aesthetic and refined nature of the divine attire in the Vraja-līlā.

They placed earrings on her ears, a fresh pearl on the tip of her nose, a pāritathyā ornament on her forehead, and a crest-jewel in her braided hair.

karṇayoḥ kuṇḍale caiva nāsāgre navamauktikam |

lalāṭe pāritathyāñca veṇyāṃ cūḍāmaṇiṃ tathā ||4||

karṇayoḥ -- in the ears

kuṇḍale -- two earrings

ca -- and

eva -- indeed

nāsāgre -- on the tip of the nose

navamauktikam -- a fresh/new pearl

lalāṭe -- on the forehead

pāritathyāṃ -- a pāritathyā ornament

ca -- and

veṇyāṃ -- in the braided hair

cūḍāmaṇiṃ -- a crest-jewel

tathā -- also

(तस्याः) कर्णयोः कुण्डले, नासाग्रे नवमौक्तिकम्, ललाटे पारितथ्याम्, तथा वेण्यां चूडामणिं (च दधुः) ।

• The verse describes the traditional śṛṅgāra (adornment) of a goddess or noble lady, detailing specific jewelry for specific body parts.
• Pāritathyā is a rare term for a forehead ornament, often associated with auspicious bridal or divine decoration.

They placed a lalantikā necklace on her throat, a pearl necklace on her chest, armlets on her upper arms, and bangles on her hands.

kaṇṭhe lalantikāñcaiva muktāhārañca vakṣasi |

āvāpakañca bhujayoḥ karayoḥ kaṅkaṇāni ca ||5||

कण्ठे -- on the throat

ललन्तिका -- a lalantikā (pendant necklace)

च -- and

एव -- indeed

मुक्ताहारम् -- a pearl necklace

च -- and

वक्षसि -- on the chest

आवापकम् -- an armlet

च -- and

भुजयोः -- on the upper arms

करयोः -- on the hands (wrists)

कङ्कणानि -- bangles

च -- and

कण्ठे ललन्तिका च एव, वक्षसि मुक्ताहारं च, भुजयोः आवापकं च, करयोः कङ्कणानि च (अभूषयन्) ।

• The term 'lalantikā' refers to a specific type of ornamental necklace or pendant that hangs low.
• The verse follows the traditional Indian aesthetic description of 'śṛṅgāra' (adornment), detailing the systematic decoration of the body from the neck downwards.

The surrounding sakhīs joyfully adorned her with them. And those ornaments, by contact with Rādhā's limbs, themselves became adorned.

sānandaṃ dhārayāmāsuḥ sakhyaḥ parivṛtāśca tām |

tāni rādhāṅgasaṃyogādabhavan maṇḍitāni ca ||6||

sānandam -- joyfully

dhārayāmāsuḥ -- made her wear / placed upon her

sakhyaḥ -- the female friends

parivṛtāḥ -- surrounding

ca -- and

tām -- her

tāni -- those (ornaments)

rādhā-aṅga-saṃyogāt -- due to contact with Rādhā's limbs

abhavan -- became

maṇḍitāni -- adorned / decorated

ca -- and

parivṛtāḥ sakhyaḥ tām sānandam dhārayāmāsuḥ | tāni ca rādhāṅgasaṃyogāt maṇḍitāni abhavan ||

• The verse highlights the principle of bhakti where the object (ornament) gains beauty and significance only through its association with the Divine (Rādhā).
• The reflexive transformation (maṇḍitāni abhavan) suggests that Rādhā’s beauty is so radiant that it bestows grace upon the inanimate objects touching her.

Śaśilekhikā applied red lac dye to her feet, kohl to her eyes, and a tilaka mark on her forehead.

lākṣā tasyāścaraṇayoḥ netrayoḥ kajjalaṃ tathā |

lalāṭe tilakañcaiva lilekha śaśilekhikā ||7||

लाक्षा (lākṣā) -- red lac dye

तस्याः (tasyāḥ) -- her

चरणयोः (caraṇayoḥ) -- on the two feet

नेत्रयोः (netrayoḥ) -- on the two eyes

कज्जलं (kajjalam) -- kohl/collyrium

तथा (tathā) -- and

ललाटे (lalāṭe) -- on the forehead

तिलकञ्चैव (tilakañcaiva) -- and a tilaka mark

लिलेख (lilekha) -- painted/applied

शशिलेखिका (śaśilekhikā) -- Śaśilekhikā

शशिलेखिका तस्याः चरणयोः लाक्षां, नेत्रयोः तथा कज्जलं, ललाटे तिलकञ्चैव लिलेख ।

• The verb 'lilekha' (from the root 'likh') literally means 'to write' or 'to scratch', but in the context of cosmetics, it denotes the artistic application of pigments.
• The verse highlights the traditional 'ṣoḍaśa śṛṅgāra' (sixteen adornments) of a woman, emphasizing the aesthetic preparation of the body.

Thus, joyfully adorned by her beloved friends, Rādhikā, awaiting the Lord of her life, was present in the bower.

evaṃ priyābhiḥ sānandaṃ rādhikā samalaṅkṛtā |

pratīkṣamāṇā prāṇeśaṃ nikuñje samupasthitā ||8||

evaṃ -- thus

priyābhiḥ -- by (her) beloved friends

sānandaṃ -- joyfully

rādhikā -- Rādhikā

samalaṅkṛtā -- adorned

pratīkṣamāṇā -- awaiting

prāṇeśaṃ -- the Lord of (her) life

nikuñje -- in the bower/grove

samupasthitā -- arrived/present

evaṃ priyābhiḥ sānandaṃ samalaṅkṛtā rādhikā, prāṇeśaṃ pratīkṣamāṇā nikuñje samupasthitā.

• The term 'priyābhiḥ' refers to the sakhīs (confidantes) who assist in the divine pastimes of Rādhā and Kṛṣṇa.
• 'Prāṇeśa' (Lord of life) highlights the intensity of Rādhikā’s devotion and her singular focus on Kṛṣṇa.

Then Mādhava, having eaten sweet rice with Nanda, arrived at Vṛndāvana at the start of the night, his flute resounding.

bhuktvā tataḥ pāyasānnaṃ nandena saha mādhavaḥ |

bṛndāvanaṃ niśārambhe raṇadveṇurupāgamat ||9||

bhuktvā -- having eaten

tataḥ -- then

pāyasānnaṃ -- sweet rice (milk-rice)

nandena -- with Nanda

saha -- along with

mādhavaḥ -- Mādhava (Krishna)

bṛndāvanaṃ -- to Vṛndāvana

niśārambhe -- at the beginning of the night

raṇadveṇuḥ -- with a resounding flute

upāgamat -- approached/arrived

tataḥ mādhavaḥ nandena saha pāyasānnaṃ bhuktvā, niśārambhe raṇadveṇuḥ bṛndāvanaṃ upāgamat.

• The term 'pāyasānna' refers to a traditional preparation of rice cooked in milk and sugar, often associated with festive meals.
• 'Raṇadveṇuḥ' functions as an adjective phrase describing Krishna, highlighting the auditory atmosphere of his arrival in Vṛndāvana.

Having seen Kṛṣṇa, who enchants the three worlds, all the women of Vraja rose up simultaneously and served their Lord.

trijaganmohanaṃ kṛṣṇamavalokya vrajastriyaḥ |

uttasthuryugapatsarvāḥ patiṃ paryacaraṃstadā ||10||

trijagat-mohanam -- the enchanter of the three worlds

kṛṣṇam -- Kṛṣṇa

avalokya -- having seen

vraja-striyaḥ -- the women of Vraja

uttasthūḥ -- rose up

yugapat -- simultaneously

sarvāḥ -- all

patim -- (their) Lord

paryacaran -- served/attended upon

tadā -- then

trijaganmohanaṃ kṛṣṇaṃ avalokya sarvāḥ vrajastriyaḥ yugapat uttasthuḥ, tadā patim paryacaran.

• trijaganmohanaṃ kṛṣṇaṃ -- the object of seeing
• avalokya -- the action preceding rising
• sarvāḥ vrajastriyaḥ -- the subjects
• yugapat -- adverb of time/manner
• uttasthuḥ -- the first action
• tadā -- adverb of time
• patim -- the object of service
• paryacaran -- the second action

• The term 'trijaganmohanam' highlights Kṛṣṇa's universal attractiveness, which transcends local boundaries.
• The word 'patim' (Lord/Husband) reflects the 'mādhurya-bhāva' (conjugal mood) of the Vraja-gopīs toward Kṛṣṇa.

Then the friend Viśākhā, taking hold of Hari's feet, offered water for washing them, which was both fragrant and cool.

sugandhena ca śītena salilena tadā sakhī |

viśākhā pradadau pādyaṃ gṛhṇantī caraṇau hareḥ ||

sugandhena -- with fragrant

ca -- and

śītena -- cool

salilena -- with water

tadā -- then

sakhī -- the friend (gopī)

viśākhā -- Viśākhā

pradadau -- offered

pādyaṃ -- water for washing feet

gṛhṇantī -- taking/holding

caraṇau -- the two feet

hareḥ -- of Hari (Kṛṣṇa)

tadā sakhī viśākhā sugandhena ca śītena salilena hareḥ caraṇau gṛhṇantī pādyaṃ pradadau.

• The act of washing the Lord's feet (pādya) is one of the primary limbs of devotional service (bhakti-upacāra).
• Viśākhā is one of the principal aṣṭa-sakhīs, representing the pinnacle of selfless service to the Divine Couple.

Candralekhikā adorned Govinda with a yellow silk garment, an upper cloth, a golden waist-thread, and a girdle.

pītāmbaraṃ cottarīyaṃ kaṭisūtraṃ hiraṇmayam |

kāñcīṃ ca dhārayāmāsa govindaṃ candralekhikā ||

pītāmbaraṃ -- yellow garment

ca -- and

uttarīyam -- upper cloth

kaṭisūtraṃ -- waist-thread/girdle

hiraṇmayam -- golden

kāñcīṃ -- belt/ornamental girdle

ca -- and

dhārayāmāsa -- caused to wear/adorned

govindaṃ -- Govinda (Krishna)

candralekhikā -- Candralekhikā (the character)

candralekhikā govindaṃ pītāmbaraṃ uttarīyaṃ hiraṇmayaṃ kaṭisūtraṃ kāñcīṃ ca dhārayāmāsa.

• The verse describes the ritualistic dressing (śṛṅgāra) of the deity, a common theme in Bhakti literature.
• The term 'dhārayāmāsa' (causative) highlights the active role of the devotee in the service of the Lord.

Lalitā placed golden rings, inlaid with cat's eye gems, even upon the fingers of Kṛṣṇa's hands.

sauvarṇānyaṅgulīyāni vaiḍūryakhacitāni ca |

dhārayāmāsa lalitā kṛṣṇahastāṅgulīṣvapi ||13||

sauvarṇāni -- golden

aṅgulīyāni -- rings

vaiḍūrya-khacitāni -- inlaid with cat's eye gems

ca -- and

dhārayāmāsa -- placed/caused to wear

lalitā -- Lalitā

kṛṣṇa-hastāṅgulīṣu -- on the fingers of Kṛṣṇa's hands

api -- also/even

lalitā sauvarṇāni vaiḍūryakhacitāni aṅgulīyāni ca kṛṣṇahastāṅgulīṣu api dhārayāmāsa.

• The term 'vaiḍūrya' refers to the cat's eye gem (chrysoberyl), highly prized in classical Indian jewelry.
• The use of 'api' (even/also) emphasizes the intimate and meticulous nature of Lalitā's service in adorning Kṛṣṇa.

Citrā adorned Mādhava with necklaces made of various gems, with a pair of bracelets and bangles, and with a pair of earrings.

nānā-ratna-mayair hāraiḥ kaṭakābhyāñ ca kaṅkaṇaiḥ |

kuṇḍalābhyāṃ tathā citrā bhūṣayām āsa mādhavam ||14||

nānā-ratna-mayaiḥ -- made of various gems

hāraiḥ -- with necklaces

kaṭakābhyām -- with a pair of bracelets

ca -- and

kaṅkaṇaiḥ -- with bangles

kuṇḍalābhyām -- with a pair of earrings

tathā -- also/in the same way

citrā -- Citrā (the maiden)

bhūṣayām āsa -- adorned

mādhavam -- Mādhava (Kṛṣṇa)

citrā nānā-ratna-mayaiḥ hāraiḥ, kaṭakābhyāṃ kaṅkaṇaiḥ ca, tathā kuṇḍalābhyāṃ mādhavam bhūṣayām āsa.

• The verse highlights the act of śṛṅgāra (adorning the deity), a common devotional practice in Kṛṣṇa-bhakti literature.
• The use of dual forms (kaṭakābhyām, kuṇḍalābhyām) emphasizes the symmetry of the ornaments placed upon the Lord.

Rādhā, the very embodiment of love for Kṛṣṇa, placed fragrant oil upon the Lord’s head and arranged His hair.

tailaṃ rādhā parimalaṃ nidhāya śirasi prabhoḥ |

keśaprasādhanaṃ cakre kṛṣṇapraṇayarūpiṇī ||15||

tailam -- oil

rādhā -- Rādhā

parimalam -- fragrant

nidhāya -- having placed

śirasi -- on the head

prabhoḥ -- of the Lord

keśaprasādhanam -- hair-grooming/arrangement

cakre -- performed

kṛṣṇapraṇayarūpiṇī -- the embodiment of love for Kṛṣṇa

kṛṣṇapraṇayarūpiṇī rādhā prabhoḥ śirasi parimalaṃ tailaṃ nidhāya keśaprasādhanam cakre.

• The term 'kṛṣṇapraṇayarūpiṇī' emphasizes that Rādhā’s actions are not merely service, but the physical manifestation of her divine love.
• The act of grooming the Lord's hair (keśaprasādhana) highlights the intimate, domestic nature of the devotional service (sevā) performed by Rādhā.

She placed Mālatī flowers in place of anklets, Mallikā flowers on His wrists, Karṇikāra flowers on His ears, Mandāra flowers on His arms, Aśoka flowers on His head, and a lotus in His lotus-hand.

mālatīṃ nūpurasthāne mallikāṃ maṇibandhayoḥ |

karṇayoḥ karṇikārañca mandāraṃ bhujayorapi |

aśokaṃ cottamāṅge'pi kamalaṃ ca karāmbuje ||16||

mālatīm -- Mālatī flowers

nūpurasthāne -- in the place of anklets

mallikām -- Mallikā flowers

maṇibandhayoḥ -- on the wrists

karṇayoḥ -- on the ears

karṇikāram -- Karṇikāra flowers

ca -- and

mandāram -- Mandāra flowers

bhujayoḥ -- on the arms

api -- also

aśokam -- Aśoka flowers

ca -- and

uttamāṅge -- on the head

api -- also

kamalam -- a lotus

ca -- and

karāmbuje -- in the lotus-hand

(sā) nūpurasthāne mālatīṃ, maṇibandhayoḥ mallikāṃ, karṇayoḥ karṇikārañca, bhujayoḥ api mandāraṃ, uttamāṅge api aśokaṃ, karāmbuje kamalaṃ ca (nyadhāt).

• nūpurasthāne: place of anklets
• maṇibandhayoḥ: wrists
• uttamāṅge: head (the highest limb)
• karāmbuje: lotus-hand

• The verse describes the elaborate floral ornamentation of the Lord, highlighting the aesthetic devotion of the Gopis.
• The term 'karāmbuje' (lotus-hand) employs a metaphor where the hand is compared to a lotus, further emphasizing the divine beauty of the Lord's form.

Thus, Campakalatā then reverently adorned Govinda with various ornaments made exclusively of flowers.

evaṃ puṣpamayaireva bhūṣaṇairvividhaistadā |

govindaṃ campakalatā bhūṣayāmāsa sādaram ||17||

evam -- thus

puṣpamayaiḥ -- made of flowers

eva -- only/indeed

bhūṣaṇaiḥ -- with ornaments

vividhaiḥ -- various

tadā -- then

govindam -- Govinda (Krishna)

campakalatā -- Campakalatā (a gopī)

bhūṣayāmāsa -- adorned

sādaram -- with reverence/affection

tadā evam campakalatā puṣpamayaiḥ eva vividhaiḥ bhūṣaṇaiḥ govindam sādaram bhūṣayāmāsa.

• Campakalatā is one of the eight principal gopīs (aṣṭa-sakhīs) in Vraja-līlā.
• The emphasis on "puṣpamayaiḥ eva" (made only of flowers) highlights the natural, rustic aesthetic of the Vṛndāvana pastimes.

Rādhikā adorned Mādhava with a great garland made of flowers having the colors of gold, crimson, dark blue, and white petals.

hemāruṇa-śyāma-śubhra-patra-varṇaiḥ sumaiḥ kṛtām |

rādhikā mahatīṃ mālāṃ dhārayāmāsa mādhavam ||18||

hemāruṇa-śyāma-śubhra-patra-varṇaiḥ -- having the colors of gold, crimson, dark blue, and white petals

sumaiḥ -- with flowers

kṛtām -- made

rādhikā -- Rādhikā

mahatīm -- great/large

mālāṃ -- garland

dhārayāmāsa -- caused to wear / adorned

mādhavam -- Mādhava (Kṛṣṇa)

rādhikā hemāruṇa-śyāma-śubhra-patra-varṇaiḥ sumaiḥ kṛtāṃ mahatīṃ mālāṃ mādhavam dhārayāmāsa.

• The verse highlights the aesthetic devotion of Rādhikā, who carefully selects flowers of diverse, vibrant hues to decorate Kṛṣṇa.
• The use of the causative verb dhārayāmāsa implies that Rādhikā personally placed or draped the garland upon Mādhava, signifying an intimate act of service.

Rādhā anointed Kṛṣṇa's arms and broad chest with sandalwood paste mixed with camphor, saffron, and Malayan aloe-wood.

karpūrakesarayutaṃ malayāgarucandanam |

lilepa rādhā kṛṣṇasya bhujayoḥ pṛthuvakṣasi ||19||

karpūra -- camphor

kesara -- saffron

yutam -- mixed with

malaya-agaru -- Malayan aloe-wood

candanam -- sandalwood paste

lilepa -- anointed/smeared

rādhā -- Rādhā

kṛṣṇasya -- of Kṛṣṇa

bhujayoḥ -- on the two arms

pṛthuvakṣasi -- on the broad chest

rādhā karpūrakesarayutaṃ malayāgarucandanam kṛṣṇasya bhujayoḥ pṛthuvakṣasi lilepa.

• The verse highlights the intimate service (sevā) performed by Rādhā, emphasizing the sensory details of the divine couple's interaction.
• The use of specific fragrant ingredients (karpūra, kesara, agaru, candana) reflects the traditional aesthetic of devotional literature (bhakti-kāvya) in describing the beauty of the Lord.

Having made artistic designs on His cheeks with fragrant mineral pigments, she applied a musk tilaka on His forehead and kohl to His eyes.

sugandhair dhātubhis tasya citraṃ kṛtvā kapolayoḥ |

kastūrītilakaṃ phāle kajjalaṃ netrayos tathā ||20||

sugandhaiḥ -- fragrant

dhātubhiḥ -- with mineral pigments

tasya -- of Him

citram -- artistic designs/pictures

kṛtvā -- having made

kapolayoḥ -- on (His) two cheeks

kastūrītilakam -- a musk mark (tilaka)

phāle -- on the forehead

kajjalam -- kohl/collyrium

netrayoḥ -- in (His) two eyes

tathā -- and/also

tasya kapolayoḥ sugandhaiḥ dhātubhiḥ citraṃ kṛtvā, phāle kastūrītilakaṃ, tathā netrayoḥ kajjalaṃ (kṛtvā).

• This verse describes the intimate service of decorating the Lord, a common theme in Bhakti literature.
• The use of 'dhātu' (mineral pigments) and 'kastūrī' (musk) reflects the traditional aesthetic standards of divine ornamentation in temple worship.

While applying red lac dye to the feet of Hari, which were already naturally red, she showed Him His own face in a mirror.

alaktakaṃ caraṇayorhareḥ prakṛtirāgayoḥ |

vilikhantī mukhaṃ tasya darśayāmāsa darpaṇe ||21||

alaktakam -- red lac dye

caraṇayoḥ -- on the feet

hareḥ -- of Hari

prakṛtirāgayoḥ -- which are naturally red

vilikhantī -- applying/painting

mukham -- face

tasya -- His

darśayāmāsa -- showed

darpaṇe -- in a mirror

prakṛtirāgayoḥ hareḥ caraṇayoḥ alaktakaṃ vilikhantī (sā) tasya mukhaṃ darpaṇe darśayāmāsa.

• The verse highlights the playful intimacy between the beloved and Hari, emphasizing the redundancy of adorning feet that are already beautiful by nature.
• The act of showing the mirror serves as a gesture of devotion and a moment of shared aesthetic delight.

She gave the Lord various kinds of edibles and fruits, and a wholesome, sweet, fragrant, nectar-like drink.

nānāvidhāni bhakṣyāṇi phalāni ca dadau prabhoḥ |

sātvikaṃ madhuraṃ pānaṃ sugandham-amṛtopamam ||22||

nānāvidhāni -- of various kinds

bhakṣyāṇi -- edibles

phalāni -- fruits

ca -- and

dadau -- (she) gave

prabhoḥ -- to the Lord

sātvikaṃ -- wholesome/pure

madhuraṃ -- sweet

pānaṃ -- drink

sugandham -- fragrant

amṛtopamam -- nectar-like

(सा) प्रभोः नानाविधानि भक्ष्याणि फलानि च ददौ, सात्विकं मधुरं सुगन्धम् अमृतोपमं पानं (च ददौ) ।

• The term 'sātvikaṃ' implies food that is pure, nourishing, and conducive to spiritual clarity.
• The description 'amṛtopamam' (nectar-like) highlights the devotion infused into the offering, elevating simple sustenance to a divine level.

She gave to Hari a betel quid containing cardamom, camphor, musk, nutmeg, and saffron, along with cloves.

elākarpūrakastūrījātipatrasamanvitam |

lavaṅgakesarayutaṃ tāmbūlaṃ haraye dadau ||23||

एला -- cardamom

कर्पूर -- camphor

कस्तूरी -- musk

जातीपत्र -- nutmeg (mace)

समन्वितम् -- endowed with / containing

लवङ्ग -- clove

केसर -- saffron

युतम् -- joined with / containing

ताम्बूलम् -- betel quid

हरये -- to Hari (Krishna)

ददौ -- gave

(सा) एला-कर्पूर-कस्तूरी-जातीपत्र-समन्वितम् लवङ्ग-केसर-युतम् ताम्बूलम् हरये ददौ ।

• The offering of tāmbūla (betel leaf preparation) is a traditional act of hospitality and devotion in Indian culture.
• The verse highlights the refined, aromatic ingredients used to prepare the offering, signifying the devotee's love and care for the Deity.

Delighting their minds with his gentle smile, Mādhava—wearing a yellow garment and a garland—shone forth as the incomparable Hari.

mano vinodayantāsāṃ mandahāsena mādhavaḥ |

pītāmbaradharaḥ sragvī babhau nirupamo hariḥ ||

manaḥ -- mind

vinodayan -- delighting/entertaining

tāsām -- of them (the Gopis)

mandahāsena -- with a gentle smile

mādhavaḥ -- Mādhava (Krishna)

pītāmbaradharaḥ -- wearing a yellow garment

sragvī -- wearing a garland

babhau -- shone

nirupamaḥ -- incomparable

hariḥ -- Hari (Krishna)

tāsāṃ manaḥ mandahāsena vinodayan pītāmbaradharaḥ sragvī mādhavaḥ hariḥ nirupamaḥ babhau.

• The verse emphasizes the aesthetic beauty of Krishna (Hari) as he captivates the Gopis.
• The term 'nirupama' (incomparable) highlights the unique, transcendent nature of Krishna's physical form during the Rasa-lila.

Two female friends, equipped with fly-whisks, stood at His sides, and Citrā carried a jeweled umbrella behind Him.

pārśvatastasthatuḥ sakhyau cāmarābhyāṃ samanvite |

uvāha pṛṣṭhataścitrā chatraṃ ratnamayaṃ tathā ||25||

pārśvataḥ -- at the sides

tasthatuḥ -- stood (two)

sakhyau -- two female friends

cāmarābhyāṃ -- with two fly-whisks

samanvite -- equipped

uvāha -- carried

pṛṣṭhataḥ -- behind

citrā -- Citrā (proper noun)

chatraṃ -- umbrella

ratnamayaṃ -- made of jewels

tathā -- also

cāmarābhyāṃ samanvite sakhyau pārśvataḥ tasthatuḥ | tathā citrā pṛṣṭhataḥ ratnamayaṃ chatraṃ uvāha ||

• cāmarābhyāṃ samanvite sakhyau -- two friends equipped with fly-whisks
• pārśvataḥ tasthatuḥ -- stood at the sides
• citrā pṛṣṭhataḥ -- Citrā behind
• ratnamayaṃ chatraṃ uvāha -- carried a jeweled umbrella

• The verse depicts the royal or divine service (sevā) rendered to the Lord by His associates.
• The mention of specific items like the cāmara (fly-whisk) and chatra (umbrella) signifies the performance of traditional regal honors (upacāra).

In front of Hari, Rādhā played the vīṇā sweetly. Tuṅgavidyā played the mṛdaṅga, and Lalitā, the flute.

vīṇāṃ vādayate rādhā purato madhuraṃ hareḥ |

mṛdaṅgaṃ tuṅgavidyā ca lalitā muralīṃ tathā ||

vīṇāṃ -- the vīṇā

vādayate -- plays

rādhā -- Rādhā

purato -- in front of

madhuraṃ -- sweetly

hareḥ -- of Hari

mṛdaṅgaṃ -- the mṛdaṅga

tuṅgavidyā -- Tuṅgavidyā

ca -- and

lalitā -- Lalitā

muralīṃ -- the flute

tathā -- also

rādhā hareḥ purataḥ vīṇāṃ madhuraṃ vādayate, tuṅgavidyā mṛdaṅgaṃ (vādayate), tathā lalitā muralīṃ (vādayate).

• rādhā -- subject
• vādayate -- verb
• hareḥ purataḥ -- location

• This verse depicts a divine musical performance (saṅgīta) by the gopīs for the pleasure of Krishna (Hari).
• The mention of specific instruments played by different sakhīs highlights the harmonious and organized nature of their devotional service.

Raṅgā, fixed in pitch and rhythm, sang sweetly, and Candralekhā, with her tinkling golden anklets, danced.

lagnā śrutilayābhyāñca raṅgā tu madhuraṃ jagau |

nanarta candralekhā ca kvaṇatkanakanūpurā ||27||

lagnā -- fixed/engaged in

śrutilayābhyām -- in (proper) pitch and rhythm

ca -- and

raṅgā -- Raṅgā(devī)

tu -- indeed

madhuram -- sweetly

jagau -- sang

nanarta -- danced

candralekhā -- Candralekhā

ca -- and

kvaṇat -- tinkling/sounding

kanaka -- golden

nūpurā -- anklets

raṅgā śrutilayābhyāṃ lagnā (satī) madhuraṃ jagau, kvaṇatkanakanūpurā candralekhā ca nanarta.

• The verse highlights the musical precision of the gopīs, emphasizing that their performance was technically perfect (śruti-laya).
• The use of the compound 'kvaṇatkanakanūpurā' adds an auditory dimension to the visual description of the dance.

Hari, the most beloved of those women who were skilled in music, shone brilliantly as He captivated their minds with His side-long glances and His smiling face.

saṅgītakuśalānāntu tāsāṃ priyatamo hariḥ |

haran manaḥ kaṭākṣeṇa babhau smeramukhena ca ||28||

सङ्गीतकुशलानाम् -- of those skilled in music

तु -- and/indeed

तासाम् -- of them

प्रियतमः -- the most beloved

हरिः -- Hari (Krishna)

हरन् -- stealing/captivating

मनः -- the mind

कटाक्षेण -- with a side-long glance

बभौ -- shone/appeared beautiful

स्मेरमुखेन -- with a smiling face

च -- and

सङ्गीतकुशलानां तासां प्रियतमः हरिः कटाक्षेण मनः हरन् स्मेरमुखेन च बभौ ।

• The verse highlights the aesthetic and emotional intimacy between Krishna and the Gopis, emphasizing his role as the supreme enchanter.
• The term 'Hari' is significant here, as it implies the one who steals or removes (in this context, stealing the hearts/minds of the devotees).

Thus, the gopikās, filled with devotion, having praised Govinda, performed the ārati ceremony while singing to one another.

evaṃ saṅkīrtya govindaṃ gopikāḥ bhaktisaṃyutāḥ |

ārārtikaṃ tathā cakrurgāyantyaśca parasparam ||29||

एवम् -- thus

सङ्कीर्त्य -- having praised/sung the names of

गोविन्दम् -- Govinda

गोपिकाः -- the gopikās

भक्तिसंयुताः -- filled with devotion

आरार्तिकम् -- the ārati ceremony

तथा -- also/then

चक्रुः -- performed

गायन्त्यः -- singing

च -- and

परस्परम् -- to one another

एवं भक्तिसंयुताः गोपिकाः गोविन्दं सङ्कीर्त्य, परस्परं गायन्त्यः तथा आरार्तिकं चक्रुः ।

• The term saṅkīrtana emphasizes the communal and vocal nature of their devotion.
• The act of ārārtika (ārati) signifies the culmination of their worship, involving the offering of light to the deity.

O Śyāmasundara, O Govinda, all glories to You! O enchanter of the gopīs' minds! O You whose beauty surpasses millions of Cupids, all glories to You! O bestower of the bliss of love!

śyāmasundara govinda jaya gopīmanohara |

koṭimanmathalāvaṇya jaya premasukhaprada ||30||

śyāmasundara -- O beautiful dark-complexioned one

govinda -- O Govinda (pleaser of cows/senses)

jaya -- all glories (to You)

gopīmanohara -- O enchanter of the gopīs' minds

koṭimanmathalāvaṇya -- O one whose beauty surpasses millions of Cupids

jaya -- all glories (to You)

premasukhaprada -- O bestower of the bliss of love

हे श्यामसुन्दर! हे गोविन्द! जय। हे गोपीमनोहर! जय। हे कोटिमन्मथलावण्य! हे प्रेमसुखप्रद! जय।

• The term 'koṭimanmatha' emphasizes that Krishna's physical beauty is transcendent, far exceeding the standard of worldly attraction represented by Cupid (Manmatha).
• The verse utilizes the vocative case throughout, establishing a mood of intimate devotional address (stuti).

Then the Supreme Lord, whose movements are unrestricted, embraced all those gopikās with both love and compassion.

atha tā gopikāḥ sarvā bhagavān pariṣasvaje |

premnā karuṇayā caiva svacchandagatirīśvaraḥ ||31||

atha -- then

tāḥ -- those

gopikāḥ -- cowherd damsels

sarvāḥ -- all

bhagavān -- the Supreme Lord

pariṣasvaje -- embraced

premnā -- with love

karuṇayā -- with compassion

ca -- and

eva -- indeed

svacchandagatiḥ -- whose movements are unrestricted

īśvaraḥ -- the controller/Lord

atha svacchandagatiḥ īśvaraḥ bhagavān tāḥ sarvāḥ gopikāḥ premnā karuṇayā ca eva pariṣasvaje.

• The term svacchandagatiḥ emphasizes that the Lord is not bound by worldly rules or karma, acting solely out of His own divine will.
• The dual motivation of premnā (love) and karuṇayā (compassion) highlights the Lord's intimate yet protective relationship with His devotees.

Then, the Lord of the gopīs' life, accompanied by Rādhā and the gopīs, reached the bank of the Yamunā and launched a swan-shaped boat.

atha gopī-prāṇa-nātho rādhā-gopī-samanvitaḥ |

āsādya yamunā-tīraṃ haṃsa-naukāṃ mumoca ha ||

atha -- then

gopī-prāṇa-nāthaḥ -- the Lord of the life of the gopīs

rādhā-gopī-samanvitaḥ -- accompanied by Rādhā and the gopīs

āsādya -- having reached

yamunā-tīram -- the bank of the Yamunā

haṃsa-naukām -- a swan-shaped boat

mumoca -- launched/released

ha -- indeed (emphatic particle)

atha gopī-prāṇa-nāthaḥ rādhā-gopī-samanvitaḥ yamunā-tīram āsādya haṃsa-naukāṃ mumoca ha.

• The term haṃsa-naukā refers to a boat designed in the shape of a swan, a common motif in classical Indian literature representing elegance and divine play.
• Gopī-prāṇa-nāthaḥ emphasizes the intimate, life-sustaining relationship between Krishna and his devotees, highlighting his role as the center of their existence.

Then Govinda, having boarded it with Rādhā and the gopīs, steered that boat in the auspicious waters of the Kālindī.

tām āruhyātha govindo gopībhiḥ saha rādhayā |

nāvaṃ tāṃ cārayāmāsa kālindīsalile śubhe ||33||

tām -- that (boat)

āruhya -- having boarded

atha -- then

govindaḥ -- Govinda (Krishna)

gopībhiḥ -- with the gopīs

saha -- together with

rādhayā -- Rādhā

nāvam -- boat

tām -- that

cārayāmāsa -- steered/moved

kālindī -- of the Kālindī (Yamunā)

salile -- in the waters

śubhe -- auspicious

atha govindaḥ rādhayā gopībhiḥ saha tām āruhya, tām nāvam kālindīsalile śubhe cārayāmāsa.

• The term 'Govinda' emphasizes Krishna's role as the protector of cows and the senses, often associated with his playful pastimes in Vraja.
• The Kālindī (Yamunā) is described as 'śubhe' (auspicious), highlighting the sanctity of the setting for the divine play (līlā).

The Yamuna, adorned by the cool rays of the moon, then caused the boat to rock melodiously with the hands of her waves.

sudhāṃśu-śīta-prabhayā bhūṣitā yamunā tadā |

svakallola-karair nāvaṃ kampayāmāsa susvaram ||34||

sudhāṃśu -- moon (nectar-rayed)

śīta -- cool

prabhayā -- by the light/rays

bhūṣitā -- adorned

yamunā -- the Yamuna river

tadā -- then

sva -- her own

kallola -- waves

karaiḥ -- with the hands (rays/arms)

nāvam -- the boat

kampayāmāsa -- caused to shake/rock

susvaram -- melodiously

tadā sudhāṃśu-śīta-prabhayā bhūṣitā yamunā svakallola-karaiḥ nāvaṃ susvaram kampayāmāsa.

• The poet uses the metaphor of karaiḥ (hands/rays), suggesting the waves are reaching out to touch and cradle the boat.
• The term susvaram (melodiously) implies that the rhythmic rocking of the boat created a harmonious sound, personifying the river as a musician.

Accompanied by a delighted Rādhikā, the gopīs sang sweetly. At that time, the sound of the waves became like the clapping of hands.

prahṛṣṭayā rādhikayā gopikāḥ madhuraṃ jaguḥ |

tadā taraṅganinadaḥ karatāla ivābhavat ||35||

prahṛṣṭayā -- with a delighted

rādhikayā -- by Rādhikā

gopikāḥ -- the gopīs

madhuraṃ -- sweetly

jaguḥ -- sang

tadā -- then

taraṅganinadaḥ -- the sound of the waves

karatāla -- clapping of hands (cymbals)

iva -- like

abhavat -- became

prahṛṣṭayā rādhikayā saha gopikāḥ madhuraṃ jaguḥ; tadā taraṅganinadaḥ karatālaḥ iva abhavat.

• The verse employs a simile (upamā) comparing the natural rhythmic sound of the waves to the musical accompaniment of hand-clapping (karatāla).
• The presence of Rādhikā elevates the atmosphere, transforming the natural environment into a participant in the divine musical performance.

Then, having descended, the Lord took shelter of a Kadamba tree, and embracing Rādhā, sat down with her on His left lap in the middle of the swing.

tato'varuhya bhagavān kadambatariumāśritaḥ |

rādhāmāśliṣya vāmāṅke ḍolāmadhye upāviśat ||36||

tataḥ -- then

avaruhya -- having descended

bhagavān -- the Lord

kadamba-tarum -- the Kadamba tree

āśritaḥ -- having taken shelter of

rādhām -- Rādhā

āśliṣya -- having embraced

vāma-aṅke -- on the left lap

ḍolā-madhye -- in the middle of the swing

upāviśat -- sat down

tataḥ avaruhya bhagavān kadamba-tarum āśritaḥ, rādhām āśliṣya vāma-aṅke ḍolā-madhye upāviśat.

• The Kadamba tree is iconic in Krishna-lila, symbolizing the setting of his divine pastimes in Vraja.
• The placement of Rādhā on the left lap (vāma-aṅke) signifies her position as the primary potency (hlādinī-śakti) residing at the Lord's heart.

Then, those gopīs joyfully pushed the flower-adorned swing, while singing and dancing to the accompaniment of various musical instruments.

gopyastāḥ spandayāmāsurdolāṃ puṣpabhūṣitām |

gāyantyo vividhairvādyairnṛtyantyaśca mudā tadā ||37||

gopyas -- the gopīs

tāḥ -- they

spandayāmāsuḥ -- caused to swing/move

dolām -- the swing

puṣpabhūṣitām -- adorned with flowers

gāyantyaḥ -- singing

vividhaiḥ -- with various

vādyaiḥ -- musical instruments

nṛtyantyaḥ -- dancing

ca -- and

mudā -- with joy

tadā -- then

tadā tāḥ gopyaḥ mudā gāyantyaḥ vividhaiḥ vādyaiḥ nṛtyantyaḥ ca puṣpabhūṣitām dolām spandayāmāsuḥ.

• The term spandayāmāsuḥ (causative) specifically denotes the rhythmic pushing or rocking of the swing.
• The verse highlights the multi-sensory nature of the divine pastimes, combining music, dance, and floral decoration.

Taking a flower-ball, Mādhava struck Rādhā. Rādhā struck the gopīs, and all the gopīs struck Mādhava.

puṣpakandukam ādāya rādhāṃ vivyādha mādhavaḥ |

rādhā vivyādha gopīśca gopyaḥ sarvāśca mādhavam ||38||

puṣpakandukam -- flower-ball

ādāya -- having taken

rādhāṃ -- Rādhā (object)

vivyādha -- struck/hit

mādhavaḥ -- Mādhava (Kṛṣṇa)

rādhā -- Rādhā (subject)

vivyādha -- struck

gopīśca -- and the gopīs (object)

gopyaḥ -- the gopīs (subject)

sarvāśca -- and all (of them)

mādhavam -- Mādhava (object)

mādhavaḥ puṣpakandukam ādāya rādhāṃ vivyādha | rādhā gopīḥ vivyādha, sarvāḥ gopyaḥ ca mādhavam (vivyādhuḥ) |

• The verse depicts a playful pastime (līlā) of Kṛṣṇa and the gopīs involving a flower-ball, highlighting the intimacy of their relationship.
• The repetition of the verb 'vivyādha' emphasizes the reciprocal and rhythmic nature of this joyful exchange.

Thus struck by one another with fragrant flower-balls, they wandered about there in excitement, their golden anklets tinkling.

evaṃ parasparaṃ viddhāḥ sugandhaiḥ puṣpakandukaiḥ |

sambhramāt babhramustatra kvaṇatkanakanūpurāḥ ||39||

एवम् -- thus

परस्परम् -- one another

विद्धाः -- struck/hit

सुगन्धैः -- fragrant

पुष्पकन्दुकैः -- with flower-balls

संभ्रमात् -- out of excitement/confusion

बभ्रमुः -- wandered/moved about

तत्र -- there

क्वणत् -- tinkling/sounding

कनकनूपुराः -- (those having) golden anklets

एवं सुगन्धैः पुष्पकन्दुकैः परस्परं विद्धाः, क्वणत्कनकनूपुराः ताः संभ्रमात् तत्र बभ्रमुः ।

• एवं -- thus
• सुगन्धैः पुष्पकन्दुकैः -- with fragrant flower-balls
• परस्परं विद्धाः -- struck one another
• क्वणत्कनकनूपुराः -- with tinkling golden anklets
• संभ्रमात् -- out of excitement
• तत्र बभ्रमुः -- wandered there

• The verse captures a playful, festive atmosphere (krīḍā) typical of courtly or divine descriptions.
• The use of the word 'क्वणत्' (tinkling) adds an auditory dimension to the visual imagery of the flower-ball game.

When the flower-ball slipped and fell upon Kṛṣṇa's head, the flowers contained within it became scattered all over Hari.

nipatya kṛṣṇaśirasi cyute kusumakanduke |

tasmin sthitāni puṣpāṇi saṅkīrṇānyabhavanharau ||40||

nipatya -- having fallen

kṛṣṇaśirasi -- on Kṛṣṇa's head

cyute -- having slipped/fallen

kusumakanduke -- the flower-ball

tasmin -- in that (ball)

sthitāni -- situated/contained

puṣpāṇi -- flowers

saṅkīrṇāni -- scattered/mixed

abhavan -- became

harau -- on Hari

kusumakanduke cyute (sati) kṛṣṇaśirasi nipatya, tasmin sthitāni puṣpāṇi harau saṅkīrṇāni abhavan.

• The verse uses the term kusumakanduka (flower-ball) to describe a playful object, likely used in the pastimes of the Lord.
• The term saṅkīrṇa implies a chaotic or beautiful scattering, suggesting the flowers adorned His body after the ball broke upon impact.

Seeing that wonderful sight, the gopikās, together with Rādhā, laughed loudly with love, clapping their hands.

tad-adbhutaṃ samālokya gopikāḥ rādhayā saha |

uccaiḥ sañjahasuḥ premṇā kṛtvā hasta-vighaṭṭanam ||41||

tat -- that

adbhutam -- wonderful (sight)

samālokya -- having seen

gopikāḥ -- the gopīs

rādhayā -- with Rādhā

saha -- together

uccaiḥ -- loudly

sañjahasuḥ -- laughed

premṇā -- with love

kṛtvā -- having done

hasta-vighaṭṭanam -- clapping of hands

tat adbhutam samālokya, rādhayā saha gopikāḥ premṇā hasta-vighaṭṭanam kṛtvā uccaiḥ sañjahasuḥ.

• The term hasta-vighaṭṭanam specifically denotes the rhythmic clapping of hands, often associated with joyous celebration or dance in Vraja.
• The laughter is qualified by premṇā (with love), indicating that the amusement is rooted in affection rather than mockery.

The ornament of Vraja, Mādhava, taking the hands of the gopīs in His own hands, whirled there like a potter's wheel, singing.

hastau gṛhītvā hastābhyāṃ gopīnāṃ vrajabhūṣaṇaḥ |

kulālacakravattatra gāyan babhrāma mādhavaḥ ||42||

hastau -- two hands

gṛhītvā -- having taken/held

hastābhyāṃ -- with (His) two hands

gopīnāṃ -- of the gopīs

vrajabhūṣaṇaḥ -- the ornament of Vraja (Kṛṣṇa)

kulālacakravat -- like a potter's wheel

tatra -- there

gāyan -- singing

babhrāma -- whirled/wandered

mādhavaḥ -- Mādhava (Kṛṣṇa)

व्रजभूषणः माधवः गोपीनां हस्तौ हस्ताभ्यां गृहीत्वा तत्र कुलालचक्रवत् गायन् बभ्राम ।

• The simile of the 'potter's wheel' (kulālacakravat) vividly illustrates the circular motion of the Rāsa dance.
• The term 'vrajabhūṣaṇaḥ' emphasizes Kṛṣṇa's role as the central jewel or glory of the Vraja community.

Thus, one should meditate on the divine play of Mukunda at the beginning of the night. Now, with devotion, I shall describe the midnight play of Hari.

evaṃ līlāṃ mukundasya niśārambhe tu bhāvayet |

atha madhyaniśālīlāṃ bhaktyā vakṣyāmyahaṃ hareḥ ||43||

evaṃ -- thus

līlām -- the divine play

mukundasya -- of Mukunda (Krishna)

niśā-arambhe -- at the beginning of the night

tu -- and/indeed

bhāvayet -- one should meditate

atha -- now

madhya-niśā-līlām -- the midnight divine play

bhaktyā -- with devotion

vakṣyāmi -- I shall describe

aham -- I

hareḥ -- of Hari

evaṃ niśārambhe mukundasya līlāṃ bhāvayet | atha ahaṃ bhaktyā hareḥ madhyaniśālīlāṃ vakṣyāmi |

• The verse serves as a transitional bridge, concluding the meditation on the evening pastimes and introducing the midnight pastimes.
• The term 'bhāvayet' emphasizes the internal practice of 'smaraṇa' (remembrance) as a prerequisite for hearing or describing the higher, more intimate 'madhyaniśā' (midnight) līlās.