Gita Govinda
Ashtapadi #11 
Dheera Sameere  

Lyrics 

rati-sukha-sāre gatam abhisāre madana-manohara-veśam |
na kuru nitambini gamana-vilambanam anusara taṃ hṛdayeśam ||1||

dhīra-samīre yamunā-tīre vasati vane vanamālī |
gopī-pīna-payodhara-mardana-caṃcala-karayuga-śālī ||dhruvapadam||

nāma sametaṃ kṛta-saṅketaṃ vādayate mṛduveṇum |
bahu manute nanu te tanu-saṅgata-pavana-calitam api reṇum ||2||

patati patatre vicalati patre śaṅkita-bhavad upayānam |
racayati śayanaṃ sacakita-nayanaṃ paśyati tava panthānam ||3||

mukharam adhīraṃ tyaja mañjīraṃ ripum iva kelisu lolam |
cala sakhi kuñjaṃ satimira-puñjaṃ śīlaya nīla-nicolam ||4||

urasi murārerupahita-hāre ghana iva tarala-balāke .
taḍid iva pīte rati-viparīte rājasi sukṛta-vipāke ||5||

vigalita-vasanaṃ parihṛta-rasanaṃ ghaṭaya jaghanam api dhānam .
kisalaya-śayane paṅkaja-nayane nidhim iva harṣa-nidānam ||6||

harirabhimānī rajaniridānīm iyam api yāti virāmam .
kuru mama vacanaṃ satvara-racanaṃ pūraya madhuripu-kāmam ||7||

śrījayadeve kṛtahariseve bhaṇati parama-ramaṇīyam .
pramudita-hṛdayaṃ harim atisadayaṃ namata sukṛta-kamanīyam ||8||



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C 1 rati sukha sArE gatamabhi sArE madana manOhara vESam
nakuru nitambini gamana vilambana manusaratam hrudayESam
dheera sameerE yamunAteerE vasati vanE vanamAlee
gOpee peena payOdhara mardana chanchala karayuga SAlee ||  Oh dear Radha, go quickly to meet your beloved Krishna who is beautiful like Manmadha.The breeze is blowing gently. Krishna is waiting in Brundavana on the bank of Yamuna river. His hands play on the breasts of Gopikas.  
C 2 nAmasamEtam kruta sankEtam vAdayatE mrudu vENum
bahu manutE nanutE tanu sangata pavana chalitamapi rENum||dheera||  Krishna is playing flute calling your name, indicating where he was waiting for you. He admires even the breeze passing over you and reaching him.  
C 3 patati patatrE vichalati patrE Sankita bhava dupayAnam
rachayati Sayanam sachakita nayanam paSyati tava pandhAnam||dheera||  He is alarmed even when a feather or dry leaf drops. He is setting on bed of tender leaves and is excited about your arrival.  
C 4 mukhara madheeram tyaja manjeeram ripumiva kELishu lOlam
chala sakhi kunjam sa timira punjam Seelaya neela nichOLam||dheera||  Oh Radha, leave off your anklets lest they make noise when you meet him. Please go to that bower during night in black dress.  
C 5 urasi murArE rupahita hArE ghanaiva taraLa balAkE
taTidiva peetE rati vipareetE rAjasi sukruta vipAkE||dheera||  When you meet Krishna your pearl necklaces fall on his chest. You shine like lightening on his chest which resembles dark clouds with white Sarasa birds.  
C 6 vigaLita vasanam parihruta rasanam ghaTaya jaghanamapidhAnam
kisalaya SayanE pankaja nayanE nidhimiva harsha nidAnam||dheera||  Your eyes are beautiful like lotus flower. You are treasure of beauty lying on bed of tender leaves. You are bestower of happiness.  
C 7 harirabhimAnee rajani ridAnee miyamapiyati virAmam
kuru mama vachanam satvara rachanam pooraya madhuripu kAmam||dheera||  Krishna is a person with self-respect. The night is ending He would be angry if you make delay. Go soon and fulfill his wish.  
C 8 Sri jayadEvE kruta harisEvE bhaNati parama ramaNeeyam kamaneeyam
pramudita hrudayam harimati sadayam samata sukruta||dheera||  Poet Jayadeva tells this delightful story of love between Radha and Krishna with utmost devotion. Oh devotees, bow to the most benevolent lord Krishna with pious hearts. 


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अष्टपदि ११ -साकांक्श पुंडरीकोत्कधा मधुरम्



रतिसुखसारे गतमभिसारे मदनमनोहरवेशम् ।
न कुरु नितम्बिनि गमनविलंबनमनुसर तम् हृदयेशम् ।
गोपी पीनपयोधरमर्दनचंचलकरयुगशाली ।
धीर समीरे यमुना तीरे वसति वने वनमाली - धृवम्॥ अ प ११-१

प-छे :- रति सुख सारे गतम् अभिसारे मदन मनोहर वेशम् न कुरु नितम्बिनि
गमन विलंबनम् अनुसर तम् हृदय ईशम् गोपी पीन पयोधर मर्दन
चंचल कर युग शाली धीर समीरे यमुना तीरे वसति वने वनमाली

a pa 11-1. hè nitambini= oh, high-hipped one, Rādha; rati sukha saare= [a place which has] connubial, blissful, quintessentially; abhisaare gatam= in preset place, he has gone in [available]; madana manohara vesham= in an arousing, lovely, mien [here, veSam is not getup; not like Lovegod's getup, as he is formless to wear any getup; even if it is so, it is an inferior getup than that of Krishna ]; na kuru= don't, do; gamana vilambanam = in going, delay; anusara tam hR^idaya iisham= follow, him, [your] heart's, lord; gopii = milk maids; piina payodhara= bosomy, busts [hence the milkmaids are too cocky, with vanity]; mardana= [lexically] in massaging [or, manipulate, to engineer of, to artifice] ; ca.ncala= moving [active, or, have a sleight of hand]; kara yuga shaalii= hands, a couple of, he who is having;

reprise: dhiira samiire= in gentle, wind [breezy]; yamunaa tiire= on Yamuna, riverbank; vasati vane= located in [lingering in,] garden; vanamaalii = one who wears leafy garland, Krishna.

"Oh, high-hipped Rādha, he is now available in that preset place, a quintessentially blissful place for connubial bliss, with his lovely and heart-stealing mien; hence go nigh of the lord of your heart who alone has a couple of hands that have a sleight of hand to engineer the busty bosoms of milkmaids of their vanity... don't linger to go... for Krishna is lingering in that breezy garden on that riverbank of Yamuna... [a pa 11-1]


नामसमेतम्कृतसंकेतम्वादयतेमृदुवेणुम् ।

बहुमनुतेननुतेतनुसंगतपवनचलितमपिरेणुम्॥ अ प ११-२

प-छे :- नाम समेतम् कृत संकेतम् वादयते मृदु वेणुम् बहु मनुते
...ननु ते तनु संगत पवन चलितम् अपि रेणुम्

a pa 11-2. hè raadhe; te naama sametam= your, name, coupled with [while fluting he uses your names as lyrics, and that flute sings 'ha, Rādha, 'o, beauty, o, goddess of love etc]; kR^ita sa.nketam = made, indication [he made an indication to bring you to that preset bower where he will be fluting; or, kR^ita sa.nketam vaadayate mR^idu veNum= to make, indication, he plays, softly; [he indicates his place of tarrying with his soft fluting]; nanu= definitely; te tanu sa.ngata= to your, body, attached; pavana chalitam api reNum= by air, moved, even, particle [of pollen etc]; bahu manute [aalingane]= highly, dotes on, [to embrace]; reprise: dhiira samiire &c

"O, Rādha, he uses your lyrical names as the lyrics of his fluting; he indicates himself with such a soft fluting; he dotes on to embrace any particle of pollen vagrant from your body, when air wafts them to his near, then why harping about your embrace... so, doesn't linger to go... [a pa 11-2]


Due to the limitation on the number of characters that can be posted here, the rest of the ashtapadis in this sarg can be found at this URL

http://www.facebook.com/media/set/?set=a.2605764595641.2099496.1600702242&type=3#!/photo.php?fbid=2610282148577&set=a.2605764595641.2099496.1600702242&type=3&theater

Dheera Samire by Pandit Raghunath Panigrahi

Devi Suktam - Rg vEda [Mandalam 10, Suktam 125] by Brahmasri Narendra Kapre ---- 
ऋक् वेदीय - देवी सूक्तम् [मण्डलम् १० सूक्तम् १२५] ब्रह्मश्री नरेन्द्र काप्रे

Devi Suktam from Rg vEda

rajani-janita-guru-jāgara-rāga-kaṣāyitam alasa-niveśaṃ |
vahati nayanam anurāgam iva sphūṭam udita-rasābhiniveśam ||1||

yāhi mādhava yāhi keśava mā vada kaitavavādaṃ |
tām anusara sarasīruha-locana yā tava harati viṣādam ||dhruvapadaṃ||||

Oh Krishna ,your appearence shows that you kept awake last night. Your eyes are red and tired. It is clear that you spent previous night with some other woman. Oh Madhava, enough of your false stories. Please go to that woman who made you happy.

kajjala-malina-vilocana-cumbana-viracita-nīlima-rūpam |
daśana-vasanam aruṇam tava kṛṣṇa tanoti tanoranurūpaṃ ||2||

You red lips became black due to your kiss on the eye-liner of that woman's eyes. It is nice decoration for your face.

vapuranuharati tava smara-saṃhara-khara-nakhara-kṣata-rekham |
marakata-śakala-kalita-kaladhauta-liperiva ratijaya-lekham ||3||

Your body is full of nail marks in Cupid's war. They are like golden lines on emerald. Perhaps it is a momento for your victory.

caraṇa-kamala-galad-alaktaka-siktam idam tava hṛdayam udāraṃ |
darsayatīva bahirmadana-druṇa-nava-kisalaya-parivāram ||4||

Your broad chest is smeared with red color applied to the tender feet of the woman you met. Those prints are like leaves.

daśana-padaṃ bhavadadhara-gataṃ mama janayati cetasi khedam |
kathayati katham adhunāpi mayā saha tava vapuretad abhedam ||5||

I am pained to see nail dents on your lips. Though I am not wounded I am also suffering from the pain caused by Manmadha's arrows.

bahiriva malinataraṃ tava kṛṣṇa mano’pi bhaviṣyati nūnam |
kathamatha vañcayase janam anugatam asamaśara-jvara-dūnam ||6||

Your mind is as blemished as your body with nail marks because you have been torturing those who are hit by Cupid's arrows.

bhramati bhavān abalā-kavalāya vaneṣu kim atra vicitram |
prathayati pūtanikaiva vadhū-vadha-nirdaya-bālacaritram ||7||

You are wandering in Brundavana to eliminate women. It is no wonder because even in your childhood you killed a woman called Pootana.

śrījayadeva-bhaṇita-rativañcita-khaṇḍita-yuvati-vilāpam |
śṛṇuta sudhāmadhuraṃ vibudhā vibudhālayato’pi durāpam ||8||

Oh wise devotees, listen to these taunting words of a woman ,cheated by her lover (Khandita nayika). These nectar-like words of Sri Jayadeva are sweeter than the nectar of heaven.

Gita-govinda  yāhi mādhava yāhi keśava by Pandit Raghunath Panigrahi

Damodarastakam

 दामोदराष्टकं


नमामीश्वरं सच्-चिद्-आनन्द-रूपं
लसत्-कुण्डलं गोकुले भ्राजमनम्
यशोदा-भियोलूखलाद् धावमानं
परामृष्टम् अत्यन्ततो द्रुत्य गोप्या ॥ १॥ 

namāmīśvaraṁ sac-cid-ānanda-rūpaṁ
lasat-kuṇḍalaṁ gokule bhrājamanam
yaśodā-bhiyolūkhalād dhāvamānaṁ
parāmṛṣṭam atyantato drutya gopyā ॥ 1॥

रुदन्तं मुहुर् नेत्र-युग्मं मृजन्तम्
कराम्भोज-युग्मेन सातङ्क-नेत्रम्
मुहुः श्वास-कम्प-त्रिरेखाङ्क-कण्ठ
स्थित-ग्रैवं दामोदरं भक्ति-बद्धम् ॥ २॥

rudantaṁ muhur netra-yugmaṁ mṛjantam
karāmbhoja-yugmena sātaṅka-netram
muhuḥ śvāsa-kampa-trirekhāṅka-kaṇṭha
sthita-graivaṁ dāmodaraṁ bhakti-baddham ॥ 2॥

इतीदृक् स्व-लीलाभिर् आनन्द-कुण्डे
स्व-घोषं निमज्जन्तम् आख्यापयन्तम्
तदीयेषित-ज्ञेषु भक्तैर् जितत्वं
पुनः प्रेमतस् तं शतावृत्ति वन्दे ॥ ३॥ 

itīdṛk sva-līlābhir ānanda-kuṇḍe
sva-ghoṣaṁ nimajjantam ākhyāpayantam
tadīyeṣita-jñeṣu bhaktair jitatvaṁ
punaḥ prematas taṁ śatāvṛtti vande ॥ 3॥

वरं देव मोक्षं न मोक्षावधिं वा
न चन्यं वृणे ‘हं वरेषाद् अपीह
इदं ते वपुर् नाथ गोपाल-बालं
सदा मे मनस्य् आविरास्तां किम् अन्यैः ॥ ४॥ 

varaṁ deva mokṣaṁ na mokṣāvadhiṁ vā
na canyaṁ vṛṇe ‘haṁ vareṣād apīha
idaṁ te vapur nātha gopāla-bālaṁ
sadā me manasy āvirāstāṁ kim anyaiḥ ॥ 4॥

इदं ते मुखाम्भोजम् अत्यन्त-नीलैर्
वृतं कुन्तलैः स्निग्ध-रक्तैश् च गोप्या
मुहुश् चुम्बितं बिम्ब-रक्ताधरं मे
मनस्य् आविरास्ताम् अलं लक्ष-लाभैः ॥ ५॥ 

idaṁ te mukhāmbhojam atyanta-nīlair
vṛtaḿ kuntalaiḥ snigdha-raktaiś ca gopyā
muhuś cumbitaṁ bimba-raktādharaṁ me
manasy āvirāstām alaṁ lakṣa-lābhaiḥ ॥ 5॥ 

नमो देव दामोदरानन्त विष्णो
प्रसीद प्रभो दुःख-जालाब्धि-मग्नम्
कृपा-दृष्टि-वृष्ट्याति-दीनं बतानु
गृहाणेष माम् अज्ञम् एध्य् अक्षि-दृश्यः ॥ ६॥ 

namo deva dāmodarānanta viṣṇo
prasīda prabho duḥkha-jālābdhi-magnam
kṛpā-dṛṣṭi-vṛṣṭyāti-dīnaṁ batānu
gṛhāṇeṣa mām ajñam edhy akṣi-dṛśyaḥ ॥ 6॥ 

कुवेरात्मजौ बद्ध-मूर्त्यैव यद्वत्
त्वया मोचितौ भक्ति-भाजौ कृतौ च
तथा प्रेम-भक्तिं स्वकां मे प्रयच्छ
न मोक्षे ग्रहो मे ‘स्ति दामोदरेह ॥ ७॥ 

kuverātmajau baddha-mūrtyaiva yadvat
tvayā mocitau bhakti-bhājau kṛtau ca
tathā prema-bhaktiṁ svakāṁ me prayaccha
na mokṣe graho me ‘sti dāmodareha ॥ 7॥ 

नमस् ते ‘स्तु दाम्ने स्फुरद्-दीप्ति-धाम्ने
त्वदीयोदरायाथ विश्वस्य धाम्ने
नमो राधिकायै त्वदीय-प्रियायै
नमो ‘नन्त-लीलाय देवाय तुभ्यम् ॥ ८॥

namas te ‘stu dāmne sphurad-dīpti-dhāmne
tvadīyodarāyātha viśvasya dhāmne
namo rādhikāyai tvadīya-priyāyai
namo ‘nanta-līlāya devāya tubhyam ॥ 8॥

Sri Damodarashtakam by Srimathumitha

|| Gopi Geet ||
Srimad Bhagavat contains Gopi Geet. It is contained in the first half of book ten, chapter 31, verses 1 to 19 of Bhagavat Purana.

In nineteen tender verses, Gopis, narrate his glory at the time of his disappearance during the Rasa Leela. Krishna planned Rasa leela to lift Gopis' to a higher spiritual state. Lord Krishna was perturbed by the introvert pursuit of Gopis and in order... to teach them a lesson, he disappeared into the forest.

Gopis became breathless when they did not find Krishna, Bemused Gopis' looked all over. Then, with their mind, soul and body in unison with Krishna's memories, they arrived at the banks of river Yamuna. Immersed in his unfathomable love and earnestly longing for his heavenly vision, Gopis' started singing the glory of his divine grace and the very tunes became known as Gopi Geet - cries for Krishna.




गोप्य ऊचुः


जयति तेऽधिकं जन्मना व्रजः श्रयत इन्दिरा शश्वदत्र हि ।
दयित दृश्यतां दिक्षु तावका स्त्वयि धृतासवस्त्वां विचिन्वते ॥१॥


Jayati te dhikam janmanaa vrajah
shrayata Indira shashva datra hi,
Dayita drishyataam dikshu taavaka-
stvayi dhritaasava-stvaam vichinvatey.


The gopis said: O beloved, Your birth in the land of Vraja has made it exceedingly glorious, and thus Indira, the goddess of fortune, always resides here. It is only for Your sake that we, Your devoted servants, maintain our lives. We have been searching everywhere for You, so please show Yourself to us.


शरदुदाशये साधुजातसत्सरसिजोदरश्रीमुषा दृशा ।
सुरतनाथ तेऽशुल्कदासिका वरद निघ्नतो नेह किं वधः ॥२॥


Sharadudaashaye sadhujaat-sat
sarasijodara shrimrisha drisha,
Suratnath te shulk daasika
varad nighnato neha kim vadhah.


O master of our hearts, we are your priceless servants. O beloved, fulfiller of all our desires, Is it not slaughter on your part to strike us with the rays of your divine eyes which are more beautiful than the petals of a beautiful lotus in the clear autumn lake ?




विषजलाप्ययाद्व्यालराक्षसाद्वर्षमारुताद्वैद्युतानलात् ।
वृषमयात्मजाद्विश्वतोभया दृषभ ते वयं रक्षिता मुहुः ॥३॥


Visha Jalapyayaad vyaal-raakshasaad
varsha maarutaad-vaidyutaanalaat,
Vrishamayaatma jaad-Vishvatobhayaat
rishabha te vayam rakshita muhuh.




O Mighty One! from the destruction through the poisonous water of Yamuna [by the demon Agha in the guise of a Kaliya snake], from deluging rain and raging storms, from lightning and from demons Vrishabh and Vyom, time and again, you have protected us from various types of fears..


न खलु गोपिकानन्दनो भवानखिलदेहिनामन्तरात्मदृक् ।
विखनसार्थितो विश्वगुप्तये सख उदेयिवान्सात्वतां कुले ॥४॥


Na khalu gopika-nandano bha-
vaan akhil-dehinaam antaraatma drik,
Vikhan saarthito vishwa-guptaye
sakha udeyivaan satvataam kuley.


You are not just the son of Yashoda. but you are inherent witness in all embodied beings. O eternal companion! In response to the prayer of Brahma, the creator of the universe, you have reincarnated among the yadu's to protect the world.


विरचिताभयं वृष्णिधुर्य ते चरणमीयुषां संसृतेर्भयात् ।
करसरोरुहं कान्त कामदं शिरसि धेहि नः श्रीकरग्रहम् ॥५॥


Virachitaa bhayam vrishni dhurya te
charan miyushaam samsriteir bhayaat,
Kara-saroruham kaant kaamadam
shirasi dhehi nah shri kara-graham.


O the fulfiller of all desires! whoever takes refuge in your lotus feet from the torments of samsara (materialistic world), they become fearless by your protection. O our beloved, the bestower of all boons, do lay your hands on our head.


व्रजजनार्तिहन्वीर योषितां निजजनस्मयध्वंसनस्मित ।
भज सखे भवत्किंकरीः स्म नो जलरुहाननं चारु दर्शय ॥६॥


Vraja-Janaartihan veer yoshitaam
nija-jan smaya-dhvans na-smita,
Bhaj sakhey bhavat-kinkarih sma no
jala-ruhaananam chaaru darshaya.


O Destroyer of the miseries of the inhabitants of Vraja! Your mere smile is enough to shatter false pride of your love ones. O our beloved companion, graciously accept us, your servants. We are fully surrendered at your lotus feet. Show your most beautiful lotus like face to us.


प्रणतदेहिनां पापकर्शनं तृणचरानुगं श्रीनिकेतनम् ।
फणिफणार्पितं ते पदांबुजं कृणु कुचेषु नः कृन्धि हृच्छयम् ॥७॥


Pranat-dehinaam paap-karshanam
trina charaa nugam shri niketanam,
Phani-phanaarpitam te padaambujam
krinu kucheshu nah krindhi hrichchayam


Your lotus-feet destroy the sins of those who submit to you - the lotus feet that follow the foot steps of grazing cows, and which are coveted by the goddess of Fortune, and which gracefully danced on the hood of Kaliya Snake. O Lord, please put your lotus feet on our chest(heart) to soothe our burning desire and rid us of the sorrows lurking in our hearts.


मधुरया गिरा वल्गुवाक्यया बुधमनोज्ञया पुष्करेक्षण ।
विधिकरीरिमा वीर मुह्यतीरधरसीधुनाऽऽप्याययस्व नः ॥८॥


Madhurayaa gira valgu-vakyayaa
budha-manognaya pushkare kshana,
Vidhikaririmaa vira muhyatir
adhara-sidhuna pyaayaya svanah.


O Lotus-eyed One! Your speech is so sweet. Every single word, every little sound, every single letter is very charming. Even the most wise and learned get engrossed in it and sacrifice everything for it. After tasting the nectar of the sound of your voice, your faithful Gopis are falling in love. Now give us the gift of life with the divine nectar from your lips.


तव कथामृतं तप्तजीवनं कविभिरीडितं कल्मषापहम् ।
श्रवणमङ्गलं श्रीमदाततं भुवि गृणन्ति ते भूरिदा जनाः ॥९॥


Tava Kathaamritam tapta jeevanam
kavi bhiriditam kalma shaap-ham,
Shrawan-mangalam shrimadaa tatam
bhuvi grinanti te bhurida janaah.


The nectar of Your words and the descriptions of Your activities are the life and soul of those suffering in this material world. These narrations, transmitted by learned sages, eradicate one’s sinful reactions and bestow good fortune upon whoever hears them. By mere listening to them removes all sins and sufferings and bestows the supreme bliss and welfare as well. Certainly, those who spread the message of Godhead are most munificent.


प्रहसितं प्रिय प्रेमवीक्षणं विहरणं च ते ध्यानमङ्गलम् ।
रहसि संविदो या हृदिस्पृशः कुहक नो मनः क्षोभयन्ति हि ॥१०॥


Prahasitam priya prem vikshanam
viharanam cha te dhyaan Mangalam,
rahasi samvido ya hridi sprishah
kuhak no manah kshobh-yanti hi.


Your smiles, Your sweet, loving glances, the intimate pastimes and confidential talks we enjoyed with You—all these are auspicious to meditate upon, and they touch our hearts. But at the same time, O deceiver, they very much agitate our minds.


चलसि यद्व्रजाच्चारयन्पशून् नलिनसुन्दरं नाथ ते पदम् ।
शिलतृणाङ्कुरैः सीदतीति नः कलिलतां मनः कान्त गच्छति ॥११॥


Chalasi yad-vrajaa-chaarayan pashoon
nalin sunderam nath te padam,
Shil trinaankuraih sidatiti nah
Kali lataam manah kaant gachchati.


O beloved master, your feet are more tender and beautiful than a Lotus. When you take the cows for grazing, our hearts become restless at the very thought of your feet being pricked by the spiked husks of grain and the rough grass and plants. It is indeed painful for us.


दिनपरिक्षये नीलकुन्तलैर्वनरुहाननं बिभ्रदावृतम् ।
घनरजस्वलं दर्शयन्मुहुर्मनसि नः स्मरं वीर यच्छसि ॥१२॥


Din Parikshaye neel kuntaleir
van-ruhaananam bibhradaa-vritam,
Dhanraja-svalam darshayan muhur
manasi nah smaram vir yachch-si.


At the end of the day, when you return from the forest, we see your beautiful lotus face covered with dark curly locks and covered with dust. Our beloved, when You repeatedly show us Your lotus face, You arouse lusty desires in our minds.


प्रणतकामदं पद्मजार्चितं धरणिमण्डनं ध्येयमापदि ।
चरणपङ्कजं शंतमं च ते रमण नः स्तनेष्वर्पयाधिहन् ॥१३॥


Pranat-Kaamadam padma jaarchitam
dharani mandanam dhyey-maapadi ,
Charan pankajam shantmam cha te
raman nah staney-shvarp-yaadhihan.


Your lotus feet, which are worshiped by Lord Brahma, fulfill the desires of all who bow down to them. They are the jewels of this universe, In times of difficulty, they are appropriate object of meditation, by which all sufferings are removed. O the resident of Kunj ! Please put your pious lotus feet on our chest (heart) to bless and give peace to confer supreme beatitude and peace to us.


सुरतवर्धनं शोकनाशनं स्वरितवेणुना सुष्ठु चुम्बितम् ।
इतररागविस्मारणं नृणां वितर वीर नस्तेऽधरामृतम् ॥१४॥


Surat-vardhanam shoka naashnam
svarit venuna sushthhu chumbitam,
Etar-raag-vi smaaranam nrinam
vitar veer naste-dharaa-mritam.


O our hero, Fill us with your enchanting music which drop like ambrosia from the flute kissed by your lips and the pitch, which heightens our spiritual ecstasy, dispel our sorrows and make us oblivious to every other allurement. Your sweet music is divinely intoxicating.


अटति यद्भवानह्नि काननं त्रुटिर्युगायते त्वामपश्यताम् ।
कुटिलकुन्तलं श्रीमुखं च ते जड उदीक्षतां पक्ष्मकृद्दृशाम् ॥१५॥


Atatee yadh bhavan hanhi kaananam
trutir-yugaayate tvaam-pashyataam,
Kutil-kuntalam shri-mukham cha te
Jada udikshtaam pakshm krid drishaam.


O our beloved, during the day, when you go off to the forest, every moment (without seeing you) passes like a yug (age). When you return in the evening and we eagerly look upon your most beautiful face framed with curly locks, our pleasure is hindered by our eyelids. At that time, we feel that the creator of eyelids made it without reason.


पतिसुतान्वयभ्रातृबान्धवानतिविलङ्घ्य तेऽन्त्यच्युतागताः ।
गतिविदस्तवोद्गीतमोहिताः कितव योषितः कस्त्यजेन्निशि ॥१६॥


Pati-sutaanvaya-bhratri-baandhawaan
ati vilanghya te-antya chyutaagataah,
Gati vidastavod geet mohitah
kitav yoshitah kastya jennishi.


Dear Achyuta, You know very well why we have come here. We have disobeyed and disowned our own relatives, husband, son, brother and our family just to have a glimpse of You. Who, but a cheater like You, would abandon young women like us, who come to see You in the middle of the night, captured by the melodious music of Your flute?


रहसि संविदं हृच्छयोदयं प्रहसिताननं प्रेमवीक्षणम् ।
बृहदुरः श्रियो वीक्ष्य धाम ते मुहुरतिस्पृहा मुह्यते मनः ॥१७॥


Rahasi samvidam hrichch-yodayam,
prahisitaa nanam prem vikshanam,
Briha durah shriyo vikshya dhaam te
muhurati spriha muhyate manah.


Our minds are repeatedly bewildered as we think of the intimate conversations we had with You in secret, feel the rise of lust in our hearts and remember Your smiling face, Your loving glances and Your broad chest, the resting place of the goddess of fortune. Thus we experience the most severe hankering for You.


व्रजवनौकसां व्यक्तिरङ्ग ते वृजिनहन्त्र्यलं विश्वमङ्गलम् ।
त्यज मनाक् च नस्त्वत्स्पृहात्मनां स्वजनहृद्रुजां यन्निषूदनम् ॥१८॥


Vraj vanaukasaam vyaktiranga te,
vrijin hantryalam vishwa mangalam,
Tyaj manaak cha na-stva-sprihaat manaam
svajan-hren-dru-jaam yanni shoodanam.


O beloved, Your all-auspicious manifestation is for the removal of sorrows of residents of Vraja and for the well being of the entire universe. Our heart and mind long for your heavenly association. Please bless us with some remedy that will put an end to the pain in our heart.


यत्ते सुजातचरणाम्बुरुहं स्तनेष भीताः शनैः प्रिय दधीमहि कर्कशेषु ।
तेनाटवीमटसि तद्व्यथते न किंस्वित् कूर्पादिभिर्भ्रमति धीर्भवदायुषां नः ॥१९॥


Yatte sujaat-charnaam-buruham staneshu
bhitah shaney priya dadhi mahi karkshesu,
tenaat-we matsi tad vyathate na kinsvit
koorpardi-bhir-bhramati dhirbh vadaa yushaam nah.


O dearly beloved! As your feet are more tender than a lotus, we use utmost caution while putting them on our chest(heart). With same tender feet you wander in the deep forest bare feet. The mere thought of you treading with those tender feet on the thorny, stony paths in the forest give us pain and we loose our wits. O Lord, our existence is only for you. We are only living for you. We are only yours!!


इति श्रीमद्भागवत महापुराणे पारमहंस्यां संहितायां 
दशमस्कन्धे पूर्वार्धे रासक्रीडायां गोपीगीतं नामैकत्रिंशोऽध्यायः 


Gopi Gita sung by Srila BV Narayana Goswami Mj

Namami Nanda-Nandana 

Sucaru vaktra mandalam sukarna ratna kundalam
Sucarcitanga candanam namami nanda nandana

Vrajangana sunayakam sada sukha pradayakam
Jaganmanah pralobhanam namami nanda nandanam 

from "Sri Nanda-nandanastakam " 

1) sucaru-vaktra-mandalam sukarna-ratna-kundalam sucarcitanga-candanam namami nanda-nandanam 
2) sudirgha netra-pankajam sikhi-sikhanda-murdhajam ananga-koti-mohanam namami nanda-nandanam 
3) sunasikagra-mauktikam svacchanda danta-panktikam navambudanga-cikkanam namami nanda-nandanam 
4) karena venu-ranjitam gati-karindra-ganjitam dukula-pita sobhanam namami nanda-nandanam 
5) tri-bhanga-deha-sundaram nakha-dyuti-sudhakaram amulya ratna-bhusanam namami nanda-nandanam 
6) sugandha-anga-saurabham-uroviraji-kaustubham sphuracchri-vatsalanchanam namami nanda-nandanam 
7) vrndavana-sunagaram vilasanuga-vasasam surendra-garva-mocanam namami nanda-nandanam 
8) vrajangana-sunayakam sada sukha-pradayakam jagan-manah pralobhanam namami nanda-nandanam 
9) sri-nanda-nandanastakam pathed ya sraddhayanvitah tared-bhavabdhim dustaram labhet tadanghri-yugmakam 

TRANSLATION: 

1) I offer pranama to Nandanandana, whose face is extremely delightful, in whose beautiful ears hang jeweled earrings and whose entire body is anointed with fragrant candana. 

2) I offer pranama to Nandanandana, whose eyes are more beautiful than the fully bloomed lotus, whose head is beautifully adorned with an arrangement of peacock feathers and who enchants millions of Cupids. 

3) I offer pranama to Nandanandana, from whose beautiful nose hangs an elephant-pearl, whose teeth are immensely effulgent, whose bodily complexion is more beautiful and lustrous than a fresh rain cloud. 

4) I offer pranama to Nandanandana, whose lotus hands hold the flute, whose lingering gait defeats even that of an impassioned elephant and whose dark limbs are beautified by a yellow shawl. 

5) I offer pranama to Nandanandana, whose threefold-bending posture is exquisitely elegant, the effulgence of whose toe-nails puts to shame even the moon, and who wears invaluable jewels and ornaments. 

6) I offer pranama to Nandanandana, whose body exudes an especially beautiful fragrance, and whose broad chest is adorned with the kaustubha jewel and the mark of srivatsa. 

7) I offer pranama to Nandanandana, the expert lover of Vrindavana who performs immaculate pastimes and who is attired in clothes which are suitable for those pastimes and who pulverized the pride of Indra. 

8) I offer pranama to Nandanandana, who as the lover of the Vraja gopis perpetually delights them and who enchants the minds of all living entities. 

9) Whoever regularly recites this (Sri Nanda-nandanastakam) will easily cross the seemingly insurmountable ocean of material existence and attain eternal residence at the lotus feet of Krsna. 

Side Notes on Namami Nanda-Nandana: Namami Nanda-Nandana is about Sri Krsna. It is a prayer to Krsna. Krsna is called Nanda-nandana in relationship with Nanda Maharaja, His foster father (as He appears as the son of Nanda Maharaja). When people said that He was born of Nanda Maharaja, He was called Nanda-Nandana. Nanda-Nandana is a loving way to say "Krsna". It is like saying "the darling son of Nanda Maharaja". 



Sri Nanda-Nandanastakam sung by Chakrini

Jayadeva was one of five great poets adorning the court of the last Hindu ruler in Bengal, Maharaja Laksmanasena (1175-1200), and the poem celebrates Krishna as lord of herdsmen and their wives. It was sung every year for centuries at his place of birth, and gave rise to many versions and commentaries. 

The poem is in twelve parts, each a complex interweaving of hymn, narrative and song. The songs express the feelings of the characters, and are closely choreographed. Some idea of the structure can be gained by looking at Part One, which first sets the scene and follows with a three-verse invocation setting out the claims of Jayadeva and his fellow poets. Then appears the first of the 24 prabandhas (songs): an eleven-verse hymn to the ten incarnations of Vishnu, which ends with a summary of Vishnu's accomplishments. Then appears the second prabandha: again a hymn honouring Vishnu's incarnations. A following stanza asks for Krishna's blessing. The third song tells how Rádhá's friend spoke to her in the spring, and continues with eight stanzas describing Krishna dancing with the cowherdesses. The next stanza again mentions what Rádha's friend heard. The fourth song describes the women flocking to Krishna. Two stanzas of recitation follow, and the canto ends with Rádhá submitting to Krishna.

Lines end with syllable repetitions (yamakas) and repeated words in a continually varying pattern. The texture is equally varied, both simple constructions and long compounds. Despite its singing quality, the metre is complicated by classical Sanskrit measures being interwoven with measures allowing substitution of a long syllable by two short, and vice versa.

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The Gita Govinda is a work composed by the 12th-century poet, Jayadeva, who was born in Kenduli Sasan near Puri in Orissa. It describes the relationship between Krishna and the gopis of Vrindavana, and in particular one gopi named Radha. This work has been of great importance in the development of the bhakti traditions of Hinduism. The Gita Govinda is the best known composition of Jayadeva. It is a lyrical poetry that is organized into twelve chapters. Each chapter is further sub-divided into twenty four divisions called Prabandhas. The prabandhas contain couplets grouped into eights, called Ashtapadis.

Gita-govinda song01 सामोद दामोदरम्

Gita-govinda Song02 srita-kamala श्रितकमलाकुचमण्डल

ललितलवङ्गलतापरिशीलनकोमलमलयसमीरे ।
मधुकरनिकरकरम्बितकोकिलकूजितकुञ्जकुटीरे ।
विहरति हरिरिह सरसवसन्ते ।
नृत्यति युवतिजनेन समम् सखि विरहिजनस्य दुरन्ते धृवम्॥ अ प ३-१

पदच्छेद : ललित लवंग लता परिशीलन कोमल मलय समीरे मधुकर निकर
करम्बित कोकिल कूजित कुंज कुटीरे विहरति हरिः इह स रस वसन्ते
नृत्यति युवती जनेन समम् सखि विरहि जनस्य दुरन्ते

a pa 3-1-. lalita lavanga lataa= slimly, clove gillyflower plants, tendrils of; parishiilana= [lexically] on examining, [breeze on going over those flowers, interwoven with their fragrance]; komala= gentle; malaya samiire= Mt. malaya [with sandalwood trees] breezes; madhu kara nikara= honey, makers [honey bees] swarms of; karambita= intermingled with; kokila kuujita= by kokila [black singing bird] crooned; kunja kuTiire= in bowery, cabins;

vi rahi= without, having [their lovers at their side, estranged couples]; janasya= of such people; dur ante = non, stop endless, incessant [unrequited]; [ellipted] vasante= in such a springtime hat has all this paraphernalia; unrequited are lovelorn people in vernal season;

or, dur ante vasante= for adverse, end, to spring fever = terminable is spring fever; in spring alone the unrequitedness of lovelorn people is terminable; lovelorn people are unrequited, otherwise; hariH iha 1-sa ra 2 sa vasante

saH= he, [for whom you are searching; where the second sa became saH; [saH vasante viharati nR^ityati ca]; hariH= Hari, Krishna; vasante= in spring season; yuvatii janena= with girls of age, folks; samam= even as [at the very moment]; viharati nR^ityati= frolicking, dancing; sakhi = oh, dear; sara= come on [when the first sa with ra became sara = move on, come on]

sa mam= with, glory [gloriously]; yuvati jane nR^ityati= with girls of age, folks of, dances; sa rasa vante [vasante] = with sapful bliss, inclusive of [spring season that which contains the sapful bliss]; na= isn't he [phatic expression minus ? mark]; virahati= frolicking.

In this springtime gentle vernal breezes from Mt. malaya, the abode of sandalwood trees, that swivel round the slimly tendrils of clove gillyflower plants breeze gently, interwoven with both the fragrances... in this springtime that has bowery cabins made lively with the intermingled buzzes of honeybees swarms and croons of Kokila throngs... he whom you are seeking that Krishna is gloriously frolicking and dancing with folks of girls of age in Brindavan right at this moment, for this is spring, isn't it... oh, dear, therefore, come on... let's go... lovelorn people are unrequited, otherwise... [a pa 3-1]

Here the heroine compared to clove plant and hero to breeze, hence uddipana vibhaava an idea escalated.

उन्मदमदनमनोरथपथिकवधूजनजनितविलापे ।
अलिकुलसंकुलकुसुमसमूहनिराकुलबकुलकलापे  ॥ अ प ३-२

पदच्छेद : उत् मद मदन मनोरथ पथिक वधू जन जनित विलापे
अलि कुल संकुल कुसुम समूह निराकुल बकुल कलापे

3-2. ut mada= heightened, rejoice; madana manoratha= lust, longings [lustfulness]; pathika vadhuu jana = [lexically] of itinerants, women, folks of loverless ladyloves; janita vilaape= caused, ruefulness; ali kula= by honeybee, stock of [swarms of]; sankula= hurley burley; kusuma samuuha= flowers, groups of [bunches of]; niraakula= full of; vakula= Mimusops elengi, any of various acacia plants with showy yellow flowers; kalaape= in thickets; annexable hariH iha viharati... durante.

In this springtime that has thickets full with bunches of showy yellow flowers, on which swarms of honeybees are hurley burley... the season that heightens the joys and longings of womenfolk distanced from their lovers, only to land them in ruefulness and lovesickness, that Krishna is gloriously frolicking and dancing &c... [a pa 3-]

मृगमदसौरभरभसवशंवदनवदलमालतमाले ।
युवजनहृदयविदारणमनसिजनखरुचिकिंशुकजाले॥ अ प ३-३

पदच्छेद : मृग मद सौरभ रभस वशंवद नव दल माल तमाले
युव जन हृदय विदारण मनसिज नख रुचि किंशुक जाले

a pa 3-3. mR^iga= deer; mada= fat [musk]; saurabha= of fragrance; rabhasa= speediness [instantaneous]; vashanvada= self surrendered [one's own]; nava dala= having new, tender leaves; maala= enwreathing [the environ]; tamaale= having tamaala trees; yuva jana= young, people's; hR^idaya vidaaraNa= heart, rending; manasi ja= of mind, born one, [Love god, for he takes birth in one's own mind]; nakha= of nails; ruchi= in shine with; kinshuka= Butea frondosa, with blood red flowers; jaale= bunches of; annexable hariH iha viharati...durante.

In this season that has black tamaala trees enwreathing the environs with their new tender leaves that have their own fragrance akin to the instantaneous fragrance of deer's musk, and bunches of reddish flowers that analogous to the tender and roseate nails of Love god ready to rend the hearts of youngsters of age... in such a spring Krishna is frolicking and dancing &c... [a pa 3-3]

मदनमहीपतिकनकदण्डरुचिकेसरकुसुमविकासे ।
मिलितशिलीमुखपाटलिपटलकृतस्मरतूणविलासे॥ अ प ३-४

पदच्छेद : मदन मही पति कनक दण्ड रुचि केसर कुसुम विकासे
मिलित शिली मुख पाटलि पटल कृत स्मर तूण विलासे

a pa 3-4. madana= Love god; mahii pati= land, lord [king]; kanaka daNDa= golden, sceptre; ruchi= in shine with; keshara kusuma= Kesara [Mimisops elangi] flowers; vikaase= bloomed; milita = commingled; shilii mukha= iron, faced = arrow / honeybee [bees are metaphorical to the arrows of Love god, shliSTa ruupaka]; paaTali paTala= cup like daffodil flowers, bunches of; kR^ita= made as [rendered as]; smara = Love god's; tuuNa vilaase= quiver, in fashion of.

Now the bloomed golden flowers of kesara are in shine with the sheen of the golden sceptre of kingly Love god, the ruler of spring; bunches of cup like daffodils are in the fashion with his quivers; bees swarming on those flowers are rendered as his arrows ready to bolt on unrequited love pairs; in such a spring Krishna is frolicking and dancing &c... [a pa 3-4]

 The Love god, Manmatha, has only one quiver and one bow, and only five flower arrows aravindam, ashokam, cuutam, nava mallika, niilotpala but here they get multiplied as the love pairs are many.

विगलितलज्जितजगदवलोकनतरुणकरुणकृतहासे ।
विरहिनिकृन्तनकुन्तमुखाकृतिकेतकदन्तुरिताशे॥ अ प ३-५

पदच्छ्जेद विगलित लज्जित जगत् अवलोकन तरुण करुण कृत हासे
विरहि निकृन्तन कुन्त मुख आकृति केतक दन्तुरित अशे

a pa 3-5. virahi= lovelorn ones; vi galita= completely, tumbled [utterly bereft of]; lajjita= having prudishness; jagat= world [lovelorn people]; avalokana= on espying; taruNa karuNa= tender, whitish karuna flowers; kR^ita haase= made, laugh at; [or, jagat vigalita lajjita = at people, who are utterly bereft of prudishness; avalokana= on espying; taruNa= youngsters of age who are with their ladyloves]; karuNa= piteously; kR^ita haase= making, saddish grins = [youngsters who are with their ladyloves are grinning sadly at those that are behaving oddly as they are devoid of their prudishness]; virahi= lovelorn ones; nikR^intana= [as though] to lunge, tear asunder; kunta mukha akR^iti= spear, faced, in shape; ketaka= ketaka, mogra flowers; danturita ashe= full with, directions of compass.

Now the fully bloomed tender whitish flowers of karuna, espying lovelorn people, appear to be laughing at them for they are utterly devoid of their prudishness in lovesick behaviour...  while the long and lance like mogra flowers are also in full bloom in all directions, as though ready to lunge and tear asunder the hearts of lovelorn people... in such a spring Krishna is frolicking and dancing &c... [a pa 3-5]

माधविकापरिमलललिते नवमालिकजातिसुगन्धौ ।
मुनिमनसामपि मोहनकारिणि तरुणाकारणबन्धौ॥ अ प ३-६

पदच्छेद : माधविका परिमल ललिते नव मालिक जाति सुगन्धौ
मुनि मनसाम् अपि मोहन कारिणि तरुण अ कारण बन्धौ

a pa 3-6. maadhavikaa= of maadhavi flower plant Gaertnera racemosa; parimala= fragrance; lalite= in gentleness; nava maalika= double jasmine; jaati= jasmines, Jasminum grandiflorum; sugandhau= with pleasant fragrances; [or, as in other mms: nava maalika jaati sugandhau= double jasmines, jasmines', with the fragrances of ]; muni manasaam api= saints, hearts, even; mohana kaariNi = baffle, causers of [bafflers of]; taruNa= for youngsters of age;  a+ kaaraNa bandhau [iva] = without, reason [unexpected,] kinsman, [like.]

This springtime fragrant with the gentle fragrance of maadhavi flowers, doubled with the pleasant fragrance of double jasmine and jasmines can cause bafflement even to the hearts of saintly saints, not to say of youngsters, as such season is becoming an unseasonable guest for those youngsters, in such a season Krishna is frolicking and dancing &c... [a pa 3-6]

स्फुरदतिमुक्तलतापरिरम्भणमुकुलितपुलकितचूते ।
बृन्दावनविपिने परिसरपरिगतयमुनाजलपूते॥ अ प ३-७

पदच्छेद : स्फुरत् अतिमुक्त लता परि रंभण मुकुलित पुलकित चूते
बृंदावन विपिने परि सर परि गत यमुना जल पूते

a pa 3-7. [vasante= in spring season]; sphurat= vibrate, titillating; ati mukta lataa= maadhavi, tendrils; pari rambhaNa= by overarched, whorled; mukulita= having buds; pulakita = ticklish; chuute= mango trees; pari sara= around, surging; pari gata= around, going [flowing in an enwreathing and surging manner]; yamunaa jala puute= by River Yamuna, waters, sanctified; bR^indaavana vipine= in Brindavana, woodlands;

Or

bR^inda= group of yearners, yearning for love of god; avane= that which can alleviate, accord release, mokSha; vipine= ilderness, solitude.

In this spring season, where the titillating tendrils of maadhavi climbers whorl around budding mango trees in an overarching manner tickling those mango trees... where River yamuna is surging, enwreathing and sanctifying that place with her waters, where a group of yearners are yearning for the love of Krishna for final release, mokSha, is obtainable there... in such a secluded place called Brindavana, Krishna is frolicking and dancing &c... [a pa 3-7]

The climber plants are feminine and the mango trees are masculine. According to the saying vanita, kavita, lata, na aashrayam vinaa shobhate a maid, 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.

श्रीजयदेवभणितमिदमुदयति हरिचरणस्मृतिसारम् ।
सरसवसन्तसमयवनवर्णनमनुगतमदनविकारम्॥ अ प ३-८
पदच्छेद : श्री जयदेव भणितम् इदम् उदयति हरि चरण स्मृति सारम्
सरस वसन्त समय वन वर्णनम् अनु गत मदन विकारम्



Gita-govinda song03 lalita-lavanga ललितलवङ्ग

अष्ट पदि ४ सामोद दामोदर भ्रमर पदम् 

aSTA padi 4 saamoda daamodara bhramara padam
.

चन्दनचर्चितनीलकलेवरपीतवसनवनमाली ।
केलिचलन्मणिकुण्डलमण्डितगण्डयुगस्मितशाली ।
हरिरिहमुग्धवधूनिकरे विलासिनि विलसति केलिपरे ।धृवम्। अ प ४-१

पदच्छेद : चन्दन चर्चित नील कलेवर पीत वसन वनमाली केलि चलत् मणि कुण्डल
मण्डित गण्ड युग स्मित शाली हरिः इह मुग्ध वधू निकरे विलासिनि विलसति केलि परे

a pa 4-1. Showing him whose get up is: chandana= with sandal paste; charchita= bedaubed; niila kalevara= on bluish, body; piita= [pale brownish yellow] ochry; vasana= silk cloths [clad in]; vanamaalii= one who wears a garland of basil leaves and flowers; keli chalat= while playing [while romping,] moving [swaying]; maNi kuNDala= gems [gem studded,] knobby ear hangings; maNDita= by [ear knobs] embellished; gaNDa yuga= cheeks, pair; smita shaalii= a smiler with such disposition a gleeful one; hariH iha= Krishna, now; vilaasini= ravishing [damsels]; mugdha= coyly; vadhuu nikare= damsels, in group [amidst coterie]; vilasati= frolicking; keli pare= in game [here in ronde; Fr. ronde = n. a dance in which the dancers move in a circle, raasa liila, raasa kriiDa] rapturous [game.]

His Sapphirine body bedaubed with sandal paste, clad in ochry silks, garlanded with a garland of basil leaves and flowers, cheeks embellished with flapping gem studded knobby ear hangings while he is romping... see that gleeful Krishna now amidst a coterie of ravishing and coyly damsels, in a rapturous ronde… [a pa 4-1]

 All these stanzas are girlfriend’s dialogue with Rādha, but the addressing ‘oh, Rādha…’ is omitted. With this she has also said, ‘when you are here, an expert in romantic amusement, leaving you Krishna’s frolicking with coyly, simplistic and naïve girls is unbefitting for him… hence, you go at once…’ naayika utkaNThita.

Many take the word niila kalevara as an absolute black colour of body, while it is sky blue black, on par with ‘sky blue pink’ n. & adj. n. an imaginary colour, or somewhat semi sapphirine blue and similes with the sky itself, as sky is the Absolute kham brahma. Hence, some hex value is to be derived for this hue of sky blue black at least now, or said as somewhat sapphirine bluish colour. And piita ambara and vanmaala are not just rustling ochry silks and garland of wild leaves, but those basil leaves and silken garments are also the removers of sins.

पीनपयोधरभारभरेण हरिम् परिरम्य सरागम् ।
गोपवधूरनुगायति काचिदुदञ्चितपञ्चमरागम्।
हरिरिह केलिपरे ॥ अ प ४-२

पदच्छेद : पीन पयोधर भार भरेण हरिम् परि रभ्य रम्य
सरागम् गोप वधूःअनु गायति काचित् उदंचित पंचम रागम्

a pa 4-2. kaachit= someone; gopa vadhuuH= milker’s, damsel [milkmaid, vadhuu need not be a bride / wife always]; piina payo dhara= with bosomy, bust; bhaara bhareNa= weight, carrying [by their weightiness]; sa raagam= with, longing; harim= at Krishna; pari rabhya [ramya]= in over [arching manner,] hugging [cleaving to]; udanchita = in a heightened; panchama= fifth [note, octave]; raagam= melodiously; anu= in tune with his fluting]; gaayati= singing; annex: haririha…kelipare = as above.

Someone, a milkmaid, eager to ease the weightiness of her bosomy bust is cleaving to Krishna in a overarching manner, and then in a heightened octave she is singing melodiously in tune with his fluting; hence, he that gleeful Krishna &c… [a pa 4-2]

 The damsel is hugging even before the hero tries to embrace her; hence, she is in eagerness as her naayika lakShaNa is mugdha, a meekish heroine. Some scholars translate this word mugdha as a foolish girl. This translates as innocent, ignorant, artless rhetorical naayika, artless insofar as romantic advances are concerned. If this black boy and white girl combination is set aside for a while, it is the twosome of devotee god, trying to achieve oneness, in which the devotee has to make his/her first move to embrace the god, as in markaTa nyaaya mother monkey and child monkey syndrome, that contrasts with maarjaala nyaaya cat kitten syndrome. Swelling bosoms suggests swelling milky devotion, where both emerge from bosom alone, contrary to a lip service.

कापि विलासविलोलविलोचनखेलनजनितमनोजम् ।
ध्यायति मुग्धवधूरधिकम् मधुसूदनवदनसरोजम् ।
हरिरिह केलिपरे ॥ अ प ४-३

पदच्छेद : का अपि विलास विलोल विलोचन खेलन जनित मनोजम्
ध्यायति मुग्ध वधूः अधिकम् मधु सूदन वदन सरोजम्

a pa 4-3. kaa api= someone, even; mugdha vadhuuH= meekish, damsel [one who is an inexpert in romancing, sringaara ceSTaaH abhaava ]; vilaasa= by romantic gesticulations [of eyes] [haava bhaava ceSTaaH shuunyata of Krishna, or of that milkmaid]; vi lola= verily, flustered; vi lochana= wide, eyes; khelana= by their play [of eyes, slanting, siding glances]; janita= caused; manaH jam= mind, causer of [one who can give rise to Love god, Krishna, personified passion]; madhu suudana= demon Madhu’s, eliminator [Krishna’s]; vadana= face; saraH jam = lake, born [lotus, beautiful lotus like beautiful face]; adhikam dhyaayati= highly [fixatedly,] contemplating.

Some meekish damsel helplessly remaining on the sidelines came into the sight of sidelong glances with romantic gesticulations of fluttery wide eyes of Krishna, and passion is enkindled in her; but that girl, inexpert in romance, at once started gazing at the beautiful lotusy face of the eliminator of demon madhu, namely Krishna, and fixatedly contemplated on it... thus, that gleeful Krishna &c… [a pa 4-3]

Or

Some meekish damsel is also impassioned for she is there with him; in her inexpert gesticulations of romance, like tactless sidelong glances with her flustered wide eyes, she caught a sight of the beautiful lotusy face of Krishna; from then on she fixatedly contemplated on that face, for she is an expert in contemplation; thus, that gleeful Krishna &c… [a pa 4-3]

 All may not be expert danseuses or songsters, but lovingness is common in all. Some girl came there, but she became a third row ballerina, or fourth row chorus girl, even then that environ enkindles a kind of belongingness in her, and she longed for him in her way prekSya prekSaka riiti. Usually contemplations come in when the object to contemplate is not before the eyes. But he is very much there, even then, she is contemplating. Again, she is mugdha, somewhat artless, meekish heroine. Reaching him is the goal, whether it is a bodily reaching, or reaching through contemplation. Some derive the word madhu suudana vadana sarojam basing on the root Suuda kSharaNe as madhu = honey, nectar; suudana = spilling; that lotus like face is pouring forth potable nectar of grace.

कापि कपोलतले मिलिता लपितुम् किमपि श्रुतिमूले ।
चारु चुचुंब नितंबवती दयितम् पुलकैरनुकूले ।
हरिरिह केलिपरे ॥ अ प ४-४

पदच्छेद : का अपि कपोल तले मिलिता लपितुम् किम् अपि
श्रुति मूले चारु चुचुंब नितंबवती दयितम् पुलकैः अनुकूले

a pa 4-4. kaa api= someone, even; nitambavatii= one with big buttocks; shruti muule= ear, base of [at hole on earlobe]; kim api= something, even; lapitum= to say; militaa = on reaching his bent ear that is now; pulakaiH anukuule= by tickles, made convenient [when Krishna’s face is tickly, his cheek is bent for her convenience to kiss it]; kapola tale= on cheek’s, surface; dayitam= him that lover [Krishna]; chaaru chuchumba= goodly [amusingly,] kissed.

Some fat bummed girl neared him feigning to say something in his ear; reaching her lover Krishna whose tickly face is now conveniently turned sideways in all ears for her; but she amusingly kissed his cheek in a trice in preference to a whisper; thus that gleeful Krishna &c... [a pa 4-4]

pulakita tickly, when ladylove touched his ears, his body became tickly and thus he had to move his cheeks sideways, which she thought a gesture to listen to her whisper; nitambavati because her buttocks are heavy she could not run a race with Krishna, hence she paused him in his dance saying ‘listen this…’ and then carried off her wish; naayika prauDha [somewhat artful one]; naayaka anukuula [acquiescent one.]

केलिकलाकुतुकेन च काचिदमुम् यमुनाजलकूले ।
मञ्जुलवञ्जुलकुञ्जगतम् विचकर्ष करेण दुकूले ।
हरिरिह केलिपरे ॥ अ प ४-५

पदच्छेद : केलि कला कुतुकेन च काचित् अमुम् यमुना जल
कूले मंजुल वंजुल कुंज गतम् विचकर्ष करेण दुकूले

a pa 4-5. kaachit= someone; keli = [manmatha keli] plays of passions; kalaa= artistry; kutukena ca= with enthusiasm, also; [parihaasena ca= with glee, also]; yamunaa jala kuule = River Yamuna, waters, on its bank; manjula= beautiful; vanjula kunja= ashoka tree, bower; gatam = one who has gone there, frolicking in there; amum= him; dukuule= by his dress; kareNa= with her hand; vichakarSa= lugging along.

Another milkmaid enthusiastic in the artistry of plays of passion, and passionate to play in the waters of river Yamuna along with Krishna, found him frolicking in a beautiful bower at that ashoka tree, and seizing his garment she is gleefully drawing him towards water, thus that gleeful Krishna &c... [a pa 4-5]

 Krishna is otherwise busy anyaasakta so she had to lug him along by catching his silk upper cloth. naayika adhiira. The expression yamunaa kuule would have been sufficient for Yamuna riverbank. But it is said a river called Yamuna that contains water and banks. A river naturally contains water and banks, then why that redundant usage of water plus banks? It has two purposes she is interested in sporting in water with Krishna, and the other is to indicate that water’s cooling effect and sanctification shaityatva, paavanatva and hence the word waters is used emphatically.

करतलतालतरलवलयावलिकलितकलस्वंअवंशे ।
रासरसे सहनृत्यपरा हरिणा युवतिः प्रशशंसे ।
हरिरिह केलिपरे ॥ अ प ४-६

पदच्छेद : कर तल ताल तरल वलय आवलि कलित कल स्वन
वंशे रास रसे सह नृत्य परा हरिणा युवतिः प्रशशंसे

a pa 4-6. yuvatiH= a maiden; kara tala= hand, surface with palms; taala= by clapping rhythmically; tarala= moving; valaya= [valaya angada]= heavy wrist metal roundlets; avali= a group of, a set of such bracelets; kalita= intermingling [touching one to one, clanking, clanks mingling with fluting]; kala svana= avyakta madura svana = undefinable dulcet clanks; vamshe= one who has a flute va.msha = bamboo mohana vamshii = name of Krishna’s bamboo flute; raasa= raasa kriiDa = in plays of passion, in ronde; rase= zealous [Krishna]; saha= along with; nR^itya paraa= in dancing, engrossed; hariNaa= by Hari, Krishna; prashashanse= [that maiden is] commended.

While a maiden is engrossed in ronde dancing along with zealously dancing Krishna, she is clapping her palms in rhythm to his fluting, while doing so sets of her heavy bracelets are clanking in undefinable dulcet clanks, intermingling with that fluting, thus that flautist of mohana vamshi, the Divine Flute, namely Krishna, is fluting the praises unto her... thus, that gleeful Krishna &c...[a pa 4-6]

 By employing the word rasa raase it is said, though this girl is an inexpert in superfine singing and dancing, she is expert in her rustic, moorish, and boorish dances, hence she is aware of beat and rhythm laya taala j~naana , thereby she is praiseworthy.

श्लिष्यति कामपि चुम्बति कामपि कामपि रमयति रामाम् ।
पश्यति सस्मितचारुपरामपरामनुगच्छति वामाम् ।
हरिरिह केलिपरे ॥ अ प ४-७

पदच्छेद : श्लिष्यति काम् अपि चुंबति काम् अपि काम् अपि रमयति
रामाम् पश्यति सः स्मित चारु तराम् अपराम् अनु गच्छति वामाम्

a pa 4-7. saH= such as he is, he that Krishna; kaam api= someone, even; shliSyati= cleaves to; kaam api chumbati= someone, even, kisses; kaam api= someone, even; raamaam = delightful damsel; ramayati= he delights [her]; smita= beaming; caaru taraam= beauty, in high degree [most beautiful lass]; aparaam= another one; pashyati= sees to her, pay attention to; vaamaam= leftist, a flighty girl; anu= in tow; gacChati= goes after.

Such frolicsome Krishna is even cleaving to someone; kissing someone; delighting someone who is a delightful damsel; paying attention to another most beautiful damsel with beaming smiles; following a flighty girl with slanting glances, thus, that gleeful Krishna &c… [a pa 4-7]

 Here the word raamaam is generative from root ramu ramu kriiDaayaam one who gives and takes delight in which she is delighted. This word is on the analogy of the name of Rama in Ramayana. When the syllable ‘a’ is prolonged to ‘aa’ ‘raa maa’ it becomes feminine delighter and the delighted. And smita caaru taraam or, smita caaru paraam ‘beamingly smiling’ indicates her readiness for intimacy, expressed in a smile itself. Hence, this piece of poem is floridly smiley. The word vaamaam 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. nayaka catura [artful.]

All these acts are performed sequentially or at a time? At a time only is the answer. How can one Krishna become many at a time, is its sequel. That is what raasa kriida or raasa liila is, and unimaginable are his acts, deeds, or plays of passion. Thus this poetry, though expressed in mundane parlance, attains a supramundane eros [aspiration toward value] a divine lusting. The poet says in the next foot ‘that is why this is an amazing act of Krishna adbhutam.

श्रीजयदेवभणितमिदमद्भुतकेशवकेलिरहस्यम् ।
वृन्दावनविपिने ललितम् वितनोतु शुभानि यशस्यम् ।
हरिरिह केलिपरे ॥ अ प ४-८

पदच्छेद : श्री जयदेव भणितम् इदम् अद्भुत केशव केलि रहस्यम्
वृन्दावन विपिने ललितम् वितनोतु शुभानि यशस्यम्

a pa 4-8. vR^indaavana vipine= in Brindavana, woodlands; charita=  what that happens; yashasyam= endowing gloriousness [if sung or danced to its tunes]; keshava keli rahasyam = Krishna’s, plays of passion, arcaneness of; jayadeva bhaNitam idam= by Jayadeva, articulated, this; adbhutam = an admirable poem; lalitam= exquisite [pleasure giver]; libretto, [with double entendre = n. a word or phrase open to two interpretations, one usu. risqué or indecent, here the whole poem]; shrii shrii suukti = felicitous, saying, poem; shubhaani vitanotu= prosperities, let it radiate [ tr. transmit or demonstrate life, love, joy, etc. ‘radiates happiness’].

Parsing In another way:

yashasyam= endowing gloriousness [if sung or danced to its tunes]; vR^indaavana vipine= in Brindavana, woodlands [what that happens]; lalitam= exquisite [pleasure giver]; adbhuta = admirable; keshava= Krishna’s; keli rahasyam= plays of passion, arcaneness of; idam= this; jayadeva bhaNitam= by Jayadeva, articulated; shrii shrii suukti = felicitous, saying, lyric, libretto, [with double entendre = n. a word or phrase open to two interpretations, one usu. risqué or indecent, here the whole poem]; shubhaani vitanotu= prosperities, let it radiate [ tr. transmit or demonstrate life, love, joy, etc. ‘radiates happiness’.]

This song, which endows gloriousness to the devotees of Krishna, if sung or danced to its tunes, and which contains the arcaneness about the exquisite plays of passion of Krishna in equally arcanus Brindavana, is articulated by Jayadeva, thus let it radiate prosperities to one and all… [a pa 4-8]

 With this the poet concludes this lyric. Here Krishna himself is an adbhutam, because he is manifest separately to each of the milkmaid in a trice, though remaining himself as one entity. In this lyric the words keli rahasyam are usually translated as secrets sports, or secret love games etc., taking them to be rahasya keli kalaapam , but the word rahasyam qualifies the word keli. Then they are the secrets about those plays, of which the poet wishes to tell, but not how secretly the plays are played, and Krishna is no covert player, either in these dance dramas of Bhaagavata or in the politics of Maha Bhaarata. chandas laya.


Gita-govinda song04 harir iha mugdha-vadhü-nikare हरिरिहमुग्धवधूनिकरे

प्रिये ! चारुशीले 

Language: Sanskrit, 
Raga: Vasanthi, 
Taal: Mishrachapu, 
Lyrics: Jayadeva, 
Music: OS Arun 
Singer : OS Arun 


प्रिये ! चारुशीले ! प्रिये ! चारुशीले ! मुंच मयि मानमनिदानम्
सपदि मदनानलो दहति मम मानसम् देहि मुखकमलमधुपानम्
प्रिये ! चारुशीले ! प्रिये ! चारुशीले ! 

सत्यमेवासि यदि सुदति मयि कोपिनी देहि खरनखशरघातम्।
घटय भुजबन्धनम् जनय रदखण्डनम् येन वा भवति सुखजातम्॥ 

त्वमसि मम भूषणम् त्वमसि मम जीवनम् त्वमसि भवजलधिरत्नम् ।
भवतु भवतीह मयि सततमनुरोधिनि तत्र मम हृदयमतियत्नम्॥ 

नीलनलिनाभमपितन्वितवलोचनम् धारयतिकोकनदरूपम्।
कुसुमशरबाणभावेनयदिरंजयति कृष्णमिदमेतदनुरूपम्॥ 

स्फुरतु कुचकुम्भयोरुपरि मणिमंजरी रंजयतु तव हृदयदेशम् ।
रसतु रशनापि तव घनजघनमण्डले घोषयतु मन्मथनिदेशम्॥ 

स्थलकमलगंजनम् ममहृदयरंजनम् जनितरतिरंगपरभागम् ।
भणमसृणवाणि करवाणि चरणद्वयम् सरसलसदलक्तकरागम्॥ 

स्मरगरलखण्डनम् मम शिरसिमण्डनम् देहि पदपल्लवमुदारम् ।
ज्वलतिमयिदारुणोमदनकद् अनानलो हरतुतदुपाहितविकारम्॥ 

प्रिये चारुशीले 
प्रिये चारुशीले

Gita-govinda song 19 Priye Charusheele प्रिये चारुशीले

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|| Gopi Geet ||
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Srimad Bhagavat contains Gopi Geet. It is contained in the first half of book ten, chapter 31, verses 1 to 19 of Bhagavat Purana.

In nineteen tender verses, Gopis, narrate his glory at the time of his disappearance during the Rasa Leela. Krishna planned Rasa leela to lift Gopis' to a higher spiritual state. Lord Krishna was perturbed by the introvert pursuit of Gopis and in order to teach them a lesson, he disappeared into the forest.

Gopis became breathless when they did not find Krishna, Bemused Gopis' looked all over. Then, with their mind, soul and body in unison with Krishna's memories, they arrived at the banks of river Yamuna. Immersed in his unfathomable love and earnestly longing for his heavenly vision, Gopis' started singing the glory of his divine grace and the very tunes became known as Gopi Geet - cries for Krishna.



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Due to restrictions on the length of content that can be posted here in this box, the full text of Gopi Geet can be found here at this link .
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http://www.facebook.com/photo.php?fbid=3048757750193&set=a.2074815562247.2088760.1600702242&type=3

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Gopi Gita sung by Anuradha Paudwal

पतिसुतान्वयभ्रातृबान्धवानतिविलङ्घ्य तेऽन्त्यच्युतागताः ।
गतिविदस्तवोद्गीतमोहिताः कितव योषितः कस्त्यजेन्निशि ॥१६॥


Pati-sutaanvaya-bhratri-baandhawaan
ati vilanghya te-antya chyutaagataah,
Gati vidastavod geet mohitah
kitav yoshitah kastya jennishi.


Dear Achyuta, You know very well why we have come here. We have disobeyed and disowned our own relatives, husband, son, brother and our family just to have a glimpse of You. Who, but a cheater like You, would abandon young women like us, who come to see You in the middle of the night, captured by the melodious music of Your flute?


Gopi Gita verse 16 - manjari dasi

Prologue

    Shri Yamunashtakam is the first among the sixteen works known as shodashgranth {SIXTEEN TREATISES OF SHRI VALLABH}. This particular granth was composed by Shri Vallabh in v.s.1549(1491 A.D.) on the Shraavan Shukla 3 during the prithvi parikrama. Shri Vallabh was in Gokul and he was undecided about the exact place of Thakurani Ghat. At that time Shri Yamunaji herself appeared and guided Shri Vallabh and pointed out the exact place. Shri Vallabh then and there composed Shri Yamunashtakam,the beautiful stotra, in the praise of Shri Yamunaji. 

     The fourth beloved (turyapriya)of Shri Krishna,Shri Yamunaji is epitome of selfless devotion towards Krishna,and only through her  or her Kripa(grace) a jeeva(soul) can experience the param phal i.e. leela-pravesh. She purifies souls and removes all obstacles which are in the way between jeev and prabhu and gives the exalted jeeva a new body fit to experience the leela-phal-"tanu-navtva"! For ordinary bhakta of to-day the recital of Yamunashtakam daily will enhance his love towards Shri Krishna,abolish his paap-bad deeds and above all the bhakta will be able conquer his svabhava-basic instincts. 


Shloka 1
Namami Yamunamaham sakal-siddhi-hetum-muda
Murari-pad-pankaj-sfurad-amand-renutkatam I
Tatastha-nav-kanan-prakat-mod-pushpambuna
Sur-asur-supujit smarpitu shriyam bibhratim II1II
    
I (Shri Vallabh)bow joyfully to Shri Yamunaji,the giver of divine super natural powers for experiencing the bhagvadleela. Shri Yamunaji is loaded with the glistening sands emanating from the lotus feet of Murari Shri Krishna. The water of Shri Yamuna is scented with the perfumes of blossomed flowers from the forests located on the banks of Shri Yamuna,such Shri Yamuna is worshipped by gods and demons equally. II1II

 
Shloka 2
Kalindagirimastake patadamanda poorojvalaa
Vilasagamanollasat Prakataganda shailonnata I
Saghoshagati danturaa samadhiroodha dolottamma
Mukundarativardhini jayati padmabandhosuta II2II
 
"Falling forcefully on Mount Kalinda Shri Yamunaji appers to be crystal white and looks beautiful with her luxurious flow through cheek like rocks of mountain. Shri Yamunaji follows a zig-zag path noisily and while she flows up and down she looks as if sitting on a beautiful swing. Shri Yamunaji is superior as she enhances our love towards lotus-feet of Lord Mukund. II2II

 

Shloka 3
Bhuvam bhuvanapaavaneem adhigatamanekasvanai
Priyabhirivasevitaam Shuka-Mayur-Hansadibhee I
Tarangabhujakankana prakatamuktikavaluka
Nitambatatasundareem namata Krishnaturya-priyaam II3II
    
Bow down to Shri Yamunaji the fourth beloved of Lord Shri Krishna,who has come down to earth to sanctify it and on earth she is served by parrots,peacocks,swans etc. with melodious noises as if served by loving friends. Shri Yamunaji wears bangles in the form of waves and sand on them looks like pearls. Shri Yamunaji looks beautiful with hips in the form of her two banks. II3II

 

Shloka 4
Anant-gun-bhushite Shiv-viranchi-devstute
Ghanaghannibhe sada Dhruv-Parasharabhistade
Vishuddha-Mathura-tate sakal-gop-gopivrite
Kripajaladhi-sanshrite mam manah sukham bhavay II4II
                                           

Shri Yamunaji is adorned with countless virtues and is worshipped by Shiv,Brahma and other gods. She has a lustre of rain filled clouds and fulfilles the desires of sages like Dhruv and Parasher. Pious city Mathura is situated on her banks and she is surrounded by gop and gopees whose only refuge is kripasagar Shri Krishna.O Shri Yamuna! please bless me with the happiness of mind II4II 

 

Shloka 5
Yaya charan-padmaja Mur-ripoh priyam-bhavuka
Samagamanato-bhavat sakal-siddhida sevtam I
Taya sadrashtamiyat Kamalja-sapatniv yat
Hari-priya-kalindaya mansi me sada sthiytam II5II
    
Shri Gangaji who has emerged from the lotus feet of God could become beloved of Krishna and fulfilled every wish of her followers only after her merger with Shri Yamunaji. Shri Yamunaji can be compared with lotus born Shri Laxmiji only, who is also Shri Krishna's beloved. Shri Yamunaji  who destroys all the ills of Shri Krishna's devotees may live in my (Shri Vallabh's)heart forever. II5II 

 

Shloka 6
Namostu Yamune sada tav charitrmatyadbhutam
Na jatu yama-yatana bhavati te payah-panatah I
Yamopi bhagini-sutan kathamu hanti dushtanapi
Priyo bhavati sevanat tav harer-yatha gopikah II6II
    
O Shri Yamuna! Your character is wonderful!! A person who partakes your water has no fear of pain inflicted by Yama-the god of death-as how could he hurt his sister’s sons(devotees)however wicked they may be because they become beloved of Shri Krishna like Gopikas by serving you! O Shri Yamuna! Let us pay obeisance to you incessantly.II6II 

 

Shloka 7
Mamastu tav sannidhau tanu-navatvam-etavata
Na durlabhtama ratih Mur-ripau Mukund-priye I
Atostu tav lalana surdhuni param sangamat
Tavaiv bhuvi kirtita na tu kadapi pushti-sthitaih II7II

O beloved of Mukund Shri Yamuna! By your nearness let my body become new(worthy) so to gain the love of Shri Krishna-the enemy of demon Mura- is not difficult. So let us shower you with love(by prayers) as Ganga became famous only after merging with you and was not worshipped by Pushti-Jivas before that.II7II 

 

Shloka 8
Stutim tav karoti kah Kamalaja-sapatni priye
Harer-yadanu sevaya bhavati saukhya-mamokshatah I
Iyam tav kathadhika sakalgopika-sangam-
smar-shram-jalanubhi sakal-gatrajaih sangamah II8II

Oh! Shri Yamunaji! the co-wife of Laxmiji! The beloved of Krishna!! no one is competent enough to praise you. By worshipping Laxmi with Shri Hari one gets the bliss of salvation only while you give much more- as your water is mixed with sweat generated by the bodies of Shri Krishna and Gopikas while having exotic sports and by worshipping you the devotee gets the bliss of this too.II8II

Yamunashtakam - Lata Mangeshkar

he Madhava

Govinda Damodara Madhaveti
Govinda Damodara Madhaveti

he krsna he yadava he sakheti, 
govinda damodara madhaveti

Govinda Damodara Madhaveti
Govinda Damodara Madhaveti

he krsna he yadava he sakheti, 
govinda damodara madhaveti


dari mathani dadhi me kisine, 
tabe dhyana ayo dadhi cora ka hi
gada gada kantha pukarati hai, 

govinda damodara madhaveti
govinda damodara madhaveti
govinda damodara madhaveti

(When going to churn milk for making butter, one mother in Vraja remembers Sri Krsna, the butter-thief, and in a choked voice cries out, “Hey Krsna! Hey Yadava! Hey my friend! Govinda! Damodara! Madhava!”)




he krsna he yadava he sakheti, 
govinda damodara madhaveti

he krsna he yadhava he sakheti, 
govinda damodara madhaveti


mata yashoda hari ko jagave 
jago utho mohana naina kholo
dvare khare gvala bula rahe hai, .

govinda damodara madhaveti
govinda damodara madhaveti
govinda damodara madhaveti

(In awakening Sri Hari, Mother Yashoda says, “Awaken! Get up, Mohana! Open Your eyes! Your friends are waiting for You at the door! Govinda! Damodara! Madhava!”)


he krsna he yadhava he sakheti, 
govinda damodara madhaveti





sA nIrajAkShIm avalokya rAdhAM
ruroda govinda-viyoga-khinnAm
sakhI praphullotpala-locanAbhyAM

govinda dAmodara mAdhaveti
govinda dAmodara mAdhaveti
govinda dAmodara mAdhaveti
govinda dAmodara mAdhaveti
govinda dAmodara mAdhaveti
govinda dAmodara mAdhaveti

(Seeing Shrimati Radharani crying from the pangs of separation from Govinda, the blooming lotus eyes of Radha's girlfriend is also filled with tears, and she too cried, "Govinda, Damodara, Madhava.")

SanjayJha

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