Srila Bilvamangal Thakurji – Sri Krsna Karnamritam

Text 1
cintamanir jayati somagirir gurur me
shiksha-gurush ca bhagavan shikhi-pishcha-maulih
yat-pada-kalpataru-pallava-shekhareshu
lila-svayamvara-rasam labhate jayashrih
cintamanih jayati—all glories to Cintamani; soma-girih—Somagiri (the initiating guru); guruh—spiritual master; me—my; shiksha-guruh—instructing spiritual master; ca—and; bhagavan—the Supreme Personality of Godhead; shikhi-pishcha—with peacock feathers; maulih—whose head; yat—whose; pada—of the lotus feet; kalpa-taru—like desire trees; pallava—like new leaves; shekhareshu—at the toenails; lila-svayam-vara—of conjugal pastimes; rasam—the mellow; labhate—obtains; jaya-shrih—Shrimati Radharani.

All glories to Cintamini and my initiating spiritual master, Somagiri. All glories to my instructing spiritual master, the Supreme Personality of Godhead, who wears peacock feathers in His crown. Under the shade of His lotus feet, which are like desire trees, Jayashri (Radharani) enjoys the transcendental mellow of an eternal consort.

Text 2
asti svastaruni-karagra-vigalat-kalpa-prasuna-plutam
vastu prastuta-venu-nada-lahari-nirvana-nirvyakulam
srasta-srasta-niruddha-nivi-vilasad-gopi-sahasravritam
hasta-nyasta-natapavargam akhilodaram kisorakriti
asti—there is; svastaruni—damsels of heaven; kara-agra—fingertips; vigalat—falling; Kalpa—of desire trees; prasuna—flowers; plutam—covered; vastu—an entity; prastuta—famed; venu-nada—flute sound; lahari—waves; nirvana—transcendental beatitude; nirvyakulam—carefree; srasta-srasta—repeatedly falling; niruddha—held up; nivi—undergarments; vilasad—shining; gopi—milkmaids; sahasra—thousands; avritam—surrounded; hasta—into the hads; nyasta—placed; nata—of the surrendered souls; apavargam—liberation; akhila—of all; udaram—most munificent; kishora—of an adolescent boy; akriti—having the appearance or form.

There is an entity who has the appearance of an adolescent boy, and who is being inundated with desire-tree flowers falling from the fingertips of the damsels of heaven. That boy is completely carefree, situated in transcendental beatitude, as He sends forth waves of sound from His famed flute. He is encircled by thousands of effulgent milkmaids, whose garments are becoming loose again and again (from their extreme pleasure at hearing the flute) and who are trying to hold them up. That adolescent boy, the pinnacle of munificence, places liberation from birth and death into the hands of His surrendered devotees.

Text 3
caturyaika-nidana-sima-capalapanga-cchata-mantharam
lavanyamrita-vici-lolita-drisham lakshmi-katakshadritam
kalindi-pulinangana-pranayinam kamavatarankuram
balamnilam amivayam mahurima-svarajyam aradhnumah
caturya—amicableness, amorous restiveness; eka—only; nidana—cause of existence; sima—limit; capala—flickering; apanga—sidelong glances; cchata—the many; mantharam—becomes or makes languid; lavanya—beauty; amrita—nectar; vici—waves; lolita—moving; drisham—eyes; lakshmi—Radharani; kataksha—sidelong glances; adritam—attentively worshiped; kalindi—the Yamuna (daughter of Mount Kalinda); pulina—the bank; angana—the milkmaids; pranayinam—enjoys pastimes with; kama—supramundane love; avatara—the incarnation; ankuram—source or root; balam—adolescent boy; nilam—dark blue; ami—is; vayam—by us; madhurima—love’s sweetness; svarajyam—unrestricted dominion; aradhnumah—worshiped.

We worship that dark bluish young boy, in whom culminate the principal stimuli for amorous love, who causes Radha to become languid with the beauty of His dancing sidelong glances, and who in turn becomes languid with love when Shri Radha and Her friends cast their sidelong glances at Him. That boy’s beauty, like waves of nectar, engenders an extreme thirst in the eyes of Radha and Her companions, and, conversely, their nectarous beauty makes Him thirsty to see them. He is affectionately worshiped by Radha’s wistful glances, and He enjoys loving pastimes with Radha and Her friends on the bank of the Yamuna. We worship that young bluish boy, the source of the god of love, who has attained unchallenged dominion over love’s sweetness.

Text 4
barhottamsa-vilasa-kuntala-bharam madhurya-magnananam
pronmilan-nava-yauvanam pravilasad venu-pranadamritam
apina-stana-kudmalabhir abhito gopibhir aradhitam
jyotish cetasi nash cakastu jagatam ekabhiramadbhutam
bharottamsa—peacock feather; vilasa—charming; kuntala—lock of hair; bharam—wearing; madhurya—sweetness; magna—steeped; ananam—face; pronmilat—manifesting; nava—fresh; yauvanam—youthfulness; pravilasat—shining forth brightly, revealing itself; venu—of the flute; pranada—murmur or sound of rapture; amritam—nectar; apina—udderlike; stana—breasts; kudmalabhih—with buds; abhitah—on all sides; gopibhih—the milkmaids of Vraja; aradhitam—adore, worship; jyotih—the effulgence, i.e., Krishna; cetasi—in our hearts; nah—of us; cakastu—let it shine; jagatam—in the universe; eka—the only; abhirama—enjoyer or source of enjoyment; adbhutam—wonderful, amazing.

Let the effulgence personified (i.e., Krishna) shine within our hearts. He is wearing a bright peacock plume on His head, His face is steeped in sweet beauty, His fresh youthfulness is bursting forth, and His flute is pouring out murmuring, nectarous sounds of rapture. On all sides the milkmaids of Vraja, who have blooming, budlike breasts, worship Him in adoration. Indeed, He is, amazingly, the only enjoyer and the only source of enjoyment in the entire universe.

Text 5
madhuratara-smitamrita-vimugdha-mukhamburuham
mada-shikhi-pishcha-lashchita-manojsha-kaca-pracayam
vishaya-vishamisha-grasana-gridhnuni cetasi me
vipula-vilocanam kim api dhama cakastu ciram
madhuratara—very sweet; smita—smiles; amrita—the nectar; vimugdha—very charming; mukha—the face; amburuham—the lotus; mada—proud; shikhi—peacock; pishcha—feather; lashchita—decorated; manojsha—charming, pleasing; kaca—locks of hair; pracayam—profusion; vishaya—that which binds the mind; either worldly objects of attachment or Krishna Himself; visha—poison, or pain of separation from Krishna; amisha—meat, or any coveted thing; grasana—to swallow; gridhnuni—greedy; cetasi—mind; me—my; vipula—wide, like long lotus petals; vilocanam—eyes; kim api—indescribable; dhama—embodiment of brightness; cakastu—let it shine; ciram—forever.

Shri Krishna’s eyes are long like petals of a blooming lotus, and His very charming lotuslike face is made all the more charming by His extremely beautiful and sweet, nectarous smiles. His profuse curling locks look delightful with their decoration of a proud peacock’s tail-feather. Let Him, the embodiment of all effulgence, forever shine within my heart, which is (outwardly) greedy for the poisonous meat of sense objects, [or
(inwardly) greedy for the beauty of Shri Krishna, a beauty that binds the
devotee’s mind and causes burning pain at the time of separation from Him.]

Text 6
mukulaya-mana-nayanambujam vibhor
murali-ninada-makaranda-nirbharam
mukurayamana-mridu-ganda-mandalam
mukha-pankajam manasi me vijrimbhitam
mukulaya—buds; mana—resembling; nayana—eyes; ambujam—lotus; vibhoh—of the Lord; murali—flute; ninada—sound; makaranda—nectar, honey; nirbharam—full of; mukuraya—mirror; mana—resembling; mridu—delicate; ganda—of the cheeks; mandalam—the orbs; mukha—face; pashkajam—the lotus; manasi—heart, mind; me—my; vijrimbhitam—open within.

May the lotus of my Lord’s face blossom within [the lake
of] my mind. The eyes of that face resemble lotus buds, being half-closed, and the delicate mirrorlike orbs of its cheeks are puffed with the nectarous honey of the flute-sound.

Text 7
kamaniya-kishora-mugdha-murteh
kala-venu-kvanitadritananendoh
mama vaci vijrimbhitam murarer
madhurimnah kani-kapi kapi kapi
kamaniya—enrapturing; kishora—adolescent; mugdha—artless; murteh—the figure; kala—medodies; venu—flute; kvanita—sounding; adrita—worshiped; anana—face; indoh—the moon; mama—my; vaci—words; vijrimbhitam—let there be expressex; murareh—who is irreproachable and very beautiful, or the enemy of the Mura demon; madhurimnah—of the sweet beauty; kani—a small particle; ka api—even a particle; ka api—of a particle; ka api—of a particle.

Let my words express even a tiny particle of a particle of a particle of the luscious beauty of Murari, whose artless adolescent figure enraptures me, and whose moon-face is worshiped by the soft melodies of His flute.

Text 8
mada-shikhandi-shikhanda-vibhushanam
madana-manthara-mugdha-mukhambujam
vraja-vadhu-nayanashjana-rashjitam
vijayatam mama vanmaya-jivitam
mada—of the impassioned; shikhandi—peacock; shikhanda—the feathers; vibhushanam—decorated; madana—Cupid, or love; manthara—languid; mugdha—charming, artless; mukha—face; ambujam—lotus; vraja-vadhu—the wives of Vraja (the milkmaids); nayana—from the eyes; ashjana—collyrium; rashjitam—decorated; vijayatam—all glories; mama—my; vanmaya—of words; jivitam—the life.

All glories to [Krishna] the life of my words! The collyrium from the eyes of the young girls of Vraja decorates His charming lotus face, which is languid with love, and an impassioned peacock’s feather adorns His head.

Text 9
pallavaruna-pani-pankaja-sangi-venu-ravakulam
phulla-patala-patali-parivadi-pada-saroruham
ullasan-madhuradhara-dyuti-mashjari-sarasananam
ballavi-kuca-kumbha-kunkuma-pankilam prabhum ashraye
pallava—like twigs; aruna—reddish; pani—hands; pankaja—lotus; sangi—in contact; venu—flute; rava—sound; akulam—agitated; phulla—fully blossomed; patala—blossom; patali—the patali flower; parivadi—reproach; pada—feet; saroruham—lotus; ullasan—joyful; madhura-adhara—of sweet lips; dyuti—the glow; mashjari—blossoms; sarasa—amiable, luscious; ananam—face; ballavi—of the milkmaids; kuca—breasts; kumbha—pitcherllike; kunkuma—kunkuma powder; pankilam—muddied up; prabhum—the Lord; ashraye—I take shelter.

I take shelter of the Lord [Krshna], who becomes agitated with passion when He hears the sound of His own flute, held in His lotus hands, which resemble newly sprouted reddish twigs. His lotus feet reproach fully blossomed patali flowers with their beauty, and His amiable face sends forth blossoms of brilliance from His delightfully sweet lips. He is smeared with the kunkuma powder from the milkmaids’ pitcherlike breasts.

Text 10
apanga-rekhabhir abhangurabhir
ananga-rekha-rasa-rashjitabhih
anukshanam ballava-sundaribhir
abhyarcyamanam vibhum ashrayamah
apanga—from the corners of the eyes; rekhabhih—direct glances; abhangurabhir—unbroken; ananga—Cupid ("the bodiless one"); rekha—direct; rasa—with emotion; rashjitabhih—ruddy; anukshanam—at every moment; ballava—of the cowherd men; sundaribhih—the beauties (i.e., the milkmaids of Vraja); abhyarcyamanam—who is always worshiped; vibhum—of the Lord; ashrayamah—I take shelter.

I take shelter of my Lord [Krishna], whom the beautiful milkmaids worship at every moment with unbroken sidelong glances from eyes tinged red with passion.

Text 11
hridaye mama hridya-vibhramanam
hridayam harsha-vishala-lola-netram
tarunam vraja-bala-sundarinam
taralam kishcana dhama sannidhattam
hridaye—to the heart; mama—my; hridya—in the hearts; vibhramanam—confusions; hridayam—knower of the hearts (of the milkmaids); harsha—extreme pleasure; vishala—wide open; lola—wantonly restless; netram—the eyes; tarunam—a youth; vraja—of Vrndavana; bala—young; sundarinam—of beautiful women; taralam—moving to and fro, or the central gem of a necklace; kishcana—inexpressible; dhama—effulgence; sannidhattam—come near.

Let that effulgent youth [Krishna] come near to my heart. His wantonly restless, wide-open eyes are full of joy, and, being fully aware of the hearts of the beautiful young girls of Vraja, He fills them with the fluttering confusions of love. ??He is fickle, yet He is like the central jewel in the necklace of the milkmaids.

Text 12
nikhila-bhuvana-lakshmi-nitya-lilaspadabhyam
kamala-vipina-vithi-garva-sarvam kashabhyam
pranamad-abhaya-dana-praudhi-gadhadritabhyam
kim api vahatu cetah krishna-padambujabhyam
nikhila—all; bhuvana—the worlds; lakshmi—beauties (i.e., the mildmaids); nitya—eternal; lilah—pastimes; padabhyam—home; kamala—lotus; vipina—vithi—thickets or clusters; garva—pride; sarvam—all; kashabhyam—break down; pranamad—those who bow down (i.e., His devotees); abhaya—fearlessness; dana—giving; praudhi—assurance; gadha—excessively; adritabhyam—worshiped; kim api—something in expressible, inexpressible bliss; vahatu—attain; cetah—my mind; krishna—of Krishna; pada—the feet; ambujabhyam—lotus.

Let my mind attain some inexpressible beatific bliss from [thinking of] Krishna’s lotus feet, which are the home of the eternal pastimes of the most beautiful maidens in all the worlds, which destroy the pride of whole clusters of lotuses, and which are highly esteemed for their great eagerness in providing safety for the Lord’s humble devotees.

Text 13
pranaya-parinatabhyam shri-bharalambanabhyam
prati-pada-lalitabhyam pratyaham nutanabhyam
prati-muhur adhikabhyam prasphural-locanabhyam
pravahatu hridaye nah prana-nathah kishorah
pranaya—by love (for Radha); parinatabhyam—become full, developed; shri—of beauty; bhara—excessive; alambanabhyam—the abode; prati—every; pada—step; lalitabhyam—acquired charm and elegance; prati—every; ahan—day; nutanabhyam—fresh, novel; prati—every; muhuh—moment; adhikabhyam—more and more; prasphuram—sparkling; locanabhyam—the eyes; pravahatu—continue to attain (a place); hridaye—in hearts; nah—of us; prana—of life; nathah—the Lord; kishorah—the fresh youth (Krishna).

May the Lord of our life, that young boy [Krishna], shine incessantly within our hearts. His eyes, full of love for Radha, are the abode of infinite beauty. Every day they appear newer and newer, at every step they increase their charm and elegance, and at every moment they sparkle more and more brilliantly.

Text 14
madhurya-varidhi-madambu-taranga-bhangi-
shringara-sankulita-shita-kishora-vesham
amanda-hasa-lalitanana-candra-bimbam
ananda-samplavam anu plavatam mano me
madhurya—of sweetness; varidhi—ocean; mada—passion; ambu—water; taranga—waves; bhangi—breaking; shringara—passionate ecstasy; sankulita—distress; shita—cools; kishora—of a youth; vesham—the appearance; amanda—very mild; hasa—by the smile; lalita—sweetened, made charming; anana—face; candra—moon; bimbam—the orb; ananda—bliss; samplavam—a flood; anu—along; plavatam—may float; manah—mind; me—of me.

May my mind float along in the flood of bliss emanating from Krishna’s moonlike face, made charming by a very mild smile. Krishna has the appearance of a young boy, and, beautified by the waves of His passionate ecstasy breaking in the ocean of sweetness, He soothes all distress.

Text 15
avyaja-mashjula-mukhambuja-mugdha-bhavair
asvadyamana-nija-venu-vinoda-nadam
akridatam aruna-pada-saroruhabhyam
ardre madiya-hridaye bhuvanardram ojah
avyaja—open, not deceitful; mashjula—lovely; mukha—face; ambuja—lotus; mugdha—amiable, charming, artless; bhavaih—emotions, ecstasies; asvadymana—eagerly tasted; nija—His own; venu—flute; vinoda—playing; nadam—sound; adridatam—may it play; aruna—reddish; pada—feet; saroruhabhyam—by the lotus; ardre—moistened; madiya—my; hridaye—in the heart; bhuvana—the universe; ardram—moistening; ojah—force (of the overflowing current of bliss emanating from Krishna’s moonlike face).

Let the force [of the flood of bliss emanating from Krishna’s
face], which saturates the whole universe, play within my heart, which is moistened by contact with Krishna’s lotus feet, by the display of charming, artless emotions on His open, lovely lotus face, and by the melody of His flute, which is relished by Radha.

Text 16
mani-nupura-vacalam
vande tac caranam vibhoh
lalitani yadiyani
lakshmani vraja-vithishu
mani—jeweled; nupura—anklets; vacalam—sound, tinkle; vande—I bow down; tad—those; caranam—the feet; vibhoh—of the Lord; lalitani—decorate; yadiyani—whose; lakshmani—the marks (of the feet); vraja—of Vrindavana; vithishu—the paths.

I bow down to the feet of Lord Krishna, whose jeweled anklets tinkle and whose footprints decorate the paths of Vraja.

Text 17
mama cetasi sphuratu vallavi-vibhor
mani-nupura-pranayi mashju shishjitam
kamala-vanecara-kalinda-kanyaka-
kalahamsa-kantha-kala-kujitadritam
mama—in my; cetasi—mind; sphuratu—let there by manifested; vallavi—of the milkmaids; vibhoh—the master; mani—jeweled; nupura—anklets; pranayi—provided with; mashju—sweet; sishjitam—jingling; kamala—of Kamala (Radha); vanecara—lotus—filled ponds; kalinda—kanyaka—the daughter of Mount Kalinda (i.e., the Yamuna River); kalahamsa—white swans; kantha—in the throats; kala—warbling cries; kujita—melodious; adritam—worshiped, accorded welcome.

May the sweet jingling of the jewled anklets of Krishna, the master of the milkmaids, be manifest in my mind. Kamala’s [Radha’s] white swans swimming in the lotus-filled ponds of the Yamuna accord that sweet jingling a warm welcome with the melodious warbling from their throats.

Text 18
tarunaruna-karunamaya-vipulayata-nayanam
kamala-kuca-kalashi-bhara-vipuli-krita-pulakam
murali-rava-tarali-krita-muni-manasa-nalinam
mama khelatu mada-cetasi madhuradharam amritam
taruna—like the sun; aruna—red; karunamaya—full of compassion; vipulayata—broad, wide open; nayanam—eyes; kamala—Radha; kuca—breasts; kalashi—pitcherlike; bhara—heavy; vipuli—pressing; krita—caused; pulakam—standing of the hairs on end; murali—flute; rava—sound; tarali—loose, liquified; krita—made; muni—of the sages; manasa—the minds; malinam—lotuses; mama—my; khelatu—play; mada—intoxicated with glee; cetasi—mind; madhura—sweet; adharam—lips; amritam—(filled with) nectar.

May Krishna’s nectar-filled sweet lips play in my mind, intoxicated with delight. His broad eyes, reddish like the rising sun, are full of compassion, His hair is standing on end because of touching Kamala’s [Radha’s] heavy, pitcherlike breasts, and He has melted the lotuslike hearts of the sages with the sound of His flute.

Text 19
amugdham ardha-nayanambuja-cumbyamana-
harshakula-vraja-vadhu-madhurananendoh
arabdha-venu-ravam arta-kishora-murter
avirbhavantu mama cetasi ke ‘pi bhavah
amugdham—of the completely charming one; ardha—half-closed; nayana—eyes; ambuja—lotus; cumbyamana—as if kissing; harsha—with joy; akula—agitated; vraja-vadhu—the wives of Vraja (i.e., the milkmaids); madhura—sweetly beautiful; anana—faces; indoh—moon; arabdha—commencement; venu—flute; ravam—sounding; arta—assumed; kishora—youth; murteh—form; avirbhavantu—may there appear; mama—in my; cetasi—mind; ke api—some; bhavah—ecstatic states.

May there appear in my mind some of the ecstatic states of very charming Shri Krishna. As He glances at the milkmaids’ sweet moonlike faces, agitating them with joy, He seems to be kissing them with His half-closed eyes. As He begins sounding His flute, He assumes the attitude of an adolescent youth.

Text 20
kala-kvanita-kankanam kara-niruddha-pitambaram
klama-prashrita-kuntalam galita-barha-bhusham vibhoh
punah prakriti-capalam pranayini-bhuja-yantritam
mama sphuratu manase madana-keli-shayyotthitam
kala—soft sound; kvanita—sounding; kankanam—bracelets; kara—by the hand; niruddha—grasped; pita—yellow; ambaram—cloth; klama—fatigue; prashrita—disheveled; kuntalam—hair; galita—slips; barha—peacock; bhusham—plume; vibhoh—of the Lord; punah—again; prakriti—natures; capalam—fickle; pranayini—of the beloved; bhuja—by the arms; yantritam—held; mama—my; sphuratu—let it manifest; manase—in the mind; madana—amorous; keli—play, pastimes; shayya—the bed; utthitam—rising.

May there awaken in my mind a vision of the Lord arising from the bed of amorous play. The bracelets of Radha and Krishna tinkle softly, and Krishna’s yellow cloth is grasped by Them both. Their hair is disheveled from fatigue, and Krishna’s peacock plume slips from His hair. Again Their fickle, playful natures manifest, and at last Radha holds Krishna with Her arms.

Text 21
stoka-stoka-nirudhyamana-mridula-prasyandi-manda-smitam
premodbheda-nirargala-prashrimara-pravyakta-romodgamam
shrotum shrotra-mano-haram vraja-vadhu-lila-mitho-jalpitam
mithya-svapam upasmahe bhagavatah kridani-milad-drishah
stoka-stoka—drop by drop; nirudhyamana—although held back, or as if held back; mridula—softly, gently; prasyandi—oozes; manda—gentle; smitam—smile; prema—transcendental love; udbheda—rising; nirargala—uncheckable; prashrimara—streaming forth; pravyakta—evident; roma—hair standing on end; udgamam—appearing; shrotum—in order to hear; shrotra—to the ear; manah—the mind; haram—pleasing; vraja—vadhu—the wives of Vraja (i.e., the milkmaids); lila—playful; mithah—mutual; jalpitam—talks; mithya—false; svapam—sleep; upasmahe—we worship; bhagavatah—the Lord; kridani—playfully; milan—closed; drishah—with eyes.

We worship Lord Krishna, who is mischievously keeping His eyes closed, pretending to sleep, in order to hear the milkmaids’ playful talks, which are so pleasing to the ear and mind. Though Krishna is trying to restrain Himself, a gentle smile trickles from His lips drop by drop, and He cannot check the rising tide of love, which causes His hair to begin standing on end.

Text 22
vicitra-patrankura-shali-bala-
stanantaram yama vanantaram va
apasya vrindavana-pada-lasyam
upasyam anyam na vilokayamah
vicitra—drawn decorations; patra—with leaves; ankura—with sprouts; shali—resplendent; bala—of the young girl (Radha); stana—greasts; antaram—filled with memories; yama—going; vana—the forest; antaram—inside; va—or; apasya—having disregarded; vrindavana—the forests of Vrindavana; pada—whose feet; lasyam—dancing, or beauty; upasyam—object of worship; anyam—other; na—not; vilokayamah—we do see.

We do not see any object of worship other than Lord Krishna, whether He is deeply in thought, remembering how He decorated the breasts of the resplendent young girl Radha with pictures drawn with leaves and sprouts, or whether He is wandering in Vrindavana Forest, which is adorned with the beauty of His dancidng feet.

Text 23
sardham samriddhair amritayamanair
atayamanair murali-ninadaih
murdhabhishiktam madhurakritinam
balam kada nama vilokayishye
sardham—along with; samriddhaih—fully endowed with musical embellishments; amritayamanaih—like nectar; atayamanaih—pouring forth; murali—flute; ninadaih—sound; murdha—as the head or king; abhishiktam—universally acknowledged; madhura—sweet; akritinam—those with forms; balam—the young boy (Krishna); kada—when; nama—if ever; vilokayishye—shall I see.

When oh when shall I see that young boy Krishna, the unchallenged king of those who are exquisitely beautiful, and when shall I experience along with that vision the flooding nectar of His flute’s sound, endowed with the topmost musical embellishments?

Text 24
shishiri-kurute kada nu nah
shikhi-piccha-bharanah shishur drishoh
yugalam vigalan-madhu-drava-
smita-mudra-mriduna mukhenduna
shishiri—cooling; kurute—perform; kada—when; nu—indeed; nah—of us; shikhi—peacock; piccha—plumes; bharanah—adorned; shishuh—the child (Krishna); drishoh—of our eyes; yugalam—the pair; vigalan—trickling; madhu—honey; drava—mild; smita—of the smile; mudra—gesture; mriduna—made soft and gentle; mukha—face; induna—moonlike.

When will that child [Krishna], adorned with peacock plumes, soothe and cool our eyes with a vision of His moonlike face, imbued with gentleness by the trickling honey of His tender smiles?

Text 25
karunya-karbura-kataksha-nirikshanena
tarunya-samvalita-shaishava-vaibhavena
apushnata bhuvanam adbhuta-vibhramena
shri-krishna-candra shishiri-kuru locanam me
karunya—full of mercy; karbura—colored with various tints; kataksha—from the corners of the eyes; nirikshanena—with glances; tarunya—youth; samvalita—touched; shaishava—childhood; vaibhavena—with the magnificence; apushnata—nourishing; bhuvanam—the universe; adbhuta—amazing; vibhramena—with playfulness; shri—krishna—of Krishna; candra—O moon; shishiri—cool down; kuru—please (do); locanam—eyes; me—my.

O moonlike Krishna, please soothe and cool my eyes with Your sidelong glances, tinged with mercy; with the magnificence of your childhood, touched by youth; and with Your wondrous playfulness, which nourishes the whole universe.

Text 26
kada va kalindi-kuvalaya-dala-shyama-taralah
kataksha lakshyante kim api karuna-vici-nicitah
kada va kandarpa-pratibhata-jata-candra-shishirah
kam apy antas tosham dadhati murali-keli-ninadah
kada—when; va—alas; kalindi—the Yamuna; kuvalaya—blue lotus; dala—petals; shyama—blue; taralah—moving to and fro; kataksha—sidelong glances; lakshyante—marked by; kim api—wonderful; karuna—mercy or grace; vici—waves; nicitah—full of; kada—when; va—indeed; kandarpa—of Cupid; pratibhata—the enemy (i.e., Shiva); jata—matted locks; candra—moon; shishirah—cooler; kam api—ineffable; antah—my heart; tosham—joy; dadhati—give; murali—of the flute; keli—playful; ninadah—notes.

When will Krishna cast upon me His sidelong glances, which are as dark blue as the blue lotuses growing in the Yamuna and tremulous with waves of mercy? And when will my heart find ineffable joy in the playful notes of His flute, which are more cooling than the moon held on the head of Shiva, Cupid’s enemy?

Text 27
adhiram alokitam ardra-jalpitam
gatam ca gambhira-vilasa-mantharam
amandam alingitam akulonmada-
smitam ca te natha vadanti gopikah
adhiram—fickle; alokitam—glances; ardra—tender, witty ("moist"); jalpitam—talking; gatam—gait; ca—and; gambhira—profound swell; vilasa—passion; mantharam—slowness; amandam—fast, deep, eager; alingitam—embrace; akula—distracting, agitating; unmada—intolicating; smitam—smile; ca—and; te—Your; natha—O Lord; vadanti—describing; gopikah—the milkmaids.

O Lord, the milkmaids are describing your fickle glances, your tender, witty talking, Your slow gait, made graceful by the swell of deep passion, Your eager embraces, and Your distracting, agitating, intoxicating smile.

Text 28
astoka-smita-bharam ayatayataksham
nihshesha-stana-mriditam vrajanganabhih
nihsima-stabakita-nila-kanti-dharam
drishyasam tribhuvana-sundaram mahas te
astoka—continuous; smita—smilings; bharam—bearing; ayatayata—long and wide; aksham—eyes; nihshesha—tightly, completely; stana—breasts; mriditam-embraced; vraja-of Vraja; anganabhih-by the milkmaids of Vraja; nihsima-boundless; stabakita-cluster of blossoms; nila-blue; kanti-of effulgence; dharam-diffusing a flood; drshyasam-may I see; tribhuvana-in the three worlds; sundaram-most magnificently beautiful; mahah-the splendor; te-of You.

[OLord], please let me see Your bodily spendor, which is the most magnificently beautiful in all the three worlds, which bears Your continuous smiles and Your long, wide eyes, which is tightly embraced by the milkmaids of Vraja to their breasts, and which diffuses an endless flood of bluish effulgence, like clusters of blossoms.

Text 29
mayi prasadam madhuraih katakshair
vamshi-ninadanucarair vidhehi
tvayi prasanne kim iha ‘parair nas
tvayy aprasanne kim iha ‘parair nah
mayi—to me; prasadam—mercy; madhuraih—charming; katakshaih—with sidelong glances; vamshi—of the flute; ninada—the sounds; anucaraih—accompanying, moving with; vidhehi—please grant me; tvayi—by You; prasanne—blessed; kim iha—what (need); aparaih—other, else; nah—for us; tvayi—by You; aprasanne—not blessed; kim iha—what (use); aparaih—other, else; nah—for us.

O Lord, please show me Your mercy by casting upon me Your charming sidelong glances, moving to the accompaniment of Your flute-song. If I have Your blessings, what use are others’? And if I’m without Your blessings, what use are others’?

Text 30
nibaddha-murdhashjalir esha yace
nirandhra-dainyonnati-mukta-kanthah
daya-nidhe deva bhavat-kataksha-
dakshinya-leshena sakrin nishishca
nibaddha—fixed; murdha—on the head; ashjalih—folded palms; esha—this one (I); yace—prays; nirandhra—gapless (constant); dainya—pitiable misery (i.e., pain of separation from Krishna); unnati—increasing; mukta—opened; kanthah—throat; daya—of mercy; nidhe—Ocean; deva—O Lord; bhavad—Your; kataksha—sidelong glance; dakshinya—kindness; leshena—a drop; sakrit—once; nishishca—anoint.

I fix my folded palms upon my head and, given voice by my increasing, ceaseless, pitiable misery, pray, "O Lord, O ocean of mercy, please anoint me just once with a drop of kindness from Your sidelong glance."

Text 31
picchavatamsa-racanocita-kesha-pashe
pina-stani-nayana-pankaja-pujaniye
candraravinda-vijayodyata-vaktra-bimbe
capalyam eti nayanam tava shaishave nah
piccha—peacock feather; avatamsa—crown; racana—adorned; ucita—delightful; kesha—hair; pashe—mass; pina—plump; stani-those who have (plump) breasts (i.e., the milkmaids); nayana-by the eyes; pankaja-lotus; pujaniye-worshiped; candra-moon; aravinda-lotus; vijaya-defeating; udyata-begun; vaktra-face; bimbe-orb; capalyam-restive; eti-have become; nayanam-eyes; tava-Your; shaishave-childlike form; nah-of us.

O Lord, our eyes have become restless to see Your childlike form, with its clustered locks delightfully adorned with a peacock feather. That form, which is worshiped by the buxom milkmaids’ lotus eyes, possesses a face that has begun defeating the beauty of the moon and the lotus.

Text 32*
tvac-chaishavam tri-bhuvanadbhutam ity avehi
mac-capalam ca tava va mama vadhigamyam
tat kim karomi viralam murali-vilasi
mugdham mukhambujam udikshitum ikshanabhyam
tvat—Your; shaishavam—early age; tri—bhuvana—within the three worlds; adbhutam—wonderful; iti—thus; avehi—know; mat—capalam—My unsteadiness; ca—and; tava—of YOu; va—or; mama—of Me; va—or; adhigamyam—to be understood; tat—that; kim—what; karomi—I do; viralam—in solitude; murali-valasi—Oplayer of the flute; mugdham—attractive; mukha-ambujam—lotuslike face; udikshitum—to see sufficiently; ikshanabhyam-by the eyes.

O Krishna, O flute-player, the sweetness of Your early age is wonderful within these three worlds. You know My unsteadiness, and I know Yours. No one else knows about this. I want to see Your beautiful, attractive face somewhere in a solitary place, but how can this be accomplished?

Text 33
paryacitamrita-rasani padartha-bhangi-
valguni valgita-vishala-vilocanani
balyadhikani mada-vallava-bhavinibhir
bhave luthanti sukritam tava jalpitani
paryacita—abundantly full of; amrita—nectar; rasani—mellows, feelings of love; pada—artha—witty meanings; bhangi—array, waves; valguni—very pleasant; valgita—with dancing; vishala—wide; vilocanani—eyes; balya—to boyishness; adhikani—natural; mada—impassioned; vallava—of the cowherd men; bhavinibhih—wives; bhave—the state of being, heart; luthanti—exhilarate, stir; sukritam—the lucky, the good; tava—Your; jalpitani—verbal duels, talks.

O Krishna, Your verbal duels with the impassioned, vivacious milkmaids exhilarate the hearts of the fortunate. These talks are filled with the nectar of the exchanges of love, rendered very pleasant by waves of witty meanings, imbued with Your natural boyishness, and punctuated by the movements of Your wide, dancing eyes.

Text 34
punah prasannendu-mukhena tejasa
puro ‘vatirnasya kripa-mahambudheh
tad eva lila-murali-ravamritam
samadhi-vighnaya kada nu me bhavet
punah—again; prasanna—spotless; indu—moon; mukhena—of the face; tejasa—effulgence; purah—before me; avatirnasya—appearing; kripa—mercy; maha—great; ambudheh—ocean; tad—that; eva—certainly; lila—(expressive of) pastimes; murali—flute; rava—sound; amritam—nectar; samadhi—meditation, or great disease; vighnaya—interrupt, or remove; kada—when; nu—certainly, indeed; me—of me; bhavet—will it.

Oh, when will Krishna, the great ocean of mercy, appear before me again with His spotless, effulgent moon-face? And when will the nectarous sound of His flute, expressive of His pastimes, remove my great disease? [or, "interrupt my deep meditation?"]

Text 35
balena mugdha-capalena vilokitena
man-manase kim api capalam udvahantam
lolena locana-rasayanam ikshanena
lila-kishoram upaguhitum utsuko ‘smi
balena—tender; mugdha—artless, charming; capalena—fickle; viloketena—glances; man—in my; manase—mind; kim api—indescribable; capalam—unsteadiness, agitation; udvahantam—produces; lolena—restless, longing; locana—to the eyes; rasayanam—giving pleasure; ikshanena—with the eyes; lila—playful; kishoram—adolescent (Krishna); upaguhitum—embrace; utsukah—very eager; asmi—I am.

I am very eager to embrace that playful young boy Krishna with my restless, longing eyes. He is delightful to see, and with His tender, artless, darting glances He fills my mind with an indescribable agitation.

Text 36
adhira—bimbadhara-vibhramena
harshardra-venu-svara-sampada ca
anena kenapi mono-harena
ha hanta ha hanta mano dunoshi
adhira—restless; bimba—red, like a bimba fruit; adhara—lips; vibhramena—sportive movements; harsha—glee, joy; ardra—full of feeling; venu—flute; svara—sound; sampada—excellence, glory, abundance; ca—and; anena kenapi—other such things; manah—the mind; harena—stealing away (i.e., very attractive); ha hanta—alas, alas; ha hanta—alas, alas; manah—mind; dunoshi—You are tormenting.

O Krishna, the playful movements of Your restless red lips, the flood of Your joyous flute sounds, and other such enchantments of Yours are, alas, alas, tormenting me!

Text 37
yavan na me mikhila-marma-dridhabhigatam
nihsandhi-bandhanam upaiti na ko ‘pi tapah
tavad vibho bhavatu tavaka-vaktra-candra-
candratapa-dvigunita mama citta-dhara
yavan—until; na—not; me—of me; nikhila—all; marma—vital, tender parts; dridha—violently; abhighatam—striking; nihsandhi—tight; bandhanam—bonds, tendons or joints; upaiti—arises, comes about; na—not; kah api—some kind of; tapah—torment; tavad—till then; vibhoh—O Lord; bhavatu—may You; tavaka—Your; vaktra—face; candra—moon; candratapa—awaning; dvigunita—twofold; mama—my; citta—of consciousness; dhara—current.

O Lord, until some terminal disease comes to strike violently at my vital parts and cripple my limbs and joints, may the moon of Your face by the double-thick awning for the current of my consciousness [against
the burning heat of separation].

Text 38
yavan na me nara-dasha dashami kuto ‘pi
randhrad upaiti timiri-krita-sarva-bhava
lavanya-keli-sadanam tava tavad eva
lakshyasam utkvanita-venu mukhendu-bimbam
yavat—until; na—not; me—my; nara—of man; dasha—stage; dashami—tenth ("the tenth stage of man," death); kutah api—somehow; randhrad—through some flaw; upaiti—attains; timiri—in darkness; krita—producing; sarva—all; bhava—states of existence, or senses; lavanya—of beauty; keli—os pastimes; sadanam—abode; tava—Your; tavat—till then; eva—certainly; lakshyasam—seen, observed (by me); utkvanita—high sounding; venu—flute; mukha-indu-face like the moon; bimbam-orb.

Till the tenth stage of man (death) comes upon me through some physical defect, enveloping me in total darkness, let me ever see the orb of Your moon-face, which is the abode of both the pastimes of beauty and Your high-sounding flute.

Text 39
alola-locana-vilokita-keli-dhara-
nirajitagra-caranaih karunamburasheh
ardrani venu-ninadaih pratinada-purair
akarna-yami mani-nupura-sishjitani
alola—rolling; locana—eyes; vilokita—the glance; keli—playful; dhara—waves; nirajita—illuminated; agra—caranaih—the forefeet; karuna—of mercy; amburasheh—the ocean (Krishna); ardrani—wetted or sweetened; venu—flute; ninadaih—sound; pratinada—resonances; puraih—full of; adarna—ear; yami—I give; mani—bejeweled; nupura—anklets; sishjitani—tilnkling.

My ear catches the tinkling of the bejewelsed anklets of Krishna, the ocean of mercy. That tinkling is sweetened by His effulgent forefeet, which are receiving waves of playful glances from His rolling eyes, and by the flooding resonances of His flute-song.

Text 40*
he deva he dayita he bhuvanaika-bandho
he Krishna he capala he darunaika-sindho
he natha he ramana he nayanabhirama
ha ha kada nu bhavitasi padam drishor me
he deva—O lord; he dayita—O most dear one; he bhuvana—eka—bandho—O only friend of the universe; he krishna—O Lord Krishna; he capala—O restless one; he karuna—eka—sindho—O only ocean of mercy; he natha—O my Lord; he ramana—O my enjoyer; he nayana—abhirama—Omost beautiful to my eyes; ha ha—alas, alas; kada—when; nu—certainly; bhavitasi—will You be; padam—the dwelling place; drishoh me—of my vision.

O my Lord! O dearest one! O only friend of the universe! O Krishna, O restless one, O only ocean of mercy! O my Lord, O my enjoyer, O beloved to my eyes! Alas, when will YOu again be visible to me?

Text 41*
amuny adhanyani dinantarani
hare tvad-alokanam antarena
anartha-bandho karunaika-sindho
ha hanta ha hanta katham nayami
amuni—all those; adhanyani—inauspicious; dina—antarani—other days; hare—O may Lord; tvat—of You; alokanam—seeing; antarena—without; anatha—bandho—Ofriend of the helpless; karuna—ika—sindho—O only ocean of mercy; ha hanta—alas, alas; ha hanta—alas, alas; katham—how; nayami—shall I pass.

O my Lord, O Supreme Personality of Godhead, O friend of the helpless! You are the only ocean of mercy! Because I have not met You, My inauspicious days and nights have ecome unbearable. I do not know how I shall pass the time.

Text 42*
kim iha krinumah kasya brumah kritam kritam ashaya
kathayata katham anyam dhanyam aho hridaye shayah
madhura-madhura-smerakare mano-nayanotsave
kripana-kripana krishne trishna ciram bata lambate
kim—what; iha—here; krinumah—shall I do; kasya—to whom; brumah—shall I speak; kritam—what is done; kritam—done; ashaya—in the hope; kathayata—please speak; katham—words; anyam—other; dhanyam—auspicious; aho—alas; hridaye—within My heart; shayah—lying; madhura—madhura—sweeter than sweetness; smera—smiling; akare—whose form; manah—nayana—to the mind and eyes; utsave—who gives pleasure; kripana—kripana—the best of misers; krishne—for Krishna; trishna—thirst; ciram—at every moment; bata—alas; lambate—is increasing.

Alas, what shall I do? To whom shall I speak? Let whatever I have done in hopes of meeting Krishna be finished now. Please say something auspicious, but do not speak about Krishna. Alas, Krishna is lying within My heart like Cupid; therefore how can I possibly give up talking of Him? I cannot forget Krishna, whose smile is sweeter than sweetness itself and who gives pleasure to my mind and eyes. Alas, my great thirst for Krishna is increasing moment by moment!

Text 43
abhyam vilocanabhyam
amburuha-vilocanam balam
dvabhyam api parirabdhum
dure mama hanta daiva-samagri
abhyam—far away; vilocanabhyam—the sight; amburuha—lotus; vilocanam—with eyes; balam—young boy (Krishna); dvabhyam—doubly far away; api—even; parirabdhum—embracing; dure—far away; mama—my; hanta—alas; daiva—luck; samagri—the entirety.

Alas! For me, a glimpse of that young boy with lotus eyes is far away-doubly so His embraces. Alas, I am completely unlucky!

Text 44
ashranta-smitam arunarunadharoshtham
harshardra-dviguna-manojsha-venu-gitam
vibhramya-dvipula-vilocanardha-mugdham
vikshishye tava vadanambujam kada nu
ashranta—always; smitam—smiling; aruna-aruna-very red; adhara-oshtham-upper and lower lips; harisa-with jubilation; ardra-moistened; dviguna-doubly; manojsha-charming; venu-flute; gitam-song; vibhramya-wandering; dvipula-very wide; vilocana-eyes; ardha-half-closed; mugdham-very charming, artless; vikshishye-I shall see; tava-Your; vadana-face; ambujam-lotus; kada-when; nu-alas, oh.

O Krishna! When oh when shall I see Your lotus face, with its deep red lips, its constant smiling, its very charming flute-song saturated with jubilation, and its delightful, half-closed eyes that sometimes open very wide and wander here and there?

Text 45
lilayitabhyam rasa-shitalabhyam
nilarunabhyam nayanambujabhyam
alokayed adbhuta-vibhramabhyam
kale kada karunikah kishorah
lilayitabhyam—playful; rasa—with mellows, with feelings of love; shitalabhyam—cooling, soothing; nila—blue (at the irises); arunabhyam—reddish (at the corners); nayana—eyes; ambujabhyam—lotus; alokayed—look upon; adbhuta—wonderful; vibhramabhyam—rolling, moving, dancing; kale-the time; kada-when; karunikah-kind, merciful; kishorah-adolescent (Krishna).

When will the time come when that merciful boy Krishna will look upon me with His playful lotus eyes, which are soothing and cooling with loving emotion, reddish at the corners and dark bluish at the irises, and wonderfully rolling and dancing?

Text 46
bahula-cikura-bharam baddha-picchavatamsam
capala-capala-netram caru-bimbadharoshttham
madhura-mridula-hasam mandaroddhara-lilam
mrigayati nayanam me mugdha-vesham murareh
bahula—thick; cikura—locks; bharam—having a large quantity; baddha—tied; piccha—peacock feather; avatamsam—adorned; capala—capala—very unsteady, quickly moving; netram—eyes; caru—fascinating, lovely; bimba—red (like bimba fruits); adhara—oshtham—upper and lower lips; madhura—sweet; mridula—gentle; hasam—laughter; mandara—Mount Mandara; uddhara—lifting; lilam—pastime; mrigayati—searching for; nayanam—eyes; me—of me; mugdha—enchanting, artless; vesham—appearance; murareh—Murari.

My eyes search for that enchantingly adorned one, Murari, whose thick locks bear a peacock plume, and whose gaze darts here and there very quickly. His lovely lips are red like bimba fruits, and with His sweet, gentle laughter he seems to be churning [the ocean of my heart] with Mount Mandara.

Text 47
bahula-jalada-cchaya-coram vilasa-bharalasam
mada-shikhi-sikha-lilottamsam manojsha-mukhambhjam
kam api kamalapangodagra-prasanga-jadam jagan-
madhurima-paripakodrekam vayam mrigayamahe
bahula—thick, dense; jalada—clouds; cchaya—effulgence; coram—stolen; vilasa—playing; bhara—much; alasam—languid; mada—impassioned; shikhi—peacock; sikha—feathers; lila—playful; uttamsam—crest; manojsha—fascinating; mukha—face; ambujam—lotus; kam api—someone; kamala—Radha; apanga—sidelong glances; udagra—upward—pointing; prasanga—long contact; jadam—stunned; jagat—the universe; madhurima—sweetness; paripaka—perfection; udrekam—excess; vayam—we; mrigayamahe—search for.

We are searching for that person who has stolen the effulgence of thick clouds, who has grown a bit languid from playing so much, who wears a crest made from the playful feathers of an impassioned peacock, whose lotus face is so fascinating, who has become stunned by long and close contact with the upward-pointing sidelong glances of Kamala (Radha), and who is the very overabundance of perfection of all the sweet beauty in the universe.

Text 48
paramrshyam dure pathi pathi muninam vraja-vadhu-
drisha drishyam shashvat tribhuvana-mano-hari-vadanam
anamrishyam vaca muni-samudayanam api kada
daridrishye devam dara-dalita-nilotpala-rucim
paramrshyam—sought for; dure—further away; pathi pathi—(further and further) along the path; muninam—of the sages; vraja—of Vraja; vadhu—the wives (i.e., the milkmaids); drisha—to the eyes; drishyam—visible; shashvat—always; tribhuvana—in all three worlds; manah—minds; hari—stealing (i.e., enchanting); vadanam—face; anamrishyam—not found or described; vaca—in words; muni—of sages (like Vyasa, etc.); samudayanam—multitude; api—indeed; kada—when; daridrishye—I shall see; devam—that God; dara—a little; dalita—opened; nilotpala—blue lotus; rucim—luster.

When shall I see to my hearts content my Lord (Krishna), for whom the sages must always search further along the path, but whose face, which enchants all the three worlds, is always visible to the eyes of the milkmaids of Vraja? Wlhen shall I see Him, whose luster resembles a slightly open blue lotus bud, and who is always beyond the reach of the words of the great sages like Vyasa?

Text 49
lilananambujam adhiram udikshamanam
narmani venu-vivareshu niveshayantam
dolayamana-nayanam nayanabhiramam
devam kada nu dayitam vyatilokayishye
lila—sportive; anana—face; ambujam—lotus; adhiram—fickle; udikshamanam—looking out; narmani—amorous joking; venu—flute; vivareshu—holes; niveshayantam—reveals; dolayamana—rolling; devam—the Lord (Krishna); kada—when; nu—indeed; dayitam—my darling; vyatilokayishye—I shall see.

When shall I see my darling Lord (Krishna), who is so fickle yet so delightful to my eyes? His eyes are rolling, and as He looks out from His sportive lotus face He sends a song of loving jokes through the holes of His flute.

Text 50
lagnam muhur manasi lampata-sampradaya-
lekhavalehini rasajsha-manojsha-vesham
rajyan-mridu-smita-mridullasitadharamshu
rakendu-lalita-mukhendu mukunda-balyam
lagnam—clings; muhur—constantly, again and again; manasi—mind; lampata—debauchee; sampradaya—tradition; lekha—drawings; avalehini—fond (of tasting dainties); rasajsha—those knowledgeable of the taste; manojsha—enraptures; vesham—appearance; rajyan—reddened; mridu—gentle; smita—smile; mridu—ullasita—softly glowing, or kunda flowers; adhara—amshu—lip—rays, or teeth; raka—indu—full moon; lalita—cherished; mukha—indu—face like a moon; mukunda—of Mukunda; balyam—adolescent loveliness.

The adolescent loveliness of Mukunda, whose appearance enraptures the conoisseurs, clings to my mind, which is always fond of drawings from the libertine tradition. His moon-face is cherished by the moon itself, and the softly glowing rays of his lips redden His gentle smile [or, His kunda-flower-like teeth are reddened by the effulgence of
His gentle smile].

Text 51
ahimakara-kara-nikara-mridu-mridita-lakshmi-
sarasatara-sarasiruha-sadrisha-drishi deve
vraja-yuvati-rati-kalaha-vijayi-nija-lila-
mada-mudita-vadana-shashi-madhurimani liye
ahimakara—the sun; kara—rays; nikara—mass; mridu—gently; mridita—developing; lakshmi—beauty; sarasatara—with much taste, luscious; sarasiruha—lotuses; sadrisha—resemble; drishi—eyes; deve—my Lord; vraja—yuvati—Vraja—s young girls (i.e., the milkmaids); rati—smorous; kalaha—quarrels; vijayi—triumph; nija—His own; lila—sports; mada—exhilarated; mudita—delighted; vadana—face; shashi—moon; madhurimani-sweet beauty; liye-I am absorbed.

I am absorbed in contemplating my Lord, whose eyes resemble luscious lotuses gently developing their beauty under the rays of the sun, and whose moon-face is full of beauty, being exhilarated with delight at His having defeated the milkmaids in the lovers’ quarrels.

Text 52
kara-kamala-dala-kalita-lalitatara-vamshi-
kala-ninada-galad-amrita-ghana-sarasi deve
sahaja-rasa-bhara-bharita-dara-hasita-vithi-
satata-vahad-adhara-mani-madhurimani liye
kara—hands; kamala—lotus; dala—petals (i.e., petallike fingers); kalita—held; lalitatara—very melodious; vamshi—of the flute; kala—warbling; ninada—sounds; galad—oozing; amrita—of nectar; ghana—deep; sarasi—lake; deve—my Lord; sahaja—natural; rasa—of mellow, of tastiness of love; bhara—great quantity; bharita—filled with; dara—gentle, slight; hasita—laughter; vithi—series; satata—constantly; vahad—bearing; adhara—lips; mani—rugylike; madhurimani—sweetness, sweet beauty; liye—I am absorbed.

I am lost in thoughts of my Lord, who is a deep lake of nectar trickling forth as the very melodious warbling of His flute, which He holds with His lotus-petallike fingers. I am absorbed in thoughts of the sweetness of His ruby-red lips, which bear a constant series of tender laughs filled with an abundance of His innate loving mellows.

Text 53
kusumashara-shara-samara-kupita-mada-gopi-
kuca-kalasha-ghushrina-rasa-lasad-urasi deve
mada-mudita-mridu-hasita-mushita-shashi-shobha-
muhur-adhika-mukha-kamala-madhurimani liye
kusumashara—he who shoots flower arrows (i.e., Cupid); shara—arrows; samara—in the battle; kupita—provoked; mada—ardent; gopi—the milkmaids; kuca—breasts; kalasha—jar—like; ghushrina—sandalwood; rasa—paste; lasad—shines; urasi—chest; deve—my Lord; mada—amorous; mudita—delightful; mridu—gentle; hasita—smile; mushita—stolen; shashi—moon; shobha—splendor; muhuh—at every moment; adhika—increasing; mukha—face; kamala—lotus; madhurimani—sweet beauty; liye—I am absorbed.

I am absorbed in thinking of my Lord. His chest shines with the sandalwood paste from the pitcherlike breasts of the ardent milkmaids, who have been incited to amorous battle by Cupid’s flower arrows, and the sweet beauty of His lotus face is magnified at every moment by His gentle smile, which is full of passionate delight and which has stolen the splendor of the moon.

Text 54
anamram asita-bhruvor upacitam akshina-pakshmankureshv
alolam anuraginor nayanayor ardram mridau jalpite
atamram adharamrite madakalam amlana-vamshi-svaneshv
ashaste mama locanam vraja-shishor murtim jagan-mohinim
anamram—curved; asita—dark; bhruvoh—eyebrows; upacitam—furnished abundantly with; akshina—thick; pakshma—eyelashes; ankureshu—like sprouts; alolam—rolling; anuraginoh—passionate; nayanayoh—eyes; ardram—full of feeling; mridau—gentle; jalpite—speech; atamram—very red; adhara—of the lips; amrite—nectar; madakalam—soft, slurred; amlana—clear; vamshi—of the flute; svaneshu—deep notes; ashaste—desires; mama—my; locanam—eye; vraja—shishoh—Vraja’s child (Krishna); murtim—the form; jagat—the universe; mohinim—enchanter.

My eye desires to see the form of the young child of Vraja, who enchants the whole universe. His dark eyebrows are curved, His blossoming eyelashes quite thick, His rolling eyes full of passion, and His gentle speech saturated with feeling. His nectarous lips are very red, and He sounds low, clear, soft notes on His flute.

Text 55
tat kaishoram tac ca vaktraravindam
tat karunyam te ca lila-katakshah
tat saundaryam sa ca manda-smita-shrih
satyam satyam durlabham daivate ‘pi
tat—that; kaishoram—adolescence, boyishness; tat—that; ca—and; vaktra—aravindam—face like a lotus; tat—that; karunyam—compassion, tenderness; te—those; ca—and; lila—playful; katakshah—sidelong glances; tat—that; saundaryam—beauty; sa—of His; ca—and; manda—mild; smita—smile; shrih—loveliness; satyam—truly; satyam—truly; durlabham—hard to find; daivate—among the demigods; api—even.

Truly, truly, even among the demigods it would be hard to find such beauty, such sweet adolescence, such a lotus face, such tender compassion, such playful, sidelong glances, or such lovely, mild smiling as we find in Krishna.

Text 56
vishvopaplava-shamanaika-baddha-diksham
vishvasa-stabakita-cetasam jananam
prashyama-pratinava-kanti-kandalardram
pashyamah pathi pathi shaishavam murareh
vishva—all, every one of; upaplava—afflictions; shamana—relieve; eka—one, only; baddha—fixed; diksham—vow, or purpose; vishvasa—with faith; stabakita—blossoming with; cetasam—hearts; jananam—people; prashyama—bright bluish; pratinava—newer and newer; kanti—glow; kandala—cheeks; ardram—moist, fresh; pashyamah—we see; pathi pathi—on every path, in every direction; shaishavam—the childlike form; murareh—of Murari.

On every path we see the childlike form of Murari, whose one fixed vow is to relieve all the afflictions of the people whose hearts are blossoming with faith in Him. His soft, bright bluish cheeks glow with ever new effulgence.

Text 57
maulish candraka-bhushano marakata-stambhabhiramam
vaktram citra-vimugdha-hasa-mudhuram bale vilole drishau
vacah shaishava-shitala mada-gaja-shlaghya vilasa-sthitir
mandam mandam aye ka esha mathura-vithim ito gahate
maulih—head; candraka—peacock feather; bhushano—adorned; marakata—emerald; stambha—than a column; abhiramam—more captivating; vapuh—body; vaktram—face; citra—wonderfully; vimugdha—very fascinating, very artless; hasa—smiles; madhuram—sweet; bale—O girlfriend; vilole—rolling; drishau—eyes; vacah—words; shaishava—innate to adolescence; shitala—cooling; mada—in rut; gaja—elephant; shlaghya—praised; vilasa—graceful; sthitih—nature; mandam—slowly; mandam—slowly; aye—oh; ka esa—who is this, who is He; mathura—Mathura; vithim—the way to; itah—along; gahate—coming.

O girlfriend, who is this slowly coming along the path to Mathura? His head is adorned with a peacock feather, and His body is more captivating than an emerald column. His eyes are rolling, and His face is beautified by the sweetness of His wonderfully fascinating smiles. His words, with their natural boyishness, are very soothing, and His natural grace would win praise from an elephant in rut.

Text 58
padau vada-vinirjitambuja-vanau padmalayalambitau
pani venu-vinodana-pranayinau paryapta-shilpa-shriyau
bahu daurhrida-bhajanam mriga-drisham madhurya-dhara-kirau
vaktram vag-vishayatilanghitam aho balam kim etan mahah
padau—feet; vada—in a contest; vinirjita—completely defeated; ambuja—vanau—a cluster of lotuses (on a pond); padmalaya—Lakshmi, who rests on a lotus; alambitau—taken shelter; pani—hands; venu—flute; vinodana—playing; pranayinau—expressing love; paryapta—seats; shilpa—artistic; shriyau—beauty; bahu—arms; daurhrida—of the object of desire; bhajanam—vessel; mriga—drisham—the doe—eyed (milkmaids); madhurya—sweetness; dhara—flood; kirau—fiffusing; vakram—face; vak—vishaya—words’ scope (ability to describe); atilanghitam—beyond; aho—oh; balam—in the form of an adolescent youth; kim—what; etat—this; mahah—luster.

Oh, what is this luster in the form of a young boy! His feet, having in a contest totally conquered clusters of lotuses, are the shelter for Lakshmi-devi. His hands, which express His love while playing the flute, are seats of artistic beauty. His arms, diffusing a flood of swetness, are the vessel of desire’s fulfillment for the doe-eyed milkmaids. And His face-ah, His fae is beyond words.

Text 59
etan nama vibhushanam bahumatam veshaya sheshair alam
vaktram dvi-tri-vishesha-kanti-lahari-vinyasa-dhanyadharam
shilpair alpa-dhiyam agamya-vibhavaih shringara-bhangi-mayam
citram citram aho vicitram aha ho citram vicitram mahah
etat—this (face of Krishna’s); nama—indeed; vibhushanam—adorned; bahumatam—sufficiently, abundantaly; veshaya—ornamentation; sheshaih—further (ornamentation); alam—no need; vaktram—face; dvi—tri—two or three; vishesha—special; kanti—glow; lahari—waves; vinyasa—arrangement; dhanya—making lovely; adharam—lips; shilpaih—wealth of artistic attributes; alpa—dhiyam—(those of) little understanding; agamya—not comprehended; vibhavaih—manifestations; shringara—amorous; bhangi—gestures; mayam—full of; citram—wonderful; citram—amazing; aho—oh; vicitram—so amazidng; aha ho—oh, oh; citarm—very wonderful; vicitram—very amazing; maha—luster.

Indeed, His face, abundantly adorned with lovely lips that possesses two or three specially arranged waves of luster, needs no other ornament. The wealth of His artistic attributes and amorous gestures are beyond the understanding of fools. Oh, oh, oh, how wonderful, how amazidng, how every, very wonderfully amazing is this splendor [in the form of the
young boy Krishna]!

Text 60
agre samagrayati kam api keli-lakshmim
anyasu dikshv api vilocanam eva sakshi
ha hanta hasta-patha-duram aho kim etad
asha-kishoramayam amba jagat-trayam me
agre—before me; samagrayati—reveals to thefullest extent; kam api—indescribable; keli—sportive; lakshmim—beauty; anyasu—other, all; dikshu—in directions; api—even; vilocanam—eye; eva—indeed; shakshi—witness; ha hanta—alas, alas; hasta—of my hands; patha—the path; duram—beyond; aho—oh; kim—what; etad—(is) this; asha—longed—for; kishoramayam—filled with youth; amba—O mother; jagat—worlds; trayam—three; me—my.

Oh, what an ineffable sportive beauty Krishna has fully revealed before me! In all directions my eye witnesses this beauty. But alas, alas, He is beyond my grasp! O mother, the three worlds are filled with my longed-for youth, Krishna!

Text 61
cikuram bahulam viralam bhramaram
mrdulam vacanam vipulam nayanam
adharam madhuram vadanam madhuram
capalam caritam ca kada nu vibhoh
cikuram—locks of hair; bahulam—thick; viralam—separated; bhramaram—(like rows of) bees; mridulam—mild; vacanam—words; vipulam—big; nayanam—eyes; adharam—lips; madhuram—sweet; vadanam—face; madhuram—sweetly beautiful; capalam—fickle; caritam—disposition, activities; ca—and; kada—when (shall I); nu—indeed; vibhoh—of my Lord.

Oh, when [shall I again fasten into a top-know] my Lord’s thick locks, [lying] like separate rows of bees [on His shoulders]? When [shall I hear] His mild words, [see] His large eyes, [kiss] His sweet lips, [see] His sweetly beautiful face, and [experience] His fickle nature?

Text 62
paripalaya nah kripalaye ‘ty
asakrit kranditam arta-bandhavah
murali-mridula-svanantare
vibhur akarnayita kada nu nah
paripalaya—protect; nah—us; kripalaye—O abode of mercy; iti—thus (saying); asakrit—repeated; kranditam—cries; arta—of the distressed; bandhavah—friend; murali—flute; mridula—mild; svana—sound; antare—within, surrounded by; vibhuh—the Lord; akarnayita—hear; kada—when; nu—indeed; nah—of us.

If the Lord, the friend of the distressed, is surrounded by the beguiling wound of His flute, when will He be able to hear us repeatedly crying out, "O abode of mercy, please protect us!"

Text 63
kada nu kasyam nu vipad-dashayam
kaishora-gandhih karunambudhir nah
vilocanabhyam vipulayatabhyam
alokayishyan vishayi-karoti
kada—when; nu—indeed; kasyam—what; nu—indeed; vipad—dangerous; dashayam—circumstances; kaishora—of youth; gandhih—the fragrance; karuna—mercy; ambudhih—ocean; alokayishyan—will look at; vishayi—an object of attention; karoti—having been made.

Krishna, an ocean of mercy, bears the fragrance of fresh youth. When oh when will some danger to me focus His attention so that He looks upon me with His wide eyes?

Text 64
madhuram adhara-bimbe mashjulam manda-hase
shishiram amrita-nade shitalam drishti-pate
vipulam aruna-netre vishrutam venu-nade
marakata-mani-nilam balam alokaye nu
madhuram—sweet; adhara—lips; bimbe—like bimba fruit; mashjulam—charming; manda—mild; hase—smile; shishiram—soothing; amrita—nectarous; nada—words, voice; shitalam—cooling; drishti pate—glances; vipulam—large; aruna—reddish like dawn; netre—eyes; vishrutam—famous; venu—nade—flute—song; marakata—of sapphire (? emerald); mani—jewel; nilam—deep blue color; balam-boy (Krishna); alokaye-I shall see; nu-oh.

Oh, that I may see that young boy, who has a complexion as deep blue as a sapphire; sweet lips like bimba fruit; charming, mild smiling; soothing, nectarous words; cooling glances; and large, dawn-red eyes, and who is famous for His flute-song.

Text 65
madhuryad api madhuram
manmatha-tatasya kim api kaishoram
capalyad api capalam
ceto bata harati hanta kim kurmah
madhuryad—sweeter than; api—even; madhuram—sweetness; manmatha—Cupid; tatasya—the father; kim api—ineffable; kaishoram—adolescence; capalyad—more fickle than; api—even; capalam—fickleness; cetah—my heart; bata—oh, alas; harati—steals; hanta—alas; kim—what; kurmah—should I do.

The ineffable adolescence of Krishna, the father of Cupid, is sweeter than sweetness yet fickler than fickleness. Alas, that adolescence has stolen away my heart! What shall I do now?

Text 66
vaksha-sthale ca vipulam nayanotpale ca
manda-smite ca mridulam mada-jalpite ca
bimbadhare ca madhuram murali-rave ca
balam vilasa-nidhim akalaye kada nu
vaksha—sthale—chest; ca—and; vipulam—wide; nayana—eyes; utpale—lotus; ca—and; manda—soft, gentle; smite—smiles; ca—and; mridulam—mild; mada—passionate; jalpite—talks; ca—and; bimba—like bimba fruits, cherry—red and luscious; adhare—lips, lips; ca—and; balam—the boy (krishna); vilasa—of jubilation or playfulness; nidhim—an ocean or treasury; akalaye—I shall see; kada—when; nu—oh.

Oh, when shall I see that young boy (Krishna), who is an ocean of jubilation and a treasury of playfulness? Broad are His lotus eyes and His chest, mild are His gentle smiles and His loving talks, sweet are His cherry-red lips and His flute-song.

Text 67
ardravalokita-dhura parinaddha-netram
avishkrita-smita-sudha-madhuradharoshtham
adyam pumamsam avatamsita-barhi-barham
alokayanti kritinah krita-punya-pushjah
ardra—tender; avalokita—glance; dhura—extremely; parinaddha—brought under control; netram—eyes; avishkrita—open; smita—smile; sudha—nectar; madhura—sweet; adhara—oshtham—upper and lower lips; adyam—foremost, original; pumamsam—man, person; avatamsita—adorned; barhi—of a peacock; barham—a fether; alokayanti—they se; kritinah—the fortunate; krita—performed; punya—pious deeds; pushjah—heaps.

The fortunate, who have heaped up pious merit, can see (Krishna) the original person, who brings their eyes under control with His extremely tender glances, whose lips are sweet with the nectar of his open smile, and who has adorned His head with a peacock feather.

Text 68*
marah svayam nu madhura-dyuti-mandalam nu
madhuryam eva nu mano-nayanamritam nu
veni-mrijo nu mama jivita-vallabho nu
krishno ‘yam abhyudayate mama locanaya
marah—Cupid; svayam—personally; nu—whether; madhura—sweet; dyuti—of effulgence; mandalam—encirclement; nu—whether; nadhuryam—sweetness; eva—even; nu—certainly; manah—nayana—amritam—nectar for the mind and eyes; nu—whether; veni—mrijah—loosening of the hair; nu—whether; mama—my; mivita—vallabhah—the pleasure of the life and soul; nu—whether; krishnah—Lord Krishna; ayam—this; abhyudayate—manifests; mama—my; locanaya—for the eyes.

My dear friends, where is that Krishna, Cupid personified, who has the effulgence of a kadamba flower, who is sweetness itself, the nectar for my eyes and mind, He who loosens the hair of the gopis, who is the supreme source of transcendental bliss, and my life and soul? Has He come before my eyes again?

Text 69
balo ‘yam alola-vilocanena
vaktrena citri-krita-dinmukhena
veshena ghoshocita-bhushanena
mugdhena dugdhe nayanotsavam nah
balah—boy (Krishna); ayam—this; alola—dancing; vilocanena—with eyes; vaktrena—with face; citri—beauty; krita—making (i.e., beautifying); dinmukhena—in all directions; veshena—with dress; ghosha—for a cowherd; ucita—suitable; bhushanena—with ornaments, trappings; mugdhena—charming, artless; dugdhe—extracts milk; nayana—for the eyes; utsavam—joy; nah—us.

This boy (Krishna), with His dancing eyes, His face beautifying all directions, and His charming outfit just suitable for a cowherd, has extracted the milk of joy for our eyes.

Text 70
andolitagra-bhujam akula-lola-netram
manda-smitardra-vadanambuja-candra-bimbam
shishjana-bhushana-shatam shikhi-piccha-mauli
shitam vilocana-rasayanam abhyupaiti
andolita—swinging; agra—bhujam—the forearms; akula—agitated (with love); lola—restless; netram—eyes; manda—gentle; smita—smile; ardra—tender; vadana—face; ambuja—lotus; candra—of the moon; bimbam—the orb; shishjana—tinkling; bhushana—of ornaments; shatam—a large number; shikhi—of a peacock; piccha—feather; mauli—on the head; shitam—cooling; vilocana—for the eyes; rasayanam—balm; abhyupaiti—comes before us.

He comes before us-the cooling balm for our eyes-wearing many tinkling ornaments on His body and a peacock feather on His head. Hes forearms are swinging, His eyes move restlessly with the agitation of love, and the moon of His lotus face displays a tender, gentle smile.

Text 71
pashu-pala-bala-parishad-vibhushanah
shishur esha shitala-vilola-locanah
mridula-smitardra-vadanendu-sampada
madayan madiya-hridayam vigahate
pashu—pala—cowherd boys or girls; bala—young; parishad—intimate group; vibhushanah—adorning; shishuh—the chird (Krishna); esha—this; shitala—cooling, refreshing; vilola-lively; locanah-eyes, gaze; mridula-soft; smita-smiles; ardra-tender; vadana-face; indu-moon; sampada-wealth; madayan-gladdening; madiya-my; hridayam-heart; vigahate-enters deep within.

This child (Krishna), who is the ornament for the intimate community of cowherd boys and girls, whose lively glances are so soothing, and whose moon-face has a wealth of soft, tender smiles, gladdens my heart and enters deep within it.

Text 72
kim idam adhara-vithi-krpta-vamshi-ninadam
kirati nayanayor nah kam api prema-dharam
tad idam amara-vithi-durlabham vallabham nas
tribhuvana-kamaniyam daivatam jivitam ca
kim idam—How wonderful this is!; adhara—of the lips; vithi—on the path; krpta—affixed; vamshi—the flute; ninadam—sound; kirati—pouring; nayanayoh—before eyes; nah—our; kam api—indescribably; preme—of divine love; dharam—flood; tad—He, that; idam—this; amara—the demigods, deathless ones; vithi—in the planets; durlabham—difficult to find; vallabham—darling; nah—our; tribhuvana—by the three worlds; kamaniyam—pleasing, delighting; daivatam—our God; jivitam—our life; ca—and.

How wonderful! The sound of the flute Krishna is holding to His lips is pouring forth an indescribable flood of divine love before our very eyes! This is rare even among the planets of the demigods. Krishna, our darling, our God, our very life, delights the three worlds.

Text 73
tad idam upanatam tamala-nilam
tarala-vilocana-tarakabhiramam
mudita-mudita-vaktra-candra-bimbam
mukharita-venu-vilasi jivitam me
tad—that one (Krishna); idam—this one (me); upanatam—near; tamala—like a tamala tree; nilam—bluish; tarala—restless; vilocana—eyes; taraka—pupils or stars; abhiramam—charming, friendly; mudita (or muditam)—delightful; mudita (or udita)—very delightful, or rising; vaktra—face; candra—moon; bimbam—shining orb; mukharita—sounding; venu—flute; vilasi—sportively; jivitam—life; me—my.

This person approaching me is dark bluish like a tamala tree. His charming eyes, which resenble stars, move restlessly, the shining orb of His moon-face is overflowing with delight [or, His face radiates
joy like the rising moon], and He sportively begins sounding His flute. He is my very life.

Text 74
capalya-sima capalanubhavaika-sima
caturya-sima chaturanana-shilpa-sima
saurabhya-sima sakaladbhuta-keli-sima
saubhagya-sima tad idam vraja-bhagya-sima
capalya—of fickleness; sima—the acme; capala—anubhava—of those who have unsteady natures (i.e., the milkmaids); eka—the one; sima—ultimate goal of existence; caturya—of cleverness; sima—epitome; catur—anana—the four—faced one (i.e., Brahma); shilpa—artistic skill; sima—extreme perfection; saurabhya—of fragrance; sima—the limit; sakala—all; adbhuta—wonderful; keli—pastimes; sima—utmost embodiment; saubhagya—of good fortune; sima—culmination; tad—that (very life of mine); idam—this is, here is; vraja—bhagya—Vraja’s auspicity; sima—zenith.

Here is that Krishna, my very life! He is the acme of fickleness, the one ultimate end of the existence of the fickle-minded milkmaids, the epitome of cleverness, the extreme perfection of the artistic skill of four-faced Brahma, the limit of good fragrance, the utmost embodiment of all sorts of astounding pastimes, the culmination of good fortune, and the zenith of auspicity for Vraja.

Text 75
madhuryena dviguna-shishiram vaktra-candram vahnati
vamshi-vithi-vigalad-amrita-srotasa secayanti
mad-vaninam viharana-padam matta-saubhagya-bhajam
mat-punyanam parinatir aho netrayoh sannidhatte
madhuryena—with sweet tenderness; dviguna—doubly; shishiram—refreshing; vaktra—face; candram—moon; vahanti—bearing; vamshi—flute; vithi—holes; vigalad—oozing; amrita—nectar; srotasa—current; secayanti—sprinkling; mat—my; vaninam—words; viharana—scope; padam—ground; matta—mad; saubhagya—luck; bhajam—possessing; mat—my; punyanam—virtuous merit; parinatih—(reached a) culmination; aho—oh; netrayoh—eyes; sannidhatte—appears before.

Oh! My good deeds have reached their culmination: Krishna has appeared before my eyes! The moon of His face is made doubly refreshing by its sweet tenderness, and He sprinkles me with the current of nectar dropping note by note from the holes of His flute. He is the object of my words, which, though mad, are fortunate [to be describing Him].

Text 76
tejase ‘stu namo dhenu-
paline loka-paline
radha-payodharotsanga-
shayine shesha-shayine
tejase—the splendor (Krishna); astu—let (me); namah—obeisances; dhenu—cows; paline—the protector; loka—the worlds; paline—protector; radha—of Radha; payodhara—that which holds milk (i.e., breasts); utsanga—slope; shayine—reclining; shesha—Shesha—naga; shayine—reclining.

I bow down to the personified splendor (Krishna), who is the protector of the cows-and also all the worlds-and who reclines on the sloping breasts of Radha-and also on Sheshanaga.

Text 77
dhenu-pala-dayita-stana-sthali-
dhanya-kunkuma-sanatha-kantaye
venu-gita-gati-mula-vedhase
brahma-rashi-mahase namo namah
dhenu—cow; pala—protectors; dayita—the darlings, the wives; stana—the breasts; sthali—a position, a place; dhanya—glorified; kunkuma—junkuma powder; sanatha—possessing; kantaye—possessing a glow, complexion; venu—gita—flute—sone; gati—way of sounding; mula—the original; vedhase—creator; brahma—of Brahmas; rashi—a multitude; mahase—greatness, luster; namah—obeisances; namah—obeisances again.

I bow again and again before Him (Krishna), whose glowing complexion is embellished with the kunkuma powder glorified by its place on the brests of the cowherd men’s wives, who is the original creator of the flute song, and who possesses the glory of innumerable Brahmas.

Text 78
mridu-kvanan-nupura-mantharena
balena padambuja-pallavena
anusmaran-mashjula-venu-gitam
ayati me jivitam attakeli
mridu—softly; kvanan—tinkling; nupura—anklets; mantharena—slowed down; balena—youthful, tender; pada—feet; ambuja—pallavena—lotus flower; anusmaran—recollecting; mashjula—charming; venu—gitam—flute songs; ayati—here comes; me—of me; jivitam—very life; attakeli—havidng assumed a sporting attitude.

Here comes my very life [Krishna]! Having assumed a sporting attitude, He slowly approaches on tender lotus feet weighed down by softly tinkling anklets as He recollects various charming flute-songs.

Text 79
so ‘yam vilasa-murali-ninadamritena
sishcann udashcitam idam mama karna-yugmam
ayati me nayana-bandhur ananya-bandhor
ananda-kandalita-keli-kataksha-lakshmih
sah—He (Krishna, my very life); ayam—this (is); vilasa—sportive; murali—flute; ninada—tunes; amritena—with nectar; sishcann—sprinkling; udashcitam—perked up, cocked; idam—this; mama—my; karna—ears; yugmam—two; ayati—here comes; me—of me; nayana—eyes; bandhuh—befriending; ananya—no other; bandhoh—friend; ananda—bliss; kandalita—overflowing; keli—playful; kataksha—of sidelong glances; lakshmih—the beauty.

Here comes [my very life, Krishna]! The beauty of His playful sidelong glances overflows with bliss, and He sprinkles my two perked-up ears with the nectar of His sportive flute-songs. He is the only friend for my eyes.

Text 80
durad vilokayati varana-khela-gami
dhara-kataksha-bharitena vilokitena
arad upaiti hridayan-gama-venu-nada-
veni-mukhena dashanamshu-bharena devah
durad—from a distance; vilokayati—seeing (me); varana—elephant; khela—sportive; gami—gait; dhara—flood; kataksha—sidelong glances; bharitena—filled with; vilokitena—with glances; arad—near; upaiti—coming; hridayam—the heart; gama—touching (going to); venu—nada—flute sound; veni—current; mukhena—from the mouth; dashana—teeth; amshu—glowing rays; bharena—with great; devah—the Lord

Seeing me from a distance with a flood of sidelong glances, my Lord walks toward me with the sportive grace of an elephant and moves my heart with the current of flute-sound emanating from His mouth, which is filled with brightly glowing teeth.

Text 81
tribhuvana-sarasabhyam divya-lila-kulabhyam
dishi dishi taralabhyam dipta-bhushadarabhyam
asharana-sharanabhyam adbhutabhyam padabhyam
ayam ayam anukujad-venur ayati devah
tribhuvana—the three worlds; sarasabhyam—with mellows of love; divya—lila—divine sports; kulabhyam—havidng an abundance; dishi dishi—in all directions; taralabhyam—with fickleness; dipta—glowing; bhusha—ornaments; adarabhyam—many; asharana—for the shelterless, the forlong; sharanabhyam—the shelter; adbhutabhyam—wondrous; padabhyam—feet; ayam ayam—this (is He), this (is He); anukujad—playing; venuh—flute; ayati—coming (here); devah—the Lord (i.e., sportive Krishna).

This is He! This is He-my Lord [Krishna], playing on His flute! He possesses two wondrous feet, which are the shelter for the shelterless, which glow with the brilliance of many ornaments, which move this way and that, which are abundant with divine pastimes, and which fill the three worlds with the mellows of love.

Text 82
so ‘yam munindra-jana-manasa-tapa-hari
so ‘yam mada-vraja-vadhu-vasanapahari
so ‘yam tritiya-bhuvaneshvara-darpa-hari
so ‘yam madiya-hridayamburuhapahari
sah—He; ayam—this; muni—indra—the leaders of the sages; jana—the people; manasa—of the heart; tapa—burning pain; hari—took away; sah—He; ayam—this; mada—impassioned; vraja—of Vraja; vadhu—the wives; vasana—the clothes; apahari—stole; sah—He; ayam—this; tritiya—bhuvana—the third world (i.e., the heavenly realm); ishvara—the lord (i.e., Lord Indra); darpa—pride; hari—curbed; sah—He; ayam—this; madiya—my; hridaya—heart; amburuha—lotus; apahari—has stolen away.

This is He, who removed the burning distresses of great sages. This is He, who stole the clothes of the impassioned wives of the cowherd men of Vraja. This is He, who curbed the pride of Indra, lord of the third world (the heavenly realm). This is He, who has stolen the lotus of my heart.

Text 83
sarva-jshatve ca maugdhye ca
sarva-bhaumam idam mahah
nirvishan nayanam hanta
nirvana-padam ashnute
sarva—jshatve—omniscience; ca—and; maugdhye—innocense; ca—and; sarva—all; bhaumam—excellence; idam—this; mahah—glory, luster (i.e., Krishna); nirvishan—has entered; nayanam—my eye; hanta—oh; nirvana—of great bliss; padam—situation; ashnute—enjoys.

This personified glory [Krishna] has attained all excellence, both in His omniscience and His innocence. Having entered my eye, He is enjoying great bliss. This is a great wonder!

Text 84
pushnanam etat punarukta-shobham
ushnetaramshor udayan mukhendoh
trishnamburashim dviguni-karoti
krishnahvayam kishcana jivitam me
pushnanam—nourishing; etat—this; punarukta—faded, superfluous; shobham—luster; ushna—itara—other than hot (i.e., cool); amshoh—that which possesses rays (i.e., the moon); udayan—rise, appear; mukha—indoh—moon—face; trishna—thirst; amburashim—ocean; dviguni—double; karoti—making; krishna—Krishna; ahvayam—named; kishcana—certain (person); jivitam—life; me—of me.

With the rising of His moon-like face this certain person known as Krishna is nourishing the faded luster of the cooling moon and doubling the ocean of my thirst [to see Him]. He is my very life.

Text 85
tad etad atamra-vilocana-shri-
sambhavitashesha-vinamra-vargam
muhur murarer madhuradharoshtham
mukhambujam cumbati manasam me
tat—of that (Krishna); etad—this; atamra—slightly reddish; vilocana—eyes; shri—beauty, gracious looks; sambhavita—to honor, to bless; ashesha—all; vinamra—those who are humble; vargam—groups of; muhuh—repeatedly; murareh—of Murari; madhura—sweet; adhara—oshtham—lower and upper lips; mukha—face; ambujam—lotus; cumbati—kiss; manasam—with the mind; me—of me.

Again and again I mentally kiss Murari’s lotus face, with its sweet lips and its beautiful, slightly reddish eyes, which grace all His humble devotees.

Text 86
karau sharadijambuja-krama-vilasa-shiksha-gurau
padau vibudha-padapa-prathama-pallavollanghinau
drishau dalita-durmada-bribhuvanopamana-shriyau
vilokaya vilocanamritam aho mahah shaishavam
karau—His hands; sharadija—born in the season of Sharat; ambuja—lotus; krama—gestures; vilasa—graceful; shiksha—gurau—instructing spiritual masters; padau—His feet; vibudha—of the gods (i.e., heavenly); padapa—tree (i.e., desire tree); prathama—first; pallava—sprouts; ullanghinau—excel; drishau—His eyes; dalita—destroy; durmada—pride; tribhuvana—in all three worlds; upamana—comparisons; shriyau—the beauty; vilokaya—behold!; vilocana—for the eyes; amritam—nectar; aho—Oh!; mahah—luster, glory; shaishavam—adolescent (Krishna).

Behold this nectar for the eyes, the luster of this young boy Krishna! His hands teach graceful gestures to the autumnal lotus, His feet excel freshly grown desire-tree sprouts in tenderness, and the beauty of His eyes destroys the pride of all comparable things.

Text 87
acinvanam ahany ahany ahani sakaran vihara-kraman
arundhanam arundhati-hridayam apy ardra-smitardra-shriya
atanvanam ananya-janma-nayana-shlaghyam anarghyam dasham
anandam vraja-sundari-stana-tati-samrajyam ujjrimbhate
acinvanam—generating; ahani—every day; ahani—every moment; ahani—every twinkling of an eye; sakaran—with form, embodied; vihara—of sports; kraman—arrangements; arundhanam—attracting; arundhati—of Arundhati; hridayam—the heart; api—even; ardra—tender; smita—smile; ardra—gentle; shriya—charm; atanvanam—spreading; ananya—none other; janma—birth (than the milkmaids); nayana—eyes; shlaghyam—appreciation; anarghyam—priceless; dasham—condition, stage; anandam—the bliss; vraja—sundari—Vraja’s beauties (i.e., the milkmaids); stana—breasts; tati—the slopes; samrajya—reigning supreme; ujjrimbhate—manifesting itself.

The bliss manifesting itself [in the wondrous luster of
the young boy Krishna] reigns supreme between the sloping breasts of the beautiful milkmaids of Vraja. That spreading, glowing bliss reaches a rarified stage far beyond the appreciation of the eyes of anyone by the milkmaids of Vrindavana, and every day, every moment, and every twinkling of an eye that bliss, embodied as Krishna, arranges pastimes and attracts even Arundhati [chastity personified] with the gentle charm of His tender smile.

Text 88
tad ucchvasita-yauvanam tarala-shaishavalamkritam
mada-cchurita-locanam madana-mugdha-hasamritam
prati-kshana-vilobhanam pranaya-pita-vamshi-mukham
jagat-traya-vimohanam jayati mamakam jivitam
tad—that (Krishna); ucchvasita—just begun; yauvanam—youth; tarala—flickering; shaishava—childhood; alamkritam—adorned; mada—delight, passion; cchurita—flashing; locanam—eyes; madana—Cupid; mugdha—bewilders; hasa—smile; amritam—nectar; prati—kshana—every second; vilobhanam—beguiling; pranaya—out of love; pita—drinking; vamshi—flute; mukham—mouth; jagat—worlds; traya—three; vimohanam—enchants; jayati—all glories!; mamakam—my; jivitam—life.

All glories to Krishna, my very life and the enchanter of the three worlds! His now-blooming youth is adorned with the last flickering of childhood. His eyes flashing with delight, He bewilders Cupid with the nectar of His smile. His beauty beguiles at every moment, and out of love He drinds from the mouth of His flute.

Text 89
citram tad etac caranaravindam
citram tad etan nayanaravindam
citram tad etad vadanaravindam
citram tad etad vapurasya citram
citram—wondrous; tat—of that one (Krishna); etat—these; carana—aravindam—lotus feet; citram—wondrous; tat—of that one; etat—these; nayana—aravindam—lotus eyes; citram—wondrous; tat—of that one; etat—this; vadana—aravindam—lotus face; citram—wondrous; tat—of that one; etat—this; vapurasya—body of His; citram—wondrous.

How wondrous are these lotus feet of that [Lord Krishna]! How wondrous these lotus eyes! How wondrous this lotus face! Oh, how wondrous, wondrous is this body!

Text 90
akhila-bhuvanaika-bhushanam
adhibhushita-jaladhi-duhitri-kuca-kumbham
vraja-yuvati-hara-valli-
marakata-nayaka-maha-manim vande
akhila—of all; bhuvana—the worlds; eka—the best or only; bhushanam—ornament; adhibhushita—who is adorned with; jaladhi—of the sun (i.e., Vrishabhanu), or of the sea; duhitri—the daughter (i.e., Radha, daughter of Vrishabhanu, or Lakshmi, daughter of the sea); kuca—breasts; kumbham—jars; vraja—yuvati—Vraja’s young girls; hara—the necklace; valli—string; marakata—emerald; nayaka—principal; maha—great, large; manim—jewel; vande—I bow.

I bow down to [Krishna, who is] the only ornament of the entire world, yet who is ornamented by the pitcher-like breasts of Radha. He is the great, central jewel among the necklace of emerald-like young girls of Vraja.

Text 91
kanta-kuca-grahana-vigraha-labdha-lakshmi-
khandanga-raga-nava-ranjita-manjula-shrih
ganda-sthali-mukura-mandala-khelamana-
gharmankurah kim api khelati krishna-devah
kanta—darling’s; kuca—breasts; grahana—grabbing; vigraha—body; labdha—obtained; lakshmi—loveliness; khanda—scattering; anga—on their bodies; raga—red kunkuma; nava—fresh; ranjita—colored; manjula—delightful; shrih—beauty; garida—of His cheeks; sthali—place; mukura—mirrors; mandala—round; khelamana—as if playing; gharmankurah—drops of perspiration; kim api—ineffable, oh!; khelati—sportive; krishna—devah—Lord Krishna.

Oh, what ineffable beauty my Lord Krishna is displaying-a delightful beauty enhanced by a loveliness acquired when the fresh kunkuma on His darling’s [Radha’s] breasts scattered over His own body as He grabbed them [and She fought Him off], and enhanced as well by the drops of perspiration that seem to play on the mirror-like orbs of His cheeks.

Text 92*
madhuram madhuram vapur asya vibhor
madhuram madhuram vadanam madhuram
madhu-gandhi mridu-smitam etad aho
madhuram madhuram madhuram madhuram
madhuram—sweet; madhuram—sweet; vapuh—the transcendental form; asya—His; vibhoh—of the Lord; madhuram—sweet; madhuram—sweet; vadanam—face; madhuram—sweet; madhu—gandhi—the fragrance of honey; mridu—smitam—soft smiling; etat—this; aho—Oh!; madhuram—sweet; madhuram—sweet; madhuram—sweet; madhuram; sweet.

O my Lord, the transcendental body of Krishna is very sweet, and His face is even sweeter than His body. The soft smile on His face, which is like the fragrance of honey, is sweeter still.

Text 93
shringara-rasa-sarvasvam
shikhi-piccha-vibhushanam
angi-krita-narakaram
ashraye bhuvanashrayam
shringara—conjugal; rasa—mellow; sarvasvam—the be—all and end—all; shikhi—piccha—peacock feather; vibhushanam—adorned; angi—form; krita—accepted; nara—akaram—a human being; ashraye—I take shelter; bhuvana—of everyone in the universe; ashrayam—the shelter.

I take shelter of [Krishna], who is the shelter of everyone in the universe, who has the form of a human being, who is adorned with a peacock feather, and tho is the be-all and end-all of the conjugal mellow.

Text 94
na ‘dyapi pashyate kadapi na darshanaya
citte tatho ‘panishadam sudrisham sahasram
sa tvam ciram nayanayor anayoh padavyam
svamin kaya nu kripaya mama sannidhatse
na—not; adya—till today; api—even; pashyati—sight; kadapi—ever; na—not; darshanaya—a glimpse, vision; citte—mental; tatha—in the same way; upanishadam—the Upanishads; sudrisham—seers; sahasram—thousands; sa—that (vision); tvam—of You; ciram—for so long; nayanayoh—of the eyes; anayoh—unlucky, distressed (?); padavyam—range; svamin—O master; kaya—in what manner; nu—indeed; kripaya—grace, mercy; mama—my; sannidhatse—come near.

O Lord, even to this very day thousands of Upanishadic sages have not seen you with their eyes or in their hearts. So by what great mercy of Yours have You come within the range of my distressed vision for so long?

Text 95
ke ‘yam kantih keshava tvan mukendoh
ko ‘yam veshah kapi vacam abhumih
se ‘yam so ‘yam svadatam ashjalis te
bhuyo bhuyo bhuyashas tvam namami
ke—what?; ayam—this; kantih—bright glow; keshava—O Keshava; tvam—of Your; mukha—indoh—face like a moon; kah—what?; ayam—this; veshah—whose appearance; ka api—even; vacam—words; abhumih—beyond the scope; se ayam—that (glow); sah ayam—that (appearance); svadatam—let them be relished; ashjalih—with folded hands; te—unto You; bhuyah—again; bhuyah—again; bhuyashah—again; tvam—unto You; namami—obeisances.

O Keshava, what is this bright glow of Your moon-face? What is this appearance of Yours, which is beyond description? Let that [glow] and that [appearance] be relished [by Yourself or by tose souls
competent to do so]. I simply bow down before You again and again, and yet again.

Text 96
vadanendu-vinirjitah shashi
dashadha deva padam prapadya te
adhikam shriyam ashnutetaram
tava karunya-vijrimbhitam kiyat
vadana—indu—face like the moon; vinirjitah—having been conquered; shashi—the moon; dashadha—dividing into ten parts (the toenails of Krishna); deva—O Lord; padam—Your feet; prapadya—taken shelter; te—Your; adhikam—greater; shriyam—beauty, brightness; ashnuta—gaining, enjoying; itaram—than before; tava—Your; karunya—of mercy; vijrimbhitam-slight spreading; kiyat-how great!

O Lord, the moon, having been conquered by Your moonlike face, has taken shelter at Your faeet and split into ten parts-that is, Your toenails-thereby gaining much greater brilliance and beauty than before. O Lord, how great is even a slight manifestation of Your mercy!

Text 97
tat tvan mukham katham ivambuja-tulya-kakshyam
vacam avaci nanu parvarii parvariindoh
tat kim bruve kim aparam bhuvanaika-kantam
krishna tvad ananam anena samam nu yat syat
tat—that; tvat—Your; mukham—face; katham—how; iva—like; ambuja—lotus; tulya—equal; kakshyam—similarity; vacam—by words; avaci—unspeakable; nanu—certainly; parvarii—on the new—moon day; parvarii—indoh—the new moon; tat—that; kim—what; bruve—I say; kim-what; aparam-else; bhuvana-in the universe; eka-only; kantam-loveliness; krishna-O Krishna; tvat-Your; ananam-face; anena-other; samam-equal; nu-certainly; yat-to that; syat-be.

O Krishna, how can anyone compare Your face to the lotus? And as for the moon-it attains a simply unmentionable state on the new-moon day. So what else can I say? What other thing in the universe could possibly equal the loveliness of Your face?

Text 98
shushrushase shrinu yadi prariidhana-purvam
purvair apurva-kavibhir na katakshitam yat
nirajana-krama-dhuram bhavadananendor
nirvyajam arhati ciraya shashi-pradipah
shushrushase—you want to hear; shririu—hear; yadi—if; prariidhana—purvam—with careful attention; purvaih—of old; apurva—unprecedented; kavibhih—poets; na—not; katakshitam—take notice; yat—that; nirajana—ceremony (arati); krama—bearing; dhuram—burden; bhavada—Your; anana—face; indoh—moon; nirvyajam—without pretense; arhati—ought; ciraya—for a long time; shashi—of the moon; pradipah—the lamp.

If you want to hear, then listen carefully to something that even the incomparable poets of old did not take note of. And that is this: The lamp of the moon deserves to bear for a long time the burden of worshiping your moon-face in the arati ceremony.

Text 99
akhanda-nirvaria-rasa-pravahair
vikhariditashesha-rasantararii
ayantritodvanta-sudharnavani
jayanti shitani tava smitani
akhanda—unbroken; nirvana—bliss; rasa—loving mellow; pravahaih—current; vikharidita—destroys; ashesha—all; rasa—mellows; antararii—other; ayantrita—without restraint; udvanta—flows; sudha—of nectar; arnavani—an ocean; jayanti—all glories; shitani—cooling; tava—Your; smitani—smiles.

All glories to Your cooling smiles, which are an overflowing ocean of nectar destroying all other joys with unbroken strams of the elixir of bliss!

Text 100
kamam santu sahasrashah katipaye sarasya-dhaureyakah
kamam va kamaniyata-parimala-svarajya-baddha-vratah
naivaivam vividamahe na ca vayam deva priyam brumahe
yat satyam ramaniyata-parinatis tvayy eva param gata
kamam—let there be; santu—be; sahasrashah—thousands; katipaye—some; sarasya—relishable sweetness; dhaureyakah—finest bearers; kamam—let there be; va—or; kamaniyata—attractive beauty; parimala—fragrance; svarajya—glory; baddha—vratah—those who are steady, fixed in vow; na—not; eva—certainly; evam—with them; vividamahe—quarrel; na—not; ca—and; vayam—we; deva—O Lord; priyam—well; brumahe—speak; yat—that; satyam—truth; ramaniyata—attractive beauty, conjugal beauty; parinatih—perfection; tvayi—in You; eva—certainly; param—to its limit; gata—gone.

Let there be thousands of men who possess relishable beauty, and let there be thousands of men who are steady in the glory of the fragrance of attractiveness. We shall neither quarrel with them nor speak well of them. But the truth, O Lord, is that in You the perfection of attractive beauty has reached its limit.

Text 101
galad-vrida lola madana-vinita gopa-vanita
mada-sphitam gitam kimapi madhura capala-dhura
samujjrimbha gumbha madhurima-kiram madrisha-giram
tvayi sthane jate dadhati capalam janma saphalam
galat—destroyed; vrida—shyness; lola—restless; madana—with love, by Cupid; vinita—made humble; gopa—vanita—the cowherd men’s wives; mada—lustful passion; sphitam—swollen; gitam—songs; kimapi—ineffable; madhura—sweetness; capala—frivolity; dhura—excess; samujjrimbha—fully elated; gumbha—stringing a garland; madhurima—sweetness; kiram—scattering, spreading; madrisha—my; giram—words; tvayi—in You; sthane—situated; jate—achievement; dadhati—gotten; capalam—transient; janma—of birth; saphalam—fruit.

O Krishna, being situated in You, the following things have achieved the fruit of thier transient existences: the wives of the cowherd men who become restless, their shyness destroyed, and who turn humble with love for You; songs, which become swollen with passion; Your excess of frivolity, which becomes very sweet; and my fully elated words, which scatter sweetness by stringing a garland [of verses about You].

Text 102
bhuvanam bhavanam vilasini shris
tanayas tamara-sasanah smarash ca
paricara-paramparah surendras
tad api tvac-caritam vibho vicitram
bhuvanam—universe; bhavanam—(Your) abode; vilasini—consort; shrih—Lakshmi, the goddess of fortune; tanayah—son; tamara—lotus; sasanah—he who sits on (i.e., Brahma); smarah—Cupid (Pradyumna); ca—also; paricara—attendants; paramparah—series of; sura—indrah—the demigods’ leaders; tat—all of that; api—although; tvat—Your; caritam—pastimes (here in Vraja); vibho—O Lord; vicitram—very wonderful.

O Lord, although the entire universe is Your abode, Lakshmi is Your consort, Lord Brahma and Pradyumna and Your sons, and the chiefs of the demigods are Your attendants, still, Your pastimes [here in Vraja] are most wonderful.

Text 103
devas triloki-saubhagya-
kasturi-tilakankurah
jiyad vrajanganananga-
keli-lalita-vibhramah
devah—to the Lord; triloki—of the three worlds; saubhagya—beneficent; kasturi—musk; tilaka—tilaka; ankurah—marks (on the forehead); jiyat—all glories; vraja—angana—Vraja’s beautiful—limbed ones (i.e., the milkmaids); ananga—"the bodiless one" (i.e., Cupid); keli—sports; lalita—joy, pleasure; vibhramah—encouraged, increased.

All glories to Krishna, the most beneficent in all the three worlds, whose forehead is marked with musk-tilaka and whose love and joy are increased by the love-sprots of Vraja’s milkmaids!

Text 104
premadam ca me kamadam ca me
vedanam ca me vaibhavam ca me
jivanam ca me jivitam ca me
daivatam ca me deva na ‘param
premadam—giver of His love; ca—and; me—for me; kamadam—fulfiller of desire; ca—and; me—for me; vedanam—knowledge; ca—and; me—my; vaibhavam—power, wealth; ca—and; me—my; jivanam—cause of life, vital energy; ca—and; me—my; jivitam—very life; ca—and; me—my; daivatam—god; ca—and; me—for me; deva—O Lord; na—none; aparam—other.

O Lord, You and You alone are my worshipful Deity, giver of love, fulfiller of desire. You alone are my knowledge, my power and wealth, my vital force, and my very life.

Text 105
madhuryena vivardhantam
vaco nas tava vaibhave
capalyena vijrimbhantam
cinta nas tava shaishave
madhuryeria—with sweetness; vivardhantam—increasing power; vaco—words; nah—our; tava—Your; vaibhave—wealth, beauty; capalyen—with eagerness; vijrimbhantam—swell; cinta—thoughts; nah—our; tava—Your; shaishave—childhood.

O Lord, let our words be empowered to sweetly describe Your beauty, and let our thoughts swell with eagerness when dwelling on Your childhood.

Text 106
yani tvac-caritamritani rasanalehyani dhanyatmanam
ye va shaishava-capala-vyatikara radhavarodhonmukhah
ya va bhavita-venu-gita-gatayo lila mukhambhoruhe
dhara-vahikaya vahantu hridaye tany eva tany eva me
yani—those which; tvat—Your; carita—of pastimes; amritani—nectar; rasana—tongues; alehyani—tasted; dhanya—blessed, fortunate; atmanam—sourls; ye—those; va—or; shaishava—childhood; capala—frivolities; vyatikara—pranks; radha—of Radha; avarodha—obstruction; unmukhah—laying in wait; ya—those; va—or; bhavita—Your; venu—gita—flute—song; gatayah—modulations; lila—sportive gestures; mukha—face; ambhoruhe—lotus; dhara—flow; vahikaya—bearing of the flow continuously; vahantu—let there be; hridaye—heart; tani—those; eva—certainly; tani—those; eva—certainly; me—my.

Let there ever flow in my heart the nectarous pastimes tasted by the tongues of blessed, fortunate souls; Your mischievous childhood pranks (such as laying in wait to obstruct Radha); and the sportive gestures of Your lotus face, inspired by Your rippling flute-song.

Text 107
bhaktis tvayi sthiratara bhagavan yadi syad
daivena nah phalati divya-kishora-murtih
muktih svayam mukulitashjali sevate ‘sman
dharmartha-kama-gatayah samaya-pratikshah
bhaktih—devotional service; tvayi—unto You; sthiratara—fixed—up; bhagavan—O Lord; yadi—if; syat—it may be; daivena—as destiny; nah—unto us; phalati—bears the fruit; divya—transendental; kishora—murtih—the youthful form of Krishna; muktih—liberation; svayam—personally; mukulita—ashjalih—standing with folded hands; sevate—renders service; asman—unto us; dharma—religiosity; artha—economic development; kama—sense gratification; gatayah—the final goals; samaya—nearby; pratikshah—expecting.

O Lord, if I am engaged in firm devotional service to You, then I can very easily perceive Your divine youthful form. And as far as liberation is concerned, she stands at my door with folded hands, waiting to serve me, and all material conveniences of religiosity, economic development, and sense gratification stand with her.

Text 108
jaya jaya jaya deva deva deva
tribhuvana-mangala-divya-namadheya
jaya jaya jaya deva krishna deva
shravana-mano-nayanamritayvatara
jaya—all glories; jaya—all glories; jaya—all glories; deva—O Lord; deva—O Lord; deva—O Lord; tribhuvana—the three world; mangala—auspicious; divya—divine; namadheya—name; jaya—all glories; jaya—all glories; jaya—all glories; deva—O Lord; krishna—O Krishna; deva—O Lord; shravaria—the ear; manah—the mind; nayana—the eye; amrita—nectar; avatara—an incarnation.

All glories, all glories, all glories to You, O Lord, whose holy name is auspicious for all three worlds! All glories, all glories, all glories to You, Lord Krishna! You are the incarnation who are nectar for the ear, mind, and eyes.

Text 109
tubhyam nirbhara-harsha-varsha-vivashavesha-sphutavir-bhavad-
bhuyash-capala-bhushiteshu sukritam bhaveshu nirhasine
shrimad-gokula-mandanaya manasam vacam ca dure sphuran
madhuryaika-maharnavaya mahase kasmai cid asmai namah
tubhyam—to You; nirbhara—excess; harsha—delight; varsha—deluge; vivasha—spontaneous, unrestrained; avesha—to cause; sphyta—manifest; avirbhavad—You manifest; bhuyah—repeated; capala—agitations; bhushiteshu—ornamented; sukritam—very pious souls; bhaveshu—emotional states; nirbhasine—shine forth; shrimat—glorious; gokula—Gokula; mandanaya—You adorn; manasam—mind; vacam—speech; ca—and; dure—beyond; sphuran—shining; madhurya—sweetness, loving tenderness; eka—exclusive; maha—arnavaya—great ocean; mahase—glory; kasmai—whatever; cit—that [spiriutal energy] (?); asmai—I; namah—obeisances.

I bow down to You, Krishna, who shine forth in the ecstatic states of those very pious souls adorned with repeated agitations occasioned by a spontaneous deluge of excessive transcendental delight. I bow to You, who are the ornament of glorious Gokula and who are the unique ocean of sweet, loving tenderness glowing in the distance beyond words and thought. To You, to whatever glory You embody, I bow down.

Text 110
ishana-deva-carakna-bharanena nivi-
damodara-sthira-yashah stabakodgamena
lilashukena racitam tava krishna deva
karnamritam vahatu kalpa-shatantare ‘pi
ishana—deva—the Lord; carana—the feet; bharanena—with adornments; nivi—wealth, capital; damodara—of Damodara; sthira—lasting; yashah—fame; stabhaka—bouquet; udgamena—with the production; lilashukena—by Lilashuka (Bilvamangala Thakura); racitam—composed; tava—for Your; krishna—O Krishna; deva—O Lord; karna—amritam—the ear’s nectar (nectar for the ears of Krishna); vahatu—may it flow, may it continue to exist; kalpa—a day of Brahma; shata—antare—for one hundred; api—indeed.

With the production of this bouquet of verses, which has the lasting fame of Damodara as its capital and which adorns ishanadeva’s lotus feet, Lilashuka has written about You, O Lord Krishna, this nectar for Your ears. May it continue to flow (to be heard, chanted, and sung) for one hundred days of Brahma.

Text 111
dhanyanam sarasanulapa-sararii-saurabhyam abhyasyatam
karnanam vivareshu kam api sudhavristtim duhanam muhuh
ramyanam sudrisham mano-nayanayor magnasya devasya nah
karnanam vacasam vijrimbhitam aho krishnasya karnamritam
dhanyanam—the fortunate souls; sarasa—with sweetness; anulapa—poetic; sararii—waves; saurabhyam—fragrance; abhyasyatam—repeat; karnanam—of the ears; vivareshu—the holes; kam api—indescribable; sudha—nectar; vrishtim—shower; duhanam—pours; muhuh—repeatedly; ramyanam—the milkmaids; sudrisham—with beautiful eyes; manah—in the minds; nayanayoh—eyes; magnasya—sunk; devasya—of the Lord; nah—us; karnanam—ears; vacasam—voices; vijrimbhitam—surges; aho—oh; krishnasya—of Krishna; karna—amritam—nectar for the ears.

Repeatedly pouring an indescribable shower of nectar into the ear-holes of those fortunate souls who relish, through repetition, the fragrance of its waves of poetic sweetness, this nectar fo the ears of Krishna, who is sunk deep in the minds and eyes of the beautiful-eyed milkmaids (and in ours), surges in voices and ears.

Text 112
anugraha-dviguna-vishala-locanair
anusmaran mridu-murali-ravamritaih
yato yatah prasarati me vilocanam
tatas tatah sphurau tavaiva vaibhavam
anugraha—with mercy; dviguna—doubly; vishala—expanded; locanaih—eyes; anusmaran—constant remembrance; mridu—gentle, soft; murali—flute; rava—low sounds; amritaih—nectar; yatah—wherever; yatah—wherever; prasarati—wanders; me—my; vilocanam—vision; tatah tatah—there; sphuratu—You may manifest; tava—Your; eva—certainly; vaibhavam—beauty, sweetness, wealth.

O Krishna, always remembering the nectarous, low, soft sounds of Your flute, as well as Your eyes, doubly expanded with mercy, I pray that wherever my sight shall wander, You will always manifest Your beauty, sweetness, and opulence before me.

shri-krishna-karnamritam samaptah

shri-krishna-karnamritam-the nectar for Krishna’s ears (the literary work by that name); samaptah-ends.

Shri-Krishna-karnamrita ends here.

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