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Monday, October 12, 2009

#020 SHE IS SWEET IN HER LOVE

20. Pran`aya madhuraaha, preemoodgaara rasaas`rayataam gataaha
Phan`iti madhura mugdhapraayaha prakas`ita sammadaaha,
Prakriti subhagaa visrambaardhaaha smaroodaya daayinoo,
Rahasi kimasi svairaalaapa haranti mrigiidris`aam.


The poet describes of damsels’ looks and laments that they rob the entire treasures of lovers. The description: 1. Eyes resembling those of deer. 2. Succulent, sweet love-filled words. 3. Words promoting mutual love. 4. Soaked with ecstasy and bliss. 5. Encouraging the Cupid. 6. Passion-promoting whishpers.

COMMENT
Won't we get a feeling of being robbed when we see the sweet face of Drew Barrimore in the film "Cinderella Ever After"?

Tuesday, December 9, 2008

#003 GESTURES ARE BOTH ORNAMENTS AND WEAPONS

003. Bhruu caaturyaat kuncitaaha kat`aakshaaha,
Snigdhaa vacoo lajjitaantaascha haasaaha,
Liilaa mandam prasthitam ca sthitam ca,
Striin`aam eetat bhuushan`am ca, aayudham ca.


The poet calls the women’s gestures both as ornaments and weapons. He lists out the gestures: 1. Slightly bending the brows and looking from the edges of the eyes. 2. Friendly and affectionate talk. 3. Hesitant and modest smiles. 4. Slow elegant movement.

#002 WOMEN TIE DOWN LOVERS

002. Smiteena bhaaveena
lajjayaah gun`aihi
Paraangmukhaih artha
kat`aaksha viikshan`aiah
Vacoobhir iirshyaa
kalaheena liilayaaha
Samasta bhaavaih
khalu bandhanam striyaha.


Women tie down their lovers through smiless, expressions, modesty, pretention of inattentiveness, askant looks, dialogues, jealosy, petty quarrels, tantrums and numerous other postures and gestures.

#010 WHO SAID THAT WOMEN ARE THE WEAKER SEX?

10. Nuunam hi tee kavi varaa vipariita vaacoo
Yee Nityam Aahuur abalaa iti kaaminii staaha
Yaabhir viloola taaraka drisht`i paatai
S`akraadayooapi vijitaas tva abalaaha kat`ham taaha?


Bhartruhari mocks at those great poets who call women as “the weak”. He says that they deride the established truth. His words are not fake. Just by the movement of irises, their looks have defeated Indra and other demi Gods (Indra is the chief of the Gods in Heaven). How can they be considered weak?

In Bhartruhari’s view, even Cupid is a servant of ladies.

#009 WHO WILL NOT BE TEMPTED?

9. Kumkuma pamka kal`amkita deehaa
Gaura payoodhara kampita haaraaha
Nuupura hamsa ran`at pada padmaa
Kam na vas`ii kurutee bhuvi raamaha.


Which man will not be tempted by lasses with bodies applied with vermillon all over, the gold colored breasts vibrating with laces (of pearls etc.), the dancing feet resonating with the sounds of anklets? (Implied answer: Every human will be tempted.)

REM: Bhartruhari had seen both the worlds. The world of beauty, passion and temptation. And his culmination is in detachment and renunciation.

#008 GIRLS BEHAVE LIKE SWANS

008. Yeetaas calad valaya samhati meekhaloottha
Jhankaara nuupura paraajita raajahamsyaha
Kurvanti na manoo vivas`am tarun`yoo
Vitrasta mugdha harin`ii sadrusaih kat`aakshaih.


The poet wonders: These girls equalling timid young deer with their askant looks, will they not captivate the hearts of men? The poet describes the capabilities of the girls and finds that they have excelled the male swans by attracting the female swans. Here, the excellence of the girls is in their elegant movement producing the “kala kala” sounds of swans. The bangles, the waist-ornaments, and the ornaments of the legs make resonant “gala gala” sounds.

#007 WHAT ARE THE BEST THINGS?

007. Drasht`avyeeshu kim uttamam? Mriga dris`aha preema prasannam mukham!
Ghraatavyeeshu api kim? Tadaasya pavanaha!
S`ravyeeshu kim? Tadvacahaa!
Kim svaadyeeshu? Tad oosht`ha pallava rasaha!
Sprusyeeshu kim? Tad vapuhu!
Dhyeeyam kim? Navayauvanee sahrudayaihi tad vibhramaha!


The poet undertakes questions and answers. 1. What is the best thing to see? Ans: The love filled face of the deer-like beloved. 2. What is the best for smelling? Ans: Her breathe. 3. What is the best to listen? Ans: Her words. 4. What is the best for sipping? Ans: The juice from her succulent lips. 5. What is the best for touching? Her body. 6. What is the best to meditate on? Ans: The young gentle beloved’s ecstasy.

006 WHAT IS NOT DELIGHTFUL IN A LASS?

006. Smitam kincin mugdham, saral`a tarakshoo drisht`I vibhavaha,parispandoo vaacaam, abhinava vilaasoo ukti sarasaha,
Gataanaam aarambhaha kisalayita liilaa parikaraha,
Sprus`anti yaas taarun`am, kim iva hi na ramyam, mriga dris`aha.


What is not delightful in a lass? Everything is delectable in a nascent young lass looking like an young deer. The poet lists out: 1. Smile a little innocent. 2. Good and pervading looks. 3. Nascent love-filled words. 4. Elegantly styled steps just starting to take off.

#011 CUPID IS THE SERVANT OF LASSES

011. Nuunam aagnaakaras tapyaaha
subhruvoo Makara Dhwajaha
Yatas tanneetra samcaara
suuciteeshu pravartatee.


Just as servants execute the commands of the master conveyed just through his looks, the Cupid goes and strikes those, whom the lasses chase with their looks.

#015 ROW OF LETTERS WRITTEN ON YOUR NAVAL BY THE CUPID

15. Udvruttaha stana bhaarayeesha
Taralee neetree chalee bhruulatee
Raagaadhisht`hitam Oosht`ha pallavam ivam,
Kurvamtu naamavyathaam,
Saubhaagya karapankti keeva likhitaa,
Pushpaayudheena svayam,
Madhyastha –api karooti taapam adhikam
Roomaaval`i keena saa.


This is a prayer to the beloved. “Your everything is paining me. The heavy round breasts; the fast moving eye brows; lips red with love; above all the row of letters written on your naval by the Cupid himself (referring to the line of hair around her naval).”

#014 WORLD IS DARK TO ME

14. Sati Pradiipee, Satyarkau,
Satsutaaraman`iindushu
Vinaa mee mruga s`aabaakshyaa
Tamoo bhuutam idam Jagat.


Bhartruhari is using here, a broken-lover as a narrator, saying to his friend. The lover says: “There is the Sun to give light; the Moon; the Stars; the lamps. Yet my life and the world is dark to me without my beloved with her deer like eyes.”

REM: Lady is the lamp of life.

#013 YOU ARE AN EXPERT ARCHER

13. Mugdhee! dhaanushkataa keeyam
Apuurvaat tvai drus`yatee?
Yayaa vidhyasi ceetaamsi,
Gun`eer eeva na saayakaihi.


Bhartruhari is comparing the girl to an archer.
The poet addresses her: Oh Mugdhee! Oh lass! (Not yet well versed in the art of love). Thou you are an inexperienced lass you look like an expert archer. The archers can strike only by using bows and arrows. Whereas you use your qualities (beauty etc.) as the string of the bow targeting our hearts. Is this not amazing?

#012, YOUR BODY AND GAIT MAKE TEMPESTS IN OUR HEARTS

12. Kees`aaha Samyaminaha,
S`ruteer api param paaramgatee loocanee,
Antarvaktramapi svabhaava s`ucibhihi
Kiirn`am dvijaanaam gan`aihi
Muktaanaam satataadhivaasa ruchirau
Vakshooja kumbhaavimaa,
Vittham tanvi vapuhu pras`aantam api tee,
Raagam karooti eeva naha.


Bhartruhari is using pun very effectively. He is at the same time reconciling the opposite implications of the meaning. The poet is addressing a lass:
“Oh lady! You look very serene. Your hair is well regulated. Your eyes look at S`rutiis (scriptures). Your mouth is by itself very clean. Priests reside on your tongue (your words are pure). Your breasts are delivered and relieved. Thus your body and gait looks very tranquil. Yet they make tempests in our hearts by arousing lust and passion.”

REM The poet uses the figure of speech “Viroodha aabhaasa” here. The resolution of the conflict is very aesthetic.

Friday, August 22, 2008

#004 Men and women go through emotions

04. Kvacit sa bhruu bhagamgaih,
kvacit api ca lajjaa parigataih,
kvacit bhiiti trasaih,


”etaIls of the rays of light flowing from the love-full eyes of women. REM: The love making in that ancient age was not just for sexual gratification. The unification of bodies for the purpose of procreation was considered sacred and it was the culmination. Before that men and women go through emotions. The change of emotional state from “normal” to “seeking love and union” is called Uddiipanam. This inspiration has four stages: 1. Characteristics. 2. gestures of ecstasy. 3. apparels and costumes. 4. Neutralisation. In this verse, gestures of ecstasy have been explained.

#005 What women inherit by birth?

05. Vaktram candrahaasi, pankaja parihaasa loocanee,
Varn`aha svarn`am apaakarishn`u,
kalin`ii jishn`u kacaanaam ca cayaha,
Vakshoojaa nibha kumbha vikrama harau,
gurvi nitamba sthalii,
Vacaam ca haari ca maardavam,
yuvatishu svaabhaavikam mand`anam.


The poet describes the ornaments which women inherit by birth. 1. Face resembling full moon 2. Eyes resembling the petals of lotus. 3. Complexion glowing brighter than gold. 4. Strands of hair resembling butterflies 5. Breasts resembling the forehead of a female elephant. 6. Heavy hips. 7. Smooth and sweet words.

Friday, June 27, 2008

#092 Problems of wayfarers to who do not have lovers at hand

VERSE 92

Upari ghanam ghana paat`alam,
tiryag girayoo api nartita mayuuraha,
Kshitir api kandala daval`aa,
drisht`im pathikaha kva paatayati.


GIST

The poet discusses the problem of wayfarers who do not have lovers at hand. The wayfarers suffer because of clouds, mushrooms and peacocks. If the wayfarer looks upwards, the clouds mesmerise him to long for his (wayfarer's) beloved. If the wayfarer looks at level (foreward, backward, sidewards) there are peacocks dancing with myrth. If the wayfarer looks downwards, the mushrooms with their peculiar smell bewitch him. Thus, he cannot move without having his beloved, on his side.

Friday, April 18, 2008

#006 , VERSES 6 TO 10

6. Smitam kincin mugdham, saral`a tarakshoo drisht`I vibhavaha,parispandoo vaacaam, abhinava vilaasoo ukti sarasaha,
Gataanaam aarambhaha kisalayita liilaa parikaraha,
Sprus`anti yaas taarun`am, kim iva hi na ramyam, mriga dris`aha.


What is not delightful in a lass? Everything is delectable in a nascent young lass looking like an young deer. The poet lists out: 1. Smile a little innocent. 2. Good and pervading looks. 3. Nascent love-filled words. 4. Elegantly styled steps just starting to take off.

7. Drasht`avyeeshu kim uttamam? Mriga dris`aha preema prasannam mukham!
Ghraatavyeeshu api kim? Tadaasya pavanaha!
S`ravyeeshu kim? Tadvacahaa!
Kim svaadyeeshu? Tad oosht`ha pallava rasaha!
Sprusyeeshu kim? Tad vapuhu!
Dhyeeyam kim? Navayauvanee sahrudayaihi tad vibhramaha!


The poet undertakes questions and answers. 1. What is the best thing to see? Ans: The love filled face of the deer-like beloved. 2. What is the best for smelling? Ans: Her breathe. 3. What is the best to listen? Ans: Her words. 4. What is the best for sipping? Ans: The juice from her succulent lips. 5. What is the best for touching? Her body. 6. What is the best to meditate on? Ans: The young gentle beloved’s ecstasy.

REM The poet covers all the sense organs of the lover 1. eyes 2. nose 3. ears 4. tongue 5. skin. Above all the mind.


8. Yeetaas calad valaya samhati meekhaloottha
Jhankaara nuupura paraajita raajahamsyaha
Kurvanti na manoo vivas`am tarun`yoo
Vitrasta mugdha harin`ii sadrusaih kat`aakshaih.


The poet wonders: These girls equalling timid young deer with their askant looks, will they not captivate the hearts of men? The poet describes the capabilities of the girls and finds that they have excelled the male swans by attracting the female swans. Here, the excellence of the girls is in their elegant movement producing the “kala kala” sounds of swans. The bangles, the waist-ornaments, and the ornaments of the legs make resonant “gala gala” sounds.

9. Kumkuma pamka kal`amkita deehaa
Gaura payoodhara kampita haaraaha
Nuupura hamsa ran`at pada padmaa
Kam na vas`ii kurutee bhuvi raamaha.


Which man will not be tempted by lasses with bodies applied with vermillon all over, the gold colored breasts vibrating with laces (of pearls etc.), the dancing feet resonating with the sounds of anklets? (Implied answer: Every human will be tempted.)

REM: Bhartruhari had seen both the worlds. The world of beauty, passion and temptation. And his culmination is in detachment and renunciation.

10. Nuunam hi tee kavi varaa vipariita vaacoo
Yee Nityam Aahuur abalaa iti kaaminii staaha
Yaabhir viloola taaraka drisht`i paatai
S`akraadayooapi vijitaas tva abalaaha kat`ham taaha?

Bhartruhari mocks at those great poets who call women as “the weak”. He says that they deride the established truth. His words are not fake. Just by the movement of irises, their looks have defeated Indra and other demi Gods (Indra is the chief of the Gods in Heaven). How can they be considered weak?

In Bhartruhari’s view, even Cupid is a servant of ladies.

#011 , VERSES 11 TO 15

11. Nuunam aagnaakaras tapyaaha
subhruvoo Makara Dhwajaha
Yatas tanneetra samcaara
suuciteeshu pravartatee.


Just as servants execute the commands of the master conveyed just through his looks, the Cupid goes and strikes those, whom the lasses chase with their looks.

12. Kees`aaha Samyaminaha,
S`ruteer api param paaramgatee loocanee,
Antarvaktramapi svabhaava s`ucibhihi
Kiirn`am dvijaanaam gan`aihi
Muktaanaam satataadhivaasa ruchirau
Vakshooja kumbhaavimaa,
Vittham tanvi vapuhu pras`aantam api tee,
Raagam karooti eeva naha.


Bhartruhari is using pun very effectively. He is at the same time reconciling the opposite implications of the meaning. The poet is addressing a lass:
“Oh lady! You look very serene. Your hair is well regulated. Your eyes look at S`rutiis (scriptures). Your mouth is by itself very clean. Priests reside on your tongue (your words are pure). Your breasts are delivered and relieved. Thus your body and gait looks very tranquil. Yet they make tempests in our hearts by arousing lust and passion.”

REM The poet uses the figure of speech “Viroodha aabhaasa” here. The resolution of the conflict is very aesthetic.

13. Mugdhee! dhaanushkataa keeyam
Apuurvaat tvai drus`yatee?
Yayaa vidhyasi ceetaamsi,
Gun`eer eeva na saayakaihi.


Bhartruhari is comparing the girl to an archer.
The poet addresses her: Oh Mugdhee! Oh lass! (Not yet well versed in the art of love). Thou you are an inexperienced lass you look like an expert archer. The archers can strike only by using bows and arrows. Whereas you use your qualities (beauty etc.) as the string of the bow targeting our hearts. Is this not amazing?

14. Sati Pradiipee, Satyarkau, Satsutaaraman`iindushu
Vinaa mee mruga s`aabaakshyaa tamoo bhuutam idam Jagat.


Bhartruhari is using here, a broken-lover as a narrator, saying to his friend. The lover says: “There is the Sun to give light; the Moon; the Stars; the lamps. Yet my life and the world is dark to me without my beloved with her deer like eyes.”

REM: Lady is the lamp of life.

15. Udvruttaha stana bhaarayeesha
Taralee neetree chalee bhruulatee
Raagaadhisht`hitam Oosht`ha pallavam ivam,
Kurvamtu naamavyathaam,
Saubhaagya karapankti keeva likhitaa,
Pushpaayudheena svayam,
Madhyastha –api karooti taapam adhikam
Roomaaval`i keena saa.


This is a prayer to the beloved. “Your everything is paining me. The heavy round breasts; the fast moving eye brows; lips red with love; above all the row of letters written on your naval by the Cupid himself (referring to the line of hair around her naval).”

#016 , VERSES 16 TO 19

16. Mukheena, candrakaanteena, Mahaaniilai sirooruhai
Karaabhyaam, padmaraagaabhyaam, reejee ratnamayiivasaa.


This is a description of the beloved. The face is like a gem (called Candrakaamta or moonlit stone). The hair is like a blue stone. The hands are like rubies. The lass is appearing like filled with precious stones.

17. Gurun`aa stana bhaareen`a,
mukha candreen`a bhaasvataam,
S`anaisvaraabhyaam paadaabhyaam
Reejee grahamayiiva saa.


She appeared to be totally composed of planets. Here the figures of speech “pun and simile” is used very effectively. Her breasts are heavy. Here the word Guru means 1) heavy 2) the planet Jupiter.

Her face glows like the Moon. Her feet resembles the Planet Saturn (which does not have a straight stable motion).

18. Tasyaaha stanau yadi ghanau, jaghanam ca haari,
Vaktram ca caaru, tava citta kim aakulatvam?
Pun`yam kurushva yadi teeshu tava asti vaamchaa,
Pun`ai vinaaha na hi bhavanti samiihitaardhaaha.


What if her breasts are large? What if her hips are elegant? What if her mouth is pleasing? Why does your mind get agitated? If you have desire to possess them, then do good deeds. Only through virtuous actions, desires can be fulfilled.

19. Imee taarun`yasrii nava parimal`aaha praud`ha surata
Prataapa praarambhaaha smara vijaya daana pratibhauh
Ciram ceetas cooraa abhinava vikaaraika guravooh
Vilaasa vyaapaaraha kim api vijayantee mrugadrus`aam.


The poet describes the 'love-filled' body language of the girl. By the word "taarunyasrii" he calls her a treasurehouse of youthfulness. By "Navaparimal`aaha" he appreciates her sweet nascent body odor. But by using the word "Praud`ha" he treats her as knowledgeable and mature about sex. Her gestures indicate beginning of prospective extensive intercourse. The phrase "Smara Vijaya" refers to the Cupids victory over lover. The postures work as guards for the Cupid's victory over the lover. The movements are thieves robbing the wakeful alertness of the lovers. They are teachers of lovers, in producing all the fickle oscillations of the mind "Vikaara Guravooh". The fanciful actions of these "deerlike=mriga drus`a" girls are immeasurable.

#021 , VERSES 21 TO 25

DELIENATION OF SEXUAL INTERCOURSE

Though this chapter is titled as a describer of intercourse, there is not anything coarse and shabby discourses which present strong sex.

21. Vis`ramya vis`ramya vanee drumaan`aam
Chaayaasu tanvii vicacaara kaacit
Stanoottariiyeen`a karooddhruteena
Nivaarayantii s`as`inoo mayuukhaan.

Here, the poet is describing the condition of a lass who is suffering from separation from her lover. Her body is emaciated. She goes to woods to cool herself, but suffers from the urges provoked by the moonlight. (In Indian ancient works, the poets used moonlight as a tool of poetry. They represented it a as a tormentor of separated lovers arousing passions and aggravating the pangs of longing for union.). Unable to bear her separation, she is trying to protect her breasts from the moonlight by covering them with the edges of her saree. The poet depicted her, while she was moving under the shades of trees.

22. Aadars`anee dars`ana maatra kaamaa,
drisht`vaa parishvanga sukhaika loolaa,
Aaalingitaayaam punaraayataakshyaam,,
Aas`aa smahee vigrahayoor abheedam.

The poet discusses the stages of states of thinking of a lover. Stage 1: Till the beloved is seen, he will declare himself to be fortunate if he could have her vision. Stage 2: Once he sees her, he desires to embrace her. Stage 3: Once he embraces her, he desires that he should not part with her embrace.

23. Maalatii s`irasi jrimbhan`oonmukhii
Candanam vapushi kumkumaanilam
Vakshasi priyatamaa madaalasaa
Svarga eesha paris`isht`a agataha.

Here, the poet is the describing the fortune of the man who wears in his hair a garland of fresh bloomed jasmin flowers, applies a paste of saffron and sandalwood all over his body and embraces his beloved. The poet describes such person as experiencing the blissful pleasures of heaven on this Earth itself.

24. Praang maameeti manaaganaagata (amaanita gun`am) rasam,
jaataabhilaasham tataha
Savriid`am, tadanu s`lathiikrita tanu (s`lathoodyama matha),
Pratyasta dhairyam punaha,
Preemaardram s`ruhan`iiya nirbharaha
kriid`aa pragalbham, tatoo
Niss`ankaanga vikarshan`aadhika sukham
Ramyam kulastrii ratam.

The poet is describing the joys of intercourse with one’s own wife. In the first line he describes the stage 1 of the wife, who says ‘No, don’t, don’t!’ initially, and changes her stance, when desire is born in her.
In stage 2, her body language changes to indicate a sort of modesty. In stage 3, she forgets her own state and body. She stops resisting. She sheds resistive courage. Then she gets herself imbued with love and reciprocates.
In stage 4, she develops greater self-confidence, self-assertive by the elegant enjoying experience of active participation in the intercourse.
In stage 5, she sheds all inhibitions and totally engages in the act, enjoying from the foreplay and the actual play.

(Note: I am unable to do justice for the translation of this verse. I shall try on this task again, mobilising more accurate diction and syntax.)

25. Urasi nipatiinaam,
srasta dhammillakaanaam,
Mukul`ita nayanaanaam,
kincid unmiilitaanaam,
Upari surata kheeda
svinnna gand`a sthalaan aam
Aadhara madhu vadhuun aam,
bhaagya vantaha pibati.

The poet describes the fortune of those who imbibe/suck the nectar from the lips of their beloveds resting on their chests with scattered hair and half-closed eyes in ecstasy, with forehead and cheeks filled with sweat drops arising from intercourse-born fatigue.

#026 , VERSES 26 TO 30

26. Amiilita nayanaanaam
yaha surata rasoo-anu samvidam bhaati,
mithunair mithoo avadhaaritam
avitatham idam eeva kaama nirvahan`am.

Accoring to Hindu ethical life of a householder, there are four sub-goals of life for him: 1. Dharma (Virtuous behavior) 2. Artha (Material possessions and money) 3. Kaama (love life) 4. Mooksha (Liberation).

The poet is discussing the third goal ‘kaama’ here. The couple engaged in embrace with their eyes half-closed in bliss and behaving accordingly in harmony, will be managing and accomplishing their function of kaama.

27. Idam anucitam akramas ca pums aam
yad ihajaraas vapi maanmathaa vikaaraaha,
yad api ca na kritam nitambiniin aam
stana patana avadhi jiivitam ratam vaa.

Here, the poet is pointing out two injustices he observes in this Nature. 1. The Males: continuing to be tormented by lust, even after their body becomes old and emaciated. 2. Women: living and craving for intercourse even after their breasts fall off.

28. Raajan!, thrushn`a amburaas`eer nahi
jagati kaschidee va avasaanam
koova arthoo arthaih prabhuu taih
sva vapushi gali`itee yauvanee sa anuraage?
Gacchaamaha sadma yaavad vikasita
Nayaneendiivara aalookiinaam (kumudeendiivara aalookiinaam),
Akramyaa aakramya ruupam jhad`iti
Na jaraayaa lupyatiee preeyas`iinaam.

Here, the poet is commenting on the futility of youthful persons wasting away their youth in the service of kings, while trying to earn riches. He says, as if from the voices of the servants and soldiers:

“Oh King! There is nobody who has successfully swum the endless ocean of ‘desire’ before death. What is the use of the wealth, if a person spends all his youth in acquiring the wealth? Hence Oh King! Please permit us to go homes and spend our days looking into the lotus eyes of our beloveds, before their beauty is deprived of by old age. (Inadequate translation. Will be improved later).”

29. Raagasya aagaaram eekam,
naraka s`ata mahaa duhkha sampraapti heetuhu,
moohasyootpatti biijam,
jaladhara pat`alam gnaana taaraa adhipasya,
kandarpsya aika mitram,
prakat`ita vividhas ca asht`a doosha prabandham,
lookee asmin nahi anartha vraja kula bhavanam (kusuma vanam)
yauvanaad anyad asti.

The poet wonders: Is there any perilious fort in this world, other than the ‘youth’ which is the:

a) chief den for ‘desire and greed’
b) reason for several addictions, miseries, sins and hells
c) seed for the germination of lust, passion and temptation
d) dark cloud for hiding the moon of true knowledge
e) promoter of intense different eight sins?

30. S`ringaara druma niiradee
prasrumara kriid`aa rasa srootasi
pradyumna priya baandhavee
catura vaang muktaa phalood anvati,
tanvii neetra cakoora paarvan`a vidhau,
saubhaagya lakshmii nidhau,
dhanyaha koo api na vikriyaam
kalayatee praaptee navee yauvanee.

The poet is declaring. Only one exceptional virtuous individual wil not be moved by the bewitching illusions of the youth. Everybody else will be scintilated, titillated and tempted. (Last two lines). The first six lines compare the youth to:

a) a cloud which showers and nurture the ‘plant of lust and intercourse’.
b) a current of water which facilitates the flow of the ‘juice of the lust and intercourse’.
c) a close kin of the God of Cupid.
d) an ocean for the pearls of sweet dialogues between the lovers
e) a river which delights damsels like the moon who pleases the ‘chakravaka’ birds.

#031 , VERSES 31 TO 35

31. Samsaaree asmin asmin na saaree
kunrupati bhavana dvaara seevaa kal`anka
Vyaasanga vyasta dhairyam katham
amala diyoo maanasam samvidadhyuhu
Yad yeetaaha proodyat indu dyuti nicaya bhrutoo
na syur ambhooja neetraaha
Preenkhat kaancii kalaapaaha
stana bhara vinamran madhya bhaajas tarun`yaha.
(bhaagas tarun`yaha).

Here, the poet is describing how scholars in kings’ courts endure their sufferings. When scholars wait at the doorsteps of arrogant wicked kings, they get depressed. Life becomes meaningless and bleak. During the waiting process, they lose their courage and self-confidence.

The scholars recoup their lost self-image by uniting with their resuscitating wives. The poet describes the damsels thus: 1. Wearing garments which glow like newly rising moon-light 2. Lotus eyed. 3. Wearing gold waist ornaments making sounds of attached bells 4. Having slightly forward being bodies owing to the heavy breasts.

REM: The evil effects of serving the atrocious and odious kings is neutralised by the companionship of the worthy and amazing wives.

32. Siddhaadhyaasita kandaree
Haravrishat skandhaa varungn`a drumee
Gangaa dhauta s`ilaa talee,
Himavataha saanau sthitee s`reeyasi,
Kaha kurviita s`irah pran`aamam
amalinam, mlaanam, manasvii janoo,
Yad vitrasta kuranga s`aaba nayanaa
Na syuhu smaraastram striyaha.

The poet identifies reasons for men of self-respect serving the monstrous kings, kneeling before them flat with all the body parts touching the earth, dirting and dusting their faces. It is the deer-eyed women equipped with Cupid’s arrows, who prevent the self-esteemed people from proceeding to the Himalayas. The poet describes the joys of Himalayan life: 1. Caves, where great self-accomplished sages live. 2. Trees with branches rubbed against and wrecked by the sacred bull of God S`iva. 3. Stone slabs washed clean daily by the sacred waters of the river Ganga. 4. Valleys, safe and secure.

33. Samsaara! tava paryanta
padavii na daviiyasi
Antaraa dustaraa na syur
yadi tee madireekshan`aa.

The poet is addressing his verse to the mundane family (Figure of speech: Personification). It is a custom in Hindu/Indian/Sanskrit literature to compare the ‘mundane family life’ to a boundless ocean. Normally, seekers consider it an immeasurable, interminable long distance, difficult to cross over. The poet says: Oh Mundane family life! Finding your bounds is not difficult and the distance to your other bank is not distant, but for the indomitable ennervating eyed women. Gist: The captivating looks of women elongate the distance of the other bank of the ocean of this mundane family life.

PAKSHA DVAYA NIRUUPAN`AM (PROVING THE TWO WINGS/SIDES.)

34. Dis`a vanaharin`eebhyoo
Vams`a kaand`a cchaviinaam,
Kabalam upala koot`i cchina
muulam kus`aan aam
S`aka (S`uka) yuvati kapoolaa
paand`u tambuula vallii
Dal`a marun`akha nakhaagrai,
paatitam vaa vadhuubhyaha.

The poet is presenting the two wings/sides and asking the reader to chose.

The first choice: Be an aficianado! As an enthusiast you can, with your nails, split the betel leaves and keep them with affection on to the lips of the Saka nymphs (presumed to be Greek lasses). ***

The second choice: Be an all renouncing Sage! As a compassionate ascetic, you can with the sharp stones of the Himalayan hills, cut the ‘darbha’ grass which has grown green like reeds of bamboo plants, and feed with loving care on to the mouths of deer.

***It is a custom for lovers to put betel leaves into the mouths of one another for chewing preparatory to love game.

35. Apaaraaha santi ee tee
virati virasaa atha vishayaa
jugupsantyaam yad vaananu
sakala dooshaaspadam iti
Tathaa api eetad bhuumau
Na hi para hitaat pun`yam adhikam,
Na ca asmin samsaare
kuvalayadris`oo ramyam aparam.

Let the mundane material things be bleak, juiceless. Let them be called causing obnoxiousness and loathsomeness to human lives. Let them be declared as ‘filled with all blemishes’. Yet on this Earth, two things have no parallels: 1. Helping out others. 2. Tulip eyed nymphs.

#036 , VERSES 36 TO 40

36. Maatsaryam utsaarya vicaarya kaaryam
Aaryaa! Samaaryaadaam idam vadantu:
Seevyaaha nitambaaha kim bhuudharaan`aam
uta smara smeera vilaasiniinaam.


The poet is addressing wise scholars: “Oh wise reverred persons! Leaving jealousy, following due proces, pl. ponder over and identify clearly, what is to be chosen between the two:

First: Serve the hips of the mountains
Second: the hips of the damsels with Cupid-occupied hips and smiling faces.

37. Samsaaree, svapna saaree, parin`ati taralee,
dvee gatii pand`itaan aam,
Tatva gnaana amrut augha plava lalita dhiyaam
yaatuhu kaala kathancit
No ceen mugdhaanganaa naam
stana jaghana ghanaa abhooga sambhooginii naam
Sthuuloo upastha sthaliishu sthagita
kara kamala liiloodyamaanam.


The scholars have two alternatives to decide upon.

The first: Spend the time sailing on the boat of philosophical exploration and awareness.

The second: Spend the time moving hands in exploring the hips, thighs and other places of great breasted and hipped lasses.

38. Aavaasaha priyataam Gaamgee,
paapa haarin`i vaarin`i,
Stana dvayee tarun`yaaha
mano haarin`i haarin`i.

First choice: Blissfully live on the banks of the Ganga river, with sin cleansing waters.

Second choice: Blissfully live at the two breasts of youthful damsels encapturing the hearts and conquering the lovers.

39. Kim iha bahubhir uktair,
yukti s`uunyai pralaapaihr,
Dvayam idam purushaaha
sarvada seevaniiyam,
Abhinava mata liilaa
laalasam sundariin`aam
Stanabhara pari khinnam,
yauvanam vaa, vanam vaa.

What is the use of talking in futility, devoid of an effective plan ? Two objects are available to humans to serve:

The first: The youth (yauvanam). Serve nymphs laden with heavy breasts and revelling from nascent youth.

The second: The forest (vanam). Serve renunciation.

40. Satyam janaa vacmi na pakshapaataal,
lookeeshu saptasvapi tathyam api eetat,
Naa anyan manohaarii nitambinoobhyoo,
duhkhaika heetur na ca kaschit anyaha.

Oh people! I shall tell the truth without any bias. In all the seven worlds, this is the absolute truth. There is nothing else but the women who can provide absolute pleasure (For a person who does not have renunciation). When he gets due renunciation, there can be nothing else except the women who can cause misery. (Gist: Joy or misery depends upon the mental state of the man).

#041 , VERSES 41 TO 45

DENOUNCING WOMEN OF INSATIABLE LUST

41. Kaanteetyutpala loocaneeti
vipula s`roon`ii bhatyutusukareen namat
Piinoottunga payoodhareeti
sumukhamboo jeeti subhruur iti,
Drisht`vaam uhyati moodatee
abhi ramatee prastauti vidvaan api
pratyaksha as`uci bhastrikaam
striyam ahoo moohasya dus`ceestitamaha.


The poet wonders: Even a scholar is getting tempted after seeing a damsel who is like a leather puppet and is getting delighted within himself. He tells himself: ‘This lass has lotus eyes. This girl has big hips. This youngster has captivating breasts. This girl has face of a blue tulip. This damsel has a creeper like body. This lady has great brows.’ Thus the scholar is praising women and enjoying within himself. Alas! The misdeeds of temptation!

42. Smritaa bhavati taapaaya,
drisht`vaa ca unmaada kaarin`ii,
sprisht`aa bhavati moohaaya,
Saa naama daitaa katham?


The poet wonders how a lass can be called a ‘beloved’, when she causes agony at every stage. She enflames a person when he reflects about her. She makes a person insane when he sees her. She sends him into delerium tremens when he touches her. How is it that her name is the ‘dear’!

43. Taavad eevamruta mayii
yaavallocana goocaraa
cakshush pathaa tiitaa
tu vishad yapi ati ricyatee.


Her very sight makes a person taste nectar. Her very disappearance from sight makes a person taste taste poison and endangers his life.

44. Naamritam na visham kimcid
eekaam muktvaa nitambiniim,
Naivaamruta lataayuktaa
vimuktaa visha vallarii.


There is no nectar or poison except the hipped damsel. If she is full of love and affection, she will be nectar. If she does not love, she is like a venomous creeper.

45. Aavartaha sams`ayaanaam, avinaya bhavanam,
pat`tan`am sahasaanaam,
Dooshaan`aam sannidhaanam, kapat`a s`ata mayam,
ksheetram apratyaanaam,
Svarga dvaarasya vighnoo,
naraka pura mukham, sarva maaya karand`am,
Strii yantram keena srisht`am,
visham amrita mayam, praan`i lookasya paas`aha.


The poet wonders: Which magician created this gadget called ‘woman’ who is:

a) a dwelling of all dilemmas;
b) a palace for disobedience;
c) a town of courage;
d) a podium for defects and sins;
e) a repertory of a hundred slynesses;
f) a field for suspicions
g) a line of hurdles to the gate of the Heaven;
h) an entrance for the hell;
i) a venom of illusions.

#046 , VERSES 46 TO 50

46. Noo satya mrigaanka eeshoo
vadanii bhuutoo, na ca indiivara
dvandvam loocana taam gatam,
na kanakair api anga yasht`ih krita,
Kim tveevam kavi bhihi prataaritaam
anaastatvam vijaanan api
Tvang maamsaasthi mayam vapur
mriga dris`aam mandoo janaha seevatee.


This verse is a jibe/taunt against poets who describe women with exaggerated similes comparing them with the moon, lotus, lightning etc. He sneers that even wise, discriminating men get misled by poets.

The face is not the moon. The eyes are not lotus petals. The body is not made of gold. The body is of flesh and bones.

47. Liilavatiinaam sahajaa vilaasaa,
Sta eeva muud`hasya hridi sphuranti
Raagoo nasinyaa nisarga siddhas
tatra bhramati eeva mudhaa shad`anghri.


Here is a beautiful metaphor. Red color is natural to a red tulip. Yet, the bee gets tempted and orbits around it. Bewitching looks are natural to lasses. Yet fools persuade themselves that the looks are aimed at them.

48. Yadeetat puurn`eendu dyuti
haram udaaraakriti param,
Mukhaabjam tanvangyaaha kila
vasati yatraadhara madhu,
Idam tat kimpaaka druma
phalam idaaniim atirasam,
vyatiitee asmin kaalee visham
iva bhavishyatyasukhadam.


Here, the poet is contrasting the faces of a woman, first in her stage of youth and later in her state of old age.

Youthful face: stealing the light from full moon; charming figure; lotus face; nectar-filled lips. Juicy and succulent like a ‘Kimpaka’ fruit.

Face in old age: Like poison. Causes unhappiness.

49. Unmiilattrival`ii taranga valayaa,
proottunga piina stana dvandvee,
noodyata cakravaaka yugal`aa,
vaktraa ambujoodbhaasinii,
kaantaakaara dharaa, ma diiyam
abhitaha kruuraas`ayaa neeshyatee (kruuraatranaapeekshyatee),
Samsaaraarn`ava majjanam yadi,
tadaa duureen`a santyajyataam.


The poet uses a beautiful metaphor. He compares women to rivers. If wise scholars want not to get drowned in the ocean of the mundane worldly life, they should stay away from the river of ‘women’. The common factors between a river and a woman observed the poet are:

a) tuffs of hair = waves;
b) high round breasts = ‘chakravaka’ birds flying above the waves;
c) face = lotus flowers;
d) eyes = fish;
e) naval = whirlpool;
f) hips = sand dunes.

50. Jalpanti saartham anyeena,
pas`yanti anyam savibhramaaha,
hridgatam cintayanti anyam,
priyaha koo naama yooshitaam?


Women speak to a person affectionately; look at another with awe; think about somebody else in the mind. Who is the dearest of a woman? (Women can be awfully concealing and fickle).

#051 , VERSES 51 TO 55

51. Apasara sakhee! Duuraat
asmaat kat`aaksha vishaanalaat,
Prakriti vishamaad yooshit sarvaad,
vilaasa phan`aa bhritaha,
Itara phan`inaad asht`as-
s`akyas cikitsatum aushadhais,
Chatura vanitaa bhoogi grastam,
tyajanti hi mantrin`aha.


The poet is comparing a prostitute/debauching woman to a serpant. The doctors who cure snake bites, bring herbs and roots and use them to reduce the intensity of venom. But they know that it is not possible to heal a person bitten by a debauching woman and leave such persons to their fate. The poet advises: ‘Oh friend! Stay away from the gorgeous woman and her luxurious looks emit fierce beams of fire from the multi-heads of a ferocious serpant.’

52. Vistaaritam makara keetana dhiivareen`a
Strii sangnitam bad`isam atra bhavaambu raas`au,
Teena aciraat tad adharaamisha loola martya,
matsyaan vikrishya sa padati yanuraaga vahnau.


This is a well-knit of verse of similes. The poet is comparing Cupid to a fisherman. (Makara keetana = Cupid having a crocodile on the flag post). The mundane family is the Sea. Woman is the fishing net/fishing rod. Lips are the bait. Lover is the fish. A lover who gets tempted by the lips is caught in the Cupid’s net. The Cupid pulls the fish and roasts it in the fire of ‘love’.

53. Kaaminii kaaya kaantaaree,
kuca parvata durgamee,
maa sancara manah paantha!
tatraastee mee smara taskaraha.


The poet is comparing Cupid to a thief and the lover to a wayfarer in a forest. The poet is the cautioning the wanderer: “Oh drifter! Do not move in the forest of the body of a woman, which has impenetrable and insurmountable mountains called ‘breasts’. There the dacoit called the ‘Cupid’ is moving.”

54. Vyaa diirgheen`a caleena vakra gatinaa
teejasvinaa bhooginaa,
Niilaabja dyuti naahinaa varam
aham dasht`oo na ta cakshushaad,
asht`ee santi cikitsaakaa
dis`i dis`i praaya dharmaarthi noo,
Mugdhaakshi kshan`a viikshitasya ta hi
mee vaidyoo, na vaa api aushadham.


There are doctors and medicines to save a person from the bite of an extremely venomous black cobras. But there are no doctors and drugs which can cure a person bitten by the rays emitting in a wavy trajectory from the blue-tulip eyes of a glowing luxurious damsel.

55. Iha hi madhura giitam,
nrittam eetad rasoo ayam,
sphurati parimal`oo asau,
spars`a eesha stanaanaam,
Iti hata paramaarthair,
indriai bhraamya maan`aha,
Svahita karan`a dhuurtaih
pancabhir ancitoo asmi.


The poet is lamenting: ‘Alas! I have become deprived of superior things. I have been made to forget my life’s goal by the five sense organs: 1. hearing: sweet lyrics 2. watching: stylish dances 3. smelling: incenses 4. touching: breasts 5. tasting: succulent juices. Caught by this set of sensations, I lost my direction.

#056 , VERSES 56 TO 60

56. Na gamyoo mantraan`aam,
na ca bhavati bhaishajya vishayoo,
Na ca api pradhvamsam
vrajati vividhaih s`aantika s`ataaih,
Bhramaavees`aad ange eekam api
vidadhad bhamgam asakrit,
Smara apasmaaroo ayam bhramayati
dris`am ghuurn`ayati ca.


The poet laments: There is no cure for this disease of lust. There are no magic charms to cure these convulsions and spasms caused by the Cupid. There are no medicines even from the best physicians. Nor there are any procedures of pacifying sanctifying rituals. For this disease of circling and gyrating the eyes in fits of insatiable lust, there are no correcting procedures.

57. Jaati andhaaya ca, durmukhaaya ca,
jaraa jiirn`a akhilaangaaya ca,
Graamin`aaya ca, dushkulaaya ca,
gal`at kusht`haabhi bhuutaayaca,
yacchantiishu manooharam
nija vapur lakshmi lava s`raddhayaa,
Pan`ya striishu viveka kalpa
latikaas`astreeshu rajyeeta kaha?


The poet is condemning the union with prostitutes. First he denounces the prostitutes: “They entertain and surrender their body in exchange for one Rupee to a born blind person, ugly faced person, an extremely aged person whose organs have been putrefied by old age, person suffering from leprosy, idiot, low born person.” She is like a sword which hacks the plant of wisdom in an individual. Who will approach such women?

58. Vees`yaasau madana jvaalaa,
rupeendhana sameedhitaa,
Kaamibhir yatra huuyantee,
yauvanaani dhanaani ca.


This prostitute is like a fire of lust. The fuel for it is provided by the beauty. The addicts pour their youthful years and riches in this hell-fire.

59. Kas cumbati kulapurushoo
vees`ya adhara pallavam manoognam api,
Caara coora bhat`a ceet`aka
vit`a nat`a nisht`hiivana s`araavam.


This is also a denunciation of the sex workers.
A respectable and wise person of noble descent cannot kiss the lips of the women whose lips, in spite of their being graceful and pretty. This because these have been stained by the saliva of spies, king’s men, thieves, brokers, customers, actors and numerous others.

60. Madhu tisht`hati vaaci yooshitaam,
hridi haalaahalam eeva keevalam,
Ata eeva nishiiyatee adharoo,
hridayam musht`hibhir eeva taad`yatee.


This is somewhat an ugly verse. The customers suck the lips of the sex workers. The customers clobber with their fists, the breasts of the prostitutes. According to the poet, this because the women have their lips filled with ‘honey like words’ while their hearts are filled with venomous poison (of greed for money).

#061 , VERSES 61 TO 65

THE PATH OF TRUE AND WISE RENUNCIATION

61. Dhanyaasta yeeva
dhaval`aayata loocanaanaam
Taarun`ya darpa ghana
piina payoodharaan`aam
Kshaamoodaroopari lasat
trivalii lataanaam
Drsht`vaa aakritim vikritim
eeti manoo na yeeshaam.


Those men who do not get perturbed by the temptations of damselts are the fortunate virtuous souls. List of disturbances: 1. white eyes 2. large grand breasts 3. Liana like folds on the lean belly-narrow waist.

62. Baalee! liila mukul`itam amii
mantharaa drisht`i paataaha
Kim kshipyantee? Virama, virama,
vyartha yeesha s`raman tee,
Samprati anyee vayaha muparatam,
baalyaha maasthaa vanaantee;
Kshiin`oo moohahas; trin`am iva
jagat jaalam aalooka yaamaha.


The poet is addressing a lass, as a renounced person: ‘Oh young girl! Why do you throw your straight looks from your half closed eyes on me? Pull out! Pull out! All your effort will be futile. Now we have parted away from the attractions of youth. Now our mind is longing to dwell in forests. The lust and temptations have receded. We see the entire world as a blade of grass.’

63. Iyam baalaa maam prati
anavaratam indiivara dal`a
Prabhaa cooraha cakshuhu kshipati;
kim abhi preetam anayaa?
Gatoo mooham asmaakam,
Smara kusuma baan`a vyatikara**
Jvara jvaalaa s`aantaa
tad api na varaa kii viramati.


** another version: smara s`abara baan`a vyatikara.

The poet is describing the vain efforts of a girl to tempt him. He is addressing his friend: ‘Every minute, this girl is throwing her lotus-eyed looks on me. In doing so, her intent is not known. Our temptation is all a thing of the past. The fire ignited by the arrows of the Cupid has retreated. Still, why this innocent girl is not withdrawing from her efforts?

64. Ree kandarpa! Karam kadardha yasi
kim koodand`a t`ankaari taihi?
Ree Ree kookila! Komalaih kalaravaih
kim vaa vrithaa jalpasi?
Mugdhee! Snigdha vidagdha mugdha madhurair
loolair kat`aakshair alam,
Ceetas cumbita candra cuud`a
caran`a dhyaanaamritam vartatee.


The poet is addressing the Cupid. Oh Cupid! What for are you repeatedly stringing and sounding your bow?

Oh cuckoo! Why do you sing and sing vainly?

Oh lass! Why do you throw your bright sweet captivating looks on us!

Now, we are engaged in tasting the nectar of devotion to the moon-jewelled God S`iva.

65. Virahee api sangamaha khalu
parasparam sangatam manoo yeeshaam,
Hridayam api vighat`itam ceet
sangoo viraham vis`eeshayati.


Here, the poet is defining the real union and real separation. When the lovers are bodily separated, if they think of one another, they will still be united. Couples with estranged minds, will remain divided, even after body union.

#066 , VERSES 66 TO 70

66. Kim gateena yadi saa na jiivati?
Praan`iti priyatamaa tathaa api kim?
Iti udiikshya nava meegha maalikaam,
na prayaati pathikaha sva mandiram.


Here, the poet is describing a wayfarer who did not go home, analysing his thoughts in a renounced mind. ‘What if my beloved is alive? What if my beloved is dead? I have renounced the world. It is immaterial whether I stay here or I go home. Thus thinking, the traveller is ignoring the tempting messages made by the new clouds.

67. Viramita budhaa yooshita
sangaat sukhaat kshan`a bhanguraat;
Kuruta karun`a maitrii
pragnaa vadhuujana sangamam;
Na khalu narakee haaraakraantam
manas ta na mand`alam,
S`aran`am; athavaa s`roon`ii bimbam
ran`an man`ii meekhalam.


The poet is addressing the wise scholars: ‘Oh pandits! Withdraw your mind from the thoughts of transient luxurious union with women. Befriend the girls called ‘compassion, amity, and talent’. The lace-filled breasts and the sound-making waist-ornamented hips of women are not going to save you from the fires of hell.

68. Yadaa yoogaabhyaasa vyasana
kris`ayoor aatma manasoor
avicchannaa maitri sphurati
krutinahas tasya kimutaih,
priyaan`aam aalaapair athara
madhubhir vaktra vidubhih
Savis`vaasaamoodai sakuca
kalas`aas`leesha surataih.


For a person who engages his mind always in his soul and who enjoys a blissful ecstasy from it, the words of a loving woman, the honey from her lips, moon-like face, embraces of the pots of breasts, sweet scents from her breath, the happy intercourse, everything appears like a blade of grass.

69. Yad aasid agnaanam
smara timira sancaara janitam,
tadaa drisht`am naariimayam
idam as`eesham jagad iti;
Idaaniim asmaakam
pat`utara viveekaanjana jushaam
samiibhuutaa drisht`is tribhuvanam
api brahmam anu tee.


This is an intraspection from the poet. When I was submerged in ignorance born out of the darkness spread by the Cupid, everything in this world appeared to me to be full of damsels. Now, for us after the advent of vision from the discrimination of wisdom, our interllect views everything in the three worlds as the supreme spirit.

THE PATH OF FAKE RENUNCIATION

70. Taavad eeva kritinaam api sphurat
eesha nirmala viveeka diipakaha,
Yaavad eeva na kuranga cakshushaam
taad`yatee cat`ula loocanaa ancalaihi.


The lamp of wisdom will be glowing in the intellects of scholars as long as they are not hit by the looks of the deer eyed women.

#071 , VERSES 71 TO 75

71. Vacasi bhavati sanga tyaagam uddis`ya vaartaa
S`ruti mukhar mukhaanaam keevalam pand`itaanaam
Jaghanam arun`a rathna granthi kaancii kalaapam
Kuvalaya nayanaanaam koo vihaatum samarthaha.


The scholars with a fake renunciation declare the union with women as blameworthy and quote from scriptures. Which scholar is capable of resisting the thighs, and the frontier of the waist (bound by gem-studded ornament) of lotus eyed damsels?

72. Sva para prataarakoo asau,
nindati yoo al`iika pand`itoo yuvatiih,
yasmaat tapasoo api phalam svargaha,
svargee api ca apsaraha.


False scholars abuse women that they are bad, that they should not be approached. What is the end result of penance? Is it not heaven? Does n’t heaven mean nymphs?

73. Matteebha kumbha dal`a nee
bhuvis tani dhiiraaha,
Keecit pracand`a mriga raaja
vadhee api dakshaaha,
Kintu braviimi balinaam
purataha prasahya,
Kandarpa dal`anee
viral`aa manushyaaha.


There are courageous men who can slit the forehead of an elephant. There are brave men who can kill ferocious lions. But I declare in the presence of elders that there is no human who can restrain and command the Cupid.

74. Sanmaargee taavad aastee, prabhati
cana rastaavadeeveendriyaan`aam,
Lajjaam taavad vidhattee,
vinayam api samaalambatee taavad eeva,
Bhruucaapaakrisht`a muktaaha
s`ravan`a patha gataa niila pakshmaan`a eetee
Yaaval liilaavatiinaam na hrid dhritimushoo
drisht`i baan`aaha patanti.


Eyebrows are the bows in the hands of women. Pulling them upto their ears, women shoot arrows of their looks at men. The arrows of looks are fitted with sharp edges called ‘eye lids’. They are capable of ruining the courage of men.

As long as these arrows of women’s looks strike the men, the men will follow the path of righteousness and rein their sense organs. Till then, the men hesitate to undertake evil deeds. Till then, they will be reverant to elders.

75. Unmatta preema samrambhaad
aarabhantee, yadanganaaha,
tatra pratyuuham aadhaatum
brahmaa api khalu kaataraha.


If damsels take up any task, out of intense love and ostentation, that work cannot be stopped even by the Creator Himself

#076 , VERSES 76 TO 79

76. Taavan mahatvam paand`ityam kuliinatvam vivekitaa,
Yaavad jwalatiin aangeeshu hataha panceeshu paavakaha.


The fire of Cupid can reduce to ashes the greatness, merit, knowledge, respectability, wisdom of persons who are caught by the invincible flames of the Cupid.

77. S`aastragnoo api pragun`ita nayoo apy
aatta boodhoo api baad`ham
samsaaree asmin bhavati
viraloo bhaajanam sadgatiinaam,
Yeenai tasmin niraya nagara
dwaaram udghaat`ayantii
Vaamaakshiin`aam bhavati
kut`ilaa bhruulataa kuncikeena.


Here is a metaphor. The poet compares the eye brows of women to the brushed-sticks used for opening the doors of the hell. Hence a person who moves in this world, howsoever knowledgeable he may be, howsoever erudite he may be in ethics and law, howsoever well-informed he may be by his preceptors, will find it difficult to attain heaven.

78. Kris`aha, kaan`aha, khanjaha,
s`ravan`a rahitaha puccha vikaloo,
Vran`i puuya klinnaha,
krimi kula s`atair aavritta tanuhu,
Kshudhaa kshaamoo jiirn`aha
pit`haraka kapaalaarpita gal`aha,
S`unii manveeti s`vaah;
hatam api ca hantyeena Madanaha.


Madana (The Cupid) can strike and kill anybody and anything. The poet gives a list of such wretched things: Gaunt, wasted, lame, deaf, sunken eyed, tail-less, worm-affected wounds, body wet with pus and insects, starving, sunken voice. A dog suffering from all these wretchednesses will still chase a bitch with an intent to copulate with it. The Cupid kills even those who are already dead. The temptation does not go even when dead.

79. Strii mudraa kusumaayudhasya (rusha keetanasya)
paramaam (jayiniim) sarvaartha sampatkariim,
yee muud`haaha pravihaaya yaanti,
kudhiyoo mithyaa phalaanveeshin`aha,
Tee tee naiva nihatya nirdaya taram,
nagniikritaaha mund`itaaha
Keecit panca sikhii kritaas ca
jat`ilaaha kaapaalikaas ca aparee.


Here, the poet is praising the Cupid. The Cupid’s womanly poise is capable of fulfilling all the desires. It is enriching. The poet lashes at those ignore the Cupid and undertake penance in search of access to heaven and its nymphs (illusory pleasures). Disturbed at this sight, the Cupid is punishing the ascetics in many ways:

1. Making naked. (Some ascetics called ‘digambara yoogis’ are naked).
2. Tonsured headed (Some ascetics tonsure their heads. Paramahamsa sect).
3. Bearing five tuffs of hair (Some sects of priests wear five strands of hair, shaving the remaining head).
4. Making unkempt long haired (Some ascetics allow their hair to form into uncombable joined hair, applying the latex of peepal tree or some other gummy resins).
5. Making some to beg using human skulls as bowls (Kaapalika sect).
Will these people get their heavenly pleasures after death foregoing them in this birth?

Friday, April 11, 2008

#001 , 002, 003, 004, 005

PRAYER TO CUPID (Manmatha or Cupid)

01. S`ambhu Svayambhu Harayooh harin`eekshan`aanaanam
Yeenaah kriyanti satatam gruha karma daasaha
Vaacaam agoocara caritra vicitra kaayaah
Tasmai namoo bhagavatee Makaradhwajaayaha.

Here, the poet salutes the Cupid (the God of Love). The poet praises the greatness of Cupid by quoting how the trinity of Gods have been influenced by him.

The Creator (Brahma, here referred to as Svayambhu) wears his concert, the Goddess of Learning (Sarasvati) on his tongue.

The Protector (Vishn`u, here referred to as Hari) wears his concert the Goddess of Wealth (Lakshmi) on his chest.

The Destroyer (S`iva, here referred to as S`ambhu) bears the Goddess of Power (Parvati) on the left half of his body.

All the three Gods thus function as the servants of their spouses.

REM: Firstly, whether we believe in any Gods or not, Hindu Gods or not, we can appreciate the beauty of expression of the verses. Secondly, we can also observe that there is not much gender inequality among Hindu Gods and Goddesses. Thirdly, the poet very clearly recognises the greatness of the Cupid and the mutual attachment of genders.


02. Smiteena bhaaveena lajjayaah gun`aihi
Paraangmukhaih artha kat`aaksha viikshan`aiah
Vacoobhir iirshyaa kalaheena liilayaaha
Samasta bhaavaih khalu bandhanam striyaha.


Women tie down their lovers through smells, expressions, modesty, pretention of inattentiveness, askant looks, dialogues, jealosy, petty quarrels, tantrums and numerous other postures and gestures.

03. Bhruu caaturyaat kuncitaaha kat`aakshaaha,
Snigdhaa vacoo lajjitaantaascha haasaaha,
Liilaa mandam prasthitam ca sthitam ca,
Striin`aam eetat bhuushan`am ca, aayudham ca.


The poet calls the women’s gestures both as ornaments and weapons. He lists out the gestures: 1. Slightly bending the brows and looking from the edges of the eyes. 2. Friendly and affectionate talk. 3. Hesitant and modest smiles. 4. Slow elegant movement.

04. Kvacit sa bhruu bhagamgaih, kvacit api ca lajjaa parigataih,kvacit bhiiti trasaih,


”etaIls of the rays of light flowing from the love-full eyes of women. REM: The love making in that ancient age was not just for sexual gratification. The unification of bodies for the purpose of procreation was considered sacred and it was the culmination. Before that men and women go through emotions. The change of emotional state from “normal” to “seeking love and union” is called Uddiipanam. This inspiration has four stages: 1. Characteristics. 2. gestures of ecstasy. 3. apparels and costumes. 4. Neutralisation. In this verse, gestures of ecstasy have been explained.

05. Vaktram candrahaasi, pankaja parihaasa loocanee,
Varn`aha svarn`am apaakarishn`u,
kalin`ii jishn`u kacaanaam ca cayaha,
Vakshoojaa nibha kumbha vikrama harau,
gurvi nitamba sthalii,
Vacaam ca haari ca maardavam,
yuvatishu svaabhaavikam mand`anam.


The poet describes the ornaments which women inherit by birth. 1. Face resembling full moon 2. Eyes resembling the petals of lotus. 3. Complexion glowing brighter than gold. 4. Strands of hair resembling butterflies 5. Breasts resembling the forehead of a female elephant. 6. Heavy hips. 7. Smooth and sweet words.

Wednesday, April 9, 2008

#080 Self Control is not easy

VERSE 80
SELF-CONTROL NOT EASY, EVEN FOR SAGES

Vis`vaamitra paraas`ara prabhritayooh
vaata ambu parn`a asanaa
Stee api strii mukha pankajam
sulalitam drisht`vaiva mooham gataaha
S`aalyannam saghritam sahoodara yutam yee
bhungjantee maanavaih
Teeshaam indriyee nigraham yadi bhaveet
vindhyaha plavee tyaagaree.


This verse is a masterpiece by Bhartruhari, worth getting by heart and singing within oneself everyday.

The poet uses a great simile by any literary standards.

First he takes up the case of the sages Paraas`araa, Vis`vaamitra and other sages. Sages undertake penance surviving on air, water and leaves, as food. In spite of such rigors, both Parasara and Visvamitra fell to the Cupid, the moment they had seen the lotus faces of heavenly nymphs. If that is the fate of disciplined austere yogis, what will be the fate of ordinary persons who eat rice, curd and clarified butter (Salyannam, saghrutam, sahodara yutam)? If they succeed in conquering their senses, the Vindhya Mountains will float in the Seas.

(Vindhya Mountains are high mountains in the Central India and their floating in Seas is an impossibility. In the same way, those who eat delectable foods and pamper their senses can never control them! Hence, the simile is very apt.).

#081 Girls with faces sweating from play of intercourse

VERSE 81
SPRING SEASON (1) - VASANTA RITU (pr: Vasanta Rutu) (1)
Bhartrihari used SIX verses to describe SPRING season. This is the FIRST verse. (81 to 86).

Parimal`a bhritoo vaataha
saakhaasavaankuraa koot`ayooh
Maadhuuka vidhuuroot kant`haa
bhaajaha priyaaha pika pakshin`aam
Virasa viral`a (surata) sveedoodgaaraa
vadhuu vadaneendavaha
Prasarati madhau dhaatriyaam jatoo
na kasya gun`oodayaha.


The spring provides the facilitators for the conjugation of the lovers.

1. Breezes filled with BEWITCHING SCENTS.
2. Trees with nascent buds sprouting from branches.
3. Cuckoos cooing with nectar-filled throats.
4. Girls with faces sweating from play of intercourse.

#082 Fate of lovers on ill-fated days

VERSE 82
SPRING SEASON (2) - VASANTA RITU (pr: Vasanta Rutu) (2)
Bhartrihari used SIX verses to describe SPRING season. This is the SECOND verse. (81 to 86).

Madhurayam madhurair api kookilaa kalakalair
Malayasyya ca vaayu bhi hi
Virahin`aha prahin`asti s`ariirin`oo
Viparipanta sudha api vishaayatee.


The poet laments:-
When ill-fated days manifest, the same things which delight the lives of men and women turn grief-strikers. The spring season with its kuhu kuhu sounds of cuckoos, and the sweet breezes, is supposed to refresh and enliven the spirits of everybody. But, for the separated lovers, the same spring season becomes a tormentor.

Saturday, February 2, 2008

#104 Love during spring season

VERSE 83
SPRING (4) - VASANTA RITU (pr: Vasanta Rutu) (3)
Bhartrihari used SIX verses to describe SPRING season. This is the THIRD verse. (81 to 86).

Avaasaha kim kimcideeva,
daita paarsvee vilaasa alasaha,
Karn`ee kookila kaaminii kalaravaha,
smeeroo lataa man`t`apaha,
goosht`hii satkavibhisamam,
katipayais seevyaaha sitaams`oo karaaha,
keeshaam cit sukhayantyaveehi,
hridayee caitree vicitraaha srajaha.


GIST
The poet describes the blissful days of spring-time spent by the fortunate, by the following happy events:

a) tired wife on the side, happy after intercourse;
b)hearing the 'kuhu' sounds of female cuckoos;
c)staying under the fully blooming canopies of creepers and shrubs;
d)participating in delightful discussions of poets and scholars;
e)awe inspiring, bewitching moon-lit nights.

Monday, January 21, 2008

#084 Female cuckoos and women whose husbands are away

VERSE 84
SPRING (4) - VASANTA RITU (pr: Vasanta Rutu) (4)


Bhartrihari used SIX verses to describe SPRING season. This is the FOURTH verse. (81 to 86).

Paantha strii virahaanalaahuti
kalaa maatanvatii manjarii
Maakandeeshu pikaanganaabhir
aadhunaa sootkant`ham aalookyatee
Alpaastee nava paat`alaa parimala
praag bhaara paat`achcharaa
Vaanti klaanti vitaanataa
navakritaaha S`rii khand`a s`aila anilaaha.


GIST
In the first two lines, the poet is using an apt simile: He is comparing female cuckoos to women whose husbands are away/abroad and separated from them. Blooming MANGO flowers arouse desires both in SEPARATED WOMEN and the CUCKOOS.

In the last two lines, the poet is describing the gentle breezes flowing from the sandalwood filled 'Sri forests' (S`rii khand`a s`aila). The winds too have two functions: 1. Stealing and absorbing the scents of blooming Paat`alii flowers. 2. Ameliorating the fatigue of the tired bodies of lovers after their long intercourse.

BLOGGER'S VIEW
THIS verse is a delightful description of the effect of spring season on humans. At the same time, it has a sad tinge: the sufferings of separated women, cannot be
ameliorated either by the breezes or the flowers.

Monday, January 14, 2008

#085, Living with women during spring season

VERSE 85
SPRING (6) - VASANTA RITU (pr: Vasanta Rutu) (5)


Bhartrihari used SIX verses to describe SPRING season. This is the FIFTH verse. (81 to 86)

Pradhitaha pran`ayavatiinaam
taavat pada maatanootu hridi maanaha
Bhavati na yaavat, candana taru
surabhir malaya pavamaanaha.


GIST
Women, whenever, they come to know about the philandering of their lovers, are affected by jealousy. Such ladies turn their faces aside, when their husbands approach them and refuse to speak to them.

The same ladies, with the advent of spring season, get caught by Cupid, when hit by the cool southern breezes flowing through the sandalwood plants. They lose all their temper and reapproach their husbands again.

BLOGGER'S VIEW
This verse might have been appropriate in the 7th Century A.D. during which period male domination and polygamy were common among Indian households.

Wednesday, January 2, 2008

#086 Who will not be aroused during spring season?

VERSE 86

SPRING (6) - VASANTA RITU (pr: Vasanta Rutu) (6)

Bhartrihari used SIX verses to describe SPRING season. This is the SIXTH verse. (81 to 86)

Sahakaara kusuma keesara nikara
bharaamooda muurchita digantee
Madhura madhu vidhura madhupee
madhau bhaveet kasyan ootkant`ha.


GIST
During the spring season, the scent of blooming mango flowers fill the environment all around. The bees will be tired of sucking the abundant nectar from the mango flowers. Who will not be aroused with desires in this season? (Implied answer: Everybody will be aroused).

Friday, December 28, 2007

#108, VERSE 87, SUMMER SEASON (1)

VERSE 87
SUMMER (1) - GRISHMA RITU (pr: Griishma Rutu) (1)

Bhartrihari used THREE verses to describe summer season. This is the FIRST verse.

Achchaachcha candana rasaa
aardra taraa mrigaakshyoo
Dhaaraa grihaan`i,
kusumani a, kaumudii ca,
Mandoo marut sumanasaha,
s`ucii harmya prisht`ham,
Grishmee madam ca,
madanam ca, vivandhyanti.


GIST
Even in hot summer, men can get comfortable, strong, and willing to receive Cupid. The poet describes the facilitators:
1. 'Deer-eyed' Damsels whose bodies are applied with sandalwood paste.
2. Homes fitted with water fountains and showers.
3. Flowers.
4. Moonlight.
5. Slow weaving breeze.
6. Clean terrace of the house.

madam = hyperactivity because of strength and potence. madanam = Cupid's affectations.

Sunday, December 9, 2007

#109 Love during summer season

VERSE 88
SUMMER (2) - GRISHMA RITU (pr: Griishma Rutu) (2)


Bhartrihari used THREE verses to describe summer season. This is the SECOND verse.

Srajoo hridyaa moodhaa
vijajaanee pavanas chandra kiran`aaha
paraagaha kaasaraaroo
malayaja rasaha s`iidhee vis`adam
s`ucihi saudhootsangahee
pratanu vasanam pankaja dris`oo
nidaaghaartaa veeteed
vilasati labhantee sukritinaha.


GIST
Bhartrihari is describing the fortune of those virtuous persons who:--

1. wear sweet smelling garlands;
2. enjoy breeze from hand fans;
3. enjoy moonlight;
4. apply sandalwood paste to their bodies;
5. wear thin garments;
6. live on the clean terraces of white washed buildings;
7. enjoy with lotus eyed girls.

Friday, November 30, 2007

#89 How to love in summer season?

VERSE 89

SUMMER (3) - GRISHMA RITU (pr: Griishma Rutu) (3)

Bhartrihari used three verses to describe summer season. This is the THIRD verse.

Sudhaa s`ubhram dhaama,
sphurad amala rashmihi S`as`adharaha,
Priyaa vaktraambhoojam,
malayaja rajas`cha (rasas`cha) ati surabhihi,
Srajee hridii aamoodas tad,
idam akhilam raagin`ii janee,
Karooti antaha kshoobham,
na tu vishaya samsarga vimukhee.


GIST
The special joys of summer affect those who are interested in this world and its object of delight. They cannot hurt an introvert who is averse to sensual pleasures.

LIST OF THE SUMMER TREATS
1, HOMES glowing WHITE walls with fresh application of slaked lime.
2. MOON glowing WHITE with white light.
3. Beloved's LOTUS FACE
4. Sweet smells of powdes and pastes of SANDALWOOD
5. GARLANDS oozing out heartening and captivating scents.

Wednesday, November 28, 2007

#090 Rainy season is like an young damsel

VERSE 90
RAINY SEASON (1) - VARSHA RITU (1)


Tarun`ii veeshaa, diipta kaama,
Vikasita Jaatii Pushpa sugandhii,
Unnata piina payoodhara bhaaraa,
Praavrit` tanu tee kasya na harsham.


GIST
The poet Bhartrihari says that the rainy season like a young damsel excites and induces ecstasy in everybody. He finds two common factors in using a simile of comparing the rain season to a damsel.

1. The rainy season is filled with sweet smells from the heavily blooming "Jaaji" flowers. The girls also wear Jaaji flowers in their braids aplenty and ooze out their smell.

2. The rainy season carries along heavy water bearing clouds. The damsels carry high milk bearing breasts. The poet uses the figure of speech PUN here.
Payoo = 1. water 2. milk. Payoodhara = 1. Clouds (bear water) 2. Breasts (bear milk).

The poet wonders in whom such damsels do not produce blissful joy? (Implies: The generate pleasure in everybody.)

GLOSSARY
JATI (pr: JAATI), JAJI (pr:JAAJI): Botanical Name: Jasminium grandiflorum. A creeper with white flowers. A type of jasmin. Also called Maalati.

http://forest.ap.nic.in/Forest%20Flora%20of%20Andhra%20Pradesh/files/ff1020.htm

To see the photos:
http://www.bhatia-nurseries.com/index2.htm

Friday, November 16, 2007

#091 Love when sky is filled with dense clouds

VERSE 91
RAINY SEASON - VARSHA RITU

Viyad upacita meegham bhuumayaha kandal`inyoo,
navakut`aja kadamba moodinoo gandhavaahaha,
Sikhikula kala keekaaraava ramyaa vanaantaahaa,
Sukhinam asukhinam vaa, sarvam utkant`hayanti.


The poet Bhartrihari says that the rainy season excites and induces ecstasy in everybody, whether already comfortable and rejoicing or the grieving. The poet highlights the scenary of the monsoons:
1. Sky filled with dense clouds;
2. Fields filled with mushrooms;
3. Winds filled with sweet smells of just bloomed wild jasmins, and blowing gently.
4. Forest groves filled with "keekaa" sounds of peacocks.

Thursday, November 8, 2007

#93 How to love in RAINY SEASON?

VERSE 93 RAINY SEASON

GIST
The poet Bhartruhari is describing the rainy season in a lucid profound style: He wonders how damsels without lovers can pass through the long rainy season full of:

Iloo vidyutvallii vilasita,
The sky glows with lightnings

mitaha keeta kitarooh sphuuran gandhaha,
The air is full of sweet smell from Ketaki flowers

prodyat jalada ninada sphurjita mitaha,
The horizon reverberates with sounds of thunders

Ilaha keekii kriid`aa kalakalaaraavaha pakshmaladris`aam,
The environment is full of sounds made by pea-cocks playing love games.

Katham yaas`yanti eetee viraha divasaaha sambhrita rasaaha.
How the damsels will pass through the rainy season parting with their lovers? They cannot.

S`LOOKA 93, VARSHA RITU
Iloo vidyutvallii vilasita,
mitaha keeta kitarooh,
Sphuuran gandhaha, prodyat jalada
ninada sphurjita mitaha,
Ilaha keekii kriid`aa
kalakalaaraavaha pakshmaladris`aam,
Katham yaas`yanti eetee
viraha divasaaha sambhrita rasaaha.


GLOSSARY
Ketaki flowerBotanical name: Pandanus odoratissimus Linn. Hindi: Kedgi. Telugu: Mogali. Here is a link to the web site where you can see the plant:
http://ayurvedicmedicinalplants.com/plants/2376.html

Sunday, November 4, 2007

#094 verse 94 RAINY SEASON (5)

VERSE 94 RAINY SEASON (5) - VARSHA RITU
Aasucii samcaaree tamasi
nabhasi praud`ha jalada
dhvani praagnammanyee,
patati prishataanaam ca nicayee,
Idam saudaamanyaaha
kanaka kamaniiyam vilasitam
Mudam ca mlaanim ca prathyati
pathi svaira sudrus`aam.


GIST
Bhartruhari is describing the darkness of the night, movement of permissive women on the pathways, and the effect of lightning on them. The lightning gives them both delight and anxiety that they will be seen by others.

VERSE 94
Aasuucii samcaaree tamasi
nabhasi praud`ha jalada

The density of darkness of the cloud-filled night is so thick, that a pin cannot be inserted into it.

dhvani praagnammanyee,
patati prishataanaam ca nicayee,

The night is filled with sounds of thunders and falling rain.

Idam saudaamanyaaha
kanaka kamaniiyam vilasitam

The golden bright lightning

Mudam ca mlaanim ca prathyati
pathi svaira sudrus`aam.

is causing both delight and anxiety to the sexually permissive women moving along the path.

Saturday, November 3, 2007

#115 Sex on rainy nights

VERSE 95
Rainy Season

asaareen`a harmyataha
priyatamair yaatum bahis sakyatee
Siitootkampa nimittam aayata
dris`aa gaad`haan samaalingitee
Jaataaha s`iikara s`iitalaas ca
marutoo ratyanta kheeda chchidoo
Dhanyaanaam bata durdinam
sudinataam yaati priyaa sangamee.


GIST

Asaareen`a harmyataha priyatamair yaatum bahis sakyatee
In view of the heavy rain, it is not possible for the lovers to venture out.


Siitootkampa nimittam aayata dris`aa gaad`haan samaalingitee
The wide eyed damsels in the home, therefore, embrace their lovers.

Jataaha s`iikara s`iitalaas ca marutoo ratyanta kheeda chchidoo
The rain-drop-laden cool breeze ameliorates their fatigue generated from sex play.


Dhanyaanaam bata durdinam sudinataam yaati priyaa sangamee.
Durdinam = Bad day, with a clouded sky, and unlit homes looking melancholic.
Sudinam = Good day, a day of bright Sun.
The dark bad days turn into good days for those fortunate virtuous people (those who have and are embraced by their beloveds.)

Wednesday, October 31, 2007

#116 Moon-lit autumn nights

Verse 96
DESCRIPTION OF LOVERS' BEHAVIOR ON NIGHTS OF MOONLIT AUTUMN

Artham suptva nis`ayaha
sarabhasa surataayasa sanna s`lathaangaa
Proodbhuutaasahya trishn`oo madhu mada niratoo
harmya prisht`hee viviktee
Sambhooga klaantaa kaantaa sithila
bhuja lataa varjitam karkariitoo
Jyootsnaa bhinnachcha dhaaram
pibati na salilam s`aaradam, manda pun`yaha.


GIST
Bhartruhari is finding a man unfortunate. (In the meaning of a person: who did not perform any virtuous acts to deserve a better fate).

What is the misfortune?
The man does not have the fortune of drinking water brought by his beloved, on an autumn night.

What is so special about it?
Her hands are tired by the exhausted, worn and torn out shoulders and elbows, during a prolonged strong embrace by her lover.

In what condition was the lover?
He himself suffers from unsatiated lust and passion. He is inebriated.

Where is all this going on?
On the rear side of the house.

How did he spend his night?
He spent half the night in a battle of intensive intercourse and his own limbs are aching and fatigued.

Artham suptva nis`ayaha sarabhasa surataayasa sanna s`lathaangaa
Having spent half of his night in hard battle of play of love and having his body organs fully worn out

Proodbhuutaasahya trishn`oo madhu mada niratoo harmya prisht`hee viviktee
yet his lust remaining insatiated, engaged in a binge of alcohol, lying down in the rear side of his home

Sambhooga klaantaa kaantaa sithila bhuja lataa varjitam karkariitoo
his sex play exhausted wife, with her worn-out shoulders and elbows (the poet compares them to "creepers"

Jyootsnaa bhinnachcha dhaaram pibati na salilam s`aaradam, manda puurn`aha.
A person who does not drink moonlit water (collected from the terrace called "hamsa jalam"), is unfortunate.

(I failed to make a word to word translation. I shall try to improve).

Sunday, October 28, 2007

#97 How to make love in a snow fall season?

VERSE 97
HEMANTA RITU (Pr: Heemanta Rutu)
DESCRIPTION OF SNOW FALL SEASON

Heemantee dadhi dugdha sarpir as`aana,
maanjisht`ha vaasa bhritaha
Kaasmiira drava saandra digdha
vapushas chinnaa vicitrai rataih
Vrittooru stana kaaminii jana
kritaas`leesha grihaabhyantaree
Taambuulii dala puuga puurita mukhaa
dhanyaaha sukham seeratee.


GIST
The poet describes the joyful sleep of men and women during the snow-falling season. The men sleep in the embrace of dames with round and strong breasts and hips. They delightfully take food made of yoghurt (curds), milk, clarified butter (ghee) and boiled rice. They apply a dense paste of saffron to their bodies exhausted from sex play in different postures. They masticate mouthfuls of pawn leaves and sleep in the inner rooms of their homes.


Heemantee dadhi dugdha sarpir as`aana,
(Food they eat) :In snow-falling season, boiled grains with curds, milk and clarified butter.

maanjisht`ha vaasa bhritaha
(Clothes they wear): Wearing clothes of Manjisht`ha color (something like pinkish-red).


Kaasmiira drava saandra digdha
(Paste they apply on their bodies): Applied with dense paste of saffron.

vapushas chinnaa vicitrai rataih
Bodies broken and exhausted by sex plays of different postures.

Vrittooru stana kaaminii jana kritaas`leesha
Embraced by dames with round and strong breasts and hips/thighs.

Grihaabhyantaree
In the inner (bed) rooms of their homes

taambuulii dala puuga puurita mukhaa
mouths full of pawn leaves

dhanyaaha sukham seeratee.
the accomplished sleep comfortably.

GLOSSARY
MANJISHTHA (PR: Manjisht`ha) : a Indian creeper. common English name: India madder. Botanical name: Rubia Cordifloria. Telugu: Balusu. Kannada: Manjisht`a valli. Tamil: Manjitta. Malayalam: Manjatti. Hindi: Manjit. In the context of the above verse: Pinkish red color. In Telugu Chengavi rangu. Cengaavi color.

KASMIIRA (pr: Kaas`miira) : Another name for saffron, because it is grown extensively in the Kashmir valley.

TAMBULAM (pr: Taambuulam) : It is a custom in India for new couples to eat pawn leaves and betelnuts profusely. There is a belief that it promotes mutual love and passion. Here is a link to enable you see a photo and description:

http://commons.wikimedia.org/wiki/Image:Piper_betel's_leaf.jpg

Saturday, October 27, 2007

#98 Lovers during snow fall season

HEMANTA RITU (Pr: Hemanta Rutu) - WINTER WITH SNOW FALL
VERSE 98

Proodyat Praud`ha priyaangu dyuti bhriti
Vikasat Kundam aadyad vireefee
Kaale Praaleeya vaata pracala
vilasitoodaara mandaara dhaamni
Yeeshaamno kant`ha lagnaa kshan`am api
tuhina kshooda dakshaa (also rakshaa) mrugaakshiim
Teeshaam ayaam ayaamaa
yamasadana samaa yaaminii yaati yuunaa.



GIST
Bhartruhari is describing the season of snow-fall (Hemanta Ritu), the damsels during the season, and the fate of men who do not have the fortune of being embraced and protected by "deer-eyed" damsels. According to the poet, men need protection from the snowful gusty winds, with the help of the firm embraces of the "deer-eyed" damsels. Otherwise, the extremely longs nights they spend will be equivalent to hell.


Proodyat Praud`ha priyaangu dyuti
The damsels have a shining body resembling the glory of blooming priyangu flowers.


Bhriti vikasat Kundam aadyad vireefee
The damsels are surrounded by buzzing bees revolving around the blooming flowers.


Kaale Praaleeya vaata pracala vilasitoodaara mandaara dhaamni
The damsels wear garlands of Mandaara flowers. The snowful gusty winds are making the garlands to move hither and thither.


Yeeshaam no kant`ha lagnaa kshan`am api
(That person)whose neck is not bound any moment, by the embrace of the damsel


tuhina kshooda dakshaa (also rakshaa) mrugaakshiim
("deer-eyed" who is capable of protecting and ameliorating him from the snowful winds

Teeshaam ayaam ayaamaa
that person spends

yamasadana samaa yaaminii yaati yuunaa.
very long nights which are equivalent to a hell.

GLOSSARY
HEMANTA RITUHemanta Ritu in India corresponds to the Lunar Months of Margasirsha (pr: Maargas`iirsha) and Pushya.

MARGASIRSHAA Lunar month in Indian Lunar Calendar. On the full moon day, the Moon will be in conjunction with the star Mrigas`ira. The month corresponds to approx. Oct. 21 to Nov. 20 with about 15 days variance.

PUSHYAA Lunar month in Indian Lunar Calendar. On the full moon day, the Moon will be in conjunction with the star Pushyami. The month corresponds to approx. Nov. 21 to Dec. 20 with about 15 days variance.

MRIGASIRA (pr: Mrigas`ira)A star in Indian Calendar. Corresponds to Betelguese in the Constellation Orion. In Sanskrit, means: "head of a deer". Visible to the naked eye (except in Cities!).

PUSHYAMIA star in Indian Calendar. Corresponds to Alpha Cancer in the Constellation Cancer (Karkat`aka).

PRIYANGU FLOWERA flower, also called Cundra, Gandhaphala, dahiya. Botanical Name: CALLICARPA MACROPHYLLA VAHL. Here is a link to a beautiful web-site which gives a table of medicinal plants in India. If interested, you can go through the table.
http://parisaramahiti.kar.nic.in/med_plant_Antimicrobial_c1.html

MANDARA (pr: Mandaara) FLOWER : A red colored flower. Botanical name: Hibiscus Rosa-sinensis. Here is a link where you can see a mandara flower.

http://en.wikipedia.org/wiki/User:Kess.

Friday, October 26, 2007

#100 Love during winter

SISIRA RUTU - WINTER
BEHAVIOR OF THE BREEZE


Cumbantoo gand`abhittir
Alakavati mukhee siitkram yada dhaananaaha
Vakshasseet kancukeeshu
stanabhara pulakoodbheedam apaadayeentaha
Uuruun akampayaantaha,
prithu jaghanee tat`aat sams`rayantoo amsukaani
Vyaktam kaantaajanaanaam
Vita carita bhritaha S`aisir aavasanti vaataha.


GIST

The poet is comparing the behavior of the winter's breeze to a lover's behavior towards his beloved (Next verse in the next post is also similar).

Cumbantoo gand`abhittir
The breeze is kissing the cheeks of the damsels. (Lovers also do).

Alakavati mukhee siitkram yada dhaananaaha
The breeze is making hissing sounds by playing with the curled hair of the damsels. (Lovers also do).

Vakshasseet kancukeeshu stanabhara pulakoodbheedam apaadayeentaha
The breeze is evoking hair-raising and shivering sensations on the breasts of the damsels, in spite of their wearing thick apparels to cover their breasts (Lovers also do).

Uuruun akampayaantaha,
The breeze is evoking vibrating sensations on the thighs of the damsels. (Lovers also do)

prithu jaghanee tat`aat sams`rayantoo amsukaani
The breeze is lifting the garments on the hips of the damsels. (Lovers also do).

Vyaktam kaantaajanaanaam Vita carita bhritaha
Just as the lovers express their passion towards their beloved

S`aisir aavasanti vaataha.
the breeze of the winter is behaving.

Thursday, October 25, 2007

#120 Love during Winter Season, fall

VERSE 100
DESCRIPTION OF Love during Winter (Fall): SISIRA RUTU

Kees`aan aakulayan
Dris`oo mukulayan,
Vaaso balaadakshipa
Vaaram vaaram udaara
Siit krita kritoo
Dantachchataan piid`ayan
Praayaha S`ais`ira eesha Samprati
Marut kantaa Sukaantaayatee.


GIST
The poet Bhartruhari is comparing the breeze of winter to the behavior of a lover towards his beloved. We know what lovers do to one another.

Kees`aan aakulayan -- Disturbing the hair. (Lover also plays with the curls on the forehead of his beloved).

Dris`oo mukulayan -- Closing the eye lids. (Lover also may close the eye lids of the beloved from behind to surprise her).

Vaasoo balaadakshipaa -- Forcibly lifting the garments. (Lover also may lift the garments of his beloved to provoke her).

Aatanvan pulakoodgamaman -- Evoking a hair raising sensation. (Loer also may try to evoke the same by fiddling on beloved's skin, with his fingers).

Prakat`ayaan angeeshu kampanee S`anaih -- Evoking shivering in all the organs. (Lover also may do it through his foreplay).

Vaaram vaaram udaara siitkrita kritoo -- Repeatedly making peculiar sounds of hissing. (Lovers also may make sounds).

Dantachchata piid`ayaan -- Biting with cold. (Lovers also bite one another with teeth).

Kaantaa sukaantayatee -- like a husband taunts his wife

Praayaha Samprati Sisira Marut -- The breezy wind of the winter behaves.

GLOSSARY
S`IS`IRA RUTU (WINTER)
Sisira Rutu consists of laws two months in Indian Lunar Calendar, i.e. Maagham, Phalgun`am.
Maagham : Lunar month in which, the star Regulus will be in conjunction with moon on the full moon day; (moon and Regulus will look near to one another, with moon in forefront because it is closer).

Phalgun`am : Lunar month in which, the star Uttara Phalgun`i (Denebola) will be in conjunction with moon on the full moon day.
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