Sringara Satakam yb

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

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 delive

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

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 parish

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 ambur

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

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

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 per

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 ha

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 havi

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 entert

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 fores

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

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.

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 kshaa

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 inequali

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 M

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 .

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.