Gopalacampu 1.24.9

1.24.9

[8] tac ca tathāveśena mat-praveśena paraṃ sidhyatīti nidhāya sthitaḥ sann, akasmād yathā-manorathākāram evāvasthitavān, yathā svayam api katham iti tu na tat-prathanam avāpa | tataś ca-
hari-hariṇākṣī-valitaṃ pulinaṃ tad valgu bhāti sma | sva-pratibimbenādād
yad vidhu-bimbāya sārūpyam || [upagīti]
suhṛd indoḥ pulinaṃ tat- pulinasyābhūn nata-bhruvāṃ pracayaḥ | tat-pracayasya ca valanaṃ śrīyuta-gopāla-mūrtīnām || [āryā]
yatra ca,
paraspara-karāvali-grathita-maṇḍalī-maṇḍanīr anusvam abalā milann ubhayatas tadā mādhavaḥ | tadīya-bhujapāśyayā kalita-mṛṣṭa-pṛṣṭhas tathā tad-aṃsa-nihitātma-dor abhavad eṣa rāsodyame || [pṛthvī]
gaurī-kṛṣṇau gaurī-kṛṣṇāv itthaṃ lakṣe lakṣe yugme | vṛttākāre vaṃśī-śaṃśī rādhā-saṅgī tasthau madhye || [vidyunmālā]
rāsaṃ prārabhata svayaṃ harir asau kaiśorakaṃ mānayann ity evaṃ sa parāśaro' pi bhagavān prāvocad uccair yataḥ | tasmād gopa-vadhūbhir eva saphalaṃ taj-jātam itthaṃ tu me haṃho paśyata vacmi vā kim aparaṃ romṇāṃ ca jātaṃ mahaḥ ||[śārdūlavikrīḍitam]
sa vividha-vanitā-vṛndair yadapi bahu-preyasī tadā jajñe | tadapi ca rādhā jñaptir manye tasyāparāḥ kṛtayaḥ || [āryā]
tad evam-
anaṅgam aṅgena nijena sāṅgaṃ
kṛtvādhi-raṅga-kṣiti saṅgamayya | aṅgīcakārāṅga tam aṅga-hārair
navyāṅganā-saṅgama-maṅgalāya || [upajāti 11]
kalita-kanaka-bhāsaḥ smera-netrā vidhūti-
kṣubhita-valaya-vīthī-śiñjita-vyakta-tālāḥ | vividha-gati-vihārānaṅga-sārāṅga-hārā hari-hari-maṇi-mūrtīr antarā tā virejuḥ || [mālinī]
tataś ca-
navīna-vinata-bhruvāṃ nija-navīna-kānta-cchavī- juṣāṃ naṭana-cāturī-kula-dhurīṇa-līlā-yujām | calad-valaya-śṛṅkhalāvalita-nūpurāṇāṃ dhvanir naṭādhva-nidhi-tālatāṃ dhvanayati sma yāvad divam || [pṛthvī]
rāse śiñjita-tāla-jālam udabhūt tadvad yathā khecarān apy ākṛkṣad aho vidūratarataḥ kṛtveva pūrva-sthitān | dyo-yānābhidha-mañca-sañcaya-gatā vādyaṃ ca gītaṃ ca ye sabhyatvaṃ ca samaṃ madād vidadhataḥ svaṃ nātra niścikyire ||[śārdūlavikrīḍitam]
[9] tatra devīnāṃ sañjalpaḥ-paśya, paśya-
hariṇā gānam āsādi gānena ramaṇī-kulam | ramaṇībhir atho gānaṃ gānena sa hariḥ punaḥ || [anuṣṭubh] pulinaṃ vilasat-kṛṣṇaṃ kṛṣṇaṃ sāliṅganāṅganaṃ kalaya | āṅganam abhinava-gītaṃ gītaṃ saṅgīta-saṅgi-saṅgītam || [gīti]
[10] tatra svayam ārambhe lāsya-sambheda eva jātaḥ | [11] tad yathābhinayaṃ yathā-
aṅga-hāra-calad-aṅga-hāriṣu svāntahāri vilasadvihāriṣu | lāsya-kāriṣu ca lāsyam ācaran bhrū-naṭī-ghaṭita-netrā nartakāḥ || [rathoddhatā]
[12] tauryatrika-śaurya-varāṇāṃ khecarāṇāṃ vādye tūdbhūte tāṇḍava-maṇḍalaṃ ca sābhinayam, yathā-
udyad-dundubhi-maḍḍu-ḍiṇḍima-ḍamar-vādye mṛdaṅgaṃ gate vādye dyo-pada-vidya-vedya-nadane sadyo' tha vidyotite | te tarhy udbhaṭa-nāṭya-nīti-ghaṭanā-saṅghaṭṭa-niṣkuṇṭhatā- sūtkaṇṭhāḥ pada-pāṇi-kaṇṭha-kaṭi-sammoṭāli-koṭiṃ dadhuḥ || [śārdūla]

[8] Considering, "And that can be accomplished only by my entry through such an assumption of form," he stood there and suddenly took up a position whose form matched his desire, though how it occurred even he himself did not comprehend. And then:

Surrounded by Hari and deer-eyed maidens, that riverbank shone charmingly; / by its reflection it imparted likeness to the orb of the moon. ||

That riverbank was a friend of the moon; on that bank was the multitude of arched-brow maidens; / and enveloping that multitude were the bodily forms of the glorious cowherd. ||

And there:
Joining on both sides with the maidens adorning the circle entwined with one another's row of hands, Mādhava at each moment in this undertaking of the rāsa / had his back gently rubbed, enveloped by the cord of her arms, and placed his own arm upon her shoulder. ||

Fair and dark, fair and dark—thus in hundreds of thousands of pairs, / in a circular form, the flute-player stood in the middle, joined with Rādhā. ||

"Hari began the rāsa himself, honouring his youthful age"—since the revered Parāśara spoke aloud thus, / it was only through the cowherd women that it became fruitful; what else should I say? Look, o sirs: my hair has stood on end in splendor! ||

Although at that time she was counted as a beloved among the manifold host of women, / nevertheless Rādhā is consciousness itself, and I consider the others to be her manifestations. ||

So in this manner:
Making the bodiless god embodied by means of his own body / upon the stage of dance, and uniting them, / he embraced him with gestures of the limbs, o friend, / for the auspicious union with the young maidens. ||

Possessing the luster of refined gold, with smiling eyes, their rhythm revealed by the jingling of their bracelet-rows shaken by their swinging, / their limb-movements being the very essence of the bodiless Love through varied steps and play, those women shone amid the forms of emerald Hari. ||

And then:
The sound of the moving chains of bracelets mingling with the anklets of the youthful, arched-brow women, / who partook of the luster of their fresh lover and bore a play expert in the circle of dance-skill, / resounded as a rhythm in the ocean of theatrical paths all the way to heaven. ||

In the rāsa there arose such a web of chiming and rhythm that it drew even the sky-dwellers from afar, as if making them stay before it; / seated upon their platforms called celestial chariots, intoxicated, performing music, song, and spectatordom all at once, they no longer recognized themselves. ||

[9] There the goddesses spoke together: "Look, look!

Hari attained song; through the song, the host of lovely women; / then the lovely women attained song; and through the song, Hari again! ||

Perceive the sandbank radiant with Kṛṣṇa, and dark Kṛṣṇa as a courtyard for embrace! / The singing is composed by women; the song is a symphony accompanied by song!" ||

[10] There, in the very beginning, a combination of gentle lāsya dance arose. [11] Namely, with dramatic acting as follows:

Moving the eyes steered by the actress of the eyebrow, dancers performed the lāsya / upon the heart-ravishing, playfully sporting [gods], delightful with limbs moving in graceful gestures, who performed the gentle dance. ||

[12] But when the music of the sky-dwellers, excellent in the prowess of the triple symphony, arose, the circle of the vigorous tāṇḍava dance with dramatic acting ensued, as follows:

When the rising music of drums, kettledrums, tabors, and damarus had arrived at the mṛdaṅga, / and the music, a sound known to the wisdom of the celestial station, suddenly shone forth, / then those dancers, eager with boldness in the contact with the arrangement of fierce dance-rules, executed countless clusters of contractions of feet, hands, necks, and hips. ||