As per the desire of hari (kR^iShNa) as well as understanding the need of
the time, the women gave garlands of heaven, garlands of flowers of pArijAta
and pearls, as well as garlands of all seasons to the sage.
At the end of the rAsA play, the one with unlimited splendor, lord kR^iShNa
caught the hands of the great sage (nArada), and leapt into the ocean along
with the daughter of satrAjit (satyabhAmA) and arjuna.
Afterwards, kR^iShNa, the one with unlimited valiance and endowed with
splendor, told the son of shini (sAtyaki) smiling: All of you form pairs with
women and leap into the water for sports.
bala(rAmA) along with revatI shall be the leader of (the group) of my sons
along with half of the bhaima-s (yAdava-s) group. I shall take charge of
half of the bhaima-s (yAdav-s) as well as the sons of balarAma. Both shall
play against each other in the waters of the ocean.
Then kR^iShNa, pleased with the ocean, who was smiling with folded hands,
ordered: "Be with fragrant and tasty water without any sharks.
Your shores shall appear decorated with jewels and comfortable for the feet.
With my splendor, you will know things people desire and you shall provide
them.
Your water shall become drinkable to all people as they like even though it
is not so. All fish in you shall become gentle and decorated with cats-eye
gem (vaiDUrya), pearl and wonderful golden jewels.
You shall have red and blue lotus flowers having best fragrance, good to
touch, having red coloured nectar, surrounded by bees, appearing
beautiful.
Install pots filled with maireya (a combination of surA and Asava) , an
intoxicating drink (mAdhvIka), spirituous liquor (surA) and juice of
flower (Asava) on your water. You shall provide golden pots to the
bhaima-s (yAdava-s) for drinking.
O the one with wealth of water (ocean)! You will definitely have cold water
with the fragrance of flowers. You shall make efforts to ensure that nothing
undesirable to the yadava-s along with women will happen."
Speaking thus to the ocean, lord (kR^iShNa) played with arjuna .
O king! (janamejaya! vaishampAyana said). The daughter of satrAjit,
satyabhAmA, who understands the facial gestures of kR^iShNa, had already
made sage nArada wet.
Then balarAma, intoxicated, with his beautiful body, fell in the water during
playing and caught gracefully, the hands of the beautiful daughter of king
revata (revatI) with his hands.
kR^iShNAtmajA ye tvatha bhaimamukhyA
rAmasya pashchAtpatitAH samudre |
virAgavastrAbharaNAH prahR^iShTAH
krIDAbhirAmA madirAvilAkShAH ||2-89-41
After balarAma, the sons of kR^iShNa as well as the prominent yAdava-s, fell
into the ocean. They with their eyes intoxicated with drinking, played
joyfully in water wearing colourful dresses and ornaments.
sheShAstu bhaimA harimabhyupetAH
krIDAbhirAmA nishaTholmukAdyAH |
vichitravastrAbharaNAshcha mattAH
santAnamAlyAvR^itakaNThadeshAH ||2-89-42
The remaining bhaima-s (yAdava-s) as well as nishaTha, ulmuka (sons of
balarAma) etc., played with hari (kR^iShNa). They were wearing wonderful
dresses and ornaments and were intoxicated. The region of their necks were
covered with garlands of santAna (pArijAta) flowers.
vIryopapannAH kR^itachAruchihnA
viliptagAtrA jalapAtrahastAH |
gItAni tadveShamanoharANi
svaropapannAnyatha gAyamAnAH ||2-89-43
They were full of valiance and with beautiful auspicious signs. Their bodies
were smeared with pastes. They carried water pots in their hands. They sang
beautiful songs with appropriate sounds, suitable to the dresses.
tataH prachakrurjalavAditAni
nAnAsvarANi priyavAdyaghoShAH |
sahApsarobhistridivAlayAbhiH
kR^iShNAj~nayA veshavadhUshatAni ||2-89-44
Then the players of musical instruments began playing the water musical
instruments in a variety of sounds along with the divine women
(apsara-s) of heaven who had possessed the courtesans by the order of
kR^iShNa.
AkAshaga~NgAjalavAdanaj~nAH
sadA yuvatyo madanaikachittAH |
avAdayaMstA jaladardurAshcha
vAdyAnurUpaM jagire cha hR^iShTAH ||2-89-45
Those young women with their mind focused only on madana (lord kAma)
beat on the waters of the divine ga~Nga. They beat on water with joy and
sang happily according to the playing of musical instruments.
kusheshayAkoshavishAlanetrAH
kusheshayApIDavibhUShitAshcha |
kusheshayAnAM ravibodhitAnAM
jahruH shriyaM tAH suravAramukhyAH ||2-89-46
The prominent divine courtesans whose eyes are as wide (and as beautiful)
as water lily (lotus), who were wearing decorations on their hair as
beautiful as water lily, challenged the beauty of the lotus flowers which
were being awakened by the sun.
strIvaktrachandraiH sakalendukalpai
rarAja rAja~nChatashaH samudraH |
yadR^ichChayA devavidhAnato vA
nabho yathA chandrasahasrakIrNam ||2-89-47
O king! (janamejaya! vaishampAyana said) The ocean was decorated by the
faces of the women as beautiful as the moon all over, as though the moon
had thousands of faces in the sky as ordered by the God suddenly.
samudrameghaH sa rarAja rAja-
~nchChatahradAstrIprabhayAbhirAmaH |
saudAminIbhinna ivAmbunAtho
dedIpyamAno nabhasIva meghaH ||2-89-48
O king! (janamejaya! vaishampAyana continued), The ocean sparkled like a
cloud with the splendor of the women, like a rain cloud split by lightning,
sparkles in the sky.
narAyaNashchaiva sanAradashcha
siShecha pakShe kR^itachAruchihnaH |
balaM sapakShaM kR^itachAruchihnaM
sa chaiva pakShaM madhusUdanasya ||2-89-49
nArAyaNa having beautiful auspicious signs made nArada, of his own group,
wet. balarAma with beautiful auspicious signs, along with his group, made
the group of the slayer of madhu (kR^iShNa) wet.
hastapramuktairjalayantrakaishcha
prahR^iShTarUpAH siShichustadAnIm |
rAgoddhatA vAruNipAnamattAH
sa~NkarShaNAdhokShajadevapatnyaH ||2-89-50
With hand held water spraying devices, the wives (revatI and satyabhAmA) of
the deva-s sa~NkarShaNa (balarAma) and adhokShaja (kR^iShNa) made
others wet, happily. They were excited by desire as well as by drinking the
spirituous liquor vAruNi.
AraktanetrA jalamuktisaktAH
strINAM samakShaM puruShAyamANAH |
te noparemuH suchiraM cha bhaimA
mAnaM vahanto madanaM madaM cha ||2-89-51
The bhaima-s (yAdava-s) having pride, desire and excitement in heart, with
red eyes, fully drenched in water, played against each, in front of the
women, with masculinity, for a long time.
atiprasa~NgaM tu vichintya kR^iShNa-
stAnvArayAmAsa rathA~NgapANiH |
svayaM nivR^itto jalavAdyashabdaiH
sanAradaH pArthasahAyavAMshcha ||2-89-52
Considering the over excitement, kR^iShNa, who holds the discus in his hand,
stopped them. Along with nArada and accompanied by arjuna, kR^iShNa,
retired from the sounds of the water musical instruments.
kR^iShNe~Ngitaj~nA jalayuddhasa~NgA-
dbhaimA nivR^ittA dR^iDhamAnino.api |
nityaM tathAnandakarAH priyANAM
kriyAshcha teShAM nanR^ituH pratItAH ||2-89-53
Understanding the desire of kR^iShNa, the bhaima-s (yAdava-s), even though
they are fixed in pride, retired from the water sports. Then the dear
courtesans who always provide happiness to their dear men, began to
dance.
nR^ityAvasAne bhagavAnupendra-
statyAja dhImAnatha toyasa~NgAn |
uttIrya toyAdanukUlalepaM
jagrAha dattvA munisattamAya ||2-89-54
At the end of the dance, lord upendra (kR^iShNa) with intellect, left the
water. Leaving the water, kR^iShNa gave a suitable paste to the best of the
sages (nArada) and applied some paste himself.
upendramuttIrNamathAshu dR^iShTvA
bhaimA hi te tatyajureva toyam |
viviktagAtrAstvatha pAnabhUmiM
kR^iShNAj~nayA te yayuraprameyAH ||2-89-55
Seeing that upendra (kR^iShNa) has left the water, the bhaima-s
(yAdava-s) also left the water. Then those yAdava-s of unlimited power went
to the place of drinking as ordered by kR^iShNa.
yathAnupUrvyA cha yathAvayashcha
yatsanniyogAshcha tadopaviShTAH |
annAni vIrA bubhujuH pratItAH
papushcha peyAni yathAnukUlam ||2-89-56
As per the order as appropriate, according to the age, as directed, they sat
there. The valiant yAdava-s ate boiled rice happily and drank suitable
drinks.
mAMsAni pakvAni phalAmlakAni
chukrottareNAtha cha dADimena |
niShTaptashUlA~nChakalAnpashUMshcha
tatropajahruH shuchayo.atha sUdAH ||2-89-57
The clean cooks served meat, cooked along with tamarind, best vinegar and
cardamom. They also served cut pieces of animals cooked on the spears.
susvinnashUlyAnmahiShAMshcha bAlA-
~nChUlyansuniShTaptaghR^itAvasiktAn |
vR^ikShAmlasauvarchalachukrapUrNA-
paurogavoktyA upajahrureShAm ||2-89-58
The servers served pieces of young buffalos fried, on the spear, with ghee
along with tamarind, linseed and vinegar as instructed by the chief cooks.
paurogavoktyA vidhinA mR^igANAM
mAMsAni siddhAni cha pIvarANi |
nAnAprakArANyupajahrureShAM
mR^iShTAni pakvAni cha chukrachUtaiH ||2-89-59
The servers served large pieces of the best animal meat, cooked according
to the receipe and instructions of the chief cooks. The meat was cooked in a
variety of ways, mixed with ample quantities of vinegar and mango.
pArshvAni chAnye shkalAni tatra
daduH pashUnAM ghR^itamR^ikShitAni |
sAmudrachUrNairavachUrNitAni
chUrNena mR^iShTena samArichena ||2-89-60
Others served pieces of the side portions of animal meat, fried in ghee,
mixed with adequate amounts of salt and pepper powder.
samUlakairdADimamAtuli~NgaiH
parNAsahi~NgvArdrakabhUstR^INaishcha |
tadopadaMshaiH sumukhottaraiste
pAnAni hR^iShTAH papuraprameyAH ||2-89-61
Along with radish, pomegranate and sweet lime (fruits), tulsi leaves, a
sa foetida, raw ginger, Audropogon Schoenanthus (lemon grass?)
(bhUstR^iNa) and other spices, the yAdava-s of unlimited power, drank from
vessels with beautiful outlets, comfortably.
kaTvA~NkashUlairapi pakShibhishcha
ghR^itAmlasauvarchalatailasiktaiH |
maireyamAdhvIkasurAsavAMste
papuH priyAbhiH parivAryamANAH ||2-89-62
The yAdava-s, along with their wives also ate the meat of birds, fried on
spears, soaked in ghee, vinegar, linseed and oil, along with intoxicating
drinks and spirituous liquor.
shvetena yuktA nR^ipa shoNitena
bhakShyAnsugandhA.NllavaNAnvitAMshcha |
ArdrAnkilAdAnghR^itapUrNakAMshcha
nAnAprakArAnapi khaNDakhAdyAn ||2-89-63
O king! (janamejaya! vaishampAyana continued) They ate many varieties of
white and red coloured food items having fragrance, along with salt,
fresh curd, ghee and candied sugar.
apAnapAshchoddhavabhojamishrAH
shAkaishcha sUpaishcha bahuprakAraiH |
peyaishcha dadhnA payasA cha vIrAH
svannAni rAjan bubhujuH prahR^iShTAH ||2-89-64
O king! (janamejaya! vaishampAyana continued) Those valiant yAdava-s such
as uddhava and bhoja, who do not drink spirituous liquor, ate many
varieties of vegetarian food, and drank plenty of sauces and soups, as
also curd and milk, happily.
tathAranAlAMshcha bahuprakArA-
npapuH sugandhAnapi pAlavIShu |
shR^itaM payaH sharkarayA cha yuktaM
phalaprakArAMshcha bahUMshcha khAdan ||2-89-65
They drank many varieties of fragrant porridges of grain from vessels.
They also drank milk mixed with sugar and ate many kinds of fruits.
tR^iptAH pravR^ittAH punareva vIrA-
ste bhaimamukhyA vanitAsahAyAH |
gItAni ramyANi jaguH prahR^iShTAH
kAntAbhinItAni manoharANi ||2-89-66
All the prominent bhaima-s (yAdava-s) along with their women were satisfied.
The valiant yAdava-s again sang many beautiful songs happily along with
beautiful acting by their dear wives.
Aj~nApayAmAsa tataH sa tasyAM
nishi prahR^iShTo bhagavAnupendraH |
ChAlikyageyam bahusannidhAnaM
yadeva gAndharvamudAharanti ||2-89-67
Immediately, that night, lord upendra (kR^iShNa), who was happy, ordered to
have chAlikya song which is enriched by the participation of many, which is
stated as an example of gAndharva.
jagrAha vINAmatha nAradastu
ShaDgrAmarAgAdisamAdhiyuktAm |
hallIsakaM tu svayameva kR^iShNaH
savaMshaghoShaM naradeva pArthaH ||2-89-68
Then nArada took up vINA, which is capable of playing the tunes of
shaDgrAma (see Note 2), for helping the mind concentrate. O the lord of
men! (janamejaya! vaishampAyana continued), KrishNa himself played
hallIsakaM (dancing with many women - rAsa dance, see Note 3) with playing
the flute and the son of pR^itha (arjuna)
mR^ida~NgavAdyAnaparAMshcha vAdyA-
nvarApsarastA jagR^ihuH pratItAH |
AsAritAnte cha tataH pratItA
rambhotthitA sAbhinayArthatajj~nAH ||2-89-69
played mR^ida~Nga. The auspicious divine women, pleased, played other
musical instruments. At the end of the first stage (see Note 4),
(apsara) rambha, who is knowledgeable in the principles of dancing and
acting, stood up (entered).
tayAbhinIte varagAtrayaShTyA
tutoSha rAmashcha janArdanashcha |
athorvashI chAruvishAlanetrA
hemA cha rAjannatha mishrakeshI ||2-89-70
As rambha having a beautiful body was dancing and acting, bala(rAma) and
janArdana were pleased. Then, O king! (janamejaya! vaishampAyana continued)
(the apsara) urvashI with beautiful wide eyes, hemA and mishrakeshI,
tilottamA chApyatha menakA cha
etAstathAnyAshcha haripriyArtham |
jagustathaivAbhinayaM cha chakru-
riShTaishcha kAmairmanaso.anukUlaiH ||2-89-71
tilottamA, as well as menakA and others (apsara-s) also sang, danced and
acted expressing desire and appropriate feelings, for pleasing hari
(kR^iShNa).
tA vAsudeve.apyanuraktachittAH
svagItanR^ityAbhinayairudAraiH |
narendrasUno paritoShitena
tAmbUlayogAshcha varApsarobhiH ||2-89-72
O the son of the indra of kings! (janamejaya! vaishampAyana continued)
There the auspicious divine (apsara) women sang, danced and acted with
their mind fond of the son of vasudeva (kR^iShNa) and pleased all. Also they
chewed betel leaves (with areca-nut, lime and spices).
tadAgatAbhirnR^ivarAhR^itAstu
kR^iShNepsayA mAnamayAstathaiva |
phalAni gandhottamavanti vIrA-
shChAlikyagAndharvamathAhR^itaM cha || 2-89-73
O the best among kings! (janamejaya! vaishampAyana continued) The valiant
yAdava-s enjoyed the ChAlikya and gAndharva, the divine women and the
fruits with best fragrance, brought (from heaven) as desired by
kR^iShNa.
kR^iShNechChayA cha tridivAnnR^ideva
anugrahArthaM bhuvi mAnuShANAm |
sthitaM cha ramyaM haritejaseva
prayojayAmAsa sa raukmiNeyaH ||2-89-74
O the god (king) of men! (janamejaya! vaishampAyana continued) As desired
by kR^iShNa, the beautiful ChAlikya, which was brought from heaven to
earth, for blessing people, was conducted by the son of rukmiNI
(pradyumna) by the splendor of hari (kR^iShNa).
ChAlikyagAndharvamudArabuddhi-
stenaiva tAmbUlamatha prayuktam |
prayojitaM pa~nchabhirindratulyai-
shChAlikyamiShTaM satataM narANAm ||2-89-75
pradyumna, the one with best intelligence, directed the Chalikya and
gAndharva as well as the chewing of betel leaves. The ChAlikya,
liked by the five, (kR^iShNa, balarAma, pradyumna, aniruddha and sAMba -
see nIlakaNTha commentary), equal in splendor to indra, is always
beneficial to men.
shubhAvahaM vR^iddhikaraM prashastaM
ma~NgalyamevAtha tathA yashasyam |
puNyaM cha puShTyabhyudayAvahaM cha
nArAyaNasyeShTamudArakIrteH ||2-89-76
ChAlikya leads to progress, causing prosperity. It is praised, pleasing,
as well as celebrated, auspicious, creating wealth and happiness and liked
most by nArAyaNa who is most famous.
bharApaham dharmabharAvahaM cha
duHsvapnanAshaM parikIrtyamAnam |
karoti pApaM cha tathA vihanti
shR^iNvansurAvAsagato narendraH ||2-89-77
The ChAlikya achieves victory and dharma and destroys bad dreams of those
who describe it. It destroys sins as well.
ChAlikyagAndharvamudArakIrti-
rmene kilaikaM divasaM sahasram |
chaturyugAnAm nR^ipa revato.atha
tataH pravR^ittA cha kumArajAtiH ||2-89-78
The king revata of great fame, who went to stay in heaven, heard
ChAlikya and gAndharva with such a rapt attention, that one thousand
of four yugas, seemed like a day to him. O king! (janamejaya!
vaishampAyana continued) from ChAlikya, the beautiful kumArajAti
gAndharvajAtishcha tathAparApi
dIpAdyathA dIpashatAni rAjan |
viveda kR^iShNashcha sa nAradashcha
pradyumnamukhyairnR^ipa bhaimamukhyaiH ||2-89-79
and gandharvajAti and other types of music evolved, O king!
(janamejaya! vaishampAyana continued), like hundreds of lamps are
lighted from a single lamp. kR^iShNa and nArada, along with prominent
bhaima-s (yAdava-s) such as pradyumna, understand the significance of
ChAlikya.
vij~nAnametaddhi pare yathAva-
duddeshamAtrAchcha janAstu loke |
jAnanti ChAlikyaguNodayAnAM
toyaM nadInAmatha vA samudre ||2-89-80
Other men in the world understand only a little of this knowledge.
Like the great ocean only can understand the value of river water,
only lord kR^iShNa understands the greatness of the qualities of
ChAlikya.
j~nAtuM samartho himavAngirirvA
phalAgrato vA guNato.atha vApi |
shakyaM na ChAlikyamR^ite tapobhiH
sthAne vidhAnAnyatha mUrchChanAsu ||2-89-81
Only the great mountain himAlaya or the ocean can appreciate the
supreme results and qualities of ChAlikya. Without performing
penance, it is not possible to understand ChAlikya and its associated
systems.
ShaDgrAmarAgeShu cha tatra kAryaM
tasyaikadeshAvayavena rAjan |
leshAbhidhAnAM sukumArajAtiM
niShThAM suduHkhena narAH prayAnti ||2-89-82
O king! (janamejaya! vaishampAyana continued) Among the six types of
tunes (seven sounds of music), the approximate form of ChAlikya music
shall be played. The men who sing the sukumAra type music named
lesha, find it difficult to conclude the singing.
ChAlikyagAndharvaguNodayeShu
ye devagandharvamaharShisa~NghAH |
niShThAM prayAntItyavagachCha buddhyA
ChAlikyamevaM madhusUdanena ||2-89-83
O the god of men! (king janamejaya! vaishampAyana continued) The groups
of gods, gandharvas and great sages become experts in the art of
expressing the qualities of ChAlkya and gAndharva. Understand this
with your intelligence. The slayer of madhu (kR^iShNa) provided
ChAlikya, (sung by the deva-s), with this understanding
bhaimottamAnAM naradeva dattaM
lokasya chAnugrahakAmyayaiva |
gataM pratiShThAmamaropageyaM
bAlA yuvAnashcha tathaiva vR^iddhAH ||2-89-84
to the best among bhaima-s (yAdava-s) for the blessing and welfare of
the world. Not only the children, but also the youth and elderly
krIDanti bhaimAH prasavotsaveShu
pUrvaM tu bAlAH samudAvahanti |
vR^iddhAshcha pashchAtpratimAnayanti
sthAneShu nityaM pratimAnayanti ||2-89-85
of the bhaima-s (yAdava-s) play ChAlikya during the celebrations of
birth. Children learn and sing with pleasure. Subsequently, the elders
respect it and always praise it.
martyeShu martyAnyadavo.ativIrAH
svavaMshadharmaM samanusmarantaH |
purAtanaM dharmavidhAnatajj~nAH
prItiH pramANaM na vayaH pramANam ||2-89-86
The most valiant yAdava-s who understand the system of dharma, respect
men of the world, remembering the duty of their race. They understand
the ancient axiom that love and affection are important, not the
position in the society.
prItipramANAni hi sauhR^idANi
prItiM puraskR^itya hi te dashArhAH |
vR^iShNyandhakAH putrasukhA babhUvu-
rvisarjitAH keshivinAshanena ||2-89-87
Friendship is based on love. The sons of dAshArha-s, vR^iShNi-s and
andhaka-s had friendship with each other. After the celebrations, the
slayer of keshi(kR^iShNa) bade farewell to all.
svargaM gatAshchApsarasAM samUhAH
kR^itvA praNAmaM madhukaMsashatroH |
prahR^iShTarUpasya suhR^iShTarUpA
babhUva hR^iShTaH suralokasa~NghaH ||2-89-88
After paying obeisance to the enemy of madhu and kaMsa (kR^iShNa),
the divine women (apsara-s) returned to heaven. All the residents of
heaven became happy.
iti shrImahAbhArate khileShu harivaMshe viShNuparvaNi bhAnumatIharaNe
ChAlikyakrIDAvarNane ekonnavatitamo.adhyAyaH
Thus this is the eightyninth chapter of viShNuparva, harvamsha,
khila of shrImahAbhArata, description of ChAlikya sport.
Note 1:
Regarding
yuddhe cha bAlAhakajambumAle, the second line of shloka
2-89-14,
according to BORI, some texts read
yuddhe cha putrAharaNam guroshcha.
Perhaps the reference then is to the following:
sa guroH putramAdAya pA~nchajanyaM cha mAdhavaH |
ratnAni cha mahArhANi punarAyAjjagatprabhuH ||2-33-23
mAdhava (kR^iShNa) got the teacher's son and pA~nchajanyaM (conch).
The lord of the universe also brought great jewels with him.
rAkShasaistasya ratnAni mahArhANi bahUni cha |
AnAyyAvedayAmAsa gurave vAsavAnujaH ||2-33-24
The younger brother of vAsava (kR^iShNa) brought many jewels,
carried by the servants (of the god of death) and offered them to his
teacher.
Note 2: The group of seven sounds, beginning with sa (sa, ri, ga, ma, pa,
dha, ni) is called ShaDgrAma. Beginning with ma, it is called madhyamagrAma,
beginning with ga it is called gAndhAragrAma and beginning with pa it is
called pa~nchamagrAma. ShaDgrAma and madhyamagrAma are practised in the
human world. nArada uses gAndharagrAma in heaven. Here six positions of the
tunes are called madhya, shuddha, bhinna, gauDa, mishra and gIta
(See nIlakaNTha commentary of shloka 68 and gItA press, page 704, footnote 1).
Note 3: Dancing with many women is called hallIsakaM or rAsa dance
(See nIlakaNTha commentary of shloka 68 and gItA press, page 704, foot note
2).
Note 4: According to nR^ityavidhi of bharata muni, there are four stages
(AsArita-s). The first stage is the entrance of the dancer. Next is the
nATya, dancing with acting of the meaning. The third stage is the dancing
with gestures using limbs such as face, hands etc. The fourth stage is
the dancing with divine signs. (see nIlakaNTha commentary of shloka 69 and
gItA press, page 704, foot note 3).
nIlakaNTha commentary
##Itranslated by K S Ramachandran, ramachandran_ksr @ yahoo.ca,
January 3, 2009.
Further proof-read by Gilles Schaufelberger, schaufel @ wanadoo.fr
If you find any errors compared to Chitrashala Press edition,
send corrections to A. Harindranath harindranath_a @ yahoo.com
Translated to English by A. Purushothaman [purushothaman_avaroth @
yahoo.com] and A. Harindranath
14th January 2011##
ChAlikyAdyAgamaH krIDA gAnaM bhojyaM mahAdbhutam || 1 ||
- 2-89-1 atha jalakrIDAvarNanam - reme bala iti |
kAdambarIpAnakalaH
kAdambaprasUtamadirApAnena manoharaH |
revatimiti hrasvatvamArShaM
ChandonurodhAt ||
- 2-89-4 velAlayaM sAgaram ||
- 2-89-5 tA apsarasaH tAsu kAshchana vAdyAnurUpaM nanR^ituH
anyAH samyak
sarvabhAvena jaguH ||
- 2-89-6 abhinayena hastAdichAlanena labdhaM shikShitaM yat hAvAdi
eShAM yadUnAM
arthayuktaprayojanavat hR^idyaM cha tadanukUlaM cha ||
- 2-89-7 rAsaM gAnam ||
- 2-89-8 kaMsapralaMbAdivadhaM tadanukAri nR^ityaM
chakrurityarthaH ||
- 2-89-9 ariShTadhenukAbhyAM ariShTadhenukayoH ||
- 2-89-11 sha~NkhahradAt sha~NkhAdinidhiyuktAttasmAdeva hradAt ||
- 2-89-14 bAlAhakajambumAlibhyAM saha vR^itte yuddhe tachcha
pAdme prasiddhaM ||
- 2-89-16 kUrdadhAturatra gAnArthaH, chukUrda jagau ||
- 2-89-21 yAnapAtram nauH |
- 2-89-24 he rAjaputra muniratra dIrghAbhAvashchAndasaH helAvikAraiH
lIlAnukAraiH |
rAsapraNetA munirAjaputretyapi pAthaH ||
- 2-89-32 sahArdhabhaimAH ardhabhaimaiH saha vartamAnAH
putrayorvyatyAsaH
samatvadyotanArthaH
- 2-89-34 velikA tIrasambandhinI patsukhA pAdayoH sukhasparshA
yadvastvantaramitIti |
- 2-89-36 bibhR^tva bibR^ihi dhArayetyarthaH ||
kIlAlamatra raktam ||
- 2-89-37 maireyAdayo madyabhedAH mareyamtra gauDI
surA pauShpyA niShedhAt
mAdhvIkasurA madhupuShpasaMbhavA AsavastAlAdisaMbhavaH |
svatoye
svajalopari sthApayetyatra hrasvatvamArSham |
papuH pibeyuH ||
- 2-89-38 vyalIkamanyAyyam ||
- 2-89-40 sAkAram AkAraH kAmagItaM tena saha yathA syAttathA ||
- 2-89-45 jaladardurAn jalavAdyavisheShAn ||
- 2-89-46 kusheshayAkoshaH kamalakalikA ApIDo mukuTaM
surANAmiva chArUNi
daurgandhAdirahitAni mukhAni yAMsA tAH ||
- 2-89-49 pakShe ekatra sthito balaM siShechetyanvayaH |
sa cha balaH ||
- 2-89-51 te bhaimA noparemuH krIDAM na tatyajuH ||
- 2-89-55 viviktagAtrAH shuddhavapuShaH vibhaktagAtrA iti pAThe
chandanAdyanuliptAvayavAH ||
- 2-89-56 yatsaMniyogAH yadanushiShThAH pratItAH prakhyAtAH
yathAnukUlaM
yathAhitam ||
- 2-89-57 phalaprabhAvA amlikA amlatA yeShu tAni | chukrottareNa
chukratAdhikena sUdA
sUpakArA sUpA iti vA pAThaH | niShTaptashUlAn shUlam
samAropya
niShTaptAnityarthaH | niShTaptashulyAniti vA
niShTaptashUlyAn atitaptapakvAn
shakalAn khaNDitAn pashUn hariNashUkarAdIn ||
- 2-89-58 susvinnashUlyAn shUlamAropya svinnAnityarthaH ||
vR^ikShAmlaM amlavetasAdi
paurogavoktyA sUdoktakrameNa upajahnuH pariveShaNaM
chakruH ||
- 2-89-59 pIvarANi puShTAni ||
- 2-89-61 mAtuli~NgAni raddhakAni, parNAsa kuTherakaM, bhUstR^iNaM
shAkabhedaH,
upadaMshaiH pAnapAtraiH ||
- 2-89-62 kaTvA~NkaH kaTurasaH tadyuktakAShThashUlAni yeShu tai ||
- 2-89-63 ArdrAdIn khAdyavisheShAn kilAdAn mahiShIdugdhasiktAn ||
- 2-89-64 apAnapAH tyaktamadyAdipAnAH pAnamityupalakShaNaM
mAMsAdeH ||
- 2-89-65 AranAlAn kA~njikAni rasAlAniti pAThe tu rAsAlAn
aparimitaghR^itasharkarAdi
saMskR^itAn |
pAlavIShu kapardAnirmitapAtreShu bR^ihnachCharAveShu |
khAdan akhAdan ||
- 2-89-68 ShaTgrAmAH sthAnAni yeShAM rAgANAM tairyaH samAdhiH
chittaikAgryaM tad
yasyAM tAM te cha
madhyashudddhabhinnagauDamishragItarUpAH |
hallIsakaM
bahubhiH strIbhiH saha nR^ityaM | jhallIsakamiti
pAThe tadAkhyavAdyavisheShaM
ballIsakamiti pAThe niShAdarShamAdisaptasvarayutaM
jhallIsakaM
vAdyavisheSham | jagrAheti viparimANena
kriyAsaMbandhaH |
vaMshaghoSheNa sahayatha syAttathA ||
- 2-89-69 pArthastu mR^da~NgAdyAn jagrAhetyanuSha~Nga ||
aparAMshcha vAdyAn
varApsaraso jagR^ihuriti saMbandhaH |
AsAritAnta iti - bharato
munishchaturvidhamasAritaM nR^ityavidyAvupadidesheti ||
prathamaM
nartakIpraveshaH tatashchAsAritArthAbhinayaM
nATyaM
tatastAlAnugatya~NgAharaNaM,
tato devatAchihnarUpeNa nR^ityaM
evaM
chaturShvapyabhisArevUktam | evameSha
nartakIpravesho bharatasyAnumataH |
tadante rambhA nartakI uthitA praviShTA yata sA
abhinayachaturA ||
- 2-89-70 abhinIte abhinaye kR^ite dvitIyAsAre urvashI uthitA
ityanuSha~NgaH ||
- 2-89-72 tAH rambhAdyAH paritoShitena paritoSheNa
toShayAmAsuriti sheShaH |
tAmbUlayogAshecheti padatrayaM vAkyam ||
- 2-89-73 tadA jalakrIDAyAmAgatAbhiH
pa~nchachUDAkauberImAhendrIbhishcha
tAmbUlayogAH garvA~NkurAH AhR^itAH vayametAbhyo.adhikA
iti svaguNA
AviShkR^itA ityarthaH | tadevAha -
phalAnityekashloko vAkyam ||
- 2-89-74 kR^iShNechChayA mAnuShANAmanugrahAya
tridivAttAnabhichChAlikyaM bhuvi
AhR^itaM phalAni cha devayogyAni AhR^itAni |
tataH kimata Aha |
sthitamiti - pradymnAdau ||
- 2-89-75 pa~nchabhiH kR^iShNarAmapradyumnAniruddhasAmbaiH ||
- 2-89-77 duHsvapnanAshaM karoti tathA pApaM cha
vihantItyanvayaH ||
- 2-89-78 yachChAlikyagAndharvaM surAvAsagato revataH
shR^iNvan cahturyugAnAM
sahasraM ekaM divasaM mene tata eva kumArajAtipramukhA
gandharvabhedAH
pravR^itA iti vAkyArthaH ||
- 2-89-81 sthAne tadyuktaM | nAlam iti pAThaH sugamaH ||
- 2-89-82 leshAbhidhAnAm sukumArajAtiM gAyanto niShThAM
samAptiM narA duHkhena
gachChanti ChAlikyasya kA vArtetyarthaH ||
- 2-89-88 prahR^iShTarUpasya suhR^iShTarUpA vinoditAH
keshiniShUdanenetyapi pAThaH ||
iti shrImahAbhArate khileShu harivaMshe viShNuparvaNi TIkAyAmekonanavatitamo.adhyAyaH