Monday, August 31, 2020

his delightful form.

Parasara Bhatta in his commentary on the Vishnu Sahasranama explains the name Satkeertih as the one who has lasting fame, because of his saulabhya. He is Chinna samshaya, because he dispells all doubts. He leaves us in no doubt regarding his simplicity and accessibility.

word Parasara bhatta Sankara Bhagavadpada
Udeernah He is Manifest Superior to all
Sarvatas Chakshuh He who can be seen by all Sees everything through Jnana
Aneeshah He has no independence No eesha above him
for he allows his devotees to bathe him and dress him as they please.accepts food etc.
Sasvata sthira He takes many archa forms. always the same


Sri Vishnu Sahasranamam - SLOKA 001



  

Nama 1: vishvam 

a) Universe or Cause of Universe
b) One who is full in all respects.

Om viSvAya namah.

The nAma is derived from the root viS - to enter. ViSvam means "Universe". 
SrI BhaTTar gives the reference to the following verse from moksha dharma:

veSanAt viSvamityAhu: lokAnAm kASisattama | 
lokAnSca viSvameva iti pravadanti narAdhipa ||

They say BhagavAn is viSvam because He enters all the worlds. (The worlds themselves are called viSvam because of this).
SrI BhaTTar interprets the term "Worlds" or "Universe" here to denote entirety. He points out that it is quite fitting that the first name of vishNu in SrI vishNu sahasranAmam suggests His immense glory, the fullness to the brim of His essential nature, form, qualities, etc., which are all natural, unexcelled, auspicious and superior. SrI v.v. rAmAnujan adds that this completeness is in respect of His rUpam, svarUpam, guNam, and everything else. He quotes nammAzhvAr - uvaryaRa uyar nalam uDaiyavan (tiruvAimozhi 1.1.1). It is to explain this aspect of the fullness of bhagavAn in every aspect that the remaining 999 nAma-s follow the nAmA viSvam, thus emphasizing the deep meaning embedded into this first nAma as denoting bhagavAn's fullness in all respects.

SrI Samkara views that bhgavAn who is Brahman or the Supreme Person created viSvam and is therefore, called viSvam. Brahman is the kartA or the Creator here (the Cause), and viSvam is the creation or the effect. Because the Cause who is Brahman is being called by the nAma viSvam which is the effect, this is used by advaitins as an argument to say that effects are nothing different from the Cause, and everything is Brahman. In other words, the argument is advanced that Brahma who is the creation of vishNu, can be praised as an appropriate form of vishNu. SrI BhaTTar points out that the two terms, brahman and viSvam, should not be taken as referring to their being identical. viSvam or Universe is just a mode or extension of bhagavAn, as are the other 999 nAma-s. 

SrI  vedAnta deSikan in his commentary on tiruvAimozhi, observes: "To regard Brahman and World identical is samAnAdhikaraNya to which AzhvAr does not subscribe. The world is the prakAra or vibhUti of the Lord. He is the cause, sustainer, controller, and the soul of all things and beings". 

SrI cinmayAnanda explains the nAma "viSvam" by referring to the viSva rUpam or virAT purusha. He refers us to SrI vishNu purANam - sa eva sarva bhUtAtmA viSva rUpo yato avayayah - (vishNu purA. 1.2.69). He is the soul of all that exists, and everything is His body.

SrI satyadevo vAsishTha interprets the nAma viSvam or "Universe" as indicating that everything in this Universe came from Him, and also everything in this Universe goes back into Him. So in both senses, He is "viSvam". 

It should be noted that the words viSvam is in the neuter gender. SrI BhaTTar points out that it still is a nAma of vishNu, representing His guNa of absolute fullness and power. Consistent with this, the nAma to worship is "viSvAya namah" as adopted by the viSishTAdvaita school. The Samkara school uses the form as "viSvasmai namah".

The different anubhava-s of the nAma viSvam can be summarized as:
The nAma indicates His Fullness in all respects; the succeeding 999 nAma-s all elaborate on this first nAma - the Fullness of Him in all resepcts. Nothing in the Universe exists without Him, and everything in this Universe ultimately finds refuge in Him, and in this sense also He is viSvam or "Universe".

2. VishNu: - 

a) One who permeates everything, is inside every sentient and non-sentient being.
b) One who surrounds everything.

Om vishNave namah.

This nAma occurs again as nAma-s 259 and 663. 

This nAma can be derived from the root vish - vyAptau - to pervade, or vis - praveSane - to enter. SrI BhaTTar's vyAkhyAnam is - sva vibhUti bhUtam cit acit Atmakam sarvam viSati iti vishNuh. The idea is that keSava exists everywhere and permeates everything that is His Wealth; He is unlimited by space, time, and substance - (SrI Samkara); He pervades the whole universe internally and externally. SrI BhaTTar gives the following references in support.

viveSa bhUtAni carAcarANi - He entered all beings, movable and immovable
tat srshtvA | tadevAnuprAvisat - Having created it, He entered into the same.

"vyApya sarvAn imAn lokAn sthitah sarvatra kesava: | 
tatasca vishNu nAmAsi viserdhAto: pravesanAt
 || 

"KeSava exists everywhere having pervaded all these worlds. 
Therefore His name is VishNu since the root viS denotes entry i.e., pervasion".

Under nAma 259, SrI BhaTTar explains vyApti (pervasion) further, and explains the relation between bhagavAn and the jIva-s as of the nature of the relation between fire and smoke. When there is smoke, there is fire, but the reverse is not always true (as in the case of a red hot iron rod). Thus, bhagavan and the jIva-s are related in the sense that without bhagavAn the jIva-s do not exist. The supreme Person and the jIva-s are never identical, but there is inseparable connection between bhagavAn and the rest. He is greater by virtue of the diverse kinds of help He renders to all who are of a lower order. SrI BhaTTar refers us to the gItA - na tadasti vinA yat syAt mayA bhUtam carAcaram (10.39) - "There is no object, moving or non-moving, which can exist without Me". 

Another anubhavam of this guNa of vyApti is that it is not just the fact that He is in everything and in inseparably bound to everything, but it is one of His showering everything with His infinite Mercy (SrI v.v. rAmAnujan). His sauSIlyam is to be enjoyed here. SrI kRshNa datta bhAradvAj derives the meaning from the root vishu - sechane - to sprinkle, to pour out; veshati (si'nchatibhakta tarUn ASIrvArIbhih iti vishNuh.

nammAzhvAr declares: 
"tiDaviSumberivaLi nIr nilamivaimiSai paDar poruL muzhuvadumAi 
avai avai torum uDan miSai uyir enak karandu e'ngum paranduLan" (tiruvAimozhi
 1.1.7) - 

The Lord created the five elements, and from them He created all others. Indeed He became all others. He pervades everything in and out. He is the Soul for the body of everything and every being. The term "He enters all the worlds" should be understood as "He enters everything in all the worlds". 

SrI rAdhAkRshNa SAstri gives another view of the reason why bhagavAn has pervaded everything. It is for the purpose of ensuring that everything is in its designated and assigned place, and things don't come into collision with each other - for example, the different planets and constellations etc. He quotes from the taittirIya AraNyaka, wherein first the question is asked - keneme vidhRte ubhe - "Who is keeping the two things from colliding with each other?", and responds: vishNunA vidhRte bhumI; iti vatsasya vetanA - "vishNu is the One who is supporting them with His Sakti; this is the finding of sage vatsa". 

SrI Samkara gives the following supports for this nAma:

antar bahiSca tat sarvam vyApya nArAyaNah sthitah - (mahA nArAyaNa upa. 1.13) - 
nArAyaNa pervades the whole universe externally and internally.

"yasmAd vishTam idam sarvam tasya SaktyA mahAtmanah | 
tasmAd vishNuriti khyAto veSer dhAtoh praveSanAt || (vishNu purANam
 3.1.45)
"Because the whole world has been pervaded by the energy of the great Self, 
He is named vishNu, from the root viS - to enter or pervade."

vyApte me rodasI pArtha kAntiscApadhikA sthitA | 
kramaNaccApyaham pArtha! VishNuriti abhisamgj~nita: || (mahAbhA. 350.43)
"As I have pervaded the horizons, my glory stands foremost, and as I have measured by my steps the three worlds, O Arjuna! I am named vishNu". 

SrI anatakRshNa SAstri interprets the term kAnti here as referring to His Effulgence - His radiance pervades the firmament and transcends it. 

SrI BhaTTar has given the explanation of the nAma vishNu in terms of His power of pervasion (Sakti) under nAma 663. He refers to the mantra about bhagavAn:  sarva SaktyAtmane - He, Who is the embodiment of all powers. He also gives reference to the Slokam:  "yasmAd vishTamidam sarvam tasya SaktyA mahAtmanah." given earlier. As an instance of this Sakti, the trivikrama incarnation is also cited - the smRti declares "vishNuh vikramaNAt devah" - mahA bhA. udyoga. 5.68.13), a reference to His name being vishNu because He measured the three worlds with His steps. 

SrI v.v. rAmAnujan gives reference to nammAzhvAr's praise of His Sakti:

"ennaik koNDu en pAvam tannaiyum pARak kaittu 
emar Ezh ezhu piRappum mEvum tan maiyamAkkinAn vallan empirAn en viTTuvE"  (tiruvAi.
 2.7.4) 
"He changed me from a nitya samsAri to a nitya sUri; He exterminated all my sins, those of my predecessors and my successors for several generations, so that all of us have reformed to become His. Who did this? VishNu! He will do this because His name implies all-pervasiveness". 

SrI BhaTTar interprets the nAma-s kRtAgamahanirdeSya vapuh, vishNuh, and vIrah (nAma-s 661 to 664) as indicative of His being the Lord of Sakti.

SrI cinmayAnanda refers us to ISAvAsya upanishad: 
ISAvAsyam idam sarvam yat ki'nca jagatyAm jagat - 
Everything that exists in the universe is nothing but of the nature of the Lord, and without Him nothing exists. 
He pervades everything, unlimited by space, time, or substance.

SrI kRshNa datta bhAradvAj gives an additional interpretation not found in other vyAkhyAna - s: vi + shNuh = vishNuh - viSesheNa snAvayati prasrAvayati bhakta abhilAshAn iti vishNuh - He who bestows the wishes of the devotees, like a fountain. Note that the root from which the second nAma is derived is the same as the root from which the first nAma - viSvam - was derived. However, the interpretation is different. The interpretation here is that BhagavAn has entered all beings - sentient and non-sentient, that He has created. The meaning for the first nAma was that bhagavAn is everything, the Absolute, full in all respects. 

SrI v.v. rAmAnujan nicely paraphrases the two nAma-s: "a'ngu pUrtiyil nOkku, I'ngu vyAptiyil nOkku". - 
the first nAma emphasizes His Fullness and Perfection, and the second nAma indicates that He permeates everything. 

SrI rAdhAkRshNa Sastri observes that meditation on the significance of the first two nAma-s - namely that Lord vishNu is in everything around us and in every one of us, and that without Him nothing exists, will lead us closer to a life of peace, tranquillity, ahimsA, and selfless service to Him.

Sri Surin, in his commentary on amara KoSa, has given the following derivation for the word VishNu - veveshti iti vishNu: - One who surrounds and envelops. This is derived from the root word vesht - to surround (recall the word veshti in Tamil for dhoti, which surrounds!).

One interesting question that can be raised is: Given that the stotram is called visNu sahasranAmam, why did Sri VyAsa not start the stotram as vishNur viSvam vashatkAro, and instead chose to start it as viSvam vishNur vashatkAro..? 
Based on the SrI BhaTTar's anubhavam, viSvam is the name that symbolizes the primary attribute of the para form as one of shAdguNya paripUrNatva, and vishnu and the following names then elaborate on the name or the guNa represented by the name viSvam.

SrI satyadevo vAsishTha rhetorically asks the question: If Lord vishNu is everywhere, in everything, why is it that most of us don't see Him? The key is the SraddhA.

SraddhayA vindate vasuh - Rg veda. 10.151.4
SraddhayAgnih samidhyate SraddhayA hUyate havih | 
SraddhAm bhagasya mUrdhani vacasA vedayAmasi
 (Rg. 10.151.1)
SraddhAm prAtar havAmahe SraddhAm madhyam dinam pari | 
SraddhAm sUryasya nimruci Sraddhe SraddhApayeha nah
 | (Rg. 10.151.5)
He who is endowed with the sAttavic disposition, or has developed it, keeps seeing vishNu in everything around him all the time.

To summarize,

- the nAma vishNu refers to the guNa of bhagavAn in pervading everything He has created, including all sentient and non-sentient objects from a blade of grass to brahma; - His pervasion is because of His Sakti; in other words, He is the power behind everything that exists; an instance of His Sakti is illustrated by His measuring the three worlds with His Foot; - His vyApati is indicative of the inseparable relation between Him and everything else outside Him, in the sense that nothing exists without Him. - His pervasion of everything is of the form of His enveloping and showering everything around Him with His Mercy. It is not just His sausIlya that is indicated by this nAma; all His powers including that of creation, sustenance, His Lordship, etc., are to be understood by this nAma. - It is because of His pervasion of everything in this universe that things (for example the constellations, the planets, etc.)., are in their respective positions without colliding with each other. - He is also called vishNu because He bestows the wishes of His devotees profusely like a fountain.

Nama 3: vashatkAra: 

One who controls and directs (not merely pervades).

Sri Bhattar interprets the names VishNu, vashatkAra, and bhuta-bhavya-bhavat-prabhu, as additional elaborations of the name visvam. The root of the word is vas - to control as He wills. 
It should be noted that Sri Bhattar has pointed out in his commentary for visvam that BhagavAn is everywhere with His shAdguNya paripUrNatva WHICH IS NATURAL TO HIM, in the commentary for vishNu that He permeates everything that HE CREATES AND POSSESSES, and in the current one for vashatkAra that He controls AS HE WILLS. Thus, all these guNas are not something that have been acquired or imparted by something external, but this is His will and schema. 

The following passages from the sruti are given in support of the interpretation of this nAma:
* sarvasya vaso sarvasya IsAna: - He is the Controller of all and the Ruler of all.
* jagadvase vartatedam - The Universe is under His control.

The summarization from Nirukti is svecchayA yo sarvam vase karoti sa: vashatkAra: - One Who controls and directs everything and everyone as He wills.

Sri Sankara provides a very different interpretation for this nAma. He points out that BhagavAn is Himself the vashatkAra mantra, where vashat is a sacred sound (similar to Om, svAhA, etc). used on sacrificial offerings. It is also used in the anganyAsa and karanYasa practice before chanting the sacred slokas (e.g., sahasrArchis saptajihva iti saktyai sikhAyai vashat). Note the similarity of vashatkAra to Om kAra, a word with which we are familiar. VashatkAra is thus a mantra, and BhagavAn is the mantra svarUpi

The explanation in terms of BhagavAn having control over all His creations is appealing because of the continuity it provides to the interpretations of the previous nAmas.

Nama 4: bhUta-bhavya-bhavat-prabhu: 

The Master of all things past, future, and present.

Nirukti - trikAla vartinAm seshi - The Lord of all things that exist in the past, present, and future.

From the srutis, we have "bhUta-bhavya-bhavan-nAtha: kesava: kesi sUdhana: " - Kesava, the slayer of Kesi, the asura, is the Lord of past, future, and present. 

The idea that BhagavAn is beyond the physical laws as we know them, such as the laws and constraints of time, can be inferred from this nAma. In order for Him to be the Lord of all things past, future, and present, He existed before anything existed, exists now, and will exist forever into the future. ..Thus the well-known and established physical law that all living things come to an end does not apply to Him. He is beginningless and endless.

Sri Bhattar has explained that the nAmas 2, 3, and 4 elaborate the first nAma by indicating how the All-pervading vAsudeva is in everything living and non-living, controls everything, and is the Master of everything past, future, and present. He now proceeds to explain the next 5 nAmas as further expanding on this last aspect - how He is the Master of all things past, future, and present. We will see that this is so because he is the creator of all beings (nama 5), the supporter of all beings (this nAma 6 seems to be further elaborated by nAmas 8 and 9), has existence independent of any other being and as the Lord or Director of all that exist (7), supports all that He has created by being their antaryAmi or inner soul (8), and supports by nourishing them and growing them (9).

Nama 5: bhUta-krit 

The creator of all beings.

Sri Bhattar points out that this act of creation of is done by Him without dependence on anything external.

"sarvANi bhUtAni svatantra: srjati" - note the word svatantrata:
bhutAni karoti iti bhUtakrt - One who creates all the beings.

In BrhadAraNya upanishad - 
"sa visvakrt sa hi sarvasya kartA - He is the creator of the Universe and all the beings in the Universe.
"tvam kartA sarva bhUtAnAm" - You are the Creator of everything that exists - VishNu PurANa 1-4-15.

Nama 6 : bhUta-bhrt 

The supporter of all things.

bhUtAni bibharti iti bhUta-bhrt - One who supports all. (seems to be further elaborated by nAmas 8 and 9)

Sri Bhattar explains that this support is like that of the support at the center for a wheel and its spokes. If this central support does not exist, the rest of the spokes and the wheel collapse. Thus, one can think of this support as the responsibility for the existence of all the things that He creates. This support is in the form of being the inner soul or atman of all beings (nAma 8 below), and as the One who nourishes and protects all beings (nAma 9 below). 

Sri Radhakrishna Sastri in his work on Sri VishNu sahasranAma explains this support as that provided by Adi Kurma to support this universe, or by Sri VisNu as varAha mUrti when he retrieved and bore the world. 

Sri Sankara interprets nAma 6 above as referring to the acts of creation or destruction ("bhUtani krtanti krNoti hinsti iti bhUta krt), and nAma 7 as referring to the act of sustenance, in the context of the three functions of creation, sustenance, and destruction.

Nama 7: bhAvah 

He who exists with all the splendor

He who exists always, independent of anything else.

This nAma is derived from the root bhU (bhavati) - exists. Sri ChinmayAnanda gives the derivation: "bhavati iti bhAva:"

Nama 8: bhUtAtma 

The AtmA or soul of all beings - sarveshAm bhUtAnAm AtmA

All things are His body, and He is the soul of all things. 
The soul enters the bodies, and directly controls and directs all their activities.

Sri Sankara gives the following reference from BrhadAraNya Upanishad: esha ta AtmA antaryamyamrtah (3.7.3) - 
The Lord is the soul, the antarYamI or inner ruler of all beings, and amrta or never ceasing to exist. 

Sri Chinmayananda gives the following reference from Kathopanishad: 
"eko vasI sarva bhUtAntarArmA rUpam rUpam pratirUpo bahisca" - 
The One Lord manifesting Himself as the souls of all beings who have different external forms.

Nama 9: bhUta-bhAvanah 

One who nourishes and nurtures all beings that He created.

The key word that both Sri Bhattar and Sri Sankara use in their vyAkhyAnas for this nAma 
is vardhayati - makes them grow - the act of nourishing is emphasized.

Sri Bhattar's words are: tAni dhAraka poshaka bhogyapradAnena vardhayati iti bhUta-bhAvanah - 
He is bhUta-bhAvana because He makes all things grow by bestowing on them things that sustain them, nourish them, and contribute to their enjoyment. 

Sri Sankara bhAshya says: bhUtAni bhAvayati janayati vardhayati iti vA bhUta-bhAvanah - 
He makes them shine (bhA - to shine), generates or invigorates, and makes them grow. 


pravritti nivritti

Scriptures define the fundamental spiritual paths the privritti marga or the way of the world for householders and the path of renunciation and devotion for realized souls

. both paths are meant to lead to the final goal of salvation. this concept is symbolically conveyed in the bhagwad purana when the process of creation is described. 

the first stage the primary creation when the divine will stirs prakritti into action and the fundamental categories become manifest in conjunction with the forces of time kala karma and swabhava nature.. then Brahma is ordained by the supreme lord to continue the creation.

Brahma first creates the five modifications of the evil, these are Tamas, not being aware of ones own nature; moha association with the sense of I and mine; mahamoha desire for enjoyment; tamisra anger when enjoyment is thwarted; andhatamisra total loss of oneself in worldly enjoyments. Brahma feels dissatisfied at having brought forth these sinful creations. Then he  creates a group of four sages known as kumaras, and commands them to multiply the species.

These mind born sons of Brahma, the saages Sanaka;Sananda;Sanatana and Sanathkumara are realised souls at birth and are thus not able to obey Brahma's orders to beget progeny being naturally inclined towards renunciation. they take to ascetic life or the path of Nivritti. It is then that Brahma creates sages such as Marichi, Atri, Angirasa, Vasishta and others who exemplify the Pravritti marga acting in accordance with Brahma's wishes to propagate the human race. They show the importance of the four Purusharthas dharma, artha, kama and moksha.

Saturday, August 29, 2020

chapala chapala

 Bahula chikura bharam, badha pinchavathamsam,

Chapala chapala nethram, charu bimbadaroshtam,
Madhu mrudula hasam, mandharodhara seelam,
Mrugayathi nayanam may mugdha vesham murare.., 1-46

Oh God who plays the lute, I keep on hunting for your face,
Which is having, a big crop of hair,
Which is decorated, by peacock feathers,
Which has eyes, that keep on shifting,
Which has red pretty lips, similar to Bimba [7] fruits,
Which has a soft smile, which is similar to honey,
And which at first look itself appears as generous.

Bahula jala cchayaa choram vilasa bharaalasam,
Madha shikha leelothamsam manogna mukham bujam,
Kimapi kamala paangadhagram, prapana jagajjitham,
Madhurima paripakodhrekam vayam mrugayamahsa.., 1-47

I am hunting for the lord, who is the well matured sweetness,
Whose shine wins over the water laden black clouds,
Who is extremely playful, who decorates his hair with peacock feathers,
Who has a mind stealing lotus like face, who steals the glances of Goddess Lakshmi,
And who takes care of all his devotees of this universe.

Paramrusyam dhoore parishadhi muneenaam vruja vadhoo,
Drusaam drusyam saswath thribhuvana manohaari vadhanam,
Anamrusyam vaachamanidhamudhayanapi kadhaa,
Dhareedrusyedevam dhara dhalitha neelolpala nibham.., 1-48

Though only distantly referred to by great sages,
He is seen by the young ladies of Vruja country,
With ever glowing face that bewitches the three worlds,
And with a body which looks like a slightly open blue lotus,
And when will this poor man be able to see him like that.

Leelambujanana madheeramudheekshamanam,
Narmaani venu vivareshu nivesayantham,
Lolaya mana nayanamm nayanabhi ramam,
Devam kadha nu dhayitham vyathi lokayishye.., 1-49

In this present time, when will I be able to see the God,
Who has a pretty lotus like face, who often sees all the four sides,
Who keeps on playing in his flute, different Ragas as he pleases,
Who has ever shifting looks and who has extremely bewitching eyes.

Lagnam muhoor manasi lampata sampradhaya,
Rekhava lekhini rasagna manogna vesham,
Lajjanmrudhu smitha Madhu snapithaa dharamsu,
Rakendu lalitha mukhendu mukunda balyam.., 1-50

The pretty full moon like face of Mukunda[8]admired by the moon himself,
During his youth, clings to the mind of mine, who am an expert libertine,
And an expert in line drawings and his very shy face with a gentle smile
Which spreads to his lips is acting like honey on me.

Ahimakara kara nikara mrudhu mrudhitha Lakshmi,
Sarasa thara sarasiruha sarasa drusi deve,
Vruja yuvathi rathi kalaha vijaya nija leela,
Madha mudhitha vadana sasi madhurimani leeye.., 1-51

Let me get dissolved with him, who has moon like glowing face,
As a result of his victory in a lover’s tiff with a Vruja maiden,
And the one with a very happy eyes similar to the lotus flower,
Which have just opened due to the emerging heat of sun light.

Kara kamala dalitha lalitha thara vamsee,
Kala ninadh gala mrutha Ghana sarasi deve,
Sahaja rasa bhara bharithadha rahasitha vechi,
Sathatha vahadha dhara mani madhurimani leeye.., 1-52

Let me get merged in the sweetness of Krishna,
Who completes the surroundings by the musical notes,
Starting from his flute controlled by his lotus like hands,
And who has jewel like lips which always wear,
A wave of smile due to his ever joyous nature,

Kusuma sara sara samara a kupitha madha gopee,
Kucha kalasa gusruna rasa lasa durasi deve,
Madha lalitha mrudu hasitha mushitha sasi shobha,
Muhooradhika mukha kamala madhurimani leeye.., 1-53

Let me get merged in the sweetness of Krishna,
Who has a chest coated with the juice of sandalwood,
From the breasts of Gopis who were angry in the love fight,
Started by the arrows of flower of the God of love,
And who has a lotus like face which is pretty,
And adorned with a smile and beats the full moon’s shine.

Aanamra masitha broovorupachithaa maksheena pakshmangure,
Shwaa lolaa manuraginorna nayorardhram mrudhou jalpithe,
Aathamra madharamruthe mada kalaamaamlanavam sirave,
Shwasathe mama lochanam vruja siso moorthim jagan mohinim.., 1-54

Oh Child of Vruja clan, may my eyes permanently see pretty form of yours,
Whose eye brows are pretty and curved like the bow of the God of love,
Whose eye brow hairs are thick, whose eyes which bear the devotion of devotes,
And the passion of the Gopi maidens, who keeps shifting glances always,
Whose indistinct prattle is ebbing with the essence of kindness,
Whose lips which ooze out nectar are deep red in colour,
Whose music coming out from the flute is heard permanently,
And his body which is black like a dark cloud is bewitching the world.

Thath kaisoram, thacha vakthraaravindam,
Thath karunyam, theu cha leela kadaksha,
Thath soundaryam saa cha mandasmitha sree,
Sathyam sathyam durlabham daivatheshu.., 1-55

His childishness, his lotus like face,
His kindness, his playful looks,
His handsomeness, his pretty smile,
Truly and truly are not seen with any other God.

Viswopa plava samanai ka badha dheeksham,
Viswasa sthabhakitha chethasaam janaanaam,
Pasyama prathi nava kanthi kundhalardhram,
Pasyama padhi padhi saisavam murare.., 1-56

I am able to see your child like form Oh Murari [9],
Who has taken a resolution to destroy all people who are bad,
And to protect all those, who believe in him without any other thought,
And who is pretty and has shining and fabulous hair.

Moulischandraka bhooshanaa marakatha sthambhabhi ramam vapor,
Vakthram chithra vimugdha hasa madhuram, bale vilole drusou,
Vacha saisava sheethalaa madha gaja slaghyaa vilasa sthithir,
Mandham mandha maye ka yesha madhuraa veedhimitho gaahathe.., 1-57

Who is that person who walks in the streets of Mathura,
Who is walking slowly and prettily like an elephant in rut,
Whose hair is decorated by peacock feathers,
Who resembles a pure pillar made of emerald,
Who is a pretty child like a picture with his smile,
Who keeps on changing according to circumstances,
And whose words of prattle are very pleasant.

Padhou paadha vinirjitha bhuja vanou padmalayalankruthou,
Paanee venu vinodhana pranayinou paryaptha shilpa sriyou,
Baahu dohada bhaajanam mrukha drusam, madhurya dhara giro,
Vakthram vag vibhavaathi langithamaho, balam kimethan maha.., 1-58

Is this halo of light, that of a young boy,
Whose portion of feet which is decorated by goddess Lakshmi,
Beats hollow a crowd of lotus flowers,
Whose hands interested in playing the flute,
Appear as if they are showing dancing poses,
Whose hands show passion to the doe eyed damsels,
Whose words appear to be a rain of sweetness,
And whose face is beyond capacity of words to describe.

Barham nama vibhooshanam bahumatham veshaya seshairalam,
Vakthram dwi thrivisesha kanthi lahari vinyasa dhanyadharam,
Sheelai ralpa dhiya magamya vibhavai srungara bango mayam,
Chithram chhitramaho vichithramaho chithram vichithram maha.., 1-59

As he likes to decorate himself with peacock feathers,
All other ornaments appear not necessary to him,
And his face is decorated by different types of thilakas[10],

And also due to pretty lips it is a flood of light,
These indeed are surprising and his pretty bewitching form,
Is making,even the dull headed ones in to devotees.

Agre samagrayathi kaamapi keli Lakshmi,
Manyasu dhishvapi vilochanameva sakshi,
Ha hantha hastha pada dhooramaho kimetha,
Daseeth Kisoramayamamba jagathrayam may.., 1-60

What a wonder that the indescribable pretty play of Lord Krishna,
Is set in front of me and also on all my sides and my eye is the witness for this,
And oh mother, to me all the three worlds are full of that child,
But alas I am not able to touch him or embrace him with my hands.

Chikuram bahulam viralam bramaram,
Mrudhulam vachanam vipulam nayanam,
Adharam madhuram vadanam lalitham,
Chapalam charitham cha kadhanu bhave.., 1-61

When would I be able to experience Lord Krishna’s,
Thick set hairs, very broad forehead,
Very soft spoken words, very broad eyes,
Sweet enriched lips, pretty face and listless walk.

Paripalaya na krupalayethyasakrujjalpitha maathmabhandawa,
Murali mrudula swananthare vibhurakarnayithaa kadhaa nu na.., 1-62

When I beseech the friend of my soul several times “Please look after me”,
How will it ever reach his ears, as he is always sweetly singing his flute?

Kadha nu kasyaam nu vipaddhasayaam,
Kaisora Gandhi karunambudhir na,
Vilochanaabhyaam vipulayathaabhyaam,
Vyalokayishyan vishayee karothi?., 1-63

In times of which danger, would,
The sea of mercy with the childish splendour,
See with his very broad and long eyes
Survey our problems and solve them?

Madhura madhura bimbe, manjulam manda hase,
Sisiramamrutha vakye, seethalam drushi pathe,
Vipulamaruna nethre, visrutham venu nadhe,
Marakatha mani neelam Balam aalokayaama.., 1-64

I will surely see the boy with the blue colour of emerald,
Who has very sweet red lips, who has very pretty smile,
Who has cool nectar like words, the look of whose eyes is cool,
Whose eyes are broad and red, and whose music with flute is famous.

Maadhuryadhapi madhure,
Manmadha thathasya kimapi kaisoram,
Chapalyadhapi chapalam,
Chetho mama harathi hantha kim karma?., 1-65

Sweeter than the sweetest,
More unstable than the most unstable,
Is the youth of Krishna, the father of love God,
And it has completely stolen my mind. What will I Do?

Vaksha sthale cha vipulam nayanothpale cha,
Mandasmithe cha mrudulam madha jalpithe cha,
Bimbadhare cha madhuram muralee rave cha,
Balam vilasa nidhi maakalaye kadha nu?., 1-66

When I would be lucky to see the child,
Who is the treasure of playfulness,
Who has a broad chest as well as eyes,
Who is soft in his talk and in his teasing of others,
And who is sweet in his lips as well as in the music from his flute.?

Maara swayam nu madhura dhyuthi mandalam nu,
Madhuryameva nu mano nayanamrutham nu,
Vaneemra janu mama jeevitha vallabho nu,
Baloysmabhyudhyathe mama lochanaya.., 1-67

This boy who appears in front of my eyes,
Is he the god of love, is he the sweet moon’s face,
Is he sweetness personified, is he the nectar before my eyes and mind,
Is he an ornament for words, is he the help for my life?

Aardhravalokitha dhayaparinadha nethra,
Mavishkrutha smitha sudhaa madhuradharoshtam,
Aadhyam pumamsa mavathamsitha barhi barha,
Maalokayanthi kruthina krutha punya punja.., 1-68

Only those who have accumulated good deeds can see,
Him who has a melting look and who has eyes full of mercy,
Him who has sweet lips from which his smile breaks out,
Him who is primeval and he who wears the peacock feather.

Baloya malola vilochanena,
Vakthrena chithrikrutha dingmukhena,
Veshena goshachitha bhooshananena,
Mugdhena dugdhenayanothsavam na,., 1-69

My eyes are celebrating a festival,
Due to this boy’s ever shifting eyes,
Due to his face which is picture perfect,
And due to his dress which is suitable for cow herds.

Andholithagra bhujamakula nethra leelaa,
Mardhra smithar dhrava vadanambhuja chandra bimbam,
Sinjena bhooshana satham sikhi pincha moulim,
Seetham vilochana rasayana mabhuyupaithi.., 1-70

Coming towards me is a principle, who is nectar to the eye,
Who keeps on shaking his hands, who rotates his eye,
Whose face with its melting smile resembles the moon,
Who wears ornaments making sound and wears peacock feathers on his head.

Pasupala pala parishad vibhooshanam,
Sisuresha sheethala viloloa lochana,
Mrudula smithardra vadanendu sampada,
Madhayan madheeya hrudayam vigahathe,., 1-71

My heart is churned by that God,
Who is the ornament to the group of cowherds,
Who has cool and always moving eyes,
And whose face is adorned by a pretty smile.

Thaditha mupanatham thamala neelam,
Tharala vilochana tharabhi ramam,
Mudhitha mudhitha vakthra chandra bimbam,
Makharitha venu vilasi jeevitham may.., 1-72

In front of my eyes always stands Lord Krishna,
Who is as blue as a dark thamala[11] tree,
Who is very pretty with his ever shifting eyes,
Who has a face similar to the very happy moon,
And who is the soul for the music from his flute.

Chapalya seema chapalanubhavaika seema,
Chathurya seema chathuranana shilpa seema,
Sourabhya seema sakaladhbutha keli seema,
Soubhagya seema thadhidham vruja bhagya seema.., 1-73

He is the upper limit to changing behaviour,
An upper limit to the pleasure of Goddess Lakshmi,
An upper limit to sharp capabilities,
An upper limit to creation of Lord Brahma,
An upper limit to the good scent,
An upper limit to the wonderful play,
An upper limit to good luck,
And an upper limit to the luck of Vruja bhoomi.

Madhuryena dwiguna sisuram vakthrachandram vahanthi,
Vamsee veedhi vigaladha amrutha srothasaa sechayanthi,
Madvaneenaam viharanapadam matha soubhagya bhaajaam,
Math punyaanaam parinathiraho nethroyo sannidathe.., 1-74

He who has a face which is twice colder and prettier than the moon,
He who through the music of his flute waters the streets with nectar,
And he who is the subject of my words is the personification of my luck,
And the good deeds done by me earlier and is standing before me.

Thejasesthu namo dhenu paline, loka paline,
Radhapayodarothsanga sayine, sesha sayine.., 1-75

Salutations to the cowherd who looks after this world,
Salutations to he who sleeps on the breasts of Radha as well as Adhi sesha,

Dhenupala dhayothaasthana sthali,
Dhanya kunkuma nadha kanthaye,
Venu Geetha gathi moola vedhase,
Thejase thadidhamom namo nama.., 1-76

I salute and salute Lord Krishna who shines due to chest being coated,
With the saffron paste from the breasts of the cowherd maidens during love play,
And who is the primeval force playing the divine flute.

Mrudhukwana noopura mandharena, balena padambuja pallavena,
Anuswanan manjula venu Geetha maayaathi may jeevithamatha keli.., 1-77

Coming towards me is the boy who is like my soul,
Who dances slowly with anklets tied to his lotus like feet,
Which is in tune with the very musical notes from his flute.

Soyam vilasa murali ninaadhaamruthena,
Sinjinnu danchithamidham mama karna yugmam,
Aayathi may nayana bandhur ananya bandhu,
Rananda kandalitha keli kadaksha lakshya.., 1-78
Lord Krishna who can be seen by joyous side long glances
And who is the only relative of those who do not have anybody,
Is coming here with the nectar of pretty music,
From his flute which I am trying to listen,

Dooradwilokayathi varana khela gami,
Dhara kadaksha barithena vilochanena,
Aardhupaithihrudayangama venu nadha,
Veni dhugena dasanavaranena deva.., 1-79

I am being watched by his eyes full of enthusiasm,
From the distance by that God,
Who walks playfully like an elephant,
And then with bewitching music from his flute,
Along with sweet lips, he is coming near me.

Tribhuvana sarasabhyam divya leela kalabhyam,
Drusi drusi sisirabhyaam deeptha bhoosha padabhyam,
Asarana saranabhyam madhbuthabhuyam padabhyam,
Ayamaya manukoojadwenu raayathi Deva.., 1-80

Walking with his wonderful feet accompanied,
By the music that he sings in the flute is Lord Krishna,
Who makes people of all the three worlds happy,
Who engages himself in several different sports,
Who makes people happy and cool by his sight,
Who shines with several ornaments that he wears,
And who is the protector of those who do not have any one.

Soyam muneendra jana manasa thapa haari,
Soyam madha vruja vadhoovasanapahari,
Soyam trutheeya bhuvaneswara dara hari,
Soyam madheeya hrudhyambhuruhapa hari.., 1-81

He is the one who removes pains of the mind of sages,
He is the one who stole the dress of the proud Vruja maidens,
He is the one who stole the pride of Indra, the king of devas,
And he is the one who entered my mind and stole it.

Sarvagnathwe cha maughdhye cha saarva bhoumamidham mama,
Nirvisan nayanam thejo nirvana padamasnuthe.., 1-82

After searching and finding this light who is the emperor,
Of the who knows everything and of the who does not know anything,
My eyes are enjoying the sweetness of salvation.

Krishnana methath punaruktha shobha,
Mushne tharamsorudhayam mukhendho,
Trushnamburasim dwigunee karothi,
Krishna hwayam kinchanajeevitham may.., 1-83

My indescribable life of life
Is called Krishna with its moon like face,
Is spreading coolness like the real moon,
And is doubling the moon light on all sides
And makes my sea of desire overflow doubly.

Thadhe thadhathara vilochana sri,
Sambhavitha sesha vinamra vargam,
Muhur murarermadhuradharoshtam,
Mukhambhujam chumbathi manasam may.., 1-84

My mind kisses again and again the lotus like face,
With its pretty divine red eyes,
And with a very sweet lips
And makes all the devotees happy.

Karou saradhdanchithambhuja vilasa shiksha guru,
Padhou vibhudha padapa pradhama pallovllanginou,
Drusou dalitha durmadha tribhuvanopamana sriyou,
Vilokaya vilochanamruthamaho mahachisavam., 1-85

Please enjoy the great childish look.which is the nectar to the eye,
Of hands that teach the beauty of the lotus flower in the autumn,
Of his feet that beats the light of the tender leaves of wish giving tree of deva loka,
And of his eyes that beats all comparable things in the world with its beauty.

Aachinwanamahanya hani saakaraanvihara kraama,
Narundhanamarundathi hrudayam apyardhrasmithasya sriya,
Aathanwana manaya janma nayana slaghya managhyam dasa,
Mamandham vruja sundari sthana thati samrajyamujrumbathe.., 1-86

Before my eyes grows fast the Krishna principle,
Which is engaged in newer and newer plays every day,
Which due to his pretty face wearing cooling smile, melts even the heart of Arundathi,
And the prettiness of which is being appreciated by the love God himself,
And which for ever lives in the breasts of pretty ladies of Vruja clan.

Samuchwaseetha youvanm tharala saisavalankrutham,
Madhchasooritha lochanam madana mandahasa mrutham,
Prathikshana vilokanam pranaya peetha vamsee mukham,
Jaga thraya vimohanm, jayathu mamakam jeevitham.., 1-87

Victory to Lord Krishna who is my life,
For when the buds of youth comes out from him,
The ornaments and decorations of childhood slips away,
And he has that which shine with feelings of passion,
And he has the nectar of smile of love which makes others swoon,
His looks change every moment and are new always,
He has a mouth which drinks the music of love from his flute,
And he attracts and bewitches all the three worlds.

Chithram, thadethath charanaravindam,
Chithram thdethan nayanaravindam,
Chithram thadethath vadanaravindam,
Chithram thadethath pnaramba chithram.., 1-88

Wonderful are the lotus feet of Krishna appearing before me,
Wonderful are the lotus like eyes of Krishna appearing before me,
Wonderful are the lotus like face of Krishna appearing before me,
And Oh mother everything about Lord Krishna is wonderful.

Akhila bhuvanaika bhooshana,
Madhi bhooshitha jaladhiduhithru kucha kumbham,
Vruja yuvathi hara vallee,
Marathaka nayakamaha manim vande.., 1-89

I salute lord Krishna who is the emerald gem,
In the middle of the garland of the Vruja maidens,
And who is the ornament for the breasts of Goddess Lakshmi
And also an ornament for the entire universe.

Kanthaa kucha Grahana vigraha badha Lakshmi,
Khandanga raga rasa ranjitha manjula sree,
Ganda sthalee mukura mandala khela mana,
Gharmanguram kimapi kelathi Krishna theja.., 1-90

One ball of light called Krishna is playing before me,
And when he holds the hair of Rukhmani and trying to kiss her neck,
She hugs him tightly and a part of the red sandal paste,
In her body attaches to the blue body of his,
And in his mirror like cheeks the sweat drops are playing.

Madhuram madhuram vapurasya vibhor,
Madhuram madhram vadanam madhuram,
Madhu gandhe mrudu smithametha daho,
Madhuram madhuram madhuram Madhram.., 1-91

The body of this lord is sweeter than sweetest,
His face with its slow smile and with the scent of honey,
Is sweet to me and is sweeter than sweetest,
Sweet, sweet, sweet and sweet.

Srungara rasa sarrvaswam shiki pincha bhooshanam,
Angeekruthanaraa kaaraa masraye bhuvanasrayam.., 1-92

I surrender to him whom the worlds surrender,
Who is the entire essence of love,
Who decorates himself with peacock feathers,
And who is born as a human being due to his will.

Naadhyaapi pasyathikadachana darsanena,
Chithena chopa nishadaa sudrusaam sahasram,
Sa thwam chiramnayanoyaranyo padavyaam,
Swamin kayaa nu krupaya mama sannihathse.., 1-93

Oh Lord, why is it that you, who is not visible,
To the great scholars of Sasthras and Upanishads,
And are great due to their great minds,
But appear in front of my ordinary eyes,
And are staying a long time there,
Without any reason or cause.

Keyam kanthi Kesava Thwan mukhendo,
Koayam vesha kopi vachama bhoomi,
Seyam seyam swadhuthaa manjula sree,
Bhooyo bhooyo bhooyasasthwam namami.., 1-94

Oh Kesava, how shall I describe the light in your moon like face,
How shall I describe to others your present form,
That light and that body are sweet and pretty,
And again, again and again I salute them.

Vadanendu vinirjjitha sasee,
Dasadha deva, padam prapadhyathe,
Adhikaam sriyamasnuthe thraraam,
Thava karunya vijjrumbitham kiyath.., 1-95

How can I describe your great mercy,
Because the moon being defeated by your face,
Lost all its pride and appeared in your ten nails of your feet,
And is getting much more brilliance than he ever had.

Ththwan mukham kadhami vabhja samana kukshyam,
Vang maadhuri bahula parva kala samrudham,
Thath kim bhaven mam param bhuvanaika kantham,
Yasya thwad aanana samaa sushamaa sada syath.., 1-96

Your face which is complete with several crescents of sweet words,
Can never be compared to the moon rising from the sea or to the lotus?
How can I ever describe its prettiness and if I need some thing to compare it,
I should combine all the pretty things in the world and try.

Susrooshase yadi vacha srunu maamakeenaam,
Poorvair Poorva kavibhirna kadakshitham yath,
Neerajana karma madhurambhavananondho,
Nirvyaja mahathi chiraya sasi pradheepa.., 1-97

If you want to hear great words which were not told,
And if you want to hear them from me, please hear.
The moon can become a light and take up the job,
Of doing neerajanam[12] to your face,without any expectation for a long time.

Akhanda nirvana rasa pravahair,
Veekhandeethaa sesha rasantharaani,
Niyanthritho dwandha sudharnavaani,
Jayanthi sheethaani thava smithani.., 1-98

Your smile which is the broad flow of the extract of salvation,
Blows away the sweetness of every other thing known to us,
And is the place where the sea of the nectar stays,
And are cooling my eyes and are victorious.

Kamam santhu sahasrasa kathi paye swarasyadhoureyakaa,
Kamam vaa kamneeyathaa parinathi swa rajya badha vruthaa,
Thairnaiva vivadhamahe na cha vayam deva, priyam bhroomahe,
Yath sathyamramaneeyathaa parinathisthwayeva paaram gathaa.., 1-99

Oh God, let there be few or thousands of very lucky people,
Let there be very many people competing to be most pretty,
Let the God of love, Indra and others compete for this,
But I do not consider them as some one worth competing,
For telling the real truth, in prettiness or in being lucky,
Being in their acme, it is only in you and you only.

Mandhara moolre madanabhi ramm,
Bimbadhara pooritha venu nadham,
Gogopa gopi jna madhya samstham,
Gopam Bhajegokula poorna chandram.., 1-100

I pray, that cowherd who is the full moon of Gokula,
Who is more attractive than love God
Sitting below wish giving tree,
And playing the flute sweetly,
And is in between cows, Gopis and Gopas

Galad vreelaa llaa madana vanithaa, gopa vanithaa,
Maduspeetham geetham kimapi madhuraaschaapaladhuraa,
Samrujrumbha gumbhaa madhurimagiraam maadrusa giraam,
Thwayi sthane jathe dhadhathi chapalam janma saphalam.., 1-101

My listless life has become one of great success,
Because of your birth,which made the passionate Gopis,
Crowding around you without shyness for a love play,
While the music they sung is dripping sweet like honey,
And your playfulness was even sweet for great yogis,
And words of mine have become sweet like those of a poet.

Bhuvanam bhavanam vilasinee sree,
Sthanayou thamara sasasna smarancha,
Paricharaparam paraa surendraa,
Sthadhapi thwacharitham vibho vichithram.., 1-102

Your history is very strange Oh God,
For your home is this world, your lover Lakshmi Devi,
Your sons are Lord Brahma and the God of love Manmatha,
And your servants are devas along with their king.

Deva sthree lokee soubhagya, Kasthuree thilakangura,
Jiyad vrujanga nananga,Keli lalitha Vibhrama.., 1-103

Let Victory be that of Krishna, who with his musk thilaka,
Is the great ornament for all the three worlds,
And he is the one who is interested in love play with Vruja maidens.

Premadancha may, Kamadancha may,
Vedanancha may Vaibhavancha may,
Jeevanancha may, jeevithancha may,
Daivathancha may deva, naa aparam.., 1-104

There is no god for me except lord Krishna,
 Who gives me love, who gives me passion,
Who gives me wisdom, who gives me wealth,
Who gives me soul and also very long life.

Madhryena vijrubathaam,
Vacho na sthava vaibhave,
Chapalyen vivardhantham,
Chintha nasthava saisave.., 1-105

Let my words become sweet,
Because I am listing out your greatness,
And let my mind become pure,
Because I am thinking of your plays of childhood.

Yaani thwat charithamruthani rasanaa lehyaani dhanyathmanaam,
Ye vaa saisava chapala vruthikuraa radhaparadhonmukha,
Yaa vaa bhavitha venu geethi gathayo leelaa mukhomburuhe,
Dharaa vahikaya vahanthu hrudhaye thaanyeva may.., 1-106

Let the nectar like stories of yours,
That are tasty like juicy food for the blessed,
Your not so suitable plays that you did with Radha,
And the sweetest tunes from your flute,
That came from the mischievous face of yours,
Again and again flow in my mind without stop.

Bhakthiryadhi sthirathaa bhagwan yadi sya-,
Daivena na phalitha divya kisora veshe,
Mukthiswayam mukulitharanjalireva chaasmaan,
Darmartha kama gatha yassamaya pratheekshaa.., 1-107

Oh God if I have firm devotion to your child hood form,
Salvation would come and reach me with folded hands,
But dharma, wealth and desires would reach me only,
At prescribed times and so let my devotion to you be stable.

Jaya jaya jaya deva deva,
Tribhuvana mangala divya nama dheya,
Jaya jaya jaya Bala Krishna deva,
Sravana mano nayanamruthaavatharaa.., 1-108

Victory, victory victory to God,
Whose name brings all the good to the three worlds,
Victory, victory, victory to the God child Krishna,
Whose incarnation is sweet to hear and see and to the mind.

Thubhyam nirbhara harsha varsha vivasavesa sphutavirbhava-,
Chapalyena vibhooshitheshu sukrutham bhaveshu nirbhasathe,
Srimath gokula mandanaya mahathe vaachaam vidhoora sphura,
Nmadhurya karasarnavaya mahase kasmai chidasmai nama.., 1-109

My salutations you, who has come in front of me.
Who is being decorated by torrential rain of happiness,
And shining by the intense desire,
Who is decorated by ebbing childish pranks,
Who appears clearly in the mind of the holy souls,
Who is an ornament for the gokula blessed with wealth,
Who is great and is far beyond the reach of words,
Who is like a sea for happiness and is shining,
And who cannot be adequately described by any one.

Eesana deva charanaabharanenanivee,
Damodhara stirayasastha bakol gamena,
Leela sukhena rachitham Deva, Krishna,
Karnamrutham vahathu kalpa sathantharepi.., 1-110

Oh God Krishna, Leelasukha who considers,
The feet of Lord Shiva as his ornament,
And who is desirous of writing a famous prayer,
Addressed to Krishna, who was tied by Yasodha,
Has composed this nectar to the ears of Krishna,
Which he hopes would be sweet to him after billions of years also.

Ithi Sri Krishna karnamruthe Prahama aaswasa samaptha.