meaning for kuru yadu nandan Ashtapadi

[09soumya]

pls help me with the meaning of the Ashtapadi Kurur Yadu Nadana pls

[cheens]

If you need just the lyrics. Here it is http://www.carnatica.net/special/8padi_eng.pdf

[keerthi]

This is the very last asTapadI

go to the above link and list the stanzas you want, and I can try translating them.. the whole astapadi is a bit too big..

p.s - What raga do you have it sung in..?

[hemaseshan]

Thanks so much for the lyrics. I need the meaning too for the last ashtapadi ..kuru yadunandana...Thanks

[Enna_Solven]

Here are the slOka that go before this astapadi. Next post has the actual astapadi. (from http://www.sanskritdocuments.org/sites/giirvaani/)


pratyUhaH pulaka ankureNanibiDa AshleSa nimeSeNa ca
krIDa AkUta vilokite adhara sudhA pAne kathA narmabhi
Ananda adhigamenamanmatha kalA yuddhe api yasmin AbhUt
udbhUtaH saH tayoH babhUva surata arambhaH priyam bhAvukaH
12-3. This verse is titled as suratArambha candra hAsam yasmin = wherein (in which romance); nibiDa+ASleSa = in tight, embrace; pulaka+ ankureNa = hair, sprouts (thrills of body, or by the word sprout, a blade of grass coming in between them in their embrace, is a hurdle); krIDa+AkUta+vilokite = in sports, intentionally, while seeing (at each other); nimeSeNa + ca = by winking, also; adhara+sudhA+pAne = lips', nectar, while swilling; kathA+ narmabhiH = tales, secret; manmatha+kalA+yuddhe+api = Love-god's, art, war of; Ananda+ adhigamena = in pleasure, deriving; pratyUhaH+AbhUt = obstacles, occurred; saH = that; tayoH = to two of them, RAdha Krishna; udbhUta+surata+ ArambhaH = bechanced, starting of romance; priyam+bhAvukaH+babhUva = highly, desirable, they became.

In which romance some obstacles have occurred, like body thrills while in tight embrace, or winking while intently looking at each other, or when telling a secret tale while swilling the nectar of lips, or even in deriving pleasure during the art of love-war, those obstacles too, have become highly desirable onesto both of them, for they are brief separations in union.


dorbhyAm samyamitaH payodhara bhAreNa ApIDitaH pANijaiH
Aviddho dashanaiH kshatA adhara puTaH shroNi taTena AhataH
hastena AnamitaH kace adhara madhu syandena sammohitaH
kAntaH kAm api tRiptim Apa tat aho kAmasya vAmAgatiH
This verse is titled as kAma tRipta kAminIi hAsam dorbhyAm+samyamitaH = by both arms, fastened; payodhara+bhareNa+ApIDitaH = by bosoms, weight, burdened; pANi +jaiH = by hand, born ones - nails; AviddhaH = scratched; dashanaiH+ kshatA+adhara+ puTaH = by teeth, bitten, lips, edges; shroNi+taTena = river, banks (riverbank like hips); AhataH = pounded; hastena+anamitaH+kace = by hand, pulled, hair; adhara+madhu+syandena + sammohitaH = lips, honey (liquor, ) by flow of, bemused; kAntaH = lover (Krishna); kAm+api = somewhat, something - unsayable; tRiptim+Apa = satisfaction, he got; tat = thereby; aho +kAmasya+vAmA+gatiH = aho, Love-god's, left (hence, what an unspeakable deviant) behaviour.

Fastened by both arms, burdened under bosoms' weight, scratched by nails, bitten by teeth at lips, pounded by riverbanks like hips, pulled by head-hair by hand to bend face to pour liquor-like honey of lips... huh... even if tortures of love are many, her lover is deriving some unsayable satisfaction... aho, unspeakable is the deviant behaviour of Love-god... isn't so?


vAma anke rati keli sankula raNa Arambhe tayA sAhasa prAyam
kAnta jayAya kincit upari prArambhi yat sambhramAt
niSpandA jaghana sthalI shithilitAa dorvalliH utkampitam
vaksho militam akshi pauruSa rasaH strINAm kutaH sidhyati
This verse is titled as pauruSa rasa prema vilAsham yat = by which reason; vAma+anke = from left, flank; tayA = by her; rati+keli+sankula raNa+Arambhe = love, sports, huddle, war, started; kAnta+jayAya = lover, to conquer; sambhramAt = frensiedly (or, ecstatically); sAhasa+prAyam = venturing, overbearingly; upari+kincit+prArambhi = on him, for a while, commenced; (tat = by that reason); jaghana+ sthalI+niSpandA = hips, area, unmoved; dorvalliH+shithilitAa = tendril like arms, caved in; vakshaH+utkampitam = bust, throbbed (breathless); akshi+militam = eyes, drooped; strINAm = for women; pauruSa+rasaH = manly, mood (intrusiveness); kutaH+sidhyati = from where, accessible.

By which reason she rose from his left flank, and commenced huddle of love-war on him for a while like a sport in a frensied, venturing, and overbearing manner, aiming only to conquer her lover, for that reason alone, unmoved is her hip, tendril like arms caved in, bust throbbed breathlessly, and her eyes drooped... wherefrom women can attain manly intrusiveness!


tasyAH pATala pANija ankitam uro nidrA kaSAye dRishau
nirdhautaH adhara shoNimA vilulitaH srastAH srajaH mUrdhajAH
kAncI dAma dara shlatha ancalam iti prAtaH nikhAtaiH dRishoH
ebhiH kAma sharaiH tat adbhutam abhUt patyuH manaH kIlitam
12-6. This verse is titled as kAmAdbhuta abhinava mRigAnka lekham tasyAH+ uraH = her, chest; pATala+pANija+ankitam = by red, fingernails, scratched (by this redness, the red flower called pATala, one of the flower-arrows of Manmatha, is cited dRishau+ nidrA + kaSAye = eyes (eyeballs, ) by sleeplessness, reddened by this redness, the red lotus arrow of Love-god is cited adhara+ shoNimA+nirdhautaH = lips, redness, washed out by this redness, mUrdha jAH+vilulitaH = head hair, tousled; srastAH+srajaH = slithered, sprays of flowers; kAncI dAma+dara+ shlatha + ancalam = golden waist-strings, a little, slipped, at edges by this gold of waistband the golden coloured flower arrow, the fifth arrow of Love-god is cited; iti = this way; prAtaH = in early morning; dRishoH+nikhAtaiH = in glances, shafted; ebhiH+kAma+ sharaiH = by these, Love-god's, arrows; patyuH+manaH = husband's (Krishna's, ) heart; kIlitam = torn; tat+adbhutam+abhUt = that, a wonder, happened again.

Her chest bore red scratches scratched with red fingernails, and her eyes reddened by sleeplessness, roseate colour of lips is washed out, hair tousled, flower-sprays in bun slithered, golden waist-string loosened and dangling, all owing to the shafts of Love-god... but when her husband caught sight of such an arrow-stuck love on the next morning, those very same arrows presently stuck in her body are now shafted and stuck in his eyes... isn't it not doubly wondrous... (12-6)


tvAm aprApya mayi svayamvaraparAm kshIrodatIrodare |
shanke sundari kAlakUTam apiban mUDho mRiDAnI patiH |
ittham purva kathAbhiH asya manao nikshipya vAmAncalam |
tAdhAyAH stanakorakoparicalan netro hariH pAtu vaH


vyAkoshaH kesha pAshaH taralitam alakaiH sveda mokshau kapolau
kliSTA bimba adhara shrIH kucala sharucA hAritA hAra yaSTiH
kAncI kAntiH hata AshA stana jaghana padam pANinA AcChadya sadyaH
pashyantI satrapAn tat api vilulitA mugdha kantiH dhinoti
vyAkoshaH+kesha+pAshaH = unloosened, hair, braids; taralitam+alakaiH = moving (unruly, ) hair locks sveda+mokshau+kapolau = sweat, releasing, cheeks; kliSTA+ bimba + adhara+shrIH = faded, red, lips, splendour; kucala sharucA = pot-like bosoms (luxury ); hAritA+hAra+yaSTiH = stolen, by pearly, pendants (the lustre of pearly pendants is submerged in her body colour, as there is no bodice); kAncI+kAntiH+hata+AshA = waist-string's, brilliance, marred, at hope; stana jaghana padam = bust, waist, places; sadyaH = then; pANinA+AcChadya = by hands, covering; pashyantI+satrapAn = glancing, embarrassedly; mugdha+kantiH = one with beautiful, resplendence; sA = she that RAdha; tat+ vilulitA+api = by that, untidy, even; dhinoti = gladdening (Krishna. )

Her braid unloosened, hair-locks unruly, cheeks sweating, red splendour of lips faded, hue of pearl-pendants merged with body colour, hopeless is the golden brilliance of waist-string, and such a RAdha then started to glance embarrassedly, covering her bust and hips with hands and arms, and though 'that' rendered her that untidy, she is gladdening Krishna with her own beautiful resplendence.


ISat milita dRiSTi mugdha vilasat sItkAra dhArA vashAt
avyakta Akula keli kAku vikasat danta amshu dhauta adharam
shAnta stabdha payodharam bhRisha pariSvangAt kurangI dRishau
harSa utkarSa vimukta nissaha tanoH dhanyaH dhayati Ananam
dhanyaH = he (that Krishna is) highly merited soul; harSa+utkarSa+vimukta+ nissaha+ tanoH = by gladness, by ecstasy, released, impatient, with such a physique (physique of RAdha); kurangI+ dRishau = one with deer like, glances; ISat+milita+dRiSTi = a little, closed, sight; mugdha+vilasat+ sItkAra+dhArA+vashAt = girlish, elating, sighs, series, controlled; avyakta+Akula+keli+kAku = unclear, flurried, in sport, murmurs; vikasat+danta+ amshu+dhauta+adharam = brightening, teeth's, glitter, washed, lower lip; Ananam = a face (having such a glittering teeth); bhRisha+pariSvangAt = by tight, hugging; shAnta+stabdha +payodharam = silenced, quietened, bosoms; dhayati = one who swills (kisses) such a beauty.

Krishna tightly embraced the deer-like glanced RAdha who is released from the ecstatic impatience owing to her gladness to meet Krishna and whose bosoms are silenced and quietened, little closed are her eyes, a series of girlish sighs are controlling her, she is emitting unclear and flurried murmurs, and her face is awash with the gleam of sparkles of her teeth, hence he who kissed such a beauteous face that Krishna is the highly merited soul.


atha sahasA suprItam surata ante sA nitAnta khinna angI
rAdhA jagAda sAdaram idam Anandena govindam
12-9. atha = then; sA+rAdhA = she, that RAdha; surata+ante = act, at end of; nitAnta +khinna+angI = absolutely, tired, with limbs; sahasA = quickly (for, she cannot be in that shabby condition, and she is now helpless to decorate herself with a presentable getup); suprItam+govindam = to gladdened, Govinda; Anandena = with (her own) gladness; idam = this sentence; sAdaram+jagAda = with tenderness, said.

Then, she that RAdha, whose limbs are absolutely tired after the act, quickly said this to the gladdener of all beings, namely Govinda, intermingling her own gladness.

[Enna_Solven]

From http://www.sanskritdocuments.org/sites/giirvaani/

ashTapadi 24
suprIta pItAmbaratAlashrNi
kuru yadu nandana chandana shishira tareNa kareNa payodhare
mRiga mada patrakam atra manobhava maNgala kalasha sahodare
nijagAda sA yadu nandane
krIDati hRidaya anandane
sA = she that RAdha; hRidaya+anandane = to hearts, delighter (Krishna); yadu + nandane = Yadu clan's, delight (Krishna); krIDati = when he is disporting, enjoying (archaic. relaxation); ni+jagAda = insistently, spoke; hè yadu nandana = o, Yadu's son (Krishna ); chandana = sandal-paste shishira+tareNa = dew, (cooler) than; kareNa = with palms; mano bhava = mind born one, Love-god's (place of); maNgala+kalasha+sahodare = auspicious, vessel's, co-birthed (where these vessels are two, one - full with nectar brought by Dhanvantari during the churning of Milk Ocean, and some drops of which fell on earth when Garuda was bringing it, thereby those drops sprinkled on herbs and plants, making them useful for medicinal use; the other - Goddess Lakshmi herself as she emerged out of the same ocean. As a symbolic representation for Lakshmi Devi, a vessel decorated with sandal paste, anong with water, milk, leafs, sacred rice etc, will be arranged in the first instance of any worship. Here, RAdha is identifying herself as a co-born one to Lakshmi from Milky Ocean, or with the vessel of nectar brought by Dhanvantari); atra+payodhare = there, on those (nectarous) bosoms; mRiga+mada = musk-deer's, fat- musk; patrakam = foliage; kuru = make, paint.

When Krishna is enjoying himself she that RAdha insistently spoke this to the delighter of hearts and the clan of Yadu, paint musky foliages on my bosoms, the abode of Love-god, and the co-born ones to auspicious vessel, O the delight of Yadu's clan, paint on them with your own palms that are cooler than the sandal-paste...


ali kula ganjanakam anjanakam rati nAyaka sAyaka mochane
tvat adhara cumbana lambita kajjala ujjvalaya priya lochane
hè priye = o, dear; rati+nAyaka = love, hero (Love-god); sAyaka+mochane = arrows, that release (i. e., that which release sidelong-glances as effective a Love-god's arrows, my eyes); tvat+adhara+ cumbana+lambita = by your, lip, while kissing, dangled (stippled); kajjala = mascara; lochane = on such eyes; ali+kula = honeybees, swarms of; ganjanam = that belies; anjanakam = mascara; ujjvalaya = brighten up.

My eyes release sidelong-glances that are akin to the arrows of Love-god, but when you kissed them their mascara is stippled, Oh, dear, brighten them up, with such mascara that belies the blackness of swarms of honeybees...


nayana kuranga taranga vikAsa nirAsa kare shruti maNDale
manasija pAsha vilAsa dhare shubha vesha niveshaya kuNDale
24-3. shubha+vesha = oh, auspiciously, attired one; nayana+kuranga = eyes, (called) deer; taranga +vikAsa = springing, encouraging (freeness); nirAsa+kare = hopeless, makers; manasija+pAsha+ vilAsa+ dhare = Love-god's, reins, with an air, bearing; shruti+maNDale = on ear, areas (lobes); kuNDale+ niveshaya = knobby earrings, restore.

My ears make the springing freeness of my deer-like glances of my eyes hopeless by reining them, O auspiciously attired one, restore knobby earrings on those ears that bear an air of Love-god's reins...


bhramara chayam racahayantam upari ruchiram suchiram mama sanmukhe
jita kamale vimale parikarmaya narma janakam alakam mukhe
hè kamala Anana = O, lotus-faced Krishna (ellipted from next song); jita+kamale+vimale = conquered (more, ) lotus (in full bloom, ) in immaculacy; mama+ mukhe+ upari = my, face, over; suchiram = always; bhramara+chayam = honeybees, swarms of; racahayantam = crafted, designed (iva sthitam = as if, staying); narma+janakam = lure, causing; ruchiram+alakam = beautiful, hair-locks; sanmukhe = before me (standing before me, so that I can be in your close proximity - proximity is the wish than adjusting hair-locks); parikarmaya = make (readjust. )

My face is more immaculate than a lotus in full boom and it always had luring and beautiful hair-locks crafted like swarms of honeybees, O, lotus-faced one, readjust them standing before me...


mRiga mada rasa valitam lalitam kuru tilakam alika rajanI kare
vihita kalanka kalam kamala anana vishramita shrama shIkare
kamala anana = oh, lotus faced one' vishramita = lulled; shrama+shIkare = strain's, drops - sweat drops; alika rajanI kare = on forehead (called, ) moon; mRiga mada+rasa+valitam (tilakam) = with musk's, liquid, rubbed in (cinnabar paste); vihita+kalanka+kalam = having, blotch, phase of moon; tilakam+ lalitam +kuru = mark on forehead, beautifully, you make (repaint. )

My forehead is moonlike and on it sweat-drops are lulled by now, and by rubbing cinnabar paste in liquefied musk, O, lotus-faced one, beautifully repaint my forehead mark, like that of the blotch on the face of moon... (24-5)


mama ruchire chikure kuru mAnada mAnasija dhvaja chAmare
rati galite lalite kusumAni shikhaNDi shikhaNDaka DAmare
hè mAnada = oh, adorable one; ruchire = cute one; mAnasija+dhvaja+ chAmare = Love-god's, on flagstaff, pennon; rati+galite = in love-play, scrambled up; lalite = pretty; shikhaNDi+ shikhaNDaka = peacock's, plumage; DAmare = threatens; mama+chikure = in my, braid bun; kusumAni+kuru = flowers, you deck.

My braided hair is cute like the pennon on the flagstaff of Love-god, but that is scrambled up in love-act, oh, adorable one, you deck flowers in that pretty braid that threatens the beauty of peacock's plumage...


sarasa ghane jaghane mama shambara dAraNa vAraNa kandare
maNir ashanA vasana AbharaNAni shubhAshaya vAsaya sundare
hè shubhAshaya = oh, one with auspicious aims (or, shubha+A+shaya = one in whose hands all good fortunes are); sarasa = burly (or, one with romantic seal); ghane = big one; shambara = Shambara the demon; dAraNa = in ripping; vAraNa = elephant - (the elephant of Love-god that ripped a demon named Shambara - elephantine); kandare = slope of mountain; sundare = picturesque; mama+jaghane = my, on buttocks, on hips; maNi+rashanA = bejewelled, waist-strings; vasana = dresses; AbharaNAni = ornaments; vAsaya = decorate.

My hips are big and burly and will be like the picturesque and elephantine mountain-slopes, oh, one with gracing hand, decorate them with dresses and bejewelled ornaments, and waist-strings...

Here the stress used by the poet is for reminding nature's curvaceous beauty, but not the contours of a personified goddess or deity. It is necessary to identify RAdha with whole Nature, and Krishna with the delighter of that Nature, as none else can satisfy her.


shrI jayadeva vachasi ruchire hRidayam sadayam kuru maNDane
hari charaNa smaraNa amRita nirmita kali kaluSa jvara khaNDane
he Krishna; ruchire = delicate (mellowly); maNDane = (sahRihadya hRidayaiH) = decorative (like the central ruby on chest pendant); hari+charaNa+smaraNa = Krishna, on feet, meditating; amRita+ nirmita = by that nectar, built up; kali+kaluSa+jvara+khaNDane = Kali era, impurities, fevers caused by it, eradicator of; jayadeva+vachasi = Jayadeva, said by; shrI = auspicious saying; hRidayam+sadayam+kuru = your heart, benign, you make.

Oh, Krishna, you make your heart benign to listen the auspicious saying rendered by Jayadeva, which is built up with the nectar derived from the meditation on the feet of yours, and which is an eradicator of fevers caused by the impurities of Kali Era... §