THE SOUNDARYA LAHARI

STANZAS 61 TO 70

¢¹t£yaE    Bag:    -   saWÓdyIlhr£

AsaW    nasav|SÞt¤¢hn    ¢g¢r    v|S    Òvjp¢z
  Ïvd£yaE    nEd£y:    Plt¤    PlmÞmakm¤¢ctm¯    ,
vhÏyÓtm¤I³a:    ¢S¢Srkr    ¢náas    g¢lt|
  sm¦ÑGYa    yäOasa|    b¢hr¢p    c    m¤³am¢NDr:    .   61   .
AsaW    this
nasav|S:    the bamboo like bridge of the nose
t¤¢hn    ¢g¢r    the snowy mountain (Himavan)
v|S    Òvj   p¢z    the banner of the race! (Sakti)
Ïvd£y:    your
nEd£y:    which is imminent
Plt¤    Pl|    let the reward fructify
AÞmak|    for us
u¢ct|    appropriate
vh¢t    bears
AÓt:    m¤³a:    the pearls within (Bamboo bears pearls within by the poetic convention)
¢S¢Srkr    ¢náas:    the cool exhalation (out of the left nostril controlled by moon and hence cool)
g¢lt|    flowing
sm¦ÑGYa     yt¯     from the profusion of which
tasa|    b¢h:   A¢p   c    and on the outside also
m¤³a    m¢N   Dr:    bears the pearl (nose ornament)

        Oh   banner   of   the   race   of   the   snowy   mountain!   let   this bamboo   like   bridge of   your   nose,   fructify   for   us   the   reward which   is   imminent   and   appropriate. It   (the   nose)   bears   pearls within,   and   flowing   from   the   profusion   of   which, by   the   cool exhalation   (through   the   nostril),   it   bears   the   pearl   (nose ornament)   on   the   outside   also.  
p#k]Ïya{{r³ayaÞtv    s¤d¢t    dÓtÅCdâcE:
  p#vßyE    saÜy|    jnyt¤    Pl|    ¢vd#mlta    ,
n    ¢b|b|    t¢ë|b    p#¢tPln    ragadâ¢Nt|
  t¤lamÒyaraEF¤|    kT¢mv    ¢vlÇjEt    klya    .   62   .  
p#k]Ïya    naturally
Aar³aya:    which is red
tv    your
s¤d¢t    Oh one with beautiful teeth! (Sakti)
dÓt    Cd   âcE:    to the beauty of the lips
p#vßyE    I speak
saÜy|    of that which is similar
jnyt¤    Pl|    let it bear fruit
¢vd#m    lta    the coral creeper
n    not
¢b|b|    the Bimba fruit (which is red is commonly used by poets for comparing with a woman's lips(
tt¯    ¢b|b    that image (the red lips)
p#¢t    Pln   ragat¯    out of desire to reflect
Aâ¢Nt|    is red
t¤la|    the balance
AÒyaraEF¤|     to ascend
kT|    iv    how will it (not be)
¢vlÇjEt     bashful
klya    by a little bit

       Oh   one   with   beautiful   teeth!   I   speak   of   that   which   is similar   to   the beauty   of   your   lips,   which   is   naturally red.   Let   the   coral   creeper   bear   fruit! The   Bimba   fruit out   of   desire   to   reflect   that   image   (the   red   lips)   is   red. (Hence)   how   will   it   not   be   bashful   to   ascend   the   balance (for   being   weighed   against   the   red   lips)   by   even   a   little bit?
Note:   The   Bimba   fruit   compared   to   red   lips   by   poets
is   inadequate   in   this   case.   Hence   an   imaginary   fruit,
namely   the   coral   fruit   is   suggested   as   a   possible   standard
of   comparison.  
¢ÞmtÇyaEÏs"a    jal|    tv    vdn    cÓd#Þy    ¢pbta|
  ckaEraNamas£d¢t    rstya    c·¤    j¢fma    ,
AtÞtE    S£ta|SaErm¦t    lhr£maØl    âcy:
  ¢pb¢Ót    ÞvÅCÓd|    ¢n¢S    ¢n¢S    B¦S|    ka¢¸k¢Dya    .   63   .  
¢Þmt    smile
ÇyaEÏs"a     jal|     mass of moon light
tv    vdn   cÓd#Þy    of the moon of your face
¢pbta|    drinking
ckaEraNa|    for the Cakora birds (the Greek partridge by poetic convention feeds on moon beams)
Aas£t¯    became
A¢t    rstya    from excessive (sweet) taste
c·¤    j¢fma    dull in the beak
At:    tE    therefore they
S£ta|SaE:    of the moon
Am¦t    lhr£|    the wave of nectar
AaØl    âcy:    desiring sour taste
¢pb¢Ót     they drink
ÞvÅCÓd|     of their own free will
¢n¢S    ¢n¢S    every night
B¦S|    excessively
ka¢¸k    ¢Dya    thinking it to be sour gruel

     The   Cakora   birds   drinking   the   mass   of   moonlight   of   (your) smile,   of   the  moon   of   your   face   became   dull   in   the   beak, from   excesive   (sweet)   taste. Desiring   sour   taste,   therefore, they   drink   of   their   own   free   will,   excessively every   night,  the   wave   of   nectar   of   the   moon,   thinking   it   to   be   sour   gruel.  
A¢v½aÓt|    pÏy¤g¤INgN    kTam#Efnjpa
  jpap¤ÝpÅCaya    tv    jn¢n    ¢jºa    jy¢t    sa    ,
ydg#as£naya:    ÞP¢zk    xdÅCÅC¢vmy£
  srÞvÏya    m¥¢tI:    p¢rNm¢t    ma¢NÀy    vp¤xa    .   64   .
A¢v½aÓt|     unceasingly
pÏy¤:    of the husband (Siva)
g¤N    gN   kTa    stories enumerating the virtues
Aam#Efn    jpa    by repeated prayer
jpa    p¤Ýp   Caya    the colour of the hibiscus flower (red)
tv    jn¢n    your Oh Mother! (Sakti)
¢jºa    tongue
jy¢t    sa    that (tongue) is victorious
yt¯    of which
Ag#    Aas£naya:    seated on the tip
ÞP¢zkxd    crystal stone
AÅC    C¢vmy£    clearly brilliant
srÞvÏya:     of Saraswati
m¥¢tI:    form
p¢rNm¢t    is transformed
ma¢NÀy    ruby
vp¤xa    appearence

         Oh   Mother!   that   tongue   of   your's   (which)   is   the   colour   of  the   hibiscus flower,   by   unceasingly   repeated   prayer   of   stories enumerating   the   virtues   of (your)   husband,   is   victorious. Seated   on   the   tip   of   which   the   crystal   stone (like)   clearly brilliant   form   of   Saraswati   is   transformed   into   a   ruby   (like) appearence.  
rNE    ¢jÏva    dWÏyanp¶t    ¢SrÞæOW:    kv¢c¢B:
  ¢nv¦äOWàÎfa|S    ¢æOp¤rhr    ¢nmaIÚy    ¢vm¤KW:    ,
¢vSaKEÓd#aEpEÓd#W:    S¢S¢vSd    kp¥IrSkla
  ¢vl£yÓtE    matÞtv    vdn    taØb¥l    kbla:    .   65   .  
rNE    in battle
¢jÏva    having won
dWÏyan¯    the Daityas (the demons)
Ap¶t    who have removed
¢SrÞæOW:     with helmets
kv¢c¢B:    with armours
¢nv¦äOW:     who have returned
cÎfa|S    the share of Chanda (a demi god attendent of Siva)
¢æOp¤rhr     ¢nmaIÚy     the remnants of offerings to the Destroyer of the three bodies, (physical, casual and astral) (Siva)
¢vm¤KW:     who are averse to
¢vSaK    Kartikeya (son of Siva and Sakti, and the commander of the gods in battle)
iÓd#    Indra (the lord of the gods)
upEÓd#W:    by Vishnu (the elder brother of Indra)
S¢S    ¢vSd    white as the moon
kp¥Ir    Skla    fragments of camphor
¢vl£yÓtE     they are dissolved (by chewing)
mat:    Oh Mother! (Sakti)
tv    vdn    your mouth
taØb¥l    the betel leaf and areca nut (chewed after a meal)
kbla:    mouthfuls

        Oh   Mother!   the   mouthfuls   of   betel   leaf   and   areca   nut   with fragments   of   camphor   white   as   the   moon,   from   your   mouth, are   dissolved   (by   chewing)   by   Visakha,   Indra   and   Upendra, who   have   returned,   having   won   the   Daityas   in battle,   who have   removed   the   helmets   and   armour   and   who   are   averse   to the   remnants   of   offerings   to   Siva,   which   is   the   share   of  Chanda   (alone).  
¢vp|Åya    gayÓt£    ¢v¢vDmpdan|    pS¤ptE
  ÞÏvyarÖDE    v³|    c¢lt¢Srsa    saD¤vcnE    ,
td£yWmaID¤yIrpl¢pt    tÓæO£klrva|
  ¢nja|    v£Na|    vaN£    ¢nc¤ly¢t    caElEn    ¢nB¦tm¯    .   66   .
¢vp|Åya    with the lute
gayÓt£     singing
¢v¢vD    varied
Apdan|    noble work
pS¤ptE:    of Pasupati (Siva)
Ïvya    AarÖDE    when you began
v³|    to speak
c¢lt    ¢Srsa    with the nodding of the head (in appreciation)
saD¤    vcnE    words of approbation
td£yW:    by their
maD¤yI:    sweetness (of the words)
Apl¢pt    detracted
tÓæO£     kl    rva|     the low sweet tones of the strings (of the lute)
¢nja|    v£Na|    own lute
vaN£    Saraswati (the goddess of speech, learning, music etc)
¢nc¤ly¢t     covers
caElEn    by the wrapper
¢nB¦tm¯     out of sight
 
      When   Saraswati   was   singing   with   the   lute   of   the   varied noble   work(s)   of   Pasupati,   (and)   when   you   began   to   speak  words   of   approbation   with   the nodding   of   (your)   head, (thinking)   the   low   sweet   tones   of   the   strings   of   her own lute   as   detracted   by   their   sweetness,   she   covers   (it)   out of   sight   with the   wrapper.  
krag#EN    Þp¦¾|    t¤¢hn¢g¢rNa    vÏsltya
  ¢g¢rSEnaEdÞt|    m¤h^rDrpanakltya    ,
krg#a/|    S|BaEm¤IKm¤krv¦Ót|    ¢g¢rs¤tE
  kT|kar|    b#¥mÞtv    c¤b¤kmaWpØy    r¢htm¯    .   67   .  
krag#EN    by the tips of the hand
Þp¦¾|     touched
t¤¢hn    ¢g¢rNa    by the snowy mountain (Himavan, the father)
vÏsltya    with paternal affection
¢g¢rSEn    by Girisa (Siva)
udÞt|    raised
m¤h^:    repeatedly
ADr    pan   Aakltya    intent on kissing
kr    g#a/|    worthy of being held by the hand
S|BaE:    of Sambhu (Siva)
m¤K    m¤kr   v¦Ót|    the handle for the mirror of the face
¢g¢r    s¤tE    Oh daughter of the mountain! (Sakti)
kT|kar|    b#¥m:    in what manner will we speak
tv    of your
c¤b¤k|     chin
AaWpØy    r¢htm¯    beyond compare

       Oh   daughter   of   the   mountain!   in   what   manner   will   we   speak of   your   chin   touched   by   the   tips   of   the   hand   by   Himavan   with paternal   affection,   which   was   repeatedly   raised   by   Girisa intent   on   kissing,   which   is   worthy   of   being   held   by the   hand  of   Sambhu,   which   is   the   handle   for   the   mirror   of   the   face nd   which
is   beyond   compare?  
B¤jaÜlExa¢°Ïy|    p¤rdm¢yt¤:    kÎzkvt£
  tv    g#£va    DäOE    m¤Kkmlnal    ¢½y¢mym¯    ,
Þvt:    áEta    kalagâ    bh^l    jØbalm¢lna
  m¦Nal£la¢lÏy|    vh¢t    ydDaE    harl¢tka      .68   .  
B¤j    AaÜlExat¯    from the embrace of the arms
¢nÏy|    always
p¤rdm¢yt¤:     of the subduer of the (three) bodies (Siva)
kÎzkvt£     with horripilation
tv    g#£va    your throat
DäOE    bears
m¤K    kml    the lotus of the face
nal    ¢½ym¯    the beauty of the stalk
iy|    this
Þvt:    innately
áEta    white
kal    Agâ    black sandal
bh^l    copious
jØbal    m¢lna    mud soiled
m¦Nal£     root of the lotus
la¢lÏy|    loveliness
vh¢t    bears
yt¯    AD:    below which
har    l¢tka    the necklace of pearls

       This   your   throat   which   is   with   horripilation   always   from the   embrace   of   the   arms   of   Siva,   bears   the   beauty   of   the stalk   of   the   lotus   of   the   face.   Below which   the   necklace of   pearls,   innately   white   (and)   soiled   by   the   copious   mud of   the   black   sandal   bears   the   loveliness   of   the   root   of   the lotus.  
glE    rEKa¢Þt*aE    g¢t    gmk    g£tWk    ¢np¤NE
  ¢vvah    ÛyanÑG    p#g¤Ng¤N    s|Áya    p#¢tB¤v:    ,
¢vrajÓtE    nana¢vD    mD¤r    ragakr    B¤va|
  æOyaNa|    g#amaNa|    ¢ÞT¢t    ¢nym    s£man    iv    tE    .   69   .
glE    in the neck
rEKa:    ¢t*:    three lines
g¢t    musical modes
gmk    musical modulations
g£t    songs
ek    ¢np¤NE    Oh sole expert!
¢vvah    ÛyanÑG    tied well at the wedding
p#g¤N    g¤N   s|Áya    the number of the many stranded thread
p#¢tB¤v:     a reminder
¢vrajÓtE     they shine
nana    ¢vD    many varieties
mD¤r    rag    sweet musical modes
Aakar    the forms of
B¤va|    produced from
æOyaNa|    the three
g#amaNa|    scales of music
¢ÞT¢t     fixity
¢nym    restricting
s£man    boundary
iv    like
tE    your

       Oh   sole   expert   of   musical   modes,   musical   modulations   and songs!   The   three   lines   in   your   neck   which   are   like   a   reminder of   the   number   of   the   many stranded   thread   tied   well   at   the wedding,   which   are   like   the   boundary restricting   the   fixity of   the   three   scales   of   music,   from   which   the   forms of   many varieties   of   sweet   musical   modes   are   produced,   shine.  
m¦Nal£    m¦¹£na|    tv    B¤jltana|    cts¦Na|
  ct¤¢BI:    saWÓdyI|    sr¢sjBv:    ÞtaW¢t    vdnW:    ,
nKE×y:    sÓæOÞyn¯    p#Tm    mTnadÓDk¢rpaE:
  ct¤NaI|    S£xaINa|    smmBy    hÞtapIN    ¢Dya    .   70   .
m¦Nal£     lotus stalk
m¦¹£na|     soft as
tv    B¤j   ltana|    your creeper like hands
cts¦Na|    four (hands)
ct¤¢BI:     with the four (mouths)
saWÓdyI|    beauty
sr¢sj    Bv:    the lotus born (Brahma)
ÞtaW¢t    praises
vdnW:    with (his) mouths (in the four remaining heads out of the five of the original)
nKE×y:    of the nails
sÓæOÞyn¯     being afraid
p#Tm    mTnat¯    from the destruction of the first (head)
AÓDk    ¢rpaE:    of the enemy of (the demon) Andhaka, (Siva)
ct¤NaI|    the four (heads)
S£xaINa|    (remaining) heads
sm|    simultaneous
ABy    hÞt    the hand offering refuge from fear
ApIN    ¢Dya    with the mind to placing

        Brahma   praises   the   beauty   of   your   four   creeper   like   hands, soft   as   the lotus   stalk   with   (his)   four   (remaining)   mouths, being   afraid   of   the   nails   of Siva   from   the   destruction   of the   first   (head,   by   them),   with   the   mind   to  the   simultaneous placing   of   the   four   (remaining)   heads   in   the   hand   offering refuge   from   fear.    
PROCEED TO STANZAS 71 TO 80
RETURN TO STANZAS 51 TO 60
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