Kumarasambava canto3

1. thasmin maghonaH thridhaSaan vihaaya

    sahasram akshNaam yugapath papaatha

    prayojanaapekshithyaa prabhooNaam

    praayaH chalam gouravam aaSritheshu

 

 

All the thousand eyes of Indra fell on him ignoring the devas  Usually the masters show consideration for the dependents when there is any use from them.

 

 

Thasmin-on him

 

sahasram akshnaam - all thousand eyes

 

maghonaH- of Indra

 

: papaatha- fell

 

 yugapath- at the same time

 

vihaaya -leaving

 

thridhaSaan - the devas

 

 Meaning that he was all eyes only for Manmatha because he expected a service from him and hence showed his favour.

 

prabhooNaam - of the masters

 

gouravam- honour

 

chalam -goes

 

aaSritheshu -to their dependents

 

prayojanaapekshayaa- in expectation of service

 

2.sa vaasavenaasana sannikrshtam

    itho nisheedha ithi visrashtabhoomiH

    bharthuH prasaadham prathinandhya moorDhnaa

    vakthum miThaH praakramatha evam enam

 

He, Manmatha, being shown a place near the throne of Indra, accepted the honour of the master with head and started talking to him confidentially.

 

saH- Manmatha

 

visrshtabhoomiH- being shown a place

 

itho nisheedha ithi- saying, sit here,

 

vaasavena- by Indra

 

aasana sannikrshtam- near his throne,

 

abhinandhya- accepting

 

prasaadham- the honour

 

moorDhnaa- by his head ( bowing down)

 

praakramatha- started

 

vakthum- to speak

 

miThaH- confidentially.

 

Manmatha is what is known as  a narma sachiva, assisting Indra in secret matters such as love or disturbing the penance of others etc

 

 

3. aajnaapaya jnaathaviSesha pumsaam

    lokeshu yath the karaNeeyam asthi

    anugraham samsmraNa pravrttham

    icChaami samvarDhitham aajnayaa the 

 

Command me, you who know the merits of men, what is that to be done  in all the worlds for you. I wish to improve the honour shown by you in remembering me by doing your command.

 

aajnaapaya-command me

 

jnaathavisesha- you who know the merits

 

pumsaam- of men

 

yath-which

 

karaNeeyam – is to be done

 

the- for you

 

lokeshu- in all the worlds.

 

icChaami- I wish

 

anugraham- the honour

 

samsmaraNa pravrttham – started by your remembering me

 

samvarDhitham- to be invreased

 

the aajnyaa – by your command

 

 

 

4.kenaabhyasooyaa padhakaankshiNaa the

   nithaanthadheerghaih janithaa thapobhiH

   yaavath bhavathyaahitha saayakasya   

   mathkaarmukasya asya nidheSavarthee

 

By whom, being desirous of your post envy is created through penance of extremely long duration due to which he should be made to obey the command of my bow fixed with the arrow.

 

kena- by whom

 

the padhakaankshiNaa- being desirous of your post

 

asooyaa- envy

 

janithaa- is created (in your mind)

 

thapobhiH- by (his) penance

 

nithaantha DheerghaiH- of long duration

 

yaavath- due to which

 

bhavathu – he is to be

 

nidheSavarthee- the servant (one who obeys the command)

 

asya mathkaarmukasya- of this bow of mine

 

aahithasayakasya- with arrow fixed to it.

 

It is usually the practice of Indra to send Manmatha to entice the heart of the one doing penance, with the fear that he is aiming for the post of Indra so that he would forget his penance and indulge in a life with the apsaras sent by Indra, like Visvamitra and others. So Manmatha expects him to order such activities.

 

5. asammathaH kasthava mukthimaargam

    punarbhavakleSabhayaath prapannaH

    badDhaSchiram thishTathu sundhareeNaam

    aarechithabhroochathuraiH kataakshaiH

 

 

Who, following the path of salvation against  your wish, should be

imprisoned for long by the glances of beautiful damsels with arched eyebrows.

 

kaH- who

 

thava asammathaH- against your wish,

 

prapannaH- resorting to

 

mukthimaargam- the path of salvation

 

puanrbhavakleSabhayaath- due to the fear of rebirth,

 

thishTathu- is to stay

 

badDhaH- bound

 

chiram – for a long time

 

kataakshaiH- by the glances

 

sundhareeNaam- of beautiful damsels

 

aarechithabhroochathuraiH –with arched eyebrows.

 

 

   The devas do not like people who try for salvation because if people do not follow karma kanda of the Vedas and do the yajnas the devas will not get their havirbhaga.

 

6.aDhyaapithasya usanasaapi neethim

   prayuktharaagapraNiDhiH dhvishaH the

   kasyaarTha dharmou vadha peedayaami

   sinDhoH thataavogha iva  pravrdDhaH

 

Who is the enemy of yours, even if instructed by Sukra himself in polity, I should deprive of dharma and arTha through the messenger of desire flooded like the  water of the river in spate.

 

Kasya- of which

 

the dhvishaH- enemy of yours

 

aDhyaapthasya- who is instructed

 

neethim – of polity

 

usanasaa api- even by  Sukra,

 

peedayaami- should I attack

 

arTha Dharmou – his dharma and arTha ( by depriving him of both)

 

prayuktharaagapraNiDhiH –using  desire as the messenger

 

iva –like

 

thatou – the banks

 

sinDhoH – of the river

 

oghapravrdDhaH- by increasing  flow.That is like a river in spate , desire,breaking the banks, viz. dharma and kama.

 

The asuras are known to be the enemies of the devas and their preceptor is Sukracharya who instructs them on neethi so that they can amass wealth and sustain it through dharma. Manmatha says that he will instill desire in their hearts so that they will swerve from dharma and hence los e their wealth being conquered by the devas.

 

 

 

7. kaam ekapathneevrathadhuhkhaSeelaam

    lolam manaH chaaruthayaa pravishtaam

    nithambineem icChasi mukthalajjaam

    kanTe svayamgraahanishakthabaahum

 

Which heavy hipped  lady has entered in to your fickle mind because of her beauty, who is of difficult attitiude due to being a pathivratha, should  I make free of bashfulness so that she herself winds her arms around your neck.

 

Kaam – which

 

nithambineem- heavy hipped lady

 

pravishtaam – who has entered

 

lolam manaH- your fickle mind 

 

chaaruthayaa- by her beauty,

 

ekapathneevrtha dhuhkhaSeelaam- who is of difficult attitude due to her fidelity to her husband alone

 

icchasi –do you wish

 

kanTe svayamgraahanishakthabaahum- to wind her arms around yourneck

 

mukthalajjaam- casting off her modesty.

 

Manmatha here proves to be a narmasachiva. This reminds one of theAhalya episode but it happened much later. Kalidasa shows Indra to be amorous and desiring beautiful ladies even if they happen to be married to another.

 

 

 

8. kayaasi kaamin surathaaparaaDhaath

    paadhaanathaH kopanayaa avaDhoothaH

    thasyaaH karishyaami dhrDaanuthaapam

    paravaalasayyaasaraNam sareeram

 

By whom are you, who is lustful, insulted after falling at her feet due to some offence committed in love? I will make her remorseful and resort to the bed of tender sprouts.

 

Kaamin- lustful one,

 

 

Kayaa- by whom,

 

Kopanayaa- who was angry

 

surathaaparaaDhaath- from your offence in love

 

avadhoothaH – you were insulted

 

padhaanathaH- having fallen at her feet

 

karishyami- I will do

 

thasyaah- of her (I will make her)

 

dhrDaanuthaaapam- highly remorseful

 

Sareera- her body

 

pravaalaSayya saraNam-  resorting to the bed of tender sprouts

 

 

 

9. praseedha viSraamyathu veera vajram

    SaraiH madheeyaiH kathamaH suraariH

    bibhethu mogheekrthabaahuveeryaH

    sthreebhyopi kopasphurithaaDharaabhyaH

 

Be pleased, oh valiant one, let your vajrayudha  rest. Who is the enemy of the devas who should be made empty of the might of his arms and become afraid of even the women with lips throbbing in anger by my arrows.

 

Veera- Oh valiant one,

 

praseedha-be pleased

 

vajram – the vajrayudha

 

viSraamyathu- ,may take rest.

 

kathamaH – which

 

suraariH- enemy of the devas

 

mogheekrthabaahuveeryaH- should be made empty of the might of his arms

 

bibhethu- and feel fear

 

sthreebhiyaH api – even from  the ladies

 

kopasphurithaaDharaabhyaH- whose lips are throbbing with anger.

 

 

 

10.thava prasaadhaath kusumaayuDhopi

     sahaayam eakam maDhumeva labDhvaa

     kuryaam harasyaapi pinaakapaaNeH

     Dhairyachyuthim ke mama Dhanvino anye

 

By your grace, even though I have only flowers as arrows, with the help of Vasantha alone I will cause the weakening of the mind of even Siva who wields the pinaka bow. What are other bowmen to me?

 

thavaprasaadhaatH- by your grace

 

kusumaayuDho api- even though I have only flowers as arrows

 

labDhvaa- acquiring

 

sahaayam- help

 

maDhum eva- of Vasanta alone

 

kuryaam- will accomplish

 

Dhairyachyuthim- weakening of the resolve

 

harasya api- even Siva

 

pinaakapaaNeH- who wields the pinaka bow

 

ke – who are

 

anye DhanvinaH- the other bow men

 

mama- to me.

 

11. aThorudheSaaath avathaarya paadham

      aakraanthi sambhaavitha paadha peeTam

      sankalptithharThe vivrthaathma Sakthim

      aakhandalaH kaamam idham babhaashe

 

Indra, after putting down his foot from his thigh on the footrest honoured by the feet on it, spoke to Manmatha , who had displayed his ability in the purpose at hand.

 

aTha-then

 

avathaarya- putting down

 

urudheSaath- from the thigh

 

paadham - foot

 

sambhaavitha – which graced

 

paadhapeetam- the footrest

 

aakraanthi –by its occupying it

 

aakhandalaH- Indra

 

babahaashe- spoke

 

idham - this

 

kaamam- to Manmatha

 

vivrtha aathma Sakthim- who has displayed his power

 

sankalpithaarThe- in the task thought of (by Indra)

 

Indra was sitting with one foot on his thigh that signifies his kingship of devas, and when Kama spoke to him he took off the foot on his thigh and placed it on the footrest along with the other foot and the poet says that the footstool had the honour of bearing his both foot. It shows that he was pleased with Manmatha who has already outlined unknowingly what was in the mind of Indra by his boastful words.

 

 

12.sarvam sakhe thvayi upapannam ethath

    ubhe mama asthre kuliSam bha vaan cha

    vajram thapoveeryamahathsu kunTam

    thvam sarvatho gaami cha saaDhakam cha

 

My friend, all you have said is fitting to your status and two are my missiles, you and vajra. But towards those who are great with the power of penance vajra is ineffective, while you go capable of going anywhere and accomplish the deed.

 

sakhe- friend

 

sarvam ethath- all this (that you have said)

 

upapannam- are applicable

 

thvayi-  in you

 

mama asthre- my missiles

 

ubhe- two

 

kuliSam- vajrayudha

 

bhavaan cha- and you

 

vajram – the vajrayudha

 

kunTam- is blunt ( ineffective )

 

thapoveeryamahathsu- in those who are great due to their power of penance

 

thvam – you

 

sarvathogaami-are able to go everywhere

 

saaDhakam cha- and successful

 

 

13.avaimi the saaram athaH khalu thvaam

     kaarye guruni aathmasamam niyokshye

     vyaadhiSyathe bhooDharathaam avekshya

     krshNena dhehodhvahanaaya SeshaH

 

I know your value and therefore I assign to  you  a  tremendous job as you are equal to me. Adhisesha  is entrusted with the task of bearing Him by Lord Vishnu , seeing his ability to bear the earth.

 

 

avaimi- I know

 

the saaram- your value

 

athaH – therefore

 

khalu- indeed

 

niyokshye – I will entrust

 

thvaam – you

 

aathma samam-who is equal to me

 

kaarye- with a work

 

guruNi- which is big.

 

SeshaH- Adisesha

 

vyaadhiSyathe- is posted

 

dhehodhvahanaaya – in bearing His body

 

krshNena- by Vishnu

 

avekshya- seeing

 

bhooDharathaam – his ability to bear the earth.

 

14.aaSamsathaa baNAgathim vrshaanke

    kaaryam thvayaa naH prathipanna kalpam

    niboDha yajnaamSabujaam idhaaneem

    ucchaiH dhvishaam eepsitham ethadheva

 

The task of directing the arrows towards Siva, which you mentioned, is that to  be done by you for us. This is what is desired by the devas who have enemies of supreme power.

 

kaaryam – the task

 

prathipanakalpam- to be accomplished

 

thvayaa- by you

 

naH- for us

 

aaSamsathaa- as proclaimed(already by you)

 

baanagathim- is directing of arrows

 

vrshaanke- towards Siva

 

niboDha- understand

 

ethath eva- this is the only

 

eepsitham- desired objective

 

idhaaneem – at present

 

yajnaamSa bhujaam- for the devas ( yajnaamSabhuk means one who enjoys the offering made in the yajna- used here in shashti bahuvachanam)

 

ucchaiH dhvishaam- whose enemies are of great might.ucchaiH means high above or loud, the enemies of devas, like Tharaksura, were of high powers . Hence ucchaiH is used.

 

15. amee hi veeryaprabhavam bhavasya

     jayaaya senaanyam uSanthi dhevaaH

     sa cha thvadhekeshunipaathasaaDhyaH

     brahmaangabhooH brahmaNi yojithaathmaa

 

These devas wish to get a commander born out of the power of Siva for victory over enemies. He , Siva, who came out of the body of Brahma, could only be empowered by your arrows, now that he is contemplating on Brahman.

 

amee devaaH- these devas

 

uSanthi- wish for

 

senaanyam – commander

 

veeryaprabhavam- born of the power of

 

bhavasya- Siva

 

jayaaya – to win  (the enemies)

 

sa cha- and he

 

brahmaangabhooH- who came out of the body of Brahma

 

yojithaathmaa- who is contemplating

 

brahmaNi- on Brahman

 

nipaatha saaDhyaH – could be felled

 

thavadhekeshu- by your arrow alone.

 

 

The allusion here is to Rudra being born from Brahma for the purpose of reproduction and he cried asking his name and got the name of rudra , rodhanena rudhraH. Then brahma created 10 more forms of him and that is the ekadasa rudra. This is mentioned in srimadbhagavatham and Vishnupurana. He produced sons as fierce as himself and they started annihilating the universe and Brahma asked him to stop reproduction and asked him to go and do penance. Kalidasa seems to refer to this allusion.

 

 

16.thasmai himaadhreH prayathaam thanoojaam

    Yathaathmane rochayithum yathasva

    Yoshithsu thadh veeryanisheka bhoomiH

    Saiva kshamaa ithi aathmabuvuvaa upadhishtam

 

 

Hence you now try to entice the daughter of the mountain who is devout towards him who is self controlled. She alone is the deserving ground for placing his power . Thus it was instructed by Brahma

 

Yathasva- you try

 

rochayithum- to entice

 

thasmai – towards him

 

yathaathmane – who is self-controlled

 

thanoojaam- the daughter

 

prayathaam –who is devout or restrained

 

himaadhreH- of Himavan

 

saa eva- she alone

 

kshamaa- is capable

 

thath veerya nisheka bhoomiH –to be  the ground for placing his power

 

yoshithsu- among women

 

ithi upadhishtam- thus it was instructed

 

aatmabhuvaa- by Brahma.(aathmabhoo means self created)

 

 

yathaatmane – one who is self controlled is the word that implies the forthcoming result of the endeavour of Manmatha. It signifies that to distract the mind of Siva who was a yathaathman is bound to be a failure.

 

 

17.gurorniyogaacha nagendgrakanyaa

    sThaaNum thapasyantham aDhithyakaayaam

    anvaastha ithyapsarasaam mukhebhyaH

    Srutham mayaa math praNidhiH sa vargaH

 

The daughter of Himavan is serving Siva, who is doing penance at the top of Himalayas, being commanded by her father. I heard this from the report of the apsara damsels who are my spies.

 

nagendhrakanya- the daughter of the king of mountains, Parvati,

 

guroH niyogaath- on the command of her father

 

anvaassthe- serves

 

sThaaNum- Siva

 

thapasyantham- who is doing penance

 

aDhithyakaayaam- on the top of the mountain

 

ithi- thus

 

Srutham –heard

 

mayaa- by me

 

apsarasaam mukhebhyaH- from the words of the apsrasa damsels

 

sa vargaH- that class

 

math praNiDhiH – are my spies.

 

 

18.thadhgacCha sidDhyai kuru dhevakaaryam

     arTho ayam arThaantharabhaavya eva

     apekshathe prathyayam utthamam thvaam

    beejaankuraH praagudhayaadhibvaambhaH

 

Hence you go and do the word for the devas. This result ( the birth of kumara) is to be accomplished by another cause and it requires you like the sprout from the seed requires water before it originates.

 

 

thath gacCha- hence you go

 

kuru-do

 

devakaaryam- the deed for the devas

 

ayam arThaH- this result (of the birth of commander of deva army)

 

arThaantharabhaavya eva- can only be accomplished by another cause, ( the presence of Parvati)

 

apekshathe- it requires

 

prathyayam utthamam- the final cause

 

thavaam –that is , you

 

iva –like

 

beejaankuraH- the sprout that comes out of the seed (requires)

 

ambhaH- water

 

praagudhayaath- before its appearance

 

For anything to happen, there are three reasons or causes. The material, the efficient and the auxiliary. The seed is the material cause of a sprout and the efficient cause is the one who planted it. But  the seed needs water to sprout. Like that Siva is the material cause and the presence of parvati is the efficient cause .But the love between siva andparvati to sprout Manmatha is needed. Hence he is compared to the water.

 

19.thasmin suraaNaam vijayaabhyupaaye

     thavaiva naama asthragathiH krthee thvam

     apyaprasidDHam yaSase hi pumsaam

     ananyasaaDhaaraNameva karma

 

In that mission of victory of the devas yours is the only missile that succeeds. A deed which cannot be accomplished by anyone, even if insignificant, brings fame to men.

 

thasmin vijayaabhyupaaye-in that mission of victory

 

suraaNaam- of the devas

 

thava eva- yours is the only

 

asthragathiH – missile that reaches the goal.

 

Krthee  thvam- you are blessed

 

aprasidDham- even if insignificant

 

karma – the deed

 

ananya saaDhaaraNam eva -only if it is unachievable by any one else

 

yaSase- is for the fame

 

pumasaam- of men

 

It means that even insignificant deed if it cannot be achieved by anyone else brings fame. Hence a deed like this is sure to bring fame. He meant that this deed namely to bring union between Parvati and Siva cannot be achieved by any one else4 but Manmatha and therefore it  will add to his glory.

 

 

 

20.suraaH samabhyarThayithaara ethe

    kaaryam thrayaaNaam api vishtapaanaam

    chaapena the karma na cha athihimsram

    aho bathaasi sprhaNeeyaveeryaH

 

These devas want this to be done in all the three worlds, the deed which can be done by your bow which is not much violent. Your valour is indeed desirable.

ethe suraaH-these devas

 

samabhyarthithaaraH – are requesting you

 

kaaryam- this result

 

thrayaaNaam api vishtapaanaam- in all the three worlds ( which is beneficial to all the three worlds)

 

karma – the deed (to be done)

 

the chaapena- by  your bow

 

na cha athi himsram- not very violent ( being pushpachapa)

aho batha asi-alas you are

 

sprhaNeeya veeryaH- one whose valour is desirable.

 

 

 

21. maDhuScha the manmaTha saahacharyaath

      asou anuktho api sahaaya eva

      sameeraNo nodhayithaa bhavethi

      vyaadhiSyathe kena huthaaSanasya

 

This vasantha, spring who always accompanies you will be assisting you in this without being asked. Who asks the wind to impel the fire ?

 

manmaTha- Oh Manmatha

 

asou maDhuH cha – this  Vasantha also

 

the saahacharyaath- being your accomplice

 

sahaaya eva- will be of assistance

 

anuktho api- without being asked

 

kena – by whom

 

sameeraNaH- the wind

 

vyaadhiSyathe- is directed

 

nodhayithaa bhava- “you be the driving force

 

huthaasanasya  -of the fire”

 

ithi – thus.

 

 

 

22. thaThethi seshaam iva bharthuraajnaam

     aadhaaya moorDhnaa madhanaH prathasThe

     airaavathaasphaalanakarkaSena

     hasthena pasparSa thadhangam indhraH

 

Manmatha accepted the command of his master as though it was prasadha like a garland worn by him, and started to go. Indra touched his body with his hand made  rough by patting on Airavatha.

 

madhanaH- Manmatha

 

aadhaaya – taking

 

aajnaa- the command

 

bharthuH – of his master

 

moorDhnaa – by his head

 

Seshaam iva-like a prasada (garland worn by the master)

 

prathasThe- started to go.

 

indhraH – Indra

 

pasparSa- touched

 

thadhangam- his body

 

hasthena – with his hand

 

airaavathaasphaalana karakSena- which was rough by patting Airavatha often

 

23. sa maaDhavenaabhimathena sakhyaa

     rathyaa cha saaSankam anuprayaathaH

     angavyaapraarThitha kaaryasidDhu\iH

     sThaanvaaSramamhaimavatham jagaama

 

He(Kama) entered the asrama of Siva in the Himalayas to achieve the task which was accepted even if by  losing his body, and was accompanied by his dear friend Vasantha and Rathi who followed  with trepidation.

 

saH – Kama

 

jagaama – went

 

sThaaNvaasramam- the asrama of Siva

 

haimavatham- in Himalayas

 

angavyaya praarThitha kaarya sidDhiH- determined to succeed in his work even by giving up his body or limbs

 

anuprayaathaH- followed

 

maaDhavena- by Vasantha

 

sakhyaa- who was his friend

 

abhiamthena – dear to him

 

rathyaa cha – and also Rathi

 

saaSankam- with trepidation (regarding the possible outcome of the venture)

 

 

24. thasmin vane samyaminaam muneenaam

      thapassamaaDheH prathikoolavarthee

      sankalpayoneH abhimaana bhootham

      aathmaanam aadhaaya maDhur jajrmbhe

 

The spring, who was dear to Manmatha appeared in the forest taking his own form which is disturbing to the penance of the sages who had controlled their senses.

 

maDhuH – the spring, Vasantha

 

abhimaana bhootham- who is dear

 

sankalpa yoneH- to Manmatha, (sankalpa yoni means one who has a form only through sankalpa , will as he lost his body after  being burnt by Siva)

 

 

aatmaanam aadhaaya –taking his own form as vasnathrthu

prathikoolavarthee- which was disturbing by creating obstacle

 

thapassamaaDheH- to the meditation

 

muneenaaam – to the sages

 

samyaminaam- who had controlled their senses.

 

Meaning, even the self controlled sages were disturbed on the advent of spring in the forest.

 

jajrmbhe- entered

 

thasmin vane – into that forest

 

 

 

 

 

 

25. kuberagupthaam dhiSam ushNa rasmou

     ganthum pravrtthe samayam vilanghya

     dhigdhakshiNaa gandhavaham mukhena

     vyaleeka niSvaasam ivothsasarja

 

The southern direction gave out a sigh full of fragrance when the Sun started towards the Northern direction of Kubera, in an untimely action.

 

ushNa raSmou  - when the Sun (ushNa rasmi means hot rays)

 

pravrtthe- started

 

ganthum- to go

 

dhiSam- to the direction

 

kuberagupthaam – which was guarded by kubera

 

dhigdhakshiNaa- the southern direction

 

vilanghya- transgressing

 

samayam- the right time or agreement

 

uthsasarja-gave out

 

ganDhavaham – fragrant breeze

 

mukhena- from its face

 

vyaleeka niSvaasaiva- as though a sigh of grief

 

            

When spring starts the breeze from Malaya mountain blows which carries with it the fragrance of the flowers. When spring came to the forest before the season the Sun started changing his direction to wards North leaving the south and uttarayana started. The southern direction is personified as lady who sighs with grief when her lover leaves her before the appointed time and the Northern direction is another female guarded by Kubera , meaning an ugly master. The implication is that the Northern direction is a paramour of the Sun who prefers him to her ugly partner. That is Kalidasa! This is only a beginning of many more beautiful slokas in the canto full of poetic fancy.

 

26. prasootha sadhyaH kusumaani aSokaH

      skanDhaath prabhrthyeva  sapallavaani

      paadhena naapaikshatha sundhareeNaam

      samparkam aaSinchitha noopurena

 

The ashoka tree immediately put forth flowers along with the sprouts from the trunk itself and did not need the contact with the foot of beautiful damsels with sounding anklets.

 

aSokaH- the ashoka tree

 

prasootha- put forth ( prasootha means literally gave birth to)

 

sadhyaH- immediately , that is as soon as spring entered the forest

 

kusumaani- flowers

 

sapallavaani- along with sprouts

 

skanDhaath prabhrthi eva- from the trunk itself.

 

Normally the sprouts come first and then the flowers. But the ashoka tree put forth  flowers as well as sprouts simultaneously that too not in branches but from the trunk itself. This shows the effect of the untimely spring on nature, which seemed to be in confusion.

 

na apaikshatha- it did not need, eeksh with apa meaning expecting or needing, eekshathe becomes aikshatha in past tense and with apa it becomes apaikshathe

 

samparkam- contact

 

paadhena- with the foot

 

aaSinchithanoopureNa-with anklets sounding

 

sundhareeNaam- of beautiful damsels.

 

It is the mythological belief that the ashoka tree will not give flowers unless  beautiful damsel adorned with noopura and decked with jewels  kicks it. But here the ashoka tree had no need for that says the poet. Beautiful poetical imagination.

 

 

 

27.sadhyaH pravalodhgama chaarupathre

     neethe samaapthim navachootha bane

     niveSayaamaasa maDhur dhvirephaan

     naamaksharaaNeeva manobhavasya

 

The spring, Vasantha, when finishing the arrow of the mango flower, fashioning  the mango sprouts as the feathers on it, wrote the name of his friend Manmatha on them with the bees.

 

madhuH- the spring, Vasantha

 

nava chootha baaNe- in the arrow of mango flower

 

chaarupathre – which had the beautiful feathers

 

pravaalodhgama-in the form of sprouts appearing

 

neethe samaapthim- on completion

 

niveSayaamaasa- placed ( made them enter)

dhvirephaan – the bees

 

iva – like

 

naamaaksharaaNi- the letters of the name

 

manobhavasya- of Manmatha

 

The poet fancies that the mango flower is being made into an arrow for Manmatha by Vasantha and the sprouts at the end of the flower as described in the last sloka  forms the feathers at the end of an arrow. Finally when he finished making the  arrow Vasantha writes the name of the owner, Manmatha on it by the bees which are found on it in springtime.

 

Manmatha has five flowers as his arrows, as the sloka goes

 

‘aravindham aSokam cha chootham cha navamallikaa ,

neelothpalam cha panchaithe panchabaaNasya saayakaaH’

 

Lotus, ashoka flower, mango flower,Jasmine and blue lotus are the five arrows of Manmatha, other wise known as panchabaaNa, the five arrowed.

 

 

28.varNaprakarshe sathi karNikaaram

     dhunothi nirganDhathayaa sma chethaH

     praayeNa saamgryaviDhou guNaanaam

    paraangmukhee viSvasrjaH pravrtthiH

 

The karNikara flower though rich in colour pained the heart  being devoid of smell. Generally the work of the creator is negligent in respect of the ingredients.

 

varNa prakarshe sathi- while being rich in colour

 

karNikaaram- the karNikara flower

 

dhunothi- pains

 

chethaH- heart

 

nirganDhathayaa- by being without smell.

 

praayeNa- generally

 

pravrtthiH – the action

 

viSvasrjaH- of the creator

 

paraangmukhee-is negligent

 

saamagrayviDhou- in the assemblage of

 

guNaanaam- the qualities.

 

Kalidasa with the audacity of a genius comments on the creator being negligent in his work because he has given a rich colour to the flower karnikara ( must be some flower like kanakaambaram) but omitted  to give smell to it. This is rather expected with one who challenged Vyasa himself.

 

The story goes as follows. Once Kalidasa went to Himalayas and saw the statue of Vyasa.He laughed and said “Oh this is the statue of a man who could not write one sloka without using the word ‘cha.’”Vysas heard this and appeared in front and challenged him to compose a sloka describing the relationship of Pandavas to Draoupadhi without using the word ‘Cha.’ Kalidasa never hesitated even for a moment and composed a sloka,

 

droupadhyaaH paandavaaH

pathidhevara bhaavukaaH

yuDhishtiro na dhevaraH

sahadhevo na bhaavukaH

 

and asked Vyasa “tell me where there is a ‘cha’ in this sloka. Then Vyasa was pleased and blessed him.

The meaning of the sloka  is,

The pandavas are related to Droupadhi as husband, his younger brother and his elder brother. But Yudhishtira is not a younger brother and sahadeva is not an elder brother.

 

 

29.baalendhuvakraaNi avikaaSa bhaavaath

     babhuh palaaSaani athi lohithaani

     sadhyo vasanthena samagathaanaam

     nakhakshathaneeva vanasThaleenaam

 

The  palaasa flowers curved like a crescent moon, being not full blown, shone very red and looked like the nail marks of Spring, who united suddenly,  on the forest region.

 

palaasaani- the palaasa flowers ( a kind of red flowers )

 

baalendhu vakraaNi- curved like the crescent moon (baalendhu denotes young moon or crescent moon here.)

 

avikaasa bhaavaath- being not opened fully and hence look curved

 

athilohithaani- being very red

 

babhuH -shone

 

nakhakshanthaani iva –like the nail marks

 

vanasThaleenaam- on the forest region

 

samagathaanaam – which were in union

 

vasanthena- by Vasantha, the spring

 

sadhyaH – just then.

 

The palasa flowers were a little opened by the sudden advent of spring and they appeared curved and red in that state. The poet  imagines that they are the nail marks on the body of  the forest region made by her lover Vasantha with whom she had union recently. The world vanasThalee used in feminine gender denotes the lady love of her lover, Vasantha , the spring.

 

 

30.lagnadhvirephaanjanabhakthichithram

    mukhe maDhuSreeH thilakam prakaaSya

    raageNa baalaaruNa komalena

    choothapravaaloshTam alamchakaara

 

The lady spring decorated her forehead with the tilaka made of the bees clinging together which was like the colourful bindhi and she decorated her lips, in the form of mango sprouts with the red colour like the rising Sun.

 

maDhuSree- the glory of the spring,

prakaaSya – decorating

 

thilakam – the thilaka

 

mukhe –on her face

 

lagnadhvirephaanjanabhakthichithram- by painting with the rows of the bees who cling to her as though with the black pigment

 

alamchakaara- decorated

 

choothpravaaLoshTam- her lips in the form of mango sprouts

 

raageNa – with the colour

 

baalaaruNa komalena- beautiful like the rising Sun.

 

Here the beauty of the spring is personified as a woman whose tilaka is made up of clinging rows of bees and the redness of the mango sprouts as the lipstick.

 

31.mrgaaH piyaaladhruma manjareeNaam

     rajaHkaNaiH vighnitha dhrshtipaathaaH

     madhodDhathaaH prathyanilam vicheruH

     vanasThaleeH  marmarapathramokshaaH

 

 

The deer roamed around the forest strewn with dry leaves fallen down which created murmuring sound, their vision being obstructed by the pollen from the flowers of priyalatrees, running against the wind intoxicated with the spring.

 

mrgaaH – the deer

 

vighnitha dhrshtipaathaaH- their sight being obstructed

 

rajaHkaNaiH- by the pollen dust

 

piyaala dhrumamanjareeNaam- from the flowers of the piyala trees

 

vicheruH- roamed around

 

prathyanilam- running against the wind

 

madhodDhathaaH- intoxicated with the spring

 

vanasThaleeH- in the  forest regions

 

marmarapathramokshaaH-which emitted rustling sound by the falling leaves.

 

The deer excited with the spring rush along the forest against the wind and hence their eyes are blinded by the pollen.

 

 

32.choothaankuraasvaadhakashaayakanTo

     pumskokilo yath maDhuram chukooja

     manasvineemaanavighaathadhaksham

     thadheva jaatham vachanam smarasya

 

The voice of the male cuckoos singing sweetly with their throat sweetened by eating mango sprouts, became the voice of Manmatha , which served as a blow to the pride of the women who were arrogant.

 

Yath- which music

 

pumskokilaH- the male cuckoo

 

chokooja- was singing

 

maDhuram- sweetly

 

choothaankura aasvaadha kashaaya kanTo- with its throat being stained by the eating of the mango sprouts

 

thath eva – that itself

 

jaatham- became

 

vachanam – the words

 

smarasya- of Manmatha 

 

manasvinee maana vighaatha dhaksham- which was able to destroy the pride of arrogant females.

 

Cuckoo is fond of  mango sprouts and the poet fancies that their voice is sweet because of that. The proud women who were angry with their lovers shed their anger and become filled woith love on hearing the voice of the cuckoo and it is imagined as the voice of Manmatha kindling passion in the hearts. It is to be noted that only male cuckoo is mentioned as singing sweet.

 

 

33. himavyapaayaath viSadhaaDharaaNaam

      aapaandareebhoothamukhacChaveenaam

      svedhodhgamaH kimpurushaanganaanaam

      chakre padham pathraviSeshakeshu

 

The sweat arising due to the sudden disappearance of winter made it s way  to the paintings on the body of the kimpurusha women whose faces were  a little pale ( as the effect of winter ) and their lips clear, devoid of the wax.

 

 

svedhodgamaH- the rising of sweat

 

padham chakre- made its track

 

pathra viSeshakeshu- on the paintings ( on the body)

 

kimpurusaanganaanaam- of kimpurusha women

 

visadhaaDharaaNaam- whose lips were clear

 

himavyapaayaath- due to the departure of winter

 

aapaandareebhootha mukhacChaveenaam-their faces a little pale ( because the effect of winter still lingered)

 

 

The lips of kinnara women were clear being devoid of the wax  applied to the lips in winter to prevent chaffing. But the winter being just out and that too suddenly the faces have not gained their lustre back .

 

  34.thapasvinah sThaaNuvanoukasasH thaam

     aakaalikeem veekshya maDhupravtrtthim

     praythna samsthambhithavikriyaaNaam

     kaThamchith eeSaa manasaam babhoovuH

 

The hermits of the forest where Siva was, seeing the untimely spring, became  masters of their minds with difficulty, stopping its activities with effort .

 

thapasvinah- the hermits

 

sThaaNuvanoukasasThaaH- who were doing penance in the forest where Siva was,

 

veekshya- seeing

 

maDhupravrtthim- the advent od spring

 

aakaalikeem- which was untimely

 

babhoovuH-became

 

kaThamchith-somehow( with difficulty)

 

eeSaaH- the masters

 

manasaam- of their minds

 

prayathnasamsThambhitha vikriayaaNaam-  the activities of which was stopped by effort.

 

The minds of the rshis were agitated with the advent of spring seeing the beautiful sights all around and disturbed their penance but they some how with difficulty controlled their minds  stopping their activities and turned back to their contemplation.

 

35.tham dheSam aaropitha pushpachaape

      rathidhvitheeye madhane prapanne

      kaashTaagatha sneha rasaaunuvidDham

      dhvandhvaani bhaavam kriyayaa vivavruH

 

When Manmatha arrived in that place with Rathi and Vasantha, the couples of all beings expressed their emotions which reached the upper limit of love which pervaded them.

 

 aaropitha pushpachaape-with his bow strung

 

ratahidhvitheeye-with rathi

 

madhane  prapanne-when Manmatha  arrived

 

tham dhesam- to that region

 

dhvandhvaani – the couples

 

vivavruH- expressed

 

kriyayaa- by their actions

 

bhaavam – emotions

 

kaashTaagathasneharasaanuvidDham- overcome with love which reached the highest limit

 

36. madhudhvirephaH kusumaika paathre

      papaou priyaam svaam anuvarthamaanaH

      SrngeNa cha sparSanimeelithaaksheem

      mrgeem akandooyatha krshNasaaraH

 

The honey bee drank honey from the same flower following its sweetheart as from a cup. Black deer scratched the female with its horns, which  closed its eyes on being touched.

 

dhvirephaH – the honey bee

 

papaou – drank

 

maDhu- honey

 

kusama eka paathre- from one flower as from a cup

 

anuvarathamaanaH- following

 

priyaam- his sweetheart.

 

krishnasaaraH cha- and the black  antelope

 

kandooyatha- scratched

 

mrgeem – its female

 

sparSanemeelaithaaksheem- which closed its eyes on being touched

 

Srngena- with its horn

 

 

 

37. dhadhou rasaath pankajareNuganDhi

      gajaaya gandooshajalam kareNuH

       arDhopabhukthena bisena jaayaam

       sambhaavayaamaasa raThaanganaamaa

 

The female elephant gave mouthful of water perfumed by the pollen of lotuses to its mate. The chakravaka bird flattered  its female by giving half eaten lotus stalk.

 

kareNuH= the female elephant

 

dhadhou- gave

 

rasaath – out of love

 

gandooshajalam- mouthful of water

 

gajaaya- for the male elephant.

 

raThaanganaamaa- the chakravaka bird (raTHaanga is the wheel, the part of a chariot and the chakravaaka bird is referred  by the name raThaanganaamaa, meaning one that has  chakra in its name.

 

sambhaavayaamaasa- treated

 

jaayaam- its female

 

bisena- with the lotus stalk

 

arDhopabhukthena-half eaten.

 

 

38.geethaanthreshu SramavaarileSaiH

     Kimchith samucChvaasitha pathralekham

     pushpaasavaaghoorNitha nethra Sobhi

     priyaamukham kimpurushaH chuchumbe

 

In the interval of music, the kimpurusha kissed the face of his beloved with its paint a little smudged by the sweat drops, and with eyes dazed with the wine of flowers.

 

geethaanthareshu-during the interval of music

 

kimpurushaH- the Kimpurusha

 

chuchumbe- kissed

 

priyaamukham- the face of his beloved

 

pathralekham- with its paint (make up)

 

smucChvaasitha- displaced

 

kimchith – a little

 

SramavaarileSaiH-by sweat drops

 

nethra Sobhi- with eyes shining

 

pushpaasavaaghoorNitha- and dazed by the wine of flowers

 

 

39.paryaapthapushpasthabakasthanaabhyaaH

     sphurathpravaaloshTamanoharaabhyaH

     lathaavaDhoobhyaH tharavo api avaapuH

     vinamraSakhaabhuja bandhanaani

 

The trees also received embrace, with  the arms bent , from the creepers which were full of flowers like breasts, and attractive with their lips which were freshly sprouts. 

 

tharavaH api- the trees also   

 

avvapuH- received (got)

 

vinamraSaakhaabhuja banDhanaani- the embrace ( bhanDhna implies closely binding) with the bent branches

 

lathaabhyaH- from the creepers ( which were imagined as the sweethearts of the trees owing to the masculine gender of the latter and the feminine gender of the former)

 

paryaaptha pushpa sthabaka sthanaabhyah- which had breasts in the form of full bunches of flowers

 

sphurathpravaaloshTa manoharaabhyaH- which had attractive lips in the form of fresh sprouts.(sphurath mean throbbing, implies the fresh sprouting of tender leaves.

 

Now we enter into the most beautiful part of the third canto, the description of Siva in his meditation and Parvati when she comes to serve Siva.

 

40.Sruthaapsarogeethirapi kshane asmin

    haraH prasankhyaanaparo babhoova

    aathmeSvaraaNaam na hi jaathu vighnaaH

    samaaDhibhedhaprabhavo bhavanthi

 

Siva remained in his contemplation even when he heard the songs of the apsaras. No obstacles ever disturb the contemplation of those who are masters of themselves.

 

asmin kshaNe- in that moment

 

SruthaapsarogeethiH – even though hearing the singing of the apsara damsels ( as the effect of the4 advent of spring and Manmatha)

 

haraH- Lord Siva

 

babhoova- was

 

prasamkhyaanaparaH-deep in meditation.

 

vighnaaH- obstacles

 

 bhavanthi – are

 

na hi jaathu- never at anytime

 

samaaDhibhedhaprabhavaH –capable of disturbing the samadhi

 

aathmeSvaraaNaam- of those who are masters of themselves.

 

Siva was unaffected  by the agitations of the beings around him and remained in his samadhi. This statement is substantiated by a general statement that those who are self controlled are not given to temptations. This is an example of the figure of speech known as arThanthara nyaasa.

 

41. lathagrhadhvaaragatho aTha nandhee

     vaamaprkoshTaarpitha hema vethraH

     mukhaarpithaikaangulisamjnayaa eva

     maa chaapalaayethi gaNaan vyanaisheeth

 

 

Nandi, who was wielding a golden staff in his left hand, went to the entrance of the creeper house where Siva was meditating and cautioned his followers not to yield to temptation by a mere sign of putting his finger on his mouth.

 

aTha- then

 

nandhee- Nandi

 

vaamprakoShTaarpitha hema vethraH- holding the golden staff in his left forearm

 

lathagrahadhvaaragathaH- going to the entrance of the creeper house where Siva was meditating

 

vyanaisheeth- commanded

 

gaNaan – the retinue of Siva

 

maa chaapalaaya ithi- ‘do not yield to temptation’

 

mukhaarpitha ekaanguli samjnayaa eva- by the mere sign of placing his finger on his mouth.

 

Nandi who was guarding the creeper-house where Siva was meditating, changed the golden staff that was in his right hand to his left forearm and put his finger of the right hand on his mouth which served as a caution to the sivaganas not to lose their calm tempted by the advent of spring and Manmatha.

 

 

These two and the  following slokas are full of dramatic beauty as one can visualise the scene as it is happening

 

As a result of the command of Nandi not only the sivaganas but also the whole forest became quiet as we shall see in the next sloka.

 

42.nishkampavrksham nibhrthadhvirepham

    mookaandajam Saantha mrgaprachaaram

    thath Saasanaath kaananameva sarvam

    chithraarpithaarambham iva avathasThe

 

Due to his command, the whole forest looked like a painting, with tres not shaking, the bees standing still, the birds silent and the animals not moving.

 

 

thath Saasanaath- because of his command

 

sarvam kaananam eva- the whole forest itself,

 

nishkampa vrksham-its  trees motionless

 

nibhrthadhvirepham- bees standing still (nibhrtha means still)

 

mookaandajam- the birds silent (mooka – dumb)

 

Saanthamrgaprachaaram- animals becoming quiet and not moving ( chaaram is movement prachaaram may be used to denote vigorous movement)

 

avathasThe- stood

 

iva-as though

 

chithraarpithaambham- it is painted in a picture.

 

 

It is this atmosphere in which Manmatha enters the place where Siva was meditating and we shall see his reaction on seeing the scene in next few slokas.

 

43.dhrshtiprpaaatham parihrthya thasya

     kaamaH puraH Sukram iva prayaaNe

     praantheshu samsakthanameruSaakham

     Dhyaanaaspadham bhoothapatheH viveSa.

 

 

Manmatha entered the place of meditation of Siva which was dense with the branches of nameru trees, avoiding his glance, like one avoids Sukra in front while going on a journey.

 

kaamaH – Manmatha

 

viveSa – entered

 

Dhyaanaaspadham – the place of meditation

 

bhoothapatheH- of Siva the master of bhootha ganas

 

parihrthya – avoiding

 

thasya – his

 

dhrshtiprapaatham- glance (falling  within his sight)

 

iva – like

 

prayaaNe – during a journey

 

Sukram – (one avoids)Sukra

 

purah – in front.

 

 

Manmatha entered the place where Siva was doing meditation stealthily avoiding his eye sight as one who avoids taking a journey with Sukra in front. It is said that advancing in the direction where Sukra, Budha and Angaraka, even a king equal to Indra will return losing his army. The place was densely covered with the branches of Nameru trees which helped him to enter unseen.

 

44.sa dhevadhaarudhrumavedhikaayaam

     Saardhoolacharma vyavaDhaanavathyaam

     aaseenam aasannaSareerapaathaH

     thrayambakam samyaminam dhadharSa

 

He  whose death was near, saw the three eyed Lord who was self controlled , seated on a dais made under the devadaru tree spread with tiger skin.

 

saH – that Manmatha,

 

aasannasareerapaathaH- who was about to shed his body( impending death)

 

dhadharSa- saw

 

thraymabakam- the three eyed Lord Siva,

 

samyaminam- who was self controlled

 

 

aaseenam- seated

 

dhevadhaarudhruma vedhikaayaam- on the dais made under the devadaru tree

 

Saardhoolacharma vyavaDhaanavathyaam-covered with the tiger(Saardhoola) skin(charma)

 

In this sloka Kalidasa gives a hint of what was going to happen by the adjectives he has used to Manmatha and Siva. Manmatha is referred to as aasannaSareerapaathaH- one whose body is going to fall down shortly and  Siva is described as samyaminam, one who has absolute self control, implying that Manmatha’s mission is doomed to be a disaster for him.

 

aasannaH(impending) saReerasya paathaH (falling off the body)yasya saH – aasannaSareerapaathaH

 

vedhika is a seat or space at the bottom or a sacrificial dais.

 

The next few slokas describe the awe-inspiring  posture of Siva in meditation which unnerves Manmatha who drops down his bow and arrows.

 Using the word thryambaka three eyed is also significant as the third eye was going to play an important part!

 

 

Incidentally the tiger skin is used only by enlightened souls for meditation. Others use deerskin.

 

45. paryankabanDhasThirapoorvakaayam

      rjvaayatham sannamithobhayaamsam

      utthaanapaaNidhvayasanniveSaath

      prapulla raajeevam ivaankamaDhye

 

His upper body firm, and set in the posture of paryanka banDha, long and straight, both shoulders slightly bent, with his two hands joined together turned upwards looking like a full blown lotus in the middle of his lap.

This and the following two slokas describe the posture of Siva in meditation. The description by kalidasa resembles the posture of meditation elaborated in the sixth chapter of  the Gita.

 

paryankabanDhasThirapoorvakaayam-His upper part of the body(poorvakaayam) firm(sThira) in the posture of paryankabanDha.

 

rjvaayatham- straight and long.

 

 Sannamithobhayaamsam- both shoulders slightly bent, implying the relaxed state of the shoulders.

 

utthaanapaaNidhvayasanniveSaath-with two hands upturned and put together

 

iva-like

 

prapulla raajeevam- a full-blown lotus

 

anka maDhye-on his lap.

 

samam kaayaSirogreevam Dhaarayan achalam sThiram(BG.6.13)

 

Keeping his body, head and neck straight, holding himself motionless and steady.

 

46. bhujangamonnadDha jataakalaapam

     karNaavasakthadhviguNaakshasoothram

     kanTaprabhaasangaviSesha neelaaam

     krshNathvacham granThimatheem dhaDhaanam

 

His matted locks bound upwards by serpents, two strings of rudraksha beads hanging from his earlobe and he was wearing the skin of black antelope with knots which appeared even more dark due to the light from his neck.

 

bhujangamonnadDha jataakalaapam- His matted locks(jataakalaapam) bound upwards (unnadDha ) by serpents(bhujangama)

    

karNaavasakthadhviguNaakshasoothram- two strings of rudraksha beads(dhviguna aksha soothram) hanging from his earlobe

( karNaavasaktha) guna here means strand and avasaktha is hanging down.

 

dhaDhaanam-wearing

 

krshNathvacham- skin of black antelope (krshNa – black antelope)

 

granthimatheem- with knots, that is knotted at his waist.

 

kanTaprabhaasangaviSesha neelaaam- its black colour emphasised by the lustre of the blue neck of Siva.

 

47. kinchithprakaasasthimithograthaaraiH

     bhruvikriyaayaam virathaprasangaiH

     netrhairavispandhithapakshamamaalaiH

     laksheekrthaghraaNam aDhomayookhaiH

    

 

With his glance fixed on his nose with downward rays from his fierce pupils a little luminous, his eyes without any movement of his eyebrows, his eyelashes without throbbing.

 

nethraiH – with his eyes

 

 

avispandhithapakshamamaalaiH – which had eyelashes without throbbing,

 

virathaprasangaiH- which were without

 

bhruvikriyaayaam- any action of the eyebrows,

 

laksheekrthaghraaNam- fixed at a gaze at his nose

aDhomayppkhaiH- with rays downward

 

kinchithprakaasasthimithograthaaraiH- of his fierce pupils a little luminous.

 

samprekshya naasikagram svam dhiSaSchaa anavalokayan(BG.6.13)

 

Seeing the tip of his nose not looking in other directions.

 

The description of a yogi in meditation as given  the Gita is followed by kalidasa verbatim though being a poet par excellence he gives  a poetic picture by comparing the hands of Siva to a full-blown lotus. It is a vivid visual portrait.

 

49. kapaalanethraantharalabDhamaargaiH

      jyothiH prarohaiH udhithaiH SirasThaH

      mrNaalasoothraaDhikasoukumaaryaam

      baalasya lakshmeem glapayantham indhoH

 

Eclipsing the light of the moon which is  more graceful than the lotus fibre by the shoots of light coming out of the opening in his head known as brahmaranDhra.

 

glpayantham- eclipsing

 

lakshmeem-the light

 

baalasya indhoH- of the crescent moon

 

mrNaalasoothraaDhikasoukumaaryaam- which is  more graceful than the lotus fibre

 

prarohaiH-shoots of

 

jyothiH- light

 

udhitaiH- which rose

 

kapaalanethraantharalabDhamaargaiH- coming out of the opening( brahma ranDhra)

 

SirasthaH- from his head

 

     

50. manonavadhvaara nishidDha vrtthi

      hrdhi vyavasThaapya samaaDhivaSyam

      yam aksharam kshethravidho vidhustham

      aathmaanam aathmanyavalokayantham

 

Who had stopped the movement of his mind along the nine gates of his body and established it in his heart in the state of contemplation, seeing  his self in himself whom enlightened knew  as the eternal.

 

manonavadhvaara nishidDha vrtthi- stopping all movements of his mind through the nine  openings of his body

 

vyavasthaapya-establishing it

 

hrdhi- in heart

 

samaaDhivaSyam- in state of contemplation

 

avalokayantham- seeing

 

aathmaanam- his self

 

aathmani- in himself

 

tham- him

 

yam – whom

 

kshethravidhaH- the enlightened

 

vidhuH-knew

 

aksharam – as the eternal

 

 

 

51. smaraH thaThaabhootham ayugma nethram

      paSyan na dhooraath mansaapyaDhrshyam

      naalakshayath saaDhvasasannahasthaH

      srastham Saram chaapam api svahasthaath

 

 

Seeing the three-eyed Lord, who is unassailable even by thought, thus  in close quarters , his  hands trembling with fear, Manmatha did not notice his bow and arrow falling from his hand.

 

smaraH- Manmatha

 

paSyan- seeing

 

ayugmanethram- the three eyed Lord ( yugma means pair, or even, ayugma means odd )

 

thaThaabhootham- in that state

 

aDhrshyam- unassailable

 

mansaa api- even by thought ( even to think of conquering him was fearful)

 

na dhooraath- in close quarters ( na dhooraath means no from a distance, that is , near)

 

saaDhvasasannahasthaH – his hands trembling with fear

 

na alakshayath- did not notice

 

Saram- arrow

 

chaapam api- aand also his bow

 

srastham – falling

 

svahasthaath- from his hand.

 

52. nirvana bhooyishTam aThaasya veeryam

      samDhukshayantheeva vapurgunena

      anuprayaathaa vanadhevathaabhyaam

      adhrSyatha sThaavararaaja kanyaa

 

As though reviving his power which was extinguished, by her form and attributes.  he saw the daughter of Himavan entering  followed by the forest deities.

 

aTha- then

 

 

sThaavararaaja kanyaa- the daughter of Himavan

 

adhrSyatha- was seen

 

anuprayaathaa – flowed by

 

vanadhevathaabhyaam- by two forest deities

 

sandhukdshayanthee iva- as though reviving

 

asya veeryam- his power

 

nirvana bhooyishTam- which was extinguished

 

vapurguNena-by her form and attributes.

 

It means , Manmatha regained his courage seeing the beautiful form of Parvati because he thought that his job would be easy with such a beauty in front.

 

 

 

53. aSoka nirbharthsitha padhmaraagam

      aakrshtahemadhyuthi karNikaaram

      mukthaakalaapeekrtha sinDhuvaaram

      vasanthapushpaabharaNam vahanthee

 

Who was wearing the spring flowers as her ornaments, the asoka flowers ridiculing the rubies, karnikaara flowers which have stolen the lustre of gold, the sinDhuvaara flowers serving as pearl necklace.

 

vahanthee – who was wearing

 

vasanthapushpaabharaNam- the spring flowers as her ornaments

 

aSoka nirbharthsitha padhmaraagam- the asoka flowers ridiculing the rubies,( as earrings)

    

 aakrshtahemadhyuthi karNikaaram- karnikaara flowers which have stolen the lustre of gold,(worn  as bracelets etc.)

     

mukthaakalaapeekrtha sinDhuvaaram-, the sinDhuvaara flowers serving as pearl necklace.

 

 

 

 

 

 

54. aavarjithaa kimchith iva sthanaabhyaam

      vaaso vasaanaa tharuNaarka raagam

      paryaaptha pushpsthabakaavanamraa

      sanchaariNee pallavinee latheva

 

Wearing dress in the colour of rising Sun, bent a little due to the weight of her breasts, like a walking creeper with sprouts and bent with flowers in full blossom.

 

Vasaanaa- wearing

 

vaasaH- a dress

 

thruNaarka raagam- with the colour of rising Sun(arka means Sun, tharuNa arka is  young Sun)

 

aavarjithaa- bent

 

kimchith – a little

 

sthanaabhyam iva- as though with breasts

 

iva like

 

lathaa- a creeper

 

sanchaariNee-moving

 

paryaaptha pushpsthabakaavanamraa-bent with flowers in full bloom

 

pallavinee- and with sprouts

 

Parvathi bending a little is compared to a moving creeper and the colour of her dress to the light red sprouts of the creeper.

 

 

55.srasthaam nithambaath avalambamaanaa

     punaH punaH kesaraDhaama kaancheem

     nyaaseekrthaa sThaanavidhaa smareNa

     mourveem dhvitheeyaam iva kaarmukasya

 

Putting in place the girdle made of kesara flowers, which was slipping from its place again and again as though the second bowstring put there  by Manmatha, who knows the proper place for it.

 

avalambamaanaa-putting in place(holding)

 

kesaradhaama kaancheem-the girdle made of lesariflowers

 

srasthaam – which was slipping from its place

 

punaH punaH- again and again

 

iva- as though

 

dhvitheeyaam- second

 

mourveem –bow string

 

kaarmukasya – of the bow

 

nyaaseekrtitha – put there

 

smareNa – by manmatha

 

sThaanavidhaa- who knows the proper place for it.

 

 

56. suganDhiniSvaasa vivrddhathrshNam

      bimbaaDharaasannacharam dhvirepham

      prathikshNam sambhramloladhrshtiH

      leelaaravuindhena nivaaryanthee

 

Warding off the bee, which would not move from her  lips like bimba fruit, due to its desire being increased by her fragrant breath, every moment with lotus held in her hand for play.

 

nivaarayanthee-warding off

 

prathikshaNam-every moment

 

sambhramalola dhrshtiH- with agitated  glances moving here and there

 

dhvirepham- the bee

 

na charam- not moving

 

bimbaaDharaasan- moving near her bimba fruit like lips

 

suganDhiniSvaasa thrshNam-due to the desire being increased by her fragrant breath

 

leelaaravindhena- with the lotus in her hand held for play

 

 

57. thaam veekshya sarvaavayavaanavadhyaam

      ratherapi hreepadham aadhaDhaanaam

      jithendhriye Soolini pushpahaapaH

      svakaarya sidDhim punaH aaSaSamse

 

Seeing her who is perfect in all her limbs and who made even Rathi to feel humble, Manmatha was confident over the success in his mission towards Siva, wielder of trident and master of his senses.

 

veekshya – seeing

 

thaam-her

 

sarvaayavava anavadhyaam- who was blemishless in all limbs

 

aadhaDhaanaam- and who created

 

hreepadham – humility

 

ratheH api- even in Rathi (by her beauty)

 

pushpachaapaH- Manmatha

 

aaSaSamse- became hopeful

 

punaH- again

 

svakaarya sidDhim- of the success of his mission

 

Soolini – towards Siva the wielder of trident

 

Jithendhriye- and who was the master of his senses

 

 

 

58. bhavishyathaH pathyuH umaa cha SambhoH

      Samaasasaadha prathihaarabhoomim

      Yogaath sa cha anthaH paramaathmasamjnam

      dhrshtvaa param jyothiH upaararaama

 

Uma reached the entrance of the place where her future Lord was and he also came out of his Samadhi state after seeing the Supreme light inside himself, which was the paramaathman.

 

umaa cha- and Uma

 

Samaasasaadha- reached

 

prathihaarabhoomim- the entrance of the place

 

bahvishyathaH pathyuH- of her future Lord

 

sa cha – He also

 

dhrshtvaa- after seeing

 

anthaH- inside himself

 

paramjyothiH- the supreme light

 

paramaathmasamjnam- which was the Supreme Being

 

yogaath- through his yoga

 

upaararaama- came out of his meditation.

 

 

 

59. thatho bhujnagaaDhipatheH phaNaagraiH

      aDhaH kaThamchith DhrthabhoomibhaagaH

      SanaiH krthapraaNa vimukthiH eesaH

      paryankabanDham nibidam bibhedha

 

thathaH- Then

 

eesaaH – Lord Siva

 

SanaiH – slowly

 

krthapraaNa vimukthiH-releasing the vital airs(held in Samadhi)

 

aDhaH DhrthabhoomibhaagaH- the earth under him being born

 

kaThamchith- with difficulty

 

phaNaagraiH- by the hoods

 

bhujangaaDhipatheH-of the lord of serpents, Sesha

 

bibhedha-broke (came out of)

 

paryankabanDham- the posture of paryankabanDha

 

The idea implied here is that the burden of the earth was lighter to Sesha when Lord Siva was restraining his vital airs within himself  as the whole world was inside him and the burden became difficult when he let the vital airs out.

 

 

60.thasmai SaSamsa praNipathya nandhee

    SuSrooshayaa Sailasuthaam upethaam

    pravesayaamaasa cha bharthuh enaam

    bhrookshepamaathraanumathapraveSaam

 

Nandi informed him about the arrival of Parvati to serve him and made her enter by being signaled by the Lord by mere movement of his eyebrows.

 

nandhee- nandi

 

Sasamsa-informed

 

thasmai- to him (siva)

 

praNipathya – bowing down

 

Sailasuthaam – of Parvati, the daughter of Himalayas

upethaam – who has arrived

 

SuSrooshayaa- for serving him

 

enaam praveSayaamaasa cha- and made her enter

 

bhrookshepamaathra anumatha praveSaam- who was permitted by the mere movement of the eyebrow

 

bharthuH- of the Lord

 

 

61.thasyaaH sakheebhyaam praNipaathapoorvam

     SvahasthaloonaH SiSiraathyayasya

     vyakeeryatha thryambakapaadhamoole

     pushpocChayaH pallavabhangabhinnaH

 

A collection of spring flowers, picked by their own hands, with bits of leaves among them was strewn at the feet of Lord Siva by her two friends  after bowing down to him.

 

pushpocChayaH- a collection of flowers

 

SiSiraathyayasya- of spring ( SiSira is winter and athyaya means the end . Hence it means the spring which is the end of winter)

 

pallavabhangabhinnaH- mixed with the pieces of leaves

 

vyakeeryatha – was strewn

 

thryambaka paadhamoole – at the feet of Siva

 

thasyaaH sakheebhyaam – by her two friends

 

svahasthaloonaH- picked by their own hands

 

praNipaathapoorvam- after bowing down to him.

 

 

62.umaa api neelaalaka maDhya Sobhi

     visramsayanthee navakarNikaaram

     chakaara karNachyuthapallavena

     moorDhnaa praNaamam vrshabhaDhvajaaya

 

Uma also with the karnikara flowers on her dark tresses moving and the tender leaf on her  ear falling down , bowed to the Lord Siva, who has the bull as his flag.

 

 

umaa api-Uma also

 

chakaara- did

 

praNaamam- bow down

 

moorDhnaa- with her head

 

visramsayanthee- letting slip

 

navakarnikaaram – the fresh karnikara flowers

 

neelaalakamaDhya Sobhi- shining in the middle of  her dark tresses

 

karna chyutha pallavena- the sprout on her ear falling down.

 

63.ananyabhaajam pathim aapnuhi ithi

     Saa thaThyamevaabhihitha bhavena

     naheeSvaravyaahrthyaH kadhaachith

     pushNanthi loke vipareetham arTham

 

She was told by Siva “ Acquire a husband who could not be got by any other,”  which was the truth indeed. The utterance of the masters never come to mean otherwise.

 

Saa – she

 

abhihithaa- was told(who blessed her on doing namaskar)

 

thaTThyam eva- only the truth ,

 

“aapnuhi- let you have

 

pathim- a husband

 

ananyabhaajam”- who is unattainable to others.

 

ithi- thus

 

eeSvaravyaahrtahyaH- the utterance of the masters (meaning sarvajna)

 

na kadhaachith- never

 

pushnanthi-come to mean

 

vipareetham arTham-otherwise

 

 

64.kaamasthu baaNaavasaram pratheekshya

     pathangavath vahnimukham vivikshuH

     umaasamaksham harabadDhalakshyaH

     Saraasanajyaam muhuH aamamarSa

 

Manmatha looking forward to  the opportunity to send an arrow like a moth wishing to fall in  the fire , aiming at Siva in the presence of Uma felt the bow string again.

 

kaamaH thu- Manmatha

 

pratheekshya- expecting

 

baaNaavasaram- the opportunity to fling the arrow

 

pathangavath – like a moth

 

viviikshuH – wishing to enter

 

vahnimukham –  the mouth of fire

 

umaasamksham- in front of Uma

harabadDha lakshyaH- aiming at siva

 

muhuH – again

 

aamamrSa- felt(fingured)

 

Saraasanajyaam- the bow string. Saraasana means the seat of arrows, the bow.

 

65.aThopaninye giriSaaya gouree

     thapasvine thaamraruchaa kareNa

     viSoshithaam bhaanumthomayookhaiH

     mandhaakineepushkarabeejamaalaam

 

Gouri then offered to Siva who was  doing thapas, the garland made of the seeds of lotus from the Ganges which were dried by the rays of the Sun, with her red hands.

 

aTha- then

 

upaninye- offered (brought near)

 

giriSaaya – to Siva

 

thapasvine- who was  doing penance

 

mandhaakineepushkarabeejamaalaam-, the garland made of the seeds of lotus from the Ganges ( here pushkara means lotus)

 

viSoshothaam- which was dried up

 

mayookhaiH- with the rays

 

bhaanumathaH- of the Sun. ( placed in the sun to make them dry and strung into a garland.)

 

kareNa- with her hand

 

thaamrarucha- red in colour.

 

 

66.prathigrheethum praNayipriythvaath

     thapasvinaH thaam upachakrame cha

     sammohanam naama cha pushpaDhanvaa

     Dhnushu amogham samaDhattha baaNam

 

Siva also accepted them in order to please his devotees. Manmatha  flung an arrow known as sammohanam which was infallible from his bow.

 

thapasvinaH cha- and Siva

 

upachakrame- accepted

 

thaam – that garland

 

praNayipriyathvaath- out of his affection for the devotees

 

pushpaDhanvaa- Manmatha

 

samaDhattha- placed (and sent)

 

Dhanushu on his bow ( from it)

 

baaNam- an arrow

 

Sammohanam naama- known as sammohanam( deludes the mind)

 

amogham- which was infallible.

 

 

 

67. harasthu kimchith parilupthaDhairyaH

      chandhrodhayaarambha ivaamburaaSiH

      umaamukhe bimbaphalaDhroshTe

      vyaapaarayaamaasa vilochanaani

 

Siva too losing his calm a bit like the sea at the moonrise engaged his gaze at the face of Uma with lower lip like a bimba fruit.

 

HaraH thu – Siva indeed

 

kimchith- a little

 

parilupthaDhairyaH- failing in his mental calm

 

iva – like

 

amburaaSiH-ocean

 

chandhridhyaarambha – at moonrise

 

vyaapaarayaamaasa- engaged

 

vilochanaani- his eyes

 

umaamukhe – on the face of Uma

 

bimbaphalaadharoshTe- with lips resembling bimbafruit

 

68. vivrNvathee Sailasuthaa api bhaavam

      angaiH sphurathbaalakadhambakalpaiH

     saacheekrthaa chaaruthareNa thasThou

     mukhena paryasthavilochanena

 

The daughter of Himavan also expressed her emotion with her limbs like tender kadamba tree stood turning aside beautifully with her face with eyes cast down with shyness.

 

Sailasuthaa api-Parvati also

 

vivrNvathee- expressing

 

bhaavam – emotion

 

angaiH – with her limbs

 

sphurathbaalakadhambakalpaiH- like tender kadamba tree

 

saacheekrthaa- turning aside

 

chaaruthareNa – beautifully

 

thasThou- stood

 

mukhena – with her face

 

paryastha vilochnena- eyes cast down in shyness.

 

 

69. aThendhriyakshobham ayugamanethraH

     punarvaSithvaath balavath nigrhya

     hethum svachethoH vikrtheH dhidhrkshuh

     dhiSaam upaantheshu sasarja dhrshtim

 

Then three eyed Lord controlling the agitation of his senses again forcibly  with self control wishing to see the reason for his agitation searched all directions.

 

aTha – then

 

ayugmanethraH- the three eyed Lord( ayugma means odd number)

 

punaH- again

 

vaSithvaath- being self controlled

 

nigrhya- redtraining

 

indhriyakshobham- the agitation of his senses

 

balavath – by force

 

dhidhrkshuH= wishing to see

 

hethum- the reason

 

vikrtheH- of the agitation

 

svachethoH-of his mind

 

sasarja- moved

 

dhrshtim – his glance

 

dhiSaam upaantheshu- to the frontiers of the directions ( In all directions)

 

70. sa dhakshiNaapaanganivishtamushtim

      nathaamsam aakunchithasavyapaadham

      dhadharSa chakreekrthachaaruchaapam

      praharthum abhyudhyatham aathmayonim

 

He saw Manmatha with his fist placed near the corner of his right eye, shoulders bent, his left leg a little crouched  and his bow circled ready to fling an arrow.

 

saH- Siva

 

dhadharSa- saw

 

aathmayonim-Manmatha ( because he was born from the mind of Brahma)

 

dhakshiNa apaanga nivishta mushtim – with his fist placed near the corner of his right eye (In the act of flinging an arrow)

 

nathaaamsam- his shoulders bent

aakunchitha savya paadham-with his  left leg crouched a little ( kunchitha means bent or curved . The prefix aa denotes ‘a little’

 

chakreekrtha chaaru chaapam- his beautiful bow( because it is pushpachaapa) made into a circle by pulling the bowstring in the act of flinging an arrow

 

abhyudhyatham – making effort

 

praharthum- to attack

 

Kama elated at the success of his first arrow was trying to send another.

 

71. thapaHparaamarSavivrdDhamanyoH

      bhroobhangadhushprekshyamukhasya thasya

      sphuran udharchiH sahasaa thrtheeyaath

      akshNaH krSaanuH kila nishpapaatha

 

From the third eye of Siva whose anger on being disturbed in his penance grew and whose face was terrible to look at due to his knitting the eyebrows in anger, fire broke out immediately emitting flames.

 

thrtheeyaath akshNaath- from the third eye

 

thasya- of him

 

thapaHparaamarSavivrdDhamanyoH - whose anger on being disturbed in his penance grew

 

bhroobhangadhushprekshyamukhasya-

whose face was terrible to look at due to his knitting the eyebrows in anger

krSaanuH kila nishpapaatha- fire broke out

 

sahasaa- at once

 

sphuran udharchiH- emitting flames.

 

 

 

72. kroDham prabho samharasamhraethi

      yaavath giraH khe maruthaam charanthi

      thaavath sa vahniH bhava nethrajanmaa

      bhasmaavaSesham madhanam chakaara

 

While the words “oh Lord quell your anger” were travelling through the wind in the sky,(even before it reached the earth) the fire from the eye of Siva reduced Manmatha to ashes.

 

Yaavath giraH- while the words

 

kroDham prabho samharasamhra ithi-Oh Lord quell you anger

 

charanthi- were travelling

 

maruthaam – through the air

 

khe – in the sky

 

thaavath- in the meanwhile

 

sa vahniH- that fire

 

chakaara – made Manmatha

 

bhasmaavaSesham- with only ash as his remains.

 

73.theevraabhishangaprabhaveNa vrtthim

     mohena samsthambhayathaa indhriyaaNaam

     ajnaathabharthrvyasanaa muhoortham

     krthopakaareNa rathirbhabhoova

 

Rathi, as though helped by the swoon which overpowered her , making her senses inactive, due to the insufferable grief, became unconscious of the state of her husband.

 

rathiH- rathi

 

krthopakaarena- as though helped

 

mohena – with swoon

 

theevraabhishangaprabhavena - due to the insufferable grief

 

samsthambhayathaa indhriyaaNaam vrtthim-which made her senses inactive

bhabhoova- became

 

ajnaathabharthrvyasanaa-- unconscious of the state of her husband

 

 muhoortham- for a moment

 

    

 

 

 

 

74.tham aaSu vighnam thapasaH thapasvee

     Vanaspathim vajra iva avabhajya

     sthreesannikarsham pariharthum icchan

     anthardhaDhe bhoothapathih sabhoothaH

 

Siva thus removing the obstacle to his penance  like the thunderbolt destroys the tree, wishing to avoid the company of women disappeared along with his booth ganas.

 

thapasvee- Siva who was doing penance

 

avabhajya- destroying

 

tham vighnam- that obstacle

 

thapasaH- for his penance

 

aaSu-quickly

 

vajra iva- like the thunderbolt

 

vanaspathim-  to a tree

 

icChan- wishing

 

pariharthum- to avoid

 

sthree sannikarsham- contact with women

 

boothapathiH- the Lord ofbhootha ganas

 

anthardhaDhe- disappeared

 

sabhoothaH along with the bhootha ganas

 

 

75.Sailaathmaja api pithuH ucChirasaH abhilaasham

     vyarTham samarThya lalitham vapuH aathmanaScha

     sakhyoH samaksham ithi saaDhikajaathalajjaa

     Soonyaa jagaama bhavanaabhimukhee kaThamchith

 

Parvathi also becoming desolate at the wish of her lofty father being thwarted, considering the beautyof her body a waste, becoming ashamed that it happened in front of her friends, somehow managed to turn towards home.

 

Sailasuthaa api- Parvathi also

 

Soonyaa – becoming desolate

 

samarThya- considering

 

abhilaasham- the wish

 

ucChirasaH pithuH-of her lofty father

 

aathmanaH vapuh cha – and her own body

 

lalitham- which is beautiful

 

vyarTham- as a waste

 

saaDhikalajjithaa- becoming more ashamed

 

sakhyoh samaksham ithi- because it wa sin front of her friends

 

jagaama- went

 

kaThamchith-somehow

 

bhavanaabhimukhee- towards her house

 

 

 

 

 

 

 

76. sapadhi mukulithaaksheem rudhrasamrambhabeethyaa

      dhuhitharam anukampyaam adhriH aadhaaya dhorbhyaam

      suragaja iva bibhrath padhmineem dhanthalagnaam

      prathipaThagathiraaseeth vegadheergheekrthaangaH

 

Himavan carrying his pitiable daughter, who closed her eyes due to the fear of the anger of Siva,  on his shoulders like the divine elephant Airavata carrying a lotus on its tusks went on his way with his body elongated in haste.

 

adhriH – Himavan (mountain)

 

aadhaaya- taking

 

dhuhitharam- his daughter

 

anukampyaam- who deserved pity

 

sapadhi – at once

 

mukulithaaksheem- closing her eyes

 

rudhrasamrabha bheethyaa- out of fear for the anger of Siva

 

Dhorbhyaam- by his shoulders

 

iva –like

 

suragaja- the divine eleohant Airavatha (taking)

 

padhmineem- a lotus

 

dhanthalagnaam- clinging to its tusk

 

aaseeth- was

 

prathipaThagathiH- on his way to his abode

 

 

vegadheergheekrthaangaH- His limbs becoming elongated by speed