II (1) ShringaaraShatakam

श्रीभर्तृहरियोगीन्द्रविरचितासुभाषितत्रिशती

THREE HUNDRED VERSES OF GOOD SAYINGS

of

SHREE BHARTRHARI YOGEENDRA

PART TWO

शृङ्गारशतकम्

VERSES ON LOVE

                                                                     INTRODUCTION

Herein is presented the Shringaara Shataka from the collection of three hundred verses composed by the great scholar Bhartrhari. The collection is known as the ‘Trishataka’ comprising of three sections - Neeti (Ethics), Shringaara (Erotic sentiment) and Vairaagya (Dispassion).

Bhartrhari is also the author of ‘VaakyaPadeeya’, a foundational text on ‘Sphota theory’ (the meaning bursts forth in the listener as the language is uttered) of Sanskrit grammar. 

This second set of hundred verses is about ‘SHRINGAARA’.

The word Shringaara is derived like this - शॄङ्गम् कामोद्रेकमृच्छयत्यनेन।​

When the emotion of passion rises high, that state of mind is called Shringaara. It is one of the nine main emotions rising from the ‘Sthaayee Bhaava’ (a permanent state of mind which gives rise to nine types of emotions)

पुम्सः स्त्रियां स्त्रियाः पुम्सि सम्भोगं प्रति या स्पृहा स शृङ्गार इति ख्यातः।

The desire for the sexual gratification in a man towards a woman or a woman towards a man is known as Shringaara which is supposed to bring a pleasant मधुर​  feeling in both.

Shringaara is of two types:

सम्भोग शृङ्गार​ and  विप्रलम्भ शृङ्गार​  -

the passion rising in the lovers at the time of sexual union and the passion rising when separated from each other.

More sub-divisions are also quoted in the prescribed texts.

भावो हावश्च हेला च माधुर्यं धैर्यमित्यपि लीला विलासो विच्छित्तिर्विभ्रमः किलिकिन्चितं

मोट्टायितं कुट्टमितं बिब्बोको ललितं तथा कुतूहलं च चकितं विहृतं हास इत्यपि

एवं शृङ्गारचेष्टाः स्युरष्ठादशविधा मताः।

The eighteen actions expressive of erotic sentiment are

attachment; any coquettish gesture calculated to incite a man towards passion;  wanton sport; pleasant exchanges; boldness; play; coquetry; carelessness in dress etc due to pride of personal beauty; madness; chatter; silent absorption in the thought of the lover; affected repulse of a lover’s endearments;  ignoring the lover through pride;  gentle play; curiosity; surprise; bashful silence; laughter

The attraction towards opposite sex is a natural feeling that everyone experiences. It is not a condemned act leading to spiritual downfalls. It is as ordinary as a need to satiate the hunger of the belly. Instead of inert food, this hunger needs a live person with emotions to get satiated. However, anything in excess is always bad, be it even the heavenly nectar or sex. Sex in a normal course of life as a part of human existence is a must, as a booster of reproduction. But in the course of evolution man has learnt to refine his sexual feelings so much that more than the physical satisfaction, he revels in the beauty of the relationship. This beautiful indescribable attachment towards each other where one cannot exist without the other is ‘Love’. You can have this feeling towards Gods also. But they have their own life-partners and no one can squeeze in between them!

If not interested in a human partner or sexual unions, there is only one other course left

for a man, the path of Knowledge leading towards Self-realization.

Yet this beautiful feeling of love for the opposite sex need not be branded as a dirty, unholy sentiment. Why then worship Gods along with their spouses? Are they also not to be condemned?

Is woman a doorway to sin? Is it her fault that men feel attracted towards her thereby descending down the ladder of spirituality? Is ‘woman’ such an unholy sinful wretch that spiritual aspirants are averse to mention the terms denoting her limbs while translating scriptures?  Whereas Shree Shankara eulogizes the perfect woman ‘Uma’ the queen of the three worlds by offering her the poetical tribute ‘Soundarya Lahari’ or ‘Waves of Beauty’.

The lamp burns to give light. If by chance it becomes a blazing fire and destroys you, is it the fault of the flame?

Woman is a beautiful product of creation. A world without women will be a world of inert machines. The erotic sentiment is the most blissful emotion a human can have. But if he topples down by having too much of it, and loses control over his own mind, is it the fault of the so called ‘woman’?

Here is an incident from the ancient world.

Shuka, the handsome young Sage decided to renounce the world completely and enter the Samaadhi state till the fall of the body. As he started to move, his father Vyaasa the old Sage followed him calling out his name affectionately and shedding tears at his separation. Shuka did not turn back. For him every shape and every object was unreal including his father. He just continued to walk without responding to his father’s emotional pleadings.

On the way there was a lake where the divine damsels sported with abandon without covering their bodies with any garment.

Shuka walked past them. The Apsaraas continued their play not bothered about the entry of a man close by.

Vyaasa also passed them. They immediately felt embarrassed and covered themselves with their hands. Vyaasa himself felt embarrassed.

He understood that his son was far high in the spiritual ladder than him.

For the young Shuka, ‘woman’ was just a shape like a tree or a rock on the roadside.

For the old Vyaasa, shapes had names and meanings. One shape he defined as the son and went madly running after him. His mind perceived divisions in the undivided Brahman. That is why the Apsaraas had reacted to his presence with embarrassment. Vyaasa understood his own fault and returned to his own abode. Shuka remained absorbed in the Nirvikalpa Samaadhi till the fall of the body and attained Videha Mukti.

According to Knowledge-Scriptures, Stree (woman) is one who identifies with the body; the one in the Self-state is the Puman (Man). There are no other divisions. Rest are all inert shapes. Only a man identified with the body will color the shapes with his mind; not the knower!

Man and woman the two divisions brought about by nature have to get attracted towards each other by the rules of Creation or evolution. Why should one division (female) be condemned as a form of evil and looked down upon by the spiritual hot heads in this land sanctified by women like Meera Bai and Akka Mahadevi?

Coming to the present text on Shringaara, it is not a book on sexual intercourse as most believe it to be. It is just the natural feelings a young man has towards an attractive young girl. The enjoyment is in the feeling of love than the actual physical union. The physical union is just a part of the process where the flower of love becomes a fruit in the end. But the flower is enchanting by itself.

Shringaara is a unique sentiment which no other animal can have. Man is not a dog or monkey only intent on mechanical reproduction. Man is capable of ‘Love’.

There is a very fine dividing line between ‘Love’ and ‘Passion’.

Though love acts as a seed of passion, love by itself is a blissful emotion.

Love blossoming into Passion is divine.

Passion without love is demonic.

In this section of Trishataka, Bhartrhari gives a lesson on ‘Love’.

Salutations to the noble Sage!

This work of translation is an offering at his feet!

  (1)

{SALUTATION TO THE DEITY OF PASSION}

शम्भुस्वयम्भुहरयो हरिणेक्षणानां येनाक्रियन्त सततं गृहकुम्भदासाः

वाचामगोचरचरित्रविचित्राय तस्मै नमो भगवते मकरध्वजाय ॥१॥

Salutation to that God with the ‘crocodile flag’

whose amazing actions are indescribable indeed;

because of whom, Shiva, Brahmaa and Vishnu

have become always the ‘water-carrying servants’ 

for the ‘deer-eyed beauties’.

(Water-carriers –a slang word used for referring to obedient husbands)

The Trinities Shiva, Vishnu and Brahmaa are also bound by the love for their spouses. Shiva gave half ofhis body to Daakshaayini. Vishnu gave his chest region to his beloved Padmaavati. Brahmaa gave his mouth-region (speech) to the Goddess of Knowledge.

What makes women so powerful that even Gods are enslaved by their spouses?

The poet gives the answer in the next stanza.

Whatever the women do, they are enchanting! Their very presence intoxicates.

Their smile, their shyness, their looks, their words - anything and everything a woman is or does, ensnares the poor men!

Three types of women are mentioned here; the innocent inexperienced young, the middle with some little experience and those who highly expertise in the art of love-making.

अथ स्त्रीप्रशंसा

[COMMENDATION OF WOMEN]

 (2)

स्मितेन भावेन च लज्जया भिया पराङ्मुखैरर्ध​कटाक्षवीक्षणैः

वचोभिरीर्ष्याकलहेन लीलया समस्तभावैः खलु बन्धनं स्त्रियः ॥२॥

The sudden smile lighting up their face;

the shy and slightly apprehensive attitude;

(innocent type – very young)

avoiding direct eye-contact;

throwing momentary glances now and then;

(the middle type –slightly older)

 amorous sports like soft speech;

words of envy about other women; and love-quarrels;

(experienced adults)

through these and also through whatever they do naturally,

women bind (the men).

Characteristics pertaining to the age of the woman:

{आकस्मिकं तु हसितं यौवनादिविकारजं – sudden burst of smile is the mark of a young girl}

{लज्जा is the hesitation, embarrassment, shyness felt by the young girl at the threshold of youth, because of her bodily changes like breasts etc.}

{भी- fear of suddenly confronting men}

{तारकायाः कलाभिज्ञास्तं कटाक्षं – ‘Side-Glance’ means the artful movement of the pupils

यद्गतागतविश्रान्तिवैचित्र्येणविवर्तनं – rolling the eyes artfully by looking elsewhere, back at the person; resting the eyes on the person; again moving away}

{परोत्कर्षासहिष्णुत्वं ईर्षा – envy is not able to bear the praise of other women}

{लीला प्रियानुकरणं वाग्भिर्गत्याथ चेष्टया – amorous sport is enticing the lover through speech, gait and action}

{ईषद्द्दृष्टविकारो हावः – slight charming movement of the eyes}

{समस्तभावैः - स्तम्भरोमाञ्चस्वेदादिसात्त्विकभावैः –

natural reactions like rigidness, horripulations, sweat etc}

Three types of women:

{उदयद्यौवना मुग्धा लज्जाविजितमन्मथा

(Just entering the youthful state; innocent; shyness conquering the passion)

लज्जामन्मथमध्यस्था मध्यमोदितयौवना

(In between shyness and passion; in the middle of youth; enjoying the attention of men)

स्मरमन्दीकृतव्रीडा प्रौढा संपूर्णयौवना

(Shyness lost to passion; mature; in full youth}

{Which men can escape the women who have such extraordinary weapons?!}

Women themselves are the weapons of God of Love. Even then, women embellish themselves with many other add-ons to enslave men!

(3)

भ्रूचातुर्यात्कुञ्चिताक्षाः कटाक्षाः स्निग्धा वाचो लज्जितान्तान्श्च हासाः

लीलामन्दं प्रस्थितं च स्थितं च स्त्रीणामेतद्भूषणं चायुधं च ॥३॥

By the clever movement of the eye-brows

 making the eyes bend crookedly and glance sideways;

words filled with affection;

laughter entwined with shyness;

attractive slow gait and standing coyishly;

all these are the ornaments and also the weapons that belong to women!

{Affection is when the heart melts at the sight of the lover after separation.}

{PADMINI CLASS OF WOMEN:

व्रजति मृदु सलीलं राजहंसीव – moves softly with ease like a royal swan

तन्वी त्रिवलिललित मध्या - thin waist with the three lines of hair

हंसवाणी – speech like the swan

सुवेषा – well-dressed

मृदु - soft

शुचि - clean

लघु भुङ्क्ते – eats less

मानिनी - chaste

गाढलज्जा - immensely shy

धवलकुसुमवासोवल्लभा  - adorned with white fragrant flowers and attractive

पद्मिनी स्यात् – these type of women belong to the ‘Padmini’ class (the excellent type)}

Women use their eyes not to see the objects around them. They have mastered the art of moving them in so many charming ways that the whole atmosphere changes when they look at the prey (‘man’ /lover).

To the poor love stuck man, their very look is like a tender lotus flower thrown at him. Even as the woman starts expressing her emotions in varied ways of eye and eye-brow movements, the lover feels that the whole world is filled with lotuses.

(4)

क्वचित्सभ्रूभङ्गैः क्वचिदपि च लज्जापरिगतैः

क्वचिद्भूरित्रस्तैः क्वचिदपि च लीलाविलसितैः

कुमारीनामेतैर्मदनसुभगैर्नेत्रवलितैः

स्फुरन्नीलाब्जानां प्रकरपरिकीर्णा इव दिशः ॥४॥

The quarters appear as if spread out fully

with the blossoming blue lotuses,

through the various eye-movements of these young girls,

which are expressive of love -

(by movements) like,

sometimes bending the eye-brow

(known as ‘Rechita’ (contraction of the eye-brow);

sometimes completely filled with shyness; 

sometimes extremely frightened and apprehensive;

sometimes gesturing playfully.

{कुतूहलं रम्यदृष्टौ चापलं परिकीर्त्यते – This is one of the gestures of Shringaara- to express interest or curiosity through eye-movements.}

{When a girl is interested in a man, she will silently communicate her willingness to unite with him by expressing all her emotions through her eyes; she may question him with her slight bending of the eye-brow; or feel shy and slightly look downwards; or act frightened; or playfully look at him now and then with love.}

(5)

The poet wonders abound the reason for the woman’s beautiful looks, and analyzes her structure.

वक्त्रं चन्द्रविकासि पङ्कजपरीहासक्षमे लोचने

वर्णः स्वर्णमपाकरिष्णुरलिनीजिष्णुः कचानां चयः

वक्षोजाविभकुम्भविभ्रमहरौ गुर्वी नितंबस्थली

वाचां हारि च मार्दवं युवतिषु स्वाभाविकं मण्डनम् ॥५॥

The pretty face shining like a moon;

two eyes capable of ridiculing the beauty of the lotuses;

body-hue equaling the shine of the gold;

clump of dark hair excelling the blackness of the bees;

pair of breasts stealing the attractiveness of the elephant heads;

the portion at the back below the waist, very heavy;

speech soft and pleasing;

all these are decorations of the young women by nature.

{कापि चाम्पेय गौरी – golden white color is said to be one of the qualities of ‘Padmini’ class (excellent) of women}

(6)

Everything that makes a woman a woman is beautiful!

Is there anything that is not beautiful in that young girl just blooming into youthfulness?  

‘No!’ declares the poet!

स्मितं किन्चित्मुग्धं सरलतरलो दृष्टिविभवः

परिस्पन्दो वाचामभिनवविलासोक्तिसरसः

गतानामारम्भः किसलयितलीलापरिकरः

स्पृशन्त्यास्तारुण्यं किमिव न हि रम्यं मृगदृशः ॥६॥

Smile is so innocent (being in between the childhood and youth states).

The charming way of her looking at someone is guileless and unsteady.

The uttering of words is so enchanting filled with fresh meanings.

As she starts to move, all her youthful charms sprout at every step.

What is not beautiful in the deer-eyed girl who is just entering her youth!

{मुग्धा नायिका उदयद्यौवना मुग्धा लज्जाविजितमन्मथा – here the girl just on the threshold of youth is described – she is the ‘Innocent girl’ (Mugdhaa) conquering the heart with her shyness.}

(7)

‘Woman’ can be enjoyed by all the five senses along with the mind. Each sense gets its fulfillment in a woman. How? Here is the answer!

द्रष्टव्येषु किमुत्तमं मृगदृशः प्रेमप्रसन्नं मुखं

घ्रातव्येष्वपि किं तदास्यपवनः श्रव्येषु किं तद्वचः

किं स्वाद्येषु तदोष्टपल्लवरसः स्पृष्येषु किं तद्वपुः

ध्येयं किं नवयौवनं सहृदयैः सर्वत्र तद्विभ्रमाः ॥७॥

What is the most beautiful thing for the eyes?

The ‘face’ of the ‘deer-eyed beloved’, adorned by the ‘love-filled smile’!

What is the most fragrant thing?

The smell of her face!

What is the most melodious sound?

Her softly spoken words!

What is the tastiest thing?

Her juicy lips!

What is the softest thing?

Her (flower-like delicate) body!

What is the best object for thoughts?

Her youthful looks!

Those whose hearts are lost in love of a girl

should always meditate on her charms!

There is no other excellent object which pleases all the six senses like the woman! Union with her is the most enjoyable pleasure in the world!

(8)

People usually compare the gait of a woman to that of a swan. But the poet says that swan’s gait is in no way comparable to the gait of a woman!

एताश्चलद्वलयसंहतिमेखलोत्थझङ्कारनूपुरपराजितराजहंस्यः

कुर्वन्ति कस्य न मनो विवशं तरुण्यो वित्रस्तमुग्धहरिणीसदृशैः कटाक्षैः ॥८॥

These young girls 

win over the beauty of the real swans

(which slowly walk making honking noises), (because)

when they walk,

the row of bangles on their hands and

 their upper garment bordered with tiny ringing beads,

together make a melodious sound at every movement!

Whose mind does not lose itself to

these young girls with eyes like the deer

expressing innocence and apprehension!

मेखला means a garment bordered with ringing beads.

The girls mentioned in this verse are probably about eighteen to nineteen years of age.

चकित मृगदृगाभे प्रान्त रक्ते च नेत्रे – surprised eyes like that of the deer and reddish

This again is the quality of ‘Padmini’ class of girls.

(9)

Who says that natural scenes are beautiful, the poet argues. The woman is herself any scenic beauty that anyone can imagine. If the white hills, lotuses in the lake and the swans mean beauty, he can see all that in a woman too!

कुङ्कुमपङ्ककलङ्कितदेहा गौरपयोधरकंपितहारा

नूपुरहंसरणत्पद्मा कं न वशीकुरुते भुवि रामा ॥९॥

Her body tainted by the paste (slush) of red saffron;

her pearl garland trembling on her fair-hued breasts;

the anklets tied around her lotus feet

tinkling like the song sung by the swan;

who is not attracted by the pretty woman on this earth?!

कुङ्कुम – pollen of saffron plant produced in Kashmir

The young girl has applied the paste of red flowers or red saffron all over her body in various designs; the pearl garland hanging from her neck rolls here and there on her hard fair-hued breasts; the anklets make a rhythmic sound as she moves slowly.

How does this pretty landscape look?

A land covered with red saffron fallen all over in the wet mud; the white snow mountains and the river Ganges rolling down the mountains, trembling in each wave; the lotuses (in the lake) surrounded by swans which sing happily.

(10)

Here the poet argues against naming women as ‘Abalaa’s or the weaker sex.

Be it an Indra or a Sage renowned for penance, just a slight movement of the eyes and they wither at her feet begging for her grace. Who is weak, women or men?

नूनं हि ते कविवरा विपरीतवाचो ये नित्यमाहुरबला इति कामिनीस्ताः

याभिर्विलोलतरतारकदृष्टिपातैः शक्रादयोsपि विजितास्त्वबलाः कथं ताः ॥१०॥

Indeed it is true that the words of excellent poets

are contradictory to reality.

They always state that the attractive women are weak and helpless.

How can they be weak,

when Indra and others have been conquered by just their glances

with the ever-moving pupils of the eyes?!

(11)

And these women have a permanent slave working for them. They just have to glance at any man; this slave pounces on that man and brings him to their feet. The slave is none other than the God of passion.

नूनमाज्ञाकरस्तस्याः मकरध्वजः

यतस्तन्नेत्रसंचारसूचितेषु प्रवर्तते ॥११॥

Indeed the God of passion is

 a slave obeying the orders of the pretty women with beautiful eye-brows!

For, he moves wherever their eyes direct him towards!

 (12)

Is not ‘Quiescence’ the greatest bliss ever? Should not one develop dispassion towards women and strive for the Supreme state of ‘Mental Quietness’?

The poet who is intoxicated by the beauty of the woman has no eye or ears for anything else but his beloved. He sees the damsel who stole his heart as the Supreme state of Quiescence and describes her in that manner.

केशाः संयमिनः श्रुतेरपि परं पारं गते लोचने

अन्तर्वक्त्रमपि स्वभावशुचिभिः कीर्णं द्विजानां गणैः

मुक्तानां सतताधिवासरुचिरौ वक्षोजकुम्भाविमौ

इत्थं तन्वि वपुः प्रशान्तमपि ते रागं करोत्येव नः ॥१२॥

Your hair is bound properly!

(abode of the ascetics bound by disciplines)

Your eyes reach up to the ears (beyond Vedic scriptures/Shrutis)!

Inside the mouth, the naturally clean row of teeth shines

(abode of sacred Brahmins/Dvijas)!

These pot-like shapes rising on your chest are

always the residing places for the pearls (of the garland) and are attractive

(abode of liberated ones/Muktas)!

Your body, O slender girl, in this manner,

is indeed quiescent by nature;

yet it provokes desire in us!

(13)

What happened to the poet that he has turned insane like this in love? His heart is broken, the poet informs us and the innocent looking girl alone caused it, he complains. How?  Here he answers:

मुग्धे धानुष्कता केयमपूर्वा त्वयि दृश्यते

यथा विध्यसि चेतांसि गुणैरेव न सायकैः ॥१३॥

Hey innocent girl!

There is some extraordinary ‘bowman ship’ seen in you!

You seem to break hearts with your charms; not by arrows!

Other excellent archers only shoot at targets; but you being innocent and ignorant about targets yet seem to break so many hearts just by your youthful charms (doing nothing actually)!

(14)

After breaking his heart with her charms that pretty young girl ran away out of sight. Immediately the world was enveloped with darkness for the heart-broken lover!

सति प्रदीपे सत्यग्नौ सत्सु तारामणीन्दुषु

विना मे मृगशावाक्ष्या तमोभूतमिदं जगत् ॥१४॥

A lamp is there giving out light; fire is also there;

 the stars, shining gems are all there; even the moon!

Yet, this world is covered in darkness for me,

without my beloved with the eyes of a deer-cub!

(15)

Now in this darkened world of the poet, only one fire is ablaze; his mind!

He remembers his beloved again and again and suffers.

उद्वृत्तः स्तनभार एष तरले नेत्रे चले भ्रूलते

रागाधिष्टितमोष्टपल्लवमिदं कुर्वन्तु नाम व्यथां

सौभाग्याक्षरमालिकेव लिखिता पुष्पायुधेन स्वयं

मध्यस्थापि करोति तापमधिकं रोमावलिः केन सा ॥१५॥

The rounded upright heavy breasts;

the restless eyes;

the movement of the eye-brows expressing emotions;

the lip-buds which are red with envy;

let all these torment the mind!

(It is natural; I do not mind; I will bear it)

(But) why does the hair-line (in the lower belly)

which is like the row of letters denoting good fortune

written by

the ‘God’ ‘holding the flower-bow’ (Manmatha),

 with his own hands,

 though stuck to one place,

increases the burning!

Breasts, eyes, brows, lips all move and trouble; yes, they torment me by their continuous movements; but the hair-line under your waist, which does not move at all, which is so beautiful as if the God of love had taken pains to scrawl a row of letters painstakingly, troubles me a lot more and raises passion in the heart.

It is indeed unfair!

(16)

The lover’s imaginations run wild! He thinks that she is a casket holding all the precious stones in the world.

 मुखेन चन्द्रकान्तेन महानीलैः शिरोरुहैः

पाणिभ्यां पद्मरागाभ्यां रेजे रत्नमयीव सा ॥१६॥

Her face is lustrous like the moon-stone!

Her hairs are dark like the dark sapphires (of Simhala Dveepa)!

Her palms are reddish in hue like

the ‘Padma Raaga (red like the lotus) stones!

She shines like a collection of gems!

(17)

He looks up and sees the planets shining above. Now he thinks that his beloved damsel is a collection of all planets too!

गुरुणा स्तनभारेण मुखचन्द्रेण भास्वता

शनैश्चराभ्यां पादाभ्यां रेजे ग्रहमयीव सा ॥१७॥

Her heavy breasts are weighty (Guru- Jupiter)!

Her face shines like the Moon (Chandra-Moon)!

Her feet tread very slowly (Shanaih - Shani - Saturn)!

She indeed shines like a collection of planets!

(18)

‘Where did the girl disappear? Why did she not stay in his presence for long?’ the lover wonders. Maybe he had not done enough merits to have her company.

Is it not a well-known fact that people go to heaven to enjoy the company of the heavenly damsels after collecting abundant merits only? This girl must also be a resident of such a heaven! Such beauty cannot belong to the human world.  He advises his mind now.

तस्याः स्तनौ यदि घनौ जघनं च हारि

वक्त्रं च चारु तव चित्त किमाकुलत्वं

पुण्यं कुरुष्व यदि तेषु तवास्ति वाञ्छा

पुण्यैर्विना न हि भवन्ति समीहितार्थाः ॥१८॥

 If her breasts are huge, her hips are attractive,

and her face is pretty,

 why do you feel agitated and suffer my mind?

Perform meritorious deeds, if you desire her company!

The desired objects cannot be attained without merits!

(19)

Lost in her thoughts, he describes her beauty. 

इमे तारुण्यश्रीनवपरिमलाः प्रौढसुरतप्रतापप्रारम्भाः

                    स्मरविजयदानप्रतिभुवः चिरं चेतश्चोरा

अभिनवविकारैकगुरवो विलासव्यापाराः

                                किमपि विजयन्ते मृगदृशाम् ॥१९॥

                                  

These deer eyed girls-

with the youthful charms;

fragrant with their freshness;

initiating the ability of passionate union,

guaranteed to make the God of love victorious;

stealing the hearts of men from so long a time;

with abundant new gestures (like shiver, fear etc);

with all sorts of amorous plays;

-        always excel!

(20)

The poet describes her soft spoken words.

प्रणयमधुराः प्रेमोदारा रसाश्रयतां गताः

फणितिमधुरा मुग्धप्रायाः प्रकाशितसंमदाः

प्रकृतिसुभगा विस्रंभार्द्राः स्मरोदयदायिनो

रहसि किमपि स्वैरालापा हरन्ति मृगीदृशाम् ॥२०॥

Sweet with affection (removes the tiredness);

oozing with love;

filled with the ‘Shringaara’ (erotic) sentiment;

mixed with the sweet juice;

 pleasing the ears with the innocence;

expressing the desire for union;

naturally pleasant;

showing total surrender;

raising the passion in the heart;

the ‘soft words’ of the deer-eyed girls in private,

somehow steal the mind!

येनान्तरङ्गं द्रवति स स्नेह   that which makes the heart melt is ‘Sneha’.

That is also प्रणय, ‘love’.

शीतलीक्रियते तापो येन तन्मधुरं स्मृतं that which cools the heat is ‘Madhura’, sweet.