Pārthāyaṇa, or The Journeying of Pārtha: Digital Critical Edition — after Creese (1998)
Author of digital edition: Helen Creese
Filename: DHARMA_CritEdKakavinParthayana.xml
Language: Old Javanese
Repository: Nusantara Philology (tfd-nusantara-philology)
Version: part commented since without access_token with github actions api calls are limited – still working on it
Editorial
- Editorial declaration:
- normalization:
- change rṇn to rṇa change ê to e change â to ā change î to ī change ĕ to ə change ö to ə̄ change ṛ to r̥ change ng to ṅ change w to v
- normalization:
Witnesses
- [EdC ] Creese 1998
- [L] lontar ms from Puri Kawan, Singaraja (HKS 2715 = HKS 5202)
- [L] HKS 3995
Edition
invocationAwighnam astu
Canto 1 Jagaddhita
1.
tustus ning kalangön anindya paramārtha pinahuwus i tatwa ning kawi
dhyāyī sātmya ri lĕnglĕng ing kamala hadwaya pinatĕh i sāndhi ning hiḍĕp
nyāsan ring kakawin tinap pinakasāntĕn i jurang ing acaṇḍya lung langö
manggĕh lit ning adṛśyatantra madanodaya wĕkas ing acintya niṣkala
2.
āpan yan winidāna kastawan irân pangawaki rĕcĕp ing pasir wukir
byaktâmiśra luput ndatan pahamĕngan mamiṣayani raras hanêng kapö
tāwat yan guru ning tanah tutug ing ākṣara pinakahirĕng hanêng karas
nāhan prastuti ning mangarccana rarab ni suku nira winimba nityasa
3.
mangke ngwang lĕngĕng angdadak tumura warṇnana palupuy anātpadêng langö
ndan dūra n katĕkāna kewala mahângriwĕgi kapana rakwa yan singi
hāmhām de ni kĕtĕr nikang jalada tibra kagagat angalap karas tanah
tan tungkul ri kapingging ing hati cumĕngga raga-ragan angiṣṭi kośala
4.
yan kāngĕn hala ning tuwuh wiphala nistura gati nika tan pangenaka
wet ning duṣkṛta lot mahambalan ibĕk prihati wiraha śoka lampunĕn
lĕnglĕng bhranta pinöm halib taya ta sāmbatĕn amanĕhi tan sih ing widhi
manggā mūra matinggalêng śana wanāśrama ya juga parāna menaka
5.
donya n māntĕna kaśmalanya hana darśśana ta sira sang āryya Phalguṇa
śrī Drupadātmajâpupul i Dharmmatanaya dinunung nirê dalĕm
yângde trāsa manah Dhanañjaya mangiṣṭya layat awanawāśa tan waneh
ngkā n māmwīt ta sirê narendra pakamanggala kamĕna nirân humangkata
6.
eñjing wāhu lumöng bhaṭāra rawi munggu ring udaya madan nṛpātmaja
sāmpun mĕntas angarccana krama mijil ta sira saka rikang purângĕnĕs
tar sah tang warayang laras kawaca yêka ta winawa nira ng warāyudha
jāti kṣatriyadharmma mangkana purih sang ataki-taki wīryya ring prajā
7.
ndah śīghrân lĕpas ing swarājya laku sang nṛpatanaya sinanggrahêng langö
akweh sobha taman-taman katĕmu de nira ri wĕlahan ing purāśrama
kaywanyân pakĕmul-kĕmul hima sawang lumuh alara mame kakingkingan
humbut ning lirang ārjja rumbay amĕḍar sawang angĕsah akung hameri luh
8.
lunghā lampah i sang narendrasuta mangkin umaliwat adoh sakêng sabhā
oruk tingkah ikang kināryyakĕn awarṇna salahasa yadin katoliha
tistis lwīr akĕkĕs-kĕkĕs kalamukan hawuk amuni langönya sungkawa
krām ning wai manisih ya tâbalut apiṇḍa pamatan ing unĕng linurwakĕn
9.
tĕkwan rāmya nikang basantamasa rāmya ri hawan ira rāmya tūt hĕnu
kāryy ânwam hangĕlih-ngĕlih sĕmi nikang kayu kasirir awarṇna koyangan
polahnyân angĕsah sawang pangĕsah ing ruḍita wiphala kungnya de nira
awrā kīrṇna tibêng lĕmah paḍa luñut kusuma nika katon sumamburat
10.
nyagrodhânwam aneka boddhi nika yan paruruhurana len prih ambulu
lumrā ng pakṣy anacar paḍâsira-siran tĕka sumayab aliwran ing tahĕn
mĕnggĕp syungnya na medi-medi sinameni bayan ika marĕk sagocara
ahrit śabda nikang kuwong siniring ing walik alara tinambang ing cucur
11.
prāptêng pora ḍusun-ḍusun hana tĕgal-tĕgal i hiringan ing gunung-gunung
wwang māhwan ya paḍângaring ndan alĕbā patarukan i gagānya tūt gĕgĕr
dudw âmöh susu kapwa mangkana lanā gawayan ika marĕk marêng pura
rîndrapraṣṭha nahan prasiddha pahulanya suruhan i gawenya nityasa
12.
mĕṇḍung wāhu sumār jawuhnya maniram-nirami tarukan ing lurah-lurah
mangkin kentar ado[h] himanya tĕkap ing pawana mahĕli teja ning rawi
bhrantā ng cātaka manglangūt ri surud ing jalada malih i rāmya ning wukir
hetunya n pangamarmmakĕn ri sira kelu salahasa tuminghali ng tawang
13.
tan magyā ta laris nirân krama halintang i tataraban ing wanāntara
kweh katyāgan aneka tang kabuyutan tinĕmu nira katon paḍâhalĕp
lāwan maṇḍala dharmmaśāla kuṭi pājaran arĕja wihāra söh langö
lingsir ning sawitā pirêka lawas ing diwasa tĕka sirêng Saraswatī
14.
singgih nirmmala bañw inuttama pawitra pinakabañu ning wanāśrama
towin śuddha hi maikalanya n apasir-pasir analaga mādrakâḍake
rañjing-rañjing ikâlangö panilukanya n asaji-saji pūrṇna pangkaja
panglinggan ri dalĕmnya tan patatalan marahakĕna gatinya n uttama
15.
āmbĕk sang nṛpaputra harṣaja tuminghali kalĕngĕngan ing mahānadī
mambö rāmya ni posik ing jaladhi posik i bañu nika mosik ombakan
mātrânūb lari ning samīraṇa matangnya kumucak amangun larap-larap
ryyak-ryyaknyân lalitâmijah lwir agirang ta mamapag i sang āryya Phalguṇa
16.
hangsa śweta ya tânĕlat ri tĕngah ing sarayi mahas awarṇna manglĕngĕng
kahyun-hyun tumiling-tiling ri kĕtĕr ing bhramara wijah amanwa-manwakĕn
lwir mājar hĕning ing nadī tiki n inulwala ning anila medy aringgĕkan
denyâsnāna nirāgrahêng wipula pangkaja kahanan ikâpuḍe-puḍe
17.
ngkānê lwāni pasir-pasirnya tamatan dahat adalĕm angāmbĕk-āmbĕki
honyêkang kaga cakrawāka kalawan priya mangalihi mendung-endungan
munggwîng pangkaja lot yathāsuka mapahyunan amiruru bajra keśara
kengĕl pwa ng harawinda marmmara kacūrṇnan i pakĕpĕk ikang wihanggama
18.
aśrī reh ni hiring-hiringnya n ahijo paḍa marĕja bangun linangwakĕn
de ning śewala mĕnggĕp angragĕti pantĕs aniru-niru gātra ning pupur
nāntĕn têki sawang paras-paras ikang wwang ahayu sahajâmangun raras
lwir saptangkura sumrak anglĕlĕh i denya n awangi pakis ĕṇḍah ing bañu
19.
wwantĕn satpada medran angrarah amūrwwa raras i lĕngĕng ing saroruha
darpanyâliwĕran ya monĕng akarang-karang angarĕki kosapêng hṛbuk
hūmrĕng lwir kĕtĕr ing kapat tuwin arūm lalita jaya-jayanya komala
lwir hūngkāra pamūrṣitanya ri narendratanaya rumĕsĕp nirāntara
20.
ngkā rakwân tumĕḍun sirârahup acāmana lumĕkas asūryyasaiwana
māryy ângel sira denya mangkin alilang twas ira tĕlas irân pangarccana
ndah mĕntas tumuluy sakêng bañu tathāpi kajĕnĕkana ring śilātala
harṣânon ri pakungnya yâwing-awingan watu hangingin-ingin mungup-mungup
21.
len tang harṣa nirân mulat ri gati ning pingul amijah i lo nikang bañu
tĕkwan medi lĕkas niki n pangicipir hana gumiwang anambi ring watu
yêkângde kusut ing nadī jaga-jaga ng kuluma milu kawĕs marambĕhan
ngkā n kāgyat tĕkap ing wihangga kumucup karaṇa nika larup* marêng rĕṇĕk
22.
mangkin konang-unang tikang walahar anglĕngĕngi kadi hamiṇḍa ring tawang
singhit pwa ng rawi rukṣa tang kusuma honya ta kasawur i pombak ing bañu
lwir wintang dinĕlö halĕpnya sumarambah anama-nama raśmi ning suji
lwir puṣpāñjali śuddha tulya pasayutnya yan angucapa rakwa ling nira
23.
nyâśokâsana puṣpa bāṇa paḍa lurwa kakiraṇan i tīra ning nadī
kapwâśā magĕyuh langönya katawan smi ta kusuma nikang tahĕn madhu
tan samwas makire manis mala-malar susupana ring akung macangkrama
rāmyânūt ri patinggal ing bhramara māri mangarĕki hinernya yan rurū
24.
rūmnya ngganya parantya ning rimang angarccana madanawilāśa ring jinĕm
honya ng tañjung angambwakĕn kusuma mār mrat angawadi sugandha kānginan
mambw ârūm panĕḍĕng nikang śikari mogha tan akalib aliṇḍungan wungū
tapwan marmma hure ni sāntĕn ika molur acawit ajagêng smarātura
25.
kālanya n ri tiling hyang ārkka makucĕm kalĕngĕngan ika suksĕkâlangö
heman tan hana ning mahas-mahas acangkrama mangucapa rūmnya ring karas
sis denya n wwaya tang mayūra sahajângaring-aring anamar mahas mangö
pantĕs yan kĕkĕsĕnya ring rasa wilāpa kalĕngĕngan ikang Saraswati
26.
manggĕh buddhi nirân mangö mingĕt-ingĕt [r]yy amĕna nira nahan rinūpaka
siddhā ning lumicin mangiṣṭya pawĕkas parama ṛṣi rikāna lakṣyakĕn
wet ning lwā nikanang daśendriya rumĕñcĕm amaribhawa litnya ring tutur
yêkângde hilang ing Śiwasmṛti lĕbur bisama madĕg ikang rajah tamah
27.
ānghing kottaman ing hiḍĕp taki-takin ring anĕmu-nĕmu tatwa ning hurip
byaktâwās kadi cakra ning ratha yadin hulurana lĕwu denya tan padon
āpañ jāti nikang śarīra taya leñ juga dadahakĕn ing yaśâdhikā
yêkī n kenaka ning tuwuh niyata haywa malĕmĕha ring wiṣṭi ning hayu
28.
nāhan wastu ni de nirângangĕn-angĕn tulusa ni pangadeśa sang ṛṣi
lwir bhrantâkuyĕngañ juga* ng hati dhumāraṇa kapatĕha ning daśendriya.
āpan bheda nikang hiḍĕp ya ta maweh sukĕr alĕmĕh i sandhi ning smṛti
hetunya n humĕnĕng samāntaji winodanan i kĕtĕr i śabda ning kuwong
Canto 2 Navaharṣa
1.
irikā ta muwah lumaku sira ri lingsir ikang diwasa
paran ing twas iniṣṭi nira taya waneh nghing ikang Himawān
ndah amūrwwa ta lampah ira taman angel mahawan palapat
alangö mulat ing manuk angada-hadā ta larinya lĕyĕp
2.
wangi ning wanapuṣpa maluru kasirir ya ta manglĕngĕngi
tan arĕn mangawe twas ira tumalingê kĕtĕr ing bhramara
kahiḍĕp ta pañumbwa nika kadi kĕtĕr ning amūrwwa lulut
araras sinamāntarakĕna ri panawwang ikang mrak arūm
3.
i pasañcayan ing wanakusuma sumār mrik amṛṣṭy arurū
rinarah tĕkap ing hangin umirir angimbuhi raśmi nikā
kadi laywan ikang kusumaśara aneka waneh sumĕlap
i sukĕt-sukĕt ing luru-luruk anamar sinusuk-susukan
4.
nya sudanya latângalaya kapanasan kadi śoka rapuh
katirah lumale sulur ika makuśā bhramitâmlas-arĕp
umingĕl pwa pakis haji nika hajapĕn yan awarṇna humöt
hana rakwa wĕlas-harĕp angulili munggw i parantyan akung
5.
angĕlih sĕmi ning mangunĕng asĕmu lurwa kĕnêng kiraṇa
lwir angel mangĕsah lumayana ri lĕmĕsnya manganti gĕrĕh
akiput kumisik gĕsing ika n angaweśa ri rĕs ning unĕng
ri huyangnya kinolakĕna* pamĕkul ing prabhu sanmata mār
6.
agĕnĕt pwa sukĕtnya puru-puru latāngkura ketnya n arĕs
tuwi sungsang ikânwangi riy alikukunya lumĕnghy angure
sumĕkar ta kayĕnya n umadĕg i jurangnya sugandha mawit
humĕnĕng hana cĕb luput ika dumĕling ri wĕgangnya luput
7.
ndah atīta lawas nṛpatanaya lumakw anusup ring alas
kali durgga jurang giri gahana aneka linakwa nira
tuwi lālana met †paran ira wulakan lwah anindya suci
patapan ya ta rakwa panginĕpan irêka tĕhĕr hiniwö†
8.
anusup ta muwah nṛpatanaya susatya mahâmirati
ikanang wana parwwata juga pakamitra nirân winĕgil
ya ta rakwa mahâsĕgĕ-sĕgĕhi sirâsaji sarwwaphala
hana herttali rāmya ya tika sumĕneha patīrthan ira
9.
tĕka rakwa sirêng Himagiri atisobha sabhānya katon
ndan apiṇḍa kadewatan alĕp ikang ārkka lumöng manisih
kahatur jaladanya sumaput aputih kadi bapra lĕngöng
ahurup lĕyĕp ing gagana juga lĕyĕpnya kunĕng tinahā
Canto 3 Śikhariṇī
1.
sawang mosik tingkah ni para-parah ing parwwata lĕngöng
bangun masyang tang cāmara kumisik osah kapawanan
halah herherĕn lwir ni pakusikan ing pādapa mingĕl
lawan lunglūnganya n lalita mangungang lot mangalaya
2.
ri himbang-himbangnyân wana gahana udyāna juga ya
katampwan krām-krām ning kiraṇa karahanyân panĕpuhi
mamöngpöng sāśry ârumpukana ta sĕkarnyêka dumilah
kadi pwâhyas harṣân tinama-tama de Paṇḍutanaya
3.
wināswās tingkah ning halas ika sawang wāhw atamuyan
pasungsungnya jrah ning kusuma sumĕkar kapwa ya marūm
tahĕn tejârumbut pracala mara sinwamnya hamirah
hatur bāng ning lambe gĕrĕmĕ pasĕnāhanya ri sira
4.
lĕbaknya kweh lwir Nandanawana mahārāmya tan alah
gihānyârcĕp [h]endah prasama mahalĕp warṇna racana
lawan wṛkṣanyâneka hana parijātânwam anĕḍĕng
pralĕmba lwir ning pādapa nika mure lambika mapös
5.
nadīnyânūs lĕnglĕng mwang i tĕla-tĕlā ning parang arĕs
waneh muñcār sangkêng paras analaga lwir tasik anak
ri dunghus-dunghusnya n rucira manaruh rūm ning udadhi
prakīrṇnā ng paṇḍanyâpuḍak anidĕhi ng wungkal alangö
6.
saharṣâmbĕk sang Pārtha makin umanek ring Himagiri
makin kāścaryyânon ri halĕp ika sākṣāt surapada
katungkul-tungkul denya para-parah ing Bhāratapura
lĕbak lungkan-lungkan yy udaya śata tīrthân kalihatan
7.
jurang sūkṣmâtyantêng bisama tuwi kalyañ jaladhara
marok mwang wĕlkah ning walirang angaras yan pangĕmuki
kasöngan teja byakta tiki n atĕmah wangkawa lumöng
pilih sök truh ngganya n lagi kiniwat ing gĕntĕr awarah
8.
prabhā ning wwe sākṣāt ya tiki kahanan nirmmalanadī
pilih Ganggādwārêki winuni ri denyâparimita
tumampang* ta ngwang ling nira tama tiki n mangkat angalih
hawanyâhrit pringgâkarakal i jurangnyâringi-ringi
9.
lĕwĕs denya n mewĕh taya gamana ning wwang tama tĕkā
yatan sang siddhārṣi prawara sira sang bhikṣuka huwus
nahan pamyaktan kottaman ira ta sang Paṇḍūtanaya
ndatan mewĕh prāptân tamakĕna sumadhyā parahita
10.
ḍatĕng sang Pārtha ngkā ri kahanan ikang kalyan asĕnöt
katon pwêkang Ganggāwiwara paramānindya wimala
anūs ri lwang ning gahwara mamulakan wwenya ya mulĕk
apan sākṣāt his ning śaśadhara hurip ning sabhuwana
11.
sĕḍĕng prāpta ngkā sang nṛpatanaya mangkin sapurati
tuminghal ring Ganggâmṛtamaya haturnyêka malilang
apan manggĕh pangdoh ni pangawaśa ning twas salahasa
rikā n masnānâdyus sira tumĕḍun ing tīrthawiwara
Canto 4 Praharṣiṇī
1.
ngkā rakwân salila ta sang narāryya Pārtha
lāgy âköm ri wiwara ning nadī pawitra
lyab-lyabnyâtiśaya maweh manah wiśuddha
maswadhyāya japa sirêka yan pamūjā
2.
bwat nārīśwara sinamādhi sūkṣmatatwa
sangkêng āṣṭadala hanêng nadī pratiṣṭha
sūryyâtmā hinawatakĕn ring antarikṣa
līna dhyāna ta mapisan ri windudewa
3.
wwantĕn stry ārjja marĕk i sang narendraputra
raśminyânamar ari ning raras maweh kung
sākṣāt Karttika pangawak nikang kalangwan
lĕnglĕng ning wulan ajapĕn manis-manisnya
4.
byaktâmungwa ri lĕngĕng ing mangö wimūrccha
warṇnâtruh riris alangö patahnya mār mrik
mwang rupnyânĕlĕhi lanâmĕḍar kilatnya
tejā ning muka gumawang makin rinĕngga
5.
ndan sang Pārtha sira tiki n tĕlas masandhyā
kānggĕk citta nira tumonya tan pasangkan
lakṣmī ning Himagiri Jahnawîki tan len
yêkā n śangsaya tumahā ring Indrajāla
6.
hetunya n pangucap arūm paran kitântĕn
prāptêng parwwata ri sĕḍĕngkw atīrthayātra
nāntĕn tan saparan ing anglĕngöng hiḍĕpku
āpan ratna ning ahajöng kitâri rakryan
7.
jañjan lwir* cumataka sambhawê rarasta
śrī ning tāman atawa rūmnya yan winimba
śrīdantâmithuna manisnya ring wajâkrām
handul munggw i gisi-gisinya lot rumangkĕp
8.
endah tang katirah angaśrayê laṭinta
mwang nīlotpala ri matanta rūmnya n unggu
lung hing* jangga wahu lumung wwayê gulūnta
lingkw indung mangunĕng amiṇḍa ring patah rūm
9.
kambang ning priyaka mĕkar yy awakta mambĕt
[h]astângerangi sĕmi ning haśoka lĕnglĕng
ndah mangkā ng wĕtis anusah tikung puḍak mrik
nyū dantâgĕmuh anular ta yêng stanâhrit
10.
nāhan rakwa ling ira Pārtha yan panantwa
wruh tang strînggita ni manah narendraputra
he rakryan lĕwu amanuṣya kabwatanta
prāpta ngke tuwi tak anon waneh juga ngwang
11.
hāh tan popama mara göng nikê kṛtinta
siddhā ning tumama marêng Himâdri durgga
hīnganya n putus ing inuttamâdhikāra
yogya n śāraṇa sang amet kawṛddhyan ing rāt
12.
nā lingnyângupasama towi sārjjawâsih
ndan sang Phalguṇa mamanis wuwus nirâtwang
wīnang dyah sang apa kitâhajöng hana ngke
tājar ngwang duga-duga hāh lĕwĕs mahātku
13.
māskw îndung [h]atawa kitâri sūkṣmadewī
wetnya n konĕng-unĕng anunggw i kāwakanta
sakweh ning kusuma angasrayê rarasta
byaktêki n hana rumagĕt katon paniwya
14.
pintĕñ janma ni lĕngĕng ing kapat mawak rūm
śrī ning sāgara madhu niṣkalâśarīra
singhit pwa ng jaladhi linangwakĕn langönya
lāwan parwwata winawêng langö salah de
15.
rakryan tan wiphala kunĕng hayunta heman
ngke ring durgga gahana towi tungga-tunggal
lwir tan wiśmaya matakut kitêng wanādri
wet ning singha gaja ulângawit lawan mong
16.
mangkā lwir nṛpatanayâmĕpĕr matakwan
ndah mājar duga-duga têka sang sinantwa
rakryan rĕngwakĕna nihan manĕhta māsku
strīkanyā ngaran Ulupuy nghulun pwa yâsih
17.
ndah pūrwwākĕna mara janma ni nghulun strī
śrī Korawya ta karĕngö gahan [h]ulā göng
ndātan len ri sira mahādbhutêng prabhāwa
ring wīryyâpratihata tan samêng triloka
18.
wwantĕn rājya atiśayêng alĕp wiśeṣa
de ning bhāswara maṇi ratna aprameya
lwir kendran hayu nika tan pacāla ring śrī
kabwatnyân hana parijāta kalpawṛkṣa
19.
nā tang swargga tuwi masor hayunya kāsrang
de ning nītala pakĕkĕs nikâdwitīya
[singgih yan damĕl ira Padmayonidewa]*
hetunyâsama-sama wet ny ulih nirâmrih
20.
nā tândĕl nira bhujagādhirāja tuṣṭi
sakweh ning [h]uraga samanta kapwa bhakti
ndah parṇnah nghulun iki nāgarājaputrī
langgöng sāśwata juga nora mātra duhka
Canto 5 Śārdūlavikrīḍita
1.
sāntĕn-sāntĕn ikang sukôttama huwus kesyan tĕkap ning yayah
yângde wyāpara tar jĕnĕk saka ri göng ning śreṣthi kady âwarĕg
āmbĕk tan winaḍa n mahāngrarah i rūm ning deśa śūnyâsĕnöt
prāpta ngke dumadak manĕmwa ri kitâdewāśrayêng Jahnawī
2.
mogha ngwang kĕna rāga tibra sinarik de ning smarāstrânala
anghing his ni manis-manista taḍahĕñ jampya ny unĕngku n rimang
āpan hyang Rati marmma mangrahatakĕn kingking ning oghângarang
sih rakryan palarĕn warâmṛta kitâtah pāwak ing Manmatha
3.
mwang ndyânung kahalĕp nikang wanawaśânganti ng* sukĕt kāsy-asih
darppângingkis anambi ring watu sumong rukṣâkusut nisprabhā
roṇḍon lurw aluñut ya rakwa kalaśānya ndin panĕmwa ng suka
tan wāktan kĕlut ing śarīra masamun kumrut riniṇḍing lanā
4.
sangkṣĕpanya tuhanku mantuka marêng nāgendrarājyâmriha
bhuktin tang suka bhakti ni nghulun agöng sambeganĕn tânghyanga
nyāta ng nāga kabeh prabhakti tarimanta prārthananyâniwi
bhoga mwang paribhoga yêkana hiwön secchânawung sanggama
5.
nā ling sang Hulupuy sarāga sumahur sang Pārtha somyâmanis
hāh māskw îbu halib pwa denta mangalap ngkānê maṇik ning hati
heman raśmi nikung prahāsana rasanyâmlad waśângde tĕñuh
santoṣâñ juga denta māsku ta kari ng niśśrādha sih ngwang hari
6.
mangke kāla ning anggĕgö pasamayan pangde nirang Nārada
brāhmācāryya ya hetu ning malarasan ngke ring Himādry ânusup
anghing dwādaśa kāla hīngan i lawas ning warṣa herĕn tĕkā
yângde lök yadiyan pangisyana sarāgâmūrwwakĕn sanggama
7.
nāhan têki sahur sang Arjjuna muwah mojar tikang kāminī
ḍū swāmingku salah tikângangĕn-angĕntâmrih [r]yy ujar sang ṛṣi
wruh ngwang don i wuwus nirân gumawaya ng protsāha sambhodhana
singgih śrī Drupadātmajā sira tikânggĕh ning bratantânaḍi
8.
len sangke rasikâparan ta kasalah dentânggĕgö sanggama
tan sangkêng paraḍāra lĕmpunĕn* ujarkw âmūrṣitâmrih rĕṇa
wṛddhyā ning kulawangśa donya pahayunta ng kāmamudrāgama
nāhan bhyāsakĕna prihĕn tĕpĕt ikang dhyāyī tĕkêng śūnyata
Canto 6 Turidagati
1.
mapa kari citta sang nṛpatiputra hinuluran ujarnya met* siwi
humĕnĕb-ĕnĕb ndan āmbĕk ira singgih ujar ika n aminta tanggapĕn
karaṇa nirân pangaywakĕna lingnya hinubhayan apan parêng hayu
apituwi tan pacāla ring arūm taya wipata kunĕng hiḍĕp nira
2.
nda huwus atūt wilāśa nira sotan i manah ing atunggalan hunĕng
angadĕg adan ta rakwa nṛpaputra dinulur ira nāgakanyakā
ri bĕla[h] ikang wasundara nahan ta hawan ira marê[ng] rasātala
tuhun alaris sirâpaduluran suka tinuduh i tingkah ing hĕnū
3.
katĕmu tikāng anâlaya wangun-wangunan ika anopamêng halĕp
racana nikang humah kanaka gopura pagĕr ika kapwa mās maṇik
swang asĕmu tejamaṇḍala parĕmpwan ika paḍa-paḍâmangun hulap
iningĕt-ingĕt hayunya n adhikāra saka ri hayu ning kadewatan
4.
surabhawanâsinang tĕkap ikang dinakara wararatna bhāswara
hiwag ika yan makāntang akucĕm lalu diwasa ri kāla ning kulĕm
kunĕng irikang rasātala ya tângurang-urangi pĕtĕng tĕkêriya
ya juga lanâsinang tĕkap ikang sphaṭika maṇi suteja nityasa
5.
irika narendraputra tinamākĕna tĕkap ira nāgakāminī
asaji halĕp nikāng alaya kañcana pinacira wastw anindita
hana wanitârjja kapwa sinawang maṇik anguray arūm raras nikā
amuhara kung liringnya dinĕlö lĕmĕs ika n aśarīra pādapa
6.
wwaya ta marĕk sumanggraha mangaswakĕna pamapaganya ring tamuy
apĕnĕd awĕtwa-wĕtwan i kapantĕs ika ta magĕsĕng ring inggitā
alĕbu-lĕbū raras ni saḍĕk ing kusuma paḍa minging kinasturi
sinawawa raśmi mangjĕngĕrakĕn pasaji-saji manis tininghalan
7.
hana wangunan gṛhasphaṭika pangkaja madana hatĕpnya mās tatur
arĕja rinĕngga puṣpamaya kapwa maṇimaya lumöng hanêriya
hana ta kunang sumajya pawirāman ika gĕlaran ing smarāstuti
ndan inapi raśmisañcaya jahitnya n asĕmu parahasyan ing wulan
8.
irika ta munggah ing pakasutan sang ahayu kalawan nṛpātmaja
pangawaśa ning paḍa priya matūt wawang aruma[h] ikang raras hati
papupul irân hanêng śayana rāmya paḍa sira makesi ning manis
asĕmu pamiṇḍa ning mĕnur angaywakĕna raras arok lawan gaḍung
9.
hana ta waneh patūt nira hatur salaga marĕk i rāmya ning nadī
niyata juga ng Ratih makalawan Manasija sira karwa ring jinĕm
pawilĕt i sandhi ning gati ciniṇḍya nira tĕlĕng ikang smarāgama
kṣaṇika tatan kapanggila pasungsungan akĕcap irêng pasanggaman
10.
kunĕng i huwus nikang gati tĕkap sang amithuna langö nirêng tilam
wawang alulut sirârddha kaharas maṇik i hati nirân hañar waśi
parĕng umijil sirâśila makālihan ajajar i heng nikang gṛha
hana humaḍang marĕk sapariwāra nira umupacāra sanggraha
11.
ri yawa nikang gṛhasphaṭika parṇnah ira kadi sakêng Smarālaya
paḍa sumĕnāha tang taḍah aneka parama rasa pattya ng enaka
ri tĕlas irânaḍah krama parĕng ta sira maluy umunggahêng jinĕm
bĕtah anawung hunĕng nira hanêng śayana taya kawarśih ing gati
12.
suka-suka sang sĕḍĕng mangayu raśmi saturida hanêng pasanggaman
tuwi pinagantakĕn mahasa lālana madulur anis marêng taman
tan alĕh ahimya-himyan angusir sakalĕngĕngan ikang pajang wulan
sahaja marângrĕrĕb-rĕrĕb akālihana jinĕm apuṣpa pādapa
13.
pangirim-irim nikang masa kapat patĕr amijah angambwakĕn riris
umahas-ahas ta rakwa sira rāmya manĕpĕrakĕn ing tapowana
nguni-nguni ring nadītaṭa marêng jurang amarĕki durgga ning parung
hana wulakan pamenan ira lot aṭika-ṭikan asangwa kung lulut
14.
salawas irângurĕn turida harṣa silih-asih angekacumbana
wruh amiṣayêng rĕsĕp taya kagiṇḍal ira paḍa sarāga tan wiwal
jĕnĕk amulung-mulung madanatantra taya kahala de Dhanañjaya
sinamaya sūkṣma lingga ning akung ndan apagĕṭa miwö ng karāsikan
Canto 7 Jaloddhatagati
1.
tangeh lawas irêng rasātala hana
ndatan dwa mawĕkâdhikāra nipuna
inakwan ira wīra ring raṇa hĕlĕm
ya rakwa Irawan ngaranya karĕngö
2.
ndatan malupa sang narendratanaya
prayojana jugêki nitya katutur
ya hetu ning adan humangkata muwah
sinantwa winarah ta sang priya huwus
3.
samangkana sirân lumakwa maliha
ḍatĕng ri Himawān ta rakwa wĕkasan
wisāta manusup sirânginak-inak
aneka ta jurang wukir paranira
Canto 8 Kāmamālā
1.
kaparah tikāng acala rāmya amanuṣa langönya durggama
giri Nīlaśṛngga karĕngö tuwi gahana sukĕt nikang wukir
apĕluk jurangnya n adalĕm śikara nika kahundul ing parung
kumisik bañunya ya manumbĕr i muka tumĕḍun marêng jurang
2.
alilang hilīnya gumulak mangabarat i tĕlā nikang wukir
susu ning lĕmah kahiḍĕpanya kadi rajata warṇna bhāswara
amijah ḍaranya masibu mwang akĕpĕk angaring marambatan
sakadang matūt ndatan arinya mamarĕngi* patīrtha sang ṛṣi
3.
alalĕh katon para-parah niki n arĕcĕp angungkul-ungkuli
ri hiring-hiringnya patapan mapangajaran i pinggir ing parung
ndah atindu-tindu patatānya sana-sini paḍâgawe langö
wara puṣpadeha dumilah kadi dahana kinuṇḍa tan paḍĕm
4.
araras patinghalan ikang para kili winagĕd raras nikā
kahatur cumāmpaka manisnya sumaji-saji tinghal ing mulat
ri pasiṇḍi-siṇḍi nika pantĕs angayati pakiñcang ing halis
anamar kilang juga liringnya winulatan ikânghĕmū-guyu
5.
i talun-talunya ya ta lālana hamumu* gangan lawañ jamūr
nguniweh lalab paḍa winungkus i jamang ika tan tahêng susu
anusah manis ringa-ringan yan angidung i samīpa ning parung
ahirit sinambangan ikang gagung asahuran ing jurang-jurang
6.
irikang tapowana rarasnya n abuhaya sumajya sang ṛṣi
hana tâmipil kusuma darbbha hinikĕt inamĕrnya ring kukū
sawaneh marêng ghaṭa lumampah angamĕr arĕjâñawuk bañu
dinĕlö manisnya n angĕnoh rumĕngu-rĕngu sawang surâpsarī
7.
anĕḍĕk tikang tasik anak bañu nika n inungang katungkulan
kumucup tang erttali sakêng wiwara niki kawantus ing tĕngah
amangun-mangun hima lumöng kakiraṇan atĕmah kuwung-kuwung
sawaneh katon kapalĕyö kadi bhujaga kumĕṇḍĕng anglayang
8.
sĕmi ning wanāntara lume mĕhah angayam-ayam truh ing nadī
kadi tan puji n marĕk i rūmnya pinakaciri munggu ring gĕlung
ri ḍatĕng narendratanayângdurugakĕna langö ning aśrama
huni ning kuwong lwir angatag mijila hana ta sang Dhanañjaya
Canto 9 Pr̥thvītala
1.
rĕsĕp ta sirang āryya Phalguṇa tiki n mulat kāsrĕpan
katon halĕp ikang pradeśa nikanang wukir pājaran
lumūd manah irân rapuh kangĕlihan tĕkap ning rawi
ya kāraṇa nirân tan aśru wĕkasan sawetnyân mangel
2.
hanan laku sumĕngka rāmya lumihat hiring ning langit
linangwakĕn ikang manuk wahu mulih larinyâlangö
tuwi pwa n alalĕh lapat-lapat aḍanta-ḍantânglayang
ya rakwa sumawe raras twas anamar kĕḍap ning wukir
3.
hawan lĕngĕng atuṇḍa-tuṇḍa tĕpi ning jurangnyâdalĕm
ikang sukĕt anambi-nambir asĕnöt latānyân sumong
lumĕnghay adawā katon lung i galingnya munggw ing parung
hanêki n amilĕt ri ampiji waneh tahĕnyâlĕsĕs
4.
larap ni sĕmi ning walik-kaḍĕp i himbang ing pājaran
lawan pisang alas pupus nika mapös hatur kānglihan
sawang layu-layū lumimbay alaris sĕḍĕng kānginan
aganti lawan aṇḍurū ya tan arĕn kĕlabnyângawe
5.
samangkana pamangsul ing kidang awās manisnyân wulat
mulat ḍara-ḍaran [n]ikang wray irikang tahĕn sambrama
sumantĕn anacar ta sarwwaphala honya manghruk parĕng
dudū tang angaring lutungnya yan amangkuk ing pāng jĕnĕk
6.
tangeh yan iniwön samāntara ḍatĕng sirêng aśrama
katon kadi sumanggrahê sira kayunya kumrām kabeh
sĕkarnya wilajêng lĕmah kadi rurū nikang bhūṣaṇa
angutkaṭa sumār nirāntara wanginya lumrā marūm
7.
lalu ng ghaṭita māsa tistis ahawan ta sang hyang rawi
sirĕm-sirĕm i sĕbsĕb ing kiraṇa kālasandhyā huwus
awarṇna cinirup tikang gagana tumrang abhrâmirah
urutnya sumirat-sirat karudhiran panarkêriya
8.
makin kawuwuhan langö racana ning pawitrāśrama
tuwin kinĕmulan kusut ni jaladanya lumrânurun
inaywan i kukus nikang huti pamūja sang paṇḍita
ikang kaluṣa moha śīrṇna tilakanya sākṣāt gĕsöng
9.
mirir wangi nikang pahoman i dalĕmnya mawrā sumār
sugandha saha dhūpa ḍīpa humaras wanginyângasut
samanta jayaghaṇṭa-ghaṇṭi ya tiki n pangungkung parĕng
lawan stawa karĕngw asangghani malap twas angde lĕngöng
10.
manuknya n akule lanā n pakulĕman rikāng aśrama
humung mahurahan kĕcĕknya n amicāra warṇnâkṣara
lĕngöng panamay ing dwirepa karĕngö hanêng srak minging
bangun wruh angawat lalitya pangidungnya somyârĕrĕh
11.
aneka ta tinon [n]arendrasuta rāmya ning pājaran
ya têka magawe kapūhan ira tuṣṭa māntĕn rapuh
mangö mingĕt-ingĕt marāryyan irikang śilâlwâratā
anganty anginĕp ing tapowana nahan tatâmbĕk nira
Canto 10 Kāmamālā
1.
ndah iwön ta sang ṛṣi kabeh mijil agarawalan panungsunga
tapi-tapy adandan umijil sahana nira hanêng tapowana
ndan apadgaṭâmĕkasakĕn* daluwang ira tĕhĕr ndatan hiner
agirang-girang lumihat ing lituhayu ya tikângjĕngĕr hati
2.
kadunung ta sang nṛpatiputra ta maśila ri pöhan ing tapa
apĕnĕd ri sor nikang aśoka mangisapu ya tâsuhun sĕkar
mututung ta sang ṛṣi tuminghali sira paramênggitâhalĕp
yadiyan mucap Kusumacāpa waling ira mulat mĕngĕn[-mĕngĕn]
3.
tan alah kapūhan ika sang para kili kadi wismṛti ng hiḍĕp
swang anagwa-nagwakĕn unangnya ri mata rasa tan wĕnang hinöt
mawuwus ta sang ṛṣi sabhāgya mami manarukêng tapowana
katĕkān manĕmwa phala ni ngwang amirati ḍatĕng nṛpātmaja
4.
mapa tang prayojana narendratanaya mahas ing wanāntara
kadi tambay ing parama māryya gatarasa mamî wanāśrama
tĕpĕt ing samāhita kunang pinahayu hayu ing tapabrata
takari ng kṛtārtha pangaranya panuluyana denta sanmata
5.
na wuwus watĕk ṛṣi narendrasuta majar i sang mahāyati
atĕrĕh pwa de nira yathārtha nira ḍatĕng atīrtha kāraṇa
riy ulih nirêng nitala yêka ta winarahakĕn tĕkap nira
agirang ta sang ṛṣi rumĕngwa kadi kawuwuhan sukâbungah
6.
wĕkasan ta sang nṛpatiputra dinulur umulih ring aśrama
ri ḍatĕng nirân pinaripoṣita tĕkap ira sang watĕk ṛṣi
hana târggha pādya saha mūlaphala lawan ikang mahoṣadhi
suka sang Dhanañjaya kaweni manah ira tĕkap mahāmuni
7.
iti nā sĕḍĕng nṛpatiputra hana ta sira ring tapowana
pinaran-paran ta sira de para yati malulut marê sira
mahas ing tapowana winūrṣita saparan irê mahāyati
nda aneka de nira maharsuka ri sira watĕk mahājana
8.
pira têki rakwa ri lawas nira n amĕgil i sang mahāyati
kadi tan hanêki dumagê samanah ira parārtha nityasa
irikā sirâmuhun umangkata ri sira sang ugrapaṇḍita
karĕṇan mahāmuni kumolakĕna ta sira sang nṛpātmaja
9.
bapa sang pangöban ing anāśraya parahita dharmma ring prajā
katĕkān manĕmwa suka ring kadi kita guṇawān nghulun tuhan
nyata sang mahājana tamolah ing acala kita prayojana
kita māsihânulusakĕn patayaśa pinakāśrayêng hayu
10.
na wuwus dwijarṣi sira sang nṛpatanaya tĕhĕr umangkata
mahawan halas-halas ikang pangajaran i siluk nikang wukir
irikang nadī sira n atīrtha maharaḍin ikang kasatwikan
malihêng purāntara kunĕng parana nira sinambramêng suka
11.
wwaya têki bhūpati hinuttama suyaśa mahārddhikêng praja
siniwi ng Mayūra wararājya nagara nira sang nareśwara
karĕngö pwa sangjña nira Citradahana tuhu bhūmipālaka
satatâsihêng agati tan wijigi sira n anon nirārthakā
Canto 11 Rajanī
1.
sira ta narendra Citradahanânak anindya hayu
kadi paśarīra ning raras amiṇḍa ri gātra nira
swang awangi gandha ning kusuma tan pagap arddha marĕs
matang ika Citragandha panĕngĕr nira rājasutā
2.
apituwi rakwa buddhi naranātha yayā n masĕkĕl
gati nira tungga-tunggala makesi ni nāla nira
bisama ya tan kagantyana dĕlāha hiḍĕp nṛpati
karaṇa nirân wirangrwang i karākṣakan ing nagara
3.
pangayam-ayam nirang nṛpati mahyun amantwa mĕne
ya ta pinametakĕñ jalu sulakṣana tan kahala
makaphala wangśajā sumilihêng pura len karatun
alah apĕgā ng manah mangĕn-angĕn ryy abhilāśa nira
4.
syapa kari sang mahānipuna wastu wineh atikā
maran aharĕp mahalwakĕna tan baśa yan kawawā
niyata kaduryyaśan ling ira tuccha gatinya tĕmĕn
tan ulaha ning janottama yadin paratêng wipata
5.
hana mara tôpamanya ta kunang yadiyan warangĕn
kusuma sĕḍĕng manohara sumambyakĕn ing bhramara
lĕwu mara denya yogya hañangĕnya warĕg juga ya
ya pangupadṛṣta ning taruṇa moliha tan wibaśa
6.
karaṇa nirâsĕkĕl taya mangenaki buddhi nira
luluy angajap ndatan palalayan twas irâbayangan
nguni-nguni têkanang bala kadi pwa ya niśśaraṇa
taya mara ngūni lingnya sahananya mĕhah malara
7.
tuwi mara kārmma ning dadi ikang rwa tumūt mijila
hala hayu yêka rakwa tinĕmunya lanā manapĕl
paḍa-paḍa tan kasah pwa ya rikang dadi janma kabeh
sudhana kṛpāna len ganal alit taya tan kahana
8.
wwang alupa ring rasâgama anāḍi Śiwasmaraṇa
niyata nikân panĕmwa hiwĕh ing dadi tan lĕpasa
kathamapi sang Mayūrapati satwika lot ginĕgö
panĕmu nirêng inak ruḍita śoka marĕk mangikū
9.
ya tika ginopitêng hṛdaya göng ni kaduhkan ira
ya juga lanā linālana wineh nira tan masukĕr
pasisi wanāntarāśrama nahan ta pamenan ira
bari-bari yêka rakwa pangimūr pwa ri sungsut ira
10.
pira ta kunĕng lawas nira narādhipa rañca makung
tinuduh i singhit ing manah angiṣṭy awasāna nira
pamahayu ning hyang angdani ḍatĕng nira Pārtha mĕne
niyata sirêka mangruwagi sungkawa sang nṛpati
11.
tuwi karĕngö ta rakwa hayu sang wara rājasutā
angĕtĕrakĕn raras ni lĕngĕng ing giri māryy alangö
kalawan ikang wilāpa kadi māntĕna rūmnya larut
karaṇa nirân ḍatĕng kawawa de ni karĕngwan ira
12.
prakaśita yan ḍatĕng prawara Paṇḍusutê nṛpati
sipi kari göng i buddhi naranātha sirâtamuyan
atawa kĕta ng balâmala-malar taya len ri sira
kadi salagâlabĕh ri tĕka ning riris ing jalada
13.
sahaja sawang mahodadhi katonan ikang nagara
gumuru[h] ikang wwang ing pura mijil ya tiki n kĕtĕra
ndan asĕmu candrapūrṇna nṛpaputra sumöng iriya
ya ta karaṇanya sök turida lot kumisik mangĕsah
14.
iningĕt-ingĕt halĕp nira narendrasutâtiśaya
madana basanta komala lawan madhumāsa ḍatĕng
tuwin aniwaryyaśakti lituhayw aguṇêng samara
nṛpasuta kewalâta wiṣaya ny ucapanya wagus
15.
irika ta sang nareśwara marĕk ri narendrasuta
wulat amanis panungsung ira sārjjawa buddhi nira
rumĕsĕp i nāla sang wahu ḍatĕng ta panantwa nira
sipi kari bhāgyamānta mami wet ni ḍatĕngta laki
16.
kadi tṛṇawṛkṣa [rukṣa] makirih ya paḍangkwa huwus
hinilan ikang hudan bisama kungnya mangel angajap
kawadiy uyangnya kāwit asĕwö pwa ya niskaraṇa
amĕnangi sih bhaṭāra Suranātha tahāngkwa kita
17.
kalawan iking kaḍatwan atiśuṣka lĕwĕs wiphala
kadi hana ta swakārmma nika gāryyang atah makucĕm
hana mara ganta ning hayu kapanggiha denya mĕne
kuśala guṇanta mūlya amĕnganya n amuktya hayu
18.
wacana narendra harṣa mawuwus ta narendrasuta
taha mara lingta nātha katuluy pwa mahā manguḍang
parama kasajjananta atiśuddha parārtha wibhuh
sumĕkar i padma ning hati matangnya sumewa haji
19.
irika ta yan pininta nira sang wararājasuta*
taya winihang narāryya ri Mayūra papātra nira
bapa halapĕnta māsku siwinĕnya kitêki baśa
nya pahalawönta têki punagingkwa pakīrtyakĕna
20.
prathama niking Mayūra wararājya rĕngönta harah
prabhu sira sang Prabhākara nahan ta rawitkwa sira
ati malawas r adĕg nira tan ora tanūja haji
lumaku sirâgawe tapa mangiṣṭya anak ya ta don
21.
karuṇa ta sang hyang Ïśwara katon dṛdha sang nṛpati
tĕhĕr anganugrahânaka sawijya atah ri sira
katĕka-tĕkê swaputrakula mangkana haywa waneh
ya tika tinūt ni wīja nira yan hana ring nagara
Canto 12 Rucira
1.
tĕwĕk nikang wiṣama kabhukty aweh suma
taya ng purākṛta masĕwö wyamohita
nya sanghulun kawĕkas anak warānggana
katon pwa tan tĕhĕr agawe prajânghita
2.
hudāśinanta bapa sinambhawâsiha
ikāng anak jalu ya pininta ni nghulun
yayânaka nghulun inahā gumantyana
pratiṣṭhitêng nagara ya sulkakanyakā
3.
ahan wuwus nira nṛpaputra tan cala
inakwakĕn ryy anaka narendrakanyakā
jalu prasiddha sumilihêryy adĕg nira
samāpta pāyu ning ubhayênalapkĕna
4.
huwus suwārddhana para taṇḍa de haji
paniwya sang nṛpaduhitê sang Arjjuna
saharṣa tang bala rumĕngö ta tan wihang
pajātyan ing maniwi susatya mangkana
5.
wawang dine tikang upakāra ning smara
pasanggrahê sira n anawung hanêng jinĕm
wawang ndatan kahala kabeh paḍânghaḍā
subaddha pūrṇna wali nirâsamêng hayu
6.
ikang wwang ing pura rumĕngö yathāsuka
paḍâmahaywakĕn agawe pamūrṣita
waneh madan hyas ika samênakêng tamuy
ikang kĕtĕg-kĕtĕg araras rinūpakā
7.
hanêki sanggraha gṛha rāmya kottama
ri de nikâparimita wṛnda ring halĕp
anopamêng racana kinanta ning raṇu
sawang Himālaya ri haturnya komala
8.
nahan parantya nira ta sang Dhanañjaya
aneka tang surasa pasajya pāwwata
sĕnāha tang marĕk umiwö hanângawat
sinangkyan ing paḍahi lalitya len kĕtur
9.
surup nikang rawi umulih narādhipa
taya ng kasangśayan ira buddhi sāśwata
sawet ni göng i manah irê Dhanañjaya
panonan ing suka mijilêng mukâbungah
Canto 13 Kusumavilasita
1.
prāpta narendra ring gṛha cumuṇḍuk i kahanan i sang nareśwarī
lāgi sinungsung ing smita ḍatĕng nira tinamakĕn ing wulat marūm
de nira sang narendramahiṣī dadi mawara-warah nareśwara
[r]yy ārtha nikang prayojana mĕne kawarangan ira sang suputrikā
2.
tan winihang tĕkap nṛpawadhū yugala nira narendrakanyakā
mangkana têki sang wwang i dalĕm paḍa gĕrĕmĕ hanâsĕwöh lulut
sang nṛpaputra lingnya sira wastu sawawa pamawê suputrikā
ndā * hawiwākṣitan krama parĕng narapati paratêng suputrikā
3.
tan dwa ḍatĕng ta rakwa naranātha kunĕng iki narendraputrikā
arddha wirangrwang epu rumĕngö samanah ira ta sang narādhipa
prāpta ta sang narendra ri sirâmuhara salahasā n kinölakĕn
luh nira lot pinöm tuhun anungsung i tĕka nira sang narādhipa
4.
marmma manah nikang wwang i dalĕm ri wingit ira sumöng mĕnĕb-mĕnĕb
kweh paricārikânwam angiring paḍa wihikan ing inggitê sira
denya marĕk manimbangi katonan ika n asĕmu pañjrah ing mĕnur
śrī nṛpaputrikâmawa langönya n amungari hatur niśākara
5.
kāla nirân panĕmbah alaris lungayan ira n amādapâlume
ambĕt ikang tĕngah sawawa rosnya pañurigan ing angga tan singi
towin arūm katon kirab i gātra nira tĕkap i teja ning damar
byakta wĕnĕs nikang muka sawang wulan aluru waśângrĕsi ng hati
6.
ngkā n pangucap narādhipa muwah nṛpawaramahisî suputrikā
om rari tan waneh kita lanā pinala-palar apuṇya ri nghulun
rūmta ya kesyananta atawânulusakĕna hajöng suputrikā
nghing kita tāsyasih karaṇa ning tumĕkakĕna marêng nirātmakā
7.
rakryan arêbu māsku takari ng kita rari hinarĕp-harĕp mami
lāmpu n ujarku denta ring apâku lumugasana sihkwa putrikā
wet ni tuwuhta sāmpun anĕḍĕng sapangalapan akārmma tan sali
ndah sira sang Dhanañjaya siwinta sira saphala sambhawê kita
8.
mangkana ling nareśwara kunang nṛpawaraduhitā ndatan sahur
mepu tĕkângadĕh luh ira kāsrĕk i manah ira tan wring olaha
rĕs nira yan lumangghaṇa pakon narapati ri sirâmangun sĕkĕl
hetu nirân mĕhah juga tangeh yan amituhu ri sang yayah bibi
9.
ndah mawuwus narendramahisī tuhan ibu naranātha singgihĕn
tan hana rakwa lena ri kitêbu makalarapan ing twang i nghulun
wandhawawargga puṇyakĕna denta yat anuwuha jalwa putraja
tan malihêng Mayūra ya ta panggajaha nagara sulkakanyakā
10.
toh palalu nda haywa tumahā nṛpati mubura dharmma sang prabhu
prārthana sang masūnwa warabhāryya hana kari hiwĕhnya sūngakĕn
pingging ikang katalyana ri sih ning atanaya mahĕlya duryyaśa
hātnya tatan kĕnênaku ikang hala hayu panĕmunya ring prajā
11.
sāmpun irân ghumoṣita mulih narapati kawĕkas suputrikā
śoka tinuntun ing kaka amogha malumay agĕyuh kakingkingan
prāpta sirêng dalĕm gṛhalatā prihati pamatĕk ing kakanyakan
kewala luh nira drawa makin hinari-hari linālanêng kaka
Canto 14 Mattarāga
1.
strī-strī hanêng nagara lĕnglĕng osik angarang linurwan ing unĕng
bhrantâlangö kasarik ing manis nṛpatiputra tibra mangani
mogâhuyang hamuni kungnya moyut amajang śaśāngka ri dalĕm
mangkin tinĕngw an ahawan wulan ḍatĕng irân panūkṣma turida
2.
ānyāt ta moruk angure rikang patiga mūrcchitângrĕs asuma
kingkingnya lāgi tinatānya ring sumanasâlangö dadi ṭikā
denyâmisik-misiki ceṭi kānya lara ning rimang kinĕcapan
yângde tĕñuhnya rumase ng wingitnya ri wilāpa manglĕngĕrakĕn
3.
wwantĕn kalusyan i kisapwan ing kaka huyangnya tibra tan alĕh
bhrantângajap kalawanan raras ri rĕcĕp ing rimang saturida
līlā yadin layata ring pasir tĕhĕr angiṣṭya bhāṣaracana
tañ jrih rinūdha ri panumbĕr ing ryyak arĕṇah tayêng panginĕpan
4.
strī ratna dug singi rarasnya têki n asawang sĕkar sumalaga
śokângarang kapilangö ri sor nikang aśoka mār pinijĕtan
lot winwang ing kaka hamatya-matyani hatur priyambada marĕk
towin wruh anglipurakĕn ta kingking ika tan sahêng nṛpasuta
5.
ndin ngganya yan mĕkara danta ning salaga wiṣṭi rūmnya tan irĕng
ardhâluñut ri taya ning kapat marĕkakĕn ririsnya n amĕḍar
nirdon sĕwönya kadi tan sih ing pawana irṣya medi capala
manggângañut jalada nisturân pinalar ing hunang katanĕhan
6.
toh ndyâwaśāna nika tan waneh wiḍala rūmnya denya kapati
nirwa mrik ing hasana len mĕnūr suraga nāgapuṣpa wilaja
yar tan sinambhawa nikang madhubrata dumohi tan pangarasa
lāwan hyang indu māri raśmi yadyapi tinambang ing cucur akung
7.
rakryan tuhanku kita sang sawargga ri kalangwan ing masa kapat
wruh ngwang ring inggita nikêng wuwusta cumitêng aśoka salaga
sis ta pwa denta mamangun welaskw ibu mulat manista n alume
byaktânusah kusuma wāhu sah saka rikang patah mrik awĕnĕs
8.
hāh dyah nihan manĕ-manĕhta māsku marĕkê narendratanaya
mwang ketakârjja wawanĕnkwa cihna niki panghyang ing katuridan
ndin tan kasanmata katon manista n ajapĕn ring ārṇnawa madhu
byaktā n karĕm kalĕlĕpêng tĕngah ri pangariṣṭa rāga ning akung
Canto 15 Mr̥tatodaka
1.
tanngeh pwâmbĕk ikang katĕkan unĕng
wet ning rāga wirangwrang anaputi
hetunya n balisah paḍa malara
ringrang bhranta kinölnya kaḍĕḍĕtan
2.
tan mangkā sira sang nṛpaduhitā
kingking tan wruh i rāt nira maputĕk
ceṭī mwang kaka lot angupuk-upuk
wruhnyôjar hamawêng rasa kalangön
3.
mangkin tibra sirân mĕkĕh asĕkĕl
wet ning twas baribin rininga-ringa
tan ryy amban sira tar kĕjĕp angarang
jātī ning yuwatī ya tika hana
4.
pangde sang prabhu motusa ri sira
tambe rakwa mĕne sira warangĕn
ndah yêki n lumare hṛdaya nira
hetunya n sira mohita wĕwĕgĕn
5.
gĕṇḍing mwang padahî yawa karĕngö
rāmyârūm pangawatnya kinidungan
lĕñjĕp ning curing arja pamiḍuḍuk
kapwâsrang sakulĕm hamarimisi
6.
sangsiptan wĕngi sākṣaṇa kalalung
lunghā ng lek sumurup ta sira humöt
ngkā n ping sapta tikang ghaṭita muni
kady anggyākĕn ikang rahina tĕkā
Canto 16 Girisa
1.
atha sumĕgĕp atingkah salwir ning wali sumaji
krama tumama tikang wwang ngkānêng heng paḍa tumatā
diwasa wimala tumrang hyang wai bhāswara sumirat
nagara cumaraṇâkrām gĕṇḍing ghurṇnita hamijah
2.
nṛpati sira sinewa ngkānêng maṇḍapa ri yawa
makin amuwuhi sobhā ng rājya lwir tasik angĕbĕk
wwang ika supĕnuh angjrah bheda wyāpara mariwö
saragi kumisik asrang rāmya lwir kĕtĕr ing alun
3.
hana ta parĕng agasyak sāmpūrṇnâmangan anginum
sarahina wijah aywan sarwwecchā taya kahala
nda tucapa nṛpaputrī ngkānêng weśma piniḍuḍuk
raras i manis irânrang rūm-rūm ning Ratih inajöng
4.
ri sĕḍĕng ira pinöngpöng de ning sthāpita ri dalĕm
tekap ing angajĕng endah ndan sang dyah makin asuma
sumalahasa sirê twas sang nāthân taya tinahā
karaṇa nira tan arṣêng rūm ning hyas kinĕnakĕna
5.
saphala sira hangantyākĕn śrī ning kapat araras
kunĕng i wingit irângde rūkṣa lwir sĕkar alume
aruṇa tumiling angdoh warṇnânggyākĕna warangĕn
patĕr ahirit arĕs mār himpĕrnyân pangawat akung
6.
irikang alaya lĕnglĕng ngkā rakryan hinariwuwu
apituwi sarĕcĕp ning nyāsanyân linarangakĕn
pamiḍuḍukan irâśrī mār mrat manglĕlĕhakĕna
kaka-kaka tinamêng rūm mĕnggĕp lwir suramahiṣī
7.
lĕwu raras ira sākṣāt hyang ning reka pinahayu
inanupama suputrī ratnânindita ri dalĕm
drawa tatan awalör lyus hyang-hyang ning juruh angajap
ri manis ira n angaṇḍĕh kepwan rūmnya piniturun
8.
rawi sumurup anolih krāmnyânunggw i laṭi nira
jalada sumarawat truh ndan byaktê gĕlungan ira
dadali habayangan mör lwir miśrê rĕngu ning alis
kilat aluru kumiñcang ngkānê jöng nira niyata
9.
ndan amĕwĕhi pamakpak ning manggalya puja-pujan
linĕngĕngakĕna de ning wwang ri jro pamiru-miru
angarangi panameni ng gĕṇḍing mwang curing araras
saji-saji nika mambö posik ning [h]udadhi lĕngöng
10.
atha ri surup ikang wai meghanyâñawĕli lumöng
masa kalima tumanggal †tumrang hyang wulan alangö
sawang alara ya medī de sang sūkṣma ning ahajöng
alah aluru manganti ngkānêng rĕm pinisusuran†
11.
pamatĕh i halĕp ing hyas de sang wwang marĕk i sira
lwir angirangi langö ning sandhyâmwīt i raras ira
nguni-nguni sarĕcĕp ning bhāṣa mwang rasa palupuy
hana ri manis irângde kingking ta pwa kinĕcapan
12.
awicarita suputrī ndah warṇnan nṛpatanaya
kinĕ[na]kĕna tĕkap ning pūjāsambhara hiniwö
tĕkap ira sang atingkah mangke pwa n pawarang ira
krama tumuluy umantuk warṇnan de ning amaranga
13.
irika ta sira kālih munggah ring jinĕm alangö
widhi ning amayu yêkā n rāmyâwās ri lulut ira
asĕmu lĕngĕng angicchā yan kesyan karas arĕṇik
sang ahayu sira sākṣāt rĕsrĕs ning riris alangö
14.
ri sĕḍĕng ira n umunggah ndan sang śrī nṛpaduhitā
sumar i hāti nirôsah tibrâśā tinamakĕna
tuhun awĕdi sawet ning kingking wāhu tinarima
tan anginaki ring āmbĕk tan panghrĕt prih inuluran
15.
papupul ira piniṇḍa ryy āmbĕk ning mulat araras
pupus arĕja ya têkā pamyaktê nṛpaduhitā
nṛpasuta sira himpĕr janggâñjrah luluy angaras
na wuwus ika paḍônĕng rĕñcĕm twasnya lĕngĕrana
Canto 17 Mr̥dukomala
1.
mangke pwâmiṣayêng langönya tĕkap ing wulan manĕpuhi
abhrâwā gumawang wangun-wangunan ing †gṛhâparimita
lāwan söng ni wuwungnya kañcana rinĕngga ning maṇimaya
krām ning lek mawĕnĕs kasĕnwan i sĕnö nikâkara-kara†
2.
mambö nyāsan ikang smarāśrama halĕp nikang jamaṇikā
lwir digdhāha rinantagêng aruṇa ta pwa himpĕr angalih
tĕkwan yan hadukūla mālini paturwan ing gṛhalatā
ambö ning mukawāśa gopita minging mwang utkaṭa sumār
3.
sāmpun rakwa ciniṇḍya ring śayana sang narendratanaya
ngkā sang dyah tinamêng kisapwan ira śoka mār mabayangan
tan pendah bhramarângamĕr salaga yan tininggal i dalĕm
mangkin lwir taḍahharṣa matta marĕk ing niśākara lĕngöng
4.
sang lĕnglĕng sira mangkin āngrĕs angĕsah wirangwrang awĕnĕs
māmbĕt yan kinayuh tĕngah nira tiki n humingsĕr atulak
kingking lot sumaput ndatan pahamĕngan tĕñuh manah ira
luh ngkānêng mata angdadak madhu tikĕl ny alis nira mayat
5.
mangkin [h]eñjuh amātyakĕn kĕtĕ-kĕtĕg ta sang nṛpasuta
singgih yan sira pāwak ing madhu lawan gula drawa rinok
wwang tūs ning patĕr ing kapat malapi kingking ing katuridan
pöh ning rāsika de ning ojar asirat-sirat manis ira
6.
dyah sang katwang i lĕnglĕng ing hasana kĕmbang ing sanagara
dentângdadya paran kunĕng karaṇa ning raras rumimanga
harṣa pwêka lawan hunĕng karika dadya ratna winagĕd
tungtung ning hangarang sakêng Smara siniddhikāra ta kita
7.
sambandhanya manis-manista pinakadya hing wwang araras
tāsyāsih ring angölwakĕn hṛdaya pangdan ing Manasija
nityângde twas akung nimitta ning umulw amet ngwang i kita
mangke pwa n katĕkān mangatpada rarasta ring pakasutan
8.
nāhan ling nira sang minanwakĕn irân minge saha tangis
kady âlūma lĕmĕs nikang pangawak āsmu sinwam angĕsah
bwat pangrājaśa sang narendratanaya śru sangśaya nira
ardhângintay ameta rakwa ri lukar ni puṇḍutan ira
9.
om rakryan mapa wiṣṭi ni ngwang amĕlas-harĕp cinapalan
yadyan prangprangĕn ing halis kapana denya māliha langö
nohan yan curikĕnta ring wulat arūm sadenya cacahĕn
donkw îndung hamalar sihanta ring unĕng mĕne n tinarima
10.
sang śrī ning twas akung kangelan anukĕr lumĕnghay anangis
tan sārân panĕpak yayâpalisa lunghid ing naka nira
kokih tang tali-taly amogha cucul ing tĕngah mrik alaris
lwir mātyênayatan sirânglalu ri rĕs nirân rinabhaṣa
11.
manggĕh citta narendraputra magirang makin tan awĕling
göng-göngĕn sira tan kamāsihĕn i pamrat ing smara sĕsök
tĕmpunyê wĕkasan tatan dwa rumujak marê sang araras
sāntĕn trāsa kalandĕṣêng jaja sayatnya māngrĕs arisi
Canto 18 Praharṣiṇī
1.
sāmpunya n kawawa gupe wimūrccha sang dyah
himpĕr pādapa mawĕnĕs hañar kalahrwan
mĕnggah mār mawungu marêng dagan manguṇḍĕng
siñjang mriknya karudhiran mĕlĕs sujinya
2.
yângde twas nira n agilâmahaywakĕn ken
wet ning rĕs nira tumahêng ulah kapingrwan
tan sobhâta sira mijil sakêng jinĕm mrik
ndah mogârĕngu tumiling ri jöng nirâmwas
3.
kāgyat tang kaka ri wijil nirân sinungsung
māskw indung rari palalun laranta māsku
tan pendah hañar anginang pĕḍĕs ri lambe
byaktanyân ahĕli rĕsĕp gatinya sowah
4.
hetunya n mulih anĕku ta[ma]n* masowe
lingnyângaswakĕna rahup ri sang suputrī
sang sinwī rumaras arĕs katon ring āmbĕk
mañjing ring kṣaṇa hinatĕr sirê kamantyan
Canto 19 Citraturida
1.
ndan sang kawĕkas i rūm ning jinĕm araras twas nira makin eñjuh
de ning mulat arĕjângras manis ira himpĕr sarasija lindi
his ning kapat alangö lwir nira tiki n ojar mangĕtĕri ng āmbĕk
mambö madhukara medĕm ring asana mār mrik [h]atalĕ-talĕh rūm
2.
dyah sang maṇik ing akung munggw i tĕlĕng ing onĕng hĕla-hĕla rāgī
darpângrimangi rikang twas lungid i halistângani hati rĕñcĕm
ndin tan pĕjaha linurwan tĕkap i matantâmiṣayani kingking
denyângrahatiy †unĕng rūmta pinakasāntĕn satata tumanggöng
3.
ndan yan pĕjaha kakantâtĕmaha sipat rup kawadi lawan ken†
rāmyân pangalĕpi rūm ning wulat añĕñĕr mwang marĕk i kapö mrik
yan ring jinĕm angaras ring susu rumagĕt mwang tĕngah arĕjâkrām
rakryan mapa suka ni ngwang tinarima de ning mangarĕki raśmi
4.
ling sang nṛpasuta cumbw ângari-hari mār mrat rasa nika lĕnglĕng
śṛnggāra malapi rĕs ngwang kĕna turida prih malara katurwan
oruk nṛpaduhitângunngun asĕmu sĕbsĕb ning aruṇa mātis
tapwan lumihati rūm ni[ng] liring ing akung lwir juruh angañut prih
5.
akweh raras ira manglālanakĕna kingking nira nṛpaputrī
harṣângarĕki sirân anghulunana tĕkwan hangayati sāntĕn
anghing pamatĕh ikang cumbana tĕpĕt ing dhyāna samaya pinrih
yêkā n kadi lĕyĕp ing lod juruh inaras ring jaladhara rāgī
Canto 20 Navaharṣa
1.
i kapingrwa nikang gati nṛpaduhitânglih alah mawĕnĕs
manis ing muka molĕm aluru kadi candra sĕḍĕng makucĕm
tuwi kembuhan ing damar anuluhi mogha tĕkângrahati
nṛpaputra makin pamasa-masa sawet ning unĕng tan arĕn
2.
ndan ikāng anawing paḍa ta kapilangö kakĕnan turida
rumĕngö ri kĕtĕr nira n angudang-udang sahajângrarasi
sira sang rwa tiḍĕm paḍa maharip angel manawung salulut
rasa tan huningêng ulĕs ira saha ken kawĕkas dinaga
3.
tan iwön pwa panidra nira ri mari ning gati ring śayana
krama meh tĕka tang rahina tuwin arūm sirir ing pawana
anawan wangi ning śri-gaḍing asana puṣpa lawan kamuning
lĕngĕng ing parahasyan asĕmu pawirāman aweh twas akung
4.
araras muni kokila nika panguhuhnya malon karĕngö
mwang ikang mrak anguwwang alalĕ[h] irikang gupurânglangĕngi
kĕtĕr ing bhramarê kuwung ika kadi cumbwa wayuh mangamĕr
kajĕnĕknya winungwan ing asana lawan puḍak ārjja minging
Canto 21 Svāgatā
1.
sang hyang ārkka sumĕnö wahu tumrang
warṇna raśmi ning amöm smita rāgī
māwa tang kiraṇa bhāswara lumrā
megha dhūmra sumirat-sirat abhrā
2.
ceṭikā paḍa sĕnāha patingkah
ring surambyan umaḍang paḍa ceṣṭa
sopacāra ḍamu yêka wawanya
kapwa mĕñcuh atisomya saharṣa
Canto 22 Śikhariṇī
1.
kunĕng sang karwâpöm lagi karahinan luhya saharas
makin kagyat wāhw ânglilira* lukar ing ken pinahayu
mijil sangkêng jro pāmrĕman ata sirân tinghal apĕḍay
akarwan-karwan lagy aḍamu pinapak ning kaka-kaka
2.
parĕng mĕntas ngkānê tataraban ikang weśma mapupul
yathālīlâsaṇḍing patiti-titihan pangkwan aśila
wināswās dewī-dewa halĕp ira sangkêng surapada
marĕk pwêkang gundik ri sira matatâmaṇḍaga ri sor
3.
ndatan manggĕh ngganya n mapupul i surambyan gati nira
wawang monĕk de ning manis ira sang angde katalĕhan
kalurwan tinghal pintĕn angatagakĕn mañjing i dalĕm
maluy munggah ngkānêng śayana sira rāmyâwuḍa-wuḍa
4.
tuwin [h]endah lwir ning pamiḍuḍuk ira n karwa hiniwö
arūm kady âmakpak panguda-ngudang ing gĕṇḍing alangö
lawan [h]ambö ning [h]utkaṭa jĕnu waneh gulgula mirir*
ya tâmungwākĕn rāga nira rasa tan peda saharas
5.
tabĕh ping pat ryy ābhā nira mijila sangkêng gṛha parĕng
sĕnāha pwêkang sarwwa surasa huwus pūrṇna humaḍang
karaṇḍan kapwâtingkah atiśaya denyâlawa-lawā
gupit mwang nṛttârūm panaḍah ira sarwweccha tinĕkān
6.
kasinghyan bwat ning Kāma Ratih inajöng ring pakasutan
ndatan giṇḍal de ning silih-asih atūt solura langö
rĕsĕp lwir duh ni wwah sĕrĕh arĕja lāwan waja singi
samāptângde tuṣṭī sumĕkar i panon ing bapa-bibi
Canto 23 Nāgata
1.
byakta huwus amatĕh līlā citta narapati
mangkin apulih inak wwang ring rājya sapurati
wṛddhi wawang umaluy krām ning wīryya sanagara
nora sumukĕri ng āmbĕk nirwighna sama-sama
2.
tan hucapa ta lawas ning lek sang rwa silih-asih
nora kawiwal irâtūt sakrandana ri dalĕm
kapwa paḍa mangĕne twas ning nāla gāti [ni]ra
tulya mangunĕng umangkĕp mwang jangga silih-asih
3.
mangkin anupama sih sang nāthân panĕkakĕna
de nira nṛpatiputrâweh sobha manah ira
mogha tĕlĕb alulut sang Pārthâta juga lanā
towi sumĕkar ing āmbĕk ning wargga bala hita
4.
prāpta pangĕtĕr ikang rĕtw âkon mahas alangö
sang nṛpatanaya hāmhām ny āmbĕk nira rumĕngö
hetu nira ta madan mangdon mangraraha langö
tīrtha wimala nahan bhyāṣan ling nira n atutur
5.
sāmpun inanumata n winwīt sang kalulut ira
mukya sira naranātha mwang śrī waramahiṣī
ndah [h]atita sakatambe mangkat nṛpatanaya
rabdha bala haji milwā mangkat paḍa marĕpat
Canto 24 Śārdūlavikrīḍita
1.
rāmyârūm wangi ning taman kapawanan hūng ning mayūrâlangö
ngkā tâdan nṛpaputra mangkat alaris ring rājyadhāny ân laku
lunghā ng ratri katon tikang saḍawatā kalrān rarab ning rĕmĕng
byaktâpiṇḍa maṇik sumār sumarasah tang bun pĕnuh ring tĕgal
2.
meh tumrang rawi rîndradeśa sumirat lumrê lurah ning wukir
kumrām tang wanawṛkṣa kapwa mahalĕp sinwamnya mabhrâraras
harṣân pangjra[h] ikang cakora ri lurahnyâsrang laki-stry ângaring
mangkā ng kokila kārkaśān uni hatur sambega ning parwwata
3.
wāhw âron amĕrĕh-mĕrĕh gati nikang wṛkṣâkirih katrangan
rāmyâlung sĕmi ning latā wila-wila mwang tang sungutnyâsalit
ekĕl ning katirah mure ya ta rumangkĕp ring tahĕn kañcana
holnyângol huray ing wanañjari hatur monĕng pangaywan lulut
4.
tūt tĕmbing ni gĕgĕr-gĕgĕr patarukanyâśrī kasĕnwan rawi
mĕṇḍuh ta pwa pucang gaḍingnya manĕḍĕng nyuhnyârĕjâtuntunan
ngkānê himbang ikang gagānya n alangö kalyan pisang ring jurang
hāryyanyâgĕlar ing lĕmah wahu rurū mambö tikĕl ning tanah
5.
tandur-tanduran arja tĕkwan ahijo wāhw âkiris kābunan
jahli mwang hwi hilus payanggu manĕḍĕng cungnyâtatâtūt galĕng
len tang munggw i lĕbak-lĕbaknya tan adoh sāśrī lĕmahnyâraḍin
warṇnākāra saḍak gaḍing wahu mungup srak ning talĕsnyâmĕḍar
6.
anglīlā pupus ing lirang winulatan sākṣāt panĕpy ângligā
kady āsā makuśêng lĕmah kapilangö jangganya lum yângajap
lwir sāntĕñ juga kesisan [n]dan agĕmuh lĕnglĕng nikang nyū-gaḍing
pintĕn ngganya titir malap raras ing oghânis humungsyâlangö
7.
ramyā ng cangkilung ing jurang sinamay ing pingnya n humuny ânaḍeng
erangnyân angĕlik swaranya n apĕyĕh monĕng manganti ng* rangin
höh-höh panglari ning samīra kĕtĕr ing pring wungwang angde langö
lāwan pakṣi kĕtur manohara karĕngwa lwīr amungwâraras
Canto 25 Kilayu anəḍəṅ
1.
lunghā ta laku nira huwus makin katĕmu tang sakamatan alangö
wwantĕn lura-lurah alĕbā n inambah ira tūt halas-alas arĕnĕb
aśrī pagaga-gagan aneka tanduran ikâta pinuyu-puyuran
heman ya wipula hinatīta mogha mangaluṣya sumarik atalu
2.
koñjuk cara-cara nika pinggi-pinggir i hĕnū nira tĕgal araḍin
munggw î suku-suku nikanang gĕgĕr paḍa mangungkuli tarukan ikā
trang ning dinakara karaṇanya kapwa paḍa wāspada tuwin angungang
ngkānê para-parah ika sūkṣma miñcuk i luwuknya hana kaluwutan
3.
kubwanya n amarĕk i rĕṇĕs-rĕṇĕs lwir anular-nular i pangajaran
sugyan ya magigu ri panas hyang ārkka palapatnya kadi kadahaka
lāgy âjaga-jaga ri kadhūrttan ing wray awĕgig ya malapa tanĕman
mwang sūkarawana kadurus mahângrabhaṣa cūra paḍa guragaḍa
4.
nyū-danta majaja-jajar arja suṇḍay amarantya riy unur angaway
rāmyân paḍa ḍara-ḍaran anglangūt sabha-sabhā nikang angapi langö
ndan wyarttha pajap-ajap anambi ring wut angawandha tĕhĕr anguruṭut
tan pāntara pamĕḍi-mĕḍinya kārkaśa kupiknya lalu tan inapa
5.
honya ng gagarangan asuhun-suhun kusuma pākṣa manulari langö
ndan wismṛti juga ri haturnya tan pawangi mātra kadi tan akumöd
cĕnggânaru-naruh i raras nikāng asana ring kapat inalihakĕn
denyânasa-nasar ing arūm apan pisaningūn ri ya magaway unĕng
6.
kamwāgan amĕḍar i wanginya yângĕmukakĕn pupulutan arusit
manggâjĕmur angawatakĕn kasinya kadi moddha kuṭila kuhira
bāng ning pilapilu pamarĕngga honya suka panggil umawit i jurang
mwang singgugu sumaji sĕkarnya rurw apasah asmu suma mangalaśā
7.
jrah ning wunga tali kadi cāla-cāla ya puji n hiwag angani hati
dūra n pangawadi wiparīta rehnya n akurang-kurang ulah atĕngö
lwir bhranta manigi-nigi maṇḍalīka sinawenya mariris umingĕl
langguk ya tan amiṣaya rāga meṣi pangalimbang ika kajaruhan
8.
nāhan racana ni lĕngĕng ing katinghalan i lampah ira nṛpasuta
akweh para tapa tumurun yathākrama cumuntĕn i sira lumari
maswāgata duga-duga somya mawwata mahoṣadhi phala surasa
tuṣṭênabhimata dĕmakan tĕkap nṛpatiputra tatan upir-upir
9.
kweh porajana tan ucapĕñ jurunya pinirêka paḍa-paḍa marĕk
sāmpūrṇna pahula nika bhoga honya phalamūla duwĕgan amanis
twak len kilang sahana-hanê kuwunya hinatĕrnya taya puji-pujin
līlā nṛpatisuta ri denya mangkana hanâhyun ira n anginĕpā
10.
tambe kamĕna nira muwah [h]umangkata marâwana mahas alangö
sanyāsa diwasa sumurup tikang rawi matang nira madan akulĕm
ngkānêng kuśala cinaturanggabhṛtya paḍa tan palĕ-palĕh akĕmit
towin hina[ri]wuwu tĕkap nikang para duwan marĕk atata-tatā
Canto 26 Turidagati
1.
ri tĕlas ikang kulĕm nṛpatiputra lumaku muwah angrarah langö
i silu-siluk nikāng acala rāmya kahawan ira pinggir ing parung
alapat arūm karĕngwan i taluktak ika lĕngĕng aganti ring jurang
pakĕcap ing erttalinya tan awās tuna-tuna karĕngö maweh langö
2.
lura-lurah anglunang ri pĕluk ing wukir alas-alasanya tūt hiring
alalĕh i sornya kampira putih jalada nika katon ñamut-ñamut
hana tumĕḍun maliṇḍungan apiṇḍa tura-turah ikang wĕngi n hilang
kumĕḍap ikang walik-kaḍĕp aganti kadi matag amukṣa tan hiner
3.
atha kumĕñar hyang ārkka mabingar kadi muka ning akung hanêng jinĕm
apalarasan tusāra nika ring tṛṇa hangada-hadânusup-nusup
alilang awās hanâmpu tapa munggw i patarukan i lambwan ing wukir
asĕmu ḍarâputih lumarap ārjja kasuluhan ikang diwākara
4.
bala nira rāmya tūt ri lĕbak ing gĕgĕr ataratayan kasamburat
mwang ikang alumba-lumba sawaneh tang aruruku ring agra lor kidul
amija-mijah mamet ri lĕngĕng ing giriwana pinaran paḍâgirang
tuwi karĕngö pratidhwani ning anggrit angidĕri paḍâtri ghūrṇnita
5.
nṛpasuta harṣa yan tumurun ing ratha lumaku mahas mapet langö
manusupa ring wanāntara ya kawruhana niyata ling nirê hati
tuhun alaris tayângdulura kewala sira juga tan hana wruha
kalalu layat nirân lĕpas adoh ndan anĕbu-nĕbu sangśayâlangö
6.
kunĕng iki sang nṛpātmaja kalangwan i racana nikang wanângaḍang
kiniwat ikang mahantĕn angungang sinama jamur i dunghus ing trĕbis
ya ta kahanan narendrasuta lālana tumiling i rāmya ning tĕtö*
hana ta parabnya mātra palupuynya rininga-ringa lāgi tan lutur
7.
patapan añar katon ri tĕpi ning jurang arĕcĕp angungkul-ungkuli
kunĕng iki sang tamolah i dalĕmnya kasutapan ira ndatan hinop
linawanan ing tapī pili-pilih pamurung ing [ang]usir jayendriya
titir anganam rarasnya kinirenya lumĕngĕri samādhi sang ṛṣi
8.
lwah amalahar [h]amānuṣa katonan ika kadi pangipyan ing langö
ya juga katungku-tungkulan ing agra kadi ta panganak nikang pasir
kunĕng i sarenya rāmya hana ring palipiran acawit śilātala
pilih awarah pĕnĕdnya tanahĕn pangudarana gurit kawiśwara
9.
ikang i tĕngahnya manda tan awās karang iki n amaranti ring bañu
ya ta dinĕlö ndatan cala pakömnya yan inupuk-upuk kasĕmburan
sinahaja komalânidĕhi pāṇḍan ika paran i sanghub ing limut
hana ta puḍaknya kengis anguḍoḍa kadi pitĕngĕn ing mahas mangö
10.
iningĕt-ingĕt ring inggita langönya pawulatan ikang nadītaṭa
luluy angalap ri lĕnglĕng ing apālapan angusira rāmya ning parab
wwaya ta manuknya kīnnara lawan dali-dali tĕka mampirêriya
hana kapukĕt rikang wwad ing aket tĕlas asibu pijĕr parĕng miḍĕm
11.
cangak ataramtam ing bañu waneh mangadĕg-adĕg apakṣa bhikṣukā
angikĕt-ikĕt wilāśa pakaleśya nika n anulingi lyang ing wĕlut
kapacĕ[h] ikang maningṭing akĕcĕk salaki-bini milag parĕng mĕsat
humĕnĕng ikang mayūra tan ari ñ jĕnĕk angigĕl angantya ring bañu
Canto 27 Toṭaka
1.
nṛpaputra makin sira harṣa mulat
irikang walahar mahĕning wimala
ya matangnya masö ta sirân parahup
tumĕḍun ri dalĕm ning anindyanadī
2.
waramudra wiśeṣa kināryya tĕhĕr
ri bhaṭāra sahasrarawi n pajapa
saha kūṭarahasyasamādhi nira
dudug ing paramārtha acintyamaya
Canto 28 Pr̥thvītala
1.
sĕḍĕng prawara Phalguṇâjapa manöb tĕḍuh nirmmala
ndatan dwa hana ta grahâhugah agöng matunggwêng nadī
ya hetu nika tan hana ngwang umarêrikâlah kumöl
mĕne pwa hana gandha sang prawara Pārtha kongas marūm
2.
wawang pwa mamangun galaknya maganas sawetnyâlapa
lanêngut-ingutĕn hatinya ya umöng wibhukty âlawas
katon ya ḍumĕpang hanêng bañu mangang sihungnyâsalit
karal-karal ikê mukanya kadi Rāhu rodrâdbhuta
3.
mulat nṛpatiputra tan wighani niścayâtah sira
hiner nira ḍatĕngnya tan dwa maparö harĕp mangdĕmak
samangkana parĕng masö ta masĕlur patangkĕp nira
makin mapulingan paḍângiringi cidra tapwan marĕs
4.
sawet ni patarung nirâpan agĕlis manginte sikĕp
kadi pwa n udula ng nadī bañu niki n katūb miṇḍuhur
hanan lwir inayun ya motĕr i tĕngah latĕknyân wutah
sawang tinawu de nirân silih-usī saroṣângdumuk
5.
jĕmūr maputĕran silih-gyat awilĕt bĕtah tan mangel
wicitra tuwi nirbhayân ginurumung ndatan kātrĕsan
malĕs ta manikĕp tuwi pwa kinawil rinuṇḍĕk rinok
hanan parĕng akañjaran laga nirân marangkĕp muwah
6.
tangeh prang ira saprahāra ta masor lĕkas ning graha
kacidra sinikĕp ndatan dwa pinutĕr ya kady âhangan
pinanduk irikang śilāgra kapisan wĕhangnyânanā
cĕngĕlnya ya tikĕl ndatan pabiṣa de nirang Phalguṇa
7.
ri sāmpun ika māti tan dwa winawêrikang bhūtala
mulat kapĕnĕtan ta sang nṛpatiputra rehnyân pĕjah
bangun paniluman hiḍĕp nira rikân panon apsarī
ya rakwa n awatāra ning wuhaya māti sākṣāt hayu
8.
rĕrĕb kusuma tan pĕgat ya tumibê narendrātmaja
ikang bhramara medran ānghrĕng akarang-karang ring sĕkar
nahan mara pamūrṣitanya ya rurū ri sang Phalguṇa
ya kāraṇa narendraputra karĕṇan matakwan sira
Canto 29 Puṣpitāgrā
1.
krama mawara-warah tikang surastrī
surawanitā ngwang iki n manĕhta sākṣāt
hulunan ira Dhanādhipa pratīta
nghulun iki nāma si Sarwwadā ndatan len
2.
papat ahayu sanak mami n surastrī
adulur atūt ngwang ameta rāmya secchā
katĕka ring Alakāwatī pradeśa
ya ta taman ing Hamarāwatī surāmya
3.
wwaya ta sira mahārṣi siddhayogī
gumawayakĕn tapa tan samêng triloka
smaraṇa nira nahan winighna dengku
kadi pangatag ning anĕmwa pāpakārmma
4.
gĕlĕng ira ta manāpa kong asampay
graha tĕmahamwa kaṭungka ghātakêng rāt
na wuwus ira samāntarântasūkṣma
kami kawĕkas wulangun saśokabuddhi
5.
krama lumaku mamet nadī wisāta
tĕka ring Awindya muwah sirân kapangguh
mami parĕng umusap ri jöng nirânghyang
ri wĕlas irâta maweha ng antaśāpa
6.
prakṛti nira parārtha śantacitta
karuṇa sinambah inambwakĕn kabhaktin
manganumata anugrahântaśāpa
waluya ning angdadi śuddha ning kajanman
7.
palalun iki dĕlāha rakwa tĕmbe
hana ta ya Pārtha ngaranya Paṇḍuputra
hanan* ikana ḍatĕng mahas mara ngke
rasika sumĕngkakĕnê kitân muwah hyang
8.
ri tĕlas i pangucap nirêka lunghā
kami wĕkasan manusup mamet pradeśa
kalalu tĕka rikêng nadī Swabhadra
tĕhĕr atĕmah wuhayêka rodrakārmma
9.
pira kari lawas ing yuga wyamoha
alapa wibhukti tatan wri rāt mahūnghāng
mṛga uraga asing ḍatĕng minum wwe
niyata pĕjah parilĕnkwa śīrṇna bhakṣan
10.
karaṇa nika tatan panoñ juga ngwang
kami katakutnya kabeh musuhnya ri ngke
makin alapa halib pwa duhkapāpa
pangawaśa ning [h]ati bhangga kaśmala bwat
11.
kunĕng iki ri ḍatĕngta labdhacitta
kita tiki sopana ning maluy surastrī
aparimita hutangku tan pahīngan
kita ta sumĕngkakĕn ing [h]aweci pāpa
12.
kṣamakĕna yadiyan kĕnoh rasanya
tuluyi usönta kadangku hilwakĕnta
apan iki kawĕkas mamukti duhka
paḍa ta matunggalan ing nadī ya tângher
Canto 30 Basantatilakā
1.
nā ling nikang surawadhū ri sang āryya Pārtha
ndātan wihang nṛpatiputra hinop asantwa
yêkā n lum[am]pah adulur tikanang surastrī
tĕkwan mānyāt laris nira tan parāryyan
2.
prāptêng nadī kahanan ing graha durgga rāmya
sāmpun sinĕngkakĕn irêka kabeh umĕntas
saprīti kapwa umuwah matĕmah surastrī
mangkin mangañjali ri sang wara Paṇḍuputra
3.
he āryya Pārtha kita sādhu parārtha ring rāt
rakryan prasiddha śaraṇangkwa pawitra sākṣāt
singgih bhaṭāra Naradewa kitâśarīra
anghing guṇanta sumĕnö mibĕk ing triloka
4.
ndah mangka ôjar ika harṣa narendraputra
heh apsarī kita kapān aku bhagnacitta
anghing [swa]dharmma nira sajjana sambhawêng rāt
nāhan tinūtku n umaropaṇakĕn laranta
5.
tan sangka ring rajata kañcana ratna bhoga
donku n [h]umĕntasakĕnê kita duhkakāla
bwat sang kṣinatriya tatan dadi nisturêng rāt
kīrtyâdi kewala ginĕgwa nahan sinadhyā
6.
nāhan wuwus prawara Pārtha sahôpapattya
lwir kodanan tĕkap ing āmrĕta tang surastrī
denyâdhikāra panĕmunya waraprasāddha
tan wruh pwa yâmuhakanêng yaśa merutulya
7.
atyanta bhāra kuśalanta tĕlas kabhukti
ndātan pamātra walĕsangkwa amogha nirdon
nirwighna māsku kṛtakṛtya jayārtha mangko
manggĕh pangöban ing anāśraya bhūmipāla
8.
akweh pangastuti nikê nṛpaputra Pārtha
ndâtīta sāmpun amuhun ya ri sang Kirīṭi
lunghā parĕng kṣaṇa mĕsat ya ring antarikṣa
ring swarggaloka dunungĕnya tatan wiwākṣan
9.
sang Pārtha kāri siwuhĕn sira mār katṛṣṇan
lamlam luluy kamadĕlön sira yan tumĕnghā
cĕb ngĕr manah nira rumengwa gĕrĕh ya māsrĕt
ngkānê du kilyan anamar swara ning surastrī
10.
tangheh pangūha nira mogha tiling hyang ārkka
mangkin sirâsĕpi ri tīra nikang saraswan
rĕsrĕsnya kewala maśabda lumer ya medran
panglinggan ing sarayi śuddha śinuddha lingnya
11.
ndah warnaṇĕn bala nirân tĕka yêka magyā
kapwâruhun-ruhunan amrih anūt ri wuntat
harṣâgirang hana ta rĕsnya tiki n silih wor
denya n ḍĕngö gati ni wṛtta nirêng surastrī
12.
tatkāla sang nṛpatiputra humer hana ngkā
ndan sang mahāmuni ring aśrama têki wāktan
sakweh nirâtapa ri deśa nikang Swabhadra
kapwângrĕngö ri hilang ing bhaya ning patīrthan
13.
yêkā n satuṣṭa magirang mari de nirârĕs
ngkā prĕgya mangkata kabeh paratê sang āryya
cuṇḍuk ta sang prawara Pārtha sĕḍĕng marāryyan
ryy ākāra ning lituhajöng ya maweh kapūhan
14.
atwang sang Arjjuna ḍatĕng nira sang para rṣi
ngkāna n sirâśila sasomya paḍâtiśanta
mojar pararṣi tija bhāgya ḍatĕngta mangko
ngke ring Swabhadra umah ārjja ri sang tapaswī
15.
ndan lingku de nṛpatiputra marêng wanādri
siddhyânu bhāra pinakāśraya ning masadhyā
pangde bhaṭāra niyatêki jayanta ring rāt
byaktā n kṛtārtha ri hiḍĕp mami pamrihanta
16.
nā ling nirang rĕṣi narendrasutârjjawôjar
opwan hanêky anumanā mpu rikêng kadi ngwang
panggil wĕnang dadaha ing mangusir śubhārtha
icchānta mantasana kārmma nikang triloka
17.
nā ling nira krama ḍatĕng tikanang pamṭjā
pādyādi cāmana hanārgghya waneh sĕrĕh wwah
lāwan mahoṣadhi dudū ng phalamūla pattya
winwat nikang tapi-tapī paḍa sopacāra
18.
kāścaryya wāhu lumihat ri sang āryya Pārtha
sis hyang Manobhawa sirêki nihan mara ngke
sadhyā dumona mĕnĕm angrarahêng kalangwan
irṣyâmunah brata samādhi nahan ta lingnya
19.
ngkā sang watĕk tapa parĕng ta sirân pangajñe
sang Pārtha tan dwa hiniwö sira de pararṣi
sāmpun sirêkana pinūja makin sutṛpti
ndah ring samāntara mahārṣi muwah ta mojar
20.
He sang nṛpātmaja kitâdhika śāraṇangkwa
sakweh nirang muni sagotra kabeh rinākṣa
āpa* ndatan hana waneh pakapuṇya jāti
sangkê panonku ri kitâñ jaya siddhakāryya
21.
ndan mātra têki pitĕngĕn ngwang iki n rĕngönta
yāwat sukābhyudaya tāwat iwĕhnya bhuktin
wit ning janapriya adṛśya matangnya langgĕng
nāhan pradhāna pinakāsya kadharmmamūrttyan*
22.
anghing prihĕn tĕmĕn i sandhi nikêng śarīra
ekātwa mukya sarapungnya ginöng tar olah
maryyāda yukti hamĕngānya nahan winṛddhi
nāhan ta hetu nikanang ripu tan tumampĕk
23.
yapwan triloka riy awakta tatan prabheda
nirdwaiṣa de ning anurāga lawan kaśāntan
sakweh nikang ripu ya tan tumamê yawê jro
sarwweccha nirbhaya kitêka sakāma-kāma
24.
nā lwir nikang samaya winyakṛtâtiyukti
ngkā sang Dhanañjaya sirêka manādhukāra
towin saniścaya yinogya tĕmĕn rasanya
sangsipta mangkana pagoṣṭi nira byatītan
25.
prāpta ng kulĕm ndan anginĕp prawarâryya Pārtha
ngkānêng tapowana ginocara sang tapaswī
rāmyâsyakāraṇa samṛddhya nikang patīrthan
de ning prabhāwa nṛpaputra sumiddhikāra
26.
henak ta sang nṛpatiputra hanêng paranti
ring sthāna maṇḍapa manojña wiśuddha mārsik
simpar ya tônggwan ira rakwa muwah pinūjā
ndan sang watĕk yati kabeh tuturung wisāta
27.
ardhâlangö lĕngĕng ing aśrama śūnya rāmya
de ning niśākara rumĕngga pajangnya molĕm
tulya praḍīpa suluh ing patapan katejan
mār gandha ning mayang arūm rumĕsĕp ta subnya
28.
angras raras pangĕsah ing sara ḍanta kerir
kumbang mahângisĕk-isĕk ri kuwungnya māsrĕt
ngel kungnya ring wĕngi hanāḍin aśoka tañjung
darpâmangun rĕsĕp i citta narendraputra
29.
akweh pwa gocara nirang ṛṣi kapwa tuṣṭa
lāwan narendrasuta Phalguṇa rāmya sātūt
tingkah nikang surawadhū ya winahwa-wāhwan
ndātan kathākĕna ikang wĕngi tan dwa lunghā
30.
eñjing ta sang nṛpatiputra mulih saka ngkā
tan warṇnanĕn ta sira ring wanamārga ngūni
prāptêng Mayūrapura rāmya sirân sinungsung
strī rājya harṣa sahananya rikang kaḍatwan
Canto 31 Udgatavisama
1.
riy ulih nira ndan alawas pwa pakurĕn ira rāmya ring dalĕm
pūrṇna sanagara kagöngan inak
kawawê sutṛpta haji de sang Arjjuna
2.
ri patūt nirâmithuna sanggama lulut ira tan kathākĕna
mānak aniru lituhayw aguṇa
wara Wabhruwāhana tināma sang yayah
3.
irikā n kināryya winiśeṣa wali nira aneka de haji
tuṣṭa manĕmu maṇik ing jaladhi
iwa mangkanêki suka sang nareśwara
4.
sira tan waneh ri hati ning sanagara karuhun wwang ing dalĕm
nghing sira juga ling ikā n siwinĕn
hinarĕp-harĕp pinakarākṣakêng prajā
5.
kalaranya ngūni ya hiwön kadi kalara nikang tṛṇāngkura
rūkṣa malar i titis ing jalada
kasarambahañ jawuh awās hurip muwah
6.
kadi tan pacāla sakapunpunan ira katĕkêng ḍusun-ḍusun
kapwa rahayu ya ta māryy asungöb
abungah lwir oliha śaśāngka bhāskara
7.
adawā n matêki suka ning sanagara yadiyan winarṇana
sang nṛpatanaya gumanty ajarĕn
atutur sirê wacana sang ṛṣiśwara
8.
apitowi sāmpun aparö sawĕlas ika tahun ya meh gĕnĕp
hetu nira tiki muwah tumihang
ndan ikang kadhīran i manah nirâpagĕh
9.
sira sang priyā nira kinol inari-hari tĕkap nṛpātmaja
towi winara[h] ikang aywa tinūt
nda hĕlĕm sirân maluy umandangê sira
10.
waraputrikā wruh i manah ni kalulut ira tan kasangśaya
śāsana nira paramārtha tĕpĕt
alĕmĕh yadi n kajahatêng warāngganā
11.
ya ta hetu ning twas ira tan magigu saphala rājaputrikā
ndan ling ira pisaningūn mahala
yadiyan makon mulahakĕn kaniṣṭikān
12.
irikā Dhanañjaya marĕk tĕhĕr amuhun i sang nareśwara
tan winaḍa sira tĕkap nṛpati
tuhu sādhu satya satirun sirêng sarāt
Canto 32 Jagaddhita
1.
sangsiptan ri tĕlas nirâmuhun umangkat atĕhĕr alaris tĕkê yawa
tan maglis dahatĕn ta lampah ira tūt hawan anginak-inak pijĕr mangö
rāmyânon langĕ ning pradeśa kadi tan bĕsur asayut asanggrahê sira
hetunya n hacawit-cawit ndan amalar winulatan angungang ya tângaḍang
2.
pinggir-pinggir ikang hawan paḍa katon sumaji-saji langönya yan liring
nyāsanya n kamatĕnggĕngĕn lwir inatīta paḍa kahĕnĕkañ jugângadĕg
lwir tan ryy amban alök mirah ni kayu teja nika cala mĕhah linalwakĕn
osik pringnya maringgungan [n]dan agĕyuh ri panawat ing angin ya moṇḍuhan
3.
wanwâtyanta halĕpnya söh sabha-sabhā wruh anukani patingkah ing hĕnū
manghāt-hāt ya tiki n panungsung i langönya tinĕmu nira yan lumampaha
honyêki n walaharnya nirmmala ri hengnya kumulilingi tīra ning lĕbuh
wwangnyângangswa marêng pabañwan ika len tang aruruku katon paḍâhalĕp
4.
nāntĕn ngganya pilih-pilih tinawung ing gati hinuḍaran ing kadang-kadang
līlā bhāwa nikêniring saha tabang-tabang araras arūm kinangsyakĕn
aśrī denya marumpukan kusuma sāhyas awahĕl apĕnĕd bhinūṣaṇan
pintĕn yan panĕkar yathâcingang anon ri halĕp ira sĕḍĕng halintanga
5.
mangkā tingkah ikāng awan paḍa katon kalĕngĕngan ika de nṛpātmaja
kweh sĕñjang majajar-jajar tuwin apañcuran atalaga kapwa nirmmala
kalyan pangkaja wāhwa maikala sawang muka ning ahayu karwaban manis
raśminya n lagi kāmukan ri wĕrĕh ing bañu hasĕmu kase sumār marūm
6.
tambak-tambak ikârjja †kapwa minahā wangunan ika sulakṣaṇâhayu
mangkā bapra nikêng gaḍuh bhinaṭa miśra mapacira minerw agopura†
sarwwecchā n pangawe smi ning bhujagapuṣpa malaris anamar girahyasĕn
duṣṭā ning pawanâsring edi karaṇanya n akusa-kasikan lumimbaya
7.
kady âbhūṣaṇa raśmi ning jring awĕlas-harĕp arĕja sawang wulang tatur
añjrah tang wara padmarāga niyata wruh angawakĕna jong jugâraras
kumbangnyâlarasan yayâkalib añumbana rumabhaṣa māryya koluyan
lwir tan pātma tinampik ing pawana nistura mawarah i raśmi ning mĕnur
8.
tingkah ning rawa rāmya tĕkwan amĕwĕh-mĕwĕhi lĕngĕng iki n winarṇana
kady aptyâkilayū n langönya ri laris nṛpatanaya tĕkângalimbanga
kongang rūm ni sare-sarenya hana pāṇḍan asaniga puḍaknya tūt sisi
pañjrah ning śatapatra mĕmbang abungah mara hangaway ikang madhubrata
9.
ngkānê tīra nikânĕḍĕng suraga rājasa paḍa kadi kambang ing jinĕm
honya ng cāmpaka kāpnĕtan wiphala danta nika turung inudwadêng mangö
kāryy ânglampwa hunĕngnya wet ni taya ning kawi humañang i kungnya sĕmpalĕn
manggā māty anapih kalangwan angañut kusuma nika lĕwas tibêng bañu
10.
tanngeh tingkah ikāng awan mara hiḍĕp nṛpatanaya yadi n dawākĕna
mangkin śighra layat laris nira atīta ri lawas ira sambya manglĕngöng
tan dwêkī n kawawêrikang jaladhitīra tinĕmu nira rāmya kāhasan
alwā lwir ni bañunya śuddha kadi miśra wĕkas ika lawan langit lĕyĕp
Canto 33 Kusumavicitrā
1.
tĕpi-tĕpi ning lod hamuhara lĕnglĕng
i silu-siluknyârĕja tuwi rāmya
hana ta ya sunghe bañu nika māhning
sawang akirim ring jaladhi langönya
2.
manuk angurambat ri tĕpi madhāsya
hana maputih lālana ri ya lumrā
prawala kumĕṇḍĕng kumilip atuntun
asĕmu mĕnur lwir pangisi jugâwrā
3.
kadi lukar ing ken pata-patahanya
wijah angaring tang himi-himi rāmya
sahaja rajangnyâgarawalan osyan
makukud umaṇḍĕm ri surud ikang [r]yyak
4.
hana ta karangnyân rucira kasātan
gĕtĕm angisis munggw iriya sumanglök
aruñu-ruñu krangnya paḍa kasangsang
mrakata kasenwān ing aruṇa raśmi
5.
hurang angaring [ng]kā ri hujung ika kweh
ya ta katakut ning wihaga tinonton
hana ta ya mengin sumayab umingsor
kamaga manambĕr mawĕdi layat mūr
6.
hiwak umĕsat kweh paḍa ta ya kombul
ya tika masimban mĕlĕtuk aliwran
hana ta pĕsut mwang balanak awantah
makapalĕsat pwa ng maḍĕmit inambah
7.
ri tĕka nikang ryyak gumulung umaṇḍĕm
kadi ta ya binwang timi ya ta kentar
makasarakat pwa ng hagĕr-agĕr awrā
swang anuji lungsir mangalĕpi pangka
8.
gumĕlĕk ikang maikala ya kawantus
wawang atĕmah sānghub amawa wṛṣṭi
tĕhĕr amangun wangkawa ya katejan
anarawatâwrā kadi guruwiṇḍa
9.
hana ta rĕmis krang bahuwidha lumrā
kalawan ikang hāryyan angalaśâkrām
ri surud ikāng urmmi kumisik asrang
makakĕrĕcĕk lot majĕmur ing aśmā
10.
suku-suku ning parwwata paḍa rāmya
ya tika lumañjam ring udadhigarbha
wwaya ta gihānyâsama-sama majro
makapalĕyö tang dadali parĕng mör
11.
hana tiki nūṣâtiśaya lĕyĕpnya
ri tĕngah ikāng ārṇnawa wahu kongang
ri gati nikêndah ya juga manunggul
para-paran ing rĕm hanuruni rāmya
12.
baṇawa kumĕṇḍĕng lumari layarnya
angulap-ulap lwirnya kadi manambay
amarahakĕn śrī ya ta winawanya
yan ahiliran śrī nika pahawṛddhin
13.
ikang amayang söh manĕnga[h] asangkya
hanan awĕlah tuṇḍan ika tumimbang
lagi kabalik yêka malara kedĕr
tĕkap ing iwak kadbhuta giri tulya
14.
jaladhi gĕrĕhnyân kumĕtĕr awantö
kadi mangawe kawy angapi kalangwan
lalita lumimbak kadi ta ya mosik
agirang anungsung nṛpasuta Pārtha
Canto 34 Visarjita
1.
rāmya nikang sakatinghalan i laku nirê tĕpi ning hudadhi
tĕkwan ikang masa tunggang acala diwasanya ya tânglĕngĕngi
towi wĕlĕk ni kukus ning amadĕk i samīpa nikang wulusan
mukṣa paroknya ri sānghub ing udadhi hatur sapadĕlwan unĕng
2.
mwang pasawah-sawahanya hana pakapasan tinalun-talunan
lwir tan apujya langönya sumaji-saji rāmya ni tambak ika
kīrṇna panungsung ikang pasung asira-siran tan aganty amĕsat
kāryya midĕng ta widĕngnya pakiwĕng-iwĕng ing wwad ikang piḍaḍa
3.
mangkana kuntul ikâmulih adulur arantayan ing gagana
kapwa mamet kahananya n akulĕman apan paḍa moruk atis
wāhu sirĕm-sirĕm ing kiraṇa tĕkap i sĕbsĕb ikang jaladhi
tĕkwan ikang braja yêka cumaraṇa urutnya sawang sumirat
4.
ndah ri siluk-siluk ing pasir acala madoh hana mātra lumöng
krām-krām ikang balĕman wahu makapuratuk suminângaraman
lwir balut ing liring olĕm anahĕli rapuh kawawêng śayana
swang mawarah hana wanwa pakulĕman i saṇḍing ikang pasisi
5.
kāla surup nikang ārkka kayu nika katon gumĕgĕs ya matis
lāgy amilungsungi rĕm nikang udadhi ya rakwa hatur masuma
aṣṭami kṛṣṇa tĕngah wĕngi umĕtu tikang wulan angdadari
lāmpah irêka muwah pira ta lawas irâsring anganty anginĕp
6.
ring Prabhaṣa lwa[h] anindya parama ya tinĕmwa narendrasuta
kyāti pawitra ya tâmṛtamaya śuci śuddha hilīnya magöng
yêka patīrthan ikang Yadunagara tanora waneh karĕngö
hetu nikī n adhikāra śaśadhara upāla manṛṣṭya jagat
7.
ngkā prawarâryya Dhanañjaya mari ta sirân pahawan pasisi
rāmya matūt tĕpi ning Prabhaṣa juga sirêka mangulwan atah
mogha makung lumihat sakalĕngĕngan iki n milanga ng twas angel
lot asĕgĕh ri halintang ira nṛpatiputra mahā sumĕpĕr
8.
singgih anindya patingkah i racana nikang lwa[h] apūrwwa lengöng
söh kusumâluru haywan* ing angusuma kāryya hanê ryyak ikā
mwang jĕnu kumkuma miśra satata karaṇanya ya nitya marūm
wwang ri dalĕm nagara pratidina umahas ya wijah mapuḍe
9.
byakta karang bhujaganya apĕnĕd anamar karang ing jaladhi
honya tikī n asawang dwiraḍa kinasut ing wwad ikânulale
yêka paran-paran ing mahas angapi langö umañut turida
lot pamawāna nikâhañang adulur anis malihêng pasisi
10.
arcĕp i tĕmbing ikêng sana-sini tuwi pāṇḍan ikā n panĕḍĕng
rāmya katon manguḍoḍa puḍak ika waneh ta mungup sumĕkar
yan rinarah tĕkap ing bhramara kajaruhan ri hṛbuknya minging
lwir gati ning parawan lumaru-laru yathāsuka mangrabhaṣa
11.
tan huningan nṛpaputra sira nṛpati Kṛṣṇa gumanty ajarĕn
ndah rumĕngö hana sang nṛpasuta wara Pārtha saharṣa sira
śīghra n umundanga Paṇḍutanaya wara Sāmbha kinon lumari
mwang Yaduwīra sahaśwa gaja ratha surākṣa tumūt mangiring
12.
ngkā ri ḍatĕng nira Sāmbha marĕk angayubhāgya ri Paṇḍusuta
ling nira toh paratêng nagara sira narendra makon ḍatĕnga
sis ta girang nira Kṛṣṇa atawa Baladewa kagöngan inak
kintu muwah sira sang Yadukula mabungah rumĕngö ri kita
13.
ndah wwaya têki sirang nṛpati rikang Araiwatakâgragiri
bwat Hari kīrti pangutsawa diwasa niki n paripūja haji
tan kawĕkas sira sang Yadukula mangĕnākĕna hotrawidhi
yêku kalotakĕnanta ri hatur ira yan taya ring nagara
Canto 35 Jagaddhita
1.
nā ling sang prawarâryya Sāmbha ri sirâdara taya winihang Dhanañjaya
ndah mangkat sira karwa munggah irikang ratha Yadukula kapwa mangdulur
līlâtah tuwi darśśanīya pakatonan ing angiringakĕn paḍâhalĕp
mangkā ng parwwata nāma Raiwata ya rakwa paran ira sang āryya Phalguṇa
2.
warṇnan posik ikang wwang ing sanagarâsĕmu salaga turung kagĕntĕran
mangke wāhu rumengwa yan tĕka narendratanaya kadi dūta ning kapat
strī-strī ratna hanêng dalĕm paḍa sumöng turida nika pinöm wawang mĕkar
tan wring dāya kataṇḍĕgan tĕkap i kungnya paḍa rĕngĕ-rĕngön kĕnêng hunĕng
3.
akweh sang makire sumanggraha manisnya n abuhaya ri sang hañar ḍatĕng
dudw îkâguñĕpan ya tângucap-ucap sira winisikakĕn ya tan humung
āngrĕs kelu sawang linad twas iki de ni kawuwusan irâmangun lulut
nghing ganyêsi nikang gĕlung lamakananya tĕka pinamahugya sanmatan
4.
wwantĕn bhranta managwa-nagwakĕna raśmi nika sira minuṣṭi ring hiḍĕp
lĕnglĕngnyân pangajap priyambada nirân pangalapi lara kungnya mohita
agyâmbĕknya tikī n umaṇḍĕma langönya pangudanakĕn* ing matâmanis
manggâlampwa kaninya ring jaja yathāsuka bhaṣama yadi n pakolihĕn
5.
tanngeh warṇnana buddhi ning wwang i dalĕm paḍa malara kĕnêng raras hati
sang Pārthâta ḍatĕng ri nātha Harimūrtti papupulan i sang watĕk Yadu
mukya śrī Baladewa kapwa marĕpat sahana nira ri mādhya ning sabhā
sobhā sthāna supūrṇna de ni halĕp ing para Yadu kadi dewatākrama
6.
yêkā n śrī nṛpa Kṛṣṇa garjjita manah nira tĕkap i ḍatĕng sang Arjjuna
ngkā n sanyāsa sinungsung ing smita manohara wacana nirâmangun rĕsĕp
antĕnku n tan i rāt hiḍĕp mami manĕmwakĕna kasuyaśanta digjaya
ngkê paryyangka kitâri māsku tariman hana humawitakĕn tayê kita
7.
manghat-hāt ngwang i māsku tĕkwan alawas nghulun angapi gatinta māmriha
an munggw ing Himawān tamolah atibhāgya katĕkana mĕne n samāgama
pangde ning widhi haywa wismṛti hiwĕh sang anĕmu suka tan kabañcana
ngke ring Dwārawatī pangantya ta kitâmutusa samaya ning mulih muwah
8.
nāhan śabda narāryya Kṛṣṇa sira sang nṛpasuta mararĕm ri jöng nira
om om sājña narendra pĕh nikang anugraha saphala namo’stu kośala
nāhan ling nira sang Halāyudha gumanti ri sira n angucap sagorawa
toh rakryan [n]da matêki sang Yadu kabeh kita sahaja lanênarĕp-harĕp
9.
yêking kāryya kināryya sang Yadu kitâri wĕkas ika dumeh sulakṣaṇa
ndah yêki n pangaropaṇanta sarabhāra ni kapagĕha ning jagaddhita
anghing mangkana siddhayātra pangaranya larapan ing umantukêng sabhā
manggĕh ngwang tumutêryy ulihta bapa tan kari ta sira narāryya Keśawa
10.
sāmpun mangkana de narendra Baladewa tinulusakĕn ing watĕk Yadu
ndān āmbĕk nira sang minangkana sawang kumuda mĕkar inaswan ing rĕrĕb
singgih lingta sinambhawânulusakĕn kṛtawara ri patik nareśwara
sākṣāt ambalan ing manĕmwa guṇa tan wiphala juga ng angaśrayê kita
11.
henak rakwa patūt ni sang Yadu kabeh taya kawiwal irê sang Arjjuna
ndah sāmpun tinamuy-tamuy ta sira sang nṛpatanaya samenakê sira
tangheh warṇnana ring samāntara surup tikang aruṇa ḍatĕng tabĕh wwalu
söng ning megha rinaṇḍi ning kiraṇa warṇna cinaraṇa ginantyan ing kulĕm
12.
mantuk sang nṛpa Kṛṣṇa tar sah i narendratanaya malulut nareśwara
songgwan buddhi nirârĕsĕp ndan atĕhĕr mangalihi parahasyan ing kuwu
sangsiptan gati ning paḍôpasama sang Yadukula katĕkê Dhanañjaya
sānghub mwang bañu ning samudra ya ta rakwa kahiḍĕpan ira ndatan pahī
13.
byātītan sira sang nareśwara kunĕng tucapa gati nikang wwang ing dalĕm
lwīr edī ri hunangnya ta pwa masa panglwang amaribini tingkah ing kulĕm
wintangnyân pangalih tinĕngwakĕn awarṇna cala-cala nikang liring minge
wör ning hangsa lamuk-lamuk pilih akarwan ahañanga marêng ghaṭâlangö
14.
kāryy âśā lara ning madhubrata kararwan inalapan anganti ring gihā
āpan tan mĕkar ing saroruha dumadyakĕna hala lakunya medĕman
sāmbat ning taḍaharṣa śoka taya ning śaśi lumawad i kungnya ring kulĕm
oruk trāsa sawet nikang nawami kṛṣṇa tan amĕḍar i tambwang ing wulan
15.
tĕkwan mandra patĕrnya himpĕr angatag kalĕngĕngan ika tan sahêng kapö
amwat gandha sirir nikang pawana warṇna jaruman ing angantya mangkata
tan dwâwās pajang ing wulan suminang angdadari madĕg i śṛngga ning wukir
lwir harṣân pangungang sawet ni raras ing wwang ahawu-hawu rāmya ring dalĕm
16.
aśrī rehnya parĕng marumpukan aśoka sumanasa wijah mabhūṣaṇa
eñjuhnyân pagunĕm-gunĕm ri pajang ing śaśi hana manganām kukūr gĕlung
lāgy âpet kalangön wilāśa ni pagoṣṭi nika tĕhĕr alunglungan lulut
de ning kung rasa tan kalib juga manisnya katalĕhan anon niśākara
17.
rūm ning strī winagĕd ring inggita mangambwakĕna turida rāga ning kawi
pantĕs yan mapĕnĕd tayângiwagakĕn raras i panalukatnya ring kidung
sotanyân winicakṣaṇêng nagara mĕnggĕp amuwuhi manis kinangsyakĕn
tapwan marmma ri panggarutnya n angalih madhujaladhi langönya mombakan
18.
strī-stry ângendahakĕn rarasnya n apangus paḍa tinama tĕlas jayêng langö
anglĕñjĕp ta lĕkasnya manggupit angīrakĕna ri rĕcĕp ing swarāwatī
sengĕrnyân pangalap gula drawa lawan madhu kasingi sakêng wuluh rĕmĕk
kady âmiśra ri tambwang ing śaśi ri denya n agamĕl awaśâmirangrwangi
19.
wwantĕn rāmya magoṣṭi kapwa paḍa mesi turida mamanis ginocara
wet ning twasnya kaḍanghanan tĕkap ikang Manasija pamawanya koṭuka
kingkingnyâlayanan waneh majamahan rasa kakawin umunggu ring puḍak
tibrângrĕs hadamar wulan pangucaranya ya kamuni unĕngnya mūrcchita
Canto 36 Śārdūlavikrīḍita
1.
ndan sang wyāpaka sūkṣma ning raras arūm śrī ning ṭikângiṇḍarat
antĕn pwânggĕh irê narendra Baladewânopamêng kadyahan
singgih yan karĕngö hajöng nira Subhadrā sang maṇik ning purī
sang sākṣāt ñĕñĕr ing gula drawa maluy pwângaṭpadê rūm nira
2.
rāmyâpan hamajang śaśāngka nguniweh strī ratna mungggw ing purī
wah rūmrūm wihikan masiṇḍyan agamĕl sākṣāt surastry âraras
nghing dewī sira tan waneh panikĕlanyêng gīta pattyânulus
denyâgasyak arūm sawang pasir anak kontw ing barat ning kapat
3.
tan samwas raras ing wwang adyah i dalĕm singgih putus ning manis
anghing raśmi nirang narendraduhitā tan popamânunggali
lwir tuñjung sumĕkar manohara lumöng sangkê kĕñar ning śaśi
aśrī de nira n ahyas arja dinĕlö lwir mukṣa-mukṣêng langö
4.
ndah ping pat ri tabĕhnya rakwa sĕḍĕng ing strī-stry ârjja rāmyâwijah
nghing dewī sira harṣa wet ni pagamĕlnyângde harip ning mata
hetunya ñ jinĕm arja lāgi tinatā sor ning wungū mrik sumār
raśminya n winahĕl smi ning kayu manis lumrā minging mwang mĕnur
5.
ngkā n pāmrĕm nṛpaputrikâsĕmu raras rūm ning Ratih ring tilām
lolyânidra rināmyan ing kalĕngĕngan yêkā n panūkṣmê hati
len tang pādapa kady añāmara mirir lwirnya n miguh kānginan
angringring karahan hanêng wiwara tang kumbang ndatan krākaśa
6.
lāwan posik ikang garantung alangö tan pāntarânrang patĕr
rāmyârūm swara ning gupit sapangawat ning strī lalityâraras
kady âmakpak anurwa-nurwakĕna rakryan yan panidrâlangö
tan pendah wali ning rara dyah anawung śṛnggāra munggw ing jinĕm
Canto 37 Girisa
1.
kalĕngĕngan ika ñĕpñĕp ngkānê kwan paḍa rumĕsĕp
tuwi kĕtĕr i kusuh ning tūbanya n lagi karĕngö
palu daluwang ikânggyat śabdanyâmuhara lĕngöng
pali-palin ika masring sugyan motus ahañanga
2.
gĕrĕh umuni magupyan lwir kaptyâmisiki kapö
kadi hamaji kucup ning puṣpângjrah sĕkar ing unĕng
hangani hati lulut kung mār mrat tang mayang amĕḍar
asana kasirir angras mrik gandhanya kapawanan
3.
sahana nika langönya n lālityângĕtĕri hati
karaṇa nira tan āmrĕm sang Pārthâmbĕk ira lĕngöng
kĕsĕh ing anila sūbnyân mangde srĕp tĕka ring awak
walik umuni rinĕngwan sāmbatnyâmuhara pacĕh
4.
krama rahina tĕlas ning ratri lwir pinisalinan
ri mĕkar ing asananyê tunghā ning patapan arūm
hyang aruṇa gumulak ring wwe ning lod wahu humidĕr
kiraṇa mawa ya tumrang diknyâbhrā kadi sinĕpang
5.
manuk angaji rikang pang rāmyâsrang parĕng amijah
bhramara humung aliwran munggw ing srak wayuh angaras
irika n awas irâdyus sang Paṇḍwatmaja maraḍin
kamĕna nira mangādhisthānâditya japawidhi
6.
ulaha nira sang amrih kastutyan tan alang-alang
tuhagaṇa tikung āmbĕk bhakti ng hyang ginawayakĕn
kimuta ta sira sang śrī Kṛṣṇânggöng japa karatun
taya wiluma masadhyā līlâhyas makin ahalĕp
7.
nda i tĕlas ira kālih sāmpūrṇnârahup ajapa
krama umĕtu tan imbā ngkānêng gopura tumihang
wĕḍihan ira ya kumrām lwir wālārka cumaraṇa
dinakara sira sākṣāt karwê tungtung ing udaya
8.
Yadukula tĕlas arppāt sāmanta krama sumaji
Haladhara sira sāmpun sahyâbhūṣaṇa dumilah
aparimita sirâwās singhākāra sabhinaya
prasama tĕlas adandan sang Wṛṣṇy-Āndaka maḍĕḍö
9.
krama lumaku tumanduk ngkānêng kośala wĕkasan
prasama tĕlas atingkah rāmyâlĕp taya kahala
dhwaja kumĕlab ahoccâlīlâneka marakata
layu-layu ya ta molah mwang paṭṭāka kagurilap
10.
Yadubala wija[h] ewör ngkānêng maṇḍala wĕki sök
ikang angawat asangkyâkweh tang nārttaki manaḍeng
tĕhĕr amĕpĕk i kulwan wetan lor kidul anguhuh
murawa paḍa humung mwang gĕṇḍing roñji masahuran
11.
makin atiśaya osik kweh ning Wṛṣṇi Yadukula
jalanidhi kusumâñjrah sobhâhyasnya winulatan
nguni-nguni tikanang strī-strī ratnâmuhara halĕp
paja-paja karikilnyân polah ning halis alungid
Canto 38 Aśvalalita
1.
makin asinang tikang kuśala koparĕnggan i samūha ning Yadu kabeh
amanuṣa rehnya tulya suraloka kapwa winiśeṣa kārcanan ikā
apan adukūla söh saha manitra kairatila mulyawastra tinatā
asĕmu siniddhikāra pinakolur-olur ika cawli warṇna dumilah
2.
sta[wa] jaya ghaṇta-ghaṇti kadi panghrĕng ing bhramara medran ing sĕkar arūm
ya tika linangwakĕn ri panguhuh ni śangka nika sinrang ing gubar awū
ḍwijawara kapwa mārddhawa parĕng mangunyakĕna mantra sasphuṭatara
makaphala haywa ning nagara nirwiruddha hilang ing durātmaka kabeh
3.
ri huwus ikârcana [pwa] wĕkasan mamuṣpa ta narāryya ring widhigṛha
lawan ika sang watĕk Yadu kabeh mamuṣpa Puruṣottamâstu kinĕñĕp
sumilih ikang yaśôttama warādi kañcana ya rakwa song nira kunang
ri sira wasundhara pratita hetu ning subhagakārmma sang narapati
4.
wĕkasan ikang walikrama gumanti yêka ta dināhan adbhuta dahat
wija-wijah aśrama-śrama ta sang watĕk Yadu parĕng tumandang ahalĕp
tĕkap ing amiṇḍa-miṇḍa paḍa paṇḍitêng rangin abhindhiwāla paraśu
makabharaṇang katon larap ikang rasuk ri pasĕlurnya mangkin ahulap
5.
hana ta mapaṇḍĕngan tama silih-silih dĕha palaywan arddha wihikan
parĕng apajĕg tĕkâruh-aruhān apan tinahu bhāwakanya ring ayun
kahalĕp iki n supatra lumarap siping-siping ikā* karahnya kumilat
gumuruh ikang gubar paḍahi lot amuntarang awĕh lĕkasnya rabhaṣa
6.
ikang awĕrö tumandang ahalĕp sabhūṣaṇa nikârasuk mangaraman
paḍa kumĕñar wijangnya tĕkap ing ḍaḍarnya sawaneh bapangnya kumilat
paḍa ta rumampayak tar uningêng ulah kawĕlikan kidungnya n akikat
ikanang aminta sungsungana ring larih ya mari lajjitângaca-kacak
7.
ikang angungang wwang adyah ana tânak ing kryan inucap hajöng panagara
kapacĕh anon matangnya n atukup ri lambay ika tan wĕnang puji-puji
makin araras patĕmwan i liringnya de ni kĕcap ing guyunya n amanis
kadi pasamūhan ing madhu tinĕngwakĕn ri pamĕḍarnya wahwa samirah
8.
awicaritan gatinya ri tiling hyang ārkka tadanāntarân sinapihan
ginaway ikang mahotsawa ri mādhya ning yaṭana de nirang Yadu kabeh
paḍa humaḍang tikang surasa sesi ning wukir alas lawañ jalanidhi
wijah anaḍah sirêkana rināmyan ing paḍahi de ning anglawa-lawā
9.
narapati Kṛṣṇa Pārtha Baladewa sang nṛpatiy Ugrasena manitah
karaṇa nikâsmu guntur atulumbu tulya giri pāṇa mātsya surasa
lawan upabhoga sāsing inarĕp-harĕp ya tinĕke* tĕkap narapati
makin awĕrö kabehnya tuwi kāmbahan drawina sindu māstawa marūm
Canto 39 Sragdhara
1.
nā lwir ning pūja winyākṛti tĕkap ira sang wīra Wṛṣṇy âdimukya
sangsiptan rakwa sāmpun panaḍah ira kabeh prīti de śrī narāryya
kintu pwa ng Wṛṣṇi bhṛtya prasama-sama huwus pūrṇna ring pāṇa bhukti
mangkin rāmyâwijah ring guwug ika sawaneh lālanâguywa-guywan
2.
tistis ning wai kamantyan irika ta Baladewângrarah langwa-langwan
mangkā śrī Kṛṣṇa munggw ī wuri nira n ahawan sangka ring rājyadhāni
†sering sang Pārtha ring śrī narapati mahawan syandanâkarwa-karwan
byaktêki n Waiṣṇawa mwang Madana hatur irêng rūpa† karwâniwaryya
3.
tĕkwan sang wīra Wṛṣṇy-Āndaka makin apadudwan [h]amet* rāmya secchā
honyâmet-met mareng pājaran angapi langö tīra ning lwah parang grong
bheda pwâmet marêng śūnya wana pangalusanyângungang sāgara jro
len têkâburwa-burwan wijah akĕla-kĕlan bhukti tang laryya-laryyan
4.
mangkin lĕnglĕng pamangkat* nṛpawaraduhitā sang hatur citra molah
sāśrī munggw ing rathârĕngga kanaka sakala hyang-hyang ing Karttikêng rūm
anglīlā lwir sakêng sūkṣma umĕtu mangalih rāmya ning kendriyângras
sangkĕp tang wīra munggw ī sana-sini kaharan pādarākṣâlĕp ahyang
5.
wwang sangkêng jro kaḍatwan kadi salaga mĕkar harṣa cittanya sobha
gundik mwang ceṭikâsrang wija-wijah angalap pangjrah ing puṣpa sālas
akweh tang dampa hemâruku-ruku sawaneh nīlawarṇnâpajöng mās
yêkângkĕn satpadângdon sĕkar amiru-miru truh-truh ing ciṇḍagâwra
6.
warṇnânghrĕt lunglunganyângingin-ingin angawör citta ning wwang lumakwa
lāwan hododnya māpĕs wahu mulur angure lwir lume lolya manglih
sanggākāśâraras lwir kamasihĕn amĕkul mañjarinyârjja rāgī
tĕkwan lunggahnya rumbe rumĕmu saḍawatānyêka mambö manambang
7.
abhrā tang karṇnikārânĕḍĕng asĕmu tajug kañcanâmūrwwa raśmi
humbut ning hanwam olah cala-cala rumawe lwir tan aswī gaḍung mrik
mogha swang yan miguh menĕh i pangayuh ikang lunglungan [-]* rumambat
rāmyâpwe pwa ng cakikyar makĕpĕ-kĕpĕk i sor strīnya tar sah kinuṇḍang
8.
mangkā tang kaywa-kaywan ḍara-ḍaran angĕsah de nikang mārutâlon
molih truh ning kapat ngganya wijah atamuyan rūm ning onĕng ya masyang
poh mwang manggiṣṭa wunglwan waḍara wuni paḍāly âcawit kapwa mĕṇḍuh
kahyun-hyun pwa ng sakī kapwa mamupu phala ning wwah-wwahan tūt awan kweh
9.
menmen kapwâlangö rāmya kĕtĕ-kĕtĕg iki n kendahān ton kalangwan
denyâpingkas paḍâpet raras angalĕpakĕn kabwatanyârṣa tibra
kengis ros ning wĕtisnyâsĕmu gaḍing anamar ketakī kesisan ken
pantĕs denyângĕūĕk rāga turida ning akung kāṇḍĕhan śīrṇna denya
10.
nya ng kĕmbang ning wanânrang pura racana lĕngöng puṣpitābyūha kīrṇna
strī-strī lwir kāmikāwīra rumabhaṣa parĕng kewala syūh inaswan
sākṣāt singhêng raṇa lwir madhukara manurung darpa tan seng ṣĕkar mrik
hetunya n kelu śīrna ng kusumita hañangĕnya n sinĕmpal tan amwas
11.
akweh denyâkire raśmi sahaja pinĕnĕd rūm nikâlakwa-lakwan
sarwwecchâśoka sinwam pakamadana nikârumpukan sāri sumrak
śrīḍanta mwang wungū bhūṣaṇa nika n asawit mwang kalungnyârjja mahyas
kāsĕngkānyê hajöng tulya sakadang ing akung de nikâpet manisnya
Canto 40 Vaṁśamālā
1.
śrī Kṛṣṇa Pārthâta sirêki warṇnanĕn
matūt gĕgĕr lampah irân yathāsuka
himbang ri sor byakta langönya kongkulan
katon mawit rāmya niki n tininghalan
2.
wwainyârjja muñcar kumiriñcing ing jurang
waneh pwa tūsnyânalagâmangun langö
sāśrī pwa lumbunya nahan kasĕmburan
byaktêki* kalyan maṇi ratna sök riya
3.
len tang wiśuddhâmalabar sakêng wukir
katon hilīnya sphuṭa mangduk i[ng] parung
ngkānêrikang grong gumuruh sawang patĕr
anrang* gubar gĕṇḍing ikang mahotsawa
4.
towin siratnya n mahĕning larap-larap
ya têka lumrā sumawur kasamburat
tulyâñjalinya n mararĕm panungsunga
tĕbĕng mamūjā ya ta rakwa ling nira
5.
anghing narāryyârjuna harṣa yan wulat
tĕkap nikang parwwata kady asanggraha
mrāknyân panguwwang ri hunur nikang gĕgĕr
waneh kamānak ya parĕng silih-sahur
6.
kumbang lalityângarang ing sĕkar marūm
atūt hawan somya karĕngwa de nira
denyângisĕp sāntĕn awarṇna bhikṣuka
mangaswakĕn stotra ri sang rwa yar ḍatĕng
7.
lāwan kĕtĕr ning camaranya kānginan
tan aśru minggut ya ta kady ameñjuha
mandrâpĕpö pwa ng puputĕr manambangi
sinangkyan ing pakṣi kĕturnya suswara
8.
lung hing wĕlas-hyun ya marūm arumpwana
lawan ikāng aṇḍiwa moda tan kasah
munggw ing tahĕn kapwa sumong rumambaya
rinamwan ing śewala warṇna māsiha
9.
tĕkwan hure ning prabhu sanmatān hana
latānya lumrânawĕng i[ng] sukĕt-sukĕt
kahyun-hyun añjrah ta wuninya yan ratĕng
wruhnya* n pamārppat lungid ing wajâhirĕng
10.
tingkah nikang Rewata parwatâhayu
nahan winarṇnākĕn irang Janardhana
ngkā têki kasthitya bhaṭāra Keśawa
pangöban ing Dwārawatī ya tan waneh
11.
nāhan ta don sang Yadu Wṛṣṇi nityasa
amṛddhyakĕn pūja sabhakty amūrṣita
amrih rika swārtha umaywakĕn prajā
pakāśrayan hetu nirâñ jayêng hayu
12.
nāhan ta ling Kṛṣṇa ri sang Dhanañjaya
ya tâmangun gĕng i manah nṛpātmaja
mangkin sirômangkata harṣa de nikā
atūt siluk ning palapat jurang-jurang
13.
āhöt †hĕnunyârddha tĕtĕl wuluh nikā
tinampik ing māruta manda moṇḍuhan
len tang kalusyan† minahângisis tĕngah
sawang lumĕnghay hangĕsah katiṇḍihan
14.
sĕngkanya lungkān umiring rupit-rupit
gĕsing pĕtungnya n mapipit paḍângadĕg
kengis lumis kapwa matanya tar miḍĕm
lawan [h]abungnyân agatĕl paḍâmranga
15.
tangheh wiwākṣan [r]yy aliwat nirêng sukĕt
makin kacuṇḍuk kalangönya de nira
ngkāna n tinĕnghânilumañ jugêng hayu
pacangkraman rāmya langönya n uttama
Canto 41 Jagaddhita
1.
wwang ri jro nagarâlangö paḍa katon raras ika kadi wimba ning tulis
rāmyânĕmpala puṣpa pādapa hangendahi hayu nika kapwa komala
lwir hintĕn liningir patinghalan ikânglĕngĕng amija-mijah macangkrama
utpatti ng kalangön ayunya n aśarīra wahu mijil i pañjrah ing sĕkar
2.
kīrṇnêkāng ahajöng manisnya sakadang mwang asana wahu wanwa ring nadī
len mahyas hangilo rikang wway amatĕh gĕlung ika winahan susup-susup
dudw īka n panguḍoḍa tapwan ahuyang swang angiwagi kucup ning erttali
kahyun-hyun hamĕḍar pwa ros ni pangawaknya hana hanuji kangsya ning Smara
3.
strī-stry ârjâsĕmu citra molah amanis pamatan ika ri denya yan liring
darpâweh lara rāga tan cala patahnya makiris anamar ghaṇâhirĕng
ambĕt ning pangawaknya tĕkwan akarah kalung asana lawan wĕlas-harĕp
himpĕr Manmatha sṛṣṭi-sañcaya hayunya kinĕḍapan i rāga ning mangö
4.
len tang tibra lĕngöng mulat ri*lĕyĕp ing jaladhi hayu nikânggagat lulut
pangde ning kalangön rarasnya tan i rāt rasa maluya hajöngnya ring ṭika
tan sengĕh kahuwan tĕngahnya ri pangol ni tali-tali nikā n dadak lukar
kengis mātra sawang gaḍing saphala panghurusakĕna* rikang jayendriya
5.
wwanten rūmnya wagĕd cumāmpaka kapantĕs ika linarang ing Manobhawa
denyâmangku puḍak waśângisisakĕn wĕtis ika kadi hetu ning jawuh
raśminyân panulis ṭikânak-anakanya hinuḍaran ikêng nakâlungid
sarwwecchâsidĕhêng karang tĕhĕr anungkuli kalĕngĕngan ing wway ing jurang
6.
ānyāt ta[ng] sumarêng śilā śayana raśmi nika n inapi mūrtti ning puḍak
rūm ning pādapa len mĕnur tila-tilamnya jĕnĕk i lĕyĕp ing langit lĕngöng
gātranyânwam awarṇna sinwam ing aśoka sinawawa tĕngahnya n angligā
byaktâlūma yadin linakṣyakĕna ring śayana tĕkap ikang smarātura
7.
gundik rāmya mawā langönya mawilāśa sumalaga lĕwas raras nikā
hāmhāmnyân pangusir manis paḍa rumūpaka raras angĕnoh kinonĕngan
harṣanya n pamabak-mabak kusuma sinwam apĕnĕd awahĕl-wahĕl wungū
lindinya n hamĕrĕh-mĕrĕh sama-samângrahatakĕna gĕsĕngnya molaha
8.
lwir tan warśih apet kalangwan agalar-galar asana minging lawan mĕnur
tañjung mwang priyakârjja mĕmbang inangitnya sinahaja pakö nikang gĕlung
rupnyânwam tarawarṣa roma saha nopura hinadu manis lung ing gaḍung
sumrak rūm ni wijangnya tĕkwan akase hṛbuk arĕja tĕkêng payodhara
9.
akweh ngganya pamiṇḍa ning raras ikang wwang ahayu yadiyan kathākĕna
nistanya n taya pangharusnya ri manis ni hayu nira sang angdiri ng dalĕm
simbantĕn maṇik ing purī marĕki warṇna nira wiphala rūm nikâkalib
hīnganya n sira sāri ning [ha]hayu* sūkṣma ni kalĕngĕngan ing tasik madhu
10.
ānyāt têki parantyan ing kalĕngĕngan kadi haniringi rāmya ning tulis
anglīlā pinahat karang tuwi rĕcĕp niki jinamaṇikêng wĕlas-harĕp
honya ng jangga mure marêng lirang apiṇḍa lalayan ika rāmya tūt sisi
molur kenggutan ing samīraṇa wanginya n angasĕpi sumār nirāntara
11.
nāhan parṇnah irân rĕsĕp lumihat ing kaka paḍa tinamêng gitâlangö
mangkin lwir prathimângarang hayu nirân hana hamarĕkakĕn puḍak minging
ndāñ jātī nira tapwa rañca sira kewala puji-puji ratna ning purī
warṇnākāra nikang madhu drawa katon yan angucapa sirâparan kunĕng
12.
singgih yan sira hatwik ing raras arūm maṇik ing ahayu jīwa ning sarāt
bhrantā ng satpada ring puḍak milu lĕlĕh tan awĕling angaras ri jöng nira
anggöng tan makalib salah ng iḍĕp anon ri sĕḍĕng ira hanêng karang liman
hyang-hyang ning kalangön waling ning umulat kṣaṇa maluya marêng nirātmaka
13.
ndin tan bhagna larut raras ni wiji ning sumanasa kalawan puḍak sumār
yadyastun racanêng pralāpita kapāna wĕnanga ning amarwanê sira
māntĕn denya ya ta n pupug lungid ikang tanah ing angapi tibra tan padon
lit-lit ning karas ārjja hĕntya tamatan palaca-laca hirĕngnya de nira
14.
byakta syūha langö nikang pasir arĕs winaḍal i lĕwu tan panoliha
lāwan parwwata śīrṇna tan wani gumāp tĕkap ira kadi māryya lĕnglĕnga
mogâsep lĕngĕng ing tawang yan ika wastwakĕna niyata nirwa kingkinga
śrī ning tāman amukṣa raśmi nika yadyapi mamangun aśoka tan tĕpĕt
Canto 42 Praharṣiṇī
1.
ngkā sang Pārtha sira ḍatĕng tumūt ri Kṛṣṇa
harṣâmbĕk nira mulat ing wanādri rāmya
ndan sang Phalguṇa sira mogha tibra lĕnglĕng
munggw ing twas nṛpaduhitā maweh prapañca
2.
nā marmā nṛpatanayâtañê narendra
yêko sang hinucap anindyarājaputrī
lakṣmī ning raras ahajöng tikung Subhadrā
putri śrī nṛpa Basudewa ratnakanyā
3.
singgih tan papaḍa sirêng jagat samasta
ndya ngwang rāsika tan akūnga denya mūrccha
anghing rūm nika taya len paran ya rāgī
mās ratnôttama tar iwĕh wĕlinya yogya
4.
mangkā ling nira sumahur narāryya Kṛṣṇa
om singgih ya tika nahan walingta rakryan
yêky ântĕnkwa tuwi rare sĕḍĕng sukanyā
wastw êwĕh karaṇa nikân wineh atĕmwa
5.
anghing prārthana gawayĕn swayambarâtah
yan sahyāharaṇa kunĕng ndatan wanehan
yan wwantĕn ta sira mahāprawīra śakti
wāny ângambila tan arĕs ri sanmukangku
6.
sugyanyângawaśakĕnê tuwuh ny aringku
mwang tañ jrih tumahĕna wīra Wṛṣṇiwangśa
ndah nāhan ling ira Janardhanâtĕrĕh bwat
kady ânggĕng mawĕngis i citta Paṇḍuputra
7.
sang Pārthâta sira sudhīra tan hanâwri
sakwehnya n wĕnang umawit syuhĕnkwa śīrṇna
nāhan ling nira tumuluy madĕg sirôjar
ndātañ jrih ri Yadu kabeh wawang ta mangsö
8.
sāglisnya n hinalapakĕn narendraputrī
kumyus mūrcchita wiparīta yan pinangkwa
munggah ring ratha pinĕkul gupe sirârĕs
byaktêki n winawan irâhañang wisāta
9.
ndah mangkā ng Yadubala kapwa dīnacitta
sakwehnyâlara mabunĕk ndatan tinanggĕl
āśābhūta mangĕn-angĕn [r]yy awaknya nirdon
denya n tuccha lalu kumöl dumehnya lunghā
Canto 43 Suvadanā
1.
sangsiptan lwir narāryyârjjuna tucapa tikang Wṛṣṇi n kapalajöng
prāptânambah marê śrī Haladhara mawarah reh Pārtha ri sira
yêkā n sakrodha sang bhūpati wawang angadĕg tang mānawibhawa
muntab söng ning wulat kady alatu-latu sakê bāng ning muka nira
2.
ndah śīghrângambuṣâtyanta tĕkap i pamanas ning krodha kumutug
dhik hāh Pārthâtiḍuṣṭâdhama niyata katon śīrṇnanya pususĕn
nāhan ling sang narendra krama madĕg angalap śaktyāyudha magöng
mangkin kady anyuha ng rāt mwang amalika tasik Rudrâgni sakala
3.
sakweh ning rājaputra pramuka haji parĕng sakrodha sumĕgut
tĕkwan kapwâtirodrâgarawalan angadĕg lwir singha masiga
Pradyumna mwang Gadā Satyaka Niśaṭha waneh Sāmbhâśru maganas
kapwâtyantêng mahāśakti tuwi kalilip ing singhākṛti sira
4.
mwang têkang Wṛṣṇi rotângjuru sahana niki n kakyāti nipuna
towin śūrâniwaryyêng raṇa jaya kinawih manggĕh kṛtayaśa
tāwak* yan daitya len rākṣasa kapana ya tan sāñcurṇa yan asö
mangke n †krodhânggakārânggĕtĕm aruh-aruhan wetnyârddha magĕlĕng
5.
lwir syūha ng Rewatâwrĕg kĕnas ika tĕkap ing śangkâtri tinulup
gĕntĕr† ning bheri lāwan kala-kala kumisik yêkā n muni parĕng
lāwan pārgung nikang sāmaja kuda gumuruh panghriknya n anguhuh
nānāwarṇnâsulam tĕngran ika katulajĕg sarwwâstra lumarap
6.
sangkĕp sakweh nikang yodhagaṇa bala pĕnuh lwir tan patagihan
āmbĕknyânggöng kaśūran makin angipak-ipak tulyârṇnawa pasang
manggĕh sāmpun hinajñan sajuru-juru dumon Pārtha prih usirĕn
nā hetunya n paḍâgyā guragaḍa maharĕp hāmhām tan atakut
7.
göng-göngĕn krūra mākrak kagiri-giri katon têkang Yadu kabeh
kewalyâmātyana ng Pārtha ling ika rarahĕn rohĕn tan inaris
kapwânambut laras mwang palaga nika kabeh sakwehnya tumihang
garwwanya n kapwa tulyântaka sahana niki n magyângala-hala
8.
wāgyūt [t]ang wīra mangkat saha bala lumurug ryy ângkat Haladhara
kapwârāmpak gumĕntĕr kakĕrĕtug asĕlur denya n silih ayun
cuṇḍuk śrī Kṛṣṇa tapwan haruhara ya tiki n cittanya n atĕgĕg
yêkângde gadgada śrī Haladhara lumihat de sang narapati
9.
ngkā rakwân śīghra mangsö ta sira mujarakĕn †śrī Kṛṣṇa tumuluy
āyay hantĕn ndya donta prih umĕnĕng i lĕkas ning Pārtha wipata
nir tang sānak pwa yânggĕhnya taya ng ingĕt-ingĕt† ḍo haywa tinahā
wyartthân sāmpun pinūjâpratihata rahajöng sāmpūrṇna hiniwö
10.
yêki n sampaynya yak ton lĕwĕs angapa karih denyângapuyana
dhik dhūrttâpa kramânggöng kuhaka juga tikī nirśānta magĕlĕh
sis tan wring twang humöt ring smṛti wĕnang awamānântĕnta hinañang
göng mūrka crol ya têkā niradara katuluy denyângdĕha hulu
11.
nāhan tôjar nirâpyak irika ta sumahur śrī Kṛṣṇa ri sira
ḍū sojar śrī narāryyâtiśaya mara hiḍĕp sang nātha tan ade
jātī ngwang wīra bhūpālaka saphala jayā lumrêng tribhuwana
göng ning śaktinta sākṣāt jalanidhi winuwus atyanta madalĕm
Canto 44 Turagagati
1.
nda nihan paramārtha tūtananta
purih ing paṇḍita ring jagat guṇajña
taya lamban amet wiweka yukti
tar iwĕh ring maganal halit kaweśa
2.
wwaya tang hari len sahāya tonton
ya lanâmiṇḍa paḍâtisūkṣma kālih
pamihang nikanang hajöng gatinya
ya tikā hetu nikang hayu n kadadya
3.
kita ta prabhu ring jagat wiśuddha
ikanang durnaya tan hanêka mātra
kadi bahni mahojwala prakāśa
hilang ing sarwwa kalĕngka donta nitya
4.
amṛtâtmaka tulya ring halangghya
umañut wyāpara ning kaluṣya citta
tuwuh ing yaśa dharmma śuddhadeha
kita ta śreṣṭhi rikā kabeh byawasta
5.
iti marmma niki n humodana swī
takari ng hīna hangalpa buddhi nātha
si Dhanañjaya lingta yar masampe
katuluy twangnya magöng nahan hiḍĕpku
6.
nya dĕlön prabhu yogya lingnya sādhu
yan ikang strījana wĕlyan ing [h]apeṇi
mwang ikang maṇi ratna kañcanâdi
ya tan oli n paśujāti kāṣṭa hīna
7.
ndi ta sang minahā n tinonta ring rāt
agĕlĕm dumwal anak nira n sukanyā
kinayogya kĕta ng swayambarâtah
tan ahāt rakwa sirêng adharmma ring rāt
8.
nda mĕne apa tan kināryya ri ngke
ikanang kārmma wiśeṣa dharmma yukti
ya ta hetu Dhanañjayâprawṛtti
wara sahyāharaṇa ndatan ya hīna
9.
nya katon pangaḍānya wīra śakti
ya pinintonakĕnâniwaryya deha
ri wĕnangnya malap rikeng* Subhadrā
takarih parcaya de nikang kaśaktin
Canto 45 Mr̥dukomala
1.
yan swīnĕn pwa ya de nareśwara hade hiḍĕpku wiphala
āpan byakta katoñ jayārtha nika ring swayambara dangū
yadyastun hana têki ganta nika yan prihĕn kawĕnanga
tā ngwang śakti wĕnang mamangpanga guṇanya mon Surapati
2.
an sāmpun karĕngö pratāpa naranātha digjaya kita
yapwan sora kitêng parakrama tĕkapnya kerang-iranga
sangkṣepanya hanêki rakwa kalĕhĕngnya tak magalaka
tūtĕn tan n apalenan ing yaśa tinunggal ing parahita
3.
nyā tang deya hitāwaśāṇa gĕlarĕn tĕkap sang ahulun
tapwan piṇḍah akon umundanga rikang Dhanañjaya usön
toh pūjān warangĕn śramākĕna huwus nda haywa wiluma
donyâtūta lawan sa-Paṇḍawa pasānakanta rahajöng
4.
anghing manggĕh i buddhi ni ngwang apa tan waneh ngaran ikā
hetunya n tan akūnga ring wimukatângatīta hĕnĕnga
nāhan ling nira Kṛṣṇa nora winihang tĕkap Yadu kabeh
tulyâg[n]y ângabaran galak nira kawarṣan āmrĕta haji
5.
somya śrī Baladewa de nira narāryya Kṛṣṇa sakarĕng
ngkā n maṇḍĕg wĕkasan kabeh sumalah ing warâstra palaga
tan dwâdan tumuluy humundanga ta sang narendratanaya
gĕṇḍing rāmya lĕngöng swaranya makapangharĕp laku nira
6.
mangkat sang para rājaputra saha bhṛtya kapwa mahalĕp
hopĕn pasrang ikang karaṇḍan ira söh tikang gaja ratha
lwir tūban kumusuh grĕbĕg ni laku ning wwang ākrĕp angiring
sahyâbhūṣaṇa warṇna puṣpa wana komalâlaku-laku
7.
lāwan tĕngran aneka warṇna madulur halĕp winulatan
abhrâpiṇḍa kuwung-kuwung manurun ing sĕkar sumalaga
lāmpah ning ratha len liman kuda sawang karangnya n alangö
lungkanyântara ning lumāmpah aḍarat matambĕh ariwĕg
8.
tan warṇnan ta sirêng hawan nṛpatiputra Pārtha wuwusĕn
ngkā n pangrĕgrĕg angolakĕn sang ahajöng sirêpu tan arĕn
mangkin tan humĕnĕng sirârddha sumawe ri sang Yadu kabeh
lwir mātyângĕsah ing kisapwan ira tan wri rāt kaḍĕḍĕtan
9.
hetunya n hinimūr sawet ni raras ing priyambada sira
māskw indung palalunta māsku kapana n waluy kita mĕne
heman rūmta yadin hangiṣṭya luputanta ring karatala
lwâmbĕk têbu huwus purākṛta kabhukti denta kawawa
10.
mangke byakta panĕmwa ni nghulun i māsku ratnaduhitā
yogyân rūmta silunglungangkwa musirêng kasinghan ayaśa
manggĕh prārthana ni nghulun rĕbutĕn ing lawan tan awĕḍi
hīnganya n kinaniścayangkwa mapagê kabehnya ḍatĕnga
11.
kas ning bāhu nahan ta tinghalana śulka ring kadi kita
tan mithyâku kitâta sakṣya ri kaśūran i nghulun ibu
mangkā śabda narāryya Pārtha saha marmmarâñulu-ñuluh
anghing drĕs nikang aśrupāta panulak sang onĕk angĕsah
12.
akweh de nira n amrahāsana ri sang prapañca malara
ngkāna n rakwa ḍatĕng watĕk Yadu kinon umiñjĕmi sira
anghilyākĕna sopakāra sawilāśa ning mamapaga
kapwâwwat ri girang nirân ḍatĕng amūrṣitê nṛpasuta
13.
t āntuk māsku ri sang nareśwara nihan pakon ira huwus
mwang dewī sira karwa keringa t ulih parêng pura mĕne
āpan tuṣṭa dahat manah sang ahulun humundanga kita
tan pendah hati* ning lirang winilĕt ing gaḍung juga sira
14.
nā ling sang para rājaputra suka sang narendratanaya
lunghā ng ārkka samāntarân laku nirân umantuk iniring
munggw ing ḍampa wulung sĕsök laku ning angrakĕt ndan ahalĕp
lwir nārīśwara sārdhadeha manurun hanopama sira
15.
ndan sang śrī naranātha Kṛṣṇa ri yawā lawan Haladhara
mangkā ng strī haji kapwa rāmya sumĕneha meh tĕka nira
māwâwās ri sĕnö nikang sulu[h] aneka piṇḍa rahina
lwir mājar suka ning sarājya kisik ing garantung araras
16.
ndah ngkā prāpta Dhanañjaya mwang iki sang narendraduhitā
ngkā rakwân pangusap ri jöng nira narāryya kālih papupul
tĕkwan māri wiwal narendra Baladewa harṣa masĕgĕh
siddhā ning paramārtha sang nṛpati Kṛṣṇa nora kahala
17.
sāmpun mangkat adūta sang nṛpati mantukêng purasabhā
ngkanê jöng Basudewa nātha mawarah ri tingkahan ira
byātītan ri lakunya sang prawara Phalguṇâta waluyan
rāmyârūm papupul nirêng kuwu lawan watĕk Yadu kabeh
18.
mangkin söh awuwuh wiśeṣa pangiwö nirê nṛpasuta
salwir ning [h]upabhoga ṣadrasa huwus dine pwa ya hana
ndātan pis ta tĕkap narendra Harimūrtti sapriya tuwi
āpañ jāti nira n kṛtajña kajanapriyañ juga lanā
19.
byātītan ri sĕḍĕng ni sang prawara Paṇḍuputra hiniwö
lunghā pwa ng wĕngikāla sākṣaṇa pakĕg nikang sanagara
mĕntas ring wĕkasan tĕkā ng rahina kapwa sāmpun awungu
ngkā n mantuk sira sang narāryya dinulur nikang Yadukula
20.
sang Pārtha pwa sirêniring mwang ika sang narendraduhitā
ngkā ring Dwārawatī sirâstu pinapak tĕkap sang ahulun
nya ng pāṇigraha kāryya manggala wiwāha kārmma gawayĕn
āpan ya pranidhāna sang nṛpati Kṛṣṇa yan pangucapa
Canto 46 Name unknown class
1.
ḍatĕng ta sira sang watĕk Yadu hanêng nagara lagi sinungsung ing wwang angungang
manahnya paḍa kāñaran mulat i sang nṛpatanaya sirâdhikāra karĕngö
ya hetu niki kapwa māprĕgi sawet ning abhinawa wawang marāmpak i yawa
rare matuha len ulañjar angaḍang hana lilu tumakul ya milwa mijila
2.
paḍâgarawalan parĕng kapalayū hanan anguhuh arĕpnya tan karuhuna
silih sĕḍĕk arok waneh tang apipit-pipit aruh-aruhan tayêng lĕbuh agöng
alah ya nirupekṣa ring hyas asulung-sulung arĕbut anon ri sang nṛpasuta
dudū tang amahaywa kenya umijil ya katĕrag alayū ndatan dwa kawudan
3.
atīta ri ḍatĕng Dhanañjaya lawan narapati madulur cumuṇḍuk i dalĕm
yathākrama sirângusap lĕmah i jöng narapati Basudewa len nṛpawadhū
katanggama sirê Dhanañjaya apan lituhayu tuwi śūra śakti guṇawān
lawan sawawa molihê prabhusutā hiḍĕp ira taya len pasānakan ira
4.
nihan ling ira he wĕkangku kita Pārtha kunang iki ujarku māsku ri kita
prasiddha kita śāraṇangkwa taya len wwaya tiki Harimūrtty Akarṣaṇa tuwi
pahaywakĕna têki māsku kinatunggalakĕna bapa tan dagêng manah anūt
apan sakura nora bheda ngaran ing kadi kita sasawīja haywa malupa
5.
wuwus nṛpati sārjjawâmṛta haturnya manginaki sang angrĕngö rasa nikā
tuwin saphala wṛddhabhūpati huwus kṛtasamaya ri sandhi ning parahita
sirang winuwusan mangañjali umastwakĕna hayu ni wākya sang narapati
mahânginakakĕn rĕsĕp ri manah ing bala gaṇa rumĕngö saharṣa mamuji
Canto 47 Kāmamālā
1.
ri huwus nirângucap-ucap krama tinuduh ikang balâdhikā
tumitah tikang pamiḍuḍuk pasaji-saji nikang smarāgama
ri hatur narendraduhitā tiki n inayu lawan Dhanañjaya
śubhakāla rakwa sakatambaya ta sira ciniṇḍya de haji
2.
ya [ta] hetu sang Yadu kabeh pĕnuh acatura munggu ring sabhā
mwang ikang balakrama hanêng nagara sajuru-jurw atingkaha
humiwö ri kāryya naranātha hasaniga kabeh mapadgata
tuwi sāmprayukta winidāna tĕkap iki n anindya ring halĕp
3.
nda huwus dināhan umaḍang sahana-hana nikang walikrama
kawawê pratāpa nira sang nṛpati parama Wiṣṇu kottama
nguniweh wangun-wangunan ing gṛha ri yawa tĕkê dalĕm purī
paripūrṇna kapwa atisobha paḍa-paḍa minūlya hinyasan
4.
asinang pwa maṇḍapa nikâhalĕp inululan ārjja bhūṣaṇa
sawawê tihangnya pinakokiran iki n apadudwan ing tulis
tuwi wangśapatra lumarap palipiran i pagĕrnya bhāswara
tinulis-tulis ri maya ning tuwu-tuwuhan ikā sawang rakĕt
5.
katĕkê wuwungnya n apĕnĕd prawala cinaturangga wiḍruma
pinapat hiwak tinaming ing jamaṇika paciranya tūt sisi
tinatā tikang kanaka jangga marakata lumĕnghay ing tĕtö
amirah tikang cawĕni simbar ika sinuji lungsir ujwala
6.
tuwi ghūrṇnitêng nagara warṇna pamarabal ikang payonidhi
swara ning mṛdangga nguniweh paḍahi haji parĕng magĕnturan
ulah ing mahotsawa kināryya tĕkap ira ta sang watĕk Yadu
kamĕnā nirângarĕpakĕn pawarang ira sang āryya Phalguṇa
7.
sirang Ugrasena tĕlas arppat i yawa nguniweh watĕk ratu
karuhun narāryya Harimūrtti makajuru lawan Halāyudha
irikā narendrasuta Pārtha hinariwuwu rāmya ring sabhā
awuwuh [h]alĕp nira sawang Surapati hinucap ndatan waneh
8.
wwaya têki rāmya pawirāman ing atanu hinuttamêng prabhu
Smarasṛṣṭhi hīra wangunanya rĕcĕp ing angajap linangwakĕn
kumĕñar hatĕpnya n abhirū śinaśarudhira wimba ning mirah
maya ning wulan langi-langitnya sinuji kinalacyan ing cucur
9.
nya ta laryya-laryyan ika ring pamanisan i surambyan ing gṛha
lĕngĕng ing Taladhwaja piniṇḍa winĕḍarakĕn ing labuh kapat
ginĕlar ta kalpataru puṣpa pakaśaca ri rĕngga ning jinĕm
mrik ikang hasĕp lĕlĕh aweh turida minging arūm nirāntara
10.
irikā ta rakwa pinapak nṛpawaraduhitā gi*
11.
............rāgama huwus hinĕnakĕna kabeh sumanggraha
abhiwāda manggala pangarccana nira ri harĕp nareśwara
12.
nda[h] aneka mukya kinĕnākĕna pangucara ning walikrama
araras tikang paḍahi panghariwuwu nira rāmya len gupit
ulah ing hanindya tadanāntara pinisalin ing wĕngi n tĕkā
ndan ahĕly awās tĕkap ikang damar asĕmu samūha ning rawi
13.
tan iwön masāmpunan ikang pamiḍuḍukan irân mapahyunan
riy ulih nirângalih i ḍampa kadi salaga karwaban riris
panameni gĕṇḍing araras ri laku nira lalitya komala
kĕtĕb ing lumakwa kadi Karttika siniring i śabda ning patĕr
Canto 48 Jagaddhita
1.
munggah ring gṛha ratna nīla pinakonggwan ira tinawung ing samāgama
mār mrat rūmnya sinaptagopita paragyan ika minging arūm kinumkuman
mrik ning karpura gandha ning jĕnu-jĕnunya makatilaka ning pasanggaman
byaktâmungwa ri lĕnglĕng ing manah akung lumaya-laya gatinya n anglare
2.
ngkā sang Pārtha sirâtiharṣa mangisapwakĕn i sira narendraputrikā
tĕkwan sūkṣma pangumpĕt ing Manasijânguyangi hati nirân kĕnêng hunĕng
oyut wetnya hinöt kunĕng [r]yy ulih i sang wwang amarang i sirân hanêng jinĕm
mangkin lwir sĕmi ning gaḍung paḍa ni kung nira n amilĕt i teja ning wulan
3.
sang hyang-hyang ning akung prapañca rumaras mingay agigu mĕhah minanwakĕn
śīghrângluh sumarambah ing mata nirân kadi maluy atĕmah madhudrawa
polah ning tikĕl ing halis nira tiki n mayat arĕngu kinol nṛpātmaja
rĕmpū twas nira mepu lāgi kinisapwakĕn alara kawĕs winodanan
4.
yêkângde siwuhĕn ta sang nṛpatiputra ruminga-ringa marmma pet siwi
kepwan bhranta sawet ni kung nira n angol tĕngah alaris amatya-matyakĕn
wet ning harṣa nirân kĕdö kalawanan twas ira karaṇa ning harĕp-harĕp
lāgy âwah manis ing priyambada pañumbwa nira tĕmahan ing karāsikan
5.
rakryan sang kinĕñĕp ri nāla ning unang sang inapi paśarīra ning Ratih
sūkṣmângdadya sakêng nirātmaka ri lĕnglĕng ing angajap i sandhi ning langö
pāwak ning madhu sang hyang ing kusuma lakṣmi ning asana maṇik ning angdyahi
śrī ning Karttika mūrtti ning prathima ratna kari kita madadya putrikā
6.
mangke pwâri katon pralabdha hiḍĕp i ngwang angisapu marĕk marê kita
sang tan sah [h]inajap kunĕng karaṇa ning ḍatĕng i kita mĕne n pamangkwakĕn
sang sākṣāt maṇik ing hiḍĕp pinakahĕmbanan i tĕlĕng ing anggĕgö smara
donkwâlābha ri siddha ning bhaṣama sātmaka katĕkan amuktya sanmata
7.
epū ngwang mapa kāla ning pinuwakan wulat anahĕli kungnya tan lutur
ndak ton kingking ikâmĕgĕng turida yadyapi kaluputan ing priyambada
byaktā n māntĕna jīwitanya n apuput pati kasarik i ratna ning purī
manggĕh prastuti ning rarasta pakamuṣṭi ning angarang angel kĕnêng riris
8.
nāhan cumbwa narendraputra mamanis lwir angĕtĕri hilik suputrikā
mambö satpada matta mangrĕngih i pangjrah ing asana minging turung mĕkar
pet-pet harṣa manambyakĕn wuwus arūm tĕhĕr angarĕki kĕdw angolakĕn
eñjuh yan pangalap kasor lĕkas irângiling-ilingi mahānggagap tĕngah
Canto 49 Name unknown
1.
ndan śrī nṛpawaraduhitā minge ri manis ing wuwus angari-hari
tapwan gĕrĕmĕ ri rĕcĕp ing prahāsana narendratanaya mangamĕr
ardhâgigu winisikakĕn humingsĕr anangis tiki n inarĕkana
mogâkiput awĕḍi yadin kacidra padu ning tapih iningĕtakĕn
2.
tĕkwan rĕngu-rĕngu ni liring nirârĕja ñĕñĕrnya hamiṣani ng akung
lāwan tikĕl i halis irângani twas amangun lĕlĕh ing angamĕra
lāwan panulak ira kadi pwa sinwam ing aśoka kasirir ing angin
himpĕr sarasija kinudang nikang bhramara matta cala-cala nira
3.
āmbĕk nṛpasuta katalĕh kĕnêng manis i rūm nṛpawaraduhitā
mangkin raga-ragan angamĕr sirângusapi gātra lagi palĕ-palĕh
lāwan tangan ira tumamêng tĕngah marĕk i puṇḍutan inarĕpakĕn
sanyāsa manguwahi ri kapriyambadan irângucap amahi langö
4.
rakryan sang inapi maṇik ing kalangwan anusah twas ing alara makung
dentângrahatakĕna manis-manista lĕwu denya sumusuk i hati
sa[ng] nitya cumarik i langöngku lot makaparantya ning añulu-ñuluh
himpĕr śaśadhara juga tan panīsi kucup ing salaga kapanasan
5.
sang kady asana kusuma rūmta munggw i wahĕl ing patah arĕja minging
rāmyângingin-ingin amangun hunĕng juga rarasta bisama kinĕmit
ngwang satpada lalita mangel angölwakĕna rāga turida malawas
tañ jrih mangarĕki suka mātya yan huwus acihna hamungari gĕlung
Canto 50 Jagaddhita
1.
hāh ndin koluyan ing langö ngwang iki denya mucapakĕna sotan ing rimang
dūran yan hana mātra kampirakĕnêng kĕtĕ-kĕtĕg ika n amriyambada
simbantĕn ngwang atön ri denya n amĕkul tĕngah ahuyang aminta sanmata
wālingnya n kakĕnan karāsikan inambwakĕna kalara ning kĕnêng hunĕng
2.
lāwan toh pangamāknya lĕnglĕng inaweśa kapuritĕn i pangdan ing smara
bhrantajñāna kapĕñcir ing jariji len wĕtis anuji hunĕngnya mohita
epū twasnya karĕngrĕngan kasarik ing gĕlung alara kĕnêng matâmanis
tan wring rāt kapana n ginocara pameny amapaka rika lingnya lampunĕn
3.
nā ling śrī nṛpaputrikâlara sinewa lagi winuwusan nṛpātmaja
māskw indung tarimanta pamrih ing amangkwakĕn i kita hamanghya-manghyakĕn
yadyastun hinilanta ring smita tĕhĕr cacahakĕn ta yêng nakâlungid
mon mātyāku sapadya yan kalawanan bhaṣama ning angusir Smarālaya
4.
sangsiptanya dĕlönta sotan ing akung tiki n amarĕkakĕn priyambada
sāhityân pangajap sihanta pamawan lara turida minuṣṭi tan bĕsur
māntĕn tan katĕkān prayojana marambatan ing ahayu ratnakanyakā
anghing ganya hinūrnya tan maliha kerang i manah ika tan sinanmatan
Canto 51 Aśvalalita
1.
ling ira narendraputra sira sang narendraduhitângĕsah kaparihan
gupay anukĕr sirâtulak i pangrĕmih nira ta sang narendratanaya
wiphala pupug tikang kuku nahan pamādhaka nirâla[h] arddha kabalik
yaya tan awĕh lĕkas nṛpatiputra mangkin atalĕh-talĕh mangarĕki
2.
nṛpaduhitâti kepwan atahĕr ndatan pajamuga ng twas epw angĕsĕsan
tuhu nikanang tangis nira ya têki rakwa pangawör nirê nṛpasuta
kalalu ya tan hiniṣṭi panĕpak nirâlah alisuh ndatan pangupama
nṛpasuta mangkin anghudanakĕn prahāsana nira lwir ārṇnawa madhu
Canto 52 Jagaddhita
1.
dyah [h]iṣṭangkw ibu puṇya denta pamatanta tan arĕngu minge tuminghala
heman têbu rirista tan panguningêng alara turida kokalan lulut
tan luh tan pangĕsah lawan prihati hetu ning akalib asewa tan lining
hīnganya n kapana n wiwal ngwang iki n amrih anĕkĕn awilāśa ning marĕk
2.
kenaknyân ḍawuhĕn manista ta kari ng sinawawa ring akung ndatan cala
āpan wyarttha rĕngihta hetu ning angel cala-cala ring apa n kasinggihan
singgih yan panĕpak jajângayatakĕn kuku bisama hamöm wajâmirah
nistanya n pinalalwakĕn* ḍatĕng i māsku patayaśa ni panghyang i nghulun
3.
nāhan byakta ni kung sang Arjjuna madadyana wacana hanorakĕñ juruh
kĕdw āmbĕk nira tan kumölakĕn unĕng rinĕngihan ira lot sinikwakĕn
ndan sang śrī nṛpaputrikâgĕyuh alök lalu wiphala tangis nirâtulak
tan wring dāya sirân kinewala makin linurung i palĕkas nṛpātmaja
4.
byātītan panukĕr narendraduhitângĕlih alara kacidra ring gati
sah ning siñjang irân minging ndan amĕḍar tĕngah añuriga rosnya komala
mangkin twas nira sang Dhanañjaya girahyasĕn i pangawat ing smarê sira
lwir kumbang wahu kāñaran tĕkap i rūm-rūm ing asana baśânĕsĕp madhu
Canto 53 Mālinī
1.
ri huwus ira pinurwânglih lume śrī suputrī
nṛpatanaya manambut mār mrata twas nirônĕng
sang ahayu sira sākṣāt raśmi ning padma rukṣa
cinulu-culuh ing ojar de nirângrĕs manguṇḍĕng
2.
nṛpasuta sira mangkin tibra de śrī suputrī
kawuwuhan i kĕñar ning ḍīpa molĕm ndatan krām
makin asĕmu tulis mās de nirânglih tar olah
nṛpasuta tatan aśrw ângol amangkwângajum ken
3.
kunĕng iki nṛpaputrī śoka moruk lumungsur
tuwin agila tĕkap ning siñjang amlĕs karāhan
krama umijil inĕmban sang priyâsih tan imbā
kamĕna nira sinocan ring surambyan cumuntĕn
4.
kaka-kaka nira tan doh kapwa sāmpun sĕnāha
humĕnakĕn aḍamu wruh rînggitājñân patingkah
paḍa-paḍa winagĕd ring lālanâtyanta pattya
awicarita sinocan dewi tar sah makarwan
5.
huwus aḍamu ta kālih sang sĕḍĕng wāhw apanggih
pinuyu-puyur iniryyan-hiryyan ing ceṭikâsih
rari palalun ing āmbĕk kölakĕn duhka mātra
apan iki lara rakryan ndan ya malwī lulut twas
6.
kusuma sarasija mrik mwang mĕnūr nāgapuṣpa
mapa kari pangadeśanya ndatan len ya yogya
winiru-wiru tĕkap ning kumbang onĕng wiśīrṇna
taham ibu panahāngkwê māsku nāhan patĕmwa
7.
maluya rari usön ring weśma tântuk haram dyah
ahĕla-hĕla sang onĕng mogha hāmhām sirângher
nahan ujar ika maswī ndan hanêrang suputrī
krama hinamĕr umantuk ring jinĕm mrik [h]umunggah
8.
riy ulih ira suputrī ryy ânta ning weśma rāmya
nṛpasuta sira mangkin harṣa yêkângisapwan
angupuk-upuk amāswās nā ng mukâlurwa molĕm
tĕhĕr angaras awantö rūm ning ojar sawang truh
Canto 54 Jagaddhita
1.
sang sākṣāt kadang ing wulan sang apatĕr turida sang ariris-riris langö
sang nityângdani kingking i ngwang asĕwö hunang athawa lulutkw asinwama
marmângol i raras-rarasta sahajâmwatakĕna sĕkar ing karāsikan
tan wring rāt ri sukangkwa yan kalawanan pawilĕtana ri tatwa ning gati
2.
mangke pwêki dĕlön harebu sipi bhāgya ning angajĕng (ng)acatwa cumbana
rūmtêndung pinakāntya jīwita silunglung ing anĕmu sayodya ring prĕman
manggĕh nitya sinandhi ring mata tamolah angañuta ri kingking i nghulun
ndan yan mātya manĕhta sātmya ri manista ḍawuhĕn irikang tasik madhu
Canto 55 Kāmamālā
1.
iti nā ta lālana nirânglipurakĕn i narendraputrikā
araras mananghulu maweh sĕpah arĕja mahânĕsĕp laṭi
tĕhĕr angririh-ririhi roma nira tama hamatya-matyani
amasang-masang ndatan alĕh mayat i gĕmuh ikang payodhara
2.
ahirit sinambangan irêng kakawin asĕmu mombakan langö
sinĕlan-sĕlān ri rĕsĕp ing mangarĕki pipi rāmya meñjuha
ri pamāhwa-māhwan i manis ni culu-culuh irâmriyambada
anusah mayang wahu mĕkar ndan amanĕhi rinĕngwa-rĕngwakĕn
3.
papupul nṛpātmaja lawan nṛpawaraduhitā hanêng jinĕm
mangunĕng mĕnur paḍa nira n katirah angaras ing wĕlas-harĕp
alangö hatur lĕngĕng ikang gaḍung awilĕt arok wanañjari
nda nahan patūt nira tiki n prasama-sama tinunggal ing langö
4.
nṛpaputra rāmya ri dalĕm śayana kumawaśê* karāsikan
sakulĕm sirârddha tan arip lalu pangamĕr irê suputrikā
karĕngö prahāsana nirêka tĕkap ing anawing lawan rĕngih
saha nopurâsring atakis marahakĕna panandhi ning gati
Canto 56 Navaharṣa
1.
kalalu ng wĕngi tan dwa rahina mawa teja ning ārkka lumöng
irikā ta ḍatĕng kraban ira sahananya huwus marĕpat
paḍa tânupamâparimita kadi sangka ring Indrapada
winiśeṣa tĕkap narapati Harimūrtti makon tumatā
2.
wara saptakumārika tuwi mṛganābhi sugandha sumār
ya mamungwa langĕnya ri sira sang amūrwwa hanêng śayana
mwang ikāng asĕp angrahagi sahaja subnya tĕkânglĕngĕngi
amapag raras ing cawĕni jamaṇikanya minging tan arĕn
3.
gupit ārjja lawan kidung ika hanameni parĕng hangawat
kahiḍĕp lĕngĕng ing madhumasa ri haturnya sawang bhramara
swang angimbuhi raśmi tan ari pasajinya n amung salulut
angaweśa ri rĕs nira n anawung unĕng sagawenya marūm
4.
ndah awās ira sang rwa tumama ri surambyan ira n †majajar
krama sāmpun asoca mangĕnakĕna bhūṣaṇa pahyas ira
anawung halĕp ing sarasija sinawang madhu rūpa nira
sinara n hana† ning kaka-kaka sararasnya n amaṇḍaga sök
5.
wĕkasan wwaya tâmwang ira tinuha ring pura somya tuwi
winiweka sulakṣaṇa mangarahakĕn ri sirân mijila
irikā sira sang rwa tumuluy angadĕg mijilêng pasabhān
paripūrṇna ta sang Yadukula hiniwö manaḍah ri yawa
6.
adawā n mara tingkah ira kunĕng i lingsir ikang diwasa
umulih sira sang rwa mangalihi hanêng gṛha rāmya sira
anamar lĕngĕng ing hasana kusuma rakwa lawan bhramara
angamĕr juga mangrĕbu-rĕbu mangudang rahat ing salulut
7.
ndan arĕn rĕngu sang nṛpawaraduhitâsih irân pasĕwö
ri sawet ni manis nṛpasuta malapi twas irân masuma
kadi marmma nikang gaḍing amarĕkakĕn rarab ing jalada
rumĕsĕp sumusuk lulut ira mapisan ri narendrasuta
8.
nṛpaputra samangkana papupul irêka mahâmirati
ri kaśaktan i kung nira pinahayu de nira ring śayana
luru ning liring oma nira pasagi laipana suswa tĕnĕng
pangamĕr pinakārcana putus i sanidhya nirân saharas
9.
sumilih tikanang surasa ya ta bhinukti nirân sumaji
mwang ikāng upabhoga ataca paribhoga taya ng kahala
wara sarwwa wiśeṣa hinabhimata de nira kapwa hana
apan uttama wīryya haji sakala pāwak ing āṣṭaguṇa
Canto 57 Praharṣiṇī
1.
ndah yan mangkana papupul nirâtirāmya
tan warsih samanah irâhurup lulut kung
lunghā ng lek ata malawas [h]ulah nirâtūt
solur harṣa ta masĕwö hunĕng nirâbwat
2.
sangsiptan patĕmu nira ndatan wiwākṣan
prāptā ng dwādaśa tikanang tahun linakwan
de sang Phalguṇa matutur sirê samangkā
an sang kāri mapa kunĕng mĕne n kawuntat
3.
jātī ning dadi tamatan wĕnang wiyoga
tṛṣṇâgöng ya ta marumah malit rikang twas
yêkângde lara baribin kaweśa denya
moghā n wismṛti ya pawehnya bhāwacakra
4.
ngkā rakwân pangadĕhakĕn ri buddhi Pārtha
hetunya n mawara-warah sirê sang antĕn
māskw indung kita rari jīwitangkwa sākṣāt
kingkingkw îbu pahalilang ta māryya śoka
5.
mangke pwâḍṛdha manamantarêng swacitta
göng ning bhakti ning ayayah lawan kakâsih
sangkā yan [h]ati malawas sirân tinambang
ndah kāngĕn mapa ta wĕkas nirêng kaḍatwan
6.
nghing rakryan panuluya bhakti ni nghulun dyah
sihtângālihana umilwa ring swadeśa
rîndrapraṣṭha pahalawön humer kitântĕn
kesyan tang manah anulus swadharmma rakryan
7.
ndah yêki n patayaśa sanghulun harêbu
prah-prahkw âniwi ri lĕbū ni jöng narendra
tan len māskw ibu dulurangkwa satyabhakti
ngkā rakryan pamahayu seccha Dharmmaputra
8.
nā ling sang nṛpatanayângamĕr manantwa
ngkā dewī sira sumahur wuwus nirâsrĕt
swāmi wruhku bapa hiḍĕpta sādhu yogya
ndi ngwang tan tumuta purih nikang maniwya
9.
anghing mohita tumukĕl larangkwa monĕng
ngkānêng raiṇa muwah i sang nariśwarâgöng
kintu pwa ng sanak angawe hunĕng ya manghrĕt
lud tapwan mamalĕs asih waśânglare twas
10.
bhaktingkw î bapa bibi ta pwa tan wiwākṣan
sākṣāt parwwata Himawān lawan Sumeru
sih-sihkw î kita yadiyan hiwön winarṇna
sākṣāt sāgara paramâdhikāra ring lwā
11.
tan warṇnan pangucap-ucap nirâta kālih
sāmpun māyu pasamayan narendraputra
ratry âmrĕm ta sira sarāmya ning jinĕm mrik
tamtam twas nira manawung hunĕng sarāga
Canto 58 Jagaddhita
1.
eñjing sang nṛpaputra karwa kalulut nira mawungu mijil sakêng jinĕm
ndah yêkā n tumuluy marêng makara rāmya sira tiki parĕng macāmana
ngkā n mĕntas sira kālih ing bañu silih tusapi muka paḍĕmwan ing mata
†lāgy âhyas tumatā patah mrik anĕcĕk-nĕcĕki sira narendraputrikā
2.
sāmpun maywan atūt parĕng mijil† atuntunan angalihi de nirân laku
mambö Manmatha sang hyang ing śayana munggw i pamatan ira len wajâmanis
ngkānê tumpyaṭak ing surambyan irikā sira parĕng aśilâtitih pupū
hyang ning rāsika rakwa ling ning umulat ri pangisapu nirân maweh sĕpah
3.
yak mātyāku mapêki rāmya nika yapwan umaluya marêng madhubrata
eñjuh tan sah amuktya rūmta yan adadya ring asana minging hanêng taman
lĕnglĕngku n yadiyan kawantus irikang gaḍing angani linañcaran madhu
swarggā n mātya sinambyakĕñ juga lamun tĕlas aciri sukangkw añumbana
4.
nāhan de nira Pārtha mojar amanis sinamakĕna pamiṇḍa ning kilang
harṣâtön angĕluk-hĕluk jariji aṣṭa nira tĕhĕr ajambatan tĕngah
janggângol laris ing pupus gaḍing ulah nira lalita suminghitêng kapö
nghing dewī mingay angrĕngih lagi lumĕnghay inarĕkan i sang nṛpātmaja
5.
tan warṇnan sawilāśa sang rwa wĕkasan sira mijil adulur marê dalĕm
ngkānê jöng nira sang narendra Basudewa hana sira lawan Halāyudha
mwang sang śrī naranātha Keśawa ḍatĕng nṛpasuta nguniweh suputrikā
kapwâṇamya ri jöng narādhipa katanggama ta sira ri sang Dhanañjaya
6.
sĕmbah sang nṛpaputra sajña naranātha huningan iki panghyang i nghulun
amwīt mantuka têkihĕn manĕ-manĕhta narapati* humusap ri jöng haji
manggĕh tan hiḍĕpan kṛtaghna makalis humilangakĕna puṇya sang prabhu
kady âdharmma ri denya sis bisama sang kaluputana sakêng prabandhana
7.
sāmpunya n pamuhun Dhanañjaya kinolakĕna sira tĕkap nareśwara
bhoh rakryan wihikan nghulun bapa manahta taya cala gatinya don mami
yadyastun kawĕkas kitân tĕhĕr aparwakĕna nagara bhūmi punpunan
mwang têkang wara rājayogya sahanêng nagara kita mamuktya rumpwana
8.
manggĕh pwântusakĕnta māsku mulatêng kawiguṇan ing anātha kāsyasih
haywêwĕh winuruk nda haywa pinalĕh tan alalisa ri sihta nistura
prihtêndung nyata dharmma ning kadi kitâniwi lawan ayayah pahaywana
mwang penâgraja yêka kawruhana sih nira katuturakĕn giṇâraray
9.
ndah mangkā pitutur nirâmṛta hiḍĕp nṛpatanaya tĕhĕr kṛtāñjali
ngkā śrī Kṛṣṇa sirâwuwus tumuturê sira muliha sawet nirâlulut
mangkā śrī Baladewa nora kawĕkas manah ira tumutê nṛpātmaja
nghing manggĕh tak asung narendrasuta ling nira niyata hĕlĕm sirânglawad
Canto 59 Bhramaravilasita
1.
byātītan lwir nira n angucap-ucap
lunghā ng dūtâmawa wacana haji
ri śrī Dharmātmaja yugala nira
rājyêndrapraṣṭha ya ta paran ikā
2.
ryy ângkat ning bhṛtya haji tan ucapĕn
tingkah sang Pārtha ta sira waluyan
mantuk ri sthāna nira ta ri dalĕm
akweh tang Wṛṣṇikula lumawada
3.
enak pāwwat niki marĕk i sira
kapwângluh denya paḍa kamasihĕn
jātī tṛṣṇângawaśa manaputi
kāngĕn sihnyê nṛpawaraduhitā
4.
ndan dewy āmbĕk nira pinitangisan
mogângluh nāla nira kawĕlasĕn
glānângaṇḍĕh sira mayat apasah
tan wring kwān ring kṣaṇa sira n asĕkĕl
Canto 60 Śārdūlavikrīḍita
1.
wwang ring rājya parĕng madandan umiwö wyāpāra munggw ing dalĕm
ewör denya samângarĕp madadakan kapwâsipĕt wruh kabeh
tan wāktan tikanang tumūt mara ring Indrapraṣṭha magyā parĕng
somah kapwa humung gatinya sakulĕm mwang hyas tinūnyê hati
Canto 61 Śikhariṇī
1.
wiwākṣan ring heñjing śubhadiwasa tang deśa wimala
lumampah Pārtha mwang kalulut ira māmwīt sira huwus
parĕng munggah munggw ing ratha sira n akarwan winulatan
tĕlas rabdha mwang Dāruki lari nira n rāmya mahalĕp
2.
samāpta pwêkang Wṛṣṇi bala pamarākṣê laku nira
wawang lunghā sangkêng nagara lari ning syandana huwus
manah ning kāryy āśā paḍa kamadĕlön lot hali-halin
mangö monĕng cittanya kadi tĕhĕr ānglimbangângiring
3.
ndan akweh kingkingnya nda tucapa ta sang Paṇḍutanaya
makin mintar lampah nira atita tang wanwa kalakun
sakāmbah rāmyâsring ta manginĕpa samby âmĕng-amĕnga
liniśyan[-liśyan] manglalaha lumipur kung sang araras
4.
aneka lwir ning deśa tinĕmu nira n kapwa ya mawit
sĕnāhâwwat pawwatnya tuhu sira yan śreṣṭhi guṇamān*
yayā tan swang-swang de nira n amalĕs ing tuṣṭa dĕmakan
paḍâsrah ryy āmbĕknya praṇamadara mangkwêng nṛpasuta
5.
asowe yadyan warṇnana lawas irân lampah anginĕp
ḍatĕng rîndrapraṣṭhâta sira pinapag ning wwang i dalĕm
makādi [ng] Kuntī Paṇḍusuta karuhun Dharmmatanaya
hatur tejândhākāra manahan ikang wwang sanagara
6.
wawang śrī Kuntī harṣa sira n amĕkul Pārthamahiṣī
sawet ning göng ny āmbĕk nira gĕrĕmĕ de sang wahu ḍatĕng
sahôjar māskw indungku bapa ling irângrĕs kawĕtu luh
ya rakwânlĕs ngkānê gĕlungan ira sang karwa mararĕm
7.
kunang sang śrī Dharmātmaja sira tikin n arddha magirang
lawan Bhīma mwang wīra Nakula sang antĕn paḍa suka
tumon Pārthâpan wāhu maluy apupul digjaya tuwi
makolih hyang-hyang ning Yadu nagara sākṣāt kṛtayaśa
8.
tangeh lwir ning tuṣṭi nrĕpati sakaḍatwan yan ujarĕn
parĕng mantuk ri jro kalima sira sang Paṇḍutanaya
makêring Kuntī tan kari sang ahajöng Pārthawanitā
tĕkap dewī Kṛṣṇâmwangi sira tĕlas marmma malulut
9.
apūrwwa lwir ning pūja paḍa sumĕnehâta ri sira
śinantyan de sang brāhmaṇa nagara wiprâdi kuśala
pĕnuh pwêkang pānotsawa sahana ning manggala kabeh
samanta strī kryan-kryan ta manguyut-uyut harṣa maniwi
10.
samangkā ryy ântuk Phalguṇa makin agöng tang kasuyaśan
makin swastā ng rājyādhika pinahajöng tan pawaraṇa
śubhikṣa pwa ng warṇnāśrama sahana ning pora mapulih
pratāpa śrī Dharmātmaja parama diwyâmayungi rāt
Canto 62 Jagaddhita
1.
sāmpūrṇnân kadi sang hyang Indra mapa hanglĕwihi wibhawa anglyab ing hajöng
erang māryya kĕta[ng] durātmaka wiśīrṇna sulabha sira sang mahājana
ndin panglwang pitutur mahārṣi mawarah patayaśa śapa tanggwan indriya
sangkṣepanya kapat sapanggajaha sang ṛṣi kumĕmit i sang kaka sthiti
2.
śuddha bhyāṣa nirêng prajā mahayu dharmma makasuluh ing aṇḍa maṇḍala
kyāti ng rāt warawīryya kaprabhun irânulusakĕna surākṣa ning jagat
tāwat dharmma ri sang kṣinatriya tan ora kahala nira sang pinaṇḍita
wṛddhy ânūt kajanapriyan sira pangöban ing agati mahāt pakāśrayan
3.
anghing mangkana tântya ning carita kastawan ira hana ring jagaddhita
ngkā Pārthāyaṇa sangjña antuk ing angatpada kumawih anirwa-nirwakĕn
olugnyân palalun tĕkap sujana tan katugĕṭakĕna mon dinuryyaśa
panggil śrī Surawīryya māsiha sirânganumata hamĕngānya pet langö
Translation
May there be no hindrance!
Canto 1
I.
The supreme truth that flows from flawless aesthetic experience is brought to fulfilment by the existence of the poet.
Absorbed in meditation, he finds harmony in the innermost part of his mind through unity with the rapturous beauty of the Lotus of Non-duality,
And gives it visible form* in a kakawin, arranging it in lines, as the essence in the grooves [of the writing board] of the temple he builds with tendrils of beauty.
Indeed, it is the subtle form of the spell which renders invisible the rising of love* and finally becomes inconceivable formlessness.
II.
For if the deity is praised according to the prescriptions, He becomes embodied in the beauty of sea and mountain.
Clearly He merges with them, vanishing without trace into nothingness, inspiring the poetic sentiments that reach the ear.
When the point of the stylus is completely worn away in the letters which form the black marks* on the writing board,
In this way he, who in performing his act of worship, falls at His feet, frames his first praises.*
III.
Now I am enraptured, suddenly burdened with the desire to compose a poem* in homage to Beauty.
But how can I possibly succeed? It can only bring great trouble. How can it be considered apposite?*
For so deeply does the rumbling of the clouds stir me that I am compelled to take up writing board and stylus,
Not cowering before the ignorance in my heart, but shamelessly and recklessly, longing only for skilfulness.
IV.
When I ponder the evil nature of my fruitless existence, how cruel it seems. What can bring me contentment?
Because wickedness is ever-present, filling me with sorrow, I have renounced the hope of ever being free of it.
I secretly conceal my bewilderment and confusion, for there is no one to whom I can cry out for help, as I encounter the disfavour of fate.
I want only to flee and dwell in a forest hermitage. There, alone, I may find peace.
V.
For any who seek such an end to wretchedness, there is the example* of the noble Arjuna,
Who, when Dropadī was together with Yudhiṣṭhira, entered the inner chamber.
This deed caused him such anguish that he, too, wanted nothing more than to go away and dwell in the forest,
And seeking leave of the king, received his blessing before departing.
VI.
The next morning, just as the rising sun shone forth in the eastern sky, the prince made ready.
Having completed his devotions, he then went out of the city,
His only companions his arrows, bow and armour, for these were the excellent weapons he bore,
As is in accordance with the code of the warrior and is the way of those who seek to serve the world through valour.
VII.
As he journeyed swiftly and without hindrance away from the kingdom, he was welcomed* by the beauties of nature.
He came upon many splendid gardens on the outskirts of the palace.
The trees, wrapped in mist, seemed to weep sorrowfully, as they cried aloud in their grief,* overwhelmed with longing.
The young leaves of the beautiful sugar palms hung down in profusion, spreading outwards as if sighing with longing, giving free rein to their flowing tears.
VIII.
The prince continued on his way, journeying further and further from the town.
When he looked back, the place he had left behind had a dismal appearance and seemed despondent.
Without lustre, dejectedly hiding its charms, it seemed to want to keep itself hidden under a veil of grey.
The glow of the half-risen sun was a red haze, like the bright glance of a girl dulled by yearning.
IX.
Furthermore, the beauty along the delightful path he travelled, was the beauty of spring-time.
Their freshness fading*, becoming limp, the tree branches tossed feverishly in the wind,
Their rustling, the sighing plaint of a lover’s grief, their love for him unrequited.
Their flowers, hanging down in abundance, fell to the ground all withered and lay scattered everywhere.
X.
There was* a young banyan tree and a number of fig trees rising on high, as well as prih and bulu trees.
Everywhere, pecking birds thronged together, while yet others came flying through the air, darting to and fro amongst the trees.
The mynah birds pretended to tease the parrots that joined them and drew near them respectfully.
The voice of the kuwong sounded tremulously and was answered by the walik, lamenting that it had been abandoned by its mate, the cucur.
XI.
He arrived at the outlying districts where, in the fields on the mountain-slopes,
Herders were tending their cattle, resting peacefully there, where land had been cleared for fields along the mountain ridges.
Others were milking cows, for, since time immemorial, milk had been the produce that they took in homage to the palace
At Indraprastha. Indeed, it is well known that this had always been their tribute and their prescribed duty.*
XII.
A rain-filled cloud had just loosed its rain, sprinkling it down on the settlements in the ravines.
Little by little, the breeze drove away the mist, leaving behind only the glow of the sun.
The love-sick cātaka bird became so steeped in melancholy, as the clouds dispersed and went away to the beauty of the hills,
That it moved the prince to join with it, in looking dejectedly at the sky.
XIII.
Unhurriedly, he travelled on, passing by the forest pavilions.
The many hermitages and holy places he came upon were, in his view, all magnificent,
As indeed were all the religious abodes, foundations, monasteries and fine temples, quite splendid.
Some time later, as the sun was setting, he came to the River Saraswatī.
XIV.
Truly spotless were its excellent and sacred waters used as the means of purification in these forest hermitages.
Moreover, within the enclosing walls of the artificial ponds they had formed a shallow madraka lake* that was without fault.
Its beautiful inlets formed a sculpted perimeter,* presenting to the beholder a vast array of lotus blossoms.
As proof that its deep waters were without defect, they seemed to proclaim its perfection.
XV.
The prince’s heart was filled with delight as he looked at the beauty of the great river.
Reminiscent of the charms of the tossing ocean was the rippling of the water, lapping and billowing.
A breeze gently touching them and lifting them into flashes of light,
The waves danced gaily, full of joy at meeting the noble Arjuna.
XVI.
White swans glided here and there in the middle of the river* seeming to wander in pursuit of beauty.
Charmed, they listened intently to the buzzing of the bees, gaily courting [the flowers].
As if to tell them of the purity of the river, the wind held them captive, teasing them, tossing and turning them from side to side,
But they just continued bathing, quite indifferent to the profusion of lotuses there, where they were wading.
XVII.
Across the pond in the shallow water, moving with studied grace,*
A duck and its mate moved off whispering endearments to each other.
They stayed there among the lotuses, happy in their love-making, causing a shower of pollen* to fall.
How sad* that the blue lotuses, shaken to and fro, were crushed by their beating wings.
XVIII.
The green banks seemed to have been beautifully adorned and ornamented
With moss,* which looked as though it had been scratched and seemed, appropriately, to imitate a dusting of powder,
And, like the shaved eyebrows of a beautiful girl, clearly aroused desire,
While the pakis ĕndah fern in the water was like fragrant musk,* its perfume melting* away.
XIX.
Bees flew in circles in search of virgin delights in the entrancing beauty of the lotus.
Eagerly swarming to and fro, going longingly from flower to flower* to caress them, brushed gently by the pollen.
Their buzzing was like thunder in the fourth month, and their tender cries of victory were as gentle and graceful
As the murmuring of sacred syllables, their gift of homage to the prince, to bring him constant delight.*
XX.
So he descended there, to wash his face and rinse his mouth in the ritual worship of the sun.
His weariness vanished and when he had completed his devotions, his heart became all the more tranquil.
Thereupon, he arose from the water, and again gave himself up to enjoyment, lying on a flat rock,
And with delight, observed the shrimps that hid themselves behind the rocks and peeked out enticingly.*
XXI.
Amused he watched the pingul-fish* playing far out in the water.
They teased each other, darting so swiftly back and forth that some sought shelter* under the rocks.
There was great confusion in the river when, with great caution, the timid catfish came out, one after the other,
But then, startled, dashed for cover* into the marsh-land as the birds swooped down on them.
XXII.
Even more enchanting was the wondrous mountain stream, which seemed to merge* into the sky,
And, in the setting sun, with wilted flowers scattered on the rippling water,
It took on* the beauty of embroidered cloth, like a blanket of brilliant stars,
And seemed to make a perfect flower obeisance, as if to say this is our offering* to you - or so he thought.
XXIII.
And the brightness of the aśoka,* asana and bāṇa flowers paled in the reflected light along the river-banks.
The charms of the honey trees* faded and dimmed as their flower buds* were swept away,*
Thinking only of how delightful it would be, never losing hope* that they might be sought out as the flower-ornaments* of lovers happening by.
At peace, now that the bees had abandoned them and no longer sipped their perfume, they waited to fall.
XXIV.
In all its beauty, it was a perfect bower for lovers to worship at the shrine of the pleasures of love.
There were tañjung flowers, poignantly casting the message of the hidden perfume of their petals on the wind,*
Giving forth such delightful fragrance that the blossoming śikhari could do nothing but seek cover behind the wungū.
Moreover,* arching over, flowers unfurled, they stood ready to watch over those tormented by pangs of love.
XXV.
Even as the sun began to set and the beauty of that place became dim and melancholy, still it was enchanting.
It seemed a pity that no poet came wandering by on his journey, to tell of its charms on his writing board.
When lo, a peacock appeared and stopped to rest there, for all the world like just such a wanderer in pursuit of beauty,
So aptly storing in its poetic cries the delights of the Saraswatī River.
XXVI.
With tranquil mind [Arjuna] lost himself in contemplation, as, preparing for what lay ahead,* he pondered thus:
‘Successful are they who attain freedom from passion and think only of the ultimate goal of becoming a supreme sage.
Yet because of the extent of the ten senses,* crushing the innermost recesses of the heart,* subjecting it to their will,
Meditation on Śiwa is destroyed and annihilated and there is the risk that passion and darkness* will rise up.
XXVII.
‘Only excellence of mind should be practised in order to reach the essence of existence.
Clearly it is like the wheel of a chariot, which, if loosened, has no purpose at all.
For the true nature of corporeal existence is nothing less than offering oneself up in sacrifice through excellent meritorious deeds.
And so, clearly, in this life, the best course is to be willing to face the arduous task* of living virtuously.’
XXVIII.
This was the essence of his reflections on mastering the injunctions of the holy seers.
As if in confusion the heart, subject as it is to the ten senses, turns this way and that, in every direction, when meditating.
Disunity of mind then allows troubles to enter and brings aversion to the innermost secrets of meditation.
And so, soothed by the rumbling voice of the kuwong, he then fell silent.
Canto 2
I.
In the late afternoon he set off again,
With his heart firmly fixed on his goal of reaching the Himālaya mountains.
And as his journey took him to the east, effortlessly, along a flat valley road,
He was entranced at the sight of the birds, flying in formation, then vanishing from sight.
II.
The faint fragrance of the forest flowers* wafting in the breeze, was delightful.
His heart aflutter,* he hearkened to the buzzing of the bees.
To him, their murmurs were the whisperings of those who know love for the first time,
And the intermittent cries of the magnificent peacocks delighted him.
III.
From* clusters of forest flowers, fragrance spread like falling rain,
As the gentle breeze hunted them out, enhancing their radiant beauty.
Flowers lay scattered, some like fallen arrows,* others intertwined
In the thickets of luruk-luruk, like flowers in a hair-knot.*
IV.
In the heat, the suḍa,* its creepers unfurling, wilted too, sad and downcast.
A profusion of katirah hung down, its aerial shoots* throwing themselves to the ground,* moving to and fro imploringly.
Pakis haji ferns shook and in frenzied longing hid themselves away,
While wĕlas-harĕp creepers formed a concealing curtain for a lover’s retreat.
V.
The buds of the mangunĕng creeper* hung limply and seemed dull as the sun’s rays beat down on them.
Weary, sighing plaintively, their supple boughs bending low without strength, they waited for the thunder.
Huddled in their sheaths, the gĕsing bamboos rustled in the awesome grip of passion,
Restive, as the prabhu sanmata enclosed them in its soft embrace.
VI.
The dense thickets were hidden from view* under a tangle of fearful creepers,
That hung upside down, covering* the pendant halikukun, unfurling there.
The kayĕn trees which rose up in the valleys, burst into blossom and held themselves in readiness.
In the stillness, a cĕb luput bird opened wide its eyes, as a mouse scuttled by.
VII.
Let us pass over the time when the prince wound his way through the forest.
Here he traversed a deep water-course, there ravines and rugged mountains, difficult of access,*
But he was content as he sought his destination – the source of that river of flawless purity,
And there, in a welcoming hermitage, he found shelter for the night.*
VIII.
Faithful to his [vow] of striving for detachment,* the prince again sought solitude,
The wooded hills* his sole companions as he travelled on.
And they, determined to receive him with joy as an honoured guest, offered their many fruits to him.
While, nearby, a splendid waterfall readied itself to be his holy bathing place.
IX.
He came at last to the Hima mountain, with its splendid settlements.
It was as resplendent as the abode of the gods in the glow of the setting sun.
White clouds enshrouded it like magnificent battlements,
And it seemed to have exchanged its beauty* for that of the heavens.
Canto 3
I.
The beautiful mountain scenery seemed to be in restless motion.
As if calling to him, the casurinas rustled, tossing and turning in the wind.
Waiting expectantly, the dancing branches* whispered,
Their graceful, overhanging shoots ever reaching out to him.
II.
On the densely-forested slopes were gardens,
All the more beautiful for they were shafted with bands* of golden sunlight.
With infinite care, they had adorned themselves delightfully with flowers, their blossoms agleam,
And seemed to have decorated themselves for joy that Arjuna, the son of Pāṇḍu, was visiting* there.
III.
On reflection, it seemed the forest had prepared a welcome for its guest:
The gift it offered was the profusion of blossoming flowers so beautifully spread before him.
With wavering fronds* and red petals, the flame trees,
Like lips eagerly seeking pleasure, awaited him.
IV.
With its many valleys, it was as grand and idyllic as the Nandana grove.*
Its delightful caves, quite extraordinary in their perfection, were its ornaments.
Among its trees of many kinds were the heavenly coral-trees,* fresh and blossoming,
With a canopy of trailing,* leafy fronds unfurling.
V.
A river flowed delightfully into the crevices of the craggy peaks.
Streams spouted from the rocks, forming a pond like a small sea.
The rock face was of such brilliance that it challenged the beauty of the ocean,
With scattered, flowering pandanus draped* everywhere over its lovely stones.
VI.
Pārtha’s heart was captivated as he climbed higher and higher up Mount Hima.
He became ever more amazed as he gazed upon its celestial beauty.
It towered over the realm of the Bhāratas,
Looking down on the steep valleys of the eastern mountain with its one hundred holy bathing pools.
VII.
Over a ravine so deep and impenetrable* that it was lost to view, clouds gathered,
To merge into its gleaming sulphur, caressing it, veiling it,
Forming a bright shining halo of light,*
Pregnant with the soft rain that is always betokened* by the voice of the thunder.
VIII.
A gleam of water marked the location of the spotless river.*
Indeed here was the ‘Gateway of the Ganges’,* guarding the secret of its purity.
‘I will go* there’, he thought, and set off, making his way down
Along a narrow, rugged path, strewn with boulders, through the sharp and jagged ravines.
IX.
So arduous was it, that it hardly seemed possible a mere mortal could penetrate its depths and reach the bottom,
Unless he were a perfect sage or an excellent priest who had put aside worldly concerns.*
Thus it was proof of the true excellence of this son of Pāṇḍu,
That, engaged as he was in striving for the welfare of the world, he came there with ease.
X.
And so it was that Pārtha came there to that remote river,*
And beheld the well-spring of the River Ganges, utterly flawless and without stain,
Flowing from a fissure in its unfathomable depths, its eddying waters gushed forth,
Like the emanation of the moon, giving life to all the world.
XI.
On reaching it, the prince was filled with great peace,*
As he gazed upon the clear water of the Ganges, the water of life,
For indeed it was ever the means to assuage the despairing heart.
Descending to the source* of holy water, he bathed in its waters and purified himself.
Canto 4
I.
Thus Pārtha came to those sacred waters.*
As he immersed himself in the waters of the source of that river, possessed of sanctifying power.
Its full-flowing waters truly cleansed his mind,
As he recited incantations and performed his devotions.
II.
He concentrated his mind on the immaterial presence of Śiwa,*
Arising from the eight-petalled lotus, and firmly established* in the river.
The essence of the sun* was invoked into the firmament,
As, absorbed* in meditation, he became one in union with the sacred symbol.*
III.
A beautiful woman appeared in the presence of the prince.
Her perfection was such that she seemed to be the younger sister of Beauty itself, bringing love.
She was indeed the month of spring, the embodiment of all that is lovely.
Her sweetness held the longed-for charms of the moon.
IV.
Clearly she would arouse the bemused poet, wandering in pursuit of beauty, from his reverie.*
Like the fall of a fine misty rain, her enchanting hair-knot diffused its fragrance.
Her ear-rings shone all the while, revealing sudden flashes of lightning,
And the glow of her shining face ever enhanced her radiance.
V.
Pārtha had now finished his dawn worship,*
And his heart seemed to stop as he saw her appear as if from nowhere.
None other than the Goddess of the Hima mountain and the River Jāhnawī was she,
And now he became more convinced that she was a vision.*
VI.
‘Where are you bound, little sister? gently he asked,
‘In journeying to this mountain, where I travel on pilgrimage to the sacred waters,
I had not thought it would also be the destination of those who wish to abandon themselves to the pursuit of Beauty.
Yet you are a jewel, Beauty itself, my wondrous one.*
VII.
‘How foolish I am, making bold to presume that you could only be properly*
Depicted as the riches of a garden offering its beauty:
Your teeth gleam with the allure of śrīdanta flowers,
And [red] handul flowers are always as one with your gums.
VIII.
‘The striking beauty of the katirah flower finds refuge in your lips,
And in your eyes rests the dark beauty of the blue lotus.
In your neck is the slenderness of the fresh jangga vine, its shoots unfurling,
And I cannot but think, my lady, that the mangunĕng has taken on the form of your lovely hair-band.
IX.
‘Your slender body is a blossoming priyaka.
Your arms put to shame the tendrils of the delightful aśoka,
Your calves disturb the fragrant pandanus,
While your full breasts imitate* the rounded, ivory coconuts.’
X.
Thus did Pārtha sing her praises with sweet words.
Understanding his allusion, the maiden said:
‘O my Lord! Your perfection* indeed exceeds that of mortal men.
For you have come here to this place, where I have never before seen a soul.
XI.
‘Your mighty deed is great, even incomparable,
You have succeeded in penetrating the inaccessible Hima mountain.
It is the highest degree of excellence, and
You are fitting to be the refuge of those who seek the prosperity of the world.’
XII.
Thus she said, soothingly addressing kind and friendly words to him.
And Phalguṇa, with gentle words respectfully replied:
‘Dear maiden, who are you, O beautiful one, who comes here?
Tell me truthfully, great is my concern [for you]!
XIII.
‘Dear maiden, are you, little sister, a goddess in immaterial form?
Because all that is charming waits upon you,
The flowers all seek refuge with you.*
Clearly they lie in wait here to scratch you, that you might see how they long to attend upon you.
XIV.
‘Truly the incarnation of the entrancing beauty of the fourth month, are you,
The ethereal deity of the sea of honey in bodily form.
It is as if to seek to express the marvels of the ocean in poetry
Or to ascribe beauty to the mountains, would cause confusion.
XV.
‘Further, my dear, is it not fruitless for you to stay so pitifully
In this inaccessible, remote place, all alone?
Though you seem undaunted, are you not fearful to stay in these wooded hills,
Where lions, elephants, snakes and tigers lie in wait?’
XVI.
In this way the prince questioned her closely.
The one addressed so sweetly, answered him truthfully:
‘My lord, listen to me, your servant,
I am a woman, called Ulupuy, beset by love.
XVII.
‘I will tell you why I have taken on the form of a woman.
There is a king, His Majesty, Korawya, a renowned and illustrious mighty serpent,
Who alone is so awesome in his power
That his irresistible valour is without equal in the three worlds.
XVIII.
‘His kingdom too is of extraordinary, outstanding splendour
Because of the lustre of its countless gems and jewels.
Like Indra’s heaven, its beauty is without flaw,
And by dint of its very nature, parijāta and kalpawṛkṣa trees grow there.*
XIX.
‘Moreover, even heaven is inferior to it, its beauty rivalled
By the unique fashioning of the underworld.*
Truly, it is a creation of Lord Brahma himself,
Unparalleled, for he has given his full attention to its creation.
XX.
‘This then is where the foremost king of the snakes dwells in contentment.
All vassal snakes are loyal to him,
And as for me, I am the daughter of the snake king,
And from time immemorial, I have never known the least sorrow.
Canto 5
I.
‘My father has so lavished upon me the quintessence of supreme happiness,
That I found myself unable to take any pleasure in anything, so sated* was I by such infinite bliss.
I could not resist searching out the peace of this lonely, secluded place,
But upon reaching here, suddenly I came upon you, seeking union with the god in the River Jāhnawī.
II.
‘And thus I was smitten by violent passions, wounded by Smara’s fiery arrow.
It is only by tasting* the flow of your sweetness that my desire and longing can find respite.
For the goddess Ratih, Goddess of Love, has so enflamed the feelings of this yearning, lovesick woman,
Who hopes for the excellent ambrosia of your love, for you are the embodiment of the God of Love himself.
III.
‘Moreover, could it possibly be fitting for you to live in the forest, staying in the undergrowth in such a pitiable condition,
Eager to conceal yourself, seeking shelter under overhanging rocks, emaciated, unkempt and lack-lustre?
How can you find enjoyment, resting on a bed of dry, withered, fallen leaves?
Words cannot describe how your body has wasted away, and has lost its strength and become wrinkled from long contact* with them.
IV.
‘In short, my lord, please come with me now to the kingdom of the serpent king and seek
To enjoy the happiness that my great devotion will afford you. I beg of you, please accept my offer.
There is no doubt you will be accorded the devotion of all the snakes. Their only wish will be to serve you
With food and refreshments, caring for your every wish, joining with you in sexual union.’*
V.
Thus implored Ulupuy, overcome by passion. Pārtha answered lovingly and sweetly:
‘O most excellent jewel among women! My dear! By stealth you have captivated my very heart.
Alas, though, the charm of your seductive words cuts me to the quick, cruelly breaking my heart into little pieces,
My dear, I must ask you to accept that I must refuse your love, O little sister.
VI.
‘For I am now bound by the agreement that Nārada has ordained,
To live as a brāhmācārya, holding to chastity. That is the reason I wander here in the Himālaya, seeking solitude.
Only after twelve years will it end and I must wait until that time has elapsed.
But how it casts me down, now that I, too, am filled with the desire to enjoy sexual union anew.’*
VII.
Thus Arjuna gave her answer, and again the girl spoke:
‘O my lord, you are mistaken in taking so much to heart the words of the seer.
I understand what he meant in urging you to comply with his instruction.
But surely your solemn and abiding vow was intended only to apply to the Lady Dropadī?
VIII.
‘With another, how could it be wrong for you to devote yourself to love-making?
It would not be adultery if you were to accept my words that speak of seeking sensual pleasure.*
The purpose of assiduously performing the yoga of love is the prosperity of your lineage,
So that in practising it and becoming steadfastly absorbed in it, you may achieve the Absolute.’*
Canto 6
I.
How could the prince do other than accept her words, seeking to woo him?
He tried to curb his doubts then, for her words, asking to be accepted, rang true.
And so he sanctioned* them, receiving them favourably, for they were so meet.
Moreover, their sweetness was without flaw. ‘No harm* can come of this’, he thought.
II.
And so he decided to follow his desires,* as is the nature of hearts that share love.
The prince stood up, made ready, and followed the snake girl.
Through a split in the earth’s surface, they took the road to the underworld.
But even as they walked on together, without stopping to rest, he took pleasure in the features of the path that she pointed out to him.
III.
They came to her home, a place* where the buildings were of incomparable splendour.
The houses were made of gold and all the gateways and fences were of gold and jewels.
With its adornments radiating a shimmering glow, it looked like an orb of light,
And its dazzling beauty seemed to emanate* from heaven.
IV.
The world of the gods is made radiant by the sun, that most excellent of brilliant jewels.
It is impossible* for it to grow dim there, even when daylight passes and night falls.
As for the underworld, when night comes there, the darkness is diminished,
For there is constant light from the ever-gleaming crystal and jewels.
V.
The snake girl led the prince within,
And presented to him the beauty of the place: its golden encircling walls* were indeed perfect.
Beautiful women sat there, like scattered jewels loosened from a string. Sweet were their charms,
Their side-ways glances arousing desire, their supple bodies the very embodiment of young boughs.
VI.
There were some who drew near, ready to receive him, eager to provide all that is due to a guest,
Sweetly displaying the fire of their natures in their subtle gestures.*
Delightfully bespattered with a dusting of flower-pollen, fragrantly perfumed with musk,
Their loveliness was enough to render him speechless, as they seemed to offer their sweetness to his gaze.
VII.
There was a pavilion of crystal, its roof a madana-lotus* of chased gold,
With a wonderful arrangement of flower-shaped adornments, formed of brilliant jewels.
There was, as well, a couch awaiting there, the visible manifestation of a hymn to love.*
Its painted cloths were decorated with clusters of rays, so that it seemed to be the moon’s secret hide-away.*
VIII.
And so the beautiful girl and the prince mounted the curtained bedstead.
Under the ineluctable force of their love, they found harmony at once, their feelings as one.
Their union there on that lovely couch was full of joy, the essence of sweet delight,
And they seemed the incarnation of the beautiful jasmine, intertwined with the gaḍung.
IX.
Or their union was perhaps that of flower buds seeking to draw near to the beauty of the river.
Clearly the two on the couch were Ratih and Manasija, goddess and god of Love.
The entwining of their souls* in sexual congress formed a temple for the innermost expression of the art of love.*
Suddenly they could no longer resist tasting the welcome delights* of love-making.
X.
Later, when they had been united together in the raptures of love there on the bed,
Their sudden delight knew no bounds, their very hearts were touched in their new-found mastery.*
Together they came out and sat side by side outside the pavilion,
Where their waiting retinue approached them to wait upon them and offer them all that had been prepared.
XI.
As they sat outside the crystal pavilion it was as if they had descended from Smara’s heaven.
Again and again they partook of the many delicacies of exquisite flavour that stood ready.
After they had eaten they again withdrew and together climbed onto the couch,
Tirelessly seeking union there on the bed, never wearying of love-making.
XII.
Blissfully, these enamoured lovers dallied together there on the couch.
Then, they wandered together out into the garden, wanting to be alone.
Inseparable, they again sought bliss there in the moonlight,
Even resting together on a bed of flowers and leaves.
XIII.
The joyful harbinger of the fourth month, the thunder, brought the promise of soft rain.
They wandered here and there, happily stopping from time to time at a hermitage.
Moreover on the bank of the river that descended into the ravines near the most inaccessible gullies,
There was a spring where they disported together, constant companions, taking with them as provisions only their love and desire.
XIV.
For a long time they lived together in love, delighting in their passion and love-making,
Adept at devoting* themselves to love, ever-willing to surrender to pleasure,
Joyfully tasting* the doctrine of love perfected by Dhanañjaya,
Striving after union with the deity of love in immaterial form, abandoning themselves to the delights of bliss.*
Canto 7
I.
For a long time he stayed in the underworld,*
And before long an excellent and perfect child was born,
Who was later acknowledged as a hero in battle,
And was called Irawan, the renowned.
II.
The prince had not forgotten
His mission, bearing it constantly in mind,
And so he prepared to set off again,
Gently explaining to his beloved.
III.
He went on his way to other places,
And came finally to the Hima mountain.
Travelling easily wherever he wished, he made his way
Through the many hills and valleys.
Canto 8
I.
He reached a wondrous, rugged mountain range of unearthly beauty,
The renowned Nilaśṛngga.* The thick undergrowth of its foothills was difficult to traverse.
Its winding gullies were deep, its peak towered over the ravines.
Rushing streams welled up from their source and plummeted down into the valleys.
II.
Pure mountain brooks whirled and gushed* from the crevices in the hills,
Shining silver-bright, for all the world like the milk of the earth.
Merrily a dove bathed and fluttered its wings, sporting and playing in the water,*
Accompanied by its entire family, all of whom had joined in this visit to the holy bathing pool of the seers.
III.
The beauty spots towering high above were a delight to see.
On the hillsides, hermitages nestled at the edges of the ravines.
Dotted here and there, in delightful clusters,
Were puṣpadeha* trees, all aflame, like carefully tended fires* that are never allowed to go out.
IV.
Enchanting was the sight of all the accomplished, charming anchoresses.
The sweetness they presented to his gaze, as he beheld them, was that of campaka flowers.
With veiled looks,* as is only to be expected, they threatened him with their quivering eyebrows,
But their sidelong glances, with hidden smiles, were as sweet as syrup.
V.
There, in the outer gardens, they gaily gathered vegetables and mushrooms,
As well as lalab,* which they wrapped in their breast cloths, with never a thought to their [bare] breasts.
Their sweet chorus, rising up faintly as they sang there on the side of the ravines, was a joy,
As the frogs answered in soft counterpoint from the gullies.
VI.
In the forest hermitage, love-smitten, they offered their beauty to the seers.*
Some gathered flowers and bunches of grass which they then arranged, carefully protecting them from their [sharp] nails;
Others walked carefully, gracefully into the pond to scoop up water,
And as he watched them closely and they feigned displeasure, they seemed just as sweet as heavenly nymphs.
VII.
From above, the water [of the pond] lapped at the waters of the sea lying below.
A fountain spouted up from a fissure, its water thrown up in the centre.
The misty, glistening spray, lit by the sun’s rays, formed a rainbow,
With jets of water that looked like a line of slithering snakes flying through the air.
VIII.
The buds of the woodland trees sighed with longing for the fine river mist.
And seemed to draw near its beauty humbly, to ask that they might be placed in a hair-knot.
As Dhanañjaya came without warning on the delights of the hermitage,
The sound of the kuwong seemed to call them to come forward now that the prince had arrived.
Canto 9
I.
Completely absorbed, the noble Phalguṇa gazed with delight upon
The scenic beauty of that mountain hermitage as it rose into view,
And because he felt so weary, now that the sun’s heat had utterly sapped his strength,
In the end he did not hurry past at all, so tired was he.
II.
At times the path climbed upwards and he could look with delight, as far as the horizon.
The beauty was enhanced by the lovely birds on their homeward journey.
Gracefully flying in formation, they faded from sight,
While with breathtaking beauty, the hills seemed to flash.
III.
The delightful path went step-by-step downwards along the side of the deep ravine.
The undergrowth came right* to the ledge, hidden* beneath the overhanging creepers.
By leaning over a long way, he could see the shoots of the galing creeper* far down in the gully,
Some were entwined around the betel trees, others stood tall and straight.*
IV.
The new leaves of the walik-aḍĕp on the outskirts of the hermitage, flickered.
Wild banana leaves hung limply as if deprived of strength,
Then, as the wind caught them, stood straight out like pennants,*
Alternating with the fluttering shoots of the anḍuru* beckoning constantly.
V.
Just then, the clear cry of the barking deer rang out. How sweet its gaze*
As it came to rest on the merry monkeys bustling about in the trees.
Some were lazily nibbling the many fruits, chattering the while.
Others, the long-tailed monkeys, rested, just squatting in the branches, oblivious to everything.
VI.
It would take too long to describe* this scene. Soon after, he came to a hermitage.
The trees all shimmered as if to welcome him.
Coquettishly they let their flowers fall to the ground like a rain of jewels,
Releasing their fragrant perfume without pause as they lay scattered there, enchantingly.
VII.
Time passed and in the quiet of evening the sun took its course.*
Its rays lost their splendour as dusk fell.
As if dyed crimson-red, the heavens shone brightly,
Wisps of cloud spattered here and there like drops of blood.
VIII.
The magnificent design of that sacred hermitage enhanced the beauty even more.
It was shrouded in webs of cloud that settled over all,
And were absorbed* into the smoke of the sacrificial fires of the seers,
In evidence that impurity and darkness of mind had been destroyed, burnt up in the fire.
IX.
The fragrance of the oblations within wafted out and spread far and wide.
Their perfumes, mingling together with the scent of aromatic smoke from the lamps, covered everything.
Cymbals clashed, bells tinkled together in unison
With the recitation of prayers - all served to captivate his heart and bring him peace.
X.
Birds billed and cooed all the while as they roosted in the hermitage,
In tumultuous discourse, ever discussing and interpreting the sacred syllables,
To the delightful accompaniment of the bees whose voices could be heard in the fragrant garlands,*
As if expert in gracefully leading the gentle, mellifluous singing.
XI.
So many delights did the prince see in the hermitage,
And so astonished and enraptured was he, that his weariness vanished.
Lost in thought, he observed closely, resting on a flat, broad rock
And determined, instead, to spend the night in the hermitage.
Canto 10
I.
But let us now turn our attention to the seers who all came quickly to welcome their guest.
All the anchoresses who dwelt in the hermitage and who had been dressing themselves came forth,
Rushing out, leaving behind their clothing of bark cloth, unable to wait.
So full of joy were they to see a man of such beauty that they were quite overwhelmed.
II.
They ran toward the prince who, as if summoned by the power of their meditation,* sat there
Charmingly, underneath an aśoka tree, holding on his lap a garland of flowers.
The ascetics gazed at him open-mouthed,* for his appearance so far surpassed all others in excellence,
That they could only think that he was the God of Love Kāma, the sight of him rendering them speechless.
III.
The nuns too were so dazed that they seemed to have lost their senses,
Displaying their thoughts and longings as if they were quite incapable of hiding the desire in their eyes.
The seers greeted him: ‘Fortunate are we who dwell in this hermitage!
By your arrival, O Prince, we have now reaped the rewards of those* who have achieved indifference to the world.
IV.
‘What is it you seek in wandering these forested regions, O Prince?
It is as if you are the origin* of all that is excellent, and will bring to an end the barren state of us who dwell in this forest.
Through steadfast meditation, the felicity of our ascetic practices has been restored,
And now, by your kind favour, we will go on to attain our goals.’
V.
Thus said the great sages and the prince told the holy men,
Serenely, of the true reason he had come to the holy bathing place,
Relating also the tale of his deeds in the underworld.
Happy were the seers to hear [his story] which so heartened them.
VI.
At last, the ascetics escorted the prince into the hermitage.
On his arrival they treated him with great care and attention,
Providing him with water for washing his face and feet, as well as roots, fruits and efficacious herbs and potions.
Dhanañjaya was delighted, his heart captivated by the seers.
VII.
During the time the prince spent in the hermitage,
Many ascetics came to him,* longing to draw near him.
He wandered in the hermitage and was welcomed wherever he went by great sages,
Bringing joy to the holy men of these communities.
VIII.
For a long time he sojourned with the seers,
As if he had no other thought in his mind* but the constant well-being of others.
At last he begged leave to depart from the holy abbot,
Who, pleased to consent, embraced the prince:
IX.
‘O Sir, place of refuge of the defenceless, who cares for the welfare of religious communities throughout the kingdom!
We have been able to share in the joy of one such as you, who is endowed with true excellence, my lord.
Clearly, you are a great man in choosing to dwell in the mountains.
May you show compassion and continue to travel the path of virtue* as the support of righteousness!’
X.
Thus said the priestly sage. The prince then set off,
Making his way through the groves of the hermitage towards the rolling hills.
Devoted as he was to spiritual purity, he bathed there in the river and was cleansed of all impurities.
He then set off for another realm, where too he was received with joy.
XI.
For there was a most excellent king, famed throughout the land for his meritorious deeds and exceptional qualities,
Who reigned in Mayūra, the marvellous capital of his kingdom.
The name of Citradahana was truly renowned as world-protector,
He was ever the benefactor of those without recourse, never seeking victory when he saw others fail.
Canto 11
I.
King Citradahana had a daughter of such flawless beauty,
It seemed the Goddess of Beauty had taken residence in her body.
The very perfume of the flowers seemed diminished as they held their breath in awe of her,
And therefore the princess was known as Citragandhā, ‘The Fragrant One.’
II.
But it was well-known that the king’s mind was indeed troubled,
His heart dwelled only on his plight.
For he knew there was a danger he would have no one to succeed him in the future,
And was full of concern for the protection of his realm.
III.
The king thought constantly of his coming need for a son-in-law,
And thus he sought a perfect man of good character,
That he might beget an heir who would succeed to the throne and rule the land,
But his heart knew only despair as he reflected on his desire.
IV.
For what worthy man would really allow such a thing,
And be willing to marry without force or command?*
‘To act in such a way would certainly be wrong’, he thought, ‘truly base conduct.
It is not the proper way of upright men to embark on an evil course.*
V.
‘For girls ripe for marriage, it should be like this:
A flower at the peak of beauty attracts the bee itself
And so it is fitting that she should be carried off by force to find satisfaction.
Such is the analogy for young people who obtain their partners without coercion.’
VI.
Thus the king grieved, with nothing to solace his heart,
He forgot everything but his fervent longing, finding it impossible to conquer* his wandering thoughts.
His advisors too, seemed helpless,
‘Such has never happened before’ they thought, every one of them moaning with distress.
VII.
But in the web of existence, two forces ebb and flow -
Good and evil - both are encountered, both are ever-present,
In equal measure, always part of the life of every creature.
Rich and poor, coarse and fine, there is none who is not held in their thrall.*
VIII.
Those who forget the meaning of religion and neglect the eternal worship of Śiwa,
Surely will encounter difficulties in their life and will never reach liberation.
But the King of Mayūra was faithful in his religious observances and always adhered firmly to them.
He, who had known joy, now found it was sorrow that drew near and trailed him.
IX.
So he hid in his heart the great burden of his sorrow,
And always allowed himself to be amused and seemingly untroubled.
He diverted himself on the shore and in forest hermitages,
Again and again, as a means of distracting himself from his misery.
X.
For a long time, the king had been in torment, filled with longing,
Guided by the dictates of his heart, thinking only of the resolution of his dilemma,
And now the intervention of the gods had brought about the arrival of Pārtha,
Who would clearly dispel the king’s misery.
XI.
For the beauty of the most excellent princess was so renowned
That even the loveliness of the mountains trembled, their power to entrance vanquished.
The charm of poems seemed to peter out, their beauty just floating away,
And so, borne along by what he had heard, the prince came there.
XII.
It was heard far and wide that Arjuna, the excellent son of Pāṇḍu, was visiting the king.
How delighted he was to welcome this guest.
His officials dared to place all their hopes in him,
Like flower buds taking sustenance* from the arrival of the gentle rain from the clouds.
XIII.
All at once the country resembled a mighty ocean.
It shook with the thundering of the people as they poured forth from the palace.
The prince was like the full moon shining down upon them
And so, beset by love-pangs, they whispered to each other, sighing continually.
XIV.
They stared and stared at the extraordinary beauty of the prince.
He encompassed the arrival of the God of Love, the season of flowers and the sweetness of the season of honey at once.
Moreover he was irresistible, mighty, splendid and virtuous in battle.
And thus all they could talk of was this handsome prince.
XV.
And so, the king approached the prince,
His countenance sweet with welcome, his every gesture friendly.
His kind and warm greeting went straight to the heart of the newly-arrived guest:
‘Great is our good fortune that you have come here, my son.
XVI.
‘We were like withered grass and trees that have given up hope,
Denied access to rain, terrible indeed was our longing, weary were we with craving,
Our restlessness plumbing the very depths. But now, suddenly, inexplicably, we have burst into bud.
For we think, you have brought the mercy of god Suranatha within our reach.
XVII.
‘This realm has been so arid and fruitless,
As if through its own misdeeds it has become barren and lustreless.
It may now come to know good fortune,
For your virtue and excellence will bring it prosperity.’
XVIII.
These were the king’s happy words. The prince replied:
‘Indeed no, O King! You go too far in praising me thus.
Your wisdom is all-surpassing. You are pure, concerned for the good of others, your power is over-reaching.
And therefore, Your Majesty, I pay homage to you, you who makes my heart soar.’*
XIX.
And he then asked for the hand of the excellent princess.
The king of Mayūra was willing to grant his request:
‘My dear boy, take my beloved daughter to serve you as your wife. You may be her husband.
May you know joy! But there is a promise I must exact from you.
XX.
‘Formerly Mayūra was an excellent realm, as you have no doubt heard.
Its king, my own forefather, was Prabhākara.
For a very long time he reigned,* but had no royal heir,
And so, desirous of a child, he withdrew to perform austerities.
XXI.
‘When he saw how steadfast was the king, God Iśwara was merciful,
And granted to him the boon of a child,
And one, - and only one, - to each of his descendants too,
So that, ever after, his line would reign in this kingdom.
Canto 12
I.
‘The cause of the difficulties we now suffer and which bring us such sorrow,
Is that the deeds of his former life have come to nothing and have brought only bewilderment,
For I am left with a child, a most beautiful daughter,
Who obviously cannot continue to safeguard the weal of my subjects.
II.
‘Look kindly on my plea, O Prince. From you I hope for compassion.
My request is for a male child,
A child whose destiny it would be to be my heir,
And be enthroned in this land. This is the bride-price.’
III.
Thus he spoke. The prince, without hesitation,
Vowed that any child of the princess,
Any fine son, would succeed to the throne.
With this pledge, the agreement they had deliberated was sealed.
IV.
The king then gave directions* to all the palace officials,
For the betrothal of the princess to Arjuna.
The army were delighted to hear of it, giving their full support,
For it is in the nature of those who serve to be loyal in this way.
V.
At once, they attended to all that would be required for the celebration of love.
Preparing everything, bringing it all to the bed-chamber.
Laying out for them perfectly, without delay,
All the ritual requisites, of unequalled splendour, arranged in full measure.
VI.
The ladies of the palace, hearing [the news], took pleasure
In preparing and setting out the gifts of homage attractively.
Others attended to the ornaments but all were equally delighted to welcome their guest,
Their hearts beating wildly with pleasure* as they pictured him in their minds.
VII.
A beautiful pavilion* had been set ready for his use.
It was unequalled in its true magnificence,
Of unparalleled design, ringed by a moat,
As splendid as the Hima mountain.
VIII.
This was the place they had prepared for Dhanañjaya.
Many delicious dishes were to be made and offered to him.
Ready to meet his every wish, some led the singing,
Accompanying their melody with drums and the sweet music of the kĕtur.*
IX.
As the sun set, the king withdrew,
His heart no longer beset by constant worry.
Because of the strength of his feelings towards Dhanañjaya,
His joy was reflected in his radiant countenance.
Canto 13
I.
The king went to his quarters and made for the queen’s apartment within,
Where his arrival was welcomed with smiles and he was ushered in with sweet glances.
He informed the queen of what he had done
And the reason for his plan to marry off their daughter.
II.
The queen made no objection to the marriage of the princess.
The palace ladies were also all highly delighted, some even felt burgeoning desire,
Thinking: ‘Indeed the prince is fitting to hold power over our princess.’
But let us not describe that. The king then went to the princess.*
III.
As soon as she knew of the king’s visit, the princess
Became very agitated, anxious to hear what he had in mind.
The king’s approach filled her with an anxiety that she tried to restrain,
Fighting back her tears, even as she came forward to greet him as he entered.
IV.
Her sorrow, so obviously hidden, filled the hearts of the palace women with pity.
Many of her young attendants were skilful at interpreting the outward signs of her inner feelings
And so they drew near to sit beside her, like a profusion of jasmine flowers to behold,
But the princess so outstripped their charms, that even at first sight* she seemed like the moon.
V.
As she made her obeisance, her slender arms were like bending boughs.
Her waist and limbs were so supple that they seemed a collection of unsharpened kris.*
Even more beautiful was the sight of her body, aglow* in the light of the lamps.
Her face grew pale like the waning moon, as she was suddenly overcome with fear.
VI.
Then the king, his queen beside him,* addressed the princess:
‘O my child, there is none but you to whom we can turn to perform this favour for us.
You alone can fulfil it and ensure our well-being, O princess,
If only you will show compassion and be the instrument through which we may reach heaven.
VII.
‘O my darling jewel, truly* we ask much of you.
Please accept the inevitability of our words. How could we possibly deny* the love we have for you, my daughter?
But now your body is ripe, the proper place to bring* a husband without delay,
And so Dhanañjaya is to be your husband, for he is a fitting match for you’.
VIII.
Thus said the king. As for the princess, she made no reply.
Despairingly she held back her tears, her heart crushed, not knowing what to do.
She feared to disappoint the king by disobeying his command,
So she merely sighed endlessly as she listened to her father and mother.
IX.
The queen spoke next: ‘My child you must heed the king,
As you know we have only you, my dear, to uphold our honour.
You will perform a great service for our lineage, if you but give life to a male grandchild,*
Who will reign here in Mayūra, and thus your marriage settlement* will become the source of our kingdom’s strength.
X.
‘Come! Accept this! Do not suppose that the king would neglect his duty as ruler.
He who has a child or wife wishes only to dispel their troubles.
Unwise is he who is bound by the love of a child, for it will lead him to shame.
His concern is that they are not held subject* by the fortunes and misfortunes that are encountered in this world.’
XI.
Having spoken thus the king [and queen] retired and the princess was left alone.
So distraught was she as her maids led her away, that she felt suddenly faint, and swayed, burdened by sorrow.
She reached the sanctuary of the bower of creepers, bewailing the fate of maidens* who are to wed.
Her tears flowed unabated, as her maids tried to soothe her with words of comfort.
Canto 14
I.
All the ladies of the court were dazed and wandered restlessly about, lost in dreams, becoming weak with longing,
Carried away by desire, overwhelmed with rapture, rendered powerless by the prince’s sweet charms that so wounded them.
Feverish, burning with secret desires, overcome with the confusion of unfulfilled love, there in the moonlight that streamed in,
Falling silent now he, who was the very embodiment of love, had come there riding upon the moon.*
II.
One girl, sitting there forlornly on the floor with her hair unbound, swooning, was pitiful in her dejection,
Writing of her desire on a lovely sumanasa flower, turning her longing to letters,
As she whispered to her serving girl, telling of the pain of her love-sickness,
Heart-brokenly giving voice to her sorrow in a charming lament.
III.
Another, her kain in disarray,* lay on the lap of her attendant, her great ardour unabated,
Confused, mad with longing for a response to the rapturous delight of blissful lovers,
Who are happy just to wander along the sea-shore, lost in the composition of love-poems,
Undaunted even when brought to a stop by the rising tide, content, though there is no shelter for the night.
IV.
Yet another jewel among women, her charms at their peak like a flower in bud,
Mournfully lost in reverie, weighed down by her feelings of longing and sadness, was being gently massaged, underneath an aśoka tree.
Her maid, assiduously devoted to her every need, attended her with words of comfort,
But knew full well that only in union with the prince could she find comfort for her sorrow:
V.
‘How can a profusion of flower-buds* burst open, if they must risk spoiling their beauty?
They will wither completely if the fourth month does not come to bring its gentle rain, so that they might unfold.
Their new leaves are to no avail, the spiteful wind seems only to tease them mercilessly, tossing them to and fro,
So that they want only to dive into those cruel clouds so long awaited, bowed down with longing.
VI.
‘Oh what other outcome could there be but that their beautiful petals*would die?
The fragrance of the asana, the jasmine, the suraga, even the luxuriant* nagapuṣpa, would be pointless
If the bees shunned them and no longer desired to caress them,
Just as the splendour of the moon would cease if the love-sick cucur bird abandoned it.
VII.
‘My dearest mistress, you who are sister to the beauty of the fourth month,
I know the meaning of your words, you are the pale* aśoka in bud.
Oh alas! How it awakens my pity, dear one, to see your sweet charms so enfeebled.
Indeed yours is the sad plight of a flower that withers the moment it is taken from a fragrant hair-knot.
VIII.
‘O maiden, look here, I, your servant, my jewel, will go to the prince.
I will take this lovely petal as a token of your homage to him, the god of the love-sick.
When he beholds your sweetness, how could he not be won over and long fervently for the ocean of honey,
So that only in being engulfed in its centre, would he find respite for his passionate longing.’
Canto 15
I.
It would take too long to tell of the thoughts of these women, whose hearts ached
With the passion and bewilderment that engulfed them.
They tossed restlessly, greatly distressed,
Confused, carried away by desires that, though they tried to ward them off, overwhelmed them so.
II.
But the princess was not thus affected.
She was listless and dispirited, and paid no heed to her surroundings.
Her attendants and maids untiringly caressed her,
Seeking words to bring her comfort.
III.
Her pitiful moans became more acute,
For her mind was in turmoil, preoccupied.
Tormented and brooding, she was unable to sleep,
As is the way of young girls.
IV.
The king’s decision, commanding her
To be married now without delay,
Was both the cause of her suffering
And the reason for her deep bewilderment.
V.
She could hear the music of geṇḍing and drums outside,
In merry, sweet accompaniment to the singing.
The lovely strains of the curing cymbals of the piḍuḍukan ceremony,*
Rang out the whole night long to torment her.
VI.
But enough of that. Night soon passed,
And the waning moon went off to hide away.
The seventh hour* rang out,
As if inviting daylight to hasten there.
Canto 16
I.
When every kind of ceremonial requisite had been prepared and laid ready,
The populace entered and assembled in the outer courtyard.
At daybreak, the sun shone bright and clear, radiating its brilliance everywhere.
The city gleamed brightly, crimson-red, and the gĕṇḍing resounded merrily.
II.
There in the outer hall, the king received homage,
The exuberance of the court ever-increasing, like the rising ocean.
Great throngs of people spread everywhere, scurrying busily about,
The saragi gongs* crashing in joyful competition, like waves breaking.
III.
Some people were merrily eating and drinking together, in full measure,
The whole day spent happily in each other’s company, completely unrestrained, everything without fault.
But let us tell now of the princess, in the pavilion, undergoing the piḍuḍukan ceremony.
Her sweet charms rivalled those of Ratih, Goddess of Love, as she was adorned.*
IV.
As she was assiduously attended by those officiating* in the inner chamber
And by those who adorned her in splendour, the maiden became more and more dejected,
So upset at the king’s apparent disregard of her,
That she could take no pleasure in the beauty of the decorations with which they adorned her.
V.
Although she was truly worthy to vanquish the beauty of the wondrous fourth month,
Her sorrow made her as lifeless as a withered flower.
The sun began to go down as if to hasten the wedding-night,
While the awesome rumble of the thunder, with its soft and quavering sound, seemed a prelude to love-making.
VI.
Inside that beautiful pavilion the noble princess was attended.
Moreover, because all the most beautiful adornments had been reserved for it,
The pamiḍuḍukan pavilion was breath-takingingly lovely, quite enchanting.*
While her maid servants, all thoroughly accomplished in the arts of beauty, were like heavenly nymphs.
VII.
So great were her charms that she was like an ornamented painting of a goddess,
Such an incomparable and excellent girl was she, the supreme jewel of the palace.
The unending molten stream of the goddess of nectar would yield before her, infatuated,
By her sweetness and would be reduced to confusion to see her own beauty take on visible form.
VIII.
The setting sun had sent its rays to keep watch over her painted lips.
Clearly, rain-filled* clouds were in her hair-knot.
Darting swallows flying about seemed to have become one with her frowning brows,
And the flickering lightning had lost its brightness, in service to her feet.
IX.
Then the melodic sound of the prayers and rituals became louder,
Its charm enhanced by the soft murmuring of those gathered in the outer court.
The accompaniment of the lovely gĕṇḍing and curing* aroused feelings of longing,
Their musical offering bringing to mind the tossing of the beautiful ocean.
X.
At sunset, the clouds shone like red silk.
At the fifth hour the enchanting moon goddess rose and shone brightly.
But, disheartened that this true incarnation of beauty mocked her
And worsted her, she became pale and waited there, hidden behind the dark clouds that cast shadows across her [face].
XI.
The princess’s ornaments were so decoratively arranged by those waiting upon her
That it seemed as if the beauty of the dawn was shamed and took leave of her charms.
Indeed, all the sentiments of delight in a love-poem or the subtle allusions in an allegory*
Were to be found in her sweetness and, if but whispered, would invoke feelings of love.
XII.
We will say no more of the princess but tell instead of the prince.*
He was showered with all requisites and due ceremonies
By the king,* who now arranged the wedding.
In due time, the bridal couple withdrew. We will now tell of them.
XIII.
They went up together into the beautiful bed-chamber.
That the rites of marriage* would be delightful, was plain for all to see in [the prince’s] desire.
It was as if he had been overwhelmed with the unconstrained delight that is treasured on a delicately-made writing board
And the beautiful princess was clearly the wondrousness of gentle rain.*
XIV.
As the princess mounted the bedstead,
Her heart was filled with dread and disquiet. Despondently she was led in.
She was truly afraid because of the sorrow that now visited her,
And she could find no solace, as she felt an unremitting sadness sweep over her.
XV.
As they sat there together, all who saw them thought them delightful:
‘Our princess is the image of a young banana leaf newly unfolding.
The prince is like a profusion of jangga vine, unrestrainedly caressing her.’
Thus they thought, full of longing, their wounded hearts captivated.
Canto 17
I.
So alluring and beautiful was the scene, with moonlight enhancing the beauty
Of the bright, glowing pavilion, it was truly without equal.
The lustrous radiance of the gold ridge-pole was augmented by jewels,
And the light of the moon grew pale when irradiated by their gleam, sparkling in all directions.
II.
The splendid draperies were like those used to curtain a grotto of love.
The sun-red glowing horizon seemed to have moved there.
Moreover the couch within the house of creepers was spread with softest silks.*
Camphor and unguent gave forth their fragrance, diffusing their scent and perfumes overall.
III.
The prince had already been enthroned* on the couch,
And had taken the girl on his lap, where she lay deprived of strength, all atremble.
When they were left alone there, he was just like a bee caressing a budding flower.
He became more and more like an intoxicated taḍaharṣa bird paying homage to the moon, overwhelmed by longing.
IV.
Bewildered and wan, the beautiful girl grew ever more afraid, and sighed,
Bending gracefully aside when he tried to seize her waist, moving away, warding him off.
Overwhelming sadness totally crushed her heart into little pieces,
And tears of honey suddenly welled up in her eyes, as she arched her brows threateningly.
V.
His heart beating wildly, the prince became more and more passionate.
Clearly he was the embodiment of honey, blended with sweetest syrup,
Akin to the thunder of the fourth month, that lightens the suffering of those overcome by the pains of love.
And his words, droplets of sweet delight, were the essence of love:
VI.
‘O maiden! Queen of the beauty of asanas! Flower of the whole kingdom!
You are my final destination, the very cause of my love-sick passions.
All joy and desire embodied in an incomparably wrought jewel are you,
The fulfilment of a dream, [a gift] from the God of Love, magically appearing.
VII.
‘Therefore you have been accorded first place* by all beautiful women.
Have pity on me, the one whose heart has striven to resist the dictates of the God of Love.
Clearly it is because of my love-sick heart that I reach for you, seeking you out.
And so I have come humbly to seek refuge with you, here in the bed-chamber.’
VIII.
Thus he spoke. But the maiden he sought to woo averted her face, weeping.
Her body, lithe as a tendril, seemed to wilt, as she sighed plaintively.
The prince’s passion was so intense,* so uncontrolled, that she grew very apprehensive
As his intent gaze sought to reveal her secret places.*
IX.
‘O my darling, why do you treat my troubles so lightly as I seek your favour?
Even though you stab me with your eyebrows, how could that be reason enough for me to go away and abandon myself to longing?
I would think myself fortunate if I could but be pierced by your beautiful glances. What would I care if I were cut to pieces?
My darling, my only hope is that I, who so desire you, might now receive the gift of your love.’
X.
The object of his love-struck worship, weary of resisting, sank down, weeping,
Helplessly striking at him with her hands as if she would blunt her nails.
As he seized her waist-band, it suddenly came loose from her fragrant, slender waist.
And though it seemed she would die as he threatened her thus, he ignored her fear and took possession of her.
XI.
Intent on his purpose, unable to restrain his mounting excitement,
The prince abandoned himself to the overwhelming force of his boundless desire, quite without mercy.
For it so assailed him that, in the end, he ravished* the beautiful princess,
Pressing down* upon her trembling breasts, now laid bare, filling her with fear and aversion.
Canto 18
I.
After being thus deflowered, the weary maiden was completely devastated,
Like a pale leaf that has just withered away.
Gasping for breath, deprived of all strength, she rose and stumbling to the foot of the couch, sank down there,
Her embroidered, fragrant robe stained with blood, glistening wet.
II.
Aghast, she readjusted her clothing
For fear of again being forced to make love.
She went dejectedly from the fragrant boudoir,
A sudden frown on her face at seeing the blood trickling to her feet.
III.
Her maids, taken by surprise as she came out, greeted her:
‘Dear mistress, pay no attention to your pain, my dear.
Why it is just like taking betel – the first time, it is hot to the lips,
But there is no doubt that the next time it, instead, becomes* delightful’.
IV.
And so the princess was urged to return at once,
With coaxing words as they bathed her face.
The fear that filled her at their insistence, was plain to see
As they escorted her back in soon after.
Canto 19
I.
Thereupon, the heart of the lover she had abandoned in the beauty of that lovely bed-chamber became ever more inflamed.
His tender gaze was heart-stopping and as sweet as a beautiful lotus.
As rain in the fourth month, his words set her heart aquiver.
He was like a yearning bee in the fragrant asana, intoxicated with beauty:
II.
‘O maiden, jewel of all who love, enthroned in the innermost depths of my yearning heart, you hold me spell-bound with passion,
Bringing to me the sharpest love-pangs, your arching brows wound my shattered heart.
How can I not die when your eyes shine upon me, filling me with feelings of longing?
And in captivating me with desire, you become the essence that forever fills my heart.
III.
‘But even if I, your brother, were to die, I could become your eye-black, your ear-ornaments, your breast-band, your robe.
What pleasure I would know in heightening the beauty of your heart-melting glance, or drawing near in homage to your fragrant ear.
On the couch I could caress your breasts, marked with the scratches [of love-making] and enclose your beautiful, lustrous waist.
My darling, what joy would be mine if I were thus allowed to inhale the scent of your beauty.’
IV.
These were the prince’s loving words, telling her of the depth of his feelings, enchanting her.
His words of love were fit to dispel the apprehension of any* love-lorn bride and put her fear to rest.
But just as the sun grows cool at twilight, the princess was sad at heart and upset,
And would not look at her lover’s delightful glances though, like syrup, they were sweet enough to carry her pain away.
V.
He found many sweet ways to alleviate the princess’s heartache.
In joyful ecstasy, he kissed her as she lay with her head in his lap, stroking her breasts,
Striving only for harmony in their love-making, steadfastly practising the meditation of the doctrines [of love],
They seemed to drown in a sea of honey, caressed by the clouds of passion.
Canto 20
I.
After making love a second time, the princess was exhausted and deathly pale.
Like the moon growing dim, the sweetness of her wan face had lost its lustre.
Moreover the lamps shining upon her enhanced her charm, captivating
The prince, who because of his boundless love, became even more ardent.
II.
The onlookers, hiding behind the partitions there, were overcome by feelings of longing, tinged with desire,
On hearing the soft rustlings and whispered endearments which seemed only to enhance their love-making.
In time, weary of joining in love, they fell silent and slept,
Without a thought for the clothes and wraps that they had left abandoned there, kicked aside.
III.
We will not tell of them as, replete with love-making, they slept* there on the couch.
When day began to break, a fragrant breeze came wafting,
Carrying with it the perfume of the srī gaḍing, asana and kamuning flowers
And the enchantment of secret places that, like a bed chamber, conjure up visions of love.
IV.
Delightfully, the distant call of the kokila could be faintly heard.
The peacocks, carolling joyfully on the gate-posts, were enchanting.
The bees, buzzing in their hives, sounded like ardent husbands* kissing each of their wives
In a frenzy of delight, aroused by the asanas and the fragrant, beautiful pandanus flowers.
Canto 21
I.
The bright Lord of the Sun was just beginning to shine
As radiantly as a half smile that hints at passion.
Glowing rays of light spread sparkling on all sides,
And burnished* clouds shone with brilliant streaks.
II.
The hand-maidens had completed their preparations,
And stood in readiness on the outer verandah.
They brought there all that they needed for bathing,
With graceful* movements, full of happiness.
Canto 22
I.
But the loving couple, enveloped in weariness from love-making, did not know that day had come.
They were surprised when they awoke to find their clothes in disarray and rearranged them.
They emerged, eyes blinking, from the bridal chamber,
And were then bathed together by their attentive maids.
II.
Emerging from the water,* they sat there together on the verandah outside the pavilion,
Joyfully sitting so closely layered together,* with the princess on his lap,
They looked as beautiful as a god and goddess descending from the heavens,
With the serving-girls waiting upon them, each appropriately adorned,* seated below them according to rank.
III.
They were ill-at-ease, lingering there on the verandah,
Thrown into confusion by sudden thoughts of the sweetness of the partner who had brought them such bliss.
The gleam in their love-filled eyes seemed to compel them to return,
And again they climbed up to the couch, there to discover the joy of their nakedness.
IV.
Truly splendid was all that was used to regale them during the marriage ceremonies.*
Softly, as if to soothe them, the sweet strains of the gĕṇḍing sang out their praises,
And the fragrance of the perfumes, boreh and bdellium wafted there,
Thus arousing their passion and making them eager for love.
V.
The fourth hour sounded out, a signal for them to come out of the pavilion together.
Then delicious foods prepared in full measure were placed before them,
The elderly women keeping close watch over every detail of the offerings,
As lute players and graceful dancers fulfilled their every request and desire.
VI.
They became Kāma and Ratih as they sought union in the bed-chamber.
Because of their boundless mutual passion they found harmony, burgeoning together in the raptures of love.
Their enjoyment was that of the delighted meeting of the sap of the fruit of the betel and sharp tooth.
The consummation of their union awakening joy in the faces of her mother and father.
Canto 23
I.
With that, the king’s mind indeed became tranquil.
The joy of the people throughout the kingdom returned in equal measure.*
Prosperity immediately brought back the might of heroes throughout the land,
For there was nothing to trouble their hearts, all were equally untroubled.
II.
We will not tell of the many months that the two lovers lived in mutual delight,
Happy to be as one together, there in the palace.
Their every action touched their hearts to the core,*
Their love for each other like that of the mangunĕng flower, closely entwined with the jangga vine.
III.
And so the king knew unbounded love in great measure,
Because the prince had caused his heart to be free of care,
And so he formed a deep and lasting affection for Pārtha,
While love for him blossomed in the hearts of his people and army.
IV.
The rumbling thunder [of the fourth month], that season that summons wanderers to surrender themselves to the pursuit of beauty, arrived.
The prince’s heart swelled to hear it
And so he made preparations to go in search of the beauty of nature,
His mind dwelling constantly on thoughts of bathing places, oft frequented.
V.
Having received the consent of his beloved, he took leave
First, of the king and queen
But we will pass over that. The next day, the prince set off,
Accompanied by a royal escort, fully equipped, lined up in formation.
Canto 24
I.
Delightful were the lovely fragrances from the flower gardens as the breeze caught them. The cry of the peacock was enchanting,
As the prince made his preparations to set off without delay from the royal palace and went on his way.
Night had passed and the landscape came into view through a curtain of falling rain.
For all the world like jewels scattered everywhere, rain drops filled the fields.
II.
The newly-risen sun shone in the east, a shower of sparkling rays radiating down into the mountain gullies.
The glittering forest trees were at their best, their shimmering branches vibrant.
The joyful sound of the wood-fowl* in the gorges rang out,* as male and female, in repose, called back and forth* to each other.
And the cuckoo’s cry sounded loudly* as if inspired by the mountain view.
III.
Trees that had abandoned hope and shrivelled, now bathed with dew,* put forth new leaves.
Delightedly, young bael creepers* opened, thrusting their tendrils out sideways.
Curling fronds of katirah spiralled down and blended into the gold* trees,
Encircling the overhanging wanañjari* in its embrace, as if longing to form a bower* for lovers.
IV.
Along the sides of the mountain ridges, the cultivated fields, lit by the sun’s rays, gleamed.
Ivory betel-nut palms, heavily laden with coconuts, their fruit ripe for picking, stood in delightful rows.
On the slopes were verdant rice-fields, bananas grew abundantly in the ravines,
Their leaves, lying on the ground where they had fallen, like blunted styluses.
V.
The crops were green and lovely, freshly shining, wet with dew.
Millet and rattan, tuberous roots and payanggu were in full bloom, there were aubergines neatly planted along the small dykes.*
Garden plots had been established in the near-by valleys, the glistening soil newly tilled.
Unfolding taro, just beginning to show its flowers,* looked like rolled-leaf ear ornaments of ivory.
VI.
The graceful young leaves of the lirang looked for all the world like the naked waists of maidens.
As if throwing themselves down on the ground in dejection, prey to feelings of longing and sadness, the withering jangga vines were mad with desire.
The ivory coconuts were like uncovered breasts in the fullness of their beauty,
Indeed, they seemed to have stolen the loveliness of a yearning maiden, secretly seeking the raptures of love.
VII.
Cangkilung birds sang sweetly in the ravines, accompanied by the answering calls of pings.*
Shyly they called out,* sobbing and yearning as they waited in the rangin trees.
‘Ooooo’, came the soughing of the rustling wind, whistling through* the wungwang bamboo,* bringing delight,
And just to hear the heart-stopping cry of the pakṣi kĕtur birds seemed* to awaken emotions of love.
Canto 25
I.
As the prince proceeded on his journey, one splendid vista after another unfolded before his eyes.
Emerging from a leafy wood, he entered a peaceful valley.
The dry rice-fields were beautiful, their plants a balm to the eyes.*
What a pity they had been so neglected! Perhaps hermits who had once sought solitude* there had been rendered powerless by magical forces and worsted.*
II.
Along the sides of the path, well-kept fields rising up in terraces
Towered above the settlements located at the foot of the mountain.
In the bright sunlight, he could see them all clearly as he looked down,
But they disappeared from view as they zigzagged* in and out of the distant hollows.
III.
The gardens came right up to the undergrowth* which seemed intent on invading the hermitage,
But it seemed to hesitate uncertainly, lest in the heat of the sun, the valley road would be as [hot as] a cauldron,*
It kept constant guard against the wickedness* of the naughty monkeys, seeking to steal the plants and crops,
As well as the terrible forest boars that were treacherously determined to destroy everything,* so fierce were they.
IV.
Stands of bending ivory coconut palms charmingly waiting there on the hill, beckoned.*
Delightful in their exuberance,* they lent enchantment to the haunts of poets composing verse,
But their invitation to the chattering lemurs, half-hidden there, seemed to no avail*
In the face of the incessant loud clattering of the alarms* that frightened them all away unharmed.
V.
Determined to convey the message of beauty, gagarangan trees* bedecked themselves with garlands of flower,
But they had forgotten their true nature - that they had no fragrance at all - and stood tall and lofty.*
In boldly challenging the beauty of asanas in the fourth month like this and trying to replace it,
They were quite in error, for it was quite impossible they could ever cause desire.
VI.
The kamwagan diffused its fragrance to envelop the artful pupulutan*flowers.
Wanting to mingle together with them and give prominence to its own perfume,* it seemed to take delight* in such fraudulent and impudent behaviour.
Enhancing its beauty with red pilapilu,* gleefully planning to lie in wait in the gullies,
The singgugu shrub lay ready, its flowers languidly scattered and strewn about to form a mat.
VII.
In full blossom, the wunga tali seemed to tremble, giving itself airs, though it seemed absurd that it could ever wound a heart.
Far from hiding itself away, it acted quite wrongly, showing too little self control.
As if maddened, it tried to discover the secrets of the mandalīka calling to it, though it sullenly shook its head,
Drawing itself up to its full height, ignoring the passion that filled it, reached outwards, and was trapped.*
VIII.
In this way, the beauties of the countryside were set before the prince on his journey.
The ascetics all came out according to rank to meet him as he travelled on his way,
Bidding him welcome, warmly offering him every efficacious herb and medicine as well as delicious fruits.
Joyfully, and attentive to every detail, he [in turn] presented them with the gifts due from a prince.*
IX.
Many country people, not to mention a great number of their leaders, attended him.
Abundant were their gifts of delicacies: there were fruits and roots and sweet, young coconuts,
Palm wine and kilang.* All that they had in their stores, they offered humbly,
Pleasing the prince so much that he wished to linger there.
X.
By the time he was ready to set off again to visit the many beauty spots in the forest,
The sun had set, and so he made ready to spend the night,
There, in the hermitage, with his entire escort* carefully keeping watch,
While all the duwan* came forward in rank to attend to his every need.
Canto 26
I.
When night had passed, the prince again went on his way in search of beauty,
Making his way along the edges of the ravines, along the dips and bends of the magnificent mountain.
He was charmed by the sound of the musical watermills, faintly audible in the distance, tinkling sweetly one after the other in the gullies.
The muted roar of a waterfall, that could be heard now and then, entranced him.
II.
Valleys lay open to view in the curves of the hills, the forests along their slopes
So charmingly spread out below, but covered now with white clouds, were scarcely visible.
Low clouds came down, blanketing them, then dispersing again like the remnants of night,
So that for a moment the walik-aḍĕp trees* flickered, then, as if suddenly called away, unable to wait, vanished.
III.
The sun now shone as radiantly as the face of a beloved in the bed-chamber.
Taking flight, the dew formed stripes on the grass then sought a hiding place.
As the mist was finally swept away, the hermitages on the hill sides, where the ascetics dwelt,
Burnished brightly by the sun, were like white doves flashing past.
IV.
Gleefully, the members of his escort* scattered, spreading out everywhere along the valleys, clinging* to the mountain ridges.
Some were leaping about, others made their way* to peaks north and south.
Merrily, joyfully, seeking out the delights of the forested hills.
The reverberating sounds of their hunting* echoed as they wandered about there tumultuously.
V.
Content, the prince descended from his chariot and went off in search of the beauties of nature.
‘Indeed I will go into the woods, there I will surely find them’, he thought to himself,
And he went on unescorted, separating himself from the others so that there would be none to observe him.
Then gradually leaving them behind, he wandered further away, ever more absorbed in beauty.
VI.
The prince now became enthralled by the delightful ornaments that the forest held in readiness for him.
Far below, a small pavilion that looked like a mushroom nestling on the steep slopes of the rocky, pitted terrain, bade him welcome.
There the prince rested, gazing intently up at the splendid roof-beam,
Where a name, faint now but still distinguishable, remained there for others to find and ponder.
VII.
He could just make out another hermitage at the edge of the ravine which majestically towered above.
The penance of the ascetics who lived there must have been powerful beyond words,
For they were served* by female ascetics who would certainly bring failure to any who strove* to subdue their senses,
Always planning to weave their charms to bewitch* the concentration of the seers.
VIII.
A gliding river of unearthly beauty appeared like a vision in a dream,
And from the mountain peak high above, it seemed to have formed a beach below.
Along the edges of its beautiful banks, rock-platforms waited invitingly,
As if to decree that such beauty depicted in verse, could only be found in the poem of the prince of poets.
IX.
In the middle of the water, he could just make out a reef, thrusting upward.
Even as the waves washed over it, caressing it and bespattering it with water, it stood unyielding.
Moreover, a veil of spray sought out the graceful pandanus draped* there,
With their naked flowers trailing, as if to capture the attention of wanderers in pursuit of beauty.
X.
On reflection, these subtle hints of the wondrous appearance of the river-bank seemed
Designed to distract even the rapt attention of the one seeking the riddle of a name.
Kinnara birds* and swallows flew down to it.
Some became entangled in the reeds* after bathing there, longing* to find a resting place to share.
XI.
Herons swam in formation in the water, some standing there like mendicant monks,
Preening their feathers* as an excuse for looking intently* into the holes of the mud-eels.
Merrily, the warblers twittered incessantly, then went off together in pairs, flying into the air.
The peacocks fell silent, content to go on dancing and remain in the water.
Canto 27
I.
The prince became more and more delighted when he saw
That pure and crystal-clear mountain stream,
And so, drawing near to bathe his face,
He descended to the depths of that flawless river.
II.
There he performed the most excellent, paramount ritual gestures,
Praying to the Lord of One Thousand Rays, the Sun.
Together with the recitation of esoteric formulas,* his meditation
Penetrated to the highest* inconceivable truth.
Canto 28
I.
As the excellent Phalguṇa was praying, his mind calm and undisturbed, tranquil and pure,*
A gigantic, mighty crocodile, guardian of the river, suddenly appeared.
Its presence there was the reason that no-one* came near and that it was so deserted,
But now it caught the fragrant scent of the noble Pārtha.
II.
Immediately, its ferocity awakened, for it was wild with hunger,
Burning with savage frenzy, so long had it been without food.
There it was spanning* the river, its mouth open wide, its fangs protruding sideways,
And protuberances* all over its face, so that it resembled the terrifying and awesome [demon] Rāhu.
III.
It saw the prince, undaunted and confident,
Awaiting its attack. Swiftly it drew near,* but just as it was about to pounce,
He too advanced steadily, joined with it,
Spinning around and feinting fearlessly.
IV.
Swiftly, loudly, they clashed, keeping each other constantly in view, and as they came to grips,
The river seemed to open wide, its waters rising up and crashing down.
As if it were being stirred, it eddied in the centre, mud spewed forth,
As if they were scooping it up as they assailed each other, angrily attacking.
V.
In violent commotion, they circled each other, lunging unexpectedly, grappling tirelessly, never weakening,
Skilfully and confidently attacking each other from all sides, without fear.
In turn they grabbed at each other, clawed at each other, locked in the battle of their furious assault,
Sometimes dancing about each other in their struggle, then joining once again in combat.
VI.
It seemed their struggle would never end, when, suddenly,* the crocodile looked to be worsted,
Momentarily off-guard, as Arjuna quickly seized it and spun it around as if it were weightless.
He dashed it down swiftly* upon a sharp rock, breaking its jaw,
Its neck* snapped and thus it was rendered powerless by Phalguṇa.
VII.
With that, the prince hauled it to the surface of the earth.
He looked in amazement upon its appearance in death.
For he thought himself bewitched, as he gazed upon a heavenly nymph.
Indeed, he could only think that this dead monster was strikingly beautiful.
VIII.
An uninterrupted rain of flowers fell on the prince;
Buzzing bees circled him, moving from flower to flower.*
Such was the gift of homage that fell at the feet of Phalguṇa
And the prince, deeply gratified, sought an explanation.
Canto 29
I.
Then the heavenly nymph spoke out.
‘Indeed, I, your servant, am a celestial being,
An attendant of the renowned Dhanādhipa.
My name is none other than Sarwadā.*
II.
‘I also have four beautiful sisters, nymphs all,
Who wandered with me in search of pleasures.
We came to the district of Alakāwatī,
To the garden of the gods, the beautiful Amarāwatī.*
III.
‘There a great seer was performing powerful yoga,
Undertaking religious austerities, without equal in the three worlds.
But we then disturbed his meditation,
As if driven to it by some evil force.
IV.
‘In his anger he cast a curse upon us: “Hey! You who scorn me!
May you become wicked crocodiles, desiring only to kill the creatures of the world!”
Having cursed us thus, he then vanished,
Leaving us confused and heart-sore.
V.
‘We then moved swiftly off in search of a river.
When we came to Awindhya, we came upon him again.
Together we fell at his feet and paid homage to him,
Begging him in his mercy to grant us a counter-curse.*
VI.
‘Since he cared for the welfare of others and was of patient mind,
Compassionate, because we had bowed down before him, expressing our submission,
He bestowed upon us the blessing of his mercy and granted us the gift of a limit to the curse,
So that we might once again become pure beings.
VII.
‘ “Resign yourselves! Soon it will come to pass
That one called Pārtha, the son of Pāṇḍu,
Will come journeying here.*
He will draw you from the water, and you will again become divine.”
VIII.
‘With those words he went on his way.
We set out together to seek a secluded place to dwell.
Later we came here to the River Swabhadra
And became these vile crocodiles.
IX.
‘Many ages have we spent in despair,
Always starving, with nothing to eat, barely alive and weakened.
Deer, serpents - any that came here to drink the water -
Surely died, as we killed, destroyed, devoured.
X.
‘And so we never saw a living soul.
Feared by all, the enemy of all here,
Becoming hungrier and hungrier in our pitiable, miserable condition*
Brought low by the overpowering force of our wicked, impure hearts.
XI.
‘But now that you are here, my dream has been fulfilled.
Through you, I am again a nymph.
Incomparable and boundless is my debt to you,
For you have drawn me out of the misery of hell.*
XII.
‘Forgive me! If you consider it proper,
Would you now go on to rescue my sisters,
For they have been left languishing sorrowfully,
And are all waiting in the river?’
Canto 30
I.
Thus said the celestial woman to the noble Pārtha.
The prince was willing to accede to her gentle words.
Setting off* with the heavenly nymph,
They travelled swiftly, without stopping to rest.
II.
They came to the beautiful but inaccessible pools where the other crocodiles lived.
There he lifted them up and released them all.
They were delighted to be nymphs once again,
And all paid homage to the noble son of Pāṇḍu.
III.
‘O Lord Pārtha! Virtuously you strive for the welfare of the world.
You are indeed our protector, possessed of sanctifying power.
Truly you are Wiṣṇu incarnate
And the glow of your virtue fills the three worlds.’
IV.
Thus they spoke. The prince was delighted:
‘O nymphs! How could I fail in my purpose?
It was only the proper dharma* of a man of virtue in this world
That I have followed, in taking upon myself* the burden of your sorrow.
V.
It was not for silver, gold, jewels or profit
That I rescued you from your time of trouble.
It befits a kṣatriya warrior to ensure no cruelty befalls the world.
He should strive only to devote himself to such meritorious deeds.’
VI.
Thus said the excellent Pārtha in explanation.
It was as if the heavenly nymphs had been sprinkled with the water of life,
For they had received his most exalted favour,
And did not know how to repay such kindness that was as great as Mount Meru.
VII.
‘We have enjoyed your unbounded favour,
Our debt is without limit, never can we [repay it].*
May you be unimpeded, my lord, in obtaining your desires and the victory you seek!
You are indeed the refuge of the defenceless, O protector of the earth!’
VIII.
Many were their praises of Prince Pārtha.
We will not tell of them. Having taken leave of him,
They departed without delay and, in a flash, flew away together into the sky,
Towards heaven. But we will say no more of this.
IX.
Pārtha was left alone, love-lorn and weak with desire,
Prey to his emotions as he stared up into the heavens, totally bemused.
His heart missed a sudden beat as he caught the sound of distant thunder,
There in the west, for it seemed like the voices of those heavenly women.
X.
For a long time he sat in contemplation. When the sun had gone down
It became even more still there on the bank of the river.
Gently* it whispered [to him] as he watched the eddying stream.
‘I have been purified,’ it rippled, in proof that its waters* were free of danger.
XI.
Now we will tell of the members of his escort who came running up at the double,
Competing with each other to be first there, trying to overtake each other.
With great merriment and in high spirits, some engaged in ferocious hand-to hand-combat,
So eager were they to hear about the heavenly women.
XII.
And so the prince waited there.
But we will tell now of the great ascetics of the hermitage.
All who lived in the vicinity of the Swabhadra river
Had heard of the removal of the danger from their holy bathing place.
XIII.
They were so delighted to be afraid no longer,
That they quickly set off together to go* at once to the noble one.
Coming upon the excellent Pārtha resting there,
They were astounded by his splendid appearance.
XIV.
Arjuna greeted the arrival of the hermits with great respect
And sat politely, legs crossed, quiet and tranquil.
The sages* said: ‘How fortunate it is that you have come here now
To the Swabhadra, the lovely abode of we hermits.*
XV.
‘And we say to you, O Prince, that by your actions in coming to these wooded mountains,
What you have accomplished is truly great.* You are the recourse of us who strive.
Your victory in this world is clearly ordained by the gods.
Indeed, we believe that you will obtain your goal and all that you strive for.’
XVI.
Thus said the seers. The prince replied sincerely,
‘As you look so kindly, Sirs, on one such as I,
May I be the sacrifice for you whose aim is to perform virtuous deeds,
In your wish to be free of the karma of the three worlds.’
XVII.
These were his words. Thereupon, in homage they brought him
Water to wash his feet, water to rinse his mouth, such as is due to a guest, as well as betel leaf and nut,
And medicinal herbs, not to mention delicious fruits and tubers.
All were offered to him by the anchoresses with all requisite ceremony.
XVIII.
They were amazed just to look upon the noble Pārtha.
‘How extraordinary he is! He is the god of Love who has come here to earth,
With the purpose of hunting out beauty, consuming us with fire,
Spitefully destroying our vows and meditation,’ they thought.
XIX.
Then the groups of hermits all decreed
That Pārtha should immediately be honoured by the seers* themselves.
When he had been thus honoured,* he became even more content
And after a while the great abbot again spoke:
XX.
‘O Prince! You are our most excellent refuge,
Protecting all the monks and their kin.
Because none but you has the gift of your virtuous nature*
We have witnessed* your triumph as you have attained your desires.
XXI.
‘And yet I will offer you my insignificant advice, if you will but listen.
As long as happiness increases, then difficulties will be suffered.
The origin of the love of others is invisible and therefore it is eternal.
It is thus the most important thing, the foremost embodiment of dharma.*
XXII.
‘For this [love] alone, you should truly search the depths of the self,*
Just as the foremost champion in battle always* fosters unity,
So that proper conduct ensues and thereby increases,
And his enemies, therefore, cannot attack.
XXIII.
‘It is no different in the three worlds than in your body.
There can be no hostility because of kindness and freedom from passion.
Neither enemies from within nor without can assail you.
And you can be wholly unconstrained* and free from danger in obtaining your desires.’
XXIV.
Thus was the form of the doctrine that he expounded* so properly.
Dhanañjaya welcomed it,
For indeed its sentiments were truly appropriate.
In short this was their discussion. But we will say no more of it.
XXV.
Night fell and the excellent and noble Pārtha spent it
There in the hermitage, the ascetics,*
Full of laughter and delight discussed* how the prosperity of the hermitage
Had been magically altered by the prince’s supernatural potency.
XXVI.
The prince enjoyed staying there in the place that had been prepared for him
In an open pavilion, bright, clean and well-appointed.
In his private quarters, he was again fêted,
For the community of ascetics was not yet ready to retire.
XXVII.
In every respect the enchanting hermitage, so still and lovely, was delightful,
With the moon adding the lustre* of its pale, gleaming rays
Like a lamp shining down upon the lights of the hermitage.
The wafting fragrance of the lovely areca blossoms permeated everywhere.
XXVIII.
Disturbed and stirred by the delightful sighing of the ivory bamboo swaying in the cooling breeze,
The bees sobbed in their holes with muffled song,
Beset by love-sickness now that night had come and they were separated* from the aśoka and tañjung flowers,
Arousing feelings of tender emotion in the prince’s heart.
XXIX.
The seers discoursed happily on many matters
And the prince, Phalguṇa, was delighted to join in,
Now that the heavenly women had been restored to their true nature.
But we will not tell of the night. It quickly passed.
XXX.
The following morning, the prince went from there.
His journey along the forest paths* will not be recounted.
He came to Mayūra, where he was greeted with joy,
By all the delighted women of the palace.
Canto 31
I.
On his return he lived in contentment with his wife in the palace for a long time.
The whole country was overwhelmed by perfect joy,
And the king was transported with delight because of Arjuna.
II.
We will pass over how they came together in harmony in joyous love-making.
They brought into the world a child, a model of comeliness and virtue,
The excellent Wabhruwāhana, who was presented [to the king] by his father.*
III.
The king then performed the many excellent rituals prescribed,
Overjoyed to obtain this jewel of the ocean.
Such was the king’s happiness.
IV.
None other than the prince himself occupied the hearts of the whole court, particularly those of the inner appartments.
They wished to serve him alone,
For they looked to him to be the protector of the world.
V.
Their former sorrow was best described* as that of blades of grass,
Withering as they hoped for rain to fall from the clouds.
Now, deluged with rain, they were truly bursting with new life.
VI.
All the royal domains, even the rural districts, were perfect.
All were prosperous, no longer over-shadowed,
So radiant, they seemed to outshine the sun and the moon.
VII.
Long would be the telling of the joy throughout the land.
Our account now turns again to the prince,
Who kept constantly in mind the advice of the great ascetic.
VIII.
Furthermore, the end of the eleventh year had almost arrived,
And so he again prepared to move on,
His resolute heart unwavering.
IX.
The prince took his beloved in his arms and addressed her with consoling words,
Telling her of his certain promise,
That in the future he would return to serve her.*
X.
The excellent princess, fully understanding his intention, was untroubled
Indeed, she never deviated from the teachings of highest truth,
Unwilling to transgress [what is expected of] a beautiful woman.*
XI.
So, worthy princess that she was, she did not demur,
Unable to entertain evil thoughts,
Even if ordered to undertake lowly work.
XII.
So Dhanañjaya appeared in the presence of the king to take his leave.
The king offered no opposition,
For he was truly a virtuous and honest man, a worthy example to the world.
Canto 32
I.
In short, after he had sought leave to depart he went from the palace straight away.
He walked without haste along the path, relaxed and totally absorbed in beauty.
He was filled with wonder at the sight of all the scenic beauties of the country-side, which seemed never to weary of trying to detain him, holding themselves in readiness* for him.
Standing ready in the hope that they would catch sight of him, they waited overhead.
II.
Both sides of the path seemed to have spread out their charms for his sideways glance.
So astounded were they, and so oppressed with grief when he passed them by, that they could only stand there.
As if disturbed and despondent, the red flowers of the flame tree sighed and trembled when he ignored them.
Tossing restlessly, the bamboos swayed back and forth, exhausted as the wind beat them and they knocked against each other.
III.
There was a settlement of great splendour, its many buildings scattered here and there, the pathways knowing how to give pleasure.
Its carefully tended beauty was its gift of welcome if any should happen by.
Along the edge was a pure mountain stream, encircling the sides of the square,
Where women went to draw water from the bathing pools, while others immersed themselves,* all were beautiful to behold.
IV.
It certainly seemed as if they wanted to conceal themselves within an encircling ring of relatives.*
Their graceful movements were accompanied by the enchanting tabours, sweetly keeping tune with the kangsi.
How tantalizing* they were as they adorned themselves with flowers, the flower ornaments in their hair bands were beautifully arranged,
But as they made their flower offerings, they became agitated at seeing the splendid prince as he passed by.
V.
How delightful were the charms that the prince beheld as he went on his way.
There was a row of springs, with fountains cascading down to form a crystal-clear pond,
A place where fresh lotuses gathered to form an encircling wall which, like the face of a beautiful girl, overflowed with sweetness,
Their beauty constantly veiled by the spray of the water which covered them like fragrant powder.
VI.
The outer walls were magnificent, perfect in design and construction.
The walls of the storehouses* within were made of bricks and merged into the enclosing parapet with its towering gateways.
Wholly unconstrained, fronds of slender bhujanggapuṣpa beckoned excitedly,
As the wind continually pestered them wickedly, and they tossed and waved.
VII.
As if to ornament the radiant beauty of the jring, the beautiful wĕlas-harĕp creeper was like a cloth of gold.*
Showing themselves in all their richness, the magnificent red lotuses* were skilled at enticing* the lovely umbrella-pandanus [to open].
The bees took flight as if, now they were no longer able to caress or ravish the flowers, they had come to a sudden stop, filled with great disappointment,
And seemed to lose heart as the wind, telling them of charms of the jasmine, pushed them roughly aside.
VIII.
Moreover, the lovely marsh-land enhanced the splendour of the scene depicted.
Its charms seemed to long to accompany the prince on his journey, and reached out to draw near him.
Looking down, he could see the delightful banks where pandanus, pendant with flowers, grew along the edges
And a rich profusion of radiant śatapatra lotuses opened out their shimmering petals and beckoned to the bees.
IX.
The banks, where surāga and rājasa flowers blossomed,* were like a flower-strewn bed-chamber.
The campaka were downcast, their display* to no avail because they had not yet been plucked by a wanderer in pursuit of beauty.
Abandoned thus, they resigned themselves to their yearning, for no poet, eloping with his beloved, had come there to pick them,
So that they were now willing to die and let their beauty slip away, by allowing their flowers to surrender their lives and float down, wilting, into the water.
X.
It would take too long to tell of the path or of the prince’s thoughts if we were to continue.
He went quickly on his way. We will not tell of the time he spent surrendering himself to beauty.
Soon after, he came to the shore,* where great beauty is ever to be found.
So vast were its bright waters, that they seemed to merge on the horizon with the sky, then vanish from sight.
Canto 33
I.
The shore-line brought him transports of delight,
With its beautiful inlets, so enchanting.
A river of clear water
Seemed to present its beauty as a gift to the ocean.
II.
Birds wandered about in search of food* on the water’s edge.
Some were white, and, as they meandered everywhere,*
Stretching in a line, moving together in a row,
They were like jasmine flowers, worn in unbound tresses.
III.
Like the unloosened ties of a kain were the ripple marks of the waves on the sand.
Happily, the lovely himi-himi crabs rested there,
Suddenly waving their pincers rapidly to and fro
As they scuttled away, burrowing down into the sand as the waves* receded.
IV.
On an outcrop of glistening coral reef,
Crabs were exposed and lay there clinging.
Throngs* of mussels hung there,
Shining emerald-green* in the sun’s radiant light.
V.
The many prawns, entrenched on the rocks,
Frightened away the birds who were eyeing them.
Some came soaring through the air, wanting to land there,
But they tried in vain to swoop down, for they were so startled, they flew off again in a flash.
VI.
In great numbers, fish leapt up, thrown high in the air.
One after the other they burst forth, darting to and fro.
The porpoises and grey mullet, colliding,
Made the little fish dart away* as they hurtled down on top of them.
VII.
Waves rolled in, crashing down
As if they had been tossed aside and hurled away by a huge timi fish.*
Strands of seaweed* lay strewn about on all sides,
Like embroidered silk, decorating the wet sand.
VIII.
Wave after wave crashed onto the shore
Suddenly giving off a rain-bearing mist,
Creating a shimmering rainbow
That extended, jewel-bright, as far as the eye could see.
IX.
Shellfish and mussels* of many sorts were scattered here and there
On shining fronds* spread like mats.
As the waves receded, they clattered,* trying to outdo each other,
Scraping continuously against the rocks in violent commotion.
X.
The foothills of the mountain were delightful.
They extended far into the ocean’s maw.
In the deep recesses of their caves,
Rock swallows slipped away, flying off together.
XI.
Far away in the distance was an island,
Barely visible in the middle of the ocean.
How attractively it rose up,
A target for the veiling mist that enshrouded it so delightfully.
XII.
A line of boats, their sails set,
Dazzling white, seemed to beckon,
Telling of the riches they bore,
As they floated before the wind* on a voyage for treasure.
XIII.
Fishing boats* were everywhere, many far out in the middle of the ocean.
Some, their decks at a precarious angle,* were being rowed.
But others had overturned and, in distress, were being spun around and around
By monstrous fish, as huge as mountains.
XIV.
The roaring ocean rumbled loudly
As if to summon a poet to compose a poem,
Gracefully billowing, as if in restless torment,
To welcome Prince Pārtha joyfully.
Canto 34
I.
All he saw on his journey along the seashore was beautiful.
Moreover, as the sun rode over the western mountain, it took his breath away.
Rising clouds of spray from the salters working on the banks of the river mouth,
Evaporated, merging into the ocean haze, like lovers in intimate* meeting.
II.
There were rice fields and plantations of cotton trees in landscaped gardens.
As if uncertain of their charms, they presented the delights of their embankments to him.
A multitude of pasung* milled together in welcome and flew in wave upon wave into the air,
Leaving behind the crabs that stood so still they were hardly distinguishable in the roots of the piḍaḍa tree.*
III.
Herons flying homeward* side-by-side like strings of beads across the sky,
Were seeking a place to roost, for it had now become gloomy and cold.
The sunbeams had just begun to lose their splendour in the ocean mist,
In a flaming, bright red-gleaming bank of wispy clouds, like showering sparks.
IV.
Then, from the inlets along the rocky coast in the distance, came the faint glow
Of firelight that flared up with a burst of bright sparks.
They looked like the reddened eyes* of a girl, languishing and forlorn, when overpowered on the couch,
Or perhaps they were proclaiming that there was a village there, where travellers might spend a night by the shore.
V.
As the sun set, the trees shook visibly in the cold.
Now they had cast off the veiling mist of the ocean, they seemed truly downcast.
On the eighth day of the dark half of the moon, when, in the middle of the night, the moon came out displaying itself in its fullness,
He went on his journey again, after spending several nights sojourning there.
VI.
In Prabhasa, the prince came upon a flawless and pure river,
Its mighty waters flowing pure and bright, renowned for their purificatory powers, the very water of life.
This was the holy bathing place of the Yadu kingdom and none was more famous,
For it was as peerless as the moonstone,* the source of the world’s creation.
VII.
There the noble Dhanañjaya tarried a while and made his way along the banks.
Delightedly following the course of the Prabhasa, he then journeyed westward.
He was entranced by the sight of all its delights that so assuaged* his weary heart,
And ever welcomed him as he passed by, hoping he would linger.
VIII.
Truly flawless was the river’s array, quite extraordinary its delights.
Many fallen and faded flowers,* left by those who came there to pray, had been abandoned there on the waves.
Because of the unguents and saffron mixed together, it was always fragrant
And members of the court came there daily, to bathe joyfully.
IX.
Indeed, its splendid snake-rock eclipsed the coral reefs of the ocean.
One rock completely covered by roots, looked like an elephant with a trunk.*
All who roamed about in pursuit of beauty, carried away on the tide of passion, made their way there,
And it was ever the destination of lovers, planning a secret rendezvous, stealing away quietly together to its banks.
X.
On either side, pandanus blossomed delightfully along the banks.
Beautiful to behold were the trailing flowers, some with petals half opened.
When the bees sought them out, ensnared* by their fragrant pollen,
They, like maidens overcome by heat,* were deflowered by them at will.
XI.
No more will be said about the prince. Instead we will tell of Lord Kṛṣṇa.
On hearing that Pārtha, most excellent of princes, was there, he was delighted,
And immediately commanded the noble Sāmba to go and invite the son of Pāṇḍu to visit.
The Yadu warriors, mounted on horses, elephants and chariots, a strong guard attending them, provided the escort.
XII.
On his arrival, Sāmba approached the son of Pāṇḍu to greet him warmly,
Saying, ‘Indeed, His Majesty invites you to come* to his court.
Oh how happy is Kṛṣṇa and how delighted Baladewa too,
Not to mention the entire Yadu tribe, all are overjoyed to hear [news] of you.
XIII.
‘The king is presently on Mount Raiwata’s peak*
Performing ceremonies in honour of Wiṣṇu,* holding a great feast and carrying out the royal rites.
Not a single Yadu has stayed behind at home, all are there, performing sacrifices and every ritual prescribed.
Thus may you bear patiently with him that he is not in his palace.’
Canto 35
I.
Thus the excellent, noble Sāmba addressed him respectfully. Dhanañjaya accepted,
And they set out together, mounted in a chariot with all the Yadu hosts in attendance.
Carefree and handsome were those who escorted them, all magnificent,
And so the excellent Phalguṇa made his way to the mountain called Raiwata[ka].
II.
We will tell of the restlessness of the women throughout the land who, like flower-buds awaiting the sound of thunder,
Had just now heard news of the prince’s arrival, that was to them like the harbinger of the fourth month.
The concealed desire of these jewel-like women of the inner court suddenly blossomed forth and now showed outwardly.
They did not know what to do, and unable to escape from their yearning, unable to forget what they had heard, were struck down by love.
III.
Smitten by the new arrival, some plotted to ready their sweetness [for him].
Others talked together, discussing him in soft whispers.
So deeply* affected, cut to the very core of their being were they, that the mere mention of him aroused their desire,
And they wanted to spread* a mat of flowers from their hair-knots before him, as a token* of their love.
IV.
There were some who were so love-sick they thought only of love-making, their thoughts directed to him alone.
Swooning, they longed fervently for his words of love to assuage the pain of their desire and bewilderment.
So eager were they, they cast their beautiful bodies on the ground, that the sweetness of his glance might fall on them as rain,
Heedless of the pain if it should pierce them through, happy to face the dangers of defeat at his hands.
V.
It would take too long to recount the thoughts of the court ladies, suffering from love pangs.
Pārtha then reached King Harimūrti, there at the meeting place where the Yadu tribe had gathered.
Foremost amongst them was Lord Baladewa. All were drawn up in formation, in the middle of the arena,
A place of perfect brilliance because of the splendour of the god-like Yadus.
VI.
Arjuna’s arrival filled Kṛṣṇa’s heart with such elation
That he welcomed him accordingly with heart-warming smiles and kindly words:
‘Dear brother, I can hardly believe that I may now come face to face with your world-conquering glory.
Receive this throne my dear brother, that I have laid ready for you in your absence.
VII.
‘For some time I have kept watch over you, my dear, and have come to hear of your deeds as you have striven,
To dwell continuously on the Hima mountain. How fortunate that we now should meet.
The gods decree: “Remember also the difficulties of those who know pleasure and are not afflicted with calamity.”*
Stay here in Dwārawatī, let it be your temporary home until the appointed time elapses and you can again return home.’
VIII.
Thus said Lord Kṛṣṇa. The prince bowed low at his feet:
‘If it please you,* Your Majesty, in truth it is you who are truly the foremost bestower of favours. Hail to you,* O righteous one!’
This he said. In turn Halāyudha said respectfully to him:
‘O my dear brother, indeed all the Yadus have certainly long awaited you.
IX.
‘Your presence, my brother, will ensure that the rites which the Yadus now perform, will accomplish their aim perfectly.
Please agree to take part so that through your participation, the welfare of the world will be assured.*
By this alone can our journey be considered complete and enable us to return to the palace.
Indeed, I will then accompany you home, my brother, as indeed will Kṛṣṇa.’*
X.
Having spoken thus, Baladewa’s words were endorsed by the Yadu tribe.
And treated thus, the prince’s heart blossomed like a lotus at the urging of gentle rain:
‘Truly your words are fitting. May I, Your Majesty’s servant, continue to receive the special favour I have obtained!
Indeed in your protection may I find the means by which my quest for virtue may succeed!’
XI.
The Yadus were all happy to agree, none was averse to Arjuna’s presence,
And welcomed the prince, as a guest, in every way he deserved.
It would take too long to tell of this. Shortly after, as the sun set, the eighth hour* rang out.
The radiant glow of the clouds, coloured brightly with beams of light like golden ornaments, gave way to night.
XII.
Lord Kṛṣṇa withdrew to his quarters, in company with the prince who loved him so.
Their spirits were as one, their affection deep and so they moved off to his private suite there in the camp.
Shortly afterwards peace descended on all the Yadu tribe and on Dhanañjaya.
‘It is just as the mist reaches the waters of the ocean,’ he thought.
XIII.
Let us say no more of the kings but tell now of the palace ladies.
They were teased by longing now that the waning moon had altered the appearance of the night.
The stars moved away to hide, just as a distressed girl, with side-long glances, turns her face away.
Geese in flight, distant specks in the sky, that seemed to be eloping together, came to alight on a beautiful pond.
XIV.
Abandoned, despondent and melancholy, the bees waited in their holes, distressed now that they had been robbed of their desire,
For the lotuses were no longer open. How cruel their actions,* for they were almost full-grown.
Mournfully, the cuckoos lamented that the moon had not yet come to succour them in their love-sickness that evening,
Forlorn and trembling because it was the ninth day of the dark half-month and the moon had not yet risen.
XV.
Moreover, the distant thunder seemed to summon whispered verses close to their ears.
The sighing breeze bearing sweet fragrance to them was like the secret messenger of one waiting to elope.
Suddenly the moon shone down brightly, to reveal itself in its full glory, as it rose high over the mountain peak,
As if delighted to look down on the beauty of the women, happily applying powder* in the inner court.
XVI.
How lovely they were as they adorned their hair-knots with aśoka and sumanasa flowers, happily putting on their ornaments.
As they chatted together in the light of the moon, some were plaiting combs in their hair.
Merely to speak of the pursuit of pleasure and the enjoyment of beauty, filled them with desire,
And because of their unrestrained longing and their sweetness, the very sight of the moon swept them away with passion.
XVII.
These beautiful women were skilled at expressing a poet’s passionate love in allusions.
It was only right that maidens so fair should not seek to hide the charm of their salukat playing in singing kidung.
Because their skills were renowned throughout the land it seemed to enhance their sweetness as they accompanied themselves on the kangsi.
And not only that, for in their lute playing, the beauty of the ocean of honey* came surging forth.
XVIII.
The women enhanced their charm and beauty by all having mastered thoroughly the art of poetry,
Their recitations became even more captivating, as the strummed lute accompanied* those sweet-voiced singers.
Their playing seemed to be stolen liquid syrup and melted honey from a broken dish,*
Mixed with moonbeams, so that their gamĕlan playing caused utter enchantment.
XIX.
Others, filled with love, were talking quietly in sweet discussion.
Such easy prey for the God of Love were they, that their hearts were the target of passionate desires.
Her feelings of love leaving her weak,* one girl went to lie down with a kakawin scribbled on a pandanus leaf.
As she read her poem aloud by the light of the moon, she was so painfully affected that in trying to keep secret* her longing, she fainted away.
Canto 36
I.
Yet the one who held sway over the subtle form of fragrant beauty, a goddess of letters in human form,
Was Subhadrā, the younger sister of Baladewa, now the fairest of maidens.
Indeed the beauty of this precious jewel of the palace was so renowned
That the very incarnation of liquid honey would return to seek help from her charms.
II.
The lovely women who lived in the royal palace were enchanting as they disported in the moonlight.
With a deluge of charm, as they skilfully sang songs containing allusions and played gamĕlan, they were indeed as beautiful as heavenly women.
For the princess alone, they always composed with great devotion, songs
That were as lively and charming as the ocean overflowing with the rains of the fourth month.
III.
Without doubt, these court maidens were truly possessed of the greatest sweetness,
But the charms of the princess were without peer, she alone held beauty.
Just as the alluring lotus, opening up, reflects the glow of moonbeams,
Her beauty was enhanced by her adornments and all who gazed upon it seemed to lose themselves in rapture.
IV.
At the fourth stroke of midnight, the lovely women were still happily disporting there,
But the princess, lulled by their gamĕlan playing, had become sleepy.
A couch was arranged for her beneath a fragrant spreading wungū tree,
Beautifully entwined with the shoots of the cinnamon tree and strewn on all sides was fragrant* jasmine.
V.
There the princess, as beautiful as the Goddess of Love, Ratih, rested on the bed.
Soothed by her beautiful surroundings, sleepiness crept over her and entered unseen into her heart.
Blown about constantly by the wind, the boughs fluttered in the breeze, like waving fans.
Soothingly and affectionately* the bees in their holes called out gently.*
VI.
The delightful murmuring of the garantung bamboo xylophones delightfully vied, in unbroken rhythm, with the thunder.
Lovely and sweet was the music of the lutes as the women gracefully and languidly sang the introductory melody,
As if to soothe and sing a lullaby to their lady, who slept there absorbed in dreams,
For all the world like an offering of a maiden,* resting on a couch, inspiring devotion.
Canto 37
I.
The enchantment of the night permeated everywhere.
Moreover, the distant splashing of a waterfall could be heard unceasingly.
The hammering of bark* suddenly sounded out and seemed to inspire feelings of longing,
As its relentless, incessant beat urged lovers to elope.
II.
Thunder rumbled softly like a lover’s sweet whispers,
To make the buds of the flowers of the unĕng creeper* split open and display themselves in their fullness.
The areca palm blossoms unfurled to wound the hearts of the love-lorn mercilessly,
The asanas, buffeted by the wind, spread their fragrant perfume on the breeze.
III.
Such was the beauty and charm that it would fain set hearts atremble.
Pārtha was not yet asleep for he was completely captivated.
A breath of wind passing by brought him its cool freshness.
He could hear the walik calling, its lament made him smile.*
IV.
Night passed and as day dawned, the world donned fresh clothing,
As the asanas in the borders of the delightful hermitage opened.
The sun whirled, spinning around in the water of the sea,
Its golden rays shining brightly to dye the heavens in red light.
V.
Birds twittered* in the branches, merrily calling out* to each other for joy of the day.
Swarming bees buzzed backwards and forwards, resting on one flower* after another, like husbands* going from wife to wife.
When it became light, the son of Pāṇḍu bathed and purified himself
Before invoking the sun with the recitation of mantras and the prescribed rites.*
VI.
Assiduously, he sought the object of his prayers.
His heart ever turned to the gods as he performed his worship.
So too, Lord Kṛṣṇa devoted himself to reciting the mantras of kingship,
Unfailingly striving for tranquillity, and, having adorned himself, was even more resplendent.
VII.
When they had both completed their ritual washing and recited their prayers,
They came out together, standing ready there at the gateway.
Their garments gleaming brightly shone like the newly-risen sun.
Together, they were as resplendent as the sun riding on the highest point of the eastern mountain.
VIII.
The Yadus were already assembled, their vassals all stood ready.
Haladhara was bedecked with gleaming jewels.
Incomparable was he, clearly a hero of immense presence.
All the Wṛṣṇis and Andhakas stood together in rows in close formation.
IX.
Then they set out immediately, and came at last to the sanctuary,*
Where all was faultlessly arranged, in great splendour.
Standards fluttered gracefully on high,* a glittering mass,*
Pennants swayed and pennons sparkled.*
X.
As the Yadu troops noisily bustled about their tasks there in the hermitage, they filled it completely.
The melodies, sounding out unceasingly,* were taken up* by the many singers.
Then, filling every direction, - north, south, east and west, - with their sound,
Drums banged and gongs and roñji* answered each other.
XI.
The commotion of so many Wṛṣṇis and Yadus became more and more tumultuous.
They looked like an ocean of blossoming flowers in their brilliant festival attire,
And it was especially the lovely women who created this beautiful scene,
With the movement of their shapely eyebrows as sharp as slivers of gravel.*
Canto 38
I.
The Yadu hosts added their increasing lustre to the radiance of the temple.
It was as divine in appearance as the abode of the gods and its shrines were all-surpassing.
Exquisite cloths - dukūla, manitra and kairatila* - all decoratively arranged, were draped everywhere,
And, as if by magic, the garlands of cawĕli silk seemed to be aflame.
II.
Songs of praise* rang out and many different bells tinkled like buzzing bees circling beautiful flowers.
All was enriched by the blaring of conches, vying with the resounding gubar gongs,
As the chief priests softly and clearly recited prayers together,
For the prosperity of the kingdom, that it might be without conflict* and all evil-doers vanquished.
III.
After paying homage to the deities, the kings performed the flower-offering ceremonies at the shrine of Widhi.*
The Yadus also all performed flower worship to Wiṣṇu, truly concentrating their thoughts upon him,*
As he now descended to the most exquisite, golden pavilion,* for he was their paramount protector,
Renowned on earth as the cause of the king’s most famous deeds.*
IV.
The festivities then took place, arranged with all-surpassing magnificence.
Elated, the Yadus joined together in mock-combat, and moved into the attack, resplendently.*
All who took part were skilled in the use of shields and in wielding javelins and hatchets.
Their gleaming armour seemed ablaze as wave after wave attacked, becoming ever more dazzling.
V.
Some looked their opponents defiantly in the eye. All were masters at alternately pushing forward then dodging skilfully.
Standing upright together they exchanged lusty shouts,* for they had been well trained in the ways of battle.
In their splendour, they were worthy bearers* of the gleaming jackets of honour and sparkling arm-bands.*
The violence of their clashing drowned out* the constant roar of thundering gubar and paḍahi drums.
VI.
The decorations worn by those wild with drink were resplendent: their gleaming mail shone all the more fiercely.
Their breasts all aglow from their clothes, some wore bright shining collars.
With their arms stretched sideways, they took no notice of the actions of those who shouted at them.
The attendants asked to bring them drinks of welcome, stopped, embarrassed by their jabbering.*
VII.
The spectators, the young gentlewomen and the children of the nobles who were famous for their goodness and refined manners,
Though amused to see this, covered their lips with their hands demurely.*
Truly enchanting were the brief glimpses of their sideways glances as they opened and closed their mouths in sweet laughter,
And it seemed the gathering place of honey would be eclipsed by their open lips, fresh and red.
VIII.
But we will not tell of them as, at sunset, it all came to an end.
A great feast was then held by all the Yadus, in the centre of the arena.*
Laid out in readiness were all the delicious produce of mountain, forest and sea,
Which they ate with relish, their enjoyment enhanced by the entertainment offered by the musicians.
IX.
Because it had been arranged by the kings, Kṛṣṇa, Pārtha, Baladewa and Ugrasena,
There seemed to be a thundering mountain torrent* of meat, drink and other delicacies.
The kings had catered for every conceivable taste,
And all became more and more intoxicated, overwhelmed with drinks of fermented spirits* and rum.
Canto 39
I.
Thus was the form of the worship they performed,* most prominent amongst them* all the Wṛṣṇi heroes.
But we will not tell of this. After they had finished eating, all had been made content by the king’s bounty,
Not to mention the Wṛṣṇi troops who were replete with food and drink.
Becoming ever more joyful and merry, they took their leisure and caroused in their quarters.
II.
In the cool of the evening Baladewa went off in search of beauty.
Lord Kṛṣṇa following behind, they set off from the royal quarters.
With Pārtha at his side, riding with him in the same chariot,
Clearly they were indeed, as splendid as Wiṣṇu* and the God of Love, both irresistible in form.
III.
The valiant Wṛṣṇis and Andhakas also went off to seek out different pleasures,* each according to their desire.
There were some who headed for the hermitage to reflect on the beauty of the banks of the river* and deep craggy gullies.
Others went to secluded parts of the forest, in search of a place to be alone and gaze out over the distant ocean,
While others went hunting, gaily cooking and eating [their catch in] a floating water-pavilion.*
IV.
Even more magnificent was the princess as she departed,* indeed, she was a painting come to life.
Riding in a chariot on a throne of gold, she was as beautiful as the embodiment of all the deities of the month of spring,
Displaying charms that seemed to come forth from the realm of dreams to thrust aside all other sensory delights.
Her escort of warriors, standing fully-equipped on either side, was as resplendent as a foot-guard of gods.
V.
The ladies of the court were like flower buds opening up, their joyful hearts full of high spirits.
Their attendants and handmaidens competed with each other to gather the largest bunches of blossoming flowers.
Many rode in covered palanquins of gold, others in black ones with golden parasols,
Which looked like bees in search of flowers, their colours muted* by a misty veil of fragrant, unfurling pandanus.
VI.
As if to restrain their tendrils from longing* to capture the hearts of the people passing by,
The supple creepers, newly unfurling, languidly hung down, limp with desire.
Lovingly, the lovely sanggākaśa creeper seemed to embrace the beautiful clusters of blossoms, filled with passion.
Moreover so thick were its tendrils that the area around was cast in shadow and gave forth fragrance to accompany them.*
VII.
Like an aigrette of gold, the karṇnikāra, displaying the charm of its blossom for the first time, was radiant.
Its young leaves* moved restlessly, stretching out in all directions as if they had no desire for the fragrant gaḍung.
They seemed to sway continuously, shying away from the embrace of the young shoots growing along the ground.
Dallying there was a wood-cock, flapping his wings, with his wife below, his constant companion.
VIII.
Then the trees rustling with expectant pleasure* in the soft breeze
That brings with it the rain of the fourth month, were delighted to be visited by such beautiful love-sick maidens, and invited them to come near.
The mango and mangosteen, rambutan, wadara,* wuni, and paḍali were heavily laden, their flowers and fruits all laid ready for them,
And the maids, gathering the fruits of the trees along the many paths, were delightful.
IX.
As they picnicked there, how enchanting they were. The astounding sight of such extraordinary beauty was sure to quicken the pulse,
For, in great delight, they had lifted their hems as they sought pleasure, enhancing their loveliness still more,
Exposing their slender calves, that, as they peeped from underneath their kains, were like ivory pandanus flowers.
It was only fitting that the sight of them would make the desire and passion of any lover catch in his throat,* overpower and destroy him.
X.
The forest, carpeted with flowers, rivalled the design of a palace, its blooms drawn up in floral battle formations everywhere.
The women were the female warriors* attacking them together, inevitably destroying them as they seized them.
Indeed they were lions in battle, like bees thrusting eagerly, wanting only to be one* with the fragrant flowers.
And so they all joined in laying waste the flowers,* carrying them off by force, plucking them all without pause.
XI.
There were many whose thoughts had turned to love-making and, without further ado, they ornamented their beauty as they walked along.
Wholly unconstrained, they arranged tendrils of the aśoka as love-tokens* in their hair, the pollen enveloping them in its fragrance.
Śridanta and wungu were the ornaments they used as sashes and necklaces delightfully adorning themselves.
One could only surmise that in their beauty was the alluring sweetness of a sister to love* seeking out pleasure.
Canto 40
I.
We will tell of Lord Kṛṣṇa and Pārtha,
As in leisurely manner, they made their way along the mountain ridge,
Looking down on the beauty of the hill below,
Its charms clearly lying ready to view.
II.
Pure, sparkling waters splashed down over the ravine,
The many streams forming a pond of great beauty.
The glistening water plants thus bespattered
Were indeed like a treasure trove of countless jewels and gems there.
III.
Another crystal-clear brook spilled down the hill.
A waterfall could be distinctly heard tumbling straight down into the ravine.
There in the deep gully it roared like thunder,
Resounding more loudly than the gubar and gĕṇḍing drums at the great festival.
IV.
Moreover its sparkling, glinting droplets
Were scattered and strewn about on every side,
As if to bid them welcome with reverential salutations
Constantly* paying them homage, or so they thought.
V.
Lord Arjuna was delighted when he saw
How the mountain seemed to hold itself in readiness.
Peacocks crowed on the hills along the mountain ridges
And the kamanak* together answered each other.
VI.
The soft buzzing of bees, charmingly lost in contemplation of beautiful flowers,
Could be heard all along the path,
Sipping nectar like priests
Conferring blessings of praise on the two of them as they passed.
VII.
Moreover, the casuarinas blowing about in the wind, rustled,
Whispering gently as if to attract their attention.
Faintly, softly, the turtle doves provided the accompaniment
In counterpoint to the melodious voices of the pakṣi kĕtur birds.
VIII.
The shoots of the wĕlas-hyun creeper were beautifully intertwined*
With the fragrant palms,* quite inseparable.
The widely spread branches of the trees hung low,
And the water lilies, from kindness, seemed to keep them afloat.*
IX.
Moreover, there was over-hanging prabhu sanmata there,
With its creepers unfurling on all sides to screen* the thickets.
Charmingly showing itself in its full richness, the ripened wuni
Skilfully split its sharp blackened points into four.
X.
Mount Raiwata[ka] was truly beautiful
And Janārdana spoke of it thus:
‘Here is the fixed abode* of God Wiṣṇu,
None other than the place of refuge of the people of Dwārawatī.
XI.
‘The Yadus therefore always strive
To ensure that proper worship flourishes and respectfully pay homage here,
Sedulously intent on their aim of furthering the welfare of the realm,
And from its protection comes its certain prosperity.’
XII.
Thus said Kṛṣṇa to Dhanañjaya,
Filling the prince’s heart with strength.
Therefore he set off happily
Along the winding valley path through the ravine.
XIII.
The dense bamboo that lined the narrow path,
Was shaken and bent back by the gentle breeze.
The plants had deliberately opened up to expose their centres
And when they were pushed over, they seemed to sink down with a rustle.
XIV.
Steep slopes and precipices came right up to the verges.
Gĕsing and pĕtung bamboos rose up side by side,
Sheaths unfurled to expose their half-closed eyes, blinking
Their scratchy shoots,* all ready for the attack.
XV.
It would take too long to tell of them passing by the thickets.
With each step they encountered beauty.
As they gazed up at the mountain, its splendour seemed magical,
Its charm as a pleasure spot quite unsurpassed.
Canto 41
I.
They could see the women of the inner court enjoying the scenery there, all as beautiful as figures in a painting.
As they delightfully cut flower-sprays, displaying their charms anew,* how resplendent they were.
They looked like sculpted diamonds as they abandoned themselves to the pursuit of pleasure all joyfully disporting, themselves,
Their charms those of the Goddess of Beauty herself, newly emerging in bodily form from a profusion of flowers.
II.
A garden of beautiful women were they, akin to asana flowers that have just come to intimate union* with the river.
Some were adorning themselves, looking at their reflections in the water whilst arranging their hair-knots with bouquets of flowers.
Others dangled their legs in the water to cool themselves, as if to avoid* the gushing torrent,
Attractively exposing their slender waists, fit to pierce the kangsi* of the God of Love.
III.
These beautiful ladies were like a painting come to life, their glances, when they looked sideways, sweet enough
To cause intense love-pangs and burning desire. Their hair bands were as perfect and smooth as dark clouds.
Their graceful limbs were bedecked with armlets and garlands made from asana flowers and wĕlas-harĕp creepers,
Like a collection of beauty created by the God of Love, glimpsed for but a moment of passion, by a poet.
IV.
One girl, lost in rapt contemplation of* the far ocean, would awaken feelings of love
As if, at the decree of the Muse, her loveliness was not of this world, but must merge into the letters [of a poem].
Unperturbed as her waist broke free of the embrace of its bands, and suddenly loosened,
To expose [her breasts] like ivory coconuts a little, she was enough to inundate* even the senses of an ascetic who has already attained detachment.
V.
Another there was whose refined beauty was so like that of the campaka flower that it was only proper she be reserved for the God of Love.
As she held on her lap a pandanus flower, her calves seemed driven to expose themselves as if they were the reason for the rain.
How beautiful she was as she wrote on the doll of petals cradled in her lap, inscribing it with her sharp nails,*
Sitting restfully leaning on one arm on the rock, then turning her attention to the beauties of nature in the stream in the gully.
VI.
Yet another rested charmingly on a couch of rock as she pictured in her mind the petal-doll coming to life.*
Fragrant leaves and jasmine were her mattress as she sat absorbed in the vastness* of the beautiful sky.
Her skin was golden, her uncovered waist as supple as the new shoots of the aśoka,
Which would clearly wither, if she were approached on that couch by an ardent lover.
VII.
The beautiful female attendants transported beauty there, as they amused themselves, their charms surpassing* those of flower buds.
Exuberantly they sought sweet delight. All had been blessed with figures of such beauty that they were fitting to be the object of longing.
Joyously the young girls, wearing beautiful wreaths of wungū flowers, picked flowers and shoots,
Their youthful sweetness giving them a special radiance as they moved about.
VIII.
They seemed never to tire of seeking out the beauties of nature, spreading out* the fragrant asanas and jasmine.
They wove blossoming tañjung and lovely priyaka into garlands and used them straight away as pins in their hair-knots.
Their ear ornaments were young tarawarṣa creepers,* their hair secured with clasps of gaḍung shoots,*
The fragrant pollen which fell on their beautiful breasts, they used as powder, its perfumes wafting overall.
IX.
Although the many beautiful women there could be depicted as incarnations of Beauty,
They were clearly no match for the sweet beauty of her whose loveliness outshone* all at court.
Instead, if they entered her presence, the charms of these other jewels of the palace seemed to become useless and falter.
In short, Subhadrā was the essence of beauty* and the incarnation of every delight of the ocean of honey.
X.
Now Nature had fashioned a bower that was as beautiful as a painting.
Carved of coral, beautifully hung with curtains of wĕlas-harĕp creeper, gracefully it displayed its charms.
Forming a magnificent wall along each side, jangga vines unfurled towards the sugar palms.
As they reached out, shaken continually by the wind, their wafted fragrance pervaded overall.
XI.
From there, she took pleasure in watching her maids who had mastered thoroughly the art of beautiful songs.
She was like a beautiful statue, lost in thought, and they came to her to present her with fragrant pandanus.
Such was her due and, undoubtedly, she alone was the most exalted jewel of the court.
How else could she be thought of than as the beauty of molten honey in visible form?
XII.
Truly, she was the origin* of bounteous beauty, the jewel of loveliness, the soul of the whole world.
Confused, the bees in the pandanus followed after her, carried away by longing, unable to resist caressing her feet.
Those devoted* to her care could not fail to be thrown into confusion at the sight of her resting there on the elephant rock.
Any who caught even a glimpse of her would think that she was the goddess of beauty, returning to her immaterial state.
XIII.
How could the beauty of the seeds of the sumanasa* or the blossoming pandanus not be defeated and annihilated?
How could even the most skilfully written kakawin possibly have within its orbit the words to depict* her?
The sharp point of the stylus of a poet composing verse would snap,* unable to go on, greatly distressed and without purpose,
Because in the face of her beauty, the subtle words on the writing board would cease, their blackness would simply vanish.
XIV.
The delights of the sea-shore would be destroyed, so awe-stricken at being thus rejected,* that they would leave without a backward glance.
The mountains would crumble, not daring to breathe, no longer able to elicit rapturous wonder because of her.
Taken by surprise, the beauty of the sky, even if it could be captured,* would certainly have no effect and would pine away,
While the charms of a beautiful garden would disappear, even though it would wrongly cause sorrow.
Canto 42
I.
Pārtha came there together with Kṛṣṇa,
Their hearts filled with joy at seeing the beauty of the wooded hills.
All at once Pārtha was overcome with sharp longing.
Thoughts of the princess filled his mind, throwing him into utter confusion.
II.
Therefore the prince questioned the king:
‘That girl there, Subhadrā, who is known to be the most outstanding of princesses,
Goddess of all enchanting beauty,
The daughter of king Basudewa, is a jewel amongst maidens.
III.
‘Truly, on all this earth she has no equal.
How could any passionate man* be indifferent to her or unaffected by her?
Beauty* should be the only goal of a passionate man.
Gold and superb jewels would easily be a fitting price for it.’
IV.
Thus he said. Kṛṣṇa replied:
‘O indeed you are mistaken in what you say, my brother.
Although my little sister is young and ripe for marriage,
It is actually very difficult to find someone to match her.
V.
‘Even though it is expected* that a swayambara be held,
Only forcible abduction would suffice,
For a truly valiant and mighty hero
Who would dare to seize her, unafraid of my presence here.
VI.
‘Perhaps such a one could win over my sister,
And would not be afraid to resist the warriors of the line of Wṛṣṇi.’
Thus said Janārdana with asperity,*
As if inflamed with ire at the words of the son of Pāṇḍu.
VII.
The noble Pārtha was indeed resolute and knew no fear:
‘Were all of them able to lie in ambush, still I would crush them and destroy them all!’
Thus he thought and rose to his feet crying:
‘I am not afraid of you Yadus!’ and immediately strode forward.
VIII.
Swiftly he seized the frightened princess,
Who was dazed and shocked as he clasped her to his breast,
And climbed into his chariot, holding her so tightly in his embrace, that, in her terror, she was powerless to resist.
With that he carried her off, speeding quickly away.
IX.
Thereupon the Yadus were filled with dejection,
All sadly oppressed, that he was not intimidated.
Despondently reflecting on their uselessness,
For so contemptible were they that they had just stayed their hand and allowed him to go.
Canto 43
I.
We will not tell of Arjuna but of the Wṛṣṇis who fled
To bow down* before Lord Haladhara and give news of Pārtha’s deed.
The king was then so filled with boiling, righteous rage,
That sparks seem to fly from the reflected glare of his livid face.
II.
At once, in the heat of his blazing anger, he roared loudly:
‘Shame upon you, O wicked, vile Pārtha! Believe that I will see that you are destroyed and swept away!’
Thus said the king rising to his feet and seizing his great and powerful weapons,*
Looking more and more as if he would destroy the world and overturn the ocean, Rudra’s fire* in visible form.
III.
All the princes and particularly the kings were equally angry and eager to do battle.
Moreover, all were very fierce and in their frenzy stood upright, like lions filled with fighting spirit.
Pradyumna and Gadā, Satyaka, Niśaṭha and Sāmba, vehement and savage.
All possessed of tremendous great power, thorns in the side of any lion-like warrior were they.
IV.
And the Wṛṣṇis, their valiant allies, were all celebrated for their skill,
They too were indomitable champions, victorious in battle, skilful, resolute and famed.
How could either advancing demon or monster not be pulverised?
Such was the extent of their uncontrolled anger that they ground their teeth with pent-up rage, and shouted out noisily to each other.
V.
It seemed that Mount Raiwata[ka] would surely be destroyed: the small animals were thrown into great commotion by the blaring of war trumpets,
The thundering of the kettle-drums and the crashing of cymbals* all sounding out together.
Elephants trumpeted, horses neighed, shouts rang out,
A kaleidoscope of multi-coloured standards rose on high, a dense mass of weapons glinting everywhere.
VI.
The hosts of warriors, with their entire forces, were fully equipped, all perfect in form.
Valour lapped at their full hearts* like the ocean at the incoming tide.
After being ordered into their respective divisions, they stood in formation to march out against Pārtha with all their might,
All equally impatient, voraciously wishing to prove how eager and unafraid they were.
VII.
Brimful with ferocity, the Yadus were fearful to behold, all shouting loudly,
With but a single thought: to hunt Pārtha down, leaving no stone unturned, and kill him.
They took up their many bows and weapons in readiness,
As frenzied as the Lord of Death in their great haste to attack furiously.
VIII.
With Haladhara’s departure, these heroes set out with a great roar. The troops advanced
In serried ranks, in thundering, unbroken succession, as they tried to outpace each other,
But as they came upon Lord Kṛṣṇa, who was quite unperturbed, they came to a halt,
Lord Haladhara choking to see his brother, the king, like that.
IX.
He stepped forward quickly towards Lord Kṛṣṇa saying:
‘O my brother! Fie! Do you mean to do nothing about Pārtha’s evil conduct!
We can no longer regard him as a brother! It is not to be contemplated!
In vain we have treated him with honour and entertained him regally.*
X.
‘Indeed, I perceive his insult as so extreme that I am roused to anger by it.
In truth, he is despicable! How can he act in such an evil, hostile, vile manner?
Truly he knows not the meaning of respect as set down in the Law. He shows us nothing but scorn in abducting our sister.*
Blind to proper conduct, treacherous, his insolence goes too far, he has insulted us beyond measure.’*
XI.
Thus he said harshly and Lord Kṛṣṇa answered him:
‘O King such vehement talk avails you nothing!
You are a hero,* a world-protector, your victories are worthy of praise that resounds throughout the three worlds.
The depth of your power is truly an ocean, renowned for its great depths.
Canto 44
I.
‘Here is the highest truth to which you should adhere.
It is proper that a learned man of the world be accomplished in virtue.
He should not half-heartedly seek discernment,
So that he may have mastery over both subtle and obvious* truth.
II.
‘You must always consider the existence of enemies and friends,
Who are both seen and unseen.
It is their nature to oppose* good
And therefore well-being is generated.
III.
‘You are the irreproachable ruler of the world.
Never do you show the least lack of discretion.
Like a fire blazing fierce and bright,
You are ever ready to vanquish any stain.
IV.
‘You are as inviolable as the water of life,
Sweeping before it the activities of the impure mind.
Living rightfully, observing right conduct, pure in body,
You are the authority* of all law.
V.
‘This is why I urge you to be calm.
Only the despicable treat their king with contempt.
You say Dhanañjaya has insulted you,
But, on the contrary, I believe he has shown us the greatest honour.
VI.
‘Consider this O king! Is it proper for a virtuous man to think
That a wife should be bought for valuables -
For jewels, precious stones, gold and so on?
To do so would be to consider her no better than cattle, a base and miserable thought.
VII.
‘Where in this world would you find an honourable man who would deliberately seek
To sell his marriageable daughter willingly?
For this reason the swayambara, or bride’s choice is approved.
If a man does not attend to this, he neglects his duty to the world.
VIII.
‘But see, we have not yet performed
This ceremony that accords with the highest dharma.
And this is the reason for Dhanañjaya’s conduct.
This abduction is not wrong but most excellent.
IX.
‘For he has obviously relied on his valorous might,
And displayed his irresistible presence.
He has been able to abduct Subhadrā
With such confidence by virtue of his prowess.
Canto 45
I.
‘Your Majesty, in my opinion, to use force against him would be wrong and to no avail,
For we have already clearly seen how he gained the victory at a swayambara in the past.
Even so, if put to the test, there is every chance he would prevail,
For there is not a man* powerful enough to challenge his powers, not even Surapati.*
II.
‘Your glory as a world conqueror is already renowned.
If he defeated you in battle you would be put to shame.
In short, I must insist that the best course would be not to become enraged.
You should only adhere to meritorious conduct, for such is the sole aim of a ruler who cares for the welfare of others.
III.
‘Now here is a course of action that may bring you a felicitous result, Your Majesty.
Do not hesitate* to send an envoy to invite Dhanañjaya here now, quickly,
Thereafter* to be married with all appropriate ceremonies. Do not fail to exert yourself in this,
So that you may benefit from an alliance with all the Pāṇḍawas through such close family ties.
IV.
‘My* heart is true and has never been otherwise.
These were the reasons I may have seemed indifferent and unmoved, to have paid no mind and to have taken no action.’
Thus said Kṛṣṇa and the Yadus acquiesced,
Their burning fury extinguished like fire as the life-giving water of the king’s words showered down upon them.
V.
Because of Kṛṣṇa’s intervention, Lord Baladewa now became calm.
And so they halted and finally lay down all their arrows and weapons,
Immediately preparing to invite the prince to come,
With the delightful sound of the merry gĕṇḍings heralding their departure.
VI.
Amidst great splendour, the princes set out with their followers,
The noble widows* in particular competing to fill the chariots and elephants.
The tramp of the many feet of that vast procession made a violent and tumultuous noise like a waterfall.*
In their fine adornments this entourage was indeed like a forest of trees in blossom, as they delightfully walked along.
VII.
The many colourful banners side by side were a delight to behold,
A resplendent rainbow arching down into budding flowers.
Like mighty rock formations* were the lines of chariots, elephants and horses.
The spaces between those walking along were deep ravines, and so crowded together were they, that progress became increasingly difficult.
VIII.
We will not tell of them on their journey, but will tell of Prince Pārtha.
He travelled slowly, embracing the beautiful princess in her unceasing despair.
As she called more and more loudly upon all the Yadus.
It seemed she would die, as she sighed plaintively on his lap, swooning, completely overwhelmed.
IX.
She became distraught at the sweetness of his endearments:
‘My jewel, my darling! Resign yourself. How could you go back now?
What a pity it is that now I hold you in the palm of my hand, you think constantly of escaping!
Let your mind be easy, my dear. It is the fruits of our former existence that we now reap, as I carry you off.
X.
‘Clearly now I have found you, my precious jewel, dearest maiden,
It is proper that your charms be the provisions for my journey as I seek the courage to perform deeds of valour.
I am resolved if beset by enemies to show no fear:
Indeed I am determined to meet in battle any who might come.
XI.
‘Regard the strength of my arms as the bride-price I must pay for you.
In truth, you will be the witness to my heroic deeds, my dear.’
Thus said Pārtha with affection, addressing her with words of endearment,
But the intensity of her tears only increased as she warded him off, moaning piteously.
XII.
Thus, he tried in so many ways to console* the confused and suffering girl.
The Yadu hosts who had been sent to invite him to return, then came upon them,
Bringing with them all the ritual gifts that could be desired of such a meeting.
All were presented for the prince’s delight as they came forward to pay homage to him.
XIII.
‘My friend, His Majesty, the King asks that you return to him,
The lady, too, should accompany you. Come back together now to the palace.
For His Majesty is truly pleased to invite you there.
His nature* is as sweet as the sugar palm entwined by the gaḍung.’
XIV.
Thus said all the princes, delighting Arjuna.
Soon after, as the sun went down, they were escorted home.
Riding in a black palanquin* closely surrounded by the throngs, they were as magnificent
As the incomparable Śiwa and his consort descended to earth.
XV.
Lord Kṛṣṇa and Haladhara were in the court-yard,
Together with the royal consorts, all of equal beauty, awaiting them as they drew near.
In the glow of the many torches, it was as bright as day.
The whispering music of bamboo xylophones echoed, as if to proclaim the happiness of the whole kingdom.
XVI.
With his princess by his side, Dhanañjaya came forward
And bowed low at the feet of both kings gathered there.
At this, King Baladewa’s displeasure ceased, as he joyously received them warmly.
Thus Kṛṣṇa’s noble teaching was brought to perfect fruition.
XVII.
After that, the kings dispatched a messenger to return to the palace compound,
There, at the feet of King Basudewa,* to tell of the course of events.
We will not tell of his journey but again tell of Phalguṇa,
Joining in celebration with the Yadu tribe in their camp.
XVIII.
In full measure, they regaled the prince in every way possible.
Many kinds of delicious food and drinks had been prepared and were set before him.
The friendship of King Harimūrti as well was undiminished,
For it was his nature to act rightfully* and he was always dear to all.
XIX.
We will not tell of the time spent entertaining Pārtha.
Night came and soon the whole kingdom slept.
As night ended and day came, all arose
And the kings went home, accompanied by the entire Yadu tribe.
XX.
The noble Pārtha and the princess were escorted
There to Dwārawatī, where they were indeed* received kindly by His Majesty the King.
So it was that the joining of hands, religious observances, prayers and wedding ceremonies could then be performed,
In accordance with the wishes expressed by Lord Kṛṣṇa.
Canto 46
I.
Many spectators came to welcome the arrival of the Yadus to the city,
All wanting to catch their first glimpse of this excellent prince of whom they had heard.
Because they had never seen him before, they had come immediately, running outside in great haste.
Young and old, even widows waited, some so decrepit with age they were bent over, but who, nevertheless, wanted to go too.
II.
In a flurry, they came running quickly there. Some shouted out aloud in their desire to be first,
Pushing against each other, bumping together, others racing neck and neck, called out noisily to those who had not come to the great square.
Heedless of their ornaments, many fought to be the first to catch sight of the prince,
Others who had been adjusting their kains ran out, so anxious to fly there without delay, that they were left half-dressed.
III.
Let us pass over the arrival of Dhanañjaya. The kings made their way towards the inner apartments.
There, according to rank, they prostrated themselves at the feet of King Basudewa and his queen,
Who swiftly and kindly accepted Dhanañjaya, for not only was he handsome but he was also a powerful hero, possessed of virtue and skill,
Moreover, a fitting partner for the princess, for he was none other than her close relative.
IV.
The King spoke thus, ‘Oh my son, Pārtha, hear what I have to say to you.
Truly, just as Harimūrti and Karṣana,* you too are my refuge.
May it bring us prosperity, my son, to be united with you and to be of one purpose, without discord.*
For we are the branches of one family. Do not forget that you too can be said to be of my own seed.’*
V.
The words of the king were sincere and, like ambrosia, brought contentment to those who heard them.
Moreover, they were truly worthy sentiments, for he was an ancient and wise king, versed in the esoteric doctrines and practices of the welfare of others.
The prince thus addressed with words of honour, made an obeisance to acknowledge the felicity of the king’s words,
Bringing great pleasure to the depths of the hearts of the hosts of soldiers who listened with delight to this praise.
Canto 47
I.
After they had discoursed thus, the most eminent officials were appointed
To arrange all that was needed for the performance of the piḍuḍukan ceremonies* and wedding offerings,
Because the most auspicious time for the princess to be united in marriage with Dhanañjaya
Was the following day, and it was then that they would receive the king’s blessing.*
II.
So* the entire Yadu tribe assembled there in complete formation and stood ready in the hall.
The rank and file from throughout the land were there, drawn up in their various divisions,
Ready to attend quickly to the king’s instructions,
All firmly resolved to carry them out according to the prescriptions so that its splendour should be without flaw.
III.
And so all was arranged appropriately: the many offerings stood ready,
Brought into being by the power of the king who was the supreme and excellent Wiṣṇu.
Moreover, the buildings both inside and outside the palace,
Were restored to their original perfect state, all richly and lavishly decorated.
IV.
The open hall, beautifully roofed with a canopy of lovely jewels, sparkled.
Of equal splendour were the pillars carved with different designs.
Moreover, the bamboo leaves that glittered along the gleaming fences
Were painted with plant motifs* that looked like masked figures.
V.
Even the ridges of the roof were exquisite, inlaid with patterns of precious stones.
The galleries along the sides, surrounded by screens, were shaped like the fins of fishes.*
Gleaming,* golden jangga vines* trailed delicately over the panels.
Set with rubies, the cawĕni muslin had embroidered leaf-designs of shining embroidered silk.
VI.
The land now reverberated like the crashing ocean,
As the music of the mṛdangga and paḍahi royal drums thundered out in unison,
And the great celebrations and feasting that the Yadus held
Were now directed towards the preparations for the marriage celebration* of the noble Phalguṇa.
VII.
Ugrasena had arrived in the court-yard together with the other kings,
Prominent amongst them was Harimūrti, their leader, and Halāyudha.
As Prince Pārtha was regaled magnificently in the hall,
All thought he surpassed even Surapati in splendour.
VIII.
There was a beautiful bower of love, of unrivalled magnificence,
A creation of the God of Love himself, a building of diamonds, beautifully arranged for the pleasure of passionate lovers.
Its roof was set with glittering, blue śaśarudhira gems and an orb of sparkling rubies.
Its embroidered canopy was shaped like the moon and embroidered with* cucur birds.
IX.
There was a balcony on the high ledge of the front verandah* of this pavilion.
All the beauty of the Tāladhwaja* garden unfolding in the fourth month, had assembled there.
Spread out were kalpataru flowers,* prepared as ornaments for the bower.
The fragrance of burning incense inspired pangs of love as it diffused its delightful fragrance without cease.
X.
Inside the princess was being attended*..............
XI.
.......The religious rites had been performed and all was set ready
For the reverential salutations, auspicious ceremonies and acts of worship in the presence of the kings.
XII.
Many glorious prayers of offering were recited there.
The music of the paḍahi drums for their entertainment and the singing too, were delightful.
As night fell, this most excellent scene was suddenly bedecked in new raiment,
From the bright glow of lighted lamps, like an assembly of suns.
XIII.
We will not tell of this. After the completion of the wedding* ceremony, the bridal couple
Came back and moved to their palanquin, like flower buds inundated by rain.
To the accompaniment of the lovely gamĕlan, sweet and soft, they set off.
The tramp of the people escorting them sounding like the rumbling thunder that always accompanies the month of spring.
Canto 48
I.
They went up into the sapphire bower where they were to join* in sexual union.
How enchanting was its beauty, its covers perfumed with the seven fragrances* and scented with fragrant saffron.
The aroma of camphor and the perfume of the jĕnu were a call to love-making
Clearly awakening longing in the hearts of questing* lovers and bringing them pangs of love.
II.
Within there, Pārtha, enraptured, held the princess on his lap.
Moreover, the whispered urgings of the God of Love aroused him and filled his being with desire.
He was overcome with the confusion of unrequited love and was forced to hide his feelings, as the wedding attendants* returned to the bed-chamber,
While his desire unfurled little by little, like the shoots of the gaḍung vine reaching towards the light of the moon.
III.
The princess, goddess of love, in her confusion and distress, turned away, uneasily sighing as he tried to woo* her.
Sudden tears filled her eyes and, as they fell, seemed to turn to liquid honey.
Her arching brows drew together in a frown as the prince embraced her,
Her desperate heart crushed as he held her on his lap, sad and fearful as he tried to reassure her.
IV.
The prince, dejected by this, pondered deeply on how to win her affection.
Perplexed and agitated by his love, he passionately embraced her slender waist.
Because of his joy, he felt impelled to listen* only to his heart, the seat of his strong desire,
With a constant flood of sweet endearments and caresses which might woo her to the delights of love:
V.
‘My darling, you have ever been the deity of my meditation [enthroned] in my love-sick heart. You are the Goddess of Love, Ratih, in human form.
You are the invisible essence which arises from the immaterial state of the depths of feeling of one who longs to know the secrets of the raptures of love.*
You are the embodiment of honey, the goddess of flowers, the splendour of asana blossoms, the jewel of maidenhood,
The beauty of the fourth month, a bejewelled statue transformed into a girl.
VI.
‘So little sister, it seems that I have reached my goal now that I hold you on my lap and draw near to you.
You are the one I have longed for constantly and the reason I have sought to come to you now, to take you upon my knee.
You are the very jewel of my heart, wherein is set the innermost kernel of my devotion to love.
To achieve my purpose, I have risked all, that I might be one with you and succeed in enjoying your favour.
VII.
‘But now I* am in despair, how can you repay me with but a glance, while I suffer under my unyielding desire?
See how my heart breaks as I hold back my love, though you could set me free with words of love.
Clearly, my life must cease, for you have mortally wounded me, O jewel of the palace.
Indeed, I have treasured the praise* of your charms in my dreams, but I grow weary at encountering only sullenness.’*
VIII.
Thus, the prince cajoled her with words sweet enough to drive away the princess’s reluctance,
Like a frenzied bee whispering softly to a profusion of fragrant asana flowers that have not yet opened.
Seeking to obtain happiness with soft words while inhaling her perfume, embracing her tightly,
Full of passion but gentle, he bent his intent gaze on her, determined to seize her waist.
Canto 49
I.
But the princess turned away from the prince’s sweet words of comfort,
Taking no pleasure in the charm of his words as he caressed her.
Full of doubt, she moved away as he whispered to her, and wept as he kissed her,
Drawing her tapih tightly around her huddled body, afraid that he would suddenly seize upon the opening of her kain, that he eyed so intently.
II.
Her angry glance, so beautiful it melted his heart, devastated her lover.
The frowning arch of her eyebrows wounded him and the prince, wanting only to caress her, was saddened.
Her efforts to resist him were like those of the shoots of the aśoka battling against the wind.
Her movements were those of a lotus addressed with endearing names by a frenzied bee.
III.
The prince’s heart was intoxicated, flooded with sweet delight at the princess’s beauty.
Ever more passionately he caressed her, softly stroking her, though she remained indifferent.
His hands crept towards her waist, aiming for her waist band,
And he began, once again, to assail her with sweet sound, a deluge of loving words:
IV.
‘My darling, you are the jewel of beauty who confuses my love-lorn heart.
By your actions, you only enhance your sweetness and pierce me to the core.
You constantly wound my loving heart which is ever ready to welcome your words of endearment,
But, just like the moon, I cannot bring relief to an unopened flower bud, feverish with heat.’
V.
‘You are as beautiful as the asana flowers found in the floral hair band of a hair-knot, so sweet and fragrant.
Joyfully, I long to awaken your love, but you want to hide your charming perfection.
I am a bee, full of love, but weary of fighting off my passion and desire for so long,
Fearlessly inhaling your scent, happy to die if I already wore the marks of being the first one to taste of [the flowers in] your hair-knot.
Canto 50
I.
‘Oh how disappointed am I in love and so I will tell of the nature of my wistful longing.
It is unbearable, though my heart would beat a little faster if addressed with words of love.
Instead, I am full of ardent longing, because I embrace your waist and restlessly seek your approval,
In the mistaken belief that you might be touched by passion, when you see the suffering of one who is so filled with desire.
II.
‘Oh I am overpowered with longing and have lost patience because of the urgings of the God of Love.*
Thrown into confusion at the slightest touch of your finger tips or shapely calves, bewildered with desire,
My heart is flooded with desperation, I am rendered powerless by your hair-knot, I ache when your sweet eyes fall on me.
I know not what to do. What can I say to persuade you to accept my words?’*
III.
But the princess’s thoughts were sad,* as the prince continually honoured her again with words.
‘My darling wife, accept my care as I cradle you on my lap and hope to make love to you.
If you must deny me access to your smile, then scratch me instead with your sharp nails.
I would rather die. What is death by comparison to the dangers faced in seeking refuge in the realm of love?
IV.
‘In short, behold the state of this lover who presents to you his words of love,
Hoping always that in your love I might find the place I so tirelessly seek, where I can lay down my sorrow and passion.
I will stop without ever reaching my goal of having you as my support, O jewel amongst maidens,
And it would be preferable for me to slink away in shame if you will not receive me kindly.’
Canto 51
I.
Thus said the prince. The princess moaned dejectedly,
Powerless to resist the prince any longer, unable to ward off his persuasive words.
The broken points of her nails were of no use and so, her efforts to resist him were easily defeated and brushed aside,
And the prince persisted in his efforts to kiss her more and more passionately.
II.
The princess was so confused, her resistance so ineffectual, her heart so anxious as she sighed,
That it truly seemed her tears should have deterred the prince.
But it was too much, she could no longer think of striking him, defeated, tired beyond measure,
As the prince continued to shower her with words as sweet as the ocean of honey:
Canto 52
I.
‘Dear maiden, heart’s desire, give me the gift of your glance. Do not be cross or avert your gaze. Look at me!
What a pity it is, my beloved, that in your anger, you do not care if I am suffering with desire or beset by pangs of love.
Oh, do not weep, do not moan or be dejected, how can I continue to serve you, if you will not speak?
In short, how can you disappoint me so in my quest to obtain your support* to help me draw near to you?
II.
‘It would be better if you would but bestow your sweetness on me, so that I might match it with my steadfast* love.
For your whimpering is in vain and only makes you weary and distresses you. How can it possibly be right?
Indeed, you only strike my breast and threaten me with your terrible nails and conceal the redness of your teeth.
Certainly, my dear, if you would but accept my approaches, I would find the proper way* to worship you.’
III.
Thus, Arjuna’s love became words of such sweetness that they would vanquish liquid sugar,
His heart compelled him to restrain his longing no more, though she cried out, continually pushing him away.
But the princess was too exhausted, deprived of all strength and her tears were to no avail as she fought him off.
She did not know what to do as the prince, approaching her from the side,* took her forcibly.
IV.
In short, though the princess resisted him, she was powerless, distraught, as he took her by surprise,
Undoing her clothing, releasing her fragrance as her beautiful kris-shaped waist was laid bare,
So that Dhanañjaya became even more exhilarated at this foretaste of the love-making to come,
Just as the bee, catching the first glimpse of the beauty of an asana, is suddenly driven to sip its honey.
Canto 53
I.
After he had deflowered her, that most excellent of maidens was exhausted and weak.
The prince, desire unabated, cradled her, his heart full* of deep yearning.
The beautiful girl was the embodiment of the splendour of a wilted lotus,
But because she was so painfully affected as she sank down, he whispered sweet words to her.
II.
The prince was even more disturbed by the princess,
As in the light of the lamps,* she seemed even more wan and pale.
Now, so exhausted was she that she lay there as still as a statue of gold,
As the prince gently embraced her, cradling her on his lap and rearranging her robe.
III.
But the woebegone princess dejectedly slipped away from him.
She was aghast at the blood glistening on her dress.
So her adoring lover, not wanting to leave her side, carried her out
To the outer verandah, going to find attendants to bathe her.
IV.
Her maids were waiting, close at hand, with everything all prepared
And laid out in position for bathing her. All were skilled in understanding subtleties and giving guidance,
All versed in soothing and bestowing great care on her.
We will not tell of the goddess as she was bathed there beside her lover.
V.
After they had both been bathed, the girl who had now just experienced the intimacy of marriage,
Was petted and watched over* by her loving maid:
‘Dear lady, resign yourself to bear a little pain,
For your sorrow will soon turn to desire, my dear.
VI.
‘The flowers of the fragrant lotus, jasmine and nāgapuṣpa
Are nothing less than a sign* that it is appropriate
For passionate bees to buzz around* them and ravish them.
No mistress, I believe that being married is similar.
VII.
‘Little one, you should return quickly to the pavilion. Oh, do go back my dear.
The one who yearns for you is held in thrall, and eagerly awaits you.’
And she urged her so insistently that the princess was ashamed
And mounted slowly back into the fragrant bridal chamber.
VIII.
On her return, the princess huddled in the farthest corner of the beautiful chamber.
The prince, with mounting joy, took her onto his lap,
Caressing her and looking closely at her pale, drawn face,
Then kissed her passionately, his sweet words falling like rain drops:
Canto 54
I.
‘You are the very relative of the moon, you are the rumbling of the thunder of desire, the gentle rain of the raptures of love.
You bring me constant heartache, so that I burgeon with passion, and my love puts forth new shoots.
Moreover,* as I embrace your charms, suddenly offering me flowers of desire,*
My joy knows no limit in being intertwined with you in the reality of sexual union.
II.
‘Now see, beloved, how fortunate I am to be your partner and share love with you.
You, my lady, signify the end of my earthly existence. You are the provisions I will carry to the next world as I lie next to you in repose.
Indeed, in the hidden depths of your eyes, transfixed, I let myself be carried away on the tide of my yearning,
And I, your humble slave, will die willing, by casting myself* into the sea of honey to be as one with your sweetness.’
Canto 55
I.
In this way, he calmed the princess as he sought to comfort her.
Enchantingly, he cradled her head in his lap, giving her delicious betel-leaf, eagerly kissing her lips,
Brushing back her hair, skillfully bestowing great care on her,
Holding her hand, never wearying of resting his eyes on the fullness of her breasts.
II.
All the while, softly, tremulously, he murmured love poems, wave upon wave of sweet sentiments,
Alternating with the pleasure of passionately kissing her beautiful cheek.
With the sweetest expressions of love, he began all over again* to address her fondly,
Disturbing the newly blossoming areca flower, filling her with the constant sound.
III.
The union of the prince and most excellent princess, there on the bridal couch,
Could be likened to that of the mangunĕng and jasmine or the katirah touching the wĕlas-harĕp creeper,
As beautiful as the charming gaḍung entwining and merging with the wanañjari.*
Such was their union, as they shared together in the raptures of love.
IV.
The delighted prince abandoned himself to the pursuit of erotic pleasure, there on the couch,
All night long, unable to sleep, so often did he caress the princess.
His words of love could be heard by the women hidden behind the curtains spying on them, and their sighs,
And the constant tinkling of their anklets, told of their penetration into the secrets of sexual intercourse.
Canto 56
I.
The night passed and as day came, the bright light of the sun shone down.
When it was time for the kraban ceremonies and everything was ready,
Everything was so wondrous and incomparable that it seemed to have come from Indra’s heaven,
For it was King Harimūrti who had ordered them to be prepared and had seen to their arrangement.
II.
The exquisite seven fragrances,* deer-navel musk and sandalwood spread over all,
Bringing enchantment to the girl who had for the first time known a man there on the couch.
Incense glowed, its vapour seemed to waft* there to enhance the delight,
Seeking out the radiance of the cawĕli silk of the curtains, always so fragrant.
III.
The delightful melodies of kidung, accompanied on the lute, began to play,
Sounding so much like bees that everyone thought it was spring.
Then as these constant offerings seemed to increase in splendour, their thoughts turned again to love,
An experience so wondrous that it laid to rest her fear of love-making.
IV.
In full view, the two went out and sat side-by-side on the verandah.
After they had bathed and put on their jewels and ornaments,
They looked as sweet as the conjoined beauty of the lotus and honey,
Bearing with fortitude* the presence of the maids, all of whom were beautiful and were wearing many maṇḍaga* ornaments.
V.
Finally a gentle elderly lady* from the palace charged with* their care,
Who was learned* in interpreting auspicious signs, summoned them to come forth.
And so the two then stood up and came out to the audience hall,
Where the Yadu tribe was being sumptuously entertained as they feasted outside.
VI.
To tell of all that took place would take too long. As day departed,
The bridal pair moved away together to the beautiful pavilion where they would spend the night.
People thought of them as the beautiful asana flower and the bee,
As the two lovers devoted themselves to each other with caresses, shared comforts and sweet whisperings.
VII.
The princess’s apprehension then ceased as her love unfolded
Because the sweet prince completely won over her downcast heart.
Like the deep joy of ivory bamboo when it comes into contact with the rain from the clouds,
Desire pierced her, filling her to the core, as she became one with the prince.
VIII.
It was the same for the prince, as he sought release from passion in their sexual union,
A devotee of loving, that reached perfection there on the couch.
His languid sidelong glance was the box of sacrifical unguent he placed on her firm breasts*
And his caresses were the acts of worship arising from his invocation of the presence of the god in their sexual union.*
IX.
Later, they ate the delicious food that lay ready.
The food, drink and delicacies were quite perfect.
Any wonderful gift, anything at all that they desired, was there
Because of Kṛṣṇa, the paramount, heroic king, who was the embodiment on earth of the incarnation of the eight kingly virtues.
Canto 57
I.
And so it was that their union was a thing of joy.
Never wearying of each other, one in spirit were they in the interchange of love and passion.
Many months went by. Their every action was in harmony,
Their happiness grew with the burgeoning of their great love.
II.
We will pass over the description of their marriage.
The twelfth year of exile came and went.
Phalguṇa’s mind then turned to thoughts
Of those he had left behind.* How could he now abandon them?
III.
It is in the nature of existence that the pain of separation cannot prevail.*
Great longing then subtly takes up residence in the heart
So that sorrow and loss of peace of mind take possession of it,
And it may happen that one forgets the gifts of the wheel of existence.
IV.
And so Pārtha’s mind was troubled
And he said to his bride:
‘My darling wife, my little sister, you are indeed my very being.
O my lady, you purge my longing and put an end to my sorrow.
V.
‘But now increasingly my own desires defer to
My great devotion to my beloved mother* and brothers.
Because for so long now I have left them abandoned,
I think only of what has become of them in the palace there.
VI.
‘But my devotion to you, my dear is ever constant.
I wish to share your love. Come with me to my own home,
And stay with me there in Indraprastha. My dear, have no fear.
Our hearts will find perfect peace in living in accordance with what is right, my darling.
VII.
‘So here is the course we must take, my beloved.
It is my duty to pay homage in the dust at the feet of the King
And your place is to be beside me as my faithful and beloved wife.
And thus you too may properly carry out the wishes of Yudhisthira, the son of Dharma.’
VIII.
Thus said the prince, lovingly addressing her with kind and gentle words.
So the princess gave him answer, her voice faltering:
‘O my Lord, I know what you say is virtuous and right.
How could I not follow the proper duty of a wife?
IX.
‘It is only that I am bewildered, torn in two by how I will suffer and yearn
Greatly for my own mother and my lord the king,
Not forgetting my brothers, who call to me with longing, holding me back.
I cannot repay their love by bringing them grief.
X.
‘My devotion to my parents is beyond words
Truly it as great as both the mountains, Hima and Sumeru.
But if I told of my love for you,
It would truly be wider than the widest ocean.’
XI.
We will say no more of their conversation
After they had agreed to the prince’s resolution.
That night they slept in mutual delight in the fragrant bed,
Their hearts absorbed in joining together in desire, swept away by passion.
Canto 58
I.
The next morning, the prince and his beloved awoke and came out from the bower.
They went to the water-spouts where they bathed joyfully together.
When they left the water, they gently stroked each other’s faces, blowing into each other’s eyes,*
Arranging flowers here and there,* he decorated the princess’s fragrant hair-knot.
II.
After adorning themselves fittingly, they came forth hand-in-hand, strolling away together.
It seemed that Manmatha, the god of the love-couch, was present in his eyes and in his sweet teeth.
There, on the tiled verandah, they sat together with thighs touching,
And any who saw the princess sitting on his lap, exchanging chewed betel, thought they were the God and Goddess of Love.
III.
‘If I were to die, how delightful it would be if I could return as a bee.
I could passionately enjoy your charms for ever, if they were in the fragrant asana flowers in the garden.
I would know ecstasy even if the gaḍing repulsed and wounded me or I were struck down by a rain of honey.
If I died, but bore the signs of my joy at making love to you, I would have reached heaven.’*
IV.
This was the way Pārtha spoke, his words as sweet as the incarnation of syrup.
Delighted and full of ardent longing, he entwined the fingers of her hand, then reached out* to encircle her waist.
Like the jangga embracing the slender young shoots of the ivory coconut, he softly directed himself to her ear,
But the goddess turned away sighing again, languishing as the prince caressed her.
V.
We will not tell of their love. Finally they came forth, making their way to the inner court.
There the prince and the most excellent princess entered the presence of king Basudewa who was there with Halāyudha
And Lord Kṛṣṇa. The lovers both came there,
And bowed reverently at the king’s feet. He at once received Dhanañjaya benevolently.
VI.
The prince paid obeisance: ‘I beg you, O King, to hear my request.
I seek leave to return to my home and therefore, I, your humble servant,* kiss your feet.
Please do not think that I am ungrateful or indifferent, or that I wish to cast aside your favour
Or seem to neglect my duty, for indeed, those who would be freed from their bonds face great difficulties.’
VII.
After Dhanañjaya had begged leave, the king embraced him:
‘Oh my son, I understand, my boy, that your heart is firm in our cause.
But if you must go, then I shall divide my kingdom, lands and possessions,
And all the most excellent things that befit a king throughout our kingdom you will enjoy, now you are close-bound* to us.
VIII.
‘Indeed always be generous, my son, when you see the worthlessness of those who have no protection, show them compassion.
May you never encounter difficulty, or be neglectful of the teachings, cruel in your affections, or harsh.
My daughter, apply yourself well, for clearly it is your duty to serve your lord and show him every care,
And thus you will come to know the love of Kuntī, your Lady Aunt* and elder brothers if you always bear in mind the duties of a younger person.’
IX.
Thus was his advice, and the prince, who thought it was like the water of life, then bowed* in reverent acknowledgement.
Lord Kṛṣṇa declared that he would accompany them home, because he loved them so.
Nor did Baladewa wish to be left behind, he too wanted to go with the prince
But resolutely the prince denied them, saying that in the future they would certainly visit.
Canto 59
I.
We will not tell of their deliberation.
Away sped a messenger carrying the king’s words
To Yudhiṣṭhira and his consort,
Making his way to the kingdom of Indraprastha.
II.
We will not tell of the departure of the royal messenger
But again tell of Pārtha.
From the court he returned to his quarters,
Where many members of the Wṛṣṇi family visited him with offers of assistance.
III.
Their offerings as they came to pay homage were delightful.
All were weeping, so filled were they with love,
Their affectionate natures dominating them and overwhelming them
With constant thoughts of love for the princess.
IV.
And as for the princess, she too was moved to tears
And wept bitterly, her heart moved by compassion,
Disheartened and saddened now that separation was imminent,
Not knowing what to think, suddenly beginning to lament.
Canto 60
I.
The ladies of the court who together were charged with the regulation of affairs* in the inner chamber,
Were frantically busy, for suddenly, not only did they have to make preparations but also apply themselves to embroidery.*
But we will not describe those who were to accompany them to Indraprastha, all were impatient to go.
All through the night came a quiet hum as they threaded strings of ornaments very carefully.*
Canto 61
I.
We will not tell of this. The next morning, at the appointed time, when the countryside was fresh,
Pārtha bid farewell and set off with his beloved.
Together, all watched them climb into their seats in their chariot,
As with Dāruki, their charioteer, at the ready, they left in magnificent and splendid style.
II.
The Wṛṣṇi troops, who would be the guard on their journey, were prepared and at the ready.
Immediately they too set off from the palace, in a procession of chariots,
Leaving those left behind so despondent that they could only stare anxiously after them,
Lost in thought and grieving, as if they longed to set off after them and go too.
III.
Great indeed was their yearning. But we will tell now of the son of Pāṇḍu.
On and on he journeyed, past settlements they took their course.
The countryside through which they passed was beautiful, and again and again he stopped along the way so that they might disport,
Thinking up all kinds of excuses* to comfort his beloved’s heartache.
IV.
They came upon many different villages, and all were expecting them,
Ready to offer tribute, for indeed the prince was truly a man of distinction endowed with every good quality.
Thus, there was no hesitation at all because he repaid them joyfully with royal grants,
And all surrendered their hearts in homage and respect to him.
V.
It would take too long to tell of the time they spent on the road, stopping overnight here and there.
They came to Indraprastha where they were welcomed by the whole court,
Chief amongst them Kuntī and the sons of Pāṇḍu, with Yudhisthira in first place.
‘It is like a ray of light in the darkness’, thought the people throughout the land.
VI.
Without further ado, Lady Kuntī delightedly embraced Pārtha’s bride.
Because she had looked forward so eagerly to their arrival,
All she could say was: ‘My dear daughter! My son!’ so moved that her tears began to flow
And deluged the hair-knots of the two who paid her homage there before her.
VII.
As for Dharmatanaya, he too was full of joy,
As were Bhīma, the heroic Nakula and his brother, all were also overjoyed
To see Pārtha, returning as a world conqueror to his family,
Moreover, he had won the world-renowned goddess of the Yadu tribe.
VIII.
It would take so long to describe the happiness of the king and all the court.
The five sons of Pāṇḍu returned together to the palace,
Accompanied by Kuntī. Ever at the side of Subhadrā, Pārtha’s wife,
Was the Lady Dropadī, who looked to her needs and was full of affection for her.
IX.
The homage that had been prepared for them was extraordinary.
They were received with prayers of good fortune by the court priests and the foremost among learned religious leaders.
The feasting and ceremonies were perfect,
And all the ladies of noble birth, overcome with love, were happy to serve them.
X.
And thus Phalguṇa returned, his fame yet more renowned.
Ever more safe and sound was that most excellent kingdom, now restored to prosperity, knowing no impediment.
The members of each caste and stage of life,* as well as all the common people knew good fortune once again, as they had before.
Yudhistira, son of Dharma, in his most wondrous and excellent majesty, was the parasol protecting the whole world.
Canto 62
I.
He* was as perfect as god Indra. How could his power, that so abounded in goodness, be surpassed?
Shamed, the evil-doers stopped. They were destroyed and good men prospered.
The admonitions of the great seer were undiminished, for he had instructed them in the proper course for those cursed to rely on the senses.*
In short, the four brothers were the source of his strength, while the sage kept watch over the eldest among them always.
II.
Blameless was he, occupying himself constantly with his subjects, fostering dharma like a light in the darkness of the land.
Renowned throughout the world for his great courage, his might ever the strong protection of the world.
As long as the kṣatriya warriors lived in righteousness, no evil could befall those who led the hermit’s life.
In prosperity, he was the place of refuge for the helpless, caring for them, succouring them.
III.
And so, now here ends the story in praise of him who is the caretaker of the world.
It is called The Journeying of Pārtha, the work of one who humbly seeks help and audaciously presumes to imitate [great poets].
Deficient though it is, may it be received by the most excellent of men, may he not take offence at it, even though it is without merit.
May His Majesty, Surawīrya, have compassion and give his blessing to my efforts to capture beauty in verse.
Bibliography
Edited and translated by Creese (1998). Digital data furnished by the author processed tgo XML-TEI by Axelle Janiak and Arlo Griffiths (2025).