Garga Samhita 1622

Garga Samhita

Canto Two : Chapter Twenty

Rasa-krida
The Rasa-dance Pastime

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Text 34 to 37

tulasi-manjari-yukta-
vana-mala-vibhushitah
evam shringaratam praptah
shri-krishnah priyaya svaya

babhau kumudvane rajan
vasanto harshito yatha
mridanga-vina-vamshibhir
muru-yashöi-sukamsyakaih

tala-sheshais talair yukta
jagur gopyo manoharam
bhairavam megha-mallaram
dipakam malakoshakam

shri-ragam capi hindolam
ragam eva prithak prithak
ashöa-talais tribhir gramaih
svaraih saptabhir agratah[1]

O king, then He was decorated with a garland of tulasi-manjaris and forest flowers. In this way Lord Krishna was decorated. Accompanied by His beloved, He was happy and splendid as if He were the Deity of springtime personified. Then, with mridangas, vinas, flutes, murus, yashöis, and karatalas, the gopis played melodies in three scales of seven notes in the ragas bhairava, megha-mallara, dipaka, malakoshaka, shri-raga, and hindola.


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References

  1. tulasi-manjari-yukta -with tulasi-ma 24jaris; vana-mala-vibhushitah -decorated with a forest garland; evam -thus; shringaratam -decoration; praptah -attained; shri-krishnah -Shri Krishna; priyaya -by His beloved; svaya -own; babhau -was splendidly manifest; kumudvane -in Kumudvana forest; rajan -O king; vasantah -springtime; harshitah -pleased; yatha -as; mridanga-vina -with mridangas and vinas; vamshibhih -with flutes; muru-yashöi -with muru drums; sukamsyakaih tala-sheshaih talaih - -karatalas; yukta -with; jaguh -sang; gopyah -the gopis; manoharam -beautiful; bhairavam -bhairava-raga; megha-mallaram -megha-mallara-raga; dipakam -dipaka; malakoshakam -malakosam; shri-ragam -shri-raga; ca -also; api -and; hindolam -hindola; ragam -raga; eva -indeed; prithak prithak -specifically; ashöa - -eight; talaih -rhythms; tribhih -three; gramaih -scales; svaraih -with notes; saptabhih -seven; agratah -in the presence.

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