Post by Jagannāth Miśra Dās on Feb 20, 2022 1:28:51 GMT -6
The Gaurāñga Vijaya by Cūḍamaṇi Dās.
Haribol Everyone. Jaya Śree Kṛṣṇa. Here are just two short passages I translated from Cūḍamaṇi Dās’s biographical poem, the Gaurāñga Vijaya. Cūḍamani, (mentioned in padakalpataru, verse 1142) took dīkśa from one of the illustrious Dvādasā Gopāls, none other than the eternal companion of Lord Nityānanda, Srī Dhanañjaya Paṇḍita. First though, a few words which I have taken from the introduction;
“Originally in three parts, only the ādi-kaṇḍa of the Gaurāñga Vijaya has survived, which culminates in Caitanya’s return from Gayā. More than once the poet mentions how he gathered much of the content for his poem not only from his guru, but also by personally hearing Nityānanda recount the Navadwipa līlās to Dhanañjaya and Gadādhara Dās. The author also writes several times how he was actually commanded by Nityānanda in a dream to write his poem. Like Vrindāvana Dās, Cūḍamaṇi bestows much attention upon Nityānanda, as well as giving many insights into Mādhavendra Puri, but notably dwells particularly on the early life and sublime exploits of Nityānanda and Caitanya. Coming from the pen of a near contemporary writer they are worthy of note. Not infrequently are there glimpses that unexpectedly reveal a rare human touch.”
Translated from the Bibliotheca Indica series No.28, first published in 1957.
āra dina prabhāte āsiyā śiśubare
melilā asisyā sava gaura viśvambhare (1)
As dawn breaks upon yet another day, the worthy and excellent children all converged together and went to see Gaura Viśvambhara. (1)
viśvambhara kaila sabhā śubha drikapāta
bāhira vijaya kaila śiśugana sāta (2)
nayāne ṭhārae sabhā jāi gangā ghāṭe
ānande kheliba giyā jāhnavīra taṭe (3)
Triumphantly emerging from his home, as Viśvambhara casts his goodly glance upon each and every child, his eye gestures urge everyone to make their way to a ghāṭa somewhere on the Gangā, and as they stray along the Jāhnavī’s banks, they all happily play among themselves. (2-3)
kautuke sabhe meli gangātaṭe giyā
tolae pācīra ghara bāli cūrṇa diyā (4)
Next they all joyfully flock together upon the banks of the Gangā and scoop up sand which they mix with dust and begin to create a dwelling. (4)
bala jagannāth bhadrā cakra sudarśan
bālira gaḍea saba vasana āsana (5)
Out of the sand they fashion images of Balarāma, Jagannnāth, Subhadrā and Sudaraśan Cakra, who rest upon an āsana also wrought of sand. (5)
bālira byanjana anna pīthā upacāre
jagannāthe samarpiya jāhnavīra nīre (6)
They tender offerings to Jagannāth of rice, vegetables and cakes, likewise shaped and moulded in sand, and also offer liquid libations from the Jāhnavī’s stream. (6)
bhoga samarpiyā sabe kirttan kariyā
karatāli diyā nāce jhuriyā jhuriyā (7)
They perform kīrttan during their bhoga offering, and whist doing so, they all clap, dance and weep. (7)
anake chāoyāla nāce jāhnavīra taṭe
kolāhala vara śuni jena mahāhāṭe [8]
The great tumult arising from so many young lads dancing on the banks of the Jāhnavī sounded like the resounding clamour found amid a mahāhāṭa (a huge market place or bazzar.) [8]
śiśu sāta gangāsnāna kari viśvambhara
turite mililā giyā jāra jethā ghara (9)
Then Viśvambhara took his ablutions in the Gangā along with the children, after which they all soon dispersed to their own respective homes. (9)
Some more verses, taken from the same page of the book as the above sample, next column.
ati sukumāra anga sukumāra daśā
ṭalaṭala jhalamala nava rangarasā (1)
He is now a very handsome boy (su-kumār), and his limbs possess the finest charm as he sways to and fro, radiantly ablaze with a novel and jovial rasa. (1)
pahirala viśvambhara ambara nīle
taḍita jaḍita jena ghana meghamāle (2)
Draped in blue garments Viśvambhara appears like a streak of lightening resting within a dense cluster of clouds. (2)
navavara sudhākara śrīmukha ṣohen
hāsi sudhārāśi heri jagajana mohe (3)
Seeing his lovely face prettified with a fresh and most excellent nectar, and his smile comparable only with heaps of ambrosia, all the people of the world fall into utter enchantment. (3)
utunga bhrubhanga premarasa gehe
biphūla dīghala ākhi śruti avalehe (4)
His raised and curvaceous eyebrows are verily the abode of premarasa, and his expansive, elongated eyes naturally and easily seem to stretch toward his ears. (4)
parisara śiravara cārutara cule
bhālataṭe tina jaṭe bhringa hena bule (5)
The pleasing charm of his long hair, which is gracefully bound at its base by three matted locks, flows from the crown of his beautiful head and seems like a cluster of hovering, restless bees. (5)
manohara grīvabara vistāra ure
navatara karivara sudīghala kare (6)
Enchanting is his fine and immaculate neck, as is his broad and ample chest, and as a youthful and charming elephant plays with its trunk, so sway his long and graceful arms. (6)
śutunga nitamba bima cāru uru janghe
raktakanja rasapunja ranje bhaktibhringe (7)
The attractive splendour of his bimba-like prominent hips, beautiful thighs and abdomen, appear like crimson flowers purveying an abundance of rasa to delight the bee-like bhaktas. (7)
dhanañjaya nirbhaya dhari padachāya
gourabālyarupa cūḍāmaṇi dāsa gāya [8]
Clinging to the fearless shade of Dhanañjaya’s feet, Cūḍamaṇi Dās sings of Goura’s bālya-rupa (boyhood form.) [8]
THE END.
Haribol Everyone. Jaya Śree Kṛṣṇa. Here are just two short passages I translated from Cūḍamaṇi Dās’s biographical poem, the Gaurāñga Vijaya. Cūḍamani, (mentioned in padakalpataru, verse 1142) took dīkśa from one of the illustrious Dvādasā Gopāls, none other than the eternal companion of Lord Nityānanda, Srī Dhanañjaya Paṇḍita. First though, a few words which I have taken from the introduction;
“Originally in three parts, only the ādi-kaṇḍa of the Gaurāñga Vijaya has survived, which culminates in Caitanya’s return from Gayā. More than once the poet mentions how he gathered much of the content for his poem not only from his guru, but also by personally hearing Nityānanda recount the Navadwipa līlās to Dhanañjaya and Gadādhara Dās. The author also writes several times how he was actually commanded by Nityānanda in a dream to write his poem. Like Vrindāvana Dās, Cūḍamaṇi bestows much attention upon Nityānanda, as well as giving many insights into Mādhavendra Puri, but notably dwells particularly on the early life and sublime exploits of Nityānanda and Caitanya. Coming from the pen of a near contemporary writer they are worthy of note. Not infrequently are there glimpses that unexpectedly reveal a rare human touch.”
Translated from the Bibliotheca Indica series No.28, first published in 1957.
āra dina prabhāte āsiyā śiśubare
melilā asisyā sava gaura viśvambhare (1)
As dawn breaks upon yet another day, the worthy and excellent children all converged together and went to see Gaura Viśvambhara. (1)
viśvambhara kaila sabhā śubha drikapāta
bāhira vijaya kaila śiśugana sāta (2)
nayāne ṭhārae sabhā jāi gangā ghāṭe
ānande kheliba giyā jāhnavīra taṭe (3)
Triumphantly emerging from his home, as Viśvambhara casts his goodly glance upon each and every child, his eye gestures urge everyone to make their way to a ghāṭa somewhere on the Gangā, and as they stray along the Jāhnavī’s banks, they all happily play among themselves. (2-3)
kautuke sabhe meli gangātaṭe giyā
tolae pācīra ghara bāli cūrṇa diyā (4)
Next they all joyfully flock together upon the banks of the Gangā and scoop up sand which they mix with dust and begin to create a dwelling. (4)
bala jagannāth bhadrā cakra sudarśan
bālira gaḍea saba vasana āsana (5)
Out of the sand they fashion images of Balarāma, Jagannnāth, Subhadrā and Sudaraśan Cakra, who rest upon an āsana also wrought of sand. (5)
bālira byanjana anna pīthā upacāre
jagannāthe samarpiya jāhnavīra nīre (6)
They tender offerings to Jagannāth of rice, vegetables and cakes, likewise shaped and moulded in sand, and also offer liquid libations from the Jāhnavī’s stream. (6)
bhoga samarpiyā sabe kirttan kariyā
karatāli diyā nāce jhuriyā jhuriyā (7)
They perform kīrttan during their bhoga offering, and whist doing so, they all clap, dance and weep. (7)
anake chāoyāla nāce jāhnavīra taṭe
kolāhala vara śuni jena mahāhāṭe [8]
The great tumult arising from so many young lads dancing on the banks of the Jāhnavī sounded like the resounding clamour found amid a mahāhāṭa (a huge market place or bazzar.) [8]
śiśu sāta gangāsnāna kari viśvambhara
turite mililā giyā jāra jethā ghara (9)
Then Viśvambhara took his ablutions in the Gangā along with the children, after which they all soon dispersed to their own respective homes. (9)
Some more verses, taken from the same page of the book as the above sample, next column.
ati sukumāra anga sukumāra daśā
ṭalaṭala jhalamala nava rangarasā (1)
He is now a very handsome boy (su-kumār), and his limbs possess the finest charm as he sways to and fro, radiantly ablaze with a novel and jovial rasa. (1)
pahirala viśvambhara ambara nīle
taḍita jaḍita jena ghana meghamāle (2)
Draped in blue garments Viśvambhara appears like a streak of lightening resting within a dense cluster of clouds. (2)
navavara sudhākara śrīmukha ṣohen
hāsi sudhārāśi heri jagajana mohe (3)
Seeing his lovely face prettified with a fresh and most excellent nectar, and his smile comparable only with heaps of ambrosia, all the people of the world fall into utter enchantment. (3)
utunga bhrubhanga premarasa gehe
biphūla dīghala ākhi śruti avalehe (4)
His raised and curvaceous eyebrows are verily the abode of premarasa, and his expansive, elongated eyes naturally and easily seem to stretch toward his ears. (4)
parisara śiravara cārutara cule
bhālataṭe tina jaṭe bhringa hena bule (5)
The pleasing charm of his long hair, which is gracefully bound at its base by three matted locks, flows from the crown of his beautiful head and seems like a cluster of hovering, restless bees. (5)
manohara grīvabara vistāra ure
navatara karivara sudīghala kare (6)
Enchanting is his fine and immaculate neck, as is his broad and ample chest, and as a youthful and charming elephant plays with its trunk, so sway his long and graceful arms. (6)
śutunga nitamba bima cāru uru janghe
raktakanja rasapunja ranje bhaktibhringe (7)
The attractive splendour of his bimba-like prominent hips, beautiful thighs and abdomen, appear like crimson flowers purveying an abundance of rasa to delight the bee-like bhaktas. (7)
dhanañjaya nirbhaya dhari padachāya
gourabālyarupa cūḍāmaṇi dāsa gāya [8]
Clinging to the fearless shade of Dhanañjaya’s feet, Cūḍamaṇi Dās sings of Goura’s bālya-rupa (boyhood form.) [8]
THE END.