Gita Sundaram

Gita Sundaram
Meenakshi - Sundareswara Ashtapadi
By P. R. Kannan

॥ श्री: ॥
॥ गीतसुन्दरम्  ॥


श्रीचोक्कनाथदीक्षितस्य शिष्येण

Composed by
Disciple of Sri Chokkanatha Dikshita
Crest jewel of Asthana Vidvans of
Chatrapati Sri Tulaja Maharaja of

Translated by
P. R. Kannan
Navi Mumbai


‘GITASUNDARAM’ is a book of twentyfour Ashtapadis on the lilas of Lord Sundareswara and Devi Meenakshi, composed by the celebrated poet Sri Sadasiva Dikshita, disciple of Sri Chokkanatha Dikshita, who was the chief of Asthana Vidvans in the court of Chatrapathi Tulaja Maharaja of Thanjavur, who reigned from 1765 to 1787 A.D. This work of spontaneous outpourings of bhakti of the venerated author strictly follows the same lines as the famous ‘Gita Govindam’, a composition of Ashtapadis on Radha-Krishna by Jayadeva.

The Ashtapadis are set to various ragas and talas as indicated. Each Ashtapadi has additional slokas carrying the essence of the Ashtapadi’s content and indicating the onward march of the story. Meenakshi and Sundareswara, who are separated, suffer from unbearable pangs of separation. Sundara comes out of the city of Halasyam (Madurai) and dwells in a grove close to the location where Meenakshi had been staying. Meenakshi’s female companion sees Sundara and informs Meenakshi of his presence. The expressions of self-pity, blame and remorse of the divine couple, the messages exchanged between them through the good offices of the companion and the wholesome advice tendered by the companion form the subject matter of a number of Ashtapadis. Sundara then comes to Meenakshi and apologises profusely. After some initial taunting, Meenakshi gives in. Sundara and Meenakshi unite. Gitasundaram, the devotional poem, is thus a unique work of Madhurya bhakti towards Siva and Parvathi and is suffused with sringara rasa, initially expressed as vipralambha, love in separation and ending with sambhoga, love in union.

In bhakti tradition, several types of relationships between Jivatma and Paramatma have been practised. Some of them are vatsalya, the filial love between the parent and the child and the like; sakhya, friendly love; dasya, love of a dutiful servant and his kind master. But the sentiment of Madhurya, the sweet love of nayaka and nayika, the hero and the heroine, is reckoned to be the highest form of bhakti. This is because it implies total self-surrender of the devotee. He is oblivious of his own pleasure and pain and would do anything to keep his beloved happy. It is of no consequence to him even if his loved one is perceived to cause deliberate pain or harm to him. He knows nothing but the happiness of his beloved. Andal and Mira Bai are the finest examples of this form of bhakti in recent times.

Jayadeva in his ‘Gita Govindam’ adopted the classical sringara rasa, used in dramas to bring out the love of nayaka and nayika in order to expound the special ‘Gopibhava’ or ‘Mahabhava’ of Radha towards Krishna and the latter’s equal love for Radha. Gita Govindam has always been held not as an amorous love-song depicting ordinary carnality as it appears on the surface. The deeper significance is the ardour of the Jiva to break out of the bonds of samsara and go back to its source, the Godhead. The author has followed the same track in ‘GITASUNDARAM’ to convey the supreme love shown by Sundareswara and Meenakshi as perfect examples. The vipralambha rasa, love in separation, is used to good effect in most part of the work, culminating in sambhoga rasa, love in union. In the idiom of bhakti in Gitasundaram, Meenakshi can be taken to represent jivatma, Sundareswara the Paramatma and the sakhi, the companion of Meenakshi for the Guru. This is similar to the interpretation, in Sundara Kanda of Ramayanam, of Sita as Jiva, Rama as God and Hanuman as Guru.

The first two Ashtapadis are in praise of Lord Somasundara, especially with reference to his lilas in Madurai (Halasyam). The first seventeen of the famous 64 lilas enacted by the Lord and Devi Meenakshi in order to protect his devotees and establish Dharma have come here for special mention in honour of the Lord. In the third and fourth Ashtapadis, the sakhi extols the beauties of nature, informs Meenakshi of Sundara’s presence in the neighbourhood and breaks into praise of His great qualities. This may be understood to mean the Guru’s motivation of the disciple not to give up, but to reach the pinnacle of his quest for the Supreme. The Guru helps the disciple to cover the last stretch when he is really ripe in devotion. Siva’s presence in the vicinity is the grace of his ease of access for the pure-hearted. In the fifth and sixth Ashtapadis, Meenakshi’s anger is subdued and she also joins her sakhi in eulogizing her lord’s glory. This means the surrender of the last vestiges of ego under the guidance of the Guru. The seventh Ashtapadi describes Siva’s restlessness and remorse for his earlier anger towards Meenakshi. God’s love for Jiva is abundant. He looks forward eagerly to the Jiva rejoining him. The eighth and ninth Ashtapadis see the sakhi informing Siva of Meenakshi’s untold misery in separation and her deep and undying love for him. This points to the Guru commending his disciple for the Lord’s grace. Siva now asks the sakhi to bring Meenakshi. In the tenth and eleventh Ashtapadis the sakhi conveys Siva’s restlessness and atonement very tactfully to Meenakshi. The twelfth Ashtapadi sees the sakhi pleading with Siva again to rescue the lovelorn Meenakshi. The Guru spares no efforts to take the disciple to the state of Godhood. Meenkshi now loses heart on the sakhi not bringing Siva to the common meeting ground as agreed. She bemoans her fate in the thirteenth Ashtapadi. The succeeding fourteenth, fifteenth and sixteenth Ashtapadis describe Meenakshi’s suspicion of Siva loving another comely woman and abandoning her and her expressing her deep disappointment to her companion. This is in line with the traditional portrayal of the nayaka-nayika bhava. This portrays the devotee’s irresistible urge to break the bond of separation and the simultaneous fear in his mind. In the meantime Siva goes out to meet Meenakshi and prostrates in order to appease her. The seventeenth Ashtapadi sees Meenakshi taunting Siva and asking him to go back to his other lady-love. She refers to Siva’s expertise in cheating, ‘kaitavakousalam’. In the eighteenth Ashtapadi the sakhi removes her suspicions and affirms the deep and everlasting love of Siva for her. The final preparation of the disciple by the Guru is now nearly complete. In the nineteenth Ashtapadi, Siva coaxes Meenakshi and pleads very endearingly to forget the past and to forgive and join him. This indicates the great compassion that God has for liberating the Jiva, who is struggling in the web of samsara. The twentieth and twentyfirst Ashtapadis see the sakhi making the final appeal to Meenakshi to drop her pride and approach Siva, who has already apologised profusely for his misdemeanour and proclaimed his deep love for her. Meenakshi now approaches Sundara. In the twentysecond Ashtapadi she revels coquettishly in the appreciation of love shown by Sundara. The twentythird and twentyfourth Ashtapadis describe the admiration of Siva for Meemakshi’s love and his touching entreaty and their final union.

Gitasundaram is the loving and inspired work of a great devotee and is sure to instill devotion in the mind of the reader and singer towards the lotus feet of Sundareswara and Meenakshi.

P. R. Kannan
Navi Mumbai
Mob:  9860750020                                                                                                       
July 14, 2014                                                                                                           

॥ श्री: ॥
॥  शिवाभ्यां नमः  ॥
॥ गीतसुन्दरम्  ॥

प्रथमः सर्गः       Sarga  1
  कल्याणं कलयतु संततममी लीला-विशेषोज्ज्वलाः ।
कामं हेम-पयोजिनी-परिसरे मध्ये-कदम्ब-द्रुमं
   मीनाक्ष्या सह सुन्दरेश्वर-विभोर्-अनङ्ग-नित्योत्सवाः ॥  (१)
May these glorious sports - the eternal festivities of love of Lord Sundareswara enacted with Meenakshi in the Kadamba forest on the banks of the ‘Golden Lotus’ Pond (in Madurai Temple)- bring auspiciousness and fulfillment to Tulaja Maharaja, the gem in the crest-jewel of the lineage of the Bhosales (of Thanjavur).  (1)

   आजानभक्ति-वश-नीत-सदाशिवानाम्  ।
श्रीचोक्कनाथ-मखिनां निखिलेडितानां-
   उल्लासयन्तु मम वाचं-अपाङ्ग-लीलाः  ॥  (२)
May these love-sports of Sadasiva, worshipped by Sri Chokkanatha Dikshita, who won over Siva with his bhakthi right from birth as guided by Guru Thyagesa, render my speech enjoyable.  (2)

भारती-सरस-केलि-मन्दिरं सोमसुन्दर-कथा-धुरन्धरम्  ।
  श्लाघनीय-सभाव-बन्धुरं लालयन्तु मम गीत-सुन्दरम्  ॥  (३)
May the cheerful sporting ground of Saraswathi, the pleasing and adorable beauty of the mighty story of Somasundara, caress my GITASUNDARAM.  (3)

प्रथमाष्टपदी  ।         Ashtapadi  1
मालविरागेण गीयते  ।   आदितालः  ।   Raga:  Malavi     Tala: Adi

मघवति पर्यटति इतरैर्-अनुपरतम्  ।
समयसि वृत्र-वधोदित-दुरितम्  ।
   सोमसुन्दर सुर-सार्वभौम जय मधुराधिपते  ॥  (१)  (ध्रुवम्)
Victory to the Lord of Madura, Somasundara, the Emperor of Devas; who removed the sin born of killing of Vritra from Devendra, who wandered (from kshetra to kshetra) to get rid of the sin, but could not be got rid of at other places.  (1)   (Refrain)
(This refers to Lila 1 among the celebrated 64 lilas enacted by Somasundara with Meenakshi at Madurai.)

कृपया परिहरसि ऐरावत-तापम्  ।
तापस-रोषारोपित-शापम्  ।
  सोमसुन्दर गजमुख-जनक जय मधुराधिपते  ॥  (२) 
Victory to the Lord of Madura, Somasundara, the progenitor of Gajanana; who, out of compassion, removed the misery of Airavatha caused by the curse of the angry sage Durvasa.  (2). (This refers to Lila 2 of the Lord at Madurai.)

रचयसि नीप-वने नगरीं-अभिरामाम्  ।
कमला-कौतुक-विहरण-सीमाम्  ।
  सोमसुन्दर विश्वविधायक जय मधुराधिपते  ॥  (३)
Victory to the Lord of Madura, Somasundara, the ruler of universe; who erected a very pleasing city in the Kadamba forest; a city, which is the very frontier of the curious wanderings of Lakshmi.  (3). (This refers to Lila 3 of the Lord at Madurai.)

मलयध्वज-तनयां कामयसे दयिताम्  ।
विकृतोरोज-निमज्जन-मुदिताम्  ।
  सोमसुन्दर गिरिजावल्लभ  जय मधुराधिपते  ॥  (४) 
Victory to the Lord of Madura, Somasundara, the lover of Girija; who loves the daughter of Malayadhvaja (Pandya) to take as his consort; Meenakshi, who pleased him, who was concerned owing to her abnormal bosom. (Meenakshi had three breasts at birth; the third breast disappeared when she met Siva).  (4). (This refers to Lila 4 of the Lord at Madurai.)

सहसाविर्भवसि पाण्ड्य-कुलोद्धरणे  ।
श्रीमीनाक्षी-पाणि-ग्रहणे  ।
  सोमसुन्दर नव-मोहनाङ्ग जय मधुराधिपते  ॥  (५)
Victory to the Lord of Madura, Somasundara, who has ever-new captivating limbs; who suddenly manifested for holding the hands of (marrying) Sri Meenakshi, thus raising the Pandya lineage.  (5). (This refers to Lila 5 of the Lord at Madurai.)

नियत-पतञ्जलये ललितादृत-भरतम्  ।
नृत्यसि शङ्कर नव-रस-भरितम्  ।
  सोमसुन्दर नित्यानन्द जय मधुराधिपते  ॥  (६)
Victory to the Lord of Madura, Somasundara, ever immersed in Bliss; who sportingly enacted Bharatha natya dance, full of the nine Rasas, for the sake of sage Patanjali of great discipline. (6). (This refers to Lila 6 of the Lord at Madurai.)

कुण्डोदर-जठरे अमिताशन-धैर्यम्  ।
दिशसि तटाकतयाप्य्-अनिवार्यम्  ॥
  सोमसुन्दर अद्भुतचरित जय मधुराधिपते  ॥  (७)
Victory to the Lord of Madura, Somasundara, whose stories are wonderful; who created the insatiable hunger in the stomach of Kundodara; hunger which could not be appeased even by Tatataka.  (7). (Tatataka was the name of Sri Meenakshi given by her parents at the time of her birth). (This refers to Lila 7 of the Lord at Madurai.)

क्षुधितं पालयितुं सृजसि नवान्न-निधिम्  ।
वेगवतीमपि-तत्रानवधिम्  ।
  सोमसुन्दर हालास्येश जय मधुराधिपते  ॥  (८)
Victory to the Lord of Madura, Somasundara, the Lord of Halasyam; who created the magnificent food of nine types for appeasing the hunger(of Kundodara); who also brought there the limitless river Vegavathi.  (8). (This refers to Lila 8 of the Lord at Madurai.)

इन्द्राघं हरते गजेन्द्रं-अवते वन्यां पुरं कुर्वते
  कन्यां प्रार्थयते सुमीन-नयना-पाणिग्रहं तन्वते  ।
सानन्दं नटते पतञ्जलिकृते कुण्डोदर-क्षुत्-कृते
  गर्तान्-नमयान्-नदीं च सृजते शर्वाय तुभ्यं नमः  ॥ (४)
Prostrations to you, Siva; who removed the sin of Indra; protected Airavatha; created city in forest; sought (Tataka as) bride; held the hands of (married) Sri Meenakshi; danced with bliss for the sake of Patanjali; caused hunger in Kundodara; created huge hordes of food and river.  (4)

योऽसौ काञ्चनमालया वल-रिपोर्-अर्धासनोल्लासिनं
  हालास्ये मलयध्वजं करुणया संयोज्य सप्तार्णवीम्  ।
स्नातुं योग्य-दशां-अदादपि तयोः सारूप्य-मुक्ति-श्रियं
  देव: पाण्ड्य-धुरंधरः स दिशतु श्रेयांसि भूयांसि वः  ॥ (५)
May the Pandya Emperor bestow on us pleasures of this world as well as spiritual merits; that Deva, who brought Malayadhwaja, who was pleasantly seated along with Indra (in Swarga), to Halasya (Madurai) and united with Kanchanamala out of compassion; who materialised the seven oceans for them to take bath jointly; who blessed them with the glorious Liberation of Sarupya (form same as Siva). (5). (This refers to Lilas 9 and 10 of the Lord at Madurai.)

द्वितीयाष्टपदी     Ashtapadi  2
भैरवीरागेण गीयते ।     मिश्रछाप् तालः ।
Raga:  Bhairavi     Tala: Misrachapa

कृत-सप्त-सागराकारण जगत्-कारण  ।
मकुट-घटित-हिमकरण जय जय पाण्ड्यपते  ॥ (१)
Victory to the Pandya Lord (Lord Somasundara), who caused the seven oceans to come (to the Golden Lotus pond at Madurai); who is the original cause of the universe; who has the moon as his crown in his head.  (1) (Refrain)

सुरलोक-नीत-मलयध्वज वृषभध्वज  ।
हरिणा-लंकृत-कर-सरसिज जय जय पाण्ड्यपते  ॥ (२)
Victory to the Pandya Lord, who brought (the dead) Malayadhwaja from the heaven; whose flag is bull; who has his lotus-hand decorated with deer.  (2)

जनितो-ग्रपाण्ड्याख्य-नंदन जगदानंदन  ।
कृत-तटातका-मनोरञ्जन जय जय पाण्ड्यपते  ॥ (३)
Victory to the Pandya Lord, who produced a son named Ugrapandya (form of Lord Subrah-manya); who generates happiness in the universe; who entertained the mind of Tatataka. (3)
(This refers to Lila 11 of the Lord at Madurai.)

वलयाद्य्-आयुध-दान-योजित तनय-भाजित  ।
मधुरापुर-साम्राज्य-राजित जय जय पाण्ड्यपते  ॥ (४)
Victory to the Pandya Lord, who bestowed on his son Ugrapandya weapons like Chakra; who ruled over the empire of Madura.  (4) (This refers to Lila 12 of the Lord at Madurai.)

सुत-शक्ति-ताडित-वारिधे विधि-सारथे  ।
अव्याज-भव्य-कृपानिधे जय जय पाण्ड्यपते  ॥ (५)
Victory to the Pandya Lord, who blessed his son Ugrapandya to dry up the ocean with the weapon of Sakthi (Vel in Tamil) given by him; who had Brahma as his charioteer (during Tripurasamhara); who is ocean of causeless grace to devotees.  (5)
(This refers to Lila 13 of the Lord at Madurai.)

कनकाद्रि-दारण-पण्डित-सूनु-खण्डित  ।
वल-रिपु-मौलि-विश्रुत जय जय पाण्ड्यपते  ॥ (६)
Victory to the Pandya Lord, who blessed his son Ugrapandya to attack Meru Mountain (the golden mountain) and famously knock off the crown of Indra.  (6)
(This refers to Lilas 14 and 15 of the Lord at Madurai.)

निगमान्त-सिद्धान्त-बोधन सुकृत-साधन  ।
कृत-नत-जनतानुमोदन जय जय पाण्ड्यपते  ॥ (७)
Victory to the Pandya Lord, who taught the principle of Vedanta (to Rishis); who is the motivator for gathering merit; who blesses people who worship him.  (7)
(This refers to Lila 16 of the Lord at Madurai.)

नवरत्न-विक्रम-कारक भव-तारक  ।
हालास्योदिता-नन्द-कोरक जय जय पाण्ड्यपते  ॥ (८)
Victory to the Pandya Lord, who gave away precious stones (for preparing the crown of Pandya king); who enables devotees to cross Samsara (cycle of birth and death); who is the bud of bliss manifest in Halasya.  (8) (This refers to Lila 17 of the Lord at Madurai.)

देव्याः पदाब्जं-उपलाद्-अवरोप्य हस्ते
  संवाहयन्-मकुट-चन्द्र-सुधाभिषिक्तम्  ।
  कल्याण-सुन्दर-विभुः कलयेद्-अभीष्टम्  ॥ (६)
May Lord Kalyanasundara, who wishing to atone for the fault to be committed by him in future during all quarrels of love with Sri Meenakshi, brought down Devi’s lotus-foot from stone and kept in his hand her foot drenched in nectar oozing from the moon in his head, bless us with fulfillment of all desires.  (6)

  स्मेरैर्-एधित-हेम-रत्न-रुचिरा-लंकार-शृङ्गारिताम्  ।
कान्तस्य्-आगमने विलम्बन-वशात्-कामास्त्र-लक्षीकृतां
  साम्राज्ञीं मलयध्वजेन्द्र-तनयां प्राह प्रबुद्धा सखी  ॥ (७)
Empress Meenakshi, daughter of king Malayadhwaja, throbbing with the curiosity of the ensuing festivity of love, felt that her decorations with golden and gem-studded ornaments had increased the amorous feelings caused by Manmatha. Her wise female companion spoke to her as follows. (7)

तृतीयाष्टपदी      Ashtapadi  3
वसन्तरागेण गीयते  ।   आदितालः  ।
Raga:  Vasantha     Tala: Adi

खेलति काञ्चन-नलिनी-तीरे  ।
चन्द्र-शिखामणि-रमरवधू-मणि-समरस-विविध-विहारे  ॥  (१)  (ध्रुवम्)
The one with moon on his head (Lord Sundareswara) sports on the banks of the golden lotus pond with the best of Deva women in many different pleasurable games.  (1) (Refrain)

सरस-कदम्ब-पराग-भरालस-शीतल-सुरभि-समीरे  ।
अमृत-तरङ्ग-परम्परयाऽर्पित-शीकर-मौक्तिक-हारे  ॥ (२)
The one with moon on his head sports in the gentle cool and fragrant breeze carrying the pollen dust of sweet smelling Kadamba flowers. He sports garland of pearls, which is sprayed continuously with waves of nectar.  (2)

दिशि दिशि नियमित-चन्द्र-दिवाकर-मधुमाधव-परिवारे  ।
शशिमणि-परिणत-सोपानान्तर-चञ्चल-चारु-चकोरे  ॥ (३)
Swarms of honey-bees swirl around in different directions to flowers, blooming and shrivelling of which is determined by Chandra and Surya (like lotus and lily). Beautiful tremulous chakora birds drink on moon-beams, coming down steadily.  (3)

मौक्तिक-हंस-मुखादृत-पङ्कज-रजसा कृत-पटवासे  ।
मिलित-परस्पर-कुसुमायुध-गतिरति-मन्मथ-कृत-हासे  ॥ (४)
White pearl-like swans are covered with pollen dust of lotus flowers, giving the appearance of an enclosure. Manmatha enjoys and smiles at the train of flower-weapons he shoots forth.  (4)

मरकत-मेचकपत्र-निरन्तर-संगत-कनक-रथाङ्गे  ।
हरिमणि-किरणच्-छुरित-निशाकर-रुचि-घुतिकायित-भृङ्गे  ॥ (५)
Emerald green and black leaves on ‘Palasa’ trees forming a ring, fig tree bends down under the attack of moon-beams navigating through green leaves and branches.  (5)

संतत-दर-चलद्-अनिल-समाहृत-सारस-सौरभ-सारे  ।
चिन्तामणि-गृह-शिखरोदञ्चित-चन्द्रक-रुचिर-मयुरे  ॥ (६)
The gentle breeze constantly spreads the sweet fragrance of flowers. Peacocks dance with the eyes in their stails shining radiantly like the peaks of the Chintamani palace (of Parasakthi).  (6)

अधर-सुधाधिक-मधुर-मनोहर-दिव्य-फलागम-रम्ये  ।
अधिकृत-कौतुक-सुर-नर-पन्नग-प्रमदा-परिचय-सौम्ये  ॥ (७)
Attractive divine fruits (or Agama Sastras) taste sweeter and more charming than the nectar of lips (of the maidens). Beautiful women from clans of Devas, humans and Nagas move about with much charm and desire.  (7)

जाति-विहीन-वसन्त-महोदय-समुदित-मधुप-निनादे  ।
जात-कुतूहल-नवयुव-कल्पित-हालास्यवासि-विनोदे  ॥ (८)
On the arrival of the striking spring season, which cheers all without distinction of classes, honey-bees make pleasing sounds. The residents of Halasya enjoy exuberantly as if they have gained fresh youthfulness.  (8)

लीला-लोल-दृगञ्चलेषु सरसालापेषु केलीचलद्-
  रत्ना-लंकृत-कुण्डल-द्युतिषु च स्मेराधर-स्फूर्तिषु  ।
भावैर्-अप्सरसो मुनि-प्रणयिनीः सम्मोहयन्-मोदते
  स्वामी सोमकला-वतंस-सुषुमा-कांतो वसन्तोदये  ॥ (८)
On arrival of spring, the Lord with crescent on head, very handsome (or consort of beautiful Devi), enchants Apsara women, who distract even sages, with enchanting looks from corners of eye, sweet conversations, shining gem-studded ear-rings quivering in sport and amorous throbbing lips.  (8)

  संनद्ध-प्रतिबुद्ध-षट्पद-शुकी-पारावत-प्रस्तुताः ।
  मन्दान्दोलित-नीड-निर्भर-कुहू-कण्ठस्वरा वासराः  ॥ (९)
Travellers (away from their lady love) are feeling miserable due to the overwhelming attack of the five flower arrows (of Manmatha), aggravated by the bees, parrots and pigeons making pleasing sounds. Cuckoos sing tunes from their nests on the edges of the branches of mango tree, which sway gently with the cool breeze coming from sandalwood hills.  (9)

एते वेगवती-तरङ्ग-तरल-प्रत्यग्र-पाथोरुहा-
  नीतैः शीतल-सौरभैर्-विरहिणो भिन्दन्ति मन्दानिलाः  ।
एषा वञ्जुल-मञ्जरी च शिरसा यद्विक्रमं श्लाघते
  सोऽयं सून-शरासनो विजयते रन्ता वसन्तश्रियाम्  ॥ (१०)
Gentle waves of breeze carry the cool fragrance of fresh lotuses swaying in the waves of river Vegavathi. This cluster of Vanjula blossoms appears to praise with its top (by way of gentle movement) the power of Manmatha (the wielder of flower-arrows), who delightfully wins over the glory of Vasantha.  (10)

  कोलाहलैर्-मुखरिता वनकोकिलानाम्  ।
उद्दीपनेन मदनस्य तटातकयां
  वासन्तिकाः सरस-सौरभं-आरभन्ते  ॥ (११)
Wild cuckoos sing loudly with zest with the pride of having eaten the first sprouts of mango. All this raise the amour of Tatataka, as the days of spring start to spread sweet fragrance.  (11)

  प्रपञ्चितानङ्ग-कला-कुतूहलम्  ।
उदाहरन्ती घनसार-सुन्दरं
  सखी पुनः प्राह तटातकामिति  ॥ (१२)
The female companion of Tatataka spoke again to her citing the presence of Somasundara, handsome with musk, among Deva women displaying amorous zest through their delightful acts.  (12)

चतुर्थाष्टपदी    Ashtapadi  4
कुम्भकाम्भोधिरागः ।  आदितालः  ।       Raga:  Kumbhakambhodhi     Tala: Adi

धरति नवं वरवेषं चिरयति तेन कदम्बवने
सखि तव उज्ज्वल-भूषम्  ।  (ध्रुवम्)
O friend, your husband wears ever new beautiful appearance and moves about gently in the Kadamba forest putting on shining ornaments. (Refrain)

चम्पक-सुन्दर-दिव्य-शुभाकृति-कनकाम्बर-शशिधारी  ।
मदन-महोत्सव-संभव-संभृत-वरयुवती-मदहारी  ॥ (१)
He has beautiful divine auspicious look like the champaka flowers and wears moon of the colour of kanakambara flowers. He takes away the haughtiness of beautiful young women, who exhibit the delights of amour.  (1)

सरस-हरिद्रा-लेप-मिषेण सुधांशुधरस्य शुभाङ्गम्  ।
विमृशति कापि स्पर्श-सुखालस-लीला-माद्यद्-अपाङ्गम्  ॥ (२)
In the guise of smearing the auspicious limbs of Somasundara, having moon on head, with nice kumkum, a maiden ponders on touching him, as he casts side-long glance, craving for pleasure of her touch.  (2)

लोक-विलोकन-दोष-निवारक-मृगमद-बिन्दुं-उदारम्  ।
एककपोले रचयति काचन नखलेखन-सुकुमारम्  ॥ (३)
Another maiden finds that he is handsome after decoration with nail-paint and applies a nice mark of kasturi on one cheek of his for removing drishti-dosha (caused by envy of his beauty) from others.  (3)

कामपि शुभिका-लंकरणोद्धृत-बाहुलता-ललिताङ्गीम्  ।
स्मर-समयोचितं-अनुनयति श्रित-कोकिल-कलरव-भङ्गीम्  ॥ (४)
Somasundara entreats for appropriate time for amorous act with another beautiful maiden, who, with raised hands, looks to embrace him and whose voice overpowers cuckoo in sweetness.  (4)

अप्सरसां-उपगानरसैर्-अनुरञ्जित-मङ्गल-गीताम्  ।
नयन-विलासैर्-एलाकुञ्जं गमयति सुमशर-भीताम्  ॥ (५)
He sends with play of his eyes another maiden to the cardamom plantation; she sings sweetly and her songs are enlivened further by the follow up singing by Apsara women.  (5)

कामपि कामकला-परिशीलित-रतिसुख-रचना-लोलाम्  ।
लज्जयति प्रिय-सरस-चमत्कृति-सत्कृत-नवनव-लीलाम्  ॥ (६)
He shames another maiden, who comes for amorous pleasure after mastering the art of love-making, through ever new sports, marked by dear sweet attraction.  (6)

काचिद्-अलक्तक-रेखाचित्रं पदकमले रचयन्ती  ।
सूचित-राग-नवोदय-रीतिं स्वयं-अनुसरति नमन्ती  ॥ (७)
Another maiden, applying red lac designs on her lotus feet and thus communicating her newfound longing, follows him with head bowed down. (7)

कामपि गुरुकुच-कुम्भ-विजृम्भण-मुदित-मदालस-भावाम्  ।
सुखयति हालास्योपवने कृत-कुसुम-धनुर्धर-सेवाम्  ॥ (८)
Somasundara pleases another maiden, who is languid with passion and joy, with heaving potlike bosom, in the Halasya garden with amorous acts of Manmatha.

इति श्रीमत्-परमशिवातिवादिमूर्धन्यस्य सदाशिव-दीक्षितस्य कृतिषु
चतुःषष्टि-लीलासंग्रहे गीतसुन्दरे  प्रथमः सर्गः  ॥

Thus ends Sarga 1 of GITASUNDARAM of the compendium of the 64 Divine Lilas of Lord Sundareswara composed by SADASIVA DIKSHITA, the chief among Sri Paramasiva’s eloquent poets.

द्वितीयः सर्गः    Sarga  2

अमर-वनिता-लास्ये दास्ये महेन्द्रकृते मुदा
  विहरति शिवे वन्यावन्यां-अमोघ-विलासिनि  ।
प्रणय-विधुता मानाधीना विधाय रहः सखीं
  स्मर-शर-परिश्रान्ता कान्ता तदाह तटातका  ॥ (१)
While Siva was wandering from forest to forest enjoying unending sports of love with Deva women deputed by Indra, Tatataka, tossed by anger of love and pride and weary of Manmatha’s darts, spoke to her female companion in secret.  (1)

अपि रजत-गिरीशं प्राप्य जेतुं कराभ्यां
  विगलित-शर-चापा तेन कामानुरूपा  ।
मधुर-चतुर-मुग्धैः कैरपि प्रेमसारैः
  सखि सरस-विलासैर्-अञ्चिता वञ्चितास्मि ॥ (२)
O friend, even if I meet the lord of Kailasa, I get cheated by his unleashing the dart of passion at me and indulging in acts of loving sport, combined with talks of sweet, clever and captivating love.  (2)

पञ्चमाष्टपदी    Ashtapadi  5
शंकराभरण-रागेण गीयते ।  मिश्रछाप् तालः ।   Raga:  Sankarabharana     Tala: Misrachapa

मां-अनुभवितुं धृत-सुमचापं
वसतीवाग्रे शिव-शुभ-रूपम्  ॥ (ध्रुवम्)
The auspicious form of Siva resides nearby holding the bow of flowers in his hand for enjoying me. (Refrain)

तरलित-मौलि-कलाधर-कोरक-कलित-सुधारस-सेकम्  ।
मदन-मदालस-लोचन-सूचित-रति-कौशल-परिपाकम्  ॥ (१)
Siva has moon on his head, which tosses back and forth and pours out nectar into budding flowers. He communicates his mastery of the art of lovemaking through his languid passionate and amorous eyes.  (1)

दरहसित-स्फुरिताधर-दर्शित-वीटी-सोरभसारम्  ।
पीत-पराग-विधूसर-केसर-भासुर-कुरव-कहारम्  ॥ (२)
When Siva smiles gently with throbbing lips, the fragrance of the betelnut in his mouth wafts in the air. Yellow coloured fragrant pollen dust, emerging from the kuravaka garlands he wears, gives a brilliant look.  (2)

काञ्चन-रेखा-त्रय-परिशोभित-तिलकित-रत्न-कलापम्  ।
गुरुकुच-मृगमद-मकरी-मुद्रित-कुङ्कुमसार-विलेपम्  ॥ (३)
Siva wears gem-studded ornaments including shining mark on forehead of three golden lines (Tripundra). He has the paste of kumkum and kasturi (on his chest) from the large bosom (of women he embraces).  (3)

विद्रुम-कोमल-रक्ताङ्गुलि-मुख-नर्तित-रत्न-कुरङ्गम्  ।
कर्णोत्तंसित-कुवलय-वासित-लीलापाङ्ग-तरङ्गम्  ॥ (४)
He holds deer with gem-studded ornamentation in his hand, dancing on soft red coloured fingers, bedecked with pearl rings. He sports waves of sidelong glance, which extend upto the kuvalaya flowers in the ear-rings.  (4)

कर-धृत-पावक-कलित-प्रत्यय-नियताचञ्चल-भावम्  ।
प्रतिकल-डमरुक-वादन-साधित-कामकला-रस-भावम्  ॥ (५)
Siva holds in his hand Agni, signifying his determined unwavering nature. The reverberating sound from the Damaruka in his hand points to his amorous state.  (5)

मञ्जुल-शिञ्जित-मञ्जीरोज्ज्वल-किंचिद्-उदञ्चित-पादम्  ।
पदगति-विस्तृत-ताल-झलज्झल-विहितान्धक-तनुभेदम्  ॥ (६)
His slightly raised feet shine brilliantly with anklets making pleasing jingling sounds. The musical movement of his feet to the very pleasing tune shows how he caused the death of Andhakasura. (As per Puranas, Siva drew a chakra on earth with his foot. When Andhakasura lifted the chakra of earth, he collapsed and died under its weight.)  (6)

मन्दान्दोलित-कुण्डल-विलसित-वितत-फणामणि-भासम्  ।
आम्रेडित-भरतागम-फणिति-प्रकटित-मणित-विलासम्  ॥ (७)
When Siva’s ear-rings gently oscillate, the lustre of gems in the hood of snake (in the ear-ring) spreads. The repetitive movement of limbs in his person expounds the Bharata Sastra of dance, with hoods of snakes on his body shining brightly.  (7)

कुसुम-शराहव-कुहना-पण्डित-ताण्डव-मोहन-वेषम्  ।
वेगवतीजल-सीकर-शीतल-नवहालास्य-निवेशम्  ॥ (८)
He puts on attractive appearance with dance pose, being master of deception in the war of Manmatha.  (8)

भुवनविजय-रक्षा-चूर्ण-कीर्णानि भूयः
  पथिक-वदन-शीतांशू-परागैः परागैः  ।
मधुरस-विषधारां-उद्वमन्ति प्रयुङ्त्ते
  किसलय-भुजगा-स्त्राण्यन्तरङ्गाण्य्-अनङ्गः  ॥ (३)
Manmatha causes pollen dust to cover Siva, resulting in eclipse of the moon on his head. Shower of pollen dust, which is the main instrument of his victory in all worlds, is sweet on the outside, coming from sprouts of flowers, and poisonous like snake on the inside.  (3)

  भ्रमर-युवति-श्रेणी-वेणीयुते मणिमण्डपे  ।
तरुणिम-लसद्गर्वे शर्वे विहारिणि मां विना
  विषम-विशिखाधीनं दीनं मनो न विनोद्यते  ॥ (४)
When Siva, being proud of his splendrous youth, wanders in the gem-studded mandapa without me, where a number of young women with hair being encircled by bees are gathered and which is suffused with creepers of Mallika (jasmine) with bright flowers, my pitiable mind, subjugated by the arrows of Manmatha, does not revel. (4)

षष्ठाष्टपदी     Ashtapadi  6
कांबोजी-रागेण गीयते । मिश्रछाप् तालः ।        Raga:  Kamboji     Tala: Misrachapa

घटय मया सह सखि शशिभूषम्  ।
नवनव-भाव-विशेष-मनोहरया धृत-मन्मथ-वेषम्  ॥ (ध्रुवम्)
O friend, arrange for my company with Siva, who has moon as ornament and puts on the appearance of Manmatha, exuding captivating ever-new sentiments.  (Refrain)

परिणय-मण्डपं-उपगतया दरवलित-दृशा मदयन्तम्  ।
रुचिराङुलि-धृत-करतलया नखशिरसा मृदु विलिखन्तम्  ॥ (१)
Arrange for Siva to come to me at the marriage hall- Siva with sidelong glance and gentle gait, who draws (designs) softly with nails on his beautiful fingers.  (1)

अविरल-वर्षित-मौक्तिकया दरहसितोल्लसद्-अनुमोदम्  ।
मणिरणितोज्ज्वल-नूपुरया दृषद्-आरोपित-मृदु-पादम्  ॥ (२)
Arrange for my company with Siva, who delights with his gentle smile, causing a dense shower of pearls; who places on the stone my soft foot, shining with gem-studded anklet.  (2)

परिचय-संगत-तनु-लतया श्रितगुरुकुच-लिकुचाभोगम्  ।
सरस-करग्रह-पुलकितया स्मर-चकितोदयद्-अनुरागम्  ॥ (३)
Arrange for my company with Siva. Like the creeper going round the bread-fruit tree, I shall feel horripilation when he clasps my hand charmingly, resulting in waves of amorous love.  (3)

केलिगृहं निशि भाजितया रतिसुख-रचने रसयन्तम्  ।
करयुग-पिहित-पयोधरया मणिकाञ्चीं विश्लथयन्तम्  ॥ (४)
Arrange for my company with Siva, who reaches the playhouse in the night, preparing for romantic acts of pleasure; who covers my bosom with his twin hands, loosening my gem-studded girdle (round the waist).  (4)

नयन-निवारित-साहसया नख-विकसि-सुकलाजालम्  ।
अमित-मदन-मद-परवशया दृढ-परिरम्भण-बहुलीलम्  ॥ (५)
Arrange for my company with Siva, who, with rashness expressing through his eyes, produces expanded arts with his nails, embracing firmly with limitless passion and engaging in much sport.  (5)

सुरत-सुखालस-लोचनया कृत-मधुराधर-रसपानम्  ।
खिन्न-कपोल-कुचस्थलया नव-निधुवन-कुतुक-विधानम्  ॥ (६)
Arrange for my company with Siva, who, with passionate eyes, drinks the sweet nectar of my lips. With perspiring cheeks on the bosom area, he engages in new and pleasurable sport.  (6)

विलुलित-कुन्तल-कुण्डलया कर-लालित-कुच-कलशान्तम्  ।
विलसित-वीरायित-कलया दर-मुकुलित-सरस-दृगन्तम्  ॥ (७)
Arrange for my company with Siva, who shakes my potlike bosom with the moving tuft of my hair; who, being adept in romance, casts gently budding sidelong glance.  (7)

उपरत-कलरव-कूजितया चिर-परिचित-हृदयं-उदारम्  ।
श्रमजल-बिन्दु-परिष्कृतया स्मृत-हालास्य-वन-विहारम्  ॥ (८)
Arrange for my company with Siva, with a large heart, who wanders in the Halasya forest, reminded of his amorous sport by the perspiration on his body, after the cuckoo has ceased singing.  (8)

आयान्त्या कनकाब्जिनी पथि मया साकूतं-आलोकिते
  देवे निर्जर-कामिनी-परिषदि प्रत्यग्र-लीला-रसम्  ।
सद्यः स्विद्यद्-उरःस्थलं सचकित-व्यापरितार्धेक्षणं
  सव्याज-स्मयमान-वक्त्र-कमलं वैलक्ष्यं-आलक्ष्यते  ॥ (५)
I noticed Siva coming on the path beside the golden lotus pond. He had a perspiring chest region and half-open eyes full of wonder and lotus face with cunning smile. His abnormal appearance shows the fresh sports in which he had engaged in the company of Deva women.  (5)

उद्यद्-वेगवतीतरङ्ग-निकर-व्यक्तानुपूर्व्या स्पृशन्-
  रोमाञ्चं जनयन्-कदम्ब-मुकुलोल्लासोपलम्भ-क्रमात्  ।
भृङ्गी-कोक-कपोत-कोकिल-रवैर्-आशान्तरं पूरयन्-
  बन्धुर्-गन्धवहस्तनंधय इह प्रत्यङगं-आलिङ्गति  ॥ (६)
The fragrant infant breeze, my well-wisher, embraces me on my every limb – the breeze which comes touching the waves of river Vegavathi rising successively; creating horripilation; noticing the budding of kadamba flowers; with the sound of bees, geese, doves and cuckoos filling all directions.  (6)

  चिन्ता-निश्चल-कर्णपूरं-असम-प्रश्नोत्तर-प्रक्रियम्  ।
आकल्यानति-कौतुकं सुरवधू-बिब्वोक-जात-स्पृहं
  भावैः कैरपि शंकरः प्रतिलतागेहं परिक्रामति  ॥ (७)
Tossed about with various emotions, Siva wanders around every creeper-house; with eye-lashes quivering creeper-like, happy with the sidelong passionate glance of the eyes; the ear-rings not shaking as a sign of worry; endless questions and answers rocking the mind; craving with curiosity arising from the amorous gestures of the Deva women.  (7)

  तटातकां वेगवती-तटेषु  ।
अन्विष्य रथ्यासु लता-गृहेषु
  रसालमूलं गिरिशः सिषेवे  ॥ (८)
Siva, reminded of his closeness with Tatataka by the teachings of Manmatha, started searching for her in paths and creeper-houses and reached the foot of mango tree.  (8)

सप्तमाष्टपदी     Ashtapadi  7
भूपाल-रागेण गीयते  ।   मिश्रछाप् तालः  ।    Raga:  Bhupala     Tala: Misrachapa

शिव शिव वसन्त-समये साधुना विरहेण  । (ध्रुवम्)
O Siva, Siva, what a separation in this spring season. (Refrain)

तां-अवाप्य विनोदयामि कदा मनो मदनेन  ।
तापकारितयाभियातिरिवाद्य यो मम तेन  ॥ (१)
When will my mind, tormented by Manmatha as if he were a foe, delight in her company now.  (1)

तां-अभिन्न-तनुं बिभेम्य्-अधुना हृदि प्रणिधातुम्  ।
जन्मभूमि-गतां स्मरो बहु बाधयेन्-मदहेतुम्  ॥ (२)
I dread to contemplate her, whose body is non-different from mine, in my heart now; Manmatha will torment me through her, the source of intoxication, once she reaches the place of her birth (i.e. my heart).  (2)

भावचित्र-विलेखने कलये कथं कर-पल्लवम्  ।
तत्कला अपि मानिनीव न सागसो विषया ध्रुवम्  ॥ (३)
How will I imagine her tender blossom-like hand, making passionate drawings; because she will refrain from employing that art out of conceit, pretending it to be an offence.  (3)

तां वियोग-कृशां विधाय वृथा यदाचरितं मया  ।
तत्फलानि विवृण्वते किमु कोकिला मदसूयया  ॥ (४)
My vain behaviour, leaving her emaciated out of pain of separation – Is the female cuckoo punishing me with its evil consequences out of indignation.  (4)

कोप-रक्त-दृशेव कोक-नदेन वेगवती-क्षते  ।
कीर्ण-शीकरं-उद्यतोर्मिकरेण कुप्यति मत्कृते  ॥ (५)
The red lotus in the Vegavathi river keeps splashing violent water sprays as if eyeing me with anger.  (5)

किं करोमि कथं वदामि भजामि कं मदनादृते  ।
जीविता-वधिर्-आनतिर्-मुहुर्-अङ्गजाय धनुष्मते  ॥ (६)
Tormented by Manmatha, what shall I do; how shall I speak; whom shall I adore. As long as I live I am forced to bow frequently to Manmatha, the holder of bow, in reverence.  (6)   

हन्त कृन्तति चिन्तया तनुं-आत्मभूरिव मानसम्  ।
तां-उपेत्य कृत-व्यथां-अभिनेतुं-एनं-अनागसम्  ॥ (७)
This Manmatha torments my mind as well as my body with anxiety as to how to demonstrate to her this innocent, troubled mind.  (7)

तां-अहं प्रतिपद्य सत्वरं-आत्त-रम्य-विलासिनीम्  ।
रञ्जयामि कदा रतौ हालास्य-सौध-निवासिनीम्  ॥ (८)
When am I going to reach her, the attractive and playful damsel and delight her in the abode at Halasya in amorous play?  (8)


तवविमतं-अपास्तं वह्निनेत्रं निटाले
  सपदि दहति चेन्-मां मन्मथ त्वच्-छराग्निः  ।
अपहृत-निजरेखे वंशरत्ना-पराधिन्-
  अहह हिम-मयूखो दुःसहं किं न कुर्यात्  ॥ (८)
O Manmatha, if the fire of your arrows burns me, whose eye of fire in the forehead, which is your foe, has been subjugated by it, then what will the moon not do - the moon, whose fullness has been depleted owing to misdemeanour with his own wives.  (8)

पुरा सारंगाक्ष्या विविध-रस-भावैर्-उपचितो
  वियोग्-एर्ष्या-क्रोधात्-सपदि मदनो मां व्यथयतु  ।
  दशायां-अस्यां मे बत मुकुट-भूषापि विमता  ॥ (९)
Let Manmatha, who was adored in earlier times with passionate eyes with different pleasing emotions, torment me now with jealousy and anger of separation. But the moon, the decorative crown on my head, has also become my foe in my present condition- the moon with waves of nectarine coolness outside, but hard, poisonous and hot inside.  (9)

बाणैस्ते मधु-संस्कृतैर्-अविरही वध्यः कथं स्याद्-अतः
  स्वान्तं प्राप्य मनाग्-अनार्य चलयन्-धत्से दशां-ईदृशीम्  ।
श्रीचेतोभव भावय त्रिजगतां सम्मोहकं त्वां विना
  देहार्ध-प्रतिपन्न-मूर्तिमपि तां को वा वियोक्ता मया  ॥ (१०)
O evil Manmatha, who is not separated from your beloved; how are you going into my inner mind and killing it with honey-soaked arrows, leading me to this state? You be well-disposed to her, who is separated from me, though attained to half the body of mine. Who other than you, the mesmeriser of the three worlds, can do this.  (10)

दृश्यं सर्वमपि प्रिये तव वपुः श्राव्यं वचस्-तावकं
  स्पृश्यं त्वत्कुच-कुंभ-युग्ममपि च घ्रातव्यं-आस्यं तव  ।
आस्वाद्यं च तवाधरा-मृतमपि ध्येयं त्वद्-आलिङ्गनं
  सर्वं त्वन्-मयमेव को नु विरहः का वा नियोग-व्यथा  ॥ (११)
O beloved, whatever I see is your form; whatever I hear is your speech; whatever I touch is the pair of your pot-like breasts; whatever I smell is your mouth; whatever I taste is the nectar of your lips; whatever I meditate on is your embrace; everything is all you. What is the separation or what is the trouble of union?  (11)

अम्भोरुहं वदनं-उत्पलं-ईक्षणं च
  चूत-प्रवालं-अधरं लिकुचावुरोजौ  ।
चाम्पेयदाम वपुर्-आदधती वनश्रीर्-
  एषा तनोति कुतुकानि तटातकेव  ॥ (१२)
Her face lotus- like; her eyes blue lotus- like; her lips mango sprout-like; her breasts likucha-like (bread-fruit-like); her garland of champaka flowers; this splendid grove bears wonders like Tatataka.

  सोत्कण्ठैः कलकण्ठ-कण्ठ-रणितैः शीतैश्च वाताङ्कुरैः  ।
नीतो हन्त वनाद्-वनान्तरं-असौ दृष्ट्वा च तत्रोत्तरं
  हालास्यं नवरत्न-सौधं-अगमद्-बालेन्दु-चूडामणिः  ॥ (१३)
O, Siva, the bearer of crest-jewel of crescent, was led from one grove to another by honey-filled scents, sweet hummings of groups of bees, the enthusiastic singing of cuckoos and cool gentle waves of breeze. He then saw Halasyam on the northern side and entered the mansion studded with the nine precious gems.  (13)

मधुरा-नगरोपान्त-रत्न-सौध-विहारिणम्  ।
जगाद मीननयना-सखी कर्पूर-सुन्दरम्  ॥ (१४)
The companion of Meenakshi approached Siva, the handsome camphor-like white one, who was moving about in the gem-studded mansion on the outskirts of the city of Madurai.  (14)

अष्टमाष्टपदी     Ashtapadi  8
सोराष्ट्र-रागेण गीयते  ।  मिश्रछाप् तालः  ।         Raga:  Sourashtra     Tala: Misrachapa

राजसुता रतिरूपा शिव
चन्दन-मलय-समीर-सुधाकर-विरचित-शतगुण-तापा  ।  (ध्रुवम्)
O Siva, the princess, beautiful like Rati, experiences a hundred times intense suffering on account of the sandal-laden breeze from the Malaya mountains and the moon.  (Refrain)

पश्यति न किमपि दृश्यं-उदास्ते विशति विषादं-अवार्यम्  ।
शंकर तावक-विरह-विचारे चञ्चति मुञ्चति धैर्यम्  ॥ (१)
O Sankara, the princess sees nothing; she is indifferent and enters into a state of high sorrow; she moves about, contemplating all the while separation from you; she loses courage. (1)

कनक-सरोज-रजोभर-धूसरमपि तनयाकृत-हंसम्  ।
भसित-तिरोहित-पावकमिव संस्पृश्य क्षिपति नतांसम् ॥ (२)
The princess drops the swan shining with the dust of the golden lotus (in the pond) like concealed fire.  (2)

फाल-विलोचन फणिपति-कङ्कण खण्डित-चन्द्र-ललाम  ।
अनल-शरीर किरात-वरेति च जपति सदा तव नाम  ॥ (३)
The princess always chants your names- one with third eye in the forehead, one with bracelet of Sesha the serpent head, one with crescent on the head, one with body of fire (the reference is to Arunachala), the best of hunters (the reference is to Siva’s appearanace as hunter in front of Arjuna).  (3)

नवघनसारै रुचिर-शरीरं रचयति मृगमद-कण्ठम्  ।
निज-शशिकलया कलित-वतंसं श्लिष्यति लसद्-उपकण्ठम्  ॥ (४)
The princess applies camphor on her beautiful body and musk on her neck. The crescent on her head adds lustre and appears to make her neck area attractive.  (4)

ध्यायति किञ्चन विलिखति किञ्चन कुप्यति जनं-उपयान्तम्  ।
तुष्यति विजने क्षणमपि शुष्यति स्मृतं-अनपेक्ष्य भवन्तम्  ॥ (५)
The princess thinks deeply sometimes; scribbles sometimes; gets angry with those who come to her; when none is around she is happy; she sometimes tries to overcome thoughts of you, causing grief. (5)

क्षणमिव मरकत-गृहं-अधिशेते क्षणमिव नलिनी-पत्रम्  ।
क्षणमपि कदलीवेदीभागं पारद-तरल-चरित्रम्  ॥ (६)
The princess sometimes lies down for a while in the emerald cottage; sometimes she fiddles with lotus leaves or the banana tree stem; her conduct is quicksilver-like.  (6)

काम-शरानल-कवचितमपि निज-जीव-कुसुम-मृदु-बन्धम्  ।
ध्यानरसेन मुहुः परिरक्षति शंकर भवद्-अनुबन्धम्  ॥ (७)
O Sankara, the princess, though encompassed by the fire of Manmatha, maintains her inner soft flower-like nature; she protects her bond with you by frequent and passionate thoughts of you.  (7)

अलस-विलोचनं-अङ्कुरित-स्मितं-अनितर-परिचित-दास्यम्  ।
अमित-कुतूहलमिह वाञ्छति तव हालास्येश रहस्यम्  ॥ (८)
O Lord of Halasya, the princess wishes for swooning eyes and sprouting smile indicating surrender with unlimited delight here in secret. (8)

इति श्रीमत्-परमशिवातिवादिमूर्धन्यस्य सदाशिव-दीक्षितस्य कृतिषु
चतुःषष्टि-लीलासंग्रहे गीतसुन्दरे  द्वितीयः सर्गः  ॥

Thus ends Sarga 2 of GITASUNDARAM of the compendium of the 64 Divine Lilas of Lord Sundareswara composed by SADASIVA DIKSHITA, the chief among Sri Paramasiva’s eloquent poets.

तृतीयः सर्गः     Sarga Three

दृष्टिं वस्तुषु न प्रचोदयति सा दृष्टानि नापेक्षते
  सापेक्षाणि न चाददाति न तथा धत्ते गृहीतान्यपि  ।
सुप्तेव प्रतिबोधितेव विमतेवाप्तेव भीतेव च
  प्रत्य्त्पन्न-बलेव ते विरहिणी प्रत्याशया प्राणिति  ॥ (१)
Meenakshi, being separated from you,does not direct her look at objects; does not wish for objects looked at; does not pick up objects desired; does not keep objects picked up. She is at times sleepy; at times awake; stupid; overcome by fear; she keeps herself alive with self-induced strength with hope of meeting you.  (1)

चित्रे त्वां चिर-निर्मितं पुनरपि द्रष्टुं न शक्नोति सा
  कन्दर्प्-आकृति-शङ्कया शशिभयान्-नादर्शं-आलोकते  ।
किं वक्ष्ये विरहे तव प्रमथिता निर्वेग-शङ्का-शतैर्-
  अङ्गानामपि सौरभैर्-अपकृतिं जानाति मीनेक्षणा  ॥ (२)
Meenakshi is unable to look at your picture, though it has been with her for a long time; she does not look in the mirror, suspecting to see Manmatha or owing to fear of the moon. What to say! Tortured by hundreds of streaming suspicions in separation from you, she finds perfume on her limbs hurtful.  92)

नवमाष्टपदी        Ashtapadi  9
देशाक्षिरागेण गीयते  ।  मिश्रछाप् तालः  ।     Raga: Desakshi      Tala: Misrachap

अम्बिका जगदम्बिका
जगतां-अधिनायिका  ॥ ध्रुवम्)
Ambika, the mother of the universe, the mistress of the worlds.  (Refrain)

शरद्-अमृत-किरण-शुभ्रं-उदारम्  ।
विरहोचितमिव वहति शरीरम्  ॥ (१)
Ambika carries her body, white like the nectarine rays of the moon, fit for her condition of separation.  (1)

शिरसि करोति सुधाकर-कलिकाम्  ।
सुमशर-चीटीमिव भय-जनिकाम्  ॥ (२)
Ambika considers the crescent moon on her head as if it were the terrible sharp edge of the flower arrow of Manmatha. (2)

रविकिरणारुणमपि च कपर्दम्  ।
व्रतमिव विदधात्यलकविमर्दम्  ॥ (३)
Ambika has her matted hair of red colour like the Sun at dawn, as if in observance of a vow, with the hair falling on her eyebrows.  (3)

कर-विवलित-चन्द्रकला-घुटिका  ।
जपति किमपि तव सुखसंघतटिका  ॥ (४)
Ambika, with her arms round her crescent shaped ankles, mutters something, imagining the pleasure of your company.  (4)

करधृत-पुस्तकं-एति समोदम्  ।
सरस-कवितया कमपि विनोदम्  ॥ (५)
Ambika holds with pleasure in her hand some book of juicy enchanting poetry.  (6)

हिमकिरणोपल-तनुरिव शशिना  ।
भवता किरतु सुधा-रस-मधुना  ॥ (६)
Ambika’s body has been rendered into moonstone as it were by the moon. You may now provide her with sweet nectar.  (6)

अलमिह मन्मथ-विक्रम-विधिना  ।
परं-उपयाहि पुरेति सुवचना  ॥ (७)
The sweet-tongued Ambika says: Enough now with the play of the valour of Manmatha. Now reach the city.  (7)

मनसि वचस्यपि वपुषि वसन्तम्  ।
प्रथयति हालास्येश भवन्तम्  ॥ (८)
O Lord of Halasya, Ambika ponders over you, who live in her mind, words and body.  (8)

विमोहितां विस्मृत-बाल-लीलां
  वियोग-दीनां-अमृतांशु-मौले  ।
संजीवय त्वं सरसाङ्ग-सङाद्-
  अनङ्गदेवे शपथोऽन्यथा ते  ॥ (३)
O Siva with crescent on head, through passionate advances you enliven Ambika, who is in swoon, has forgotten sports of youth and is in pitiable condition owing to separation. I swear on Manmatha or on you otherwise.  (3)

व्याप्ता शीतकर-त्विषेव तरला तस्यास्-तनुः पाण्डरा
  संक्रान्तं स्मर-कार्मुकैरिव मुखं कर्णान्त-मुग्धेक्षणम्  ।
हृत्वा धैर्यं-उपागतो बहिरिव श्वासानिलो वेगतश्-
  चैतन्यं त्वयि गूहितं विषधरे नाद्यापहर्तुं क्षमः  ॥ (४)
Ambika is tremulous as if possessed by moon-rays; her body has turned white; her face appears as if attacked by Manmatha’s arrows; eyes spreading upto ears in infatuation; her heavy waves of breath are like serpent’s; she is unable to hide her love for you.  (4)

अपि वपुषि समर्पितार्धभागा
  तव पुरभाग-निगूहनोत्सुका या  ।
परुष-विरहिणी कथं नु सैव
  ज्वलद-समेषु-शरानलं सहेत  ॥ (५)
Ambika, who shares half your body, desires to embrace you from the front. In cruel separation from you, how can she bear the fire of the flaming arrows of Manmatha.  (5)

इह मणि-सदने वसामि तस्या
  झटिति समानयने सखि त्वरेथाः ।
इति शिव-वचसा क्षणाद्-उपेता
  तरल-दृशं पुनराह तां वयस्या  ॥ (६)
Siva said now to Ambika’s companion: o friend, make haste in bringing her here to this gem-studded abode, where I stay. Ambika’s companion instantly came and spoke to her, who had unsteady eyes.

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