Mahābhāba Cintāmaṇi Udbhābita Tanu Khāni
mahābhāba-cintāmaṇi udbhābita-tanu-khāni
sakhī-pati-sajjā prabhābatī
kāruṇya-tāruṇya āra lābaṇya-amṛta-dhārā
tāhe snātā lakṣmī-jayī satī
mahābhāba - of ecstatic love; cintāmaṇi - udbhābita - manifesteed; tanu - body; khāni - jewel mine;sakhī-pati-sajjā - decorated by Her friends; prabhābatī - splendid; kāruṇya - mercy; tāruṇya - youth; āra - and;lābaṇya - beauty; amṛta-dhārā - streams ofnectar; tāhe - in that; snātā - bathed; lakṣmī-jayī - defeating Lakṣmī; satī - saintly.
Śrī Rādhā is a cintāmaṇi jewel of ecstatic love. Her form is a treasury of precious jewels. Dressed and decorated by Her friends, She is glorious. Bathing in the nectars of compassion,
youth, and luster, She eclipses the goddess of fortune Lakṣmīdevī.
lajjā paṭṭa-bastra jāra saundarja kuṅkuma-sāra
kasturī-citrita kalebara
kampāśru-pulaka-raṅga stambha-sweda-swara-bhaṅga
jāḍyonmāda naba-ratna-dhara
lajjā - shyness; paṭṭa-bastra - garment; jāra - of whom; saundarja - beauty; kuṅkuma-sāra - kunkuma; kasturī - with musk; citrita - pictures; kalebara - body; kampa - trembling; aśru - tears; pulaka - hairs erect;raṅga - ecstasy; stambha - stunned; sweda - perspiration; swara - voice; bhaṅga - broken; jāḍya - stunned; unmāda - madness; naba - nine;ratna - jewels; dhara - wearing.
Her dress is composed of various kinds of silken garments, which may be compared to Her natural shyness. Her beauty is more and more enhanced, being decorated with kunkuma, which is compared to beauty itself, and with blackish musk, which is compared to conjugal love. Thus Her body is decorated with different colors. The kunkuma is red and the musk is black. Her ornaments embody the natural symptoms of ecstasy: trembling, tears, jubilation, stunning, perspiration, faltering of the voice, body redness, madness, and dulness. In this way the entire body is bedecked with these nine different jewels.*
pañca-biṁśati-guṇa phula-mālā su-śobhana
dhīrādhīrā bhāba-paṭṭa-bāsā
pihita-māna-dhammillā saubhāgya-tilakojjwalā
kṛṣṇa-nāma-jaśaḥ-karṇollāsā
pañca-biṁśati-guṇa - 25 qualities; phula-mālā - flower garland; su-śobhana - beauty;
dhīrādhīrāsober and restless bhāba-paṭṭa-bāsā - the garment of ecstasy; pihita - hidden; māna - jealous anger; dhammillā - braids; saubhāgya - good fortune; tilaka - tilaka; ujjwalā - splendor; kṛṣṇa-nāma - of Lord Kṛṣṇa's holy name; jaśaḥ - glory;karṇa - of the ear; ullāsā - joy.
The beauty of Her body is enhanced by Her twenty-five transcendental qualities, which hang as a flower garland on Her body. The ecstasy of love for Kṛṣṇa is known as dhīra and adhīra,
sober and restless. Such ecstasy constitutes the covering of Śrī Rādhā's body, and it is adorned by camphor. Her transcendental anger toward Kṛṣṇa is embodied as the arrangement of the hair on Her head, and the tilaka of Her great fortune shines on Her beautiful forehead. The earrings of Śrī Rādhā are the holy names of Kṛṣṇa, as well as the hearing of His name and fame.*
rāga-tāmbūlita-oṣṭha kauṭilya-kajjala-spaṣṭa
smita-karpūrita narma-śīlā
kīrti-jaśa-antaḥ-pure garba-khaṭṭopari sphure
dulita prema-baicittya-mālā
rāga - red; tāmbūlita - betelnuts; oṣṭha - lips; kauṭilya - black; kajjala - mascara; spaṣṭa - manifest; smita - smile; karpūrita - camphor; narma - playful and joking;śīlā - ntaure; kīrti-jaśa - glory and fame; antaḥ-pure - in the inner rooms; garba - pride; khaṭṭa - bed; upari - on; sphure - manifest; dulita – manifest; prema-baicittya-mālā - the garland of prema-vaicittya.
Her lips are always reddish due to the betelnut of ecstatic affection for Kṛṣṇa. The black ointment around Her eyes is Her tricky behavior with Kṛṣṇa brought about by love. Her joking with Kṛṣṇa and gentle smiling is the camphor with which She is perfumed. She sleeps in Her room with the aroma of pride, and when She lies down in Her bed, the transcendental variety of Her loving ecstasies is like a jeweled locked in the midst of Her necklace of separation.*
prāṇaya-roṣa-kañculī- pihita stana-jugmakā
candrā-jayī kacchapī-rabinī
sakhī-dwaya-skhande līlā- karāmbujārpaṇa-śīlā
śyāmā śyāmāmṛta-bitaraṇī
prāṇaya - of love; roṣa - anger; kañculī - bodice;pihita - covered; stana-jugmakā - breasts;
candrā - moon; jayī - defeating; kacchapī - vina;rabinī - playign; sakhī - friends; dwaya - two; skhande - on the shoulders; līlā - pastime; kara - hand; ambuja - lotus flower; arpaṇa-śīlā - placing; śyāmā - beautiful; śyāma - of Kṛṣṇa; amṛta - nectar; bitaraṇī - giving.
Her transcendental breasts are covered by Her sari in the form of affection and anger toward Kṛṣṇa. She has a stringed instrument known as a kacchapī-vīṇā, which is the fame and fortune that actually dries up the faces and breasts of the other gopīs. She always keeps Her hands on the shoulder of a gopī friend, who is compared to Her youthful beauty, and although She is highly qualified with so many spiritual assets, She is nonetheless affected by the Cupid known as Kṛṣṇa. Thus She is defeated.*
e heno rādhikā-pada tomādera su-sampada
dante tṛṇa jāce taba pāya
e bhaktibinoda dīna rādhā-dāsyāmṛta-kaṇa
rūpa-raghunātha deho tāya
e henaḥ - in this way; rādhikā-pada - Śrī Rādhā's feet; tomādera - of You; su-sampada - treasure; dante - teeth;tṛṇa - straw; jāce - begs; taba - of You; pāya - attaining; e - this;
bhaktibinoda - Bhaktivinoda; dīna - poor; rādhā - to Rādhā;dāsya - of service; amṛta - nectar;
kaṇa - drop; rūpa-raghunātha - O Rupa and Raghunatha; dehaḥ - please give; tāya - to him.
Śrī Rādhā's feet are your treasure. Placing a straw between his teeth, poor Bhaktivinoda prays, "O Śrīla Rūpa Gosvāmī, O Śrīla Raghunātha dāsa Gosvāmī, please give me a drop of the nectar of direct service to Śrī Rādhā."
Frequently asked
Who wrote Mahābhāba Cintāmaṇi Udbhābita Tanu Khāni?
Mahābhāba Cintāmaṇi Udbhābita Tanu Khāni was composed by Bhaktivinoda Thakura. It appears in Gitavali.
How many verses does Mahābhāba Cintāmaṇi Udbhābita Tanu Khāni have?
Mahābhāba Cintāmaṇi Udbhābita Tanu Khāni has 6 verses.