श्रीराधाष्टकम्
Śrī Rādhāṣṭakam
Eight verses in praise of Śrī Rādhā
By Śrīmad Rūpa Gosvāmīpāda
श्रीवृन्दावनेश्वर्य्यै नमः ।
śrī-vṛndāvaneśvaryaiḥ namaḥ |
Obeisance unto the Īśvarī of Śrī Vṛndāvana.
दिशि दिशि रचयन्तीं सञ्चरन्नेत्रलक्ष्मी-
विलसितखुरलीभिः खञ्जरीटस्य खेलाम् ।
हृदयमधुपमल्लीं बल्लवाधीशसूनो-
रखिलगुणगभीरां राधिकामर्चयामि ॥१॥
diśi diśi racayantīṁ sañcaran-netra-lakṣmī-
vilasita-khuralībhiḥ khañjarīṭasya khelām |
hṛdaya-madhupa-mallīṁ ballavādhīśa-sūnor
akhila-guṇa-gabhīrāṁ rādhikām arcayāmi ||1||
I worship Rādhikā,
She who is deep by virtue of possessing all qualities,
She who is the jasmine flower of the bee [lit., “nectar-drinker”]
Of the heart of the Son of the king of the Ballavas,
She who creates the fluttering of wagtails in all directions
With her playful target practicing
In the midst of the beauty of her roving eyes.
Commentary: Śrī Baladeva Vidyābhūṣaṇapāda comments that “she who creates the fluttering of wagtails in all directions …” (diśi diśi racayantīṁ …khuralībhiḥ khañjarīṭasya khelām) means that any direction in which she casts [the glance of] her eyes becomes as though filled with a flock of wagtails (yasyāṁ diśi netre nikṣipati sā dik khañjana-mālayeva nicitā bhavatīty arthaḥ). As wagtails are known for their frequent fluttering movement, so the flickering of Śrī Rādhā’s eyes is a prominent feature of her beauty. He further comments that “target practicing” (khuralībhiḥ) refers to practice of skillfulness in aim (vilokana-paṭutā-lakṣaṇā abhyāsās), that is, the practice of firing arrows at a target. This implies that Śrī Rādhā’s casting glances from her eyes is comparable to an archer firing arrows from a bow: as an expert archer can pierce the hearts of the animals he hunts with his arrows and thereby capture them, so Śrī Rādhā can pierce the heart of Śrī Kṛṣṇa with her glances and thereby capture him. Her frequent casting of her glances is thus compared to the target practice of an archer. “She who is the jasmine flower of the bee of the heart of the Son of the king of the Ballavas” (Hṛdaya-madhupa-mallīṁ Ballavādhīśa-sūnor) means that she is the delighter of Hari’s heart just as a jasmine flower is of [the heart of] a bee (madhupasya mallīm iva hari-hṛdayasyānandinīm ity arthaḥ).
In regard to the core construction throughout the composition “I worship Rādhikā” (Rādhikām arcayāmi), Śrī Vidyābhūṣaṇapāda offers the following discussion:
nanu kṛṣṇa-yuvatyāḥ śrī-rādhāyāḥ pūjā kathaṁ puṁsā saṁpādyeti cet strī-rūpeṇeti gṛhāṇa |
“[A question is raised:] ‘Well, how is worship of Kṛṣṇa’s young lady, Śrī Rādhā, to be performed by men [i.e., how can a man perform the formal process of worship known as arcana for Śrī Rādhā given that it involves bathing, dressing, anointing, and other activities that are considered inappropriate for a man to perform for any woman other than his wife or lover, and Śrī Rādhā is known to be the beloved of Śrī Kṛṣṇa]?’ If this [question is raised], [then it should be answered as follows:] [It should be performed] With a female form [i.e., since it is not appropriate to perform it with a male form, one should perform it with a female form]. Accept it thus [i.e., therefore, engage in worship of Śrī Rādhā with a female form].
nanu puṁsaḥ strī-rūpaṁ katham iti cet bhāvanayeti pratīhi |
“[Another question is raised:] “‘Well, how can a man have a female form?’ If this [question is raised], [then it should be answered as follows:] Through meditation [i.e., a jīva in a male body can in meditation don a female form and then with that female form offer worship to Śrī Rādhā]. Understand it thus.
na hi viruddham idaṁ bhāvanam | aṇucaitanyaṁ khalu jīvātmanaḥ svarūpam, na tasya puruṣādyākāratvam, kintu tad-dehasyaiva prākṛtasya | naiva strī na pumān eṣa na caivāyaṁ napuṁsakaḥ | yad yac charīram ādatte tena tena sa yujyate || iti śvetāśvatara-śruteḥ |
This [sort of] meditation is certainly not incongruous [i.e., contrary to the nature of a jīva, including those jīvas embodied in a male body]. The nature (svarūpa) of the jīvātmā is only minute consciousness. It has no corporality, male or otherwise [i.e., it has no masculinity or any other gender in its intrinsic nature]. Rather, only its material body does, as per the Śvetāśvatara Śruti [5.10]: ‘It [i.e., the jīva] is not female and not male. It is also not of neuter gender [i.e., non-binary, lit., “non-male”]. Whatever body it accepts [male or otherwise], it becomes united with that [i.e., it acquires the gender of that body].’
deha-vigame tu bhāvanānusāriṇā hari-saṅkalpena vijñānānandātmaka-strī-vigraha-lābhe na kiñcid anupapannam | yathā kratur asmil loke puruṣo bhavati tathetaḥ pretya bhavati iti chāndogya-vākyāt, yādṛśī bhāvanā yasya siddhir bhavati tādṛśī iti smṛteś ceti |
“After the death of the body, furthermore, attaining the form of a female constituted of consciousness and bliss by virtue of a resolve (saṅkalpa) related to Hari in accord with one’s meditation it is not at all impossible, as per the statement of the Chāndogya [Upaniṣad 3.14.1], ‘As is a living being’s intention in this world, so the living being becomes upon departing from here,’ and as per the [statment of the] Smṛti, ‘As is one’s meditation, so is one’s attainment.’
ata evam uktaṁ bṛhad-vāmana-purāṇe—striyo vā puruṣo vāpi bhartṛ-bhāvena keśavam | hṛdi kṛtvā gatiṁ yānti śrutīnāṁ nātra saṁśayaḥ || iti |
“Therefore, this is stated in Bṛhad Vāmana Purāṇa: ‘A woman or a man who has accepted Keśava at heart with the bhāva of [him being] a husband reaches the destination of the Śrutis. Of this there is no doubt.’”
पितुरिह वृषभानोरन्ववायप्रशस्तिं
जगति किल समस्ते सुष्ठु विस्तारयन्तीम् ।
व्रजनृपतिकुमारं खेलयन्तीं सखीभिः
सुरभिणि निजकुण्डे राधिकामर्चयामि ॥२॥
pitur iha vṛṣabhānor anvavāya-praśastiṁ
jagati kila samaste suṣṭhu vistārayantīm |
vraja-nṛpati-kumāraṁ khelayantīṁ sakhībhiḥ
surabhiṇi nija-kuṇḍe rādhikām arcayāmi ||2||
I worship Rādhikā,
She who here exceedingly increases
The eminence of the family
Of her father Vṛṣabhānu
Throughout the entire world,
She who along with her sakhīs
Engages the Prince of Vraja in play
In her own fragrant kuṇḍa.
Commentary: Śrī Vidyābhūṣaṇapāda comments that in this verse the author distinguishes Śrī Rādhā by describing her as a cause of high praise for her father’s family (pitṛ-kulotkīrti-kāritāṁ varṇayañ śrī-rādhāṁ viśinaṣṭi). He further states that Śrī Rādhā increasing the eminence of her family means she makes [her family] renowned by her birth (sva-janmanā prakhyāpayantīm ity arthaḥ) and that her engaging her beloved Śrī Kṛṣṇa in play in her kuṇḍa alludes to her splashing him with water (khelayantīṁ jalair abhiṣiñcatīm ity arthaḥ).
शरदुपचितराकाकौमुदीनाथकीर्ति-
प्रकरदमनदीक्षादक्षिणस्मेरवक्त्राम् ।
नटदघभिदपाङ्गोत्तुङ्गितानङ्गरङ्गाम्
कलितरुचितरङ्गां राधिकामर्चयामि ॥३॥
śarad-upacita-rākā-kaumudī-nātha-kīrti-
prakara-damana-dīkṣā-dakṣiṇa-smera-vaktrām |
naṭad-aghabhid-apāṅgottuṅgitānaṅga-raṅgām
kalita-ruci-taraṅgāṁ rādhikām arcayāmi ||3||
I worship Rādhikā,
She whose smiling face is expert
In the rite of defeating the numerous glories
Of the full lord of moonlight [i.e., the moon] enlarged in the autumn,
She whose amorous play
Is excited by the dancing side-long glances
Of the Killer of Agha,
She by whom waves of beauty are produced.
Commentary: Śrī Vidyābhūṣaṇapāda comments that in this verse the author distinguishes [Śrī Rādhā] by describing her as possessing an unparalleled countenance and being a reservoir of superlative sweetness (anupama-mukha-maṇḍalatām atimādhuryādhāratāṁ ca varṇayan viśinaṣṭi).
विविधकुसुमवृन्दोत्फुल्लधम्मिल्लधाटी-
विघटितमदघूर्णत्केकिपिञ्चप्रशस्तिं ।
मधुरिपुमुखबिम्बोद्गीर्णताम्बूलराग-
स्फुरदमलकपोलां राधिकामर्चयामि ॥४॥
vividha-kusuma-vṛndotphulla-dhammilla-dhāṭī-
vighaṭita-mada-ghūrṇat-keki-piñca-praśastiṁ |
madhuripu-mukha-bimbodgīrṇa-tāmbūla-rāga-
sphurad-amala-kapolāṁ rādhikām arcayāmi ||4||
I worship Rādhikā,
She by the assult of whose chignon—
Expanded with various flowers—
The renown of the tail-feathers
Of an intoxicated, whirling peacock
Is shattered,
She whose unblemished cheeks shine
With the redness of the tāmbūla
Emitted from the bimba mouth of the Enemy of Mura.
Commentary: Śrī Vidyābhūṣaṇapāda comments that in this verse the author distinguishes [Śrī Rādhā] by describing her loveliness that emerges after union [with Śrī Kṛṣṇa] (saṁbhogāntajāṁ śobhāṁ varṇayan viśinaṣṭi). He explains that “she by the assult of whose chignon … the renown of the tail-feathers of the … peacock is shattered” conveys that she defames a peacock’s tail-feathers with her ornamented hair furnished with flowers and loosened by union (kusumitena saṁbhoga-srastena keśa-pāśena mayūra-piccha-tatim apakarṣantīm ity arthaḥ). He also explains that “she whose unblemished cheeks shine with the redness of the tāmbūla emitted from the bimba mouth of the Enemy of Mura” conveys that her cheeks shine with the redness of the tāmbūla from Śrī Kṛṣṇa’s mouth that remains on them after he kisses her (tac-cumbana-lagna-tad-rāga-vidyotamāna-gaṇḍām ity arthaḥ).
अमलिनललितान्तःस्नेहसिक्तान्तरङ्गा-
मखिलविधविशाखासख्यविख्यातशीलाम् ।
स्फुरदघभिदनर्घप्रेममाणिक्यपेटीं
धृतमधुरविनोदां राधिकामर्चयामि ॥५॥
amalina-lalitāntaḥ-sneha-siktāntaraṅgām
akhila-vidha-viśākhā-sakhya-vikhyāta-śīlām |
sphurad-aghabhid-anargha-prema-māṇikya-peṭīṁ
dhṛta-madhura-vinodāṁ rādhikām arcayāmi ||5||
I worship Rādhikā,
She whose heart is steeped
In the spotless inner affection of Lalitā,
She whose good conduct is highly renowed
By virtue of Viśākhā’s all-round friendship,
She who is the casket
Of the shining, priceless rubies
Of Killer of Agha’s prema,
She who is possessed of sweet delight.
Commentary: Śrī Vidyābhūṣaṇapāda comments that in this verse the author distinguishes [Śrī Rādhā] by describing her as the foremost recipient of both her sakhīs and her beloved’s prema (sva-sakhī-sva-nāyaka-premaika-pātratāṁ varṇayan viśinaṣṭi).
अतुलमहसि वृन्दारण्यराज्येऽभिषिक्तां
निखिलसमयभर्तुः कार्तिकस्याधिदेवीम् ।
अपरिमितमुकुन्दप्रेयसीवृन्दमुख्यां
जगदघहरकीर्तिं राधिकामर्चयामि ॥६॥
atula-mahasi vṛndāraṇya-rājye’bhiṣiktāṁ
nikhila-samaya-bhartuḥ kārtikasyādhidevīm |
aparimita-mukunda-preyasī-vṛnda-mukhyāṁ
jagad-agha-hara-kīrtiṁ rādhikām arcayāmi ||6||
I worship Rādhikā,
She who is installed [as queen]
In the incomparably splendrous kingdom of Vṛndāvana,
She who is the presiding goddess of [the month of] Kārika—
The king of all occasions,
She who is the foremost of Mukunda’s innumerable beloveds,
She whose glory destroys the sins of the world.
Commentary: Śrī Vidyābhūṣaṇapāda comments on in this verse as follows:
atha vṛndāvanādhipātvaṁ varṇayan viśinaṣṭi | ākāśa-vāk-pravṛttāyā mahāyogeśvaryāḥ paurṇamāsyā nirdeśād āgatābhir ekānaṁśā-saṁjñā-chāyā-saurī-gaṅgābhiḥ pañcabhir devībhir brahmāṇīndrāṇī-prabhṛtibhyaḥ padma-srak-suvarṇa-siṁhāsana-ratnālaṁkāra-cchatra-cāmara-dukūleṣu gīr-devyā samānīteṣu nabhasi deva-dundubhi-nāda-tumburv-ādi-gandharva-gānor veśyādy-apsaro nṛtyeṣu ca pravṛtteṣu satsu śubha-muhūrte mahati samāje sarveśvarasya kṛṣṇasya sākṣād eva vṛndāvana-rūpe rājye’bhiṣiktām |
“Now, the author distinguishes [Śrī Rādhā] by describing her as the queen of Vṛndāvana. She was installed [as queen] in the kingdom of Vṛndāvana in the presence of Kṛṣṇa, the Īśvara of all, in a grand assembly at an auspicious moment as apsaras such as veśyās danced to the singing of Gandharvas such as Tumburu and the sound of divine dundubhis [i.e., a type of kettle drum] in the sky in the midst of lotuses, garlands, gold, a throne, jewels, ornaments, an umbrella, cāmaras, and fine garments gathered by Sarasvatī along with the wife of Brahmā, the wife of Indra, and others, as well as the five devīs Ekānaṁśā, Saṁjñā, Chāyā, Saurī, and Gaṅgā assembled on the order of Paurṇamāsī, a great mistress of yoga who was prompted by a voice from the sky.
tābhiḥ pañcabhiḥ suvarṇa-paṭṭam āropya maṇi-kumbha-nibhṛtair divyauṣadhi-rasair abhiṣicya tad-rājyādhikārāya datta-tilakāṁ gīr-devī-nivedita-brahmāṇy-ādi-preṣitopahārāṁ vṛndārpita-rājya-bhārāṁ mādhava-mitra-sahāyāṁ vṛndāvana-rājyādhīśvarīm ity arthaḥ | ākāśa-vāg iyaṁ vaidhasī kṛṣṇa-hetukā bodhyā |
“By these five [aforementioned] devīs she was placed on a golden pedastal and showered with divine herbal potions kept in jeweled urns, and thus she became the presiding queen (adhīśvarī) of the kingdom of Vṛndāvana, Mādhava’s [i.e., Kṛṣṇa’s] friends as assistants, who was given the tilaka indicative of authority to rule the kingdom along with gifts sent by Brahmā’s wife and others that were offered [to her] by Sarasvatī. This fateful voice from the sky is to be understood to be caused by Kṛṣṇa.
atha pañca-yojana-mātreṇa vṛndāvana-rājyena bhagavat-preyasī-varga-variṣṭhāyāḥ śrī-rādhā-devyaḥ ko’yam utkarṣa …
“[A doubt is raised:] ‘Now, what excellence of Śrī Rādhā Devī, the foremost of Bhagavān’s beloveds, comes about by virtue of [her being the reigning queen of] the kingdom of Vṛndāvana, which is only five yojanas [in size, i.e., a very tiny domain]?’
iti śaṅkām utsādayituṁ vṛndāvana-rājyaṁ viśinaṣṭi—atuleti koṇaika-dṛṣṭa-brahmāṇḍa-koṭikatvād vaikuṇṭha-gariṣṭha-māthurottamatvāc cātulaṁ nirupamaṁ mahaḥ prabhāvaḥ sarvadā-vasanta-sevitatvād ānandamaya-sakānta-sveśvary-adhiṣṭhitatvāc cotsavaś ca yasya tasmin |
“To destroy this doubt, the author distinguishes the kingdom of Vṛndāvana as ‘incomparably splendrous’ (atuleti), that is, [the kingdom of Vṛndāvana is] that in which there is incomparable majesty (prabhāva) [majesty being one meaning of the word mahas, which is spelled mahasi in the verse because it is declined in the locative case] by virtue of [its] being the highest point in the brahmāṇḍa seen from one angle [of vision] and by virtue of [its] being most excellent in comparison to Mathurā, which [in turn] is superior to Vaikuṇṭha, and [the kingdom of Vṛndāvana is that in which there is] festivity (utsava) [which is another meaning of the word mahas] by virtue of [its] being served continuously by [the season of] spring and [its] being presided over by its blissful Īśvarī [i.e., Śrī Rādhā] along with her beloved [i.e., Śrī Kṛṣṇa].
mahaś cotsava-tejasor iti nānārtha-vargaḥ | tathā cedṛg-rājyādhipatyāt parākāṣṭhāpannas tad-utkarṣa iti bhāvaḥ | kathā ceyam ārṣī dāna-keli-kaumudyāṁ nibaddhā draṣṭavyā |
“Mahas means festivity (utsava) and splendor (tejas) according to the Nānārtha-varga. So, her excellence is possessed of pre-eminence by virtue of such sovereignty [i.e., Śrī Rādhā’s excellence is not lessened but rather is supremely exalted by virtue of her being the queen of Śrī Vṛndāvana]. This is the purport. This ancient tale [of Śrī Rādhā’s coronation] recorded in [the author’s] Dāna-keli-kaumudī is to be seen [for further reference in this regard].
ato bhagavat-paṭṭa-mahiṣītvaṁ vyañjayan viśinaṣṭi—nikhileti |
“Then the author distinguishes [Śrī Rādhā] by alluding to [her] being a royal queen of Bhagavān: nikhileti [i.e., he describes her as the presiding goddess of [the month of] Kārika, the king of all occasions].
yathā dāmodaro bhakta-vatsalo vidito janaiḥ | tasyāyaṁ tādṛśo māsaḥ svalpam apy urukārakaḥ || iti pādma-vākyāt kārtikasya tādṛśatvaṁ tasyādhidevīm ūrjeśvarīm ity arthaḥ | ataḥ kārtike dāmodara-pūjāyāṁ saiva tat-sahabhāvena pūjyābhihitā |
“’As Dāmodara is known by people to be affectionate to bhaktas, [so] this month of his [i.e., Kārtika] is such [i.e., is also most affectionate to bhaktas]. Even a little [auspicious activity rendered during this month] is a producer of a lot [i.e., of a highly beneficial result].’ As per this statement of Padma Purāṇa, the presiding goddess of Kārtika, Ūrjeśvarī [i.e., Śrī Rādhā], is similar to it [i.e., is also most affectionate to bhaktas]. This is the meaning. Therefore, in the worship of Dāmodara during Kārtika, she specifically is designated to be worshiped together with him.
ato’parimiteti | yathā rādhā priyā viṣṇos tasyāḥ kuṇḍaṁ priyaṁ tathā | sarva-gopīṣu savaikā viṣṇor atyanta-vallabhā || iti pādma-vākyāt |
“Then, [the author says] aparimiteti … [i.e., he describes Śrī Rādhā as the foremost of Mukunda’s innumerable beloveds] as per the statement of Padma Purāna: ‘As Rādhā is dear to Viṣṇu, so her pond is dear to him. Among all the gopīs, she alone is Viṣṇu’s most beloved.’
yasyā aṁśo lakṣmī-durgādikā śaktir iti mahālakṣmītva-vyāhāriṇī śrutis tu tat-tat-sarvāṁśeṣūdāhṛtir avagantavyā |
“‘[Śrī Rādhā is she] Whose aṁśa is the śakti [known as] Lakṣmī, Durgā, and so forth.’ The Śruti [i.e., this statement from the Puruṣa-bodhinī Upaniṣad] speaking of [her] being Mahālakṣmī, however, is to be regared as an illustration in the case of all these particular aṁśas [i.e., Śrī Rādhā is superior and original to Lakṣmī, Durgā, and other śaktis, who are her expansions, yet she is sometimes equated with them for the sake of explaining her nature and greatness].”
हरिपदनखकोटीपृष्ठपर्यन्तसीमा-
तटमपि कलयन्तीं प्राणकोटेरभीष्टम् ।
प्रमुदितमदिराक्षीवृन्दवैदग्ध्यदीक्षा-
गुरुमतिगुरुकीर्तिं राधिकामर्चयामि ॥७॥
hari-pada-nakha-koṭī-pṛṣṭha-paryanta-sīmā-
taṭam api kalayantīṁ prāṇa-koṭer abhīṣṭam |
pramudita-madirākṣī-vṛnda-vaidagdhya-dīkṣā-
gurum ati-guru-kīrtiṁ rādhikām arcayāmi ||7||
I worship Rādhikā,
She who considers even the declivities of the ends
Of the edges of the tops of the tips
Of the toenails of Hari’s feet
To be more dear than a lakh of her own lives,
She who is the guru
Of all the completely delighted wagtail-eyed [gopīs]
In imparting mastery [in various arts],
She who is possessed of superlative glory.
Commentary: Śrī Vidyābhūṣaṇapāda comments that in this verse the author distinguishes [Śrī Rādhā] by describing her chastity (pātivratyaṁ darśayan viśinaṣṭi) and that “imparting mastery” (vaidagdhya-dīkṣā) refers to her teaching the arts (kalābhyāsopadeśe gurum).
अमलकनकपट्टोद्घृष्टकाश्मीरगौरीं
मधुरिमलहरीभिः सम्परीतां किशोरीम् ।
हरिभुजपरिरब्धां लब्धरोमाञ्चपालिं|
स्फुरदरुणदुकूलां राधिकामर्चयामि ॥८॥
amala-kanaka-paṭṭodghṛṣṭa-kāśmīra-gaurīṁ
madhurima-laharībhiḥ samparītāṁ kiśorīm |
hari-bhuja-parirabdhāṁ labdha-romāñca-pāliṁ
sphurad-aruṇa-dukūlāṁ rādhikām arcayāmi ||8||
I worship Rādhikā,
She who is fair like saffron
Ground on a spotless golden grindstone,
She of fresh youth
Fully emcompassed by waves of sweetness,
She who is embraced in full
By the arms of Hari,
She whose pores [thus] begin horripilating,
She of fine cloth shining like the rising sun.
Commentary: Śrī Vidyābhūṣaṇapāda comments that in this verse the author distinguishes [Śrī Rādhā] by describing her sweetness (mādhuryaṁ varṇayan viśinaṣṭi). He further states that her being “of fresh youth” (kiśorīm) conveys that she is eternally adolescent (nitya-kiśorām) and that her being “fully emcompassed by waves of sweetness” (madhurima-laharībhiḥ samparītāṁ) means her figure is radiant like a streak of lightning (madhurimeti vidyun-mālām ivocchalita-rūpām ity arthaḥ).
तदमलमधुरिम्णां काममाधाररूपं
परिपठति वरिष्ठं सुष्ठु राधाष्टकं यः ।
अहिमकिरणपुत्रीकूलकल्याणचन्द्रः
स्फुटमखिलमभीष्टं तस्य तुष्टस्तनोति ॥९॥
tad-amala-madhurimṇāṁ kāmam ādhāra-rūpaṁ
paripaṭhati variṣṭhaṁ suṣṭhu rādhāṣṭakaṁ yaḥ |
ahima-kiraṇa-putrī-kūla-kalyāṇa-candraḥ
sphuṭam akhilam abhīṣṭaṁ tasya tuṣṭas tanoti ||9||
The Moon of auspiciousness
On the bank of the daughter of the Sun
Certainly becomes pleased
And grants completely
The desired object
Of one who finely recites in full
This most excellent poem of eight verses about Rādhā,
Which is a veritable reservoir
Of her flawless sweetnesses.
Commentary: Śrī Vidyābhūṣaṇapāda comments that in this verse the author states the fruit of reciting this poem of eight verses (aṣṭaka-pāṭha-phalam āha). He further comments that “the Moon of auspiciousness on the bank of the daughter of the Sun” (Ahima-kiraṇa-putrī-kūla-kalyāṇa-candraḥ) refers to Rādhā’s beloved Śrī Kṛṣṇa (tasyāḥ preyān Kṛṣṇas), the forever full moon in Vṛndāvana, which is situated on the bank of Śrī Yamunā, she who is the daughter of the Sun, that is, [lit.,] that which has hot rays (ahima-kiraṇasya raveḥ putryāḥ śrī-yamunāyāḥ kūle tat-taṭa-vartini vṛndāvane kalyāṇa-candraḥ sarvadā pūrṇavidhur ity arthaḥ). He also comments that Rādhā’s “sweetnesses” refers to the lovelinesses present in her nature, qualities, and splendors (madhurimāṇaḥ svarūpa-guṇa-vibhūti-gatā manojñatās).
Meter
Mālinī
Source
Stava-mālā editions by Śrī Purī Dāsa Mahāśaya, Śrī Rāma Nārāyaṇa Vidyāratna, and Nirṇaya Sāgara Press.