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Sri Prarthana-paddhati [Stavamala]

SRI SRI RADHIKA ASTOTTARA SATA NAMA STOTRAM

by Srila Raghunatha Dasa Goswami

aviksatmesvari kascid vrndavana-mahesvarim
tat padamboja-maka gati dasyati katara
patita tat-saras tire ruda tyartha-ravakulam
tac chri-vaktreksanavaptyai namanyetani sanjagau

Some maidservant, unable to find her mistress, has fallen on the bank of Radhakunda, crying in great anxiety, being very eager to take exclusive shelter of Her lotus feet, glorifying Her by singing the following names of
Her:

radha gandharvika a-kamita
gandharva radhika candrakantir madhava-sangini

1. Radha, 2. Gandharvika by the prince of Vraja, 4. Who is worshipped by the Gandharva-angels, 5. Whose luster is like the moon, 6. Who accompanies Madhava.

damodaradvaita-sakhi kartikotkirtidesvari
mukunda dayita-vrnda dhammilla mani-manjari

7. Damodar's unrivalled queen who bestows fame on the Kartika month, 9. The crestjewel of Mukunda's ladyfriends.

bhaskaropasika varsabhanavi vrsabhanuja
ananga manjari jyestha sridama varajottama

10. Who worships the sun, 11. Who belongs to King Vrisabhanu, 12. Who is born from King Vrisabhanu, 13. Ananga Manjari's older sister, 14. Sridama's younger sister, 15. The greatest (fem.)

kirtida-kanyaka matr-sneha-piyusa-putrika
visakha-s

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The song of river Vaiyai: Paripāṭal

1The present edition of the Paripāṭal does not claim to replace the excellent edition of U. Ve. Swaminatha Aiyyar. It is, on the contrary, nothing but a complement, necessary for those who are not very familiar with Tamil poetic language approaching the text itself without a guide, and indispensable to those who are unfamiliar with Tamil but who wish, nevertheless, to get to know its literary richness and to draw something from this important source of ancient Hinduism through the medium of a translation. This is the first complete one in an occidental language and is published in a collection not meant for the general public; it thus deliberately sacrifices something of elegance to rigour. As far as the opposing structures of two languages permit, it endeavours to conserve the order of appearance of ideas and images, verse by verse if possible, which clarifies the use, if not the abuse, of the inversion and of the parentheses which indicate additions deemed indispensable. Where Tamil indefinitely juxtaposes words to produce a riot of images and sounds, the translation, paying tribute to French “clarity”, has to present the grammatical tools of the logical connections that the poets prefer to leave indeterminate, and to choose a si