Vrajavihārastavaḥ

Introduction

Among the lesser-known Sanskrit compositions attributed to Śrīdhara Svāmin, the celebrated commentator on the Bhāgavata Purāṇa, is a short but remarkable poem devoted to the Vraja-līlā of Śrī Kṛṣṇa. The work occurs in the manuscript and bibliographical tradition under the titles Vrajavihāra-stotram, Vrajavihāra, and Vrajavihāra-kāvya; its own concluding colophon, however, explicitly states: इति श्रीधरस्वामिना विरचितं व्रजविहारकाव्यं समाप्तम्, identifying both Śrīdhara Svāmin as author and Vrajavihāra-kāvya as title. Thus, the attribution is not dependent merely upon a modern catalogue or later conjecture, but is affirmed by the surviving textual witness itself.

In the recension represented by the witnesses discussed here, the poem consists of twenty verses and presents a remarkably compact panorama of Kṛṣṇa's Vraja-līlā: the singing and longing gopīs, Kṛṣṇa's sportive relations with the women of Vraja, the playful butter-stealing child-Kṛṣṇa, the forests and kuñjas of Vṛndāvana, and finally the intimate sports of Rādhā and Kṛṣṇa. The concluding verse turns to devotional supplication, addressing Kṛṣṇa as Vāsudeva, Viśvambhara, Murāri and Hari. The opening verse establishes the atmosphere immediately, portraying the singing gopīs as drawn toward Kṛṣṇa, while the second explicitly describes Him as व्रजवधूविहारी श्रीकृष्णः, “Śrī Kṛṣṇa, who sports with the women of Vraja.” The poem is therefore fundamentally concerned with the intimate, playful and pastoral Kṛṣṇa of Vraja rather than principally with His majestic or cosmic manifestations.

This trajectory culminates in the nineteenth verse, where Rādhikā, Vṛndāvana's forests and kuñjas, and the intimate relationship of Rādhā and Kṛṣṇa are brought together: वने वने कुञ्जवने मुरारिर्भ्रमन् भ्रमन् राजति राधिका च । सहैव कुञ्जे रमते च राधया ... ॥. The importance of this verse lies not merely in the occurrence of the name Rādhikā, but in its explicit presentation of Rādhā-Kṛṣṇa kuñja-vihāra within the Vraja landscape. The appearance of Rādhā, however, should not by itself be regarded as evidence of a late or post-Śrīdhara composition. The Sanskrit literary celebration of Rādhā and Kṛṣṇa substantially predates Gauḍīya Vaiṣṇavism, most famously in Jayadeva's Gītagovinda. Gauḍīya theology would subsequently elaborate an exceptionally sophisticated theology of Rādhā, Kṛṣṇa, mādhurya-rasa, the sakhīs and the Vraja-kuñjas, but it did not create the Sanskrit Rādhā-Kṛṣṇa literary tradition ex nihilo. Accordingly, the relevant historical question is not simply whether the poem mentions Rādhā, but how its Rādhā-Kṛṣṇa material relates to the earlier Sanskrit tradition. Any claim of lateness or interpolation would require positive evidence, manuscript variation, demonstrable dependence upon a later source, linguistic or stylistic stratification, or another independent textual indication. The presence of Rādhā alone cannot establish such a conclusion.

The attribution is supported by a convergence of manuscript, printed and bibliographical evidence. The Rajasthan Oriental Research Institute, Jodhpur, catalogue of Jinvijay records the work as Vrajavihāra-stotram, catalogue no. 3595, associated with MS E 7713 / MS 7713, and preserves portions of the opening and later verses together with the concluding Śrīdhara attribution. 

Fig: Jinvijay, Catalogue of Sanskrit and Prakrit Manuscripts, Part 2B (Rajasthan Oriental Research Institute, Jodhpur, 1963), p. 63.

An important early printed witness is Häberlin's Kāvya-saṅgraha, printed at Calcutta in 1847, where Vrajavihāra appears on p. 519 and preserves its characteristic opening, later verses, concluding material and Śrīdhara attribution. M. Krishnamachariar, in his History of Classical Sanskrit Literature, p. 303, independently records the work under the entry: “Vrajavihara by Sridharaswaml (Printed, Haberlin).”. Theodor Aufrecht's Catalogus Catalogorum independently records “Vrajavihāra, a poem in praise of Kṛṣṇa in Vṛndāvana, by Śrīdharasvāmin. Printed in Häberlin p. 519,” and separately, “Vrajavihāra kāvya, by Śrīdharasvāmin. Stein 74.”

The latter reference has now been independently verified against p. 74 of Aurel Stein's Catalogue of the Sanskrit Manuscripts in the Raghunātha Temple Library of His Highness the Maharaja of Jammu and Kashmir. Stein records व्रजविहारः — श्रीधरस्वामी — … — संपूर्णम्, thereby independently associating Vrajavihāra with Śrīdharasvāmin, giving an extent of twenty, and describing the manuscript as complete. At present Stein is best treated as an independent catalogue witness to a complete twenty-unit Vrajavihāra attributed to Śrīdharasvāmin. Establishing its manuscript number and subsequent history may eventually allow the physical witness to be traced within the modern history of the Raghunātha Temple collection.

Another important avenue concerns Rūpa Gosvāmin's Padyāvalī. The bibliographical tradition records that some verses attributed to Śrīdharasvāmin occur in the Padyāvalī; Aufrecht explicitly notes, “Some verses of his are given in Padyāvalī.” Later historical research has likewise used Rūpa's quotation of Śrīdhara as evidence for placing Śrīdhara chronologically before Rūpa. Since some Śrīdhara verses preserved in the Padyāvalī may presently be untraced to any known work, it is conceivable that one or more could belong to the Vrajavihāra-kāvya. Their Vraja themes, diction, imagery or metre may prove relevant, but this must remain a research hypothesis, not an established identification. Establishing such a connection would require comparison with the complete Vrajavihāra text, including metre, diction, imagery and variants, together with examination of the original Padyāvalī manuscript and textual traditions. A positive identification would be especially valuable because Rūpa's Padyāvalī constitutes an early reception witness to Śrīdhara's poetry.

A further reception witness occurs in Vīrabhadra Gosvāmī's Bṛhat-Pāṣaṇḍa-dalana, which quotes the verse beginning येषां श्रीमद्यशोदासुतपदकमले नास्ति भक्तिर्नराणां ..., condemning those who lack devotion to Yaśodā's son, are not attracted to the qualities of the Vraja maidens, and do not attentively hear Kṛṣṇa's charming līlā. Its vocabulary—यशोदासुत, आभीरकन्या, श्रीकृष्णलीला, प्रियगुणकथन, and कीर्तन—places it unmistakably within the devotional imagination of Vraja. It should not, however, automatically be incorporated among the twenty verses of Vrajavihāra-kāvya unless the textual tradition of Pāṣaṇḍa-dalana establishes such a source relationship. For now it is safer to regard it as evidence for the broader Śrīdhara-associated or Śrīdhara-received Vraja poetic tradition.

The literary significance of the Vrajavihāra-kāvya extends beyond the question of attribution. Śrīdhara is remembered principally as the author of the celebrated Bhāvārtha-dīpikā on the Bhāgavata Purāṇa, whereas this composition presents Śrīdhara—or the author represented under his name in this textual tradition—as a poet directly celebrating the emotional world of Kṛṣṇa's Vraja-līlā. Its concentrated imagery unites the gopīs, Vraja-vadhūs, child-Kṛṣṇa, His butter-stealing play, Murāri wandering through the forests, Rādhikā, the kuñjas, and the intimate sports of Rādhā and Kṛṣṇa, before returning in the final prayer to the universal Vaiṣṇava vocabulary of Vāsudeva, Viśvambhara, Murāri and Hari. It thus offers a miniature synthesis of several dimensions of Kṛṣṇa's identity: the Supreme Lord, beloved of the gopīs, child of Vraja, and intimate companion of Rādhā. At the same time, it would be premature to project into this brief poem the complete theological architecture of later Gauḍīya Vaiṣṇavism; its vocabulary and theology must first be understood on their own textual terms.

Taken together, the evidence is therefore cumulative: the internal Śrīdhara colophon; the Jodhpur/RORI record; Häberlin's 1847 printing; Aufrecht's independent bibliographical notices; and Stein's p. 74 record of a complete twenty-unit Vrajavihāra attributed to Śrīdharasvāmin. The work consequently deserves serious examination as a potentially authentic and comparatively neglected component of Śrīdhara Svāmin's literary corpus. The present edition has been prepared by extracting and arranging the text from the Jodhpur manuscript witness, with the humble intention of making this beautiful but comparatively little-known composition accessible to devotees and readers of Sanskrit Vaiṣṇava literature. Since the work is short, devotional in character, and centred upon the Vraja-līlā of Śrī Kṛṣṇa, it deserves to be read not merely as an object of textual and historical study, but also as a devotional poem in its own right. This edition is therefore offered primarily so that devotees may encounter Śrīdhara Svāmin's Vraja poetry directly, while preserving the manuscript-based character of the text. It is hoped that bringing this Vrajavihāra-kāvya into wider circulation will encourage both devotional appreciation and further scholarly attention to this remarkable Vraja composition attributed to Śrīdhara Svāmin.

THE TEXT :

व्रजविहारः

गायन्तीनां गोपसीमन्तिनीनां स्फीताकाङ्क्षा मक्षिरोलम्बमालाम् ।

निश्चञ्चल्यामात्मवक्त्रारविन्दे कुर्वन्नव्याद्देवकीनन्दनो वः ॥ १ ॥

[Sragdharā (स्रग्धरा)]

May the son of Devakī protect you all—He who renders the desire-laden, bee-like glances of

the singing gopī women completely motionless, fixed intent upon His own lotus face.

सुपर्णस्वर्णाद्रौ रचितमखिशृङ्गे जलधिजा-

मुखाम्भोजे भृङ्गो निगमविलसत्पञ्जरशुकः ।

त्रिलोकीकस्तूरीतिलककमनीयो व्रजवधू-

विहारी श्रीकृष्णो दिशतु भवतां शर्म सततं ॥ २ ॥

[Śikhariṇī (शिखरिणी)]

May Śrī Kṛṣṇa—who is like Garuda on Mount Meru, a bee upon the lotus face of Goddess Lakshmi,

a parrot dwelling in the cage of the Vedas, the beautiful musk mark decorating the three worlds,

and the lover who delights in Vraja's maidens—grant you perpetual bliss.

कस्त्वं बाल बलानुजस्त्वमिह किं मन्मन्दिराशङ्कया

बुद्धं तन्नवनीतकुम्भविवरे हस्तं कथं न्यस्यसि ।

कर्तुं तत्र पिपीलिकापनयनं सुप्ताः किमुद्बोधिताः

बाला वत्सगतिं विवेक्तुमिति संजल्पन् हरिः पातु वः ॥ ३ ॥

[Śārdūlavikrīḍita (शार्दूलविक्रीडित)]

"Who are you, child?" "I am Balarāma's younger brother." "What are you doing here?"

"I thought it was my house." "I see. Then why is your hand inside my butter pot?"

"To remove the ants!" "Why did you wake the sleeping calves?"

"To check if it was time for them to graze, dear lady!"

May Lord Hari, engaging in such witty repartee, protect you all.

जीर्णा तरिः सरिदतीवगभीरनीरा

बाला वयं सकलमित्यमनर्थहेतुः ।

निस्तारबीजमिदमेव कृशोदरीणां

यन्माधव त्वमसि सम्प्रति कर्णधारः ॥ ४ ॥

[Vasantatilakā (वसन्ततिलका)]

"The boat is worn out, the river is immensely deep, and we are just young maidens—

everything points to disaster! Yet, O Mādhava, the sole seed of safety for us slender-waisted girls

is the fact that you are our boatman right now."

श्रीश्रीकृष्णो जयति जगतां जन्मदाता च पाता

हर्ता चान्ते हरति भजतां यश्च संसारभीतिम् ॥

राधानाथः सजलजलदः श्यामलः पीतवासा

वृन्दारण्ये विहरति सदा सच्चिदानन्दरूपः ॥ ५ ॥

[Mandākrāntā (मन्दाक्रान्ता)]

Glory be to Śrī Kṛṣṇa, the creator, protector, and ultimate destroyer of the worlds,

who dispels the fear of worldly existence for His devotees! The Lord of Rādhā,

dark-complexioned like a water-bearing cloud, dressed in yellow robes,

and embodying eternal truth, consciousness, and bliss, forever sports in Vrindavan.

ज्योतीरूपं परमपुरुषं निर्गुणं नित्यमेकं

नित्यानन्दं निखिलजगतामीश्वरं विश्वबीजम् ।

गोलोकेशं द्विभुजमुरलीधारिणं राधिकेशं

वन्दे वृन्दारकहरिहरब्रह्मवन्द्याङ्घ्रिपद्मं ॥ ६ ॥

[Mandākrāntā (मन्दाक्रान्ता)]

I bow to the lotus feet—worshipped by Vishnu, Shiva, and Brahma—

of the Lord of Rādhikā, who is the ruler of Goloka, two-armed, holding a flute,

the light-form, supreme person, attribute-less, eternal, non-dual, perpetually blissful,

the ruler of all realms, and the seed of the universe.

येषां श्रीमद्यशोदासुतपदकमले नास्ति भक्तिर्नराणां ।

येषामाभीरकन्या प्रियगुणकथने नानुरक्ता रसज्ञा ॥

येषां श्रीकृष्णलीलाललितगुणकथा सादरौ नैव कर्णौ ।

धिक् तान् धिक् तान् धिगेतान् कथयति नितरां कीर्तनस्थो मृदङ्गः ॥ ७ ॥

[Sragdharā (स्रग्धरा)]

Shame on those people who have no devotion for the lotus feet of Yashoda's son!

Shame on the tongue that takes no delight in recounting the beloved attributes of the cowherd maidens'

Lord! Shame on the ears that do not reverently listen to the charming tales of Śrī Kṛṣṇa's pastimes!

This is what the mridanga drum emphatically proclaims through its rhythmic beats

during devotional singing ("Dhik-tān! Dhik-tān!").

केचिद्वदन्ति धनहीनजनो जघन्यः केचिद्वदन्ति गुणहीनजनो जघन्यः ।

व्यासो वदत्यखिलवेदविशेषविज्ञो नारायणस्मरणहीनजनो जघन्यः ॥ ८ ॥

[Vasantatilakā (वसन्ततिलका)]

Some say a man without wealth is wretched; others say a man without virtues is wretched.

But Sage Vyasa, the supreme scholar of all the Vedas, declares: the truly wretched person is

one who does not remember Lord Narayana.

वृन्दावने वृक्षलताप्रतानैर् वृन्दावनेशस्य विहारहेतोः ।

पुरा विधात्रा रचितान् सुकुञ्जान् जगाम कृष्णः सह राधया सः ॥ ९ ॥

[Upendravajrā / Upajāti (उपेन्द्रवज्रा / उपजाति)]

Into the lovely arbors of Vrindavan, crafted long ago by Creator Brahma out of trees and intertwined

creepers specifically for the pleasure-pastimes of the Lord of Vrindavan,

went Lord Kṛṣṇa in the company of Rādhā.

नवीनमेघोपमनीलदेहः सुपीतपट्टाम्बरयुग्मधारी ।

स्मिताननः कुण्डलवान् किरीटी वंशीधरो मालतिमाल्यधारी ॥ १० ॥

[Upendravajrā / Upajāti (उपेन्द्रवज्रा / उपजाति)]

He whose body is dark blue like a newly formed raincloud, who wears twin garments of fine yellow silk,

bears a smiling face, wears glittering earrings and a crown, holds the flute,

and wears a garland of fresh Malati flowers...

नवीननीलाम्बुदकान्तिमद्वपुः सस्मेरवक्त्राम्बुजवेणुवादनः ।

अनेकरत्नाभरणैर् विभूषितः ससुन्दराङ्गो महसा महोज्ज्वलः ॥ ११ ॥

[Rucirā (रुचिरा)]

His body possesses the radiant hue of a fresh dark cloud; He plays the flute with a

gently smiling lotus face, is decorated with manifold jewel-adorned ornaments,

possesses beautifully formed limbs, and shines brightly with divine effulgence.

गोपीजनानन्दकरो मुरारिर्वृन्दावनेन्द्रो वनमाल्यशोभी ।

वंशीनिनादेन व्रजाङ्गनानां मनांसि सम्मोहितवान् स कामी ॥ १२ ॥

[Upendravajrā / Upajāti (उपेन्द्रवज्रा / उपजाति)]

The slayer of Mura, the Lord of Vrindavan, who brings delight to the gopīs and shines with

forest flower garlands, completely captivated the hearts of the women of Vraja

with the sweet notes of His flute.

नाशाय बालकगणान् सहि कंसराजः तां पूतनां मानुषराक्षसीञ्च ।

संप्रेषयामास यदा तदा तां मायाशिशुः प्राणसमं शुशोष ॥ १३ ॥

[Vasantatilakā (वसन्ततिलका)]

When King Kamsa dispatched the human-disguised demoness Pūtanā to murder the infant children,

the illusory infant Kṛṣṇa sucked her dry, drawing out her very life-breath along with her milk.

जिघांसया समायान्तीं पूतनां राक्षसीवरां ।

क्रोडे कृत्वा स्तन्यादाचीं जघान बालको हरिः ॥ १४ ॥

[Anuṣṭubh (अनुष्टुभ्)]

Taking the formidable demoness Pūtanā—who had arrived with murderous intent—

into His lap, the infant Hari killed her by drinking her milk together with her life energy.

गोपीगणो यमिह कामदृशा भजन्ते यं भक्तिभाज इह केवलभक्तिभावैः ।

यं योगिनो हृदि धिया परिचिन्तयन्ति तं केवलं कमललोचनमाश्रयेऽहं ॥ १५ ॥

[Vasantatilakā (वसन्ततिलका)]

I seek sole refuge in that lotus-eyed Lord, whom the gopīs adore with deep divine passion,

whom devotees worship with pure unalloyed devotion,

and whom yogis contemplate in their hearts through intense meditation.

कृष्णे कारुण्यपूर्णे शशधरवदने पीतकौषेयवस्त्रे

रत्नालङ्कारभूषे सजलजलदरयामले सुन्दराङ्गे ।

वंशीवाद्यप्रमोदे व्रजजनयुवती जीवने यादवेन्द्रे

भूयाद्भक्तिर्दृढा मे सकलसुरवरैः सेव्यमाने मुरारौ ॥ १६ ॥

[Sragdharā (स्रग्धरा)]

May I possess firm devotion toward Śrī Kṛṣṇa, Murāri, the chief of Yadus—who is full of compassion,

moon-faced, dressed in yellow silk, adorned with jewel ornaments, dark like a rain cloud,

exquisitely beautiful, delighted by His flute music, worshipped by all demigods,

and the very life of Vraja's maidens.

वृन्दारण्ये विहरति सदा वासुदेवो दयालुर्

गोपस्त्रीभिः स्मरशरशतैर्भिन्नहृत् कामुकीभिः ।

गोपेर्बालैरपि सहचरैः सार्द्धमानन्दयुक्तैर्

योऽसौ कृष्णः परमकरुणस्तं सदा चिन्तयेऽहं ॥ १७ ॥

[Mandākrāntā (मन्दाक्रान्ता)]

I continuously meditate upon that supremely compassionate Lord Kṛṣṇa,

who constantly delights in the Vrindavan forest alongside joyous cowherd boys and cowherd maidens

whose hearts are lovingly pierced by Cupid’s arrows.

वृन्दावनस्थानविहारहेतो राधासमं कुञ्जगृहप्रवेशम् ।

चकार गोपीजनवल्लभोसौ पायादपायादपि मां मुरारिः ॥ १८ ॥

[Upendravajrā / Upajāti (उपेन्द्रवज्रा / उपजाति)]

May Murāri, the beloved of the gopīs—who entered the leafy bower alongside Rādhā for

their divine pastimes in Vrindavan—protect me from all forms of danger.

वने वने कुञ्जवने मुरारिर्भ्रमन् भ्रमन् भ्राजति राधिका च ।

सहैव कुञ्जे रमते च राधया पायादपायादिह कृष्णएकः ॥ १९ ॥

[Upendravajrā / Upajāti (उपेन्द्रवज्रा / उपजाति)]

Wandering through forest after forest and bower after bower,

Murāri and Rādhikā shine radiantly together. May that singular Lord Kṛṣṇa,

who delights in the bowers with Rādhā, protect me from all danger in this world.

अनन्तविश्वम्भर वासुदेव समस्तदेवैरपि वन्द्यपाद ।

निरामय चाणपते मुरारे हरे हराशेषमहाघसंघम् ॥ २० ॥

[Upendravajrā / Upajāti (उपेन्द्रवज्रा / उपजाति)]

O Infinite One! O Sustainer of the Universe! O Vāsudeva!

O Lord whose feet are worshipped by all demigods! O Flawless One! O Murāri! O Hari!

Please destroy the entire accumulation of my great sins!

इति श्रीधरस्वामिना विरचितं व्रजविहारकाव्यं समाप्तं ॥

vrajavihāraḥ [IAST]

gāyantīnāṃ gopasīmantinīnāṃ sphītākāṅkṣā makṣirolambamālām |

niścañcalyām ātmavaktrāravinde kurvann avyād devakīnandano vaḥ || 1 ||

suparṇasvarṇādrau racitam akhiśṛṅge jaladhijā-

mukhāmbhoje bhṛṅgo nigamavilasatpañjaraśukaḥ |

trilokīkastūrītilakakamanīyo vrajavadhū-

vihārī śrīkṛṣṇo diśatu bhavatāṃ śarma satatam || 2 ||

kastaṃ tvaṃ bāla balānujas tvam iha kiṃ manmandirāśaṅkayā

buddhaṃ tan navanītakumbhavivare hastaṃ kathaṃ nyasyasi |

kartuṃ tatra pipīlikāpanayanaṃ suptāḥ kim udbodhitāḥ

bālā vatsagatiṃ vivektum iti saṃjalpan hariḥ pātu vaḥ || 3 ||

jīrṇā tariḥ sarid atīva-gabhīra-nīrā

bālā vayaṃ sakalam ity anartha-hetuḥ |

nistāra-bījam idam eva kṛśodarīṇāṃ

yan mādhava tvam asi samprati karṇadhāraḥ || 4 ||

śrīśrīkṛṣṇo jayati jagatāṃ janmadātā ca pātā

hartā cānte harati bhajatāṃ yaś ca saṃsārabhītim |

rādhānāthaḥ sajalajaladaḥ śyāmalaḥ pītavāsā

vṛndāraṇye viharati sadā saccidānandarūpaḥ || 5 ||

jyotīrūpaṃ paramapuruṣaṃ nirguṇaṃ nityam ekaṃ

nityānandaṃ nikhilajagatām īśvaraṃ viśvabījam |

golokeśaṃ dvibhujamuralīdhāriṇaṃ rādhikeśaṃ

vande vṛndārakahariharabrahmavandyāṅghripadmam || 6 ||

yeṣāṃ śrīmadyāśodāsutapadakamale nāsti bhaktir narāṇāṃ |

yeṣām ābhīrakanyā priyaguṇakathane nānuraktā rasajñā |

yeṣāṃ śrīkṛṣṇalīlālalitaguṇakathā sādaraṃ naiva karṇau |

dhik tān dhik tān dhig etān kathayati nitarāṃ kīrtanastho mṛdaṅgaḥ || 7 ||

kecid vadanti dhanahīnajano jaghanyaḥ kecid vadanti guṇahīnajano jaghanyaḥ |

vyāso vadaty akhilavedaviśeṣavijño nārāyaṇasmaraṇahīnajano jaghanyaḥ || 8 ||

vṛndāvane vṛkṣalatāpratānair vṛndāvaneśasya vihārahetoḥ |

purā vidhātrā racitān sukuñjān jagāma kṛṣṇaḥ saha rādhayā saḥ || 9 ||

navīnmeghopamanīladehaḥ supītapaṭṭāmbarayugmadhārī |

smitānanaḥ kuṇḍalavān kirīṭī vaṃśīdharō mālatimālyadhārī || 10 ||

navīnanīlāmbudakāntimad-vapuḥ sasmeravaktrāmbujaveṇuvādanaḥ |

anekaratnābharaṇair vibhūṣitaḥ sasundarāṅgo mahasā mahaujvalaḥ || 11 ||

gopījanānandakarō murārir vṛndāvaneṃdro vanamālyaśobhī |

vaṃśīninādena vrajāṅganānāṃ manāṃsi sammohitavān sa kāmī || 12 ||

nāśāya bālakagaṇān sahi kaṃsarājaḥ tāṃ pūtanāṃ mānuṣarākṣasīñ ca |

saṃpreṣayāmāsa yadā tadā tāṃ māyāśiśuḥ prāṇasamaṃ śuśoṣa || 13 ||

jighāṃsayā samāyāntīṃ pūtanāṃ rākṣasīvarām |

kroḍe kṛtvā stanyādācīṃ jaghāna bālako hariḥ || 14 ||

gopīgaṇo yam iha kāmadṛśā bhajante yaṃ bhaktibhāja iha kevalabhaktibhāvaiḥ |

yaṃ yogino hṛdi dhiyā paricintayanti taṃ kevalaṃ kamalalocanam āśraye 'ham || 15 ||

kṛṣṇe kāruṇyapūrṇe śaśadharavadane pītakauśeyavastre

ratnālaṅkārabhūṣe sajalajaladarayāmale sundarāṅge |

vaṃśīvādyapramode vrajajanayuvatī jīvane yādavendre

bhūyād bhaktir dṛḍhā me sakalasuravaraiḥ sevyamāne murārau || 16 ||

vṛndāraṇye viharati sadā vāsudevo dayālur

gopastrībhiḥ smaraśaraśatair bhinnahṛt kāmukībhiḥ |

goper bālair api sahacaraiḥ sārddham ānand ayuktair

yo 'sau kṛṣṇaḥ paramakaruṇas taṃ sadā cintaye 'ham || 17 ||

vṛndāvanasthānavihāraheto rādhāsamaṃ kuñjagṛhapraveśam |

cakāra gopījanavallabho 'sau pāyād apāyād api māṃ murāriḥ || 18 ||

vane vane kuñjavane murārir bhraman bhraman bhrājati rādhikā ca |

sahaiva kuñje ramate ca rādhayā pāyād apāyād iha kṛṣṇa ekaḥ || 19 ||

anantaviśvambhara vāsudeva samastadevair api vandyapāda |

nirāmaya cāṇapate murāre hare harāśeṣamahāghasaṅgham || 20 ||

iti śrīdharasvāminā viracitaṃ vrajavihārakāvyaṃ samāptam ||

रङ्गनाथेनैतत् सङ्कलितम्।