Harivamsha MahA PurANam - ViShNu Parva
    atha ekonanavatitamo.adhyAyaH
    ChAlikyakrIDA
    harivamsha in the mahAbharata - viShNuparva
    Chapter 89 - ChAlikya sport
vaishampAyana uvAcha
reme balashchandanapa~NkadigdhaH
    kAdambarIpAnakalaH pR^ithushrIH |
raktekShaNo revatimAshrayitvA
    pralambabAhuH skhalitaH prapAtaH |2-89-1
vaishampAyana said:
(O janamejaya !) With his limbs smeared with the paste of sandal, bala(rAmA) appeared handsome. He drank the spirituous liquor produced from the flowers of Nauclea Cadamba (kAdambarI). He looked beautiful. With his red eyes and long arms, he wandered around, assisted by revatI.
nIlAmbudAbhe vasane vasAna-
    shchandrAMshugauro madirAvilAkShaH |
rarAja rAmo.ambudamadhyametya
    sampUrnabimbo bhagavAnivenduH ||2-89-2
He was wearing dark blue clothes resembling the rain clouds. He was handsome as the white rays of moon. His eyes appeared hazy due to drinking of the spirituous (Cadamba) liquor. (bala)rAma dazzled like the moon god dazzling among the rain clouds with his full form.
vAmaikakarNAmalakuNDalashrIH
    smeranmanoj~nAbjakR^itAvatamsaH |
tiryakkaTAkShaM priyayA mumoda
    rAmo mukhaM chArvabhivIkShyamANaH ||2-89-3
He was wearing a single auspicious ring on his left ear. On his right ear, he was wearing a beautiful lotus flower like an ear ring. (bala)rAma enjoyed fully as his dear (wife revatI) was watching his beautiful face, casting glances.
athAj~nayA kaMsanikumbhashatro-
    rudArarUpo.apsarasAM gaNAH saH |
draShTuM mudA revatimAjagAma
    velAlayam svargasamAnamR^iddhyA ||2-89-4
By the order of the enemy of kaMsa and nikumbha (kR^iShNa), the groups of kind and beautiful divine women proceeded with pleasure to the sea, equal to heaven in prosperity, to see revatI.
tAM revatIM chApyatha vApi rAmaM
    sarvA namaskR^itya varA~NgayaShTyaH |
vAdyAnurUpaM nanR^ituH sugAtryaH
    samantato.anyA jagire cha samyak ||2-89-5
All the divine women, with beautiful slim limbs, paid obeisance to revatI as well as (bala)rAma. The women with beautiful bodies danced according to the playing of musical instruments. Other divine women sang, surrounding them suitably.
chakrustathaivAbhinayena labdhaM
    yathAvadeShAM priyamarthayuktam |
hR^idyAnukUlaM cha balasya tasya
    tathAj~nayA raivatarAjaputryAH ||2-89-6
The divine women, as ordered by bala(rAmA) and the daughter of king raivata (revatI) started playing with acting (with movements of hands etc., and expressions), which appeared dear, meaningful as well as enjoyable to the yAdava-s.
chakrurhasantyashcha tathaiva rAsaM
    taddeshabhAShAkR^itiveShayuktAH |
sahastatAlaM lalitaM salIlaM
    varA~NganA ma~NgalasambhR^itA~NgyaH ||2-89-7
Those beautiful divine women having language, form and attire suitable to the land, played rAsa (sang and danced), smiling. The divine women with auspicious beauty, played simply, keeping rhythm by clapping hands.
sa~NkarShaNAdhokShajanandanAni
    sa~NkIrtayantyo.atha cha ma~NgalAni |
kaMsapralambAdivadhaM cha ramyaM
    chANUraghAtaM cha tathaiva ra~Nge ||2-89-8
The divine women sang good auspicious songs, wonderfully, praising the slaying of kaMsa, pralamba etc., as well as the killing of chANUra on the (wrestling) arena, for pleasing sa~NkarShaNa (balarAma) as well as adhokShaja (viShNu - kR^iShNa).
yashodayA cha prathitam yasho.atha
    dAmodaratvaM cha janArdanasya |
vadhaM tathAriShTakadhenukAbhyAM
    vraje cha vAsam shakunIvadhaM cha ||2-89-9
(The divine women sang songs praising) the established fame of yashoda, tying of janArdana with rope around his belly, killing of ariShTa and dhenuka, kR^iShNa's residence in vraja and the slaying shakunI (pUtana),
tathA cha bhagnau yamalArjunau tau
    sR^iShTiM vR^ikANAmapi vatsayuktAm |
sa kAliyo nAgapatirhrade cha
    kR^iShNena dAntashcha yathA durAtmA ||2-89-10
the breaking of the yamala and arjuna trees, the creation of wolves along with calves, the suppression by kR^iShNa of the wicked soul, kAliya the serpent king in the deep pool (of yamunA).
sha~NkhahradAduddharaNaM cha vIra
    padmotpalAnAM madhusUdanena |
govarddhano.arthe cha gavAM dhR^ito.abhU-
    dyathA cha kR^iShNena janArdanena ||2-89-11
(The divine women sang songs praising) how the valiant slayer of madhu recovered the conch and the blue lotus from the deep pool, holding the hill govardhana for (protecting) the cows by kR^iShNa-janArdana.
kubjAM yathA gandhakapIShikAM cha
    kubjatvahInAM kR^itavAMshcha kR^iShNaH |
avAmanaM vAmanakaM cha chakre
    kR^iShNo tathAtmAnamajo.apyanindyaH ||2-89-12
(The divine women sang songs praising) how kR^iShNa made kubja, who provides fragrant pastes, humpless, how the eternal kR^iShNa, who is not despised, provided the vAmana form to his universal form.
saubhapramAthaM cha halAyudhatvaM
    vadhaM murasyApyatha devashatroH |
gandhArakanyAvahane nR^ipANAM
    rathe tathA yojanamUrjitAnAm || 2-89-13
(The divine women sang songs praising) the destruction of saubha, taking of hala as a weapon by halAyudha (balarAma), killing of mura, the enemy of deva-s, how the powerful kings were bound in the chariots (and defeated) in the taking away of the maiden of gAndhAra,
tataH subhadrAharaNe jayaM cha
    yuddhe cha bAlAhakajambumAle |
ratnapravekaM cha yudhAjitairya-
    tsamAhR^itaM shakrasamakShamAsIt ||2-89-14
the victory in the taking away of subhadrA (by arjuna), how victory was achieved by kR^iShNa and others in the battle with bAlAhaka and jambumAli, how jewels were won in the battles in the presence of indra.
(See Note 1)
etAni chAnyAni cha chArurUpA
    jaguH striyaH prItikarANi rAjan |
sa~NkarShaNAdhokShajaharShaNAni
    chitrANi chAnekakathAshrayANi ||2-89-15
O king (janamejaya)! (vaishampAyana continued) The beautiful women sang songs praising all these and other wonderful deeds of sa~NkarShaNa (balarAma) and adhokShaja (viShNu - kR^iShNa) describing them as wonderful and beautiful stories.
kAdambarIpAnamadotkaTastu
    balaH pR^ithushrIH sa chukUrda rAmaH |
sahastatAlaM madhuraM samaM cha
    sa bhAryayA revatarAjaputryA ||2-89-16
The auspicious bala(rAma), intoxicated by drinking the spirituous liquor of kAdambarI, sang. He played sweetly with his wife, the daughter of king of revata, keeping rhythm by clapping hands.
taM kUrdamAnaM madhusUdanashcha
    dR^iShTvA mahAtmA cha mudAnvito.abhUt |
chukUrda satyAsahito mahAtmA
    harShAgamArthaM cha balasya dhImAn ||2-89-17
Seeing that bala(rAma) was singing, the great soul, the slayer of madhu (kR^iShNa) became happy. The great soul, the one with intelligence, (kR^iShNa) sang along with satya(bhAmA) for giving happiness to bala(rAmA).
samudrayAtrArthamathAgatashcha
    chukUrda pArtho naralokavIraH |
kR^iShNena sArdhaM muditashchukUrda
    subhadrayA chaiva varA~NgayaShTyA ||2-89-18
The son of pR^itha, (arjuna), valiant of the world of men, had also come there, for travelling in the sea. He enjoyed along with kR^iShNa and also sang with subhadrA with beautiful limbs.
gadashcha dhImAnatha sAraNashcha
    pradyumnasAmbau nR^ipa sAtyakishcha |
sAtrAjitIsUnurudAravIryaH
    suchArudeShNashcha suchArurUpaH ||2-89-19
O king (janamejaya)! (vaishampAyana said) gada, the one with intelligence, and also sAraNa, pradyumna, sAmba, sAtyaki, the valiant son of the daughter of satrAjit (satyabhAmA) and the most handsome chArudeShNa,
vIrau kumArau nishaTholmukau cha
    rAmAtmajau vIratamau chukUrdatuH |
akrUrasenApatisha~Nkarashcha
    tathApare bhaimakulapradhAnAH ||2-89-20
the valiant youths, nishaTha and ulmuka, the most valiant sons of (bala)rAmA also sang. akrUra, the leader of yAdava army, sha~Nkara and also other prominent members of bhaima (yAdava) race also sang.
tadyAnapAtraM vavR^idhe tadAnIM
    kR^iShNaprabhAveNa janendraputra |
ApUrNamApUrNamudArakIrte
    chukUrdayadbhirnR^ipa bhaimamukhyaiH || 2-89-21
O the son of indra (king) of men! (janamejaya, vaishampAyana continued). Then that vessel for transport (ship) proceeded forward by the splendor of kR^iShNa, O the one with generous fame! The ship became full, O king, with the arrival of prominent persons of bhaima race who were singing.
tai rAsasaktairatikUrdamAnai-
    ryadupravIrairamaraprakAshaiH |
harShAnvitaM vIra jagattathAbhU-
    chChemushcha pApAni janendrasUno ||2-89-22
O valiant! (janamejaya! vaishampAyana continued) Along with the valiant yAdava-s, interested in the rAsa play (dancing and singing) having splendor equal to deva-s, who were singing, the world became immensely happy. O the son of indra (king) of men! All sins and worries were contained.
devo.atithistatra cha nArado.atha
    viprapriyArthaM murakeshishatroH |
chukUrda madhye yadusattamAnAM
    jaTAkalApAgalitaikadeshaH ||2-89-23
The guest of deva-s, nArada, the one who is a vipra, also sang and danced among the best of yAdava-s, with his twisted locks of hair, getting loose and scattered, for the pleasure of the enemy of mura and keshi (kR^iShNa).
rAsapraNetA muni rAjaputra
    sa eva tatrAbhavadaprameyaH |
madhye cha gatvA cha chukUrda bhUyo
    helAvikAraiH saviDambitA~NgaiH ||2-89-24
O the son of king! (janamejaya! vaishampAyana continued), the sage (nArada), with unlimited splendor, prompting the rAsa play, entered the middle and sang. He displayed the feelings of rAsa play with the movements of his limbs.
sa satyabhAmAmatha keshavaM cha
    pArthaM subhadrAM cha balaM cha devam |
devIM tathA raivatarAjaputrIM
    saMdR^ishya saMdR^ishya jahAsa dhImAn ||2-89-25
That sage (nArada) with intellect, looking again and again at satyabhAmA and keshava (kR^iShNa), pArtha (arjuna ) and subhadra, god bala(rAmA) and goddess, the daughter of the king of revata) (revatI) laughed.
tA hAsayAmAsa sudhairyayuktA-
    staistairupAyaiH parihAsashIlaH |
cheShTAnukArairhasitAnukArai-
    rlIlAnukArairaparaishcha dhImAn ||2-89-26
The sage (nArada), humorous by habit, having good intellect, imitating the actions of some, laughter of some and the playing of some others, as well as using other methods, made the valiant women laugh, again and again.
AbhAShitAM ki~nchidivopalakShya
    nAdAtinAdAnbhagavAnmumocha |
hasanvihAsAMshcha jahAsa harShA-
    ddhAsyAgame kR^iShNa vinodanArtham ||2-89-27
When some one spoke a little, slowly in a low voice, the lord (nArada) responded loudly in a quick pace. At humorous situations, he laughed loudly. He was doing all this for the enjoyment of kR^iShNa.
kR^iShNAj~nayA sAtishayAni tatra
    yathAnurUpANi daduryuvatyaH |
ratnAni vastrANi cha rUpavanti
    jagatpradhAnAni nR^idevasUnoH ||2-89-28
O the son of king! (janamejaya! vaishampAyana continued) By the order of kR^iShNa, the young women who were present there, gave plenty of prominent jewels and dresses of the world, suitable to the sage.
mAlyAni cha svargasamudbhavAni
    santAnadAmAnyatimuktakAni |
sarvartukAnyapyanayaMstadAnIM
    dadurhareri~NgitakAlatajj~nAH ||2-89-29
As per the desire of hari (kR^iShNa) as well as understanding the need of the time, the women gave garlands of heaven, garlands of flowers of pArijAta and pearls, as well as garlands of all seasons to the sage.
rAsAvasAne tvatha gR^ihya haste
    mahAmuniM nAradamaprameyaH |
papAta kR^iShNo bhagavAnsamudre
    sAtrAjitIM chArjunameva chAtha ||2-89-30
At the end of the rAsA play, the one with unlimited splendor, lord kR^iShNa caught the hands of the great sage (nArada), and leapt into the ocean along with the daughter of satrAjit (satyabhAmA) and arjuna.
uvAcha chAmeyaparAkramo.atha
    shaineyamIShatprahasanpR^ithushrIH |
dvidhA kR^itAsminpatatAshu bhUtvA
    kR^IDAjale naustu sahA~NganAbhiH ||2-89-31
Afterwards, kR^iShNa, the one with unlimited valiance and endowed with splendor, told the son of shini (sAtyaki) smiling: All of you form pairs with women and leap into the water for sports.
sarevatIko.astu balo.arddhanetA
    putrA madIyAshcha sahArddhabhaimAH |
bhaimArddhamevAtha balAtmajAshcha
    satpakShiNaH santu samudratoye ||2-89-32
bala(rAmA) along with revatI shall be the leader of (the group) of my sons along with half of the bhaima-s (yAdava-s) group. I shall take charge of half of the bhaima-s (yAdav-s) as well as the sons of balarAma. Both shall play against each other in the waters of the ocean.
Aj~nApayAmAsa tataH samudraM
    kR^iShNaH smitaM prA~njalinaM pratItaH |
sugandhatoyo bhava mR^iShTatoya-
    stathA bhava grAhavivarjitashcha ||2-89-33
Then kR^iShNa, pleased with the ocean, who was smiling with folded hands, ordered: "Be with fragrant and tasty water without any sharks.
dR^ishyA cha te ratnavibhUShitA tu
    sA velikAbhUratha patsukhA cha |
mano.anukUlaM cha janasya tattat
    prayachCha vij~nAsyasi matprabhAvAt ||2-89-34
Your shores shall appear decorated with jewels and comfortable for the feet. With my splendor, you will know things people desire and you shall provide them.
bhavasyapeyo.apyatha cheShTapeyo
    janasya sarvasya mano.anukUlaH |
vaiDUryamuktAmaNihemachitrA
    bhavantu matsyAstvayi saumyarUpAH ||2-89-35
Your water shall become drinkable to all people as they like even though it is not so. All fish in you shall become gentle and decorated with cats-eye gem (vaiDUrya), pearl and wonderful golden jewels.
bibhR^isva cha tvaM kamalotpalAni
    sugandhasusparsharasakShamANi |
ShaTpAdajuShTAni manoharANi
    kIlAlavarNaishcha samanvitAni ||2-89-36
You shall have red and blue lotus flowers having best fragrance, good to touch, having red coloured nectar, surrounded by bees, appearing beautiful.
maireyamAdhvIkasurAsavAnAM
    kumbhAMshcha pUrNAnsthapayasva toye |
jAmbUnadaM pAnanimittameShAM
pAtraM papuryeShu dadasva bhaimAH ||2-89-37
Install pots filled with maireya (a combination of surA and Asava) , an intoxicating drink (mAdhvIka), spirituous liquor (surA) and juice of flower (Asava) on your water. You shall provide golden pots to the bhaima-s (yAdava-s) for drinking.
puShpochchayairvAsitashItatoyo
    bhavApramattaH khalu toyarAshe |
yathA vyalIkaM na bhavedyadUnAM
    sastrIjanAnAM kuru tatprayatnam ||2-89-38
O the one with wealth of water (ocean)! You will definitely have cold water with the fragrance of flowers. You shall make efforts to ensure that nothing undesirable to the yadava-s along with women will happen."
itIdamuktvA bhagavAnsamudraM
    tataH prachikrIDa sahArjunena |
siShecha pUrvaM nR^ipa nAradaM tu
    sAtrAjitI kR^iShNamukhe~Ngitaj~nA ||2-89-39
Speaking thus to the ocean, lord (kR^iShNa) played with arjuna . O king! (janamejaya! vaishampAyana said). The daughter of satrAjit, satyabhAmA, who understands the facial gestures of kR^iShNa, had already made sage nArada wet.
tato madAvarjitachArudehaH
    papAta rAmaH salile salIlam |
sAkAramAlambya karaM kareNa
    manoharAM raivatarAjaputrIM ||2-89-40
Then balarAma, intoxicated, with his beautiful body, fell in the water during playing and caught gracefully, the hands of the beautiful daughter of king revata (revatI) with his hands.
kR^iShNAtmajA ye tvatha bhaimamukhyA
    rAmasya pashchAtpatitAH samudre |
virAgavastrAbharaNAH prahR^iShTAH
    krIDAbhirAmA madirAvilAkShAH ||2-89-41
After balarAma, the sons of kR^iShNa as well as the prominent yAdava-s, fell into the ocean. They with their eyes intoxicated with drinking, played joyfully in water wearing colourful dresses and ornaments.
sheShAstu bhaimA harimabhyupetAH
    krIDAbhirAmA nishaTholmukAdyAH |
vichitravastrAbharaNAshcha mattAH
    santAnamAlyAvR^itakaNThadeshAH ||2-89-42
The remaining bhaima-s (yAdava-s) as well as nishaTha, ulmuka (sons of balarAma) etc., played with hari (kR^iShNa). They were wearing wonderful dresses and ornaments and were intoxicated. The region of their necks were covered with garlands of santAna (pArijAta) flowers.
vIryopapannAH kR^itachAruchihnA
    viliptagAtrA jalapAtrahastAH |
gItAni tadveShamanoharANi
    svaropapannAnyatha gAyamAnAH ||2-89-43
They were full of valiance and with beautiful auspicious signs. Their bodies were smeared with pastes. They carried water pots in their hands. They sang beautiful songs with appropriate sounds, suitable to the dresses.
tataH prachakrurjalavAditAni
    nAnAsvarANi priyavAdyaghoShAH |
sahApsarobhistridivAlayAbhiH
    kR^iShNAj~nayA veshavadhUshatAni ||2-89-44
Then the players of musical instruments began playing the water musical instruments in a variety of sounds along with the divine women (apsara-s) of heaven who had possessed the courtesans by the order of kR^iShNa.
AkAshaga~NgAjalavAdanaj~nAH
    sadA yuvatyo madanaikachittAH |
avAdayaMstA jaladardurAshcha
    vAdyAnurUpaM jagire cha hR^iShTAH ||2-89-45
Those young women with their mind focused only on madana (lord kAma) beat on the waters of the divine ga~Nga. They beat on water with joy and sang happily according to the playing of musical instruments.
kusheshayAkoshavishAlanetrAH
    kusheshayApIDavibhUShitAshcha |
kusheshayAnAM ravibodhitAnAM
    jahruH shriyaM tAH suravAramukhyAH ||2-89-46
The prominent divine courtesans whose eyes are as wide (and as beautiful) as water lily (lotus), who were wearing decorations on their hair as beautiful as water lily, challenged the beauty of the lotus flowers which were being awakened by the sun.
strIvaktrachandraiH sakalendukalpai
    rarAja rAja~nChatashaH samudraH |
yadR^ichChayA devavidhAnato vA
    nabho yathA chandrasahasrakIrNam ||2-89-47
O king! (janamejaya! vaishampAyana said) The ocean was decorated by the faces of the women as beautiful as the moon all over, as though the moon had thousands of faces in the sky as ordered by the God suddenly.
samudrameghaH sa rarAja rAja-
    ~nchChatahradAstrIprabhayAbhirAmaH |
saudAminIbhinna ivAmbunAtho
    dedIpyamAno nabhasIva meghaH ||2-89-48
O king! (janamejaya! vaishampAyana continued), The ocean sparkled like a cloud with the splendor of the women, like a rain cloud split by lightning, sparkles in the sky.
narAyaNashchaiva sanAradashcha
    siShecha pakShe kR^itachAruchihnaH |
balaM sapakShaM kR^itachAruchihnaM
    sa chaiva pakShaM madhusUdanasya ||2-89-49
nArAyaNa having beautiful auspicious signs made nArada, of his own group, wet. balarAma with beautiful auspicious signs, along with his group, made the group of the slayer of madhu (kR^iShNa) wet.
hastapramuktairjalayantrakaishcha
    prahR^iShTarUpAH siShichustadAnIm |
rAgoddhatA vAruNipAnamattAH
    sa~NkarShaNAdhokShajadevapatnyaH ||2-89-50
With hand held water spraying devices, the wives (revatI and satyabhAmA) of the deva-s sa~NkarShaNa (balarAma) and adhokShaja (kR^iShNa) made others wet, happily. They were excited by desire as well as by drinking the spirituous liquor vAruNi.
AraktanetrA jalamuktisaktAH
    strINAM samakShaM puruShAyamANAH |
te noparemuH suchiraM cha bhaimA
    mAnaM vahanto madanaM madaM cha ||2-89-51
The bhaima-s (yAdava-s) having pride, desire and excitement in heart, with red eyes, fully drenched in water, played against each, in front of the women, with masculinity, for a long time.
atiprasa~NgaM tu vichintya kR^iShNa-
    stAnvArayAmAsa rathA~NgapANiH |
svayaM nivR^itto jalavAdyashabdaiH
    sanAradaH pArthasahAyavAMshcha ||2-89-52
Considering the over excitement, kR^iShNa, who holds the discus in his hand, stopped them. Along with nArada and accompanied by arjuna, kR^iShNa, retired from the sounds of the water musical instruments.
kR^iShNe~Ngitaj~nA jalayuddhasa~NgA-
    dbhaimA nivR^ittA dR^iDhamAnino.api |
nityaM tathAnandakarAH priyANAM
    kriyAshcha teShAM nanR^ituH pratItAH ||2-89-53
Understanding the desire of kR^iShNa, the bhaima-s (yAdava-s), even though they are fixed in pride, retired from the water sports. Then the dear courtesans who always provide happiness to their dear men, began to dance.
nR^ityAvasAne bhagavAnupendra-
    statyAja dhImAnatha toyasa~NgAn |
uttIrya toyAdanukUlalepaM
    jagrAha dattvA munisattamAya ||2-89-54
At the end of the dance, lord upendra (kR^iShNa) with intellect, left the water. Leaving the water, kR^iShNa gave a suitable paste to the best of the sages (nArada) and applied some paste himself.
upendramuttIrNamathAshu dR^iShTvA
    bhaimA hi te tatyajureva toyam |
viviktagAtrAstvatha pAnabhUmiM
    kR^iShNAj~nayA te yayuraprameyAH ||2-89-55
Seeing that upendra (kR^iShNa) has left the water, the bhaima-s (yAdava-s) also left the water. Then those yAdava-s of unlimited power went to the place of drinking as ordered by kR^iShNa.
yathAnupUrvyA cha yathAvayashcha
    yatsanniyogAshcha tadopaviShTAH |
annAni vIrA bubhujuH pratItAH
    papushcha peyAni yathAnukUlam ||2-89-56
As per the order as appropriate, according to the age, as directed, they sat there. The valiant yAdava-s ate boiled rice happily and drank suitable drinks.
mAMsAni pakvAni phalAmlakAni
    chukrottareNAtha cha dADimena |
niShTaptashUlA~nChakalAnpashUMshcha
    tatropajahruH shuchayo.atha sUdAH ||2-89-57
The clean cooks served meat, cooked along with tamarind, best vinegar and cardamom. They also served cut pieces of animals cooked on the spears.
susvinnashUlyAnmahiShAMshcha bAlA-
    ~nChUlyansuniShTaptaghR^itAvasiktAn |
vR^ikShAmlasauvarchalachukrapUrNA-
    paurogavoktyA upajahrureShAm ||2-89-58
The servers served pieces of young buffalos fried, on the spear, with ghee along with tamarind, linseed and vinegar as instructed by the chief cooks.
paurogavoktyA vidhinA mR^igANAM
    mAMsAni siddhAni cha pIvarANi |
nAnAprakArANyupajahrureShAM
    mR^iShTAni pakvAni cha chukrachUtaiH ||2-89-59
The servers served large pieces of the best animal meat, cooked according to the receipe and instructions of the chief cooks. The meat was cooked in a variety of ways, mixed with ample quantities of vinegar and mango.
pArshvAni chAnye shkalAni tatra
    daduH pashUnAM ghR^itamR^ikShitAni |
sAmudrachUrNairavachUrNitAni
    chUrNena mR^iShTena samArichena ||2-89-60
Others served pieces of the side portions of animal meat, fried in ghee, mixed with adequate amounts of salt and pepper powder.
samUlakairdADimamAtuli~NgaiH
    parNAsahi~NgvArdrakabhUstR^INaishcha |
tadopadaMshaiH sumukhottaraiste
    pAnAni hR^iShTAH papuraprameyAH ||2-89-61
Along with radish, pomegranate and sweet lime (fruits), tulsi leaves, a sa foetida, raw ginger, Audropogon Schoenanthus (lemon grass?) (bhUstR^iNa) and other spices, the yAdava-s of unlimited power, drank from vessels with beautiful outlets, comfortably.
kaTvA~NkashUlairapi pakShibhishcha
    ghR^itAmlasauvarchalatailasiktaiH |
maireyamAdhvIkasurAsavAMste
    papuH priyAbhiH parivAryamANAH ||2-89-62
The yAdava-s, along with their wives also ate the meat of birds, fried on spears, soaked in ghee, vinegar, linseed and oil, along with intoxicating drinks and spirituous liquor.
shvetena yuktA nR^ipa shoNitena
    bhakShyAnsugandhA.NllavaNAnvitAMshcha |
ArdrAnkilAdAnghR^itapUrNakAMshcha
    nAnAprakArAnapi khaNDakhAdyAn ||2-89-63
O king! (janamejaya! vaishampAyana continued) They ate many varieties of white and red coloured food items having fragrance, along with salt, fresh curd, ghee and candied sugar.
apAnapAshchoddhavabhojamishrAH
    shAkaishcha sUpaishcha bahuprakAraiH |
peyaishcha dadhnA payasA cha vIrAH
    svannAni rAjan bubhujuH prahR^iShTAH ||2-89-64
O king! (janamejaya! vaishampAyana continued) Those valiant yAdava-s such as uddhava and bhoja, who do not drink spirituous liquor, ate many varieties of vegetarian food, and drank plenty of sauces and soups, as also curd and milk, happily.
tathAranAlAMshcha bahuprakArA-
    npapuH sugandhAnapi pAlavIShu |
shR^itaM payaH sharkarayA cha yuktaM
    phalaprakArAMshcha bahUMshcha khAdan ||2-89-65
They drank many varieties of fragrant porridges of grain from vessels. They also drank milk mixed with sugar and ate many kinds of fruits.
tR^iptAH pravR^ittAH punareva vIrA-
    ste bhaimamukhyA vanitAsahAyAH |
gItAni ramyANi jaguH prahR^iShTAH
    kAntAbhinItAni manoharANi ||2-89-66
All the prominent bhaima-s (yAdava-s) along with their women were satisfied. The valiant yAdava-s again sang many beautiful songs happily along with beautiful acting by their dear wives.
Aj~nApayAmAsa tataH sa tasyAM
    nishi prahR^iShTo bhagavAnupendraH |
ChAlikyageyam bahusannidhAnaM
    yadeva gAndharvamudAharanti ||2-89-67
Immediately, that night, lord upendra (kR^iShNa), who was happy, ordered to have chAlikya song which is enriched by the participation of many, which is stated as an example of gAndharva.
jagrAha vINAmatha nAradastu
    ShaDgrAmarAgAdisamAdhiyuktAm |
hallIsakaM tu svayameva kR^iShNaH
    savaMshaghoShaM naradeva pArthaH ||2-89-68
Then nArada took up vINA, which is capable of playing the tunes of shaDgrAma (see Note 2), for helping the mind concentrate. O the lord of men! (janamejaya! vaishampAyana continued), KrishNa himself played hallIsakaM (dancing with many women - rAsa dance, see Note 3) with playing the flute and the son of pR^itha (arjuna)
mR^ida~NgavAdyAnaparAMshcha vAdyA-
    nvarApsarastA jagR^ihuH pratItAH |
AsAritAnte cha tataH pratItA
    rambhotthitA sAbhinayArthatajj~nAH ||2-89-69
played mR^ida~Nga. The auspicious divine women, pleased, played other musical instruments. At the end of the first stage (see Note 4), (apsara) rambha, who is knowledgeable in the principles of dancing and acting, stood up (entered).
tayAbhinIte varagAtrayaShTyA
    tutoSha rAmashcha janArdanashcha |
athorvashI chAruvishAlanetrA
    hemA cha rAjannatha mishrakeshI ||2-89-70
As rambha having a beautiful body was dancing and acting, bala(rAma) and janArdana were pleased. Then, O king! (janamejaya! vaishampAyana continued) (the apsara) urvashI with beautiful wide eyes, hemA and mishrakeshI,
tilottamA chApyatha menakA cha
    etAstathAnyAshcha haripriyArtham |
jagustathaivAbhinayaM cha chakru-
    riShTaishcha kAmairmanaso.anukUlaiH ||2-89-71
tilottamA, as well as menakA and others (apsara-s) also sang, danced and acted expressing desire and appropriate feelings, for pleasing hari (kR^iShNa).
tA vAsudeve.apyanuraktachittAH
    svagItanR^ityAbhinayairudAraiH |
narendrasUno paritoShitena
    tAmbUlayogAshcha varApsarobhiH ||2-89-72
O the son of the indra of kings! (janamejaya! vaishampAyana continued) There the auspicious divine (apsara) women sang, danced and acted with their mind fond of the son of vasudeva (kR^iShNa) and pleased all. Also they chewed betel leaves (with areca-nut, lime and spices).
tadAgatAbhirnR^ivarAhR^itAstu
    kR^iShNepsayA mAnamayAstathaiva |
phalAni gandhottamavanti vIrA-
    shChAlikyagAndharvamathAhR^itaM cha || 2-89-73
O the best among kings! (janamejaya! vaishampAyana continued) The valiant yAdava-s enjoyed the ChAlikya and gAndharva, the divine women and the fruits with best fragrance, brought (from heaven) as desired by kR^iShNa.
kR^iShNechChayA cha tridivAnnR^ideva
    anugrahArthaM bhuvi mAnuShANAm |
sthitaM cha ramyaM haritejaseva
    prayojayAmAsa sa raukmiNeyaH ||2-89-74
O the god (king) of men! (janamejaya! vaishampAyana continued) As desired by kR^iShNa, the beautiful ChAlikya, which was brought from heaven to earth, for blessing people, was conducted by the son of rukmiNI (pradyumna) by the splendor of hari (kR^iShNa).
ChAlikyagAndharvamudArabuddhi-
    stenaiva tAmbUlamatha prayuktam |
prayojitaM pa~nchabhirindratulyai-
    shChAlikyamiShTaM satataM narANAm ||2-89-75
pradyumna, the one with best intelligence, directed the Chalikya and gAndharva as well as the chewing of betel leaves. The ChAlikya, liked by the five, (kR^iShNa, balarAma, pradyumna, aniruddha and sAMba - see nIlakaNTha commentary), equal in splendor to indra, is always beneficial to men.
shubhAvahaM vR^iddhikaraM prashastaM
    ma~NgalyamevAtha tathA yashasyam |
puNyaM cha puShTyabhyudayAvahaM cha
    nArAyaNasyeShTamudArakIrteH ||2-89-76
ChAlikya leads to progress, causing prosperity. It is praised, pleasing, as well as celebrated, auspicious, creating wealth and happiness and liked most by nArAyaNa who is most famous.
bharApaham dharmabharAvahaM cha
    duHsvapnanAshaM parikIrtyamAnam |
karoti pApaM cha tathA vihanti
    shR^iNvansurAvAsagato narendraH ||2-89-77
The ChAlikya achieves victory and dharma and destroys bad dreams of those who describe it. It destroys sins as well.
ChAlikyagAndharvamudArakIrti-
    rmene kilaikaM divasaM sahasram |
chaturyugAnAm nR^ipa revato.atha
    tataH pravR^ittA cha kumArajAtiH ||2-89-78
The king revata of great fame, who went to stay in heaven, heard ChAlikya and gAndharva with such a rapt attention, that one thousand of four yugas, seemed like a day to him. O king! (janamejaya! vaishampAyana continued) from ChAlikya, the beautiful kumArajAti
gAndharvajAtishcha tathAparApi
    dIpAdyathA dIpashatAni rAjan |
viveda kR^iShNashcha sa nAradashcha
    pradyumnamukhyairnR^ipa bhaimamukhyaiH ||2-89-79
and gandharvajAti and other types of music evolved, O king! (janamejaya! vaishampAyana continued), like hundreds of lamps are lighted from a single lamp. kR^iShNa and nArada, along with prominent bhaima-s (yAdava-s) such as pradyumna, understand the significance of ChAlikya.
vij~nAnametaddhi pare yathAva-
    duddeshamAtrAchcha janAstu loke |
jAnanti ChAlikyaguNodayAnAM
    toyaM nadInAmatha vA samudre ||2-89-80
Other men in the world understand only a little of this knowledge. Like the great ocean only can understand the value of river water, only lord kR^iShNa understands the greatness of the qualities of ChAlikya.
j~nAtuM samartho himavAngirirvA
    phalAgrato vA guNato.atha vApi |
shakyaM na ChAlikyamR^ite tapobhiH
    sthAne vidhAnAnyatha mUrchChanAsu ||2-89-81
Only the great mountain himAlaya or the ocean can appreciate the supreme results and qualities of ChAlikya. Without performing penance, it is not possible to understand ChAlikya and its associated systems.
ShaDgrAmarAgeShu cha tatra kAryaM
    tasyaikadeshAvayavena rAjan |
leshAbhidhAnAM sukumArajAtiM
    niShThAM suduHkhena narAH prayAnti ||2-89-82
O king! (janamejaya! vaishampAyana continued) Among the six types of tunes (seven sounds of music), the approximate form of ChAlikya music shall be played. The men who sing the sukumAra type music named lesha, find it difficult to conclude the singing.
ChAlikyagAndharvaguNodayeShu
    ye devagandharvamaharShisa~NghAH |
niShThAM prayAntItyavagachCha buddhyA
    ChAlikyamevaM madhusUdanena ||2-89-83
O the god of men! (king janamejaya! vaishampAyana continued) The groups of gods, gandharvas and great sages become experts in the art of expressing the qualities of ChAlkya and gAndharva. Understand this with your intelligence. The slayer of madhu (kR^iShNa) provided ChAlikya, (sung by the deva-s), with this understanding
bhaimottamAnAM naradeva dattaM
    lokasya chAnugrahakAmyayaiva |
gataM pratiShThAmamaropageyaM
    bAlA yuvAnashcha tathaiva vR^iddhAH ||2-89-84
to the best among bhaima-s (yAdava-s) for the blessing and welfare of the world. Not only the children, but also the youth and elderly
krIDanti bhaimAH prasavotsaveShu
    pUrvaM tu bAlAH samudAvahanti |
vR^iddhAshcha pashchAtpratimAnayanti
    sthAneShu nityaM pratimAnayanti ||2-89-85
of the bhaima-s (yAdava-s) play ChAlikya during the celebrations of birth. Children learn and sing with pleasure. Subsequently, the elders respect it and always praise it.
martyeShu martyAnyadavo.ativIrAH
    svavaMshadharmaM samanusmarantaH |
purAtanaM dharmavidhAnatajj~nAH
    prItiH pramANaM na vayaH pramANam ||2-89-86
The most valiant yAdava-s who understand the system of dharma, respect men of the world, remembering the duty of their race. They understand the ancient axiom that love and affection are important, not the position in the society.
prItipramANAni hi sauhR^idANi
    prItiM puraskR^itya hi te dashArhAH |
vR^iShNyandhakAH putrasukhA babhUvu-
    rvisarjitAH keshivinAshanena ||2-89-87
Friendship is based on love. The sons of dAshArha-s, vR^iShNi-s and andhaka-s had friendship with each other. After the celebrations, the slayer of keshi(kR^iShNa) bade farewell to all.
svargaM gatAshchApsarasAM samUhAH     kR^itvA praNAmaM madhukaMsashatroH |
prahR^iShTarUpasya suhR^iShTarUpA
    babhUva hR^iShTaH suralokasa~NghaH ||2-89-88
After paying obeisance to the enemy of madhu and kaMsa (kR^iShNa), the divine women (apsara-s) returned to heaven. All the residents of heaven became happy.
iti shrImahAbhArate khileShu harivaMshe viShNuparvaNi bhAnumatIharaNe ChAlikyakrIDAvarNane ekonnavatitamo.adhyAyaH
Thus this is the eightyninth chapter of viShNuparva, harvamsha, khila of shrImahAbhArata, description of ChAlikya sport.

Note 1:
Regarding yuddhe cha bAlAhakajambumAle, the second line of shloka 2-89-14, according to BORI, some texts read yuddhe cha putrAharaNam guroshcha. Perhaps the reference then is to the following:
sa guroH putramAdAya pA~nchajanyaM cha mAdhavaH |
ratnAni cha mahArhANi punarAyAjjagatprabhuH ||2-33-23
mAdhava (kR^iShNa) got the teacher's son and pA~nchajanyaM (conch). The lord of the universe also brought great jewels with him.
rAkShasaistasya ratnAni mahArhANi bahUni cha |
AnAyyAvedayAmAsa gurave vAsavAnujaH ||2-33-24
The younger brother of vAsava (kR^iShNa) brought many jewels, carried by the servants (of the god of death) and offered them to his teacher.
Note 2: The group of seven sounds, beginning with sa (sa, ri, ga, ma, pa, dha, ni) is called ShaDgrAma. Beginning with ma, it is called madhyamagrAma, beginning with ga it is called gAndhAragrAma and beginning with pa it is called pa~nchamagrAma. ShaDgrAma and madhyamagrAma are practised in the human world. nArada uses gAndharagrAma in heaven. Here six positions of the tunes are called madhya, shuddha, bhinna, gauDa, mishra and gIta (See nIlakaNTha commentary of shloka 68 and gItA press, page 704, footnote 1).
Note 3: Dancing with many women is called hallIsakaM or rAsa dance (See nIlakaNTha commentary of shloka 68 and gItA press, page 704, foot note 2).
Note 4: According to nR^ityavidhi of bharata muni, there are four stages (AsArita-s). The first stage is the entrance of the dancer. Next is the nATya, dancing with acting of the meaning. The third stage is the dancing with gestures using limbs such as face, hands etc. The fourth stage is the dancing with divine signs. (see nIlakaNTha commentary of shloka 69 and gItA press, page 704, foot note 3).

    nIlakaNTha commentary

navAdhike.ashItitame.adhyAye.amuShminnirUpyate |
ChAlikyAdyAgamaH krIDA gAnaM bhojyaM mahAdbhutam || 1 ||
  • 2-89-1 atha jalakrIDAvarNanam - reme bala iti | kAdambarIpAnakalaH kAdambaprasUtamadirApAnena manoharaH | revatimiti hrasvatvamArShaM ChandonurodhAt ||
  • 2-89-4 velAlayaM sAgaram ||
  • 2-89-5 tA apsarasaH tAsu kAshchana vAdyAnurUpaM nanR^ituH anyAH samyak sarvabhAvena jaguH ||
  • 2-89-6 abhinayena hastAdichAlanena labdhaM shikShitaM yat hAvAdi eShAM yadUnAM arthayuktaprayojanavat hR^idyaM cha tadanukUlaM cha ||
  • 2-89-7 rAsaM gAnam ||
  • 2-89-8 kaMsapralaMbAdivadhaM tadanukAri nR^ityaM chakrurityarthaH ||
  • 2-89-9 ariShTadhenukAbhyAM ariShTadhenukayoH ||
  • 2-89-11 sha~NkhahradAt sha~NkhAdinidhiyuktAttasmAdeva hradAt ||
  • 2-89-14 bAlAhakajambumAlibhyAM saha vR^itte yuddhe tachcha pAdme prasiddhaM ||
  • 2-89-16 kUrdadhAturatra gAnArthaH, chukUrda jagau ||
  • 2-89-21 yAnapAtram nauH |
  • 2-89-24 he rAjaputra muniratra dIrghAbhAvashchAndasaH helAvikAraiH lIlAnukAraiH | rAsapraNetA munirAjaputretyapi pAthaH ||
  • 2-89-32 sahArdhabhaimAH ardhabhaimaiH saha vartamAnAH putrayorvyatyAsaH samatvadyotanArthaH
  • 2-89-34 velikA tIrasambandhinI patsukhA pAdayoH sukhasparshA yadvastvantaramitIti |
  • 2-89-36 bibhR^tva bibR^ihi dhArayetyarthaH || kIlAlamatra raktam ||
  • 2-89-37 maireyAdayo madyabhedAH mareyamtra gauDI surA pauShpyA niShedhAt mAdhvIkasurA madhupuShpasaMbhavA AsavastAlAdisaMbhavaH | svatoye svajalopari sthApayetyatra hrasvatvamArSham | papuH pibeyuH ||
  • 2-89-38 vyalIkamanyAyyam ||
  • 2-89-40 sAkAram AkAraH kAmagItaM tena saha yathA syAttathA ||
  • 2-89-45 jaladardurAn jalavAdyavisheShAn ||
  • 2-89-46 kusheshayAkoshaH kamalakalikA ApIDo mukuTaM surANAmiva chArUNi daurgandhAdirahitAni mukhAni yAMsA tAH ||
  • 2-89-49 pakShe ekatra sthito balaM siShechetyanvayaH | sa cha balaH ||
  • 2-89-51 te bhaimA noparemuH krIDAM na tatyajuH ||
  • 2-89-55 viviktagAtrAH shuddhavapuShaH vibhaktagAtrA iti pAThe chandanAdyanuliptAvayavAH ||
  • 2-89-56 yatsaMniyogAH yadanushiShThAH pratItAH prakhyAtAH yathAnukUlaM yathAhitam ||
  • 2-89-57 phalaprabhAvA amlikA amlatA yeShu tAni | chukrottareNa chukratAdhikena sUdA sUpakArA sUpA iti vA pAThaH | niShTaptashUlAn shUlam samAropya niShTaptAnityarthaH | niShTaptashulyAniti vA niShTaptashUlyAn atitaptapakvAn shakalAn khaNDitAn pashUn hariNashUkarAdIn ||
  • 2-89-58 susvinnashUlyAn shUlamAropya svinnAnityarthaH || vR^ikShAmlaM amlavetasAdi paurogavoktyA sUdoktakrameNa upajahnuH pariveShaNaM chakruH ||
  • 2-89-59 pIvarANi puShTAni ||
  • 2-89-61 mAtuli~NgAni raddhakAni, parNAsa kuTherakaM, bhUstR^iNaM shAkabhedaH, upadaMshaiH pAnapAtraiH ||
  • 2-89-62 kaTvA~NkaH kaTurasaH tadyuktakAShThashUlAni yeShu tai ||
  • 2-89-63 ArdrAdIn khAdyavisheShAn kilAdAn mahiShIdugdhasiktAn ||
  • 2-89-64 apAnapAH tyaktamadyAdipAnAH pAnamityupalakShaNaM mAMsAdeH ||
  • 2-89-65 AranAlAn kA~njikAni rasAlAniti pAThe tu rAsAlAn aparimitaghR^itasharkarAdi saMskR^itAn | pAlavIShu kapardAnirmitapAtreShu bR^ihnachCharAveShu | khAdan akhAdan ||
  • 2-89-68 ShaTgrAmAH sthAnAni yeShAM rAgANAM tairyaH samAdhiH chittaikAgryaM tad yasyAM tAM te cha madhyashudddhabhinnagauDamishragItarUpAH | hallIsakaM bahubhiH strIbhiH saha nR^ityaM | jhallIsakamiti pAThe tadAkhyavAdyavisheShaM ballIsakamiti pAThe niShAdarShamAdisaptasvarayutaM jhallIsakaM vAdyavisheSham | jagrAheti viparimANena kriyAsaMbandhaH | vaMshaghoSheNa sahayatha syAttathA ||
  • 2-89-69 pArthastu mR^da~NgAdyAn jagrAhetyanuSha~Nga || aparAMshcha vAdyAn varApsaraso jagR^ihuriti saMbandhaH | AsAritAnta iti - bharato munishchaturvidhamasAritaM nR^ityavidyAvupadidesheti || prathamaM nartakIpraveshaH tatashchAsAritArthAbhinayaM nATyaM tatastAlAnugatya~NgAharaNaM, tato devatAchihnarUpeNa nR^ityaM evaM chaturShvapyabhisArevUktam | evameSha nartakIpravesho bharatasyAnumataH | tadante rambhA nartakI uthitA praviShTA yata sA abhinayachaturA ||
  • 2-89-70 abhinIte abhinaye kR^ite dvitIyAsAre urvashI uthitA ityanuSha~NgaH ||
  • 2-89-72 tAH rambhAdyAH paritoShitena paritoSheNa toShayAmAsuriti sheShaH | tAmbUlayogAshecheti padatrayaM vAkyam ||
  • 2-89-73 tadA jalakrIDAyAmAgatAbhiH pa~nchachUDAkauberImAhendrIbhishcha tAmbUlayogAH garvA~NkurAH AhR^itAH vayametAbhyo.adhikA iti svaguNA AviShkR^itA ityarthaH | tadevAha - phalAnityekashloko vAkyam ||
  • 2-89-74 kR^iShNechChayA mAnuShANAmanugrahAya tridivAttAnabhichChAlikyaM bhuvi AhR^itaM phalAni cha devayogyAni AhR^itAni | tataH kimata Aha | sthitamiti - pradymnAdau ||
  • 2-89-75 pa~nchabhiH kR^iShNarAmapradyumnAniruddhasAmbaiH ||
  • 2-89-77 duHsvapnanAshaM karoti tathA pApaM cha vihantItyanvayaH ||
  • 2-89-78 yachChAlikyagAndharvaM surAvAsagato revataH shR^iNvan cahturyugAnAM sahasraM ekaM divasaM mene tata eva kumArajAtipramukhA gandharvabhedAH pravR^itA iti vAkyArthaH ||
  • 2-89-81 sthAne tadyuktaM | nAlam iti pAThaH sugamaH ||
  • 2-89-82 leshAbhidhAnAm sukumArajAtiM gAyanto niShThAM samAptiM narA duHkhena gachChanti ChAlikyasya kA vArtetyarthaH ||
  • 2-89-88 prahR^iShTarUpasya suhR^iShTarUpA vinoditAH keshiniShUdanenetyapi pAThaH ||
iti shrImahAbhArate khileShu harivaMshe viShNuparvaNi TIkAyAmekonanavatitamo.adhyAyaH
##Itranslated by K S Ramachandran, ramachandran_ksr @ yahoo.ca, January 3, 2009.
Further proof-read by Gilles Schaufelberger, schaufel @ wanadoo.fr
If you find any errors compared to Chitrashala Press edition,
send corrections to A. Harindranath harindranath_a @ yahoo.com
Translated to English by A. Purushothaman [purushothaman_avaroth @ yahoo.com] and A. Harindranath
14th January 2011##