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॥ अथ सप्तमः सर्गः ॥
७.१
अथ प्रियासादनशीलनादौ
मनोरथः पल्लवितश्चिरं यः ।
विलोकनेनैव स राजपुत्र्याः
पत्या भुवः पूर्णवदभ्यमानि ॥
Summary AI Then, the desire of Nala, which had long sprouted at the beginning of his efforts to win his beloved, was considered by the lord of the earth to be as good as fulfilled merely by the sight of the princess.
७.३
ब्रह्माद्वयस्यान्वभवत्प्रमोदं
रोमाग्र एवाग्रनिरीक्षितेऽस्याः ।
यथौचितीत्थं तदशेषदृष्टा-
वथ स्मराद्वैतमुदं तथासौ ॥
Summary AI At the very first glance of her, he experienced the joy of non-dual Brahman at the very tips of his hair. Then, as was proper, upon seeing her completely, he experienced the joy of non-duality with the god of love, Kama.
७.५
मग्ना सुधायां किमु तन्मुखेन्दोः
लग्ना स्थिता तत्कुचयोः किमन्तः ।
चिरेण तन्मध्यममुञ्चतास्य
दृष्टिः क्रशीयः स्खलनाद्भिया नु ॥
Summary AI Was his sight drowned in the nectar of her moon-face? Or did it remain stuck between her breasts? It seems so, because it was only after a long time, and as if out of fear of slipping from her extremely slender waist, that his sight left that region.
७.६
प्रियाङ्गपान्था कुचयोर्निवृत्य
निवृत्य लोला नलदृग्भ्रमन्ती ।
बभौतमां तन्मृगनाभिलेप-
तमःसमासादितदिग्भ्रमेव ॥
Summary AI Nala's fickle gaze, a traveler on the path of his beloved's limbs, turning back again and again from her breasts and wandering, shone exceedingly, as if it had lost its sense of direction in the darkness of the musk-ointment applied there.
७.७
विभ्रम्य तच्चारुनितम्बचक्रे
दूतस्य दृक्तस्य खलु स्खलन्ती ।
स्थिरा चिरादास्य तदूरुरम्भा-
स्तम्भावुपाश्लिष्य करेण गाढम् ॥
Summary AI Having wandered over the beautiful orb of her hips and indeed stumbling, the king's gaze, after a long time, became steady by tightly embracing with its 'hand' (i.e., focusing on) the two pillars of her plantain-like thighs.
७.८
वासः परं नेत्रमहं न
नेत्रं किमु त्वमालिङ्ग्य तन्मयापि ।
उरोनितम्बोपु कुरु प्रसादम्
इतीव सा तत्पदयोः पपात ॥
Summary AI "You are a fine cloth (netra), but I am an eye (netra). Why do you embrace her? Please show favor regarding her breasts and hips (i.e., move aside)!" - as if saying this, his gaze (sā) fell at the feet (hem) of her garment.
७.९
दृशोर्यथाकाममथोपहृत्स
स प्रेयसीमालिकुलं च तस्याः ।
इदं प्रमोदाद्भुतसंभृतेन
महीमहेन्द्रो मनसा जगाद ॥
Summary AI Then, having feasted his eyes to his heart's content on his beloved and her group of friends, that great king of the earth, Nala, spoke thus to himself with a mind filled with joy and wonder.
७.१०
पदे विधातुर्यदि मन्मथो वा
ममाभिषिच्येत मनोरथो वा ।
तदा घटेतापि न वा तदेत-
त्प्रतिप्रतीकाद्भुतरूपशिल्पम् ॥
Summary AI (Nala thought:) "If either Kama, the god of love, or my own personified desire were to be installed in the position of the Creator Brahma, even then this artistry of a wonderfully formed body, marvelous in every limb, might or might not be accomplished."
७.११
तरङ्गिणी भूमिभृतः प्रभूता
जानामि श्रृङ्गाररसस्य सेयम् ।
लावण्यपूरोऽजनि यौवनेन
तस्यां तथोच्चैस्तनताघनेन ॥
Summary AI "I think this (Damayanti) is that very river of the sentiment of love, originating from the mountain (Kama). In her, a flood of loveliness has been produced by her youth, and also by the cloud of her high breasts."
७.१२
अस्यां वपुर्व्यूहविधानविद्यां
किं द्योतयामास नवां स कामः ।
प्रत्यङ्गसङ्गस्फुटलब्धभूमा
लावण्यसीमा यदिमामुपास्ते ॥
Summary AI Since the pinnacle of loveliness, having clearly found its full expression in contact with her every limb, resides in her, is it that Kama (the god of love) has manifested in her a new science of creating bodily forms?
७.१३
जम्बालजालात्किमकर्षि जम्बू-
नद्या न हारिद्रनिभप्रभेयम् ।
अप्यङ्गयुग्मस्य न सङ्गचिह्नम्
उन्नीयते दन्तुरता यदत्र ॥
Summary AI Was this golden-hued beauty drawn out from the muddy depths of the Jambu river? No. Because here on her body, not even the slightest unevenness, which would be a sign of the joining of paired limbs, can be perceived.
७.१४
सत्येव साम्ये सदृशादशेषा-
द्गुणान्तरेणोच्चकृषे यदङ्गैः ।
अस्यास्ततः स्यात्तुलनापि नाम
वस्तु त्वमीषामुपमापमानः ॥
Summary AI Since her limbs, while sharing a general similarity with all comparable objects, are elevated by a special excellence, therefore, comparing them to those objects would be a comparison in name only; in reality, it would be an insult to her limbs.
७.१६
भव्यानि हानीरगुरेतदङ्गा-
द्यथा यथानर्ति तथा तथा तैः ।
अस्याधिकस्योपमयोपमाता
दाता प्रतिष्ठां खलु तेभ्य एव ॥
Summary AI All beautiful objects used as standards of comparison suffer defeat from her limbs. As a comparer enthusiastically attempts to draw a parallel, he, by that very act of comparing her superior limbs, ends up only giving fame to those inferior objects.
७.१७
नास्पर्शि दृष्टापि विमोहिकेयं
दोषैरशेषैः स्वभियेति मन्ये ।
अन्येषु तैराकुलितस्तदस्यां
वसत्यसापत्न्यसुखी गुणौघः ॥
Summary AI I think that this bewitching lady, though seen, was not touched by any faults out of their own fear of being eclipsed by her virtues. Therefore, the multitude of virtues, being harassed by faults in other women, dwells happily in her without any rivals.
७.१८
औज्झि प्रियाङ्गैर्घृणयैव रूक्षा
न वारिदुर्गात्तु वराटकस्य ।
न कण्टकैरावरणाच्च कान्तिः
धूलीभृता काञ्चनकेतकस्य ॥
Summary AI Roughness was abandoned by the beloved's limbs out of sheer disgust at its own inferiority. But the lustre of a cowrie shell is not abandoned because of its inaccessibility in water, nor is the beauty of a dust-covered golden Ketaki flower abandoned because it is covered by thorns.
७.१९
प्रत्यङ्गमस्यामभिकेन रक्षां
कर्तुं मघोनेव निजास्त्रमस्ति ।
वज्रं च भूषामणिमूर्तिधारि
नियोजितं तद्दयुतिकार्मुकं च ॥
Summary AI Just as the amorous Indra appointed his own weapons to guard every limb of Ahalya, so too are his thunderbolt and his bow (the rainbow) appointed to protect Damayanti, disguised as the gems in her ornaments and the lustre of her body respectively.
७.२०
अस्याः सपक्षैकविधोः कचौघः
स्थाने मुखस्योपरि वासमाप ।
पक्षस्थतावद्बहुचन्द्रकोऽपि
कलापिनां येन जितः कलापः ॥
Summary AI It is fitting that her mass of hair, which resembles a single moon with its fortnightly phases (due to the parting), resides above her face. By this very mass of hair, the tail of peacocks, though possessing numerous moon-like spots on its feathers, has been vanquished.
७.२२
अस्याः कचानां शिखिनश्च किंनु
विधिं कलापौ विमतेरगाताम् ।
तेनायमेभिः किमपूजि पुष्पैः
अभर्त्सि दत्त्वा स किमर्धचन्द्रम् ॥
Summary AI Did the mass of her hair and the tail of the peacock become rivals? Is that why this hair was worshipped by the peacock with its 'flowers' (the moon-like spots on its feathers)? And did her hair in turn threaten it by giving it an 'ardhachandra' (a crescent moon shape, also a term for grabbing by the neck)?
७.२३
केशान्धकारादथ दृश्यभालस्थललार्धचन्द्रा स्फुटमष्टमीयम् । एनां यदासाद्य जगज्जयाय मनोभुवा सिद्धिरसाधि साधु ॥
Summary AI Emerging from the darkness of her hair, with the crescent moon of her visible forehead shining, she is clearly the eighth lunar day (Ashtami). This is because, by resorting to her, the mind-born Kama properly achieved the power (siddhi) for conquering the world.
७.२४
पौष्पं धनुः किं मदनस्य दाहे
श्यामीभवत्केसरशेषमासीत् ।
व्यधाद्द्विधेशस्तदपि क्रुधा किं
भैमीभ्रुवौ येन विधिर्यधत्त ॥
Summary AI During the burning of Kama, did his floral bow become merely a remnant of blackened filaments? And did Lord Shiva, in his anger, then break even that into two pieces? It seems so, for the Creator has now fashioned Bhīmī's (Damayanti's) two eyebrows from it.
७.२५
भ्रूम्यां प्रियाया भवता मनोभू-
चापेन चापे घनसारभावः ।
निजां यदप्लोषदशामपेक्ष्य
संप्रत्यनेनाधिकवीर्यतार्जि ॥
Summary AI By becoming the eyebrows of the beloved, Kama's bow has attained the state of camphor on a bowstring (which increases its power). Because, considering its previous state of being unburnt (unlike Kama himself), it has now acquired even greater potency.
७.२६
स्मारं धनुर्यद्विधुनोज्झितास्या
यास्येन भूतेन च लक्ष्मलेखा ।
एतद्भ्रुवौ जन्म तदाप युग्मं
लीलाचलत्वोचितबालभावम् ॥
Summary AI Kama's bow and the streak of the deer-mark, which was abandoned by the moon upon becoming a servant to her face, were then reborn as this pair of eyebrows, possessing a youthful state perfectly suited for playful movements.
७.२७
इषुत्रयेणैव जगत्त्रयस्य
विनिर्जयात्पुष्पमयाशुगेन ।
शेषा द्विबाणी सफलीकृतेयं
प्रियादृगम्भोजपदेऽभिषिच्य ॥
Summary AI Since the wielder of floral arrows (Kama) conquered the three worlds with just three of his arrows, he has made his remaining two arrows fruitful by anointing them to the esteemed position of the beloved's lotus-like eyes.
७.२८
सेयं मृदुः कौसुमचापयष्टिः
स्मरस्य मुष्टिग्रहणार्हमध्या ।
तनोति नः श्रीमदपाङ्गमुक्तां
मोहाय या दृष्टिशरौघवृष्टिम् ॥
Summary AI She, who is the soft, floral bow-staff of Kama, with a middle portion fit to be grasped by his fist, unleashes upon us a shower of arrow-like glances from the beautiful corners of her eyes, all for the sake of our delusion.
७.३०
कर्णोत्पलेनापि मुखं सनाथं
लभेत नेत्रद्युतिनिर्जितेन ।
यद्येतदीयेन ततः कृतार्था
स्वचक्षुषी किं कुरुते कुरङ्गी ॥
Summary AI If her face could be considered well-adorned even by her ear-lotus, which has already been defeated by the splendor of her eyes, then what use does the doe—her purpose already fulfilled by lending its eyes' beauty to Damayanti—have for its own eyes?
७.३४
दृशौ किमस्याश्चपलस्वभावे
न दूरमाक्रम्य मिथो मिलेताम् ।
न चेत्कृतः स्यादनयोः प्रयाणे
विघ्नः श्रवः कूपनिपातभीत्या ॥
Summary AI Would her two eyes, restless by nature, not have met each other after traveling a long distance (around her head)? They certainly would have, if an obstacle had not been placed in their path by the fear of falling into the pits of her ears.
७.३५
केदारभाजा शिशिरप्रवेशा-
त्पुण्याय मन्ये मृतमुत्पलिन्या ।
जाता यतस्तत्कुसुमेक्षणेयं
यातश्च तत्कोरकदृक्चकोरः ॥
Summary AI I believe that the death of the lotus plant in the field, caused by the onset of winter, was for a meritorious purpose. Because from it, she was born with eyes like its flowers, and the Chakora bird, in turn, obtained eyes resembling its buds.
७.३६
नासादसीया तिलपुष्पतूणं
जगत्त्रयव्यस्तशरत्रयस्य ।
श्वासानिलामोदभरानुमेयां
दधद्द्विबाणीं कुसुमायुधस्य ॥
Summary AI Her nose is a quiver made from a Tila flower, belonging to the God of Love whose three arrows are deployed across the three worlds. This quiver holds his two remaining arrows, their presence inferred from the abundant fragrance of her breath.
७.३७
बन्धूकबन्धूभवदेतदस्या
मुखेन्दुनानेन सहोज्जिहाना ।
रागश्रिया शैशवयौवनीयां
स्वमाह संध्यामधरोष्ठलेखा ॥
Summary AI Her line of lower lip, rising along with her moon-like face and rivaling the Bandhuka flower with its splendor of redness, proclaims itself to be the twilight poised between her childhood and youth.
७.३८
अस्या मुखेन्दावधरः सुधाभू-
बिम्बस्य युक्तः प्रतिबिम्ब एषः ।
तस्याथ वा श्रीर्द्रुमभाजि देशे
संभाव्यमानास्य तु विद्रुमे सा ॥
Summary AI On her moon-like face, this lower lip is a fitting reflection of the moon's disc (which is also a pun on the red Bimba fruit). Alternatively, while the beauty of the Bimba fruit is found in a place where trees grow, the beauty of this lip is found in coral.
७.३९
जानेऽतिरागादिदमेव बिम्बं
बिम्बस्य च व्यक्तमितोऽधरत्वम् ।
द्वयोर्विशेषावमाक्षमाणां
नाम्नि भ्रमोऽभूदनयोर्जनानाम् ॥
Summary AI Nala thinks: "I know that due to its extreme redness, this lip is the Bimba fruit itself, and it's clear that the actual Bimba fruit is inferior to this lip. For people unable to discern the difference between the two, a confusion arose in their names."
७.४२
संभुज्यमानाद्य मया निशान्ते
स्वप्नेऽनुभूता मधुराधरेयम् ।
असीमलावण्यरदच्छदेत्थं
कथं मयैव प्रतिपद्यते वा ॥
Summary AI Nala muses: "This sweet-lipped one, whom I experienced being enjoyed in a dream at night's end, she of limitless beauty in her lips—how is it that she is perceived in reality by me alone in this way?"
७.४४
चन्द्राधिकैतन्मुखचन्द्रिकाणां
दरायतं तत्किरणाद्धनानाम् ।
पुरः सरस्रस्तपृषद्द्वितीयं
रदावलिद्वन्द्वति बिन्दुवृन्दम् ॥
Summary AI The cluster of drops, slightly elongated from the ray of her smile which emanates from the moonlight of her face (surpassing the moon's), and accompanied by droplets fallen from the nectar in front, acts like a second pair of rows of teeth.
७.४५
सेयं ममैतद्विरहार्तिमूर्च्छा
तमीविभातस्य विभाति संध्या ।
महेन्द्रकाष्ठागतरागकर्त्री
द्विजैरमीभिः समुपास्यमाना ॥
Summary AI This swoon of mine, caused by the pain of separation from her, appears like the dawn after the night. It brings redness to the eastern quarter (her red lips) and is attended upon by these "twice-born" (her teeth, with a pun on Brahmins).
७.४६
राजौ द्विजानामिह राजदन्ताः
संबिभ्रति श्रोत्रियबिभ्रमं यत् ।
उद्वेगरागादिमृजावदाताः
चत्वार एते तदवैमि मुक्ताः ॥
Summary AI Since the front teeth in this row of "twice-born" (teeth) bear the semblance of learned Brahmins, I understand that these four, pure and cleansed of agitation and passion (or, white and free from stains), are liberated souls (or pearls).
७.४७
शिरीषकोषादपि कोमलाया
वेधा विधायाङ्गमशेषमस्याः ।
प्राप्तप्रकर्षः सुकुमारसर्गे
समापयद्वाचि मृदुत्वमुद्राम् ॥
Summary AI The Creator, after fashioning her entire body, more delicate than even a Shirisha flower-bud, and thus having attained the pinnacle of excellence in creating delicate things, placed the final seal of softness in her speech.
७.४८
प्रसूनबाणाद्वयवादिनी सा
काचिद्द्विजेनोपनिषत्पिकेन ।
अस्याः किमास्यद्विजराजतो वा
नाधीयते भैक्षभुजा तरुभ्यः ॥
Summary AI Why is that certain Upanishad, which preaches the supreme power of Kamadeva, not learned by the cuckoo-bird—which lives on alms (tender leaves) from trees—from the "king of the twice-born" (the best of teeth) in her mouth?
७.४९
पद्माङ्कसद्मानमवेक्ष्य लक्ष्मीम्
एकस्य विष्णोः श्रयणात्सपत्नीम् ।
आस्येन्दुमस्या भजते जिताब्जं
सरस्वती तद्विजिगीषया किम् ॥
Summary AI Is it that Saraswati, seeing Lakshmi (whose abode is the lotus) as her co-wife due to their shared refuge in Vishnu, resorts to Damayanti's moon-like face—which has already conquered the lotus—out of a desire to vanquish Lakshmi?
॥ इति सप्तमः सर्गः ॥

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