रघुवंशम् — एकोनविंशः सर्गः (अग्निवर्णशृङ्गारः) | raghuvaṃśam

अग्निवर्णमभिषिच्य राघवः
स्वे पदे तनयमग्नितेजसम् ।
शिश्रिये श्रुतवतामपश्चिमः
पश्चिमे वयसि नैमिषं वशी ॥

Summary AI Sudarśana (Rāghava), the self-controlled one and foremost among the learned, having consecrated his son Agnivarṇa, who possessed the brilliance of fire, to his own throne, resorted to the Naimiṣa forest in his old age.

सारांश AI जितेन्द्रिय राजा सुदर्शन ने अपने अग्नि के समान तेजस्वी पुत्र अग्निवर्ण का राज्याभिषेक किया और वृद्धावस्था आने पर स्वयं नैमिषारण्य में तपस्या के लिए चले गए।

१९.२

तत्र तीर्थसलिलेन दीर्घिका-
स्तल्पमन्तरितभूमिभिः कुशैः ।
सौधवासमुटजेन विस्मृतः
संचिकाय फलनिःस्पृहस्तपः ॥

Summary AI There, indifferent to rewards, he accumulated penance. He forgot his pleasure-ponds by using holy water from sacred sites, his bed by using Kuśa grass spread on the ground, and his palace-dwelling by living in a hut of leaves.

सारांश AI वहां उन्होंने महल के विलासों को भुलाकर तीर्थ के जल, कुशा की शय्या और पत्तों की कुटिया को अपनाया तथा फल की इच्छा त्यागकर कठिन तपस्या की।

१९.३

लब्धपालनविधौ न तत्सुतः
खेदमाप गुरुणा हि मेदिनी ।
भोक्तुमेव भुजनिर्जितद्विषा
न प्रसाधयितुमस्य कल्पिता ॥

Summary AI His son (Agnivarṇa) felt no hardship in the task of ruling what he had received. Indeed, the earth had been prepared for him by his father—who had conquered his enemies with his arms—merely to be enjoyed, not to be established.

सारांश AI उनके पुत्र अग्निवर्ण को राज्य की रक्षा में कोई कष्ट नहीं हुआ, क्योंकि उनके पिता ने पहले ही शत्रुओं को जीत लिया था; पृथ्वी अब केवल भोग के लिए थी।

१९.४

सोऽधिकारमभिकः कुलोचितं
काश्चन स्वयमवर्तयत्समाः ।
संनिवेश्य सचिवेष्वतः परं
स्त्रीविधेयनवयौवनोऽभवत् ॥

Summary AI That lustful king personally carried out his family-ordained duties for some years. Thereafter, entrusting them to his ministers, he became one whose fresh youth was entirely subservient to women.

सारांश AI अग्निवर्ण ने कुछ वर्षों तक स्वयं शासन संभाला, परंतु बाद में मंत्रियों को सारा कार्य सौंपकर वह पूरी तरह स्त्रियों और यौवन के विलासितापूर्ण सुखों में डूब गया।

१९.५

कामिनीसहचरस्य कामिन-
स्तस्य वेश्मसु मृदङ्गनादिषु ।
ऋद्धिमन्तमधिकर्द्धिरुत्तरः
पूर्वमुत्सवमपोहदुत्सवः ॥

Summary AI In the palaces of that lustful king, who was always in the company of women, amidst the sounds of mṛdaṅga drums, each succeeding festival, being more splendid, eclipsed the previous magnificent one.

सारांश AI मृदंग की ध्वनियों से गूंजते महलों में वह कामुक राजा अपनी प्रेयसियों के साथ निरंतर उत्सव मनाता रहा, जहाँ हर नया उत्सव पिछले उत्सव से अधिक वैभवशाली होता था।

१९.६

इन्द्रियार्थपरिशून्यमक्षमः
सोढुमेकमपि स क्षणान्तरम् ।
अन्तरेव विहरन्दिवानिशं
न व्यपैक्षत समुत्सुकाः प्रजाः ॥

Summary AI Unable to endure even a single moment devoid of sensual pleasures, he sported day and night only inside the palace and paid no heed to his subjects, who were eager to see him.

सारांश AI वह इंद्रिय सुखों के बिना एक क्षण भी नहीं रह सकता था, इसलिए दिन-रात महलों के भीतर ही विहार करता रहा और अपनी दर्शन-अभिलाषी प्रजा की पूरी तरह उपेक्षा की।

१९.७

गौरवाद्यदपि जातु मन्त्रिणां
दर्शनं प्रकृतिकाङ्क्षितं ददौ ।
तद्गवाक्षविवरावलम्बिना
केवलेन चरणेन कल्पितम् ॥

Summary AI If ever, out of respect for his ministers, he granted the audience desired by his subjects, it was accomplished merely by his foot dangling from a window opening.

सारांश AI मंत्रियों और प्रजा के भारी आग्रह पर जब कभी उसने दर्शन दिए, तो केवल खिड़की से अपना एक पैर बाहर लटका दिया, जिसे देख लोग संतोष कर लेते थे।

१९.८

तं कृतप्रणतयोऽनुजीविनः
कोमलात्मनखरागरूषितम् ।
भेजिरे नवदिवाकरातप-
स्पृष्टपङ्कजतुलाधिरोहणम् ॥

Summary AI His attendants, having made their obeisance, served that foot, which was adorned with the red lac-dye of his soft toenails and which rivaled a lotus touched by the rays of the morning sun.

सारांश AI प्रणाम करते हुए सेवकों ने उसके कोमल नखों की लालिमा से रंजित उस चरण की वंदना की, जो प्रातःकालीन सूर्य की किरणों से स्पर्श किए हुए कमल के समान सुंदर था।

१९.९

यौवनोन्नतविलासिनीस्तन-
क्षोभलोलकमलाश्च दीर्घिकाः ।
गूढमोहनगृहास्तदम्बुभिः
स व्यगाहत विगाढमन्मथः ॥

Summary AI Deeply stirred by passion, he (Agnivarna) plunged into the waters of the step-wells, whose lotuses trembled from the agitation caused by the high breasts of youthful, playful women, and which had hidden chambers of love.

सारांश AI कामदेव के वशीभूत राजा ने सुंदरियों के साथ उन जलाशयों में क्रीड़ा की जिनमें गुप्त क्रीड़ागृह बने थे और जो स्त्रियों के अंगों के संचालन से तरंगित हो रहे थे।

१९.१०

तत्र सेकहृतलोचनाञ्जनै-
र्धौतरागपरिपाटलाधरैः ।
अङ्गनास्तप्तधिकं व्यलोभय-
न्नार्पितप्रकृतकान्तिभिर्मुखैः ॥

Summary AI There, the women charmed him even more with their faces, from which the water had washed away the eye-collyrium, whose lips became pale red as the dye was washed off, and which thus revealed their natural beauty.

सारांश AI जलक्रीड़ा से जिन स्त्रियों का काजल धुल गया था और होंठ स्वाभाविक रूप से गुलाबी हो गए थे, उन मुखों की प्राकृतिक सुंदरता ने राजा को और अधिक मोहित किया।

१९.११

घ्राणकान्तमधुगन्धकार्षेणीः
पानभूमिरवनाः प्रियासखः ।
अभ्यपद्यत स वासितासखः
पुष्पिताः कमलिनीरिव द्विपः ॥

Summary AI Accompanied by his beloveds and by female elephants in heat, he approached the drinking pavilions, which were filled with music and attracted the sense of smell with the pleasing fragrance of wine, just as an elephant approaches blooming lotus ponds.

सारांश AI सुगंधित मदिरा की गंध से खिंचा चला आया वह राजा अपनी प्रेयसियों के साथ मधुशालाओं में वैसे ही प्रवेश करता था जैसे मदमस्त हाथी कमलिनी के वन में जाता है।

१९.१२

सातिरेकमदकारणं रह-
स्तेन दत्तमभिलेषुरङ्गनाः ।
ताभिरप्युपहृतं मुखासवं
सोऽपिबद्बकुलतुल्यदोहदः ॥

Summary AI In private, the women desired the wine given by him, which caused excessive intoxication. He, in turn, having a craving like that of a Bakula tree (which is said to blossom when sprinkled with wine from a woman's mouth), also drank the mouth-wine offered by them.

सारांश AI वह स्त्रियों को अत्यधिक नशा देने वाली मदिरा पिलाता था और स्वयं उनके मुख की सुवासित मदिरा का पान वैसे ही करता था जैसे बकुल का वृक्ष करता है।

१९.१३

अङ्कमङ्कपरिवर्तनोचिते
तस्य निन्यतुरशून्यतामुमे ।
वल्लकी च हृदयंगमस्वना
वल्गुवागपि च वोमलोचना ॥

Summary AI Both the lute with its heart-touching sound and the beautiful-eyed woman with her charming speech brought his lap, accustomed to being occupied by one and then the other, to a state of non-emptiness.

सारांश AI राजा की गोद में सदैव दो चीजें स्थान बदलती रहती थीं—एक मधुर स्वर वाली वीणा और दूसरी चंचल नेत्रों वाली मधुर भाषिणी सुंदरी।

१९.१४

स स्वयं प्रहतपुष्करः कृती
लोलमाल्यवलयो हरन्मनः ।
नर्ककीरभिनयातिलङ्घिनीः
पार्श्ववर्तिषु गुरुष्वलज्जयत् ॥

Summary AI That skilled king, whose garland-bracelet dangled as he himself played the drum, captivating the mind, put to shame the professional dancers—who surpassed even their teachers present nearby—with his own performance.

सारांश AI वह स्वयं मृदंग बजाने में इतना निपुण था कि उसकी कला और लय के सामने गुरुओं के सान्निध्य में नाचने वाली कुशल नर्तकियां भी लज्जित हो जाती थीं।

१९.१५

चारु नृत्यविगमे च तन्मुखं
स्वेदभिन्नतिलकं परिश्रमात् ।
प्रेमदत्तवदनानिलः पिब-
न्नत्यजीवदमरालकेश्वरौ ॥

Summary AI At the end of the dance, kissing her beautiful face—its tilaka mark disordered by sweat from the exertion—he, who offered the breath of his mouth out of love, surpassed both Indra and Kubera in his bliss.

सारांश AI नृत्य के अंत में स्त्रियों के मुख पर आए पसीने को वह अपने मुख की वायु से सुखाता था, जिससे उसे इंद्र और कुबेर के सुखों से भी अधिक आनंद मिलता था।

१९.१६

तस्य सावरणदृष्टसंधयः
काम्यवस्तुषु नवेषु सङ्गिनः ।
वल्लभाभिरुपसृत्य चक्रिरे
सामिभुक्तविषयाः समागमाः ॥

Summary AI For him, who was addicted to new and desirable pleasures, meetings were arranged by his beloveds. These unions were partially enjoyed, with their junctures witnessed through a screen, thus leaving him wanting more.

सारांश AI नए-नए भोगों में आसक्त राजा के मिलन के क्षण उसकी प्रेयसियों द्वारा इतने आकर्षक बनाए जाते थे कि वह विषयों के उपभोग में पूरी तरह निमग्न रहता था।

१९.१७

अङ्गुलीकिसलयाग्रतर्जनं
भ्रूविभङ्गकुटिलं च वीक्षितम् ।
मेखलाभिरसकृञ्च बन्धनं
वञ्चयन्प्रणयिनीरवाप सः ॥

Summary AI Deceiving his beloveds in playful quarrels, he received threats from their sprout-like fingertips, crooked glances from their knitted eyebrows, and repeated bindings with their girdles.

सारांश AI जब वह अपनी प्रेयसियों को प्रेम में छलता, तो उनकी उंगलियों की घुड़की, भौंहों का तिरछापन और करधनी से बांधे जाने के मधुर व्यवहार का वह आनंद लेता था।

१९.१८

तेन दूतिविदितं निषेदुषा
पृष्ठतः सुरतवाररात्रिषु ।
शुश्रुवे प्रियजनस्य कातरं
विप्रलम्भपरिशङ्किनो वचः ॥

Summary AI On the nights appointed for love, having sat behind his beloved (unseen by her, but with the knowledge of her messenger), he heard the anxious words of his beloved, who was fearful of being deceived or separated from him.

सारांश AI मिलन की रातों में वह पीछे छिपकर बैठ जाता और दूती के माध्यम से अपनी विरह-कातर प्रेयसियों की व्याकुल और संदेह भरी बातों को चुपचाप सुनता था।

१९.१९

लौल्यमेत्य गृहिणीपरिग्रहा-
न्नर्तकीष्वसुलभासु तद्वपुः ।
वर्तते स्म स कथंचिदालिख-
न्नङ्गुलीक्षरणसन्नवर्तिकः ॥

Summary AI Having become fickle from his life with his queens and attached to easily available dancing girls, he managed to get by, somehow painting a portrait of one of them, though his paintbrush kept slipping from his fingers.

सारांश AI रानियों के बीच घिरे होने के कारण जब वह अपनी प्रिय नर्तकियों से नहीं मिल पाता, तो कांपती उंगलियों से उनके चित्र बनाकर अपना विरह शांत करता था।

१९.२०

प्रेमगर्वितविपक्षमत्सरा-
दायताञ्च मदनान्महीक्षितम् ।
निन्युरुत्सवविधिञ्छलेन तं
देव्य उज्झितरुषः कृतार्थताम् ॥

Summary AI The queens, having abandoned their anger, by a pretext led the king's prolonged festive activities—born of passion and jealousy towards his favored, proud rivals—to a state of fulfillment, thus achieving their own purpose.

सारांश AI प्रेम के गर्व और ईर्ष्या को त्यागकर उसकी रानियां विभिन्न उत्सवों के बहाने राजा को प्रसन्न करती थीं और इस प्रकार अपनी कामनाओं को पूर्ण करती थीं।

१९.२१

प्रातरेत्य परिभोगशोभिना
दर्शनेन कृतखण्डनव्यथाः ।
प्राञ्जलिः प्रणयिनीः प्रसादय-
न्सोऽदुनोत्प्रणयमन्थरः पुनः ॥

Summary AI Slow in his affection, he would come in the morning and, while appeasing his beloveds with folded hands—whose pain from his infidelity was mitigated by his appearance radiant from the night's pleasures—he would pain them again.

सारांश AI प्रातःकाल संभोग के चिह्नों से युक्त राजा ने हाथ जोड़कर अपनी रुष्ट पत्नियों को मनाया, जिससे उनके प्रेम में और भी वृद्धि हुई।

१९.२२

स्पप्नकीर्तितविपक्षमङ्गनाः
प्रत्यभैत्सुरवदन्त्य एव तम् ।
प्रच्छदान्तगलिताश्रुबिन्दुभिः
क्रोधभिन्नवलयैर्विवर्तनैः ॥

Summary AI Without speaking a word, the women reproached him for mentioning a rival's name in his sleep. Their silent rebuke was conveyed through teardrops falling from the corners of the bedsheets and by their angry tossings and turnings that broke their bracelets.

सारांश AI स्वप्न में सौतों का नाम लेने पर पत्नियों ने मौन रहकर, आंसुओं से भीगे बिस्तरों और क्रोध में टूटी चूड़ियों के माध्यम से अपना रोष प्रकट किया।

१९.२३

क्लृप्तपुष्पशयनाल्लतागृहा-
नेत्य दूतिकृतमार्गदर्शनः ।
अन्वभूत्परिजनाङ्गनारतं
सोऽवरोधभयवेपथूत्तरम् ॥

Summary AI Guided by a female messenger, he went to the bower-houses where flower-beds were prepared and experienced love-making with a servant-woman, an act accompanied by her trembling from fear of the queens in the royal harem.

सारांश AI दूतियों के बताए मार्ग से पुष्पों वाले लता-गृहों में जाकर राजा ने रानियों के भय से कांपते हुए परिचारिकाओं के साथ विहार किया।

१९.२४

नाम वल्लभजनस्य ते मया
प्राप्य भाग्यमपि तस्य काङ्क्ष्यते ।
लोलुपं ननु मनो ममेति तं
गोत्रविस्खलितमूचुरङ्गनाः ॥

Summary AI When he accidentally called them by another's name, the women would say to him, "Having obtained the name of your beloved, my mind now desires her good fortune as well. Indeed, my mind is greedy." This was their way of pointing out his slip of the tongue.

सारांश AI भूल से दूसरी रानी का नाम लेने पर स्त्रियों ने तंज कसते हुए कहा कि उन्हें केवल आपका नाम मिला है, जबकि सौभाग्य उस दूसरी का ही है जिसका नाम आपकी जुबान पर है।

१९.२५

चूर्णबभ्रु लुलितस्नगाकुलं
छिन्नमेखलमलक्तकाङ्कितम् ।
उत्थितस्य शयनं विलासिन-
स्तस्य विभ्रमरतान्यपावृणोत् ॥

Summary AI The bed of that pleasure-seeking king, after he had risen, revealed the agitated nature of his lovemaking. It was tawny with cosmetic powders, disordered with crushed garlands, strewn with broken girdles, and marked with red lac-dye from his beloved's feet.

सारांश AI केसर के चूर्ण, कुचली हुई मालाओं, टूटी करधनी और महावर के निशानों से युक्त राजा की शैया उसके विलासी रात्रिकाल के रहस्यों को खोल रही थी।

१९.२६

स स्वयं चरणरागमादधे
योषितां न च तथा समाहितः ।
लोभ्यमाननयनः श्लथांशुकै-
र्मेखलागुणपदैर्नितम्बिभिः ॥

Summary AI He himself applied the red lac-dye to the women's feet, but he was not very concentrated. His eyes were constantly being tempted by their hips, which were marked by the strings of their girdles and revealed by their loosened garments.

सारांश AI राजा स्वयं स्त्रियों के पैरों में महावर लगाता था, किंतु उनके ढीले वस्त्रों और सुंदर नितम्बों को देखकर उसका ध्यान भटक जाता था।

१९.२७

चुम्बने विपरिवर्तिताधरं
हस्तरोधि रशनाविघट्टने ।
विघ्नितेच्छमपि तस्य सर्वतो
मन्मथेन्धनमभूद्वधूरतम् ॥

Summary AI The love-play with the women became fuel for his passion from all sides, even though his desires were obstructed: their lips turned away during a kiss, and their hands obstructed his when he tried to untie their girdles.

सारांश AI स्त्रियों द्वारा चुंबन का विरोध करने और करधनी छूने से रोकने के बावजूद, उनकी यह बाधाएं राजा की कामेच्छा को और अधिक प्रज्वलित कर देती थीं।

१९.२८

दर्पणेषु परिभोगदर्शिनी-
र्नर्मपूर्वमनुपृष्ठसंस्थितः ।
छायया स्मितमनोज्ञया वधू-
र्ह्नीनिमीलितमुखीश्चकार सः ॥

Summary AI Standing behind them playfully, he, with his own charming, smiling reflection, made the women—who were looking at the marks of lovemaking on their bodies in mirrors—close their faces in modesty.

सारांश AI दर्पण में अपना रूप देख रही स्त्रियों के पीछे खड़े होकर जब राजा ने मुस्कुराते हुए अपनी परछाईं दिखाई, तो वे लज्जा से अपनी आँखें मूँद लीं।

१९.२९

कण्ठसक्तमृदुबाहुबन्धनं
न्यस्तपादतलमग्नपादयोः ।
प्रार्थयन्त शयनोत्थितं प्रिया-
स्तं निशात्ययविसर्गचुम्बनम् ॥

Summary AI Having just risen from bed, his beloveds, with their soft arms wrapped around his neck, requested a parting kiss for the end of the night. They did so while pressing the soles of their feet against his feet.

सारांश AI सुबह बिस्तर से उठते समय स्त्रियाँ राजा के गले लगकर और अपने पैर उसके पैरों पर रखकर विदाई के चुंबन की प्रार्थना करती थीं।

१९.३०

प्रेक्ष्य दर्पणतलस्थमात्मनो
राजवेषमतिशक्रशोभिनम् ।
पिप्रिये न स तथा यथा युवा
व्यक्तलक्ष्म परिभोगमण्डनम् ॥

Summary AI Seeing his own royal attire, which outshone even Indra's, reflected in a mirror, the young king was not as pleased as he was on seeing the ornamentation of love-marks, the visible signs of his amorous enjoyment.

सारांश AI दर्पण में इंद्र के समान वैभवशाली राजसी वेश को देखकर राजा उतना प्रसन्न नहीं होता था, जितना वह अपने शरीर पर बने संभोग के निशानों को देखकर होता था।

१९.३१

मित्रकृत्यमपदिश्य पार्श्वतः
प्रस्थितं तमनवस्थितं प्रियाः ।
विद्म हे शठ पलायनच्छला-
न्यञ्जसेति रुरुधुः कचग्रहैः ॥

Summary AI When he, restless, tried to leave their side using "business with a friend" as a pretext, his beloveds stopped him by grabbing his hair, saying, "O you rogue! We know your escape tricks all too well."

सारांश AI मित्रों के कार्य का बहाना बनाकर दूसरी नायिका के पास जाने वाले चंचल राजा को स्त्रियों ने 'ओ छली!' कहते हुए बालों से पकड़कर रोक लिया।

१९.३२

तस्य निदयरतिश्रमालसाः
कण्ठसूत्रमपदिश्य योषितः ।
अध्यशेरत बृहद्भुजान्तरं
पीवरस्तनविलुप्तचन्दनम् ॥

Summary AI Languid from the fatigue of intense lovemaking, the women, on the pretext of adjusting their necklaces, lay upon his broad chest, from which the sandalwood paste had been rubbed away by their full breasts.

सारांश AI रति-क्रीड़ा से थकी हुई स्त्रियाँ हार ठीक करने के बहाने राजा की विशाल छाती पर लेट गईं, जिससे उनके स्तनों के स्पर्श से राजा का चंदन पुछ गया।

१९.३३

संगमाय निशि गूढचारिणं
चारदूतिकथितं पुरोगताः ।
वञ्चयिष्यसि कुतस्तमोवृतः
कामुकेति चकृषुस्तमङ्गनाः ॥

Summary AI When he was secretly going for a tryst at night, having been reported by their spy-messengers, the women went ahead and intercepted him. Saying, "O lover, how will you deceive us, even though you are cloaked in darkness?", they dragged him away.

सारांश AI रात में छिपकर मिलने जाते हुए राजा को दूतियों की सूचना पर रानियों ने बीच रास्ते में ही पकड़ लिया और अंधेरे में जाने का उपहास किया।

१९.३४

योषितामुडुपतेरिवार्चिषां
स्पर्शनिर्वृत्तिमसाववाप्नुवन् ।
आरुरोह कुमुदाकरोपमां
रात्रिजागरपरो दिवाशयः ॥

Summary AI Devoted to staying awake at night and sleeping by day, he obtained from the women a bliss of touch like that from the rays of the moon. Thus obtaining, he ascended his bed, which was like a bed of water lilies.

सारांश AI स्त्रियों के स्पर्श से आनंदित होकर राजा चंद्रमा की तरह रात भर जागता और दिन में सोता था, जिससे वह कुमुदिनी के समान प्रतीत होता था।

१९.३५

वेणुना दशनपीडिताधरा
वीणया नखपदाङ्कितोरवः ।
शिल्पकार्य उभयेन वेजिता-
स्तं विजिह्यनयना व्यलोभयन् ॥

Summary AI Women with sidelong glances tempted him. Competing in their artistic skills, some played the flute, pressing their lips with their teeth, while others played the vīṇā, marking their chests with their fingernails.

सारांश AI बाँसुरी और वीणा सीखने के बहाने होंठों और जाँघों पर लगे निशानों से स्त्रियाँ परेशान तो हुईं, परंतु अपनी तिरछी चितवन से राजा को मोहित भी किया।

१९.३६

अङ्गसत्त्ववचजनाश्रयं मिथः
स्त्रीषु नृत्यमुपधाय दर्शयन् ।
स प्रयोगनिपुणैः प्रयोक्तृभिः
संजघर्ष सह मित्रसंनिधौ ॥

Summary AI In the presence of his friends, he competed with skilled performers. He would arrange and demonstrate for the women dances based on gestures, expressions, song, and character portrayal, encouraging them to compete amongst themselves.

सारांश AI राजा ने नृत्य कला के विभिन्न अंगों और भावों का प्रदर्शन करते हुए कुशल नृत्य आचार्यों के साथ मित्रों के सामने प्रतिस्पर्धा की।

१९.३७

अंसलम्बिकुटजार्जुनस्रज-
स्तस्य नीपरजसाङ्गरागिणः ।
प्रावृषि प्रमदबहिणेष्वभू-
त्कृत्रिमाद्रिषु विहारविभ्रमः ॥

Summary AI During the rainy season, he, wearing garlands of Kutaja and Arjuna flowers hanging from his shoulders and his body anointed with Kadamba pollen, enjoyed the graceful pastime of strolling on artificial pleasure-hills inhabited by joyous peacocks.

सारांश AI वर्षा ऋतु में कुटज और अर्जुन के फूलों की माला पहने तथा पराग से सने राजा ने कृत्रिम पर्वतों पर मयूर के समान विहार का आनंद लिया।

१९.३८

विग्रहाञ्च शयने पराङ्मुखी-
र्नानुनेतुमबलाः स तत्वरे ।
आचकाङ्क्ष घनशब्दविक्लवा-
स्ता विवृत्य विशतीर्भुजान्तरम् ॥

Summary AI He did not hurry to console the women who, after a quarrel, had turned their faces away on the bed. Instead, he waited, desiring them to turn back on their own and enter his embrace, frightened by the sound of thunder.

सारांश AI रूठकर मुँह फेर लेने वाली स्त्रियों को राजा ने तुरंत नहीं मनाया, बल्कि बादलों के गर्जन से डरकर उनके स्वयं गले लगने की प्रतीक्षा की।

१९.३९

कार्तिकीषु सवितानहर्म्यभा-
ग्यामिनीषु ललिताङ्गनासखः ।
अन्वभुङ्क्तसुरतश्रमापहां
मेघमुक्तविशदां स चन्द्रिकाम् ॥

Summary AI Accompanied by charming women, he enjoyed the clear, bright moonlight on the nights of the Kartika month. From the canopied terrace of his mansion, he savored the moonlight, which was free from clouds and soothed the fatigue of their lovemaking.

सारांश AI कार्तिक की रातों में महल की छतों पर सुंदरियों के साथ राजा ने बादलों से मुक्त निर्मल चांदनी का आनंद लेकर अपनी थकान मिटाई।

१९.४०

सैकतं च सरयूं विवृण्वतीं
श्रोणिबिम्बमिव हंसमेखलम् ।
स्वप्रियाविलसितानुकारिणीं
सौधजालविवरैर्व्यलोकयत् ॥

Summary AI Through the latticed windows of his palace, he also watched the Sarayu river. The river, imitating the graceful movements of his beloveds, revealed its sandy bank, which resembled a hip-expanse girdled by a belt of swans.

सारांश AI महल की खिड़कियों से राजा ने सरयू नदी के किनारे को देखा, जो हंसों की करधनी पहने हुए किसी प्रियतमा के सुंदर नितम्बों के समान प्रतीत हो रही थी।

१९.४१

मर्मरैरगुरुधूपगन्धिभि-
र्व्यक्तहेमरशनैस्तमेकतः ।
जह्नुराग्रथनमोक्षलोलुपं
हैमनैर्निवसनैः सुमध्यमाः ॥

Summary AI The slender-waisted women captivated him with their winter garments, which were fragrant with aloe wood incense and rustled softly, revealing golden girdles beneath. He, in turn, was eager to untie the knots of these very garments.

सारांश AI सुमध्यमा स्त्रियों ने अगरु की धूप से सुगन्धित और सरसराहट पैदा करने वाले सुनहरे रेशमी वस्त्रों से राजा को घेर लिया, जो उन्हें खोलने और बाँधने के लिए उत्सुक था।

१९.४२

अर्पितस्तिमितदीपदृष्टयो
गर्भवेश्मसु निवातकुक्षिषु ।
तस्य सर्वसुरतान्तरक्षमाः
साक्षितां शिशिररात्रयो ययुः ॥

Summary AI The long winter nights, which permitted all varieties of lovemaking, became witnesses to his dalliances. This happened in the windless inner chambers, where steady, unflickering lamps seemed to gaze upon the events.

सारांश AI महल के भीतरी वायुरहित कक्षों में, जहाँ दीपक की लौ भी स्थिर रहती थी, शिशिर ऋतु की वे लंबी रातें राजा के समस्त काम-विलास की साक्षी बनीं।

१९.४३

दक्षिणेन पवनेन संभृतं
प्रेक्ष्य चूतकुसुमं सपल्लवम् ।
ष अन्वनैषुरवधूतविग्रहास्-
तं दुरुत्सहवियोगमङ्गनाः ॥

Summary AI Upon seeing the mango blossoms with their new leaves, brought forth by the southern breeze of spring, the women gave up their quarrels. They made up with the king, from whom separation now seemed unbearable.

सारांश AI दक्षिण की पवन से खिले आम के पुष्पों और कोपलों को देखकर, स्त्रियों ने राजा के विरह को असहनीय मानकर अपना मान त्याग दिया और राजा से मेल कर लिया।

१९.४४

ताः स्वमङ्कमधिरोप्य दोलया
प्रेङ्खयन्परिजनापविद्धया ।
मुक्तरज्जु निबिडं भयच्छला-
त्कण्ठबन्धनमवाप बाहुभिः ॥

Summary AI Placing them on his lap, he would swing them on a swing pushed by attendants. Then, letting go of the ropes, he would receive a tight embrace around his neck from their arms, under the pretext of their fear of falling.

सारांश AI झूला झूलते समय जब सेवकों ने रस्सी छोड़ दी, तब स्त्रियों ने डर के बहाने अपनी भुजाओं से राजा के गले को कसकर पकड़ लिया।

१९.४५

तं पयोधरनिषिक्तचन्दनै-
र्मौक्तिकग्रथितचारुभूषणैः ।
ग्रीष्मवेषविधिभिः सिषेविरे
श्रोणिलम्बिमणिमेखलैः प्रियाः ॥

Summary AI His beloveds attended to him with their summer attire. This included sandalwood paste sprinkled on their breasts, beautiful ornaments strung with pearls, and jeweled girdles hanging low on their hips.

सारांश AI ग्रीष्म ऋतु में प्रियों ने अपने स्तनों पर चंदन का लेप लगाकर, मोतियों के आभूषण और कमर में मणिमयी मेखला धारण कर राजा की सेवा की।

१९.४६

यत्स लग्नसहकारमासवं
रक्तपाटलसमागमं पपौ ।
तेन तस्य मधुनिर्गमात्कृश-
श्चित्तयोनिरभवत्पुनर्नवः ॥

Summary AI Because he drank wine infused with mango blossoms and mixed with red Patala flowers, his passion (Kamadeva), which had grown weak with the passing of spring, was revived and became strong again.

सारांश AI आम की मंजरी और गुलाब के फूलों से सुवासित मदिरा के सेवन से, वसंत ऋतु के अंत में क्षीण हुआ राजा का कामभाव पुनः जागृत हो उठा।

१९.४७

एवमिन्द्रियसुखानि निर्विश-
न्नन्यकार्यविमुखः स पार्थिवः ।
आत्मलक्षणनिवेदितानृतू-
नत्यवाहयदनङ्गवाहितः ॥

Summary AI Thus, that king, carried away by passion and averse to all other duties, spent the seasons—each announced by its own natural signs—by indulging in the pleasures of the senses.

सारांश AI राजकाज से विमुख होकर वह राजा ऋतुओं के लक्षणों के अनुसार केवल इन्द्रिय सुखों का भोग करने लगा और पूर्णतः कामदेव के वश में हो गया।

१९.४८

तं प्रमत्तमपि न प्रभावतः
शेकुराक्रमितुमन्यपार्थिवाः ।
आमयस्तु रतिरागसंभवो
दक्षशाप इव चन्द्रमक्षिणोत् ॥

Summary AI Although he was heedless, other kings were unable to attack him due to his inherent power. However, a disease born of excessive indulgence in passion began to consume him, just as the curse of Daksha consumes the moon.

सारांश AI राजा के असावधान रहने पर भी शत्रु उसे दबा न सके, परंतु अत्यधिक काम-भोग से उत्पन्न क्षय रोग ने उसे वैसे ही क्षीण कर दिया जैसे चंद्रमा को दक्ष का शाप।

१९.४९

दृष्टदोषमपि तन्न सोऽत्यज-
त्सङ्गवस्तु भिषजामनाश्रवः ।
स्वादुभिस्तु विषयैर्हृतस्ततो
दृःखमिन्द्रियगणो निवार्यते ॥

Summary AI That king (Agnivarna), not heeding the words of the physicians, did not abandon the object of his attachment (women), even though its faults were pointed out. Consequently, his group of senses, captivated by pleasurable objects, was restrained with difficulty.

सारांश AI दोषों को जानते हुए भी राजा ने वैद्यों की सलाह नहीं मानी और विलास नहीं त्यागा; क्योंकि विषयों के स्वाद में फँसी इन्द्रियों को रोकना अत्यंत दुष्कर है।

१९.५०

तस्य पाण्डुवदनाल्पभूषणा
सावलम्बगमना मृदुस्वना ।
राजयक्ष्मपरिहानिराययौ
कामयानसमवस्थया तुलाम् ॥

Summary AI The king's decline due to consumption, characterized by a pale face, few ornaments, a supported gait, and a soft voice, reached a state comparable to that of a pining lover.

सारांश AI पीला मुख, कम आभूषण, सहारे से चलना और मंद स्वर—राजा की यह क्षय रोग की अवस्था किसी कामार्त विरही की दशा के समान दिखाई देने लगी।

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महाभारतम् वेदव्यासः

नैषधीयचरितम् श्रीहर्षः

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