असम्बद्धप्रलापासि बालासि वरवर्णिनि । रमसे वाक्यलीलाभी रमस्वावनिपात्मजे
O beautiful one, you are uttering incoherent words like a child; you delight in the play of speech—so delight in the son of the earth as well.
किञ्चित् त्यक्त्वा नकिञ्चिद् यो गतः प्रत्यक्षसंस्थितम् । त्यक्तप्रत्यक्षसद्रूपस् स कथं किल शोभते
One who, having abandoned something, has gone to nothingness and remains established in the evident, having given up the true nature of the evident—how indeed does he shine?
भोगैर् अभुक्तैस् तुष्टो ऽहम् इति भोगाञ् जहाति यः । रुषेवाशनपानाद्यान् स कथं किल शोभते
He who, satisfied with enjoyments not yet experienced, abandons pleasures—like one angry with food and drink—how indeed does he shine?
वाहनाशनशय्यादि सर्वं सन्त्यज्य धीरधीः । यस् तिष्ठत्य् आत्मनैवैकस् स कथं किल शोभते
He whose firm intellect abandons all, such as vehicles, food, beds, and stands alone by himself—how indeed does he shine?
स्वयं नकिञ्चिद् एवाहं जगदीशो ऽस्मि चेति च । निश्चयो यस्य दुर्बुद्धेस् स कथं किल शोभते
He whose conviction is, 'I am nothing at all, yet I am the lord of the world,' though his intellect is weak—how indeed does he shine?
आत्मन्य् एवात्मनैकान्ते त्यक्तसर्वसमागमः । यस् स्थितश् श्वभ्रतरुवत् स कथं किल शोभते
He who, having abandoned all association, remains alone within himself, like a pit—how indeed does he shine?
नाहं देहो ऽन्यद् एवाहं नकिञ्चित् सर्वम् एव हि । एवं प्रलापो यस्यास्ति स कथं किल शोभते
He who says, 'I am not the body, I am something else, I am nothing, yet I am everything'—how indeed does he shine, whose speech is like this?
यत् पश्यामि न पश्यामि तत् पश्याम्य् अन्यद् एव यत् । प्रलाप इत्य् असन् यस्य स कथं किल शोभते
He who says, 'What I see, I do not see; what I see is something else'—whose speech is thus false—how indeed does he shine?
तस्मान् मुग्धासि बालासि चपलासि विलासिनि । नानालापविलासेन क्रीडसि क्रीड सुन्दरि
Therefore, you are innocent, childlike, restless, and playful; you engage in various conversations and amusements, playing, O beautiful one.
प्रविहस्याट्टहासेन शिखिध्वज इति प्रियाम् । मध्याह्ने स्नातुम् उत्थाय निर्जगामाङ्गनागृहात्
With loud laughter, saying 'Śikhidhvaja,' his beloved, at midday, rose to bathe and departed from the women's quarters.
कष्टं नात्मनि विश्रान्तो मद्वचांसि न बुद्धवान् । राजेति खिन्ना चूडाला स्वव्यापारपराभवत्
Alas, he does not find rest in himself, nor does he understand my words; distressed, Cūḍālā became absorbed in her own pursuits.
तदा तथाङ्ग तत्राथ तादृशाशययोस् तयोः । ताभिः पार्थिवलीलाभिर् दिवसस् स जगाम ह
Then, O friend, in that place, with such intentions in both of them, the days passed by with those royal amusements.
क्रमेण मासा ऋतवो राम संवत्सरास् तथा । अतीता बहवस् तत्र दम्पत्योस् स्निग्धयोस् तयोः
Gradually, months, seasons, and years passed there, O Rāma, for that affectionate couple.
एकदा नित्यतृप्ताया निरिच्छाया अपि स्वयम् । चूडालाया बभूवेच्छा लीलया खगमागमे
Once, even though Cūḍālā was always content and without desire, a wish arose in her to practice the art of flying for amusement.
खगमागमसिद्ध्यर्थम् अथ सा नृपकन्यका । सर्वभोगान् अनादृत्य समागम्य च निर्जनम्
For the accomplishment of the art of flying, that princess, disregarding all enjoyments, went to a secluded place.
एकैवैकान्तनिरता स्वासनावस्थिताङ्गका । ऊर्ध्वगप्राणपवनचिराभ्यासं चकार ह
Alone, absorbed in solitude, seated in her own posture, she practiced for a long time the exercise of directing the breath upward.
यद् इदं दृश्यते किञ्चिज् जगत् सस्थास्नुजङ्गमम् । स्पन्दस्य तत् क्रियानाम्नः फलम् इत्य् अनुभूयते
Whatever is seen here—this world, with its stationary and moving beings—is experienced as the result of the activity called 'vibration.'
कस्य स्पन्दविलासस्य घनाभ्यासस्य मे वद । ब्रह्मन् खगमनाद्य् एतत् फलं यत्नैकशालिनः
Tell me, O Brahman, whose is this display of vibration, this dense repetition? For whom is this result of single-minded effort, such as flying in the sky and so on?
आत्मज्ञो वाप्य् अनात्मज्ञस् सिद्ध्यर्थं लीलया तथा । कथं संसाधयत्य् एतद् यथावद् वद मे विभो
Whether one knows the Self or does not, whether for the sake of attainment or as a play—how does one accomplish all this? Tell me precisely, O Lord.
त्रिविधं सम्भवत्य् अङ्ग साध्यं वस्त्व् इह सर्वतः । उपादेयं च हेयं च तथोपेक्ष्यं च राघव
O Raghava, in all things to be accomplished here, three kinds are found: that which is to be accepted, that which is to be rejected, and that which is to be disregarded.
आत्मभूतं प्रयत्नेन ह्य् उपादेयं तु साध्यते । हेयं सन्त्यज्यते ज्ञात्वा ह्य् उपेक्ष्यं मध्यम् एतयोः
That which is of the nature of the Self is attained through effort; that which is to be rejected is abandoned upon knowing; and that which is to be disregarded is the middle between these two.
यद् यद् आह्लादनकरम् आदेयं तद् असन्मतेः । तद्विरुद्धम् अनादेयम् उपेक्ष्यं मध्यमं विदुः
Whatever brings delight is considered to be accepted by those of right understanding; that which is contrary is not to be accepted, and the middle is known as to be disregarded.
सन्मतेर् विदुषो ज्ञस्य सर्वम् आत्ममयं यदा । त्रय एव तदा पक्षास् सम्भवन्ति न केचन
When, for one of right understanding, a knower, everything is recognized as pervaded by the Self, then only these three options remain, and nothing else.
केवलं सर्वम् एवेदं कदाचिल् लीलया न वा । उपेक्ष्यम् अक्षिनिक्षिप्तम् आलोकयति वा न वा
At times, all this alone is simply disregarded as a play, or not; or, with eyes cast upon it, one may observe it, or not.
ज्ञस्योपेक्ष्यात्मकं राम मूढस्यादेयतां गतम् । हेयं स्फारविरागस्य शृणु सिद्धिक्रमं कथम्
O Rama, the knowledge-oriented person is characterized by indifference, while the deluded one is subject to being given up; that which is to be abandoned belongs to one with intense dispassion. Now listen to the sequence of attaining powers.
देशकालक्रियाद्रव्यसाधनास् सर्वसिद्धयः । जीवम् आह्लादयन्तीह वसन्त इव भूतलम्
All accomplishments here—arising from place, time, action, and materials—delight the living being just as spring delights the earth.
मध्ये चतुर्णाम् एतेषां क्रिया प्रथमकल्पिकी । सिद्ध्यादिसाधने साधोस् तन्मयास् ते यतः क्रमाः
Among these four, action is considered primary; for the attainment of success and related aims, the steps proceed accordingly, being absorbed in that.
गुलिकाञ्जनखड्गादिक्रियाक्रमनिरूपणम् । तत्रास्तां तावद् एषो ऽत्र विस्तारः प्रकृतार्थहा
The detailed procedures for actions involving pills, collyrium, swords, and so on—let that elaboration remain aside here, as it distracts from the main topic.
रत्नौषधितपोमन्त्रक्रियाक्रमनिरूपणम् । तत्रास्तां तावद् एषो ऽत्र विस्तारः प्रकृतार्थहा
The detailed procedures for actions involving gems, medicines, heat, and mantras—let that elaboration also remain aside here, as it distracts from the main topic.
श्रीशैले सिद्धदेशे च मेर्वादौ वा निवासतः । सिद्धिर् इत्य् अपि विस्तारः क्रियोत्था प्रकृतार्थहा
Even the elaboration regarding attainment through residing at sacred places like Śrīśaila, Siddhadeśa, or at Meru and so on, arising from ritual actions, is a digression from the main subject.