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Shloka 14

Trivakrā’s Transformation and the Breaking of Kaṁsa’s Bow

Mathurā-līlā Prelude

तद्दर्शनस्मरक्षोभादात्मानं नाविदन् स्त्रिय: । विस्रस्तवास:कवरवलया लेख्यमूर्तय: ॥ १४ ॥

tad-darśana-smara-kṣobhād ātmānaṁ nāvidan striyaḥ visrasta-vāsaḥ-kavara valayā lekhya-mūrtayaḥ

เมื่อได้เห็นพระกฤษณะ กามเทพก็พลุ่งขึ้นในดวงใจสตรีชาวเมือง ด้วยความปั่นป่วนพวกนางลืมตนเอง ผ้านุ่งห่ม มวยผม และกำไลก็หลุดรุ่ยยุ่งเหยิง และพวกนางยืนนิ่งดุจรูปในภาพวาด

तत्-दर्शन-स्मर-क्षोभात्from the agitation due to seeing and remembering (him)
तत्-दर्शन-स्मर-क्षोभात्:
हेतु (Cause/हेतु)
TypeNoun
Rootतद् + दर्शन + स्मर + क्षोभ (प्रातिपदिक)
Formपुंलिङ्ग, पञ्चमी (Ablative/अपादान) एकवचन; बहुपद-तत्पुरुषः—'from the agitation caused by remembering (him) upon seeing (him)'
आत्मानम्themselves
आत्मानम्:
कर्म (Object/कर्म)
TypeNoun
Rootआत्मन् (प्रातिपदिक)
Formपुंलिङ्ग, द्वितीया एकवचन
not
:
सम्बन्ध (Particle/अव्यय)
TypeIndeclinable
Rootन (अव्यय)
Formनिषेध (negation particle/निषेधाव्यय)
अविदन्they knew/recognized
अविदन्:
Kriyā (क्रिया)
TypeVerb
Root√विद् (धातु)
Formलङ् (Imperfect/past), परस्मैपदम्, तृतीयपुरुष (3rd person), बहुवचन
स्त्रियःwomen
स्त्रियः:
कर्ता (Subject/कर्ता)
TypeNoun
Rootस्त्री (प्रातिपदिक)
Formस्त्रीलिङ्ग, प्रथमा बहुवचन
विस्रस्त-वासः-कवराःwith loosened clothes and hair
विस्रस्त-वासः-कवराः:
विशेषण (Qualifier/विशेषण)
TypeAdjective
Rootविस्रस्त (√स्रंस्, क्त) + वासस् + कवर (प्रातिपदिक)
Formस्त्रीलिङ्ग, प्रथमा बहुवचन; बहुव्रीहिः—'whose garments and hair-braids were loosened'
वलयाः(their) bangles
वलयाः:
विशेषण/अपपद (Apposition)
TypeNoun
Rootवलय (प्रातिपदिक)
Formनपुंसकलिङ्ग (often), प्रथमा बहुवचन; here as appositional descriptor of striyaḥ
लेख्य-मूर्तयःlike painted figures
लेख्य-मूर्तयः:
विशेषण (Qualifier/विशेषण)
TypeAdjective
Rootलेख्य + मूर्ति (प्रातिपदिक)
Formस्त्रीलिङ्ग, प्रथमा बहुवचन; कर्मधारयः—'like a painted figure'

Śrīla Viśvanātha Cakravartī states that since the women of Mathurā immediately experienced symptoms of conjugal attraction when they saw Kṛṣṇa, they were the most advanced devotees in the city. The ten effects of Cupid are described as follows: cakṣū-rāgaḥ prathamaṁ cittāsaṅgas tato ’tha saṅkalpaḥ nidrā-cchedas tanutā viṣaya-nivṛttis trapā-nasaḥ / unmādo mūrcchā mṛtir ity etāḥ smara-daśā daśaiva syuḥ. “First comes attraction expressed through the eyes, then intense attachment in the mind, then determination, loss of sleep, becoming emaciated, disinterest in external things, shamelessness, madness, becoming stunned and death. These are the ten stages of Cupid’s effects.”

Ś
Śrī Kṛṣṇa
M
Mathurā women (striyaḥ)

FAQs

This verse says that merely seeing Kṛṣṇa overwhelms ordinary self-control—His beauty stirs deep emotion (described as Cupid’s agitation), leaving the onlookers stunned and outwardly disarranged.

Because they became motionless in astonishment and attraction—like portraits—while their clothes, hair, and bangles slipped out of place, showing how completely Kṛṣṇa’s presence captivated them.

It teaches the power of darśana and remembrance: regularly bringing Kṛṣṇa into one’s attention through worship, hearing, and contemplation naturally draws the mind away from distraction and toward heartfelt devotion.