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THE INDIAN ANTIQUARY.
[MARCH, 1895.
Text.
उपवास सात मेहेताए करीमा तव रीज्या श्रीमहादेव.
10 कमळनी पेरे लींग प्रकाशं प्रभु प्रकत थया ततखेव. नरसींह मेहेतानुं मामेरुं.
करपुर गैर सरस सोभा धर्थी उमियां डावे पास.
बीराजे झठामा जान्हवी ने नीलवट चंद्र प्रकाश. कडवू १ लु.
छरेडमाळा सर्पभुषण राजे वाघांबर चर्म. राग आसावरी."
वाजे डांक डमरु शंख शिगी मेहते दीठा परीब्रह्म.
15 तव नरसइओ जइ पाये लाग्यो, त्यारे मस्तक मुक्यो श्री गुरु गणपती सारदा हुं समरूं सुखे सर्वदा;
हाथ. मनमुदा कई मामेरुं मेहेता तणुं रे.
मांग्य मांग्य हुं कृपाळ हूं एम बोल्या उमिया नाथ. ढाळ.
मेहेतो कहे महादेवजी एक मांगुं छु स्वामीन. मामेर मेहेता तणु, परबंध करवा आस.
तमत' दरशन पामीयो हवे विष्णन दरशन.
धन्य धन्य साधु सिव कहे तने भक्तिनी छ भास. नरसींह मेहेतो भकत ब्राहमण जुनागढमा वास. 5 तेनी भाभीए एक वचन का मेहेताने लागी दाहाज..
| 20 भखंड ब्रजमां गया तेडी ज्यां हरी रमेछे रास. परित्याग कीधी घरतणो मेहेती बन गया तपकाज.
वलण. ते वन वीशे एक देहेडुं दीदूं अपुज्य सीवर्नु लिंग. रास मंडळतणी रचना लीला शी वखाणी कधी. नरसीए तेनी पुजा करी अंतरमाही उमंग.
नरसइओ कृतार्थ थयो ने कृपा श्रीहरीनी हवी. Canto II.
Prelude. The dancing circle shines with marvellous beauty, to see which is to forget all earthly
sorrows. The gôpikule sings, the musical instruments peal forth, Siva has poured the greatest
blessing (on the Meheta). 25 The great king 'Siva-Mahiriij held the Meheta by the hand.
(And) seeing Sadasiva (do this) the Lord of Vaikunth came forward. Both the gods greeted each other in delight and the gôpis placed their heads at 'Siva's
feet (in adoration). And Narsióh went forth and bowed his head before the Lord, when said the King of
Vaikunth:"Tell us, Sadasiva. who this is, to whom you show this place?" 30 Mahadeva replied:-He is your worshipper and his name is the Vipral Narsinh.
Then placing his hand on his head, quoth Srf Göpa! 20 :"Think on me when in distress and I will hasten to thy aid. Do thon worship me and sing my praises and thou wilt swim safely through the sea of life.
Do thou sing of this my sportive circle, 21 full of love, as thou hast seen it here." 35 Then he showed him the dance of the sporting circle.
And spoke to Narsiiih, spoke the Lord of the Triple City2 :“Never fear the verdict of the populace in thy heart, but worship me at the risk of thy head,
11 It may be noted throughout this composition that the first two lines of each Canto usually come as a prelude in * different metre from the body of the Canto, which is headed & Shay. At the end there is a refrain in a different metre again, in which the sense of the last preceding lines of the 10 is repeated in early the same words. Similarly the succeeding Canto begins by repeating the last words of the refrain. To explain the composition, the first four lines are transliterated as follows, the Italics shewing the rhymes :
Sri Gara Ganapati Shrada Hui eamruu sukhe sarvada Manmuda kahun måmerún Méhétå taņuò rê.
Dhal. MAmordi Meheta tanun parabandha haravaasa.
Narasinha Méhêto bhakata Brahamaņa Junagadha mai vdea. » The milkmaids with whom Krishņa used to sport in his youth.
" Brahman * An epithet of Krishna, meaning the Protector of Cows.
n The Ras Mandal, or sportive circle, was formed of 1,600 gôpikda (milkmaida), who danced round and round, Krishps and his wife, RAdha, who were in the centre; hence dancing forms part of this god's worship.
NA fabuloas sērial city said to bave been burnt in a war amongst the gods.
