Commentary — decoded
Jīva Gosvāmī
s1invocation
śrī-rādhā-dāmodarau jayataḥ | sanātana-samo yasya jyāyān śrīmān sanātanaḥ | śrī-vallabho’nujaḥ so’sau śrī-rūpo jīva-sad-gatiḥ ||
śrī-rādhā-dāmodarauŚrī Rādhā and Dāmodara (the two of them) —श्री राधा और दामोदर (दोनों)
jayataḥmay the two stand supremely victorious 3rd dual presentजयवन्त हों (द्विवचन वर्तमान)
sanātana-samaḥthe one who is the equal of Sanātana nom. sg., qualifies the wholeजो सनातन के समान हैं (यहाँ पूरे वाक्य का विशेषण)
yasyahe whose — gen. sg., relativeजिनके (सम्बन्ध — षष्ठी, सापेक्ष)
jyāyānelder brother is nom. sg.बड़े भाई (कर्ता, एकवचन)
śrīmān sanātanaḥthe glorious Sanātana;श्रीमान् सनातन हैं
śrī-vallabhaḥ anujaḥand whose younger brother is Śrī Vallabha (Anupama);श्रीवल्लभ छोटे भाई हैं
saḥ asau śrī-rūpaḥthat very one, Śrī Rūpa,वही ये श्रीरूप
jīva-sad-gatiḥis the true refuge of Jīva. nom. sg., predicateजीव की सद्गति हैं (विधेय, कर्ता एकवचन)
śrī-rādhā-dāmodarau — Śrī Rādhā and Dāmodara; jayataḥ — may the two be victorious. yasya — he whose; jyāyān — elder brother is; sanātana-samaḥ śrīmān sanātanaḥ — the glorious Sanātana, equal to (any) Sanātana; śrī-vallabhaḥ anujaḥ — (whose) younger brother is Śrī Vallabha; saḥ asau śrī-rūpaḥ — that Śrī Rūpa; jīva-sad-gatiḥ — is the true refuge of Jīva.
śrī-rādhā-dāmodarau — श्री राधा-दामोदर; jayataḥ — जयवन्त हों; sanātana-samaḥ — सनातन के समान; yasya — जिनके; jyāyān — बड़े भाई; śrīmān sanātanaḥ — श्रीमान् सनातन; śrī-vallabhaḥ anujaḥ — श्रीवल्लभ छोटे भाई; saḥ asau śrī-rūpaḥ — वही ये श्रीरूप; jīva-sad-gatiḥ — जीव की सद्गति
May Śrī Rādhā and Dāmodara be victorious. Jīva opens by bowing to his teachers. Śrī Rūpa's elder brother is the glorious Sanātana, second to none. His younger brother is Śrī Vallabha. That Rūpa, says Jīva, is my true shelter. This is Jīva's own opening verse before he takes up the text.
श्री राधा और दामोदर जयवन्त हों। जिनके बड़े भाई श्रीमान् सनातन उन्हीं के समान हैं, और छोटे भाई श्रीवल्लभ हैं — वही ये श्रीरूप जीव की सद्गति हैं।
Why cited: Jīva's opening homage — naming Rādhā-Dāmodara and his guru Rūpa (with his brothers) as the shelter under which he writes.
क्यों उद्धृत: जीव गोस्वामी का प्रारम्भिक नमन — राधा-दामोदर तथा अपने गुरु रूप (उनके भाइयों सहित) को उस आश्रय-रूप में नामित करना जिसके नीचे बैठकर वे यह ग्रन्थ रचते हैं।
sad-gati: literally 'good goal / true resort'; here it names Rūpa as Jīva's spiritual refuge, not a destination after death.
'सद्-गति' का शब्दार्थ 'उत्तम गति / सच्चा आश्रय'; यहाँ यह रूप गोस्वामी को जीव का आध्यात्मिक आश्रय बताता है, मृत्यु के बाद की कोई गति नहीं।
s2avataranika
atha śrīmān so’yaṁ grantha-kāraḥ sakala-bhāgavata-loka-hitābhilāṣa-paravaśatayā prakāśitaiḥ sva-hṛdaya-divya-kamala-koṣa-vilāsibhiḥ śrīmad-bhāgavata-rasair eva bhakti-rasāmṛta-sindhu-nāmānaṁ grantham apūrva-racanam ācinvānas tad-varṇayitavyasyaiva ca sarvottamatāṁ niścinvānas tad-vyañjanayaiva niścinvānas tad-vyañjanayaiva maṅgalam āsañjayati |
athanow (the commentary begins)अब
śrīmān saḥ ayaṁ grantha-kāraḥthis glorious author (Rūpa)वे ये श्रीमान् ग्रन्थकार
sakala-bhāgavata-loka-hita-abhilāṣa-paravaśatayābecause he is carried away by his longing for the good of all the Bhāgavata people instr. of causeसमस्त भागवत-जनों के हित की अभिलाषा के वश होने के कारण (हेतु में तृतीया)
prakāśitaiḥwith the relishes he has brought to light, instr., modifies rasaiḥप्रकट किए गए (रसों का विशेषण — तृतीया)
sva-hṛdaya-divya-kamala-koṣa-vilāsibhiḥwhich play in the cup of the divine lotus of his own heart, instr., modifies rasaiḥअपने हृदय के दिव्य कमल-कोष में विलास करने वाले (रसों का विशेषण — तृतीया)
śrīmad-bhāgavata-rasaiḥ evausing precisely the rasas (relishes) of Śrīmad-Bhāgavata instr. of means; eva 'precisely'श्रीमद्भागवत के रसों के द्वारा ही (साधन में तृतीया; eva 'ठीक उन्हीं से')
bhakti-rasāmṛta-sindhu-nāmānaṁ granthama work named Bhakti-rasāmṛta-sindhu,'भक्तिरसामृतसिन्धु' नामक ग्रन्थ को
apūrva-racanamof unprecedented composition,अपूर्व रचना वाले (उसी ग्रन्थ को)
ācinvānaḥwhile gathering together — pres. part.रचते हुए (वर्तमान कृदन्त)
tad-varṇayitavyasya eva ca sarva-uttamatāṁand the supremacy of the very thing to be described in it eva restricts to 'that very' subjectऔर उसी वर्ण्य विषय की सर्वोत्तमता को (eva 'उसी' पर सीमित करता है)
niścinvānaḥwhile settling (that it is highest), pres. part.निश्चित करते हुए (वर्तमान कृदन्त)
tad-vyañjanayā evaby suggesting that very thing — instr. of means; eva 'precisely by'उसी की व्यञ्जना के द्वारा ही (साधन में तृतीया; eva 'ठीक उसी से')
maṅgalaman auspicious openingमंगलाचरण को
āsañjayatihe joins on. 3rd sg. presentजोड़ देते हैं, संलग्न करते हैं (वर्तमान)
atha śrīmān saḥ ayaṁ grantha-kāraḥ — now this glorious author; sakala-bhāgavata-loka-hita-abhilāṣa-paravaśatayā — because he is overcome by longing for the welfare of all devotees; prakāśitaiḥ sva-hṛdaya-divya-kamala-koṣa-vilāsibhiḥ śrīmad-bhāgavata-rasaiḥ eva — with the very Bhāgavata-relishes he has revealed, playing in the lotus-cup of his heart; bhakti-rasāmṛta-sindhu-nāmānaṁ grantham apūrva-racanam ācinvānaḥ — gathering a work named Bhakti-rasāmṛta-sindhu of unprecedented make; tad-varṇayitavyasya eva ca sarva-uttamatāṁ niścinvānaḥ — and settling the supremacy of the very subject to be described; tad-vyañjanayā eva maṅgalam āsañjayati — joins on an auspicious opening precisely by suggesting it.
atha — अब; śrīmān saḥ ayaṁ grantha-kāraḥ — वे ये श्रीमान् ग्रन्थकार; sakala-bhāgavata-loka-hita-abhilāṣa-paravaśatayā — भागवत-जनों के हित की अभिलाषा के वश होकर; prakāśitaiḥ — प्रकट हुए; sva-hṛdaya-divya-kamala-koṣa-vilāsibhiḥ — हृदय के दिव्य कमल-कोष में विलास करते हुए; śrīmad-bhāgavata-rasaiḥ eva — श्रीमद्भागवत के रसों से ही; bhakti-rasāmṛta-sindhu-nāmānaṁ grantham — भक्तिरसामृतसिन्धु नामक ग्रन्थ को; apūrva-racanam — अपूर्व रचना वाले; ācinvānaḥ — रचते हुए; tad-varṇayitavyasya eva ca sarva-uttamatāṁ — उसी वर्ण्य विषय की सर्वोत्तमता को; niścinvānaḥ — निश्चित करते हुए; tad-vyañjanayā eva — उसी की व्यञ्जना से ही; maṅgalam — मंगलाचरण को; āsañjayati — जोड़ देते हैं
Now the commentary begins. Rūpa is driven by one longing: the good of all the devotees. Out of that longing he composes a wholly new book, Bhakti-rasāmṛta-sindhu. His raw material is the relishes of the Bhāgavata itself, which shine in the lotus of his heart and which he now brings to light. As he builds it, he is also fixing one point: that its subject, Kṛṣṇa, stands above everything. And he sets a blessing at the head of the work not by a separate prayer but by hinting at that supreme subject in the opening verse itself.
अब वे ये श्रीमान् ग्रन्थकार, समस्त भागवत-जनों के हित की अभिलाषा के वश होकर, अपने हृदय के दिव्य कमल-कोष में विलास करते हुए, प्रकट हुए श्रीमद्भागवत के रसों से ही 'भक्तिरसामृतसिन्धु' नामक इस अपूर्व ग्रन्थ की रचना करते हैं। और उसी वर्ण्य विषय की सर्वोत्तमता को निश्चित करते हुए, उसी की व्यञ्जना के द्वारा ही मंगलाचरण को इस ग्रन्थ के साथ जोड़ देते हैं।
maṅgala: an auspicious opening a Sanskrit author places at the start of a work; here Rūpa performs it indirectly, by suggestion, rather than with an explicit invocation.
मंगल (मंगलाचरण) — ग्रन्थ के आरम्भ में संस्कृत लेखक द्वारा रखा गया शुभ स्मरण; यहाँ रूप इसे प्रत्यक्ष आवाहन से नहीं, अपितु व्यंजना (संकेत) से सम्पन्न करते हैं।
s3avataranika
evaṁ sarva eva grantho’yaṁ maṅgala-rūpa iti ca vijñāpayati—akhileti |
evaṁin this wayइस प्रकार
sarvaḥ eva grantho ayaṁthis whole work — every bit of it — eva 'the entire'यह सम्पूर्ण ग्रन्थ ही (eva 'समूचा')
maṅgala-rūpaḥis itself a form of the blessingमंगल-रूप है
iti ca vijñāpayati— this too he makes known; iti closes the reported pointऐसा भी जना देते हैं (iti से कथित बात समाप्त)
akhila itinamely, by the word 'akhila' ('all'). pratīka — the word being commented on'अखिल' इस पद से (जिस पद पर टीका है — प्रतीक)
evaṁ — in this way; sarvaḥ eva grantho ayaṁ — this entire work; maṅgala-rūpaḥ — is of the nature of the blessing; iti ca vijñāpayati — this too he makes known; akhila iti — with the word 'akhila.'
evaṁ — इस प्रकार; sarvaḥ eva grantho ayaṁ — यह सारा ग्रन्थ ही; maṅgala-rūpaḥ — मंगल-रूप है; iti ca vijñāpayati — ऐसा भी जना देते हैं; akhila iti — 'अखिल' इस पद से
And there is a second thing he signals. Because the blessing is folded into the subject itself, the whole book — not just its first verse — becomes the auspicious opening. He conveys this by the single word 'akhila,' 'all.' That word is what the next comments will unpack.
और इस प्रकार यह सारा ग्रन्थ ही मंगल-रूप है — यह भी जना देते हैं। 'अखिल' इस पद से टीका आरम्भ होती है।
'akhila iti' is a pratīka — the ācārya quotes the opening word of the verse as a lemma-heading to announce which word he will now gloss.
'अखिल इति' एक प्रतीक है — आचार्य श्लोक के आरम्भिक पद को उद्धृत करके यह घोषित करते हैं कि अब वे किस पद की व्याख्या करेंगे।
s4gloss
vidhuḥ śrī-kṛṣṇo jayati sarvotkarṣeṇa vartate |
vidhuḥ'Vidhu' —विधु
śrī-kṛṣṇaḥthat is, Śrī Kṛṣṇa —अर्थात् श्रीकृष्ण
jayati'is victorious,' the verse-word being glossed'जयति' (जिस पद की व्याख्या हो रही है)
sarva-utkarṣeṇa vartatemeans: he stands above everyone, at the very top. instr. 'by supremacy over all'सबसे बढ़कर उत्कर्ष के साथ विराजते हैं (तृतीया 'सबके ऊपर श्रेष्ठता से')
vidhuḥ — Vidhu; śrī-kṛṣṇaḥ — namely Śrī Kṛṣṇa; jayati — 'is victorious'; sarva-utkarṣeṇa vartate — exists in supremacy over all.
vidhuḥ — विधु; śrī-kṛṣṇaḥ — श्रीकृष्ण; jayati — 'जयति'; sarva-utkarṣeṇa vartate — सर्वोत्कर्ष से विराजते हैं
First the plain reading. 'Vidhu' means Śrī Kṛṣṇa. And 'jayati,' 'is victorious,' does not mean he won a fight. It means he stands above everyone and everything, at the very top. That is what 'is victorious' says here.
'विधु' अर्थात् श्रीकृष्ण। 'जयति' का अर्थ — वे सबसे बढ़कर उत्कर्ष के साथ विराजमान रहते हैं।
vidhu: ordinarily a name of the moon; the commentators take it here first as a name of Kṛṣṇa, and the moon-sense is developed later as the second (śleṣa) reading.
'विधु' सामान्यतः चन्द्रमा का नाम है; टीकाकार इसे यहाँ पहले कृष्ण का नाम मानते हैं, और चन्द्र-अर्थ आगे द्वितीय (श्लेष) पाठ के रूप में विकसित होता है।
s5gloss
yadyapi vidhuḥ śrīvatsa-lāñchana iti sāmānya-bhagavad-āvirbhāva-paryāyas tathāpi vidhunoti khaṇḍayati sarva-duḥkham atikrāmati sarvaṁ ceti |
yadyapialthough concessive — sets up 'still' belowयद्यपि (आगे 'तथापि' की भूमिका बाँधता है)
vidhuḥ śrīvatsa-lāñchana itiby the dictionary line 'vidhu = he who bears the Śrīvatsa mark,' iti = a lexicon citation'विधुः श्रीवत्स-लाञ्छनः' — ऐसा (कोश-वचन; iti उद्धरण को बन्द करता है)
sāmānya-bhagavad-āvirbhāva-paryāyaḥ'vidhu' is (only) a synonym for the Lord's appearance in general,सामान्य भगवद्-आविर्भाव का पर्याय है
tathāpistill the name fits Kṛṣṇa, answers 'although'तथापि ('यद्यपि' का उत्तर)
vidhunoti khaṇḍayati sarva-duḥkhambecause he 'shakes apart' — that is, cuts off — all suffering, derivation from vi-√dhūजो सब दुःख को 'विधुनोति' अर्थात् खण्डित कर देता है (वि-√धू से व्युत्पत्ति)
atikrāmati sarvaṁ caand because he surpasses everything; ca links the second reasonऔर सबका अतिक्रमण कर जाता है (ca दूसरे हेतु को जोड़ता है)
iti— so runs the derivation. closes the two-part etymologyइस प्रकार (दो-भाग व्युत्पत्ति का समापन)
yadyapi — although; vidhuḥ śrīvatsa-lāñchana iti — by the lexical statement 'vidhu, bearer of the Śrīvatsa mark'; sāmānya-bhagavad-āvirbhāva-paryāyaḥ — it is a synonym for the general appearance of the Lord; tathāpi — nevertheless; vidhunoti khaṇḍayati sarva-duḥkham — he shakes off, i.e. cuts down, all sorrow; atikrāmati sarvaṁ ca — and surpasses everything; iti — thus (the word fits Kṛṣṇa).
yadyapi — यद्यपि; vidhuḥ śrīvatsa-lāñchana iti — 'विधुः श्रीवत्स-लाञ्छनः' ऐसा; sāmānya-bhagavad-āvirbhāva-paryāyaḥ — सामान्य भगवद्-आविर्भाव का पर्याय; tathāpi — तथापि; vidhunoti khaṇḍayati sarva-duḥkham — सब दुःख को खण्डित करता है; atikrāmati sarvaṁ ca — और सबका अतिक्रमण करता है; iti — इस प्रकार
An objection is anticipated: the dictionary says 'vidhu' just means the Lord in general — 'he who bears the Śrīvatsa mark' — so why read Kṛṣṇa in particular? Jīva answers by breaking the word open. Take it from the root vi-√dhū, 'to shake off': Kṛṣṇa is Vidhu because he shakes apart, cuts off, all suffering, and because he overtakes everything. So even by its etymology the word lands on him.
यद्यपि कोश में 'विधुः श्रीवत्स-लाञ्छनः' कहकर 'विधु' सामान्य भगवद्-आविर्भाव का पर्याय बताया गया है, तथापि यहाँ वही 'विधु' है — जो सब दुःख को विधुनोति अर्थात् खण्डित कर देता है, और जो सबका अतिक्रमण कर जाता है।
nirukti: an explanatory etymology — deriving a word from a verbal root to expose its meaning. Here vidhu is traced to vi-√dhū, 'to dispel'; a second derivation follows in the next atom.
निरुक्ति — व्याख्यात्मक व्युत्पत्ति, जिसमें शब्द को किसी धातु से निकालकर उसका अर्थ खोला जाता है। यहाँ 'विधु' को वि-√धू 'दूर करना' से निकाला गया है; दूसरी व्युत्पत्ति अगले खण्ड में आती है।
s6alternative
yad vā, vidadhāti karoti sarva-sukhaṁ sarvaṁ ceti nirukteḥ saryavasāne vicāryamāṇe tatraiva viśrānteḥ |
yad vāor else — (a second derivation, left standing beside the first) marks a suspended alternativeअथवा (एक स्थगित विकल्प का सूचक)
vidadhāti karoti sarva-sukhaṁ sarvaṁ cahe 'ordains' — that is, brings about — all happiness and all things, derivation from vi-√dhāजो सब सुख को 'विदधाति' अर्थात् रचता है, और सबको रचता है (वि-√धा से व्युत्पत्ति; ca)
iti nirukteḥso runs this etymology; abl./gen. 'because of this derivation'इस निरुक्ति के कारण (हेतु में षष्ठी/पञ्चमी)
paryavasāne vicāryamāṇeand when one weighs it out to its conclusion, locative absolute — 'when…'पर्यवसान का विचार करने पर (सति-सप्तमी 'जब...')
tatra eva viśrānteḥbecause the meaning comes to rest precisely there (on Kṛṣṇa). abl./gen. of reasonउसी में विश्रान्ति होने के कारण (हेतु में षष्ठी/पञ्चमी; eva 'उसी')
yad vā — or else; vidadhāti karoti sarva-sukhaṁ sarvaṁ ca — he ordains, i.e. makes, all happiness and all things; iti nirukteḥ — by this derivation; paryavasāne vicāryamāṇe — when its final import is examined; tatra eva viśrānteḥ — because it rests there alone.
yad vā — अथवा; vidadhāti karoti sarva-sukhaṁ sarvaṁ ca — सब सुख और सबको रचता है; iti nirukteḥ — इस निरुक्ति के कारण; paryavasāne vicāryamāṇe — पर्यवसान का विचार करने पर; tatra eva viśrānteḥ — उसी में विश्रान्ति के कारण
Here Jīva offers a second derivation and does not cancel the first — both stand. Take 'vidhu' instead from the root vi-√dhā, 'to ordain, to bring about': Kṛṣṇa is Vidhu because he brings about all happiness and, indeed, all things. Weigh this derivation through to the end, he says, and the meaning settles on Kṛṣṇa alone. Two readings of the one name — 'he who dispels all sorrow' and 'he who ordains all joy' — are both left in play.
अथवा — जो सब सुख को विदधाति अर्थात् रचता है, और सबकी रचना करता है, वही 'विधु' है। क्योंकि इस निरुक्ति के पर्यवसान का विचार करने पर अन्ततः उसी अर्थ में विश्रान्ति मिलती है।
The source reads 'saryavasāne,' a scribal slip for paryavasāne, 'on reaching its conclusion.'
मूल में 'सर्यवसाने' पढ़ा जाता है, जो 'पर्यवसाने' ('अपने निष्कर्ष पर पहुँचने पर') का लिपि-प्रमाद (लेखन-दोष) है।
s7reply
asurāṇām api mukti-pradatvena sva-vaibhavātikrānta-sarvatvena paramāpūrva-sva-prema-mahā-sukha-paryanta-sukha-vistārakatvena svayaṁ bhagavattvena svayaṁ bhagavattvena ca tasyaiva prasiddheḥ |
asurāṇām api mukti-pradatvenabecause he gives liberation even to the demons, instr. of cause; api 'even'असुरों को भी मुक्ति देने वाला होने के कारण (हेतु में तृतीया; api 'भी')
sva-vaibhava-atikrānta-sarvatvenabecause he surpasses everything by his own greatness, instr. of causeअपने वैभव से सबका अतिक्रमण कर जाने वाला होने के कारण (हेतु में तृतीया)
parama-apūrva-sva-prema-mahā-sukha-paryanta-sukha-vistārakatvenabecause he spreads out happiness all the way up to the supreme, never-before great joy of love for himself, instr. of causeअपने परम अपूर्व प्रेम के महासुख पर्यन्त सुख का विस्तार करने वाला होने के कारण (हेतु में तृतीया)
svayaṁ bhagavattvena caand because he is God in his own person — instr. of cause; ca closes the listऔर स्वयं भगवान् होने के कारण (हेतु में तृतीया; ca सूची को बन्द करता है)
tasya eva prasiddheḥtherefore it is he alone who is famous (as Vidhu). gen./abl. of reason; eva 'he alone'उसी की इस रूप में प्रसिद्धि होने के कारण (हेतु में षष्ठी/पञ्चमी; eva 'वही')
asurāṇām api mukti-pradatvena — because he grants liberation even to demons; sva-vaibhava-atikrānta-sarvatvena — because he is the all-surpassing one by his own might; parama-apūrva-sva-prema-mahā-sukha-paryanta-sukha-vistārakatvena — because he extends happiness up to the supreme unprecedented great bliss of love for him; svayaṁ bhagavattvena ca — and because he is God himself; tasya eva prasiddheḥ — because of the renown of him alone.
asurāṇām api mukti-pradatvena — असुरों को भी मुक्ति देने से; sva-vaibhava-atikrānta-sarvatvena — वैभव से सबका अतिक्रमण करने से; parama-apūrva-sva-prema-mahā-sukha-paryanta-sukha-vistārakatvena — प्रेम के महासुख पर्यन्त सुख के विस्तार से; svayaṁ bhagavattvena ca — और स्वयं भगवान् होने से; tasya eva prasiddheḥ — उसी की प्रसिद्धि के कारण
Why does the name settle on Kṛṣṇa and no one else? Jīva gives four reasons. He gives liberation even to the demons he kills. He surpasses everything by his own inherent greatness. He extends happiness all the way to its very top — the supreme, unheard-of joy of love for him. And he is God in person, not a mere expansion. For all four reasons, it is Kṛṣṇa alone who is famous as this Vidhu.
क्योंकि असुरों को भी मुक्ति देने वाला, अपने वैभव से सबका अतिक्रमण कर जाने वाला, अपने परम अपूर्व प्रेम के महासुख पर्यन्त सुख का विस्तार करने वाला, और स्वयं भगवान् — इसी रूप में उसी (कृष्ण) की प्रसिद्धि है।
The source has 'svayaṁ bhagavattvena' written twice (dittography); it is read once.
मूल में 'स्वयं भगवत्त्वेन' दो बार लिखा है (द्विरुक्ति/लेखन-दोष); इसे एक ही बार पढ़ा जाता है।
s8citation
ata evāmareṇāpi tat-prādhānyenaiva tāni nāmāni proktāni—vasudevo’sya janakaḥ ity ādy ukteḥ |
ata evafor this very reason,इसीलिए
amareṇa apieven by Amara (the lexicographer), instr. of agent; api 'even'अमरकोशकार ने भी (कर्ता में तृतीया; api 'भी')
tat-prādhānyena evawith him (Kṛṣṇa) placed as the foremost, instr.; eva 'precisely as chief'उसी की प्रधानता से ही (तृतीया; eva 'ठीक मुख्य रूप में')
tāni nāmāni proktānithose names were stated, nom. pl., passiveवे नाम कहे गए हैं (कर्मवाच्य, कर्ता बहुवचन)
vasudevaḥ asya janakaḥ iti ādi ukteḥbecause of the statement 'Vasudeva is his father,' and so on. gen./abl. of reason; a quotation'वसुदेवोऽस्य जनकः' इत्यादि कथन के कारण (हेतु में षष्ठी/पञ्चमी; एक उद्धरण)
ata eva — for this reason; amareṇa api — even by Amara; tat-prādhānyena eva — precisely with him as the chief; tāni nāmāni proktāni — those names were spoken; vasudevaḥ asya janakaḥ iti ādi ukteḥ — from the statement 'Vasudeva is his father,' etc.
ata eva — इसीलिए; amareṇa api — अमरकोशकार ने भी; tat-prādhānyena eva — उसी की प्रधानता से; tāni nāmāni proktāni — वे नाम कहे हैं; vasudevaḥ asya janakaḥ iti ādi ukteḥ — 'वसुदेवोऽस्य जनकः' इत्यादि कथन के कारण
Here is outside confirmation. Even the dictionary-maker Amara, in his Amara-kośa, lists the names of the Lord with Kṛṣṇa as the head of the list, saying 'Vasudeva is his father,' and so on. So a neutral lexicon already treats Kṛṣṇa as the foremost — which is why the name Vidhu belongs to him first.
इसीलिए अमरकोशकार ने भी उसी की प्रधानता से वे नाम कहे हैं — जैसे 'वसुदेवोऽस्य जनकः' इत्यादि।
Why cited: Cited to show that even a neutral lexicon (Amara-kośa) heads its list of the Lord's names with Kṛṣṇa, confirming his pre-eminence.
क्यों उद्धृत: यह दिखाने के लिए उद्धृत कि एक तटस्थ कोश (अमरकोश) भी भगवान् के नामों की सूची कृष्ण से आरम्भ करता है, जिससे उनकी सर्वोत्कृष्टता पुष्ट होती है।
Amara: Amarasiṁha, author of the Amara-kośa, the standard Sanskrit thesaurus — cited as an impartial authority.
अमर — अमरसिंह, अमरकोश के रचयिता, संस्कृत का प्रमाणभूत कोश — यहाँ निष्पक्ष प्रमाण के रूप में उद्धृत।
s9gloss
etad eva sarvaṁ jayaty arthena spaṣṭīkṛtam |
etat eva sarvaṁthis very 'all' (of the four reasons just given) eva 'this very'यह सब कुछ ही (eva 'यही')
jayati arthenaby the sense of the word 'jayati' ('is victorious') instr. of means'जयति' के अर्थ के द्वारा (साधन में तृतीया)
spaṣṭīkṛtamis made explicit. nom. sg., passiveस्पष्ट कर दिया गया है (कर्मवाच्य, कर्ता एकवचन)
etat eva sarvaṁ — this very totality; jayati arthena — by the meaning of 'jayati'; spaṣṭīkṛtam — is made clear.
etat eva sarvaṁ — यह सब कुछ; jayati arthena — 'जयति' के अर्थ से; spaṣṭīkṛtam — स्पष्ट कर दिया गया
Now Jīva ties it back to the verse. Everything just said — Kṛṣṇa's supremacy on all four counts — is exactly what the one word 'jayati,' 'is victorious,' spells out. The verse packs the whole claim into that single verb.
यह सब कुछ 'जयति' पद के अर्थ के द्वारा ही स्पष्ट कर दिया गया है।
s10gloss
sarvotkarṣeṇa vṛttir nāma tat tad eveti |
sarva-utkarṣeṇa vṛttiḥ nāma'existing by supremacy over all' — that is what it names; instr. 'by all-surpassingness'; nāma 'namely''सर्वोत्कर्ष से रहना' नाम की जो बात है (तृतीया 'सर्वोत्कर्ष से'; nāma 'अर्थात्')
tat tat evait means just that (and nothing less). eva 'precisely that'वह ठीक वही है (eva 'बिल्कुल वही')
iti— so. closes the glossइस प्रकार (व्याख्या का समापन)
sarva-utkarṣeṇa vṛttiḥ nāma — 'to exist in supremacy over all' is what is meant; tat tat eva iti — precisely that, so.
sarva-utkarṣeṇa vṛttiḥ nāma — 'सर्वोत्कर्ष से विराजना' अर्थात्; tat tat eva — वह ठीक वही; iti — इस प्रकार
He pins the sense of 'is victorious' down once more. To 'be victorious' here is to exist in a state of surpassing everyone. That, and only that, is what the word says. Jīva is making sure no weaker reading — such as merely 'flourishing' — slips in.
'सर्वोत्कर्ष से विराजना' — यही तो वह जय है, ठीक वही।
s11reply
ata eva prākaṭya-samaya-mātra-dṛṣṭyā yā lokasyāpratītis tasyā nirāsako’yaṁ vartamāna-prayogaḥ |
ata evafor this very reason too,इसीलिए
prākaṭya-samaya-mātra-dṛṣṭyāfrom looking only at the span of his visible appearance, instr. of means/causeकेवल प्राकट्य-काल की दृष्टि से (साधन/हेतु में तृतीया)
yā lokasya apratītiḥwhatever failure-to-recognize (him as supreme) ordinary people have — nom.; relative 'whatever'लोगों को जो अप्रतीति होती है (कर्ता; सापेक्ष 'जो')
tasyāḥ nirāsakaḥthe remover of that (misperception) gen. object of the agent-nounउसका निरास करने वाला है (कर्तृ-संज्ञा का कर्म — षष्ठी)
ayaṁ vartamāna-prayogaḥis this present-tense wording ('jayati,' not 'jayet' or a past).यह वर्तमान-काल का प्रयोग ('जयति')
ata eva — for this reason; prākaṭya-samaya-mātra-dṛṣṭyā — by viewing only the period of his manifestation; yā lokasya apratītiḥ — whatever non-recognition ordinary people have; tasyāḥ nirāsakaḥ — the dispeller of that; ayaṁ vartamāna-prayogaḥ — is this present-tense usage.
ata eva — इसीलिए; prākaṭya-samaya-mātra-dṛṣṭyā — केवल प्राकट्य-काल की दृष्टि से; yā lokasya apratītiḥ — लोगों को जो अप्रतीति होती है; tasyāḥ nirāsakaḥ — उसका निरास करने वाला; ayaṁ vartamāna-prayogaḥ — यह वर्तमान-प्रयोग
Why is the verb in the present tense — 'is victorious,' right now? Because ordinary people, seeing that Kṛṣṇa was visible only for a stretch of time long ago, fail to grasp that he still reigns supreme. The present tense 'jayati' answers that doubt: his supremacy is not past and finished — it holds now. The wording itself removes the misperception.
इसीलिए केवल प्राकट्य-काल की दृष्टि से लोगों को जो यह अप्रतीति होती है, 'जयति' यह वर्तमान-काल का प्रयोग उसी का निरास कर देता है।
s12citation
tathā ca pramāṇāni—vijaya-ratha-kuṭumba ity ādau yam iha nirīkṣya hatā gatāḥ sva-rūpam iti |
tathā ca pramāṇāniand here are the scriptural proofs (for this): nom. pl.; 'and thus'और इस विषय में प्रमाण ये हैं (कर्ता बहुवचन; 'तथा च')
vijaya-ratha-kuṭumba iti ādauin the passage beginning 'vijaya-ratha-kuṭumba,' loc.; names the source verse by its opening'विजय-रथ-कुटुम्ब' इत्यादि श्लोक में — मूल को उसके आरम्भ से नाम देकर (सप्तमी)
yam iha nirīkṣya'having seen whom here (on the battlefield), the quoted line beginsजिसको यहाँ देखकर (उद्धृत पंक्ति आरम्भ होती है)
hatāḥthose who were slainमारे गए लोग
sva-rūpam gatāḥwent to their own (liberated) form.' 'attained their true form'अपने स्वरूप को प्राप्त हो गए
iti— thus (the quotation). closes the citationइस प्रकार (उद्धरण का समापन)
tathā ca pramāṇāni — and thus the proofs; vijaya-ratha-kuṭumba iti ādau — in the passage opening 'vijaya-ratha-kuṭumba'; yam iha nirīkṣya — looking upon whom here; hatāḥ sva-rūpam gatāḥ — the slain attained their own form; iti — thus.
tathā ca pramāṇāni — और इस विषय में प्रमाण; vijaya-ratha-kuṭumba iti ādau — 'विजय-रथ-कुटुम्ब' इत्यादि में; yam iha nirīkṣya — जिसको यहाँ देखकर; hatāḥ — मारे गए; sva-rūpam gatāḥ — अपने स्वरूप को प्राप्त हुए; iti — इस प्रकार
Now Jīva backs the point with scripture. He points to the Bhāgavata passage that begins 'vijaya-ratha-kuṭumba,' quoting the line: 'seeing him here on the field, those he killed attained their own true form.' The very enemies Kṛṣṇa struck down were liberated by the sight of him. This proves the earlier claim that he grants liberation even to those he slays.
और इस विषय में प्रमाण हैं — 'विजय-रथ-कुटुम्ब' इत्यादि श्लोक में — 'जिसको यहाँ देखकर मारे गए लोग अपने स्वरूप को प्राप्त हो गए।'
Why cited: Cited (Bhāgavata 1.9.39) as proof that even those Kṛṣṇa killed were liberated on seeing him — supporting his all-surpassing, present supremacy.
क्यों उद्धृत: (भागवत १.९.३९) प्रमाण-रूप में उद्धृत कि कृष्ण द्वारा मारे गए भी उन्हें देखकर मुक्त हो गए — जो उनकी सर्वोत्कर्षमयी वर्तमान श्रेष्ठता को सिद्ध करता है।
s13citation
svayaṁ tv asāmyātiśayas tryadhīśaḥ svārājya-lakṣmy-āpta-samasta-kāmaḥ | baliṁ haradbhiś cira-loka-pālaiḥ
svayaṁ tuhe himself, however (unlike the guardians who bring tribute), tu 'by contrast'किन्तु स्वयं वे (tu 'इसके विपरीत')
asāmya-atiśayaḥhaving no equal and none above him, bahuvrīhiजिनकी न कोई समता है न कोई अधिक (बहुव्रीहि)
try-adhīśaḥthe lord of the three (worlds / states),तीनों के अधीश्वर
svārājya-lakṣmī-āpta-samasta-kāmaḥwho through the splendour of his own sovereignty has gained every desire; bahuvrīhiअपने स्वराज्य-लक्ष्मी से जिनकी समस्त कामनाएँ पूर्ण हैं (बहुव्रीहि)
baliṁ haradbhiḥ cira-loka-pālaiḥwhile the age-old guardians of the worlds bring their tribute, instr.; 'as they bring…'चिरकाल के लोकपालों के द्वारा जो बलि (भेंट) लाते हैं, उनसे (तृतीया; 'जब वे भेंट लाते हैं')
svayaṁ tu — he himself, by contrast; asāmya-atiśayaḥ — without equal or superior; try-adhīśaḥ — lord of the three; svārājya-lakṣmī-āpta-samasta-kāmaḥ — who has attained all desires through the wealth of his own sovereignty; baliṁ haradbhiḥ cira-loka-pālaiḥ — by the long-standing world-guardians bringing tribute.
svayaṁ tu — किन्तु स्वयं वे; asāmya-atiśayaḥ — जिनकी समता या अधिकता नहीं; try-adhīśaḥ — तीनों के अधीश्वर; svārājya-lakṣmī-āpta-samasta-kāmaḥ — स्वराज्य-लक्ष्मी से पूर्णकाम; baliṁ haradbhiḥ cira-loka-pālaiḥ — चिरकाल के लोकपालों के भेंट लाने पर
Jīva now quotes a fuller Bhāgavata verse (this atom carries its first half). Kṛṣṇa himself has no equal and no superior. He is master of the three worlds, and by the glory of his own kingship he already possesses every desire. The ancient guardians of the worlds come bringing him tribute. The sentence continues into the next atom.
किन्तु स्वयं वे — जिनकी न समता है न कोई अधिक, तीनों के अधीश्वर, अपने स्वराज्य-लक्ष्मी से जिनकी समस्त कामनाएँ पूर्ण हैं — जिनके चरण-पीठ पर चिरकाल के लोकपाल बलि (भेंट) लाते हैं...
Why cited: Cited (Bhāgavata 3.2.21, first half) that even the world-guardians pay Kṛṣṇa tribute while he alone is without equal — proof of his supremacy.
क्यों उद्धृत: (भागवत ३.२.२१ का पूर्वार्ध) उद्धृत कि लोकपाल तक कृष्ण को बलि (कर) चढ़ाते हैं, जबकि वे अकेले अनुपम हैं — उनकी सर्वोत्कृष्टता का प्रमाण।
s14citation
kirīṭa-koṭy-eḍita-pāda-pīṭhaḥ || [bhā.pu.3.2.21] iti |
kirīṭa-koṭi-eḍita-pāda-pīṭhaḥhe whose footstool is rubbed by the tips of millions of crowns. bahuvrīhi; completes the verseजिनका पाद-पीठ करोड़ों मुकुटों से पूजित एवं स्पर्शित है (बहुव्रीहि; श्लोक पूर्ण होता है)
iti— thus (ends the quotation). closes; source [bhā.pu. 3.2.21]इस प्रकार (समापन; स्रोत [भा.पु. 3.2.21])
kirīṭa-koṭi-eḍita-pāda-pīṭhaḥ — one the stool of whose feet is caressed by millions of crown-tips; iti — thus.
kirīṭa-koṭi-eḍita-pāda-pīṭhaḥ — जिनका पाद-पीठ करोड़ों मुकुटों से पूजित; iti — इस प्रकार
This atom completes the quoted verse. As those world-guardians bow, the tips of their millions of crowns brush against Kṛṣṇa's footstool. The image seals the picture of the last atom: the rulers of the worlds bend before him. So ends this proof-verse from the Bhāgavata.
...जिनका पाद-पीठ करोड़ों मुकुटों से पूजित है — ऐसे वे स्वयं भगवान् हैं। (भागवत 3.2.21)
Why cited: Closes the Bhāgavata 3.2.21 citation — the crowns of the world-rulers brushing his footstool, evidence of Kṛṣṇa's supremacy.
क्यों उद्धृत: भागवत ३.२.२१ के उद्धरण को समाप्त करता है — लोकपालों के मुकुट उनके पादपीठ को स्पर्श करते हैं, कृष्ण की सर्वोत्कृष्टता का साक्ष्य।
s15citation
yasyānanaṁ makara-kuṇḍala-cāru-karṇa- bhrājat-kapola-subhagaṁ savilāsa-hāsam | nityotsavaṁ na tatṛpur dṛśibhiḥ pibantyo nāryo narāś ca muditāḥ kupitā nimeś ca ||
yasya ānanaṁhe whose face — gen.; relativeजिसका मुख (षष्ठी; सापेक्ष)
makara-kuṇḍala-cāru-karṇa-bhrājat-kapola-subhagaṁlovely with cheeks agleam beside ears charming with makara earrings, bahuvrīhi describing the faceमकर-कुण्डलों से शोभित सुन्दर कानों और चमकते कपोलों से मनोहर (मुख का विशेषण — बहुव्रीहि)
sa-vilāsa-hāsamwearing a playful smile,विलासपूर्ण हास से युक्त
nitya-utsavaṁan unending festival (to the eyes) —जो नित्य उत्सव-रूप है
dṛśibhiḥ pibantyaḥdrinking it in with their eyes, instr. 'with the eyes'नेत्रों से पान करती हुई स्त्रियाँ (तृतीया 'नेत्रों से')
na tatṛpuḥcould never get their fill — 3rd pl. perfectतृप्त न हुईं (अन्य पुरुष बहुवचन, परोक्ष भूत)
nāryaḥ narāḥ cathe women and the men,स्त्रियाँ और पुरुष
muditāḥdelighted (while gazing),प्रसन्न होकर
kupitāḥ ca nimeṣand angry at the blink (that broke the sight). 'vexed at the blinking of eyelids'और पलक झपकने पर कुपित होकर ('आँख झपकने पर रुष्ट')
yasya ānanaṁ — whose face; makara-kuṇḍala-cāru-karṇa-bhrājat-kapola-subhagaṁ sa-vilāsa-hāsaṁ nitya-utsavaṁ — beautiful with shining cheeks by makara-earringed ears, with a playful smile, a perpetual festival; nāryaḥ narāḥ ca — women and men; dṛśibhiḥ pibantyaḥ — drinking (it) with their eyes; muditāḥ — delighted; na tatṛpuḥ — were not sated; kupitāḥ ca nimeṣ — and angry at the blinking.
yasya ānanaṁ — जिसका मुख; makara-kuṇḍala-cāru-karṇa-bhrājat-kapola-subhagaṁ — कुण्डल-शोभित कानों और चमकते कपोलों से मनोहर; sa-vilāsa-hāsam — विलास-हास से युक्त; nitya-utsavaṁ — नित्य उत्सव-रूप; dṛśibhiḥ pibantyaḥ — नेत्रों से पान करती हुई; na tatṛpuḥ — तृप्त न हुईं; nāryaḥ narāḥ ca — स्त्रियाँ और पुरुष; muditāḥ — प्रसन्न होकर; kupitāḥ ca nimeṣ — पलक झपकने पर कुपित होकर
Another proof-verse from the Bhāgavata. Kṛṣṇa's face is a feast: cheeks glowing beside ears set with makara-shaped earrings, lit by a playful smile — a festival that never ends. Men and women alike drank that face in with their eyes and could never be satisfied. They even grew angry at their own eyelids for blinking and cutting off the sight.
जिसका मुख — मकर-कुण्डलों से शोभित सुन्दर कानों और चमकते कपोलों से मनोहर, विलासपूर्ण हास से युक्त, नित्य उत्सव-रूप — उसे नेत्रों से पान करती हुई स्त्रियाँ और पुरुष प्रसन्न होकर भी तृप्त न हुए, और (दर्शन में विघ्न डालने वाले) पलक झपकने पर कुपित हो उठे।
Why cited: Cited (Bhāgavata 9.24.65) that all who beheld Kṛṣṇa's face were endlessly captivated — witness to his surpassing beauty and drawing-power.
क्यों उद्धृत: (भागवत ९.२४.६५) उद्धृत कि जिसने भी कृष्ण का मुख देखा वह अनन्त रूप से मुग्ध हो गया — उनके अनुपम सौन्दर्य और आकर्षण-शक्ति का साक्ष्य।
makara-kuṇḍala: earrings shaped like the makara, a mythical sea-creature — a standard ornament of Viṣṇu/Kṛṣṇa iconography.
मकर-कुण्डल — मकर (एक पौराणिक जलजन्तु) के आकार के कुण्डल — विष्णु/कृष्ण की प्रतिमा का प्रसिद्ध आभूषण।
s16citation
kā stry aṅga te kala-padāyata-mūrcchitena sammohitā ‘ryapadavīṁ na calet trilokyām | trailokya-saubhagam idaṁ ca nirīkṣya rūpaṁ yad go-dvija-druma-mṛgān pulakāny abibhrat ||
aṅgaO dear one, vocative particleहे! (सम्बोधन का निपात)
kā strīwhat womanकौन-सी स्त्री
te kala-pada-āyata-mūrcchitenaby the drawn-out, swooning sweet notes of your (flute), instr. of means/causeतेरे मधुर स्वरों के दीर्घ आलाप की मूर्च्छना से (साधन/हेतु में तृतीया)
sammohitāonce bewitched,सम्मोहित होकर
trilokyāmanywhere in the three worlds, loc.तीनों लोकों में (सप्तमी)
ārya-padavīṁ na caletwould not stray from the path of the virtuous? 'would not swerve from the road of the noble'आर्यों के सदाचार-मार्ग पर स्थिर न रहेगी ('श्रेष्ठों की राह पर न टिकेगी')
idaṁ rūpaṁ ca nirīkṣyaand having beheld this form, 'seeing this form'और इस रूप को देखकर
trailokya-saubhagamthe good fortune of the three worlds,तीनों लोकों के सौभाग्य-स्वरूप (रूप को)
yatwhich (form) — relativeजो (सापेक्ष)
go-dvija-druma-mṛgāncows, brāhmaṇas, trees, and beasts — acc. objectsगौओं, पक्षियों, वृक्षों और मृगों को (कर्म बहुवचन)
pulakāni abibhratmade them bear the thrill of bristling hair. 'brought out horripilation'रोमांचित कर दिया ('रोमांच धारण करा दिया')
aṅga — O dear; kā strī — what woman; te kala-pada-āyata-mūrcchitena sammohitā — bewitched by the drawn-out swooning notes of your flute; trilokyām ārya-padavīṁ na calet — would not swerve from the noble path in the three worlds; idaṁ trailokya-saubhagaṁ rūpaṁ ca nirīkṣya — and beholding this form, the fortune of the three worlds; yat go-dvija-druma-mṛgān pulakāni abibhrat — which made cows, brāhmaṇas, trees, and beasts bear horripilation.
aṅga — हे!; kā strī — कौन-सी स्त्री; te kala-pada-āyata-mūrcchitena — तेरे स्वरों की मूर्च्छना से; sammohitā — सम्मोहित होकर; trilokyām — तीनों लोकों में; ārya-padavīṁ na calet — आर्य-मार्ग पर स्थिर न रहेगी; idaṁ rūpaṁ ca nirīkṣya — और इस रूप को देखकर; trailokya-saubhagam — तीनों लोकों का सौभाग्य; yat — जो; go-dvija-druma-mṛgān — गौ-पक्षी-वृक्ष-मृगों को; pulakāni abibhrat — रोमांचित कर दिया
A further Bhāgavata verse, spoken to Kṛṣṇa. What woman anywhere in the three worlds, once enchanted by the long, swooning notes of your flute, would keep to the straight path of the virtuous? And this form of yours is the very good fortune of the three worlds — so overpowering that even cows, brāhmaṇas, trees, and animals bristled with joy at the sight of it. It is offered as still more evidence of his all-conquering charm.
हे कृष्ण! तीनों लोकों में कौन-सी स्त्री तेरे मधुर स्वरों के दीर्घ आलाप की मूर्च्छना से सम्मोहित होकर आर्यों के सदाचार-मार्ग पर स्थिर रह सकेगी? और तीनों लोकों के सौभाग्य-स्वरूप इस रूप को देखकर — जिसने गौओं, पक्षियों, वृक्षों और मृगों तक को रोमांचित कर दिया।
Why cited: Cited (Bhāgavata 10.29.40) that Kṛṣṇa's flute and form overwhelm even animals and trees — further proof of his supremacy in beauty.
क्यों उद्धृत: (भागवत १०.२९.४०) उद्धृत कि कृष्ण की वंशी और रूप पशु-वृक्षों तक को अभिभूत कर देते हैं — उनके सौन्दर्य में सर्वोत्कृष्टता का और प्रमाण।
pulaka: the bodily thrill of hair standing on end from intense emotion — here a sign of overwhelming attraction, extending even to animals and plants.
पुलक — प्रबल भाव से रोमांच, रोंगटों का खड़ा होना — यहाँ अत्यधिक आकर्षण का चिह्न, जो पशु और वृक्षों तक फैल जाता है।
s17citation
yan martya-līlaupayikaṁ sva-yoga- māyā-balaṁ darśayatā gṛhītam | vismāpanaṁ svasya ca saubhagarddheḥ paraṁ padaṁ bhūṣaṇa-bhūṣaṇāṅgam ||
yatthat (form) which — relative, nom./acc.जो रूप (सापेक्ष, कर्ता/कर्म)
martya-līlā-aupayikaṁsuited to his human-like pastimes,मर्त्य-लीला के अनुरूप, उसके उपयुक्त
sva-yoga-māyā-balaṁ darśayatāby him as he showed the power of his own yoga-māyā, instr. 'by the one displaying…'अपनी योगमाया के बल को दिखाने वाले कृष्ण के द्वारा (तृतीया)
gṛhītamwas taken up; nom. sg., passiveग्रहण किया गया (कर्मवाच्य, कर्ता एकवचन)
svasya ca saubhaga-ṛddheḥ vismāpanaṁastonishing even to himself in the fullness of his beauty, gen. 'of his own abundance of fortune'और अपने ही सौभाग्य की समृद्धि को भी विस्मित कर देने वाला (षष्ठी 'अपनी सम्पदा का')
paraṁ padaṁthe supreme abode,परम पद (उत्कृष्ट स्थान)
bhūṣaṇa-bhūṣaṇa-aṅgamwhose very limbs are the ornament of (all) ornaments. bahuvrīhiजिसके अंग आभूषणों के भी आभूषण हैं (बहुव्रीहि)
yat martya-līlā-aupayikaṁ — that which, fit for his mortal pastimes; sva-yoga-māyā-balaṁ darśayatā gṛhītam — was assumed by him as he displayed the power of his yoga-māyā; svasya ca saubhaga-ṛddheḥ vismāpanaṁ — a wonder even to himself in the wealth of his fortune; paraṁ padaṁ — the supreme abode; bhūṣaṇa-bhūṣaṇa-aṅgam — whose limbs are the ornament of ornaments.
yat — जो रूप; martya-līlā-aupayikaṁ — मर्त्य-लीला के अनुरूप; sva-yoga-māyā-balaṁ darśayatā — योगमाया का बल दिखाने वाले के द्वारा; gṛhītam — गृहीत; svasya ca saubhaga-ṛddheḥ vismāpanaṁ — अपने ही सौभाग्य-समृद्धि को विस्मित करने वाला; paraṁ padaṁ — परम पद; bhūṣaṇa-bhūṣaṇa-aṅgam — जिसके अंग आभूषणों के भी आभूषण
One more Bhāgavata verse on his form. To carry out his human-like pastimes, Kṛṣṇa took on this form by displaying the power of his own yoga-māyā. So rich in beauty is it that it astonishes even Kṛṣṇa himself. It is the supreme abode, and its limbs are so lovely that they become the ornament of ornaments — they beautify whatever would try to adorn them.
जो रूप मर्त्य-लीला के अनुरूप था, अपनी योगमाया के बल को दिखाने वाले कृष्ण ने उसे धारण किया — जो अपने ही सौभाग्य-समृद्धि को भी विस्मित कर देता है, जो परम पद है, और जिसके अंग आभूषणों के भी आभूषण हैं।
Why cited: Cited (Bhāgavata 3.2.12) that Kṛṣṇa's form astonishes even himself and adorns all ornaments — proof of the surpassing beauty grounding his supremacy.
क्यों उद्धृत: (भागवत ३.२.१२) उद्धृत कि कृष्ण का रूप स्वयं उन्हें भी विस्मित करता है और समस्त आभूषणों को अलंकृत करता है — उस अनुपम सौन्दर्य का प्रमाण जो उनकी सर्वोत्कृष्टता का आधार है।
yoga-māyā: the Lord's own inner divine power by which he arranges his pastimes and their forms — not the deluding māyā that binds ordinary beings.
योग-माया — भगवान् की अपनी अन्तरंग दिव्य शक्ति, जिससे वे अपनी लीलाओं और उनके रूपों की रचना करते हैं — वह मोहित करने वाली माया नहीं जो साधारण जीवों को बाँधती है।
s18citation
ete cāṁśa-kalāḥ puṁsaḥ kṛṣṇas tu bhagavān svayam ||
ete caand these (the various avatāras just listed elsewhere) nom. pl.और ये सब अवतार (कर्ता बहुवचन)
aṁśa-kalāḥ puṁsaḥare portions and portions-of-portions of the Puruṣa (the Lord), gen. 'of the Person'उस पुरुष (परमात्मा) के अंश और कलाएँ हैं (षष्ठी 'पुरुष के')
kṛṣṇaḥ tubut Kṛṣṇa — tu marks the strong contrastकिन्तु कृष्ण (tu प्रबल विरोध दिखाता है)
bhagavān svayamis God himself, in person. svayam 'in his own person'स्वयं भगवान् हैं (svayam 'अपने ही रूप में')
ete ca aṁśa-kalāḥ puṁsaḥ — and these are portions and part-portions of the Puruṣa; kṛṣṇaḥ tu bhagavān svayam — but Kṛṣṇa is the Lord himself.
ete ca — और ये सब; aṁśa-kalāḥ puṁsaḥ — उस पुरुष के अंश-कला; kṛṣṇaḥ tu — किन्तु कृष्ण; bhagavān svayam — स्वयं भगवान्
Now the decisive proof-line. All the various incarnations are only 'portions,' or portions of portions, of the Puruṣa. But — and this is the contrast the word 'tu' carries — Kṛṣṇa is not a portion of anyone. Kṛṣṇa is God himself, in person. This is the scriptural anchor for the earlier claim that he is 'God in his own person.'
और ये सब अवतार उस पुरुष के अंश और कलाएँ हैं; किन्तु कृष्ण तो स्वयं भगवान् हैं।
Why cited: Cited (Bhāgavata 1.3.28) — the classic proof-text that other avatāras are portions but Kṛṣṇa is God himself, grounding svayaṁ bhagavattva.
क्यों उद्धृत: (भागवत १.३.२८) उद्धृत — वह प्रसिद्ध प्रमाण-वाक्य कि अन्य अवतार अंश हैं परन्तु कृष्ण स्वयं भगवान् हैं, जो स्वयं-भगवत्ता का आधार है।
aṁśa / kalā: aṁśa is a 'part' or plenary portion of the Lord; kalā a still smaller part-of-a-part — technical grades of incarnation, all contrasted here with Kṛṣṇa as the whole.
अंश / कला — अंश भगवान् का 'भाग' या पूर्ण अंश है; कला उससे भी छोटा अंश-का-अंश — अवतारों के तकनीकी स्तर, जिन सबका यहाँ कृष्ण से, जो पूर्ण हैं, भेद दिखाया गया है।
s19citation
jayati jana-nivāso devakī-janma-vāda ity-ādīni śrī-bhāgavate |
jayati'Victorious is — the quoted verse's own opening verb'जयति' (उद्धृत श्लोक का अपना आरम्भिक क्रिया-पद)
jana-nivāsaḥthe refuge of all people (Kṛṣṇa),जो समस्त जनों का निवास हैं
devakī-janma-vādaḥwho is (only) spoken of as born of Devakī,' 'reputed to be Devakī's son'जिनके देवकी से जन्म की बात कही जाती है ('देवकी-पुत्र कहलाने वाले')
iti ādīniand verses beginning thus nom. pl.; 'and the like'इत्यादि वचन (कर्ता बहुवचन; 'और इसी प्रकार के')
śrī-bhāgavateare found in Śrī Bhāgavata. loc. 'in the Bhāgavata'श्रीभागवत में (सप्तमी)
jayati jana-nivāsaḥ devakī-janma-vādaḥ — victorious is the refuge of the people, said to be born of Devakī; iti ādīni — such (verses) and the like; śrī-bhāgavate — in the Bhāgavata.
jayati — 'जयति'; jana-nivāsaḥ — जन-निवास; devakī-janma-vādaḥ — देवकी-पुत्र कहलाने वाले; iti ādīni — इत्यादि वचन; śrī-bhāgavate — श्रीभागवत में
Jīva adds one more support, and notice it also uses the present tense 'jayati.' The Bhāgavata verse begins, 'Victorious is Kṛṣṇa, the refuge of all people, who is merely reputed to be born of Devakī.' Verses of this kind stand in the Bhāgavata. They confirm both that Kṛṣṇa reigns supreme and that scripture itself speaks of it in the living present.
'जयति जन-निवासो देवकी-जन्म-वादः' इत्यादि वचन श्रीभागवत में आए हैं।
Why cited: Cited (Bhāgavata 10.90.48) as a Bhāgavata verse that itself proclaims Kṛṣṇa 'jayati' in the present tense — matching the verse's own wording.
क्यों उद्धृत: (भागवत १०.९०.४८) उस भागवत-श्लोक के रूप में उद्धृत जो स्वयं कृष्ण को वर्तमान काल में 'जयति' कहता है — मूल श्लोक के ही शब्द से मेल खाता।
s20definition
atha tat-tad-utkarṣa-hetuṁ svarūpa-lakṣaṇam āha—akhilā rasā vakṣyamāṇāḥ śāntādyā dvādaśa yasmin tādṛśam amṛtaṁ paramānanda eva mūrtir yasya saḥ |
athanow (he turns to the qualifiers),अब
tat-tat-utkarṣa-hetuṁthe cause of each of those pre-eminences, acc.; 'the ground of that supremacy'उस-उस उत्कर्ष के हेतु को (कर्म)
svarūpa-lakṣaṇamthe defining mark of his essential nature, acc.; the term being introducedस्वरूप-लक्षण को (जिस पद का यहाँ परिचय है — कर्म)
āhahe states — 3rd sg. 'he says'कहते हैं (अन्य पुरुष एकवचन)
akhilāḥ rasāḥ'all the rasas (devotional moods) —समस्त रस
vakṣyamāṇāḥ śānta-ādyāḥ dvādaśathe twelve, beginning with śānta, that will be spoken of later — 'to be stated hereafter'जो आगे कहे जाने वाले हैं — शान्त आदि बारह
yasminin whom (they all reside), loc.; relativeजिसमें (सप्तमी; सापेक्ष)
tādṛśam amṛtaṁsuch nectar,वैसा अमृत
parama-ānandaḥ eva mūrtiḥsupreme bliss itself, being the very form eva 'bliss itself'परमानन्द ही जिनकी मूर्ति है (eva 'आनन्द ही')
yasya saḥof whom — that is he. bahuvrīhi resolutionजिनकी — वही (बहुव्रीहि का विग्रह)
atha — now; tat-tat-utkarṣa-hetuṁ svarūpa-lakṣaṇam āha — he states the defining mark of his own nature, the cause of each pre-eminence; akhilāḥ rasāḥ — all the rasas; vakṣyamāṇāḥ śānta-ādyāḥ dvādaśa — the twelve to be described, beginning with śānta; yasmin — in whom; tādṛśam amṛtaṁ parama-ānandaḥ eva mūrtiḥ yasya saḥ — such nectar, supreme bliss itself, being the form of whom — that is he.
atha — अब; tat-tat-utkarṣa-hetuṁ — उस उत्कर्ष के हेतु को; svarūpa-lakṣaṇam — स्वरूप-लक्षण को; āha — कहते हैं; akhilāḥ rasāḥ — समस्त रस; vakṣyamāṇāḥ śānta-ādyāḥ dvādaśa — आगे कहे जाने वाले शान्त आदि बारह; yasmin — जिसमें; tādṛśam amṛtaṁ — वैसा अमृत; parama-ānandaḥ eva mūrtiḥ — परमानन्द ही जिनकी मूर्ति; yasya saḥ — जिनकी, वही
Having established that Kṛṣṇa is supreme, Jīva now asks what makes him so, and reads the first compound of the verse — 'akhila-rasāmṛta-mūrtiḥ' — as the answer. It is the svarūpa-lakṣaṇa, the mark of his very nature. 'Akhila rasāḥ' means all the rasas — the twelve devotional moods, starting with śānta, that the book will treat later. Kṛṣṇa is the one in whom all twelve reside. That total sweetness is a nectar which is supreme bliss itself, and that bliss is his very form. So his own nature is made of all rasa — and that is why he stands above everything.
अब उस-उस उत्कर्ष के हेतु — स्वरूप-लक्षण — को कहते हैं। शान्त आदि बारह समस्त रस, जो आगे कहे जाएँगे, जिसमें विद्यमान हैं, वैसा जो अमृत — और परमानन्द ही जिनकी मूर्ति है — वही कृष्ण 'अखिल-रसामृत-मूर्ति' हैं।
svarūpa-lakṣaṇa vs taṭastha-lakṣaṇa: a svarūpa mark defines a thing by what it essentially is — like 'a blue lotus,' where the blue belongs to the flower; a taṭastha mark only points it out from outside, like 'the house with the crow on it,' where the crow drops away once found. Here 'made of all rasa' is offered as Kṛṣṇa's svarūpa-lakṣaṇa — it states what he essentially is, not a mere external pointer.
स्वरूप-लक्षण बनाम तटस्थ-लक्षण — स्वरूप-लक्षण किसी वस्तु को उसके अनिवार्य स्वरूप से परिभाषित करता है — जैसे 'नील कमल', जहाँ नीलता फूल का ही धर्म है; तटस्थ-लक्षण उसे केवल बाहर से पहचानता है, जैसे 'जिस घर पर कौआ है वह घर', जहाँ पहचान होते ही कौआ हट जाता है। यहाँ 'समस्त रस से बना' कृष्ण का स्वरूप-लक्षण है — यह बताता है कि वे अनिवार्यतः क्या हैं, कोई बाह्य संकेतक नहीं।
s21citation
ānanda-mūrtim upaguhya iti, tvayy eva nitya-sukha-bodha-tanāv anante [bhā.pu. 10.14.22] iti, mallānām aśaniḥ ity ādi śrī-bhāgavatāt |
ānanda-mūrtim upaguhya'embracing the one whose form is bliss' — the first proof-phrase quoted, bhā.pu. 10.41.28'आनन्द-मूर्ति का आलिंगन करके' (उद्धृत, भा.पु. 10.41.28)
itiso it says (closes the first quote)इस प्रकार (उद्धरण-समापन)
tvayy eva nitya-sukha-bodha-tanāv anante'in you alone, the endless one, whose body is everlasting joy and awareness' — the second proof quoted, bhā.pu. 10.14.22'तुझ अनन्त में ही, जिसका शरीर नित्य सुख और बोध है' (उद्धृत, भा.पु. 10.14.22)
itiso it says (closes the second quote)इस प्रकार (उद्धरण-समापन)
mallānām aśaniḥ'the thunderbolt to the wrestlers' — the third proof-tag quoted, bhā.pu. 10.43.17'मल्लों के लिए वज्र' (उद्धृत, भा.पु. 10.43.17)
ity ādiand the like — these are only samplesइत्यादि
śrī-bhāgavatātbecause they come from Śrī Bhāgavata, so they carry authority ablative of sourceश्रीभागवत से (पञ्चमी — स्रोत)
ānanda-mūrtim upaguhya iti — 'embracing the form of bliss,' so; tvayy eva nitya-sukha-bodha-tanāv anante iti — 'in you alone, the endless one whose body is everlasting joy and awareness,' so; mallānām aśaniḥ ity ādi — 'the thunderbolt to the wrestlers,' and the like; śrī-bhāgavatāt — from Śrī Bhāgavata.
ānanda-mūrtim upaguhya — 'आनन्द-मूर्ति का आलिंगन करके'; iti — इस प्रकार; tvayy eva nitya-sukha-bodha-tanāv anante — 'तुझ नित्य-सुख-बोध-शरीर अनन्त में ही'; iti — इस प्रकार; mallānām aśaniḥ — 'मल्लों के लिए वज्र'; ity ādi — इत्यादि; śrī-bhāgavatāt — श्रीभागवत से
He backs the claim that Kṛṣṇa's form is bliss itself with three tags from Śrī Bhāgavata. First: 'embracing the one whose form is bliss.' Second: 'in you alone, the endless one, whose body is everlasting joy and awareness.' Third: 'the thunderbolt to the wrestlers.' The 'and so on' shows these are just samples. They all come from the Bhāgavata, so they stand as proof.
'आनन्द-मूर्तिम् उपगुह्य', 'त्वय्येव नित्य-सुख-बोध-तनौ अनन्ते', 'मल्लानाम् अशनिः' इत्यादि वचन श्रीभागवत से प्रमाण हैं।
Why cited: Scriptural proof that Kṛṣṇa's very form is bliss (ānanda/amṛta) — backing the gloss of akhila-rasāmṛta-mūrtiḥ.
क्यों उद्धृत: शास्त्रीय प्रमाण कि कृष्ण का रूप ही आनन्द (आनन्द/अमृत) है — 'अखिल-रसामृत-मूर्तिः' की व्याख्या का समर्थन।
amṛta: home meaning the gods' nectar of deathlessness; here it names Kṛṣṇa's form as bliss (ānanda) itself, which these citations establish.
अमृत — मूल अर्थ देवताओं का अमरता-दायक अमृत; यहाँ यह कृष्ण के रूप को स्वयं आनन्द बताता है, जिसे ये उद्धरण सिद्ध करते हैं।
s22citation
tasmāt kṛṣṇa eva paro devas taṁ dhyāyet taṁ rasayet iti śrī-gopāla-tāpanībhyaś ca |
tasmāt'therefore' — the quote draws a conclusion from what precedes itइसलिए
kṛṣṇa eva paro devaḥ'Kṛṣṇa alone is the supreme God' — eva shuts out any rival eva = exclusiveकृष्ण ही परम देव हैं (eva — अनन्य)
taṁ dhyāyet'let one meditate on him'उसी का ध्यान करे (विधिलिङ्)
taṁ rasayet'let one relish him' — and taste him as rasaउसी का रसास्वादन करे (विधिलिङ्)
itiso it says (closes the quote)इस प्रकार
śrī-gopāla-tāpanībhyaḥbecause it comes from the two Śrī Gopāla-tāpanī texts ablative of source, dualश्रीगोपाल-तापनी उपनिषदों से (पञ्चमी — स्रोत, द्विवचन)
caand — this proof is added to the Bhāgavata ones beforeऔर भी
tasmāt kṛṣṇa eva paro devaḥ — 'therefore Kṛṣṇa alone is the supreme God'; taṁ dhyāyet — 'let one meditate on him'; taṁ rasayet — 'let one relish him'; iti — so; śrī-gopāla-tāpanībhyaḥ ca — and from the two Gopāla-tāpanīs.
tasmāt — इसलिए; kṛṣṇa eva paro devaḥ — कृष्ण ही परम देव; taṁ dhyāyet — उसी का ध्यान करे; taṁ rasayet — उसी का रसास्वादन करे; iti — इस प्रकार; śrī-gopāla-tāpanībhyaḥ — गोपाल-तापनी से; ca — और भी
He adds one more proof, this time from the two Gopāla-tāpanī texts: 'Therefore Kṛṣṇa alone is the supreme God; let one meditate on him, let one relish him.' The 'alone' rules out any rival. Note the word 'relish' (rasayet): the very scripture says Kṛṣṇa is to be tasted as rasa, which is exactly the point being proved.
'इसलिए कृष्ण ही परम देव हैं; उसी का ध्यान करे, उसी का रसास्वादन करे' — ऐसा श्रीगोपाल-तापनी से भी प्रमाण है।
Why cited: Scriptural proof (Gopāla-tāpanī) that Kṛṣṇa alone is the supreme God and the one to be relished — clinching akhila-rasāmṛta-mūrtiḥ.
क्यों उद्धृत: शास्त्रीय प्रमाण (गोपाल-तापनी) कि कृष्ण ही परम देव और आस्वादनीय हैं — 'अखिल-रसामृत-मूर्तिः' को दृढ़ करता है।
rasa: literally 'taste, juice'; here the devotional mood — the verb rasayet, 'let one relish him,' ties the citation straight to akhila-rasāmṛta-mūrtiḥ.
रस — शब्दार्थ 'स्वाद, रस'; यहाँ भक्ति-भाव — 'रसयेत्' क्रिया ('उसका आस्वादन करे') इस उद्धरण को सीधे 'अखिल-रसामृत-मूर्तिः' से जोड़ती है।
s23avataranika
tatrāpi rasa-viśeṣa-viśiṣṭa-parikara-vaiśiṣṭyenāvirbhāva-vaiśiṣṭyaṁ dṛśyate |
tatrāpieven within that — even granting he is the whole of rasa, api presses further api = evenउसमें भी (api 'यहाँ तक कि')
rasa-viśeṣa-viśiṣṭa-parikara-vaiśiṣṭyenabecause his companions differ by which particular rasa marks them, that difference shows through instrumental of meansकिसी विशेष रस से युक्त परिकर की विशिष्टता के द्वारा (साधन में तृतीया)
āvirbhāva-vaiśiṣṭyama matching difference in how he appears (his āvirbhāva)आविर्भाव की विशिष्टता
dṛśyateis seen — this is observed, not merely arguedदेखी जाती है (कर्मवाच्य)
tatrāpi — even there; rasa-viśeṣa-viśiṣṭa-parikara-vaiśiṣṭyena — through the distinctiveness of associates marked by a particular rasa; āvirbhāva-vaiśiṣṭyam — a distinctiveness of his appearance; dṛśyate — is seen.
tatrāpi — उसमें भी; rasa-viśeṣa-viśiṣṭa-parikara-vaiśiṣṭyena — विशेष रस-युक्त परिकर की विशिष्टता से; āvirbhāva-vaiśiṣṭyam — आविर्भाव की विशिष्टता; dṛśyate — देखी जाती है
He now sets up the next step. Even granting that Kṛṣṇa is the whole of rasa, there is still more to see. His companions are each stamped by one particular rasa. And because they differ that way, a matching difference shows up in how Kṛṣṇa himself appears. So the flavour of his appearance tracks the flavour of the devotees around him.
उसमें भी — किसी विशेष रस से युक्त परिकर की विशिष्टता के द्वारा — आविर्भाव की विशिष्टता देखी जाती है।
s24conclusion
ata evādi-rasa-viśeṣa-viśiṣṭa-sambandhena nitarām |
ata evafor exactly this reason — drawing the point from the sentence beforeइसीलिए
ādi-rasa-viśeṣa-viśiṣṭa-sambandhenathrough the bond with the one marked by the first rasa — the ādi-rasa, i.e. mādhurya, the amorous mood instrumental of meansआदि-रस (शृंगार) की विशेषता से युक्त सम्बन्ध के द्वारा (साधन में तृतीया)
nitarāmmost fully of all — it holds to the highest degreeअत्यन्त रूप से, सबसे बढ़कर
ata eva — for this very reason; ādi-rasa-viśeṣa-viśiṣṭa-sambandhena — through the connection marked by the particular primary rasa; nitarām — all the more.
ata eva — इसीलिए; ādi-rasa-viśeṣa-viśiṣṭa-sambandhena — आदि-रस की विशेषता से युक्त सम्बन्ध से; nitarām — सबसे बढ़कर
So he draws the conclusion. If Kṛṣṇa's appearance shines more through richer rasa-bonds, then through his bond with the devotees stamped by the ādi-rasa — the first, foremost rasa, the amorous mood — it shines most fully of all. This is why the verse will now turn to the gopīs and Rādhā.
इसीलिए आदि-रस (शृंगार) की विशेषता से युक्त सम्बन्ध के कारण यह आविर्भाव-विशिष्टता सबसे बढ़कर है।
ādi-rasa: literally 'the first/primary rasa'; a standard name in poetics for śṛṅgāra, the amorous mood — here mādhurya, the topmost devotional rasa, hence 'most fully.'
आदि-रस — शब्दार्थ 'प्रथम/मुख्य रस'; काव्यशास्त्र में शृंगार-रस का प्रसिद्ध नाम — यहाँ माधुर्य, सर्वोच्च भक्ति-रस, अतः 'सर्वाधिक पूर्णता से'।
s25avataranika
yathā—
yathāas for example — flagging that a scriptural instance followsजैसे (उदाहरण की भूमिका)
yathā — as, for example.
yathā — जैसे
A single connecting word: 'as, for example.' It simply announces that a supporting verse from scripture is about to be quoted to illustrate the point just made.
जैसे —
s26citation
gopyas tapaḥ kim acaran yad amuṣya rūpaṁ lāvaṇya-sāram asamordhvam ananya-siddham | dṛgbhiḥ pibanty anusavābhinavaṁ durāpam ekānta-dhāma yaśasaḥ śriya aiśvarasya ||
gopyaḥ tapaḥ kim acaran'what austerities did the gopīs perform' — a wondering question at their fortuneगोपियों ने कौन-सा तप किया?
yad amuṣya rūpaṁ'that his form —'जो उसका (कृष्ण का) रूप (सापेक्ष)
lāvaṇya-sāram asamordhvam ananya-siddham'the essence of loveliness, with none equal or above it, perfect by nothing but itself'लावण्य का सार, जिसके समान या ऊपर कोई नहीं, जो अन्य किसी साधन से नहीं, स्वतःसिद्ध
dṛgbhiḥ pibanti'they drink with their eyes'नेत्रों से पीती हैं (तृतीया 'नेत्रों से')
anusava-abhinavaṁ durāpam'ever-fresh at each moment, hard to reach'प्रत्येक क्षण नवीन, दुर्लभ
ekānta-dhāma yaśasaḥ śriyaḥ aiśvarasya'the sole home of fame, of beauty, and of lordly greatness'यश, श्री और ऐश्वर्य का एकमात्र धाम (षष्ठियाँ 'का')
gopyaḥ kim tapaḥ acaran — what austerities did the gopīs perform; yad amuṣya rūpam — that his form; lāvaṇya-sāram asamordhvam ananya-siddham — the essence of loveliness, unequalled, self-perfect; dṛgbhiḥ pibanti — they drink with their eyes; anusava-abhinavaṁ durāpam — ever-fresh, hard to reach; ekānta-dhāma yaśasaḥ śriyaḥ aiśvarasya — the one abode of fame, beauty, and greatness.
gopyaḥ tapaḥ kim acaran — गोपियों ने कौन-सा तप किया; yad amuṣya rūpaṁ — जो उसका रूप; lāvaṇya-sāram asamordhvam ananya-siddham — लावण्य-सार, अनुपम, स्वतःसिद्ध; dṛgbhiḥ pibanti — नेत्रों से पीती हैं; anusava-abhinavaṁ durāpam — प्रति क्षण नवीन, दुर्लभ; ekānta-dhāma yaśasaḥ śriyaḥ aiśvarasya — यश-श्री-ऐश्वर्य का एकमात्र धाम
He quotes the Bhāgavata (10.44.14): 'What austerities did the gopīs perform, that with their eyes they drink his form — the essence of loveliness, with nothing equal or above it, perfect by itself alone, fresh at every moment, hard to attain, the one home of fame, beauty, and lordly greatness?' The point of quoting it here: it is precisely the gopīs, bound to him by the amorous rasa, who taste his beauty most fully.
गोपियों ने आखिर कौन-सा तप किया, जो उसके इस रूप को — लावण्य का सार, जिसके समान या श्रेष्ठ कोई नहीं, स्वतःसिद्ध, प्रति क्षण नवीन, दुर्लभ, यश-श्री-ऐश्वर्य का एकमात्र धाम — वे अपने नेत्रों से पीती रहती हैं।
Why cited: Cited to show the gopīs relish the unrivalled beauty of Kṛṣṇa's form — illustrating how his appearance shines most through the amorous rasa-bond.
क्यों उद्धृत: यह दिखाने के लिए उद्धृत कि गोपियाँ कृष्ण के रूप के अनुपम सौन्दर्य का आस्वादन करती हैं — कैसे उनका आविर्भाव शृंगार-रस-बन्ध में सर्वाधिक चमकता है।
s27citation
trailokya-lakṣmy-eka-padaṁ vapur dadhat , tatrātiśuśubhe tābhiḥ gopālī pālikā dhanyā viśākhā dhyāna-niṣṭhikā | rādhānurādhā somābhā tārakā daśamī tathā ||
trailokya-lakṣmy-eka-padaṁ vapuḥ dadhat'bearing a body that is the single seat of the beauty of all three worlds'तीनों लोकों की लक्ष्मी का एकमात्र स्थान — ऐसे शरीर को धारण करते हुए
tatra atiśuśubhe tābhiḥ'he shone supremely there, amid them (the gopīs)'वहाँ उन गोपियों के साथ अत्यन्त शोभित हुए (तृतीया — साथ में)
gopālī pālikā dhanyā viśākhā dhyāna-niṣṭhikā'Gopālī, Pālikā, Dhanyā, Viśākhā the steadfast in meditation' — first four namedगोपाली, पालिका, धन्या, विशाखा, ध्यान-निष्ठिका (नामों की सूची)
rādhā anurādhā somābhā'Rādhā, Anurādhā, Somābhā'राधा, अनुराधा, सोमाभा
tārakā daśamī tathā'and likewise Tārakā the tenth'तारका, तथा दसवीं
trailokya-lakṣmy-eka-padaṁ vapuḥ dadhat — bearing a body the sole seat of the three worlds' beauty; tatra tābhiḥ atiśuśubhe — he shone supremely there among them; gopālī pālikā dhanyā viśākhā dhyāna-niṣṭhikā rādhā anurādhā somābhā tārakā daśamī tathā — Gopālī, Pālikā, Dhanyā, Viśākhā, Rādhā, Anurādhā, Somābhā, and Tārakā the tenth.
trailokya-lakṣmy-eka-padaṁ vapuḥ dadhat — त्रैलोक्य-लक्ष्मी का एकमात्र स्थान शरीर धारण करते हुए; tatra atiśuśubhe tābhiḥ — वहाँ उनके साथ अत्यन्त शोभित हुए; gopālī pālikā dhanyā viśākhā dhyāna-niṣṭhikā — गोपाली, पालिका, धन्या, विशाखा, ध्यान-निष्ठिका; rādhā anurādhā somābhā — राधा, अनुराधा, सोमाभा; tārakā daśamī tathā — तारका, तथा दसवीं
He quotes the list-verse (Bhāgavata 10.33.6): 'Wearing a body that is the one seat of all three worlds' beauty, he shone supremely amid them: Gopālī, Pālikā, Dhanyā, Viśākhā the steadfast in meditation, Rādhā, Anurādhā, Somābhā, and Tārakā the tenth.' This roster is quoted so we can locate the names the verse folds into its compounds — Tārakā, Pālī, Śyāmā, and Rādhā.
तीनों लोकों की लक्ष्मी का एकमात्र स्थान — ऐसे शरीर को धारण करते हुए वे वहाँ उन गोपियों के साथ अत्यन्त शोभित हुए — गोपाली, पालिका, धन्या, विशाखा, ध्यान-निष्ठिका, राधा, अनुराधा, सोमाभा, तारका, और वैसे ही दसवीं।
Why cited: Cited for the roster of the ten principal gopīs (Tārakā, Pālī, Śyāmā, Rādhā, Viśākhā…) whom the verse's compounds will name.
क्यों उद्धृत: दस प्रधान गोपियों (तारका, पाली, श्यामा, राधा, विशाखा…) की सूची के लिए उद्धृत, जिन्हें श्लोक के समास नामित करेंगे।
s28alternative
viśākhā dhyāna-niṣṭhiketi pāṭhāntaram |
viśākhā dhyāna-niṣṭhikā'Viśākhā the one steadfast in meditation' — the wording just quoted names an epithet in the verse'विशाखा ध्यान-निष्ठिका' (श्लोक का एक विशेषण-पद)
itithe phrase so wordedऐसा
pāṭha-antaramis a different manuscript reading — another copy has it otherwise, and he leaves both standingपाठान्तर है (एक भिन्न पाठ)
viśākhā dhyāna-niṣṭhikā iti — the wording 'Viśākhā the steadfast in meditation'; pāṭha-antaram — is a variant reading.
viśākhā dhyāna-niṣṭhikā — 'विशाखा ध्यान-निष्ठिका'; iti — ऐसा; pāṭha-antaram — पाठान्तर
A textual note. The words 'Viśākhā the steadfast in meditation' are only one reading; other copies of the verse read the line differently. He records the variant and does not force a choice between them.
'विशाखा ध्यान-निष्ठिका' — यह एक पाठान्तर है।
s29gloss
tatheti daśamy api tārakā-nāmny evety arthaḥ |
tathāthe word 'likewise' in the verse — glossing that one word lemma being explained'तथा' (जिस पद की व्याख्या हो रही है)
itias for that wordइससे
daśamī apimeans the tenth one too — even she api = tooदसवीं भी (api 'भी')
tārakā-nāmnī evabears exactly the name Tārakā — eva fixes it as her name, not a title eva = preciselyतारका नाम वाली ही है (eva 'ठीक वही')
iti arthaḥthat is the senseऐसा अर्थ है
tathā iti — as for 'likewise'; daśamī api — the tenth one too; tārakā-nāmnī eva — is named precisely Tārakā; iti arthaḥ — that is the meaning.
tathā — 'तथा'; iti — इससे; daśamī api — दसवीं भी; tārakā-nāmnī eva — तारका नाम वाली ही; iti arthaḥ — ऐसा अर्थ
He unpacks the word 'likewise' (tathā) in the list-verse. It means the tenth gopī, too, is named precisely Tārakā. So the roster ends with Tārakā as the tenth's actual name.
'तथा' शब्द का अर्थ यह है कि दसवीं भी 'तारका' नाम वाली ही है।
s30alternative
daśamīty apy ekaṁ nāma vā |
daśamī'Daśamī' (literally 'the tenth')'दशमी'
iti apitaken this way instead — offering a second option api marks the added readingयह भी (api जोड़े गए पाठ को दिखाता है)
ekaṁ nāmais itself a name — a proper name in its own rightएक नाम है
vāor else — a suspended alternative, left open beside the first reading vā = or (unresolved)अथवा (अनसुलझा विकल्प)
daśamī iti api — or the word 'Daśamī' too; ekaṁ nāma — is one (proper) name; vā — or.
daśamī — 'दशमी'; iti api — यह भी; ekaṁ nāma — एक नाम; vā — अथवा
He offers a second reading and leaves it open. On the first reading 'Daśamī' just meant 'the tenth,' and Tārakā was her name. On this alternative, 'Daśamī' is itself her proper name. The 'or' (vā) keeps both readings standing side by side; he does not decide between them.
अथवा 'दशमी' भी एक स्वतन्त्र नाम हो सकता है।
s31citation
skānda-prahlāda-saṁhitā-dvārakā-māhātmye ca—lalitovāca ity ādau mukhyāsv aṣṭāsu pūrvoktābho’nyā lalitā-śyāmalā-śaivyā-padmā-bhadrāś ca śrūyante |
skānda-prahlāda-saṁhitā-dvārakā-māhātmye caand in the Skānda's Prahlāda-saṁhitā, in the Dvārakā-māhātmya — a further source locative of place-in-text; ca adds itस्कान्द की प्रह्लाद-संहिता के द्वारका-माहात्म्य में भी (सप्तमी — स्थान; ca 'भी')
lalitā uvāca'Lalitā said' — the tag that opens the relevant passage'ललिता ने कहा'
ity ādauin the passage beginning with those wordsइस आरम्भ वाले प्रसंग में
mukhyāsu aṣṭāsuamong the eight principal gopīs there locativeआठ मुख्य गोपियों में (सप्तमी)
pūrva-ukta-abhyaḥ anyāḥas others, different from the ones named before ablative of comparisonपहले कही गई गोपियों से भिन्न (तुलना में पञ्चमी)
lalitā-śyāmalā-śaivyā-padmā-bhadrāḥ canamely Lalitā, Śyāmalā, Śaivyā, Padmā, and Bhadrāललिता, श्यामला, शैव्या, पद्मा और भद्रा
śrūyanteare heard named — scripture records themसुनी/पढ़ी जाती हैं (कर्मवाच्य)
skānda-prahlāda-saṁhitā-dvārakā-māhātmye ca — and in the Skānda, Prahlāda-saṁhitā, Dvārakā-māhātmya; lalitā uvāca ity ādau — in the passage beginning 'Lalitā said'; mukhyāsu aṣṭāsu — among the eight principal ones; pūrva-ukta-abhyaḥ anyāḥ — others than those named before; lalitā-śyāmalā-śaivyā-padmā-bhadrāḥ ca śrūyante — Lalitā, Śyāmalā, Śaivyā, Padmā, and Bhadrā are heard.
skānda-prahlāda-saṁhitā-dvārakā-māhātmye ca — स्कान्द के द्वारका-माहात्म्य में भी; lalitā uvāca — 'ललिता उवाच'; ity ādau — इस आरम्भ में; mukhyāsu aṣṭāsu — आठ मुख्य गोपियों में; pūrva-ukta-abhyaḥ anyāḥ — पहले कही गई से भिन्न; lalitā-śyāmalā-śaivyā-padmā-bhadrāḥ ca — ललिता, श्यामला, शैव्या, पद्मा और भद्रा; śrūyante — सुनी जाती हैं
He points to another scripture: the Dvārakā-māhātmya in the Skānda's Prahlāda-saṁhitā, in the passage that opens 'Lalitā said.' There eight principal gopīs are listed, and five of them are new names not in the earlier roster: Lalitā, Śyāmalā, Śaivyā, Padmā, and Bhadrā. So the circle of principal gopīs is wider than one list shows.
और स्कान्द की प्रह्लाद-संहिता के द्वारका-माहात्म्य में — 'ललिता उवाच' इस आरम्भ वाले प्रसंग में — आठ मुख्य गोपियों में पहले कही गई गोपियों से भिन्न ललिता, श्यामला, शैव्या, पद्मा और भद्रा नाम सुनी जाती हैं।
Why cited: Cited to show other scriptures list a different set of eight principal gopīs (Lalitā, Śyāmalā, Śaivyā, Padmā, Bhadrā) — widening the roster.
क्यों उद्धृत: यह दिखाने के लिए उद्धृत कि अन्य शास्त्र आठ प्रधान गोपियों का भिन्न समूह (ललिता, श्यामला, शैव्या, पद्मा, भद्रा) गिनाते हैं — सूची का विस्तार।
s32gloss
pūrvoktās tu rādhā-dhanyā-viśākhāś ca |
pūrva-uktāḥ tubut the ones named before (in that same eight) — tu marks the contrast with the five new ones tu = but/whereasऔर जो पहले कही गईं (tu 'जबकि')
rādhā-dhanyā-viśākhāḥare Rādhā, Dhanyā, and Viśākhāराधा, धन्या और विशाखा
caand — completing the eightऔर (ये तीन)
pūrva-uktāḥ tu — but those mentioned before; rādhā-dhanyā-viśākhāḥ ca — are Rādhā, Dhanyā, and Viśākhā.
pūrva-uktāḥ tu — जो पहले कही गईं; rādhā-dhanyā-viśākhāḥ — राधा, धन्या, विशाखा; ca — और
He finishes accounting for that list of eight. Five were the new names just given; the remaining ones, already met in the earlier roster, are Rādhā, Dhanyā, and Viśākhā. So the two lists overlap in exactly these three.
और जो पहले कही गईं वे राधा, धन्या और विशाखा हैं, जिससे आठ की गिनती पूरी होती है।
s33gloss
tad etad abhipretya tatrāpi mukhya-mukhyābhir uttarottara-vaiśiṣṭyaṁ darśayitum avara-mukhye dve tārakā-pālī tāvan niṣkṛṣya tābhyāṁ vaiśiṣṭyam āha—prasṛmarābhiḥ prasaraṇa-śīlābhī rucibhiḥ kāntibhī ruddhe vaśīkṛte tārakā-pālī yena saḥ |
tat etat abhipretyahaving this whole picture (the ranked rosters) in view absolutive of intentइस बात को मन में रखकर (अभिप्राय से)
tatrāpieven within that group — api presses on api = evenउनमें भी (api 'यहाँ तक')
mukhya-mukhyābhiḥby way of the most principal among the principal ones instrumental of meansमुख्य से मुख्य गोपियों के द्वारा (साधन में तृतीया)
uttarottara-vaiśiṣṭyaṁ darśayitumin order to show a step-by-step rising distinction infinitive of purposeउत्तरोत्तर बढ़ती विशिष्टता दिखाने के लिए (क्रिया-अर्थक)
avara-mukhye dve tārakā-pālī tāvat niṣkṛṣyafirst singling out the two lowest of the principal ones, Tārakā and Pālīपहले अपेक्षाकृत गौण दो — तारका और पालि — को अलग निकालकर
tābhyāṁ vaiśiṣṭyam āhahe states the distinction by means of those two instrumentalउन दोनों से विशिष्टता कहते हैं (तृतीया)
prasṛmarābhiḥ prasaraṇa-śīlābhiḥ rucibhiḥ kāntibhiḥdecoding the verse-word: by his prasṛmara — outspreading — ruci, i.e. his radiances instrumental in the compoundफैलती हुई अर्थात् प्रसार-शील रुचियों अर्थात् कान्तियों के द्वारा (तृतीया; प्रसृमर = प्रसरण-शील, रुचि = कान्ति)
ruddhe vaśīkṛte tārakā-pālī yena saḥthe one by whom Tārakā and Pālī are ruddha — brought under his sway; that is who he is bahuvrīhi qualifying vidhuḥजिसने तारका और पालि को रुद्ध अर्थात् वश में कर लिया — वही (बहुव्रीहि, विधु का विशेषण)
tat etat abhipretya — having this in view; tatrāpi mukhya-mukhyābhiḥ uttarottara-vaiśiṣṭyaṁ darśayitum — in order to show, even there, the ascending distinctiveness by the most principal ones; avara-mukhye dve tārakā-pālī tāvat niṣkṛṣya — first singling out the two lowest of the principal, Tārakā and Pālī; tābhyāṁ vaiśiṣṭyam āha — he states the distinction by them; prasṛmarābhiḥ rucibhiḥ ruddhe tārakā-pālī yena saḥ — he by whom Tārakā and Pālī are captured by his outspreading radiances.
tat etat abhipretya — इस अभिप्राय से; tatrāpi — उनमें भी; mukhya-mukhyābhiḥ — मुख्य से मुख्य गोपियों से; uttarottara-vaiśiṣṭyaṁ darśayitum — उत्तरोत्तर विशिष्टता दिखाने के लिए; avara-mukhye dve tārakā-pālī tāvat niṣkṛṣya — गौण दो तारका-पालि को अलग निकालकर; tābhyāṁ vaiśiṣṭyam āha — उन दोनों से विशिष्टता कहते हैं; prasṛmarābhiḥ prasaraṇa-śīlābhiḥ rucibhiḥ kāntibhiḥ — फैलती हुई कान्तियों से; ruddhe vaśīkṛte tārakā-pālī yena saḥ — जिसने तारका-पालि को वश में किया, वही
Now he decodes the first compound of the verse. With the ranked rosters in mind, the author wants to show a distinction that rises step by step, working up through the most principal gopīs. So he starts at the bottom of the principal ones — Tārakā and Pālī — and marks Kṛṣṇa by them first. The word prasṛmara means 'outspreading'; ruci means his radiances. The whole compound describes 'the one by whom Tārakā and Pālī are held captive by his outspreading radiances.'
इस अभिप्राय से — उनमें भी मुख्य से मुख्य गोपियों के द्वारा उत्तरोत्तर बढ़ती विशिष्टता दिखाने के लिए — पहले अपेक्षाकृत गौण दो, तारका और पालि, को अलग निकालकर, उन दोनों से कृष्ण की विशिष्टता कहते हैं: 'प्रसृमर-रुचि-रुद्ध-तारका-पालि' अर्थात् जिसने अपनी फैलती कान्तियों से तारका और पालि को वश में कर लिया है — वही वह।
s34gloss
pāliketi tu saṁjāyāṁ kan-vidhānāt |
pālikāthe form 'Pālikā' (with the -ka)'पालिका' (यह रूप)
iti tuas for that form — tu sets it against the bare 'Pālī' tu = howeverयह तो (tu 'किन्तु')
saṁjñāyāṁarises when a proper name is being formed locative: 'in the case of a name'संज्ञा (नाम) के विषय में (सप्तमी: 'नाम होने पर')
kan-vidhānātbecause grammar prescribes the kan (ka) suffix there ablative of reason'कन्' प्रत्यय के विधान के कारण (हेतु में पञ्चमी)
pālikā iti tu — but the form 'Pālikā'; saṁjñāyāṁ — in forming a proper name; kan-vidhānāt — because of the prescription of the kan suffix.
pālikā — 'पालिका'; iti tu — यह तो; saṁjñāyāṁ — संज्ञा के विषय में; kan-vidhānāt — 'कन्' प्रत्यय के विधान के कारण
A grammar note on why the name appears as 'Pālikā.' When a word is turned into a proper name, Pāṇinian grammar prescribes adding the suffix kan (ka). So the base 'Pālī' takes that ka and becomes 'Pālikā.' That is all the extra syllable is doing.
'पालिका' यह रूप तो — नाम (संज्ञा) होने पर 'कन्' प्रत्यय के विधान के कारण — बनता है।
kan: a Pāṇinian affix (the ka-suffix) added in coining a saṁjñā, a conventional proper name; here it explains 'Pālikā' as the name-form of the base 'Pālī.'
कन् — एक पाणिनीय प्रत्यय (क-प्रत्यय) जो संज्ञा (रूढ़ नाम) बनाते समय जोड़ा जाता है; यहाँ यह 'पालिका' को आधार 'पाली' के नाम-रूप के रूप में समझाता है।
s35alternative
pālīti dīrgānto’pi kvacid dṛśyate |
pālīthe form 'Pālī''पाली'
iti dīrgha-antaḥ apiending in a long vowel too — this longer form as well api = alsoयह दीर्घान्त (ई-कारान्त) रूप भी (api 'भी')
kvacitin some places, here and thereकहीं-कहीं
dṛśyateis found — attested, so it also standsदेखा जाता है (कर्मवाच्य)
pālī iti dīrgha-antaḥ api — the form 'Pālī,' ending in a long vowel, too; kvacit dṛśyate — is seen in some places.
pālī — 'पाली'; iti dīrgha-antaḥ api — यह दीर्घान्त रूप भी; kvacit — कहीं-कहीं; dṛśyate — देखा जाता है
He records the other form as well. Besides 'Pālikā,' the name is also found simply as 'Pālī,' ending in a long ī, in some texts. Both spellings are attested, and he lets both stand.
अथवा 'पाली' यह दीर्घान्त (ई-कारान्त) रूप भी कहीं-कहीं देखा जाता है।
s36gloss
atha madhyama-mukhyābhyām āha—kalite ātma-sātkṛte śyāmā śyāmalā lalitā ca yena saḥ |
athanext, moving one rung upअब
madhyama-mukhyābhyāmby way of the two middling principal gopīs instrumental of meansमध्यम श्रेणी की दो मुख्य गोपियों के द्वारा (तृतीया)
āhahe states — introduces the next verse-wordकहते हैं
kalite ātma-sātkṛtedecoding kalita: 'made his own,' taken to himself lemma glossed'कलित' अर्थात् जो आत्मसात् कर ली गईं (व्याख्येय पद)
śyāmā śyāmalā lalitā ca yena saḥthe one by whom Śyāmā — that is Śyāmalā — and Lalitā are made his own; that is who he is bahuvrīhi qualifying vidhuḥजिसने श्यामा अर्थात् श्यामला, और ललिता को अपनाया — वही (बहुव्रीहि, विधु का विशेषण)
atha madhyama-mukhyābhyām āha — next he states by the two middling principal ones; kalite ātma-sātkṛte — kalita meaning 'made his own'; śyāmā śyāmalā lalitā ca yena saḥ — he by whom Śyāmā (Śyāmalā) and Lalitā are made his own.
atha — अब; madhyama-mukhyābhyām — मध्यम श्रेणी की दो मुख्य गोपियों से; āha — कहते हैं; kalite ātma-sātkṛte — 'कलित' अर्थात् आत्मसात्; śyāmā śyāmalā lalitā ca yena saḥ — जिसने श्यामा (श्यामला) और ललिता को अपनाया, वही
He climbs to the next rung and decodes the second compound. Now he marks Kṛṣṇa by the two middling principal gopīs. The verse-word kalita means 'made his own, taken to himself.' Śyāmā here is Śyāmalā. So the compound describes 'the one by whom Śyāmā and Lalitā are made his own.'
अब मध्यम श्रेणी की दो मुख्य गोपियों से कृष्ण की विशिष्टता कहते हैं: 'कलित' अर्थात् जिन्हें आत्मसात् कर लिया — श्यामा (श्यामला) और ललिता — जिसने इन्हें अपनाया, वही वह।
s37gloss
atha parama-mukhyayāha rādhāyāḥ preyān atiśayena prīti-kartā—igupadhajñāprīkiraḥ kaḥ iti kartari ka-pratyaya-vidheḥ |
athaand now, the top rungअब
parama-mukhyayāby way of the single most principal gopī instrumental of meansपरम मुख्य गोपी (राधा) के द्वारा (तृतीया)
āhahe states — introduces the word rādhā-preyānकहते हैं
rādhāyāḥ preyāndecoding it: the one dearer than all to Rādhā rādhāyāḥ = genitive, 'to Rādhā'राधा के प्रति अधिक प्रिय (राधायाः — षष्ठी, 'राधा का')
atiśayena prīti-kartāi.e. the one who gives her the very highest joyअत्यन्त रूप से प्रीति करने वाला
ig-upadha-jñā-prī-kiraḥ kaḥciting the sūtra 'ig-upadha-jñā-prī-kiraḥ kaḥ' — the rule that supplies the suffix quoted grammatical rule (Pāṇini 3.1.135)'इगुपधज्ञाप्रीकिरः कः' (उद्धृत व्याकरण-सूत्र, पाणिनि 3.1.135)
iti kartari ka-pratyaya-vidheḥbecause by it the affix ka is prescribed in the agent sense — hence prey-ān means 'one who gladdens' ablative of reasonइस प्रकार कर्तृ-अर्थ में 'क' प्रत्यय के विधान के कारण (हेतु में पञ्चमी; कर्तरि — कर्ता में)
atha parama-mukhyayā āha — now he states by the single most principal one; rādhāyāḥ preyān atiśayena prīti-kartā — dearmost to Rādhā, the giver of highest joy to her; ig-upadha-jñā-prī-kiraḥ kaḥ iti kartari ka-pratyaya-vidheḥ — because the rule 'ig-upadha…' prescribes the ka affix in the agent sense.
atha — अब; parama-mukhyayā — परम मुख्य राधा से; āha — कहते हैं; rādhāyāḥ preyān — राधा के प्रति अधिक प्रिय; atiśayena prīti-kartā — अत्यन्त प्रीति करने वाला; ig-upadha-jñā-prī-kiraḥ kaḥ — 'इगुपधज्ञाप्रीकिरः कः'; iti kartari ka-pratyaya-vidheḥ — कर्तृ-अर्थ में 'क' प्रत्यय के विधान से
He reaches the top rung — the single most principal gopī — and decodes rādhā-preyān. It means the one dearer than all to Rādhā, the one who gives her the very highest joy. He grounds the word-form in a grammar rule: by the sūtra 'ig-upadha-jñā-prī-kiraḥ kaḥ,' the affix ka is added in the agent sense to roots like √prī 'to please.' So preyān is 'the one who gladdens' Rādhā — an agent noun, by rule.
अब परम मुख्य गोपी राधा से कहते हैं: 'राधा-प्रेयान्' अर्थात् राधा के प्रति अत्यन्त प्रीति करने वाला। 'इगुपधज्ञाप्रीकिरः कः' — इस सूत्र से कर्तृ-अर्थ में 'क' प्रत्यय का विधान होने के कारण 'प्री' धातु से यह रूप बनता है।
ig-upadha-jñā-prī-kiraḥ kaḥ: Pāṇini's Aṣṭādhyāyī 3.1.135; after roots with i/u in the penult, and after √jñā, √prī, √kṝ, the affix ka forms an agent noun — here yielding the 'one who pleases Rādhā' sense.
इग्-उपध-ज्ञा-प्री-किरः कः — पाणिनि की अष्टाध्यायी ३.१.१३५; जिन धातुओं की उपधा में इक् (इ/उ) हो, तथा √ज्ञा, √प्री, √कृ के बाद, 'क' प्रत्यय कर्तृवाचक नाम बनाता है — यहाँ 'राधा को प्रसन्न करने वाला' अर्थ देता है।
s38conclusion
ata evāsyā evāsādhāraṇyam ālokya pūrvavad yugmatvenāpi neyaṁ nirdiṣṭā |
ata evafor exactly this reason — because she is the topmostइसीलिए
asyāḥ eva asādhāraṇyam ālokyaseeing that she alone is wholly unlike any other absolutive: 'having seen'इसी राधा की असाधारणता को देखकर (षष्ठी 'इसकी'; ल्यबन्त 'देखकर')
pūrvavatas was done with the earlier gopīs (who came in twos)पहले की भाँति
yugmatvena apieven as one of a pair — api concedes he might have instrumental; api = evenयुग्म-रूप में भी (तृतीया; api 'तक')
na iyaṁ nirdiṣṭāshe has not been named — so she stands alone, unpaired na negatesयह निर्दिष्ट नहीं की गई (na निषेध)
ata eva asyāḥ eva asādhāraṇyam ālokya — for this very reason, seeing her utter uncommonness; pūrvavat yugmatvena api — even in a pair, as before; na iyaṁ nirdiṣṭā — she has not been indicated.
ata eva — इसीलिए; asyāḥ eva asādhāraṇyam ālokya — इसी की असाधारणता देखकर; pūrvavat — पहले की भाँति; yugmatvena api — युग्म-रूप में भी; na iyaṁ nirdiṣṭā — यह निर्दिष्ट नहीं की गई
He draws the point of the rising ladder. The other gopīs were named two at a time. But Rādhā is not. Seeing that she alone is wholly unlike anyone else, the author refuses to pair her with a partner as he did the rest. She is set apart, standing alone — and that singling-out is itself the mark of her supremacy.
इसीलिए इसी राधा की असाधारणता को देखकर, पहले की भाँति इसे युग्म (जोड़े) के रूप में भी निर्दिष्ट नहीं किया गया — अर्थात् अन्य गोपियों की तरह जोड़े में नहीं गिनाया गया।
s39avataranika
atas tasyā eva prādhānyaṁ kārttika-māhātmye uttara-khaṇḍe tat-kuṇḍa-prasaṅge—
ataḥtherefore — because she stands supreme and aloneइसलिए
tasyāḥ eva prādhānyaṁher pre-eminence — hers alone; eva stresses hers and no other's eva = aloneउसी राधा की प्रधानता (eva 'उसी की')
kārttika-māhātmye uttara-khaṇḍeis shown in the Kārttika-māhātmya, in its later section locative of place-in-text(पद्मपुराण के) उत्तर-खण्ड के कार्त्तिक-माहात्म्य में (सप्तमी — स्थान)
tat-kuṇḍa-prasaṅgein the passage about her pond (Rādhā-kuṇḍa) locative: 'on the occasion of'उसके कुण्ड (राधाकुण्ड) के प्रसंग में (सप्तमी: 'प्रसंग आने पर')
ataḥ tasyāḥ eva prādhānyaṁ — therefore her pre-eminence alone; kārttika-māhātmye uttara-khaṇḍe tat-kuṇḍa-prasaṅge — in the Kārttika-māhātmya, later section, in the passage on her pond.
ataḥ — इसलिए; tasyāḥ eva prādhānyaṁ — उसी की प्रधानता; kārttika-māhātmye uttara-khaṇḍe — उत्तर-खण्ड के कार्त्तिक-माहात्म्य में; tat-kuṇḍa-prasaṅge — राधाकुण्ड के प्रसंग में
He now moves to prove her supremacy from scripture. Because Rādhā stands alone and above the rest, her pre-eminence — and hers alone — is stated in the Kārttika-māhātmya, in its later section, in the passage that discusses her pond, Rādhā-kuṇḍa. The verse itself follows next.
इसलिए उसी राधा की प्रधानता — पद्मपुराण के उत्तर-खण्ड के कार्त्तिक-माहात्म्य में, राधाकुण्ड के प्रसंग में कही गई है —
s40citation
yathā rādhā priyā viṣṇos tasyāḥ kuṇḍaṁ priyaṁ tathā | sarva-gopīṣu saivaikā viṣṇor atyanta-vallabhā ||
yathā rādhā priyā viṣṇoḥ'just as Rādhā is dear to Viṣṇu' — sets up the comparison yathā = just asजैसे राधा विष्णु की प्रिय हैं (विष्णोः — षष्ठी; यथा 'जैसे')
tasyāḥ kuṇḍaṁ priyaṁ tathā'so too her pond is dear to him' — the pond ranks by her rank tathā answers yathāवैसे ही उसका कुण्ड भी प्रिय है (तथा 'यथा' का उत्तर)
sarva-gopīṣu'among all the gopīs' locative: 'among'समस्त गोपियों में (सप्तमी: 'में से')
sā eva ekā'she alone, she and no other' — eva plus ekā doubly isolates her eva = aloneवही एकमात्र (eva 'वही')
viṣṇoḥ atyanta-vallabhā'is the utterly beloved of Viṣṇu'विष्णु की अत्यन्त प्रिया है
yathā rādhā viṣṇoḥ priyā — as Rādhā is dear to Viṣṇu; tathā tasyāḥ kuṇḍaṁ priyaṁ — so her pond is dear to him; sarva-gopīṣu sā eva ekā viṣṇoḥ atyanta-vallabhā — among all the gopīs she alone is the utterly beloved of Viṣṇu.
yathā rādhā priyā viṣṇoḥ — जैसे राधा विष्णु की प्रिय; tasyāḥ kuṇḍaṁ priyaṁ tathā — वैसे उसका कुण्ड भी प्रिय; sarva-gopīṣu — समस्त गोपियों में; sā eva ekā — वही एकमात्र; viṣṇoḥ atyanta-vallabhā — विष्णु की अत्यन्त प्रिया
He quotes the pond-passage: 'Just as Rādhā is dear to Viṣṇu, so is her pond dear to him; among all the gopīs, she alone is his utterly beloved.' The verse is adduced to nail down rādhā-preyān: of every gopī, Rādhā is the single dearest of the Lord — which is exactly why the verse set her apart, unpaired.
जैसे राधा विष्णु को प्रिय हैं, वैसे ही उनका कुण्ड भी प्रिय है। समस्त गोपियों में वही एकमात्र विष्णु की अत्यन्त प्रिया हैं।
Why cited: Cited to prove Rādhā alone is the utterly dearest of Viṣṇu among all the gopīs — clinching rādhā-preyān and her sole pre-eminence.
क्यों उद्धृत: समस्त गोपियों में राधा ही विष्णु की अत्यन्त प्रिया हैं — यह सिद्ध करने के लिए उद्धृत, जो 'राधा-प्रेयान्' और उनकी एकमात्र श्रेष्ठता को दृढ़ करता है।
s41citation
ata eva mātsya-skāndādau śaktitva-sādhāraṇyenābhinnatayā gaṇanāyām api tasyā eva vṛndāvane prādhānyābhiprāyeṇāha—rukmiṇī dvāravatyāṁ tu rādhā vṛndāvane vane iti |
ata evafor this very reasonइसीलिए
mātsya-skāndādauin the Mātsya, the Skānda, and such texts loc. of placeमत्स्य, स्कान्द आदि पुराणों में (सप्तमी — स्थान)
śaktitva-sādhāraṇyenaunder the shared heading of being a śakti (a divine power of the Lord) instr. of respectशक्ति-रूप में समानता की दृष्टि से (तृतीया — अपेक्षा में)
abhinnatayāas non-different from the other śaktis instr.अभिन्न रूप से (तृतीया)
gaṇanāyām apieven when she is counted in such a listगिनती की जाने पर भी (सप्तमी; api 'तक')
tasyā evaof her alone gen.उसी की (षष्ठी; eva 'उसी')
vṛndāvanein Vṛndāvana loc.वृन्दावन में (सप्तमी)
prādhānya-abhiprāyeṇawith her supremacy in view instr. of purposeप्रधानता के अभिप्राय से (तृतीया)
āhahe saysकहते हैं
rukmiṇī dvāravatyāṁ tu‘Rukmiṇī in Dvārakā,''द्वारका में रुक्मिणी प्रधान, किन्तु (tu)
rādhā vṛndāvane vane‘but Rādhā in the forest of Vṛndāvana'वृन्दावन-वन में राधा प्रधान'
iti— so the text runsइस प्रकार
ata eva — for this very reason; mātsya-skāndādau — in the Mātsya, Skānda, etc.; śaktitva-sādhāraṇyena abhinnatayā gaṇanāyām api — even where she is counted as non-different, under the common heading of being a śakti; tasyā eva vṛndāvane prādhānya-abhiprāyeṇa — with her supremacy in Vṛndāvana in view; āha — he says: rukmiṇī dvāravatyāṁ tu rādhā vṛndāvane vane iti.
ata eva — इसीलिए; mātsya-skāndādau — मत्स्य-स्कान्द आदि में; śaktitva-sādhāraṇyena — शक्ति-समानता की दृष्टि से; abhinnatayā — अभिन्न रूप से; gaṇanāyām api — गिनने पर भी; tasyā eva — उसी की; vṛndāvane — वृन्दावन में; prādhānya-abhiprāyeṇa — प्रधानता के अभिप्राय से; āha — कहते हैं; rukmiṇī dvāravatyāṁ tu — 'द्वारका में रुक्मिणी, किन्तु; rādhā vṛndāvane vane — वृन्दावन-वन में राधा'; iti — इस प्रकार
For this very reason there is a further proof. In texts like the Mātsya and Skānda, Rādhā is sometimes listed simply as one of Kṛṣṇa's śaktis — counted in with the others as though no different from them. But even in such a list, her supremacy in Vṛndāvana is the real point. So the text says: ‘Rukmiṇī rules in Dvārakā, but Rādhā in the forest of Vṛndāvana.'
इसीलिए मत्स्य, स्कान्द आदि में — शक्ति-रूप में समानता की दृष्टि से (लक्ष्मी आदि से) अभिन्न रूप में गिने जाने पर भी — वृन्दावन में उसी राधा की प्रधानता के अभिप्राय से कहते हैं: 'द्वारका में रुक्मिणी, किन्तु वृन्दावन-वन में राधा प्रधान।'
Why cited: cited to show that even when Rādhā is listed among the many śaktis, her supremacy in Vṛndāvana is affirmed.
क्यों उद्धृत: यह दिखाने के लिए उद्धृत कि राधा को अनेक शक्तियों में गिनने पर भी वृन्दावन में उनकी श्रेष्ठता प्रतिष्ठित की जाती है।
s42avataranika
tathā ca bṛhad-gautamīye tasyā eva mantra-kathane—
tathā caand likewise / so tooऔर वैसे ही
bṛhad-gautamīyein the Bṛhad-gautamīya loc. of placeबृहद्-गौतमीय में (सप्तमी — स्थान)
tasyā evaof her alone gen.उसी राधा के (षष्ठी; eva 'उसी')
mantra-kathanein the telling of her mantra — the passage reads: loc. absolute, ‘where it tells…'मन्त्र का कथन होने पर (सप्तमी: 'जहाँ मन्त्र कहा जाता है')
tathā ca — and so too; bṛhad-gautamīye — in the Bṛhad-gautamīya; tasyā eva mantra-kathane — in the telling of her very mantra (the following is said).
tathā ca — और वैसे ही; bṛhad-gautamīye — बृहद्-गौतमीय में; tasyā eva — उसी राधा के; mantra-kathane — मन्त्र-कथन में
And here is another proof. In the Bṛhad-gautamīya, in the passage that gives her mantra, it says the following.
और वैसे ही बृहद्-गौतमीय में, जहाँ उसी राधा का मन्त्र कहा जाता है —
s43citation
devī kṛṣṇa-mayī proktā rādhikā para-devatā | sarva-lakṣmī-mayī sarva-kāntiḥ saṁmohinī parā ||
devīthe goddessदेवी
kṛṣṇa-mayīmade of Kṛṣṇa — formed of his very substanceकृष्णमयी (कृष्ण से ओतप्रोत)
proktāis declared to be past pass. part.कही गई हैं (भूत कर्मवाच्य कृदन्त)
rādhikāRādhikāराधिका
para-devatāthe supreme deityपरम देवता
sarva-lakṣmī-mayīmade of all the Lakṣmīs — the source of every goddess of fortuneसमस्त लक्ष्मीमयी
sarva-kāntiḥthe whole of radiance / all beautyसमस्त कान्ति-स्वरूपा
saṁmohinī parāsupremely enchantingपरम सम्मोहिनी
devī — the goddess; kṛṣṇa-mayī proktā — is declared to be made of Kṛṣṇa; rādhikā para-devatā — Rādhikā, the supreme deity; sarva-lakṣmī-mayī — made of all Lakṣmīs; sarva-kāntiḥ — all radiance; saṁmohinī parā — supremely enchanting.
devī — देवी; kṛṣṇa-mayī — कृष्णमयी; proktā — कही गई हैं; rādhikā — राधिका; para-devatā — परम देवता; sarva-lakṣmī-mayī — समस्त लक्ष्मीमयी; sarva-kāntiḥ — समस्त कान्ति-स्वरूपा; saṁmohinī parā — परम सम्मोहिनी
The goddess is declared to be made of Kṛṣṇa's own substance. Rādhikā is the supreme deity. She is made of all the Lakṣmīs, she is the whole of radiance, and she enchants beyond all others.
देवी राधिका कृष्णमयी, परम देवता, समस्त लक्ष्मीमयी, समस्त कान्ति-स्वरूपा और परम सम्मोहिनी कही गई हैं।
Why cited: cited to prove Rādhā is Kṛṣṇa's supreme śakti — the source of all Lakṣmīs and the highest deity.
क्यों उद्धृत: यह सिद्ध करने के लिए उद्धृत कि राधा कृष्ण की परम शक्ति हैं — समस्त लक्ष्मियों का स्रोत और सर्वोच्च देवता।
s44citation
ṛk-pariśiṣṭa-śrutāv api—rādhayā mādhavo devo mādhavenaiva rādhikā, vibhrājante janeṣv ā iti |
ṛk-pariśiṣṭa-śrutau apiin the Ṛk-pariśiṣṭa śruti too loc.; api ‘also, as further proof'ऋक्-परिशिष्ट की श्रुति में भी (सप्तमी; api 'भी, आगे और प्रमाण')
rādhayāby Rādhā — through her instr. of meansराधा के द्वारा (साधन में तृतीया)
mādhavo devothe god Mādhava (shines)माधव देव (शोभित होते हैं)
mādhavena evaand by Mādhava alone instr.; eva ‘alone'माधव के द्वारा ही (तृतीया; eva 'केवल उन्हीं से')
rādhikāRādhikā (shines)राधिका (शोभित होती हैं)
vibhrājantethey shine forth 3rd pl. presentअत्यन्त शोभित होते हैं (अन्य पुरुष बहुवचन वर्तमान)
janeṣu āout among the peopleजनों में सर्वत्र
iti— so the śruti saysइस प्रकार
ṛk-pariśiṣṭa-śrutau api — in the Ṛk-pariśiṣṭa śruti too; rādhayā mādhavo devo — through Rādhā, the god Mādhava; mādhavena eva rādhikā — through Mādhava alone, Rādhikā; vibhrājante janeṣu ā — they shine forth among the people.
ṛk-pariśiṣṭa-śrutau api — ऋक्-परिशिष्ट श्रुति में भी; rādhayā — राधा के द्वारा; mādhavo devo — माधव देव; mādhavena eva — माधव के द्वारा ही; rādhikā — राधिका; vibhrājante — अत्यन्त शोभित होते हैं; janeṣu ā — जनों में सर्वत्र; iti — इस प्रकार
The Ṛk-pariśiṣṭa śruti gives one more proof. It is through Rādhā that the god Mādhava shines, and through Mādhava alone that Rādhikā shines. Each sets off the other, and so the two blaze out among the people.
ऋक्-परिशिष्ट की श्रुति में भी: 'राधा के द्वारा माधव देव, और माधव के द्वारा ही राधिका — दोनों जनों में सर्वत्र अत्यन्त शोभित होते हैं।'
Why cited: śruti proof that Rādhā and Mādhava are mutually the source of each other's glory — she is his equal counterpart.
क्यों उद्धृत: श्रुति-प्रमाण कि राधा और माधव परस्पर एक-दूसरे की शोभा के स्रोत हैं — वह उनकी समकक्ष प्रतिरूपा हैं।
s45citation
ata evāhuḥ—anayārādhito nūnam ity ādi |
ata evafor this very reasonइसीलिए
āhuḥthey (the gopīs) said 3rd pl. perfectगोपियों ने कहा (अन्य पुरुष बहुवचन, परोक्ष भूत)
anayā ārādhito nūnam‘surely by her he was worshipped''निश्चय ही इस गोपी के द्वारा आराधित होकर' (तृतीया 'इसके द्वारा')
ity ādi— and so the verse continuesइत्यादि
ata eva — for this very reason; āhuḥ — they said; anayā ārādhito nūnam ity ādi — ‘surely by her he was worshipped,' and so on.
ata eva — इसीलिए; āhuḥ — गोपियों ने कहा; anayā ārādhito nūnam — 'निश्चय ही इसके द्वारा आराधित'; ity ādi — इत्यादि
For this very reason the gopīs themselves said it. Seeing that Kṛṣṇa had slipped away with one favoured girl, they cried, ‘Surely this one must have worshipped him' — and the verse goes on from there.
इसीलिए गोपियों ने कहा: 'निश्चय ही इस गोपी ने भगवान् हरि की आराधना की' — इत्यादि।
Why cited: cited to show even the gopīs recognized one girl (Rādhā) as having specially won Kṛṣṇa.
क्यों उद्धृत: यह दिखाने के लिए उद्धृत कि गोपियों ने भी एक कन्या (राधा) को कृष्ण की विशेष आराधिका के रूप में पहचाना।
s46alternative
atha śleṣārtha-vyākhyā—tatraika-śleṣeṇopamāṁ sūcayaṁs tayārtha-viśeṣaṁ puṣṇāti |
athanow (turning to a second layer)अब
śleṣa-artha-vyākhyāthe explanation of the pun-meaning — the verse read a second way śleṣa = one wording carrying two senses at onceश्लेष-अर्थ की व्याख्या (श्लेष = एक ही शब्द में दो अर्थ एक साथ)
tatrain this verseउसमें
eka-śleṣeṇaby a single sustained pun instr. of meansएक श्लेष के द्वारा (साधन में तृतीया)
upamāṁ sūcayanwhile hinting at a comparison (Kṛṣṇa likened to the moon) pres. part.उपमा का सूचन करते हुए (वर्तमान कृदन्त)
tayāby that comparison instr.उस उपमा के द्वारा (तृतीया)
artha-viśeṣaṁa special added meaningअर्थ-विशेष को
puṣṇātihe enriches / feeds 3rd sg. presentपुष्ट करते हैं (अन्य पुरुष एकवचन वर्तमान)
atha śleṣa-artha-vyākhyā — now the explanation of the pun-sense; tatra eka-śleṣeṇa upamāṁ sūcayan — in it, by a single pun hinting at a comparison; tayā artha-viśeṣaṁ puṣṇāti — by that comparison he enriches a special sense.
atha — अब; śleṣa-artha-vyākhyā — श्लेष-अर्थ की व्याख्या; tatra — उसमें; eka-śleṣeṇa — एक श्लेष से; upamāṁ sūcayan — उपमा का सूचन करते हुए; tayā — उसी से; artha-viśeṣaṁ — अर्थ-विशेष को; puṣṇāti — पुष्ट करते हैं
Now the commentator opens the second reading of the verse. The whole verse is built on one sustained pun (śleṣa): every word can also be read of the moon. By that one pun the poet quietly points to a comparison — Kṛṣṇa is like the moon — and through the comparison he adds a further layer of meaning on top of the first. This second layer is never dropped in favour of the first; both stand together.
अब श्लेष-अर्थ की व्याख्या: उसमें एक श्लेष के द्वारा चन्द्र की उपमा का सूचन करते हुए, उसी उपमा के द्वारा अर्थ-विशेष को पुष्ट करते हैं।
śleṣa: in Sanskrit poetics, one string of syllables made to carry two coherent meanings at once (like an English pun that fully works both ways). Here the entire verse reads simultaneously of Kṛṣṇa and of the full moon.
श्लेष — काव्यशास्त्र में एक ही शब्द-श्रृंखला को एक साथ दो सुसंगत अर्थ देने की युक्ति (दोनों अर्थों में पूर्णतः सार्थक)। यहाँ सम्पूर्ण श्लोक एक साथ कृष्ण का और पूर्ण चन्द्रमा का — दोनों का वर्णन पढ़ता है।
s47alternative
sarva-laukikātīte’pi tasmin laukikārtha-viśeṣopamā-dvārā lokānāṁ buddhi-praveśaḥ syād iti kenāpy aṁśenopameyam |
sarva-laukika-atīte apieven though he is beyond everything worldly loc.; api ‘even so'यद्यपि वे समस्त लौकिकता से परे हैं (सप्तमी; api 'फिर भी')
tasminin his case / regarding him loc.उनमें (सप्तमी)
laukika-artha-viśeṣa-upamā-dvārāby way of a comparison to one particular worldly thing (the moon) instr. ‘through the door of…'किसी लौकिक अर्थ-विशेष की उपमा के द्वार से (तृतीया)
lokānāṁfor ordinary people gen. of interestलोगों के लिए (हित में षष्ठी)
buddhi-praveśaḥan entry-point for the understandingबुद्धि का प्रवेश (समझ का सूत्र)
syād itimight come about — so, with that aim,हो सके — इसलिए
kenāpi aṁśenain some one respect only instr. of respectकिसी न किसी अंश से (तृतीया — अपेक्षा में)
upameyamhe is to be compared gerundiveउपमेय बनाना उचित है (कृत्य — विधेय)
sarva-laukika-atīte api tasmin — even though he is beyond all that is worldly; laukika-artha-viśeṣa-upamā-dvārā — through a comparison to a particular worldly object; lokānāṁ buddhi-praveśaḥ syād iti — so that people's understanding might find an entry; kenāpi aṁśena upameyam — he is to be likened in some one respect.
sarva-laukika-atīte api — यद्यपि समस्त लौकिकता से परे; tasmin — उनमें; laukika-artha-viśeṣa-upamā-dvārā — लौकिक उपमा के द्वार से; lokānāṁ — लोगों की; buddhi-praveśaḥ — बुद्धि का प्रवेश; syād iti — हो सके इसलिए; kenāpi aṁśena — किसी अंश से; upameyam — उपमेय बनाना उचित
Why compare Kṛṣṇa to anything at all, when he is beyond everything in the world? Because ordinary people need a familiar handle. A comparison to one everyday thing — the moon — gives their minds a way in. So he is likened to the moon, but only in some one respect, never as an equal in full.
यद्यपि वे समस्त लौकिकता से परे हैं, तथापि किसी लौकिक अर्थ-विशेष की उपमा के द्वार से लोगों की बुद्धि उनमें प्रवेश पा सके — इसलिए किसी न किसी अंश से उन्हें उपमेय बनाया जाता है।
upamā: the poetic figure of comparison, likening a subject (here Kṛṣṇa) to a familiar standard (the moon). The comparison is a teaching device only — it holds in one aspect and stops there.
उपमा — तुलना का काव्यालंकार, जिसमें विषय (यहाँ कृष्ण) को किसी परिचित मान (चन्द्रमा) के समान बताया जाता है। यह तुलना केवल शिक्षण-युक्ति है — एक अंश में ठहरती है और वहीं रुक जाती है।
s48alternative
sarva-tamas-tāpaja-duḥkha-śamakatvena sarva-sukhadatvena ca tatra pūrvavan nirukti-paryavasāne vicāryamāṇe rākāpater eva vidhutvaṁ mukhyaṁ paryavasyatīti sarvataḥ prabhāvāt pūrṇatamāṁśena ca |
sarva-tamas-tāpaja-duḥkha-śamakatvenabecause it stills the pain born of all darkness and heat instr. of causeसमस्त अन्धकार और ताप से उत्पन्न दुःख का शमन करने वाला होने के कारण (हेतु में तृतीया)
sarva-sukhadatvena caand because it gives every happiness instr. of causeऔर समस्त सुख देने वाला होने के कारण (हेतु में तृतीया)
tatrain this second readingउस विषय में
pūrvavatjust as before (on the Kṛṣṇa side)पहले की भाँति
nirukti-paryavasānewhen the word-derivation reaches its endpoint loc. absolute, ‘once…'निरुक्ति का पर्यवसान होने पर (सप्तमी: 'जब')
vicāryamāṇeas it is weighed out loc. absoluteविचार किए जाने पर (सति-सप्तमी)
rākā-pateḥ evaof the lord of the full-moon night alone gen.; rākā = full-moon night; eva ‘alone'पूर्णिमा के स्वामी चन्द्र की ही (षष्ठी; राका = पूर्णिमा; eva 'उसी की')
vidhutvaṁ mukhyaṁthe title ‘Vidhu' primarily ‘Vidhu-hood' as the main sense'विधु'-पन ही मुख्य अर्थ है
paryavasyati iticomes to rest — so it settlesपर्यवसित होता है — ऐसा
sarvataḥ prabhāvātbecause of his all-round power abl. of reasonसर्वत्र प्रभाव होने के कारण (हेतु में पञ्चमी)
pūrṇatama-aṁśena caand because he is the most complete portion instr.और पूर्णतम अंश (पूर्ण-कला) से (तृतीया)
sarva-tamas-tāpaja-duḥkha-śamakatvena sarva-sukhadatvena ca — because it stills the pain of all darkness and heat and gives all happiness; tatra pūrvavat nirukti-paryavasāne vicāryamāṇe — there, as before, when the derivation is weighed to its end; rākā-pateḥ eva vidhutvaṁ mukhyaṁ paryavasyati iti — the name ‘Vidhu' settles primarily on the lord of the full-moon night; sarvataḥ prabhāvāt pūrṇatama-aṁśena ca — by his all-round might and his fullest portion.
sarva-tamas-tāpaja-duḥkha-śamakatvena — समस्त अन्धकार-ताप-दुःख के शमन से; sarva-sukhadatvena ca — और समस्त सुख देने से; tatra — उस विषय में; pūrvavat — पहले की भाँति; nirukti-paryavasāne vicāryamāṇe — निरुक्ति के पर्यवसान का विचार करने पर; rākā-pateḥ eva — पूर्णिमा के स्वामी चन्द्र की ही; vidhutvaṁ mukhyaṁ — 'विधु'-पन मुख्य; paryavasyati iti — पर्यवसित होता है; sarvataḥ prabhāvāt — सर्वत्र प्रभाव से; pūrṇatama-aṁśena ca — और पूर्णतम अंश से
Now run the same word-analysis on the moon side. ‘Vidhu' was derived earlier from ‘the one who dispels' and ‘the one who bestows.' The full moon dispels the pain of darkness and of heat, and it pours out every comfort. So when you weigh the derivation to its end, just as before, the name ‘Vidhu' lands first of all on the lord of the full-moon night — because of the moon's all-round power, and because the full moon is the moon at its most complete.
समस्त अन्धकार और ताप-जनित दुःख का शमन करने वाला, और समस्त सुख देने वाला होने के कारण — पहले की भाँति इस निरुक्ति के पर्यवसान का विचार करने पर — 'विधु'-पन मुख्यतः पूर्णिमा के स्वामी चन्द्र में ही पर्यवसित होता है; क्योंकि उसका प्रभाव सर्वत्र है और वह पूर्णतम अंश (पूर्ण-कला) से युक्त है।
s49alternative
evaṁ sūryādīnāṁ tāpa-śamatvādi nāstīti nopamāna-yogyatā, tato vidhuḥ sarvata utkarṣeṇa vartate iti labhyate |
evaṁso, on this reasoningइस प्रकार
sūrya-ādīnāṁof the sun and the rest gen.सूर्य आदि के (षष्ठी 'का')
tāpa-śamatva-ādithe stilling of heat and so onताप-शमन आदि गुण
na asti itidoes not belong to them — thereforeनहीं है — इसलिए
na upamāna-yogyatāthey are not fit to serve as the standard of comparisonउपमान होने की योग्यता नहीं
tataḥand from this it followsइससे
vidhuḥVidhu (the moon)विधु (चन्द्र/कृष्ण)
sarvataḥ utkarṣeṇa vartatestands above all others in every wayसर्वत्र उत्कर्ष के साथ विराजते हैं
iti labhyate— this is what we obtain pass., ‘is gained'यह सिद्ध होता है (कर्मवाच्य, 'प्राप्त होता है')
evaṁ — thus; sūrya-ādīnāṁ tāpa-śamatva-ādi na asti iti — since the sun and the rest have no power to still heat and so on; na upamāna-yogyatā — they are not fit to be the standard; tataḥ — therefore; vidhuḥ sarvataḥ utkarṣeṇa vartate iti labhyate — it is obtained that Vidhu stands supreme over all.
evaṁ — इस प्रकार; sūrya-ādīnāṁ — सूर्य आदि के; tāpa-śamatva-ādi — ताप-शमन आदि; na asti iti — नहीं है इसलिए; na upamāna-yogyatā — उपमान-योग्यता नहीं; tataḥ — इससे; vidhuḥ — विधु; sarvataḥ utkarṣeṇa vartate — सर्वत्र उत्कर्ष से विराजते हैं; iti labhyate — यह सिद्ध होता है
Why the moon and not the sun? The sun and the like cannot still heat — they cause it. So they are not fit to stand as the point of comparison. Only the moon fits. And from that we obtain the verse's claim on this reading too: Vidhu, the moon, stands above all others in every way.
इस प्रकार सूर्य आदि में ताप-शमन आदि गुण नहीं हैं, इसलिए उनमें उपमान होने की योग्यता नहीं। इससे यही निकलता है कि विधु सर्वत्र उत्कर्ष के साथ ही विराजते हैं।
s50alternative
vartamāna-prayogāṁśas tu praty-ṛtu-rājam eva tat-tad-rūpatayānuvṛtteḥ |
vartamāna-prayoga-aṁśaḥ tubut as for the part about the present-tense verb (‘jayati,' he is victorious now) tu ‘as for'जहाँ तक वर्तमान-प्रयोग ('जयति') का अंश है (tu 'रही बात')
prati-ṛtu-rājam evain the moon-king at each returning season ‘king of every season'; eva ‘precisely'प्रत्येक ऋतुराज (वसन्त आदि) में ही (eva 'ठीक हर ऋतुराज में')
tat-tad-rūpatayāby his appearing in those very same forms instr. of meansउस-उस रूप में (तृतीया — रूप से)
anuvṛtteḥbecause he keeps recurring — that is why the present tense fits abl. of reasonअनुवृत्ति (निरन्तर बने रहने) के कारण (हेतु में पञ्चमी)
vartamāna-prayoga-aṁśaḥ tu — but the portion about the present-tense usage; prati-ṛtu-rājam eva — in the moon, the king of each season; tat-tad-rūpatayā anuvṛtteḥ — because he recurs in those very forms.
vartamāna-prayoga-aṁśaḥ tu — वर्तमान-प्रयोग की बात; prati-ṛtu-rājam eva — प्रत्येक ऋतुराज में ही; tat-tad-rūpatayā — उस-उस रूप में; anuvṛtteḥ — अनुवृत्ति के कारण
One loose end: the verse says he ‘is victorious' — present tense, happening now. On the moon side this fits because the full moon comes back season after season, always in the same shining form. Since it keeps recurring like that, the ongoing present tense is exactly right for the moon too.
रही बात वर्तमान-प्रयोग ('जयति') की — तो चन्द्र प्रत्येक ऋतुराज में उस-उस रूप में निरन्तर बना रहता है, इसीलिए वर्तमान-काल उचित है।
s51alternative
evaṁ viśeṣye sāmyaṁ darśayitvā viśeṣaṇe’pi sāmyaṁ darśayati—akhilety ādibhiḥ |
evaṁin this wayइस प्रकार
viśeṣyein the word being described (‘vidhu' itself) loc.; viśeṣya = the head-word the adjectives qualifyविशेष्य (मुख्य पद 'विधु') में (सप्तमी; विशेष्य = जिसका वर्णन हो)
sāmyaṁ darśayitvāhaving shown the likeness (to the moon) gerund, ‘once he has shown…'समानता दिखाकर (ल्यबन्त)
viśeṣaṇe apiin the describing words too loc.; viśeṣaṇa = the qualifiers; api ‘also'विशेषणों में भी (सप्तमी; विशेषण = जो वर्णन करते हैं; api 'भी')
sāmyaṁ darśayatihe now shows the likenessसमानता दिखाते हैं
akhilā ity ādibhiḥby the compounds ‘akhila…' and the rest instr. ‘by means of''अखिल' इत्यादि पदों के द्वारा (तृतीया 'के द्वारा')
evaṁ viśeṣye sāmyaṁ darśayitvā — having thus shown the likeness in the qualified word; viśeṣaṇe api sāmyaṁ darśayati — he shows the likeness in the qualifiers too; akhilā ity ādibhiḥ — by ‘akhila' and the rest.
evaṁ — इस प्रकार; viśeṣye — विशेष्य में; sāmyaṁ darśayitvā — समानता दिखाकर; viśeṣaṇe api — विशेषणों में भी; sāmyaṁ darśayati — समानता दिखाते हैं; akhilā ity ādibhiḥ — 'अखिल' इत्यादि पदों से
So far he has shown that the head-word ‘vidhu' fits the moon. Now he shows that the describing words fit the moon too. He works through the compounds — ‘akhila-rasāmṛta-mūrtiḥ' and the rest — one by one, reading each of the moon.
इस प्रकार विशेष्य ('विधु') में चन्द्र से समानता दिखाकर, विशेषणों में भी समानता दिखाते हैं — 'अखिल' इत्यादि पदों के द्वारा।
viśeṣya vs viśeṣaṇa: the pair ‘the word being described' and ‘the words that describe it.' In ‘a blue lotus,' ‘lotus' is the viśeṣya (the thing itself) and ‘blue' is the viśeṣaṇa (what narrows it down). Here ‘vidhu' is the head-word and the akhila-compounds are its qualifiers; he has matched the head-word to the moon, and now matches the qualifiers too.
विशेष्य बनाम विशेषण — 'जिस पद का वर्णन हो रहा है' और 'जो पद वर्णन करते हैं' का युग्म। 'नील कमल' में 'कमल' विशेष्य है (वस्तु स्वयं) और 'नील' विशेषण (जो उसे सीमित करता है)। यहाँ 'विधु' विशेष्य है और अखिल आदि समास उसके विशेषण; आचार्य ने विशेष्य को चन्द्रमा से मिलाया, अब विशेषणों को भी मिलाते हैं।
s52alternative
akhilo’khaṇḍo rasa āsvādo yatra tādṛśam amṛtaṁ pīyūṣaṁ, tad-ātmikaiva mūrtir maṇḍalaṁ yasya |
akhilaḥ akhaṇḍaḥ‘akhila' meaning undivided, whole'अखिल' अर्थात् अखण्ड
rasaḥ āsvādaḥ‘rasa' meaning taste, sweet flavour on the moon side, rasa = its cool sweet essenceरस अर्थात् आस्वाद (चन्द्र-पक्ष में रस = शीतल मधुर सार)
yatrain whichजिसमें (सप्तमी)
tādṛśam amṛtaṁ pīyūṣaṁsuch nectar — that is, the deathless moon-nectar (pīyūṣa) amṛta = the ambrosia the moon is said to holdवैसा अमृत अर्थात् पीयूष (चन्द्र-पक्ष में अमृत = वह सुधा जिसे चन्द्र धारण करता है)
tad-ātmikā eva mūrtiḥa form made of that very nectarवही जिसका स्वरूप है — ऐसी मूर्ति (eva 'उसी रूप की')
maṇḍalaṁnamely the disk — the moon's orb mūrti here = the maṇḍala, the round moon-diskअर्थात् चन्द्र-मण्डल (चन्द्र-पक्ष में मूर्ति = गोल चन्द्र-बिम्ब)
yasyaof whom (is such an orb) gen., bahuvrīhiजिसका (षष्ठी, बहुव्रीहि)
akhilaḥ akhaṇḍaḥ rasaḥ āsvādaḥ yatra — in which is undivided rasa, sweet taste; tādṛśam amṛtaṁ pīyūṣaṁ — such nectar, the deathless pīyūṣa; tad-ātmikā eva mūrtiḥ maṇḍalaṁ yasya — whose very form, the orb, is made of that nectar.
akhilaḥ akhaṇḍaḥ — 'अखिल' अर्थात् अखण्ड; rasaḥ āsvādaḥ — रस अर्थात् आस्वाद; yatra — जिसमें; tādṛśam amṛtaṁ pīyūṣaṁ — वैसा अमृत अर्थात् पीयूष; tad-ātmikā eva mūrtiḥ — उसी से बनी मूर्ति; maṇḍalaṁ — चन्द्र-मण्डल; yasya — जिसका
Take the first compound of the moon. ‘Akhila' means whole, undivided; ‘rasa' means sweet taste. The moon is full of that undivided sweet essence — it is the vessel of pīyūṣa, the deathless nectar. And its ‘form' (mūrti) here means its round disk. So: the moon, whose very orb is made of that whole sweet nectar.
'अखिल' अर्थात् अखण्ड रस अर्थात् आस्वाद जिसमें है, वैसा जो अमृत अर्थात् पीयूष — उसी से बनी मूर्ति अर्थात् चन्द्र-मण्डल जिसका है — वह विधु अर्थात् चन्द्र।
s53alternative
atra śabdena sāmyaṁ rasanīyatvāṁśenārthenāpi yojyam |
atrahere, in this compoundयहाँ
śabdena sāmyaṁthe likeness carried by the wording instr.; the same words fit both sidesशब्द से जो समानता है (तृतीया; वही शब्द दोनों पक्षों में ठीक बैठते हैं)
rasanīyatva-aṁśenaby the aspect of being relishable / worth tasting instr. of respectरसणीयता (आस्वाद्यता) के अंश से (तृतीया — अपेक्षा में)
arthena apithrough the sense as well, not just the sound instr.; api ‘also'अर्थ से भी (तृतीया; api 'भी')
yojyamis to be joined up — apply it both ways gerundiveजोड़ना चाहिए (कृत्य — विधेय)
atra — here; śabdena sāmyaṁ — the likeness through the word; rasanīyatva-aṁśena arthena api yojyam — is to be applied through the sense too, by the aspect of relishability.
atra — यहाँ; śabdena sāmyaṁ — शब्द से समानता; rasanīyatva-aṁśena — रसणीयता के अंश से; arthena api — अर्थ से भी; yojyam — जोड़ना चाहिए
The pun does not work at the level of sound only. Here the two readings match in meaning as well: both Kṛṣṇa and the moon are ‘relishable' — something you drink in and savour. So apply the likeness through the sense too, on that shared point of being worth tasting.
यहाँ शब्द से जो समानता है, उसे रसणीयता (आस्वाद्यता) के अंश से — अर्थ से भी — जोड़ लेना चाहिए।
s54alternative
tathā prasṛmarābhī rucibhiḥ kāntibhī ruddhāvṛtā tārakāṇāṁ pāliḥ śreṇī yeneti pūrvavan nija-kānti-vaśīkṛta-kāntimatī-gaṇa-virājamānatvāṁśenāpi jñeyam |
tathālikewise (next compound)वैसे ही
prasṛmarābhiḥby his outspreading instr.फैलती हुई कान्तियों के द्वारा (तृतीया)
rucibhiḥ kāntibhiḥlustres — that is, moonbeams ruci glossed as kānti, radianceरुचियों अर्थात् कान्तियों के द्वारा (रुचि = कान्ति)
ruddhā āvṛtā‘ruddha' meaning enveloped, covered over'रुद्ध' अर्थात् आवृत (ढँकी हुई)
tārakāṇāṁ pāliḥ śreṇīthe ‘pāli,' that is the row, of the stars pāli glossed as śreṇī, a line/rowतारों की पालि अर्थात् श्रेणी, पंक्ति (चन्द्र-पक्ष में तारका = तारे)
yenahe by whom (the star-row is so covered) instr., bahuvrīhiजिसके द्वारा (तृतीया, बहुव्रीहि)
iti— so it readsइस प्रकार
pūrvavatas beforeपहले की भाँति
nija-kānti-vaśīkṛta-kāntimatī-gaṇa-virājamānatva-aṁśena apialso by the aspect of his shining amid a host of lovely women won over by his own beauty (the Kṛṣṇa layer kept in view) instr. of respectअपनी कान्ति से वश में की गई कान्तिमती-समूह के बीच विराजने के अंश से भी (तृतीया — अपेक्षा में)
jñeyamis to be understood gerundiveसमझना चाहिए (कृत्य — विधेय)
tathā — likewise; prasṛmarābhiḥ rucibhiḥ kāntibhiḥ ruddhā āvṛtā — enveloped by outspreading lustres, i.e. radiances; tārakāṇāṁ pāliḥ śreṇī yena iti — he by whom the row of stars is so covered; pūrvavat — as before; nija-kānti-vaśīkṛta-kāntimatī-gaṇa-virājamānatva-aṁśena api jñeyam — to be understood also by the aspect of his shining amid a host of lovely women won by his own beauty.
tathā — वैसे ही; prasṛmarābhiḥ — फैलती हुई कान्तियों से; rucibhiḥ kāntibhiḥ — रुचियों अर्थात् कान्तियों से; ruddhā āvṛtā — 'रुद्ध' अर्थात् आवृत; tārakāṇāṁ pāliḥ śreṇī — तारों की श्रेणी; yena — जिसके द्वारा; iti — इस प्रकार; pūrvavat — पहले की भाँति; nija-kānti-vaśīkṛta-kāntimatī-gaṇa-virājamānatva-aṁśena api — अपनी कान्ति से वश में किए कान्तिमती-समूह के बीच विराजने के अंश से भी; jñeyam — समझना चाहिए
The next compound, of the moon: ‘ruci' means the moon's radiance, its beams; ‘pāli' means a row; ‘ruddha' means covered. So it reads: the moon, whose spreading beams blot out the whole row of stars. And keep the Kṛṣṇa layer alongside — as before, it also means Kṛṣṇa shining in the midst of a crowd of beautiful women he has won over by his own beauty, just as the moon outshines the stars.
वैसे ही 'प्रसृमर-रुचि-रुद्ध-तारका-पालि' — फैलती हुई रुचियों अर्थात् कान्तियों से जिसने तारों की पंक्ति को रुद्ध अर्थात् ढँक लिया — यह भी पहले की भाँति समझना चाहिए, अर्थात् अपनी कान्ति से वश में किए कान्तिमती-समूह के बीच विराजने के अंश से भी।
s55citation
tathā—śyāmā tu vālgulau aprasūtāṅganāyāṁ ca tathā soma-latauṣadhau | trivṛtā-śārivā-gundrā-niśā-kṛṣṇā-priyaṅguṣu iti viśva-prakāśāt |
tathālikewise — and here is the lexicon proof for ‘śyāmā'वैसे ही
śyāmā tu vālgulau‘śyāmā' means the bat'श्यामा' शब्द वाल्गुली (एक पक्षी) के अर्थ में (tu)
aprasūta-aṅganāyāṁ caand a woman who has not yet given birthऔर अप्रसूता स्त्री (जिसने सन्तान न जनी हो) के अर्थ में
tathā soma-latā-oṣadhauand likewise the soma creeper and a certain herbवैसे ही सोमलता नामक ओषधि के अर्थ में
trivṛtā-śārivā-gundrā-niśā-kṛṣṇā-priyaṅguṣuand the plants trivṛtā, śārivā, gundrā, niśā, kṛṣṇā, and priyaṅgu loc., ‘in the senses of…'; niśā here = a plant-name, but note it also means ‘night'त्रिवृता, शारिवा, गुन्द्रा, निशा, कृष्णा और प्रियंगु — इन ओषधियों के अर्थ में (सप्तमी 'इन अर्थों में'; निशा 'रात्रि' भी है)
iti viśva-prakāśāt— so, on the authority of the Viśva-prakāśa lexicon abl. of sourceऐसा विश्वप्रकाश कोश से (पञ्चमी — स्रोत)
tathā — likewise; śyāmā tu vālgulau — ‘śyāmā' in the sense of bat; aprasūta-aṅganāyāṁ ca — and of a woman not yet delivered; soma-latā-oṣadhau — and the soma creeper and herb; trivṛtā-śārivā-gundrā-niśā-kṛṣṇā-priyaṅguṣu — and the plants trivṛtā, etc.; iti viśva-prakāśāt — so from the Viśva-prakāśa.
tathā — वैसे ही; śyāmā tu vālgulau — 'श्यामा' वाल्गुली के अर्थ में; aprasūta-aṅganāyāṁ ca — और अप्रसूता स्त्री में; tathā soma-latā-oṣadhau — सोमलता-ओषधि में; trivṛtā-śārivā-gundrā-niśā-kṛṣṇā-priyaṅguṣu — त्रिवृता आदि ओषधियों में; iti viśva-prakāśāt — ऐसा विश्वप्रकाश से
To read ‘śyāmā' of the moon side, he cites the dictionary. The Viśva-prakāśa lists many meanings for ‘śyāmā': a bat, a woman who has not yet borne a child, the soma creeper, and a string of plants — trivṛtā, śārivā, gundrā, niśā, kṛṣṇā, priyaṅgu. The one that matters is buried in that list: ‘niśā,' which also means ‘night' — and that opens the door to the next line's moon-reading.
वैसे ही — विश्वप्रकाश कोश के अनुसार — 'श्यामा' शब्द वाल्गुली, अप्रसूता स्त्री, सोमलता-ओषधि, तथा त्रिवृता, शारिवा, गुन्द्रा, निशा, कृष्णा और प्रियंगु — इन अनेक अर्थों में आता है।
Why cited: lexicon citation adduced to license ‘śyāmā' being read as ‘night' in the moon-layer of the verse.
क्यों उद्धृत: कोश-उद्धरण, जो श्लोक की चन्द्र-परत में 'श्यामा' को 'रात्रि' अर्थ में पढ़ने की अनुमति देता है।
s56alternative
kalitam urīkṛtaṁ śyāmāyā rātrer lalitaṁ vilāso yeneti rātri-vilāsitvenāpi jñeyam |
kalitam urīkṛtaṁ‘kalita' meaning taken up, taken on'कलित' अर्थात् अंगीकृत, अपनाया हुआ
śyāmāyāḥ rātreḥof ‘śyāmā,' that is, of the night gen.; śyāmā now read as ‘night'श्यामा अर्थात् रात्रि का (षष्ठी; यहाँ श्यामा = रात्रि)
lalitaṁ vilāsaḥ‘lalita' meaning the play, the sport'ललित' अर्थात् विलास
yenahe by whom (the night's play is taken up) instr., bahuvrīhiजिसके द्वारा (तृतीया, बहुव्रीहि)
iti— so it readsइस प्रकार
rātri-vilāsitva-ena apialso by the aspect of his being the one who sports at night (the moon lighting up the night's revels) instr. of respectरात्रि में विलास करने वाला होने के अंश से भी (तृतीया)
jñeyamis to be understood gerundiveसमझना चाहिए (कृत्य — विधेय)
kalitam urīkṛtaṁ — ‘kalita,' i.e. taken up; śyāmāyāḥ rātreḥ lalitaṁ vilāsaḥ yena iti — he by whom the play (lalita) of night (śyāmā) is taken up; rātri-vilāsitva-ena api jñeyam — to be understood also by the aspect of his being the sporter of the night.
kalitam urīkṛtaṁ — 'कलित' अर्थात् अपनाया हुआ; śyāmāyāḥ rātreḥ — श्यामा अर्थात् रात्रि का; lalitaṁ vilāsaḥ — 'ललित' अर्थात् विलास; yena — जिसके द्वारा; iti — इस प्रकार; rātri-vilāsitva-ena api — रात्रि-विलास के अंश से भी; jñeyam — समझना चाहिए
Now read the ‘kalita-śyāmā-lalita' compound of the moon. Using the dictionary sense just cited, ‘śyāmā' means night; ‘lalita' means play or sport; ‘kalita' means taken up. So it reads: the moon, who takes up — who presides over — the play of the night. Understand it also this way: the moon is the sporter of the night, the light under which the night's revels happen.
'कलित-श्यामा-ललित' — 'कलित' अर्थात् अपनाया हुआ, श्यामा अर्थात् रात्रि का ललित अर्थात् विलास जिसने अपनाया — यह भी 'रात्रि में विलास करने वाला होने' के अंश से समझना चाहिए (चन्द्र-पक्ष)।
s57alternative
tathā rādhāyāṁ viśākhā-nāmnyāṁ tārāyāṁ preyān adhika-prītimān ṛturāja-pūrṇimāyāṁ tad-anugāmitvāt iti tad-anugati-mātra-sādhya-sva-vaibhava-vijñatvāṁśenāpi jñeyam |
tathālikewise (the last qualifier, ‘rādhā-preyān')वैसे ही
rādhāyāṁ viśākhā-nāmnyāṁ tārāyāṁtoward Rādhā — taken as the star named Viśākhā loc.; on the moon side ‘rādhā' = the lunar mansion Viśākhā'राधा' अर्थात् विशाखा नामक तारा (नक्षत्र) में (सप्तमी; चन्द्र-पक्ष में राधा = विशाखा नक्षत्र)
preyān adhika-prītimān‘preyān' meaning more loving, more attached'प्रेयान्' अर्थात् अधिक प्रीति वाला
ṛtu-rāja-pūrṇimāyāṁon the full-moon of the king of seasons (spring) loc. of timeऋतुराज (वसन्त) की पूर्णिमा में (सप्तमी — काल)
tad-anugāmitvātbecause the moon follows close after that star abl. of reasonउस विशाखा का अनुगमन करने के कारण (हेतु में पञ्चमी)
iti— so it readsइस प्रकार
tad-anugati-mātra-sādhya-sva-vaibhava-vijñatva-aṁśena apialso by the aspect that only by following her does he come into his own full glory (the Kṛṣṇa layer: he knows his own greatness only through Rādhā) instr. of respectकेवल उसके अनुगमन से सिद्ध होने वाले अपने वैभव के ज्ञाता होने के अंश से भी (तृतीया)
jñeyamis to be understood gerundiveसमझना चाहिए (कृत्य — विधेय)
tathā — likewise; rādhāyāṁ viśākhā-nāmnyāṁ tārāyāṁ preyān adhika-prītimān — more loving toward Rādhā, the star named Viśākhā; ṛtu-rāja-pūrṇimāyāṁ tad-anugāmitvāt iti — because on the spring full-moon he follows after her; tad-anugati-mātra-sādhya-sva-vaibhava-vijñatva-aṁśena api jñeyam — to be understood also by the aspect that his own glory is realized only by following her.
tathā — वैसे ही; rādhāyāṁ viśākhā-nāmnyāṁ tārāyāṁ — 'राधा' अर्थात् विशाखा तारा में; preyān adhika-prītimān — 'प्रेयान्' अर्थात् अधिक प्रीति वाला; ṛtu-rāja-pūrṇimāyāṁ — ऋतुराज की पूर्णिमा में; tad-anugāmitvāt — उसके अनुगमन के कारण; iti — इस प्रकार; tad-anugati-mātra-sādhya-sva-vaibhava-vijñatva-aṁśena api — उसके अनुगमन-मात्र से सिद्ध वैभव के ज्ञान के अंश से भी; jñeyam — समझना चाहिए
Now the last qualifier, ‘rādhā-preyān,' read of the moon. ‘Rādhā' is taken as the lunar mansion called Viśākhā (a star also known as Rādhā); ‘preyān' means more loving, more attached. On the spring full-moon night the moon rides close behind that star — so the moon is ‘more loving toward Rādhā.' And keep the Kṛṣṇa layer in view: it also means that Kṛṣṇa comes into his own full glory only by following Rādhā — his greatness is realized through her alone.
वैसे ही 'राधा-प्रेयान्' — चन्द्र-पक्ष में 'राधा' अर्थात् विशाखा नामक तारा में अधिक प्रीति वाला — क्योंकि ऋतुराज की पूर्णिमा में चन्द्र विशाखा का अनुगमन करता है — यह भी 'उसके अनुगमन-मात्र से सिद्ध अपने वैभव को जानने' के अंश से समझना चाहिए।
s58alternative
upamānasya caitāni viśeṣaṇāny utkarṣa-vācakāni—sūryādes tādṛśa-mūrtitvābhāvāt tārā-nāśana-kriyatvena tat-sāhitya-śobhitvābhāvāt sukha-viśeṣa-kara-rātri-vilāsābhāvāt tādṛśa-vijñatvānabhivyakteś ceti |
upamānasyaof the standard of comparison (the moon) gen.उपमान (चन्द्र) के (षष्ठी 'का')
ca etāni viśeṣaṇāniand these qualifiersऔर ये विशेषण
utkarṣa-vācakānideclare its pre-eminence — they mark the moon out as supreme they are ‘expressive of superiority'उत्कर्ष के वाचक हैं ('श्रेष्ठता के सूचक')
sūrya-ādeḥ tādṛśa-mūrtitva-abhāvātbecause the sun and the rest have no such nectar-form abl. of reasonक्योंकि सूर्य आदि में वैसी मूर्ति का अभाव है (हेतु में पञ्चमी)
tārā-nāśana-kriyatvena tat-sāhitya-śobhitva-abhāvātand because, since they blot the stars out entirely, they lack the beauty of shining together with the stars abl. of reasonसूर्य तारों का नाश कर देता है, अतः उनके साथ शोभित होने का अभाव है, इस कारण (तृतीया + पञ्चमी)
sukha-viśeṣa-kara-rātri-vilāsa-abhāvātand because they lack the night-sport that gives a special joy abl. of reasonविशेष सुख देने वाले रात्रि-विलास का अभाव होने के कारण (हेतु में पञ्चमी)
tādṛśa-vijñatva-anabhivyakteḥ caand because such knowing-of-one's-glory is not shown in them abl. of reasonऔर वैसे विज्ञ-भाव की अभिव्यक्ति न होने के कारण (हेतु में पञ्चमी)
iti— for these reasonsइस प्रकार
upamānasya ca etāni viśeṣaṇāni utkarṣa-vācakāni — these qualifiers declare the standard's pre-eminence; sūrya-ādeḥ tādṛśa-mūrtitva-abhāvāt — since the sun etc. have no such form; tārā-nāśana-kriyatvena tat-sāhitya-śobhitva-abhāvāt — since, blotting out the stars, they lack the beauty of accompaniment; sukha-viśeṣa-kara-rātri-vilāsa-abhāvāt — since they lack the joy-giving night-sport; tādṛśa-vijñatva-anabhivyakteḥ ca iti — and since such self-knowing is not manifest in them.
upamānasya — उपमान चन्द्र के; ca etāni viśeṣaṇāni — और ये विशेषण; utkarṣa-vācakāni — श्रेष्ठता के सूचक; sūrya-ādeḥ tādṛśa-mūrtitva-abhāvāt — सूर्य आदि में वैसी मूर्ति के अभाव से; tārā-nāśana-kriyatvena tat-sāhitya-śobhitva-abhāvāt — तारों का नाश करने से उनके साथ शोभा के अभाव से; sukha-viśeṣa-kara-rātri-vilāsa-abhāvāt — सुखद रात्रि-विलास के अभाव से; tādṛśa-vijñatva-anabhivyakteḥ ca — और वैसे विज्ञ-भाव की अनभिव्यक्ति से; iti — इस प्रकार
These four qualifiers do more than describe the moon — they mark it out as supreme, and they show why nothing else will do. The sun and the like fall short on every count: they have no nectar-form; they wipe the stars out completely instead of shining beautifully together with them; they give no joy-filled night-sport; and in them there is no such coming-into-one's-own-glory. Only the moon fits all four, so only the moon is the fit comparison.
और उपमान (चन्द्र) के ये विशेषण उसकी श्रेष्ठता के ही सूचक हैं — क्योंकि सूर्य आदि में वैसी मूर्ति का अभाव है; क्योंकि सूर्य तारों का नाश कर देता है, अतः उनके साथ शोभित होने का अभाव है; क्योंकि सूर्य में विशेष सुख देने वाले रात्रि-विलास का अभाव है; और क्योंकि वैसे विज्ञ-भाव की अभिव्यक्ति नहीं है।
s59citation
siddhānta-rasa-bhāvānāṁ dhvany-alaṅkārayor api | anantatvāt sphuṭatvāc ca vyajyate durgamaṁ tv iha ||
siddhānta-rasa-bhāvānāṁof settled doctrines, of rasas, and of bhāvas (the moods) gen.सिद्धान्त, रस और भावों के (षष्ठी 'का')
dhvani-alaṅkārayoḥ apiand of suggestion and figures of speech too gen. dual; dhvani = suggested meaning; api ‘also'और ध्वनि तथा अलंकार — दोनों के भी (षष्ठी द्विवचन; ध्वनि = व्यंग्य अर्थ; api 'भी')
anantatvātbecause they are endless abl. of reasonअनन्त होने के कारण (हेतु में पञ्चमी)
sphuṭatvāt caand because (much of it) is already plain enough abl. of reasonऔर स्पष्ट होने के कारण (हेतु में पञ्चमी)
vyajyateit is left to be suggested rather than spelled out 3rd sg. passiveव्यंजित किया गया है (अन्य पुरुष एकवचन कर्मवाच्य)
durgamaṁ tueven what is hard to reach tu ‘even, as for'जो दुर्गम है वह भाग (tu 'फिर भी')
ihahere in this workयहाँ (इस टीका में)
siddhānta-rasa-bhāvānāṁ dhvani-alaṅkārayoḥ api — of doctrines, rasas, bhāvas, and of suggestion and figures too; anantatvāt sphuṭatvāt ca — because of their endlessness and their plainness; durgamaṁ tu iha vyajyate — even what is hard to reach is here left to suggestion.
siddhānta-rasa-bhāvānāṁ — सिद्धान्त-रस-भावों के; dhvani-alaṅkārayoḥ api — और ध्वनि-अलंकार के भी; anantatvāt — अनन्त होने से; sphuṭatvāt ca — और स्पष्ट होने से; vyajyate — व्यंजित किया गया; durgamaṁ tu — जो दुर्गम है वह; iha — यहाँ
A closing note on method. The settled teachings, the rasas, the moods, the suggested meanings, and the poetic figures in this verse are endless — and much of it is clear enough already. So rather than spell every layer out, he leaves even the hard parts to be suggested, trusting the reader to draw them out.
सिद्धान्त, रस और भावों के, तथा ध्वनि और अलंकार के — अनन्त होने के कारण, और कहीं स्पष्ट होने के कारण — कुछ अंश व्यंजित कर दिए गए हैं; किन्तु जो दुर्गम है वह यहाँ इस टीका में संकेत-मात्र रह जाता है।
Why cited: verse offered as the author's stated method — the deepest layers are left suggested, not exhausted in comment.
क्यों उद्धृत: यह श्लोक ग्रन्थकार की घोषित पद्धति के रूप में उद्धृत — गूढ़तम परतें व्यंजना में छोड़ दी जाती हैं, टीका में निःशेष नहीं की जातीं।
s60citation
likhanaṁ sarvam evāsminn āśaṅkānāśagarbhitam | vṛthātva-śaṅkayā tv atra nāvadhyeyam abuddhibhiḥ ||
likhanaṁ sarvam evaevery single thing writtenजो कुछ भी लिखा गया है, वह सब (eva 'सब कुछ ही')
asminin this work loc.इस टीका में (सप्तमी)
āśaṅkā-nāśa-garbhitamis pregnant with the removal of some anticipated doubt — each line quietly answers an objection nom. pred.आशंकाओं के नाश को अपने भीतर लिए हुए है (विधेय, कर्ता एकवचन)
vṛthātva-śaṅkayā tubut out of a suspicion that it is pointless instr. of cause'यह व्यर्थ है' — इस शंका से (हेतु में तृतीया; tu)
atrahereयहाँ
na avadhyeyamit should not be skipped over gerundive + naउपेक्षा न की जाए, अवधान न छोड़ा जाए (कृत्य + na)
abuddhibhiḥby the unintelligent — the dull reader who thinks it padding instr. of agentबुद्धिहीनों के द्वारा (कर्ता में तृतीया)
likhanaṁ sarvam eva asmin — every piece of writing in this work; āśaṅkā-nāśa-garbhitam — is charged with the removal of an anticipated doubt; vṛthātva-śaṅkayā tu — but out of a suspicion of uselessness; atra na avadhyeyam abuddhibhiḥ — it should not be passed over here by the unintelligent.
likhanaṁ sarvam eva — जो कुछ लिखा वह सब; asmin — इसमें; āśaṅkā-nāśa-garbhitam — आशंका-नाश को भीतर लिए हुए; vṛthātva-śaṅkayā tu — 'व्यर्थ है' इस शंका से; atra — यहाँ; na avadhyeyam — उपेक्षा न की जाए; abuddhibhiḥ — बुद्धिहीनों के द्वारा
One more warning to the reader. Nothing in this book is idle: every line is written to head off some objection you might raise. So the dull reader should not skim past a passage thinking it is mere padding — there is an answered doubt hidden inside each one.
इस टीका में जो कुछ लिखा गया है वह सब भीतर ही भीतर किसी न किसी आशंका का नाश किए हुए है। इसलिए बुद्धिहीन लोग 'यह व्यर्थ है' — ऐसी शंका से इसकी उपेक्षा न करें।
Why cited: verse cited as the author's charge to the reader — treat nothing here as filler; each line resolves a doubt.
क्यों उद्धृत: यह श्लोक ग्रन्थकार का पाठक के प्रति आदेश — यहाँ कुछ भी व्यर्थ (भराव) न मानें; प्रत्येक पंक्ति किसी शंका का समाधान करती है।
s61conclusion
grantha-kṛtāṁ svārasyāt katicit pāṭhās tu ye mayā tyaktāḥ | nātrāniṣṭhaṁ cintyaṁ cintyaṁ teṣām abhīṣṭaṁ hi ||
grantha-kṛtāṁof the authors — the writers of the books he is commenting on (genitive: whose readings are meant) genitive plural, 'of the grantha-makers'ग्रन्थकारों के (षष्ठी बहुवचन 'का')
svārasyātfor the sake of their own felicity — because a reading sat better, flowed more naturally, on its own terms ablative of cause/motive, 'out of [their] natural aptness'उनके स्वाभाविक औचित्य के कारण (हेतु में पञ्चमी)
katicita few — some, not many indeclinable, 'some'कुछ (अव्यय)
pāṭhāḥreadings — variant textual readings (of the verses/passages) nominative plural, subject of the relative clauseपाठ (कर्ता बहुवचन)
tunow / as for — turning to a fresh point, the editorial aside that closes the commentary particle, mild contrast / topic-shiftकिन्तु (हल्का विरोध / विषय-परिवर्तन)
ye mayā tyaktāḥwhich I have set aside — the ones I, [Jīva], have passed over and not adopted ye… relative; mayā instrumental of the agent with the passive participle tyaktāḥ, 'that were dropped by me'जो मेरे द्वारा छोड़ दिए गए (सापेक्ष 'जो'; मया — कर्ता में तृतीया; त्यक्ताः कर्मवाच्य)
na atra aniṣṭhaṁ cintyamno disregard is to be supposed here — do not think, in this dropping, that I lack respect for them (aniṣṭhā = non-adherence, slighting) na… cintyam gerundive negated, 'is not to be thought'; atra 'here, in this'इस विषय में यह न सोचा जाए कि वे अनिष्ट (अस्वीकार्य) हैं (na + कृत्य)
cintyaṁ teṣām abhīṣṭaṁ hifor what they hold dear is indeed to be honoured — the same word 'to be regarded' now stated positively: their preferred readings deserve esteem (hi 'for, since') cintyam gerundive, now affirmed; teṣām genitive 'their'; abhīṣṭam 'the desired [reading]'; hi 'for'बल्कि यह सोचना चाहिए कि वे उन ग्रन्थकारों को अभीष्ट ही थे; क्योंकि (हि)
grantha-kṛtāṁ — of the authors; svārasyāt — for the sake of their own felicity; ye katicit pāṭhāḥ — those few readings which; mayā tyaktāḥ — have been set aside by me; tu — as for these; atra — here; aniṣṭhaṁ na cintyam — no disregard is to be supposed; hi — for; teṣām abhīṣṭam — what they hold dear; cintyam — is to be honoured.
grantha-kṛtāṁ — ग्रन्थकारों के; svārasyāt — स्वाभाविक औचित्य के कारण; katicit — कुछ; pāṭhāḥ — पाठ; tu — किन्तु; ye mayā tyaktāḥ — जो मैंने छोड़ दिए; na atra aniṣṭhaṁ cintyam — यह न सोचा जाए कि वे अनिष्ट हैं; cintyaṁ teṣām abhīṣṭaṁ hi — बल्कि वे उन्हें अभीष्ट थे, ऐसा सोचें
Jīva closes with a word about his editing. There are a few variant readings of the original authors that he has chosen not to follow — readings he set aside because some other wording sat better on its own terms. He asks the reader not to read any slight into this. Dropping a reading is not the same as disrespecting it. On the contrary, what those authors held dear deserves to be honoured. The verse even turns on one word: 'to be thought' (cintyam) — first he says no disregard is 'to be thought' here, then he says their preferred reading is exactly what is 'to be honoured.' The same word, denied of contempt and then affirmed of respect.
ग्रन्थकारों के स्वाभाविक औचित्य के कारण कुछ पाठ जो मैंने छोड़ दिए हैं — इस विषय में यह न सोचा जाए कि वे अनिष्ट अर्थात् अस्वीकार्य हैं; बल्कि यह सोचना चाहिए कि वे उन ग्रन्थकारों को तो अभीष्ट ही थे।
svārasya: literally 'having its own juice/flavour,' hence the natural aptness or felicity of a reading — the sense that a given wording simply reads better; here it names why a rival reading was preferred and another dropped, not any fault in the one set aside.
स्वारस्य — शब्दार्थ 'अपना रस/स्वाद रखना', अतः किसी पाठ की स्वाभाविक उपयुक्तता या औचित्य — यह अनुभूति कि अमुक शब्द-रचना अधिक अच्छी बैठती है; यहाँ यह बताता है कि क्यों एक पाठ को वरीयता देकर दूसरा छोड़ा गया, न कि छोड़े गए पाठ में कोई दोष।
Mukunda-dāsa Gosvāmī
s1invocation
lokaṁ gopyaṁ sumadhura-rasaṁ svādayan yo’vatīrṇo dhanye gauḍe vraja-pati-sutaḥ kṛṣṇa-caitanya-nāmā | ācāṇḍālāt sakala-jagati prema-bhakteḥ pradātā kāruṇyābdhir vasatu hṛdi sa śrī-śacīnandano me ||
lokaṁ gopyaṁthe hidden world (the secret realm of loving devotion) accusative object of svādayan
sumadhura-rasaṁthe sweetest rasa (the most delicious devotional mood) accusative, what he made it taste
svādayancausing it to taste, letting it savour present participle
yaḥ avatīrṇaḥhe who came down, who descended relative + past participle
dhanye gauḍein the blessed land of Gauḍa locative of place
vraja-pati-sutaḥas the son of the lord of Vraja
kṛṣṇa-caitanya-nāmābearing the name Kṛṣṇa-caitanya
ā-cāṇḍālāt sakala-jagatito the whole world, down to the lowest outcaste
prema-bhakteḥ pradātāthe giver of loving devotion agent noun + genitive
kāruṇyābdhiḥan ocean of compassion
vasatu hṛdi memay he dwell in my heart imperative + locative
saḥ śrī-śacīnandanaḥthat Śrī Śacīnandana (the son of Śacī)
yaḥ — he who; lokaṁ gopyaṁ — the hidden world; sumadhura-rasaṁ svādayan — causing to taste the sweetest rasa; dhanye gauḍe — in blessed Gauḍa; vraja-pati-sutaḥ — as the son of Vraja's lord; kṛṣṇa-caitanya-nāmā — named Kṛṣṇa-caitanya; avatīrṇaḥ — descended; ā-cāṇḍālāt sakala-jagati — to the whole world down to the outcaste; prema-bhakteḥ pradātā — the giver of loving devotion; kāruṇyābdhiḥ — an ocean of compassion; saḥ śrī-śacīnandanaḥ — that son of Śacī; me hṛdi vasatu — may dwell in my heart.
Mukunda opens his commentary by bowing to Caitanya. He is the one who came down to let the hidden world taste the sweetest devotional mood. He appeared in the blessed land of Gauḍa as the son of the lord of Vraja, under the name Kṛṣṇa-caitanya. He gave loving devotion to everyone, even the lowest outcaste. He is an ocean of compassion. "May that son of Śacī live in my heart."
Why cited: the commentator's opening obeisance — invoking Caitanya, who gave prema-bhakti to all, to dwell in his heart
s2invocation
śrī-rādhikā-mādhavikā-vasantaṁ vrajākṣi-padma-bandhum | rasajña-bhaktaugha-cakora-candraṁ namāmy ahaṁ nanda-tanujam īśvaram ||
śrī-rādhikā-mādhavikā-vasantaṁthe springtime to the mādhavī-creeper that is Śrī Rādhikā (he who makes her blossom as spring does the vine)
vrajākṣi-padma-bandhumthe friend (sun) of the lotuses that are the eyes of Vraja (he who opens their eyes as the sun opens lotuses)
rasajña-bhaktaugha-cakora-candraṁthe moon to the cakora-birds that are the crowd of rasa-knowing devotees (he whom they gaze on and live by, as cakoras live on moonlight)
namāmi ahaṁI bow 1st sg. present
nanda-tanujamto the son of Nanda
īśvaramthe Lord, the supreme controller
aham — I; namāmi — bow; nanda-tanujam īśvaram — to the son of Nanda, the Lord; śrī-rādhikā-mādhavikā-vasantaṁ — the spring to the mādhavī-vine that is Rādhikā; vrajākṣi-padma-bandhum — the sun-friend of the lotus-eyes of Vraja; rasajña-bhaktaugha-cakora-candraṁ — the moon to the cakora-devotees who know rasa.
A second obeisance, this one to Kṛṣṇa. He is the springtime that makes Rādhikā blossom, the way spring makes the mādhavī-vine flower. He is the sun-friend that opens the eyes of Vraja, the way the sun opens lotuses. He is the moon that the rasa-knowing devotees drink in, the way cakora-birds live on moonlight. "I bow to him, the son of Nanda, the Lord."
Why cited: obeisance to Kṛṣṇa, the son of Nanda — the delight of Rādhā and of every devotee who knows rasa
s3invocation
durgamaṁ sugamaṁ tattvaṁ bhaved yasya prasādataḥ | rādhā-kṛṣṇa-rase magnaṁ śrīmad-rūpaṁ namāmi tam ||
durgamaṁ tattvaṁthe truth that is hard to reach
yasya prasādataḥby whose grace genitive of the person + ablative 'through the favour'
sugamaṁ bhavetbecomes easy to reach optative
rādhā-kṛṣṇa-rase magnaṁimmersed in the rasa of Rādhā and Kṛṣṇa
śrīmad-rūpaṁthe glorious Rūpa (Rūpa Gosvāmī, the author)
namāmi tamI bow to him 1st sg. present + accusative
yasya prasādataḥ — by whose grace; durgamaṁ tattvaṁ — the hard-to-reach truth; sugamaṁ bhavet — becomes easy; rādhā-kṛṣṇa-rase magnaṁ — immersed in the rasa of Rādhā and Kṛṣṇa; tam śrīmad-rūpaṁ — that glorious Rūpa; namāmi — I bow to.
A third obeisance, now to the author. By his grace the truth that is otherwise hard to reach becomes easy. He is immersed in the rasa of Rādhā and Kṛṣṇa. "I bow to that glorious Rūpa."
Why cited: obeisance to Rūpa Gosvāmī, the author, whose grace makes the hard truth accessible
s4invocation
rāgānugāmi-bhajanollāsa-mānasānāṁ śrī-rādhayā saha sadā smaratāṁ vrajendum | śrī-rūpa-pāda-kamalāśrita-cetasāṁ me cittaṁ satāṁ madhukarīyatu pāda-padme ||
rāgānugāmi-bhajanollāsa-mānasānāṁof those whose minds delight in worship that follows spontaneous love (rāgānugā-bhakti) genitive describing 'the saintly ones'
śrī-rādhayā saha sadā smaratāṁ vrajendumwho always remember the moon of Vraja (Kṛṣṇa) together with Śrī Rādhā genitive participle
śrī-rūpa-pāda-kamalāśrita-cetasāṁwhose minds have taken shelter at the lotus feet of Śrī Rūpa genitive
satāṁof the saintly ones, the devotees genitive, the head noun for the three descriptions
me cittaṁmy mind nominative subject
pāda-padmeat their lotus feet locative of place
madhukarīyatumay it act like a honeybee (may it hover and drink there) denominative optative
me cittaṁ — may my mind; satāṁ pāda-padme — at the lotus feet of the saintly ones; madhukarīyatu — behave like a honeybee; [those saints being] rāgānugāmi-bhajanollāsa-mānasānāṁ — whose minds delight in spontaneous-love worship; śrī-rādhayā saha sadā smaratāṁ vrajendum — who always remember the moon of Vraja with Śrī Rādhā; śrī-rūpa-pāda-kamalāśrita-cetasāṁ — whose minds shelter at Rūpa's lotus feet.
A fourth obeisance, to the saintly devotees. Their minds delight in the worship that follows spontaneous love. They always remember Kṛṣṇa, the moon of Vraja, together with Śrī Rādhā. Their minds shelter at the feet of Śrī Rūpa. "May my own mind become a honeybee at their lotus feet."
Why cited: obeisance to the rāgānugā devotees in Rūpa's line — the commentator prays his mind may cling to their feet like a bee
s5avataranika
atha śrīmad-granthakāraḥ śrī-śrī-caitanya-devasya kṛpayā prakāśita-śrī-kṛṣṇa-rasa-varṇanātmakatayātyadbhutatamaṁ bhakti-rasāmṛta-sindhu-nāmānaṁ granthaṁ sarva-bhāgavata-loka-hitābhilāṣa-paravaśatayā kurvan prathamaṁ tāvat svābhīpsita-paripūrtyai sveṣṭa-deva-saṅkīrtana-rūpaṁ maṅgalam ācarati |
athanow (beginning the exposition)
śrīmad-granthakāraḥthe glorious author nominative subject
śrī-śrī-caitanya-devasya kṛpayāby the grace of Śrī Śrī Caitanya-deva instrumental of means
prakāśita-śrī-kṛṣṇa-rasa-varṇanātmakatayāsince its very nature is the describing of the revealed rasa of Śrī Kṛṣṇa instrumental of cause
atyadbhutatamaṁa most wondrous...
bhakti-rasāmṛta-sindhu-nāmānaṁ granthaṁ...work named Bhakti-rasāmṛta-sindhu accusative object of kurvan
sarva-bhāgavata-loka-hitābhilāṣa-paravaśatayābecause he is swept along by his longing for the good of all the devotee people instrumental of cause
kurvanwhile making, as he composes it present participle
prathamaṁ tāvatfirst of all
svābhīpsita-paripūrtyaiin order to fulfil his own desire dative of purpose
sveṣṭa-deva-saṅkīrtana-rūpaṁ maṅgalama blessing to open with, in the form of praise of his own chosen deity accusative object of ācarati
ācaratihe performs, he carries out 3rd sg. present
atha śrīmad-granthakāraḥ — now the glorious author; śrī-śrī-caitanya-devasya kṛpayā — by Caitanya-deva's grace; prakāśita-śrī-kṛṣṇa-rasa-varṇanātmakatayā atyadbhutatamaṁ — most wondrous because its nature is describing Kṛṣṇa's revealed rasa; bhakti-rasāmṛta-sindhu-nāmānaṁ granthaṁ — the work named BRS; sarva-bhāgavata-loka-hitābhilāṣa-paravaśatayā — swept along by longing for all devotees' good; kurvan — while composing; prathamaṁ tāvat — first of all; svābhīpsita-paripūrtyai — to fulfil his own desire; sveṣṭa-deva-saṅkīrtana-rūpaṁ maṅgalam — a blessing shaped as praise of his chosen deity; ācarati — performs.
Now Mukunda sets the scene. The glorious author, by the grace of Caitanya-deva, is composing a most wondrous work called Bhakti-rasāmṛta-sindhu. Its very nature is to describe the revealed rasa of Kṛṣṇa. He writes it because he is swept along by his longing for the good of all the devotees. And first of all, to fulfil his own heart's desire, he performs an opening blessing: praising his own chosen deity.
s6avataranika
tenaiva ca granthārthaś ca saṅkṣepato darśayati—akhileti |
tena eva caand by that very act (the same opening praise) instrumental
granthārthaḥ caalso the meaning, the theme, of the work nominative object shown
saṅkṣepataḥin brief, in summary adverb
darśayatihe shows, he displays 3rd sg. present
akhila itiwith the word 'akhila' (the verse beginning akhila-) pratīka, naming the verse
tena eva ca — and by that very act; granthārthaḥ ca — the theme of the work as well; saṅkṣepataḥ — in brief; darśayati — he shows; akhila iti — [namely] by the verse beginning 'akhila'.
And by that same opening praise he also shows, in brief, the whole theme of the book. He does this with the verse that begins "akhila."
s7gloss
vidhuḥ śrī-kṛṣṇo jayati—māyā-śaktyānanta-koṭi-brahmāṇḍāni, cic-chaktyākhya-svarūpa-śaktyā vaikuṇṭhādi-mahā-līlāḥ svarūpeṇa prābhava-vaibhava-mahāvasthākhya-svāṁśa-vilāsān, sva-śaktyāveśena pṛthvādi-śaktyāveśāvatārān vidadhāti karoti prakāśayatīti vidhur iti vidhu-śabdasyāsaṅkoca-vṛttyā tatraiva paryavasānam |
vidhuḥ śrī-kṛṣṇaḥVidhu — that is, Śrī Kṛṣṇa identifying the verse's word
jayatiis victorious, stands supreme
māyā-śaktyā ananta-koṭi-brahmāṇḍāniby his māyā-power [he makes] the countless millions of universes instrumental of means
cic-chaktyākhya-svarūpa-śaktyā vaikuṇṭhādi-mahā-līlāḥby his essential potency, called the cit-śakti, [he makes] the great pastimes of Vaikuṇṭha and the rest instrumental of means
svarūpeṇa prābhava-vaibhava-mahāvasthākhya-svāṁśa-vilāsānby his own form [he makes] his personal expansions — the prābhava, the vaibhava, and the great states instrumental of means
sva-śaktyāveśena pṛthvādi-śaktyāveśāvatārānby infusing his potency [he makes] the potency-infused avatāras, among earth and the rest instrumental of means
vidadhāti karoti prakāśayatihe ordains — that is, he makes, he brings to light the three verbs glossing vi-√dhā
iti vidhuḥso he is 'Vidhu' (the one who brings all this about)
vidhu-śabdasya asaṅkoca-vṛttyāby taking the word 'vidhu' in its full, uncontracted sense instrumental of means
tatra eva paryavasānamthe word comes to rest precisely there (on Kṛṣṇa) the derivation lands here
vidhuḥ śrī-kṛṣṇaḥ — Vidhu, i.e. Kṛṣṇa; jayati — is victorious; māyā-śaktyā ... cic-chaktyā ... svarūpeṇa ... sva-śaktyāveśena — by each of his powers in turn; ...brahmāṇḍāni, mahā-līlāḥ, svāṁśa-vilāsān, avatārān — the universes, the Vaikuṇṭha pastimes, his personal expansions, the empowered avatāras; vidadhāti karoti prakāśayati — he ordains, makes, manifests; iti vidhuḥ — hence 'Vidhu'; vidhu-śabdasya asaṅkoca-vṛttyā — by the word's uncontracted sense; tatra eva paryavasānam — it rests precisely on him.
"Vidhu" means Kṛṣṇa, and "jayati" means he stands supreme. Here Mukunda derives the name Vidhu from the root meaning "to bring about." Kṛṣṇa brings everything about, each thing through a different power. By his māyā-power he makes the countless millions of universes. By his essential potency, the cit-śakti, he makes the great pastimes of Vaikuṇṭha and beyond. By his own form he makes his personal expansions, the prābhava, the vaibhava, and the great states. And by infusing his potency he makes the empowered avatāras in the earthly realm and elsewhere. Because he ordains, makes, and manifests all this, he is "Vidhu." Taken in its full, uncontracted sense, the word lands on Kṛṣṇa alone.
vidhu: elsewhere just a name of the moon (from vi-√dhū, 'who dispels the dark'); here Mukunda takes it from vi-√dhā, 'who ordains / makes / manifests,' so that the name maps onto Kṛṣṇa as the maker of all worlds and forms.
s8reply
tasyaivāvatārāvatārāvatārinām aṁśitvāc ca |
tasya evaof him alone (Kṛṣṇa) genitive, the source
avatāra-avatāra-avatārināmof the avatāras, the avatāras-of-avatāras, and the sources-of-avatāras genitive plural
aṁśitvātbecause they are (only) portions of him ablative of reason
caand (a further reason why 'vidhu' rests on Kṛṣṇa)
tasya eva — of him alone; avatāra-avatāra-avatārinām — of the avatāras, avatāras-of-avatāras, and avatāra-sources; aṁśitvāt ca — and because they are but portions.
And here is a further reason the name rests on Kṛṣṇa. The avatāras, the avatāras that come from avatāras, and even the sources of avatāras are all merely portions of Kṛṣṇa alone. So he, and not they, is the true Vidhu.
s9gloss
jayati iti padena—sva-sva-lokeṣu tat-tat-parikara-sambandhato guṇān darśayadbhyas tat-tad-avatāri-nāyakebhya utkarṣeṇa dvārakādau mathurādau gokule pūrṇān pūrṇatarān pūrṇatamān guṇān krameṇa prakāśayan sadā virājata ity uktam |
jayati iti padenaby the word 'jayati' instrumental, 'this is said by the word'
sva-sva-lokeṣueach in his own realm locative
tat-tat-parikara-sambandhataḥthrough the link with their respective associates ablative of means
guṇān darśayadbhyaḥwho display their qualities dative participle qualifying the leaders
tat-tad-avatāri-nāyakebhyaḥthan those various avatārī leaders ablative of comparison
utkarṣeṇaby surpassing them, standing higher instrumental of manner
dvārakādau mathurādau gokulein Dvārakā and the rest, in Mathurā and the rest, and in Gokula locative of place
pūrṇān pūrṇatarān pūrṇatamān guṇānthe full, the fuller, and the fullest qualities accusative object
krameṇa prakāśayanrevealing them in ascending order present participle
sadā virājatehe ever shines forth 3rd sg. present
iti uktamthis is what is said
jayati iti padena — by the word 'jayati'; tat-tad-avatāri-nāyakebhyaḥ — than the various avatārī leaders; sva-sva-lokeṣu tat-tat-parikara-sambandhataḥ guṇān darśayadbhyaḥ — who in their own realms display qualities via their associates; utkarṣeṇa — surpassingly; dvārakādau mathurādau gokule — in Dvārakā, Mathurā, Gokula; pūrṇān pūrṇatarān pūrṇatamān guṇān krameṇa prakāśayan — showing full, fuller, fullest qualities in order; sadā virājate — ever shines; iti uktam — so it is said.
Now Mukunda unpacks the word "jayati." The various avatārī leaders each shine in their own realm, showing their qualities through their own associates. Kṛṣṇa surpasses them all. He reveals his qualities in three ascending grades: full in Dvārakā and such places, fuller in Mathurā and such, and fullest in Gokula. Shining out above them all in this way, he ever stands supreme. That is what "jayati" says.
s10gloss
namaskāraś cākṣiptas taṁ prati nato’smīti |
namaskāraḥ caand an act of bowing, a namaskāra (I bow) nominative subject
ākṣiptaḥis implied, is drawn out (by 'jayati') past participle
taṁ prati nataḥ asmi'I am bowed down before him' the implied words
itiso (that is the implied sense)
namaskāraḥ ca ākṣiptaḥ — and a bow is implied; taṁ prati nataḥ asmi iti — namely, 'I am bowed before him.'
The word "jayati" also implies an act of bowing. The unspoken sense is: "I bow low before him." So the verse is not only a declaration of victory but also the author's own obeisance.
namaskāra: literally 'making the gesture namaḥ'; rendered plainly here as 'I bow' rather than 'obeisance.'
s11avataranika
tatra svayaṁ bhagavat-tattva-sarvāvatārādi-kāraṇatvayoḥ—
tatraon this point, in this matter
svayaṁ bhagavat-tattva-...-kāraṇatvayoḥas to (his) being God himself and being the cause of all the avatāras and the rest genitive dual — the two points about to be proved
sarvāvatārādi-kāraṇatva[the second point:] being the cause of all avatāras and so on the second member of the dual
tatra — on this; svayaṁ bhagavat-tattva-...-kāraṇatvayoḥ — regarding the two, his being God himself and his being the cause of all avatāras etc. [the proof follows].
Mukunda now turns to back up two claims about Kṛṣṇa: first, that he is God himself; and second, that he is the cause of all the avatāras and the rest. (The scriptural proof comes in the next line.)
s12citation
īśvaraḥ paramaḥ kṛṣṇaḥ saccidānanda-vigrahaḥ | anādir ādir govindaḥ sarva-kāraṇa-kāraṇam ||
īśvaraḥ paramaḥ kṛṣṇaḥKṛṣṇa is the supreme controller
saccidānanda-vigrahaḥwhose form is being, awareness, and joy
anādiḥwithout any beginning
ādiḥthe beginning (source) of all
govindaḥGovinda
sarva-kāraṇa-kāraṇamthe cause of all causes
kṛṣṇaḥ — Kṛṣṇa; paramaḥ īśvaraḥ — the supreme controller; saccidānanda-vigrahaḥ — his form being, awareness, joy; anādiḥ — beginningless; ādiḥ — yet the origin of all; govindaḥ — Govinda; sarva-kāraṇa-kāraṇam — cause of all causes.
He quotes the Brahma-saṁhitā. Kṛṣṇa is the supreme controller. His very form is being, awareness, and joy. He has no beginning, yet he is the beginning of everything. He is Govinda, the cause of all causes.
Why cited: scriptural proof of both claims at once — that Kṛṣṇa is God himself and the cause of all causes (hence of all avatāras)
s13citation
ity ādi brahma-saṁhitādi-vacanāni pramāṇam |
ity ādibeginning thus, and the like closing the quotation
brahma-saṁhitādi-vacanānithe statements of the Brahma-saṁhitā and other texts nominative subject
pramāṇamare the proof, the authority predicate nominative
ity ādi brahma-saṁhitādi-vacanāni — the passages of the Brahma-saṁhitā and the rest, beginning thus; pramāṇam — are the proof.
That verse and others like it, from the Brahma-saṁhitā and further texts, stand as the proof for these two claims.
s14avataranika
sva-sva-parikarair gokulādiṣu sadā virājamānatve—
sva-sva-parikaraiḥtogether with his own associates instrumental of accompaniment
gokulādiṣuin Gokula and the rest locative of place
sadā virājamānatveas to his ever shining forth locative, 'on the point of...'
sva-sva-parikaraiḥ — with his own associates; gokulādiṣu — in Gokula etc.; sadā virājamānatve — as to his ever shining there [the proof follows].
Now Mukunda turns to a further point: that Kṛṣṇa ever shines forth in Gokula and the other realms, surrounded by his own associates. (Again the scriptural proof follows.)
s15citation
aho alaṁ ślāghyatamaṁ yadoḥ kulam aho alaṁ puṇyatamaṁ madhor vanam | yad eṣa puṁsām ṛṣabhaḥ śriyaḥ patiḥ
aho alaṁ ślāghyatamaṁ yadoḥ kulamah, utterly praiseworthy is the lineage of the Yadus
aho alaṁ puṇyatamaṁ madhoḥ vanamah, utterly sanctifying is the forest of Madhu
yad eṣa puṁsām ṛṣabhaḥin that this one, the bull (the best) among men relative clause
śriyaḥ patiḥthe lord of fortune (of Lakṣmī)
aho — ah; yadoḥ kulam — the Yadu lineage; alaṁ ślāghyatamaṁ — supremely praiseworthy; aho — ah; madhoḥ vanam — the forest of Madhu; alaṁ puṇyatamaṁ — supremely sanctifying; yad — because; eṣa puṁsām ṛṣabhaḥ śriyaḥ patiḥ — this best of men, the lord of fortune [moves there].
He begins a Bhāgavata verse. How supremely praiseworthy is the lineage of the Yadus! How supremely sanctifying is the forest of Madhu! For here the best of all men, the lord of fortune, is present. (The verse continues in the next line.)
Why cited: scriptural proof that Kṛṣṇa is ever present, moving among his own in the Yadu land and the Madhu forest
s16citation
sva-janmanā caṅkramaṇena cāñcati || ity-ādīni vacanāni |
sva-janmanā caṅkramaṇena caby his being born there and by his roaming about instrumental of means
añcatihe moves, he graces (the place) 3rd sg. present, completing the quote
ity-ādīni vacanānisuch statements (are the proof) nominative, naming the citations
sva-janmanā caṅkramaṇena ca — by his birth and his roaming; añcati — he moves about [there]; ity-ādīni vacanāni — such statements [stand as proof].
The verse finishes: he graces those places by being born there and by roaming through them. Statements like this are the proof that Kṛṣṇa is ever present with his own in Gokula and the rest.
s17objection
nanu, gokula-mathurādiṣu bahu-vidha-bhaktair ekaḥ kahtaṁ sadā vartate |
nanubut now one may object particle opening a pūrvapakṣa
gokula-mathurādiṣuin Gokula, Mathurā, and the rest locative of place
bahu-vidha-bhaktaiḥwith devotees of many different kinds instrumental of accompaniment
ekaḥthe one (single) Lord nominative subject
kathaṁhow (is it possible that...) interrogative
sadā vartatehe ever abides, stays constantly 3rd sg. present
nanu — but; gokula-mathurādiṣu — in Gokula, Mathurā etc.; ekaḥ — the one Lord; bahu-vidha-bhaktaiḥ — with many kinds of devotees; kathaṁ sadā vartate — how does he ever abide?
Here an objection is raised. In Gokula, Mathurā, and the other realms there are devotees of many different kinds. How can one single Lord be constantly present with all of them at once? (The source reads kahtaṁ, a scribal slip for kathaṁ, "how.")
s18objection
bālya-paugaṇḍa-bhāk-kiśora-svarūpeṣu katamo’yaṁ prakāśas tatrāha—akhileti |
bālya-paugaṇḍa-bhāk-kiśora-svarūpeṣuamong his forms of childhood, the paugaṇḍa stage, and adolescence locative, 'among which...'
katamaḥ ayaṁ prakāśaḥwhich one is this manifestation (that the verse means)? interrogative + nominative
tatra āhato this he replies handing to the answer
akhila itiwith the word 'akhila' pratīka naming the answering word
bālya-paugaṇḍa-bhāk-kiśora-svarūpeṣu — among childhood, paugaṇḍa, and adolescent forms; katamaḥ ayaṁ prakāśaḥ — which is this manifestation?; tatra āha — to that he says; akhila iti — 'akhila'.
The objection has a second half. Kṛṣṇa appears in several ages, as a child, in the paugaṇḍa stage, and as an adolescent. Which of these forms is the one the verse is pointing to? To answer this, Mukunda turns to the word "akhila."
s19gloss
akhilānāṁ pañca-vidhānāṁ bhaktānāṁ ye rasāḥ, śāntaḥ prītiḥ preyān vatsalo madhuraś ceti pañca mukhyāḥ |
akhilānāṁ pañca-vidhānāṁ bhaktānāṁof all devotees, that is, of the five kinds of devotees genitive, 'whose rasas'
ye rasāḥthe rasas (devotional moods) that there are relative + nominative
śāntaḥ prītiḥ preyān vatsalaḥ madhuraḥthe peaceful, the reverential, the friendly, the parental, and the sweet (romantic)
ca iti pañca mukhyāḥthese five are the primary ones
akhilānāṁ pañca-vidhānāṁ bhaktānāṁ — of all, i.e. the five kinds of, devotees; ye rasāḥ — the rasas there are; śāntaḥ prītiḥ preyān vatsalaḥ madhuraḥ ca — peaceful, reverential, friendly, parental, sweet; iti pañca mukhyāḥ — these are the five primary ones.
Mukunda begins to decode "akhila." It means "all" the rasas belonging to the five kinds of devotees. The five primary rasas are: the peaceful (śānta), the reverential (prīti), the friendly (preyān), the parental (vatsala), and the sweet or romantic (madhura).
rasa: in classical drama (Nāṭyaśāstra) the aesthetic mood a spectator tastes; here transposed into bhakti as the devotional mood in which a devotee relates to Kṛṣṇa.
s20gloss
hāso’dbhuto vīraḥ karuṇo raduro bhayānako bībhatsa iti sapta gauṇāḥ—evaṁ dvādaśa-bhedās ta eva hlādinī-śakti-vṛtti-rūpatvād amṛtaḥ paramānandas tad-rūpā mūrtir yasya |
hāsaḥ adbhutaḥ vīraḥ karuṇaḥ raudraḥ bhayānakaḥ bībhatsaḥthe comic, the wondrous, the heroic, the compassionate, the furious, the fearful, and the disgusting the seven; 'raduro' in the source is a slip for raudraḥ
iti sapta gauṇāḥthese are the seven secondary ones
evaṁ dvādaśa-bhedāḥso there are twelve divisions in all (five + seven)
te eva hlādinī-śakti-vṛtti-rūpatvātand because those very rasas are workings of the hlādinī-śakti (Kṛṣṇa's own bliss-power) ablative of reason
amṛtaḥ paramānandaḥthey are nectar, that is, supreme joy
tad-rūpā mūrtiḥ yasyahe whose form is made of that very nectar bahuvrīhi qualifying vidhuḥ
hāsaḥ adbhutaḥ vīraḥ karuṇaḥ raudraḥ bhayānakaḥ bībhatsaḥ — comic, wondrous, heroic, compassionate, furious, fearful, disgusting; iti sapta gauṇāḥ — these seven are secondary; evaṁ dvādaśa-bhedāḥ — so twelve divisions; te eva hlādinī-śakti-vṛtti-rūpatvāt — since they are workings of the hlādinī-power; amṛtaḥ paramānandaḥ — they are nectar, supreme joy; tad-rūpā mūrtiḥ yasya — whose form is made of it.
He completes the list. The seven secondary rasas are: the comic, the wondrous, the heroic, the compassionate, the furious, the fearful, and the disgusting. Five plus seven make twelve rasas in all. Now the key point: these twelve are workings of Kṛṣṇa's own bliss-power, the hlādinī-śakti. So they are nectar itself, supreme joy. And Kṛṣṇa's very form is made of that nectar. That is what akhila-rasāmṛta-mūrti means. (The source list reads raduro, a slip for raudra, the furious rasa.)
rasa (secondary set): the seven gauṇa-rasas match the classical dramatic emotions (hāsya, adbhuta, vīra, karuṇa, raudra, bhayānaka, bībhatsa); here they too are counted as workings of Kṛṣṇa's hlādinī-śakti, his bliss-power, hence 'nectar.'
s21conclusion
sarva-rasānāṁ viṣayatvād āśrayatvāc ca tan-mūrtitvaṁ tasya nānā-prakāśavattvena dharmī kiśora eva sarva-bhakta-sukha-hetur ity arthaḥ |
sarva-rasānāṁof all the rasas (the devotional moods) genitive, objective + locative sense picked up by next words
viṣayatvātbecause he is what they are aimed at (their object) ablative of cause
āśrayatvātand because he is where they rest (their abode) ablative of cause
caand — pairing the two reasons
tan-mūrtitvaṁhis being their very embodiment
tasyabelongs to him genitive
nānā-prakāśavattvenabecause he has many manifestations instrumental of cause
dharmīthe property-bearer — the one in whom all these moods reside
kiśoraḥ evanamely the adolescent alone eva restricts: this form and no other
sarva-bhakta-sukha-hetuḥis the cause of the happiness of all devotees
iti arthaḥthat is the meaning
sarva-rasānāṁ viṣayatvāt āśrayatvāt ca — because he is the object and the abode of all the rasas; tan-mūrtitvaṁ tasya — his being their embodiment belongs to him; nānā-prakāśavattvena — because he has manifold manifestations; dharmī kiśoraḥ eva — the property-bearer, the adolescent alone; sarva-bhakta-sukha-hetuḥ — is the cause of the happiness of all devotees; iti arthaḥ — that is the meaning.
Why call him the form of all the rasas? For two reasons. He is what every mood is aimed at, and he is where every mood comes to rest. So being their embodiment fits him. And because he shows himself in many ways, the one who carries all these moods is the adolescent Kṛṣṇa, no other form. He alone is the source of joy for every kind of devotee. That is the point.
dharmī — home meaning (Nyāya-Vaiśeṣika): the substrate in which qualities (dharma) inhere, e.g. the pot that carries roundness and clay-ness. Here: the adolescent Kṛṣṇa is the one substrate in whom all twelve rasas reside, answering the objection by fixing which form is meant.
s22avataranika
dharmitve’py asyāsamordhva-prema-rūpa-guṇāyāḥ sukhārthaṁ ceṣṭādīni bodhayituṁ—prasṛmarety ādi-pada-trayam |
dharmitve apieven though he is the property-bearer locative of concession; api = even
asyāof her — namely Rādhā genitive
asamordhva-prema-rūpa-guṇāyāḥwhose defining quality is love that has no equal and no superior genitive, agreeing with asyā
sukhārthaṁfor the sake of her happiness accusative of purpose
ceṣṭādīnihis doings and the rest the pastimes, gestures, etc.
bodhayituṁin order to make known infinitive of purpose
prasṛmara-iti ādi-pada-trayamthe three words beginning with 'prasṛmara'
dharmitve api — even though he is the property-bearer; asyā asamordhva-prema-rūpa-guṇāyāḥ sukhārthaṁ — for the happiness of her whose quality is unequalled, unsurpassed love; ceṣṭādīni bodhayituṁ — in order to make known his activities and the rest; prasṛmara-iti ādi-pada-trayam — [there are] the three words beginning with 'prasṛmara'.
He has just been called the property-bearer, the one form who holds all the moods. Even so, the verse adds three more words, the ones beginning with 'prasṛmara.' Why? To show his activities and the rest. And those activities are all for the happiness of one person: Rādhā, whose defining quality is a love that has no equal and nothing above it. So the next three descriptions are introduced to point to that.
s23gloss
prasṛmarābhī rucibhī ruddhe vaśīkṛte tārakā-pālī yena saḥ |
prasṛmarābhiḥby his outspreading instrumental, agreeing with rucibhiḥ
rucibhiḥradiances — by means of them instrumental of means
ruddheare held fast past participle, dual, predicate
vaśīkṛtethat is, brought under his sway gloss-word for ruddhe; dual
tārakā-pālīTārakā and Pālī (two gopīs) dual subject of the participle
yenahe by whom instrumental relative → bahuvrīhi
saḥhe is the one so described
prasṛmarābhiḥ rucibhiḥ — by his outspreading radiances; tārakā-pālī — Tārakā and Pālī; ruddhe vaśīkṛte — are held fast, brought under his sway; yena saḥ — he by whom [this is so] is the one meant.
Now the word-for-word of the compound. 'Ruddha' means held fast, brought under his sway. By what? By his 'prasṛmara ruci' — his spreading radiances. Who is held? Tārakā and Pālī. So the description means: he by whom Tārakā and Pālī are captured through his outspreading radiance.
s24gloss
tārakā-pālyoḥ kathanaṁ śrī-rādhāyā anya-vipakṣa-taṭastha-vraja-devīnām upalakṣaṇam |
tārakā-pālyoḥof Tārakā and Pālī genitive dual
kathanaṁthe naming (their being mentioned)
śrī-rādhāyāḥwith respect to Śrī Rādhā genitive
anya-vipakṣa-taṭastha-vraja-devīnāmof the other Vraja-goddesses who are her rivals or neutral to her genitive plural, what the naming points to
upalakṣaṇamis only a pointer (it names two but stands for the whole group)
tārakā-pālyoḥ kathanaṁ — the mention of Tārakā and Pālī; śrī-rādhāyāḥ anya-vipakṣa-taṭastha-vraja-devīnām — of the other Vraja-goddesses, rivals of and neutral toward Śrī Rādhā; upalakṣaṇam — is an indicating pointer.
Why name just Tārakā and Pālī? They are named not for themselves alone. Their mention is an upalakṣaṇa — a label that points beyond itself. It stands for all the other Vraja-goddesses who, toward Rādhā, are either rivals or neutral bystanders. So two names cover the whole rival-and-neutral group.
upalakṣaṇa (a pointer that drops away) vs viśeṣaṇa (a describing word that stays). 'The house with the crow on it' — the crow only helps you find the house and then drops away; that is upalakṣaṇa. 'A blue lotus' — the blue is part of what the thing is and stays; that is viśeṣaṇa. Here Tārakā and Pālī are the crow: named only to point you to the whole class of rival and neutral gopīs, then set aside.
s25gloss
rādhayā saha svacchanda-vihārāya rasopakaraṇa-bhūtā vaśīkṛtā ity arthaḥ |
rādhayā sahatogether with Rādhā instrumental + saha
svacchanda-vihārāyafor unconstrained sporting, for free play dative of purpose
rasa-upakaraṇa-bhūtāḥhaving become the means, the equipment, for rasa nominative plural, the gopīs
vaśīkṛtāḥare brought under his sway past participle, predicate
iti arthaḥthat is the meaning
rādhayā saha svacchanda-vihārāya — for free sporting together with Rādhā; rasa-upakaraṇa-bhūtāḥ — having become the equipment for rasa; vaśīkṛtāḥ — they are brought under his sway; iti arthaḥ — that is the meaning.
So what does 'brought under his sway' really mean here? It means this: these gopīs become the means for rasa — the supporting cast for the mood. They serve his free, unconstrained play together with Rādhā. In that role they come under his sway. That is the sense.
s26gloss
kalite pūrvoktābhyāṁ parama-premāspadatayā gṛhīte śyāmā-lalite yena saḥ |
kaliteare made his own, taken up past participle, dual, predicate
pūrvoktābhyāṁby the two mentioned before (Tārakā and Pālī) instrumental dual
parama-prema-āspadatayāas seats of the highest love instrumental of manner: taken in the role of love-abodes
gṛhītethat is, received, accepted gloss-word for kalite; dual
śyāmā-laliteŚyāmā and Lalitā (two gopīs) dual subject
yena saḥhe by whom [this is so] is the one meant bahuvrīhi
śyāmā-lalite — Śyāmā and Lalitā; pūrvoktābhyāṁ — by the two mentioned before; parama-prema-āspadatayā gṛhīte kalite — are made his own, received as seats of the highest love; yena saḥ — he by whom [this is so] is the one meant.
Next word: 'kalita' means made his own, taken up. Here it means received, accepted. Who is taken up? Śyāmā and Lalitā. In what way? As seats of the highest love. And by whom are they thus taken? By the two named before — Tārakā and Pālī. So he is described as the one by whom Śyāmā and Lalitā are made his own in this way.
s27gloss
śyāmāyāḥ kathanaṁ śrī-rādhāya anya-suhṛt-pakṣāṇām upalakṣaṇam |
śyāmāyāḥof Śyāmā genitive
kathanaṁthe naming (her being mentioned)
śrī-rādhāyāḥwith respect to Śrī Rādhā genitive
anya-suhṛt-pakṣāṇāmof the other associates on the friendly side genitive plural, what the naming points to
upalakṣaṇamis only a pointer (she names one but stands for that whole group)
śyāmāyāḥ kathanaṁ — the mention of Śyāmā; śrī-rādhāyāḥ anya-suhṛt-pakṣāṇām — of the other friendly-party associates of Śrī Rādhā; upalakṣaṇam — is an indicating pointer.
Same move again, now for Śyāmā. Naming her is an upalakṣaṇa — a pointer. She stands for all the other gopīs who are on Rādhā's friendly side. So one name covers the whole friendly group, just as Tārakā and Pālī covered the rival-and-neutral group.
upalakṣaṇa (a pointer that drops away) vs viśeṣaṇa (a describing word that stays). 'The house with the crow on it' — the crow just locates the house, then drops away; that is upalakṣaṇa. 'A blue lotus' — the blue belongs to the thing and stays; that is viśeṣaṇa. Here Śyāmā is the crow: named only to point to the whole friendly-party of gopīs.
s28gloss
lalitāyās tu tad-anya-sakhīnām |
lalitāyāḥof Lalitā genitive; supply 'the naming is a pointer' from before
tubut (marking the contrast: this one points to a different set)
tad-anya-sakhīnāmof the girlfriends other than those genitive plural, what her naming points to
lalitāyāḥ tu — but [the mention] of Lalitā; tad-anya-sakhīnām — [is a pointer] to the girlfriends other than those.
And naming Lalitā? That is a pointer too — but to a different set. She stands for the girlfriends beyond the ones Śyāmā covered. So between Śyāmā and Lalitā, two whole groups of friendly gopīs are indicated.
s29gloss
tatrāpi suhṛt-pakṣāṇām sakhīnāṁ kṛṣṇe premādhikyāl lalitāyā uttarotroktiḥ |
tatra apieven there, within that friendly party api = even
suhṛt-pakṣāṇām sakhīnāṁamong the girlfriends of the friendly side genitive plural
kṛṣṇefor Kṛṣṇa locative, object of love
prema-ādhikyātbecause of [her] greater love ablative of cause
lalitāyāḥof Lalitā genitive
uttarottara-uktiḥthe mention comes later (she is named after Śyāmā) uttarottara: in ascending order
tatra api suhṛt-pakṣāṇām sakhīnāṁ — even there, among the girlfriends of the friendly party; kṛṣṇe prema-ādhikyāt — because of greater love for Kṛṣṇa; lalitāyāḥ uttarottara-uktiḥ — Lalitā is mentioned later, higher in the order.
Why is Lalitā named after Śyāmā, not before? Because even inside the friendly party there is a ranking by love. Lalitā's love for Kṛṣṇa is the greater. So she is placed later in the sequence — later meaning higher. The order climbs toward more love.
s30gloss
preyān rādhāyām atiśayena prīti-kartā |
preyānthe dearmost one the verse-word being glossed
rādhāyāmtoward Rādhā locative: the one to whom he is dear
atiśayenasupremely, in the highest degree instrumental of manner
prīti-kartāthe giver of delight gloss-phrase for preyān: 'one who makes love/joy'
preyān — the dearmost; rādhāyām — toward Rādhā; atiśayena prīti-kartā — the supreme giver of delight.
Now the word 'preyān.' It means: the one who gives the highest delight. To whom? To Rādhā. So 'preyān' describes him as the one who brings Rādhā delight in the fullest measure — her dearmost.
s31gloss
ata evāsyā asādhāraṇyam ālokya pūrvavad yugmatvena neyaṁ nirdiṣṭā |
ata evafor this very reason because she is the dearmost
asyāḥof her — Rādhā genitive
asādhāraṇyamher being unlike anyone else, her uncommonness
ālokyaseeing, having regard to gerund
pūrvavatas in the earlier cases (the other gopīs)
yugmatvenaas forming a pair instrumental of manner
na iyaṁ nirdiṣṭāshe has not been indicated na = not; feminine sg.
ata eva — for this very reason; asyāḥ asādhāraṇyam ālokya — seeing her uncommonness; pūrvavat yugmatvena — as before, as forming a pair; na iyaṁ nirdiṣṭā — she has not been indicated.
This explains a difference in the verse. The others were named in pairs — Tārakā with Pālī, Śyāmā with Lalitā. But Rādhā is not paired with anyone. Why? Because she is unlike all the rest. Seeing that she stands alone, the author names her singly, not as one of a pair.
s32conclusion
asyāḥ sambandhe kṛṣṇasya saundaryādi-guṇānāṁ paramotkarṣaś ca bodhitaḥ |
asyāḥ sambandhein connection with her locative: through the tie to Rādhā
kṛṣṇasyaof Kṛṣṇa genitive
saundarya-ādi-guṇānāṁof his qualities of beauty and the rest genitive plural
parama-utkarṣaḥthe highest pitch, the supreme peak
caand (a further point)
bodhitaḥis made known past participle, predicate
asyāḥ sambandhe — in connection with her; kṛṣṇasya saundarya-ādi-guṇānāṁ parama-utkarṣaḥ ca — and the supreme peak of Kṛṣṇa's qualities of beauty and the rest; bodhitaḥ — is made known.
There is a further point in naming Rādhā alone. It is in the tie to her that Kṛṣṇa's own qualities — his beauty and all the rest — reach their highest pitch. So the single mention of Rādhā also makes known the supreme peak of Kṛṣṇa's excellence.
s33reply
pūrṇa-premṇaiva pūrṇa-prakāśaucityāt |
pūrṇa-premṇā evaonly by full love instrumental of means; eva = only
pūrṇa-prakāśa-aucityātbecause full manifestation is fitting ablative of reason
pūrṇa-premṇā eva — only through full love; pūrṇa-prakāśa-aucityāt — because full manifestation is fitting.
Why do Kṛṣṇa's qualities peak with Rādhā and no one else? Here is the reason. A full showing is fitting only where there is full love. Rādhā's love is complete, so his qualities can shine out completely there. Less love, less showing; only full love draws out the full display.
s34citation
śrī-rādhāyāḥ sarva-vraja-devībhyaḥ prema-rūpa-guṇair ādhikyaṁ yathojjvala-nīlamaṇau—mahā-bhāva-svarūpeyaṁ guṇair atigarīyasī iti |
śrī-rādhāyāḥof Śrī Rādhā genitive
sarva-vraja-devībhyaḥabove all the Vraja-goddesses ablative of comparison
prema-rūpa-guṇaiḥby the qualities that take the form of love instrumental: in respect of which
ādhikyaṁher superiority, her being greater
yathā ujjvala-nīlamaṇauas [stated] in the Ujjvala-nīlamaṇi locative of the source-text
mahā-bhāva-svarūpā iyaṁshe is the very embodiment of mahā-bhāva (the highest love)
guṇaiḥ atigarīyasīfar weightier than the rest in her qualities instrumental of respect; comparative
itiso [the verse runs]
śrī-rādhāyāḥ sarva-vraja-devībhyaḥ prema-rūpa-guṇaiḥ ādhikyaṁ — Śrī Rādhā's superiority over all the Vraja-goddesses in the qualities that are love; yathā ujjvala-nīlamaṇau — as in the Ujjvala-nīlamaṇi; mahā-bhāva-svarūpā iyaṁ guṇaiḥ atigarīyasī iti — 'she is the embodiment of mahā-bhāva, far weightier in her qualities.'
Now proof that Rādhā's love outstrips every other gopī's. The Ujjvala-nīlamaṇi says: she is the very embodiment of mahā-bhāva, the highest love, and in her qualities she is far weightier than all the rest. So her supremacy in love is not just asserted here; it is backed by that text.
Why cited: cited to prove Rādhā surpasses all the Vraja-gopīs in the qualities of love (she embodies mahā-bhāva), grounding the claim that Kṛṣṇa's excellence peaks only with her.
mahā-bhāva — home meaning (rasa-śāstra of the Gauḍīyas): the highest, most intensified stage of prema. Here: named as Rādhā's very nature, the reason her love alone is 'full' and draws out Kṛṣṇa's full display.
s35citation
pādme ca—
pādmein the Padma Purāṇa locative of the source-text
caand (a further proof follows)
pādme ca — and in the Padma Purāṇa [it is said] —
And there is more proof, this time from the Padma Purāṇa. The verse it introduces follows next.
Why cited: introduces the next Padma-Purāṇa verse as a further scriptural proof of Rādhā's supreme dearness to Kṛṣṇa.
s36citation
yathā rādhā priyā viṣṇos tasyāḥ kuṇḍaṁ priyaṁ tathā | sarva-gopīṣu saivaikā viṣṇor atyanta-vallabhā ||
yathā rādhā priyā viṣṇoḥas Rādhā is dear to Viṣṇu yathā... tathā correlative; viṣṇoḥ genitive
tasyāḥ kuṇḍaṁ priyaṁ tathāso too her pond is dear to him tathā completes the comparison
sarva-gopīṣuamong all the gopīs locative of the group
sā eva ekāshe alone, she and no other eva + ekā emphasize uniqueness
viṣṇoḥ atyanta-vallabhāis the utterly beloved of Viṣṇu genitive + superlative sense
yathā rādhā priyā viṣṇoḥ tathā tasyāḥ kuṇḍaṁ priyaṁ — as Rādhā is dear to Viṣṇu, so is her pond dear to him; sarva-gopīṣu sā eva ekā viṣṇoḥ atyanta-vallabhā — among all the gopīs she alone is the utterly beloved of Viṣṇu.
The Padma verse: as Rādhā is dear to Viṣṇu, just so is her pond dear to him. And among all the gopīs, she alone is his utterly beloved. The pond is dear only because she is; the point is her unmatched dearness.
Why cited: cited to prove Rādhā alone is Kṛṣṇa's (Viṣṇu's) utterly beloved among all the gopīs — the scriptural ground for her singular pre-eminence.
s37citation
ata eva mātsye—rukmiṇī dvāravatyāṁ tu rādhā vṛndāvane vane iti |
ata evafor this very reason
mātsyein the Matsya Purāṇa locative of the source-text
rukmiṇī dvāravatyāṁ tuRukmiṇī [is supreme] in Dvārakā locative of place; tu marks the contrast with the next clause
rādhā vṛndāvane vanebut Rādhā in the forest of Vṛndāvana locative of place
itiso [it says]
ata eva mātsye — for this very reason, in the Matsya Purāṇa; rukmiṇī dvāravatyāṁ tu rādhā vṛndāvane vane iti — 'Rukmiṇī in Dvārakā, but Rādhā in the Vṛndāvana forest.'
For this same reason the Matsya Purāṇa says: in Dvārakā it is Rukmiṇī who is foremost, but in the forest of Vṛndāvana it is Rādhā. Each place has its chief beloved; in Vṛndāvana that place belongs to Rādhā alone.
Why cited: cited to show that in Vṛndāvana Rādhā holds the foremost place among Kṛṣṇa's beloveds (as Rukmiṇī does in Dvārakā), confirming her pre-eminence there.
s38citation
tathā ca bṛhad-gautamīye tasyā eva mantra-kathane—
tathā caand likewise, so too
bṛhad-gautamīyein the Bṛhad-gautamīya locative of the source-text
tasyāḥ evaof her alone (Rādhā) genitive; eva = precisely hers
mantra-kathanein the telling of the mantra locative: in the passage that gives her mantra
tathā ca bṛhad-gautamīye — and likewise in the Bṛhad-gautamīya; tasyāḥ eva mantra-kathane — in the telling of her very mantra [it is said] —
And so too the Bṛhad-gautamīya. There, in the passage that gives Rādhā's own mantra, the point is confirmed. The verse it introduces comes next.
Why cited: introduces the Bṛhad-gautamīya verse (given while stating Rādhā's mantra) as further scriptural proof of her supreme, divine status.
s39citation
devī kṛṣṇa-mayī proktā rādhikā para-devatā | sarva-lakṣmī-mayī sarva-kāntiḥ saṁmohinī parā ||
devī kṛṣṇa-mayī proktāthe goddess is declared to be made of Kṛṣṇa proktā = 'is said to be'; kṛṣṇa-mayī = consisting of Kṛṣṇa
rādhikā para-devatāRādhikā, the supreme deity
sarva-lakṣmī-mayīmade of all the Lakṣmīs (containing every goddess of fortune)
sarva-kāntiḥthe whole of radiance, all beauty
saṁmohinī parāthe supreme enchantress
devī kṛṣṇa-mayī proktā — the goddess is declared made of Kṛṣṇa; rādhikā para-devatā — Rādhikā the supreme deity; sarva-lakṣmī-mayī sarva-kāntiḥ saṁmohinī parā — made of all Lakṣmīs, all radiance, the supreme enchantress.
The Bṛhad-gautamīya verse: the goddess Rādhikā is said to be made of Kṛṣṇa himself. She is the supreme deity. She contains every Lakṣmī, she is the whole of beauty, and she is the highest enchantress. So scripture names her not merely a gopī but the supreme goddess.
Why cited: cited to prove Rādhā's supreme, divine standing — she is 'made of Kṛṣṇa,' the highest deity containing all Lakṣmīs — clinching her pre-eminence over all.
s40citation
tat-sambandhe kṛṣṇa-guṇotkarṣo, yathā ṛk-pariśiṣṭa-śrutau—rādhayā mādhavo devo mādhavenaiva rādhikā, vibhrājante janeṣv ā iti |
tat-sambandhein connection with her locative: through the tie to Rādhā
kṛṣṇa-guṇa-utkarṣaḥthe heightening of Kṛṣṇa's qualities
yathā ṛk-pariśiṣṭa-śrutauas in the Ṛk-pariśiṣṭa śruti locative of the source-text
rādhayā mādhavaḥ devaḥby Rādhā the god Mādhava [shines] instrumental of means: it is through Rādhā
mādhavena eva rādhikāand by Mādhava alone Rādhikā [shines] instrumental; eva = only through him
vibhrājante janeṣu āthey shine forth among the people 3rd pl.; the two shine together
itiso [the śruti runs]
tat-sambandhe kṛṣṇa-guṇa-utkarṣaḥ — in connection with her, the heightening of Kṛṣṇa's qualities; yathā ṛk-pariśiṣṭa-śrutau — as in the Ṛk-pariśiṣṭa śruti; rādhayā mādhavaḥ devaḥ, mādhavena eva rādhikā, vibhrājante janeṣu ā iti — 'by Rādhā the god Mādhava, and by Mādhava alone Rādhikā — they shine forth among the people.'
Once more: it is in the tie to Rādhā that Kṛṣṇa's qualities rise to their height. The Ṛk-pariśiṣṭa śruti says so: it is through Rādhā that the god Mādhava shines, and through Mādhava alone that Rādhikā shines. The two shine forth together among the people — each set off by the other.
Why cited: cited to prove that Kṛṣṇa's qualities are heightened precisely through his connection with Rādhā — śruti support that each shines only in the other, so her tie is what brings his excellence to its peak.
s41alternative
atra candra-varṇana-rūpo dvitīyo’rtho’prākaraṇikatvād vyajyaḥ |
atrahere, in this verse
candra-varṇana-rūpaḥa second layer that takes the form of a description of the moon
dvitīyaḥ arthaḥthe second meaning
aprākaraṇikatvātbecause it is not the topic actually under discussion ablative of reason
vyajyaḥis only to be hinted at, not stated outright
atra — here; candra-varṇana-rūpaḥ dvitīyaḥ arthaḥ — a second meaning taking the form of a description of the moon; aprākaraṇikatvāt — because it is off the main topic; vyajyaḥ — is to be suggested, not stated.
Now the commentator turns to the verse's second reading. Every word he has explained of Kṛṣṇa can also be read of the moon (vidhu = both). But this moon-sense is not the real subject of the book. So it is not stated openly; it is only hinted at, left to be picked up. This is the śleṣa, the double meaning: one line, two pictures — Kṛṣṇa in front, the moon behind.
aprākaraṇika: 'not belonging to the prakaraṇa (the topic in hand)'. The moon-reading is genuine but subordinate — carried by suggestion (vyañjanā), not asserted.
s42alternative
tat-pakṣe vyākhyā—vidhunoti khaṇḍayati tāpaja-duḥkham iti nirukter asaṅkocena pūrṇa-candro labhyate |
tat-pakṣeon that side, taking the moon as the referent
vyākhyāhere is the explanation
vidhunoti'he shakes apart'
khaṇḍayatithat is, he breaks up
tāpaja-duḥkhamthe suffering that is born of heat
iti nirukteḥby this derivation of the word vidhu (from vi-√dhū, 'to shake off') ablative
asaṅkocenataken in its full scope, without narrowing it down
pūrṇa-candraḥ labhyatethe full moon is what we arrive at
tat-pakṣe vyākhyā — on the moon-side, the explanation; vidhunoti khaṇḍayati tāpaja-duḥkham — 'he shakes apart, breaks up, the heat-born suffering'; iti nirukteḥ asaṅkocena — by this derivation taken without contraction; pūrṇa-candraḥ labhyate — the full moon is obtained.
On the moon-side, read vidhu as 'the one who shakes off suffering born of heat.' Take that meaning at full stretch, not cutting it down. Read that way, the word lands on the full moon. This mirrors the Kṛṣṇa-reading exactly: there vidhu = 'who dispels all suffering'; here the same root gives 'who dispels the heat' — and that fits the cooling full moon.
nirukti: an etymological derivation that explains a word from a verbal root. Both readings run vidhu through vi-√dhū 'to shake/dispel'; the two-layer śleṣa depends on the one derivation fitting both Kṛṣṇa and the moon.
s43alternative
jayati tāpātmakatvāt sūryāder utkarṣeṇa vartate |
jayati'stands victorious'
tāpa-ātmakatvātbecause the sun and the rest are made of heat ablative of reason
sūryādeḥover the sun and the other bright bodies genitive of comparison
utkarṣeṇa vartatehe stands higher, he wins out
jayati — 'is victorious'; tāpa-ātmakatvāt — because they are of the nature of heat; sūryādeḥ — over the sun and the rest; utkarṣeṇa vartate — he stands in pre-eminence.
Take 'jayati,' he is victorious. On the moon-side: the moon wins out over the sun and the other lights, because they burn with heat while he cools. On the Kṛṣṇa-side the same word said Kṛṣṇa surpasses everything; here it says the cooling moon surpasses the hot sun.
s44alternative
pratipūrṇimāyāṁ tat-tad-rūpatayā prakāśād vartamāna-prayogaḥ |
prati-pūrṇimāyāmon every full-moon night, one after another
tat-tad-rūpatayāin those very same full forms instrumental
prakāśātbecause he keeps appearing afresh ablative of reason
vartamāna-prayogaḥand that is why the present tense ('jayati') is used
prati-pūrṇimāyām — on each full moon; tat-tad-rūpatayā prakāśāt — because he shines out in those same forms; vartamāna-prayogaḥ — hence the present-tense usage.
Why does the verse say 'jayati' in the present tense, as if always happening now? On the moon-side: because the full moon comes back and shines in the same full form every single full-moon night. It is a standing, repeating fact, so the present tense fits. This matches the Kṛṣṇa-side, where the present tense answered the doubt that Kṛṣṇa was only briefly present long ago.
s45alternative
akhila-raso madhurādyā yasmiṁs tad-amṛtamayī mūrtir maṇḍalaṁ yasya saḥ |
akhila-rasaḥthe whole of rasa — every flavour
madhura-ādyābeginning with the sweet flavour
yasminwhich are all present in it
tatthat
amṛta-mayī mūrtiḥform made of nectar
maṇḍalamnamely, his disc, his orb
yasya saḥhe whose orb this is bahuvrīhi describing the moon
akhila-rasaḥ madhura-ādyā yasmin — in which is the whole rasa, beginning with the sweet; tat amṛta-mayī mūrtiḥ maṇḍalam yasya saḥ — he whose orb is that form made of that nectar.
Take 'akhila-rasāmṛta-mūrtiḥ,' 'whose form is the nectar of all rasa.' On the moon-side, rasa means flavour or fluid, sweet and the rest. The moon's disc is thought of as an orb full of nectar holding every such flavour. So his very orb is a body made of nectar. On the Kṛṣṇa-side the same word meant Kṛṣṇa's form is the nectar of all the devotional moods; here it is the literal nectar-orb of the moon.
rasa: on the Kṛṣṇa-side, the devotional moods (the twelve rasas); on the moon-side, ordinary 'flavour / nectar-fluid.' The single word carries both — this is the pivot of the śleṣa in this compound.
s46alternative
tamas-tāpaja-duḥkha-śānti-pūrvaka-sarva-jana-sukha-hetur ity arthaḥ |
tamas-tāpaja-duḥkha-śānti-pūrvakafirst quelling the suffering born of darkness and of heat
sarva-jana-sukha-hetuḥand so being the cause of everyone's happiness
iti arthaḥthat is the sense of the compound
tamas-tāpaja-duḥkha-śānti-pūrvaka — preceded by the calming of the suffering born of darkness and heat; sarva-jana-sukha-hetuḥ — the cause of the happiness of all people; iti arthaḥ — that is the meaning.
This spells out what the nectar-orb line means on the moon-side. First the moon puts an end to two pains: the dark of night and the day's heat. With those gone, he becomes the source of everyone's happiness. This runs parallel to the Kṛṣṇa-side, where Kṛṣṇa first ends all suffering and then gives all joy.
s47alternative
tathā prasṛmarābhī rucibhir jyotsnābhī ruddhā āvṛtā tārakāṇāṁ pālir yena |
tathālikewise, taking the next word on the moon-side
prasṛmarābhiḥby his outspreading, far-reaching instrumental
rucibhiḥlustres
jyotsnābhiḥthat is, by his moonbeams
ruddhāis held down, covered over
āvṛtāthat is, blotted out
tārakāṇāṁ pāliḥthe row, the crowd, of stars
yenahe by whom this is done bahuvrīhi describing the moon
tathā prasṛmarābhiḥ rucibhiḥ jyotsnābhiḥ — likewise by his outspreading lustres, i.e. his moonbeams; ruddhā āvṛtā tārakāṇāṁ pāliḥ — the row of stars is held / enveloped; yena — by whom.
Take 'prasṛmara-ruci-ruddha-tārakā-pāliḥ.' On the moon-side, ruci means moonbeams. The full moon's spreading light washes out the crowd of stars, so they fade from sight. He is the one whose light does this. On the Kṛṣṇa-side the same words said Kṛṣṇa's spreading radiance captivated the gopīs Tārakā and Pālī; here 'tārakā-pāli' is simply the row of stars the moon outshines.
s48alternative
tathā kalitam prakaṭitaṁ śyāmāyā rātrer lalitaṁ vilāso yena |
tathālikewise, the next word on the moon-side
kalitam'taken up' —
prakaṭitamhere it means: made to appear, set going
śyāmāyāḥof Śyāmā —
rātreḥthat is, of the night
lalitamthe lovely play
vilāsaḥthat is, the sport, the charm
yenahe by whom it is set going bahuvrīhi describing the moon
tathā kalitam prakaṭitam — likewise 'taken up,' i.e. made manifest; śyāmāyāḥ rātreḥ lalitam vilāsaḥ — the play, the charm, of Śyāmā, i.e. of the night; yena — by whom.
Take 'kalita-śyāmā-lalitaḥ.' On the moon-side, Śyāmā means the night, and lalita means its loveliness or charm. The moon is the one who brings out night's beauty — his rising sets the night's charm going. On the Kṛṣṇa-side the same words said Kṛṣṇa made the girls Śyāmā and Lalitā his own; here it is the moon awakening the loveliness of the dark night.
Śyāmā: on the Kṛṣṇa-side a gopī's name; on the moon-side a lexicon-sense 'night' (Śyāmā = the dark one). The śleṣa turns on this double value of the one word.
s49alternative
tathā rādhā-preyān rādhāyāḥ viśākhā-nāmnyāṁ tārāyāṁ preyān adhika-prītimān iti |
tathālikewise, the last word on the moon-side
rādhā-preyān'dearer to Rādhā' — read now of the moon
rādhāyāḥtoward Rādhā —
viśākhā-nāmnyāṁ tārāyāmwho here is the star named Viśākhā locative
preyānhe is more beloved, dearer
adhika-prītimānthat is, holding greater love for her
itiso runs the moon-reading
tathā rādhā-preyān — likewise 'dearer to Rādhā'; rādhāyāḥ viśākhā-nāmnyāṁ tārāyām — toward Rādhā, i.e. the star named Viśākhā; preyān adhika-prītimān — more beloved, holding greater love; iti — thus.
Take 'rādhā-preyān.' On the moon-side, Rādhā is the name of a star — the star Viśākhā (Rādhā/Viśākhā being paired lunar mansions). The moon is 'dearer to Rādhā,' that is, he holds greater love toward that star. On the Kṛṣṇa-side these same words made Kṛṣṇa the dearmost beloved of Rādhā the gopī; here Rādhā is a nakṣatra the moon favours.
Rādhā: on the Kṛṣṇa-side the gopī; on the moon-side the nakṣatra Viśākhā (in older reckoning called Rādhā). The two-layer reading pivots on this name being both a person and a star.
s50alternative
ṛturāja-pūrṇimāyāṁ tad-anugāmitvāc candrasya paramotkarṣaś ca darśitaḥ |
ṛtu-rāja-pūrṇimāyāmon the full-moon night of the king of seasons — spring locative
tat-anugāmitvātbecause he follows close after her (the star Viśākhā) ablative of reason
candrasyaof the moon
parama-utkarṣaḥthe topmost excellence
ca darśitaḥis also shown here
ṛtu-rāja-pūrṇimāyām — on the full moon of spring, king of seasons; tat-anugāmitvāt — because he follows after her; candrasya parama-utkarṣaḥ ca darśitaḥ — the supreme pre-eminence of the moon too is shown.
This gives the moon's peak moment. On the spring full moon — spring being the 'king of seasons' — the moon rises right behind the star Viśākhā, following her across the sky. That closeness shows the moon at his most glorious. It parallels the Kṛṣṇa-side, where his following Viśākhā-Rādhā showed Kṛṣṇa's own supreme glory.
ṛtu-rāja: 'king of seasons,' i.e. spring (vasanta); the Caitra full moon, when the moon sits near Viśākhā, is the moon's showcase night.
s51other
atropamālaṅkāraḥ śabda-śakti-mūlānuraṇana-rūpa-dhvaniḥ |
atrahere, in this whole double reading
upamā-alaṅkāraḥthe figure of speech at work is upamā — a comparison (Kṛṣṇa likened to the moon)
śabda-śakti-mūla-anuraṇana-rūpa-dhvaniḥand the suggestion is of the kind that rings on from the power of the words themselves — an 'echo'-type dhvani rooted in word-power
atra upamā-alaṅkāraḥ — here the figure is simile; śabda-śakti-mūla-anuraṇana-rūpa-dhvaniḥ — the suggestion is a resonance-type dhvani grounded in the power of the word.
The commentator names the poetic machinery. The whole moon-layer is an upamā, a comparison: Kṛṣṇa is being likened to the moon. And the way the second meaning comes across is dhvani, suggestion — specifically the kind that 'rings on' from the very power of the words (the śleṣa words each carry the extra sense), like an after-echo. So the moon-picture is never stated; the words sound it out on their own.
upamā (comparison) vs dhvani (suggestion): upamā is the figure — one thing set beside another; dhvani is the mode of delivery — meaning conveyed by overtone, not statement. Here the sub-type is anuraṇana-rūpa (an 'echo' resonance) rooted in śabda-śakti, the word's own power (as opposed to artha-śakti, the power of sense) — because it is the double-valued words themselves that carry the moon-sense.
s52invocation
yat-prasādaṁ vinātratyā arthāḥ sarve sudurgamāḥ | svayaṁ sphorayatāṁ prītaḥ śrīmad-rūpaḥ sa tān mayi ||
yat-prasādaṁ vināwithout whose grace the relative clause
atratyāḥ arthāḥ sarveall the meanings found here
su-durgamāḥare very hard to reach
svayaṁ sphorayatāmmay he make them shine forth of their own accord 3rd sg. imperative, wish
prītaḥbeing pleased with me
śrīmad-rūpaḥ saḥthat glorious Rūpa Gosvāmī
tān mayimay unfold those meanings within me
yat-prasādaṁ vinā atratyāḥ arthāḥ sarve su-durgamāḥ — without whose grace all the meanings here are most hard to reach; prītaḥ śrīmad-rūpaḥ saḥ — that glorious Rūpa, being pleased; tān mayi svayaṁ sphorayatām — may cause them to shine forth of themselves within me.
Mukunda closes with a prayer to the author, Śrī Rūpa. Without Rūpa's grace, all the meanings of this verse stay out of reach. So he prays: may pleased Śrī Rūpa himself make these meanings light up on their own inside me. It is the commentator's closing blessing, matching the opening bow — not a scriptural proof, but his own dedication.
sphorayatām: causative imperative of sphur 'to flash / shine forth' — 'may he cause [them] to burst into light,' a request for insight given, not earned.
Viśvanātha Cakravartī
s1invocation
śrī-kṛṣṇāya namaḥ | namas tasmai bhagavate kṛṣṇāyākuṇṭha-medhase | yo dhatte sarva-bhūtānām abhavāyośatīḥ kalāḥ ||
śrī-kṛṣṇāya namaḥI bow to Śrī Kṛṣṇa. dative of the one saluted + namaḥश्रीकृष्ण को नमस्कार (चतुर्थी 'जिसे नमन'; namaḥ)
namaḥ tasmai bhagavate kṛṣṇāyaI bow to that Lord Kṛṣṇa, dative; namaskāraउन भगवान् कृष्ण को नमस्कार (चतुर्थी; नमस्कार)
akuṇṭha-medhasewhose intelligence is never blunted, dative, describing Kṛṣṇaजिनकी बुद्धि कभी कुण्ठित नहीं (अकुण्ठ मेधा वाले — कृष्ण का विशेषण, चतुर्थी)
yaḥ dhatte sarva-bhūtānām abhavāya uśatīḥ kalāḥwho takes on his lovely arts (forms) so that all living beings may stop being reborn. yaḥ… relative clause; abhavāya dative of purpose 'for freedom from rebirth'जो समस्त प्राणियों के अभव (जन्म-मरण से मुक्ति) के लिए मनोहर कलाओं को धारण करते हैं (सापेक्ष; अभवाय — प्रयोजन में चतुर्थी 'के लिए')
śrī-kṛṣṇāya namaḥ — I bow to Śrī Kṛṣṇa; namaḥ tasmai bhagavate kṛṣṇāya — I bow to that Lord Kṛṣṇa; akuṇṭha-medhase — of unblunted intelligence; yaḥ — who; sarva-bhūtānām abhavāya — for the freedom-from-rebirth of all beings; uśatīḥ kalāḥ dhatte — takes on his lovely arts.
śrī-kṛṣṇāya namaḥ — श्रीकृष्ण को नमस्कार; namaḥ tasmai bhagavate kṛṣṇāya — उन भगवान् कृष्ण को नमस्कार; akuṇṭha-medhase — अकुण्ठ मेधा वाले को; yaḥ dhatte sarva-bhūtānām abhavāya uśatīḥ kalāḥ — जो प्राणियों की मुक्ति के लिए मनोहर कलाएँ धारण करते हैं
I bow to Śrī Kṛṣṇa. I bow to that Lord Kṛṣṇa, whose intelligence is never dulled. He takes on his beautiful arts, his forms, so that every living being may be freed from birth and death. This is Viśvanātha opening his commentary with a bow to Kṛṣṇa.
श्रीकृष्ण को नमस्कार। उन भगवान् कृष्ण को नमस्कार, जिनकी बुद्धि कभी कुण्ठित नहीं होती, जो समस्त प्राणियों को जन्म-मरण से मुक्ति दिलाने के लिए मनोहर कलाओं (अवतारों) को धारण करते हैं।
kalā here: literally a 'portion' or 'art'; in this line his descended forms/expansions, called 'lovely' (uśatīḥ) because they draw beings toward liberation.
यहाँ 'कला' — शब्दार्थ 'भाग' या 'कला'; इस पंक्ति में उनके अवतरित रूप/विस्तार, जिन्हें 'उशती' ('सुन्दर') कहा गया क्योंकि वे समस्त प्राणियों को मुक्ति की ओर आकृष्ट करते हैं।
s2invocation
śrī-caitanya-mukhodgīrṇā hare-kṛṣṇeti varṇakāḥ | majjayanto jagat premṇi vijayantāṁ tad-āhvayāḥ ||
śrī-caitanya-mukha-udgīrṇāḥpoured out from the mouth of Śrī Caitanya, bahuvrīhi describing the syllablesश्रीचैतन्य के मुख से उच्चारित अक्षर (बहुव्रीहि)
hare-kṛṣṇa iti varṇakāḥthe syllables that go 'Hare Kṛṣṇa' — iti naming the syllables'हरे कृष्ण' — ये अक्षर (iti नामकरण)
majjayantaḥ jagat premṇisince they plunge the whole world into prema (pure love), present participle; premṇi locative 'into love'जगत् को प्रेम में डुबोते हुए (वर्तमान कृदन्त; प्रेम्णि — सप्तमी 'प्रेम में')
vijayantāmlet them stand supremely victorious, 3rd pl. imperative, benedictiveसर्वोत्कर्ष से जयवन्त हों (आज्ञार्थ, आशीर्वाद-रूप)
tad-āhvayāḥthey that carry his very name. bahuvrīhi 'whose calling/name is that'जिनका आह्वान अर्थात् नाम वही (हरि-कृष्ण) है (बहुव्रीहि)
śrī-caitanya-mukha-udgīrṇāḥ — poured out from Śrī Caitanya's mouth; hare-kṛṣṇa iti varṇakāḥ — the syllables 'Hare Kṛṣṇa'; jagat premṇi majjayantaḥ — plunging the world into prema; tad-āhvayāḥ — bearing his name; vijayantām — let them be victorious.
śrī-caitanya-mukha-udgīrṇāḥ — श्रीचैतन्य के मुख से उच्चारित; hare-kṛṣṇa iti varṇakāḥ — 'हरे कृष्ण' ये अक्षर; majjayantaḥ jagat premṇi — जगत् को प्रेम में डुबोते हुए; vijayantām — जयवन्त हों; tad-āhvayāḥ — जिनका नाम वही है
Now a second bow. May the syllables 'Hare Kṛṣṇa' be supremely victorious. They came pouring out of the mouth of Śrī Caitanya. They plunge the whole world into prema, pure love. And they carry his own name. Viśvanātha salutes the holy name itself.
श्रीचैतन्य के मुख से उच्चारित 'हरे कृष्ण' — ये अक्षर, जो जगत् को प्रेम में डुबो देते हैं, और जिनका नाम ही वह हरि-कृष्ण है — वे जयवन्त हों।
varṇaka: here the sounded syllables of the name; prema: the highest, selfless love of God — kept as prema, not just 'love'.
वर्णक — यहाँ नाम के उच्चारित अक्षर; प्रेम — भगवान् के प्रति सर्वोच्च, निःस्वार्थ प्रेम — इसे 'प्रेम' ही रखा गया, केवल 'प्रीति/प्यार' नहीं।
s3avataranika
atha so’yaṁ nikhila-sahṛdaya-hṛdya-samudaya-hṛdayālaṅkāraḥ sakala-kavi-maṇḍalākhaṇḍalo bhagavan-nirdeśa-parama-maṅgala-sudhā-dhārā-paramparayā nirmīyamāṇe pratyūha-tāpānudgamake’py asmin granthe sadācāra-sammānanārtham avaśya-kartavya-maṅgalācaraṇam apy anuṣañjayati—akhileti |
atha saḥ ayamNow this very author — atha, discourse opener; saḥ ayam picks out Rūpa Gosvāmīअब वे ये रूप गोस्वामी (atha विवेचन-आरम्भ)
nikhila-sahṛdaya-hṛdya-samudaya-hṛdaya-alaṅkāraḥwho is the heart's ornament of the whole gathering of tasteful, warm-hearted people, bahuvrīhi describing the authorसमस्त सहृदयों के मनोहर समुदाय के हृदय के अलंकार (बहुव्रीहि — ग्रन्थकार का विशेषण)
sakala-kavi-maṇḍala-ākhaṇḍalaḥthe Indra (chief) over the entire circle of poets, appositional; Ākhaṇḍala = Indraसमस्त कवि-मण्डल के इन्द्र (आखण्डल = इन्द्र)
bhagavat-nirdeśa-parama-maṅgala-sudhā-dhārā-paramparayā nirmīyamānein this work — which is being fashioned by an unbroken stream of the supremely blessed nectar that is the pointing-out of the Lord, locative absolute-like; instrumental 'by an unbroken succession of nectar-streams'भगवान् के निर्देश-रूप परम मंगल की सुधा-धारा की अटूट परम्परा से जो रचा जा रहा है, ऐसे ग्रन्थ में (सति-सप्तमी; तृतीया 'अटूट सुधा-धारा-परम्परा से')
pratyūha-tāpa-anudgamake api asmin grantheand which therefore lets no obstacle or distress arise — locative, qualifying granthe; api 'even so'जिसमें विघ्न का ताप उठता ही नहीं, ऐसे इस ग्रन्थ में भी (सप्तमी; api 'फिर भी')
sadācāra-sammānana-arthamin order to honour good conduct, dative/artham of purpose 'for the sake of respecting proper practice'सदाचार के सम्मान के लिए (प्रयोजन में — 'के अर्थ')
avaśya-kartavya-maṅgala-ācaraṇam api anuṣañjayatijoins on as well the auspicious opening that simply must be performed — api 'also'; anuṣañjayati 'attaches, joins on'अवश्य-कर्तव्य मंगलाचरण को भी जोड़ देते हैं (api 'भी'; अनुषञ्जयति 'संलग्न करते हैं')
akhila itiwith the word 'akhila.' pratīka — the catch-word of the verse'अखिल' इस पद से (श्लोक का प्रतीक)
atha saḥ ayam — now this very author; nikhila-sahṛdaya-hṛdya-samudaya-hṛdaya-alaṅkāraḥ — the heart-ornament of all tasteful hearts; sakala-kavi-maṇḍala-ākhaṇḍalaḥ — the Indra of the whole circle of poets; bhagavat-nirdeśa-parama-maṅgala-sudhā-dhārā-paramparayā nirmīyamāne pratyūha-tāpa-anudgamake api asmin granthe — in this work, fashioned by an unbroken stream of the blessed nectar of pointing to the Lord, in which no obstacle or distress arises; sadācāra-sammānana-artham — in order to honour good conduct; avaśya-kartavya-maṅgala-ācaraṇam api anuṣañjayati — also joins on the auspicious opening that must be done; akhila iti — namely, 'akhila.'
atha saḥ ayam — अब वे ये; nikhila-sahṛdaya-hṛdya-samudaya-hṛdaya-alaṅkāraḥ — सहृदयों के हृदय के अलंकार; sakala-kavi-maṇḍala-ākhaṇḍalaḥ — कवि-मण्डल के इन्द्र; bhagavat-nirdeśa-parama-maṅgala-sudhā-dhārā-paramparayā nirmīyamāne — मंगल की सुधा-धारा-परम्परा से रचे जा रहे ग्रन्थ में; pratyūha-tāpa-anudgamake api asmin granthe — विघ्न-ताप-रहित इस ग्रन्थ में भी; sadācāra-sammānana-artham — सदाचार के सम्मान के लिए; avaśya-kartavya-maṅgala-ācaraṇam api anuṣañjayati — अवश्य-कर्तव्य मंगलाचरण को भी जोड़ते हैं; akhila iti — 'अखिल' इस पद से
Now Viśvanātha introduces the verse. The author, Rūpa Gosvāmī, is praised twice: he is the ornament of the hearts of all connoisseurs, and he is the Indra, the chief, of the whole circle of poets. His book is made of an unbroken flow of the blessed nectar that points to the Lord. Because of that flow, no obstacle or distress can even arise in it. So strictly speaking he does not need a separate auspicious opening. Yet, to honour the good custom that one must always begin auspiciously, he adds one anyway. That opening is the word 'akhila' and the verse that follows.
अब वे ये रूप गोस्वामी — समस्त सहृदयों के मनोहर समुदाय के हृदय के अलंकार, समस्त कवि-मण्डल के इन्द्र — यद्यपि यह ग्रन्थ भगवान् के निर्देश-रूप परम मंगल की सुधा-धारा की अटूट परम्परा से रचा जा रहा है और इसमें विघ्न का ताप उठता ही नहीं, तथापि सदाचार के सम्मान के लिए अवश्य-कर्तव्य मंगलाचरण को भी इसमें जोड़ देते हैं — 'अखिल' इस पद से।
ākhaṇḍala is a name of Indra; used here as 'chief, sovereign' over the poets. maṅgala: an auspicious opening to a work — a blessing to open with, not merely 'auspicious.'
आखण्डल इन्द्र का नाम है; यहाँ कवियों पर 'प्रमुख, अधिपति' के अर्थ में प्रयुक्त। मंगल (मंगलाचरण) — ग्रन्थ का शुभ आरम्भ — जिससे आरम्भ किया जाए वह आशीर्वाद, केवल 'शुभ' नहीं।
s4gloss
vidhuḥ—śrī-kṛṣṇo jayati |
vidhuḥ'Vidhu' — the word being glossed'विधु' (जिस पद की व्याख्या हो रही है)
śrī-kṛṣṇaḥmeans Śrī Kṛṣṇa — apposition, the identificationअर्थात् श्रीकृष्ण (अपोजिशन — पहचान)
jayatiis victorious. 3rd sg. presentजयवन्त हैं (अन्य पुरुष एकवचन वर्तमान)
vidhuḥ — Vidhu; śrī-kṛṣṇaḥ — that is, Śrī Kṛṣṇa; jayati — is victorious.
vidhuḥ — 'विधु'; śrī-kṛṣṇaḥ — श्रीकृष्ण; jayati — जयवन्त हैं
Viśvanātha gives the plain sense first. 'Vidhu' means Śrī Kṛṣṇa. And 'jayati' means he is victorious.
'विधु' अर्थात् श्रीकृष्ण — वे जयवन्त हैं।
s5gloss
sarvotkarṣeṇa vartate |
sarva-utkarṣeṇa vartatehe stands above everything — he exists in supreme pre-eminence over all. instrumental sarva-utkarṣeṇa 'by way of surpassing all'; vartate 'exists, stands'सबसे बढ़कर उत्कर्ष के साथ विराजते हैं (तृतीया 'सर्वोत्कर्ष से'; वर्तते 'रहते हैं')
sarva-utkarṣeṇa — by surpassing everything; vartate — he stands, he exists.
sarva-utkarṣeṇa vartate — सर्वोत्कर्ष से विराजते हैं
Here is what 'is victorious' means. Kṛṣṇa stands above everything. He is supreme over all. That is the force of 'jayati.'
अर्थात् वे सबसे बढ़कर उत्कर्ष के साथ विराजमान रहते हैं।
s6reply
yadyapi vidhuḥ śrī-vatsa-lāñchana ity abhidhānāt vidhu-śabdaḥ sarva-bhagavat-para eva, tathāpi rādhā-preyān ity ādy asādhāraṇa-viśeṣaṇaiḥ śrī-kṛṣṇam eva pratipādayatīti jñeyam |
yadyapi vidhuḥ śrī-vatsa-lāñchanaḥ iti abhidhānātAlthough, going by the dictionary entry 'vidhu is he who bears the Śrīvatsa mark,' yadyapi 'although'; ablative abhidhānāt 'from the lexical statement'यद्यपि 'विधुः श्रीवत्स-लाञ्छनः' इस कोश-कथन के कारण (हेतु में पञ्चमी)
vidhu-śabdaḥ sarva-bhagavat-paraḥ evathe word 'vidhu' points to the Lord in general — eva 'indeed'; -paraḥ 'aimed at, referring to''विधु' शब्द सामान्यतः सब भगवद्-रूपों का वाचक ही है (eva 'ही'; -परः 'की ओर संकेत करने वाला')
tathāpistill, even so, tathāpi answers yadyapiतथापि ('यद्यपि' का उत्तर)
rādhā-preyān iti ādi asādhāraṇa-viśeṣaṇaiḥbecause of the uncommon describing-words like 'dearmost of Rādhā,' instrumental of cause 'by means of / because of the qualifiers''राधा-प्रेयान्' इत्यादि असाधारण विशेषणों के द्वारा (हेतु/साधन में तृतीया 'के कारण')
śrī-kṛṣṇam eva pratipādayatiit establishes Śrī Kṛṣṇa alone. eva 'alone'; pratipādayati 'makes out, establishes'श्रीकृष्ण को ही प्रतिपादित करता है (eva 'ही'; प्रतिपादयति 'सिद्ध करता है')
iti jñeyamThis is to be understood. iti jñeyam, closing formulaऐसा समझना चाहिए (समापन-सूत्र)
yadyapi — although; vidhuḥ śrī-vatsa-lāñchanaḥ iti abhidhānāt — by the lexical statement 'vidhu = bearer of the Śrīvatsa mark'; vidhu-śabdaḥ sarva-bhagavat-paraḥ eva — the word 'vidhu' refers to the Lord in general; tathāpi — still; rādhā-preyān iti ādi asādhāraṇa-viśeṣaṇaiḥ — by the uncommon qualifiers such as 'dearmost of Rādhā'; śrī-kṛṣṇam eva pratipādayati — it establishes Śrī Kṛṣṇa alone; iti jñeyam — this is to be understood.
yadyapi vidhuḥ śrī-vatsa-lāñchanaḥ iti abhidhānāt — यद्यपि 'विधुः श्रीवत्स-लाञ्छनः' इस कोश-कथन से; vidhu-śabdaḥ sarva-bhagavat-paraḥ eva — 'विधु' शब्द सब भगवद्-रूपों का वाचक ही; tathāpi — तथापि; rādhā-preyān iti ādi asādhāraṇa-viśeṣaṇaiḥ — 'राधा-प्रेयान्' आदि असाधारण विशेषणों से; śrī-kṛṣṇam eva pratipādayati — श्रीकृष्ण को ही प्रतिपादित करता है; iti jñeyam — ऐसा समझना चाहिए
One might object that 'vidhu' is a general word. A dictionary says 'vidhu is the one who bears the Śrīvatsa mark,' and that mark belongs to Viṣṇu, the Lord in general — not Kṛṣṇa specifically. Viśvanātha grants that. Still, he answers, the special describing-words in this verse settle the matter. A phrase like 'dearmost of Rādhā' fits no one but Kṛṣṇa. So the qualifiers pin 'vidhu' down to Śrī Kṛṣṇa alone. Understand it that way.
यद्यपि 'विधुः श्रीवत्स-लाञ्छनः' इस कोश-कथन के कारण 'विधु' शब्द सामान्यतः सब भगवद्-रूपों का ही वाचक है, तथापि 'राधा-प्रेयान्' इत्यादि असाधारण विशेषणों के द्वारा वह श्रीकृष्ण को ही प्रतिपादित करता है — ऐसा समझना चाहिए।
Śrīvatsa: the curl of hair on Viṣṇu's chest, a standard mark of the Lord in general; here it is why 'vidhu' could name any form of the Lord until the qualifiers narrow it to Kṛṣṇa.
श्रीवत्स — विष्णु के वक्षःस्थल पर का केश-गुच्छ, सामान्यतः भगवान् का चिह्न; यहाँ यही कारण है कि 'विधु' किसी भी भगवद्-रूप का नाम हो सकता था, जब तक विशेषण उसे कृष्ण तक सीमित नहीं कर देते।
s7definition
tad-utkarṣa-hetuṁ svarūpa-lakṣaṇam āha—akhilā rasā vakṣyamāṇāḥ śāntādyā dvādaśa yasmin tādṛśam amṛtaṁ paramānanda eva mūrtir yasya saḥ |
tad-utkarṣa-hetuṁ svarūpa-lakṣaṇam āhaHe now states the defining mark of Kṛṣṇa's own nature, the mark that is the very ground of that pre-eminence — svarūpa-lakṣaṇa 'essential defining mark'; āha 'he states'उस उत्कर्ष के हेतु — स्वरूप-लक्षण — को कहते हैं (कर्म; स्वरूप-लक्षण 'सारभूत लक्षण'; आह 'कहते हैं')
akhilāḥ rasāḥ vakṣyamāṇāḥ śānta-ādyāḥ dvādaśa yasmin'all the rasas' — the twelve moods, beginning with śānta, that he will name later — the one in whom they all are; yasmin locative in a bahuvrīhi 'in whom'जिसमें शान्त आदि बारह समस्त रस, जो आगे कहे जाएँगे, विद्यमान हैं (यस्मिन् — बहुव्रीहि में सप्तमी 'जिसमें')
tādṛśam amṛtaṁ paramānandaḥ evasuch nectar, which is nothing but supreme bliss, eva 'nothing but'वैसा अमृत — जो परमानन्द ही है (eva 'और कुछ नहीं')
mūrtiḥ yasya saḥis the very form of whom — he is that one. bahuvrīhi 'whose form is that'जिनकी मूर्ति है — वही (बहुव्रीहि 'जिनका स्वरूप वह है')
tad-utkarṣa-hetuṁ svarūpa-lakṣaṇam āha — he states the essential defining mark, ground of that pre-eminence; akhilāḥ rasāḥ vakṣyamāṇāḥ śānta-ādyāḥ dvādaśa yasmin — in whom are all the rasas, the twelve beginning with śānta, to be named later; tādṛśam amṛtaṁ paramānandaḥ eva mūrtiḥ yasya saḥ — such nectar, sheer supreme bliss, being the form of whom, he is that.
tad-utkarṣa-hetuṁ svarūpa-lakṣaṇam āha — उस उत्कर्ष के हेतु स्वरूप-लक्षण को कहते हैं; akhilāḥ rasāḥ vakṣyamāṇāḥ śānta-ādyāḥ dvādaśa yasmin — जिसमें शान्त आदि बारह समस्त रस; tādṛśam amṛtaṁ paramānandaḥ eva — वैसा अमृत जो परमानन्द ही; mūrtiḥ yasya saḥ — जिनकी मूर्ति, वही
Why is Kṛṣṇa supreme? Viśvanātha now gives the defining mark of Kṛṣṇa's own nature that grounds it. Take the word 'akhila-rasāmṛta-mūrti.' 'All the rasas' means the twelve devotional moods, starting with śānta, that Rūpa will list later. Kṛṣṇa is the one in whom all twelve live. Together they are a nectar, and that nectar is nothing but supreme bliss. Kṛṣṇa's very form is made of that nectar. That is what the compound says.
उस उत्कर्ष के हेतु — स्वरूप-लक्षण — को कहते हैं: जिसमें शान्त आदि बारह समस्त रस, जो आगे कहे जाएँगे, विद्यमान हैं, वैसा जो अमृत — जो परमानन्द ही है — वही जिनकी मूर्ति है, वे अखिल-रसामृत-मूर्ति कृष्ण हैं।
rasa: in poetics the aesthetic mood savoured by an audience; here transposed into bhakti as the devotional moods (śānta, dāsya, etc.), of which twelve are counted — five primary and seven secondary. svarūpa-lakṣaṇa: a defining mark drawn from what the thing essentially IS (like 'water is wet'), as opposed to an incidental pointer.
रस — काव्यशास्त्र में सहृदय द्वारा आस्वादित भाव; यहाँ भक्ति में उतारा गया भक्ति-रस (शान्त, दास्य आदि), जिनकी बारह गणना है — पाँच मुख्य और सात गौण। स्वरूप-लक्षण — वस्तु के अनिवार्य स्वरूप से लिया गया लक्षण (जैसे 'जल आर्द्र है'), न कि कोई आकस्मिक बाह्य संकेतक।
s8gloss
tatrāpi rasa-viśeṣa-viśiṣṭa-parikara-vaiśiṣṭyenāvirbhāva-vaiśiṣṭyaṁ dṛśyate |
tatra apiEven within that, tatra api 'even there, in that same nectar-form'उसी अमृत-रूप में भी (api 'यहाँ तक')
rasa-viśeṣa-viśiṣṭa-parikara-vaiśiṣṭyenathrough the special character of the companions marked by one particular rasa, instrumental of means 'by the distinctiveness of the associates'किसी विशेष रस से युक्त परिकर की विशिष्टता के द्वारा (साधन में तृतीया)
āvirbhāva-vaiśiṣṭyaṁ dṛśyatea special character shows up in how he appears. āvirbhāva 'appearance, manifestation'; dṛśyate 'is seen'आविर्भाव की विशिष्टता देखी जाती है
tatra api — even within that nectar-form; rasa-viśeṣa-viśiṣṭa-parikara-vaiśiṣṭyena — through the distinctiveness of the associates marked by a particular rasa; āvirbhāva-vaiśiṣṭyaṁ dṛśyate — a distinctiveness of his appearance is seen.
tatra api — उसी में भी; rasa-viśeṣa-viśiṣṭa-parikara-vaiśiṣṭyena — विशेष रस-युक्त परिकर की विशिष्टता से; āvirbhāva-vaiśiṣṭyaṁ dṛśyate — आविर्भाव की विशिष्टता देखी जाती है
Even inside that one nectar-form, his appearances differ. What makes them differ is the company he keeps. Each set of companions is coloured by one particular rasa. So the rasa of the associates gives each appearance of Kṛṣṇa its own distinct flavour.
उसी अमृत-रूप में भी — किसी विशेष रस से युक्त परिकर की विशिष्टता के द्वारा — आविर्भाव की विशिष्टता देखी जाती है।
s9gloss
ata evādi-rasa-viśeṣa-viśiṣṭa-parikara-sambandhena nitarām |
ataḥ evaFor this very reason, ataḥ eva 'precisely because of this'इसीलिए
ādi-rasa-viśeṣa-viśiṣṭa-parikara-sambandhenathrough his link with companions marked by the foremost rasa in particular, instrumental of means; ādi-rasa = the primary/erotic rasaआदि-रस (शृंगार) की विशेषता से युक्त परिकर के सम्बन्ध के द्वारा (साधन में तृतीया)
nitarāmit holds all the more. nitarām 'especially, in the highest degree'अत्यन्त रूप से, सबसे बढ़कर
ataḥ eva — for this very reason; ādi-rasa-viśeṣa-viśiṣṭa-parikara-sambandhena — through the connection with associates marked by the foremost rasa; nitarām — all the more.
ataḥ eva — इसीलिए; ādi-rasa-viśeṣa-viśiṣṭa-parikara-sambandhena — आदि-रस-युक्त परिकर के सम्बन्ध से; nitarām — सबसे बढ़कर
And so it holds most of all in one case. When his companions are marked by the foremost rasa, the mādhurya or amorous mood, his special appearance stands out even more strongly. The higher the rasa of the associates, the more distinctly he shines.
इसीलिए आदि-रस (शृंगार) की विशेषता से युक्त परिकर के सम्बन्ध के कारण यह विशिष्टता सबसे बढ़कर है।
ādi-rasa: 'the first rasa,' i.e. śṛṅgāra/mādhurya, the amorous mood — counted the chief of the rasas, hence 'foremost' here.
आदि-रस — 'प्रथम रस', अर्थात् शृंगार/माधुर्य, प्रेम-रस — रसों में मुख्य गिना जाता है, अतः यहाँ 'सर्वाधिक'।
s10citation
yathā daśame—
yathā daśameAs in the Tenth Canto — yathā 'for example'; locative 'in the Tenth (of the Bhāgavata)'जैसे भागवत के दशम स्कन्ध में (यथा 'जैसे'; सप्तमी 'दशम में')
yathā — as, for example; daśame — in the Tenth Canto.
yathā daśame — जैसे दशम स्कन्ध में
To prove it, Viśvanātha now quotes scripture. 'As it says in the Tenth Canto of the Bhāgavata —' and the verse follows.
जैसे भागवत के दशम स्कन्ध में —
Why cited: introduces the Tenth-Canto verses cited to show Kṛṣṇa's beauty shines most amid the gopīs (the foremost-rasa associates).
क्यों उद्धृत: दशम स्कन्ध के उन श्लोकों को प्रस्तुत करता है जो दिखाते हैं कि कृष्ण का सौन्दर्य गोपियों (आदि-रस के परिकर) के मध्य सर्वाधिक चमकता है।
s11citation
gopyas tapaḥ kim acaran yad amuṣya rūpaṁ lāvaṇya-sāram asamordhvam ananya-siddham | dṛgbhiḥ pibanty anusavābhinavaṁ durāpam ekānta-dhāma yaśasaḥ śriya aiśvarasya ||
gopyaḥ tapaḥ kim acaranWhat austerity did the gopīs perform, kim acaran 'what did they do'गोपियों ने कौन-सा तप किया?
yat amuṣya rūpaṁthat his form — yat 'such that'; amuṣya 'of him'जो उसका (कृष्ण का) रूप (सापेक्ष; अमुष्य 'उसका')
lāvaṇya-sāram asama-ūrdhvam ananya-siddhamthe essence of loveliness, with no equal and none higher, needing nothing but itself to be perfect, string of adjectives on rūpamलावण्य का सार, जिसके समान या ऊपर कोई नहीं, स्वतःसिद्ध (रूप के विशेषण)
dṛgbhiḥ pibanti anusava-abhinavaṁ durāpamthey drink with their eyes — ever-fresh at every moment, so hard to obtain, instrumental dṛgbhiḥ 'with the eyes'; anusava 'moment by moment'नेत्रों से पीती हैं — प्रति क्षण नवीन, दुर्लभ रूप को (तृतीया 'नेत्रों से'; अनुसव 'क्षण-क्षण')
ekānta-dhāma yaśasaḥ śriyaḥ aiśvarasyathe sole abode of fame, of beauty, and of lordly power? genitives dependent on ekānta-dhāma 'the one seat of…'यश, श्री और ऐश्वर्य का एकमात्र धाम (षष्ठियाँ 'का')
gopyaḥ tapaḥ kim acaran — what austerity did the gopīs do; yat — such that; amuṣya rūpaṁ lāvaṇya-sāram asama-ūrdhvam ananya-siddham — his form, the essence of loveliness, unequalled, unsurpassed, self-perfect; anusava-abhinavaṁ durāpam — ever-fresh, hard to attain; ekānta-dhāma yaśasaḥ śriyaḥ aiśvarasya — the sole abode of fame, beauty, and power; dṛgbhiḥ pibanti — they drink with their eyes.
gopyaḥ tapaḥ kim acaran — गोपियों ने कौन-सा तप किया; yat amuṣya rūpaṁ — जो उसका रूप; lāvaṇya-sāram asama-ūrdhvam ananya-siddham — लावण्य-सार, अनुपम, स्वतःसिद्ध; dṛgbhiḥ pibanti anusava-abhinavaṁ durāpam — प्रति क्षण नवीन, दुर्लभ को नेत्रों से पीती हैं; ekānta-dhāma yaśasaḥ śriyaḥ aiśvarasya — यश-श्री-ऐश्वर्य का एकमात्र धाम
The verse (Bhāgavata 10.44.14) asks in wonder: what austerity could the gopīs have done to deserve this? For they get to drink in Kṛṣṇa's form with their very eyes. That form is the essence of all loveliness. Nothing equals it and nothing is higher. It is perfect on its own, needing nothing added. It is fresh again at every instant, and terribly hard for anyone else to get. It is the one home of all fame, all beauty, and all lordly power. So even the residents of Mathurā marvel at the gopīs' fortune.
गोपियों ने आखिर कौन-सा तप किया, जो उसके इस रूप को — लावण्य का सार, जिसके समान या श्रेष्ठ कोई नहीं, स्वतःसिद्ध, प्रति क्षण नवीन, दुर्लभ, यश-श्री-ऐश्वर्य का एकमात्र धाम — वे अपने नेत्रों से पीती रहती हैं।
Why cited: cited to show Kṛṣṇa's form is supremely beautiful precisely as relished by the gopīs — the associates of the foremost rasa.
क्यों उद्धृत: यह दिखाने के लिए उद्धृत कि कृष्ण का रूप ठीक वैसे ही परम सुन्दर है जैसे गोपियों द्वारा आस्वादित — आदि-रस के परिकर।
s12citation
trailokya-lakṣmyaika-padaṁ vapur dadhat tatrātiśuśubhe tābhir bhagavān devakī-sutaḥ
trailokya-lakṣmī-eka-padaṁ vapuḥ dadhatWearing a body that is the single seat of the beauty of all three worlds, present participle 'bearing/wearing'; eka-padaṁ 'the one place/seat'तीनों लोकों की लक्ष्मी का एकमात्र स्थान — ऐसे शरीर को धारण करते हुए (वर्तमान कृदन्त)
tatra atiśuśubhe tābhiḥhe shone there surpassingly, together with them (the gopīs), tatra 'there'; tābhiḥ instrumental of accompaniment; atiśuśubhe 'shone exceedingly'वहाँ उन गोपियों के साथ अत्यन्त शोभित हुए (तृतीया — साथ; अतिशुशुभे 'खूब शोभित हुए')
bhagavān devakī-sutaḥ— the Lord, the son of Devakī. appositives naming the subjectभगवान् देवकी-पुत्र (कर्ता — अपोजिशन)
trailokya-lakṣmī-eka-padaṁ vapuḥ dadhat — bearing a body that is the sole seat of the beauty of the three worlds; bhagavān devakī-sutaḥ — the Lord, Devakī's son; tābhiḥ — together with them (the gopīs); tatra atiśuśubhe — shone there surpassingly.
trailokya-lakṣmī-eka-padaṁ vapuḥ dadhat — त्रैलोक्य-लक्ष्मी का एकमात्र स्थान शरीर धारण करते हुए; tatra atiśuśubhe tābhiḥ — वहाँ उनके साथ अत्यन्त शोभित हुए; bhagavān devakī-sutaḥ — भगवान् देवकी-पुत्र
A second proof-verse (Bhāgavata 10.33.6). Kṛṣṇa wears a body that is the one seat of all the beauty in the three worlds. He is the Lord, the son of Devakī. And amid the gopīs, in their company, he shone more brilliantly than anywhere else. Again the point is that his splendour peaks among the gopīs.
तीनों लोकों की लक्ष्मी का एकमात्र स्थान — ऐसे शरीर को धारण करते हुए भगवान् देवकी-पुत्र वहाँ उन गोपियों के साथ अत्यन्त शोभित हुए।
Why cited: cited to show Kṛṣṇa shines most brilliantly amid the gopīs — his beauty is heightened by the foremost-rasa company.
क्यों उद्धृत: यह दिखाने के लिए उद्धृत कि कृष्ण गोपियों के मध्य सर्वाधिक देदीप्यमान होते हैं — उनका सौन्दर्य आदि-रस के संग से बढ़ता है।
s13avataranika
tāsu gopīṣu mukhyā daśa bhavaiṣyottare śrūyate—
tāsu gopīṣuAmong those gopīs, locative 'among them'उन गोपियों में (सप्तमी 'में से')
mukhyāḥ daśaten are the principal ones, 'principal, chief' + 'ten'मुख्य दस
bhaviṣyottare śrūyateas is heard in the Bhaviṣyottara(-purāṇa) — locative 'in the Bhaviṣyottara'; śrūyate 'is heard/read'भविष्योत्तर पुराण में सुनी जाती हैं (सप्तमी 'में'; श्रूयते 'सुनी/पढ़ी जाती हैं')
tāsu gopīṣu — among those gopīs; mukhyāḥ daśa — ten are principal; bhaviṣyottare śrūyate — it is heard in the Bhaviṣyottara.
tāsu gopīṣu — उन गोपियों में; mukhyāḥ daśa — मुख्य दस; bhaviṣyottare śrūyate — भविष्योत्तर में सुनी जाती हैं
Viśvanātha now narrows down. Among all those gopīs, ten count as the chief ones. This, he says, is stated in the Bhaviṣyottara Purāṇa. The listing verse follows.
उन गोपियों में मुख्य दस भविष्योत्तर पुराण में सुनी जाती हैं —
s14citation
gopālī pālikā dhanyā viśākhānyā dhaniṣṭhikā | rādhānurādhā somābhā tārakā daśamī tathā ||
gopālī pālikā dhanyāGopālī, Pālikā, Dhanyā, names in a listगोपाली, पालिका, धन्या
viśākhā anyā dhaniṣṭhikāViśākhā, and the other one Dhaniṣṭhikā, anyā 'the other'; here a variant name in Viśvanātha's listविशाखा, दूसरी धनिष्ठिका (अन्या 'दूसरी'; विश्वनाथ की सूची में एक भिन्न नाम)
rādhā anurādhā somābhāRādhā, Anurādhā, Somābhā, continuing the listराधा, अनुराधा, सोमाभा
tārakā daśamī tathāand likewise Tārakā the tenth. tathā 'likewise'; daśamī 'the tenth'तारका, और वैसे ही दसवीं (तथा 'तथा'; दशमी 'दसवीं')
gopālī pālikā dhanyā viśākhā anyā dhaniṣṭhikā rādhā anurādhā somābhā — Gopālī, Pālikā, Dhanyā, Viśākhā, the other Dhaniṣṭhikā, Rādhā, Anurādhā, Somābhā; tārakā daśamī tathā — and likewise Tārakā as tenth.
gopālī pālikā dhanyā — गोपाली, पालिका, धन्या; viśākhā anyā dhaniṣṭhikā — विशाखा, दूसरी धनिष्ठिका; rādhā anurādhā somābhā — राधा, अनुराधा, सोमाभा; tārakā daśamī tathā — तारका, तथा दसवीं
The Bhaviṣyottara verse names the ten chief gopīs: Gopālī, Pālikā, Dhanyā, Viśākhā, then another named Dhaniṣṭhikā, Rādhā, Anurādhā, Somābhā, and as the tenth, Tārakā. Note that Viśvanātha's list has 'Dhaniṣṭhikā' where Jīva read 'Dhyāna-niṣṭhikā'; the commentators are not harmonized.
गोपाली, पालिका, धन्या, विशाखा, दूसरी धनिष्ठिका, राधा, अनुराधा, सोमाभा, तारका, और वैसे ही दसवीं।
Why cited: cited to fix the roster of the ten principal gopīs, so the verse's Tārakā, Pālī, Śyāmā, Lalitā, and Rādhā can be placed among them.
क्यों उद्धृत: दस प्रधान गोपियों की सूची निश्चित करने के लिए उद्धृत, ताकि श्लोक की तारका, पाली, श्यामा, ललिता और राधा उनमें स्थापित की जा सकें।
This is Viśvanātha's received reading of the list; it differs from the reading in Jīva's commentary (which has Viśākhā 'dhyāna-niṣṭhikā,' steadfast in meditation). The variant is left standing, not reconciled.
यह विश्वनाथ का प्राप्त पाठ है; यह जीव की टीका के पाठ से भिन्न है (जिसमें विशाखा 'ध्यान-निष्ठिका', ध्यान में स्थिर, है)। दोनों पाठान्तर यथावत् रखे गए, समन्वित नहीं किए गए।
s15gloss
tatheti daśamy api tārakā-nāmny evety arthaḥ |
tathā itiThe word 'likewise' — pratīka, the word being explained'तथा' इस पद से (प्रतीक — जिस शब्द की व्याख्या हो रही है)
daśamī api tārakā-nāmnī evameans the tenth one too is named precisely Tārakā; api 'too'; eva 'precisely'; -nāmnī 'named'दसवीं भी तारका नाम वाली ही है (api 'भी'; eva 'ठीक वही'; -नाम्नी 'नाम वाली')
iti arthaḥthat is the sense. iti arthaḥ closing formulaऐसा अर्थ है (समापन-सूत्र)
tathā iti — the word 'likewise'; daśamī api tārakā-nāmnī eva — the tenth too is named exactly Tārakā; iti arthaḥ — that is the meaning.
tathā iti — 'तथा' इस पद से; daśamī api tārakā-nāmnī eva — दसवीं भी तारका नाम वाली ही; iti arthaḥ — ऐसा अर्थ
Viśvanātha explains the little word 'tathā,' 'likewise,' in the list. It means: the tenth gopī too carries the name Tārakā. So 'Tārakā the tenth, likewise' just tells us her name is Tārakā. That is all it means.
'तथा' शब्द का अर्थ यह है कि दसवीं भी 'तारका' नाम वाली ही है।
s16alternative
daśamīty ekaṁ nāma vā |
daśamī iti ekaṁ nāma vāOr else, 'Daśamī' is itself one of her names. vā 'or'; ekaṁ nāma 'a name'अथवा 'दशमी' एक स्वतन्त्र नाम है (vā 'अथवा'; एकं नाम 'एक नाम')
daśamī iti — the word 'daśamī'; ekaṁ nāma vā — or (it is) a name.
daśamī iti ekaṁ nāma vā — अथवा 'दशमी' एक नाम
Viśvanātha offers a second reading and leaves it open. Instead of 'the tenth,' the word 'Daśamī' may itself be her name. So either she is 'the tenth (gopī), Tārakā,' or one of her names is simply 'Daśamī.' He does not decide between the two.
अथवा 'दशमी' भी एक स्वतन्त्र नाम हो सकता है।
s17citation
skānde prahlāda-saṁhitāyāṁ dvārakā-māhātmye ca—lalitovāca ity ādau mukhyāsv aṣṭasu pūrvoktābhyo’nyā lalitā-śyāmalā-śaivyā-padmā-bhadrāś ca śrūyante |
skānde prahlāda-saṁhitāyāṁ dvārakā-māhātmye caAnd in the Skānda, in the Prahlāda-saṁhitā, in the Dvārakā-māhātmya, locatives naming the sourcesस्कान्द में, प्रह्लाद-संहिता में, और द्वारका-माहात्म्य में (सप्तमियाँ — स्रोत; ca 'और')
lalitā uvāca iti ādauin the passage that begins 'Lalitā said,' iti ādau 'in the passage starting with…''ललिता उवाच' इस आरम्भ वाले प्रसंग में (सप्तमी)
mukhyāsu aṣṭasuamong the eight principal ones, locative 'among the eight chief (gopīs)'आठ मुख्य गोपियों में (सप्तमी)
pūrva-uktābhyaḥ anyāḥothers, different from those named before, ablative of comparison 'other than the previously mentioned'पहले कही गई गोपियों से भिन्न (तुलना में पञ्चमी)
lalitā-śyāmalā-śaivyā-padmā-bhadrāḥ ca śrūyanteare heard — Lalitā, Śyāmalā, Śaivyā, Padmā, and Bhadrā. śrūyante 'are heard/read'ललिता, श्यामला, शैव्या, पद्मा और भद्रा सुनी जाती हैं (श्रूयन्ते 'सुनी/पढ़ी जाती हैं')
skānde prahlāda-saṁhitāyāṁ dvārakā-māhātmye ca — and in the Skānda, the Prahlāda-saṁhitā, the Dvārakā-māhātmya; lalitā uvāca iti ādau — in the passage beginning 'Lalitā said'; mukhyāsu aṣṭasu — among the eight principal ones; pūrva-uktābhyaḥ anyāḥ — others than those mentioned before; lalitā-śyāmalā-śaivyā-padmā-bhadrāḥ ca śrūyante — Lalitā, Śyāmalā, Śaivyā, Padmā, and Bhadrā are heard.
skānde prahlāda-saṁhitāyāṁ dvārakā-māhātmye ca — स्कान्द, प्रह्लाद-संहिता और द्वारका-माहात्म्य में; lalitā uvāca iti ādau — 'ललिता उवाच' इस आरम्भ में; mukhyāsu aṣṭasu — आठ मुख्य गोपियों में; pūrva-uktābhyaḥ anyāḥ — पहले कही गई से भिन्न; lalitā-śyāmalā-śaivyā-padmā-bhadrāḥ ca śrūyante — ललिता, श्यामला, शैव्या, पद्मा और भद्रा सुनी जाती हैं
A different scripture gives a different set. In the Skānda Purāṇa, in the Prahlāda-saṁhitā, in the Dvārakā-māhātmya, there is a passage that starts 'Lalitā said.' There, among the eight chief gopīs, five new names show up that were not in the first list: Lalitā, Śyāmalā, Śaivyā, Padmā, and Bhadrā. Viśvanātha simply reports both lists side by side.
और स्कान्द की प्रह्लाद-संहिता में तथा द्वारका-माहात्म्य में — 'ललिता उवाच' इस आरम्भ वाले प्रसंग में — आठ मुख्य गोपियों में पहले कही गई गोपियों से भिन्न ललिता, श्यामला, शैव्या, पद्मा और भद्रा नाम सुनी जाती हैं।
Why cited: cited to record a second scriptural roster of the chief gopīs, adding Lalitā, Śyāmalā, and the rest alongside the Bhaviṣyottara list.
क्यों उद्धृत: प्रधान गोपियों की दूसरी शास्त्रीय सूची अभिलिखित करने के लिए उद्धृत, जो भविष्योत्तर की सूची के साथ ललिता, श्यामला आदि को जोड़ती है।
s18gloss
pūrvoktās tu rādhā-dhanyā-viśākhāś ca |
pūrva-uktāḥ tuAnd the ones named before (in that Skānda passage) are — tu 'and, as for'; pūrva-uktāḥ 'those previously mentioned'और जो पहले कही गईं (tu 'जबकि'; पूर्वोक्ताः 'पहले कही गईं')
rādhā-dhanyā-viśākhāḥ caRādhā, Dhanyā, and Viśākhā. the remaining three of the eightवे राधा, धन्या और विशाखा (शेष तीन)
pūrva-uktāḥ tu — and those mentioned before; rādhā-dhanyā-viśākhāḥ ca — Rādhā, Dhanyā, and Viśākhā.
pūrva-uktāḥ tu — जो पहले कही गईं; rādhā-dhanyā-viśākhāḥ ca — राधा, धन्या, विशाखा
Viśvanātha completes that second list of eight. Five names were new. The other three, already known from the first list, are Rādhā, Dhanyā, and Viśākhā. So the eight chief gopīs of the Skānda passage are those five plus these three.
और जो पहले कही गईं वे राधा, धन्या और विशाखा हैं — इनसे आठ की गिनती पूरी होती है।
s19gloss
tad etad abhipretya tatrāpi mukhyāmukhyābhir uttarottara-vaiśiṣṭyaṁ darśayitum avara-mukhyātvaṁ tāvan niṣkṛṣya tābhyāṁ vaiśiṣṭyam āha—prasṛmarābhiḥ prasaraṇa-śīlābhī rucibhiḥ kāntibhī ruddhe vaśīkṛte tārakā-pālī-nāmnyau yūtheśvaryau yena saḥ |
tat etat abhipretyaWith all this in view, abhipretya 'having intended, keeping in mind'इस बात को मन में रखकर (अभिप्राय से)
tatra api mukhya-amukhyābhiḥ uttarottara-vaiśiṣṭyaṁ darśayitumin order to show, even among them, a distinctiveness that rises step by step from the principal to the non-principal ones, infinitive of purpose darśayitum 'in order to show'; uttarottara 'each higher than the last'उनमें भी मुख्य और अमुख्य गोपियों के द्वारा उत्तरोत्तर बढ़ती विशिष्टता दिखाने के लिए (तृतीया; क्रिया-अर्थक 'दिखाने के लिए')
avara-mukhyātvaṁ tāvat niṣkṛṣyahe first picks out the least-principal rank, tāvat 'first of all'; niṣkṛṣya 'having drawn out, singled out'पहले अपेक्षाकृत गौण मुख्यता को अलग निकालकर (तावत् 'सबसे पहले'; निष्कृष्य 'निकालकर')
tābhyāṁ vaiśiṣṭyam āhaand states the distinctiveness by means of those two — instrumental tābhyāṁ 'by the two'; āha 'he says'उन दोनों से विशिष्टता कहते हैं (तृतीया)
prasṛmarābhiḥ prasaraṇa-śīlābhiḥ rucibhiḥ kāntibhiḥby his 'prasṛmara,' spreading-out, 'ruci,' radiances — that is, by his outspreading beauty-rays, gloss-chain: prasṛmara = prasaraṇa-śīla 'apt to spread'; ruci = kānti 'radiance'फैलती हुई अर्थात् प्रसार-शील रुचियों अर्थात् कान्तियों के द्वारा (तृतीया; प्रसृमर = प्रसरण-शील, रुचि = कान्ति)
ruddhe vaśīkṛte'ruddha' meaning brought under his control — gloss: ruddha = vaśīkṛta 'subdued, mastered''रुद्ध' अर्थात् वश में की गई (व्याख्या)
tārakā-pālī-nāmnyau yūtheśvaryau yena saḥhe by whom the two group-leader gopīs named Tārakā and Pālī are so held — he is the one meant. bahuvrīhi 'by whom…'; yūtheśvarī 'leader of a band'जिसने तारका और पालि नामक दो यूथेश्वरियों (गोपी-समूह की नायिकाओं) को वश में किया — वही (बहुव्रीहि, विधु का विशेषण)
tat etat abhipretya — keeping all this in view; tatra api mukhya-amukhyābhiḥ uttarottara-vaiśiṣṭyaṁ darśayitum — to show, even there, an ascending distinctiveness by the principal and non-principal ones; avara-mukhyātvaṁ tāvat niṣkṛṣya — first singling out the least-principal rank; tābhyāṁ vaiśiṣṭyam āha — he states the distinctiveness by those two; prasṛmarābhiḥ prasaraṇa-śīlābhiḥ rucibhiḥ kāntibhiḥ ruddhe vaśīkṛte tārakā-pālī-nāmnyau yūtheśvaryau yena saḥ — he by whom the two band-leaders named Tārakā and Pālī are held captive by his outspreading radiances.
tat etat abhipretya — इस अभिप्राय से; tatra api mukhya-amukhyābhiḥ uttarottara-vaiśiṣṭyaṁ darśayitum — मुख्य-अमुख्य से उत्तरोत्तर विशिष्टता दिखाने के लिए; avara-mukhyātvaṁ tāvat niṣkṛṣya — गौण मुख्यता को अलग निकालकर; tābhyāṁ vaiśiṣṭyam āha — उन दोनों से विशिष्टता कहते हैं; prasṛmarābhiḥ prasaraṇa-śīlābhiḥ rucibhiḥ kāntibhiḥ — फैलती हुई कान्तियों से; ruddhe vaśīkṛte — 'रुद्ध' अर्थात् वश में की गई; tārakā-pālī-nāmnyau yūtheśvaryau yena saḥ — जिसने तारका-पालि यूथेश्वरियों को वश में किया, वही
Now Viśvanātha reaches the verse-compound 'prasṛmara-ruci-ruddha-tārakā-pāli.' Keeping the whole ranking in mind, Rūpa wants to show a distinctiveness that climbs stage by stage, from the lowest of the chief gopīs up to the highest. So he starts at the bottom. He singles out the least-principal rank and makes his point with those two. Word by word: 'prasṛmara' means spreading-out; 'ruci' means radiances; so 'prasṛmara-ruci' is his outspreading beauty-rays. 'Ruddha' means brought under control. Tārakā and Pālī are two group-leader gopīs, yūtheśvarīs. So the compound describes Kṛṣṇa as the one who, with his outspreading radiance, has these two lowest-ranked leaders wholly under his sway.
इस अभिप्राय से — उनमें भी मुख्य और अमुख्य गोपियों के द्वारा उत्तरोत्तर बढ़ती विशिष्टता दिखाने के लिए — पहले अपेक्षाकृत गौण मुख्यता को अलग निकालकर, उन दोनों से कृष्ण की विशिष्टता कहते हैं: 'प्रसृमर-रुचि-रुद्ध-तारका-पालि' अर्थात् जिसने अपनी फैलती कान्तियों से तारका और पालि नामक दो यूथेश्वरियों को वश में कर लिया — वही वह।
yūtheśvarī: the head of a band (yūtha) of gopīs; Tārakā and Pālī are named as the two junior-most such leaders, the starting rung of the ascending scale.
यूथेश्वरी — गोपियों के यूथ (मण्डली) की प्रमुख; तारका और पाली को दो सबसे कनिष्ठ ऐसी नायिकाओं के रूप में नामित किया गया — आरोही क्रम की प्रथम सीढ़ी।
s20gloss
atha madhyama-mukhyābhyām āha—kalite svīkṛte śyāmā śyāmā-lalite yena saḥ |
atha madhyama-mukhyābhyām āhaNow, by the two middling principal ones, he states — atha 'next'; instrumental madhyama-mukhyābhyām 'by the two middle-rank chief ones'; āha 'he says'अब मध्यम श्रेणी की दो मुख्य गोपियों से कहते हैं (तृतीया द्विवचन 'दो से'; आह 'कहते हैं')
kalite svīkṛte'kalita' meaning taken as his own, gloss: kalita = svīkṛta 'made one's own, accepted''कलित' अर्थात् स्वीकृत, अपनाई गई (व्याख्या)
śyāmānamely Śyāmā (and Lalitā), the first of the pair named in the compoundश्यामा (जोड़े की पहली)
śyāmā-lalite yena saḥhe by whom Śyāmā and Lalitā are so taken — he is the one meant. bahuvrīhi 'by whom the two, Śyāmā and Lalitā, are made his own'जिसने श्यामा और ललिता — दोनों को अपनाया — वही (बहुव्रीहि, विधु का विशेषण)
atha madhyama-mukhyābhyām āha — now he states by the two middle-rank chief ones; kalite svīkṛte — 'kalita' meaning made his own; śyāmā-lalite yena saḥ — he by whom Śyāmā and Lalitā are made his own, he is that one.
atha madhyama-mukhyābhyām āha — अब मध्यम दो मुख्य गोपियों से कहते हैं; kalite svīkṛte — 'कलित' अर्थात् स्वीकृत; śyāmā — श्यामा; śyāmā-lalite yena saḥ — जिसने श्यामा-ललिता को अपनाया, वही
Viśvanātha moves up one rung, to the compound 'kalita-śyāmā-lalita.' Now Rūpa makes his point with the two middle-ranked chief gopīs. The word 'kalita' means taken as his own, accepted. The two are Śyāmā and Lalitā. So the compound describes Kṛṣṇa as the one who has made Śyāmā and Lalitā his own. The scale is now climbing: from the lowest pair (Tārakā, Pālī) to this middle pair, and next it will reach Rādhā at the top.
अब मध्यम श्रेणी की दो मुख्य गोपियों से कहते हैं: 'कलित' अर्थात् स्वीकृत, अपनाई गई — श्यामा — जिसने श्यामा और ललिता दोनों को अपनाया, वही वह।
s21gloss
atha parama-mukhyāyā vaiśiṣṭyam āha—rādhāyāḥ preyān atiśayena prīti-kartā |
athanow (moving to the last and highest of the gopīs)अब
parama-mukhyāyāḥof the very foremost one — i.e. Rādhā genitive; parama-mukhyā = the topmost among the principal gopīsपरम मुख्य गोपी (राधा) की (षष्ठी; परम-मुख्या = मुख्य गोपियों में सर्वोच्च)
vaiśiṣṭyamher special mark, what sets her apartविशिष्टता को (कर्म)
āhahe (the author) statesकहते हैं
rādhāyāḥtoward Rādhā / of Rādhā genitive governed by preyānराधा के प्रति ('प्रेयान्' के अधीन षष्ठी)
preyānthe dearmost one — literally, the one who gladdens herअधिक प्रिय (तुलनात्मक)
atiśayena prīti-kartāthe one who gives her joy to the highest degreeअत्यन्त रूप से प्रीति करने वाला (तृतीया 'अत्यन्त'; व्याख्या)
atha — now; parama-mukhyāyāḥ vaiśiṣṭyam — the special mark of the foremost one (Rādhā); āha — he states; rādhāyāḥ preyān — the dearmost of Rādhā; atiśayena prīti-kartā — the one who gives supreme joy.
atha — अब; parama-mukhyāyāḥ — परम मुख्य राधा की; vaiśiṣṭyam — विशिष्टता; āha — कहते हैं; rādhāyāḥ — राधा के प्रति; preyān — अधिक प्रिय; atiśayena prīti-kartā — अत्यन्त प्रीति करने वाला
Now he comes to the highest gopī of all, Rādhā, and states what sets her apart. The word is rādhā-preyān. It means: the one who is dearmost to Rādhā — the one who gives her joy to the very highest degree.
अब परम मुख्य गोपी राधा की विशिष्टता कहते हैं: 'राधा-प्रेयान्' अर्थात् राधा के प्रति अत्यन्त प्रीति करने वाला।
s22definition
igupadhajñāprīkiraḥ kaḥ iti kartari ka-pratyaya-vidheḥ |
igupadha-jñā-prī-kiraḥ kaḥ"after a root with i or u in the next-to-last position, and after √jñā, √prī, √kṝ, comes the affix ka" — the quoted grammar-rule Pāṇini, Aṣṭādhyāyī 3.1.135'इगुपधज्ञाप्रीकिरः कः' (पाणिनि अष्टाध्यायी 3.1.135 का सूत्र)
itiso runs the ruleइस प्रकार
kartari ka-pratyaya-vidheḥbecause that rule prescribes the affix ka in the agent sense — "the one who does" ablative of reason; kartari = agentiveकर्तृ-अर्थ में 'क' प्रत्यय के विधान के कारण (हेतु में पञ्चमी; कर्तरि 'कर्ता में')
igupadha-jñā-prī-kiraḥ kaḥ iti — by the rule "…ka [is the affix]"; kartari ka-pratyaya-vidheḥ — because it prescribes the ka affix in the agent sense.
igupadha-jñā-prī-kiraḥ kaḥ — 'इगुपधज्ञाप्रीकिरः कः'; iti — इस प्रकार; kartari ka-pratyaya-vidheḥ — कर्तृ-अर्थ में 'क' प्रत्यय के विधान से
Why does preyān mean an active giver of joy, not just "dear"? Because of a rule of Pāṇini's grammar: after √prī ("to gladden") the affix ka is added in the agent sense. So the form names the one who does the gladdening — the one who makes Rādhā glad.
'इगुपधज्ञाप्रीकिरः कः' — इस सूत्र से कर्तृ-अर्थ में 'क' प्रत्यय का विधान होने के कारण 'प्री' धातु से 'प्रेयान्' के मूल का यह रूप बनता है।
s23conclusion
ata evāsyā evāsādhāraṇyam ālokya pūrvavad yugmatvenāpi neyaṁ nirdiṣṭā |
ata evafor this very reasonइसीलिए
asyāḥ evaof her alone — Rādhāइसी राधा की (षष्ठी; eva 'इसी की')
asādhāraṇyamher uniqueness, her being unlike anyone elseअसाधारणता को (कर्म)
ālokyahaving seen, taking this into account absolutiveदेखकर (ल्यबन्त)
pūrvavatas before — the way the earlier gopīs were handledपहले की भाँति
yugmatvena apieven in a pair, as one of a couple api = evenयुग्म-रूप में भी (तृतीया; api 'तक')
na iyaṁ nirdiṣṭāshe has not been mentionedयह निर्दिष्ट नहीं की गई (na निषेध)
ata eva — for this reason; asyāḥ eva asādhāraṇyam ālokya — seeing her alone to be unique; pūrvavat yugmatvena api — even as one of a pair, as before; na iyaṁ nirdiṣṭā — she has not been named.
ata eva — इसीलिए; asyāḥ eva — इसी की; asādhāraṇyam — असाधारणता; ālokya — देखकर; pūrvavat — पहले की भाँति; yugmatvena api — युग्म-रूप में भी; na iyaṁ nirdiṣṭā — यह निर्दिष्ट नहीं की गई
This is exactly why Rādhā is treated differently. The earlier gopīs were named two at a time — Tārakā-and-Pālī, Śyāmā-and-Lalitā. But Rādhā is named alone. Seeing that she is unlike anyone else, the author does not pair her with a partner as he did the others.
इसीलिए इसी राधा की असाधारणता को देखकर, पहले की भाँति इसे युग्म (जोड़े) के रूप में भी निर्दिष्ट नहीं किया गया।
s24citation
atas tasyā eva prādhānyaṁ pādmottara-khaṇḍe kārttika-māhātmye tat-kuṇḍa-prasaṅge—
ataḥtherefore, and soइसलिए
tasyāḥ eva prādhānyaṁher supremacy alone — that hers is the pre-eminenceउसी राधा की प्रधानता (eva 'उसी की')
pādma-uttara-khaṇḍein the Padma Purāṇa, in the later section locative: the source namedपद्मपुराण के उत्तर-खण्ड में (सप्तमी — स्रोत)
kārttika-māhātmyein the Glory-of-Kārttika passageकार्त्तिक-माहात्म्य में (सप्तमी)
tat-kuṇḍa-prasaṅgein the discussion of her pond (Rādhā-kuṇḍa)उसके कुण्ड (राधाकुण्ड) के प्रसंग में (सप्तमी: 'प्रसंग आने पर')
ataḥ — therefore; tasyāḥ eva prādhānyaṁ — her supremacy alone [is shown]; pādma-uttara-khaṇḍe kārttika-māhātmye tat-kuṇḍa-prasaṅge — in the Padma Purāṇa, later section, Kārttika-māhātmya, in the passage on her pond.
ataḥ — इसलिए; tasyāḥ eva prādhānyaṁ — उसी की प्रधानता; pādma-uttara-khaṇḍe — पद्मपुराण के उत्तर-खण्ड में; kārttika-māhātmye — कार्त्तिक-माहात्म्य में; tat-kuṇḍa-prasaṅge — राधाकुण्ड के प्रसंग में
And so it is her supremacy alone that scripture proclaims. He points to the Padma Purāṇa — the later section, the Glory of Kārttika, in the passage about her pond — and quotes:
इसलिए उसी राधा की प्रधानता — पद्मपुराण के उत्तर-खण्ड के कार्त्तिक-माहात्म्य में, राधाकुण्ड के प्रसंग में कही गई है —
Why cited: introduces the Padma Purāṇa proof that Rādhā alone is supreme among the gopīs
क्यों उद्धृत: पद्म पुराण के उस प्रमाण को प्रस्तुत करता है कि समस्त गोपियों में राधा ही सर्वोत्कृष्ट हैं।
s25citation
yathā rādhā priyā viṣṇos tasyāḥ kuṇḍaṁ priyaṁ tathā | sarva-gopīṣu saivaikā viṣṇor atyanta-vallabhā ||
yathā rādhā priyā viṣṇoḥjust as Rādhā is dear to Viṣṇuजैसे राधा विष्णु की प्रिय हैं (विष्णोः — षष्ठी; यथा 'जैसे')
tasyāḥ kuṇḍaṁ priyaṁ tathāso too her pond is dear to himवैसे ही उसका कुण्ड भी प्रिय है (तथा 'यथा' का उत्तर)
sarva-gopīṣuamong all the gopīs locativeसमस्त गोपियों में (सप्तमी 'में से')
sā eva ekāshe alone, she the oneवही एकमात्र (eva 'वही')
viṣṇoḥ atyanta-vallabhāis the utterly beloved of Viṣṇuविष्णु की अत्यन्त प्रिया है
yathā rādhā priyā viṣṇoḥ — as Rādhā is dear to Viṣṇu; tathā tasyāḥ kuṇḍaṁ priyaṁ — so her pond is dear; sarva-gopīṣu sā eva ekā — among all gopīs she alone; viṣṇoḥ atyanta-vallabhā — is Viṣṇu's utter beloved.
yathā rādhā priyā viṣṇoḥ — जैसे राधा विष्णु की प्रिय; tasyāḥ kuṇḍaṁ priyaṁ tathā — वैसे उसका कुण्ड भी प्रिय; sarva-gopīṣu — समस्त गोपियों में; sā eva ekā — वही एकमात्र; viṣṇoḥ atyanta-vallabhā — विष्णु की अत्यन्त प्रिया
As Rādhā is dear to Viṣṇu, so is her pond dear to him. Among all the gopīs, she alone is the one he loves utterly.
जैसे राधा विष्णु को प्रिय हैं, वैसे ही उनका कुण्ड भी प्रिय है। समस्त गोपियों में वही एकमात्र विष्णु की अत्यन्त प्रिया हैं।
Why cited: scriptural proof that among all the gopīs Rādhā alone is Viṣṇu's dearmost
क्यों उद्धृत: शास्त्रीय प्रमाण कि समस्त गोपियों में राधा ही विष्णु की अत्यन्त प्रिया हैं।
s26citation
ata eva mātsya-purāṇe śaktitva-sādhāraṇyenābhinnatayā gaṇanāyām api tasyā eva vṛndāvane prādhānyābhiprāyeṇāha—rukmiṇī dvāravatyāṁ tu rādhā vṛndāvane vane iti |
ata evafor this very reasonइसीलिए
mātsya-purāṇein the Matsya Purāṇa locative: sourceमत्स्य-पुराण में (सप्तमी — स्रोत)
śaktitva-sādhāraṇyenabecause she shares the common status of being a śakti (a divine power of the Lord) instrumental of causeशक्ति-रूप में समानता की दृष्टि से (तृतीया — अपेक्षा में)
abhinnatayāas non-different, on a par with the other śaktisअभिन्न रूप से (तृतीया)
gaṇanāyām apieven where she is merely counted in a list api = evenगिनती की जाने पर भी (सप्तमी; api 'तक')
tasyāḥ eva vṛndāvane prādhānya-abhiprāyeṇawith the intent of showing that hers alone is the pre-eminence in Vṛndāvana instrumental: the underlying intentवृन्दावन में उसी राधा की प्रधानता के अभिप्राय से (षष्ठी 'उसी की'; सप्तमी 'वृन्दावन में'; तृतीया 'अभिप्राय से')
āhait saysकहते हैं
rukmiṇī dvāravatyāṁ tu"Rukmiṇī [is supreme] in Dvārakā, but…"'द्वारका में रुक्मिणी प्रधान, किन्तु (tu)
rādhā vṛndāvane vane"…Rādhā in the forest of Vṛndāvana"वृन्दावन-वन में राधा प्रधान'
itiso it runsइस प्रकार
ata eva mātsya-purāṇe — for this reason, in the Matsya Purāṇa; śaktitva-sādhāraṇyena abhinnatayā gaṇanāyām api — even where she is counted as non-different by the shared status of śakti; tasyāḥ eva vṛndāvane prādhānya-abhiprāyeṇa āha — it speaks with the intent of her pre-eminence in Vṛndāvana; rukmiṇī dvāravatyāṁ tu rādhā vṛndāvane vane iti — "Rukmiṇī in Dvārakā, but Rādhā in Vṛndāvana."
ata eva — इसीलिए; mātsya-purāṇe — मत्स्य-पुराण में; śaktitva-sādhāraṇyena — शक्ति-समानता की दृष्टि से; abhinnatayā — अभिन्न रूप से; gaṇanāyām api — गिनने पर भी; tasyāḥ eva vṛndāvane prādhānya-abhiprāyeṇa — वृन्दावन में उसी की प्रधानता के अभिप्राय से; āha — कहते हैं; rukmiṇī dvāravatyāṁ tu — 'द्वारका में रुक्मिणी, किन्तु; rādhā vṛndāvane vane — वृन्दावन-वन में राधा'; iti — इस प्रकार
For the same reason, take the Matsya Purāṇa. Even in a passage that merely lists the goddesses as equal — counting Rādhā as one śakti among the rest — the real intent is to show that in Vṛndāvana hers alone is the pre-eminence. It says: "Rukmiṇī in Dvārakā, but Rādhā in the forest of Vṛndāvana."
इसीलिए मत्स्य-पुराण में — शक्ति-रूप में समानता की दृष्टि से (लक्ष्मी आदि से) अभिन्न रूप में गिने जाने पर भी — वृन्दावन में उसी राधा की प्रधानता के अभिप्राय से कहते हैं: 'द्वारका में रुक्मिणी, किन्तु वृन्दावन-वन में राधा प्रधान।'
Why cited: cited to show that even a leveling list singles out Rādhā as supreme in Vṛndāvana
क्यों उद्धृत: यह दिखाने के लिए उद्धृत कि एक समकारी (सबको बराबर गिनने वाली) सूची भी राधा को वृन्दावन में सर्वोत्कृष्ट रूप में अलग करती है।
s27citation
tathā ca bṛhad-gautamīye tasyā eva mantra-kathane—
tathā caand likewise, and so tooऔर वैसे ही
bṛhad-gautamīyein the Bṛhad-gautamīya (Tantra) locative: sourceबृहद्-गौतमीय में (सप्तमी — स्रोत)
tasyāḥ eva mantra-kathanein the telling of her very mantra — the passage that gives her own mantraउसी राधा के मन्त्र का कथन होने पर (षष्ठी 'उसी के'; सप्तमी 'मन्त्र-कथन में')
tathā ca — and so too; bṛhad-gautamīye — in the Bṛhad-gautamīya; tasyāḥ eva mantra-kathane — in the telling of her very mantra.
tathā ca — और वैसे ही; bṛhad-gautamīye — बृहद्-गौतमीय में; tasyāḥ eva mantra-kathane — उसी राधा के मन्त्र-कथन में
And so too in the Bṛhad-gautamīya, in the passage that gives Rādhā's own mantra, it says:
और वैसे ही बृहद्-गौतमीय में, जहाँ उसी राधा का मन्त्र कहा जाता है —
Why cited: introduces the Bṛhad-gautamīya mantra-passage as further proof of Rādhā's supremacy
क्यों उद्धृत: बृहद्-गौतमीय के मन्त्र-प्रकरण को राधा की श्रेष्ठता के और प्रमाण के रूप में प्रस्तुत करता है।
s28citation
devī kṛṣṇa-mayī proktā rādhikā para-devatā | sarva-lakṣmī-mayī sarva-kāntiḥ saṁmohinī parā ||
devī kṛṣṇa-mayī proktāthe goddess is declared to be made wholly of Kṛṣṇaदेवी राधिका कृष्णमयी कही गई हैं (कृष्णमयी = कृष्ण से ओतप्रोत; प्रोक्ता 'कही गई')
rādhikā para-devatāRādhikā, the supreme deityराधिका परम देवता हैं
sarva-lakṣmī-mayīmade of all the Lakṣmīs — every goddess of fortune is contained in herसमस्त लक्ष्मीमयी
sarva-kāntiḥshe who is all radiance / the source of every beautyसमस्त कान्ति-स्वरूपा
saṁmohinī parāthe supreme enchantressपरम सम्मोहिनी
devī kṛṣṇa-mayī proktā — the goddess is declared made of Kṛṣṇa; rādhikā para-devatā — Rādhikā, the supreme deity; sarva-lakṣmī-mayī — made of all Lakṣmīs; sarva-kāntiḥ — all radiance; saṁmohinī parā — the supreme enchantress.
devī kṛṣṇa-mayī proktā — देवी कृष्णमयी कही गई; rādhikā para-devatā — राधिका परम देवता; sarva-lakṣmī-mayī — समस्त लक्ष्मीमयी; sarva-kāntiḥ — समस्त कान्ति-स्वरूपा; saṁmohinī parā — परम सम्मोहिनी
The goddess is declared to be made wholly of Kṛṣṇa: Rādhikā, the supreme deity. She contains all the Lakṣmīs, she is all radiance, the supreme enchantress.
देवी राधिका कृष्णमयी और परम देवता कही गई हैं — समस्त लक्ष्मीमयी, समस्त कान्ति-स्वरूपा, परम सम्मोहिनी।
Why cited: scriptural proof that Rādhā is the supreme deity, containing all goddesses of fortune
क्यों उद्धृत: शास्त्रीय प्रमाण कि राधा परम देवता हैं, समस्त लक्ष्मियों को धारण करने वाली।
s29citation
ṛk-pariśiṣṭa-śrutāv api—rādhayā mādhavo devo mādhavenaiva rādhikā, vibhrājante janeṣv ā iti |
ṛk-pariśiṣṭa-śrutau apiin the Ṛk-pariśiṣṭa śruti too — even the Vedic supplement locative; api = too, adding a śruti source to the Purāṇic onesऋक्-परिशिष्ट की श्रुति में भी (सप्तमी; api 'भी, आगे और प्रमाण')
rādhayā mādhavo devaḥ"through Rādhā, the god Mādhava [shines]" instrumental: it is by her that he shinesराधा के द्वारा माधव देव शोभित होते हैं (तृतीया 'राधा के द्वारा')
mādhavena eva rādhikā"and through Mādhava alone, Rādhikā [shines]" eva = only through him, mutualऔर माधव के द्वारा ही राधिका शोभित होती हैं (तृतीया; eva 'केवल उन्हीं से')
vibhrājante janeṣu ā"the two blaze forth among the people"दोनों जनों में सर्वत्र अत्यन्त शोभित होते हैं
itiso it runsइस प्रकार
ṛk-pariśiṣṭa-śrutau api — in the Ṛk-pariśiṣṭa śruti too; rādhayā mādhavo devaḥ — by Rādhā the god Mādhava; mādhavena eva rādhikā — by Mādhava alone Rādhikā; vibhrājante janeṣu ā iti — they two blaze forth among the people.
ṛk-pariśiṣṭa-śrutau api — ऋक्-परिशिष्ट श्रुति में भी; rādhayā mādhavo devaḥ — राधा के द्वारा माधव देव; mādhavena eva rādhikā — माधव के द्वारा ही राधिका; vibhrājante janeṣu ā — जनों में सर्वत्र शोभित होते हैं; iti — इस प्रकार
Even the Ṛk-pariśiṣṭa śruti says it: by Rādhā the god Mādhava shines, and by Mādhava alone Rādhikā shines. The two of them blaze forth together among all people.
ऋक्-परिशिष्ट की श्रुति में भी: 'राधा के द्वारा माधव देव, और माधव के द्वारा ही राधिका — दोनों जनों में सर्वत्र अत्यन्त शोभित होते हैं।'
Why cited: Vedic (śruti) proof that Rādhā and Kṛṣṇa mutually complete each other's glory
क्यों उद्धृत: वैदिक (श्रुति) प्रमाण कि राधा और कृष्ण परस्पर एक-दूसरे की शोभा को पूर्ण करते हैं।
s30citation
ataeva daśame gopya āhuḥ—anayārādhito nūnaṁ bhagavān harir īśvaraḥ iti |
ata evafor this very reasonइसीलिए
daśamein the Tenth Canto (of the Bhāgavata) locative: sourceदशम स्कन्ध में (सप्तमी — स्रोत)
gopyaḥ āhuḥthe gopīs saidगोपियों ने कहा (कर्ता बहुवचन; आहुः परोक्ष भूत)
anayā ārādhitaḥ nūnaṁ"surely by this one [Rādhā] was worshipped"'निश्चय ही इस गोपी के द्वारा आराधित होकर' (तृतीया 'इसके द्वारा')
bhagavān hariḥ īśvaraḥ"the Lord, Hari, the supreme controller"भगवान् हरि, ईश्वर (कर्ता)
itiso they saidइस प्रकार
ata eva daśame gopyaḥ āhuḥ — for this reason, in the Tenth Canto, the gopīs said; anayā ārādhitaḥ nūnaṁ — surely by her was worshipped; bhagavān hariḥ īśvaraḥ iti — the Lord Hari, the controller.
ata eva — इसीलिए; daśame — दशम स्कन्ध में; gopyaḥ āhuḥ — गोपियों ने कहा; anayā ārādhitaḥ nūnaṁ — 'निश्चय ही इसके द्वारा आराधित'; bhagavān hariḥ īśvaraḥ — भगवान् हरि ईश्वर; iti — इस प्रकार
For the same reason, in the Tenth Canto the gopīs themselves said: "Surely by this one — by Rādhā — the Lord, Hari, the supreme controller, was worshipped." They see that he has slipped away with someone who worshipped him best of all.
इसीलिए दशम स्कन्ध में गोपियों ने कहा: 'निश्चय ही इस गोपी ने भगवान् हरि, ईश्वर की आराधना की।'
Why cited: the gopīs' own words in the Bhāgavata, adduced to confirm Rādhā's supreme place with Kṛṣṇa
क्यों उद्धृत: भागवत में गोपियों के अपने वचन, जो कृष्ण के साथ राधा के सर्वोच्च स्थान की पुष्टि के लिए उद्धृत।
s31avataranika
sarvalaukikālaukikātīto’pi tasmin laukikārtha-viśeṣopamā-dvārā lokānāṁ buddhi-praveśaḥ syād iti kenāpy aṁśenopamānam āha |
sarva-laukika-alaukika-atītaḥ apialthough he is beyond everything worldly and even everything otherworldly api = although; concessiveयद्यपि वे समस्त लौकिक और अलौकिक से परे हैं (api 'फिर भी'; concessive)
tasminwith regard to him, in his case locativeउनमें (सप्तमी)
laukika-artha-viśeṣa-upamā-dvārāby way of a comparison to some particular worldly object instrumental: the meansकिसी लौकिक अर्थ-विशेष की उपमा के द्वार से (तृतीया)
lokānāṁ buddhi-praveśaḥ syātso that ordinary people's understanding may find a way in the purpose: an entry-point for the mindलोगों की बुद्धि का प्रवेश हो सके (षष्ठी 'लोगों की'; स्यात् विधिलिङ् 'हो सके')
itiwith this in mindइसलिए
kena api aṁśenain some one respect, in just one aspect instrumental; the comparison holds only partiallyकिसी न किसी अंश से (तृतीया — अपेक्षा में)
upamānam āhahe states a standard of comparison — the thing he will liken him toउपमान (चन्द्र) को कहते हैं (कर्म; आह)
sarva-laukika-alaukika-atītaḥ api — though he is beyond all worldly and otherworldly things; tasmin laukika-artha-viśeṣa-upamā-dvārā — by comparing him to a particular worldly thing; lokānāṁ buddhi-praveśaḥ syāt iti — so that people's minds may gain entry; kena api aṁśena upamānam āha — he offers a standard of comparison in some one aspect.
sarva-laukika-alaukika-atītaḥ api — यद्यपि समस्त लौकिक-अलौकिक से परे; tasmin — उनमें; laukika-artha-viśeṣa-upamā-dvārā — लौकिक उपमा के द्वार से; lokānāṁ buddhi-praveśaḥ syāt — लोगों की बुद्धि का प्रवेश हो सके; iti — इसलिए; kena api aṁśena — किसी अंश से; upamānam āha — उपमान को कहते हैं
Kṛṣṇa is beyond everything worldly, and beyond even the otherworldly. So how can any comparison touch him? Only as a door for the mind. Ordinary people can find their way in if he is likened to some familiar worldly thing. With that aim, the author now offers a standard of comparison — the moon — but only in one respect, not in his full nature. This sets up the whole second reading of the verse.
यद्यपि वे समस्त लौकिक-अलौकिक से परे हैं, तथापि किसी लौकिक अर्थ-विशेष की उपमा के द्वार से लोगों की बुद्धि उनमें प्रवेश पा सके — इसलिए किसी न किसी अंश से उपमान (चन्द्र) को कहते हैं।
s32alternative
pakṣe, vidhuś candro jayati sarvotkarṣeṇa vartate |
pakṣeon the other reading, taking the verse the second way the suspended śleṣa alternative — the moon-layer, run in parallel and never collapsed into the Kṛṣṇa-layerदूसरे पक्ष में (सप्तमी; चन्द्र-पक्ष, जो कृष्ण-पक्ष के समानान्तर चलता है, उसमें समेटा नहीं जाता)
vidhuḥ candraḥVidhu — now meaning the moon'विधु' अर्थात् चन्द्र
jayatiis victorious / stands supremeजयवन्त है
sarva-utkarṣeṇa vartateit stands above everything elseसबसे बढ़कर उत्कर्ष के साथ विराजता है (तृतीया)
pakṣe — on the [second] reading; vidhuḥ candraḥ — Vidhu, i.e. the moon; jayati — is victorious; sarva-utkarṣeṇa vartate — stands above all.
pakṣe — दूसरे पक्ष में; vidhuḥ candraḥ — 'विधु' अर्थात् चन्द्र; jayati — जयवन्त है; sarva-utkarṣeṇa vartate — सर्वोत्कर्ष से विराजता है
Now the second reading opens. On this side, the very same word vidhuḥ means the moon. So: "The moon is victorious — it stands above everything." Both readings run at once. On one layer vidhu is Kṛṣṇa; on this layer vidhu is the moon. The author does not merge them — he lets the one verse carry both.
श्लेष के दूसरे पक्ष में — 'विधु' अर्थात् चन्द्र — वह जयवन्त है, सबसे बढ़कर उत्कर्ष के साथ विराजता है।
vidhu: a standard Sanskrit name both for Kṛṣṇa ("he who dispels / bestows") and for the moon; the śleṣa turns on this single word bearing both at once.
विधु — संस्कृत में एक मानक नाम, कृष्ण ('जो दूर करता / देता है') और चन्द्रमा — दोनों का; श्लेष इसी एक शब्द के दोनों अर्थ एक साथ धारण करने पर टिका है।
s33avataranika
evaṁ viśeṣye sāmyaṁ darśayitvā viśeṣaṇe’pi sāmyaṁ darśayati |
evaṁin this way, having done soइस प्रकार
viśeṣyein the word being described — vidhuḥ itself locative; viśeṣya = the head-word the adjectives qualifyविशेष्य (मुख्य पद 'विधु') में (सप्तमी; विशेष्य = जिसका वर्णन हो)
sāmyaṁ darśayitvāhaving shown the likeness (Kṛṣṇa ~ moon) absolutiveसमानता दिखाकर (ल्यबन्त)
viśeṣaṇe apiin the describing words too — the qualifiers api = too; viśeṣaṇa = the adjectivesविशेषणों में भी (सप्तमी; विशेषण = जो वर्णन करते हैं; api 'भी')
sāmyaṁ darśayatihe shows the likenessसमानता दिखाते हैं
evaṁ viśeṣye sāmyaṁ darśayitvā — having thus shown the likeness in the qualified word; viśeṣaṇe api sāmyaṁ darśayati — he shows the likeness in the qualifiers too.
evaṁ — इस प्रकार; viśeṣye — विशेष्य में; sāmyaṁ darśayitvā — समानता दिखाकर; viśeṣaṇe api — विशेषणों में भी; sāmyaṁ darśayati — समानता दिखाते हैं
So he has shown the parallel in the head-word itself — vidhu works for both Kṛṣṇa and the moon. Now he shows the same parallel in the adjectives. Each phrase that described Kṛṣṇa will be read a second time so that it describes the moon.
इस प्रकार विशेष्य ('विधु') में चन्द्र से समानता दिखाकर, अब विशेषणों में भी समानता दिखाते हैं।
viśeṣya / viśeṣaṇa: the word being described (here vidhuḥ) versus the words that describe it (the akhila-…, prasṛmara-…, kalita-… compounds); the śleṣa is worked first on the one, then on the others.
विशेष्य / विशेषण — 'जिस पद का वर्णन हो' (यहाँ विधुः) बनाम 'जो पद वर्णन करते हैं' (अखिल-, प्रसृमर-, कलित- समास); श्लेष पहले एक पर, फिर अन्यों पर चलाया जाता है।
s34alternative
akhilo’khaṇḍo rasa āsvādo yatra tādṛśam amṛtaṁ pīyūṣaṁ, tad-ātmikaiva mūrtir yasya |
akhilaḥ akhaṇḍaḥ"akhila" here means undivided, whole and unbroken'अखिल' अर्थात् अखण्ड
rasaḥ āsvādaḥand "rasa" here means flavour, the taste one savours on the moon-layer rasa is literal sweet taste, not the devotional moodरस अर्थात् आस्वाद (चन्द्र-पक्ष में रस = शीतल मधुर स्वाद, भक्ति-रस नहीं)
yatrain which it is foundजिसमें (सप्तमी)
tādṛśam amṛtaṁ pīyūṣaṁsuch nectar — that is, the drink of immortality, ambrosiaवैसा अमृत अर्थात् पीयूष (चन्द्र-पक्ष में जो सुधा चन्द्र में मानी जाती है)
tad-ātmikā eva mūrtiḥ yasyahe (it) whose very orb is made of that bahuvrīhi; mūrti = the moon's diskउसी से बनी मूर्ति (चन्द्र-बिम्ब) जिसकी है — वही (बहुव्रीहि; मूर्ति = चन्द्र-मण्डल)
akhilaḥ akhaṇḍaḥ rasaḥ āsvādaḥ yatra — in which is an undivided flavour; tādṛśam amṛtaṁ pīyūṣaṁ — such nectar, ambrosia; tad-ātmikā eva mūrtiḥ yasya — whose orb is made of just that.
akhilaḥ akhaṇḍaḥ — 'अखिल' अर्थात् अखण्ड; rasaḥ āsvādaḥ — रस अर्थात् आस्वाद; yatra — जिसमें; tādṛśam amṛtaṁ pīyūṣaṁ — वैसा अमृत अर्थात् पीयूष; tad-ātmikā eva mūrtiḥ yasya — उसी से बनी मूर्ति जिसकी, वही
Take akhila-rasāmṛta-mūrtiḥ on the moon-layer. "Akhila" now means undivided, whole. "Rasa" now means flavour, sweet taste. So: the moon holds an unbroken sweetness, a very nectar — and its orb is made of that nectar. (The old belief: the moon is a disk of amṛta.) The same compound that made Kṛṣṇa the nectar of all rasas now makes the moon a disk of ambrosia.
'अखिल' अर्थात् अखण्ड रस अर्थात् आस्वाद जिसमें है, वैसा जो अमृत अर्थात् पीयूष — उसी से बनी मूर्ति अर्थात् चन्द्र-बिम्ब जिसका है — वह विधु अर्थात् चन्द्र।
s35alternative
tārakā-pālīḥ tārakā-śreṇī |
tārakā-pālīḥthe word "tārakā-pāli"'तारका-पालि'
tārakā-śreṇīmeans, on this layer, a row of stars not the gopīs Tārakā and Pālī, but literal starsअर्थात् तारों की श्रेणी (चन्द्र-पक्ष में तारका = तारे, न कि गोपियाँ तारका-पालि)
tārakā-pālīḥ — the word tārakā-pāli; tārakā-śreṇī — [means] a row of stars.
tārakā-pālīḥ — 'तारका-पालि'; tārakā-śreṇī — तारों की श्रेणी
On the moon-layer, tārakā-pāli no longer names the two gopīs Tārakā and Pālī. It simply means a row of stars — tārakā being the ordinary word for star.
'तारका-पालि' अर्थात् तारों की पंक्ति — चन्द्र-पक्ष में ये गोपियाँ तारका और पालि नहीं, बल्कि साक्षात् तारे हैं।
s36alternative
atra śabda-sāmyaṁ rasanīyatvāṁśenā-rthenāpi yojyam |
atrahere, in this compoundयहाँ
śabda-sāmyaṁthe likeness that runs through the word itself the pun so far rests on the shared wordingशब्द से जो समानता है (अब तक यह श्लेष शब्दों की समानता पर टिका है)
rasanīyatva-aṁśenaby the aspect of being something to be savoured / relishedरसणीयता (आस्वाद्यता) के अंश से (तृतीया — अपेक्षा में)
arthena api yojyamis to be carried through by the sense as well, not only by the sound gerundive: one must complete the parallel in meaning tooअर्थ से भी जोड़ना चाहिए (तृतीया; api 'भी'; कृत्य)
atra śabda-sāmyaṁ — here the likeness in the word; rasanīyatva-aṁśena — by the aspect of relishability; arthena api yojyam — is to be joined by the sense too.
atra — यहाँ; śabda-sāmyaṁ — शब्द से समानता; rasanīyatva-aṁśena — रसणीयता के अंश से; arthena api yojyam — अर्थ से भी जोड़ना चाहिए
So far the two readings match only in wording. But the match should be carried into meaning too — through the shared point of being something one savours. Kṛṣṇa is relished as the nectar of the rasas; the moon-disk is relished as sweet nectar. The pun works on both the sound and the sense.
यहाँ जो शब्द से समानता है, उसे रसणीयता (आस्वाद्यता) के अंश से — अर्थ से भी — जोड़ लेना चाहिए।
s37alternative
tathā prasṛmarābhī rucibhiḥ kāntibhī ruddhāvṛtā tārakāṇāṁ pālir yena sa iti pūrvavan nija-kāntimat-tārā-gaṇa-virājamānatvāṁśenārthenāpi jñeyam |
tathālikewise (the next qualifier, on the moon-layer)वैसे ही
prasṛmarābhiḥ rucibhiḥ kāntibhiḥby his outspreading rucis — that is, his beams of light instrumental; ruci glossed as kānti, radiance/moonlightफैलती हुई रुचियों अर्थात् कान्तियों (चाँदनी) के द्वारा (तृतीया; रुचि = कान्ति, चाँदनी)
ruddhā āvṛtā"ruddha" here meaning covered over, blotted out'रुद्ध' अर्थात् आवृत (ढँकी हुई)
tārakāṇāṁ pāliḥ yenahe by whom the row of stars [is so covered] bahuvrīhi qualifying the moonजिसके द्वारा तारों की पंक्ति ढँकी गई (षष्ठी 'तारों की'; तृतीया, बहुव्रीहि)
saḥ itihe (it) is suchवही — इस प्रकार
pūrvavatas before (just as on the Kṛṣṇa-layer)पहले की भाँति
nija-kāntimat-tārā-gaṇa-virājamānatva-aṁśenaby the aspect of the moon shining amid a host of stars that have a light of their own instrumental: the point of resemblanceअपने कान्तिमान् तारा-समूह के बीच विराजने के अंश से (तृतीया — अपेक्षा में)
arthena api jñeyamis to be understood through the sense as well gerundiveअर्थ से भी समझना चाहिए (तृतीया; api 'भी'; कृत्य)
tathā prasṛmarābhiḥ rucibhiḥ kāntibhiḥ — likewise by outspreading radiances; ruddhā āvṛtā tārakāṇāṁ pāliḥ yena saḥ — he by whom the row of stars is covered; pūrvavat nija-kāntimat-tārā-gaṇa-virājamānatva-aṁśena arthena api jñeyam — as before, to be understood by sense too, through his shining amid stars that have their own light.
tathā — वैसे ही; prasṛmarābhiḥ rucibhiḥ kāntibhiḥ — फैलती हुई रुचियों अर्थात् कान्तियों से; ruddhā āvṛtā — 'रुद्ध' अर्थात् आवृत; tārakāṇāṁ pāliḥ yena — जिसके द्वारा तारों की पंक्ति; saḥ iti — वही; pūrvavat — पहले की भाँति; nija-kāntimat-tārā-gaṇa-virājamānatva-aṁśena — कान्तिमान् तारा-समूह के बीच विराजने के अंश से; arthena api jñeyam — अर्थ से भी समझना चाहिए
Likewise the next phrase. On the moon-layer, ruci means the moon's beams, and ruddha means blotted out. So: the moon, by its spreading light, washes out the row of stars. As before, carry it into the sense: the point of likeness is that the moon shines out in the midst of stars that have their own faint light — just as Kṛṣṇa shines amid his lovely gopīs.
वैसे ही 'प्रसृमर-रुचि-रुद्ध-तारका-पालि' — फैलती हुई रुचियों अर्थात् चाँदनी से जिसने तारों की पंक्ति को ढँक लिया, वही — यह भी पहले की भाँति 'अपने कान्तिमान् तारा-समूह के बीच विराजने' के अंश से अर्थ से भी समझना चाहिए।
s38alternative
viśva-prakāśe śyāmā-śabdo rātri-paryāyaḥ |
viśva-prakāśein the Viśva-prakāśa lexicon locative: the dictionary appealed toविश्वप्रकाश कोश में (सप्तमी — जिस कोश का आश्रय लिया)
śyāmā-śabdaḥthe word "śyāmā"'श्यामा' शब्द
rātri-paryāyaḥis a synonym for night so on the moon-layer śyāmā = the night, not the gopī Śyāmāरात्रि का पर्याय है (चन्द्र-पक्ष में श्यामा = रात्रि, न कि गोपी श्यामा)
viśva-prakāśe — in the Viśva-prakāśa; śyāmā-śabdaḥ — the word śyāmā; rātri-paryāyaḥ — is a synonym for night.
viśva-prakāśe — विश्वप्रकाश में; śyāmā-śabdaḥ — 'श्यामा' शब्द; rātri-paryāyaḥ — रात्रि का पर्याय
For the next phrase he needs the word śyāmā to mean something other than the gopī. The Viśva-prakāśa dictionary supplies it: śyāmā is also a word for night. That unlocks the moon-reading of kalita-śyāmā-lalita.
विश्वप्रकाश कोश में 'श्यामा' शब्द रात्रि का पर्याय है — अतः चन्द्र-पक्ष में श्यामा का अर्थ रात्रि है।
s39alternative
kalitam urīkṛtaṁ śyāmāyā rātrer lalitaṁ vilāso yena saḥ |
kalitam urīkṛtaṁ"kalita" here meaning taken up, taken into one's own'कलित' अर्थात् अंगीकृत, अपनाया हुआ
śyāmāyāḥ rātreḥof Śyāmā — that is, of the night genitive; śyāmā read as night per the lexiconश्यामा अर्थात् रात्रि का (षष्ठी; कोश के अनुसार श्यामा = रात्रि)
lalitaṁ vilāsaḥthe "lalita," the graceful play / love-sport'ललित' अर्थात् विलास
yena saḥhe (it) by whom this is so bahuvrīhi qualifying the moonजिसके द्वारा — वही (तृतीया, बहुव्रीहि)
kalitam urīkṛtaṁ — kalita, i.e. taken up; śyāmāyāḥ rātreḥ lalitaṁ vilāsaḥ — the graceful play of Śyāmā, the night; yena saḥ — he by whom.
kalitam urīkṛtaṁ — 'कलित' अर्थात् अपनाया हुआ; śyāmāyāḥ rātreḥ — श्यामा अर्थात् रात्रि का; lalitaṁ vilāsaḥ — 'ललित' अर्थात् विलास; yena saḥ — जिसके द्वारा, वही
Now kalita-śyāmā-lalita on the moon-layer. "Kalita" means taken up, embraced. "Śyāmā" means the night. "Lalita" means graceful play. So: the moon is the one who takes up the lovely play of the night — the moon makes the night's beauty its own.
'कलित-श्यामा-ललित' — 'कलित' अर्थात् अपनाया हुआ, श्यामा अर्थात् रात्रि का ललित अर्थात् विलास जिसने अपनाया, वही वह चन्द्र।
s40alternative
iti rātri-vilāsitvenāpi sāmyaṁ jñeyam |
itithus, on these linesइस प्रकार
rātri-vilāsitvena apialso by the aspect of being the reveller / sporter of the night instrumental: the point of resemblanceरात्रि में विलास करने वाला होने के अंश से भी (तृतीया)
sāmyaṁ jñeyamthe likeness is to be understood gerundiveसमानता समझनी चाहिए (कृत्य)
iti — thus; rātri-vilāsitvena api — by the aspect of being the sporter of the night; sāmyaṁ jñeyam — the likeness is to be understood.
iti — इस प्रकार; rātri-vilāsitvena api — रात्रि-विलास के अंश से भी; sāmyaṁ jñeyam — समानता समझनी चाहिए
So the parallel is to be understood here too, through this point: the moon is the reveller of the night, the one who makes the night's play its own — just as Kṛṣṇa is the one who takes Śyāmā and Lalitā as his own. The two readings match again on the moon-layer.
इस प्रकार 'रात्रि में विलास करने वाला होने' के अंश से भी चन्द्र और कृष्ण की समानता समझनी चाहिए।
s41alternative
tathā rādhāyāṁ viśākhā-nāmnyāṁ tārāyāṁ preyān atiprītimān ||
tathāso too — carrying on the moon-reading, one more matching quality after the last connective; continues the śleṣa (moon) branchवैसे ही (चन्द्र-पक्ष जारी है)
rādhāyāṁtoward Rādhā — but on this reading 'Rādhā' is not the gopī; it names a star locative, the one loved-toward'राधा' में (सप्तमी, जिसके प्रति प्रेम)
viśākhā-nāmnyāṁnamely the one called Viśākhā — so 'Rādhā' here means the asterism named Viśākhā locative, agreeing with rādhāyāṁ / tārāyāṁविशाखा नामक (सप्तमी, 'राधा'/'तारा' का विशेषण)
tārāyāṁthat is, toward the star — spelling out that Rādhā-as-Viśākhā is a star in the sky locative, agreeingतारा (नक्षत्र) में (सप्तमी)
preyānis the more loving one — the moon is fonder of, dearer to, this star comparative, predicate of vidhuḥ (the moon)अधिक प्रिय (विधु अर्थात् चन्द्र का विधेय, तुलनात्मक)
atiprītimānthat is, full of exceeding love toward it gloss on preyān'प्रेयान्' अर्थात् अत्यन्त प्रीति वाला (व्याख्या)
tathā — so too; rādhāyāṁ viśākhā-nāmnyāṁ tārāyāṁ — toward Rādhā, that is, toward the star named Viśākhā; preyān — [the moon] is the more loving one; atiprītimān — that is, full of exceeding love toward it.
tathā — वैसे ही; rādhāyāṁ — 'राधा' में; viśākhā-nāmnyāṁ — विशाखा नामक; tārāyāṁ — तारा में; preyān — अधिक प्रिय; atiprītimān — अत्यन्त प्रीति वाला
This is the last line, and it reads the verse's fourth word, rādhā-preyān, on the moon side. Take the two layers together. On the Kṛṣṇa reading, rādhā-preyān means Kṛṣṇa is the dearmost beloved of Rādhā the gopī. On the moon reading, 'Rādhā' is switched to a star: it means the asterism named Viśākhā. So here Viśvanātha says: likewise the moon is preyān — more loving, full of exceeding love — toward Rādhā, that is, toward the star Viśākhā. He states the match and stops there; the line closes the moon-reading.
वैसे ही 'राधा-प्रेयान्' — चन्द्र-पक्ष में 'राधा' अर्थात् विशाखा नामक तारा (नक्षत्र) में अधिक प्रीति वाला — यही 'अत्यन्त प्रीति वाला' का अर्थ है।
preyān: comparative of priya, 'dear.' Read actively here — not 'more dear' but 'more loving, fonder of' (atiprītimān glosses it so). On the Kṛṣṇa layer the object is Rādhā the gopī; on the moon layer the same word rādhā is re-heard as the star Viśākhā, and the moon is its fond companion.
प्रेयान् — 'प्रिय' का तुलनात्मक रूप। यहाँ इसे कर्तृ-अर्थ में पढ़ा गया — 'अधिक प्रिय' नहीं, अपितु 'अधिक प्रेम करने वाला, अधिक स्नेही' (अतिप्रीतिमान् इसी अर्थ में इसे व्याख्यायित करता है)। कृष्ण-परत में उसका विषय गोपी राधा है; चन्द्र-परत में वही शब्द 'राधा' विशाखा नक्षत्र के रूप में पुनः सुना जाता है, और चन्द्र उसका स्नेही सहचर है।