L1other
śaṅke nītāḥ sapadi daśama-skandha-padyāvalīnāṁ
śaṅkeI suspect, I have a hunch (spoken in mock-doubt) 1st sg. pres.; sets the whole verse as feigned suspicionमुझे शंका होती है (इसी से सारा श्लोक बनावटी संदेह के रूप में खड़ा होता है)
nītāḥhave been carried, led along past pass. part., nom. pl. agreeing with varṇāḥले जाए गए (हैं)
sapadiat once, in a flash adv.तुरन्त, झट से
daśama-skandha-padyāvalīnāṁbelonging to the string of verses of the Tenth Canto gen. pl.; qualifies varṇāḥदशम स्कन्ध की पद्यावली के (उन वर्णों के)
śaṅke — I suspect; daśama-skandha-padyāvalīnāṁ varṇāḥ — the syllables of the verses of the Tenth Canto; sapadi nītāḥ — have at once been led along
śaṅke — मुझे शंका होती है; daśama-skandha-padyāvalīnāṁ — दशम स्कन्ध की पद्यावली के; varṇāḥ — वर्ण; sapadi — तुरन्त; nītāḥ — ले जाए गए।
The speaker begins with a mock-suspicion: "I have a hunch." What he suspects is that the syllables of the verses of the Tenth Canto of the Bhāgavata have all at once been carried off somewhere. The verb 'nītāḥ' (led, carried) is left hanging here; the next line tells us where they were carried and by whom. The playful tone of 'śaṅke' colors the whole verse — it is not real doubt but a set-up for the joke.
मुझे तो शंका होती है — दशम स्कन्ध की पद्यावली के वे वर्ण झट से ले जाए गए।
L2other
varṇāḥ karṇādhvani pathikatām ānupurvyād bhavadbhiḥ |
varṇāḥthe syllables, the very letters (of those verses) nom. pl.; subject of nītāḥवर्ण (अक्षर)
karṇādhvanionto the road of the ear, into the ear-canal loc. sg.; the 'road' the syllables travelकानरूपी मार्ग में
pathikatāmthe state of being travelers, wayfarer-hood acc. sg.; what they were 'led into'पथिक-भाव को (यात्री होने की दशा को)
ānupurvyādin their proper sequence, one after another in order abl. as adv.क्रम से, एक के बाद एक
bhavadbhiḥby you (the reciters) — i.e. you did this instr. pl. of agentआप लोगों के द्वारा
bhavadbhiḥ — by you; varṇāḥ — the syllables; ānupurvyād — in due order; karṇādhvani — onto the ear's road; pathikatām nītāḥ — have been made into travelers
bhavadbhiḥ — आप लोगों के द्वारा; varṇāḥ — वर्ण; karṇādhvani — कानरूपी मार्ग में; ānupurvyāt — क्रम से; pathikatām nītāḥ — पथिक-भाव को पहुँचाए गए (यात्री की भाँति ले जाए गए)।
Now the suspended verb resolves. You reciters have led those syllables, in their exact order, right onto "the road of the ear" — you have turned them into travelers walking down the ear-canal. The image is precise: each syllable is a wayfarer, the ear is the path, and the reciters are the ones who set them marching. Calling it done 'in order' (ānupurvyāt) keeps the picture exact — the verses go in sequence, syllable after syllable. The charge sounds like an accusation of smuggling, but it is the frame for praise.
आप लोगों के द्वारा ये वर्ण क्रम से कानरूपी मार्ग पर पथिक बना दिए गए — मानो यात्री की भाँति चला दिए गए।
L3other
haṁho ḍimbhāḥ parama-śubhadān hanta dharmārtha-kāmān
haṁhohey there! (a familiar, chiding call) vocative particleअरे!
ḍimbhāḥyou children, you little ones (said scoldingly) voc. pl.; the reciters addressed as naive kidsहे नादान बालको!
parama-śubhadānthe givers of the highest good, bestowers of great blessing acc. pl.; qualifies dharma-artha-kāmānपरम कल्याण देने वाले
hantaalas! oh dear! (mock-lament) exclamatory particleहाय! (खेद-सूचक)
dharmārtha-kāmāndharma (right living), artha (wealth), and kāma (enjoyment) — the first three human goals acc. pl.; the objects being disparagedधर्म, अर्थ और काम को
haṁho ḍimbhāḥ — hey, you children!; hanta — alas!; parama-śubhadān dharmārtha-kāmān — dharma, artha and kāma, which give the highest good
haṁho ḍimbhāḥ — अरे नादान बालको!; hanta — हाय!; parama-śubhadān dharma-artha-kāmān — परम कल्याण देने वाले धर्म, अर्थ और काम को।
The speaker turns and calls the reciters "children" in a scolding, affectionate way: "Hey there, you little ones!" Then, with a mock-sigh ("alas!"), he points to the first three goals of human life — dharma, artha, and kāma — and reminds us these are normally counted as givers of the highest good. This line sets up the accusation completed in the next line: look what you children have done to these three prized goals. The scolding address 'ḍimbhāḥ' is the heart of the disguise — it sounds like a rebuke.
अरे नादान बालको! हाय — परम कल्याण देने वाले धर्म, अर्थ और काम को (तुम ठुकरा देते हो)।
L4other
yad garhantaḥ sukhamayam amī mokṣam apy ākṣipanti ||
yadin that, because — namely, that… rel./causal conjunction linking to L3क्योंकि, जो कि
garhantaḥwhile making them contemptible, running them down pres. part., nom. pl. agreeing with amīनिन्दा करते हुए
sukhamayammade entirely of happiness, sheer bliss acc. sg.; qualifies mokṣamसुखमय
amīthese very ones (the syllables / the reciters) nom. pl. demonstrativeये लोग
mokṣamliberation, release from saṁsāra acc. sg.मोक्ष को
apieven — mokṣa too, on top of the other three emphatic particleभी
ākṣipantithey throw it aside, brush it off as worthless 3rd pl. pres.ठुकरा देते हैं (तिरस्कारपूर्वक फेंक देते हैं)
yad — in that; amī — these very syllables; dharmārtha-kāmān garhantaḥ — while running down dharma, artha and kāma; sukhamayam mokṣam api — even blissful liberation; ākṣipanti — they cast aside
yad — क्योंकि; amī — ये लोग; (dharmādīn) garhantaḥ — धर्मादि की निन्दा करते हुए; sukhamayam mokṣam api — सुखमय मोक्ष को भी; ākṣipanti — ठुकरा देते हैं।
Here the mock-charge lands. "In that these very syllables — while making dharma, artha, and kāma look contemptible — even throw aside mokṣa, which is nothing but bliss." So the syllables of the Tenth Canto are accused of a double crime: first they belittle the three ordinary goals, and then, going further, they toss away even liberation, the fourth and supposedly highest goal, as if it were worthless. The word 'api' (even) is the sting: not just the lower three, but mokṣa too. On the surface this is an outrage; underneath it is the highest praise — the Bhāgavata's sound is so sweet that it makes even liberation seem cheap.
क्योंकि ये (बालक) धर्मादि की निन्दा करते हुए सुखमय मोक्ष को भी ठुकरा देते हैं।
Commentary — decoded
Jīva Gosvāmī
s1avataranika
śaṅke nītā iti upālambha-vyājena stutir iyam |
śaṅke nītā itithe verse beginning 'śaṅke nītāḥ' (I suspect they were led) pratīka — quoting the verse by its opening'शङ्के नीताः' इस (आरम्भ वाले) श्लोक से
upālambha-vyājenaunder the pretext of reproach, in the guise of a complaint instr. of means — the disguise being usedउलाहने के बहाने से
stutiḥis in fact praise, a hymn of praise nom. sg.; the real contentस्तुति है (यही वास्तविक विषय है)
iyamthis verse (here) nom. sg. fem., agreeing with stutiḥयह
śaṅke nītā iti — the verse 'śaṅke nītāḥ'; upālambha-vyājena — under the pretext of reproach; iyam stutiḥ — this is [really] praise
śaṅke nītā iti — 'शङ्के नीताः' यह श्लोक; iyam — यह; upālambha-vyājena — उलाहने के बहाने से; stutiḥ — स्तुति (है)।
Jīva names the device up front. This verse, which opens 'śaṅke nītāḥ,' only wears the mask of a complaint. Under that pretext of scolding, it is actually praise. So before decoding a single word he tells the reader the key: read the whole thing inside-out — every rebuke is a compliment.
'शङ्के नीताः' — यह तो उलाहने (उपालम्भ) के बहाने से की गई स्तुति है।
s2gloss
śloka-dvayīyam aprastuta-praśaṁsālaṅkāra-mayī |
śloka-dvayīyamthis pair of verses (the two taken together) nom. sg. fem.; refers to 240 with its companion verseयह श्लोक-युगल (240 और उसका साथी श्लोक)
aprastuta-praśaṁsā-alaṅkāra-mayīis built out of the figure called 'praise of the unmentioned' — where you seem to describe one thing but really mean another nom. sg. fem.; -mayī = 'made of, consisting in'अप्रस्तुत-प्रशंसा अलंकार से बनी हुई है
iyam śloka-dvayī — this pair of verses; aprastuta-praśaṁsā-alaṅkāra-mayī — consists of the figure aprastuta-praśaṁsā
iyam śloka-dvayī — यह श्लोक-युगल; aprastuta-praśaṁsā-alaṅkāra-mayī — अप्रस्तुत-प्रशंसा अलंकारमयी (है)।
He classifies the two verses by their poetic figure. They are made of 'aprastuta-praśaṁsā' — literally 'praise of what is not the stated topic.' In this figure the poet appears to talk about one thing (here, a complaint about syllables) but is really pointing at something else (the glory of the Bhāgavata). Naming the figure tells the lecturer exactly what machinery is running under the verse.
यह श्लोक-युगल अप्रस्तुत-प्रशंसा अलंकार से गढ़ा हुआ है।
aprastuta-praśaṁsā: a standard Sanskrit poetics term (alaṅkāra-śāstra). 'aprastuta' = not the matter formally under discussion; 'praśaṁsā' = mention/description. Home meaning: describing the un-topical in order to illuminate the topical. Here: the surface 'topic' is the mischief of the syllables; the real target is the Tenth Canto's supremacy.
अप्रस्तुत-प्रशंसा अलंकार-शास्त्र का एक प्रसिद्ध अलंकार है। 'अप्रस्तुत' अर्थात् जो वस्तुतः विचार्य विषय नहीं, और 'प्रशंसा' अर्थात् उसका वर्णन — अर्थात् अप्रस्तुत (गौण) का वर्णन करके प्रस्तुत (मुख्य) को उभारना। यहाँ ऊपरी विषय है वर्णों की चंचलता, किन्तु असली लक्ष्य है दशम स्कन्ध की सर्वोच्चता।
s3avataranika
sā ca—
sā caand that [figure] — and this aprastuta-praśaṁsā is [as follows] nom. sg. fem. + connective ca; introduces the definition-quoteऔर वह (अप्रस्तुत-प्रशंसा इस प्रकार है) —
sā ca — and that [figure is defined thus]—
sā ca — और वह (अप्रस्तुत-प्रशंसा इस प्रकार है) —
A one-word hinge: "and that figure is —." Jīva is about to back up his classification with the textbook definition, so he says "and it [runs like this]" and then quotes the authority. This is the lecturer's cue that a proof-text is coming.
और वह (अप्रस्तुत-प्रशंसा) इस प्रकार है —
s4citation
kārye nimitte sāmanye viśeṣe prastute sati | tad anyasya vacas tulye tulyasyeti ca pañcadhā ||
kārye nimitte sāmānye viśeṣe prastute satiwhen the topic actually at hand is an effect, or a cause, or a general, or a particular loc. absolute — 'when X is the thing under discussion'जब कार्य, निमित्त (कारण), सामान्य अथवा विशेष विचार्य विषय हो (सति सप्तमी)
tad-anyasya vacaḥspeech about the other member of that pair (the one not under discussion) gen. + nom.; 'tad-anya' = the counterpartतब उससे भिन्न (उसके प्रतिपक्षी) का कथन
tulye tulyasya itiand, when the topic is an equal, speech about its equal the fifth case — like spoken of via likeतथा समान का समान के द्वारा (कथन) — इस प्रकार
ca pañcadhāand so it is fivefold in all adv.; totals the varietiesऔर (यों यह) पाँच प्रकार की (होती है)
kārye nimitte sāmānye viśeṣe prastute sati — when an effect, a cause, a general, or a particular is the topic; tad-anyasya vacaḥ — one speaks of its counterpart; tulye tulyasya — and of an equal via its equal; iti ca pañcadhā — thus fivefold
kārye nimitte sāmānye viśeṣe prastute sati — जब कार्य/कारण/सामान्य/विशेष विचार्य हो; tad-anyasya vacaḥ — तब उसके प्रतिपक्षी का कथन; tulye tulyasya iti ca — और समान का समान द्वारा — इस प्रकार; pañcadhā — पाँच प्रकार की।
This is the definition from the Kāvya-prakāśa. The figure has five varieties, sorted by the relation between what you really mean (the topic) and what you actually talk about. If your real topic is (1) an effect, you speak of its cause; (2) a cause, you speak of its effect; (3) a general truth, you speak of a particular instance; (4) a particular, you speak of the general; or (5) something, you speak of its equal. Five relations, five kinds of 'describing one thing to mean another.'
जब कार्य, कारण, सामान्य या विशेष विचार्य विषय हो और उसके स्थान पर उसके प्रतिपक्षी का वर्णन किया जाए — तथा समान का वर्णन समान के द्वारा हो — इस प्रकार यह पाँच प्रकार की होती है।
Why cited: Cited to define aprastuta-praśaṁsā and license reading these verses as one of its five recognized types.
क्यों उद्धृत: यह पद्य अप्रस्तुत-प्रशंसा की परिभाषा देने और इन श्लोकों को उसके पाँच स्वीकृत भेदों में से एक के रूप में पढ़ने का प्रमाण देने के लिए उद्धृत किया गया है।
s5gloss
sāmānye prastute viśeṣa-prastāva-mayy api syāt |
sāmānye prastutewhen a general matter is the real topic loc. absolute — the case being singled outजब सामान्य विचार्य विषय हो
viśeṣa-prastāva-mayī apithe verse can also be built as a bringing-up of a particular case nom. sg. fem.; api = 'also, as well'तो वह विशेष के उल्लेख से युक्त भी
syātit may be, it is possible opt. 3rd sg.हो सकती है
sāmānye prastute — when the general is the topic; viśeṣa-prastāva-mayī api syāt — it may also consist of raising a particular
sāmānye prastute — जब सामान्य विचार्य हो; viśeṣa-prastāva-mayī api — विशेष के उल्लेखमयी भी; syāt — हो सकती है।
Of those five varieties, Jīva picks the one that fits here. When the real subject is a general truth, the figure may work by bringing up a particular instance instead. That is, you talk about one specific case in order to make a point that holds in general. This is the third variety (general topic, spoken of through a particular), and it is the key to how these verses operate.
जब सामान्य विचार्य विषय हो, तब वह विशेष के उल्लेख से युक्त भी हो सकती है।
s6gloss
tad evam atra śrī-mūrti-śrī-bhāgavata-mātrayoḥ prastutayos tat-tad-viśeṣaḥ prastāvaḥ kṛtaḥ |
tad evam atraso, in just this way, here [in our verses] connective; applies the definition to the caseअतः इस प्रकार यहाँ
śrī-mūrti-śrī-bhāgavata-mātrayoḥof the two things — the holy Deity-form and the holy Bhāgavata alike gen. dual; mātra = 'the mere/general class of' eachश्रीविग्रह और श्रीभागवत — इन दोनों के सामान्य वर्ग के
prastutayoḥthese being the general topics on the table gen. dual, agreeing — 'when these two are what is under discussion'जब ये दोनों विचार्य विषय हों
tat-tad-viśeṣaḥa particular feature of each of them respectively nom. sg.; the specific instance raisedउन-उन के विशेष का
prastāvaḥ kṛtaḥhas been brought up, has been made the thing mentioned nom. sg. + past part.उल्लेख किया गया है
tad evam atra — so here in this way; śrī-mūrti-śrī-bhāgavata-mātrayoḥ prastutayoḥ — the holy Deity-form and the holy Bhāgavata being the general topics; tat-tad-viśeṣaḥ prastāvaḥ kṛtaḥ — a particular feature of each has been raised
tad evam atra — अतः इस प्रकार यहाँ; śrī-mūrti-śrī-bhāgavata-mātrayoḥ prastutayoḥ — जब श्रीविग्रह और श्रीभागवत का सामान्य वर्ग विचार्य हो; tat-tad-viśeṣaḥ prastāvaḥ kṛtaḥ — उन-उन के विशेष का उल्लेख किया गया है।
Jīva applies the rule. The two general subjects standing behind this pair of verses are the holy Deity-form (Śrī Mūrti) and the holy Bhāgavata. Those are the 'general' matters. What the poet actually voices, though, is a particular feature belonging to each — for the Bhāgavata, the specific marvel of its syllables overwhelming even mokṣa. So the mechanism is exactly the third variety: general topic (the Bhāgavata's greatness), spoken through a particular instance (this one astonishing effect of hearing it).
अतः इस प्रकार यहाँ श्रीविग्रह और श्रीभागवत — इन दोनों की सामान्य श्रेणी के विचार्य होने पर उन-उन के विशेष का उल्लेख किया गया है।
śrī-mūrti-śrī-bhāgavata-mātrayoḥ — 'mātra' here means 'the general category of the Deity' and 'the general category of the Bhāgavata,' i.e. these two taken as the broad topics, as opposed to the specific detail (viśeṣa) actually spoken.
'श्री-मूर्ति-श्री-भागवत-मात्रयोः' में 'मात्र' का अर्थ है 'श्रीविग्रह का सामान्य वर्ग' और 'श्रीभागवत का सामान्य वर्ग' — अर्थात् इन दोनों को व्यापक विषय के रूप में लेना, न कि वास्तव में कहे गए विशेष विवरण (विशेष) के रूप में।
s7reply
sa hi tāvat tat-paryanta-mahima-jñānana-prayojaka iti |
sa hifor that [raising of a particular] — indeed it nom. sg. masc. (sa = prastāvaḥ) + hi 'for, indeed'क्योंकि वह (उल्लेख / प्रस्ताव)
tāvatjust so, precisely to that extent adv.सबसे पहले तो
tat-paryanta-mahima-jñāna-prayojakaḥis what brings about knowledge of greatness carried all the way to its limit nom. sg.; 'prayojaka' = the thing that produces/occasionsउसकी पराकाष्ठा तक की महिमा का ज्ञान उत्पन्न कराने वाला (है)
iti— this is the point closes the explanation— इस प्रकार (यह भाव है)
sa hi — for that raising [of the particular]; tāvat — just so; tat-paryanta-mahima-jñāna-prayojakaḥ — occasions knowledge of the greatness [of the topic] taken to its very limit; iti — thus
sa hi — क्योंकि वह; tāvat — सबसे पहले; tat-paryanta-mahima-jñāna-prayojakaḥ — उसकी पराकाष्ठा तक की महिमा का ज्ञान कराने वाला; iti — इस प्रकार।
Jīva explains why the poet reaches for a particular instead of stating the general glory outright. Naming one extreme particular case is exactly what makes us grasp the greatness of the thing 'all the way to its limit' (paryanta). Say plainly "the Bhāgavata is great" and it stays abstract; show one particular — that its mere sound makes even liberation look cheap — and the listener feels the full, outermost reach of that greatness. The particular is chosen because it produces knowledge of the glory at its very edge.
क्योंकि वह उल्लेख सबसे पहले तो उस विषय की पराकाष्ठा तक की महिमा का ज्ञान करा देता है।
s8reply
kiṁ ca pūrva-padye smerām ity ādinā tasyā hari-tanoḥ praśaṁsanāt tat-prekṣaṇa-niṣedhe tātparyaṁ nāstīti, tadvat tad-uttara-padye dharmādīnāṁ parama-śubhadānāṁ mokṣasya ca sukhamayasya daśama-skandha-śravaṇaja-bhāvenātikramāt tasya parama-sukha-rūpatva-prāptyā |
kiṁ camoreover, and furthermore connective introducing a second supporting pointऔर भी (एक दूसरा हेतु)
pūrva-padyein the earlier verse (the companion verse before this one) loc. sg.पूर्व श्लोक में
smerām ity ādināby the words 'smerām…' (smiling…) and the rest instr.; pratīka of the previous verse'स्मेराम्' इत्यादि पदों से
tasyāḥ hari-tanoḥ praśaṁsanātbecause that body of Hari is being praised there abl. of reason — 'since it praises…'उस हरि-विग्रह की प्रशंसा होने के कारण
tat-prekṣaṇa-niṣedhe tātparyaṁ nāsti itithe real intent is not to forbid looking at it loc. + nom.; 'tātparya' = the speaker's true purportउसके दर्शन के निषेध में (वक्ता का) तात्पर्य नहीं है — ऐसा
tadvatjust as in that case, likewise adv. of comparison — linking the two versesउसी प्रकार
tad-uttara-padyein the following verse (this verse, 240) loc. sg.उसके बाद वाले (इस) श्लोक में
dharmādīnāṁ parama-śubhadānāṁof dharma and the rest, which give the highest good gen. pl.परम कल्याणकारी धर्मादि का
mokṣasya ca sukhamayasyaand of liberation, which is made of happiness gen. sg.और सुखमय मोक्ष का
daśama-skandha-śravaṇaja-bhāvenaby the emotion born of hearing the Tenth Canto instr. of means/causeदशम स्कन्ध के श्रवण से उत्पन्न भाव के द्वारा
atikramātbecause [that emotion] goes beyond and surpasses them abl. of reasonअतिक्रमण (लाँघ जाने) के कारण
tasya parama-sukha-rūpatva-prāptyāsince it [that emotion] turns out to be the very form of the highest happiness instr. of reason — 'by its attaining the nature of supreme joy'उसके (दशम स्कन्ध के) परम-सुखस्वरूप हो जाने की प्राप्ति के कारण
kiṁ ca — moreover; pūrva-padye smerām ity ādinā tasyāḥ hari-tanoḥ praśaṁsanāt — since the earlier verse, by 'smerām…' etc., praises Hari's form; tat-prekṣaṇa-niṣedhe tātparyaṁ nāsti — its aim is not to forbid seeing it; tadvat tad-uttara-padye — likewise in this next verse; dharmādīnāṁ … mokṣasya ca … atikramāt — because the Tenth-Canto-hearing emotion surpasses dharma etc. and mokṣa; tasya parama-sukha-rūpatva-prāptyā — since that emotion proves to be the highest happiness itself
kiṁ ca — और भी; pūrva-padye smerām ity ādinā tasyāḥ hari-tanoḥ praśaṁsanāt — पूर्व श्लोक में 'स्मेराम्' इत्यादि से उस हरि-विग्रह की प्रशंसा होने से; tat-prekṣaṇa-niṣedhe tātparyaṁ nāsti iti — उसके दर्शन के निषेध में तात्पर्य नहीं; tadvat tad-uttara-padye — उसी प्रकार अगले श्लोक में; dharmādīnāṁ parama-śubhadānāṁ mokṣasya ca sukhamayasya — परम कल्याणकारी धर्मादि तथा सुखमय मोक्ष का; daśama-skandha-śravaṇaja-bhāvena atikramāt — दशम स्कन्ध के श्रवणजनित भाव से अतिक्रमण होने से; tasya parama-sukha-rūpatva-prāptyā — उसके परम-सुखस्वरूप हो जाने की प्राप्ति से।
A second proof, by parallel with the companion verse. In that earlier verse the words 'smerām…' and so on are clearly praising the beautiful form of Hari — so, Jīva says, its point was never really to forbid looking at that form; the 'prohibition' there was disguised praise. This verse works the same way. Here the emotion born of hearing the Tenth Canto surpasses dharma, artha, kāma (the givers of the highest good) and even blissful mokṣa — and it surpasses them precisely because that emotion itself turns out to be the highest happiness there is. So the 'running down' of dharma and mokṣa is not real contempt; it is the by-product of something sweeter eclipsing them. The parallel with the earlier verse proves the disguise.
और भी — जैसे पूर्व श्लोक में 'स्मेराम्' इत्यादि पदों से उस हरि-विग्रह की प्रशंसा होने के कारण उसके दर्शन के निषेध में वक्ता का तात्पर्य नहीं है, उसी प्रकार इस अगले श्लोक में परम कल्याणकारी धर्मादि तथा सुखमय मोक्ष का दशम स्कन्ध के श्रवण से उत्पन्न भाव के द्वारा अतिक्रमण हो जाने से — अर्थात् उसी दशम स्कन्ध के परम-सुखस्वरूप बन जाने के कारण — (उनके निषेध में भी तात्पर्य नहीं है)।
tātparya — the speaker's real intent/purport, as against the literal surface sense; a standard exegetical term. The argument: the surface (a prohibition, a disparagement) is not the tātparya; the tātparya is praise.
'तात्पर्य' अर्थात् वक्ता का असली अभिप्राय, जो शब्द के ऊपरी अर्थ से भिन्न होता है — यह व्याख्या-शास्त्र का प्रसिद्ध पद है। तर्क यह है: ऊपरी अर्थ (एक निषेध, एक निन्दा) तात्पर्य नहीं है; तात्पर्य तो प्रशंसा ही है।
s9reply
haṁho ḍimbhāḥ ity atrādhikṣepe tātparyaṁ nāstīti padya-dvaye’sminn atyanta-tiraskṛta-vācya-dhvaninā stutāv eva nayanāt |
haṁho ḍimbhāḥ ity atrain the phrase 'haṁho ḍimbhāḥ' (hey, you children!) loc.; pratīka of the scolding words'हंहो डिम्भाः' इस स्थल पर
ādhikṣepe tātparyaṁ nāsti itithe real intent is not insult, not actual abuse loc. + nom.; 'ādhikṣepa' = revilingभर्त्सना (आक्षेप) में तात्पर्य नहीं है — ऐसा
padya-dvaye asminin this pair of verses loc. sg.इस श्लोक-युगल में
atyanta-tiraskṛta-vācya-dhvanināby a suggested sense in which the literal meaning is utterly pushed aside instr. of means; 'vācya' = the literal, 'dhvani' = the suggestedवाच्यार्थ को पूर्णतः दबा देने वाली (अत्यन्त-तिरस्कृत-वाच्य) ध्वनि के द्वारा
stutau eva nayanātbecause it is carried over into praise, and praise alone abl. of reason — 'since it leads to praise'स्तुति में ही ले जाए जाने के कारण
haṁho ḍimbhāḥ ity atra — in 'haṁho ḍimbhāḥ'; ādhikṣepe tātparyaṁ nāsti — the intent is not abuse; asmin padya-dvaye — in these two verses; atyanta-tiraskṛta-vācya-dhvaninā — by suggestion that wholly sets aside the literal; stutau eva nayanāt — because [it] is led to praise alone
haṁho ḍimbhāḥ ity atra — 'हंहो डिम्भाः' इस स्थल पर; ādhikṣepe tātparyaṁ nāsti iti — भर्त्सना में तात्पर्य नहीं; asmin padya-dvaye — इस श्लोक-युगल में; atyanta-tiraskṛta-vācya-dhvaninā — वाच्यार्थ को पूर्णतः दबाने वाली ध्वनि से; stutau eva nayanāt — स्तुति में ही ले जाए जाने से।
Jīva takes the harshest words — 'hey, you children!' — and shows their intent too is not insult. Across these two verses a special kind of suggestion is at work: the literal, surface meaning is 'utterly set aside' and something else is heard through it. Here the literal abuse is completely overridden, and the whole thing is carried over into praise, and praise only. So even the sharpest scolding word is safe: by suggestion (dhvani) it means the opposite of what it says.
'हंहो डिम्भाः' इस स्थल पर भी भर्त्सना में तात्पर्य नहीं है — क्योंकि इस श्लोक-युगल में वाच्यार्थ को पूर्णतः दबा देने वाली ध्वनि के द्वारा (सब कुछ) स्तुति में ही ले जाया गया है।
atyanta-tiraskṛta-vācya-dhvani — a named subtype of dhvani (suggestion) in Sanskrit poetics: the type where the literal sense (vācya) is 'entirely set aside' (atyanta-tiraskṛta) in favor of the suggested sense. That is the mechanism by which abuse becomes praise here.
'अत्यन्त-तिरस्कृत-वाच्य-ध्वनि' अलंकार-शास्त्र में ध्वनि (व्यंग्यार्थ) का एक नामांकित भेद है — वह भेद जहाँ वाच्यार्थ (शब्द का ऊपरी अर्थ) पूर्णतः तिरस्कृत (दबा) कर दिया जाता है और व्यंग्यार्थ ही ग्रहण होता है। यहाँ निन्दा के प्रशंसा बन जाने की यही प्रक्रिया है।
s10conclusion
stutiś ca sā nindā-vyājeneti vyāja-stuti-nāmālaṅkāro’yaṁ gamyate ||
stutiḥ ca sāand that praise nom. sg. fem. — resuming the 'stuti' established in s1और वह स्तुति (जो s1 में स्थापित हुई)
nindā-vyājena iti[is conveyed] under the pretext of blame — thus instr. of means; nindā = censure, blameनिन्दा के बहाने से — इस प्रकार
vyāja-stuti-nāma-alaṅkāraḥthe figure that goes by the name 'vyāja-stuti' (praise-in-disguise) nom. sg.'व्याज-स्तुति' नामक अलंकार
ayaṁ gamyatethis is what is to be understood here 3rd sg. pass. — 'is arrived at, is grasped'यह (यहाँ) प्रतीत होता है, जान लिया जाता है
sā stutiḥ ca — and that praise; nindā-vyājena — under the pretext of blame; iti — thus; ayaṁ vyāja-stuti-nāma-alaṅkāraḥ gamyate — this figure called vyāja-stuti is understood
stutiḥ ca sā nindā-vyājena iti — और वह स्तुति निन्दा के बहाने से (हुई) — इस प्रकार; ayaṁ vyāja-stuti-nāma-alaṅkāraḥ gamyate — यह 'व्याज-स्तुति' नामक अलंकार जाना जाता है।
Jīva closes the loop. Since the whole thing is praise delivered under the cover of blame, the figure here is understood to be the one specifically named 'vyāja-stuti' — 'praise-in-disguise.' He opened (s1) by saying 'this is really praise under a pretext of reproach'; he now names that exact figure. So the final verdict: the poetic device operating in these verses is vyāja-stuti.
और वह स्तुति निन्दा के बहाने से की गई है — इस प्रकार यहाँ 'व्याज-स्तुति' नामक अलंकार प्रतीत होता है।
vyāja-stuti — a recognized alaṅkāra: 'praise (stuti) by a pretext (vyāja) [of blame],' or conversely blame by a pretext of praise. Home meaning: censure and compliment swap surfaces. Here: apparent censure of the reciters and of dharma/mokṣa is, in truth, praise of the Bhāgavata.
'व्याज-स्तुति' एक मान्य अलंकार है — 'व्याज' (बहाने) से की गई 'स्तुति', अर्थात् निन्दा के बहाने प्रशंसा; अथवा इसके विपरीत प्रशंसा के बहाने निन्दा। मूल भाव: निन्दा और प्रशंसा अपने ऊपरी रूप आपस में बदल लेते हैं। यहाँ पाठकों की तथा धर्म/मोक्ष की प्रत्यक्ष निन्दा वस्तुतः श्रीभागवत की प्रशंसा है।
Mukunda-dāsa Gosvāmī
s1gloss
nītāḥ prāptāḥ |
nītāḥthe word 'nītāḥ' (led/carried) pratīka being glossed
prāptāḥmeans 'reached, arrived at' nom. pl. — the plain synonym supplied
nītāḥ — 'led'; prāptāḥ — [i.e.] 'reached, arrived'
Mukunda gives a plain synonym for the verse's word 'nītāḥ.' It means 'reached' or 'arrived at.' So the syllables did not merely get 'led' passively — they 'arrived,' they 'attained' their destination. This small gloss sets up his grammatical point in the next segment.
s2gloss
gaty-arthatvāt kartari niṣṭhā |
gaty-arthatvātbecause the root here has the sense of 'going/motion' abl. of reason
kartari niṣṭhāthe -ta participle stands for the agent (the goer), not the object technical: niṣṭhā = the ta/kta participle; kartari = in agent sense
gaty-arthatvāt — because [the root] means motion; kartari niṣṭhā — the past participle is in the agent sense
Mukunda justifies his synonym on grammatical grounds. There is a rule that when a verbal root means 'to go / motion,' its past participle in -ta can carry an active, agent sense rather than the usual passive one. That is why 'nītāḥ' can be read as 'arrived' (the syllables themselves reaching) rather than only 'were led' (something done to them). The point: read the syllables as active travelers who got there, matching the verse's traveler-image.
kartari niṣṭhā — a Pāṇinian point: the niṣṭhā (past participle in -ta/-na) normally denotes the object (karman), but for roots of motion (and a few others) it may denote the agent (kartṛ). So 'nītāḥ' = 'those who have gone/arrived,' active.
s3gloss
ḍimbhā iti śraddhāyā abhāvaḥ |
ḍimbhāḥ itithe word 'ḍimbhāḥ' (children) pratīka being glossed
śraddhāyāḥ abhāvaḥsignals an absence of faith — i.e. they are called 'children' because they lack faith gen. + nom.; 'abhāva' = want, lack
ḍimbhāḥ iti — 'children'; śraddhāyāḥ abhāvaḥ — [indicates] the absence of faith
Mukunda explains why the reciters are addressed as 'children.' Calling them 'ḍimbhāḥ' points to a lack of faith (śraddhā). A child does not yet understand or trust the value of what it handles; likewise these 'children,' in the verse's playful frame, are treated as not appreciating the priceless thing they are reciting. The word 'child' is doing work — it marks the (feigned) charge of not grasping the Bhāgavata's worth.
s4gloss
karṇādhvani pathikatām iti svalpa-sambandhaḥ |
karṇādhvani pathikatām itithe phrase 'karṇādhvani pathikatām' (travelerhood on the ear's road) pratīka being glossed
svalpa-sambandhaḥexpresses only a slight, passing connection nom. sg.; svalpa = very small
karṇādhvani pathikatām iti — 'wayfarer-hood on the road of the ear'; svalpa-sambandhaḥ — [means] only a slight connection
Mukunda draws out the force of the traveler-image. A traveler on a road only passes through — he does not settle. So saying the syllables became 'travelers on the road of the ear' expresses just a slight, momentary contact with the ear. Even that fleeting brush is enough to produce the huge effect the verse describes — which quietly heightens the praise: a mere passing touch of these syllables already overturns dharma and mokṣa.
s5conclusion
mokṣākṣepeṇa bhāvaḥ ||
mokṣa-ākṣepeṇaby the casting-aside of even liberation instr. of means — the verse's climactic move
bhāvaḥthe [devotional] emotion is what is shown / is present nom. sg.; bhāva = the emotional state, here bhakti-rasa
mokṣa-ākṣepeṇa — through the throwing-aside of mokṣa; bhāvaḥ — [devotional] emotion [is indicated]
Mukunda's closing point. By having the syllables throw even liberation aside, the verse is really pointing to bhāva — devotional emotion. The logic: only something higher than mokṣa could make mokṣa dispensable, and that higher thing is the devotional feeling born of hearing the Bhāgavata. So the verse's most shocking gesture — tossing away liberation — is precisely how it signals the supremacy of bhakti-bhāva.
bhāva — here the technical Gauḍīya sense: the awakened devotional emotion (the seed of prema), which is prized above mukti. Mukunda reads the whole 'mokṣa-ākṣepa' as an indicator (dyotaka) of that bhāva.
Viśvanātha Cakravartī
s1gloss
varṇā eva karṇādhvani pathikatāṁ nītā, na tv artha-jñānam |
varṇāḥ evathe syllables alone — only the bare sounds, nothing more nom. pl. + eva (restrictive)केवल वर्ण (अक्षर) ही
karṇādhvanionto the road of the ear loc. sg.कानरूपी मार्ग में
pathikatāṁ nītāḥwere made travelers, were led as wayfarers acc. + past part.पथिक-भाव को पहुँचाए गए (यात्री बनाए गए)
na tu artha-jñānambut not any understanding of their meaning na tu = 'but not'; the pointed contrastकिन्तु अर्थ का ज्ञान नहीं (पहुँचाया गया)
varṇāḥ eva — the syllables alone; karṇādhvani pathikatāṁ nītāḥ — were led as travelers on the ear's road; na tu artha-jñānam — but not the knowledge of [their] meaning
varṇāḥ eva — केवल वर्ण ही; karṇādhvani — कानरूपी मार्ग में; pathikatāṁ nītāḥ — पथिक-भाव को पहुँचाए गए; na tu artha-jñānam — किन्तु अर्थ का ज्ञान नहीं।
Viśvanātha sharpens the picture with the restrictive 'eva.' It was only the syllables — the bare sounds — that were sent traveling into the ear, and not any grasp of their meaning. In other words, the listeners caught just the sound of the Tenth Canto, not its sense. And yet even that produced the overwhelming result the verse goes on to describe. This makes the praise stronger still: the naked sound alone, with no comprehension, already does the work.
केवल वर्ण ही कानरूपी मार्ग पर पथिक बनाकर ले जाए गए, किन्तु अर्थ का ज्ञान नहीं।
s2gloss
he ḍimbhā ajñāḥ ! yad yasmāt varṇa-śravaṇād dharmādīn garhayantaḥ santaḥ sukha-mayaṁ mokṣam apy ākṣipanti |
he ḍimbhāḥ ajñāḥO children, O ignorant ones! voc.; ajñāḥ glosses ḍimbhāḥ as 'unknowing'हे अज्ञानी बालको! ('डिम्भाः' का अर्थ 'अनजान')
yad yasmāt'yad' here means 'because, since' the verse's 'yad' glossed as causal yasmāt'यत्' अर्थात् 'यस्मात्' (जिस कारण से)
varṇa-śravaṇātfrom [merely] hearing the syllables abl. of causeवर्णों के श्रवण के कारण
dharmādīn garhayantaḥ santaḥwhile going on running down dharma and the rest pres. part. + 'santaḥ' (being); continuous actionधर्मादि की निन्दा करते हुए
sukha-mayaṁ mokṣam apieven liberation, which is made of happiness acc. + apiसुखमय मोक्ष को भी
ākṣipantithey cast aside, they brush away 3rd pl. pres.ठुकरा देते हैं
he ḍimbhāḥ ajñāḥ — O ignorant children!; yad yasmāt — because; varṇa-śravaṇāt — from hearing the syllables; dharmādīn garhayantaḥ santaḥ — while running down dharma etc.; sukha-mayaṁ mokṣam api ākṣipanti — they cast aside even blissful liberation
he ḍimbhāḥ ajñāḥ — हे अज्ञानी बालको!; yad yasmāt varṇa-śravaṇāt — 'यत्' अर्थात् जिस कारण, वर्ण-श्रवण से; dharmādīn garhayantaḥ santaḥ — धर्मादि की निन्दा करते हुए; sukha-mayaṁ mokṣam api ākṣipanti — सुखमय मोक्ष को भी ठुकरा देते हो।
Viśvanātha reads the verse's back half straightforwardly, glossing the address as 'O ignorant children!' and reading the verse's 'yad' as 'because.' The sense: because, just from hearing these syllables, people end up disparaging dharma, artha, and kāma — and go on to throw away even mokṣa, which is made of happiness. He supplies 'santaḥ' (being/while) to mark it as an ongoing state: they keep belittling the lower goals and, on top of that, dismiss liberation itself. The bare sound alone drives them to it.
हे अज्ञानी बालको! जिस कारण वर्णों के श्रवण से (तुम) धर्मादि की निन्दा करते हुए सुखमय मोक्ष को भी ठुकरा देते हो।
s3conclusion
padya-dvaye’sminn atyanta-tiraskṛta-vācya-dhvaninā stutāv eva paryavasānād vyāja-stuti-nāmālaṅkāro’yaṁ gamyate ||
asmin padya-dvayein this pair of verses loc. sg.इस श्लोक-युगल में
atyanta-tiraskṛta-vācya-dhvanināby a suggestion in which the literal sense is completely set aside instr. of meansवाच्यार्थ को पूर्णतः तिरस्कृत करने वाली ध्वनि के द्वारा
stutau eva paryavasānātbecause it all finally comes to rest in praise, and praise alone abl. of reason; 'paryavasāna' = final settling/culminationस्तुति में ही पर्यवसान (अन्तिम परिणति) होने के कारण
vyāja-stuti-nāma-alaṅkāraḥ ayaṁ gamyatethe figure known as vyāja-stuti (praise-in-disguise) is understood here nom. sg. + pass.यह 'व्याज-स्तुति' नामक अलंकार प्रतीत होता है
asmin padya-dvaye — in these two verses; atyanta-tiraskṛta-vācya-dhvaninā — by suggestion that wholly sets aside the literal; stutau eva paryavasānāt — because it culminates in praise alone; ayaṁ vyāja-stuti-nāma-alaṅkāraḥ gamyate — this figure vyāja-stuti is understood
asmin padya-dvaye — इस श्लोक-युगल में; atyanta-tiraskṛta-vācya-dhvaninā — वाच्यार्थ को पूर्णतः तिरस्कृत करने वाली ध्वनि से; stutau eva paryavasānāt — स्तुति में ही पर्यवसान होने से; ayaṁ vyāja-stuti-nāma-alaṅkāraḥ gamyate — यह 'व्याज-स्तुति' नामक अलंकार जाना जाता है।
Viśvanātha ends exactly where Jīva did, in almost the same words. In these two verses a suggestion is at work by which the literal meaning is completely set aside; and because the whole thing finally settles into praise, and praise alone, the figure understood here is 'vyāja-stuti' — praise-in-disguise. Note his word 'paryavasāna' (culmination): the surface abuse is not the resting point; the verse comes to rest only in praise. Two commentators, one verdict.
इस श्लोक-युगल में वाच्यार्थ को पूर्णतः तिरस्कृत करने वाली ध्वनि के द्वारा (सब कुछ) स्तुति में ही पर्यवसित हो जाने के कारण यह 'व्याज-स्तुति' नामक अलंकार प्रतीत होता है।
atyanta-tiraskṛta-vācya-dhvani — the same poetics term as in Jīva's s9: the dhvani-subtype where the literal sense is 'utterly set aside.' Viśvanātha uses 'paryavasāna' (final culmination) where Jīva used 'nayana' (leading-to), but the claim is identical: the verses resolve into pure praise, hence vyāja-stuti.
'अत्यन्त-तिरस्कृत-वाच्य-ध्वनि' वही अलंकार-शास्त्रीय पद है जो जीव गोस्वामी के s9 में आया — ध्वनि का वह भेद जहाँ वाच्यार्थ पूर्णतः दबा दिया जाता है। विश्वनाथ यहाँ 'पर्यवसान' (अन्तिम परिणति) शब्द प्रयुक्त करते हैं, जबकि जीव ने 'नयन' (ले जाना) कहा था; किन्तु दावा एक ही है — श्लोक शुद्ध स्तुति में परिणत होते हैं, अतः व्याज-स्तुति।