kṛṣṇa-bhakto yathā—
dṛg-ambhobhir dhautaḥ pulaka-patalī maṇḍita-tanuḥ
skhalann antaḥ-phullo dadhad atipṛthuṁ vepathum api |
dṛśoḥ kakṣāṁ yāvan mama sa puruṣaḥ ko’py upayayau
na jāte kiṁ tāvan matir iha gṛhe nābhiramate ||
The verse — decoded
L1other
dṛg-ambhobhir dhautaḥ pulaka-patalī maṇḍita-tanuḥ
dṛg-ambhobhiḥby the water of the eyes — that is, washed by tears instrumental of meansआँखों के जल (अश्रु) के द्वारा
dhautaḥwashed clean (describing that man) nom. sg. m., agrees with sa puruṣaḥ in L3धुला हुआ (वह पुरुष)
pulaka-patalī-maṇḍita-tanuḥhis body decorated with a whole array of standing hairs (thrilled skin) bahuvrīhi, nom. sg. m.जिसका शरीर रोमांच की पंक्तियों से सुशोभित है
dṛg-ambhobhiḥ — by the water of the eyes (tears); dhautaḥ — [he is] washed; pulaka-patalī-maṇḍita-tanuḥ — his body adorned with rows of bristling hair
dṛg-ambhobhiḥ — आँखों के जल से; dhautaḥ — धुला हुआ; pulaka-patalī-maṇḍita-tanuḥ — जिसका शरीर रोमांच की पंक्तियों से सुशोभित है।
A girl is speaking. She describes a man she has just seen. He is washed all over by the water of his eyes — meaning bathed in tears. His body is decorated with rows of thrilled, standing hair. These are the outward signs of ecstatic love, and here they are read on the man himself.
वह पुरुष आँखों के जल से धुला हुआ था। रोमांच की पंक्तियों से उसका शरीर सुशोभित हो रहा था।
pulaka: literally the bristling of the body-hair (horripilation, goosebumps); here one of the sāttvika-bhāvas, the involuntary bodily signs of intense emotion.
पुलक का शाब्दिक अर्थ है रोमांच — शरीर के रोंगटों का खड़ा हो जाना; यहाँ यह सात्त्विक भावों में से एक है, अर्थात् तीव्र भाव के अनैच्छिक शारीरिक चिह्नों में से एक।
L2other
skhalann antaḥ-phullo dadhad atipṛthuṁ vepathum api |
skhalanstumbling, unsteady on his feet pres. part., nom. sg. m.लड़खड़ाता हुआ
antaḥ-phullaḥblossoming inside — his heart opening up like a flower nom. sg. m.भीतर-ही-भीतर प्रफुल्लित
dadhatcarrying, holding pres. part., nom. sg. m.धारण करता हुआ
atipṛthum vepathuma very great trembling (shaking of the body) acc. sg., object of dadhatअत्यन्त प्रबल कँपकँपी को
apias well — on top of everything elseभी
skhalan — stumbling; antaḥ-phullaḥ — blossoming within; atipṛthum vepathum api dadhat — and carrying too a very great trembling
skhalan — लड़खड़ाता हुआ; antaḥ-phullaḥ — भीतर से प्रफुल्लित; dadhat — धारण करता हुआ; atipṛthum vepathum — अत्यन्त प्रबल कँपकँपी को; api — भी।
He is stumbling as he walks. Inside, he is blossoming — his heart opens like a flower. And on top of that he is shaking with a great trembling. So four signs pile up: tears, thrilled hair, faltering steps, and trembling — the classic marks of overwhelming love.
वह लड़खड़ा रहा था और भीतर-ही-भीतर प्रफुल्लित था। साथ ही वह अत्यन्त प्रबल कँपकँपी को भी धारण किए हुए था।
vepathu: trembling / shaking of the limbs, another of the sāttvika-bhāvas; atipṛthu here just means 'very great,' not merely 'broad.'
वेपथु का अर्थ है अंगों का काँपना — यह भी सात्त्विक भावों में से एक है; और यहाँ 'अतिपृथु' का अर्थ है 'अत्यन्त प्रबल', केवल 'चौड़ा' नहीं।
L3other
dṛśoḥ kakṣāṁ yāvan mama sa puruṣaḥ ko’py upayayau
dṛśoḥ kakṣām yāvatonly as far as the range of my two eyes — just into my line of sight yāvat 'as soon as / to the extent'; dṛśoḥ gen. dualजहाँ तक मेरी दोनों आँखों की पहुँच थी, वहाँ तक
mamaof me, my genitiveमेरी
saḥ puruṣaḥ kaḥ apithat certain man, some man I cannot name nom. sg. m.वह कोई पुरुष
upayayaucame up close, arrived perfect 3 sg.आ पहुँचा
mama dṛśoḥ kakṣām yāvat — as soon as [he came] into the range of my two eyes; saḥ puruṣaḥ kaḥ api — that certain man; upayayau — came near
dṛśoḥ kakṣām yāvat — जहाँ तक मेरी दोनों आँखों की पहुँच थी वहाँ तक; mama — मेरी; saḥ puruṣaḥ kaḥ api — वह कोई पुरुष; upayayau — आ पहुँचा।
The moment that certain man — some man I can't even name — came just into the range of my eyes, that far and no farther. He simply entered my line of sight. 'Yāvat' (as soon as) sets up 'tāvat' (from then on) in the next line: the instant he appeared, everything changed.
जैसे ही मेरी दोनों आँखों की पहुँच तक वह कोई पुरुष आ पहुँचा।
kakṣā: literally an enclosure or orbit; here the 'range' or reach of the eyes — how far one can see.
कक्षा का शाब्दिक अर्थ है घेरा या कक्ष; यहाँ इसका अर्थ है आँखों की पहुँच — जहाँ तक दृष्टि जा सके।
L4other
na jāte kiṁ tāvan matir iha gṛhe nābhiramate ||
na jāne kimI do not know why na jāne 'I don't know'; kim 'why/what'न जाने क्यों
tāvatfrom that very moment (answering 'as soon as') correlative of yāvat in L3तभी से
matiḥmy mind, my thoughts nom. sg.मेरा मन
iha gṛhehere in the house (my home life) locativeइस घर में
na abhiramatetakes no pleasure, finds no delight present 3 sg.नहीं रमता
na jāne kim — I don't know why; tāvat — from that moment; mama matiḥ iha gṛhe na abhiramate — my mind finds no delight here in the house
na jāne kim — न जाने क्यों; tāvat — तभी से; matiḥ — मेरा मन; iha gṛhe — इस घर में; na abhiramate — नहीं रमता।
I don't know why — but from that very moment my mind takes no pleasure here in the house. He came into view; and at once home lost all its charm for me. The verse leaves the 'why' open — that helplessness is the point.
न जाने क्यों, तभी से मेरा मन इस घर में नहीं रमता।
abhiramate: to delight or take pleasure in; the negative here is what the three commentators explain in different ways.
अभिरमते का अर्थ है रमना या आनन्द लेना; यहाँ इस निषेध — 'नहीं रमता' — को तीनों टीकाकार अलग-अलग ढंग से समझाते हैं।
Commentary — decoded
Jīva Gosvāmī
s1gloss
iha mad-antaḥ-sphurati kasmiṁścid apy anirvacanīye śyāmasundare mama matir abhiramate, gṛhe tu nābhiramate ity arthaḥ ||
ihahere — meaning, within me Jīva reads 'iha' as pointing inward, not to the houseयहाँ 'इह' शब्द घर की ओर नहीं, भीतर की ओर संकेत करता है
mad-antaḥ-sphuratiwho shines inside me, appears within my heart loc. sg., agreeing with śyāmasundareमेरे हृदय के भीतर स्फुरित होने वाले
kasmiṁścit api anirvacanīye śyāmasundarein a certain indescribable Śyāmasundara (the dark, lovely one I cannot put into words) locative — the object 'in whom' the mind delightsकिसी अनिर्वचनीय श्यामसुन्दर में
mama matiḥ abhiramatemy mind does delight, does take pleasure the positive that Jīva suppliesमेरा मन रमता है
gṛhe tu na abhiramatebut in the house it takes no pleasure tu 'but' marks the contrastपरन्तु घर में नहीं रमता
iti arthaḥthis is the meaningऐसा अर्थ है
iha — here, i.e. within me; mad-antaḥ-sphurati kasmiṁścit api anirvacanīye śyāmasundare — in a certain indescribable Śyāmasundara shining inside me; mama matiḥ abhiramate — my mind does delight; gṛhe tu na abhiramate — but in the house it does not; iti arthaḥ — that is the meaning
iha — यहाँ 'इह' भीतर की ओर संकेत करता है; mad-antaḥ-sphurati — मेरे हृदय में स्फुरित होने वाले; kasmiṁścit api anirvacanīye śyāmasundare — किसी अनिर्वचनीय श्यामसुन्दर में; mama matiḥ abhiramate — मेरा मन रमता है; gṛhe tu na abhiramate — परन्तु घर में नहीं रमता; iti arthaḥ — ऐसा अर्थ है।
Jīva reworks the sentence. He takes 'here' to mean 'within me,' not 'in the house.' So the girl's mind is not simply joyless — it is delighting somewhere: in a certain indescribable Śyāmasundara who now shines inside her heart. The mind does take pleasure — in him. It is only toward the house that it takes no pleasure. Jīva thus supplies the positive half the verse left unsaid: her mind has a new home, inside.
जीव गोस्वामी कहते हैं — यहाँ 'इह' शब्द घर की ओर नहीं, भीतर की ओर संकेत करता है। मेरे हृदय में स्फुरित होने वाले किसी अनिर्वचनीय श्यामसुन्दर में मेरा मन रमता है; परन्तु घर में नहीं रमता — यही अर्थ है।
Śyāmasundara: 'the dark and beautiful one,' a name of Kṛṣṇa; anirvacanīya: 'indescribable, beyond words.' Jīva names the unnamed 'certain man' of the verse as Kṛṣṇa appearing within.
श्यामसुन्दर अर्थात् 'श्याम एवं सुन्दर' — कृष्ण का एक नाम; अनिर्वचनीय अर्थात् 'जो शब्दों से परे है'। जीव गोस्वामी श्लोक के उस अनाम 'कोई पुरुष' को भीतर प्रकट होने वाले कृष्ण के रूप में पहचानते हैं।
Mukunda-dāsa Gosvāmī
s1gloss
iha sākṣād vartamāne gṛhe kiṁ nābhiramate—āsaktā na bhavati |
iha sākṣāt vartamāne gṛhehere, in the house that is right in front of her, present before her eyes locative
kim na abhiramatewhy does she take no pleasure? — restating the verse's question kim 'why'
āsaktā na bhavatishe does not become attached — that is what 'takes no pleasure' means Mukunda's plain equivalent
iha sākṣāt vartamāne gṛhe — here in the house present right before her; kim na abhiramate — why does she take no pleasure; āsaktā na bhavati — [it means] she does not become attached
Mukunda reads 'here' the plain way: the house standing right in front of her. Why does she take no pleasure in it? He answers by giving the sense: she does not become attached to it. The home is present and real, yet her heart will not fasten onto it.
s2gloss
dṛśoḥ kakṣāṁ yāvad iti svalpa-sambandhaḥ, puruṣa-darśane hetau saty api kim ity uktis tatra śraddhābhāva-bodhikā |
dṛśoḥ kakṣām yāvat itithe phrase 'only as far as the range of the eyes' lemma quoted from L3
svalpa-sambandhaḥmeans the contact was tiny — the barest connection nom.; Mukunda's gloss of the phrase
puruṣa-darśane hetau sati apieven though the cause — seeing the man — is present locative absolute, 'even though … is present'
kim iti uktiḥthe word 'why' that she speaks uktiḥ 'the utterance'
tatra śraddhā-bhāva-bodhikāthere reveals her lack of śraddhā — she cannot quite believe what is happening to her nom. f., agreeing with uktiḥ
dṛśoḥ kakṣām yāvat iti — the phrase 'as far as the range of the eyes'; svalpa-sambandhaḥ — [signals] the slenderest contact; puruṣa-darśane hetau sati api — even though the cause, seeing the man, is present; kim iti uktiḥ tatra śraddhā-bhāva-bodhikā — her saying 'why' there reveals a lack of trust
Mukunda draws out two words. First, 'only as far as the range of the eyes' shows the contact was minimal — she just laid eyes on him, nothing more. Second, that tiny cause produced this huge effect; so when she says 'why,' the little word carries her disbelief. The cause is there — she did see him — yet the 'why' shows she cannot bring herself to trust that so slight a glance could overturn her whole heart.
śraddhā: usually 'faith, trust'; here śraddhā-bhāva (its absence) is her inability to believe her own experience — that one glance could do this to her.
s3conclusion
iha gṛhe nābhiramate iti bhāvotpattiḥ ||
iha gṛhe na abhiramate itithe words 'takes no pleasure here in the house' lemma quoted from L4
bhāva-utpattiḥ[show] the birth of bhāva — love has now arisen in her nom.; Mukunda's naming of what the line marks
iha gṛhe na abhiramate iti — the words 'takes no pleasure here in the house'; bhāva-utpattiḥ — [mark] the arising of bhāva
Mukunda names the payoff. Her losing all pleasure in the house is not mere restlessness — it is bhāva-utpatti, the birth of love. The disenchantment with home is the outward proof that the inner emotion has been born.
bhāva: here the awakening of love (the emotional state that ripens toward prema); utpatti: its arising or birth. This verse illustrates that first dawning.
Viśvanātha Cakravartī
s1other
na vyākhyātam ||
na vyākhyātamnot commented on — Viśvanātha gave no explanation here past pass. part., nom. sg. n.व्याख्या नहीं की गई
na vyākhyātam — [this verse was] not explained [by Viśvanātha]
na vyākhyātam — व्याख्या नहीं की गई।
An editorial note: Viśvanātha did not comment on this verse. There is nothing from him to decode.
इस श्लोक की कोई व्याख्या नहीं की गई।
An apparatus remark, not part of the argument — it simply records that the third commentator left this verse untouched.
यह एक सम्पादकीय टिप्पणी है, तर्क का अंग नहीं — यह केवल इतना दर्ज करती है कि तीसरे टीकाकार ने इस श्लोक को अछूता छोड़ दिया।