L1avataranika
yadavadhi mama śītā vaiṇikenānugītā
yad-avadhifrom the time that / ever since correlative 'from-which-point', answered by tad-avadhi in L4जिस समय से (जिसका उत्तर L4 के तद्-अवधि में)
mamafor me / of mine gen.मेरी
śītācooling — it soothes the burning [of the ears] nom. fem., predicate of nāmā-gāthā[कानों को] शीतल करने वाली
vaiṇikenaby a vīṇā-player instr. of agent with the passive anugītāवीणावादक के द्वारा
anugītāwas sung out (sung along on the vīṇā) past pass. part., fem., with nāmā-gāthāगाई गई
yad-avadhi — ever since; mama — for me; agha-śatroḥ nāmā-gāthā (from L2) — the song of the names of Kṛṣṇa; śītā — cooling; vaiṇikena — by a vīṇā-player; anugītā — was sung out.
yad-avadhi — जिस समय से; mama — मेरी; śītā — [कानों को] शीतल करने वाली; vaiṇikena — वीणावादक के द्वारा; anugītā — गाई गई
Ever since the song of the names of Kṛṣṇa was sung out for me by a vīṇā-player. That song is cooling — it soothes the ears. The 'from which time' here waits for its answer, 'from that time,' in the fourth line. This is the speaker (Bilvamaṅgala) recalling the moment the holy name first reached him.
जिस समय से मेरी वह शीतल करने वाली [नाम-गाथा] वीणावादक के द्वारा गाई गई —
vaiṇika: in ordinary usage simply 'a player of the vīṇā', a professional lute-musician; here the commentators take it to point at Nārada, whose name is left unspoken (see the comment on this word).
वैणिक का सामान्य अर्थ है वीणा बजाने वाला, कोई पेशेवर वादक; परन्तु यहाँ टीकाकार इसे नारद की ओर संकेत मानते हैं, जिनका नाम अनुक्त रखा गया है (इसी शब्द पर की गई टिप्पणी देखें)।
L2avataranika
śruti-patham agha-śatror nāmā-gāthā prayātā |
śruti-pathamonto the path of the ears (into my hearing) acc. of goal-reached with prayātāकानों के मार्ग तक
agha-śatroḥof the enemy of Agha — that is, of Kṛṣṇa gen., qualifying nāmā-gāthāअघशत्रु (कृष्ण) की
nāmā-gāthāthe song made of his names nom. fem., the grammatical subject of L1–L2नाम-गाथा
prayātāwent / made its way past pass. part., fem., main verb of the yad-avadhi clauseपहुँच गई
agha-śatroḥ — of Kṛṣṇa; nāmā-gāthā — the song of his names; śruti-patham — onto the path of my ears; prayātā — went.
śruti-patham — कानों के मार्ग तक; agha-śatroḥ — अघशत्रु (कृष्ण) की; nāmā-gāthā — नाम-गाथा; prayātā — पहुँच गई
The song made of the names of Kṛṣṇa, the enemy of the demon Agha, made its way onto the path of my ears. So the whole opening clause is: ever since that cooling name-song of Kṛṣṇa, sung out on the vīṇā, first entered my hearing. 'Agha-śatru' names Kṛṣṇa by his deed — the slayer of Agha.
अघशत्रु (कृष्ण) की वह नाम-गाथा मेरे कानों के मार्ग तक पहुँच गई।
agha-śatru: literally 'enemy of Agha' (the serpent-demon Kṛṣṇa killed as a boy); here a name-by-deed for Kṛṣṇa, so the epithet is itself one of the 'names' in the name-song.
अघशत्रु का शाब्दिक अर्थ है 'अघ का शत्रु' — अघ वह सर्प-असुर जिसे कृष्ण ने बाल्यावस्था में मारा; यह कर्म से बना कृष्ण का एक नाम है, अतः यह विशेषण स्वयं उस नाम-गीत के 'नामों' में से एक है।
L3avataranika
anavakalita-pūrvāṁ hanta kām apy avasthāṁ
anavakalita-pūrvāmnever tasted before — a state I had never known till now acc. fem., qualifying avasthāmपहले कभी अनुभव न की गई
hantaoh! — a cry of wonder exclamatory particleअहो!
kām apisome indescribable — a certain something-or-other acc. fem., indefinite, marking a state beyond wordsकिसी अनिर्वचनीय
avasthāmcondition, an inner state acc. fem., object of dadhat in L4अवस्था को
hanta — oh!; anavakalita-pūrvām — never known before; kām api — some indescribable; avasthām — condition.
anavakalita-pūrvām — पहले कभी अनुभव न की गई; hanta — अहो!; kām api — किसी अनिर्वचनीय; avasthām — अवस्था को
Oh! — some indescribable condition, one I had never known before. The word 'hanta' is a gasp of wonder. 'Some — I can't say what' marks a state past describing. This inner state is what the mind now 'takes on', as the next line says.
अहो! पहले कभी अनुभव न की गई किसी अनिर्वचनीय अवस्था को —
L4conclusion
tadavadhi dadhad-antar-mānasaṁ śāmyatīva ||
tad-avadhifrom that time on correlative answering yad-avadhi of L1उस समय से
dadhattaking on, holding [that state] pres. part. nom. neut., agreeing with antar-mānasamधारण करता हुआ
antar-mānasamthe inner mind nom. neut., subject of śāmyatiभीतर का मन
śāmyatifalls still, grows quiet 3rd sg. pres.शान्त हो जाता है
ivaas it were — almost, one might say comparative particle softening śāmyatiमानो
tad-avadhi — from that time on; antar-mānasam — the inner mind; kām api avasthām (from L3) — some indescribable state; dadhat — taking on; śāmyati iva — seems to fall still.
tad-avadhi — उस समय से; dadhat — धारण करता हुआ; antar-mānasam — भीतर का मन; śāmyati — शान्त हो जाता है; iva — मानो
From that time on, my inner mind, taking on that indescribable state, seems to fall utterly still. The 'from which time' of line one is now answered: 'from that time.' The 'iva' — 'as it were' — leaves the stilling half-stated, too deep to pin down. Put together: ever since Kṛṣṇa's name-song reached my ears, my mind has entered a nameless state and gone quiet.
उस समय से भीतर का मन उस अवस्था को धारण करता हुआ मानो शान्त हो जाता है।
Commentary — decoded
Jīva Gosvāmī
s1gloss
śītā karṇayos tāpa-śamanī |
śītāthe word 'śītā' (cooling) lemma being glossed'शीता' (जिसकी व्याख्या हो रही)
karṇayoḥfor the two ears gen./loc. dual, 'in / for the ears'कानों के
tāpa-śamanīmeans: it puts out the burning [of the ears] nom. fem., the gloss of śītāताप को शान्त करने वाली
śītā — 'cooling'; karṇayoḥ — of the two ears; tāpa-śamanī — that which quells the burning.
śītā — 'शीता'; karṇayoḥ — कानों के; tāpa-śamanī — ताप को शान्त करने वाली
Jīva glosses the word 'śītā', cooling. It means: the song puts out the burning of the two ears. The heat of the ears — the ache of never having heard the name — is quenched by the sound.
'शीता' का अर्थ है — कानों के ताप को शान्त करने वाली।
s2gloss
vaiṇikenety ajñāta-nāmatvāt śrī-nāradasya tādṛśatā-mātreṇoddeśaḥ |
vaiṇikena itias for the word 'by a vīṇā-player' — lemma flagged for comment'वैणिकेन' यह पद
ajñāta-nāmatvātbecause his name is left unstated abl. of causeनाम अज्ञात होने के कारण
śrī-nāradasyaof Śrī Nārada gen., the person actually meantश्रीनारद का
tādṛśatā-mātreṇaonly by that much of his character (just 'someone like that') instr. of means — pointed to only by the trait, not the nameकेवल वैसेपन (उस लक्षण) मात्र के द्वारा
uddeśaḥhe is being referred to nom., 'this is the pointing-out'संकेत है
vaiṇikena iti — the word 'by a vīṇā-player'; ajñāta-nāmatvāt — because the name is not stated; śrī-nāradasya — of Śrī Nārada; tādṛśatā-mātreṇa — only by that trait; uddeśaḥ — a reference.
vaiṇikena iti — 'वैणिकेन' यह पद; ajñāta-nāmatvāt — नाम अज्ञात होने के कारण; śrī-nāradasya — श्रीनारद का; tādṛśatā-mātreṇa — केवल वैसेपन मात्र के द्वारा; uddeśaḥ — संकेत है
Now the word 'by a vīṇā-player'. Because the poet does not give the name outright, Śrī Nārada is pointed to only by that one trait — 'someone who plays the vīṇā'. It is Nārada who is meant, but he is indicated by his description alone, not named.
'वैणिकेन' — नाम अज्ञात होने के कारण केवल वैसेपन मात्र के द्वारा श्रीनारद की ओर संकेत किया गया है।
uddeśa: in the grammarians, a 'pointing-out / naming for the purpose of comment' (versus lakṣaṇa, defining); here used loosely for an indirect reference — the person is designated by a mark ('the vīṇā-player') instead of by his own name.
उद्देश: वैयाकरणों में इसका अर्थ है 'टिप्पणी के प्रयोजन से किसी वस्तु को दिखाना अथवा नाम लेना' (लक्षण अर्थात् परिभाषित करने से भिन्न); यहाँ यह ढीले अर्थ में परोक्ष संकेत के लिए प्रयुक्त है — व्यक्ति को उसके अपने नाम से नहीं, अपितु एक चिह्न ('वीणावादक') से दर्शाया गया है।
s3gloss
tadvat kām apy avasthām iti premṇa evoddeśaḥ |
tadvatin the same way [as with the vīṇā-player] adv., 'likewise' — the same indirect-pointing moveउसी प्रकार
kām api avasthām itithe phrase 'some indescribable state' — lemma flagged for comment'कामप्यवस्थाम्' यह पद
premṇaḥ evapoints to prema (divine love) and nothing else gen., with eva restrictive: 'of prema alone'प्रेम का ही
uddeśaḥis a reference nom., 'this is the pointing-out'संकेत है
tadvat — likewise; kām api avasthām iti — 'some indescribable state'; premṇaḥ eva — of prema alone; uddeśaḥ — a reference.
tadvat — उसी प्रकार; kām api avasthām iti — 'कामप्यवस्थाम्' यह पद; premṇaḥ eva — प्रेम का ही; uddeśaḥ — संकेत है
In the same way, the phrase 'some indescribable state' points to one thing only — prema, divine love. Just as 'the vīṇā-player' named Nārada without naming him, so 'a certain nameless state' names prema without naming it. The 'eva' locks it down: it is prema, nothing else.
उसी प्रकार 'कामप्यवस्थाम्' के द्वारा प्रेम का ही संकेत किया गया है।
s4gloss
iveti vākyālaṅkāre |
iva itias for the word 'iva' (as it were) — lemma flagged for comment'इव' यह पद
vākya-alaṅkāreit is there just to ornament the sentence [not to mean a real comparison] loc., 'it stands in the sense of sentence-ornament'वाक्यालंकार में (वाक्य की शोभा के अर्थ में)
iva iti — the word 'iva'; vākya-alaṅkāre — is used as a mere ornament of the sentence.
iva iti — 'इव' यह पद; vākya-alaṅkāre — वाक्यालंकार में
The word 'iva', 'as it were'. Here it is not making a real comparison; it is only a decorative flourish of the sentence. So 'seems to fall still' does not mean the stilling is doubtful — the 'iva' is just stylistic.
'इव' यहाँ वाक्यालंकार में (वाक्य की शोभा के अर्थ में) है।
vākyālaṅkāra: in poetics, a particle used only to embellish, carrying no independent meaning (an expletive / filler ornament); here 'iva' does not signal a genuine 'as if' — it merely graces the line, so the mind truly does grow still.
वाक्यालंकार: काव्यशास्त्र में ऐसा शब्द जो केवल शोभा बढ़ाता है और जिसका अपना कोई स्वतन्त्र अर्थ नहीं (पूरक अलंकार-मात्र); यहाँ 'इव' किसी वास्तविक 'मानो' का सूचक नहीं — वह पंक्ति को केवल सुशोभित करता है, अतः मन सचमुच शान्त हो जाता है।
s5gloss
śāmyati sarvaṁ bahir upadravaṁ parihṛtya nirvṛtaṁ bhavatīty arthaḥ ||
śāmyatithe word 'it falls still' means: lemma being glossed'शाम्यति'
sarvaṁ bahiḥ upadravaṁevery outer disturbance acc., object of parihṛtyaसमस्त बाहरी उपद्रव को
parihṛtyahaving thrown off, once it drops gerund, 'having removed'त्यागकर
nirvṛtaṁ bhavatiit becomes fully at rest / content predicate, 'comes to peace'निर्वृत (परम शान्त) हो जाता है
iti arthaḥ— that is the meaning closes the glossऐसा अर्थ है
śāmyati — 'falls still'; sarvaṁ bahiḥ upadravaṁ — every outer disturbance; parihṛtya — having cast off; nirvṛtaṁ bhavati — becomes at peace; iti arthaḥ — such is the sense.
śāmyati — 'शाम्यति'; sarvaṁ bahiḥ upadravaṁ — समस्त बाहरी उपद्रव को; parihṛtya — त्यागकर; nirvṛtaṁ bhavati — निर्वृत हो जाता है; iti arthaḥ — ऐसा अर्थ है
'It falls still' means this: the mind casts off every outer disturbance and comes to complete rest. Once the din of the world is dropped, it settles into peace. That is what the poet's 'śāmyati' says.
'शाम्यति' का अर्थ है — समस्त बाहरी उपद्रव को त्यागकर परम शान्त (निर्वृत) हो जाता है।
Mukunda-dāsa Gosvāmī
s1gloss
śītā karṇayos tāpa-nivṛtti-pūrvaka-sukhadety arthaḥ |
śītāthe word 'śītā' (cooling) lemma being glossed
karṇayoḥfor the two ears gen. dual
tāpa-nivṛtti-pūrvaka-sukhadāmeans: it first removes their burning and then gives joy nom. fem. — 'joy-giving, with prior cessation of heat'
iti arthaḥ— that is the meaning closes the gloss
śītā — 'cooling'; karṇayoḥ — of the two ears; tāpa-nivṛtti-pūrvaka-sukhadā — giving joy after first ending the burning; iti arthaḥ — such is the sense.
Mukunda glosses 'śītā', cooling. It means: for the ears it first puts out the burning, and then, on top of that, gives joy. Note his refinement over the plain 'quells the heat': cooling is not merely relief but relief-then-delight. First the ache ends; then bliss comes.
s2gloss
vaiṇikenety ajñāta-nāmatvāt śrī-nāradasya tādṛśatā-mātreṇoddeśaḥ |
vaiṇikena itias for 'by a vīṇā-player' — lemma flagged for comment
ajñāta-nāmatvātbecause his name is left unstated abl. of cause
śrī-nāradasyaof Śrī Nārada gen., the person meant
tādṛśatā-mātreṇaonly by that much of his character instr. of means
uddeśaḥhe is referred to nom.
vaiṇikena iti — 'by a vīṇā-player'; ajñāta-nāmatvāt — because the name is unstated; śrī-nāradasya — of Śrī Nārada; tādṛśatā-mātreṇa — by that trait alone; uddeśaḥ — a reference.
Now 'by a vīṇā-player'. Because the name is not given, Śrī Nārada is pointed to only by that one feature, 'someone who plays the vīṇā'. Mukunda reads it exactly as Jīva does: the musician is Nārada, indicated by his mark, not named.
s3alternative
yad vā, anyenaiva vīṇāvādakena yad avadhīti svalpa-sambandhaḥ |
yad vāor else — a second reading introduces a suspended alternative
anyena eva vīṇā-vādakenaby some quite different lute-player instr. of agent; eva: 'by another altogether', not Nārada
yad avadhi itithe words 'from the time that' — lemma re-parsed under this reading
svalpa-sambandhaḥcarry only a slight connection nom., 'the link [to the singer] is minimal'
yad vā — or else; anyena eva vīṇā-vādakena — by some altogether-other lute-player; yad avadhi iti — 'from which time'; svalpa-sambandhaḥ — the connection is slight.
Or else — a second reading, which Mukunda offers and leaves standing beside the first. Take the vīṇā-player not as Nārada but as some altogether ordinary lute-player, a stranger. Then the phrase 'from the time that [he sang]' ties the speaker to that singer only loosely — the link is slight, almost incidental. This is a suspended 'yad vā': the two readings (Nārada / any musician) are both left open, not reconciled.
s4gloss
kām apy avasthāṁ dadhac chāmyatīveti bhāvotpattiḥ |
kām api avasthāṁ dadhat'taking on some indescribable state' lemma being glossed — the phrase from L3–L4
śāmyati iva iti'seems to fall still' — lemma being glossed
bhāva-utpattiḥmeans the arising of bhāva (the first dawn of loving emotion) nom., 'this is bhāva coming to birth'
kām api avasthāṁ dadhat — taking on some indescribable state; śāmyati iva iti — 'seems to fall still'; bhāva-utpattiḥ — the birth of bhāva.
'Taking on some indescribable state' and 'seems to fall still' — Mukunda reads these together as the birth of bhāva, the first stirring of loving emotion. Where Jīva called the nameless state prema, Mukunda names it bhāva rising for the first time. The mind's sudden hush is that emotion just coming to birth.
bhāva: 'state, emotion, feeling' in general; in Gauḍīya poetics the sprout of prema, the first genuine stir of divine love. Here the 'indescribable state' is identified as this very bhāva — love in the moment of its arising.
s5gloss
saṁsārād viramad api śyāmasundara-viṣaye’bhilāṣād iveti nāma-gāthā-śravaṇe hetau saty api hanteti vismaya-vācakam aśraddhā-bodhakam ||
saṁsārāt viramat apieven while turning away from worldly life pres. part. + api: 'though it recoils from saṁsāra'
śyāmasundara-viṣaye abhilāṣāt ivaas if out of longing directed at Śyāmasundara [Kṛṣṇa] abl. of cause + iva: 'seemingly from a yearning for Kṛṣṇa'
nāma-gāthā-śravaṇe hetau sati apieven though the hearing of the name-song is present as the cause loc. absolute + api: 'granted that the cause — hearing the name — is right there'
hanta itithe word 'hanta' (oh!) — lemma being glossed
vismaya-vācakamexpresses wonder nom. neut., 'it voices astonishment'
aśraddhā-bodhakamand conveys a touch of disbelief nom. neut., 'and signals incredulity'
saṁsārāt viramat api — even as [the mind] recoils from worldly life; śyāmasundara-viṣaye abhilāṣāt iva — as if from longing for Kṛṣṇa; nāma-gāthā-śravaṇe hetau sati api — although the hearing of the name-song is right there as the cause; hanta iti — the word 'hanta'; vismaya-vācakam — voices wonder; aśraddhā-bodhakam — and signals disbelief.
Here Mukunda unpacks 'hanta', oh! The mind, even as it recoils from the whole round of worldly life, seems to do so out of a longing fixed on Śyāmasundara, Kṛṣṇa. And though the plain cause is right there — the hearing of the name-song — the poet still cries 'hanta'. So 'hanta' carries two notes: wonder at the effect, and a shade of disbelief — as if to say, 'can hearing a mere song really have done this?' The cause is obvious, yet the result is so astonishing it beggars belief.
Viśvanātha Cakravartī
s1gloss
śītā karṇayos tāpa-śamanī |
śītāthe word 'śītā' (cooling) lemma being glossed'शीता' (जिसकी व्याख्या हो रही)
karṇayoḥfor the two ears gen. dualकानों के
tāpa-śamanīmeans: it quells the burning [of the ears] nom. fem., the gloss of śītāताप को शान्त करने वाली
śītā — 'cooling'; karṇayoḥ — of the two ears; tāpa-śamanī — that which quells the burning.
śītā — 'शीता'; karṇayoḥ — कानों के; tāpa-śamanī — ताप को शान्त करने वाली
Viśvanātha glosses 'śītā', cooling, exactly as Jīva did: it means the song quells the burning of the two ears. The heat of the ears is put out by the sound of the name.
'शीता' का अर्थ है — कानों के ताप को शान्त करने वाली।
s2gloss
vaiṇikenety ajñāta-nāmatvāt śrī-nāradasya tādṛśatā-mātreṇoddeśaḥ |
vaiṇikena itias for 'by a vīṇā-player' — lemma flagged for comment'वैणिकेन' यह पद
ajñāta-nāmatvātbecause his name is left unstated abl. of causeनाम अज्ञात होने के कारण
śrī-nāradasyaof Śrī Nārada gen., the person meantश्रीनारद का
tādṛśatā-mātreṇaonly by that much of his character instr. of meansकेवल वैसेपन मात्र के द्वारा
uddeśaḥhe is referred to nom.संकेत है
vaiṇikena iti — 'by a vīṇā-player'; ajñāta-nāmatvāt — because the name is unstated; śrī-nāradasya — of Śrī Nārada; tādṛśatā-mātreṇa — by that trait alone; uddeśaḥ — a reference.
vaiṇikena iti — 'वैणिकेन' यह पद; ajñāta-nāmatvāt — नाम अज्ञात होने के कारण; śrī-nāradasya — श्रीनारद का; tādṛśatā-mātreṇa — केवल वैसेपन मात्र के द्वारा; uddeśaḥ — संकेत है
Now 'by a vīṇā-player'. Because the name is not given, Śrī Nārada is pointed to by that one feature alone, 'someone who plays the vīṇā'. Viśvanātha follows Jīva and Mukunda word for word: the musician is Nārada, indicated by his mark, not named.
'वैणिकेन' — नाम अज्ञात होने के कारण केवल वैसेपन मात्र के द्वारा श्रीनारद की ओर संकेत है।
s3gloss
tadvat kām apy avasthāṁ dadhat sat antar mānasaṁ śāmyati sarvaṁ bahir upadravaṁ parihṛtya nirvṛtaṁ bhavatīty arthaḥ |
tadvatin the same way adv., 'likewise'उसी प्रकार
kām api avasthāṁ dadhat sat'taking on some indescribable state' — while it holds that state pres. part. + sat: '[the mind] being one that takes on...'किसी अनिर्वचनीय अवस्था को धारण करता हुआ
antaḥ mānasaṁthe inner mind nom. neut., subjectभीतर का मन
śāmyatifalls still 3rd sg. pres.शान्त हो जाता है
sarvaṁ bahiḥ upadravaṁevery outer disturbance acc., object of parihṛtyaसमस्त बाहरी उपद्रव को
parihṛtyahaving cast off gerundत्यागकर
nirvṛtaṁ bhavatiit becomes fully at rest predicateनिर्वृत हो जाता है
iti arthaḥ— that is the meaning closes the glossऐसा अर्थ है
tadvat — likewise; kām api avasthāṁ dadhat sat — the inner mind, taking on some indescribable state; antaḥ mānasaṁ — the inner mind; śāmyati — falls still; sarvaṁ bahiḥ upadravaṁ parihṛtya — having cast off every outer disturbance; nirvṛtaṁ bhavati — becomes at peace; iti arthaḥ — such is the sense.
tadvat — उसी प्रकार; kām api avasthāṁ dadhat sat — किसी अनिर्वचनीय अवस्था को धारण करता हुआ; antaḥ mānasaṁ — भीतर का मन; śāmyati — शान्त हो जाता है; sarvaṁ bahiḥ upadravaṁ — समस्त बाहरी उपद्रव को; parihṛtya — त्यागकर; nirvṛtaṁ bhavati — निर्वृत हो जाता है; iti arthaḥ — ऐसा अर्थ है
Likewise the inner mind, taking on that indescribable state, falls still — meaning it casts off every outer disturbance and comes to complete rest. Viśvanātha here fuses the two moves Jīva made separately: he keeps 'in the same way' (the indirect-pointing note) and then folds in Jīva's own gloss of 'śāmyati' — drop the world's din, settle into peace. One continuous reading of the whole clause.
उसी प्रकार किसी अनिर्वचनीय अवस्था को धारण करता हुआ भीतर का मन समस्त बाहरी उपद्रव को त्यागकर शान्त हो जाता है, निर्वृत हो जाता है — ऐसा अर्थ है।
s4gloss
iveti vākyālaṅkāre ||
iva itias for the word 'iva' (as it were) — lemma flagged for comment'इव' यह पद
vākya-alaṅkāreit is there only to ornament the sentence loc., 'in the sense of sentence-ornament'वाक्यालंकार में
iva iti — the word 'iva'; vākya-alaṅkāre — is a mere ornament of the sentence.
iva iti — 'इव' यह पद; vākya-alaṅkāre — वाक्यालंकार में
The word 'iva', 'as it were'. Like Jīva, Viśvanātha says it is here only to grace the sentence, not to make a real comparison. So 'seems to fall still' is not a hedge — the stilling is real, and the 'iva' is purely stylistic.
'इव' यहाँ वाक्यालंकार में (वाक्य की शोभा के अर्थ में) है।
vākyālaṅkāra: in poetics, a particle that merely embellishes and carries no independent sense; here 'iva' adds no genuine 'as if' — the mind truly grows still, and the particle only ornaments the line.
वाक्यालंकार: काव्यशास्त्र में ऐसा शब्द जो केवल शोभा बढ़ाता है और जिसका कोई स्वतन्त्र अर्थ नहीं; यहाँ 'इव' किसी वास्तविक 'मानो' का सूचक नहीं — मन सचमुच शान्त हो जाता है, और यह शब्द केवल पंक्ति को सुशोभित करता है।