L1other
taṭa-bhuvi kṛta-kāntiḥ śyāmalā yās taṭinyāḥ
taṭa-bhuvion the ground of the bank locative of placeतट की भूमि पर
kṛta-kāntiḥshe who has cast her glow there bahuvrīhi describing kānana-śrīsजिसने (अपनी) कान्ति बिखेर रखी है
śyāmalādark [the water], and so "the dark one" śleṣa — of the Yamunā / of Śyāmaसाँवली — एक ओर यमुना का साँवला जल, दूसरी ओर श्याम की ओर संकेत
yāḥwhich [banks] relative, resumed in L3 iyamजो (नदी), जिसका सम्बन्ध L3 के 'यह' से है
taṭinyāḥof the river genitive — of the Yamunāउस नदी (यमुना) की
taṭinyāḥ — of the river; śyāmalā — the dark [Yamunā]; yāḥ taṭa-bhuvi — on whose bank-ground; kṛta-kāntiḥ — [the forest-beauty] has cast her glow.
taṭa-bhuvi — तट की भूमि पर; kṛta-kāntiḥ — जिसने कान्ति बिखेर रखी है; śyāmalā — साँवली; yāḥ — जो नदी; taṭinyāḥ — उस नदी की।
The dark river here is the Yamunā. On the ground of her banks the forest-beauty has spread her glow. "Dark" (śyāmalā) does double duty: it names the dark water, and it hints at Śyāma, the dark Lord. This opens a picture-verse whose real subject the commentators will name.
जिस साँवली नदी (यमुना) के तट की भूमि पर कान्ति बिखरी हुई है। 'साँवली' शब्द एक साथ यमुना के साँवले जल और श्याम — दोनों की ओर झुकता है।
śyāmalā — plain sense: "dark-colored," here the dusky Yamunā water; the verse also lets it point toward Śyāma (Kṛṣṇa).
'श्यामला' का सीधा अर्थ 'साँवली' है — यहाँ यमुना का साँवला जल; परन्तु यह श्लोक इसे श्याम (कृष्ण) की ओर भी झुका देता है।
L2other
sphuṭita-nava-kadambālambi-kūjad-dvirephā |
sphuṭita-nava-kadamba-ālambi-kūjad-dvirephāwith humming bees clinging to freshly opened new kadamba blossoms bahuvrīhi — a further description of the banks / the forest-beautyजिसमें खिले हुए नये कदम्ब (के फूलों) पर टिके गुंजार करते भ्रमर हैं
sphuṭita-nava-kadamba-ālambi-kūjad-dvirephā — [the bank / forest-beauty] on which humming bees cling to the just-opened new kadamba flowers.
sphuṭita-nava-kadamba-ālambi-kūjad-dvirephā — खिले नये कदम्ब पर टिके गुंजार करते भ्रमरों वाली।
The same banks are alive with bees. Fresh kadamba blossoms have just opened, and humming bees hang on them. One long compound paints the whole scene: sphuṭita (burst open), nava-kadamba (new kadamba flowers), ālambi (clinging), kūjad-dvirepha (droning bees).
जिन तटों पर नये-नये खिले कदम्ब हैं, और उन पर भ्रमर बैठकर गुंजार कर रहे हैं। यह भी उन्हीं तटों (वन-शोभा) का और वर्णन है।
dvirepha — literally "the two-r one," a poet's name for the bee (from bh-r-a-m-r-a); here simply the humming bees.
'द्विरेफ' का शाब्दिक अर्थ है 'दो 'र' वाला' — कवियों का भ्रमर के लिए नाम (भ्रमर शब्द में दो 'र' आते हैं); यहाँ केवल गुंजार करते भौंरे।
L3other
niravadhi-madhurimṇā maṇḍiteyaṁ kathaṁ me
niravadhi-madhurimṇābecause it is decked with sweetness that has no limit instrumental of meansअसीम माधुर्य के द्वारा
maṇḍitāadorned, decked out in maṇḍitā iyamसुशोभित होकर, 'मंडिता इयम्' में
iyamthis [forest-beauty], the one just described resumes yāḥ of L1यह (नदी/वन-शोभा), जो L1 के 'जो' को फिर उठाती है
kathaṁhow [is it that]…? the speaker's wonder, completed in L4न जाने कैसे — वक्ता का विस्मय, जो L4 में पूरा होता है
mein my [mind] genitive, taken with manasi in L4मेरे, जो L4 के 'मन में' के साथ जुड़ता है
niravadhi-madhurimṇā maṇḍitā iyam — this [forest-beauty], decked with boundless sweetness; kathaṁ me [manasi] — how, in my mind…?
niravadhi-madhurimṇā — असीम माधुर्य से; maṇḍitā — सुशोभित; iyam — यह; kathaṁ — न जाने कैसे; me — मेरे।
This forest-beauty is decked out with sweetness that never stops — niravadhi means "without any bound." And now the speaker breaks into wonder: how is it that, in my mind… The sentence is left hanging and is finished in the next line.
असीम माधुर्य से सुशोभित यह (वन-शोभा) न जाने कैसे मेरे (मन में)... — वक्ता विस्मय में है, और वाक्य L4 में पूरा होता है।
madhurimā — "sweetness," here the charm of the scene; niravadhi — "without limit," endless.
'मधुरिमा' अर्थात् माधुर्य — यहाँ इस दृश्य का सौन्दर्य; 'निरवधि' अर्थात् जिसकी कोई सीमा नहीं, अनन्त।
L4other
manasi kam api bhāvaṁ kānana-śrīs tanoti ||
manasiin [my] mind locative of placeमन में
kam api bhāvaṁsome emotion I cannot name kaḥ api = "some indescribable"कोई अनिर्वचनीय भाव
kānana-śrīḥthe splendor of the forest nominative — the subjectवन की शोभा — कर्ता
tanotispreads out, brings on present verbफैला देती है, उत्पन्न कर देती है
kānana-śrīḥ — the forest's splendor; me manasi — in my mind; kam api bhāvaṁ — some emotion beyond naming; tanoti — spreads out / brings on.
manasi — मन में; kam api bhāvaṁ — कोई अनिर्वचनीय भाव; kānana-śrīḥ — वन की शोभा; tanoti — फैला देती है।
Here the wonder finishes: the splendor of the forest spreads some emotion I cannot name in my mind. Kam api bhāvaṁ means "some indescribable feeling." The whole verse has been leading to this one nameless bhāva — and the commentators now step in to say exactly what, or whom, that emotion is about.
यह वन की शोभा (मेरे) मन में कोई अनिर्वचनीय भाव फैला देती है। यही वाक्य है जो L3 में अधूरा रह गया था।
bhāva — a wide word for "feeling / state"; here the rising emotion of love that the scene stirs.
'भाव' बहुत व्यापक शब्द है — अनुभूति या मनःस्थिति; यहाँ वह उमड़ता हुआ प्रेम-भाव जो यह दृश्य जगा देता है।
Commentary — decoded
Jīva Gosvāmī
s1gloss
kam api bhāvaṁ śyāmasundara-viśeṣa-viṣayam ||
kam api bhāvaṁ"some emotion beyond naming" [from the verse] the phrase being explained'कोई अनिर्वचनीय भाव' — जिस पदाश की व्याख्या हो रही है
śyāmasundara-viśeṣa-viṣayammeans an emotion whose object is Śyāmasundara in particular bahuvrīhi — "having Śyāmasundara as its object"जिसका विषय विशेष रूप से श्यामसुन्दर हैं
kam api bhāvaṁ — "some nameless emotion"; śyāmasundara-viśeṣa-viṣayam — [that is,] one directed specifically at Śyāmasundara.
kam api bhāvaṁ — कोई अनिर्वचनीय भाव; śyāmasundara-viśeṣa-viṣayam — जिसका विषय श्यामसुन्दर विशेष हैं।
Jīva pins down the vague word. That "nameless emotion" of the verse is not vague in its target: its object is Śyāmasundara, the beautiful dark Lord, in particular. So the sweetness of the forest awakens a feeling that is aimed straight at Kṛṣṇa. This is the key that unlocks the whole picture-verse.
'कोई अनिर्वचनीय भाव' अर्थात् वह भाव जिसका विषय विशेष रूप से श्यामसुन्दर (कृष्ण) हैं।
viṣaya — "object," here the person the emotion is directed toward; viśeṣa — "in particular," this one and no other.
'विषय' अर्थात् जिसकी ओर वह भाव लक्षित है — वह व्यक्ति; 'विशेष' अर्थात् विशेष रूप से यही, और कोई नहीं।
Mukunda-dāsa Gosvāmī
s1gloss
iyaṁ kānana-śrīr bhāvaṁ darśana-mātrāt tanotīti svalpa-sambandhaḥ |
iyaṁ kānana-śrīḥthis forest-splendor the verse's subject
bhāvaṁthe emotion object of tanoti
darśana-mātrātjust from being seen, by mere sight of it ablative — from the mere seeing
tanotispreads it out the verb of the verse
itiso [runs the sense] closing the paraphrase
svalpa-sambandhaḥand the words hang together with very little needing to be supplied "the connection [of the sentence] is slight"
iyaṁ kānana-śrīḥ — this forest-splendor; darśana-mātrāt — by the mere sight of it; bhāvaṁ tanoti — spreads out the emotion; iti svalpa-sambandhaḥ — so the sentence connects with almost nothing added.
Mukunda first gives the plain sense of the line: this forest-splendor, just by being looked at, spreads the emotion. He adds darśana-mātrāt — "from the mere seeing" — to stress that a single glance is enough. And he notes svalpa-sambandhaḥ: the sentence needs almost nothing supplied to hold together; the grammar is nearly complete as it stands.
sambandha — the syntactic "linking" a reader must supply to complete a sentence; svalpa = "very little," i.e. here barely any is needed.
s2gloss
kam api śyāmasundara-viśeṣa-viṣayam |
kam api"some… beyond naming" [from the verse] the phrase being explained
śyāmasundara-viśeṣa-viṣayammeans one whose object is Śyāmasundara in particular bahuvrīhi — "having Śyāmasundara as its object"
kam api — "some nameless [emotion]"; śyāmasundara-viśeṣa-viṣayam — [namely] one directed specifically at Śyāmasundara.
Mukunda agrees with Jīva on the target of that nameless feeling: its object is Śyāmasundara in particular. The scene's charm stirs an emotion aimed at Kṛṣṇa himself. Having settled this, he now brings scriptural passages to back the point.
viṣaya — "object," the one the feeling is directed at; viśeṣa — "in particular."
s3citation
śyāmalāyā yamunāyāḥ sakṛd yad aṅga-pratimāntar āhitā manomayī bhāgavatīṁ dadau gatim [bhā.pu. 10.12.39] iti |
śyāmalāyāḥ yamunāyāḥof the dark Yamunā — [showing] that "the dark one" in the verse is the Yamunā genitive, identifying śyāmalā of L1
sakṛteven once, a single time adverb — stressing one contact is enough
yatin that / because relative introducing the quote's clause
aṅga-pratimā-antaḥwithin the likeness of [his] body locative — inside the reflected form
āhitāonce placed / taken in past participle
manomayīmade of the mind, a mental [impression] of the form held in mind
bhāgavatīṁ gatimthe destination that belongs to the Lord accusative — the divine goal
dadaugave the point: it granted
itiso [says the scripture] closing the citation
śyāmalāyāḥ yamunāyāḥ — of the dark Yamunā; sakṛt yat … aṅga-pratimā-antaḥ āhitā — [his form] once taken within the likeness of the body; manomayī — held in the mind; bhāgavatīṁ gatim dadau — gave the Lord's own destination.
First Mukunda fixes the word śyāmalā: it means the dark Yamunā. Then he quotes scripture to show how powerful even one contact with the Lord's form is: once his form was taken in — held in the mind, within the likeness of the body — it gave the divine goal that belongs to the Lord himself. The lesson: a single taking-in is enough to grant the supreme destination.
Why cited: Scripture (Bhāgavata 10.12.39) that a single taking-in of the Lord's form grants the supreme goal — so mere sight of the Śyāma scene can bring on the bhāva.
manomayī gati — a "mind-made" attainment; here the goal reached by holding the Lord's form in the mind.
s4citation
kiṁ vā parair īśvaraḥ sadyo hṛdy avarudhyate’tra kṛtibhiḥ śuśrūṣubhis tat-kṣaṇāt iti |
kiṁ vā paraiḥwhat need of any other means? rhetorical — dismissing all other paths
īśvaraḥthe Lord nominative — the one captured
sadyaḥat once, straightaway adverb
hṛdi avarudhyateis locked into the heart passive — is captured within
atraright here, in this very life adverb of place/time
kṛtibhiḥ śuśrūṣubhiḥby the fortunate ones who long to hear [about him] instrumental — the agents
tat-kṣaṇātfrom that very moment ablative of time
itiso [says the scripture] closing the citation
kiṁ vā paraiḥ — what need of other means?; īśvaraḥ sadyaḥ hṛdi avarudhyate — the Lord is at once locked into the heart; atra kṛtibhiḥ śuśrūṣubhiḥ — here, by the blessed who yearn to hear; tat-kṣaṇāt — that very instant.
A second proof of immediacy. What need of any other method? The Lord is caught and held in the heart at once — right here, in this very life — by the fortunate souls who long to hear of him, from that very moment they do. The point matches the verse: contact works instantly, no long apparatus is needed.
Why cited: Scripture (Bhāgavata 1.1.2) that the Lord is captured in the heart instantly — backing that the forest's sight brings on the bhāva at once.
avarudhyate — "is shut in / confined," here in the sense of being securely captured within the heart.
s5citation
yat-sevayā ity ādau rati-rāsa iti |
yat-sevayā ity ādauin the passage beginning "by whose service…" abbreviated reference to a whole verse
rati-rāsaḥ[the word] rati-rāsa [is the phrase meant] naming the specific term he points to in that passage
itiso [see there] closing the pointer
yat-sevayā ity ādau — in the "yat-sevayā…" passage; rati-rāsaḥ iti — [the word] rati-rāsa [is the relevant one].
Mukunda gives a third pointer, in shorthand. He says: see the passage that starts "by whose service…" (yat-sevayā), and there the phrase rati-rāsa. He does not quote the whole verse; he just directs the reader to it and to the key word in it, which speaks of the taste of loving attachment awakened by such service.
Why cited: Pointer to Bhāgavata 3.7.19 ("yat-sevayā…," the phrase rati-rāsa) as further support that service/contact awakens the taste of loving attachment.
rati-rāsa — "the taste (rasa) of loving attachment (rati)"; the relish of love the cited passage names.
s6avataranika
padyāvalī (24)—
padyāvalī (24)—[and now] Padyāvalī, verse 24 — citation heading introducing the quote that follows
padyāvalī (24)— — [next,] Padyāvalī verse 24 [is quoted].
This is just the label that introduces the next quotation: Padyāvalī, verse 24. Mukunda is announcing his source before giving the passage itself.
Padyāvalī — Rūpa Gosvāmī's anthology of devotional verses; "(24)" is the verse number cited.
s7citation
viṣṇor nāmaiva puṁsāḥ śamalam apaharat puṇyam utpādayac ca brahmādi-sthāna-bhogād viratim atha guroḥ śrī-pada-dvandva-bhaktim | ṭattva-jñānaṁ ca viṣṇor iha mṛti-janana-bhrānti-bījaṁ ca dagdhvā saṁpūrṇānanda-bodhe mahati ca puruṣaṁ sthāpayitvā nivṛttam ||
viṣṇoḥ nāma eva puṁsāḥthe very name of Viṣṇu, [belonging] to a man eva = "the name alone," nothing else needed
śamalam apaharatcarries off [his] sin first effect
puṇyam utpādayat caand produces merit second effect
brahmādi-sthāna-bhogāt viratim[gives] turning-away from enjoying the post of Brahmā and the rest third effect — detachment even from the highest heavens
atha guroḥ śrī-pada-dvandva-bhaktimthen devotion to the two blessed feet of the guru fourth effect
tattva-jñānaṁ ca viṣṇoḥand true knowledge of Viṣṇu fifth effect
iha mṛti-janana-bhrānti-bījaṁ ca dagdhvāand here, having burnt up the seed of the delusion of death and birth gerund — destroying the root of saṁsāra
saṁpūrṇa-ānanda-bodhe mahatiin the great, complete awareness of bliss locative — where it sets him
puruṣaṁ sthāpayitvāhaving set the person [there] gerund
nivṛttam[the name then] stopped / had done its work the name desists, its task complete
viṣṇoḥ nāma eva — Viṣṇu's name alone; śamalam apaharat, puṇyam utpādayat — carries off sin, produces merit; viratim … bhaktim … tattva-jñānam [dadat] — [gives] detachment, devotion to the guru's feet, true knowledge; mṛti-janana-bhrānti-bījaṁ dagdhvā — burning the seed of birth-death delusion; puruṣaṁ mahati saṁpūrṇa-ānanda-bodhe sthāpayitvā nivṛttam — having set the person in the great complete bliss-awareness, it desisted.
This is the string of things Viṣṇu's name alone does, one after another. It carries off a man's sin; produces his merit; gives him detachment even from the throne of Brahmā and the other high posts; then devotion to the guru's two blessed feet; and true knowledge of Viṣṇu. Having burnt up the very seed of the delusion of birth and death, it sets the person in the great, complete awareness of bliss — and only then stops, its work done. The list shows the name's total, self-sufficient power (note eva, "the name alone").
Why cited: Padyāvalī 24 — that Viṣṇu's name alone accomplishes everything up to complete bliss, illustrating the surpassing power at work in mere contact with the Lord.
śamala — "impurity, sin"; nivṛtta — "turned back, ceased," here the name having finished its whole task then desists.
s8citation
paramānanda-mayī siddhir mathurā-sparśa-mātrataḥ smerāṁ bhaṅgī
paramānanda-mayī siddhiḥa perfection made of the highest bliss nominative — the result
mathurā-sparśa-mātrataḥfrom the mere touch of Mathurā ablative — from contact alone
smerāṁ bhaṅgīa smiling curve / graceful gesture phrase breaks off — only the opening is quoted
paramānanda-mayī siddhiḥ — a perfection of the highest bliss; mathurā-sparśa-mātrataḥ — from merely touching Mathurā; smerāṁ bhaṅgī — a smiling gesture… [the quote is left unfinished].
A last snippet, quoted only at its head. A perfection made of the highest bliss comes from the mere touch of Mathurā. The fragment breaks off at smerāṁ bhaṅgī, "a smiling curve." The point that matters here is mathurā-sparśa-mātrataḥ — "from the mere touch of Mathurā" — which parallels the verse's darśana-mātrāt: even bare contact with the holy place brings the highest attainment.
Why cited: A verse that mere touch of Mathurā yields blissful perfection — paralleling the verse's "by mere sight" (darśana-mātrāt).
bhaṅgī — a "bend, graceful posture / turn of phrase"; here left incomplete, only the phrase's opening is given.
Viśvanātha Cakravartī
s1gloss
śyāmalāyās taṭinyā yamunāyās taṭa-bhuvi kṛtā kāntir yayā tathā-bhūtā kāmana-śrīr vṛndāvana-śrīḥ kam api bhāvaṁ śyāmasundara-viśeṣa-viṣayakam ||
śyāmalāyāḥ taṭinyāḥ yamunāyāḥof the dark river, that is, of the Yamunā genitive — identifying śyāmalā taṭinī as the Yamunāसाँवली नदी अर्थात् यमुना की
taṭa-bhuvion the ground of [whose] bank locative of placeतट की भूमि पर
kṛtā kāntiḥ yayāshe by whom the glow has been cast [there] bahuvrīhi — unpacking kṛta-kāntiḥ of the verseजिसने (वहाँ) कान्ति उत्पन्न कर दी है — मूल के 'कृत-कान्तिः' को खोलते हुए
tathā-bhūtābeing of that kind, i.e. the one just so described resuming the whole descriptionवैसी (उपर्युक्त वर्णन वाली)
kānana-śrīḥ vṛndāvana-śrīḥthe forest-splendor — namely the splendor of Vṛndāvana gloss identifying kānana as Vṛndāvanaवन की शोभा अर्थात् वृन्दावन की शोभा
kam api bhāvaṁsome emotion beyond naming object, from the verseकोई अनिर्वचनीय भाव — मूल श्लोक से
śyāmasundara-viśeṣa-viṣayakamone whose object is Śyāmasundara in particular bahuvrīhi — "having Śyāmasundara as its object"जिसका विषय विशेष रूप से श्यामसुन्दर हैं
śyāmalāyāḥ taṭinyāḥ yamunāyāḥ — of the dark river, the Yamunā; taṭa-bhuvi kṛtā kāntiḥ yayā — by whom the glow was cast on her bank-ground; tathā-bhūtā kānana-śrīḥ vṛndāvana-śrīḥ — such a forest-splendor, the splendor of Vṛndāvana; kam api bhāvaṁ śyāmasundara-viśeṣa-viṣayakam — [spreads] some nameless emotion directed at Śyāmasundara in particular.
śyāmalāyāḥ taṭinyāḥ yamunāyāḥ — साँवली नदी यमुना की; taṭa-bhuvi — तट की भूमि पर; kṛtā kāntiḥ yayā — जिसने कान्ति उत्पन्न की; tathā-bhūtā — वैसी; kānana-śrīḥ vṛndāvana-śrīḥ — वन-शोभा अर्थात् वृन्दावन की शोभा; kam api bhāvaṁ — कोई अनिर्वचनीय भाव; śyāmasundara-viśeṣa-viṣayakam — जिसका विषय श्यामसुन्दर हैं।
Viśvanātha restates the whole verse in prose order. The dark river is the Yamunā; on the ground of her bank the glow has been cast — that is the meaning of kṛta-kāntiḥ. This forest-splendor is the splendor of Vṛndāvana in particular. And the nameless emotion it spreads has, as its object, Śyāmasundara alone. He thus ties the picture-verse and its hidden subject together, agreeing with Jīva and Mukunda that the feeling is aimed at Kṛṣṇa.
साँवली नदी अर्थात् यमुना के तट की भूमि पर जिसने कान्ति उत्पन्न कर दी है — वैसी वन की शोभा, अर्थात् वृन्दावन की शोभा, (मन में) कोई अनिर्वचनीय भाव फैला देती है, जिसका विषय विशेष रूप से श्यामसुन्दर हैं।
kānana / vṛndāvana — "forest" glossed as the specific forest, Vṛndāvana; viśeṣa-viṣayaka — "having as its particular object."
'कानन' या 'वन' को यहाँ विशेष वन — वृन्दावन — के रूप में खोला गया है; 'विशेष-विषयक' अर्थात् जिसका विषय विशेष रूप से यही है।