L1citation
itthaṁ manorathaṁ bālā kurvatī nṛtya utsukā |
itthaṁin this way, like this adverb, pointing backइस प्रकार
manorathaṁher heart's longing — the wish she keeps turning over in her mind acc. sing.; mano-ratha lit. 'chariot of the mind'मन की अभिलाषा को
bālāthe young girl (a gopī) nom. sing., the subjectवह बालिका
kurvatīas she goes on making, entertaining fem. pres. participle of √kṛ, modifying bālā(अभिलाषा) सँजोती हुई
nṛtyein the dancing loc. sing.; sandhi nṛtya utsukāनृत्य में
utsukāeager, longing — she can't wait for it nom. sing. fem., predicated of bālāउत्कण्ठित (हो उठी)
bālā — the young girl; itthaṁ — in this way; manorathaṁ kurvatī — entertaining her heart's longing; nṛtye — for the dance; utsukā — eager.
itthaṁ — इस प्रकार; manorathaṁ — मन की अभिलाषा को; bālā — वह बालिका; kurvatī — (अभिलाषा) करती हुई; nṛtye — नृत्य में; utsukā — उत्कण्ठित (हो उठी)।
The young girl kept turning over her heart's longing, just like this. And she was eager — eager for the dance. Every part of her leaned toward it.
इस प्रकार मन में अभिलाषा सँजोती हुई वह बालिका नृत्य के लिए उत्कण्ठित हो उठी।
Why cited: cited from the Padma Purāṇa as the example of the second kind of rāgānugā practice — longing-driven absorption.
क्यों उद्धृत: यह पद्मपुराण से उद्धृत है — रागानुगा साधना के दूसरे प्रकार, अर्थात् अभिलाषा से भरी तल्लीनता, का उदाहरण देने के लिए।
manoratha, literally 'the chariot of the mind', is the standard word for a cherished wish or daydream — here render it plainly as 'heart's longing', not 'chariot'.
मनोरथ का शाब्दिक अर्थ 'मन का रथ' है, परन्तु यह किसी प्रिय अभिलाषा या मन की साध का प्रचलित नाम है; यहाँ इसे 'मन की अभिलाषा' ही समझें, 'रथ' नहीं।
L2citation
hari-prītyā ca tāṁ sarvāṁ rātrim evātyavāhayat ||
hari-prītyāout of her love for Hari — this is what drove her instr. sing. of cause; tatpuruṣa 'love toward Hari'हरि के प्रति प्रेम के कारण
caand — adding to her eagerness aboveऔर
tāṁ sarvāṁ rātrimthat whole night, the entire night acc. sing., stretch of timeउस समूची रात्रि को
evathe whole night through — the 'eva' stresses that not a moment was left outही
atyavāhayatshe passed it right to the end, she spent it fully imperfect causative of ati-ava-√vah, 'carry across to the finish'(नृत्य में) बिता दिया
hari-prītyā ca — and out of love for Hari; tāṁ sarvāṁ rātrim eva — that entire night, every bit of it; atyavāhayat — she passed all the way through.
hari-prītyā — हरि के प्रति प्रेम के कारण; ca — और; tāṁ sarvāṁ rātrim — उस समूची रात्रि को; eva — ही; atyavāhayat — बिता दिया।
And out of love for Hari, she spent the whole night this way. The entire night — she carried it right through to the end, not a moment wasted.
और हरि के प्रति प्रेम के कारण उसने वह समूची रात्रि (नृत्य में) ही बिता दी।
Why cited: the second line of the Padma Purāṇa verse adduced as the model of longing-filled rāgānugā practice, where love for Hari fills the whole night.
क्यों उद्धृत: यह पद्मपुराण के श्लोक की दूसरी पंक्ति है, जो अभिलाषा से भरी रागानुगा साधना का आदर्श दिखाने को उद्धृत है — जहाँ हरि-प्रेम समूची रात्रि को भर देता है।
atyavāhayat is ati- ('past, all the way') + causative of √vah ('carry'): to 'carry a stretch of time across' means to pass or spend it completely — here, the whole night through.
अत्यवाहयत् में अति- ('पूरी तरह, अन्त तक') उपसर्ग √वह् ('ले जाना') के प्रेरणार्थक रूप के साथ जुड़ा है; 'समय को पार करा देना' अर्थात् उसे पूर्णतः बिता देना — यहाँ पूरी रात।
Commentary — decoded
Jīva Gosvāmī
s1gloss
manoratha-pūrvaka-nṛtyam atra rāgānugā, tadānīṁ tac chrī-mūrti-prabhāveṇa tasyāṁ tādṛśa-tat-parikarāṇāṁ rāga-sphūrteḥ |
manoratha-pūrvaka-nṛtyamthe dancing that is preceded by a heart's-wish (manoratha)अभिलाषा से युक्त नृत्य
atrahere, in this verseयहाँ
rāgānugāis rāgānugā — devotion that follows spontaneous attachmentरागानुगा (भक्ति है)
tadānīmat that very time adv. of timeउस समय
tat-śrī-mūrti-prabhāveṇabecause of the power of that beautiful deity-form (śrī-mūrti) instr. of causeउस श्रीविग्रह के प्रभाव के कारण
tasyāmin her, in the girl loc.उस बालिका में
tādṛśa-tat-parikarāṇāmtoward such associates of his (Kṛṣṇa's companions) gen. as object of longingवैसे उन (कृष्ण के) पार्षदों के प्रति
rāga-sphūrteḥbecause attachment (rāga) sprang up abl./gen. of causeराग के स्फुरित हो उठने के कारण
atra manoratha-pūrvaka-nṛtyam — the dancing here that is preceded by a heart's-wish; rāgānugā — is rāgānugā; tadānīm tat-śrī-mūrti-prabhāveṇa — because at that time, by the power of that deity-form; tasyām — in her; tādṛśa-tat-parikarāṇām rāga-sphūrteḥ — attachment sprang up toward such associates of his.
manoratha-pūrvaka-nṛtyam — अभिलाषा से युक्त नृत्य; atra — यहाँ; rāgānugā — रागानुगा (भक्ति है); tadānīm — उस समय; tat-śrī-mūrti-prabhāveṇa — उस श्रीविग्रह के प्रभाव से; tasyām — उस बालिका में; tādṛśa-tat-parikarāṇām — वैसे उन (कृष्ण के) पार्षदों के प्रति; rāga-sphūrteḥ — राग के स्फुरित हो उठने के कारण।
The dancing here, which is set going by a heart's-wish, is rāgānugā-bhakti — devotion that follows spontaneous attachment. Why call it that? Because at that moment, by the power of Kṛṣṇa's beautiful deity-form, real attachment (rāga) sprang up in the girl toward his companions of that kind. She is not following a rule; a longing to serve like his intimates has awakened in her.
यहाँ अभिलाषा से भरा वह नृत्य रागानुगा (भक्ति) है। क्योंकि उस समय उस श्रीविग्रह के प्रभाव से उस बालिका में उन-जैसे कृष्ण-पार्षदों के प्रति राग स्फुरित हो उठा।
rāgānugā (home meaning in bhakti-śāstra: devotion practiced 'following after' the spontaneous love, rāga, of Kṛṣṇa's eternal associates; here: the girl's dancing counts as rāgānugā because attachment to those associates has actually awakened in her, not because she is obeying an injunction).
रागानुगा वह भक्ति है जो कृष्ण के नित्य पार्षदों के सहज राग का 'अनुसरण' करके की जाती है; यहाँ बालिका का नृत्य इसलिए रागानुगा है कि उसमें उन पार्षदों के प्रति सचमुच राग जाग उठा है, किसी विधि के पालन से नहीं।
s2avataranika
tathaivoktaṁ tayā tat pūrvatra—
tathā evain just this way, exactly soठीक उसी प्रकार
uktamit was said, it was stated past pass. part.कहा गया है
tayāby her, by the girl herself instr. of agentउस (बालिका) के द्वारा
tatthat very thing (her special love)वह (बात)
pūrvatrain an earlier place, earlier in the textपूर्व प्रसंग में
tathā eva — in just this way; tat — that; tayā — by her; pūrvatra — earlier; uktam — was said.
tathā eva — ठीक उसी प्रकार; uktam — कहा गया है; tayā — उस (बालिका) के द्वारा; tat — वह (बात); pūrvatra — पूर्व प्रसंग में।
And this very thing was said by the girl herself, earlier in the text. Jīva now brings forward her own earlier words to back up his reading. The quotation follows.
ठीक उसी प्रकार पूर्व प्रसंग में उस बालिका के द्वारा वह (बात) कही गई है—
s3citation
bahvīṣv anyāsu nārīṣu mayy evādhika-prītiman | nṛtyaty asau mayā sārdhaṁ kaṇṭhāśleṣādi-bhāva-kṛt ||
bahvīṣu anyāsu nārīṣuamong the many other women loc. of the group set asideअन्य बहुत-सी स्त्रियों के रहते हुए भी
mayi evafor me alone loc.; eva = 'alone, precisely'केवल मुझमें ही
adhika-prīti-manshe who has greater love, more love than for the restअधिक प्रीति रखने वाली (वह)
nṛtyatishe dances 3sg. pres.नृत्य करती है
asaushe, this girlवह
mayā sārdhamtogether with me instr. of accompanimentमेरे साथ
kaṇṭha-āśleṣa-ādi-bhāva-kṛtmaking the loving gestures (bhāvas) that begin with embracing the neckकण्ठालिंगन आदि भाव प्रकट करती हुई
bahvīṣu anyāsu nārīṣu — among the many other women; mayi eva adhika-prītiman — having greater love for me alone; asau — she; mayā sārdham nṛtyati — dances together with me; kaṇṭha-āśleṣa-ādi-bhāva-kṛt — making the loving gestures beginning with embracing the neck.
bahvīṣu anyāsu nārīṣu — अन्य बहुत-सी स्त्रियों के रहते हुए; mayi eva — केवल मुझमें ही; adhika-prīti-man — अधिक प्रीति रखने वाली (वह); nṛtyati — नृत्य करती है; asau — वह; mayā sārdham — मेरे साथ; kaṇṭha-āśleṣa-ādi-bhāva-kṛt — कण्ठालिंगन आदि भाव करती हुई।
The quoted words, spoken by Kṛṣṇa about her: Among the many other women, this girl has greater love for me alone. She dances with me, showing the signs of love that begin with throwing her arms around my neck.
अन्य बहुत-सी स्त्रियों के रहते हुए भी वह केवल मुझमें ही अधिक प्रीति रखती है; वह मेरे साथ कण्ठालिंगन आदि भाव प्रकट करती हुई नृत्य करती है।
Why cited: cited to show, from the girl's own earlier scene, that her love and dancing were already directed at Kṛṣṇa alone — proving the dancing is spontaneous attachment (rāgānugā), not rule-following.
क्यों उद्धृत: यह बालिका के अपने पूर्व दृश्य से उद्धृत है — यह दिखाने को कि उसका प्रेम और नृत्य पहले से ही केवल कृष्ण की ओर लक्षित था, अतः वह नृत्य सहज राग (रागानुगा) है, विधि-पालन नहीं।
s4avataranika
prasaṅgo’yaṁ mūla-pādma-gataś cet tarhi—
prasaṅgaḥ ayamthis passage, this stretch of textयह प्रसंग
mūla-pādma-gataḥas belonging to the original Padma Purāṇaमूल पद्मपुराण में आया हुआ
cetif — supposing this is so conditional particleयदि
tarhithen, in that case correlative of cetतो (फिर)
ayam prasaṅgaḥ — this passage; mūla-pādma-gataḥ cet — if it is found in the original Padma Purāṇa; tarhi — then (the following applies).
prasaṅgaḥ ayam — यह प्रसंग; mūla-pādma-gataḥ — मूल पद्मपुराण में स्थित; cet — यदि; tarhi — तो (फिर)।
Now a condition. If this passage really belongs to the original Padma Purāṇa itself, then — and here the next quotation is brought in to fill out that 'then.' Jīva is being careful about the source before he leans on what comes next.
यदि यह प्रसंग मूल पद्मपुराण में आया हुआ हो, तो—
s5citation
sattvaṁ tattvaṁ paratvaṁ ca tattva-trayam ahaṁ kila | tri-tattva-rūpiṇī sāpi rādhikā mama vallabhā | prakṛteḥ para evāhaṁ sāpi mac-chakti-rūpiṇī ||
sattvam tattvam paratvam caexistence (sattva), truth (tattva), and supremacy (paratva)सत्त्व, तत्त्व और परत्व
tattva-trayamthese three truths taken togetherये तीन तत्त्व
ahamI am Kṛṣṇa speakingमैं (कृष्ण) ही हूँ
kilaindeed, as is well known asseverative particleनिश्चय ही
tri-tattva-rūpiṇīshe whose very form is those three truthsतीनों तत्त्वों का स्वरूप जो है
sā apishe too api = 'too, as well'वह भी
rādhikānamely Rādhikāराधिका
mama vallabhāmy beloved gen. 'my'मेरी प्रिया
prakṛteḥ paraḥ evaI alone am beyond matter (prakṛti) abl. 'beyond'; eva = 'alone'प्रकृति से परे ही
ahamI subject restatedमैं (हूँ)
sā apiand she tooऔर वह भी
mat-śakti-rūpiṇīshe whose form is my own energy (śakti)मेरी शक्ति का स्वरूप
sattvam tattvam paratvam ca tattva-trayam aham kila — I indeed am the three truths: existence, truth, and supremacy; sā api rādhikā mama vallabhā tri-tattva-rūpiṇī — and she too, Rādhikā my beloved, has these three truths for her form; prakṛteḥ paraḥ eva aham — I alone am beyond matter; sā api mat-śakti-rūpiṇī — and she too is the form of my energy.
sattvam tattvam paratvam ca — सत्त्व, तत्त्व और परत्व; tattva-trayam — ये तीन तत्त्व; aham — मैं (ही); kila — निश्चय ही; tri-tattva-rūpiṇī — तीनों तत्त्वों का स्वरूप जो है; sā api — वह भी; rādhikā — राधिका; mama vallabhā — मेरी प्रिया; prakṛteḥ paraḥ eva — प्रकृति से परे ही; aham — मैं (हूँ); sā api — और वह भी; mat-śakti-rūpiṇī — मेरी शक्ति का स्वरूप।
The quoted verse, Kṛṣṇa speaking: I myself am the three truths — existence, truth, and supremacy. And she too, Rādhikā my beloved, has those same three truths for her very form. I alone stand beyond matter, and she too is the very form of my energy.
सत्त्व, तत्त्व और परत्व—ये तीन तत्त्व निश्चय ही मैं हूँ; और वह राधिका, मेरी प्रिया, भी इन तीनों तत्त्वों का स्वरूप है। मैं प्रकृति से परे ही हूँ, और वह भी मेरी शक्ति का स्वरूप है।
Why cited: cited to establish (on the assumption the passage is genuine Padma) that Rādhikā shares Kṛṣṇa's own nature and is his śakti — grounding the identity of the 'girl' with Rādhā.
क्यों उद्धृत: यह (इस मान्यता पर कि यह अंश वास्तव में पद्मपुराण का है) यह स्थापित करने को उद्धृत है कि राधिका कृष्ण के ही स्वरूप की भागिनी और उनकी शक्ति हैं — जिससे 'बालिका' की राधा से एकता सिद्ध होती है।
s6citation
bṛhad-gautamīye śrī-kṛṣṇasya vacanāt tathā tatraiva—
bṛhad-gautamīyein the Bṛhad-gautamīya loc. 'in [the text]'बृहद्गौतमीय में
śrī-kṛṣṇasya vacanāton the authority of Śrī Kṛṣṇa's own statement abl. of source/authorityश्रीकृष्ण के वचन के प्रमाण से
tathālikewise, in the same veinउसी प्रकार
tatra evain that very same textवहीं (उसी ग्रन्थ में)
bṛhad-gautamīye śrī-kṛṣṇasya vacanāt — from Śrī Kṛṣṇa's statement in the Bṛhad-gautamīya; tathā tatra eva — and likewise, in that very same place (the next verse follows).
bṛhad-gautamīye — बृहद्गौतमीय में; śrī-kṛṣṇasya vacanāt — श्रीकृष्ण के वचन के आधार पर; tathā — उसी प्रकार; tatra eva — वहीं (उसी में)।
That verse comes from Śrī Kṛṣṇa's own words in the Bṛhad-gautamīya. And in that same text there is another statement to the same effect — which is quoted next.
बृहद्गौतमीय में श्रीकृष्ण के वचन के प्रमाण से, उसी प्रकार वहीं (कहा गया है)—
Why cited: names the source (Bṛhad-gautamīya, Kṛṣṇa's own words) of the verse just given and introduces a second passage from it.
क्यों उद्धृत: यह अभी-अभी दिए गए श्लोक का स्रोत (बृहद्गौतमीय, स्वयं कृष्ण के वचन) बताता है और उसी से दूसरा प्रमाण-वचन प्रस्तुत करता है।
s7citation
devī kṛṣṇa-mayī proktā rādhikā para-devatā | sarva-lakṣmī-mayī sarva-kāntiḥ sammohinī parā ||
devīthe goddessदेवी
kṛṣṇa-mayīmade wholly of Kṛṣṇa, consisting of Kṛṣṇaकृष्णमयी (कृष्ण से ओतप्रोत)
proktāis declared to be, is called past pass. part.कही गई है
rādhikānamely Rādhikāराधिका
para-devatāthe supreme deityपरम देवता
sarva-lakṣmī-mayīmade of all fortune, embodying every Lakṣmīसमस्त लक्ष्मियों का स्वरूप
sarva-kāntiḥshe who is all beauty, the source of every splendorसमस्त कान्ति स्वरूपा
sammohinīthe all-enchanting oneसम्मोहिनी
parāthe supremeपरा (सर्वोपरि)
devī kṛṣṇa-mayī rādhikā para-devatā proktā — the goddess Rādhikā, made of Kṛṣṇa, is declared the supreme deity; sarva-lakṣmī-mayī — made of all fortune; sarva-kāntiḥ — all beauty; sammohinī parā — the supreme all-enchantress.
devī — देवी; kṛṣṇa-mayī — कृष्णमयी; proktā — कही गई है; rādhikā — राधिका; para-devatā — परम देवता; sarva-lakṣmī-mayī — समस्त लक्ष्मियों का स्वरूप; sarva-kāntiḥ — समस्त कान्ति स्वरूपा; sammohinī — सम्मोहिनी; parā — परा।
The second quoted verse: The goddess Rādhikā, who is made wholly of Kṛṣṇa, is declared to be the supreme deity. She is made of all fortune, she is all beauty, she is the supreme enchantress of everyone.
देवी राधिका कृष्णमयी और परम देवता कही गई हैं; वह समस्त लक्ष्मियों का स्वरूप, समस्त कान्ति स्वरूपा, सम्मोहिनी और सर्वोपरि परा हैं।
Why cited: second Bṛhad-gautamīya proof that Rādhikā is the supreme goddess and Kṛṣṇa's own energy — reinforcing her exalted identity behind the 'girl.'
क्यों उद्धृत: बृहद्गौतमीय का यह दूसरा प्रमाण है कि राधिका परम देवी और कृष्ण की ही शक्ति हैं — जिससे 'बालिका' के पीछे उनकी उच्च पहचान और दृढ़ होती है।
s8alternative
vacanāntarān nitya-tan-mahā-śakti-rūpatayā prasiddhāyāḥ śrī-rādhāyā vibhūti-rūpā bālā-śabdena mantavyā |
vacana-antarāton the strength of another statement (a different scriptural text) abl. of authorityकिसी अन्य वचन के प्रमाण से
nitya-tat-mahā-śakti-rūpatayābecause she is the form of his eternal great energy instr. of reason (-tayā)नित्य रूप से उनकी महाशक्ति का स्वरूप होने के कारण
prasiddhāyāḥof the one who is well-known as such gen.जो प्रसिद्ध हैं ऐसी
śrī-rādhāyāḥof Śrī Rādhā gen.श्रीराधा की
vibhūti-rūpāas an expansion, a vibhūti (a subordinate manifestation of her power)विभूति-स्वरूपा
bālā-śabdenaby the word 'bālā' (the 'girl' of the verse) instr. 'by the word''बाला' शब्द से
mantavyāshould be understood, is to be taken gerundiveसमझी जानी चाहिए
vacana-antarāt — on the strength of another statement; nitya-tat-mahā-śakti-rūpatayā prasiddhāyāḥ śrī-rādhāyāḥ — of Śrī Rādhā, well-known as the form of his eternal great energy; vibhūti-rūpā — as an expansion; bālā-śabdena mantavyā — should be understood by the word 'bālā.'
vacana-antarāt — किसी अन्य वचन के प्रमाण से; nitya-tat-mahā-śakti-rūpatayā — नित्य रूप से उनकी महाशक्ति का स्वरूप होने के कारण; prasiddhāyāḥ — प्रसिद्ध; śrī-rādhāyāḥ — श्रीराधा की; vibhūti-rūpā — विभूति-स्वरूपा; bālā-śabdena — 'बाला' शब्द से; mantavyā — समझी जानी चाहिए।
This gives the alternative reading of who the 'girl' is. Going by a different scriptural statement, the word 'bālā' (girl) in the verse should be understood as a vibhūti — an expansion — of Śrī Rādhā, who is famous as the very form of Kṛṣṇa's eternal great energy. So on this reading the dancing girl is not Rādhā herself, but an expansion of her. Jīva leaves this standing beside the next sentence's other view; he does not collapse the two.
किसी अन्य वचन के प्रमाण से (यह भी कहा जा सकता है कि) 'बाला' शब्द से श्रीराधा की—जो नित्य रूप से कृष्ण की महाशक्ति का स्वरूप होने से प्रसिद्ध हैं—विभूति समझी जानी चाहिए।
vibhūti (home meaning: a manifestation or 'portion' through which a greater power is displayed, as in Gītā 10; here: the 'girl' taken as a partial expansion of Rādhā rather than Rādhā in person — this is the reading on which she and Rādhā are two).
विभूति वह अंश-प्रकाश है जिसके द्वारा कोई महती शक्ति प्रकट होती है (जैसे गीता के दसवें अध्याय में); यहाँ 'बाला' को स्वयं राधा न मानकर उनका आंशिक विस्तार माना गया है — इसी पाठ पर वह और राधा दो हैं।
s9alternative
kintu svayaṁ śrī-rādhikā tu tasyāḥ phalāvasthāyāṁ tāṁ sakhīṁ vidhāya, tasyāḥ sādhana-siddhi-gataṁ sarvaṁ kṛpayā ātmana eva mene, ity evābhedena nirdeśe kāraṇaṁ jñeyam ||
kintubut, on the other hand adversative — pivots to the second readingपरन्तु
svayam śrī-rādhikā tuŚrī Rādhikā herself, in person tu marks the contrastस्वयं श्रीराधिका ने तो
tasyāḥ phala-avasthāyāmat the stage of that girl's ripened fruit (perfection) loc. of time/conditionउस (बालिका) की फल-अवस्था में
tām sakhīm vidhāyahaving made her (the girl) her own intimate friend (sakhī) gerund 'having made'उसे अपनी सखी बनाकर
tasyāḥ sādhana-siddhi-gatam sarvameverything belonging to that girl's practice and its attainment the whole objectउसकी साधना-सिद्धि से प्राप्त सब कुछ
kṛpayāout of mercy, by her grace instr. of mannerकृपापूर्वक
ātmanaḥ eva meneshe considered as her very own gen. 'as belonging to herself'; eva = 'her very own'; mene = 'considered'अपना ही माना
iti eva abhedena nirdeśe kāraṇam jñeyamthis alone is to be understood as the reason for the non-different way of speaking of themइसी को अभेद-निर्देश का कारण जानना चाहिए
kintu svayam śrī-rādhikā tu — but Śrī Rādhikā herself; tasyāḥ phala-avasthāyām — at the stage of that girl's perfection; tām sakhīm vidhāya — having made her a sakhī; tasyāḥ sādhana-siddhi-gatam sarvam kṛpayā ātmanaḥ eva mene — out of mercy considered everything of the girl's practice-and-attainment as her very own; iti eva abhedena nirdeśe kāraṇam jñeyam — just this is to be known as the reason for speaking of them as non-different.
kintu — परन्तु; svayam śrī-rādhikā tu — स्वयं श्रीराधिका ने तो; tasyāḥ phala-avasthāyām — उसकी फल-अवस्था में; tām sakhīm vidhāya — उसे सखी बनाकर; tasyāḥ sādhana-siddhi-gatam sarvam — उसकी साधना-सिद्धि से प्राप्त सब कुछ; kṛpayā — कृपापूर्वक; ātmanaḥ eva mene — अपना ही माना; iti eva abhedena nirdeśe kāraṇam jñeyam — इसी को अभेद-निर्देश का कारण जानना चाहिए।
But here is the other layer. Śrī Rādhikā herself — in person, not merely an expansion — when the girl reached the fruit of her practice, made that girl her own sakhī. Out of mercy she counted everything of the girl's sādhana and its perfection as her very own. And this, says Jīva, is the reason the verse can speak of the two as though they were one and the same. So both readings stand: the 'girl' is an expansion of Rādhā (s8), and Rādhā herself has embraced her as non-different (s9). Jīva gives the ground for the non-different language rather than choosing between the two.
परन्तु स्वयं श्रीराधिका ने तो उसकी फल-अवस्था में उसे अपनी सखी बनाकर, उसकी साधना-सिद्धि से प्राप्त सब कुछ कृपापूर्वक अपना ही माना; इसी को (बालिका और राधा के) अभेद-निर्देश का कारण जानना चाहिए।
Mukunda-dāsa Gosvāmī
s1avataranika
ittham iti—
ittham itithe verse beginning "ittham" — he names it by its first word, to take it up for comment pratīka (lemma-citation of the mūla)
ittham iti — [the verse] that starts with the word "ittham" [is now explained].
He picks up the verse by quoting its first word, "ittham." This is just the way a commentator flags which line he is about to explain. Nothing is argued yet; he is setting up the comment that follows.
pratīka: naming a verse by its opening word(s) to signal "this is the line I am now glossing."
s2citation
bahvīṣv anyāsu nārīṣu mayy evādhika-prītiman | nṛtyaty asau mayā sārdhaṁ kaṇṭhāśleṣādi-bhāva-kṛt ||
bahvīṣu anyāsu nārīṣuthough there are many other women locative of circumstance ("among / in the presence of")
mayi eva adhika-prīti-manshe has greater love for me alone eva = "alone," singling Kṛṣṇa out
nṛtyatishe dances
asauthis girl
mayā sārdhamtogether with me instrumental of accompaniment
kaṇṭha-āśleṣa-ādi-bhāva-kṛtshowing the signs of love — embracing his neck and the rest bhāva-kṛt = "making / displaying the moods"
asau bālā — this girl; bahvīṣu anyāsu nārīṣu (satīṣu) — though many other women are there; mayi eva adhika-prīti-man — loves me above all; mayā sārdham nṛtyati — dances with me; kaṇṭha-āśleṣa-ādi-bhāva-kṛt — showing love-signs like embracing my neck.
Kṛṣṇa speaks: among all the many women present, this girl loves me above every other. She dances with me, throwing her arms around my neck and showing every sign of love. Mukunda quotes this to fix who "the girl" of the verse is and how strong her love is, before he grades that love stage by stage.
Why cited: cited to establish the girl's love-for-Kṛṣṇa-above-all, which Mukunda then maps onto the rising stages of bhakti
s3gloss
itthaṁ manorathaṁ bālā kurvatīti sādhanābhiniveśaḥ |
ittham manoratham bālā kurvatī itithe phrase "the girl making this longing" [from the verse] iti quoting the mūla words being glossed
sādhana-abhiniveśaḥthis shows her dedicated application to the practice predicate: X = the stage named
ittham manoratham bālā kurvatī iti — the verse-words "the girl making this longing"; sādhana-abhiniveśaḥ — [mean / exemplify] absorption in the practice.
Mukunda takes the verse-phrase "the girl making this longing" and labels the stage it shows: sādhana-abhiniveśa, dedicated absorption in the practice. Her intense wishing is the practice itself, done with full application. This is the first rung of the ladder he is about to climb.
abhiniveśa: in Yoga (Yoga-sūtra 2.3) it is a fault — clinging to life, one of the five kleśas; here it is neutral-positive, "whole-hearted application, absorption" in the devotional practice.
s4gloss
nṛtya utsuketi ruciḥ |
nṛtye utsukā itithe phrase "eager for the dancing" [from the verse] iti quoting the mūla; nṛtye = locative, "for / in the dancing"
ruciḥthis shows ruci — a real taste for it predicate: names the stage
nṛtye utsukā iti — the verse-words "eager for the dancing"; ruciḥ — [exemplify] ruci, taste.
Next verse-phrase: "eager for the dancing." Mukunda labels the stage ruci — a genuine taste, a relish, for the devotional act. Her eagerness is no longer mere effort; she now enjoys it. That is the next rung above dedicated practice.
ruci: literally "taste, liking"; in the bhakti ladder it is the stage where the practice becomes tasteful and one is drawn to it for its own sake.
s5gloss
harau prītir āsaktiḥ |
harau prītiḥ"love for Hari" [the verse's word hari-prītyā] locative harau = "for / toward Hari"
āsaktiḥthis shows āsakti — attachment fixed on him predicate: names the stage
harau prītiḥ — the verse's "love for Hari"; āsaktiḥ — [exemplifies] āsakti, deep attachment.
Now the verse's words "love for Hari." Mukunda labels the stage āsakti — attachment. The taste has ripened into a settled clinging of the heart to Kṛṣṇa himself, not just to the practice. That is the rung above ruci.
āsakti: "attachment, clinging"; in the ladder, the taste (ruci) has now bound itself to the Lord as its object, one step below bhāva.
s6gloss
sarvāṁ rātrim evātyavāhayad iti ratiḥ |
sarvām rātrim eva atyavāhayat itithe verse-words "she passed the whole night through" iti quoting the mūla; eva = "the whole night, right through"
ratiḥthis shows rati — the awakened loving mood itself predicate: names the stage (= bhāva)
sarvām rātrim eva atyavāhayat iti — the verse-words "she passed the entire night"; ratiḥ — [exemplifies] rati, the emergent love.
Last verse-phrase: "she passed the whole night through" with him. Mukunda labels the stage rati — the first flush of awakened love, also called bhāva. Her losing the entire night to him shows that attachment has now blossomed into actual loving emotion. This is the top of his ladder: sādhana → ruci → āsakti → rati.
rati (= bhāva): the sprout of prema; the point where attachment has matured into felt, awakened love. Mukunda has now mapped the verse onto the standard rising stages.
s7reply
avyartha-kālatvaṁ kārya-darśanāt |
avyartha-kālatvamthat her time went to no waste abstract noun; the point being established
kārya-darśanātbecause the result is plainly seen ablative of reason ("because…")
avyartha-kālatvam — [her] time being un-wasted; kārya-darśanāt — because the effect is seen.
Mukunda adds: none of her time was wasted — and we know this because the result is right there to see. The "result" is the awakened love just described. You infer the un-wasted night from its visible fruit: the effect proves the cause. A whole night spent this way bore real fruit, so it was time well used.
kārya-darśanāt: an inference from effect to cause — "since the result is observed, the process must have been fruitful."
s8conclusion
śrī-mūrter mādhurī-darśanena jāta-lobhatvād asyāḥ sambhogecchā-mayī ||
śrī-mūrteḥ mādhurī-darśanenaby seeing the sweetness of his beautiful form instrumental of means ("by / through seeing")
jāta-lobhatvātbecause a longing greed was born in her from that ablative of reason ("because…")
asyāḥher [love] genitive: "of her"
sambhoga-icchā-mayīis made of the desire for union with him -mayī = "consisting of," agreeing with the understood ratiḥ
śrī-mūrteḥ mādhurī-darśanena — by seeing the sweetness of his lovely form; jāta-lobhatvāt — because a greed arose [in her]; asyāḥ [ratiḥ] — her love; sambhoga-icchā-mayī — is made of the longing for union.
Finally Mukunda names the flavor of her love. Seeing the sweetness of Kṛṣṇa's beautiful form kindled a greed for him in her. Because that greed arose, her rati is made of one thing: the desire for union with him — the mood of meeting, not of separation. So her love is specifically union-seeking love.
sambhoga: "union, enjoyment together" — the mood of meeting, paired against vipralambha (love-in-separation). Here her rati is characterized as sambhoga-icchā-mayī, love whose whole substance is the longing to be united with Kṛṣṇa.