(6) atha samutkaṇṭhā—
samutkaṇṭhā nijābhīṣṭa-lābhāya guru-lubdhatā ||
atha kṛṣṇa-karṇāmṛte (54)—
ānamrām asita-bhruvor upacitam akṣīṇa-pakṣmāṅkureṣv
ālolām anurāgiṇor nayanayor ārdrāṁ mṛdau jalpite |
ātāmrām adharāmṛte mada-kalām amlāna vaṁśī-svaneṣv
āśāste mama locanaṁ vraja-śiśor-mūrtiṁ jagan-mohinīm ||quoted · atha samutkaṇṭhā
The verse — decoded
L1definition
samutkaṇṭhā nijābhīṣṭa-lābhāya guru-lubdhatā ||
samutkaṇṭhāsamutkaṇṭhā (intense longing) — this is the word being defined nominative; the term definedसमुत्कण्ठा (जिसका यहाँ लक्षण किया जा रहा है)
nija-abhīṣṭa-lābhāyain order to get one's own longed-for object dative of purposeअपने अभीष्ट (मनोवांछित वस्तु) की प्राप्ति के लिए
guru-lubdhatāis a heavy, intense greedy craving nominative; the defining predicateजो तीव्र लालसा (गुरु = अत्यधिक लोभ) है — यही उसका लक्षण है
samutkaṇṭhā — intense longing; nija-abhīṣṭa-lābhāya — in order to gain one's own cherished object; guru-lubdhatā — is a heavy, eager craving.
samutkaṇṭhā — समुत्कण्ठा; nija-abhīṣṭa-lābhāya — अपने अभीष्ट की प्राप्ति के लिए; guru-lubdhatā — जो अत्यधिक लोभ (तीव्र लालसा) है।
Now longing (samutkaṇṭhā) is defined. It is a heavy, intense craving. And its aim is to obtain what one cherishes most. So samutkaṇṭhā means: a deep greed set on getting one's own beloved goal.
अपने अभीष्ट की प्राप्ति के लिए जो अत्यधिक लोभ, अर्थात् तीव्र लालसा होती है — वही समुत्कण्ठा है।
lubdhatā: home meaning "greed, covetousness" (usually a fault); here it names the good, single-pointed hunger of a devotee for the beloved object.
'lubdhatā' का सामान्य अर्थ लोभ या लालच है, जो प्रायः दोष माना जाता है; परन्तु यहाँ यह भक्त की अपने प्रियतम के प्रति उस एकनिष्ठ, शुभ भूख का नाम है।
L2citation
ānamrām asita-bhruvor upacitam akṣīṇa-pakṣmāṅkureṣv
ānamrām[a form] slightly bent, gently bowing — the first of many descriptions of the form she longs to see(जो) कुछ झुकी हुई है
asita-bhruvoḥof, i.e. at, his two dark eyebrows genitive/locative sense: the place where the bending showsकाली भौंहों में (जहाँ वह झुकाव दिखता है)
upacitamthick, richly grown, abundant read upacitām, describing the formउपचिताम् पढ़ें — भरी हुई, पुष्ट (उस रूप का वर्णन)
akṣīṇa-pakṣma-aṅkureṣuin the never-thinning sprouts of his eyelashes, i.e. his lush, full lashes locative: where the thickness showsन घटी हुई, घनी पलकों के अंकुरों में (जहाँ वह घनापन दिखता है)
ānamrām — slightly bent; asita-bhruvoḥ — at his two dark brows; upacitām — thick and abundant; akṣīṇa-pakṣma-aṅkureṣu — in the unfading sprouts of his eyelashes.
ānamrām — कुछ झुकी हुई; asita-bhruvoḥ — काली भौंहों में; upacitām — भरी हुई; akṣīṇa-pakṣma-aṅkureṣu — घनी पलकों के अंकुरों में।
Here begins the verse Rūpa quotes to illustrate this longing. A gopī describes the form she aches to see. Its two dark eyebrows are gently bent. Its eyelashes are lush, full sprouts that never thin out. So the description starts at the eyes: dark curving brows above, thick unfading lashes below.
काली भौंहों में कुछ झुकी हुई, और घनी पलकों के अंकुरों में भरी-पुष्ट — ऐसी उस मूर्ति को (मेरा नेत्र चाहता है)।
Why cited: Quoted to illustrate samutkaṇṭhā: the gopī's craving to see Kṛṣṇa's whole form, feature by feature.
क्यों उद्धृत: यह पद्य समुत्कण्ठा का दृष्टान्त है — गोपी की वह लालसा कि वह कृष्ण के पूरे रूप को एक-एक अंग करके देखे।
L3citation
ālolām anurāgiṇor nayanayor ārdrāṁ mṛdau jalpite |
ālolāmrestlessly moving, rolling, unsteady(जो) चंचल, काँपती हुई है
anurāgiṇoḥof his two loving, deeply attached [eyes] genitive, agreeing with the eyesअनुराग से भरी हुई (नेत्रों की)
nayanayoḥin his two eyes locative: where the restlessness showsदोनों नेत्रों में (जहाँ वह चंचलता दिखती है)
ārdrāmsoft and melting, tender read ārdrām, describing the form; Mukunda: mano-drāvikām, "melting the mind"आर्द्राम् पढ़ें — द्रवित, कोमल (उस रूप का वर्णन); मुकुन्द: मन को द्रवित करने वाली
mṛdau jalpitewhen he speaks softly, in his gentle chatter locative absolute: the occasion of the tendernessजब कोमल, मधुर वार्तालाप हो रहा हो, तब
ālolām — restlessly rolling; anurāgiṇoḥ nayanayoḥ — in his two loving eyes; ārdrām — soft and melting; mṛdau jalpite — when [he] talks softly.
ālolām — चंचल; anurāgiṇoḥ nayanayoḥ — अनुराग से भरे दोनों नेत्रों में; ārdrām — द्रवित (कोमल); mṛdau jalpite — कोमल वार्तालाप होने पर।
The description continues. His two loving eyes are restless, rolling about. And the form turns soft and melting whenever he talks in his gentle way. So: unsteady loving eyes, and a tenderness that comes out in his soft speech.
अनुराग से भरे दोनों नेत्रों में चंचल, और कोमल वार्तालाप होने पर द्रवित (पिघलती-सी कोमल) — ऐसी उस मूर्ति को।
ārdrām: home meaning "wet, moist"; here "tender, melting" — Mukunda glosses it mano-drāvikām, that which melts the mind.
'ārdrā' का सामान्य अर्थ गीली, नम है; यहाँ इसका अर्थ कोमल, द्रवित है — मुकुन्द इसे 'मन को द्रवित करने वाली' कहकर व्याख्या करते हैं।
L4citation
ātāmrām adharāmṛte mada-kalām amlāna vaṁśī-svaneṣv
ātāmrāmdeep red, reddish all over read ātāmrām; Viśvanātha: atiśaya-tāmra-varṇām, "an intense copper-red color"आताम्राम् पढ़ें — कुछ लाल; विश्वनाथ: अत्यन्त ताम्र वर्ण वाली (गहरी लाल)
adhara-amṛtein the nectar of his lips locative: where the redness showsअधर रूपी अमृत में (जहाँ वह लाली दिखती है)
mada-kalāmfaintly, sweetly intoxicated read mada-kalām; Viśvanātha: mattām, "drunk"; Mukunda: from the welling up of the intoxication of loveमदकलाम् पढ़ें — मद से मधुर, मतवाली; विश्वनाथ: मत्त; मुकुन्द: प्रेम-मद के उमड़ने से
amlāna-vaṁśī-svaneṣuin the never-fading sounds of his flute, i.e. his fresh, unwearied flute-notes locative: where the intoxication showsकभी न मुरझाने वाली वंशी की ध्वनियों में (जहाँ वह मद दिखता है)
ātāmrām — deep red; adhara-amṛte — in the nectar of his lips; mada-kalām — softly intoxicated; amlāna-vaṁśī-svaneṣu — in the unfading notes of his flute.
ātāmrām — कुछ लाल; adhara-amṛte — अधर रूपी अमृत में; mada-kalām — मद से मधुर (मतवाली); amlāna-vaṁśī-svaneṣu — कभी न मुरझाने वाली वंशी की ध्वनियों में।
The description moves to lips and flute. The nectar of his lips is a deep red. And in his fresh, never-tiring flute-song the form is softly drunk, as if intoxicated. So: red nectar-lips, and a sweet intoxication carried in his flute-notes.
अधर रूपी अमृत में कुछ लाल, और कभी न मुरझाने वाली वंशी की ध्वनियों में मद से मधुर (मतवाली) — ऐसी उस मूर्ति को।
mada-kalām: mada "intoxication" + kala "soft, indistinct (sound)"; here "softly/sweetly intoxicated." Mukunda ties the mada to smara-mada, the intoxication of love; Viśvanātha simply glosses mattām, "drunk."
'mada-kalā' अर्थात् mada (मद) + kala (कोमल, अस्पष्ट स्वर); यहाँ 'कोमलता से, मधुरता से मतवाली'। मुकुन्द इस मद को स्मर-मद (प्रेम के मद) से जोड़ते हैं, जबकि विश्वनाथ इसे सीधे 'मत्त' कहकर ही समझाते हैं।
L5citation
āśāste mama locanaṁ vraja-śiśor-mūrtiṁ jagan-mohinīm ||
āśāstelongs for, ardently wishes — the main verb; Viśvanātha: "makes a wish for the sake of seeing" finite verb, presentअभिलाषा करता है, लालायित है
mama locanammy eye, i.e. my sight nominative; the subject that does the longingमेरा नेत्र (जो यह अभिलाषा करता है)
vraja-śiśoḥbelonging to the boy of Vraja, i.e. the young cowherd Kṛṣṇa genitive: whose form it isव्रज के बालक (कृष्ण) के — जिसका यह रूप है
mūrtimthe form, the figure — the object longed for accusative; object of āśāsteरूप (मूर्ति) को — āśāste का कर्म
jagat-mohinīmwhich enchants the whole world accusative, describing that formजगत् को मोहित करने वाले (उस रूप को)
mama locanam — my eye; āśāste — longs for; vraja-śiśoḥ — of the boy of Vraja; jagat-mohinīm — world-enchanting; mūrtim — form.
mama locanam — मेरा नेत्र; vraja-śiśoḥ — व्रज के बालक की; jagat-mohinīm mūrtim — जगन्मोहिनी मूर्ति को; āśāste — अभिलाषा करता है।
Now the sentence closes with what all those descriptions were about. My eye longs for it. What it longs for is the form of the boy of Vraja, young Kṛṣṇa. And that form enchants the whole world. So the gopī's very sight aches to drink in Kṛṣṇa's all-enchanting figure — and this ache is exactly the samutkaṇṭhā just defined.
मेरा नेत्र व्रज के बालक कृष्ण की उस जगत् को मोहित करने वाली मूर्ति (रूप) की अभिलाषा करता है।
Why cited: The verse's point-line: names the longed-for object (Kṛṣṇa's world-enchanting form), showing this whole quotation as a specimen of samutkaṇṭhā.
क्यों उद्धृत: यह पद्य की मूल पंक्ति है — यह अभीष्ट वस्तु (कृष्ण का जगन्मोहन रूप) का नाम लेकर बताती है कि यह सम्पूर्ण उद्धरण समुत्कण्ठा का ही दृष्टान्त है।
Commentary — decoded
Jīva Gosvāmī
s1other
na vyākhyātam |
nanot negation particleनहीं
vyākhyātamhe has explained it — i.e. given a comment on the verse past passive participle of vi-ā-√khyā, n. sg.; with an understood 'it is'व्याख्या की गई ('यह है' अध्याहृत) — अर्थात् इसकी व्याख्या नहीं की गई
na — not; vyākhyātam — [it is] explained. Together: '[it is] not explained.'
na — नहीं; vyākhyātam — व्याख्या की गई।
Jīva Gosvāmī writes only: "Not explained." He gives no comment on this pair of verses at all. He simply passes over them, leaving them without a gloss of his own. So for these two verses there is nothing from Jīva to decode — the next comments come from Mukunda and Viśvanātha.
(इन पद्यों की) व्याख्या नहीं की गई।
vyākhyāta is the standard word for a commentator's own gloss or exposition. Saying 'na vyākhyātam' is a metatextual note about the commentary itself, not a remark on the verse's meaning: it flags that Jīva chose to skip these verses, not that they cannot be understood.
'व्याख्यात' टीकाकार की अपनी व्याख्या या विवेचन के लिए प्रचलित शब्द है। 'न व्याख्यातम्' कहना टीका के विषय में एक टिप्पणी है, पद्य के अर्थ पर नहीं: यह बताता है कि जीव ने इन पद्यों को छोड़ देना चुना, न कि यह कि इन्हें समझा नहीं जा सकता।
Mukunda-dāsa Gosvāmī
s1gloss
vraja-śiśor vraja-kiśorasya |
vraja-śiśoḥ"of the boy of Vraja" — the verse's word Mukunda is picking up gen. sg.; mūla lemma (from L5)
vraja-kiśorasyameans: of the young adolescent of Vraja gen. sg.; synonym gloss (ity-artha understood)
vraja-śiśoḥ — "of the boy of Vraja"; vraja-kiśorasya — that is, of the young adolescent of Vraja.
"Of the boy of Vraja" means: of the young adolescent of Vraja. Śiśu on its own can mean a small child, so Mukunda swaps in kiśora — the fresh youth, the adolescent — to pin down the age Kṛṣṇa is at in this verse.
śiśu (home meaning: infant/small child); here fixed by the gloss kiśora to the adolescent, teenage Kṛṣṇa of Vraja.
s2gloss
āśāste draṣṭum icchati |
āśāste"longs for" — the verb Mukunda is picking up from the verse pres. 3 sg. ātmanepada; mūla lemma (from L5)
draṣṭummeans: in order to see infinitive of purpose
icchatiit wishes pres. 3 sg.
āśāste — "longs for"; draṣṭum icchati — that is, wishes to see.
"Longs for" (āśāste) means "wishes to see." The one doing the longing is "my eye," from the verse. So the sense is: my eye wishes to see him.
s3gloss
upacitāṁ samṛddhimatīṁ ghana-pakṣmāṅkurām ity arthaḥ |
upacitām"thick, well-filled" — the verse's word for the eye at the lashes acc. sg. f. (mūla has upacitam; glossed to agree with the eye/mūrti); mūla lemma (from L2)
samṛddhimatīmmeans: richly abundant acc. sg. f.; synonym
ghana-pakṣmāṅkurāmthat is, having dense, sprouting lashes acc. sg. f.; bahuvrīhi
ity arthaḥsuch is the meaning gloss-closing formula
upacitām — "thick"; samṛddhimatīm — richly abundant; ghana-pakṣmāṅkurām — having dense lash-sprouts; ity arthaḥ — such is the sense.
"Thick" (upacitām) means richly abundant. In the verse it describes the eye at the eyelashes, so it means: the eye whose lashes are dense and full. That is the sense.
s4gloss
ārdrāṁ mano-drāvikāṁ mada-kalāṁ smara-madodgāreṇa kalāṁ madhurāsphuṭa-guṇāṁ gambhīrām ity arthaḥ ||
ārdrām"moist, tender" — the verse's word for the eye at his soft prattle acc. sg. f.; mūla lemma (from L3)
mano-drāvikāmmeans: melting the mind acc. sg. f.
mada-kalām"indistinct with intoxication" — the verse's word for the eye at the flute-notes acc. sg. f.; mūla lemma (from L4)
smara-madodgāreṇabecause a surge of love's intoxication pours out of it (this unpacks the mada- part) instr. of cause
kalāmand the "kalā" part means acc. sg. f.; the second member of the compound taken separately
madhurāsphuṭa-guṇāmhaving a sweet, unclear quality acc. sg. f.; bahuvrīhi
gambhīrāmthat is, deep and low acc. sg. f.
ity arthaḥsuch is the meaning gloss-closing formula
ārdrām — "moist"; mano-drāvikām — melting the mind; mada-kalām — "indistinct with intoxication"; smara-madodgāreṇa — because a surge of love-intoxication pours out; kalām — and its "kalā"; madhurāsphuṭa-guṇām — has a sweet, unclear quality; gambhīrām — deep; ity arthaḥ — such is the sense.
Two words get glossed here. First, "moist" (ārdrām) means heart-melting — the eye that melts your mind at his soft chatter. Then mada-kalām, the eye at the fresh flute-notes: Mukunda splits the compound in two. The mada- part he explains as "because a surge of love's intoxication is pouring out of it." The kalā part he explains as "having a sweet, unclear quality" — that is, deep and low, not sharp. So the eye goes soft and blurred with intoxication, its expression low and sweet. That is the sense.
kalā (home meaning, in poetics/music: a soft, low, indistinct-yet-sweet tone); here Mukunda uses that very sense — the eye's expression is "kalā," sweet but unclear, hence deep and low (gambhīrām).
Viśvanātha Cakravartī
s1gloss
mama locanaṁ vraja-pater jagan-mohinīṁ mūrtim āśāste darśanārtham icchāṁ karoti |
mama locanaṁmy eye — nom. sg.; subject of the verseमेरा नेत्र (पद्य का कर्ता)
vraja-pateḥof the lord of Vraja (Kṛṣṇa) genitive; Viśvanātha's gloss of the verse's vraja-śiśu, 'boy of Vraja'व्रज के स्वामी (कृष्ण) के — विश्वनाथ पद्य के 'व्रज-शिशु' की व्याख्या 'व्रज-पति' से करते हैं
jagan-mohinīṁwhich enchants the whole world acc. sg., describing mūrtimजगत् को मोहित करने वाले — मूर्ति का वर्णन
mūrtimthe form — acc. sg., objectरूप (मूर्ति) को — कर्म
āśāstelongs for; that is, verb, 3 sg.अभिलाषा करता है
darśanārthamin order to see it acc. of purposeदर्शन के लिए
icchāṁ karotiit forms a wish unpacks āśāsteइच्छा करता है (āśāste का अर्थ यही है)
mama locanam — my eye; vraja-pateḥ jagan-mohinīṁ mūrtim — the world-enchanting form of the lord of Vraja; āśāste — longs for; darśanārtham icchāṁ karoti — that is, it forms a wish in order to see it.
mama locanam — मेरा नेत्र; vraja-pateḥ jagan-mohinīm mūrtim — व्रजपति की जगन्मोहिनी मूर्ति को; āśāste — अर्थात् darśanārtham icchāṁ karoti — दर्शन के लिए इच्छा करता है।
My eye longs for the form of the lord of Vraja, Kṛṣṇa — the form that enchants the whole world. Here Viśvanātha unpacks the one verb 'longs for' (āśāste): it means the eye forms a wish in order to see that form. Note that where the verse says 'boy of Vraja' (vraja-śiśu), he glosses it as 'lord of Vraja' (vraja-pati).
मेरा नेत्र व्रजपति (कृष्ण) की जगन्मोहिनी मूर्ति की अभिलाषा करता है — अर्थात् उसके दर्शन के लिए इच्छा करता है।
s2gloss
kathambhūtām ? asita-bhruvoḥ śyāma-bhrū-dvaye īṣan-namrām |
kathambhūtām ?the form being like what? — that is, describe it sets up the first qualifierकैसी (मूर्ति)? — पहला विशेषण उठाते हैं
asita-bhruvoḥat the two dark eyebrows locative; Viśvanātha reads the verse's asita-bhruvoḥ as the place of the bendकाली भौंहों में — विश्वनाथ इसे झुकाव के स्थान के रूप में पढ़ते हैं
śyāma-bhrū-dvayenamely, on the pair of black eyebrows locative; his gloss of asita-bhruvoḥश्याम (काली) भौंहों की जोड़ी में — asita-bhruvoḥ की उनकी व्याख्या
īṣan-namrāmslightly bent (arched) acc. sg., describing mūrtimकुछ झुकी हुई — मूर्ति का वर्णन
kathambhūtām — the form being like what?; asita-bhruvoḥ = śyāma-bhrū-dvaye — at the two dark eyebrows, i.e. on the pair of black eyebrows; īṣan-namrām — slightly bent.
kathambhūtām — कैसी?; asita-bhruvoḥ = śyāma-bhrū-dvaye — काली भौंहों की जोड़ी में; īṣan-namrām — कुछ झुकी हुई।
He asks: what is this form like? Answer: at the two dark eyebrows it is slightly bent — the brows gently arched. He glosses the verse's word 'dark-browed' (asita-bhruvoḥ) plainly as 'the pair of black eyebrows.' So the first feature of the form is the softly curved black brows.
वह मूर्ति कैसी है? श्याम (काली) भौंहों की जोड़ी में कुछ झुकी हुई।
s3gloss
punaḥ kim-bhūtām ? akṣīṇa-pakṣmāṅkureṣu upacitām aviralāṁ tathā ca netrastha-pakṣmāṅkurāṇāṁ shtūlāviralatve praśaṁsanīye iti bhāvaḥ |
punaḥ kim-bhūtām ?and further, like what? — the next qualifier introduces the second featureफिर कैसी? — दूसरा विशेषण उठाते हैं
akṣīṇa-pakṣmāṅkureṣuin the undiminished, sprouting eyelashes locative; the verse's word for the lashesन घटी हुई, घनी पलकों के अंकुरों में — पद्य का शब्द
upacitāmthick, well-grown acc. sg.; glosses the verse's upacitamभरी हुई, पुष्ट — पद्य के upacitam की व्याख्या
aviralāṁand densely set, not sparse acc. sg.; Viśvanātha's added glossसघन, बिना अन्तराल के — विश्वनाथ का जोड़ा हुआ ग्लोस
tathā caand so drawing the pointऔर इस प्रकार — निष्कर्ष निकालते हैं
netrastha-pakṣmāṅkurāṇāṁfor the lash-sprouts set on the eyes genitiveनेत्र में स्थित पलकों के अंकुरों का
sthūlāviralatvebeing thick and dense locative; source reads shtūlā-, i.e. sthūla + aviralatvaस्थूलता और सघनता (मोटाई और घनेपन) होने पर — मूल में 'shtūlā-', अर्थात् sthūla + aviralatva
praśaṁsanīyeis something praiseworthy locative, agreeing with -tveयह प्रशंसनीय होने पर (यह प्रशंसनीय बात है)
iti bhāvaḥ— such is the sense closes the commentऐसा भाव है — टिप्पणी समाप्त करते हैं
punaḥ kim-bhūtām — and further, like what?; akṣīṇa-pakṣmāṅkureṣu — in the undiminished lash-sprouts; upacitām = aviralām — thick, i.e. densely set; tathā ca — and so; netrastha-pakṣmāṅkurāṇāṁ sthūlāviralatve praśaṁsanīye — for the eye's lashes to be thick and dense is praiseworthy; iti bhāvaḥ — such is the sense.
punaḥ kim-bhūtām — फिर कैसी?; akṣīṇa-pakṣmāṅkureṣu — घनी पलकों के अंकुरों में; upacitām = aviralām — भरी हुई, सघन; tathā ca — और इस प्रकार; netrastha-pakṣmāṅkurāṇām sthūlāviralatve praśaṁsanīye iti bhāvaḥ — नेत्रस्थ पलकों के अंकुरों का स्थूल और सघन होना प्रशंसनीय है, ऐसा भाव है।
He asks again: what else is the form like? Answer: in the full, sprouting eyelashes it is 'thick' (upacitām) — which he explains as densely set, not sparse. And so, he adds, thickness and density in the lashes set on the eyes is something worth praising. Such is his point: full, dense eyelashes are a mark of beauty.
फिर वह कैसी है? घनी पलकों के अंकुरों में भरी-सघन। और इस प्रकार, नेत्र में स्थित पलकों के अंकुरों का स्थूल और सघन होना प्रशंसनीय है — ऐसा भाव है।
s4gloss
adhara-rūpāmṛte ātāmrām atiśaya-tāmra-varṇām amlāna-vaṁśī-svaneṣu mada-kalāṁ mattām ||
adhara-rūpāmṛteat the nectar that is his lips locative; glosses the verse's adharāmṛte, 'lip-nectar'अधर रूपी अमृत में — पद्य के adharāmṛte की व्याख्या
ātāmrāmreddish; that is, acc. sg.; the verse's wordकुछ लाल (आताम्र) — पद्य का शब्द
atiśaya-tāmra-varṇāmof a deep copper-red color acc. sg.; his gloss of ātāmrāmअत्यन्त ताम्र वर्ण वाली (गहरी लाल) — ātāmrām की उनकी व्याख्या
amlāna-vaṁśī-svaneṣuat the fresh, unfading notes of the flute locative; the verse's phraseकभी न मुरझाने वाली वंशी की ध्वनियों में — पद्य का वाक्यांश
mada-kalāṁintoxicated; that is, acc. sg.; the verse's wordमदकला (मद से युक्त) — पद्य का शब्द
mattāmcarried away, drunk with joy acc. sg.; his gloss of mada-kalāmमत्त, मतवाली — mada-kalām की उनकी व्याख्या
adhara-rūpāmṛte — at the nectar of his lips; ātāmrām = atiśaya-tāmra-varṇām — reddish, i.e. of a deep copper-red color; amlāna-vaṁśī-svaneṣu — at the fresh flute-notes; mada-kalāṁ = mattām — intoxicated, i.e. drunk with joy.
adhara-rūpāmṛte ātāmrām = atiśaya-tāmra-varṇām — अधर रूपी अमृत में अत्यन्त ताम्र वर्ण वाली; amlāna-vaṁśī-svaneṣu mada-kalām = mattām — वंशी की ध्वनियों में मदकला अर्थात् मत्त।
Two more features. At the nectar of his lips the form is 'reddish' (ātāmrām) — which he glosses as a deep copper-red color. And at the fresh, never-fading notes of the flute it is 'intoxicated' (mada-kalām) — which he glosses simply as drunk, carried away with joy. So the reddish lips and the rapt, flute-drunk look complete the description of the form the eye longs to see.
अधर रूपी अमृत में अत्यन्त ताम्र वर्ण (गहरी लाल), और कभी न मुरझाने वाली वंशी की ध्वनियों में मदकला — अर्थात् मत्त (मतवाली)।
mada-kalā: Mukunda reads this richly (a rapture welling up from love, with a low, sweet, indistinct tone); Viśvanātha keeps it plain as mattā, 'intoxicated' — the two commentators are not harmonized here.
'mada-kalā' को मुकुन्द विस्तार से पढ़ते हैं (प्रेम से उमड़ता हुआ आवेश, जिसमें एक धीमा, मधुर, अस्पष्ट स्वर हो); विश्वनाथ इसे सरलता से केवल 'मत्ता', अर्थात् मतवाली कहते हैं — यहाँ दोनों टीकाकारों का समन्वय नहीं किया गया है।