L1definition
kṣudra-kautūhala-mayī cañcalā duḥkha-hāriṇī |
kṣudra-kautūhala-mayīit is made up of petty excitement — a small, worldly curiosity, not the real thing bahuvrīhi/-mayī fem., agreeing with chāyā (arrives in L2)जो तुच्छ कौतूहल से भरी हुई है (आगे आने वाली 'छाया' का विशेषण)
cañcalāit flickers — unsteady, it does not hold still nom. sg. fem.चंचल (अस्थिर)
duḥkha-hāriṇīyet it takes away sorrow — it does carry off pain nom. sg. fem., agent nounदुःख को हरने वाली
[chāyā] — the shadow [of rati, named in L2]; kṣudra-kautūhala-mayī — is made of petty excitement; cañcalā — flickers, unsteady; duḥkha-hāriṇī — and yet takes away sorrow
kṣudra-kautūhala-mayī — तुच्छ कौतूहल से युक्त; cañcalā — चंचल; duḥkha-hāriṇī — दुःख हरने वाली (ये तीनों आगे L2 में आने वाली 'छाया' के विशेषण हैं)
This line is a definition. It stacks up three things said about one subject — and that subject, "the shadow of rati," only arrives in the next line. So hold these three descriptions open. First: it is made of petty excitement. It is a small, worldly kind of thrill or curiosity, not the mature love itself. Second: it flickers. It is unsteady and does not stay put. Third — and this is the surprising turn — even so, it takes away sorrow. For all its smallness, it does carry off pain.
(वह छाया) तुच्छ कौतूहल से भरी, चंचल और दुःख हरने वाली होती है।
rati: in poetics, rati is "erotic love" as the base emotion of a rasa; here in bhakti it is the settled, mature attraction to Kṛṣṇa. This verse is not defining rati itself but its chāyā, its faint shadow or semblance (technically rati-ābhāsa).
रति: काव्यशास्त्र में रति किसी रस का स्थायी भाव, अर्थात् मूल शृंगार-प्रेम, है; यहाँ भक्ति में यह कृष्ण के प्रति स्थिर, परिपक्व अनुराग है। यह श्लोक रति को नहीं, अपितु उसकी छाया — उसकी क्षीण प्रतिच्छाया या आभास (पारिभाषिक रूप से रति-आभास) — का लक्षण कर रहा है।
L2definition
rateś chāyā bhavet kiṁcit tat-sādṛśyāvalambinī ||
rateḥof rati — of that settled, mature love gen. sg., depends on chāyāरति की
chāyāa shadow, a faint reflection — this is the subject the whole verse is describing nom. sg. fem.; the three adjectives of L1 all agree with thisछाया
bhavetcan be said to be — one may call it this optative, 3 sg.होती है (हो / हो सकती है)
kiṁcitonly slightly, in some small measure adverbialकुछ-कुछ (किंचित्)
tat-sādṛśya-avalambinībecause it holds onto a resemblance to that — it clings to some likeness of that real rati nom. sg. fem., agreeing with chāyāउस (रति) के सादृश्य पर ही टिकी हुई
rateḥ — of that mature love; chāyā — a shadow; kiṁcit — in some small measure; bhavet — can be called; tat-sādṛśya-avalambinī — since it holds onto some resemblance to that [rati]
rateḥ — रति की; chāyā — छाया; bhavet — हो; kiṁcit — कुछ-कुछ; tat-sādṛśya-avalambinī — उस रति के सादृश्य का अवलम्बन करने वाली
Now the subject arrives. All three descriptions from the last line were about this: the shadow of rati. It can be called, in some small measure, a shadow of that mature love. Why "shadow," and why only "in some small measure"? Because it does not have the real love — it only holds onto some faint resemblance to it. Like a shadow that keeps the outline but none of the substance, it clings to a likeness of the true thing and no more. Put the two lines together: this shadow of rati is made of petty excitement, it flickers, yet it still takes away sorrow — and it earns the name "shadow" only by holding a slight likeness to real rati.
रति की छाया कुछ-कुछ (ऐसी) होती है — जो उस रति के सादृश्य पर ही टिकी रहती है।
chāyā: literally "shade / shadow," but Amara lists it also as "radiance, tint, a reflected image" (kānti, pratibimba). The commentators here read it as praticchavi, a faint reflection — hence "shadow of rati" = a mere semblance (ābhāsa) that resembles rati without being it.
छाया: शब्दतः 'छाँव / परछाईं', किन्तु अमरकोश इसे 'कान्ति, प्रतिबिम्ब' (द्युति, प्रतिबिम्बित छवि) के अर्थ में भी गिनाता है। यहाँ टीकाकार इसे प्रतिच्छवि — एक क्षीण प्रतिबिम्ब — मानते हैं; अतः 'रति की छाया' = मात्र एक आभास, जो रति के समान दीखता है पर रति है नहीं।
Commentary — decoded
Jīva Gosvāmī
s1avataranika
atha chāyeti |
athanow (turning to the next word to be explained) discourse particleअब (प्रकरण का आरम्भ)
chāyāthe word 'chāyā' ("shadow") — the term he is about to take up pratīka, the catch-word being glossed'छाया' (जिस पद की व्याख्या हो रही है)
iti"…" — quoting the word from the verse quotativeइस प्रकार / यह पद
atha — now; chāyā iti — [the word] 'chāyā', [which is to be explained].
atha — अब; chāyā — 'छाया' (प्रतीक-पद); iti — इति
Now he takes up the word chāyā ("shadow"). He quotes it from the verse to open the comment on it.
अब 'छाया' — इस पद की व्याख्या आरम्भ होती है।
chāyā: home meaning in ordinary Sanskrit "shadow, shade"; here Jīva will show it does NOT mean a dark shadow but a reflected sheen — see the next segments.
छाया: साधारण संस्कृत में इसका घरेलू अर्थ 'परछाईं, छाँव' है; किन्तु यहाँ जीव दिखाएँगे कि यह अँधेरी परछाईं नहीं, अपितु प्रतिबिम्बित द्युति है — आगे के खण्ड देखें।
s2gloss
chāyā-śabdenātra kāntir ucyate |
chāyā-śabdenaby the word 'chāyā' instrumental of means'छाया' शब्द के द्वारा
atrahere (in this verse)यहाँ
kāntiḥa sheen, a glow of light nominative, what the word meansकान्ति (द्युति)
ucyateis meant, is being said passive verbकही जाती है
atra — here; chāyā-śabdena — by the word 'chāyā'; kāntiḥ — a sheen; ucyate — is meant.
chāyā-śabdena — 'छाया' शब्द से; atra — यहाँ; kāntiḥ — कान्ति; ucyate — कही जाती है
Here the word chāyā does not mean a dark shadow. It means kānti — a sheen, a glow of light. That is the sense Jīva fixes before going further.
यहाँ 'छाया' शब्द से कान्ति (द्युति) कही जाती है।
kānti: ordinary sense "loveliness, radiance"; here specifically the glow/luster that will be narrowed in the next line to a reflected image.
कान्ति: साधारण अर्थ 'सुन्दरता, द्युति'; यहाँ विशेष रूप से वह चमक/आभा, जिसे अगली पंक्ति में सीमित करके प्रतिबिम्ब तक ले जाया जाएगा।
s3citation
chāyā sūrya-priyā kāntiḥ pratibimbam anātapaḥ ity amarasya nānārtha-vargāt |
chāyā sūrya-priyā kāntiḥ pratibimbam anātapaḥ"chāyā means: the Sun's wife; a sheen; a reflected image; shade (absence of glare)" — the dictionary's list of senses'छाया' के अर्थ — सूर्यप्रिया (सूर्य की पत्नी), कान्ति, प्रतिबिम्ब, तथा अनातप (धूप का अभाव, छाँव)
iti amarasyaso [says] Amara — i.e. the Amara-kośa lexicon genitive of the author quotedऐसा अमर (कोश) का (वचन)
nānārtha-vargātfrom its section on words with several meanings ablative of sourceनानार्थ-वर्ग से (उद्धृत)
'chāyā sūrya-priyā kāntiḥ pratibimbam anātapaḥ' iti — thus; amarasya nānārtha-vargāt — from Amara's section of multi-sense words.
chāyā sūrya-priyā kāntiḥ pratibimbam anātapaḥ — छाया के अर्थ: सूर्यप्रिया, कान्ति, प्रतिबिम्ब, अनातप; iti amarasya — ऐसा अमरकोश का; nānārtha-vargāt — नानार्थ-वर्ग से
He backs this up from the dictionary. The Amara-kośa, in its list of words with many meanings, gives chāyā four senses: the Sun's wife, a sheen (kānti), a reflected image (pratibimba), and shade. So "sheen" and "reflected image" are established dictionary meanings of the word.
अमरकोश के नानार्थ-वर्ग में कहा है — 'छाया' के अर्थ हैं सूर्यप्रिया, कान्ति, प्रतिबिम्ब और अनातप (छाँव)।
Why cited: Amara-kośa cited to license reading chāyā as kānti/pratibimba (sheen, reflected image), not "dark shadow."
क्यों उद्धृत: अमरकोश इसलिए उद्धृत किया गया कि 'छाया' को कान्ति/प्रतिबिम्ब (द्युति, प्रतिबिम्बित छवि) के अर्थ में पढ़ने का प्रमाण मिले, न कि 'अँधेरी परछाईं' के अर्थ में।
s4gloss
sā cātra praticchavir evocyate |
sā caand that [sheen, kānti] picks up kānti from s2और वह (कान्ति)
atrahereयहाँ
praticchaviḥ evameans precisely a reflected image, a mirrored likeness — and nothing looser eva restricts it to this one senseप्रतिच्छवि (प्रतिबिम्ब) ही
ucyateis meantकही जाती है
sā ca — and that sheen; atra — here; praticchaviḥ eva — precisely a reflected image; ucyate — is meant.
sā ca — और वह (कान्ति); atra — यहाँ; praticchaviḥ eva — प्रतिच्छवि ही; ucyate — कही जाती है
Of the dictionary's senses he picks one. Here the "sheen" means precisely a praticchavi — a reflected image, a mirrored likeness. The word eva rules out the vaguer senses: it is the reflection sense that applies.
और वह कान्ति यहाँ प्रतिच्छवि (प्रतिबिम्ब) ही कही जाती है।
praticchavi: literally "counter-image / answering likeness"; here a reflected image such as a face mirrored in water — the model for how worldly rati mirrors real rati.
प्रतिच्छवि: शब्दतः 'प्रति-छवि / प्रत्युत्तर देती समानता'; यहाँ जल में मुख के प्रतिबिम्ब जैसी प्रतिबिम्बित छवि — यही वह प्रतिमान है जिस पर लौकिक रति असली रति को प्रतिबिम्बित करती है।
s5reply
tasyāś ca kāntitvād ābhāsa-śabdasya tatra ca prasiddhatvāt |
tasyāḥ ca kāntitvātbecause that reflected image is itself a kind of sheen (kānti) ablative of reasonऔर क्योंकि वह (प्रतिच्छवि) कान्ति-रूप है
ābhāsa-śabdasyaof the word 'ābhāsa' ("a faint semblance, a mere glimmer") genitive'आभास' शब्द का
tatra caand for that very thing [the reflected image / this faint rati]और उस (कान्ति/प्रतिच्छवि) के विषय में
prasiddhatvātbecause the word is well established, is commonly used ablative of reasonक्योंकि (वह) प्रसिद्ध है
tasyāḥ ca kāntitvāt — because it is a sheen; ābhāsa-śabdasya ca — and of the word ābhāsa; tatra prasiddhatvāt — because it is well established for that.
tasyāḥ ca kāntitvāt — और चूँकि वह कान्ति-रूप है; ābhāsa-śabdasya — 'आभास' शब्द का; tatra ca — और उसमें; prasiddhatvāt — प्रसिद्ध होने के कारण
Two reasons justify the choice. First, a reflected image is itself a form of sheen, so calling it kānti fits. Second, the technical word ābhāsa — "a faint semblance, a mere glimmer" — is exactly the word standardly used for this reflected, second-hand kind of thing. Both the ordinary word and the technical word point the same way.
और चूँकि वह कान्ति-रूप है, तथा 'आभास' शब्द उस (कान्ति/प्रतिच्छवि) के विषय में प्रसिद्ध है — (इसीलिए यहाँ छाया = आभास ठीक बैठता है)।
ābhāsa: home meaning "appearance, semblance, mere glimmer"; a fixed term in this section for a faint, imitation grade of rati (rati-ābhāsa) — hence apt for a chāyā.
आभास: घरेलू अर्थ 'प्रतीति, आभा, मात्र झलक'; इस प्रकरण में यह रति के एक क्षीण, अनुकरण-मात्र स्तर (रति-आभास) का निश्चित पारिभाषिक शब्द है — अतः छाया के लिए उपयुक्त।
s6avataranika
tad etad abhipretya chāyāṁ lakṣayati—kṣudreti |
tat etat abhipretyawith just this in mind, aiming at exactly this [sense] gerund, absolutive of intentionइसी (आशय) को मन में रखकर
chāyāṁ lakṣayatihe defines [what] the chāyā [is] lakṣayati = gives the defining marksछाया का लक्षण करते हैं
kṣudra itiwith the words "kṣudra…" ("trivial…") — quoting the verse's opening word pratīka'क्षुद्र' इत्यादि (पद से)
tat etat abhipretya — with just this in mind; chāyāṁ lakṣayati — he defines the chāyā; kṣudra iti — [namely] by "kṣudra…".
tat etat abhipretya — इसी आशय को लेकर; chāyāṁ lakṣayati — छाया का लक्षण करते हैं; kṣudra iti — 'क्षुद्र' इति (प्रतीक)
Having fixed that sense, Rūpa now gives the defining marks of this chāyā. He does so in the verse beginning kṣudra- ("trivial…"). Jīva quotes that opening word and will unpack the definition term by term.
इसी आशय को मन में रखकर (ग्रन्थकार) छाया का लक्षण करते हैं — 'क्षुद्र' इत्यादि पद से।
lakṣaṇa/lakṣayati: to state the defining characteristic of something; here the verse itself functions as the definition of chāyā-rati.
लक्षण/लक्षयति: किसी वस्तु के परिभाषक चिह्न बताना; यहाँ यह श्लोक स्वयं छाया-रति की परिभाषा (लक्षण) का काम करता है।
s7gloss
kṣudra-kautūhalatvam—pāramārthike’pi kautūhale tasmin laukikatva-mananāt |
kṣudra-kautūhalatvamits being "trivial curiosity" [why the verse calls it that] — the mark being explained'क्षुद्र कौतूहल से युक्त' होना (जो चिह्न समझाया जा रहा है)
pāramārthike api kautūhalebecause, even when the object of curiosity is in fact a spiritual, real thing locative + api, concessiveयद्यपि वह कौतूहल पारमार्थिक (वास्तविक) है, तथापि उसमें
tasmintoward that [spiritual thing] locativeउस (कौतूहल) में
laukikatva-mananātthe person takes it to be merely worldly — and it is because of that mistaking that the curiosity counts as "trivial" ablative of causeक्योंकि (उसे) लौकिक मान लिया जाता है
kṣudra-kautūhalatvam — its being trivial curiosity; pāramārthike api kautūhale tasmin — [because] even toward that spiritual object of curiosity; laukikatva-mananāt — from [his] thinking it worldly.
kṣudra-kautūhalatvam — क्षुद्र-कौतूहल-मयता; pāramārthike api kautūhale — पारमार्थिक होते हुए भी उस कौतूहल में; tasmin — उसमें; laukikatva-mananāt — लौकिकता के मानने से
Why does the verse call it "trivial curiosity"? Because of the person's attitude, not the object. The object of his interest may actually be something spiritual and real. But he takes it as just another worldly amusement. Because he mistakes a sacred thing for a mundane one, his curiosity is "trivial."
'क्षुद्र कौतूहल से युक्त' होना — यह इसलिए कहा, क्योंकि वह कौतूहल पारमार्थिक होते हुए भी उसे लौकिक मान लिया जाता है।
pāramārthika vs laukika: pāramārthika = what is spiritually real/ultimate; laukika = what belongs to the ordinary world. The triviality lies in the viewer reading the first as the second.
पारमार्थिक बनाम लौकिक: पारमार्थिक = जो आध्यात्मिक रूप से वास्तविक/परम है; लौकिक = जो साधारण संसार का है। तुच्छता इसी में है कि देखने वाला पहले को दूसरा (लौकिक) पढ़ लेता है।
s8conclusion
tathāpi paramārtha-kautūhala-maya-rates tatra yat kiñcic chavir ābhāsata eveti chāyātvam atreti bhāvaḥ |
tathāpieven so (despite his trivializing attitude) concessive connectiveफिर भी
paramārtha-kautūhala-maya-rateḥof the true rati (real devotional attachment) that is made of spiritual curiosity genitive: whose sheen it isपरमार्थ-कौतूहल से युक्त रति की
tatrathere, in himउसमें (उस व्यक्ति में)
yat kiñcit chaviḥat least some faint gleam, some little bit of its glowजो कुछ छवि (झलक)
ābhāsate evadoes shine forth — it genuinely does glimmer, however faintly eva affirms the factआभासित होती ही है
iti chāyātvam atraand this is what its being a "chāyā" (a reflected sheen) amounts to hereइसीलिए यहाँ छायात्व (छाया-भाव) है
iti bhāvaḥthat is the intended sense closing formulaऐसा तात्पर्य है
tathāpi — even so; paramārtha-kautūhala-maya-rateḥ — of the rati made of spiritual curiosity; tatra yat kiñcit chaviḥ ābhāsate eva — some gleam of it does shine there; iti chāyātvam atra iti bhāvaḥ — this is its being a 'chāyā' here — such is the sense.
tathāpi — फिर भी; paramārtha-kautūhala-maya-rateḥ — परमार्थमय कौतूहल-रति की; tatra — उसमें; yat kiñcit chaviḥ — जो कुछ छवि; ābhāsate eva — आभासित होती ही है; iti chāyātvam atra — इसलिए यहाँ छायात्व; iti bhāvaḥ — ऐसा तात्पर्य
Even though he trivializes it, something real still shows through. A faint gleam of true rati — the rati born of genuine spiritual interest — does glimmer in such a person. That faint gleam is exactly what makes it a chāyā, a reflected sheen. That, Jīva says, is the point.
फिर भी, परमार्थमय कौतूहल-रति की जो कुछ छवि उस (व्यक्ति) में आभासित होती ही है — इसीलिए यहाँ 'छायात्व' है; यही तात्पर्य है।
chāyātva: "being a chāyā" — here decisively the reflection/sheen sense, not shadow: a dim but real reflection of the genuine rati it copies.
छायात्व: 'छाया होना' — यहाँ निश्चित रूप से प्रतिबिम्ब/द्युति का अर्थ है, न कि परछाईं का: असली रति का, जिसकी यह नकल है, एक मन्द किन्तु वास्तविक प्रतिबिम्ब।
s9alternative
rateś chāyā tu kiñcid yathā syāt tathā tasyā rateḥ sādṛśyāvalambinī bhaved iti tu yojanā |
rateḥ chāyā tuon the other reading, though: 'a chāyā of rati' tu marks the switch to a second construalपरन्तु रति की छाया
kiñcit yathā syātso that there be at least some [such chāyā] purpose clauseजिस प्रकार कुछ-कुछ हो
tathāto that end, correspondinglyउस प्रकार
tasyāḥ rateḥof that [full] rati genitiveउस रति के
sādṛśya-avalambinīit leans on a resemblance [to it] — it holds on by looking like it the predicate of the verse's second lineसादृश्य का अवलम्बन करने वाली
bhavetit would be optativeहो
iti tu yojanāsuch is the alternative way of joining the words tu yojanā = a second construal, left standing alongside the firstयह तो एक (दूसरी) योजना (अन्वय) है
rateḥ chāyā tu — but a chāyā of rati; kiñcit yathā syāt tathā — so that there be at least some; tasyāḥ rateḥ sādṛśya-avalambinī bhavet — leans on a resemblance to that rati; iti tu yojanā — such is the other construal.
rateḥ chāyā tu — परन्तु रति की छाया; kiñcit yathā syāt — जिससे कुछ-कुछ हो; tathā — उस प्रकार; tasyāḥ rateḥ — उस रति के; sādṛśya-avalambinī — सादृश्य पर टिकी; bhavet — हो; iti tu yojanā — ऐसी तो एक दूसरी योजना
Here Jīva offers a second way to construe the verse, and lets it stand — he does not cancel the first. On this reading the words join up so: for there to be even a little "chāyā of rati," it survives only by leaning on a resemblance to real rati (tat-sādṛśya-avalambinī). The chāyā has no substance of its own; it holds on purely by looking like the genuine thing. This second yojanā is kept open beside the earlier one.
अथवा — 'रति की छाया जिस प्रकार कुछ-कुछ हो, उस प्रकार वह उस रति के सादृश्य पर टिकी हो' — यह एक दूसरी योजना (अन्वय) है, जो पहली के साथ बनी रहती है।
yojanā: a "joining" — one way of parsing/construing the words of the verse. Marked tu ("but / on the other hand"), it is a suspended alternative, offered without being resolved against the first.
योजना: 'जोड़' — श्लोक के पदों को अन्वित/पदच्छेद करने की एक रीति। 'तु' ('किन्तु / दूसरी ओर') से चिह्नित होकर यह एक निलम्बित विकल्प है, जो पहली योजना के विरुद्ध निर्णीत किए बिना प्रस्तुत किया गया है।
s10gloss
ataś chāyātvāc cañcalāpi, na tu pratibimbavat sthirā |
ataḥtherefore, from this [that it is only a reflected sheen] inferential connectiveइसलिए
chāyātvātbecause it is [merely] a chāyā, a reflection ablative of reasonक्योंकि वह छाया-रूप है
cañcalā apiit is also flickering, unsteady — even that trait follows api adds this to its marksचंचल भी (है)
na tu pratibimbavat sthirāand NOT steady the way a true mirror-image (pratibimba) is fixed tu draws the contrastपरन्तु प्रतिबिम्ब के समान स्थिर नहीं
ataḥ chāyātvāt — therefore, because it is a chāyā; cañcalā api — it is flickering too; na tu pratibimbavat sthirā — but not steady like a reflected image.
ataḥ — इसलिए; chāyātvāt — छायात्व के कारण; cañcalā api — चंचल भी; na tu pratibimbavat sthirā — किन्तु प्रतिबिम्ब-सी स्थिर नहीं
This explains the verse's next word, cañcalā ("flickering"). Because it is only a chāyā, it is also unsteady, wavering. Jīva draws a fine line here: a true reflected image (pratibimba) held in a mirror is fixed and stable, but this chāyā is not. It flickers on and off. So it is a reflection, yet a shifting, unreliable one.
इसलिए, छाया-रूप होने के कारण वह चंचल भी है — प्रतिबिम्ब के समान स्थिर नहीं।
pratibimba vs chāyā: a pratibimba is a full, stable mirror-image; the chāyā here is a fainter, flickering reflection — hence cañcalā, unlike the steady pratibimba.
प्रतिबिम्ब बनाम छाया: प्रतिबिम्ब पूर्ण, स्थिर दर्पण-प्रतिबिम्ब है; यहाँ छाया एक क्षीण, टिमटिमाती प्रतिच्छाया है — अतः चंचल, स्थिर प्रतिबिम्ब के विपरीत।
s11gloss
bhogādi-rāgaval laukika-kautukasya sthiratvābhāvāt |
bhoga-ādi-rāgavatjust like attachment to sense-enjoyment and the like vat = comparisonभोग आदि के राग के समान
laukika-kautukasyaof worldly curiosity / amusement genitive: whose steadiness is in questionलौकिक कौतुक (कुतूहल) का
sthiratva-abhāvātbecause it has no steadiness — that is why [the chāyā flickers] ablative of causeक्योंकि उसमें स्थिरता का अभाव है
bhoga-ādi-rāgavat — like attachment to enjoyment etc.; laukika-kautukasya — of worldly curiosity; sthiratva-abhāvāt — because it lacks steadiness.
bhoga-ādi-rāgavat — भोगादि-राग के समान; laukika-kautukasya — लौकिक कौतुक का; sthiratva-abhāvāt — स्थिरता के अभाव से
Why does it flicker? Because worldly curiosity has no staying power — just like a craving for sense-pleasure and the like. Such cravings flare up and die down; they never hold steady. This chāyā-rati, being worldly in the viewer's eyes, behaves the same way. That instability is the reason it is called cañcalā.
क्योंकि भोग आदि के राग के समान, लौकिक कौतुक में भी स्थिरता का अभाव है (इसीलिए वह चंचल है)।
kautuka here = worldly curiosity/amusement (same idea as kautūhala above); paired with bhoga-rāga to show the shared trait: no sthiratva, no steadiness.
कौतुक: यहाँ 'लौकिक कुतूहल / मनोरंजन' (ऊपर के कौतूहल जैसा ही भाव); भोग-राग के साथ जोड़कर उनका साझा लक्षण दिखाया गया है — स्थिरता का अभाव।
s12gloss
tathāpi vastu-prabhāvād duḥkha-hāriṇī saṁsāra-tāpasya kramāc chamanīti |
tathāpieven so (unsteady and worldly though it is) concessive connectiveफिर भी
vastu-prabhāvātby the power of the object itself — because the real thing it reflects is potent ablative of causeवस्तु (के यथार्थ) के प्रभाव से
duḥkha-hāriṇīit takes away suffering the verse's third mark, now explainedदुःख हरने वाली
saṁsāra-tāpasyaof the fever of saṁsāra (the scorching of worldly existence) genitive: what it coolsसंसार-ताप का
kramāt śamanīgradually stilling it, cooling it step by step kramāt = by degreesक्रमशः शमन करने वाली
itiso [the verse means] closing quotativeइस प्रकार
tathāpi — even so; vastu-prabhāvāt — by the power of the object; duḥkha-hāriṇī — it removes suffering; saṁsāra-tāpasya kramāt śamanī — gradually cooling the fever of saṁsāra; iti — so.
tathāpi — फिर भी; vastu-prabhāvāt — वस्तु के प्रभाव से; duḥkha-hāriṇī — दुःख हरने वाली; saṁsāra-tāpasya — संसार-ताप का; kramāt śamanī — क्रमशः शमन करने वाली; iti — इति
This explains the verse's word duḥkha-hāriṇī ("suffering-removing"). Flickering and trivial though it is, it still does real good. How? By the power of the object it reflects — the genuine spiritual thing is so potent that even a faint reflection of it works. It takes away suffering, gradually cooling the fever of saṁsāra, the burning of worldly life. The relief is slow, step by step, but real.
फिर भी, वस्तु के (यथार्थ) प्रभाव से वह दुःख हरने वाली है — संसार-ताप का क्रमशः शमन करने वाली।
saṁsāra-tāpa: the "heat/fever" of repeated worldly existence; śamanī = that which calms or extinguishes it, as water quenches fire — here done kramāt, by degrees.
संसार-ताप: बार-बार के सांसारिक अस्तित्व की 'ताप/ज्वर'; शमनी = जो उसे शान्त या बुझा दे, जैसे जल अग्नि को — यहाँ क्रमशः, धीरे-धीरे।
s13reply
na cātra viśeṣa-lakṣaṇe bhogādi-sambandhābhāvād ābhāsa-gatasya sāmānya-lakṣaṇasyāvyāptiḥ syāt, kautuhalānubhavasya ca bhoga-viśeṣatvāt, na cātrabhoga-sambandhena pratibimbe’tivyāptiḥ syāt, kṣudrety anenaiva tato’vicchinnatvāt ||
na ca atra viśeṣa-lakṣaṇeand it is not the case that, here in [defining] this special variety [chāyā-rati] na ca opens a rebuttal of two feared faultsऔर यहाँ विशेष-लक्षण के विषय में (यह आशंका नहीं कि)
bhoga-ādi-sambandha-abhāvātjust because there is no link to sense-enjoyment and the like [in true rati] ablative of the objector's supposed reasonक्योंकि (यहाँ) भोग आदि का सम्बन्ध नहीं है
ābhāsa-gatasya sāmānya-lakṣaṇasyathe general definition [of rati], as it applies to this faint semblance-rati (ābhāsa) genitive: the definition at issueआभास-गत सामान्य लक्षण की
avyāptiḥ syātwould fail to cover it (under-extension) — this does NOT happen avyāpti = the fault of a definition too narrowअव्याप्ति (लक्षण का अति-संकीर्ण होना) होगी
kautūhala-anubhavasya ca bhoga-viśeṣatvātfor the experience of curiosity is itself a special kind of enjoyment [so the enjoyment-link is present after all] ablative giving the reason there is no under-extensionक्योंकि कौतूहल का अनुभव भी भोग का ही एक विशेष रूप है
na ca atra bhoga-sambandhena pratibimbe ativyāptiḥ syātnor, on the other side, would the definition over-reach — by that same enjoyment-link — onto a [mere ordinary] reflected image ativyāpti = the fault of a definition too wideऔर न ही भोग के सम्बन्ध से प्रतिबिम्ब में अतिव्याप्ति (लक्षण का अति-व्यापक होना) होगी
kṣudra iti anena eva tataḥ avicchinnatvātbecause the single word "kṣudra" ("trivial") already fences this off from that [ordinary reflection] — that word keeps them cleanly separate ablative: the reason there is no over-extensionक्योंकि 'क्षुद्र' इसी पद से वह (लक्षण) उससे (प्रतिबिम्ब से) पृथक् कर दिया गया है
na ca atra viśeṣa-lakṣaṇe — nor here, in the special definition; bhoga-ādi-sambandha-abhāvāt — from the absence of a link to enjoyment; ābhāsa-gatasya sāmānya-lakṣaṇasya avyāptiḥ syāt — would the general definition, as applied to the ābhāsa, under-cover; kautūhala-anubhavasya ca bhoga-viśeṣatvāt — since experiencing curiosity is a special kind of enjoyment; na ca atra bhoga-sambandhena pratibimbe ativyāptiḥ syāt — nor would it, via that enjoyment-link, over-reach onto a reflected image; kṣudra iti anena eva tataḥ avicchinnatvāt — because the word 'kṣudra' already sets it off from that.
na ca atra viśeṣa-lakṣaṇe — और यहाँ विशेष-लक्षण में नहीं; bhoga-ādi-sambandha-abhāvāt — भोगादि-सम्बन्ध के अभाव से; ābhāsa-gatasya sāmānya-lakṣaṇasya — आभासगत सामान्य-लक्षण की; avyāptiḥ syāt — अव्याप्ति होगी; kautūhala-anubhavasya ca bhoga-viśeṣatvāt — कौतूहल-अनुभव के भोग-विशेष होने से; na ca atra bhoga-sambandhena pratibimbe ativyāptiḥ syāt — न ही भोग-सम्बन्ध से प्रतिबिम्ब में अतिव्याप्ति; kṣudra iti anena eva tataḥ avicchinnatvāt — 'क्षुद्र' इसी पद से उससे अविच्छिन्न (पृथक्) होने के कारण
Jīva closes by defending the definition against two logical faults, one on each side. FIRST fault, under-extension (avyāpti): one might say the general definition of rati requires no tie to sense-enjoyment, whereas here enjoyment is involved — so the definition would fail to cover this chāyā case. Not so: the very experiencing of curiosity is itself a special kind of enjoyment, so the enjoyment-element is already inside rati; the general definition still reaches this faint semblance. SECOND fault, over-extension (ativyāpti): one might then fear that, via that same enjoyment-link, the definition would wrongly stretch to cover a mere ordinary reflected image too. Not so: the single word kṣudra ("trivial") already walls this chāyā-rati off from any ordinary reflection, keeping them cleanly distinct. So the definition is exactly the right size — neither too narrow nor too broad.
और यहाँ विशेष-लक्षण के विषय में, भोग आदि का सम्बन्ध न होने से, आभासगत सामान्य-लक्षण की अव्याप्ति (अति-संकीर्णता) नहीं होगी — क्योंकि कौतूहल का अनुभव भी भोग का ही एक विशेष रूप है। और न ही भोग के सम्बन्ध से प्रतिबिम्ब में अतिव्याप्ति (अति-व्यापकता) होगी — क्योंकि 'क्षुद्र' इसी पद से वह लक्षण प्रतिबिम्ब से पृथक् कर दिया गया है।
avyāpti / ativyāpti: the two standard defects of a lakṣaṇa (definition). avyāpti = it is too narrow, missing some cases it should include; ativyāpti = it is too wide, catching cases it should exclude. A good definition avoids both — as Jīva argues this one does.
अव्याप्ति / अतिव्याप्ति: लक्षण के दो प्रसिद्ध दोष। अव्याप्ति = लक्षण अति-संकीर्ण, अपने अधीन कुछ उदाहरणों को छोड़ देता है; अतिव्याप्ति = लक्षण अति-व्यापक, जिन्हें छोड़ना चाहिए उन्हें भी पकड़ लेता है। उत्तम लक्षण दोनों से बचता है — जैसा जीव यहाँ दिखाते हैं कि यह लक्षण बचता है।
Viśvanātha Cakravartī
s1gloss
pāramārthike bhagavat-kīrtana-bhakta-nṛtyādi-kautūhale tasmin jane sāmānya-laukikatva-mananāt kṣudra-kautūhala-mayī rati-cchāyā tu kiñcid yathā syāt tathā tasyāḥ rateḥ sādṛśyāvalambinī bhaved iti yojanā |
pāramārthikethough the object is spiritually real locative, concessive — 'even though it is real'यद्यपि वह पारमार्थिक (वास्तविक) है
bhagavat-kīrtana-bhakta-nṛtyādi-kautūhalethe curiosity being aroused by hearing the Lord glorified, by devotees dancing, and the like locative, in apposition to pāramārthikeभगवान् के कीर्तन, भक्तों के नृत्य आदि में जो कौतूहल है, उसमें
tasmin janein that person locativeउस व्यक्ति में
sāmānya-laukikatva-mananātbecause he takes it to be just something ordinary and worldly ablative of causeक्योंकि (उसे) साधारण लौकिक मान लिया जाता है
kṣudra-kautūhala-mayīit counts as 'made of petty curiosity' — that is why the verse calls it petty the mūla word being explained'क्षुद्र कौतूहल से युक्त'
rati-cchāyāa shadow of rati (loving devotion) nominative subjectरति की छाया
tunow, as for the construction particle marking the yojanāतो (योजना को चिह्नित करता)
kiñcid yathā syātso far as it arises to some small degree yathā… tathā correlativeजिस प्रकार कुछ-कुछ हो
tathā tasyāḥ rateḥ sādṛśyāvalambinī bhavetto just that extent it rests on a resemblance to that real rati tathā clause; genitive tasyāḥ rateḥ = 'to that rati'उस प्रकार वह उस रति के सादृश्य पर टिकी हो
iti yojanāthis is how the words are to be put together closes the constructionयह योजना (अन्वय) है
pāramārthike bhagavat-kīrtana-bhakta-nṛtyādi-kautūhale — the curiosity, aroused by hearing the Lord glorified and by devotees dancing and so on, though its object is really spiritual; tasmin jane sāmānya-laukikatva-mananāt — because that person takes it to be merely ordinary and worldly; kṣudra-kautūhala-mayī — it is called 'made of petty curiosity'; rati-cchāyā tu — now the shadow of rati, in the construction: kiñcid yathā syāt — so far as it arises to some small degree; tathā tasyāḥ rateḥ sādṛśyāvalambinī bhavet — to that extent it rests on a resemblance to real rati; iti yojanā — this is how the verse is construed.
pāramārthike — पारमार्थिक होने पर भी; bhagavat-kīrtana-bhakta-nṛtyādi-kautūhale — भगवत्कीर्तन-भक्तनृत्यादि के कौतूहल में; tasmin jane — उस जन में; sāmānya-laukikatva-mananāt — साधारण-लौकिकता के मानने से; kṣudra-kautūhala-mayī — क्षुद्र-कौतूहलमयी; rati-cchāyā — रति-छाया; tu — तो; kiñcid yathā syāt — जिससे कुछ-कुछ हो; tathā tasyāḥ rateḥ sādṛśyāvalambinī bhavet — उस प्रकार उस रति के सादृश्य पर टिकी हो; iti yojanā — यह योजना
Viśvanātha first explains why the verse calls the curiosity 'petty.' The thing the person is curious about is actually spiritual — hearing the Lord's glories chanted, seeing devotees dance, and the like. But that person treats it as something ordinary and worldly. Because he thinks of it that way, his curiosity counts as 'petty curiosity.' Then he gives the construction of the verse: a shadow of rati (loving devotion) arises, but only to a small degree; and to just that small degree it rests on a resemblance to real rati.
भगवान् के कीर्तन तथा भक्तों के नृत्य आदि में जो कौतूहल है — यद्यपि वह पारमार्थिक है, तथापि उस व्यक्ति में उसे साधारण लौकिक मान लेने के कारण, वह 'क्षुद्र कौतूहल से युक्त रति की छाया' है; और जिस प्रकार वह कुछ-कुछ हो, उस प्रकार वह उस रति के सादृश्य पर टिकी हो — यह योजना (अन्वय) है।
kautūhala: ordinarily 'idle curiosity, a passing wonder'; here it is curiosity directed at genuinely spiritual things (kīrtana, devotees' dancing), and is 'petty' only because the person misreads it as worldly, not because its object is trivial.
कौतूहल: सामान्यतः 'व्यर्थ जिज्ञासा, क्षणिक विस्मय'; यहाँ यह वास्तविक आध्यात्मिक वस्तुओं (कीर्तन, भक्तों के नृत्य) की ओर लगी जिज्ञासा है, और 'क्षुद्र' केवल इसलिए है कि व्यक्ति उसे लौकिक समझ लेता है, न कि इसलिए कि उसका विषय तुच्छ है।
s2gloss
ataś chāyātvāc cañcalāpi, na tu pratibimbavat sthirā |
ataḥand therefore ablative adverb, drawing the consequenceइसलिए
chāyātvātbecause it is only a shadow ablative of causeक्योंकि वह छाया-रूप है
cañcalā apiit is flickering as well — this is why the verse says 'cañcalā' api = 'also'; the mūla word being explainedचंचल भी (है)
na tu pratibimbavat sthirābut not steady the way a mirror-reflection is tu marks the contrast; -vat = 'like'परन्तु प्रतिबिम्ब के समान स्थिर नहीं
ataḥ — therefore; chāyātvāt — because it is only a shadow; cañcalā api — it is flickering too; na tu pratibimbavat sthirā — and not steady like a reflection.
ataḥ — इसलिए; chāyātvāt — छायात्व के कारण; cañcalā api — चंचल भी; na tu pratibimbavat sthirā — किन्तु प्रतिबिम्ब-सी स्थिर नहीं
From this it follows why the verse also calls it 'flickering.' Because it is only a shadow, it wavers and does not hold still. It is not steady the way a reflection in a mirror is. A shadow shifts; a mirror-image stays fixed. This faint shadow of rati is the shifting kind, so its joy is unsteady.
इसलिए, छाया-रूप होने के कारण वह चंचल भी है — प्रतिबिम्ब के समान स्थिर नहीं।
chāyā vs pratibimba: chāyā here is a faint, wavering reflected likeness, contrasted with pratibimba, a firm mirror-image — the same distinction Jīva draws from the Amarakośa. The point is instability, not falseness.
छाया बनाम प्रतिबिम्ब: यहाँ छाया एक क्षीण, डगमगाती प्रतिबिम्बित समानता है, जो प्रतिबिम्ब — दृढ़ दर्पण-प्रतिबिम्ब — के विपरीत है; वही भेद जो जीव अमरकोश से खींचते हैं। बात अस्थिरता की है, मिथ्यात्व की नहीं।
s3gloss
tathāpi duḥkha-hāriṇī saṁsāra-tāpasya kramāc ca śamanī ||
tathāpieven so — unsteady though it is concessive, answering the previous 'flickering'फिर भी
duḥkha-hāriṇīit still takes away sorrow — this is the verse's word 'duḥkha-hāriṇī' nominative, the mūla word being explainedदुःख हरने वाली
saṁsāra-tāpasyaof the fever of worldly existence genitive, object of the quellingसंसार-ताप का
kramāt ca śamanīand, step by step, it quells it kramāt (ablative) = 'gradually'; ca links the clauseऔर क्रमशः शमन करने वाली
tathāpi — even so; duḥkha-hāriṇī — it takes away sorrow; saṁsāra-tāpasya — of the fever of worldly life; kramāt ca śamanī — and gradually quells it.
tathāpi — फिर भी; duḥkha-hāriṇī — दुःख हरने वाली; saṁsāra-tāpasya — संसार-ताप का; kramāt ca śamanī — और क्रमशः शमन करने वाली
Even though this shadow of rati is unsteady, it still does real good. It takes away sorrow. The burning fever of saṁsāra — the misery of worldly existence — it cools down. And it does this gradually, step by step, not all at once.
फिर भी वह दुःख हरने वाली है — संसार-ताप का क्रमशः शमन करने वाली।
saṁsāra-tāpa: literally the 'heat/fever' of the round of birth and death; the shadow of rati acts on it like something cooling, easing the burn by degrees.
संसार-ताप: शब्दतः जन्म-मरण के चक्र की 'ताप/ज्वर'; रति की यह छाया उस पर शीतल वस्तु के समान कार्य करती है, धीरे-धीरे उस जलन को कम करती हुई।