L1citation
na patiṁ kāmayet kañcid brahmacarya-sthitā sadā |
na kāmayetshe would not desire — she has no wish for it optative, 3 sg.वह इच्छा न करे
patima husband acc. sg., object of kāmayetकिसी को पति रूप में
kañcitany at all — not a single one acc. sg.किसी को भी
brahmacarya-sthitābecause she stays fixed in celibacy nom. sg. fem., adjective of the womanब्रह्मचर्य में स्थित रहने वाली वह स्त्री
sadāalways, without a break adverbसदा, निरन्तर
sadā — always; brahmacarya-sthitā — staying fixed in celibacy; kañcit patim — any husband; na kāmayet — she would not desire
na kāmayet — इच्छा न करे; patim — पति रूप में; kañcit — किसी को भी; brahmacarya-sthitā — ब्रह्मचर्य में स्थित वह स्त्री; sadā — सदा।
She wants no husband — not any at all. She stays fixed in celibacy the whole time. Because she holds to that vow, she never desires a man.
ब्रह्मचर्य में स्थित रहने वाली वह स्त्री सदा किसी पुरुष को पति रूप में नहीं चाहती।
Why cited: cited from the Padma Purāṇa as the example (dṛṣṭānta) of bhāva that grows from rāgānugā practice — bhakti so absorbing she wants no husband.
क्यों उद्धृत: यह पद्यपुराण से उद्धृत है — रागानुगा साधना से उत्पन्न होने वाले भाव का दृष्टान्त, जहाँ भक्ति इतनी तल्लीन कर देती है कि वह किसी पति की कामना ही नहीं करती।
brahmacarya: at home in the śāstras this is the vow of the student stage, chastity and study; here it names her settled refusal of married life, kept up so she can hold to Kṛṣṇa alone.
ब्रह्मचर्य शास्त्रों में साधारणतः विद्यार्थी-आश्रम का व्रत है — संयम और अध्ययन का। परन्तु यहाँ इसका अर्थ है उसका दृढ़ निश्चय कि वह गृहस्थ-जीवन को अस्वीकार कर देती है, और इसी को वह इसलिए निभाती है कि केवल कृष्ण में ही टिकी रह सके।
L2citation
tam-eva mūrtiṁ dhyāyantī candrakantir varānanā ||
tam eva mūrtimthat very form — the one form of Kṛṣṇa, no other acc. sg.; eva = that one and no otherउसी मूर्ति का, और किसी का नहीं
dhyāyantīas she keeps meditating on it nom. sg. fem. present participleध्यान करती हुई
candra-kāntiḥshe herself glowing like the moon nom. sg. fem., adjective of the womanचन्द्रमा जैसी कान्ति वाली
vara-ānanāwith a lovely face nom. sg. fem.सुन्दर मुख वाली
tam eva mūrtim — that very form; dhyāyantī — meditating on; candra-kāntiḥ — moon-bright; vara-ānanā — fair-faced
tam eva mūrtim — उसी मूर्ति का; dhyāyantī — ध्यान करती हुई; candra-kāntiḥ — चन्द्र जैसी कान्ति वाली; vara-ānanā — सुन्दर मुख वाली।
She keeps meditating on that one form of Kṛṣṇa — that form and no other. She herself glows like the moon. Her face is lovely.
चन्द्रमा जैसी कान्ति वाली और सुन्दर मुख वाली वह स्त्री उसी (कृष्ण की) मूर्ति का ध्यान करती हुई रहती है।
The source spells it candrakantir; it is read as candra-kāntiḥ, 'having the radiance of the moon.' Along with vara-ānanā it describes the woman, not Kṛṣṇa — she is moon-bright and fair-faced.
मूल में शब्द 'चन्द्रकन्तिर्' लिखा है, जिसे 'चन्द्रकान्तिः' पढ़ा जाता है, अर्थात् 'चन्द्रमा जैसी आभा वाली।' 'वरानना' के साथ यह विशेषण उस स्त्री का वर्णन करता है, कृष्ण का नहीं — वह चन्द्र-सी उज्ज्वल और सुमुखी है।
L3citation
śrī-kṛṣṇa-gāthāṁ gāyantī romāñcodbheda-lakṣaṇā |
śrī-kṛṣṇa-gāthāmthe songs and stories of Śrī Kṛṣṇa acc. sg., object of gāyantīश्रीकृष्ण की गाथा को
gāyantīas she keeps singing them nom. sg. fem. present participleगाती हुई
romāñca-udbheda-lakṣaṇāmarked by the hair on her body standing up in waves nom. sg. fem., adjective of the woman; udbheda = breaking outरोमांच के उठ आने रूपी लक्षण वाली
śrī-kṛṣṇa-gāthām — the songs of Śrī Kṛṣṇa; gāyantī — singing; romāñca-udbheda-lakṣaṇā — marked by the breaking-out of horripilation
śrī-kṛṣṇa-gāthām — श्रीकृष्ण की गाथा को; gāyantī — गाती हुई; romāñca-udbheda-lakṣaṇā — रोमांच का उद्भेद जिसका लक्षण है, ऐसी।
She keeps singing the songs and stories of Śrī Kṛṣṇa. As she sings, the hairs on her body stand up. That thrill of the flesh is the mark on her — you can see the feeling by that sign.
श्रीकृष्ण की गाथा गाती हुई वह स्त्री ऐसी है जिसका लक्षण रोमांच का उठ आना है।
romāñca (horripilation): the hair standing on end. In the rasa teaching it is one of the bodily signs (sāttvika-bhāva) that betray strong inner feeling; here it is her visible mark while she sings.
रोमांच का अर्थ है शरीर के रोंगटे खड़े हो जाना। रस के सिद्धान्त में यह उन शारीरिक चिह्नों (सात्त्विक-भाव) में से एक है जो भीतर के प्रबल भाव को प्रकट कर देते हैं; यहाँ यह गाते समय उसका दिखाई देने वाला चिह्न है।
L4citation
asmin manvantare snigdhā śrī-kṛṣṇa-priya-vartayā ||
asmin manvantarein this reign of Manu — in this present age-cycle loc. sg. of timeइस मन्वन्तर में
snigdhāshe became tender with love nom. sg. fem.; predicate, with an understood 'she became'स्निग्ध (प्रेम से द्रवित) हो गई
śrī-kṛṣṇa-priya-vārtayābecause of the talk about her beloved Śrī Kṛṣṇa instr. sg. of cause/meansक्योंकि श्रीकृष्ण की प्रिय कथा-वार्ता के कारण
asmin manvantare — in this manvantara; śrī-kṛṣṇa-priya-vārtayā — through talk of her beloved Śrī Kṛṣṇa; snigdhā [babhūva] — she became affectionate
asmin manvantare — इस मन्वन्तर में; snigdhā — स्निग्ध हो गई; śrī-kṛṣṇa-priya-vārtayā — श्रीकृष्ण की प्रिय कथा के कारण।
In this age of Manu she grew soft and full of love. What softened her was talk of Kṛṣṇa, her beloved. Hearing about him melted her heart. (The verb 'she became' is understood; snigdhā, 'affectionate,' is the point the commentators complete.)
इस मन्वन्तर में श्रीकृष्ण की प्रिय कथा-वार्ता के कारण वह स्निग्ध (प्रेम से द्रवित) हो गई।
manvantara: a vast stretch of world-time governed by one Manu. Here it just fixes when this happened — 'in this present age.' snigdhā: literally 'oily, smooth'; used of the heart it means tender, melted with affection.
मन्वन्तर एक मनु के अधीन चलने वाला विश्व-काल का विशाल खण्ड है। यहाँ यह केवल यह बताता है कि यह घटना कब हुई — 'इस वर्तमान युग में।' 'स्निग्धा' का शब्दार्थ है 'तैलमय, चिकना'; किन्तु हृदय के विषय में यह कोमल, स्नेह से पिघला हुआ होने को कहता है।
Commentary — decoded
Jīva Gosvāmī
s1gloss
tām eva mūrtiṁ dhyāyantīti tasyāṁ mūrtau pūrvaṁ bhāvo jāta āsīd iti sūcitam |
tām eva mūrtiṁ dhyāyantīhe first quotes the verse-phrase "meditating on that very form" pratīka — the lemma being glossed (acc. + nom. fem. participle)'उसी मूर्ति का ध्यान करती हुई'
itiby these words — marking the end of the quoted phrase quotation-closerइस पद से
tasyāṁ mūrtautoward that same form loc. — where the bhāva aroseउस मूर्ति में, जहाँ भाव उठा
pūrvaṁalready, at an earlier time adv. of prior timeपहले से ही
bhāvo jāta āsītbhāva (the first stirring of love) had arisen pluperfect — jātaḥ āsīt, action completed before nowभाव उत्पन्न हो चुका था
itithis much — closing the drawn-out sense marks the content that is hintedयह बात
sūcitamis quietly indicated, hinted at past pass. part. — the word's job is to hint, not state outrightसंकेत रूप से सूचित की गई है, स्पष्ट रूप से नहीं कही गई
tām eva mūrtiṁ dhyāyantī iti — by the phrase "meditating on that very form"; tasyāṁ mūrtau — toward that form; pūrvaṁ — earlier; bhāvaḥ jātaḥ āsīt — bhāva had arisen; iti sūcitam — this is what is hinted.
tām eva mūrtiṁ dhyāyantī — 'उसी मूर्ति का ध्यान करती हुई'; iti — इस पद से; tasyāṁ mūrtau — उस मूर्ति में; pūrvaṁ — पहले; bhāvo jāta āsīt — भाव उत्पन्न हो चुका था; iti — यह; sūcitam — सूचित किया गया है।
Jīva takes up the verse-phrase "meditating on that very form." He asks why it says "that very form." The little word "that very" (eva) points back to a form she already knew and loved. So the phrase quietly hints at a back-story: bhāva, the first stirring of love, had already arisen in her toward that form some time before. The verse does not say this outright; the word only hints at it.
'उसी मूर्ति का ध्यान करती हुई' — इस पद से यह सूचित होता है कि उस मूर्ति में पहले से ही भाव उत्पन्न हो चुका था।
bhāva (home sense in Sanskrit: any state, mood, feeling; sense here: the technical first sprout of devotional love, the stage just before prema). "Meditating on that very form" is read as evidence that this bhāva was already present earlier.
भाव का सामान्य अर्थ है कोई भी अवस्था, मनोदशा या अनुभूति; किन्तु यहाँ इसका विशेष अर्थ है भक्ति-प्रेम का पहला अंकुर — वह अवस्था जो प्रेम से ठीक पहले आती है। 'उसी मूर्ति का ध्यान' को इस बात का प्रमाण माना गया है कि यह भाव पहले से ही उपस्थित था।
s2gloss
kañcid anyaṁ patiṁ na kāmayet |
kañcidany at all — the verse's word "any" acc. — object of the verbकिसी को भी
anyaṁany other — the word Jīva supplies to fill out the sense gloss-insertion, not in the verseअन्य (दूसरे) — यह पद्य में नहीं, टीकाकार का जोड़ा हुआ
patiṁhusband acc. sg.पति को
na kāmayetshe would not desire, would not wish for optative — the verse's verbवह न चाहे
kañcid anyaṁ patiṁ — any other husband; na kāmayet — she would not desire.
kañcid — किसी को; anyaṁ — अन्य; patiṁ — पति को; na kāmayet — न चाहे।
Now Jīva glosses the verse's line "she would not desire any husband." He slips in one word: "other." The line means she would not desire any *other* husband. Why "other"? Because Kṛṣṇa is already her husband in her heart. So the plain sense is: no other man could be her husband; she wanted no one but him.
किसी अन्य पुरुष को वह पति रूप में न चाहे।
s3gloss
na kāmayeteti gāḍha-mamatayā prema darśitam |
na kāmayethe quotes the verse-phrase "she would not desire" pratīka — the lemma being glossed'न चाहे'
itiby these words quotation-closerइस पद से
gāḍha-mamatayāthrough her deep sense of "he is mine" — an intense possessive belonging instr. of means — the feeling by which the prema shows itselfगाढ़ी ममता के द्वारा
premaprema (mature, settled love) nom. — what is shownप्रेम
darśitamis shown, is made visible past pass. part. — the word's job is to display thisदिखाया गया है
na kāmayet iti — by "she would not desire"; gāḍha-mamatayā — through deep possessiveness; prema — prema; darśitam — is shown.
na kāmayet — 'न चाहे'; iti — इस पद से; gāḍha-mamatayā — गाढ़ी ममता के द्वारा; prema — प्रेम; darśitam — दिखाया गया है।
Jīva takes up the same phrase again, "she would not desire." He asks what it shows. It shows prema — mature love — and it shows it through one particular feeling: gāḍha-mamatā, a deep sense that "he alone is mine." Her refusal of every other husband is not coldness; it is the intense possessiveness of a heart that has already given itself. That possessiveness is the mark of prema.
'न चाहे' — इस पद से गाढ़ी ममता के द्वारा प्रेम दिखाया गया है।
mamatā (home sense: "mine-ness," possessiveness, usually a fault that binds one to the world; sense here: turned toward Kṛṣṇa it becomes a virtue — the loving certainty that "he is mine," the very sign of prema). Here the deep form of it, gāḍha-mamatā, is what makes the love visible.
ममता का अर्थ है 'मेरापन,' अपनत्व — जो प्रायः संसार से बाँधने वाला दोष होता है; किन्तु कृष्ण की ओर मुड़ जाने पर यही गुण बन जाता है — यह प्रेममयी दृढ़ता कि 'वह मेरा है,' जो प्रेम का ही चिह्न है। यहाँ इसका गहरा रूप, गाढ़-ममता, ही प्रेम को प्रकट करता है।
s4gloss
snigdhā babhūveti śeṣaḥ ||
snigdhā"affectionate, tender" — the verse's last word, left hanging with no verb nom. sg. fem. adj. — the predicate word in the verseस्निग्धा (यह पद्य का विशेषण-पद है)
babhūva"she became" — the finite verb Jīva supplies to complete the sentence perfect — the missing verb, added by the commentatorहो गई (यह छूटी हुई क्रिया टीकाकार जोड़ते हैं)
iti śeṣaḥthis is the word left unspoken, to be supplied technical formula — names an ellipsis the reader must fill inऐसा शेष (अध्याहार) समझना चाहिए
snigdhā babhūva — she became affectionate; iti śeṣaḥ — this is the ellipsis to be supplied.
snigdhā — स्निग्धा; babhūva — हो गई; iti śeṣaḥ — ऐसा शेष है।
The verse ends with just one word, snigdhā — "affectionate, tender" — and no main verb. Grammatically the sentence is unfinished. So Jīva supplies the missing verb: babhūva, "she became." Put together: "she became affectionate." The phrase iti śeṣaḥ is his standard way of saying "here is the word the verse leaves out, which you must read in."
'स्निग्धा हो गई' — ऐसा (क्रिया-पद) शेष रूप में जोड़ना चाहिए।
śeṣaḥ (home sense: "remainder, what is left over"; sense here as a commentator's tool: the word or words a terse verse omits and the reader must supply to complete the grammar — here the finite verb babhūva, "became").
शेष का सामान्य अर्थ है 'बचा हुआ, जो छूट गया'; टीकाकार के औज़ार के रूप में इसका अर्थ है वह शब्द जो संक्षिप्त पद्य छोड़ देता है और पाठक को व्याकरण पूरा करने के लिए स्वयं जोड़ना पड़ता है — यहाँ क्रियापद 'बभूव' अर्थात् 'हो गई।'
Mukunda-dāsa Gosvāmī
s1gloss
na patiṁ kāmayet brahmacarya-sthitā sadeti—indriyārthānāṁ svayam arocakatvena bhāvasya sūcanam |
na patiṁ kāmayet brahmacarya-sthitā sadā ititaking up the verse words 'she would want no husband, always settled in celibacy' — the phrase he is about to unpack iti = 'the words…', flagging the lemma being commented on
indriyārthānāṁof the objects of the senses — the things the senses would normally chase genitive, depending on arocakatvena
svayamon their own, by themselves — nothing had to be forced adverb
arocakatvenabecause they had become distasteful to her — she had lost all appetite for them instrumental of cause/means; arocaka = 'unappetizing, holding no relish'
bhāvasyaof bhāva — the awakened devotional emotion genitive, depending on sūcanam
sūcanamis a quiet pointer to it — the line hints that bhāva is already present
na patiṁ kāmayet brahmacarya-sthitā sadā iti — the words 'she would want no husband, always settled in celibacy'; indriyārthānāṁ — of the sense-objects; svayam — on their own; arocakatvena — because they had become distasteful to her; bhāvasya — of bhāva; sūcanam — is a quiet pointer.
Take the line 'she would want no husband, always settled in celibacy.' Mukunda reads it as a hint. The objects the senses normally reach for had gone flat for her, all on their own. She did not have to fight them off; she simply had no taste for them anymore. That loss of appetite is the sign. It quietly tells us bhāva, awakened devotional emotion, was already alive in her.
bhāva: in ordinary Sanskrit just 'a state, a feeling'; in this bhakti setting it is a technical stage — the first real dawn of devotional emotion in the heart, the bud that ripens into prema. Here the celibacy is not adduced as the cause of bhāva but as its symptom: the senses go quiet because bhāva has already taken hold.
s2gloss
tasya rāgānugīyatvaṁ mūrti-darśana-jātatvāt |
tasyaof that bhāva — the devotional emotion just pointed to genitive, subject of the nominal sentence
rāgānugīyatvaṁits belonging to the rāgānugā kind — it counts as the spontaneous-attachment sort of devotion -tva abstract; the predicate being asserted
mūrti-darśana-jātatvātis because it sprang up from seeing the form — one look at Kṛṣṇa's form set it off, not any rule or duty ablative of reason; jāta = 'born, arisen'
tasya — of that bhāva; rāgānugīyatvaṁ — its being of the rāgānugā kind; mūrti-darśana-jātatvāt — is because it arose from seeing the form.
Why call this bhāva rāgānugā, the kind born of spontaneous attachment? Mukunda gives the reason. It arose simply from seeing Kṛṣṇa's form. No injunction produced it, no sense of duty; the sight itself lit the emotion. Because it started that way, from attraction rather than rule, it counts as rāgānugā. This ties the verse back to the lead-in, which already called it 'a rāgānugā-born bhāva.'
rāgānugā: 'following after rāga (spontaneous loving attachment).' The technical contrast is with vaidhī bhakti, devotion set going by scriptural command. Here the marker of the rāgānugā type is its origin — it was born straight from darśana of the form, from attraction, not from any 'you must.'
s3gloss
mūrtiṁ dhyāyantīti śrī-kṛṣṇa-gāthāṁ gāyantīti cāntaraṅgānusevanam |
mūrtiṁ dhyāyantī itithe words 'meditating on the form' — the first practice named in the verse iti flags the quoted lemma
śrī-kṛṣṇa-gāthāṁ gāyantī iti caand also the words 'singing the songs of Śrī Kṛṣṇa' — the second practice named ca = 'and', joining the two lemmata
antaraṅga-anusevanamare her steady practice of the inner limbs of devotion — the intimate, heart-side services, not the outward ones predicate noun; antaraṅga = 'inner, intimate'; anusevana = 'ongoing service, cultivation'
mūrtiṁ dhyāyantī iti — 'meditating on the form'; śrī-kṛṣṇa-gāthāṁ gāyantī iti ca — and 'singing the songs of Śrī Kṛṣṇa'; antaraṅga-anusevanam — are the practice of the inner limbs.
Two more phrases in the verse: 'meditating on the form' and 'singing the songs of Śrī Kṛṣṇa.' Mukunda names what these are. They are her cultivation of the inner limbs of devotion. Meditation and glorifying song work on the heart directly; they are the intimate, close-in practices, not the external rituals. So the verse is showing her doing the inward work of bhakti.
antaraṅga vs bahiraṅga: 'inner-limb' vs 'outer-limb' practices. The outer limbs are bodily and public (bowing, temple service); the inner limbs — meditation (dhyāna), hearing and chanting Kṛṣṇa's glories — act straight on the heart. Naming her meditation and song as antaraṅga marks how intimate and advanced her devotion already is.
s4gloss
pūrvaṁ yatra jāto bhāvas tām evety anena mamatvātiśayāṅkitatvam, romāñcodbheda-lakṣaṇeti |
pūrvaṁ yatra jāto bhāvaḥin whom the emotion had arisen once before — she is turning back to the very object she had loved earlier relative clause unpacking tam eva; jāta = 'arose'
tām eva iti anenaby the words 'that very one', with the emphatic 'eva' — 'that one and no other' instrumental: 'by means of this phrase'; eva restricts to a single, already-loved object
mamatva-atiśaya-aṅkitatvamher being stamped with an overflow of possessiveness is shown — a fierce 'he is mine' predicate; mamatva = 'mine-ness'; atiśaya = 'excess'; aṅkita = 'marked, stamped'
romāñcodbheda-lakṣaṇā itiand next the words 'marked by hair standing on end' — the phrase he starts here and finishes in the following sentence iti flags the lemma; the predicate carries over into s5
pūrvaṁ yatra jāto bhāvaḥ — in whom the emotion had earlier arisen; tām eva iti anena — by the phrase 'that very one'; mamatva-atiśaya-aṅkitatvam — being stamped with an excess of possessiveness is shown; romāñcodbheda-lakṣaṇā iti — 'marked by the breaking-out of horripilation'…
Look at the little word 'that very one' — tam eva. Mukunda draws it out: this is the one form in whom her emotion had already arisen before. She turns back to that one, and to no one else. That 'and no other' is the point. The phrase shows her stamped with an overflow of possessiveness, a fierce sense that 'he is mine.' Then he picks up the next phrase, 'marked by hair standing on end.' He begins it here; what it shows he finishes in the next sentence.
mamatva: 'mine-ness, possessiveness.' Far from a fault here, it is a mark of ripened love — the lover's claim 'he is mine and mine alone.' The emphatic eva in 'that very one' is what carries this: not just any form, but the one already loved, held now as her own.
s5conclusion
samyaṅ-masṛṇita-svāntatvaṁ śrī-kṛṣṇa-priya-vārtayā snigdhā premavatī babhūvety arthaḥ ||
samyak-masṛṇita-svāntatvaṁher being softened right through in the heart is what that shows — the heart gone completely tender, melted predicate completing s4's 'romāñcodbheda'; masṛṇita = 'softened, made smooth/moist'; svānta = 'the heart, the inner self'
śrī-kṛṣṇa-priya-vārtayāthrough talk of her beloved Śrī Kṛṣṇa — it is such talk that melts her instrumental of means; priya = 'the beloved'; vārtā = 'talk, news'
snigdhā'she grew tender / loving' — the verse's own word the mūla word being glossed
premavatī babhūvameans she came to possess prema — she became filled with mature love gloss-equation: snigdhā = premavatī babhūva
iti arthaḥthat is the sense of it — so Mukunda closes the reading standard closing formula
samyak-masṛṇita-svāntatvaṁ — being softened right through in the heart [is shown by 'horripilation']; śrī-kṛṣṇa-priya-vārtayā — through talk of her beloved Śrī Kṛṣṇa; snigdhā — 'she grew tender'; premavatī babhūva — means she came to possess prema; iti arthaḥ — that is the sense.
Now he finishes the phrase from before. Her hair standing on end shows this: her heart had gone soft right through, melted and tender. And what melted it was talk of her beloved Kṛṣṇa. Finally he takes the verse's own word snigdhā, 'she grew tender.' He glosses it plainly: it means she came to possess prema, mature love. That is the whole sense of the line. So the arc closes — from the senses going flat (bhāva), through her inner practice and fierce 'he is mine,' to a heart fully melted: prema.
snigdhā (from sneha, 'oiliness, tenderness') literally means 'oily, smooth, softened' and so 'affectionate.' Mukunda equates it with premavatī, 'possessed of prema' — reading the verse's plain word for tenderness as the technical arrival of prema. This matches the definition used earlier at 1.4.1, where prema is the bhāva 'softened right through in the heart' (samyaṅ-masṛṇita-svānta).
Viśvanātha Cakravartī
s1gloss
tām eva mūrtiṁ dhyāyantīty anena tasyāṁ mūrtau pūrva-bhāvo jāta āsīd iti sūcitam |
tām eva mūrtiṁ dhyāyantīthe verse-phrase he is glossing: "meditating on that very form" pratīka — the quoted words from the verse'उसी मूर्ति का ध्यान करती हुई'
iti anenaby this phrase, that is; by saying just this instr. — "by means of these words"इन शब्दों के द्वारा
tasyāṁ mūrtautoward that form; in that form loc. — the object the mood was directed atउस मूर्ति में, जिस पर भाव लगा था
pūrva-bhāvoan earlier bhāva (a loving mood that had already awakened before) nom. — subject of jātaḥपूर्व-भाव (पहले का भाव)
jāta āsīdhad already arisen (had come to be, in past time) past perfect sense — jātaḥ āsītउत्पन्न हो चुका था
iti sūcitamthis is what is hinted at, quietly indicated iti closes the indicated contentयह सूचित किया गया है
tām eva mūrtiṁ dhyāyantī iti anena — by the verse-phrase "meditating on that very form"; tasyāṁ mūrtau — toward that form; pūrva-bhāvo jāta āsīt — an earlier bhāva had already arisen; iti sūcitam — this much is hinted at.
tām eva mūrtiṁ dhyāyantī — 'उसी मूर्ति का ध्यान करती हुई'; iti anena — इन शब्दों के द्वारा; tasyāṁ mūrtau — उस मूर्ति में; pūrva-bhāvo — पूर्व-भाव; jāta āsīd — उत्पन्न हो चुका था; iti sūcitam — यह सूचित किया गया है।
Take the verse-words "meditating on that very form." Viśvanātha says: by putting it this way, the verse quietly tells us something. It tells us that a loving mood toward that form had already awakened in her earlier. She is not meeting it for the first time here; the word "that very" points back to a bhāva already present.
'उसी मूर्ति का ध्यान करती हुई' — इन शब्दों के द्वारा यह सूचित किया गया है कि उस मूर्ति में पूर्व-भाव (पहले का भाव) उत्पन्न हो चुका था।
bhāva here: the first sprouting of loving emotion (the seed-stage of prema), not "mood" in a vague sense; "pūrva-" marks that it predates the meditation the verse describes.
यहाँ भाव का अर्थ है प्रेम-अनुभूति का पहला अंकुर (प्रेम की बीज-अवस्था), न कि कोई अस्पष्ट 'मनोदशा।' 'पूर्व-' यह चिह्नित करता है कि यह भाव उस ध्यान से पहले का है जिसका वर्णन पद्य करता है।
s2gloss
kañcid anyaṁ patiṁ na kāmayet |
kañcid anyaṁ patiṁany other husband — he supplies "other," which the verse only implies acc. — object of na kāmayet; anyaṁ is the added wordकिसी अन्य पति को ('अन्य' टीकाकार का जोड़ा हुआ शब्द है)
na kāmayetshe would not want, would not desire opt. — the verse's own verbवह न चाहे
kañcid anyaṁ patiṁ — any other husband; na kāmayet — she would not desire.
kañcid anyaṁ patiṁ — किसी अन्य पति को; na kāmayet — न चाहे।
The verse just says "she would not desire any husband." Viśvanātha fills in one word: any other husband. The point of adding "other" is that Kṛṣṇa is already her husband in her heart. So she wants no husband besides him.
किसी अन्य पुरुष को वह पति रूप में न चाहे।
s3gloss
na kāmayeteti gāḍha-mamatayā prema darśitam |
na kāmayet itithe verse-phrase "she would not desire" pratīka — the quoted words being explained'न चाहे' — इस पद से
gāḍha-mamatayāby her deep sense of "he is mine" — a fierce possessive belonging instr. of means — "through / by way of"गाढ़ी ममता के द्वारा
premalove (mature loving attachment) nom. — what is shownप्रेम
darśitamis shown, is made visible past part. — "has been displayed"दिखाया गया है
na kāmayet iti — by "she would not desire"; gāḍha-mamatayā — through deep possessiveness; prema — love; darśitam — is shown.
na kāmayet iti — 'न चाहे' इस पद से; gāḍha-mamatayā — गाढ़ी ममता के द्वारा; prema — प्रेम; darśitam — दिखाया गया है।
Now the words "she would not desire." What do they reveal? Her deep possessiveness — the feeling "he alone is mine." And through that possessiveness, her love is put on display. Refusing every other husband is not coldness; it is the outward sign of prema.
'न चाहे' — इस पद से गाढ़ी ममता के द्वारा प्रेम दिखाया गया है।
mamatā / mamatva: the sense of "mine-ness," ownership-in-love; here gāḍha- ("deep, dense") marks it as intense, so the refusal reads as the measure of her love, not mere renunciation.
ममता या ममत्व का अर्थ है 'मेरापन,' प्रेम में स्वामित्व का भाव; यहाँ 'गाढ़-' (गहरा, सघन) इसे तीव्र बताता है, जिससे यह अस्वीकार केवल त्याग नहीं, बल्कि उसके प्रेम की माप बन जाता है।
s4gloss
romāñcodbheda atiśaya ity arthaḥ sa eva lakṣaṇaṁ cihnaṁ yasyāḥ |
romāñca-udbhedathe breaking-out of horripilation — the hair standing on end, gooseflesh the first member of the compound being analysedरोमांच का उद्भेद (रोंगटों का उठ आना)
atiśaya iti arthaḥmeans an intense surge, an overflow — that is its sense here gloss of the sense of romāñca-udbhedaअतिशय (अत्यन्त प्रबलता) — ऐसा अर्थ है
sa eva lakṣaṇaṁ cihnaṁthat very surge is the mark, the tell-tale sign lakṣaṇa restated by its synonym cihnaवही लक्षण अर्थात् चिह्न
yasyāḥof whom (she who has it) — so the whole word describes her gen. rel. pron. — unpacks the bahuvrīhi: "she whose sign it is"जिस स्त्री का (यह बहुव्रीहि का विग्रह है)
romāñca-udbheda — the breaking-out of horripilation; atiśayaḥ iti arthaḥ — means an intense surge; saḥ eva lakṣaṇaṁ cihnaṁ yasyāḥ — she of whom that very surge is the mark, the sign.
romāñca-udbheda — रोमांच का उद्भेद; atiśaya iti arthaḥ — अतिशय, ऐसा अर्थ है; sa eva lakṣaṇaṁ cihnaṁ — वही लक्षण अर्थात् चिह्न; yasyāḥ — जिसका।
The verse calls her "romāñcodbheda-lakṣaṇā." Viśvanātha unpacks it in two steps. First, "romāñcodbheda," the breaking-out of gooseflesh, here means an intense surge of feeling. Second, he reads the whole word as a bahuvrīhi: she is the one whose mark, whose tell-tale sign, is that very surge. So the compound is not naming the goosebumps for their own sake — it is describing her: her body itself shows the overflow of her love.
'रोमांच का उद्भेद' का अर्थ है अतिशय (रोंगटों का प्रबल उठ आना); वही लक्षण अर्थात् चिह्न जिस स्त्री का है — ऐसी वह है।
lakṣaṇa / cihna: both = "mark, sign." A lakṣaṇa here is a symptom that identifies (a sāttvika-bhāva, an involuntary bodily sign of love); Viśvanātha glosses it with the plainer cihna, "tell-tale sign," so the reader hears "sign that gives her away," not "definition."
लक्षण और चिह्न दोनों का अर्थ है 'निशानी, संकेत।' यहाँ लक्षण वह लक्षण है जो पहचान करा दे (एक सात्त्विक-भाव, प्रेम का अनैच्छिक शारीरिक चिह्न); विश्वनाथ इसे सरल शब्द चिह्न से समझाते हैं, जिससे पाठक 'उसे प्रकट कर देने वाली निशानी' सुने, न कि 'परिभाषा।'
s5gloss
snigdhā snehavatī babhūveti śeṣaḥ ||
snigdhāthe verse-word "snigdhā" (affectionate) that he is explaining pratīka — the word being glossed'स्निग्धा'
snehavatīmeans: full of sneha (tender affection) — his plain synonym for it nom. — the gloss-wordस्नेहवती (स्नेह से युक्त) — यह टीकाकार का व्याख्या-शब्द है
babhūvashe became — the missing verb he supplies perf. — the elided finite verbहो गई (छूटी हुई क्रिया)
iti śeṣaḥthis is the word to be supplied to finish the sentence śeṣa = the ellipsis being filled inऐसा शेष (अध्याहार) है
snigdhā — affectionate; snehavatī — [means] full of tender affection; babhūva — she became; iti śeṣaḥ — this is the word that must be supplied.
snigdhā — 'स्निग्धा'; snehavatī — स्नेहवती; babhūva — हो गई; iti śeṣaḥ — ऐसा शेष है।
Last, the word "snigdhā." Viśvanātha glosses it plainly: it means snehavatī, full of tender affection. Then he notes the verse has no finished verb, so a word must be filled in: "she became." Put together: she became full of affection. This is the sentence's completion that the verse left unspoken.
'स्निग्धा' का अर्थ है स्नेहवती (स्नेह से युक्त) हो गई — ऐसा शेष (अध्याहार) समझना चाहिए।
sneha: tender, melting affection (a graded intensity of prema). snigdhā literally = "oily, smooth," i.e. softened; Viśvanātha turns it to snehavatī so the reader hears the emotional sense — "affectionate" — not the literal one.
स्नेह का अर्थ है कोमल, पिघलाने वाला अनुराग (प्रेम की एक क्रमिक तीव्रता)। 'स्निग्धा' का शब्दार्थ है 'तैलमय, चिकना,' अर्थात् नरम पड़ा हुआ; विश्वनाथ इसे 'स्नेहवती' कर देते हैं ताकि पाठक इसका भावार्थ — 'स्नेहमयी' — सुने, न कि शब्दार्थ।