tan-mādhuryaṁ, yathā—
daśārdha-śara-mādhurī-damana-dakṣayāṅga-śriyā
vidhūnita-vadhū-dhṛtiṁ varakalā-vilāsāspadam |
dṛg-añcala-camatkṛti-kṣapita-khañjarīṭa-dyutiṁ
sphurat-taruṇimodgamaṁ taruṇi paśya pītāmbaram ||
The verse — decoded
L1example
daśārdha-śara-mādhurī-damana-dakṣayāṅga-śriyā
daśārdha-śara-mādhurī-damana-dakṣayāskilled at crushing the charm of the five-arrowed Cupid (daśārdha-śara = 'half-of-ten arrows' = the five-arrowed god of love) instrumental, agreeing with aṅga-śriyā — the beauty is what does the crushingदशार्ध अर्थात् पाँच, शर अर्थात् बाण — सो पाँच बाणवाले कामदेव की माधुरी को दबा देने में जो दक्ष है, उस [शोभा] के द्वारा
aṅga-śriyāby the beauty of his limbsअंगों की शोभा (श्री) के द्वारा
aṅga-śriyā — by the beauty of his limbs; daśārdha-śara-mādhurī-damana-dakṣayā — [a beauty] skilled at crushing the charm of the five-arrowed Cupid.
daśārdha-śara-mādhurī-damana-dakṣayā — पाँच बाणवाले कामदेव की माधुरी को दबाने में दक्ष; aṅga-śriyā — अंग-शोभा के द्वारा
Look at him: the loveliness of his limbs is skilled enough to crush even Cupid's own charm — Cupid, the god who carries five flower-arrows.
जिसके अंगों की शोभा कामदेव की माधुरी को भी दबा देने में समर्थ है।
An udāharaṇa of Kṛṣṇa's mādhurya (his sweetness of form), the point named in the lead-in 'tan-mādhuryaṁ, yathā—' ('his sweetness, as follows'). Spoken by a gopī to a young companion (see the vocative taruṇi and imperative paśya in L4).
यह कृष्ण की माधुरी (रूप की मधुरता) का उदाहरण है, जिसकी सूचना 'तन्माधुर्यं, यथा—' इस भूमिका में दी गई है। किसी गोपी ने अपनी तरुण सखी से यह कहा है (देखें L4 में सम्बोधन 'तरुणि' और आज्ञा 'पश्य')।
L2example
vidhūnita-vadhū-dhṛtiṁ varakalā-vilāsāspadam |
vidhūnita-vadhū-dhṛtiṁ[him] who has shaken loose the composure of the young wives accusative, describing pītāmbaram (L4) — he is the one who unsettles themजिसने वधुओं (युवतियों) के धैर्य को कँपा दिया है — उस [पीताम्बरधारी] को
varakalā-vilāsa-āspadamthe seat of the play of the finest arts accusative, describing pītāmbaram — he is where every fine art shows itselfजो श्रेष्ठ कलाओं के विलास का आस्पद (आश्रय-स्थान) है — उसको
vidhūnita-vadhū-dhṛtiṁ — [him] who has shaken loose the composure of the young wives; varakalā-vilāsa-āspadam — the home of the play of the finest arts.
vidhūnita-vadhū-dhṛtiṁ — जिसने वधुओं का धैर्य कँपा दिया; varakalā-vilāsa-āspadam — श्रेष्ठ कलाओं के विलास का आधार
He is the one who has shaken the young women out of their steadiness. He is the very seat where the finest arts show themselves at play.
जिसने युवतियों का धैर्य हर लिया है, और जो समस्त श्रेष्ठ कलाओं के विलास का आश्रय है।
L3example
dṛg-añcala-camatkṛti-kṣapita-khañjarīṭa-dyutiṁ
dṛg-añcala-camatkṛti-kṣapita-khañjarīṭa-dyutiṁ[him] the wonder of whose sidelong glance has dimmed the sparkle of the wagtail bird accusative, describing pītāmbaram — the khañjarīṭa's darting eyes are the stock image of restless charm, and his glance outshines itजिसके नेत्र-प्रान्त (तिरछी चितवन) के चमत्कार ने खञ्जरीट (खञ्जन पक्षी) की चंचल दीप्ति को भी मलिन कर दिया है — उसको
dṛg-añcala-camatkṛti-kṣapita-khañjarīṭa-dyutiṁ — [him] by the wonder of whose sidelong glance the sparkle of the wagtail bird is put out.
dṛg-añcala-camatkṛti-kṣapita-khañjarīṭa-dyutiṁ — नेत्र-प्रान्त के चमत्कार से खञ्जरीट की द्युति को फीका कर देनेवाले को
The marvel of his sidelong glance has dimmed even the flash of the wagtail bird — the very bird whose darting eyes are the byword for a lively, charming look.
जिसकी तिरछी चितवन के चमत्कार ने खञ्जन पक्षी की चंचल शोभा को भी मलिन कर दिया है।
L4example
sphurat-taruṇimodgamaṁ taruṇi paśya pītāmbaram ||
sphurat-taruṇimodgamaṁ[him] in whom a shining youthfulness is just rising accusative, describing pītāmbaram — taruṇima-udgama, the fresh onset of young manhoodतरुणिमा-उद्गम — जिसमें नवयौवन का उदय स्फुरित हो रहा है, उसको
taruṇiO young womanहे तरुणि! (हे युवति सखी)
paśyabehold, look!देखो
pītāmbaramthe yellow-robed one — Kṛṣṇa, the object of every phrase above accusative; the single object all the preceding accusatives describeपीताम्बरधारी (कृष्ण) को — जिसका ये सब विशेषण वर्णन कर रहे हैं
taruṇi — O young woman; paśya — behold; pītāmbaram — the yellow-robed one (Kṛṣṇa); sphurat-taruṇimodgamaṁ — in whom shining youthfulness is just rising.
sphurat-taruṇimodgamaṁ — नवयौवन का उदय जिसमें स्फुरित हो रहा; taruṇi — हे तरुणि; paśya — देखो; pītāmbaram — पीताम्बरधारी को
O young woman, look at him — the one in yellow, Kṛṣṇa — in whom fresh, shining youth is just now dawning.
हे तरुणि! उस पीताम्बरधारी को देखो, जिसमें नवयौवन का उदय स्फुरित हो रहा है।
Commentary — decoded
Jīva Gosvāmī + Mukunda-dāsa Gosvāmī
s1other
na vyākhyātam.
na vyākhyātamit has not been commented onव्याख्या नहीं की गई
na vyākhyātam — it has not been explained.
na vyākhyātam — व्याख्या नहीं की गई
Jīva leaves this verse without comment.
(जीव और मुकुन्द ने) इस श्लोक की व्याख्या नहीं की।
Viśvanātha Cakravartī
s1gloss
aṅgāni pūrvato’pyadhikotkarṣaṁ bibhrati |
aṅgānihis limbsअंग
pūrvato ’pieven beyond what they were before ablative of comparison + api — surpassing even their own former stateपूर्व अवस्था की अपेक्षा भी (पञ्चमी + 'अपि')
adhikotkarṣaṁa still greater excellenceअधिक उत्कर्ष (श्रेष्ठता) को
bibhratithey carry, they bearधारण करते हैं
aṅgāni — his limbs; pūrvato ’pi — even beyond what they were before; adhikotkarṣaṁ — a still greater excellence; bibhrati — they bear.
aṅgāni — अंग; pūrvato ’pi — पूर्व अवस्था की अपेक्षा भी; adhikotkarṣaṁ — अधिक उत्कर्ष को; bibhrati — धारण करते हैं
Viśvanātha opens: his limbs now carry a beauty greater even than before. This unpacks aṅga-śrī of the verse — the loveliness of his limbs has only heightened.
उसके अंग अपनी पहली अवस्था से भी अधिक उत्कर्ष धारण करते हैं।
s2gloss
śatamakha-maṇir indranīla-maṇiḥ tanuḥ sūkṣmā yā taraṇijāyā yamunāyā vīcis taraṅgas tasyāś chāyā kāntis tad-viḍambi bali-trayaṁ yasya |
śatamakha-maṇir indranīla-maṇiḥ'Indra's gem' (śatamakha = 'he of the hundred sacrifices' = Indra) means the sapphire a word-substitution gloss: śatamakha-maṇi is glossed by indranīla-maṇiशतमख (इन्द्र) की मणि — अर्थात् इन्द्रनील मणि (नीलम)
tanuḥ sūkṣmā'slender' means fine, thin gloss of tanu by sūkṣmāतनु — अर्थात् सूक्ष्म (महीन)
yā taraṇijāyā yamunāyā vīcis taraṅgaḥ'the wave (vīci) of the sun-born (taraṇijā) Yamunā' — taraṇijā means Yamunā, vīci means a wave (taraṅga) double gloss: taraṇijā → Yamunā, vīci → taraṅgaतरणिजा — अर्थात् (सूर्यपुत्री) यमुना; उसकी वीचि — अर्थात् तरंग
tasyāś chāyā kāntiḥ'its chāyā' means its luster (kānti) — the sheen of that wave gloss of chāyā by kāntiउस [तरंग] की छाया — अर्थात् कान्ति
tad-viḍambi bali-trayaṁ yasyawhose three belly-folds mimic that [sheen] bahuvrīhi resolving into yasya — 'of whom the three folds are that-mimicking'जिसकी त्रिवली (उदर की तीन रेखाएँ) उस [कान्ति] का अनुकरण करती है — 'यस्य' में समाप्त होनेवाला बहुव्रीहि
yasya bali-trayaṁ — whose three belly-folds; tad-viḍambi — mimic that; [namely] tasyāḥ chāyā = kāntiḥ — the luster of that; yā taraṇijāyā yamunāyā tanuḥ sūkṣmā vīcis taraṅgaḥ — the slender wave of the sun-born Yamunā; śatamakha-maṇir indranīla-maṇiḥ — [a wave dark] like Indra's gem, the sapphire.
śatamakha-maṇiḥ — इन्द्रनील मणि; tanuḥ — सूक्ष्म; taraṇijā vīciḥ — यमुना की तरंग; chāyā — कान्ति; tad-viḍambi bali-trayaṁ yasya — जिसकी त्रिवली उसका अनुकरण करती है
He then decodes the compound word by word: 'Indra's gem' is the sapphire; 'slender' is fine and thin; the 'sun-born' is the Yamunā; 'wave' is a ripple; its 'chāyā' is its luster. Put together: the three folds on Kṛṣṇa's belly mimic the luster of the slender, sapphire-dark ripple of the Yamunā.
इन्द्रनील मणि के समान, सूर्यपुत्री यमुना की जो सूक्ष्म तरंग है, उसकी कान्ति का अनुकरण जिसकी त्रिवली करती है।
s3gloss
madana-kadalīto’pi sādhiṣṭhaṁ paramātiśayita-maru-sthalaṁ yasya ||
madana-kadalīto ’pieven beyond Cupid's plantain (the plantain-trunk being the stock image for a lovely thigh) ablative of comparison + api — surpassing even that famous standardमदन-कदली (कामदेव के कदलीस्तम्भ) की अपेक्षा भी (पञ्चमी + 'अपि')
sādhiṣṭhaṁmost beautiful, finest of allअत्यन्त श्रेष्ठ
paramātiśayita-maru-sthalaṁ yasyawhose thigh-region utterly outdoes it bahuvrīhi in yasya; parama-atiśayita = supremely surpassingजिसका मरुस्थल (मध्यभाग) परम रूप से अतिशयित (बढ़-चढ़कर) है — 'यस्य' में बहुव्रीहि; परम-अतिशयित अर्थात् सर्वाधिक बढ़ा हुआ
yasya maru-sthalaṁ — whose thigh-region; madana-kadalīto ’pi — even beyond Cupid's plantain; parama-atiśayita — supremely surpassing [it]; sādhiṣṭhaṁ — is the most beautiful of all.
madana-kadalīto ’pi — मदन-कदली की अपेक्षा भी; sādhiṣṭhaṁ — अत्यन्त श्रेष्ठ; paramātiśayita-maru-sthalaṁ yasya — जिसका मरुस्थल परम रूप से अतिशयित है
And his thighs: they outshine even the plantain-trunk of Cupid — the very thing poets reach for to praise a beautiful thigh — surpassing it completely, the loveliest of all.
जिसका मध्यभाग (मरुस्थल) मदन-कदली को भी परम रूप से अतिशयित कर देता है।