iti bhāvās trayas-triṁśat kathitā vyabhicāriṇaḥ |
śreṣṭha-madhya-kaniṣṭheṣu varṇanīyā yathocitam
mātsaryodvega-dambherṣyā viveko nirṇayas tathā |
klaibyaṁ kṣamā ca kutukam utkaṇṭhā vinayo’pi ca
saṁśayo dhārṣṭyam ity ādyā bhāvā ye syuḥ pare’pi ca |
ukteṣv antarbhavantīti na pṛthaktvena darśitāḥ
The verse — decoded
L1conclusion
iti bhāvās trayas-triṁśat kathitā vyabhicāriṇaḥ |
itithus, wrapping up the list just givenइस प्रकार
bhāvāḥ trayas-triṁśatthirty-three feelings bhāvāḥ nom. pl., subject; trayas-triṁśat the countतेंतीस भाव (कर्ता)
kathitāḥhave been describedकहे गए हैं
vyabhicāriṇaḥthe passing (transient) ones — the vyabhicāri-bhāvasव्यभिचारी (नामक)
iti — thus; trayas-triṁśat bhāvāḥ vyabhicāriṇaḥ — thirty-three transient feelings; kathitāḥ — have been described.
iti — इस प्रकार; vyabhicāriṇaḥ bhāvāḥ trayas-triṁśat — तेंतीस व्यभिचारी भाव; kathitāḥ — कह दिए गए।
That closes the count: thirty-three vyabhicāri-bhāvas, the passing feelings, have now been named. These are the fleeting moods that come and go around the steady sthāyi-bhāva.
इस प्रकार तेंतीस व्यभिचारी भाव कह दिए गए। इन्हें ही सञ्चारी भाव भी कहते हैं।
Concludes the caturtha-laharī, which set out the vyabhicāri- (also called sañcāri-) bhāvas one by one.
यह चतुर्थ लहरी का उपसंहार है, जिसमें व्यभिचारी (जिन्हें सञ्चारी भी कहते हैं) भावों का एक-एक करके वर्णन किया गया।
L2conclusion
śreṣṭha-madhya-kaniṣṭheṣu varṇanīyā yathocitam
śreṣṭha-madhya-kaniṣṭheṣuamong characters of the higher, middling, and lower sort loc. pl. — the range of persons in whom the feelings appearउत्तम, मध्यम और कनिष्ठ (पात्रों) में
varṇanīyāḥare to be depicted gerundive — a rule for the poetवर्णन करने योग्य हैं
yathā-ucitameach as fits that characterयथोचित रूप से
śreṣṭha-madhya-kaniṣṭheṣu — in the higher, middling, and lower characters; yathā-ucitam — as is fitting; varṇanīyāḥ — they are to be depicted.
śreṣṭha-madhya-kaniṣṭheṣu — उत्तम, मध्यम और कनिष्ठ पात्रों में; yathā-ucitam — जैसा उचित हो; varṇanīyāḥ — वर्णन करने योग्य हैं।
The poet should show these feelings in characters of every rank — high, middling, and low — fitting each one to the character's own nature. What suits a noble figure will not suit a base one, so depict them accordingly.
उत्तम, मध्यम और कनिष्ठ पात्रों में इनका वर्णन यथोचित रूप से करना चाहिए। कवि जिस पात्र में जो उचित हो, वही दिखाए।
L3conclusion
mātsaryodvega-dambherṣyā viveko nirṇayas tathā |
mātsarya-udvega-dambha-īrṣyāḥenvy, agitation, deceit, and spiteमात्सर्य, उद्वेग, दम्भ और ईर्ष्या
vivekaḥdiscernmentविवेक
nirṇayaḥsettled judgmentनिर्णय
tathāand likewiseतथा (और भी)
mātsarya-udvega-dambha-īrṣyāḥ — envy, agitation, deceit, spite; vivekaḥ nirṇayaḥ tathā — discernment, settled judgment, and so on.
mātsarya-udvega-dambha-īrṣyāḥ — मात्सर्य, उद्वेग, दम्भ, ईर्ष्या; vivekaḥ nirṇayaḥ tathā — विवेक, निर्णय तथा।
Now he lists further feelings one might expect to see named: envy, agitation, deceit, spite, discernment, settled judgment. These begin a set of moods a reader could take for separate items.
मात्सर्य, उद्वेग, दम्भ, ईर्ष्या, विवेक और निर्णय — तथा और भी।
L4conclusion
klaibyaṁ kṣamā ca kutukam utkaṇṭhā vinayo’pi ca
klaibyamfaint-heartednessक्लैब्य (असामर्थ्य)
kṣamāforbearanceक्षमा
caandऔर
kutukameager curiosityकुतूहल
utkaṇṭhāyearningउत्कण्ठा
vinayaḥhumilityविनय
api caas wellऔर भी
klaibyam kṣamā ca kutukam utkaṇṭhā vinayaḥ api ca — faint-heartedness, forbearance, eager curiosity, yearning, and humility too.
klaibyam kṣamā ca — क्लैब्य और क्षमा; kutukam utkaṇṭhā vinayaḥ api ca — कुतूहल, उत्कण्ठा और विनय भी।
The list continues: faint-heartedness, forbearance, eager curiosity, yearning, humility.
क्लैब्य, क्षमा, कुतूहल, उत्कण्ठा और विनय भी।
L5conclusion
saṁśayo dhārṣṭyam ity ādyā bhāvā ye syuḥ pare’pi ca |
saṁśayaḥdoubtसंशय
dhārṣṭyamboldness, impudenceधार्ष्ट्य (ढिठाई)
iti ādyāḥthese and the likeइत्यादि
bhāvāḥ ye syuḥwhatever feelings there might be ye syuḥ optative — 'any that may exist'जो अन्य भाव हों (सम्भावना में)
pare api caand still others besidesऔर दूसरे भी
saṁśayaḥ dhārṣṭyam iti ādyāḥ — doubt, impudence, and such; ye bhāvāḥ pare api ca syuḥ — and whatever other feelings there may be.
saṁśayaḥ dhārṣṭyam iti ādyāḥ — संशय, धार्ष्ट्य इत्यादि; ye pare bhāvāḥ api ca syuḥ — तथा जो और भी भाव हों।
And doubt, impudence, and the rest — together with any other such feelings one might name. He gathers all these leftover moods into a single 'and whatever else' before answering why they got no separate treatment.
संशय, धार्ष्ट्य आदि तथा और भी जो भाव हों।
L6conclusion
ukteṣv antarbhavantīti na pṛthaktvena darśitāḥ
ukteṣuwithin the ones already stated loc. — the thirty-three already named(पहले) कहे गए तेंतीस भावों में
antarbhavantithey fall inside, are subsumedअन्तर्भूत हो जाते हैं
ition that groundऐसा (समझकर)
na pṛthaktvena darśitāḥthey were not shown separatelyपृथक् रूप से नहीं दिखाए गए
ukteṣu antarbhavanti iti — because they are subsumed within the ones already stated; na pṛthaktvena darśitāḥ — they were not shown as separate items.
(te) ukteṣu antarbhavanti iti — वे कहे गए भावों में अन्तर्भूत हो जाते हैं, ऐसा; na pṛthaktvena darśitāḥ — पृथक् रूप से नहीं दिखाए गए।
The answer: all these extra feelings already fit inside the thirty-three just given, so Rūpa Gosvāmī did not set them out separately. They are not new categories — only shades of the ones already counted.
ये सब पहले कहे गए तेंतीस भावों में ही अन्तर्भूत हो जाते हैं, इसलिए इन्हें अलग से नहीं गिनाया गया।