yathā, / na katamenāpi / atha sāttvikāḥ—
stambhādyāḥ sāttvikāḥ sarve prītādi-tritaye matāḥ ||
gokulendra-guṇa-gāna-rasena
stambham adbhutam asau bhajamānaḥ |
paśya bhakti-rasa-maṇḍapa-mūla-
stambhatāṁ vahati vaiṣṇava-varyaḥ ||
The verse — decoded
L1conclusion
stambhādyāḥ sāttvikāḥ sarve prītādi-tritaye matāḥ ||
stambha-ādyāḥthe sāttvika signs beginning with stambha — becoming stunned, frozen stiff ādi = "and the rest"; stambha heads the list of the eight sāttvika-bhāvasस्तम्भ आदि — अर्थात् स्तम्भ से आरम्भ होने वाले (आठों) भाव
sāttvikāḥthe sāttvika-bhāvas — the bodily signs that break out from sattva (the aroused heart)सात्त्विक भाव
sarveall of them, without exceptionसब के सब
prīti-ādi-tritayein the triad of rasas that begins with prīti — i.e. prīti (dāsya, servitude), sakhya (friendship), and vātsalya (parental love) locative: "in / for" these three rasasप्रीति आदि तीन रसों में (सप्तमी — इन तीन रसों में)
matāḥare held [to arise]माने गए हैं
sarve — all; stambha-ādyāḥ sāttvikāḥ — the sāttvika signs beginning with stambha; prīti-ādi-tritaye — in the triad beginning with prīti; matāḥ — are held to arise.
stambha-ādyāḥ — स्तम्भ आदि (भाव); sāttvikāḥ — सात्त्विक; sarve — सब के सब; prīti-ādi-tritaye — प्रीति आदि तीन रसों में; matāḥ — माने गए हैं।
Now, the sāttvika signs. All of them — stambha (becoming stunned) and the rest — are held to arise in the three rasas that begin with prīti: dāsya (servitude), sakhya (friendship), and vātsalya (parental love).
स्तम्भ से लेकर सभी सात्त्विक भाव प्रीति आदि तीन रसों में माने गए हैं।
L2example
gokulendra-guṇa-gāna-rasena
gokula-indra-guṇa-gāna-rasenabecause he is carried away by the relish (rasa) of singing the qualities of Gokula's lord, Kṛṣṇa instrumental of cause/means — "through / because of"; gokula-indra = "the lord of Gokula" = Kṛṣṇaगोकुल के स्वामी (कृष्ण) के गुणों के गान के रस के द्वारा — क्योंकि उसी रस से
gokula-indra-guṇa-gāna-rasena — through the relish of singing the qualities of Gokula's lord (this construes with bhajamānaḥ in the next line).
gokula-indra-guṇa-gāna-rasena — गोकुल के स्वामी कृष्ण के गुणगान के रस के द्वारा।
Carried away by the sheer relish of singing the glories of Kṛṣṇa, the lord of Gokula—
गोकुल के स्वामी कृष्ण के गुणों के गान के रस के कारण।
An udāharaṇa (illustrative verse, BRS 3.2.67) for v66: it shows a sāttvika sign — here stambha, becoming stunned — arising in prīti-bhakti-rasa (dāsya). Verse 67 turns on a śleṣa (double sense) of stambha, developed across the lines that follow.
यह श्लोक ६६ का उदाहरण-श्लोक (भक्तिरसामृतसिन्धु ३.२.६७) है; इसमें एक सात्त्विक चिह्न — यहाँ स्तम्भ, अर्थात् स्तब्ध हो जाना — प्रीति-भक्ति-रस (दास्य) में उठता हुआ दिखाया गया है। यह श्लोक स्तम्भ शब्द के श्लेष (द्वयर्थ) पर टिका है, जो आगे की पंक्तियों में खुलता है।
L3example
stambham adbhutam asau bhajamānaḥ |
stambhama stambha — the sāttvika sign of being stunned, frozen stiff, motionless object of bhajamānaḥ; this is the word the whole verse puns onस्तम्भ को (जिस शब्द पर पूरा श्लोक श्लेष करता है)
adbhutama wondrous one — an astonishing stambhaअद्भुत
asauthis one here — the devotee before usयह (भक्त)
bhajamānaḥas he undergoes, takes on present middle participle of bhaj-; here "experience / take on," not "worship"अनुभव करता हुआ / धारण करता हुआ (यहाँ भज् का अर्थ पूजा नहीं, अनुभव करना है)
asau — this one; adbhutam stambham — a wondrous stambha (being stunned); bhajamānaḥ — as he takes it on.
stambham — स्तम्भ को; adbhutam — अद्भुत; asau — यह; bhajamānaḥ — अनुभव करता हुआ।
—this devotee takes on a wondrous stambha: he stiffens, stunned still.
यह भक्त अद्भुत स्तम्भ (स्तब्धता) को अनुभव करता हुआ।
L4example
paśya bhakti-rasa-maṇḍapa-mūla-
paśyajust look! — the poet turns and calls the audience to see imperative, addressed to the onlookerदेखो (दर्शक को सम्बोधित)
bhakti-rasa-maṇḍapa-mūla-at the base of the pavilion (maṇḍapa) of bhakti-rasa — the mūla, the foundation the compound runs on into stambhatām in the next line: mūla-stambha = the foundation pillarभक्ति-रस रूपी मण्डप का मूल — (यह समास अगली पंक्ति के स्तम्भता में जाकर मूल-स्तम्भ बनता है)
paśya — look!; bhakti-rasa-maṇḍapa-mūla- — at the foundation of the pavilion of bhakti-rasa (this joins stambhatām in the next line).
paśya — देखो; bhakti-rasa-maṇḍapa-mūla- — भक्ति-रस रूपी मण्डप का मूल-।
Just look, the poet says — down at the base of the pavilion of bhakti-rasa—
देखो, भक्ति-रस रूपी मण्डप का मूल —
L5example
stambhatāṁ vahati vaiṣṇava-varyaḥ ||
stambhatāmpillar-hood — the state of being a stambha (pillar) ŚLEṢA on stambha: (1) the sāttvika sign of becoming stunned/stiff, from L3; (2) a pillar. As he freezes stiff he becomes the mūla-stambha, the foundation pillarस्तम्भता को — श्लेष: (१) स्तब्ध/जड़ हो जाने का सात्त्विक भाव (पिछली पंक्ति से); (२) खम्भा। जड़ होते ही वह मूल-स्तम्भ बन जाता है
vahatibears, carries, holds upधारण करता है
vaiṣṇava-varyaḥthe best of the Vaiṣṇavas — this devoteeवैष्णवों में श्रेष्ठ
vaiṣṇava-varyaḥ — the best of the Vaiṣṇavas; bhakti-rasa-maṇḍapa-mūla-stambhatām — the pillar-hood at the foundation of the pavilion of bhakti-rasa; vahati — bears.
stambhatām — स्तम्भता को (श्लेष); vahati — धारण करता है; vaiṣṇava-varyaḥ — वैष्णवश्रेष्ठ।
—this best of the Vaiṣṇavas bears the very pillar-hood. The whole verse turns on one word, stambha: as the devotee stiffens into the sāttvika sign of stambha (being stunned), he becomes the mūla-stambha, the foundation pillar that holds up the entire pavilion (maṇḍapa) of bhakti-rasa. The bodily freeze and the load-bearing pillar are the same word.
वह वैष्णवश्रेष्ठ स्तम्भता को धारण करता है — अर्थात् जड़ होकर वह मूल-स्तम्भ बन जाता है।
The śleṣa (pun) is the verse's headline: stambha reads both as the sāttvika-bhāva of becoming stunned/stiff (L3) and as a pillar; stambhatā, "pillar-hood," completes bhakti-rasa-maṇḍapa-mūla- from L4 into mūla-stambha, the central foundation pillar.
श्लेष ही इस श्लोक का मर्म है: स्तम्भ एक ओर स्तब्ध/जड़ हो जाने का सात्त्विक भाव (पिछली पंक्ति) और दूसरी ओर खम्भा — दोनों अर्थ देता है; स्तम्भता, अर्थात् खम्भापन, पिछली पंक्ति के भक्ति-रस-मण्डप-मूल- को पूरा करके मूल-स्तम्भ बनाती है, अर्थात् मण्डप का केन्द्रीय आधार-स्तम्भ।