atha vyabhicāriṇaḥ—
anantaroktāḥ sarve’tra bhavanti vyabhicāriṇaḥ ||
tatra harṣo, yathā—
dūre darendrasya nabhasy udīrṇe
dhvanau sthitānāṁ yadu-rājadhanyām |
tanūruhais tatra kumārakāṇāṁ
naṭaiś ca hṛṣyadbhir akāri nṛtyam ||
The verse — decoded
L1definition
anantaroktāḥ sarve’tra bhavanti vyabhicāriṇaḥ ||
anantaroktāḥthe ones spoken of just before (with no gap between) anantara 'immediately after' + ukta 'stated'जो अभी-अभी, ठीक पहले कहे गए हैं
sarveall of them, without exceptionवे सभी
atrahere — in this rasa sarve’tra = sarve + atraयहाँ, इस प्रसंग में
bhavantioccur, are presentहोते हैं
vyabhicāriṇaḥas the transient emotions (vyabhicāri-bhāvas)व्यभिचारी भाव
anantaroktāḥ sarve vyabhicāriṇaḥ — all the transient emotions just spoken of; atra — here in this rasa; bhavanti — occur.
anantaroktāḥ — जो ठीक पहले कहे गए; sarve — वे सभी; atra — यहाँ इस प्रसंग में; vyabhicāriṇaḥ — व्यभिचारी भाव; bhavanti — होते हैं।
All the vyabhicāri-bhāvas — the passing, transient emotions — that were just listed occur here in this rasa as well. The lead-in 'atha vyabhicāriṇaḥ' marks that we now take up the transient emotions.
अभी-अभी जो भाव गिनाए गए, वे सब यहाँ व्यभिचारी भाव कहलाते हैं।
vyabhicāri-bhāva (also sañcāri-bhāva): a passing emotional state (worry, joy, pride, etc.) that comes and goes over the steady foundational mood; contrasted with the sthāyi-bhāva, the abiding emotion of the rasa.
व्यभिचारी भाव (जिसे संचारी भाव भी कहते हैं) — चिन्ता, हर्ष, गर्व आदि क्षणिक भाव, जो स्थिर मूल भाव पर आते-जाते रहते हैं; रस के स्थायी भाव से इनका भेद है।
L2example
dūre darendrasya nabhasy udīrṇe
dūrefar off, at a distanceदूर पर
darendrasyaof the conch-king — Kṛṣṇa's conch Pāñcajanya dara 'conch' + indra 'chief' = the best of conchesशंखों में श्रेष्ठ, अर्थात् पाञ्चजन्य का
nabhasiup in the sky nabhasy = nabhasi (loc.)आकाश में
udīrṇewhen [its sound] had risen and swelled up locative absolute, completed by dhvanau in L3: 'when the sound rose up'उठ जाने पर, जब वह ऊपर उठा
dūre nabhasi darendrasya [dhvanau] udīrṇe — far off, up in the sky, when the sound of the conch-king had risen up.
dūre — दूर पर; nabhasi — आकाश में; darendrasya — शंखराज पाञ्चजन्य का; udīrṇe — (नाद के) उठ जाने पर।
Far away, high in the sky, the sound of Kṛṣṇa's conch Pāñcajanya swells up and rises. (The sentence opens with a 'when…' clause that finishes on 'dhvanau,' the sound, in the next line.)
जब दूर आकाश में शंखराज पाञ्चजन्य का नाद ऊपर उठा।
An udāharaṇa illustrating harṣa (joy), a vyabhicāri-bhāva; the lead-in 'tatra harṣo, yathā—' ('joy, for instance—') names what these four lines illustrate.
यह हर्ष नामक व्यभिचारी भाव का उदाहरण है; 'तत्र हर्षो यथा—' कहकर संकेत किया गया कि ये चार पंक्तियाँ किसका उदाहरण हैं।
L3example
dhvanau sthitānāṁ yadu-rājadhanyām |
dhvanauthe sound — completes 'when the sound rose up' the noun of the locative absolute nabhasi udīrṇe dhvanauनाद के (उठने पर) — जो पहले की सप्तमी का मुख्य पद है
sthitānāṁof those who were present, staying gen. pl., joins kumārakāṇāṁ in L4 — 'of the boys who were there'जो वहाँ स्थित थे, उनके
yadu-rāja-dhānyāmin the capital of the Yadu king (Dvārakā) dhānī 'royal city' (loc.); written yadu-rājadhanyāmयदुराज की राजधानी में
nabhasi udīrṇe dhvanau — when the sound rose up in the sky; yadu-rāja-dhānyām sthitānāṁ — of those present in the Yadu king's capital.
dhvanau — नाद के (उठ जाने पर); yadu-rāja-dhānyām — यदुराज की राजधानी में; sthitānāṁ — जो वहाँ स्थित थे उनके।
When that sound rises up in the sky, it reaches those who are present in the Yadu king's capital — the boys standing there.
यदुराज की राजधानी में स्थित लोगों के बीच जब वह नाद उठा।
yadu-rāja-dhānī: the royal city of the Yadus, Dvārakā, where Kṛṣṇa reigns.
यदुराज की राजधानी अर्थात् द्वारका, जहाँ कृष्ण राज्य करते हैं।
L4example
tanūruhais tatra kumārakāṇāṁ
tanūruhaiḥby the body-hairs — bristling up on end instr. pl.; the 'agent' by which the dance gets done — horripilation from joyरोमों के द्वारा, जिनसे नृत्य हुआ
tatrathere — in the capitalवहाँ
kumārakāṇāṁof the young boys gen. pl., picks up sthitānāṁ from L3बालकों के
tatra kumārakāṇāṁ tanūruhaiḥ — there, by the body-hairs of the young boys.
tatra — वहाँ; kumārakāṇāṁ — बालकों के; tanūruhaiḥ — रोमों के द्वारा।
There, the young boys thrill so hard that their body-hairs stand straight up on end.
वहाँ बालकों के रोमों के द्वारा।
tanūruha (lit. 'what grows on the body') = body-hair; its standing on end is romāñca, horripilation — the bodily sign of harṣa (joy).
तनूरुह (शरीर पर उगने वाला) अर्थात् रोम; इनका खड़ा हो जाना रोमाञ्च है, जो हर्ष का शारीरिक चिह्न है।
L5example
naṭaiś ca hṛṣyadbhir akāri nṛtyam ||
naṭaiḥ caand by the dancers ca joins the dancers to the body-hairs as co-agents of the one 'dance'और नटों के द्वारा
hṛṣyadbhiḥthrilling with joy, rejoicing pres. part., instr. pl. — 'the joyful ones'; fits both the dancers and the bristling hairsहर्ष से भरे हुए, आनन्दित होते हुए
akāriwas performed, was made aorist passive — 'a dance was done'किया गया
nṛtyama danceनृत्य
kumārakāṇāṁ tanūruhaiḥ naṭaiḥ ca hṛṣyadbhiḥ nṛtyam akāri — by the boys' body-hairs and by the joyful dancers, a dance was performed.
naṭaiḥ ca — और नटों के द्वारा; hṛṣyadbhiḥ — हर्षित होते हुए; nṛtyam — नृत्य; akāri — किया गया।
And so a dance was performed — done both by the delighted dancers and by the boys' own bristling body-hairs. The poetic turn is the shared verb: hearing the conch, the dancers danced, and the boys' hairs, standing up in joy, 'danced' right along with them. That upsurge of joy showing as horripilation is harṣa itself.
और हर्षित नटों के द्वारा नृत्य किया गया।
Commentary — decoded
Jīva Gosvāmī + Mukunda-dāsa Gosvāmī
s1other
na vyākhyātam.
na vyākhyātamit was not commented uponइसकी व्याख्या नहीं की गई
na vyākhyātam — [this] was not explained.
na vyākhyātam — व्याख्या नहीं की गई।
Jīva and Mukunda give no comment here.
इस पर कोई व्याख्या नहीं की गई।
Viśvanātha Cakravartī
s1gloss
anantaroktā etad avyavahitam uktāḥ |
anantaroktā'spoken just before' [the word from the mūla he is glossing] pratīka, sandhi-clipped from anantaroktāḥ'अनन्तरोक्ता' — यह मूल का प्रतीक-पद है
etad avyavahitam uktāḥmeans: stated right after this, with nothing coming in between avyavahita 'unseparated' unpacks the anantara-इसका अर्थ — बिना किसी व्यवधान के, ठीक पहले कहे गए
anantaroktāḥ = etad avyavahitam uktāḥ — 'spoken just before' means spoken immediately, with nothing intervening.
anantaroktā — (प्रतीक-पद) अनन्तरोक्ता; etad avyavahitam uktāḥ — अर्थात् बिना व्यवधान के कहे गए।
Viśvanātha glosses 'anantarokta': it means spoken immediately before this, with nothing coming in between.
'अनन्तरोक्ता' का अर्थ है — बिना किसी अन्तराल के, ठीक पहले कहे गए।
s2other
|
|a sentence-break mark (daṇḍa) — structural, no words to decodeदण्ड, विराम-चिह्न
—
| — दण्ड (विराम-चिह्न)।
A bare punctuation mark in the text; nothing to decode.
यहाँ दण्ड है।
s3other
163||
163||the verse-number closing the mūla (163) — structural marker, not commentary wordsश्लोक-संख्या १६३
—
163|| — श्लोक-संख्या १६३।
The verse-number for 163; it marks the close of the mūla and is not part of the commentary's wording.
यह १६३वें श्लोक की संख्या है।
s4gloss
darendrasya pāñcajanyasya |
darendrasya'of the conch-king' [the word he is glossing] pratīka from L2'दरेन्द्रस्य' — मूल का प्रतीक-पद
pāñcajanyasyameans: of Pāñcajanya, Kṛṣṇa's own conchअर्थात् पाञ्चजन्य शंख का
darendrasya = pāñcajanyasya — 'of the conch-king' means of Pāñcajanya.
darendrasya — (प्रतीक-पद) दरेन्द्र का; pāñcajanyasya — अर्थात् पाञ्चजन्य शंख का।
Viśvanātha names the conch: 'darendra,' the conch-king, is Kṛṣṇa's conch Pāñcajanya.
'दरेन्द्र' अर्थात् पाञ्चजन्य शंख।
s5gloss
yadu-kumārakāṇāṁ tanūruhaiḥ naṭaiḥ saha nṛtyam akāri ||
yadu-kumārakāṇāṁof the Yadu boys he joins yadu (from the capital, L3) straight to the boys of L4यदुवंश के बालकों के
tanūruhaiḥby their body-hairs — the agent doing the danceरोमों के द्वारा
naṭaiḥ sahatogether with the dancers he supplies 'saha,' fixing the mūla's ca as 'along with'नटों के साथ
nṛtyam akāria dance was performedनृत्य किया गया
yadu-kumārakāṇāṁ tanūruhaiḥ naṭaiḥ saha nṛtyam akāri — by the Yadu boys' body-hairs, together with the dancers, a dance was performed.
yadu-kumārakāṇāṁ — यदुवंश के बालकों के; tanūruhaiḥ — रोमों के द्वारा; naṭaiḥ saha — नटों के साथ; nṛtyam akāri — नृत्य किया गया।
Viśvanātha lays out the syntax: by the body-hairs of the Yadu boys, together with the dancers, a dance was performed. Reading the mūla's 'ca' as 'saha' (together with), he makes the boys' bristling hairs and the dance troupe joint performers of one and the same dance.
यदुवंश के बालकों के रोमों के द्वारा नटों के साथ नृत्य किया गया।