s1gloss
pāñcālyā draupadyāḥ patayaḥ pañca yudhiṣṭhirādyā asya śrī-kṛṣṇasya pāñcajanyasya dhvaniṁ śrutvā pañcāsyasya mahādevasya pratimāṁ sādṛśyaṁ yayuḥ prāpuḥ |
pāñcālyāḥthe verse's word 'of Pāñcālī'पाञ्चाली के
draupadyāḥmeans: of Draupadīअर्थात् द्रौपदी के
patayaḥher husbandsपति लोग
pañcaand they are five this 'five' is Viśvanātha taking pañca out of the verse's pañcāsya and attaching it to patayaḥपाँच — यह 'पञ्च' विश्वनाथ ने श्लोक के 'पञ्चास्य' में से निकालकर 'पतयः' के साथ जोड़ा है
yudhiṣṭhirādyāḥYudhiṣṭhira and the restयुधिष्ठिर आदि
asyathe verse's word 'his' the other half of the split pañcāsya — asya, genitive, going with pāñcajanyasyaइनका — यह टूटे हुए 'पञ्चास्य' का दूसरा भाग है, षष्ठी में, और 'पाञ्चजन्यस्य' के साथ जुड़ता है
śrī-kṛṣṇasyameans: Śrī Kṛṣṇa'sअर्थात् श्रीकृष्ण का
pāñcajanyasyaof his conch Pāñcajanyaपाञ्चजन्य शङ्ख का
dhvanimthe sound of it — this is what nisvanam meansध्वनि को — श्लोक के 'निस्वनम्' का यही अर्थ है
śrutvāonce they heardसुनकर
pañcāsyasyathe 'five-faced one' of the verseपञ्चास्य के
mahādevasyameans: Mahādeva, Śivaअर्थात् महादेव के
pratimāmthe verse's word pratimāप्रतिमा को
sādṛśyammeans: a resemblance, looking like himअर्थात् सादृश्य को, समानता को
yayuḥthe verse's yayuḥगये
prāpuḥmeans: they reached, they arrived atअर्थात् प्राप्त कर लिया
pāñcālyāḥ — of Pāñcālī; draupadyāḥ — that is, of Draupadī; patayaḥ pañca yudhiṣṭhirādyāḥ — her five husbands, Yudhiṣṭhira and the rest; asya śrī-kṛṣṇasya — 'his' means Śrī Kṛṣṇa's; pāñcajanyasya — of the conch Pāñcajanya; dhvanim — the sound; śrutvā — once they heard; pañcāsyasya mahādevasya — of the five-faced one, that is, of Mahādeva; pratimām sādṛśyam — pratimā, a resemblance; yayuḥ prāpuḥ — they reached.
pāñcālyāḥ draupadyāḥ — पाञ्चाली अर्थात् द्रौपदी के; pañca patayaḥ yudhiṣṭhirādyāḥ — युधिष्ठिर आदि पाँच पति; asya śrī-kṛṣṇasya pāñcajanyasya — इनका अर्थात् श्रीकृष्ण के पाञ्चजन्य शङ्ख की; dhvanim — ध्वनि; śrutvā — सुनकर; pañcāsyasya mahādevasya — पञ्चास्य अर्थात् महादेव की; pratimām sādṛśyam — प्रतिमा अर्थात् समानता को; yayuḥ prāpuḥ — प्राप्त कर ली
Viśvanātha names every piece. Pāñcālī is Draupadī. Her husbands are five — Yudhiṣṭhira and the rest. 'His' means Kṛṣṇa's, so the conch Pāñcajanya is Kṛṣṇa's conch. They heard its sound. The 'five-faced one' is Mahādeva, Śiva. And pratimā here is not an image but a resemblance — they came to look like him. yayuḥ is simply 'they reached'.
पाञ्चाली अर्थात् द्रौपदी के पाँच पति — युधिष्ठिर आदि — इनके अर्थात् श्रीकृष्ण के पाञ्चजन्य शङ्ख की ध्वनि सुनकर पञ्चास्य अर्थात् महादेव की प्रतिमा अर्थात् समानता को प्राप्त हो गये।
This gloss is where the split of pañcāsya shows: Viśvanātha uses pañca for 'the five husbands' and asya for 'Kṛṣṇa's', and then reads the second pañcāsya, in pañcāsya-pratimām, as Śiva.
इसी व्याख्या में 'पञ्चास्य' का विभाजन प्रकट होता है — विश्वनाथ 'पञ्च' को 'पाँच पति' के लिए और 'अस्य' को 'कृष्ण का' के लिए लेते हैं, और फिर 'पञ्चास्य-प्रतिमाम्' वाले दूसरे 'पञ्चास्य' को शिव के अर्थ में पढ़ते हैं।
s2gloss
sarve śveta-varṇā babhūvur ity arthaḥ |
sarveall of them, every one of the fiveवे सब
śveta-varṇāḥwhite in colourश्वेत वर्ण के, सफेद रंग के
babhūvuḥbecameहो गये
ity arthaḥthat is what the line is sayingयही अर्थ है
sarve — all of them; śveta-varṇāḥ — white in colour; babhūvuḥ — became; ity arthaḥ — that is the meaning.
sarve — वे सब; śveta-varṇāḥ — श्वेत वर्ण के; babhūvuḥ — हो गये; ity arthaḥ — यही अर्थ है
So here is the plain sense: all five of them turned white. That is what 'they came to the likeness of Śiva' amounts to — Śiva is white-bodied, so looking like him means going white.
अर्थात् वे सब श्वेत वर्ण के हो गये — यही तात्पर्य है।
s3conclusion
anena vaivarṇya-rūpāḥ sāttvikā iti ||
anenaby saying this, the verse is showing instrumental of means — the words just glossed are the device by which something is shownइसके द्वारा — अभी जिन पदों की व्याख्या हुई, उन्हीं के द्वारा यह बात दिखायी गयी है
vaivarṇya-rūpāḥin the form of vaivarṇya, the going-paleवैवर्ण्य के रूप वाले, अर्थात् रंग बदल जाने के रूप में प्रकट होने वाले
sāttvikāḥthe sāttvika signs — the body's own reactions to feelingसात्त्विक भाव
itiand that is the point of itऐसा समझना चाहिए
anena — by this; vaivarṇya-rūpāḥ sāttvikāḥ — the sāttvikas in the form of vaivarṇya; iti — are shown, and that is the point.
anena — इसके द्वारा; vaivarṇya-rūpāḥ sāttvikāḥ — वैवर्ण्य-रूप सात्त्विक भाव; iti — ऐसा
And this is why the verse is quoted here. Their turning white is not just a picture. It is vaivarṇya — the loss of colour — and vaivarṇya is one of the sāttvika signs, the changes the body undergoes when feeling rises. So the conch-blast is the stimulus, and the pallor is the sāttvika it stirs up in the friends.
इसके द्वारा वैवर्ण्य के रूप वाले सात्त्विक भाव दिखाये गये हैं — ऐसा समझना चाहिए।
vaivarṇya, 'change of colour, going pale', is one of the eight sāttvika-bhāvas — stambha, sveda, romāñca, svara-bheda, vepathu, vaivarṇya, aśru, pralaya. Sāttvika here is technical: not 'of the mode of goodness' in the general Sāṅkhya sense, but a bodily sign that breaks out when the sattva, the heart, is struck by feeling for Kṛṣṇa.
'वैवर्ण्य' अर्थात् वर्ण का बदल जाना, विवर्ण या पीला पड़ जाना — यह आठ सात्त्विक भावों में से एक है: स्तम्भ, स्वेद, रोमाञ्च, स्वरभेद, वेपथु, वैवर्ण्य, अश्रु और प्रलय। यहाँ 'सात्त्विक' पारिभाषिक शब्द है — सांख्य के सामान्य अर्थ में 'सत्त्वगुण वाला' नहीं, अपितु वह शारीरिक चिह्न जो तब फूट पड़ता है जब सत्त्व अर्थात् हृदय कृष्ण-विषयक भाव से आहत होता है।