uddīpanā hares tādṛg-vāg-veṣa-caritādayaḥ |
anubhāvās tu nāsauṣṭha-gaṇḍa-niṣpandanādayaḥ ||
harṣālasyāvahitthādyā vijñeyā vyabhicāriṇaḥ |
sā hāsa-ratir evātra sthāyi-bhāvatayoditā ||
ṣoḍhā hāsa-ratiḥ syāt smita-hasite vihasitāvahasite ca |
apahasitātihasitake jyeṣṭhādīnāṁ kramād dve dve ||
vibhāvanādi-vaicitryād uttamasyāpi kutracit |
bhaved vihasitādyaṁ ca bhāvajñair iti bhaṇyate ||
The verse — decoded
L1definition
uddīpanā hares tādṛg-vāg-veṣa-caritādayaḥ |
uddīpanāḥthe excitants — what kindles the mood (nom. pl., the subject)उद्दीपन (जो रति को प्रज्वलित करते हैं)
hareḥbelonging to Hari — his own (genitive: whose speech, dress, etc.) gen. sg.; Jīva reads it as an upalakṣaṇa — see his noteहरि के
tādṛg-vāg-veṣa-carita-ādayaḥsuch-like speech, dress, conduct, and the restवैसी वाणी, वेष, चरित्र आदि
hareḥ tādṛg-vāg-veṣa-carita-ādayaḥ — Hari's such-like speech, dress, conduct and the rest; uddīpanāḥ — are the excitants.
uddīpanāḥ — उद्दीपन-विभाव; hareḥ — हरि के; tādṛg-vāg-veṣa-carita-ādayaḥ — वैसी (हास के अनुरूप) वाणी, वेष, चरित्र आदि।
The things that kindle the mood of laughter are Hari's own speech, his dress, his conduct, and so on — anything of that kind about him. These are the uddīpanas, the excitants of hāsa-rati.
हरि की वैसी (हास के अनुरूप) वाणी, वेष और चरित्र आदि उद्दीपन-विभाव हैं।
L2definition
anubhāvās tu nāsauṣṭha-gaṇḍa-niṣpandanādayaḥ ||
anubhāvāḥthe anubhāvas — the outward bodily signs (nom. pl., the subject)अनुभाव
tuand now, by contrast (turning from excitants to outward signs)परन्तु
nāsā-oṣṭha-gaṇḍa-niṣpandana-ādayaḥthe quivering of nose, lip, and cheek, and the restनाक, ओष्ठ और गाल के कँपने आदि
anubhāvāḥ tu — and the outward signs; nāsā-oṣṭha-gaṇḍa-niṣpandana-ādayaḥ — are the quivering of nose, lip, cheek, and so on.
anubhāvāḥ — अनुभाव; tu — परन्तु; nāsā-oṣṭha-gaṇḍa-niṣpandana-ādayaḥ — नाक, ओष्ठ और गाल के हल्के स्पन्दन आदि।
The outward signs, on the other hand, are the twitching of the nose, the lip, the cheek, and the like. These are the anubhāvas — how the laughter shows on the body.
परन्तु अनुभाव नाक, ओष्ठ और गाल के हल्के स्पन्दन (कँपन) आदि हैं।
nāsā = nose, oṣṭha = lip, gaṇḍa = cheek; niṣpandana = a slight throbbing or quivering movement.
नासा अर्थात् नाक, ओष्ठ अर्थात् होंठ, गण्ड अर्थात् गाल; तथा निष्पन्दन का अर्थ है हल्का कँपना या फड़कना।
L3definition
harṣālasyāvahitthādyā vijñeyā vyabhicāriṇaḥ |
harṣa-ālasya-avahitthā-ādyāḥjoy, languor, hiding one's feelings, and the restहर्ष, आलस्य, अवहित्था आदि
vijñeyāḥare to be understood asजानने चाहिए
vyabhicāriṇaḥthe passing feelings (vyabhicāri-bhāvas) that come and goव्यभिचारी भाव
harṣa-ālasya-avahitthā-ādyāḥ — joy, languor, concealment, etc.; vyabhicāriṇaḥ vijñeyāḥ — are to be known as the passing feelings.
harṣa-ālasya-avahitthā-ādyāḥ — हर्ष, आलस्य, अवहित्था आदि; vijñeyāḥ — जानने चाहिए; vyabhicāriṇaḥ — व्यभिचारी भाव।
Joy, languor, the hiding of one's feelings, and so on are to be understood as the vyabhicāri-bhāvas — the passing feelings that surface and fade around the laughter.
हर्ष, आलस्य और अवहित्था आदि व्यभिचारी भाव जानने चाहिए।
avahitthā = dissimulation, masking what one actually feels; it is one of the standard thirty-three vyabhicāri-bhāvas.
अवहित्था अर्थात् अपने वास्तविक भाव को छिपाना; यह तैंतीस व्यभिचारी भावों में से एक है।
L4definition
sā hāsa-ratir evātra sthāyi-bhāvatayoditā ||
sā hāsa-ratiḥthat hāsa-rati — the delight that is laughterवह हास-रति
evaprecisely, and none otherही
atrahere, in this rasa (the rasa of laughter)यहाँ (इस हास्य-रस में)
sthāyi-bhāvatayāas the standing, abiding emotion (the one that holds through) instr. of predication: 'in the role of the sthāyi-bhāva'स्थायी भाव के रूप में
uditāis declared, has been stated [by the ācārya]कही गई है
atra — here; sā hāsa-ratiḥ eva — that very hāsa-rati; sthāyi-bhāvatayā — as the abiding emotion; uditā — is declared.
sā hāsa-ratiḥ — वह हास-रति; eva — ही; atra — यहाँ (इस रस में); sthāyi-bhāvatayā — स्थायी भाव के रूप में; uditā — कही गई है।
And that hāsa-rati — the delight in laughter itself — is the one declared here as the sthāyi-bhāva, the abiding emotion that runs through and grounds this rasa. Everything else (excitants, outward signs, passing feelings) gathers around it.
यहाँ वह हास-रति ही स्थायी भाव के रूप में कही गई है।
L5definition
ṣoḍhā hāsa-ratiḥ syāt smita-hasite vihasitāvahasite ca |
ṣoḍhāin six kinds — sixfoldछह प्रकार की
hāsa-ratiḥthe hāsa-rati, the delight in laughter (the subject)हास-रति
syātmay be, is reckoned to beहोती है
smita-hasitethe soft smile (smita) and the open smile with a little sound (hasita) — the first two dualस्मित और हसित
vihasita-avahasitethe sweet open laugh (vihasita) and the sidelong, shoulder-shaking laugh (avahasita) — the next two dualविहसित और अवहसित
caand (the list continues into L6)और
hāsa-ratiḥ — the delight in laughter; ṣoḍhā syāt — is sixfold: smita-hasite — smile and gentle laugh; vihasita-avahasite ca — the open laugh and the shaking laugh; [and two more in L6].
ṣoḍhā — छह प्रकार की; hāsa-ratiḥ — हास-रति; syāt — होती है; smita-hasite — स्मित और हसित; vihasita-avahasite — विहसित और अवहसित; ca — और।
The hāsa-rati comes in six grades. The first two are smita, the barely-there smile, and hasita, a smile that opens with a touch of sound. The next two are vihasita, the sweet open laugh, and avahasita, the sidelong laugh that shakes the shoulders. (The last two follow in the next line.)
हास-रति छह प्रकार की होती है — स्मित, हसित, विहसित और अवहसित।
These are the six classical grades of laughter, from faintest to loudest; smita is a mere blossoming of the face, and each step widens the mouth and raises the sound.
ये हास के छह शास्त्रीय स्तर हैं, सबसे मन्द से लेकर सबसे प्रबल तक; स्मित केवल मुख का खिल उठना है, और आगे के प्रत्येक स्तर में मुख अधिक खुलता है तथा ध्वनि बढ़ती जाती है।
L6definition
apahasitātihasitake jyeṣṭhādīnāṁ kramād dve dve ||
apahasita-atihasitakethe out-of-place laugh (apahasita) and the over-the-top, side-splitting laugh (atihasita) — the last two dualअपहसित और अतिहसित
jyeṣṭha-ādīnāmbelonging to the highest and the rest — the highest, middling, and lowest [types of person] gen. pl.; 'ādi' folds in madhyama and kaniṣṭhaज्येष्ठ आदि (पात्रों) के
kramātin that order, respectivelyक्रमशः
dve dvetwo apiece — two to each classदो-दो
apahasita-atihasitake — the improper laugh and the excessive laugh; jyeṣṭha-ādīnām — of the highest, middling, and lowest; kramāt — in order; dve dve — two each.
apahasita-atihasitake — अपहसित और अतिहसित; jyeṣṭha-ādīnām — ज्येष्ठ आदि (उत्तम, मध्यम, कनिष्ठ) के; kramāt — क्रमशः; dve dve — दो-दो।
The last two are apahasita, the laugh that breaks out where it shouldn't, and atihasita, the loud side-splitting laugh. And the six are handed out two at a time to three classes of person — the highest, the middling, and the lowest — in that order. (Which two go to which class is spelled out by Viśvanātha below.)
तथा अपहसित और अतिहसित (शेष दो); ज्येष्ठ आदि (उत्तम, मध्यम, कनिष्ठ) पात्रों के क्रमशः दो-दो हास होते हैं।
L7definition
vibhāvanādi-vaicitryād uttamasyāpi kutracit |
vibhāvana-ādi-vaicitryātbecause the excitants and the rest come in such variety abl. of cause: 'owing to…'क्योंकि विभावना आदि विचित्र (नाना प्रकार की) होती है
uttamasyaof the highest person too — the one who normally only smiles gen. sg.उत्तम पात्र का
apieven (of the highest, of all people)भी
kutracitsomewhere, in the odd case, now and thenकहीं-कहीं
vibhāvana-ādi-vaicitryāt — owing to the variety of the excitants and so on; uttamasya api — even for the highest sort of person; kutracit — on occasion; [vihasita etc. may arise — completed in L8].
vibhāvana-ādi-vaicitryāt — विभावना आदि की विचित्रता के कारण; uttamasya — उत्तम पात्र का; api — भी; kutracit — कहीं-कहीं।
But because the excitants and the rest come in such endless variety, even the highest sort of person — who by the rule only smiles — may now and then be carried further. The neat two-per-class distribution is not a hard wall.
विभावना आदि की विचित्रता के कारण उत्तम पात्र का भी कहीं-कहीं...
L8conclusion
bhaved vihasitādyaṁ ca bhāvajñair iti bhaṇyate ||
bhavetmay arise, can occurहो सकता है
vihasita-ādyamthe open laugh (vihasita) and grades beyond it — laughter above his usual smile 'ādi' points up the scale toward the louder gradesविहसित आदि (उच्चतर हास)
caand (adding this qualification to the rule of L6)और
bhāva-jñaiḥby those who know the moods (the connoisseurs of bhāva) instr. of agent with the passive 'is said'भाव के ज्ञाताओं द्वारा
itiso, to this effect (closing the statement)ऐसा
bhaṇyateit is said, they declareकहा जाता है
vihasita-ādyam ca bhavet — and the open laugh and grades beyond it may arise [even for the highest]; iti bhāva-jñaiḥ bhaṇyate — so it is said by those who know the moods.
bhavet — हो सकता है; vihasita-ādyam — विहसित आदि (प्रबलतर हास); ca — और; bhāva-jñaiḥ — भाव के ज्ञाताओं द्वारा; iti — ऐसा; bhaṇyate — कहा जाता है।
In such a case even the vihasita laugh and grades above it can arise in the highest person. This much, they add, is what the connoisseurs of the moods themselves say.
उत्तम पात्र का भी विहसित आदि (प्रबलतर) हास हो सकता है — ऐसा भाव के ज्ञाता कहते हैं।
Commentary — decoded
Jīva Gosvāmī
s1gloss
uddīpanā ity atra harer ity upalakṣaṇaṁ, tad-anvayino’pi jñeyāḥ ||
uddīpanā iti atrahere, in the verse beginning 'uddīpanā…' (L1) 'iti' names the verse by its opening word'उद्दीपना' (इस पद से आरम्भ होने वाले श्लोक) में
hareḥ itithe word 'hareḥ', 'of Hari''हरेः' यह पद
upalakṣaṇamis only a pointer — it names Hari but stands for more than Hariउपलक्षण है
tat-anvayinaḥ apithose connected with him too — his associates, dear ones, and the rest 'api' = 'also', extending the excitants beyond Hari himselfउनसे (हरि से) सम्बन्ध रखने वालों को भी
jñeyāḥare to be understood [as excitants as well]जानना चाहिए
uddīpanā iti atra — in the 'uddīpanā' verse; hareḥ iti upalakṣaṇam — the word 'of Hari' is a pointer; tat-anvayinaḥ api jñeyāḥ — so those connected with him are also to be known [as excitants].
uddīpanā iti atra — 'उद्दीपना' वाले इस श्लोक में; hareḥ iti — 'हरेः' यह पद; upalakṣaṇam — उपलक्षण है; tat-anvayinaḥ api — उनसे सम्बन्ध रखने वाले भी; jñeyāḥ — जानने चाहिए।
In the verse 'uddīpanā hareḥ…', Jīva says, the word 'of Hari' is an upalakṣaṇa — a mere pointer. It names Hari, but it is not meant to shut everyone else out. So the speech, dress, and conduct of those connected with Hari — his associates and dear ones — are to be counted as excitants of the laughter-mood too.
'उद्दीपना' वाले इस श्लोक में 'हरेः' पद उपलक्षण है; इससे हरि से सम्बन्ध रखने वालों (उनके पार्षदों) को भी उद्दीपन जानना चाहिए।
upalakṣaṇa vs viśeṣaṇa: a viśeṣaṇa is a defining trait that is part of the thing — 'the blue lotus', where blue actually belongs to it; an upalakṣaṇa is a mere identifying mark that points past itself — 'the house with the crow on it', where the crow only helps you spot the house and is no part of it. Reading 'hareḥ' as upalakṣaṇa, Jīva takes 'Hari' as a marker that points beyond Hari to his associates, rather than as a limit fencing the excitants to Hari alone.
उपलक्षण और विशेष्य-विशेषण का भेद: विशेषण वह लक्षण है जो वस्तु का ही अंग हो — जैसे 'नील कमल', जहाँ नीलता कमल में सचमुच रहती है; उपलक्षण केवल पहचान का चिह्न है जो अपने से परे संकेत करता है — जैसे 'जिस घर पर कौआ बैठा है वह घर', जहाँ कौआ केवल घर पहचानने में सहायक है, घर का अंग नहीं। 'हरेः' को उपलक्षण मानकर जीव इसे ऐसा चिह्न मानते हैं जो हरि से आगे उनके पार्षदों की ओर संकेत करता है, न कि ऐसी सीमा जो उद्दीपन को केवल हरि तक बाँध दे।
Viśvanātha Cakravartī
s1gloss
jyeṣṭhasya uttamasya smita-hasite dve, madhyamasya vihasitāvahasite dve, kaniṣṭhasya apahasitātihasite dve ||
jyeṣṭhasya uttamasyaof the highest — that is, the superior sort of person 'uttamasya' glosses 'jyeṣṭhasya', L6's 'jyeṣṭha'ज्येष्ठ अर्थात् उत्तम पात्र के
smita-hasite dvethe smile and the gentle laugh — those are his twoस्मित और हसित — ये दो
madhyamasyaof the middling sortमध्यम पात्र के
vihasita-avahasite dvethe open laugh and the sidelong shaking laugh — those twoविहसित और अवहसित — ये दो
kaniṣṭhasyaof the lowest sortकनिष्ठ पात्र के
apahasita-atihasite dvethe out-of-place laugh and the side-splitting laugh — those twoअपहसित और अतिहसित — ये दो
jyeṣṭhasya uttamasya — of the highest; smita-hasite dve — the two, smile and gentle laugh; madhyamasya — of the middling; vihasita-avahasite dve — the two, open and shaking laugh; kaniṣṭhasya — of the lowest; apahasita-atihasite dve — the two, improper and excessive laugh.
jyeṣṭhasya uttamasya — ज्येष्ठ अर्थात् उत्तम पात्र के; smita-hasite dve — स्मित और हसित ये दो; madhyamasya — मध्यम पात्र के; vihasita-avahasite dve — विहसित और अवहसित ये दो; kaniṣṭhasya — कनिष्ठ पात्र के; apahasita-atihasite dve — अपहसित और अतिहसित ये दो।
Viśvanātha spells out L6's 'two each'. The highest person gets the two mildest — smita and hasita. The middling person gets the next pair — vihasita and avahasita. The lowest gets the two loudest — apahasita and atihasita. The finer the person, the softer the laughter.
ज्येष्ठ अर्थात् उत्तम पात्र के स्मित और हसित — ये दो; मध्यम पात्र के विहसित और अवहसित — ये दो; और कनिष्ठ पात्र के अपहसित और अतिहसित — ये दो हास होते हैं।