L1example
sa eṣa vaihāsikatā-vinodair
sa eṣathis very one — the same Kṛṣṇa everybody knows sa (the famous one) + eṣa (this one here); the deixis sets up the 'once… / but now…' contrast the whole verse turns onवही सुप्रसिद्ध — यह सामने खड़ा; 'पहले जो था… पर अब…' इस विरोध की ओर संकेत
vaihāsikatā-vinodaiḥby his comedian's antics, his jester-like fun instrumental of means; vaihāsikatā = 'being a vaihāsika,' a stock jester/comedian, played straight against the grief to comeविदूषक-रूप के विनोदों के द्वारा (वैहासिकता = विदूषक होने का भाव)
sa eṣa — this very one; vaihāsikatā-vinodaiḥ — by his jester-like antics; [vrajasya hāsodgama-saṁvidhātā — was the one who set Vraja bursting with laughter].
sa eṣa — वही यह; vaihāsikatā-vinodaiḥ — विदूषक-रूप के विनोदों से।
This same Kṛṣṇa — the one everyone knows — used to set the whole of Vraja laughing with his comedian's antics. The line opens on the happy 'once upon a time' that the grief will overturn.
वही यह, जो कभी विदूषक बनकर अपने विनोदों से हँसी उपजाया करता था।
An udāharaṇa (illustrative verse) of smaryamāṇatva — the case where an opposed rasa is only being REMEMBERED, not directly present — per the lead-in smaryamāṇatve, yathā—. The whole point: the remembered hāsa (laughter) does not clash with the present karuṇa (grief).
यह स्मर्यमाणत्व का उदाहरण-श्लोक है — वह स्थिति जहाँ विरोधी रस केवल स्मरण में रहता है, सामने प्रत्यक्ष नहीं। लीड-इन 'स्मर्यमाणत्वे, यथा—' इसी को दिखाता है। सार यह कि स्मरण में रहा हास्य सामने के करुण से नहीं टकराता।
L2example
vrajasya hāsodgama-saṁvidhātā |
vrajasyafor all Vraja genitive: the community whose laughter he producedव्रज का (जिस समुदाय की हँसी वह उपजाता था)
hāsa-udgama-saṁvidhātāwas the one who set laughter bursting up — the maker of Vraja's mirth nominative predicate of sa eṣa; hāsa-udgama = the welling-up of laughter, saṁvidhātā = the one who brings it aboutहास्य के उदय को उत्पन्न करने वाला ('वही यह' का विधेय)
sa eṣa — this same one; vrajasya — for Vraja; hāsa-udgama-saṁvidhātā — was the maker of its bursting laughter.
vrajasya — व्रज का; hāsa-udgama-saṁvidhātā — हास्य के उदय का उपजाने वाला।
He was the one who made laughter well up in everyone of Vraja. Hold onto that picture — the maker of mirth — because the next two lines drop us into the exact opposite scene.
वही व्रज में हँसी को उमगाने वाला था।
L3example
phaṇīśvareṇādya vikṛṣyamāṇaḥ
phaṇīśvareṇaby the serpent-king — by Kāliya instrumental of agent with the passive participle; phaṇin (hooded snake) + īśvara (lord)फणीश्वर के द्वारा (फणधारी सर्पों के स्वामी कालिय के द्वारा)
adyanow, this very day — set sharply against the 'used to' of lines 1-2आज
vikṛṣyamāṇaḥis being dragged about, hauled around present passive participle: it is happening right now, before the speaker's eyesखींचा जा रहा — अभी, बोलने वाले की आँखों के सामने यही हो रहा है
adya — now; phaṇīśvareṇa — by the serpent-king Kāliya; vikṛṣyamāṇaḥ — being dragged about.
phaṇīśvareṇa — फणीश्वर के द्वारा; adya — आज; vikṛṣyamāṇaḥ — खींचा जाता हुआ।
But now, today, that same Kṛṣṇa is being hauled about by Kāliya, the serpent-king. The word 'now' (adya) is the hinge: the mirth was 'before,' this dragging is 'now.'
वही आज फणीश्वर कालिय के द्वारा खींचा जा रहा है।
L4example
karoti hā naḥ paridevanāni ||
karotihe makes, he causesकरता है
hāalas! — the cry of grief itself interjection; it is the karuṇa (grief) breaking through in the speaker's own voiceहा! — यह बोलने वाले के स्वर में फूट पड़ता करुण है
naḥfor us, our genitive/dative: the wailings belong to the onlookersहमारे (विलाप देखने वालों के हैं)
paridevanāniwailings, laments accusative object of karotiपरिदेवन-वचनों को ('करता है' का कर्म)
hā — alas; [saḥ] karoti — he makes; naḥ — our; paridevanāni — wailings.
karoti — करता है; hā — हा!; naḥ — हमारे; paridevanāni — विलापों को।
Alas — he now makes us wail. The one who once caused laughter now causes our tears. Both moods hang on the same verb: he was the maker of Vraja's laughter, and he is the maker of our lament. That single reversal is the whole verse.
हा! वह हम सबका विलाप करा रहा है।
Commentary — decoded
Jīva Gosvāmī
s1avataranika
sa eṣa iti padya-dvayaṁ keṣāñcit kṣodiṣṭha-diviṣṭhānām eva vacanam |
sa eṣa iti padya-dvayaṁthis pair of verses beginning 'sa eṣa' pratīka; Jīva cites the verse by its opening words and notes it runs as a couplet (this verse plus the next)'सा एष' इन आरम्भ-शब्दों वाला यह श्लोक-युगल (यह श्लोक और अगला मिलकर एक जोड़ा)
keṣāñcitof certain unnamed [onlookers]किन्हीं का
kṣodiṣṭha-diviṣṭhānām evanamely of the very lowest of the sky-dwellers — minor celestials, and them alone kṣodiṣṭha = superlative 'tiniest, least,' diviṣṭha = 'standing in heaven'; eva pins the speakers down to these petty godsअत्यन्त क्षुद्र स्वर्गवासियों का ही ('एव' बोलने वालों को इन्हीं तुच्छ देवों तक सीमित कर देता है)
vacanamis the speechवचन है
sa eṣa iti padya-dvayam — this couplet 'sa eṣa'; keṣāñcit kṣodiṣṭha-diviṣṭhānām eva — of certain minor celestials, of them alone; vacanam — is the speech.
sa eṣa iti padya-dvayaṁ — 'सा एष' यह श्लोक-युगल; keṣāñcit — किन्हीं; kṣodiṣṭha-diviṣṭhānām eva — अत्यन्त क्षुद्र स्वर्गवासियों का ही; vacanam — वचन।
Jīva first pins down who is speaking. This couplet, he says, is spoken by some of the pettiest of the sky-dwellers — minor demigods watching the scene. He will now give three reasons the speakers must be these lesser gods and no one else.
जीव कहते हैं — 'सा एष' से आरम्भ यह श्लोक-युगल किन्हीं अत्यन्त क्षुद्र स्वर्गवासियों का ही कहा हुआ है।
s2reply
yad idam atisnigdha-svabhāvānāṁ neti lakṣyate, vraja-sthānāṁ tu sutarām |
yad idamin that this [speech]जो यह (वचन)
atisnigdha-svabhāvānāṁof those whose nature is deeply loving [Kṛṣṇa's intimates] genitive: whose speech this is being tested againstअत्यन्त स्नेही स्वभाव वालों का (जिनके वचन से इसकी परख हो रही है)
na iti lakṣyateshows itself to be NOT theirs na is the whole predicate: the couplet is marked as not belonging to the deeply-loving ones'नहीं' — ऐसा लक्षित होता है (अर्थात् यह उनका नहीं जान पड़ता)
vraja-sthānāṁ tu sutarāmand of the residents of Vraja, still less so tu 'and indeed'; sutarām 'all the more' — if not the loving ones in general, then least of all the Vraja folkऔर व्रजवासियों का तो और भी अधिक नहीं (स्नेहियों का ही नहीं, तो व्रजवासियों का सर्वथा नहीं)
yad idam — in that this; atisnigdha-svabhāvānām — of the deeply-loving ones; na iti lakṣyate — is seen to be not [theirs]; vraja-sthānāṁ tu sutarām — and of the Vraja people, all the more not.
yad idam — जो यह; atisnigdha-svabhāvānāṁ — अत्यन्त स्नेहियों का; na iti lakṣyate — 'नहीं' ऐसा लक्षित होता; vraja-sthānāṁ tu sutarām — व्रजवासियों का तो और भी अधिक (नहीं)।
First reason: this speech does not read as coming from Kṛṣṇa's deeply-loving intimates — and least of all from the people of Vraja. Their love is too intense to speak in this register. So the speakers must be outsiders to that intimacy.
यह वचन अत्यन्त स्नेही स्वभाव वालों का नहीं जान पड़ता, और व्रजवासियों का तो सर्वथा नहीं।
s3reply
tadā vaihāsikādi-śabdānāṁ prayogānaucityāt |
tadāfor otherwise [if Vraja folk were speaking]उस दशा में
vaihāsikādi-śabdānāṁof words like 'vaihāsika' (comedian) and the rest pratīka on the verse's own diction; genitive governed by prayoga'वैहासिक' आदि शब्दों का (श्लोक की अपनी ही शब्दावली)
prayoga-anaucityātbecause using them would be unfitting ablative of reason: such light, joking labels for Kṛṣṇa would be improper on the lips of his grieving loversप्रयोग की अनुचितता के कारण (कृष्ण के लिए ऐसे हल्के, विनोदी शब्द शोकातुर प्रेमियों के मुख में शोभा नहीं देते)
tadā — otherwise; vaihāsikādi-śabdānām — of words such as 'comedian'; prayoga-anaucityāt — because their use would be improper.
tadā — उस दशा में; vaihāsikādi-śabdānāṁ — 'वैहासिक' आदि शब्दों के; prayoga-anaucityāt — प्रयोग की अनुचितता के कारण।
The evidence for reason one: the couplet calls Kṛṣṇa a 'comedian' (vaihāsika) and the like. Grieving lovers of Vraja would never reach for such flippant words in their agony. The very diction gives the speakers away as onlookers, not intimates.
क्योंकि तब कृष्ण के लिए 'वैहासिक' आदि शब्दों का प्रयोग शोकमग्न प्रेमियों के मुख में अनुचित होगा।
s4reply
na cedaṁ brahma-śivādīnāṁ, teṣāṁ svayaṁ bhagavattva-jñānāt ||
na ca idaṁnor, on the other hand, is this [speech] ca marks the second exclusion: not the intimates below, and not the great gods aboveऔर न यह (वचन इनका है — दूसरा अपवर्जन)
brahma-śiva-ādīnāṁof Brahmā, Śiva, and their sort — the great gods genitive: the other candidate speakers being ruled outब्रह्मा, शिव आदि का (जिन्हें बोलने वालों में से हटाया जा रहा है)
teṣāṁ svayaṁ bhagavattva-jñānātbecause they know he is God himself ablative of reason; svayaṁ bhagavattva = his being svayaṁ Bhagavān — knowing this, they could not wail as if he were truly in dangerक्योंकि उन्हें कृष्ण के स्वयं भगवत्तारूप का ज्ञान है (यह जानते हुए वे ऐसे विलाप न करते मानो वह सचमुच संकट में हो)
na ca idam — nor is this; brahma-śiva-ādīnām — of Brahmā, Śiva, and the rest; teṣām svayaṁ bhagavattva-jñānāt — because they know his own supreme Godhood.
na ca idaṁ — और न यह; brahma-śiva-ādīnāṁ — ब्रह्मा-शिव आदि का; teṣāṁ svayaṁ bhagavattva-jñānāt — उनके स्वयं-भगवत्ता के ज्ञान के कारण।
Nor is it the great gods like Brahmā and Śiva speaking. They know Kṛṣṇa is God himself, so they could never wail as though he were really being harmed. That leaves only the lesser demigods — grieved because they do not fully grasp who he is. So Jīva has boxed the speakers in from both sides: not the intimates, not the great gods, therefore the petty celestials.
और यह वचन ब्रह्मा-शिव आदि का भी नहीं, क्योंकि वे कृष्ण को स्वयं भगवान् जानते हैं।
Viśvanātha Cakravartī
s1avataranika
kāliyena veṣṭitaṁ śrī-kṛṣṇaṁ dṛṣṭvā gopo duḥkhenāha—sa iti |
kāliyena veṣṭitaṁcoiled about by Kāliya instrumental of agent; veṣṭita = wrapped/encircled by the serpent's coilsकालिय के द्वारा वेष्टित (सर्प की कुण्डलियों में लिपटे हुए)
śrī-kṛṣṇaṁ dṛṣṭvāon seeing Śrī Kṛṣṇa [so coiled] gerund: the sight is what triggers the speechश्रीकृष्ण को देखकर (यही दृश्य वचन को उकसाता है)
gopo duḥkhena āhaa cowherd speaks out of grief instrumental of cause: grief is what moves him to speakगोप दुःख के कारण कहता है
sa iti[the verse] 'sa' [begins here] pratīka'सा' इत्यादि
kāliyena veṣṭitaṁ śrī-kṛṣṇaṁ dṛṣṭvā — seeing Śrī Kṛṣṇa coiled by Kāliya; gopaḥ duḥkhena āha — a cowherd speaks in grief; sa iti — [the verse] 'sa.'
kāliyena veṣṭitaṁ — कालिय द्वारा वेष्टित; śrī-kṛṣṇaṁ dṛṣṭvā — श्रीकृष्ण को देखकर; gopo duḥkhena āha — गोप दुःख से कहता है; sa iti — 'सा' इत्यादि।
Viśvanātha sets the scene differently: seeing Śrī Kṛṣṇa wrapped in Kāliya's coils, a cowherd cries out in grief. Note the divergence from Jīva — where Jīva assigned the words to minor demigods, Viśvanātha gives them to a gopa. The two readings stand side by side; neither is folded into the other.
विश्वनाथ कहते हैं — कालिय की कुण्डलियों में लिपटे श्रीकृष्ण को देखकर गोप दुःख से कहता है — 'सा' इत्यादि।
s2gloss
yaḥ śrī-kṛṣṇaḥ adya kāliyena ākṛṣyamāṇaḥ ākarṣaṇa-vaśāt kliśyamāna ity arthaḥ |
yaḥ śrī-kṛṣṇaḥthe Śrī Kṛṣṇa whoजो श्रीकृष्ण
adyanow, this day pratīka; picks up the verse's adyaआज (श्लोक के 'अद्य' को उठाते हुए)
kāliyena ākṛṣyamāṇaḥbeing dragged by Kāliya Viśvanātha glosses the verse's vikṛṣyamāṇaḥ with ākṛṣyamāṇaḥ — the same 'dragged/pulled' senseकालिय के द्वारा खींचा जा रहा (श्लोक के 'विकृष्यमाणः' का 'आकृष्यमाणः' से वही 'खींचा जाना' अर्थ)
ākarṣaṇa-vaśāt kliśyamānaḥmeaning: afflicted under the force of that dragging ablative ākarṣaṇa-vaśāt 'by the power of the pulling'; kliśyamāna spells out the distress the passive participle impliesखींचे जाने के वश से क्लेश पा रहा ('क्लिश्यमान' उस पीड़ा को खोल देता है जो कर्मवाच्य कृदन्त में छिपी थी)
ity arthaḥthat is the meaningऐसा अर्थ है
yaḥ śrī-kṛṣṇaḥ adya kāliyena ākṛṣyamāṇaḥ — the Kṛṣṇa who now, dragged by Kāliya; ākarṣaṇa-vaśāt kliśyamānaḥ — is afflicted by the force of that dragging; ity arthaḥ — such is the meaning.
yaḥ śrī-kṛṣṇaḥ — जो श्रीकृष्ण; adya — आज; kāliyena ākṛṣyamāṇaḥ — कालिय द्वारा खींचा जाता हुआ; ākarṣaṇa-vaśāt kliśyamānaḥ — खिंचाव के वश क्लेश पाता हुआ; ity arthaḥ — ऐसा अर्थ।
He unpacks the verse's word 'dragged' (vikṛṣyamāṇa): it means Kṛṣṇa is being pulled by Kāliya, and under the force of that pulling he is in distress. Viśvanātha spells out the suffering the participle only hints at.
जो श्रीकृष्ण आज कालिय के द्वारा खींचे जा रहे हैं, अर्थात् उस खिंचाव के वश क्लेश पा रहे हैं।
s3citation
paridevanāni vilāpa-vacanāni, vilāpaḥ paridevanam ity amaraḥ |
paridevanāni vilāpa-vacanāni'paridevanāni' means words of wailing pratīka + gloss: the verse's paridevanāni = vilāpa-vacanāni'परिदेवनानि' अर्थात् विलाप के वचन (श्लोक-शब्द का सीधा अर्थ)
vilāpaḥ paridevanam iti amaraḥ'vilāpa is paridevana,' so says the Amara[-kośa] lexicon citation backing the gloss'विलापः परिदेवनम्' — ऐसा अमरकोश (इस अर्थ का प्रमाण)
paridevanāni — [means] vilāpa-vacanāni, words of wailing; vilāpaḥ paridevanam iti amaraḥ — 'vilāpa = paridevana,' says the Amarakośa.
paridevanāni vilāpa-vacanāni — परिदेवन = विलाप-वचन; vilāpaḥ paridevanam iti amaraḥ — 'विलापः परिदेवनम्' ऐसा अमर।
He glosses the verse's 'paridevanāni' as words of wailing, and backs it with the dictionary: the Amara-kośa lists vilāpa and paridevana as synonyms.
'परिदेवनानि' का अर्थ है विलाप-वचन; अमरकोश में भी 'विलापः परिदेवनम्' कहा गया है।
Why cited: The Amara-kośa is cited to license glossing the verse's paridevana as vilāpa ('wailing, lament') — lexical proof for the word's meaning.
क्यों उद्धृत: अमरकोश इसलिए उद्धृत किया गया कि श्लोक के 'परिदेवन' को 'विलाप' के अर्थ में लेने की शब्द-प्रमाण से पुष्टि हो जाए।
s4reply
yadyapi śrī-kṛṣṇasyāsura-kartṛka-parābhavābhāvena vilāpo sambhavati, tathāpy aiśvarya-jñāna-śūnyasya gopasya kṛṣṇa-niṣṭha-bandhana-janita-snehena vilāpānumānaṁ jñeyam |
yadyapigranted, althoughयद्यपि
śrī-kṛṣṇasya asura-kartṛka-parābhava-abhāvenasince Kṛṣṇa suffers no defeat at any demon's hands instrumental of cause; abhāva 'absence' carries the concession — there is no real defeat, so no true ground for lamentक्योंकि श्रीकृष्ण की असुर-कृत पराजय का अभाव है (सचमुच कोई हार नहीं, इसलिए विलाप का वास्तविक आधार नहीं)
vilāpo sambhavatia lament [might] be raised under the governing yadyapi this clause is being conceded and then set aside by tathāpiविलाप संभव नहीं होता — यह यद्यपि-पक्ष में मानकर तथापि से छोड़ दिया जाता है
tathāpieven so, neverthelessतो भी
aiśvarya-jñāna-śūnyasya gopasyaof the cowherd who has no knowledge of [Kṛṣṇa's] majesty genitive: it is precisely his ignorance of Kṛṣṇa's godhood that lets the grief ariseऐश्वर्य-ज्ञान से रहित गोप का (कृष्ण की भगवत्ता को न जानना ही उसके शोक को उठने देता है)
kṛṣṇa-niṣṭha-bandhana-janita-snehenaby the love born of a bond fixed wholly on Kṛṣṇa instrumental of cause: the affection is what produces the lamentकृष्ण में जुड़े बन्धन से उत्पन्न स्नेह के कारण (यही स्नेह विलाप को उपजाता है)
vilāpa-anumānaṁ jñeyamthe lament is to be understood as an inference [drawn from that love] not a lament warranted by real danger, but one to be inferred from the gopa's affectionविलाप का अनुमान जानना चाहिए (वास्तविक संकट से नहीं, गोप के स्नेह से अनुमेय)
yadyapi śrī-kṛṣṇasya asura-kartṛka-parābhava-abhāvena vilāpo sambhavati — although, since Kṛṣṇa suffers no demon-wrought defeat, a lament [could arise as if he did]; tathāpi aiśvarya-jñāna-śūnyasya gopasya kṛṣṇa-niṣṭha-bandhana-janita-snehena — nevertheless, through the love of the majesty-blind cowherd, born of his bond fixed on Kṛṣṇa; vilāpa-anumānaṁ jñeyam — the lament is to be understood as inferred.
yadyapi — यद्यपि; śrī-kṛṣṇasya asura-kartṛka-parābhava-abhāvena — कृष्ण की असुर-कृत पराजय के अभाव से; vilāpo sambhavati — विलाप [नहीं] संभव; tathāpi — तो भी; aiśvarya-jñāna-śūnyasya gopasya — ऐश्वर्य-ज्ञान-रहित गोप का; kṛṣṇa-niṣṭha-bandhana-janita-snehena — कृष्ण-निष्ठ बन्धन-जनित स्नेह से; vilāpa-anumānaṁ jñeyam — विलाप का अनुमान जानना चाहिए।
Viśvanātha meets an unspoken objection: how can there be lament, when Kṛṣṇa is never really defeated by any demon? His answer: the cowherd does not know Kṛṣṇa's majesty. Bound to Kṛṣṇa by pure love, he sees only his beloved in a serpent's coils and wails. So the lament is not warranted by any real danger — it is to be read as flowing from the gopa's love. The absence of real defeat and the presence of love together explain the grief.
यद्यपि श्रीकृष्ण की असुर-कृत कोई पराजय न होने से विलाप का वास्तविक आधार नहीं, तो भी ऐश्वर्य-ज्ञान से रहित गोप का यह विलाप कृष्ण के प्रति बँधे स्नेह से उपजा जानना चाहिए।
s5conclusion
sa eṣa vaihāsikatā-vinodair vrajasya hāsodgama-saṁvidhātā pūrvam āsīd iti karuṇa-rasena saha hāsasya virodhe’pi tasya smaryamāṇatvena na vairasyam iti jñeyam ||
sa eṣa vaihāsikatā-vinodair vrajasya hāsodgama-saṁvidhātā pūrvam āsīt'this same one, by his jester's antics, was FORMERLY the maker of Vraja's laughter' he supplies pūrvam āsīt ('was formerly') to the verse's first line — fixing the laughter firmly in the past'वही यह विदूषक-विनोदों से व्रज में हास्य उपजाने वाला पहले था' — श्लोक की प्रथम पंक्ति में 'पूर्वम् आसीत्' जोड़कर हँसी को अतीत में स्थिर करते हैं
itiso [the first line runs]इस प्रकार
karuṇa-rasena saha hāsasya virodhe apieven though hāsa (the comic mood) clashes with the karuṇa-rasa (the mood of grief) api concedes the clash; laughter and grief are opposed rasas that would normally spoil each other if mixedकरुण रस के साथ हास्य का विरोध होने पर भी ('अपि' विरोध को स्वीकार करता है — करुण और हास्य विरोधी रस हैं, मिलने पर सामान्यतः एक-दूसरे को बिगाड़ देते)
tasya smaryamāṇatvenabecause that laughter is only being REMEMBERED [not present now] instrumental of cause; smaryamāṇatva — the state of being an object of memory — is the whole verse's operative principleउस हास्य के स्मर्यमाणत्व के कारण (केवल स्मरण-विषय होने से — यही पूरे श्लोक का मूल सिद्धान्त है)
na vairasyamthere is no spoiling, no discord of the mood vairasya = the state of virasa, 'flavorlessness / incongruity' — the mixing does NOT ruin the rasa; and it chimes with the laharī's vaira, 'enmity' between rasasवैरस्य (रस का बिगड़ना) नहीं होता — मिलने पर भी रस भंग नहीं होता
iti jñeyamthis is to be understoodऐसा जानना चाहिए
sa eṣa … hāsodgama-saṁvidhātā pūrvam āsīt iti — 'he was formerly the maker of Vraja's laughter'; karuṇa-rasena saha hāsasya virodhe api — though laughter clashes with the grief-mood; tasya smaryamāṇatvena — because that laughter is merely remembered; na vairasyam iti jñeyam — there is no spoiling, understand.
sa eṣa … pūrvam āsīt — 'वही यह … पहले था'; iti — इस प्रकार; karuṇa-rasena saha hāsasya virodhe api — करुण रस के साथ हास्य के विरोध पर भी; tasya smaryamāṇatvena — उसके स्मर्यमाणत्व के कारण; na vairasyam — वैरस्य नहीं; iti jñeyam — ऐसा जानना।
Here is the payoff of the whole verse. The first line puts the laughter in the past — 'he WAS, before, the maker of Vraja's mirth.' Now, laughter (hāsa) and grief (karuṇa) are opposed moods; put together directly, they spoil each other. Yet here the laughter is not present — it is only being remembered while the grief is live. And because the opposed mood is merely remembered, not directly felt, it causes no spoiling of the rasa. This is exactly the rule the laharī on maitrī-vaira is establishing: a remembered opposite rasa does not clash. The word na vairasyam even rings against the chapter's vaira, 'enmity' — remembered, the enemy mood makes no war.
'वही यह पहले विदूषक-विनोदों से व्रज में हँसी उपजाता था' — इस प्रकार करुण रस के साथ हास्य का विरोध होने पर भी, उस हास्य के केवल स्मरण-विषय होने से रस का बिगड़ना नहीं होता — ऐसा जानना चाहिए।
vairasya is the abstract noun of virasa ('flavorless, discordant') — 'spoiling of the rasa.' It resonates with the laharī's key term vaira ('enmity between rasas'): normally opposed rasas are at war, but when one is only remembered (smaryamāṇa), the war does not break out.
'वैरस्य' 'विरस' (नीरस, बेस्वाद, असंगत) का भाववाचक रूप है — अर्थात् रस का बिगड़ना। यह लहरी के मुख्य शब्द 'वैर' (रसों के बीच का बैर) से भी गूँजता है — सामान्यतः विरोधी रस आपस में लड़ते हैं, पर जब एक केवल स्मर्यमाण रहता है तब यह लड़ाई नहीं छिड़ती।