L1example
rukmiṇī-kuca-kāśmīra-paṅkiloraḥ-sthalaṁ kadā |
rukmiṇī-kuca-kāśmīra-paṅkiloraḥ-sthalaṁ[Kṛṣṇa] whose broad chest is smeared with the kāśmīra (saffron kuṅkuma paste) from Rukmiṇī's breasts long bahuvrīhi describing paraṁ brahma in L2; paṅkila = smeared, muddied; uraḥ-sthala = chest-regionजिसका वक्षःस्थल रुक्मिणी के स्तनों पर लगे केशर (कुंकुम) की कीचड़ से लिपा हुआ है — ऐसा
kadāwhen [will this ever be]? — the whole verse is a longingकब (मुझे प्राप्त होगा)
rukmiṇī-kuca-kāśmīra-paṅkiloraḥ-sthalaṁ — [Kṛṣṇa] whose chest is smeared with the saffron from Rukmiṇī's breasts; kadā — when?
rukmiṇī-kuca-kāśmīra-paṅkiloraḥ-sthalaṁ — जिसका वक्षःस्थल रुक्मिणी के स्तनों के केशर की कीचड़ से लिपा है, ऐसा (परब्रह्म); kadā — कब
When, oh when, will it happen? The speaker pictures Kṛṣṇa's broad chest smeared with the saffron kuṅkuma paste rubbed off from Rukmiṇī's breasts. That very Kṛṣṇa is the one he longs to serve.
जिसका वक्षःस्थल रुक्मिणी के स्तनों पर लगे कुंकुम-केशर की कीचड़ से सना हुआ है, वह परब्रह्म मुझे कब दिखेगा।
An udāharaṇa illustrating āśraya-bheda, 'difference of locus' (the lead-in āśraya-bhede, yathā), between the two enemy rasas śānta and śṛṅgāra. Here śṛṅgāra goes by Rūpa's code-name śuci (so Viśvanātha at 4.8.3: 'śuciḥ śṛṅgāraḥ'). The longing is voiced by a śānta devotee who worships Kṛṣṇa as paraṁ brahma.
यह एक उदाहरण है, जो आश्रय-भेद अर्थात् आश्रय की भिन्नता दिखाता है — शान्त और शृंगार, इन दो परस्पर-विरोधी रसों के बीच। यहाँ शृंगार को रूप गोस्वामी के सांकेतिक नाम 'शुचि' से कहा गया है (जैसा विश्वनाथ ने ४.८.३ में कहा — 'शुचिः शृंगारः')। यह अभिलाषा एक शान्त-भक्त की है, जो कृष्ण को परब्रह्म रूप में भजता है।
L2example
sadānandaṁ paraṁ brahma dṛṣṭyā seviṣyate mayā
sadānandaṁwho is ever-blissfulजो सदा आनन्दस्वरूप है, उस
paraṁ brahmathe supreme Brahman — Kṛṣṇa, the object a śānta devotee worshipsपरब्रह्म की
dṛṣṭyāwith just a gaze instrumental of means — he longs to serve merely by looking, the śānta devotee's modeकेवल दर्शन के द्वारा (यही शान्त-भक्त की सेवा-रीति है)
seviṣyate mayāwill be served by me future passive seviṣyate; mayā = the agent (instrumental)मेरे द्वारा सेवा की जाएगी
paraṁ brahma — the supreme Brahman; sadānandaṁ — ever-blissful; [rukmiṇī-...-sthalaṁ — its chest saffron-smeared]; kadā — when; mayā — by me; dṛṣṭyā — with a gaze; seviṣyate — will be served.
sadānandaṁ — जो सदा आनन्दस्वरूप है, उस; paraṁ brahma — परब्रह्म की; dṛṣṭyā — केवल दर्शन-मात्र से; seviṣyate mayā — मेरे द्वारा सेवा की जाएगी
When will the ever-blissful supreme Brahman be served by me, with nothing more than my gaze? The speaker wants only to look on and serve — the quiet reach of śānta rasa. Yet the Kṛṣṇa he gazes at is the one wearing his queen's breast-saffron: an amorous, śṛṅgāra image.
उस सदा-आनन्दस्वरूप परब्रह्म की सेवा मैं केवल दर्शन के द्वारा कब करूँगा।
L3conclusion
atra śāntasya śucinā |
atrahere, in this verse [the pairing is]यहाँ (इस उदाहरण में)
śāntasyaof śānta, the speaker's peaceful devotionशान्त रस का
śucināwith śuci — that is, with śṛṅgāra, the amorous rasa (Rukmiṇī's) śuci is Rūpa's code-name for śṛṅgāra (Viśvanātha, 4.8.3); instrumental pairs śānta 'with' it. Supply 'the relation/enmity is'शुचि अर्थात् शृंगार के साथ (सम्बन्ध — यहाँ विरोध — है)
atra — here; śāntasya — of śānta; śucinā — with śṛṅgāra [is the relation illustrated].
atra — यहाँ; śāntasya — शान्त का; śucinā — शुचि (शृंगार) के साथ [विरोध है]
Rūpa tags the verse: here we have śānta paired with śṛṅgāra (śuci). These two are enemy rasas, and this verse is his example of that enmity showing up when the two sit in different loci (āśraya-bheda) — one in the speaker, one in Rukmiṇī.
यहाँ शान्त रस का शुचि अर्थात् शृंगार के साथ (विरोध) दिखाया गया है।
Commentary — decoded
Jīva Gosvāmī
s1avataranika
rukmiṇī iti |
rukmiṇī itithe verse beginning 'rukmiṇī...' [he now takes up] pratīka — Jīva names the verse by its opening word before commenting'रुक्मिणी' इत्यादि (शब्दों से आरम्भ होनेवाला श्लोक)
rukmiṇī iti — [the verse] beginning 'rukmiṇī...'.
rukmiṇī iti — 'रुक्मिणी' इत्यादि
Jīva flags the verse by its first word, 'rukmiṇī', and turns to explain it.
'रुक्मिणी' इस आदि-पद से जीव इस श्लोक का नाम लेकर टीका आरम्भ करते हैं।
s2gloss
eṣā atra śucer āśrayaḥ |
eṣāshe — Rukmiṇīयह (रुक्मिणी)
atrahere, in this verseयहाँ
śucer āśrayaḥis the locus (āśraya) of śuci — of śṛṅgāra, the amorous rasa śuci = śṛṅgāra (Viśvanātha, 4.8.3); genitive śuceḥ = the rasa she holdsशुचि अर्थात् शृंगार की आश्रय है
eṣā — Rukmiṇī; atra — here; śucer āśrayaḥ — is the locus of śṛṅgāra.
eṣā — यह; atra — यहाँ; śucer āśrayaḥ — शुचि (शृंगार) की आश्रय
In this verse, says Jīva, Rukmiṇī is the person in whom the amorous rasa (śṛṅgāra) lives — she is its locus.
यहाँ यह रुक्मिणी शुचि अर्थात् शृंगार रस की आश्रय है।
s3gloss
vaktā tu śāntasya |
vaktā tuthe speaker, on the other hand, tu marks the contrast — a second, different locusपरन्तु बोलनेवाला (वक्ता)
śāntasya[is the locus] of śāntaशान्त रस का (आश्रय है)
vaktā tu — the speaker, by contrast; śāntasya — [is the locus] of śānta.
vaktā tu — परन्तु वक्ता; śāntasya — शान्त का
The speaker, on the other hand, is the locus of śānta. So the two enemy rasas sit in two different persons — Rukmiṇī holds śṛṅgāra, the speaker holds śānta. That is exactly the āśraya-bheda, the difference of locus, this verse was brought to show.
परन्तु जो यह बोल रहा है, वह वक्ता शान्त रस का आश्रय है।
s4alternative
rukmiṇīty-ādi bhāvanāyāṁ tu śucer āśrayaḥ syād iti |
rukmiṇīty-ādi bhāvanāyāṁ tubut if [the speaker] is himself dwelling in meditation on 'rukmiṇī...' and the rest locative bhāvanāyām = 'in the case of meditating'; tu opens a second readingपरन्तु 'रुक्मिणी' इत्यादि (वर्णन) की भावना अर्थात् ध्यान करने में
śucer āśrayaḥ syādthen he too would become the locus of śṛṅgāraशुचि अर्थात् शृंगार का आश्रय हो जाए
iti— so [runs the alternative]ऐसा (दूसरा पक्ष)
rukmiṇīty-ādi bhāvanāyāṁ tu — but if he meditates on the 'rukmiṇī...' image; śucer āśrayaḥ syād — he would become the locus of śṛṅgāra; iti — so it would be.
rukmiṇīty-ādi bhāvanāyāṁ tu — परन्तु 'रुक्मिणी' इत्यादि की भावना करने में; śucer āśrayaḥ syād — शुचि (शृंगार) का आश्रय हो जाए; iti — ऐसा
But now Jīva raises a second reading. Suppose the speaker is not merely reporting the scene — suppose he himself is dwelling on that image of Rukmiṇī's breast-saffron. Then the speaker too becomes a locus of śṛṅgāra. (This alternative is left standing, not resolved away.)
परन्तु 'रुक्मिणी' इत्यादि का ध्यान करने में तो वक्ता स्वयं शुचि अर्थात् शृंगार का आश्रय बन जाए — ऐसा भी हो सकता है।
s5conclusion
pakṣe tu sutarām eva doṣa iti bhāvaḥ ||
pakṣe tubut on that alternative reading tu contrasts this second case with the clean first oneपरन्तु इस (दूसरे) पक्ष में
sutarām eva doṣaḥthe fault is all the greater eva intensifies sutarām — 'worse still, and precisely so'और भी अधिक ही दोष है
iti bhāvaḥ— such is the underlying senseयही अभिप्राय है
pakṣe tu — but on that alternative; sutarām eva doṣaḥ — the fault is all the greater; iti bhāvaḥ — this is the point.
pakṣe tu — परन्तु इस पक्ष में; sutarām eva doṣaḥ — और भी अधिक ही दोष; iti bhāvaḥ — यही अभिप्राय
On that second reading the fault is far worse. For then śānta and śṛṅgāra, sworn enemy rasas, no longer sit apart in two people — they crowd into one and the same locus, the speaker. Enemy rasas in a single locus is the real defect, and here it is greater still. That, says Jīva, is the point.
परन्तु इस दूसरे पक्ष में तो दोष और भी अधिक है — यही अभिप्राय है।
Viśvanātha Cakravartī
s1avataranika
rukmiṇī iti |
rukmiṇī itithe verse beginning 'rukmiṇī...' [he now takes up] pratīka — the verse named by its opening word'रुक्मिणी' इत्यादि (आरम्भ-पद से श्लोक का नाम)
rukmiṇī iti — [the verse] beginning 'rukmiṇī...'.
rukmiṇī iti — 'रुक्मिणी' इत्यादि
Viśvanātha too flags the verse by its opening word and begins.
'रुक्मिणी' इस आदि-पद से श्लोक का नाम लिया गया है।
s2gloss
eṣā atra śucer āśrayaḥ |
eṣāshe — Rukmiṇīयह (रुक्मिणी)
atrahere, in this verseयहाँ
śucer āśrayaḥis the locus of śuci — of śṛṅgāra, the amorous rasa śuci = śṛṅgāra, as Viśvanātha himself glossed at 4.8.3शुचि अर्थात् शृंगार की आश्रय है
eṣā — Rukmiṇī; atra — here; śucer āśrayaḥ — is the locus of śṛṅgāra.
eṣā — यह; atra — यहाँ; śucer āśrayaḥ — शुचि (शृंगार) की आश्रय
In this verse Rukmiṇī is the locus of the amorous rasa (śṛṅgāra).
यहाँ यह रुक्मिणी शुचि अर्थात् शृंगार रस की आश्रय है।
s3conclusion
vaktā śāntasya ||
vaktāthe speakerबोलनेवाला (वक्ता)
śāntasya[is the locus] of śāntaशान्त रस का (आश्रय है)
vaktā — the speaker; śāntasya — [is the locus] of śānta.
vaktā — वक्ता; śāntasya — शान्त का
And the speaker is the locus of śānta. Viśvanātha stops right there — the two rasas simply rest in two different loci, and that is the āśraya-bheda. He adds no remark about a meditation-reading or a greater fault; that extra step is Jīva's, not his.
और जो बोल रहा है, वह वक्ता शान्त रस का आश्रय है।