ity atra kañjarīṭa-dṛṣṭāntena bhāvi-kṛṣṇa-saṅgamasya sūcanāt prarocanā | / yad vā tatraiva— / rādhā (saṁskṛtena)—
The verse — decoded
L1example
ajani saphalaḥ saukhyaṁ bhūyān kalevara-dhāraṇe
ajanihas come to be, has finally happened — the main verb of the joyful announcement aorist passive/reflexive of √jan; its subject is saphalaḥ parikleśaḥ, carried over from the next lineउत्पन्न हो गया (कर्मवाच्य अद्यतनी — इसका कर्ता है 'सफल परिक्लेश', जो अगली पंक्ति से यहाँ लाया गया है)
saphalaḥfruitful — 'it has borne fruit'; predicate agreeing with parikleśaḥ ('the toil') in L2 nominative singular masculine, reaching forward to parikleśaḥसफल / फलदायी (आगे 'परिक्लेश' से अन्वित — वह क्लेश अब फल देने वाला हो गया)
saukhyaṁhappiness, joy — what has now arisen nominative singular neuterसुख
bhūyānabundant, great — the happiness has grown large comparative of bahu ('much'); taken here as an exclamatory 'great is the...', loosely with the neuter saukhyaṁबहुत बड़ा / महान ('बहु' का तरतमवाचक रूप — यहाँ विस्मयसूचक, नपुंसक 'सुख' के साथ शिथिल अन्वय)
kalevara-dhāraṇein keeping this body alive — in just holding on to life locative of kalevara ('body') + dhāraṇa ('bearing, maintaining'); the sphere in which the new happiness is feltशरीर धारण करने में (सप्तमी — जिस क्षेत्र में यह नया सुख अनुभव होता है)
saphalaḥ ajani — [the toil] has borne fruit; kalevara-dhāraṇe — in the mere keeping of the body alive; bhūyān saukhyaṁ [jātam] — great happiness [has arisen].
ajani — उत्पन्न हुआ; saphalaḥ — सफल (वह परिक्लेश); saukhyaṁ — सुख; bhūyān — महान; kalevara-dhāraṇe — शरीर धारण करने में।
Rādhā turns to her friend and cries out: it has borne fruit! (saphalaḥ ajani) — everything has finally paid off. And now there is great happiness (bhūyān saukhyaṁ) even in the plain act of keeping this body alive (kalevara-dhāraṇe). She had been barely holding on through separation; now simply staying alive has become worthwhile.
(मेरा जो क्लेश था वह अब) सफल हो गया; इस शरीर को धारण करने में महान सुख उत्पन्न हुआ।
This is the second udāharaṇa (illustrative verse, 7.27) of prarocanā — 'foreshadowing a coming turn of the plot as though already accomplished' — defined in the previous kārikā (ref 102, nc.6.92). The lead-in explains that in the first illustration (nc.6.93) the future union with Kṛṣṇa was hinted through the example of the wagtail birds; here, 'or else, in that same seventh act', Rādhā (speaking in Sanskrit) reads Kṛṣṇa's approaching dark radiance as the sure sign of the union still to come, so the coming good is presented as good as here — the mark of prarocanā.
यह प्ररोचना का दूसरा उदाहरण (श्लोक ७.२७) है — प्ररोचना अर्थात् 'आगे आने वाले कथा-मोड़ को ऐसे दिखाना मानो वह पहले ही हो चुका हो', जिसका लक्षण पिछली कारिका (nc.6.92) में कहा गया। प्रस्तावना बताती है कि पहले उदाहरण (nc.6.93) में कृष्ण के साथ भावी मिलन खञ्जन पक्षियों के दृष्टान्त से सूचित हुआ था; यहाँ 'अथवा उसी सातवें अङ्क में' राधा (संस्कृत में बोलती हुई) कृष्ण की निकट आती श्याम आभा को आगामी मिलन का निश्चित चिह्न पढ़ती है, अतः आने वाला शुभ ऐसे प्रस्तुत होता है मानो वह अभी उपस्थित हो — यही प्ररोचना का लक्षण है।
L2example
sahacari parikleśo yo’bhūn mayā kila sevitaḥ |
sahacariO companion — she addresses her girlfriend vocative singular feminineहे सखी! (सम्बोधन)
parikleśaḥthe toil, the wearing-down hardship — the thing that has now borne fruit (subject of saphalaḥ ajani in L1) nominative singular; pari- intensifies kleśa ('affliction')महान क्लेश ('परि' उपसर्ग 'क्लेश' को तीव्र करता है)
yaḥthe very one which — relative pointing back to parikleśaḥ nominative singular masculine relative pronounजो (सम्बन्धवाचक सर्वनाम)
abhūtcame to be, was — the hardship that arose aorist of √bhū; verb of the relative clauseहुआ (सम्बन्ध-वाक्य की क्रिया, √भू अद्यतनी)
mayāby me — she is the one who bore it instrumental of agent with the participle sevitaḥमेरे द्वारा ('सेवित' कृदन्त के साथ कर्ता तृतीया)
kilaindeed, as you know — marking a shared, remembered fact particle of recollection / mild emphasisनिश्चय ही / (स्मरणपूर्वक कहते हुए) — स्मरण-सूचक निपात
sevitaḥgiven myself over to, served, lived through — the toil I devotedly endured past passive participle of √sev, agreeing with parikleśaḥसेवित / भोगा गया (√सेव् का कर्मणि भूत कृदन्त, 'परिक्लेश' से अन्वित)
sahacari — O companion; yaḥ parikleśaḥ — the toil which; mayā kila sevitaḥ abhūt — was indeed, as you know, given myself over to by me; [saḥ saphalaḥ ajani — that has now borne fruit].
sahacari — हे सखी; parikleśaḥ — जो महान क्लेश; yaḥ abhūt — जो हुआ था; mayā kila sevitaḥ — मेरे द्वारा निश्चय ही भोगा गया।
She names what has borne fruit. 'O companion (sahacari), the toil (parikleśaḥ) — all that hardship I gave myself over to and lived through (mayā kila sevitaḥ) — that is what has now become fruitful.' The word kila makes it a shared memory: 'the very toil you watched me bear.'
हे सखी! जो महान क्लेश (अब तक) मेरे द्वारा भोगा गया था — (वही अब सफल हुआ)।
L3example
ahaha yad imāḥ śyāma-śyāmā puro mama vallavī-
ahahaah! — a cry of sudden, wondering joy exclamatory particleअहह! (विस्मय-सूचक निपात)
yatbecause, for — introduces the reason for her joy conjunction giving the ground of the preceding happinessक्योंकि / जिससे (पूर्वोक्त सुख का कारण बताने वाला)
imāḥthese — pointing to what she now sees (agreeing with marīcayaḥ, 'rays', in L4) nominative plural feminine demonstrativeये (स्त्रीलिङ्ग बहुवचन — किरणों की ओर संकेत)
śyāma-śyāmāḥdark, dark-blue — the very colour of Śyāma, Kṛṣṇa himself; even his radiance carries his dark hue (describing the rays) reduplicated intensive of śyāma ('dark-blue'), nominative plural feminine with marīcayaḥ; also puns on Śyāma as Kṛṣṇa's nameअत्यन्त श्याम (नील) — 'मरीचि' का विशेषण ('श्याम' का द्विरुक्त तीव्र रूप); साथ ही 'श्याम' अर्थात् कृष्ण के नाम पर श्लेष
puraḥ mamaright before me, in my sight puraḥ ('in front') + mama (genitive, 'of me') = 'before me'मेरे सामने ('पुरः' आगे + 'मम' मेरे)
vallavī-of the cowherd-women — opening of the long compound completed in L4 (…-kula-kumudinī-bandhoḥ) first member of a compound split across the line-break; construes with L4गोपी- (समास का पूर्व पद, पंक्ति-भेद में विभक्त — L4 से अन्वित)
ahaha — ah!; yat — because; imāḥ śyāma-śyāmāḥ [marīcayaḥ] — these dark-blue rays; mama puraḥ — before me [sphuranti — are shining]; vallavī- — of the cowherd-women… (compound continues in L4).
ahaha — अहह; yat — क्योंकि; imāḥ — ये; śyāma-śyāmāḥ — अत्यन्त श्याम (मरीचियाँ); puraḥ mama — मेरे सामने; vallavī- — गोपी(-कुल)।
Now she gives the reason for her joy — ahaha!, ah! 'Because (yat) these very rays (imāḥ, completed as marīcayaḥ in the next line) are shining right before my eyes (puraḥ mama).' And the rays are śyāma-śyāma — dark, dark-blue — the colour of Śyāma, of Kṛṣṇa himself: even his radiance is dark like him. The compound she has begun — vallavī-, 'of the cowherd-women' — runs on into the next line.
अहह! (यह सुख इसलिए हुआ) क्योंकि ये अत्यन्त श्याम (किरणें) मेरे सामने (प्रकट हो रही हैं) — गोपी(-कुल की)।
L4example
kula-kumudinī-bandhos tās tāḥ sphuranti marīcayaḥ || 7.27 ||
kula-kumudinī-bandhoḥcompleting vallavī-…: of the moon-friend of the night-lotus-cluster that is the host of cowherd-women — that is, of Kṛṣṇa, who like the moon makes the gopī-lotuses bloom (genitive with marīcayaḥ, 'rays') vallavī-kula ('the community of cowherd-women') = kumudinī ('a bed of night-lotuses'); bandhu ('friend, kinsman') of the kumudinī = the moon, a stock convention, here Kṛṣṇa; genitive singularगोपी-कुल रूपी कुमुदिनी (कुमुद-वन) के बन्धु — अर्थात् चन्द्रमा, यहाँ कृष्ण — का (षष्ठी)
tāḥ tāḥthose very ones, each and every one of them — the longing repetition of one who has waited doubled demonstrative, nominative plural feminine with marīcayaḥवे-वे (द्विरुक्त निर्देशक, 'मरीचि' के साथ स्त्रीलिङ्ग बहुवचन)
sphurantiare flashing into view, shining forth — the rays break upon her sight now present indicative of √sphurस्फुरित हो रही हैं / चमक रही हैं (√स्फुर् वर्तमान)
marīcayaḥthe rays, the effulgence — his approaching light nominative plural feminine; subject of sphuranti, described by imāḥ, śyāma-śyāmāḥ, tāḥ tāḥ, and the genitive compoundकिरणें ('स्फुरन्ति' का कर्ता, 'इमाः', 'श्याम-श्यामाः', 'ताः ताः' और षष्ठी-समास से वर्णित)
vallavī-kula-kumudinī-bandhoḥ — of the moon-friend of the cowherd-women's night-lotus-cluster [= Kṛṣṇa]; tāḥ tāḥ marīcayaḥ — those very rays; mama puraḥ sphuranti — are flashing into view before me.
kula-kumudinī-bandhoḥ — गोपी-कुल रूपी कुमुदिनी के बन्धु (चन्द्र = कृष्ण) की; tāḥ tāḥ — वे-वे; marīcayaḥ — किरणें; sphuranti — स्फुरित हो रही हैं।
She completes the image. The rays belong to the bandhu — the moon-like friend — of the kumudinī, the bed of night-blooming lotuses that is the whole community of cowherd-women (vallavī-kula). Kṛṣṇa is that moon: as the moon opens the night-lotuses, he makes the gopīs bloom. And those very rays (tāḥ tāḥ marīcayaḥ) — his approaching effulgence — are now flashing into view (sphuranti) right before her. His heralding light is here; the union is as good as arrived. That forward-pointing sign, taken as already accomplished, is exactly the prarocanā this verse is quoted to illustrate.
गोपी-कुल रूपी कुमुदिनी के बन्धु — अर्थात् उनके चन्द्र कृष्ण — की वे-वे किरणें (मेरे सामने) स्फुरित हो रही हैं।
The image rests on a stock convention: the night-lotus (kumudinī) opens at moonrise, so the moon is called its bandhu ('friend, kinsman'). Here the cowherd-women are the night-lotus bed and Kṛṣṇa is their moon — yet, paradoxically, his rays are śyāma, dark-blue, because he himself is dark; a dark moon whose dark rays still make the lotuses bloom. || 7.27 || is the verse-number of the source play and is not part of the decode.
यह चित्र एक प्रसिद्ध कवि-समय पर आधारित है: कुमुदिनी (रात्रि में खिलने वाला कमल-वन) चन्द्रोदय पर खिलती है, अतः चन्द्रमा को उसका बन्धु कहा जाता है। यहाँ गोपियाँ कुमुदिनी-वन हैं और कृष्ण उनके चन्द्र — किन्तु विरोधाभास यह कि उनकी किरणें श्याम (नील) हैं, क्योंकि वे स्वयं श्याम हैं; एक श्याम चन्द्र जिसकी श्याम किरणें फिर भी कमलों को खिला देती हैं। '|| 7.27 ||' मूल नाटक का श्लोक-क्रमांक है, डिकोड का अंग नहीं।
sahacari, yaḥ parikleśaḥ mayā kila sevitaḥ abhūt, saḥ saphalaḥ [san] ajani; kalevara-dhāraṇe bhūyān saukhyaṁ [jātam]; ahaha, yat imāḥ vallavī-kula-kumudinī-bandhoḥ tāḥ tāḥ śyāma-śyāmāḥ marīcayaḥ mama puraḥ sphuranti.
हे sahacari (सखी)! mayā kila yaḥ parikleśaḥ sevitaḥ abhūt (मेरे द्वारा निश्चय ही जो महान क्लेश भोगा गया था), (saḥ) saphalaḥ ajani (वह अब सफल हो गया); kalevara-dhāraṇe (इस शरीर को धारण करने में) bhūyān saukhyaṁ (महान सुख उत्पन्न हुआ); ahaha! yat (क्योंकि) imāḥ śyāma-śyāmāḥ (ये अत्यन्त श्याम) vallavī-kula-kumudinī-bandhoḥ (गोपी-कुल रूपी कुमुदिनी के बन्धु — अर्थात् उनके चन्द्र कृष्ण — की) tāḥ tāḥ marīcayaḥ (वे-वे किरणें) mama puraḥ (मेरे सामने) sphuranti (स्फुरित हो रही हैं)।
O companion, the long wearing hardship that I gave myself over to and lived through — you know the one — has at last borne fruit; now there is great happiness even in the plain act of keeping this body alive. Ah! — and this is why: for these very rays, dark, dark-blue with the very hue of Śyāma himself, the rays of the moon-friend of the night-lotus bed that is the whole host of cowherd-women, are at this moment flashing into view right before my eyes.
हे सखी! मेरे द्वारा जो महान क्लेश अब तक निश्चय ही भोगा गया था, वह अब सफल हो गया; इस शरीर को धारण करने में मुझे महान सुख उत्पन्न हुआ। अहह! क्योंकि गोपी-कुल रूपी कुमुदिनी के बन्धु — अर्थात् उनके चन्द्र कृष्ण — की वे-वे अत्यन्त श्याम किरणें मेरे सामने स्फुरित हो रही हैं।
The second udāharaṇa (7.27, spoken by Rādhā) illustrating prarocanā — foreshadowing a coming turn of the plot as already accomplished — defined in kārikā 102 (nc.6.92): reading Kṛṣṇa's approaching dark radiance as the sure sign of the union still to come, she greets the future good as though already present.
कञ्जरीट के दृष्टान्त से भावी कृष्ण-सङ्गम की सूचना देकर प्ररोचना जगाने वाला उदाहरण-पद्य — राधा की उक्ति।