Commentary — decoded
Jīva Gosvāmī
s1avataranika
atha madhurākhyaṁ bhakti-rasa-rājam eva pūrvoktānupāsanam anuvādena lakṣayati vakṣyamāṇair iti |
atha madhura-ākhyaṁ bhakti-rasa-rājam evanow this very king of the devotional rasas, the one named madhura, eva 'the very same' (picks up rasa-rāṭ of 1.2)अब उसी 'मधुर' नामक भक्ति-रसों के राजा को ही
pūrva-ukta-anupāsanamwhich was not treated close-up (in detail) in what was said before,जिसकी पहले उपासना नहीं की गई थी / पहले कही हुई का अनुसरण करते हुए
anuvādena lakṣayatihe defines by restating (recalling) what was already said — instrumental; anuvāda = restatement of the knownअनुवाद (ज्ञात का पुनः-कथन) के द्वारा लक्षित करते हैं
vakṣyamāṇaiḥ itiwith the word "vakṣyamāṇaiḥ." verse-pointer'वक्ष्यमाणैः' इस पद से (यह श्लोक)
atha madhura-ākhyaṁ bhakti-rasa-rājam eva — now this very king of the devotional rasas named madhura; pūrva-ukta-anupāsanam — not treated in detail before; anuvādena lakṣayati — he defines by restatement; vakṣyamāṇaiḥ iti — with "vakṣyamāṇaiḥ."
atha — अब; madhura-ākhyaṁ bhakti-rasa-rājam eva — उसी 'मधुर' नामक भक्ति-रसराज को ही; anuvādena — अनुवाद (ज्ञात के पुनः-कथन) से; lakṣayati — लक्षित करते हैं; vakṣyamāṇaiḥ iti — 'वक्ष्यमाणैः' इस श्लोक से
Jīva introduces the verse. The subject is the same king of the devotional rasas, the madhura, that the last verse named. It had not yet been laid out in full. So Rūpa now defines it by anuvāda — restating what was already established elsewhere rather than saying it fresh. He does this with the opening word "vakṣyamāṇaiḥ."
अब ग्रन्थकार 'वक्ष्यमाणैः' इस श्लोक से उसी मधुर नामक भक्ति-रसराज का अनुवाद-रूप में लक्षण कहते हैं।
s2gloss
pūrvaṁ hi sāmānyato bhakti-rasaḥ proktaḥ |
pūrvaṁ hifor earlier, hi 'for' — gives the ground for anuvādaक्योंकि पहले (यही अनुवाद का आधार है)
sāmānyataḥin a general way (not in this specific madhura form) ablative used adverbiallyसामान्य रूप से
bhakti-rasaḥ proktaḥthe devotional rasa was (already) declared.भक्ति-रस कहा गया था
pūrvaṁ hi — for earlier; sāmānyataḥ — in a general way; bhakti-rasaḥ proktaḥ — the devotional rasa was declared.
pūrvaṁ hi — क्योंकि पहले; sāmānyataḥ — सामान्य रूप से; bhakti-rasaḥ proktaḥ — भक्ति-रस कहा जा चुका था
Jīva backs up his claim that Rūpa is restating, not inventing. Earlier — in the Bhakti-rasāmṛta-sindhu — the devotional rasa was already declared, but only in general terms, not specifically as the madhura rasa. That general treatment is what this verse now recalls.
क्योंकि पहले सामान्य रूप से भक्ति-रस का कथन हो चुका है (इसीलिए यहाँ अनुवाद बनता है)।
s3citation
vibhāvair anubhāvaiś ca sāttvikair vyabhicāribhiḥ | svādyatvaṁ hṛdi bhaktānām ānītā śravaṇādibhiḥ | eṣā kṛṣṇa-ratiḥ sthāyī bhāvo bhakti-raso bhavet ||
vibhāvaiḥ anubhāvaiḥ ca sāttvikaiḥ vyabhicāribhiḥby vibhāvas and anubhāvas, and by sāttvikas and vyabhicārīs, instrumental plural of meansविभावों, अनुभावों, सात्त्विकों और व्यभिचारियों के द्वारा
hṛdi bhaktānām svādyatvaṁ ānītābrought to being relished in the hearts of the devotees, locative; genitive of personsभक्तों के हृदय में आस्वाद्यता को पहुँचाई गई
śravaṇa-ādibhiḥthrough hearing and the rest, instrumental of meansश्रवण आदि के द्वारा
eṣā kṛṣṇa-ratiḥ sthāyī bhāvaḥthis love for Kṛṣṇa, the standing (foundational) emotion,यह कृष्ण-रति जो स्थायी भाव है
bhakti-rasaḥ bhavetbecomes the devotional rasa. optative, definitionalभक्ति-रस हो जाती है
vibhāvaiḥ anubhāvaiḥ ca sāttvikaiḥ vyabhicāribhiḥ — by vibhāvas, anubhāvas, sāttvikas, vyabhicārīs; śravaṇa-ādibhiḥ — through hearing and the rest; hṛdi bhaktānām svādyatvaṁ ānītā — brought to being relished in the devotees' hearts; eṣā kṛṣṇa-ratiḥ sthāyī bhāvaḥ bhakti-rasaḥ bhavet — this love for Kṛṣṇa, the standing emotion, becomes the devotional rasa.
eṣā kṛṣṇa-ratiḥ sthāyī bhāvaḥ — यह कृष्ण-रति रूप स्थायी भाव; vibhāvaiḥ anubhāvaiḥ ca sāttvikaiḥ vyabhicāribhiḥ — विभाव, अनुभाव, सात्त्विक और व्यभिचारियों से; śravaṇa-ādibhiḥ — श्रवण आदि से; bhaktānām hṛdi — भक्तों के हृदय में; svādyatvaṁ ānītā — आस्वाद्यता को पहुँचाई गई; bhakti-rasaḥ bhavet — भक्ति-रस हो जाती है
This is the general definition Jīva was pointing to. It is the parallel of the present verse, but for bhakti-rasa in general: love for Kṛṣṇa (the sthāyi-bhāva, the standing emotion) is made relishable in the devotees' hearts by the four ingredients — vibhāva, anubhāva, sāttvika, vyabhicārī — worked through hearing and the other practices; and then that love becomes bhakti-rasa. The present verse just narrows this to the madhura case.
यह कृष्ण-रति रूप स्थायी भाव, विभाव-अनुभाव-सात्त्विक-व्यभिचारियों से और श्रवण आदि से भक्तों के हृदय में आस्वाद्य बनकर भक्ति-रस बन जाती है।
Why cited: Cited (Bhakti-rasāmṛta-sindhu 2.1.5) as the earlier general definition of bhakti-rasa — rati made relishable by the four ingredients — which the present verse restates (anuvāda) and specializes to the madhura rasa.
क्यों उद्धृत: जीव गोस्वामी भक्ति-रसामृत-सिन्धु का यह मूल लक्षण-श्लोक उद्धृत करते हैं, यह दिखाने को कि 'भक्ति-रस पहले सामान्य रूप से कहा जा चुका है'।
s4gloss
ity anena vibhāvādayaś ca proktāḥ |
iti anenaby this (verse just quoted), iti closes the quote; instrumental of means'इति' से उद्धरण समाप्त; इस (श्लोक) के द्वारा
vibhāva-ādayaḥ ca proktāḥthe vibhāvas and the rest were also (already) declared.विभाव आदि भी कह दिए गए
iti anena — by this quoted verse; vibhāva-ādayaḥ ca proktāḥ — the vibhāvas and the rest were also declared.
iti anena — इस (उद्धृत श्लोक) के द्वारा; vibhāva-ādayaḥ ca proktāḥ — विभाव आदि भी कह दिए गए
Jīva draws the point from the quotation. That verse did not just define the rasa; it also named the four ingredients — vibhāva and the rest. So these too were already declared earlier. This sets up the string of proof-verses that follow, each defining one ingredient.
इस श्लोक के द्वारा विभाव आदि (के सामान्य स्वरूप) भी कह दिए गए हैं।
s5citation
tatra jñeyā vibhāvās tu raty-āsvādana-hetavaḥ | te dvidhālambanā eke tathaivoddīpanāḥ pare ||
tatraamong these (ingredients),उनमें (उन विभाव आदि में)
vibhāvāḥ tuthe vibhāvas, for their part, tu marks the topic shiftविभाव तो
rati-āsvādana-hetavaḥ jñeyāḥare to be known as the causes of the relishing of rati, gerundive; hetu 'cause'रति के आस्वादन के कारण जानने चाहिए
te dvidhāthey are of two kinds:वे दो प्रकार के हैं
ālambanāḥ ekesome are the supports (the persons the love rests on),एक (प्रकार) आलम्बन हैं
tathā eva uddīpanāḥ pareand likewise others are the kindlers (what inflames the love).वैसे ही दूसरे उद्दीपन हैं
tatra vibhāvāḥ tu rati-āsvādana-hetavaḥ jñeyāḥ — among these, the vibhāvas are to be known as causes of relishing rati; te dvidhā — they are of two kinds; ālambanāḥ eke — some the supports; tathā eva uddīpanāḥ pare — and likewise others the kindlers.
tatra — उनमें; vibhāvāḥ tu — विभाव तो; rati-āsvādana-hetavaḥ jñeyāḥ — रति के आस्वादन के हेतु जानने चाहिए; te dvidhā — वे दो प्रकार के; ālambanāḥ eke — एक आलम्बन; tathā eva uddīpanāḥ pare — तथा वैसे ही दूसरे उद्दीपन
The first ingredient, vibhāva, is defined. Vibhāvas are the causes that make rati relishable. They split into two: ālambana, the support — the person on whom the love rests — and uddīpana, the kindler — whatever inflames the love. Jīva quotes this to fix the definition of vibhāva already given in the source.
उनमें विभाव रति के आस्वादन के कारण हैं; वे दो प्रकार के हैं — एक आलम्बन और दूसरे उद्दीपन।
Why cited: Cited (Bhakti-rasāmṛta-sindhu 2.1.14) to fix the definition of vibhāva — the cause of relishing rati, split into ālambana and uddīpana — as one of the ingredients already declared.
क्यों उद्धृत: विभाव का उपविभाजन (आलम्बन और उद्दीपन) दिखाने के लिए जीव यह श्लोक लाते हैं।
s6citation
kṛṣṇaś ca kṛṣṇa-bhaktāś ca budhair ālambanā matāḥ | raty-āder viṣayatvena tathādhāratayāpi ca ||
kṛṣṇaḥ ca kṛṣṇa-bhaktāḥ caKṛṣṇa, and the devotees of Kṛṣṇa,कृष्ण और कृष्ण-भक्त
budhaiḥ ālambanāḥ matāḥare held by the wise to be the ālambanas (supports), instrumental of agentविद्वानों के द्वारा आलम्बन माने गए हैं
rati-āderaḥ viṣayatvenaas the object of rati and the rest (whom the love is directed at), instrumental of role; viṣaya = objectरति आदि के विषय होने के रूप में
tathā ādhāratayā api caand likewise as its holder too (in whom the love resides). instrumental of role; ādhāra = locusतथा आश्रय होने के रूप में भी
kṛṣṇaḥ ca kṛṣṇa-bhaktāḥ ca — Kṛṣṇa and the devotees of Kṛṣṇa; budhaiḥ ālambanāḥ matāḥ — are held by the wise to be the ālambanas; rati-āderaḥ viṣayatvena — as the object of rati and the rest; tathā ādhāratayā api ca — and likewise as its holder too.
kṛṣṇaḥ ca kṛṣṇa-bhaktāḥ ca — कृष्ण और कृष्ण-भक्त; budhaiḥ ālambanāḥ matāḥ — विद्वानों के द्वारा आलम्बन माने गए; rati-āderaḥ viṣayatvena — रति आदि के विषय-रूप से; tathā ādhāratayā api ca — तथा आश्रय-रूप से भी
This defines who the ālambana (support) are. Both Kṛṣṇa and his devotees are the supports of the love, in two roles at once: as the object the love is aimed at, and as the vessel in which the love resides. Jīva adduces it to fill in the first half of vibhāva — the ālambana side.
कृष्ण और कृष्ण-भक्त — दोनों को विद्वान आलम्बन मानते हैं; रति आदि के विषय-रूप में और आश्रय-रूप में भी।
Why cited: Cited (Bhakti-rasāmṛta-sindhu 2.1.16) to specify the ālambana of the rasa — Kṛṣṇa and his devotees, both as the object and as the locus of the love.
क्यों उद्धृत: आलम्बन कौन हैं (कृष्ण = विषय, भक्त = आश्रय) यह स्पष्ट करने को जीव यह श्लोक उद्धृत करते हैं।
s7citation
tad-bhāva-bhāvita-svāntāḥ kṛṣṇa-bhaktā itīritāḥ ||
tat-bhāva-bhāvita-svāntāḥthose whose inner being is steeped in love for him, bahuvrīhi; svānta = inner selfजिनका अन्तःकरण उस (कृष्ण) के भाव से भावित है
kṛṣṇa-bhaktāḥ iti īritāḥare called "the devotees of Kṛṣṇa." iti + past participle 'are termed'वे ही 'कृष्ण-भक्त' कहे जाते हैं
tat-bhāva-bhāvita-svāntāḥ — those whose inner being is steeped in love for him; kṛṣṇa-bhaktāḥ iti īritāḥ — are called "the devotees of Kṛṣṇa."
tat-bhāva-bhāvita-svāntāḥ — जिनका अन्तःकरण उसके भाव से भावित है; kṛṣṇa-bhaktāḥ iti īritāḥ — वे 'कृष्ण-भक्त' कहलाते हैं
A quick clarification of the word just used. When the previous verse said "the devotees of Kṛṣṇa" among the ālambana, who counts as such? Those whose whole inner life is soaked in feeling for Kṛṣṇa — they are what is meant by "kṛṣṇa-bhaktāḥ." Jīva pins down the term so the ālambana is not misread.
जिनका अन्तःकरण कृष्ण के भाव से भावित हो चुका है, वे ही 'कृष्ण-भक्त' कहे जाते हैं।
Why cited: Cited (Bhakti-rasāmṛta-sindhu 2.1.273) to define who the "devotees of Kṛṣṇa" among the ālambana are — those whose inner being is steeped in love for him.
क्यों उद्धृत: आलम्बन में 'कृष्ण-भक्त' पद का अर्थ (कौन भक्त आलम्बन है) निश्चित करने को यह पंक्ति लाई गई है।
s8citation
uddīpanās tu te proktā bhāvam uddīpayanti ye |
uddīpanāḥ tuthe kindlers (uddīpana), on the other hand, tu marks the shift to the second kind of vibhāvaपरन्तु उद्दीपन तो (वे)
te proktāḥare declared to be thoseवे कहे गए हैं
ye bhāvam uddīpayantiwhich inflame the emotion. relative ye; uddīpayanti causativeजो भाव को उद्दीप्त करते हैं
uddīpanāḥ tu — the kindlers, on the other hand; te proktāḥ — are declared to be those; ye bhāvam uddīpayanti — which inflame the emotion.
uddīpanāḥ tu — उद्दीपन तो; ye bhāvam uddīpayanti — जो भाव को उद्दीप्त करते हैं; te proktāḥ — वे कहे गए हैं
Now the second half of vibhāva. Turning from ālambana to uddīpana: the kindlers are defined simply as whatever inflames the emotion — fans it into a blaze. Jīva quotes the definition to complete the account of vibhāva's two kinds.
जो भाव को उद्दीप्त करते हैं, वे उद्दीपन कहे गए हैं।
Why cited: Cited (a definitional half-line) to define the second kind of vibhāva — uddīpana, whatever inflames the emotion.
क्यों उद्धृत: उद्दीपन-विभाव की परिभाषा देने को यह पंक्ति उद्धृत की गई है।
s9citation
te tu śrī-kṛṣṇa-candrasya guṇāś ceṣṭāḥ prasādhanam || [bha.ra.si. 2.1.301|
te tuand these (kindlers), for their part, tu continues the quotationवे तो (उद्दीपन)
śrī-kṛṣṇa-candrasyaof Śrī Kṛṣṇacandra — genitiveश्रीकृष्णचन्द्र के
guṇāḥ ceṣṭāḥ prasādhanamare his qualities, his deeds, and his adornments.गुण, चेष्टाएँ और साज-सज्जा (प्रसाधन) हैं
te tu — and these kindlers; śrī-kṛṣṇa-candrasya — of Śrī Kṛṣṇacandra; guṇāḥ ceṣṭāḥ prasādhanam — are (his) qualities, deeds, adornments.
te tu — वे उद्दीपन तो; śrī-kṛṣṇa-candrasya — श्रीकृष्णचन्द्र के; guṇāḥ ceṣṭāḥ prasādhanam — गुण, चेष्टाएँ और प्रसाधन हैं
Which things are the kindlers, concretely? Śrī Kṛṣṇacandra's own qualities, his actions, and his adornments — these are what inflame the devotee's love. Jīva adduces this to give the content of uddīpana, not just its definition.
वे उद्दीपन श्रीकृष्णचन्द्र के गुण, उनकी चेष्टाएँ और उनका प्रसाधन (सज्जा) हैं।
Why cited: Cited (Bhakti-rasāmṛta-sindhu 2.1.301) to give the content of uddīpana — Kṛṣṇa's qualities, deeds, and adornments as the things that kindle the love.
क्यों उद्धृत: उद्दीपन ठीक-ठीक कौन-सी वस्तुएँ हैं (कृष्ण के गुण-चेष्टा-प्रसाधन) यह गिनाने को यह पंक्ति लाई गई है।
s10other
ity-ādi |
iti-ādiand so on (the quotation continues in the source). ellipsis marker closing a run of quotesइत्यादि (यहाँ उद्धरणों की शृंखला संक्षिप्त कर दी गई)
iti-ādi — and so on.
iti-ādi — इत्यादि (शेष उद्धरण संक्षेप में छोड़ दिए गए)
A closing tag. "And so on" tells us the quoted passage runs further in the source than what has been given; Jīva breaks off, having quoted enough to establish the point about vibhāva. It marks the end of the vibhāva block.
'इत्यादि' — अर्थात इसी क्रम में और भी वचन हैं, जिन्हें संक्षेप में यहीं छोड़ दिया गया है।
s11citation
bhāvaiś cittam ihākrāntaṁ sattvam ity ucyate budhaiḥ | sattvād asmāt samutpannā ye ye bhāvās te tu sāttvikāḥ |
iha bhāvaiḥ ākrāntaṁ cittamhere, the mind overtaken by (spiritual) emotions instrumental of means; ākrānta = overpoweredयहाँ भावों से आक्रान्त (अभिभूत) चित्त को
sattvam iti budhaiḥ ucyateis called "sattva" by the wise; instrumental of agentविद्वानों के द्वारा 'सत्त्व' कहा जाता है
asmāt sattvāt samutpannāḥarising from this sattva, ablative of sourceइस सत्त्व से उत्पन्न हुए (होने के कारण)
ye ye bhāvāḥwhatever emotions there are,जो-जो भाव
te tu sāttvikāḥthose are the sāttvikas.वे तो सात्त्विक हैं
iha bhāvaiḥ ākrāntaṁ cittam — the mind overtaken by emotions; sattvam iti budhaiḥ ucyate — is called "sattva" by the wise; asmāt sattvāt samutpannāḥ ye ye bhāvāḥ — whatever emotions arise from this sattva; te tu sāttvikāḥ — those are the sāttvikas.
iha bhāvaiḥ ākrāntaṁ cittam — यहाँ भावों से अभिभूत चित्त; sattvam iti budhaiḥ ucyate — को विद्वान 'सत्त्व' कहते हैं; asmāt sattvāt samutpannāḥ — इस सत्त्व से उत्पन्न; ye ye bhāvāḥ — जो-जो भाव; te tu sāttvikāḥ — वे सात्त्विक हैं
Now the third ingredient, the sāttvikas, is traced to its root. A mind wholly overtaken by spiritual emotion is what the wise call "sattva." And whatever bodily emotions spring up out of that sattva — those are the sāttvika-bhāvas. So the name "sāttvika" is explained by its source: they come from sattva. Jīva quotes this to define the sāttvikas already declared.
भावों से अभिभूत चित्त को विद्वान 'सत्त्व' कहते हैं; उसी सत्त्व से उत्पन्न जो-जो भाव हैं, वे सात्त्विक हैं।
Why cited: Cited (Bhakti-rasāmṛta-sindhu 2.3.1-2) to define the sāttvikas — emotions arising from "sattva," the mind overtaken by feeling — the third ingredient already declared.
क्यों उद्धृत: 'सात्त्विक' नाम कहाँ से पड़ा (सत्त्व से उत्पन्न होने के कारण) यह व्युत्पत्ति दिखाने को यह श्लोक उद्धृत है।
s12citation
te stambha-sveda-romāñcāḥ svara-bhedo’tha vepathuḥ || [bha.ra.si. 2.3.1-2}
tethese (sāttvikas) are —वे (सात्त्विक भाव)
stambha-sveda-romāñcāḥbeing paralyzed, sweating, hair standing on end,स्तम्भ, स्वेद, रोमाञ्च
svara-bhedaḥ atha vepathuḥthe breaking of the voice, and then trembling,स्वर-भेद, फिर कम्प (वेपथु)
te — these sāttvikas are; stambha-sveda-romāñcāḥ — paralysis, sweating, horripilation; svara-bhedaḥ atha vepathuḥ — breaking of the voice, then trembling.
te — वे सात्त्विक; stambha-sveda-romāñcāḥ — स्तम्भ, स्वेद, रोमाञ्च; svara-bhedaḥ atha vepathuḥ — स्वर-भेद, फिर कम्प
The list of the sāttvikas begins. They are: being struck motionless (stambha), sweating (sveda), the hair standing up (romāñca), the voice breaking (svara-bheda), and trembling (vepathu). This half-line names five of the eight; the next completes the count.
वे सात्त्विक भाव हैं — स्तम्भ, स्वेद, रोमाञ्च, स्वर-भेद, और कम्प।
Why cited: Cited (Bhakti-rasāmṛta-sindhu 2.3.16, first part) to list the sāttvika-bhāvas by name — paralysis, sweating, horripilation, voice-break, trembling.
क्यों उद्धृत: आठ सात्त्विक भावों की गिनती आरम्भ करने को यह पंक्ति उद्धृत है।
s13citation
vaivarṇyam aśru pralaya ity aṣṭau sāttvikāḥ smṛtāḥ ||
vaivarṇyam aśru pralayaḥloss of color, tears, and fainting —वैवर्ण्य (रंग बदलना), अश्रु, प्रलय (मूर्च्छा)
iti aṣṭau sāttvikāḥ smṛtāḥthus eight are remembered as the sāttvikas. iti closes the list; smṛta 'traditionally held'इस प्रकार आठ सात्त्विक माने गए हैं
vaivarṇyam aśru pralayaḥ — loss of color, tears, fainting; iti aṣṭau sāttvikāḥ smṛtāḥ — thus eight are held to be the sāttvikas.
vaivarṇyam aśru pralayaḥ — वैवर्ण्य, अश्रु, प्रलय; iti aṣṭau sāttvikāḥ smṛtāḥ — इस प्रकार आठ सात्त्विक माने गए हैं
The list of sāttvikas is completed. Adding change of color (vaivarṇya), tears (aśru), and fainting away (pralaya) to the earlier five brings the total to eight — the traditional count of the sāttvika-bhāvas. Jīva quotes the closing line so the whole set of eight stands together.
वैवर्ण्य, अश्रु और प्रलय — इस प्रकार आठ सात्त्विक भाव माने गए हैं।
Why cited: Cited (Bhakti-rasāmṛta-sindhu 2.3.16) to complete the count of the sāttvikas at eight — adding pallor, tears, and fainting to the first five.
क्यों उद्धृत: आठ सात्त्विकों की गिनती पूरी कर 'आठ' संख्या स्थिर करने को यह पंक्ति उद्धृत है।
s14citation
athocyante trayas-triṁśad-bhāvā ye vyabhicāriṇaḥ | viśeṣeṇābhimukhyena caranti sthāyinaṁ prati |
atha ucyantenow are told passive presentअब (ये) कहे जाते हैं
trayaḥ-triṁśat bhāvāḥ ye vyabhicāriṇaḥthe thirty-three emotions that are the vyabhicārīs (the passing feelings),तेतीस भाव जो व्यभिचारी हैं
sthāyinaṁ pratitoward the standing emotion prati governs accusativeस्थायी (भाव) की ओर
viśeṣeṇa ābhimukhyena carantithey move with a special facing-toward (they run to serve it).विशेष रूप से अभिमुख होकर चलते हैं
atha ucyante — now are told; trayaḥ-triṁśat bhāvāḥ ye vyabhicāriṇaḥ — the thirty-three emotions that are the vyabhicārīs; sthāyinaṁ prati viśeṣeṇa ābhimukhyena caranti — they move with special facing-toward the standing emotion.
atha ucyante — अब कहे जाते हैं; trayaḥ-triṁśat bhāvāḥ ye vyabhicāriṇaḥ — तेतीस भाव जो व्यभिचारी हैं; sthāyinaṁ prati — स्थायी की ओर; viśeṣeṇa ābhimukhyena caranti — विशेष रूप से अभिमुख होकर चलते हैं
The fourth ingredient, the vyabhicārīs, is introduced. These are thirty-three passing emotions. What makes them vyabhicārī is that they move with a special turning-toward the sthāyi-bhāva, the standing emotion — running up to it, feeding and coloring it. Jīva quotes this to define the last of the four ingredients.
अब वे तेतीस व्यभिचारी भाव कहे जाते हैं, जो स्थायी भाव की ओर विशेष रूप से अभिमुख होकर चलते हैं।
Why cited: Cited (Bhakti-rasāmṛta-sindhu 2.4.1-2) to introduce the vyabhicārīs — thirty-three passing emotions that move toward and serve the standing emotion — the fourth ingredient.
क्यों उद्धृत: व्यभिचारी भावों की संख्या (तेतीस) और उनकी 'स्थायी की ओर चलने' वाली व्युत्पत्ति दिखाने को यह उद्धृत है।
s15citation
vāg-aṅga-sattva-sūcyā jñeyās te vyabhicāriṇaḥ || [bha.ra.si. 2.4.1-2}
vāk-aṅga-sattva-sūcyāḥrecognizable through speech, the body, and the inner state, instrumental of means; sūcya = to be indicatedवाणी, अंग और सत्त्व के द्वारा सूचित होने योग्य
te vyabhicāriṇaḥ jñeyāḥthese are to be known as the vyabhicārīs. gerundiveवे व्यभिचारी जानने चाहिए
vāk-aṅga-sattva-sūcyāḥ — recognizable through speech, body, and inner state; te vyabhicāriṇaḥ jñeyāḥ — these are to be known as the vyabhicārīs.
vāk-aṅga-sattva-sūcyāḥ — वाणी, अंग और सत्त्व से सूचनीय; te vyabhicāriṇaḥ jñeyāḥ — वे व्यभिचारी जानने चाहिए
How are the vyabhicārīs recognized? By three signs: speech, the body, and the inner state. Whatever passing emotions show themselves through these are to be known as vyabhicārīs. Jīva quotes the line that gives their marks, completing the definition.
जो वाणी, अंग-चेष्टा और सत्त्व के द्वारा सूचित होते हैं, वे व्यभिचारी भाव जानने चाहिए।
Why cited: Cited (Bhakti-rasāmṛta-sindhu 2.4.1-2) to give the marks by which the vyabhicārīs are recognized — through speech, the body, and the inner state.
क्यों उद्धृत: व्यभिचारी किन साधनों से पहचाने जाते हैं (वाक्-अंग-सत्त्व) यह बताने को यह पंक्ति उद्धृत है।
s16citation
unmajjanti nimajjanti sthāyiny amṛta-vāridhau | ūrmivad vardhayanty enaṁ yānti tad-rūpatāṁ ca te |
sthāyini amṛta-vāridhauin the standing emotion, that ocean of nectar, locativeस्थायी रूपी अमृत-समुद्र में
unmajjanti nimajjantithey surface and they sink,उभरते और डूबते हैं
ūrmi-vat enaṁ vardhayantilike waves they swell it (the standing emotion), -vat 'like'; enam refers to the sthāyinलहरों की भाँति इस (स्थायी) को बढ़ाते हैं
tat-rūpatāṁ ca te yāntiand they take on its very form.और वे उसी के रूप को प्राप्त हो जाते हैं
sthāyini amṛta-vāridhau — in the standing emotion, the ocean of nectar; unmajjanti nimajjanti — they surface and sink; ūrmi-vat enaṁ vardhayanti — like waves they swell it; tat-rūpatāṁ ca te yānti — and they take on its form.
sthāyini amṛta-vāridhau — स्थायी रूपी अमृत-समुद्र में; unmajjanti nimajjanti — उभरते-डूबते हैं; ūrmi-vat enaṁ vardhayanti — लहरों की भाँति इसे बढ़ाते हैं; tat-rūpatāṁ ca te yānti — और उसी का रूप पा जाते हैं
This gives the working image for the vyabhicārīs. Picture the sthāyi-bhāva as an ocean of nectar. The passing emotions rise up in it and sink back down; like waves they make that ocean swell higher; and rising from it they take on its very form. This is the analogy: the ocean is the standing emotion, and the waves — appearing, vanishing, swelling the sea, made of the same water — are the passing emotions, which never stand apart from the sthāyin but serve and magnify it.
वे व्यभिचारी स्थायी रूपी अमृत-समुद्र में उभरते-डूबते हैं, लहरों की तरह उस स्थायी को बढ़ाते हैं और स्वयं उसी के रूप में मिल जाते हैं।
Why cited: Cited (Bhakti-rasāmṛta-sindhu 2.4.3-4) for the wave-and-ocean image of how the vyabhicārīs relate to the standing emotion — rising, sinking, swelling it, and taking its form.
क्यों उद्धृत: व्यभिचारी का स्थायी के साथ सम्बन्ध (लहर-समुद्र का दृष्टान्त) दिखाने को यह श्लोक उद्धृत है।
s17citation
nirvedo’tha viṣādo [bha.ra.si. 2.4.3-4} ity-ādi madhurākhyāyā rater lakṣaṇaṁ coktam |
nirvedaḥ atha viṣādaḥself-disgust, and then despondency —निर्वेद, फिर विषाद
iti-ādiand so on (the list of the vyabhicārīs continues). ellipsis markerइत्यादि (शेष व्यभिचारी संक्षेप में)
madhura-ākhyāyāḥ rateḥ lakṣaṇaṁ ca uktamand (thereby) the definition of the rati called madhura has been given. genitive; sums up the whole run of quotesऔर मधुर नामक रति का लक्षण भी कह दिया गया
nirvedaḥ atha viṣādaḥ iti-ādi — self-disgust, then despondency, and so on; madhura-ākhyāyāḥ rateḥ lakṣaṇaṁ ca uktam — and the definition of the rati called madhura has been given.
nirvedaḥ atha viṣādaḥ — निर्वेद, फिर विषाद; iti-ādi — इत्यादि; madhura-ākhyāyāḥ rateḥ — मधुर नामक रति का; lakṣaṇaṁ ca uktam — लक्षण भी कह दिया गया
The list of vyabhicārīs is named by its opening — self-disgust (nirveda), despondency (viṣāda), "and so on" for the rest of the thirty-three. Jīva then sums up the whole chain of quotations: with these four ingredients now defined, the definition of the madhura rati itself has effectively been given. This closes the anuvāda he began.
निर्वेद, विषाद इत्यादि (व्यभिचारी) गिनाकर, मधुर नामक रति का लक्षण भी कह दिया गया है।
Why cited: Cited (Bhakti-rasāmṛta-sindhu 2.4.3-4) to open the list of the thirty-three vyabhicārīs (nirveda, viṣāda…); Jīva then notes the whole chain has now given the definition of the madhura rati.
क्यों उद्धृत: व्यभिचारियों की गणना का समापन कर, यहाँ यह जोड़ा गया है कि इसी क्रम में मधुरा रति का स्वरूप-लक्षण भी कहा जा चुका है।
s18citation
mitho harer mṛgākṣyāś ca sambhogasyādi-kāraṇam | madhurāpara-paryāyā priyatākhyoditā ratiḥ ||
mithaḥ hareḥ mṛga-akṣyāḥ camutually, of Hari and of the doe-eyed one (Rādhā), genitive; mithaḥ 'reciprocal'परस्पर हरि (कृष्ण) और मृगनयनी (राधा) के बीच
sambhogasya ādi-kāraṇambeing the root cause of their union, genitive; ādi-kāraṇa 'first cause'सम्भोग का आदि-कारण (प्रथम कारण)
madhurā apara-paryāyā priyatā-ākhyā uditā ratiḥis the rati called madhura — whose other name is priyatā (belovedness).'मधुरा' — जिसका दूसरा नाम 'प्रियता' है — ऐसी रति कही गई है
mithaḥ hareḥ mṛga-akṣyāḥ ca sambhogasya ādi-kāraṇam — the root cause of the mutual union of Hari and the doe-eyed one; madhurā apara-paryāyā priyatā-ākhyā uditā ratiḥ — is the rati called madhura, whose other name is priyatā.
mithaḥ hareḥ mṛga-akṣyāḥ ca — परस्पर हरि और मृगनयनी के; sambhogasya ādi-kāraṇam — सम्भोग का आदि-कारण; madhurā apara-paryāyā priyatā-ākhyā ratiḥ uditā — 'मधुरा' अर्थात 'प्रियता' नामक रति कही गई है
Here is the direct definition of the madhura rati. It is the very love that is the root cause of the mutual union of Hari and the doe-eyed Rādhā. This love is called madhura, and it goes by a second name too — priyatā, "belovedness." Jīva quotes it so the specific rati of this rasa is named outright, not just built up from ingredients.
हरि और मृगनयनी के परस्पर सम्भोग का जो आदि-कारण है, वह 'मधुरा' — जिसका दूसरा नाम 'प्रियता' है — रति कही गई है।
Why cited: Cited (Bhakti-rasāmṛta-sindhu 2.5.36) to name the madhura rati directly — the love that is the root cause of the union of Hari and Rādhā, also called priyatā — the sthāyi-bhāva of this rasa.
क्यों उद्धृत: मधुरा रति का स्वरूप-लक्षण और उसका पर्याय-नाम 'प्रियता' प्रमाणित करने को यह श्लोक उद्धृत है।
s19conclusion
tad evaṁ tad etan-madhurākhya-bhakti-rasa-lakṣaṇam api vyākhyeyam |
tat evaṁso, in this way,अतः इस प्रकार
tat etat-madhura-ākhya-bhakti-rasa-lakṣaṇam apithis very definition of the devotional rasa named madhura, too, api 'too, likewise'वह यह मधुर नामक भक्ति-रस का लक्षण भी
vyākhyeyamis to be explained (on the same pattern). gerundiveव्याख्या करने योग्य है
tat evaṁ — so, in this way; tat etat-madhura-ākhya-bhakti-rasa-lakṣaṇam api — this very definition of the madhura bhakti-rasa too; vyākhyeyam — is to be explained.
tat evaṁ — अतः इस प्रकार; tat etat-madhura-ākhya-bhakti-rasa-lakṣaṇam api — यह मधुर नामक भक्ति-रस का लक्षण भी; vyākhyeyam — व्याख्या करने योग्य है
Jīva ties it together. Since the general definition and all four ingredients have been laid out, the definition of the madhura bhakti-rasa here should be read on exactly the same pattern — rati, made relishable by the four ingredients, becomes the rasa. Nothing new in method; just the general formula applied to this one case.
अतः इस प्रकार, मधुर नामक भक्ति-रस का यह लक्षण भी (उसी रीति से) व्याख्या करने योग्य है।
s20gloss
« prokto madhurākhyaḥ » ity eva pāṭhaḥ pūrva-nirdeśasya pratinirdeśāya kalpate |
« proktaḥ madhura-ākhyaḥ » iti eva pāṭhaḥthe reading is precisely "proktaḥ madhurākhyaḥ" ("declared the one named madhura"), eva 'precisely this reading'; pāṭha = textual reading'प्रोक्तो मधुराख्यः' — यही पाठ (यही मूल-पाठ)
pūrva-nirdeśasya pratinirdeśāya kalpatebecause it serves to answer back to the earlier reference (matches what was pointed to before). dative of purpose; kḷp 'is fit for'पूर्व-निर्देश के प्रति-निर्देश के लिए उपयुक्त है
« proktaḥ madhura-ākhyaḥ » iti eva pāṭhaḥ — the reading is precisely "proktaḥ madhurākhyaḥ"; pūrva-nirdeśasya pratinirdeśāya kalpate — it serves to answer back to the earlier reference.
« proktaḥ madhura-ākhyaḥ » iti eva pāṭhaḥ — 'प्रोक्तो मधुराख्यः' यही पाठ; pūrva-nirdeśasya pratinirdeśāya kalpate — पूर्व-निर्देश के प्रति-निर्देश (पुनः-उल्लेख) के लिए उपयुक्त बैठता है
A note on the text itself. Jīva insists the correct reading is "proktaḥ madhurākhyaḥ" — "declared, the one named madhura." Why this reading? Because it points back to and answers the earlier mention: the previous verse pointed to this rasa, and this wording responds to that pointer, matching it. The reading is chosen for its fit with what came before.
'प्रोक्तो मधुराख्यः' — यही पाठ ठीक बैठता है, क्योंकि यह पहले किए गए निर्देश का प्रति-निर्देश (पुनः-उल्लेख) करता है।
s21conclusion
na tu śṛṅgārākhya iti ||
na tu śṛṅgāra-ākhyaḥ itiand not "the one named śṛṅgāra" — so (the reading stands). tu 'but'; na negates the rejected reading'शृङ्गाराख्यः' यह पाठ नहीं (यह पाठ उपयुक्त नहीं)
na tu śṛṅgāra-ākhyaḥ iti — and not "the one named śṛṅgāra."
na tu śṛṅgāra-ākhyaḥ iti — परन्तु 'शृङ्गाराख्यः' (यह पाठ) नहीं
Jīva rules out the rival reading. The word should be madhurākhya ("named madhura"), not śṛṅgārākhya ("named śṛṅgāra"). The devotional rasa is deliberately called the sweet (madhura), not by the worldly poetic name for the amorous mood (śṛṅgāra). So the ācārya's chosen term marks this as the spiritual rasa, keeping it apart from mundane śṛṅgāra.
परन्तु 'शृङ्गाराख्यः' — यह पाठ (यहाँ) ठीक नहीं है।