Commentary — decoded
Jīva Gosvāmī
s1avataranika
gahaneti |
gahanā iti"gahanā…" — (he takes up the verse beginning thus) verse-pointer (pratīka)"गहना" — इस श्लोक का प्रतीक (आरम्भ-शब्द से श्लोक की ओर संकेत)
gahanā iti — "gahanā…".
gahanā iti — "गहना" इस पद से श्लोक का उपक्रम (अवतरणिका)
Jīva points to the verse by its opening word, "gahanā," to begin his comment. Just a verse-pointer, not yet an explanation.
"गहना" — इस पद से श्लोक उठाया जा रहा है। यह टीका का प्रवेश-संकेत है।
s2gloss
nāndīmukhīṁ prati paurṇamāsī-vacanam |
nāndīmukhīṁ pratiaddressed to Nāndīmukhī prati + acc. 'directed toward'नान्दीमुखी की ओर (उसके प्रति)
paurṇamāsī-vacanam(this is) Paurṇamāsī's speech genitive of the speakerपौर्णमासी का वचन (यह)
nāndīmukhīṁ prati — to Nāndīmukhī; paurṇamāsī-vacanam — the words of Paurṇamāsī.
nāndīmukhīṁ prati — नान्दीमुखी की ओर; paurṇamāsī-vacanam — पौर्णमासी का वचन
Jīva sets the dramatic frame: this verse is spoken by Paurṇamāsī, addressing Nāndīmukhī. So the whole description of Kṛṣṇa is Paurṇamāsī telling Nāndīmukhī what he did.
यह पौर्णमासी का वचन है, जो नान्दीमुखी से कहा गया है।
s3gloss
gahanād iti samyak paryālocayitum aśakyatvāt |
gahanāt itias for "gahanāt" — verse-word taken up for gloss"गहनात्" — यह श्लोक-पद व्याख्या के लिए लिया गया
samyak paryālocayitum aśakyatvātbecause it cannot be thought through fully ablative of cause -aśakyatvāt; paryālocayitum inf. 'to survey / ponder'क्योंकि उसका भली-भाँति पर्यालोचन (विचार-थाह) कर पाना अशक्य है
gahanāt iti — the word "gahanāt"; samyak paryālocayitum aśakyatvāt — because it cannot be thoroughly thought out.
gahanāt iti — "गहनात्" पद; samyak paryālocayitum aśakyatvāt — क्योंकि भली-भाँति उसका पर्यालोचन करना अशक्य है (इसलिए गहन)
Jīva glosses "gahanāt" (from a deep/impenetrable love). The love is called gahana, deep, because it cannot be thought all the way through — no one can fully sound its measure. That is the sense of the word here.
"गहनात्" यहाँ इसलिए कहा गया कि उस अनुराग का भली-भाँति विचार-थाह पाना असम्भव है। इतना गहरा है कि पूरी तरह पर्यालोचन नहीं हो सकता।
s4citation
gahanā karmaṇo gatiḥ itivat |
gahanā karmaṇaḥ gatiḥ"the course of action (karma) is impenetrable" — quoted phrase; gahana used of what cannot be traced out"कर्म की गति गहन है" (जिसकी थाह नहीं मिलती)
itivatjust as in that (usage) -vat 'like, as with'इसके समान (जैसे इस प्रयोग में गहन शब्द आया है)
gahanā karmaṇaḥ gatiḥ itivat — as in the line "the course of karma is impenetrable."
gahanā karmaṇaḥ gatiḥ — कर्म की गति गहन है; itivat — इसके समान
Jīva backs up his gloss with a well-known usage: "gahanā karmaṇo gatiḥ" — the workings of karma are impenetrable, past all reckoning. He cites it to show that gahana standardly means "too deep to be traced out," the very sense he gave to the love here.
जैसे "कर्म की गति गहन है" — इस प्रसिद्ध वचन में गहन का अर्थ है जिसकी थाह न मिले। वैसा ही अर्थ यहाँ भी है।
Why cited: Cited as a parallel usage — the Gītā's phrase "the course of karma is impenetrable" — to fix that gahana means "too deep to be fully thought through," the sense Jīva gives the love here.
क्यों उद्धृत: जीव गोस्वामी यह वचन इसलिए उद्धृत करते हैं कि "गहन" शब्द जिसकी थाह न मिले, उस अर्थ में शास्त्र-प्रसिद्ध है।
s5citation
gahaṇaṁ gahvare duḥkhe vipine kalile’pi ca iti viśva-prakāśāt |
gahaṇaṁ gahvare duḥkhe vipine kalile api ca"gahaṇa (means) a thicket, a hollow, distress, a forest, and also a dense tangle" — quoted lexicon line listing the senses of gahana; api ca 'and also'"गहन शब्द गह्वर (गुफा-जैसी गहराई), दुःख, वन और कलिल (सघन/उलझा हुआ) — इन अर्थों में तथा और भी में आता है"
iti viśva-prakāśātso (it is stated) in the Viśva-prakāśa (lexicon) ablative of source; iti closes the quotationऐसा विश्वप्रकाश (कोश) से — इति से उद्धरण समाप्त
gahaṇaṁ gahvare duḥkhe vipine kalile api ca — gahaṇa in the senses of hollow, distress, forest, and dense tangle; iti viśva-prakāśāt — so from the Viśva-prakāśa.
gahaṇaṁ gahvare duḥkhe vipine kalile api ca — गहन शब्द गह्वर, दुःख, वन, कलिल आदि अर्थों में; iti viśva-prakāśāt — ऐसा विश्वप्रकाश-कोश से
Jīva now brings a dictionary. The Viśva-prakāśa lists the meanings of "gahana": a hollow or thicket, distress, a forest, and a dense tangle. He quotes it to show the word's range — the love is "gahana" in the sense of an impenetrable depth, as the lexicon warrants.
विश्वप्रकाश-कोश कहता है कि गहन शब्द गह्वर, दुःख, वन और कलिल — इन अर्थों में आता है। इससे यहाँ अथाह-गहराई का अर्थ सिद्ध होता है।
Why cited: Cited (the Viśva-prakāśa lexicon) as lexical authority for the range of senses of "gahana" — hollow, distress, forest, dense tangle — grounding its use here for the unfathomable depth of the parents' love.
क्यों उद्धृत: जीव गोस्वामी यह कोश-वचन इसलिए लाते हैं कि "गहन" के अनेक शास्त्रीय अर्थ दिखाकर यहाँ उपयुक्त अर्थ स्थापित करें।
s6gloss
atra yamunā-kūla-vanāny alaṁcakāreti vidagdhatvaṁ nava-tāruṇyavattvaṁ ceti bodhitam |
atra yamunā-kūla-vanāni alaṁcakāra itihere, by "he adorned the groves on the Yamunā's bank," verse-pointer to L4; iti marks the quoted phraseयहाँ "यमुना-कूल-वनानि अलंचकार" (L4) — इस पद से
vidagdhatvaṁ nava-tāruṇyavattvaṁ ca iti bodhitamboth his cleverness (vidagdhatva) and his being in fresh youth (nava-tāruṇyavattva) are made known ca 'and'; bodhita = 'is indicated / conveyed', passiveविदग्धता और नव-तारुण्य-सम्पन्नता — ये दोनों बतलाए गए हैं (बोधित हुए)
atra yamunā-kūla-vanāni alaṁcakāra iti — here by "he adorned the Yamunā-bank groves"; vidagdhatvaṁ nava-tāruṇyavattvaṁ ca iti bodhitam — both cleverness and fresh youth are indicated.
atra yamunā-kūla-vanāni alaṁcakāra iti — यहाँ "यमुना-तट के वनों को अलंकृत किया" इस पद से; vidagdhatvaṁ nava-tāruṇyavattvaṁ ca — विदग्धता और नव-तारुण्य-सम्पन्नता; iti bodhitam — यह बतलाया गया
Jīva starts matching the verse's phrases to the traits of the dhīra-lalita hero. The line "he adorned the Yamunā-bank groves" conveys two of them: his vidagdhatva (cleverness, sophistication) and his nava-tāruṇyavattva (being in the bloom of fresh youth). The word 'bodhita' — 'indicated' — matters: the phrase does not state these, it signals them; s7 gives the reasoning.
"यमुना-तट के वनों को अलंकृत किया" — इस पद से दो बातें बतलाई गईं: उसकी विदग्धता (चतुरता) और नव-तारुण्य। दोनों गुण इसी पद में सूचित हैं।
s7gloss
pūrvatra vihāra-śobhā-vaicitryāparatva-śobhātiśaya-dṛṣṭyā tad-alaṅkaraṇāpatteḥ |
pūrvatra vihāra-śobhā-vaicitrya-aparatva-śobhātiśaya-dṛṣṭyābecause in the earlier part, by an eye to the surpassing beauty of the varied, unmatched splendor of his play, instr. -dṛṣṭyā 'from the viewpoint of'; aparatva 'having no rival'पहले (के वनों) की अपेक्षा विहार-शोभा के वैचित्र्य में अद्वितीयता और शोभा की अधिकता की दृष्टि से
tat-alaṅkaraṇa-āpatteḥit follows that he adorned them ablative of reason -āpatteḥ 'because it results / is entailed'क्योंकि उस (वन) का अलंकरण फलित होता है (उसी से बन आता है)
pūrvatra vihāra-śobhā-vaicitrya-aparatva-śobhātiśaya-dṛṣṭyā — in view of the surpassing, unrivalled, varied beauty of his earlier play; tat-alaṅkaraṇa-āpatteḥ — because the adorning of them follows from it.
pūrvatra vihāra-śobhā-vaicitrya-aparatva-śobhātiśaya-dṛṣṭyā — पहले की अपेक्षा विहार-शोभा के वैचित्र्य की अद्वितीयता और शोभातिशय की दृष्टि से; tat-alaṅkaraṇa-āpatteḥ — क्योंकि उस वन का अलंकरण उसी से फलित होता है
Jīva gives the reasoning behind s6. In the earlier lines the verse dwells on the surpassing, varied, unrivalled beauty of Kṛṣṇa's play. From that alone it follows that he 'adorned' the groves — for only a clever, freshly youthful lover plays with such beauty. So cleverness and fresh youth are inferred from the play's splendor, not stated outright.
उसके विहार की शोभा में ऐसा वैचित्र्य और अधिकता है कि उसका कोई सानी नहीं। इसी दृष्टि से वन का अलंकृत होना बन आता है — यही विदग्धता और नव-तारुण्य को सिद्ध करता है।
s8avataranika
viharann iti |
viharan iti"viharan…" — (now taking up this word of the verse) verse-pointer (pratīka)"विहरन्" — यह श्लोक-पद (L3 का प्रतीक)
viharan iti — "viharan…".
viharan iti — "विहरन्" पद (उपक्रम)
Jīva points to the next word of the verse, "viharan" (sporting), to take it up. Just a pointer marking which phrase he glosses next.
"विहरन्" — अब यह पद लिया जा रहा है।
s9gloss
parihāsa-rasasya kroḍīkṛtatvāt parihāsa-viśāradatvaṁ pitṛbhyāṁ bhārāpanayanenaiva niścintatvaṁ spaṣṭam |
parihāsa-rasasya kroḍī-kṛtatvātbecause the mood of jesting is folded into (his play), ablative of cause -kṛtatvāt; kroḍī-kṛta 'taken to the bosom, embraced'क्योंकि परिहास-रस को उसने अंक में समेट लिया है (आत्मसात कर लिया है)
parihāsa-viśāradatvaṁhis skill in jesting (is shown) viśārada 'expert, adept'परिहास में निपुणता
pitṛbhyāṁ bhāra-apanayanena evaand by the parents' very removal of the burden, instr. of means; eva 'precisely by that'माता-पिता के द्वारा भार हटा दिए जाने से ही
niścintatvaṁ spaṣṭamhis freedom from care is plain niścinta 'without worry'निश्चिन्तता — यह स्पष्ट है
parihāsa-rasasya kroḍī-kṛtatvāt — because the jesting-mood is embraced (in his play); parihāsa-viśāradatvaṁ — skill in jesting; pitṛbhyāṁ bhāra-apanayanena eva — by the parents' very removal of the burden; niścintatvaṁ spaṣṭam — freedom from care is plain.
parihāsa-rasasya kroḍī-kṛtatvāt — क्योंकि परिहास-रस को अंक में समेट लिया; parihāsa-viśāradatvaṁ — परिहास-निपुणता; pitṛbhyāṁ bhāra-apanayanena eva — माता-पिता के भार हटाने से ही; niścintatvaṁ spaṣṭam — निश्चिन्तता स्पष्ट है
Two more traits are matched. Because the mood of jesting is woven right into his play, his parihāsa-viśāradatva — his skill at playful teasing — comes through. And because his very parents lifted the load of duties off him, his niścintatva — his being wholly free of care — is plain. So 'viharan' after the burden was removed shows both the jester's wit and the carefree ease of the dhīra-lalita hero.
उसने परिहास-रस को अपने अंक में समेट रखा है, इससे परिहास-निपुणता सिद्ध होती है। और माता-पिता ने भार हटा दिया, इसी से उसकी निश्चिन्तता स्पष्ट है।
s10gloss
āstāṁ tāvat parama-svaira-līlatvenaiveti bhāvaḥ |
āstāṁ tāvatlet that much stand (set aside for a moment) — āstām 3rd sg. imperative 'let it be'; tāvat 'so much, for now'यह तो रहने ही दो (फिलहाल इतना तो अलग)
parama-svaira-līlatvena evafor he acts only in utterly free, self-willed play — instr. of manner; svaira 'unconstrained, at his own will'; eva 'only'परम स्वच्छन्द लीला-रूप होने से ही
iti bhāvaḥsuch is the sense closing formula stating the importऐसा तात्पर्य है
āstāṁ tāvat — let that stand for now; parama-svaira-līlatvena eva — since (all he does) is utter free-willed play; iti bhāvaḥ — such is the sense.
āstāṁ tāvat — यह तो रहने ही दो; parama-svaira-līlatvena eva — परम स्वच्छन्द लीला होने से ही; iti bhāvaḥ — ऐसा तात्पर्य
Jīva pushes the carefree point further. Set aside even the fact that his parents removed his duties — the deeper truth is that whatever Kṛṣṇa does, he does purely as free, self-willed play. Nothing binds him at all. Such is the intended sense; s11 spells it out.
यह तो रहने ही दो — उसकी सारी लीला परम स्वच्छन्द है, इसी से निश्चिन्तता सिद्ध है। यही तात्पर्य है।
s11gloss
yatra pitṛbhyām anyaiḥ kāryamāṇaṁ gocāraṇādikam api svaira-līlatvenaivāvagamyate |
yatra pitṛbhyām anyaiḥ ca kāryamāṇaṁ gocāraṇa-ādikam apiso that even the cow-herding and the rest, which his parents and others get done (by him), yatra 'in whom / such that'; kāryamāṇa causative pass. part. 'being made to be done'जिसमें माता-पिता और अन्यों के द्वारा कराया जाता गो-चारण आदि भी
svaira-līlatvena eva avagamyateis understood only as his own free-willed play avagamyate pass. 'is grasped'; eva 'only'स्वच्छन्द लीला-रूप में ही समझा जाता है
yatra pitṛbhyām anyaiḥ ca kāryamāṇaṁ gocāraṇa-ādikam api — such that even the cow-herding etc. that his parents and others have him do; svaira-līlatvena eva avagamyate — is understood only as free-willed play.
yatra pitṛbhyām anyaiḥ ca kāryamāṇaṁ gocāraṇa-ādikam api — जिसमें माता-पिता और अन्यों द्वारा कराया गया गो-चारण आदि भी; svaira-līlatvena eva avagamyate — स्वच्छन्द लीला के रूप में ही समझा जाता है
Jīva makes the point concrete. Even the tasks his parents and others set him — herding the cows and so on — are to be understood not as chores but purely as his own free play. Nothing he does counts as duty; it is all līlā. Even work looks like play in him.
जिसमें माता-पिता और औरों के कहने पर किया गया गो-चारण आदि भी — यह सब उसकी स्वच्छन्द लीला के रूप में ही समझा जाता है।
s12gloss
na tv anyatraiva bhāratvena |
na tu anyatra eva bhāratvenaand not, as elsewhere, as a burden na tu 'but not'; instr. bhāratvena 'in the character of a load'परन्तु दूसरी जगह की तरह भार-रूप में नहीं (समझा जाता)
na tu anyatra eva bhāratvena — but not (understood) as a burden, as it would be elsewhere.
na tu — परन्तु नहीं; anyatra eva bhāratvena — अन्यत्र की भाँति भार-रूप में (नहीं समझा जाता)
The contrast that completes s11. For anyone else, herding cows and the like would be a burden, a duty weighing on them. Not so for Kṛṣṇa: in him the same work is never felt as a load, only as play. This seals his niścintatva — his total freedom from care.
परन्तु और लोगों की तरह उसके लिए वह गो-चारण आदि बोझ नहीं है। उसके लिए तो वह भी लीला ही है।
s13citation
tad uktaṁ—vraje vikrīḍator evaṁ gopāla-cchadma-māyayā ity atra go-pālanam eva chadma vyājo yasyāṁ tayā māyayā pratāraṇa-śaktyā vraje vikrīḍator iti krīḍaivābhīṣṭaṁ gopālanaṁ tv anyathāpi syād iti bhāvaḥ |
tat uktaṁ — vraje vikrīḍatoḥ evaṁ gopāla-cchadma-māyayā itias it is said: "of the two sporting thus in Vraja by the trick-magic disguised as cowherding" — tat uktaṁ 'that has been said'; iti closes the quoted lineवही कहा गया है — "इस प्रकार गोपाल के छद्म-रूपी माया से व्रज में क्रीड़ा करते हुए दोनों की" — इति से उद्धरण समाप्त
atra go-pālanam eva chadma vyājaḥ yasyāṁ tayā māyayā pratāraṇa-śaktyāhere by that māyā — the deluding power — in which cow-tending itself is the pretext, the mere cover, bahuvrīhi resolving the compound: chadma = vyāja 'pretext'; instr. māyayāयहाँ गो-पालन ही जिसमें छद्म अर्थात् बहाना है, ऐसी उस माया अर्थात् ठगने की शक्ति से
vraje vikrīḍatoḥ iti"of the two sporting in Vraja" — genitive dual (Kṛṣṇa and Rādhā); vi-krīḍ 'to play"व्रज में क्रीड़ा करते हुए दोनों की (कृष्ण और राधा — षष्ठी द्विवचन)
krīḍā eva abhīṣṭaṁ gopālanaṁ tu anyathā api syāt iti bhāvaḥso play alone is what is really wanted, while the cow-tending might just as well be otherwise — such is the sense abhīṣṭa 'the desired thing'; tu 'while'; anyathā 'otherwise'क्रीड़ा ही अभीष्ट (मुख्य वांछित) है, परन्तु गो-पालन तो और प्रकार से भी हो सकता है — ऐसा तात्पर्य
tat uktaṁ — vraje vikrīḍatoḥ evaṁ gopāla-cchadma-māyayā iti — as said: "of the two sporting in Vraja by the cowherd-disguise magic"; atra go-pālanam eva chadma vyājaḥ yasyāṁ tayā māyayā pratāraṇa-śaktyā — by that deluding power in which cow-tending is the mere pretext; vraje vikrīḍatoḥ — of the two sporting in Vraja; krīḍā eva abhīṣṭaṁ gopālanaṁ tu anyathā api syāt iti bhāvaḥ — play alone is wanted, the cow-tending might be otherwise; such is the sense.
tat uktaṁ — वही कहा गया; vraje vikrīḍatoḥ evaṁ gopāla-cchadma-māyayā iti — "गोपाल के छद्म-माया से व्रज में क्रीड़ा करते हुए दोनों की"; atra go-pālanam eva chadma vyājaḥ yasyāṁ tayā māyayā pratāraṇa-śaktyā — यहाँ गो-पालन ही जिसमें बहाना, ऐसी ठगने की शक्ति-रूप माया से; vraje vikrīḍatoḥ — व्रज में क्रीड़ा करते दोनों की; krīḍā eva abhīṣṭaṁ — क्रीड़ा ही अभीष्ट; gopālanaṁ tu anyathā api syāt — परन्तु गो-पालन और प्रकार से भी हो सकता; iti bhāvaḥ — ऐसा तात्पर्य
Jīva quotes a verse and reads its compound. The line speaks of Kṛṣṇa and Rādhā "sporting in Vraja by the māyā that wears the disguise of cowherding." He unpacks 'gopāla-cchadma-māyayā': the māyā is a deluding power in which cow-tending is only the pretext, the outer cover. So what is truly wanted is the play; the cow-tending is incidental — it could just as well be something else. This proves the point of s11-s12: the herding is a cover for the play, not a real duty.
जैसा कहा गया है — "गोपाल के छद्म-रूपी माया से व्रज में दोनों क्रीड़ा करते हैं।" यहाँ गो-पालन तो बहाना मात्र है, वह ठगने की माया-शक्ति है। असल में क्रीड़ा ही अभीष्ट है; गो-पालन तो और तरह से भी हो सकता था।
Why cited: Cited to prove that Kṛṣṇa's cow-tending is only a disguise (chadma) for his real aim, play (krīḍā) — supporting Jīva's claim (s11-s12) that even his tasks are free-willed līlā, never a true burden.
क्यों उद्धृत: जीव गोस्वामी यह वचन इसलिए उद्धृत करते हैं कि गो-पालन उसके लिए भार नहीं, केवल क्रीड़ा का बहाना है — यही निश्चिन्तता को पुष्ट करता है।
s14gloss
rādhayā saha viharann ity api vihārānavaccheda-prāptyā preyasī-vaśatvaṁ ceti dhīra-lalitatvaṁ darśitam |
rādhayā saha viharan iti apiand also by "sporting together with Rādhā," verse-pointer to L3; api 'also'"राधा के साथ विहार करता हुआ" (L3) — इस पद से भी
vihāra-anavaccheda-prāptyāsince (his) sporting is found to be unbroken, instr. of cause -prāptyā 'by obtaining'; anavaccheda 'no interruption'विहार में विच्छेद न होने की प्राप्ति से (निरन्तर विहार होने के कारण)
preyasī-vaśatvaṁ ca itihis being under his beloved's sway too (is shown), ca 'and'; vaśatva 'the state of being controlled'और प्रेयसी के वश में होना — यह भी
dhīra-lalitatvaṁ darśitamthus his being a dhīra-lalita hero is displayed darśita 'made evident'धीर-ललितपन दिखलाया गया है
rādhayā saha viharan iti api — also by "sporting with Rādhā"; vihāra-anavaccheda-prāptyā — since the sporting is found unbroken; preyasī-vaśatvaṁ ca iti — and his being under his beloved's sway; dhīra-lalitatvaṁ darśitam — his dhīra-lalita nature is displayed.
rādhayā saha viharan iti api — "राधा के साथ विहार करता" इस पद से भी; vihāra-anavaccheda-prāptyā — विहार में विच्छेद न होने से; preyasī-vaśatvaṁ ca — और प्रेयसी के वश में होना; iti dhīra-lalitatvaṁ darśitam — ऐसा धीर-ललितपन दिखलाया गया
Jīva reads the phrase "sporting together with Rādhā." Because his play with her never breaks off — it is continuous — this shows he is under his beloved's sway (preyasī-vaśatva). And that trait is exactly what marks the dhīra-lalita hero. So this phrase displays his dhīra-lalitatva.
"राधा के साथ विहार करता हुआ" — इस पद से भी दो बातें आईं: विहार में विच्छेद नहीं होता, और वह प्रेयसी के वश में है। इन्हीं से उसका धीर-ललितपन दिखलाया गया है।
s15gloss
aviccheda-vihārād anukūlatvam apīti dhīra-lalitānukūlatvaṁ spaṣṭam eva |
aviccheda-vihārātbecause of his unbroken sporting (with her), ablative of cause; aviccheda 'without a break'बिना विच्छेद के (निरन्तर) विहार होने के कारण
anukūlatvam api itihis favorableness too (follows), api 'too'; anukūla 'agreeable, faithful to one'अनुकूलता भी — यह (सिद्ध होती है)
dhīra-lalita-anukūlatvaṁ spaṣṭam evaso his being a dhīra-lalita-anukūla (hero) is quite plain eva 'quite, indeed'; the section-heading type this verse illustratesधीर-ललित-अनुकूल — यह भाव स्पष्ट ही है (जिसका यह श्लोक उदाहरण है)
aviccheda-vihārāt — from the unbroken sporting; anukūlatvam api iti — his favorableness too; dhīra-lalita-anukūlatvaṁ spaṣṭam eva — his being a dhīra-lalita-anukūla is quite plain.
aviccheda-vihārāt — निरन्तर विहार होने के कारण; anukūlatvam api iti — अनुकूलता भी; dhīra-lalita-anukūlatvaṁ spaṣṭam eva — धीर-ललित-अनुकूलपन स्पष्ट ही है
Jīva adds the last trait. Because his play with Rādhā is unbroken — he stays with her alone — his anukūlatva, his being favorable and faithful to the one beloved, also follows. So this verse plainly shows him to be a dhīra-lalita-anukūla hero, the very type the section is illustrating.
बिना विच्छेद के निरन्तर विहार होने से अनुकूलता भी सिद्ध होती है। इस प्रकार "धीर-ललित-अनुकूल" — जिसका यह श्लोक उदाहरण है — वह स्पष्ट ही है।
s16gloss
tatra dhīra-lalita-lakṣaṇe prāyaḥ-śabdas tasya bahir vyaktī-karaṇābhāvād iti bhāvaḥ ||
tatra dhīra-lalita-lakṣaṇethere, in the definition of the dhīra-lalita, locative; refers to the defining verse (quoted by Viśvanātha, s4)वहाँ धीर-ललित के लक्षण (परिभाषा-श्लोक) में
prāyaḥ-śabdaḥthe word "prāyaḥ" ("mostly") the qualifying word 'prāyaḥ' in the lakṣaṇa"प्रायः" शब्द (जो लक्षण में आया है)
tasya bahiḥ vyaktī-karaṇa-abhāvātis because his (subjection to the beloved) is not shown outwardly ablative of reason -abhāvāt; bahiḥ 'externally'; vyaktī-karaṇa 'making manifest'क्योंकि उस (प्रेयसी-वशता) को बाहर प्रकट न करने के कारण
iti bhāvaḥsuch is the sense closing formulaऐसा तात्पर्य है
tatra dhīra-lalita-lakṣaṇe — in the definition of the dhīra-lalita; prāyaḥ-śabdaḥ — the word "prāyaḥ"; tasya bahiḥ vyaktī-karaṇa-abhāvāt — because his (submission) is not made outwardly manifest; iti bhāvaḥ — such is the sense.
tatra dhīra-lalita-lakṣaṇe — धीर-ललित के लक्षण-श्लोक में; prāyaḥ-śabdaḥ — "प्रायः" शब्द; tasya bahiḥ vyaktī-karaṇa-abhāvāt — क्योंकि उसे बाहर प्रकट नहीं करता; iti bhāvaḥ — ऐसा तात्पर्य
Jīva explains a single word in the standard definition of the dhīra-lalita hero — the qualifier "prāyaḥ" ("for the most part") in "prāyaḥ preyasī-vaśaḥ" (mostly under his beloved's sway). Why "mostly" and not simply "under her sway"? Because his being ruled by her is not put on outward display — it stays inward. The word "prāyaḥ" guards that: he is her subject, but does not show it openly. Such is the sense.
उस धीर-ललित के लक्षण-श्लोक में "प्रायः" शब्द इसलिए रखा गया कि वह अपनी प्रेयसी-वशता को बाहर प्रकट नहीं करता। यही तात्पर्य है।
Viśvanātha Cakravartī
s1avataranika
gahanād iti |
gahanāt iti"gahanāt…" — (he takes up the verse beginning thus) verse-pointer (pratīka)"गहनात्" — यह श्लोक का प्रतीक (उपक्रम)
gahanāt iti — "gahanāt…".
gahanāt iti — "गहनात्" पद (अवतरणिका)
Viśvanātha points to the verse by its opening word, "gahanāt," to begin his own comment. Just a verse-pointer.
"गहनात्" — इस पद से श्लोक उठाया जा रहा है।
s2gloss
nāndīmukhīṁ prati paurṇamāsyā vacanam |
nāndīmukhīṁ pratiaddressed to Nāndīmukhī prati + acc. 'directed toward'नान्दीमुखी की ओर (उसके प्रति)
paurṇamāsyāḥ vacanam(this is) Paurṇamāsī's speech genitive of the speaker (paurṇamāsyāḥ, gen.)पौर्णमासी का वचन (यह)
nāndīmukhīṁ prati — to Nāndīmukhī; paurṇamāsyāḥ vacanam — the words of Paurṇamāsī.
nāndīmukhīṁ prati — नान्दीमुखी की ओर; paurṇamāsyāḥ vacanam — पौर्णमासी का वचन
Viśvanātha gives the same dramatic frame as Jīva: this verse is Paurṇamāsī's speech, addressed to Nāndīmukhī. The description of Kṛṣṇa is her telling Nāndīmukhī what he did.
यह पौर्णमासी का वचन है, जो नान्दीमुखी से कहा गया है।
s3gloss
gahanāt nirvaktum aśakyāt |
gahanāt"gahanāt" (from a deep love) means verse-word taken up for gloss"गहनात्" — यह श्लोक-पद व्याख्या के लिए लिया गया
nirvaktum aśakyātfrom (a love) impossible to describe fully ablative agreeing with anurāgataḥ; nirvaktum inf. 'to state / define'जिसका निर्वचन (कह डालना, परिभाषित करना) अशक्य है — ऐसे (अनुराग के कारण)
gahanāt — "gahanāt"; nirvaktum aśakyāt — from (a love) that cannot be fully described.
gahanāt — "गहनात्" पद (जो अनुरागतः का विशेषण); nirvaktum aśakyāt — जिसका निर्वचन करना अशक्य है ऐसे (अनुराग के कारण)
Viśvanātha glosses "gahanāt" briefly: the love is called gahana because it cannot be put fully into words — it is beyond describing. (Where Jīva said it cannot be fully thought through, Viśvanātha says it cannot be fully stated; close, but read each on its own.)
"गहनात्" का अर्थ है — ऐसा अनुराग जिसका कह डालना, परिभाषित करना असम्भव है। इतना गहरा कि शब्दों में नहीं बाँधा जा सकता।
s4citation
vidagdho nava-tāruṇyaḥ parihāsa-viśāradaḥ | niścinto dhīra-lalitaḥ syāt prāyaḥ preyasī-vaśaḥ ||
vidagdhaḥ nava-tāruṇyaḥ parihāsa-viśāradaḥclever, in the bloom of fresh youth, skilled in playful jesting, nominatives, predicated of the heroविदग्ध (चतुर), नव-तारुण्य वाला, परिहास में निपुण
niścintaḥ dhīra-lalitaḥ syātcarefree — such a one would be a dhīra-lalita, syāt optative, definitional 'would be'निश्चिन्त — (ऐसा नायक) धीर-ललित कहलाता है
prāyaḥ preyasī-vaśaḥand for the most part under his beloved's sway prāyaḥ 'mostly' — the very word Jīva glossed in s16प्रायः (अधिकांशतः) प्रेयसी के वश में रहने वाला
vidagdhaḥ nava-tāruṇyaḥ parihāsa-viśāradaḥ — clever, freshly youthful, skilled in jesting; niścintaḥ dhīra-lalitaḥ syāt — carefree, he would be a dhīra-lalita; prāyaḥ preyasī-vaśaḥ — mostly under his beloved's sway.
vidagdhaḥ — विदग्ध; nava-tāruṇyaḥ — नव-तारुण्य वाला; parihāsa-viśāradaḥ — परिहास-निपुण; niścintaḥ — निश्चिन्त; dhīra-lalitaḥ syāt — धीर-ललित कहलाता है; prāyaḥ preyasī-vaśaḥ — प्रायः प्रेयसी के वश में
Viśvanātha quotes the standard definition of the dhīra-lalita hero. Such a one is: clever (vidagdha), in fresh youth (nava-tāruṇya), skilled at playful teasing (parihāsa-viśārada), carefree (niścinta), and for the most part ruled by his beloved (prāyaḥ preyasī-vaśa). These are exactly the five traits Jīva drew out of the verse phrase by phrase; here the source-definition itself is set down.
जो विदग्ध हो, नव-तारुण्य से युक्त हो, परिहास में निपुण हो, निश्चिन्त हो और प्रायः प्रेयसी के वश में रहता हो — वह धीर-ललित नायक कहलाता है।
Why cited: Cited (Bhakti-rasāmṛta-sindhu 2.1.230) as the authoritative definition of the dhīra-lalita hero — clever, freshly youthful, skilled in jest, carefree, mostly ruled by his beloved — the five traits this verse is meant to illustrate.
क्यों उद्धृत: विश्वनाथ यह भरत/भ.र.सि. का लक्षण-श्लोक इसलिए उद्धृत करते हैं कि श्लोक के गुण इसी परिभाषा के अंगों से मिलते दिखाएँ।
s5definition
iti dhīra-lalita-lakṣaṇam |
iti dhīra-lalita-lakṣaṇam— that is the definition of the dhīra-lalita hero iti closes the just-quoted BRS 2.1.230; lakṣaṇam nom. sg.यह — अभी उद्धृत श्लोक; यही धीर-ललित (नायक) का लक्षण है
iti dhīra-lalita-lakṣaṇam — [the foregoing verse] is the definition of the dhīra-lalita hero.
iti — यह (उपर्युक्त श्लोक); dhīra-lalita-lakṣaṇam — धीर-ललित का लक्षण है।
The verse he just quoted (from the Bhakti-rasāmṛta-sindhu) is the standard definition of the dhīra-lalita type of hero. He now takes its five marks one by one and finds each of them in this verse.
जो श्लोक अभी उद्धृत किया, वही धीर-ललित नायक का लक्षण है। अब आचार्य दिखाएँगे कि इस पद्य का हर शब्द इस लक्षण के किसी न किसी अंग को कैसे प्रकट करता है।
s6gloss
atrāpanīteti niścintatvam |
atra apanīta itihere, by the verse-word "apanīta…" (the burden of dealings being taken away) pratīka from L2 (apanīta-vyavahāra-kṛtya-bhāraḥ); iti marks the lemmaयहाँ (इस पद्य में) 'अपनीत' (हटा दिया गया) शब्द से
niścintatvam[is shown] his freedom from care (niścinta, the fourth mark) nom. sg. -tva abstraction; niścinta of the definition-verseनिश्चिन्तता (चिन्ता-रहित होना) प्रकट होती है
atra apanīta iti — here, by the word 'apanīta…'; niścintatvam — his freedom from care is shown.
atra — यहाँ; apanīta iti — 'अपनीत' पद से (व्यवहार-कृत्य का भार हटा दिया गया); niścintatvam — निश्चिन्तता प्रकट होती है।
Take the definition's mark "niścinta" (free from care). It is shown here by the verse-word "apanīta" — the burden of business and duties has been taken off Kṛṣṇa (by his parents), so he is left carefree.
पद्य में 'अपनीत' शब्द है — अर्थात् लोक-व्यवहार के कर्तव्यों का भार हटा दिया गया। इसी से लक्षण का 'निश्चिन्त' गुण सिद्ध होता है — कृष्ण निश्चिन्त हैं।
s7gloss
viharann iti parasmaipada-prayogeṇa preyasyānanda-dāna-tātparyāvagamāt preyasī-vaśatvam |
viharann iti parasmaipada-prayogeṇaby the verse-word "viharan" — that is, by its use of the parasmaipada ending pratīka from L3; parasmaipada vs. ātmanepada is the grammatical hinge'विहरन्' (विहार करते हुए) पद में परस्मैपद के प्रयोग के द्वारा
preyasyānanda-dāna-tātparyāvagamātbecause it is thereby understood that his aim is to give joy to the beloved abl. of reason; parasmaipada = action for another, so the joy is hers not hisक्योंकि इससे यह जाना जाता है कि तात्पर्य प्रेयसी को आनन्द देने में है (परस्मैपद = दूसरे के लिए क्रिया)
preyasī-vaśatvam[comes] his being under the beloved's sway (preyasī-vaśa, the fifth mark) nom. sg. -tva abstraction; preyasī-vaśa of the definition-verseप्रेयसी-वशता (प्रिया के वश में होना) प्रकट होती है
viharann iti parasmaipada-prayogeṇa — by the word 'viharan', by its parasmaipada use; preyasyānanda-dāna-tātparyāvagamāt — because his aim is thereby seen to be giving joy to the beloved; preyasī-vaśatvam — comes his being under the beloved's sway.
viharann iti parasmaipada-prayogeṇa — 'विहरन्' पद में परस्मैपद के प्रयोग से; preyasī-ānanda-dāna-tātparya-avagamāt — क्योंकि तात्पर्य प्रेयसी को आनन्द देने में जाना जाता है; preyasī-vaśatvam — प्रेयसी-वशता (सिद्ध होती है)।
The mark "preyasī-vaśa" (subject to the beloved) is shown by the word "viharan." The root vi-hṛ is here put in the parasmaipada (the ending used when the action's fruit goes to another, not to oneself). So the sense is that Kṛṣṇa's sporting aims at giving joy to Rādhā, not at his own pleasure — and that is exactly his being under her sway.
'विहरन्' परस्मैपद में है, आत्मनेपद में नहीं। परस्मैपद का अर्थ है — क्रिया दूसरे के लिए। इसलिए विहार का तात्पर्य अपने सुख में नहीं, प्रेयसी को आनन्द देने में है। इसी से लक्षण का 'प्रेयसी-वश' गुण सिद्ध होता है।
s8gloss
vartamāna-prayogeṇa tayaiva saha vihārānavacchedāt kāntāntara-tyāgāt anukūlatvam |
vartamāna-prayogeṇaby the use of the present tense (in "viharan," ongoing action) instr. of means; the present participle marks continuous, unbroken actionवर्तमान (काल के) प्रयोग के द्वारा — जो निरन्तर, अविच्छिन्न क्रिया को सूचित करता है
tayaiva saha vihārānavacchedātbecause his sporting is unbroken and with her alone abl. of reason; tayā eva = with her alone; anavaccheda = no interruptionक्योंकि उसी के (राधा के) ही साथ विहार का अविच्छेद (कहीं विराम न होना) है
kāntāntara-tyāgātand because he abandons every other beloved abl. of reason; kānta-antara = another lover-womanऔर क्योंकि अन्य कान्ता (दूसरी प्रेमिका) का त्याग है
anukūlatvam[comes] his being favorable to her (anukūla) nom. sg. -tva; the anukūla of the label dhīra-lalitānukūlaअनुकूलता (एक के प्रति अनुरक्त-निष्ठ होना) प्रकट होती है
vartamāna-prayogeṇa — by the present-tense use; tayaiva saha vihārānavacchedāt — because his sporting with her alone is unbroken; kāntāntara-tyāgāt — because he gives up any other beloved; anukūlatvam — comes his being favorable.
vartamāna-prayogeṇa — वर्तमान-काल के प्रयोग से; tayā eva saha vihāra-anavacchedāt — क्योंकि उसी के साथ विहार अविच्छिन्न है; kānta-antara-tyāgāt — और अन्य कान्ता के त्याग से; anukūlatvam — अनुकूलता (सिद्ध होती है)।
His being favorable (anukūla) is shown by the same word "viharan" taken as a present tense — the sporting is going on without a break. Two things follow: his play with Rādhā never lets up, and he leaves every other lover aside for her. Both together are what it means for him to be favorable to her alone.
क्रिया वर्तमान काल में है, जो सतत-निरन्तर विहार को दिखाती है। उसी राधा के साथ विहार में कोई विराम नहीं, और दूसरी कान्ता का त्याग है। इसी से 'अनुकूल' (धीर-ललित-अनुकूल) गुण सिद्ध होता है — जो एक ही प्रिया के प्रति निष्ठ रहता है।
s9gloss
vanānīti bahu-vacane ekatra vane vihṛtya punar anyatra tirodhāya sthitvā tatrāpy anviṣyantyā tayā svaṁ dṛṣṭavatyā parihasantyā vihṛtya punar anyatrāpi tathā tathā vilāsāviṣkārāt parihāsa-viśāradatvam |
vanānīti bahu-vacaneby the verse-word "vanāni" ("groves") being in the plural pratīka from L4; the plural number is the hinge'वनानि' (वन — बहुवचन में) पद में जो बहुवचन है, उसके कारण
ekatra vane vihṛtyahaving sported in one grove, gerund; ekatra = in one placeएक वन में विहार करके
punar anyatra tirodhāya sthitvāthen hiding himself away in another and staying there, tirodhāya = having concealed; two gerunds continuing Kṛṣṇa's actionफिर दूसरी जगह छिपकर खड़े रहकर
tatrāpy anviṣyantyā tayā svaṁ dṛṣṭavatyā parihasantyāand when she — searching there too, catching sight of him, and teasing him — three instr. fem. sg. participles agreeing with tayā (Rādhā); svam = himवहाँ भी ढूँढ़ती हुई, उन्हें (कृष्ण को) देख लेती हुई, और हँसी-ठिठोली करती हुई उस (राधा) के साथ
vihṛtya punar anyatrāpi[he] having sported [with her] and gone off yet to another grove again, resumes Kṛṣṇa's gerund; anyatra api = to still another placeफिर विहार करके, फिर और दूसरी जगह भी
tathā tathā vilāsāviṣkārātbecause in this way, again and again, he shows forth his playful pastimes abl. of reason; tathā tathā = in that same way repeatedly; vilāsa-āviṣkāraक्योंकि उसी प्रकार बार-बार विलास (क्रीड़ा) का प्राकट्य होता है
parihāsa-viśāradatvam[comes] his skill in jesting play (parihāsa-viśārada, the third mark) nom. sg. -tva; parihāsa-viśārada of the definition-verseपरिहास-विशारदता (हँसी-दिल्लगी में निपुणता) प्रकट होती है
vanānīti bahu-vacane — by the word 'vanāni' being plural; ekatra vane vihṛtya — having sported in one grove; punar anyatra tirodhāya sthitvā — then hiding in another and waiting; tatrāpy anviṣyantyā tayā svaṁ dṛṣṭavatyā parihasantyā — while she searches there too, spots him, and teases him; vihṛtya punar anyatrāpi — having sported [with her] and off again to yet another; tathā tathā vilāsāviṣkārāt — because he shows his pastimes so, over and over; parihāsa-viśāradatvam — comes his skill in jesting play.
vanāni iti bahu-vacane — 'वनानि' में बहुवचन के कारण; ekatra vane vihṛtya — एक वन में विहार करके; punar anyatra tirodhāya sthitvā — फिर अन्यत्र छिपकर खड़े रहकर; tatra api anviṣyantyā tayā svaṁ dṛṣṭavatyā parihasantyā — वहाँ भी ढूँढ़ती-देखती-हँसती हुई राधा के साथ; vihṛtya punar anyatra api — विहार करके फिर और अन्यत्र भी; tathā tathā vilāsa-āviṣkārāt — उसी तरह विलास के प्राकट्य से; parihāsa-viśāradatvam — परिहास-विशारदता (सिद्ध होती है)।
His skill in jesting play (parihāsa-viśārada) is drawn from the plural "vanāni" ("groves," not one grove). Picture the game: he sports with Rādhā in one grove, then slips off and hides in another and waits; she comes searching there too, spots him, and laughs and teases; he sports with her again, then is off to yet another grove — and so it goes, grove after grove. This hide-and-seek shown over and over is exactly his talent for playful teasing.
'वनानि' बहुवचन में है — अनेक वन। कृष्ण एक वन में विहार करते हैं, फिर दूसरी जगह छिप जाते हैं; राधा ढूँढ़कर, उन्हें देखकर, हँसी-ठिठोली करती है; फिर और वन में यही खेल — बार-बार यह लुका-छिपी का विलास चलता है। इसी से लक्षण का 'परिहास-विशारद' (हँसी-दिल्लगी में चतुर) गुण सिद्ध होता है।
s10gloss
alaṁcakārety alaṁ-padena vidagdhatvaṁ vaidagdhya-maya-vihārasyaiva tat-pradeśa-sāphalyāpādakatvāt nava-tāruṇyaṁ tu sarvatraivānusyūtam ||
alaṁcakārety alaṁ-padenaby the verse-word "alaṁcakāra," that is, by the word "alam" ("adorned, made splendid") in it pratīka from L4 (alaṁcakāra); the alam element is isolated'अलंचकार' (सजा दिया) पद में जो 'अलम्' अंश है, उसके द्वारा
vidagdhatvam[is shown] his cleverness (vidagdha, the first mark) nom. sg. -tva; vidagdha of the definition-verseविदग्धता (चातुर्य, रसिकता) प्रकट होती है
vaidagdhya-maya-vihārasyaiva tat-pradeśa-sāphalyāpādakatvātbecause only sporting made of cleverness brings that place to its fulfillment (makes the groves adorned) abl. of reason; eva = only; sāphalya-āpādaka = that which brings about fruitionक्योंकि विदग्धता से भरा विहार ही उस-उस स्थान (वन) की सफलता (सार्थकता) का कारण बनता है ('ही' — केवल वही)
nava-tāruṇyaṁ tu sarvatraivānusyūtambut his fresh youthfulness (nava-tāruṇya, the second mark) is threaded through everywhere tu = but, marking a contrast; anusyūta = strung/threaded throughoutपरन्तु नव-तारुण्य (नवीन यौवन) तो सर्वत्र ही (सारे पद्य में) पिरोया हुआ है
alaṁcakārety alaṁ-padena — by the word 'alaṁcakāra', i.e. by its 'alam'; vidagdhatvam — his cleverness is shown; vaidagdhya-maya-vihārasyaiva tat-pradeśa-sāphalyāpādakatvāt — because only clever sporting makes that place fulfilled; nava-tāruṇyaṁ tu sarvatraivānusyūtam — but his fresh youth is threaded through everywhere.
alaṁcakāra iti alaṁ-padena — 'अलंचकार' के 'अलम्' पद से; vidagdhatvam — विदग्धता; vaidagdhya-maya-vihārasya eva tat-pradeśa-sāphalya-āpādakatvāt — क्योंकि विदग्धतामय विहार ही उस स्थान की सफलता का साधक है; nava-tāruṇyaṁ tu sarvatra eva anusyūtam — परन्तु नव-तारुण्य तो सर्वत्र ही अनुस्यूत (पिरोया हुआ) है।
His cleverness (vidagdha) is shown by the verse's word "alaṁcakāra" — really by the "alam" in it, which says he made the groves splendid, adorned them. The reason: it is only sporting full of cleverness that brings such a place to its full success, that truly adorns it. As for the second mark, fresh youthfulness (nava-tāruṇya), it is not tied to any one word — it runs threaded through the whole scene, everywhere at once. So all five marks of the dhīra-lalita hero are found in this verse.
'अलंचकार' (वनों को सजा दिया) में 'अलम्' शब्द है — इसी से 'विदग्ध' (रसिक, चतुर) गुण सिद्ध होता है, क्योंकि चातुर्य-भरा विहार ही उस-उस वन को सार्थक-सफल बनाता है। परन्तु 'नव-तारुण्य' किसी एक शब्द से नहीं — वह तो पूरे पद्य में सर्वत्र पिरोया हुआ है।