L1invocation
praṇamāmi tāḥ parama-mādhurī-bhṛtaḥ
praṇamāmiI bow down — the poet's opening praṇāma 1st sg. present; the main verb of the whole verseमैं प्रणाम करता हूँ
tāḥto them — to those women accusative fem. pl., the object of the bowउन (स्त्रियों) को
parama-mādhurī-bhṛtaḥwho carry the very highest sweetness accusative fem. pl., first epithet of tāḥजो परम माधुर्य को धारण करती हैं
praṇamāmi — I bow; tāḥ — to them; parama-mādhurī-bhṛtaḥ — the bearers of the highest sweetness
मैं उन (स्त्रियों) को प्रणाम करता हूँ, जो परम माधुर्य से भरी हुई हैं।
I bow down to them — the women who carry the very highest sweetness.
मैं उन स्त्रियों को प्रणाम करता हूँ। वे परम माधुर्य को धारण करती हैं।
L2invocation
kṛta-puṇya-puñja-ramaṇī-śiromaṇīḥ |
kṛta-puṇya-puñja-ramaṇī-śiromaṇīḥthe crest-jewels among lovely women — women who are a heaped-up store of pious merit made flesh accusative fem. pl., second epithet of tāḥ; śiromaṇi = 'head-jewel', the topmost of a kindजिन्होंने पुण्य का पुंज संचित किया है, ऐसी रमणियों में जो शिरोमणि हैं
kṛta-puṇya-puñja-ramaṇī-śiromaṇīḥ — crest-jewels among lovely women who are heaps of accumulated merit
(उन्हें प्रणाम करता हूँ) जो संचित पुण्यराशि वाली रमणियों में शिरोमणि हैं।
They are the crest-jewels among all lovely women — each one a whole heap of accumulated pious merit made flesh.
जिन्होंने पुण्य का पुंज इकट्ठा किया है, ऐसी रमणियों में वे शिरोमणि हैं। शिरोमणि अर्थात् अपने वर्ग में सबसे ऊपर।
śiromaṇi literally 'the jewel worn on the head', hence the single finest of its class — here, the topmost among all charming women.
L3invocation
upasanna-yauvana-guror adhītya yāḥ
upasanna-yauvana-guroḥfrom their teacher — and that teacher is the youth that has now come upon them ablative sg. 'from'; the compound both commentators unpack as 'the arrived youth itself is the guru'समीप आये हुए यौवन रूपी गुरु से
adhītyaonce they had studied, having learned gerundपढ़कर, अध्ययन करके
yāḥthey who — tying back to the women just praised nominative fem. pl., the relative pronounजो (स्त्रियाँ)
yāḥ — they who; upasanna-yauvana-guroḥ — from the guru who is their arrived youth; adhītya — having studied
जो (स्त्रियाँ) समीप आये हुए यौवन रूपी गुरु से (कला) पढ़कर...
These are the women who studied under a certain teacher — and that teacher is youth itself, now arrived in them. Having learned from it...
जो स्त्रियाँ अपने पास आये हुए यौवन को ही गुरु मानकर, उससे सीखकर...
L4invocation
smara-keli-kauśalam udāharan harau
smara-keli-kauśalamtheir skill in the play of love accusative sg., object of udāharan; smara = love/Cupid, keli = playकाम-क्रीड़ा की कुशलता को
udāharanshowing it off by example, putting it on display nominative fem. pl. present participle, agreeing with yāḥप्रकट करती हुई, उदाहरण देती हुई
harauin their dealings with Hari locative sg.हरि (कृष्ण) के प्रति
yāḥ — who; harau — toward Hari; smara-keli-kauśalam — skill in the play of love; udāharan — demonstrating it
...हरि के प्रति काम-क्रीड़ा की कुशलता को प्रकट करती हुई (उस सीख को दिखाती हैं)।
...they put their skill in the play of love on display, demonstrating it in their dealings with Hari. To those women I bow.
वे हरि के प्रति काम-क्रीड़ा की कुशलता का प्रदर्शन करती हैं। इस प्रकार अपने सीखे हुए को प्रकट कर देती हैं।
Commentary — decoded
Jīva Gosvāmī
s1avataranika
upasanna-yauvana-guror iti |
upasanna-yauvana-guroḥ'from the guru who is their arrived youth' — the phrase he picks up pratīka: the verse-words quoted to be explained"उपसन्न-यौवन-गुरोः" (समीप आये यौवन रूपी गुरु से)
itithese are the words he takes up iti marks the lemma being citedयह (पद उद्धृत करके)
upasanna-yauvana-guroḥ iti — [taking up the words] 'from the guru who is their arrived youth'
"उपसन्न-यौवन-गुरोः" — यह पद (अब व्याख्या के लिए उठाया जाता है)।
Jīva picks up the phrase 'upasanna-yauvana-guroḥ' — 'from the guru who is their arrived youth' — to explain what that teacher really is.
"समीप आये यौवन रूपी गुरु से" — इस पद की अब व्याख्या होती है।
s2gloss
tāsu tat-tad-vaidagdhīnām svābhāvikatvād avasaraṁ prāpya svata evodayam ācaṣṭe |
tāsuin these women locative pl.उन (स्त्रियों) में
tat-tad-vaidagdhīnāmof their many kinds of cleverness, their several arts genitive pl., what is said to ariseउन-उन चातुर्यों (निपुणताओं) का
svābhāvikatvātbecause these are inborn — part of their very nature ablative of causeस्वाभाविक होने के कारण
avasaraṁ prāpyaonce the occasion comes, on getting the opening gerund phraseअवसर पाकर
svataḥ evaall on their own, of themselves and nothing else adverb; eva restrictive — purely of themselvesअपने आप ही
udayamthe arising, the coming-out [of the skill] accusative, object of ācaṣṭeउदय को, प्रकट होने को
ācaṣṭe[the verse] declares, is telling us 3rd sg.कहता है, बतलाता है
tāsu — in these women; tat-tad-vaidagdhīnām — of their many arts; svābhāvikatvāt — because they are inborn; avasaraṁ prāpya — once the occasion comes; svataḥ eva — purely of themselves; udayam — the arising; ācaṣṭe — [the verse] declares
उन स्त्रियों में उन-उन चातुर्यों के स्वाभाविक होने के कारण, अवसर पाकर अपने आप ही (उनका) उदय होता है — (यह पद) ऐसा कहता है।
Here is his point. The many arts these women have are inborn — part of their very nature. So what the verse is really telling us is this: once the occasion arrives, those arts simply rise up on their own. The 'teacher' is no outside instructor. Their own maturing youth is only the occasion; the skill was already in them.
उन स्त्रियों में वे सब चातुर्य स्वाभाविक हैं। इसलिए अवसर पाते ही वे अपने आप उदित हो जाते हैं। यही यह पद बतलाता है।
vaidagdhī = cleverness, artful accomplishment; tat-tad- 'this-and-that' points to the various arts (singing, dancing, the play of love) named next.
s3other
dṛṣṭaṁ ca tathā rāsa-krīḍāyāṁ gāna-nṛtyādiṣu sarvataḥ prāvīṇyam |
dṛṣṭaṁ caand this is actually seen nominative; an appeal to what everyone observes; ca 'and'और देखा भी गया है
tathājust so, exactly in that way adverbउसी प्रकार
rāsa-krīḍāyāmin the rāsa dance locative sg.रास-क्रीड़ा में
gāna-nṛtya-ādiṣuin the singing, the dancing, and the rest locative pl.गान, नृत्य आदि में
sarvataḥ prāvīṇyaman all-round mastery, expertise on every side nominative, the thing observedसब प्रकार से (उनकी) प्रवीणता
rāsa-krīḍāyām — in the rāsa dance; gāna-nṛtya-ādiṣu — in singing, dancing and so on; sarvataḥ prāvīṇyam — an all-round mastery; dṛṣṭaṁ ca tathā — and just so it is seen
और उसी प्रकार यह देखा भी गया है — रास-क्रीड़ा में तथा गान-नृत्य आदि में उनकी सब प्रकार की प्रवीणता।
And we actually see this. In the rāsa dance their complete mastery of singing, dancing and all the rest is on plain view. No one taught them; the skill showed itself the moment the occasion came.
और ऐसा देखा भी गया है। रास-क्रीड़ा में तथा गान-नृत्य आदि में उनकी हर प्रकार की प्रवीणता प्रकट होती है।
s4conclusion
udāharan tasyādhyayanasya prayogān darśayāmāsuḥ ||
udāharan'demonstrating' — now the verse's own word pratīka"उदाहरन्" (उदाहरण देती हुई)
tasya adhyayanasyaof that learning, of that study genitiveउस अध्ययन के
prayogānthe practical uses, the ways of putting it to work accusative pl., objectप्रयोगों को
darśayāmāsuḥthey showed, they put on display 3rd pl. perfectउन्होंने दिखला दिया
udāharan — [by the word] 'demonstrating'; tasya adhyayanasya — of that study; prayogān — its practical applications; darśayāmāsuḥ — they displayed
"उदाहरन्" (पद से) — उन्होंने उस अध्ययन के प्रयोगों को दिखला दिया।
He closes by glossing the verse's word 'udāharan,' 'demonstrating.' It means the women put that learning to work — they showed the practical applications of what they had studied, right there before Hari.
"उदाहरन्" — इस पद से (कवि कहते हैं कि) उन स्त्रियों ने अपने उस सीखे हुए के प्रयोगों को प्रकट कर दिखाया।
Viśvanātha Cakravartī
s1gloss
kṛta-puṇya-puñja- iti līlāviṣṭa-loka-pratīty-anurāgeṇoktiḥ |
kṛta-puṇya-puñja- itithe phrase 'kṛta-puṇya-puñja...' — 'heaps of accumulated merit' pratīka"कृत-पुण्य-पुञ्ज" यह (पद)
līlā-āviṣṭa-loka-pratīti-anurāgeṇaspoken out of the loving conviction felt by people who are absorbed in the līlā instrumental of manner/cause — this is the mood the words come fromलीला में लीन लोगों की प्रतीति से उपजे अनुराग के कारण
uktiḥis an utterance, is what is said nominative predicate(यह) कथन है
kṛta-puṇya-puñja- iti — the words 'kṛta-puṇya-puñja...'; līlā-āviṣṭa-loka-pratīti-anurāgeṇa — out of the loving conviction of people absorbed in the pastime; uktiḥ — are spoken
"कृत-पुण्य-पुञ्ज" — यह कथन लीला में मग्न लोगों की प्रतीति से उपजे अनुराग से (निकला) है।
Viśvanātha takes up the phrase 'kṛta-puṇya-puñja...' — 'heaps of accumulated merit.' Whose voice is this? He says it is spoken out of anurāga, the loving conviction that fills people absorbed in Kṛṣṇa's līlā. That is how these women look to devotees caught up in the pastime: as pious merit itself made flesh.
"कृत-पुण्य-पुञ्ज" — यह वचन उस अनुराग से कहा गया है, जो लीला में लीन लोगों की प्रतीति से उपजता है।
anurāga = deep loving attachment; līlā-āviṣṭa-loka = 'the people absorbed in the pastime' — the words carry their affectionate way of seeing, not a cool outsider's.
s2gloss
praṇamāmi iti mathurāṅganānāṁ pratyekam uktiḥ |
praṇamāmi itithe word 'praṇamāmi' — 'I bow' pratīka; note it is singular"प्रणमामि" यह (पद — यह एकवचन है)
mathurā-aṅganānāmof the women of Mathurā genitive pl., whose utterance it isमथुरा की स्त्रियों का
pratyekameach one separately, individually adverb — explains the singular verbप्रत्येक (स्त्री) का
uktiḥis the utterance nominative predicateकथन है
praṇamāmi iti — the word 'I bow'; mathurā-aṅganānām — of the Mathurā women; pratyekam — each one separately; uktiḥ — is the utterance
"प्रणमामि" — यह मथुरा की स्त्रियों में से प्रत्येक का (अलग-अलग) कथन है।
Next the word 'praṇamāmi,' 'I bow' — which is singular. Why singular, when many are speaking? Because, Viśvanātha says, it is spoken by each of the Mathurā women on her own. Every one of them, individually, says 'I bow.'
"प्रणमामि" — यह मथुरा की स्त्रियों में से प्रत्येक का अपना-अपना कथन है। इसीलिए क्रिया एकवचन में है।
s3gloss
upasanna-yauvanam eva guruḥ, tasmād adhītya ity apy upadiśati |
upasanna-yauvanam evathe arrived youth, and nothing outside it nominative; eva restrictiveसमीप आया हुआ यौवन ही
guruḥis the teacher nominative predicateगुरु है
tasmāt adhītyahaving learned from that ablative + gerundउससे पढ़कर, अध्ययन करके
iti api upadiśatiin just this sense too [the verse] teaches iti closes the reading; api 'also' — a further thing the verse impartsयह भी (यह पद) उपदेश देता है
upasanna-yauvanam eva guruḥ — the arrived youth itself is the teacher; tasmāt adhītya — having learned from that; iti api upadiśati — this too [the verse] teaches
समीप आया यौवन ही गुरु है, उसी से पढ़कर — यह भी (यह पद) उपदेश देता है।
Now the compound 'upasanna-yauvana-guru.' Viśvanātha reads it just as Jīva does: the teacher is the youth that has come upon them — youth itself, nothing outside. 'Having learned from that,' the verse says. So this is a further thing the verse quietly teaches.
समीप आया हुआ यौवन ही (उनका) गुरु है। उसी से सीखकर — यह बात भी यह पद सिखाता है।
s4gloss
kāminīnāṁ yauvana-mada eva lalitānīti nyāyenoktir vastutas tu tāsāṁ nitya-siddhaiva sarva-vaidagdhī svāvasaraṁ prāpya udayate |
kāminīnāmfor amorous women genitive pl.कामिनियों (युवतियों) का
yauvana-madaḥ evathe heady rush of youth, all by itself, [brings out] nominative; eva; the verb is left understoodयौवन का मद ही (उत्पन्न करता है)
lalitānithe charming graces, the playful arts nominative pl., what youth is said to produceलालित्यपूर्ण विलास-चेष्टाएँ
iti nyāyenaby the well-known worldly maxim that... instrumental — the saying the surface reading rests onइस न्याय (लोक-कहावत) के आधार पर
uktiḥthe statement is made nominative(यह) कथन है
vastutaḥ tubut in plain truth adverb + tu — marks the real view against the maximपरन्तु वास्तव में
tāsāmin their case genitive pl.उन (स्त्रियों) की
nitya-siddhā evaeternally perfect, complete from the very start nominative fem.; evaनित्य-सिद्ध ही है
sarva-vaidagdhītheir whole cleverness, every art nominative fem., the subjectसमस्त चातुर्य
sva-avasaraṁ prāpyaon finding its own occasion gerund phraseअपना अवसर पाकर
udayaterises into view, shows itself 3rd sg.उदित होता है, प्रकट होता है
kāminīnām — for amorous women; yauvana-madaḥ eva — the rush of youth itself [brings out]; lalitāni — the charming graces; iti nyāyena uktiḥ — the statement is made by that maxim; vastutaḥ tu — but in truth; tāsām sarva-vaidagdhī — their whole art; nitya-siddhā eva — is eternally perfect; sva-avasaraṁ prāpya — on finding its occasion; udayate — it rises into view
"कामिनियों में यौवन का मद ही लालित्यपूर्ण चेष्टाएँ (उत्पन्न करता है)" — इस न्याय के आधार पर यह कथन है; परन्तु वास्तव में उनका समस्त चातुर्य नित्य-सिद्ध ही है, जो अपना अवसर पाकर उदित होता है।
Here Viśvanātha lays out two levels. On the surface the verse follows a familiar worldly maxim: in amorous women the heady rush of youth, all by itself, brings out the charming arts. That is the conventional way of speaking. But in plain truth — and he marks it with 'vastutaḥ,' 'in fact' — it is not so with these women. Their every art is nitya-siddhā, eternally perfect, complete from the very start. Youth does not create it. Youth is only the occasion; when that occasion comes, the skill simply rises into view.
"युवतियों में यौवन का मद ही सुन्दर विलास उत्पन्न करता है" — इस लोक-न्याय के सहारे यह बात कही गई। परन्तु वास्तव में उनका सारा चातुर्य नित्य-सिद्ध ही है। वह केवल अपना अवसर पाकर प्रकट हो जाता है।
The pivot of the comment is the pair nyāyena ('by the maxim', the conventional surface) vs. vastutaḥ tu ('but in truth', the real state). nitya-siddhā = eternally accomplished — the arts are never learned, only unveiled; youth is the occasion, not the cause.
यहाँ दो स्तर हैं: ऊपरी न्याय (यौवन ही कला उपजाता है) और वास्तविक भाव (कला नित्य-सिद्ध है, केवल प्रकट होती है)। टीकाकार दोनों को साथ रखता है।
s5other
dṛṣṭaṁ ca tathā rāsa-krīḍāyāṁ gāna-nṛtyādiṣu prāvīṇyam tat-tac-chāstra-kṛdbhir api durgamam |
dṛṣṭaṁ ca tathāand just so it is actually seen nominative; appeal to what is observedऔर उसी प्रकार देखा भी गया है
rāsa-krīḍāyāmin the rāsa dance locative sg.रास-क्रीड़ा में
gāna-nṛtya-ādiṣuin the singing, the dancing, and the rest locative pl.गान, नृत्य आदि में
prāvīṇyama proficiency, an expertise nominative, the thing observedप्रवीणता
tat-tat-śāstra-kṛdbhiḥ apihard to reach even for the very authors of the treatises on those arts instrumental pl.; api 'even' — the strongest measure of the skillउन-उन शास्त्रों के रचयिताओं के लिए भी
durgamambeyond attaining, out of their reach nominative, predicate of prāvīṇyamदुर्गम (जो कठिनता से प्राप्त हो)
rāsa-krīḍāyām — in the rāsa dance; gāna-nṛtya-ādiṣu prāvīṇyam — proficiency in singing, dancing and so on; dṛṣṭaṁ ca tathā — and just so it is seen; tat-tat-śāstra-kṛdbhiḥ api durgamam — hard to reach even for the authors of the treatises on those arts
और उसी प्रकार यह देखा भी गया है — रास-क्रीड़ा में तथा गान-नृत्य आदि में (उनकी) प्रवीणता, जो उन-उन शास्त्रों के रचयिताओं के लिए भी दुर्गम है।
And, just as Jīva said, we see it in the rāsa dance — their proficiency in singing and dancing and everything else. Viśvanātha adds one stroke: this proficiency is so high that even the men who composed the treatises on music and dance could not reach it. That is the measure of a skill that was perfect from the start.
और ऐसा देखा भी गया है। रास-क्रीड़ा में तथा गान-नृत्य आदि में उनकी प्रवीणता ऐसी है, जो उन विषयों के शास्त्र रचने वालों के लिए भी दुर्गम है।
s6conclusion
udāharan tasyādhyayanasya prayogān darśayāmāsuḥ ||
udāharan'demonstrating' — the verse's own word pratīka"उदाहरन्" (उदाहरण देती हुई)
tasya adhyayanasyaof that learning, of that study genitiveउस अध्ययन के
prayogānthe practical uses, the ways of putting it to work accusative pl., objectप्रयोगों को
darśayāmāsuḥthey showed, they put on display 3rd pl. perfectउन्होंने दिखला दिया
udāharan — [by the word] 'demonstrating'; tasya adhyayanasya — of that study; prayogān — its practical applications; darśayāmāsuḥ — they displayed
"उदाहरन्" (पद से) — उन्होंने उस अध्ययन के प्रयोगों को दिखला दिया।
Finally he glosses 'udāharan,' 'demonstrating,' exactly as Jīva did. The women showed the practical applications of that learning — they put what they had studied to work in their dealings with Hari.
"उदाहरन्" — इस पद से (कवि कहते हैं कि) उन स्त्रियों ने अपने उस सीखे हुए के प्रयोगों को प्रकट कर दिखाया।