L1other
śraddhā-rajyad-arundhatī-mukha-satī-vṛndena vandyehitāḥ |
śraddhā-rajyad-arundhatī-mukha-satī-vṛndenaby the throng of chaste wives headed by Arundhatī, all of them aglow — reddening — with faith instrumental: the agent by whom the reverence is paid; the full pāda opens earlier with rāgollāsa-vilaṅghitārya-padavī-viśrānti (see lead-in)श्रद्धा से अनुरक्त, अरुन्धती आदि प्रमुख सती स्त्रियों के समूह के द्वारा
vandya-īhitāḥthe gopīs whose every deed that throng holds worthy of reverenceजिनकी चेष्टाएँ वन्दनीय हैं
śraddhā-rajyat-arundhatī-mukha-satī-vṛndena — by the faith-glowing throng of chaste wives led by Arundhatī; vandya-īhitāḥ — [the gopīs] whose deeds are held worthy of reverence.
श्रद्धा से अनुरक्त अरुन्धती आदि प्रमुख सती स्त्रियों के समूह के द्वारा जिनकी चेष्टाएँ वन्दनीय हैं —
The gopīs' every act is held worthy of reverence — and by whom? By the whole company of chaste wives led by Arundhatī, women who glow red with faith toward them.
अरुन्धती जैसी प्रमुख सती स्त्रियों का समूह श्रद्धा से भरकर जिनके आचरण की वन्दना करता है।
The verse's first pāda actually opens with rāgollāsa-vilaṅghitārya-padavī-viśrānti- (carried in the lead-in line); the commentators below gloss that opening compound before reaching śraddhā-rajyat.
L2other
āraṇyā api mādhurī-parimala-vyākṣipta-lakṣmī-śriyas
āraṇyāḥ apiforest women though they are — even so api concessive: 'and yet'यद्यपि वे वनवासिनी हैं, फिर भी
mādhurī-parimala-vyākṣipta-lakṣmī-śriyaḥwhose loveliness, by the mere fragrance of their sweetness, casts even Lakṣmī's splendor into the shadeजिनके माधुर्य की सुगन्ध ने लक्ष्मी की शोभा को भी तिरस्कृत कर दिया है
āraṇyāḥ api — forest-dwellers though they are; mādhurī-parimala-vyākṣipta-lakṣmī-śriyaḥ — [the gopīs] whose beauty, by the fragrance of their sweetness, throws even Lakṣmī's splendor into the shade.
यद्यपि वे वनवासिनी हैं, फिर भी जिनके माधुर्य की सुगन्ध ने लक्ष्मी की शोभा को भी तिरस्कृत कर दिया —
They are only village women of the forest. And yet the mere fragrance of their sweetness throws even Lakṣmī's beauty into the shade.
वे वन में रहती हैं, फिर भी उनके माधुर्य की सुगन्ध लक्ष्मी की शोभा को भी पीछे छोड़ देती है।
L3invocation
tās trailokya-vilakṣaṇā dadatu vaḥ kṛṣṇasya sakhyaḥ sukham ||
tāḥ ... kṛṣṇasya sakhyaḥthose women, Kṛṣṇa's own girlfriends (sakhīs)वे कृष्ण की सखियाँ
trailokya-vilakṣaṇāḥset apart from anyone in all three worlds — unlike anything anywhereजो तीनों लोकों में अनुपम हैं
dadatu vaḥ sukhammay they grant you happiness dadatu imperative; vaḥ 'to you'; the benediction that closes the verseतुम्हें सुख प्रदान करें
tāḥ kṛṣṇasya sakhyaḥ — those girlfriends of Kṛṣṇa; trailokya-vilakṣaṇāḥ — set apart from all in the three worlds; vaḥ sukham dadatu — may they give you happiness.
तीनों लोकों में अनुपम वे कृष्ण की सखियाँ तुम्हें सुख प्रदान करें।
Those women — Kṛṣṇa's own sakhīs, unlike anyone else in all three worlds — may they give you happiness. This is the verse's closing blessing.
तीनों लोकों में जिनकी कोई समता नहीं, कृष्ण की वे सखियाँ तुम्हें सुख दें।
Commentary — decoded
Jīva Gosvāmī
s1gloss
śraddhā-rajyad iti vandyeti ca tāsāṁ tāsv ādara eva vyajyate, na tu tāsu śrī-kṛṣṇa-viṣayako yo bhāvas tad-āpattiḥ, tat-tat-parasyādara eva viśrānteḥ |
śraddhā-rajyad iti vandya iti cathe two phrases 'faith-glowing…' and 'revered…' iti … iti ca flags the two pratīkas Jīva is taking up"श्रद्धा-रज्यत्" और "वन्द्य" — इन दो पदों से
tāsāṁ tāsu ādaraḥ eva vyajyateexpress only the reverence those chaste women feel toward the gopīs tāsāṁ 'of the chaste women'; tāsu 'toward the gopīs'; eva 'only'उन सती स्त्रियों का उन गोपियों के प्रति केवल आदर ही व्यक्त होता है
na tu tāsu śrī-kṛṣṇa-viṣayakaḥ yaḥ bhāvaḥ tad-āpattiḥnot that in those women there arises the love that is aimed at Śrī Kṛṣṇa na tu 'but not'; tad-āpattiḥ '[its] arising' — with vyajyate carried overपरन्तु उन (सती स्त्रियों) में श्रीकृष्ण-विषयक जो भाव है, उसकी प्राप्ति व्यक्त नहीं होती
tat-tat-parasya ādaraḥ eva viśrānteḥbecause their reverence comes to rest only in being aimed at those very gopīs ablative of reason (viśrānteḥ); tat-tat-para 'intent on each of those [gopīs]'क्योंकि उन-उन गोपियों के प्रति तत्पर (सती स्त्री) का आदर ही वहाँ विश्रान्त होता है
śraddhā-rajyat iti vandya iti ca — by the phrases 'faith-glowing' and 'revered'; tāsāṁ tāsu ādaraḥ eva vyajyate — only the chaste women's reverence toward the gopīs is expressed; na tu tāsu śrī-kṛṣṇa-viṣayakaḥ bhāvaḥ tad-āpattiḥ — not the arising in them of Kṛṣṇa-directed love; tat-tat-parasya ādaraḥ eva viśrānteḥ — because their reverence rests only in being aimed at those gopīs.
"श्रद्धा-रज्यत्" और "वन्द्य" इन दो पदों से उन सती स्त्रियों का उन गोपियों के प्रति केवल आदर ही व्यक्त होता है, न कि उनमें श्रीकृष्ण-विषयक भाव की प्राप्ति; क्योंकि उन-उन गोपियों के प्रति तत्पर (सती) का आदर ही वहाँ विश्रान्त होता है।
Take the two phrases 'aglow with faith' and 'their deeds revered.' Jīva says they show one thing only: that the chaste women revere the gopīs. They do not show those women themselves catching the love that is aimed at Kṛṣṇa. Their reverence goes only as far as reverence for the gopīs — and there it comes to rest.
जीव गोस्वामी कहते हैं — "श्रद्धा-रज्यत्" और "वन्द्य" इन शब्दों से इतना ही जाना जाता है कि वे सती स्त्रियाँ गोपियों का आदर करती हैं। यह नहीं कि उनमें कृष्ण के प्रति वैसा भाव जाग गया हो। उनका आदर तो बस उन गोपियों के प्रति लगे रहने में ही ठहर जाता है।
ādara (respectful esteem) is being kept sharply apart from bhāva (the emotion of love directed at Kṛṣṇa): the verse gives the chaste women the first, not the second.
s2gloss
tad-bhāve kāntātvābhimāna-lakṣaṇe bhakti-sāmānyāṁśasyaivānubhavāt, na tu madhurākhya-raty-aṁśasya |
tad-bhāve kāntātva-abhimāna-lakṣaṇewithin that love — the kind defined by feeling oneself Kṛṣṇa's beloved locative marking the sphere within which the experience is weighedउस भाव में — जो कान्तात्व (प्रियतमा होने) के अभिमान रूप है — जब हम देखते हैं तो
bhakti-sāmānya-aṁśasya eva anubhavātbecause only its general devotional side would be felt [by them] ablative of reason (anubhavāt); eva 'only'क्योंकि उसमें केवल भक्ति के सामान्य अंश का ही अनुभव होता है
na tu madhura-ākhya-rati-aṁśasyanot the side that is the specific sweet love named madhura na tu 'but not'परन्तु मधुर नामक रति के अंश का नहीं
tad-bhāve kāntātva-abhimāna-lakṣaṇe — in that love marked by the sense of being his beloved; bhakti-sāmānya-aṁśasya eva anubhavāt — because only its general-devotion part is experienced; na tu madhura-ākhya-rati-aṁśasya — not the part that is the specific sweet love (madhura-rati).
कान्तात्व के अभिमान रूप उस भाव में केवल भक्ति के सामान्य अंश का ही अनुभव होता है, न कि मधुर नामक रति के अंश का।
And here is why. Suppose that Kṛṣṇa-directed love — the love whose mark is feeling oneself his beloved — did stir in them. Even then, only its general devotional layer would be felt. The special layer, the sweet conjugal love called madhura-rati, would not. So their reverence can never reach what the gopīs actually have.
जिस भाव को प्रियतमा होने का अभिमान कहा जाता है, उसमें भी केवल भक्ति का साधारण अंश ही अनुभव में आता है। मधुर रति वाला अंश उसमें नहीं है।
The distinction is between bhakti-sāmānya (the devotion common to every rasa) and madhurā-rati, the specific sthāyi-bhāva of the conjugal mood: even a Kṛṣṇa-directed emotion in these women would carry only the first.
s3conclusion
tāsu hi śrī-kṛṣṇasya mātṛ-bhāva eveti ||
tāsu hifor toward those chaste women hi 'for' (gives the ground); locative tāsuक्योंकि उन (सती स्त्रियों) में
śrī-kṛṣṇasya mātṛ-bhāvaḥ evaŚrī Kṛṣṇa holds only a mother-directed mood — he regards them as mothers eva 'only'श्रीकृष्ण का मातृ-भाव ही (रहता है)
iti— and so the point standsऐसा (सिद्ध होता है)
tāsu hi — for toward those chaste women; śrī-kṛṣṇasya mātṛ-bhāvaḥ eva — Kṛṣṇa's attitude is purely maternal; iti — thus.
क्योंकि उनमें श्रीकृष्ण का मातृ-भाव ही रहता है — ऐसा सिद्ध होता है।
The clincher: toward those chaste women, Kṛṣṇa feels only what a son feels for a mother. There is simply no room there for madhura love — so their reverence for the gopīs can never turn into the gopīs' own mood.
कारण यह कि उन स्त्रियों में कृष्ण के प्रति माँ जैसा भाव ही रहता है।
Viśvanātha Cakravartī
s1avataranika
rāgollāseti tad-dyūtādiṣu prathama-pravartyamānā nāndīmukhī-gārgī-prabhṛtīḥ prati paurṇamāsyā vacanam |
rāgollāsa itithe verse beginning 'rāgollāsa…'"रागोल्लास" इत्यादि पद से आरम्भ यह श्लोक
dyūta-ādiṣu prathama-pravartyamānāḥ[women] who are just now being drawn, for the first time, into the dice-games and the like locative dyūtādiṣu marks the pastimes they are being brought intoद्यूत आदि लीलाओं में पहली बार प्रवृत्त की जा रहीं
nāndīmukhī-gārgī-prabhṛtīḥ pratispoken to Nāndīmukhī, Gārgī and the rest prati 'toward / addressed to' (governs the accusative)नान्दीमुखी, गार्गी आदि के प्रति
paurṇamāsyāḥ vacanamthese are Paurṇamāsī's words tat 'this [verse]' … vacanam 'is the utterance'पौर्णमासी का वचन है
rāgollāsa iti — the verse 'rāgollāsa…'; tat paurṇamāsyāḥ vacanam — this is Paurṇamāsī's statement; dyūta-ādiṣu prathama-pravartyamānāḥ nāndīmukhī-gārgī-prabhṛtīḥ prati — addressed to Nāndīmukhī, Gārgī and the rest, who are being drawn into the games for the first time.
"रागोल्लास" इत्यादि यह श्लोक — द्यूत आदि लीलाओं में पहली बार प्रवृत्त की जा रहीं नान्दीमुखी, गार्गी आदि के प्रति — पौर्णमासी का वचन है।
Viśvanātha sets the scene. The verse 'rāgollāsa…' is spoken by Paurṇamāsī. Her listeners are Nāndīmukhī, Gārgī and the others, who are just being brought into the pastimes — the dice-games and the like — for the first time.
विश्वनाथ कहते हैं — "रागोल्लास" से शुरू होने वाला यह श्लोक पौर्णमासी का कहा हुआ है। वह इसे नान्दीमुखी, गार्गी आदि से कहती हैं, जिन्हें द्यूत आदि लीलाओं में पहली बार लगाया जा रहा है।
Paurṇamāsī, Nāndīmukhī and Gārgī are characters from Rūpa Gosvāmī's dramas; Viśvanātha frames the verse as a line of stage-dialogue rather than as the poet speaking in his own voice.
s2gloss
rāgautkaṭyena vilaṅghitā ārya-padavyā viśrāntir anta-sīmāpi yābhis tāḥ |
rāga-autkaṭyenathrough the towering intensity of passion (this unpacks the verse's word ullāsa) instrumental of means; ullāsa in the verse is read as autkaṭya, 'intensity'राग की उत्कटता (तीव्रता) के द्वारा
vilaṅghitā ... viśrāntiḥ anta-sīmā apieven the resting-limit, the very last boundary, was overstepped vilaṅghitā agrees with viśrāntiḥ; anta-sīmā api 'even the final edge' stands in appositionजिसकी विश्रान्ति — उसकी अन्तिम सीमा तक भी — लाँघ दी गई
ārya-padavyāḥof the āryas' path — the road of respectable, dharmic conduct genitive: whose limit was oversteppedआर्य-मार्ग (सदाचार के मार्ग) की
yābhiḥ tāḥthey are the women by whom this was done yābhiḥ … tāḥ resolves the whole compound into a bahuvrīhi describing the gopīsजिनके द्वारा (यह हुआ), वे (गोपियाँ हैं)
yābhiḥ rāga-autkaṭyena ārya-padavyāḥ viśrāntiḥ anta-sīmā api vilaṅghitā, tāḥ — they by whom, through the towering intensity of passion, even the final boundary — the resting-limit of the āryas' path — was overstepped.
राग की उत्कटता से जिनके द्वारा आर्य-मार्ग की विश्रान्ति — उसकी अन्तिम सीमा तक भी — लाँघ दी गई, वे (गोपियाँ हैं)।
Now he unpacks the long opening compound. 'Ullāsa' he reads as the towering intensity of passion (rāga). By that passion these women overstepped even the resting-limit — the very last boundary — of the āryas' path, the road of respectable conduct. The compound names them as exactly the women who did that.
यहाँ "उल्लास" का अर्थ है राग की तीव्रता। इसी तीव्रता से जिन गोपियों ने सदाचार के मार्ग की अन्तिम सीमा तक को लाँघ दिया — यह बहुव्रीहि उन्हीं का वर्णन करता है।
ārya-padavī is the path of the noble/respectable, i.e. worldly moral propriety (dharma); viśrānti here is the point at which that path comes to rest — its outer limit.
s3gloss
kā nāma sā dharma-padavī yā tābhir na laṅghitā ? ity arthaḥ |
kā nāma sā dharma-padavī'what path of dharma even exists…' kā nāma — an emphatic rhetorical 'what on earth'आखिर वह कौन-सा धर्म-मार्ग है
yā tābhiḥ na laṅghitā'…that was not overstepped by them?' tābhiḥ 'by them' (the gopīs)जो उनके द्वारा न लाँघा गया हो?
iti arthaḥ— that is the force of the phraseऐसा अर्थ है
kā nāma sā dharma-padavī yā tābhiḥ na laṅghitā — what path of dharma is there that was not overstepped by them?; iti arthaḥ — this is the meaning.
आखिर वह कौन-सा धर्म-मार्ग है जो उनके द्वारा न लाँघा गया हो? — ऐसा अर्थ है।
He drives it home as a rhetorical question: is there any path of dharma at all that these women did not overstep? None. That, he says, is the force of the phrase.
अर्थात् ऐसा कोई धर्म का मार्ग बचा ही नहीं जिसे उन गोपियों ने न लाँघ दिया हो।
s4gloss
evaṁ-rūpā api śraddhayā rajyad anuraktībhavat ||
evaṁ-rūpāḥ apieven women of such a character — women who broke every rule api concessive: 'even so, such women are the ones revered'ऐसी होने पर भी (वे ही वन्दनीय हैं)
śraddhayā rajyat[a throng] reddening — turning attached — through faith; he reads the verse's śraddhā-rajyat as 'śraddhayā rajyat' the compound is split: śraddhayā instrumental + rajyatश्रद्धा के द्वारा "रज्यत्" (रँगती हुई)
anuraktī-bhavatthat is, growing enamored [of the gopīs] gloss of rajyat, literally 'being dyed / reddening'अर्थात् अनुरक्त होती हुई
evaṁ-rūpāḥ api — even women of such a nature; śraddhayā rajyat = anuraktī-bhavat [arundhatī-mukha-satī-vṛndam] — [are revered by the throng] that, through faith, is reddening = growing enamored.
ऐसी होने पर भी — श्रद्धा से "रज्यत्", अर्थात् अनुरक्त होती हुई (सती स्त्रियाँ उन्हें वन्दनीय मानती हैं)।
Then he ties it back to the main verse. 'Even women of such a character' — women who broke every rule of dharma — are the very ones the chaste company reveres. And he reads 'śraddhā-rajyat' as 'śraddhayā rajyat': the throng that is 'reddening through faith,' which he glosses as 'growing enamored' of the gopīs.
ऐसी होने पर भी वे ही वन्दनीय हैं। यहाँ "रज्यत्" का अर्थ है श्रद्धा से रँगकर अनुरक्त होना।
rajyat literally means 'reddening / being dyed'; Viśvanātha reads it figuratively as anuraktī-bhavat, 'becoming attached, enamored', and splits the compound so that śraddhā becomes the instrument ('through faith').