L3other
sakhi laghur aghabhic-cakora-varyaḥ
sakhiO friend — Viśākhā turns to address Rādhā vocativeहे सखी!
laghuḥthe nimble one — quick and charming at once nominative, describing Kṛṣṇa; śleṣa: laghu = swift AND lovelyजो शीघ्रगामी है — तथा साथ ही मनोहर भी
aghabhitAghabhit, the slayer of the demon Agha — Kṛṣṇa, named for the foe he split (and, read otherwise, 'the sinless one') nominativeअघ (असुर) का नाश करनेवाला
cakora-varyaḥthe best of cakora birds — the bird said to live on moonbeams, so it rises to a moon nominative, the subject of the sentenceश्रेष्ठ चकोर
sakhi — O friend; laghuḥ aghabhit cakora-varyaḥ — the nimble Aghabhit, best of cakora birds.
हे सखी! वह शीघ्रगामी — तथा मनोहर — अघनाशक श्रेष्ठ चकोर...
Now the subject arrives, and it is Kṛṣṇa, cast as a bird. He is 'the best of cakora birds' — the cakora being the bird said to feed on moonbeams, which is why it rises to a moon. He is 'aghabhit,' slayer of the demon Agha. And he is 'laghu,' which the commentators pull two ways: nimble-quick and charming.
हे सखी! वह फुर्तीला (और मनोहर) अघनाशक श्रेष्ठ चकोर...
The cakora is traditionally said to subsist on moonbeams; casting Kṛṣṇa as the cakora and Rādhā's face as the moon (vidhu) drives the whole verse. Rūpa places it under the heading ujjvala-smitā, the heroine of radiant smile.
Viśvanātha Cakravartī
s1avataranika
tava vadaneti |
tava vadana itithe verse beginning 'tava vadana...' — naming it by its opening words iti names the verse by its catchword'तव वदन' इत्यादि (इस पद से आरम्भ होनेवाला श्लोक)
tava vadana iti — the verse beginning 'tava vadana...'.
'तव वदन' इत्यादि (यह श्लोक)।
Viśvanātha picks up the verse by its first words, 'tava vadana...'.
'तव वदन' — इस पद से आरम्भ होनेवाला श्लोक।
s2avataranika
viśākhā-vākyam |
viśākhā-vākyamis a speech of Viśākhā — fixing who is speakingविशाखा का वचन है
viśākhā-vākyam — [it] is Viśākhā's speech.
(यह) विशाखा का वचन है।
He fixes the speaker: this is Viśākhā, Rādhā's friend, talking — teasing Rādhā about Kṛṣṇa. Not the poet describing, but a sakhī's playful report.
यह विशाखा सखी का कथन है।
s3avataranika
smita-sudhayeti |
smita-sudhayā itithe phrase 'smita-sudhayā' (with the nectar of the smile) — named to be unpacked next iti pratīka, quoting the phrase'स्मित-सुधया' — इस पद (को लेकर)
smita-sudhayā iti — [the phrase] 'smita-sudhayā'.
'स्मित-सुधया' — इस पद (की व्याख्या करते हैं)।
He calls up the phrase 'smita-sudhayā,' 'with the nectar of the smile,' to explain it.
'स्मित-सुधया' — यह पद लेकर कहते हैं।
s4gloss
smitam idaṁ preṣṭha-darśana-jāta-harṣottham |
smitam idaṁthis smile [of yours]यह मुस्कान
preṣṭha-darśana-jāta-harṣa-utthamrose from the joy born of seeing your dearmost preṣṭha = dearmost (Kṛṣṇa), darśana = seeing, jāta = born, harṣa = joy, uttha = arisen fromप्रियतम (कृष्ण) के दर्शन से उत्पन्न हुए हर्ष से उठी हुई है
idaṁ smitam — this smile; preṣṭha-darśana-jāta-harṣa-uttham — arose from the joy born of seeing [your] dearmost.
यह मुस्कान प्रियतम (कृष्ण) के दर्शन से उत्पन्न हुए हर्ष से उठी हुई है।
He tells us where the smile came from. This smile of Rādhā's broke out from the joy that welled up the moment she saw her dearmost, Kṛṣṇa.
यह मुस्कान प्रियतम कृष्ण को देखने से जगे हर्ष से उपजी है।
s5gloss
tac ca avahitthayā saṁgopitam api kiñcid eva niṣkrāntam |
tat caand that [smile]और वह (मुस्कान)
avahitthayā saṁgopitam apithough she hid it by avahitthā — masking her feelings api = although; avahitthā = the concealment of emotionयद्यपि अवहित्था (भाव को छिपाने) के द्वारा दबाई गई
kiñcid eva niṣkrāntamstill slipped out, just a little eva = only a traceतो भी कुछ ही मात्रा में बाहर निकल आई
tat ca — and that smile; avahitthayā saṁgopitam api — though concealed by avahitthā; kiñcid eva niṣkrāntam — escaped just a little.
और वह मुस्कान, यद्यपि अवहित्था से दबाई गई थी, तो भी कुछ ही मात्रा में बाहर प्रकट हो गई।
And though she tried to cover the smile with avahitthā — putting on a composed face to hide what she felt — a little of it still escaped. That trace is what the verse calls the 'lip-streak.'
वह मुस्कान भाव को छिपाने के प्रयास से दबाई तो गई, पर थोड़ी सी बाहर झलक ही गई।
avahitthā — a passing emotion (vyabhicāri-bhāva) in Sanskrit poetics: the deliberate masking of one's true feeling. Here Rādhā hides her delight, yet a hint of the smile leaks out.
s6gloss
vidhauta-madhyāṁ kṣālita-madhya-pradeśām ity adhara-rekhā-madhya-pradeśa eva tad-vyakteḥ |
vidhauta-madhyāṁ'vidhauta-madhyāṁ' [the verse's word]'विधौत-मध्याम्' (का अर्थ)
kṣālita-madhya-pradeśām itimeans 'whose middle region is washed''जिसका मध्य प्रदेश धुला हुआ है' — ऐसा
adhara-rekhā-madhya-pradeśe evaprecisely in the middle of the lip-line locativeअधर-रेखा के मध्य प्रदेश में ही
tad-vyakteḥbecause that is where the smile shows itself ablative of reason; tat = the smile, vyakti = becoming visibleक्योंकि वहीं वह (मुस्कान) प्रकट होती है
vidhauta-madhyāṁ — [the word]; kṣālita-madhya-pradeśām iti — means 'whose middle region is washed'; tad-vyakteḥ — because [the smile] shows itself; adhara-rekhā-madhya-pradeśe eva — precisely at the middle of the lip-line.
'विधौत-मध्याम्' अर्थात् 'जिसका मध्य भाग धुला हुआ है', क्योंकि अधर-रेखा के मध्य भाग में ही वह (मुस्कान) प्रकट होती है।
He glosses 'vidhauta-madhyāṁ': it means 'the middle region is washed.' Why the middle? Because the smile appears exactly at the middle of the lip-line — so the smile-nectar 'washes' that spot.
'विधौत-मध्याम्' यानी जिसका बीच का भाग धुला हो — क्योंकि मुस्कान अधर-रेखा के बीच में ही झलकती है।
s7gloss
tac cātisūkṣmam api sakṛd udbhūtam api kṛṣṇena dṛṣṭam evety āha—udīkṣyeti |
tat caand that [smile]और वह (मुस्कान)
atisūkṣmam apithough very faint api = althoughयद्यपि अत्यन्त सूक्ष्म थी
sakṛt udbhūtam apithough it flashed up only once, for an instant sakṛt = onceऔर केवल एक बार ही उठी
kṛṣṇena dṛṣṭam evawas still caught sight of by Kṛṣṇa eva = indeedतो भी कृष्ण ने उसे देख ही लिया
iti āha—udīkṣya itiso [the poet] says 'udīkṣya' (having looked up and seen)यही कहने के लिए 'उदीक्ष्य' (पद) कहा
tat ca — and that smile; atisūkṣmam api — though very faint; sakṛt udbhūtam api — though risen only for an instant; kṛṣṇena dṛṣṭam eva — was indeed seen by Kṛṣṇa; iti āha udīkṣya iti — so he says 'udīkṣya'.
और वह मुस्कान यद्यपि अत्यन्त सूक्ष्म थी और केवल एक बार ही उठी, तो भी कृष्ण ने उसे देख ही लिया — यही कहने के लिए 'उदीक्ष्य' कहा।
That escaped smile was extremely faint and flashed up for only a moment — yet Kṛṣṇa still caught it. That is why the poet chose the word 'udīkṣya,' 'having looked up and seen it.'
वह मुस्कान बहुत बारीक थी और एक ही बार उठी, फिर भी कृष्ण ने उसे देख लिया; इसीलिए 'उदीक्ष्य' कहा।
s8gloss
ujjihīte udgacchatīti tenaiva pradeśena sañcariṣyatīty adhara-pānaṁ dhvanyante |
ujjihīte'ujjihīte' [the verse's verb]'उज्जिहीते' (अर्थात्)
udgacchati itimeans 'rises up''ऊपर उठता है' — ऐसा
tena eva pradeśena sañcariṣyatihe will travel by that very spot — the washed middle of the lip instrumental of route; future tenseउसी (अधर-रेखा के) मार्ग से (वह) विचरण करेगा
iti adhara-pānaṁ dhvanyanteso the lip-drinking, the kiss, is hinted dhvani = poetic suggestionइस प्रकार अधर-पान (होठों का रसपान) ध्वनित होता है
ujjihīte — [the verb]; udgacchati iti — means 'rises up'; tena eva pradeśena — by that very spot; sañcariṣyati — he will move; iti adhara-pānaṁ — so the lip-drinking; dhvanyante — is suggested.
'उज्जिहीते' अर्थात् ऊपर उठता है; (और) उसी मार्ग से वह विचरण करेगा — इस प्रकार अधर-पान ध्वनित होता है।
'ujjihīte' means 'rises up.' The cakora-Kṛṣṇa rises and will make his way along that very spot — the washed middle of her lip. So the verse quietly hints at the kiss: the lip-drinking.
'उज्जिहीते' यानी ऊपर उठता है; वह उसी राह से घूमेगा — इससे होठों के रसपान का संकेत मिलता है।
s9gloss
yato’ghabhit pāpa-śūnyaḥ |
yataḥbecauseक्योंकि
aghabhit[he is] 'aghabhit''अघभित्' (अर्थात्)
pāpa-śūnyaḥmeaning free of sin, spotless — reading aghabhit as 'the sinless one'पाप से रहित
yataḥ — because; aghabhit — [he is] aghabhit; pāpa-śūnyaḥ — [i.e.] free of sin.
क्योंकि 'अघभित्' अर्थात् पापरहित।
Now he takes 'aghabhit' in a first sense: 'free of sin,' spotless. Because Kṛṣṇa is himself pure...
क्योंकि 'अघभित्' का अर्थ है पाप से रहित।
aghabhit turns on the two senses of agha — the demon Agha, and 'sin / impurity.' Here Viśvanātha first reads a-gha-bhit, 'in whom sin is broken off,' i.e. sinless.
s10gloss
ataḥ kṣālanādibhiḥ pavitraṁ vartmaiva tasyāpekṣyam |
ataḥthereforeइसलिए
kṣālana-ādibhiḥ pavitraṁpurified by washing and the like instrumental of meansधोने आदि के द्वारा पवित्र किया हुआ
vartma evaonly a path eva = onlyमार्ग ही
tasya apekṣyamis what he requires tasya genitive of the one needing; apekṣ = to needउसको अपेक्षित है (चाहिए)
ataḥ — therefore; tasya — for him; kṣālana-ādibhiḥ pavitraṁ — purified by washing and so on; vartma eva — only a path; apekṣyam — is required.
इसलिए धोने आदि से पवित्र किया हुआ मार्ग ही उसे अपेक्षित है।
...therefore, being pure himself, he needs a route that is itself clean — washed and purified. And that is just what her lip offers: its middle is 'washed' (vidhauta) by the smile-nectar, so it is a fit path for him to approach.
इसलिए उसे धोकर शुद्ध किया हुआ रास्ता ही चाहिए।
s11gloss
tvadīyayādhara-sudhayeti tavāpi tatrānukūlyaṁ dṛśyata iti narma dhvanitam |
tvadīyayā adhara-sudhayā itireading it as 'by your own lip-nectar' — taking the nectar as Rādhā's own'तुम्हारी अधर-सुधा के द्वारा' — इस (पद) से
tava api tatra ānukūlyaṁ dṛśyateyour own willingness in the matter shows too api = too; ānukūlya = being favorable, agreeableउसमें तुम्हारी भी अनुकूलता (सहमति) दिखाई देती है
iti narma dhvanitamso a teasing joke is suggested narma = playful jestइस प्रकार परिहास ध्वनित होता है
tvadīyayā adhara-sudhayā iti — [reading] 'by your own lip-nectar'; tava api tatra ānukūlyaṁ dṛśyate — your willingness too is seen there; iti narma dhvanitam — so a joke is hinted.
'तुम्हारी अधर-सुधा के द्वारा' — इस से यह ध्वनित होता है कि उसमें तुम्हारी भी अनुकूलता (सहमति) दिखती है — ऐसा परिहास।
Here Viśvanātha catches a tease. If the nectar is read as 'your own lip-nectar,' then the hint is that Rādhā herself is willing — her own agreeableness to the kiss shows through. Viśākhā is ribbing her friend.
'तुम्हारी अधर-सुधा से' — इस पद से यह हँसी-मज़ाक झलकता है कि उसमें तुम्हारी भी रज़ामन्दी है।
s12gloss
yato’ghabhid eva rahasyaṁ duḥkhaṁ bhetsyatīti |
yataḥbecauseक्योंकि
aghabhit evahe, precisely as 'aghabhit' eva = precisely; agha now read as inner distress'अघभित्' ही (अर्थात् जो अघ = भीतरी पीड़ा को नष्ट करता है)
rahasyaṁ duḥkhaṁthe secret sorrow [of her longing](तुम्हारे) गुप्त दुःख को
bhetsyati itiwill break apart, [so runs the tease] future of √bhidनष्ट करेगा — ऐसा
yataḥ — because; aghabhit eva — he, as aghabhit; rahasyaṁ duḥkhaṁ — the secret sorrow; bhetsyati iti — will break, [it is hinted].
क्योंकि 'अघभित्' ही (तुम्हारे) गुप्त दुःख को नष्ट करेगा — ऐसा (भाव)।
And why is she willing? Because 'aghabhit' — reading agha as inner distress — is the one who will break apart her hidden sorrow, the ache of longing. So of course she welcomes him.
क्योंकि वही अघभित् तुम्हारे छिपे दुःख को तोड़ देगा।
s13alternative
kiṁ vā, kṣālane’pi tad-antaḥ-pāvitryādarśanād aghabhit tat-sthāna-stham aghaṁ bhetsyatīti svīya-cañcveti |
kiṁ vāor else — a second reading is offered [and left standing]अथवा
kṣālane apieven after washingधोने पर भी
tat-antaḥ-pāvitrya-adarśanātbecause inner purity cannot be seen [from outward washing alone] ablative of reason; adarśana = non-seeingउसके भीतर की पवित्रता न दिखने के कारण
aghabhitAghabhitअघभित् (चकोर)
tat-sthāna-stham aghaṁthe impurity lodged in that spot agha here = impurityउस स्थान में स्थित अघ (मलिनता) को
bhetsyatiwill break awayनष्ट करेगा
svīya-cañcvā itiwith his own beak — the cakora's beak instrumental; cañcu = beakअपनी चोंच के द्वारा — ऐसा
kiṁ vā — or else; kṣālane api — even after washing; tat-antaḥ-pāvitrya-adarśanāt — since inner purity is not seen; aghabhit — Aghabhit; svīya-cañcvā — with his own beak; tat-sthāna-stham aghaṁ — the impurity in that spot; bhetsyati iti — will break away.
अथवा — धोने पर भी उसके भीतर की पवित्रता न दिखने के कारण, अघभित् (चकोर) उस स्थान में स्थित मलिनता को अपनी चोंच से नष्ट करेगा।
Or else — a second reading, which he leaves open. Even after the lip is 'washed,' outward washing cannot show that the inside is pure. So Aghabhit will himself remove the impurity lodged there — with his own beak. The cakora's beak at the lip is, again, the kiss. This alternative is offered, not chosen.
या फिर — धोने पर भी उसके भीतर की शुद्धता न दिखने से, वह अघभित् उस जगह की मैल को अपनी चोंच से तोड़ देगा।
s14gloss
tatra aghabhid aghāsura-hanteti sāmarthyam |
tatrain that readingवहाँ (इस पक्ष में)
aghabhit'aghabhit''अघभित्' (शब्द का)
aghāsura-hantā iti[taken as] the slayer of the demon Aghāsura — the plain, literal sense'अघासुर का हन्ता' — ऐसा (अर्थ)
sāmarthyamis what supplies the power [to do it] sāmarthya = capability, the force behind the wordयह अर्थ-सामर्थ्य (शब्द-शक्ति) है
tatra — in that reading; aghabhit — [the word]; aghāsura-hantā iti — [means] the slayer of Aghāsura; sāmarthyam — [this gives] the capability.
वहाँ 'अघभित्' का 'अघासुर का हन्ता' — यह अर्थ-सामर्थ्य है।
In that second reading, 'aghabhit' is taken in its plain sense — the slayer of the demon Aghāsura. That is what gives him the power: one who killed that great demon can surely clear away a speck of impurity with his beak.
यहाँ 'अघभित्' शब्द में 'अघासुर को मारनेवाला' — यह अर्थ-बल छिपा है।
s15citation
prāyo vīra-ratāḥ striyaḥ iti smṛteḥ |
prāyaḥ vīra-ratāḥ striyaḥ'women are, for the most part, drawn to heroes' — the quoted maxim vīra = hero, rata = attached; prāyaḥ = mostlyस्त्रियाँ प्रायः वीर पुरुषों में अनुरक्त होती हैं
iti smṛteḥso runs the remembered saying — cited as backing ablative; smṛti = a traditional textऐसा स्मृति-वचन होने के कारण
prāyaḥ vīra-ratāḥ striyaḥ — 'women mostly love heroes'; iti smṛteḥ — so the smṛti [says].
'स्त्रियाँ प्रायः वीरों में अनुरक्त होती हैं' — ऐसे स्मृति-वचन के अनुसार।
He backs the tease with a maxim: 'Women are, on the whole, drawn to heroes.' Since Kṛṣṇa is the hero who slew Aghāsura, it stands to reason Rādhā would be favorable to him.
क्योंकि स्मृति कहती है — 'स्त्रियाँ प्रायः वीर पुरुषों में अनुरक्त रहती हैं'।
Why cited: A gnomic saying adduced to support the narma that Rādhā is willing — women incline to heroes, and Kṛṣṇa the Aghāsura-slayer is the hero.
क्यों उद्धृत: अघासुर-वध जैसे वीर-कर्म के कारण नायिका का कृष्ण की ओर अनुरक्त होना उचित है — यह सिद्ध करने के लिए यह स्मृति उद्धृत की गई है।
s16gloss
tatrāpi laghu-śīghra-gāmīti tatra vilambābhāvaḥ |
tatra apithere too [in this approach]उसमें भी
laghu'laghu''लघु' (अर्थात्)
śīghra-gāmī itimeans 'moving fast' — reading laghu as swift'शीघ्रगामी' — ऐसा
tatra vilamba-abhāvaḥso there is no delay in it vilamba = delay, abhāva = absenceअर्थात् उसमें विलम्ब का अभाव है
tatra api — there too; laghu — [the word]; śīghra-gāmī iti — [means] swift-moving; tatra vilamba-abhāvaḥ — [so] no delay in it.
उसमें भी 'लघु' अर्थात् 'शीघ्रगामी', अर्थात् (मिलन में) कोई विलम्ब नहीं।
And here 'laghu' is taken as 'swift-moving.' The point: there is no delay — the cakora-Kṛṣṇa comes at once, without holding back.
उसमें भी 'लघु' यानी शीघ्र चलनेवाला — यानी कोई देर नहीं।
s17gloss
pramada-madābhyām ānanda-mattatābhyām uddhurā buddhir yasyeti |
pramada-madābhyāmby pramada and mada instrumental dual'प्रमद' और 'मद' — इन दोनों के द्वारा
ānanda-mattatābhyāmthat is, by the twin intoxications of bliss glossing the pair; ānanda = bliss, mattatā = drunkennessअर्थात् आनन्द और उन्मत्तता (मस्ती) के द्वारा
uddhurā buddhiḥ yasya itihe whose mind is made unbridled [by these] bahuvrīhi; uddhura = unrestrained, buddhi = mindजिसकी बुद्धि उद्धत (बेकाबू) हो गई है — ऐसा
pramada-madābhyām — by pramada and mada; ānanda-mattatābhyām — [i.e.] the twin intoxications of bliss; buddhiḥ yasya — he whose mind; uddhurā — [is] unbridled.
'प्रमद' और 'मद' अर्थात् आनन्द और मस्ती से जिसकी बुद्धि उद्धत हो गई है — ऐसा (चकोर)।
He unpacks the long compound 'pramada-madoddhura-buddhiḥ.' pramada and mada are the two intoxications of bliss; his mind (buddhi) is made unbridled by them. So: he whose mind has gone wild with joy.
'प्रमद-मद' यानी आनन्द और मस्ती से जिसका मन बेकाबू हो उठा है।
s18gloss
adyāsmat-saṁnidhi-rāhityam api nāpekṣiṣyate |
adyatodayआज
asmat-saṁnidhi-rāhityam apieven our stepping aside — our not being near api = even; saṁnidhi = presence, rāhitya = absenceहमारी उपस्थिति के अभाव की भी
na apekṣiṣyatehe will not wait for future; apekṣ = to require, wait for(वह) परवाह नहीं करेगा
adya — today; asmat-saṁnidhi-rāhityam api — even the absence of our presence; na apekṣiṣyate — he will not wait for.
आज (वह) हमारी उपस्थिति के अभाव की भी अपेक्षा (परवाह) नहीं करेगा।
So drunk with joy, today he won't even wait for us friends to step away. He is too overbold to hold off until we are gone.
आज वह इसकी भी परवाह नहीं करेगा कि हम पास हैं या नहीं।
s19conclusion
tad ito vayam eva prathamam apasarāmeti narmāṇy eva dhvanitāni ||
tatsoइसलिए
itaḥ vayam eva prathamam apasarāmalet us ourselves slip away from here first hortative, 1st person pluralहम ही यहाँ से पहले हट चलें
iti[thinking thus]— ऐसा
narmāṇi eva dhvanitāniall these are just playful teases, suggested — not stated outright narma = jest; dhvani = suggestionयही परिहास (हँसी-मज़ाक) ध्वनित होते हैं
tat — so; itaḥ — from here; vayam eva prathamam — we ourselves first; apasarāma iti — let us withdraw; narmāṇi eva dhvanitāni — [these] are just jests, suggested.
'इसलिए हम ही यहाँ से पहले हट चलें' — इस प्रकार ये परिहास ध्वनित होते हैं।
So — Viśākhā jokes — we had better be the ones to slip away first! Viśvanātha closes by saying the whole run of hints is playful teasing (narma), suggested between the lines, never stated outright.
'तो चलो, हम ही यहाँ से पहले हट जाएँ' — इस तरह ये सब हँसी-मज़ाक की बातें ध्वनित होती हैं।