L1other
kṛṣṇa-sāra-hara-pañcama-svare
kṛṣṇa-sāraKṛṣṇa's essence — his very steadiness (dhairya) śleṣa: also read kṛṣṇa-sāra = the black-antelope deer (kṛṣṇasāra)कृष्ण का सार (धैर्य); दूसरे पक्ष में कृष्णसार नामक मृग
harawhich steals that away (in the deer reading: which captivates the deer)हरण करने वाला
pañcama-svareO you whose fifth musical note is that stealer — vocative address to Rādhāहे पंचम स्वर वाली
kṛṣṇa-sāra — Kṛṣṇa's essence, his steadiness; hara — whose stealer; pañcama-svare — O you whose fifth note it is
हे वह (राधिके), जिसका पंचम स्वर कृष्ण के सार अर्थात् धैर्य का हरण कर लेता है — दूसरे पक्ष में जो कृष्णसार नामक मृग का हरण करता है।
Viśākhā opens by addressing Rādhā with a title: 'O you whose fifth note steals away Kṛṣṇa's very steadiness.' The whole thing is one bahuvrīhi compound describing Rādhā. And it carries a second, hidden sense: kṛṣṇa-sāra is also the name of the black-antelope deer, so the same words mean 'O you whose fifth note captivates the kṛṣṇasāra deer.' That double meaning drives the entire verse.
हे वह, जिसका पंचम स्वर कृष्ण का धैर्य हर लेता है। दूसरे अर्थ में यह स्वर कृष्णसार मृग को भी हर लेता है। यह राधिका का सम्बोधन है।
pañcama-svara = the fifth of the seven svaras, sung in spring and traditionally said to lure wild deer; here it is what Rādhā's singing carries.
यहाँ कृष्ण-सार श्लेष है — एक ओर 'कृष्ण का सार (धैर्य)', दूसरी ओर 'कृष्णसार' नामक काला मृग।
L2other
muñca gīta-kutukāni rādhike |
muñcagive up, let go of — imperative, the heart of the pleaछोड़ दो
gīta-kutukāniyour eager delight in singing — the object she must dropगान के कौतुक (उत्सुकता भरे विनोद)
rādhikeO Rādhikā — vocativeहे राधिके
rādhike — O Rādhikā; muñca — give up; gīta-kutukāni — your eager delights in singing
हे राधिके, गान के इन कौतुकों को छोड़ दो।
'Give up your love of singing, Rādhikā!' This is the actual request. Everything else in the verse is the reason why she should stop.
हे राधिके, गाने के इस विनोद को अब छोड़ दो।
L3other
prekṣate’tra hariṇānudhāvitāṁ
prekṣate[before he] sees, catches sight of — the verb; its subject (the husband) comes in the next lineदेख लेता है
atrahere, in this spotयहाँ
hariṇānudhāvitām[you] chased after by Hari, i.e. by Kṛṣṇa — accusative, object of 'sees' śleṣa: hariṇā (by Hari/Kṛṣṇa) vs. hariṇa (a deer); read here as 'followed by a deer' in the second senseहरि (कृष्ण) के द्वारा पीछा की गई; दूसरे पक्ष में मृग के द्वारा पीछा की गई
atra — here; hariṇānudhāvitām — you who are chased by Hari (or: by a deer); prekṣate — [before he] sees [you]
कहीं यहाँ वह तुझे — हरि (कृष्ण) के द्वारा, अथवा मृग के द्वारा पीछा की हुई — देख न ले।
The danger: someone is about to see Rādhā 'here, being chased after by Hari' — that is, by Kṛṣṇa. In the deer reading the same word means 'followed by a deer.' The one doing the seeing is named in the last line.
कहीं वह तुझे यहाँ देख न ले, जब तू हरि (कृष्ण) के पीछे-पीछे — या दूसरे अर्थ में मृग के पीछे — है।
श्लेष यहाँ हरिणा (हरि/कृष्ण द्वारा) और हरिण (मृग) पर है; इस पद में दूसरे अर्थ में 'मृग के द्वारा अनुगत' पढ़ा जाता है।
L4other
tvāṁ na yāvad atiroṣaṇaḥ patiḥ ||
tvāmyou — object of 'sees' back in line 3तुझे
na yāvatbefore — so long as he does not yet [see]जब तक कि... नहीं (इससे पहले कि)
atiroṣaṇaḥthe terribly short-tempered, ever-wrathfulअत्यन्त क्रोधी
patiḥ[your] husband — the subject who must not catch herपति
yāvat na — before; atiroṣaṇaḥ patiḥ — your terribly wrathful husband; tvām prekṣate — sees you [here]
इससे पहले कि अत्यन्त क्रोधी पति तुझे (यहाँ देख ले)।
Now the punchline: 'before your terribly hot-tempered husband sees you.' Read line 3 and 4 together — stop singing, Rādhā, before your furious husband catches sight of you here being followed by Kṛṣṇa (or, on the surface, by a deer).
इससे पहले कि तेरा अत्यन्त क्रोधी पति तुझे यहाँ देख ले।
Commentary — decoded
Jīva Gosvāmī
s1gloss
kṛṣṇasya sāro dhairyaṁ tasya haraḥ pañcamaḥ svaro yasyāḥ he tathāvidhe ! pakṣe kṛṣṇasārākhya-mṛgasya hara ity ādi |
kṛṣṇasya sāraḥKṛṣṇa's essence, his sāraकृष्ण का सार
dhairyamnamely his steadiness, his composure — unpacking what 'sāra' isअर्थात् धैर्य
tasya haraḥthe stealer of that [steadiness]उसका हरण करने वाला
pañcamaḥ svaraḥ[is] the fifth noteपंचम स्वर
yasyāḥshe whose [fifth note it is] — the relative that makes the compound a bahuvrīhiजिस (स्त्री) का
he tathāvidheO you who are just such a one! — spelling out the vocativeहे वैसी (हे तथाविध)
pakṣein the second reading, on the other side of the punदूसरे पक्ष में
kṛṣṇasārākhya-mṛgasya haraḥthe captivator of the deer called kṛṣṇasāra (the black antelope)कृष्णसार नामक मृग का हरण
ity ādiand so the rest follows to matchइत्यादि
kṛṣṇasya sāraḥ dhairyam — Kṛṣṇa's essence is his steadiness; tasya haraḥ pañcamaḥ svaraḥ — its stealer is the fifth note; yasyāḥ — she whose it is; he tathāvidhe — O such a one; pakṣe — in the second reading; kṛṣṇasārākhya-mṛgasya haraḥ — the captivator of the kṛṣṇasāra deer; ity ādi — and so on
कृष्ण का सार अर्थात् धैर्य, उसका हरण करने वाला पंचम स्वर है जिसका — हे वैसी (राधिके)! दूसरे पक्ष में 'कृष्णसार' नामक मृग का हरण इत्यादि।
Jīva takes the vocative apart as a bahuvrīhi. 'sāra' of Kṛṣṇa means his steadiness; the 'stealer' of that steadiness is the fifth note; and she is the one whose fifth note it is — hence 'O you of just that kind!' Then he flips to the pun: in the second reading kṛṣṇasāra is the black-antelope deer, so it becomes 'the captivator of the kṛṣṇasāra deer,' and the rest is read to match.
कृष्ण का सार अर्थात् उसका धैर्य। उस धैर्य को हर लेने वाला पंचम स्वर जिसका है — हे वैसी स्त्री! दूसरे अर्थ में 'कृष्णसार' नामक मृग का हरण, इत्यादि।
s2gloss
hariṇā śrī-kṛṣṇena pakṣe hariṇenānudhāvitām anugatām ||
hariṇā'by Hari' — that is,हरि के द्वारा
śrī-kṛṣṇenaby Śrī-Kṛṣṇaअर्थात् श्रीकृष्ण के द्वारा
pakṣe hariṇenain the second reading: by a deer (hariṇa) — the other side of the punदूसरे पक्ष में मृग के द्वारा
anudhāvitām'chased after' — which meansपीछा की गई को
anugatāmfollowed, gone after behindअर्थात् अनुगत (पीछे आई हुई) को
hariṇā — by Hari, i.e. śrī-kṛṣṇena — by Śrī-Kṛṣṇa; pakṣe hariṇena — alternatively, by a deer; anudhāvitām — chased after, i.e. anugatām — followed
हरि अर्थात् श्रीकृष्ण के द्वारा — दूसरे पक्ष में मृग के द्वारा — अनुधावित अर्थात् अनुगत (को)।
Jīva glosses the two remaining words. 'By Hari' means by Śrī-Kṛṣṇa; on the pun's other side the same form means 'by a deer' (hariṇa). And 'chased after' (anudhāvitām) he plainly renders as 'followed, gone after.'
हरि यानी श्रीकृष्ण के द्वारा पीछा की हुई। दूसरे अर्थ में मृग के द्वारा पीछा की हुई। अनुधावित का अर्थ है अनुगत — पीछे आई हुई।
Viśvanātha Cakravartī
s1avataranika
kṛṣṇa-sāra iti viśākhā-vākyam |
kṛṣṇa-sāra itithe verse beginning 'kṛṣṇa-sāra...'"कृष्ण-सार" इत्यादि (श्लोक)
viśākhā-vākyamis Viśākhā's speech — words spoken by Viśākhā [to Rādhā]विशाखा का वचन (है)
kṛṣṇa-sāra iti — the verse 'kṛṣṇa-sāra...'; viśākhā-vākyam — is Viśākhā's speech
"कृष्ण-सार" इत्यादि श्लोक विशाखा का वचन है।
Viśvanātha first sets the scene: this verse is spoken by Viśākhā. So the whole warning to give up singing is coming from Rādhā's friend Viśākhā.
"कृष्ण-सार" से आरम्भ होने वाला यह श्लोक विशाखा का कहा हुआ है।
s2gloss
kṛṣṇasāro hariṇaḥ śrī-kṛṣṇasya dhariyaṁ ca |
kṛṣṇasāraḥkṛṣṇasāra means"कृष्णसार" (शब्द का अर्थ)
hariṇaḥa deer (the black antelope)मृग
śrī-kṛṣṇasya dhairyam caand also Śrī-Kṛṣṇa's steadiness — the 'ca' adds the second sense, so both readings standऔर श्रीकृष्ण का धैर्य
kṛṣṇasāraḥ — kṛṣṇasāra means; hariṇaḥ — a deer; ca — and; śrī-kṛṣṇasya dhairyam — Śrī-Kṛṣṇa's steadiness
"कृष्णसार" का अर्थ है मृग, और (दूसरे पक्ष में) श्रीकृष्ण का धैर्य।
Viśvanātha states the pun flatly: kṛṣṇasāra means both a deer and Kṛṣṇa's steadiness. The 'ca' ('and') keeps both meanings alive at once — he does not choose between them.
"कृष्णसार" शब्द का एक अर्थ है मृग, और दूसरा अर्थ है श्रीकृष्ण का धैर्य।
Source reads 'dhariyaṁ'; a scribal slip for 'dhairyaṁ' (dhairya, steadiness).
s3gloss
hariṇenānudhāvitām iti samāsaḥ |
hariṇenānudhāvitām itithe phrase 'chased by a deer (hariṇa)'"हरिणेन-अनुधाविताम्" — यह (पद)
samāsaḥis [read as] a single compound — hariṇa joined to anudhāvitā, 'deer-chased'समास (है)
hariṇenānudhāvitām iti — 'chased by a deer'; samāsaḥ — is a compound
"हरिणेन-अनुधाविताम्" — यह एक समास है।
For the deer reading, Viśvanātha says 'hariṇa-chased' is taken as one compound word (samāsa): the deer (hariṇa) and 'chased' fused into a single term, 'deer-chased.'
"हरिणेन-अनुधाविताम्" इस रूप में यह पद समास है (मृग के द्वारा पीछा की गई)।
s4alternative
pakṣe hariṇā śrī-kṛṣṇena ity asamāsa eva |
pakṣein the other reading of the punदूसरे पक्ष में
hariṇāhariṇā means"हरिणा" (यह पद)
śrī-kṛṣṇenaby Śrī-Kṛṣṇaअर्थात् श्रीकृष्ण के द्वारा
iti asamāsa evaand here it is precisely NOT a compound — two separate words, hariṇā and anudhāvitāmइस प्रकार असमास ही (समास नहीं)
pakṣe — in the other reading; hariṇā — 'by Hari' means śrī-kṛṣṇena — by Śrī-Kṛṣṇa; iti asamāsa eva — and this, precisely, is no compound
दूसरे पक्ष में "हरिणा" अर्थात् श्रीकृष्ण के द्वारा — इस प्रकार यहाँ असमास ही है।
The alternative reading: here 'hariṇā' is the instrumental of Hari and means 'by Śrī-Kṛṣṇa' — and in this sense the words are two separate words, not a compound at all. Note how Viśvanātha splits the grammar by meaning: deer = one fused compound, Kṛṣṇa = two loose words. Both readings are left standing side by side.
दूसरे अर्थ में "हरिणा" पृथक् पद है, जिसका अर्थ है श्रीकृष्ण के द्वारा। इस पक्ष में समास नहीं, असमास ही है।
यहीं श्लेष का दूसरा पाठ खुलता है — समास (हरिण = मृग) बनाम असमास (हरिणा = हरि/कृष्ण के द्वारा)।
s5gloss
hariṇa-pakṣe mṛgākarṣaṇa-samarthasya gānasya kulāṅganānām anauicityam iti patyū roṣe hetur jñeyaḥ |
hariṇa-pakṣein the deer readingमृग वाले पक्ष में
mṛga-ākarṣaṇa-samarthasya gānasyaof singing powerful enough to draw wild deerमृग को आकर्षित करने में समर्थ गान का
kulāṅganānāmfor respectable, well-born womenकुल-स्त्रियों के लिए
anaucityamthe sheer impropriety [of it]अनुचित होना
itithis factयह
patyuḥ roṣe hetuḥas the reason for the husband's angerपति के रोष में हेतु
jñeyaḥshould be understood [to be]जानना चाहिए
hariṇa-pakṣe — in the deer reading; mṛga-ākarṣaṇa-samarthasya gānasya — of singing able to draw deer; kulāṅganānām anaucityam iti — that it is improper for well-born women; patyuḥ roṣe hetuḥ jñeyaḥ — is to be understood as the reason for the husband's anger
मृग वाले पक्ष में, मृग को आकर्षित करने में समर्थ गान कुल-स्त्रियों के लिए अनुचित है — यह पति के रोष का हेतु जानना चाहिए।
Viśvanātha supplies the logic of the deer reading. Why would the husband be angry? Because it is unbecoming for a respectable woman to sing songs so potent that they lure wild deer to her. That impropriety, he says, is to be understood as the cause of the husband's rage.
मृग वाले अर्थ में ऐसा गान, जो मृग को खींच लाने में समर्थ है, कुलीन स्त्रियों के लिए अनुचित है। इसी को पति के क्रोध का कारण समझना चाहिए।
Source reads 'anauicityam' and 'patyū'; scribal slips for 'anaucityam' (impropriety) and 'patyuḥ' (genitive, of the husband).
s6conclusion
itaḥ sabhayāt sthānād anyatra dūre rahasi gaccheti dhvaniḥ ||
itaḥ sabhayāt sthānātfrom here, from this dangerous, fear-filled spotइस भयवाले स्थान से
anyatra dūre rahasiaway elsewhere, far off, to some private placeअन्यत्र दूर एकान्त में
gaccha iti'go!' — that command is"चली जा" — यह
dhvaniḥthe suggested, unspoken meaning (dhvani) beneath the wordsध्वनि (व्यंग्यार्थ है)
itaḥ sabhayāt sthānāt — from this dangerous place; anyatra dūre rahasi — elsewhere, far away, in secret; gaccha iti — 'go!'; dhvaniḥ — is the suggested meaning
"इस भयवाले स्थान से हटकर अन्यत्र किसी दूर के एकान्त में चली जा" — यही (श्लोक की) ध्वनि है।
Viśvanātha closes with the verse's dhvani — its real implied message. Underneath 'stop singing' Viśākhā is really saying: 'Get away from this exposed, risky place; go somewhere far off and private.' That unspoken push to leave is the true point.
इस भय वाले स्थान से निकलकर कहीं और, दूर एकान्त में चली जा — श्लोक का यही व्यंग्यार्थ है।
dhvani = the suggested or implied sense that a poem carries beneath its literal words — a core term of Sanskrit poetics.