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IASTदेवनागरीবাংলা
Commentary
JīvaViśvanāthaViṣṇudāsa
UN 4.40
← 4.394.41 →
atha gāmbhīrya-śālinī—
kalahāntaritā-pade sthitiṁ
sakhi dhīrādya gatāpi rādhikā |
bahir udbhaṭa-māna-lakṣaṇā
sudurūhā lalitā dhiyāpy abhūt ||
The verse — decoded
L1other
kalahāntaritā-pade sthitiṁ
kalahāntaritā-padeinto the state of a kalahāntaritā — a heroine estranged from her lover by a quarrel loc.; pade Viśvanātha glosses as vyavasāya, a settled resolveकलहान्तरिता के 'पद' में (यहाँ 'पद' = निश्चय, संकल्प)
sthitiṁa standing, a taking-up of position acc., object of gatā in L2स्थिति को (आगे L2 के 'गता' का कर्म)
kalahāntaritā-pade — into the state of the quarrel-estranged heroine; sthitiṁ — a standing.
कलहान्तरिता के 'पद' (निश्चित संकल्प) में स्थिति को —
Rādhikā has taken up the position of a kalahāntaritā — the heroine who has quarreled with her lover and now stands estranged.
राधिका कलहान्तरिता की दशा को जा पहुँची।
The kalahāntaritā is a standard type of heroine; her definition is quoted later in the text (UN 4.87): she who, before her friends, spurns in anger her lover fallen at her feet, and afterwards burns [with remorse].
L2other
sakhi dhīrādya gatāpi rādhikā |
sakhiO friend voc. — the speaker addresses her companionहे सखी! (सम्बोधन)
dhīrāis grave and self-possessedधीरा (धैर्यवती नायिका)
adyatoday, just nowआज
gatā apithough she has gone [to that state] api concessive — 'even though'; completes sthitiṁ ... gatā from L1गई होने पर भी (L1 की 'स्थिति' को — यद्यपि प्राप्त हुई)
rādhikāRādhikāराधिका
sakhi — O friend; rādhikā — Rādhikā; adya — today; kalahāntaritā-pade sthitiṁ gatā api — though she has taken up a standing in the kalahāntaritā-state; dhīrā — is [yet] grave and composed.
हे सखी! आज राधिका, धीरा होकर भी, (कलहान्तरिता की) स्थिति को प्राप्त हुई —
O friend, today Rādhikā, though she has stepped into that estranged state, stays grave and self-possessed.
हे सखी, आज राधिका धैर्यवती होते हुए भी कलहान्तरिता की दशा में जा पहुँची।
L3other
bahir udbhaṭa-māna-lakṣaṇā
bahiḥon the outsideबाहर से (बाह्य रूप में)
udbhaṭa-māna-lakṣaṇābearing the marks of blazing māna — the wounded, jealous pride of a lover udbhaṭa = violent, prominent; lakṣaṇā = one carrying the signsउग्र (प्रचण्ड) मान के लक्षणों को धारण करने वाली
bahiḥ — outwardly; udbhaṭa-māna-lakṣaṇā — bearing the marks of blazing māna.
बाहर से प्रचण्ड मान के लक्षणों वाली (होकर) —
Outwardly she bears every sign of fierce māna — the sulking, offended anger a heroine shows her beloved.
बाहर से वह उग्र मान के चिह्न दिखा रही थी।
māna is the wounded, jealous pride a heroine displays toward her lover after a slight.
L4conclusion
sudurūhā lalitā dhiyāpy abhūt ||
sudurūhābecame impossible to fathom su-dur-ūha — very hard to reason outअत्यन्त दुरूह (जिसे तर्क से समझ पाना बहुत कठिन हो — सु-दुर्-ऊह)
lalitā dhiyā apieven by Lalitā's discernment api = 'even'; read as lalitāyā dhiyā, the sharp-witted chief sakhī's intelligenceललिता की बुद्धि से भी (= ललितायाः धिया; ललिता तीक्ष्णबुद्धि मुख्य सखी)
abhūtshe becameहो गई
lalitā dhiyā api — even by Lalitā's discernment; sudurūhā abhūt — she became impossible to fathom.
(राधिका) ललिता की बुद्धि से भी अत्यन्त दुरूह हो गई।
She became impossible to read — even Lalitā, for all her sharp discernment, could not make her out. That total concealment is exactly the gāmbhīrya the lead-in announced.
वह ललिता की तीक्ष्ण बुद्धि के लिए भी अबूझ बन गई।
lalitā carries a double sense: Lalitā, the quick-witted chief sakhī (so the tradition reads it — see Viṣṇudāsa's lalitāyā dhiyā), and, taken as an adjective, 'nimble, graceful [discernment]'. Read either way, the finest intelligence fails to fathom Rādhā.
Commentary — decoded
Jīva Gosvāmī
s1other
na vyākhyātam |
nanotनहीं
vyākhyātamcommented uponव्याख्या की गई
na vyākhyātam — [it was] not commented upon.
व्याख्या नहीं की गई।
Jīva Gosvāmī offers no comment on this verse.
जीव गोस्वामी ने इस पद्य पर कोई व्याख्या नहीं दी।
An editorial note recording that Jīva's commentary passes this verse over.
Viśvanātha Cakravartī
s1avataranika
rūpa-mañjarī sva-sakhīṁ praty āha—kalaheti |
rūpa-mañjarīRūpa-mañjarīरूप-मञ्जरी
sva-sakhīṁ pratito her own friend prati + acc. — addressingअपनी सखी के प्रति (सम्बोधित करते हुए)
āhaspeaksकहती है
kalaha iti[the verse] beginning 'kalaha...' pratīka — the verse indexed by its opening word'कलह' इत्यादि (आरम्भिक शब्द से इंगित पद्य — प्रतीक)
rūpa-mañjarī — Rūpa-mañjarī; sva-sakhīṁ prati — to her own friend; āha — speaks; kalaha iti — the verse beginning 'kalaha...'.
रूप-मञ्जरी अपनी सखी के प्रति 'कलह' इत्यादि (पद्य) कहती है।
Viśvanātha sets the scene: here Rūpa-mañjarī is speaking to her own friend, and her words are the verse beginning 'kalaha...'. The verse's 'O friend' (sakhi) is that companion she addresses.
रूप-मञ्जरी अपनी सखी से यह 'कलह...' वाला पद्य कहती है।
Viśvanātha names Rūpa-mañjarī as the speaker and an unnamed sakhī as the one addressed.
s2gloss
padaṁ vyavasāyaḥ |
padamthe [verse-]word pada [in kalahāntaritā-pade](मूल का) 'पद' शब्द
vyavasāyaḥmeans vyavasāya — a settled resolve, a fixed conditionव्यवसाय (निश्चय, संकल्प)
padam — the word 'pada'; vyavasāyaḥ — means settled resolve.
'पद' शब्द का अर्थ व्यवसाय (निश्चय) है।
The word pada in the verse means vyavasāya — a settled resolve, a fixed condition. So she has taken a firm stand in the state of the quarrel-estranged heroine.
यहाँ 'पद' शब्द का अर्थ है — निश्चय अथवा संकल्प।
s3definition
kṣobhasya kāraṇe’pi kṣobhānudbhāvo dhairyam iti yadyapi dhairyasya lakṣaṇaṁ tad apy atrātīva sahaneti pada-dyotitasya kṣobhasya prema-poṣatvāt kāraṇa-janitāntaḥ-kṣobha-prākaṭye’pi tat-pratīkārākaraṇaṁ dhairyam |
kṣobhasya kāraṇe apieven when there is a cause for agitation (kṣobha) api = 'even'क्षोभ के कारण के रहने पर भी
kṣobha-anudbhāvaḥthe non-arising of agitationक्षोभ का उदय न होना
dhairyam itiis dhairya (composure) — so runs the maxim'धैर्य है' — ऐसा
yadyapi dhairyasya lakṣaṇamalthough that is the accepted definition of dhairya yadyapi = 'although', setting up a concessionयद्यपि (यह) धैर्य का लक्षण है
tad api atraeven so, in this case it must be recast tad api answers yadyapi — 'nevertheless'तो भी यहाँ (तथापि इस प्रसंग में)
atīva sahana iti pada-dyotitasya kṣobhasyathe agitation brought to light by the word [dhīrā, i.e.] 'she endures it intensely' — for one only endures what is actually present gen.; dhīrā = an intense endurer, which reveals a kṣobha is being borne'अत्यन्त सहनशील' (अर्थात् 'धीरा') इस पद से सूचित क्षोभ के — (क्योंकि वह)
prema-poṣatvātbecause that agitation nourishes prema (love) abl. of reasonप्रेम को पुष्ट करता है, इसलिए (प्रेम-पोषकत्व के कारण)
kāraṇa-janita-antaḥ-kṣobha-prākaṭye apieven when the inner agitation produced by a real cause becomes manifest api concessive; loc. — 'when it surfaces'कारण से उत्पन्न आन्तरिक क्षोभ के प्रकट हो जाने पर भी
tat-pratīkāra-akaraṇamthe taking of no counter-measure against itउसका प्रतीकार (उपचार) न करना
dhairyamis [here what we call] dhairya(ही यहाँ) धैर्य है
kṣobhasya kāraṇe api kṣobha-anudbhāvaḥ dhairyam iti — 'even given a cause for agitation, agitation not arising is dhairya'; yadyapi dhairyasya lakṣaṇam — though that is the standard definition; tad api atra — even so, here; atīva sahana iti pada-dyotitasya kṣobhasya prema-poṣatvāt — because the agitation revealed by the word [dhīrā, 'she endures intensely'] nourishes prema; kāraṇa-janita-antaḥ-kṣobha-prākaṭye api — even when the inner agitation born of a real cause surfaces; tat-pratīkāra-akaraṇam dhairyam — taking no counter-measure against it is [here] dhairya.
यद्यपि 'क्षोभ का कारण रहने पर भी क्षोभ का उदय न होना धैर्य है' — यह धैर्य का लक्षण है, तथापि यहाँ, 'अत्यन्त सहनशील' (धीरा) पद से सूचित क्षोभ के प्रेम-पोषक होने के कारण, कारण से उत्पन्न आन्तरिक क्षोभ के प्रकट हो जाने पर भी उसका प्रतीकार न करना ही धैर्य है।
There is a standard definition of dhairya (composure): even when something gives cause for agitation, no agitation arises. True enough — but it will not do here. The very word dhīrā tells us Rādhā is enduring intensely, and one only endures what is actually there; so an agitation is present in her. And that agitation is no flaw — it nourishes her prema. We must not, then, define her composure as the mere absence of agitation. Here dhairya means something else: even when the inner agitation, stirred by a real cause, does surface, she takes no step to counter or relieve it. That not-counteracting is her dhairya.
सामान्यतः धैर्य का अर्थ है — क्षोभ का कारण रहने पर भी मन में क्षोभ का न उठना। पर यहाँ अर्थ बदल जाता है। 'धीरा' पद बताता है कि राधिका अत्यन्त सहनशील है, अतः उसमें क्षोभ है ही — और वह क्षोभ प्रेम को पुष्ट करता है। इसलिए यहाँ धैर्य का अर्थ है — कारणवश उठा आन्तरिक क्षोभ बाहर प्रकट हो जाने पर भी उसका प्रतीकार न करना।
The reasoning turns on reading dhīrā as 'one of extreme forbearance' (atīva-sahana): forbearance implies there is something being borne, so it exposes a real inner agitation — which, being prema's own stirring, must not be defined away.
s4conclusion
antarjātasya kṣobhasya bahir lakṣaṇābhāvo gāmbhīryam ity anayor bhedaḥ kalpyaḥ ||
antar-jātasya kṣobhasyaof the agitation that has arisen within gen.अन्तर में उत्पन्न क्षोभ का
bahiḥ lakṣaṇa-abhāvaḥthe absence of any outward signबाहर लक्षण का अभाव
gāmbhīryamis gāmbhīrya — depth, gravityगाम्भीर्य है
iti anayoḥ bhedaḥthus the difference between these two [dhairya and gāmbhīrya]इस प्रकार इन दोनों (धैर्य और गाम्भीर्य) का भेद
kalpyaḥis to be framed, positedसमझ लेना चाहिए (कल्पित करना चाहिए)
antar-jātasya kṣobhasya — of the agitation arisen within; bahiḥ lakṣaṇa-abhāvaḥ — the absence of any outward sign; gāmbhīryam — is gāmbhīrya; iti anayoḥ bhedaḥ kalpyaḥ — thus the distinction between the two is to be drawn.
अन्तर में उत्पन्न क्षोभ के बाह्य लक्षणों का अभाव गाम्भीर्य है — इस प्रकार इन दोनों का भेद समझ लेना चाहिए।
And gāmbhīrya is different again. Where dhairya was about not acting on the agitation, gāmbhīrya is this: the agitation rises within, yet leaves no outward trace at all. So Viśvanātha says we should frame the difference between the two like this.
भीतर उठे क्षोभ का बाहर कोई चिह्न न होना गाम्भीर्य है। इस प्रकार धैर्य और गाम्भीर्य — इन दोनों का भेद समझ लेना चाहिए।
Two composure-terms, kept distinct. dhairya: the inner agitation may even show, but she does nothing to relieve it — like a person who feels an itch and simply refuses to scratch. gāmbhīrya: the inner agitation gives no outward sign whatever — like a deep lake whose surface stays glassy though strong currents move below. Applied here: whatever truly stirs in Rādhā leaves the surface unreadable — which is why even Lalitā cannot make her out, and why the lead-in calls this the heroine 'possessed of gāmbhīrya'.
← 4.394.41 →