L1definition
svakīyāś ca paroḍhāś ca yā dvidhā parikīrtitāḥ |
svakīyāḥthe svakīyā heroines — a man's own women, his wives nominative plural feminineस्वकीयाएँ (जो अपनी हों)
caand — first of the pairऔर
paroḍhāḥand the paroḍhā — women wed to another (the parakīyā type) para + ūḍhā, "wed to another"परोढाएँ (जो दूसरे से विवाहिता हों)
caand — second of the pair, so "both A and B"और
yāḥwhich heroines — the ones being classified relative pronoun, subjectजो (नायिकाएँ)
dvidhāin two ways, as twofoldदो प्रकार से
parikīrtitāḥare declared, are proclaimed [by the authorities]कही गई हैं
yāḥ — the heroines who; svakīyāḥ ca paroḍhāḥ ca — as own-women and as women-wed-to-another; dvidhā — in two kinds; parikīrtitāḥ — are proclaimed.
स्वकीयाएँ और परोढाएँ — जो (नायिकाएँ) दो प्रकार से कही गई हैं।
The heroines are declared to come in two kinds: the svakīyā, a man's own woman (his wife), and the paroḍhā, a woman wed to another — the parakīyā.
नायिकाएँ दो प्रकार की कही गई हैं — स्वकीया (अपनी) और परोढा (दूसरे की विवाहिता)।
paroḍhā (para + ūḍhā, "wed to another") stands here for the parakīyā heroine. Jīva's citation below splits the parakīyā further into the paroḍhā (the wed woman) and the kanyā (the maiden), so "paroḍhā" in the mūla names the broader class by its leading member.
L2definition
mugdhā madhyā pragalbheti pratyekaṁ tās tridhā matāḥ ||
mugdhāthe mugdhā — the innocent, newly-awakened oneमुग्धा
madhyāthe madhyā — the in-between oneमध्या
pragalbhāthe pragalbhā — the bold, fully-grown oneप्रगल्भा
itiso named — these three by name iti closing the list of namesइस प्रकार (ये नाम)
pratyekaṁeach one — taking the two types one at a timeप्रत्येक
tāḥthose heroinesवे (नायिकाएँ)
tridhāin three ways, as threefoldतीन प्रकार की
matāḥare held to be, are reckonedमानी गई हैं
tāḥ — those heroines; pratyekaṁ — each type taken singly; mugdhā madhyā pragalbhā iti — as mugdhā, madhyā, pragalbhā; tridhā — in three kinds; matāḥ — are reckoned.
मुग्धा, मध्या, प्रगल्भा — इस प्रकार वे प्रत्येक तीन प्रकार की मानी गई हैं।
Each of the two types is in turn reckoned threefold: the mugdhā (innocent), the madhyā (in-between), and the pragalbhā (bold and grown). So two kinds, each split three ways.
उनमें से प्रत्येक (स्वकीया और परोढा) तीन प्रकार की मानी गई है — मुग्धा, मध्या और प्रगल्भा।
pratyekaṁ ("each one") is the load-bearing word: the threefold grade is applied to each of the two types severally. The whole quarrel of the next two lines is whether "each" really means both svakīyā and parakīyā, or the wife only.
L3objection
bheda-trayam idaṁ kaiścit svīyāyā eva varṇitam |
bheda-trayam idaṁthis triad of divisions — the mugdhā / madhyā / pragalbhā set just given accusative, object of varṇitamयह तीन प्रकार का भेद (को)
kaiścitby some [authors] instrumental of agentकिन्हीं (आचार्यों) के द्वारा
svīyāyāḥ evaof the svakīyā alone — the wife only; the eva shuts the parakīyā out genitive; eva restrictingकेवल स्वकीया का ही
varṇitamhas been described, has been laid outवर्णन किया गया है
idaṁ bheda-trayam — this threefold division; kaiścit — by some; svīyāyāḥ eva — of the own-woman alone; varṇitam — has been described.
यह तीन प्रकार का भेद किन्हीं (आचार्यों) के द्वारा केवल स्वकीया का ही वर्णन किया गया है।
Some authors have applied this threefold division to the svakīyā only, the wife — reserving mugdhā, madhyā, pragalbhā for her and denying them to the parakīyā.
कुछ आचार्यों ने इस तीन प्रकार के भेद (मुग्धा-मध्या-प्रगल्भा) का वर्णन केवल स्वकीया के लिए ही किया है।
The eva ("alone") carries the whole dispute: may the three grades be predicated of the parakīyā too, or of the wife only? Rūpa reports the restrictive view here in order to overturn it in the next line.
L4conclusion
tathāpi sat-kavi-granthe dṛṣṭatvāt tad-anādṛtam ||
tathāpieven so, nevertheless — against that restrictionतथापि (फिर भी)
sat-kavi-granthein the works of true poets locative, where it is foundसत्कवियों के ग्रन्थ में
dṛṣṭatvātbecause [the threefold grading of the parakīyā] is seen there ablative of reasonदेखे जाने के कारण
tad-anādṛtamthat [restrictive view] is set aside, is not honoredवह (मत) अनादृत है
tathāpi — even so; sat-kavi-granthe — in the works of true poets; dṛṣṭatvāt — because [the grading of the parakīyā] is seen; tad — that view; anādṛtam — is disregarded.
तथापि सत्कवियों के ग्रन्थ में (यह भेद परोढा में भी) देखे जाने के कारण वह (मत) अनादृत है।
Even so, because the threefold grading of the parakīyā is actually found in the works of true poets, that restrictive view is set aside. What good poets do overrides what "some" prescribe.
फिर भी, क्योंकि सत्कवियों के ग्रन्थ में (परोढा का भेद भी) देखा जाता है, इसलिए वह मत नहीं माना गया।
Commentary — decoded
Jīva Gosvāmī
s1gloss
kaiścid iti |
kaiścid itithe word "kaiścit" ("by some") — Jīva takes it up to say who they are pratīka, the catchword naming the lemma"कैश्चित्" (किन्हीं के द्वारा) — यह मूल का प्रतीक-पद
kaiścid iti — [taking up] the word "kaiścit."
"कैश्चित्" इस पद को लेकर (व्याख्या)।
Jīva: On the word "kaiścit," "by some" —
"किन्हीं के द्वारा" — इस पद को उठाकर (जीव गोस्वामी व्याख्या करते हैं)।
s2gloss
parakīyāyāṁ rasam ananyamānair ity arthaḥ |
parakīyāyāṁin the parakīyā heroine — where the rasa is at issue locativeपरकीया में
rasamthe rasa, the erotic mood accusative objectरस को
ananyamānaiḥby those who do not admit [it] — who refuse to grant real rasa there instrumental of agent; read as a-manyamānaiḥ, "not admitting"न मानने वालों के द्वारा
ity arthaḥthat is the meaning [of "kaiścit"]ऐसा अर्थ है
kaiścit = parakīyāyāṁ rasam a[ma]nyamānaiḥ — by those who do not admit rasa in the parakīyā; ity arthaḥ — such is the sense.
परकीया में रस को न मानने वालों के द्वारा — ऐसा अर्थ है।
Jīva: "By some" means: by those who refuse to admit real rasa in the parakīyā heroine. That is who the "some" are.
"किन्हीं के द्वारा" का अर्थ है — जो परकीया में रस को नहीं मानते, उनके द्वारा।
The source spells the participle ananyamānaiḥ; read it as amanyamānaiḥ ("not admitting"), which Viśvanātha's parallel below (s5, rasam amanyamānā) confirms. The UN source is known to carry irregular spellings.
पाठ "अनन्यमानैः" यहाँ "अ-मन्यमानैः" (न मानने वाले) रूप में पढ़ा जाता है।
s3avataranika
yad uktaṁ—
yad uktaṁ—as has been said [elsewhere] — introducing a supporting citationजो कहा गया है (वह यह) —
yad uktam — as it has been stated —
जो कहा गया है —
Jīva: As has been said —
जैसा कि (शास्त्र में) कहा गया है —
s4citation
parakīyā dvidāh proktā paroḍhā kanyakā tathā | yātrādi-niratāny oḍhā kulaṭā galita-trapā | kanyā tv ajātopayamā salajjā nava-yauv anā ||
parakīyā dvidhā proktāthe parakīyā (another's woman) is declared twofold dvidhā; source has dvidāhपरकीया दो प्रकार की कही गई है
paroḍhā kanyakā tathānamely the paroḍhā (wed to another) and likewise the kanyakā (the maiden)परोढा तथा कन्या
yātrādi-niratāgiven to festival-outings and the like — fond of going abroadयात्रा आदि में लगी रहने वाली
anyoḍhāthe woman wed to another (the paroḍhā) source reads yātrādi-niratāny oḍhā, i.e. ...niratā anyoḍhāअन्योढा (दूसरे से विवाहिता)
kulaṭāa wanton, an unchaste womanकुलटा
galita-trapāher shame fallen away — shamelessजिसकी लज्जा गल गई हो (निर्लज्ज)
kanyā tuthe maiden, by contrast tu marking the opposite typeपरन्तु कन्या
ajāta-upayamānot yet married — her wedding not yet come to passजिसका विवाह न हुआ हो
salajjāmodest, with her shame intactलज्जायुक्त
nava-yauvanāin fresh youth, newly blossomedनवयौवना
parakīyā — the parakīyā; dvidhā proktā — is called twofold; paroḍhā kanyakā tathā — the wed woman and the maiden; anyoḍhā — the wed one: yātrādi-niratā — fond of outings, kulaṭā galita-trapā — a wanton with fallen shame; kanyā tu — but the maiden: ajāta-upayamā salajjā nava-yauvanā — unwed, modest, freshly youthful.
परकीया दो प्रकार की कही गई है — परोढा तथा कन्या। यात्रा आदि में लगी रहने वाली अन्योढा (परोढा) कुलटा और निर्लज्ज होती है; परन्तु कन्या अविवाहिता, लज्जायुक्त और नवयौवना होती है।
The parakīyā is of two kinds: the paroḍhā (a woman wed to another) and the kanyā (the unmarried maiden). The wed woman is given to festival-outings, a wanton whose shame has fallen away. The maiden, by contrast, is unwed, modest, and in the first bloom of youth.
परकीया दो प्रकार की होती है — परोढा और कन्या। परोढा (दूसरे की विवाहिता) यात्रादि में लगी रहती है, कुलटा और निर्लज्ज होती है; कन्या अविवाहित, लज्जाशील और नवयौवना होती है।
Why cited: cited to define the parakīyā as twofold — the paroḍhā (wed to another) and the kanyā (maiden) — fixing the class the mūla's word "paroḍhā" belongs to.
क्यों उद्धृत: परकीया के दो भेद — परोढा और कन्या — का शास्त्रीय आधार देने के लिए उद्धृत।
Source spellings here are irregular (dvidāh for dvidhā; "yātrādi-niratāny oḍhā" read as yātrādi-niratā anyoḍhā; the word nava-yauvanā broken across lines). Decode per the sense; the UN source is human-made and inconsistent.
s5gloss
sat-kavi-grantha iti |
sat-kavi-grantha itithe words "sat-kavi-grantha" ("in the works of true poets") — Jīva now takes up this phrase pratīka, catchword naming the lemma"सत्कवि-ग्रन्थ" — यह मूल का प्रतीक-पद
sat-kavi-granthe iti — [taking up] "in the works of true poets."
"सत्कवि-ग्रन्थ" इस पद को लेकर।
Jīva: On the words "in the works of true poets" —
"सत्कवियों के ग्रन्थ में" — इस पद को उठाकर।
s6gloss
pūrvavad aṅgasyaiva śṛṅgāra-rasasya na tv aṅgina iti jñeyam |
pūrvavatas before — just as was established earlierपहले की तरह
aṅgasya evaof the subordinate [rasa] alone — only as a supporting element genitive; eva restrictingकेवल अंग (गौण) रूप के ही
śṛṅgāra-rasasyaof the śṛṅgāra-rasa, the erotic mood genitiveशृंगार रस के
na tu aṅginaḥbut not of the principal — not as the main, governing rasa tu marks the contrastन कि अंगी (प्रधान) रूप के
iti jñeyamthis is to be understoodऐसा जानना चाहिए
pūrvavat — as before; śṛṅgāra-rasasya — of the śṛṅgāra-rasa; aṅgasya eva — only as a subordinate element; na tu aṅginaḥ — not as the principal; iti jñeyam — is to be understood.
पहले की तरह केवल अंग रूप शृंगार रस के ही, न कि अंगी (प्रधान) रूप के — ऐसा जानना चाहिए।
Jīva adds a limit. What is "seen in the true poets' works" is the erotic rasa only as an aṅga — a subordinate, supporting element — not as the aṅgin, the principal rasa that governs the whole. Understand it that way, he says, just as before.
पहले की भाँति यहाँ शृंगार रस अंग (गौण) रूप में ही देखा गया है, अंगी (प्रधान) रूप में नहीं — ऐसा समझना चाहिए।
aṅga vs aṅgin is a technical pair. The aṅga is a "limb," a subordinate part serving something larger (like the salt in a dish — present, but not the dish); the aṅgin is the "possessor of limbs," the principal that the parts serve (the main course itself). Jīva grants that the parakīyā appears in good poets, but bounds the concession: only in the subordinate aṅga role, never as the governing rasa.
s7reply
ata eva śrī-jayadevenāṅgitvena tad-varṇane tv aupapatyaṁ noṭṭaṅkitaṁ, pratyuta—
ata evafor just this reason — following from the aṅga/aṅgin pointइसीलिए
śrī-jayadevenaby Śrī Jayadeva instrumental of agentश्री जयदेव के द्वारा
aṅgitvenain the role of the principal — treating śṛṅgāra as the governing rasa instrumental, "in the status of aṅgin"अंगी रूप से (प्रधान मानकर)
tad-varṇanewhen he depicts it (the erotic rasa) locative, "in his describing"उसका वर्णन करते समय
tuhowever — mark the contrastतो / परन्तु
aupapatyaṁparamour-love, the adulterous relation (aupapatya) accusative objectऔपपत्य (उपपति-भाव) को
na uṭṭaṅkitaṁis not stamped on it, not set down as its markअंकित नहीं किया
pratyuta—on the contrary — [and then the proof-text follows]बल्कि (उल्टे) —
ata eva — for this reason; śrī-jayadevena — by Jayadeva; aṅgitvena tad-varṇane — when he depicts it as the principal; aupapatyaṁ — paramour-love; na uṭṭaṅkitaṁ tu — is precisely not stamped [on it]; pratyuta — on the contrary.
इसीलिए श्री जयदेव के द्वारा अंगी रूप से उसका वर्णन करते समय तो औपपत्य (उपपति-भाव) अंकित नहीं किया गया, बल्कि —
And so, Jīva says, when Śrī Jayadeva does raise the erotic rasa to the principal, he does not stamp it with aupapatya — the mark of adulterous, paramour love. Just the opposite —
इसीलिए श्री जयदेव ने उसे अंगी (प्रधान) रूप में वर्णन करते हुए औपपत्य (उपपति-भाव) को अंकित नहीं किया; बल्कि उल्टे —
aupapatya = the condition of the upapati, the paramour, i.e. the parakīyā read as illicit. uṭṭaṅkita = stamped or engraved, as with a seal. Jīva's claim: a true poet who elevates śṛṅgāra to the principal does not brand it as adultery — which he now proves from Jayadeva.
s8citation
tvām aprāpya mayi svayaṁvara-parāṁ kṣīroda-tīrodare śaṅke sundari kāla-kūṭam apiban mūḍho mṛḍānī-patiḥ | meghair meduram ambaram
tvām aprāpyanot having attained youतुझे न पाकर
mayi svayaṁvara-parāṁyou who were bent on choosing me yourself (svayaṁvara) — set on taking me as your own the key phrase for Jīva's pointमुझमें स्वयंवर के लिए तत्पर (तुझको)
kṣīroda-tīrodarein the region of the milk-ocean's shoreक्षीरसागर के तट के भीतर
śaṅkeI suspect, I fearमुझे शंका है
sundariO beautiful one vocativeहे सुन्दरी
kāla-kūṭam apibandrank the kālakūṭa poisonकालकूट विष को पी गए
mūḍhaḥ mṛḍānī-patiḥthe deluded husband of Mṛḍānī (Pārvatī) — that is, Śivaमूढ़ मृडानी-पति (शिव)
meghair meduram ambaramthe sky thick with cloudsबादलों से घना (श्याम) आकाश
sundari — O lovely one; tvām mayi svayaṁvara-parāṁ aprāpya — not having won you, who were bent on choosing me as your own; mūḍhaḥ mṛḍānī-patiḥ — deluded Śiva; kṣīroda-tīrodare kāla-kūṭam apiban — drank the kālakūṭa poison on the milk-ocean's shore; śaṅke — so I suspect.
हे सुन्दरी! तुझे — जो मुझमें स्वयंवर के लिए तत्पर थी — न पाकर, मुझे शंका है कि क्षीरसागर के तट पर मूढ़ मृडानी-पति (शिव) ने कालकूट विष पी लिया... बादलों से घना आकाश...
One phrase carries the argument: Jayadeva has the lover call Rādhā svayaṁvara-parā — bent on choosing him herself, as her own. (The picture: "I suspect, O beautiful one, that deluded Śiva drank the kālakūṭa poison only because he could not win you, who were set on choosing me; the sky is thick with clouds…")
(यह श्लोक अधूरा है।) "हे सुन्दरी! जो तू मुझमें स्वयंवर (स्वयं वरण) के लिए तत्पर थी, तुझे न पाकर मुझे शंका होती है कि क्षीरसागर-तट पर मूढ़ शिव ने कालकूट विष पिया... बादलों से आकाश घना (श्याम) हो गया..."
Why cited: cited to show that when Jayadeva raises śṛṅgāra to the principal, he casts Rādhā as svayaṁvara-parā — bent on choosing Kṛṣṇa as her own — not as an adulterous paramour; so true poets do not stamp the principal śṛṅgāra with aupapatya.
क्यों उद्धृत: यह दिखाने के लिए उद्धृत कि जयदेव ने उपपति-भाव के बजाय राधा को "मुझमें स्वयंवर-परायणा" (स्वयं वरण करती हुई) रूप में वर्णित किया।
Tagged [gī.go. 1.1] in the source; the quotation is fragmentary and stitched (the clause "meghair meduram ambaram" is spliced on from Gīta-govinda 1.1). Decode per the words present.
Viśvanātha Cakravartī
s1objection
svīyāyā eveti parakīyāyāṁ rasābhāsavattvena tad-bheda-karaṇaṁ viphalam iti tan-matam |
svīyāyā evetithe words "svīyāyā eva" ("of the wife alone") — Viśvanātha takes up the mūla phrase pratīka, catchword naming the lemma"स्वीयाया एव" — यह मूल का प्रतीक-पद
parakīyāyāṁin the parakīyā locativeपरकीया में
rasābhāsavattvenabecause she has only a semblance of rasa (rasābhāsa) — not the real thing instrumental of reasonरसाभास होने के कारण
tad-bheda-karaṇaṁmaking the [threefold] division for herउसका (परकीया का) भेद करना
viphalamis pointless, bears no fruitव्यर्थ है
iti tan-matamsuch is their view — the view of the "some"ऐसा उनका (उन आचार्यों का) मत है
svīyāyā eveti — on "of the wife alone"; parakīyāyāṁ rasābhāsavattvena — since the parakīyā has only a semblance of rasa; tad-bheda-karaṇaṁ viphalam — grading her threefold is pointless; iti tan-matam — such is their view.
"स्वीयाया एव" — परकीया में रसाभास होने के कारण उसका भेद करना व्यर्थ है — ऐसा उनका मत है।
Viśvanātha: On "of the wife alone." Their reasoning runs: the parakīyā has only rasābhāsa — a mere semblance of rasa, not genuine rasa — so grading her into mugdhā, madhyā, pragalbhā would be pointless. That is the view of the "some."
"स्वकीया का ही" (इस पद पर) — उनका मत यह है कि परकीया में तो रसाभास होता है, इसलिए उसका (तीन प्रकार का) भेद करना व्यर्थ है।
rasābhāsa — in Sanskrit poetics, an "appearance" or improper shadow of rasa, a mood that misfires (love directed where it does not belong). The objectors class all parakīyā love as rasābhāsa; that very premise is what Rūpa and these commentators reject.
s2avataranika
tan-matasyānupādeyatvam āha—tathāpīti |
tan-matasyaof that view (theirs) genitiveउनके उस मत की
anupādeyatvamits being not-to-be-adopted — that it must not be accepted accusative objectअग्राह्यता को (न ग्रहण करने योग्य होने को)
āhahe (Rūpa) statesकहते हैं
tathāpītithe line beginning "tathāpi" pratīka"तथापि" — इस पद से
tan-matasya anupādeyatvam — that their view is not to be adopted; āha — he states; tathāpīti — in the line "tathāpi."
उनके उस मत की अग्राह्यता को "तथापि" इस पद से कहते हैं।
Viśvanātha: To state that their view must not be accepted, Rūpa speaks the line "tathāpi…"
उनके इस मत की अग्राह्यता (कि वह ग्रहण करने योग्य नहीं) "तथापि" पद से (ग्रन्थकार) कहते हैं।
s3gloss
sat-kavi-granthe dṛṣṭatvād avagamyate |
sat-kavi-granthein the works of true poets locativeसत्कवियों के ग्रन्थ में
dṛṣṭatvādbecause [the grading of the parakīyā] is seen there ablative of reasonदेखे जाने के कारण
avagamyateit is understood — namely, that their view does not holdजाना जाता है
sat-kavi-granthe — in true poets' works; dṛṣṭatvād — because it is seen; avagamyate — [that their view is untenable] is understood.
सत्कवियों के ग्रन्थ में देखे जाने के कारण (यह) जाना जाता है।
Viśvanātha: Because the parakīyā's threefold grading is actually seen in the works of true poets, we understand [that the restrictive view does not hold].
सत्कवियों के ग्रन्थ में (परकीया का भेद) देखे जाने के कारण (उसकी अग्राह्यता) समझ में आती है।
s4gloss
tad-anādṛtaṁ taiḥ sat-kavibhir anādṛtaṁ tiraskṛtam iti |
tad-anādṛtaṁthe mūla word "tad-anādṛtam" pratīka"तद्-अनादृतम्" — यह मूल का प्रतीक-पद
taiḥ sat-kavibhirby those true poets — they are the ones who disregard it instrumental of agent, supplied by Viśvanāthaउन सत्कवियों के द्वारा
anādṛtaṁdisregarded, not honoredअनादृत (न आदर किया गया)
tiraskṛtam itimeans spurned, pushed asideतिरस्कृत — ऐसा (अर्थ)
tad-anādṛtaṁ — "that is disregarded"; taiḥ sat-kavibhir anādṛtaṁ — disregarded by those true poets; tiraskṛtam iti — spurned, thus.
"तद्-अनादृतम्" — उन सत्कवियों के द्वारा अनादृत, अर्थात् तिरस्कृत।
Viśvanātha: "That is disregarded" means disregarded by the true poets themselves — they spurn the restrictive view.
"वह अनादृत है" का अर्थ — उन सत्कवियों के द्वारा वह (मत) अनादृत, अर्थात् तिरस्कृत कर दिया गया।
Viśvanātha fixes the unstated agent of anādṛtam as the true poets (taiḥ sat-kavibhiḥ): it is the good poets who do the rejecting. (Other commentators supply a different agent; keep the readings separate rather than merging them.)
s5conclusion
ime parakīyāyāṁ rasam amanyamānā asat-kavaya iti bhāvaḥ |
imethese people — the "some"ये (लोग)
parakīyāyāṁ rasamrasa in the parakīyāपरकीया में रस को
amanyamānānot admitting — those who refuse to grant itन मानने वाले
asat-kavayaare not true poets — they are bad poetsअसत्कवि हैं
iti bhāvaḥthat is the underlying importऐसा भाव है
ime — these; parakīyāyāṁ rasam amanyamānā — not admitting rasa in the parakīyā; asat-kavaya — are bad poets; iti bhāvaḥ — such is the sense.
ये — परकीया में रस को न मानने वाले — असत्कवि हैं, ऐसा भाव है।
Viśvanātha drives it home: these people who refuse to grant rasa in the parakīyā are themselves asat-kavis — not true poets at all. That is the real import.
तात्पर्य यह कि जो परकीया में रस को नहीं मानते, वे असत्कवि हैं।
Viśvanātha turns the mūla's contrast into a verdict on the objectors: sat-kavi ("true poet") vs asat-kavi ("false poet"). Where Jīva bounded the point — the parakīyā appears in good poets only as a subordinate aṅga — Viśvanātha presses the polemic: the objectors are simply bad poets. The two commentators pitch it differently; do not collapse them.
s6avataranika
sat-kavīnāṁ mataṁ pramāṇayati—tathā prācīnair iti |
sat-kavīnāṁ mataṁthe view of the true poets accusative objectसत्कवियों के मत को
pramāṇayatihe (Rūpa) establishes as authoritative — backs it with evidenceप्रमाणित करते हैं
tathā prācīnair itithe line beginning "tathā prācīnaiḥ" (the next verse) pratīka"तथा प्राचीनैः" — इस पद से
sat-kavīnāṁ mataṁ — the true poets' view; pramāṇayati — he establishes as authority; tathā prācīnair iti — in the line "tathā prācīnaiḥ."
सत्कवियों के मत को "तथा प्राचीनैः" इस पद से प्रमाणित करते हैं।
Viśvanātha: To back the true poets' view with authority, Rūpa speaks the next line, "tathā prācīnaiḥ…"
सत्कवियों के मत को "तथा प्राचीनैः" (आदि) पद से (ग्रन्थकार) प्रमाणित करते हैं।
s7gloss
bhidāṁ bhedam ||
bhidāṁthe word "bhidām" [in that next line] pratīka"भिदाम्" — यह मूल का प्रतीक-पद
bhedammeans "bheda" — a division, a distinctionअर्थात् भेद
bhidāṁ — "bhidām"; bhedam — means bheda, a division.
"भिदाम्" — अर्थात् भेद।
Viśvanātha: "bhidām" there simply means bheda — a division.
"भिदाम्" का अर्थ है — भेद।