yathā vā— / bālya-dhvānta sakhe prayāhi tarasā rādhā-vapur dvīpata- / kṛṣṇa-vyomni rucir darottaralatā tārā-dyutau kāpy uraḥ-
Viśvanātha Cakravartī
s1avataranika
mugdhā-lakṣaṇe vṛndāvaneśvarīm apy udāhartuṁ prāha—yathā veti |
mugdhā-lakṣaṇein the section defining the mugdhā (the naive young heroine)मुग्धा के लक्षण में
vṛndāvaneśvarīm apieven Vṛndāvaneśvarī — Rādhā, the queen of Vṛndāvana — herself api = 'even', which is the surpriseवृन्दावनेश्वरी (राधा) को भी
udāhartumin order to offer as an exampleउदाहरण रूप में देने के लिए
prāhahe (Rūpa) says(यह) कहा
yathā vā itinamely, the words 'yathā vā' ('or, as in…')'यथा वा' यह (श्लोक)
mugdhā-lakṣaṇe — in defining the mugdhā; vṛndāvaneśvarīm api — even Rādhā herself; udāhartum — to give as an example; prāha — he says; yathā vā iti — 'yathā vā'.
मुग्धा के लक्षण में वृन्दावनेश्वरी को भी उदाहरण रूप में देने के लिए 'यथा वा' (यह श्लोक) कहा।
We are in the section that defines the mugdhā, the naive young heroine. To illustrate her — and, astonishingly, to give even Rādhā herself as the specimen — Rūpa says 'yathā vā.' The 'even' is the whole point: the queen of Vṛndāvana is offered as an example of the innocent girl.
मुग्धा के लक्षण में राधा को भी उदाहरण के रूप में प्रस्तुत करने के लिए 'यथा वा' यह श्लोक कहा।
s2avataranika
parihasantī śyāmalāṁ rādhāṁ varṇayati—bālyeti |
parihasantīa girlfriend, teasing — nom. fem. present participle: the speaker is a sakhī, and she is jokingहँसी (परिहास) करती हुई (सखी)
śyāmalāṁ rādhāmdescribes Rādhā, here cast as 'the dark one' sets up the coming darkness-conceit: while wrapped in childhood she is figured as darkसाँवली राधा का
varṇayatishe portrays / addressesवर्णन करती है
bālya itiin the verse beginning 'bālya…' (O childhood-darkness)'बाल्य' यह (पद)
parihasantī — a sakhī, teasing; śyāmalāṁ rādhām — Rādhā, cast as the dark one; varṇayati — describes; bālya iti — in the verse beginning 'bālya'.
(सखी) परिहास करती हुई साँवली राधा का वर्णन करती है — 'बाल्य' (इत्यादि)।
The speaker is a girlfriend, and she is teasing. In the verse beginning 'bālya…' she portrays Rādhā — playfully treating her as 'the dark one,' because childhood is about to be figured as darkness. The whole speech is a friend's tease.
कोई सखी हँसी करती हुई साँवली राधा का वर्णन करती है — 'बाल्य' इत्यादि पदों से।
śyāmalā ('dark') primes the metaphor of the next sentence: childhood = darkness (dhvānta). Rādhā is 'dark' only in the sense of being still wrapped in the night of childhood.
s3gloss
atra dhvānteti rūpakeṇa vastuto rādhā-vapuṣi bhāva-hāva-helā-rati-prema-snehādīnāṁ rasopakaraṇānāṁ nitya-siddhatvaṁ sthāpyate |
atra dhvānta iti rūpakeṇahere, by the metaphor 'darkness'यहाँ 'ध्वान्त' (अन्धकार) इस रूपक के द्वारा
vastutaḥin plain fact — what the figure really teachesवस्तुतः (वास्तव में)
rādhā-vapuṣiin Rādhā's bodyराधा के शरीर में
bhāva-hāva-helā-rati-prema-snehādīnāmof the equipment of love — bhāva, hāva, helā, rati, prema, sneha, and the restभाव, हाव, हेला, रति, प्रेम, स्नेह आदि
rasopakaraṇānāmthese being the materials that make rasa genitive dependent on nitya-siddhatvaरस के उपकरणों का (जिनका नित्य-सिद्धत्व)
nitya-siddhatvamtheir being eternally already-presentनित्य-सिद्धत्व (सदा से विद्यमान होना)
sthāpyateis what gets establishedस्थापित किया जाता है
atra dhvānta iti rūpakeṇa — by the darkness-metaphor here; vastutaḥ — in fact; rādhā-vapuṣi — in Rādhā's body; rasopakaraṇānāṁ bhāva-hāva-helā-rati-prema-snehādīnām — of the rasa-materials, bhāva, hāva, and so on; nitya-siddhatvam — their eternal already-there-ness; sthāpyate — is established.
यहाँ 'ध्वान्त' इस रूपक के द्वारा वस्तुतः राधा के शरीर में भाव-हाव-हेला-रति-प्रेम-स्नेह आदि रस-उपकरणों का नित्य-सिद्धत्व स्थापित किया जाता है।
The 'darkness' metaphor is doing real doctrinal work. What it actually establishes is this: in Rādhā's body all the equipment of love — bhāva, hāva, helā, rati, prema, sneha, and the rest, the ingredients that make rasa — is eternally present, already perfected. It was never acquired.
यहाँ 'अन्धकार' के इस रूपक से वास्तव में यह स्थापित किया जाता है कि राधा के शरीर में भाव, हाव, हेला, रति, प्रेम, स्नेह आदि रस के उपकरण नित्य-सिद्ध (सदा से विद्यमान) हैं।
bhāva, hāva, helā, etc. are the graded ornaments of a heroine's love; calling them nitya-siddha means they are innate to Rādhā, not developed over time.
s4gloss
yathāndhakāre sthitānāṁ ghaṭa-paṭādīnām adarśana-mātraṁ jñāpyate |
yathājust asजैसे
andhakāre sthitānāmof things standing in the darkअन्धकार में स्थित (वस्तुओं) का
ghaṭa-paṭādīnāmpots, cloths, and suchघट, पट आदि का
adarśana-mātramonly their not-being-seenकेवल अदर्शन (न दिखना)
jñāpyateis all that [darkness] tells usज्ञापित किया जाता है (बताया जाता है)
yathā — just as; andhakāre sthitānāṁ ghaṭa-paṭādīnām — of pots, cloths, etc. that stand in the dark; adarśana-mātram — merely their invisibility; jñāpyate — is signalled.
जैसे अन्धकार में स्थित घट-पट आदि का केवल अदर्शन (न दिखना) ही ज्ञापित होता है।
Take the analogy. When pots and cloths sit in a dark room, the darkness tells you only one thing — that you cannot see them. That is the whole force of 'darkness': non-perception, nothing more.
जैसे अन्धकार में रखे घड़े, कपड़े आदि का केवल न दिखना बताया जाता है।
dṛṣṭānta (analogy): darkness = childhood; the pots and cloths = Rādhā's love-equipment; not-being-seen = its going unnoticed. It proves that being hidden is not being absent.
s5gloss
na tv abhāvas tathaiva rādhāyām asyāṁ śṛṅgāra-tṛṣṇā-pūrvam apy āsīd eva |
na tu abhāvaḥnot their non-existence — the pots are still thereपरन्तु (उनका) अभाव नहीं
tathā evain exactly the same wayउसी प्रकार
asyāṁ rādhāyāmin this Rādhāइस राधा में
śṛṅgāra-tṛṣṇāthe thirst for love (śṛṅgāra)शृंगार की तृष्णा (अभिलाषा)
pūrvam apieven earlier — in her childhood tooपहले भी
āsīt evawas certainly there all along eva emphatic: it really was presentनिश्चय ही थी
na tu abhāvaḥ — not their non-existence; tathā eva — just so; asyāṁ rādhāyām — in this Rādhā; śṛṅgāra-tṛṣṇā — the thirst for love; pūrvam api — even before; āsīt eva — certainly existed.
(उनका) अभाव नहीं — उसी प्रकार इस राधा में शृंगार की तृष्णा पहले भी थी ही।
Darkness does not mean the pots are gone. Just so with Rādhā: her thirst for love was there even earlier, in childhood too. Childhood only hid it from view; it never made it absent. That is the payoff of the analogy.
उनका अभाव नहीं होता; इसी प्रकार इस राधा में शृंगार की तृष्णा पहले भी निश्चय ही विद्यमान थी।
s6gloss
kintu bālyenācchāditatvāl lokair avitarkyeti tāṁ praty upahāsaḥ |
kintubut here is the twistपरन्तु
bālyena ācchāditatvātbecause it was covered over by childhoodबाल्य (बचपन) से ढके होने के कारण
lokaiḥ avitarkyāpeople never guessed it was there instrumental lokaiḥ = 'by people'लोगों के द्वारा अतर्क्य (न जानी जा सकने योग्य)
ition this groundइस प्रकार (यह सोचकर)
tāṁ prati upahāsaḥthe teasing is aimed at herउसके प्रति उपहास (हँसी)
kintu — but; bālyena ācchāditatvāt — because childhood had it covered; lokaiḥ avitarkyā — unsuspected by people; iti — so; tāṁ prati upahāsaḥ — the tease is directed at her.
परन्तु बाल्य से ढकी होने के कारण लोगों से अतर्क्य (थी) — इस प्रकार उसके प्रति उपहास है।
But childhood kept it under wraps, so nobody suspected her love was there. That is exactly why the friend teases her now that it is showing.
परन्तु वह बचपन से ढकी थी, इसी कारण लोग उसका अनुमान नहीं कर सके — इसी से उसके प्रति यह हँसी की जाती है।
s7gloss
sakhe ity anena mama tu tvayā saha sakhyam eveti svasminn avahitthayā tāruṇyānudgamaḥ sūcyate |
sakhe iti anenaby the word 'sakhe' (O friend), addressed to childhood'सखे' (हे मित्र) इस पद के द्वारा
mama tu tvayā saha sakhyam evathe sense 'but I have only friendship with you [childhood]' tu = 'as for me'; eva = 'nothing more than'मेरा तो तुम्हारे साथ केवल सख्य (मित्रता) ही है
svasmin avahitthayāby hiding the truth about herself — avahitthā, the concealing of one's real feelingअपने में अवहित्था (छिपाव) के द्वारा
tāruṇya-anudgamaḥthat youth has not yet risen in herतारुण्य का अनुद्गम (यौवन का न उदय होना)
sūcyateis hintedसूचित किया जाता है
sakhe iti anena — by the address 'friend'; mama tu tvayā saha sakhyam eva iti — 'I have only friendship with you'; svasmin avahitthayā — through self-concealment; tāruṇya-anudgamaḥ — youth's non-rising; sūcyate — is hinted.
'सखे' इस पद के द्वारा — 'मेरा तो तुम्हारे साथ केवल सख्य ही है' — इस प्रकार अपने में अवहित्था के द्वारा तारुण्य का अनुद्गम सूचित होता है।
By calling childhood 'friend,' Rādhā is as good as saying, 'You and I are still just friends.' Through avahitthā — the feeling of hiding what you really feel — she hints that youth has not risen in her yet. She is playing innocent.
'सखे' इस सम्बोधन से वह मानो कहती है — 'मेरा तो तुम्हारे साथ केवल मित्रता ही है'; इस प्रकार अपने भीतर छिपाव (अवहित्था) से यौवन का न उदय होना सूचित होता है।
avahitthā: a vyabhicāri-bhāva, the concealment of one's true emotion; here it lets Rādhā keep up the pose of still being a child.
s8gloss
tena ca iyam iva kayāpi nāhaṁ parihasituṁ śakyeti vyajyate |
tena caand by that same word 'friend'और उससे
iyam ivathe way this one [the visibly grown girl] can beइस (राधा) के समान
kayā apiby any woman at all instrumental: the agent of the teasingकिसी के भी द्वारा
na ahaṁ parihasituṁ śakyāI cannot be teasedमैं परिहास (हँसी) किए जाने योग्य नहीं हूँ
iti vyajyateis what is suggestedयह व्यंजित होता है
tena ca — and by that word; iyam iva — as this one can be; kayā api — by any woman; na aham parihasituṁ śakyā — I cannot be teased; iti vyajyate — is suggested.
और उससे यह व्यंजित होता है — 'इस (राधा) के समान मैं किसी के भी द्वारा परिहास नहीं की जा सकती'।
The same word carries a further hint, in Rādhā's own voice: 'Unlike this grown girl here, I can't be teased by anyone — I'm still a child.' By keeping up 'friendship' with childhood she poses as beyond such teasing.
और इससे यह ध्वनित होता है कि 'इस राधा की तरह मुझ पर तो कोई हँसी कर ही नहीं सकता'।
'iyam' ('this one') is read as the mature woman Rādhā contrasts herself with; the point turns on her pretending to be too young to mock.
s9gloss
taraseti |
tarasā itithe word 'tarasā' (quickly) — now taken up for comment'तरसा' यह (पद)
tarasā iti — [he picks up] the word 'quickly'.
'तरसा' यह (पद अब व्याख्यात है)।
Now he takes up the word 'tarasā,' 'quickly' — why the urgency to flee.
'तरसा' — यह पद (आगे समझाया जाता है)।
s10gloss
anyathā tvām asau prāpya vadhiṣyatīti sakhyena hitopadeśaḥ sūcitaḥ |
anyathāotherwise — if you do not rushअन्यथा (नहीं तो)
tvām asau prāpyahe, the sun of youth, will catch up with youवह तुझे पाकर
vadhiṣyatiand will kill youमार डालेगी
iti sakhyena hitopadeśaḥso, out of friendship, kindly adviceइस प्रकार सख्य (मित्रता) के द्वारा हितोपदेश
sūcitaḥis being givenसूचित किया गया
anyathā — otherwise; asau tvām prāpya — that sun, reaching you; vadhiṣyati — will kill you; iti — thus; sakhyena hitopadeśaḥ — friendly good counsel; sūcitaḥ — is indicated.
'अन्यथा वह तुझे पाकर मार डालेगी' — इस प्रकार सख्यभाव से हितोपदेश सूचित है।
'Quickly' means: hurry, or else the sun of youth will overtake you, darkness, and finish you off. It is framed as a friend's warning — flee for your own good.
'नहीं तो वह तुझे पाकर मार डालेगी' — इस प्रकार मित्रता के भाव से हितकर उपदेश सूचित होता है।
s11gloss
tena ca rādhāyās tāruṇyasyeṣat-praveśa-mātreṇaiva sarvaiva bālya-ceṣṭā sahasaiva parityakteti punar apy upahāsaḥ |
tena caand by that [rush to flee]और उससे
rādhāyāḥ tāruṇyasya īṣat-praveśa-mātreṇa evaat the merest first step of youth into Rādhā instrumental of cause + eva: by nothing more than a slight entryराधा के तारुण्य के थोड़े-से प्रवेश मात्र से ही
sarvā eva bālya-ceṣṭāher every last childish habitसमस्त बाल्य-चेष्टा (बचपन की सारी चेष्टाएँ)
sahasā eva parityaktāwas dropped all at onceसहसा ही त्याग दी गई
iti punar api upahāsaḥso, once more, a teaseइस प्रकार पुनः भी उपहास
tena ca — and by this; rādhāyāḥ tāruṇyasya īṣat-praveśa-mātreṇa eva — by youth's merest entry into Rādhā; sarvā bālya-ceṣṭā eva — all her childish ways; sahasā eva parityaktā — abandoned all at once; iti — so; punar api upahāsaḥ — again a tease.
और उससे — 'राधा के तारुण्य के थोड़े-से प्रवेश मात्र से ही समस्त बाल्य-चेष्टा सहसा त्याग दी गई' — इस प्रकार फिर भी उपहास है।
The rush shows something funny: youth has barely set foot in Rādhā, and already every childish habit is dropped in one stroke. So the friend teases her a second time — growing up fast, aren't we.
और इससे — 'राधा के यौवन के थोड़े-से प्रवेश मात्र से ही बचपन की सारी चेष्टाएँ अचानक छूट गईं' — इस प्रकार फिर से हँसी की जाती है।
s12gloss
vijaya āgamanam |
vijayaḥ'vijaya' here means'विजय' (शब्द का अर्थ)
āgamanamarrival, the coming-on [of the sun]आगमन (आना)
vijayaḥ — vijaya; āgamanam — means arrival.
'विजय' का अर्थ आगमन है।
'Vijaya' first means simply 'arrival' — the sun's coming up.
'विजय' का अर्थ यहाँ आगमन (आना) है।
s13gloss
sva-śatru-parābhava-kartṛtvaṁ ca |
sva-śatru-parābhava-kartṛtvamand it also means being the one who routs its own enemy the sun's enemy is darknessअपने शत्रु के पराभव का कर्तृत्व (अपने शत्रु को हराना)
caand — this fuller sense holds alongside the firstऔर (यह भी)
sva-śatru-parābhava-kartṛtvam ca — and being the vanquisher of its own foe.
और अपने शत्रु के पराभव का कर्तृत्व भी ('विजय' का अर्थ है)।
'Vijaya' also carries its fuller sense, 'conquest': the sun routs its enemy, darkness. Both senses are live — the sun arrives and defeats the dark. So too youth arrives and defeats childhood.
और अपने शत्रु को पराजित करना — यह भी 'विजय' का अर्थ है।
यहाँ सूर्य का शत्रु अन्धकार है।
s14gloss
jṛmbhate prakāśate |
jṛmbhate'jṛmbhate' (spreads, yawns) means'जृम्भते' (शब्द)
prakāśateshines forth, comes into the openप्रकाशित होता है
jṛmbhate — jṛmbhate; prakāśate — means shines forth.
'जृम्भते' का अर्थ है प्रकाशित होना।
'Jṛmbhate' — literally 'yawns, spreads out' — here just means 'shines forth, comes into the open.'
'जृम्भते' का अर्थ है प्रकाशित होना।
s15avataranika
tac-cihnaṁ darśayati |
tat-cihnamthe tell-tale sign of that [youth's arrival]उसका चिह्न
darśayatihe now points outदिखाते हैं
tat-cihnam — the sign of it; darśayati — he shows.
उसका चिह्न दिखाते हैं।
Now he points to the signs that youth has arrived — the details that follow.
अब उसका चिह्न दिखाते हैं।
s16gloss
kṛṣṇa-vyomni kṛṣṇa-varṇe kṛṣṇa-rūpe cākāśe ruciḥ kāntir abhilāṣaś ca |
kṛṣṇa-vyomnion 'kṛṣṇa-vyoman' — two things at once'कृष्ण-व्योम' में (अर्थात्)
kṛṣṇa-varṇe ākāśethe black-colored sky (dawn-layer)काले रंग के आकाश में
kṛṣṇa-rūpe caand the form of Kṛṣṇa (Rādhā-layer)और कृष्ण के रूप (स्वरूप) में
ruciḥ kāntiḥ'ruci' as luster [on the sky]'रुचि' का अर्थ कान्ति
abhilāṣaḥ caand as longing [for Kṛṣṇa]और अभिलाषा (इच्छा)
kṛṣṇa-vyomni — on kṛṣṇa-vyoman; kṛṣṇa-varṇe ākāśe — the dark sky; kṛṣṇa-rūpe ca — and Kṛṣṇa's form; ruciḥ kāntiḥ — ruci as luster; abhilāṣaḥ ca — and as longing.
'कृष्ण-व्योम' में — अर्थात् काले रंग के आकाश में तथा कृष्ण के स्वरूप में — 'रुचि' का अर्थ कान्ति और अभिलाषा।
Here the double meaning opens up. 'Kṛṣṇa-vyoman' is both the black (kṛṣṇa) sky and the form of Kṛṣṇa. And 'ruci' is both the luster spreading on the sky and Rādhā's longing for Kṛṣṇa. One phrase, two pictures running together: dawn-light on the dark sky, and desire for Kṛṣṇa dawning in her.
'कृष्ण-व्योम' का अर्थ है काले रंग का आकाश, तथा कृष्ण का रूप; और 'रुचि' का अर्थ है कान्ति तथा अभिलाषा।
śleṣa: kṛṣṇa = 'black' and the name Kṛṣṇa; vyoman = 'sky'; ruci = both 'luster' and 'longing'.
s17gloss
tārā nakṣatrāṇi kanīnikā ca |
tārā'tārā' means, both at once,'तारा' (शब्द)
nakṣatrāṇithe stars (dawn-layer)नक्षत्र (तारे)
kanīnikā caand the pupils of her eyes (Rādhā-layer)और कनीनिका (आँख की पुतली)
tārā — tārā; nakṣatrāṇi — the stars; kanīnikā ca — and the eye's pupils.
'तारा' का अर्थ नक्षत्र और कनीनिका (पुतली)।
'Tārā' too is double: the stars in the fading sky, and the pupils of her eyes. Viśvanātha lists the star first here — the reverse of Jīva's order above.
'तारा' का अर्थ है नक्षत्र (तारे) तथा आँख की पुतली।
śleṣa: tārā = both 'star' and the eye's 'pupil'. Contrast Jīva's ordering in c1.
s18gloss
darottaralatā trāsa-vyākulatvam |
dar-ottaralatā'dar-ottaralatā' means'दर-उत्तरलता' (शब्द)
trāsa-vyākulatvambeing flustered with fear — a trembling from fright dara taken as 'fear'त्रास (भय) से व्याकुलता
dar-ottaralatā — dar-ottaralatā; trāsa-vyākulatvam — means agitation from fear.
'दर-उत्तरलता' का अर्थ त्रास से व्याकुलता।
'Dar-ottaralatā' — taking 'dara' as 'fear' — means a fearful trembling, being flustered. Her darting pupils quiver as if startled.
'दर-उत्तरलता' का अर्थ है भय से व्याकुल होना; (यहाँ 'दर' = भय)।
s19alternative
īṣac cāñcalyaṁ ca |
īṣat cāñcalyamor: a slight flickering, a bit of restlessness now dara is taken as 'īṣat', 'a little'थोड़ी-सी चंचलता
caand — this second reading of 'dara' stands tooऔर (अथवा)
īṣat cāñcalyam ca — and [dar-ottaralatā as] slight tremulousness.
(अथवा) 'ईषत् चांचल्य' — अर्थात् थोड़ी-सी चंचलता।
Or take 'dara' as 'slightly': then 'dar-ottaralatā' is just a faint flickering. On the sky-layer the stars flicker as dawn comes; on the eye-layer the pupils move a little. This second reading of 'dara' is left standing alongside the first, not chosen over it.
अथवा — यहाँ 'दर' का अर्थ 'ईषत्' (थोड़ा) लेकर — थोड़ी-सी चंचलता।
śleṣa on 'dara': it means both 'fear' (s18) and 'a little / slightly' (here). Both senses are kept.
यहाँ श्लेष है — पहले पक्ष में 'दर' = भय, इस पक्ष में 'दर' = ईषत् (थोड़ा)।
s20gloss
uraḥ-pūrvādrāv iti |
uraḥ-pūrvādrau itithe phrase 'uraḥ-pūrvādrau' — 'on the chest-eastern-mountain' — now taken up confirms that uraḥ ('chest') joins pūrvādri (sunrise-mountain), though split across the verse'उरः-पूर्वाद्रौ' यह (पद)
uraḥ-pūrvādrau iti — [he picks up] 'on the chest-that-is-the-eastern-mountain'.
'उरः-पूर्वाद्रि' (वक्षःस्थल-रूपी पूर्व-पर्वत) — यह पद।
He now takes up the phrase 'uraḥ-pūrvādrau' — her chest read as the eastern mountain of sunrise. This is where that stray 'uraḥ' from the earlier line finally lands.
'उरः-पूर्वाद्रौ' यह पद — अर्थात् वक्षःस्थल ही पूर्व-पर्वत (उदयाचल) है।
'उरः' (वक्ष) पिछले पाद से यहाँ 'पूर्वाद्रि' के साथ जुड़ता है, यद्यपि श्लोक में टूटकर आया है।
s21gloss
urasa eva tuṅgatvād adritvam |
urasaḥ eva tuṅgatvātbecause it is the chest itself that is high eva: the chest, precisely; ablative of reasonवक्षःस्थल के ही उन्नत (ऊँचा) होने के कारण
adritvamhence its being called a mountainपर्वतत्व (पर्वत होना)
urasaḥ eva tuṅgatvāt — because the chest itself is lofty; adritvam — its being a mountain.
वक्षःस्थल के ही उन्नत होने के कारण उसमें पर्वतत्व है।
Why call it a mountain? Because the chest itself is the high, raised part — so it earns the name 'mountain' (adri).
वक्षःस्थल ही ऊँचा है, इसी कारण उसे पर्वत कहा गया।
s22gloss
tadānīṁ stanayos tādṛśatvābhāvād iti jñeyam |
tadānīmat that stage — youth only just dawningउस समय
stanayoḥ tādṛśatva-abhāvātbecause the breasts do not yet have any such height ablative of reason: this is why it is the chest, not the breastsस्तनों में वैसे (उन्नत) होने के अभाव के कारण
iti jñeyamthis is to be understoodऐसा जानना चाहिए
tadānīm — at that time; stanayoḥ tādṛśatva-abhāvāt — because the breasts lack any such prominence; iti jñeyam — should be understood.
उस समय स्तनों में वैसे (उन्नत) होने के अभाव के कारण (वक्ष ही पर्वत है) — ऐसा जानना चाहिए।
Understand why it is the chest and not the breasts: at this stage youth has barely begun, so the breasts have no such height yet. The prominence is still in the chest, which is why the poet made the chest the mountain.
उस समय स्तनों में वैसी उन्नति नहीं थी, इसीलिए वक्षःस्थल को ही पर्वत कहा — ऐसा समझना चाहिए।
s23gloss
suṣamonnatiḥ kiraṇa-śobhādhikyam |
suṣamā-unnatiḥ'suṣamonnati' (dawn-layer) means'सुषमा-उन्नति' (शब्द)
kiraṇa-śobhā-adhikyamthe swelling excess of the rays' beauty the sun's growing splendor on the peakकिरणों की शोभा की अधिकता
suṣamā-unnatiḥ — suṣamonnati; kiraṇa-śobhā-adhikyam — means abundance of ray-beauty.
'सुषमा-उन्नति' का अर्थ किरणों की शोभा की अधिकता।
On the sky-layer, 'suṣamonnati' is the mounting glory of the sun's rays — more and more radiance breaking over the eastern peak.
'सुषमा-उन्नति' का अर्थ है किरणों की शोभा का बढ़ जाना।
s24alternative
pakṣe suṣamayā saha unnatir uccatvam ||
pakṣeon the other reading (the Rādhā-layer)दूसरे पक्ष में
suṣamayā saha unnatiḥa rising-up together with beauty — the chest lifting, and lovely with it here suṣamā is split off as a separate word, 'radiant beauty', joined to unnatiसुषमा (कान्ति) के साथ उन्नति
uccatvamthat is, height, a swelling upwardउच्चता (ऊँचाई)
pakṣe — on the alternate reading; suṣamayā saha unnatiḥ — a rise together with beauty; uccatvam — i.e. loftiness.
दूसरे पक्ष में सुषमा (कान्ति) के साथ उन्नति — अर्थात् उच्चता।
On the Rādhā-layer the compound splits differently: 'unnati along with suṣamā' — a rising-up that comes with beauty, that is, the chest lifting, lovely as it rises. This second reading is set beside the first, not chosen over it — the śleṣa holds both: dawn-splendor on the peak, and the first swell of her figure.
दूसरे पक्ष में 'सुषमा' को अलग शब्द मानकर — कान्ति के साथ उन्नति, अर्थात् ऊँचाई।
The śleṣa even re-cuts the compound: suṣamā-unnati as 'excess of ray-splendor' (dawn) vs suṣamayā saha unnati, 'a rise together with beauty' (Rādhā).
यहाँ श्लेष है — इस पक्ष में 'सुषमा' अलग पद है, जो 'उन्नति' के साथ जुड़ता है।