L1other
bāle kaṁsa-bhidaḥ smarotsava-rase prastūyamāne chalāt
bāleO little one — the young girl being teased vocative; the addressee, a nava-kāmā (newly-in-love gopī)हे बाले! (हे नवप्रेमवती गोपी)
kaṁsa-bhidaḥof Kṛṣṇa, the slayer of Kaṁsa — whose love-festival it is genitive, qualifying the festival belowकंस को मारनेवाले (कृष्ण) के
smarotsava-rasethe relish of the festival of love — talk of Kṛṣṇa's amorous play (smara = Cupid/love, utsava = festival, rasa = the mood) locative; the topic in the locative-absolute clauseस्मर (काम) के उत्सव के रस की (चर्चा) में
prastūyamāneas it is being sung up, played up as a topic locative absolute, present passive; goes with smarotsava-raseजब छेड़ी जा रही थी
chalāton a pretext, under some cover-story ablative used adverbially — by way of a ruseछल से, बहाने से
kaṁsa-bhidaḥ smarotsava-rase — of Kṛṣṇa the Kaṁsa-slayer, the festival of love; prastūyamāne — when it is being played up as a topic; chalāt — on a pretext; bāle — O little one.
हे बाले! जब कंस को मारनेवाले (कृष्ण) के स्मर-उत्सव का रस छल से छेड़ा जा रहा था —
O little one — when the love-festival of Kṛṣṇa, the slayer of Kaṁsa, is being played up as a topic, and played up on some pretext... The verse is one long sentence spoken by a teasing go-between; this first line sets the scene: talk of Kṛṣṇa's amorous play is going around, dressed up as something else.
हे बाले! जब प्रौढ़ गोपियाँ कृष्ण के प्रेमोत्सव की चर्चा बहाने से छेड़ रही थीं।
The pretext (chalāt) is the hinge of the whole verse: the grown gopīs raise the subject of Kṛṣṇa's love-play under a cover-story, and the commentators will unpack that cover-story as a mock-conversation about studying scripture.
L2other
prauḍhābhīra-vadhūbhir ānata-mukhī tvaṁ karṇam adhyasyasi |
prauḍhābhīra-vadhūbhiḥby the grown, bold cowherd wives — the ones doing the extolling above (prauḍha = mature/bold, ābhīra = cowherd, vadhū = wife) instrumental; agent of prastūyamāne in L1प्रौढ़ अहीर-वधुओं (गोपियों) के द्वारा
ānata-mukhīyour face bent low — as if you were not interested nominative, describing tvaṁमुख नीचा किए हुए
tvaṁyou nominative subjectतू
karṇamyour ear accusative objectकान को
adhyasyasiyou turn [it] toward the talk — you tilt your ear to catch every word adhi-√as, 'to lay upon / direct toward'आगे कर देती है, लगा देती है
prauḍhābhīra-vadhūbhiḥ — by the grown cowherd wives [the topic is raised]; ānata-mukhī tvaṁ — you, face bent low; karṇam adhyasyasi — turn your ear [toward it].
प्रौढ़ अहीर-वधुओं के द्वारा (वह चर्चा छेड़ी जाने पर) तू मुख नीचा किए हुए कान आगे कर देती है।
It is the grown cowherd wives who are raising the subject. And you — you drop your face as though you couldn't care less, yet all the while you tilt your ear toward them, straining to catch every word.
उनके बीच तू सिर झुकाए ध्यान से कान लगाकर सुनने लगती है।
The instrumental prauḍhābhīra-vadhūbhiḥ names the agent of the extolling begun in L1. The picture is a giveaway: lowered face (feigned indifference) but a cocked ear (real eagerness).
L3other
sa-vyājaṁ vana-mālikā-viracane’py ullāsam ālambase
sa-vyājaṁwith a pretext, under a pretense adverbial accusative, qualifying the actionकिसी बहाने से, बहाना बनाकर
vana-mālikā-viracanein the weaving of a forest-flower garland (vana-mālikā = garland of woodland flowers, viracana = making/weaving) locative — the occasionवनमाला के गूँथने में
apieven — even at a chore as small as that emphaticभी
ullāsama rush of delight accusative objectउल्लास को, आनंद को
ālambaseyou give yourself over to, you take up ā-√lamb, middle voiceधारण करती है, अनुभव करती है
sa-vyājaṁ — under a pretext; vana-mālikā-viracane api — even in weaving a forest garland; ullāsam ālambase — you take up delight.
किसी बहाने से वनमाला गूँथने में भी तू उल्लास धारण करती है।
And under some excuse — 'let me make this garland' — even at the little task of weaving forest flowers you light right up with joy. (Because the flowers, of course, are for Kṛṣṇa.)
कोई बहाना बनाकर माला गूँथते समय भी तू आनंद से भर उठती है।
sa-vyājaṁ echoes chalāt of L1: a second pretext, this time to lay hands on the garland. The point is that her delight overflows even where the pretext is thin.
L4other
raṅgaḥ ko’yam avātarad vada sakhi svānte navīnas tava ||
raṅgaḥthrill, eager delight — a stir of love-play in the heart nominative subjectयह रंग, यह उमंग
kaḥ ayamwhat is this interrogative + demonstrative, with raṅgaḥयह कौन-सा
avātarathas come down, has appeared aorist, ava-√tṝउतर आया, प्रकट हुआ
vadatell me imperativeबता
sakhiO friend vocativeहे सखी
svāntein your heart (sva-anta = one's inner self) locativeहृदय में
navīnaḥnew, freshly arrived nominative, with raṅgaḥनवीन, नया
tavayour genitive, with svānteतेरे
sakhi — O friend; kaḥ ayam navīnaḥ raṅgaḥ — what is this new thrill; tava svānte — in your heart; avātarat — has come down; vada — tell me.
हे सखी! तेरे हृदय में यह कौन-सा नवीन रंग उतर आया — बता।
So tell me, friend — what is this new raṅga, this fresh thrill of love-play, that has just come down into your heart? The punchline: the go-between has caught the young girl newly in love and is calling her out.
हे सखी, बता तो सही — तेरे मन में यह कौन-सा नया भाव जाग उठा है?
raṅga also carries the sense of 'stage / scene' — the whole verse has staged a little love-drama, and the closing word winks at that. The commentators gloss raṅga as kautuka, eager delight.
Viśvanātha Cakravartī
s1avataranika
nāndīmukhī dhanyām āha—bāle iti |
nāndīmukhīNāndīmukhī [a sakhī] — the speaker nominative subjectनांदीमुखी (एक सखी)
dhanyāmto the fortunate girl — the one blessed to be newly in love accusative, the addresseeधन्या से
āhaspeaks finite verbकहती है
bāle itithe verse "bāle" pratīka"बाले" इत्यादि
nāndīmukhī — Nāndīmukhī; dhanyām — to the fortunate girl; āha — speaks; bāle iti — the verse "bāle."
नांदीमुखी धन्या से "बाले" इत्यादि कहती है।
Viśvanātha: Nāndīmukhī addresses the fortunate young girl — this is the verse "bāle."
नांदीमुखी नामक सखी धन्या से यह श्लोक कहती है।
Two divergences from Jīva, to be held apart. (1) Viśvanātha names the speaker Nāndīmukhī, where Jīva said only "a prauḍha-dūtī." (2) He names the addressee dhanyā, "the fortunate one" — a new young gopī, NOT Rādhā; in the very next segment Rādhā is placed among the grown wives who do the teasing.
s2gloss
prauḍhābhīra-vadhūbhiḥ śyāmā-lalitā-rādhādibhiḥ |
prauḍhābhīra-vadhūbhiḥ"by the grown cowherd wives" pratīka — the verse phrase glossed"प्रौढ़ अहीर-वधुओं" (के द्वारा)
śyāmā-lalitā-rādhādibhiḥmeans: by Śyāmā, Lalitā, Rādhā and the rest instrumental — the named identitiesश्यामा, ललिता, राधा आदि के द्वारा
prauḍhābhīra-vadhūbhiḥ — the grown cowherd wives; śyāmā-lalitā-rādhādibhiḥ — [namely] Śyāmā, Lalitā, Rādhā, and the others.
"प्रौढ़ अहीर-वधुओं" अर्थात् श्यामा, ललिता, राधा आदि के द्वारा।
Viśvanātha names the "grown cowherd wives": Śyāmā, Lalitā, Rādhā and the rest. Note where this puts Rādhā — among the teasing seniors. The girl being teased is someone new.
"प्रौढ़ अहीर-वधुएँ" यानी श्यामा, ललिता, राधा आदि गोपियाँ।
s3gloss
chalād iti |
chalād itithe word "chalāt" — "on a pretext" pratīka, setting up the dramatized ruse that follows"छल से" इत्यादि
chalād iti — [now] the word "chalāt."
"छल से" इत्यादि (आगे दिखाए बहाने की भूमिका)।
Viśvanātha takes up "chalāt," on a pretext — and unpacks the ruse by staging it as a little dialogue in the lines that follow.
"छल से" — इसके साथ आगे का बहाना नाटकीय रूप से दिखाया जाता है।
Here the śleṣa opens. The "pretext" is a coded exchange: on the surface the gopīs discuss Rādhā studying a difficult Purāṇa from a "teacher"; underneath, adhīta ("studied") and vilāsa-guru ("master of the arts") point straight at love-play with Kṛṣṇa. The double meaning is the point — keep both layers in view.
s4other
rādhe’dya nikuñje vilāsa-guroḥ sakāśāt kiṁ kim adhītaṁ tad vyācakṣva |
rādhe"O Rādhā" vocative; a senior gopī teases Rādhāहे राधे
adyatoday adverbआज
nikuñjein the bower, the grove locativeनिकुंज में
vilāsa-guroḥ sakāśātfrom the presence of the master of the amorous arts — i.e. from Kṛṣṇa (vilāsa = love-play, guru = teacher) ablative — the source of the 'lessons'विलास-गुरु (कृष्ण) के पास से
kiṁ kim adhītaṁwhat all did you study? — what lesson upon lesson did you take? kiṁ kim = 'what various things'; adhīta = studiedक्या-क्या पढ़ा
tad vyācakṣvatell it out, explain it imperativeवह बता
rādhe — O Rādhā; adya nikuñje — today in the bower; vilāsa-guroḥ sakāśāt — from the master of the arts; kiṁ kim adhītaṁ — what all did you study; tad vyācakṣva — tell it.
हे राधे, आज निकुंज में विलास-गुरु के पास से क्या-क्या पढ़ा, वह बता।
One of them teases Rādhā: "So, Rādhā — in the bower today, at the feet of your vilāsa-guru, what all did you learn? Come, tell us everything." On the surface it is "lessons"; the joke is that the vilāsa-guru is Kṛṣṇa and the "study" is their love-play.
(श्यामा राधा को छेड़ती है —) हे राधे, आज निकुंज में विलास-गुरु (कृष्ण) से तूने क्या-क्या पाठ सीखा, बता तो।
vilāsa-guru = "master of the amorous arts" = Kṛṣṇa; adhīta = "studied" — the euphemism that carries the whole śleṣa.
s5other
śyāme mayā manda-medhasā tad durgamaṁ śāstram adhyetum aśakyam iti kṛpayā tvayaiva tasmān nityam adhītyādhītya tasya purāṇasya kathā kathanīyā tayaivāhaṁ kṛtārthā bhaveyam |
śyāme"O Śyāmā" vocative; Rādhā deflects onto Śyāmāहे श्यामे
mayā manda-medhasāby me, being dull of wit instrumental, agent of the infinitive belowमुझ मंदबुद्धि के द्वारा
tad durgamaṁ śāstramthat hard-to-master scripture (durgama = hard to get through) accusative object of adhyetumवह कठिन शास्त्र
adhyetum aśakyamis impossible to study infinitive + 'not able'पढ़ा नहीं जा सकता
iti— thinking so closes the reported thoughtऐसा (सोचकर)
kṛpayāout of kindness instrumental of mannerकृपा करके
tvayā evaby you yourself instrumental, agentतू ही
tasmātfrom him — from that teacher ablativeउससे (विलास-गुरु से)
nityam adhītya adhītyastudying it from him daily, over and over repeated absolutive = repeated actionनित्य पढ़-पढ़कर
tasya purāṇasya kathāthe story of that Purāṇa genitive + nominative subjectउस पुराण की कथा
kathanīyāshould be told [to me] gerundiveकहनी चाहिए
tayā evaby that alone instrumental of meansउसी के द्वारा
ahaṁ kṛtārthā bhaveyamI would be fulfilled (kṛtārtha = one whose purpose is accomplished) optativeमैं कृतार्थ हो जाऊँ
śyāme — O Śyāmā; mayā manda-medhasā tad durgamaṁ śāstram adhyetum aśakyam iti — "that hard scripture is beyond dull-witted me"; kṛpayā tvayā eva tasmāt nityam adhītya adhītya — so out of kindness you yourself study it from him daily, over and over; tasya purāṇasya kathā kathanīyā — and then tell me the story of that Purāṇa; tayā eva ahaṁ kṛtārthā bhaveyam — by just that I would be fulfilled.
हे श्यामे, मुझ मंदबुद्धि से वह कठिन शास्त्र पढ़ा नहीं जा सकता — ऐसा (मानकर) कृपा करके तू ही उससे नित्य पढ़-पढ़कर उस पुराण की कथा कहा कर, उसी से मैं कृतार्थ हो जाऊँ।
Rādhā parries with mock modesty: "O Śyāmā — I'm too dull-witted; that difficult scripture is beyond me. Be kind — you study it from him every day, again and again, and then tell me the story of that Purāṇa. Just that would fulfill me." The "hard scripture studied daily from him" keeps the double meaning running — it is Kṛṣṇa's love-play she is coyly handing off to Śyāmā.
(राधा टालती है —) हे श्यामे, मुझ मंदबुद्धि से वह कठिन शास्त्र पढ़ा नहीं जाता; इसलिए कृपा करके तू ही उससे नित्य पढ़-पढ़कर उस पुराण की कथा सुनाया कर, तभी मैं कृतार्थ हो सकूँगी।
The self-deprecation (manda-medhasā, 'dull of wit') and the piety of 'studying a Purāṇa' are all cover; the deflection onto Śyāmā is itself part of the flirtatious game.
s6gloss
rādhe’lam anayāvahitthayā sa vilāsa-gurur api samprati tvatto’dhīte sa evādhyetuṁ tvām eṣyatīty asmābhis tan-mukhād eva kathā śrotavyā śrūyate ca nityam ity ādi-rītyā prastūyamāne kṛta-prastāve satyānata-mukhī tatra tasyāḥ sahiṣṇutva-jñāpanārtham īṣat kuñcita-mukhī |
rādhe alam anayā avahitthayā"Rādhā, enough of this pretended indifference!" (alam + instrumental = 'enough with'; avahitthā = the hiding of one's true feelings) the banter turned back on Rādhāहे राधे, इस छिपाव (अवहित्था) को रहने दे
saḥ vilāsa-guruḥ apithat master of the arts himself nominative; api = 'even he'वह विलास-गुरु भी
samprati tvattaḥ adhītenow learns from you ablative 'from you'; present tenseइस समय तुझसे पढ़ता है
saḥ eva adhyetuṁ tvām eṣyatihe himself will come to you to study infinitive of purpose + futureवही पढ़ने के लिए तेरे पास आएगा
iti— so [they say] closes the reported speechऐसा
asmābhiḥ tan-mukhād eva kathā śrotavyāthe story is for us to hear from his very mouth instrumental of agent; ablative 'from his mouth'; gerundiveहमें उसी के मुख से कथा सुननी चाहिए
śrūyate ca nityamand it is heard, every day passive; ca = 'and indeed'और नित्य सुनी भी जाती है
iti ādi-rītyāin this manner, and so on instrumental — 'by the run of talk of this kind'इस प्रकार की बातचीत के ढंग से
prastūyamāne kṛta-prastāve satiwhen [the topic] is being played up — i.e. once the subject has been broached [glossing prastūyamāne] locative absolute; equates the verse's prastūyamāne with kṛta-prastāve satiजब यह प्रसंग छेड़ा जा रहा था
ānata-mukhī"face bent down" [the verse word] pratīka"आनतमुखी"
tatraat that point adverbवहाँ, उस समय
tasyāḥ sahiṣṇutva-jñāpana-arthamin order to signal her bashful self-restraint (sahiṣṇutva = the capacity to bear/hold in) artham = 'for the purpose of'उसकी सहनशीलता जताने के लिए
īṣat kuñcita-mukhīmeans: her face slightly curved, lowered a little the gloss of ānata-mukhīकुछ झुके मुखवाली
rādhe alam anayā avahitthayā — "Rādhā, drop the dissembling"; saḥ vilāsa-guruḥ api samprati tvattaḥ adhīte — "that teacher now learns from you"; saḥ eva adhyetuṁ tvām eṣyati iti — "he'll come to you to study"; asmābhiḥ tan-mukhād eva kathā śrotavyā śrūyate ca nityam iti ādi-rītyā — "and we get to hear the story from his own mouth, daily," and so on; prastūyamāne = kṛta-prastāve sati — when the topic is thus broached; tatra — then; ānata-mukhī = īṣat kuñcita-mukhī — "face bent" means her face slightly lowered; tasyāḥ sahiṣṇutva-jñāpana-artham — to signal her bashful restraint.
"हे राधे, इस छिपाव को रहने दे; वह विलास-गुरु तो इस समय तुझसे ही पढ़ता है, और वही पढ़ने तेरे पास आएगा — इसलिए हमें उसी के मुख से कथा सुननी चाहिए, और वह नित्य सुनी भी जाती है" — इस प्रकार की बातचीत जब छेड़ी जा रही थी, तब "आनतमुखी" — अर्थात् वहाँ अपनी सहनशीलता जताने के लिए कुछ झुके मुखवाली।
The banter tops out: "Rādhā, enough of hiding it! Now it is the vilāsa-guru who studies from you — soon he'll come begging you for lessons, and we get to hear the whole story from his own lips, and do, every day!" — and so it runs on. When the love-topic is being played up like this (prastūyamāne = "once the subject is broached"), the young girl lowers her face a little (ānata-mukhī = īṣat kuñcita-mukhī) — to show she is bashfully holding herself in.
(बात राधा पर लौटा दी जाती है —) हे राधे, यह छिपाव छोड़; वह विलास-गुरु तो इस समय तुझसे ही पढ़ता है, और वही तुझसे पढ़ने आएगा; इसलिए हमें उसी के मुख से कथा सुननी चाहिए और वह नित्य सुनी भी जाती है। जब इस ढंग की बातचीत चल रही थी, तब "आनतमुखी" का अर्थ है — अपनी सहनशीलता जताने के लिए कुछ झुके हुए मुखवाली।
Viśvanātha glosses two verse words here: prastūyamāne = kṛta-prastāve sati (once the subject has been raised), and ānata-mukhī = īṣat kuñcita-mukhī (face slightly bent). avahitthā is a technical vyabhicāri-bhāva: the deliberate hiding of one's real feeling. The face is lowered not from disinterest but as sahiṣṇutva — she is mastering and concealing the surge of feeling the talk stirs in her.
s7citation
ūrmimat kuñcitaṁ natam ity amaraḥ |
ūrmimat"wavy, rippled" a listed synonym"ऊर्मिमत्" (एक पर्याय)
kuñcitaṁ"curved, bent" a listed synonym"कुंचित" (एक पर्याय)
natam"bowed, bent down" a listed synonym"नत" (एक पर्याय)
iti amaraḥ— so the Amara[-kośa] lists them names the lexical authorityऐसा अमरकोश (कहता है)
ūrmimat kuñcitaṁ natam iti amaraḥ — "ūrmimat, kuñcita, nata": the Amara-kośa gives these as synonyms [for 'bent/curved'].
"ऊर्मिमत्, कुंचित, नत" — ऐसा अमरकोश (में है)।
Viśvanātha backs the gloss with a dictionary: the Amara-kośa lists ūrmimat, kuñcita and nata together — all meaning "bent, curved." That licenses reading ānata (nata) as īṣat kuñcita, "slightly bent."
"ऊर्मिमत्", "कुंचित" और "नत" — ये पर्याय अमरकोश में दिए हैं।
Why cited: Lexical proof from the Amara-kośa that nata = kuñcita = "bent/curved," justifying the gloss of the verse's ānata-mukhī as īṣat kuñcita-mukhī.
क्यों उद्धृत: "नत" (झुका हुआ) और "कुंचित" के एकार्थ होने का कोशगत प्रमाण देने के लिए अमरकोश उद्धृत है।
s8gloss
sa-vyājam iti |
sa-vyājam itithe word "sa-vyājam" — "with a pretext" pratīka, setting up the excuse dramatized next"सव्याजम्" इत्यादि
sa-vyājam iti — [now] the word "sa-vyājam."
"सव्याजम्" इत्यादि (आगे दिखाए बहाने की भूमिका)।
Now Viśvanātha takes up "sa-vyājam," with a pretext — and in the next line gives the very excuse the girl uses to get her hands on the garland.
"सव्याजम्" — इसके साथ आगे का बहाना दिखाया जाता है।
s9other
yuṣmākaṁ deva-pūjārteyaṁ mālā adya kiñcit puṇya-kāmayā mayaiva racanīyeti |
yuṣmākaṁ deva-pūjā-arthā"meant for your worship of the gods" genitive 'for you all' + arthā 'for the purpose of'तुम्हारी देव-पूजा के लिए
iyaṁ mālāthis garland nominative subjectयह माला
adyatoday adverbआज
kiñcit puṇya-kāmayāby me, since I'd like a little merit (puṇya-kāmā = one who wants puṇya) instrumental, agentकुछ पुण्य चाहनेवाली (मुझ) के द्वारा
mayā evaby me alone instrumental, emphaticमुझ ही से
racanīyāshould be woven gerundiveबनाई जानी चाहिए
iti— so runs her plea closes the reported pretextऐसा (बहाना)
iyaṁ mālā — this garland; yuṣmākaṁ deva-pūjā-arthā — is for your worship of the gods; adya — today; kiñcit puṇya-kāmayā mayā eva — by me alone, since I want a little merit; racanīyā — should be woven; iti — so she pleads.
"तुम्हारी देव-पूजा के लिए यह माला आज कुछ पुण्य चाहनेवाली मुझ ही से बनाई जानी चाहिए" — ऐसा (कहकर)।
Her excuse for the garland: "This garland is for your deity-worship — and today let me be the one to weave it; I could use a little puṇya." The piety is the cover story; her real delight is that the flowers are bound for Kṛṣṇa. That is the sa-vyājam, the pretext, behind her joy in the weaving.
(बहाना यह —) यह माला तुम्हारी देव-पूजा के लिए है, और कुछ पुण्य की इच्छा से आज मैं ही इसे गूँथूँगी — ऐसा कहकर।
s10gloss
raṅgaḥ kautukam |
raṅgaḥthe word "raṅga" pratīka"रंग" (शब्द)
kautukammeans eager delight, festive excitement glossकौतुक
raṅgaḥ — raṅga; kautukam — means eager delight.
"रंग" का अर्थ कौतुक है।
Viśvanātha, like Jīva, glosses raṅga as kautuka — eager, festive excitement.
यहाँ "रंग" का अर्थ है कौतुक।
s11gloss
avātarad āvirbhavati sma ||
avātaratthe word "avātarat" — "has descended" pratīka"अवातरत्"
āvirbhavati smameans: has appeared, has sprung up gloss (sma gives past sense)प्रकट हुआ
avātarat — avātarat; āvirbhavati sma — means "has come to appear, has arisen."
"अवातरत्" का अर्थ है — प्रकट हुआ।
And avātarat, "descended," he glosses as āvirbhavati sma — "has appeared, has sprung up." So the closing line asks: what fresh thrill has sprung up in your heart?
"अवातरत्" यानी (हृदय में) प्रकट हो गया।