L1other
yamunā-puline vilokanān me
yamunā-pulineon the bank of the Yamunā — the setting of the scene locative — where it happenedयमुना के तट पर
vilokanātthe moment she caught sight ablative of cause — 'from the seeing'देखने के कारण
meof me — i.e., because she caught sight of me objective genitive going with vilokanaमुझको (देखने का कर्म — 'मुझे देखने से')
yamunā-puline — on the Yamunā's bank; vilokanāt me — the instant she caught sight of me.
यमुना के तट पर मुझे देखने के कारण [जो चल पड़ी]…
Kṛṣṇa is remembering out loud. On the bank of the Yamunā, the moment she caught sight of me —
यमुना के तट पर मुझको देखकर वह चल पड़ी।
This is an udāharaṇa (example verse) illustrating the vāmā, the contrary heroine. The one being remembered is the object of 'smarāmi' (I remember) in L3; her accusatives — calitām, gṛhīta-hastām, kañjad-vacanām, khañjana-locanām — run across all three lines.
L2other
calitāṁ smera-sakhī-gṛhīta-hastām |
calitāmshe turned and slipped away — [I remember] her who moved off accusative fem. — object of smarāmi (L3)(जो) चल पड़ी — उसको (स्मरामि का कर्म)
smera-sakhī-gṛhīta-hastāmwhose hand her smiling girlfriend then caught (smera smiling, sakhī girlfriend, gṛhīta seized, hasta hand) bahuvrīhi accusative describing herजिसका हाथ मुस्कुराती सखी ने पकड़ रखा था
calitām — her, who slipped away; smera-sakhī-gṛhīta-hastām — whose hand a smiling friend caught.
…जो चल पड़ी, जिसका हाथ मुस्कुराती हुई सखी ने पकड़ रखा था…
— she slipped away. And her smiling girlfriend caught her by the hand to stop her.
जो चल पड़ी, और जिसका हाथ मुस्कुराती सखी ने थाम रखा था।
L3other
vacanāṁ khañjana-locanāṁ smarāmi ||
vacanāmher whose speech — completing 'kañjad-vacanām,' whose words came stammering out ('ayi, let go my hand!') accusative; tail of the compound kañjad-vacanām whose head sits in the previous pāda (in the lead-in)जिसकी वाणी (लड़खड़ाती हुई) — शीर्ष 'खञ्जत्' पूर्व-पाद में
khañjana-locanāmwhose eyes were like wagtails — restless and lovely (khañjana wagtail, locana eye) bahuvrīhi accusative describing herजिसके नेत्र खञ्जन-पक्षी के समान [चंचल] हैं
smarāmiI call her to mind, I remember 1st sg. present — Kṛṣṇa, the speakerमैं (कृष्ण) स्मरण करता हूँ
kañjad-vacanām — her, of stammering speech; khañjana-locanām — of wagtail eyes; smarāmi — I remember.
…जिसकी वाणी [लड़खड़ाती] थी और जिसके नेत्र खञ्जन-सम चंचल थे — उसका मैं स्मरण करता हूँ।
— her words breaking into a stammer, her eyes darting like wagtails. Her, I remember.
जिसकी वाणी लड़खड़ा रही थी और नेत्र खञ्जन-पक्षी-से चंचल थे — उसी को मैं याद करता हूँ।
The verse chimes kañjat (stammering, from √khañj 'to limp') against khañjana (the wagtail), the two 'kh-ñj' sounds mirroring one another — the faltering voice echoed in the flitting eyes.
Commentary — decoded
Jīva Gosvāmī
s1gloss
grahītatvam atra niruddhatvam |
grahītatvam'the being-seized' [of her hand] — the word gṛhīta in the verse the term being glossed'गृहीत होना' (पकड़ा जाना) — जिस पद का अर्थ बताया जा रहा है
atrahere, in this verseयहाँ
niruddhatvammeans her being held back, stoppedरोका जाना / रोक दिया जाना
grahītatvam atra — 'seized' here; niruddhatvam — means being held back.
यहाँ 'गृहीत होना' का अर्थ 'रोका जाना' है।
Jīva: when the verse says her hand was 'seized,' it means she was held back — the friend caught her hand to keep her from leaving.
यहाँ 'हाथ पकड़ा जाना' का तात्पर्य [जाने से] रोक दिए जाने से है।
s2gloss
ayīty anunaye |
ayi itithe word 'ayi' [in 'ayi muñca karaṁ mama'] pratīka — the verse-word taken up'अयि' यह [पद जो श्लोक से लिया गया]
anunayeis used in the sense of coaxing, of gentle pleading locative — 'in the sense of'अनुनय (मनाने / कोमल विनती) के अर्थ में
ayi iti — the word 'ayi'; anunaye — is in the sense of coaxing.
'अयि' यह पद अनुनय के अर्थ में है।
The 'ayi' in 'ayi, let go my hand' carries a coaxing tone — a soft, pleading address, not a harsh one.
'अयि' शब्द यहाँ मनाने के अर्थ में आया है।
s3citation
ayi praśnānunayayoḥ iti viśvaḥ ||
ayi praśnānunayayoḥ'ayi' [is used] in [the senses of] a question and coaxing genitive dual — the two listed senses'अयि' प्रश्न और अनुनय [इन दो अर्थों में]
iti viśvaḥso states the Viśva[prakāśa] lexiconऐसा विश्व (विश्व-कोश) [कहता है]
ayi praśna-anunayayoḥ — 'ayi' in a question and in coaxing; iti viśvaḥ — so the Viśva lexicon.
'अयि प्रश्न और अनुनय [के अर्थ में आता है]' — ऐसा विश्व-कोश कहता है।
And he backs it with the dictionary: the Viśvaprakāśa lists 'ayi' as bearing two senses — a question and coaxing. Here it is the coaxing sense.
विश्व-कोश के अनुसार 'अयि' प्रश्न और अनुनय — दोनों अर्थों में प्रयुक्त होता है।
Why cited: Lexical authority (the Viśvaprakāśa of Maheśvara) that 'ayi' bears the sense of coaxing/entreaty (anunaya), confirming Jīva's gloss of the word.
क्यों उद्धृत: विश्व-कोश का प्रमाण, कि 'अयि' अनुनय के अर्थ में भी आता है — इसी अर्थ को यहाँ लिया गया है।
Viśvanātha Cakravartī
s1avataranika
uktodāharaṇe vāmyātiśayo na vyañjita ity aparituṣyann āha—yathā veti |
ukta-udāharaṇein the example just given [the previous illustration of the vāmā] locative — where the lack was feltपूर्वोक्त उदाहरण में
vāmyātiśayaḥthe full pitch of her contrariness (vāmya contrariness, atiśaya the extreme) nominative — the subjectवामता (प्रणयगत प्रतिकूलता) का उत्कर्ष
na vyañjitaḥwas not brought out, not suggestedव्यञ्जित (ध्वनित) नहीं हुआ
iti aparituṣyanso, not fully satisfied [with that]यह [सोचकर] सन्तुष्ट न होते हुए
āhahe [Rūpa] speaks [the next verse]कहते हैं
yathā vā itiwith the words 'yathā vā' — 'or again, as here''यथा वा' यह [श्लोक]
ukta-udāharaṇe vāmya-atiśayaḥ na vyañjitaḥ iti — since in the example given the full pitch of contrariness was not brought out; aparituṣyan — unsatisfied; yathā vā iti āha — he says 'or again…'
'पूर्वोक्त उदाहरण में वामता का उत्कर्ष व्यञ्जित नहीं हुआ' — यह [सोचकर] सन्तुष्ट न होते हुए वे 'यथा वा' [इत्यादि श्लोक] कहते हैं।
Viśvanātha sets it up. In the previous example the full pitch of her contrariness (vāmya) had not been drawn out. Unsatisfied with that, Rūpa gives one more example: 'yathā vā — or take this one.'
पहले उदाहरण में नायिका की प्रतिकूलता का चरम ध्वनित नहीं हुआ — इससे सन्तुष्ट न होकर [आचार्य] 'यथा वा' श्लोक प्रस्तुत करते हैं।
s2gloss
śrī-kṛṣṇaḥ subalām āha—yamuneti |
śrī-kṛṣṇaḥŚrī Kṛṣṇa [is the speaker]श्रीकृष्ण
subalāmspeaks to Subala, his cowherd friend accusative — the one addressedसुबला से (जिसे सम्बोधित किया जा रहा है)
āhasaysकहते हैं
yamunā itithe words 'yamunā [puline]' — the verse's opening pratīka'यमुना' [इत्यादि पद से]
śrī-kṛṣṇaḥ subalām āha — Kṛṣṇa speaks to Subala; yamunā iti — [the verse] 'yamunā…'
श्रीकृष्ण सुबला से 'यमुना' [इत्यादि पद] द्वारा कहते हैं।
The speaker is Kṛṣṇa, confiding to his intimate friend Subala; the verse opens 'yamunā-puline…'
श्रीकृष्ण सुबला से 'यमुना…' इत्यादि वचन कहते हैं।
The one addressed is Kṛṣṇa's cowherd sakhā Subala, who often facilitates his meetings with Rādhā; the source spells the accusative subalām.
s3gloss
smereti |
smera itithe word 'smera' (smiling) — taking up 'smera-sakhī' pratīka'स्मेर' यह [पद]
smera iti — the word 'smera,' smiling.
'स्मेर' [इत्यादि पद की व्याख्या] —
Now he takes up 'smera' — the friend's smile. What is that smile saying?
अब 'स्मेर' (मुस्कुराती हुई) इत्यादि पद [की व्याख्या]।
s4gloss
vanaṁ pratyāgamanaṁ te saphalam abhūt |
vanaṁ pratyāgamanamyour coming out to the forestवन में लौट आना
teon your part genitiveतेरा
saphalam abhūthas borne fruit, has paid offसफल हो गया
te vanaṁ prati āgamanam — your coming to the forest; saphalam abhūt — has borne fruit.
तेरा वन में लौट आना सफल हो गया।
The smile means: 'Your trip out to the forest has finally paid off — look, you've met him!'
[मुस्कुराती सखी मानो कहती है —] तेरा वन में लौटना सफल हो गया।
s5gloss
kiṁ yāsīti hasta-grahaṇa-dhvaniḥ |
kiṁ yāsi iti'why are you running off?''क्यों (कहाँ) जा रही हो?' — यह
hasta-grahaṇa-dhvaniḥis the meaning suggested by [her] catching the hand (hasta hand, grahaṇa seizing, dhvani the suggested sense)हाथ पकड़ने का ध्वन्यर्थ (व्यंग्य)
kiṁ yāsi iti — 'why do you go?'; hasta-grahaṇa-dhvaniḥ — is the sense suggested by catching her hand.
'क्यों जा रही हो?' — यही हाथ पकड़ने का ध्वन्यर्थ है।
And catching her hand says the rest: 'Where do you think you're going? Stay!' That is what the grip on the hand suggests.
सखी का हाथ पकड़ना मानो कह रहा है — 'क्यों जा रही हो?'
s6gloss
ayi muñceti |
ayi muñca itithe words 'ayi muñca [karaṁ mama]' — 'ayi, let go my hand' pratīka'अयि, [हाथ] छोड़' — यह [पद]
ayi muñca iti — the words 'ayi, let go [my hand].'
'अयि, [मेरा हाथ] छोड़' [इस पद की व्याख्या] —
Now her side of it — 'ayi, let go my hand!' What is she really saying beneath that?
'अयि, [मेरा हाथ] छोड़ दे' — यह [राधा का उत्तर]।
s7gloss
tvaṁ me na sakhī |
tvamyouतू
memy genitiveमेरी
na sakhīare no friend [of mine]सखी नहीं [है]
tvam me na sakhī — you are no friend of mine.
तू मेरी सखी नहीं है।
Her retort: 'You are no friend of mine —'
तू मेरी सखी नहीं है।
s8gloss
kintu vairiṇy eva |
kintuon the contraryबल्कि / परन्तु
vairiṇīan enemyवैरिणी (शत्रु)
evadownright, nothing lessही
kintu vairiṇī eva — rather, downright an enemy.
बल्कि वैरिणी ही है।
'— you're downright my enemy!'
बल्कि तू तो वैरिणी ही है।
s9gloss
yato’syāṁ vipadi māṁ prakṣeptum icchasīti pratidhvaniḥ |
yataḥbecauseक्योंकि
asyāṁ vipadiinto this fix, this trouble locative — 'into this calamity'इस विपत्ति में
māmmeमुझको
prakṣeptum icchasiyou want to fling, to castडालना चाहती है
iti pratidhvaniḥthat is the counter-suggestion [beneath her words]यह प्रतिध्वनि (उत्तर का व्यंग्यार्थ)
yataḥ asyāṁ vipadi mām prakṣeptum icchasi iti — 'because you want to fling me into this fix'; pratidhvaniḥ — is the answering suggestion.
'क्योंकि तू मुझे इस विपत्ति में डालना चाहती है' — यही प्रतिध्वनि है।
'— because you're trying to shove me into this awkward mess!' That is the answering suggestion beneath her protest: she blames the friend for holding her here before Kṛṣṇa.
'क्योंकि तू मुझे इस विपत्ति में धकेलना चाहती है' — यही [राधा के उत्तर का] व्यंग्यार्थ है।
s10gloss
khañjat khañjam ivācarat kaṇṭhād ardhārdham uccarad vacanaṁ yasyās tām |
khañjat khañjam iva ācarathalting, behaving as if it limped (khañjat limping, khañja lame, iva as if, ācarat acting)लड़खड़ाते हुए, मानो लँगड़े के समान चलती हुई
kaṇṭhātfrom the throat ablative — where it came fromकण्ठ से
ardhārdhamin broken halves, half a word at a timeआधा-आधा (अधूरा-अधूरा)
uccarat vacanaṁ yasyāḥ tāmher whose speech came out [so] (uccarat coming out, vacana speech) bahuvrīhi accusative — object of smarāmiजिसकी वाणी [इस प्रकार] निकल रही थी, उसको (स्मरामि का कर्म)
khañjat khañjam iva ācarat — halting as if it limped; kaṇṭhāt ardha-ardham uccarat vacanaṁ yasyāḥ tām — her whose speech came from the throat in broken halves.
जिसकी वाणी कण्ठ से आधी-आधी, लड़खड़ाते हुए मानो लँगड़ाती-सी निकल रही थी — उसको [मैं स्मरण करता हूँ]।
This decodes 'kañjad-vacanām.' Her speech came out limping, as if lame, stuck in the throat — only half a word escaping at a time. A stammer.
जिसका बोल गले से आधा-आधा, अटक-अटककर मानो लँगड़ाता हुआ निकल रहा था — उसी को।
s11definition
svara-bhedo’yam |
svara-bhedaḥthe breaking of the voice (svara voice, bheda breaking)स्वरभेद (वाणी का टूटना — एक सात्त्विक भाव)
ayamthis [stammer] isयह
ayam svara-bhedaḥ — this is svara-bheda, the breaking of the voice.
यह 'स्वरभेद' है।
That faltering has a name: svara-bheda, the cracking of the voice.
यह [अटकती वाणी] 'स्वरभेद' [नामक सात्त्विक भाव] है।
svara-bheda ('voice-break') is one of the eight sāttvika-bhāvas — the involuntary bodily signs of intense feeling (alongside tears, trembling, horripilation, and the rest).
s12gloss
khañjaneti |
khañjana itithe word 'khañjana' (wagtail) — taking up 'khañjana-locanām' pratīka'खञ्जन' यह [पद]
khañjana iti — the word 'khañjana,' the wagtail.
'खञ्जन' [इत्यादि पद की व्याख्या] —
Next 'khañjana' — the wagtail bird her eyes are likened to.
अब 'खञ्जन' (खञ्जन-लोचना) इत्यादि पद [की व्याख्या]।
s13gloss
cāpalyaṁ ca |
cāpalyamshows restlessness, the flickering unsteadiness of the eyesचापल्य (चंचलता)
caas well [as the beauty the simile carries]और [इससे सूचित होता है]
cāpalyam ca — and [it shows] restlessness.
और [इससे] चापल्य (चंचलता) [सूचित होता है]।
The wagtail is never still, so 'wagtail eyes' adds one more thing: cāpalya, her darting, restless glances.
और [खञ्जन-से नेत्रों से] चंचलता भी [प्रकट होती है]।
s14gloss
sāttvika-sañcāriṇāv etau sthāyi-bhāvotthāv api bhayotthatvena pratyāyitau |
sāttvika-sañcāriṇau etauthese two — one a sāttvika sign [the voice-break], one a sañcārī feeling [the restlessness] nominative dualये दोनों — [स्वरभेद रूप] सात्त्विक तथा [चापल्य रूप] सञ्चारी
sthāyi-bhāvotthau apithough they really rise from the abiding love (sthāyi-bhāva the standing emotion, uttha arisen); api — although concessiveयद्यपि स्थायिभाव से उत्पन्न हैं
bhayotthatvenaas if rising from fear (bhaya fear) instrumental — 'in the guise of arising from'भय से उत्पन्न होने के रूप में
pratyāyitauare made out to be, are presentedप्रतीत कराए गए हैं / जताए गए हैं
etau sāttvika-sañcāriṇau — these two, a sāttvika and a sañcārī; sthāyi-bhāva-utthau api — though sprung from the abiding love; bhaya-utthatvena pratyāyitau — are presented as sprung from fear.
ये दोनों — सात्त्विक और सञ्चारी — यद्यपि स्थायिभाव से उत्पन्न हैं, तथापि भय से उत्पन्न होने के रूप में [यहाँ] प्रतीत कराए गए हैं।
So there are two responses in play: the voice-break (a sāttvika sign) and the eye-restlessness (a sañcārī feeling). Both truly rise from her love. But in the scene they are made to look as if they rise from fear — fear of being caught in this fix. The art is to show love's own signs wearing the mask of fear.
स्वरभेद (सात्त्विक) और चापल्य (सञ्चारी) — ये दोनों वस्तुतः स्थायिभाव से जन्मे हैं, पर यहाँ इन्हें [यमुना में गिरने के] भय से उपजा हुआ दिखाया गया है।
sthāyi-bhāva = the abiding emotion (here rati, love); sāttvika-bhāva = an involuntary bodily sign of it; sañcāri- (vyabhicāri-) bhāva = a passing supportive emotion. The refinement noted here is that signs born of love are dramatically presented as if born of fear.
s15conclusion
iyaṁ tu śrī-rādhaiva vilāsa-nāsālaṅkāravatī jñeyā ||
iyaṁ tubut this heroine —यह [नायिका] तो
śrī-rādhā evais Śrī Rādhā herself, none other eva — precisely herसाक्षात् श्रीराधा ही
vilāsa-nāsālaṅkāravatīadorned with the ornament called vilāsa (vilāsa the play of grace that overtakes a woman on meeting her beloved; alaṅkāravatī possessing that ornament)'विलास' रूपी नासिका-अलङ्कार से युक्त
jñeyāis to be known [as such]जाननी चाहिए
iyaṁ tu śrī-rādhā eva — but this one is Rādhā herself; vilāsa-nāma-alaṅkāravatī jñeyā — to be known as adorned with the ornament called vilāsa.
यह [नायिका] तो 'विलास' रूपी नासिका-अलङ्कार से युक्त साक्षात् श्रीराधा ही जाननी चाहिए।
And know who she is: this heroine is Śrī Rādhā herself, wearing the natural ornament called vilāsa — the flurry of graceful, restless movement that overtakes a woman at the meeting with her beloved.
यह नायिका तो 'विलास' नामक नासिका-अलङ्कार से सुशोभित साक्षात् श्रीराधा ही समझनी चाहिए।
The source reads 'vilāsa-nāsālaṅkāravatī'; the intended word is vilāsa-nāma ('the ornament named vilāsa') — the parallel commentary (Viṣṇudāsa) twice reads 'vilāsa-nāma' and cites u.nī 11.31, which defines vilāsa as the momentary distinctiveness of gait, posture, and glances born from union with the beloved. Flagging the apparent nāma → nāsā slip.