tatra dhīra-madhyā— / yathā—
svāmin yuktam idaṁ tavāñjana-navālakta-dravaiḥ sarvataḥ
saṁkrāntair dhṛta-nīla-lohita-tanor yac candralekhā-dhṛtiḥ |
ekaṁ kintv avalocayāmy anucitaṁ haṁho paśūnāṁ pate
dehārdhe dayitāṁ vahan bahu-matām atrāsi yan nāgataḥ ||
The verse — decoded
L1other
svāmin yuktam idaṁ tavāñjana-navālakta-dravaiḥ sarvataḥ
svāminO master — the mock-deferential address she opens with vocative; in the śleṣa it also fits Śiva as the great Lordहे स्वामी! (श्लेष में — हे महेश्वर/शिव!)
yuktamit is fitting, it suits [you]यह उचित है / शोभा देता है
idamthis [that I see on you]यह [बात]
tavaon you, in your case genitiveतुम्हारा
añjana-nava-alakta-dravaiḥby black eye-collyrium (añjana) and fresh red lac-dye (nava-alakta-drava) — [a rival's, left on you] instrumental; construes with saṁkrāntaiḥ in L2काजल और ताजे आलते के द्रवों से (जिनके द्वारा — साधन)
sarvataḥall over, on every sideसब ओर से / चारों ओर
svāmin — O master; idam — this; tava — on you; yuktam — is fitting; añjana-nava-alakta-dravaiḥ — by black collyrium and fresh red lac; sarvataḥ — all over you (— smeared on, L2).
हे स्वामी! तुम्हारा यह [कार्य] उचित ही है — सब ओर से [तुम पर लगे हुए] काजल और ताजे आलते के द्रवों से…
Rādhā, the wronged khaṇḍitā, opens with mock deference: 'Master — this suits you!' She is pointing at the tell-tale marks of his night with a rival: black eye-collyrium and fresh red foot-lac smeared all over him. The irony is set from the first word — these stains, she says, become him.
हे स्वामी! यह तुम्हें शोभा ही देता है। तुम्हारे [शरीर] पर सब ओर काजल और ताजे आलते का रस [लगा है]।
The whole verse is vakrokti — crooked, ironic praise. Rādhā treats Kṛṣṇa as if he were Śiva: the black añjana darkens his body and the red alakta reddens it, so he now looks nīla-lohita ('blue-and-red'), a standing name of Rudra. Read straight, the marks are the evidence of his unfaithfulness; read as she pretends to read them, they make him 'fittingly' resemble the great Lord. Both layers run at once (śleṣa).
'स्वामिन्' पद में श्लेष है — यह सम्बोधन शिव (महेश्वर) पर भी बैठता है।
L2other
saṁkrāntair dhṛta-nīla-lohita-tanor yac candralekhā-dhṛtiḥ |
saṁkrāntaiḥ[by them] transferred, smeared onto [you] instrumental, agreeing with añjana-nava-alakta-dravaiḥ of L1जो [तुम पर] संक्रान्त (स्थानान्तरित) हो गए हैं — (L1 के द्रवों से अन्वय)
dhṛta-nīla-lohita-tanoḥof you, whose body has taken on a blue-and-red hue genitive; dhṛta = borne / assumed, nīla = dark-blue, lohita = redउस [शरीर] का, जिसने नीला और लाल रूप धारण कर लिया है
yatnamely, in that correlative unpacking what the 'fitting' thing (idam yuktam) isजो [यह है, वह है] — (सम्बन्ध-सूचक)
candra-lekhā-dhṛtiḥthere is the bearing of a crescent-moon (candra-lekhā) [on you]चन्द्रलेखा (चन्द्रकला) का धारण करना
[añjana-nava-alakta-dravaiḥ] saṁkrāntaiḥ — by them smeared on; dhṛta-nīla-lohita-tanoḥ — of you, your body now blue-and-red; yat candra-lekhā-dhṛtiḥ — namely, that you bear a crescent-moon.
[उन द्रवों] से जो [तुम पर] संक्रान्त हो गए हैं, तुम्हारा शरीर नीला-लाल हो गया है; उस [शरीर] का जो चन्द्रलेखा-धारण है — वही [उचित है]।
The stains have transferred onto him head to foot, so his body now shows blue-and-red — exactly Śiva's nīla-lohita coloring. And, she says, there is even a crescent-moon on him. That is the 'fitting' thing: like moon-crested Śiva, he bears a candra-lekhā. Read straight, the 'crescent' is the curved nail-mark a rival scored on him; in her ironic frame it is Śiva's crescent diadem.
वे रस तुम पर उतर आए हैं। इससे तुम्हारा शरीर नीला-लाल हो गया है। ऐसे [शरीर] का चन्द्रलेखा धारण करना — यही [शोभा देता है]।
candra-lekhā = 'a streak / digit of the moon.' The śleṣa turns a rival's crescent-shaped nail-scratch into the crescent moon Śiva wears on his head (candra-śekhara). Rūpa builds the whole conceit on Śiva's iconography: dark-and-red body, crescent moon, and — in L3–L4 — the beloved carried in half the body.
श्लेष — शिव नील-लोहित हैं और मस्तक पर चन्द्रकला धारण करते हैं; अतः यह उन पर सचमुच 'उचित' है।
L3other
ekaṁ kintv avalocayāmy anucitaṁ haṁho paśūnāṁ pate
ekam[but] one thingएक [बात]
kintuyet, however — turning from praise to reproachपरन्तु / किन्तु
avalocayāmiI do observe, I noticeमैं देखती हूँ / मुझे दिखाई देती है
anucitam[as] unbecoming, improperअनुचित / अनुपयुक्त
haṁhoah! ho! — an exclamation of feigned wonderअरे! / हंहो — (सम्बोधन का उद्गार)
paśūnāṁ pateO lord of beasts vocative; śleṣa on paśu-pati — glossed by Viśvanātha belowहे पशुओं के स्वामी! (श्लेष — पशुपति शिव; तथा गोपों/पशुओं के स्वामी कृष्ण)
kintu — yet; ekam anucitam — one improper thing; avalocayāmi — I do notice; haṁho paśūnāṁ pate — ah, O lord of beasts!
परन्तु हे पशुओं के स्वामी! एक बात मुझे अनुचित दिखाई देती है —
Now the turn. 'Yet there is one thing I notice that does not become you' — she drops the mock praise for mock reproach. And she names him 'haṁho paśūnāṁ pate,' 'Ah, O lord of beasts!' In the Śiva frame this is Paśupati, Śiva's own title; said of Kṛṣṇa it is 'O lord of the cows,' the cowherd — with a sting of 'you boor' underneath.
परन्तु हे पशुपति! एक बात मुझे अनुचित लगती है।
This address and 'svāmin' are the two bold vocatives the commentators fasten on (see Jīva and Viśvanātha below): a heroine forward enough to call her lord 'svāmin' and 'hey, cowherd!' shows the emergent boldness of a madhyā. haṁho is a colloquial exclamatory 'ho!, ah!'
L4other
dehārdhe dayitāṁ vahan bahu-matām atrāsi yan nāgataḥ ||
deha-ardhein half your body locative; deha-ardha[अपने] शरीर के आधे भाग में
dayitāmyour belovedप्रिया को
vahanbearing, carrying present participleवहन करते हुए / धारण करते हुए
bahu-matāmmuch-esteemed, highly prized [by you]अत्यन्त मानी हुई (बहुमानित) [प्रिया को]
atrahere [to me]यहाँ
asiyou are — [with na āgataḥ:] you have… joins na āgataḥ to make 'you have not come'हो — (na āgataḥ के साथ मिलकर 'तुम नहीं आए')
yatin that, that correlative with ekam anucitam of L3कि [यह है] — (L3 के 'एक अनुचित' से अन्वय)
na āgataḥyou have not comeनहीं आए
yat — [namely] that; dayitām bahu-matām — your much-prized beloved; deha-ardhe — in half your body; vahan — bearing; atra na āgataḥ asi — you have not come here.
— कि अपनी अत्यन्त प्रिया को [अपने] शरीर के आधे भाग में धारण किए हुए, तुम यहाँ नहीं आए।
Here is the 'one improper thing.' Like Śiva, who carries Pārvatī as half his own body (Ardhanārīśvara), you carry your much-prized darling in half of you — and that, she says, is just why you never came to me. The barb: you were too taken up with her. Read straight, the 'beloved in half your body' is the rival whose marks cover him; in the Śiva frame it is the goddess merged into his form.
तुमने अपनी बहुमानी प्रिया को अपने आधे अंग में धारण कर रखा है। और इसी से तुम यहाँ नहीं आए।
bahu-matā = 'held in high regard, much-thought-of.' The conceit completes the Śiva overlay: dark-red body, crescent moon, and now the consort borne in half the frame. The whole speech is a khaṇḍitā's jealous, ironic reproach — praising the signs of his unfaithfulness as though they were a god's ornaments, then naming the 'one fault': that he did not come to her.
श्लेष — शिव अर्धनारीश्वर रूप में पार्वती को आधे अंग में धारण करते हैं; कृष्ण-पक्ष में यह उलाहना है कि वे अन्य नायिका में रमे रहे।
Commentary — decoded
Jīva Gosvāmī
s1gloss
svāminn iti |
svāmin iti[on] the verse beginning 'svāmin' — he takes it up by its opening word pratīka — quoting the verse by its first word'स्वामिन्' इस [पद से आरम्भ श्लोक] — (प्रतीक)
svāmin iti — [on] the verse 'svāmin…'.
'स्वामिन्' — इस [पद से आरम्भ होने वाला श्लोक]।
Jīva takes up the verse by its first word, 'svāmin.'
'स्वामिन्' [इत्यादि श्लोक की व्याख्या]।
A pratīka: the commentator names the verse he is about to comment on by quoting its opening word.
s2gloss
atra svāminn iti haṁho paśūnāṁ pate ity ābhyāṁ kiñcit pragalbha-vacanatvāt |
atrahere, in this verseयहाँ [इस श्लोक में]
svāmin itiby [the address] 'svāmin' (O master)'स्वामिन्' इस [सम्बोधन] से
haṁho paśūnāṁ pate itiand by [the address] 'haṁho paśūnāṁ pate' (ah, O lord of beasts)'हंहो पशूनां पते' इस [सम्बोधन] से
ābhyāmby these two [forms of address] instrumentalइन दोनों के द्वारा
kiñcitsomewhat, a littleकुछ / थोड़ा
pragalbha-vacanatvātbecause her speech is [now] forward, boldish ablative of reason; -tva abstract, 'because of its being bold speech'क्योंकि [यह] कुछ प्रगल्भ (मुखर/धृष्ट) वचन है — इस कारण
atra — here; svāmin iti haṁho paśūnāṁ pate iti ābhyām — by these two, 'svāmin' and 'haṁho paśūnāṁ pate'; kiñcit pragalbha-vacanatvāt — because her speech is somewhat bold.
यहाँ 'स्वामिन्' और 'हंहो पशूनां पते' — इन दोनों [सम्बोधनों] के कारण [उसका वचन] कुछ प्रगल्भ है।
Jīva points to her two forms of address — 'svāmin' ('master') and 'haṁho paśūnāṁ pate' ('ah, lord of beasts!'). By these two, he says, her speech has turned somewhat bold (pragalbha) — forward, a little brazen. The sentence hangs on the 'because' (-tvāt); it completes in the next line.
यहाँ दो सम्बोधन हैं — 'स्वामिन्' और 'हंहो पशूनां पते'। इन दोनों से उसका कहना कुछ मुखर (प्रगल्भ) हो जाता है।
The ablative -tvāt ('because it is bold speech') sets up the inference drawn in s3. pragalbha = bold, forward, self-assured — the register of a maturing heroine, as against the shy mugdhā.
s3conclusion
tena prodyat-tāruṇyasya vyaktatvāt madhyātvam |
tenaby that, on that groundउससे / इसीलिए
prodyat-tāruṇyasyaof [her] rising, budding youth genitive; pra-udyat = surging upउमड़ते हुए यौवन का
vyaktatvātbecause it is made evident ablative of reasonप्रकट होने के कारण
madhyātvam[she is proved] a madhyā — a middling heroine[उसका] मध्यात्व (मध्या-नायिकापन)
tena — therefore; prodyat-tāruṇyasya vyaktatvāt — because her budding youth is made evident; madhyātvam — [there is] madhyā-hood.
इसीलिए, [उसमें] उमड़ते हुए यौवन के प्रकट होने से, [वह] मध्या [नायिका] है।
And this is the payoff. Because that touch of boldness shows her prodyat-tāruṇya — her youth just coming into flower — she is a madhyā. The madhyā is exactly the heroine of rising youth, between the naive mugdhā and the fully bold pragalbhā; her half-bold speech reveals that very stage.
इससे पता चलता है कि उसका यौवन उमड़ रहा है। इसी से वह मध्या नायिका है।
prodyat-tāruṇya ('surging youth') is the defining mark of the madhyā. Jīva's chain: bold address → budding youth shown → madhyā established.
मध्या — वह नायिका जिसका यौवन प्रकट हो चुका है और जो प्रिय से कुछ मुखर होकर बोलती है।
s4gloss
vakrokty-ādikaṁ tu spaṣṭam eveti |
vakrokti-ādikamthe vakrokti (crooked, ironic speech) and the rest [of the dhīra-madhyā's marks]वक्रोक्ति आदि [अलंकार]
tuas for these, for their partतो
spaṣṭam eva[are] quite plain, obvious in themselvesस्पष्ट ही है
iti— so he leaves it closes the remark— ऐसा [कहकर विराम]
vakrokti-ādikam tu — as for the vakrokti and the rest; spaṣṭam eva — it is quite obvious; iti — so.
वक्रोक्ति आदि तो स्पष्ट ही है — ऐसा [कहा]।
As for the vakrokti — the crooked, ironic speech — and the other marks of the type, Jīva says they are obvious on the face of the verse and need no comment. The whole speech is manifestly ironic praise, so he does not stop to point it out.
इसमें वक्रोक्ति (टेढ़ी/व्यंग्य उक्ति) आदि तो साफ ही है।
From 5.34–35 the dhīra-madhyā is defined by vakrokti (oblique speech), sotprāsa (mockery), and sāgas (holding his offense over him). Jīva passes over them as self-evident here.
s5avataranika
dhīrātvaṁ ca kim idaṁ yuktam ity atrāha—yac candreti ||
dhīrātvamand [as for] her being a dhīrā (composed)[उसका] धीरात्व (धीरा-भाव)
caandऔर
kim idam yuktam iti'how is this fitting?' — [to that implied question]'यह क्या उचित है?' — इस [कथन में]
atraon this, at this pointइस विषय में
āhahe gives [the answer][आचार्य] कहते हैं
yat candra itiwith 'yat candra…' (the clause 'yac candralekhā-dhṛtiḥ') pratīka pointing to L2's yat-clause'यत् चन्द्र…' इस [पद से] — (प्रतीक; L2 के यत्-वाक्य की ओर संकेत)
dhīrātvam ca — and her dhīrā-hood; kim idam yuktam iti atra — [answering] 'why is this fitting?' here; āha — he gives it; yat candra iti — with 'yat candra…'.
और [उसका] धीरात्व — 'यह क्या उचित है?' [इस व्यंग्य में है]; इस विषय में [आचार्य] कहते हैं — 'यत् चन्द्र…'।
And what shows she is a dhīrā — composed, not swept away? To the implied question 'Why is this "fitting"?', the verse itself answers in the clause 'yat candralekhā-dhṛtiḥ' — 'because you bear a crescent-moon [like Śiva].' That she meets her own jealousy with worked-out, composed irony rather than an outburst is her dhīrā poise. This phrase introduces that answering clause.
और उसमें धीरा-भाव भी है — 'यह क्या उचित है?' इसी को दिखाने के लिए [आचार्य] 'यत् चन्द्र…' कहते हैं।
The dhīrā vents her māna through controlled, clever speech, never a loss of composure. Jīva reads the verse's own reasoning — 'this suits you, because it makes you resemble Śiva' — as the sign of that poise.
धीरा — जो नायिका रोष को व्यंग्य/वक्रोक्ति के रूप में प्रकट करती है।
Viśvanātha Cakravartī
s1avataranika
khaṇḍitā śrī-rādhā śrī-kṛṣṇam āha—svāminn iti |
khaṇḍitāas a khaṇḍitā — the heroine wronged [by a lover who has been with a rival]खण्डिता [नायिका] (रुष्ट प्रिया)
śrī-rādhāŚrī Rādhāश्रीराधा
śrī-kṛṣṇamto Śrī Kṛṣṇaश्रीकृष्ण से — (कर्म; 'कहती हैं' का)
āhaspeaksकहती हैं
svāmin iti[with] 'svāmin…' — the verse beginning so pratīka'स्वामिन्' इति [कहकर] — (प्रतीक)
khaṇḍitā śrī-rādhā — Śrī Rādhā, as a khaṇḍitā; śrī-kṛṣṇam — to Kṛṣṇa; āha — speaks; svāmin iti — 'svāmin…'.
खण्डिता श्रीराधा श्रीकृष्ण से कहती हैं — 'स्वामिन्' [इत्यादि]।
Viśvanātha sets the scene. The speaker is Śrī Rādhā in the mood of a khaṇḍitā — the heroine whose lover has come to her bearing the marks of a night with a rival. She addresses Śrī Kṛṣṇa with this verse, 'svāmin…'.
खण्डिता श्रीराधा श्रीकृष्ण से कहती हैं — 'स्वामिन्…'।
The khaṇḍitā is a standard nāyikā type: the woman betrayed, who greets her lover at dawn with jealous, cutting reproach when the signs of another woman are on him. Naming her the khaṇḍitā fixes the whole verse as that dawn confrontation.
खण्डिता — वह नायिका जिसका प्रिय अन्य स्त्री के चिह्नों सहित आया हो।
s2gloss
he paśūnāṁ pate śambho ! pakṣe, he gopety avaidagdhayam ity ābhyāṁ kiñcit pragalbha-vacanatvāt |
he paśūnāṁ pate śambho'O lord of beasts — O Śambhu (Śiva)!' — [one reading of the address]'हे पशुओं के स्वामी शम्भो!' (शिव-पक्ष)
pakṣeon the other side, in the alternative senseदूसरे पक्ष में / अन्य अर्थ में
he gopa iti'O cowherd!' — [the other reading]'हे गोप!' ऐसा (कृष्ण-पक्ष)
avaidagdhyam[which] imputes want of finesse — calls him a boor a-vaidagdhya = un-cleverness, gaucheness[सीधे 'गोप' कहना] अवैदग्ध्य (गँवारपन / चातुर्य का अभाव) [सूचित करता]
iti ābhyāmby these two [forms of address]इस प्रकार इन [दोनों सम्बोधनों] के द्वारा
kiñcitsomewhatकुछ
pragalbha-vacanatvātbecause her speech is [now] forward, boldish ablative of reasonप्रगल्भ (मुखर) वचन होने के कारण
he paśūnāṁ pate śambho — 'O lord of beasts, O Śambhu!'; pakṣe he gopa iti — in the other sense, 'O cowherd!'; avaidagdhyam — imputing boorishness; iti ābhyām — by these two addresses; kiñcit pragalbha-vacanatvāt — because her speech is somewhat bold.
'हे पशूनां पते शम्भो!' [शिव-पक्ष में], और दूसरे पक्ष में 'हे गोप!' — [जिसे सीधे कहना] अवैदग्ध्य होता; इस प्रकार इन [दोनों] के कारण [उसका] वचन कुछ प्रगल्भ है।
Viśvanātha spells out the double sense of 'haṁho paśūnāṁ pate.' One way it is 'O lord of beasts — O Śambhu!', naming Śiva. The other way (pakṣe) it is simply 'O cowherd!' — and in that mouth it imputes avaidagdhya, gaucheness: 'you clumsy herdsman.' By these two bold addresses (with 'svāmin') her speech has turned somewhat forward — pragalbha. The clause hangs on 'because,' completed in the next line.
एक अर्थ में यह 'हे पशुपति शम्भो!' है। दूसरे अर्थ में 'हे गोप!' — जिसे सीधे कहना गँवारपन होता। इन दोनों सम्बोधनों से उसका कहना कुछ मुखर (प्रगल्भ) हो जाता है।
This is the śleṣa the verse rides on. paśu-pati reads at once as Śiva's title 'Lord of creatures' (with 'Śambhu' making it explicit) and, of the cowherd Kṛṣṇa, 'lord of the cattle' — the latter carrying the barb of calling him an unpolished rustic. 'ābhyām' ('by these two') matches Jīva: the two bold vocatives 'svāmin' and 'haṁho paśūnāṁ pate.'
s3conclusion
tena prodyat-tāruṇyasya vyaktatvāt madhyātvam |
tenaby that, on that groundउससे / इसीलिए
prodyat-tāruṇyasyaof [her] rising, budding youth genitive; pra-udyat = surging upउमड़ते हुए यौवन का
vyaktatvātbecause it is made evident ablative of reasonप्रकट होने के कारण
madhyātvam[she is proved] a madhyā — a middling heroine[उसका] मध्यात्व (मध्या-नायिकापन)
tena — therefore; prodyat-tāruṇyasya vyaktatvāt — because her budding youth is made evident; madhyātvam — [there is] madhyā-hood.
इसीलिए, [उसमें] उमड़ते हुए यौवन के प्रकट होने से, [वह] मध्या [नायिका] है।
By that touch of boldness her prodyat-tāruṇya — her youth just coming into flower — is made evident; so she is a madhyā. (Viśvanātha's wording here is verbatim Jīva's: the bold address shows the budding youth, and the budding youth marks the middling heroine.)
इससे पता चलता है कि उसका यौवन उमड़ रहा है। इसी से वह मध्या नायिका है।
prodyat-tāruṇya ('surging youth') is the defining mark of the madhyā, the heroine between the naive mugdhā and the fully bold pragalbhā.
s4gloss
vakrokty-ādikaṁ tu spaṣṭam eveti |
vakrokti-ādikamthe vakrokti (crooked, ironic speech) and the rest [of the dhīra-madhyā's marks]वक्रोक्ति आदि [अलंकार]
tuas for these, for their partतो
spaṣṭam eva[are] quite plain, obvious in themselvesस्पष्ट ही है
iti— so he leaves it closes the remark— ऐसा [कहकर विराम]
vakrokti-ādikam tu — as for the vakrokti and the rest; spaṣṭam eva — it is quite obvious; iti — so.
वक्रोक्ति आदि तो स्पष्ट ही है — ऐसा [कहा]।
The vakrokti — the crooked, ironic speech — and the other marks of the type are obvious on the face of the verse and need no comment. (Again verbatim Jīva: the ironic praise is self-evident, so it is passed over.)
इसमें वक्रोक्ति (टेढ़ी/व्यंग्य उक्ति) आदि तो साफ ही है।
From 5.34–35 the dhīra-madhyā is defined by vakrokti (oblique speech), sotprāsa (mockery), and sāgas (holding his offense over him) — all treated here as self-evident.
s5avataranika
dhīrātvaṁ ca kim idaṁ yuktam ity atrāha—yac candreti ||
dhīrātvamand [as for] her being a dhīrā (composed)[उसका] धीरात्व (धीरा-भाव)
caandऔर
kim idam yuktam iti'how is this fitting?' — [to that implied question]'यह क्या उचित है?' — इस [कथन में]
atraon this, at this pointइस विषय में
āhahe gives [the answer][आचार्य] कहते हैं
yat candra itiwith 'yat candra…' (the clause 'yac candralekhā-dhṛtiḥ') pratīka pointing to L2's yat-clause'यत् चन्द्र…' इस [पद से] — (प्रतीक; L2 के यत्-वाक्य की ओर संकेत)
dhīrātvam ca — and her dhīrā-hood; kim idam yuktam iti atra — [answering] 'why is this fitting?' here; āha — he gives it; yat candra iti — with 'yat candra…'.
और [उसका] धीरात्व — 'यह क्या उचित है?' [इस व्यंग्य में है]; इस विषय में [आचार्य] कहते हैं — 'यत् चन्द्र…'।
And what shows she is a dhīrā — composed, not swept away? To the implied question 'Why is this "fitting"?', the verse answers in the clause 'yat candralekhā-dhṛtiḥ' — 'because you bear a crescent-moon [like Śiva].' That composed, reasoned irony, rather than an outburst, is her dhīrā poise. This phrase introduces the answering clause. (Verbatim Jīva.)
और उसमें धीरा-भाव भी है — 'यह क्या उचित है?' इसी को दिखाने के लिए [आचार्य] 'यत् चन्द्र…' कहते हैं।
The dhīrā vents her māna through controlled, clever speech, never a loss of composure. The verse's own reasoning — 'this suits you, because it makes you resemble Śiva' — is read as the sign of that poise.