Commentary — decoded
Jīva Gosvāmī
s1avataranika
aneneti |
anenetithe word 'anena' ('with this') — Jīva takes up this word to explain iti citing the lemma (pratīka)'अनेन' — इस पद को (उठाकर)
aneneti — [on] the word 'anena.'
'अनेन' — इस पद को लेकर (व्याख्या करते हैं) —
Jīva Gosvāmī singles out the one word 'anena' ('with this') for comment. The whole question for him is: what does 'anena' refer to?
'अनेन' — इस पद को लेकर (जीव गोस्वामी व्याख्या करते हैं)।
a pratīka — quoting just the word that the note will explain.
s2gloss
yāvaka-paṅka-maṅgalyā nirdiśyate |
yāvaka-paṅkamthe red lac-paste — this is what 'anena' picks out acc. (source prints 'yāvaka-paṅka-'; read as separate acc.)यावक-पंक (महावर) को
aṅgulyāby pointing the finger — deixis, not grammar instr. of means (source prints 'maṅgalyā', a scribal slip for aṅgulyā)उँगली के द्वारा (संकेत करके)
nirdiśyateis indicated, is pointed to passiveनिर्दिष्ट किया जाता है (इंगित किया जाता है)
aṅgulyā yāvaka-paṅkam nirdiśyate — the lac-paste is indicated by pointing the finger.
'अनेन' से यावक-पंक (महावर) को उँगली के संकेत द्वारा निर्दिष्ट किया जाता है।
Jīva's answer: 'anena' ('with this') points at the lac-paste by ostension — as if a finger were pointing at it — not by any grammatical link. She simply gestures: 'with THIS.'
'अनेन' पद उँगली से इशारा करके (सामने रखे) महावर को दिखाता है।
The source here reads 'yāvaka-paṅka-maṅgalyā,' but Viśvanātha quotes this exact sentence verbatim as 'yāvaka-paṅkam aṅgulyā nirdiśyate' (see c2-visvanatha.s24) — 'the lac is pointed at by the finger.' 'maṅgalyā' is a scribal slip for 'aṅgulyā' (aṅgulī, finger); decoded on the corrected reading.
s3gloss
na tu samāsena guṇībhūtaṁ tad ākṛṣyate |
na tuand not — the option he rules out tu marks the contrastपरन्तु नहीं
samāsenaout of the compound instr., 'by way of the compound'समास के द्वारा
guṇībhūtaṁas a subordinated member — the word tucked inside the compound acc. pred., describing tadगौण बने हुए (उस पद) को
tadit — the lac-word (yāvaka-paṅka) acc.उस (यावक-पंक पद) को
ākṛṣyateis dragged out, pulled back into reference passiveखींचा जाता है (लाया जाता है)
na tu tad guṇībhūtaṁ samāsena ākṛṣyate — and it is not that 'anena' drags the lac-word out of the compound where it sits subordinated.
परन्तु समास में गौण बने हुए उस (यावक-पंक) पद को (अनेन से) नहीं खींचा जाता।
And — Jīva stresses — 'anena' is NOT reaching back to grab the word 'yāvaka-paṅka' out of the big compound in L3, where that word sits only as a buried, subordinate piece. The reference is by pointing, not by grammar. This distinction is the whole point of his note.
'अनेन' उस समास के भीतर गौण पड़े हुए 'यावक-पंक' पद को नहीं खींचता।
s4conclusion
tasmād abhavan-mata-yoga-nāmā doṣo nāśaṅkyaḥ |
tasmādso, on this reading abl. of consequenceइसलिए
abhavan-mata-yoga-nāmāthe flaw called 'abhavan-mata-yoga' — a pronoun taking up a sense the grammar doesn't actually offer nom., naming the doṣa'अभवन्मतयोग' नामक
doṣothe fault nom.दोष
nāśaṅkyaḥneed not be feared, does not arise na + gerundive of ā-śaṅkआशंका करने योग्य नहीं है
tasmād abhavan-mata-yoga-nāmā doṣaḥ na āśaṅkyaḥ — so the fault called 'abhavan-mata-yoga' need not be feared.
इसलिए 'अभवन्मतयोग' नामक दोष की आशंका नहीं करनी चाहिए।
Therefore, Jīva concludes, the grammatical fault named 'abhavan-mata-yoga' does not arise here. That fault is: a pronoun ('anena') referring to a word that is only a buried, subordinate part of a compound — which the grammarians disallow. Since 'anena' here points with the finger instead of grabbing the compound-internal word, there is nothing to object to.
अतः यहाँ 'अभवन्मतयोग' नामक दोष की आशंका नहीं करनी चाहिए।
abhavan-mata-yoga = the 'connection (yoga) with an un-intended, un-sanctioned (a-bhavat-mata) sense' — the defect of making a pronoun refer to something the construction does not actually supply. Viśvanātha restates the very same fault at s15.
'अभवन्मतयोग' = अभीष्ट (इष्ट) अन्वय का न बन पाना — अर्थात् 'अनेन' का जिस पद से सम्बन्ध चाहा गया, वह सम्बन्ध सिद्ध न हो — ऐसा दोष।
s5alternative
“tvan-maulinā hṛtam alaktaka-paṅkam aṅgyos tasyā vibhūṣaya punas tvam amū anena” iti pāṭhas tu spaṣṭaḥ ||
tvan-maulinā hṛtam'stolen by your crown' instr. + past part. (opening the quoted variant reading)'तुम्हारे मुकुट के द्वारा हरा गया
alaktaka-paṅkamthe red lac-paste — alaktaka is a synonym of yāvaka acc.अलक्तक-पंक (महावर का लेप)
aṅghryoḥof the two feet gen./loc. dual (source prints 'aṅgyos')(उसके) दोनों चरणों का / चरणों में
tasyāof her gen.उस (राधा) के
vibhūṣayaadorn [them] imperativeसुशोभित करो
punas tvam amū anenayou, [adorn] those two [feet] again with this [lac] punaḥ adv. + tvam nom. + amū acc. dual + anena instr.फिर तुम इन दोनों (चरणों) को इसी से'
iti pāṭhas tu spaṣṭaḥ— this variant reading, for its part, is plain and unproblematic tu 'at any rate'— यह पाठ (पाठान्तर) तो स्पष्ट ही है
'tvan-maulinā hṛtam alaktaka-paṅkam tasyā aṅghryoḥ punaḥ tvam amū anena vibhūṣaya' iti pāṭhaḥ tu spaṣṭaḥ — the reading 'you, with this lac stolen by your crown, adorn her two feet again' is, for its part, clear.
'तुम्हारे मुकुट के द्वारा हरा गया अलक्तक-लेप, उस (राधा) के दोनों चरणों को फिर तुम इसी से सुशोभित करो' — यह पाठ तो स्पष्ट ही है।
Jīva then notes a variant reading of the verse: 'the lac-paste stolen by your crown — you, adorn her two feet again with this.' He says this reading, at least, is straightforward. In it 'alaktaka-paṅka' stands as a plain accusative, not locked inside a compound, so 'anena' ('with this') refers to it with no trouble at all. He offers it as a second reading; both stand.
'तुम्हारे मुकुट ने जिस अलक्तक-लेप को हर लिया, उसी से फिर तुम उस (राधा) के इन दोनों चरणों को सुशोभित करो' — यह पाठान्तर तो स्पष्ट ही है।
alaktaka = yāvaka (red lac); 'aṅghryoḥ' (source 'aṅgyos') = 'of/on the two feet'; 'amū' = 'those two.' The reason for adducing the variant: on it the grammatical worry never even arises.
Viśvanātha Cakravartī
s1avataranika
śrī-rādhā prāha gopendra-nandaneti |
śrī-rādhāŚrī Rādhā — the speaker nom., subjectश्री राधा
prāhaspeaks, says perf.बोलीं (कहा)
gopendra-nandanetithe verse beginning 'gopendra-nandana...' iti citing the pratīka'गोपेन्द्र-नन्दन' इत्यादि (श्लोक)
śrī-rādhā gopendra-nandaneti prāha — Śrī Rādhā speaks the verse 'gopendra-nandana...'.
श्री राधा 'गोपेन्द्र-नन्दन' इत्यादि (श्लोक) बोलीं।
Viśvanātha names the speaker: it is Śrī Rādhā who says this verse. So every sarcastic line that follows is hers, spoken to Kṛṣṇa's face.
श्री राधा ने 'गोपेन्द्र-नन्दन...' यह (श्लोक) कहा।
s2gloss
mādrśyo ruditvā miryantāṁ nāma mahārāja-putrasya śatakoṭi-koṭi-kāminī-vallabhasya tava kā kṣatir iti bhāvaḥ |
mādṛśyowomen like me nom. pl. fem. (source 'mādrśyo')मुझ-जैसी (स्त्रियाँ)
ruditvāhaving wept gerundरो-रोकर
mriyantāṁlet them die — go ahead and die imperative 3rd pl. (source 'miryantāṁ')भले ही मर जाएँ
nāmagranted, so be it — a dismissive 'fine, let them' concessive particleभले ही (मान लो — रियायत का भाव)
mahārāja-putrasyafor the great king's son — you, a prince gen., with tavaमहाराज के पुत्र (ऐसे तुम्हारी)
śatakoṭi-koṭi-kāminī-vallabhasyathe darling of billions upon billions of amorous women gen., describing tavaकरोड़ों-करोड़ों कामिनियों के प्रियतम (ऐसे तुम्हारी)
tavato you gen.तुम्हारी
kā kṣatirwhat loss is it? nom. rhetorical questionक्या हानि? (कुछ भी हानि नहीं)
iti bhāvaḥ— that is her drift closes the paraphrase— ऐसा भाव है
mādṛśyo ruditvā mriyantāṁ nāma — let women like me weep themselves to death, fine; mahārāja-putrasya śatakoṭi-koṭi-kāminī-vallabhasya tava kā kṣatiḥ — for you, a prince, darling of countless millions of women, what's the loss? iti bhāvaḥ.
'मुझ-जैसी स्त्रियाँ भले ही रो-रोकर मर जाएँ — महाराज के पुत्र, करोड़ों-करोड़ों कामिनियों के प्रियतम तुम्हारी इसमें क्या हानि?' — ऐसा भाव।
Viśvanātha draws out the sarcasm behind 'don't make me weep, go.' Her real drift: 'Let women like me cry ourselves to death — so what? You're a prince, the sweetheart of billions upon billions of women. What have you lost?' She belittles herself and mocks his endless supply of lovers in one breath.
'मुझ जैसी नारियाँ रो-रोकर भले मर जाएँ, तो महाराज के पुत्र और करोड़ों-करोड़ों कामिनियों के प्रियतम तुम्हारा क्या बिगड़ता है?' — यही भाव है।
s3gloss
na rodaya yāhi yāhīti tvayi gate sati tvāṁ vismartuṁ yatno’pi me kartuṁ śakyo bhaviṣyati na tu tvayi sākṣād dṛṣṭa eveti bhāvaḥ |
na rodaya yāhi yāhītias for 'don't make me weep, go, go'— iti citing the phrase'मुझे मत रुलाओ, जाओ जाओ' — इस (कथन) का (तात्पर्य)
tvayi gate sationce you have gone locative absoluteतुम्हारे चले जाने पर
tvāṁ vismartuṁto forget you acc. + infinitiveतुम्हें भुलाने का
yatno’pi me kartuṁ śakyo bhaviṣyatiI'll at least be able to make the effort — yatnaḥ api 'even the attempt' me instr. of agentप्रयत्न भी मैं कर सकूँगी
na tu tvayi sākṣād dṛṣṭa evabut not while you stand seen right before me locative absolute; eva 'precisely when'परन्तु जब तुम साक्षात् सामने दिखते ही रहो, तब नहीं
iti bhāvaḥ— that is the sense closes the paraphrase— ऐसा भाव है
tvayi gate sati tvāṁ vismartuṁ yatnaḥ api me kartuṁ śakyaḥ bhaviṣyati — once you've gone I'll at least be able to try to forget you; na tu tvayi sākṣād dṛṣṭe eva — but not while you're seen right here before me; iti bhāvaḥ.
'मुझे मत रुलाओ, जाओ जाओ' — इसका तात्पर्य: तुम्हारे चले जाने पर तुम्हें भुलाने का प्रयत्न भी मैं कर सकूँगी, परन्तु जब तक तुम साक्षात् सामने दिखते रहोगे तब तक नहीं — ऐसा भाव।
Why does she say 'go, go'? Viśvanātha explains: 'Once you're gone, I can at least try to forget you. Not while you're standing right here in front of my eyes.' The dismissal is not indifference — it is that his very presence makes forgetting impossible. A confession hidden inside the rebuff.
'मत रुलाओ, जाओ जाओ' का भाव यह है — तुम चले जाओगे तभी तुम्हें भुलाने का यत्न मैं कर पाऊँगी; तुम साक्षात् सामने रहोगे तो नहीं।
s4avataranika
mad-aparādhaṁ kṣamasveti praṇamantaṁ taṁ pratyāha—sā te ity ādi |
mad-aparādhaṁ kṣamasveti'forgive my offense'— acc. + imperative, iti quoting his plea'मेरा अपराध क्षमा करो' — ऐसा कहकर
praṇamantaṁ taṁ pratito him, as he bows down saying it acc. pres. part., prati 'toward'प्रणाम करते हुए उस (कृष्ण) के प्रति
āhashe says in reply perf.(राधा) बोलीं
sā te ity ādithe verse beginning 'sā te...' iti citing the pratīka'सा ते' इत्यादि (पद से)
mad-aparādhaṁ kṣamasva iti praṇamantaṁ taṁ prati sā te ity ādi āha — to him, bowing and pleading 'forgive my offense,' she replies with 'sā te...'.
'मेरा अपराध क्षमा करो' — ऐसा कहकर प्रणाम करते हुए उस (कृष्ण) के प्रति (राधा) 'सा ते' इत्यादि कहती हैं।
Viśvanātha stages the exchange. Kṛṣṇa bows down and begs, 'Forgive my offense.' To that bowing figure she answers with the next line, 'sā te...'. So L2 is her retort to his apology.
'मेरा अपराध क्षमा करो' कहकर प्रणाम करते हुए कृष्ण से (राधा) 'सा ते...' यह कहती हैं।
s5gloss
māṁ prasādayantaṁ tvāṁ sā yadi śroṣyati tadā ruṣaṁ vidhāsyati |
māṁ prasādayantaṁ tvāṁyou, while you are placating me acc. pres. part.मुझे मनाते हुए तुम्हें
sāshe [the other woman] nom.वह (राधा)
yadi śroṣyatiif she hears of it conditional fut.यदि सुन लेगी
tadā ruṣaṁ vidhāsyatithen she'll get angry [at you] fut.तब क्रोध करेगी
sā tvāṁ māṁ prasādayantaṁ yadi śroṣyati tadā ruṣaṁ vidhāsyati — if she hears that you are placating me, she'll be furious at you.
मुझे मनाते हुए तुम्हें यदि वह (राधा) सुन लेगी, तो क्रोध करेगी।
She unpacks 'sā te vidhāsyati ruṣam': 'If SHE — your heart's mistress — hears that you're busy appeasing me, then she'll turn her anger on you.' The threat is mock-solicitous: I'm warning you for your own good.
मुझे मनाते हुए तुम्हें यदि वह (राधा) सुन लेगी, तो (और अधिक) क्रोध करेगी।
s6gloss
ataḥ sauhṛdena tvāṁ hitam upadiśāmi |
ataḥso abl., 'therefore'इसलिए
sauhṛdenaout of pure friendliness instr. of mannerमित्रभाव से (स्नेहवश)
tvāṁ hitam upadiśāmiI'm advising you for your own good acc. + verbतुम्हें हित की बात बताती हूँ
ataḥ sauhṛdena tvāṁ hitam upadiśāmi — so, as a friend, I'm only advising you for your own good.
इसलिए मित्रभाव से मैं तुम्हें हित की बात बताती हूँ।
'So,' she goes on, 'I'm telling you this purely out of goodwill — for your benefit.' The 'friendly advice' drips with sarcasm: get moving, before your real mistress finds out.
इसलिए स्नेहवश मैं तुम्हें तुम्हारे हित की बात कहती हूँ।
s7gloss
mat-prasādenālam aham aruṣṭaivāsmi |
mat-prasādenālamenough of pleasing me — no need for it alam + instr., 'have done with'मुझे मनाने से बस करो (कोई प्रयोजन नहीं)
aham aruṣṭaivāsmiI'm not the least bit angry — aruṣṭā eva, 'not angry at all' nom. + evaमैं तो अक्रुद्ध (क्रोध-रहित) ही हूँ
mat-prasādena alam — no need to appease me; aham aruṣṭā eva asmi — I'm not even angry.
मुझे मनाने से क्या लाभ — मैं तो रुष्ट हूँ ही नहीं।
'And drop the apologies — I'm not even angry.' 'Aruṣṭā eva,' 'not angry at all' — said, of course, by a woman who plainly is. The flat denial is itself the sting.
मुझे मनाने की आवश्यकता नहीं; मैं तो तुम पर क्रुद्ध हूँ ही नहीं।
s8gloss
kiṁ ca, na śroṣyatīti na vaktavyam |
kiṁ caand what's more connectiveऔर भी
na śroṣyatīti'she won't find out'— iti citing an imagined excuse'वह नहीं सुनेगी' — ऐसा
na vaktavyamdon't even say that gerundive, prohibitionनहीं कहना चाहिए
kiṁ ca na śroṣyati iti na vaktavyam — and don't tell me 'she'll never hear of it.'
और, 'वह (राधा) नहीं सुनेगी' — ऐसा नहीं कहना चाहिए।
She heads off his excuse before he can make it: 'And don't say — she won't find out.' She anticipates him pleading that the rival need never know, and cuts it off in advance.
और यह मत कहो कि 'वह तो सुनेगी ही नहीं'।
s9gloss
yataḥ sā te hṛdayādhidevī hṛdaya evādhikṛtya mamaivaitan nānyasya iti svatvaṁ samarpya dīpyati virājate |
yataḥbecause gives the reason she must hearक्योंकि
sā te hṛdayādhidevīshe, the presiding goddess of your heart nom.वह तुम्हारे हृदय की अधिष्ठात्री देवी
hṛdaya evādhikṛtyapresiding over your heart itself — taking charge precisely of the heart acc. + gerund; eva 'the heart itself'हृदय को ही अधिकृत करके (हृदय पर ही अधिकार जमाकर)
mamaivaitan nānyasya itithinking 'this is mine alone, no one else's' iti quoting her claim'यह (हृदय) मेरा ही है, किसी और का नहीं' — ऐसा (कहकर)
svatvaṁ samarpyahaving staked her ownership acc. + gerundअपना स्वामित्व स्थापित करके
dīpyati virājateshe shines, she reigns resplendent [there] two verbs, 'blazes and holds sway'देदीप्यमान होती है और विराजती है
yataḥ sā hṛdayādhidevī hṛdaya eva adhikṛtya 'mama eva etat na anyasya' iti svatvaṁ samarpya dīpyati virājate — because she, presiding right over your heart, having laid her claim 'this is mine, no one else's,' reigns resplendent there.
क्योंकि वह तुम्हारे हृदय की अधिष्ठात्री देवी, हृदय पर ही अधिकार जमाकर, 'यह मेरा ही है, किसी और का नहीं' — ऐसा अपना स्वामित्व स्थापित करके देदीप्यमान होती हुई विराजती है।
Why will the rival surely hear? Because — Viśvanātha spells out 'hṛdayādhidevī' — she is the very goddess installed over his heart. She has taken the heart as her own domain, declaring 'this is mine alone, no one else's,' and there she reigns in full splendour. A goddess enthroned in his heart cannot fail to know what he is up to.
क्योंकि वह तुम्हारे हृदय की अधिष्ठात्री देवी है — हृदय को ही अपने अधीन करके, 'यह मेरा ही है, और किसी का नहीं' — ऐसा अपना अधिकार जमाकर वह वहाँ जगमगाती और विराजती है।
adhi-kṛtya and adhi-devī chime on 'presiding over': she is the tutelary deity of the heart, so nothing inside it is hidden from her — which is why 'she will hear.'
s10gloss
ataḥ śṛṇotīty aparādhas te jāta eveti bhāvaḥ |
ataḥso abl., 'therefore'इसलिए
śṛṇotītyshe does hear iti, 'the fact being that she hears''वह सुनती है' — इस कारण
aparādhas te jāta evaan offense on your part has already occurred nom. + evaतुम्हारा अपराध हो ही गया
iti bhāvaḥ— that's the drift closes the paraphrase— ऐसा भाव है
ataḥ śṛṇoti — so she does hear; aparādhaḥ te jātaḥ eva — an offense on your part has already happened; iti bhāvaḥ.
इसलिए 'वह सुनती है' — इस कारण तुम्हारा अपराध हो ही गया — ऐसा भाव।
'So of course she hears — which means you've already wronged her, just by lingering to coax me. That's the point.' Since his heart's own goddess witnesses everything, his apology to Rādhā is itself a fresh offense against the rival.
इसलिए, वह सुन तो लेती ही है — अतः तुम्हारा अपराध हो ही चुका, यही भाव है।
s11gloss
kiṁ cānyo’pi mahāparādhas tvayi prakaṭaṁ dṛśyate tam api mārjayety āha—tvan-mastaka-stha-mālyena hṛtaś corito yāvaka-paṅko yasya tathā-bhūtam asyāḥ pāda-dvayam anena mauli-stha-mālā-yāvaka-paṅkena punar bhūṣayeti |
kiṁ cānyo’pi mahāparādhasmoreover a second offense too, and a grave one nom.; api 'also'और एक दूसरा महा-अपराध भी
tvayi prakaṭaṁ dṛśyateshows plainly on you loc. + adv.तुम में प्रकट रूप से दिखाई देता है
tam api mārjayety āha'wipe that one off too,' she says— acc. + imperative + āha (introduces the L3–L4 gloss)'उसे भी पोंछ डालो (दूर करो)' — ऐसा कहती हैं (यह L3–L4 की व्याख्या का आरम्भ)
tvan-mastaka-stha-mālyena hṛtaś corito yāvaka-paṅko yasya[the feet] whose red lac was carried off — stolen — by the garland sitting on your head bahuvrīhi; hṛta glossed by corita 'stolen'जिसका यावक-पंक (महावर) तुम्हारे मस्तक पर स्थित माला ने हर लिया — चुरा लिया, ऐसे
tathā-bhūtam asyāḥ pāda-dvayamher two feet, now in that state acc., objectवैसे (महावर-हीन) हुए इसके दोनों चरणों को
anena mauli-stha-mālā-yāvaka-paṅkenawith this — the lac now on your crown-garland instr. of means, glossing 'anena'इसी — मुकुट पर स्थित माला के महावर — से ('अनेन' का अर्थ)
punar bhūṣayetire-adorn [them], she says imperative + itiफिर सुशोभित करो — ऐसा
kiṁ ca anyaḥ api mahā-aparādhaḥ tvayi prakaṭaṁ dṛśyate — moreover a second grave offense shows plainly on you; tam api mārjaya iti āha — 'wipe that off too,' she says: tvan-mastaka-stha-mālyena hṛtaḥ yāvaka-paṅkaḥ yasya tathā-bhūtam asyāḥ pāda-dvayam anena mauli-stha-mālā-yāvaka-paṅkena punar bhūṣaya — 'her two feet, whose lac your head-garland stole, re-adorn with that very lac now on your crown-garland.'
और, तुम में एक दूसरा बड़ा अपराध भी प्रकट दिखता है; 'उसे भी दूर करो' — ऐसा कहती हैं: जिसका महावर तुम्हारे मस्तक की माला ने चुरा लिया, वैसे हुए इसके दोनों चरणों को इसी — मुकुट की माला के महावर — से फिर सुशोभित करो।
Viśvanātha now reads L3–L4. There is a second, glaring offense on him, she says — 'wipe that off too.' He unpacks the compound: the garland on his head 'carried off' ('hṛta,' which he glosses 'corita,' pilfered) the red lac from the rival's feet; so her feet are the feet 'whose lac was stolen.' And 'anena' — 'with this' — is that lac, now stuck to his crown-garland. Her order: take it and re-paint her feet.
और तुममें एक और बड़ा अपराध भी साफ़ दिखता है; 'उसे भी मिटा दो' — यह कहती हैं: 'जिन चरणों का महावर तुम्हारे सिर की माला ने चुरा लिया, इसके उन दोनों चरणों को इसी मुकुट-माला के महावर से फिर सजा दो।'
he pointedly glosses 'hṛta' ('taken') as 'corita' ('stolen') — setting up the next line's maxim that a thief must restore what he stole.
s12gloss
svayaṁ coritasya vastunaḥ svayaṁ tat-sthāne samarpaṇam eva nyāyyam iti bhāvaḥ |
svayaṁ coritasya vastunaḥof a thing you yourself have stolen gen.स्वयं चुराई हुई वस्तु का
svayaṁyou yourself nom., emphaticस्वयं ही
tat-sthāne samarpaṇam evaputting it back in its place — precisely that nom. + evaउसके स्थान पर लौटा देना ही
nyāyyamis only just nom. pred.न्यायसंगत है
iti bhāvaḥ— that's the sense closes the paraphrase— ऐसा भाव है
svayaṁ coritasya vastunaḥ svayaṁ tat-sthāne samarpaṇam eva nyāyyam — what you yourself stole, you yourself should put back where it belongs; that alone is just; iti bhāvaḥ.
स्वयं चुराई हुई वस्तु को स्वयं ही उसके स्थान पर लौटा देना ही न्यायसंगत है — ऐसा भाव।
The logic of the taunt: what a thief steals, the thief himself must restore. You lifted the lac off her feet onto your crown — so it is only fair that you yourself put it back on her feet. She frames re-adorning the rival as a matter of plain justice.
जो वस्तु तुमने स्वयं चुराई है, उसे स्वयं ही उसके स्थान पर लौटा देना ही उचित है — यही भाव है।
s13gloss
māṁ kiṁ praṇamasi tat-pādayor eva punaḥ punaḥ pateti bhāvaḥ |
māṁ kiṁ praṇamasiwhy are you bowing to me? acc. + questionमुझे क्यों प्रणाम करते हो?
tat-pādayor evaat HER two feet instead loc. dual + evaउसके (राधा के) ही दोनों चरणों में
punaḥ punaḥ patafall down again and again imperative, doubled adv.बार-बार गिरो (पड़ो)
iti bhāvaḥ— that's the sense closes the paraphrase— ऐसा भाव है
māṁ kiṁ praṇamasi — why are you bowing to me?; tat-pādayoḥ eva punaḥ punaḥ pata — go fall at her feet, over and over; iti bhāvaḥ.
मुझे क्यों प्रणाम करते हो? उसके ही दोनों चरणों में बार-बार गिरो — ऐसा भाव।
And the sting for his apology: 'Why are you bowing to ME? Go throw yourself at HER feet, again and again.' She redirects his prostration to the rival — mock-generous, wholly cutting.
मुझे क्यों प्रणाम करते हो? बार-बार तो उसी (राधा) के चरणों में गिरो — यही भाव है।
s14gloss
atra hṛdayādhidevyās tasyā aparokṣatva-pratipādanād asyā iti idaṁ-śabda-prayogo nānupapannaḥ |
atrahere loc.यहाँ
hṛdayādhidevyās tasyā aparokṣatva-pratipādanādbecause the verse has established that the heart's goddess is directly present — not out of sight abl. of reason; aparokṣatva 'being present to view'उस हृदय की अधिष्ठात्री देवी का अपरोक्षत्व (साक्षात् सामने होना) प्रतिपादित होने के कारण
asyā iti idaṁ-śabda-prayogothe use of the near-word 'asyāḥ' ('of THIS one') nom.; idam = the proximate demonstrative'अस्याः' — इस प्रकार 'इदम्' (यह — निकटवाची) शब्द का प्रयोग
nānupapannaḥis quite in order, not improper na + an-upapannaअसंगत नहीं है (उचित ही है)
atra hṛdayādhidevyāḥ tasyāḥ aparokṣatva-pratipādanāt asyāḥ iti idaṁ-śabda-prayogaḥ na anupapannaḥ — since the verse presents the heart's goddess as directly present, using the proximate 'asyāḥ' ('of this one') for her is perfectly proper.
यहाँ उस हृदय की अधिष्ठात्री देवी के अपरोक्ष (साक्षात् सम्मुख) होने के प्रतिपादन के कारण 'अस्याः' — यह 'इदम्' (निकटवाची) शब्द का प्रयोग असंगत नहीं है।
A grammatical nicety: why does the verse say 'asyāḥ' — 'of THIS woman,' a near-demonstrative — for a rival who is elsewhere? Because, Viśvanātha answers, the poem has already presented her as the ever-present goddess of his heart. Since she is 'right here' in that sense, the close-up word 'this' fits perfectly.
यहाँ हृदय की अधिष्ठात्री देवी साक्षात् सामने बताई गई है, इसलिए उसके लिए 'अस्याः' (इस) — यह निकटवाची शब्द प्रयोग करना अनुचित नहीं है।
idam ('this') is the proximate demonstrative, for what is present or at hand; the worry is that an absent rival should take a remote pronoun. The reply: as heart's-deity she is never absent.
s15objection
athātra bahu-brīhi-samāsa-guṇībhūtasya yāvaka-paṅka-padasyānenety anena parāmarśo na saṅgacchata ity abhavan mata-yoga-nāmā doṣaḥ syād iti vyākhyāntaraṁ cintyam |
athātranow, at this point atha 'now'; atra 'here'अब यहाँ
bahu-brīhi-samāsa-guṇībhūtasya yāvaka-paṅka-padasyaof the word 'yāvaka-paṅka,' which sits subordinated inside the bahuvrīhi compound gen.बहुव्रीहि समास में गौण बने हुए 'यावक-पंक' पद का
anenety anena parāmarśo na saṅgacchatathe referring-back done by the word 'anena' will not hold nom. + neg. verb'अनेन' — इस पद से (उस गौण पद का) परामर्श (सर्वनाम-सम्बन्ध) नहीं बनता
ity abhavan mata-yoga-nāmā doṣaḥ syādso the fault called 'abhavan-mata-yoga' would arise optative, 'would result'इस कारण 'अभवन्मतयोग' नामक दोष हो जाएगा
iti vyākhyāntaraṁ cintyam— this alternative construal has to be thought through / remains open to question gerundive of cint— ऐसा एक दूसरा व्याख्यान भी विचारणीय है
atha atra bahu-brīhi-samāsa-guṇībhūtasya yāvaka-paṅka-padasya 'anena' iti anena parāmarśaḥ na saṅgacchate iti abhavan-mata-yoga-nāmā doṣaḥ syāt iti vyākhyāntaraṁ cintyam — one may object that 'anena' cannot refer back to 'yāvaka-paṅka,' buried as a subordinate in the bahuvrīhi, so the 'abhavan-mata-yoga' fault would follow; that alternative reading needs thinking through.
अब, यहाँ बहुव्रीहि समास में गौण बने 'यावक-पंक' पद का 'अनेन' से परामर्श नहीं बनता — इस कारण 'अभवन्मतयोग' नामक दोष हो जाएगा — ऐसा एक दूसरा व्याख्यान विचारणीय है।
Viśvanātha now raises the very worry Jīva flagged. Objection: on the plain reading, 'anena' ('with this') refers back to 'yāvaka-paṅka' — but that word is only a subordinate piece inside the big bahuvrīhi compound of L3, and a pronoun cannot properly reach a compound-internal word. So the 'abhavan-mata-yoga' fault would strike. Because of this, he says, one must work out an alternative construal ('vyākhyāntara') — which he lays out next.
अब यहाँ (एक पक्ष कहता है) बहुव्रीहि समास में गौण पड़े 'यावक-पंक' पद का 'अनेन' पद से सम्बन्ध नहीं बनता, अतः 'अभवन्मतयोग' नामक दोष हो जाएगा — यह दूसरा व्याख्यान भी विचारणीय है।
this is the same doṣa Jīva named at s4; Viśvanātha grants it enough force to motivate a second reading, before finally letting Jīva's answer settle it at s23–s24.
s16alternative
tac ca yathā—tvan-mauli-mālyena hataṁ yāvaka-paṅkaṁ vibhūṣaya viśiṣṭa-bhūṣāṁ kuru |
tac ca yathāand that alternative runs thus— introduces the second readingऔर वह (दूसरा व्याख्यान) इस प्रकार है —
tvan-mauli-mālyena hataṁ yāvaka-paṅkaṁthe lac-paste taken off onto your crown-garland — now a plain object, not compounded acc., direct object of vibhūṣayaतुम्हारे मुकुट की माला से मिटे हुए यावक-पंक (महावर) को
vibhūṣayamake an ornament of it imperativeविभूषित करो
viśiṣṭa-bhūṣāṁ kuruturn it into a special adornment acc. + imperative, restating vibhūṣayaविशिष्ट आभूषण बना दो (यह 'विभूषय' का ही पुनःकथन)
tac ca yathā — the alternative is this: tvan-mauli-mālyena hataṁ yāvaka-paṅkaṁ vibhūṣaya, viśiṣṭa-bhūṣāṁ kuru — 'the lac taken onto your crown-garland — make it into a fine ornament.'
और वह इस प्रकार: 'तुम्हारे मुकुट की माला से मिटे हुए महावर को विभूषित करो' — अर्थात् उसका विशेष शृंगार कर दो।
Here is the alternative construal. Read 'yāvaka-paṅkam' not as buried in a compound but as a standalone accusative — the direct object of 'vibhūṣaya': 'The lac your crown-garland carried off — make an ornament of it.' On this reading 'anena' need not reach into any compound, so the fault dissolves. I leave this second reading standing beside the first, exactly as he does.
वह दूसरा अर्थ ऐसा है — 'तुम्हारे मुकुट की माला से मिटे हुए महावर को विभूषित करो', यानी उसे विशेष आभूषण बना दो।
s17alternative
mālyād yāvaka-paṅkam uttārya sva-mauli-lagnaṁ kurv ity arthaḥ |
mālyād yāvaka-paṅkam uttāryataking the lac down off the garland abl. + gerundमाला से महावर को उतारकर
sva-mauli-lagnaṁ kurvfix it onto your own crown acc. + imperativeअपने मुकुट में लगा हुआ कर लो
ity arthaḥ— that's the meaning closes the paraphrase— ऐसा अर्थ है
mālyād yāvaka-paṅkam uttārya sva-mauli-lagnaṁ kuru iti arthaḥ — take the lac off the garland and set it on your own crown; that's the meaning.
माला से उस महावर को उतारकर अपने मुकुट में ही लगा लो — ऐसा अर्थ।
He spells the alternative out: lift the lac off the garland and press it onto your own crown as an adornment. On this reading the first command is simply 'wear the stolen lac yourself.'
माला से महावर उतारकर उसे अपने मुकुट में लगा लो — यही अर्थ है।
s18alternative
coritasya durlabha-vastuno jhaṭiti bhogārtham eva viniyoktuṁ yuktatvād iti bhāvaḥ |
coritasya durlabha-vastunoa rare, hard-won thing once stolen gen.चुराई हुई दुर्लभ वस्तु का
jhaṭitiat once, without delay adverbतुरन्त (झट से)
bhogārtham eva viniyoktuṁ yuktatvādbecause it is fitting to put [it] to use precisely for enjoyment abl. of reason; eva 'precisely'भोग (उपयोग) के लिए ही प्रयोग में लाना उचित होने के कारण
iti bhāvaḥ— that's the sense closes the paraphrase— ऐसा भाव है
coritasya durlabha-vastunaḥ jhaṭiti bhoga-artham eva viniyoktuṁ yuktatvāt iti bhāvaḥ — because a rare stolen thing is rightly put to enjoyment at once; that's the sense.
चुराई हुई दुर्लभ वस्तु को तुरन्त भोग के लिए ही प्रयोग में लाना उचित है, इस कारण — ऐसा भाव।
Why wear it yourself right away? Because — the reasoning runs — a rare, precious thing once stolen should be enjoyed on the spot. A thief does not hoard his prize; he uses it immediately. So: flaunt the stolen lac now.
चुराई हुई दुर्लभ वस्तु को तुरन्त अपने ही उपभोग में लगा लेना उचित है — यही भाव है।
s19alternative
punar anena yāvaka-paṅkena sva-mauli-lagnenāsyāḥ pāda-dvayaṁ vibhūṣaya aparādha-kṣamāpanārthaṁ praṇama vā, sambhoga-mātrārthinīṁ tāṁ kāminīṁ saṁbhukṣva vā |
punar anena yāvaka-paṅkena sva-mauli-lagnenaagain, with this lac now stuck to your crown instr. of meansफिर अपने मुकुट में लगे हुए इस महावर से
asyāḥ pāda-dvayaṁ vibhūṣayaadorn her two feet acc. + imperative — option (a)इसके दोनों चरणों को सुशोभित करो — (विकल्प क)
aparādha-kṣamāpanārthaṁ praṇama vāOR bow to beg pardon for your offense acc. of purpose + imperative + vā — option (b)अथवा अपराध की क्षमा-याचना के लिए प्रणाम करो — (विकल्प ख)
sambhoga-mātrārthinīṁ tāṁ kāminīṁ saṁbhukṣva vāOR enjoy that passionate woman who wants only union acc. + imperative + vā — option (c)अथवा केवल संभोग की इच्छुक उस कामिनी का संभोग करो — (विकल्प ग)
punar anena sva-mauli-lagnena yāvaka-paṅkena asyāḥ pāda-dvayaṁ vibhūṣaya — with this lac now on your crown, re-adorn her feet; aparādha-kṣamāpana-arthaṁ praṇama vā — or bow to beg her pardon; tāṁ sambhoga-mātra-arthinīṁ kāminīṁ saṁbhukṣva vā — or enjoy that woman who longs only for union.
फिर अपने मुकुट में लगे इस महावर से — या तो (क) इसके दोनों चरणों को सुशोभित करो, या (ख) अपराध-क्षमा के लिए प्रणाम करो, या (ग) केवल संभोग चाहने वाली उस कामिनी का संभोग करो।
Then the second command, 'punar... vibhūṣaya,' opens into three suspended options, tied together by 'vā... vā' ('either... or'). With the lac now on your crown, either (a) re-adorn her feet with it; or (b) bow down to beg forgiveness for your offense; or (c) simply enjoy that passionate woman who wants nothing but union. Viśvanātha leaves all three standing; I do not choose among them.
फिर अपने मुकुट में लगे इस महावर से — इसके दोनों चरणों को सजा दो, या अपराध की क्षमा माँगते हुए प्रणाम कर लो, या फिर केवल संभोग चाहने वाली उस कामिनी का संभोग कर लो।
s20gloss
ubhayor eva mauli-pāda-śleṣa-sambhavād iti bhāvaḥ |
ubhayor evain both cases alike gen. dual + evaदोनों में ही (मुकुट और चरण, दोनों में)
mauli-pāda-śleṣa-sambhavādbecause a joining of crown and feet is possible either way — his crown can meet her feet abl. of reason; śleṣa here = 'contact, adhesion'मुकुट और चरण के श्लेष (परस्पर संपर्क/चिपकाव) के सम्भव होने के कारण
iti bhāvaḥ— that's the sense closes the paraphrase— ऐसा भाव है
ubhayor eva mauli-pāda-śleṣa-sambhavād iti bhāvaḥ — because in both the crown and the feet can come together; that's the sense.
दोनों में ही मुकुट और चरण का श्लेष (परस्पर संपर्क) सम्भव होने के कारण — ऐसा भाव।
Why do options (a) 're-adorn her feet' and (b) 'bow to her' both work with the crown-lac? Because either way his crown meets her feet — 'mauli-pāda-śleṣa,' the contact of crown and feet. To paint her feet he must bring his crown (with the lac) down to them; to bow, he lays his crowned head at her feet. Both bring crown and feet together, so the same lac-on-crown serves both.
दोनों ही (विकल्पों) में मुकुट और चरण का परस्पर संपर्क सम्भव है — यही भाव है।
śleṣa here carries its plain sense 'contact, joining' — the crown touching the feet. The very word famously also names verbal double-meaning, and this whole passage is itself a two-reading crux; here, though, it is the physical meeting that is meant.
यहाँ 'श्लेष' पद स्वयं द्वयर्थी है — भौतिक 'श्लेष' (मुकुट और चरण का चिपकना/संपर्क), और साथ ही अलंकार-शास्त्र का 'श्लेष' (एक ही वचन के दो अर्थ), जिस पर यह समूची व्याख्या टिकी है।
s21gloss
coritasya vastunaḥ kiñcit kāla-bhogena punas tat-svāmine svayaṁ pratyarpaṇena na bhogaḥ siddhyaty adharmaś ca tāvan na bhavatīti dhvanitam |
coritasya vastunaḥa stolen thing gen.चुराई हुई वस्तु का
kiñcit kāla-bhogenaby enjoying it a little while instr. of meansकुछ समय तक भोग कर लेने से
punas tat-svāmine svayaṁ pratyarpaṇenaand then handing it back yourself to its owner instr. of means; dat. tat-svāmine 'to its owner'फिर उसके स्वामी को स्वयं लौटा देने से
na bhogaḥ siddhyatyit does not stand as [wrongful] appropriation neg. + verbक्या भोग सिद्ध नहीं हो जाता? (हो ही जाता है)
adharmaś ca tāvan na bhavatiand so no wrong is incurred either ca joining; tāvat 'to that extent'और उतने में अधर्म भी नहीं होता
iti dhvanitam— this is what is suggested dhvani, not stated— ऐसा ध्वनित होता है (संकेत रूप में कहा गया)
coritasya vastunaḥ kiñcit-kāla-bhogena punaḥ tat-svāmine svayaṁ pratyarpaṇena na bhogaḥ siddhyati, adharmaḥ ca tāvat na bhavati iti dhvanitam — enjoy a stolen thing briefly, then return it yourself to its owner, and it never amounts to [wrongful] appropriation, and no wrong follows; so it is suggested.
चुराई हुई वस्तु को कुछ समय भोग लेने और फिर उसके स्वामी को स्वयं लौटा देने से — क्या भोग सिद्ध नहीं हो जाता, और उतने में अधर्म भी नहीं होता — ऐसा ध्वनित है।
A quiet suggestion (dhvani) underneath: if you enjoy a stolen thing only briefly and then personally return it to its owner, it never amounts to real theft, and so no wrong is done. Applied here: enjoy the lac (and the woman) for a moment, then give the lac back to her feet — no sin. The taunt cloaks itself in a show of propriety.
चुराई वस्तु को थोड़ी देर भोगकर फिर उसके स्वामी को स्वयं लौटा देने से भोग भी सिद्ध हो जाता है और उतने में अधर्म भी नहीं लगता — यह बात ध्वनि से कही गई है।
reading 'na bhogaḥ siddhyati' as 'it does not become a completed, wrongful appropriation' — because the object is returned it is not real theft, hence 'adharmaḥ... na bhavati,' no sin results.
s22gloss
atra punaḥ-śabda-balād bhūṣayety asyāvṛttir nānupapannā |
atrahere loc.यहाँ
punaḥ-śabda-balādon the strength of the word 'punar' ('again') abl. of reason'पुनः' शब्द के बल से
bhūṣayety asyāvṛttirsupplying the verb 'bhūṣaya' a second time nom.; āvṛtti 'repetition''भूषय' (सुशोभित करो) इस (क्रिया) की आवृत्ति (दोहराव)
nānupapannāis quite legitimate, no fault na + an-upapannāअसंगत नहीं है
atra punaḥ-śabda-balād 'bhūṣaya' iti asya āvṛttiḥ na anupapannā — here the word 'punar' licenses repeating the verb 'bhūṣaya,' so supplying it twice is perfectly proper.
यहाँ 'पुनः' शब्द के बल से 'भूषय' (सुशोभित करो) इस क्रिया की आवृत्ति असंगत नहीं है।
One more grammatical point on the alternative reading, which needs 'vibhūṣaya' twice — once 'make an ornament of it,' once 'adorn her feet.' Is that allowed? Yes: the word 'punar' ('again') itself licenses repeating the verb. So carrying 'bhūṣaya' over into the second clause is no fault.
यहाँ 'पुनः' शब्द के कारण 'भूषय' क्रिया का दोहराया जाना अनुचित नहीं है।
s23avataranika
aneneti |
anenetion the word 'anena'— iti citing the lemma (pratīka)'अनेन' — इस पद को (उठाकर)
aneneti — [now, on] the word 'anena.'
'अनेन' — इस पद को लेकर (अब जीव गोस्वामी का मत उद्धृत करते हैं) —
Viśvanātha returns to the crux-word 'anena,' quoting the lemma to introduce Śrī Jīva's own resolution, which he now gives word for word.
'अनेन' — यह पद (उठाकर, अब जीव गोस्वामी-चरण का मत उद्धृत करते हैं)।
this pratīka is identical to Jīva's own opening sentence; Viśvanātha is about to quote him verbatim.
s24citation
yāvaka-paṅkam aṅgulyā nirdiśyate, na tu samāsena guṇībhūtaṁ tad ākṛṣyate tasmād abhavan mata-yoga-nāmā doṣo nāśaṅkanīya iti śrī-jīva-gosvāmi-caraṇāḥ ||
yāvaka-paṅkam aṅgulyā nirdiśyatethe lac-paste is pointed at by the finger — indicated by ostension acc. + instr. of meansयावक-पंक (महावर) को उँगली के संकेत से निर्दिष्ट किया जाता है
na tu samāsena guṇībhūtaṁ tad ākṛṣyatenot that the subordinate compound-word is dragged out tu marks the contrastपरन्तु समास में गौण बने उस पद को नहीं खींचा जाता
tasmād abhavan mata-yoga-nāmā doṣo nāśaṅkanīyaso the fault named 'abhavan-mata-yoga' need not be feared abl. + gerundiveइसलिए 'अभवन्मतयोग' नामक दोष की आशंका नहीं करनी चाहिए
iti śrī-jīva-gosvāmi-caraṇāḥ— so [teach] the revered feet of Śrī Jīva Gosvāmī nom. honorific plural (caraṇāḥ, 'the venerable one')— ऐसा श्री जीव गोस्वामी-चरण (कहते हैं)
yāvaka-paṅkam aṅgulyā nirdiśyate, na tu samāsena guṇībhūtaṁ tad ākṛṣyate, tasmād abhavan-mata-yoga-nāmā doṣaḥ na āśaṅkanīyaḥ iti śrī-jīva-gosvāmi-caraṇāḥ — 'the lac is pointed at by the finger, not dragged out of the compound as a subordinate, so the abhavan-mata-yoga fault need not be feared' — thus Śrī Jīva Gosvāmī.
'यावक-पंक को उँगली के संकेत से दिखाया जाता है, समास में गौण बने उस पद को नहीं खींचा जाता; इसलिए अभवन्मतयोग दोष की आशंका नहीं करनी चाहिए' — ऐसा श्री जीव गोस्वामी-चरण (कहते हैं)।
Viśvanātha closes by quoting Jīva Gosvāmī word for word: 'anena' points at the lac by the finger, deictically — it does not drag the subordinate word out of the compound; therefore the 'abhavan-mata-yoga' fault need not be feared at all. Having raised the objection and floated the alternative reading, Viśvanātha lets Jīva's ostension-answer stand as the resolution.
'महावर को उँगली से इशारा करके दिखाया जाता है, समास में गौण पड़े उस पद को नहीं खींचा जाता; इसलिए अभवन्मतयोग नामक दोष की आशंका न करें' — ऐसा श्री जीव गोस्वामी-चरण का वचन है।
Why cited: Jīva's dictum is adduced to dissolve the 'abhavan-mata-yoga' fault on the primary reading — 'anena' refers by pointing, not by pulling a word out of the compound — so the alternative construal of s16–s22 is not, after all, forced.
क्यों उद्धृत: विश्वनाथ अपनी व्याख्या के समर्थन में जीव गोस्वामी का यही सिद्धान्त उद्धृत करते हैं — 'अनेन' उँगली-संकेत से महावर को दिखाता है, समास के गौण पद को नहीं खींचता, अतः यहाँ कोई दोष नहीं।
this verbatim quotation is why the source segment matches Jīva's earlier comment (his second through fourth sentences); it also fixes the reading of Jīva's second sentence as 'aṅgulyā' ('by the finger'), confirming that 'maṅgalyā' there is a scribal slip.