L1conclusion
sarva eva rasotkarṣo madhyāyām eva yujyate |
yad asyāṁ vartate vyaktā maugdhya-prāgalbhyayor yutiḥ ||
sarva evaevery last bit of — the whole sarvaḥ (nom.) + eva emphasizing sarva: nothing left outसमस्त ही (कुछ भी शेष नहीं)
rasa-utkarṣaḥthe heightening of rasa (rasa = the devotional mood; utkarṣa = its rise to full pitch)रस का उत्कर्ष (चरम ऊँचाई)
madhyāyām evafits only in the madhyā (the middle-grade heroine) — eva: in her and nowhere else locative madhyāyām 'in the madhyā' + restrictive evaमध्या (नायिका) में ही
yujyateapplies, is what fitsठीक बैठता है / घटित होता है
yadbecause — here is the reason causal yad introducing the groundsक्योंकि
asyāmin her (in the madhyā)इसी (मध्या) में
vartatethere is present, there sitsविद्यमान रहती है
vyaktāplainly showing, out in the open fem. nom., agreeing with yutiḥव्यक्त (प्रकट रूप से)
maugdhya-prāgalbhyayoḥof naïveté and of boldness — the two together genitive dual: the pair whose joining is meantमुग्धता और प्रगल्भता — इन दोनों की
yutiḥa joining, a blend of the twoयुति (मेल)
sarvaḥ eva rasa-utkarṣaḥ — every last bit of the heightening of rasa; madhyāyām eva yujyate — fits only in the madhyā; yad — because; asyām — in her; maugdhya-prāgalbhyayoḥ vyaktā yutiḥ — a plainly-showing blend of naïveté and boldness; vartate — is present.
समस्त ही रस का उत्कर्ष मध्या (नायिका) में ही ठीक बैठता है; क्योंकि इसी में मुग्धता और प्रगल्भता — इन दोनों की व्यक्त (प्रकट) युति विद्यमान रहती है।
Every last bit of rasa at its full pitch fits only in the madhyā, the middle-grade heroine. Why only in her? Because in her, out in the open, sits a blend of naïveté and boldness. The other two types each have just one of these; she holds both at once, and that is why rasa rises highest in her.
रस की सारी ऊँचाई केवल मध्या नायिका में ही ठीक बैठती है। कारण यह है कि उसी में मुग्धता (भोलापन) और प्रगल्भता (प्रौढ़ता) — दोनों का प्रकट मेल पाया जाता है। इसी मेल के कारण रस अपने पूरे उत्कर्ष तक पहुँचता है।
maugdhya is the quality of the mugdhā (the naïve, innocent heroine) and prāgalbhya the quality of the pragalbhā (the bold, assured heroine) — the two flanking nāyikā types of this prakaraṇa. The madhyā stands between them and carries a visible mix of both, which is the point the verse turns on.