L1other
udañcad-vaiyātyāṁ pṛthu-nakha-padākīrṇa-mithunāṁ
udañcad-vaiyātyāma love-play in which boldness surges up on its own — impudence rising unbidden acc. fem., one of six adjectives all agreeing with anaṅga-krīḍām; udañcat 'rising', vaiyātya 'boldness'जिसमें (प्रेमियों की) धृष्टता उमड़ती रहती है
pṛthu-nakha-pada-ākīrṇa-mithunāmin which the couple is covered all over with big nail-marks nakha-pada 'nail-scratch mark'; ākīrṇa 'strewn'; mithuna 'the pair, the two lovers'जिसमें दोनों प्रेमी बड़े-बड़े नखचिह्नों से व्याप्त हो जाते हैं
udañcad-vaiyātyām — where boldness rises unbidden; pṛthu-nakha-pada-ākīrṇa-mithunām — where the couple is strewn with big nail-marks.
जिसमें (प्रेमियों की) धृष्टता उमड़ती रहती है और जहाँ युगल बड़े-बड़े नखचिह्नों से भर जाता है — (ऐसी अनंग-क्रीड़ा को)।
The verse now piles up the marks of that love-play. It is one where the lovers' boldness surges up all by itself. And it is one where the pair — both of them — are covered head to foot with the big scratch-marks of nails.
यह वह अनंग-क्रीड़ा है जिसमें प्रेमियों की धृष्टता उमड़ आती है। इसमें दोनों प्रेमियों के अंग गहरे नखचिह्नों से भर जाते हैं।
This is a 'yathā' illustration verse: Rūpa composes it to display the uru-ratotsukā, the heroine eager for abundant love-making. The six adjectives across L1–L3 all describe the one anaṅga-krīḍā (love-play) her mind seeks.
L3other
mamānaṅga-krīḍāṁ sakhi valaya-riktī-kṛta-karāṁ
mamamy — belonging to me gen., goes with manas in L4मेरा (जो आगे 'मन' से जुड़ता है)
anaṅga-krīḍāmthe love-play — the sport of Kāma, the god of love (anaṅga, 'the bodiless one') acc. fem., the object of mṛgayate in L4अनंग-क्रीड़ा (काम-क्रीड़ा) को
sakhiO friend — she is confiding in a girlfriend vocativeहे सखी!
valaya-riktī-kṛta-karāmin which the hands are left empty of bangles — the bangles slipping right off valaya 'bangle'; riktī-kṛta 'made empty'; kara 'hand'जिसमें हाथ चूड़ियों से रहित हो जाते हैं
mama — my; anaṅga-krīḍām — the love-play; sakhi — O friend; valaya-riktī-kṛta-karām — in which the hands are stripped bare of their bangles.
हे सखी! (मेरे मन की) उस अनंग-क्रीड़ा को — जिसमें हाथ चूड़ियों से रीते (खाली) हो जाते हैं —।
Now she names the thing itself: 'my love-play,' the sport of Kāma — and she says it to a girlfriend, 'O friend.' One more mark of it: a play in which the hands are left empty of bangles, the bangles slipping clean off in the heat of it.
हे सखी! यह मेरे मन की अनंग-क्रीड़ा है। इसमें हाथों की चूड़ियाँ उतर जाती हैं, हाथ खाली रह जाते हैं।
L4other
manas tām evoccair maṇita-ramaṇīyāṁ mṛgayate
manasthe mind — [my] mind is what does the seeking nom., subject; with mama from L3 = 'my mind'(मेरा) मन
tām evathat very one — that love-play and no other acc. fem. picking up anaṅga-krīḍām; eva 'precisely, that one'उसी (अनंग-क्रीड़ा) को ही
uccaiḥintensely, with all its force adverb; Viśvanātha (s7) glosses it as sadā, 'always'अत्यन्त प्रबलता से
maṇita-ramaṇīyāmmade delightful by the cooing sounds of love-making maṇita 'the moans/sounds of love' (glossed in the commentaries); ramaṇīya 'charming'जो प्रणय-कूजन (मणित) से मनोहर है
mṛgayatehunts for, keeps searching out 3rd sg. ātmanepada, root mṛg 'to hunt'खोजता रहता है
mama manas — my mind; tām eva anaṅga-krīḍām — that very love-play; maṇita-ramaṇīyām — delightful with its love-sounds; uccaiḥ mṛgayate — intensely keeps hunting for it.
मेरा मन उसी अनंग-क्रीड़ा को — जो प्रणय-कूजन से मनोहर है — अत्यन्त प्रबलता से खोजता रहता है।
Here is the main sentence the adjectives were all waiting for: 'My mind keeps hunting, with all its force, for that very love-play' — the one made delightful by the cooing sounds of love. Everything from L1 on describes this one anaṅga-krīḍā that her mind cannot stop searching out.
मेरा मन उसी अनंग-क्रीड़ा को खोजता रहता है। वह क्रीड़ा प्रणय के कूजन से मनोहर है। मन उसे बड़ी प्रबलता से ढूँढ़ता है।
Commentary — decoded
Jīva Gosvāmī
s1gloss
vaiyātyaṁ dhārṣṭyam |
vaiyātyamthe word 'vaiyātya' [in the verse] the lemma being glossed'वैयात्य' शब्द का (अर्थ)
dhārṣṭyammeans boldness, brazenness the gloss; both are abstract nouns 'the quality of being bold'धृष्टता है
vaiyātyam — 'vaiyātya'; dhārṣṭyam — means boldness.
'वैयात्य' का अर्थ धृष्टता है।
Jīva glosses the verse's word 'vaiyātya': it means dhārṣṭya, boldness or brazenness.
'वैयात्य' शब्द का अर्थ है धृष्टता।
s2gloss
antaḥsthayamadhya-padam |
antaḥstha-ya-madhya-padamit is the word [viyāta] that has the semivowel 'ya' in its middle antaḥstha = the semivowel class (ya, ra, la, va); madhya-pada 'the medial syllable'; points to which synonym vaiyātya is built fromजिस शब्द का मध्यवर्ती अक्षर अन्तःस्थ (य-वर्ग का) 'य' है
antaḥstha-ya-madhya-padam — the word with the semivowel 'ya' in the middle.
(वैयात्य जिस 'वियात' शब्द से बना है, उसका) मध्यवर्ती अक्षर अन्तःस्थ 'य' है।
A spelling note. Among the synonyms for 'bold' that the dictionary will give in a moment, the one that yields 'vaiyātya' is 'viyāta' — the word that has the semivowel 'ya' in its middle. That is why the verse's word is vaiyātya and not something built from the other synonyms.
'वैयात्य' जिस मूल शब्द से बना है, उसके बीच में अन्तःस्थ वर्ण 'य' आता है। (अर्थात् वियात, न कि विआत।)
antaḥstha ('inner-standing') is the Sanskrit grammarians' name for the semivowels ya, ra, la, va. The remark isolates viyāta (which carries the medial 'ya') from the two other synonyms about to be quoted.
s3citation
dhṛṣṭo dhṛṣṇag viyātaś ca ity amaraḥ |
dhṛṣṭaḥ dhṛṣṇak viyātaḥ ca'dhṛṣṭa, dhṛṣṇak, and viyāta' — three names for the bold, brazen one the quoted list; ca 'and' closing the set of synonymsधृष्ट, धृष्णक् और वियात (ये पर्याय हैं)
iti amaraḥso says the Amara[-kośa], the dictionary iti closes the quotation; amaraḥ = Amarasiṁha's lexicon, cited by its author's nameऐसा अमरकोश (अमरसिंह के कोश) में (कहा है)
dhṛṣṭaḥ dhṛṣṇak viyātaḥ ca — 'dhṛṣṭa, dhṛṣṇak, viyāta'; iti amaraḥ — so the Amara-kośa.
'धृष्ट, धृष्णक् और वियात' — ऐसा अमरकोश में (कहा गया है)।
Jīva backs the gloss with the dictionary. The Amara-kośa lists three words for 'bold': dhṛṣṭa, dhṛṣṇak, and viyāta. The third, viyāta, is the one behind the verse's vaiyātya.
अमरकोश में इनके पर्याय दिए हैं — धृष्ट, धृष्णक् और वियात।
Why cited: The Amara-kośa line is adduced as lexical proof that vaiyātya means dhārṣṭya (boldness) — and that viyāta, the medial-'ya' synonym flagged in s2, is a recognized word for 'bold.'
क्यों उद्धृत: अमरकोश से 'वियात' को धृष्ट का पर्याय सिद्ध करने के लिए, जिससे उससे 'वैयात्य' की व्युत्पत्ति ठहरे।
s4gloss
maṇitaṁ rati-kūjitam ||
maṇitamthe word 'maṇita' [in the verse] the lemma being glossed'मणित' शब्द का (अर्थ)
rati-kūjitammeans the cooing, moaning sounds of love-making rati 'love-making'; kūjita 'cooing, murmuring sound'रति के समय की कूजन-ध्वनि है
maṇitam — 'maṇita'; rati-kūjitam — means the love-sounds, the cooing of love-making.
'मणित' का अर्थ रति-कालीन कूजन (प्रणय-ध्वनि) है।
Jīva glosses 'maṇita': it is the cooing, murmuring sounds made during love-making. So 'maṇita-ramaṇīyā' in the verse means the play made lovely by those sounds.
'मणित' शब्द का अर्थ है रति के समय की कूजन-ध्वनि।
Viśvanātha Cakravartī
s1avataranika
uru-rate utsuketi |
uru-rate utsukā iti[the verse] on the woman 'eager for abundant love-making' — the uru-ratotsukā naming the illustration by the type it exemplifies; uru-rati 'much love-making', utsukā 'eager''प्रचुर रति में उत्सुक (नायिका)' — इस (भेद के लिए)
uru-rate utsukā iti — [the verse] 'eager for abundant love.'
'प्रचुर रति में उत्सुक नायिका' — इस (भेद के उदाहरणस्वरूप यह श्लोक है)।
Viśvanātha names the verse by its heroine-type: the uru-ratotsukā, the woman who is eager for abundant love-making.
यह श्लोक 'प्रचुर रति में उत्सुक नायिका' नामक भेद का उदाहरण है।
s2other
samarthā-rati-matīnāṁ gopīnām āsāṁ ratautsukyādikam api sarvaṁ kṛṣṇa-sukhārtham eva phalatīty upariṣṭād vyākhyāsyāmaḥ |
samarthā-rati-matīnām āsāṁ gopīnāmthese gopīs, who possess samarthā-rati (the highest, self-sufficient love) gen. pl.; -matī 'possessing'; samarthā-rati is a technical grade of gopī-loveसमर्था-रति वाली इन गोपियों का
rati-autsukya-ādikam api sarvameven all of their eagerness for love-making and the rest api 'even'; sarvam 'the whole of it'; -ādi 'and so on'रति की उत्सुकता आदि सब कुछ भी
kṛṣṇa-sukha-artham eva phalatibears fruit for Kṛṣṇa's happiness alone -artham 'for the sake of'; eva 'alone, and nothing else'; phalati 'results in, ripens toward'केवल कृष्ण के सुख के लिए ही फलित होता है
iti upariṣṭāt vyākhyāsyāmaḥthis we shall explain further on upariṣṭāt 'later, above [in the text]'; vyākhyāsyāmaḥ 'we will expound'ऐसा हम आगे (के प्रकरण में) विस्तार से बताएँगे
samarthā-rati-matīnām āsāṁ gopīnām — of these gopīs who hold samarthā-rati; rati-autsukya-ādikam api sarvam — even all their eagerness for love and the rest; kṛṣṇa-sukha-artham eva phalati — ripens for Kṛṣṇa's joy alone; iti upariṣṭāt vyākhyāsyāmaḥ — this we shall explain later.
समर्था-रति वाली इन गोपियों की रति-उत्सुकता आदि सब कुछ भी केवल कृष्ण के सुख के लिए ही फलित होता है — ऐसा हम आगे बताएँगे।
Before glossing, Viśvanātha heads off a doubt. These gopīs hold the highest kind of love, samarthā-rati. So even all this eagerness for love-making — everything the verse is about — finally bears fruit for one thing only: Kṛṣṇa's happiness, not their own pleasure. He notes he will make this case in full later on.
इन गोपियों की रति समर्था-रति है। इनकी रति की उत्सुकता आदि सब कुछ केवल कृष्ण के सुख के लिए ही फलित होता है। यह बात हम आगे विस्तार से कहेंगे।
samarthā-rati is the topmost of the three grades of gopī-love (sādhāraṇī, samañjasā, samarthā): the self-sufficient love that exists purely for Kṛṣṇa's pleasure, so that even the heroine's own amorous longing counts, at bottom, as service to him.
s3definition
pūrva-granthe ca kāma-rūpāyā eva sambhogecchāmayī tat-tad-bhāvecchātmeti dvaivdihym uktaṁ draṣṭavyam |
pūrva-granthe caand in the earlier part of the text loc.; ca links this to the point just made; pūrva-grantha 'the preceding section'और पूर्व-ग्रन्थ (पिछले प्रकरण) में
kāma-rūpāyāḥ evaof the kāma-rūpā love alone (love in the form of amorous desire) gen. sg. fem.; eva restricts it to this one kind of loveकाम-रूपा (भक्ति) की ही
sambhoga-icchā-mayī[one kind] made of the desire for union the first of the two; -mayī 'consisting of'; sambhoga 'amorous union'एक — सम्भोग की इच्छा से युक्त
tat-tad-bhāva-icchā-ātmā iti[the other] whose essence is the desire for the various moods [of love] the second; tat-tad-bhāva 'this-and-that feeling'; -ātmā 'having as its nature'दूसरी — उन-उन भावों की इच्छा को स्वरूप रखने वाली, इस प्रकार
dvaividhyam uktaṁ draṣṭavyama twofoldness was stated — it should be looked up there dvaividhya 'being of two kinds'; draṣṭavyam 'is to be seen [in that passage]'दो प्रकार का (भेद) कहा गया है — यह देखना चाहिए
pūrva-granthe ca — and in the earlier text; kāma-rūpāyāḥ eva — of kāma-rūpā love alone; sambhoga-icchā-mayī / tat-tad-bhāva-icchā-ātmā iti — 'made of union-desire' / 'made of mood-desire'; dvaividhyam uktam draṣṭavyam — a twofoldness was stated, to be seen there.
और पूर्व-ग्रन्थ में काम-रूपा (भक्ति) का ही — एक सम्भोग की इच्छा से युक्त, दूसरी उन-उन भावों की इच्छा को स्वरूप रखने वाली — इस प्रकार दो प्रकार का भेद कहा गया है; यह वहाँ देख लेना चाहिए।
He points back to the earlier part of the book. There, this kāma-rūpā love — love in the form of amorous desire — was already divided in two: one kind made of the desire for union (sambhoga), and one kind whose very essence is the desire for the various moods and feelings of love. He tells the reader to go look that passage up.
पिछले प्रकरण में काम-रूपा भक्ति के दो भेद बताए गए हैं। एक सम्भोग की इच्छा से युक्त है। दूसरी उन-उन भावों की इच्छा को अपना स्वरूप रखती है। यह वहाँ देख लेना चाहिए।
kāma-rūpā ('having the form of kāma') is the gopīs' amorous love for Kṛṣṇa, as against the aiśvarya-tinged love of a wedded consort. Its two subtypes named here — union-desiring and mood-desiring — set up the parallel in s4–s5.
s4other
yathaivānugānāṁ dhārmikatvādhārmikatvābhyāṁ dṛṣṭābhyāṁ tad-draṣṭū rājño’pi dhārmikatvādhārmikatve’vasīyete |
yathā eva anugānāmexactly as, from the followers / subjects yathā eva opens the analogy; anuga 'one who follows, a subject'; gen. pl.जैसे अनुगामियों (प्रजाजनों) की
dhārmikatva-adhārmikatvābhyāṁ dṛṣṭābhyāmby their observed righteousness and unrighteousness instr. dual 'by the two, [namely] their dharma and adharma, once these are seen'; dṛṣṭa 'observed'धार्मिकता और अधार्मिकता — इन दोनों के देखे जाने पर, उन्हीं के द्वारा
tad-draṣṭuḥ rājñaḥ apiof the king who watches over them, too gen.; tad-draṣṭṛ 'the overseer of them'; api 'as well'उन्हें देखने वाले राजा की भी
dhārmikatva-adhārmikatve avasīyetehis righteousness and unrighteousness are inferred nom. dual subject; avasīyete 'the two are concluded, made out' (passive)धार्मिकता और अधार्मिकता — दोनों निश्चित कर ली जाती हैं
yathā eva anugānām — just as, from subjects; dhārmikatva-adhārmikatvābhyāṁ dṛṣṭābhyām — by their observed dharma and adharma; tad-draṣṭuḥ rājñaḥ api — of the king who oversees them too; dhārmikatva-adhārmikatve avasīyete — his dharma and adharma are inferred.
जैसे प्रजाजनों की देखी हुई धार्मिकता और अधार्मिकता के द्वारा, उन्हें देखने वाले राजा की भी धार्मिकता और अधार्मिकता का निश्चय हो जाता है।
Now an analogy. Just as, from the observed good or bad conduct of the subjects, you infer the good or bad character of the king who rules over them — the king is the subjects; the observed dharma/adharma of the subjects is the evidence; and what you infer from it is the ruler's own quality. The point of the comparison: a feature of the followers reveals a matching feature in the one they follow.
जैसे प्रजाजनों की धार्मिकता और अधार्मिकता देखी जाती है। उन्हीं के आधार पर उनके शासक राजा की भी धार्मिकता या अधार्मिकता निश्चित कर ली जाती है।
A dṛṣṭānta (illustrative comparison). It carries only the inference-pattern — 'the followers' twofoldness reveals a twofoldness in the one they follow' (applied in s5) — not the moral content of dharma/adharma; the ethical example is just the vehicle.
s5conclusion
evaṁ kāmānugāyā dvaividhya-darśanāt kāma-rūpāyā api dvaividhyam iti |
evamin the same way [as the analogy just given] carries the dṛṣṭānta over to the case at handइसी प्रकार
kāma-anugāyāḥ dvaividhya-darśanātbecause the kāmānugā [devotion] is seen to be twofold abl. of reason 'from seeing the twofoldness of'; kāmānugā = the sādhaka's devotion that follows the gopīs' amorous moodकाम-अनुगा (भक्ति) का दो प्रकार का होना देखे जाने के कारण
kāma-rūpāyāḥ api dvaividhyam itithe kāma-rūpā [love] too is twofold api 'too'; the conclusion drawn; iti closes itकाम-रूपा (भक्ति) का भी दो प्रकार का होना (सिद्ध होता है), इस प्रकार
evam — likewise; kāma-anugāyāḥ dvaividhya-darśanāt — because the kāmānugā devotion is seen to be twofold; kāma-rūpāyāḥ api dvaividhyam iti — the kāma-rūpā love too is twofold.
इसी प्रकार, काम-अनुगा (भक्ति) का दो प्रकार का होना देखने से, काम-रूपा (भक्ति) का भी दो प्रकार का होना सिद्ध हो जाता है।
He applies the analogy. The followers here are the kāmānugā devotees — those who worship in the amorous mood of the gopīs — and their devotion is plainly of two kinds. So, just as subjects reveal the king, the two-kindedness of the followers' devotion shows that the model itself, the gopīs' kāma-rūpā love, is likewise of two kinds. This grounds the division stated in s3.
इसी दृष्टान्त के अनुसार काम-अनुगा भक्ति का दो प्रकार का होना देखा जाता है। इसी से काम-रूपा भक्ति का भी दो प्रकार का होना सिद्ध हो जाता है।
kāmānugā bhakti is the sādhaka's practice done in the gopīs' amorous mood; Rūpa divides it into the union-desiring (sambhogecchāmayī) and mood-desiring (tat-tad-bhāvecchātmikā) kinds — the same pair that s3 assigns to kāma-rūpā rati itself.
s6reply
ato’syā nāyikātvāt tādṛśa-sambhogābhilāṣaḥ sva-kānta-tṛpti-prayojanako nānupapanna iti |
ataḥ asyāḥ nāyikātvāttherefore, since she is a nāyikā (a heroine of love) ataḥ 'so'; abl. of reason 'because of her being a heroine'अतः इसके नायिका होने के कारण
tādṛśa-sambhoga-abhilāṣaḥher longing for such union nom., the subject; tādṛśa 'of that sort'; abhilāṣa 'yearning'वैसे सम्भोग की अभिलाषा
sva-kānta-tṛpti-prayojanakaḥhaving as its purpose the satisfying of her own beloved sva-kānta 'her own lover [Kṛṣṇa]'; tṛpti 'satisfaction'; -prayojanaka 'aimed at, having for its object'अपने प्रियतम (कृष्ण) की तृप्ति को प्रयोजन रखने वाली
na anupapannaḥ itiis not out of place, not improper na + anupapanna 'not unfitting'; iti closes the pointअनुपपन्न (अयुक्त) नहीं है — इस प्रकार (सिद्ध होता है)
ataḥ asyāḥ nāyikātvāt — so, because she is a heroine; tādṛśa-sambhoga-abhilāṣaḥ — her longing for such union; sva-kānta-tṛpti-prayojanakaḥ — being aimed at her own lover's satisfaction; na anupapannaḥ iti — is not improper.
अतः इसके नायिका होने के कारण, अपने प्रियतम की तृप्ति को प्रयोजन बनाने वाली वैसी सम्भोग-अभिलाषा अनुपपन्न (अयुक्त) नहीं है।
Now the payoff, answering the worry that such open sexual eagerness is a fault. Since she is a nāyikā — a heroine whose very role is amorous love — her longing for that kind of union is only natural. And its aim is her own beloved's satisfaction, Kṛṣṇa's pleasure, not her own gratification. So there is nothing improper in it at all.
इसलिए वह नायिका है। अपने प्रियतम कृष्ण की तृप्ति के लिए उठने वाली उसकी वैसी सम्भोग-अभिलाषा अयुक्त नहीं है।
s7gloss
maṅgalā prāṇa-sakhīṁ rahasy āha—mama manas tām eva naktantanīm anaṅga-krīḍāṁ sadā mṛgayate |
maṅgalā prāṇa-sakhīṁ rahasi āhathe gopī Maṅgalā says, in private, to her dearest friend maṅgalā the speaker's name; prāṇa-sakhī 'a friend dear as life'; rahasi 'in a secret place'; āha 'she says'मंगला एकान्त में अपनी प्राण-सखी से कहती है
mama manaḥmy mind glossing the verse's mama + manasमेरा मन
tām eva naktantanīm anaṅga-krīḍāmthat very nightly love-play naktantanī 'of the night, nightly' — Viśvanātha's added detail; glossing tām eva anaṅga-krīḍāmउसी रात्रिकालीन अनंग-क्रीड़ा को
sadā mṛgayatealways keeps searching for it sadā 'always' glosses the verse's uccaiḥ; mṛgayate 'hunts for'सदा खोजता रहता है
maṅgalā prāṇa-sakhīṁ rahasi āha — Maṅgalā tells her dearest friend, in private; mama manaḥ — my mind; tām eva naktantanīm anaṅga-krīḍām — that very nightly love-play; sadā mṛgayate — always keeps hunting for it.
मंगला एकान्त में अपनी प्राण-सखी से कहती है — मेरा मन उसी रात्रिकालीन अनंग-क्रीड़ा को सदा खोजता रहता है।
Viśvanātha sets the scene and gives the plain sense of the main clause. The speaker is the gopī Maṅgalā, confiding in private to her dearest friend: 'My mind is always hunting for that very love-play — the one we had that night.' He reads the verse's 'uccaiḥ' (intensely) as 'sadā' (always), and adds that the play was a nightly one.
मंगला एकान्त में अपनी प्राण-सखी से कहती है। मेरा मन उसी रात्रिकालीन अनंग-क्रीड़ा को सदा खोजता रहता है।
s8gloss
udañcat svayam evodgacchad-vaiyātyaṁ nāyakayor dhārṣṭyaṁ yasyām ity udgamane dhārṣṭyasya svātantryam uktvā puruṣāyitatve’pi svasya doṣaḥ parihṛtaḥ |
udañcat svayam eva udgacchat'udañcat' means rising up of its own accord glossing the verse's udañcat; svayam eva 'all by itself'; udgacchat 'surging up''उदञ्चत्' अर्थात् स्वयं ही उमड़ता हुआ
vaiyātyaṁ nāyakayoḥ dhārṣṭyaṁ yasyām iti'vaiyātya' being the boldness of the two lovers — 'the play in which that [boldness] is' nāyakayoḥ gen. dual 'of the [two] lovers'; yasyām 'in which [play]' resolves the bahuvrīhiवैयात्य अर्थात् दोनों नायक-नायिका की धृष्टता जिस (क्रीड़ा) में हो — इस प्रकार
udgamane dhārṣṭyasya svātantryam uktvāhaving said, by the word 'rising,' that the boldness was spontaneous loc. udgamane 'in [the word] rising'; svātantrya 'independence, self-arising'; uktvā 'having stated''उमड़ने' में धृष्टता की स्वतन्त्रता (स्वयं उठना) कहकर
puruṣāyitatve api svasya doṣaḥ parihṛtaḥthe fault on her own part, even in taking the man's active role, is warded off loc. puruṣāyitatve 'in her playing the dominant, male part'; api 'even'; parihṛta 'removed, averted'पुरुषायित (नायिका के प्रधान/पुरुष-भूमिका निभाने) में भी अपना दोष टाल दिया गया है
udañcat svayam eva udgacchat — 'udañcat' = surging up on its own; vaiyātyaṁ nāyakayoḥ dhārṣṭyaṁ yasyām iti — the play in which the two lovers' boldness is present; udgamane dhārṣṭyasya svātantryam uktvā — having, by 'rising,' called that boldness spontaneous; puruṣāyitatve api svasya doṣaḥ parihṛtaḥ — the fault on her side, even in her active role, is averted.
'उदञ्चत्' अर्थात् स्वयं ही उमड़ता हुआ; 'वैयात्य' अर्थात् जिस (क्रीड़ा) में दोनों नायक-नायिका की धृष्टता हो — इस प्रकार 'उमड़ने' में धृष्टता की स्वतन्त्रता कहकर, पुरुषायित में भी अपना दोष टाल दिया गया है।
Viśvanātha glosses 'udañcad-vaiyātyām' and draws a fine point from it. 'udañcat' means the boldness rose up all on its own; 'vaiyātya' is the brazenness of the two lovers together; so the compound means 'the play in which that boldness is present.' Now the payoff: by calling the boldness spontaneous — it just rose up, it was not deliberately worked up — he clears her of any fault, even though she took the dominant, male-active part in the love-play. Since her boldness came unbidden, no immodesty is charged against her.
'उदञ्चत्' का अर्थ है — स्वयं ही उमड़ता हुआ। 'वैयात्य' का अर्थ है — जिस क्रीड़ा में दोनों नायक-नायिका की धृष्टता हो। इस प्रकार धृष्टता के स्वयं उठने की बात कहकर, नायिका के पुरुष-भूमिका निभाने में भी उसका दोष टाल दिया गया है।
puruṣāyita is the woman taking the active, dominant role in love-making (the 'acting-the-man' or viparīta posture). The concern is that such initiative looks immodest in a heroine; Viśvanātha answers that because her boldness arose spontaneously (svātantrya), no fault sticks to her.
s9citation
dhṛṣṭo dhṛṣṇag viyātaś ca ity amaraḥ |
dhṛṣṭaḥ dhṛṣṇak viyātaḥ ca'dhṛṣṭa, dhṛṣṇak, and viyāta' — three words for the bold one the quoted synonym-list; ca 'and' closing the setधृष्ट, धृष्णक् और वियात (ये पर्याय हैं)
iti amaraḥso says the Amara[-kośa] iti closes the quote; amaraḥ = the lexicon, named by its authorऐसा अमरकोश (अपने रचयिता के नाम से उद्धृत) में (कहा है)
dhṛṣṭaḥ dhṛṣṇak viyātaḥ ca — 'dhṛṣṭa, dhṛṣṇak, viyāta'; iti amaraḥ — so the Amara-kośa.
'धृष्ट, धृष्णक् और वियात' — ऐसा अमरकोश में (कहा गया है)।
Like Jīva, Viśvanātha quotes the Amara-kośa: the three words for 'bold' are dhṛṣṭa, dhṛṣṇak, and viyāta — establishing that vaiyātya means boldness.
अमरकोश में इनके पर्याय दिए हैं — धृष्ट, धृष्णक् और वियात।
Why cited: The Amara-kośa line is adduced as dictionary proof that vaiyātya (from viyāta) means boldness — the same lexical warrant Jīva gave at s3.
क्यों उद्धृत: अमरकोश से 'वियात' को धृष्ट का पर्याय ठहराने के लिए, जिससे उससे 'वैयात्य' की व्युत्पत्ति सिद्ध हो।
s10gloss
antastha-madhyo yaḥ |
antastha-madhyaḥ yaḥthe one [viyāta] that has a semivowel in the middle antastha = the semivowel class (ya, ra, la, va); yaḥ 'the one which' — singling out viyāta from the threeजिसका मध्यवर्ती अक्षर अन्तःस्थ (य) है, वह (शब्द अभिप्रेत है)
antastha-madhyaḥ yaḥ — the one with a semivowel in its middle [viyāta].
(तीनों पर्यायों में से) जिसका मध्यवर्ती अक्षर अन्तःस्थ 'य' है — वही ('वियात' यहाँ अभिप्रेत है)।
He adds the same spelling note as Jīva: of the three synonyms just quoted, the one with the semivowel 'ya' in its middle — viyāta — is the source of the verse's 'vaiyātya.'
तीनों पर्यायों में से जिसके बीच में अन्तःस्थ 'य' है, वही 'वियात' यहाँ लिया गया है।
antastha (= antaḥstha) is the grammarians' term for the semivowels ya, ra, la, va; the remark picks out viyāta, the medial-'ya' word, as the base of vaiyātya.
s11gloss
nakha-padāni nakhāṅgāḥ |
nakha-padānithe verse's 'nakha-pada' (plural) the lemma; nakha 'nail', pada 'mark''नखपद' (नाखूनों के चिह्न)
nakha-aṅkāḥmeans nail-marks, the scratches left by nails nakha-aṅka 'nail-scratch'; the source reads nakhāṅgāḥ, evidently for nakhāṅkāḥनखाङ्क (नखक्षत) हैं
nakha-padāni — 'nakha-pada'; nakha-aṅkāḥ — means nail-marks.
'नखपद' अर्थात् नखाङ्क (नखक्षत)।
Viśvanātha glosses 'nakha-pada': it means nail-marks, the scratch-marks left by fingernails in love-making. So 'pṛthu-nakha-padākīrṇa-mithunā' is 'the couple covered with big nail-scratches.'
'नखपद' का अर्थ है नखाङ्क, अर्थात् नाखूनों से पड़े क्षत-चिह्न।
The source text reads nakhāṅgāḥ; the sense required (and matched by the parallel gloss karajāṅka, 'nail-marks') is nakhāṅkāḥ, 'nail-scratch marks' — an apparent scribal slip in the source.
मूल में 'नखाङ्गाः' मुद्रित है, जो स्पष्टतः 'नखाङ्काः' का अशुद्ध रूप है।
s12gloss
maṇitaṁ surata-dhvaniḥ ||
maṇitamthe verse's word 'maṇita' the lemma being glossed'मणित' शब्द का (अर्थ)
surata-dhvaniḥmeans the sounds of love-making surata 'love-making'; dhvani 'sound'सुरत (रति) की ध्वनि है
maṇitam — 'maṇita'; surata-dhvaniḥ — means the sounds of love-making.
'मणित' अर्थात् सुरत (रति) की ध्वनि।
Viśvanātha glosses 'maṇita' as the sounds of love-making — the same sense Jīva gave as rati-kūjita. So 'maṇita-ramaṇīyā' is the play made delightful by those love-sounds.
'मणित' शब्द का अर्थ है सुरत, अर्थात् रति के समय होने वाली ध्वनि।