L1other
avacinu kusumāni prekṣya cāruṇy araṇye
avacinugo and pick [them] — she gives him the order imperativeचुन लो (तोड़ लो)
kusumānithe flowersफूलों को
prekṣyalooking them over first gerund — do this before pickingदेखकर (चुनने से पहले)
cāruṇionly the lovely ones qualifies kusumāniजो सुन्दर हों (उन फूलों को)
araṇyeout in the forest locativeवन में
araṇye — out in the forest; prekṣya — looking them over; cāruṇi kusumāni — the lovely flowers; avacinu — go and pick.
वन में जो फूल सुन्दर हों उन्हें देखकर (चुनकर) तोड़ लो।
Go into the forest and pick flowers. Look them over first and choose only the lovely ones. She is giving Kṛṣṇa the order.
वन में जाकर सुन्दर-सुन्दर फूल चुन लो।
L2other
viracaya punar ebhir maṇḍanāny ujjvalāni |
viracayathen fashion [them] imperativeबना लो (रच लो)
punaḥafter that / nextफिर
ebhiḥout of these [flowers] instrumental — the materialइन्हीं (फूलों) से
maṇḍanāni ujjvalāniinto brilliant ornamentsउज्ज्वल (चमकीले) आभूषण
punaḥ — after that; ebhiḥ — out of these flowers; ujjvalāni maṇḍanāni — brilliant ornaments; viracaya — fashion them.
फिर इन्हीं फूलों से उज्ज्वल आभूषण बना लो।
Then, out of these very flowers, fashion brilliant ornaments.
फिर उन फूलों से चमकीले गहने रच लो।
L3other
madhumathana mad-aṅge kalpayākalpam etair
madhumathanaO Madhumathana (Kṛṣṇa, slayer of the demon Madhu) vocativeहे मधुमथन (कृष्ण)
mad-aṅgeon my body locative — where to place itमेरे अंग पर
kalpayaarrange / put on imperativeसजा दो (रच दो)
ākalpamthe full adornment ākalpa = decoration, dressआकल्प (शृंगार, वेश)
etaiḥwith these [ornaments you have made] instrumentalइन्हीं (आभूषणों) से
madhumathana — O Madhumathana; etaiḥ — with these ornaments; mad-aṅge — on my body; ākalpam kalpaya — arrange the full adornment.
हे मधुमथन, इन्हीं से मेरे अंग पर आकल्प (शृंगार) सजा दो।
O Madhumathana, with these ornaments arrange the full adornment on my body.
हे कृष्ण, इन्हीं गहनों से मेरे अंगों को सजा दो।
L4other
yuvatiṣu mama bhīmaṁ rautu saubhāgya-bherī ||
yuvatiṣuamong the young women locative — before whomयुवतियों के बीच (उनके सामने)
mamamy genitive with saubhāgya-bherīमेरी
bhīmamfearsomely, loud enough to strike awe adverbial with rautuभयंकर रूप से (जोर से)
rautulet it thunder / resound imperative, 3rd personबज उठे (गूँजे)
saubhāgya-bherīthe kettledrum of my good fortune — of being the one he loves saubhāgya (the good luck of being loved) + bherī (war-drum)सौभाग्य की भेरी (प्रिय होने के सौभाग्य की रणभेरी)
yuvatiṣu — among the young women; mama saubhāgya-bherī — the kettledrum of my good fortune; bhīmam rautu — let it thunder fearsomely.
युवतियों के बीच मेरी सौभाग्य-भेरी भयंकर रूप से बज उठे।
And among the young women let the kettledrum of my good fortune thunder awesomely. When Kṛṣṇa himself decks her, her good luck announces itself like a war-drum.
और सब युवतियों के सामने मेरे सौभाग्य की रणभेरी जोर से गूँज उठे।
Commentary — decoded
Jīva Gosvāmī
s1gloss
avacinu kusumānīty ādiṣu praṇaya-vilāsa-mātram uddeśyam |
avacinu kusumāni iti ādiṣuin the lines beginning 'avacinu kusumāni' ('go pick the flowers') pratīka + ādiṣu = 'and the rest'"अवचिनु कुसुमानि" आदि (पदों) में
praṇaya-vilāsa-mātramnothing but the play of intimate love praṇaya (loving intimacy) + vilāsa (playful sport); mātra = 'only'केवल प्रणय-विलास (प्रेम-भरी क्रीड़ा मात्र)
uddeśyamis what is actually being aimed atअभिप्रेत (लक्ष्य) है
avacinu kusumāni iti ādiṣu — in the lines beginning 'go pick the flowers'; uddeśyam — what is aimed at; praṇaya-vilāsa-mātram — is nothing but the play of intimate love.
"अवचिनु कुसुमानि" आदि पदों में केवल प्रणय-विलास ही अभिप्रेत है।
In these lines — 'go pick the flowers,' and so on — what she is really after is only the play of intimate love. The orders are not the point; the loving sport with him is.
"फूल चुन लो" आदि पंक्तियों का लक्ष्य केवल प्रेम-भरी क्रीड़ा है।
s2gloss
nijālaṅkaraṇaṁ tu vyāja-mātram |
nija-alaṅkaraṇamher getting herself adornedअपना शृंगार (स्वयं का सजना)
tuon the other handपरन्तु
vyāja-mātramis only a pretext vyāja (pretense) + mātra ('merely')केवल बहाना (छल-मात्र)
nija-alaṅkaraṇam tu — her own adornment, on the other hand; vyāja-mātram — is only a pretext.
परन्तु अपना शृंगार तो केवल बहाना है।
Her being decorated is only an excuse. The adornment is a cover; the real aim is to have him near her, at play.
अपने को सजवाना तो केवल एक बहाना है।
s3gloss
tad-dig-vilāsa-mātra-tātparyakatvāt tādṛśīnām |
tad-dig-vilāsa-mātra-tātparyakatvātbecause the whole drift is only the play running in that direction tad-dik (that direction) + vilāsa (play) + mātra (only) + tātparyaka-tva; ablative of reason (-tvāt)क्योंकि (उनका) तात्पर्य उसी दिशा की लीला मात्र में होता है
tādṛśīnāmfor heroines of this type genitive plural feminine — the rasākrānta-vallabhā kindऐसी (नायिकाओं) का
tādṛśīnām — for heroines of this type; tad-dig-vilāsa-mātra-tātparyakatvāt — because their whole drift is only the play running in that direction.
क्योंकि ऐसी नायिकाओं का तात्पर्य उसी दिशा की लीला-मात्र में रहता है।
For heroines of this kind, the entire point of such words is just the loving play they are angling toward. That is why the adornment counts as a mere pretext.
इस प्रकार की नायिकाओं का मन तो केवल उसी ओर की क्रीड़ा में लगा रहता है।
s4conclusion
tathā yuvatiṣv ity ādāv api jñeyam ||
tathāthe same wayवैसे ही
yuvatiṣu iti ādau apiin the line beginning 'yuvatiṣu' ('among the young women') as well pratīka of L4 + ādau api = 'here too'"युवतिषु" आदि (पदों) में भी
jñeyamone should read itसमझ लेना चाहिए
tathā — the same way; yuvatiṣu iti ādau api — in the 'yuvatiṣu' line too; jñeyam — read it.
वैसे ही "युवतिषु" आदि पदों में भी समझ लेना चाहिए।
Read the closing line, 'among the young women…', the same way. There too the boast about her drum of good fortune is really about the loving play, not literal drum-beating.
यही बात "युवतिषु" आदि पंक्तियों में भी समझनी चाहिए।
Viśvanātha Cakravartī
s1avataranika
rasākrānteti |
rasākrānta iti'rasākrānta[-vallabhā]…' — he takes up the category word to begin pratīka of the lead-in label"रसाक्रान्त" (यह पद)
rasākrānta iti — quoting 'rasākrānta[-vallabhā]' to open the comment.
"रसाक्रान्त" — (इस पद की व्याख्या)।
Viśvanātha starts by picking up the label being illustrated — 'rasākrānta[-vallabhā],' she whose lover is overrun by rasa.
अब "रसाक्रान्त" पद को लेते हैं।
s2gloss
ākramo’yaṁ mayā niratiśaya-rasena santarpyamāṇo’yaṁ sadā mad-vaśe tiṣṭhatv ity āśāṁsā-mayo jñeyaḥ |
ākramaḥ ayaṁthis 'overrunning' [the ākrānta of the label] names the ā-kram- of rasākrāntaयह "आक्रम" (आक्रमण करना)
mayāby me instrumental — she is the agentमेरे द्वारा
niratiśaya-rasenawith rasa that nothing can surpass niratiśaya (unsurpassed) + rasaअनुपम (सर्वोत्कृष्ट) रस से
santarpyamāṇaḥ ayaṁmay this one — the lover — kept fully satisfied present passive participle, being-satiatedतृप्त किया जाता हुआ यह
sadāalwaysसदा
mad-vaśe tiṣṭhatustay under my sway mad-vaśe (in my control) + tiṣṭhatu (let him remain)मेरे वश में रहे
iti— so runs the wish closes the quoted longing— इस प्रकार (की अभिलाषा)
āśāṁsā-mayaḥis made of [her] hopeful longing āśāṁsā (aspiration, hopeful wish) + maya ('consisting of')आशंसा (अभिलाषा) से भरा हुआ
jñeyaḥis to be understoodसमझना चाहिए
ayaṁ ākramaḥ — this 'overrunning'; āśāṁsā-mayaḥ jñeyaḥ — is to be understood as made of her hopeful longing: 'niratiśaya-rasena mayā santarpyamāṇaḥ ayaṁ — may this one, kept satisfied by me with unsurpassed rasa; sadā mad-vaśe tiṣṭhatu — always stay under my sway.'
"यह आक्रम — मेरे द्वारा अनुपम रस से तृप्त किया जाता हुआ यह (प्रियतम) सदा मेरे वश में रहे" — इस प्रकार यह अभिलाषा-मय समझना चाहिए।
Take the 'overrunning' in the label this way: it is the heroine's hopeful wish. Her longing is — 'May he, whom I keep filled with rasa nothing can surpass, always stay under my sway.' So 'overrun by rasa' names not a fact she states but the aspiration she carries.
यहाँ "आक्रम" का भाव है — "मैं इसे अनुपम रस से तृप्त करती रहूँ और यह सदा मेरे वश में रहे" — ऐसी अभिलाषा से भरा हुआ।
s3gloss
maṅgalā prāha—avacinu svayam eva, na tu janāntara-dvārā, tatrāpi cārūṇi prekṣyeti |
maṅgalā prāhaMaṅgalā [the speaker] saysमंगला कहती है
avacinu svayam eva'pick them your own self' glossing avacinu — svayam eva = 'you yourself, and no one else'"अवचिनु" — स्वयं ही (तुम अपने ही हाथों चुनो)
na tu jana-antara-dvārā'not by sending someone else' jana-antara (another person) + dvārā (by means of)न कि किसी दूसरे व्यक्ति के द्वारा
tatra apiand even in that taskवहाँ भी (उसमें भी)
cārūṇi prekṣya iti'pick out the lovely ones by eye' glossing prekṣya cāruṇi of L1"चारूणि प्रेक्ष्य" (सुन्दर फूलों को देखकर) — यह
maṅgalā prāha — Maṅgalā says: avacinu svayam eva — pick them yourself; na tu jana-antara-dvārā — not through another person; tatra api — and even there; cārūṇi prekṣya iti — select the lovely ones by looking.
मंगला कहती है — "अवचिनु" अर्थात् स्वयं ही चुनो, न कि किसी दूसरे के द्वारा; और उसमें भी "चारूणि प्रेक्ष्य" (सुन्दर फूलों को देखकर)।
Maṅgalā, the speaker, says: gather them with your own hands — do not send anyone else. And even so, pick out the lovely ones by eye. She wants Kṛṣṇa himself to do every step.
मंगला कहती है — तुम स्वयं ही चुनो, किसी और से नहीं; और चुनते समय भी सुन्दर फूल देखकर ही।
s4gloss
mat-prasādhana-yogyāni tāny anya-jano naivānetuṁ janātīti bhāvaḥ |
mat-prasādhana-yogyānithe ones fit for decking me out mat (me) + prasādhana (adorning) + yogya (fit for)मेरे शृंगार के योग्य (फूल)
tānithose [flowers]उन (फूलों) को
anya-janaḥanyone elseदूसरा व्यक्ति
na eva ānetuṁ jānātidoes not even know how to fetch source spells jānāti as 'janāti'; na eva = 'not even'लाना तक नहीं जानता
iti bhāvaḥ— that is the inner sense— यह भाव है
mat-prasādhana-yogyāni tāni — those flowers fit for adorning me; anya-janaḥ — anyone else; na eva ānetuṁ jānāti — does not even know how to fetch; iti bhāvaḥ — that is the inner sense.
मेरे शृंगार के योग्य उन फूलों को दूसरा व्यक्ति लाना तक नहीं जानता — यह भाव है।
The inner sense of 'do it yourself': the flowers that would truly suit my adornment — no one else even knows how to bring them. Only you know which ones. That is why she will not let him delegate.
मेरे शृंगार के लायक फूल तो कोई और लाना ही नहीं जानता — यही आशय है।
The source prints 'janātī' where the sense requires 'jānāti' (knows). Read as jānāti — 'does not even know how to bring.'
s5avataranika
yuvatiṣv iti |
yuvatiṣu iti'yuvatiṣu…' ('among the young women') — he takes up the closing line pratīka of L4"युवतिषु" (यह पद)
yuvatiṣu iti — quoting 'among the young women' to comment on the last line.
"युवतिषु" — (इस पद की व्याख्या)।
Now he takes up the closing line, 'among the young women.'
अब "युवतिषु" पद को लेते हैं।
s6gloss
tādṛśaṁ tvad-racitākalpaṁ yuvatīr darśayitvā tāś camatkṛtiṁ prāpayāmīti bhāvaḥ |
tādṛśamsuch [adornment]ऐसे
tvad-racita-ākalpamthe decoration you fashioned with your own hands tvat (you) + racita (made) + ākalpa (adornment)तुम्हारे बनाए हुए आकल्प (शृंगार) को
yuvatīḥ darśayitvāby showing it off to the young women gerund — the meansयुवतियों को दिखाकर
tāḥthem [those women]उन्हें
camatkṛtiṁ prāpayāmiI strike with wonder camatkṛti (astonishment) + prāpayāmi (I make them reach)चमत्कार (विस्मय) तक पहुँचा दूँ
iti bhāvaḥ— that is the inner sense— यह भाव है
tādṛśam tvad-racita-ākalpam — such adornment made by your own hands; yuvatīḥ darśayitvā — by showing it to the young women; tāḥ camatkṛtiṁ prāpayāmi — I strike them with wonder; iti bhāvaḥ — that is the inner sense.
तुम्हारे बनाए हुए ऐसे आकल्प को युवतियों को दिखाकर मैं उन्हें चमत्कार (विस्मय) तक पहुँचा दूँ — यह भाव है।
The 'drum of good fortune' means this: by showing the other young women the adornment Kṛṣṇa fashioned for me with his own hands, I leave them thunderstruck. Her good luck proclaims itself; the wonder on their faces is the drumbeat.
तुम्हारे रचे इस शृंगार को दिखाकर मैं उन युवतियों को चकित कर दूँ — यही आशय है।
s7definition
nāyikāyā nirdeśe sadā sthātum āgrahavān nāyakaś cet santatāśrava-keśavā nāyakaṁ sva-nirdeśe sthāpayitum āgrahavatī cet rasākrānta-vallabhā, avasthā-viśeṣa eva nāyikāyā nirdeśavatīṁ nāyakaś cet tadā svādhīna-bhartṛketi tisṛṇām āsāṁ bhede viveko jñeyaḥ ||
nāyikāyā nirdeśe sadā sthātum āgrahavān nāyakaḥ cetif it is the hero who is always keen to stand at the heroine's command nirdeśe (at her direction) + sadā (always) + sthātum āgrahavān (eager to remain); cet = 'if'यदि नायक नायिका के निर्देश (आज्ञा) में सदा रहने का आग्रही हो
santatāśrava-keśavā[she is] the one 'whose Keśava is ceaselessly obedient' santata (unbroken) + āśrava (attentive, compliant) + keśava (Kṛṣṇa)तो (वह) "सन्ततआश्रव-केशवा" (जिसका केशव निरन्तर आज्ञाकारी रहे)
nāyakaṁ sva-nirdeśe sthāpayitum āgrahavatī cetif instead it is she who is keen to keep the hero at her own command sva-nirdeśe (at her command) + sthāpayitum (to install) + āgrahavatī (eager, fem.)यदि (नायिका) नायक को अपने निर्देश (वश) में स्थापित करने की आग्रहवती हो
rasākrānta-vallabhā[she is] 'she whose lover is overrun by rasa' — the type here the label of this very verseतो "रसाक्रान्त-वल्लभा" (इसी पद्य का नाम)
avasthā-viśeṣa eva nāyikāyā nirdeśavatīṁ nāyakaḥ cetif only on a special occasion the hero [makes] the heroine the one who commands avasthā-viśeṣa (a particular state) + eva (only) + nirdeśavatīm (possessed of command); elided verb 'makes/keeps'यदि किसी विशेष अवस्था में ही नायक नायिका को निर्देशवती (आज्ञा देने वाली) बनाए
tadā svādhīna-bhartṛkāthen [she is] the svādhīna-bhartṛkā, 'she who has her lover under her' svādhīna (subject to oneself) + bhartṛ (lord, lover)तब (वह) "स्वाधीन-भर्तृका"
iti tisṛṇām āsāṁ bhede vivekaḥ jñeyaḥthis is how to tell these three apart tisṛṇām āsām (of these three) + bhede (in the difference) + viveka (the discernment)— इस प्रकार इन तीनों के भेद में विवेक (अन्तर) समझना चाहिए
nāyikāyā nirdeśe sadā sthātum āgrahavān nāyakaḥ cet — if the hero is always keen to stay at her command; santatāśrava-keśavā — she is the 'ever-obeyed-by-Keśava'; nāyakaṁ sva-nirdeśe sthāpayitum āgrahavatī cet — if she is the one keen to keep him at her command; rasākrānta-vallabhā — she is 'lover-overrun-by-rasa'; avasthā-viśeṣa eva nāyikāyā nirdeśavatīṁ nāyakaḥ cet — if only on a special occasion the hero makes her the commanding one; tadā svādhīna-bhartṛkā — then she is svādhīna-bhartṛkā; iti tisṛṇām āsāṁ bhede vivekaḥ jñeyaḥ — such is how to tell these three apart.
यदि नायक नायिका के निर्देश में सदा रहने का आग्रही हो तो "सन्ततआश्रव-केशवा"; यदि नायिका नायक को अपने निर्देश में स्थापित करने की आग्रहवती हो तो "रसाक्रान्त-वल्लभा"; और यदि किसी विशेष अवस्था में ही नायक नायिका को निर्देशवती बनाए तो "स्वाधीन-भर्तृका" — इस प्रकार इन तीनों के भेद में विवेक समझना चाहिए।
Three heroine-types look alike — in all three the lover ends up at her beck. Viśvanātha sorts them by two questions: who is the eager one, and is it constant or occasional. First: if the hero is the one always eager to obey her, she is santatāśrava-keśavā, 'she whose Kṛṣṇa never stops obeying.' Second: if she is the one eager to keep him obedient, she is rasākrānta-vallabhā — our verse's type. Third: if only on a particular occasion does the hero put her in the commanding seat, she is svādhīna-bhartṛkā. Such is the discernment of the difference among the three.
तीनों का अन्तर यों समझें — नायक स्वयं सदा नायिका की आज्ञा में रहना चाहे, तो वह "सन्ततआश्रव-केशवा"; नायिका नायक को अपने वश में करने पर उत्सुक हो, तो "रसाक्रान्त-वल्लभा"; और नायक किसी विशेष अवसर पर ही नायिका को आज्ञा देने वाली बनाए, तो "स्वाधीन-भर्तृका"।
A three-way nāyikā distinction, not a two-way one. The pivot is the source and the constancy of the mastery: santatāśrava-keśavā — the hero's own, unbroken eagerness to obey (his standing disposition); rasākrānta-vallabhā — the heroine's eagerness to hold him in obedience (defined from her side, by her rasa); svādhīna-bhartṛkā — mastery that arises only in a special situation (avasthā-viśeṣa), not always. Same outward picture of a lover under the beloved's sway; the type is fixed by whose eagerness drives it and whether it is standing or occasional.