L1other
sakhyās tavānaṅga-raṇotsave’dhunā
tava sakhyāḥof your friend (the bold heroine) sakhyāḥ genitive; tava 'your', to the addressed sakhīतुम्हारी सखी की
anaṅga-raṇotsaveduring the festival of the love-battle anaṅga (Kāma, love) + raṇa (battle) + utsava (festival); locative 'during'अनंग (कामदेव) के रण रूपी उत्सव के समय
adhunājust nowअब
tava sakhyāḥ — of your friend; anaṅga-raṇotsave — during the festival of the love-battle; adhunā — just now.
अब, तुम्हारी सखी की [मोतियों की माला], अनंग के रण रूपी उत्सव के समय…
Just now, in the festival of the love-battle, your friend's — (the sentence runs on into the next line).
अब, काम के युद्ध रूपी उत्सव के समय, तुम्हारी सखी की [मोतियों की माला के विषय में सुनो]।
L2other
nanarta muktā-latikā stanopari |
muktā-latikāher delicate string of pearls muktā (pearl) + latikā (a slender creeper, here the pearl-string)मोतियों की लता (अर्थात् मोतियों की माला)
stanopariupon her breasts stana (breast) + upari (upon)स्तन के ऊपर
nanartadanced perfect of nṛtनाची
muktā-latikā — her delicate pearl-string; stanopari — upon her breasts; nanarta — danced.
मोतियों की माला स्तन के ऊपर नाची।
...her delicate pearl-necklace danced upon her breasts.
मोतियों की वह माला उसके स्तन पर नाच उठी।
L3other
utplutya yasyāḥ sakhi nāyakaś calo
sakhiO friend vocativeहे सखी
utplutyahaving leapt upउछलकर
yasyāḥwhose necklace it is genitive, relative — pointing back to 'your friend'जिस [सखी] का
nāyakaḥits leader-jewel — the gem set at the centre of the string nāyaka literally 'hero, leader'; here the central maṇi — and the pivot of the śleṣaनायक (माला के मध्य में स्थित मुख्य मणि)
calaḥswinging, never still cala 'moving'; by śleṣa also 'fickle'चल — जो हिल रहा है; श्लेष से 'चंचल स्वभाव वाला' भी
sakhi — O friend; utplutya — having leapt up; yasyāḥ — whose necklace's; nāyakaḥ calaḥ — swinging leader-jewel.
हे सखी, जिस [सखी] का नायक-मणि, जो चल है (और श्लेष से चंचल भी), उछलकर…
And O friend — leaping up, the never-still leader-jewel at the centre of that necklace...
हे सखी, जिसका वह नायक-मणि — जो चल है, और श्लेष से चंचल भी — उछलकर…
Two words here run double (śleṣa): on the jewel-level nāyaka = 'the central gem' and cala = 'swinging'; on the human level they read 'a fickle hero.' The verse thus tells a hidden second story alongside the literal one.
'चल' पद श्लिष्ट है — एक ओर 'गतिशील' (हिलता हुआ), दूसरी ओर 'चंचल स्वभाव का'। दोनों अर्थ साथ रखे जाते हैं।
L4other
dhīraṁ muhur me prajahāra kaustubham ||
dhīraṁthe steady one — my Kaustubha accusative, agrees with kaustubham; by śleṣa also 'blameless' and 'learned' (unpacked by the commentary)धीर (अविचल) को — श्लेष से 'निरपराध' और 'विद्वान' भी
muhuḥagain and againबार-बार
memyमेरे
prajahārastruck perfect of pra-hṛप्रहार किया
kaustubhamthe Kaustubha gem on my chestकौस्तुभ (मणि) पर
muhuḥ — again and again; me dhīraṁ kaustubham — my steady Kaustubha gem; prajahāra — struck.
मेरे धीर (अविचल; श्लेष से निरपराध और विद्वान) कौस्तुभ पर बार-बार प्रहार किया।
...again and again struck my steady Kaustubha gem. The literal picture: in love-play the bold heroine's pearl-necklace swung so hard that its central jewel kept banging Kṛṣṇa's Kaustubha. But every describing word is a pun, so a second story runs underneath: 'a fickle hero (calo nāyakaḥ) leapt up and again and again struck a steady, blameless one (dhīram).' Kṛṣṇa tells this to the sakhī and lets her judge who was at fault.
उसने मेरे धीर कौस्तुभ मणि पर बार-बार प्रहार किया — जो धीर है, और श्लेष से निरपराध तथा विद्वान भी।
Kaustubha is the famous jewel Kṛṣṇa wears on his chest; here it stands (in the pun) for the wronged, innocent party.
'धीर' पद श्लिष्ट है; इसके अर्थ आगे टीका में खुलते हैं — 'निरपराध' और 'विद्वान'।
Viśvanātha Cakravartī
s1avataranika
sambhoga-samāpty-anantaram āyātāṁ padmām ālokya candrāvalīṁ hrepayan śrī-kṛṣṇa āha—sakhyā iti |
sambhoga-samāpty-anantaramright after the love-union was over sambhoga (union) + samāpti (completion) + anantaram (immediately after)संभोग (मिलन) की समाप्ति के तुरंत बाद
āyātāṁ padmāmPadmā, who had just come āyātām (arrived) + padmām, both accusative — object of 'seeing'आई हुई पद्मा को
ālokyaon seeing [her]देखकर
candrāvalīṁ hrepayanwishing to embarrass Candrāvalī hrepayan = making [her] feel shame, present participleचंद्रावली को लज्जित करते हुए
śrī-kṛṣṇaḥŚrī Kṛṣṇaश्रीकृष्ण
āhasaysकहा
sakhyā iti'sakhyāḥ…' — he opens by quoting the verse's first word'सख्याः' इत्यादि (यह श्लोक)
sambhoga-samāpty-anantaram — right after love-union ended; āyātāṁ padmām ālokya — on seeing Padmā arrive; candrāvalīṁ hrepayan — to embarrass Candrāvalī; śrī-kṛṣṇaḥ āha — Śrī Kṛṣṇa speaks; sakhyā iti — beginning 'sakhyāḥ.'
मिलन की समाप्ति के तुरंत बाद आई हुई पद्मा को देखकर, चंद्रावली को लज्जित करते हुए श्रीकृष्ण ने 'सख्याः' [इत्यादि श्लोक] कहा।
The scene: love-union has just ended. Padmā arrives. Seeing her, Kṛṣṇa — wanting to embarrass Candrāvalī — speaks this verse, beginning with the word 'sakhyāḥ.'
मिलन समाप्त होने के तुरंत बाद जो पद्मा आई, उसे देखकर, चंद्रावली को लज्जित करते हुए श्रीकृष्ण ने 'सख्याः' आदि [श्लोक] कहा।
Padmā is Candrāvalī's chief sakhī, and Candrāvalī is the rival of the heroine; Kṛṣṇa needles Candrāvalī by praising the other heroine's bold love-play in Padmā's hearing.
s2gloss
utplutya sa-bāṣpaṁ patitvety arthaḥ |
utplutya'having leapt up' —उछलकर
sa-bāṣpaṁ patitvāmeans it sprang up and came down vehemently patitvā = having fallen; sa-bāṣpam lit. 'with tears', i.e. in a rush / agitatedlyआँसुओं सहित गिरकर — अर्थात् वेग से, उतावलेपन में
ity arthaḥthat is the senseऐसा अर्थ है
utplutya — 'having leapt up'; sa-bāṣpaṁ patitvā — [means] having sprung up and fallen vehemently; ity arthaḥ — that is the sense.
'उछलकर' का अर्थ है — आँसुओं सहित (वेग से) गिरकर।
'utplutya' (leaping up) is spelled out: the jewel sprang up and came down in a rush (sa-bāṣpam) — the up-and-down of the blow is what 'leaping up' means here.
यहाँ 'उत्प्लुत्य' (उछलकर) का अर्थ है — आँसुओं के साथ, वेग से गिरकर।
s3gloss
nāyakaḥ hāra-madhya-stha-maṇiḥ |
nāyakaḥ'the nāyaka' [in the verse]नायक
hāra-madhya-stha-maṇiḥmeans the gem set in the middle of the necklace hāra (necklace) + madhya-stha (standing at the centre) + maṇi (gem)हार के मध्य में स्थित मणि
nāyakaḥ — 'the nāyaka'; hāra-madhya-stha-maṇiḥ — [means] the central gem of the necklace.
'नायक' अर्थात् हार के मध्य में स्थित मणि।
'nāyaka' here is not a person but the gem fixed at the centre of the pearl-string — the string's 'leader' jewel.
'नायक' का अर्थ है — हार के बीच में लगा हुआ मुख्य मणि।
s4gloss
dhīraṁ niraparādham iti bhāvaḥ |
dhīraṁ'the steady one' [dhīram]धीर
niraparādhammeans blameless, innocent nir-aparādha = without offenseनिरपराध (बिना किसी अपराध के)
iti bhāvaḥsuch is the implied senseऐसा भाव है
dhīram — 'the steady one'; niraparādham iti bhāvaḥ — the implied sense is 'blameless, innocent.'
'धीर' अर्थात् निरपराध — ऐसा भाव है।
'dhīram' (steady) also carries the sense 'blameless': the Kaustubha did nothing, it only stayed put — so it is the innocent party.
'धीर' का भाव है — निरपराध, जिसका कोई दोष नहीं।
s5alternative
śleṣeṇa vidvāṁsam |
śleṣeṇaby śleṣa — a second, punning senseश्लेष से
vidvāṁsam[dhīram also yields] a learned manविद्वान को
śleṣeṇa — by the pun; vidvāṁsam — [dhīram also yields] 'a learned man.'
श्लेष से [धीर का अर्थ] 'विद्वान' भी।
And by śleṣa the same word 'dhīram' opens yet a third reading: 'a sober, learned man.' With this the hidden human story is complete — a fickle hero (calo nāyakaḥ) springing up to strike, again and again, a steady, blameless, learned man.
श्लेष से 'धीर' का अर्थ 'विद्वान' भी है।
This is the verse's headline device: two layers held at once. On the surface a swinging jewel batters the Kaustubha; underneath, a fickle lover assaults a blameless, learned man. The commentary does not collapse the two — it keeps both live.
यहाँ श्लेष का दूसरा अर्थ उभरता है — 'धीर' = 'विद्वान'। पहला अर्थ (निरपराध) छोड़ा नहीं जाता; दोनों साथ चलते हैं।
s6gloss
tatrāpi muhuḥ prajahāra |
tatrāpieven against such a one [steady, blameless, learned] tatra 'in that case' + api 'even'उस [विद्वान होने की] दशा में भी
muhuḥagain and againबार-बार
prajahārait struckप्रहार किया
tatrāpi — even against such a one; muhuḥ prajahāra — it struck again and again.
उस दशा में भी बार-बार प्रहार किया।
And 'muhuḥ' (again and again) presses the point: even against one so steady and blameless, it kept striking, blow after blow.
[विद्वान होने पर] भी उसने बार-बार प्रहार किया।
s7gloss
atra tvam eva sa-nyāyaṁ brūhīti bhāvaḥ |
atrain this matterइस विषय में
tvam evayou yourself eva restricts — 'you, of all people'तुम ही
sa-nyāyaṁ brūhispeak — and fairly, with the rights and wrongs of it sa-nyāyam = along with the justice/reasoning of the caseन्याय सहित कहो
iti bhāvaḥsuch is the implied thrustऐसा भाव है
atra — in this matter; tvam eva — you yourself; sa-nyāyaṁ brūhi — judge and say fairly; iti bhāvaḥ — such is the implied sense.
इस विषय में तुम ही न्याय सहित कहो — ऐसा भाव है।
The unspoken point: 'You be the judge, Padmā — tell me fairly who was in the wrong here.' Kṛṣṇa hands the verdict to her.
यहाँ [कृष्ण का] भाव यह है — इस बात का न्याय तुम ही करके बताओ।
s8gloss
cala iti dhīram iti padābhyāṁ vaiparītyaṁ vyaktīkṛtam |
cala iti dhīram iti padābhyāmby the two words 'cala' (restless) and 'dhīram' (steady) padābhyām = by the two words, instrumental'चल' और 'धीर' इन दो पदों के द्वारा
vaiparītyaṁthe opposition between the two partiesविपरीतता (विरोध)
vyaktīkṛtamis made plainप्रकट किया गया
cala iti dhīram iti padābhyām — by the two words 'cala' and 'dhīram'; vaiparītyaṁ vyaktīkṛtam — the contrast is made explicit.
'चल' और 'धीर' इन दो पदों के द्वारा विपरीतता प्रकट की गई।
The word-choice itself does the work: 'cala' (restless, fickle) set against 'dhīram' (steady) makes the contrast between the two sides unmistakable — the restless striker versus the steady, wronged one.
'चल' और 'धीर' — इन दो शब्दों के द्वारा [दोनों के बीच] विरोध प्रकट किया गया है।
s9conclusion
atra yo hi hanyāt sa taṁ hanyāt iti nyāyena kaustubho’pi tac-chata-guṇaṁ tam adhunā praharatv iti sakhī-pratyuktir jñeyā ||
atrahereयहाँ
yo hi hanyāt sa taṁ hanyāt'whoever would strike, let him in turn be struck' the quoted maxim (nyāya)'जो [पहले] मारे, उसको वह [भी] मारे' (यह न्याय-वाक्य)
iti nyāyenaby this maximइस न्याय के अनुसार
kaustubho’pithe Kaustubha too api 'too' — it also gets its turnकौस्तुभ भी
tac-chata-guṇaṁa hundred times over tat + śata-guṇa (hundredfold)उससे सौ गुना [अधिक]
tamhim — the fickle striker-jewelउस [नायक-मणि] को
adhunānowअब
praharatvlet it strike back praharatu, imperativeप्रहार करे
iti sakhī-pratyuktir jñeyāis to be understood as the friend's retort sakhī-pratyukti = the sakhī's reply; jñeyā = is to be understoodऐसा सखी का प्रत्युत्तर समझना चाहिए
atra — here; 'yo hi hanyāt sa taṁ hanyāt' iti nyāyena — by the maxim 'he who strikes should himself be struck'; kaustubho’pi — the Kaustubha too; tam — him; tac-chata-guṇam adhunā praharatu — let it now strike a hundredfold; iti sakhī-pratyuktir jñeyā — this is to be understood as the friend's retort.
'जो मारे, उसको वह भी मारे' इस न्याय से — कौस्तुभ भी उससे सौ गुना [अधिक बल से] अब उस [नायक-मणि] पर प्रहार करे — ऐसा सखी का प्रत्युत्तर समझना चाहिए।
Now the friend's comeback, resting on the legal maxim 'he who strikes deserves to be struck back.' If that jewel struck the Kaustubha, then let the Kaustubha now hit it back a hundred times harder! Read the closing line as the sakhī's witty retort, taking the wronged party's side.
'जो मारे, उसको वह भी मारे' — इस न्याय से अब कौस्तुभ भी उस [नायक-मणि] पर सौ गुना [अधिक] प्रहार करे; ऐसा सखी का [कृष्ण को दिया गया] उत्तर समझना चाहिए।
Why cited: The nyāya 'yo hi hanyāt sa taṁ hanyāt' is invoked to license the sakhī's retort — the one who was struck (the Kaustubha) is entitled to strike back, and a hundredfold.