medinyāṁ te luṭhati dayitā mālatī mlāna-puṣpā
tiṣṭhan dvāre ramaṇi vimanāḥ khidyate padmanābhaḥ |
tvaṁ connidrā kṣapayasi niśām rodayantī vayasyā
māne kas te nava-madhurimā taṁ tu nālokayāmi ||quoted · uddava-sandeśe
The verse — decoded
L1other
medinyāṁ te luṭhati dayitā mālatī mlāna-puṣpā
medinyāṁon the ground locative of placeभूमि पर
teyour genitiveतेरी
luṭhatilies fallen, rolling in the dustलोट रही है
dayitā[your] belovedप्यारी
mālatīthe mālatī jasmine creeper — the subjectमालती लता
mlāna-puṣpāher flowers all witheredजिसके फूल मुरझा गए हैं
te dayitā mālatī — your beloved mālatī creeper; mlāna-puṣpā — her flowers withered; medinyāṁ luṭhati — lies collapsed on the ground.
भूमि पर तेरी प्यारी मालती लता, जिसके फूल मुरझा गए हैं, लोट रही है।
Your own darling mālatī creeper lies collapsed on the ground, every flower on her withered.
तेरी प्यारी मालती लता ज़मीन पर पड़ी लोट रही है। उसके सारे फूल मुरझा गए हैं।
The verse is a message-poem quoted from the Uddhava-sandeśa (53), set here to illustrate the heroine who is 'extremely harsh in her sulk' (māne'tyanta-karkaśā). The mālatī is the heroine's own cherished plant — the commentary turns on that.
L2other
tiṣṭhan dvāre ramaṇi vimanāḥ khidyate padmanābhaḥ |
tiṣṭhanstandingखड़ा हुआ
dvāreat [your] door locative of placeद्वार पर
ramaṇiO lovely one — [addressing the sulking heroine] vocativeहे सुन्दरी
vimanāḥdowncast, sick at heartउदास मन वाला
khidyatepines, wastes in griefखेद कर रहा है
padmanābhaḥPadmanābha (Kṛṣṇa) — the subjectपद्मनाभ (कृष्ण)
ramaṇi — O lovely one; padmanābhaḥ — Padmanābha; dvāre tiṣṭhan — standing at your door; vimanāḥ — downcast; khidyate — pines away.
हे सुन्दरी, द्वार पर खड़ा हुआ, उदास मन वाला पद्मनाभ खेद कर रहा है।
And Padmanābha himself, O lovely one, stands right at your door, downcast and aching.
हे सुन्दरी! पद्मनाभ (कृष्ण) तेरे द्वार पर खड़े हैं। उनका मन उदास है और वे भीतर-ही-भीतर दुखी हो रहे हैं।
L3other
tvaṁ connidrā kṣapayasi niśām rodayantī vayasyā
tvaṁ caand you, for your part ca, setting her against the other twoऔर तू
unnidrāsleeplessजागती हुई (नींद त्यागे)
kṣapayasiyou wear away, spendबिता रही है
niśāmthe night accusative, the stretch spentरात को
rodayantīmaking [them] weepरुलाती हुई
vayasyāḥyour companions accusative plural, the ones she makes weepअपनी सखियों को
tvaṁ ca — and you; unnidrā — sleepless; niśām kṣapayasi — pass the whole night away; vayasyāḥ rodayantī — making your companions weep.
और तू जागती हुई, अपनी सखियों को रुलाती हुई, रात बिता रही है।
And you? Sleepless, you wear the whole night away — and you keep your girlfriends in tears along with you.
और तू भी सारी रात जागकर बिता देती है। साथ-साथ अपनी सखियों को भी रुलाती रहती है।
vayasyāḥ is read as an accusative plural, the object of rodayantī ('making your companions weep'); the pada-final syllable is elided by the meter.
L4other
māne kas te nava-madhurimā taṁ tu nālokayāmi ||
mānein this sulk (māna) locative, 'in the case of'इस मान (रूठने) में
kaḥwhatकौन-सा
teyour genitiveतेरा
nava-madhurimāfresh sweetness, any new charmनया माधुर्य
taṁthat [charm] accusative, picking up nava-madhurimāउस (माधुर्य) को
tuand yet tu, turning the question into a verdictपरन्तु
na ālokayāmiI do not see [any]मैं नहीं देखती
māne — in this sulk of yours; te kaḥ nava-madhurimā — what fresh charm is there?; taṁ tu — and that charm; na ālokayāmi — I simply do not see.
इस मान (रूठने) में तेरा कौन-सा नया माधुर्य है — परन्तु उसको तो मैं नहीं देखती।
So what fresh charm is there in this sulk of yours? Search as I may, that charm — I see none of it.
इस रूठने में आख़िर तेरा कौन-सा नया माधुर्य है? परन्तु मुझे तो वह कहीं दिखाई ही नहीं देता।
A sulk (māna) normally has its own beauty in this poetry. The sakhī's sting is that this one has none left: with him pining at the door and the friends in tears, the sulk has turned ugly. This is the line that earns the verse its heading, 'extremely harsh in māna.'
Commentary — decoded
Jīva Gosvāmī
s1other
na vyākhyātam |
na vyākhyātamhe gave no comment on itव्याख्या नहीं की गई
na vyākhyātam — [Jīva] offered no explanation of this verse.
(जीव गोस्वामी ने इस पर) व्याख्या नहीं की।
Jīva Gosvāmī passes this verse over without comment.
जीव गोस्वामी ने इस श्लोक पर कोई व्याख्या नहीं की।
The edition records only that this commentator left the verse untouched; there is nothing of his to decode here.
Viśvanātha Cakravartī
s1avataranika
bakulamālā śyāmalāṁ praty āha—medinyām iti |
bakulamālāBakulamālā — [the sakhī who is the speaker]बकुलमाला
śyāmalāṁ pratito Śyāmalā — [the sulking heroine addressed] prati + accusative, 'toward'श्यामला की ओर (उससे)
āhaspeaks [these words]कहती है
medinyām itithe verse beginning 'medinyām' pratīka naming the verse being introduced'मेदिन्याम्' इत्यादि (यह श्लोक)
bakulamālā — Bakulamālā; śyāmalāṁ prati — to Śyāmalā; āha — speaks; medinyām iti — [the verse] beginning 'medinyām.'
बकुलमाला श्यामला से 'मेदिन्याम्' इत्यादि (श्लोक) कहती है।
Viśvanātha first sets the scene. The speaker is the sakhī Bakulamālā, and she is addressing the sulking heroine Śyāmalā. The verse 'medinyām…' is what Bakulamālā says to her.
बकुलमाला श्यामला से यह श्लोक कहती है, जो 'मेदिन्याम्' शब्द से आरम्भ होता है।
s2gloss
luṭhati mlāna-puṣpeti |
luṭhatithe word 'luṭhati' — [the creeper] lies fallen pratīka lifted from the verse'लुठति' (यह पद)
mlāna-puṣpā itiand the word 'mlāna-puṣpā' — her flowers withered second pratīka'म्लान-पुष्पा' (यह पद)
luṭhati — the word 'luṭhati'; mlāna-puṣpā iti — and the word 'mlāna-puṣpā.'
'लुठति' तथा 'म्लान-पुष्पा' — (इन पदों को उठाकर व्याख्या करते हैं)।
He singles out two words from the verse: 'luṭhati' (she lies fallen) and 'mlāna-puṣpā' (her flowers withered). These are the words that carry the point he is about to draw.
यहाँ 'लुठति' और 'म्लान-पुष्पा' — इन दो पदों को विश्वनाथ अलग से उठाते हैं।
Viśvanātha only quotes the two pratīkas here; the meaning he reads into them lands in the next sentence.
s3conclusion
mālaty ānayā kim aparāddhaṁ yad imāṁ puṣpa-cayanena jalādānena ca khedayasīti nirupādhikaṁ kārkaśyaṁ vyañjitam ||
mālatyā anayāby this mālatī instrumental of agent; sandhi prints it 'mālaty ānayā'इस मालती ने (जो कर्ता है)
kim aparāddhamwhat wrong has been done?क्या अपराध किया
yatthat [you should] yad, giving the undeserved treatment being questionedकि जो
imāṁher — this creeper accusativeइसको
puṣpa-cayanenaby plucking her flowers instrumental of meansफूल तोड़ने के द्वारा
jala-adānena caand by withholding her water instrumental of means; ca 'and'और जल न देने के द्वारा
khedayasiyou torment [her]तू सताती है
iti— such is the sense closing the implied reproachइस प्रकार (यह भाव)
nirupādhikaṁmotiveless, with no provocation at allबिना किसी कारण की
kārkaśyaṁharshness, crueltyकठोरता (निष्ठुरता)
vyañjitamis what is suggested vyañjanā — hinted, not said outrightव्यंजित की गई (संकेत से जताई गई)
mālatyā anayā kim aparāddham — what wrong has this mālatī done?; yat — that; imāṁ puṣpa-cayanena jala-adānena ca khedayasi — you torment her by plucking her flowers and withholding her water; iti — such is the sense; nirupādhikaṁ kārkaśyaṁ vyañjitam — her motiveless harshness is thereby suggested.
'इस मालती ने क्या अपराध किया, कि तू इसे फूल तोड़कर और जल न देकर सताती है' — इस प्रकार बिना किसी कारण की कठोरता व्यंजित की गई है।
Now the point of those two words. The sakhī is really asking: 'What has this poor mālatī ever done to you? Yet you torment her — plucking her flowers, denying her water — till she lies withered on the ground.' The force of it: if Śyāmalā can be this cruel to a blameless creeper, her harshness needs no cause outside herself. And that, says Viśvanātha, is exactly what the verse suggests (vyañjita) rather than states — a motiveless, unconditional harshness. That is why the verse fits the heroine 'extremely harsh in her sulk.'
भाव यह है — 'इस मालती ने तेरा क्या बिगाड़ा है, जो तू इसके फूल तोड़कर और इसे पानी न देकर सताती है?' इससे बिना किसी कारण की निष्ठुरता संकेत से प्रकट हो रही है।