L1other
kucālambhe pāṇir na hi mama bhavatyā vighaṭito
kucālambhewhen I laid my hand on your breast (locative: 'on the occasion of the touching of the breast') kuca-ālambha, locative of occasionस्तन का आलिंगन (स्पर्श) होने पर
mama pāṇiḥmy handमेरा हाथ
na hi vighaṭitaḥwas not pushed away at all (hi drives the 'at all': she gave not the slightest resistance)निश्चय ही हटाया न गया
bhavatyāby you (honorific 'you', the one who did not push it off)आपके द्वारा
kucālambhe mama pāṇiḥ bhavatyā na hi vighaṭitaḥ — when I laid my hand on your breast, my hand was not pushed away by you at all
स्तन का आलिंगन होने पर मेरा हाथ आपके द्वारा निश्चय ही हटाया न गया।
When I laid my hand on your breast, you never pushed it away.
जब मेरा हाथ तुम्हारे स्तन तक पहुँचा, तब तुमने उसे हटाया तक नहीं।
The verse is spoken by Kṛṣṇa to Candrāvalī. He lists, line by line, the outward signs of māna she did NOT show — and then marvels (L4) that a sulk this invisible has never been seen. The commentators will explain that the māna was real, only wholly inward.
L2other
muhuś cumbārambhe mukham api na sācīkṛtam abhūt |
muhuḥagain and again, over and overबार-बार
cumbārambhewhen I set about kissing you (locative: 'at the undertaking of a kiss') cumba-ārambha, locative of occasionचुम्बन आरम्भ होने पर
mukham apieven your face — not so much as your faceमुख भी
na sācīkṛtam abhūtwas not turned aside (sācīkṛta = made to face sideways, averted)तिरछा (विमुख) न किया गया
muhuḥ cumbārambhe mukham api na sācīkṛtam abhūt — when I began kissing you again and again, you did not even turn your face aside
बार-बार चुम्बन आरम्भ होने पर मुख भी तिरछा न किया गया।
When I kissed you over and over, you did not so much as turn your face away.
बार-बार चुम्बन करने पर भी तुमने अपना मुख तक नहीं फेरा।
L3other
parīrambhe candrāvali na ca vapuḥ kuñcitam idaṁ
parīrambhewhen I embraced you (locative: 'at the embrace') pari-rambha, locative of occasionआलिंगन होने पर
candrāvaliO Candrāvalī — he names her as he speaksहे चन्द्रावलि
na ca kuñcitamnor was it drawn back or made to shrink (ca ties this third non-reaction to the first two)और संकुचित (सिकोड़ा) न किया गया
idaṁ vapuḥthis body of yoursयह शरीर
candrāvali parīrambhe idaṁ vapuḥ na ca kuñcitam — O Candrāvalī, when I embraced you, this body of yours did not shrink back either
हे चन्द्रावलि, आलिंगन होने पर यह शरीर संकुचित न हुआ।
And when I embraced you, Candrāvalī, this body of yours did not flinch or draw back either.
हे चन्द्रावलि, आलिंगन करते समय तुम्हारा यह शरीर पीछे तक न हटा।
L4other
kva labdhā mānasya sthitir iyam anālokita-carī ||
kva labdhāwhere was it ever found, where has anyone seen it?कहाँ प्राप्त हुई
iyam mānasya sthitiḥthis state of māna, this way of sulkingमान की यह स्थिति
anālokita-carīnever once witnessed before (a-nālokita + carī, 'one that has never been seen')पहले कभी न देखी गई
iyam anālokita-carī mānasya sthitiḥ kva labdhā — where has this never-before-seen state of māna ever been found?
मान की यह पहले कभी न देखी गई स्थिति कहाँ प्राप्त हुई?
Where has anyone ever seen a sulk like this? — a māna so hidden it leaves no trace at all.
मान की ऐसी स्थिति, जो पहले कभी देखी न गई, कहाँ से मिली?
This is Kṛṣṇa marveling. She gave every outward sign of yielding — no pushed-away hand, no averted face, no shrinking body — yet, as the commentary shows, her heart had withdrawn. A māna so complete it is invisible: the mark of the pūrṇa-dhairyā, the fully-grave heroine.
Commentary — decoded
Jīva Gosvāmī
s1gloss
kucālambha ity atra mānasa-maye’pi gāmbhīryam ādaro’vahitthā ca gamyata iti dhīrātvam |
kucālambha iti atrahere, in the verse 'kucālambhe...' (naming the verse he is explaining)'कुचालम्भ' इस पद में यहाँ
mānasa-maye apieven though her māna is only inward, made of nothing but the mind (api: 'even though it never surfaces') locative agreeing with an understood māneमन में ही रहने वाला (मानसिक मात्र) मान होने पर भी
gāmbhīryamher gravity, her deep composureगम्भीरता
ādaraḥher regard for himआदर
avahitthā caand her masking of her real feeling (avahitthā, the concealment of emotion)और अवहित्था (भाव का छिपाना)
gamyatecan be read off, can be inferredजानी जाती है (प्रतीत होती है)
iti dhīrātvamand so [this establishes] her being a dhīrā, the self-possessed heroineइसलिए यह धीरात्व (धीरा-भाव) है
kucālambha iti atra mānasa-maye api [māne] gāmbhīryam ādaraḥ avahitthā ca gamyate — here in 'kucālambhe...', even in a purely mental māna one can read her gravity, her regard, and her concealment of feeling; iti dhīrātvam — hence her being a dhīrā
'कुचालम्भ' इस पद में — मान के मानसिक मात्र होने पर भी गम्भीरता, आदर और अवहित्था प्रतीत होती है, इसलिए यहाँ धीरात्व है।
In this verse, though her māna is purely inward and never acted out, you can still read three things in her: gravity (gāmbhīrya), regard for him (ādara), and the hiding of her true feeling (avahitthā). That is what makes her a dhīrā — the self-possessed type of heroine, who never lets her anger show on the surface.
'कुचालम्भ' पद में, यद्यपि मान केवल मन में ही है, फिर भी गम्भीरता, आदर और भाव को छिपाना — ये प्रतीत होते हैं; इसीलिए यहाँ धीरा-भाव है।
dhīrā is one of three types of heroine classed by how she voices anger: the dhīrā masks it entirely (as here), the adhīrā vents it openly, the dhīrādhīrā mixes both. avahitthā is the technical name for this masking of one's real emotion.
s2gloss
māne karkaśatvāt pāṇi-vighaṭanākaraṇena samarthatayā pūrṇa-yauvanatvāc ca pragalbhātvaṁ ca ||
māne karkaśatvātbecause her māna is hard and unbending (ablative of reason: her sulk, when it comes, is severe)क्योंकि मान में कठोरता है
pāṇi-vighaṭana-akaraṇenaseen in that she does not even push his hand away (instrumental: the non-doing of the hand-pushing is the evidence)हाथ को न हटाने के द्वारा
samarthatayāout of her self-assured mastery (instrumental: she is so fully in command she need not react)समर्थता (सामर्थ्य) के द्वारा
pūrṇa-yauvanatvāt caand because she is in the fullness of her youth (ablative of reason)और पूर्ण यौवन के कारण
pragalbhātvaṁ caand [this establishes] her being a pragalbhā, the fully mature, confident heroine (ca: 'and' — so, along with dhīrā above)और प्रगल्भता (प्रगल्भा-भाव) भी [प्रतीत होती है]
māne karkaśatvāt — because her māna is severe; samarthatayā pāṇi-vighaṭana-akaraṇena — by her not pushing the hand away, out of self-assured mastery; pūrṇa-yauvanatvāt ca — and because of her full-blown youth; pragalbhātvaṁ ca — [she is] also a pragalbhā
मान में कठोरता के कारण, हाथ को न हटाने से, समर्थता के द्वारा और पूर्ण यौवन के कारण — प्रगल्भता भी [प्रतीत होती है]।
And three things mark her as a pragalbhā — the bold, fully mature heroine. Her māna is hard and unbending. She is so self-assured that she does not even bother to push his hand away. And she is in the ripeness of her youth. So Candrāvalī here is both dhīrā and pragalbhā — a dhīrā-pragalbhā.
मान में कठोरता होने पर भी हाथ को न हटाने से — उसकी समर्थता और पूर्ण यौवन के कारण — प्रगल्भता भी प्रकट होती है।
pragalbhā is the heroine classed by maturity as fully ripe, as against the young madhyā and the naive mugdhā; her māna is proverbially karkaśa, severe. Joined to the dhīrā of the previous line, Jīva reads Candrāvalī as a dhīrā-pragalbhā.
Viśvanātha Cakravartī
s1gloss
yathā veti |
yathā vā itihe takes up the lead-in words 'yathā vā' ('or else, as here') to comment on them'यथा वा' इस पद के विषय में
yathā vā iti — [the phrase] 'yathā vā'
'यथा वा' इस पद के विषय में [कहते हैं]।
He first picks up the lead-in phrase 'yathā vā' — 'or, as in this example.'
'यथा वा' — इस पद पर [यह टीका है]।
s2gloss
tasyāṁ pūrṇa-dhairyāyāṁ paritoṣa-vyañjako vā-kāra iti na dvaividhyaṁ sva-saṁmatam iti bhāvaḥ |
tasyāṁ pūrṇa-dhairyāyāṁwith regard to her, the fully-grave heroine (locative: 'in her case')उस पूर्ण-धैर्यवाली [नायिका] के विषय में
paritoṣa-vyañjakaḥvoices the author's satisfaction, his pleasure in the exampleपरितोष (पूर्ण संतोष) का व्यंजक (सूचक)
vā-kāraḥis what the little word 'vā' [in 'yathā vā'] does'वा' शब्द
iti na dvaividhyaṁso it is NOT a second variety [of heroine], no twofold divisionइस प्रकार कोई द्वैविध्य (दो प्रकार) नहीं
sva-saṁmatamthat the author himself intends or acceptsस्वयं (ग्रन्थकार) को सम्मत
iti bhāvaḥ— this is the senseयह भाव है
tasyāṁ pūrṇa-dhairyāyāṁ paritoṣa-vyañjakaḥ vā-kāraḥ — the 'vā' voices [the author's] satisfaction regarding her, the fully-grave heroine; na dvaividhyaṁ sva-saṁmatam iti bhāvaḥ — the sense is that no second variety is meant by the author himself
उस पूर्ण-धैर्यवाली नायिका के विषय में 'वा' शब्द परितोष का व्यंजक है; इस प्रकार कोई द्वैविध्य ग्रन्थकार को स्वयं सम्मत नहीं — यह भाव है।
Do not read the 'vā' of 'yathā vā' as 'or else — a different kind of heroine.' It marks no new variety. It simply voices the author's satisfaction in offering one more example of the same fully-grave heroine (pūrṇa-dhairyā). He is not setting up a two-fold division here — that is the point.
उस पूर्ण-धैर्यवाली नायिका के विषय में 'वा' शब्द परितोष का सूचक है; अतः यहाँ दो प्रकार का भेद ग्रन्थकार को स्वयं सम्मत नहीं — यही अभिप्राय है।
s3gloss
kucālambha iti |
kucālambha itinow he takes up the verse itself, 'kucālambhe...''कुचालम्भ' इस पद के विषय में
kucālambha iti — [the verse] 'kucālambhe...'
'कुचालम्भ' इस पद के विषय में [कहते हैं]।
Now he turns to the verse proper, 'kucālambhe...'.
'कुचालम्भ' — इस पद पर [यह टीका है]।
s4avataranika
atraivaṁ jñeyam |
atrahere, in this verseयहाँ
evaṁ jñeyamthe scene is to be pictured as followsइस प्रकार जानना चाहिए
atra evaṁ jñeyam — here [the situation] is to be understood thus
यहाँ इस प्रकार जानना चाहिए।
Here the situation should be pictured like this — and he lays out a little exchange between Kṛṣṇa and Candrāvalī.
यहाँ इस प्रकार समझना चाहिए —
s5other
« priye candrāvali, tvaṁ kiṁ māniny asi ? » « nahi nahi |
priye candrāvali'Dear Candrāvalī' — Kṛṣṇa addresses herहे प्रिये चन्द्रावलि
tvaṁ kiṁ māninī asi'are you cross with me? (are you in a sulking mood, a māninī?)' — kim marks it a questionक्या तुम मानिनी हो?
nahi nahi'No, no' — she answers at onceनहीं नहीं
priye candrāvali, tvaṁ kiṁ māninī asi — 'Dear Candrāvalī, are you sulking?'; nahi nahi — 'No, no'
'हे प्रिये चन्द्रावलि, क्या तुम मानिनी हो?' 'नहीं नहीं!'
Kṛṣṇa: 'Dear Candrāvalī, are you cross with me?' She: 'No, no.'
'हे प्रिये चन्द्रावलि, क्या तुम मानिनी हो?' 'नहीं नहीं!'
s6other
kiṁ me mānasya lakṣaṇaṁ paśyasi ? niraparādhe tvayi ko vā mānasyāvakāśaḥ ? » « evaṁ cet svāṅga-sparśaṁ dāsyasi ? » « dāsyāmy eva, ko’tra sandehās ? tavaivedam aṅgam » iti bahir brūte |
kiṁ me mānasya lakṣaṇaṁ paśyasi'do you see any sign of a sulk in me?'मुझमें मान का कौन-सा लक्षण देखते हो?
niraparādhe tvayi'when you have done nothing wrong' (locative absolute: 'you being faultless') locative absoluteजब तुम निरपराध हो, तब
ko vā mānasya avakāśaḥ'what room is there for māna at all?'मान का अवकाश (स्थान) ही कहाँ?
evaṁ cet[Kṛṣṇa:] 'if that is so...'यदि ऐसा है तो
sva-aṅga-sparśaṁ dāsyasi'will you grant me the touch of your body?'क्या अपने अंग का स्पर्श दोगी?
dāsyāmi eva[she:] 'of course I will' (eva: without hesitation)अवश्य दूँगी
kaḥ atra sandehaḥ'what doubt could there be about that?'इसमें क्या संदेह?
tava eva idam aṅgam'this body is yours and yours alone' (eva: yours alone)यह अंग तुम्हारा ही है
iti bahiḥ brūte— all this she says aloud, on the surface (bahiḥ set up to contrast with the aside coming next)— इस प्रकार वह बाहर (प्रकट रूप से) कहती है
kiṁ me mānasya lakṣaṇaṁ paśyasi? niraparādhe tvayi ko vā mānasya avakāśaḥ? — 'What sign of a sulk do you see in me? You are faultless — where is the room for māna?'; evaṁ cet sva-aṅga-sparśaṁ dāsyasi? — 'If so, will you let me touch you?'; dāsyāmi eva, kaḥ atra sandehaḥ, tava eva idam aṅgam — 'Of course, no doubt, this body is yours alone'; iti bahiḥ brūte — thus she speaks outwardly
'मुझमें मान का कौन-सा लक्षण देखते हो? तुम्हारे निरपराध होने पर मान का अवकाश ही कहाँ?' 'यदि ऐसा है तो अपने अंग का स्पर्श दोगी?' 'अवश्य दूँगी, इसमें क्या संदेह? यह अंग तुम्हारा ही है' — इस प्रकार वह प्रकट रूप से कहती है।
She goes on: 'What sign of any sulk do you see in me? You've done nothing wrong — where's the occasion for a mood?' Kṛṣṇa: 'If so, will you let me touch you?' She: 'Of course — no doubt about it; this body is yours alone.' All of this she says out loud.
'मुझमें मान का कौन-सा लक्षण देखते हो? तुम तो निरपराध हो, फिर मान का स्थान ही कहाँ?' 'यदि ऐसा है तो अपने अंग का स्पर्श दोगी?' 'अवश्य दूँगी, इसमें क्या संदेह? यह अंग तो तुम्हारा ही है' — ऐसा वह मुँह से (बाहर) कहती है।
bahiḥ ('outwardly') is placed deliberately to set up the svagataṁ ('to herself') of the next line. The whole teaching turns on the gap between her spoken words and her inner state.
s7other
svagataṁ tu māninyā mayāsmin bhāvas tyakta eva |
svagataṁ tubut to herself, aside (tu marks the turn from what she said aloud)परन्तु मन-ही-मन (स्वगत)
māninyā mayā'by me, who am secretly sulking'मुझ मानिनी के द्वारा
asmintoward himइस [कृष्ण] के प्रति
bhāvaḥ tyaktaḥ eva'my warm feeling has in fact been withdrawn' (eva: truly, already given up)भाव (अनुराग) तो त्याग ही दिया गया है
svagataṁ tu — but to herself; māninyā mayā asmin bhāvaḥ tyaktaḥ eva — 'sulking as I am, I have in truth withdrawn my feeling toward him'
परन्तु स्वगत — मुझ मानिनी के द्वारा इसके प्रति भाव तो त्याग ही दिया गया है।
But to herself she thinks: 'Sulking as I am, I have truly pulled my heart back from him.' Aloud she yields; inwardly the feeling is already withdrawn.
परन्तु मन-ही-मन [वह सोचती है] — 'मुझ मानिनी ने इसके प्रति अपना अनुराग तो त्याग ही दिया है।'
s8conclusion
kiṁ tu, tasmai datta-caram aṅgam idam ayaṁ yaj jānāti tad eva karotu mama kim anenety audāsīnyaṁ sampūrṇa-dhīratva-kṛtam iti |
kiṁ tu'and yet' — she reasons on, inwardlyपरन्तु
tasmai datta-caram'already given to him long before'उसको पहले ही दिया जा चुका
idam aṅgam'this body of mine'यह अंग (शरीर)
ayaṁ yat jānāti'whatever he sees fit (whatever he knows to do)'यह (कृष्ण) जो जानता है
tat eva karotu'let him just do that'वही करे
mama kim anena'what is it to me? what do I care about this body?'मुझे इससे क्या [प्रयोजन]?
iti audāsīnyaṁ— this indifference of hers— ऐसी उदासीनता (औदासीन्य)
sampūrṇa-dhīratva-kṛtamis produced by her complete gravity (sampūrṇa-dhīratva)सम्पूर्ण धीरत्व से उत्पन्न है
iti— so ends the asideइति (ऐसा भाव)
kiṁ tu tasmai datta-caram idam aṅgam, ayaṁ yat jānāti tat eva karotu, mama kim anena — 'and yet this body I gave him long ago; let him do with it whatever he likes; what is that to me?'; iti audāsīnyaṁ sampūrṇa-dhīratva-kṛtam — this indifference is the work of her complete gravity
परन्तु — 'यह अंग उसको पहले ही दिया जा चुका है; यह जो जानता है वही करे, मुझे इससे क्या?' — ऐसी उदासीनता सम्पूर्ण धीरत्व से उत्पन्न है।
She continues inwardly: 'This body I gave him long ago. Let him do with it whatever he likes — what is that to me?' This indifference of hers is the work of her complete gravity (sampūrṇa-dhīratva). She does not fight him off; she simply no longer cares. That inward detachment is exactly what a fully-grave heroine's māna looks like.
परन्तु — 'यह अंग तो उसको पहले ही दिया जा चुका है; यह जो जानता है वही करे, मुझे इससे क्या?' — ऐसी उदासीनता उसके सम्पूर्ण धीरत्व से उत्पन्न है।
sampūrṇa-dhīratva — 'complete gravity' — is the mark of the pūrṇa-dhairyā: her māna never surfaces as resistance; it shows only as this inward withdrawal and 'let-him-do-as-he-likes' indifference.
s9gloss
kva labdheti |
kva labdhā itinow he takes up the closing line, 'kva labdhā...''क्व लब्धा' इस पद के विषय में
kva labdhā iti — [the line] 'kva labdhā...'
'क्व लब्धा' इस पद के विषय में [कहते हैं]।
Now he explains the closing line, 'kva labdhā...'.
'क्व लब्धा' — इस पद पर [यह टीका है]।
s10conclusion
adya tvat-sambhoge sukha-leśa-mātram api mayā na labdham iti bhāvaḥ ||
adyatodayआज
tvat-sambhogein union with you, in today's love-making with you (locative: 'in the enjoying of you')तुम्हारे साथ सम्भोग (मिलन) में
sukha-leśa-mātram apieven the least trace of pleasure (api: even so much as a shred)सुख का लेशमात्र भी
mayā na labdhamwas not obtained by me [Kṛṣṇa]मुझको प्राप्त न हुआ
iti bhāvaḥ— this is the real sense of 'where was such a māna ever seen?'यह भाव है
adya tvat-sambhoge sukha-leśa-mātram api mayā na labdham iti bhāvaḥ — the sense is: 'today, joined with you, I did not get even a trace of pleasure'
आज तुम्हारे साथ मिलन में मुझको सुख का लेशमात्र भी प्राप्त न हुआ — यह भाव है।
The inner sense of 'where has such a māna ever been seen?' is Kṛṣṇa's complaint: 'Today, joined with you, I got not even a trace of real pleasure.' She resisted nothing — yet because her heart had withdrawn, the union gave him nothing. That invisible withdrawal is the never-before-seen māna he marvels at.
आज तुम्हारे साथ मिलन में मुझको सुख का लेशमात्र भी प्राप्त न हुआ — यही अभिप्राय है।
This unpacks the paradox of the verse: a māna that produces no outward refusal, yet drains the union of joy. Its only 'sign' is that Kṛṣṇa found no pleasure in her today.