L1other
mugdhāḥ kaṁsaripo vayaṁ racayituṁ jānīmahe nocitaṁ
mugdhāḥwe are just naive, simple girls nominative plural, predicate of vayamभोली-भाली हैं (हम) — यह ‘हम’ का विशेषण
kaṁsaripoO foe of Kaṁsa (Kṛṣṇa) vocative, kaṁsa-ripoहे कंस के शत्रु (कृष्ण)! — सम्बोधन
vayaṁweहम
racayituṁto arrange, to pull [such a thing] off infinitive(कुछ) रचने / करने के लिए
na ... ucitaṁ[do not know] what is fittingजो उचित हो, वैसा नहीं
jānīmahewe know how 1st person pluralहम जानती हैं (na के साथ — नहीं जानतीं)
mugdhāḥ vayaṁ — we are naive girls; kaṁsaripo — O foe of Kaṁsa; ucitaṁ racayituṁ na jānīmahe — we do not know how to arrange what is fitting.
हम भोली-भाली हैं; हे कंसारि (कृष्ण)! जो उचित हो, वैसा रचना (करना) हम नहीं जानतीं।
We are just naive girls, O enemy of Kaṁsa. We don't know how to arrange things the proper way.
हम तो भोली हैं। हे कंस के शत्रु! उचित बरताव करना हमें नहीं आता।
L2other
tāṁ nīti-krama-kovidāṁ priya-sakhīṁ vandemahi śyāmalām |
tāṁ ... śyāmalāmher, Śyāmalā accusative, object of vandemahiउस श्यामला की — वन्देमहि का कर्म
nīti-krama-kovidāṁwho knows the proper order of how such things are done nīti (right conduct) + krama (sequence, method) + kovidā (expert)नीति के क्रम (विधि) में निपुण
priya-sakhīṁour dear friendप्रिय सखी
vandemahilet us bow to 1st person pluralहम वंदना करें (प्रणाम करें)
tāṁ śyāmalām — her, Śyāmalā; priya-sakhīṁ — our dear friend; nīti-krama-kovidāṁ — expert in the proper sequence of conduct; vandemahi — let us bow.
नीति के क्रम में निपुण उस प्रिय सखी श्यामला की हम वंदना करें।
So let us bow to her — Śyāmalā, our dear friend, who knows the right sequence of how these things are done.
नीति की रीति में निपुण उस प्रिय सखी श्यामला को हम प्रणाम करें।
nīti — in its home sense the art of statecraft and right policy; here it is turned playfully to the 'diplomacy' of handling a lover, so nīti-krama-kovidā = skilled in the correct procedure for it.
L3other
mallī-dāmabhir ucchalan-madhukaraiḥ saṁyamya kaṇṭhe yayā
mallī-dāmabhirwith jasmine garlands instrumental pluralमल्लिका (चमेली) की मालाओं से — किसके द्वारा (साधन)
ucchalan-madhukaraiḥabuzz with bees darting up out of them ucchalat (springing up) + madhukara (bee); describes the garlandsउछलते हुए भौंरों वाली (उन मालाओं) से
saṁyamyahaving bound [them] fast gerundबाँधकर
kaṇṭhearound [your] neck locative(तेरे) कंठ में / गले में
yayāshe by whom instrumental (agent of the passive tāḍyase in L4), = Śyāmalāजिसके (श्यामला के) द्वारा — ताड़ित करने का कर्ता
yayā — she by whom; mallī-dāmabhiḥ ucchalan-madhukaraiḥ — with jasmine garlands abuzz with darting bees; kaṇṭhe saṁyamya — having bound [them] fast around [your] neck.
जिसने (श्यामला ने) उछलते भौंरों वाली चमेली की मालाओं से तेरे गले को बाँधकर —
It was she who bound your neck fast with jasmine garlands — garlands still abuzz with bees darting up out of them —
जिस श्यामला ने उछलते भौंरों-भरी चमेली की मालाओं से तेरे गले को बाँधकर —
L4other
sākṣepaṁ cakitekṣaṇas tvam asakṛt karṇotpalais tāḍyase ||
sākṣepaṁreproachfully, scolding you the while adverb, sa-ākṣepa (with reproach)उलाहने के साथ — कैसे (क्रिया-विशेषण)
cakitekṣaṇaswhile you looked on wide-eyed with alarm cakita (startled) + īkṣaṇa (glance); nominative, describes tvamचकित (घबराई) दृष्टि वाला — ‘तू’ का विशेषण
tvamyou [Kṛṣṇa]तू
asakṛtagain and againबार-बार
karṇotpalaiswith the lotuses at her ears karṇa (ear) + utpala (lotus); instrumental pluralकानों के कमलों (कर्ण-कमल) से — किससे
tāḍyaseyou are struck, beaten passive, 2nd singular; agent is yayā (Śyāmalā) from L3तू ताड़ित किया जाता है (पीटा जाता है)
tvam — you; cakitekṣaṇaḥ — startled-eyed; yayā (from L3) — by her; sākṣepaṁ — reproachfully; asakṛt — again and again; karṇotpalaiḥ tāḍyase — are struck with her ear-lotuses.
— उलाहने के साथ, चकित दृष्टि वाले तुझको बार-बार कानों के कमलों से ताड़ित करती है।
and, scolding you all the while, she struck you again and again with the lotuses from her ears — while you looked on wide-eyed with alarm.
— घबराई आँखों वाले तुझको उसने बार-बार कर्ण-कमलों से, उलाहने के साथ, ताड़ित किया।
Viśvanātha Cakravartī
s1avataranika
gaurī prāha—mugdhā iti |
gaurīGaurī [the speaker of the verse] nominativeगौरी (ने) — कहने वाली
prāhasays, speaksकहा / बोलीं
mugdhā iti'mugdhāḥ…' — he takes up the verse by citing its opening word‘मुग्धाः’ इत्यादि (श्लोक) — आरम्भ-पद से श्लोक का निर्देश
gaurī prāha — Gaurī is the speaker; mugdhā iti — 'mugdhāḥ…', citing the first word to open the comment.
गौरी ने ‘मुग्धाः’ इत्यादि (श्लोक) कहा।
Viśvanātha first tells us who is speaking: it is Gaurī. Then he takes up the verse by its opening word, 'mugdhāḥ…'
गौरी कहती हैं — ‘मुग्धाः’ (इस श्लोक से आगे का प्रसंग)।
gaurī means 'the fair one' and śyāmalā 'the dark one' — so the picture is a fair gopī bowing low to a dark one, which sharpens the mock-humility Viśvanātha draws out next.
s2gloss
mugdhaṁ-manyā |
mugdhaṁ-manyā[mugdhāḥ means] 'girls who only fancy themselves naive' the -manya form = 'considering oneself X'; so mugdhaṁ-manyā = 'one who takes herself to be mugdha'अपने को मुग्धा (भोली) मानने वाली — ‘-मन्या’ रूप का अर्थ ‘स्वयं को X मानना’
mugdhaṁ-manyā — [mugdhāḥ =] 'we who [merely] think ourselves naive'.
(मुग्धाः =) अपने को भोली मानने वाली।
By 'naive' (mugdhāḥ) he says she means 'girls who only fancy themselves naive.' It is mock-modesty: they are not really simple, they just call themselves so. The whole praise is tongue-in-cheek.
‘मुग्धाः’ का अर्थ — जो अपने को भोली मानती हैं।
‘-मन्या’ प्रत्यय ‘स्वयं को ऐसा मानना’ जताता है; अतः यह वास्तविक भोलापन नहीं, अपने को भोला मानना है।
s3avataranika
śyāmalāṁ vandemahīti |
śyāmalāṁ vandemahi iti'let us bow to Śyāmalā' — he now takes up this clause to interpret it‘श्यामला की हम वंदना करें’ — यह पद (अब समझाया जाता है)
śyāmalāṁ vandemahi iti — quoting the clause 'let us bow to Śyāmalā' to comment on it.
‘श्यामलां वन्देमहि’ — यह पद।
Now he picks up the line 'let us bow to Śyāmalā' to draw out what it really implies.
‘श्यामला की हम वंदना करें’ — इस पद पर (आगे कहते हैं)।
s4gloss
tat-kṛtaṁ ceṣṭitam eva mac-cikīrṣitam iti vyañjanayā |
tat-kṛtaṁ ceṣṭitam evathe very deed done by her [Śyāmalā] tat-kṛta (done by her) + ceṣṭita (act); eva = 'the very'उस (श्यामला) के द्वारा किया गया कार्य ही
mac-cikīrṣitamis what I too long to do mat (my) + cikīrṣita (the thing wished-to-be-done)मेरा करने योग्य (जो मैं करना चाहती हूँ, वही)
itiso [runs the hidden sense]ऐसा (भाव)
vyañjanayāis conveyed by suggestion, not stated outright instrumental; vyañjanā = the word's power to hint a further senseव्यंजना (शब्द की सूचक-शक्ति) के द्वारा
tat-kṛtaṁ ceṣṭitam eva mac-cikīrṣitam iti — 'the very act she performed is what I myself long to do'; vyañjanayā — this is carried by suggestion.
‘जो कार्य उस (श्यामला) ने किया, वही मैं करना चाहती हूँ’ — यह व्यंजना (ध्वनि) से (सूचित होता है)।
The bowing carries a hidden message (vyañjanā): 'What Śyāmalā did — binding him, striking him — is exactly what I long to do myself.' By praising her friend, Gaurī is really voicing her own desire.
‘जो उस श्यामला ने किया, वही मैं करना चाहती हूँ’ — यह अर्थ व्यंजना (ध्वनि) से निकलता है।
vyañjanā — the power of a word to suggest a further meaning beyond what it plainly says; the verse never states the wish, it only hints it.
s5gloss
tathā mallīty ādinā ca bandhana-tāḍanayor mano-vāk-kṛtatvaṁ siddham |
tathālikewise, in the same suggestive wayवैसे ही / इसी प्रकार
mallīty ādinā caand by the passage beginning 'mallī…' [lines 3–4] instrumental of means; ca links it to the previous point‘मल्ली’ इत्यादि (पद) से भी — साधन; ‘च’ पूर्व बात से जोड़ता है
bandhana-tāḍanayoḥof the binding and the striking genitive dualबाँधने और ताड़न (मारने) — इन दोनों का
mano-vāk-kṛtatvaṁthat they were carried out in thought and word [only] manas (mind) + vāk (speech) + kṛta-tva (state of being done); i.e. not by the bodyमन और वाणी से किए जाने का भाव (न कि शरीर से)
siddhamis establishedसिद्ध होता है
tathā mallī-ity-ādinā ca — and likewise by the 'mallī…' passage; bandhana-tāḍanayoḥ mano-vāk-kṛtatvaṁ — that the binding and striking were done only in mind and speech; siddham — is established.
वैसे ही ‘मल्ली’ इत्यादि पद से भी बाँधने और ताड़न — इन दोनों का मन और वाणी से किया जाना सिद्ध होता है।
In the same way, the 'mallī…' passage (lines 3–4) establishes that the binding and the beating were done only in thought and word — imagined and spoken, not physically acted out.
इसी प्रकार ‘मल्ली’ इत्यादि पद से भी सिद्ध होता है कि बाँधना और ताड़न — ये दोनों मन और वाणी से हुए (शरीर से नहीं)।
s6gloss
sākṣāt sva-pāṇi-kṛtatvaṁ cottamāṅganānāṁ nātisurasanīyam iti na tad varṇitam |
sākṣāt sva-pāṇi-kṛtatvaṁ caand doing it directly, with one's own hands sākṣāt (in person) + sva-pāṇi (own hand) + kṛta-tva; ca marks the contrast with mano-vāk-kṛtatvaऔर साक्षात् अपने हाथ से किए जाने का भाव — यह ‘च’ मन-वाणी वाले से विरोध जताता है
uttamāṅganānāṁfor high-born, refined women uttama-aṅganā, genitive pluralउत्तम (कुलीन) स्त्रियों के लिए
nātisurasanīyamis not in very good taste na + ati + su-rasanīya ('worthy of good relish, rasa') = 'not very relishable / becoming'अधिक रसमय (शोभन) नहीं
itisoऐसा (होने से)
na tad varṇitamthat [hand-done version] is not describedवह (साक्षात् हाथ से करना) वर्णित नहीं किया गया
sākṣāt sva-pāṇi-kṛtatvaṁ ca — and doing it in person with her own hands; uttamāṅganānāṁ na ati-surasanīyam — for refined women is not very tasteful; iti na tat varṇitam — so that is not described.
और साक्षात् अपने हाथ से करना उत्तम स्त्रियों के लिए अधिक रसमय (शोभन) नहीं — इसलिए वह वर्णित नहीं किया गया।
And to do such a thing bodily, with her own hands, is not very becoming for a refined lady. That is why the poet does not describe it that way — he keeps the binding and striking to mind and word.
और अपने ही हाथ से साक्षात् करना कुलीन स्त्रियों के लिए अधिक शोभनीय नहीं होता; इसलिए वह नहीं वर्णित किया गया।
s7alternative
kecit tu śyāmalaivodāharaṇam ity āhuḥ ||
kecit tubut some [commentators], on the other hand, tu marks the shift to a rival viewपरन्तु कुछ (आचार्य) — ‘तु’ भिन्न मत की ओर मोड़ता है
śyāmalā evaŚyāmalā herself [and not the speaker] eva = 'precisely she'श्यामला ही — ‘एव’ = ठीक वही
udāharaṇamis the example [of the type being illustrated](यहाँ) उदाहरण है
iti āhuḥso they sayऐसा कहते हैं
kecit tu — but some; śyāmalā eva udāharaṇam iti āhuḥ — say that Śyāmalā herself is the example.
परन्तु कुछ (आचार्य) कहते हैं कि श्यामला ही (यहाँ) उदाहरण है।
But some hold a different view: they say the example illustrated here is Śyāmalā herself — the woman described — not Gaurī the speaker. Viśvanātha reports this reading and leaves it standing beside his own; he does not settle which is right.
परन्तु कुछ लोग कहते हैं — यहाँ श्यामला ही उदाहरण (उदाहरणीय पात्र) है। (यह भिन्न मत है, पूर्व व्याख्या से अलग।)