kiśorikāṇām apy āsām ākṛteḥ prakṛter api |
prāgalbhyād iva kāsāṁcit pragalbhātvam udīryate
madhyā tathā pragalbhā ca dvidhā sā paribhidyate |
jyeṣṭhā cāpi kaniṣṭhā ca nāyaka-praṇayaṁ prati
The verse — decoded
L1definition
kiśorikāṇām apy āsām ākṛteḥ prakṛter api |
kiśorikāṇām apieven though these are still young girls (kiśorī) api = 'even though', concessiveयद्यपि ये किशोरियाँ (किशोर अवस्था की) हैं
āsāmof these [heroines under discussion]इनका
ākṛteḥon account of their form (how they look) ablative of causeआकृति (शरीर-गठन) के कारण
prakṛteḥ apiand on account of their nature too (how they are by temperament) api = 'too', pairing the second causeऔर प्रकृति (स्वभाव) के कारण भी
kiśorikāṇām api āsām — even though these [heroines] are still young girls; ākṛteḥ — because of their form; prakṛteḥ api — and because of their nature too
यद्यपि ये किशोर अवस्था की हैं, तथापि इनकी आकृति के कारण और इनकी प्रकृति के कारण भी —
The heroines being classed here are all still young girls (kiśorī). Even so, two things about them count — how they look and how they are by nature. The sentence sets up its cause here and finishes in the next line.
ये किशोरी अवस्था की हैं, फिर भी इनके शरीर-गठन (आकृति) और स्वभाव (प्रकृति) — इन दोनों के कारण —
kiśorī = an adolescent girl; the point is that boldness would normally belong to an older woman, so the poet has to explain how a young girl can still be called 'bold'.
L2definition
prāgalbhyād iva kāsāṁcit pragalbhātvam udīryate
prāgalbhyāt ivaas if out of boldness (prāgalbhya, a mature, forward bearing) iva = 'as if' — flags that it only looks like real boldnessमानो प्रगल्भता (प्रौढ़ धृष्टता) के कारण
kāsāṁcitin the case of some of themकिन्हीं किशोरियों में
pragalbhātvamthe status of being a pragalbhā (the 'bold' type of heroine)प्रगल्भता का भाव
udīryateis declared [by authorities] passive presentकहा जाता है
kāsāṁcit — in some of them; prāgalbhyāt iva — as if out of boldness; pragalbhātvam — the status of a pragalbhā; udīryate — is declared
किन्हीं किशोरियों में प्रगल्भता का भाव कहा जाता है — मानो वह (सच्ची) प्रगल्भता से ही आया हो।
For some of these young girls, teachers still call them pragalbhā — the 'bold' heroine. But notice the word iva, 'as if': it is only as though the boldness came [from maturity]. In a young girl the boldness is apparent, coming from her form and nature, not from real seniority in years.
कुछ किशोरियों में प्रगल्भता कही जाती है, मानो वह वास्तविक प्रगल्भता ही हो।
‘इव’ यह संकेत देता है कि यह वास्तविक प्रगल्भता नहीं, केवल उसके समान प्रतीत होती है।
L3definition
madhyā tathā pragalbhā ca dvidhā sā paribhidyate |
madhyāthe madhyā (the middling heroine)मध्या
tathā pragalbhā caand likewise the pragalbhā (the bold heroine) tathā … ca ties the two types togetherतथा प्रगल्भा — यों दोनों
dvidhāin two waysदो प्रकार से
sāeach such [heroine]वह (किशोरी नायिका)
paribhidyateis further divided passive presentविभाजित की जाती है
madhyā tathā pragalbhā ca — the madhyā and likewise the pragalbhā; sā — each such one; dvidhā — in two ways; paribhidyate — is further divided
वह (किशोरी नायिका) दो प्रकार से विभाजित की जाती है — मध्या तथा प्रगल्भा।
Now a sub-division. Both the madhyā (middling) heroine and the pragalbhā (bold) heroine each split into two. The line names the split; the next line gives the two names and the basis for the split.
वह दो भेदों में बँटती है — मध्या और प्रगल्भा।
L4definition
jyeṣṭhā cāpi kaniṣṭhā ca nāyaka-praṇayaṁ prati
jyeṣṭhā ca apias jyeṣṭhā (the 'senior' one)और ज्येष्ठा भी
kaniṣṭhā caand as kaniṣṭhā (the 'junior' one)और कनिष्ठा
nāyaka-praṇayaṁ pratimeasured against the hero's love prati = 'with respect to', naming the criterion of the splitनायक के प्रणय (प्रेम) के प्रति — इस कसौटी पर
jyeṣṭhā ca api kaniṣṭhā ca — as jyeṣṭhā and as kaniṣṭhā; nāyaka-praṇayaṁ prati — measured against the hero's love
और नायक के प्रणय के प्रति (कसौटी पर) वह ज्येष्ठा तथा कनिष्ठा — यों भी (विभाजित होती है)।
The two halves are called jyeṣṭhā (senior) and kaniṣṭhā (junior). And the yardstick for which is which is the hero's love (nāyaka-praṇaya) — not their age. The commentary will make that yardstick explicit.
तथा नायक के प्रति प्रेम के अनुसार वह ज्येष्ठा और कनिष्ठा में भी बँटती है।
jyeṣṭhā/kaniṣṭhā literally mean 'elder/younger', but here they are technical labels ranked by the hero's love, as Viśvanātha spells out below.
Commentary — decoded
Jīva Gosvāmī
s1gloss
ākṛteḥ prakṛter api prāgalbhyād ity evam anvayaḥ ||
ākṛteḥfrom [their] formआकृति के कारण
prakṛteḥ apiand from [their] nature tooऔर प्रकृति के कारण भी
prāgalbhyāt[comes] the boldness the ablative these two feed intoप्रगल्भता से — इसी में ये दोनों (हेतु) जुड़ते हैं
iti evam anvayaḥsuch is how the words connect anvaya = the syntactic construingइस प्रकार अन्वय (वाक्य-योजना) है
ākṛteḥ prakṛteḥ api — from their form and their nature too; prāgalbhyāt — [comes] the boldness; iti evam anvayaḥ — such is the construing
‘आकृति के कारण और प्रकृति के कारण भी — प्रगल्भता से’ — इस प्रकार अन्वय (वाक्य की योजना) है।
Jīva just fixes the word order. Read the two ablatives as feeding the third: 'from their form, and from their nature too, [comes] the boldness (prāgalbhya).' In other words, form and nature are what the boldness rests on — that is how ākṛteḥ, prakṛteḥ, and prāgalbhyāt hang together.
मूल का अन्वय ऐसे लगता है — आकृति और प्रकृति के कारण, प्रगल्भता से।
Viśvanātha Cakravartī
s1avataranika
prāgalbhyād iveti |
prāgalbhyāt iva iti[taking up the verse-phrase] 'as if out of boldness' iti marks a pratīka — the lemma he is about to comment on‘प्रगल्भता से मानो’ — यह पद (लेकर)
prāgalbhyāt iva iti — [on the words] 'as if out of boldness'
‘प्रागल्भ्याद् इव’ — इस पद को लेकर (वे कहते हैं) —
Viśvanātha picks up the verse's phrase 'prāgalbhyād iva' — 'as if out of boldness' — as the words he will explain. His whole comment is aimed at that little iva, 'as if'.
‘प्रगल्भता से मानो’ इस पद पर (टीका आरम्भ होती है)।
s2gloss
kiñcid vayodhikatva eva vastutaḥ prāgalbhyaṁ sambhaved iti bhāvaḥ |
kiñcit vayodhikatve evaonly where the age is somewhat greater locative 'when/where'; eva = 'only', restricting the conditionजब आयु में कुछ अधिकता हो, तभी
vastutaḥin actual factवस्तुतः (वास्तव में)
prāgalbhyaṁreal boldness (prāgalbhya)प्रगल्भता
sambhavetcould arise optative — the possibility, not the factसम्भव हो सकती है
iti bhāvaḥthat is the point of itऐसा भाव है
vastutaḥ — in actual fact; prāgalbhyaṁ — real boldness; kiñcit vayodhikatve eva — only where the age is somewhat greater; sambhavet — could arise; iti bhāvaḥ — that is the point
वस्तुतः प्रगल्भता तभी सम्भव हो सकती है जब (किशोरी की) आयु में कुछ अधिकता हो — ऐसा भाव है।
Here is why the verse says 'as if'. Real boldness could only turn up where the girl is actually somewhat older. But these are young girls (kiśorī), so genuine seniority-boldness is not there. What they show only looks like it — hence the poet's iva, 'as if out of boldness'.
वास्तव में सच्ची प्रगल्भता कुछ बड़ी अवस्था में ही हो सकती है — यही तात्पर्य है।
This is Viśvanātha explaining the force of iva in the mūla: true prāgalbhya needs some real advance in age; in a kiśorī the boldness is only apparent, sourced (as Jīva said) in form and nature.
s3gloss
nāyaka-praṇayaṁ prati lakṣyīkṛtya nāyaka-kartṛka-praṇayādhikya-nyūnatvāvatyau krameṇa jyeṣṭhā-kaniṣṭhe syātām ity arthaḥ ||
nāyaka-praṇayaṁ pratiwith respect to the hero's loveनायक के प्रणय के प्रति
lakṣyīkṛtyataking that as the measuring-point gerund — 'having made [it] the criterion'उसे लक्ष्य (कसौटी) बनाकर
nāyaka-kartṛka-praṇaya-ādhikya-nyūnatva-vatyauthe two girls who have, one more and one less, of the love the hero gives dual -vatyau; nāyaka-kartṛka = 'of which the hero is the giver'नायक जिसका कर्ता (देने वाला) है, ऐसे प्रणय की अधिकता और न्यूनता वाली (वे दो नायिकाएँ)
krameṇarespectivelyक्रमशः
jyeṣṭhā-kaniṣṭhethe jyeṣṭhā (senior) and the kaniṣṭhā (junior) dualज्येष्ठा और कनिष्ठा
syātāmwould be dual optative(दोनों) होती हैं
iti arthaḥthat is the meaningऐसा अर्थ है
nāyaka-praṇayaṁ prati lakṣyīkṛtya — taking the hero's love as the measure; nāyaka-kartṛka-praṇaya-ādhikya-nyūnatva-vatyau — the two who have more and less of the love the hero gives; krameṇa — respectively; jyeṣṭhā-kaniṣṭhe syātām — would be jyeṣṭhā and kaniṣṭhā; iti arthaḥ — that is the meaning
नायक के प्रणय को कसौटी बनाकर, नायक द्वारा दिए गए प्रणय की अधिकता और न्यूनता वाली (वे दोनों) क्रमशः ज्येष्ठा और कनिष्ठा होती हैं — ऐसा अर्थ है।
Take the hero's love as the yardstick. The girl who gets more of his love is the jyeṣṭhā (senior); the one who gets less is the kaniṣṭhā (junior). So 'senior' and 'junior' here have nothing to do with age — they rank the two by how much love the hero gives each. That is what 'jyeṣṭhā ca api kaniṣṭhā ca, nāyaka-praṇayaṁ prati' means.
नायक के प्रेम को मानदण्ड मानकर — जिसमें नायक का प्रणय अधिक हो वह ज्येष्ठा, और जिसमें कम हो वह कनिष्ठा — यही अर्थ है।
Note the direction of the love: praṇaya here is nāyaka-kartṛka — the love the hero gives, not the love she gives him. Rank by his affection received, not by years.