L1other
jānīte na harir yathā mama manaḥ-kandarpa-kaṇḍūm imāṁ
jānīte na hariḥso that Hari (Kṛṣṇa) never comes to know itहरि नहीं जानते
yathāin such a way that correlative — answered by tathā ('so') in L3जिस प्रकार (जिसका उत्तर L3 के 'तथा' से मिलता है)
mama manaḥ-kandarpa-kaṇḍūm imāmthis itch of desire burning in my mind kandarpa = Kāmadeva, desire; kaṇḍū = itch; imām = 'this' (right here)मेरे मन की यह कामरूपी खुजली (कन्दर्प = काम, कामदेव; कण्डू = खुजली; इमाम् = यह, ठीक यहीं)
yathā — in such a way that; hariḥ — Hari; mama imām manaḥ-kandarpa-kaṇḍūm — this itch of desire in my mind; na jānīte — does not come to know.
हरि यह नहीं जानते, जिस प्रकार (जितनी तीव्र) मेरे मन की यह कामरूपी खुजली है।
Manage it so that Hari never learns of this itch of desire burning in my mind.
हरि मेरे मन की इस कामरूपी खुजली को नहीं जानते।
L2other
māṁ prītyābhisaraty ayaṁ sakhi yathā kṛtvā tvayi prārthanām |
māmto me accusative — goal of abhisaratiमुझ तक (अभिसार का लक्ष्य)
prītyāout of love instrumental — the manner of his comingप्रेमपूर्वक (आने का ढंग)
abhisaraticomes to the trystअभिसार करता है, चला आता है
ayamthis one — Kṛṣṇaयह (कृष्ण)
sakhiO friend vocative — addressing the sakhī (Viśākhā)हे सखी (विशाखा को संबोधन)
yathāand so that a second yathā, also under the tathā of L3जिस प्रकार (दूसरा 'यथा', यह भी L3 के 'तथा' के अधीन)
kṛtvā tvayi prārthanāmafter making his plea to you kṛtvā = 'having made'; prārthanā = request, entreaty; tvayi = 'to you' (loc.)तुझसे प्रार्थना करके (कृत्वा = करके; प्रार्थना = विनती; त्वयि = तुझमें, तुझसे)
sakhi — O friend; yathā — and so that; ayam — this one, Kṛṣṇa; tvayi prārthanām kṛtvā — after making his plea to you; prītyā — out of love; mām abhisarati — comes to me at the tryst.
हे सखी, जिस प्रकार यह (कृष्ण) तुझसे विनती करके प्रेमपूर्वक मेरे पास अभिसार को आता है।
And, my friend, arrange it so that he — Kṛṣṇa — after entreating you himself, comes to me lovingly for the tryst.
हे सखी, यह कृष्ण तुझसे विनती करके प्रेमपूर्वक मेरे पास चला आता है।
L3other
cāturyaṁ tarasā prasāraya tathā sasneham āsādya taṁ
cāturyamyour cleverness accusative — object of prasārayaचतुराई को (प्रसारय का कर्म)
tarasāat once, with speed instrumental used adverbiallyवेग से, शीघ्रता से (क्रियाविशेषण)
prasārayaspread out, put fully into play imperative — her order to the friendफैला दे (आज्ञार्थ — सखी को आदेश)
tathāin just that way correlative — answers the two yathā clauses aboveउसी प्रकार (ऊपर के दोनों 'यथा' का उत्तर)
sasnehamtenderly, with affection adverbial — how to approach himस्नेहपूर्वक (उसके पास किस प्रकार जाना)
āsādyahaving reached him gerundपास जाकर
tamhim — Kṛṣṇaउस (कृष्ण) के
tam sasneham āsādya — reaching him tenderly; tarasā — at once; tathā cāturyam prasāraya — deploy your cleverness in just that way.
उसी प्रकार शीघ्रता से अपनी चतुराई फैला दे, और स्नेहपूर्वक उसके पास जाकर।
So go to him tenderly, and at once spread out all your cleverness to exactly that end.
उसी प्रकार शीघ्र ही अपनी चतुराई फैला दे, और स्नेहपूर्वक उसके पास जाकर।
L4other
yāvat prāṇaharo na candrahatakaḥ prācī-mukhaṁ cumbati
yāvat ... nabefore ever yāvat + na = 'while... not yet' = 'before'जब तक ... नहीं (अर्थात् इससे पहले)
prāṇa-haraḥthat life-stealing prāṇa-hara = 'carrying off the life-breath'प्राण हरने वाला
candra-hatakaḥwretch of a moon candra = moon; hataka = contemptible, as good as deadनीच चन्द्रमा (चन्द्र = चन्द्रमा; हतक = नीच, मानो मरा हुआ)
prācī-mukhamthe face of the eastern sky prācī = the east; mukha = faceपूर्व दिशा के मुख को (प्राची = पूर्व दिशा; मुख = मुख)
cumbatikisses — that is, rises overचूम लेता है
yāvat — before; prāṇa-haraḥ candra-hatakaḥ — the life-stealing wretch of a moon; prācī-mukham na cumbati — does not yet kiss the face of the east.
जब तक यह प्राण हरने वाला नीच चन्द्रमा पूर्व दिशा के मुख को नहीं चूम लेता।
And do it before the cruel, life-stealing moon kisses the eastern sky and rises. Once it climbs, my chance — and my life — are gone.
जब तक यह प्राण हरने वाला नीच चन्द्रमा पूर्व दिशा के मुख को नहीं चूम लेता — अर्थात् चन्द्रोदय से पहले-पहले।
Commentary — decoded
Jīva Gosvāmī
s1avataranika
kayācit prāṇa-sakhyā anvaya-vyatirekābhyāṁ nirṇīya yatnatas tasyā mukhāt kiñcin niṣkāsite tādṛg utkaṇṭhite svayam eva ca dautyāya kṛte prārambhe tasyā eva vākyam—jānīta iti |
kayācit prāṇa-sakhyāby some dear bosom-friend instrumental — the agent; prāṇa-sakhī = a life-friend, closest companionकिसी प्राण-सखी के द्वारा (प्राण-सखी = प्राणों जैसी सबसे निकट सहेली)
anvaya-vyatirekābhyāmby reading the signs both ways — what is there and what is not the logic of agreement and difference (positive and negative concomitance)अन्वय और व्यतिरेक के द्वारा (सकारात्मक और नकारात्मक व्याप्ति के तर्क से)
nirṇīyahaving figured her heart out gerundनिश्चय करके
yatnataḥwith some effortप्रयत्नपूर्वक
tasyāḥ mukhāt kiñcit niṣkāsiteonce a little had been coaxed out of her own mouth locative absolute — 'when...'; niṣkāsita = 'drawn out'जब उसके (राधा के) मुख से कुछ निकलवा लिया गया (निष्कासित = निकाला हुआ)
tādṛg utkaṇṭhiteshe being in longing of just that kind locative absolute continuesऔर वैसी ही उत्कण्ठा उत्पन्न हो जाने पर
svayam eva ca dautyāya kṛteand once the friend herself had taken up the messenger's task ca = 'and'; dautya = the office of a dūtī; loc. absoluteऔर स्वयं ही दूती के कार्य के लिए तैयार हो जाने पर (च = और; दौत्य = दूती का कार्य)
prārambheat the very outset [of the errand] locative — 'when it was just beginning'आरम्भ में, जब यह अभी आरम्भ ही हुआ
tasyāḥ eva vākyamthese are the words of that very heroine eva = 'that very one'उसी (राधा) का वचन (एव = वही)
jānīta itinamely, 'jānīte...' — this verse pratīka citing the opening word'जानीते' — यह (मूल का प्रथम शब्द उद्धृत करते हुए)
kayācit prāṇa-sakhyā — by some dear friend; anvaya-vyatirekābhyām nirṇīya — having figured her out by agreement and difference; yatnataḥ tasyāḥ mukhāt kiñcit niṣkāsite — once, with effort, a little had been drawn from her own mouth; tādṛg utkaṇṭhite — she being in such longing; svayam eva ca dautyāya kṛte — and the friend herself having taken up the messenger's role; prārambhe — at the outset; tasyāḥ eva vākyam — these are that heroine's own words: jānīta iti — 'jānīte...'.
किसी प्राण-सखी के द्वारा अन्वय-व्यतिरेक से निश्चय करके, प्रयत्नपूर्वक राधा के मुख से कुछ निकलवा लिया गया, उसमें वैसी उत्कण्ठा उत्पन्न हो गई, और वह स्वयं ही दूती का कार्य करने को तैयार हो गई — इस आरम्भ में राधा का ही यह वचन है — 'जानीते'।
Jīva sets the scene. A dear friend has quietly read the heroine's heart — testing what fits her mood and what does not — and with some effort coaxed a little of it out of her own mouth. The heroine is aching with longing. The friend then volunteers to carry the message herself. Just as the errand begins, the heroine speaks — and these are her words: 'jānīte...'
किसी प्राण-सखी ने अन्वय-व्यतिरेक से निश्चय करके, प्रयत्नपूर्वक राधा के मुख से कुछ बात निकलवा ली; उसमें वैसी उत्कण्ठा उत्पन्न हो गई, और वह सखी स्वयं ही दूती का कार्य करने को तैयार हो गई। इस आरम्भ में राधा का ही यह वचन है — 'जानीते'।
anvaya-vyatireka is the Nyāya method of inference by joint presence and joint absence (a cause is confirmed when its presence brings the effect and its absence removes it). Here it is used lightly: the friend confirms the heroine's hidden feeling by watching what stirs it and what does not.
s2gloss
manasaḥ kandarpa-rūpā yā kaṇḍūs tadvat tac-chānti-kara-spṛśyaṁ prati yā utkaṇṭhā tāṁ yathā na jānīta ity atra manaḥ-śabda-prayogaḥ |
manasaḥof the mind genitiveमन की
kandarpa-rūpā yā kaṇḍūḥthe itch that takes the form of desire kandarpa = desire, Kāmadeva; rūpā = 'in the form of'जो कामरूपी खुजली है (कन्दर्प = काम, कामदेव; रूपा = रूप वाली, रूपी)
tadvatand just as a [bodily] itch doesउसके समान
tac-chānti-kara-spṛśyaṁ pratitoward the touch that would soothe it śānti-kara = 'that brings relief'; spṛśya = 'the thing to be touched'; prati = 'toward'उस खुजली को शान्त करने वाले स्पर्श-योग्य (कृष्ण) की ओर (शान्ति-कर = शान्ति देने वाला; स्पृश्य = जिसका स्पर्श किया जाए; प्रति = की ओर)
yā utkaṇṭhāthe longing that arisesजो उत्कण्ठा है
tāmthat [longing]उसको
yathā na jānītaso that he does not know it restating the verse's yathā... naजिस प्रकार (कृष्ण) नहीं जानते (मूल के 'यथा... न' को दोहराते हुए)
iti atra manaḥ-śabda-prayogaḥthis is why the word 'manaḥ' (mind) is used hereइसीलिए यहाँ 'मनः' शब्द का प्रयोग हुआ है
manasaḥ kandarpa-rūpā yā kaṇḍūḥ — the mind's itch in the form of desire; tadvat — and just as an itch does; tac-chānti-kara-spṛśyam prati yā utkaṇṭhā — a longing toward the touch that would soothe it; tām yathā na jānīta — so that he does not know that longing; iti atra manaḥ-śabda-prayogaḥ — this is why the word 'manaḥ' is used.
मन की जो कामरूपी खुजली है, उसके समान उस खुजली को शान्त करने वाले स्पर्श-योग्य (कृष्ण) की ओर जो उत्कण्ठा है — उसको कृष्ण जिस प्रकार नहीं जानते; इसीलिए यहाँ 'मनः' शब्द का प्रयोग है।
Unpack 'the desire-itch of my mind.' The mind has an itch, and that itch is desire (kandarpa). Now an itch, by its nature, craves the scratch that relieves it. So this mental itch craves the one touch that would soothe it — Kṛṣṇa's contact. Her longing runs toward that soothing touch, and 'so that he not know it' points to precisely this inward longing. That is why Rūpa writes 'mind's itch' — to mark that the craving is inward.
मन की जो कामरूपी खुजली है, उसके समान उस खुजली को शान्त करने वाले स्पर्श-योग्य कृष्ण की ओर जो उत्कण्ठा है — उसको कृष्ण नहीं जानते; इसी कारण यहाँ 'मनः' शब्द का प्रयोग किया गया है।
The simile: the itch = the mind's desire; the soothing scratch = Kṛṣṇa's touch; the longing = her craving for that contact. The word 'manaḥ' localizes the itch in the mind, so what must stay hidden is this inner longing.
s3gloss
śame’pagate’pi damas tu mama dṛḍha evāstīti dhairyam iva vyañjayituṁ kṛtam |
śame apagate apieven though my calm of mind is gone locative absolute + api ('even'); śama = inner peace, control of the mindशम के चले जाने पर भी (अपि = भी; शम = मन का संयम, अन्तःशान्ति)
damaḥ tubut my restraint of the senses tu = 'but'; dama = control of the senses, outward conductपरन्तु दम तो (तु = परन्तु; दम = इन्द्रियों का संयम, बाह्य आचरण)
mamamyमेरा
dṛḍhaḥ eva astistill stands firm eva = 'still, for certain'दृढ़ ही है (एव = अब भी, निश्चय ही)
iti— so [she implies]इस प्रकार
dhairyam ivaas if [showing] her composure iva = 'as if'मानो धैर्य को (इव = मानो)
vyañjayituṁ kṛtamthe word is used in order to suggest this vyañjayitum = 'to hint at'; kṛtam picks up manaḥ-śabda-prayogaḥव्यंजना (संकेत) करने के लिए किया गया (व्यञ्जयितुम् = संकेत करने को; कृतम् = 'मनः' शब्द का वह प्रयोग)
śame apagate api — though my calm of mind is gone; damaḥ tu mama dṛḍhaḥ eva asti — yet my restraint of the senses still stands firm; iti dhairyam iva vyañjayitum kṛtam — the word 'manaḥ' is used as if to suggest this composure.
'शम के चले जाने पर भी मेरा दम तो दृढ़ ही है' — इस प्रकार मानो अपने धैर्य की व्यंजना करने के लिए ('मनः' शब्द का प्रयोग) किया गया है।
A second reason for saying 'mind.' By pinning the itch to her mind alone, she hints: 'My inner peace may be gone, but my hold on my senses is still firm.' It is a show of dignity — the disturbance is only within; outwardly she is still composed.
'भले ही मेरा शम (मन का संयम) चला गया हो, परन्तु मेरा दम (इन्द्रियों का संयम) तो अब भी दृढ़ ही है' — मानो इस धैर्य की व्यंजना करने के लिए 'मनः' शब्द का प्रयोग किया गया है।
śama and dama are a standard pair: śama is calm of the mind, dama is control of the senses and outward conduct. Saying the itch is 'of the mind' concedes śama is lost while implying dama holds.
s4avataranika
puratas tan nirvāhas tu duṣkaraḥ syād iti tvayāvaśyaṁ gantavyam iti vyañjayitum āha—yāvad iti |
purataḥface to face with him 'in his presence'(कृष्ण के) सामने
tan-nirvāhaḥ tubut keeping that [composure] up tu = 'but'; nirvāha = 'carrying it through'परन्तु उसका निर्वाह तो (तु = परन्तु; निर्वाह = निबाहना, पार लगाना)
duṣkaraḥ syātwould be hard [for her]कठिन होगा
iti— since that is soयह (सोचकर)
tvayā avaśyaṁ gantavyamyou must go without fail gantavyam = 'is to be gone', obligation; tvayā = 'by you'तुझे अवश्य जाना चाहिए (गन्तव्यम् = जाना कर्तव्य है; त्वया = तेरे द्वारा)
iti vyañjayitum āhato suggest this she says āha = 'she speaks'यह व्यंजना करने के लिए (राधा) कहती हैं (आह = वह कहती है)
yāvad itithe line 'yāvat...' pratīka of L4'यावत्' — यह (L4 का प्रथम शब्द उद्धृत करते हुए)
purataḥ tan-nirvāhaḥ tu duṣkaraḥ syāt — but face to face, keeping that composure up would be hard; iti tvayā avaśyam gantavyam — so you must certainly go [in her place]; iti vyañjayitum āha — to suggest this she speaks; yāvad iti — the 'yāvat' line.
'(कृष्ण के) सामने उसका निर्वाह तो कठिन होगा, इसलिए तुझे अवश्य जाना चाहिए' — यह व्यंजना करने के लिए (राधा) कहती हैं — 'यावत्'।
But that composure would collapse in his very presence — she could not sustain the pretense face to face. So the errand must fall to the friend: you have to go, without fail. To hint at all this she speaks the closing line, 'yāvat...'
'कृष्ण के सामने इस बात को निबाहना तो कठिन होगा, इसलिए तुझे अवश्य ही जाना चाहिए' — यह संकेत करने के लिए राधा कहती हैं — 'यावत्'।
s5alternative
manaḥ-kaṇḍūm imām ity atra manas-tṛṣṇām imāṁ dhṛṣṭajām iti vā pāṭhaḥ ||
manaḥ-kaṇḍūm imām iti atrawhere the text reads 'manaḥ-kaṇḍūm imām' ('this itch of the mind') pratīka of the phrase in L1'मनः-कण्डूम् इमाम्' — इसके स्थान पर (L1 के वाक्यांश को उद्धृत करते हुए)
manas-tṛṣṇām imāṁ dhṛṣṭajām iti vā pāṭhaḥthere is also the reading 'manas-tṛṣṇām imāṁ dhṛṣṭajām' — 'this thirst of the mind, sprung from boldness' vā = 'or'; pāṭha = a variant reading; tṛṣṇā = thirst, craving; dhṛṣṭa-jā = 'born of boldness'अथवा 'मनस्-तृष्णाम् इमाम् धृष्टजाम्' — ऐसा भी पाठ है (वा = अथवा; पाठ = पाठभेद; तृष्णा = प्यास, तृष्णा; धृष्ट-जा = धृष्टता से उत्पन्न)
manaḥ-kaṇḍūm imām iti atra — for 'manaḥ-kaṇḍūm imām' here; manas-tṛṣṇām imāṁ dhṛṣṭajām iti vā pāṭhaḥ — there is also the reading 'manas-tṛṣṇām imāṁ dhṛṣṭajām.'
'मनः-कण्डूम् इमाम्' के स्थान पर, अथवा 'मनस्-तृष्णाम् इमाम् धृष्टजाम्' — ऐसा भी एक पाठ है।
Jīva notes a variant reading. In place of 'manaḥ-kaṇḍūm imām' ('this itch of the mind'), some texts read 'manas-tṛṣṇām imāṁ dhṛṣṭajām' — 'this thirst of the mind, sprung from boldness.' He leaves both readings standing.
'मनः-कण्डूम् इमाम्' के स्थान पर 'मनस्-तृष्णाम् इमाम् धृष्टजाम्' — ऐसा एक दूसरा पाठ भी है। (दोनों पाठ यहाँ ज्यों-के-त्यों रखे गए हैं।)
Viśvanātha Cakravartī
s1avataranika
śrī-rādhā viśākhām āha—jānīta iti |
śrī-rādhāŚrī-Rādhā [is the speaker]श्री राधा
viśākhām āhaspeaks to Viśākhā viśākhām = accusative, the friend addressedविशाखा से कहती हैं (विशाखाम् = संबोधित सखी)
jānīta itinamely, 'jānīte...' — this verse pratīka'जानीते' — यह (मूल का प्रथम शब्द उद्धृत करते हुए)
śrī-rādhā viśākhām āha — Śrī-Rādhā speaks to Viśākhā; jānīta iti — the verse 'jānīte...'.
श्री राधा विशाखा से कहती हैं — 'जानीते'।
Viśvanātha names the players. The speaker is Śrī-Rādhā, and the friend she addresses is Viśākhā. Her words are the verse 'jānīte...'
श्री राधा विशाखा से कहती हैं — 'जानीते'।
s2gloss
mama kandarpa-kaṇḍūyāyāṁ tena jñātāyāṁ kulāṅganāyāḥ parama-lajjāvatyā mamāpratiṣṭhā syāt |
mama kandarpa-kaṇḍūyāyāmwere my itch of desire locative absolute — 'if / when...'; kandarpa-kaṇḍūyā = the desire-itchमेरी कामरूपी खुजली के (जान लिए जाने पर) (कन्दर्प-कण्डूया = काम-खुजली)
tena jñātāyāmto come to be known by him tena = 'by him'; locative absolute continuesउस (कृष्ण) के द्वारा जान लिए जाने पर (तेन = उसके द्वारा)
kulāṅganāyāḥfor a woman of good family kula-aṅganā = a respectable woman; genitiveकुलस्त्री की (कुल-अङ्गना = कुलीन स्त्री)
parama-lajjāvatyāḥone who is deeply modest genitive, agreeing with kulāṅganāyāḥपरम लज्जावती (कुलाङ्गना का ही विशेषण)
mama apratiṣṭhā syātthere would be disgrace for me a-pratiṣṭhā = loss of standing, ill reputeमुझ जैसी की अप्रतिष्ठा हो जाएगी (अ-प्रतिष्ठा = मान की हानि, अपकीर्ति)
mama kandarpa-kaṇḍūyāyām tena jñātāyām — were my itch of desire known by him; kulāṅganāyāḥ parama-lajjāvatyāḥ mama — for me, a deeply modest woman of good family; apratiṣṭhā syāt — there would be disgrace.
यदि मेरी यह कामरूपी खुजली उस (कृष्ण) के द्वारा जान ली गई, तो परम लज्जावती कुलस्त्री मुझ जैसी की अप्रतिष्ठा हो जाएगी।
Why must Hari not know? Because if my itch of desire came to his knowledge, then for me — a well-born woman, and a deeply modest one — it would mean disgrace. A respectable woman's craving, once exposed, costs her her good name.
यदि मेरी यह काम-खुजली कृष्ण के द्वारा जान ली गई, तो परम लज्जावती कुलस्त्री मुझ जैसी की अप्रतिष्ठा हो जाएगी।
s3gloss
tasya ca māṁ pratyupahāsaḥ svāvāmya-prakaṭanaṁ ca bhaviṣyati |
tasya caand on his side ca = 'and'; tasya = 'his'और उसका (च = और; तस्य = उस कृष्ण का)
māṁ prati upahāsaḥthere would be mockery aimed at me prati = 'toward'; upahāsa = teasing, ridiculeमेरे प्रति उपहास (प्रति = की ओर; उपहास = हँसी उड़ाना, ठिठोली)
svāvāmya-prakaṭanaṁ caand a parading of his own aloofness ca = 'and'; sva = 'his own'; vāmya = contrariness, playing hard-to-get; prakaṭana = 'displaying'और अपनी वामता का प्रकटन (च = और; स्व = अपनी; वाम्य = वक्रता, नखरा; प्रकटन = दिखाना)
bhaviṣyatiwould followहोगा
tasya ca — and on his part; māṁ prati upahāsaḥ — mockery aimed at me; svāvāmya-prakaṭanam ca — and a parading of his own aloofness; bhaviṣyati — would follow.
और उसका मेरे प्रति उपहास तथा अपनी वामता का प्रकटन होगा।
And there is more. If he knew, then on his side two things would follow: he would tease and mock me, and he would flaunt his own aloofness — now holding the upper hand, he would play hard to get. Knowing her desire hands him the leverage to be coy.
और उसका मेरे प्रति उपहास तथा अपनी वामता (नखरे) का प्रदर्शन होगा।
The source prints 'svāvāmya'; read it as sva-vāmya, 'his own vāmatā' — the contrariness of the vāma (aloof, refractory) type. It is a threatened consequence, not compliance: once he knows, he can afford to be difficult.
s4conclusion
tat saundarya-sauśīlyādikam eva tad-agre tvayā varṇanīyam iti bhāvaḥ |
tatthereforeइसलिए
saundarya-sauśīlyādikam evaonly his beauty, his fine character, and the like eva = 'only'; sauśīlya = good disposition; ādi = 'and so on'सौन्दर्य और सुशीलता आदि का ही (एव = ही; सौशील्य = सुशीलता; आदि = इत्यादि)
tad-agrein his presence 'before him'उसके सामने
tvayā varṇanīyamis what you should describe tvayā = 'by you'; varṇanīya = 'to be described'तुझे वर्णन करना चाहिए (त्वया = तेरे द्वारा; वर्णनीय = वर्णन करने योग्य)
iti bhāvaḥ— that is the inner senseयह अभिप्राय है
tat — therefore; tad-agre — before him; tvayā — you; saundarya-sauśīlyādikam eva — only his beauty, fine nature, and the like; varṇanīyam — should describe; iti bhāvaḥ — that is the inner sense.
इसलिए उसके सामने केवल (मेरे) सौन्दर्य, सुशीलता आदि का ही वर्णन तुझे करना चाहिए — यह अभिप्राय है।
So here is the tactic. Before him, speak only of what draws me nobly — his beauty, his good character, and such things. Never name the raw itch. Let the pull on me look like admiration of his qualities, not craving. That is the inner sense.
इसलिए उसके सामने केवल मेरे सौन्दर्य, सुशीलता आदि का ही वर्णन तुझे करना चाहिए — यही अभिप्राय है।
s5avataranika
tvaṁ tu manmanaḥ-kaṇḍūṁ jānāsy eva tad api kiñcid vivṛṇomi śṛṇv ity āha—yāvad iti |
tvaṁ tuyou, on the other hand tu = 'but, though' — contrast with Kṛṣṇa, from whom it is hiddenपरन्तु तू (तु = परन्तु — कृष्ण के विपरीत, जिससे यह छिपा है)
mat-manaḥ-kaṇḍūṁ jānāsi evaalready know the itch of my mind eva = 'certainly, already'मेरे मन की खुजली को तो जानती ही है (एव = निश्चय ही, पहले से)
tad apieven soफिर भी
kiñcit vivṛṇomilet me spell out a littleकुछ खोलकर कहती हूँ
śṛṇulisten imperativeसुन (आज्ञार्थ)
iti āhaso saying she speaksयह कहती हैं
yāvad itithe line 'yāvat...' pratīka of L4'यावत्' — यह (L4 का प्रथम शब्द उद्धृत करते हुए)
tvaṁ tu mat-manaḥ-kaṇḍūṁ jānāsi eva — you, though, already know the itch of my mind; tad api kiñcit vivṛṇomi śṛṇu — even so, let me spell out a little — listen; iti āha — so saying she speaks; yāvad iti — 'yāvat...'.
'परन्तु तू तो मेरे मन की खुजली को जानती ही है, फिर भी कुछ खोलकर कहती हूँ, सुन' — यह कहकर (राधा) कहती हैं — 'यावत्'।
The flip side of hiding it from Kṛṣṇa: to Viśākhā she says, 'You, though, already know the itch of my mind — but even so, let me unfold a little more; listen.' And so she speaks the 'yāvat' line.
'परन्तु तू तो मेरे मन की खुजली को जानती ही है, फिर भी कुछ खोलकर कहती हूँ, सुन' — यह कहकर राधा कहती हैं — 'यावत्'।
s6gloss
adya kṛṣṇa-caturdaśī tithiḥ samprati sāyam |
adyatodayआज
kṛṣṇa-caturdaśī tithiḥis the fourteenth day of the dark fortnight kṛṣṇa-pakṣa = the waning fortnight; caturdaśī = the 14th lunar dayकृष्ण-चतुर्दशी तिथि है (कृष्ण-पक्ष = अन्धकार बढ़ने वाला पक्ष; चतुर्दशी = चौदहवाँ चन्द्र-दिन)
sampratiright nowइस समय
sāyamit is eveningसन्ध्या है
adya kṛṣṇa-caturdaśī tithiḥ — today is the dark-fortnight fourteenth; samprati sāyam — and right now it is evening.
आज कृष्ण-पक्ष की चतुर्दशी तिथि है, और इस समय सन्ध्या है।
Set the clock. Today is the fourteenth lunar day of the dark fortnight, and it is now evening.
आज कृष्ण-पक्ष की चतुर्दशी तिथि है, और इस समय सन्ध्या हो चुकी है।
On the dark-fortnight fourteenth the moon rises only near dawn, so the whole night stays dark. The dark night is her one chance; the late moonrise is the deadline the verse dreads.
s7gloss
tvaṁ calasi |
tvaṁ calasiyou are setting out now present tense — the friend departs at onceतू (अभी) चल पड़ती है (वर्तमान काल — सखी तुरन्त चल देती है)
tvaṁ calasi — you set out now.
तू अभी चल पड़ती है।
You are leaving this very moment. The errand starts now, with the evening.
तू अभी चल दे।
s8gloss
prahara-paryantaṁ me prāṇāḥ sthāsyanti na tataḥ paratrety avadhir uktaḥ |
prahara-paryantaṁfor one watch of the night, no further prahara = a watch, about three hours; paryanta = 'up to the limit of'एक प्रहर तक (प्रहर = लगभग तीन घंटे; पर्यन्त = की सीमा तक)
me prāṇāḥ sthāsyantimy life-breath will hold onमेरे प्राण ठहरेंगे
na tataḥ paratranot past that point 'not beyond that'उसके बाद नहीं (उससे आगे नहीं)
iti avadhiḥ uktaḥso a deadline is stated avadhi = a time-limitइस प्रकार एक अवधि कही गई (अवधि = समय-सीमा)
prahara-paryantaṁ me prāṇāḥ sthāsyanti — my life-breath will hold for one watch; na tataḥ paratra — not beyond that; iti avadhiḥ uktaḥ — thus a deadline is stated.
'एक प्रहर तक ही मेरे प्राण ठहरेंगे, उसके बाद नहीं' — इस प्रकार एक समय-सीमा कही गई।
She fixes a deadline: 'My life will last one watch — about three hours — and not a moment longer.' If Kṛṣṇa is not brought within that span, she will die. That is why the line calls the moon 'life-stealing.'
'एक प्रहर तक ही मेरे प्राण ठहरेंगे, उसके बाद नहीं' — इस प्रकार एक समय-सीमा बतायी गयी है।
s9gloss
candra-nāmā hataka iti śāka-pārthivādiḥ |
candra-nāmā hatakaḥ'the wretch by the name of moon' candra-nāmā = 'named moon'; hataka = 'wretch''चन्द्र नाम का हतक' (चन्द्र-नामा = चन्द्र नामक; हतक = नीच, दुष्ट)
iti— read it soयह (समास का अर्थ)
śāka-pārthivādiḥis a compound of the 'śāka-pārthiva' type the stock example of a middle-word-dropping compound'शाक-पार्थिव' आदि के समान (मध्यपदलोपी समास का प्रसिद्ध उदाहरण)
candra-nāmā hatakaḥ iti — 'the wretch named moon'; śāka-pārthivādiḥ — is a śāka-pārthiva-type compound.
'चन्द्र-हतक' का अर्थ है 'चन्द्र नामक हतक' — यह 'शाक-पार्थिव' आदि के समान (मध्यपदलोपी) समास है।
A grammar note on 'candra-hataka.' Read it as 'the wretch named moon' — candra-(nāma-)hataka, with the middle word 'nāma' dropped. It is the 'śāka-pārthiva' kind of compound, where a middle word is left out.
'चन्द्र-हतक' अर्थात् 'चन्द्र नामक हतक (नीच)' — यह 'शाक-पार्थिव' आदि के समान मध्यपदलोपी समास है।
śāka-pārthiva is the textbook madhyama-pada-lopī samāsa — a compound with a middle word elided: śāka-(priya-)pārthiva, 'the king [fond of] vegetables.' On that model candra-hataka = candra-(nāma-)hataka, 'the wretch [named] moon.'
s10definition
kutsito hataḥ para-duḥkhadatvena vyartha-jīvanatvāj jīvan-mṛta ity arthaḥ ||
kutsitaḥ hataḥ'hataka' means a contemptible, struck-down thing kutsita = 'despicable'; hata = 'killed, struck'निन्दित हत (कुत्सित = निन्दनीय; हत = मारा हुआ, आहत)
para-duḥkhadatvenabecause it deals out pain to others instrumental of cause — 'by giving others grief'क्योंकि वह दूसरों को दुःख देता है (दूसरों को दुःख देने के कारण)
vyartha-jīvanatvātand because its own living is pointless ablative of reason; vyartha = 'useless'व्यर्थ जीवन होने के कारण (व्यर्थ = निष्फल)
jīvan-mṛtaḥit is dead even while alive jīvat = 'while living' + mṛta = 'dead'जीते-जी मरा हुआ (जीवत् = जीते हुए + मृत = मरा हुआ)
iti arthaḥ— that is the meaningयह अर्थ है
kutsitaḥ hataḥ — 'hataka' is a contemptible, struck-down thing; para-duḥkhadatvena — because it inflicts pain on others; vyartha-jīvanatvāt — and because its living is useless; jīvan-mṛtaḥ — it is a living corpse; iti arthaḥ — that is the meaning.
'हतक' अर्थात् निन्दित/आहत — क्योंकि वह दूसरों को दुःख देता है और उसका जीवन व्यर्थ है, इसलिए वह जीते-जी मरा हुआ है — यह अर्थ है।
Why call the moon a 'hataka,' a wretch? Two reasons: it heaps pain on others — its light tortures lovers kept apart — and its own existence is good for nothing. So it is a living corpse, dead while still alive. That is the force of the word.
'हतक' का अर्थ है निन्दित अथवा आहत — क्योंकि वह दूसरों को दुःख देता है और उसका जीवन व्यर्थ है, इसलिए वह जीते-जी मरा हुआ है — यही अर्थ है।