s1definition
svaṁ vāsayatīti sva-vāsakaḥ |
svaṁ vāsayati'it makes [her] settle, causes [her] to stay' vāsayati = causative of vas, 'to dwell'(नायिका को अपने पास) निवास कराता है, बसाता है
iti sva-vāsakaḥ— on this derivation the word is 'sva-vāsaka'इसलिए वह 'स्व-वासक' (कहलाता है)
svaṁ vāsayati — 'it makes [her] settle in'; iti — therefore; sva-vāsakaḥ — [it is called] 'sva-vāsaka.'
जो (नायिका को) निवास कराता है, इसीलिए वह 'स्व-वासक' (नायक) है।
Viśvanātha starts by unpacking the word itself. 'That which makes [her] settle down' — that is what 'sva-vāsaka' names. He is building toward: what is it that makes her stay? He will answer that it is the hero's wish.
जो निवास कराता है, वही 'स्व-वासक' कहलाता है।
This is a vyutpatti — deriving the word from its verbal root to expose its built-in meaning.
'वासयति' — 'वस्' (रहना) धातु का प्रेरणार्थक (णिजन्त) रूप — 'रहवाना, बसाना'।
s2gloss
vaśaḥ kāntir iccheti yāvat |
vaśaḥthe word 'vaśa' [in the verse] —'वश' (शब्द का अर्थ)
kāntiḥmeans 'kānti,' the pull of attractionकान्ति (चाह)
icchā iti yāvatthat is to say, desire (icchā) iti yāvat = 'it comes to this'इच्छा — 'तात्पर्य यही है'
vaśaḥ — 'vaśa'; kāntiḥ — [is] 'kānti,' attraction; icchā iti yāvat — that is to say, desire.
'वश' का अर्थ कान्ति, अर्थात् इच्छा — यही तात्पर्य।
Next he glosses 'vaśa.' It does not mean 'control' here, he says; it means the pull of attraction — in short, desire. He is narrowing the word down to 'wish,' which he will pin on the hero in the next line.
यहाँ 'वश' का अर्थ है कान्ति, और उसका तात्पर्य इच्छा है।
'इति यावत्' = 'बात इतनी-सी है / तात्पर्य यही है' — पूर्व पद को स्पष्ट अर्थ पर ले आता है।
s3gloss
tvaṁ kuñje tāvad vasāhaṁ śīghram eṣyāmīti nāyakasyecchaiva nāyikāṁ kuñje vāsayatīty arthaḥ |
tvaṁ kuñje tāvad vasa'You wait meanwhile in the bower (kuñja)'"तुम तब तक कुञ्ज में रहो"
ahaṁ śīghram eṣyāmi'I will come quickly'"मैं शीघ्र आऊँगा"
iti nāyakasya icchā eva— just this desire of the hero (nāyaka), and nothing else,ऐसी नायक की इच्छा ही
nāyikāṁ kuñje vāsayatiis what makes the heroine settle in the bowerनायिका को कुञ्ज में बसाती है (निवास कराती है)
iti arthaḥ— this is the meaningयही अर्थ है
tvaṁ kuñje tāvad vasa, ahaṁ śīghram eṣyāmi — 'You wait in the bower, I'll come soon'; iti nāyakasya icchā eva — just this wish of the hero; nāyikāṁ kuñje vāsayati — makes the heroine stay in the bower; iti arthaḥ — this is the meaning.
"तुम तब तक कुञ्ज में रहो, मैं शीघ्र आऊँगा" — ऐसी नायक की इच्छा ही नायिका को कुञ्ज में बसाती है, यही अर्थ है।
Now he cashes it out. The hero's own wish — voiced as 'You wait in the bower, I'll be there soon' — is precisely what lodges the heroine in the bower. So 'sva-vāsaka' is the hero's desire that keeps her there. That, says Viśvanātha, is the sense of the compound.
नायक की यह इच्छा — "तुम कुञ्ज में ठहरो, मैं शीघ्र आता हूँ" — ही नायिका को कुञ्ज में निवास कराती है।
s4conclusion
ato hetoḥ sameṣyati kānte yā vapur gehaṁ ca sajjīkaroti śṛṅgārocita-vastu-viśiṣṭaṁ karoti sā vāsaka-sajjeti tena vāsakād dhetoḥ sajjayatīti vyutpattyaiva viśeṣya-padasya nāyakasya tad-icchāyāś ca tad-āgamana-bhāvitvasya tat-kālasya ca deha-gehayoḥ karmaṇoś cākṣepād eva lābhaś ca vyañjitaḥ ||
ataḥ hetoḥfor this reason [i.e. because of that wish]इसी कारण से
sameṣyati kāntewhen the lover is about to arrive locative absoluteजब प्रियतम आने वाला होता है
yā vapuḥ gehaṁ ca sajjīkarotishe who makes ready her body and the houseजो (नायिका) शरीर और घर को सजाती है
śṛṅgāra-ucita-vastu-viśiṣṭaṁ karoti— i.e. furnishes them with things fit for love (śṛṅgāra) gloss of sajjīkarotiशृंगार के योग्य वस्तुओं से युक्त कर देती है ('सज्जीकरोति' का अर्थ)
sā vāsaka-sajjā itishe [is] the vāsaka-sajjāवह 'वासक-सज्जा' है — इस प्रकार
tena vāsakāt hetoḥ sajjayati iti vyutpattyā eva— so, by the very derivation 'she makes ready because of (from) the vāsaka,''उस वासक के कारण सजाती है' — इस व्युत्पत्ति (शब्द-निष्पत्ति) से ही
viśeṣya-padasya nāyakasyathe word-that-is-being-described, namely the hero (nāyaka),विशेष्य पद रूप नायक का
tad-icchāyāḥ caand his wish,और उसकी इच्छा का
tad-āgamana-bhāvitvasyaand the fact that his coming is imminent,उसके आगमन के अवश्यम्भावी होने का (कि वह निश्चय आयेगा)
tat-kālasya caand that particular time,और उस काल (समय) का
deha-gehayoḥ karmaṇoḥ caand the two acts done on body and house,और देह तथा गेह — इन दो कर्मों का
ākṣepāt evapurely by implication (ākṣepa),आक्षेप (अर्थापत्ति से खिंच आने) के द्वारा ही
lābhaḥ ca vyañjitaḥ— that all these are gotten is also suggested (vyañjita)लाभ (प्राप्ति) भी व्यंजित (ध्वनित) हुआ
ataḥ hetoḥ sameṣyati kānte — for this reason, when the lover is about to arrive; yā vapuḥ gehaṁ ca sajjīkaroti — she who makes body and house ready; = śṛṅgāra-ucita-vastu-viśiṣṭaṁ karoti — i.e. furnishes them with things fit for love; sā vāsaka-sajjā — she is the vāsaka-sajjā; tena vāsakāt hetoḥ sajjayati iti vyutpattyā eva — so by the very derivation 'she readies herself from the vāsaka as cause'; viśeṣya-padasya nāyakasya, tad-icchāyāḥ, tad-āgamana-bhāvitvasya, tat-kālasya, deha-gehayoḥ karmaṇoḥ ca — the described word the hero, his wish, the nearness of his coming, that time, and the two acts on body and house; ākṣepāt eva lābhaḥ ca vyañjitaḥ — that all are had is suggested purely by implication.
इसी कारण, जब प्रियतम आने वाला होता है (तब) जो शरीर और घर को सजाती है — अर्थात् शृंगार-योग्य वस्तुओं से युक्त कर देती है — वह 'वासक-सज्जा'; 'उस वासक के कारण सजाती है' इस व्युत्पत्ति से ही विशेष्य नायक का, उसकी इच्छा का, उसके अवश्य आने का, उस काल का, तथा देह-गेह इन दो कर्मों का आक्षेप होने से ही (उनका) लाभ भी व्यंजित होता है।
Viśvanātha draws his conclusion. The single word 'vāsaka-sajjā' — parsed as 'she who makes ready (sajjā) because of the tryst (vāsaka)' — does a lot of silent work. Just from that derivation, without any of it being stated outright, five things come along for free: the hero himself (the one the word is really about), his wish, the fact that his arrival is near, the particular hour of it, and the two acts of grooming her body and setting her house. All of these, he says, are picked up by implication (ākṣepa) and thereby suggested (vyañjita). One compact word carries the whole scene.
'वासक के कारण सजाती है' — इस शब्द-निष्पत्ति से ही नायक (विशेष्य पद), उसकी इच्छा, उसका अवश्य आना, वह समय, और देह-गेह ये दोनों कर्म — ये सब अर्थापत्ति से खिंच आते हैं, और इस प्रकार इनकी प्राप्ति भी ध्वनित हो जाती है।
Two poetics terms sit side by side here. ākṣepa is necessary implication — the word logically drags the unstated items in (as 'she cooks' forces there to be a fire and a pot). vyañjanā/vyañjita is suggestion — the meaning glows out beyond the literal (as 'the sun has set' can convey 'let us go home'). Viśvanātha's claim: the derivation forces the hero, the wish, the time, and the acts in by ākṣepa, and so they stand suggested. He also uses viśeṣya, 'the word being described' — here the hero is what the whole heroine-word is really pointing at.
यहाँ 'आक्षेप' = अर्थापत्ति, अर्थात् एक पद के कहने से जिन बातों का कहना अनिवार्य हो जाता है, उनका बिना कहे ही खिंच आना; उसी से 'लाभ' (प्राप्ति) भी व्यंजना-वृत्ति से ध्वनित होता है।