L1other
yāvair dhūmalitaṁ śiro bhuja-taṭīṁ tāṭaṅka-mudrāṅkitāṁ
yāvaiḥwith smears of red lac-dye instrumental of means; yāva = alaktaka, the red lac a woman paints on her feetयावों (चरणों में लगाए जाने वाले लाल आलते) के द्वारा
dhūmalitaṁturned a smoky blackish-red [describes his head]मलिन कर दिए गए (धुँधले रंग में रँग दिए गए)
śiraḥhis head of hair one of several body-parts, all objects of dṛṣṭvā in L3सिर को
bhuja-taṭīṁthe slope of his arm, his forearm accusative objectभुजा के तट (बाँह) को
tāṭaṅka-mudrāṅkitāṁstamped with the imprint of an earring [describes the arm] tāṭaṅka-mudrā-aṅkitā = marked by the seal of an ear-ornamentकर्णाभूषण की छाप से अंकित
yāvaiḥ dhūmalitaṁ śiraḥ — his head turned smoky-red with lac; bhuja-taṭīṁ tāṭaṅka-mudrāṅkitāṁ — his forearm stamped with the imprint of an earring.
यावों (आलते) के द्वारा मलिन किए हुए सिर को, तथा कर्णाभूषण की छाप से अंकित बाँह को —
In the morning Kṛṣṇa's hair is smeared a smoky blackish-red with a woman's foot-lac, and his forearm carries the pressed-in mark of her earring. These are the first of the tell-tale signs of a night spent with a rival.
आलते से रँगे हुए सिर को, और कर्णफूल की छाप से अंकित भुजा को —
yāva (= alaktaka) is the red lac women paint on the soles of their feet; its color, transferred onto his hair in the night's play, is what makes the hair look 'smoke-darkened.'
L2other
saṅkrānta-stana-kuṅkumojjvalam uro-mālāṁ parimlāyitām |
saṅkrānta-stana-kuṅkumojjvalamgleaming with the kuṅkuma that has migrated across from her breasts [describes his chest] saṅkrānta = transferred; stana-kuṅkuma = breast-saffron; ujjvalam agrees with uraḥ(दूसरी के) स्तन का कुंकुम लगकर उज्ज्वल हो उठे हुए
uraḥhis chest the visarga shows up as -o before mālāṁ (uraḥ + mālāṁ → uro mālāṁ)वक्षःस्थल को
mālāṁhis flower-garland accusative objectमाला को
parimlāyitāmwilted and crushed [describes the garland]मुरझाई हुई
saṅkrānta-stana-kuṅkuma-ujjvalam uraḥ — his chest bright with the saffron rubbed off from her breasts; mālāṁ parimlāyitām — his garland wilted and crushed.
संक्रान्त हुए स्तन-कुंकुम से उज्ज्वल वक्षःस्थल को, तथा मुरझाई हुई माला को —
His chest is glowing with kuṅkuma-saffron that has rubbed off onto it from the other woman's breasts, and the flower-garland on him is crushed and faded. More marks of the night.
किसी और के स्तन का कुंकुम लगकर चमक उठे वक्षःस्थल को, और मुरझाई हुई माला को —
The 'brightness' is damning, not flattering: the glow is borrowed pigment carried over from her body onto his.
L3other
ghūrṇākuḍmalite dṛśau vraja-pater dṛṣṭvā prage śyāmalā
ghūrṇākuḍmaliterolling and half-shut like closing buds [describes his eyes] dual; ghūrṇā = swimming/rolling with sleeplessness, kuḍmalita = budded, drooping half-closed(अनिद्रा से) घूमती हुई और कली-सी अधमुँदी
dṛśauhis two eyes dual accusativeदोनों आँखों को
vraja-pateḥof the lord of Vraja — whose head, arm, chest, garland and eyes these all are genitive governing every body-part namedव्रजपति (व्रज के स्वामी) के — (इन सब अंगों को)
dṛṣṭvāhaving seen [all this]देखकर
prageearly in the morning adverb of timeप्रातःकाल में (भोर के समय)
śyāmalāŚyāmalā [the heroine, who does the seeing] nominative — the subjectश्यामला (नायिका)
vraja-pateḥ dṛśau ghūrṇākuḍmalite — the lord of Vraja's two eyes rolling and drowsily half-shut; śyāmalā prage dṛṣṭvā — Śyāmalā, seeing [all this] early in the morning...
श्यामला व्रजपति की — घूमती हुई और अधमुँदी दोनों आँखों को (तथा उपर्युक्त सब अंगों को) — भोर में देखकर,
And his eyes are rolling and half-closed, drooping like buds from a sleepless night. Seeing all of this on the lord of Vraja early in the morning, Śyāmalā...
व्रजपति की उनींदी, अधखुली आँखों को — और उसके ये सब अंगों को — श्यामला ने भोर में देखा; तब
vraja-pateḥ, a single genitive, hangs over the whole catalogue: it is his head, his arm, his chest, his garland, his eyes that she reads one by one.
L4other
citte rudra-guṇaṁ mukhe tu sumukhī bheje munīnāṁ vratam ||
cittein her heart locative of placeचित्त में
rudra-guṇaṁthe temper of Rudra — that is, wrath accusative object of bheje; a kenning for angerरुद्र के गुण (अर्थात् क्रोध) को
mukhebut on her face locative, paired against citteमुख पर
tuwhereas — [the turn between inside and outside]परन्तु
sumukhīthe fair-faced one [Śyāmalā] nominative subjectसुमुखी (वह सुन्दरमुखी नायिका)
bhejetook on, wore 3rd sg. perfect of √bhajधारण किया (भजा)
munīnāṁ vratamthe vow of the sages — that is, silence accusative; a kenning for maunaमुनियों के व्रत (अर्थात् मौन) को
sumukhī citte rudra-guṇaṁ bheje — the fair-faced one took on, in her heart, Rudra's temper (wrath); mukhe tu munīnāṁ vratam — but on her face, the sages' vow (silence).
सुमुखी ने चित्त में तो रुद्र-गुण (क्रोध) को, परन्तु मुख पर मुनियों के व्रत (मौन) को धारण किया।
So the fair-faced Śyāmalā took on two things at once: in her heart, the temper of Rudra — blazing anger; but on her face, the vow of the munis — total silence. Inwardly furious, outwardly not a word.
उस सुन्दरी ने मन में तो क्रोध धारण किया, किन्तु मुख पर मौन।
Both phrases are learned kennings. 'Rudra's quality' names anger, since Rudra (Śiva) is the wrathful, destroying deity; 'the vow of the munis' names silence (mauna), the sages' signature discipline. The verse pins them to opposite places — citte (heart) versus mukhe (face) — and the little tu holds the contrast. Jealous rage burns within while she keeps a cold silence without; that split reaction is exactly what marks her out as the heroine-type named in the last commentary sentence.
Viśvanātha Cakravartī
s1avataranika
śyāmā-sakha-bakula-mālā-sakhīṁ pṛcchantīṁ kāṁcid āha—yāvair iti |
śyāmā-sakha-bakula-mālā-sakhīṁto her girlfriend Bakula-mālā, a companion of Śyāmā accusative — the one addressedश्यामा की सहचरी बकुलमाला की सखी को
pṛcchantīṁwho was asking [what had happened] accusative, qualifying the friend(जो कुछ) पूछ रही थी — ऐसी उस (सखी) को
kāṁcita certain [friend] accusativeकिसी (स्त्री) को
āha[the speaker] tells, says toकहती है
yāvaiḥ itiwith the verse beginning 'yāvaiḥ' names the mūla by its opening word'यावैः' इत्यादि (मूल श्लोक) — ऐसा
kāṁcit sakhīṁ pṛcchantīṁ — to a certain girlfriend who was asking; śyāmā-sakha-bakula-mālā — namely Bakula-mālā, a friend of Śyāmā; āha — [the speaker] says; yāvaiḥ iti — the verse 'yāvaiḥ...'.
श्यामा की सहचरी बकुलमाला की सखी को — जो पूछ रही थी — किसी (स्त्री) के प्रति कहती है — 'यावैः' इत्यादि।
Viśvanātha sets the scene before decoding. A certain girlfriend — Bakula-mālā, a friend of Śyāmā — was asking what had happened, and in reply the speaker recites this verse, 'yāvaiḥ...'.
श्यामा की सखी बकुलमाला की जो सहेली पूछ रही थी, उससे कोई कहती है — 'यावैः...' यह श्लोक।
In a nāyikā-bheda chapter the frame matters: the words are spoken to Bakula-mālā, while the verse itself describes Śyāmalā's reaction to Kṛṣṇa's dawn condition in the third person.
s2gloss
dhūmalitaṁ kṛṣṇa-lohitīkṛtam |
dhūmalitaṁ[the verse's word] 'dhūmalita' (smoke-darkened)'धूमलित' (का अर्थ)
kṛṣṇa-lohitīkṛtammeans: turned a blackish-red kṛṣṇa (dark) + lohita (red) — the two-tone color of lacकृष्ण (काले) और लोहित (लाल) — दो रंगों में रँगा हुआ
dhūmalitaṁ — 'dhūmalita'; kṛṣṇa-lohitīkṛtam — [means] made a blackish-red.
'धूमलित' अर्थात् काले-लाल (दो-रंगे) रूप में रँगा हुआ।
Viśvanātha glosses one word: 'dhūmalita' means turned a smoky blackish-red — the dark-and-red hue the lac leaves behind.
'धूमलित' का अर्थ है — काले और लाल, दोनों रंगों में रँगा हुआ।
s3gloss
tāṭaṅkaṁ kuṇḍalam |
tāṭaṅkaṁ[the word] 'tāṭaṅka''ताटंक' (का अर्थ)
kuṇḍalammeans an earring, an ear-ornamentकुंडल (कान का आभूषण)
tāṭaṅkaṁ — 'tāṭaṅka'; kuṇḍalam — [means] an earring.
'ताटंक' अर्थात् कुंडल।
'Tāṭaṅka' simply means an earring — so 'tāṭaṅka-mudrā' in the verse is the mark left by her ear-ornament.
'ताटंक' का अर्थ है — कुंडल।
s4gloss
vraja-pater iti |
vraja-pateḥ itinow, on the word 'vraja-pati' (lord of Vraja) —'व्रजपतेः' — इस पद (की व्याख्या)
vraja-pateḥ iti — [taking up] the word 'vraja-pati'...
'व्रजपतेः' — इस पद के विषय में (आगे कहते हैं)।
He now picks up the word 'vraja-pati' to comment on it — the gloss runs through the next three sentences.
अब 'व्रजपतेः' पद को लेते हैं।
s5gloss
prakaraṇa-vaśād vraja-śabdo’yaṁ samūha-vācī |
prakaraṇa-vaśātbecause of the context here ablative of reasonप्रसंग के कारण (प्रकरण के अनुसार)
vraja-śabdaḥ ayaṁthis word 'vraja'यह 'व्रज' शब्द
samūha-vācīdenotes a multitude, a crowd not the place-name but the sense 'herd, throng'समूह (झुंड, समुदाय) का वाचक है
prakaraṇa-vaśāt — by force of the context; vraja-śabdaḥ ayaṁ — this word 'vraja'; samūha-vācī — denotes a multitude.
प्रसंग के कारण यह 'व्रज' शब्द समूह (झुंड) का वाचक है।
Given the context, Viśvanātha says, 'vraja' here is not the cowherd land at all — it carries its other sense, 'a multitude, a throng.'
यहाँ प्रसंग के कारण 'व्रज' शब्द किसी स्थान का नहीं, बल्कि झुंड-समुदाय का अर्थ देता है।
vraja can mean both the cowherd settlement and, from the root 'to go, to move in a drove,' a herd or crowd. Viśvanātha activates the second sense, which the next line cashes out.
s6gloss
paraḥ-sahasra-strī-janopabhoktur ity arthaḥ |
paraḥ-sahasra-strī-jana-upabhoktuḥof him who enjoys many thousands of women genitive matching 'vraja-pateḥ'; paraḥ-sahasra = upwards of a thousandहजारों से अधिक स्त्रीजनों के उपभोक्ता के — (ऐसे व्रजपति का)
iti arthaḥthat is the meaningऐसा अर्थ है
paraḥ-sahasra-strī-jana-upabhoktuḥ — of the enjoyer of many thousands of women; iti arthaḥ — that is the meaning.
अर्थात् (व्रजपति का अर्थ है) — हजारों से अधिक स्त्रीजनों का उपभोक्ता — ऐसा अर्थ है।
So 'vraja-pati' here means: the lord who enjoys the company of many thousands of women. That, Viśvanātha says, is the sense.
अर्थात् व्रजपति वह है, जो हजारों से भी अधिक स्त्रियों का उपभोक्ता है।
s7gloss
tasminn etat sarvaṁ nāścaryam iti bhāvaḥ |
tasminin his case locativeउस (व्रजपति) में
etat sarvaṁall this [the whole catalogue of love-marks]यह सब कुछ
na āścaryamis no wonder at allआश्चर्य की बात नहीं
iti bhāvaḥsuch is the underlying ideaऐसा भाव है
tasmin — in him; etat sarvaṁ — all this; na āścaryam — is no surprise; iti bhāvaḥ — that is the import.
उस (व्रजपति) में यह सब कुछ आश्चर्य की बात नहीं — ऐसा भाव है।
And here is the point behind reading 'vraja' that way: in a man who enjoys thousands of women, all these signs of a night's dalliance are no surprise whatever. That is the implied sense.
ऐसे व्रजपति में यह सब होना कोई अचरज नहीं — यही तात्पर्य है।
s8gloss
rudra-guṇaṁ krodhaṁ tena tat-sūcakaṁ mukha-vaivarṇyaṁ nayanāruṇyaṁ ca tasyās tad āvirbhūtam iti bhāvaḥ |
rudra-guṇaṁ[the verse's] 'rudra-guṇa' (Rudra's quality)'रुद्र-गुण' (का अर्थ)
krodhaṁmeans angerक्रोध
tenaby that anger instrumental of causeउस (क्रोध) के कारण
tat-sūcakaṁthe sign that betrays it qualifies the pallor and redness that followउसका सूचक (क्रोध को प्रकट करने वाला)
mukha-vaivarṇyaṁthe paling of her faceमुख का विवर्ण होना (रंग उड़ जाना)
nayana-āruṇyaṁand the reddening of her eyesनेत्रों की लालिमा
caandऔर
tasyāḥin her genitiveउस (नायिका) के
tatthat [tell-tale sign]वह (सब)
āvirbhūtamshowed itself, came outप्रकट हुआ
iti bhāvaḥsuch is the senseऐसा भाव है
rudra-guṇaṁ krodhaṁ — 'rudra-guṇa' = anger; tena — by that anger; tasyāḥ — in her; tat-sūcakaṁ mukha-vaivarṇyaṁ nayana-āruṇyaṁ ca — its tell-tale sign, the paling of her face and the reddening of her eyes; tat āvirbhūtam — that showed itself; iti bhāvaḥ.
'रुद्र-गुण' अर्थात् क्रोध; उस क्रोध के कारण उसका सूचक — मुख का विवर्ण होना और नेत्रों की लालिमा — उस नायिका में प्रकट हुआ, ऐसा भाव है।
'Rudra's quality' means anger. And through that inward anger its tell-tale signs came out on her — her face went pale, her eyes turned red. So even under the outward silence, the rage gave itself away. That is the import.
'रुद्र-गुण' का अर्थ है क्रोध। उस क्रोध से उसे प्रकट करने वाले चिह्न — मुख का उतरा रंग और आँखों की लालिमा — उस नायिका में उभर आए। यही भाव है।
This is the key move: the face keeps the 'vow of silence,' yet the involuntary pallor and red eyes leak the heart's anger. Concealment and disclosure at once — the ground for the classification in s10.
s9gloss
munīnāṁ vrataṁ maunam |
munīnāṁ vrataṁ[the verse's] 'the vow of the sages''मुनियों का व्रत' (का अर्थ)
maunammeans silenceमौन
munīnāṁ vrataṁ — 'the vow of the munis'; maunam — [means] silence.
'मुनियों का व्रत' अर्थात् मौन।
'The vow of the munis' means silence — she simply held her tongue.
'मुनियों का व्रत' का अर्थ है — मौन।
s10conclusion
iyaṁ dhīrādhīra-pragalbhā jñeyā ||
iyaṁshe [this heroine]यह (नायिका)
dhīrādhīra-pragalbhāa pragalbhā of the mixed self-possessed-and-agitated kind dhīrā + adhīrā together; pragalbhā = the bold, fully mature heroineधीरा-अधीरा प्रगल्भा (धीर और अधीर दोनों भावों वाली प्रौढ़-प्रगल्भा नायिका)
jñeyāis to be known as gerundive — the classification verdictजाननी चाहिए
iyaṁ — she; dhīrādhīra-pragalbhā — a dhīrādhīrā pragalbhā; jñeyā — is to be known as.
यह नायिका धीरा-अधीरा प्रगल्भा जाननी चाहिए।
So Viśvanātha delivers the verdict: this heroine is to be classed as a dhīrādhīrā pragalbhā — a bold, fully mature nāyikā whose jealous anger comes out in a mixed way, held back and shown at once.
इस नायिका को धीरा-अधीरा प्रगल्भा समझना चाहिए।
In the nāyikā-bheda scheme a pragalbhā is the fully mature heroine; she vents her māna (jealous pique) as a dhīrā by cold, veiled means, as an adhīrā by open, harsh means, and as a dhīrādhīrā by mixing the two. Here the silence on the face is the dhīrā (veiled) side, the pallor and red eyes leaking her rage the adhīrā (open) side — hence dhīrādhīrā. This is the heroine-type the verse is placed here to illustrate.