L1other
pūrvaṁ yāḥ pañcadaśadhā proktās tāsāṁ śataṁ tathā |
pūrvaṁearlier — [back in this chapter] adverb of timeपहले (पूर्व में)
yāḥthe heroines who — relative pronoun, fem. pl.जो (नायिकाएँ)
pañcadaśadhāin fifteen kindsपन्द्रह प्रकार से
proktāḥwere laid out, were declared past participleकही गई थीं
tāsāṁof those [fifteen] — [from them there comes] genitiveउनकी (गणना)
śataṁa hundredसौ
tathāand also — [more to be added by the next line] connective linking the two numbersतथा (और वैसे ही)
pūrvaṁ yāḥ pañcadaśadhā proktāḥ — the heroines earlier laid out in fifteen kinds; tāsāṁ — of them; śataṁ tathā — [there comes to be] a hundred, and...
पहले जो (नायिकाएँ) पन्द्रह प्रकार से कही गई थीं, उनकी (संख्या) सौ, तथा—
Earlier the heroines were set out in fifteen kinds. Take those fifteen: from them you now get a hundred — and (line 2 finishes the sum) twenty more.
पहले जिन नायिकाओं का पन्द्रह प्रकार से वर्णन हुआ था, उनकी (गणना यहाँ) सौ — तथा—
L2other
viṁśatiś cābhir atra syād avasthābhiḥ kilāṣṭabhiḥ ||
viṁśatiḥtwenty [more] — [so a hundred-and-twenty in all]बीस
caand — [added to the hundred just named]और
ābhiḥby these — [the multiplier now named] instrumental of meansइनके द्वारा
atrahere, in this systemयहाँ (इस प्रकरण में)
syātwould come to be, results optativeहो जाती हैं
avasthābhiḥwhen multiplied by the states — the conditions a heroine can be in instrumental of meansअवस्थाओं के द्वारा
kilaas is well knownनिश्चय ही
aṣṭabhiḥeight [of them]आठ
ābhiḥ aṣṭabhiḥ avasthābhiḥ — by these eight states; atra — here; śataṁ viṁśatiḥ ca — a hundred and twenty (120); syāt — comes to be.
और बीस — इन आठ अवस्थाओं के द्वारा यहाँ (इतनी) हो जाती हैं।
Multiply those fifteen by the eight avasthās — the eight states a heroine can be found in — and here you get a hundred and twenty. That is 15 x 8 = 120.
और बीस — अर्थात् (सौ और बीस मिलकर एक सौ बीस) — इन आठ अवस्थाओं के द्वारा यहाँ हो जाती हैं।
The eight avasthās (states of the heroine in love) are: abhisārikā (setting out to meet him), vāsakasajjā (dressed and waiting for him), utkaṇṭhitā (longing when he fails to come), khaṇḍitā (offended because he spent the night elsewhere), vipralabdhā (cheated of a promised tryst), kalahāntaritā (estranged after a quarrel), proṣita-bhartṛkā (her lover away abroad), and svādhīna-bhartṛkā (her lover kept under her sway).
L3other
punaś ca tri-vidhair ebhiḥ prabhedair uttamādibhiḥ |
punaḥagain — [take that 120 once more]फिर
caand, furthermoreऔर
tri-vidhaiḥby the threefold — instrumental of meansतीन प्रकार के द्वारा
ebhiḥby theseइन
prabhedaiḥsubdivisions, further splits instrumental of meansभेदों के द्वारा
uttamādibhiḥnamely the top grade and the rest — uttamā, madhyamā, adhamā (superior, middling, inferior)उत्तम आदि (उत्तम, मध्यम आदि)
punaḥ ca — and again; ebhiḥ tri-vidhaiḥ prabhedaiḥ uttamādibhiḥ — by these three subdivisions, superior / middling / inferior.
और फिर उत्तम आदि इन तीन प्रकार के भेदों के द्वारा—
Then take that 120 again and split each one by a further three grades — uttamā, madhyamā, adhamā: top, middle, and low.
फिर उत्तम, मध्यम आदि इन तीन प्रकार के भेदों के द्वारा—
L4conclusion
triśatī spaṣṭam uktātra ṣaṣṭyā yuktā manīṣibhiḥ ||
triśatīthree hundred (300)तीन सौ (की संख्या)
spaṣṭamclearly, in plain termsस्पष्ट रूप से
uktāis stated past participle, agreeing with triśatīकही गई है (त्रिशती से मेल)
atrahereयहाँ
ṣaṣṭyāwith sixty — instrumentalसाठ के साथ
yuktājoined to it — so three-hundred-and-sixty (360) past participleयुक्त (मिली हुई)
manīṣibhiḥby the thoughtful ones, the wise authorities instrumental of agentमनीषियों के द्वारा
atra — here; triśatī ṣaṣṭyā yuktā — three hundred joined with sixty (360); manīṣibhiḥ — by the wise; spaṣṭam uktā — is plainly stated.
मनीषियों ने यहाँ स्पष्ट रूप से (उसे) साठ से युक्त तीन सौ कहा है।
So the wise plainly declare the grand total here: three hundred and sixty. That is 120 x 3 = 360 — the full count of the heroine's varieties.
मनीषियों ने यहाँ स्पष्ट रूप से (इन नायिकाओं को) साठ से युक्त तीन सौ — अर्थात् तीन सौ साठ — कहा है।
The tally builds in two steps: fifteen base types x eight states = 120 (lines 1-2), then 120 x three quality grades = 360 (lines 3-4). This closing verse simply settles the number that the whole nāyikā-bheda has been working toward.
Viśvanātha Cakravartī
s1avataranika
pūrvaṁ yā iti |
pūrvaṁ yāḥ itithe verse that opens 'pūrvaṁ yāḥ...' — [he takes it up] names the mūla by its first words'पूर्वं याः' — इस प्रतीक से (मूल श्लोक का उल्लेख)
pūrvaṁ yāḥ iti — [he now takes up] the verse beginning 'pūrvaṁ yāḥ.'
'पूर्वं याः' इति — (मूल श्लोक का आरम्भिक प्रतीक)।
Viśvanātha names the verse he is about to unpack by its opening words, 'pūrvaṁ yāḥ.'
'पूर्वं याः' इत्यादि श्लोक की (व्याख्या आरम्भ होती है)।
s2objection
nanv atra dhīrādhīrādhīrādhīrāṇāṁ katham abhisārādy-avasthā-saptakam |
nanubut surely — [he raises an objection]भला (आक्षेप)
atrahere, in this countयहाँ
dhīrādhīrādhīrādhīrāṇāṁfor the dhīrā, adhīrā, and dhīrādhīrā [heroines] — the composed, the unrestrained, and the mixed genitive: 'for whom'; the compound is dhīrā + adhīrā + dhīrādhīrāधीरा, अधीरा और धीराधीरा (नायिकाओं) के लिए
kathamhow [can there be]?कैसे (सम्भव)
abhisārādy-avasthā-saptakamthe set of seven states beginning with abhisāra (setting out to meet him)अभिसारिका आदि सात अवस्थाएँ
nanu — but surely; atra — here; dhīrādhīrādhīrādhīrāṇāṁ — for the dhīrā, adhīrā, dhīrādhīrā; abhisārādy-avasthā-saptakam katham — how can the group of seven states beginning with abhisāra apply?
भला, यहाँ इन धीरा, अधीरा और धीराधीरा (नायिकाओं) के लिए अभिसारिका आदि सात अवस्थाएँ कैसे (बन सकती हैं)?
An objection is raised. How can the dhīrā, adhīrā, and dhīrādhīrā heroines take on the other seven states, the ones beginning with abhisārikā (setting out to meet him)? These three types are marked by how a woman shows her jealous anger, so they seem to have no business in states like abhisārikā at all.
आपत्ति यह है — इन धीरा, अधीरा और धीराधीरा नायिकाओं के लिए अभिसारिका आदि सात अवस्थाएँ कैसे बन सकती हैं?
The three temperament-types: dhīrā voices her jealous anger obliquely, with polished sarcasm; adhīrā lets it out unrestrained, in open scolding; dhīrādhīrā is a mix of the two. The objection counts 'seven' states, not eight, because the eighth — khaṇḍitā, the offended woman — is the one state where these three natively arise (taken up in the next sentence).
यहाँ का समास धीरा + अधीरा + धीराधीरा — इन तीन नायिका-भेदों का द्वन्द्व है।
s3objection
kevalam ekaṁ khaṇḍitātvam eva sambhavati tāsām |
kevalam ekaṁonly the singleकेवल एक
khaṇḍitātvamstate of being a khaṇḍitā — the woman offended [because he spent the night with a rival]खण्डिता होना (खण्डिता-भाव)
evaalone, and nothing elseही
sambhavatiis possibleसम्भव होता है
tāsāmfor them — the dhīrā, adhīrā, dhīrādhīrā genitiveउनके लिए
tāsām — for them; kevalam ekaṁ khaṇḍitātvam eva — only the single state of being khaṇḍitā; sambhavati — is possible.
उनके लिए केवल एक 'खण्डिता' होना ही सम्भव होता है।
The only state these three can be in, the objector holds, is that of the khaṇḍitā — the woman offended because her lover spent the night elsewhere. No other state fits them.
उन (धीरा आदि) के लिए तो केवल एक ही अवस्था — खण्डिता होना — सम्भव है।
s4objection
khaṇḍitāyā eva māna-sambhavāt mānam avalambyaiva dhīratvādīnāṁ lakṣitatvāt |
khaṇḍitāyāḥ evafor the khaṇḍitā alone — genitive with evaखण्डिता के ही
māna-sambhavātbecause jealous anger (māna) can arise ablative of reasonक्योंकि मान की सम्भावना होती है
mānam avalambya evaprecisely by leaning on that mānaमान का आश्रय लेकर ही
dhīratvādīnāṁof being dhīrā and the rest [dhīrā, adhīrā, dhīrādhīrā-hood] genitiveधीरत्व आदि (धीरा-भाव आदि) की
lakṣitatvātbecause they are [each] defined ablative of reasonक्योंकि लक्षित की जाती हैं
khaṇḍitāyāḥ eva māna-sambhavāt — because māna arises only in the khaṇḍitā; dhīratvādīnāṁ mānam avalambya eva lakṣitatvāt — and because being dhīrā and the rest are defined only by reference to māna.
क्योंकि मान केवल खण्डिता के ही सम्भव होता है, और मान का आश्रय लेकर ही धीरत्व आदि लक्षित होते हैं।
Here is the reasoning behind the objection. Jealous anger (māna) arises only in the khaṇḍitā. And 'dhīrā,' 'adhīrā,' 'dhīrādhīrā' are defined entirely by how a woman handles that anger. So these three can only be sub-kinds of the khaṇḍitā — which means the other seven states ought not to divide into them at all.
कारण यह कि मान (ईर्ष्या-जनित रोष) केवल खण्डिता में ही सम्भव है, और धीरा-भाव आदि का लक्षण भी मान के आश्रय से ही किया जाता है।
s5reply
ucyate—dhīrātvādikaṁ nāyikānām autpattikaḥ sārvakālika eva svabhāvo māna-kāle tat-kāryaṁ sotprāsa-vaktrokty-ādikaṁ surasanīyam iti tadānīm eva tal-lakṣaṇaṁ kṛtam |
ucyatethe reply is — [it is answered]उत्तर दिया जाता है
dhīrātvādikaṁbeing dhīrā and the rest nominative, the subjectधीरत्व आदि (धीरा-भाव आदि)
nāyikānāmof the heroines — [belonging to them] genitiveनायिकाओं का
autpattikaḥis inborn, present from the startजन्मजात (स्वाभाविक)
sārvakālikaḥ evaand present at every time, without a breakसर्वकालिक ही (सदा रहने वाला)
svabhāvaḥ[is their] very nature, their temperamentस्वभाव है
māna-kāleat the time of māna — when jealous anger is upon her locative of timeमान के समय
tat-kāryaṁits effect, what it producesउसका कार्य (धीरत्व का परिणाम)
sotprāsa-vaktrokty-ādikaṁnamely the taunting, barbed, oblique speech and the like (utprāsa = ridicule; vaktra-ukti = crooked, sidelong remarks)व्यंग्य-सहित वक्रोक्ति आदि (उपहास-भरी टेढ़ी वाणी)
surasanīyamis especially relishable, at its most savoryअत्यन्त रसमय (आस्वाद्य)
itiand since this is soऐसा (यह विचार कर)
tadānīm evaright then and there — [in the setting of māna]उसी समय
tal-lakṣaṇaṁits definitionउसका (धीरत्व का) लक्षण
kṛtamwas givenकिया गया
ucyate — it is answered; dhīrātvādikaṁ — being dhīrā and the rest; nāyikānām autpattikaḥ sārvakālikaḥ eva svabhāvaḥ — is the heroines' inborn nature, present at all times; [but] māna-kāle — at the time of māna; tat-kāryaṁ sotprāsa-vaktrokty-ādikaṁ — its effect, the taunting oblique speech and so on; surasanīyam — is at its most relishable; iti — and so; tadānīm eva tal-lakṣaṇaṁ kṛtam — its definition was given right there.
उत्तर दिया जाता है — नायिकाओं का धीरत्व आदि (उनका) जन्मजात, सर्वकालिक स्वभाव ही है; मान के समय उसका कार्य — व्यंग्य-सहित वक्रोक्ति आदि — अत्यन्त रसमय होता है, ऐसा (विचार कर) उसी समय उसका लक्षण किया गया।
The reply: being dhīrā, adhīrā, or dhīrādhīrā is the heroine's inborn temperament. It is with her at all times, not only when she is offended. It is just that its outward effect — the sarcastic, barbed, sidelong speech — tastes best during māna. That is the sole reason Rūpa defined these three in the setting of māna. The temperament itself never leaves her, so it rides along with all eight states, not the khaṇḍitā alone.
इसका उत्तर यह है — धीरा-भाव आदि नायिकाओं का जन्मजात और सदा बना रहने वाला स्वभाव है। मान के समय उस स्वभाव का कार्य — उपहास-भरी टेढ़ी वाणी आदि — सबसे अधिक रसमय होता है। इसीलिए उसी अवसर पर उसका लक्षण कर दिया गया।
The pivot is a distinction between an autpattika, sārvakālika svabhāva (an inborn nature present at every moment) and its māna-kāle tat-kārya (the effect it produces only on the occasion of māna). Homely example: a person's wit is a standing trait, with them all day (the svabhāva), but it only sparkles at a lively gathering (the relishable effect on that occasion). Defining the wit 'at the party' does not make the person witty only there. Just so, dhīratva belongs to the heroine always; it merely shows most tellingly under māna — which is why it can pair with every state.
s6reply
ato rasa-mañjary-ādau mugdhābhisārikā, madhyābhisārikā, pragalbhābhisārikety ādy-ukta-rītyā dhīrābhiṣarikety ādy api jñeyam |
ataḥso, on this groundइसलिए
rasa-mañjary-ādauin the Rasa-mañjarī and works like it locativeरस-मञ्जरी आदि (ग्रन्थों) में
mugdhābhisārikā, madhyābhisārikā, pragalbhābhisārikā'the naive one setting out to meet him, the middling one, the bold one' — the boldness-types joined to the abhisārikā stateमुग्धाभिसारिका, मध्याभिसारिका, प्रगल्भाभिसारिका
iti ādy-ukta-rītyāin the manner it states, and so on instrumental: 'by the way of speaking'इत्यादि जिस कही गई रीति से
dhīrābhisārikā iti ādi api'the composed one setting out to meet him' and so forth, likewise'धीराभिसारिका' इत्यादि भी
jñeyamshould be understoodजान लेना चाहिए
ataḥ — so; rasa-mañjary-ādau — in the Rasa-mañjarī etc.; mugdhābhisārikā madhyābhisārikā pragalbhābhisārikā iti ādy-ukta-rītyā — by the manner it states, 'mugdhābhisārikā, madhyābhisārikā, pragalbhābhisārikā,' and so on; dhīrābhisārikā iti ādi api jñeyam — 'dhīrābhisārikā' and the rest should likewise be understood.
इसलिए रस-मञ्जरी आदि में 'मुग्धाभिसारिका, मध्याभिसारिका, प्रगल्भाभिसारिका' इत्यादि जिस रीति से कहा गया है, उसी रीति से 'धीराभिसारिका' इत्यादि भी जान लेना चाहिए।
There is precedent for this. In works like the Rasa-mañjarī the boldness-types are freely joined to a state: 'mugdhābhisārikā' (the naive girl on her way to the tryst), 'madhyābhisārikā,' 'pragalbhābhisārikā.' In exactly the same fashion, Viśvanātha says, we may speak of a 'dhīrābhisārikā' and so on. The temperament-types pair with abhisārikā just as the boldness-types do.
अतः रस-मञ्जरी आदि ग्रन्थों में जैसे 'मुग्धाभिसारिका, मध्याभिसारिका, प्रगल्भाभिसारिका' आदि कहे गये हैं, उसी ढंग से 'धीराभिसारिका' आदि को भी समझ लेना चाहिए।
Rasa-mañjarī = a well-known handbook of the heroine-types (by Bhānudatta). Viśvanātha appeals to it for its method, not as scriptural proof: if that work can attach mugdhā / madhyā / pragalbhā to a state, dhīrā / adhīrā / dhīrādhīrā may be attached the same way. (The source writes 'dhīrābhiṣarikā'; read dhīrābhisārikā.)
s7definition
yathā dhṛtyā durlakṣyābhisārā dhīrābhisārikā, adhṛtyā svābhisāraṁ spaṣṭayantī adhīrā, dhṛty-adhṛtibhyāṁ īṣal-lakṣyābhisārā dhīrādhīrety evaṁ sarvatraiva vivecanīyam ||
yathāto spell it out — for instanceजैसे
dhṛtyāby her composure instrumental of meansधैर्य के कारण (धृति के द्वारा)
durlakṣyābhisārāone whose setting-out is hard to detectजिसका अभिसार कठिनता से लक्षित हो
dhīrābhisārikāis the dhīrā-abhisārikā(वह) धीराभिसारिका (है)
adhṛtyāthrough her lack of composure instrumental of meansअधैर्य के कारण (धैर्य के अभाव से)
svābhisāraṁher own setting-out accusative objectअपने अभिसार को
spaṣṭayantīone who gives [it] away, makes it obvious present participle, fem.स्पष्ट करती हुई
adhīrāis the adhīrā [-abhisārikā](वह) अधीरा (है)
dhṛty-adhṛtibhyāṁby a mix of composure and its lack instrumental dualधैर्य और अधैर्य दोनों के द्वारा
īṣal-lakṣyābhisārāone whose setting-out is only faintly detectableजिसका अभिसार थोड़ा-सा लक्षित हो
dhīrādhīrāis the dhīrādhīrā [-abhisārikā](वह) धीराधीरा (है)
iti evaṁin just this wayइस प्रकार
sarvatra evain every single case [across all the states]सर्वत्र ही (सब स्थानों पर)
vivecanīyamit should be worked out, discernedविवेचना करनी चाहिए
yathā — for instance; dhṛtyā durlakṣyābhisārā dhīrābhisārikā — by her composure her tryst-going goes undetected: that is the dhīrābhisārikā; adhṛtyā svābhisāraṁ spaṣṭayantī adhīrā — through lack of composure she gives her own tryst-going away: the adhīrā; dhṛty-adhṛtibhyāṁ īṣal-lakṣyābhisārā dhīrādhīrā — by a mix of both her tryst-going is only faintly noticeable: the dhīrādhīrā; iti evaṁ sarvatra eva vivecanīyam — and in this way it should be worked out in every case.
जैसे — धैर्य के कारण जिसका अभिसार कठिनता से लक्षित हो वह धीराभिसारिका; अधैर्य से अपने अभिसार को स्पष्ट करती हुई अधीरा; धैर्य और अधैर्य दोनों से जिसका अभिसार थोड़ा-सा लक्षित हो वह धीराधीरा — इस प्रकार सर्वत्र ही विवेचना करनी चाहिए।
He works the example through. The dhīrā-abhisārikā keeps such composure that no one can tell she is slipping off to meet him. The adhīrā-abhisārikā has so little composure that she gives her own errand away. The dhīrādhīrā-abhisārikā, mixing the two, is only faintly detectable. Apply the same three-way split, he concludes, to every one of the eight states, not to abhisārikā alone.
जैसे — जो धैर्य के कारण अपने अभिसार को छिपाए रखती है, जिसका अभिसार कठिनता से पकड़ में आता है, वह धीराभिसारिका है; जो अधैर्यवश अपने अभिसार को खुला कर देती है, वह अधीरा है; और जिसमें धैर्य-अधैर्य दोनों होने से अभिसार थोड़ा-सा ही झलकता है, वह धीराधीरा है। इसी प्रकार सब जगह विचार कर लेना चाहिए।
abhisārikā = the heroine who leaves home to go to her lover. The mark that here tells the three temperaments apart is how well she hides that errand — fully (dhīrā), not at all (adhīrā), or partly (dhīrādhīrā). The closing 'sarvatra eva vivecanīyam' extends the method across all eight states, sealing the reply.