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IASTदेवनागरीবাংলা
Commentary
JīvaViśvanāthaViṣṇudāsa
UN 7.3-4
← 7.1-27.5 →
tatra svayaṁ dutī—
atyautsukya-truṭad-vrīḍā yā ca rāgātimohitā |
svayam evābhiyuṅkte sā svayaṁ-dūtī tataḥ smṛtā ||
svābhiyogās tridhā proktā vācikāṅgika-cākṣuṣāḥ ||
The verse — decoded
L1definition
atyautsukya-truṭad-vrīḍā yā ca rāgātimohitā |
atyautsukya-truṭad-vrīḍāshe whose modesty is snapped by intense eagerness bahuvrīhi describing her; truṭat = present-active 'breaking, snapping.'जिसकी अत्यधिक उत्सुकता के कारण लज्जा टूट जाती है (ऐसी नायिका)
yāthe woman who —जो
caand (this 'and' marks off a second such woman) it is this ca off which both commentators read a second 'yā.'और (इसी 'च' से दूसरा 'यो' भी जोड़ा जाता है)
rāgātimohitā[the woman] utterly bewildered by passion (rāga)जो राग से अत्यन्त मोहित है
atyautsukya-truṭad-vrīḍā yā — the woman whose modesty is snapped by intense eagerness; ca — and; rāgātimohitā [yā] — [the woman] utterly bewildered by passion.
atyautsukya-truṭad-vrīḍā — जिसकी अत्यधिक उत्सुकता से लज्जा टूट गई; yā — जो; ca — और; rāgātimohitā — जो राग से अत्यन्त मोहित है।
Following the lead-in 'tatra svayaṁ-dūtī,' Rūpa now defines the svayaṁ-dūtī, the woman who is her own go-between. He names two kinds: one whose shame is snapped by intense eagerness (autsukya), and one utterly bewildered by passion (rāga). The small word 'ca' ('and') is load-bearing here — the commentators will read the relative 'yā' ('who') twice off it, so the line names two women, not one.
जिस नायिका की अत्यधिक उत्सुकता के कारण लज्जा टूट जाती है, और जो राग से अत्यन्त मोहित रहती है।
L2definition
svayam evābhiyuṅkte sā svayaṁ-dūtī tataḥ smṛtā ||
svayam evaby her very own self, with no messenger between eva = 'precisely herself,' stressing the absence of any intermediary.स्वयं ही (बिना किसी दूती के, ठीक अपने आप)
abhiyuṅktemakes the approach, presses her suitअभियोग करती है, अर्थात् आगे बढ़कर प्रयत्न करती है
sāsheवह
svayaṁ-dūtīis the 'self-messenger,' her own go-between'स्वयं-दूती'
tataḥfor that very reasonइसीलिए
smṛtāis called, is traditionally namedकही गई है
yā ... sā svayam eva abhiyuṅkte — that woman herself makes the approach; tataḥ — for that reason; svayaṁ-dūtī smṛtā — she is called the svayaṁ-dūtī.
svayam eva — स्वयं ही; abhiyuṅkte — अभियोग करती है; sā — वह; tataḥ — इसलिए; svayaṁ-dūtī — 'स्वयं-दूती'; smṛtā — कही गई है।
She herself, with no one carrying word for her, makes the approach to the hero. For that reason she is called the svayaṁ-dūtī — her own go-between. The 'eva' ('very') underlines the point: she needs no messenger.
वह स्वयं ही, बिना किसी दूती के, नायक से अभियोग करती है; इसीलिए वह 'स्वयं-दूती' कही गई है।
L3definition
svābhiyogās tridhā proktā vācikāṅgika-cākṣuṣāḥ ||
svābhiyogāḥthese self-approaches, her own overturesउसके स्व-अभियोग (अपने ही प्रयत्न)
tridhāare of three kindsतीन प्रकार के
proktāḥare declared [to be]कहे गए हैं
vācika-āṅgika-cākṣuṣāḥby speech, by bodily gesture, and by the eyesवाचिक (वाणी से), आंगिक (अंगचेष्टा से) और चाक्षुष (नेत्र से)
svābhiyogāḥ — the self-approaches; tridhā proktāḥ — are declared threefold; vācika-āṅgika-cākṣuṣāḥ — verbal, bodily (by gesture), and ocular (by the eyes).
svābhiyogāḥ — स्व-अभियोग; tridhā — तीन प्रकार के; proktāḥ — कहे गए हैं; vācika-āṅgika-cākṣuṣāḥ — वाचिक, आंगिक और चाक्षुष।
Her self-approach (svābhiyoga) comes in three forms: by speech (vācika), by bodily gesture (āṅgika), and by the eyes (cākṣuṣa). She can press her suit with a word, with a movement of the body, or with a glance.
उसके स्व-अभियोग तीन प्रकार के कहे गए हैं — वाचिक, आंगिक और चाक्षुष।
Commentary — decoded
Jīva Gosvāmī
s1gloss
autsukya-truṭa-vrīḍā yā rāgātimohitā ca yeti yā-padasya dvir-āvṛttyānvayaḥ |
autsukya-truṭa-vrīḍā yā'the woman whose shame is broken by eagerness' — [take yā here]'जिसकी उत्सुकता से लज्जा टूट गई, वह जो' —
rāgātimohitā ca yā'and the woman utterly bewildered by passion' — [supply yā again] Jīva restates the verse adding a second 'yā' that the text leaves implicit.'और जो राग से अत्यन्त मोहित' — (यहाँ जीव दूसरा 'यो' जोड़ते हैं, जिसे मूल छोड़ देता है)
iti— reading it thusइस प्रकार
yā-padasya dvir-āvṛttyāby doubling the word 'yā' dvir-āvṛtti = repeating the relative pronoun twice.'यो' पद की दो बार आवृत्ति से
anvayaḥis how the construal runsअन्वय होता है
autsukya-truṭa-vrīḍā yā, rāgātimohitā ca yā iti — 'who is shame-broken by eagerness, and who is bewildered by passion'; yā-padasya dvir-āvṛttyā — by doubling the word yā; anvayaḥ — such is the construal.
autsukya-truṭa-vrīḍā yā rāgātimohitā ca yā iti — इस प्रकार दो बार 'यो' पढ़कर; yā-padasya dvir-āvṛttyā — 'यो' पद की द्विरावृत्ति से; anvayaḥ — अन्वय होता है।
Jīva shows how to parse the line. The single 'yā ca' is to be read as two relatives: 'the woman who is shame-broken by eagerness' AND 'the woman who is bewildered by passion.' You supply 'yā' ('who') a second time — that is the dvir-āvṛtti, the doubling. So the verse names two women, not one. (Note Jīva reads plain 'autsukya' where the verse has 'atyautsukya.')
जीव इसे 'यो … यो' इस प्रकार पढ़ते हैं — 'यो' पद को दो बार दुहराकर वे अन्वय करते हैं।
s2gloss
pūrvā cet svayam ābhiyuṅkte nāyakaṁ prati bhāvaṁ prakāśayati, tadā |
pūrvā cetif the former woman [the eagerness-driven one] cet = 'if,' opening a conditional that s3 completes.यदि पूर्व (पहली नायिका)
svayam abhiyuṅkteherself makes the approachस्वयं अभियोग करती है
nāyakaṁ prati bhāvaṁ prakāśayati— that is, shows her feeling toward the hero prati + acc. = 'toward'; this glosses abhiyuṅkte.अर्थात् नायक के प्रति अपना भाव प्रकट करती है
tadāthen —तब
pūrvā cet — if the former; svayam abhiyuṅkte — herself makes the approach, i.e. nāyakaṁ prati bhāvaṁ prakāśayati — reveals her feeling toward the hero; tadā — then...
pūrvā cet — यदि पहली नायिका; svayam abhiyuṅkte — स्वयं अभियोग करती है; nāyakaṁ prati bhāvaṁ prakāśayati — नायक के प्रति भाव प्रकट करती है; tadā — तब।
Jīva glosses 'abhiyuṅkte' ('makes the approach') as 'reveals her feeling toward the hero.' Then he opens a comparison: IF even the first woman — driven only by eagerness — approaches him herself... The sentence is left hanging and carries over into the next.
यदि पहली नायिका स्वयं अभियोग करती है, अर्थात् नायक के प्रति अपना भाव प्रकट करती है, तब —
s3gloss
uttarā tu sutarṁ eveti bhāvaḥ |
uttarā tuthen the latter [the passion-bewildered one], for her part — tu sets her off against the former and answers the 'cet' of s2.परन्तु दूसरी (नायिका तो)
sutarām evadoes so all the more surely sutarām = 'even more'; eva = 'surely.'और भी अधिक (भाव प्रकट करती है) ही
iti bhāvaḥ— such is the implied senseऐसा तात्पर्य है
pūrvā cet ... tadā uttarā tu sutarām eva [abhiyuṅkte] — if the former approaches, then the latter all the more; iti bhāvaḥ — that is the intent.
uttarā tu — परन्तु दूसरी; sutarām eva — और भी अधिक ही; iti bhāvaḥ — ऐसा भाव है।
He completes the thought. If even the first woman — moved only by eagerness — approaches the hero herself, then the second, bewildered by full passion, does so all the more surely. The 'tu' contrasts her with the first; the point is that the deeper the feeling, the bolder the self-approach.
परन्तु दूसरी नायिका तो और भी अधिक (अपना भाव प्रकट करती) ही है — ऐसा तात्पर्य है।
s4gloss
autsukyaṁ riraṁsāmayatve’pi sambhavati |
autsukyameagerness (autsukya)उत्सुकता
riraṁsā-mayatve apieven where the feeling is only made of the wish to enjoy union api = 'even'; riraṁsā = desire for union/enjoyment; locative = 'in the case of.'रमण की इच्छा से युक्त अवस्था में भी
sambhavatican still ariseसम्भव होती है
autsukyam — eagerness; riraṁsā-mayatve api — even in a state made only of the wish to enjoy; sambhavati — can arise.
autsukyam — उत्सुकता; riraṁsā-mayatve api — रमण की इच्छा वाली अवस्था में भी; sambhavati — सम्भव है।
Now Jīva explains why the verse separates the two. Eagerness (autsukya) can arise even where the feeling is only riraṁsā — the bare wish to enjoy union. It does not require deep love. The 'api' ('even') is the pivot: eagerness reaches down to that lower register too.
उत्सुकता तो रमण की इच्छा से युक्त अवस्था में भी सम्भव है।
s5conclusion
rāgas tu ratimayatva eveti viśiṣṭatayā pṛthag-uktiḥ ||
rāgas tupassion (rāga), by contrast tu sets rāga against the autsukya of s4.परन्तु राग
ratimayatve evaarises only where it is made of rati (settled love) eva = 'only,' restricting rāga to the rati-maya state.रति से युक्त अवस्था में ही (होता है)
iti viśiṣṭatayāand so, being the higher, distinct thing viśiṣṭatayā = 'because it is superior/special.'इस प्रकार विशिष्ट (श्रेष्ठ) होने के कारण
pṛthag-uktiḥit is stated separatelyउसका पृथक् (अलग से) कथन है
rāgaḥ tu ratimayatve eva — passion, by contrast, only where it is made of rati; iti viśiṣṭatayā — therefore, as the distinct/higher thing; pṛthag-uktiḥ — it is mentioned separately.
rāgas tu — परन्तु राग; ratimayatve eva — रति से युक्त अवस्था में ही; iti viśiṣṭatayā — इस प्रकार विशिष्ट होने से; pṛthag-uktiḥ — पृथक् कथन।
Passion (rāga), by contrast, arises ONLY where there is rati — settled love, the sthāyi-bhāva. Eagerness can rest on the mere wish to enjoy; rāga cannot. Because rāga is thus the higher, distinct thing, Rūpa names it separately — and that is why the verse gives two clauses, not one. This is Jīva's payoff: the 'ca' and the doubled 'yā' mark a real difference of grade, not idle repetition.
परन्तु राग तो रति से युक्त अवस्था में ही होता है; इसी विशिष्टता के कारण उसका अलग से कथन किया गया है।
Viśvanātha Cakravartī
s1avataranika
yā ceti |
yā ca iti[on the words] 'yā ca' — pratīka: the verse-phrase he is about to comment on.'यो च' — (यही वह पद है जिस पर अब टीका होती है)
yā ca iti — [taking up] the phrase 'yā ca.'
yā ca iti — 'यो च' यह प्रतीक (जिस पर टीका आरम्भ होती है)।
Viśvanātha takes up the verse's phrase 'yā ca' ('who, and') as his lemma — the very 'and' that Jīva too fastened upon.
'यो च' — इस पद को लेकर विश्वनाथ टीका आरम्भ करते हैं।
s2gloss
ca-kārādyātvausukya-truṭa-vrīḍeti yā-padasyāvṛttyānvayaḥ |
ca-kārātbecause of the word 'ca' ablative of cause; the 'and' is what licenses the extra relative.'च' शब्द के कारण
ātyautsukya-truṭa-vrīḍā iti[supply] 'the woman shame-broken by intense eagerness' as a clause of its own'अत्यौत्सुक्य-त्रुट-व्रीडा' यह (पद)
yā-padasya āvṛttyāby repeating the word 'yā''यो' पद की आवृत्ति से
anvayaḥthe construal runsअन्वय होता है
ca-kārāt — from the word ca; ātyautsukya-truṭa-vrīḍā iti — [reading] 'shame-broken by intense eagerness' as a separate clause; yā-padasya āvṛttyā — by repeating the word yā; anvayaḥ — such is the construal.
ca-kārāt — 'च' शब्द के कारण; ātyautsukya-truṭa-vrīḍā iti — 'अत्यौत्सुक्य-त्रुट-व्रीडा' यह; yā-padasya āvṛttyā — 'यो' पद की आवृत्ति से; anvayaḥ — अन्वय।
Viśvanātha makes the same move as Jīva, but pins it explicitly to the 'ca': BECAUSE of that 'and,' you repeat the relative 'yā,' giving the eagerness-clause its own subject. So the line construes as two women — 'who is shame-broken by intense eagerness' and 'who is bewildered by passion.' (Viśvanātha keeps the verse's fuller 'ātyautsukya' where Jīva shortened it to 'autsukya.')
'च' शब्द के कारण 'अत्यौत्सुक्य-त्रुट-व्रीडा' पद में भी 'यो' पद की आवृत्ति करके अन्वय होता है।
s3gloss
svayam evābhiyuṅkte svābhiprāyaṁ prakāśayati sā svayaṁ-dūtī |
svayam eva abhiyuṅkte'she herself makes the approach' — the verse lemma he now glosses.'स्वयं ही अभियोग करती है' —
sva-abhiprāyaṁ prakāśayatimeans she reveals her own intentअर्थात् अपना अभिप्राय प्रकट करती है
sā svayaṁ-dūtīshe is the svayaṁ-dūtī, her own messengerवह 'स्वयं-दूती' है
svayam eva abhiyuṅkte — 'herself makes the approach'; sva-abhiprāyaṁ prakāśayati — i.e. reveals her own intent; sā svayaṁ-dūtī — she is the self-messenger.
svayam eva abhiyuṅkte — 'स्वयं ही अभियोग करती है'; sva-abhiprāyaṁ prakāśayati — अपना अभिप्राय प्रकट करती है; sā svayaṁ-dūtī — वह स्वयं-दूती।
He glosses 'abhiyuṅkte' ('makes the approach') as 'reveals her own intent (sva-abhiprāya).' A woman who makes her own wishes known, with no go-between, is the svayaṁ-dūtī.
'स्वयं ही अभियोग करती है' — अर्थात् अपना अभिप्राय स्वयं प्रकट करती है; वही 'स्वयं-दूती' है।
s4gloss
tatra prathamā alabdhāṅga-saṅgā prāyeṇa pūrva-rāgavatī, dvitīyā labdhāṅga-saṅgāpi rāgeṇānurāgeṇātṛptyātimohitā sthāyi-bhāvenaiva vismārita-lajjā-dhairya-śaṅkā ca jñeyā |
tatra prathamāof the two, the first [the eagerness-driven woman]उनमें से पहली (नायिका)
alabdhāṅga-saṅgāhas not yet won bodily unionजिसे अभी अंग-संग (मिलन) प्राप्त नहीं हुआ
prāyeṇa pūrva-rāgavatīand is usually in the pūrva-rāga stage, the love that precedes union prāyeṇa = 'for the most part.'प्रायः पूर्व-राग वाली है
dvitīyā labdhāṅga-saṅgā apithe second, though she has already won bodily union api = 'even though,' conceding that union has occurred.दूसरी, यद्यपि उसे अंग-संग प्राप्त हो चुका है फिर भी
rāgeṇa anurāgeṇa atṛptyā atimohitāis utterly bewildered by passion — that is, by deepened attachment (anurāga), through never being satisfied (atṛpti) the three instrumentals gloss one another: rāga = anurāga, working via atṛpti.राग अर्थात् अनुराग के द्वारा, अतृप्ति के कारण, अत्यन्त मोहित
sthāyi-bhāvena eva vismārita-lajjā-dhairya-śaṅkā caand, by the settled emotion itself, has been made to forget shame, composure, and hesitation eva = 'the very'; the sthāyi-bhāva is the cause; bahuvrīhi describing her.उसी स्थायी-भाव के कारण जिसने लज्जा, धैर्य और शंका को भुला दिया — ऐसी
jñeyāso she is to be understoodजाननी चाहिए
tatra prathamā — of the two, the first; alabdhāṅga-saṅgā prāyeṇa pūrva-rāgavatī — not yet united, usually in pūrva-rāga; dvitīyā labdhāṅga-saṅgā api — the second, though already united; rāgeṇa anurāgeṇa atṛptyā atimohitā — utterly bewildered by passion, i.e. by anurāga through non-satiation; sthāyi-bhāvena eva vismārita-lajjā-dhairya-śaṅkā ca jñeyā — and, by the sthāyi-bhāva itself, to be known as having forgotten shame, composure, and hesitation.
tatra prathamā — उनमें पहली; alabdhāṅga-saṅgā — जिसे अंग-संग नहीं मिला; prāyeṇa pūrva-rāgavatī — प्रायः पूर्व-राग वाली; dvitīyā labdhāṅga-saṅgā api — दूसरी, अंग-संग मिलने पर भी; rāgeṇa anurāgeṇa atṛptyā atimohitā — अनुराग रूप राग से अतृप्ति द्वारा अत्यन्त मोहित; sthāyi-bhāvena eva vismārita-lajjā-dhairya-śaṅkā ca — स्थायी-भाव से ही जिसकी लज्जा, धैर्य और शंका विस्मृत हुई; jñeyā — जाननी चाहिए।
Now Viśvanātha maps the two women onto stages of love. The first has not yet won bodily union with the hero; she is usually in pūrva-rāga, the love that precedes meeting. The second has already won union — 'labdhāṅga-saṅgā' — and yet is still utterly bewildered by rāga. He unpacks that rāga: it is anurāga, deepened attachment, driven by atṛpti, never being satisfied. By the sthāyi-bhāva itself — the settled emotion — she has forgotten shame, composure, and even hesitation. That is what makes her too her own messenger.
उनमें से पहली, जिसे अभी अंग-संग नहीं मिला, प्रायः पूर्व-राग वाली होती है; और दूसरी, यद्यपि उसे अंग-संग मिल चुका है फिर भी अनुराग रूप राग से, अतृप्ति के कारण, अत्यन्त मोहित रहती है, और उसी स्थायी-भाव के कारण उसकी लज्जा, धैर्य और शंका विस्मृत हो जाती है — ऐसी जाननी चाहिए।
s5gloss
ātmānam alabdhāṅga-saṅgam iva manyamānety arthaḥ ||
ātmānamherselfअपने आप को
alabdhāṅga-saṅgam ivaas if she had not yet won bodily union iva = 'as if'; in fact she has.मानो अंग-संग न मिला हो, ऐसा (वस्तुतः तो मिल चुका है)
manyamānāregarding [herself so] present participle, feminine, describing the second woman.मानती हुई
iti arthaḥ— that is the meaningऐसा अर्थ है
ātmānam alabdhāṅga-saṅgam iva manyamānā — regarding herself as if not yet united; iti arthaḥ — that is the sense.
ātmānam — अपने आप को; alabdhāṅga-saṅgam iva — मानो अंग-संग न मिला हो, ऐसा; manyamānā — मानती हुई; iti arthaḥ — ऐसा अर्थ है।
Viśvanātha closes with the key point: though the second woman has in fact already won union, she regards herself AS IF she had not — still unsatisfied, still yearning. That is why she, like the first, presses her own suit. The 'iva' ('as if') carries the whole insight.
वह अपने आप को मानो अंग-संग न मिला हो, ऐसा मानती रहती है — यह अर्थ है।
← 7.1-27.5 →