s1avataranika
śrī-rādhām alaṅkurvatī lalitā parihasanty āha—bhāla iti |
śrī-rādhām alaṅkurvatīwhile she is decorating Śrī Rādhā present participle, fem., agreeing with Lalitā; śrī-rādhām is its objectश्रीराधा का शृंगार करती हुई
lalitāLalitā — the speaker nominative, subject of āhaललिता (आह की कर्ता)
parihasantīteasingly, in jest present participle, fem. — parihāsa, the playful register of the verseपरिहास (हँसी-ठिठोली) करती हुई
āhasays [this verse]कहती है
bhāla itinamely, the verse 'bhāle...' pratīka — the verse named by its opening word'भाले' इस आरम्भिक पद से नामांकित श्लोक
śrī-rādhām alaṅkurvatī — decorating Śrī Rādhā; lalitā — Lalitā; parihasantī — jesting; āha — says; bhāla iti — 'bhāle...'.
śrī-rādhām alaṅkurvatī — श्रीराधा का शृंगार करती हुई; lalitā — ललिता; parihasantī — परिहास करती हुई; āha — कहती है; bhāla iti — 'भाले' (इति)
Viśvanātha sets the scene: it is Lalitā speaking, and she says it in jest while she is doing up Rādhā's face. That fixes both the speaker and the teasing tone before we hear the lines.
श्रीराधा का शृंगार करती हुई ललिता परिहास करते हुए कहती है — 'भाले' इत्यादि श्लोक।
s2gloss
harer vaktreti |
harer vaktra ition the words 'Hari's face...' pratīka — Viśvanātha quotes the catchword to mark which line his next remark explains'हरेर्वक्त्र' इस पद को (जिस पंक्ति की व्याख्या करनी है उसका प्रतीक)
harer vaktra iti — [taking up] the words 'harer vaktram...'.
harer vaktra iti — 'हरेर्वक्त्र' (इति)
He now takes up the phrase 'Hari's face...' from the last line, to bring out what the wish really means.
'हरेर्वक्त्र' इस पद वाली पंक्ति (की व्याख्या की जाती है)।
s3conclusion
viparītaṁ samprayogam āśāste tadaiva patra-bhaṅgasya malli-khana-śramasyāpi sārthakatvaṁ bhaviṣyatīti bhāvaḥ ||
viparītam samprayogamthe reversed love-union (viparīta-rati, Rādhā taking the upper posture) accusative, object of āśāsteविपरीत समागम की
āśāsteis what she is really longing for ātmanepada — 'she wishes / hopes for'वह आशा (अभिलाषा) करती है
tadā evaonly then, in that case alone eva restricts it — the fruit follows on that condition and no otherतभी — 'ही' के द्वारा नियम कि फल उसी दशा में मिलेगा, अन्य में नहीं
patra-bhaṅgasyaof the leaf-tracery [she is drawing] genitive, subject of the coming sārthakatvamपत्रभंग की (जिसकी सार्थकता आगे कही जाएगी)
malli-khana-śramasya apiand even of the toil of gathering the jasmine api — 'even'; the labour of her whole toilette-work, not just the drawingऔर मल्लीखनन (सम्पूर्ण शृंगार-रचना) के परिश्रम की भी
sārthakatvam bhaviṣyatiwill actually come to something — bear fruitसार्थकता होगी
iti bhāvaḥsuch is the underlying sense the standard close naming the suggested intentऐसा भाव (सूचित अभिप्राय) है
viparītam samprayogam āśāste — she is longing for the reversed union; tadā eva — only then; patra-bhaṅgasya malli-khana-śramasya api — of the leaf-tracery, and even of the toil of gathering jasmine; sārthakatvam bhaviṣyati — will there be any fruit; iti bhāvaḥ — such is the inner sense.
viparītam samprayogam — विपरीत समागम की; āśāste — आशा करती है; tadā eva — तभी; patra-bhaṅgasya — पत्रभंग की; malli-khana-śramasya api — मल्लीखनन के परिश्रम की भी; sārthakatvam bhaviṣyati — सार्थकता होगी; iti bhāvaḥ — ऐसा भाव है
Here Viśvanātha spells out the jest. A forehead-design can rub off onto Kṛṣṇa's face only if Rādhā is above him in the embrace — the reversed posture (viparīta-rati). So by wishing the musk-design to transfer to Hari's face, Lalitā is slyly wishing that reversed union on Rādhā. And she adds: only then will all this labour — the drawing, and even the jasmine-gathering for the toilette — have been worth it. That, he says, is the hidden point.
वह विपरीत समागम की अभिलाषा करती है; क्योंकि तभी पत्रभंग की, और सम्पूर्ण शृंगार-रचना के परिश्रम की भी, सार्थकता होगी — यही भाव है।
viparīta-samprayoga (= viparīta-rati): the love-posture with the woman above. The jest turns on physical contact — only in that posture does Rādhā's forehead meet Kṛṣṇa's face, so the design would transfer; the wish for the transfer is therefore a veiled wish for the posture.
विपरीत-समागम (विपरीत-रति) — वह रति-मुद्रा जिसमें नायिका ऊपर होती है। परिहास शरीर-स्पर्श पर टिका है — उसी मुद्रा में राधा का मस्तक कृष्ण के मुख से मिलता है, तभी वह रचना उतरकर वहाँ लगेगी; अतः उस स्थानान्तरण की कामना वस्तुतः उस मुद्रा की ही ढकी हुई कामना है।