īrsyayā, yathā—
vitara taskari me muralīṁ hṛtām
iti mad-uddhara-jalpa-vivṛttayā |
bhrukuṭi-bhaṅguram arka-sutā-taṭe
sapadi rādhikayāham udīkṣitaḥ ||
The verse — decoded
L1example
vitara taskari me muralīṁ hṛtām
vitarahand it over! — Kṛṣṇa's teasing commandलौटा दे, दे दे
taskariO [little] thief! — he playfully accuses her vocative feminine — the thief is a woman (Rādhā)हे चोरनी! (सम्बोधन — चुरानेवाली स्त्री, अर्थात् राधा)
meto me / mineमेरी
muralīṁthe flute — what he demands backमुरली को
hṛtāmthat you stole — agreeing with the fluteजो चुरा ली है, उस (मुरली) को
taskari — O thief; hṛtām muralīṁ — the flute you stole; me — mine, to me; vitara — hand it over.
vitara — लौटा दे; taskari — हे चोरनी; me — मेरी; muralīṁ — मुरली को; hṛtām — जो चुरा ली है, उसको
This first line is the bold, teasing line Kṛṣṇa flings at Rādhā: "Hand it back, you little thief — my flute, the one you stole!" He is playfully charging her with having lifted his flute.
हे चोरनी! तूने मेरी जो मुरली चुरा ली है, उसे लौटा दे।
An udāharaṇa (illustrative verse) of īrṣyā, 'jealousy', the anubhāva set up by the lead-in 'īrsyayā, yathā—' ('as for jealousy, for example—'). The whole verse is spoken in Kṛṣṇa's voice.
यह ईर्ष्या (डाह) नामक अनुभाव का उदाहरण-पद्य है, जिसे 'ईर्ष्यया, यथा—' कहकर प्रस्तुत किया गया है। पूरा पद्य कृष्ण के मुख से कहा गया है।
L2example
iti mad-uddhara-jalpa-vivṛttayā |
iti— so ends the taunt (closes the quoted line above)यों, इतना (कहने पर)
mad-uddhara-jalpa-vivṛttayāby her who spun away from that bold prattle of mine (mad- 'my', uddhara 'brash, cocky', jalpa 'chatter', vivṛtti 'turning away') instrumental feminine — agrees with rādhikayā in L4: Rādhā is the one who turned away and then lookedक्योंकि वह मेरी 'लौटा दे' इस रट से मुँह फेरकर मुड़ी हुई थी (राधिका के द्वारा)
iti — [closing Kṛṣṇa's taunt] 'so'; mad-uddhara-jalpa — from that brash talk of mine; vivṛttayā — by [Rādhā] who turned her face away.
iti — यों, इतना कहने पर; mad-uddhara-jalpa-vivṛttayā — मेरी 'लौटा दे' इस बकबक से मुँह फेरकर मुड़ी हुई (राधिका के द्वारा)
The "iti" seals off the taunt. Then comes the turn: it was Rādhā — the one who spun her face away from that cocky talk of his — who did the looking. The instrumental "vivṛttayā" reaches ahead to "rādhikayā" in the last line. Stung, she wheels away from the tease and only then throws him the glance.
मेरी 'मुरली लौटा दे' इस रट से मुँह फेरकर राधिका मुड़ गई।
vivṛtti here = parāvṛtti, 'turning away, wheeling round' — Jīva glosses exactly this word in the next segment.
यहाँ 'विवृत्ति' का अर्थ 'परावृत्ति' है — मुँह फेरकर मुड़ जाना; अगले खण्ड में जीव इसी शब्द की व्याख्या करते हैं।
L3example
bhrukuṭi-bhaṅguram arka-sutā-taṭe
bhrukuṭi-bhaṅguramfrowningly — her brow bent crooked with a scowl (bhrukuṭi 'knit brow', bhaṅgura 'crooked, bent') adverbial accusative describing how he was looked at (udīkṣitaḥ)भौंह टेढ़ी करके (इस प्रकार वह देखा गया)
arka-sutā-taṭeon the bank of the Yamunā — the Sun's daughter (arka 'sun', sutā 'daughter') locative — where the glance happenedसूर्यपुत्री यमुना के तट पर (जहाँ यह दृष्टि पड़ी)
arka-sutā-taṭe — on the Yamunā's bank; bhrukuṭi-bhaṅguram — [she looked at him] in a frown-crooked way.
bhrukuṭi-bhaṅguram — भौंह टेढ़ी करके; arka-sutā-taṭe — सूर्यपुत्री यमुना के तट पर
Now the place and the manner. The place: the bank of the Yamunā, the Sun's daughter. The manner of her look: her brow knit into a crooked scowl — a frown bent sharp.
यमुना के तट पर उसने भौंह टेढ़ी करके देखा।
arka-sutā, 'the Sun's daughter', is a stock kenning for the river Yamunā, who is Sūrya's child.
'अर्कसुता' अर्थात् सूर्य की पुत्री — यह यमुना नदी का प्रसिद्ध पर्याय है, जो सूर्य की संतान मानी जाती है।
L4example
sapadi rādhikayāham udīkṣitaḥ ||
sapadithat very instant, at onceउसी क्षण, तत्काल
rādhikayāby Rādhikā — the agent doing the looking instrumental agent of the passive udīkṣitaḥ; the vivṛttayā of L2 agrees with this wordराधिका के द्वारा (कर्मवाच्य का कर्ता)
ahamI (Kṛṣṇa) — the one looked atमैं
udīkṣitaḥwas gazed at, was fixed with a look passive past participle — main predicate of the verseदेखा गया (पद्य का मुख्य क्रिया-पद)
sapadi — at once; rādhikayā — by Rādhikā; bhrukuṭi-bhaṅguram — with a crooked frown; aham — I; udīkṣitaḥ — was gazed at.
sapadi — उसी क्षण; rādhikayā — राधिका के द्वारा; aham — मैं; udīkṣitaḥ — देखा गया
And there it lands: "That instant, Rādhikā shot me that frowning glare." Kṛṣṇa reports it in the passive — he is the one looked at, she the one who looks. The whole verse is his own account of how Rādhā's jealousy showed itself: not in words, but in one sharp frowning glance.
उसी क्षण राधिका ने मुझे (भौंह टेढ़ी करके) देखा।
Commentary — decoded
Jīva Gosvāmī
s1gloss
vivṛttayā parāvṛttayā ||
vivṛttayāthe verse's word 'vivṛttayā' —'विवृत्तया' (यह पद)
parāvṛttayāmeans: by her who had turned away, wheeled roundअर्थात् 'परावृत्तया' — मुँह फेरकर मुड़ी हुई (के द्वारा)
vivṛttayā — [the verse's 'vivṛttayā'] = parāvṛttayā — 'by [Rādhā] who had turned away'.
vivṛttayā — विवृत्तया; parāvṛttayā — परावृत्तया, अर्थात् मुँह फेरकर मुड़ी हुई
Jīva gives just one gloss: the verse's "vivṛttayā" means "parāvṛttayā" — "by [Rādhā] who had turned away." Her turning is a turning-away: in her pique she wheels her face round from Kṛṣṇa before she looks back to glare.
'विवृत्तया' का अर्थ है 'परावृत्तया' — जो मुँह फेरकर मुड़ गई।
s3other
(57)
(57)editorial cross-reference number attached to this illustration(५७) — संदर्भ-संख्या
(57) — an editorial serial/reference number, not part of the commentary's argument.
(57) — (५७)
A bare parenthetical number carried in the text — an editorial cross-reference tag for this illustration, not a word of Jīva's own comment.
(५७)।
Viśvanātha Cakravartī
s1avataranika
śrī-kṛṣṇaḥ subalam āha—vitareti |
śrī-kṛṣṇaḥŚrī Kṛṣṇa — the speaker of the verseश्रीकृष्ण
subalamto Subala — his cowherd friend, the one addressedसुबल से
āhais speaking, says [this]कहते हैं
vitara itithe verse beginning 'vitara…' — flagged by its first word'वितर' इत्यादि (पद्य को उद्धृत करते हुए)
śrī-kṛṣṇaḥ — Śrī Kṛṣṇa; subalam — to Subala; āha — speaks; vitara iti — the 'vitara…' verse.
śrī-kṛṣṇaḥ — श्रीकृष्ण; subalam — सुबल से; āha — कहते हैं; vitara iti — 'वितर...' इत्यादि
Viśvanātha sets the scene before decoding. The speaker of the verse is Śrī Kṛṣṇa, and he is telling it to Subala, his cowherd friend. "vitara-iti" simply names the verse by its opening word.
श्रीकृष्ण सुबल से कहते हैं — 'वितर...' इत्यादि।
Viśvanātha identifies the addressee as Subala — so on his reading Kṛṣṇa is recounting the encounter to a friend, not addressing Rādhā.
विश्वनाथ श्रोता को सुबल बताते हैं — अतः उनके मत में कृष्ण यह घटना किसी सखा को सुना रहे हैं, राधा को सम्बोधित नहीं कर रहे।
s2gloss
bhrūkuṭi-bhaṅguram iti yat tvaṁ me corikāpavādaṁ dadāsi, tad aham āryāyai sarvam idam uktvā suṣṭhu tubhyam etat phalaṁ dāsyāmīti bhrukuṭyā vyañjitam ||
bhrūkuṭi-bhaṅguram itias for [the verse's] 'frown-crooked' —'भ्रूकुटि-भङ्गुरम्' इस पद से (यह व्यंजित होता है)
yat tvaṁ me corikāpavādaṁ dadāsi'this slander of theft that you fling at me — (corikā 'thievery', apavāda 'accusation', me 'at me')'कि जो तू मुझ पर चोरी का दोषारोपण करता है
tad aham āryāyai sarvam idam uktvā'— I will report every word of it to Āryā, the elder lady, (āryāyai, dative of the one told)'उसके बदले मैं आर्या (बड़ी-बूढ़ी स्त्री) से यह सब कहकर
suṣṭhu tubhyam etat phalaṁ dāsyāmi'and pay you back nicely for it! (suṣṭhu 'good and proper' — said with a sting; phala 'reward', here punishment)'तुझे इसका पूरा फल भुगताऊँगी
iti bhrukuṭyā vyañjitam— all of this is hinted by her frown alone (vyañjita 'suggested', by the raised brow)यह (राधा की) भौंह की टेढ़ाई से व्यंजित हुआ
bhrūkuṭi-bhaṅguram iti — on 'frown-crooked': yat tvaṁ me corikā-apavādaṁ dadāsi — 'this theft-slander you throw at me'; tad aham āryāyai sarvam idam uktvā — 'I will tell Āryā all of it'; suṣṭhu tubhyam etat phalaṁ dāsyāmi — 'and give you a fine reward for it'; iti bhrukuṭyā vyañjitam — this is what the frown suggests.
bhrūkuṭi-bhaṅguram iti — 'भ्रूकुटि-भङ्गुरम्' पद से; yat tvaṁ me corikāpavādaṁ dadāsi — कि तू मुझ पर चोरी का लांछन लगाता है; tad aham āryāyai sarvam idam uktvā — उसके बदले मैं आर्या से यह सब कहकर; suṣṭhu tubhyam etat phalaṁ dāsyāmi — तुझे इसका पूरा फल दूँगी; iti bhrukuṭyā vyañjitam — यह भौंह से व्यंजित हुआ
Viśvanātha unpacks the frown. It carries a whole unspoken threat: "So you're accusing me of stealing? Fine — I'll go tell Āryā, the elder, every last word of this, and then I'll pay you back handsomely for it!" Not one syllable of that is said aloud. The entire threat, Viśvanātha stresses, is suggested — vyañjita — by nothing but the knit of her brow. That is dhvani: the frown speaks a paragraph, and the sarcastic "suṣṭhu… phalam" ('a fine reward') means its opposite.
'भ्रूकुटि-भङ्गुरम्' पद यह व्यंजित करता है — 'जो तू मुझ पर चोरी का दोषारोपण करता है, उसके बदले मैं आर्या से यह सब कहकर तुझे इसका पूरा फल भुगताऊँगी' — इतना राधा की भौंह की टेढ़ाई से सूचित हुआ।
vyañjita is the technical term of suggestion (dhvani): a meaning conveyed without being stated. Āryā, 'the noble/elder lady', is the senior woman Rādhā threatens to complain to.
'व्यञ्जित' ध्वनि का पारिभाषिक शब्द है — जो अर्थ कहा न जाकर केवल सूचित किया जाए। 'आर्या' वह बड़ी-बूढ़ी स्त्री है जिससे शिकायत करने की राधा धमकी देती है।
s4other
(57)
(57)editorial cross-reference number attached to this illustration(५७) — संदर्भ-संख्या
(57) — an editorial serial/reference number, not part of the commentary's argument.
(57) — (५७)
The same bare parenthetical number — an editorial cross-reference tag carried in the text, not a word of Viśvanātha's comment.
(५७)।