L1example
madhurima-bharair muktasyālaṁ kalaṅkita-kuṅkumair
madhurima-bharaiḥof the loads of sweetness — the abundant sweetness her face has now lost instrumental read with muktasya, 'freed from…'माधुर्य के समूहों से (जिनसे यह मुख रहित हो गया है)
muktasyabelonging to [the face now] stripped of them genitive, agreeing with mukhasya in L3; muktasya + instrumental = 'bereft of'जिस (मुख) का, वह उन (माधुर्य-समूहों) से पूरी तरह छूट गया है
alaṁutterly, completely — the stripping is total adverbial alam, 'to the full,' with muktasyaपूरी तरह से
kalaṅkita-kuṅkumaiḥsweetness-loads that had shamed even her red kuṅkuma bahuvrīhi in instrumental describing madhurima-bharaiḥ; kalaṅkita = 'put to shame, eclipsed'जिन (माधुर्य-समूहों) ने कुंकुम को भी लज्जित एवं फीका कर दिया था
mukhasya [L3] — of the face; madhurima-bharaiḥ kalaṅkita-kuṅkumaiḥ — of the sweetness-loads that had eclipsed even her kuṅkuma; alam muktasya — utterly stripped of them.
madhurima-bharaiḥ — माधुर्य के समूह; muktasya — जिस मुख से वे पूरी तरह हट गए; alaṁ — भरपूर; kalaṅkita-kuṅkumaiḥ — जो कभी कुंकुम को भी लज्जित कर देते थे
Her face has lost its full sweetness — and this was sweetness so rich it once outshone even the red kuṅkuma on her skin. Now the face is completely stripped of it.
जिस मुख से माधुर्य का वह समूह पूरी तरह हट गया है — वही समूह जो कभी कुंकुम को भी फीका कर देता था।
An udāharaṇa (illustrative verse) of vaivarṇya — loss of color — arising here from viṣāda (dejection), spoken in a sakhī's voice to Kṛṣṇa.
यह वैवर्ण्य (रंग के उड़ जाने) का उदाहरण-पद्य है, जो यहाँ विषाद (खिन्नता) से उत्पन्न होता है, और एक सखी के मुख से कृष्ण के प्रति कहा गया है।
L2example
dvirada-radana-śyenīm ābhāṁ cirāya vitanvataḥ |
dvirada-radana-śyenīmwhite as elephant tusks — describing the radiance accusative, agreeing with ābhām; dvirada = 'elephant' (two-tusked), radana = 'tusk'हाथी के दाँत के समान श्वेत
ābhāṁa radiance, a glow — what the face gives off accusative, object of vitanvataḥआभा को (कांति को)
cirāyafor a long while nowबहुत समय से, देर तक
vitanvataḥ[of the face] spreading it forth genitive present participle, still agreeing with mukhasya (L3)फैलाते हुए (उस मुख का, जो यह आभा फैला रहा है)
mukhasya — of the face; cirāya — for a long while now; dvirada-radana-śyenīm ābhāṁ — a radiance white as elephant tusks; vitanvataḥ — spreading forth.
dvirada-radana-śyenīm — हाथी-दाँत जैसी श्वेत; ābhāṁ — आभा को; cirāya — देर तक; vitanvataḥ — फैलाते हुए मुख का
For a long while now that face has been giving off a whitish glow — pale as elephant tusks. The rosy sweetness is gone; what remains is this bloodless white.
वह मुख देर तक हाथी के दाँत जैसी श्वेत आभा फैला रहा है।
L3example
vidhur api tulām āptas tasyā mukhasya bakīripo
vidhur apithe moon, no less — even the moon api marks the affront: that the moon, of all things, could reach her levelचन्द्रमा तक ने (चन्द्रमा जैसा भी)
tulāmmere equality — being weighed level with accusative, object of āptaḥसमानता को
āptaḥhas managed to reachप्राप्त कर ली
tasyā mukhasyawith her face genitive of the thing equalledउसके (राधा के) मुख की
bakīripoO foe of Bakī (Pūtanā)! — she rounds on Kṛṣṇa vocative, bakī-ripuहे बकी-शत्रु (कृष्ण)!
bakī-ripo — O foe of Bakī; vidhuḥ api — even the moon; tasyā mukhasya tulām — mere equality with her face; āptaḥ — has managed to reach.
vidhur api — चन्द्रमा तक भी; tulām — समानता; āptaḥ — पा ली; tasyā mukhasya — उसके मुख की; bakīripo — हे बकी-शत्रु
O slayer of Bakī (Pūtanā)! Even the moon has now managed to become the equal of her face. Once nothing could compare with it; now the ordinary moon can — because the face has paled to its level.
हे बकी के शत्रु कृष्ण! चन्द्रमा तक ने उसके मुख की समानता पा ली है।
L4example
vada param ataḥ sāraṅgyākṣyāḥ kim asti viḍambanam ||
vadatell me! — she challenges him imperative to Kṛṣṇaकहो (बताओ)
param ataḥgreater than this param 'greater' + ataḥ 'than this'इससे बढ़कर
sāraṅgyākṣyāḥfor the doe-eyed girl genitive; sāraṅga = 'deer,' akṣī = 'eye'मृग-नयनी (राधा) का
kim asti viḍambanamwhat humiliation is there? — none worse, is the force viḍambana = 'mockery, being made a laughing-stock'और क्या उपहास हो सकता है?
bakī-ripo [L3] — O foe of Bakī; vada — tell me; ataḥ param — greater than this; sāraṅgyākṣyāḥ — for the doe-eyed girl; kiṁ viḍambanam asti — what humiliation is there?
vada — कहो; param ataḥ — इससे बढ़कर; sāraṅgyākṣyāḥ — मृग-नयनी का; kim asti viḍambanam — क्या उपहास है
So tell me — for this doe-eyed girl, what greater humiliation could there be? That the moon should now rank as her equal is itself the insult.
बताओ, इस मृग-नयनी का इससे बढ़कर और क्या उपहास हो सकता है?
This is the figure pratīpa, 'the inverse' (both Jīva and Viśvanātha name it below): the moon, usually the highest standard one is praised by, is here turned around and belittled — it can equal her face only because grief has drained the face of color. Comparison to the moon, ordinarily praise, becomes the insult.
यह प्रतीप ('उलटा') अलंकार है (जीव और विश्वनाथ दोनों इसे आगे नाम देते हैं): चन्द्रमा, जो प्रायः वह सर्वोच्च उपमान है जिससे प्रशंसा की जाती है, यहाँ उलटकर नीचा दिखाया गया है — वह उसके मुख की समानता केवल इसलिए पा सका क्योंकि शोक ने मुख का रंग सोख लिया। चन्द्रमा से तुलना, जो सामान्यतः प्रशंसा है, यहाँ अपमान बन जाती है।
Commentary — decoded
Jīva Gosvāmī
s1gloss
śyenī śveta-varṇā |
śyenīthe word śyenī (in L2)'श्येनी' शब्द का अर्थ
śveta-varṇāmeans 'white-colored'श्वेत रंगवाली
śyenī — śveta-varṇā; śyenī means white-colored.
śyenī — श्येनी शब्द; śveta-varṇā — श्वेत वर्णवाली
Jīva glosses śyenī: it just means 'white-colored.' So the radiance the verse speaks of is a white glow.
'श्येनी' का अर्थ है श्वेत रंगवाली।
s2gloss
tasyā sāraṅgākṣyā iti tac-chabdena vaiśiṣṭya-vyaktiḥ |
tasyā sāraṅgākṣyā itithe 'her' (tasyā, L3) is the doe-eyed girl (sāraṅgyākṣī, L4) Jīva ties the pronoun in L3 to its referent named in L4'उस मृग-नयनी की' — इस प्रकार (L3 के 'तस्याः' को L4 के सारंगाक्षी से जोड़ते हुए)
tac-chabdenaby that demonstrative word 'tat' / 'her' instrumental of means'तत्' (उस) शब्द के द्वारा
vaiśiṣṭya-vyaktiḥher special distinction is made manifestविशेषता प्रकट होती है
tasyā iti sāraṅgākṣyāḥ — the 'her' means the doe-eyed girl; tat-śabdena — by that demonstrative word; vaiśiṣṭya-vyaktiḥ — her distinction is brought out.
tasyā sāraṅgākṣyāḥ iti — उस मृग-नयनी की; tac-chabdena — 'तत्' शब्द से; vaiśiṣṭya-vyaktiḥ — विशेषता की अभिव्यक्ति
The 'her' (tasyā) in the verse points to the doe-eyed girl. Jīva says the demonstrative 'that' is not idle: through it her special distinction — that she is uniquely excellent, in a class of her own — is brought into the open.
'उस मृग-नयनी की' — यों 'तत्' (उस) शब्द के द्वारा उसकी विशेषता प्रकट होती है।
s3conclusion
ata eva vidhu-tulitatvaṁ vikṛtaṁ syāt ||
ata evaprecisely for that reason — because she is so singular eva pins the inference to the distinction just notedइसीलिए (अभी बतायी विशेषता के कारण)
vidhu-tulitatvaṁthe moon's being able to weigh level with herचन्द्रमा से तुल्य होना
vikṛtaṁcounts as a disfigurement, a distortion of her true stateविकार (विकृति) है
syātwould beहोगा, सिद्ध होता है
ata eva — precisely for that reason; vidhu-tulitatvaṁ — the moon's equalling her; vikṛtaṁ syāt — would be a disfigurement.
ata eva — इसीलिए; vidhu-tulitatvaṁ — चन्द्रमा से तुल्यता; vikṛtaṁ — विकृति; syāt — होगी
So Jīva concludes: exactly because she is so uniquely excellent, the very fact that the moon can now match her is a vikṛti — a disfigurement, a sign that she has been altered. The moon-equality is no praise; it is the mark of her being changed. And that changed state is just what vaivarṇya, 'change of color,' names.
इसीलिए चन्द्रमा से उसका तुल्य हो जाना एक विकार ही होगा।
Viśvanātha Cakravartī
s1avataranika
vipralabdhāyāḥ śrī-rādhāyāḥ sakhī śrī-kṛṣṇam āha—madhurimeti |
vipralabdhāyāḥ śrī-rādhāyāḥof Śrī Rādhā, who has been let down [by a broken tryst] genitive; vipralabdhā = the heroine whose lover failed to comeविप्रलब्धा (छली गयी) श्रीराधा की
sakhīher girlfriend — the speaker of the verseसखी
śrī-kṛṣṇam āhaspeaks to Śrī Kṛṣṇaश्रीकृष्ण से कहती है
madhurimetithe verse beginning 'madhurima…' pratīka citing the mūla's opening word'मधुरिमा' इस पद से (आरम्भ करके)
vipralabdhāyāḥ śrī-rādhāyāḥ sakhī — the girlfriend of the disappointed Śrī Rādhā; śrī-kṛṣṇam āha — speaks to Śrī Kṛṣṇa; madhurimā iti — [the verse] 'madhurima…'
vipralabdhāyāḥ śrī-rādhāyāḥ — विप्रलब्धा श्रीराधा की; sakhī — सखी; śrī-kṛṣṇam āha — श्रीकृष्ण से कहती है; madhurimā iti — 'मधुरिमा' इत्यादि
Viśvanātha sets the scene. Rādhā has been let down — Kṛṣṇa failed the tryst, so she is the vipralabdhā, the disappointed heroine. It is her sakhī, not Rādhā herself, who now confronts Kṛṣṇa. That is what the verse 'madhurima…' gives us.
विप्रलब्धा श्रीराधा की सखी श्रीकृष्ण से 'मधुरिमा' इस पद से आरम्भ करके कहती है।
vipralabdhā: in the nāyikā-bheda (the standard classification of heroines), the woman whose lover broke his promise to meet her. Here: Rādhā, deceived by Kṛṣṇa's no-show — which is the viṣāda behind her pallor.
विप्रलब्धा: नायिका-भेद (नायिकाओं के प्रसिद्ध वर्गीकरण) में वह स्त्री जिसका प्रियतम मिलने का वचन देकर नहीं आया। यहाँ राधा हैं, जो कृष्ण के न आने से छली गयीं — यही उनके पीलेपन के पीछे का विषाद है।
s2gloss
dvirado hastī śyenī śvetāṁ tasyā mukhasya sāhajika-mādhurye’pasṛte sati vaivarṇyena pāṇḍimany udbhūte sati |
dvirado hastīdvirada means 'elephant''द्विरद' अर्थात् हाथी
śyenī śvetāṁśyenī means 'white' (accusative, to match ābhām)'श्येनी' अर्थात् श्वेत
tasyā mukhasya sāhajika-mādhurye’pasṛte sationce her face's inborn sweetness has withdrawn locative absolute, 'when/once…'; sāhajika = 'natural, innate'उसके मुख का स्वाभाविक माधुर्य हट जाने पर
vaivarṇyena pāṇḍimany udbhūte satiand once, through vaivarṇya, a pallor has risen up on it second locative absolute; pāṇḍiman = 'whiteness, pallor'; instrumental vaivarṇyena = 'by loss of color'रंग उड़ जाने से पीलापन उठ आने पर
dvirado hastī — dvirada is 'elephant'; śyenī śvetā — śyenī is 'white'; tasyā mukhasya sāhajika-mādhurye apasṛte sati — once her face's natural sweetness has withdrawn; vaivarṇyena pāṇḍimani udbhūte sati — and once pallor has arisen through loss of color.
dvirado hastī — द्विरद = हाथी; śyenī śvetā — श्येनी = श्वेत; tasyā mukhasya sāhajika-mādhurye apasṛte sati — मुख का सहज माधुर्य हट जाने पर; vaivarṇyena pāṇḍimani udbhūte sati — वैवर्ण्य से पीलापन उठ आने पर
Viśvanātha gives the words: dvirada is 'elephant,' śyenī is 'white.' Then he lays out the situation in two 'when…' clauses: when her face's natural sweetness has drained away, and when, through vaivarṇya (loss of color), a pallor has risen up on it — that is the moment the moon can match it.
द्विरद अर्थात् हाथी, श्येनी अर्थात् श्वेत। उसके मुख का स्वाभाविक माधुर्य हट जाने पर, और रंग उड़ जाने से पीलापन उठ आने पर।
s3avataranika
vidhurapīty ādi |
vidhurapīty ādi'vidhur api…' (L3) and what follows pratīka pointing to the verse's main clause, which he comments on next'विधुरपि' इत्यादि (मूल के मुख्य वाक्य की ओर संकेत)
vidhur api iti ādi — [now the words] 'vidhur api…' and the rest.
vidhur api iti ādi — 'विधुरपि' इत्यादि
Now he takes up the words 'vidhur api…' — 'even the moon…' — and the lines that follow.
'विधुरपि' इत्यादि (अब वे इस मुख्य वाक्य की व्याख्या करते हैं)।
s4gloss
anyathā vidyud-varṇo vidhus trilokyāṁ kvāste yena tad-upamā syād iti vadety ādinā viḍambanaṁ tu tasyās tvayā utpāditam eva, sampraty agre daśamī daśaivāvaśiṣyate ity āha—bakī-ripo pūtanā-ghātin, strī-vadhe’pi tava bhayaṁ nāstīti bhāvaḥ |
anyathāotherwise — that is, in her natural, unpaled stateअन्यथा (यदि ऐसा न होता)
vidyud-varṇo vidhuḥa moon bright as lightningबिजली के-से (उज्ज्वल) रंगवाला चन्द्रमा
trilokyāṁ kvāstewhere in the three worlds is there [such a one]? kva = 'where'; the question expects the answer 'nowhere'तीनों लोकों में कहाँ है? (कहीं नहीं)
yena tad-upamā syātone by which she could actually be compared relative clause; tad-upamā = 'a comparison to that [face]'जिससे उस मुख की उपमा दी जा सके
iti vadety ādinā— all this carried by the word 'tell me' (vada) and the rest the taunt is packed into the imperative vada of L4'ऐसा तुम कहो' — इस 'वद' आदि पद के द्वारा
viḍambanaṁ tu tasyās tvayā utpāditam evabut this humiliation of hers — YOU are the one who caused it tu = 'but'; tvayā 'by you' + eva stress the accusationपरन्तु उसका यह उपहास तो तुमने ही उत्पन्न किया है
samprati agre daśamī daśaivāvaśiṣyateand now, from here on, only the tenth stage is left for her daśamī daśā = 'the tenth condition'; eva = 'only'अब आगे केवल दसवीं दशा ही शेष रह गयी है
ityāha—bakī-ripo pūtanā-ghātinso she says 'bakī-ripu' — O slayer of Pūtanā gloss of the vocative in L3यों कहते हैं — 'बकी-रिपो' अर्थात् पूतना का वध करनेवाले
strī-vadhe’pi tava bhayaṁ nāstīti bhāvaḥthe inner sense: 'even at killing a woman you feel no fear' api = 'even'; bhāvaḥ = 'the implied barb'स्त्री के वध में भी तुम्हें भय नहीं — यह भीतरी व्यंग्य है
anyathā — otherwise; vidyud-varṇo vidhuḥ trilokyāṁ kva āste — where in the three worlds is a lightning-bright moon; yena tad-upamā syāt — by which she could be compared; iti vada ity ādinā — [this] through the word 'tell me' and the rest; viḍambanaṁ tu tasyāḥ tvayā utpāditam eva — but her humiliation was caused by you; samprati agre daśamī daśā eva avaśiṣyate — now only the tenth stage remains; iti āha bakī-ripo pūtanā-ghātin — so she says 'O slayer of Pūtanā'; strī-vadhe api tava bhayaṁ na asti iti bhāvaḥ — the sense: even at killing a woman you have no fear.
anyathā — अन्यथा; vidyud-varṇo vidhuḥ — बिजली-रंग का चन्द्रमा; trilokyāṁ kvāste — तीन लोक में कहाँ; yena tad-upamā syāt — जिससे उस मुख की उपमा हो; iti vada iti ādinā — 'वद' आदि पद से; viḍambanaṁ tu tasyāḥ tvayā utpāditam eva — उसका उपहास तुमने ही किया; samprati agre daśamī daśā eva avaśiṣyate — अब केवल दसवीं दशा शेष; iti āha bakī-ripo pūtanā-ghātin — 'बकी-रिपो' = पूतना-घातक; strī-vadhe api tava bhayaṁ na asti iti bhāvaḥ — स्त्री-वध में भी भय नहीं, यह भाव
Viśvanātha unpacks the taunt hidden in the one word 'tell me' (vada). It runs: 'Otherwise — where in all three worlds is there a moon bright as lightning, one that could really compare with her face [as it was]? Nowhere.' So only now, paled, can the ordinary moon rank with her. Then the reproach turns direct: this humiliation of hers — you are the one who produced it. And now only the tenth stage is left for her. That is why she names him 'bakī-ripu, slayer of Pūtanā': the barb is — 'even at killing a woman you have no fear' — so you will be her death too.
नहीं तो, बिजली के रंगवाला (उज्ज्वल) चन्द्रमा तीनों लोकों में कहाँ है, जिससे उसके मुख की उपमा दी जा सके? — 'ऐसा तुम कहो' इस 'वद' आदि पद के द्वारा सखी कहती है। परन्तु उसका यह उपहास तो तुमने ही उत्पन्न किया है; अब आगे केवल दसवीं (अन्तिम) दशा ही शेष रह गयी है। यों 'बकी-रिपो' अर्थात् पूतना का वध करनेवाले कहकर — 'स्त्री के वध में भी तुम्हें भय नहीं' यह भीतरी भाव है।
daśamī daśā, 'the tenth condition': love-in-separation is charted in ten stages (daśa daśā), the tenth and last being maraṇa, death. Saying 'only the tenth remains' says she is at death's door. bakī-ripu / strī-vadha: Pūtanā was a woman, so the epithet 'Pūtanā-slayer' is weaponized — you do not shrink even from a woman's killing.
दशमी दशा, 'दसवीं दशा': विरह की प्रेम-अवस्था दस चरणों (दश दशा) में गिनी जाती है, जिनमें दसवीं और अन्तिम है मरण (मृत्यु)। 'केवल दसवीं ही शेष है' कहना यह कहना है कि वह मृत्यु के द्वार पर है। बकी-रिपु / स्त्री-वध: पूतना स्त्री थी, अतः 'पूतना-घातक' यह विशेषण व्यंग्य-रूप में प्रयुक्त है — तुम स्त्री के वध से भी नहीं हिचकते।
s5definition
pratīpa-nāmāyam alaṅkāraḥ ||
pratīpa-nāmāyam alaṅkāraḥthis ornament is the one named pratīpa, 'the inverse'यह 'प्रतीप' नामक अलंकार है
ayam alaṅkāraḥ — this ornament; pratīpa-nāma — is named pratīpa.
pratīpa-nāma ayam alaṅkāraḥ — यह प्रतीप नामक अलंकार है
Viśvanātha names the figure: this is the alaṅkāra called pratīpa, 'the inverse.' In it the usual object of comparison — here the moon — is turned around and belittled, made merely to equal, or fall short of, the thing it would normally be used to exalt. Comparing her face to the moon, ordinarily the highest praise, becomes the insult.
यह 'प्रतीप' नामक अलंकार है।
pratīpa: the figure in which the standard upamāna (object of comparison) is subordinated to or disparaged against the upameya (the thing compared), reversing the normal direction of praise.
प्रतीप: वह अलंकार जिसमें प्रसिद्ध उपमान (जिससे तुलना की जाती है) को उपमेय (जिसकी तुलना की जाती है) के सामने गौण अथवा हीन कर दिया जाता है, जिससे प्रशंसा की सामान्य दिशा उलट जाती है।