atha dainyam | tad duḥkhena, yathā bilvamaṅgale— / ayi murali mukunda-smera-vaktrāravinda-
L1example
śvasana-rasa-rasajñe tvāṁ namaskṛtya yāce |
śvasana-rasa-rasajñeO flute, you who taste the rasa of his breath vocative fem., addressing the muralī; the doubled rasa here is what Jīva and Viśvanātha each unpackहे श्वास के रस के रस को जानने वाली (मुरली)!
tvāṁyou — the one bowed to and beggedतुझको
namaskṛtyahaving bowed to youनमस्कार करके
yāceI begमैं याचना करती हूँ
śvasana-rasa-rasajñe — O flute who tastes the rasa of his breath; tvāṁ namaskṛtya — having bowed to you; yāce — I beg.
śvasana-rasa-rasajñe — हे श्वास के रस के रस को जानने वाली (मुरली)!; tvāṁ — तुझको; namaskṛtya — नमस्कार करके; yāce — मैं याचना करती हूँ।
O muralī, you who taste the rasa of his very breath — I bow to you, and I beg you.
हे मुरली! श्वास के रस के रस को जानने वाली तुझको मैं नमस्कार करके याचना करती हूँ।
An udāharaṇa (illustrative verse) of dainya, abjectness. The lead-in fixes its cause — 'tad duḥkhena', dainya born of sorrow — and names the source, Bilvamaṅgala. It is spoken, as Viśvanātha says, by a devotee whose heart is steeped in the mood of a young Vraja girl, pleading with Kṛṣṇa's flute to carry her plight to him.
यह दैन्य का एक उदाहरण-श्लोक है। प्रस्तावना उसका कारण बताती है — 'तद् दुःखेन', अर्थात् दुःख से उपजा दैन्य — और उसका स्रोत बिल्वमंगल को बताती है। जैसा विश्वनाथ कहते हैं, इसे वह भक्त बोल रहा है जिसका अन्तःकरण व्रज की किसी बाला के भाव से भर उठा है, और जो कृष्ण की मुरली से यह प्रार्थना करता है कि वह उसकी दशा कृष्ण तक पहुँचा दे।
L2example
madhuram adhara-bimbaṁ prāptavatyāṁ bhavatyāṁ
madhuramsweet — describing the lipमधुर
adhara-bimbaṁthe bimba-red lip (Kṛṣṇa's lower lip, red like the bimba fruit)बिम्बफल-सदृश अधर को
prāptavatyāṁ bhavatyāṁsince you have won it locative absolute (bhavatyāṁ = you, the flute) — 'now that you have attained…'जब तू (मुरली) प्राप्त कर चुकी है, तब
bhavatyāṁ madhuram adhara-bimbaṁ prāptavatyāṁ — since you [the flute] have won his sweet, bimba-red lip.
prāptavatyāṁ bhavatyāṁ — जब तू (मुरली) madhuram — मधुर adhara-bimbaṁ — बिम्बफल-सदृश अधर को प्राप्त कर चुकी है, तब।
You have won his sweet, bimba-red lip — you rest against it as he plays.
अब जब कि तू (मुरली) उस मधुर बिम्बफल-सदृश अधर को पा चुकी है।
L3example
kathaya rahasi karṇe mad-daśāṁ nanda-sūnoḥ ||
kathayatell — whisper itकह दे
rahasiin secret, privatelyएकान्त में
karṇeinto the earकान में
mad-daśāṁmy condition, my plightमेरी दशा को
nanda-sūnoḥof Nanda's son — into the ear of Kṛṣṇa genitive tied to karṇe: 'into the ear of Nanda's son'नन्द के पुत्र के (कान में)
rahasi nanda-sūnoḥ karṇe mad-daśāṁ kathaya — in secret, into the ear of Nanda's son, whisper my plight.
rahasi — एकान्त में nanda-sūnoḥ — नन्द के पुत्र के karṇe — कान में mad-daśāṁ — मेरी दशा को kathaya — कह दे।
In secret, whisper my plight into the ear of Nanda's son.
एकान्त में नन्द के पुत्र के कान में मेरी दशा कह देना।
Commentary — decoded
Jīva Gosvāmī
s1definition
dainyaṁ cātma-nikṛṣṭatā-mananena cāṭuḥ |
dainyaṁ caand dainya [is]और दैन्य
ātma-nikṛṣṭatā-mananenabecause one thinks oneself lowly instrumental of means — the self-abasement out of which the pleading comesअपने को नीच मानने के द्वारा
cāṭuḥis coaxing, self-humbling entreatyचाटु (विनम्र अनुनय) है
dainyaṁ ca — and dainya; ātma-nikṛṣṭatā-mananena — because one thinks oneself low; cāṭuḥ — is coaxing entreaty.
dainyaṁ ca — और दैन्य ātma-nikṛṣṭatā-mananena — अपने को नीच मानने के द्वारा cāṭuḥ — चाटु है।
Jīva defines it: dainya is the coaxing, pleading speech that comes of thinking oneself lowly.
और दैन्य वह चाटु (विनम्र अनुनय) है जो अपने को नीच मानने से उपजता है।
cāṭu is the technical term for humble, coaxing, self-abasing supplication; Jīva makes it the very shape dainya takes.
चाटु विनम्र, अनुनय-भरी और आत्म-दीनता से युक्त प्रार्थना का पारिभाषिक नाम है; जीव इसी को दैन्य का धारण किया हुआ रूप बताते हैं।
s2gloss
pūrveṇa rasa-śabdena mādhuryam ucyate dvitīyena tv āsvādaḥ ||
pūrveṇa rasa-śabdenaby the first word 'rasa' instrumental — 'by / through' the first of the two occurrences in śvasana-rasa-rasajñeपहले 'रस' शब्द के द्वारा
mādhuryam ucyatesweetness is what is meantमाधुर्य कहा जाता है
dvitīyena tubut by the second one tu marks the contrast — the second 'rasa', inside rasa-jñeपरन्तु दूसरे (रस शब्द) के द्वारा
āsvādaḥthe tasting [is what is meant]आस्वाद (कहा जाता है)
pūrveṇa rasa-śabdena mādhuryam ucyate — by the first 'rasa', sweetness is meant; dvitīyena tu āsvādaḥ — but by the second, the tasting.
pūrveṇa rasa-śabdena — पहले 'रस' शब्द के द्वारा mādhuryam ucyate — माधुर्य कहा जाता है; dvitīyena tu — परन्तु दूसरे के द्वारा āsvādaḥ — आस्वाद।
The compound śvasana-rasa-rasajñe carries the word 'rasa' twice. Jīva: the first 'rasa' means the sweetness [of the breath], the second (in rasa-jñe) means the tasting of it. So the flute is 'she who knows the taste of that sweetness.'
'श्वसन-रस-रसज्ञे' में पहले 'रस' शब्द से माधुर्य कहा जाता है, परन्तु दूसरे 'रस' शब्द से आस्वाद।
s4other
(11)
(11)a bracketed enumeration figure the edition carries at the close(11)
(11) — an editorial numeral, not part of the sentence.
(11) — (11)।
'(11)' is a bracketed enumeration figure the printed edition carries here; it is not part of Jīva's argument.
(11)
Viśvanātha Cakravartī
s1definition
dainyam ātma-nikṛṣṭatā-mananam |
dainyamdainya [is]दैन्य
ātma-nikṛṣṭatā-mananamthinking oneself lowlyअपने को नीच मानना है
dainyam — dainya; ātma-nikṛṣṭatā-mananam — is thinking oneself abject.
dainyam — दैन्य ātma-nikṛṣṭatā-mananam — अपने को नीच मानना है।
Viśvanātha defines it plainly: dainya is thinking oneself lowly.
दैन्य अपने को नीच मानना है।
s2avataranika
bilvamaṅgalābhidhobhakto vraja-bālā-bhāva-bhāvitāntaḥkaraṇaṁ prārthayate—ayīti |
bilvamaṅgalābhidho bhaktothe devotee named Bilvamaṅgalaबिल्वमंगल नामक भक्त
vraja-bālā-bhāva-bhāvitāntaḥkaraṇaṁhis inner heart steeped in the mood of a young Vraja girl bahuvrīhi describing the devotee — whose antaḥkaraṇa is 'made' (bhāvita) into a vraja-gopī's bhāvaजिसका अन्तःकरण व्रज की बाला के भाव से भावित हो चुका है (ऐसा)
prārthayatemakes his plea, entreatsप्रार्थना करता है
ayītiin the verse beginning 'ayi…' pratīka — the opening word standing in for the whole verse'अयि' इत्यादि (श्लोक का आरम्भिक शब्द)
bilvamaṅgalābhidho bhakto vraja-bālā-bhāva-bhāvitāntaḥkaraṇaṁ prārthayate — the devotee named Bilvamaṅgala, his heart steeped in a Vraja girl's mood, makes his plea; ayīti — in the verse 'ayi…'.
bilvamaṅgalābhidho bhakto — बिल्वमंगल नामक भक्त, vraja-bālā-bhāva-bhāvitāntaḥkaraṇaṁ — जिसका अन्तःकरण व्रज की बाला के भाव से भावित है, prārthayate — प्रार्थना करता है, ayīti — 'अयि' इत्यादि से।
Viśvanātha names the speaker: the devotee Bilvamaṅgala, whose heart is steeped in the bhāva of a young Vraja girl, makes his plea — this is the verse 'ayi murali…'.
बिल्वमंगल नामक भक्त, जिसका अन्तःकरण व्रज की किसी बाला के भाव से भर गया है, 'अयि' इत्यादि शब्दों से प्रार्थना करता है।
s3gloss
śvasana-rasaḥ phūtkārānila-mādhuryaṁ tasya rasajñe āsvāda-viduṣi, mama daśāṁ tat-prāpty-utkaṇṭhānala-dahyamānatvam ||
śvasana-rasaḥthe 'breath-rasa'श्वसन-रस (अर्थात्)
phūtkārānila-mādhuryaṁmeans the sweetness of the breeze of his blowing [into the flute]फूँक की वायु का माधुर्य
tasya rasajñeof that, addressing you who know its rasaउसके रस को जानने वाली (हे मुरली)
āsvāda-viduṣiO you skilled in tasting itआस्वाद को जानने वाली
mama daśāṁmy conditionमेरी दशा को
tat-prāpty-utkaṇṭhānala-dahyamānatvammeans being burned by the fire of longing to attain him stacked compound: the fire (anala) of longing (utkaṇṭhā) to attain that (tat-prāpti), being burned (dahyamāna) in itउसकी प्राप्ति की उत्कण्ठा रूपी अग्नि में जलते रहने की अवस्था
śvasana-rasaḥ — the 'breath-rasa'; phūtkārānila-mādhuryaṁ — is the sweetness of the breeze of his blowing; tasya rasajñe āsvāda-viduṣi — of that, O you skilled in tasting it; mama daśāṁ — my condition; tat-prāpty-utkaṇṭhānala-dahyamānatvam — is being burned by the fire of longing to reach him.
śvasana-rasaḥ — श्वसन-रस अर्थात् phūtkārānila-mādhuryaṁ — फूँक की वायु का माधुर्य, tasya rasajñe — उसके रस को जानने वाली, āsvāda-viduṣi — आस्वाद को जानने वाली; mama daśāṁ — मेरी दशा अर्थात् tat-prāpty-utkaṇṭhānala-dahyamānatvam — उसकी प्राप्ति की उत्कण्ठा रूपी अग्नि में जलते रहना।
Viśvanātha unpacks two phrases. 'Breath-rasa' means the sweetness of the breeze of Kṛṣṇa's blowing into the flute; so 'rasajñe' addresses the flute as one skilled in tasting that sweetness. And 'my condition' means being scorched by the fire of longing to attain him.
'श्वसन-रस' का अर्थ है फूँक की वायु का माधुर्य; 'रसज्ञे' अर्थात् उसके रस को जानने वाली, आस्वाद को पहचानने वाली। 'मेरी दशा' का अर्थ है उसकी प्राप्ति की उत्कण्ठा रूपी अग्नि में जलते रहने की अवस्था।
s5other
(11)
(11)a bracketed enumeration figure the edition carries at the close(11)
(11) — an editorial numeral, not part of the sentence.
(11) — (11)।
'(11)' is a bracketed enumeration figure the printed edition carries here; it is not part of Viśvanātha's argument.
(11)