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IASTदेवनागरीবাংলা
Commentary
JīvaViśvanāthaViṣṇudāsa
UN 13.22
← 13.2113.23 →
atha madaḥ | sa madhu-pānajo, yathā—
yā hriyā hari-puro mukha-mudrāṁ
bhaṅktum adhyavasasau na kadāpi |
sa papāṭha caṭulaṁ madhu pītvā
śārikeva paśupāla-kiśorī ||
The verse — decoded
L1example
yā hriyā hari-puro mukha-mudrāṁ
yāthe girl who — relative pronoun; picks out the heroine, answered by paśupāla-kiśorī in L4जो (गोपकिशोरी)
hriyāout of pure shyness instrumental of causeलज्जा के कारण
hari-puraḥin front of Hari (Kṛṣṇa) puraḥ, 'before, in front'हरि (कृष्ण) के सम्मुख
mukha-mudrāṁthe seal on her mouth — her closed lips, her silence accusative; object of bhaṅktum in L2अपने मुख की मुद्रा—अर्थात् मौन—को
yā — the girl who; hriyā — out of shyness; hari-puraḥ — before Hari; mukha-mudrāṁ — the seal on her lips
yā — जो (गोपकन्या); hriyā — लज्जावश; hari-puraḥ — कृष्ण के सामने; mukha-mudrāṁ — अपने बँधे हुए मुख (मौन) को
There was a young gopī who, out of sheer bashfulness, kept her lips sealed whenever she was before Kṛṣṇa.
जो गोपकन्या लज्जावश कृष्ण के सामने अपने बँधे हुए मुख को, अर्थात् अपने मौन को—
An udāharaṇa illustrating mada, 'intoxication' — here specifically madhu-pānaja mada, the intoxication born of drinking madhu (honey-wine), as the lead-in states: 'atha madaḥ | sa madhu-pānajo, yathā—'.
यह मद का एक उदाहरण है—यहाँ विशेषतः मधुपान से उत्पन्न मद का। इससे पहले की पंक्ति में यही कहा गया है: 'अब मद—वह मधुपान से जन्मा हुआ, जैसे—'।
L2example
bhaṅktum adhyavasasau na kadāpi |
bhaṅktumto break open infinitive depending on adhyavasasau(उस मौन को) तोड़ने के लिए
adhyavasasaudid she resolve, bring herself 3rd sg. perfect of adhi-ava-so-उसने निश्चय किया
na kadāpinever once, not everकभी नहीं
bhaṅktum — to break the seal (i.e. to speak); na kadāpi — never once; adhyavasasau — did she resolve
bhaṅktum — (उस मौन को) तोड़ने के लिए; adhyavasasau — उसने निश्चय किया; na kadāpi — कभी नहीं
She never once brought herself to break that seal — that is, to open her mouth and speak in his presence.
उस मौन को तोड़ने का उसने कभी निश्चय नहीं किया।
L3example
sa papāṭha caṭulaṁ madhu pītvā
sathat same girl (sā) the once-silent heroine of L1–L2वही (पहले मौन रहने वाली नायिका)
papāṭhachattered out loud, rattled on perfect of paṭh-, 'to recite, read aloud'जोर-जोर से बोलने लगी
caṭulaṁrestlessly, in a tremulous rush adverbial accusativeचंचलतापूर्वक
madhumadhu (honey-wine, liquor) accusative; object of pītvāमधु (मद्य) को
pītvāhaving drunkपीकर
sa — that same girl; madhu — honey-wine; pītvā — having drunk; caṭulaṁ — restlessly; papāṭha — chattered away
sa — वही (मौन नायिका); madhu pītvā — मधु पीकर; caṭulaṁ papāṭha — चंचलतापूर्वक जोर से बोलने लगी
But once she drank the madhu, that same silent girl chattered away, restless and unstoppable.
वही नायिका मधु पीकर चंचलतापूर्वक जोर-जोर से बोलने लगी—
L4example
śārikeva paśupāla-kiśorī ||
śārikā ivajust like a śārikā (a female myna bird) iva marks the simile; the myna is famed for its ceaseless talkमैना की भाँति
paśupāla-kiśorīthe young cowherd girl (the gopī) answers the relative yā of L1वह गोपकिशोरी
paśupāla-kiśorī — the young cowherd girl; śārikā iva — chattered like a myna
paśupāla-kiśorī — वह गोपकिशोरी; śārikā iva — मैना की भाँति (निरन्तर बकबक करने लगी)
The young cowherd girl rattled on like a myna bird. That is the point: the madhu so overturned her nature that even her shyness dissolved into chatter — and that upheaval of judgment is mada.
वह गोपकिशोरी मैना की भाँति निरन्तर बोलने लगी।
Commentary — decoded
Jīva Gosvāmī
s1gloss
mado viveka-harollāsaḥ nādhyavasasu nādhyavasitavatī |
madaḥmada is — the term being definedमद (जिसकी परिभाषा दी जा रही है)
viveka-hara-ullāsaḥthe burst of elation that carries off one's judgment viveka 'discernment' + hara 'stealing' + ullāsa 'elation'विवेक को हर लेने वाला उल्लास
nādhyavasasuas for the verse's verb 'nādhyavasasu' — Jīva re-quotes the mūla word to gloss it'na adhyavasasu'—मूल का यही पद पुनः उद्धृत करके
na adhyavasitavatīshe did not resolve upon itउसने निश्चय नहीं किया
madaḥ — mada is; viveka-hara-ullāsaḥ — the elation that steals discernment. nādhyavasasu — the verb nādhyavasasu means; na adhyavasitavatī — she did not resolve
madaḥ — मद; viveka-hara-ullāsaḥ — विवेक को हर लेने वाला उल्लास; nādhyavasasu — (मूल पद) na adhyavasitavatī — उसने निश्चय नहीं किया
Jīva defines mada as the surge of elation that carries off one's judgment. Then he glosses the verse's verb: nādhyavasasu just means she did not resolve to do it.
मद अर्थात् विवेक को हर लेने वाला उल्लास। मूल का 'nādhyavasasu' पद यही कहता है—उसने निश्चय नहीं किया।
s2gloss
neṣṭavatīty arthaḥ ||
na iṣṭavatīshe did not even wish for itउसने नहीं चाहा
iti arthaḥthat is the meaningऐसा अर्थ है
na iṣṭavatī iti arthaḥ — the meaning is: she did not so much as wish to
na iṣṭavatī iti arthaḥ — 'उसने नहीं चाहा'—ऐसा अर्थ है
In other words, says Jīva: she did not so much as want to open her mouth.
अर्थात् 'उसने नहीं चाहा'—यही तात्पर्य है।
s4other
(21)
(21)'21' — this verse's number in the alternate counting(श्लोक संख्या 21)
(21) — the verse's number in another edition's numbering
(21) — पद्य-संख्या
A cross-reference: this verse is counted as 21 in another edition's numbering.
(श्लोक संख्या 21)
Viśvanātha Cakravartī
s1gloss
mado madhu-pānotthā mattatā viveka-śūnyā |
madaḥmada is — the term being definedमद (जिसकी परिभाषा दी जा रही है)
madhu-pāna-utthāarisen from the drinking of madhu (honey-wine) utthā 'risen from' — names the sourceमधुपान से उत्पन्न
mattatāa state of drunkennessमत्तता (उन्माद)
viveka-śūnyāempty of all discernmentविवेक से रहित
madaḥ — mada is; madhu-pāna-utthā — risen from drinking madhu; mattatā — a drunkenness; viveka-śūnyā — void of judgment
madaḥ — मद; madhu-pāna-utthā — मधुपान से उत्पन्न; viveka-śūnyā mattatā — विवेकशून्य मत्तता
Viśvanātha defines mada as the drunkenness that comes from drinking madhu — a state emptied of all discernment.
मद अर्थात् मधुपान से उत्पन्न विवेकशून्य मत्तता।
s2avataranika
kundavallī nāndīmukhīm āha—yeti |
kundavallīKundavallī (the speaker) —कुन्दवल्ली
nāndīmukhīmto Nāndīmukhī accusative; the one addressedनान्दीमुखी से
āhasaysकहती है
yā itithe verse that begins 'yā…' pratīka — 'yā' iti, citing the verse by its first word'yā' इत्यादि—श्लोक के प्रथम शब्द से उसका उद्धरण
kundavallī — Kundavallī; nāndīmukhīm — to Nāndīmukhī; āha — speaks; yā iti — the verse opening 'yā…'
kundavallī — कुन्दवल्ली; nāndīmukhīm āha — नान्दीमुखी से कहती है; yā iti — 'yā' इत्यादि (श्लोक)
Viśvanātha sets the scene: it is Kundavallī who speaks these words, addressing Nāndīmukhī — the verse beginning 'yā…'.
कुन्दवल्ली नान्दीमुखी से कहती है—'yā' इत्यादि श्लोक।
Kundavallī and Nāndīmukhī are the two sakhīs of the dramatic frame Viśvanātha supplies for the verse — the speaker and her listener.
कुन्दवल्ली और नान्दीमुखी विश्वनाथ द्वारा इस श्लोक के लिए रचे गए नाट्य-प्रसंग की दो सखियाँ हैं—एक वक्ता, दूसरी श्रोता।
s3gloss
nādhyavasasau neṣṭavatī |
nādhyavasasauas for 'nādhyavasasau' — she did not resolve'na adhyavasasau'—मूल का पद
na iṣṭavatīshe did not wish for itउसने नहीं चाहा
nādhyavasasau — na iṣṭavatī — 'she did not resolve' means she did not wish
nādhyavasasau — (मूल पद) na iṣṭavatī — उसने नहीं चाहा
Viśvanātha too glosses the verb: nādhyavasasau means she did not wish to.
मूल का 'nādhyavasasau' पद यही कहता है—उसने नहीं चाहा।
s4conclusion
anaṅga-vikriyā-bharajo madas tu prāyaḥ svābhiyoga eva paryavasyatīty atra noddiṣṭaḥ ||
anaṅga-vikriyā-bhara-jaḥthe mada born of a surge of erotic passion -ja 'born of'; anaṅga = Kāma, so anaṅga-vikriyā = the transformation wrought by loveअनंग (काम) के विकार की प्रचुरता से उत्पन्न
madaḥ tuthat kind of mada, however — tu contrasts it with the drink-born mada just definedपरन्तु वह (दूसरा) मद
prāyaḥfor the most partप्रायः
sva-abhiyoga evain approaching one's own beloved and nothing else eva 'only' — it ends there and nowhere furtherअपने (नायक के प्रति) अभियोग में ही
paryavasyaticomes to rest, culminatesपर्यवसित हो जाता है (जाकर समाप्त होता है)
iti atra na uddiṣṭaḥand so it is not the one taught hereइसलिए यहाँ उसका उल्लेख नहीं किया गया
anaṅga-vikriyā-bhara-jaḥ madaḥ tu — but the mada born of a surge of passion; prāyaḥ — mostly; sva-abhiyoga eva — only in approaching one's beloved; paryavasyati — culminates; iti — therefore; atra — here; na uddiṣṭaḥ — it is not taught
anaṅga-vikriyā-bhara-jaḥ madaḥ tu — परन्तु काम के विकार की प्रचुरता से जन्मा मद; prāyaḥ sva-abhiyoga eva paryavasyati — प्रायः अपने अभियोग में ही जाकर पर्यवसित होता है; iti atra na uddiṣṭaḥ — इसलिए यहाँ उसका निर्देश नहीं किया गया
Viśvanātha marks off a second kind of mada: the one springing from a surge of erotic passion. That variety, he says, usually ends in nothing more than going to meet one's lover — so it is not the kind treated here. Here it is only the drink-born mada.
परन्तु अनंग अर्थात् काम के विकार की प्रचुरता से उत्पन्न मद प्रायः अपने अभियोग में ही जाकर समाप्त होता है; इसीलिए यहाँ उसका उल्लेख नहीं किया गया।
Viśvanātha distinguishes two madas — madhu-pānaja (from drink), the one illustrated in this verse, and anaṅga-vikriyā-bharaja (from erotic passion), which he sets aside here.
विश्वनाथ दो प्रकार के मद में भेद करते हैं—मधुपानज (मद्य से उत्पन्न), जो इस श्लोक में दर्शाया गया है, और अनंग-विक्रिया-भरज (काम से उत्पन्न), जिसे वे यहाँ छोड़ देते हैं।
s6other
(21)
(21)'21' — this verse's number in the alternate counting(श्लोक संख्या 21)
(21) — the verse's number in another edition's numbering
(21) — पद्य-संख्या
A cross-reference: this verse is counted as 21 in another edition's numbering.
(श्लोक संख्या 21)
← 13.2113.23 →