L1example
ābhīrendra-sutasya gaṇḍa-mukure svāpnībhir ullāsitaṁ
ābhīrendra-sutasyaof the cowherd-king's son — Kṛṣṇa's genitive; ābhīra = cowherd, indra = chief, suta = sonग्वालों के राजा (नन्द) के पुत्र कृष्ण के
gaṇḍa-mukureon the mirror that is his cheek locative; gaṇḍa = cheek, held to be a mirror (rūpaka)गाल रूपी दर्पण में
svāpnībhiḥby his dream-born [pastimes] instrumental; joins līlābhiḥ in L2 — 'arising in a dream'स्वप्न में हुई (लीलाओं) के द्वारा
ullāsitaṁmade to shine forth agrees with pulakaṁ in L2 — the horripilation that was made to riseउभर आया (रोमांच)
ābhīrendra-sutasya — Kṛṣṇa's; gaṇḍa-mukure — on the mirror of his cheek; svāpnībhiḥ [līlābhiḥ] — by his dream-born pastimes; ullāsitaṁ [pulakaṁ] — the horripilation made to shine forth.
ābhīrendra-sutasya — ग्वालेन्द्र (नन्द) के पुत्र कृष्ण के; gaṇḍa-mukure — गाल रूपी दर्पण में; svāpnībhiḥ — स्वप्न में हुई (लीलाओं) के द्वारा; ullāsitaṁ — उभरा हुआ (रोमांच)
Kṛṣṇa, the cowherd-king's son, lies asleep. His smooth cheek is like a mirror. On it, the pastimes he is dreaming make a thrill of horripilation shine out.
ग्वालों के राजा के पुत्र कृष्ण के गाल रूपी दर्पण में, स्वप्न में हुई लीलाओं से रोमांच उभर आया।
An udāharaṇa of svapna, 'dreaming' — one of the transient (vyabhicāri) moods this chapter treats. Here it is Kṛṣṇa who dreams, as Viśvanātha states; the lead-in 'yathā vā' ('or, for example') marks it as a further illustration of that same mood.
यह स्वप्न नामक व्यभिचारी भाव का उदाहरण है, जिसका वर्णन इस प्रकरण में हो रहा है। यहाँ स्वप्न कृष्ण देखते हैं, जैसा विश्वनाथ कहते हैं; और आरम्भ में 'यथा वा' ('अथवा, जैसे') कहकर इसे उसी भाव का एक और उदाहरण बताया गया है।
L2example
līlābhiḥ pulakaṁ vilokya cakitā niścinvatī jāgaram |
līlābhiḥby [his dream] pastimes instrumental; picks up svāpnībhiḥ from L1(स्वप्न की) लीलाओं के द्वारा
pulakaṁthe horripilation, the thrill on his skin object of vilokyaरोमांच को
vilokyaonce she sees [it] gerund — after seeingदेखकर
cakitāstartled, she —चकित होकर (राधा)
niścinvatīconcludes, decidesनिश्चय करती हुई
jāgaramthat he is awake object of niścinvatī — the wakefulness she infersजागरण का (कि वे जाग रहे हैं)
līlābhiḥ [svāpnībhiḥ ullāsitaṁ] pulakaṁ vilokya — seeing the horripilation raised by his dream pastimes; cakitā — startled; jāgaram niścinvatī — she concludes that he is awake.
līlābhiḥ — (स्वप्न की) लीलाओं से (उभरे); pulakaṁ — रोमांच को; vilokya — देखकर; cakitā — चकित हुई (राधा); niścinvatī — निश्चय करती हुई; jāgaram — जागरण का
She sees the thrill-bumps rising on his cheek. Startled, she makes up her mind: he must be awake.
उन (स्वप्न की) लीलाओं से उभरे रोमांच को देखकर वह (राधा) चकित हो गई, और यह निश्चय करने लगी कि वे जाग रहे हैं।
L3example
sā veṇor haraṇotsave dhṛta-navotkaṇṭhāpi talpāñcale
sāshe [Rādhā]वह (राधा)
veṇoḥof the flute genitive; the thing to be stolenवंशी के (हरण का)
haraṇotsavein the delicious game of stealing [it] locative; haraṇa = snatching, utsava = festival, joyहरण के उत्सव में
dhṛta-navotkaṇṭhā apithough gripped by fresh eagerness [for it] bahuvrīhi; api = although — she longs to, and yet…यद्यपि नई उत्कण्ठा धारण किए हुए, तो भी
talpāñcaleon the edge of the bed locative; where the flute lay (leading into L4)शय्या के छोर पर
sā — she; veṇoḥ haraṇotsave dhṛta-navotkaṇṭhā api — though seized with fresh longing for the joyous game of snatching his flute; talpāñcale — [it lying] on the edge of the bed …
sā — वह (राधा); veṇoḥ — वंशी के (हरण की); haraṇotsave — हरण के उत्सव में; dhṛta-navotkaṇṭhā api — यद्यपि नई उत्कण्ठा धारण किए हुए; talpāñcale — शय्या के छोर पर
Rādhā feels a fresh, keen longing to play her favorite trick — snatching his flute. And there it lies, on the very edge of the bed, within reach.
यद्यपि वह वंशी-हरण के उत्सव में नई उत्कण्ठा से भरी हुई थी, तो भी — शय्या के छोर पर पड़ी हुई...
L4example
visrastaṁ karato’pi nādhyavasasau taṁ hartum eṇekṣaṇā ||
visrastaṁ[the flute] slipped down agrees with taṁ — fallen looseखिसककर गिरी हुई (वंशी को)
karataḥ apieven from his hand ablative 'from'; api = even so, though right thereहाथ से (गिरी होने पर) भी
na adhyavasasaushe could not bring herself to resolve perfect of adhy-ava-so — 'did not settle on doing it'उद्यत न हुई / निश्चय न कर सकी
taṁit — the flute object of hartumउस (वंशी) को
hartumto steal infinitive of purposeचुराने के लिए
eṇekṣaṇāthe doe-eyed girl [Rādhā] subject; eṇa = deer, īkṣaṇā = eyedमृगनयनी (राधा)
eṇekṣaṇā — the doe-eyed one; karataḥ api visrastaṁ taṁ — it, though slipped even from his hand; hartum — to steal; na adhyavasasau — she did not resolve.
visrastaṁ — खिसककर गिरी हुई (वंशी को); karataḥ api — हाथ से (गिरी होने पर) भी; na adhyavasasau — उद्यत न हुई; taṁ — उसे; hartum — हरण करने के लिए; eṇekṣaṇā — मृगनयनी (राधा)
The flute had slipped right out of his hand. Yet the doe-eyed girl could not bring herself to take it — thinking him awake, she dared not.
वंशी उनके हाथ से खिसककर गिरी हुई थी, फिर भी मृगनयनी राधा उसे चुराने का साहस (निश्चय) न कर सकी।
Viśvanātha Cakravartī
s1avataranika
śrī-kṛṣṇasya svapnam udāhartum āha—yathā veti |
śrī-kṛṣṇasyaŚrī Kṛṣṇa's genitive; whose dreamश्रीकृष्ण के
svapnamdreaming object of udāhartumस्वप्न का
udāhartumin order to give an illustration of infinitive of purposeउदाहरण देने के लिए
āhahe [Rūpa] speaks(ग्रन्थकार) कहते हैं
yathā vā itithe verse beginning 'yathā vā' pratīka — quoting the verse by its opening words'यथा वा' इस (पद से आरम्भ करके)
śrī-kṛṣṇasya svapnam udāhartum — to illustrate Śrī Kṛṣṇa's dreaming; āha yathā vā iti — he speaks the verse beginning 'yathā vā.'
śrī-kṛṣṇasya — श्रीकृष्ण के; svapnam — स्वप्न का; udāhartum — उदाहरण देने के लिए; āha — कहते हैं; yathā vā iti — 'यथा वा' इत्यादि (श्लोक)
Viśvanātha names what the verse is for: to give an example of Kṛṣṇa's dreaming. So the transient mood on display here is svapna, dreaming — and it is Kṛṣṇa who dreams.
श्रीकृष्ण के स्वप्न का उदाहरण देने के लिए ग्रन्थकार 'यथा वा' इस श्लोक को कहते हैं।
s2avataranika
vṛndā nāndīmukhīṁ praty āha—ābhīrendreti |
vṛndāVṛndā [is the speaker] the sakhī Vṛndā-devīवृन्दा (सखी)
nāndīmukhīṁ pratiaddressing Nāndīmukhī accusative + prati = 'toward, to'नान्दीमुखी से (उसकी ओर)
āhashe saysकहती है
ābhīrendra itithe words beginning 'ābhīrendra' pratīka — the verse quoted by its opening word'आभीरेन्द्र' इस (पद से)
vṛndā nāndīmukhīṁ prati — Vṛndā, addressing Nāndīmukhī; āha ābhīrendra iti — speaks the words beginning 'ābhīrendra.'
vṛndā — वृन्दा (देवी); nāndīmukhīṁ prati — नान्दीमुखी से; āha — कहती है; ābhīrendra iti — 'आभीरेन्द्र' इत्यादि (वचन)
Viśvanātha sets the scene: within the pastime, the one speaking is Vṛndā, and she is describing all this to her friend Nāndīmukhī. The verse is her report.
वृन्दा नान्दीमुखी से 'आभीरेन्द्र...' यह वचन कहती है।
s3gloss
svāpnībhir līlābhir iti śrī-rādhā-mukha-cumbana-rūpābhir ity arthaḥ |
svāpnībhiḥ līlābhiḥ itias for 'by dream pastimes' — the verse phrase being glossed'स्वाप्नीभिर्लीलाभिः' (यह श्लोक-पद)
śrī-rādhā-mukha-cumbana-rūpābhiḥmeaning: [pastimes] that take the form of kissing Śrī Rādhā's face instrumental, glossing līlābhiḥश्रीराधा के मुख के चुम्बन रूप (लीलाओं) के द्वारा
iti arthaḥ— that is the senseऐसा अर्थ है
svāpnībhiḥ līlābhiḥ iti — the phrase 'by dream pastimes'; śrī-rādhā-mukha-cumbana-rūpābhiḥ — means pastimes in the form of kissing Śrī Rādhā's face; iti arthaḥ — such is the sense.
svāpnībhiḥ līlābhiḥ iti — 'स्वप्न की लीलाओं से' का; śrī-rādhā-mukha-cumbana-rūpābhiḥ — श्रीराधा के मुख-चुम्बन रूपी (लीलाओं) से; iti arthaḥ — ऐसा अर्थ
What is he dreaming? Viśvanātha spells it out: in his dream, Kṛṣṇa is kissing Rādhā's face. Those are the 'dream pastimes' — and that is what raises the thrill on his cheek.
'स्वप्न की लीलाओं से' का अर्थ है — श्रीराधा के मुख का चुम्बन करने रूपी लीलाओं से।
s4gloss
jāgaraṁ niścinvatīti pulakānyathānupapattir eva tatra liṅgam ity arthaḥ |
jāgaraṁ niścinvatī itias for 'concluding that he is awake' — the verse phrase being glossed'जागरं निश्चिन्वती' (यह श्लोक-पद)
pulaka-anyathā-anupapattiḥ evathe fact that horripilation cannot arise any other way — that alone eva foregrounds it; anyathā-anupapatti = 'not being explicable otherwise'रोमांच का अन्य किसी प्रकार से न घट सकना ही
tatrathere, for that conclusion locativeवहाँ (जागरण के निश्चय में)
liṅgamis the tell-tale sign predicateहेतु (लिंग) है
iti arthaḥ— that is the senseऐसा अर्थ है
jāgaraṁ niścinvatī iti — the words 'concluding that he is awake'; tatra — for that; pulaka-anyathā-anupapattiḥ eva liṅgam — the horripilation's being inexplicable otherwise is itself the sign; iti arthaḥ — such is the sense.
jāgaraṁ niścinvatī iti — 'जागरण का निश्चय करती हुई' का; pulaka-anyathā-anupapattiḥ eva — रोमांच का अन्य प्रकार से न घट सकना ही; tatra — वहाँ; liṅgam — हेतु (लिंग); iti arthaḥ — ऐसा अर्थ
How does she conclude he is awake? By inference. Horripilation, she reasons, cannot occur except in someone awake. Its very presence, unexplainable any other way, is the sign that gives her wakefulness away.
'वह जागरण का निश्चय करती है' — इसमें हेतु यही है कि यह रोमांच और किसी प्रकार घटित नहीं हो सकता।
liṅga is the technical term in Indian logic for the 'sign' or reason from which one infers — as smoke is the liṅga of fire. Here the pulaka is her liṅga for his being awake.
'लिंग' न्यायशास्त्र का पारिभाषिक शब्द है — वह चिह्न या हेतु जिससे अनुमान किया जाता है, जैसे धुआँ अग्नि का लिंग है। यहाँ रोमांच राधा के लिए कृष्ण के जागने का लिंग है।
s5gloss
karato’pi sakāśāt nidrā-vaivaśyena talpāñcale srastam api veṇuṁ hartuṁ nādhyavasasau na niścitavatīty arthaḥ ||
karataḥ apias for 'even from his hand' — the verse word being glossed'करतोऽपि' (यह श्लोक-पद)
sakāśātmeaning: from [right beside his hand] confirms karataḥ is ablative, 'from'पास से (अर्थात् हाथ से) — इससे 'करतः' पञ्चमी सिद्ध होती है
nidrā-vaivaśyenabecause sleep had left him limp instrumental of cause; vaivaśya = helplessnessनिद्रा के परवश होने के कारण
talpāñcaleonto the edge of the bed locative — where it came to restशय्या के छोर पर
srastam apithough it had slipped down api = even thoughगिरी हुई होने पर भी
veṇuṁthe flute objectवंशी को
hartumto take it awayचुराने के लिए
na adhyavasasaushe did not resolve — [the verse's phrase]उद्यत न हुई
na niścitavatīmeaning: she did not make up her mind [to]निश्चय नहीं किया
iti arthaḥ— that is the senseऐसा अर्थ है
karataḥ api — 'even from his hand' = sakāśāt — from right by it; nidrā-vaivaśyena — since sleep had made him limp; talpāñcale srastam api veṇuṁ — the flute, though slipped onto the edge of the bed; hartum — to take away; na adhyavasasau = na niścitavatī — she did not resolve, i.e. did not decide to.
karataḥ api — 'हाथ से भी' का; sakāśāt — पास से (यानी हाथ से); nidrā-vaivaśyena — निद्रा के परवश होने से; talpāñcale — शय्या के छोर पर; srastam api — गिरी होने पर भी; veṇuṁ — वंशी को; hartum — चुराने के लिए; na adhyavasasau — उद्यत न हुई; na niścitavatī — निश्चय नहीं किया; iti arthaḥ — ऐसा अर्थ
Sleep had loosened his grip and the flute had slid from his hand onto the edge of the bed — right there for the taking. Still she would not resolve to grab it. 'nādhyavasasau,' Viśvanātha explains, just means she could not make up her mind to do it.
कृष्ण के निद्रावश होने से वंशी उनके हाथ के पास से खिसककर शय्या के छोर पर गिरी हुई थी, तो भी राधा उसे चुराने के लिए उद्यत न हुई; 'नाध्यवससौ' का अर्थ है 'निश्चय नहीं किया'।
s7other
(99)
(99)an edition cross-reference number — this verse counted as 99 in the alternate numbering(99) — पद्य-संख्या का सूचक
(99) — a parenthetical edition number.
(99) — (पद्य-संख्या का अंक)
A bracketed edition number: the verse is 102 here, 99 in the other counting. It carries no commentarial sense.
यह अंक (99) पद्य-संख्या का सूचक है।