tato, yathā— / atha upamā—
yathā kathañcid apy asya sādṛśyam upamoditā ||
navāmbudhara-mādhurī sphurati mūrtir urvī-tale
kṛśodari dṛśor iyāt pathi kim īdṛśo vā yuvā |
puraḥ sumukhi gopateḥ sadasi sanniviṣṭasya me
pitur vitanute naṭo yam anukṛtya nṛtya-kramam ||
The verse — decoded
L1definition
yathā kathañcid apy asya sādṛśyam upamoditā ||
yathā kathañcid apibrought about in whatever way, somehow or other kathañcid api = by any means at all; api generalizes it to 'any manner whatsoever'जिस किसी भी प्रकार से (चाहे किसी भी रीति से क्यों न हो)
asyaof him — a resemblance to Kṛṣṇa genitive: 'a likeness of/to him'इस (कृष्ण) का
sādṛśyama resemblance, a look-alikeसादृश्य (समानता)
upamā uditāis declared to be 'upamā', the likeness uditā (from vad) = 'is called, is spoken of'; upamā is the predicate name'उपमा' कहलाती है
sādṛśyam — a resemblance; asya — to him (Kṛṣṇa); yathā kathañcid api — produced in any way whatsoever; upamā uditā — is declared to be 'upamā'.
yathā kathañcid api — जिस किसी भी प्रकार से; asya — इस (कृष्ण) का; sādṛśyam — सादृश्य; upamā uditā — 'उपमा' कहलाती है।
When something comes to look like Kṛṣṇa — a resemblance to him arising in any manner at all — that is what is called upamā, 'the likeness.' This line gives the definition; the verse that follows is its example.
किसी भी प्रकार से जब इस (कृष्ण) का सादृश्य दिखाया जाता है, तो उसे 'उपमा' कहते हैं।
L2example
navāmbudhara-mādhurī sphurati mūrtir urvī-tale
nava-ambudhara-mādhurīcarrying the sweetness of a fresh raincloud — a dark, tender beauty qualifies mūrtiḥ; the form's loveliness rivals a new monsoon cloudनवीन वर्षा-मेघ की-सी माधुरी वाली (जिसकी सुन्दरता नये मेघ को भी मात करती है)
sphuratishines forth, appears vividlyस्फुरित हो रही है (झलक रही है)
mūrtiḥa living form, an embodied figureएक मूर्ति (रूप)
urvī-talehere on the surface of the earth locative: 'on the earth' — pointedly, down here and not only in heavenपृथ्वी-तल पर (यहीं इस भूमि पर — केवल स्वर्ग में नहीं)
mūrtiḥ — a form; nava-ambudhara-mādhurī — carrying the sweetness of a fresh raincloud; urvī-tale — on the face of the earth; sphurati — shines forth.
nava-ambudhara-mādhurī — नये वर्षा-मेघ की-सी माधुरी वाली; sphurati — स्फुरित हो रही है; mūrtiḥ — एक मूर्ति; urvī-tale — पृथ्वी-तल पर।
A figure sweet as a fresh raincloud is shining right here on the earth! Its dark, tender beauty outdoes a new monsoon cloud. The girl is describing the dancer she has just spied.
नये वर्षा-मेघ के समान मधुर सुन्दरता वाली एक मूर्ति यहीं पृथ्वी पर झलक रही है।
The opening line of the udāharaṇa illustrating upamā, the 'likeness to Kṛṣṇa' defined in the preceding line (14.28). A cowherd-chief's young daughter, watching through a lattice, sees a dancer whose cloud-dark beauty makes him a living likeness of Kṛṣṇa; her already-ripened love for Kṛṣṇa is awakened through the look-alike — as Jīva explains in his comment below, the likeness serves as a staircase up to Kṛṣṇa himself.
यह 'उपमा' का उदाहरण देने वाले श्लोक की पहली पंक्ति है — पूर्व पंक्ति (14.28) में जिस 'कृष्ण-सादृश्य' की परिभाषा दी गई, उसी को यहाँ दिखाया जा रहा है। किसी गोप-मुखिया की युवा कन्या जाली के झरोखे से एक नट को देखती है, जिसकी मेघ-श्याम सुन्दरता उसे कृष्ण की साक्षात् प्रतिकृति बना देती है; कृष्ण के प्रति पहले से परिपक्व उसका अनुराग इस सदृश रूप को देखकर जाग उठता है — जैसा जीव गोस्वामी नीचे अपनी टीका में बताते हैं, यह सादृश्य स्वयं कृष्ण तक पहुँचने की सीढ़ी का काम करता है।
L3example
kṛśodari dṛśor iyāt pathi kim īdṛśo vā yuvā |
kṛśodariO slender-waisted one! — addressed to her friend vocativeहे कृशोदरि! (हे तनु-कटि वाली सखी!)
dṛśoḥ pathiinto the path of the eyes — within our sight dṛśoḥ genitive dual + pathi locative: 'on the road of the two eyes'(मेरे) दोनों नेत्रों के मार्ग पर
iyātcould [he] ever come? optative of i 'to go' — potential, 'would he arrive'क्या आ पहुँचेगा (कभी प्राप्त होगा)
kim ... vā— asked half in wonder, 'could it really be?' kim marks the question; vā adds the wondering 'or perhaps'क्या... अथवा (कहीं वैसा ही तो नहीं?)
īdṛśaḥ yuvāsuch a youth — one like thisऐसा युवक
kṛśodari — O slim-waisted friend; īdṛśaḥ yuvā — such a youth; dṛśoḥ pathi — into the path of our eyes; kim vā iyāt — could he ever come?
kṛśodari — हे कृशोदरि!; dṛśoḥ pathi — दोनों नेत्रों के मार्ग पर; iyāt — क्या आ पहुँचेगा; kim ... vā — क्या... अथवा; īdṛśaḥ yuvā — ऐसा युवक।
O slim-waisted friend, could a youth like this ever come within sight of our eyes? She asks it half in wonder, half in longing.
हे कृशोदरि! क्या ऐसा युवक कभी मेरे दोनों नेत्रों के मार्ग पर आ पहुँचेगा — अथवा कहीं (यह वैसा ही तो नहीं)?
L4example
puraḥ sumukhi gopateḥ sadasi sanniviṣṭasya me
sumukhiO lovely-faced one! — again to her friend vocativeहे सुमुखि! (हे सुन्दर मुख वाली सखी!)
puraḥright in front — before [him]सामने (आगे)
gopateḥof the lord of the cowherds genitive, in apposition to 'my father'गोपति (गोपों के स्वामी) — अर्थात् मेरे पिता — के
sadasi sanniviṣṭasyawho is seated in the assembly sadasi locative 'in the court'; sanniviṣṭasya genitive agreeing with pituḥ in L5जो सभा में विराजमान हैं, उन (पिता) के
memy — [my father] genitive, joins pituḥ carried over into L5मेरे (पिता के)
me pituḥ — of my father; gopateḥ — the lord of the cowherds; sadasi sanniviṣṭasya — seated in the assembly; puraḥ — right in front of him.
sumukhi — हे सुमुखि!; puraḥ — सामने; gopateḥ — गोपों के स्वामी (मेरे पिता) के; sadasi sanniviṣṭasya — जो सभा में विराजमान हैं, उन (पिता) के; me — मेरे।
O fair-faced friend — right in front of my father, the cowherd-chief, as he sits there in the assembly...
हे सुमुखि! गोपों के अधिपति मेरे पिता, जो अपनी सभा में विराजमान हैं, उनके सामने —
L5example
pitur vitanute naṭo yam anukṛtya nṛtya-kramam ||
pituḥof [my] father — completing 'in front of my father' genitive picked up from puraḥ ... me in L4(मेरे) पिता के (सामने)
naṭaḥthe dancer, the actorयह नट (नर्तक)
yam anukṛtyaimitating whom — taking that youth as his model yam relative 'whom'; anukṛtya gerund 'having copied'जिसका अनुकरण करके
nṛtya-kramam vitanutespins out his whole sequence of dance nṛtya-kramam accusative object; vitanute 'performs, spreads out'नृत्य-क्रम का विस्तार करता है (नाच रहा है)
naṭaḥ — the dancer; me pituḥ puraḥ — in front of my father; yam anukṛtya — imitating whom; nṛtya-kramam — the dance-steps; vitanute — performs.
pituḥ — (मेरे) पिता के (सामने); naṭaḥ — यह नट; yam anukṛtya — जिसका अनुकरण करके; nṛtya-kramam vitanute — नृत्य-क्रम का विस्तार करता है।
...the dancer performs his whole routine by imitating just such a youth. So the very figure she marvels at is the one the dancer is copying — he is right there on the floor, before her father in the assembly.
यह नट जिसका अनुकरण करके मेरे पिता के सामने नृत्य-क्रम प्रस्तुत कर रहा है — (क्या वैसा युवक मेरे नेत्रों के मार्ग पर आएगा?)
Commentary — decoded
Jīva Gosvāmī
s1avataranika
tato yatheti |
tataḥ yathā itithe opening words 'tataḥ, yathā…' — which he now takes up to comment on pratīka: quoting the verse's lead-in to fix which passage is being glossed'ततः', 'यथा' इत्यादि (श्लोक का प्रतीक-वचन — यह बताने को कि अब किस श्लोक की व्याख्या है)
tataḥ yathā iti — [on the words] 'then, just as…'.
tataḥ yathā iti — 'ततः', 'यथा' इत्यादि (श्लोक का प्रतीक)।
Jīva picks the verse up by its opening words, 'tataḥ, yathā…', and comments.
इसके पश्चात् 'यथा...' इत्यादि श्लोक कहा गया है — इस प्रतीक से आगे व्याख्या किए जाने वाले श्लोक का निर्देश होता है।
s2gloss
seyaṁ prācīna-tadīya-sādhanātiśaya-bhāvitā ratis tam upamānaṁ sopānaṁ vidhāyopameye eva cittaṁ prāpayantī rañjayantīti bhāvaḥ ||
sā iyaṁ ratiḥthis very rati, the love here in questionयह वही रति
prācīna-tadīya-sādhana-atiśaya-bhāvitāgrown ripe by the excellence of her earlier sādhana toward him (Kṛṣṇa) tadīya = 'his', i.e. directed to Kṛṣṇa; bhāvitā 'matured, brought into being'पूर्वजन्म के उन (कृष्ण-विषयक) साधनों की अतिशयता से परिपक्व हुई
tam upamānaṁ sopānaṁ vidhāyamaking that likeness — the look-alike dancer — into a staircase upamāna = the illustrating look-alike; sopānam predicate accusative, 'as a step'उस उपमान (सादृश्य वाले नट) को सीढ़ी बनाकर
upameye eva cittaṁ prāpayantīleading the mind onto the real object alone — Kṛṣṇa himself upameya = the thing the likeness points to; eva 'only' shuts out the dancer; locative of goalचित्त को उपमेय (साक्षात् कृष्ण) में ही पहुँचाती हुई
rañjayantīand coloring it [with love]और उसी में अनुरंजित करती हुई
iti bhāvaḥ— such is the underlying senseऐसा तात्पर्य है
sā iyaṁ ratiḥ — this very love; prācīna-tadīya-sādhana-atiśaya-bhāvitā — grown ripe from the excellence of her earlier sādhana toward Kṛṣṇa; tam upamānaṁ sopānaṁ vidhāya — making that likeness into a staircase; upameye eva cittaṁ prāpayantī — carrying the mind onto the real object, Kṛṣṇa alone; rañjayantī — and coloring it; iti bhāvaḥ — such is the purport.
sā iyaṁ ratiḥ — यह वही रति; prācīna-tadīya-sādhana-atiśaya-bhāvitā — पूर्वजन्म के (कृष्ण-विषयक) साधनों की अतिशयता से परिपक्व हुई; tam upamānaṁ sopānaṁ vidhāya — उस उपमान को सीढ़ी बनाकर; upameye eva cittaṁ prāpayantī — चित्त को उपमेय (कृष्ण) में ही पहुँचाती हुई; rañjayantī — अनुरंजित करती हुई; iti bhāvaḥ — ऐसा तात्पर्य है।
So Jīva gives the purport. The love at work here is not new — it was already matured by the girl's earlier devotional practice toward Kṛṣṇa. On seeing the look-alike, that latent love uses the likeness as a staircase: it climbs past the dancer and sets the mind down on Kṛṣṇa himself, coloring it with rati. The likeness is only the step; Kṛṣṇa is where the heart arrives.
यह वही रति है जो पूर्वजन्म के कृष्ण-विषयक साधनों की अधिकता से परिपक्व हुई है। वह उस सादृश्य वाले नट को सीढ़ी बनाकर चित्त को उपमेय — साक्षात् कृष्ण — में ही पहुँचा देती है और उसी में उसे अनुरंजित कर देती है — यही तात्पर्य है।
s3other
(24)
(24)the printed edition's running serial number for this passage — no doctrinal content(24)
(24) — an edition serial number.
(24)
A serial number carried over from the printed edition; it carries no doctrinal content.
(24)
Viśvanātha Cakravartī
s1avataranika
anya-deśīya-goṣṭhādhyakṣasya kasyacid gopasya kumārī sabhāyāṁ nṛtyantaṁ kam api naṭaṁ jāla-randhryād vīkṣya sva-sakhīṁ sa-vismayam āha—navāmbudhareti |
anya-deśīya-goṣṭha-adhyakṣasya kasyacid gopasya kumārīthe young daughter of some cowherd, the headman of a cow-settlement in another region stacked genitives: 'of a certain gopa who heads an out-of-region goṣṭha'किसी अन्य देश की गोष्ठी के अध्यक्ष गोप की कन्या
sabhāyāṁ nṛtyantaṁ kam api naṭaṁa certain dancer who is dancing in the assembly sabhāyām locative 'in the court'सभा में नाचते हुए किसी नट को
jāla-randhryāt vīkṣyahaving spied [him] through the gap of a lattice window ablative jāla-randhryāt, 'out through the lattice-hole'जाली के छिद्र से (झरोखे से) देखकर
sva-sakhīṁ sa-vismayam āhaspeaks to her own friend in wonder sa-vismayam adverb, 'with astonishment'अपनी सखी से विस्मय के साथ कहती है
navāmbudhara iti— [with the verse] 'navāmbudhara…' pratīka naming the verse she speaks'नवाम्बुधर...' इत्यादि (जो श्लोक वह कहती है, उसका प्रतीक)
anya-deśīya-goṣṭha-adhyakṣasya kasyacid gopasya kumārī — the daughter of a certain cowherd-chief from another village; jāla-randhryāt — through a lattice-hole; sabhāyāṁ nṛtyantaṁ kam api naṭaṁ — a dancer dancing in the assembly; vīkṣya — having seen; sa-vismayam — in wonder; sva-sakhīṁ āha — she says to her friend: navāmbudhara iti — 'A fresh raincloud…'.
anya-deśīya-goṣṭha-adhyakṣasya kasyacid gopasya kumārī — किसी अन्य देश की गोष्ठी के अध्यक्ष गोप की कन्या; sabhāyāṁ nṛtyantaṁ kam api naṭaṁ — सभा में नाचते हुए किसी नट को; jāla-randhryāt vīkṣya — जाली के छिद्र से देखकर; sva-sakhīṁ sa-vismayam āha — अपनी सखी से विस्मय के साथ कहती है; navāmbudhara iti — 'नवाम्बुधर...' इत्यादि।
Viśvanātha sets the scene. A cowherd-chief from another village has a young daughter. Through the gap of a lattice window she catches sight of a dancer performing in the assembly. Struck with wonder, she turns to her friend and speaks the verse 'navāmbudhara…'.
किसी अन्य देश की गोष्ठी के अध्यक्ष गोप की कन्या सभा में नाचते हुए किसी नट को जाली के छिद्र से देखकर विस्मय के साथ अपनी सखी से कहती है — 'नवाम्बुधर...' इत्यादि।
s2gloss
kiṁ-śabdaḥ praśne |
kiṁ-śabdaḥthe word 'kim''किम्' शब्द
praśnestands here in the sense of a question locative of application: 'in [the meaning] question', not exclamation or blameप्रश्न (के अर्थ) में है — (न कि विस्मय या निन्दा में)
kiṁ-śabdaḥ — the word 'kim'; praśne — [is used] in the sense of a question.
kiṁ-śabdaḥ — 'किम्' शब्द; praśne — प्रश्न (के अर्थ) में।
The 'kim' in the verse is the interrogative — it marks a real question, 'could he come?', not a mere exclamation.
यहाँ 'किम्' शब्द प्रश्न के अर्थ में है (आक्षेप या विस्मय के अर्थ में नहीं)।
s3gloss
he kṛśodari ! tava dṛśoḥ pathi īdṛśo yuvā kim iyāt prāpnuyāt ? tena tvaṁ yadi taṁ paricinoṣi tadā tad-deśam eva tvaṁ mām api naya, yathā tam eva dṛṣṭvā jīveyam iti sva-raty-udbhavo vyañjitaḥ |
he kṛśodari'O slender-waisted one!' — the girl to her friend vocativeहे कृशोदरि!
tava dṛśoḥ pathiinto the path of your eyes — within your sightतेरे दोनों नेत्रों के मार्ग पर
īdṛśaḥ yuvā kim iyātcould such a youth ever come?क्या ऐसा युवक आ पहुँचेगा
prāpnuyāt[that is] would he arrive — Viśvanātha's plain gloss on iyāt('इयात्' का अर्थ) प्राप्त होगा (पहुँचेगा)
tena tvaṁ yadi taṁ paricinoṣiso, if you happen to know him tena 'therefore, given this wonder'इसलिए (इस अद्भुत रूप को देखकर) यदि तू उसे पहचानती हो
tadā tad-deśam eva mām api nayathen take me too, right to the place where he is tad-deśam eva 'to that very place'; api 'me as well'तो मुझे भी उसी स्थान पर ले चल
yathā tam eva dṛṣṭvā jīveyamso that, seeing him and him alone, I may go on living yathā … jīveyam, purpose: 'in order that I may live'जिससे उसी को देखकर मैं जीवित रह सकूँ
iti sva-rati-udbhavaḥ vyañjitaḥ— by all this the welling-up of her own love is hinted, not stated vyañjitaḥ = 'is suggested' by dhvani, left implicitइस प्रकार (उसकी) अपनी रति का उदय ध्वनि से सूचित होता है
he kṛśodari — O slim one; īdṛśaḥ yuvā — such a youth; tava dṛśoḥ pathi — into the path of your eyes; kim iyāt / prāpnuyāt — could he come, i.e. arrive?; tena — so; tvaṁ yadi taṁ paricinoṣi — if you know him; tadā — then; tad-deśam eva mām api naya — take me too to that very place; yathā tam eva dṛṣṭvā jīveyam — so that seeing him alone I may live; iti — thus; sva-rati-udbhavaḥ vyañjitaḥ — the rising of her own love is suggested.
he kṛśodari — हे कृशोदरि!; tava dṛśoḥ pathi — तेरे दोनों नेत्रों के मार्ग पर; īdṛśaḥ yuvā kim iyāt — क्या ऐसा युवक आ पहुँचेगा; prāpnuyāt — प्राप्त होगा; tena tvaṁ yadi taṁ paricinoṣi — इसलिए यदि तू उसे पहचानती हो; tadā tad-deśam eva mām api naya — तो मुझे भी उसी स्थान पर ले चल; yathā tam eva dṛṣṭvā jīveyam — जिससे उसी को देखकर मैं जीवित रह सकूँ; iti sva-rati-udbhavaḥ vyañjitaḥ — इस प्रकार अपनी रति का उदय ध्वनित होता है।
Viśvanātha spells out her speech. 'O slender friend — could such a youth ever come within your sight?' And the drift underneath is: if you know him, take me to wherever he is, so that just by seeing him I can stay alive. Viśvanātha notes that none of this is said flatly — the welling-up of the girl's own love is only suggested, hinted through her words.
हे कृशोदरि! क्या तेरे दोनों नेत्रों के मार्ग पर ऐसा युवक आ पहुँचेगा? इसलिए यदि तू उसे पहचानती हो, तो मुझे भी उसी स्थान पर ले चल, जिससे उसी को देखकर मैं जीवित रह सकूँ — इस प्रकार यहाँ उसकी अपनी रति का उदय ध्वनि से सूचित होता है।
s4gloss
yam anukṛtya yadīya-svabhāva-ceṣṭādikam abhinayena pradarśyety arthaḥ ||
yam anukṛtya'imitating whom' [of the verse] pratīka'यम् अनुकृत्य' (जिसका अनुकरण करके)
yadīya-svabhāva-ceṣṭā-ādikamwhose native character, gestures, and the rest yadīya 'belonging to whom'; ādi 'and so on'जिसके स्वभाव, चेष्टा आदि को
abhinayena pradarśyadisplaying [them] by dramatic mime abhinaya = an actor's stage-enactment; instrumental 'by means of'अभिनय के द्वारा दिखाकर
iti arthaḥ— that is the meaningऐसा अर्थ है
yam anukṛtya — imitating whom; yadīya-svabhāva-ceṣṭā-ādikam — his nature, gestures, and so forth; abhinayena pradarśya — showing them by stage-mime; iti arthaḥ — this is the sense.
yam anukṛtya — जिसका अनुकरण करके; yadīya-svabhāva-ceṣṭā-ādikam — जिसके स्वभाव, चेष्टा आदि को; abhinayena pradarśya — अभिनय के द्वारा दिखाकर; iti arthaḥ — ऐसा अर्थ है।
On 'imitating whom': the dancer takes that youth's very nature and gestures and displays them through his miming. That is what 'anukṛtya', 'having imitated', is saying here.
'यम् अनुकृत्य' का अर्थ है — जिसके स्वभाव, चेष्टा आदि का अभिनय के द्वारा प्रदर्शन करके।
s5other
(24)
(24)the printed edition's running serial number for this passage — no doctrinal content(24)
(24) — an edition serial number.
(24)
A serial number carried over from the printed edition; it carries no doctrinal content.
(24)