Viśvanātha Cakravartī
s1gloss
itarasyā api kāntāyā ā samyak prakāram anubhavāpekṣāṁ sahata iti saḥ |
itarasyāḥ api kāntāyāḥof yet another beloved as well gen.; api = 'as well', unpacked from the compoundदूसरी नायिका के भी
ā samyak prakāramthe prefix ā- here read as 'fully, in complete measure' Viśvanātha glosses the ā- of ā-pekṣā as samyak, 'thoroughly''आ' का अर्थ — सम्यक् प्रकार से (भली-भाँति)
anubhavāpekṣāṁ sahateendures the [full] longing to experience [her]अनुभव की अपेक्षा को सह लेता है
iti saḥsuch a one is the 'he' [the definition means]इस कारण वह (मध्यम है)
itarasyāḥ api kāntāyāḥ — of another beloved too; ā = samyak prakāram — the ā- meaning 'fully'; anubhavāpekṣāṁ sahate — endures the full longing to experience her; iti saḥ — he it is [that is madhyama].
itarasyāḥ api kāntāyāḥ — दूसरी नायिका के भी; ā samyak prakāram — 'आ' का अर्थ भली-भाँति; anubhavāpekṣāṁ sahate — अनुभव की अपेक्षा को सह लेता है; iti saḥ — इस कारण वह।
Viśvanātha unpacks the definition word by word. 'Another beloved as well' — someone besides his own. And the small prefix ā- inside ā-pekṣā he reads as 'fully': it is a thorough, full-blown longing, not a passing one. The man who can put up with that full longing to enjoy another woman — he is the 'he' the verse points to, the madhyama.
दूसरी नायिका के भी अनुभव की सम्यक् (भली-भाँति) अपेक्षा को जो सह लेता है — यहाँ 'आ' उपसर्ग 'सम्यक्' का अर्थ देता है — वह मध्यम है।
s2reply
samāsa-vṛtty-antar-bhūtād api-kārāt sva-viṣaya-kāntāyāś ca samyag anubhavāpekṣaṇān mande premaṇi nātivyāptiḥ |
samāsa-vṛtty-antar-bhūtāt api-kārātbecause of the word 'api' ('too') folded inside the compound's working abl. of reason; api-kāra = 'the word api'समास-वृत्ति के भीतर छिपे 'अपि' शब्द के कारण
sva-viṣaya-kāntāyāḥ caand toward his own beloved too gen.; ca links the second reasonऔर अपने विषय की (अपनी) नायिका के भी
samyak anubhavāpekṣaṇātbecause he also fully longs to experience [her] abl. of reasonसम्यक् अनुभव की अपेक्षा (होने) के कारण
mande premaṇionto faint, weak love loc.मन्द प्रेम में
na ativyāptiḥthe definition does not over-reach ativyāpti = the fault of a definition catching a case it should excludeअतिव्याप्ति नहीं होती
api-kārāt samāsa-vṛtty-antar-bhūtāt — because of the 'api' tucked inside the compound; sva-viṣaya-kāntāyāḥ ca samyak anubhavāpekṣaṇāt — and because he also fully longs to enjoy his own beloved; mande premaṇi na ativyāptiḥ — there is no over-extension onto faint love.
samāsa-vṛtty-antar-bhūtāt api-kārāt — समास में छिपे 'अपि' शब्द के कारण; sva-viṣaya-kāntāyāḥ ca — और अपनी नायिका के भी; samyak anubhavāpekṣaṇāt — सम्यक् अनुभव की अपेक्षा के कारण; mande premaṇi — मन्द प्रेम में; na ativyāptiḥ — अतिव्याप्ति नहीं।
First worry: does this definition wrongly swallow 'faint' love too? No. The word 'api' ('as well'), hidden inside the compound, signals that the madhyama also fully wants his own beloved — not merely another. A merely faint lover does not even want his own that strongly. So the definition does not stretch to cover faint love.
समास के भीतर निहित 'अपि' शब्द के कारण, तथा अपनी नायिका के भी सम्यक् अनुभव की अपेक्षा रहने के कारण, मन्द प्रेम में यह लक्षण अतिव्याप्त नहीं होता।
ativyāpti = a definition's fault of covering cases it ought to leave out — here, the danger of the madhyama definition catching manda (faint) love. Viśvanātha blocks it on both sides (faint here, fully-mature in s3-s7).
अतिव्याप्ति = लक्षण का वह दोष जिससे वह उन प्रसंगों को भी पकड़ ले जिन्हें छोड़ देना चाहिए — यहाँ यह भय कि मध्यम का लक्षण मन्द (क्षीण) प्रेम को भी पकड़ ले। विश्वनाथ इसे दोनों ओर से रोकते हैं — यहाँ मन्द की ओर से, और आगे (s3–s7) प्रौढ़ की ओर से।
s3reply
nātiprauḍhe premaṇy ativyāptiḥ |
na atiprauḍhe premaṇinor onto the fully-ripened, highest love loc.; atiprauḍha = love at its most matureअति प्रौढ़ (परम परिपक्व) प्रेम में (भी) नहीं
ativyāptiḥdoes the definition over-reachअतिव्याप्ति (होती है)
atiprauḍhe premaṇi na ativyāptiḥ — nor does it over-extend onto the fully-mature love.
na atiprauḍhe premaṇi — अति प्रौढ़ प्रेम में नहीं; ativyāptiḥ — अतिव्याप्ति।
Second worry, from the other side: does the definition wrongly swallow the very highest, fully-ripe love? No — and the next sentences say why.
और अत्यन्त प्रौढ़ प्रेम में भी (इसकी) अतिव्याप्ति नहीं होती।
s4reply
itara-kleśa-kārīti tācchīlyārtha-kaṇini-pratyaya-śravaṇāt tad-viṣayī-bhūta-kāntā-virahiṇo nāyakasya kleśāvaśyakatvāvagamāt |
itara-kleśa-kārī itiin the term 'itara-kleśa-kārin' ('one for whom another brings only pain') the word put under grammatical analysis'इतर-क्लेश-कारी' — यह पद
tācchīlya-artha-kaṇini-pratyaya-śravaṇātbecause we hear the ṇini (–in) suffix, which carries the sense of a settled habit (tācchīlya) abl.; the taddhita -in of kārin marks habitual dispositionस्वभाव (ताच्छील्य) के अर्थ वाले 'णिनि' प्रत्यय के सुनाई देने के कारण
tad-viṣayī-bhūta-kāntā-virahiṇaḥ nāyakasyafor the hero parted from the beloved who is [that highest love's] object gen.उस (प्रौढ़-प्रेम की) विषयभूत नायिका के विरह में पड़े नायक को
kleśa-āvaśyakatva-avagamātbecause it is thereby understood that suffering is unavoidable [for him] abl. of reasonक्लेश का अवश्यम्भावी होना जान लिया जाता है — इस कारण
itara-kleśa-kārī iti tācchīlya-artha-kaṇini-pratyaya-śravaṇāt — because in 'itara-kleśa-kārin' we hear the habit-marking -in suffix; tad-viṣayī-bhūta-kāntā-virahiṇaḥ nāyakasya kleśa-āvaśyakatva-avagamāt — it is understood that the hero parted from his [highest-love] beloved must suffer.
itara-kleśa-kārī iti — 'इतर-क्लेश-कारी' पद; tācchīlya-artha-kaṇini-pratyaya-śravaṇāt — स्वभाव-अर्थक 'णिनि' प्रत्यय के श्रवण से; tad-viṣayī-bhūta-kāntā-virahiṇaḥ nāyakasya — उस नायिका के विरही नायक को; kleśa-āvaśyakatva-avagamāt — क्लेश अवश्य होता है, यह जान लेने से।
Why no over-reach onto the highest love? A grammar point settles it. That highest lover is described as 'itara-kleśa-kārin' — one for whom another woman brings, by fixed habit, nothing but pain. The suffix -in there marks a settled disposition, not a one-off. So for the hero cut off from the beloved of his highest love, suffering is inescapable: no other woman can console him. The madhyama definition, which turns on being consolable by another, cannot apply to him.
'इतर-क्लेश-कारी' इस पद में स्वभाव-अर्थक 'णिनि' प्रत्यय सुनाई देता है; इससे जाना जाता है कि उस (प्रौढ़-प्रेम की) विषयभूत नायिका के विरह में पड़े नायक को क्लेश अवश्य होता है।
The ṇini (-in) taddhita, by Pāṇini's tācchīlya rule, forms agent-nouns of settled habit — 'one who characteristically does X.' Hence 'kārin' = habitually causing, not incidentally.
'णिनि' (-इन्) तद्धित पाणिनि के ताच्छील्य-नियम से स्वभावसूचक कर्तृ-संज्ञाएँ बनाता है — 'जो स्वभावतः अमुक काम करता है'। अतः 'कारी' = स्वभावतः क्लेश उत्पन्न करने वाला, आकस्मिक रूप से नहीं।
s5reply
madhya-prema-viṣayī-bhūta-kāntā-virahiṇo nāyakasya tv anya-kāntānubhava-sambhavāt kleśasya naivāśyakatvam |
madhya-prema-viṣayī-bhūta-kāntā-virahiṇaḥ nāyakasya tubut for the hero parted from the beloved who is the object of middling love gen.; tu = 'but', marking the contrastपरन्तु मध्यम-प्रेम की विषयभूत नायिका के विरह में पड़े नायक को तो
anya-kāntānubhava-sambhavātbecause enjoying another beloved is possible for him abl. of reasonदूसरी नायिका का अनुभव सम्भव होने के कारण
kleśasya na eva āvaśyakatvamsuffering is not at all forced on him na eva = 'not at all'क्लेश का अवश्यम्भाव है ही नहीं
madhya-prema-viṣayī-bhūta-kāntā-virahiṇaḥ nāyakasya tu — but for the hero parted from his middling-love beloved; anya-kāntānubhava-sambhavāt — since he can enjoy another beloved; kleśasya na eva āvaśyakatvam — suffering is in no way inevitable.
madhya-prema-viṣayī-bhūta-kāntā-virahiṇaḥ nāyakasya tu — परन्तु मध्यम-प्रेम की नायिका के विरही नायक को; anya-kāntānubhava-sambhavāt — दूसरी नायिका का अनुभव सम्भव होने से; kleśasya na eva āvaśyakatvam — क्लेश अवश्य हो, ऐसा नहीं।
The middling lover is different. Parted from the beloved of his madhyama love, he can still turn to and enjoy some other woman. So for him suffering in separation is not inevitable at all. That is precisely what the definition's 'tolerates the longing for another' captures — and it is why the highest love falls outside the definition.
परन्तु मध्यम-प्रेम की विषयभूत नायिका के विरह वाले नायक को तो दूसरी नायिका का अनुभव सम्भव है, अतः उसे क्लेश अवश्य ही हो — ऐसा नहीं।
s6reply
ata eva vidagdha-mādhavādau candrāvalī-virahiṇaḥ śrī-kṛṣṇasya śrī-rādhānubhave sati kleśāpagamo dṛṣṭaḥ śrī-pañcādhyāyyām api sarva-kāntā-virahe’pi śrī-rādhā-saṅginaḥ śrī-kṛṣṇasya na kleśa-gandho’pi |
ata evafor this very reasonइसीलिए
vidagdha-mādhavādauin plays such as the Vidagdha-mādhava loc.'विदग्ध-माधव' आदि (नाटकों) में
candrāvalī-virahiṇaḥ śrī-kṛṣṇasyaof Śrī Kṛṣṇa when parted from Candrāvalī gen.चन्द्रावली के विरह में पड़े श्रीकृष्ण का
śrī-rādhānubhave sationce he experiences Śrī Rādhā loc. absolute — 'when / once...'श्रीराधा का अनुभव होने पर
kleśāpagamaḥ dṛṣṭaḥthe lifting of his pain is seen [there]क्लेश का दूर हो जाना देखा गया है
śrī-pañcādhyāyyām apiin the Pañcādhyāyī (the five rāsa chapters of the Bhāgavata) too loc.; api = 'too'श्री-पञ्चाध्यायी (रासलीला के पाँच अध्याय) में भी
sarva-kāntā-virahe apieven parted from every [other] beloved loc.; api = 'even'सब नायिकाओं के विरह में भी
śrī-rādhā-saṅginaḥ śrī-kṛṣṇasyaso long as Kṛṣṇa is in Rādhā's company gen.श्रीराधा के संग रहते श्रीकृष्ण को
na kleśa-gandhaḥ apithere is not even a scent of pain api = 'even'क्लेश की गन्ध तक नहीं
ata eva vidagdha-mādhavādau candrāvalī-virahiṇaḥ śrī-kṛṣṇasya śrī-rādhānubhave sati kleśāpagamaḥ dṛṣṭaḥ — for this reason, in the Vidagdha-mādhava etc., Kṛṣṇa parted from Candrāvalī has his pain lift once he is with Rādhā; śrī-pañcādhyāyyām api sarva-kāntā-virahe api śrī-rādhā-saṅginaḥ śrī-kṛṣṇasya na kleśa-gandhaḥ api — and in the Pañcādhyāyī, even parted from all others, while with Rādhā there is not even a whiff of pain.
ata eva — इसीलिए; vidagdha-mādhavādau — 'विदग्ध-माधव' आदि में; candrāvalī-virahiṇaḥ śrī-kṛṣṇasya — चन्द्रावली के विरही श्रीकृष्ण का; śrī-rādhānubhave sati — श्रीराधा का अनुभव होने पर; kleśāpagamaḥ dṛṣṭaḥ — क्लेश दूर होता देखा गया; śrī-pañcādhyāyyām api — पञ्चाध्यायी में भी; sarva-kāntā-virahe api — सब नायिकाओं के विरह में भी; śrī-rādhā-saṅginaḥ śrī-kṛṣṇasya — श्रीराधा के संगी श्रीकृष्ण को; na kleśa-gandhaḥ api — क्लेश की गन्ध तक नहीं।
You can watch it play out. In dramas like the Vidagdha-mādhava, when Kṛṣṇa is pining for Candrāvalī, the moment he is with Rādhā his pain simply lifts — Candrāvalī's absence stops hurting. And in the rāsa chapters of the Bhāgavata, even when every other gopī has left him, so long as Rādhā is beside him there is not even a trace of distress. His love for the others is middling; his love for Rādhā is the highest.
इसीलिए 'विदग्ध-माधव' आदि में चन्द्रावली के विरही श्रीकृष्ण को श्रीराधा का अनुभव होते ही क्लेश दूर हो जाता देखा गया है; और श्री-पञ्चाध्यायी में भी अन्य सब नायिकाओं के विरह में रहते हुए भी श्रीराधा के संग रहने वाले श्रीकृष्ण को क्लेश की गन्ध तक नहीं होती।
s7reply
śrī-rādhā-virahiṇaḥ śrī-kṛṣṇasya tu sarva-kāntā-saṅge’pi kleśa eva |
śrī-rādhā-virahiṇaḥ śrī-kṛṣṇasya tubut for Kṛṣṇa when parted from Śrī Rādhā gen.; tu = 'but', the reverse caseपरन्तु श्रीराधा के विरह में पड़े श्रीकृष्ण को तो
sarva-kāntā-saṅge apieven in the company of all [other] beloveds loc.; api = 'even'सब नायिकाओं के संग रहने पर भी
kleśa evathere is only pain, nothing but eva = 'only'क्लेश ही (रहता है)
śrī-rādhā-virahiṇaḥ śrī-kṛṣṇasya tu — but for Kṛṣṇa parted from Rādhā; sarva-kāntā-saṅge api kleśa eva — even amid all the other beloveds, only pain.
śrī-rādhā-virahiṇaḥ śrī-kṛṣṇasya tu — परन्तु श्रीराधा के विरही श्रीकृष्ण को; sarva-kāntā-saṅge api — सब नायिकाओं के संग में भी; kleśa eva — क्लेश ही।
Now turn it around. When Kṛṣṇa is parted from Rādhā, even surrounded by every other beloved he feels nothing but pain. No one else can console him for her loss. That is the mark of the highest, fully-mature love — it tolerates no substitute.
परन्तु श्रीराधा के विरही श्रीकृष्ण को सब नायिकाओं का संग होने पर भी केवल क्लेश ही रहता है।
s8citation
yad uktaṁ śrīmaj-jayadeva-caraṇaiḥ—rādhām ādhāya hṛdaye tatyāja vraja-sundarīḥ [gī.go. 3.2] iti |
yad uktaṁ śrīmaj-jayadeva-caraṇaiḥas the revered Jayadeva has said instr. of the author; caraṇaiḥ = honorific 'the feet of...'जैसा श्रीमज्जयदेव-चरणों (पूज्य जयदेव) ने कहा है
rādhām ādhāya hṛdaye'having set Rādhā in his heart'राधा को हृदय में धारण करके (बसाकर)
tatyāja vraja-sundarīḥ'he forsook the lovely women of Vraja'व्रज-सुन्दरियों को त्याग दिया
[gī.go. 3.2] iti— thus, Gīta-govinda 3.2— (गीत-गोविन्द ३.२) इस प्रकार
yad uktaṁ śrīmaj-jayadeva-caraṇaiḥ — as Jayadeva said; rādhām hṛdaye ādhāya vraja-sundarīḥ tatyāja iti — 'setting Rādhā in his heart, he forsook the beauties of Vraja.'
yad uktaṁ śrīmaj-jayadeva-caraṇaiḥ — जैसा श्रीजयदेवचरणों ने कहा; rādhām ādhāya hṛdaye — राधा को हृदय में बसाकर; tatyāja vraja-sundarīḥ — व्रज-सुन्दरियों को त्याग दिया; [gī.go. 3.2] iti — (गीत-गोविन्द ३.२) यों।
Jayadeva says it outright: once Kṛṣṇa had set Rādhā in his heart, he left all the lovely women of Vraja behind.
जैसा श्रीमज्जयदेवचरणों ने कहा है — 'राधा को हृदय में बसाकर उसने व्रज-सुन्दरियों को त्याग दिया' (गीत-गोविन्द ३.२)।
Why cited: Cited to prove that with Rādhā filling his heart Kṛṣṇa drops every other beloved — his love for her is the highest, brooking no rival.
क्यों उद्धृत: यह इसलिए उद्धृत है कि राधा के हृदय में बस जाने पर कृष्ण हर दूसरी प्रिया को छोड़ देते हैं — उनका राधा-प्रेम सर्वोच्च है, किसी प्रतिद्वन्द्वी को नहीं सहता।
s9citation
itas tatas tām [gī.go. 3.3] ity-ādi ca ||
itas tataḥ tām'[searching] her here and there'इधर-उधर उस (राधा) को (ढूँढ़ता है)
ity-ādi caand the rest [of the passage], likewise ity-ādi = 'and so on'इत्यादि भी
[gī.go. 3.3]Gīta-govinda 3.3(गीत-गोविन्द ३.३)
itas tataḥ tām ity-ādi ca — and '[chasing] her this way and that,' and so on [Gīta-govinda 3.3].
itas tataḥ tām — इधर-उधर उसे; ity-ādi ca — इत्यादि भी; [gī.go. 3.3] — (गीत-गोविन्द ३.३)।
And the next verse too: Kṛṣṇa searching here and there for Rādhā. Having left the others, he now roams after her alone.
और 'इधर-उधर उसे (ढूँढ़ता फिरता है)' (गीत-गोविन्द ३.३) इत्यादि भी।
Why cited: Cited for the flip side: parted from Rādhā, Kṛṣṇa can settle nowhere and hunts for her everywhere — only she relieves him, confirming that hers is the fully-mature love.
क्यों उद्धृत: यह उलटे पक्ष के लिए उद्धृत है — राधा से बिछड़ने पर कृष्ण कहीं टिक नहीं पाते और उसे सर्वत्र ढूँढ़ते हैं; केवल वही उन्हें शान्त करती है — इससे सिद्ध है कि राधा का प्रेम पूर्ण-प्रौढ़ है।
s10avataranika
(62) candrāvalīṁ sambhuñjānaḥ śrī-kṛṣṇaḥ svagatam āha—sarvārambheti |
(62)[internal cross-reference number 62] an editorial reference marker prefixed to the sentence(६२) — वाक्य से पूर्व लगा सम्पादकीय सन्दर्भ-अंक
candrāvalīṁ sambhuñjānaḥwhile fully enjoying Candrāvalī pres. participle, 'in the very act of...'चन्द्रावली को भोगते हुए ही (भोग के ठीक उसी क्षण)
śrī-kṛṣṇaḥŚrī Kṛṣṇaश्रीकृष्ण
svagatam āhaspeaks aside, to himself svagatam = a stage-aside, spoken to oneself and unheard by the othersस्वगत (मन ही मन) कहते हैं
sarvārambha iti[the verse] beginning 'sarvārambha...''सर्वारम्भ' इत्यादि (श्लोक)
candrāvalīṁ sambhuñjānaḥ śrī-kṛṣṇaḥ — Kṛṣṇa, while enjoying Candrāvalī; svagatam āha — speaks aside to himself; sarvārambha iti — the verse 'sarvārambha...'
(62) — सम्पादकीय सन्दर्भ-अंक; candrāvalīṁ sambhuñjānaḥ — चन्द्रावली को भोगते हुए; śrī-kṛṣṇaḥ — श्रीकृष्ण; svagatam āha — स्वगत कहते हैं; sarvārambha iti — 'सर्वारम्भ' इत्यादि।
Now the set-up for the verse. In the very act of enjoying Candrāvalī, Kṛṣṇa speaks to himself — an aside — and what he says is this 'sarvārambha' verse.
चन्द्रावली को भोगते हुए ही श्रीकृष्ण स्वगत (मन ही मन) 'सर्वारम्भ' इत्यादि कहते हैं।
svagatam is a dramatic stage-direction: words spoken aside, to oneself, not heard by the others present. It tells us the whole verse is Kṛṣṇa's private thought.
'स्वगत' एक नाट्य-निर्देश है — मन ही मन, अपने आप से कहे गये वे शब्द जिन्हें पास खड़े अन्य लोग नहीं सुनते। यह बताता है कि सारा श्लोक कृष्ण का गुप्त मनोभाव है।
s11gloss
atra śrī-rādhā-viṣayāsakti-sadbhāve’pi candrāvalyāṁ madhyama-premeti madhyama-lakṣaṇaṁ tat-sambhoga-samaye’pi tāṁ kandarpety-ādinā śrī-rādhā-mādhuryānusmaraṇam iti premṇo madhyamatvam |
atrahere, in this verseयहाँ
śrī-rādhā-viṣayāsakti-sadbhāve apieven though attachment to Śrī Rādhā is present loc.; api = 'even though'श्रीराधा के प्रति आसक्ति के विद्यमान रहने पर भी
candrāvalyāṁ madhyama-prema ititoward Candrāvalī the love is middling — that is the point loc.; iti closes the thoughtचन्द्रावली में मध्यम प्रेम है — ऐसा
madhyama-lakṣaṇaṁ[so] the mark of the madhyama is metमध्यम का लक्षण (है)
tat-sambhoga-samaye apieven at the very time of union with her [Candrāvalī] loc.; api = 'even'उसके (चन्द्रावली के) सम्भोग के समय भी
tāṁ kandarpa iti-ādināby the words 'tāṁ kandarpa...' and what follows'तां कन्दर्प' इत्यादि (पद) से
śrī-rādhā-mādhurya-anusmaraṇamthere is a remembering of Śrī Rādhā's sweetnessश्रीराधा के माधुर्य का अनुस्मरण (होता है)
iti premṇaḥ madhyamatvamand so his love [for Candrāvalī] is middling gen. premṇaḥ = 'of the love'; iti = 'thus'इस प्रकार (इस) प्रेम का मध्यमत्व (सिद्ध होता है)
atra śrī-rādhā-viṣayāsakti-sadbhāve api candrāvalyāṁ madhyama-prema iti madhyama-lakṣaṇaṁ — here, though attachment to Rādhā is present, love for Candrāvalī is middling: the madhyama mark holds; tat-sambhoga-samaye api tāṁ kandarpa iti-ādinā śrī-rādhā-mādhurya-anusmaraṇam iti premṇaḥ madhyamatvam — because even while enjoying her, in 'tāṁ kandarpa...' he recalls Rādhā's sweetness, so his love is middling.
atra — यहाँ; śrī-rādhā-viṣayāsakti-sadbhāve api — राधा के प्रति आसक्ति रहते हुए भी; candrāvalyāṁ madhyama-prema iti — चन्द्रावली में मध्यम प्रेम, ऐसा; madhyama-lakṣaṇaṁ — मध्यम का लक्षण; tat-sambhoga-samaye api — उसके सम्भोग के समय भी; tāṁ kandarpa iti-ādinā — 'तां कन्दर्प' इत्यादि से; śrī-rādhā-mādhurya-anusmaraṇam — राधा के माधुर्य का स्मरण; iti premṇaḥ madhyamatvam — यों प्रेम का मध्यमत्व।
Here is how the verse fits the definition. Kṛṣṇa is genuinely attached to Rādhā, yet toward Candrāvalī his love is only middling — and the middling mark is met. For even at the height of union with Candrāvalī, in the words 'tāṁ kandarpa...' he is remembering Rādhā's sweetness. That remembering-past-her is what stamps his love for Candrāvalī as madhyama.
यहाँ श्रीराधा के प्रति आसक्ति विद्यमान रहते हुए भी चन्द्रावली में मध्यम प्रेम है — यही मध्यम का लक्षण है; उसके सम्भोग के समय भी 'तां कन्दर्प' इत्यादि से श्रीराधा के माधुर्य का स्मरण होता है — इस प्रकार इस प्रेम का मध्यमपन सिद्ध होता है।
s12gloss
pūrvatra kamalāyāṁ tu prauḍha eva, tasyā rādhā-priya-sakhītvāt |
pūrvatra kamalāyāṁ tubut in the earlier [verse], toward Kamalā loc.; tu = 'but'; pūrvatra points to the preceding example (14.62)परन्तु पहले (के उदाहरण, १४.६२) में कमला के विषय में तो
prauḍhaḥ eva[the love is] fully mature, nothing less eva = 'nothing less'प्रौढ़ (प्रेम) ही (है)
tasyāḥ rādhā-priya-sakhītvātbecause she is a dear friend of Rādhā abl. of reason; gen. tasyāḥ = 'her, Kamalā's'क्योंकि वह (कमला) श्रीराधा की प्रिय सखी है
pūrvatra kamalāyāṁ tu prauḍhaḥ eva — but in the earlier verse, love toward Kamalā is fully mature; tasyāḥ rādhā-priya-sakhītvāt — because she is Rādhā's dear friend.
pūrvatra kamalāyāṁ tu — परन्तु पूर्व उदाहरण में कमला के विषय में; prauḍhaḥ eva — प्रौढ़ ही; tasyāḥ rādhā-priya-sakhītvāt — वह राधा की प्रिय सखी होने से।
Contrast the earlier verse, about Kamalā. There Kṛṣṇa's love is not middling but fully mature — because Kamalā is one of Rādhā's own dear friends.
परन्तु पूर्व उदाहरण में कमला के प्रति तो प्रौढ़ प्रेम ही है, क्योंकि वह श्रीराधा की प्रिय सखी है।
s13reply
śrī-rādhayaiva prītyābhisāritatvāt, tasyāṁ śrī-rādhā-jātīya-sukhānubhavāt tat-sambhoge candrāvaly-āder na smaraṇa-sambhavaḥ |
śrī-rādhayā eva prītyā abhisāritatvātbecause it was Rādhā herself who, out of love, sent [Kamalā] to him abl. of reason; instr. śrī-rādhayā eva = 'by Rādhā herself'; abhisārita = dispatched to a trystश्रीराधा ने ही प्रेमपूर्वक (कमला को) अभिसार के लिए भेजा था, इस कारण
tasyāṁ śrī-rādhā-jātīya-sukha-anubhavātand because in her he tastes a joy of the very same kind as Rādhā's abl.; loc. tasyāṁ = 'in her, Kamalā'उस (कमला) में श्रीराधा-सदृश सुख का अनुभव होने के कारण
tat-sambhogeduring union with her loc.उसके (कमला के) सम्भोग के समय
candrāvaly-ādeḥ na smaraṇa-sambhavaḥthere is no chance of his remembering Candrāvalī and the restचन्द्रावली आदि का स्मरण सम्भव नहीं
śrī-rādhayā eva prītyā abhisāritatvāt tasyāṁ śrī-rādhā-jātīya-sukha-anubhavāt — because Rādhā herself lovingly sent her, and because in her he tastes Rādhā-like joy; tat-sambhoge candrāvaly-ādeḥ na smaraṇa-sambhavaḥ — during union with her he cannot remember Candrāvalī and the others.
śrī-rādhayā eva prītyā abhisāritatvāt — राधा ने ही प्रेमपूर्वक अभिसार को भेजा, इससे; tasyāṁ śrī-rādhā-jātīya-sukha-anubhavāt — उसमें राधा-सदृश सुख के अनुभव से; tat-sambhoge — उसके सम्भोग में; candrāvaly-ādeḥ na smaraṇa-sambhavaḥ — चन्द्रावली आदि का स्मरण सम्भव नहीं।
Two reasons the Kamalā-love is fully mature. First, Rādhā herself, out of love, sent Kamalā to him. Second, with Kamalā he feels the same kind of joy he feels with Rādhā. So while he is with Kamalā there is simply no room to remember a Candrāvalī. No remembering-past-her means the love is not middling but full.
श्रीराधा ने ही प्रेमपूर्वक (कमला को) अभिसार के लिए भेजा था, और उसमें श्रीराधा जैसा ही सुख अनुभव होता है — अतः उसके सम्भोग के समय चन्द्रावली आदि का स्मरण सम्भव ही नहीं।
s14reply
śrī-rādhāyāḥ smaraṇa-sambhave’pi tasyās tad-yūtheśvarītvena tad-aikyāt tad-itaratvābhāvāt |
śrī-rādhāyāḥ smaraṇa-sambhave apiand even if remembering Rādhā should occur [during union with Kamalā] loc.; api = 'even if'श्रीराधा का स्मरण सम्भव होने पर भी
tasyāḥ tad-yūtheśvarītvenabecause Rādhā is the mistress of that very group [Kamalā's own party] instr. of cause; tad-yūtha-īśvarī = 'queen of that troupe'वह (राधा) उस (कमला के) यूथ की स्वामिनी होने के कारण
tad-aikyātso that [Kamalā] counts as one with her abl. of reasonउसके साथ अभिन्नता (एकता) होने से
tad-itaratva-abhāvātthere is no 'otherness' — Rādhā is not a separate 'other' beloved here abl.; itaratva = the being-another that the definition demands'इतरत्व' (अन्य होने) का अभाव होने के कारण
śrī-rādhāyāḥ smaraṇa-sambhave api — even if Rādhā is remembered; tasyāḥ tad-yūtheśvarītvena tad-aikyāt — since Rādhā heads Kamalā's own group, [Kamalā] is one with her; tad-itaratva-abhāvāt — so there is no 'otherness.'
śrī-rādhāyāḥ smaraṇa-sambhave api — राधा का स्मरण सम्भव हो भी तो; tasyāḥ tad-yūtheśvarītvena — वह उस यूथ की स्वामिनी होने से; tad-aikyāt — उससे अभिन्नता के कारण; tad-itaratva-abhāvāt — 'इतरत्व' का अभाव होने से।
But suppose he does remember Rādhā even while with Kamalā — does that make it middling? No. Rādhā is the queen of the very group Kamalā belongs to, so Kamalā is as good as one with Rādhā. Rādhā is therefore not some separate 'other' woman here. And the madhyama definition needs a genuine 'other,' which is missing.
और श्रीराधा का स्मरण सम्भव हो भी, तो वह उस (कमला के) यूथ की स्वामिनी होने से उसके साथ अभिन्न है, अतः (लक्षण में अपेक्षित) 'इतरत्व' — अन्य होने — का अभाव है।
s15citation
yad uktam—itarānubhavāpekṣāṁ sahate [u.nī. 14.69] iti |
yad uktamas was said [in the definition]जैसा कहा गया है
itarānubhavāpekṣāṁ sahate'he tolerates the longing to experience another'दूसरी (नायिका) के अनुभव की अपेक्षा को सह लेता है
[u.nī. 14.69] iti— thus, Ujjvala-nīlamaṇi 14.69— (उज्ज्वल-नीलमणि १४.६९) इस प्रकार
yad uktam — as was said; itarānubhavāpekṣāṁ sahate iti — 'he tolerates the longing to experience another' [14.69].
yad uktam — जैसा कहा गया; itarānubhavāpekṣāṁ sahate — दूसरी के अनुभव की अपेक्षा को सह लेता है; [u.nī. 14.69] iti — (उज्ज्वल-नीलमणि १४.६९) यों।
He clinches it with the definition's own wording: 'tolerates the longing to experience another.' The load-bearing word is 'another.' Since Rādhā is not 'another' with respect to her own group-member Kamalā, the middling grade cannot apply there.
जैसा कहा गया है — 'दूसरी (नायिका) के अनुभव की अपेक्षा को सह लेता है' (उज्ज्वल-नीलमणि १४.६९)।
Why cited: The definition (14.69) is re-quoted to fix on the word 'another' (itara): madhyama needs a genuinely other beloved, so love for Rādhā's own sakhī cannot be middling.
क्यों उद्धृत: लक्षण (१४.६९) को यहाँ 'इतर' (दूसरी) शब्द पर टिकाने के लिए फिर उद्धृत किया गया है — मध्यम के लिए सचमुच कोई अन्य नायिका चाहिए, अतः श्रीराधा की अपनी सखी के प्रति प्रेम मध्यम नहीं हो सकता।
s16conclusion
tad evaṁ śrī-rādhāyāṁ tat-sakhīṣu ca premṇaḥ prauḍhatvam ātyantikaṁ, candrāvaly-ādiṣv āpekṣikaṁ prauḍhatvaṁ madhyamatvaṁ ceti vivecanīyam ||
tad evaṁso, to sum upइस प्रकार
śrī-rādhāyāṁ tat-sakhīṣu catoward Śrī Rādhā and toward her friends loc.श्रीराधा में और उसकी सखियों में
premṇaḥ prauḍhatvam ātyantikaṁthe love's maturity is absolute gen. premṇaḥ = 'of the love'प्रेम का प्रौढ़त्व आत्यन्तिक (परम, जिससे बढ़कर कुछ नहीं) है
candrāvaly-ādiṣutoward Candrāvalī and her sort loc.चन्द्रावली आदि में (तो)
āpekṣikaṁ prauḍhatvaṁ madhyamatvaṁ cathe maturity is only relative — that is, it is middling-ness āpekṣika = 'relative, comparative'; ca ties the two names togetherआपेक्षिक (सापेक्ष) प्रौढ़त्व अर्थात् मध्यमत्व (है)
iti vivecanīyamso it should be carefully told apart vivecanīya = 'to be discriminated'इस प्रकार विवेचना (विवेक) करनी चाहिए
tad evaṁ śrī-rādhāyāṁ tat-sakhīṣu ca premṇaḥ prauḍhatvam ātyantikaṁ — so, toward Rādhā and her friends the love's maturity is absolute; candrāvaly-ādiṣu āpekṣikaṁ prauḍhatvaṁ madhyamatvaṁ ca iti vivecanīyam — toward Candrāvalī and her sort it is relative maturity, i.e. middling-ness: thus it is to be discriminated.
tad evaṁ — इस प्रकार; śrī-rādhāyāṁ tat-sakhīṣu ca — राधा में और उसकी सखियों में; premṇaḥ prauḍhatvam ātyantikaṁ — प्रेम का प्रौढ़त्व आत्यन्तिक; candrāvaly-ādiṣu — चन्द्रावली आदि में; āpekṣikaṁ prauḍhatvaṁ madhyamatvaṁ ca — आपेक्षिक प्रौढ़त्व अर्थात् मध्यमत्व; iti vivecanīyam — यों विवेचना करनी चाहिए।
The summary. Toward Rādhā and toward her circle of friends, Kṛṣṇa's love is mature in the absolute sense — full and unconditional. Toward Candrāvalī and women of her group, the 'maturity' is only relative — and that relative maturity is precisely what we call middling. Keep the two carefully apart.
इस प्रकार श्रीराधा में और उसकी सखियों में प्रेम का प्रौढ़त्व आत्यन्तिक है, और चन्द्रावली आदि में सापेक्ष प्रौढ़त्व — अर्थात् मध्यमत्व — है; ऐसा विवेचन करना चाहिए।
ātyantika = full in itself, admitting nothing higher; āpekṣika = full only by comparison, still measured against something above it. Rādhā's love is prauḍha outright; Candrāvalī's is 'prauḍha' only relatively — which is just what madhyama means.
आत्यन्तिक = जो अपने आप में पूर्ण हो, जिससे बढ़कर कुछ न हो; आपेक्षिक = जो केवल तुलना से पूर्ण हो, अब भी अपने से ऊँचे किसी के सामने मापा जाता हो। श्रीराधा का प्रेम स्वतः प्रौढ़ है; चन्द्रावली का प्रेम केवल सापेक्ष रूप से 'प्रौढ़' — और यही मध्यम का अर्थ है।
s17other
(63)
(63)an internal cross-reference number (to text 63)(६३) — सम्पादकीय सन्दर्भ-अंक
(63) — an editorial cross-reference marker.
(63) — सम्पादकीय सन्दर्भ-अंक।
A bare cross-reference number closing Viśvanātha's note; not part of the running argument.
(यह एक सम्पादकीय सन्दर्भ-अंक है।)