L1example
rādheti skhalitābhidhe mayi haṭhād viddhāntarāpy ārtibhir
rādheti[when I let slip] the name "Rādhā" rādhā iti — the wrong name Kṛṣṇa blurted out at Candrāvalī'राधा' — यह नाम (जो कृष्ण के मुख से चन्द्रावली के पास भूल से निकल पड़ा)
skhalitābhidhe mayion me, once I had slipped in what I called her skhalita-abhidhe mayi — locative absolute; abhidhā = the naming/utterance, skhalita = slippedजब मेरा (कृष्ण का) नाम-उच्चारण स्खलित हो गया, तब
haṭhātinsistently, in spite of it all per Jīva and Viśvanātha this runs ahead to dviguṇayantī in L2, not to the piercingबलपूर्वक (यह पद आगे 'द्विगुणयन्ती' से जुड़ता है)
viddhāntarāpythough pierced within, to the very heart viddha-antarā api — api = "even though"; antara = her inner selfयद्यपि उसका अन्तःकरण (मर्म) बिंध गया
ārtibhirby pangs of pain instrumental of means — what did the piercingपीड़ाओं के द्वारा (जिन्होंने भीतर बेध डाला)
rādhā iti skhalitābhidhe mayi — when I had slipped and called her "Rādhā"; ārtibhiḥ viddha-antarā api — though pierced within by pangs of pain; haṭhāt — yet insistently [she went on doubling her smile, L2].
rādheti — 'राधा' ऐसा (नाम); skhalitābhidhe mayi — जब मेरा नाम-उच्चारण स्खलित हुआ; haṭhāt — बलात्; viddhāntarā api — यद्यपि उसका अन्तर बिंध गया; ārtibhir — पीड़ाओं से
Kṛṣṇa is the speaker. He says: even when I blundered and called her by the name "Rādhā" — the name of her rival — and though that slip pierced her to the heart with pangs of hurt... The setup is a lover's worst mistake: addressing one beloved by another's name. It stabs Candrāvalī inwardly. Watch the word haṭhāt, "insistently": both Jīva and Viśvanātha say it does not describe the piercing — it leaps ahead to "doubling" in the next line.
चन्द्रावली के पास मेरे (कृष्ण के) मुख से भूल से 'राधा' नाम निकल पड़ा। उस स्खलित नाम को सुनकर पीड़ाओं से उसका अन्तःकरण भीतर ही भीतर बिंध गया, यद्यपि (वह इसे प्रकट नहीं होने देती)।
The udāharaṇa (illustrative verse) of dākṣiṇyodātta — "the noble, magnanimous one marked by graciousness (dākṣiṇya)" — the type named in this unit's lead-in (tatra dākṣiṇyodātto, yathā—). Spoken by Śrī Kṛṣṇa (so Viśvanātha, addressing Kundavallī). It illustrates the trait in Candrāvalī: though wounded, out of sheer graciousness she hides her own hurt so as to spare Kṛṣṇa his embarrassment.
यह श्लोक 'दाक्षिण्योदात्त' का उदाहरण है — वह उदात्त (नायक अथवा नायिका) जो दाक्षिण्य (सौजन्य, प्रिय के प्रति उदारता) से युक्त हो; इसी प्रकरण के आरम्भ में 'तत्र दाक्षिण्योदात्तो, यथा—' कहकर इसका सूत्रपात हुआ है। विश्वनाथ के अनुसार इसे श्रीकृष्ण (अपनी सखी) कुन्दवल्ली से कहते हैं। यहाँ यह गुण चन्द्रावली में दिखता है — बिंधी होने पर भी वह केवल दाक्षिण्यवश अपनी पीड़ा छिपा लेती है, जिससे कृष्ण को अपनी भूल की लज्जा न उठानी पड़े।
L2example
mad-vailakṣya-śamāya sā dviguṇayanty āsyāravinde smitam |
mad-vailakṣya-śamāyain order to soothe away my embarrassment dative of purpose (śamāya); vailakṣya = Kṛṣṇa's abashment at the slipमेरी (कृष्ण की) झेंप को शान्त करने के लिए
sāshe — Candrāvalīवह (चन्द्रावली)
dviguṇayantydoubling, making twice as much dviguṇayantī — the participle haṭhāt (L1) attaches toदुगुनी करती हुई (इसी पद से 'हठात्' जुड़ता है)
āsyāravindeon her lotus-face locative — where the smile satअपने मुख-कमल पर
smitamher smileमुस्कान को
sā — she; mad-vailakṣya-śamāya — to quell my embarrassment; āsya-aravinde smitam dviguṇayantī — doubling the smile on her lotus-face.
mad-vailakṣya-śamāya — मेरी झेंप शान्त करने के लिए; sā — वह; dviguṇayantī — बलात् दुगुनी करती हुई; āsyāravinde — मुख-कमल पर; smitam — मुस्कान
To smooth over my embarrassment, she doubled the smile on her lotus-face. Instead of showing hurt at the wrong name, Candrāvalī smiles twice as brightly — and does it precisely to save Kṛṣṇa from his own awkwardness.
मेरी (कृष्ण की) झेंप मिटाने के लिए वह अपने मुख-कमल की मुस्कान को बलपूर्वक दुगुना कर देती है।
L3example
jalpe ca mradimānuviddham adhikaṁ mādhuryam ātanvatī
jalpe caand in her chatter, her light talk locative; ca = "and" — a second thing she heightened, besides the smileऔर (अपनी) बातचीत में
mradimānuviddhamshot through with tenderness mradima-anuviddham — anuviddha = interwoven/threaded; mradiman = softnessकोमलता से गुँथा हुआ
adhikaṁall the more abundantअधिक
mādhuryamsweetnessमाधुर्य को
ātanvatīspreading out, letting it pourफैलाती हुई / बढ़ाती हुई
jalpe ca — and in her talk; mradima-anuviddham adhikaṁ mādhuryam ātanvatī — spreading a still greater sweetness threaded through with tenderness.
jalpe ca — और बातचीत में; mradima-anuviddham — कोमलता से गुँथा हुआ; adhikam — अधिक; mādhuryam — माधुर्य; ātanvatī — फैलाती हुई
And in her talk she poured out an even greater sweetness, laced through with tenderness. Two moves cover the hurt: the doubled smile, and now speech made all the softer and sweeter.
और अपनी बातचीत में वह कोमलता से गुँथे हुए अधिक माधुर्य को फैला देती है।
L4example
citrāṇīva cakāra mat-priya-suhṛd-vṛndāni candrāvalī ||
citrāṇīvaas if into pictures — or: struck with wonder citrāṇi iva; śleṣa — citra = both "painted image" and "astonishment" (see Viśvanātha, quoting Amara)मानो चित्रलिखित हों — यहाँ 'चित्र' श्लेष है: चित्रित प्रतिमा भी और विस्मय भी
cakāramade, turned [them]कर दिया
mat-priya-suhṛd-vṛndānithe throngs of my dear friends Jīva prefers the variant reading sā priya-sakhī-vṛndāni, "the throngs of dear girlfriends" — see his noteमेरे प्रिय सुहृदों (मित्रों) के समूहों को
candrāvalīCandrāvalī — the one who did all this nominative, the subject of cakāraचन्द्रावली ने (कर्ता)
candrāvalī — Candrāvalī; mat-priya-suhṛd-vṛndāni — the throngs of my dear friends; citrāṇi iva cakāra — made them as if painted pictures / struck dumb with wonder.
citrāṇi iva — मानो चित्र हों; cakāra — कर दिया; mat-priya-suhṛd-vṛndāni — मेरे प्रिय सुहृदों के समूहों को; candrāvalī — चन्द्रावली ने
Candrāvalī turned the whole crowd of my dear friends into what looked like painted pictures. Here is the verse's headline image, and it is a deliberate double meaning (śleṣa). citra means both "a painting" and "astonishment." So the friends both (a) froze motionless like figures in a picture and (b) were flooded with wonder — wonder at how she could stay so gracious after such a slip. Viśvanātha unfolds both senses below and cites the Amara-kośa to license them; the reading is not resolved to one side.
चन्द्रावली ने मेरे प्रिय सुहृदों के समूहों को मानो चित्रलिखित-सा कर दिया। यहाँ 'चित्र' श्लेष है — वे चित्र की भाँति स्तब्ध भी हुए और विस्मय से चकित भी।
Commentary — decoded
Jīva Gosvāmī
s1gloss
vailakṣyam atra vaiyagryam |
vailakṣyam atrathe word "vailakṣya" hereयहाँ 'वैलक्ष्य' (शब्द का अर्थ)
vaiyagryammeans fluster, being flustered / thrown offव्यग्रता (घबराहट)
vailakṣyam atra — "vailakṣya" in this verse; vaiyagryam — means fluster.
vailakṣyam atra — यहाँ वैलक्ष्य; vaiyagryam — व्यग्रता (घबराहट)
Jīva glosses one word: vailakṣya here means vaiyagrya — being flustered, thrown off balance. It is Kṛṣṇa's own awkward fluster at the name-slip that Candrāvalī's smile is meant to calm.
यहाँ 'वैलक्ष्य' का अर्थ व्यग्रता (घबराहट) है।
s2gloss
haṭhād ity asya dviguṇayantīty anenānvayaḥ |
haṭhād ity asyathe word "haṭhāt" (insistently)इस 'हठात्' पद का
dviguṇayantīty anenawith "dviguṇayantī" (doubling)इस 'द्विगुणयन्ती' पद के साथ
anvayaḥis where it connects in construing anvaya — how the words hook up grammaticallyअन्वय (है)
haṭhāt ity asya — the word "haṭhāt"; dviguṇayantī ity anena anvayaḥ — construes with "doubling."
haṭhād ity asya — इस 'हठात्' का; dviguṇayantīty anena — इस 'द्विगुणयन्ती' के साथ; anvayaḥ — अन्वय
A construing note. haṭhāt, "insistently," belongs not with her being pierced but with dviguṇayantī, "doubling." So the sense is: insistently doubling her smile — she keeps it up in spite of the hurt, not that she was insistently wounded.
'हठात्' पद का अन्वय 'द्विगुणयन्ती' पद के साथ है (न कि बेधन के साथ)।
s3other
mat-priya-suhṛd-vṛndāni ity atra sā priya-sakhī-vṛndāni iti pāṭhaḥ iṣṭaḥ ||
mat-priya-suhṛd-vṛndāni ity atrain place of "mat-priya-suhṛd-vṛndāni" (the throngs of my dear friends)यहाँ 'मत्प्रियसुहृद्वृन्दानि' के स्थान पर
sā priya-sakhī-vṛndāni iti pāṭhaḥthe reading "sā priya-sakhī-vṛndāni" (she [made] the throngs of dear girlfriends)'सा प्रियसखीवृन्दानि' यह पाठ
iṣṭaḥis the one preferred a pāṭha-note — a preferred textual variantअभीष्ट है
mat-priya-suhṛd-vṛndāni ity atra — for "mat-priya-suhṛd-vṛndāni"; sā priya-sakhī-vṛndāni iti pāṭhaḥ iṣṭaḥ — the reading "sā priya-sakhī-vṛndāni" is preferred.
mat-priya-suhṛd-vṛndāni ity atra — यहाँ 'मत्प्रियसुहृद्वृन्दानि' के स्थान पर; sā priya-sakhī-vṛndāni iti pāṭhaḥ — 'सा प्रियसखीवृन्दानि' यह पाठ; iṣṭaḥ — अभीष्ट
A textual-variant note. Instead of mat-priya-suhṛd-vṛndāni, "the throngs of my [Kṛṣṇa's] dear friends," Jīva prefers the reading sā priya-sakhī-vṛndāni — "she [turned] the throngs of dear girlfriends [into pictures]." On his reading it is Candrāvalī's own girlfriends, not Kṛṣṇa's friends, who are struck motionless.
यहाँ 'मत्प्रियसुहृद्वृन्दानि' के स्थान पर 'सा प्रियसखीवृन्दानि' — यह पाठ (जीव को) अभीष्ट है।
s4other
(90)
(90)a running serial-number closing the comment(९०) — पद-संख्या का सूचक
(90) — an editorial index number, not part of the sentence.
(90) — मूल ग्रन्थ का पद-संख्या-सूचक
A bare numeral carried over from the printed edition, marking this verse's place in a running count. It is not decodable content — nothing to construe.
(यह '९०' ग्रन्थ की पद-संख्या का सूचक है।)
Viśvanātha Cakravartī
s1avataranika
dākṣiṇyodātta iti |
dākṣiṇyodātta ition the term "dākṣiṇyodātta" [he now comments] pratīka — the lemma from the lead-in he is about to unpack'दाक्षिण्योदात्त' — (यह प्रतीक, जिसकी व्याख्या आगे है)
dākṣiṇyodātta iti — [taking up] the word "dākṣiṇyodātta."
dākṣiṇyodātta iti — 'दाक्षिण्योदात्त' (प्रतीक)
Viśvanātha picks up the technical term from the lead-in, dākṣiṇyodātta, to explain how it is built.
'दाक्षिण्योदात्त' — इस पद को (विश्वनाथ) व्याख्या के लिए उठाते हैं।
s2gloss
dākṣiṇya-sambandhī udātto dākṣiṇyodātta ity arthaḥ |
dākṣiṇya-sambandhīthe one belonging to / marked by graciousness dākṣiṇya = graciousness, obliging kindness toward the belovedदाक्षिण्य (प्रिय के प्रति उदारता, सौजन्य) से सम्बन्ध रखने वाला
udāttothe udātta (noble, magnanimous type)उदात्त (नायक)
dākṣiṇyodātta ity arthaḥ— that is what "dākṣiṇyodātta" meansयही 'दाक्षिण्योदात्त' का अर्थ है
dākṣiṇya-sambandhī udāttaḥ — the udātta connected with graciousness; dākṣiṇyodātta ity arthaḥ — this is the meaning of "dākṣiṇyodātta."
dākṣiṇya-sambandhī — दाक्षिण्य से सम्बन्धित; udātto — उदात्त; dākṣiṇyodātta ity arthaḥ — यही दाक्षिण्योदात्त का अर्थ
He unpacks the compound: dākṣiṇyodātta = the udātta (the noble, big-hearted type) as connected with dākṣiṇya, graciousness. So the label names a magnanimous nature whose particular stamp is gracious, obliging kindness.
जो उदात्त नायक दाक्षिण्य (सौजन्य) से सम्बन्ध रखता हो, वही 'दाक्षिण्योदात्त' है — यही इस पद का अर्थ है।
s3other
evam eva vāmya-gandhodātto vyākhyeyaḥ |
evam evain exactly this same way eva = "just so" — the parsing carries over unchangedइसी प्रकार
vāmya-gandhodāttothe term "vāmya-gandhodātta" (the udātta with a touch of contrariness) vāmya = crookedness/contrariness; gandha = "a whiff of"'वाम्यगन्धोदात्त' (वाम्य = वक्रता, प्रतिकूलता; गन्ध = किंचित् आभास)
vyākhyeyaḥis to be explained [i.e. vāmya-gandha-sambandhī udāttaḥ]व्याख्या करनी चाहिए
evam eva — in just the same way; vāmya-gandhodāttaḥ vyākhyeyaḥ — the term "vāmya-gandhodātta" is to be explained.
evam eva — इसी प्रकार; vāmya-gandhodātto — वाम्यगन्धोदात्त; vyākhyeyaḥ — व्याख्येय
A method note pointing forward. Parse the companion term the same way: vāmya-gandhodātta = the udātta "with a whiff of contrariness" (vāmya). Just as dākṣiṇya-connected, so this one is vāmya-gandha-connected.
इसी प्रकार 'वाम्यगन्धोदात्त' की भी व्याख्या कर लेनी चाहिए — अर्थात् जिसमें वक्रता की किंचित् गन्ध हो, वैसा उदात्त।
s4avataranika
śrī-kṛṣṇaḥ kundavallīm āha—rādhetīti |
śrī-kṛṣṇaḥŚrī Kṛṣṇa [is the speaker]श्रीकृष्ण
kundavallīm āhasays [this] to Kundavallī Kundavallī — a companion; the one Kṛṣṇa addressesकुन्दवल्ली (नामक सखी) से कहते हैं
rādhetīti[beginning] "rādhā iti..." — and so the verse opens pratīka picking up the verse's first word'राधेति' (यह प्रतीक, श्लोक का प्रथम पद)
śrī-kṛṣṇaḥ kundavallīm āha — Śrī Kṛṣṇa says to Kundavallī; rādhā iti — [the verse:] "rādhā..."
śrī-kṛṣṇaḥ — श्रीकृष्ण; kundavallīm āha — कुन्दवल्ली से कहते हैं; rādhetīti — 'राधेति' (श्लोक का प्रथम पद)
Viśvanātha fixes the frame: Kṛṣṇa is speaking, and he is speaking to Kundavallī. The whole verse is his account to her of how Candrāvalī behaved.
श्रीकृष्ण (अपनी सखी) कुन्दवल्ली से यह श्लोक कहते हैं, जिसका आरम्भ 'राधा...' से होता है।
s5gloss
vailakṣyaṁ vaiyagryam |
vailakṣyaṁthe word "vailakṣya"'वैलक्ष्य'
vaiyagryammeans fluster, being thrown offव्यग्रता (है)
vailakṣyaṁ — "vailakṣya"; vaiyagryam — means fluster.
vailakṣyaṁ — वैलक्ष्य; vaiyagryam — व्यग्रता
Same gloss as Jīva gave: vailakṣya means vaiyagrya, fluster. It is Kṛṣṇa's flustered awkwardness that her doubled smile is out to calm.
'वैलक्ष्य' का अर्थ व्यग्रता (घबराहट) है।
s6gloss
haṭhād ity asya dviguṇayantīty anenānvayaḥ |
haṭhād ity asyathe word "haṭhāt"इस 'हठात्' पद का
dviguṇayantīty anenawith "dviguṇayantī" (doubling)इस 'द्विगुणयन्ती' पद के साथ
anvayaḥis where it construesअन्वय (है)
haṭhāt ity asya — the word "haṭhāt"; dviguṇayantī ity anena anvayaḥ — construes with "doubling."
haṭhād ity asya — इस 'हठात्' का; dviguṇayantīty anena — इस 'द्विगुणयन्ती' के साथ; anvayaḥ — अन्वय
Viśvanātha gives the same construing note as Jīva: haṭhāt, "insistently," hooks up with dviguṇayantī, "doubling" — she insistently doubles her smile, in spite of the wound.
'हठात्' पद का अन्वय 'द्विगुणयन्ती' पद के साथ है।
s7gloss
citrāṇīva kim iyaṁ gotra-skhalane’pi prasannā na veti vismayena jāḍyodayād ālekhyānīvety arthaḥ |
citrāṇīva"as if pictures" [in the verse]'चित्राणीव'
kim iyaṁ gotra-skhalane’pi prasannā na veti[wondering] "is she really pleased even at this slip of the name, or not?" gotra-skhalana = the blunder of uttering the wrong name; api = "even at"'क्या यह (चन्द्रावली) नाम-स्खलन होने पर भी प्रसन्न है या नहीं' — इस (शंका से)
vismayenaout of sheer astonishment instrumental of cause — astonishment is what did itविस्मय के कारण
jāḍyodayādbecause a stunned stillness came over them jāḍya-udayāt — ablative of reason; jāḍya = becoming stiff, dumbstruckजड़ता के उदय से (जड़ हो जाने के कारण)
ālekhyānīvety arthaḥ— means: like figures in a painting ālekhyāni iva — the friends became like painted imagesमानो चित्रलिखित हों — यह अर्थ है
citrāṇi iva — "as if pictures"; kim iyaṁ gotra-skhalane api prasannā na vā iti vismayena — from astonishment [thinking] "is she pleased even at the name-slip, or not?"; jāḍya-udayāt — because a stupor set in; ālekhyāni iva ity arthaḥ — means: like painted figures.
citrāṇīva — 'चित्राणीव'; kim iyaṁ gotra-skhalane’pi prasannā na veti — 'क्या यह नाम-स्खलन पर भी प्रसन्न है या नहीं' इस शंका से; vismayena — विस्मय के कारण; jāḍyodayāt — जड़ता के उदय से; ālekhyāni iva ity arthaḥ — मानो चित्र हों, यह अर्थ
Viśvanātha takes the first sense of citra: painting. The friends were stunned into wonder — "How can she be so pleased even after being called by the wrong name? Is she really pleased, or not?" That astonishment brought on a stupor (jāḍya), and they froze stiff like figures in a painting. gotra-skhalana is the technical name for the blunder: naming one beloved with another's name.
'चित्राणीव' का भाव यह है — 'क्या यह नाम की भूल पर भी प्रसन्न है या नहीं?' इस विस्मय के कारण सखियों में जड़ता आ गई, और वे मानो चित्रलिखित-सी (स्तब्ध) हो गईं।
s8citation
ālekhyāścaryayoś citram ity amaraḥ |
ālekhyāścaryayoś citram"citra" [is used] in the senses of painting (ālekhya) and wonder (āścarya) the two meanings given in the locative — the range citram covers'चित्र' शब्द चित्रलेख और आश्चर्य — इन दोनों अर्थों में
ity amaraḥ— so says the Amara[-kośa] the lexicon cited as authorityऐसा अमरकोश कहता है
ālekhya-āścaryayoḥ citram — "citra" means both a painting and a wonder; iti amaraḥ — so the Amara-kośa.
ālekhyāścaryayoś citram — चित्रलेख और आश्चर्य दोनों अर्थों में 'चित्र'; ity amaraḥ — ऐसा अमर (कहते हैं)
He backs the double reading with the dictionary. The Amara-kośa records that citra carries two senses — ālekhya, a painting, and āścarya, wonder. This is exactly the śleṣa the verse turns on: citrāṇi iva means both "like paintings" and "filled with wonder," and the lexicon licenses keeping both.
'चित्र' शब्द चित्रलेख (चित्रित प्रतिमा) और आश्चर्य — दोनों अर्थों में आता है, ऐसा अमरकोश में कहा है।
Why cited: cited from the Amara-kośa to establish that citra means both "painting" and "wonder," grounding the double reading of citrāṇīva — the friends both froze like painted figures and were struck with astonishment.
क्यों उद्धृत: अमरकोश को इसलिए उद्धृत किया गया है कि 'चित्र' के दोनों अर्थ — चित्रित प्रतिमा और विस्मय — सिद्ध हों, जिससे 'चित्राणीव' का श्लेष टिके: सखियाँ चित्र की भाँति स्तब्ध भी हुईं और विस्मय से चकित भी।
s9gloss
agre lakṣayiṣyamāṇayoḥ sahetuka-nirhetuka-mānayor madhye sahetuko’yaṁ mānaḥ |
agre lakṣayiṣyamāṇayoḥof the two [types] that will be defined further ahead agre = later in the text; the definitions come after this verseआगे (ग्रन्थ में) जिनके लक्षण किए जाएँगे
sahetuka-nirhetuka-mānayor madhye— between the with-cause and the causeless māna (jealous sulk) sahetuka = with a cause, nirhetuka = with no causeसहेतुक और निर्हेतुक — इन दो मानों में से
sahetuko’yaṁ mānaḥthis māna here is the with-cause kindयह मान सहेतुक (सकारण) है
agre lakṣayiṣyamāṇayoḥ sahetuka-nirhetuka-mānayoḥ madhye — among the with-cause and causeless māna to be defined ahead; sahetukaḥ ayaṁ mānaḥ — this one is the with-cause type.
agre lakṣayiṣyamāṇayoḥ — आगे जिनका लक्षण होगा; sahetuka-nirhetuka-mānayor madhye — सहेतुक और निर्हेतुक मान में से; sahetuko’yaṁ mānaḥ — यह मान सहेतुक
Viśvanātha classifies the emotion. Māna, the beloved's jealous sulk, comes in two kinds — with a cause and causeless — both defined later in the text. This sulk of Candrāvalī's is the with-cause kind: it has a plain trigger, Kṛṣṇa's name-slip.
आगे जिन दो मानों — सहेतुक और निर्हेतुक — के लक्षण किए जाएँगे, उनमें से यह मान सहेतुक (सकारण) है।
māna — a beloved's jealous, offended withdrawal. sahetuka-māna has a definite outward cause (here the wrong name, like sulking because you actually saw the token of another woman); nirhetuka-māna flares up with no cause at all (sulking out of pure love-pride, with nothing to point to). Viśvanātha files this instance under sahetuka; the formal definitions come later (agre).
मान = प्रिया का ईर्ष्यायुक्त, रूठकर दूर हट जाना। सहेतुक-मान का कोई स्पष्ट बाहरी कारण होता है (यहाँ गलत नाम का निकल पड़ना — जैसे किसी अन्य स्त्री का चिह्न देखकर रूठना); निर्हेतुक-मान बिना किसी कारण के, केवल प्रेम-गर्व से उठता है, जिसकी ओर संकेत करने को कुछ नहीं होता। विश्वनाथ इस उदाहरण को सहेतुक के अन्तर्गत रखते हैं; इनके औपचारिक लक्षण आगे (अग्रे) आएँगे।
s10gloss
atrārtibhir viddhāntareti prathamam ārti-hetukaś citta-dravas tato mānaḥ |
atrārtibhir viddhāntaretihere, by "pierced within by pangs" [in the verse] pratīka pointing back to ārtibhir viddhāntarā of L1यहाँ 'आर्तिभिर्विद्धान्तरा' पद से
prathamamfirst [comes]पहले
ārti-hetukaś citta-dravaḥa melting of the heart caused by pain ārti-hetuka = having pain as its cause; citta-drava = the heart going soft, dissolvingपीड़ा के कारण चित्त का द्रवित होना (कोमल पड़ जाना)
tato mānaḥand after that, the māna (the sulk) tataḥ = then — the order of the twoतत्पश्चात् मान (उत्पन्न होता है)
atra ārtibhir viddhāntarā iti — here by "pierced within by pangs"; prathamam ārti-hetukaḥ citta-dravaḥ — first a heart-melting caused by pain; tataḥ mānaḥ — then the sulk.
atrārtibhir viddhāntareti — यहाँ 'आर्तिभिर्विद्धान्तरा' से; prathamam — पहले; ārti-hetukaś citta-dravaḥ — पीड़ाजनित चित्त-द्रव; tato mānaḥ — फिर मान
He reads an order of feeling out of the phrase "pierced within by pangs." First her heart melts from the pain (citta-drava) — she is genuinely hurt. Only then does the māna, the sulk, set in. Hurt comes first; the offended withdrawal follows.
यहाँ 'आर्तिभिर्विद्धान्तरा' से यह सूचित होता है कि पहले पीड़ा के कारण चित्त द्रवित हुआ (कोमल पड़ा), और उसके बाद मान उत्पन्न हुआ।
s11conclusion
smitādikaṁ tu tad-ubhaya-gopanārtham ||
smitādikaṁ tuthe smile and the rest, on the other hand tu = "but" — turning from the inner feelings to the outward show; -ādi = smile, sweet talk, etc.परन्तु मुस्कान आदि (बाह्य चेष्टाएँ)
tad-ubhaya-gopanārthamare for hiding both of those tad-ubhaya = both — the heart-melting and the māna; gopana-artham = in order to concealउन दोनों (चित्त-द्रव और मान) को छिपाने के लिए हैं
smitādikaṁ tu — but the smile and the rest; tad-ubhaya-gopana-artham — are to conceal both [the heart-melting and the sulk].
smitādikaṁ tu — परन्तु मुस्कान आदि; tad-ubhaya-gopanārtham — उन दोनों को छिपाने के लिए
And here is the point of the whole verse. The doubled smile and the sweeter talk are not spontaneous joy — they are a cover. Candrāvalī deploys them to hide both feelings at once: the hurt-melting and the sulk. That concealment, done graciously to shield Kṛṣṇa, is exactly the dākṣiṇyodātta the verse set out to illustrate.
परन्तु मुस्कान आदि बाह्य चेष्टाएँ उन दोनों — चित्त-द्रव और मान — को छिपाने के लिए हैं।
s12other
(90)
(90)a running serial-number closing the comment(९०) — पद-संख्या का सूचक
(90) — an editorial index number, not part of the sentence.
(90) — मूल ग्रन्थ का पद-संख्या-सूचक
A bare numeral carried over from the printed edition, marking the verse's place in a running count. Not decodable content.
(यह '९०' ग्रन्थ की पद-संख्या का सूचक है।)