L1definition
bhavet samañjasa-rati-svarūpo’yaṁ samañjasaḥ ||
ayaṁthis [type of love just taken up]यह (भाव)
samañjasa-rati-svarūpaḥwhose essential form is the samañjasā-rati, the 'fitting' love bahuvrīhi describing ayaṁ: 'the one that has samañjasā-rati for its very nature'जिसका स्वरूप समञ्जसा रति है (ऐसा)
samañjasaḥis [called] samañjasa, the 'fitting / proper' typeसमञ्जस (कहलाता है)
bhavetwould be — so it is definedहोता है
ayaṁ samañjasa-rati-svarūpaḥ samañjasaḥ bhavet — this one, whose essential form is the samañjasā-rati, would be [the] samañjasa
ayaṁ — यह; samañjasa-rati-svarūpaḥ — जिसका स्वरूप समञ्जसा रति है; samañjasaḥ — समञ्जस; bhavet — होता है।
The love now taken up is the samañjasa, the 'fitting' type. What makes it that is its core: the samañjasā-rati. So this type, whose very nature is samañjasā-rati, is called samañjasa.
जिस भाव का स्वरूप समञ्जसा रति है, वही समञ्जस कहलाता है।
The lead-in 'atha samañjasaḥ' opens the samañjasa division of śṛṅgāra. samañjasā-rati is the second of the three grades of amorous love in Ujjvala-nīlamaṇi — the 'fitting, proper' love, distinguished from sādhāraṇī (ordinary) and samarthā (the fully capable love of the gopīs).
'अथ समञ्जसः' कहकर यहाँ शृङ्गार के समञ्जस भेद का आरम्भ होता है। उज्ज्वल-नीलमणि में अमोर प्रेम की तीन कोटियों में समञ्जसा रति दूसरी है — 'उचित, यथोचित' प्रेम — जो साधारणी (सामान्य) रति और समर्था (गोपियों की पूर्ण समर्थ) रति से भिन्न है।
L2definition
atrābhilāṣa-cintā-smṛti-guṇa-saṅkīrtanodvegāḥ |
atrahere, in this samañjasa [love]यहाँ (इस समञ्जस में)
abhilāṣalonging — the first stage, the reaching-out for himअभिलाष (चाह)
cintāanxious brooding, dwelling on him with worryचिन्ता
smṛtiremembrance, calling him constantly to mindस्मृति (याद)
guṇa-saṅkīrtanapraising [his] qualities aloud, singing his virtuesगुण-संकीर्तन (गुणों का बखान)
udvegāḥand fits of agitation, restless distress — [these are the stages] nominative plural closing the first half of the list; the compound runs abhilāṣa … through udvegaऔर उद्वेग (व्याकुलता) — ये (पहली पाँच दशाएँ)
atra abhilāṣa-cintā-smṛti-guṇa-saṅkīrtana-udvegāḥ — here [there are]: longing, anxious brooding, remembrance, praising his qualities, and agitation
atra — यहाँ; abhilāṣa — अभिलाष; cintā — चिन्ता; smṛti — स्मृति; guṇa-saṅkīrtana — गुण-संकीर्तन; udvegāḥ — और उद्वेग।
In this samañjasa love the stages come one after another. First longing. Then anxious brooding. Then constant remembrance. Then praising his qualities aloud. Then fits of restless agitation.
इस समञ्जस में ये दशाएँ होती हैं — अभिलाष, चिन्ता, स्मृति, गुणों का संकीर्तन और उद्वेग।
L2-L3 list the ten daśās, the classic ten stages of pūrva-rāga (love before union) — which is what Viśvanātha identifies this samañjasa as in his gloss below. These first five are stages one through five.
L2-L3 पूर्व-राग (मिलन से पहले के प्रेम) की प्रसिद्ध दस दशाएँ गिनाती हैं — नीचे विश्वनाथ अपनी टीका में इसी समञ्जस को यही (पूर्व-राग) बताते हैं। ये पहली पाँच दशाएँ पहले से पाँचवें क्रम की हैं।
L3definition
sa-vilāpā unmāda-vyādhi-jaḍatā mṛtiś ca tāḥ kramaśaḥ ||
sa-vilāpāḥtogether with lamentation — the raving, tearful outcry (vilāpa) folded in as the sixth the prefix sa- 'accompanied by' inserts vilāpa into the running listविलाप-सहित (विलाप के साथ)
unmādamadness, being driven out of her sensesउन्माद
vyādhisickness, the fever of love that breaks the body downव्याधि (रोग)
jaḍatāstupor, going numb and senselessजड़ता
mṛtiḥdeath — the last stageमृत्यु
caand [so the list closes]और
tāḥthose [are the stages spoken of] feminine plural gathering up the daśās named across L2-L3वे (दशाएँ)
kramaśaḥin this very order, one following the nextक्रम से
sa-vilāpāḥ unmāda-vyādhi-jaḍatā mṛtiḥ ca tāḥ kramaśaḥ — with lamentation [added], madness, sickness, stupor, and death: those [stages], in order
sa-vilāpāḥ — विलाप-सहित; unmāda — उन्माद; vyādhi — व्याधि; jaḍatā — जड़ता; mṛtiḥ — मृत्यु; ca — और; tāḥ — वे; kramaśaḥ — क्रम से।
Then, with lamentation added, come madness, then the sickness of love, then stupor, and finally death. Those are the stages, and they arise in exactly this order.
फिर विलाप, उन्माद, व्याधि, जड़ता और मृत्यु — वे सब दशाएँ क्रम से होती हैं।
Counting vilāpa (lamentation) as the sixth, L3 completes the ten daśās of pūrva-rāga: (6) vilāpa, (7) unmāda, (8) vyādhi, (9) jaḍatā, (10) mṛti. kramaśaḥ stresses that they unfold as a fixed sequence.
विलाप को छठी दशा गिनकर L3 पूर्व-राग की दस दशाएँ पूरी करती है — (6) विलाप, (7) उन्माद, (8) व्याधि, (9) जड़ता, (10) मृत्यु। 'क्रमशः' यह जोर देता है कि ये एक निश्चित क्रम में प्रकट होती हैं।
Viśvanātha Cakravartī
s1gloss
samañjasā ratir eva svarūpaṁ yasya saḥ |
samañjasā ratiḥ evathe samañjasā-rati, precisely that he supplies the feminine ratiḥ and reads the mūla-compound's stem samañjasa- as the name of the ratiसमञ्जसा रति ही
svarūpaṁ yasyaof which [type it] is the essential form the yad-tad frame of a bahuvrīhi: 'that whose svarūpa is…'जिसका स्वरूप (है)
saḥthat one [is the samañjasa]वह
samañjasā ratiḥ eva svarūpaṁ yasya saḥ — that one whose essential form is precisely the samañjasā-rati [is the samañjasa]
samañjasā ratiḥ eva — समञ्जसा रति ही; svarūpaṁ yasya — जिसका स्वरूप है; saḥ — वह।
Viśvanātha unpacks the mūla's compound 'samañjasa-rati-svarūpaḥ' as a bahuvrīhi. It means: the type whose very essence is the samañjasā-rati — that is what 'samañjasa' names.
जिसका स्वरूप समञ्जसा रति ही है, वह (समञ्जस है)।
s2gloss
samañjasā ratir eva saṅgamāt pūrva-bhūtā vibhavādibhiḥ saṁvalitaḥ samañjasākhyaḥ pūrva-rāgo rasaḥ syād ity arthaḥ |
samañjasā ratiḥ evathe samañjasā-rati itselfसमञ्जसा रति ही
saṅgamāt pūrva-bhūtāwhich exists before union, before the meeting [with him] ablative saṅgamāt 'prior to union'; pūrva-bhūtā is feminine, agreeing with ratiḥसंगम (मिलन) से पूर्व की
vibhava-ādibhiḥ saṁvalitaḥwhen [this rasa is] blended together with the vibhāvas and the rest instrumental of accompaniment; saṁvalitaḥ is masculine, agreeing with rasaḥ, not with ratiḥविभाव आदि से युक्त होकर (मिलकर)
samañjasa-ākhyaḥthe rasa named samañjasaसमञ्जस नामक
pūrva-rāgaḥ rasaḥis the pūrva-rāga rasa, the love-mood before unionपूर्व-राग रस
syātwould be — this is what it turns out to beहो जाती है
iti arthaḥthis is the meaningऐसा अर्थ है
samañjasā ratiḥ eva saṅgamāt pūrva-bhūtā, vibhava-ādibhiḥ saṁvalitaḥ samañjasa-ākhyaḥ pūrva-rāgaḥ rasaḥ syāt iti arthaḥ — the samañjasā-rati, existing before union, [becoming a rasa] blended with the vibhāvas and the rest, would be the rasa named samañjasa, i.e. pūrva-rāga; this is the meaning
samañjasā ratiḥ eva — समञ्जसा रति ही; saṅgamāt pūrva-bhūtā — संगम से पूर्व की; vibhava-ādibhiḥ saṁvalitaḥ — विभाव आदि से युक्त होकर; samañjasa-ākhyaḥ — समञ्जस नामक; pūrva-rāgaḥ rasaḥ — पूर्व-राग रस; syāt — हो जाती है; iti arthaḥ — ऐसा अर्थ है।
Now the full sense. Take the samañjasā-rati as it stands before any union with him. When it is blended with the vibhāvas and the other rasa-ingredients, it becomes a full rasa. That rasa, called samañjasa, is just the pūrva-rāga — the love-mood that arises before the lovers ever meet. So Viśvanātha identifies this samañjasa with pūrva-rāga.
संगम (मिलन) से पहले की समञ्जसा रति ही, विभाव आदि से मिलकर, समञ्जस नामक पूर्व-राग रस बन जाती है — यही अर्थ है।
Watch the genders: pūrva-bhūtā (feminine) attaches to the rati, but saṁvalitaḥ and ākhyaḥ (masculine) attach to the rasa. The rati is the raw love; once mingled with vibhāvas it matures into the rasa named samañjasa = pūrva-rāga.
लिंगों पर ध्यान दें — 'पूर्व-भूता' (स्त्रीलिंग) रति के साथ जुड़ती है, परन्तु 'संवलितः' और 'आख्यः' (पुल्लिंग) रस के साथ। रति ही कच्चा प्रेम है; विभावों से मिलकर वही समञ्जस = पूर्व-राग नामक रस के रूप में परिपक्व होती है।
s3other
evam agre’pi sarvatra vyākhyeyam ||
evamin this same wayइसी प्रकार
agre api sarvatrafurther on too, in every case that follows api 'as well' extends the method beyond this one verseआगे भी सर्वत्र (हर जगह)
vyākhyeyamit is to be explained — apply the same analysisव्याख्या करनी चाहिए
evam agre api sarvatra vyākhyeyam — in this same way it should be explained everywhere further on as well
evam — इसी प्रकार; agre api sarvatra — आगे भी सर्वत्र; vyākhyeyam — व्याख्या करनी चाहिए।
And this same method carries forward. Wherever the parallel definitions come up later, Viśvanātha says, read them exactly like this one — the core rati, blended with vibhāvas, maturing into the named rasa.
इसी प्रकार आगे भी हर जगह व्याख्या कर लेनी चाहिए।
s4other
(46)
(46)the commentary's running verse-number for this passage(४६) — पद्य-क्रमांक
(46) — the verse-number the commentary attaches here
(46) — (४६)।
The commentary's own verse-number tag for this passage.
(४६ — पद्य-क्रमांक)।