Text 4.13

यथा,

yathā,

This verse exemplifies sambhoga śṛṅgāra-rasa (love in meeting):

dhṛte pāṇi-dvandve jhaṭiti jhaṇitaṃ ratna-valayair hṛte nīvī-granthau mukharitam amandaṃ rasanayā |
priyāyāḥ svānanda-pratihata-dhiyaḥ kintv apaghano ghanottṛṣṇaṃ kṛṣṇaṃ prati samatanot tarjanam iva ||

dhṛte pāṇi-dvandve—when the pair of hands was held; jhaṭiti—at once; jhaṇitam—sounding was done; ratna-valayaiḥ—by the jewel-studded bracelets; hṛte nīvī-granthau—when the knot of the girdle was taken; mukharitam—sounding was done; amandam—much; rasanayā—by the girdle; priyāyāḥ—of the beloved lady; sva-ānanda—by Her bliss; pratihata—was struck (impeded); dhiyaḥ—whose mind; kintu—however; apaghanaḥ—the body (or a bodily limb); ghana-uttṛṣṇam—who has a dense, high thirst [for union]; kṛṣṇam prati—to Kṛṣṇa; samatanot tarjanam—fully did a rebuke; iva—as if.

When He took hold of Her hands, Her jewel-studded bracelets sounded at once. And when He grasped the knot of Her girdle, Her sash loudly jingled. The ladylove’s mind was overtaken by Her bliss, yet Her body as if rebuked Kṛṣṇa, who was deeply thirsty. (Alaṅkāra-kaustubha 5.30)

atra mitho ratiḥ sthāyī. kṛṣṇaḥ priyā ca mithas tad-ālambanaḥ. uddīpanaṃ mitho-lāvaṇyādi vijana-sthānādi ca. anubhāvo hasta-grahādiḥ. vyabhicārī śrama-jāḍyādiḥ.

In this verse, the sthāyi-bhāva is a mutual rati (affection): Kṛṣṇa is the āśraya (the subject of the sthāyī, i.e. the giver of affection) and the beloved is the viṣaya (the object of the affection), and conversely Kṛṣṇa is the viṣaya and the beloved is the āśraya. The uddīpanas are the respective bodily beauty, and so on, and the secluded location, and so on. The anubhāvas are “taking both hands” and so on. The vyabhicāri-bhāvas are fatigue, indolence, and so forth.

Commentary:

The verse features śṛṅgāra-rasa since rati (affection), the sthāyi-bhāva, is eminently implied by means of appropriate vibhāvas (ālambana and uddīpana), anubhāvas, and vyabhicārīs.

Kṛṣṇa grabbed the knot of Her girdle to untie it. Viśvanātha Cakravartī explains:

rādhāyā apaghano deha eva sambhoge ghana-tṛṣṇaṃ kṛṣṇaṃ nivārayituṃ tarjanam iva samatanot. tasyās tarjane’sāmarthye’pi tat-parijana-rūpo deha eva śrī-kṛṣṇaṃ tatarjety utprekṣā. vastutas tu sā ānanda-vaivaśyena vāmyādikam api kartuṃ na śaśākety utprekṣālaṅkāra-gamyo vastu-dhvaniḥ,

“Rādhā’s body as if rebuked Kṛṣṇa, who had a deep thirst for union, in order to repel Him. Although Her rebuking Him is incongruent, only Her body, in the form of Her entourage (her body parts), rebuked Śrī Kṛṣṇa. This is the utprekṣā ornament (fanciful assumption) (Her body as if rebuked Kṛṣṇa). In truth, however, since She was overwhelmed by pleasure She was unable to implement Her nature of being hard to get. This is an implied idea (vastu-dhvani) understood from the utprekṣā” (Subodhinī 5.30).

The ornaments of sound are: (1) A yamaka (word rhyme) of the sound ṛte in dhṛte and hṛte (beginning of the first and second lines), (2) An alliteration (vṛtti anuprāsa) of m in “mukharitam amanda,” (3) A yamaka (word rhyme) of the sound ghano in “apaghano ghanottṛṣṇaṃ,” and (4) An alliteration (cheka anuprāsa) of the sound ṛṣṇaṃ in “ghanottṛṣṇaṃ kṛṣṇaṃ.” The verse also contains an implied virodha ornament (semblance of a contradiction) by taking the compound ghanottṛṣṇam as two adjectives (“He is a cloud and is highly thirsty”).^[1]

Footnotes and references:

[1]:

In this interpretation, the compound ghanottṛṣṇam is a karma-dhāraya where both words are separate adjectives, by the rule: kvacid viśeṣaṇena ca viśeṣaṇaṃ samasyate, “Sometimes an adjective is compounded with another adjective” (Hari-nāmāmṛta-vyākaraṇa 925); viśeṣaṇaṃ viśeṣyeṇa bahulam (Aṣṭādhyāyī 2.1.57).