Text 4.72

(10) [This shows a kavi-kalpita-vaktṛ-prauḍhokti-siddha vastu that gives rise to an alaṅkāra-dhvani,]

हृदये न्यधायि मानः प्रिय-सहचरि सावधानयापि |
दृष्टे सति मुर-शत्रौ स निर्गतः क्वेति नाज्ञायि ||

hṛdaye nyadhāyi mānaḥ priya-sahacari sāvadhānayāpi |
dṛṣṭe sati mura-śatrau sa nirgataḥ kveti nājñāyi ||

hṛdaye—in the heart; nyadhāyi—was placed; mānaḥ—pique; priya-sahacari—O dear confidante; sa-avadhānayā—[by you,] who were cautious; api—even; dṛṣṭe sati mura-śatrau—when Murāri is seen; saḥ—that [pique]; nirgataḥ—goes away; kva—where; iti—(marks the end of the sentence); na ajñāyi—it was not ordered.

[A gopī speaks to another:] Dear friend! Although you carefully put māna in your heart, where does the māna go when Murāri is seen? It is not ordered to go.

atra vastunā vināpi prārthanāṃ prasanneti vibhāvanā.

Here a vastu (the pique does not leave her heart) suggests the vibhāvanā ornament (an effect without a normal cause): “Be pleased,” even without a request.

Commentary:

The vastu is not implied because it is the Purport: It is simply a rewording of “The pique is not ordered to go.” This vastu is actually the paryāyokta ornament (circumlocution). And since it is suggestive, it is also classed as vākya-vaiśiṣṭya (the specialty of the real statement) (3.3). Therefore, since an angry woman cannot possibly feel pleased, the girl’s implicitly asking her angry friend to be in good spirits in that condition implies the vibhāvanā ornament (an effect without a normal cause). Moreover, the last words of the verse are said with tongue in cheek: A woman in a pique is prone to give orders.