Text 11.5

यथा,
सुन्दरि बिन्दु-च्युतके तव नैपुण्यं बभूव पुण्येन ।
शशि-मुखि वशी-कृताभूद् वंशी मम यत् त्वया त्वरया ॥

yathā,
sundari bindu-cyutake tava naipuṇyaṃ babhūva puṇyena |
śaśi-mukhi vaśī-kṛtābhūd vaṃśī mama yat tvayā tvarayā ||

sundari—O beautiful girl; bindu-cyutake—in the poetical game called bindu-cyutaka; tava—Your; naipuṇyam—expertise; babhūva—occurred; punyena—due to virtue; śaśi-mukhi—O moon-faced girl; vaśī-kṛtā—made submissive; abhūt—became; vaṃśī—flute; mama—My; yat—because; tvayā—by You; tvarayā—quickly.

O beautiful girl, Your expertise in bindu-cyutaka occurred on account of Your past merit because, O moon-faced girl, You swiftly stole My flute, which became submissive to You. (Vidagdhamādhava 4.48)

Commentary:

There is no bindu-cyutaka in the verse because there is no double meaning. Rūpa Gosvāmī only had in mind to make a semblance of such a correlation between vaśī in the word vaśī-kṛtā (made submissive) and vaṃśī (flute). However, dropping the bindu (anusvāra) in vaṃśī is pointless because a new overall meaning cannot be formed. The verse only says that the vaṃśī became vaśī (submissive). The author of Kṛṣṇānandinī simply comments: sundarīti, rādhāṃ harir āha. tvad-adhīnā mama vaṃśīti sphuṭam aparo’rthaḥ, “In this verse, Hari speaks to Rādhā. The other, clear meaning is: “My flute is submissive to You”” (Kṛṣṇānandinī). The verse features a punar-uktavad-ābhāsa (semblance of a repetition) between the words naipuṇya and puṇya in the second line.