Text 4.64

(2) [This is an example of a svataḥ-sambhavī vastu-dhvani that gives rise to an alaṅkāra-dhvani,]

मम क्षमस्वालि निजस्य दोषं कृपा-प्रपोषं कुरु देवि भद्रे |

mama kṣamasvāli nijasya doṣaṃ kṛpā-prapoṣaṃ kuru devi bhadre |

vakrālakāḥ kānta-mukhāvarūḍhāḥ śobhāṃ tavāmī kalayantu kāñcit || mama—of mine; kṣamasva—forgive; āli—O girlfriend; nijasya—[of me,] who belong to you; doṣam—the fault; kṛpā-prapoṣam kuru—make an abundance of mercy; devi bhadre—O gentle goddess; vakra-alakāḥ—curly strands of hair; kānta-mukha—unto the male lover’s face; avarūḍhāḥ—which descend; śobhām—resplendence; tava—of yours; amī—those; kalayantu—should make; kāñcit—some particular [resplendence].

It’s my fault. Forgive me, sweetheart. I belong to you. Be kind to me, gentle goddess. These strands of your curly hair, which go down unto your lover’s face, should bring about some special resplendence.

atra vastunopamā.

Here, a simile is implied by a vastu.

Commentary:

The author of Kṛṣṇānandinī explains:

mama kṣamasveti, māninīṃ bhadrāṃ prati harir āha. vakrāḥ kuṭilāḥ. atra vastuneti, viparīta-ratam ācarantyās tavālaka-vallarī kamanīya-vadana-vikīrṇā vikacāravinda-saṃsaktā bhramara-paṅktir iva rājayiṣyatīty upamā vyajyate,

“Hari is talking to a gopī who is in a pique. Vakra means kuṭila (curly). Regarding the elaboration, the idea is that the woman is making love to him by being on top. The implied simile is understood as follows: “Disheveled on your lovely face, your curly hair is resplendent like a swarm of bees near a blown lotus”” (Kṛṣṇānandinī 4.64).

This is Paṇḍita-rāja Jagannātha’s example of a vastu-dhvani that gives rise to an alaṅkāra-dhvani,

mṛdvīkā rasitā sitā samaśitā sphītaṃ nipītaṃ payaḥ svar-yātena sudhāpy adhāyi katidhā rambhādharaḥ khaṇḍitaḥ |
tattvaṃ brūhi madīya-jīva bhavatā bhūyo bhave bhrāmyatā kṛṣṇety akṣarayor ayaṃ madhurimodgāraḥ kvacil lakṣitaḥ ||

“You relished ripe red grapes, fully tasted sugar, and savored condensed milk. You even drank nectar, by going to heaven. In how many ways did you bite a sexy woman’s nether lip? Now, O soul of mine, tell the truth: While repeatedly wandering in material life, did you ever experience the rise of the sweetness of the two syllables “Kṛṣ-ṇa”?” (Rasa-gaṅgādhara).

The implied idea (vastu-dhvani) is that the speaker knows the objectives of the path of yoga because, in the manner of poetic expression, he makes a difference between himself as an ego and himself as a soul. Therefore the speaker implies that experiencing the sweetness of Kṛṣṇa’s names is a form of mystical perfection: That is an implied rūpaka ornament (metaphor).^[1]

The verse features another rūpaka-dhvani (implied metaphor): The name “Kṛṣṇa” is a form of nectar, since it is sweet. The second variety of the atiśayokti ornament (statement of supereminence) (10.85) is implied by that since it is understood that the sweetness of Kṛṣṇa’s names, sweeter than anything sweet, has a distinct nature. The verse also features a yamaka (word rhyme) of the sound sitā in “rasitā sitā” in the first line.

Footnotes and references:

[1]:

Jagannātha’s far-fetched explanation was slightly toned down. He says this atiśayokti ornament (introsusception): “The Lord’s name is a special mystical perfection that was the cause of the speaker’s perceiving his past lives,” is implied by the fact that the speaker makes a difference between himself as an ego and himself as a soul. By modifying his explanation (since “The Lord’s name is the exact form of a mystical perfection that gives the power to remember past lives” really means “The Lord’s name is a form of mystical perfection”), his implied atiśayokti turns into an implied metaphor. He writes: atra niṣkṛṣṭa-jīva-sambodhyaka-pariḍṛśyamāna-sthūla-dehendriyādi-cetanācetana-saṅghātātmakāsmat-pada-bodhya-kartṛka-praśna-viṣayeṇārthena vastunā tathā-bhūtena bhagavan-nāmno’neka-janma-vṛttāntādhyakṣī-karaṇa-kāraṇa-yogasiddhi-viśeṣa-tādātmyādhyavasāya-rūpātiśayoktir vyajyate (Rasa-gaṅgādhara, KM p. 133). The atiśayokti ornament (of the first variety: 10.84) is always implied, but here Jagannātha takes that implied introsusception as a first-rate implied sense, whereas usually it is a second-rate implied sense, as in: “She has a moon on her neck” (her face is a moon).