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Texts
Nineteenth-century prose
Chandrakāntā by Devaki Nandan Khatri (selection from the novel)
Premsāgar by Lallulal (selection)
Literary criticism by Bhartendu Harishchandra, “Hindī bhāshā” and “Urdū kā syāpā”
Twentieth-century prose
“Sadgati” by Premchand“Dudh kā dām” by Premchand
“Urdū, Hindī, aur Hindūstānī” by Premchand
“Malbe kā mālik” by Mohan Rakesh
“Tanāv” by Rajendra Yadav
“Dillī mẽ ek maut” by Kamleshwar
“Paccīs caukā deṛh sau” by Omprakash Valmiki
Apne-apne pinjare by Mohandas Naimishray
“Lājwantī” by Rajinder Singh Bedi
Poetry
Two Braj Bhasha poets:- Kabir
- Rahim
- Raḥīm - Dohāvalī
- Raḥīm - Nagaraśobhā
- Keśavdās - Rasikapriyā chapter 3
- Keśavdās - Rasikapriyā chapter 7
- Bihārīlāl - Satsaī Commentary
- Selection from the critical essay “Kalpnā ke kānan kī rānī” in Chāyāvād by Namwar Singh
- “Vishva chavi” by Sumitranand Pant
- Nīrajā by Mahadevi Varma (selection)
- the Rāmcaritmānas of Tulsīdās
- the Madhumālatī of Manjhan
Satsaī
by Bihārīlāl
Bihārīlāl's Satsaī comprises approximately 700 muktaka (freestanding verse) couplets. Unlike Keśavdās's Rasikapriyā, all Satsaī verses are not inherently linked to a bhakti element, though some surely do have bhakti allusions.* The phrase "गागर में सागर" (an ocean of meaning packed into a clay vessel) encapsulates Bihārīlāl's profound, yet concise, literary style. As this glossary attests, each of these short couplets has an extensive commentarial tradition. The couplets and a selection of commentaries can be found in Malviya, Lakshmidhar. 2008. Bihārīdās kī satsaī. Vols. 1-3. New Delhi: Aditya Prakashan. The ordering of these verses corresponds to Rupert Snell's Braj Bhāṣā Reader. Allison Busch and her Fall 2012 class prepared the following glossary for the commentary.
* An interested reader might turn to Rupert Snell’s excellent 1994 article “Bhakti versus Rīti? The Satsaī of Bihārīlāl.” Journal of Vaishnava Studies 3 (1): 153-170.
On this page
The Braj text is available as a PDF.
If the Hindi words below appear as boxes or nonsense, please see the introduction page for help.
Glossary
Snell Verse 1
अन० :
सषी = सखी, सहेली
उक्ति = वचन
प्रति = towards
नवजोवन = new youth
भूषिता = adorned with (take as a compound with नवजोवन : adorned with new youth)
नर० :
मुग्धा = मासूम स्त्री
ज्ञातयोवना = A particular type of मुग्धा who understands about puberty and sex. The one who is totally ignorant is अज्ञातयौवना--when she notices she is getting breasts, etc., she runs to her maid with the worry that she has fallen ill.
हे = "O" (indicates a vocative context for the subsequent noun, as in हे राम, "O Ram")
श्रीराधाजू = श्री राधा जी
सरीर = शरीर
विषे = in, within (in fact, this is an old Hindi postposition, can have a range of meanings)
रूपी = in the form of--a king in the form of youth.
नृपति = नरों का राजा, नरों का नाथ (here it appears to be योवन का नृप)
प्रवीन = प्रवीण, skilled, proficient
अमल करना = to operate, to take effect; "to rule," which has a nice ध्वनि.
स्तनां = स्तन, breast of a woman; nipple
नितंवा = नितम्ब (many manuscripts don't distinguish ब and व)
इजाफा = इज़ाफ़ा: (n) increase; surplus, excess
घनौ सौ = बहुत सा
वधारौ = ‘बध’ is attested in the bhakti dictionary in the sense of "to grow."
दीनौ है = दिया है
समर्थहि = काबिल वाले को, to the suitable one
चेत = consciousness
चितै = चित (heart; gaze); चित- can also be a verb stem
अद्भुत, a. strange, marvelous, extraordinary; m. a wonderful thing or occurrence
भीने = भीगे
महावल = महाबल, very powerful
भूप = राजा
वैठ = बैठ
दिवांन = दीवान, an administrative title
नवीने = (adj.) novel, fresh, modern
सोहामने = pleasing, beautiful
चातुर = (adj.) clever
चक्र = (n.) round shape, circle
साचेई = सच ही
मनोज = कामदेव
वडेई = बड़े ही
इजाफाई = इजाफा (see above) ही
दीने = दिए
कृष्ण० :
इह = यहाँ (तत्सम)
वचनु = वचन
जोवनभूप = यौवन का राजा
महापरवीन = (adj.) greatly skilled, greatly talented
विचछनता = (n.) विचक्षता, from (adj.) विचक्षण (discerning; sagacious; skilled)
इहि = इस
ठई = perfective form of ठना to establish, ordain
लह्यो = literally लिया, but grammatically लिए हुए
नवलातन = from नवल: fresh; new body
कटिसत्रु = कटि (कमर) का शत्रु (अर्थात नितंब); recall that the waist is robbed to make the hips larger. Cf.Rasikpriyā 3.21
लइ है = ली है [स्त्रीलिंग क्योंकि "नितंबों ने कमर की संपत्ति लूट ली है"]
सिसुता = शिशुता (early childhood)
सहाइक = सहायक
चातुरता = (n.) cleverness
चितु = चित : heart; gaze
चारु = agreeable, welcome; lovely
भई = हो गई
नितंवनि = hips
गनिकै = गिनती करके
वढवारि = वढवार (an increase) + ही
दई है = दिया है
हरि० :
तन = शरीर
पछ = पक्ष
कुच = breast
वडो = बड़ा
अधिकाई = अतिरिक्त, superfluous; great amount, abundance
कीनी = की (perfective participle of करना)
पहार = पहाड़
करि = करके
वर्नत = from वर्णन करना, present tense 3rd person
ताई = तक; The idea that women's eyes stretch to their ears is considered attractive as in this typical Kishengarh painting: Portrait of Rādhā. Kiśangaṛh, A.D. 1735-1757. Eric Dickinson and Karl Khandalavala, Kishangarh Painting, New Delhi: Lalit Kala Akademi, 1959, pI. IV (cited in Ileana Popescu, 'Kiśangaṛh Rādhā: A Textual and a Visual Profile', Bhakti in Current Research, 2001-2003, ed. Monika Horstmann, Delhi, 2006, pp.249-62.).
वडोई = बड़ा ही
इहां = यहाँ
हेतुउत्प्रेक्षालंकार = हेतु (cause) + उत्प्रेक्ष (metaphor, comparison, illustration) + अलंकार (figure of speech). This particular one is explained in vv 31-32 on p. 152 of Rupert Snell's Braj Bhāṣā Reader.
तर्क = (n.) logic, reason
Snell Verse 2
अन० :
शुक्लाभिसारिका = शुक्ल (white, bright, pure) + अभिसारिका (a female lover keeping a tryst). Here शुक्ल refers specifically to the "light" half of the lunar month, when the moon shines brightly.
उत्तम = highest
उन्मीलित = उन् - (prefix before nasal consonants meaning “upward”) + मिलित (connected, united)
मुद्रा = bodily posture
उन्मीलित and मुद्रा are both names of an अलंकार, which the author of Anvar-candrika goes on to define
संसृष्टि = mixture, combination
सदृश = adj. “similar"
वस्तु = चीज़, thing, a concrete noun
मिलि जाय = मिल जाए
पें = पर; तो
काहू = किसी
भासे = from भासना, to appear, to be known (present tense form)
वनाय = बनाकर
प्रस्तुत = praised; proposed; mentioned
ओरें = और ही
जानि लीजियो = जान लीजिए
जानिमन = जानकारी
वुद्धि = बुद्धि
विलास = आनंद
लषाइं = glossed as दिखाई, cf MSH दिखाई देना, to be seen
दिषाई = cf. note above
वहुत = बहुत
अलि = मधुमक्खी, a large black bee
सोधे = from सौंध < सुगंध fragrance
डोरे = डोर (thread, string, line); the suffix suggests a plural form
इति = वैसा ही
नर० :
सुक्लाभिसारिका = शुक्लाभिसारिका
वैन = बैन (वचन का तद्भव)
युवति = लड़की, a young woman
जोन्हि = n. moonlight, from ज्योत्स्ना
जोति = light
नैंकही =adv. "not at all,"
जाति = जाती
सौंधै = from सौंध < सुगंध fragrance
गैल = road or path
अली = मधुमक्खी
साथि = adverbial meaning साथ
सार = in Braj it means firmness, strength; in MSH, it means essence, substance
कामिनी = adj. desirous; n. an attractive woman
जामिनी = यामिनी, night
मांझि = it can mean में,
जात = जाते
साजे = सजाए हुए
सिंगार = श्रृंगार
सवै = सभी
घोर = extreme, intense
घनसार = camphor
पाछेही = बाद में ही
वात = बात
कितौ = कितना
सुजान = husband, lover; the supreme being
मग = way, road, मार्ग
सुगंधि = fragrance, खुशबू
निसानी = निशानी, distinctive mark; evidence
कृष्ण० :
गुराई = गोराइ means गोरापन, paleness/fairness
तरुनाई = तरुणाई, youth, youthfulness; years of youth
निकाई = खूबसूरती
छाई = छाईं, shade, shadow
उजराई = brightness
उज्यारी = उजियारा = उजाला, light; daylight; moonlight; splendor
उजराति = imperfect participle of उजलाना, to make bright
सारद =शरद is a month in autumn, शारद an adj. from that.
निसां = derive from “night”
विसद = विशद, pure, clear, white.
गजगमनी = walker just like an elephant [गज + गम (the Sanskrit verb for “जाना”) + -न suffix (agent/doer) -ई (ही or f. suffix)]
सोभा = शोभा, splendor
सरसाति = from सरसाना (to be flourishing)
अनुरागी = devoted to; a devotee, lover
मिलिवे को = मिलने को
क्यौंहू = किसी तरह
लषाति = दिखाती
लपट = wafted fragrance
अछेह = अछेद, indivisible; this word also has a secondary meaning: "constant," "much"
उपटति = उबटना (to apply)
संग = साथ
हरि० :
जुवती = युवती (लड़की), a young woman
थोरी = थोड़ी
आपु = अपने आप
लषायकै = दिखाकर
कोई तरह = किसी तरह
जतायकै = जताकर
किंवा = but [here the commentator introduces an alternative. "or, it could be that..."]
रूढ = "traditional" or "conventional" (meaning)
जाहिर = 1) ज़ाहिर, to reveal
आश्रय = आसरा, refuge, shelter
वस्त्र = कपड़ा
तास = from तासु, cf. उस in MSH
मिल्यौकै = मिलाकर
सकलंक = “possessing a fault," an epithet of the moon
कला = a digit of the moon
अरगजा = a type of perfume
रसी = रस्सी, a gloss of डोर
सादृश्य = सदृश (analogue, बराबरी)
फुरै = फुले
तव = तब
Snell Verse 3
अन० :
अनुभाव = हिसाब, firm opinion, conviction
स्मृति = याद
संचारी = a technical term from अलंकारशास्त्र--one of the transitory states that is depicted in the नायक or नायिका
गुनकथन = "telling of her virtues/qualities"--another technical term from अलंकारशास्त्र
दसा = take this from दशा, "state," another technical term from अलंकारशास्त्र. Lovers go through various states as they pine. Here he tells of her virtues or qualities.
पूर्वानुराग = yet another technical term--lit." love from before"--somewhat akin to love at first sight.
व्यंगि = व्यंग करके [here it seems like it is the present tense]; from व्यंगना, to suggest.
रूपठग = her thug-like beauty
हांसी = हंसी, laugh; a smile
फांसी = noose (स्त्रीलिंग)
डारि = डालकर
नेंनवटोही = wayfarer-eyes
ठोडी = ठोड़ी, chin
गाड़ = a pit, ditch, गड्ढा
गहि डारें = गह (पकड़) डाले
चिलक = brilliance, glitter
चोंधि = (n.) a state of being dazzled
सोई = वही
संध्या = श्याम, evening
समें = समय
इत्यन्वय = इति (thus) + अन्वय (syntax). The phrase, which is also used in Sanskrit commentaries, means "the syntax is thus"--it's the commentator's attempt to show you how to construe the order of words.
समस्त = all, whole, entire
वस्तु विषय = विषय-वस्तु, theme - the commentator wants to indicate that the रूपक or metaphor in question has the full range of equivalences. Thus, beauty is a thug, her laughter a noose, his eyes the hapless traveler, etc.
रूपकालंकार =रूपक means metaphor, अलंकार is the technical term for trope or figure of speech.
नर० :
नेत्र = eye
लगन = लग्न, point of contact between two lines. नेत्र + लगन = the नायक has laid eyes on her.
ठग = thug
देही = a person
चकाचौंधी = giddy, dazzled
पांसी = a net
डारिकै = डालकर (transitive absolutive)
मारिकै = मारकर
षाड = खाड़ी, a bay, gulf (specifically the Persian Gulf) - the commentator is glossing गाड.
पकरिकै = पकड़कर
डार दए है = डाल दिए हैं
ए = यह
दुष्ट = corrupted, depraved, wicked
सपुष्ट = स+पुष्ट, well-fortified, confirmed. Note the rhyming prose--the commentator is striving for sound effects.
ठगोरी = charm, spell; cheat
जोहै = from जोहना (to watch, look at, see; search for)
ताही नै = उसी ने
छोहै = छोह, love, affection (related to क्षोभ, which means agitation)
चलक्कहि = cf. चिलक in the verse itself.
छिपाय रह्यौ = छिपा[कर] रहा
छल = deceit, trick; trickery, deception
कृष्ण० :
वर्ननु = वर्णन
केसनु = plural form of केश, hair. The commentator is trying to reconstruct how she comes to dazzle him and to enhance the metaphor of the thuggery. Her hair becomes, then, a dense forest]
वनु = forest
उपकूल = किनारा, तीर, bank, shore
भ्रकुटीगिरि = भृकुटी(eyebrows) + गिरि (mountain) [Thugs hide out in fortresses...]
ओट = covering, shelter
लिलार = ललाट, the brow
प्रचंड = vehement; raging; burning
दगा = दगा (Persian), deceit; treachery
पारिकै = पाड़कर (पाड़ना to cause to fall, as in “to place”)
कुंवा = कुआं
महाठग = The Great Thug
सरूपु = स्वरूप
तजि = तजकर (तजना = to abandon, from त्याग करना)
हरि० :
चाकाचक्यता = the commentator is providing a synonym for चिलक
सूर्ज = सूर्य, सूरज
देषि = देखकर
आंषि = आँख
परत = पड़ता
पहिलैं = पहले
गहिकै = गहकर
डार्-यौ = डाला
अन्यत्र = elsewhere
सर्वांग = the whole body (सर्व + अंग); comprehensive - as above, the commentator wishes to indicate that the metaphor is fully developed, comprehensive.
उपमान = comparison
उपमेय = to be comparable; the subject of comparison
अंभेद = अभेद (“non-difference,"), i.e. similarity
Snell Verse 11
अनुरागी - impassioned, lovelorn
वूडै / बूडै - to be drowned or immersed in
उज्जल / उज्जलु -bright
महिमा - greatness, grandeur, glory, power
वषानत - derived from बखान (n. a laudatory description)
असंगति - incoherence, inconsistency, contradiction
चित्तलगन - चित्त + लगन, desire of the heart
सषी - सखी
वैन- speech, words (from वचन)
केवल- exclusively one’s own, sole, absolute
देषीयतु - देखीयतु - देखा गया- synthetic passive of देखना
विषै - a postposition, meaning "in, within"
ज्योति - radiance
हरष- हर्ष, delight, rapture
रगे - attached to, in love with
भव- existence, birth, life.
सव - सब
संभ्रम - moving around, confusion
अलोक - heavenly, not in this world
नषी - the root नख--means "to cross over, transcend."
झषी - one meaning of झक is clear, bright, polished. Derive झलकना from it in MSH.
मेटि - erased
घरीकि - an alternate spelling of घडी, "in a moment"
ओप - lustre
लषी - an alternate spelling of लखी, saw [ख and ष are interchangeable in Braj texts]
अद्भूत - wonderful, astonishing
रसु - रस
माझ - This is a tadbhav of मध्य, often equivalent to में in MSH.
षुभिकै -derived from a verb root क्षुभ -- to be agitated. Cf the entry on छोह above.
नंदकिसोर - नन्द + किशोर --the son of Nanda and, yes, an epithet of Krishna.
सुहाई - from सुहाना, to be attractive
सालति - from सालना, to pierce, to cause pain (may also be intransitive)
कविकृष्ण - the name of the commentator is कृष्ण कवि
सुलाई - from सुलाना, to put to sleep, to allay (doubts, etc.); another thought is to split this differently, as सु लाई.
पगे - from पगना, to be dipped or soaked.
उज्वल - उज्ज्वल- bright, radiant, lovely
निर्मल - pure
वासनारूप - वासना (imagination, desire) +रूप - the form of passion, desired form
सब्द - शब्द
भासे - from भासना, to appear, to be known
विरोधाभास - the appearance of contradiction, paradox, contrast
लिष्यौ - लिखा
अकुलाय - from अकुलाना, to be agitated or restless
उज्वलनाम - उज्वल and नाम are to be treated as separate words.
शुचि - bright, clean, pure, faultless
नामपर्याय - this is a way of saying पर्यायवाची, which means "synonym" in MSH. Thus, "eroticism, purity, and passion, these three are synonymous."
किंवा - otherwise
दशा - condition
कझै - possibly a dialectal form of कहा जाए
स्वर - voice, sound
सवही - सभी, as in सब ही
लेषें - लेख- , to reflect, keep in mind, notice, or consider.
अनेक -many
मैल - dirt, impurity
त्यागिकै - त्याग करकै, having left, renounced, separated
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