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Sattawa pradipa, rendered 'light of Nature, implies, as Nilakantha explains, knowledge, which is a manifestation of Nature. Arjuna Misra's interpretation seems to be better. He says that knowledge, that is, knowledge of truth, is acquired by the self through Nature.
This great art hath ever been known to me for making my husbands obedient to me. Never have I practised the charms of wicked women, nor do I ever wish to practise them." The word in the text is "Agrahara," which, as Nilakantha explains, means here, "That which is first taken from a heap after the dedication of a portion to the Viswadevas."
Tushni implies ahamevedam sarvamasmityabhimanamapyakurvan i.e., 'without even retaining the consciousness of his own identity with everything. Kinchikachintayan i.e., not even thinking that he is existing. Purvam purvam parityajya implies the gradual merging of the grosser in the subtler, i.e., the successive stages of Yoga before absorption into Brahman. I follow Nilakantha.
Wilson. Some of the Bengal text read Sarvastramaya for Sarvamantramaya. The former is evidently incorrect. This is a very difficult sloka. Nilakantha adopts the reading Sanjayet. The Bengal editions read Sanjapet. If the latter be the correct reading, the meaning then would be, 'Let none talk about what transpires in the presence of the king.
Nilakantha points out very ingeniously that the night being the seventh of the dark fortnight, the moon would not rise till after 14 Dandas from the hour of sunset, a Danda being equal to 24 minutes. A Muhurta, therefore implies not 48 minutes exactly, but some time.
And he also gave away thousands of steeds and much gold and much wealth of other kinds, unto persons of all ages. And, O bull of the Bharata race, the city of the Matsya king, thronged with men cheerful and well-fed, shone brightly like a great festival." The end of Virata Parva Brahma Vadini Nilakantha explains this as Krishna-kirtanasila.
They constitute the path that leads to the self. 'That which has Brahman for its origin' implies the Vedas. Commentators differ about what is implied by the ten or the twelve. Nilakantha thinks that the ten mean the eight characteristics of Yoga, viz., Yama, Niyama, Asana, Pranayama, Pratyahara, Dharana, Dhyana, Samadhi, and Tarka and Vairagya.
Satram is explained by Nilakantha to mean here 'false disguise. I think, however, such an interpretation to be far-fetched. It evidently means 'forest', the use of 'pravisteshu' in connection with it almost settles the point. This sloka is not correctly printed in any of the texts that I have seen. Any other reading would certainly be incorrect. I have not consulted the Bombay text.
If it is song or dance or musical instruments or such other things, I can entertain thee therewith, but where is my skill for becoming a charioteer? The words in the original is pranayam, lit., love. Nilakantha, however, explains it as meaning modesty, humility. I think, Nilakantha is right. The relations between Arjuna and the princess were like those between father and daughter.
What can be the tiryagbhava or 'form of lower species' of immobile objects? Telang frequently forgets that Nilakantha represents a school of interpretation not founded by him but which existed from a time long anterior to him. 'Conjunctions' are evidently the periods joining the seasons, i.e., the close of one season and the beginning of another.
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