namo nalina-netrāya veṇu-vādya-vinodine |
rādhādhara-sudhā-pāna-śāline vana-māline ||
(Unknown source; cited in Padyāvalī: 2)
“Obeisance unto he of lotus eyes,
He who produces delight by playing the veṇu,
He who is adept in drinking the nectar of Rādhā’s lips,
He who wears a forest garland.”
vaṁśī-nyastāsya-candraṁ smita-yutam atulaṁ pīta-vastraṁ vareṇyaṁ
kañjākṣaṁ sarva-dakṣaṁ nava-ghana-sadṛśaṁ barha-cūḍaṁ śaraṇyam |
trai-bhaṅgair bhaṅgimāṅgaṁ vraja-yuvati-yutaṁ dhvasta-keśy-ādi-śūraṁ
vande śrī-nanda-sūnuṁ madhura-rasa-tanuṁ dhurya-mādhurya-pūram ||
(Unknown source)
“A vaṁśī poised before his moon face
[Which is] Replete with an incomparable smile,
His yellow cloth superb,
His eyes like lotuses,
Expert in all respects,
Resembling a fresh cloud,
His chaplet a peacock-plume,
The [supreme] protector,
His figure embowed with three bends
And surrounded by the young women of Vraja,
The hero by whom Keśī and so forth have been vanquished—
I worship the beautiful Son of Nanda,
The embodiment of madhura-rasa,
The reservoir of the foremost mādhurya.”
vāñchā-kalpa-tarubhyaś ca kṛpā-sindhubhya eva ca |
patitānāṁ pāvanebhyo vaiṣṇavebhyo namo namaḥ ||
(Unknown source; cited in Sādhanāmṛta-candrikā: 1.38)
“Unto the desire-fulfilling trees,
Unto the oceans of grace,
Unto the purifiers of the fallen,
Unto the Vaiṣṇavas—
Obeisance and obeisance.”
adhikārī ca sambandho viṣayaś ca prayojanam |
avaśyam eva vaktavyaṁ śāstrādau tu catuṣṭayam ||
(Unknown Source; cited in the Amṛta-ṭīkā to Hari-nāmāmṛta-vyākaraṇam: Maṅgalācaraṇa, 1)
“The eligible person (adhikārī), the relationship (sambandha), the topic (viṣaya), and the purpose (prayojana)—these four must be stated at the beginning of a śāstra.”
sūtrārtho varṇyate yatra vākyaiḥ sutrānusāribhiḥ |
svapadāni ca varṇyante bhāṣyaṁ bhāṣya-vido viduḥ ||
(Abhiyuktokti)
“Knowers of a bhāṣya know a bhāṣya [i.e., a commentary] to be that in which the meaning of sūtras is explained with sentences that follow the sūtras and in which the sūtras’ own words are explained.”
svayaṁ rājate iti svaraḥ |
(Unknown source)
“A svara [i.e., a vowel, or, musical note] is that which exists on its own [i.e., it can be pronounced by itself and doesn’t require another type of phenome, unlike vyañjanas (consonants) which require a svara to be pronounced].”
tat-sādṛśyam abhāvaś ca tad-anyatvaṁ tad-alpatā |
aprāśastyaṁ virodhaś ca nañ-arthāḥ ṣaṭ prakīrtitāḥ ||
(A prācīna kārikā; cited in the Amṛta-ṭīkā and Bāla-toṣaṇī-ṭīkā to Hari-nāmāmṛta-vyākaraṇa: 1730)
“(1) Similarity to it [i.e., the substantive to which nañ- is affixed] and (2) absence [of it], (3) difference from it, (4) smallness of it, (5) non-praiseworthiness [of it], and (6) opposition [to it] are the six stated meanings of nañ [i.e., the negative prefix].”
pra-parāpa-sam-anv-ava-nir-dur-abhi-
vy-adhi-sūd-ati-ni-prati-pary-apayaḥ |
upa āṅ iti viṁśatir eṣa sakhe
upasarga-vidhiḥ kathitaḥ kavinā ||
(Unknown source; cited in Hari-nāmāmṛta-vyākaraṇa-vṛtti: 406)
“The twenty—pra, parā, apa, sam, anu, ava, nir, dur, abhi, vi, adhi, su, ud, ati, ni, prati, pari, api, upa, and ā[ṅ]—[are the prādis]. O friend, this [i.e., this rule that the prādis are combined with dhātus and applied as a prefix (as per Hnv: 406)] is known by the wise as the rule of the upasarga.”
dvigur dvandvo’vyayībhāvaḥ karmadhāraya eva ca |
pañcam astu bahuvrīhiḥ ṣaṣṭhas tatpuruṣaḥ smṛtaḥ ||
(Vaiyākaraṇa-sampradāya-viśeṣaḥ)
“Dvigu, dvandva, avyayībhāva, and karmadhāraya; let the fifth be the bahuvrīhi. The sixth is known as tatpuruṣa.”
sattā-vṛddhi-viśuddhi-siddhi-śayane sthānāsane bhāsane
lajjā-jīvana-rodane ca hadane nṛtye vilāse krudhi |
trāsa-syanda-nivāsa-śoṣa-maraṇa-spardhā-vihāreṣv api
jñāto dhātur akarmakaḥ kṣaya-madodvega-prakampeṣv api ||
(Unknown source; cited in the Vṛtti on Hari-nāmāmṛta-vyākaraṇa: 397)
“A dhātu is known as akarmaka (intransitive) when it is in the sense of sattā (“existing”), vṛddhi (“increasing”), viśuddhi (“becoming pure”), siddhi (“becoming fulfilled”), śayana (“sleeping”), sthāna (“standing, remaining”), āsana (“sitting”), bhāsana (“shining”), lajjā (“being shy”), jīvana (“living”), rodana (“crying”), hadana (“evacuating”), nṛtya (“dancing”), vilāsa (“playing”), krudh (“being angry”), trāsa (“being afraid”), syanda (“flowing”), nivāsa (“residing”), śoṣa (“becoming dry”), maraṇa (“dying”), spardhā (“being envious, being competitive”), vihāra (“wandering”), kṣaya (“waning”), mada (“being delighted, becoming intoxicated”), udvega (“becoming agitated”), and prakampa (“trembling”) [as well as jāgaraṇa (“remaining awake”), dhāvana (“running”), hasana (“smiling, laughing”), janana (“being born”), and so on].”
