मेघदूतम् · कालिदास · 1.33
उज्जयिनी · the stories told to strangers
प्रद्योतस्य प्रियदुहितरं वत्सराजोऽत्र जह्रे
हैमं तालद्रुमवनमभूदत्र तस्यैव राज्ञः
अत्रोद्भ्रान्तः किल नलगिरिः स्तम्भमुत्पाट्य दर्पाद्
इत्यागन्तून् रमयति जनो यत्र बन्धूनभिज्ञः
pāda a
pāda b
pāda c
pāda d
प्रियदुहितरम् + वत्सराजः → प्रियदुहितरं
म् + व्
वत्सराजः + अत्र → वत्सराजोऽत्र
ः + अ → ओ
हैमम् + तालद्रुमवनम् → हैमं
म् + त्
तालद्रुमवनम् + अभूत् → तालद्रुमवनमभूदत्र
म् + अ
no rule named — the builder's table does not hold this change
अभूत् + अत्र → तालद्रुमवनमभूदत्र
त् + अ
तस्य + एव → तस्यैव
अ + ए → ऐ
अत्र + उद्भ्रान्तः → अत्रोद्भ्रान्तः
अ + उ → ओ
स्तम्भम् + उत्पाट्य → स्तम्भमुत्पाट्य
म् + उ
no rule named — the builder's table does not hold this change
दर्पात् + इति → दर्पाद्
त् + इ
इति + आगन्तून् → इत्यागन्तून्
इ + आ
जनः + यत्र → जनो
ः + य्
no rule named — the builder's table does not hold this change
बन्धून् + अभिज्ञः → बन्धूनभिज्ञः
न् + अ
no rule named — the builder's table does not hold this change
प्रिय + दुहितृ → प्रियदुहितरम्
अ + द्
no rule named — the builder's table does not hold this change
वत्स + राजन् → वत्सराजः
अ + र्
no rule named — the builder's table does not hold this change
ताल + द्रुम → तालद्रुमवनम्
अ + द्
no rule named — the builder's table does not hold this change
द्रुम + वन → तालद्रुमवनम्
अ + व्
no rule named — the builder's table does not hold this change
Three sentences, and the joins mark each seam. वत्सराजोऽत्र is a visarga before short अ: वत्सराजः + अत्र gives वत्सराजो, the अ is swallowed, and its loss is written with the अवग्रह — वत्सराजोऽत्र (Pāṇini 6.1.113, 6.1.109, 6.1.87). तस्यैव is guṇa run to vṛddhi: तस्य + एव, अ meeting ए gives ऐ (6.1.88). अत्रोद्भ्रान्तः is plain guṇa, अ + उ to ओ (6.1.87), and इत्यागन्तून् is इति + आगन्तून्, the इ turning to य् before a vowel (6.1.77). तालद्रुमवनमभूदत्र shows a word-final त् voiced to द् before the vowel of अत्र (8.2.39): अभूत् + अत्र becomes अभूदत्र, and दर्पादिति the same, दर्पात् + इति to दर्पादिति.
प्रद्योतस्य षष्ठी · genitive — सम्बन्ध, a relation to another word
प्रियदुहितरम् द्वितीया · accusative — कर्म, the object
वत्सराजः प्रथमा · nominative — कर्ता, the agent
हैमम् प्रथमा · nominative — कर्ता, the agent
तालद्रुमवनम् प्रथमा · nominative — कर्ता, the agent
तस्य षष्ठी · genitive — सम्बन्ध, a relation to another word
राज्ञः षष्ठी · genitive — सम्बन्ध, a relation to another word
उद्भ्रान्तः प्रथमा · nominative — कर्ता, the agent
नलगिरिः प्रथमा · nominative — कर्ता, the agent
स्तम्भम् द्वितीया · accusative — कर्म, the object
दर्पात् पञ्चमी · ablative — हेतौ पञ्चमी — an ablative of cause, not of departure; ‘out of rut’, not ‘away from’
The ablative's default role is अपादान, the point a thing moves away from. दर्पात् is not that: it is the cause of the elephant's rampage, an ablative of reason (हेतौ पञ्चमी). Mallinātha glosses मदात्, ‘from the must,’ narrowing दर्प from pride in general to the one thing that makes a bull elephant tear its post out — the rut, not a place he leaves.
आगन्तून् द्वितीया · accusative — कर्म, the object
जनः प्रथमा · nominative — कर्ता, the agent
बन्धून् द्वितीया · accusative — कर्म, the object
अभिज्ञः प्रथमा · nominative — कर्ता, the agent
प्रकरण 1 · हलन्त्यम्
प्रकरण 2 · इको यणचि
प्रकरण 3 · स्तोः श्चुना श्चुः
प्रकरण 4 · वा शरि
प्रकरण 5 · अर्थवदधातुरप्रत्ययः प्रातिपदिकम्
प्रकरण 7 · अतोऽम्
प्रकरण 8 · हो ढः
प्रकरण 11 · स्वरादिनिपातमव्ययम्
प्रकरण 12 · लः कर्मणि च भावे चाकर्मकेभ्यः
प्रकरण 21 · सत्यापपाशरूपवीणातूलश्लोकसेनालोमत्वचवर्मवर्णचूर्णचुरादिभ्यो णिच्
प्रकरण 22 · स्वतन्त्रः कर्ता
प्रकरण 26 · सुप आत्मनः क्यच्
प्रकरण 34 · ण्वुल्तृचौ
प्रकरण 36 · तुमुन्ण्वुलौ क्रियायां क्रियार्थायाम्
प्रकरण 48 · शेषे
not in the abridgement
प्रियदुहितरम्
प्रिय · दुहितृ
प्रिया दुहिता
कर्मधारय — the daughter, and she is the dear one
कर्मधारय. his darling daughter — Mallinātha does not unpack the compound. He names her instead: वासवदत्ता, which is the whole of what a reader needed from it. The vigraha here is restored from his gloss rather than read out of it
uncheckedMallinātha, Sañjīvinī (the identification), in a stanza he prints without a number and calls an interpolation; the vigraha restored“priyaduhitaraṃ vāsavadattāṃ”
वत्सराजः
वत्स · राजन्
वत्सानां राजा
तत्पुरुष (genitive) — the king of the Vatsas
तत्पुरुष. the king of Vatsa — Mallinātha names him and his country in one breath: वत्सदेशाधीश्वर उदयनः, Udayana, overlord of the Vatsa country. The compound is also a small lesson in what a compound does to its last word. राजन् on its own makes a nominative राजा; at the end of a tatpuruṣa it takes the affix टच् by Pāṇini 5.4.91 — राजाहस्सखिभ्यष्टच् — and becomes the a-stem राज, so the form here is वत्सराजः
uncheckedMallinātha, Sañjīvinī (the identification), in a stanza he prints without a number and calls an interpolation; Pāṇini 5.4.91, by way of skt-mcp, for the samāsānta“vatsarājo vatsadeśādhīśvara udayanaḥ”
तालद्रुमवनम्
ताल · द्रुम · वन
तालाः एव द्रुमाः
कर्मधारय — palms, and they are the trees
तालद्रुमाणां वनम्
तत्पुरुष (genitive) — a wood of those trees
तत्पुरुष. a grove of palm trees — Mallinātha carries the compound into his gloss whole and unpacks only the word beside it, हैमम् as सौवर्णम्, of gold. So the grove is a real grove of palms and the whole of it is metal: a king's possession of the kind a story keeps rather than a thing anyone could plant
uncheckedDCS (members); Mallinātha, Sañjīvinī, who repeats the compound without unpacking it, in a stanza he prints without a number; the vigraha restored“haimaṃ sauvarṇaṃ tāladrumavanamabhūt”
a-stem masculine, षष्ठी एकवचन genitive singular
प्रद्योतस्य
प्रद्योत
Pradyota's — Mallinātha says who he is: उज्जयिनीनायकस्य राज्ञः, the king who was this city's lord. The genitive reaches across the pāda to प्रियदुहितरम् and not to the nearer word
ṛ-stem feminine, द्वितीया एकवचन accusative singular
प्रियदुहितरम्
printed प्रियदुहितरं
दुहितृ
his daughter — Vāsavadattā, whom Mallinātha names. She is the object of जह्रे, and the accusative is the whole of the first story: somebody took her. It is a kinship term: the strong cases go to -अर् and stop, दुहितरम्, where an agent noun in ṛ would lengthen and give कर्तारम्
a-stem masculine, प्रथमा एकवचन nominative singular
वत्सराजः
printed वत्सराजोऽत्र
राज, the a-stem राजन् becomes at the end of a tatpuruṣa
the king of Vatsa — Udayana, whom Mallinātha names. He is the subject of जह्रे: the man who carried her off. राजन् takes the affix टच् at the end of a tatpuruṣa and declines as an a-stem from there, so the nominative is वत्सराजः and not the वत्सराजा the bare word would give
वत्सराजः, “the king of Vatsa,” is Udayana, whom Mallinātha names with his country in one breath, वत्सदेशाधीश्वर उदयनः. The compound also teaches a small rule: राजन्, “king,” takes the affix टच् at the end of a tatpuruṣa, so the stem shortens and declines as an a-stem — वत्सराजः in the nominative, वत्सराजोऽत्र here. The proof is a line down, where the same word राज्ञन् stands free and declines its own way, राज्ञः in the genitive. The compound gives राजः; the free word gives राज्ञः; it is one noun in two dresses.
अव्यय
अत्र
printed वत्सराजोऽत्र
अत्र
here — Mallinātha fills it out as अत्र प्रदेशे, in this spot. The word stands three times in the stanza, once at the head of each story, and each time it is a hand pointing at ground the listener is standing on
√हृ, class 1, लिट्, atmanepada, third person singular
जह्रे
√हृ
carried her off — the perfect, the tense for a past nobody present witnessed, which is exactly what a guide's story is. Mallinātha glosses it with जहार, the same tense in the other voice: √हृ takes either, and the choice of voice makes no difference he thought worth remarking on
The stanza tells three stories and puts each in the past a different way, and the tenses are the lesson. जह्रे, “carried her off,” is the perfect (लिट्), the tense Sanskrit keeps for a past outside the speaker's own witness — परोक्षे लिट् — which is exactly what a guide's tale is. अभूत्, “there was,” is the aorist (लुङ्), a past that makes no claim about its own distance. उद्भ्रान्तः, “went rampaging,” is a participle, no finite tense at all, left standing with किल. One frame verb, रमयति, holds all three: the guide entertains kinsmen with talk of that sort.
a-stem neuter, प्रथमा एकवचन nominative singular
हैमम्
printed हैमं
हैम
of gold — Mallinātha glosses सौवर्णम्. हैम is हेमन्, gold, with the vṛddhi of its first vowel and the affix अण्: the taddhita that turns a material into 'made of it'. It is an adjective, neuter here with the तालद्रुमवनम् it describes
a-stem neuter, प्रथमा एकवचन nominative singular
तालद्रुमवनम्
printed तालद्रुमवनमभूदत्र
वन
a grove of palms — the subject of अभूत्, and the whole of the second story: it stood here, and it was gold
√भू, class 1, लुङ्, parasmaipada, third person singular
अभूत्
printed तालद्रुमवनमभूदत्र
√भू
there was — the aorist, a past that claims nothing about its own distance. Three stories, three ways of putting a thing in the past: the perfect for the carrying-off, this for the grove, and किल with a participle for the elephant
अव्यय
अत्र
printed तालद्रुमवनमभूदत्र
अत्र
here — the second of the three, and Mallinātha varies his own gloss to अत्र स्थले, in this place, so that the pointing does not go flat
pronoun, षष्ठी एकवचन genitive singular
तस्य
printed तस्यैव
तद्
of that one — and Mallinātha says which: तस्यैव राज्ञः प्रद्योतस्य, of that same king Pradyota. The pronoun reaches back over the first story to the man whose daughter was taken, not to the man who took her
अव्यय
एव
printed तस्यैव
एव
that very one — एव here identifies rather than excludes: the king of the second story is the king of the first, and the guide is saying so as he moves the party along
an-stem masculine, षष्ठी एकवचन genitive singular
राज्ञः
राजन्
of the king — the same word that stood inside वत्सराजः a line earlier, standing here on its own and declining its own way: राज्ञः in the genitive, where the compound gave राजः in the nominative
अव्यय
अत्र
printed अत्रोद्भ्रान्तः
अत्र
here — the third and last, and it opens the pāda as the other two opened theirs. Three sentences, three spots, one word doing the work of the guide's arm
√भ्रम् + क्त, प्रथमा एकवचन nominative singular
उद्भ्रान्तः
printed अत्रोद्भ्रान्तः
उद्भ्रान्त, from उद् + √भ्रम्
went rampaging — a क्त participle with an active sense, which is what क्त gives a verb of motion: not the whirling done to him but the whirling he did. Mallinātha takes the उद् and the भ्रम् apart into two acts — उत्पत्य भ्रमणं कृतवान्, he sprang up and then did his whirling — and the finite verb he uses to gloss a participle is कृतवान्, itself a participle
अव्यय
किल
किल
so they say — the particle of hearsay, and it is the one word in the stanza that admits the whole thing is a story. It stands over the third sentence and colours the other two, since the teller is the same
किल is the particle of hearsay, “so they say,” and it is the one word in the stanza that admits the whole thing is a story. It stands over the third sentence, the elephant Nalagiri tearing out his tethering-post in rut, but it colours the other two as well: none of this was seen by anyone now living, and the guide is passing on what is passed to him. इति then closes all three at once — इत्थंभूताभिः कथाभिः, “with talk of that sort” — and hands them to रमयति. The stanza is built as a tour: अत्र, अत्र, अत्र, three times a pointing arm, and किल the honest word that the pointing is at legend.
i-stem masculine, प्रथमा एकवचन nominative singular
नलगिरिः
नलगिरि
Nalagiri — an elephant, and Mallinātha says so with नाम, 'by name', which is how a commentator marks a word that is not to be unpacked. So the word is left whole here too: it is a name, not a compound with a meaning to be got out of it
a-stem masculine, द्वितीया एकवचन accusative singular
स्तम्भम्
printed स्तम्भमुत्पाट्य
स्तम्भ
the post — Mallinātha glosses आलानम्, the stake an elephant is tethered to. The verse's word is the general one for a pillar or a post, and the gloss makes it the particular one this story needs
√पट् (10) + ल्यप्
उत्पाट्य
printed स्तम्भमुत्पाट्य
उत्पाट्य, from उद् + √पट्
having torn it up — Mallinātha glosses उद्धृत्य, having pulled it out, and answers an absolutive with an absolutive. The form is ल्यप् and not क्त्वा because the root carries a prefix; the stem it is built on is पाटय्, since a root of the tenth class forms its stem with णिच्
a-stem masculine, पञ्चमी एकवचन ablative singular
दर्पात्
printed दर्पाद्
दर्प
out of rut — Mallinātha glosses मदात्, from the must that comes on a bull elephant, which narrows दर्प from pride in general to the one thing that makes an elephant do this. The ablative gives the cause
अव्यय
इति
printed इत्यागन्तून्
इति
such — the word that closes a quotation, and here it closes all three stories at once. Mallinātha spells out what it is standing for: इत्थंभूताभिः कथाभिः, 'with talk of that sort', so इति is not quoting the words but naming the kind
u-stem masculine, द्वितीया बहुवचन accusative plural
आगन्तून्
printed इत्यागन्तून्
आगन्तु
come from elsewhere — Mallinātha glosses देशान्तरादागतान्, arrived from another country, and then names the affix: औणादिकस्तुन्प्रत्ययः, the तुन् of the Uṇādi list, which is what makes आगन्तु out of आ + √गम्. The Uṇādi affixes are the tradition's place for words that plainly come from a root but not by any rule of the Aṣṭādhyāyī. It is an adjective here, qualifying बन्धून्
√रम् with णिच्, class 1, लट्, parasmaipada, third person singular
रमयति
√रम् with णिच्
entertains them — Mallinātha answers a causative with a causative, विनोदयति. रमयति is √रम् with णिच्: not taking pleasure but giving it. The root is ātmanepada on its own account — रमते, he enjoys himself — and the causative comes out parasmaipada, which is the ordinary way of it. This is the stanza's one present tense, and it is what the guide is doing while he tells the rest
रमयति, “entertains them,” answers Mallinātha's विनोदयति and is √रम् with the causative णिच्. √रम् on its own is ātmanepada, “to take pleasure”; the णिच् turns it round to “to give pleasure,” and a causative of an ātmanepada root goes to parasmaipada, रमयति. So the townsman does not enjoy the stories — he makes his out-of-town kinsmen enjoy them. आगन्तून्, the kinsmen “come from elsewhere,” carries its own small grammar: Mallinātha names the affix, औणादिकस्तुन्प्रत्ययः, the तुन् of the Uṇādi list, which makes a word for the one who has come.
a-stem masculine, प्रथमा एकवचन nominative singular
जनः
printed जनो
जन
the people — a singular that means everybody, as it has through the whole Ujjayinī stretch. Mallinātha adds कोविदः to it, the knowledgeable sort, so the subject is the townsman who knows his city's stories
अव्यय
यत्र
यत्र
where — the relative that ties the stanza back to the city, and Mallinātha supplies the name it answers to: यत्र विशालायाम्, in Viśālā, which is Ujjayinī's other name. Against it stand the three अत्र of the stanza, which point inside the city the यत्र has already put us in
u-stem masculine, द्वितीया बहुवचन accusative plural
बन्धून्
printed बन्धूनभिज्ञः
बन्धु
his kinsmen — the object of रमयति, with आगन्तून् qualifying it: relatives who have come in from somewhere else. The stories are told to family, not to strangers, which is what makes the telling a kindness rather than a trade
a-stem masculine, प्रथमा एकवचन nominative singular
अभिज्ञः
printed बन्धूनभिज्ञः
अभिज्ञ
who knows — and Mallinātha says what he knows, by making the verse's bare word into a compound of his own: पूर्वोक्तकथाभिज्ञः, versed in the stories just told. The word is अभि + √ज्ञा, 'to recognise', and it takes what it recognises in a compound or in the genitive
अत्र · वत्सराजः · प्रद्योतस्य · प्रियदुहितरम् · जह्रे · अत्र · तस्य · एव · राज्ञः · हैमम् · तालद्रुमवनम् · अभूत् · अत्र · नलगिरिः · दर्पात् · स्तम्भम् · उत्पाट्य · उद्भ्रान्तः · किल · इति · अभिज्ञः · जनः · यत्र · आगन्तून् · बन्धून् · रमयति
uncheckedMallinātha, Sañjīvinī, whose commentary is written as anvaya, in a stanza he prints without a number“atra pradeśe vatsarājo … pradyotasya … priyaduhitaraṃ … jahre | atra sthale tasyaiva rājña pradyotasya haimaṃ … tāladrumavanamabhūt | atra nalagirir … darpān … stambham … utpāṭya … udbhrānta … | abhijñaḥ … jana āgantūn … bandhūnyatra … ramayati”
the dependency structure
रमयति · क्रिया — entertains them, विनोदयति; the frame the three stories sit in, √रम् with णिच्: not taking pleasure but giving it
जनः · कर्ता — the people, a singular that means everybody; Mallinātha adds कोविदः, the knowledgeable sort, so the subject is the townsman who knows the tales
अभिज्ञः · agreeing with जनः — who knows them, पूर्वोक्तकथाभिज्ञः, versed in the stories just told
बन्धून् · कर्म — his kinsmen; the stories are told to family, not to strangers
आगन्तून् · agreeing with बन्धून् — come from elsewhere, देशान्तरादागतान्; the तुन् of the Uṇādi list makes a word of the one who has come
यत्र · where — यत्र विशालायाम्, the relative that ties the stanza back to the city
इति · such — इत्थंभूताभिः कथाभिः, with talk of that sort; the one word that closes all three stories at once and hands them to रमयति
जह्रे · क्रिया — carried her off, जहार; the perfect, the tense for a past nobody present witnessed, which is exactly what a guide's story is
अत्र · अधिकरण — here, अत्र प्रदेशे; the first of three, a hand pointing at ground
वत्सराजः · कर्ता — the king of Vatsa, Udayana, वत्सदेशाधीश्वर उदयनः, the man who carried her off
प्रियदुहितरम् · कर्म — his darling daughter, Vāsavadattā; the accusative is the whole of the first story, somebody took her
प्रद्योतस्य · षष्ठी — Pradyota's, उज्जयिनीनायकस्य राज्ञः; the genitive reaches across the pāda to the daughter, not to the nearer word
अभूत् · क्रिया — there was; the aorist, a past that claims nothing about its own distance
अत्र · अधिकरण — here, अत्र स्थले; Mallinātha varies his own gloss so the pointing does not go flat
तालद्रुमवनम् · कर्ता — a grove of palms, the whole of the second story: it stood here, and it was gold
हैमम् · agreeing with the grove — of gold, सौवर्णम्; हेमन् with vṛddhi and the affix अण्, the taddhita that turns a material into ‘made of it’
राज्ञः · षष्ठी — of the king; the same word that stood inside वत्सराजः a line earlier, declining now on its own
तस्य · षष्ठी — of that one, तस्यैव राज्ञः प्रद्योतस्य; the pronoun reaches back over the first story to Pradyota
एव · that very one — एव identifies rather than excludes: the king of the second story is the king of the first
उद्भ्रान्तः · went rampaging — a क्त participle with an active sense, which is what क्त gives a verb of motion: not the whirling done to him but the whirling he did
अत्र · अधिकरण — here, the third and last, opening the pāda as the other two opened theirs
नलगिरिः · कर्ता — Nalagiri, an elephant; Mallinātha marks it नाम, ‘by name’, the sign that a word is not to be unpacked
स्तम्भम् · कर्म — the post, आलानम्, the stake an elephant is tethered to
उत्पाट्य · having torn it up — उद्धृत्य; the form is ल्यप्, not क्त्वा, because the root carries the prefix उद्
दर्पात् · अपादान by case, हेतु by force — out of rut, मदात्
किल · so they say — the particle of hearsay, the one word that admits the whole thing is a story
uncheckedMallinātha’s Sañjīvinī, whose anvaya of this stanza he prints without a number, for the prose order and the reading; the Telugu drawn from Vedam Venkataraya Sastri’s Āndhra Meghasandeśam and the Bālānandinī
Where a man who knows the stories keeps kinsmen up from out of town amused with them: here the king of Vatsa carried off Pradyota's darling daughter; here that same king had his grove of golden palm trees; and here, they say, Nalagiri tore his tethering-post out of the ground in rut and went rampaging.
uncheckedthe reader's reading, following Mallinātha's gloss
Where a man who knows the stories keeps kinsmen up from out of town amused with them: here the king of Vatsa carried off Pradyota's darling daughter; here that same king had his grove of golden palm trees; and here, they say, Nalagiri tore his tethering-post out of the ground in rut and went rampaging.
भाविक — The figure of vividness: something past or still to come is put in front of the eye as though it were happening, and what does it is the sheer wonder of the thing told. Mallinātha quotes the handbooks' line for it — अतीतानागते यत्र प्रत्यक्षत्वेन लक्षिते । अत्यद्भुतार्थकथनाद्भाविकं तदुदाहृतम्, "where past and future are marked as seen, by the telling of a matter past all wonder, that is called bhāvika."
Mallinātha names it of the whole stanza, and the stanza is built for nothing else. Three sentences of old story, each pinned to a spot by अत्र — here, here, here — and किल over the last of them to keep the teller outside what he tells. The one present-tense verb is रमयति, which is not part of any story but the thing being done now, in front of the listener. So the carrying-off, the golden grove and the elephant are all shown at the place they happened rather than reported from a distance, which is what the figure asks for: the past made present by being pointed at.
uncheckedMallinātha, Sañjīvinī, citing the handbooks' definition, in a stanza he prints without a number“atra bhāvikālaṅkāraḥ | taduktaṃ — “atītānāgate yatra pratyakṣatvena lakṣite | atyadbhutārthakathanādbhāvikaṃ tadudāhṛtam” iti”