printलघुसिद्धान्तकौमुदी — practise the grammar

मेघदूतम् · कालिदास · 1.48

चर्मण्वती · one pearl on the earth, seen from above

त्वय्यादातुं जलमवनते शार्ङ्गिणो वर्णचौरे

त्व
य्या
दा
तुं
ज
ल
म
व
न
ते
शा
र्ङ्गि
णो
व
र्ण
चौ
रे

तस्याः सिन्धोः पृथुमपि तनुं दूरभावात् प्रवाहम्

त
स्याः
सि
न्धोः
पृ
थु
म
पि
त
नुं
दू
र
भा
वा
त्प्र
वा
हम्

प्रेक्षिष्यन्ते गगनगतयो नूनमावर्ज्य दृष्टीः

प्रे
क्षि
ष्य
न्ते
ग
ग
न
ग
त
यो
नू
न
मा
व
र्ज्य
दृ
ष्टीः

एकं मुक्तागुणमिव भुवः स्थूलमध्येन्द्रनीलम्

ए
कं
मु
क्ता
गु
ण
मि
व
भु
वः
स्थू
ल
म
ध्ये
न्द्र
नी
लम्

pāda a

  • त्वguruthe conjunct य्य that follows it
  • य्याguruits long vowel आ
  • दाguruits long vowel आ
  • तुंguruthe anusvāra it carries
  • जlaghuits short vowel, with a single consonant after it
  • लlaghuits short vowel, with a single consonant after it
  • मlaghuits short vowel, with a single consonant after it
  • वlaghuits short vowel, with a single consonant after it
  • नlaghuits short vowel, with a single consonant after it
  • तेguruits long vowel ए
  • शाguruits long vowel आ
  • र्ङ्गिlaghuits short vowel, with a single consonant after it
  • णोguruits long vowel ओ
  • वguruthe conjunct र्ण that follows it
  • र्णlaghuits short vowel, with a single consonant after it
  • चौguruits long vowel औ
  • रेguruits long vowel ए
  • yati after 4 — a word ends here — त्वय्यादातुं
  • yati after 10 — a word ends here — जलमवनते

pāda b

  • तguruthe conjunct स्य that follows it
  • स्याःguruthe visarga it carries
  • सिguruthe conjunct न्ध that follows it
  • न्धोःguruthe visarga it carries
  • पृlaghuits short vowel, with a single consonant after it
  • थुlaghuits short vowel, with a single consonant after it
  • मlaghuits short vowel, with a single consonant after it
  • पिlaghuits short vowel, with a single consonant after it
  • तlaghuits short vowel, with a single consonant after it
  • नुंguruthe anusvāra it carries
  • दूguruits long vowel ऊ
  • रlaghuits short vowel, with a single consonant after it
  • भाguruits long vowel आ
  • वाguruits long vowel आ
  • त्प्रlaghuits short vowel, with a single consonant after it
  • वाguruits long vowel आ
  • हम्guruthe end of the pāda, which counts the last syllable heavy
  • yati after 4 — a word ends here — सिन्धोः
  • yati after 10 — a word ends here — तनुं

pāda c

  • प्रेguruits long vowel ए
  • क्षिguruthe conjunct ष्य that follows it
  • ष्यguruthe conjunct न्त that follows it
  • न्तेguruits long vowel ए
  • गlaghuits short vowel, with a single consonant after it
  • गlaghuits short vowel, with a single consonant after it
  • नlaghuits short vowel, with a single consonant after it
  • गlaghuits short vowel, with a single consonant after it
  • तlaghuits short vowel, with a single consonant after it
  • योguruits long vowel ओ
  • नूguruits long vowel ऊ
  • नlaghuits short vowel, with a single consonant after it
  • माguruits long vowel आ
  • वguruthe conjunct र्ज्य that follows it
  • र्ज्यlaghuits short vowel, with a single consonant after it
  • दृguruthe conjunct ष्ट that follows it
  • ष्टीःguruthe visarga it carries
  • yati after 4 — a word ends here — प्रेक्षिष्यन्ते
  • yati after 10 — a word ends here — गगनगतयो

pāda d

  • एguruits long vowel ए
  • कंguruthe anusvāra it carries
  • मुguruthe conjunct क्त that follows it
  • क्ताguruits long vowel आ
  • गुlaghuits short vowel, with a single consonant after it
  • णlaghuits short vowel, with a single consonant after it
  • मिlaghuits short vowel, with a single consonant after it
  • वlaghuits short vowel, with a single consonant after it
  • भुlaghuits short vowel, with a single consonant after it
  • वःguruthe visarga it carries
  • स्थूguruits long vowel ऊ
  • लlaghuits short vowel, with a single consonant after it
  • मguruthe conjunct ध्य that follows it
  • ध्येguruits long vowel ए
  • न्द्रlaghuits short vowel, with a single consonant after it
  • नीguruits long vowel ई
  • लम्guruthe end of the pāda, which counts the last syllable heavy
  • yati after 4 — it falls inside the compound मुक्तागुणम्
  • yati after 10 — a word ends here — भुवः

  • त्वयि + आदातुम् → त्वय्यादातुं

    इ + आ

  • जलम् + अवनते → जलमवनते

    म् + अ

    no rule named — the builder's table does not hold this change

  • शार्ङ्गिणः + वर्णचौरे → शार्ङ्गिणो

    ः + व्

    no rule named — the builder's table does not hold this change

  • पृथुम् + अपि → पृथुमपि

    म् + अ

    no rule named — the builder's table does not hold this change

  • तनुम् + दूरभावात् → तनुं

    म् + द्

  • गगनगतयः + नूनम् → गगनगतयो

    ः + न्

    no rule named — the builder's table does not hold this change

  • नूनम् + आवर्ज्य → नूनमावर्ज्य

    म् + आ

    no rule named — the builder's table does not hold this change

  • एकम् + मुक्तागुणम् → एकं

    म् + म्

  • मुक्तागुणम् + इव → मुक्तागुणमिव

    म् + इ

    no rule named — the builder's table does not hold this change

  • वर्ण + चौर → वर्णचौरे

    अ + च्

    no rule named — the builder's table does not hold this change

  • दूर + भाव → दूरभावात्

    अ + भ्

    no rule named — the builder's table does not hold this change

  • गगन + गति → गगनगतयः

    अ + ग्

    no rule named — the builder's table does not hold this change

  • मुक्ता + गुण → मुक्तागुणम्

    आ + ग्

    no rule named — the builder's table does not hold this change

  • स्थूल + मध्य → स्थूलमध्येन्द्रनीलम्

    अ + म्

    no rule named — the builder's table does not hold this change

  • मध्य + इन्द्रनील → स्थूलमध्येन्द्रनीलम्

    अ + इ → ए · falls inside the syllable ध्ये

The first pāda runs त्वय्यादातुं जलमवनते शार्ङ्गिणो वर्णचौरे. त्वयि + आदातुम् turns the इ to य् before the following vowel (Pāṇini 6.1.77, the yaṇ substitution), and आदातुम् keeps its म् as अनुस्वार before the ज् of जलम्. जलम् + अवनते and पृथुम् + अपि and नूनम् + आवर्ज्य and मुक्तागुणम् + इव all show the plainer case: a म् before a vowel simply carries onto it unchanged. शार्ङ्गिणः + वर्णचौरे and गगनगतयः + नूनम् take a visarga after अ to ओ before the voiced sound that follows (शार्ङ्गिणो, गगनगतयो), while दृष्टीः + एकम् takes the visarga after ई to र् before the vowel (दृष्टीरेकम्). दूरभावात् + प्रवाहम् keeps its त् unchanged before the unvoiced प्, and भुवः + स्थूल- keeps the visarga before the sibilant स्.

  • Chinnaya Sūri, Bālavyākaraṇam — సంధిపరిచ్ఛేదము; vendor/balavyakaranam-sandhi.txt

  • त्वयि सप्तमी · locative — सति सप्तमी — a locative absolute, not a plain locative of place

    with वर्णचौरे

    त्वयि would ordinarily be ‘in you’, an अधिकरण locative naming where something happens. Mallinātha instead supplies सति after the clause — त्वयि जलमादातुमवनते सति, ‘you being bent down to take up water’ — which is the signature of a locative absolute: a whole clause set in the seventh case to mean ‘when this is so’. The first pāda is thus not a place but a time, hung on this one ending, and it fixes the moment of the seeing: it is while the cloud stoops that the sky-goers look down.

    • Mallinātha, Sañjīvinī — 1.48: tvayi jalamādātumavanate sati

  • जलम् द्वितीया · accusative — कर्म, the object

  • अवनते सप्तमी · locative — अधिकरण, the location

  • शार्ङ्गिणः षष्ठी · genitive — सम्बन्ध, a relation to another word

  • तस्याः षष्ठी · genitive — सम्बन्ध, a relation to another word

  • सिन्धोः षष्ठी · genitive — सम्बन्ध, a relation to another word

  • पृथुम् द्वितीया · accusative — कर्म, the object

  • तनुम् द्वितीया · accusative — कर्म, the object

  • दूरभावात् पञ्चमी · ablative — हेतौ पञ्चमी — an ablative of cause, not of departure

    The ablative's default role is अपादान, the point moved away from. दूरभावात् is not a ‘from’ of motion but a ‘because of’: Mallinātha shortens the compound to दूरत्वात्, ‘from the far-ness’, and it gives the reason the broad river is taken for a thin one. It is the only word in the stanza that explains the picture rather than drawing it — the distance is what makes पृथु look तनु.

    • Mallinātha, Sañjīvinī — 1.48: pṛthumapi dūratvāttanuṃ sūkṣmatayā pratīyamānaṃ

  • प्रवाहम् द्वितीया · accusative — कर्म, the object

  • दृष्टीः द्वितीया · accusative — कर्म, the object

  • एकम् द्वितीया · accusative — कर्म, the object

  • मुक्तागुणम् द्वितीया · accusative — कर्म, the object

    with स्थूलमध्येन्द्रनीलम्

  • भुवः षष्ठी · genitive — सम्बन्ध, a relation to another word

प्रकरण 1 · हलन्त्यम्

प्रकरण 2 · इको यणचि

प्रकरण 3 · स्तोः श्चुना श्चुः

प्रकरण 4 · वा शरि

प्रकरण 5 · अर्थवदधातुरप्रत्ययः प्रातिपदिकम्

प्रकरण 6 · औङ आपः

प्रकरण 7 · अतोऽम्

प्रकरण 8 · हो ढः

प्रकरण 11 · स्वरादिनिपातमव्ययम्

प्रकरण 12 · लः कर्मणि च भावे चाकर्मकेभ्यः

प्रकरण 13 · अदिप्रभृतिभ्यः शपः

प्रकरण 14 · जुहोत्यादिभ्यः श्लुः

प्रकरण 22 · स्वतन्त्रः कर्ता

प्रकरण 34 · ण्वुल्तृचौ

प्रकरण 36 · तुमुन्ण्वुलौ क्रियायां क्रियार्थायाम्

प्रकरण 48 · शेषे

प्रकरण 60 · स्त्रियाम्

not in the abridgement

वर्णचौरे

वर्ण · चौर

  1. वर्णस्य चौरः, तस्मिन्

    तत्पुरुष (genitive) — the thief of that colour

तत्पुरुष — it agrees with त्वयि. thief of his colour — and Mallinātha will not let वर्ण stay at 'colour': वर्णस्य कान्तेः, of the lustre. What the cloud steals is not a shade but a sheen. He then says plainly what the theft amounts to, तत्तुल्यवर्ण इत्यर्थः, 'meaning, of the same colour as his'. The compound is a charge of resemblance: to look like Viṣṇu is to have taken something from him

uncheckedMallinātha, Sañjīvinī“śārṅgiṇaḥ kṛṣṇasya varṇasya kānteścaure varṇacaure | tattulyavarṇa ityarthaḥ”

दूरभावात्

दूर · भाव

  1. दूरस्य भावः, तस्मात्

    तत्पुरुष (genitive) — the state of being far off

तत्पुरुष. because of the distance — Mallinātha shortens it to दूरत्वात्, swapping भाव for त्व, which is the other way Sanskrit makes an abstract noun out of an adjective. Both mean 'far-ness'; the verse takes the one that scans. The ablative is what makes the wide river look narrow, so the whole stanza's picture depends on this one word

uncheckedMallinātha, Sañjīvinī, who replaces the compound with दूरत्वात्; the vigraha restored“pṛthumapi dūratvāttanuṃ sūkṣmatayā pratīyamānaṃ”

गगनगतयः

गगन · गति

  1. गगने गतिः येषां ते

    बहुव्रीहि — those whose going is in the sky

बहुव्रीहि — it refers to खेचराः. sky-goers — Mallinātha gives the vigraha and then names them twice, खेचराः, sky-walkers, and सिद्धगन्धर्वादयः, 'Siddhas, Gandharvas and the rest' — the same crowd that gave the cloud the road one stanza back. Then he points at the grammar: अयमपि बहुव्रीहिः पूर्ववज्जन्माद्युत्तरपदेषु द्रष्टव्यः, 'this bahuvrīhi too is to be seen as one of the जन्मन्-final sort, as before'. He means the rule of Vāmana's he cited at 1.47: the first member stands in the locative and the compound as a whole is a nominative, so the members do not agree, and the form is licensed only because there is no other way to say it. Two stanzas running, the same irregularity, and he takes the second as settled by the first

uncheckedMallinātha, Sañjīvinī, who refers the compound back to the rule he cited at 1.47; the word it describes is supplied“gagane gatiryeṣāṃ te gaganagatayaḥ khecarāḥ siddhagandharvādayaḥ || ayamapi bahuvrīhiḥ pūrvavajjanmādyuttarapadeṣu draṣṭavyaḥ”

मुक्तागुणम्

मुक्ता · गुण

  1. मुक्तानां गुणः, तम्

    तत्पुरुष (genitive) — a string of pearls

तत्पुरुष. pearl string — glossed मुक्ताहारम्, a pearl necklace. गुण is a thread before it is a virtue, and the older sense is the one at work: what holds the pearls. The necklace belongs to भुवः, the earth, so the river seen from above is jewellery on a body the size of the world

uncheckedMallinātha, Sañjīvinī“bhuvo bhūmermuktāguṇaṃ muktāhāramiva”

स्थूलमध्येन्द्रनीलम्

स्थूल · मध्य · इन्द्रनील

  1. स्थूलः मध्यः च इन्द्रनीलः

    कर्मधारय — a sapphire that is large and central

  2. स्थूलमध्येन्द्रनीलः यस्य सः, तम्

    बहुव्रीहि — the necklace that has such a stone

बहुव्रीहि — it refers to मुक्तागुणम्. with a big sapphire in the middle — Mallinātha takes the two adjectives separately, स्थूलो महान्, big, and मध्यो मध्यमणीभूतः, 'central, being the middle gem', before hanging both on इन्द्रनील. The middle stone of a pearl necklace is where a dark jewel goes, and the dark jewel here is the cloud itself: the river is the string, the cloud bent over it is the sapphire, and the sky-goers are looking down at both at once

uncheckedMallinātha, Sañjīvinī“ekamekayaṣṭikaṃ sthūlo mahānmadhyo madhyamaṇībhūta indranīlo yasya taṃ”

  • pronoun, सप्तमी एकवचन locative singular

    त्वयि

    printed त्वय्यादातुं

    त्वद्

    you — and the case is what matters. Mallinātha writes सति after it, त्वयि जलमादातुमवनते सति, which is the mark of a locative absolute: not 'in you' but 'you being bent down'. The whole first pāda is a clause hung on this one ending, and it says when the seeing happens

  • √दा + तुमुन्

    आदातुम्

    printed त्वय्यादातुं

    आदातुम्, from आ + √दा

    to take up — the infinitive of purpose: the cloud bends in order to draw water. √दा is to give, and with आ it turns round and means to take, which is the ordinary reversal that prefix works

  • a-stem neuter, द्वितीया एकवचन accusative singular

    जलम्

    printed जलमवनते

    जल

    water — the object of the infinitive, which is how an infinitive keeps a verb's government while losing its endings. The cloud that was told to bathe a god in flowers at 1.45 is here doing the plain thing a cloud does

  • √नम् + क्त, सप्तमी एकवचन locative singular

    अवनते

    printed जलमवनते

    अवनत, from अव + √नम्

    bent down — the same root √नम् that stood at 1.47 in परिणताम्, where the bending was a change of nature; here it is a change of height. With त्वयि it makes the locative absolute Mallinātha marks with सति, and the sense of the pair is 'when you stoop'

  • in-stem masculine, षष्ठी एकवचन genitive singular

    शार्ङ्गिणः

    printed शार्ङ्गिणो

    शार्ङ्गिन्

    of the bearer of the Śārṅga bow — glossed कृष्णस्य. The name is another possessive in इनि, like वीणिभिः at 1.47: the god is named by the weapon he carries. Śārṅga is Viṣṇu's bow, made of horn, and the point of naming him here is his colour rather than his weapon

  • a-stem masculine, सप्तमी एकवचन locative singular

    वर्णचौरे

    चौर

    thief — the strong word, not 'like' or 'resembling'. It agrees with त्वयि and so belongs to the absolute clause: while the cloud stoops, it is the thief of Viṣṇu's colour. Kālidāsa has called the cloud dark twice already by comparison; here he calls it dark by accusation

    वर्णचौरे, “thief of his colour,” is the strong word — not ‘like’ or ‘resembling’ but an accusation. Mallinātha will not let वर्ण stay at ‘colour’: he glosses वर्णस्य कान्तेः, “of the lustre,” so what the cloud steals is a sheen and not a shade. Then he says plainly what the theft amounts to, तत्तुल्यवर्ण इत्यर्थः, “meaning, of the same colour as his.” The word agrees with त्वयि and so belongs to the locative-absolute clause: while the cloud stoops, it is the thief of the colour of शार्ङ्गिन्, glossed कृष्णस्य, the dark Viṣṇu named here by his horn bow. Kālidāsa has called the cloud dark twice already by comparison; here he calls it dark by charge.

    • Mallinātha, Sañjīvinī — 1.48: śārṅgiṇaḥ kṛṣṇasya varṇasya kānteścaure varṇacaure | tattulyavarṇa ityarthaḥ

  • pronoun, षष्ठी एकवचन genitive singular

    तस्याः

    तद्

    of that — feminine, pointing back at the river of 1.47, which was named there only as a king's fame. The pronoun is what carries the identification across the stanza break, and it is also what settles the gender of सिन्धोः

  • u-stem feminine, षष्ठी एकवचन genitive singular

    सिन्धोः

    सिन्धु

    river — and feminine, which तस्याः before it proves and Mallinātha's चर्मण्वत्याख्यायाः confirms. सिन्धु is masculine when it means the sea and feminine when it means a river, so the gender is doing lexical work: this is the Charmaṇvatī, not an ocean

  • u-stem masculine, द्वितीया एकवचन accusative singular

    पृथुम्

    printed पृथुमपि

    पृथु

    broad — what the river actually is. It and तनुम् describe the same word and contradict each other, which is the whole point of the line: the stanza states the fact and the appearance side by side and lets अपि do the work of 'although'

  • अव्यय

    अपि

    printed पृथुमपि

    अपि

    though — the concessive, standing between the two adjectives it holds apart. Mallinātha keeps it in his gloss unchanged, पृथुमपि दूरत्वात्तनुम्, because there is no shorter way to say that a thing is one way and looks another

  • u-stem masculine, द्वितीया एकवचन accusative singular

    तनुम्

    printed तनुं

    तनु

    thin — and Mallinātha is careful that it is not a fact about the river: सूक्ष्मतया प्रतीयमानम्, 'appearing as fine'. The participle प्रतीयमान, 'being taken for', is what he adds to keep the thinness in the eye of the watchers rather than in the water

  • a-stem masculine, पञ्चमी एकवचन ablative singular

    दूरभावात्

    भाव

    state — the abstract noun from √भू, doing the work an ending in -ness does. The ablative gives the reason the river looks thin, and it is the only word in the stanza that explains the picture rather than drawing it

  • a-stem masculine, द्वितीया एकवचन accusative singular

    प्रवाहम्

    प्रवाह

    current — the object of प्रेक्षिष्यन्ते, and the word Mallinātha used at 1.47 to gloss स्रोतोमूर्त्या. What the sky-goers look at is not the river but its flow: the moving part, which is the part that can be mistaken for a thread

  • √ईक्ष्, class 1, लृट्, atmanepada, third person plural

    प्रेक्षिष्यन्ते

    √ईक्ष्, with प्र

    they will look — the future, which puts the whole picture ahead of the cloud rather than around it: this is what will be seen when the cloud gets there. √ईक्ष् is आत्मनेपद and always has been, and the ending -न्ते says so on its face; DCS reads it as active, which is the third verb running it has read that way

  • i-stem masculine, प्रथमा बहुवचन nominative plural

    गगनगतयः

    printed गगनगतयो

    गति

    going — the noun from √गम्, feminine on its own and masculine here, because a bahuvrīhi takes the gender of what it describes and what it describes is a crowd of Siddhas. The same shift stood at 1.45 in नियतवसतिम्, where वसति went masculine for a god. It is masculine here, taking the gender of the beings the bahuvrīhi describes

    गगनगतयः, “the sky-goers,” is a bahuvrīhi Mallinātha unpacks as गगने गतिर्येषां ते, “those whose going is in the sky,” and then names twice — खेचराः, “sky-walkers,” and सिद्धगन्धर्वादयः, “Siddhas, Gandharvas and the rest,” the same crowd that gave the cloud its road a stanza back. He points at the grammar too: अयमपि बहुव्रीहिः पूर्ववत्, “this bahuvrīhi too is of the same sort as before,” meaning the जन्मन्-final irregularity he cited at 1.47 — the first member stands in the locative, the compound as a whole is a nominative, and the members therefore do not agree. The stem गति is feminine on its own, from √गम्; here it is masculine, because a bahuvrīhi takes the gender of what it describes, and what it describes is a crowd of gods.

    • Mallinātha, Sañjīvinī — 1.48: gagane gatiryeṣāṃ te gaganagatayaḥ khecarāḥ siddhagandharvādayaḥ || ayamapi bahuvrīhiḥ pūrvavat

  • अव्यय

    नूनम्

    printed नूनमावर्ज्य

    नूनम्

    surely — glossed सत्यम्, truly. It is one of the standard marks of the figure of fancy: a word that says the poet is supposing rather than reporting. Here it stands with इव in the last pāda, so the supposal is marked twice

  • √वृज् + णिच् + ल्यप्

    आवर्ज्य

    printed नूनमावर्ज्य

    आवर्ज्य, from आ + √वृज् with णिच्

    having bent them — glossed नियम्य, having held them steady. The root is √वृज्, to turn aside; the causative with आ is to turn a thing towards oneself, and what is turned here is a look. It takes an act of will to keep the eyes down while flying

  • i-stem feminine, द्वितीया बहुवचन accusative plural

    दृष्टीः

    दृष्टि

    glances — plural, one for each watcher, and the object of आवर्ज्य rather than of the main verb. A look is a thing that can be bent, held and aimed in this language, which is why the stanza can spend a whole absolutive on getting the eyes into position before anything is seen

  • sarvanāman masculine, द्वितीया एकवचन accusative singular

    एकम्

    printed एकं

    एक

    single — and Mallinātha reads it as a fact about the necklace rather than a count: एकयष्टिकम्, 'of one strand'. A necklace of one string, not of many, which is what a river looks like from a great height

  • a-stem masculine, द्वितीया एकवचन accusative singular

    मुक्तागुणम्

    printed मुक्तागुणमिव

    गुण

    string — the thread of a necklace, and the older sense of a word that has since come to mean a quality. Mallinātha glosses the compound with हार, necklace, which keeps the object and drops the thread

  • अव्यय

    इव

    printed मुक्तागुणमिव

    इव

    as though — and this one word is what the commentators fight over. Mallinātha reads it as the mark of a fancy, and says the earlier commentator he calls the Niruktakāra went wrong by reading it as the mark of a simile: इव can do both, and which it is doing has to be decided from what the sentence claims, not from the word's presence

    इव is the one word the commentators fight over, and Mallinātha names the figure it carries: उत्प्रेक्षा, the figure of fancy, where one thing is imagined as being another and the imagining is marked as an imagining. His reason is that the flow, joined to a cloud black past all measure, is fancied as a pearl-string on the earth's throat — भूकण्ठमुक्तागुणत्वेनोत्प्रेक्षणात् — and that इव is what conveys the fancy. He rarely troubles to defend a naming, but here he does, because an earlier commentator, the Niruktakāra, held the flat rule तत्र तत्रोपमा यत्र इवशब्दस्य दर्शनम्, “wherever the word इव is seen, there is simile,” and so read this stanza as a simile. Mallinātha's verdict is one word — बभ्राम, “he blundered” — and the quarrel is about method: a figure is identified by what the sentence is doing, not by the word that happens to mark it. The नूनम् of the third pāda, glossed सत्यम्, is the second mark of the fancy, so the supposal is signalled twice.

    • Mallinātha, Sañjīvinī — 1.48: utprekṣaiveyamitīvaśabdena vyajyate || niruktakārastu … itīvaśabdadarśanādatrāpyupamaiveti babhrāma

  • ū-stem feminine, षष्ठी एकवचन genitive singular

    भुवः

    भू

    of the earth — glossed भूमेः. Whose necklace it is. The same stem stood in the locative at 1.47 and in this same genitive at 1.18, and it is irregular in the same way each time. भू is a monosyllable, which changes its endings

  • a-stem masculine, द्वितीया एकवचन accusative singular

    स्थूलमध्येन्द्रनीलम्

    इन्द्रनील

    sapphire — literally Indra's blue, the darkest of the blue stones. It is the last word of the stanza and the one that turns the cloud into jewellery: the necklace has a stone at its middle, and the stone is what the cloud has become by stooping over the river

    स्थूलमध्येन्द्रनीलम् completes the picture the stanza has been building. The current is fancied as मुक्तागुणम्, a pearl-string, glossed मुक्ताहारम्, a pearl necklace, and it belongs to भुवः, glossed भूमेः, the earth — so the river seen from a great height is jewellery on a body the size of the world. एकम् Mallinātha reads not as a count but as एकयष्टिकम्, “of one strand,” a necklace of a single string. The last word then sets a stone in it: he takes the two adjectives separately — स्थूलो महान्, “big,” and मध्यो मध्यमणीभूतः, “central, being the middle gem” — and hangs both on इन्द्रनील, Indra's blue, the darkest of the blue stones. The middle of a pearl string is where a dark jewel goes, and the dark jewel here is the cloud itself, bent over the river: the river is the string, the cloud the sapphire, and the sky-goers look down at both at once.

    • Mallinātha, Sañjīvinī — 1.48: bhuvo bhūmermuktāguṇaṃ muktāhāramiva … sthūlo mahānmadhyo madhyamaṇībhūta indranīlo yasya taṃ

जलम् · आदातुम् · अवनते · शार्ङ्गिणः · वर्णचौरे · त्वयि · गगनगतयः · दृष्टीः · आवर्ज्य · दूरभावात् · पृथुम् · अपि · तनुम् · तस्याः · सिन्धोः · प्रवाहम् · नूनम् · एकम् · स्थूलमध्येन्द्रनीलम् · भुवः · मुक्तागुणम् · इव · प्रेक्षिष्यन्ते

uncheckedMallinātha, Sañjīvinī, whose commentary is written as anvaya and takes the first pāda as a locative absolute, with सति supplied“tvayi jalamādātumavanate sati pṛthumapi dūratvāttanuṃ sūkṣmatayā pratīyamānaṃ tasyāḥ sindhoścarmaṇvatyākhyāyāḥ pravāham | … gaganagatayaḥ khecarāḥ … nūnaṃ satyaṃ dṛṣṭīrāvarjya niyamyaikamekayaṣṭikaṃ … indranīlo yasya taṃ bhuvo bhūmermuktāguṇaṃ muktāhāramiva prekṣiṣyante”

the dependency structure

प्रेक्षिष्यन्ते · क्रिया — will look and see; the future in लृट्, आत्मनेपद, which sets the whole picture ahead of the cloud rather than around it

गगनगतयः · कर्ता — the sky-goers, खेचराः, सिद्धगन्धर्वादयः; the bahuvrīhi is masculine, taking the gender of the crowd it names

प्रवाहम् · कर्म — the current, the moving part of the river, which is the part that can be mistaken for a thread

सिन्धोः · षष्ठी — of the river, चर्मण्वत्याख्यायाः; feminine here, the Charmaṇvatī and not the sea

तस्याः · agreeing with सिन्धोः — of that; the pronoun that carries the river across the stanza break from 1.47

पृथुम् · agreeing with प्रवाहम् — broad; what the river actually is

अपि · though — the concessive, standing between the two adjectives it holds apart

तनुम् · agreeing with प्रवाहम् — thin; not a fact but सूक्ष्मतया प्रतीयमानम्, ‘appearing as fine’

दूरभावात् · हेतौ पञ्चमी — from the distance, दूरत्वात्; the ablative of cause that explains the thinness

त्वयि · सति सप्तमी — you being stooped; the locative absolute Mallinātha marks by supplying सति, the clause that says when the seeing happens

अवनते · agreeing with त्वयि — bent down; √नम् as a change of height, the pair meaning ‘when you stoop’

आदातुम् · तुमुन् of purpose — to take up, आ + √दा turning ‘give’ round into ‘take’

जलम् · कर्म of the infinitive — water, the object the infinitive keeps though it loses its endings

वर्णचौरे · agreeing with त्वयि — thief of his colour, वर्णस्य कान्तेः चौरे; a charge, not a comparison

शार्ङ्गिणः · षष्ठी — of the bearer of the Śārṅga bow, कृष्णस्य; the god named by his weapon

नूनम् · क्रियाविशेषण — surely, सत्यम्; one of the standard marks of the figure of fancy

आवर्ज्य · absolutive — having bent them down, नियम्य; आ + √वृज् with the causative, done first

दृष्टीः · कर्म of आवर्ज्य — their glances, one for each watcher; a look is a thing that can be bent and aimed

मुक्तागुणम् · उत्प्रेक्षा — fancied as a pearl-string, मुक्ताहारम्; the predicative object of the fancy

इव · as though — the mark of the fancy, which Mallinātha insists is not the mark of a simile

भुवः · षष्ठी — of the earth, भूमेः; whose necklace it is

एकम् · agreeing with मुक्तागुणम् — a single strand, एकयष्टिकम्; a necklace of one string

स्थूलमध्येन्द्रनीलम् · बहुव्रीहि agreeing with मुक्तागुणम् — with a big central sapphire, स्थूलो मध्यः इन्द्रनीलः यस्य

uncheckedMallinātha’s Sañjīvinī for the anvaya and the reading; the Telugu drawn from Vedam Venkataraya Sastri’s Āndhra Meghasandeśam and the Bālānandinī

When you stoop to take up water, thief of the colour of him who carries the Śārṅga bow, the sky-goers will bend their eyes down and see the current of that river — broad, and thin from so far off — surely as a single strand of the earth's pearls, with one great sapphire at its middle.

uncheckedthe reader's reading, following Mallinātha's gloss

When you stoop to take up water, thief of the colour of him who carries the Śārṅga bow, the sky-goers will bend their eyes down and see the current of that river — broad, and thin from so far off — surely as a single strand of the earth's pearls, with one great sapphire at its middle.

  • Mallinātha, Sañjīvinī — 1.48, whole-verse gloss

उत्प्रेक्षा — The figure of fancy: one thing is imagined as being another, and the imagining is marked as an imagining rather than asserted — by इव, by नूनम्, or by a word like मन्ये. Both marks are here.

Mallinātha names it and then defends the naming, which he rarely bothers to do. His reason is that the flow, joined to a cloud that is black past all measure, is *fancied* as a pearl-string on the earth's throat — अत्यन्तनीलमेघसङ्गतस्य प्रवाहस्य भूकण्ठमुक्तागुणत्वेनोत्प्रेक्षणात् — and that इव is what conveys the fancy. Then he names the commentator who got it wrong. The Niruktakāra held the rule तत्र तत्रोपमा यत्र इवशब्दस्य दर्शनम्, 'wherever the word इव is seen, there is simile', and so read this stanza as a simile too. Mallinātha's verdict is one word: बभ्राम, he blundered. The disagreement is worth having, because it is about method rather than about this verse — whether a figure is identified by the word that marks it or by what the sentence is doing.

uncheckedMallinātha, Sañjīvinī, naming the figure and disputing the Niruktakāra“atrātyantanīlameghasaṅgatasya pravāhasya bhūkaṇṭhamuktāguṇatvenotprekṣaṇādutprekṣaivey[a]mitīvaśabdena vyajyate || niruktakārastu “tatra tatropamā yatra ivaśabdasya darśanam” itīvaśabdadarśanādatrāpyupamaiveti babhrāma”