• pronoun, द्वितीया एकवचन accusative singular

  ताम्

  printed तामुत्तीर्य

  तद्

  her — glossed चर्मण्वतीम्. The third stanza running whose first word points back at the same river without naming it, and the last: once it is crossed the poem leaves it

  grammar of ताम्

• √तॄ + ल्यप्

  उत्तीर्य

  printed तामुत्तीर्य

  उत्तीर्य, from उद् + √तॄ

  having crossed — √तॄ is to get across water, and उद् adds the coming out on the far side. The absolutive puts the crossing before the going, which is the plain order of a journey and also the order of the poem: the river got two stanzas, and this one starts by leaving it

  grammar of उत्तीर्य

• √व्रज्, class 1, लोट्, parasmaipada, second person singular

  व्रज

  √व्रज्

  go — glossed गच्छ. The bare imperative, and the only finite verb in the stanza: everything else hangs off it as a participle or a genitive. It is the same word that started the cloud at 1.16 and 1.26, and Mallinātha's gloss is the same each time

  grammar of व्रज

• a-stem neuter, षष्ठी बहुवचन genitive plural

  परिचितभ्रूलताविभ्रमाणाम्

  printed परिचितभ्रूलताविभ्रमाणां

  विभ्रम

  play — विभ्रम is the graceful disorder of a woman's movements, and Mallinātha glosses it विलास, dalliance. Here it belongs to the eyebrows: the raising and drawing of them that a look is made of. The ण of the ending is not the ending's own; it comes from the र् of विभ्रम four sounds back, which the labials in between do not block. विभ्रम is masculine as a noun and neuter here, agreeing with कौतूहलानाम्

  grammar of परिचितभ्रूलताविभ्रमाणाम्

  परिचितभ्रूलताविभ्रमाणाम् packs a comparison run backwards. Its heart is भ्रूलता, and Mallinātha names its shape: भ्रुवो लता इव भ्रूलताः, उपमितसमासः, ‘brows that are like creepers.’ In an ordinary karmadhāraya of comparison the standard comes first — मुखचन्द्र, ‘the moon of a face’ — but an उपमितसमास puts the thing compared first and the standard second, and Pāṇini licenses it at 2.1.56 उपमितं व्याघ्रादिभिः सामान्याप्रयोगे on the one condition that the shared property is not spelled out. So भ्रूलता is ‘brows, which are creepers’, with the suppleness they share left unsaid. विभ्रम, glossed विलास, is the graceful play of them, the raising and drawing a look is made of; and परिचित, glossed कॢप्त, ‘settled’, says the play is not being invented for the cloud — these eyes already know it by heart.

  • Mallinātha, Sañjīvinī — 1.49: bhruvo latā iva bhrūlatāḥ | upamitasamāsaḥ | tāsāṃ vibhramā vilāsāḥ paricitāḥ kḷptāḥ

• a-stem masculine, पञ्चमी एकवचन ablative singular

  पक्ष्मोत्क्षेपात्

  printed पक्ष्मोत्क्षेपादुपरिविलसत्कृष्णशारप्रभाणाम्

  उत्क्षेप

  a lifting up — the noun from उद् + √क्षिप्, and the ablative of cause. Mallinātha writes हेतोः into the gloss to make sure it is read as a reason and not as a starting point: the light flashes because the lashes lift, not from where they lift

  grammar of पक्ष्मोत्क्षेपात्

• a-stem neuter, षष्ठी बहुवचन genitive plural

  उपरिविलसत्कृष्णशारप्रभाणाम्

  printed पक्ष्मोत्क्षेपादुपरिविलसत्कृष्णशारप्रभाणाम्

  प्रभा, shortened to प्रभ in the neuter by Pāṇini 1.2.47 ह्रस्वो नपुंसके प्रातिपदिकस्य

  light — the shine that comes off a thing rather than the thing shining. Mallinātha keeps उपरि outside the compound in his vigraha, उपरि विलसन्त्यः, so that it reads as an adverb: the flash is above, at the top of the eye, where a raised lash uncovers it. The print binds the word in, and the analysis follows the print. प्रभा is an ā-stem feminine as a noun and shortens to प्रभ in the neuter by Pāṇini 1.2.47 ह्रस्वो नपुंसके प्रातिपदिकस्य, because the bahuvrīhi it ends describes the neuter कौतूहलानाम्

  grammar of उपरिविलसत्कृष्णशारप्रभाणाम्

  उपरिविलसत्कृष्णशारप्रभाणाम् is where Mallinātha does his closest work. कृष्णशार joins two colour words, which Pāṇini allows at 2.1.69 वर्णो वर्णेन, and he names the rule. Then he asks why both are needed, since Yādava's dictionary already gives कृष्णरक्तसिताः शाराः, ‘dappled means black, red and white’ — blackness is in शार already. His answer: ततश्च शारशब्दादेव सिद्धे कार्ष्ण्ये पुनः कृष्णपदोपादानं कार्ष्ण्यप्राधान्यार्थम्, the second word is there to make the black the dominant colour. And the red? रक्तत्वं तु न विवक्षितम्, ‘redness is not intended’, since natural redness in a woman's eyes is against what the science of bodily marks allows. He also keeps उपरि outside the compound in his vigraha — उपरि विलसन्त्यः, an adverb — so the flash reads as happening above, at the top of the eye, though the print binds the word in.

  • Mallinātha, Sañjīvinī — 1.49: “varṇo varṇena” iti samāsaḥ | punaḥ kṛṣṇapadopādānaṃ kārṣṇyaprādhānyārtham | raktatvaṃ tu na vivakṣitam

• ṣ-stem neuter, षष्ठी बहुवचन genitive plural

  कुन्दक्षेपानुगमधुकरश्रीमुषाम्

  printed कुन्दक्षेपानुगमधुकरश्रीमुषामात्मबिम्बं

  मुष्, from √मुष्

  thief — the root √मुष्, to steal, used as a noun with nothing added. Mallinātha restores the verb when he unpacks it, श्रियं मुष्णन्ति इति, 'in that they steal the beauty'. The theft is the same charge as वर्णचौरे one stanza back, where the cloud stole Viṣṇu's colour; here the glances steal the bees' grace, and both times the word is stronger than a comparison would be. The root itself stands as an agent noun, the affix क्विप् leaving nothing behind

  grammar of कुन्दक्षेपानुगमधुकरश्रीमुषाम्

  कुन्दक्षेपानुगमधुकरश्रीमुषाम् ends in a root standing bare as a noun. मुष्, ‘to steal’, takes the affix क्विप् and nothing shows for it, so √मुष् itself stands as the agent — the same formation as रुच् at 1.46 and भृत् at 1.45. Mallinātha restores the verb when he unpacks it: श्रियं मुष्णन्ति इति, ‘in that they steal the beauty.’ He fixes कुन्द from Amara as माध्यकुसुम, the jasmine that flowers in spring, and reads क्षेप as इतस्ततश्चलनम्, moving this way and that — a woman tossing jasmine, a bee going after each flower. Then he compresses the whole picture, क्षिप्यमाणकुन्दानुविधायिमधुकरकल्पानाम्, ‘like bees keeping pace with jasmine as it is thrown’: the glances chase the cloud the way the bees chase the flowers, and the compound charges them with stealing the bees' very grace.

  • Mallinātha, Sañjīvinī — 1.49: kundāni mādhyakusumāni | kṣepa itastataścalanaṃ | śriyaṃ muṣṇantīti

• a-stem neuter, द्वितीया एकवचन accusative singular

  आत्मबिम्बम्

  printed कुन्दक्षेपानुगमधुकरश्रीमुषामात्मबिम्बं

  बिम्ब

  disc — the object of पात्रीकुर्वन्, and the only thing in the stanza the cloud actually does. It offers its own round darkness to be looked at

  grammar of आत्मबिम्बम्

• √कृ + च्वि + शतृ, प्रथमा एकवचन nominative singular

  पात्रीकुर्वन्

  पात्रीकुर्वत्, from पात्र with च्वि and √कृ

  making it the vessel of — glossed विषयीकुर्वन्, making it the object. पात्र is a vessel, and by extension the fit recipient of a thing: a worthy man is a पात्र of trust. The middle of the word is a च्वि formation, पात्र becoming पात्री before कृ, which is the construction for turning a thing into what it was not — the same one that made पुष्पमेघीकृतात्मा at 1.45 and स्वागतीकृत्य at 1.22. What the cloud makes into a vessel is the eagerness of the women's eyes, and what it pours into it is the sight of itself

  grammar of पात्रीकुर्वन्

  पात्रीकुर्वन्, glossed विषयीकुर्वन्, ‘making it the object’, is a च्वि formation, the construction for turning a thing into what it was not. पात्र, ‘a vessel’ and by extension the fit recipient of something (a worthy man is a पात्र of trust), becomes पात्री before कृ — the same machinery that made पुष्पमेघीकृतात्मा at 1.45 and स्वागतीकृत्य at 1.22. What the cloud makes into a vessel is आत्मबिम्बम्, its own dark round, glossed स्वमूर्तिम्; and what it pours into that vessel is the sight of itself, offered to दशपुरवधूनेत्रकौतूहलानाम्, the eager eyes of the women of Daśapura — a city the poem has already passed through unnamed, दशपुरं रन्तिदेवस्य नगरम्, Rantideva's city, whose sacrifices made the river two stanzas back.

  • Mallinātha, Sañjīvinī — 1.49: ātmabimbaṃ svamūrtiṃ pātrīkurvanviṣayīkurvan

• a-stem neuter, षष्ठी बहुवचन genitive plural

  दशपुरवधूनेत्रकौतूहलानाम्

  कौतूहल

  eagerness — glossed अभिलाष, longing, which is a warmer word than curiosity. The genitive is what पात्रीकुर्वन् needs: the cloud makes its own shape into the vessel *of* their eagerness. Three compounds of a whole pāda each have been waiting for this word, and all three are neuter genitive plurals because it is

  grammar of दशपुरवधूनेत्रकौतूहलानाम्

No figure is named for this verse by the commentary this reading follows, so none is shown.