• √शब्दाय्, a denominative from शब्द, class 1, लट्, atmanepada, third person plural

  शब्दायन्ते

  शब्द, on the denominative stem शब्दाय्

  they make a sound — the word is not from a root at all but from a noun. Mallinātha derives it: शब्दायन्ते शब्दं कुर्वन्ति, स्वनन्तीत्यर्थः, 'śabdāyante means they make a śabda; that is, they sound', and the affix is क्यङ् by Pāṇini 3.1.17 शब्दवैरकलहाभ्रकण्वमेघेभ्यः करणे, which he cites by its opening words. That rule is a list of six nouns — śabda, vaira, kalaha, abhra, kaṇva, megha — that make a verb of their own in the sense of producing the thing; क्यङ् is a middle affix, which is why the ending is आत्मनेपद with nothing else in the stanza to make it so. The list Kālidāsa's word comes off has मेघ in it too, so the cloud being spoken to could have had a verb of its own made the same way

  grammar of शब्दायन्ते

  शब्दायन्ते, “they sound,” is a denominative — a verb built straight from the noun शब्द, “a sound.” Mallinātha names the affix that does it, शब्दवैरकलहाभ्रकण्वमेधेभ्यः करणे इत्यादिना क्यङ्: the affix क्यङ् after शब्द in the sense of ‘making the sound,’ so शब्द becomes the middle verb शब्दायते, “to make a sound of its own.” The subject is कीचकाः, which is not the ordinary word for bamboo but the hollow kind that whistles: Mallinātha quotes Amara, वेणवः कीचकास्ते स्युर्ये स्वनन्त्यनिलोद्धताः, “bamboos are called kīcaka when, tossed by the wind, they sound,” so the very name carries the winds and the sound the verse then spells out.

  • Mallinātha, Sañjīvinī — 1.58: “śabdavairakalahā-” ityādinā kyaṅ; “veṇavaḥ kīcakāste syuḥ” ityamaraḥ

• a-stem neuter, द्वितीया एकवचन accusative singular

  मधुरम्

  printed मधुरमनिलैः

  मधुर

  sweetly — a neuter accusative doing adverb duty, and this time the commentary says so outright. Mallinātha glosses मधुरं श्रुतिसुखं यथा तथा, 'so as to be pleasant to the ear': the यथा तथा frame is how a Sanskrit commentator marks an adverbial accusative, because it turns the word into a clause about the manner of the action. **That is exactly what he did not do one stanza back**, where व्यक्तं was open between the adverb and an adjective agreeing with चरणन्यासम् and his प्रकटम् left it open. Here nothing is left open, and the two stanzas together show that the silence at 1.57 was a silence rather than a habit

  grammar of मधुरम्

• a-stem masculine, तृतीया बहुवचन instrumental plural

  अनिलैः

  printed मधुरमनिलैः

  अनिल

  by the winds — the instrumental of what fills the bamboos, and the plural is the mountain's winds rather than wind in general. Amara's definition of the bamboo Mallinātha quotes has the same word in it, ये स्वनन्त्यनिलोद्धताः, 'those which sound when the wind stirs them up', so the noun and the thing it acts on are defined by each other

  grammar of अनिलैः

• a-stem masculine, प्रथमा बहुवचन nominative plural

  कीचकाः

  कीचक

  the whistling bamboos — glossed वेणुविशेषाः, 'a particular kind of bamboo', and Mallinātha calls two lexicons to say which kind. Amara defines the word by what it does: वेणवः कीचकास्ते स्युर्ये स्वनन्त्यनिलोद्धताः, 'those bamboos are kīcakas which sound when the wind stirs them' — so a kīcaka is not a species but a bamboo that whistles, hollow and pierced. The Viśva gives the word's other lives: कीचको दैत्यभेदे स्याच्छुष्कवंशे द्रुमान्तरे, 'kīcaka is used of a kind of demon, of dry bamboo and of another tree'. The demon is the Kīcaka of the Mahābhārata, and the middle sense is the one the stanza is built on. Mallinātha then says what the bamboos are for: अनेन वंशवाद्यसम्पत्तिरुक्ता, 'by this the supply of flute-music is stated' — the first of the three things his concert needs

  grammar of कीचकाः

• √पॄ + यक् + शानच्, प्रथमा बहुवचन nominative plural

  पूर्यमाणाः

  √पॄ, on the passive stem पूर्य-

  being filled — a present participle built on a passive stem: यक् makes √पॄ passive and शानच् makes the participle, so the ending is the middle one for the same reason every passive in Sanskrit takes middle endings. The bamboos do not fill; they are filled, and the wind in the instrumental is the filler. What is filled is the hollow of the cane, which is what makes the noun and the participle a flute between them

  grammar of पूर्यमाणाः

• √सञ्ज् + क्त, तृतीया बहुवचन instrumental plural

  संसक्ताभिः

  printed संसक्ताभिस्त्रिपुरविजयो

  संसक्त, from सम् + √सञ्ज्

  in company — and Mallinātha offers two readings of the word and then a third of the text. The two readings: संयुक्ताभिः, 'joined together', the kinnarīs singing with one another; or वंशवाद्यानुषक्ताभिः, 'keeping close to the bamboo-music', the singers following the flutes. The second is the musician's reading and it is the one that makes the stanza's three parts into one performance. **Then he names a different text.** संरक्ताभिः इति पाठे संरक्तकण्ठीभिरित्यर्थः — 'in the reading saṃraktābhiḥ, the sense is: with their throats in full voice'. That reading is exactly what DCS tags here, so where the tagged corpus parts from `text.md` at this word it is not making an error: it is carrying the other of two readings a fourteenth-century commentator already had in front of him and wrote down

  grammar of संसक्ताभिः

• a-stem masculine, प्रथमा एकवचन nominative singular

  त्रिपुरविजयः

  printed संसक्ताभिस्त्रिपुरविजयो

  विजय

  the victory — विजय is वि + √जि with घञ्, the noun of the action. It is the subject of the passive गीयते, which is what a passive does with what would otherwise be the object: the thing sung is what the sentence is about, and nobody has to be named as singing it except in the instrumental

  grammar of त्रिपुरविजयः

  त्रिपुरविजयः, “the victory over the three cities,” is what the Kinnara women sing, and the compound is put together in two odd steps Mallinātha marks. त्रिपुर is “the three cities together,” त्रयाणां पुराणां समाहारः, a समाहारद्वन्द्व turned into one thing; and though पुर is neuter, the count-compound would be masculine but for a special rule, so he notes पात्रादित्वान्नपुंसकत्वम्, “it is neuter by belonging to the पात्रादि class.” The whole is then a genitive relation, तस्य विजयः, “the victory over it” — Śiva's burning of the three flying cities of the demons, the deed the caves echo with.

  • Mallinātha, Sañjīvinī — 1.58: trayāṇāṃ purāṇāṃ samāhāras tripuram; pātrāditvān napuṃsakatvam

• √गै, class 1, लट्, passive, third person singular

  गीयते

  √गै

  is sung — the passive of √गै, whose stem before the passive यक् loses the ऐ to ई. Mallinātha carries the word over into his paraphrase without a gloss, which is what he does when a form is transparent. The singular is governed by त्रिपुरविजयः and not by the plural of the singers, which is the ordinary consequence of a passive: the thing sung is the subject

  grammar of गीयते

• ī-stem feminine, तृतीया बहुवचन instrumental plural

  किंनरीभिः

  किंनरी

  by the kinnarīs — glossed किन्नरस्त्रीभिः, 'by the women of the kinnaras'. The kinnaras are the mountain's musicians, and the name is a question turned into a noun: किं नरः, 'what sort of man is this?' — a creature horse-headed or bird-bodied depending on which account is followed. The instrumental is the agent of the passive गीयते, which is the only case a passive lets an agent stand in

  grammar of किंनरीभिः

• a-stem masculine, प्रथमा एकवचन nominative singular

  निर्ह्रादः

  printed निर्ह्रादस्ते

  निर्ह्राद, from निर् + √ह्राद्

  your rumbling — the noun of निर् + √ह्राद्, to resound, so it is the sound coming out rather than the making of it. Mallinātha reads it as this noun, ते तव निर्ह्रादः, and the variant `text.md` prints in brackets under the verse reads निर्ह्रादी, an in-stem adjective: 'your sound, resounding, would be like a drum's' instead of 'your rumbling would be like the sound in a drum'. The printed text gives the cloud a noise of its own and the variant makes the noise an attribute of ध्वनिः

  grammar of निर्ह्रादः

• pronoun, षष्ठी एकवचन genitive singular

  ते

  printed निर्ह्रादस्ते

  युष्मद्

  your — the short form of the genitive, which Sanskrit allows only where the word is not first in its clause and carries no stress. Mallinātha writes the full form beside it, ते तव, which is what a commentator does with an enclitic: the short form cannot open a sentence and the gloss can

  grammar of ते

• a-stem masculine, सप्तमी एकवचन locative singular

  मुरजे

  printed मुरज

  मुरज

  in a drum — glossed वाद्यभेदे, 'in a kind of instrument'. **The printed मुरज is two words at once and only the commentary chooses between them.** Both मुरजे and मुरजः come out as मुरज before इव: the locative's ए becomes अय् and the य् then drops by the rule that lets a य् or व् go before a vowel, and the nominative's visarga simply falls. Mallinātha reads the locative, and his gloss proves it, because वाद्यभेदे agrees with it in case; DCS reads the nominative. The difference is what the comparison is between. On his reading it is your rumble against the sound in a drum, on DCS's it is your rumble against a drum. His own paraphrase, मुरजध्वनिरिवेत्यर्थः, comes to the same picture by a different road

  grammar of मुरजे

• अव्यय

  इव

  इव

  like — the particle of comparison, carried over unglossed. It is doing something the stanza needs and no figure is named for: the cloud's thunder is not called a drum, it is said to be like the sound in one, and the whole conditional hangs on that likeness being close enough to complete a concert

  grammar of इव

• अव्यय

  चेत्

  चेद्

  if — and Mallinātha supplies the half of the sentence that Sanskrit leaves out: स्याच्चेत् तर्हि, 'if it should be, then'. There is no word for 'then' in the verse; the fourth pāda simply follows. Writing तर्हि in is what turns two statements standing side by side into a condition and its consequence

  grammar of चेत्

• a-stem masculine, सप्तमी बहुवचन locative plural

  कन्दरेषु

  कन्दर

  in the caves — glossed दरीषु, and the Amara line he quotes for it settles a gender rather than a sense: दरी तु कन्दरो वा स्त्री, 'a cave is darī; kandara too, which is also feminine'. So the word is of both genders and the verse's ending picks one — कन्दरेषु is the masculine, and कन्दरासु would have been as correct. The caves are what make the drum: a sound in a hollow is what the whole comparison turns on, and Mallinātha's locative gloss of मुरज puts the cloud's thunder inside them

  grammar of कन्दरेषु

• i-stem masculine, प्रथमा एकवचन nominative singular

  ध्वनिः

  ध्वनि

  sound — the word Mallinātha puts inside the drum, मुरजे ध्वनिः, so it is the noise a drum makes rather than the drum. It is the predicate of स्यात् and निर्ह्रादः is the subject: the sentence says one sound would be another, which is as close as Sanskrit gets to saying they are the same thing without a comparison particle. इव keeps it a comparison

  grammar of ध्वनिः

• √अस्, class 2, विधिलिङ्, parasmaipada, third person singular

  स्यात्

  √अस्

  should be — the optative in the plainest of its uses, the protasis of a condition: with चेत् beside it the mood is doing nothing but marking the clause as supposed. Mallinātha keeps the form and adds only तर्हि after it. It is the fourth optative in three stanzas — after लङ्घयेयुः, कुर्वीथाः and स्युः at 1.56 and परीयाः at 1.57 — and the fourth distinct job for one ending

  grammar of स्यात्

• a-stem masculine, प्रथमा एकवचन nominative singular

  सङ्गीतार्थः

  printed सङ्गीतार्थो

  अर्थ

  the concert — and what सङ्गीत covers is the whole of the stanza's argument. Mallinātha proves the word from the Śabdārṇava: तौर्यत्रिकं तु सङ्गीतम्, 'saṅgīta is the tauryatrika' — the threefold performance of song, instrument and dance taken together. A saṅgīta is therefore not music but a whole show, which is why समग्रः can be said of it at all and why it takes three separate things on the mountain to make one

  grammar of सङ्गीतार्थः

• अव्यय

  ननु

  ननु

  surely — glossed खलु, the particle of a thing taken as agreed. It is not the ननु of debate that opens an objection but the one that presses a conclusion the hearer is expected to grant. Put where it is, between the noun and the verb, it makes the last pāda an appeal rather than a prediction: the cloud is being told what it already knows would follow

  grammar of ननु

• i-stem masculine, षष्ठी एकवचन genitive singular

  पशुपतेः

  printed पशुपतेस्तत्र

  पति

  of Paśupati — Śiva as lord of creatures, and the genitive is the one whose concert it is. पति declines as an ordinary i-stem here because it stands at the end of a compound; on its own, in the sense of a husband, it takes a set of its own in the weak cases — पत्या, पत्ये, पत्युः — and being compounded holds that back. So the form the verse prints is the regular one and would not have been if the word stood alone

  grammar of पशुपतेः

• अव्यय

  तत्र

  printed पशुपतेस्तत्र

  तत्र

  there — and where 'there' is comes from the stanza before. Mallinātha glosses it तत्र चरणसमीपे, 'there, near the footprint', so the concert happens at the rock of 1.57 and not merely on the mountain. The word opened 1.57 as well, glossed then as हिमाद्रौ; two stanzas running use the same adverb and the commentary narrows it the second time

  grammar of तत्र

• √भू + णिनि, प्रथमा एकवचन nominative singular

  भावी

  भाविन्, from √भू

  is going to be — and Mallinātha glosses it with a future finite verb, भविष्यति, then says why a noun can do a tense's work: भविष्यति गम्यादयः इति भविष्यदर्थे णिनिः, 'by the rule bhaviṣyati gamyādayaḥ, the affix ṇini in the sense of the future'. Pāṇini 3.3.3 is a list-rule — गमिन् and the words with it are formed with a future meaning built into them — so भाविन् is not 'being' but 'about to be', and the stanza's last word can be a predicate without a verb anywhere in the pāda

  grammar of भावी

  भावी, “will surely come to be,” is not a finite verb but a future active participle, and it carries the whole point of the stanza: if the cloud adds its drum, then पशुपतेः समग्रः सङ्गीतार्थः भावी, “the material for a full concert of Śiva will be complete.” Mallinātha derives the form, भविष्यति गम्यादय इति भविष्यदर्थे णिनिः — the affix णिनि in the sense of the future, so √भू + णिनि gives भाविन्, “about to be.” The bamboos are the pipes, the Kinnaris the voices, the cloud’s thunder the drum: three of the instruments of a तौर्यत्रिक already stand, and one roll of thunder finishes it.

  • Mallinātha, Sañjīvinī — 1.58: bhaviṣyati gamyādaya iti bhaviṣyadarthe ṇiniḥ

• a-stem masculine, प्रथमा एकवचन nominative singular

  समग्रः

  समग्र

  complete — glossed सम्पूर्णः, and it is the word the whole stanza is built to earn. A saṅgīta needs all three of song, instrument and dance; the mountain has the flutes and the singers already, and what it has never had is the drum. The cloud's thunder is the missing third, so समग्रः is not praise of the music but a statement that the set is now closed

  grammar of समग्रः

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