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मेघदूतम् · कालिदास · 1.60

कैलास · the guest of the mountain

गत्वा चोर्ध्वं दशमुखभुजोच्छ्वासितप्रस्थसंधेः

ग
त्वा
चो
र्ध्वं
द
श
मु
ख
भु
जो
च्छ्वा
सि
त
प्र
स्थ
सं
धेः

कैलासस्य त्रिदशवनितादर्पणस्यातिथिः स्याः

कै
ला
स
स्य
त्रि
द
श
व
नि
ता
द
र्प
ण
स्या
ति
थिः
स्याः

शृङ्गोच्छ्रायैः कुमुदविशदैर्यो वितत्य स्थितः खं

शृ
ङ्गो
च्छ्रा
यैः
कु
मु
द
वि
श
दै
र्यो
वि
त
त्य
स्थि
तः
खं

राशीभूतः प्रतिदिनमिव त्र्यम्बकस्याट्टहासः

रा
शी
भू
तः
प्र
ति
दि
न
मि
व
त्र्य
म्ब
क
स्या
ट्ट
हा
सः

pāda a

  • गguruthe conjunct त्व that follows it
  • त्वाguruits long vowel आ
  • चोguruits long vowel ओ
  • र्ध्वंguruthe anusvāra it carries
  • दlaghuits short vowel, with a single consonant after it
  • शlaghuits short vowel, with a single consonant after it
  • मुlaghuits short vowel, with a single consonant after it
  • खlaghuits short vowel, with a single consonant after it
  • भुlaghuits short vowel, with a single consonant after it
  • जोguruits long vowel ओ
  • च्छ्वाguruits long vowel आ
  • सिlaghuits short vowel, with a single consonant after it
  • तguruthe conjunct प्र that follows it
  • प्रguruthe conjunct स्थ that follows it
  • स्थlaghuits short vowel, with a single consonant after it
  • संguruthe anusvāra it carries
  • धेःguruthe visarga it carries
  • yati after 4 — a word ends here — चोर्ध्वं
  • yati after 10 — it falls inside the compound दशमुखभुजोच्छ्वासितप्रस्थसंधेः

pāda b

  • कैguruits long vowel ऐ
  • लाguruits long vowel आ
  • सguruthe conjunct स्य that follows it
  • स्यguruthe conjunct त्र that follows it
  • त्रिlaghuits short vowel, with a single consonant after it
  • दlaghuits short vowel, with a single consonant after it
  • शlaghuits short vowel, with a single consonant after it
  • वlaghuits short vowel, with a single consonant after it
  • निlaghuits short vowel, with a single consonant after it
  • ताguruits long vowel आ
  • दguruthe conjunct र्प that follows it
  • र्पlaghuits short vowel, with a single consonant after it
  • णguruthe conjunct स्य that follows it
  • स्याguruits long vowel आ
  • तिlaghuits short vowel, with a single consonant after it
  • थिःguruthe visarga it carries
  • स्याःguruthe visarga it carries
  • yati after 4 — a word ends here — कैलासस्य
  • yati after 10 — a compound member ends here, inside त्रिदशवनितादर्पणस्य

pāda c

  • शृguruthe conjunct ङ्ग that follows it
  • ङ्गोguruits long vowel ओ
  • च्छ्राguruits long vowel आ
  • यैःguruthe visarga it carries
  • कुlaghuits short vowel, with a single consonant after it
  • मुlaghuits short vowel, with a single consonant after it
  • दlaghuits short vowel, with a single consonant after it
  • विlaghuits short vowel, with a single consonant after it
  • शlaghuits short vowel, with a single consonant after it
  • दैguruits long vowel ऐ
  • र्योguruits long vowel ओ
  • विlaghuits short vowel, with a single consonant after it
  • तguruthe conjunct त्य that follows it
  • त्यguruthe conjunct स्थ that follows it
  • स्थिlaghuits short vowel, with a single consonant after it
  • तःguruthe visarga it carries
  • खंguruthe anusvāra it carries
  • yati after 4 — a word ends here — शृङ्गोच्छ्रायैः
  • yati after 10 — it falls inside the compound कुमुदविशदैः

pāda d

  • राguruits long vowel आ
  • शीguruits long vowel ई
  • भूguruits long vowel ऊ
  • तःguruthe visarga it carries
  • प्रlaghuits short vowel, with a single consonant after it
  • तिlaghuits short vowel, with a single consonant after it
  • दिlaghuits short vowel, with a single consonant after it
  • नlaghuits short vowel, with a single consonant after it
  • मिlaghuits short vowel, with a single consonant after it
  • वguruthe conjunct त्र्य that follows it
  • त्र्यguruthe conjunct म्ब that follows it
  • म्बlaghuits short vowel, with a single consonant after it
  • कguruthe conjunct स्य that follows it
  • स्याguruits long vowel आ
  • ट्टlaghuits short vowel, with a single consonant after it
  • हाguruits long vowel आ
  • सःguruthe visarga it carries
  • yati after 4 — a word ends here — राशीभूतः
  • yati after 10 — a word ends here — प्रतिदिनमिव

  • च + ऊर्ध्वम् → चोर्ध्वं

    अ + ऊ → ओ

  • त्रिदशवनितादर्पणस्य + अतिथिः → त्रिदशवनितादर्पणस्यातिथिः

    अ + अ → आ

  • कुमुदविशदैः + यः → कुमुदविशदैर्यो

    ः + य्

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

  • खम् + राशीभूतः → खं

    म् + र्

  • प्रतिदिनम् + इव → प्रतिदिनमिव

    म् + इ

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

  • त्र्यम्बकस्य + अट्टहासः → त्र्यम्बकस्याट्टहासः

    अ + अ → आ

  • दशमुख + भुज → दशमुखभुजोच्छ्वासितप्रस्थसंधेः

    अ + भ्

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

  • भुज + उच्छ्वासित → दशमुखभुजोच्छ्वासितप्रस्थसंधेः

    अ + उ → ओ · falls inside the syllable जो

  • उच्छ्वासित + प्रस्थ → दशमुखभुजोच्छ्वासितप्रस्थसंधेः

    अ + प्

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

  • प्रस्थ + संधि → दशमुखभुजोच्छ्वासितप्रस्थसंधेः

    अ + स्

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

  • त्रिदश + वनिता → त्रिदशवनितादर्पणस्य

    अ + व्

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

  • वनिता + दर्पण → त्रिदशवनितादर्पणस्य

    आ + द्

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

  • शृङ्ग + उच्छ्राय → शृङ्गोच्छ्रायैः

    अ + उ → ओ · falls inside the syllable ङ्गो

  • कुमुद + विशद → कुमुदविशदैः

    अ + व्

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

  • प्रति + दिन → प्रतिदिनम्

    इ + द्

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

  • त्रि + अम्बक → त्र्यम्बकस्य

    इ + अ

  • अट्ट + हास → अट्टहासः

    अ + ह्

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

चोर्ध्वं shows गुण at a word-seam: च + ऊर्ध्वम्, and the अ of च with the ऊ of ऊर्ध्वम् becomes ओ (Pāṇini 6.1.87 आद्गुणः). खं राशीभूतः holds the accusative म् of खम् as अनुस्वार before the following र् (8.3.23). त्रिदशवनितादर्पणस्यातिथिः and त्र्यम्बकस्याट्टहासः merge अ with अ into a single long आ (6.1.101 अकः सवर्णे दीर्घः); त्र्यम्बक itself has इ before अ turned to य् inside the word (6.1.77 इको यणचि). कुमुदविशदैर्यः is the block’s unnamed visarga join — ऐः before the voiced य् giving र्, the शape the builder leaves null because the same र् can come of a रेफ or a रुत्व stem.

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

  • कैलासस्य षष्ठी · genitive — अतिथियोगे षष्ठी — a genitive governed by ‘guest’, ‘the guest of Kailāsa’, not a possessive hanging on some noun

    with दशमुखभुजोच्छ्वासितप्रस्थसंधेः, त्रिदशवनितादर्पणस्य

    अतिथि, ‘a guest,’ takes the sixth case for the host it comes to, and that is what कैलासस्य is: not ‘Kailāsa’s guest’ in the sense of one belonging to it, but the guest who arrives at it. Mallinātha reads it straight, कैलासस्यातिथिः स्याः, ‘become the guest of Kailāsa,’ after the long description of the mountain — so the whole genitive weight of the ridges and the mirror falls on the one word अतिथि.

    • Mallinātha, Sañjīvinī — 1.60: kailāsasyātithiḥ syāḥ

  • अतिथिः प्रथमा · nominative — कर्ता, the agent

    with स्थितः, राशीभूतः

  • शृङ्गोच्छ्रायैः तृतीया · instrumental — करण, the instrument or cause

    with कुमुदविशदैः

  • यः प्रथमा · nominative — कर्ता, the agent

  • खम् द्वितीया · accusative — कर्म, the object

  • अट्टहासः प्रथमा · nominative — कर्ता, the agent

प्रकरण 1 · हलन्त्यम्

प्रकरण 2 · इको यणचि

प्रकरण 3 · स्तोः श्चुना श्चुः

प्रकरण 4 · वा शरि

  • ससजुषो रुः 8.2.66← दशमुखभुजोच्छ्वासितप्रस्थसंधेः; अतिथिः; स्याः; शृङ्गोच्छ्रायैः; कुमुदविशदैः; यः; स्थितः; राशीभूतः; अट्टहासः

प्रकरण 5 · अर्थवदधातुरप्रत्ययः प्रातिपदिकम्

प्रकरण 7 · अतोऽम्

प्रकरण 8 · हो ढः

प्रकरण 11 · स्वरादिनिपातमव्ययम्

प्रकरण 12 · लः कर्मणि च भावे चाकर्मकेभ्यः

प्रकरण 13 · अदिप्रभृतिभ्यः शपः

प्रकरण 33 · धातोः

प्रकरण 34 · ण्वुल्तृचौ

प्रकरण 36 · तुमुन्ण्वुलौ क्रियायां क्रियार्थायाम्

प्रकरण 48 · शेषे

प्रकरण 59 · इवे प्रतिकृतौ

not in the abridgement

दशमुखभुजोच्छ्वासितप्रस्थसंधेः

दशमुख · भुज · उच्छ्वासित · प्रस्थ · संधि

  1. दश मुखानि यस्य सः

    बहुव्रीहि — the one with ten faces

  2. दशमुखस्य भुजाः

    तत्पुरुष (genitive) — his arms

  3. प्रस्थानां संधयः

    तत्पुरुष (genitive) — the seams where the tablelands join

  4. भुजैः उच्छ्वासिताः प्रस्थसंधयः

    तत्पुरुष (instrumental) — those seams sprung apart by the arms

  5. उच्छ्वासितप्रस्थसंधयः यस्य सः

    बहुव्रीहि — the mountain whose seams they are

बहुव्रीहि — it refers to कैलासस्य. whose plateau-seams were sprung apart by the ten-faced one's arms — Rāvaṇa, who put his shoulder under Kailāsa and lifted. Mallinātha builds it member by member and glosses the two that are not obvious: दशमुखस्य रावणस्य, so the ten faces are the name and not a description; and उच्छ्वासिताः विश्लेषिताः, 'made to breathe out, that is, made to come apart'. उच्छ्वासित is the causative participle of उद् + √श्वस्, to breathe up, so a mountain's joints loosening is described as a body exhaling. **Then he says what the compound is for**: एतेन नयनकौतुकसद्भाव उक्तः, 'by this the existence of something worth the eye's curiosity is stated'. It is not scene-setting. The cloud is being given a reason to stop, and the reason is that there is damage to look at

uncheckedMallinātha, Sañjīvinī, who names Rāvaṇa, glosses उच्छ्वासित with विश्लेषित and says what the compound establishes. `vendor/meghaduta-sanjivini.itx` prints `sa~Nghayo` for `संधयः`, which is read through against the word being glossed“daśamukhasya rāvaṇasya bhujairbāhubhirucchvāsitā viśleṣitāḥ prasthānāṃ sānūnāṃ saṃdhayo yasya tasya || etena nayanakautukasadbhāva uktaḥ”

त्रिदशवनितादर्पणस्य

त्रिदश · वनिता · दर्पण

  1. त्रिर्दशपरिमाणम् एषाम् अस्ति इति त्रिदशाः

    बहुव्रीहि — the thirty, which is to say the gods

  2. त्रिदशानां वनिताः

    तत्पुरुष (genitive) — the women of the gods

  3. त्रिदशवनितानां दर्पणः

    तत्पुरुष (genitive) — the looking-glass they use

तत्पुरुष — it agrees with कैलासस्य. the mirror of the women of heaven — and Mallinātha spends his whole note on the first member, which is a word for the gods that nobody hears as a numeral any more. He takes it apart: त्रिर्दशपरिमाणम् एषाम् अस्ति इति त्रिदशाः, 'those who have thrice ten for their measure' — a bahuvrīhi with a numeral in it, licensed by Pāṇini 2.2.25 संख्ययाऽव्ययासन्नादूराधिकसंख्याः संख्येये. Then the ending: the compound closes with the समासान्त affix डच् by 5.4.73 बहुव्रीहौ संख्येये डजबहुगणात्, and he attributes the point to Kṣīrasvāmin. **Then he says why a mountain can be a mirror at all**: कैलासस्य स्फटिकत्वाद् रजतत्वाद् वा बिम्बग्राहित्वेन इदम् उक्तम्, 'this is said of Kailāsa because, being of crystal or of silver, it takes a reflection'. So the compound is not flattery: it is an inference from what the mountain is made of

uncheckedMallinātha, Sañjīvinī, who derives त्रिदश as a numeral bahuvrīhi with डच्, citing 2.2.25 and 5.4.73 by their opening words and Kṣīrasvāmin for the second, and who gives the mountain's material as the ground of the metaphor; the texts of 2.2.25 and 5.4.73 from skt-mcp“trirdaśaparimāṇameṣāmastīti tridaśāḥ || “saṅkhyayāvyayā-” ityādinā bahuvrīhiḥ | “bahuvrīhau saṅkhyeye ḍac-” ityādinā samāsānto ḍajiti kṣīrasvāmī || tridaśānāṃ devānāṃ vanitāstāsāṃ darpaṇasya || kailāsasya sphaṭikatvādrajatatvādvā bimbagrāhitvenedamuktam”

शृङ्गोच्छ्रायैः

शृङ्ग · उच्छ्राय

  1. शृङ्गाणाम् उच्छ्रायाः

    तत्पुरुष (genitive) — the heights the peaks rise to

तत्पुरुष. by the lift of its peaks — glossed औन्नत्यैः, by their loftiness. उच्छ्राय is उद् + √श्रि with घञ्, a rising-up taken as a noun, so what spreads over the sky is not the peaks but their height. The instrumental is the means by which the mountain covers the sky, and the abstract noun is what lets a stationary thing be said to spread

uncheckedMallinātha, Sañjīvinī, who glosses शृङ्गाणाम् उच्छ्रायैः with औन्नत्यैः“śṛṅgāṇāmucchrāyairaunnatyaiḥ khamākāśaṃ vitatya vyāpya”

कुमुदविशदैः

कुमुद · विशद

  1. कुमुदानि इव विशदाः

    कर्मधारय — white the way white lotuses are

कर्मधारय — it agrees with शृङ्गोच्छ्रायैः. white as night-lotuses — the sort of karmadhāraya whose first member is what the second is compared to, so the comparison is inside the compound and needs no particle. Mallinātha glosses only the second member, विशदैः निर्मलैः, 'spotless', which takes the word from bright to clean and prepares the figure at the end of the stanza: what is being built up is whiteness, and whiteness is what makes the mountain a laugh

uncheckedMallinātha, Sañjīvinī, who glosses विशद with निर्मल and carries the first member over. `vendor/meghaduta-sanjivini.itx` prints `mirmalaiH` for `निर्मलैः`, which is read through“kumudaviśadairnirmalaiḥ śṛṅgāṇāmucchrāyaiḥ”

प्रतिदिनम्

प्रति · दिन

  1. दिनं दिनं प्रति

    अव्ययीभाव — day after day, each one of them

अव्ययीभाव. every day — the second avyayībhāva in two stanzas, after उपतटम् at 1.59, and again an indeclinable that ends in अम् and is not an accusative. Mallinātha glosses it with a doubling, दिने दिने, 'on day and day' — which is the same वीप्सा he named at 1.59 for तांस्तान्, taking a thing one by one over its whole extent. So the compound and the doubling are two ways of saying one thing, and he uses the second to explain the first. What it does in the stanza is make the heap cumulative: the laughter is not laughed once but added to daily

uncheckedMallinātha, Sañjīvinī, who glosses प्रतिदिनम् with दिने दिने; the sense वीप्सा is the one he named at 1.59, and he does not name the rule that makes this compound“pratidinaṃ dine dine rāśībhūtaḥ”

त्र्यम्बकस्य

त्रि · अम्बक

  1. त्रीणि अम्बकानि यस्य सः

    बहुव्रीहि — he who has three eyes

बहुव्रीहि — it refers to शिव. of the three-eyed god — Śiva, and Mallinātha glosses the name with another name of the same make, त्रिलोचनस्य: one bahuvrīhi for another, अम्बक swapped for लोचन. Neither is the head; the head is Śiva, whom the stanza does not name at all. This is the third stanza running in which a god is present only as an epithet — अर्धेन्दुमौलि at 1.57, विष्णु glossed by two names at 1.59, and now a name that is a description of a face

uncheckedMallinātha, Sañjīvinī, who glosses त्र्यम्बकस्य with त्रिलोचनस्य; the head शिव is supplied and is in neither the verse nor the gloss“tryambakasya trilocanasya”

अट्टहासः

अट्ट · हास

  1. अट्टः हासः

    कर्मधारय — laughter carried to excess

कर्मधारय. the great guffaw — Mallinātha glosses the compound with another compound, अतिहासः, and then proves the first member from Yādava: अट्टावतिशयक्षौमौ, 'aṭṭa is used of excess and of linen'. So अट्ट is not a kind of laugh but a degree of one, and the word is a karmadhāraya rather than the fixed noun it looks like. What that buys the stanza is size: a laugh at excess is loud enough to have piled up into a mountain

uncheckedMallinātha, Sañjīvinī, who glosses the compound अतिहासः and quotes Yādava for अट्ट. `vendor/meghaduta-sanjivini.itx` prints `aTTso.atihAsa` for `अट्टहासोऽतिहासः`, which is read through“tryambakasya trilocanasyāṭṭahāso'tihāsa iva sthitaḥ || “aṭṭāvatiśayakṣaumau” iti yādavaḥ”

  • √गम् + क्त्वा

    गत्वा

    √गम्

    having gone — and Mallinātha writes in where from: क्रौञ्चबिलनिर्गमनानन्तरम्, 'after the coming out of the Krauñca hole'. The stanza gives no starting point and the last one gave the gap; three stanzas running he ties the cloud's route together with a phrase the poem does not print. The absolutive takes क्त्वा here and ल्यप् at वितत्य in the third pāda, and the only difference between them is that the second root carries a prefix

  • अव्यय

    च

    printed चोर्ध्वं

    च

    and — the connective, second word in its clause as Sanskrit requires of it: च never opens a sentence, it follows the first word of what it joins. Mallinātha keeps it exactly where it is, ऊर्ध्वं च गत्वा, and what it joins is this stanza's journey to the last one's

  • अव्यय

    ऊर्ध्वम्

    printed चोर्ध्वं

    ऊर्ध्वम्

    upward — and this time the word means what it says. At 1.57 the same form stood beside an ablative and meant 'after'; here there is no ablative and it is the plain direction. One indeclinable, two stanzas apart, doing the two halves of what Sanskrit does with height: the spatial sense here, the temporal one there

  • i-stem masculine, षष्ठी एकवचन genitive singular

    दशमुखभुजोच्छ्वासितप्रस्थसंधेः

    संधि

    seam — संधि is सम् + √धा with कि, a putting-together, so it is the join rather than the thing joined. The word ends a bahuvrīhi describing कैलासस्य and takes its case and number, which is why a plural of seams shows as a genitive singular. Mallinātha's own vigraha has it plural, प्रस्थानां सन्धयो यस्य, and the compound flattens that

    दशमुखभुजोच्छ्वासितप्रस्थसंधेः, “whose ridge-joints were forced apart by the arms of the ten-faced one,” folds a whole legend into one word. दशमुख is Rāvaṇa, “ten faces,” and the story is that he tried to uproot Kailāsa and only wrenched its ridges loose. Mallinātha unpacks the bahuvrīhi, दशमुखस्य रावणस्य भुजैर्बाहुभिरुच्छ्वासिता विश्लेषिताः प्रस्थानां सानूनां सन्धयो यस्य, “he whose ridge-joints, the seams of its plateaus, were loosened by the arms of ten-faced Rāvaṇa,” and adds why it matters here, एतेन नयनकौतुकसद्भाव उक्तः, “by this the mountain’s worth as a sight is stated” — a marred giant is a thing to see.

    • Mallinātha, Sañjīvinī — 1.60: daśamukhasya rāvaṇasya bhujair … prasthānāṃ … sandhayo yasya

  • a-stem masculine, षष्ठी एकवचन genitive singular

    कैलासस्य

    कैलास

    of Kailāsa — the word two long compounds are hanging off, and the genitive is governed by अतिथिः: one is the guest of somebody. The mountain is Śiva's, and the stanza names it and then spends three pādas saying what it looks like rather than what it is

  • a-stem masculine, षष्ठी एकवचन genitive singular

    त्रिदशवनितादर्पणस्य

    printed त्रिदशवनितादर्पणस्यातिथिः

    दर्पण

    mirror — दर्पण is from √दृप् in the causative, the thing that makes you proud, which is a lexicographer's joke that stuck. The word stands in apposition to कैलासस्य and takes its case: the mountain is the mirror, it does not have one. Mallinātha's reason — crystal or silver, and so reflective — is what keeps the apposition from being a metaphor

    त्रिदशवनितादर्पणस्य, “mirror of the women of the gods,” tells why the mountain is a mirror and why the gods are called त्रिदश. Mallinātha derives the name, त्रिर्दशपरिमाणमेषामस्तीति त्रिदशाः, “the gods are ‘thrice-ten’ because they number three times ten,” by the bahuvrīhi that ends in डच्; and he explains the mirror by the stone, कैलासस्य स्फटिकत्वाद्रजतत्वाद्वा बिम्बग्राहित्वेनेदमुक्तम्, “Kailāsa, being of crystal or of silver, catches an image, and so is called a mirror” — the divine women see themselves in its polished flank.

    • Mallinātha, Sañjīvinī — 1.60: trir daśaparimāṇam eṣām astīti tridaśāḥ; kailāsasya sphaṭikatvād rajatatvād vā bimbagrāhitvena

  • i-stem masculine, प्रथमा एकवचन nominative singular

    अतिथिः

    printed त्रिदशवनितादर्पणस्यातिथिः

    अतिथि

    a guest — the word the whole errand turns on, and the cloud is being told to be one rather than to arrive. अतिथि is traditionally derived from न तिथिः, 'one with no set date', a man who comes unannounced; the duty of the house is to feed him anyway. Kālidāsa gives the mountain the host's part and the cloud the guest's, so the halt is not sightseeing but something owed on both sides

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

    स्याः

    √अस्

    be — the fifth optative in four stanzas, and the first of them that is neither supposition nor injunction glossed by an imperative: Mallinātha carries this one over without a word. Two pādas back at 1.58 the same root stood in the same mood as the protasis of a condition, स्यात्; here it is the second person and the plain instruction. √अस् has no middle, so the ending could only be this one

  • a-stem masculine, तृतीया बहुवचन instrumental plural

    शृङ्गोच्छ्रायैः

    उच्छ्राय

    by the liftings — glossed औन्नत्यैः. The instrumental is the means of वितत्य, spreading: the mountain covers the sky by its heights, which is as close as Sanskrit gets to saying that something tall takes up room. The plural counts the peaks rather than the heights

  • a-stem masculine, तृतीया बहुवचन instrumental plural

    कुमुदविशदैः

    printed कुमुदविशदैर्यो

    विशद

    white — glossed निर्मलैः, unstained, so the word is chosen for purity and not for brightness. विशद is what a thing is when nothing is on it; the peaks are white because there is nothing else on them. The adjective agrees with शृङ्गोच्छ्रायैः, so what is white is strictly the heights, which is a way of saying the snowline

  • pronoun, प्रथमा एकवचन nominative singular

    यः

    printed कुमुदविशदैर्यो

    यद्

    which — the relative reaching back to कैलासस्य across a pāda boundary, and it has no correlative anywhere: the second half of the stanza is a relative clause with nothing to answer it, which Sanskrit allows where the antecedent is already definite. Mallinātha puts the noun back in when he construes, यः कैलासः

  • √तन् + ल्यप्

    वितत्य

    वि + √तन्

    having spread over — glossed व्याप्य, having pervaded. √तन् is to stretch, and with वि it is stretching a thing out over something; the gloss swaps it for a root that means filling, which is what a mountain does to a sky rather than what a cloth does to a frame. The absolutive takes ल्यप् because the root has a prefix on it, where the bare √गम् of the first pāda took क्त्वा

  • √स्था + क्त, प्रथमा एकवचन nominative singular

    स्थितः

    स्थित, from √स्था

    stands — a past participle doing the work of a finite present, which is what क्त does with a root of resting: the mountain has taken up its position and is in it. It is the verb of the relative clause and everything from यः onward hangs on it, including the whole comparison of the last pāda

  • a-stem neuter, द्वितीया एकवचन accusative singular

    खम्

    printed खं

    ख

    the sky — glossed आकाशम्. ख is first of all a hole: the hollow of a wheel's nave, then any cavity, then the emptiness overhead. The word the gloss gives is the one built out of shining; the word the poet uses is the one built out of emptiness, and what the mountain does to it is fill it

  • √भू + च्वि + क्त, प्रथमा एकवचन nominative singular

    राशीभूतः

    राशि, on the cvi-stem राशीभू

    heaped up — literally 'become a heap', and the ī in the middle is a grammatical affix rather than a lengthening. Pāṇini 5.4.50 अभूततद्भावे कृभ्वस्तियोगे सम्पद्यकर्तरि च्विः gives the affix च्वि when a noun is joined to √कृ, √भू or √अस् in the sense of a thing becoming what it was not: राशि becomes राशी and then joins √भू. The construction is what Sanskrit has instead of 'turn into', and it carries the whole of the stanza's fancy — a laugh laughed daily has been accumulating, and the mountain is the pile

  • अव्ययीभाव

    प्रतिदिनम्

    printed प्रतिदिनमिव

    प्रति + दिन

    day after day — glossed दिने दिने, which is the doubling that says वीप्सा, one by one over the whole run of them. It goes with राशीभूतः and not with स्थितः: the heaping is what happens daily, and the standing is what the heap does now

  • अव्यय

    इव

    printed प्रतिदिनमिव

    इव

    as if — the third stanza running to turn on this particle, and the first of the three where Mallinātha names what it is doing. At 1.58 and 1.59 he let it stand; here he calls the whole thing उत्प्रेक्षा, and the particle is what marks the figure. In an utprekṣā इव is not 'like' but 'as if': the mountain is not being compared to a laugh, it is being entertained as one

  • a-stem masculine, षष्ठी एकवचन genitive singular

    त्र्यम्बकस्य

    printed त्र्यम्बकस्याट्टहासः

    त्र्यम्बक

    of the three-eyed god — glossed त्रिलोचनस्य. The genitive belongs to अट्टहासः: it is his laugh. Whose mountain it is has been settled since the second pāda, where the guest was told whose house he was going to; the last pāda says whose laugh the house is made of

  • a-stem masculine, प्रथमा एकवचन nominative singular

    अट्टहासः

    printed त्र्यम्बकस्याट्टहासः

    हास

    laughter — हास is from √हस् with घञ्, the laugh rather than the laughing. It is the last word of the stanza and the thing the mountain is said to be; everything before it has been building the two grounds the identification needs, whiteness and size, and neither is stated as a reason anywhere in the verse. Mallinātha states both

    अट्टहासः, “loud laughter,” is the far reach of the verse: the white mountain heaped against the sky is fancied to be Śiva’s laughter piled up day by day. Mallinātha names the figure, धावल्याद्धासत्वेनोत्प्रेक्षा, “by its whiteness it is imagined as laughter,” and grounds the colour in poetic custom, हासादीनां धावल्यं कविसमयसिद्धम्, “that laughter and the like are white is settled convention of the poets.” अट्ट he takes as ‘loud,’ quoting Yādava, अट्टावतिशयक्षौमौ; so the peak is not merely bright but a burst of white mirth that has been gathering, राशीभूतः, since before memory.

    • Mallinātha, Sañjīvinī — 1.60: dhāvalyād dhāsatvenotprekṣā; hāsādīnāṃ dhāvalyaṃ kavisamayasiddham

ऊर्ध्वम् · च · गत्वा · दशमुखभुजोच्छ्वासितप्रस्थसंधेः · त्रिदशवनितादर्पणस्य · कैलासस्य · अतिथिः · स्याः · यः · कुमुदविशदैः · शृङ्गोच्छ्रायैः · खम् · वितत्य · प्रतिदिनम् · राशीभूतः · त्र्यम्बकस्य · अट्टहासः · इव · स्थितः

uncheckedMallinātha, Sañjīvinī, whose commentary runs as anvaya. He puts कैलासस्य after both the compounds that qualify it, where the verse has it between them, and in the relative clause he takes the adjective कुमुदविशदैः in front of the noun it qualifies“krauñcabilanirgamanānantaramūrdhvaṃ ca gatvā … kailāsasyātithiḥ syāḥ | yaḥ kailāsaḥ kumudaviśadairnirmalaiḥ śṛṅgāṇāmucchrāyairaunnatyaiḥ khamākāśaṃ vitatya vyāpya pratidinaṃ dine dine rāśībhūtastryambakasya trilocanasyāṭṭahāso'tihāsa iva sthitaḥ”

the dependency structure

स्याः · क्रिया — you should be, भवेः; the optative of √अस्, ‘become’ the guest of Kailāsa

अतिथिः · कर्तृसमानाधिकरण — a guest, अतिथिः; the predicate the verb makes of the cloud

कैलासस्य · षष्ठी governed by अतिथि — of Kailāsa, कैलासस्य; whose guest the cloud is to be

दशमुखभुजोच्छ्वासितप्रस्थसंधेः · agreeing with कैलासस्य — whose ridge-joints ten-faced Rāvaṇa’s arms forced apart, दशमुखभुजैरुच्छ्वासिताः प्रस्थसन्धयो यस्य

त्रिदशवनितादर्पणस्य · agreeing with कैलासस्य — the mirror of the gods’ women, त्रिदशवनितानां दर्पणस्य; bright enough to hold their reflection

स्थितः · relative-clause predicate — which stands, स्थितः; the participle describing Kailāsa that यः reaches

यः · सम्बन्धसर्वनाम agreeing with कैलासः — which, यः

अट्टहासः · उपमानम् — like the loud laughter, अट्टहासः इव; what the white mountain is fancied to be

त्र्यम्बकस्य · षष्ठी — of the three-eyed god, त्रिलोचनस्य; Śiva, whose laughter is white

राशीभूतः · agreeing — heaped up, राशीभूतः; the laughter piled day upon day

इव · उपमार्थे — like

वितत्य · पूर्वकालक्रिया — having spread, व्याप्य; the absolutive before स्थितः

खम् · कर्म — the sky, आकाशम्; what the peaks spread across

शृङ्गोच्छ्रायैः · करण — with its towering peaks, शृङ्गाणामुच्छ्रायैः; the means of the spreading

कुमुदविशदैः · agreeing with शृङ्गोच्छ्रायैः — white as water-lilies, निर्मलैः

प्रतिदिनम् · क्रियाविशेषण — day after day, दिने दिने; how long it has stood

ऊर्ध्वम् · क्रियाविशेषण — upward, ऊर्ध्वम्; the direction of the going

च · समुच्चय — and; joining this errand to the last

गत्वा · पूर्वकालक्रिया — having gone, गत्वा; the absolutive before स्याः

uncheckedMallinātha’s Sañjīvinī for the anvaya and the reading; the Telugu drawn from Vedam Venkataraya Sastri’s Āndhra Meghasandeśam and the Bālānandinī. The relative clause describing Kailāsa is hung under कैलासस्य through its participle स्थितः.

And when you have gone up from there, be the guest of Kailāsa — the mountain whose plateau-seams Rāvaṇa's arms sprang apart, and which the women of heaven use for a looking-glass — Kailāsa, that stands with the sky spread under the lift of its peaks, white as night-lotuses, as though it were the three-eyed god's great laugh, heaped up a little more each day. Mallinātha gives a reason for each half of that. The mirror is not flattery: कैलासस्य स्फटिकत्वाद् रजतत्वाद् वा बिम्बग्राहित्वेन, the mountain is crystal or silver and so takes a reflection. And the damage Rāvaṇa did is not scenery: एतेन नयनकौतुकसद्भाव उक्तः, by it the poet states that there is something there worth the eye's curiosity — the cloud is being given a reason to stop.

uncheckedthe reader's reading, following Mallinātha's gloss; the two reasons are his“etena nayanakautukasadbhāva uktaḥ … kailāsasya sphaṭikatvādrajatatvādvā bimbagrāhitvenedamuktam”

And going on upward, become the guest of Kailāsa — the mountain whose ridge-seams the arms of ten-faced Rāvaṇa once wrenched loose, the mirror in which the women of the gods behold themselves — which, white as water-lilies with its towering peaks, has spread across the sky and stands there day after day, heaped up like the loud laughter of the three-eyed god.

  • Mallinātha, Sañjīvinī — 1.60, whole-verse gloss

उत्प्रेक्षा — poetic fancy: the thing in front of you is entertained as being something else, and the entertaining is marked as such by इव, 'as if'. It differs from a simile in that a simile sets two things side by side and an utprekṣā puts one in place of the other, tentatively

Mallinātha names it in four words and gives its ground in the first of them: धावल्याद् हासत्वेन उत्प्रेक्षा, 'by reason of whiteness, an utprekṣā in the form of laughter'. Then he says where the whiteness of laughter comes from, and the answer is not from the world: हासादीनां धावल्यं कविसमयसिद्धम्, 'the whiteness of laughter and the rest is established by the poets' convention'. कविसमय is the body of things Sanskrit poets agree to treat as true whether or not they are — fame is white, laughter is white, glory is white. कविसमय is the body of things Sanskrit poets agree to treat as true whether or not they are — fame is white, laughter is white, glory is white. **He has written this figure once before in these very words.** At 1.52 the foam of a river was Śiva's laugh and the formula was धावल्यात्फेनानां हासत्वेनोत्प्रेक्षा, the same ground and the same shape of sentence eight stanzas earlier. What is new here is the second sentence: there he left the whiteness of laughter to stand, and here he says where it comes from, and the answer is not the world but an agreement among poets. So the figure rests on a convention the commentator names as a convention, and the stanza is legible only to a reader who already holds it. It is the sixth utprekṣā of the canto, after 1.18, 1.30, 1.31, 1.48 and 1.52, and the first figure named since that one.

uncheckedMallinātha, Sañjīvinī, who names the figure, its ground and the convention behind the ground“dhāvalyāddhāsatvenotprekṣā | hāsādīnāṃ dhāvalyaṃ kavisamayasiddham”