printलघुसिद्धान्तकौमुदी — practise the grammar

मेघदूतम् · कालिदास · 1.61

कैलास · the dark cloth on Balarāma's shoulder

उत्पश्यामि त्वयि तटगते स्निग्धभिन्नाञ्जनाभे

उ
त्प
श्या
मि
त्व
यि
त
ट
ग
ते
स्नि
ग्ध
भि
न्ना
ञ्ज
ना
भे

सद्यःकृत्तद्विरददशनच्छेदगौरस्य तस्य

स
द्यः
कृ
त्त
द्वि
र
द
द
श
न
च्छे
द
गौ
र
स्य
त
स्य

शोभामद्रेः स्तिमितनयनप्रेक्षणीयां भवित्रीं

शो
भा
म
द्रेः
स्ति
मि
त
न
य
न
प्रे
क्ष
णी
यां
भ
वि
त्रीं

अंसन्यस्ते सति हलभृतो मेचके वाससीव

अं
स
न्य
स्ते
स
ति
ह
ल
भृ
तो
मे
च
के
वा
स
सी
व

pāda a

  • उguruthe conjunct त्प that follows it
  • त्पguruthe conjunct श्य that follows it
  • श्याguruits long vowel आ
  • मिguruthe conjunct त्व that follows it
  • त्वlaghuits short vowel, with a single consonant after it
  • यिlaghuits short vowel, with a single consonant after it
  • तlaghuits short vowel, with a single consonant after it
  • टlaghuits short vowel, with a single consonant after it
  • गlaghuits short vowel, with a single consonant after it
  • तेguruits long vowel ए
  • स्निguruthe conjunct ग्ध that follows it
  • ग्धlaghuits short vowel, with a single consonant after it
  • भिguruthe conjunct न्न that follows it
  • न्नाguruits long vowel आ
  • ञ्जlaghuits short vowel, with a single consonant after it
  • नाguruits long vowel आ
  • भेguruits long vowel ए
  • yati after 4 — a word ends here — उत्पश्यामि
  • yati after 10 — a word ends here — तटगते

pāda b

  • सguruthe conjunct द्य that follows it
  • द्यःguruthe visarga it carries
  • कृguruthe conjunct त्त that follows it
  • त्तguruthe conjunct द्व that follows it
  • द्विlaghuits short vowel, with a single consonant after it
  • रlaghuits short vowel, with a single consonant after it
  • दlaghuits 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
  • नguruthe conjunct च्छ that follows it
  • च्छेguruits long vowel ए
  • दlaghuits short vowel, with a single consonant after it
  • गौguruits long vowel औ
  • रguruthe conjunct स्य that follows it
  • स्यlaghuits short vowel, with a single consonant after it
  • तguruthe conjunct स्य that follows it
  • स्यlaghuits short vowel — light on its own, though the pāda ends here
  • yati after 4 — it falls inside the compound सद्यःकृत्तद्विरददशनच्छेदगौरस्य
  • yati after 10 — it falls inside the compound सद्यःकृत्तद्विरददशनच्छेदगौरस्य

pāda c

  • शोguruits long vowel ओ
  • भाguruits long vowel आ
  • मguruthe conjunct द्र that follows it
  • द्रेःguruthe visarga it carries
  • स्तिlaghuits short vowel, with a single consonant after it
  • मिlaghuits short vowel, with a single consonant after it
  • तlaghuits short vowel, with a single consonant after it
  • नlaghuits short vowel, with a single consonant after it
  • यlaghuits short vowel, with a single consonant after it
  • नguruthe conjunct प्र that follows it
  • प्रेguruits long vowel ए
  • क्षlaghuits short vowel, with a single consonant after it
  • णीguruits long vowel ई
  • यांguruthe anusvāra it carries
  • भlaghuits short vowel, with a single consonant after it
  • विguruthe conjunct त्र that follows it
  • त्रींguruthe anusvāra it carries
  • yati after 4 — a word ends here — शोभामद्रेः
  • yati after 10 — it falls inside the compound स्तिमितनयनप्रेक्षणीयाम्

pāda d

  • अंguruthe anusvāra it carries
  • सguruthe conjunct न्य that follows it
  • न्यguruthe conjunct स्त that follows it
  • स्तेguruits long vowel ए
  • सlaghuits short vowel, with a single consonant after it
  • तिlaghuits short vowel, with a single consonant after it
  • हlaghuits short vowel, with a single consonant after it
  • लlaghuits short vowel, with a single consonant after it
  • भृlaghuits short vowel, with a single consonant after it
  • तोguruits long vowel ओ
  • मेguruits long vowel ए
  • चlaghuits short vowel, with a single consonant after it
  • केguruits long vowel ए
  • वाguruits long vowel आ
  • सlaghuits short vowel, with a single consonant after it
  • सीguruits long vowel ई
  • वlaghuits short vowel — light on its own, though the pāda ends here
  • yati after 4 — a word ends here — अंसन्यस्ते
  • yati after 10 — a word ends here — हलभृतो

  • शोभाम् + अद्रेः → शोभामद्रेः

    म् + अ

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

  • स्तिमितनयनप्रेक्षणीयाम् + भवित्रीम् → स्तिमितनयनप्रेक्षणीयां

    म् + भ्

  • भवित्रीम् + अंसन्यस्ते → भवित्रीं

    म् + अ

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

  • हलभृतः + मेचके → हलभृतो

    ः + म्

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

  • वाससि + इव → वाससीव

    इ + इ → ई

  • तट + गत → तटगते

    अ + ग्

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

  • स्निग्ध + भिन्न → स्निग्धभिन्नाञ्जनाभे

    अ + भ्

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

  • भिन्न + अञ्जन → स्निग्धभिन्नाञ्जनाभे

    अ + अ → आ · falls inside the syllable न्ना

  • अञ्जन + आभा → स्निग्धभिन्नाञ्जनाभे

    अ + आ → आ · falls inside the syllable ना

  • सद्यस् + कृत्त → सद्यःकृत्तद्विरददशनच्छेदगौरस्य

    स् + क्

  • कृत्त + द्विरद → सद्यःकृत्तद्विरददशनच्छेदगौरस्य

    अ + द्

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

  • द्विरद + दशन → सद्यःकृत्तद्विरददशनच्छेदगौरस्य

    अ + द्

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

  • दशन + छेद → सद्यःकृत्तद्विरददशनच्छेदगौरस्य

    अ + छ्

  • छेद + गौर → सद्यःकृत्तद्विरददशनच्छेदगौरस्य

    अ + ग्

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

  • स्तिमित + नयन → स्तिमितनयनप्रेक्षणीयाम्

    अ + न्

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

  • नयन + प्रेक्षणीय → स्तिमितनयनप्रेक्षणीयाम्

    अ + प्

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

  • अंस + न्यस्त → अंसन्यस्ते

    अ + न्

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

  • हल + भृत् → हलभृतः

    अ + भ्

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

शोभामद्रेः carries the accusative म् of शोभाम् on unchanged before the vowel of अद्रेः (शोभाम् + अद्रेः), as a word-final म् does before any vowel; भवित्रीमंसन्यस्ते does the same. प्रेक्षणीयां भवित्रीम् instead holds the म् as अनुस्वार before the following consonant (8.3.23, 8.4.59). वाससीव merges इ with इ into a single long ई (6.1.101 अकः सवर्णे दीर्घः). हलभृतो मेचके is the block’s unnamed visarga join — अः before the voiced म् giving ओ, the change the builder leaves null because the same ओ can come of a रेफ or a रुत्व stem. Inside the compound, दशनच्छेद doubles छ after the short अ (6.1.73 छे च).

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

  • त्वयि सप्तमी · locative — सति-सप्तमी / निमित्तसप्तमी — a locative absolute, ‘you having alighted’, the occasion of the beauty, not a locative of place ‘in you’

    with तटगते, स्निग्धभिन्नाञ्जनाभे

    The locative here does not say where the beauty is; it names the circumstance that brings it about — the cloud having settled on the ridge. Mallinātha supplies the missing सति to make it plain, त्वयि तटगते सानुं गते सति, ‘you having gone to the ridge, having reached the peak,’ the absolute that sets the scene. So the whole main clause hangs on this settling: when the dark cloud lies on the white mountain, then the beauty the speaker foresees will be.

    • Mallinātha, Sañjīvinī — 1.61: tvayi taṭagate sānuṃ gate sati

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

    with सद्यःकृत्तद्विरददशनच्छेदगौरस्य

  • शोभाम् द्वितीया · accusative — कर्म, the object

    with स्तिमितनयनप्रेक्षणीयाम्

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

  • भवित्रीम् द्वितीया · accusative — भविष्यदर्थे तृ-प्रत्ययान्तम् — a feminine ‘about-to-be’, ‘the beauty that will come’, not one already present

    The word is not a plain adjective of शोभा but a form built to mean the future: भाविन्, feminine भवित्री, ‘she who is about to be.’ Mallinātha glosses it with a synonym and then states the sense outright, भवित्रीं भाविनीम् … शोभा भविष्यतीति तर्कयामीत्यर्थः, ‘about to be — I reckon the beauty will come to be.’ So उत्पश्यामि is not ‘I see’ a present beauty but ‘I foresee’ one, and भवित्रीम् is what puts the whole picture in the time to come.

    • Mallinātha, Sañjīvinī — 1.61: bhavitrīṃ bhāvinīm; śobhā bhaviṣyatīti tarkayāmi

  • सति सप्तमी · locative — अधिकरण, the location

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

  • मेचके सप्तमी · locative — अधिकरण, the location

  • वाससि सप्तमी · locative — अधिकरण, the location

    with अंसन्यस्ते

प्रकरण 1 · हलन्त्यम्

  • हलन्त्यम् 1.3.3← उत्पश्यामि; स्तिमितनयनप्रेक्षणीयाम्; सति
  • तस्य लोपः 1.3.9← उत्पश्यामि; तटगते; स्निग्धभिन्नाञ्जनाभे; अद्रेः; स्तिमितनयनप्रेक्षणीयाम्; अंसन्यस्ते; सति
  • सुप्तिङन्तं पदम् 1.4.14← उत्पश्यामि; तटगते; स्तिमितनयनप्रेक्षणीयाम्; अंसन्यस्ते; सति

प्रकरण 2 · इको यणचि

प्रकरण 3 · स्तोः श्चुना श्चुः

प्रकरण 4 · वा शरि

प्रकरण 5 · अर्थवदधातुरप्रत्ययः प्रातिपदिकम्

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 59 · इवे प्रतिकृतौ

प्रकरण 60 · स्त्रियाम्

not in the abridgement

तटगते

तट · गत

  1. तटं गतः

    तत्पुरुष (accusative) — gone to the slope

तत्पुरुष — it agrees with त्वयि. settled on the slope — an accusative tatpuruṣa, because what is gone to is the object of the going. Mallinātha glosses तट with सानु, the flat shoulder of a mountain rather than a bank, and then supplies सति: तटगते सानुं गते सति, 'you having gone to the ridge'. The सति is what makes the pair त्वयि तटगते a locative absolute and not a plain locative of place, so the whole first pāda is a clause — 'once you are there' — and not a phrase

uncheckedMallinātha, Sañjīvinī, who glosses तट with सानु and supplies सति“tasmiṃstvayi taṭagate sānuṃ gate sati”

स्निग्धभिन्नाञ्जनाभे

स्निग्ध · भिन्न · अञ्जन · आभा

  1. स्निग्धं च भिन्नं च अञ्जनम्

    कर्मधारय — collyrium that is glossy and ground fine

  2. स्निग्धभिन्नाञ्जनस्य एव आभा यस्य सः

    बहुव्रीहि — the cloud with just that sheen

बहुव्रीहि — it refers to त्वयि. with the sheen of freshly ground collyrium — Mallinātha glosses all three of the first members and the gloss of the second is the one that changes the picture. स्निग्धं मसृणम्, glossy or smooth; भिन्नं मर्दितम्, 'broken up, that is, ground'; अञ्जनं कज्जलम्, lamp-black. So भिन्न is not a cloud broken open but the collyrium crushed to powder, which is when it is blackest and takes the most light. His vigraha puts an एव in that the compound does not have — तस्यैव आभा यस्य, 'whose sheen is that very thing' — and the एव is what keeps the compound from being a comparison. The cloud is not like collyrium in colour; the colour is the same colour

uncheckedMallinātha, Sañjīvinī, who glosses स्निग्ध, भिन्न and अञ्जन and whose vigraha adds एव. `vendor/meghaduta-sanjivini.itx` prints `tasyAmevAbhA` for `तस्यैवाभा`, which is read through“snigdhaṃ masṛṇaṃ bhinnaṃ marditaṃ ca yadañjanaṃ kajjalaṃ tasyaivābhā yasya tasmiṃstvayi”

सद्यःकृत्तद्विरददशनच्छेदगौरस्य

सद्यस् · कृत्त · द्विरद · दशन · छेद · गौर

  1. द्वौ रदौ यस्य सः

    बहुव्रीहि — the two-tusked one, an elephant

  2. सद्यः कृत्तः

    कर्मधारय — cut this moment

  3. द्विरदस्य दशनः

    तत्पुरुष (genitive) — the elephant's tooth

  4. सद्यःकृत्तस्य द्विरददशनस्य छेदः

    तत्पुरुष (genitive) — the cut face of it

  5. छेदवत् गौरः

    कर्मधारय — white the way that face is

कर्मधारय — it agrees with तस्य. white as the cut of a tusk just severed — six members, and Mallinātha takes them in order and settles the one thing that would otherwise be open, which is what छेद does. He writes छेदवद् गौरस्य धवलस्य, 'white as the cut', so छेद is not what the mountain is white *of* but what it is white *like*: the last two members are a comparison folded into a compound, with वत् supplied to show it. The rest he glosses word for word — कृत्तस्य छिन्नस्य, cut; द्विरददशनस्य गजदन्तस्य, an elephant's tooth. **What सद्यः is doing is the whole force of the image.** Ivory yellows; the cut face of a tusk is white only at the moment of cutting, and the compound specifies that moment. So the mountain is not ivory-coloured but the colour of ivory for the one instant it is at its whitest

uncheckedMallinātha, Sañjīvinī, who glosses each member and supplies वत् to make the last relation a comparison. `vendor/meghaduta-sanjivini.itx` prints `Chedavadbhaurasya` for `छेदवद्गौरस्य`, which is read through against the gloss धवलस्य“sadyaḥ kṛttasya chinnasya dviradadaśanasya gajadantasya chedavadgaurasya dhavalasya tasyādreḥ kailāsasya”

स्तिमितनयनप्रेक्षणीयाम्

स्तिमित · नयन · प्रेक्षणीय

  1. स्तिमिते नयने

    कर्मधारय — eyes gone still

  2. स्तिमिताभ्यां नयनाभ्यां प्रेक्षणीया

    तत्पुरुष (instrumental) — to be gazed at with them

तत्पुरुष — it agrees with शोभाम्. to be gazed at with unmoving eyes — and Mallinātha's paraphrase supplies a number the compound cannot show. He writes स्तिमिताभ्यां नयनाभ्यां, both words in the dual: a person has two eyes, and a compound flattens dual and plural alike. स्तिमित is what water is when it stops moving, and of an eye it is the stare that forgets to blink. The instrumental is of the instrument of seeing, so the compound says what the beauty does to whoever looks at it rather than what it is

uncheckedMallinātha, Sañjīvinī, whose paraphrase puts both members in the dual and supplies the instrumental“stimitābhyāṃ nayanābhyāṃ prekṣaṇīyāṃ śobhāṃ”

अंसन्यस्ते

अंस · न्यस्त

  1. अंसे न्यस्तः

    तत्पुरुष (locative) — laid across the shoulder

तत्पुरुष — it agrees with वाससि. laid on the shoulder — a locative tatpuruṣa, and it is the member that makes the comparison exact. The cloud is on the mountain's तट, its shoulder of rock, and the garment is on Balarāma's अंस: the two words are for the same part of a body, one of stone and one of flesh, and the simile turns on the cloth and the cloud being in the same place as much as on their being the same colour. Mallinātha carries the compound over into his construal unglossed and supplies सति after it, so this is a second locative absolute answering the first

uncheckedMallinātha, Sañjīvinī, who supplies सति and construes the phrase with वाससि“vāsasi vastre'ṃsanyaste sati halabhṛto balabhadrasyeva”

हलभृतः

हल · भृत्

  1. हलं बिभर्ति इति हलभृत्

    तत्पुरुष (accusative) — the one who carries the plough

तत्पुरुष. of the plough-bearer — Balarāma, whom Mallinātha names outright: हलभृतो बलभद्रस्य. The compound is of the kind whose second member is a verbal stem that cannot stand alone — भृत् is only ever the end of a word — so the first member is its object and the case of the vigraha is the second. What the epithet is doing here is picking the brother by his colour: of the two, Balarāma is the fair one and Kṛṣṇa the dark, so a white body with a dark blue cloth on it is his and not the other's, and the poet says so without saying it

uncheckedMallinātha, Sañjīvinī, who identifies हलभृत् as बलभद्र; the vigraha is the standard one for a compound in this shape and he does not give it“halabhṛto balabhadrasyeva”

  • √दृश्, class 1, लट्, parasmaipada, first person singular

    उत्पश्यामि

    उद् + √दृश्

    I see it coming — and Mallinātha will not let it be seeing. He glosses the whole clause शोभा भविष्यति इति तर्कयामि इत्यर्थः, 'the sense is: I conjecture that there will be beauty'. So उत्पश्यामि is not a claim about the eye but about the mind — उद् on a verb of seeing makes it seeing ahead, and तर्क् is the word for working a thing out. **It is one of the few first-person verbs in the canto**: the yakṣa, who has been giving directions for fifty stanzas, says for once what he himself is doing. The present stem is पश्य, which has nothing to do with √दृश् in sound; Pāṇini substitutes it at 7.3.78, in a list of eight roots that swap their stems in the present

  • pronoun, सप्तमी एकवचन locative singular

    त्वयि

    युष्मद्

    you being — the locative of the pronoun, and the subject of the absolute clause rather than a place. Mallinātha writes तस्मिन् त्वयि, adding a demonstrative in front of it so that the long bahuvrīhi before it has something to attach to. The cloud is addressed in the second person throughout the poem and stands here in the case a Sanskrit sentence uses for circumstances

  • √गम् + क्त, सप्तमी एकवचन locative singular

    तटगते

    गत, from √गम्

    having gone — the participle that makes the absolute, agreeing with त्वयि. गत from √गम् is 'gone' in the sense of having arrived and being there, not of having departed, which is why the same word does duty for 'situated in' all over Sanskrit. The क्त of a verb of motion is active in sense: the cloud went, it was not gone to

  • a-stem masculine, सप्तमी एकवचन locative singular

    स्निग्धभिन्नाञ्जनाभे

    आभ

    sheen — आभा is a feminine noun on its own account, from आ + √भा, to shine toward; at the end of a bahuvrīhi it takes the gender of what the compound describes, and the cloud is masculine, so the stem is आभ and the locative is आभे. That is the same property of a bahuvrīhi the run met at 1.28 and 1.46, where the generator's one table per stem class could not follow it; here it works out, because a masculine a-stem is the class the generator has most of

  • a-stem masculine, षष्ठी एकवचन genitive singular

    सद्यःकृत्तद्विरददशनच्छेदगौरस्य

    गौर

    white — glossed धवलस्य. गौर is the whiteness of things that are pale rather than bright: a fair skin, wheat, a cow. The genitive is governed by शोभाम् in the next pāda — it is the mountain's beauty — and the whole six-member compound qualifies तस्य, so the adjective and the pronoun it agrees with sit at the two ends of the pāda with everything else in between

    सद्यःकृत्तद्विरददशनच्छेदगौरस्य, “white as the just-cut section of an elephant’s tusk,” is how the mountain’s whiteness is fixed. Mallinātha reads it piece by piece, सद्यः कृत्तस्य छिन्नस्य द्विरददशनस्य गजदन्तस्य छेदवद् गौरस्य धवलस्य, “white as the cross-cut of an elephant’s tusk freshly severed.” द्विरद, ‘two-tusked,’ is a name for the elephant; दशन its tooth; छेद the cut face — and the point of सद्यः, ‘just now,’ is that a fresh cut is whitest, before it dulls. So the simile’s two colours are pitched at their extremes, the whitest white against the darkest dark.

    • Mallinātha, Sañjīvinī — 1.61: sadyaḥ kṛttasya … dviradadaśanasya gajadantasya chedavad gaurasya dhavalasya

  • pronoun, षष्ठी एकवचन genitive singular

    तस्य

    तद्

    that — the pronoun the whole second pāda hangs on, and Mallinātha names what it stands for twice over: तस्य अद्रेः कैलासस्य, 'of that mountain, Kailāsa'. The verse gives अद्रेः in the next pāda and never gives the name; the name has been standing since 1.60 and the demonstrative reaches back over a stanza boundary to it

  • ā-stem feminine, द्वितीया एकवचन accusative singular

    शोभाम्

    printed शोभामद्रेः

    शोभा

    beauty — the object of उत्पश्यामि, and the word both halves of the comparison share. It is the mountain's beauty that is foreseen and Balarāma's beauty it is like, and the noun is stated once and does duty for both. That is what makes the simile a full one rather than an elliptical one: the property the two things have in common is on the page

  • i-stem masculine, षष्ठी एकवचन genitive singular

    अद्रेः

    printed शोभामद्रेः

    अद्रि

    of the mountain — the noun तस्य agrees with, a whole pāda away from it, and Mallinātha puts them back together as तस्याद्रेः. It is the same word that stood at the head of 1.59 inside प्रालेयाद्रेः; there it was the Himālaya and here it is Kailāsa, and nothing but the context tells them apart

  • √ईक्ष् + अनीयर्, द्वितीया एकवचन accusative singular

    स्तिमितनयनप्रेक्षणीयाम्

    printed स्तिमितनयनप्रेक्षणीयां

    प्रेक्षणीय, from प्र + √ईक्ष्

    to be gazed at — a kṛtya, the class of forms that say a thing ought to or can be done to. अनीयर् is the affix, and प्रेक्षणीय is what deserves looking at rather than what is being looked at; the mountain's beauty has not happened yet, so a form that says 'worth seeing' can be used of it where a participle could not. The root is प्र + √ईक्ष्, which is the root the name of the figure at 1.60 was built on — उत्प्रेक्षा is उद् + प्र + √ईक्ष् — and this stanza is a simile instead

  • ī-stem feminine, द्वितीया एकवचन accusative singular

    भवित्रीम्

    printed भवित्रीं

    भवित्री, the feminine of भवितृ

    that is going to be — and Mallinātha glosses it with the word he derived three stanzas ago: भवित्रीं भाविनीम्. भवितृ is √भू with तृच्, the agent affix, and भाविन् is √भू with णिनि, which he called the future-sense affix at 1.58 citing Pāṇini 3.3.3. So he explains one future-sense formation with the other, and the two together are the two ways Sanskrit turns 'will be' into a noun that can agree with शोभाम्. **DCS declines it as an ṛ-stem**, which is the stem it is made from and not the stem it is: the feminine of a तृच् noun ends in ई and goes the नदी way, so the accusative is भवित्रीम् and an ṛ-stem table would give भवितरम्

  • √अस् + क्त, सप्तमी एकवचन locative singular

    अंसन्यस्ते

    न्यस्त, from नि + √अस्

    laid down — the root is नि + √अस्, to throw down, which is a different √अस् from the one that means 'to be'; the two are told apart only by what they build. The participle agrees with वाससि and is neuter with it. It makes the second locative absolute of the stanza, and Mallinātha supplies सति for it as he did for the first — except that here the verse supplies its own सति, printed in the next word

    अंसन्यस्ते सति is a locative absolute, and वाससि goes with it: ‘a dark garment being laid on the shoulder.’ Mallinātha completes the construction with the सति that Sanskrit often leaves unspoken, वासस्यंसन्यस्ते सति हलभृतः … इव, so the phrase is not ‘on a garment’ but ‘as when a garment is laid across the shoulder.’ अंस is the shoulder, न्यस्त the past participle of नि + √अस्, ‘set down’; the whole absolute is the second limb of the simile, the act on Balarāma’s side that matches the cloud settling on the mountain.

    • Mallinātha, Sañjīvinī — 1.61: vāsasy aṃsanyaste sati halabhṛto … iva

  • √अस् + शतृ, सप्तमी एकवचन locative singular

    सति

    सत्, from √अस्

    being — the participle of √अस् that a Sanskrit commentator writes in to mark a locative absolute, and here the poet has written it in himself. That is worth noticing, because Mallinātha supplied exactly this word two pādas earlier for तटगते, where the verse had left it out. So the stanza has two absolutes side by side, one with its सति and one without, and the commentary makes them match. The construction is named after the word: सति सप्तमी, the locative-with-sati

  • t-stem masculine, षष्ठी एकवचन genitive singular

    हलभृतः

    printed हलभृतो

    भृत्, from √भृ

    of the bearer — भृत् is √भृ with क्विप्, the affix that leaves nothing behind: the root itself becomes the word, and what it names is whoever does it. Such a stem never stands alone, so it is always the end of a compound and always has its object in front of it. Mallinātha replaces the whole epithet with a name, बलभद्रस्य, which is what he does when a description picks out one person and only one

  • a-stem neuter, सप्तमी एकवचन locative singular

    मेचके

    मेचक

    dark — glossed श्यामले, and Mallinātha quotes Amara's whole line for black to show what the poet passed over: कृष्णे नीलासितश्यामकालश्यामलमेचकाः, 'for kṛṣṇa: nīla, asita, śyāma, kāla, śyāmala, mecaka'. Six words for one colour, and मेचक is the last of the six and the rarest. The gloss is the fifth in the list, which is a step toward the common word rather than all the way to it

  • as-stem neuter, सप्तमी एकवचन locative singular

    वाससि

    printed वाससीव

    वासस्

    garment — glossed वस्त्रे. वासस् is from √वस् in the sense of wearing, not of dwelling, and the two roots keep their separate lives inside one set of letters. The as-stem locative singular is वाससि, where the स् stays as it is because a vowel follows; two cells further on, in the locative plural, it is the same स् that gives the class its difficulties

  • अव्यय

    इव

    printed वाससीव

    इव

    as — the last word of the stanza and the one that names the figure. Mallinātha calls the verse a श्रौती पूर्णोपमा, and श्रौती means the comparison is carried by a word one can hear rather than by the sense of a compound; इव is that word. It is the fourth stanza running to end on this particle. At 1.60 it marked an utprekṣā and here a simile, and what tells them apart is not the particle but whether the two things are held apart or put one for the other

स्निग्धभिन्नाञ्जनाभे · त्वयि · तटगते · सद्यःकृत्तद्विरददशनच्छेदगौरस्य · तस्य · अद्रेः · हलभृतः · मेचके · वाससि · अंसन्यस्ते · सति · इव · स्तिमितनयनप्रेक्षणीयाम् · भवित्रीम् · शोभाम् · उत्पश्यामि

uncheckedMallinātha, Sañjīvinī, whose commentary runs as anvaya. He takes the bahuvrīhi before the pronoun it describes, keeps the whole comparison together where the verse splits it across the last two pādas, and leaves the first-person verb to the end“snigdhaṃ masṛṇaṃ … tasyaivābhā yasya tasmiṃstvayi taṭagate sānuṃ gate sati … chedavadgaurasya dhavalasya tasyādreḥ kailāsasya … vāsasi vastre'ṃsanyaste sati halabhṛto balabhadrasyeva stimitābhyāṃ nayanābhyāṃ prekṣaṇīyāṃ śobhāṃ bhavitrīṃ bhāvinīmutpaśyāmi”

the dependency structure

उत्पश्यामि · क्रिया — I foresee, तर्कयामि; उद् + √दृश्, ‘I picture in advance’ the beauty to come

शोभाम् · कर्म — the beauty, शोभाम्; what the speaker foresees

स्तिमितनयनप्रेक्षणीयाम् · agreeing with शोभाम् — worth gazing at with unwinking eyes, स्तिमितनयनाभ्यां प्रेक्षणीयाम्

भवित्रीम् · agreeing with शोभाम् — about to be, भाविनीम्; the beauty that will come, not one already there

अद्रेः · षष्ठी — of the mountain, कैलासस्य; whose beauty it is

तस्य · विशेषण of अद्रेः — that, तस्य

सद्यःकृत्तद्विरददशनच्छेदगौरस्य · agreeing with अद्रेः — white as the fresh-cut section of an elephant’s tusk, सद्यश्छिन्नगजदन्तच्छेदवद्धवलस्य

त्वयि · निमित्तसप्तमी / सति-सप्तमी — you being there, त्वयि सति; the occasion on which the beauty appears

तटगते · agreeing with त्वयि — alighted on the ridge, सानुं गते; the cloud settled on the peak

स्निग्धभिन्नाञ्जनाभे · agreeing with त्वयि — dark as fresh-ground collyrium, स्निग्धमर्दिताञ्जनाभे

वाससि · उपमानभूता सति-सप्तमी — as a garment, वाससि इव; the locative absolute the simile turns on

मेचके · agreeing with वाससि — dark, श्यामले

हलभृतः · षष्ठी — of the plough-bearer, बलभद्रस्य; Balarāma, whose garment is dark

अंसन्यस्ते · agreeing with वाससि — laid on the shoulder, अंसे न्यस्ते

सति · completing the locative absolute — being; the सति that makes ‘the garment being laid on’ visible

इव · उपमार्थे — as if; the mark of the full simile

uncheckedMallinātha’s Sañjīvinī for the anvaya and the reading; the Telugu drawn from Vedam Venkataraya Sastri’s Āndhra Meghasandeśam and the Bālānandinī. The simile’s locative absolute वाससि … अंसन्यस्ते सति इव is hung under त्वयि as the occasion.

When you have settled on its slope, you with the sheen of collyrium ground fine and glossy, I can already see what that mountain will look like — white as the cut of a tusk severed this minute — a beauty to be stared at with eyes that forget to blink: like Balarāma when the dark blue cloth is laid across his shoulder. Mallinātha turns the verb into a thought rather than a sight: शोभा भविष्यतीति तर्कयामीत्यर्थः, 'the sense is, I work out that there will be beauty'. Nothing is being looked at. The yakṣa is a thousand miles away and is telling the cloud, in the first person, what the two of them will make when they meet — and the picture is exact in both directions, because Balarāma is the fair brother and the blue-black garment is his, so the white mountain wearing a dark cloud on its shoulder is not merely like a man in a cloak but like that one man.

uncheckedthe reader's reading, following Mallinātha's gloss; the reading of उत्पश्यामि as तर्कयामि is his, and the identification of हलभृत् as Balabhadra“utpaśyāmi | śobhā bhaviṣyatīti tarkayāmītyarthaḥ”

You, dark as fresh-ground collyrium, once alighted on its ridge — and I already foresee the beauty that will come to that mountain, white as the fresh-cut face of an elephant’s tusk, a beauty to be gazed at with unwinking eyes: as if a dark garment of Balarāma the plough-bearer had been laid across its fair shoulder.

  • Mallinātha, Sañjīvinī — 1.61, whole-verse gloss

श्रौती पूर्णोपमा — a simile with all four of its parts stated, and the comparison carried by a word that is heard rather than inferred. The four are the thing compared, the thing it is compared to, the property they share and the word of comparison; a simile that leaves any of them out is elliptical, a लुप्तोपमा. श्रौती is from श्रुति, what is heard: the comparison is made by a particle like इव standing there in the verse, as against आर्थी, where it is carried by the sense of a word or by a compound

All four parts are on the page. What is compared is the beauty of Kailāsa with the cloud on its shoulder; what it is compared to is Balarāma with the blue-black garment on his; the property they share is शोभा, stated once and doing duty for both; and इव is the word. **The stanza before this one was an utprekṣā and this one is not, and the difference is not the particle.** Both end on इव. At 1.60 the mountain was entertained as being Śiva's laugh — one thing put in place of another. Here the two stay two, a mountain and a man, with a named property between them. The contrast is sharper because the verb of the stanza is उत्पश्यामि, 'I imagine', built on the very root that उत्प्रेक्षा is named from: the poet fancies, and what he fancies is a likeness.

uncheckedMallinātha, Sañjīvinī, who names the figure in three words at the close of the stanza. `vendor/meghaduta-sanjivini.itx` prints `shrotI` for `श्रौती`, which is restored from the name of the type“śrautī pūrṇopamālaṅkāraḥ”