• √हा + क्त्वा

  हित्वा

  √हा

  having laid aside — the absolutive of √हा, to leave, and its subject is Śiva rather than the goddess: it is his bracelet and his hand. An absolutive in Sanskrit takes the subject of the main clause, and the main clause here has गौरी for its subject, so this one is an exception the sense enforces and the grammar does not. Mallinātha construes it with शम्भुना, the instrumental, without remarking on it

  grammar of हित्वा

• pronoun, सप्तमी एकवचन locative singular

  तस्मिन्

  printed तस्मिन्भुजगवलयं

  तद्

  on it — and what it stands for is a pāda away, क्रीडाशैले at the head of the next line, which Mallinātha puts back together at once: तस्मिन् क्रीडाशैले कैलासे. The demonstrative has opened three of the last six stanzas and each time the commentary has had to name the mountain, because the poem stopped naming it at 1.60

  grammar of तस्मिन्

• a-stem masculine, द्वितीया एकवचन accusative singular

  भुजगवलयम्

  printed तस्मिन्भुजगवलयं

  वलय

  bracelet — glossed कङ्कण. वलय is from √वल्, to turn, so the word is the ring rather than what it is made of, which is what lets a snake be one. It is the object of हित्वा, and the ornament laid aside is the one detail of Śiva's person the stanza gives

  grammar of भुजगवलयम्

  भुजगवलयम्, “the snake-bracelet,” is a कर्मधारय: the snake that is a bracelet, भुजग एव वलयः, the living serpent Śiva wears coiled on his wrist. Mallinātha adds the reason it is laid aside, गौर्या भीरुत्वात्त्यक्त्वा, “laid aside because Gaurī is timid” — she will not walk with a snake on her arm. वलय he glosses कङ्कणम्, a wristlet, quoting अमर, कटकं वलयोऽस्त्रियाम्. So the small domestic touch — a goddess setting down a bracelet before a walk — turns Śiva’s dread ornament into something a nervous wife would rather not wear.

  • Mallinātha, Sañjīvinī — 1.62: bhujaga eva valayaḥ kaṅkaṇaṃ; gauryā bhīrutvāt tyaktvā

• u-stem masculine, तृतीया एकवचन instrumental singular

  शम्भुना

  printed शंभुना

  शम्भु

  by Śambhu — glossed with the plainer name, शिवेन. शम्भु is 'the one from whom well-being comes', शम् plus √भू, so it is a description that has hardened into a name; Mallinātha swaps it for the other name, which was also a description once. The instrumental is the agent of दत्त inside the bahuvrīhi in the next word, which is why an instrumental can stand in a stanza whose finite verbs are both active

  grammar of शम्भुना

• ā-stem feminine, प्रथमा एकवचन nominative singular

  दत्तहस्ता

  हस्ता, the feminine of the bahuvrīhi stem दत्तहस्त

  hand — हस्त is a masculine noun on its own and it is feminine here, because the last member of a bahuvrīhi takes the gender of what the compound describes and what this one describes is Gaurī. The a-stem becomes an ā-stem to do it, so the word declines in a class its own dictionary entry never puts it in. Mallinātha adds सती after the compound, the feminine of the same participle he adds as सन् elsewhere, and the agreement is what makes the whole first pāda hers

  grammar of दत्तहस्ता

• a-stem masculine, सप्तमी एकवचन locative singular

  क्रीडाशैले

  शैल

  mountain — शैल is what is made of शिला, rock: a taddhita formation, the stony one. It is the fifth different word for this mountain in four stanzas — अद्रि, कैलास, शैल and the two names of 1.59 and 1.60 — and only the demonstrative in front of it keeps them one mountain

  grammar of क्रीडाशैले

• अव्यय

  यदि

  यदि

  if — and Mallinātha supplies its answering word, तर्हि, exactly as he did at 1.58 for चेत्. Sanskrit prints one half of a condition and lets the other be understood; the commentary writes it in both times, so a reader who has met one of the two stanzas knows what to do with the other. The particle stands third in its clause here, after the locative and before the verb

  grammar of यदि

• अव्यय

  च

  च

  and — joining this stanza's request to the last one's, as the च of 1.60 joined that one to 1.59. Three of these six stanzas open their sentence with a connective, which is what a set of directions does: the cloud is being given one instruction after another and each is tied to the one before

  grammar of च

• √चर्, class 1, विधिलिङ्, parasmaipada, third person singular

  विचरेत्

  वि + √चर्

  should walk about — the sixth optative in six stanzas, and a seventh use of the one ending: this is the लिङ् of a condition's protasis, as स्यात् was at 1.58, but there the condition was about the cloud and here it is about somebody else entirely. Mallinātha carries the form over without a gloss and without naming the sense of the mood, which he has now done for five of the six

  grammar of विचरेत्

• a-stem masculine, तृतीया एकवचन instrumental singular

  पादचारेण

  चार

  going — चार is √चर् with घञ्, the moving taken as a noun, and it is the same root as the verb it stands beside: विचरेत् पादचारेण is a figure of grammar rather than of sense, the cognate instrumental. Sanskrit does this to say how a thing was done when there is no adverb for it

  grammar of पादचारेण

• ī-stem feminine, प्रथमा एकवचन nominative singular

  गौरी

  गौरी

  Gaurī — the name is the feminine of गौर, the word that was the mountain's whiteness at 1.61: she is the Fair One, and the mountain she is walking on was white as fresh ivory one stanza back. Kālidāsa does not point at the repetition. Mallinātha carries the name over unglossed, and the one thing he adds about her is the thing the verse leaves out — भीरुत्व, her timidity, which is why her husband has to take off his snake before she will hold his hand

  grammar of गौरी

• i-stem feminine, तृतीया एकवचन instrumental singular

  भङ्गीभक्त्या

  भक्ति

  arrangement — glossed रचना, a putting-together. भक्ति is from √भज्, to divide or apportion, and a division into parts is what the word says before it ever says devotion: the steps of a stair are parts of one thing. The instrumental is of the means by which the body is built. Unlike the dative of 1.57, this cell of the feminine i-stem is one both patterns agree on — the instrumental is not one of the four endings the नदी option touches — so the generated table has it right

  grammar of भङ्गीभक्त्या

• us-stem masculine, प्रथमा एकवचन nominative singular

  विरचितवपुः

  वपुस्

  body — glossed शरीर. वपुस् is a neuter noun on its own account and stands here at the end of a bahuvrīhi describing the cloud, so it is masculine; nothing on the page shows the change, because the nominative singular of an us-stem is वपुः in either gender. The word is not the body as a mass of flesh but the body as a form, which is what the stanza needs: the cloud has no flesh and is being asked for a shape

  grammar of विरचितवपुः

• a-stem masculine, प्रथमा एकवचन nominative singular

  स्तम्भितान्तर्जलौघः

  ओघ

  flood — glossed प्रवाहः, a current. ओघ is water in quantity and in motion, so a frozen ओघ is a contradiction the compound holds together on purpose: what has been stopped is exactly the thing whose name means flowing. The word ends a bahuvrīhi describing the cloud and takes its case and number

  grammar of स्तम्भितान्तर्जलौघः

  स्तम्भितान्तर्जलौघः, “the flood of your inner water stilled,” is the practical heart of the picture: a stairway must be firm, so the cloud is to hold back its rain. Mallinātha unpacks the bahuvrīhi, स्तम्भितो घनीभावं प्रापितोऽन्तर्जलस्यौघः प्रवाहो यस्य सः, “he whose inner flow of water has been stilled, brought to a solid state.” स्तम्भित is the causative past participle of √स्तम्भ्, ‘made to stop’; the cloud freezes its own downpour so that Gaurī may tread on it as on stone. The tenderness of the errand is in this: the rain-cloud makes itself dry underfoot for her.

  • Mallinātha, Sañjīvinī — 1.62: stambhito ghanībhāvaṃ prāpito’ntarjalasyaughaḥ pravāho yasya

• a-stem neuter, द्वितीया एकवचन accusative singular

  सोपानत्वम्

  printed सोपानत्वं

  सोपानत्व, from सोपान

  the being-a-stair — त्व is the affix that turns any noun into the abstract of it, and Sanskrit uses the abstract where English would use the plain noun: सोपानत्वं कुरु is 'make stair-ness', which is to say 'be a stair'. Mallinātha's gloss says the same thing with a different verb, सोपानभावं भज, 'assume the state of a stair'. The construction is what Sanskrit reaches for when a thing is to become something it is not — the cloud is not being asked to build a stair but to be one

  grammar of सोपानत्वम्

• √कृ, class 8, लोट्, parasmaipada, second person singular

  कुरु

  √कृ

  make — the first plain imperative to the cloud in seven stanzas, and it arrives where the last six have had optatives. Mallinātha glosses it with another imperative, भज, 'take on', which is the same move he made at 1.56 and 1.57 and 1.59, except that this time the form he is glossing is already an imperative and the gloss changes only the verb. √कृ is active here and was middle at 1.56, कुर्वीथाः, in the same sense of making something of something

  grammar of कुरु

• a-stem neuter, चतुर्थी एकवचन dative singular

  मणितटारोहणाय

  printed मणितटारोहणायाग्रयायी

  आरोहण

  for the climbing — आरोहण is आ + √रुह् with ल्युट्, the affix that makes the action into a neuter noun. The dative names what the stair is for, and it is the ordinary dative of purpose, needing nothing to license it beyond the sense of the sentence

  grammar of मणितटारोहणाय

• in-stem masculine, प्रथमा एकवचन nominative singular

  अग्रयायी

  printed मणितटारोहणायाग्रयायी

  यायिन्, from √या

  going ahead — glossed पुरोगतः. The stem is यायिन्, √या with णिनि on a stem that doubles the root's syllable, and the nominative singular lengthens the इ and drops the न्. It agrees with the unnamed cloud, like the two bahuvrīhis in the pāda before, so three nominatives in two lines describe somebody the stanza never names

  grammar of अग्रयायी

  अग्रयायी, “going in front,” is what the cloud is to be — not merely a stairway but one that runs ahead of the pair and lays itself down before their feet. Mallinātha reads it as the leader, अग्रे यायी पुरोगतः, and the two participles that follow tell how it fits itself for the office: स्तम्भितान्तर्जलौघः, its rain stilled to bear weight, and विरचितवपुः, its body भङ्गीभक्त्या, ‘by an arrangement of folds,’ shaped into tiers. The image is of a cloud reforming itself moment by moment into steps just where the goddess will next set her foot.

  • Mallinātha, Sañjīvinī — 1.62: viracitavapuḥ kalpitaśarīraḥ; bhaṅgīnāṃ parvaṇāṃ bhaktyā racanayā

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