you who have the lightning — the first word of the Uttaramegha, and it is an epithet of the cloud in the accusative, waiting three pādas for the त्वाम् it agrees with. Mallinātha resolves it विद्युतोऽस्य सन्तीति विद्युत्वन्तम्, 'lightnings are his, so विद्युत्वत्', which is the standard way of unpacking मतुप्, the suffix that means 'possessing'. Its म् has turned to व् because the stem in front of it ends in a stop — Pāṇini 8.2.10 झयः, one line long. What the word is for is the pairing: the palaces' lovely women stand where the cloud's lightning does. It is how a मतुप् stem declines

with their lovely women — the word is feminine as a noun, वनिता, and the compound it ends is masculine because it describes the masculine प्रासादाः; the ā shortens to a in the process, by Pāṇini 1.2.48. Mallinātha glosses the member itself with the plainest available word, स्त्रियः: the palaces have women in them. **The whole Uttaramegha's method is set here in four syllables** — the city is described by putting one of its features beside one of the cloud's and saying nothing about the likeness. वनिता is feminine on its own and shortens to वनित as a subordinate member

with Indra's bow — the rainbow, which the tradition calls Indra's bow and the poem has called इन्द्रायुध, Indra's weapon, before now. The word is the cloud's, and its partner in the same foot is सचित्राः: what a rainbow is to a cloud, a painted wall is to a house. Mallinātha's gloss इन्द्रचापवन्तम् rebuilds the word with मतुप्, so that within one pāda both of the cloud's epithets end up as मतुप् forms — विद्युत्वन्तम् as the poem writes it and इन्द्रचापवन्तम् as he rewrites it

with their paintings — चित्रम् is neuter when it means a picture, and the compound is masculine because it describes the palaces; the a-stem gives चित्राः for the nominative plural of the masculine and nothing on the page shows the change. Mallinātha cites Amara — आलेख्याश्चर्ययोश्चित्रम्, 'चित्र is a painting and a wonder' — and takes the painting. The second sense is not wasted: what the palaces are is both. The word is neuter as a noun and takes the masculine endings here

for the concert — a dative of purpose: the drums are struck *for* this. Mallinātha glosses it तौर्यत्रिकाय, and तौर्यत्रिक is a single word for the set of three, गीत, वाद्य and नृत्य — song, playing and dance — performed together. So सङ्गीत here is not singing but the whole performance, which is what the सम् in front of √गै is doing: sung *together*

with their drums beaten — मुरज is the barrel drum, and Mallinātha replaces it with the commoner word मृदङ्ग, which is the same instrument. The compound is the palaces' half of the third pair; the cloud's half is स्निग्धगम्भीरघोषम् in the same foot, and the likeness being pointed at is a sound — a beaten drum and a distant thunder are the one noise

whose roar — घोष is any loud sound and Mallinātha fixes it to this one with गर्जित, thunder. The word has stood in the poem before as the noise of a cloud and once as the name of a herdsmen's settlement; here it is the cloud's voice, set against drums. It is accusative because everything in the first three pādas is: five epithets waiting for त्वाम्

whose water is inside — तोय is neuter on its own, and the bahuvrīhi is masculine because it describes the cloud; the a-stem writes तोयम् for the accusative singular of either, so the change is invisible, which is the fifth time the corpus has met that. Mallinātha glosses अन्तर् with अन्तर्गतम्, 'gone within' — the water is not merely inside, it has been taken in. The cloud is full, and the whole point of the pairing is that a crystal floor looks the same way. The word is neuter as a noun and takes the masculine endings here

whose floors — भू is the earth, and inside a building it is the floor. It is a monosyllable, so the ū becomes उव् before a vowel ending and the nominative plural is भुवः rather than भ्वः; it is feminine as a noun and masculine here, agreeing with प्रासादाः. **The word stood at 1.18 as the earth and the generator declined it wrong there too**, in a different cell: it gave भ्वाः for the genitive singular where the verse wanted भुवः, and it gives भ्वः for this nominative plural. The word carries no table on either page. भू is a monosyllable, feminine as a noun and masculine here — the ū becomes उव् before a vowel ending

tall — the fifth and last of the cloud's epithets, and the only one of them that is a bare adjective rather than a compound. Mallinātha glosses it उन्नतम्, lifted up, and answers it two words later with अतितुङ्गाः for the palaces: the same word with अति in front, so that the thing shared by cloud and building is said twice in his prose where the verse says it once on each side

whose tips lick the sky — अग्रम् is a tip or a summit and is neuter, and Mallinātha's vigraha writes it in the neuter, अग्राणि शिखराणि येषां ते; the compound built out of it is masculine because the palaces are. **So the vigraha and the compound differ in gender, and both are on the page** — his अग्राणि beside the poem's अग्राः is the clearest showing in the canto so far of what a bahuvrīhi does to its last member. The inner word अभ्रंलिह is a खश् formation with the म् Pāṇini's rule inserts, and it is neuter in his vigraha for the same reason. The word is neuter as a noun and takes the masculine endings here

the mansions — the subject, and it waits until the last pāda while five epithets pile up in front of it. Mallinātha glosses it देवगृहाणि, houses of gods, and cites Amara for the range: प्रासादो देवभूभुजाम्, a prāsāda is the building of gods and of kings. In Alakā the two are the same tenants — the city is Kubera's and its people are yakṣas. The visarga has become स् before the त् of त्वाम् and the two words print as one run

you — the cloud, and the word every accusative epithet in the first three pādas has been waiting for. It is the object of तुलयितुम्, and the same word stood as the object of the same infinitive at 1.20, where the wind could not lift it. Mallinātha simply carries it over, तुङ्गमुन्नतं त्वाम्

to match — the root means to weigh, and to weigh two things against each other is to find them equal; Mallinātha glosses it समीकर्तुम्, 'to make equal'. **The word is the poem's second तुलयितुम् and both take त्वाम्**: at 1.20 the wind could not lift the cloud because its water was inside it, and here the palaces are able to weigh against the cloud, water and all. The infinitive is licensed by अलम् — Pāṇini 3.4.66 पर्याप्तिवचनेष्वलमर्थेषु gives तुमुन् after अलम् and words like it in the sense of being able

are equal to it — the indeclinable that carries the whole claim of the stanza. Mallinātha cites Amara for its four senses, अलं भूषणपर्याप्तिशक्तिवारणवाचकम् — it speaks of ornament, of sufficiency, of capacity, and of warding off — and takes पर्याप्ति, being enough. **Then he does something with it that a word without endings cannot do**: he glosses it पर्याप्ताः, a masculine nominative plural agreeing with प्रासादाः, so that the indeclinable is read as though it were an adjective of the mansions. Sanskrit has no verb in this sentence at all; अलम् and an infinitive are the whole predicate

where — **the word the second canto turns on, and its antecedent is in the first.** Mallinātha glosses it in two words, यत्रालकायाम्, 'where, that is, in Alakā', and Alakā is named at 1.65 and nowhere in this stanza. So the Uttaramegha opens in the middle of a sentence begun in the Pūrvamegha: the division between the two cantos falls inside the syntax, not at a stop. The particle will govern stanza after stanza from here — the city is described in a long chain of relative clauses, and this is the first link

by those — the first of the pair. A word doubled in Sanskrit distributes: तैस्तैः is not 'by those and those' but 'by each of those in turn', feature answering feature. Pāṇini 8.1.4 नित्यवीप्सयोः is the rule that doubles a word for repetition or for taking a set one member at a time, and it is the second of these — वीप्सा — that is at work. Mallinātha does not name it; what he does instead is spell out which features are meant

by those — the second of the pair, and the copy is what makes the sense distributive. The visarga of the first has become र् before the त् of the second and the two print as one run with विशेषैः; only the analysis puts the स् back. What is being said by the doubling is the shape of the whole stanza: each feature of the palaces matched against its own feature of the cloud, five times over

by their features — विशेष is what marks one thing off from another, a distinguishing property. **Mallinātha glosses it by naming the properties**: ललितवनितत्वादिधर्मैः, 'by the properties, being-possessed-of-lovely-women and the rest' — he turns the first epithet of the stanza into an abstract noun with त्व, 'the state of having lovely women', and lets आदि stand for the other four. That is his way of saying that the five pairs are the शेष of the sentence and the reader is to count them off