• i-stem masculine, प्रथमा बहुवचन nominative plural

  अक्षय्यान्तर्भवननिधयः

  निधि

  hoards — निधि is from नि + √धा, 'what is set down', and it means a treasure put away rather than money in hand. **Kubera's nine निधिs are the standard list**, and the joke of the epithet is that here every householder has one that does not empty. The bahuvrīhi ends in it and so takes the gender and number of the lovers it describes

  grammar of अक्षय्यान्तर्भवननिधयः

  Mallinātha spends his grammar on the first compound and then says why it is there. He derives क्षय्य from Pāṇini 6.1.81, which gives that spelling only in the sense of possibility, so अक्षय्य means 'cannot be used up' by its very form; he makes अन्तर्भवनम् an avyayībhāva by 2.1.6; and then closes with यथेच्छाभोगसंभावनार्थमिदं विशेषणम्, 'this epithet is here so that enjoyment at will can be imagined'. It is the one line of economics in the poem, and it is there to make a garden full of idle people plausible: after nine stanzas of things happening in Alakā at particular moments — the lamps, the moonstones weeping at midnight — this one describes the ordinary week, प्रत्यहम्, 'day after day', in the present tense, and the money that pays for it has to be shown not to run out.

  • Mallinātha, Sañjīvinī — 2.10: kṣayyaḥ … antarbhavanam avyayībhāvaḥ … yathecchābhoga…

• अव्यय

  प्रत्यहम्

  printed प्रत्यहं

  प्रत्यहम्, from प्रति with अहन्

  day after day — Mallinātha gives it as अहन्यहनि, the locative said twice, which is how Sanskrit says 'each': the repetition is the meaning. **He then cites the same sūtra he cited for अन्तर्भवनम् in the same stanza** — अव्ययं विभक्ति…, Pāṇini 2.1.6 — so one rule builds two of this stanza's words, an indeclinable in front of a noun making a word that is itself indeclinable. The word is what turns the scene from an evening into a habit

  grammar of प्रत्यहम्

• a-stem masculine, तृतीया बहुवचन instrumental plural

  रक्तकण्ठैः

  कण्ठ

  voices — कण्ठ is the throat, and Mallinātha will not let it stay one: कण्ठः कण्ठध्वनिः, the throat is the throat's sound. The instrumental is not the instrument of the singing but agreement with किंनरैः, which is what सार्धम् governs — so the epithet travels with the singers rather than with the song

  grammar of रक्तकण्ठैः

  Two of the singers' epithets Mallinātha reads against the obvious. रक्त he glosses not 'red' but मधुर, 'sweet', of a voice — रक्ताः मधुराः कण्ठाः, 'whose throats are sweet' — the sense he had to argue for at 1.58 and that the poem prints plainly here. And the उद् of उद्गायद्भिः he takes as register, not volume: the kinnaras sing तारतरम्, higher, and his reason is out of music theory — देवगानस्य गान्धारग्रामत्वात्, 'because the gods' singing belongs to the gāndhāra scale'. What they sing is the Lord of Wealth's fame; the singers of Kubera's court praise Kubera, day after day, as part of the garden's standing furniture.

  • Mallinātha, Sañjīvinī — 2.10: raktaiḥ madhuraiḥ … tārataraṃ … gāndhāragrāmatvāt

• √गै + शतृ, तृतीया बहुवचन instrumental plural

  उद्गायद्भिः

  printed उद्गायद्भिर्धनपतियशः

  उद्गायत्, from उद् + √गै with शतृ

  singing out — and Mallinātha reads उद् as pitch rather than volume, with a reason from music theory. He glosses first उच्चैर्गायनशीलैः, 'given to singing high', and then explains it: देवगानस्य गान्धारग्रामत्वात् तारतरं गायद्भिरित्यर्थः — 'because the singing of the gods belongs to the gāndhāra grāma, the sense is: singing in a higher register'. A ग्राम is a basic gamut, a scale the whole system of modes is pitched against; the tradition counts three — षड्ज, मध्यम and गान्धार — and puts the gāndhāra one in heaven. तार is the high register, and तारतर is higher still. So the kinnaras are not singing loudly. They are singing above the human range, because they are not human

  grammar of उद्गायद्भिः

• as-stem neuter, द्वितीया एकवचन accusative singular

  धनपतियशः

  printed उद्गायद्भिर्धनपतियशः

  यशस्

  fame — यशस् is what is said of a man when he is not there, and the object of the singing. Mallinātha's कीर्ति is its near-synonym, the word for fame as something sung. **A participle taking an accusative object is the whole grammar of the line**: उद्गायद्भिः is an epithet of the kinnaras and governs यशः exactly as the finite verb would

  grammar of धनपतियशः

• a-stem masculine, तृतीया बहुवचन instrumental plural

  किंनरैः

  printed किंनरैर्यत्र

  किंनर

  the kinnaras — the name is a question: किं नरः, 'what sort of man is this?', which is what you say of a creature with a man's body and a horse's head. They are Kubera's own musicians, so the singers in his garden are his household staff. Mallinātha passes them without a gloss, which is what he does with a word every reader knows. The instrumental is governed by सार्धम् in the next word but one

  grammar of किंनरैः

• अव्यय

  यत्र

  printed किंनरैर्यत्र

  यत्र

  where — the tenth stanza of the canto to hang on a relative, and the eighth in which Mallinātha supplies the antecedent in the same three syllables, यत्रालकायाम्. **It stands further into the line here than in any stanza yet**: fourteenth syllable of the second pāda, after the singers and their song, where in 2.3, 2.4, 2.7 and 2.9 it opened the verse. What it holds on to has not changed — every stanza since 2.1 has been one more thing that is true of the city

  grammar of यत्र

• अव्यय

  सार्धम्

  सार्धम्

  together with — from स + अर्ध, 'with a half', which is what makes it mean company: the other party is your other half. It governs the instrumental किंनरैः. Mallinātha glosses it with the plainer सह and adds nothing, which is his way of saying the two words are the same word

  grammar of सार्धम्

• a-stem neuter, द्वितीया एकवचन accusative singular

  वैभ्राजाख्यम्

  printed वैभ्राजाख्यं

  आख्या, shortened to आख्य in the neuter by Pāṇini 1.2.47 ह्रस्वो नपुंसके प्रातिपदिकस्य

  named — आख्या is a name, from आ + √ख्या, to be called; at the end of a bahuvrīhi it stops being a feminine noun and takes the gender of what the compound describes. **The shortening is a rule and not a licence**: 1.2.47 shortens a stem's final vowel in the neuter, so आख्या becomes आख्य and then declines like any neuter in अ. This is the same shape as नाभि at 1.28 — a noun's own table is not the table its stem wants at the end of a bahuvrīhi — and here the mismatch is a whole gender rather than one ending. The feminine आख्या is shortened and declined as a neuter because the bahuvrīhi it ends describes the neuter उपवनम्

  grammar of वैभ्राजाख्यम्

  Mallinātha names the garden twice. It is वैभ्राज, he says on the authority of the Śambhurahasya, after the Vibhrāja who guards it — विभ्राजो नाम … तस्येदं वैभ्राजम् — and then adds चैत्ररथस्य नामान्तरमेतत्, 'this is Caitraratha under another name'. Caitraratha is Kubera's pleasure-garden, so the second identification places Vaibhrāja in the god's own grounds. And he proves out of Amara that a वारमुख्या is a courtesan the city honours, आद्या वेश्या, which is how a विबुधवनिता, a woman of the gods, can be one without dishonour: she is a नगरशोभिनी, an ornament of the town.

  • Mallinātha, Sañjīvinī — 2.10: vaibhrājaṃ … caitrarathasya nāmāntaram etat

• a-stem masculine, प्रथमा बहुवचन nominative plural

  विबुधवनितावारमुख्यासहायाः

  printed विबुधवनितावारमुख्यासहाया

  सहाय

  companions — सहाय is स + ह + अय, 'one who goes along', and it is the ordinary word for a helper or a fellow-traveller rather than for a lover. **The compound puts the nymphs in that position and no other**: they are not the objects of anything in the stanza, they are who the lovers are with. The visarga drops before the ब् of बद्धालापा by Pāṇini 8.3.22 हलि सर्वेषाम्, so the word prints one syllable short of itself

  grammar of विबुधवनितावारमुख्यासहायाः

• a-stem masculine, प्रथमा बहुवचन nominative plural

  बद्धालापाः

  printed बद्धालापा

  आलाप

  talk — आलाप is from आ + √लप्, to chatter towards someone, and it is conversation as an exchange rather than speech as an act. Mallinātha's संलाप in the gloss is its close relative with a different prefix, 'talk together'. The visarga drops before the ब् of बहिः by the same rule that shortened सहायाः a word earlier — two words running lose their endings to the same sound change

  grammar of बद्धालापाः

• अव्यय

  बहिस्

  printed बहिरुपवनं

  बहिस्

  outside — the स् becomes र् before the vowel of उपवनम् and the two print as one run. **DCS reads two words here and Mallinātha answers with one**: his gloss बाह्योद्यानम् turns the indeclinable into the adjective बाह्य and makes a single compound of it, 'the outer garden'. A gloss compound does not prove the glossed words are compounded, and nothing else in his comment separates them; what the gloss does settle is that बहिस् belongs to the garden and not to the enjoying — they are not enjoying it from outside, it is the garden outside the city

  grammar of बहिस्

• a-stem neuter, द्वितीया एकवचन accusative singular

  उपवनम्

  printed बहिरुपवनं

  उपवन

  the garden — उपवन is a wood kept near a house, वन with उप in front of it: not wild forest and not a courtyard, the planted grove a city keeps at its edge. Mallinātha's उद्यान is the ordinary word for a pleasure-garden. It is the object of निर्विशन्ति and the thing वैभ्राजाख्यम् names

  grammar of उपवनम्

• in-stem masculine, प्रथमा बहुवचन nominative plural

  कामिनः

  printed कामिनो

  कामिन्

  the lovers — कामिन् is one who has काम, made with the affix इनि that says a man owns the thing named. Mallinātha glosses कामुकाः, which says the same with a different affix. **The subject stands second to last, as चन्द्रकान्ताः stood last at 2.9**: three epithets in three pādas — the treasure, the company, the conversation — and only then the word they all belong to. The visarga becomes ओ before the न् of निर्विशन्ति

  grammar of कामिनः

• √विश्, class 6, लट्, parasmaipada, third person plural

  निर्विशन्ति

  √विश् of the sixth class, with निर्

  they enjoy — √विश् is to enter, and निर्विश् is one of the prefixed verbs whose sense the prefix does not predict: with निर् it means to take one's fill of a thing, to have the good of it. Mallinātha glosses अनुभवन्ति, 'they experience', which is the plainest word for it. **It is the stanza's only finite verb**, and the present tense is doing the same work प्रत्यहम् does in the first pāda — not what they are doing tonight but what they do

  grammar of निर्विशन्ति

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