printलघुसिद्धान्तकौमुदी — practise the grammar

मेघदूतम् · कालिदास · 2.11

अलका · the night's road read at sunrise from what fell

गत्युत्कम्पादलकपतितैर्यत्र मन्दारपुष्पैः

ग
त्यु
त्क
म्पा
द
ल
क
प
ति
तै
र्य
त्र
म
न्दा
र
पु
ष्पैः

पत्रच्छेदैः कनककमलैः कर्णविभ्रंशिभिश्च

प
त्र
च्छे
दैः
क
न
क
क
म
लैः
क
र्ण
वि
भ्रं
शि
भि
श्च

मुक्ताजालैः स्तनपरिसरश्छिन्नसूत्रैश्च हारैः

मु
क्ता
जा
लैः
स्त
न
प
रि
स
र
श्छि
न्न
सू
त्रै
श्च
हा
रैः

नैशो मार्गः सवितुरुदये सूच्यते कामिनीनाम्

नै
शो
मा
र्गः
स
वि
तु
रु
द
ये
सू
च्य
ते
का
मि
नी
नाम्

pāda a

  • गguruthe conjunct त्य that follows it
  • त्युguruthe conjunct त्क that follows it
  • त्कguruthe conjunct म्प that follows it
  • म्पाguruits long vowel आ
  • दlaghuits short vowel, with a single consonant after it
  • लlaghuits short vowel, with a single consonant after it
  • कlaghuits short vowel, with a single consonant after it
  • पlaghuits short vowel, with a single consonant after it
  • तिlaghuits short vowel, with a single consonant after it
  • तैguruits long vowel ऐ
  • र्यguruthe conjunct त्र that follows it
  • त्रlaghuits short vowel, with a single consonant after it
  • मguruthe conjunct न्द that follows it
  • न्दाguruits long vowel आ
  • रlaghuits short vowel, with a single consonant after it
  • पुguruthe conjunct ष्प that follows it
  • ष्पैःguruthe visarga it carries
  • yati after 4 — it falls inside the compound गत्युत्कम्पात्
  • yati after 10 — it falls inside the compound अलकपतितैः

pāda b

  • पguruthe conjunct त्र that follows it
  • त्रguruthe conjunct च्छ that follows it
  • च्छेguruits long vowel ए
  • दैःguruthe visarga it carries
  • कlaghuits short vowel, with a single consonant after it
  • नlaghuits short vowel, with a single consonant after it
  • कlaghuits short vowel, with a single consonant after it
  • कlaghuits short vowel, with a single consonant after it
  • मlaghuits short vowel, with a single consonant after it
  • लैःguruthe visarga it carries
  • कguruthe conjunct र्ण that follows it
  • र्णlaghuits short vowel, with a single consonant after it
  • विguruthe conjunct भ्र that follows it
  • भ्रंguruthe anusvāra it carries
  • शिlaghuits short vowel, with a single consonant after it
  • भिguruthe conjunct श्च that follows it
  • श्चlaghuits short vowel — light on its own, though the pāda ends here
  • yati after 4 — a word ends here — पत्रच्छेदैः
  • yati after 10 — a word ends here — कनककमलैः

pāda c

  • मुguruthe conjunct क्त that follows it
  • क्ताguruits long vowel आ
  • जाguruits long vowel आ
  • लैःguruthe visarga it carries
  • स्तlaghuits short vowel, with a single consonant after it
  • नlaghuits short vowel, with a single consonant after it
  • पlaghuits short vowel, with a single consonant after it
  • रिlaghuits short vowel, with a single consonant after it
  • सlaghuits short vowel, with a single consonant after it
  • रguruthe conjunct श्छ that follows it
  • श्छिguruthe conjunct न्न that follows it
  • न्नlaghuits short vowel, with a single consonant after it
  • सूguruits long vowel ऊ
  • त्रैguruits long vowel ऐ
  • श्चlaghuits short vowel, with a single consonant after it
  • हाguruits long vowel आ
  • रैःguruthe visarga it carries
  • yati after 4 — a word ends here — मुक्ताजालैः
  • yati after 10 — it falls inside the compound स्तनपरिसरच्छिन्नसूत्रैः

pāda d

  • नैguruits long vowel ऐ
  • शोguruits long vowel ओ
  • माguruits long vowel आ
  • र्गःguruthe visarga it carries
  • सlaghuits short vowel, with a single consonant after it
  • विlaghuits short vowel, with a single consonant after it
  • तुlaghuits short vowel, with a single consonant after it
  • रुlaghuits short vowel, with a single consonant after it
  • दlaghuits short vowel, with a single consonant after it
  • येguruits long vowel ए
  • सूguruits long vowel ऊ
  • च्यlaghuits short vowel, with a single consonant after it
  • तेguruits long vowel ए
  • काguruits long vowel आ
  • मिlaghuits short vowel, with a single consonant after it
  • नीguruits long vowel ई
  • नाम्guruthe end of the pāda, which counts the last syllable heavy
  • yati after 4 — a word ends here — मार्गः
  • yati after 10 — a word ends here — सवितुरुदये

  • गत्युत्कम्पात् + अलकपतितैः → गत्युत्कम्पादलकपतितैर्यत्र

    त् + अ

  • अलकपतितैः + यत्र → गत्युत्कम्पादलकपतितैर्यत्र

    ः + य्

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

  • कर्णविभ्रंशिभिः + च → कर्णविभ्रंशिभिश्च

    ः + च्

  • स्तनपरिसरच्छिन्नसूत्रैः + च → स्तनपरिसरश्छिन्नसूत्रैश्च

    ः + च्

  • नैशः + मार्गः → नैशो

    ः + म्

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

  • सवितुः + उदये → सवितुरुदये

    ः + उ

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

  • गति + उत्कम्प → गत्युत्कम्पात्

    इ + उ

  • अलक + पतित → अलकपतितैः

    अ + प्

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

  • मन्दार + पुष्प → मन्दारपुष्पैः

    अ + प्

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

  • पत्र + छेद → पत्रच्छेदैः

    अ + छ्

  • कनक + कमल → कनककमलैः

    अ + क्

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

  • कर्ण + विभ्रंशिन् → कर्णविभ्रंशिभिः

    अ + व्

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

  • मुक्ता + जाल → मुक्ताजालैः

    आ + ज्

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

  • स्तन + परिसर → स्तनपरिसरच्छिन्नसूत्रैः

    अ + प्

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

  • परिसर + छिन्न → स्तनपरिसरच्छिन्नसूत्रैः

    अ + छ्

  • छिन्न + सूत्र → स्तनपरिसरच्छिन्नसूत्रैः

    अ + स्

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

Where the ablative गत्युत्कम्पात् meets the vowel of अलक the त् voices to द् by Pāṇini 8.2.39 झलां जशोऽन्ते: गत्युत्कम्पादलकपतितैः. A visarga before a following च् becomes श् by 8.3.34 विसर्जनीयस्य सः with 8.4.40 स्तोः श्चुना श्चुः: कर्णविभ्रंशिभिश्च, and स्तनपरिसरश्छिन्नसूत्रैश्च the same. Inside गत्युत्कम्प the -इ of गति becomes य् before उ by 6.1.77 इको यणचि, and पत्रच्छेद and परिसरच्छिन्न take the छ्-doubling tuk by 6.1.73 छे च, which inserts a त् before an initial छ् after a short vowel.

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

  • गत्युत्कम्पात् पञ्चमी · ablative — अपादान, the point of departure

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

    with अलकपतितैः

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

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

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

    with स्तनपरिसरच्छिन्नसूत्रैः

  • नैशः प्रथमा · nominative — कर्ता, the agent

  • मार्गः प्रथमा · nominative — कर्ता, the agent

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

  • उदये सप्तमी · locative — अधिकरण, the location

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

प्रकरण 1 · हलन्त्यम्

प्रकरण 2 · इको यणचि

प्रकरण 3 · स्तोः श्चुना श्चुः

प्रकरण 4 · वा शरि

  • ससजुषो रुः 8.2.66← अलकपतितैः; मन्दारपुष्पैः; पत्रच्छेदैः; कनककमलैः; कर्णविभ्रंशिभिः; मुक्ताजालैः; स्तनपरिसरच्छिन्नसूत्रैः; हारैः; नैशः; मार्गः

प्रकरण 5 · अर्थवदधातुरप्रत्ययः प्रातिपदिकम्

प्रकरण 12 · लः कर्मणि च भावे चाकर्मकेभ्यः

प्रकरण 21 · सत्यापपाशरूपवीणातूलश्लोकसेनालोमत्वचवर्मवर्णचूर्णचुरादिभ्यो णिच्

प्रकरण 30 · भावकर्मणोः

प्रकरण 34 · ण्वुल्तृचौ

प्रकरण 59 · इवे प्रतिकृतौ

not in the abridgement

गत्युत्कम्पात्

गति · उत्कम्प

  1. गत्या उत्कम्पः, तस्मात्

    तत्पुरुष (instrumental) — the shaking that walking causes

तत्पुरुष. from the tremor of walking — Mallinātha unpacks it word for word and then names the case's job: गत्या गमनेनोत्कम्पश्चलनं तस्माद्धेतोः, 'the shaking, that is the movement, caused by the going; from that as the reason'. **हेतोः is the whole point of the ablative.** The flowers did not fall from a height, they fell because the woman was walking — an ablative of cause rather than of place, with the place given separately by the next compound

uncheckedMallinātha, Sañjīvinī, who unpacks गत्या गमनेनोत्कम्पश्चलनं तस्माद्धेतोः“gatyā gamanenotkampaś calanaṃ tasmād dhetoḥ”

अलकपतितैः

अलक · पतित

  1. अलकेभ्यः पतितानि, तैः

    तत्पुरुष (ablative) — fallen out of the curls

तत्पुरुष — it agrees with मन्दारपुष्पैः. fallen from their curls — Mallinātha gives the ablative in one word, अलकेभ्यः. **अलक is a lock of hair, and the city is अलका**: the name the canto has been saying since 2.1 is the ordinary word for the curls the flowers fall out of, and this stanza puts the two three syllables apart — यत्रालकायाम् in his gloss, अलकेभ्यः in the same sentence. He does not remark on it. The observation is the reader's

uncheckedMallinātha, Sañjīvinī, who gives the vigraha as अलकेभ्यः पतितैः; the note on the city's name is the reader's“tasmād dhetor alakebhyaḥ patitair mandārapuṣpaiḥ”

मन्दारपुष्पैः

मन्दार · पुष्प

  1. मन्दारस्य पुष्पाणि, तैः

    तत्पुरुष (genitive) — mandāra flowers

तत्पुरुष. with mandāra flowers — Mallinātha glosses सुरतरुकुसुमैः, 'flowers of the tree of the gods'. The mandāra is one of the five trees of Indra's heaven, and the point of naming it is that it does not grow anywhere a woman could have picked it on the way. **What is on the road is heaven's own flowers, dropped by accident**

uncheckedMallinātha, Sañjīvinī, who glosses मन्दारपुष्पैः with सुरतरुकुसुमैः; the vigraha is the reader's“alakebhyaḥ patitair mandārapuṣpaiḥ suratarukusumaiḥ”

पत्रच्छेदैः

पत्र · छेद

  1. पत्राणां छेदाः, तैः

    तत्पुरुष (genitive) — the cut-out leaf shapes

तत्पुरुष. with the leaf-cuttings — and Mallinātha says which leaves: पत्राणां पत्रलतानां छेदैः खण्डैः, 'of the leaves, that is of the leaf-and-vine patterns, the cuttings, the pieces'. पत्रलता is the painted or pasted decoration a woman wears on her cheeks and breasts, drawn as a creeper with leaves; पत्रच्छेद is a piece of it, cut to shape. So these are not leaves off a tree at all but ornament that came away in the dark. **He then supplies a word and says he is doing it**: पतितैरिति शेषः — 'fallen is to be supplied' — carrying the participle over from the first pāda to this instrumental and, by his own instruction, to the three that follow

uncheckedMallinātha, Sañjīvinī, who glosses पत्राणां पत्रलतानां छेदैः खण्डैः and marks the supply with पतितैरिति शेषः“tathā patrāṇāṃ patralatānāṃ chedaiḥ khaṇḍaiḥ | patitair iti śeṣaḥ”

कनककमलैः

कनक · कमल

  1. कनकस्य कमलानि, तैः

    तत्पुरुष (genitive) — lotuses of gold

तत्पुरुष — it agrees with कर्णविभ्रंशिभिः. with golden lotuses — ear-ornaments made in the shape of a lotus. **And here Mallinātha states, once, the rule he has been following silently through two cantos.** A compound like कनककमल can be unpacked two ways: कनकस्य कमलानि, 'lotuses of gold', with the genitive; or कनकमयानि कमलानि, 'lotuses made of gold', with the affix मयट् that means 'consisting of'. He rules against the second — षष्ठ्या विवक्षितार्थलाभे सति मयटा विग्रहेऽध्याहारदोषः, 'when the intended sense is got by the genitive, unpacking with मयट् incurs the fault of supplying' — because मयट् puts a word into the analysis that is not in the compound, and अध्याहार, supplying, is a fault where it is not needed. Then: एवमन्यत्राप्यनुसन्धेयम्, 'and so it is to be understood elsewhere too'. **It is the first place in either canto where he says how he chooses a vigraha rather than simply choosing one**: take the paraphrase that adds least

uncheckedMallinātha, Sañjīvinī, who gives the vigraha कनकस्य कमलैः and states the rule षष्ठ्या विवक्षितार्थलाभे सति मयटा विग्रहेऽध्याहारदोषः । एवमन्यत्राप्यनुसन्धेयम्; the affix मयट् is Pāṇini 4.3.143 मयड्वैतयोर्भाषायामभक्ष्याच्छादनयोः by way of skt-mcp, which he does not cite; `vendor/meghaduta-sanjivini.itx` prints `anusandhaiyam` for अनुसन्धेयम्“taiḥ kanakasya kamalaiḥ || ṣaṣṭhyā vivakṣitārthalābhe sati mayaṭā vigrahe ’dhyāhāradoṣaḥ | evam anyatrāpy anusandheyam”

कर्णविभ्रंशिभिः

कर्ण · विभ्रंशिन्

  1. कर्णेभ्यो विभ्रश्यन्तीति कर्णविभ्रंशीनि, तैः

    तत्पुरुष (ablative) — the ones that slip out of the ears

तत्पुरुष — it agrees with कनककमलैः. slipping from the ears — Mallinātha derives it with a relative clause rather than a paraphrase: कर्णेभ्यो विभ्रश्यन्तीति कर्णविभ्रंशीनि, 'they slip away from the ears, hence karṇavibhraṃśīni'. That is the shape of an upapada compound, where the second member is a verbal noun that cannot stand alone and the first is the word it governs. The affix is णिनि, the same one that made स्यन्दिन् at 2.9, and it says the thing does this by habit rather than at this moment — which is right, because the flowers and the ornaments have been coming loose all night. **His own form कर्णविभ्रंशीनि is a form the generator cannot build**: the neuter nominative plural of an in-stem takes ईनि, and skt-data has no neuter in-stem table at all

uncheckedMallinātha, Sañjīvinī, who derives कर्णेभ्यो विभ्रश्यन्तीति कर्णविभ्रंशीनि; DCS reads the second member as विस्रंसिन्, from वि + √स्रंस्, where the text and the commentary both read विभ्रंशिन् from वि + √भ्रंश् — the two scan alike and mean nearly the same, and only the commentary decides, as at 1.54“tathā karṇebhyo vibhraśyantīti karṇavibhraṃśīni taiḥ kanakasya kamalaiḥ”

मुक्ताजालैः

मुक्ता · जाल

  1. मुक्तानां जालानि, तैः

    तत्पुरुष (genitive) — nets of pearls

तत्पुरुष. with pearl nets — Mallinātha glosses मौक्तिकसरैः, 'with strings of pearl', and then says where they were: शिरोनिहितैरित्यर्थः, 'meaning, the ones set on the head'. A मुक्ताजाल is the netted pearl headdress a woman wears over her hair, and it is on the road because her hair came down. **This is the third net of the canto and the third material**: the perforated stone of a window at 2.8, the cords holding moonstones over a bed at 2.9, and pearls in the hair here. जाल names the mesh and never the stuff it is made of

uncheckedMallinātha, Sañjīvinī, who glosses मुक्ताजालैः with मौक्तिकसरैः and adds शिरोनिहितैरित्यर्थः; the vigraha is the reader's“tathā muktājālair mauktikasaraiḥ | śironihitair ityarthaḥ”

स्तनपरिसरच्छिन्नसूत्रैः

स्तन · परिसर · छिन्न · सूत्र

  1. स्तनयोः परिसरः

    तत्पुरुष (genitive) — the region of the breasts

  2. स्तनपरिसरे छिन्नानि सूत्राणि येषां ते, तैः

    बहुव्रीहि — the ones whose threads were snapped there

बहुव्रीहि — it refers to हारैः. whose string snapped at the breast — Mallinātha unpacks it in one breath: स्तनयोः परिसरः प्रदेशस्तत्र छिन्नानि सूत्राणि येषां तैः, 'the परिसर of the two breasts, that is the region; the ones whose threads were cut there'. **The locative is inside the compound and shows nowhere on it** — तत्र is his word, not the verse's, and without it the first two members and the last two have no relation. परिसर is the ground around a thing, its neighbourhood, and it is doing work no plainer word would: not on the breast but about it. **The printed text breaks the compound with श्छ where a compound joint takes च्छ**; both witnesses read the joint, and the run has read it, with the printed run kept beside it

uncheckedMallinātha, Sañjīvinī, who unpacks स्तनयोः परिसरः प्रदेशस्तत्र छिन्नानि सूत्राणि येषां तैः; DCS reads the same four members as one compound; `text.md` prints स्तनपरिसरश्छिन्न, and a short vowel before छ् inside a compound takes the तुक् augment by Pāṇini 6.1.73 छे च and gives च्छ“tathā stanayoḥ parisaraḥ pradeśas tatra chinnāni sūtrāṇi yeṣāṃ tair hāraiś ca”

  • a-stem masculine, पञ्चमी एकवचन ablative singular

    गत्युत्कम्पात्

    printed गत्युत्कम्पादलकपतितैर्यत्र

    उत्कम्प

    a shaking up — उद् + √कम्प्, to tremble, with the noun-making अ. Mallinātha gives it as चलनम्, movement, and the ablative as तस्माद्धेतोः, 'from that as the cause'. **The whole stanza turns on this one case-ending**: everything that follows is on the ground because of a tremor, and the tremor is what a woman's body does when she hurries

  • √पत् + क्त, तृतीया बहुवचन instrumental plural

    अलकपतितैः

    printed गत्युत्कम्पादलकपतितैर्यत्र

    पतित, from √पत् with क्त

    fallen — √पत् is to fall or to fly, and the two senses are one verb because both are what a bird does. The participle is neuter because it agrees with पुष्पैः, and Mallinātha carries it forward by hand to the three instrumentals that follow it, saying so: पतितैरिति शेषः. **Every one of the five things on the road is 'fallen', and the verse says it once**

  • अव्यय

    यत्र

    printed गत्युत्कम्पादलकपतितैर्यत्र

    यत्र

    where — the eleventh stanza running on a relative, and Mallinātha supplies the antecedent for the ninth time. **The transcription loses the city here**: `vendor/meghaduta-sanjivini.itx` prints `yatrAkAyAM` where the words are यत्रालकायाम्, the ल gone out of the middle of the name

  • a-stem neuter, तृतीया बहुवचन instrumental plural

    मन्दारपुष्पैः

    पुष्प

    flowers — and the instrumental of all five things on the road is the instrumental of evidence: it is *by* them that the path is shown. Sanskrit uses the same case for the tool in a hand and the ground of an inference, and this stanza is the second use

  • a-stem masculine, तृतीया बहुवचन instrumental plural

    पत्रच्छेदैः

    छेद

    cuttings — छेद is from √छिद्, to cut, and Mallinātha glosses it खण्डैः, 'with the pieces'. **DCS reads पुत्र, a son, where the text and the commentary read पत्र, a leaf**: it gives the compound as पुत्रछेद, which would be a cut-up child. The two differ by one vowel, both scan, and only the sense chooses — but the sense chooses at once, and Mallinātha's पत्रलतानाम् names what kind of leaf

  • a-stem neuter, तृतीया बहुवचन instrumental plural

    कनककमलैः

    कमल

    lotuses — worn in the ear, so a lotus in gold rather than a flower. The stanza has both on the road at once: a real flower from a heavenly tree in the first pāda, a made one in the second, and no word marks which is which except the metal

    Here, for the first time in seventy-six stanzas, Mallinātha states how he chooses a paraphrase. कनककमल could be unpacked two ways — with the genitive, कनकस्य कमलानि, 'lotuses of gold', or with the affix मयट्, कनकमयानि कमलानि, 'lotuses made of gold'. He takes the genitive and gives the rule: षष्ठ्या विवक्षितार्थलाभे सति मयटा विग्रहेऽध्याहारदोषः — 'when the genitive already yields the intended sense, to unpack with मयट् is the fault of supplying what is not there' — and then एवमन्यत्राप्यनुसन्धेयम्, 'and so it is to be understood elsewhere too'. It is a general principle stated once and applied silently ever after: of two paraphrases that both work, take the one that adds least to the words on the page.

    • Mallinātha, Sañjīvinī — 2.11: … evam anyatrāpy anusandheyam

  • in-stem neuter, तृतीया बहुवचन instrumental plural

    कर्णविभ्रंशिभिः

    printed कर्णविभ्रंशिभिश्च

    विभ्रंशिन्, from वि + √भ्रंश् with णिनि

    slipping away — √भ्रंश् is to drop off, to lose hold, and वि sharpens it into falling clean away. Mallinātha's present is विभ्रश्यन्ति, without the nasal, which is the form the root makes in the fourth class: Pāṇini 6.4.24 अनिदितां हल उपधायाः क्ङिति drops the न् of a root like this before a ङित् affix, and the class-sign श्यन् is one. The णिनि derivative keeps it, so the verb loses the nasal and the adjective made from it does not — विभ्रश्यन्ति beside विभ्रंशिन्, in one sentence of his

  • अव्यय

    च

    printed कर्णविभ्रंशिभिश्च

    च

    and — the first of the stanza's two, closing the second pāda's list. Mallinātha does not use either of them: he strings the five instrumentals with तथा, 'likewise', three times over, which does the same work in a place where the verse had no room for it

  • a-stem neuter, तृतीया बहुवचन instrumental plural

    मुक्ताजालैः

    जाल

    nets — जाल is a mesh, whatever it is made of: a fishing net, a lattice, a spider's web, a hairnet of pearls. It is the third time the canto has used the word for a third material in four stanzas

  • a-stem masculine, तृतीया बहुवचन instrumental plural

    स्तनपरिसरच्छिन्नसूत्रैः

    printed स्तनपरिसरश्छिन्नसूत्रैश्च

    सूत्र

    thread — सूत्र is a thread, and it is also the word for a rule of grammar, because a rule is what a treatise is strung on. Here it is the string a necklace is strung on, and it has been cut. **The compound is a bahuvrīhi and so takes the gender of what it describes**: सूत्र is neuter on its own account and masculine here because हारैः is. The instrumental plural is the same syllable either way, which is why nothing on the page shows the change. The neuter noun सूत्र takes the gender of हारैः at the end of a bahuvrīhi

  • अव्यय

    च

    printed स्तनपरिसरश्छिन्नसूत्रैश्च

    च

    and — the second of the two, closing the list of five. Mallinātha keeps this one and only this one: his anvaya has तैर्हारैश्च सूच्यते, the च still standing where the verse put it, because it is the one that ends the enumeration

  • a-stem masculine, तृतीया बहुवचन instrumental plural

    हारैः

    हार

    necklaces — हार is from √हृ, to carry off, and it names a necklace as a thing that takes the eye. It is the last of the five and the only one the verse does not say fell: the others dropped, and this one broke

  • a-stem masculine, प्रथमा एकवचन nominative singular

    नैशः

    printed नैशो

    नैश, from निशा

    nightly — Mallinātha derives it: निशि भवो नैशः, 'what comes to be at night'. It is a secondary derivative from निशा, night, with the first vowel lengthened, and it is an adjective where English would want a phrase. **The word does the stanza's timing in one syllable of lengthening**: the road is not a road at night, it is the road that was made at night and is being read in the morning

  • a-stem masculine, प्रथमा एकवचन nominative singular

    मार्गः

    मार्ग

    the road — the subject, and the only nominative in the stanza. Mallinātha's closing paraphrase turns it into direct speech: अयम् अभिसारिकाणां पन्थाः, 'this is the path of the women who went out' — the sentence someone standing in the street at dawn would say

  • ṛ-stem masculine, षष्ठी एकवचन genitive singular

    सवितुः

    printed सवितुरुदये

    सवितृ, the agent noun of √सू with तृच्

    of the sun — सवितृ is 'the one who impels', from √सू, and it names the sun by what it does rather than by what it is. **The ṛ-stem finding has come round a third time**: an agent noun in तृच् lengthens its vowel in the strong cases — सविता, सवितारौ, सवितारः — and skt-data declines every ṛ-stem on the पितृ pattern, which does not. The genitive singular the verse uses is a cell the two patterns share, as it was at 1.51 and 2.8. It is an agent noun

  • a-stem masculine, सप्तमी एकवचन locative singular

    उदये

    printed सवितुरुदये

    उदय

    at the rising — उद् + √इ, to go up, with the noun-making अ. **Mallinātha supplies सति and turns it into a locative absolute**: सवितुरुदये सति, 'the sun's rising having taken place'. The locative on its own would say when; with सति it says that one thing happened and then the other could be seen. It is the one word he supplies in the stanza besides पतितैः, and unlike that one he does not mark it

  • √सूच्, class 10, लट्, passive, third person singular

    सूच्यते

    √सूच् of the tenth class, in the passive

    is pointed out — and Mallinātha glosses it ज्ञाप्यते, 'is made known'. **The poem has used this root once before, at 1.21, and both times he answers it with the vocabulary of inference**: there सूचयिष्यन्ति and his gloss अनुमापयिष्यन्ति, 'they will let it be inferred'; here सूच्यते and his closing अनुमीयते, 'it is inferred', with लिङ्गैः for the marks that license it. लिङ्ग is the logician's word for the thing you see that lets you conclude the thing you do not — smoke for fire. So the commentator reads the stanza as a piece of formal reasoning, and the poem gives him the same verb to do it with both times

    Five things on the ground and one verb, and the verb is not 'lie' but 'show'. The stanza is a piece of reading: someone comes out at dawn and works out from the litter where a woman went in the night. Mallinātha names her — कामिनीनाम् अभिसारिकाणाम्, the woman of the manuals who goes out at night to her lover rather than waiting for him — and then says in so many words that the stanza is an inference: मार्गपतितमन्दारकुसुमादिलिङ्गैरयमभिसारिकाणां पन्था इत्यनुमीयते, 'by the marks — mandāra flowers fallen on the road and the rest — it is inferred that this is the path of the women who went out'. लिङ्ग is the logician's word for the visible thing that lets you conclude the invisible, and अनुमीयते is the verb of formal inference. He read the poem this way once before, at 1.21, where the verb was सूचयिष्यन्ति and he glossed it अनुमापयिष्यन्ति; both times the root is √सूच् and both times he reaches for अनुमान.

    • Mallinātha, Sañjīvinī — 2.11: … abhisārikāṇāṃ panthā ityanumīyate

  • ī-stem feminine, षष्ठी बहुवचन genitive plural

    कामिनीनाम्

    कामिनी

    of the women — and Mallinātha names what kind: कामिनीनामभिसारिकाणाम्. An अभिसारिका is one of the classified heroines of the dramatic manuals, the woman who goes out at night to her lover instead of waiting for him. **Naming her names the whole stanza**: the flowers are on the road because she was in a hurry, and the road is legible in the morning because she was not supposed to be on it. **कामिन् stood at 2.10 and कामिनी stands here** — the men in the garden by day, the women on the road by night, one stem apart. The stem is made with ङीप् and so declines the नदी way throughout, which is why it keeps its table where लक्ष्मी and श्री lost theirs. It declines on the नदी pattern

यत्र · कामिनीनाम् · नैशः · मार्गः · सवितुः · उदये · सति [supplied] · गत्युत्कम्पात् · अलकपतितैः · मन्दारपुष्पैः · पत्रच्छेदैः · कर्णविभ्रंशिभिः · कनककमलैः · च · मुक्ताजालैः · स्तनपरिसरच्छिन्नसूत्रैः · हारैः · च · सूच्यते

uncheckedMallinātha, Sañjīvinī, whose commentary runs as anvaya. He takes the women first, then the subject and its adjective, then the time, and only then the five things on the road in the verse's own order — so the sentence he builds states what is being shown before it lists the evidence, which is the reverse of the way the verse discovers it. **He supplies सति**, making सवितुरुदये a locative absolute; he also supplies पतितैः three times over and says he is doing it, but the word is in the verse already and the supply is a repetition rather than an addition“yatrālakāyāṃ kāminīnām abhisārikāṇām | niśi bhavo naiśo mārgaḥ savitur udaye sati gatyā gamanenotkampaś calanaṃ tasmād dhetor alakebhyaḥ patitair mandārapuṣpaiḥ … tathā patrāṇāṃ … chedaiḥ … tathā karṇebhyo vibhraśyantīti karṇavibhraṃśīni taiḥ kanakasya kamalaiḥ … tathā muktājālaiḥ … tair hāraiś ca sūcyate”

the dependency structure

सूच्यते · क्रिया — is pointed out, अनुमीयते; the night's road inferred at dawn from what the women dropped

यत्र · अधिकरण — where, यत्रालकायाम्; the relative governing the stanza

मार्गः · कर्म — the road, the subject of the passive; what is pointed out

नैशः · agreeing with मार्गः — of the night, निशायां भवः

कामिनीनाम् · षष्ठी — of the women, अभिसारिकाणाम्; the women who go out at night to their lovers

उदये · सति सप्तमी — at the rising; a locative absolute, 'when the sun rises'

सवितुः · षष्ठी — of the sun, whose rising it is

सति · सति सप्तमी, supplied — being; the locative of अस् that completes the absolute

मन्दारपुष्पैः · करण — by mandāra flowers, the first of the marks that point out the road

गत्युत्कम्पात् · अपादान — from the tremor of walking, गतेः उत्कम्पात्; why the flowers fell

अलकपतितैः · agreeing with मन्दारपुष्पैः — fallen from the curls, अलकेभ्यः पतितैः

पत्रच्छेदैः · करण — by cut leaf-patterns, the painted foliage that rubbed off; the second mark

कनककमलैः · करण — by golden lotuses, the third mark

कर्णविभ्रंशिभिः · agreeing with कनककमलैः — slipping away from the ears, कर्णात् विभ्रंशिभिः

च · समुच्चय — and; joining this mark to the ones before

मुक्ताजालैः · करण — by pearl-nets, the fourth mark

हारैः · करण — by necklaces, the fifth mark

स्तनपरिसरच्छिन्नसूत्रैः · agreeing with हारैः — their thread snapped at the breast, स्तनपरिसरे छिन्नं सूत्रं येषाम्

च · समुच्चय — and; closing the list of five

uncheckedMallinātha’s Sañjīvinī for the anvaya and the reading, which names the abhisārikā, reads सूच्यते as अनुमान with लिङ्ग, states the paraphrase rule षष्ठ्या … मयटा … अध्याहारदोषः, and supplies सति for the locative absolute; the Telugu drawn from Vedam Venkataraya Sastri’s Āndhra Meghasandeśam.

Where at sunrise the night's road of the women is pointed out by mandāra flowers dropped from their curls by the tremor of walking, by cut leaf-patterns, by golden lotuses slipping from their ears, by pearl nets, and by necklaces whose thread snapped at the breast. **Five things on the ground and one verb, and the verb is not 'lie' but 'show'.** The stanza is a piece of reading: someone comes out at dawn and works out from the litter where a woman went. Mallinātha names her — कामिनीनाम् अभिसारिकाणाम्, the woman of the manuals who goes out at night to her lover rather than waiting for him — and then says in so many words that the stanza is an inference: मार्गपतितमन्दारकुसुमादिलिङ्गैरयमभिसारिकाणां पन्था इत्यनुमीयते, 'by the marks — mandāra flowers fallen on the road and the rest — it is inferred that this is the path of the women who went out'. **लिङ्ग is the logician's word** for the thing you see that lets you conclude the thing you cannot, and अनुमीयते is the verb of formal inference. The poem gave him the same opening once before: at 1.21 the verb was सूचयिष्यन्ति and he glossed it अनुमापयिष्यन्ति. Both times the root is √सूच् and both times he reaches for अनुमान. **He also states, for the first time in seventy-six stanzas, how he chooses a paraphrase.** कनककमल could be unpacked with the genitive, कनकस्य कमलानि, or with the affix मयट्, कनकमयानि कमलानि; he takes the genitive and gives the reason — षष्ठ्या विवक्षितार्थलाभे सति मयटा विग्रहेऽध्याहारदोषः, unpacking with मयट् when the genitive already gives the sense is the fault of supplying what is not there — and closes एवमन्यत्राप्यनुसन्धेयम्, so it is to be understood elsewhere too. Take the paraphrase that adds least. He names no figure.

uncheckedthe reader's reading, following Mallinātha's gloss; the identification of the women as abhisārikās, the reading of the stanza as an inference from liṅgas, the rule about मयट् and the vigraha, the derivation of नैश from निशा and the identification of पत्रच्छेद as the cut leaf-pattern worn on the body are his“kāminīnām abhisārikāṇām … ṣaṣṭhyā vivakṣitārthalābhe sati mayaṭā vigrahe ’dhyāhāradoṣaḥ | evam anyatrāpy anusandheyam … mārgapatitamandārakusumādiliṅgair ayam abhisārikāṇāṃ panthā ityanumīyata ityarthaḥ”

Where at sunrise the night's road of the women is pointed out by mandāra flowers dropped from their curls by the tremor of walking, by cut leaf-patterns, by golden lotuses slipping from their ears, by pearl nets, and by necklaces whose thread snapped at the breast. Five things on the ground and one verb, 'show': the stanza is an inference, and the woman it infers is the abhisārikā, who goes out to her lover under cover of dark. What gives her away is not that she was seen but that she shed, all along the road, the flowers and the jewellery a night of walking and love shakes loose; dawn reads the trail she could not help leaving.

  • Mallinātha, Sañjīvinī — 2.11, whole-verse gloss

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