In which a single wishing-tree bears the whole of a woman's adornment: bright cloth, wine that is expert at teaching her eyes their play, a burst of blossom with the young shoots, every variety of jewellery, and lac-dye fit to be laid on her lotus-feet. **The stanza is a list, and Mallinātha turns it into a classification.** Item by item he files each thing under one of four headings and says which: the cloth is परिधेयमण्डन, the wrapped-on kind; the blossom and shoots are कचधार्य, worn in the hair; the jewellery is देहधार्य, worn on the body; and the lac-dye is विलेपन, smeared on. Then, at सकलम्, he counts them — सकलं सर्वम् । चतुर्विधमपीत्यर्थः, 'all, that is, all four kinds' — and the reader finds the stanza has been an enumeration of a complete set all along. **Two of the four he has to argue for.** Wine is not worn at all, so he makes it an adornment by what it does — विभ्रमद्वारा, by way of the coquetry — and then admits he still has to put it somewhere and files it with the body-worn. And the fourth heading is not in the stanza as a word: he finds it in the च, चकारोऽङ्गरागादिविलेपनमण्डनोपलक्षणार्थः, 'the च stands for the smeared-on adornments, body-paint and the rest'. **Then the point of the whole thing**: एकः कल्पवृक्ष एव — one tree, and न तु नानासाधनसम्पादनप्रयासः, 'not the labour of getting together a variety of means'. Nobody in Alakā shops. It is the same observation he made at 2.10 about the treasure indoors that never runs out, and it closes the description: his next sentence is इत्थमलकां वर्णयित्वा तत्र स्वभवनस्याभिज्ञानमाह, 'having described Alakā in this way, he now gives the mark by which his own house is known there'. Twelve stanzas of city end here, and the address turns to one house in it. He names no figure.
uncheckedthe reader's reading, following Mallinātha's gloss; the fourfold classification of adornment and the assignment of each item to it, the argument for counting wine as one, the reading of the च as standing for a whole class, the gloss of मधु as मद्यम् and the closing न तु नानासाधनसम्पादनप्रयासः are his, as is the transition sentence that makes this the last stanza of the description“paridheyamaṇḍanam etat … idaṃ tu kacadhāryam … dehadhāryam etat … cakāro ’ṅgarāgādivilepanamaṇḍanopalakṣaṇārthaḥ … sakalaṃ sarvam | caturvidham apītyarthaḥ … na tu nānāsādhanasampādanaprayāsa ityarthaḥ || itthamalakāṃ varṇayitvā tatra svabhavanasyābhijñānam āha”
In which a single wishing-tree bears the whole of a woman's adornment: bright cloth, wine that is expert at teaching her eyes their play, a burst of blossom with the young shoots, every variety of jewellery, and lac-dye fit to be laid on her lotus-feet. Five things, and on Mallinātha's reading the four kinds of adornment complete — worn wrapped on, worn in the hair, worn on the body, and smeared on — all off one tree. The stanza ends the long description of Alakā on the city's defining ease: nothing there is assembled or bought, because one tree yields whatever is asked of it. From here the poem turns from the city to the yakṣa's own house.
ఎందులో ఒక్క కల్పవృక్షం స్త్రీ అలంకారమంతా మోస్తుందో: రంగురంగుల వస్త్రం, ఆమె కళ్లకు వాటి ఆటను నేర్పే నేర్పరి మద్యం, చిగుళ్లతోపాటు పూత విరుపు, అన్నిరకాల నగలు, ఆమె పద్మపాదాలపై పెట్టదగిన లత్తుకరంగు. ఐదు వస్తువులు, మల్లినాథుని పఠనంలో నాలుగు రకాల అలంకారం సంపూర్ణం — చుట్టుకొనేది, జుట్టులోది, శరీరాన ధరించేది, పూసుకొనేది — అన్నీ ఒక్క చెట్టునుండి. శ్లోకం అలకా సుదీర్ఘ వర్ణనను నగరపు నిర్వచన సౌలభ్యంపై ముగిస్తుంది: అక్కడ ఏదీ సమకూర్చబడదు, కొనబడదు, ఒక్క చెట్టు అడిగినదిచ్చును గనుక. ఇక్కడినుండి కావ్యం నగరంనుండి యక్షుని స్వంత ఇంటివైపు తిరుగుతుంది.
- Mallinātha, Sañjīvinī — 2.12, whole-verse gloss