printलघुसिद्धान्तकौमुदी — practise the grammar

मेघदूतम् · कालिदास · 2.14

अलका · Kāma with no bow, the women doing his work

मत्वा देवं धनपतिसखं यत्र साक्षाद्वसन्तं

म
त्वा
दे
वं
ध
न
प
ति
स
खं
य
त्र
सा
क्षा
द्व
स
न्तं

प्रायश्चापं न वहति भयान्मन्मथः षट्पदज्यम्

प्रा
य
श्चा
पं
न
व
ह
ति
भ
या
न्म
न्म
थः
ष
ट्प
द
ज्यम्

सभ्रूभङ्गप्रहितनयनैः कामिलक्ष्येष्वमोघैः

स
भ्रू
भ
ङ्ग
प्र
हि
त
न
य
नैः
का
मि
ल
क्ष्ये
ष्व
मो
घैः

तस्यारम्भश्चतुरवनिताविभ्रमैरेव सिद्धः

त
स्या
र
म्भ
श्च
तु
र
व
नि
ता
वि
भ्र
मै
रे
व
सि
द्धः

pāda a

  • मguruthe conjunct त्व that follows it
  • त्वाguruits long vowel आ
  • देguruits long vowel ए
  • वंguruthe anusvāra it carries
  • धlaghuits 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
  • तिlaghuits short vowel, with a single consonant after it
  • सlaghuits short vowel, with a single consonant after it
  • खंguruthe anusvāra it carries
  • यguruthe conjunct त्र that follows it
  • त्रlaghuits short vowel, with a single consonant after it
  • साguruits long vowel आ
  • क्षाguruits long vowel आ
  • द्वlaghuits short vowel, with a single consonant after it
  • सguruthe conjunct न्त that follows it
  • न्तंguruthe anusvāra it carries
  • yati after 4 — a word ends here — देवं
  • yati after 10 — a word ends here — धनपतिसखं

pāda b

  • प्राguruits long vowel आ
  • यguruthe conjunct श्च that follows it
  • श्चाguruits long vowel आ
  • पंguruthe anusvāra it carries
  • नlaghuits short vowel, with a single consonant after it
  • वlaghuits short vowel, with a single consonant after it
  • हlaghuits short vowel, with a single consonant after it
  • तिlaghuits short vowel, with a single consonant after it
  • भlaghuits short vowel, with a single consonant after it
  • याguruits long vowel आ
  • न्मguruthe conjunct न्म that follows it
  • न्मlaghuits short vowel, with a single consonant after it
  • थःguruthe visarga it carries
  • षguruthe conjunct ट्प that follows it
  • ट्पlaghuits short vowel, with a single consonant after it
  • दguruthe conjunct ज्य्म that follows it
  • ज्यम्guruthe end of the pāda, which counts the last syllable heavy
  • yati after 4 — a word ends here — प्रायश्चापं
  • yati after 10 — it falls inside भयात्

pāda c

  • सguruthe conjunct भ्र that follows it
  • भ्रूguruits long vowel ऊ
  • भguruthe conjunct ङ्ग that follows it
  • ङ्गguruthe conjunct प्र that follows it
  • प्रlaghuits short vowel, with a single consonant after it
  • हिlaghuits short vowel, with a single consonant after it
  • तlaghuits short vowel, with a single consonant after it
  • नlaghuits short vowel, with a single consonant after it
  • यlaghuits short vowel, with a single consonant after it
  • नैःguruthe visarga it carries
  • काguruits long vowel आ
  • मिlaghuits short vowel, with a single consonant after it
  • लguruthe conjunct क्ष्य that follows it
  • क्ष्येguruits long vowel ए
  • ष्वlaghuits short vowel, with a single consonant after it
  • मोguruits long vowel ओ
  • घैःguruthe visarga it carries
  • yati after 4 — a compound member ends here, inside सभ्रूभङ्गप्रहितनयनैः
  • yati after 10 — a word ends here — सभ्रूभङ्गप्रहितनयनैः

pāda d

  • तguruthe conjunct स्य that follows it
  • स्याguruits long vowel आ
  • रguruthe conjunct म्भ that follows it
  • म्भguruthe conjunct श्च that follows it
  • श्चlaghuits short vowel, with a single consonant after it
  • तुlaghuits short vowel, with a single consonant after it
  • रlaghuits short vowel, with a single consonant after it
  • वlaghuits short vowel, with a single consonant after it
  • निlaghuits short vowel, with a single consonant after it
  • ताguruits long vowel आ
  • विguruthe conjunct भ्र that follows it
  • भ्रlaghuits short vowel, with a single consonant after it
  • मैguruits long vowel ऐ
  • रेguruits long vowel ए
  • वlaghuits short vowel, with a single consonant after it
  • सिguruthe conjunct द्ध that follows it
  • द्धःguruthe visarga it carries
  • yati after 4 — it falls inside आरम्भः
  • yati after 10 — a compound member ends here, inside चतुरवनिताविभ्रमैः

Four joins run through the verse. साक्षात् + वसन्तम् → साक्षाद्वसन्तम्: word-final त् voices to द् before the voiced व् by Pāṇini 8.2.39 झलां जशोऽन्ते. भयात् + मन्मथः → भयान्मन्मथः: the same त् turns into the nasal न् before the nasal म् by 8.4.45 यरोऽनुनासिकेऽनुनासिको वा. प्रायः + चापम् → प्रायश्चापम् and आरम्भः + चतुर → आरम्भश्चतुर: the visarga becomes श् before च् by 8.3.34 विसर्जनीयस्य सः with 8.4.40 स्तोः श्चुना श्चुः. कामिलक्ष्येषु + अमोघैः → कामिलक्ष्येष्वमोघैः: the उ becomes व् before the following अ by 6.1.77 इको यणचि. And तस्य + आरम्भः → तस्यारम्भः, अ fusing with आ to आ by 6.1.101 अकः सवर्णे दीर्घः.

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

  • देवम् द्वितीया · accusative — कर्म, the object

    with धनपतिसखम्

  • वसन्तम् द्वितीया · accusative — कर्म, the object

  • चापम् द्वितीया · accusative — कर्म, the object

    with षट्पदज्यम्

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

  • मन्मथः प्रथमा · nominative — कर्ता, the agent

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

    with कामिलक्ष्येषु

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

  • आरम्भः प्रथमा · nominative — कर्ता, the agent

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

    with सभ्रूभङ्गप्रहितनयनैः

  • सिद्धः प्रथमा · nominative — कर्ता, the agent

प्रकरण 1 · हलन्त्यम्

प्रकरण 2 · इको यणचि

प्रकरण 3 · स्तोः श्चुना श्चुः

प्रकरण 4 · वा शरि

  • ससजुषो रुः 8.2.66← मन्मथः; सभ्रूभङ्गप्रहितनयनैः; अमोघैः; आरम्भः; चतुरवनिताविभ्रमैः; सिद्धः

प्रकरण 5 · अर्थवदधातुरप्रत्ययः प्रातिपदिकम्

प्रकरण 8 · हो ढः

प्रकरण 11 · स्वरादिनिपातमव्ययम्

प्रकरण 12 · लः कर्मणि च भावे चाकर्मकेभ्यः

प्रकरण 13 · अदिप्रभृतिभ्यः शपः

प्रकरण 34 · ण्वुल्तृचौ

प्रकरण 36 · तुमुन्ण्वुलौ क्रियायां क्रियार्थायाम्

प्रकरण 48 · शेषे

प्रकरण 59 · इवे प्रतिकृतौ

not in the abridgement

धनपतिसखम्

धन · पति · सखि

  1. धनानां पतिः, धनपतिः

    तत्पुरुष (genitive) — the lord of wealth, Kubera

  2. धनपतेः सखा इति धनपतिसखः, तम्

    तत्पुरुष (genitive) — his friend

तत्पुरुष — it agrees with देवम्. Kubera's friend — and Mallinātha spends his citation on why the word ends the way it does. `सखि` at the end of a tatpuruṣa takes the affix टच् by Pāṇini 5.4.91 राजाहस्सखिभ्यष्टच्, so the compound ends in `सख`, an ordinary a-stem, and the accusative is `सखम्` and not `सखायम्`. **This is the same word that lost its table at 1.43**, where standing alone it declines its own irregular way — `सखा`, `सखायम्`, `सख्या` — and where the generator gave it the मुनि pattern. Inside a compound the sūtra makes it regular, so the irregularity and the rule that cancels it are two stanzas of the same word. Who the friend is, Mallinātha says in one word: महादेवम्, Śiva

uncheckedMallinātha, Sañjīvinī, who unpacks धनपतेः कुबेरस्य सखेति धनपतिसखः and cites राजाहःसखिभ्यष्टच्, and who identifies the god as महादेवः“dhanapateḥ kuberasya sakheti dhanapatisakhaḥ || “rājāhaḥsakhibhyaṣṭac” | taṃ devaṃ mahādevam”

षट्पदज्यम्

षष् · पद · ज्या

  1. षट् पदा यस्य सः, षट्पदः

    बहुव्रीहि — the six-footed one, a bee

  2. षट्पदा एव ज्या यस्य तम्

    बहुव्रीहि — the bow whose string is bees

बहुव्रीहि — it refers to चापम्. bee-strung — Mallinātha gives it षट्पदा एव ज्या मौर्वी यस्य तम्, glossing ज्या with मौर्वी, the ordinary word for a bowstring, and leaving एव to carry the identity: the bees are not on the string, they are the string. **The whole of Kāma's equipment is made of flowers and insects**, which is why the bow is a joke as a weapon and is feared as one anyway. The compound's last member is the feminine ज्या taking masculine endings because it ends a bahuvrīhi describing the masculine चापम् — the third stanza in five to do this, after आख्या at 2.10 and रुचि at 2.13

uncheckedMallinātha, Sañjīvinī, who unpacks षट्पदा एव ज्या मौर्वी यस्य तं चापम्“ṣaṭpadā eva jyā maurvī yasya taṃ cāpaṃ prāyaḥ prācuryeṇa na vahati na bibharti”

सभ्रूभङ्गप्रहितनयनैः

स · भ्रू · भङ्ग · प्रहित · नयन

  1. भ्रुवोः भङ्गः, भ्रूभङ्गः

    तत्पुरुष (genitive) — a bending of the brows

  2. भ्रूभङ्गेन सह वर्तते इति सभ्रूभङ्गम्

    बहुव्रीहि — with the brows going with it

  3. सभ्रूभङ्गं प्रहितानि नयनानि येषु ते, तैः

    बहुव्रीहि — in which the glances are let fly that way

बहुव्रीहि — it refers to चतुरवनिताविभ्रमैः. in which the eyes are shot with a knit brow — and Mallinātha glosses प्रहित twice over, प्रयुक्तानि नियुक्तानि, 'discharged' and then 'aimed'. The two words are the whole of the metaphor: the first is what you do with an arrow, the second what you do with an eye. **He does not say the glances are arrows.** The verse does not say it either. What both do is describe them exactly as arrows are described — let fly, aimed, unerring, at a target — and leave the word out

uncheckedMallinātha, Sañjīvinī, who unpacks सभ्रूभङ्गं प्रहितानि प्रयुक्तानि नियुक्तानि नयनानि दृष्टयो येषु तैस्तथोक्तैः; `vendor/meghaduta-sanjivini.itx` prints a space inside सभ्रूभङ्गम्“sabhrūbhaṅgaṃ prahitāni prayuktāni niyuktāni nayanāni dṛṣṭayo yeṣu tais tathoktaiḥ”

कामिलक्ष्येषु

कामिन् · लक्ष्य

  1. कामिन एव लक्ष्याणि, तेषु

    कर्मधारय — targets that are the lovers themselves

कर्मधारय — it agrees with अमोघैः. at targets that are the men — Mallinātha's एव makes it an identity rather than a possession: not the lovers' targets but the lovers as targets. लक्ष्य is what an archer aims at, and the word carries no metaphor of its own; putting men in it is the whole move. **कामिन् is the word for the men in the garden at 2.10** — there they were the subject of the sentence and here they are what is shot at

uncheckedMallinātha, Sañjīvinī, who unpacks कामिन एव लक्ष्याणि तेष्वमोघैः; `vendor/meghaduta-sanjivini.itx` prints `amodhaiH` for अमोघैः, with ध for घ“kāmina eva lakṣyāṇi teṣv amoghaiḥ | saphalaprayogair ityarthaḥ”

चतुरवनिताविभ्रमैः

चतुर · वनिता · विभ्रम

  1. चतुराश्च ता वनिताश्च, चतुरवनिताः

    कर्मधारय — the clever women

  2. चतुरवनितानां विभ्रमाः, तैः

    तत्पुरुष (genitive) — their play

तत्पुरुष. by the clever women's play — Mallinātha unpacks the first relation with the school's own formula, चतुराश्च ता वनिताश्च, which is how a karmadhāraya of adjective and noun is always taken apart, and glosses विभ्रम with विलास, the word for a graceful movement made to be watched. **विभ्रम is the third thing the canto has called by this name**: at 2.12 wine taught it to the eyes, at 2.11 it was not there at all, and here it is the whole instrument. चतुर is skill, and it is the word that turns a mood into a technique

uncheckedMallinātha, Sañjīvinī, who unpacks चतुराश्च ता वनिताश्च तासां विभ्रमैर्विलासैरेव; `vendor/meghaduta-sanjivini.itx` prints `vanivAH` for वनिताः, with व for त“caturāś ca tā vanitāś ca tāsāṃ vibhramair vilāsair eva siddho niṣpannaḥ”

  • √मन् + क्त्वा

    मत्वा

    मत्वा, from √मन्

    having concluded — Mallinātha glosses ज्ञात्वा, 'having come to know'. √मन् is to think, and its absolutive here is not an opinion but a finding: Kāma has worked out where he is. **The absolutive puts the whole stanza's logic in its first word** — because he concluded this, he does not do that — and the verb it hangs on does not arrive until the second pāda

  • a-stem masculine, द्वितीया एकवचन accusative singular

    देवम्

    printed देवं

    देव

    the god — and which god is the question the stanza turns on, because the answer is the reason for the fear. Mallinātha answers it in one word: महादेवम्, Śiva. **The verse never names him**, and does not have to: the god who is Kubera's friend, who lives on the mountain the city stands on, and whom Kāma is afraid of, can only be the one who burnt him

    The god is never named, and there is only one he can be. The stanza gives three facts about him — he is the lord of wealth's friend (धनपतिसखम्), he is living on the spot in his own form (साक्षाद्वसन्तम्), and Kāma is afraid of him (भयात्). Mallinātha supplies the name in one word, महादेवम्, Śiva: the god who is Kubera's friend, who lives on the mountain the city stands on, and whom the god of desire has reason to fear can only be the one who once burnt him to ashes. साक्षात् — 'before the eyes' — Mallinātha reads निजरूपेण, 'in his own form', and then adds a reason nobody asked for, सखिस्नेहात्, 'out of love for his friend', which turns a point of theology into a domestic fact: Śiva is in Alakā not as a resident power but because Kubera is his friend.

    • Mallinātha, Sañjīvinī — 2.14: taṃ devaṃ mahādevaṃ sākṣād vasantaṃ sakhisnehān nijarūpeṇa vartamānam

  • a-stem masculine, द्वितीया एकवचन accusative singular

    धनपतिसखम्

    printed धनपतिसखं

    सख, which is सखि with the affix टच् at the end of a tatpuruṣa by Pāṇini 5.4.91 राजाहस्सखिभ्यष्टच्

    friend — and the affix is what makes the word ordinary. Standing alone, सखि is one of the most irregular stems in the language: सखा, सखायम्, सख्या, सखे. At the end of a tatpuruṣa 5.4.91 adds टच् and the stem becomes सख, which declines like राम. **So the cell the generator got wrong at 1.43 is a cell this word does not have.** Mallinātha cites the sūtra rather than the sense, which is what he does when the form is the only thing that could puzzle a reader

  • अव्यय

    यत्र

    यत्र

    where — Mallinātha supplies यत्रालकायाम् for the eleventh time in the canto. **In his edition this stanza is the tenth of the second canto and stands where this text puts 2.12**: the two texts transpose the wishing-tree stanza and this one, and his own transition sentence proves it, because he closes this comment by quoting the Rasākara's verse on the four kinds of a woman's adornment and saying तदेवैतदाह, 'it is just this that he now states' — which is what the stanza this text numbers 2.12 states

  • अव्यय

    साक्षात्

    printed साक्षाद्वसन्तं

    साक्षात्

    before the eyes — साक्षात् is स + अक्ष, 'with the eye', in an old adverbial ending: not by report and not by inference but in front of you. Mallinātha reads it निजरूपेण, 'in his own form', and then adds the reason nobody asked for — सखिस्नेहात्, 'out of love for his friend'. **That one phrase turns a piece of theology into a domestic fact**: the god is not resident in Alakā as a power, he is there because Kubera is his friend

  • √वस् + शतृ, द्वितीया एकवचन accusative singular

    वसन्तम्

    printed साक्षाद्वसन्तं

    वसत्, from √वस् with शतृ

    dwelling — the present participle of √वस्, to live somewhere, agreeing with देवम्. **DCS reads it as वसन्त, the noun, which is Spring** — and that reading is more tempting than most of its errors, because Spring is Kāma's standing companion and would belong in a stanza about him. It will not construe: the accusative has to agree with देवम्, and Mallinātha settles it with वर्तमानम्, 'being present'. Same form as उद्गायद्भिः at 2.10 and the same table trouble: skt-data's one अत्-stem declension is the भगवत् pattern, which lengthens where a शतृ participle does not

  • अव्यय

    प्रायः

    printed प्रायश्चापं

    प्रायस्

    for the most part — Mallinātha glosses प्राचुर्येण, 'in the main'. **It is the most carefully placed word in the stanza.** Without it Kāma has given up his bow; with it he mostly has, which leaves the reader to wonder about the rest of the time. The visarga becomes श् before the च् of चापम्

    प्रायः, 'for the most part' (glossed प्राचुर्येण, 'in the main'), is the most carefully placed word in the stanza. Without it, Kāma has given up his bow altogether; with it, he mostly has — which leaves the reader to wonder about the rest of the time. The word admits that even in Śiva's own city, under the third eye, desire is not fully disarmed. It also sets up the second half: since he mostly does not shoot, his work must get done some other way, and Mallinātha marks the turn by breaking his own commentary with the objection कथं तर्हि तस्य कार्यसिद्धिः — 'then how does his work get done?'

    • Mallinātha, Sañjīvinī — 2.14: prāyaḥ prācuryeṇa … kathaṃ tarhi tasya kāryasiddhir ata āha

  • a-stem masculine, द्वितीया एकवचन accusative singular

    चापम्

    printed प्रायश्चापं

    चाप

    the bow — Kāma's, made of flowers with a string of bees, and the one thing in the stanza that is not being used. Mallinātha does not gloss it; what he glosses is the string

  • अव्यय

    न

    न

    not — and Mallinātha negates the gloss as well as the verb, न वहति न बिभर्ति, so that the negative stands in front of his word too. It is the stanza's only negative and the pivot of it: everything in the first half is what Kāma does not do

  • √वह्, class 1, लट्, parasmaipada, third person singular

    वहति

    √वह् of the first class

    carries — √वह् is to convey, and of a weapon it is to bear it about. Mallinātha answers it with बिभर्ति, from √भृ, which is the same act with a different root. **The stanza has two finite forms and this is the only true verb**; the other, सिद्धः, is a participle standing for one. So the only thing anybody actively does in the stanza is a thing that is not done

  • a-stem neuter, पञ्चमी एकवचन ablative singular

    भयात्

    printed भयान्मन्मथः

    भय

    out of fear — and Mallinātha names the fear exactly: भालेक्षणभयात्, 'from fear of the eye in the brow'. भाल is the forehead and ईक्षण an eye, and the compound is a standing epithet of Śiva. **That third eye is the one that burnt Kāma to ashes**, so the gloss does not add a word to the verse, it adds the reason the verse is about. The ablative is of cause, the third in four stanzas — गत्युत्कम्पात् at 2.11, प्रभेदात् at 2.13, and this. The त् becomes न् before the म् of मन्मथः

    The fear is named exactly, and the name is the whole reason for the stanza. Mallinātha glosses भयात् with भालेक्षणभयात्, 'out of fear of the eye in the brow'. भाल is the forehead and ईक्षण an eye, and the compound is a standing epithet of Śiva — his third eye, the one that opened and burnt Kāma to ashes. So the gloss adds not a word to the verse but the reason the verse is about: the one being in the universe the god of desire dares not carry his bow near is the being who once destroyed him with a look. The ablative भयात् is of cause, the third such in four stanzas — गत्युत्कम्पात् at 2.11, प्रभेदात् at 2.13, and this.

    • Mallinātha, Sañjīvinī — 2.14: bhayād bhālekṣaṇabhayāt

  • a-stem masculine, प्रथमा एकवचन nominative singular

    मन्मथः

    printed भयान्मन्मथः

    मन्मथ

    Kāma — मन्मथ is 'the churner of the mind', and Mallinātha replaces it at once with the plainer कामः. The subject of the first half, and the one who does nothing; the subject of the second half is his आरम्भः, his undertaking, which gets done without him

  • a-stem masculine, द्वितीया एकवचन accusative singular

    षट्पदज्यम्

    ज्या, taking masculine a-stem endings at the end of a bahuvrīhi

    bowstring — ज्या is the cord of a bow, and Mallinātha glosses it मौर्वी, the string made of मूर्वा fibre, which is the standard material and therefore the standard word. **The bees are the string, not on it.** A bee's hum along a bowstring is the sound a drawn bow makes, which is the whole of why the image works. The feminine ज्या is shortened and declined as a masculine because the compound describes चापम्

  • a-stem neuter, तृतीया बहुवचन instrumental plural

    सभ्रूभङ्गप्रहितनयनैः

    नयन

    eyes — Mallinātha glosses दृष्टयः, 'glances', which moves the word from the organ to what it does, exactly as he moved कण्ठ to कण्ठध्वनि at 2.10. **नयन stood at 2.12 in the same canto and the same business**: there wine taught the two eyes their play, and here the play is being used

  • a-stem neuter, सप्तमी बहुवचन locative plural

    कामिलक्ष्येषु

    printed कामिलक्ष्येष्वमोघैः

    लक्ष्य

    targets — लक्ष्य is a kṛtya from √लक्ष्, 'what is to be aimed at', so the word is a verbal adjective doing duty as a noun. The locative is what अमोघ governs: unerring *at* a thing. The उ of लक्ष्येषु becomes व् before the अ of अमोघैः and the two print as one run

  • a-stem masculine, तृतीया बहुवचन instrumental plural

    अमोघैः

    printed कामिलक्ष्येष्वमोघैः

    अमोघ

    never missing — मोघ is what comes to nothing, and अमोघ is the standing epithet of a weapon that always tells. Mallinātha glosses सफलप्रयोगैः, 'whose discharge bears fruit', and then draws the comparison the word was waiting for: **मन्मथचापोऽपि क्वचिदपि मोघः स्यादिति भावः** — 'the sense being that even Kāma's own bow might miss now and then'. So the women's glances are the better weapon, and that is the argument of the whole stanza

    The second half describes the women's glances in the exact vocabulary of archery and leaves the word 'arrow' out. प्रहित, 'let fly', which Mallinātha glosses twice, प्रयुक्तानि नियुक्तानि, 'discharged' and then 'aimed'; लक्ष्य, the 'target', with the men themselves put inside it (कामिन एव लक्ष्याणि, 'the lovers as targets'); and अमोघ, 'never missing' (सफलप्रयोगैः, 'whose discharge bears fruit'). None of the three is used of an eye except by borrowing it from a bow. And then the comparison the stanza was built for, which Mallinātha states outright: मन्मथचापोऽपि क्वचिदपि मोघः स्यादिति भावः, 'the sense being that even Kāma's own bow might miss now and then'. The women's glances are the better weapon — that is the argument — and he closes with it as advice: यदनर्थंकरं पाक्षिकफलं च तत्प्रयोगाद्वरं निश्चितसाधनप्रयोगः, 'better a sure instrument than one that does harm and works only sometimes'. This is arthāntaranyāsa, a general maxim set down to back the particular case.

    • Mallinātha, Sañjīvinī — 2.14: prahitāni prayuktāni niyuktāni … amoghaiḥ saphalaprayogaiḥ … manmathacāpo ’pi kvacid api moghaḥ syād iti bhāvaḥ … niścitasādhanaprayoga iti bhāvaḥ

  • pronoun, षष्ठी एकवचन genitive singular

    तस्य

    printed तस्यारम्भश्चतुरवनिताविभ्रमैरेव

    तद्

    his — pointing back across the pāda break to मन्मथः, and Mallinātha writes the name in rather than leave it: तस्य मन्मथस्य. It is the seam of the stanza, joining the half in which Kāma does nothing to the half in which his work is done

  • a-stem masculine, प्रथमा एकवचन nominative singular

    आरम्भः

    printed तस्यारम्भश्चतुरवनिताविभ्रमैरेव

    आरम्भ

    the undertaking — आ + √रभ्, a taking-hold, so a thing begun. Mallinātha spells out what it is: कामिजनविजयव्यापारः, 'the business of conquering the amorous'. **A god's whole office is called a व्यापार, an operation** — the word a manual would use for any regular procedure — and the stanza's point is that it runs without him

  • a-stem masculine, तृतीया बहुवचन instrumental plural

    चतुरवनिताविभ्रमैः

    printed तस्यारम्भश्चतुरवनिताविभ्रमैरेव

    विभ्रम

    play — विभ्रम is वि + √भ्रम्, a wandering-about, and of a woman it is the whole range of movements made to be looked at. Mallinātha glosses विलासैः, its close synonym. **This is the instrumental the stanza has been building toward**: the bow was never taken up, and the work is done by these

  • अव्यय

    एव

    printed तस्यारम्भश्चतुरवनिताविभ्रमैरेव

    एव

    only — the particle of exclusion, and it is doing the arithmetic of the stanza: by these alone, which is to say without the bow. Mallinātha keeps it exactly where the verse has it, विभ्रमैर्विलासैरेव. **It is the third एव of the stanza in his commentary and the only one the verse itself has**: he supplied the other two, in षट्पदा एव ज्या and कामिन एव लक्ष्याणि, to mark the two identities the compounds make

  • √सिध् + क्त, प्रथमा एकवचन nominative singular

    सिद्धः

    सिद्ध, from √सिध् with क्त

    is accomplished — a past participle standing as the sentence's predicate, which is how Sanskrit most often says a thing has been done. Mallinātha glosses निष्पन्नः, 'come out finished'. **And then he draws the moral, which is a piece of practical advice**: यदनर्थंकरं पाक्षिकफलं च तत्प्रयोगाद्वरं निश्चितसाधनप्रयोगः — 'better the use of a certain means than the use of one that does harm and works only sometimes'. The bow burnt its owner once and misses now and again; the glances do neither

यत्र · मन्मथः · देवम् · धनपतिसखम् · साक्षात् · वसन्तम् · मत्वा · भयात् · षट्पदज्यम् · चापम् · प्रायः · न · वहति · तस्य · आरम्भः · सभ्रूभङ्गप्रहितनयनैः · कामिलक्ष्येषु · अमोघैः · चतुरवनिताविभ्रमैः · एव · सिद्धः

uncheckedMallinātha, Sañjīvinī, whose commentary runs as anvaya. He puts the subject first and then rebuilds the participial clause in its own order — the god, his epithet, साक्षात्, the participle, and only then मत्वा, which the verse had put first of all. **He supplies no word of the sentence**, for the fifth stanza running, and instead breaks the anvaya in the middle with a question of his own: कथं तर्हि तस्य कार्यसिद्धिः, 'then how does his work get done?', and answers it by quoting the third pāda's first word as a heading“yatrālakāyāṃ manmathaḥ kāmaḥ … taṃ devaṃ mahādevaṃ sākṣād vasantaṃ … matvā jñātvā bhayād … taṃ cāpaṃ prāyaḥ prācuryeṇa na vahati | kathaṃ tarhi tasya kāryasiddhir ata āha — sabhrūbhaṅgeti || tasya manmathasyārambhaḥ … tāsāṃ vibhramair vilāsair eva siddho niṣpannaḥ”

the dependency structure

वहति · क्रिया — carries; the finite verb of the stanza, which Mallinātha answers with बिभर्ति, न वहति न बिभर्ति, and negates along with the verb

यत्र · अधिकरण — where, यत्रालकायाम्; the relative Mallinātha fills out with 'in Alakā' once again

मन्मथः · कर्ता — Kāma, 'the churner of the mind', glossed कामः; the subject of the first half, and the one who does nothing

मत्वा · पूर्वकालक्रिया — having concluded, glossed ज्ञात्वा; the absolutive of √मन् that puts the stanza's logic in its first word — because he concluded this, he does not do that

देवम् · कर्म — the god, glossed महादेवम्, Śiva; what Kāma concludes to be present, never named in the verse

धनपतिसखम् · agreeing with देवम् — the lord of wealth's friend, Kubera's friend; the epithet that alone fixes which god this is

वसन्तम् · agreeing with देवम् — dwelling, the present participle of √वस्, glossed वर्तमानम्; that the god is living there in person

साक्षात् · क्रियाविशेषण — before the eyes, निजरूपेण, in his own form; not by report and not by inference but present

भयात् · हेतु — out of fear, glossed भालेक्षणभयात्, fear of the eye in the brow; the ablative of cause

चापम् · कर्म — the bow, Kāma's; the object of वहति, and the one thing in the stanza not being used

षट्पदज्यम् · agreeing with चापम् — bee-strung, whose string is bees, षट्पदा एव ज्या यस्य तम्; the bow made of flowers and insects

प्रायः · क्रियाविशेषण — for the most part, glossed प्राचुर्येण; the carefully placed word — mostly he does not carry it, which leaves the rest of the time open

न · निषेध — not; the stanza's only negative and the pivot of its first half

सिद्धः · विधेय — is accomplished, glossed निष्पन्नः; a past participle standing as the predicate of the second sentence, hung here beneath the one finite verb, which answers Mallinātha's own objection कथं तर्हि तस्य कार्यसिद्धिः, 'then how does his work get done?'

तस्य · षष्ठी — his, तस्य मन्मथस्य; pointing back across the pāda break to मन्मथः, the seam joining the two halves

आरम्भः · उद्देश्य — the undertaking, glossed कामिजनविजयव्यापारः, the business of conquering lovers; the subject of the second sentence, which gets done without him

चतुरवनिताविभ्रमैः · करण — by the play of clever women, glossed विलासैः; the instrument the stanza has been building toward, doing the work the bow does not

सभ्रूभङ्गप्रहितनयनैः · agreeing with चतुरवनिताविभ्रमैः — in which the glances are let fly with a knit brow, प्रहितानि प्रयुक्तानि नियुक्तानि; the bahuvrīhi that makes the play archery

अमोघैः · agreeing with चतुरवनिताविभ्रमैः — never missing, glossed सफलप्रयोगैः; the standing epithet of a weapon that always tells

कामिलक्ष्येषु · विषय — at the targets that are the men, कामिन एव लक्ष्याणि तेषु; the locative अमोघ governs, unerring at a thing

एव · अवधारण — only; by these alone, which is to say without the bow — the particle doing the arithmetic of the stanza

uncheckedMallinātha’s Sañjīvinī for the anvaya and the reading, which construes the stanza as two clauses turning on the one finite verb वहति (negated by न) and the participial predicate सिद्धः, names the unnamed god महादेवम् and the fear as fear of the third eye, and interrupts its own anvaya with the objection कथं तर्हि तस्य कार्यसिद्धिः; the Telugu drawn from Vedam Venkataraya Sastri’s Āndhra Meghasandeśam. The -सखम् of धनपतिसखम् is regular by Pāṇini 5.4.91 राजाहस्सखिभ्यष्टच्, which Mallinātha cites.

Where Kāma, having worked out that the god who is the lord of wealth's friend lives there in person, mostly does not carry his bee-strung bow, out of fear; and his undertaking is accomplished by nothing but the play of clever women, whose glances, launched with a knit brow, never miss the men they are aimed at. **The god is never named and there is only one he can be.** Mallinātha names him — महादेवम् — and then names the fear: भयाद् भालेक्षणभयात्, 'out of fear, that is, of the eye in the brow'. That eye burnt Kāma to ashes, so the gloss adds no word to the verse and supplies the whole reason for it. He also gives the god a motive nobody asked about: साक्षात् is निजरूपेण, in his own form, सखिस्नेहात्, out of love for his friend. **प्रायः is the word to watch.** *Mostly* he does not carry it. **Then the commentator interrupts his own anvaya with an objection**: कथं तर्हि तस्य कार्यसिद्धिः — 'then how does his work get done?' — and answers it out of the second half. It is done by the women, and the vocabulary is all archery with the word 'arrow' left out: प्रहित, let fly, which he glosses twice, प्रयुक्तानि नियुक्तानि, discharged and aimed; लक्ष्य, the target, with the men themselves in it; अमोघ, never missing. And then the comparison the stanza was built for: मन्मथचापोऽपि क्वचिदपि मोघः स्यादिति भावः, 'even Kāma's own bow might miss now and then'. He closes with the moral drawn as advice — यदनर्थंकरं पाक्षिकफलं च तत्प्रयोगाद्वरं निश्चितसाधनप्रयोगः, better a sure instrument than one that does harm and works only sometimes. **In his edition this stanza stands where this text puts 2.12**, and his own transition proves it: he ends this comment by quoting the Rasākara's verse on the four kinds of a woman's adornment and saying तदेवैतदाह, 'it is just this that he now states' — which is the stanza this text numbers 2.12. He names no figure.

uncheckedthe reader's reading, following Mallinātha's gloss; the identification of the god as Śiva and of the fear as fear of the third eye, the reason सखिस्नेहात्, the objection and its answer, the double gloss on प्रहित, the remark that Kāma's own bow can miss, and the closing advice are his. The transposition of this stanza and 2.12 between the two texts is read off his stanza numbers and his transition sentence“taṃ devaṃ mahādevaṃ … bhayād bhālekṣaṇabhayāt … kathaṃ tarhi tasya kāryasiddhir ata āha … manmathacāpo ’pi kvacid api moghaḥ syād iti bhāvaḥ … yad anarthaṃkaraṃ pākṣikaphalaṃ ca tatprayogād varaṃ niścitasādhanaprayoga iti bhāvaḥ”

Where Kāma, having worked out that the god who is the lord of wealth's friend is living there in person, mostly does not carry his bee-strung bow, out of fear — and his undertaking is accomplished by nothing but the play of clever women, whose glances, let fly with a knit brow, never miss the men they are aimed at. Two halves, and the seam is तस्य, 'his', pointing back to Kāma across the break. The first half is what he does not do; the second is his work getting done without him. Mallinātha names the unnamed god (महादेवम्), names the fear (fear of the third eye), interrupts himself to ask how the work gets done, and answers it out of the women's glances, adding that even Kāma's own bow can miss where theirs do not. He names no figure himself, though the closing maxim reads as arthāntaranyāsa.

  • Mallinātha, Sañjīvinī — 2.14, whole-verse gloss

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