of it — feminine, so it points back to the वापी of 2.16 and not to the house, and Mallinātha writes the noun in: तस्या वाप्याः. **The tokens are being chained rather than listed.** The tank stood beside the house; the hill stands on the tank's bank; and the next two stanzas hang off the hill. The visarga becomes स् before the त् of तीरे

on the bank — the locative of where the hill stands, and Mallinātha lets the word alone. It answers the उपान्ते of 2.15, which put the tree beside the house: the same kind of locative doing the same work of placing one thing against another, three stanzas apart

peak — शिखर is the top of anything that comes to a point, a mountain or a tower. Mallinātha builds it into a compound of his own, इन्द्रनीलमणिमयशिखरः, which says what the verse's instrumental says and keeps it in one word. **A pleasure-hill has a peak because it is built to look like a mountain**, and this one is made of the stone that looks like a raincloud

fine — Mallinātha glosses चारुभिः, 'lovely', and then cites Amara to show he has chosen between two senses: चारौ दक्षे च पेशलः, 'peśala is used of what is lovely and of what is skilful'. **The gem cannot be skilful, so the lexicon settles it by exclusion** — which is the ordinary use of a synonym-list and not a display of learning. चारु is the word he used of the gateway at 2.15, so the arch and the peak get the same adjective. The visarga becomes र् before the इ of इन्द्रनीलैः

sapphires — the word is two words in shape, इन्द्र and नील, but it is a gem's name in use, and Mallinātha treats it as one: he does not take it apart, he expands it, इन्द्रनीलमणि, 'the indranīla stone'. **The sapphire is the colour of a raincloud**, which is why this is the one likeness in the stanza he says the poet did not have to state: इन्द्रनीलसाम्यं तु मेघस्य स्वाभाविकम्. DCS reads it as a single stem too, and no layer here divides it. **The generator does divide it, and gets it wrong**: asked for इन्द्रनील it returns इन्द्रणील throughout, having turned the न् into ण् after the र् of इन्द्र. It did the same at 1.48. Pāṇini 8.4.1 रषाभ्यां नो णः समानपदे makes that change inside one word, and a compound's two members are not one word; 8.4.3 पूर्वपदात्संज्ञायामगः is the rule that carries it across a first member, and whether and why it fails here the run has not settled

hill — शैल is what is made of शिला, rock, so the word for a mountain is built on the word for a stone. Here it is a garden mound and the stones are sapphires. **It is the third of the tokens** and the one the stanza is really about: the last line comes back to it with तम् एव, that one and no other

worth looking at — the kṛtya in अनीयर्, which makes an adjective of what ought to or can be done. Mallinātha answers it with दर्शनीय, the same formation on the other verb of seeing. **The root comes back in the next line as प्रेक्ष्य**, having seen — the hill is worth looking at, and the looking that actually happens in the stanza is at the cloud

of the woman of the house — गेहिन् is 'having a house', and the feminine गेहिनी is what a householder's wife is called. Mallinātha replaces it with गृहिणी, the same word on गृह. **The genitive is what the whole second half turns on**: the hill is not dear to the speaker, it is dear to her, and that is why seeing something like it frightens him

dear — masculine, agreeing with the hill, and Mallinātha turns the whole phrase into one abstract noun to make the syntax plain: मद्गृहिणीप्रियत्वात्, 'from its being dear to my wife'. **The visarga is gone because इति follows**: प्रियः before a vowel other than अ loses both the visarga and nothing else, and the two words print as प्रिय इति

so — the particle that closes a thought and hands it to the sentence, and Mallinātha says which use of it is meant by supplying the case it stands for: इति हेतोः, 'so, that is, for that reason'. **Without the gloss the phrase reads as a quotation and with it as a cause.** The thought quoted is the speaker's own, and it is one word long: dear

friend — the cloud, addressed, and Mallinātha marks it as an address by putting the particle in front: हे सखे. **This is the sixth appearance of सखि in the poem and the third fact it has taught about itself.** At 1.12 and 2.14 it stood at the end of a compound and became the regular सख by 5.4.91; at 1.22, 1.43 and 1.63 it stood alone in this same vocative, the one cell where the irregular stem and a regular i-stem agree. DCS reads it here as the feminine सखी, a woman friend, which the address to a cloud rules out. सखि is irregular in every case but this one: it takes अनङ् before the strong endings and makes सखा, सखायम्, सख्या, but the vocative singular is excepted by Pāṇini 7.1.92 सख्युरसम्बुद्धौ and comes out regular

with a heart — चेतस् is from √चित्, to perceive, so the word is the faculty rather than the organ: mind, and by extension feeling. Mallinātha keeps it and glosses only its adjective. The instrumental is of the manner in which the remembering is done, which is the last word of the stanza

frightened — Mallinātha glosses भीतेन, and then adds the thing the word alone would not have told you: भयं चात्र सानन्दमेव, 'and the fear here is a joyful one'. He quotes the Rasākara for the rule — वस्तूनामनुभूतानां तुल्यश्रवणदर्शनात् … सानन्दा भीर्यथा भवेत्, 'when things once lived through are seen or heard of again in their likeness, the fear that comes is a glad one'. **This is the second time in four stanzas he has reached for that handbook**, after the four kinds of adornment at 2.14, and both times to name a feeling the verse does not name

on seeing — the same word in the same form as at 2.16, two stanzas running, and doing the opposite work. There the swans saw the cloud and did nothing; here the speaker sees it and remembers. **The stanza has this root three times** — प्रेक्षणीय in the second pāda, प्रेक्ष्य here, and the seeing implied in स्मरामि — and the whole of it is about what looking at one thing does to somebody who has looked at another. The अ of प्रेक्ष्य and the उ of उपान्त run together as ओ

lightning — तडित् is from √तड्, to strike, and it is feminine on its own. Here it ends a bahuvrīhi describing the cloud and takes the masculine accusative. **उपान्त is the word 2.15 used of the ground beside the house**; here it is the margin of a cloud, and the same word measures a garden and a sky. Mallinātha glosses it प्रान्त and then explains that the epithet exists to make the cloud's edge answer the hill's ring of gold. तडित् is feminine as a noun and declines as a masculine here, because the compound describes त्वाम्

you — the cloud, object of प्रेक्ष्य and not of the verb, exactly as at 2.16. **The stanza's two accusatives are the whole of its argument**: त्वाम्, what is in front of him, and तम्, what is not. One is seen and the other is remembered, and the grammar keeps them apart while the meaning brings them together

that one — the hill, and Mallinātha names it rather than leave the pronoun to reach back three pādas: तमेव क्रीडाशैलमेव. **The whole stanza has been a description of something the last line only points at.** It is the object of स्मरामि, and the object of a verb of remembering is what is not there

and nothing else — Mallinātha says what the particle is for in the technical words: एवकारो विषयान्तरव्यवच्छेदार्थः, 'the एव is there to shut out any other object'. **It is the word that makes the figure.** Seeing a cloud might bring many things to mind; एव says that it brings one, and the definition of smaraṇa he goes on to quote requires exactly that

I remember — the stanza's only finite verb and its last word, and the first verb in the first person since the message began. **Everything up to here has been description; this is the speaker.** Mallinātha builds the figure on the verb's own meaning — सदृशवस्त्वनुभवात् … स्मृतिर्जायते, 'from the experience of a like thing a memory arises' — and then uses the verb to refute a rival: another commentator construes त्वां तमेव स्मरामि together, making the cloud itself the thing the hill-ness is laid over, and Mallinātha answers that what stands in front of you is perceived and not remembered, so the word स्मरामि would not fit