printलघुसिद्धान्तकौमुदी — practise the grammar

मेघदूतम् · कालिदास · 2.18

यक्षगृह · the aśoka and the kesara, each waiting to be touched

रक्ताशोकश्चलकिसलयः केसरश्चात्र कान्तः

र
क्ता
शो
क
श्च
ल
कि
स
ल
यः
के
स
र
श्चा
त्र
का
न्तः

प्रत्यासन्नौ कुरबकवृतेर्माधवीमण्डपस्य

प्र
त्या
स
न्नौ
कु
र
ब
क
वृ
ते
र्मा
ध
वी
म
ण्ड
प
स्य

एकः सख्यास्तव सह मया वामपादाभिलाषी

ए
कः
स
ख्या
स्त
व
स
ह
म
या
वा
म
पा
दा
भि
ला
षी

काङ्क्षत्यन्यो वदनमदिरां दोहदच्छद्मनास्याः

का
ङ्क्ष
त्य
न्यो
व
द
न
म
दि
रां
दो
ह
द
च्छ
द्म
ना
स्याः

pāda a

  • रguruthe conjunct क्त that follows it
  • क्ताguruits long vowel आ
  • शोguruits long vowel ओ
  • कguruthe conjunct श्च that follows it
  • श्चlaghuits short vowel, with a single consonant after it
  • लlaghuits short vowel, with a single consonant after it
  • किlaghuits short vowel, with a single consonant after it
  • सlaghuits short vowel, with a single consonant after it
  • लlaghuits short vowel, with a single consonant after it
  • यःguruthe visarga it carries
  • केguruits long vowel ए
  • सlaghuits short vowel, with a single consonant after it
  • रguruthe conjunct श्च that follows it
  • श्चाguruits long vowel आ
  • त्रlaghuits short vowel, with a single consonant after it
  • काguruits long vowel आ
  • न्तःguruthe visarga it carries
  • yati after 4 — it falls inside the compound रक्ताशोकः
  • yati after 10 — a word ends here — रक्ताशोकश्चलकिसलयः

pāda b

  • प्रguruthe conjunct त्य that follows it
  • त्याguruits long vowel आ
  • सguruthe conjunct न्न that follows it
  • न्नौguruits long vowel औ
  • कुlaghuits short vowel, with a single consonant after it
  • रlaghuits short vowel, with a single consonant after it
  • बlaghuits short vowel, with a single consonant after it
  • कlaghuits short vowel, with a single consonant after it
  • वृlaghuits short vowel, with a single consonant after it
  • तेguruits long vowel ए
  • र्माguruits long vowel आ
  • धlaghuits short vowel, with a single consonant after it
  • वीguruits long vowel ई
  • मguruthe conjunct ण्ड that follows it
  • ण्डlaghuits short vowel, with a single consonant after it
  • पguruthe conjunct स्य that follows it
  • स्यlaghuits short vowel — light on its own, though the pāda ends here
  • yati after 4 — a word ends here — प्रत्यासन्नौ
  • yati after 10 — it falls inside the compound कुरबकवृतेः

pāda c

  • एguruits long vowel ए
  • कःguruthe visarga it carries
  • सguruthe conjunct ख्य that follows it
  • ख्याguruits long vowel आ
  • स्तlaghuits short vowel, with a single consonant after it
  • वlaghuits short vowel, with a single consonant after it
  • सlaghuits short vowel, with a single consonant after it
  • हlaghuits short vowel, with a single consonant after it
  • मlaghuits short vowel, with a single consonant after it
  • याguruits long vowel आ
  • वाguruits long vowel आ
  • मlaghuits short vowel, with a single consonant after it
  • पाguruits long vowel आ
  • दाguruits long vowel आ
  • भिlaghuits short vowel, with a single consonant after it
  • लाguruits long vowel आ
  • षीguruits long vowel ई
  • yati after 4 — it falls inside सख्याः
  • yati after 10 — a word ends here — मया

pāda d

  • काguruits long vowel आ
  • ङ्क्षguruthe conjunct त्य that follows it
  • त्यguruthe conjunct न्य that follows it
  • न्योguruits long vowel ओ
  • वlaghuits short vowel, with a single consonant after it
  • दlaghuits short vowel, with a single consonant after it
  • नlaghuits short vowel, with a single consonant after it
  • मlaghuits short vowel, with a single consonant after it
  • दिlaghuits short vowel, with a single consonant after it
  • रांguruthe anusvāra it carries
  • दोguruits long vowel ओ
  • हlaghuits short vowel, with a single consonant after it
  • दguruthe conjunct च्छ that follows it
  • च्छguruthe conjunct द्म that follows it
  • द्मlaghuits short vowel, with a single consonant after it
  • नाguruits long vowel आ
  • स्याःguruthe visarga it carries
  • yati after 4 — a word ends here — काङ्क्षत्यन्यो
  • yati after 10 — a word ends here — वदनमदिरां

Two internal vowel-fusions give the long आ by Pāṇini 6.1.101 अकः सवर्णे दीर्घः: रक्त + अशोक → रक्ताशोक, and दोहदच्छद्मना + अस्याः → दोहदच्छद्मनास्याः. Twice a word-final visarga meets च् and becomes श्: रक्ताशोकः + चल → रक्ताशोकश्चल and केसरः + च → केसरश्च, by 8.3.34 विसर्जनीयस्य सः with the palatalisation of 8.4.40 स्तोः श्चुना श्चुः. Before the दन्त्य त् the same visarga instead stays स् — सख्याः + तव → सख्यास्तव — and before a voiced consonant it turns to र् — कुरबकवृतेः + माधवी → कुरबकवृतेर्माधवी — the रुत्व of 8.2.66 ससजुषो रुः. Two glides close the verse: काङ्क्षति + अन्यः gives काङ्क्षत्यन्यः, the इ becoming य् before a vowel by 6.1.77 इको यणचि, and अन्यः + वदन gives अन्यो वदन, the final अः becoming ओ before the voiced व्.

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

  • रक्ताशोकः प्रथमा · nominative — कर्ता, the agent

    with चलकिसलयः

  • केसरः प्रथमा · nominative — कर्ता, the agent

  • कान्तः प्रथमा · nominative — कर्ता, the agent

  • प्रत्यासन्नौ प्रथमा · nominative — कर्ता, the agent

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

    with कुरबकवृतेः

  • एकः प्रथमा · nominative — the सर्वादि pronoun एक, taking pronominal endings

    with वामपादाभिलाषी

    एक, 'one', is not only a number here but a pronoun. It stands in the सर्वादि list — the words Pāṇini 1.1.27 सर्वादीनि सर्वनामानि calls सर्वनाम, 'pronouns' — so in its oblique cases it declines like सर्व and takes the pronominal endings (the dative एकस्मै, the locative एकस्मिन्, and so on), not the plain a-stem ones. In the nominative एकः the two paths give the same form, but the word is a pronoun all the same, which is why the pair एकः … अन्यः reads as 'the one … the other' and not merely 'one … another'. Mallinātha fixes which one it is by order of mention: एकस्तयोरन्यतरः, 'one of those two', and प्राथमिकत्वादशोक इत्यर्थः, 'the aśoka, because it was named first'.

    • Aṣṭādhyāyī — 1.1.27 सर्वादीनि सर्वनामानि
    • Mallinātha, Sañjīvinī — 2.18: ekas tayor anyataraḥ | prāthamikatvād aśoka ityarthaḥ

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

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

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

  • अन्यः प्रथमा · nominative — कर्ता, the agent

  • वदनमदिराम् द्वितीया · accusative — कर्म, the object

  • दोहदच्छद्मना तृतीया · instrumental — the instrumental of छद्मन् keeping its अ

    छद्मन्, 'a pretext', is an अन्-stem neuter, and its instrumental singular is छद्मना — with the अ of the मन् still there. Usually that अ drops: Pāṇini 6.4.134 अल्लोपोऽनः elides the अ of a final अन् before a vowel-initial ending, which is how नामन् gives नाम्ना and राजन् gives राज्ञा. But Pāṇini 6.4.137 न संयोगाद्वमन्तात् blocks the elision when the मन् (or वन्) is preceded by a consonant. In छद्मन् the म is preceded by द्, a consonant, so 6.4.137 stops 6.4.134, the अ stays, and the form is छद्मना, not the छद्म्ना an automatic elision would give. Mallinātha reads the whole compound as the stanza's joke — तस्य छद्मना व्याजेन, 'by the pretext of it' — the horticulture being the cover for what the speaker wants.

    • Aṣṭādhyāyī — 6.4.134 अल्लोपोऽनः; 6.4.137 न संयोगाद्वमन्तात्
    • Mallinātha, Sañjīvinī — 2.18: tasya chadmanā vyājena

  • अस्याः 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← रक्ताशोकः; चलकिसलयः; केसरः; कान्तः; कुरबकवृतेः; एकः; सख्याः; अन्यः; अस्याः

प्रकरण 5 · अर्थवदधातुरप्रत्ययः प्रातिपदिकम्

प्रकरण 6 · औङ आपः

प्रकरण 7 · अतोऽम्

प्रकरण 8 · हो ढः

प्रकरण 11 · स्वरादिनिपातमव्ययम्

प्रकरण 12 · लः कर्मणि च भावे चाकर्मकेभ्यः

प्रकरण 34 · ण्वुल्तृचौ

प्रकरण 48 · शेषे

प्रकरण 59 · इवे प्रतिकृतौ

प्रकरण 60 · स्त्रियाम्

not in the abridgement

  • अ अ 8.4.68← प्रत्यासन्नौ; काङ्क्षति

रक्ताशोकः

रक्त · अशोक

  1. रक्तश्चासावशोकश्च

    कर्मधारय — an aśoka, and a red one

कर्मधारय. the red aśoka — and Mallinātha will not let the colour pass as decoration: रक्तविशेषणं तस्य स्मरोद्दीपकत्वादुक्तम्, 'the epithet red is given because that kind kindles love'. He cites a treatise for it, the Aśokakalpa: the tree is of two sorts by its flowers, white and red, and where the white brings prosperity the red increases desire. **So the adjective is a piece of botany doing the work of an argument.** The tree in the garden is the one that belongs in a love poem, and the stanza has not yet said what it wants

uncheckedMallinātha, Sañjīvinī, who glosses रक्तविशेषणं तस्य स्मरोद्दीपकत्वादुक्तम् and cites the Aśokakalpa, the verse standing garbled in `vendor/meghaduta-sanjivini.itx` as `bahutiddhikaraH shveto rakto.atrasmarakharthanaH`“raktāśokaḥ | raktaviśeṣaṇaṃ tasya smaroddīpakatvād uktam | “prasūnakair aśokas tu śveto rakta iti dvidhā | bahuṛddhikaraḥ śveto rakto 'tra smaravardhanaḥ” ity aśokakalpe darśanāt”

चलकिसलयः

चल · किसलय

  1. चलानि किसलयानि यस्य सः

    बहुव्रीहि — whose young shoots are astir

बहुव्रीहि — it refers to रक्ताशोकः. its shoots quivering — Mallinātha glosses चञ्चलपल्लवः and then reads the trembling as a gesture: अनेन वृक्षस्य पादताडनेषु प्राञ्जलित्वं व्यज्यते, 'by this the tree's standing with folded hands for the kicking of feet is suggested'. **A tree with its leaves shaking is a tree with its hands joined**, asking. The verse says only that the leaves move; the reading that they are begging is his, and it is what turns the pair of trees into a pair of suitors

uncheckedMallinātha, Sañjīvinī, who glosses चलकिसलयश्चञ्चलपल्लवः and adds अनेन वृक्षस्य पादताडनेषु प्राञ्जलित्वं व्यज्यते; `vendor/meghaduta-sanjivini.itx` prints `prA~njalittuM` for प्राञ्जलित्वम्“calakisalayaś cañcalapallavaḥ | anena vṛkṣasya pādatāḍaneṣu prāñjalitvaṃ vyajyate”

कुरबकवृतेः

कुरबक · वृति

  1. कुरबका एव वृतिर्यस्य तस्य

    बहुव्रीहि — whose fence is kurabakas

बहुव्रीहि — it refers to माधवीमण्डपस्य. hedged about with kurabakas — Mallinātha's एव makes the plants the fence rather than its material: कुरबका एव वृतिरावरणं यस्य तस्य, with आवरण, an enclosure, glossing वृति. **The plant is spelt three ways by three witnesses**: `text.md` and the Sañjīvinī print कुरबक with ब, DCS's tagged stanza कुरवक with व, and both spellings are current for the same shrub. The feminine वृति takes masculine endings because the compound describes मण्डपस्य — the fifth stanza in nine to do this, after आख्या at 2.10, रुचि at 2.13, ज्या at 2.14 and वसति at 2.16

uncheckedMallinātha, Sañjīvinī, who unpacks कुरबका एव वृतिरावरणं यस्य तस्य; his stanza prints `kurahaka` and his comment `kuMrabakA`, both slips in `vendor/meghaduta-sanjivini.itx` for कुरबक; DCS's tagged stanza spells it कुरवक“atra krīḍāśaile kurabakā eva vṛtir āvaraṇaṃ yasya tasya”

माधवीमण्डपस्य

माधवी · मण्डप

  1. मधौ भवा माधव्यः

    तत्पुरुष (locative) — the creeper that comes in spring

  2. माधवीनां मण्डपः, तस्य

    तत्पुरुष (genitive) — a bower of them

तत्पुरुष. of the mādhavī bower — and Mallinātha derives the creeper before he places it: मधौ वसन्ते भवा माधव्यः, 'the mādhavīs are what grows in madhu, the spring'. Then he says what a मण्डप made of it is: अतिमुक्तलतागृह, 'a house of atimukta vine', citing Amara for the names — अतिमुक्तः पुण्ड्रकः स्याद्वासन्ती माधवी लता. **A bower is a room with no walls but a plant**, and this one is fenced with kurabaka and stands between the two trees

uncheckedMallinātha, Sañjīvinī, who unpacks मधौ वसन्ते भवा माधव्यस्तासां मण्डपस्तस्यातिमुक्तलतागृहस्य and cites अतिमुक्तः पुण्ड्रकः स्याद्वासन्ती माधवी लता from Amara“madhau vasante bhavā mādhavyas tāsāṃ maṇḍapas tasyātimuktalatāgṛhasya || “atimuktaḥ puṇḍrakaḥ syād vāsantī mādhavī latā” ity amaraḥ”

वामपादाभिलाषी

वाम · पाद · अभिलाषिन्

  1. वामश्चासौ पादश्च, वामपादः

    कर्मधारय — the left foot

  2. वामपादस्याभिलाषी

    तत्पुरुष (genitive) — wanting it

तत्पुरुष — it agrees with एकः. longing for her left foot — the aśoka's dohada is the kick of a woman's foot, and the tree is described as wanting one. Mallinātha does one thing here and it is structural: दोहदच्छद्मनेत्यत्रापि सम्बन्धनीयम्, 'the phrase under pretext of the dohada is to be construed here too'. **The verse writes each of its two qualifications once and means both twice**, and he does the same for मया सह at the other tree. So the two halves are not a list, they are one sentence said in two ways

uncheckedMallinātha, Sañjīvinī, who writes वामपादाभिलाषी । दोहदच्छद्मनेत्यत्रापि सम्बन्धनीयम्“vāmapādābhilāṣī | dohadacchadmanety atrāpi sambandhanīyam”

वदनमदिराम्

वदन · मदिरा

  1. वदनस्य मदिरा, ताम्

    तत्पुरुष (genitive) — the wine of her mouth

तत्पुरुष. the wine in her mouth — Mallinātha glosses गण्डूषमद्यम्, where गण्डूष is a mouthful of liquid held and then spat, so the compound is exact about the act: the bakula's dohada is being sprayed with wine from a woman's lips. **The genitive is of the container and not of the maker.** He gives the pair of usages together at the end — अशोकबकुलयोः श्रीपादताडनगण्डूषमदिरे दोहदमिति प्रसिद्धिः, 'it is well known that the dohada of the aśoka and the bakula are the kick of a lovely foot and a mouthful of wine'

uncheckedMallinātha, Sañjīvinī, who glosses वदनमदिरां गण्डूषमद्यम् and adds अशोकबकुलयोः श्रीपादताडनगण्डूषमदिरे दोहदमिति प्रसिद्धिः“asyās tava sakhyā vadanamadirāṃ gaṇḍūṣamadyaṃ kāṅkṣati … aśokabakulayoḥ śrīpādatāḍanagaṇḍūṣamadire dohadam iti prasiddhiḥ”

दोहदच्छद्मना

दोहद · छद्मन्

  1. दोहदस्य छद्म, तेन

    तत्पुरुष (genitive) — under the pretext of the dohada

तत्पुरुष. under pretence of the dohada — and both members get a lexicon. दोहद is the substance applied out of season to make a plant flower: वृक्षादीनां प्रसवकारणं संस्कारद्रव्यम्, with the Śabdārṇava quoted for the definition and for the useful note that the word names the act as well as the thing. छद्मन् is व्याज, a pretext, with Amara quoted for its synonyms. **The compound is the stanza's whole joke.** Everyone knows what a tree needs; what the trees actually want is what the speaker wants, and the horticulture is the cover story

uncheckedMallinātha, Sañjīvinī, who glosses दोहदं वृक्षादीनां प्रसवकारणं संस्कारद्रव्यम् with the Śabdārṇave verse, and तस्य छद्मना व्याजेन with कपटोऽस्त्री व्याजदम्भोपधयः छद्मकैतवे from Amara“dohadaṃ vṛkṣādīnāṃ prasavakāraṇaṃ saṃskāradravyam || “tarugulmalatādīnām akāle kuśalaiḥ kṛtam | puṣpādyutpādakaṃ dravyaṃ dohadaṃ syāt tu tatkriyā” iti śabdārṇave || tasya chadmanā vyājena”

  • a-stem masculine, प्रथमा एकवचन nominative singular

    रक्ताशोकः

    printed रक्ताशोकश्चलकिसलयः

    अशोक

    aśoka — the tree whose name means 'without sorrow', which is the joke the whole stanza runs on, since the speaker is naming it in the middle of his own. Mallinātha does not gloss the noun; what he explains is its colour. **The word is the first of the two subjects**, and the एकः of the third pāda comes back to it: प्राथमिकत्वादशोक इत्यर्थः, 'one of them, that is, the aśoka, since it was named first'. The visarga becomes श् before the च् of चल

    Mallinātha will not let the epithet रक्त, 'red', pass as decoration: रक्तविशेषणं तस्य स्मरोद्दीपकत्वादुक्तम्, 'the word red is used because that kind of aśoka kindles love', and he cites the Aśokakalpa for the botany — the aśoka is of two sorts by its flowers, white and red, and where the white brings prosperity the red increases desire. So the adjective is a piece of plant-lore doing the work of an argument: this is the tree that belongs in a love poem. He reads the trembling shoots the same way. चलकिसलयः means only 'with quivering young leaves', चञ्चलपल्लवः, but he adds अनेन वृक्षस्य पादताडनेषु प्राञ्जलित्वं व्यज्यते, 'by this the tree's standing with folded hands for the kicking of feet is suggested'. A tree with its leaves shaking is a tree with its hands joined, asking — and that reading is what turns the pair of trees into a pair of suitors.

    • Mallinātha, Sañjīvinī — 2.18: raktaviśeṣaṇaṃ tasya smaroddīpakatvād uktam; anena vṛkṣasya pādatāḍaneṣu prāñjalitvaṃ vyajyate

  • a-stem masculine, प्रथमा एकवचन nominative singular

    चलकिसलयः

    printed रक्ताशोकश्चलकिसलयः

    किसलय

    young shoot — the soft red leaf a tree puts out before the flower, and Mallinātha answers it with पल्लव, its exact synonym. **किसलय is the poem's word for the tender thing**: it was the plantain-shoot in the wishing-tree's list at 2.12 and the fodder the royal swans carried at 1.11. Here it is what the tree can move, which is the only motion it has

  • a-stem masculine, प्रथमा एकवचन nominative singular

    केसरः

    printed केसरश्चात्र

    केसर

    bakula — केसर is a filament or mane, and as a tree's name it is the bakula, whose flowers are all stamen. Mallinātha replaces the word with the commoner one at once, केसरो बकुलः, and cites Amara for the equation. **He does the same service for the second tree that he did for the first**: names it, then says what it wants. The visarga becomes श् before the च् of च

  • अव्यय

    च

    printed केसरश्चात्र

    च

    and — joining the second tree to the first, and joining this stanza's tokens to the tank's and the hill's. **The fourth of the token-stanzas and the second to string itself on a च**, after 2.16; 2.19 will do it again. The list is built with the smallest word in the language

  • अव्यय

    अत्र

    printed केसरश्चात्र

    अत्र

    here — and Mallinātha says where: अत्र क्रीडाशैले, on the pleasure-hill. **The chain has not broken since 2.15.** The tank stood by the house, the hill on the tank's bank, and these two trees on the hill; the demonstratives — तत्र, अस्मिन्, तस्याः, अत्र — are what hold it together, and each of them he fills in with the noun it points at

  • a-stem masculine, प्रथमा एकवचन nominative singular

    कान्तः

    कान्त

    lovely — the past participle of √कम्, to desire, so what the word says is 'wanted'. Mallinātha glosses कमनीयः, which puts the wanting back in the future: 'to be desired'. **The feminine of this word was the wife at 2.15**, कान्तया, and here the masculine is a tree. The stanza is arranging for the two to be in the same sentence

  • √सद् + क्त, प्रथमा द्विवचन nominative dual

    प्रत्यासन्नौ

    प्रत्यासन्न, from √सद् with प्रति and आ and क्त

    the two standing close by — a past participle of √सद्, to sit, with two preverbs, and Mallinātha answers it with संनिकृष्टौ, **the word the verse itself used at 2.16** of Lake Mānasa. There nearness was a reason to leave and here it is a reason to stay. The dual is the first in the stanza and the thing that makes the sentence work: two trees, one bower between them, and a verb Mallinātha has to supply — स्त इति शेषः, 'they two are, is to be understood'

  • i-stem masculine, षष्ठी एकवचन genitive singular

    कुरबकवृतेः

    printed कुरबकवृतेर्माधवीमण्डपस्य

    वृति, taking masculine endings at the end of a bahuvrīhi

    fence — वृति is from √वृ, to enclose, and Mallinātha answers it with आवरण, a covering. **The kurabaka is a flowering shrub and the fence is made of it living**, so the enclosure is itself part of the garden. The genitive is governed by प्रत्यासन्नौ: the trees stand near the bower. The visarga becomes र् before the म् of माधवी. The feminine वृति is declined as a masculine because the compound describes मण्डपस्य

  • a-stem masculine, षष्ठी एकवचन genitive singular

    माधवीमण्डपस्य

    printed कुरबकवृतेर्माधवीमण्डपस्य

    मण्डप

    bower — a मण्डप is any open pavilion, and one made of creeper is a लतागृह, a house of vine, which is Mallinātha's word for it. **It is the fourth token and the one the stanza does not go on about**: the trees get five citations between them and the bower gets a derivation and a synonym. What it is for is not said here, and 2.19 will say it

  • sarvanāman masculine, प्रथमा एकवचन nominative singular

    एकः

    एक

    one of them — Mallinātha spells out both what it means and how to tell which: एकस्तयोरन्यतरः, 'one of those two', and प्राथमिकत्वादशोक इत्यर्थः, 'the aśoka, because it was named first'. **The stanza names its two trees in the first line and then refuses to name them again**, so that एकः and अन्यः carry the second half. The order of mention is the only key, and he supplies it. एक is one of the सर्वादि words of Pāṇini 1.1.27 सर्वादीनि सर्वनामानि, so its oblique cases take the pronominal endings

    The stanza names its two trees in the first line — रक्ताशोकः the red aśoka and केसरः the bakula — and then refuses to name them again, so that एकः, 'one of them', and अन्यः, 'the other', have to carry the whole second half. The pair एकः … अन्यः is how Sanskrit says 'the one … the other', but it works only because the first line set the two in an order, and Mallinātha supplies the key: एकस्तयोरन्यतरः, 'one of those two', then प्राथमिकत्वादशोक इत्यर्थः, 'the aśoka, since it was named first'; अन्यः is अन्यः केसरः, the bakula. So एकः longs for the foot and अन्यः for the wine, and only the order of mention tells you which tree does which.

    • Mallinātha, Sañjīvinī — 2.18: ekas tayor anyataraḥ | prāthamikatvād aśoka ityarthaḥ … anyaḥ kesaraḥ

  • ī-stem feminine, षष्ठी एकवचन genitive singular

    सख्याः

    printed सख्यास्तव

    सखी

    of your friend — and Mallinātha translates the courtesy into a fact: स्वप्रियायाः, 'of my own beloved'. **The stanza before this addressed the cloud as सखे**, the masculine vocative of सखि; here the feminine सखी is the wife, and the yakṣa makes her the cloud's friend before asking the cloud to do anything for her. The two forms stand one stanza apart and are the same word in its two genders. The visarga becomes स् before the त् of तव

  • pronoun, षष्ठी एकवचन genitive singular

    तव

    printed सख्यास्तव

    त्वद्

    your — the full genitive rather than the enclitic ते, which can stand where it likes. **It is a small piece of diplomacy.** The cloud has been asked to carry a message to a woman it has never met, and this word makes her its friend before the errand is named

  • अव्यय

    सह

    सह

    along with — governing the instrumental मया, and Mallinātha does something with the pair that changes the stanza: मया सहेत्यत्रापि सम्बन्धनीयम्, 'along with me is to be construed here too', said at the *other* tree. **So both trees want what they want along with him.** Written once and meant twice, exactly as दोहदच्छद्मना is

  • pronoun, तृतीया एकवचन instrumental singular

    मया

    मद्

    with me — the speaker puts himself in the sentence beside the trees, and the joke is that he means it. A tree that wants a woman's foot is a piece of garden lore; a man who wants the same thing along with it is the subject of the poem. **This is the second first-person word of the canto**, after the स्मरामि of 2.17

    The speaker slips himself into the sentence beside the trees, and the joke is that he means it. मया सह, 'along with me', stands in the third pāda at the aśoka, and Mallinātha carries it forward to the bakula as well — मया सहेत्यत्रापि सम्बन्धनीयम् — so both trees want what they want along with him. A tree that longs for a woman's foot is a piece of garden lore; a man who longs for the same thing along with it is the subject of the poem. This is the second first-person word of the canto, after the स्मरामि, 'I remember', of 2.17: the description of the garden has begun to fold the yakṣa's own wanting into it.

    • Mallinātha, Sañjīvinī — 2.18: mayā saha tava sakhyāḥ … mayā sahety atrāpi sambandhanīyam

  • in-stem masculine, प्रथमा एकवचन nominative singular

    वामपादाभिलाषी

    अभिलाषिन्

    wanting — the इन्-stem adjective, 'having a longing for', from अभि with √लष्. **The left foot is the one that kicks in this lore and no other**, which is why the compound specifies it. Mallinātha does not gloss the word; what he supplies is the construction, telling the reader to carry दोहदच्छद्मना across to it from the fourth pāda

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

    काङ्क्षति

    printed काङ्क्षत्यन्यो

    √काङ्क्ष् of the first class

    wants — the stanza's only finite verb, and it belongs to the second tree alone; the first has only the adjective अभिलाषी, which says the same thing without a verb. Mallinātha carries काङ्क्षति over unglossed and spends his words on its object. **The two halves are deliberately unequal in grammar and equal in sense**, which is why he has to say twice that a phrase from one belongs to the other. The इ becomes य् before the अ of अन्यः

  • ḍatarādi masculine, प्रथमा एकवचन nominative singular

    अन्यः

    printed काङ्क्षत्यन्यो

    अन्य

    the other — and Mallinātha names it in two words, अन्यः केसरः, the bakula. It answers एकः across the pāda break. **The pair एकः … अन्यः is how Sanskrit says 'the one … the other'**, and it works here only because the first line named the two trees in an order. The visarga becomes ओ before the व् of वदन

  • ā-stem feminine, द्वितीया एकवचन accusative singular

    वदनमदिराम्

    printed वदनमदिरां

    मदिरा

    wine — मदिरा is from मद, intoxication, and it is the ordinary word for a strong drink. Mallinātha glosses मद्य and puts गण्डूष in front of it, the mouthful held and spat, so that the object is not the wine but the spraying of it. **Wine is the second thing the canto has made an instrument of a woman's mouth**: at 2.12 it taught her eyes their play, and here it is what she gives a tree

  • an-stem neuter, तृतीया एकवचन instrumental singular

    दोहदच्छद्मना

    printed दोहदच्छद्मनास्याः

    छद्मन्

    pretext — छद्मन् is from √छद्, to cover, the same root as the छन्ना of 2.16, so a pretext is literally a covering. Mallinātha glosses व्याज and cites Amara for the row of synonyms. **The form is where the generator goes wrong.** An अन्-stem usually drops its अ before a vowel ending, by Pāṇini 6.4.134 अल्लोपोऽनः, which gives नामन् its नाम्ना; but 6.4.137 न संयोगाद्वमन्तात् stops the elision when the मन् is preceded by a consonant, and छद्मन् is, so the instrumental keeps its अ and is छद्मना

    A दोहद is horticulture: the substance or the act applied to a tree out of season to make it flower, and Mallinātha quotes the Śabdārṇava for the definition and adds the lore — the aśoka's dohada is the kick of a lovely woman's foot, the bakula's a mouthful of wine sprayed from her lips. छद्मन्, glossed व्याज, 'a pretext', says that the horticulture is a cover story: everyone knows what a tree needs, and what these trees 'need' happens to be exactly what the speaker wants. The whole verse is built to be carried across itself, and Mallinātha marks the join twice — दोहदच्छद्मनेत्यत्रापि सम्बन्धनीयम्, 'the phrase under pretext of the dohada is to be construed at the first tree too', matching what he does with मया सह at the other. Each qualification is written once and meant twice, so the two halves are one sentence said in two ways. He names no figure of speech; the device is simply this sharing of a phrase across the pair.

    • Mallinātha, Sañjīvinī — 2.18: dohadaṃ … saṃskāradravyam; tasya chadmanā vyājena; dohadacchadmanety atrāpi sambandhanīyam

  • pronoun, षष्ठी एकवचन genitive singular

    अस्याः

    printed दोहदच्छद्मनास्याः

    इदम्

    her — the last word of the stanza, and Mallinātha writes the whole phrase back in for it: अस्यास्तव सख्याः, 'of her, that is, of your friend'. **The wife is named once in the stanza and pointed at twice**, and the sentence ends on the pronoun rather than on either tree. The pointing is what the four token-stanzas have been doing since 2.15: everything in the garden is described by whose it is

अत्र · कुरबकवृतेः · माधवीमण्डपस्य · प्रत्यासन्नौ · चलकिसलयः · रक्ताशोकः · कान्तः · केसरः · च · स्तः [supplied] · एकः · मया · सह · तव · सख्याः · वामपादाभिलाषी · अन्यः · दोहदच्छद्मना · अस्याः · वदनमदिराम् · काङ्क्षति

uncheckedMallinātha, Sañjīvinī, whose commentary runs as anvaya. He takes the second pāda first, so that the bower the trees stand near is named before they are, and puts चलकिसलयः in front of रक्ताशोकः, treating the epithet as what identifies the tree before the tree is called anything. **He supplies स्तः, the dual of √अस्** — स्त इति शेषः — which is the fourth stanza running that the sentence has needed a verb from him, and the first time the verb he supplies is a dual. He also carries two phrases across the pāda break in both directions: दोहदच्छद्मना back to the first tree and मया सह forward to the second“atra krīḍāśaile kurabakā eva vṛtir āvaraṇaṃ yasya tasya | … mādhavyas tāsāṃ maṇḍapas tasya … pratyāsannau sannikṛṣṭau calakisalayaś cañcalapallavaḥ … raktāśokaḥ … kāntaḥ kamanīyaḥ kesaro bakulaḥ … sta iti śeṣaḥ || ekas tayor anyataraḥ … mayā saha tava sakhyāḥ … vāmapādābhilāṣī … anyaḥ kesaraḥ … asyās tava sakhyā vadanamadirāṃ gaṇḍūṣamadyaṃ kāṅkṣati || mayā sahety atrāpi sambandhanīyam”

the dependency structure

काङ्क्षति · क्रिया — wants, longs for; the one finite verb of the stanza. It belongs to the second tree alone, and the first tree's longing is carried by the adjective वामपादाभिलाषी with no verb of its own

अन्यः · उद्देश्य — the other, अन्यः केसरः, the bakula; the subject of काङ्क्षति, answering एकः across the pāda break

वदनमदिराम् · कर्म — the wine of her mouth, गण्डूषमद्यम्, the mouthful of drink held and sprayed; the object of काङ्क्षति

अस्याः · षष्ठी — of her, अस्याः तव सख्याः, of your friend; the genitive of the container, whose mouth the wine is

दोहदच्छद्मना · करण — under pretext of the dohada, तस्य छद्मना व्याजेन; the instrumental of the cover story, which Mallinātha carries back to the first tree as well

एकः · उद्देश्य — one of them, एकस्तयोरन्यतरः, the aśoka since it was named first; the subject of the parallel clause, whose longing the adjective अभिलाषी carries

वामपादाभिलाषी · agreeing with एकः — longing for the left foot, वामपादस्य अभिलाषी; the इन्-stem adjective that does the first tree's wanting in place of a verb

सख्याः · षष्ठी — of your friend, तव सख्याः स्वप्रियायाः, of my own beloved; the genitive whose foot is longed for

तव · agreeing with सख्याः — your; the full genitive of त्वद्, making the wife the cloud's friend before the errand is named

मया · तृतीया — with me, governed by सह; the speaker puts himself in the sentence beside the tree

सह · अव्यय — along with, governing the instrumental मया; Mallinātha construes it at the second tree too, so both trees want what they want along with him

स्तः · क्रिया — the two stand, स्त इति शेषः; the dual of √अस् Mallinātha supplies for the two trees, carrying the standing clause under the wanting

प्रत्यासन्नौ · agreeing with रक्ताशोकः and केसरः — the two standing close by, संनिकृष्टौ; the dual predicate that puts the trees beside the bower

अत्र · अधिकरण — here, अत्र क्रीडाशैले, on the pleasure-hill; the demonstrative that keeps the chain of the garden unbroken

माधवीमण्डपस्य · षष्ठी — of the mādhavī bower, अतिमुक्तलतागृहस्य; the bower the trees stand near, governed by प्रत्यासन्नौ

कुरबकवृतेः · agreeing with माधवीमण्डपस्य — whose fence is kurabaka, कुरबका एव वृतिः आवरणम्; a living hedge of the flowering shrub

रक्ताशोकः · उद्देश्य — a red aśoka; the first of the two trees, the kind of aśoka that kindles love

चलकिसलयः · agreeing with रक्ताशोकः — its young shoots astir, चञ्चलपल्लवः; the bahuvrīhi Mallinātha reads as folded hands

केसरः · उद्देश्य — a bakula, केसरो बकुलः; the second of the two trees

कान्तः · agreeing with केसरः — lovely, कमनीयः; the participle of √कम्, whose feminine was the wife at 2.15

च · समुच्चय — and; joining the second tree to the first, the smallest word carrying the pair

uncheckedMallinātha’s Sañjīvinī for the anvaya and the reading, which takes the second pāda first so the bower is named before the trees, supplies the dual स्तः for the two trees, roots the sentence at काङ्क्षति with अन्यः its subject, and carries दोहदच्छद्मना back to the first tree and मया सह forward to the second so each qualification is meant of both; the Telugu drawn from Vedam Venkataraya Sastri’s Āndhra Meghasandeśam.

Here too, close by a mādhavī bower fenced with kurabaka, stand a red aśoka with its young shoots astir and a lovely bakula: one of them, along with me, longing for your friend's left foot; the other, along with me, wanting the wine of her mouth, and both under pretext of a dohada. **The stanza is built to be carried across itself, and Mallinātha says so twice.** दोहदच्छद्मना stands in the fourth pāda and he sends it back to the first tree — दोहदच्छद्मनेत्यत्रापि सम्बन्धनीयम्; मया सह stands in the third and he sends it forward to the second — मया सहेत्यत्रापि सम्बन्धनीयम्. Each qualification is written once and meant twice, so the two halves are one sentence said in two ways, and the man is in both of them. **A dohada is horticulture.** It is the substance or the act applied out of season to make a plant flower, and he quotes the Śabdārṇava for the definition and adds that the aśoka's is the kick of a lovely foot and the bakula's a mouthful of wine sprayed from a woman's lips. So the trees have a professional reason to want what they want, and छद्मन् — व्याज, a pretext, with Amara quoted for its synonyms — says that the reason is a cover. He reads the whole thing that way from the first line: the red aśoka is red because रक्तविशेषणं तस्य स्मरोद्दीपकत्वादुक्तम्, the epithet is given because that kind of aśoka kindles desire, with the Aśokakalpa cited for the two sorts; and the quivering shoots are not weather but a gesture — अनेन वृक्षस्य पादताडनेषु प्राञ्जलित्वं व्यज्यते, 'by this the tree's standing with folded hands for the kicking is suggested'. **He is the most citing here he has been in the canto**: Amara three times, the Aśokakalpa, the Śabdārṇava, and the long anonymous verse on which tree flowers at which act of a woman. And he names no figure.

uncheckedthe reader's reading, following Mallinātha's gloss; the two instructions to carry a phrase across, the reading of चलकिसलयः as folded hands, the reason for रक्त with the Aśokakalpa, the definition of दोहद with the Śabdārṇava, the equation केसर = बकुल and the synonyms of छद्मन् from Amara, and the identification of एकः as the aśoka by order of mention are all his“dohadacchadmanety atrāpi sambandhanīyam … mayā sahety atrāpi sambandhanīyam … anena vṛkṣasya pādatāḍaneṣu prāñjalitvaṃ vyajyate … aśokabakulayoḥ śrīpādatāḍanagaṇḍūṣamadire dohadam iti prasiddhiḥ”

Here too, close by a mādhavī bower fenced with kurabaka, stand a red aśoka with its young shoots astir and a lovely bakula. One of them — the aśoka — longs, along with me, for your friend's left foot; the other — the bakula — wants, along with me, the wine of her mouth; and each does so under pretext of a dohada. The stanza fixes which tree does which only by the order they were named in, and Mallinātha construes both the phrase 'along with me' and the phrase 'under pretext of the dohada' at both trees, so the two halves are one sentence said twice. He is more given to citation here than anywhere in the canto — Amara three times, the Aśokakalpa, the Śabdārṇava, and a long anonymous verse on which flower answers to which act of a woman — and he names no figure of speech.

  • Mallinātha, Sañjīvinī — 2.18, whole-verse gloss; aśokabakulayoḥ śrīpādatāḍanagaṇḍūṣamadire dohadam iti prasiddhiḥ
  • వేదం వేంకటరాయశాస్త్రి, ఆంధ్ర మేఘసందేశము — 2.18 తాత్పర్యము; vendor/vedam-meghasandesam-telugu-ocr.txt

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