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मेघदूतम् · कालिदास · 2.28

विरहशयन · the night, which has no occupation in it

सव्यापारामहनि न तथा पीडयेन्मद्वियोगः

स
व्या
पा
रा
म
ह
नि
न
त
था
पी
ड
ये
न्म
द्वि
यो
गः

शङ्के रात्रौ गुरुतरशुचं निर्विनोदां सखीं ते

श
ङ्के
रा
त्रौ
गु
रु
त
र
शु
चं
नि
र्वि
नो
दां
स
खीं
ते

मत्संदेशैः सुखयितुमलं पश्य साध्वीं निशीथे

म
त्सं
दे
शैः
सु
ख
यि
तु
म
लं
प
श्य
सा
ध्वीं
नि
शी
थे

तामुन्निद्रामवनिशयनां सौधवातायनस्थः

ता
मु
न्नि
द्रा
म
व
नि
श
य
नां
सौ
ध
वा
ता
य
न
स्थः

alternate reading पीडयेद्विप्रयोगः — for the end of pāda a, from syllable 11. Shown, not analysed.

pāda a

  • सguruthe conjunct व्य that follows it
  • व्याguruits long vowel आ
  • पाguruits long vowel आ
  • राguruits long vowel आ
  • मlaghuits short vowel, with a single consonant after it
  • हlaghuits short vowel, with a single consonant after it
  • निlaghuits short vowel, with a single consonant after it
  • नlaghuits short vowel, with a single consonant after it
  • तlaghuits short vowel, with a single consonant after it
  • थाguruits long vowel आ
  • पीguruits long vowel ई
  • डlaghuits short vowel, with a single consonant after it
  • येguruits long vowel ए
  • न्मguruthe conjunct द्व that follows it
  • द्विlaghuits short vowel, with a single consonant after it
  • योguruits long vowel ओ
  • गःguruthe visarga it carries
  • yati after 4 — it falls inside the compound सव्यापाराम्
  • yati after 10 — a word ends here — तथा

pāda b

  • शguruthe conjunct ङ्क that follows it
  • ङ्केguruits long vowel ए
  • राguruits long vowel आ
  • त्रौguruits long vowel औ
  • गुlaghuits short vowel, with a single consonant after it
  • रुlaghuits short vowel, with a single consonant after it
  • तlaghuits short vowel, with a single consonant after it
  • रlaghuits short vowel, with a single consonant after it
  • शुlaghuits short vowel, with a single consonant after it
  • चंguruthe anusvāra it carries
  • निguruthe conjunct र्व that follows it
  • र्विlaghuits short vowel, with a single consonant after it
  • नोguruits long vowel ओ
  • दांguruthe anusvāra it carries
  • सlaghuits short vowel, with a single consonant after it
  • खींguruthe anusvāra it carries
  • तेguruits long vowel ए
  • yati after 4 — a word ends here — रात्रौ
  • yati after 10 — a word ends here — गुरुतरशुचं

pāda c

  • मguruthe conjunct त्स that follows it
  • त्संguruthe anusvāra it carries
  • देguruits long vowel ए
  • शैःguruthe visarga it carries
  • सुlaghuits short vowel, with a single consonant after it
  • खlaghuits short vowel, with a single consonant after it
  • यिlaghuits short vowel, with a single consonant after it
  • तुlaghuits short vowel, with a single consonant after it
  • मlaghuits short vowel, with a single consonant after it
  • लंguruthe anusvāra it carries
  • पguruthe conjunct श्य that follows it
  • श्यlaghuits short vowel, with a single consonant after it
  • साguruits long vowel आ
  • ध्वींguruthe anusvāra it carries
  • निlaghuits short vowel, with a single consonant after it
  • शीguruits long vowel ई
  • थेguruits long vowel ए
  • yati after 4 — a word ends here — मत्संदेशैः
  • yati after 10 — a word ends here — सुखयितुमलं

pāda d

  • ताguruits long vowel आ
  • मुguruthe conjunct न्न that follows it
  • न्निguruthe conjunct द्र that follows it
  • द्राguruits long vowel आ
  • मlaghuits 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
  • शlaghuits short vowel, with a single consonant after it
  • यlaghuits short vowel, with a single consonant after it
  • नांguruthe anusvāra it carries
  • सौguruits long vowel औ
  • धlaghuits short vowel, with a single consonant after it
  • वाguruits long vowel आ
  • ताguruits long vowel आ
  • यlaghuits short vowel, with a single consonant after it
  • नguruthe conjunct स्थ that follows it
  • स्थःguruthe visarga it carries
  • yati after 4 — it falls inside the compound उन्निद्राम्
  • yati after 10 — a word ends here — तामुन्निद्रामवनिशयनां

  • सव्यापाराम् + अहनि → सव्यापारामहनि

    म् + अ

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

  • पीडयेत् + मद्वियोगः → पीडयेन्मद्वियोगः

    त् + म्

  • गुरुतरशुचम् + निर्विनोदाम् → गुरुतरशुचं

    म् + न्

  • निर्विनोदाम् + सखीम् → निर्विनोदां

    म् + स्

  • सखीम् + ते → सखीं

    म् + त्

  • सुखयितुम् + अलम् → सुखयितुमलं

    म् + अ

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

  • साध्वीम् + निशीथे → साध्वीं

    म् + न्

  • ताम् + उन्निद्राम् → तामुन्निद्रामवनिशयनां

    म् + उ

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

  • उन्निद्राम् + अवनिशयनाम् → तामुन्निद्रामवनिशयनां

    म् + अ

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

  • स + व्यापार → सव्यापाराम्

    अ + व्

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

  • मद् + वियोग → मद्वियोगः

    द् + व्

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

  • गुरुतर + शुच् → गुरुतरशुचम्

    अ + श्

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

  • निस् + विनोद → निर्विनोदाम्

    स् + व्

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

  • मद् + संदेश → मत्संदेशैः

    द् + स्

  • अवनि + शयन → अवनिशयनाम्

    इ + श्

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

  • सौध + वातायन → सौधवातायनस्थः

    अ + व्

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

  • वातायन + स्थ → सौधवातायनस्थः

    अ + स्

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

  • उद् + निद्रा → उन्निद्राम्

    द् + न्

The optative पीडयेत् meets the nasal of मद्वियोगः and its final त् becomes the class nasal न् by Pāṇini 8.4.45 यरोऽनुनासिके — पीडयेन्मद्वियोगः. A word-final म् becomes anusvāra before a following consonant by 8.3.23 मोऽनुस्वारः, six times in the stanza — गुरुतरशुचं निर्विनोदां, निर्विनोदां सखीं, सखीं ते, सुखयितुमलं ... अलं पश्य, साध्वीं निशीथे, अवनिशयनां सौध — but is simply kept where the next word begins with a vowel, since the rule works only before a consonant: सव्यापारामहनि, सुखयितुमलं, तामुन्निद्राम्, उन्निद्रामवनिशयनां. And the visarga of मत्संदेशैः stands before the voiceless स् of सुखयितुम्, where 8.3.34 विसर्जनीयस्य सः would allow the sibilant itself.

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

  • अहनि सप्तमी · locative — अन्-stem locative with two forms, and रात्रौ beside it the same

    अहनि, 'by day', is the locative singular of अहन्, an अन्-stem neuter. Pāṇini 6.4.134 अल्लोपोऽनः drops the अ of अन् before a weak ending, which would give अह्नि; but 6.4.136 विभाषा ङिश्योः makes that dropping optional before the locative ending, so अहनि stands beside अह्नि. Both are correct, and the poem prints both — अहनि here and अह्नि two stanzas on at 2.30, in the same case of the same word. The word beside it in the next pāda has the same double life: रात्रौ, 'at night', is the locative of रात्रि, a short-i feminine that Pāṇini 1.4.6 ङिति ह्रस्वश्च makes optionally a नदी-stem before a ङित् ending, so रात्रौ and रात्र्याम् both stand.

    • Aṣṭādhyāyī — 6.4.134 अल्लोपोऽनः; 6.4.136 विभाषा ङिश्योः; 1.4.6 ङिति ह्रस्वश्च
    • Mallinātha, Sañjīvinī — 2.28: ahani divase … rātrau nirvinodām

  • मद्वियोगः प्रथमा · nominative — कर्ता, the agent

  • रात्रौ सप्तमी · locative — अधिकरण, the location

  • सखीम् द्वितीया · accusative — कर्म, the object

    with सव्यापाराम्, गुरुतरशुचम्, निर्विनोदाम्

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

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

  • साध्वीम् द्वितीया · accusative — the feminine साध्वी, made by the rule that made तन्वी at 2.22

    साध्वीम्, 'a true wife', is the accusative of साध्वी, the feminine of the quality-word साधु. The long -ई is ङीष्, put optionally after a उ-final quality-word by Pāṇini 4.1.44 वोतो गुणवचनात् — the same sūtra that made तन्वी at 2.22. It is the second word the canto builds by that rule, and the blocked entry at 2.22 records that skt-mcp's English for it says 'short अ' where the sūtra names a उ-final stem, so only the Devanagari can be trusted for it. Mallinātha glosses पतिव्रताम् and cites Amara, “साध्वी पतिव्रता”, and ends the comment on the word by closing an argument: अतो नान्यथा शङ्कितव्यमिति भावः — the bare ground, the sleeplessness and the soiled dress are a vow, and there is no call to suspect anything else.

    • Aṣṭādhyāyī — 4.1.44 वोतो गुणवचनात्
    • Mallinātha, Sañjīvinī — 2.28: sādhvīṃ pativratām | “sādhvī pativratā” ity amaraḥ … ato nānyathā śaṅkitavyam iti bhāvaḥ

  • निशीथे सप्तमी · locative — अधिकरण, the location

  • ताम् द्वितीया · accusative — कर्म, the object

    with उन्निद्राम्, अवनिशयनाम्

प्रकरण 1 · हलन्त्यम्

प्रकरण 2 · इको यणचि

प्रकरण 3 · स्तोः श्चुना श्चुः

प्रकरण 4 · वा शरि

प्रकरण 5 · अर्थवदधातुरप्रत्ययः प्रातिपदिकम्

प्रकरण 6 · औङ आपः

प्रकरण 7 · अतोऽम्

प्रकरण 8 · हो ढः

प्रकरण 12 · लः कर्मणि च भावे चाकर्मकेभ्यः

प्रकरण 21 · सत्यापपाशरूपवीणातूलश्लोकसेनालोमत्वचवर्मवर्णचूर्णचुरादिभ्यो णिच्

प्रकरण 60 · स्त्रियाम्

not in the abridgement

सव्यापाराम्

स · व्यापार

  1. व्यापारेण सह वर्तमाना, ताम्

    बहुव्रीहि — having something to do

बहुव्रीहि — it refers to सखीम्. with something to occupy her — and Mallinātha fills the word in from the three stanzas just past: पूर्वोक्तबलिचित्रलेखनादिव्यापारवतीम्, having the occupations spoken of before, the offering, the drawing of the picture and the rest. **So a single compound is made to hold the whole kulaka.** The स- is सह reduced to one letter, and what it accompanies is everything 2.25 to 2.27 imagined her doing

uncheckedMallinātha, Sañjīvinī, who glosses सव्यापारां पूर्वोक्तबलिचित्रलेखनादिव्यापारवतीम्, listing the occupations of 2.25 to 2.27“ahani divase savyāpārāṃ pūrvoktabalicitralekhanādivyāpāravatīm”

मद्वियोगः

मद् · वियोग

  1. मम वियोगः

    तत्पुरुष (genitive) — separation from me

तत्पुरुष. being parted from me — **and this is the word the two witnesses read differently.** `text.md` prints मद्वियोगः and brackets विप्रयोगः beneath it; Mallinātha reads the printed one and glosses it मद्विरहः; DCS reads the bracketed one, `pIqayed viprayogaH`. **That is the exact mirror of 2.27**, where the printed word was DCS's and the bracketed one was his. Two stanzas running, the same field filled, and the two witnesses swapping sides. Neither reading changes anything: वियोग and विप्रयोग are the same word twice built, and both scan

uncheckedMallinātha, Sañjīvinī, who reads मद्वियोग मद्विरहः, the reading `text.md` prints; DCS reads the bracketed विप्रयोगः; `verse('2.28').variants` carries पीडयेद्विप्रयोगः“madviyogo madvirahas tathā tena prakāreṇa”

गुरुतरशुचम्

गुरुतर · शुच्

  1. गुरुतरा शुग् यस्याः, ताम्

    बहुव्रीहि — whose grief is the heavier

बहुव्रीहि — it refers to सखीम्. her grief the heavier — गुरुतर is a comparative, and what it compares is the night against the day, which is the whole argument of the first two pādas. Mallinātha answers it अतिदुर्भरदुःखाम्, of a sorrow too heavy to carry. **शुच् is a bare root used as a noun**, one of the few consonant stems in the canto, and skt-data has no class for a stem in च् at all

uncheckedMallinātha, Sañjīvinī, who unpacks गुरुतरा शुग् यस्यास्ताम् and glosses अतिदुर्भरदुःखाम्“gurutarā śug yasyās tāṃ gurutaraśucam atidurbharaduḥkhām”

निर्विनोदाम्

निस् · विनोद

  1. निर्गतो विनोदो यस्याः, ताम्

    बहुव्रीहि — from whom diversion has gone

बहुव्रीहि — it refers to सखीम्. with nothing to divert her — **and the word is 2.27's last word with a negative in front of it.** That stanza ended प्रायेणैते रमणविरहेष्वङ्गनानां विनोदाः, these are the diversions of women whose lovers are away; this one says that at night she has none. Mallinātha glosses निर्व्यापाराम्, without occupation, which pairs it against सव्यापाराम् in the first pāda. **So the stanza is built on one contrast stated twice**, once with व्यापार and once with विनोद, and the second of the two words is carried in from the stanza before

uncheckedMallinātha, Sañjīvinī, who glosses निर्विनोदां निर्व्यापाराम्; that विनोद is the last word of 2.27 is the reader's“rātrau nirvinodāṃ nirvyāpārāṃ te sakhīm”

मत्संदेशैः

मद् · संदेश

  1. मम संदेशाः, तैः

    तत्पुरुष (genitive) — with messages from me

तत्पुरुष. with word from me — Mallinātha glosses मद्वार्ताभिः, with news of me, which is narrower and truer: what will comfort her is not the message's content but that there is one. **The plural is the poem's own errand named at last in the plural**, and he closes the comment by saying who carries it — दूतश्चायं मेघ इति भावः, and this cloud is the messenger

uncheckedMallinātha, Sañjīvinī, who glosses मत्सन्देशैर्मद्वार्ताभिः and closes दूतश्चायं मेघ इति भावः“matsandeśair madvārtābhir alaṃ paryāptaṃ sukhayitum”

अवनिशयनाम्

अवनि · शयन

  1. अवनिरेव शयनम्

    कर्मधारय — the bare earth for a bed

  2. अवनिशयनं यस्याः, ताम्

    बहुव्रीहि — whose bed is the bare earth

बहुव्रीहि — it refers to ताम्. lying on the bare ground — the inner compound is अवनिरेव शयनम्, the earth *itself* as her bed, which Mallinātha spells out with एव. **And then he says why, and the reason turns misery into observance**: नियमार्थं स्थण्डिलशायिनीम्, sleeping on bare ground for the sake of a vow. Same move as the soiled dress at 2.26 — what looks like a woman let go is a woman keeping a rule — and he seals it two words later with साध्वीं पतिव्रताम् and अतो नान्यथा शङ्कितव्यमिति भावः, so there is no call to suspect anything else

uncheckedMallinātha, Sañjīvinī, who unpacks अवनिरेव शयनं शय्या यस्यास्ताम् and adds नियमार्थं स्थण्डिलशायिनीम्“avanir eva śayanaṃ śayyā yasyās tām | niyamārthaṃ sthaṇḍilaśāyinīm”

सौधवातायनस्थः

सौध · वातायन · स्थ

  1. सौधस्य वातायनम्

    तत्पुरुष (genitive) — the window of the mansion

  2. सौधवातायने तिष्ठतीति

    upapada-tatpurusha — standing at it

upapada-tatpurusha — it refers to त्वम्. standing at the window of the house — the last member is √स्था cut down to one syllable by the affix क, as पञ्जरस्थाम् was at 2.25. **It is the whole staging of the scene**: the cloud is not to enter, and not to speak from the sky, but to stand in the window opening. Mallinātha adds only सन्, making it a participle clause — being at the window, look

uncheckedMallinātha, Sañjīvinī for the construction — सौधवातायनस्थः सन्पश्य; Pāṇini 3.2.3 आतोऽनुपसर्गे कः by way of skt-mcp for the affix, which he does not name, as at 2.25“saudhavātāyanasthaḥ san paśya”

उन्निद्राम्

उद् · निद्रा

  1. उद्गता निद्रा यस्याः, ताम्

    बहुव्रीहि — from whom sleep has gone

बहुव्रीहि — it refers to ताम्. sleepless — Mallinātha glosses उत्सृष्टनिद्राम्, having given sleep up, which makes it something she has done rather than something done to her, and so of a piece with the vow in the next compound. **And it is what the state he names is named for**: he closes the comment अनेन जागरावस्थोक्ता, by this the condition called *waking* is stated

uncheckedMallinātha, Sañjīvinī, who glosses उन्निद्रामुत्सृष्टनिद्राम् and closes अनेन जागरावस्थोक्ता“unnidrām utsṛṣṭanidrām … anena jāgarāvasthoktā”

  • ā-stem feminine, द्वितीया एकवचन accusative singular

    सव्यापाराम्

    printed सव्यापारामहनि

    व्यापार, taking ā-stem feminine endings at the end of a bahuvrīhi

    busy — and the busyness is the three stanzas just finished, which Mallinātha lists inside the gloss. **The word is the hinge of the whole stanza**: by day she has these things to do, and the pāda's argument is that having them is what makes the day bearable. The masculine व्यापार is declined as a feminine because the compound describes सखीम्

    The stanza is one contrast said twice. सव्यापाराम्, 'busy', in the first pāda against निर्विनोदाम्, 'with nothing to divert her', in the second — and Mallinātha gathers the whole kulaka into that first word: पूर्वोक्तबलिचित्रलेखनादिव्यापारवतीम्, having the occupations spoken of before, the offering, the drawing, the rest. The three stanzas of guessing become the day's work, and the argument is that having them is what gets her through it. निर्विनोदाम् is 2.27's own last word with a negative on it — that stanza ended on विनोदाः, the diversions of women whose lovers are away — and he ties the two by glossing निर्विनोदाम् as निर्व्यापाराम्, using the first pāda's word for the second's. Day has occupation, night has none, and that is the whole of what he is saying.

    • Mallinātha, Sañjīvinī — 2.28: savyāpārāṃ pūrvoktabalicitralekhanādivyāpāravatīm | nirvinodāṃ nirvyāpārām

  • an-stem neuter, सप्तमी एकवचन locative singular

    अहनि

    printed सव्यापारामहनि

    अहन्

    by day — Mallinātha glosses दिवसे. **The form is the one of two that the generator does not offer.** Pāṇini 6.4.134 अल्लोपोऽनः drops the अ of अन् before a weak ending, which gives अह्नि, and 6.4.136 विभाषा ङिश्योः makes the dropping *optional* before the locative ending, which leaves अहनि standing beside it. skt-data takes the one branch and gives अह्नि alone. **The word beside it in the next pāda fails in exactly the same way** — रात्रौ against रात्र्याम् — so two words of this stanza are missing not because a rule was got wrong but because a rule with two answers was given one. अहन् takes the locative singular both ways, अह्नि and अहनि

  • अव्यय

    न

    न

    not — and it governs a verb four syllables away, पीडयेत्. **What it denies is not the pain but the degree**, because तथा stands between them: the separation does torment her by day, only not *like that*

  • अव्यय

    तथा

    तथा

    so much — Mallinātha glosses तेन प्रकारेण, in that manner, and names the affix that makes the word: “प्रकारवचने थाल्” इति थाल्प्रत्ययः, Pāṇini 5.3.23, which puts थाल् after a pronoun to speak of a manner. **And then he supplies the other half of the comparison, which the verse does not contain**: यथा रात्राविति शेषः, *as it does at night* is to be supplied. So a correlative stands here with nothing to answer it, and the commentary writes the answer in

  • √पीड्, class 10, विधिलिङ्, parasmaipada, third person singular

    पीडयेत्

    printed पीडयेन्मद्वियोगः

    √पीड् of the tenth class

    would torment — an optative, and the mood is the stanza's caution. He is not saying the day does not hurt her; he is saying it would not hurt her *in that way*. **The subject is मद्वियोगः**, the separation itself, so what does the tormenting is not the absence of a person but a condition with a name

  • a-stem masculine, प्रथमा एकवचन nominative singular

    मद्वियोगः

    वियोग

    separation from me — the word `text.md` prints where DCS reads विप्रयोगः, which the corpus carries as a variant. Mallinātha reads what the text reads and glosses it मद्विरहः, exchanging one word for separation for another

  • √शङ्क्, class 1, लट्, atmanepada, first person singular

    शङ्के

    √शङ्क् of the first class

    I suppose — and Mallinātha will not let it be fear. He glosses तर्कयामि, I reckon, and cites the Śabdārṇava for the two senses the word has — “शङ्का वितर्कभययोः”, śaṅkā is used of conjecture and of dread — and takes conjecture. **That is the third guessing-word in five stanzas settled the same way**: नूनम् at 2.24 he glossed वितर्के against सत्यम् at 2.20, सम्भावना ran through 2.25, and here शङ्के is तर्क and not भय. The whole passage is marked as supposition by its verbs. **And it is the eighth middle-voice verb of Uttaramegha and the fourth in nine stanzas whose pada DCS leaves off**: the tags record no pada, so `scripts/draft-analysis.ts` wrote parasmaipada, where शङ्के is the ātmanepada first singular — the same omission as लक्षयेथाः at 2.20 and both verbs of 2.23. skt-data settles it: it builds √शङ्क् in the ātmanepada alone, and gives शङ्के in the cell exactly

    He will not let शङ्के be fear. The word has two senses — the Śabdārṇava gives it both, “शङ्का वितर्कभययोः”, conjecture and dread — and he takes तर्कयामि, I reckon, not I am afraid. That is the third guessing-word in five stanzas settled the same way: नूनम् at 2.24 he glossed वितर्के against the सत्यम् it had carried at 2.20, सम्भावना ran through 2.25, and now शङ्के is तर्क and not भय. The whole passage is marked as supposition by its verbs, over and over, and never by its content — which is why the last pāda of the stanza before could name a figure to license the guessing and this one can send the cloud to check.

    • Mallinātha, Sañjīvinī — 2.28: śaṅke tarkayāmi | “śaṅkā vitarkabhayayoḥ” iti śabdārṇave

  • i-stem feminine, सप्तमी एकवचन locative singular

    रात्रौ

    रात्रि

    at night — the half of the day the whole stanza is about. **The form is the one of two that the generator does not offer**, exactly as अहनि is in the pāda before. Pāṇini 1.4.6 ङिति ह्रस्वश्च makes a short-i feminine *optionally* a नदी-stem before the four ङित् endings, so रात्रौ and रात्र्याम् both stand; skt-data declines every feminine short-i stem on the नदी pattern and gives रात्र्याम् alone. This is the second word to hit that gap, after वलभि at 1.40 — **and the 1.40 entry named this very stem as one that was safe**, because the accusative रात्रिम् it stood in there is a cell the two patterns share. In the locative they part. A short-i feminine is optionally a नदी-stem before a ङित् ending, so रात्रौ and रात्र्याम् both stand

  • c-stem feminine, द्वितीया एकवचन accusative singular

    गुरुतरशुचम्

    printed गुरुतरशुचं

    शुच्

    her grief — शुच् is the bare root of √शुच्, to grieve, standing as a noun, and it is one of the few consonant stems the canto has produced. skt-data's classes run through अन्, इन्, अत्, अस्, इस् and उस् and stop, so a stem in च् is not offered at all

  • ā-stem feminine, द्वितीया एकवचन accusative singular

    निर्विनोदाम्

    printed निर्विनोदां

    विनोद, taking ā-stem feminine endings at the end of a bahuvrīhi

    with nothing to divert her — the last word of 2.27 negated, and glossed निर्व्यापाराम् so that it answers सव्यापाराम् in the first pāda of this one. The masculine विनोद is declined as a feminine because the compound describes सखीम्

  • ī-stem feminine, द्वितीया एकवचन accusative singular

    सखीम्

    printed सखीं

    सखी

    your friend — **and the word is doing something the poem has not done before.** Mallinātha unpacks ते सखीं स्वप्रियाम्, your friend, my own beloved, and opens the comment हे सखे, addressing the cloud as a friend in turn. So the wife is the cloud's friend and the cloud is the yakṣa's, and the messenger is being written into the household. **The masculine सखि wrecked the generator at 1.43**, where fourteen of twenty-four cells were wrong; the feminine सखी is an ordinary नदी-type stem and its table is exact

  • pronoun, षष्ठी एकवचन genitive singular

    ते

    त्वद्

    your — the cloud's, and the genitive goes with सखीम्. It is the second time in four stanzas that ते has stood for the cloud while a second person elsewhere in the verse means somebody else; at 2.25 the other was a bird, and here it is the cloud again in पश्य

  • a-stem masculine, तृतीया बहुवचन instrumental plural

    मत्संदेशैः

    संदेश

    with word from me — glossed मद्वार्ताभिः. **The poem's errand, named in the plural for the first time in this canto**, and the instrument of the one imperative in the stanza

  • √सुखय् + तुमुन्

    सुखयितुम्

    printed सुखयितुमलं

    √सुखय् with तुमुन्

    to gladden — an infinitive, and the second the run has met. **DCS tags it `pos=vi`, a verbal indeclinable with no affix named, exactly as it tagged कर्तुम् at 2.21**, and `scripts/draft-analysis.ts` answers that tag with क्त्वा if the surface ends in `tvA` and ल्यप् otherwise — so this too was drafted as an absolutive. The 2.21 entry predicted it in so many words: every infinitive in the poem will have been drafted this way. Mallinātha glosses आनन्दयितुम्, to make her happy

  • अव्यय

    अलम्

    printed सुखयितुमलं

    अलम्

    enough to — Mallinātha glosses पर्याप्तम्. **The word usually forbids and here it enables**: अलम् with an instrumental is *have done with*, and अलम् with an infinitive is *is equal to*. The messages are sufficient to gladden her, which is a claim the yakṣa needs and cannot check

  • √दृश्, class 1, लोट्, parasmaipada, second person singular

    पश्य

    √दृश् of the first class, whose present stem is पश्य

    look — **the only imperative in these four stanzas and the first thing the cloud has been told to do since 2.24.** Three stanzas of guessing stand between the last instruction and this one. DCS gives the root as `paS`, the present stem, where the root is √दृश्: the two share no letter, because पश्य is supplied for दृश् in the present system and is not derived from it

    The stanza turns the poem back outward. For three verses the yakṣa has guessed at what she might be doing and the cloud has been given nothing to do; here comes पश्य, look — the first imperative since 2.24 — and the messenger is put in a window frame, सौधवातायनस्थः, where it will stand for the four stanzas he announces next. Mallinātha reads the verse so that the imperative closes it: the verse ends on सौधवातायनस्थः, and he brings ताम् and its three epithets up in front of the messages and leaves पश्य last, so the reading shuts on the command as the window shuts the verse. And there is a comparison here with only one half printed: तथा means 'in that way', and the way is not stated. He supplies it — यथा रात्राविति शेषः, as it does at night is to be understood — and names the affix that makes the word, प्रकारवचने थाल्.

    • Mallinātha, Sañjīvinī — 2.28: saudhavātāyanasthaḥ san paśya | tathā … yathā rātrāv iti śeṣaḥ

  • ī-stem feminine, द्वितीया एकवचन accusative singular

    साध्वीम्

    printed साध्वीं

    साध्वी, the feminine of साधु in ङीष्

    true wife — Mallinātha glosses पतिव्रताम् and cites Amara, “साध्वी पतिव्रता”. **The feminine is made by the sūtra 2.22 turned on**: 4.1.44 वोतो गुणवचनात् puts ङीष् optionally after a quality-word ending in उ, which is how तन्वी was made there and साध्वी is made here. The blocked entry at 2.22 records that skt-mcp's English for that rule says *short अ* where the sūtra says a उ-final stem; this is the second word in the canto the rule builds, and the second time only the Devanagari can be trusted. **And the epithet closes an argument**: he ends अतो नान्यथा शङ्कितव्यमिति भावः, so there is no call to suspect anything else — the bare ground, the sleeplessness and the dirt are a vow and not a woman gone to pieces

    Everything that could look like neglect Mallinātha turns into a vow. The bare ground is not despair but नियमार्थं स्थण्डिलशायिनीम्, sleeping on unprepared earth as an observance — स्थण्डिलशायिन् is the technical word for one who does so; the sleeplessness is उत्सृष्टनिद्राम्, sleep given up, something she has done rather than had done to her; and the epithet साध्वीम्, पतिव्रताम्, closes the case. He ends the word with अतो नान्यथा शङ्कितव्यमिति भावः — so there is no call to suspect anything else. It is the same move he made at 2.22 and 2.26, where a manual was produced to say what a body or a garment means; here three details that could read as a woman gone to pieces are read instead as the discipline of a wife whose husband is away.

    • Mallinātha, Sañjīvinī — 2.28: avaniśayanāṃ niyamārthaṃ sthaṇḍilaśāyinīm | unnidrām utsṛṣṭanidrām | ato nānyathā śaṅkitavyam iti bhāvaḥ

  • a-stem masculine, सप्तमी एकवचन locative singular

    निशीथे

    निशीथ

    at midnight — Mallinātha glosses अर्धरात्रे, and the precision matters: रात्रौ in the second pāda gave the half of the day, and this narrows it to the middle of that half. **The stanza gets steadily more exact about when** — by day, at night, at midnight — and the cloud is told to look at the third

  • pronoun, द्वितीया एकवचन accusative singular

    ताम्

    printed तामुन्निद्रामवनिशयनां

    तद्

    her — Mallinātha writes it out as त्वत्सखीम्, your friend, taking the pronoun back to the noun in the second pāda. **It is the fourth stanza in six to point at her with a form of तद् and no name**, after 2.23, 2.24 and 2.25

  • ā-stem feminine, द्वितीया एकवचन accusative singular

    उन्निद्राम्

    printed तामुन्निद्रामवनिशयनां

    उन्निद्रा

    sleepless — glossed उत्सृष्टनिद्राम्, having given up sleep, so that the sleeplessness is her doing. It is the word the named state takes its name from: अनेन जागरावस्थोक्ता

  • ā-stem feminine, द्वितीया एकवचन accusative singular

    अवनिशयनाम्

    printed तामुन्निद्रामवनिशयनां

    शयन, taking ā-stem feminine endings at the end of a bahuvrīhi

    the bare earth for her bed — and Mallinātha turns it into a vow, नियमार्थं स्थण्डिलशायिनीम्. **स्थण्डिलशायिन् is a technical word for one who sleeps on unprepared ground as an observance**, so the gloss does not describe her posture, it names her practice. The neuter शयन is declined as a feminine because the compound describes ताम्

  • a-stem masculine, प्रथमा एकवचन nominative singular

    सौधवातायनस्थः

    स्थ, from √स्था with the affix क

    standing at the window of the house — a nominative agreeing with the cloud, so the last word of the stanza places the messenger. Mallinātha adds सन्, being: *being* at the window, look. **The poem has brought the cloud from the sky to a window frame**, and it will stay there for the four stanzas he announces next

हे [supplied] · सखे [supplied] · अहनि · सव्यापाराम् · ते · सखीम् · मद्वियोगः · तथा · न · पीडयेत् · रात्रौ · निर्विनोदाम् · गुरुतरशुचम् · शङ्के · निशीथे · उन्निद्राम् · अवनिशयनाम् · साध्वीम् · ताम् · मत्संदेशैः · सुखयितुम् · अलम् · सौधवातायनस्थः · पश्य

uncheckedMallinātha, Sañjīvinī, whose commentary runs as anvaya. He supplies हे सखे, addressing the cloud as a friend, and — more consequentially — **supplies the missing half of a comparison**: तथा stands in the first pāda with nothing to answer it, and he writes यथा रात्राविति शेषः, *as it does at night* is to be understood. What he moves is the first pāda, where he puts अहनि in front of सव्यापाराम् so the time frames the epithet, and the second, where निर्विनोदाम् comes before गुरुतरशुचम् so the cause stands before the effect. **The fourth pāda he takes almost backwards**: the verse ends on सौधवातायनस्थः and he brings ताम् and its three epithets up in front of the messages, leaving पश्य last, so that the imperative closes the reading as the window closes the verse“he sakhe, ahani divase savyāpārāṃ … te sakhīṃ svapriyāṃ madviyogas tathā tena prakāreṇa … na pīḍayet | yathā rātrāv iti śeṣaḥ || kiṃ tu rātrau nirvinodāṃ … gurutaraśucam … śaṅke … tāṃ tvatsakhīṃ matsandeśair … sukhayituṃ saudhavātāyanasthaḥ san paśya”

the dependency structure

पश्य · क्रिया — look; the one imperative in these four stanzas and the first thing the cloud has been told to do since 2.24. Three stanzas of guessing stand between the last instruction and this one, and Mallinātha's reading ends on it — he brings पश्य to the close so the imperative shuts the verse as the window shuts it. The other two finite verbs are the yakṣa's reflection that leads up to it: पीडयेत्, what the day does not do, and शङ्के, what he fears the night does

सखे · सम्बोधन — gentle friend; the cloud, addressed as a friend, so that the messenger is written into the household — the wife is the cloud's सखी and the cloud is the yakṣa's सखा

हे · आमन्त्रणद्योतक — O; the calling particle Mallinātha supplies before सखे

सौधवातायनस्थः · विशेषण of the cloud — standing at the window of the house, सन्; the last word of the stanza places the messenger, and it will stay in that window frame for the four stanzas the yakṣa announces next

निशीथे · कालाधिकरण — at midnight, अर्धरात्रे; the stanza narrows the time twice, by day, at night, at midnight, and the cloud is told to look at the last

ताम् · कर्म — her, त्वत्सखीम्; the object of look, pointed at with a form of तद् and no name for the fourth stanza in six

उन्निद्राम् · agreeing with ताम् — sleepless, उत्सृष्टनिद्राम्; sleep given up, so the sleeplessness is her doing

अवनिशयनाम् · agreeing with ताम् — the bare earth for her bed, नियमार्थं स्थण्डिलशायिनीम्; sleeping on unprepared ground as an observance, so the gloss names a practice and not a posture

साध्वीम् · agreeing with ताम् — a true wife, पतिव्रताम्; the epithet that closes the argument, अतो नान्यथा शङ्कितव्यम्, there is no call to suspect anything else

सुखयितुम् · तुमुन् — to gladden her, आनन्दयितुम्; the infinitive whose object is ताम्

अलम् · — enough to, पर्याप्तम्; अलम् with an infinitive is 'is equal to', so the messages are sufficient to gladden her, which is the claim the yakṣa needs and cannot check

मत्संदेशैः · करण — with word from me, मद्वार्ताभिः; the errand, named in the plural for the first time in this canto

पीडयेत् · क्रिया — would torment; an optative, and the mood is the caution of the first sentence. He does not say the day does not hurt her, but that it would not hurt her in that way

न · निषेध — not; what it denies is the degree and not the pain, because तथा stands between them

तथा · — so much, तेन प्रकारेण; a correlative standing with nothing to answer it, and Mallinātha writes the answer in — यथा रात्रौ, as it does at night

मद्वियोगः · कर्ता — separation from me, मद्विरहः; the subject, so what does the tormenting is not the absence of a person but a condition with a name

सखीम् · कर्म — your friend, my own beloved, ते सखीं स्वप्रियाम्; whom the separation would torment

ते · षष्ठी — your, the cloud's; the genitive on सखीम्

सव्यापाराम् · agreeing with सखीम् — busy, पूर्वोक्तबलिचित्रलेखनादिव्यापारवतीम्; the busyness is the three stanzas just finished, and having it is what makes the day bearable

अहनि · कालाधिकरण — by day, दिवसे

शङ्के · क्रिया — I suppose, तर्कयामि; not I fear. It governs the night and is the second sentence, the fear that the window is to answer

रात्रौ · कालाधिकरण — at night; the half of the day the whole stanza is about

निर्विनोदाम् · the supposed state, agreeing with सखीम् — with nothing to divert her, निर्व्यापाराम्; 2.27's last word negated, so it answers सव्यापाराम् across the two stanzas

गुरुतरशुचम् · the supposed state, agreeing with सखीम् — her grief the heavier, अतिदुर्भरदुःखाम्; the comparative weighs the night against the day

uncheckedMallinātha’s Sañjīvinī for the anvaya and the reading, who supplies हे सखे, supplies the missing यथा रात्रौ that answers तथा and names its affix (प्रकारवचने थाल्), gathers the kulaka into सव्यापाराम् (पूर्वोक्तबलिचित्रलेखनादिव्यापारवतीम्), takes शङ्के as तर्कयामि out of the Śabdārṇava, glosses निर्विनोदाम् with the first pāda's निर्व्यापाराम्, reads the bare ground and sleeplessness as a vow (नियमार्थं स्थण्डिलशायिनीम्, उत्सृष्टनिद्राम्), and closes on साध्वीम् with अतो नान्यथा शङ्कितव्यम्; the Telugu drawn from Vedam Venkataraya Sastri’s Āndhra Meghasandeśam. The tree roots at the imperative पश्य, the one instruction to the cloud, with the day-clause पीडयेत् and the supposition शङ्के as the two coordinate sentences that lead up to it.

By day, with something to keep her busy, being parted from me will not hurt her like that — it is the night I am afraid of, gentle friend: your friend with nothing to divert her and a heavier grief. Stand at the window of the house and look at her at midnight, sleepless, the bare ground for a bed, a true wife — you have word enough from me to make her glad. **The stanza turns the poem back outward.** For three verses the yakṣa has been guessing at what she might be doing and the cloud has been given nothing to do; here comes पश्य, look, the first imperative since 2.24, and the messenger is put in a window frame. And the first pāda gathers the whole kulaka into one word: Mallinātha glosses सव्यापाराम् with पूर्वोक्तबलिचित्रलेखनादिव्यापारवतीम्, having the occupations spoken of before — the offering, the drawing, the rest. **The three stanzas of guessing become the day's work**, and the argument is that having them is what gets her through it. **The stanza is one contrast said twice.** सव्यापाराम् in the first pāda against निर्विनोदाम् in the second — and निर्विनोद is 2.27's last word with a negative on it, since that stanza ended on विनोदाः, the diversions of women whose lovers are away. Mallinātha ties the two together by glossing निर्विनोदाम् as निर्व्यापाराम्, using the first pāda's word for the second's. **Day has occupation, night has none**, and that is the whole of what he is saying. **And there is a comparison here with only one half printed.** तथा means *in that way*, and the way is not stated: Mallinātha supplies it — यथा रात्राविति शेषः, *as at night* is to be understood — and names the affix that makes the word, “प्रकारवचने थाल्”, Pāṇini 5.3.23. So the verse says the day does not hurt her *like that* and leaves the reader to know what *that* is, and the commentary writes it in. **He will not let शङ्के be fear.** The Śabdārṇava gives the word both ways — “शङ्का वितर्कभययोः”, conjecture and dread — and he takes तर्कयामि, I reckon. **That is the third guessing-word in five stanzas settled the same way**: नूनम् at 2.24 was वितर्के where it had been सत्यम् at 2.20, सम्भावना ran through 2.25, and now this. The passage is marked as supposition by its verbs, over and over, and never by its content. **Everything that could look like neglect he turns into a vow.** The bare ground is not despair but नियमार्थं स्थण्डिलशायिनीम्, sleeping on unprepared earth as an observance; the sleeplessness is उत्सृष्टनिद्राम्, sleep given up; and साध्वीम् he answers with पतिव्रताम् out of Amara and then closes the argument — अतो नान्यथा शङ्कितव्यमिति भावः, so there is no call to suspect anything else. **The same move as the soiled dress at 2.26**, and here it is made three times in one pāda and then stated as a conclusion. No figure is named. What he names instead is the next state on the list: अनेन जागरावस्थोक्ता, by this the condition called *waking* is stated — after सङ्कल्प at 2.27 and मूर्च्छा at 2.26, all three from the ten states of love in separation. **And he announces the next unit as he did at 2.24**: पुनस्तामेव विशिनष्टि “आधिक्षामाम्” इत्यादिभिश्चतुर्भिः, he describes her again by the four stanzas beginning आधिक्षामाम् — and 2.29 does begin आधिक्षामां, so the next unit is 2.29 to 2.32, four this time where the last was three.

uncheckedthe reader's reading, following Mallinātha, Sañjīvinī's gloss. His are: सव्यापाराम् filled out from 2.25 to 2.27, दिवसे for अहनि, तेन प्रकारेण with 5.3.23 named, the supplied यथा रात्रौ, निर्व्यापाराम् for निर्विनोदाम्, तर्कयामि for शङ्के with the Śabdārṇava behind it, अतिदुर्भरदुःखाम्, अर्धरात्रे for निशीथे, उत्सृष्टनिद्राम्, स्थण्डिलशायिनीम् with नियमार्थम्, पतिव्रताम् with Amara, मद्वार्ताभिः, दूतश्चायं मेघ इति भावः, अनेन जागरावस्थोक्ता, and the announcement of the four stanzas beginning आधिक्षामाम्. That निर्विनोद is 2.27's last word negated, that the stanza is one contrast said twice, and that this is the third guessing-word settled the same way in five stanzas, are the reader's; that 2.29 begins आधिक्षामां is checked against `text.md`“anena jāgarāvasthoktā || punas tām eva viśinaṣṭi “ādhikṣāmām” ityādibhiś caturbhiḥ”

By day, with something to keep her busy, being parted from me will not hurt her like that — it is the night I am afraid of, gentle friend: your friend with nothing to divert her and a heavier grief. Stand at the window of the house and look at her at midnight, sleepless, the bare ground for a bed, a true wife — you have word enough from me to make her glad. The stanza is built as an argument in three moves: the day is bearable because it is busy, the night is not because it is empty, so go and see her at midnight and carry what will comfort her. And what would comfort her, Mallinātha says, is narrower and truer than the message's content — मद्वार्ताभिः, news of me: it is not what the words say but that they have come from him.

  • Mallinātha, Sañjīvinī — 2.28, whole-verse gloss; matsandeśair madvārtābhiḥ

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