Thin with the ache in her mind, lying on the bed of separation with one side down, like the body of the cold-rayed moon standing at the foot of the east with a single digit left of it — look at her making that same kind of night, the night that went by like a moment with me and our lovemaking at will, go by now with hot tears, a night that separation has made long.
**The stanza has no verb and no subject of its own.** It hangs on the पश्य of 2.28, which is where Mallinātha announced it: पुनस्तामेव विशिनष्टि “आधिक्षामाम्” इत्यादिभिश्चतुर्भिः, he describes her again by four stanzas beginning आधिक्षामाम्. So every feminine accusative here is an epithet of a word standing in the previous verse. **That is the second time in four stanzas the corpus has had to reach into a neighbour for the governing word** — 2.26 was the other, and the kulaka of 2.25 to 2.27 was the same problem named by the tradition. Here the unit is four verses rather than three.
**The comparison is built by a posture, and the commentary supplies the middle of it.** She lies with one flank down; Mallinātha writes अत एव, *for that very reason*, and goes straight to the foot of the eastern sky — because the last crescent before dawn lies on its side there too. **And then he does something he does only four times before in the poem: he says why each word was chosen rather than what it means.** प्राचीग्रहणं क्षीणावस्थाद्योतनार्थम् — *east* is named to show the waned state, since the moon in the east at that hour can only be the sliver. मूलग्रहणं दृश्यतार्थम् — *foot* is named so it can be seen, low against the hill rather than lost in the sky. He did this at 1.18, 1.31, 1.43 and 1.45; **this is the first stanza where he does it twice**, and the two together license the whole simile without a word about the woman.
**The second half is an argument about time, and he states it as a principle.** The night with the yakṣa went क्षण इव, like a moment; the night without him is विरहमहती, made long by separation — and he will not let that be a fact about the night. महत्त्वेन प्रतीयमानाम्, *felt as* long, and then the rule outright: स एव कालः सुखिनामल्पः प्रतीयते । दुःखिनां तु विपरीत इति भावः, the same stretch seems short to the happy and the reverse to the wretched. The verb she is given is a causative, यापयन्तीम् — she is not spending the night, she is making it go.
**And तामेव cannot mean what it says.** The night is over; a pronoun cannot fetch it back. Mallinātha reads तां तज्जातीयामेव रात्रिम्, a night *of that same kind*, supplying the noun the fourth pāda does not print and reading एव as class rather than identity. It is the second correction of a pronoun in three stanzas, after the ताम् of 2.28 that he had to write out as त्वत्सखीम्.
No figure is named, and the stanza has two similes on the page. What he names is the state: एतेन कार्श्यावस्थोक्ता, by this the condition called *wasting* is stated — after जागर at 2.28, सङ्कल्प at 2.27 and मूर्च्छा at 2.26. **Four stanzas running, each closed with an item from the ten states of love in separation**, so the naming has stopped being an occasional remark and become the shape of the passage.
uncheckedthe reader's reading, following Mallinātha, Sañjīvinī's gloss. His are: आधि as mental pain out of Amara, the kartari क्त of क्षाम with “क्षायो मः”, पल्लवादिरचितः for the bed, the vigraha of संनिषण्णैकपार्श्वाम् with अत एव, उदयगिरिप्रान्तः for प्राचीमूल, both ग्रहण remarks, कलैव for कलामात्रम्, मूर्तिम् for तनुम्, इच्छया कृतानि रतानि with शाकपार्थिवादित्वान्मध्यमपदलोपी समासः, तज्जातीयाम् for तामेव with रात्रिम् supplied, महत्त्वेन प्रतीयमानाम्, the शतृ of यापयन्तीम् with the पुक् augment, the principle स एव कालः सुखिनामल्पः प्रतीयते, and एतेन कार्श्यावस्थोक्ता. That the stanza is the second in four to borrow its verb from a neighbour, that the two instrumental plurals answer each other, that उष्णैः answers हिमांशोः, and that this is the first stanza with two ग्रहण remarks in it, are the reader's; the earlier ग्रहण remarks at 1.18, 1.31, 1.43 and 1.45 are checked against `vendor/meghaduta-sanjivini.itx`“sa eva kālaḥ sukhinām alpaḥ pratīyate | duḥkhināṃ tu viparīta iti bhāvaḥ | etena kārśyāvasthoktā”
Thin with the ache in her mind, lying on the bed of separation with one side down, like the body of the cold-rayed moon standing at the foot of the east with a single digit left of it — look at her making that same kind of night, the night that once went by like a moment with me and our lovemaking at will, go by now with hot tears, a night that separation has made long. The stanza sets one night against another across its two halves: the remembered night that was over in an instant, and the present one she has to work through, minute by minute, with the only means left to her. Even the moon she is likened to is chosen for its cold, against the heat of her tears.
మనసులోని వేదనచే కృశించి, విరహపు పడకపై ఒక పార్శ్వం క్రిందికి పండుకొని, తూర్పు అడుగున ఒక్క కళ మిగిలిన శీతలకిరణుని — చంద్రుని — శరీరంలా నిలిచి — ఒకప్పుడు నాతో, మా ఇష్టపు రతంతో, ఒక క్షణంలా గడిచిన రాత్రి; అటువంటిదే రాత్రిని ఇప్పుడు వేడి కన్నీళ్లతో గడిపిస్తూ, విరహం పొడవుచేసిన ఆ రాత్రిని — ఆమెను చూడు. శ్లోకం తన రెండు సగాలలో ఒక రాత్రిని మఱొకదానికి ఎదురుగా నిలుపుతుంది: క్షణంలో ముగిసిన గత రాత్రి, ఆమె నిమిషం నిమిషం గడపవలసిన ప్రస్తుత రాత్రి, మిగిలిన ఒకే సాధనంతో. ఆమెను పోల్చిన చంద్రుడు కూడా దాని శైత్యంకోసం ఎంచబడ్డాడు, ఆమె కన్నీళ్ల వేడికి ఎదురుగా.
- Mallinātha, Sañjīvinī — 2.29, whole-verse gloss