And her left thigh — the marks my nails left on it are fading from it; it has been made to give up, by the turn things took, the string of pearls it had worn so long; it has a claim on the kneading my hands used to give it when the love-making was done; and it is pale as the stem of a plantain full of sap — that thigh will begin to tremble.
**Every clause is a subtraction and the verb at the end is a promise.** The nail-marks are going; the pearls are gone; the massage is owed and not given. Then यास्यति, and the trembling is the omen that all three will be restored. **Mallinātha names the book**, the same one as one stanza ago: ऊरोः स्पन्दाद्रतं विद्याद् ऊर्वोः प्राप्तिं सुवाससः — from the throbbing of one thigh, know there will be love-making; from both, the getting of fine clothes. **So the poem's two omens in two stanzas come out of one manual**, and both are about a limb quivering on the left.
**And the left is the thing 2.35 could not say.** There the poem wrote only नयनम् and Mallinātha had to supply वामम् out of a verse about which side is auspicious for a woman. Here the poet writes वामः himself, in the stanza's first word. The supplied word at 2.35 is confirmed by the printed word at 2.36, and the च joining them says the two signs are one thought.
**The pearls have a reason and the verse does not give it.** मुक्ताजाल is a girdle of pearl strands, and Mallinātha explains why it was worn and why it has been put off: सम्प्रति नखपदोष्माभावेन शीतोपचारस्य तस्य वैयर्थ्यादिति भावः — now, with no heat of nail-marks, that cooling remedy has no point. Pearls are cold; scratches burn; there are no scratches. **The commentary supplies a whole chain of cause and the stanza states only its two ends**, and it reads the nail-marks themselves out of the Ratirahasya, which lists the thighs among the eight places for them.
**One epithet is argued for rather than glossed.** सरस, of the plantain stem, he will not let pass as decoration: सरसो रसार्द्रः परिपक्वो न शुष्कश्च स एव विवक्षितः । **तत्रैव पाण्डिमसम्भवात्** — it means full of sap, ripe and not dried, and that is what is meant, because the pallor is only possible in such a one. A dried stem is brown. The comparison needs the freshness or it does not work, and he is the only one who says so.
**Two rules are named for one participle.** त्याजितः is the past participle of the causative of √त्यज् in the कर्मकर्तृ sense, where the thing acted on is spoken of as the agent — the thigh is *made to give up* — and the two objects it takes are licensed by the supplementary line on the पच् class, **the same line he cited three stanzas ago for मोचयिष्यति, and quoted here in different words**. No figure is named.
uncheckedthe reader's reading, following Mallinātha, Sañjīvinī's gloss. His are: नखपदैः for कररुहपदैः with the Amara line and the Ratirahasya on where nail-marks are made, परिहीयमाणः and नखाङ्करहितः for मुच्यमानः, चिराभ्यस्तम् for चिरपरिचितम्, मौक्तिकसरमयं कटिभूषणम् with the शीतोपचार explanation, दैववशेन for दैवगत्या, कर्मकर्तरि क्तः and the द्विकर्मन् line for त्याजितः, मर्दनानाम् with the Amara line for संवाहनानाम्, योग्यः for समुचितः, the argument for सरस with तत्रैव पाण्डिमसम्भवात्, पाण्डुरः for गौरः with the मालतीमाला line, प्रियायाः for अस्याः, and स्पन्दनम् and प्राप्स्यते with the Nimittanidāna verse. That every clause before the verb is a subtraction, that 2.35's supplied वामम् is confirmed by this stanza's printed वामः, and that this is the first stanza since 2.28 needing nothing supplied, are the reader's; the Nimittanidāna verses at 2.35 and 2.36 are checked against `vendor/meghaduta-sanjivini.itx`. Neither the Ratirahasya nor the मालतीमाला is in this repository and neither citation can be checked““ūroḥ spandād rataṃ vidyād ūrvoḥ prāptiṃ suvāsasaḥ” iti nimittanidāne”
And her left thigh — the marks my nails left on it are fading from it; it has been made to give up, by the turn things took, the string of pearls it had worn so long; it has a claim on the kneading my hands used to give it when the love-making was done; and it is pale as the stem of a plantain full of sap — that thigh will begin to tremble. Every clause takes something away and the verb gives it back: the trembling is an omen that the nail-marks, the pearls and the touch are all coming again, read off the auspicious side exactly as the eye's throb was one stanza before.
- Mallinātha, Sañjīvinī — 2.36, whole-verse gloss