printलघुसिद्धान्तकौमुदी — practise the grammar

मेघदूतम् · कालिदास · 2.38

गवाक्ष · waking her, and beginning to speak

तामुत्थाप्य स्वजलकणिकाशीतलेनानिलेन

ता
मु
त्था
प्य
स्व
ज
ल
क
णि
का
शी
त
ले
ना
नि
ले
न

प्रत्याश्वस्तां सममभिनवैर्जालकैर्मालतीनाम्

प्र
त्या
श्व
स्तां
स
म
म
भि
न
वै
र्जा
ल
कै
र्मा
ल
ती
नाम्

विद्युद्गर्भः स्तिमितनयनां त्वत्सनाथे गवाक्षे

वि
द्यु
द्ग
र्भः
स्ति
मि
त
न
य
नां
त्व
त्स
ना
थे
ग
वा
क्षे

वक्तुं धीरस्तनितवचनैर्मानिनीं प्रक्रमेथाः

व
क्तुं
धी
र
स्त
नि
त
व
च
नै
र्मा
नि
नीं
प्र
क्र
मे
थाः

pāda a

  • ताguruits long vowel आ
  • मुguruthe conjunct त्थ that follows it
  • त्थाguruits long vowel आ
  • प्यguruthe conjunct स्व that follows it
  • स्वlaghuits short vowel, with a single consonant after it
  • जlaghuits short vowel, with a single consonant after it
  • लlaghuits short vowel, with a single consonant after it
  • कlaghuits short vowel, with a single consonant after it
  • णिlaghuits short vowel, with a single consonant after it
  • काguruits long vowel आ
  • शीguruits long vowel ई
  • तlaghuits short vowel, with a single consonant after it
  • लेguruits long vowel ए
  • नाguruits long vowel आ
  • निlaghuits short vowel, with a single consonant after it
  • लेguruits long vowel ए
  • नlaghuits short vowel — light on its own, though the pāda ends here
  • yati after 4 — a word ends here — तामुत्थाप्य
  • yati after 10 — a compound member ends here, inside स्वजलकणिकाशीतलेन

pāda b

  • प्रguruthe conjunct त्य that follows it
  • त्याguruits long vowel आ
  • श्वguruthe conjunct स्त that follows it
  • स्तांguruthe anusvāra it carries
  • सlaghuits short vowel, with a single consonant after it
  • मlaghuits short vowel, with a single consonant after it
  • मlaghuits short vowel, with a single consonant after it
  • भिlaghuits short vowel, with a single consonant after it
  • नlaghuits short vowel, with a single consonant after it
  • वैguruits long vowel ऐ
  • र्जाguruits long vowel आ
  • लlaghuits short vowel, with a single consonant after it
  • कैguruits long vowel ऐ
  • र्माguruits long vowel आ
  • लlaghuits short vowel, with a single consonant after it
  • तीguruits long vowel ई
  • नाम्guruthe end of the pāda, which counts the last syllable heavy
  • yati after 4 — a word ends here — प्रत्याश्वस्तां
  • yati after 10 — it falls inside a word

pāda c

  • विguruthe conjunct द्य that follows it
  • द्युguruthe conjunct द्ग that follows it
  • द्गguruthe conjunct र्भ that follows it
  • र्भःguruthe visarga it carries
  • स्तिlaghuits short vowel, with a single consonant after it
  • मिlaghuits short vowel, with a single consonant after it
  • तlaghuits short vowel, with a single consonant after it
  • नlaghuits short vowel, with a single consonant after it
  • यlaghuits short vowel, with a single consonant after it
  • नांguruthe anusvāra it carries
  • त्वguruthe conjunct त्स that follows it
  • त्सlaghuits short vowel, with a single consonant after it
  • नाguruits long vowel आ
  • थेguruits long vowel ए
  • गlaghuits short vowel, with a single consonant after it
  • वाguruits long vowel आ
  • क्षेguruits long vowel ए
  • yati after 4 — a word ends here — विद्युद्गर्भः
  • yati after 10 — a word ends here — स्तिमितनयनां

pāda d

  • वguruthe conjunct क्त that follows it
  • क्तुंguruthe anusvāra it carries
  • धीguruits long vowel ई
  • रguruthe conjunct स्त that follows it
  • स्तlaghuits short vowel, with a single consonant after it
  • निlaghuits short vowel, with a single consonant after it
  • तlaghuits short vowel, with a single consonant after it
  • वlaghuits short vowel, with a single consonant after it
  • चlaghuits short vowel, with a single consonant after it
  • नैguruits long vowel ऐ
  • र्माguruits long vowel आ
  • निlaghuits short vowel, with a single consonant after it
  • नींguruthe anusvāra it carries
  • प्रguruthe conjunct क्र that follows it
  • क्रlaghuits short vowel, with a single consonant after it
  • मेguruits long vowel ए
  • थाःguruthe visarga it carries
  • yati after 4 — it falls inside धीरः
  • yati after 10 — it falls inside the compound स्तनितवचनैः

  • ताम् + उत्थाप्य → तामुत्थाप्य

    म् + उ

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

  • स्वजलकणिकाशीतलेन + अनिलेन → स्वजलकणिकाशीतलेनानिलेन

    अ + अ → आ

  • प्रत्याश्वस्ताम् + समम् → प्रत्याश्वस्तां

    म् + स्

  • समम् + अभिनवैः → सममभिनवैर्

    म् + अ

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

  • जालकैः + मालतीनाम् → जालकैर्मालतीनाम्

    ः + म्

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

  • स्तिमितनयनाम् + त्वत्सनाथे → स्तिमितनयनां

    म् + त्

  • वक्तुम् + धीरः → वक्तुं

    म् + ध्

  • धीरः + स्तनितवचनैः → धीरस्तनितवचनैर्मानिनीं

    ः + स्

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

  • स्तनितवचनैः + मानिनीम् → धीरस्तनितवचनैर्मानिनीं

    ः + म्

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

  • स्व + जल → स्वजलकणिकाशीतलेन

    अ + ज्

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

  • जल + कणिका → स्वजलकणिकाशीतलेन

    अ + क्

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

  • कणिका + शीतल → स्वजलकणिकाशीतलेन

    आ + श्

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

  • विद्युत् + गर्भ → विद्युद्गर्भः

    त् + ग्

  • स्तिमित + नयना → स्तिमितनयनाम्

    अ + न्

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

  • त्वद् + सनाथ → त्वत्सनाथे

    द् + स्

  • स्तनित + वचन → स्तनितवचनैः

    अ + व्

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

स्वजलकणिकाशीतलेन + अनिलेन lengthens to आ by Pāṇini 6.1.101 अकः सवर्णे दीर्घः — शीतलेनानिलेन. A word-final स् becomes रु by 8.2.66 ससजुषो रुः and stands as र् before a voiced sound, three times — अभिनवैर्जालकैः, जालकैर्मालतीनाम्, स्तनितवचनैर्मानिनीम् — and as स् before the स् of स्तनित- by 8.3.34 विसर्जनीयस्य सः: धीरस्तनितवचनैः, which both witnesses read as धीरः, steady, and not as a compound. A word-final म् becomes anusvāra before a consonant by 8.3.23 मोऽनुस्वारः — प्रत्याश्वस्तां समम्, स्तिमितनयनां त्वत्सनाथे, वक्तुं धीरः, मानिनीं प्रक्रमेथाः — and is kept before a vowel, तामुत्थाप्य, सममभिनवैः. The visarga of विद्युद्गर्भः stands before the voiceless स् of स्तिमित-.

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

  • ताम् द्वितीया · accusative — कर्म, the object

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

    with स्वजलकणिकाशीतलेन

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

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

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

  • गवाक्षे सप्तमी · locative — अधिकरण, the location

    with त्वत्सनाथे

  • धीरः प्रथमा · nominative — कर्ता, the agent

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

  • मानिनीम् द्वितीया · accusative — कर्म, the object

    with प्रत्याश्वस्ताम्, स्तिमितनयनाम्

प्रकरण 1 · हलन्त्यम्

प्रकरण 2 · इको यणचि

प्रकरण 3 · स्तोः श्चुना श्चुः

प्रकरण 4 · वा शरि

  • ससजुषो रुः 8.2.66← अभिनवैः; जालकैः; विद्युद्गर्भः; धीरः; स्तनितवचनैः; प्रक्रमेथाः

प्रकरण 5 · अर्थवदधातुरप्रत्ययः प्रातिपदिकम्

प्रकरण 8 · हो ढः

प्रकरण 11 · स्वरादिनिपातमव्ययम्

प्रकरण 12 · लः कर्मणि च भावे चाकर्मकेभ्यः

प्रकरण 34 · ण्वुल्तृचौ

प्रकरण 36 · तुमुन्ण्वुलौ क्रियायां क्रियार्थायाम्

प्रकरण 48 · शेषे

प्रकरण 60 · स्त्रियाम्

not in the abridgement

स्वजलकणिकाशीतलेन

स्व · जल · कणिका · शीतल

  1. जलस्य कणिकाः

    तत्पुरुष (genitive) — beads of water

  2. स्वस्य जलकणिकाः

    तत्पुरुष (genitive) — his own beads of water

  3. स्वजलकणिकाभिः शीतलः, तेन

    तत्पुरुष (instrumental) — made cool by his own beads of water

तत्पुरुष — it agrees with अनिलेन. cool with his own beads of water — Mallinātha unpacks it with the possessive spelt out, स्वस्य जलकणिकाभिर्जलबिन्दुभिः शीतलेन. **स्व is doing real work**: the wind is cool because the drops in it are the cloud's, so the cloud is being asked to cool the air with itself. **And the whole action is read out of a book of court manners.** He quotes Bhoja by name — मृदुभिर्मर्दनैः पादे शीतलैर्व्यजनैः स्तनौ । श्रुतौ च मधुरैर्गीतैर्निद्रातो बोधयेत्प्रभुम् — one should wake a master from sleep with gentle rubbing at the feet, cool fanning at the breast, and sweet songs at the ears. The cloud does all three in this stanza, and Mallinātha says so: by this, her being a master is conveyed, and the cool wind is the fanning

uncheckedMallinātha, Sañjīvinī, who unpacks स्वस्य जलकणिकाभिर्जलबिन्दुभिः शीतलेनानिलेनोत्थाप्य प्रबोध्य and quotes यथाह भोजराजः with the verse on waking a master. The verb of his remark — that the fanning is conveyed by this — is corrupt in the transcription and is read only as far as its sense goes; whatever the word was, it belongs to the family of व्यज्यते, सूचिता, ध्वनिः and गम्यते. DCS gives the members as स्व, जल and कणिका with शीतल as the head“svasya jalakaṇikābhir jalabindubhiḥ śītalenānilenotthāpya prabodhya … yathāha bhojarājaḥ “mṛdubhir mardanaiḥ pāde śītalair vyajanaiḥ stanau | śrutau ca madhurair gītair nidrāto bodhayet prabhum””

विद्युद्गर्भः

विद्युत् · गर्भ

  1. विद्युत् गर्भे यस्य सः

    बहुव्रीहि — he who has the lightning inside him

बहुव्रीहि — it refers to त्वम्. with the lightning held inside — Mallinātha gives the vigraha विद्युद्गर्भेऽन्तःस्थो यस्य सः and the plain paraphrase अन्तर्लीनविद्युत्कः, one in whom the lightning is folded away; and he settles गर्भ out of the Śabdārṇava, which gives it for what is *inside* as well as for a womb and a child. **Then he says why it must stay in**: दृष्टिप्रतिघातेन वक्तुर्मुखावलोकनप्रतिबन्धकत्वान्न विद्युता द्योतितव्यमिति भावः — the lightning must not flash, because by striking the sight it would stop her looking at the speaker's face. So the compound is a second instruction in the shape of a description, beside the स्तनितविमुखः of 2.37: **do not roar, and do not shine**

uncheckedMallinātha, Sañjīvinī, who unpacks विद्युद्गर्भेऽन्तःस्थो यस्य स विद्युद्गर्भः । अन्तर्लीनविद्युत्क इत्यर्थः, cites “गर्भोऽपवनकेऽन्तस्थे गर्भोऽग्नौ कुक्षिणोऽर्भके” इति शब्दार्णवे, and adds दृष्टिप्रतिघातेन … न विद्युता द्योतितव्यमिति भावः; DCS gives the members as विद्युत् and गर्भ. The Śabdārṇava is not in this repository and the citation cannot be checked“vidyudgarbhe 'ntaḥstho yasya sa vidyudgarbhaḥ | antarlīnavidyutka ityarthaḥ … dṛṣṭipratighātena vaktur mukhāvalokanapratibandhakatvān na vidyutā dyotitavyam iti bhāvaḥ”

स्तिमितनयनाम्

स्तिमित · नयना

  1. स्तिमिते नयने यस्याः सा, ताम्

    बहुव्रीहि — she whose eyes have gone still

बहुव्रीहि — it refers to मानिनीम्. with her eyes gone still — and Mallinātha supplies the thought that stills them: कोऽसाविति विस्मयान्निश्चलनेत्राम्, her eyes motionless with wonder, *who is this?* **The stanza's whole staging is in that question.** She wakes, she is soothed, she sees something at the window that has never been at a window before, and she does not move. The commentary puts her three words of astonishment into the middle of a compound that says nothing but *still-eyed*

uncheckedMallinātha, Sañjīvinī, who glosses स्तिमितनयनां कोऽसाविति विस्मयान्निश्चलनेत्राम्; DCS gives the members as स्तिमित and नयन, lemmatising the second in the neuter with `g=f`, so that `scripts/draft-analysis.ts` returned no stem class for the head“stimitanayanāṃ ko 'sāv iti vismayān niścalanetrām”

त्वत्सनाथे

त्वद् · सनाथ

  1. त्वया सनाथः, तस्मिन्

    तत्पुरुष (instrumental) — having you for company

तत्पुरुष — it agrees with गवाक्षे. with you standing in it — Mallinātha glosses त्वत्सहिते, *accompanied by you*, and quotes the Śabdārṇava to fix which sense of सनाथ that is: सनाथं प्रभुमित्याहुः सहिते चित्ततापिनि, the word is used for a lord, for one accompanied, and for one who torments the mind. **He takes the middle sense and passes over the first**, though the same comment has just called the woman a प्रभु out of Bhoja. The window is the one the moonbeams came in at, at 2.30, and this is the fourth time the poem has used it

uncheckedMallinātha, Sañjīvinī, who glosses त्वत्सनाथे त्वत्सहिते and cites “सनाथं प्रभुमित्याहुः सहिते चित्ततापिनि” इति शब्दार्णवे; DCS gives the members as त्वद् and सनाथ. The Śabdārṇava is not in this repository“tvatsanāthe tvatsahite || “sanāthaṃ prabhum ity āhuḥ sahite cittatāpini” iti śabdārṇave”

स्तनितवचनैः

स्तनित · वचन

  1. स्तनितानि एव वचनानि, तैः

    कर्मधारय — thunderings that are words

कर्मधारय. with thunder for words — Mallinātha's vigraha is exact, स्तनितान्येव वचनानि तैः: the two are not compared, they are identified. **And the compound is the answer to 2.37.** There the cloud was told to turn its face from thundering, स्तनितविमुखः, because thunder would wake her. Here the same noun comes back as the thing it is to speak with, once she is awake and steady. One stanza forbids the sound and the next makes it the voice

uncheckedMallinātha, Sañjīvinī, who unpacks स्तनितान्येव वचनानि तैर्वक्तुम्; DCS gives the members as स्तनित and वचन. The link to 2.37's स्तनितविमुखः is the reader's“stanitavacanaiḥ stanitāny eva vacanāni tair vaktuṃ prakramethāḥ”

  • pronoun, द्वितीया एकवचन accusative singular

    ताम्

    printed तामुत्थाप्य

    तद्

    her — Mallinātha glosses तां प्रियाम्, *that beloved*, and the pronoun is the object of the absolutive rather than of the verb. **It is the first word of the stanza and there is no noun for it anywhere in the verse**: the whole of what she is has been said in the ten stanzas before this

  • √स्था + ल्यप्

    उत्थाप्य

    printed तामुत्थाप्य

    √स्था in णिच् with उद्

    having raised her — a causative absolutive, so the cloud makes her get up rather than gets up itself. Mallinātha glosses प्रबोध्य, having wakened. **The affix is ल्यप् and not क्त्वा because उद् stands in front**, by Pāṇini 7.1.37 समासेऽनञ्पूर्वे क्त्वो ल्यप्; the drafting script's test, whether the surface ends in tvA, gets this one right

  • a-stem masculine, तृतीया एकवचन instrumental singular

    स्वजलकणिकाशीतलेन

    printed स्वजलकणिकाशीतलेनानिलेन

    शीतल

    cool — agreeing with अनिलेन, and the whole instrument of the waking. **शीतल is the word Bhoja's verse uses of the fan**, शीतलैर्व्यजनैः, which is why Mallinātha reaches for that verse here: the cloud's cold breath is a fanning, and fanning is what one does to a sleeping master

  • a-stem masculine, तृतीया एकवचन instrumental singular

    अनिलेन

    printed स्वजलकणिकाशीतलेनानिलेन

    अनिल

    with a breeze — an instrumental of means. अनिल is wind as the thing that blows, from a root of breathing; the word is the same one the body's breath is called by, which is why the participle in the next pāda can be about her breathing again

  • √श्वस् + क्त, द्वितीया एकवचन accusative singular

    प्रत्याश्वस्ताम्

    printed प्रत्याश्वस्तां

    प्रत्याश्वस्ता, from √श्वस् with प्रति and आ and क्त

    brought round — **Mallinātha gives it two senses and then says which kind of क्त it is.** सुस्थिताम्, restored to herself; and, अन्यच्च, *and also*, पुनरुच्छ्वसिताम्, breathing again. Then: श्वसेः कर्तरि क्तः, the क्त of √श्वस् names the doer, so she has recovered rather than been recovered — the same कर्तरि क्त he named for क्षामाम् at 2.29. **And what the word conveys he does not leave to the reader**: एतेनास्याः कुसुमसौकुमार्यं गम्यते, by this her flower-like delicacy is understood — which is why the jasmine buds are in the same line

  • अव्यय

    समम्

    printed सममभिनवैर्

    समम्

    along with — an indeclinable governing the instrumental, and Mallinātha replaces it with the commonest of its synonyms, सह, quoting Amara for the set: साकं सत्रा समं सह. **What it joins is a woman and a flower**: she comes round at the same moment the jasmine buds open, and the whole force of the line is in this one particle putting the two events at one instant

  • a-stem neuter, तृतीया बहुवचन instrumental plural

    अभिनवैः

    printed सममभिनवैर्

    अभिनव

    brand-new — Mallinātha glosses नूतनैः. The buds are not merely fresh but *just now*: अभि on नव makes the newness immediate, which is what puts them at the same instant as her waking

  • a-stem neuter, तृतीया बहुवचन instrumental plural

    जालकैः

    printed जालकैर्मालतीनाम्

    जालक

    buds — and the word needs its lexicon, because जालक is also a lattice and a net. Mallinātha glosses मुकुलैः and quotes Amara: क्षारको जालकं क्लीबे कलिका कोरकः पुमान्, four words for a flower-bud, of which जालक is the neuter one. **The same three letters are the window-lattice of 2.30 and the pearl-net of 2.36**, and this is the third thing they mean in nine stanzas

  • ī-stem feminine, षष्ठी बहुवचन genitive plural

    मालतीनाम्

    printed जालकैर्मालतीनाम्

    मालती

    of the jasmines — Mallinātha glosses the compound जातीमुकुलैः and cites Amara for the identification, सुमना मालती जातिः: सुमनस्, मालती and जाति are one flower. **The jasmine opens at night**, which is why it can wake when she does; and it is the flower whose buds are the standing comparison for a woman's teeth and her nails, so it has been in the poem's vocabulary since 2.22 without being named

  • a-stem masculine, प्रथमा एकवचन nominative singular

    विद्युद्गर्भः

    गर्भ

    womb — the last member of the bahuvrīhi, and the word Mallinātha has to settle out of the Śabdārṇava, which gives गर्भ for what is inside a thing as well as for a womb, a fire and a child. **The sense he takes is the flattest one**, अन्तःस्थम्, what is within — and the metaphor stays in the word anyway: a cloud with lightning in it is carrying something

    Two of the stanza's compounds are instructions dressed as descriptions. विद्युद्गर्भः, with the lightning inside, is not a picture but an order, and Mallinātha gives the reason: दृष्टिप्रतिघातेन वक्तुर्मुखावलोकनप्रतिबन्धकत्वात् — a flash would strike her sight and stop her looking at the speaker's face. And धीरः, steady, has its reason too: otherwise the messenger would not reassure — अन्यथाशीलत्वादिनैतदनाश्वासनप्रसङ्गात्. Together with the स्तनितविमुखः of 2.37 that is three prohibitions in two stanzas — do not roar, do not shine, do not be anything but calm — and all three are put as qualities rather than commands. He keeps धीरः apart from स्तनित- so a reader cannot compound them into 'grave-thunder-words'; steadiness is the messenger's, not the noise's.

    • Mallinātha, Sañjīvinī — 2.38: vidyudgarbho … dṛṣṭipratighātena vaktur mukhāvalokanapratibandhakatvāt | dhīro dhairyaviśiṣṭaś ca san

  • ā-stem feminine, द्वितीया एकवचन accusative singular

    स्तिमितनयनाम्

    printed स्तिमितनयनां

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

    eyes — the last member of the bahuvrīhi, feminine because it describes her. **The word stood at 2.35 as the stanza's subject** and was the thing the omen was read from; here it is a member of a compound and the eye has stopped moving altogether. स्तिमित is *soaked*, then *still*, the stillness of standing water. The neuter नयन is declined as a feminine because the compound describes मानिनीम्

  • a-stem masculine, सप्तमी एकवचन locative singular

    त्वत्सनाथे

    सनाथ

    in your company — Mallinātha glosses त्वत्सहिते and quotes the Śabdārṇava for the word's three senses. **सनाथ is *with a नाथ*, with a protector**, so a window with a cloud in it is a window that has somebody looking after it; the word is doing quietly what Bhoja's verse did openly, making the cloud a servant and the house a household

  • a-stem masculine, सप्तमी एकवचन locative singular

    गवाक्षे

    गवाक्ष

    at the latticed window — literally *a cow's eye*, which is what a round window in a wall looks like from outside. **It is the same window Mallinātha named at 2.30**, where he glossed जालमार्ग with गवाक्षविवर, the opening of the lattice, and the moonbeams came in through it. There the light got in and she turned away from it; here the cloud fills it and she looks

  • √वच् + तुमुन्

    वक्तुम्

    printed वक्तुं

    √वच् with तुमुन्

    to speak — the infinitive, and it is here because of the verb it depends on. Pāṇini 3.4.65 शकधृषज्ञाग्लाघटरभलभक्रमसहार्हास्त्यर्थेषु तुमुन् puts तुमुन् on a root when a verb of eleven named kinds follows, and **क्रम् is one of the eleven**: so वक्तुं प्रक्रमेथाः is the sūtra's own case. **DCS tags it `pos=vi` with no affix named**, exactly as it tagged कर्तुम् at 2.21, and `scripts/draft-analysis.ts`, which has only क्त्वा and ल्यप् for that tag, wrote ल्यप् — an absolutive — for the second time in the canto

  • a-stem masculine, प्रथमा एकवचन nominative singular

    धीरः

    printed धीरस्तनितवचनैर्मानिनीं

    धीर

    steady — a nominative describing the cloud, and Mallinātha keeps it separate from what follows: धीरो धैर्यविशिष्टश्च सन्. **The printed run would let a reader compound it** — धीरस्तनितवचनैः, *with words of grave thunder* — and both witnesses divide it the other way. He gives the reason: अन्यथाशीलत्वादिनैतदनाश्वासनप्रसङ्गादिति भावः, otherwise, being of a different character, it would fail to reassure her. So steadiness is a quality of the messenger and not of the noise

  • a-stem neuter, तृतीया बहुवचन instrumental plural

    स्तनितवचनैः

    printed धीरस्तनितवचनैर्मानिनीं

    वचन

    words — an instrumental of means with the infinitive: the thing spoken with. **The whole poem has been arranging for this instrumental.** A cloud has no speech; the compound gives it one by declaring that its thunder *is* words, and the case ending then does the rest

    Then the thunder is given back. स्तनितवचनैः: thunderings that are words, स्तनितान्येव वचनानि तैः, which is Mallinātha's vigraha and not a comparison — the two are not likened, they are identified. One stanza forbids the sound because it would wake her; this one makes it the voice, because she is awake. The poem has spent sixty-odd verses arranging for a cloud to be able to speak, and this instrumental plural is where it happens: a cloud has no speech, and the compound gives it one by declaring its thunder to be words, after which the case ending does the rest.

    • Mallinātha, Sañjīvinī — 2.38: stanitavacanaiḥ stanitāny eva vacanāni taiḥ

  • ī-stem feminine, द्वितीया एकवचन accusative singular

    मानिनीम्

    printed धीरस्तनितवचनैर्मानिनीं

    मानिनी

    the proud one — and Mallinātha will not let it mean *sulking*, which is the word's usual force in a love poem. मनस्विनीम्, high-spirited, and then the gloss that decides it: जनानौचित्यासहिष्णुमित्यर्थः, meaning one who will not put up with impropriety from people. **So the epithet is the reason for every instruction in the stanza** — no thunder, no lightning, steadiness — because she is not a woman a stranger may startle

    The epithet at the end is the reason for everything before it. मानिनीम् in a love poem usually means sulking; Mallinātha will not have it. मनस्विनीम् — high-spirited — जनानौचित्यासहिष्णुमित्यर्थः, one who will not put up with impropriety from people. That is why the cloud must not thunder, must hold its lightning, must be steady: she is not a woman a stranger may startle. Three lexicon lines settle the jasmine, the buds and 'along with' out of Amara — सुमना मालती जातिः, क्षारको जालकं क्लीबे कलिका कोरकः पुमान्, साकं सत्रा समं सह — and जालक, the neuter word for a bud here, is neither the window-lattice of 2.30 nor the pearl-net of 2.36, the third thing those three letters mean in nine stanzas.

    • Mallinātha, Sañjīvinī — 2.38: māninīṃ manasvinīm | janānaucityāsahiṣṇum ityarthaḥ | “kṣārako jālakaṃ klībe kalikā korakaḥ pumān”

  • √क्रम्, class 1, विधिलिङ्, atmanepada, second person singular

    प्रक्रमेथाः

    √क्रम् of the first class, with प्र

    set about it — Mallinātha glosses उपक्रमस्व, begin. **He names two things about the form and both are rules.** विध्यर्थे लिङ्: the optative in the sense of an injunction, which is the first of the seven senses Pāṇini 3.3.161 gives it — and at 2.31 he named a different one of the seven for the same affix, प्रार्थनायां लिङ्. And “प्रोपाभ्यां समर्थाभ्याम्” इत्यात्मनेपदम्: Pāṇini 1.3.42, which makes √क्रम् take the middle voice after प्र or उप when they carry their own sense. **That is the first middle form in the poem for which the commentary names the rule**, and there have been ten. The short अ is the other half of it: 7.3.76 क्रमः परस्मैपदेषु lengthens क्रम् to क्राम् in the active only, so a middle form keeps क्रम्

    The waking is done by the book, and Mallinātha names the book's author. यथाह भोजराजः — as Bhoja says — and the verse: with gentle rubbing at the feet, cool fanning at the breast, and sweet songs at the ears, one should wake a master from sleep. The cloud's cold breath is the fanning; its thunder will be the singing. What that makes her is a प्रभु, a master, and he says the stanza conveys as much without saying it. It is the first time a named author rather than a treatise stands behind a reading in either canto.

    • Mallinātha, Sañjīvinī — 2.38: yathāha bhojarājaḥ — “… śītalair vyajanaiḥ stanau … prabodhayet”

ताम् · स्वजलकणिकाशीतलेन · अनिलेन · उत्थाप्य · अभिनवैः · मालतीनाम् · जालकैः · समम् · प्रत्याश्वस्ताम् · त्वत्सनाथे · गवाक्षे · स्तिमितनयनाम् · मानिनीम् · विद्युद्गर्भः · धीरः · स्तनितवचनैः · वक्तुम् · प्रक्रमेथाः

uncheckedMallinātha, Sañjīvinī, whose commentary runs as anvaya. **Nothing has to be supplied**, for the second stanza running: the cloud is the subject of प्रक्रमेथाः and everything else hangs off it. He does add a सन् beside धीरः and प्रियाम् beside ताम्, but both are glosses. What he moves is the third pāda's विद्युद्गर्भः, which the verse prints first of the four words and he takes to the very end, next to धीरः — so that the two things the cloud is to be, lightning-holding and steady, stand together in front of the verb they qualify“tāṃ priyāṃ svasya jalakaṇikābhir jalabindubhiḥ śītalenānilenotthāpya prabodhya … abhinavair nūtanair mālatīnāṃ jālakaiḥ samaṃ jātīmukulaiḥ saha … pratyāśvastāṃ susthitām … tvatsanāthe tvatsahite … gavākṣe stimitanayanāṃ … māninīṃ manasvinīm … vidyudgarbho 'ntaḥstho yasya sa vidyudgarbhaḥ … dhīro dhairyaviśiṣṭaś ca san | stanitavacanaiḥ stanitāny eva vacanāni tair vaktuṃ prakramethā upakramasva”

the dependency structure

प्रक्रमेथाः · क्रिया — set about it, begin, उपक्रमस्व; the stanza's one finite verb, an optative in the sense of an injunction (विध्यर्थे लिङ्). It is middle-voice by rule, √क्रम् taking ātmanepada after प्र when the preverb carries its own sense; and it governs the infinitive वक्तुम्, so the whole stanza is the instruction to begin to speak

उत्थाप्य · पूर्वकालक्रिया — having waked her, प्रबोध्य; a causative absolutive, so the cloud makes her get up rather than gets up itself

ताम् · कर्म — her, तां प्रियाम्; the first word of the stanza, with no noun for it anywhere in the verse — all of what she is was said in the ten stanzas before

अनिलेन · करण — with a breeze; the instrument of the waking, a wind that is also breath

स्वजलकणिकाशीतलेन · agreeing with अनिलेन — cool with your own beads of water; the cold breath is a fanning

विद्युद्गर्भः · विशेषण of the cloud — with the lightning held inside, अन्तःस्थविद्युत्; an order dressed as a description, so a flash will not strike her sight and stop her looking at the speaker's face

धीरः · विशेषण of the cloud — steady, धैर्यविशिष्टः सन्; a quality of the messenger and not of the noise, kept apart from स्तनित- so the two do not compound

स्तनितवचनैः · करण — with thunder for words, स्तनितान्येव वचनानि; not thunder compared to words but declared to be them, which is the instrument that lets a cloud speak

वक्तुम् · तुमुन् — to speak; the infinitive प्रक्रमेथाः governs, वक्तुं प्रक्रमेथाः

मानिनीम् · कर्म — the proud one, मनस्विनीम्; not sulking but high-spirited, one who will not put up with impropriety — whom to speak to

प्रत्याश्वस्ताम् · agreeing with मानिनीम् — brought round, सुस्थिताम्, and breathing again, पुनरुच्छ्वसिताम्; a कर्तरि क्त, so she has recovered rather than been recovered

समम् · — along with, सह; what it joins is a woman and a flower — she comes round at the same moment the buds open

जालकैः · — with the buds, मुकुलैः; जालक is the neuter word for a bud, not the lattice it was at 2.30 nor the net of 2.36

अभिनवैः · agreeing with जालकैः — brand-new, नूतनैः; the newness immediate, which puts them at the same instant as her waking

मालतीनाम् · षष्ठी — of the jasmines, जातीनाम्; the flower that opens at night, so it can wake when she does

स्तिमितनयनाम् · agreeing with मानिनीम् — with her eyes gone still, निश्चलनेत्राम्; motionless with wonder — कोऽसाविति, who is this? — where at 2.35 the eye was the omen's subject

गवाक्षे · अधिकरण — at the latticed window; the same गवाक्ष Mallinātha named at 2.30, where the moonbeams came in and she turned away — here the cloud fills it and she looks

त्वत्सनाथे · agreeing with गवाक्षे — with you in it, त्वत्सहिते; सनाथ is 'with a protector', so the window has somebody looking after it

uncheckedMallinātha’s Sañjīvinī for the anvaya and the reading, which needs nothing supplied; he times the waking by Bhoja's verse (शीतलैर्व्यजनैः … प्रबोधयेत्), reads विद्युद्गर्भः and धीरः as orders with reasons (a flash would block her looking; else no reassurance), keeps धीरः from compounding with स्तनित-, identifies स्तनित with वचन rather than likening them, glosses मानिनीम् as मनस्विनीम् (जनानौचित्यासहिष्णुम्), names प्रक्रमेथाः a विध्यर्थ लिङ् middle by प्रोपाभ्याम्, प्रत्याश्वस्ताम् a कर्तरि क्त, and वक्तुम् a तुमुन् licensed by क्रम्; the Telugu drawn from Vedam Venkataraya Sastri’s Āndhra Meghasandeśam. The tree roots at प्रक्रमेथाः, the injunction the whole stanza builds to.

Wake her with a breeze made cool by your own beads of water. When she has come round — and the jasmine buds open at the same moment — stand in the window with your lightning held inside you, and steadily, when she is looking at you with eyes gone still, begin to speak to her, that proud woman, with thunder for words. **The waking is done by the book, and Mallinātha names the book's author.** यथाह भोजराजः — as Bhoja says — and the verse: *with gentle rubbing at the feet, cool fanning at the breast, and sweet songs at the ears, one should wake a master from sleep.* The cloud's cold breath is the fanning; its thunder will be the singing. **What that makes her is a प्रभु, a master**, and he says the stanza conveys as much without saying it. It is the first time a named author rather than a treatise stands behind a reading in either canto. **Two of the stanza's compounds are instructions dressed as descriptions.** विद्युद्गर्भः, *with the lightning inside*, is not a picture but an order, and Mallinātha gives the reason: दृष्टिप्रतिघातेन वक्तुर्मुखावलोकनप्रतिबन्धकत्वात् — a flash would strike her sight and stop her looking at the speaker's face. And धीरः, steady, has its reason too: otherwise the messenger would not reassure. **Together with the स्तनितविमुखः of 2.37 that is three prohibitions in two stanzas** — do not roar, do not shine, do not be anything but calm — and all three are put as qualities rather than commands. **Then the thunder is given back.** स्तनितवचनैः: *thunderings that are words*, which is Mallinātha's vigraha and not a comparison. One stanza forbids the sound because it would wake her; this one makes it the voice, because she is awake. The poem has spent sixty-odd verses arranging for a cloud to be able to speak, and this instrumental plural is where it happens. **Three lexicon lines settle three words of one pāda**, all from Amara: सुमना मालती जातिः for the jasmine, साकं सत्रा समं सह for *along with*, and क्षारको जालकं क्लीबे कलिका कोरकः पुमान् for the buds — जालक being the neuter word among four for a bud, and not the lattice it was at 2.30 or the net it was at 2.36. Two more come from the Śabdārṇava, for सनाथ and for गर्भ. **And the epithet at the end is the reason for everything before it.** मानिनीम् in a love poem usually means *sulking*; Mallinātha will not have it. मनस्विनीम् — high-spirited — जनानौचित्यासहिष्णुमित्यर्थः, one who will not put up with impropriety from people. That is why the cloud must not thunder, must not flash, and must be steady: it is a stranger at a window at night. No figure is named.

uncheckedthe reader's reading, following Mallinātha, Sañjīvinī's gloss. His are: प्रबोध्य for उत्थाप्य, the vigraha of स्वजलकणिकाशीतलेन with the Bhoja verse and the remark about her being a master, नूतनैः and जातीमुकुलैः with three Amara lines, सुस्थिताम् and पुनरुच्छ्वसिताम् with श्वसेः कर्तरि क्तः and कुसुमसौकुमार्यं गम्यते, त्वत्सहिते with the Śabdārṇava, कोऽसाविति विस्मयान्निश्चलनेत्राम्, the vigraha of विद्युद्गर्भः with the Śabdārṇava and the reason for holding the lightning in, धैर्यविशिष्टश्च सन् with its reason, मनस्विनीम् and जनानौचित्यासहिष्णुम्, स्तनितान्येव वचनानि, and उपक्रमस्व with विध्यर्थे लिङ् and “प्रोपाभ्यां समर्थाभ्याम्”. That the three prohibitions of 2.37 and 2.38 are all put as qualities, that स्तनित is forbidden in one stanza and made the voice in the next, and that जालक is the third thing those letters have meant in nine stanzas, are the reader's. Neither Bhoja's verse nor the Śabdārṇava is in this repository and neither can be checked“yathāha bhojarājaḥ “mṛdubhir mardanaiḥ pāde śītalair vyajanaiḥ stanau | śrutau ca madhurair gītair nidrāto bodhayet prabhum””

Wake her with a breeze made cool by your own beads of water. When she has come round — and the jasmine buds open at the same moment — stand in the window with your lightning held inside you, and steadily, when she is looking at you with eyes gone still, begin to speak to her, that proud woman, with thunder for words. The stanza is the hinge the whole poem has been turning toward: after a hundred and some verses of a cloud that could only go and look, it is finally told to speak — and every instruction around the command is a way of making a raincloud gentle enough to be heard.

  • Mallinātha, Sañjīvinī — 2.38, whole-verse gloss

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