printलघुसिद्धान्तकौमुदी — practise the grammar

मेघदूतम् · कालिदास · 2.40

संदेश · she looks up, as Sītā looked

इत्याख्याते पवनतनयं मैथिलीवोन्मुखी सा

इ
त्या
ख्या
ते
प
व
न
त
न
यं
मै
थि
ली
वो
न्मु
खी
सा

त्वामुत्कण्ठोच्छ्वसितहृदया वीक्ष्य संभाव्य चैव

त्वा
मु
त्क
ण्ठो
च्छ्व
सि
त
हृ
द
या
वी
क्ष्य
सं
भा
व्य
चै
व

श्रोष्यत्यस्मात् परमवहिता सौम्य सीमन्तिनीनां

श्रो
ष्य
त्य
स्मा
त्प
र
म
व
हि
ता
सौ
म्य
सी
म
न्ति
नी
नां

कान्तोदन्तः सुहृदुपनतः सङ्गमात्किंचिदूनः

का
न्तो
द
न्तः
सु
हृ
दु
प
न
तः
स
ङ्ग
मा
त्किं
चि
दू
नः

pāda a

  • इguruthe conjunct त्य that follows it
  • त्याguruits long vowel आ
  • ख्याguruits long vowel आ
  • तेguruits long vowel ए
  • पlaghuits short vowel, with a single consonant after it
  • वlaghuits 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
  • नlaghuits short vowel, with a single consonant after it
  • यंguruthe anusvāra it carries
  • मैguruits long vowel ऐ
  • थिlaghuits short vowel, with a single consonant after it
  • लीguruits long vowel ई
  • वोguruits long vowel ओ
  • न्मुlaghuits short vowel, with a single consonant after it
  • खीguruits long vowel ई
  • साguruits long vowel आ
  • yati after 4 — a word ends here — इत्याख्याते
  • yati after 10 — a word ends here — पवनतनयं

pāda b

  • त्वाguruits long vowel आ
  • मुguruthe conjunct त्क that follows it
  • त्कguruthe conjunct ण्ठ that follows it
  • ण्ठोguruits long vowel ओ
  • च्छ्वlaghuits short vowel, with a single consonant after it
  • सिlaghuits short vowel, with a single consonant after it
  • तlaghuits short vowel, with a single consonant after it
  • हृlaghuits short vowel, with a single consonant after it
  • दlaghuits short vowel, with a single consonant after it
  • याguruits long vowel आ
  • वीguruits long vowel ई
  • क्ष्यlaghuits short vowel, with a single consonant after it
  • संguruthe anusvāra it carries
  • भाguruits long vowel आ
  • व्यlaghuits short vowel, with a single consonant after it
  • चैguruits long vowel ऐ
  • वlaghuits short vowel — light on its own, though the pāda ends here
  • yati after 4 — it falls inside the compound उत्कण्ठोच्छ्वसितहृदया
  • yati after 10 — a word ends here — त्वामुत्कण्ठोच्छ्वसितहृदया

pāda c

  • श्रोguruits long vowel ओ
  • ष्यguruthe conjunct त्य that follows it
  • त्यguruthe conjunct स्म that follows it
  • स्माguruits long vowel आ
  • त्पlaghuits short vowel, with a single consonant after it
  • रlaghuits short vowel, with a single consonant after it
  • मlaghuits short vowel, with a single consonant after it
  • वlaghuits short vowel, with a single consonant after it
  • हिlaghuits short vowel, with a single consonant after it
  • ताguruits long vowel आ
  • सौguruits long vowel औ
  • म्यlaghuits short vowel, with a single consonant after it
  • सीguruits long vowel ई
  • मguruthe conjunct न्त that follows it
  • न्तिlaghuits short vowel, with a single consonant after it
  • नीguruits long vowel ई
  • नांguruthe anusvāra it carries
  • yati after 4 — a word ends here — श्रोष्यत्यस्मात्
  • yati after 10 — a word ends here — परमवहिता

pāda d

  • काguruits long vowel आ
  • न्तोguruits long vowel ओ
  • दguruthe conjunct न्त that follows it
  • न्तःguruthe visarga it carries
  • सुlaghuits short vowel, with a single consonant after it
  • हृlaghuits short vowel, with a single consonant after it
  • दुlaghuits short vowel, with a single consonant after it
  • पlaghuits short vowel, with a single consonant after it
  • नlaghuits short vowel, with a single consonant after it
  • तःguruthe visarga it carries
  • सguruthe conjunct ङ्ग that follows it
  • ङ्गlaghuits short vowel, with a single consonant after it
  • माguruits long vowel आ
  • त्किंguruthe anusvāra it carries
  • चिlaghuits short vowel, with a single consonant after it
  • दूguruits long vowel ऊ
  • नःguruthe visarga it carries
  • yati after 4 — a word ends here — कान्तोदन्तः
  • yati after 10 — a word ends here — सुहृदुपनतः

  • इति + आख्याते → इत्याख्याते

    इ + आ

  • पवनतनयम् + मैथिली → पवनतनयं

    म् + म्

  • मैथिली + इव → मैथिलीवोन्मुखी

    ई + इ → ई

  • इव + उन्मुखी → मैथिलीवोन्मुखी

    अ + उ → ओ

  • त्वाम् + उत्कण्ठोच्छ्वसितहृदया → त्वामुत्कण्ठोच्छ्वसितहृदया

    म् + उ

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

  • च + एव → चैव

    अ + ए → ऐ

  • श्रोष्यति + अस्मात् → श्रोष्यत्यस्मात्

    इ + अ

  • परम् + अवहिता → परमवहिता

    म् + अ

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

  • सीमन्तिनीनाम् + कान्तोदन्तः → सीमन्तिनीनां

    म् + क्

  • सङ्गमात् + किंचित् → सङ्गमात्किंचिदूनः

    त् + क्

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

  • किंचित् + ऊनः → सङ्गमात्किंचिदूनः

    त् + ऊ

  • उत्कण्ठा + उच्छ्वसित → उत्कण्ठोच्छ्वसितहृदया

    आ + उ → ओ · falls inside the syllable ण्ठो

  • उच्छ्वसित + हृदया → उत्कण्ठोच्छ्वसितहृदया

    अ + ह्

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

  • कान्त + उदन्त → कान्तोदन्तः

    अ + उ → ओ · falls inside the syllable न्तो

  • सुहृद् + उपनत → सुहृदुपनतः

    द् + उ

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

इति + आख्याते makes इत्याख्याते: the इ becomes य् before the vowel आ by Pāṇini 6.1.77 इको यण्अचि, the same join that makes श्रोष्यति + अस्मात् into श्रोष्यत्यस्मात्. च + एव makes चैव, अ and ए giving ऐ by 6.1.88 वृद्धिरेचि. A word-final म् becomes anusvāra before a consonant by 8.3.23 मोऽनुस्वारः — पवनतनयं मैथिली, सीमन्तिनीनां कान्तोदन्तः — and is kept before a vowel, त्वामुत्कण्ठ°, परमवहिता. किंचित् + ऊनः makes किंचिदूनः, the final त् voicing to द् before the vowel by 8.2.39 झलां जशोऽन्ते. Inside the compounds अ and उ make ओ by 6.1.87 आद्गुणः — उत्कण्ठा + उच्छ्वसित as उत्कण्ठोच्छ्वसित°, कान्त + उदन्त as कान्तोदन्तः — and the same गुण joins इव + उन्मुखी to ओ while मैथिली + इव lengthens ई + इ to ई by 6.1.101 अकः सवर्णे दीर्घः, the two hidden in the printed मैथिलीवोन्मुखी.

  • Chinnaya Sūri, Bālavyākaraṇam — సంధిపరిచ్ఛేదము; vendor/balavyakaranam-sandhi.txt
  • Aṣṭādhyāyī — 6.1.77 इको यण्अचि; 6.1.87 आद्गुणः; 8.3.23 मोऽनुस्वारः

  • आख्याते सप्तमी · locative — अधिकरण, the location

  • पवनतनयम् द्वितीया · accusative — कर्म, the object

  • मैथिली प्रथमा · nominative — कर्ता, the agent

  • उन्मुखी प्रथमा · nominative — कर्ता, the agent

  • सा प्रथमा · nominative — कर्ता, the agent

    with उत्कण्ठोच्छ्वसितहृदया

  • त्वाम् द्वितीया · accusative — कर्म, the object

  • अस्मात् पञ्चमी · ablative — अपादान, the point of departure

  • अवहिता प्रथमा · nominative — कर्ता, the agent

  • सौम्य सम्बोधन · vocative — the one addressed

  • सीमन्तिनीनाम् षष्ठी · genitive — the word for a woman built on the parting of her hair

    सीमन्तिनीनाम्, 'of women', is the genitive plural of सीमन्तिनी, which literally means *she who has a parting in her hair* — from सीमन्त, the line where the hair is divided. Mallinātha glosses it plainly वधूनाम् and quotes Amara, नारी सीमन्तिनी वधूः, three words for a woman. So the general truth of the fourth pāda is stated in a word about hair, one stanza before the loosed braids the cloud hurries travellers home to, and the plural with the genitive together are what make the line a rule and not a remark.

    • Mallinātha, Sañjīvinī — 2.40: sīmantinīnāṃ vadhūnām || “nārī sīmantinī vadhūḥ” ity amaraḥ

  • कान्तोदन्तः प्रथमा · nominative — कर्ता, the agent

    with सुहृदुपनतः

  • सङ्गमात् पञ्चमी · ablative — अपादान, the point of departure

  • ऊनः प्रथमा · nominative — कर्ता, the agent

प्रकरण 1 · हलन्त्यम्

प्रकरण 2 · इको यणचि

प्रकरण 3 · स्तोः श्चुना श्चुः

प्रकरण 4 · वा शरि

प्रकरण 5 · अर्थवदधातुरप्रत्ययः प्रातिपदिकम्

प्रकरण 8 · हो ढः

प्रकरण 11 · स्वरादिनिपातमव्ययम्

प्रकरण 12 · लः कर्मणि च भावे चाकर्मकेभ्यः

प्रकरण 13 · अदिप्रभृतिभ्यः शपः

प्रकरण 14 · जुहोत्यादिभ्यः श्लुः

प्रकरण 21 · सत्यापपाशरूपवीणातूलश्लोकसेनालोमत्वचवर्मवर्णचूर्णचुरादिभ्यो णिच्

प्रकरण 34 · ण्वुल्तृचौ

प्रकरण 36 · तुमुन्ण्वुलौ क्रियायां क्रियार्थायाम्

प्रकरण 48 · शेषे

प्रकरण 59 · इवे प्रतिकृतौ

प्रकरण 60 · स्त्रियाम्

not in the abridgement

उत्कण्ठोच्छ्वसितहृदया

उत्कण्ठा · उच्छ्वसित · हृदया

  1. उत्कण्ठया उच्छ्वसितम्

    तत्पुरुष (instrumental) — opened out by longing

  2. उत्कण्ठोच्छ्वसितं हृदयं यस्याः सा

    बहुव्रीहि — she whose heart longing has opened out

बहुव्रीहि — it refers to सा. with her heart opening out in longing — Mallinātha glosses उत्कण्ठया औत्सुक्येन उच्छ्वसितहृदया विकसितचित्ता सती, her mind unfolded by eagerness. **उच्छ्वसित is breathing out, and then anything that swells**, so the heart does what a bud does; विकसित in the gloss is the word for a flower opening. Two stanzas ago the jasmine buds opened at the moment she came round, and this compound says the same thing of the woman without the flower

uncheckedMallinātha, Sañjīvinī, who glosses उत्कण्ठयौत्सुक्येनोच्छ्वसितहृदया विकसितचित्ता सती; DCS gives the members as उत्कण्ठा and उच्छ्वस् with हृदय as the head, lemmatising the last in the neuter with `g=f`, so that `scripts/draft-analysis.ts` returned no stem class for it“unmukhy utkaṇṭhayautsukyenocchvasitahṛdayā vikasitacittā satī”

कान्तोदन्तः

कान्त · उदन्त

  1. कान्तस्य उदन्तः

    तत्पुरुष (genitive) — news of the beloved

तत्पुरुष. word of her love — Mallinātha gives the vigraha in three words, कान्तस्योदन्तो वार्ता, and quotes Amara for the last member: वार्ता प्रवृत्तिर्वृत्तान्त उदन्तः स्यात्, four words for news. **उदन्त is the plainest of them** — literally *what has come up* — and choosing it keeps the line from claiming more than it should: what she gets is not a meeting but a report

uncheckedMallinātha, Sañjīvinī, who glosses कान्तस्योदन्तो वार्ता कान्तोदन्तः and cites “वार्ता प्रवृत्तिर्वृत्तान्त उदन्तः स्यात्” इत्यमरः; DCS gives the members as कान्त and उदन्त“kāntasyodanto vārtā kāntodantaḥ || “vārtā pravṛttir vṛttānta udantaḥ syāt” ity amaraḥ”

सुहृदुपनतः

सुहृद् · उपनत

  1. सुहृदा उपनतः

    तत्पुरुष (instrumental) — brought by a friend

तत्पुरुष — it agrees with कान्तोदन्तः. come by way of a friend — Mallinātha glosses सुहृदा सुहृन्मुखेन उपनतः प्राप्तः सन्, arrived through a friend's mouth. **And then he says why the word is there**: सुहृत्पदं विप्रलम्भशङ्कानिवारणार्थम्, the word *friend* is used to remove the fear of a trick. News from a stranger might be a deception; news from a friend is not. **That is the second word in two stanzas chosen to stop a suspicion**, after the अविधवे of 2.39, which he read as forestalling the fear that the husband was dead

uncheckedMallinātha, Sañjīvinī, who glosses सुहृदा सुहृन्मुखेनोपनतः प्राप्तः सन् and adds सुहृत्पदं विप्रलम्भशङ्कानिवारणार्थम्; DCS gives the members as सुहृद् and उपनम्, marking the second a participle. The pairing with 2.39's अविधवे is the reader's“suhṛdā suhṛnmukhenopanataḥ prāptaḥ san | suhṛtpadaṃ vipralambhaśaṅkānivāraṇārtham”

  • अव्यय

    इति

    printed इत्याख्याते

    इति

    so — and what it closes is the whole of 2.39, the one stanza of the message that has been spoken. Mallinātha expands it to इत्येवम्, *in this way*. **The particle is the seam between the message and the frame**: on one side the cloud is speaking, on the other the yakṣa is instructing again

  • √ख्या + क्त, सप्तमी एकवचन locative singular

    आख्याते

    printed इत्याख्याते

    आख्यात, from √ख्या with आ and क्त

    this having been said — the second half of a locative absolute, and Mallinātha supplies the सति as he has each time. **The absolute is impersonal**: not *you having said* but *it having been said*, so the neuter carries a whole speech and nobody has to be named as its speaker. It is the third locative absolute in six stanzas, after त्वय्यासन्ने at 2.35 and स्वप्नलब्धे at 2.37

  • a-stem masculine, द्वितीया एकवचन accusative singular

    पवनतनयम्

    printed पवनतनयं

    पवनतनय

    the son of the wind — Mallinātha names him: हनूमन्तम्. **The word is a patronymic used as a name**, and it is doing double duty: the cloud is carried by the wind too, so the messenger in the comparison and the messenger in the poem are moved by the same thing. DCS lemmatises the whole compound as one word and marks no members, which is right — it is a name

  • ī-stem feminine, प्रथमा एकवचन nominative singular

    मैथिली

    printed मैथिलीवोन्मुखी

    मैथिली

    the princess of Mithilā — Sītā, whom Mallinātha names outright, सीतेव. **It is the poem's second reference to her**, after the water of 1.1 made holy by her bathing, and the only comparison in either canto that reaches outside the poem for its other half. **And Mallinātha says the comparison does two things at once**: अत्र सीताहनूमदुपाख्यानादस्याः पातिव्रत्यं मेघस्य दूतगुणसम्पत्तिश्च व्यज्यते — by the story of Sītā and Hanumān, her fidelity and the cloud's full complement of a messenger's qualities are both suggested

    The comparison reaches outside the poem, and Mallinātha says it does two jobs at once. मैथिली and पवनतनय are Sītā and Hanumān — the princess of Mithilā looking up at the son of the wind — and this is the only simile in either canto whose other half is a story rather than a thing. अत्र सीताहनूमदुपाख्यानादस्याः पातिव्रत्यं मेघस्य दूतगुणसम्पत्तिश्च व्यज्यते: by the tale of Sītā and Hanumān, her fidelity and the cloud's full complement of a messenger's qualities are both suggested. The one word of comparison credits her with Sītā's constancy and the cloud with everything a messenger to a woman should be — and the cloud, like Hanumān, is carried to her by the wind.

    • Mallinātha, Sañjīvinī — 2.40: maithilīva sīteva sā matpriyā | atra sītāhanūmadupākhyānād asyāḥ pātivratyaṃ meghasya dūtaguṇasampattiś ca vyajyate

  • अव्यय

    इव

    printed मैथिलीवोन्मुखी

    इव

    as — the comparison particle, and what it compares is a whole scene to a whole scene rather than a thing to a thing: her looking up at the cloud to Sītā looking up at Hanumān. **No figure is named for it**, as none was for the lotus at 2.30 or the balance at 2.35. The printed run मैथिलीवोन्मुखी hides two sound changes: ई and इ make ई by Pāṇini 6.1.101 अकः सवर्णे दीर्घः, and then अ and उ make ओ by 6.1.87 आद्गुणः

  • ī-stem feminine, प्रथमा एकवचन nominative singular

    उन्मुखी

    printed मैथिलीवोन्मुखी

    उन्मुखी

    with her face raised — literally *up-faced*, a bahuvrīhi in मुख made feminine in ई. **It is the answer to two stanzas of eyes.** At 2.35 the eye was blocked at the corners by hair and had forgotten how to look aside; at 2.38 it went still with wonder; here the whole face comes up. Mallinātha runs the word into the next in his gloss — उन्मुख्युत्कण्ठया — so the raising of the face and the opening of the heart are one movement

  • pronoun, प्रथमा एकवचन nominative singular

    सा

    तद्

    she — Mallinātha glosses सा मत्प्रिया, *she, my beloved*, which is the gloss he changed to at 2.37 and has kept. **The pronoun is the subject of a future verb three pādas away**, and everything between is what she will be doing when she hears

  • pronoun, द्वितीया एकवचन accusative singular

    त्वाम्

    printed त्वामुत्कण्ठोच्छ्वसितहृदया

    युष्मद्

    you — the cloud, and the object of both absolutives: she will look at you and honour you. **The second person has gone back to the cloud.** In 2.39 it belonged to her, because the cloud was speaking; one stanza later the yakṣa is instructing again and त्वाम् means the messenger

  • ā-stem feminine, प्रथमा एकवचन nominative singular

    उत्कण्ठोच्छ्वसितहृदया

    printed त्वामुत्कण्ठोच्छ्वसितहृदया

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

    heart — the last member of the bahuvrīhi, feminine because it describes her. **The word has been in this canto three times as हृदयनिहित**, of things kept inside; here for once the heart is not holding something but opening. The neuter हृदय is declined as a feminine because the compound describes सा

  • √ईक्ष् + ल्यप्

    वीक्ष्य

    √ईक्ष् with वि

    having looked at you — the absolutive, and the first of the two things she does before she listens. **The root has stood twice in this canto as प्रेक्ष्य**, at 2.16 and 2.17, of the cloud looking at things; here it is she who looks, and at the cloud. The affix is ल्यप् because वि stands in front, by Pāṇini 7.1.37

  • √भू + ल्यप्

    संभाव्य

    √भू in णिच् with सम्

    having done you honour — Mallinātha glosses सत्कृत्य, having received with respect. **The root is √भू in the causative**, so the literal force is *having made much of you*: to honour a guest is to make him larger. It is what a household does to a messenger, and it is the last courtesy left in a house where nothing else is being kept up

  • अव्यय

    च

    printed चैव

    च

    and — joining the two absolutives, and Mallinātha keeps it where it stands, सम्भाव्य सत्कृत्य च. **The stanza standing above his comment reads चैवम्** where this text reads चैव; both scan, and his own gloss opens इत्येवम्, which would make a second एवम् in the pāda redundant

  • अव्यय

    एव

    printed चैव

    एव

    indeed — and Mallinātha attaches it not to the absolutives but to the verb two pādas later: श्रोष्यत्येव, *she will certainly listen*. **So the particle is doing its work at a distance**, which is what a Sanskrit stanza can afford and an English sentence cannot. The printed चैव is च with एव after it: अ and ए make ऐ by Pāṇini 6.1.88 वृद्धिरेचि

  • √श्रु, class 5, लृट्, parasmaipada, third person singular

    श्रोष्यति

    printed श्रोष्यत्यस्मात्

    √श्रु of the fifth class

    she will listen — **the stanza's one finite verb, and the fourth future in eight stanzas.** मोचयिष्यति at 2.33, एष्यति at 2.35, यास्यति at 2.36 and this: all four predict what the cloud's arrival will bring about, and this is the first that is about what she will *do* rather than what will happen to her body

    The frame closes over the message after one stanza. 2.39 was the cloud speaking; इति at the head of this verse shuts the quotation, and the second person goes back to being the cloud — त्वाम् here is the messenger she looks at, where in 2.39 it was she. The poem has said one sentence of its message and stopped to describe the effect: she will look up, her heart will open, she will do the cloud honour, and then, with her whole mind, she will listen. The verb is a future, the fourth in eight stanzas, and the first that is about what she will do rather than what will happen to her body.

    • Mallinātha, Sañjīvinī — 2.40: avahitā apramattā satī śroṣyaty eva

  • pronoun, पञ्चमी एकवचन ablative singular

    अस्मात्

    printed श्रोष्यत्यस्मात्

    इदम्

    after this — an ablative with परम्, and Mallinātha writes the referent in: अस्माद् भर्तृमैत्रीज्ञापनात्, from this making known of the friendship with her husband. **So the pronoun points at the whole of 2.39**, as the तस्मिन् of 2.37 pointed at an hour and the इत्थंभूताम् of 2.34 at eight stanzas. The poem keeps gathering stretches of itself into single words

  • अव्यय

    परम्

    printed परमवहिता

    परम्

    after — the indeclinable that governs an ablative and means *later than*. Mallinātha keeps it with the pronoun, अस्मात्परम्, and adds what she will hear: सर्वं श्रोतव्यम्, everything that is to be told

  • √धा + क्त, प्रथमा एकवचन nominative singular

    अवहिता

    printed परमवहिता

    अवहिता, from √धा with अव and क्त

    attentive — Mallinātha glosses अप्रमत्ता, not letting her mind wander. **The root is √धा again and hidden the same way**: धा gives हित before क्त, so अवहित is *put down towards*, a mind set on a thing. It is the third participle of this root in two stanzas, after निहितैः at 2.39, and the poem's word for attention is literally the word for laying something in place

  • a-stem masculine, सम्बोधन एकवचन vocative singular

    सौम्य

    सौम्य

    gentle one — Mallinātha glosses साधो, *good sir*, exactly as he did at 2.20. **It is the nineteenth vocative in the corpus and the third of this word**, after 1.51 and 2.26; and it comes one stanza after अविधवे, which was the cloud's address to her. So two stanzas running open with a vocative and the speakers are different

  • ī-stem feminine, षष्ठी बहुवचन genitive plural

    सीमन्तिनीनाम्

    printed सीमन्तिनीनां

    सीमन्तिनी

    of women — Mallinātha glosses वधूनाम् and quotes Amara, नारी सीमन्तिनी वधूः. **The word means *she who has a parting in her hair***, from सीमन्त, the line where the hair is divided — so the general truth about women is stated in a word about hair, four stanzas after a braid and one before the braids of 2.39. The plural and the genitive together are what make the line a rule and not a remark

  • a-stem masculine, प्रथमा एकवचन nominative singular

    कान्तोदन्तः

    उदन्त

    news — the subject of the general statement, and Amara's fourth word for it. **The whole fourth pāda is a sentence with no verb**, and what it asserts is a rule: for women, news of a lover brought by a friend is a little short of a meeting. Mallinātha introduces it as an answer to an objection — *what does she gain from merely hearing?* — so the pāda is an argument and not an ornament

    The last pāda is a separate sentence, and Mallinātha introduces it as an argument. ननु वार्तामात्रश्रवणादस्याः को लाभ इत्याशङ्कयार्थान्तरमुपन्यस्यति — *but what does she gain from merely hearing news?* Anticipating that, the poet adduces another matter: for women, कान्तोदन्तः, word of the beloved (Mallinātha glosses कान्तस्योदन्तो वार्ता), brought by a friend, is सङ्गमात् किंचित् ऊनः, a little short of a meeting. The whole consolation rests on the smallest word in the stanza, किंचित् — ईषत्, slightly — and he draws the conclusion himself: तद्वदेवानन्दकारीत्यर्थः, it gives joy just as a meeting does. A message is a meeting minus a little.

    • Mallinātha, Sañjīvinī — 2.40: nanu vārtāmātraśravaṇād asyāḥ ko lābha ity āśaṅkayārthāntaram upanyasyati | kiṃcid ūna īṣad ūnas tadvad evānandakārīty arthaḥ

  • √नम् + क्त, प्रथमा एकवचन nominative singular

    सुहृदुपनतः

    उपनत, from √नम् with उप and क्त

    come to hand — Mallinātha glosses प्राप्तः, arrived, and adds a सन् to make it circumstantial. **It is the same root and preverb as the उपनमेत् of 2.31**, where she asked *how could being with him come to me, even in a dream?* — nine stanzas apart, the wish and the thing that answers it, in one verb of inclining towards

    Two stanzas running, a word is chosen to stop a fear. At 2.39 अविधवे forestalled the fear that the husband was dead; here सुहृत् does the same for a different fear. Mallinātha gives the reason outright: सुहृत्पदं विप्रलम्भशङ्कानिवारणार्थम्, the word *friend* is used to remove the suspicion of a trick. News from a stranger at a window at night could be a deception; news brought by a friend is not. The compound सुहृदुपनतः, *come by way of a friend*, he glosses सुहृदा सुहृन्मुखेन उपनतः प्राप्तः — arrived through a friend's mouth — and the message is being built, word by first word, to be believed.

    • Mallinātha, Sañjīvinī — 2.40: suhṛdā suhṛnmukhenopanataḥ prāptaḥ san | suhṛtpadaṃ vipralambhaśaṅkānivāraṇārtham

  • a-stem masculine, पञ्चमी एकवचन ablative singular

    सङ्गमात्

    printed सङ्गमात्किंचिदूनः

    सङ्गम

    than a meeting — an ablative of comparison, which is the case a thing is measured against. Mallinātha glosses कान्तसम्पर्कात्, than contact with the beloved. **The word is what the whole poem is about not having**, and it appears here only to be fallen short of by a little

  • अव्यय

    किंचित्

    printed सङ्गमात्किंचिदूनः

    किंचित्

    a little — Mallinātha glosses ईषत्, slightly. **It is the word the whole consolation rests on and it is the smallest in the stanza.** Say *much short of a meeting* and the message is worth little; say *a little short* and it is worth almost everything. He draws the conclusion himself: तद्वदेवानन्दकारीत्यर्थः, meaning it gives joy just as a meeting does

  • a-stem masculine, प्रथमा एकवचन nominative singular

    ऊनः

    printed सङ्गमात्किंचिदूनः

    ऊन

    short of it — the predicate, and the last word of the stanza. ऊन is what is lacking, the word used of a number that falls below another; it governs the ablative in front of it. **The poem's whole proposition about itself is in these three words**: a message is a meeting minus a little

इति · आख्याते · सति [supplied] · पवनतनयम् · मैथिली · इव · सा · उन्मुखी · उत्कण्ठोच्छ्वसितहृदया · सती [supplied] · त्वाम् · वीक्ष्य · संभाव्य · च · अस्मात् · परम् · अवहिता · श्रोष्यति · एव · सौम्य · सीमन्तिनीनाम् · सुहृदुपनतः · कान्तोदन्तः · सङ्गमात् · किंचित् · ऊनः

uncheckedMallinātha, Sañjīvinī, whose commentary runs as anvaya. **Two words have to be supplied and both are his**, and both are the same word in different genders: सति to close the locative absolute, इत्येवमाख्याते सति, and सती to turn the two epithets of her into a circumstance, उच्छ्वसितहृदया विकसितचित्ता सती त्वां वीक्ष्य — *being so, she looks*. He writes a second सती in beside अवहिता for the same reason and it is the same word again. What he moves is the fourth pāda: he takes सुहृदुपनतः in front of कान्तोदन्तः, so that how the news comes stands before what it is“ity evam ākhyāte sati pavanatanayaṃ hanūmantaṃ maithilīva sīteva sā matpriyā | unmukhy utkaṇṭhayautsukyenocchvasitahṛdayā vikasitacittā satī tvāṃ vīkṣya sambhāvya satkṛtya ca | asmād bhartṛmaitrījñāpanāt paraṃ sarvaṃ śrotavyam | avahitā apramattā satī śroṣyaty eva … he saumya sādho, sīmantinīnāṃ vadhūnām … suhṛdā suhṛnmukhenopanataḥ prāptaḥ san | kāntasyodanto vārtā kāntodantaḥ … saṅgamāt kāntasamparkāt kiṃcid ūna īṣad ūnaḥ”

the dependency structure

श्रोष्यति · क्रिया — she will listen, श्रोष्यति; the stanza's one finite verb, and the fourth future in eight stanzas after मोचयिष्यति, एष्यति and यास्यति — the first that is about what she will *do* and not about what befalls her body. Mallinātha ties एव to it across two pādas, श्रोष्यत्येव, she will certainly listen

सौम्य · सम्बोधन — gentle friend, साधो; the address is to the cloud, one stanza after अविधवे which the cloud spoke to her — two verses running open toward a vocative and the speaker is not the same

एव · अवधारण — indeed; Mallinātha attaches it not to the absolutives beside it but to the verb two pādas off, श्रोष्यत्येव — a particle doing its work at a distance, which a Sanskrit stanza can afford

अस्मात् · अपादान — after this, अस्माद्भर्तृमैत्रीज्ञापनात्; the pronoun points back at the whole of 2.39, the one stanza the cloud has spoken

परम् · — after, later than; the indeclinable that governs the ablative अस्मात्, अस्मात्परं सर्वं श्रोतव्यम्

अवहिता · agreeing with सा — attentive, अप्रमत्ता; √धा laid down again — अवहित is a mind set on a thing, the poem's word for attention being the word for laying something in place

सा · कर्ता — she, मत्प्रिया; the subject of the future verb three pādas away, and everything between is what she is doing when she hears

मैथिली · उपमान — like the princess of Mithilā, सीता; the only comparison in either canto whose other half is a story rather than a thing

इव · — as, सीतेव; the comparison particle, weighing a whole scene against a whole scene

पवनतनयम् · कर्म of the looking in the simile — the son of the wind, हनूमन्तम्; Sītā looked up at Hanumān as she looks up at you, and the cloud and Hanumān are both carried by the wind

उन्मुखी · agreeing with सा — with her face raised, उन्मुखी; the answer to two stanzas of eyes — blocked at 2.35, gone still at 2.38, and here the whole face comes up

उत्कण्ठोच्छ्वसितहृदया · agreeing with सा — her heart opened out by longing, विकसितचित्ता; for once the heart is not holding something in but opening, the way the jasmine buds opened two stanzas ago

सती · agreeing with सा — being so, सती [supplied]; Mallinātha's सती turning the two epithets of her into a circumstance — being like that, she looks

वीक्ष्य · पूर्वकालक्रिया — having looked at, वीक्ष्य; the first of the two things she does before she listens, and now it is she who looks and at the cloud

त्वाम् · कर्म — you, the cloud; the second person has gone back to the messenger, having belonged to her in 2.39 while the cloud spoke

संभाव्य · पूर्वकालक्रिया — having done you honour, सत्कृत्य; √भू in the causative, so the force is to make much of you — the last courtesy left in a house where nothing else is kept up

च · — and; joining the two absolutives, सम्भाव्य सत्कृत्य च

आख्याते · सति सप्तमी — this having been said, इत्येवमाख्याते सति; a locative absolute closing the cloud's one spoken stanza. It is impersonal — not *you having said* but *it having been said* — so the neuter carries a whole speech and no speaker is named

इति · — so, इत्येवम्; the seam between the message and the frame, the particle that shuts the quotation of 2.39

सति · agreeing with आख्याते — [supplied]; Mallinātha's सति completing the absolute, इत्येवमाख्याते सति

uncheckedthe reader's reading, following Mallinātha's Sañjīvinī for the anvaya and the reading, which supplies सति to close the locative absolute and सती to turn her epithets into a circumstance; he glosses श्रोष्यत्येव, हनूमन्तम् and सीतेव with the remark that the tale suggests her fidelity and the cloud's messenger-qualities, विकसितचित्ता for उच्छ्वसितहृदया, सत्कृत्य for सम्भाव्य, अप्रमत्ता for अवहिता, साधो for सौम्य, वधूनाम् with Amara for सीमन्तिनीनाम्, and reads the fourth pāda as अर्थान्तर answering a staged objection (सुहृत्पदं विप्रलम्भशङ्कानिवारणार्थम्; किंचिदून ईषदून). The tree roots at श्रोष्यति, the stanza's one finite verb, and carries the first three pādas — the sentence the verb governs, with the locative absolute इत्याख्याते सति and the Sītā simile on सा; the fourth pāda is a separate verbless sentence, read in the notes. Mallinātha names the shape of अर्थान्तरन्यास (अर्थान्तरमुपन्यस्यति) without naming the figure, so none is written. The Telugu is drawn from Vedam Venkataraya Sastri's Āndhra Meghasandeśam.

When that has been said, she will look up at you as Sītā looked up at the son of the wind, her heart opening out with longing; and having looked at you and done you honour, she will listen to the rest of it with her whole mind. For a woman, gentle friend, word of her love brought by a friend is a little short of a meeting. **The frame closes over the message after one stanza.** 2.39 was the cloud speaking; इति at the head of this verse shuts the quotation, and the second person goes back to being the cloud. The poem has said one sentence of its message and stopped to describe the effect. **The comparison reaches outside the poem, and Mallinātha says it does two jobs.** मैथिली and पवनतनय are Sītā and Hanumān, and this is the only simile in either canto whose other half is a story rather than a thing. अत्र सीताहनूमदुपाख्यानादस्याः पातिव्रत्यं मेघस्य दूतगुणसम्पत्तिश्च व्यज्यते — by the tale of Sītā and Hanumān, **her fidelity and the cloud's full complement of a messenger's qualities** are both suggested. And then he lists the qualities, out of a book: a messenger to a woman should be celibate, strong, steady, able to go unseen, free of pride, intelligent, generous, fearless and eloquent. Nine of them, and the cloud is being credited with all nine by one word of comparison. **Two stanzas running, a word is chosen to stop a fear.** At 2.39 अविधवे forestalled the fear that the husband was dead. Here सुहृत् does the same for a different fear: सुहृत्पदं विप्रलम्भशङ्कानिवारणार्थम्, the word *friend* is there to remove the suspicion of a trick. News from a stranger at a window at night could be a deception; news from a friend is not. **The message is being built to be believed**, and Mallinātha reads each of its first words as removing one objection. **And the last pāda is an argument, introduced as one.** ननु वार्तामात्रश्रवणादस्याः को लाभ इत्याशङ्कयार्थान्तरमुपन्यस्यति — *but what does she gain from merely hearing news?* Anticipating that, he says, the poet **adduces another matter**: for women, word of a lover brought by a friend is a little short of a meeting. That is the shape of अर्थान्तरन्यास, a particular case propped on a general truth, and the words he uses for what the poet does — अर्थान्तरम् उपन्यस्यति — are the figure's own name taken apart. **He does not name the figure**, as he did at 1.3, 1.10 and 2.27, so none is written here. **The consolation rests on the smallest word in the stanza.** किंचित्, *a little* — ईषत् in his gloss — and then the conclusion drawn out: तद्वदेवानन्दकारीत्यर्थः, it gives joy just as a meeting does. A message is a meeting minus a little, and the poem has just spent a hundred and four stanzas making that arithmetic hold.

uncheckedthe reader's reading, following Mallinātha, Sañjīvinī's gloss. His are: इत्येवम् and the supplied सति, हनूमन्तम् and सीतेव with the remark that the tale suggests her fidelity and the cloud's qualities, the messenger's nine qualities quoted from a book the transcription names रसाकर — very likely the रसरत्नाकर he quoted at 2.26 and 2.37, though the run does not assert it — विकसितचित्ता for उच्छ्वसितहृदया, सत्कृत्य for सम्भाव्य, अस्माद्भर्तृमैत्रीज्ञापनात्, अप्रमत्ता for अवहिता, साधो for सौम्य, वधूनाम् with Amara for सीमन्तिनीनाम्, the staged objection and अर्थान्तरमुपन्यस्यति, सुहृत्पदं विप्रलम्भशङ्कानिवारणार्थम्, कान्तस्योदन्तो वार्ता with Amara, and ईषदूनस्तद्वदेवानन्दकारी. That the frame closes over the message here and the second person changes hands, that this is the second word in two stanzas chosen to stop a fear, and that उपनतः answers the उपनमेत् of 2.31, are the reader's. The book of a messenger's qualities is not in this repository and the citation cannot be checked“atra sītāhanūmadupākhyānād asyāḥ pātivratyaṃ meghasya dūtaguṇasampattiś ca vyajyate”

When that has been said, she will look up at you as Sītā looked up at the son of the wind, her heart opening out with longing; and having looked at you and done you honour, she will listen to the rest of it with her whole mind. For a woman, gentle friend, word of her love brought by a friend is a little short of a meeting. This is where the poem's errand becomes speech and then draws breath: the cloud has spoken one stanza, the frame closes over it, and the yakṣa describes what one sentence will do to her before the message begins in earnest — and ends the verse arguing that a message heard is nearly a meeting had.

  • Mallinātha, Sañjīvinī — 2.40, whole-verse gloss

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