*He is far off, and an enemy Fate has shut his road; with his own body — thin, burnt through, in tears, aching, sighing longer still — he enters yours, worn thinner, burnt, melted with weeping, aching without a break, breathing hard; and he enters it by those imaginings of his.*
**The stanza is built of pairs, and the pairs touch.** Six times a word for his body or its state stands beside a word for hers, and the two are the same stem in two cases: अङ्गेन अङ्गं, प्रतनु तनुना, गाढतप्तेन तप्तं, सास्रेण अश्रुद्रुतम्, अविरतोत्कण्ठम् उत्कण्ठितेन, उष्णोच्छ्वासं समधिकतरोच्छ्वासिना. Every instrumental is his and every accusative is hers — Mallinātha settles that with two glosses, **अङ्गेन स्वशरीरेण**, with his own body, and **अङ्गं त्वदीयं शरीरम्**, your body. The order flips from pair to pair, so that the cases interlock rather than run in columns, and the one thing the man cannot do is what the word order does.
**Mallinātha says the two are in the same state, and the words grade them.** His remark is अत्र समरागित्वद्योतनाय नायकेन नायिकायाः समानावस्थत्वमुक्तम् — here, to show that the love is equal, the heroine is said to be in the same condition as the hero. But every pair has an intensifier on one side, and the sides alternate: hers is प्रतनु against his तनु, his गाढतप्त against her तप्त, hers अश्रुद्रुत against his सास्र, hers अविरतोत्कण्ठ against his उत्कण्ठित, his समधिकतरोच्छ्वासिन् against her उष्णोच्छ्वास. Neither wins twice running, and the last word of the five — *breathing more than more* — is his.
**The fourth pāda is there to answer a question.** Mallinātha frames it: न चागन्तुं शक्यत इत्याह, *and he cannot come, so he says this*. दूरवर्ती is how far, and रुद्धमार्गः is why he does not walk it — वैरिणा विधिना, by a Fate that he glosses दैवेन and that the verse calls an enemy. What is left is सङ्कल्प, and Mallinātha will not let विशति stay a verb of motion: **एकीभवतीत्यर्थः**, meaning, he becomes one with her. The touching happens; only not in the world.
**And the pronoun points at nothing.** तैः, *those* imaginings — the verse never says which, and the gloss says why it cannot: तैः स्वसंवेद्यैः, knowable only to the man having them. A message that has been passed from a yakṣa to a cloud to a woman arrives at the one thing that cannot be passed on at all.
**Two affixes are named and one lexicon is quoted.** उत्कण्ठितेन he derives first as a taddhita in इतच् — उत्कण्ठा वेदनास्य जाता, the ache has arisen in him — by 5.2.36, and only then allows the participle DCS assumes; समधिकतरोच्छ्वासिना carries णिनि in the sense of habit, ताच्छील्ये णिनिः, by 3.2.78, so the sighing is not an event but a way of living. And उष्ण is not *hot*: he glosses तीव्र, sharp, and quotes Halāyudha's line of six words for fierceness to prove उष्ण belongs among them — the first time that lexicon has been cited since 1.40, and the first in the second canto. No figure is named.
uncheckedthe reader's reading, following Mallinātha, Sañjīvinī's gloss. His are: दूरस्थः for दूरवर्ती with न चागन्तुं शक्यत इत्याह, विरोधिना for वैरिणा and दैवेन for विधिना, प्रतिबद्धवर्त्मा for रुद्धमार्गः with स ते सहचरः supplied, कृशेन for तनुना and कृशम् for प्रतनुम्, अत्यन्तसन्तप्तेन for गाढतप्तेन, साश्रुणा for सास्रेण, the इतच् derivation of उत्कण्ठित with क्त as the alternative, ताच्छील्ये णिनिः with दीर्घनिःश्वासिना, स्वशरीरेण for अङ्गेन and त्वदीयं शरीरम् for अङ्गम्, अविच्छिन्नवेदनम् for अविरतोत्कण्ठम्, तीव्रनिःश्वासम् for उष्णोच्छ्वासम् with the Halāyudha line, स्वसंवेद्यैः for तैः and मनोरथैः for सङ्कल्पैः, एकीभवतीत्यर्थः for विशति, and the closing समरागित्वद्योतनाय नायकेन नायिकायाः समानावस्थत्वमुक्तम्. That the pairs touch and flip their order, that the intensifiers alternate rather than favour one side, and that the pronoun's vagueness is the point, are the reader's; Pāṇini 1.2.47, 2.2.28, 3.2.78, 5.2.36, 6.3.82, 8.2.40 and 8.4.53 are by way of skt-data's sūtra corpus. Halāyudha's lexicon is not in this repository and the quoted line cannot be checked. The stanza printed above the comment in the copy is corrupt in its second pāda — it reads साश्रेणाश्रुतमविरतोत्कण्ठमुष्कण्ठितेन, a syllable short of Mandākrāntā — and the commentary underneath it glosses the same text `text.md` prints“atra samarāgitvadyotanāya nāyakena nāyikāyāḥ samānāvasthatvam uktam”
He is far off, and an enemy Fate has shut his road; with his own body — thin, burnt through, in tears, aching, sighing longer still — he enters yours, worn thinner, burnt, melted with weeping, aching without a break, breathing hard; and he enters it by those imaginings of his. The stanza is built of pairs that touch: six times a word for his body stands beside the same stem for hers in another case — अङ्गेन अङ्गं, प्रतनु तनुना, गाढतप्तेन तप्तं, and so on — every instrumental his, settled by अङ्गेन स्वशरीरेण, every accusative hers, by अङ्गं त्वदीयं शरीरम्. Mallinātha says the two are in one state — अत्र समरागित्वद्योतनाय नायकेन नायिकायाः समानावस्थत्वमुक्तम्, here, to show that the love is equal, the heroine is said to be in the same condition as the hero — but each pair carries one intensifier and the sides alternate, so neither wins twice running, and the last of the five, *breathing more than more*, is his. विशति he will not leave a verb of motion: एकीभवतीत्यर्थः, he becomes one with her — the touching happens, only not in the world. And तैः points at nothing said, तैः स्वसंवेद्यैः, knowable only to the man having them. No figure is named.
అతడు దూరాన ఉన్నాడు, శత్రువైన విధి అతని దారి మూసింది; తన స్వశరీరంతో — సన్నని, గాఢంగా కాలిన, కన్నీటితో, తపించే, మఱింత దీర్ఘంగా నిట్టూర్చే — నీ శరీరంలోకి ప్రవేశిస్తాడు, అది మఱింత సన్నని, కాలిన, కన్నీటితో కరిగిన, తెగని ఆరాటంతో, వేడి నిట్టూర్పులతో; ఆ సంకల్పాలచేతనే ప్రవేశిస్తాడు. శ్లోకం తాకే జంటలతో అల్లబడింది: ఆఱుసార్లు అతని శరీరపు పదం ఆమెదానికి ప్రక్కన అదే ప్రాతిపదికం మఱో విభక్తిలో నిలుస్తుంది — अङ्गेन अङ्गं, प्रतनु तनुना, गाढतप्तेन तप्तं ఇత్యాది — ప్రతి తృతీయా అతనిది, अङ्गेन स्वशरीरेण చే నిర్ధారితం, ప్రతి ద్వితీయా ఆమెది, अङ्गं त्वदीयं शरीरम् చే. వారిద్దఱూ ఒకే స్థితిలో ఉన్నారని మల్లినాథుడు అంటాడు — अत्र समरागित्वद्योतनाय नायकेन नायिकायाः समानावस्थत्वमुक्तम्, ప్రేమ సమానమని చూపుటకు హీరోతో సమానస్థితిలో హీరోయిన్ ఉన్నట్లు చెప్పబడింది — కానీ ప్రతి జంటలో ఒక అతిశయపదం ఉంది, పక్షాలు మాఱుతాయి, కావున ఎవఱూ వఱుసగా రెండుసార్లు గెలవరు, ఐదింటిలో చివఱిది, *మఱింత ఎక్కువగా నిట్టూర్చుట*, అతనిదే. विशति ను ఆయన గమనక్రియగా వదలడు: एकीभवतीत्यर्थः, ఆమెతో ఏకమవుతాడు — తాకడం జఱుగుతుంది, కానీ లోకంలో కాదు. మఱి तैः ఏదీ చెప్పనిదానిని చూపుతుంది, तैः स्वसंवेद्यैः, ఆ సంకల్పాలు గలవానికే ఎఱుకైనవి. ఏ అలంకారమూ పేర్కొనబడలేదు.
- Mallinātha, Sañjīvinī — 2.42: atra samarāgitvadyotanāya nāyakena nāyikāyāḥ samānāvasthatvam uktam