*The moment I have drawn you on a rock in red earth — you sulking, and out of love — and want to put myself in at your feet, that same moment tears gather thicker and thicker and blot my sight out; cruel Fate will not allow us to be together even there.*
**Both accusatives are pictures, and the verse writes them as people.** त्वाम्, *you*; आत्मानम्, *myself* — and Mallinātha corrects each in the same three words: त्वत्प्रतिकृतिमित्यर्थः, meaning your likeness; मत्प्रतिकृतिमित्यर्थः, meaning a likeness of me. He does it a third time for the possessive: ते तव, **चित्रगताया इत्यर्थः**, *of you as you are in the picture*. The stanza never once says *picture*, and by the fourth pāda the pronoun तस्मिन् points at a thing that has not been named, which he has to supply — चित्रेऽपि.
**There is no interval between wanting and weeping.** यावत् … तावत् he tightens into **इच्छासमकालम्**, at the very moment of the wish; and मुहुः makes it a habit rather than an incident. The tears are named as agents — अस्रैरश्रुभिः **कर्तृभिः** — beside a passive verb, so nothing in the sentence is something the man does. उपचित is *heaped up*, glossed प्रवृद्धैः: the tears are collecting in the eye, not falling from it, which is the accurate account of why he cannot see. Then he draws the chain: ततो दृष्टिप्रतिबन्धनालेखनं प्रतिबध्यत इति भावः — sight blocked, drawing blocked.
**The whole stanza is an argument, and Mallinātha puts it in the last syllable he glosses.** अपि: fate that will not endure even the *drawing* of our being together — what is to be said of our being together? **इत्यपिशब्दार्थः**, that is the force of अपि. The argument from the smaller case to the larger is never written out in the verse; the particle carries it.
**And one word is a dual.** नौ, of us two, for which he names the substitution rule — “युष्मदस्मदोः षष्ठीचतुर्थीद्वितीयास्थयोर्वां नावौ” इति नावादेशः, Pāṇini 8.1.20 — and glosses आवयोः. It is the first word of the message to hold both of them at once, and it stands inside the sentence that says they will not be held together.
**Four lexicons in one comment**, which is the densest the canto has been: Yādava for धातु, the Śabdārṇava for राग with six senses of which he takes one, Viśva for अस्र — a tear and blood — and Amara twice, for क्रूर as घातुक and for कृतान्त among Yama, doctrine, destiny and an evil deed. He takes दैवम्, so the enemy of 2.42's वैरिणा विधिना is back in the same position, the fourth pāda, under another name.
**This is the second of the four consolations he listed at 2.43**, प्रतिकृति, the likeness made by hand. Like the first it is taken up for three pādas and denied in the fourth, and like the first it fails through the eyes. No figure is named.
uncheckedthe reader's reading, following Mallinātha, Sañjīvinī's gloss. His are: हे प्रिये supplied, प्रेमातिशयेन and कुपितावस्थायुक्ताम् for प्रणयकुपिताम्, त्वत्प्रतिकृतिमित्यर्थः and मत्प्रतिकृतिमित्यर्थः and चित्रगताया इत्यर्थः, गैरिकादयः for धातवः with the Yādava line and रञ्जकद्रव्याणि for रागाः with the Śabdārṇava line, शिलापट्टे for शिलायाम्, निर्माय for आलिख्य, तथा लेखितुम् for कर्तुम्, इच्छासमकालम् for यावत् … तावत्, प्रवृद्धैः for उपचितैः and अश्रुभिः कर्तृभिः for अस्रैः with the Viśva line, आव्रियते for आलुप्यते with ततो दृष्टिप्रतिबन्धनालेखनं प्रतिबध्यत इति भावः, घातुकः for क्रूरः and दैवम् for कृतान्तः, both with Amara, चित्रेऽपि for तस्मिन्, आवयोः for नौ with the नावादेश named, सहवासम् for सङ्गमम्, and the closing gloss of अपि. That the picture is never named, that the tears collect rather than fall, that नौ is the message's first dual, and that this consolation fails through the eyes as the last one did, are the reader's; Pāṇini 3.1.67, 3.3.158, 7.1.37, 7.3.77, 8.1.20 and 8.1.22 are by way of skt-data's sūtra corpus, only 8.1.20 named by him. None of the four lexicons is in this repository and none of the quoted lines can be checked“saṅgamalekhanam apy āvayor asahamānaṃ daivam āvayoḥ saṅgaṃ na sahata iti kimu vaktavyam ity apiśabdārthaḥ”
The moment I have drawn you on a rock in red earth — you sulking, and out of love — and want to put myself in at your feet, that same moment tears gather thicker and thicker and blot my sight out; cruel Fate will not let us be together even there. This is the second of the four consolations Mallinātha listed at 2.43, प्रतिकृति, the likeness made by hand: like the first at 2.44 it is taken up for three pādas and denied in the fourth, and like the first it fails through the eyes. He names four lexicons in this one comment, the densest the canto has been, and reads क्रूरः कृतान्तः as दैवम्, so the enemy of 2.42's वैरिणा विधिना is back under another name. No figure is named.
- Mallinātha, Sañjīvinī — 2.45, whole-verse gloss; saṃprati pratikṛtidarśanam āha