*In dreams — where somehow, with great trouble, I have got hold of you — I fling my arms out for a merciless embrace, and the goddesses of this ground, watching me, do not, surely, fail to drop tears thick as pearls, and often, on the young leaves of the trees.*
**One word turns the stanza: निर्विषये.** Mallinātha glosses आकाशे with it — in the sky, *which has nothing in it* — and the whole gesture becomes what it is, two arms closing on air. He is equally flat about what happened in the dream: लब्धायाः is **गृहीतायाः । दृष्टाया इति यावत्**, obtained, that is caught hold of; *seen*, is as far as it goes. It is the same correction he made three times at 2.45, where the drawn woman had to be turned back into a drawing.
**The famous thing in this stanza is two negatives, and he cites a rule for them.** बहुशो न पतन्तीति न । **किन्तु पतन्त्येवेत्यर्थः** — it is not that they do not often fall; rather, they simply do. निश्चये नञ्द्वयप्रयोगः, two negatives for certainty, and he backs it with what he calls an अधिकारसूत्र: स्मृतिनिश्चयसिद्धार्थेषु नञ्द्वयप्रयोगः सिद्धः. He names no work for the line and it is not among Pāṇini's, so it stands as a citation that cannot be checked.
**And the last sentence of the comment explains a detail nobody would have asked about.** Why do the tears fall on leaves? Because of an omen: if the tears of great souls, of teachers, or of gods fall on the earth, then loss of country, great sorrow and death are certain. A goddess's tears must not touch the ground — so the poet puts leaves under them, and by that, he says, the verse conveys that the yakṣa will *not* die. **The copy reads मरणभाव- where the argument requires मरणाभाव-**, and the run reads it as the argument requires while saying that the copy does not.
**He also stops to justify a compound that looks redundant.** स्वप्नसन्दर्शन is dream and seeing together; he defines each from a lexicon — Viśva for स्वप्न, *the knowing of a sleeper*, and the Śabdārṇava for दर्शन among six senses — and then says the two are used together **चूतवृक्षादिवत्**, as *mango-tree* is, the particular standing beside the general.
**One case is a rule he names**, “षष्ठी हेतुप्रयोगे” इति षष्ठी, Pāṇini 2.3.26, for हेतोः; DCS reads the ablative, and in a u-stem the two are the same syllable, so the sūtra is the only thing that decides it.
**This is the third of the four consolations he listed at 2.43**, स्वप्नदर्शन. Unlike the first two it is not denied in the fourth pāda — the dream does happen, the arms do go out — and what the last pāda supplies instead is somebody else's weeping. No figure is named.
uncheckedthe reader's reading, following Mallinātha, Sañjīvinī's gloss. His are: सुप्तस्य विज्ञानम् for स्वप्न with Viśva and संवित् for सन्दर्शन with the Śabdārṇava, स्वप्नज्ञानानि with चूतवृक्षादिवत्सामान्यविशेषभावेन सहप्रयोगः, महता प्रयत्नेन for कथमपि, गृहीतायाः । दृष्टाया इति यावत् for लब्धायाः, गाढालिङ्गनम् for निर्दयाश्लेषः with स एव हेतुस्तस्य and “षष्ठी हेतुप्रयोगे” इति षष्ठी, निर्विषये for आकाशे and प्रसारितबाहुम् for प्रणिहितभुजम्, मौक्तिकानीव स्थूलाः for मुक्तास्थूलाः, बाष्पबिन्दवः for अश्रुलेशाः, बहुशो न पतन्तीति न । किन्तु पतन्त्येवेत्यर्थः with निश्चये नञ्द्वयप्रयोगः and the अधिकारसूत्र, and the closing omen verse with क्षितौ देवताश्रुपातनिषेधदर्शनात्. That the plural of स्वप्नसंदर्शनेषु makes the dream a habit, that माम् and मया divide what he suffers from what he does, and that the weeping is given away to the goddesses, are the reader's; Pāṇini 2.1.55, 2.3.26, 3.2.124, 4.1.6 and 7.1.81 are by way of skt-data's sūtra corpus, only 2.3.26 named by him. Neither Viśva's nor the Śabdārṇava's text is in this repository, the अधिकारसूत्र is attributed to no work, and the omen verse is named to none; none of the four can be checked. There is one further remark in the comment, अनेन चेलाञ्चलेनाश्रुधारणसमाधिर्ध्वन्यते, which says that something about catching tears in the hem of a garment is suggested; the phrase is compressed and the run does not read it further“bahuśo na patantīti na | kintu patanty evetyarthaḥ | niścaye nañdvayaprayogaḥ”
In dreams — where somehow, with great trouble, I have got hold of you — I fling my arms out for a merciless embrace, and the goddesses of this ground, watching me, do not, surely, fail to drop tears thick as pearls, and often, on the young leaves of the trees. This is the third of the four consolations Mallinātha listed at 2.43, स्वप्नदर्शन, seeing her in a dream. Unlike the first two it is not denied in the fourth pāda — the dream does happen, the arms do go out — and what the last pāda supplies instead is somebody else's weeping. The one first-person pronoun the stanza opens with, माम्, is what the goddesses see; the other, मया, is who did the catching in the dream, and between them is the whole distance between what he does and what is done to him. No figure is named.
కలలలో — ఎక్కడ ఎలాగో, ఎంతో కష్టపడి, నిన్ను పట్టుకున్నానో — ఒక నిర్దయ కౌగిలికోసం చేతులు చాస్తాను, మఱి ఈ నేల దేవతలు, నన్ను చూస్తూ, ముత్యాలంత లావు కన్నీళ్లను, తఱచుగా, చెట్ల లేత ఆకులపై రాల్చకుండా ఉండరు నిజంగా. ఇది 2.43 లో మల్లినాథుడు చెప్పిన నాలుగు ఓదార్పులలో మూడవది, స్వప్నదర్శన, ఆమెను కలలో చూడటం. మొదటి రెంటిలా ఇది నాలుగవ పాదంలో తిరస్కరించబడదు — కల జరుగుతుంది, చేతులు చాచబడతాయి — నాలుగవ పాదం బదులుగా ఇచ్చేది వేఱొకరి ఏడుపు. శ్లోకం మొదలయ్యే ఒక్క ప్రథమపురుష సర్వనామం, మామ్, దేవతలు చూసేది; మఱొకటి, మయా, కలలో పట్టుకున్నవాడు, ఆ రెంటి మధ్య అతను చేసేదానికీ అతనికి జరిగేదానికీ మధ్య దూరమంతా ఉంది. ఏ అలంకారమూ పేర్కొనబడలేదు.
- Mallinātha, Sañjīvinī — 2.46, whole-verse gloss; adhunā svapnadarśanam āha