printलघुसिद्धान्तकौमुदी — practise the grammar

मेघदूतम् · कालिदास · 2.5

अलका · the wine of the wishing tree

यस्यां यक्षाः सितमणिमयान्येत्य हर्म्यस्थलानि

य
स्यां
य
क्षाः
सि
त
म
णि
म
या
न्ये
त्य
ह
र्म्य
स्थ
ला
नि

ज्योतिश्छायाकुसुमरचितान्युत्तमस्त्रीसहायाः

ज्यो
ति
श्छा
या
कु
सु
म
र
चि
ता
न्यु
त्त
म
स्त्री
स
हा
याः

आसेवन्ते मधु रतिफलं कल्पवृक्षप्रसूतं

आ
से
व
न्ते
म
धु
र
ति
फ
लं
क
ल्प
वृ
क्ष
प्र
सू
तं

त्वद्गम्भीरध्वनिषु शनकैः पुष्करेष्वाहतेषु

त्व
द्ग
म्भी
र
ध्व
नि
षु
श
न
कैः
पु
ष्क
रे
ष्वा
ह
ते
षु

pāda a

  • यguruthe conjunct स्य that follows it
  • स्यांguruthe anusvāra it carries
  • यguruthe conjunct क्ष that follows it
  • क्षाःguruthe visarga it carries
  • सिlaghuits short vowel, with a single consonant after it
  • तlaghuits short vowel, with a single consonant after it
  • मlaghuits short vowel, with a single consonant after it
  • णिlaghuits short vowel, with a single consonant after it
  • मlaghuits short vowel, with a single consonant after it
  • याguruits long vowel आ
  • न्येguruits long vowel ए
  • त्यlaghuits short vowel, with a single consonant after it
  • हguruthe conjunct र्म्य that follows it
  • र्म्यguruthe conjunct स्थ that follows it
  • स्थlaghuits short vowel, with a single consonant after it
  • लाguruits long vowel आ
  • निlaghuits short vowel — light on its own, though the pāda ends here
  • yati after 4 — a word ends here — यक्षाः
  • yati after 10 — it falls inside the compound सितमणिमयानि

pāda b

  • ज्योguruits long vowel ओ
  • तिguruthe conjunct श्छ that follows it
  • श्छाguruits long vowel आ
  • याguruits long vowel आ
  • कुlaghuits short vowel, with a single consonant after it
  • सुlaghuits short vowel, with a single consonant after it
  • मlaghuits short vowel, with a single consonant after it
  • रlaghuits short vowel, with a single consonant after it
  • चिlaghuits short vowel, with a single consonant after it
  • ताguruits long vowel आ
  • न्युguruthe conjunct त्त that follows it
  • त्तlaghuits short vowel, with a single consonant after it
  • मguruthe conjunct स्त्र that follows it
  • स्त्रीguruits long vowel ई
  • सlaghuits short vowel, with a single consonant after it
  • हाguruits long vowel आ
  • याःguruthe visarga it carries
  • yati after 4 — it falls inside the compound ज्योतिश्छायाकुसुमरचितानि
  • yati after 10 — it falls inside the compound ज्योतिश्छायाकुसुमरचितानि

pāda c

  • आguruits long vowel आ
  • सेguruits long vowel ए
  • वguruthe conjunct न्त that follows it
  • न्तेguruits long vowel ए
  • मlaghuits short vowel, with a single consonant after it
  • धुlaghuits short vowel, with a single consonant after it
  • रlaghuits short vowel, with a single consonant after it
  • तिlaghuits short vowel, with a single consonant after it
  • फlaghuits short vowel, with a single consonant after it
  • लंguruthe anusvāra it carries
  • कguruthe conjunct ल्प that follows it
  • ल्पlaghuits short vowel, with a single consonant after it
  • वृguruthe conjunct क्ष that follows it
  • क्षguruthe conjunct प्र that follows it
  • प्रlaghuits short vowel, with a single consonant after it
  • सूguruits long vowel ऊ
  • तंguruthe anusvāra it carries
  • yati after 4 — a word ends here — आसेवन्ते
  • yati after 10 — a word ends here — रतिफलं

pāda d

  • त्वguruthe conjunct द्ग that follows it
  • द्गguruthe conjunct म्भ that follows it
  • म्भीguruits long vowel ई
  • रguruthe conjunct ध्व that follows it
  • ध्वlaghuits short vowel, with a single consonant after it
  • निlaghuits short vowel, with a single consonant after it
  • षुlaghuits short vowel, with a single consonant after it
  • शlaghuits short vowel, with a single consonant after it
  • नlaghuits short vowel, with a single consonant after it
  • कैःguruthe visarga it carries
  • पुguruthe conjunct ष्क that follows it
  • ष्कlaghuits short vowel, with a single consonant after it
  • रेguruits long vowel ए
  • ष्वाguruits long vowel आ
  • हlaghuits short vowel, with a single consonant after it
  • तेguruits long vowel ए
  • षुlaghuits short vowel — light on its own, though the pāda ends here
  • yati after 4 — it falls inside the compound त्वद्गम्भीरध्वनिषु
  • yati after 10 — a word ends here — शनकैः

  • यस्याम् + यक्षाः → यस्यां

    म् + य्

  • सितमणिमयानि + एत्य → सितमणिमयान्येत्य

    इ + ए

  • ज्योतिश्छायाकुसुमरचितानि + उत्तमस्त्रीसहायाः → ज्योतिश्छायाकुसुमरचितान्युत्तमस्त्रीसहायाः

    इ + उ

  • रतिफलम् + कल्पवृक्षप्रसूतम् → रतिफलं

    म् + क्

  • कल्पवृक्षप्रसूतम् + त्वद्गम्भीरध्वनिषु → कल्पवृक्षप्रसूतं

    म् + त्

  • पुष्करेषु + आहतेषु → पुष्करेष्वाहतेषु

    उ + आ

  • सित + मणि → सितमणिमयानि

    अ + म्

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

  • मणि + मय → सितमणिमयानि

    इ + म्

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

  • हर्म्य + स्थल → हर्म्यस्थलानि

    अ + स्

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

  • ज्योतिस् + छाया → ज्योतिश्छायाकुसुमरचितानि

    स् + छ्

  • छाया + कुसुम → ज्योतिश्छायाकुसुमरचितानि

    आ + क्

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

  • कुसुम + रचित → ज्योतिश्छायाकुसुमरचितानि

    अ + र्

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

  • उत्तम + स्त्री → उत्तमस्त्रीसहायाः

    अ + स्

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

  • स्त्री + सहाय → उत्तमस्त्रीसहायाः

    ई + स्

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

  • रति + फल → रतिफलम्

    इ + फ्

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

  • कल्पवृक्ष + प्रसूत → कल्पवृक्षप्रसूतम्

    अ + प्

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

  • त्वद् + गम्भीर → त्वद्गम्भीरध्वनिषु

    द् + ग्

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

  • गम्भीर + ध्वनि → त्वद्गम्भीरध्वनिषु

    अ + ध्

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

Where a word ending in -इ or -उ meets a vowel, the vowel becomes the semivowel य् or व् — Pāṇini 6.1.77 इको यणचि: सितमणिमयानि + एत्य gives सितमणिमयान्येत्य, रचितानि + उत्तमस्त्री gives रचितान्युत्तमस्त्री, पुष्करेषु + आहतेषु gives पुष्करेष्वाहतेषु. Word-final म् becomes anusvāra before a consonant by 8.3.23 मोऽनुस्वारः: यस्यां यक्षाः, रतिफलं कल्प, प्रसूतं त्वद्. And inside ज्योतिश्छाया the स् of ज्योतिस् before the छ् of छाया gives श्, the visarga-and-sibilant sequence 8.3.15 खरवसानयोर्विसर्जनीयः prepares.

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

  • यस्याम् सप्तमी · locative — अधिकरण, the location

  • यक्षाः प्रथमा · nominative — कर्ता, the agent

    with उत्तमस्त्रीसहायाः

  • हर्म्यस्थलानि द्वितीया · accusative — कर्म, the object

    with सितमणिमयानि, ज्योतिश्छायाकुसुमरचितानि

  • मधु द्वितीया · accusative — कर्म, the object

    with रतिफलम्, कल्पवृक्षप्रसूतम्

  • पुष्करेषु सप्तमी · locative — अधिकरण, the location

    with त्वद्गम्भीरध्वनिषु, आहतेषु

प्रकरण 1 · हलन्त्यम्

  • हलन्त्यम् 1.3.3← एत्य; ज्योतिश्छायाकुसुमरचितानि; आसेवन्ते; कल्पवृक्षप्रसूतम्; आहतेषु
  • तस्य लोपः 1.3.9← यक्षाः; एत्य; ज्योतिश्छायाकुसुमरचितानि; उत्तमस्त्रीसहायाः; आसेवन्ते; कल्पवृक्षप्रसूतम्; आहतेषु
  • सुप्तिङन्तं पदम् 1.4.14← एत्य; ज्योतिश्छायाकुसुमरचितानि; आसेवन्ते; कल्पवृक्षप्रसूतम्; आहतेषु

प्रकरण 2 · इको यणचि

प्रकरण 3 · स्तोः श्चुना श्चुः

प्रकरण 4 · वा शरि

प्रकरण 5 · अर्थवदधातुरप्रत्ययः प्रातिपदिकम्

प्रकरण 7 · अतोऽम्

प्रकरण 8 · हो ढः

प्रकरण 11 · स्वरादिनिपातमव्ययम्

प्रकरण 12 · लः कर्मणि च भावे चाकर्मकेभ्यः

प्रकरण 13 · अदिप्रभृतिभ्यः शपः

प्रकरण 16 · स्वादिभ्यः श्नुः

प्रकरण 21 · सत्यापपाशरूपवीणातूलश्लोकसेनालोमत्वचवर्मवर्णचूर्णचुरादिभ्यो णिच्

प्रकरण 33 · धातोः

प्रकरण 34 · ण्वुल्तृचौ

प्रकरण 36 · तुमुन्ण्वुलौ क्रियायां क्रियार्थायाम्

प्रकरण 48 · शेषे

प्रकरण 59 · इवे प्रतिकृतौ

not in the abridgement

  • अ अ 8.4.68← एत्य; ज्योतिश्छायाकुसुमरचितानि; आसेवन्ते; कल्पवृक्षप्रसूतम्; आहतेषु

सितमणिमयानि

सित · मणि · मय

  1. सिताः मणयः

    कर्मधारय — white gems

  2. सितमणीनां विकाराः

    तत्पुरुष (genitive) — things made out of white gems

तत्पुरुष — it agrees with हर्म्यस्थलानि. made of white gemstone — **Mallinātha names two stones and will not choose between them**: स्फटिकमणिमयानि चन्द्रकान्तमयानि वा, 'of crystal, or else of moonstone'. The वा is the whole of his comment on the material. Either would do for what the next word needs, which is a floor that takes a reflection; and the second, the moonstone that is supposed to melt in moonlight, would make the floor answer the sky twice over. मय is the taddhita suffix that means 'made of', which he glossed at 2.1 with the technical विकार

uncheckedMallinātha, Sañjīvinī, who glosses सितमणिमयानि with स्फटिकमणिमयानि चन्द्रकान्तमयानि वा“sitamaṇimayāni sphaṭikamaṇimayāni candrakāntamayāni vā”

हर्म्यस्थलानि

हर्म्य · स्थल

  1. हर्म्याणां स्थलानि

    तत्पुरुष (genitive) — the floors of the mansions

तत्पुरुष. the terraces of the mansions — हर्म्य is a rich man's house and स्थल a level place, so the compound is the flat roof-terrace that such a house is drunk on. Mallinātha calls it the पानभूमि, the drinking-ground, when he says what the flowers of starlight are for. The mansions are the same प्रासादाः that stood high enough at 2.1 for the cloud to rest on

uncheckedMallinātha, Sañjīvinī, who glosses हर्म्यस्थलानि एत्य with प्राप्य and calls the place the पानभूमि; the vigraha is the reader's“harmyasthalānyetya prāpya … etena pānabhūmeramlānaśobhatvamuktam”

ज्योतिश्छायाकुसुमरचितानि

ज्योतिस् · छाया · कुसुम · रचित

  1. ज्योतिषां छायाः

    तत्पुरुष (genitive) — the reflections of the stars

  2. ज्योतिश्छाया एव कुसुमानि

    कर्मधारय — flowers that are those reflections

  3. ज्योतिश्छायाकुसुमैः रचितानि

    तत्पुरुष (instrumental) — decked out with them

तत्पुरुष — it agrees with हर्म्यस्थलानि. strewn with flowers that are the reflections of the stars — **the एव in Mallinātha's resolution is the figure.** He writes ज्योतिषां तारकाणां छायाः प्रतिबिम्बान्येव कुसुमानि: the reflections *are* the flowers, not like them. A middle term set down as an identity is what the tradition calls रूपक, and he does not name it here; what he names is the point of it — एतेन पानभूमेरम्लानशोभत्वमुक्तम्, 'by this the undying beauty of the drinking-floor is stated'. Flowers strewn on a floor wilt by morning and reflected stars do not, so the metaphor is chosen for the one property a real flower lacks. He also glosses रचित with परिष्कृत, 'dressed, made ready', and cites the Vaijayantī for the range of ज्योतिस्

uncheckedMallinātha, Sañjīvinī, who resolves it with छायाः प्रतिबिम्बान्येव कुसुमानि, glosses रचित with परिष्कृत, cites the Vaijayantī for ज्योतिस्, and draws the अम्लानशोभत्व from it“jyotiṣāṃ tārakāṇāṃ chāyāḥ pratibimbānyeva kusumāni tai racitāni pariṣkṛtāni || “jyotistārāgnibhājyālādṛkputrārthādhvarātmasu” iti vaijayantī || etena pānabhūmeramlānaśobhatvamuktam”

उत्तमस्त्रीसहायाः

उत्तम · स्त्री · सहाय

  1. उत्तमाः स्त्रियः

    कर्मधारय — the finest women

  2. उत्तमस्त्रियः सहाया येषां ते

    बहुव्रीहि — the ones whose companions they are

बहुव्रीहि — it refers to यक्षाः. with the finest women beside them — Mallinātha turns the whole compound into another of the same shape, ललिताङ्गनासहचराः, trading उत्तम for ललित and स्त्री for अङ्गना and सहाय for सहचर, so that not one syllable of his gloss is the verse's and the construction is identical. **And he adds a word the verse does not have**: सन्तः, 'being', which turns the bahuvrīhi into a clause hanging on the main verb — they drink, being in company

uncheckedMallinātha, Sañjīvinī, who glosses the compound with ललिताङ्गनासहचराः and supplies सन्तः“uttamastrīsahāyā lalitāṅganāsahacarāḥ santaḥ”

रतिफलम्

रति · फल

  1. रतिः फलं यस्य तत्

    बहुव्रीहि — the one whose fruit is love-making

बहुव्रीहि — it refers to मधु. whose fruit is love — **and Mallinātha reads it as a proper name as well.** He resolves the bahuvrīhi first, रतिः फलं यस्य तत्, and then writes रतिफलाख्यं मधु, 'the wine called ratiphala', and cites for it the Madirārṇava, the Ocean of Liquor, which gives the recipe: palm sap, milk, sugar, amṛtā, myrobalan, molasses, datura, aravinda, moraṭa, sugarcane, plantain, guggulu, boiled up, 'kindling desire, named ratiphala, sweet, cool'. So the compound is both a description of what the drink does and the name on the jar. The line as `vendor/meghaduta-sanjivini.itx` transmits it is badly broken, and what survives whole is the last clause with the name in it

uncheckedMallinātha, Sañjīvinī, who resolves the bahuvrīhi with यस्य तत्, names the drink रतिफलाख्यम्, and cites the Madirārṇava for the recipe; the cited verse is corrupt in `vendor/meghaduta-sanjivini.itx` and only its close is legible“ratiḥ phalaṃ yasya tadratiphalākhyaṃ madhu madyamāsevante … “… smaradīpanaṃ ratiphalākhyaṃ svādu śītaṃ madhu” iti madirārṇave”

कल्पवृक्षप्रसूतम्

कल्पवृक्ष · प्रसूत

  1. कल्पवृक्षात् प्रसूतम्

    तत्पुरुष (ablative) — brought forth by the wishing-tree

तत्पुरुष — it agrees with मधु. come from the wishing-tree — and Mallinātha explains why a tree should yield wine at all: कल्पवृक्षस्य काङ्क्षितार्थप्रदत्वात्, 'because the wishing-tree gives whatever is asked for', मध्वपि तत्र प्रसृतम्, 'the wine too flows there'. The अपि is the argument — it is not a wine-tree, it is a tree that gives anything, so it gives this too. प्रसूत is प्र + √सू, to give birth: the same root that makes प्रसव, the blossom whose pollen was a face-powder at 2.2

uncheckedMallinātha, Sañjīvinī, who derives the wine from the tree's काङ्क्षितार्थप्रदत्व“kalpavṛkṣaprasūtaṃ kalpavṛkṣasya kāṅkṣitārthapradatvānmadhvapi tatra prasṛtam”

त्वद्गम्भीरध्वनिषु

त्वद् · गम्भीर · ध्वनि

  1. तव गम्भीरो ध्वनिः

    तत्पुरुष (genitive) — your deep sound

  2. त्वद्गम्भीरध्वनिरिव ध्वनिर्येषां ते

    बहुव्रीहि — the ones whose sound is like your deep sound

बहुव्रीहि — it refers to पुष्करेषु. sounding as deep as you do — **Mallinātha writes an इव into the resolution that is not in the compound**: त्वद्गम्भीरध्वनिरिव ध्वनिर्येषाम्, 'whose sound is *like* your deep sound'. Taken as it stands the compound says the drums' sound *is* the cloud's; the इव makes it a comparison, and supplying it is what the tradition does for a compound of likeness where the word of likeness has been left out — the same class of thing as the उपमितसमास named at 1.65. The comparison is the stanza's one link back to the cloud being spoken to, and the whole line is a locative absolute hung on it

uncheckedMallinātha, Sañjīvinī, who resolves the bahuvrīhi and supplies इव inside it“tvadgambhīradhvaniriva dhvaniryeṣāṃ teṣu puṣkareṣu”

  • pronoun, सप्तमी एकवचन locative singular

    यस्याम्

    printed यस्यां

    यद्

    in which — **the first four stanzas of the canto all opened on यत्र and this one opens on the pronoun itself**, in the locative, agreeing with a feminine noun that is not in the stanza. Mallinātha supplies it as he has four times before: यस्यामलकायाम्. यत्र is an indeclinable made from this stem and means the same thing; what changes by using the declined form is that the city is now grammatically feminine on the page, which it has to be for everything the canto is about to say about her

  • a-stem masculine, प्रथमा बहुवचन nominative plural

    यक्षाः

    printed यस्यां

    यक्ष

    the yakṣas — named for the second time in two stanzas, and this time by the word itself rather than by वित्तेश. Mallinātha glosses it देवयोनिविशेषाः, 'a particular kind of divine being' — which is what a yakṣa is: not a god and not a man, one of the classes of being that stand between. The poem's own yakṣa was called यक्षः once, in the first stanza, and not since

  • a-stem neuter, द्वितीया बहुवचन accusative plural

    सितमणिमयानि

    printed सितमणिमयान्येत्य

    मय, the taddhita suffix मयट्, 'made of', which declines as an a-stem

    made of white gems — the word ends in a suffix rather than a noun, so what declines is मय itself, and it takes the gender and number of the terraces it describes. सित is 'white' and also 'bound'; here it is the colour, and the stone is crystal or moonstone by Mallinātha's two guesses. The इ of मयानि has become य् before the vowel of एत्य and the two words print as one run

  • √इ + ल्यप्

    एत्य

    printed सितमणिमयान्येत्य

    आ + √इ

    having come to — the absolutive, and it takes ल्यप् rather than क्त्वा because the root carries a prefix, which is the rule that told 1.65's दृष्ट्वा apart from this. √इ is 'go' and आ turns it round to 'come'; आ + इ contracts to ए and the affix leaves एत्य. Mallinātha glosses it प्राप्य, 'having reached', with a different root and the same affix

  • a-stem neuter, द्वितीया बहुवचन accusative plural

    हर्म्यस्थलानि

    स्थल

    the terraces — the object of एत्य, and the place everything in the stanza happens on. स्थल is dry level ground, the word used of land as against water; on a house it is the flat roof. The plural is the city's: every mansion has one, and the yakṣas are on all of them at once

  • √रच् + क्त, द्वितीया बहुवचन accusative plural

    ज्योतिश्छायाकुसुमरचितानि

    printed ज्योतिश्छायाकुसुमरचितान्युत्तमस्त्रीसहायाः

    रचित, from √रच् of the tenth class

    arranged, decked — √रच् is to put together, to compose; it is the verb used of stringing a garland and of making a poem. Mallinātha glosses the participle परिष्कृतानि, 'dressed up, finished'. The word stood at 2.3 in हंसश्रेणीरचितरशनाः, where a line of geese was arranged into a girdle, and it is doing the same job here: a scatter of things is composed into an ornament

    Mallinātha's best sentence here is about the floor. The flowers strewn on the terrace are the reflections of the stars, and he writes the identity out with एव — ज्योतिषां छायाः प्रतिबिम्बान्येव कुसुमानि, the reflections *are* the flowers, not merely like them. Then he says why the poem chose that image and not another: एतेन पानभूमेरम्लानशोभत्वमुक्तम्, 'by this the undying beauty of the drinking-floor is stated'. Flowers strewn for a party are dead by morning; a reflection is not, so a floor decked in star-reflections is a floor whose beauty never wilts. On the stone itself he is less sure — स्फटिकमणिमयानि चन्द्रकान्तमयानि वा, 'of crystal, or else of moonstone' — and the वा, 'or', is all he offers.

    • Mallinātha, Sañjīvinī — 2.5: chāyāḥ pratibimbānyeva kusumāni … amlānaśobhatvam … sphaṭikamaṇimayāni candrakāntamayāni vā

  • a-stem masculine, प्रथमा बहुवचन nominative plural

    उत्तमस्त्रीसहायाः

    printed ज्योतिश्छायाकुसुमरचितान्युत्तमस्त्रीसहायाः

    सहाय

    with companions — सहाय is one who goes along with, from सह and √इ, the same root that gives एत्य two words earlier: a companion is literally a go-with. The compound is nominative and describes the yakṣas, so the women are on the terrace and the sentence is about the men

  • √सेव्, class 1, लट्, atmanepada, third person plural

    आसेवन्ते

    √सेव् of the first class, with आ

    they take their pleasure in — **the first main verb of the Uttaramegha.** Four stanzas have gone by with none: two had no verb at all, one had अस्ति. √सेव् is to serve, to attend on, to devote oneself to, and with आ it is to give oneself over to a thing; Mallinātha unpacks it आदृत्य पिबन्ति, 'they drink with relish', which puts a verb of drinking where the poem has only a verb of attending. The form is middle, which is not a choice — √सेव् has no active at all

    This is the first stanza of the canto with a main verb in it — two had none at all and one had अस्ति — and everything in it hangs on the one word आसेवन्ते, 'they give themselves to': a floor to drink on, women to drink with, a tree to get the drink from, drums to drink to. And the cloud, who is being addressed through the whole poem, is barely here: he enters only in the compound त्वद्गम्भीरध्वनिषु, and Mallinātha writes an इव into it that the poem does not have — the drums sound *like* you, deep as your thunder, rather than being your thunder. That comparison is the only place in the stanza the cloud is present at all. The party goes on whether or not he arrives.

    • Mallinātha, Sañjīvinī — 2.5: tvadvad gambhīradhvaniṣu … āsevante

  • u-stem neuter, द्वितीया एकवचन accusative singular

    मधु

    मधु

    wine — मधु is honey first of all, and then any sweet drink, and then liquor; Mallinātha settles it with one word, मद्यम्, which means only the last. It is the object of आसेवन्ते and the thing the whole stanza is arranged around: a floor to drink on, women to drink with, drums to drink to, and a tree to get the drink from

  • a-stem neuter, द्वितीया एकवचन accusative singular

    रतिफलम्

    printed रतिफलं

    फल

    whose fruit is love — फल is a fruit and then the result of anything, which is why it can be the second member of a bahuvrīhi describing a drink. रति is love-making, and the goddess Rati is Kāma's wife; the word ran through 2.4 as the one torment Alakā admits. Mallinātha takes the compound as the wine's name besides, and cites a whole treatise on liquor for it

    The wine is named twice over in one word. रतिफलम् is a bahuvrīhi, 'whose fruit is love', and it is also the name of a real compounded liquor. Mallinātha quotes the Madirārṇava for the recipe: palm sap and milk and sugar and datura and sugarcane and plantain, boiled together — मदनोद्दीपनं ... रतिफलं नाम मधुरं शीतलम्, 'kindling desire, named ratiphala, sweet and cool'. So where the verse seems only to be praising the drink, Mallinātha shows that it is naming a specific one; the epithet कल्पवृक्षप्रसूतम्, 'brought forth by the wishing-tree', then says where a wine like that is to be had — from a tree that yields whatever is asked of it.

    • Mallinātha, Sañjīvinī — 2.5: ratiphalaṃ nāma madhuraṃ śītalam … kalpavṛkṣaprasūtam

  • √सू + क्त, द्वितीया एकवचन accusative singular

    कल्पवृक्षप्रसूतम्

    printed कल्पवृक्षप्रसूतं

    प्रसूत, from प्र + √सू

    born of — √सू is to give birth, and प्रसूत is what has been brought forth; it is used of a mother, of a tree in fruit, and here of a tree producing wine. Mallinātha's own gloss substitutes a different root for it, प्रसृतम् from प्र + √सृ, 'flowed forth', which quietly turns birth into pouring

  • i-stem neuter, सप्तमी बहुवचन locative plural

    त्वद्गम्भीरध्वनिषु

    ध्वनि

    sounding — ध्वनि is masculine on its own and the bahuvrīhi is neuter because पुष्करेषु is; the i-stem writes ध्वनिषु for the locative plural of either, so nothing on the page shows the change. ध्वनि is a sound considered as carrying something — it is also the word for what a poem suggests without saying, which Mallinātha used at 1.65 for the last thing the Pūrvamegha implied. ध्वनि is masculine as a noun and neuter here

  • अव्यय

    शनकैः

    शनकैस्

    softly — the form is an instrumental plural and the word is an indeclinable: it was one once and has frozen. Mallinātha glosses it मन्दम्, gently. It qualifies आहतेषु, the striking, and it is what makes the whole scene quiet — the drums are being touched rather than beaten, under a conversation

  • a-stem neuter, सप्तमी बहुवचन locative plural

    पुष्करेषु

    printed पुष्करेष्वाहतेषु

    पुष्कर

    the drum-heads — पुष्कर is a lotus, and Mallinātha does not let the reader take it so: he glosses it वाद्यभाण्डमुखेषु, 'the mouths of the sounding vessels', the stretched faces of the drums, and cites Amara for the word's three senses — the tip of an elephant's trunk, the face of a drum, and water. A drum's head is a round stretched thing, which is what all three have in common

  • √हन् + क्त, सप्तमी बहुवचन locative plural

    आहतेषु

    printed पुष्करेष्वाहतेषु

    आहत, from आ + √हन्

    being struck — **and Mallinātha shows what the locative is doing by adding one word to it**: आहतेषु सत्सु, 'while they are being struck'. A pair of words in the locative with no other business in the sentence is Sanskrit's way of writing 'while' or 'when', and सत्सु — the locative of the participle 'being' — is the word grammars use to mark the construction. So the last pāda is not a place but a time. √हन् is to strike or to kill; with आ it is only to strike

यस्याम् · यक्षाः · उत्तमस्त्रीसहायाः · सन्तः [supplied] · सितमणिमयानि · ज्योतिश्छायाकुसुमरचितानि · हर्म्यस्थलानि · एत्य · त्वद्गम्भीरध्वनिषु · पुष्करेषु · शनकैः · आहतेषु · सत्सु [supplied] · कल्पवृक्षप्रसूतम् · रतिफलम् · मधु · आसेवन्ते

uncheckedMallinātha, Sañjīvinī, whose commentary runs as anvaya. He brings उत्तमस्त्रीसहायाः up beside the yakṣas, where the verse leaves it a line away, and he brings the two epithets of the terraces together in front of the noun they describe. **He supplies two words and both of them are forms of 'being'**: सन्तः after the company, which turns an epithet into a clause, and सत्सु after आहतेषु, which marks the last pāda as a locative absolute — 'while the drums are being struck'. Neither is in the verse and neither changes its sense; what they do is name two constructions the verse leaves the reader to recognise“yasyāmalakāyāṃ yakṣā devayoniviśeṣā uttamastrīsahāyā lalitāṅganāsahacarāḥ santaḥ sitamaṇimayāni … racitāni pariṣkṛtāni … harmyasthalānyetya prāpya | tvadgambhīradhvaniriva dhvaniryeṣāṃ teṣu puṣkareṣu … śanakairmandamāhateṣu satsu … kalpavṛkṣaprasūtaṃ … ratiphalākhyaṃ madhu madyamāsevante”

the dependency structure

आसेवन्ते · क्रिया — they give themselves to, आसेवन्ते; the first main verb of the canto, and everything in the stanza hangs on it

यस्याम् · अधिकरण — in which, यस्याम् अलकायाम्; the relative, in the locative to match the city

यक्षाः · कर्ता — the yakṣas, the agents of the pleasure

उत्तमस्त्रीसहायाः · agreeing with यक्षाः — with the best of women beside them, उत्तमाः स्त्रियः सहायाः येषाम्

सन्तः · agreeing with यक्षाः, supplied — being; the participle of अस् that turns the company into a clause, 'the women being beside them'

हर्म्यस्थलानि · कर्म of एत्य — the terraces they come up onto

सितमणिमयानि · agreeing with हर्म्यस्थलानि — made of white gems, crystal or moonstone

ज्योतिश्छायाकुसुमरचितानि · agreeing with हर्म्यस्थलानि — strewn with flowers that are the reflections of the stars, ज्योतिषां छायाः एव कुसुमानि

एत्य · पूर्वकालक्रिया — having come up onto; the absolutive whose act precedes the drinking

आहतेषु · सति सप्तमी — while they are struck; a locative absolute, 'the drum-heads being struck'

सत्सु · सति सप्तमी, supplied — being; the locative of अस् that marks the construction Sanskrit uses for 'while'

पुष्करेषु · अधिकरण — the drum-heads, the locative the absolute is built on

त्वद्गम्भीरध्वनिषु · agreeing with पुष्करेषु — sounding as deep as you, त्वद्वत् गम्भीरः ध्वनिः येषाम्; the one place the cloud enters the stanza, and by a likeness

शनकैः · क्रियाविशेषण — softly, mildly; how the drums are struck

मधु · कर्म — the wine, the object of the drinking

रतिफलम् · agreeing with मधु — whose fruit is love, रतिः फलं यस्य; and the name of a real compounded liquor

कल्पवृक्षप्रसूतम् · agreeing with मधु — brought forth by the wishing-tree, कल्पवृक्षात् प्रसूतम्

uncheckedMallinātha’s Sañjīvinī for the anvaya and the reading, which roots the stanza at आसेवन्ते, writes the star-reflection identity with एव, cites the Madirārṇava for ratiphala, and supplies सन्तः and सत्सु; the Telugu drawn from Vedam Venkataraya Sastri’s Āndhra Meghasandeśam.

In which the yakṣas, the women beside them, come up onto terraces of white gemstone strewn with flowers that are the reflections of the stars, and give themselves to the wine called ratiphala, which the wishing-tree brings forth, while the drum-heads are struck softly and sound as deep as you do. **The stanza is the first in the canto with a main verb in it** — two had none at all and one had अस्ति — and everything in it hangs on that one word: a floor to drink on, women to drink with, a tree to get the drink from, drums to drink to. Mallinātha's best sentence is about the floor. The flowers on it are the stars' reflections, and he writes the identity out with एव: छायाः प्रतिबिम्बान्येव कुसुमानि, the reflections *are* the flowers. Then he says why the poem chose that image and not another — एतेन पानभूमेरम्लानशोभत्वमुक्तम्, 'by this the undying beauty of the drinking-floor is stated'. Flowers strewn for a party are dead by morning; a reflection is not. He is less sure about the stone: स्फटिकमणिमयानि चन्द्रकान्तमयानि वा, crystal or moonstone, and the वा is all he offers. On the drink he is expansive: रतिफलम् is a bahuvrīhi, 'whose fruit is love', and also the name of a real compounded liquor, for which he quotes the Madirārṇava, an Ocean of Liquor, on how it is made — palm sap and milk and sugar and datura and sugarcane and plantain, boiled, 'kindling desire, named ratiphala, sweet, cool'. He supplies two words, and both are forms of 'being': सन्तः, which turns the company into a clause, and सत्सु, which marks the last pāda as the construction Sanskrit uses for 'while' — while the drums are being struck. And into the compound त्वद्गम्भीरध्वनिषु he writes an इव the poem does not have, so that the drums sound *like* the cloud rather than being it. That comparison is the only place in the stanza where the cloud is present at all; the party is going on whether or not he arrives. He names no figure, though the एव he uses of the star-flowers is the mark of one.

uncheckedthe reader's reading, following Mallinātha's gloss; the identity written with एव, the reason अम्लानशोभत्व, the two stones offered with वा, the naming of the drink and the Madirārṇava citation, the two supplied forms of 'being' and the इव written into the last compound are all his“jyotiṣāṃ tārakāṇāṃ chāyāḥ pratibimbānyeva kusumāni … etena pānabhūmeramlānaśobhatvamuktam … ratiḥ phalaṃ yasya tadratiphalākhyaṃ madhu madyamāsevante | ādṛtya pibantītyarthaḥ”

In which the yakṣas, the women beside them, come up onto terraces of white gemstone strewn with flowers that are the reflections of the stars, and give themselves to the wine called ratiphala, which the wishing-tree brings forth, while the drum-heads are struck softly and sound as deep as you do. A floor that cannot wilt, a drink that kindles love, a tree that yields it, and drums that sound like the guest — the stanza gathers the whole apparatus of a pleasure the city keeps up on its own. Mallinātha names no figure, though the एव he uses of the star-flowers, making the reflections be the flowers, is the mark of one.

  • Mallinātha, Sañjīvinī — 2.5, whole-verse gloss

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