printलघुसिद्धान्तकौमुदी — practise the grammar

मेघदूतम् · कालिदास · 2.51

संदेश · the token — what she said, waking from a dream

भूयश्चाह त्वमपि शयने कण्ठलग्ना पुरा मे

भू
य
श्चा
ह
त्व
म
पि
श
य
ने
क
ण्ठ
ल
ग्ना
पु
रा
मे

निद्रां गत्वा किमपि रुदती सस्वनं विप्रबुद्धा

नि
द्रां
ग
त्वा
कि
म
पि
रु
द
ती
स
स्व
नं
वि
प्र
बु
द्धा

सान्तर्हासं कथितमसकृत् पृच्छतश्च त्वया मे

सा
न्त
र्हा
सं
क
थि
त
म
स
कृ
त्पृ
च्छ
त
श्च
त्व
या
मे

दृष्टः स्वप्ने कितव रमयन् कामपि त्वं मयेति

दृ
ष्टः
स्व
प्ने
कि
त
व
र
म
य
न्का
म
पि
त्वं
म
ये
ति

pāda a

  • भूguruits long vowel ऊ
  • यguruthe conjunct श्च that follows it
  • श्चाguruits long vowel आ
  • हguruthe conjunct त्व that follows it
  • त्वlaghuits short vowel, with a single consonant after it
  • मlaghuits short vowel, with a single consonant after it
  • पिlaghuits short vowel, with a single consonant after it
  • शlaghuits short vowel, with a single consonant after it
  • यlaghuits short vowel, with a single consonant after it
  • नेguruits long vowel ए
  • कguruthe conjunct ण्ठ that follows it
  • ण्ठlaghuits short vowel, with a single consonant after it
  • लguruthe conjunct ग्न that follows it
  • ग्नाguruits long vowel आ
  • पुlaghuits short vowel, with a single consonant after it
  • राguruits long vowel आ
  • मेguruits long vowel ए
  • yati after 4 — a word ends here — भूयश्चाह
  • yati after 10 — a word ends here — शयने

pāda b

  • निguruthe conjunct द्र that follows it
  • द्रांguruthe anusvāra it carries
  • गguruthe conjunct त्व that follows it
  • त्वाguruits long vowel आ
  • किlaghuits short vowel, with a single consonant after it
  • मlaghuits short vowel, with a single consonant after it
  • पिlaghuits short vowel, with a single consonant after it
  • रुlaghuits short vowel, with a single consonant after it
  • दlaghuits short vowel, with a single consonant after it
  • तीguruits long vowel ई
  • सguruthe conjunct स्व that follows it
  • स्वlaghuits short vowel, with a single consonant after it
  • नंguruthe anusvāra it carries
  • विguruthe conjunct प्र that follows it
  • प्रlaghuits short vowel, with a single consonant after it
  • बुguruthe conjunct द्ध that follows it
  • द्धाguruits long vowel आ
  • yati after 4 — a word ends here — गत्वा
  • yati after 10 — a word ends here — रुदती

pāda c

  • साguruits long vowel आ
  • न्तguruthe conjunct र्ह that follows it
  • र्हाguruits long vowel आ
  • संguruthe anusvāra it carries
  • कlaghuits short vowel, with a single consonant after it
  • थिlaghuits 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
  • सlaghuits short vowel, with a single consonant after it
  • कृguruthe conjunct त्प that follows it
  • त्पृguruthe conjunct च्छ that follows it
  • च्छlaghuits short vowel, with a single consonant after it
  • तguruthe conjunct श्च that follows it
  • श्चguruthe conjunct त्व that follows it
  • त्वlaghuits short vowel, with a single consonant after it
  • याguruits long vowel आ
  • मेguruits long vowel ए
  • yati after 4 — a word ends here — सान्तर्हासं
  • yati after 10 — a word ends here — कथितमसकृत्

pāda d

  • दृguruthe conjunct ष्ट that follows it
  • ष्टःguruthe visarga it carries
  • स्वguruthe conjunct प्न that follows it
  • प्नेguruits long vowel ए
  • किlaghuits short vowel, with a single consonant after it
  • तlaghuits short vowel, with a single consonant after it
  • वlaghuits 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
  • यguruthe conjunct न्क that follows it
  • न्काguruits long vowel आ
  • मlaghuits short vowel, with a single consonant after it
  • पिguruthe conjunct त्व that follows it
  • त्वंguruthe anusvāra it carries
  • मlaghuits short vowel, with a single consonant after it
  • येguruits long vowel ए
  • तिlaghuits short vowel — light on its own, though the pāda ends here
  • yati after 4 — a word ends here — स्वप्ने
  • yati after 10 — a word ends here — रमयन्

भूयः + च makes भूयश्च, the visarga becoming श् before च् by Pāṇini 8.4.40 स्तोः श्चुना श्चुः, and च + आह makes चाह, अ and आ giving आ by 6.1.101 अकः सवर्णे दीर्घः — so the run भूयश्चाह packs भूयस्, च and आह into one word. पृच्छतः + च makes पृच्छतश्च the same way, the visarga to स् before च् by 8.3.34 विसर्जनीयस्य सः and then to श् by श्चुत्व, 8.4.40. मया + इति makes मयेति, आ and इ giving ए by 6.1.87 आद्गुणः. A word-final म् becomes anusvāra before a consonant by 8.3.23 मोऽनुस्वारः — निद्रां गत्वा, सस्वनं रुदती, सान्तर्हासं कथितम् — and is kept before a vowel: त्वमपि, किमपि, कथितमसकृत्, कामपि.

  • Chinnaya Sūri, Bālavyākaraṇam — సంధిపరిచ్ఛేదము; vendor/balavyakaranam-sandhi.txt
  • Aṣṭādhyāyī — 8.4.40 स्तोः श्चुना श्चुः; 6.1.87 आद्गुणः; 8.3.23 मोऽनुस्वारः

  • त्वम् प्रथमा · nominative — कर्ता, the agent

    with कण्ठलग्ना

  • शयने सप्तमी · locative — अधिकरण, the location

  • मे षष्ठी · genitive — सम्बन्ध, a relation to another word

  • निद्राम् द्वितीया · accusative — कर्म, the object

  • किम् द्वितीया · accusative — कर्म, the object

  • रुदती प्रथमा · nominative — कर्ता, the agent

    with सस्वनम्

  • विप्रबुद्धा प्रथमा · nominative — कर्ता, the agent

  • कथितम् प्रथमा · nominative — कर्ता, the agent

    with सान्तर्हासम्

  • पृच्छतः षष्ठी · genitive — सम्बन्ध, a relation to another word

  • त्वया तृतीया · instrumental — करण, the instrument or cause

  • मे षष्ठी · genitive — सम्बन्ध, a relation to another word

  • दृष्टः प्रथमा · nominative — कर्ता, the agent

  • स्वप्ने सप्तमी · locative — अधिकरण, the location

  • कितव सम्बोधन · vocative — a vocative of abuse, the one such word in the poem

    कितव, *cheat*, is a गम्बलर, and so a cheat, and so what a wife calls a husband she thinks has been unfaithful. Mallinātha marks it simply as an address, हे कितव, and adds nothing to it. It is a सम्बोधन, the case of address, standing inside the wife's own quoted speech in the last pāda, where she is speaking to the husband she has just dreamed unfaithful. What makes it worth marking is that the word occurs once in the whole poem: everything else this woman is given to say is grave, and this is a single word of sleepy teasing abuse, spoken half-asleep and reported back to her eight months later as the proof of who is writing — the one thing in two cantos that could not have been invented by a cloud.

    • Mallinātha, Sañjīvinī — 2.51: he kitava, tvaṃ kām api ramayan

  • रमयन् प्रथमा · nominative — a present participle on a causative stem, the णिच् by हेतुमति च

    रमयन्, *making [her] take her pleasure*, is the present participle (शतृ) on a causative stem: √रम् takes the affix णिच् by Pāṇini 3.1.26 हेतुमति च, the sūtra that adds णिच् when there is a prompter behind the action, and the participle is built on that lengthened stem रमय्. The causative is what makes the dream's picture damning — the accusation is not that the husband was enjoying himself but that he was giving another woman her pleasure. It is the third शतृ of the stanza, after रुदती and पृच्छतः, and all three describe something going on at the moment it is seen: she crying, he asking, and, inside the dream, this. Neither witness names the rule.

    • Aṣṭādhyāyī — 3.1.26 हेतुमति च
    • Mallinātha, Sañjīvinī — 2.51: he kitava, tvaṃ kām api ramayan mayā svapne dṛṣṭa iti

  • काम् द्वितीया · accusative — कर्म, the object

  • त्वम् प्रथमा · nominative — कर्ता, the agent

    with कण्ठलग्ना

  • मया तृतीया · instrumental — करण, the instrument or cause

प्रकरण 1 · हलन्त्यम्

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 15 · दिवादिभ्यः श्यन्

प्रकरण 17 · तुदादिभ्यः शः

प्रकरण 21 · सत्यापपाशरूपवीणातूलश्लोकसेनालोमत्वचवर्मवर्णचूर्णचुरादिभ्यो णिच्

प्रकरण 22 · स्वतन्त्रः कर्ता

प्रकरण 34 · ण्वुल्तृचौ

प्रकरण 36 · तुमुन्ण्वुलौ क्रियायां क्रियार्थायाम्

प्रकरण 60 · स्त्रियाम्

not in the abridgement

  • अ अ 8.4.68← आह; रुदती; विप्रबुद्धा; कथितम्; पृच्छतः; दृष्टः; रमयन्

कण्ठलग्ना

कण्ठ · लग्ना

  1. कण्ठे लग्ना

    तत्पुरुष (locative) — stuck fast at the neck

तत्पुरुष — it agrees with त्वम्. clinging to the neck — **Mallinātha gives no vigraha and instead gives the point of the compound**: गले बद्धस्य कथमपि गमनं न सम्भवेदिति भावः, one bound at the throat could not by any means go anywhere. That is the whole argument of the stanza in eight syllables of prose. She was holding him when she dreamt he had gone to another woman, and the compound is what makes the dream absurd. **And it is why he moves the अपि**: the verse prints त्वमपि, *you too*, and his anvaya reads कण्ठलग्नापि त्वम्, *though clinging to my neck*, which is the concessive the भाव needs

uncheckedMallinātha, Sañjīvinī (sense), who writes शयने मे कण्ठलग्नापि त्वम् and गले बद्धस्य कथमपि गमनं न सम्भवेदिति भावः; DCS gives the members as कण्ठ and लग्ना. The vigraha and the locative are the reader's — he supplies neither, and neither witness names a rule for a locative tatpuruṣa“śayane me kaṇṭhalagnāpi tvam | gale baddhasya katham api gamanaṃ na sambhaved iti bhāvaḥ”

सस्वनम्

स · स्वन

  1. स्वनेन सह वर्तते इति सस्वनम्

    बहुव्रीहि — having sound along with it

बहुव्रीहि — it refers to रुदती. aloud — the same shape as साभ्रे at 2.30: Pāṇini 2.2.28 तेन सहेति तुल्ययोगे compounds सह with an instrumental into a bahuvrīhi, and 6.3.82 वोपसर्जनस्य cuts सह down to the single syllable स when it is the subordinate member. **What it points at, it does not agree with.** साभ्रे at 2.30 was a locative describing a locative, अह्नि; this is a neuter accusative standing as an adverb, and the word it qualifies is रुदती — feminine, nominative — because what it describes is the crying and not the woman. The compound layer has one field for where a bahuvrīhi points and no way to say that the pointing is adverbial. Mallinātha glosses सस्वनं सशब्दम् and then says what it comes to: उच्चैः, loudly

uncheckedMallinātha, Sañjīvinī (sense), who glosses सस्वनं सशब्दम् । उच्चैरित्यर्थः; Pāṇini 2.2.28 and 6.3.82 by way of skt-data's sūtra corpus, neither named by him. **DCS splits the स off as an indeclinable of its own**, so the compound is not in its reading at all, and its surface for the rest is स्वरम् where the page prints स्वनं“sasvanaṃ saśabdam | uccair ityarthaḥ”

सान्तर्हासम्

स · अन्तर् · हास

  1. अन्तः हासः

    तत्पुरुष — a laugh kept inside

  2. अन्तर्हासेन सह वर्तते इति सान्तर्हासम्

    बहुव्रीहि — having an inward laugh along with it

बहुव्रीहि — it refers to कथितम्. with a smile held in — the second स-bahuvrīhi of the stanza, built exactly like सस्वनम् and adverbial in the same way, and it points at कथितम् without agreeing with it. Mallinātha marks the adverb here where he does not mark it for सस्वनम्: सान्तर्हासं मन्दहासं **यथा तथा** कथितम्, *told in such a way that there was a slight smile*, which is the standard prose for a neuter accusative qualifying a verb. **The two compounds are the stanza's two sounds**, one made asleep and one awake: she woke crying out loud, and she told it smiling to herself

uncheckedMallinātha, Sañjīvinī (sense), who glosses सान्तर्हासं मन्दहासं यथा तथा कथितम्; Pāṇini 2.2.28 and 6.3.82 by way of skt-data's sūtra corpus, neither named by him. The inner vigraha अन्तः हासः is the reader's — he glosses the member and does not unpack it. **DCS splits the स off here too**, and keeps अन्तर्हास as one lemma“tvayā sāntarhāsam andahāsaṃ yathā tathā kathitaṃ ca”

  • अव्यय

    भूयस्

    printed भूयश्चाह

    भूयस्

    again — Mallinātha glosses भूयः पुनरपि, *once more*. The word is the neuter of the comparative भूयस्, *more*, standing as an adverb, and what it counts here is speeches: the message has been running since 2.39, and भूयश्च is how the poem adds one more thing to it

  • अव्यय

    च

    printed भूयश्चाह

    च

    and — joining this stanza's speech to the one before it rather than joining two words

  • √अह्, class 2, लिट्, parasmaipada, third person singular

    आह

    printed भूयश्चाह

    √अह्

    he says — **and the verb has no subject on the page.** Mallinātha writes it in: त्वद्भर्ता मन्मुखेनेति शेषः, *your husband, through my mouth*, is to be supplied, and then says whose sentence this is at all — मेघवचनमेतत्, this is the cloud's speech. **So the stanza is three voices deep**: the cloud says that the husband says that she once said *cheat*. The form itself is a substitution and not a tense. Pāṇini 3.4.84 ब्रुवः पञ्चानामादित आहो ब्रुवः puts the affixes of लिट् in place of the first five of लट् after √ब्रू, with आह standing in for ब्रू itself — so the shape is a perfect and **the sense is present**, which is what the translation *he says* is doing. The note against this form type describes the ordinary perfect, the tense of a past the speaker did not witness, and does not fit here

    The stanza is three voices deep and the verse never says so. Its one finite verb, आह, has no subject printed anywhere, and Mallinātha sets the frame twice: त्वद्भर्ता मन्मुखेनेति शेषः, *your husband, through my mouth*, is to be supplied, and मेघवचनमेतत्, this is the cloud's speech. So the cloud says that the husband says that she once said *cheat*. The corpus has no layer for who is speaking — the same absence that has run under the message since 2.39, arriving here at its worst — and nothing but a commentator supplying five words holds the three voices apart. The verb's form matches the reach back in time: a perfect (लिट्) standing for the present by Pāṇini 3.4.84, *he says* and not *he said*.

    • Mallinātha, Sañjīvinī — 2.51: tvadbhartā manmukhenetiśeṣaḥ | meghavacanam etat

  • pronoun, प्रथमा एकवचन nominative singular

    त्वम्

    printed त्वमपि

    युष्मद्

    you — the wife, and the subject of विप्रबुद्धा. The verse prints त्वमपि and **Mallinātha's anvaya does not read it that way**: he writes कण्ठलग्नापि त्वम्, moving the particle off the pronoun

  • अव्यय

    अपि

    printed त्वमपि

    अपि

    though — **one particle read in two places, and the commentary decides.** As printed it sits after त्वम् and says *you too*, setting her beside him. Mallinātha's anvaya moves it back to कण्ठलग्ना, where it is concessive: *though clinging to my neck*. His भाव is the reason — गले बद्धस्य कथमपि गमनं न सम्भवेत्, one bound at the throat could not go anywhere — which needs the concession and does nothing with *too*. Nothing in the tagging can carry the difference: DCS records where the word stands, which is the one thing not in dispute

  • a-stem neuter, सप्तमी एकवचन locative singular

    शयने

    शयन

    on the bed — the place, and the only piece of furniture in the message. It is what makes the rest of the stanza domestic rather than grand: after eight months of mountains and rivers the token he sends is one night in a bedroom

  • √लग् + क्त, प्रथमा एकवचन nominative singular

    कण्ठलग्ना

    कण्ठ + √लग्

    clinging to my neck — a real क्त here, past in form and present in force, as a क्त of a verb of state is. Mallinātha does not gloss it and instead draws the conclusion: गले बद्धस्य कथमपि गमनं न सम्भवेत्, a man tied at the throat cannot get away. **The compound is the stanza's argument**, and what it argues against is her dream

    One particle is read in two places, and the reading turns on it. The verse prints त्वमपि, *you too*, setting her beside him. Mallinātha's anvaya reads कण्ठलग्नापि त्वम्, *though clinging to my neck*, moving the particle back onto the compound, where it is concessive — and his भाव is the argument: गले बद्धस्य कथमपि गमनं न सम्भवेदिति भावः, a man bound at the throat could not by any means have gone anywhere. That is the joke of the stanza in eight syllables of prose. कण्ठलग्ना is a locative tatpuruṣa, कण्ठे लग्ना, clinging *at* the neck, and a real क्त of state, past in form and present in force. She had hold of him, and dreamed he had gone.

    • Mallinātha, Sañjīvinī — 2.51: śayane me kaṇṭhalagnāpi tvam | gale baddhasya katham api gamanaṃ na sambhaved iti bhāvaḥ

  • अव्यय

    पुरा

    पुरा

    long ago — **and Mallinātha picks one of three senses and quotes the book he picks it from.** पुराशब्दश्चिरातीते, the word पुरा is in the sense of the long-past, with Amara for the other two: स्यात्प्रबन्धे चिरातीते निकटागामि पुरा — पुरा can mean *continuously*, *long ago*, or *about to happen*. He takes the middle one, and it is the one that puts the stanza before the curse rather than inside the separation. He also says why the word is there at all: किमित्यत आह, *to the question when, he says पुरा*

    पुरा, *long ago*, gets a lexicon entry and one of three senses. Mallinātha glosses पुरा पूर्वम् and names the class it belongs to, पुराशब्दश्चिरातीते, the word is in the sense of the long-past, then quotes Amara for the other two: स्यात्प्रबन्धे चिरातीते निकटागामि पुरा — पुरा can mean *continuously*, *long ago*, or *about to happen*. He takes the middle one, and it is the one that puts the night before the curse rather than inside the separation: a thing from the life they had, not from the eight months since, which is exactly what a token needs to be. He also says why the word is there at all — किमित्यत आह, *to the question when, he says पुरा*.

    • Mallinātha, Sañjīvinī — 2.51: purā pūrvam | purāśabdaś cirātīte || “syāt prabandhe cirātīte nikaṭāgāmi purā” ityamaraḥ

  • pronoun, षष्ठी एकवचन genitive singular

    मे

    अस्मद्

    my — the genitive belongs inside कण्ठलग्ना's sense and not to शयने: *clinging to my neck*, not *on my bed*. Mallinātha's word order settles it, शयने मे कण्ठलग्ना, with मे next to the compound it depends on

  • ā-stem feminine, द्वितीया एकवचन accusative singular

    निद्राम्

    printed निद्रां

    निद्रा

    sleep — the object of गत्वा, in the idiom *to go to sleep*, where Sanskrit puts the state in the accusative and the verb of motion does the rest. **Sleep is the sixth thing the message has done with this woman's nights**: 2.28 kept her awake, 2.31 had her ask for it and be refused, 2.37 asked the cloud not to break it, 2.50 tells her to shut her eyes and get four months past, and here it is the thing that once betrayed her

  • क्त्वा

    गत्वा

    √गम्

    having gone into — the absolutive of √गम् with निद्राम् for its object. Mallinātha leaves it alone, which he does not often do with an absolutive

  • pronoun, द्वितीया एकवचन accusative singular

    किम्

    printed किमपि

    किम्

    for some reason — the interrogative with अपि after it, which turns *what?* into *something or other*, and the neuter accusative of it stands as an adverb. Mallinātha unpacks the pair rather than the word: केन वा निमित्तेनेत्यर्थः, *or on what occasion*, so किमपि asks the question the husband is about to ask her out loud. **He is describing his own ignorance**: the man telling the story does not know why she cried, which is why the next clause has him asking

  • अव्यय

    अपि

    printed किमपि

    अपि

    some — the particle that makes the interrogative indefinite, and the second of the stanza's three अपि. This one and the third (कामपि) do the same work on the same pronoun; the first does something else entirely

  • √रुद् + शतृ, प्रथमा एकवचन nominative singular

    रुदती

    √रुद्

    crying — and Mallinātha writes a word in after it: रुदती **सती** विप्रबुद्धा, *being in tears, you woke*, which makes the participle circumstantial rather than a second predicate. She did not wake and then cry; she woke already crying, which is what a dream does

  • a-stem neuter, द्वितीया एकवचन accusative singular

    सस्वनम्

    printed सस्वनं

    सस्वन

    aloud — the neuter accusative of a स-bahuvrīhi standing as an adverb. Mallinātha glosses it twice over, first word for word and then for what it comes to: सस्वनं सशब्दम् । उच्चैरित्यर्थः, *with sound*, that is, *loudly*. **The loudness is the point**: the crying was loud enough to wake him too, which is how he comes to be asking

  • √बुध् + क्त, प्रथमा एकवचन nominative singular

    विप्रबुद्धा

    वि + प्र + √बुध्

    woke up — the predicate of the first half, and Mallinātha supplies the verb it needs: आसीदिति शेषः, *was*, since the participle alone is not a sentence. **Two preverbs on one root**, वि and प्र, and neither adds much beyond force: she came fully awake

  • a-stem neuter, द्वितीया एकवचन accusative singular

    सान्तर्हासम्

    printed सान्तर्हासं

    सान्तर्हास

    with a smile held in — Mallinātha glosses अन्तर्हास as मन्दहास, a slight smile, and marks the adverb with यथा तथा. **The smile is the stanza's last piece of evidence and the hardest to invent**: a woman reporting her own jealous dream and laughing at herself while she reports it. It is also what tells the husband the accusation is not serious, and so what makes the memory safe to send back to her as a token

  • √कथ् + क्त, प्रथमा एकवचन nominative singular

    कथितम्

    printed कथितमसकृत्

    √कथ्

    was told — the main verb of the second half, in the impersonal passive: त्वया कथितम्, *by you it was told*, with the whole इति-clause of the last pāda for what was told. **DCS reads the case the other way**, accusative rather than nominative; a neuter shows the two alike, so nothing on the page decides it, and the instrumental त्वया does — a passive participle standing with an agent in the third case is the predicate, not an object

  • अव्यय

    असकृत्

    printed कथितमसकृत्

    असकृत्

    again and again — literally *not once*, and Mallinātha turns the negative into a positive: असकृद्बहुशः, *many times*. It goes with पृच्छतः and not with कथितम्: he asked repeatedly, she told once. **The word stood at 2.32 too**, of her pushing the single braid aside over and over, and both times it is a small action done more than it needs to be

  • √प्रच्छ् + शतृ, षष्ठी एकवचन genitive singular

    पृच्छतः

    printed पृच्छतश्च

    √प्रच्छ्

    of me asking — the genitive of the present participle, agreeing with मे. **And Mallinātha supplies what he asked**: रोदनहेतुमिति शेषः, *the cause of the weeping*, which the verse leaves out and the sentence needs, since asking is a verb that wants an object. The same root stood at 2.25 as पृच्छन्ती, of her asking the parrots how their mistress does; at 2.41 as पृच्छति, of the husband asking after her health. **Three askings in the message, and only this one gets an answer**

  • अव्यय

    च

    printed पृच्छतश्च

    च

    and — Mallinātha reads it not where it stands but with कथितम्, कथितं च, joining the telling to the waking. The verse prints it after पृच्छतः because that is where the metre has room

  • pronoun, तृतीया एकवचन instrumental singular

    त्वया

    युष्मद्

    by you — the agent of the impersonal कथितम्, and the word that fixes that participle as the predicate. She is nominative in the first half, doing things; instrumental in the second, because the telling is put passively

  • pronoun, षष्ठी एकवचन genitive singular

    मे

    अस्मद्

    to me — genitive with पृच्छतः, which Mallinātha spells out as मे मम, the enclitic replaced by the full form so that there is no doubt which word it is. **The second मे of the stanza**, and the two are in different constructions: the first is possessive, of a neck, and this one agrees with a participle

  • √दृश् + क्त, प्रथमा एकवचन nominative singular

    दृष्टः

    √दृश्

    were seen — the predicate of her sentence, agreeing with त्वम् and taking मया for its agent. The last pāda is her speech word for word, and it is built the same way as the clause that reports it: a passive participle with the agent in the third case

  • a-stem masculine, सप्तमी एकवचन locative singular

    स्वप्ने

    स्वप्न

    in a dream — **the fourth dream of the canto and the first that is a memory.** At 2.31 she asks how a union even born of a dream could come to her; at 2.37 he asks the cloud to hold its thunder so that a dream of him is not broken; at 2.46 he embraces her in dreams and the forest goddesses weep to see it. Those three are wanted. This one happened, and it was a bad one

  • a-stem masculine, सम्बोधन एकवचन vocative singular

    कितव

    कितव

    cheat — a gambler, and so a cheat, and so what a wife calls a husband she thinks has been unfaithful. Mallinātha marks it as an address and adds nothing: हे कितव. **The word occurs once in the whole poem.** Everything else she is given to say is grave, and this is a single word of teasing abuse, spoken half-asleep and reported back to her eight months later as proof of who is writing

  • √रम् + णिच् + शतृ, प्रथमा एकवचन nominative singular

    रमयन्

    √रम् + णिच्

    making take her pleasure — the present participle on a causative stem, Pāṇini 3.1.26 हेतुमति च for the णिच्. The causative is what makes the picture damning: not that he was enjoying himself, but that he was giving another woman her pleasure. **The third शतृ of the stanza**, and all three describe something going on at the moment it is seen — she crying, he asking, and, inside the dream, this

  • pronoun, द्वितीया एकवचन accusative singular

    काम्

    printed कामपि

    किम्

    some woman — the feminine of किम् with अपि, and the whole force of the accusation is in the indefiniteness. She does not know who it was, which is what a dream is like, and the not knowing is worse than a name would be. **The same pronoun as किमपि two pādas back**, in the other gender and doing the other job: there it stood for a reason she could not give, here for a woman she could not name

  • अव्यय

    अपि

    printed कामपि

    अपि

    some — the third अपि of the stanza, doing what the second did: making the interrogative indefinite

  • pronoun, प्रथमा एकवचन nominative singular

    त्वम्

    printed त्वं

    युष्मद्

    you — the husband, inside her speech, where in the first pāda the same word was her. **The stanza uses त्वम् for both of them**, and which one it is depends on whose voice is speaking, which is exactly the difficulty the message has: the cloud says *you* to the woman while quoting a man who said *you* to her about her saying *you* to him

  • pronoun, तृतीया एकवचन instrumental singular

    मया

    printed मयेति

    अस्मद्

    by me — her, the agent of दृष्टः, and the mirror of the त्वया of the pāda before. Inside the quotation the pronouns swap: *by you it was told* becomes *by me he was seen*

  • अव्यय

    इति

    printed मयेति

    इति

    so — the quotation mark, and the last word of the verse. It closes her speech, and with it the whole message: 2.52 begins on the token this stanza is

त्वद्भर्ता [supplied] · मन्मुखेन [supplied] · भूयस् · च · आह · पुरा · शयने · मे · कण्ठलग्ना · अपि · त्वम् · निद्राम् · गत्वा · किम् · अपि · सस्वनम् · रुदती · सती [supplied] · विप्रबुद्धा · आसीत् [supplied] · असकृत् · रोदनहेतुम् [supplied] · पृच्छतः · मे · कितव · त्वम् · काम् · अपि · रमयन् · मया · स्वप्ने · दृष्टः · इति · त्वया · सान्तर्हासम् · कथितम् · च

uncheckedMallinātha, Sañjīvinī, whose commentary runs as anvaya. **Five words are supplied and he marks four of them**: त्वद्भर्ता and मन्मुखेन together, by one शेषः, for the subject and the instrument of आह, which the verse leaves out entirely; आसीत्, for the sentence विप्रबुद्धा alone cannot make; and रोदनहेतुम्, *the cause of the weeping*, for what the husband asked — **the first time in the canto that a शेषः supplies a verb's object rather than a copula or a case-form**. The fifth is सती, which he writes in after रुदती to turn the participle circumstantial, unmarked, as he wrote सति into four locative absolutes earlier in the canto. What he moves is the अपि, from त्वम् where the verse prints it to कण्ठलग्ना, and च, from पृच्छतः where the verse prints it to कथितम्. He also brings पुरा up to the front of the whole picture, where the verse holds it back to the end of the first pāda, and he closes with the sentence's own verb — कथितं चेति — after the quotation it governs. He opens by addressing her himself, हे अबले, which is not a word of the verse and is not marked as supplied either; the same thing he did with प्रिये at 2.49“he abale, bhūyaḥ punar apy āha | tvadbhartā manmukhenetiśeṣaḥ | meghavacanam etat | … purā pūrvam … śayane me kaṇṭhalagnāpi tvam | … nidrāṃ gatvā kim api | … sasvanaṃ saśabdam | … rudatī satī viprabuddhā | āsīditi śeṣaḥ | asakṛd bahuśaḥ pṛcchataḥ | rodanahetum iti śeṣaḥ | me mama | he kitava, tvaṃ kām api ramayan mayā svapne dṛṣṭa iti tvayā sāntarhāsam … yathā tathā kathitaṃ ceti | tvadbhartā bhūyaś cāheti yojanā”

the dependency structure

आह · क्रिया — he says, आह; the stanza's one finite verb, and its subject is nowhere on the page. Mallinātha writes it in — त्वद्भर्ता मन्मुखेनेति शेषः, your husband, through my mouth, is to be supplied — and then names whose sentence it is at all: मेघवचनमेतत्, this is the cloud's speech. The form is a substitution and not a tense: Pāṇini 3.4.84 ब्रुवः पञ्चानामादित आहो ब्रुवः puts the affixes of the perfect (लिट्) after √ब्रू with आह for ब्रू, so the shape is a perfect and the sense is present — *he says*, not *he said*. The stanza is three voices deep, and only the supplied words hold them apart

त्वद्भर्ता · कर्ता — your husband, त्वद्भर्ता; the subject of आह, which the verse prints nowhere. Mallinātha supplies it by one शेषः together with the instrument — त्वद्भर्ता मन्मुखेनेति शेषः — and it is the middle of the three voices: the cloud speaks, the husband is what it speaks for, and the wife is who once spoke inside that

मन्मुखेन · करण — through my mouth, मन्मुखेन; the instrument of आह, supplied by the same शेषः as त्वद्भर्ता. The cloud is the mouth the husband speaks through, which is how a message spoken by one man becomes the words of another

भूयस् · क्रियाविशेषण — again, भूयः पुनरपि; the neuter of the comparative भूयस्, *more*, standing as an adverb, and what it counts here is speeches — the message has been running since 2.39, and भूयश्च is how the poem adds one more thing to it

च · — and, च; joining this stanza's speech to the one before it rather than joining two words, which is why Mallinātha takes भूयश्च together as *and once more*

पुरा · कालाधिकरण — long ago, पुरा पूर्वम्; Mallinātha picks one of three senses and names the book he picks it from — पुराशब्दश्चिरातीते, the word is in the sense of the long-past, with Amara quoted for the others (स्यात्प्रबन्धे चिरातीते निकटागामि पुरा — *continuously*, *long ago*, *about to happen*). Choosing the middle puts the night before the curse, a thing from the life they had. He brings the word up to the front of the whole picture, where the verse holds it back to the end of the first pāda

आसीत् · क्रिया (supplied) — was, आसीत्; the copula Mallinātha supplies for विप्रबुद्धा, which as a bare participle cannot make a sentence — आसीदिति शेषः. It carries the first half of the husband's report: on the bed, though clinging to his neck, she went to sleep and woke

विप्रबुद्धा · विधेय — woke up, विप्रबुद्धा; the predicate of the first half, agreeing with त्वम्, with आसीत् supplied under it. Two preverbs on √बुध्, वि and प्र, add force beyond the root: she came fully awake

त्वम् · कर्ता — you, त्वम्; the wife, subject of विप्रबुद्धा. The verse prints त्वमपि, but Mallinātha's anvaya does not read it that way — he writes कण्ठलग्नापि त्वम्, moving the particle off the pronoun

कण्ठलग्ना · विशेषण (concessive) — though clinging to my neck, कण्ठलग्नापि; a locative tatpuruṣa, कण्ठे लग्ना, and a real क्त of state, past in form and present in force. Mallinātha gives no vigraha but the point — गले बद्धस्य कथमपि गमनं न सम्भवेदिति भावः, one bound at the throat could not by any means go anywhere — which is the stanza's whole argument against her dream

शयने · अधिकरण — on the bed, शयने; the place, and the only piece of furniture in the message — after eight months of mountains and rivers the token he sends is one night in a bedroom

मे · षष्ठी — my, मे; the genitive belongs inside कण्ठलग्ना, clinging to *my* neck, not on my bed. Mallinātha's word order settles it — शयने मे कण्ठलग्ना, with मे next to the compound it depends on

अपि · — though, अपि; one particle read in two places, and the commentary decides. Printed after त्वम् it says *you too*; Mallinātha moves it to कण्ठलग्ना where it is concessive, *though clinging to my neck*, which his भाव needs and *too* does nothing with

गत्वा · पूर्वकालक्रिया — having gone into, निद्रां गत्वा; the absolutive of √गम् with निद्राम् for its object, in the idiom *to go to sleep* where Sanskrit puts the state in the accusative and the verb of motion does the rest

निद्राम् · कर्म — sleep, निद्राम्; the object of गत्वा. Sleep is the sixth thing the message has done with this woman's nights, after 2.28, 2.31, 2.37 and 2.50 — and here it is the thing that once betrayed her

रुदती · विशेषण (circumstantial) — crying, रुदती सती; the present participle (शतृ), which Mallinātha makes circumstantial by writing सती after it — रुदती सती विप्रबुद्धा. She did not wake and then cry; she woke already crying, which is what a dream does

सती · — being, सती; supplied by Mallinātha after रुदती to turn the participle circumstantial, unmarked, as he wrote सति into the canto's earlier locative absolutes

सस्वनम् · क्रियाविशेषण — aloud, सस्वनं सशब्दम्; a स-bahuvrīhi in the neuter accusative standing as an adverb on रुदती. Mallinātha glosses it twice, सशब्दम् then उच्चैः, loudly — the loudness is the point, the crying loud enough to wake him too

किम् · — for some reason, किमपि केन वा निमित्तेन; the interrogative with अपि turned indefinite, the neuter accusative standing as an adverb. Mallinātha unpacks the pair — केन वा निमित्तेनेत्यर्थः — the husband describing his own ignorance of why she cried

अपि · — some, अपि; the particle that makes the interrogative indefinite, and the second of the stanza's three अपि

कथितम् · क्रिया (supplied predicate) — was told, कथितम्; the main verb of the second half, in the impersonal passive — त्वया कथितम्, *by you it was told*, with the whole इति-clause of the last pāda for what was told. The instrumental त्वया fixes it as the predicate and not an object. Mallinātha reads the च with it, कथितं च, joining the telling to the waking

त्वया · कर्तृ (passive agent) — by you, त्वया; the agent of the impersonal कथितम्, and the word that fixes that participle as the predicate. She is nominative in the first half, doing things; instrumental in the second, because the telling is put passively

पृच्छतः · षष्ठी — of me asking, पृच्छतः; the genitive of the present participle, agreeing with मे. Mallinātha supplies its object — रोदनहेतुमिति शेषः, the cause of the weeping — which the verse leaves out and the sentence needs, since asking is a verb that wants an object

मे · षष्ठी — of me, मे मम; genitive with पृच्छतः, the enclitic spelled to the full मम so there is no doubt which word it is. The second मे of the stanza, agreeing with a participle where the first was possessive, of a neck

असकृत् · क्रियाविशेषण — again and again, असकृद्बहुशः; literally *not once*, the negative turned positive. It goes with पृच्छतः and not with कथितम् — he asked repeatedly, she told once

रोदनहेतुम् · कर्म (supplied) — the cause of the weeping, रोदनहेतुम्; supplied by Mallinātha for what the husband kept asking — the first time in the canto that a शेषः supplies a transitive verb's missing object rather than a copula, a case-form or a subject

सान्तर्हासम् · क्रियाविशेषण — with a smile held in, सान्तर्हासं मन्दहासं यथा तथा; the second स-bahuvrīhi of the stanza, adverbial on कथितम्. A woman reporting her own jealous dream and laughing at herself while she reports it, which is what tells the husband the accusation is not serious and makes the memory safe to send back

च · — and, च; Mallinātha reads it not where it stands but with कथितम्, कथितं च, joining the telling to the waking. The verse prints it after पृच्छतः because that is where the metre had room

दृष्टः · विधेय (her speech) — were seen, स्वप्ने दृष्टः; the predicate of the wife's own words, quoted verbatim in the last pāda, agreeing with त्वम् and taking मया for its agent. It is built the same way as the clause that reports it — a passive participle with the agent in the third case

त्वम् · कर्ता — you, त्वम्; the husband, inside her speech, where in the first pāda the same word was her. The stanza uses त्वम् for both of them, and which one it is turns on whose voice is speaking

मया · करण (passive agent) — by me, मया; her, the agent of दृष्टः, and the mirror of the त्वया of the pāda before. Inside the quotation the pronouns swap: *by you it was told* becomes *by me he was seen*

स्वप्ने · अधिकरण — in a dream, स्वप्ने; the fourth dream of the canto and the first that is a memory. Those at 2.31, 2.37 and 2.46 are wanted; this one happened, and it was a bad one

कितव · सम्बोधन — cheat, हे कितव; a gambler, and so a cheat, and so what a wife calls a husband she thinks has been unfaithful. Mallinātha marks it as an address and adds nothing. The word occurs once in the whole poem — one word of sleepy teasing abuse against a page of grave speech

रमयन् · विशेषण — making take her pleasure, कामपि रमयन्; the present participle on a causative stem (णिच्, Pāṇini 3.1.26 हेतुमति च). The causative is what makes the picture damning — not that he was enjoying himself, but that he was giving another woman her pleasure

काम् · कर्म — some woman, कामपि; the feminine of किम् with अपि, and the whole force of the accusation is in the indefiniteness. She does not know who it was, which is what a dream is like, and the not knowing is worse than a name

अपि · — some, अपि; the third अपि of the stanza, doing what the second did — making the interrogative indefinite

इति · — so, इति; the quotation mark, and the last word of the verse. It closes her speech, and with it the whole message: 2.52 begins on the token this stanza is

uncheckedthe reader's reading, following Mallinātha's Sañjīvinī, whose commentary runs as anvaya. He supplies त्वद्भर्ता and मन्मुखेन by one शेषः for the subject and instrument of आह and names the frame मेघवचनमेतत्; supplies आसीत् for विप्रबुद्धा, सती after रुदती to make the participle circumstantial, and रोदनहेतुम् for the object पृच्छतः lacks; moves the अपि from त्वम् to कण्ठलग्ना (कण्ठलग्नापि त्वम्, with गले बद्धस्य कथमपि गमनं न सम्भवेदिति भावः) and the च to कथितम्; glosses भूयः पुनरपि, पुरा पूर्वम् with पुराशब्दश्चिरातीते and the Amara line, सस्वनं सशब्दम् उच्चैः, किमपि केन वा निमित्तेन, सान्तर्हासं मन्दहासं यथा तथा, असकृद्बहुशः, मे मम, and marks हे कितव. The tree roots at आह, the verse's one finite verb, and carries the husband's quoted speech as its subtree — the first half predicated by the supplied आसीत् under विप्रबुद्धा, the second by कथितम्, and the wife's own words nested under दृष्टः. Named sūtras follow the analysis: 3.4.84 for आह, 2.2.28 and 6.3.82 for the स-bahuvrīhis, 3.1.26 for रमयन्'s causative. No figure is named. The Telugu is drawn from Vedam Venkataraya Sastri's Āndhra Meghasandeśam.

*And he says this too — your husband, through my mouth: long ago, on the bed, though you were clinging to my neck, you fell asleep and woke up crying out loud, for some reason; and when I asked you and asked you, you told me, with a smile held in — cheat, I saw you in a dream making some other woman happy.* **This is the token, and the poem names it one stanza later.** 2.52 opens एतस्मान्मां कुशलिनमभिज्ञानदानात्, *from the giving of this token know me to be well* — so the whole burden of the five stanzas since 2.47 comes down to one night neither of them can have told anybody else. Mallinātha does not use the word अभिज्ञान here. What he does instead is set the frame, twice: **त्वद्भर्ता मन्मुखेनेति शेषः**, *your husband, through my mouth*, is to be supplied, and **मेघवचनमेतत्**, this is the cloud's speech. The verse's one finite verb, आह, has no subject printed anywhere. **So the stanza is three voices deep** and the verse never says so. The cloud says that the husband says that she once said *cheat*. Nothing but a commentator supplying five words holds those three apart, and the corpus has no layer for who is speaking — the same absence that has run under the message since 2.39, arriving here at its worst. **One particle is read in two places, and the reading turns on it.** The verse prints त्वमपि, *you too*. Mallinātha's anvaya reads कण्ठलग्नापि त्वम्, *though clinging to my neck*, and his भाव is the argument: **गले बद्धस्य कथमपि गमनं न सम्भवेत्**, a man tied at the throat could not by any means have gone anywhere. That is the joke of the stanza. She had hold of him, and dreamed he had gone. **Seven words of the stanza are tagged as participles and one tag covers all seven.** Four are क्त — कण्ठलग्ना, विप्रबुद्धा, कथितम्, दृष्टः — and three are शतृ, the present participle: रुदती crying, पृच्छतः asking, रमयन् inside the dream. `scripts/draft-analysis.ts` has one answer for DCS's `f=part` and it is क्त, so it is right four times and wrong three, and this is the most participles in any verse of the poem and the first stanza with three शतृ in it. **The commentary's supplied words are what make the story a story.** आसीत् for the sentence विप्रबुद्धा cannot make alone; सती after रुदती, so that she does not wake and then cry but wakes already crying; and **रोदनहेतुम्**, *the cause of the weeping*, for what the husband kept asking — the verse gives पृच्छतः no object at all. That last one is new: every earlier शेषः in this canto has supplied a copula, a case-form or a subject, and this supplies the thing a transitive verb is missing. **पुरा gets a lexicon and one of three senses.** पुराशब्दश्चिरातीते, the word is in the sense of the long-past, and Amara is quoted for the others — स्यात्प्रबन्धे चिरातीते निकटागामि पुरा, *continuously*, *long ago*, *about to be*. Choosing the second puts the night before the curse, which is what the token needs: a thing from the life they had, not from the eight months since. **And कितव occurs once in the whole poem.** Every other word this woman is given to say is grave. This is one word of sleepy abuse — *cheat*, said to a man who was holding her — and it is the one thing in two cantos that could not have been invented by a cloud. No figure is named.

uncheckedthe reader's reading, following Mallinātha, Sañjīvinī's gloss. His are: भूयः पुनरपि for भूयश्च with त्वद्भर्ता मन्मुखेनेति शेषः and मेघवचनमेतत्, पुरा पूर्वम् with पुराशब्दश्चिरातीते and the Amara line, शयने मे कण्ठलग्नापि त्वम् with गले बद्धस्य कथमपि गमनं न सम्भवेदिति भावः, केन वा निमित्तेन for किमपि, सशब्दम् and उच्चैः for सस्वनम्, रुदती सती विप्रबुद्धा with आसीदिति शेषः, असकृद्बहुशः, रोदनहेतुमिति शेषः, मे मम, मन्दहासं यथा तथा for सान्तर्हासम्, and the closing योजना त्वद्भर्ता भूयश्चाहेति. That the stanza is the token 2.52 names, that the three voices have no layer, that seven participles carry one tag, that कितव occurs once in the poem and that this is the fourth dream of the canto are the reader's, checked against `text.md`. Pāṇini 3.4.84, 3.2.124, 3.1.26, 7.2.103, 1.1.63, 2.2.28, 6.3.82, 6.1.87 and 8.4.40 are by way of skt-data's sūtra corpus, none of them named by him. Amara's text is not in this repository and the line cannot be checked“he abale, bhūyaḥ punar apy āha | tvadbhartā manmukhenetiśeṣaḥ | meghavacanam etat | … gale baddhasya katham api gamanaṃ na sambhaved iti bhāvaḥ”

*And once more he says this too — your husband, through my mouth: long ago, on the bed, though you were clinging to my neck, you fell asleep and woke crying out loud, for some reason; and when I asked you and asked you, you told me, with a smile held in — cheat, I saw you in a dream making some other woman happy.* This is the token, and the poem names it one stanza later: 2.52 opens एतस्मान्मां कुशलिनमभिज्ञानदानात्, *from the giving of this token know me to be well*, so the whole burden of the stanzas since 2.47 comes down to one night neither of them can have told anybody else. Seven words of the stanza are participles — four क्त (कण्ठलग्ना, विप्रबुद्धा, कथितम्, दृष्टः) and three शतृ (रुदती, पृच्छतः, रमयन्), the most in any verse of the poem. The commentary's supplied words are what make the story a story: आसीत् for the sentence विप्रबुद्धा cannot make alone, सती so that she wakes already crying, and रोदनहेतुम् for the question the husband keeps asking. And कितव occurs once in the whole poem — one word of sleepy abuse against a page of grave speech, the one thing a cloud could not have invented. No figure is named; the stanza's power is in the plain report and the supplied frame, not in an ornament.

  • Mallinātha, Sañjīvinī — 2.51, whole-verse gloss

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