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मेघदूतम् · कालिदास · 2.6

अलका · the jewels hidden in the golden sand

मन्दाकिन्याः सलिलशिशिरैः सेव्यमाना मरुद्भिः

म
न्दा
कि
न्याः
स
लि
ल
शि
शि
रैः
से
व्य
मा
ना
म
रु
द्भिः

मन्दाराणामनुतटरुहां छायया वारितोष्णाः

म
न्दा
रा
णा
म
नु
त
ट
रु
हां
छा
य
या
वा
रि
तो
ष्णाः

अन्वेष्टव्यैः कनकसिकतामुष्टिनिक्षेपगूढैः

अ
न्वे
ष्ट
व्यैः
क
न
क
सि
क
ता
मु
ष्टि
नि
क्षे
प
गू
ढैः

संक्रीडन्ते मणिभिरमरप्रार्थिता यत्र कन्याः

सं
क्री
ड
न्ते
म
णि
भि
र
म
र
प्रा
र्थि
ता
य
त्र
क
न्याः

pāda a

  • मguruthe conjunct न्द that follows it
  • न्दाguruits long vowel आ
  • किguruthe conjunct न्य that follows it
  • न्याःguruthe visarga it carries
  • सlaghuits short vowel, with a single consonant after it
  • लिlaghuits short vowel, with a single consonant after it
  • लlaghuits short vowel, with a single consonant after it
  • शिlaghuits short vowel, with a single consonant after it
  • शिlaghuits short vowel, with a single consonant after it
  • रैःguruthe visarga it carries
  • सेguruits long vowel ए
  • व्यlaghuits short vowel, with a single consonant after it
  • माguruits long vowel आ
  • नाguruits long vowel आ
  • मlaghuits short vowel, with a single consonant after it
  • रुguruthe conjunct द्भ that follows it
  • द्भिःguruthe visarga it carries
  • yati after 4 — a word ends here — मन्दाकिन्याः
  • yati after 10 — a word ends here — सलिलशिशिरैः

pāda b

  • मguruthe conjunct न्द that follows it
  • न्दाguruits long vowel आ
  • राguruits long vowel आ
  • णाguruits long vowel आ
  • मlaghuits short vowel, with a single consonant after it
  • नुlaghuits short vowel, with a single consonant after it
  • तlaghuits short vowel, with a single consonant after it
  • टlaghuits short vowel, with a single consonant after it
  • रुlaghuits short vowel, with a single consonant after it
  • हांguruthe anusvāra it carries
  • छाguruits long vowel आ
  • यlaghuits short vowel, with a single consonant after it
  • याguruits long vowel आ
  • वाguruits long vowel आ
  • रिlaghuits short vowel, with a single consonant after it
  • तोguruits long vowel ओ
  • ष्णाःguruthe visarga it carries
  • yati after 4 — it falls inside मन्दाराणाम्
  • yati after 10 — a word ends here — मन्दाराणामनुतटरुहां

pāda c

  • अguruthe conjunct न्व that follows it
  • न्वेguruits long vowel ए
  • ष्टguruthe conjunct व्य that follows it
  • व्यैःguruthe visarga it carries
  • कlaghuits short vowel, with a single consonant after it
  • नlaghuits short vowel, with a single consonant after it
  • कlaghuits short vowel, with a single consonant after it
  • सिlaghuits short vowel, with a single consonant after it
  • कlaghuits short vowel, with a single consonant after it
  • ताguruits long vowel आ
  • मुguruthe conjunct ष्ट that follows it
  • ष्टिlaghuits short vowel, with a single consonant after it
  • निguruthe conjunct क्ष that follows it
  • क्षेguruits long vowel ए
  • पlaghuits short vowel, with a single consonant after it
  • गूguruits long vowel ऊ
  • ढैःguruthe visarga it carries
  • yati after 4 — a word ends here — अन्वेष्टव्यैः
  • yati after 10 — it falls inside the compound कनकसिकतामुष्टिनिक्षेपगूढैः

pāda d

  • संguruthe anusvāra it carries
  • क्रीguruits long vowel ई
  • डguruthe conjunct न्त that follows it
  • न्तेguruits long vowel ए
  • मlaghuits short vowel, with a single consonant after it
  • णिlaghuits short vowel, with a single consonant after it
  • भिlaghuits 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
  • रguruthe conjunct प्र that follows it
  • प्राguruits long vowel आ
  • र्थिlaghuits short vowel, with a single consonant after it
  • ताguruits long vowel आ
  • यguruthe conjunct त्र that follows it
  • त्रlaghuits short vowel, with a single consonant after it
  • कguruthe conjunct न्य that follows it
  • न्याःguruthe visarga it carries
  • yati after 4 — a word ends here — संक्रीडन्ते
  • yati after 10 — it falls inside the compound अमरप्रार्थिताः

  • सेव्यमानाः + मरुद्भिः → सेव्यमाना

    ः + म्

  • मन्दाराणाम् + अनुतटरुहाम् → मन्दाराणामनुतटरुहां

    म् + अ

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

  • मणिभिः + अमरप्रार्थिताः → मणिभिरमरप्रार्थिता

    ः + अ

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

  • सलिल + शिशिर → सलिलशिशिरैः

    अ + श्

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

  • अनु + तट → अनुतटरुहाम्

    उ + त्

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

  • तट + रुह् → अनुतटरुहाम्

    अ + र्

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

  • वारित + उष्ण → वारितोष्णाः

    अ + उ → ओ · falls inside the syllable तो

  • कनक + सिकता → कनकसिकतामुष्टिनिक्षेपगूढैः

    अ + स्

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

  • सिकता + मुष्टि → कनकसिकतामुष्टिनिक्षेपगूढैः

    आ + म्

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

  • मुष्टि + निक्षेप → कनकसिकतामुष्टिनिक्षेपगूढैः

    इ + न्

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

  • निक्षेप + गूढ → कनकसिकतामुष्टिनिक्षेपगूढैः

    अ + ग्

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

  • अमर + प्रार्थित → अमरप्रार्थिताः

    अ + प्

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

The pāda-join सेव्यमानाः + मरुद्भिः keeps its visarga as a sibilant before the following म्-less voiced consonant only where a sibilant is called for — here the visarga stands before म् and is dropped, सेव्यमाना मरुद्भिः, the loss 8.3.17 भोभगो… and 8.3.22 हलि सर्वेषाम् together provide for a visarga before a voiced sound. Inside वारितोष्ण the अ of वारित and the उ of उष्ण fuse to ओ by 6.1.87 आद्गुणः, the guṇa join. The verse has few external joins — its length is spent inside three long compounds — so most of its sandhi is compound-internal.

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

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

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

    with सलिलशिशिरैः

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

    with अनुतटरुहाम्

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

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

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

    with कनकसिकतामुष्टिनिक्षेपगूढैः

  • कन्याः प्रथमा · nominative — कर्ता, the agent

    with सेव्यमानाः, वारितोष्णाः, अमरप्रार्थिताः

प्रकरण 1 · हलन्त्यम्

  • हलन्त्यम् 1.3.3← मन्दाराणाम्; संक्रीडन्ते; अमरप्रार्थिताः
  • तस्य लोपः 1.3.9← सलिलशिशिरैः; मन्दाराणाम्; अन्वेष्टव्यैः; कनकसिकतामुष्टिनिक्षेपगूढैः; संक्रीडन्ते; मणिभिः; अमरप्रार्थिताः
  • सुप्तिङन्तं पदम् 1.4.14← अन्वेष्टव्यैः; कनकसिकतामुष्टिनिक्षेपगूढैः; संक्रीडन्ते; अमरप्रार्थिताः

प्रकरण 2 · इको यणचि

प्रकरण 3 · स्तोः श्चुना श्चुः

प्रकरण 4 · वा शरि

प्रकरण 5 · अर्थवदधातुरप्रत्ययः प्रातिपदिकम्

प्रकरण 6 · औङ आपः

प्रकरण 8 · हो ढः

प्रकरण 11 · स्वरादिनिपातमव्ययम्

प्रकरण 12 · लः कर्मणि च भावे चाकर्मकेभ्यः

प्रकरण 17 · तुदादिभ्यः शः

प्रकरण 21 · सत्यापपाशरूपवीणातूलश्लोकसेनालोमत्वचवर्मवर्णचूर्णचुरादिभ्यो णिच्

प्रकरण 33 · धातोः

प्रकरण 34 · ण्वुल्तृचौ

प्रकरण 59 · इवे प्रतिकृतौ

प्रकरण 60 · स्त्रियाम्

not in the abridgement

सलिलशिशिरैः

सलिल · शिशिर

  1. सलिलेन शिशिराः

    तत्पुरुष (instrumental) — cool with water

तत्पुरुष — it agrees with मरुद्भिः. cool off the water — Mallinātha unpacks it with the instrumental in place, मन्दाकिन्याः सलिलेन शिशिरैः शीतलैर्मरुद्भिः, 'with breezes cool — chilled — by the water of the Mandākinī'. **And the genitive मन्दाकिन्याः is outside the compound while the word it governs, सलिल, is inside it**: the river belongs to the water, and the water is a member of a compound that the river's case cannot formally reach. Grammarians dislike the construction and poets use it constantly; the commentator settles it simply by writing the two together in his paraphrase. शिशिर is coolness that is pleasant rather than cold, and it is the name of the season between winter and spring

uncheckedMallinātha, Sañjīvinī, who glosses शिशिरैः with शीतलैः and construes the genitive मन्दाकिन्याः with the compound's first member“mandākinyā gaṅgāyāḥ salilena śiśiraiḥ śītalair marudbhiḥ sevyamānāḥ satyaḥ”

अनुतटरुहाम्

अनु · तट · रुह्

  1. तटं तटम् अनु इति अनुतटम्

    अव्ययीभाव — bank after bank — along the banks

  2. अनुतटं रोहन्ति इति अनुतटरुहः, तेषाम्

    तत्पुरुष — the ones that grow along the banks

तत्पुरुष — it agrees with मन्दाराणाम्. growing along the bank — **Mallinātha derives it and names the affix**: अनुतटं तटेषु रोहन्तीत्यनुतटरुहः ॥ क्विप् ॥ — 'they grow along the bank, in the banks: bank-growers', with क्विप्. क्विप् is the affix that vanishes without trace and leaves the bare root standing as a noun, so what declines at the end of this compound is √रुह् itself, with nothing added to it. He glosses the frozen अनुतटम् with a plain locative plural, तटेषु, which is what an avyayībhāva of this shape means. The same affix made कररुध् at 1.41, where he named it in the same one-word way

uncheckedMallinātha, Sañjīvinī, who derives अनुतटरुहः and names क्विप्; Pāṇini 3.2.76 क्विप् च by way of skt-mcp, which he does not cite“tathānutaṭaṃ taṭeṣu rohantītyanutaṭaruhaḥ || kvip || teṣāṃ mandārāṇām”

वारितोष्णाः

वारित · उष्ण

  1. वारितम् उष्णं यासां ताः

    बहुव्रीहि — the ones whose heat has been warded off

बहुव्रीहि — it refers to कन्याः. with the heat kept off them — and Mallinātha's gloss keeps the shape exactly while changing every word: शमितातपाः, 'whose sun-heat has been quieted'. वारित is the causative participle of √वृ, 'made to be warded off'; शमित is the causative participle of √शम्, 'made to subside' — so he answers one causative with another, and trades उष्ण, the abstract heat, for आतप, the particular heat of sunlight. **And he supplies सत्यः after it**, the feminine plural of 'being', which turns the epithet into a clause: being so shaded, they play

uncheckedMallinātha, Sañjīvinī, who glosses वारितोष्णाः with शमितातपाः and supplies सत्यः; the vigraha is the reader's“chāyayā ’nātapena vāritoṣṇāḥ śamitātapāḥ satyaḥ”

कनकसिकतामुष्टिनिक्षेपगूढैः

कनक · सिकता · मुष्टि · निक्षेप · गूढ

  1. कनकस्य सिकताः

    तत्पुरुष (genitive) — the sands of gold

  2. मुष्टिभिः निक्षेपः

    तत्पुरुष (instrumental) — a burying done by handfuls

  3. कनकसिकतासु मुष्टिनिक्षेपेण गूढाः

    तत्पुरुष (instrumental) — hidden in the golden sand by that burying

तत्पुरुष — it agrees with मणिभिः. hidden by handfuls of golden sand thrown over them — **and Mallinātha's unpacking uses three cases the compound itself shows none of**: कनकस्य सिकतासु मुष्टिभिर्निक्षेपेण गूढैः, 'hidden, by burying, by the fistful, in the sands of gold'. सिकता comes out in the locative, which is where the gems are; मुष्टि in the instrumental, which is how much sand at a time; निक्षेप in the instrumental again, which is the act. A compound of five members flattens all of that into no case at all until the last word, and what the commentary restores is the syntax the poem was allowed to leave out. गूढ hides an ऊ that the root √गुह् does not have: the ह् becomes ढ् (Pāṇini 8.2.31 हो ढः), the त् of the affix follows it into ढ् as well, one ढ् then drops before the other (8.3.13 ढो ढे लोपः), and the उ lengthens to ऊ to make good the loss (6.3.111 ढ्रलोपे पूर्वस्य दीर्घोऽणः)

uncheckedMallinātha, Sañjīvinī, who unpacks it कनकस्य सिकतासु मुष्टिभिर्निक्षेपेण गूढैः and glosses गूढैः with संवृतैः; the sūtras for the shape of गूढ are from skt-mcp and he cites none of them“kanakasya sikatāsu muṣṭibhir nikṣepeṇa gūḍhaiḥ saṃvṛtair ata evānveṣṭavyair mṛgyair maṇibhī ratnaiḥ saṅkrīḍante”

अमरप्रार्थिताः

अमर · प्रार्थित

  1. अमरैः प्रार्थिताः

    तत्पुरुष (instrumental) — sought after by the immortals

तत्पुरुष — it agrees with कन्याः. courted by the gods — **and Mallinātha will not leave it as a fact about the gods.** He unpacks it, अमरैः प्रार्थिताः, and then draws the inference in three syllables: सुन्दर्य इत्यर्थः, 'beautiful, is what it means'. The compound says who wants them; the gloss says what that tells you about them. अमर is 'undying', a god named by the one thing he is not — mortal — and the yakṣas' daughters are being asked for by beings who outrank the yakṣas

uncheckedMallinātha, Sañjīvinī, who unpacks अमरैः प्रार्थिताः and reads it as सुन्दर्य इत्यर्थः“yatrālakāyām amaraiḥ prārthitāḥ | sundarya ityarthaḥ”

  • ī-stem feminine, षष्ठी एकवचन genitive singular

    मन्दाकिन्याः

    मन्दाकिनी

    of the Mandākinī — Mallinātha names her at once, गङ्गायाः: this is the Ganges, and on Kailāsa it is the Ganges of heaven, before she falls. The name is 'she who goes slowly', from मन्द; a river that is मन्दाकिनी up here is the one that has to be broken on Śiva's head on the way down. The genitive reaches into the compound beside it and governs its first member, सलिल. It declines on the नदी pattern

  • a-stem masculine, तृतीया बहुवचन instrumental plural

    सलिलशिशिरैः

    शिशिर

    cool — शिशिर is the coolness one is glad of, not the cold one shelters from; it is also the name of the season that ends the winter. Mallinātha glosses it शीतलैः, which is the ordinary word for cool and carries none of the season with it. The instrumental is the agent of the passive participle सेव्यमानाः: the breezes are what wait on the girls

  • √सेव् + यक् + शानच्, प्रथमा बहुवचन nominative plural

    सेव्यमानाः

    printed सेव्यमाना

    √सेव्, on the passive stem सेव्य-

    being waited on — a present participle built on a passive stem, exactly as पूर्यमाणाः was at 1.58: यक् makes √सेव् passive and शानच् makes the participle, and the endings are middle because every passive in Sanskrit takes middle endings. **The root is the one the last stanza ended on.** At 2.5 the yakṣas आसेवन्ते their wine — they attend on it, they give themselves to it. Here their daughters are on the receiving end of the same verb, and what attends on them is the wind. The visarga of सेव्यमानाः falls before the म् of मरुद्भिः and the page prints सेव्यमाना, which looks like a singular and is not

  • t-stem masculine, तृतीया बहुवचन instrumental plural

    मरुद्भिः

    मरुत्

    by the breezes — मरुत् is wind, and in the plural the Maruts are the storm-gods of the Ṛgveda; here the word has come all the way down to the air moving off a river. Mallinātha carries it over unglossed, which is what he does when a word needs nothing. The instrumental is the agent of सेव्यमानाः — the breezes serve, and the girls are served. मरुत् is a plain त्-stem noun, not the nasalised भवत् pattern

  • a-stem masculine, षष्ठी बहुवचन genitive plural

    मन्दाराणाम्

    printed मन्दाराणामनुतटरुहां

    मन्दार

    of the mandāra trees — **the second of heaven's five trees to stand in as many stanzas.** 2.5 got its wine from the कल्पवृक्ष; this one gets its shade from the mandāra, and the two are named together in the standard list of the trees of Indra's garden, with पारिजात, सन्तान and हरिचन्दन. Mallinātha does not gloss the name, which is his way of saying a reader knows it. The genitive hangs on छायया — the shade of the trees

  • h-stem masculine, षष्ठी बहुवचन genitive plural

    अनुतटरुहाम्

    printed मन्दाराणामनुतटरुहां

    अनुतटरुह्, from अनुतटम् and √रुह् with क्विप्

    that grow along the bank — the word is the bare root √रुह्, 'to grow', with a compound in front of it and an affix behind it that leaves no letter of its own. Mallinātha gives the derivation and then names the affix in one word: अनुतटं तटेषु रोहन्तीत्यनुतटरुहः ॥ क्विप् ॥. The genitive plural agrees with मन्दाराणाम्, so the trees are the ones growing, and तट is a river bank — the Mandākinī's, whose water was cooling the wind two words ago. The root itself stands as a noun, the affix क्विप् having left nothing behind

    अनुतटरुहाम्, 'of the trees that grow along the bank', is built with क्विप्, the affix that vanishes. क्विप् adds nothing you can see — no letter of its own survives — so the bare root √रुह्, 'grow', is left standing as a noun and declines like one; अनुतटरुह् is 'a bank-grower', and its genitive plural agrees with मन्दाराणाम्, the coral-trees. The whole phrase is the second of the girls' two comforts: the Mandākinī's water cools the wind that serves them, and the mandāras' shade keeps the sun off — मन्दाराणाम् अनुतटरुहां छायया वारितोष्णाः, 'the heat warded off by the shade of the mandāras that grow along the bank'.

    • Mallinātha, Sañjīvinī — 2.6: mandārāṇām anutaṭaruhāṃ chāyayā vāritoṣṇāḥ

  • ā-stem feminine, तृतीया एकवचन instrumental singular

    छायया

    छाया

    by the shade — and Mallinātha glosses it with a negative, अनातपेन, 'by the absence of sunlight', which is the lexicographers' definition of the word rather than a paraphrase of it. **The word was doing quite different work one stanza ago.** At 2.5 छाया was a reflection — the stars' images lying on the floor as flowers. Here it is a shadow. Both are what a thing throws without being it, which is why one word covers them, and Sanskrit adds a third: छाया is also a beauty or a lustre

  • ā-stem feminine, प्रथमा बहुवचन nominative plural

    वारितोष्णाः

    उष्ण, whose feminine is उष्णा by टाप् (Pāṇini 4.1.4 अजाद्यतष्टाप्)

    heat — the second member of a bahuvrīhi, and it takes the gender of what the whole compound describes rather than its own. उष्ण is masculine or neuter as a noun; here the compound points at कन्याः, so the stem takes the feminine टाप् and declines as an ā-stem. Mallinātha replaces the word in his gloss with आतप, sun-heat, which narrows it: what is kept off is not warmth in general but the sun

  • √इष् + तव्य, तृतीया बहुवचन instrumental plural

    अन्वेष्टव्यैः

    अन्वेष्टव्य, from अनु + √इष् with तव्य

    having to be looked for — a kṛtya, the form that says a thing is to be done: तव्य on अनु + √इष्, 'seek after'. Mallinātha glosses one kṛtya with another, मृग्यैः, from √मृग् — 'to be hunted for'. **And he sets one word in front of it that is not in the verse at all: अत एव, 'and for that very reason'.** The gems are hidden, and *therefore* they have to be searched for. The verse simply lays the two epithets side by side; the commentary makes the second follow from the first, and in doing so explains what the game is

  • √गुह् + क्त, तृतीया बहुवचन instrumental plural

    कनकसिकतामुष्टिनिक्षेपगूढैः

    गूढ, from √गुह् with क्त

    hidden — Mallinātha glosses it संवृतैः, 'covered over', which is the plainer word for the same act. The ऊ of गूढ is not in the root: √गुह् meets क्त, the ह् turns into ढ् (Pāṇini 8.2.31 हो ढः), the त् of the affix follows it into ढ् too, one ढ् then drops out before the other (8.3.13 ढो ढे लोपः), and the उ lengthens to ऊ to make up for what was lost (6.3.111 ढ्रलोपे पूर्वस्य दीर्घोऽणः). That last rule is at work in Mallinātha's own sentence a few words later, where मणिभिः रत्नैः comes out मणिभी रत्नैः by the same lengthening after the same kind of loss

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

    संक्रीडन्ते

    √क्रीड् of the first class, with सम्

    they play — the stanza's one finite verb, and the second of the canto. **Mallinātha names the rule that makes it middle**: क्रीडोऽनुसम्परिभ्यश्चेत्यात्मनेपदम् — Pāṇini 1.3.21, which puts √क्रीड् in the ātmanepada after अनु, सम् and परि. On its own the root is active, क्रीडति; behind सम् it is क्रीडन्ते, and the ending on the page is the sūtra's doing. He reads the सम् adverbially besides — सम्यक् क्रीडन्ति, 'they play thoroughly' — rather than as 'play together'. And he says what game: गुप्तमणिसंज्ञया दैशिकक्रीडया, 'by the local game called guptamaṇi', the hidden gem

    Mallinātha's largest contribution to this stanza is that he knows the game. संक्रीडन्ते he glosses गुप्तमणिसंज्ञया दैशिकक्रीडया सम्यक् क्रीडन्ति, 'they play thoroughly, by the local game called guptamaṇi' — 'hidden-gem' — and quotes the Śabdārṇava for the rule: the game girls make with jewels and the like hidden in sand, whose business is to be spotted, is called guptamaṇi. So the third pāda is not an image but a rule of play, and the two epithets of the gems are its two halves — कनकसिकतामुष्टिनिक्षेपगूढैः, 'hidden by casting handfuls of golden sand', and, with Mallinātha writing in अत एव, 'and for that very reason', अन्वेष्टव्यैः, 'to be searched for'. Hidden, and so to be found: that is the whole game, and the verse gives its two rules as two words.

    • Mallinātha, Sañjīvinī — 2.6: guptamaṇisaṃjñayā … ata eva anveṣṭavyaiḥ

  • i-stem masculine, तृतीया बहुवचन instrumental plural

    मणिभिः

    printed मणिभिरमरप्रार्थिता

    मणि

    with gems — Mallinātha glosses it रत्नैः, jewels, and the instrumental is what they play *with*: the gems are the counters of the game, not its prize. मणि was in the canto's first stanza too, in मणिमयभुवः, the mansions with gem-made floors, and at 2.5 the terraces were सितमणिमयानि. **The city is built of the stuff its children play with.** The word's visarga becomes र् and then vanishes before the vowel of अमर, so the page prints मणिभिरमरप्रार्थिता in one run

  • √अर्थ् + क्त, प्रथमा बहुवचन nominative plural

    अमरप्रार्थिताः

    printed मणिभिरमरप्रार्थिता

    प्रार्थित, from प्र + √अर्थ् with क्त

    sought after — √अर्थ् is to ask for, and प्र + √अर्थ् is to court or to sue for; प्रार्थना is a request and a prayer. **This is where DCS parts from the text and the commentary together.** It reads प्रार्थितया, an instrumental singular, where the page prints प्रार्थिता and Mallinātha unpacks अमरैः प्रार्थिताः, a nominative plural agreeing with कन्याः. Nothing needs weighing here: प्रार्थितया would put an eighteenth syllable in a pāda that takes seventeen, so the metre rules it out on its own. The printed प्रार्थिता is प्रार्थिताः with its visarga dropped before the य् of यत्र

    The stanza holds its subject and its verb back to the last pāda and spends the first three on nothing but the girls' circumstances — who serves them, what shades them, what they play with — so that a reader has assembled the whole scene before being told whose it is. And on the one epithet that is about the girls themselves, अमरप्रार्थिताः, Mallinātha will not stop at the literal. He unpacks it अमरैः प्रार्थिताः, 'courted by the gods', and then adds सुन्दर्य इत्यर्थः, 'beautiful, is what it means' — converting a fact about the gods' wanting into a fact about the girls' looks. What the gods court must be worth courting.

    • Mallinātha, Sañjīvinī — 2.6: amaraiḥ prārthitāḥ … sundarya ityarthaḥ

  • अव्यय

    यत्र

    यत्र

    where — **and the canto's opening word is back, having stood aside for one stanza.** 2.1 to 2.4 each began on यत्र; 2.5 used the declined यस्याम् instead; this one has यत्र again but holds it to the fourteenth syllable of the last pāda, so that the whole stanza has been read before the reader is told it is another item in the same list. Mallinātha supplies the antecedent as he has five times now: यत्रालकायाम्

  • ā-stem feminine, प्रथमा बहुवचन nominative plural

    कन्याः

    कन्या

    the girls — and Mallinātha says whose: यक्षकुमार्यः, the daughters of the yakṣas, so the stanza belongs to the same household as the last one. Then he cites the Viśva lexicon for the word's range, कन्या कुमारिकानार्योः — कन्या covers both an unmarried girl and a grown woman — which is his way of fixing that these are the young ones. It is the subject of संक्रीडन्ते and the last word of the stanza, and everything before it has been waiting for it

यत्र · अमरप्रार्थिताः · कन्याः · मन्दाकिन्याः · सलिलशिशिरैः · मरुद्भिः · सेव्यमानाः · सत्यः [supplied] · मन्दाराणाम् · अनुतटरुहाम् · छायया · वारितोष्णाः · सत्यः [supplied] · कनकसिकतामुष्टिनिक्षेपगूढैः · अन्वेष्टव्यैः · मणिभिः · संक्रीडन्ते

uncheckedMallinātha, Sañjīvinī, whose commentary runs as anvaya. He begins where the verse ends — यत्र, then the girls and their epithet — and only then works back through the three participial phrases the verse leads with. He supplies सत्यः twice, the feminine plural of 'being', once after सेव्यमानाः and once after वारितोष्णाः, which turns each phrase into a clause of its own; and between गूढैः and अन्वेष्टव्यैः he writes अत एव, 'and for that very reason', which makes the second epithet follow from the first“yatrālakāyām amaraiḥ prārthitāḥ | sundarya ityarthaḥ | kanyā yakṣakumāryaḥ … mandākinyā gaṅgāyāḥ salilena śiśiraiḥ śītalair marudbhiḥ sevyamānāḥ satyaḥ | tathānutaṭaṃ taṭeṣu rohantītyanutaṭaruhaḥ || kvip || teṣāṃ mandārāṇāṃ chāyayā ’nātapena vāritoṣṇāḥ śamitātapāḥ satyaḥ kanakasya sikatāsu muṣṭibhir nikṣepeṇa gūḍhaiḥ saṃvṛtair ata evānveṣṭavyair mṛgyair maṇibhī ratnaiḥ saṅkrīḍante”

the dependency structure

संक्रीडन्ते · क्रिया — they play, सम्यक् क्रीडन्ति; the verb held to the last pāda, and it names a particular game

यत्र · अधिकरण — where, यत्रालकायाम्; the relative governing the stanza

कन्याः · कर्ता — the girls, the players; the subject held back with the verb to the fourth pāda

अमरप्रार्थिताः · agreeing with कन्याः — sought after by the gods, अमरैः प्रार्थिताः; which is to say beautiful

सेव्यमानाः · agreeing with कन्याः — being waited on; a present-passive participle

मरुद्भिः · करण — by the breezes, the agent of the waiting-on

सलिलशिशिरैः · agreeing with मरुद्भिः — cool with the water, मन्दाकिन्याः सलिलेन शिशिरैः

मन्दाकिन्याः · षष्ठी — of the Mandākinī, the heavenly Ganges whose water cools the wind

सत्यः · agreeing with कन्याः, supplied — being; the participle of अस् that turns 'waited on' into a clause

वारितोष्णाः · agreeing with कन्याः — the heat kept off them, वारितम् उष्णं यासाम्; a bahuvrīhi

छायया · करण — by the shade, what keeps the heat off

मन्दाराणाम् · षष्ठी — of the mandāra trees, the coral-trees whose shade it is

अनुतटरुहाम् · agreeing with मन्दाराणाम् — growing along the bank, अनुतटं रोहन्ति; a क्विप् formation on √रुह्

सत्यः · agreeing with कन्याः, supplied — being; the second supplied participle, 'the heat being kept off'

मणिभिः · करण — with gems, the pieces of the game

कनकसिकतामुष्टिनिक्षेपगूढैः · agreeing with मणिभिः — hidden by the casting of handfuls of golden sand, कनकसिकतायाः मुष्टिनिक्षेपेण गूढैः

अन्वेष्टव्यैः · agreeing with मणिभिः, and the consequence — and so having to be hunted for, अत एव; a gerundive

uncheckedMallinātha’s Sañjīvinī for the anvaya and the reading, which identifies the game guptamaṇi and cites the Śabdārṇava, names क्रीडोऽनुसम्परिभ्यश्च for the middle voice, derives अनुतटरुह् with क्विप्, reads अमरप्रार्थिताः as praise of the girls, and supplies सत्यः twice; the Telugu drawn from Vedam Venkataraya Sastri’s Āndhra Meghasandeśam.

Where the girls the gods court, waited on by breezes cool off the Mandākinī's water, the heat kept off them by the shade of mandāra trees growing along the bank, play with gems that have been buried under handfuls of golden sand and so have to be hunted for. **The stanza holds its subject and its verb back to the last pāda and spends the first three on nothing but the girls' circumstances** — who serves them, what shades them, what they play with — so that a reader has assembled the whole scene before being told whose it is. Mallinātha's largest contribution is that he knows the game. संक्रीडन्ते is not 'play together': he glosses it गुप्तमणिसंज्ञया दैशिकक्रीडया सम्यक् क्रीडन्ति, 'they play thoroughly, by the local game called guptamaṇi' — hidden-gem — and quotes the Śabdārṇava for the definition: ratnādibhir vālukādau guptair draṣṭavyakarmabhiḥ kumārībhiḥ kṛtā krīḍā nāmnā guptamaṇiḥ smṛtā, 'the game girls make with jewels and the like hidden in sand and the like, whose business is to be spotted, is called by name guptamaṇi'. So the third pāda is not an image but a rule of play, and the two epithets of the gems are its two halves: hidden, and — Mallinātha writes in अत एव, 'and for that very reason' — to be searched for. He names the rule for the verb's ending too, क्रीडोऽनुसम्परिभ्यश्च, Pāṇini 1.3.21, which puts √क्रीड् in the middle voice after सम्; and he derives अनुतटरुह् with क्विप्, the affix that vanishes and leaves the bare root √रुह् declining as a noun. Twice he supplies सत्यः, 'being', to turn a participial phrase into a clause — the same thing he did twice at 2.5 with सन्तः and सत्सु. And of अमरप्रार्थिताः he will not stop at unpacking: अमरैः प्रार्थिताः, and then सुन्दर्य इत्यर्थः, 'beautiful, is what it means', which converts a fact about the gods into a fact about the girls. He names no figure.

uncheckedthe reader's reading, following Mallinātha's gloss; the naming of the game, the Śabdārṇava citation, the अत एव between the two epithets, the sūtra for the verb's pada, the derivation of अनुतटरुह् with क्विप्, the two supplied सत्यः and the inference सुन्दर्य इत्यर्थः are all his“guptamaṇisaṃjñayā daiśikakrīḍayā samyak krīḍantītyarthaḥ || “krīḍo ’nusamparibhyaśca” ityātmanepadam || “ratnādibhir vālukādau guptair draṣṭavyakarmabhiḥ | kumārībhiḥ kṛtā krīḍā nāmnā guptamaṇiḥ smṛtā ||” iti śabdārṇave”

Where the girls the gods court, waited on by breezes cool off the Mandākinī's water, the heat kept off them by the shade of mandāra trees growing along the bank, play with gems that have been buried under handfuls of golden sand and so have to be hunted for. The scene is assembled before its owner is named, and its centre is a children's game — the girls of Alakā, courted by gods and cooled by the heavenly Ganges, spend the stanza hunting jewels in sand. Mallinātha names no figure; his work is to identify the game and to read the one epithet of the girls as praise of their beauty.

  • Mallinātha, Sañjīvinī — 2.6, whole-verse gloss

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