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मेघदूतम् · कालिदास · 2.7

अलका · the jewel lamps a thrown handful cannot put out

नीवीबन्धोच्छ्वसितशिथिलं यत्र बिम्बाधराणां

नी
वी
ब
न्धो
च्छ्व
सि
त
शि
थि
लं
य
त्र
बि
म्बा
ध
रा
णां

क्षौमं रागादनिभृतकरेष्वाक्षिपत्सु प्रियेषु

क्षौ
मं
रा
गा
द
नि
भृ
त
क
रे
ष्वा
क्षि
प
त्सु
प्रि
ये
षु

अर्चिस्तुङ्गानभिमुखमपि प्राप्य रत्नप्रदीपान्

अ
र्चि
स्तु
ङ्गा
न
भि
मु
ख
म
पि
प्रा
प्य
र
त्न
प्र
दी
पान्

ह्रीमूढानां भवति विफलप्रेरणा चूर्णमुष्टिः

ह्री
मू
ढा
नां
भ
व
ति
वि
फ
ल
प्रे
र
णा
चू
र्ण
मु
ष्टिः

pāda a

  • नीguruits long vowel ई
  • वीguruits long vowel ई
  • बguruthe conjunct न्ध that follows it
  • न्धोguruits long vowel ओ
  • च्छ्वlaghuits short vowel, with a single consonant after it
  • सिlaghuits short vowel, with a single consonant after it
  • तlaghuits short vowel, with a single consonant after it
  • शिlaghuits short vowel, with a single consonant after it
  • थिlaghuits short vowel, with a single consonant after it
  • लंguruthe anusvāra it carries
  • यguruthe conjunct त्र that follows it
  • त्रlaghuits short vowel, with a single consonant after it
  • बिguruthe conjunct म्ब that follows it
  • म्बाguruits long vowel आ
  • धlaghuits short vowel, with a single consonant after it
  • राguruits long vowel आ
  • णांguruthe anusvāra it carries
  • yati after 4 — it falls inside the compound नीवीबन्धोच्छ्वसितशिथिलम्
  • yati after 10 — a word ends here — नीवीबन्धोच्छ्वसितशिथिलं

pāda b

  • क्षौguruits long vowel औ
  • मंguruthe anusvāra it carries
  • राguruits long vowel आ
  • गाguruits long vowel आ
  • दlaghuits short vowel, with a single consonant after it
  • निlaghuits short vowel, with a single consonant after it
  • भृlaghuits short vowel, with a single consonant after it
  • तlaghuits short vowel, with a single consonant after it
  • कlaghuits short vowel, with a single consonant after it
  • रेguruits long vowel ए
  • ष्वाguruits long vowel आ
  • क्षिlaghuits short vowel, with a single consonant after it
  • पguruthe conjunct त्स that follows it
  • त्सुguruthe conjunct प्र that follows it
  • प्रिlaghuits short vowel, with a single consonant after it
  • येguruits long vowel ए
  • षुlaghuits short vowel — light on its own, though the pāda ends here
  • yati after 4 — it falls inside रागात्
  • yati after 10 — it falls inside the compound अनिभृतकरेषु

pāda c

  • अguruthe conjunct र्च that follows it
  • र्चिguruthe conjunct स्त that follows it
  • स्तुguruthe conjunct ङ्ग that follows it
  • ङ्गाguruits long vowel आ
  • नlaghuits short vowel, with a single consonant after it
  • भिlaghuits short vowel, with a single consonant after it
  • मुlaghuits short vowel, with a single consonant after it
  • खlaghuits short vowel, with a single consonant after it
  • मlaghuits short vowel, with a single consonant after it
  • पिguruthe conjunct प्र that follows it
  • प्राguruits long vowel आ
  • प्यlaghuits short vowel, with a single consonant after it
  • रguruthe conjunct त्न that follows it
  • त्नguruthe conjunct प्र that follows it
  • प्रlaghuits short vowel, with a single consonant after it
  • दीguruits long vowel ई
  • पान्guruthe end of the pāda, which counts the last syllable heavy
  • yati after 4 — it falls inside the compound अर्चिस्तुङ्गान्
  • yati after 10 — a word ends here — अर्चिस्तुङ्गानभिमुखमपि

pāda d

  • ह्रीguruits long vowel ई
  • मूguruits long vowel ऊ
  • ढाguruits long vowel आ
  • नांguruthe anusvāra it carries
  • भlaghuits short vowel, with a single consonant after it
  • वlaghuits short vowel, with a single consonant after it
  • तिlaghuits short vowel, with a single consonant after it
  • विlaghuits short vowel, with a single consonant after it
  • फlaghuits short vowel, with a single consonant after it
  • लguruthe conjunct प्र that follows it
  • प्रेguruits long vowel ए
  • रlaghuits short vowel, with a single consonant after it
  • णाguruits long vowel आ
  • चूguruits long vowel ऊ
  • र्णlaghuits short vowel, with a single consonant after it
  • मुguruthe conjunct ष्ट that follows it
  • ष्टिःguruthe visarga it carries
  • yati after 4 — a word ends here — ह्रीमूढानां
  • yati after 10 — it falls inside the compound विफलप्रेरणा

  • नीवीबन्धोच्छ्वसितशिथिलम् + यत्र → नीवीबन्धोच्छ्वसितशिथिलं

    म् + य्

  • बिम्बाधराणाम् + क्षौमम् → बिम्बाधराणां

    म् + क्

  • क्षौमम् + रागात् → क्षौमं

    म् + र्

  • रागात् + अनिभृतकरेषु → रागादनिभृतकरेष्वाक्षिपत्सु

    त् + अ

  • अनिभृतकरेषु + आक्षिपत्सु → रागादनिभृतकरेष्वाक्षिपत्सु

    उ + आ

  • अर्चिस्तुङ्गान् + अभिमुखम् → अर्चिस्तुङ्गानभिमुखमपि

    न् + अ

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

  • अभिमुखम् + अपि → अर्चिस्तुङ्गानभिमुखमपि

    म् + अ

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

  • ह्रीमूढानाम् + भवति → ह्रीमूढानां

    म् + भ्

  • नीवी + बन्ध → नीवीबन्धोच्छ्वसितशिथिलम्

    ई + ब्

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

  • बन्ध + उच्छ्वसित → नीवीबन्धोच्छ्वसितशिथिलम्

    अ + उ → ओ · falls inside the syllable न्धो

  • उच्छ्वसित + शिथिल → नीवीबन्धोच्छ्वसितशिथिलम्

    अ + श्

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

  • बिम्ब + अधर → बिम्बाधराणाम्

    अ + अ → आ · falls inside the syllable म्बा

  • अनिभृत + कर → अनिभृतकरेषु

    अ + क्

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

  • अर्चिस् + तुङ्ग → अर्चिस्तुङ्गान्

    स् + त्

  • रत्न + प्रदीप → रत्नप्रदीपान्

    अ + प्

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

  • ह्री + मूढ → ह्रीमूढानाम्

    ई + म्

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

  • विफल + प्रेरणा → विफलप्रेरणा

    अ + प्

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

  • चूर्ण + मुष्टि → चूर्णमुष्टिः

    अ + म्

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

Word-final म् becomes anusvāra before a consonant — Pāṇini 8.3.23 मोऽनुस्वारः: नीवीबन्धोच्छ्वसितशिथिलं यत्र, बिम्बाधराणां क्षौमं, क्षौमं रागात्, ह्रीमूढानां भवति. Where the ablative रागात् meets the vowel of अनिभृत the त् voices to द् by 8.2.39 झलां जशोऽन्ते: रागादनिभृतकरेषु. And where -उ meets a vowel it becomes व् by 6.1.77 इको यणचि: अनिभृतकरेषु + आक्षिपत्सु gives अनिभृतकरेष्वाक्षिपत्सु. Inside बिम्बाधर the two अ coalesce to आ by 6.1.101 अकः सवर्णे दीर्घः, and inside अर्चिस्तुङ्ग the स् of अर्चिस् stands before the त् (8.3.15).

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

  • क्षौमम् द्वितीया · accusative — कर्म, the object

    with नीवीबन्धोच्छ्वसितशिथिलम्

  • रागात् पञ्चमी · ablative — अपादान, the point of departure

  • प्रियेषु सप्तमी · locative — अधिकरण, the location

    with अनिभृतकरेषु, आक्षिपत्सु

  • अभिमुखम् द्वितीया · accusative — क्रियाविशेषण — an adverb, not an adjective of the lamps

    अभिमुखम् could look like an epithet of the lamps, 'the facing lamps', but Mallinātha fixes it as an adverb with the formula अभिमुखं यथा तथा, 'in a facing manner'. It describes the throw, not the lamps: the powder is cast straight at them, face-on, and even so — अपि — it fails. Reading it as an adverb is what makes the concession work, because the failure has to be of a throw that could not have been better aimed.

    • Mallinātha, Sañjīvinī — 2.7: abhimukhaṃ yathā tathā

  • रत्नप्रदीपान् द्वितीया · accusative — कर्म of प्राप्य — the compound resolved रत्नानि एव प्रदीपाः, the lamps that are jewels

    with अर्चिस्तुङ्गान्

    The whole stanza is built to fail at the end, and the reason is not in the verse but in this compound. Mallinātha resolves रत्नप्रदीपान् as रत्नानि एव प्रदीपाः, 'lamps that are jewels' — a karmadhāraya with एव, so the lamps do not hold jewels, they *are* jewels, and the light in them is the shine of a stone, not a flame. Powder can smother a flame and cannot smother a stone. So the fistful reaches the lamps head-on and still comes to nothing: the dark the women want is not to be had in Alakā.

    • Mallinātha, Sañjīvinī — 2.7: ratnānyeva pradīpāḥ

  • चूर्णमुष्टिः प्रथमा · nominative — कर्ता, the agent

    with विफलप्रेरणा

प्रकरण 1 · हलन्त्यम्

प्रकरण 2 · इको यणचि

प्रकरण 3 · स्तोः श्चुना श्चुः

प्रकरण 4 · वा शरि

प्रकरण 5 · अर्थवदधातुरप्रत्ययः प्रातिपदिकम्

प्रकरण 7 · अतोऽम्

  • अतोऽम् 7.1.24← नीवीबन्धोच्छ्वसितशिथिलम्; क्षौमम्; अभिमुखम्

प्रकरण 8 · हो ढः

प्रकरण 11 · स्वरादिनिपातमव्ययम्

प्रकरण 12 · लः कर्मणि च भावे चाकर्मकेभ्यः

प्रकरण 17 · तुदादिभ्यः शः

प्रकरण 34 · ण्वुल्तृचौ

प्रकरण 36 · तुमुन्ण्वुलौ क्रियायां क्रियार्थायाम्

प्रकरण 48 · शेषे

प्रकरण 60 · स्त्रियाम्

not in the abridgement

नीवीबन्धोच्छ्वसितशिथिलम्

नीवी · बन्ध · उच्छ्वसित · शिथिल

  1. नीवी एव बन्धः

    कर्मधारय — the knot that is the nīvī

  2. नीवीबन्धस्य उच्छ्वसितम्

    तत्पुरुष (genitive) — the giving way of that knot

  3. नीवीबन्धोच्छ्वसितेन शिथिलम्

    तत्पुरुष (instrumental) — slack because of it

तत्पुरुष — it agrees with क्षौमम्. hanging loose where the waist-knot has given way — **and Mallinātha stops to defend the compound from a charge of saying the same thing twice.** नीवी already means a knot: he glosses it वसनग्रन्थिः, 'the knot of the garment', and cites the Viśva lexicon, where the word covers a wager, a knot, and a woman's lower cloth. So नीवीबन्ध is knot-knot. His answer is four words — चूतवृक्षवदपौनरुक्त्यम्, 'there is no redundancy, as in cūta-vṛkṣa' — चूत being a mango and वृक्ष a tree, so that 'mango-tree' is the same doubling and nobody objects to it. उच्छ्वसित is उद् + √श्वस्, literally 'breathed upward, swelled out'; he glosses it त्रुटितेन, 'snapped', which is what a knot does rather than what a breath does

uncheckedMallinātha, Sañjīvinī, who glosses नीवी with वसनग्रन्थिः citing the Viśva, resolves सैव बन्धो नीवीबन्धः, defends it with चूतवृक्षवदपौनरुक्त्यम्, and glosses उच्छ्वसितेन with त्रुटितेन“nīvī vasanagranthiḥ || “nīvī paripaṇe granthau strīṇāṃ jaghanavāsasi” iti viśvaḥ || saiva bandho nīvībandhaḥ || cūtavṛkṣavad apaunaruktyam || tasyocchvasitena truṭitena śithilaṃ kṣaumaṃ dukūlam”

बिम्बाधराणाम्

बिम्ब · अधर

  1. बिम्बम् इव अधरो यासां तासाम्

    बहुव्रीहि — the women whose lower lip is like a bimba fruit

बहुव्रीहि — it refers to स्त्रीविशेषाणाम्. whose lips are bimba fruit — **Mallinātha writes an इव into the resolution that the compound does not contain**, बिम्बम् इवाधरो यासाम्, exactly as he did at 2.5 with त्वद्गम्भीरध्वनिषु: a compound of likeness with the word of likeness left out, and the tradition puts it back. He identifies the fruit — बिम्बं बिम्बिकाफलम्, the fruit of the ivy gourd, which ripens to a hard scarlet — and cites the Viśva for the word's other senses, a reflection and a disc. Then he supplies the noun the compound points at, स्त्रीविशेषाणाम्, since the verse never says 'women' at all; and he adds that बिम्बाधरा is itself one of the lexicon's words for a beautiful woman, quoting the Śabdārṇava's list beside कामिनी, कान्ता, भीरु and अङ्गना. So the compound is at once a fresh description and a listed word

uncheckedMallinātha, Sañjīvinī, who resolves the bahuvrīhi with इव supplied, glosses बिम्बम् with बिम्बिकाफलम् citing the Viśva, supplies स्त्रीविशेषाणाम्, and cites the Śabdārṇava for बिम्बाधरा as a word for a woman; the Śabdārṇava line in `vendor/meghaduta-sanjivini.itx` has lost its closing quotation mark and its इति, and prints विम्बाधरा for बिम्बाधरा“bimbaṃ bimbikāphalam || “bimbaṃ phale bimbikāyāḥ pratibimbe ca maṇḍale” iti viśvaḥ || bimbam ivādharo yāsāṃ tāsāṃ bimbādharāṇāṃ strīviśeṣāṇām || “viśeṣāḥ kāminīkāntābhīrubimbādharāṅganāḥ” śabdārṇave”

अनिभृतकरेषु

अनिभृत · कर

  1. न निभृताः अनिभृताः

    तत्पुरुष — not still — restless

  2. अनिभृताः कराः येषां ते, तेषु

    बहुव्रीहि — the ones whose hands are restless

बहुव्रीहि — it refers to प्रियेषु. with their hands not keeping still — Mallinātha glosses it चपलहस्तेषु, 'with unsteady hands', trading निभृत for चपल and कर for हस्त so that the gloss shares no syllable with the compound and has its shape exactly. निभृत is what is held down, hence quiet, steady, discreet; the negative नञ् in front of it makes hands that will not be held. The whole is a locative and belongs to the absolute construction the next word completes

uncheckedMallinātha, Sañjīvinī, who glosses अनिभृतकरेषु with चपलहस्तेषु; the vigraha is the reader's“yatrālakāyām anibhṛtakareṣu capalahasteṣu priyeṣu”

अर्चिस्तुङ्गान्

अर्चिस् · तुङ्ग

  1. अर्चिर्भिः तुङ्गान्

    तत्पुरुष (instrumental) — high by reason of their rays

तत्पुरुष — it agrees with रत्नप्रदीपान्. standing tall with their rays — Mallinātha unpacks it with the instrumental in place, अर्चिर्भिर्मयूखैस्तुङ्गान्, and glosses अर्चिस् with मयूख, a ray, citing the Viśva for the word's two senses, अर्चिर्मयूखशिखयोः — a ray and the tip of a flame. **Both senses are live here and the choice matters.** As flame-tips the lamps are tall because they burn tall; as rays they are tall because the light goes up from them, and a jewel gives rays and no flame. He takes the ray, and the whole point of the stanza follows from it

uncheckedMallinātha, Sañjīvinī, who glosses अर्चिर्भिः with मयूखैः and cites the Viśva; the transcription in `vendor/meghaduta-sanjivini.itx` prints `achir` for अर्चिर् and `tu~Ngan` for तुङ्गान्, and both are restored from the words being glossed“arcirbhir mayūkhais tuṅgān || “arcir mayūkhaśikhayoḥ” iti viśvaḥ”

रत्नप्रदीपान्

रत्न · प्रदीप

  1. रत्नानि एव प्रदीपाः, तान्

    कर्मधारय — lamps that are jewels

कर्मधारय. the jewel-lamps — **and the एव in Mallinātha's resolution is the whole joke.** He writes रत्नान्येव प्रदीपान्: the jewels *are* the lamps, not lamps set in jewels. Alakā lights its rooms with stones, and a stone does not go out. Everything the last pāda says depends on that identity being real rather than decorative — the women throw powder at what they take for flames and the flames are gems. It is the second time in three stanzas that his एव turns one thing into another: at 2.5 the reflections of the stars *were* the flowers on the floor

uncheckedMallinātha, Sañjīvinī, who resolves it with रत्नान्येव प्रदीपान्“ratnāny eva pradīpān abhimukhaṃ yathā tathā prāpyāpi”

ह्रीमूढानाम्

ह्री · मूढ

  1. ह्रिया मूढानाम्

    तत्पुरुष (instrumental) — of those bewildered by shame

तत्पुरुष — it agrees with बिम्बाधराणाम्. dazed with embarrassment — Mallinātha glosses it लज्जाविधुराणाम्, 'stricken with modesty': ह्री becomes लज्जा, the ordinary word for shame, and मूढ becomes विधुर, which is what a person is when the ground has gone from under them. मूढ is √मुह् with क्त — the root of मोह, bewilderment — so the women are not merely ashamed but confused by it, which is why they do something that cannot work. The genitive agrees with बिम्बाधराणाम् across three pādas, and neither of them has a noun to stand on: the women are described twice and named never

uncheckedMallinātha, Sañjīvinī, who glosses ह्रीमूढानाम् with लज्जाविधुराणाम्; the vigraha is the reader's“hrīmūḍhānāṃ lajjāvidhurāṇām”

विफलप्रेरणा

विफल · प्रेरणा

  1. विगतं फलं यस्याः सा विफला

    बहुव्रीहि — fruitless

  2. विफला प्रेरणा यस्याः सा

    बहुव्रीहि — the one whose throwing comes to nothing

बहुव्रीहि — it refers to चूर्णमुष्टिः. its throw wasted — **and the gender of Mallinātha's gloss is what settles the compound's type.** He writes निष्फलक्षेपा, and क्षेप, a throw, is masculine; a feminine निष्फलक्षेपा can therefore only be a bahuvrīhi, 'she whose throw is fruitless', agreeing with the handful. Read the verse's compound the same way and विफलप्रेरणा describes the handful rather than renaming it. Nothing on the page decides between that and a plain 'a fruitless throwing' standing in apposition — प्रेरणा is feminine on its own account, so both readings inflect alike — and the commentator's word is the only evidence there is. He also gives the reason: दीपनिर्वापणे अक्षमत्वात्, the throw is powerless to put the lamps out

uncheckedMallinātha, Sañjīvinī, who glosses विफलप्रेरणा with निष्फलक्षेपा and gives the reason as an incapacity to extinguish the lamps; the reason as `vendor/meghaduta-sanjivini.itx` prints it, `dIpanirvApiNAkShamatvAt`, is not legible in the middle, and only what it plainly says is read here“viphalapreraṇā dīpanirvāpa … akṣamatvān niṣphalakṣepā bhavati”

चूर्णमुष्टिः

चूर्ण · मुष्टि

  1. चूर्णस्य मुष्टिः

    तत्पुरुष (genitive) — a fistful of powder

तत्पुरुष. the handful of powder — and Mallinātha says which powder: चूर्णस्य कुङ्कुमादेर्मुष्टिः, 'of saffron and the like'. चूर्ण is anything ground fine, and the आदि leaves the list open; what the gloss fixes is that this is the coloured powder people throw at each other in play, so the women reach for the nearest thing at hand and it happens to be the thing they were already throwing. मुष्टि was in the last stanza too, in कनकसिकतामुष्टिनिक्षेप — a fistful of sand thrown over the gems the girls were playing with. **A fistful thrown is what both stanzas turn on, and in both it is thrown at a jewel**

uncheckedMallinātha, Sañjīvinī, who glosses चूर्णस्य with कुङ्कुमादेः“cūrṇasya kuṅkumāder muṣṭiḥ”

  • a-stem neuter, द्वितीया एकवचन accusative singular

    नीवीबन्धोच्छ्वसितशिथिलम्

    printed नीवीबन्धोच्छ्वसितशिथिलं

    शिथिल

    slack — शिथिल is what has lost its tension: a loosened string, a slackened grip, a weakened resolve. It agrees with क्षौमम्, the silk, and is the object of आक्षिपत्सु along with it. The whole compound is one word of four members and it is the first thing in the canto's seventh stanza, so the reader has the loosened garment before anyone is named

    नीवीबन्धोच्छ्वसितशिथिलम् is 'slack where the waist-knot has loosened' — नीवीबन्धस्य उच्छ्वसितेन शिथिलम्. नीवी is itself the knot a woman ties her skirt-cloth with, so नीवीबन्ध, 'knot-tie', can look like saying the same thing twice; Mallinātha meets the objection head-on with चूतवृक्षवदपौनरुक्त्यम्, 'it is no more a redundancy than mango-tree' — where चूत already means the mango and वृक्ष, tree, is added without fault. The compound describes the क्षौम, the linen, which the lovers with their restless hands pull away out of passion — and the pulling-away is the सति सप्तमी, the 'when', that the whole failed throw answers to.

    • Mallinātha, Sañjīvinī — 2.7: cūtavṛkṣavad apaunaruktyam

  • अव्यय

    यत्र

    यत्र

    where — the sixth stanza of the canto to hang on this one word, and Mallinātha supplies the antecedent for the sixth time: यत्रालकायाम्. It stands at the seventh syllable here, where at 2.6 it waited until the fourteenth of the last pāda; the poem is varying how long it makes a reader wait to learn that this is another item on the same list

  • ā-stem feminine, षष्ठी बहुवचन genitive plural

    बिम्बाधराणाम्

    printed बिम्बाधराणां

    अधर, whose feminine is अधरा by टाप् (Pāṇini 4.1.4 अजाद्यतष्टाप्)

    lip — अधर is 'lower', an adjective made into the noun for the lower lip; the upper is ओष्ठ. At the end of a bahuvrīhi describing women it takes the feminine टाप् and declines as an ā-stem, which the masculine and the feminine happen to spell alike in this one cell: अधराणाम् either way, with the न् turned to ण् by the र् earlier in the word. Mallinātha's स्त्रीविशेषाणाम् is what makes the gender visible at all

  • a-stem neuter, द्वितीया एकवचन accusative singular

    क्षौमम्

    printed क्षौमं

    क्षौम

    the linen — क्षौम is cloth made from क्षुमा, flax; Mallinātha glosses it दुकूलम्, which is the fine woven silk-linen of the finest kind. It is the object of आक्षिपत्सु and the thing the whole first half of the stanza is about: it has come loose at the knot, and the men are pulling it away

  • a-stem masculine, पञ्चमी एकवचन ablative singular

    रागात्

    printed रागादनिभृतकरेष्वाक्षिपत्सु

    राग

    out of passion — the ablative of cause, which is the case Sanskrit uses for why a thing was done. राग is from √रञ्ज्, to be dyed or coloured, and runs the whole way from a colour to a musical mode to the reddening of the mind that is love. Mallinātha carries the word over unglossed, which is what he does when nothing is in doubt

  • a-stem masculine, सप्तमी बहुवचन locative plural

    अनिभृतकरेषु

    printed रागादनिभृतकरेष्वाक्षिपत्सु

    कर

    hand — कर is 'the doer', from √कृ, and it is also a ray of light and a tribute paid; Mallinātha's Amara citation at 1.41 gave all three for the same word. Here it is the hand, and he replaces it with हस्त, which means nothing else. The locative is the absolute construction's, so the hands belong to the clause rather than to the sentence

  • √क्षिप् + शतृ, सप्तमी बहुवचन locative plural

    आक्षिपत्सु

    printed रागादनिभृतकरेष्वाक्षिपत्सु

    आक्षिपत्, from आ + √क्षिप् with शतृ

    as they snatch it away — the present active participle, and **Mallinātha supplies सत्सु after it and so names the construction**: a pair of words in the locative with no other business in the sentence is Sanskrit's 'while' or 'when', and सत्सु is the word the grammars mark it with. It is the third stanza running in which he supplies a form of 'being' for this purpose — सन्तः and सत्सु at 2.5, सत्यः twice at 2.6, सत्सु here. He glosses the participle with another of the same form, आहरत्सु, 'carrying off', which drops the violence of क्षिप्, 'to throw', and keeps only the taking. It is the शतृ stem, which declines on the भवत् pattern

  • a-stem masculine, सप्तमी बहुवचन locative plural

    प्रियेषु

    प्रिय

    the lovers — प्रिय is 'dear', the adjective used as the noun for the beloved; in the masculine it is the husband or lover, in the feminine the wife. Mallinātha carries the word over. It is the subject of the locative absolute, and the men of this stanza are the same yakṣas who were drinking on the terraces at 2.5

  • a-stem masculine, द्वितीया बहुवचन accusative plural

    अर्चिस्तुङ्गान्

    printed अर्चिस्तुङ्गानभिमुखमपि

    तुङ्ग

    tall — तुङ्ग is height in the sense of rising up: a high peak, a tall tree, a swelling breast. Applied to a lamp it is the flame standing up straight, and applied to a jewel-lamp it can only be the rays going up, which is the sense Mallinātha takes. The accusative plural agrees with रत्नप्रदीपान् and is the object of प्राप्य

  • a-stem neuter, द्वितीया एकवचन accusative singular

    अभिमुखम्

    printed अर्चिस्तुङ्गानभिमुखमपि

    अभिमुख

    straight at them — **and Mallinātha settles what the word is doing by adding two words to it**: अभिमुखं यथा तथा, 'in such a way as to be facing', which is the standard formula for an accusative used as an adverb of manner. So this is not an adjective agreeing with the lamps but the neuter accusative doing adverb duty, and what it qualifies is प्राप्य, the reaching. The same question stood at 1.57 over व्यक्तं, where nothing in the commentary decided it; here his यथा तथा decides it in three syllables

  • अव्यय

    अपि

    printed अर्चिस्तुङ्गानभिमुखमपि

    अपि

    even so — **this is the word the stanza turns on.** Mallinātha keeps it welded to the absolutive in his paraphrase, प्राप्यापि, 'even having reached them', which makes the concession plain: the throw does arrive, it does hit the lamps head-on, and it still fails. Without the अपि the last pāda would be about a miss; with it, the failure is not the aim's but the world's — powder cannot put out a stone

  • √आप् + ल्यप्

    प्राप्य

    प्र + √आप्

    having reached — the absolutive in ल्यप् rather than क्त्वा because the root carries a prefix, which is the rule that told 2.5's एत्य from 1.65's दृष्ट्वा. **And the subject of the absolutive is not the subject of the sentence.** What reaches the lamps is the handful of powder, and what the sentence's verb भवति is about is also the handful — so the two agree, and the woman who threw it never appears in the syntax at all. She is only there in the genitive ह्रीमूढानाम्, standing outside everything, which is the case Sanskrit uses for a person a thing belongs to rather than a person who acts

  • a-stem masculine, द्वितीया बहुवचन accusative plural

    रत्नप्रदीपान्

    प्रदीप

    lamps — प्रदीप is प्र + √दीप्, 'to blaze forth', with the noun-making अ: the thing that makes light. Mallinātha carries the word over and spends his comment on the first member instead, because it is रत्न that makes these lamps unlike other lamps. They are the third furnishing of Alakā to be made of stone in three stanzas, after the gem floors of 2.5 and the gems the girls played with at 2.6

    The whole stanza is one sentence built to fail at the end. Three pādas set up a throw — the women, dazed with shame as their lovers pull the loosened linen away, snatch up a fistful of powder to put out the light — and the fourth says the throw was wasted. The reason is not in the verse at all: it is in the compound रत्नप्रदीपान्, which Mallinātha resolves रत्नानि एव प्रदीपाः, 'lamps that are jewels'. Powder can put out a flame and cannot put out a stone. The women reach for the dark, and the dark is not available in Alakā — the light there is the shine of gems, and there is no blowing it out.

    • Mallinātha, Sañjīvinī — 2.7: ratnānyeva pradīpāḥ … viphalapreraṇā

  • √मुह् + क्त, षष्ठी बहुवचन genitive plural

    ह्रीमूढानाम्

    printed ह्रीमूढानां

    मूढ, from √मुह् with क्त, feminine मूढा

    bewildered — √मुह् is to lose one's bearings, and मूढ is the participle of it: dazed, at a loss, and by extension foolish. **It is built exactly as गूढ was built at 2.6, letter for letter**: the root's ह् turns into ढ् (Pāṇini 8.2.31 हो ढः), the त् of क्त follows it into ढ् too, one ढ् then drops before the other (8.3.13 ढो ढे लोपः), and the उ lengthens to ऊ to make up the loss (6.3.111 ढ्रलोपे पूर्वस्य दीर्घोऽणः). Two stanzas running have handed the reader a participle whose long vowel is the ghost of a lost consonant. Mallinātha glosses it विधुर. **And मौग्ध्य, the abstract noun of this same stem, is the last word of his comment** — what the stanza suggests about the women is named with the word the verse gave them

  • √भू, class 1, लट्, parasmaipada, third person singular

    भवति

    √भू of the first class

    becomes — the plainest verb in the language doing the plainest work: joining a subject to what is said of it. चूर्णमुष्टिः is the subject and विफलप्रेरणा is what it becomes. Mallinātha keeps the word and puts his own predicate in front of it, निष्फलक्षेपा भवति. It is the stanza's one finite verb, and it is the third the canto has had — the canto so far has gone two stanzas with no verb, one with अस्ति, one with आसेवन्ते, one with संक्रीडन्ते, and now this

  • ā-stem feminine, प्रथमा एकवचन nominative singular

    विफलप्रेरणा

    प्रेरणा, from प्र + √ईर् with ल्युट् and टाप्

    a throwing, an urging on — प्र + √ईर् is to set in motion, and प्रेरणा is the noun of the act: the impelling of a thing away from oneself. Mallinātha replaces it with क्षेप, from √क्षिप्, which is the same root the men's snatching used two pādas earlier — so his gloss makes one word cover both the hands that take the silk and the hand that throws the powder. The whole compound is a bahuvrīhi and this is its last member, which is why the feminine is the handful's and not the throwing's own

  • i-stem feminine, प्रथमा एकवचन nominative singular

    चूर्णमुष्टिः

    मुष्टि

    a fistful — मुष्टि is from √मुष्, to steal, and means the closed hand and then what the closed hand holds. It is the subject of भवति and the last word of the stanza, which has kept it back through three pādas of other people's hands. The word is masculine or feminine as it likes, and here the feminine is fixed by Mallinātha's निष्फलक्षेपा agreeing with it

    Mallinātha closes the stanza with a word he has not used before: व्यज्यते, 'is suggested'. अत्राङ्गनानां रत्नप्रदीपनिर्वापणप्रवृत्त्या मौग्ध्यं व्यज्यते — 'here, by the women setting about to put out the jewel-lamps, their naïveté is suggested'. Not stated, suggested: the verse says only what the women did, and what a reader takes from it — that they are the kind of women who would try to blow out a stone — is left for the reader to take. मौग्ध्य, that innocence, is not a figure of speech; it is what the poem declines to say, and Mallinātha is pointing at the declining. Two of his other notes here are warnings against over-reading: नीवी already means a knot, so नीवीबन्ध looks doubled, and he answers चूतवृक्षवदपौनरुक्त्यम्, 'no more a redundancy than “mango-tree”'.

    • Mallinātha, Sañjīvinī — 2.7: … maugdhyaṃ vyajyate

यत्र · अनिभृतकरेषु · प्रियेषु · रागात् · नीवीबन्धोच्छ्वसितशिथिलम् · क्षौमम् · आक्षिपत्सु · सत्सु [supplied] · ह्रीमूढानाम् · बिम्बाधराणाम् · अर्चिस्तुङ्गान् · रत्नप्रदीपान् · अभिमुखम् · प्राप्य · अपि · विफलप्रेरणा · चूर्णमुष्टिः · भवति

uncheckedMallinātha, Sañjīvinī, whose commentary runs as anvaya. He takes the locative absolute first and whole — the lovers, their restless hands, the loosened silk, the snatching — and only then the women it happens to, bringing ह्रीमूढानाम् from the last pāda up beside बिम्बाधराणाम् in the first, where they belong together. He supplies सत्सु to mark the absolute construction, as he supplied सत्सु and सन्तः at 2.5 and सत्यः twice at 2.6“yatrālakāyām anibhṛtakareṣu capalahasteṣu priyeṣu … tasyocchvasitena truṭitena śithilaṃ kṣaumaṃ dukūlaṃ rāgād ākṣipatsv āharatsu satsu hrīmūḍhānāṃ lajjāvidhurāṇām … bimbādharāṇāṃ strīviśeṣāṇām … arcirbhir mayūkhais tuṅgān … ratnāny eva pradīpān abhimukhaṃ yathā tathā prāpyāpi viphalapreraṇā … niṣphalakṣepā bhavati”

the dependency structure

भवति · क्रिया — becomes, comes to; the verb the whole sentence is built to reach, and the reaching is a failure

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

चूर्णमुष्टिः · कर्ता — a fistful of powder, the subject; what the women throw to put out the light

ह्रीमूढानाम् · षष्ठी — of the women dazed with shame, ह्रिया मूढानाम्; whose fistful it is

बिम्बाधराणाम् · agreeing with ह्रीमूढानाम् — their lower lips bimba fruit, बिम्बः इव अधरः यासाम्; feminine, स्त्रीविशेषाणाम्

प्राप्य · पूर्वकालक्रिया — having reached; the absolutive whose act precedes the becoming

रत्नप्रदीपान् · कर्म of प्राप्य — the jewel-lamps, रत्नानि एव प्रदीपाः; the lamps that are jewels, which is why the throw fails

अर्चिस्तुङ्गान् · agreeing with रत्नप्रदीपान् — tall with their rays, अर्चिभिः तुङ्गान्

अभिमुखम् · क्रियाविशेषण — straight at them, अभिमुखं यथा तथा; an adverb, the powder thrown facing the lamps

अपि · particle — even so, and yet; the concession the last pāda turns on

विफलप्रेरणा · विधेय — a wasted throwing, निष्फलक्षेपा; the predicate, a bahuvrīhi describing the handful — its urging fruitless

आक्षिपत्सु · सति सप्तमी — when they snatch it away; a locative absolute on the lovers

सत्सु · सति सप्तमी, supplied — being; the locative of अस् that completes the absolute

प्रियेषु · अधिकरण — the lovers, the locative the absolute is built on

अनिभृतकरेषु · agreeing with प्रियेषु — with restless hands, अनिभृताः कराः येषाम्

क्षौमम् · कर्म of आक्षिपत्सु — the linen, what the lovers pull away

नीवीबन्धोच्छ्वसितशिथिलम् · agreeing with क्षौमम् — gone slack where the waist-knot has loosened, नीवीबन्धस्य उच्छ्वसितेन शिथिलम्

रागात् · हेतु — out of passion, रागवशात्; why the lovers snatch

uncheckedMallinātha’s Sañjīvinī for the anvaya and the reading, which turns the failed throw on रत्नानि एव प्रदीपाः, fixes अभिमुखम् as an adverb, answers the नीवीबन्ध objection, and says मौग्ध्यं व्यज्यते of the whole; the Telugu drawn from Vedam Venkataraya Sastri’s Āndhra Meghasandeśam.

Where, when the lovers with their restless hands pull away out of passion the linen that has gone slack at the waist-knot, the fistful of powder the women throw — dazed with shame, their lips bimba fruit — reaches the tall-rayed jewel-lamps head-on and still comes to nothing. **The whole stanza is one sentence built to fail at the end.** Three pādas set up a throw and the fourth says it was wasted, and the reason is not in the verse at all: it is in the compound रत्नप्रदीपान्, which Mallinātha resolves रत्नान्येव प्रदीपान् — the lamps *are* jewels. Powder can put out a flame and cannot put out a stone. The women reach for the dark and the dark is not available in Alakā. **And he closes the stanza with a word he has not used before: व्यज्यते, 'is suggested'.** अत्राङ्गनानां रत्नप्रदीपनिर्वापणप्रवृत्त्या मौग्ध्यं व्यज्यते — 'here, by the women setting about to put out the jewel-lamps, their naïveté is suggested'. Not stated, suggested: the verse says only what they did, and what a reader takes from it is what they are like. He names no figure of speech for it, and मौग्ध्य is not a figure — it is what the poem leaves unsaid, and he is pointing at the leaving. Two of his notes are about not over-reading. नीवी already means a knot, so नीवीबन्ध looks like knot-knot; he answers चूतवृक्षवदपौनरुक्त्यम्, 'no more a redundancy than mango-tree'. And अभिमुखम् he fixes as an adverb with the formula अभिमुखं यथा तथा, so the powder is thrown facing rather than the lamps being faced. Twice he decides something by the gender of his own gloss: निष्फलक्षेपा, feminine where क्षेप is masculine, makes विफलप्रेरणा a bahuvrīhi describing the handful; and स्त्रीविशेषाणाम् is what tells a reader that बिम्बाधराणाम् is feminine, since the compound never says so and the verse never names a woman.

uncheckedthe reader's reading, following Mallinātha's gloss; the identity written with एव, the defence चूतवृक्षवदपौनरुक्त्यम्, the adverbial reading of अभिमुखम्, the supplied सत्सु and स्त्रीविशेषाणाम्, the इव written into बिम्बाधराणाम्, the gloss निष्फलक्षेपा and the closing मौग्ध्यं व्यज्यते are all his“ratnāny eva pradīpān abhimukhaṃ yathā tathā prāpyāpi viphalapreraṇā … niṣphalakṣepā bhavati | atrāṅganānāṃ ratnapradīpanirvāpaṇapravṛttyā maugdhyaṃ vyajyate”

Where, when the lovers with their restless hands pull away out of passion the linen gone slack at the waist-knot, the fistful of powder the women throw — dazed with shame, their lips bimba fruit — reaches the tall-rayed jewel-lamps head-on and still comes to nothing. The stanza is a small comedy of the impossible: the one thing a woman wants at that moment is the dark, and the one thing Alakā cannot give her is the dark, because its lamps are jewels and a jewel does not go out. Mallinātha decides two things by the gender of his own gloss — निष्फलक्षेपा, feminine, makes विफलप्रेरणा a bahuvrīhi of the handful, and स्त्रीविशेषाणाम् is what tells a reader बिम्बाधराणाम् is feminine, since the verse never names a woman.

  • Mallinātha, Sañjīvinī — 2.7, whole-verse gloss

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