printलघुसिद्धान्तकौमुदी — practise the grammar

मेघदूतम् · कालिदास · 2.9

अलका · the moonstones that drip once he moves off

यत्र स्त्रीणां प्रियतमभुजालिङ्गनोच्छ्वासितानां

य
त्र
स्त्री
णां
प्रि
य
त
म
भु
जा
लि
ङ्ग
नो
च्छ्वा
सि
ता
नां

अङ्गग्लानिं सुरतजनितां तन्तुजालावलम्बाः

अ
ङ्ग
ग्ला
निं
सु
र
त
ज
नि
तां
त
न्तु
जा
ला
व
ल
म्बाः

त्वत्संरोधापगमविशदैश्चन्द्रपादैर्निशीथे

त्व
त्सं
रो
धा
प
ग
म
वि
श
दै
श्च
न्द्र
पा
दै
र्नि
शी
थे

व्यालुम्पन्ति स्फुटजललवस्यन्दिनश्चन्द्रकान्ताः

व्या
लु
म्प
न्ति
स्फु
ट
ज
ल
ल
व
स्य
न्दि
न
श्च
न्द्र
का
न्ताः

alternate reading भुजोच्छ्वासितालिङ्गितानां — for the end of pāda a, from syllable 9. Shown, not analysed.

pāda a

  • यguruthe conjunct त्र that follows it
  • त्रguruthe conjunct स्त्र that follows it
  • स्त्रीguruits long vowel ई
  • णांguruthe anusvāra it carries
  • प्रिlaghuits short vowel, with a single consonant after it
  • यlaghuits 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
  • भुlaghuits short vowel, with a single consonant after it
  • जाguruits long vowel आ
  • लिguruthe conjunct ङ्ग that follows it
  • ङ्गlaghuits short vowel, with a single consonant after it
  • नोguruits long vowel ओ
  • च्छ्वाguruits long vowel आ
  • सिlaghuits short vowel, with a single consonant after it
  • ताguruits long vowel आ
  • नांguruthe anusvāra it carries
  • yati after 4 — a word ends here — स्त्रीणां
  • yati after 10 — it falls inside the compound प्रियतमभुजालिङ्गनोच्छ्वासितानाम्

pāda b

  • अguruthe conjunct ङ्ग that follows it
  • ङ्गguruthe conjunct ग्ल that follows it
  • ग्लाguruits long vowel आ
  • निंguruthe anusvāra it carries
  • सुlaghuits short vowel, with a single consonant after it
  • रlaghuits short vowel, with a single consonant after it
  • तlaghuits short vowel, with a single consonant after it
  • जlaghuits short vowel, with a single consonant after it
  • निlaghuits short vowel, with a single consonant after it
  • तांguruthe anusvāra it carries
  • तguruthe conjunct न्त that follows it
  • न्तुlaghuits short vowel, with a single consonant after it
  • जाguruits long vowel आ
  • लाguruits long vowel आ
  • वlaghuits short vowel, with a single consonant after it
  • लguruthe conjunct म्ब that follows it
  • म्बाःguruthe visarga it carries
  • yati after 4 — a word ends here — अङ्गग्लानिं
  • yati after 10 — a word ends here — सुरतजनितां

pāda c

  • त्वguruthe conjunct त्स that follows it
  • त्संguruthe anusvāra it carries
  • रोguruits long vowel ओ
  • धाguruits long vowel आ
  • पlaghuits short vowel, with a single consonant after it
  • गlaghuits short vowel, with a single consonant after it
  • मlaghuits short vowel, with a single consonant after it
  • विlaghuits short vowel, with a single consonant after it
  • शlaghuits short vowel, with a single consonant after it
  • दैguruits long vowel ऐ
  • श्चguruthe conjunct न्द्र that follows it
  • न्द्रlaghuits short vowel, with a single consonant after it
  • पाguruits long vowel आ
  • दैguruits long vowel ऐ
  • र्निlaghuits short vowel, with a single consonant after it
  • शीguruits long vowel ई
  • थेguruits long vowel ए
  • yati after 4 — it falls inside the compound त्वत्संरोधापगमविशदैः
  • yati after 10 — it falls inside the compound त्वत्संरोधापगमविशदैः

pāda d

  • व्याguruits long vowel आ
  • लुguruthe conjunct म्प that follows it
  • म्पguruthe conjunct न्त that follows it
  • न्तिguruthe conjunct स्फ that follows it
  • स्फुlaghuits short vowel, with a single consonant after it
  • टlaghuits short vowel, with a single consonant after it
  • जlaghuits short vowel, with a single consonant after it
  • लlaghuits short vowel, with a single consonant after it
  • लlaghuits short vowel, with a single consonant after it
  • वguruthe conjunct स्य that follows it
  • स्यguruthe conjunct न्द that follows it
  • न्दिlaghuits short vowel, with a single consonant after it
  • नguruthe conjunct श्च that follows it
  • श्चguruthe conjunct न्द्र that follows it
  • न्द्रlaghuits short vowel, with a single consonant after it
  • काguruits long vowel आ
  • न्ताःguruthe visarga it carries
  • yati after 4 — a word ends here — व्यालुम्पन्ति
  • yati after 10 — a compound member ends here, inside स्फुटजललवस्यन्दिनः

  • स्त्रीणाम् + प्रियतमभुजालिङ्गनोच्छ्वासितानाम् → स्त्रीणां

    म् + प्

  • प्रियतमभुजालिङ्गनोच्छ्वासितानाम् + अङ्गग्लानिम् → प्रियतमभुजालिङ्गनोच्छ्वासितानां

    म् + अ

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

  • अङ्गग्लानिम् + सुरतजनिताम् → अङ्गग्लानिं

    म् + स्

  • सुरतजनिताम् + तन्तुजालावलम्बाः → सुरतजनितां

    म् + त्

  • त्वत्संरोधापगमविशदैः + चन्द्रपादैः → त्वत्संरोधापगमविशदैश्चन्द्रपादैर्निशीथे

    ः + च्

  • चन्द्रपादैः + निशीथे → त्वत्संरोधापगमविशदैश्चन्द्रपादैर्निशीथे

    ः + न्

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

  • स्फुटजललवस्यन्दिनः + चन्द्रकान्ताः → स्फुटजललवस्यन्दिनश्चन्द्रकान्ताः

    ः + च्

  • प्रियतम + भुज → प्रियतमभुजालिङ्गनोच्छ्वासितानाम्

    अ + भ्

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

  • भुज + आलिङ्गन → प्रियतमभुजालिङ्गनोच्छ्वासितानाम्

    अ + आ → आ · falls inside the syllable जा

  • आलिङ्गन + उच्छ्वासित → प्रियतमभुजालिङ्गनोच्छ्वासितानाम्

    अ + उ → ओ · falls inside the syllable नो

  • अङ्ग + ग्लानि → अङ्गग्लानिम्

    अ + ग्

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

  • सुरत + जनित → सुरतजनिताम्

    अ + ज्

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

  • तन्तु + जाल → तन्तुजालावलम्बाः

    उ + ज्

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

  • जाल + अवलम्ब → तन्तुजालावलम्बाः

    अ + अ → आ · falls inside the syllable ला

  • त्वद् + संरोध → त्वत्संरोधापगमविशदैः

    द् + स्

  • संरोध + अपगम → त्वत्संरोधापगमविशदैः

    अ + अ → आ · falls inside the syllable धा

  • अपगम + विशद → त्वत्संरोधापगमविशदैः

    अ + व्

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

  • चन्द्र + पाद → चन्द्रपादैः

    अ + प्

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

  • स्फुट + जल → स्फुटजललवस्यन्दिनः

    अ + ज्

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

  • जल + लव → स्फुटजललवस्यन्दिनः

    अ + ल्

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

  • लव + स्यन्दिन् → स्फुटजललवस्यन्दिनः

    अ + स्

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

  • चन्द्र + कान्त → चन्द्रकान्ताः

    अ + क्

    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: स्त्रीणां प्रियतम, अङ्गग्लानिं सुरत, सुरतजनितां तन्तु. A visarga before a following च्-class or a voiced sound assimilates by 8.3.34 विसर्जनीयस्य सः and 8.4.40 स्तोः श्चुना श्चुः: त्वत्संरोधापगमविशदैश्चन्द्रपादैः shows the visarga become श् before च्, and स्फुटजललवस्यन्दिनश्चन्द्रकान्ताः the same. Inside the compounds, meeting अ-vowels give आ by 6.1.101 अकः सवर्णे दीर्घः — भुज-आलिङ्गन, जाल-अवलम्ब, संरोध-अपगम — and आलिङ्गन-उच्छ्वासित gives ओ by 6.1.87 आद्गुणः.

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

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

    with प्रियतमभुजालिङ्गनोच्छ्वासितानाम्

  • अङ्गग्लानिम् द्वितीया · accusative — कर्म, the object

    with सुरतजनिताम्

  • चन्द्रपादैः तृतीया · instrumental — करण — पाद in the sense of a ray, not a foot

    with त्वत्संरोधापगमविशदैः

    पाद is the ordinary word for a foot, and here it is a ray. Mallinātha glosses चन्द्रपादैः as चन्द्रस्य किरणैः, 'with the moon's beams', quoting Amara for the three senses the word carries — a foot, a quarter, and a ray. The moonstones weep by the touch of moonlight, so the rays have to be the instrument, and the ray-sense is the one the stanza needs. It is the same beam that त्वत्संरोधापगमविशदैः calls 'clear now your blocking has passed' — the moon can reach the stones only because the cloud has moved off.

    • Mallinātha, Sañjīvinī — 2.9: candrapādaiḥ candrakiraṇaiḥ

  • निशीथे सप्तमी · locative — अधिकरण, the location

  • चन्द्रकान्ताः प्रथमा · nominative — कर्ता, the agent

    with तन्तुजालावलम्बाः, स्फुटजललवस्यन्दिनः

प्रकरण 1 · हलन्त्यम्

  • हलन्त्यम् 1.3.3← प्रियतमभुजालिङ्गनोच्छ्वासितानाम्; सुरतजनिताम्; व्यालुम्पन्ति
  • तस्य लोपः 1.3.9← प्रियतमभुजालिङ्गनोच्छ्वासितानाम्; सुरतजनिताम्; तन्तुजालावलम्बाः; त्वत्संरोधापगमविशदैः; चन्द्रपादैः; निशीथे; व्यालुम्पन्ति; चन्द्रकान्ताः
  • सुप्तिङन्तं पदम् 1.4.14← प्रियतमभुजालिङ्गनोच्छ्वासितानाम्; सुरतजनिताम्; व्यालुम्पन्ति

प्रकरण 2 · इको यणचि

प्रकरण 3 · स्तोः श्चुना श्चुः

प्रकरण 4 · वा शरि

  • ससजुषो रुः 8.2.66← तन्तुजालावलम्बाः; त्वत्संरोधापगमविशदैः; चन्द्रपादैः; स्फुटजललवस्यन्दिनः; चन्द्रकान्ताः

प्रकरण 5 · अर्थवदधातुरप्रत्ययः प्रातिपदिकम्

प्रकरण 8 · हो ढः

प्रकरण 11 · स्वरादिनिपातमव्ययम्

प्रकरण 12 · लः कर्मणि च भावे चाकर्मकेभ्यः

प्रकरण 17 · तुदादिभ्यः शः

प्रकरण 22 · स्वतन्त्रः कर्ता

प्रकरण 34 · ण्वुल्तृचौ

प्रकरण 48 · शेषे

प्रकरण 60 · स्त्रियाम्

not in the abridgement

  • अ अ 8.4.68← सुरतजनिताम्; व्यालुम्पन्ति

प्रियतमभुजालिङ्गनोच्छ्वासितानाम्

प्रियतम · भुज · आलिङ्गन · उच्छ्वासित

  1. प्रियतमानां भुजाः

    तत्पुरुष (genitive) — the arms of their dearest

  2. भुजैः आलिङ्गनानि

    तत्पुरुष (instrumental) — the embraces made with those arms

  3. आलिङ्गनेषु उच्छ्वासिताः, तासाम्

    तत्पुरुष (locative) — loosened in those embraces

तत्पुरुष — it agrees with स्त्रीणाम्. loosened in the embrace of their lovers' arms — **and Mallinātha's unpacking gives the four members three different cases**: प्रियतमानां भुजैरालिङ्गनेषूच्छ्वासितानाम्, genitive for the lovers, instrumental for the arms, locative for the embraces. The compound shows none of them. He glosses उच्छ्वासितानाम् with प्रशिथिलीकृतानाम्, 'made quite slack', and then offers the sense a second way with two reasons for it: श्रान्त्या जलसेकाय वा शिथिलताालिङ्गनानाम् इति यावत् — 'as much as to say, whose embraces have gone slack, either from tiredness or so as to be sprinkled with water'. The second reason is the one that ties the stanza together: they loosen their arms to let the moonstones' drip reach them

uncheckedMallinātha, Sañjīvinī, who unpacks प्रियतमानां भुजैरालिङ्गनेषूच्छ्वासितानां प्रशिथिलीकृतानाम् and offers the alternative with श्रान्त्या जलसेकाय वा“priyatamānāṃ bhujair āliṅganeṣūcchvāsitānāṃ praśithilīkṛtānām | śrāntyā jalasekāya vā śithilatāliṅganānām iti yāvat”

अङ्गग्लानिम्

अङ्ग · ग्लानि

  1. अङ्गानां ग्लानिः, ताम्

    तत्पुरुष (genitive) — the wilting of the limbs

तत्पुरुष. the ache in their limbs — **Mallinātha glosses it twice, and the second gloss walks the first back to the words.** First शरीरखेदम्, 'weariness of the body', which is what the compound comes to; then अवयवानां ग्लानताम् इति यावत्, 'as much as to say, the wiltedness of the parts', which keeps अङ्ग as the separate limbs and ग्लानि as the drooping rather than the tiredness. √ग्लै is what a plant does in the sun, and ग्लानि is that: not exhaustion but going limp

uncheckedMallinātha, Sañjīvinī, who glosses अङ्गग्लानिम् first with शरीरखेदम् and then with अवयवानां ग्लानताम् इति यावत्“strīṇāṃ suratajanitām aṅgaglāniṃ śarīrakhedam | avayavānāṃ glānatām iti yāvat”

सुरतजनिताम्

सुरत · जनित

  1. सुरतेन जनिताम्

    तत्पुरुष (instrumental) — brought on by the love-making

तत्पुरुष — it agrees with अङ्गग्लानिम्. brought on by the love-making — सुरत is सु + रत, 'well-pleased', the standard word for the act; जनित is the causative participle of √जन्, 'made to be born'. Mallinātha carries the compound over into his anvaya without a gloss, which is what he does when both members are transparent, and spends his comment on the noun it qualifies instead

uncheckedMallinātha, Sañjīvinī, who carries सुरतजनितामङ्गग्लानिम् over into his anvaya and glosses only the second word; the vigraha is the reader's“strīṇāṃ suratajanitām aṅgaglāniṃ śarīrakhedam”

तन्तुजालावलम्बाः

तन्तु · जाल · अवलम्ब

  1. तन्तूनां जालम्

    तत्पुरुष (genitive) — a net of threads

  2. तन्तुजालम् अवलम्बो येषां ते

    बहुव्रीहि — the ones that hang by it

बहुव्रीहि — it refers to चन्द्रकान्ताः. slung on nets of thread — and Mallinātha's gloss says where the threads are: वितानलम्बिसूत्रपुञ्जाधाराः, 'whose support is the mass of cords hanging from the canopy'. Then he says it again in three words — तद्गुणगुम्फिता इत्यर्थः, 'strung on those strands, is the meaning' — where गुम्फित is the word for beads threaded on a string. So the stones are not set in the ceiling but hung from it on cords over the bed, which is what puts their drip exactly where the women are. **जाल is the second net of the canto and the second one made of something else**: at 2.8 it was the stone screen in a window

uncheckedMallinātha, Sañjīvinī, who glosses it वितानलम्बिसूत्रपुञ्जाधाराः and adds तद्गुणगुम्फिता इत्यर्थः; the vigraha is the reader's“tantujālāvalambā vitānalambisūtrapuñjādhārāḥ | tadguṇagumphitā ityarthaḥ”

त्वत्संरोधापगमविशदैः

त्वद् · संरोध · अपगम · विशद

  1. तव संरोधः

    तत्पुरुष (genitive) — your blocking of the sky

  2. त्वत्संरोधस्य अपगमः

    तत्पुरुष (genitive) — the passing off of it

  3. त्वत्संरोधापगमेन विशदैः

    तत्पुरुष (instrumental) — clear because of that

तत्पुरुष — it agrees with चन्द्रपादैः. clear now that your blocking has passed — **this is the only place the cloud is in the stanza, and he is in it as something that has gone.** Mallinātha spells out what the blocking is: त्वत्संरोधस्य मेघावरणस्यापगमेन विशदैर्निर्मलैः, 'clear — spotless — by the passing off of your obstruction, that is, of the cloud-cover'. Two stanzas ago the clouds looked like him; here the moonbeams can only do their work because he has moved out of the way. **The address is the first evidence in the stanza that anybody is being spoken to**, and it is buried in the middle of a four-member compound in the third pāda

uncheckedMallinātha, Sañjīvinī, who unpacks त्वत्संरोधस्य मेघावरणस्यापगमेन विशदैर्निर्मलैः; `vendor/meghaduta-sanjivini.itx` prints `tatsaMrodhasya` for त्वत्संरोधस्य — the verse reads त्वत् and the whole point of the compound is the address — and `meghAvaraNaspApagamena` for मेघावरणस्यापगमेन, and both are restored from what the line requires“tvatsaṃrodhasya meghāvaraṇasyāpagamena viśadair nirmalaiś candrapādaiḥ”

चन्द्रपादैः

चन्द्र · पाद

  1. चन्द्रस्य पादाः, तैः

    तत्पुरुष (genitive) — the moon's rays

तत्पुरुष. by the moon's rays — and Mallinātha will not let पाद stay a foot: he glosses it चन्द्ररश्मिभिः and cites Amara, पादा रश्म्यङ्घ्रितुर्यांशाः, where the word covers a ray, a foot and a quarter-part. **The everyday sense is the foot, and the sense here is the ray, and the verse is better for the reader knowing both**: what touches the moonstones and makes them weep is the moon's feet

uncheckedMallinātha, Sañjīvinī, who glosses चन्द्रपादैः with चन्द्ररश्मिभिः and cites Amara; the citation in `vendor/meghaduta-sanjivini.itx` reads `pAdA rashmya~NgituryAshAM`, which has lost the घ् of अङ्घ्रि and garbled तुर्यांशाः, and it is restored from Amara's line“candrapādaiś candraraśmibhiḥ || “pādā raśmyaṅghrituryāṃśāḥ” ityamaraḥ”

स्फुटजललवस्यन्दिनः

स्फुट · जल · लव · स्यन्दिन्

  1. जलस्य लवाः

    तत्पुरुष (genitive) — drops of water

  2. स्फुटाः जललवाः

    कर्मधारय — distinct water-drops

  3. स्फुटजललवान् स्यन्दन्ते इति स्फुटजललवस्यन्दिनः

    तत्पुरुष (accusative) — the ones that ooze them

तत्पुरुष — it agrees with चन्द्रकान्ताः. oozing distinct drops of water — Mallinātha answers it with a compound of the same build and different words throughout, उल्बणाम्बुकणस्राविणः: उल्बण for स्फुट, अम्बु for जल, कण for लव, स्राविन् for स्यन्दिन्. Four for four, and the last pair matters — both स्यन्दिन् and स्राविन् end in the affix णिनि, which Pāṇini 3.2.78 सुप्यजातौ णिनिस्ताच्छील्ये gives for what a thing does *by habit*. So the stones are not dripping at this moment; dripping is what they are for. **The one word he changes the sense of is स्फुट**, which is 'clear, distinct', and which he glosses उल्बण, 'abundant'. Distinct drops are a few; abundant drops are many

uncheckedMallinātha, Sañjīvinī, who glosses it with उल्बणाम्बुकणस्राविणः; Pāṇini 3.2.78 by way of skt-mcp, which he does not cite; `vendor/meghaduta-sanjivini.itx` prints the two words with stray spaces as `sphuTajalalavasyandin ulbaNAmbukaNa srAviNaH`“sphuṭajalalavasyandina ulbaṇāmbukaṇasrāviṇaḥ”

चन्द्रकान्ताः

चन्द्र · कान्त

  1. चन्द्रेण कान्ताः

    तत्पुरुष (instrumental) — loved by the moon

तत्पुरुष. the moonstones — literally 'loved by the moon', कान्त being the past participle of √कम्, to desire. Mallinātha glosses it चन्द्रकान्तमणयः, adding the word for gem, because the compound on its own is a name and could be a person. **He offered this very stone two stanzas earlier and would not commit to it**: at 2.5 the terraces were स्फटिकमणिमयानि चन्द्रकान्तमयानि वा, crystal or moonstone, and the वा was the whole of his comment. Here the poem names it outright and puts it to work doing the one thing it is famous for — a moonstone is supposed to melt in moonlight, which is why these hang over a bed and weep

uncheckedMallinātha, Sañjīvinī, who glosses चन्द्रकान्ताः with चन्द्रकान्तमणयः; the vigraha is the reader's“candrakāntāś candrakāntamaṇayaḥ”

  • अव्यय

    यत्र

    यत्र

    where — the seventh stanza of the canto to hang on the relative, and Mallinātha supplies the antecedent for the seventh time, यत्रालकायाम्. At 2.8 it was inside a compound as यद्; here it is loose again and first in the line, which is where it stood in 2.1 through 2.4

  • ī-stem feminine, षष्ठी बहुवचन genitive plural

    स्त्रीणाम्

    printed स्त्रीणां

    स्त्री

    of the women — the genitive hangs on अङ्गग्लानिम् two words later: it is their limb-ache that the moonstones take away. **The word and the cell are the same as at 1.28** — the one cell in स्त्री's table the generator gets right — and the run has not offered a table for it there or here. स्त्री is irregular: it puts इय् in before a vowel ending, स्त्रियाः, though the genitive plural is the regular स्त्रीणाम्

  • √श्वस् + णिच् + क्त, षष्ठी बहुवचन genitive plural

    प्रियतमभुजालिङ्गनोच्छ्वासितानाम्

    printed प्रियतमभुजालिङ्गनोच्छ्वासितानां

    उच्छ्वासित, from उद् + √श्वस् in the causative, with क्त

    made to give way — √श्वस् is to breathe, and उद् + √श्वस् is to breathe upward, to swell, to expand; the causative makes a thing do that, and of a hold or a knot it means to let go. Mallinātha glosses it प्रशिथिलीकृतानाम्, 'made altogether slack', which is a causative answering a causative. **The same stem stood at 2.7 without the causative** — उच्छ्वसित, short अ, of the waist-knot that had come undone by itself — and there DCS read the causative where the text had none. Here the text does have it, and the long आ is the whole of the difference

    Mallinātha's best sentence here is an alternative he offers and does not choose between. The women's arms have gone slack, and he gives two reasons for it: श्रान्त्या जलसेकाय वा — 'from tiredness, or so as to be sprinkled with water'. The first is something that has happened to them; the second is something they are doing on purpose, letting go of each other so the drip from the stones above can reach them. He leaves both standing. The compound प्रियतमभुजालिङ्गनोच्छ्वासितानाम्, 'made to loosen in the embrace of their lovers' arms', carries either reading — a body opened out by exhaustion, or opened out to be cooled — and the वा, 'or', is his way of keeping the choice for the reader.

    • Mallinātha, Sañjīvinī — 2.9: śrāntyā jalasekāya vā

  • i-stem feminine, द्वितीया एकवचन accusative singular

    अङ्गग्लानिम्

    printed अङ्गग्लानिं

    ग्लानि

    the wilting — ग्लानि is the noun of √ग्लै, which is what a leaf does when it has been in the sun too long. Mallinātha's second gloss, ग्लानताम्, keeps the root and only changes the suffix, so that the reader can see he is not moving away from the word. **The stem stood at 1.31 in सुरतग्लानिम्, and the two words are nearly the same compound**: there the weariness of love-making itself, here the weariness of the limbs that love-making caused. It is the object of व्यालुम्पन्ति in the last pāda

  • √जन् + णिच् + क्त, द्वितीया एकवचन accusative singular

    सुरतजनिताम्

    printed सुरतजनितां

    जनित, from √जन् in the causative, with क्त

    caused — √जन् is to be born, and its causative is to beget or bring about; जनित is what has been brought about. The plain participle of the same root is जात, 'born', and the two are worth holding apart: जात would make the ache something that simply came, and जनित makes it something the love-making did

  • a-stem masculine, प्रथमा बहुवचन nominative plural

    तन्तुजालावलम्बाः

    अवलम्ब

    a hanging-from, a support — from अव + √लम्ब्, to hang down, with the noun-making अ. Mallinātha glosses it आधार, a support, which reads the noun as the thing hung *on* rather than the hanging itself; that is what makes the compound a bahuvrīhi rather than a description of the threads. **√लम्ब् is the root skt-data builds no conjugation for at all** — the finding at 1.47 — and it does decline the noun made from it without trouble

  • a-stem masculine, तृतीया बहुवचन instrumental plural

    त्वत्संरोधापगमविशदैः

    printed त्वत्संरोधापगमविशदैश्चन्द्रपादैर्निशीथे

    विशद

    clear — विशद is what has nothing in it to obscure it: a clear sound, a clear sky, a plain statement. Mallinātha glosses it निर्मलैः, 'without stain', which puts the emphasis on there being nothing in the way rather than on the light being bright — which is right, because what the compound says is not that the moon is strong but that the cloud has moved

    The cloud is in this stanza only as something that has gone. त्वत्संरोधापगम, 'the passing off of your blocking', is the one address in the verse, and it is buried in the middle of a four-member compound describing the moonbeams: they are clear now — विशद — because your obstruction of them, त्वत्संरोध, has moved away, अपगम. Two stanzas ago the clouds over Alakā were said to be त्वादृशाः, 'like you'; here the cloud he is sending is precisely what had to move out of the way before the night could do its work. From the light of the city's own moonstones, the guest is an interruption that has just ended.

    • Mallinātha, Sañjīvinī — 2.9: tvatsaṃrodhāpagamaviśadaiḥ

  • a-stem masculine, तृतीया बहुवचन instrumental plural

    चन्द्रपादैः

    printed त्वत्संरोधापगमविशदैश्चन्द्रपादैर्निशीथे

    पाद

    rays — पाद is a foot first, then a quarter (because a beast has four), then a ray, because a light is thought of as walking out from its source. Amara gives all three in one line and Mallinātha quotes it. The instrumental is what makes the stones weep, and it is the second instrumental in three stanzas to be an agency working on a thing that cannot resist it — the wind on the clouds at 2.8, the moon on the stones here

  • a-stem masculine, सप्तमी एकवचन locative singular

    निशीथे

    printed त्वत्संरोधापगमविशदैश्चन्द्रपादैर्निशीथे

    निशीथ

    at midnight — **the first hour named in the canto.** Mallinātha fixes it exactly: निशीथेऽर्धरात्रे, and cites Amara, अर्धरात्रनिशीथौ द्वौ, 'ardharātra and niśītha are the two words for it'. Eight stanzas have given Alakā a time of day only by what was happening in it — drinking, playing in the sand, lamps lit, clouds at the window. This one says the hour, and it is the hour when the moon is highest and its rays come down straight onto a canopy

  • √लुप्, class 6, लट्, parasmaipada, third person plural

    व्यालुम्पन्ति

    √लुप् of the sixth class, with वि and आ

    they take it away — √लुप् is to break, to rob, to make a thing disappear; it is the root the grammarians' own word लोप, 'elision', is made from. **The म् in the middle of the form is not in the root**: a sixth-class present of लुप् puts a nasal in before the last consonant by Pāṇini 7.1.59 शे मुचादीनाम्, which names मुच् and a short list with it, so the stem is लुम्प- and not लुप-. Mallinātha glosses the verb with one of driving away. It is the stanza's only finite verb, and the fourth the canto has had

  • in-stem masculine, प्रथमा बहुवचन nominative plural

    स्फुटजललवस्यन्दिनः

    printed स्फुटजललवस्यन्दिनश्चन्द्रकान्ताः

    स्यन्दिन्, from √स्यन्द् with णिनि

    oozing — √स्यन्द् is to flow slowly, to trickle, which is what a stone does and not what a spring does. The affix णिनि makes an agent of habit rather than of the moment, by Pāṇini 3.2.78 सुप्यजातौ णिनिस्ताच्छील्ये, and Mallinātha's gloss स्राविन् carries the same affix, so the two words agree in form as well as in sense. The visarga becomes श् before the च् of चन्द्रकान्ताः and the two print as one run

  • a-stem masculine, प्रथमा बहुवचन nominative plural

    चन्द्रकान्ताः

    printed स्फुटजललवस्यन्दिनश्चन्द्रकान्ताः

    चन्द्रकान्त

    the moonstones — the subject, and the last word of the stanza; everything before it has been epithets waiting for it, as जलमुचः was at 2.8. Mallinātha adds मणयः to make sure the name is read as a stone. A moonstone is supposed to soften and drip when moonlight falls on it, and the whole stanza is built on that single piece of lapidary lore: strings of them over a bed, the cloud gone, the moon straight overhead at midnight, and the water coming down on women who are too hot to be embraced

    The whole stanza rests on one piece of lapidary lore: a moonstone, चन्द्रकान्त, is supposed to soften and weep when moonlight touches it. Everything else in the verse is arranged so that it can happen — strings of the stones hung from the canopy over the bed (तन्तुजालावलम्बाः), the hour set at midnight when the moon is straight overhead (निशीथे), the sky cleared, and women underneath who are too hot from love to be held. The gems drip, and the cool water falling on the women takes away the ache love-making has left in their limbs. So the marvel is not stated as a marvel: the verse simply lets the stone do what the stone is believed to do, and every circumstance is there to bring the belief about.

    • Mallinātha, Sañjīvinī — 2.9: candrakāntāḥ … candrakiraṇaiḥ

यत्र · निशीथे · तन्तुजालावलम्बाः · स्फुटजललवस्यन्दिनः · चन्द्रकान्ताः · त्वत्संरोधापगमविशदैः · चन्द्रपादैः · प्रियतमभुजालिङ्गनोच्छ्वासितानाम् · स्त्रीणाम् · सुरतजनिताम् · अङ्गग्लानिम् · व्यालुम्पन्ति

uncheckedMallinātha, Sañjīvinī, whose commentary runs as anvaya. He takes the hour first, then the instrument — the moonbeams and why they are clear — then the subject with its two epithets, and only at the end the women and what is taken from them, so that the sentence he builds ends where the verse's own object stood in the second pāda. **He supplies nothing at all**, which is the first stanza in five where he has not had to: the verse has its own finite verb and its own subject, and no epithet needs a form of 'being' to fasten it on“yatrālakāyāṃ niśīthe ’rdharātre … tvatsaṃrodhasya meghāvaraṇasyāpagamena viśadair nirmalaiś candrapādaiḥ … sphuṭajalalavasyandina ulbaṇāmbukaṇasrāviṇas tantujālāvalambā vitānalambisūtrapuñjādhārāḥ … candrakāntāś candrakāntamaṇayaḥ | priyatamānāṃ bhujair āliṅganeṣūcchvāsitānāṃ praśithilīkṛtānām … strīṇāṃ suratajanitām aṅgaglāniṃ śarīrakhedam … vyālumpanty apanudanti”

the dependency structure

व्यालुम्पन्ति · क्रिया — they take away, विशेषेण लुम्पन्ति; the moonstones drawing off the women's fatigue with the moon's rays

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

निशीथे · अधिकरण — at midnight, अर्धरात्रे; the first hour the canto names, when the moon is straight overhead

चन्द्रकान्ताः · कर्ता — the moonstones, the gems that soften and weep in moonlight

तन्तुजालावलम्बाः · agreeing with चन्द्रकान्ताः — hung on nets of thread, तन्तुजाले अवलम्बाः; strung from the canopy over the bed

स्फुटजललवस्यन्दिनः · agreeing with चन्द्रकान्ताः — oozing clear drops of water, स्फुटान् जललवान् स्यन्दन्ति; an इन्-stem

चन्द्रपादैः · करण — with the moon's rays, चन्द्रस्य पादैः किरणैः; पाद here a ray, not a foot

त्वत्संरोधापगमविशदैः · agreeing with चन्द्रपादैः — clear now the blocking of you has passed, तव संरोधस्य अपगमेन विशदैः; the one address in the stanza, and the cloud is what had to move off

अङ्गग्लानिम् · कर्म — the ache in the limbs, अङ्गानां ग्लानिम्; what the rays take away

सुरतजनिताम् · agreeing with अङ्गग्लानिम् — caused by love-making, सुरतेन जनिताम्

स्त्रीणाम् · षष्ठी — of the women, whose fatigue it is

प्रियतमभुजालिङ्गनोच्छ्वासितानाम् · agreeing with स्त्रीणाम् — loosened in the embrace of their lovers' arms, प्रियतमभुजालिङ्गनेन उच्छ्वासितानाम्

uncheckedMallinātha’s Sañjīvinī for the anvaya and the reading, which turns the stanza on the moonstone's weeping, glosses पाद as ray, offers श्रान्त्या जलसेकाय वा without choosing, and answers स्फुटजललवस्यन्दिनः with उल्बणाम्बुकणस्राविणः; the Telugu drawn from Vedam Venkataraya Sastri’s Āndhra Meghasandeśam.

Where at midnight the moonstones, hung on nets of thread and oozing clear drops of water, take away with the moon's rays — clear now that your blocking of them has passed — the ache in the limbs that love-making has left in the women, loosened in the embrace of their lovers' arms. **The whole stanza rests on one piece of lapidary lore**: a moonstone is supposed to soften and weep when moonlight touches it. Everything else is arranged so that it can happen — strings of the stones hung from the canopy over the bed, the hour set at midnight when the moon is straight overhead, the sky cleared, and women underneath who are too hot to be held. **And the cloud is in it only as something that has gone.** त्वत्संरोधापगम, 'the passing off of your blocking', is the one address in the stanza, buried in the middle of a four-member compound: two stanzas ago the clouds of Alakā looked like him, and here he is what had to move out of the way before the night could work. Mallinātha's best sentence is an alternative he offers and does not choose between. The women's arms have gone slack, and why: श्रान्त्या जलसेकाय वा — 'from tiredness, or so as to be sprinkled with water'. The first is what has happened to them; the second is something they are doing on purpose, letting go of each other so the drip can reach them. He glosses पाद, which is the ordinary word for a foot, as a ray, quoting Amara for the three senses; he fixes निशीथ as ardharātra, midnight, and this is the first hour the canto has named; and he answers स्फुटजललवस्यन्दिनः with a compound of four words for its four, उल्बणाम्बुकणस्राविणः, changing only one sense in the process — स्फुट, 'distinct', becomes उल्बण, 'abundant'. He names no figure.

uncheckedthe reader's reading, following Mallinātha's gloss; the two reasons for the slack embrace, the identification of निशीथ as midnight with its Amara citation, the sense of पाद as a ray with its Amara citation, and the four-for-four gloss of the last compound are his“śrāntyā jalasekāya vā śithilatāliṅganānām iti yāvat … niśīthe ’rdharātre || “ardharātraniśīthau dvau” ityamaraḥ … candrakāntāś candrakāntamaṇayaḥ”

Where at midnight the moonstones, hung on nets of thread and oozing clear drops of water, take away with the moon's rays — clear now that your blocking of them has passed — the ache in the limbs that love-making has left in the women, loosened in the embrace of their lovers' arms. A gem believed to weep in moonlight, a bed hung with strings of it, a midnight moon, and the guest just moved off so the light can fall: the stanza builds the whole apparatus of a superstition and then lets it work. Mallinātha names no figure, though the marvel is worked so carefully into fact that none is needed.

  • Mallinātha, Sañjīvinī — 2.9, whole-verse gloss

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