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रागिणः mAp


Today we will look at the form रागिणः mAp from शिशुपालवधम् verse 10-90.

इति मदमदनाभ्यां रागिणः स्पष्टरागाननवरतरतश्रीसङ्गिनस्तानवेक्ष्य ।
अभजत परिवृत्तिं साथ पर्यस्तहस्ता रजनिरवनतेन्दुर्लज्जयाधोमुखीव ।। १०-९० ।।

टीका
इतीति ।। इतीत्थं मदमदनाभ्यां स्पष्टरागान् सर्वदा रागित्वेऽपि तदा ताभ्यामपि व्यञ्जितरागानित्यर्थः । अनवरतरतश्रीसङ्गिनः अविच्छिन्नसुरतसंपल्लपटांस्तान् रागिणो रागिण्यश्च रागिणश्च तान् रागिणः । ‘पुमान्स्त्रिया’ (१।२।६७) इत्येकशेषः । अवेक्ष्य अथावेक्षणानन्तरं पर्यस्तः परिवृतो हस्तो नक्षत्रविशेषः करश्च यस्याः सा । ‘हस्तो नक्षत्रभेदे स्यात्करेभकरयोरपि’ इत्युभयत्रापि विश्वः । अवनतेन्दुः स्रस्तचन्द्रा अत एव सा रजनिर्लज्जया । ग्राम्यचेष्टादर्शनजनितयेति भावः । अधोमुखी नम्रमुखीवेत्युत्प्रेक्षा । परिवृत्तिं निवृत्त्युन्मुखतामभजत । प्रभातप्रायाऽभूदित्यर्थः । स्त्रियो हि परकीयग्राम्यचेष्टादर्शने त्रपावनतमुख्यो हस्तेन दृष्टिमन्तर्धाय द्रागपसरन्तीति भावः । अत एवानन्तरसर्गे प्रभातवर्णनाय प्रस्तावः । मालिनीवृत्तमेतत् । लक्षणं तूक्तं वक्ष्यते चोत्तरसर्गादौ ।।

Translation – Having thus seen those lovers whose passion was evident due to intoxication and lust and who were attached to the wealth in the form of ceaseless sexual pleasure, that night then waived her hand (in the form of the 13th lunar mansion named ‘Hasta’) and with the moon going down sought to retire with her face as if downcast with shame.
Note: ‘हस्त’ of course means ‘hand’ but it is also the name of the 13th lunar mansion. In the present verse ‘हस्त’ has been used in both meanings. The night is portrayed as a woman whose hand is the 13th lunar mansion and whose face is the moon. Just as a woman, on seeing lovers engaged in sexual pleasure would motion her hand (to cover her vision) and quickly turn away with her face down due to bashfulness, similarly the night, on seeing the impassioned lovers, motioned her hand (in the form of the 13th lunar mansion named ‘Hasta’) and sought to retire with her face (in the form of the moon) turned downward due to bashfulness. (Saying that the night sought to retire implies that the day was about to dawn.)

(1) रागिण्यश्च रागिणश्च – Passionate women and passionate men = रागिणः – Passionate persons.
As per the सूत्रम् 1-2-67 पुमान् स्त्रिया – Only the masculine form remains when used with the feminine form provided that the difference between the two forms is only due to gender.

Note: य: शिष्यते स लुप्यमानार्थाभिधायी – the one (‘रागिणः’) that remains also denotes the meaning of the one (‘रागिण्यः’) that gets elided.

Note: The अनुवृत्ति: of ‘तल्लक्षणश्चेदेव विशेषः’ comes down from the सूत्रम् 1-2-65 वृद्धो यूना तल्लक्षणश्चेदेव विशेषः in to this सूत्रम् 1-2-67.

The विवक्षा is द्वितीया-बहुवचनम् ।

(2) रागिन् + शस् । By 4-1-2 स्वौजसमौट्छष्टाभ्याम्भिस्ङेभ्याम्भ्यस्ङसिँभ्याम्भ्यस्ङसोसाम्ङ्योस्सुप्

(3) रागिन् + अस् । अनुबन्ध-लोपः by 1-3-8 लशक्वतद्धिते and 1-3-9 तस्य लोपः। 1-3-4 न विभक्तौ तुस्माः prevents the ending letter ‘स्’ of शस् from getting इत्-सञ्ज्ञा ।

(4) रागिणस् । By 8-4-2 अट्कुप्वाङ्नुम्व्यवायेऽपि – The letter ‘न्’ is replaced by ‘ण्’ when either ‘र्’ or ‘ष्’ precedes, even if intervened by a letter of the अट्-प्रत्याहार: or by a letter of the क-वर्ग: or प-वर्गः or the term ‘आङ्’ or ‘नुँम्’ (अनुस्वारः) either singly or in any combination.

(5) रागिणः । रुँत्व-विसर्गौ – 8-2-66 ससजुषो रुः and 8-3-15 खरवसानयोर्विसर्जनीयः

Questions:

1. From which सूत्रम् down to which सूत्रम् does the अधिकार: of ‘एकशेष:’ run in the अष्टाध्यायी?

2. The एकशेष-वृत्ति: is a अपवाद: for which समास:?

3. Commenting on the सूत्रम् 1-2-67 पुमान् स्त्रिया (used in step 1) the काशिका says – तल्लक्षणश्चेदेव विशेष इत्येव – कुक्कुटश्च मयूरी च कुक्कुटमयूर्यौ। Please explain.

4. In which word(s) in verses 12-17 of Chapter 18 of the Geeta may the सूत्रम् 1-2-67 पुमान् स्त्रिया be applied?

5. Can you spot a द्वन्द्व: compound in the verses?

6. How would you say this in Sanskrit?
“When Śrī Rāma went to the forest all the (male and female) residents of Ayodhyā become dispirited.” Use the सूत्रम् 1-2-67 पुमान् स्त्रिया to derive the form for ‘(male and female) residents’ = निवासिनश्च निवासिन्यश्च। Use the verbal root √सद् (षद्ऌँ विशरणगत्यवसादनेषु १. ९९०) preceded by the उपसर्ग: ‘वि’ for ‘to be dispirited.’

Easy questions:

1. Can you spot the affix ‘शप्’ in the verses?

2. Where has the सूत्रम् 2-4-77 गातिस्थाघुपाभूभ्यः सिचः परस्मैपदेषु been used in the commentary?


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