candanāguruṇītyādi| tilaparṇikaṁ `hulahula’ iti lōkē, gayī tu tailaparṇikaḥ saralarasaḥ navanītakhōṭiriti prasiddhaḥ, naladam uśīrabhēdaḥ lāmajjakaṁ, bhadraśriyaṁ śvētacandanaṁ, yavaphalā dugdhikā, nīlī nīlāñjanikā śāradaṁ phalaṁ, sugandhikā sarpasugandhā, kālēyakaṁ pītacandanaṁ, jaṭā dvitīyā māṁsī, punnāgaḥ svanāmaprasiddhaḥ, ēlā sthūlailā, ēlavālukaṁ svanāmaprasiddhaṁ, dhyāmakaṁ kattr̥ṇaṁ, tōyaṁ bālakaṁ, harēṇuḥ rēṇukā, kṣudrailā sūkṣmailā, kuṭannaṭaḥ vanyakaḥ, `phañjīmadanaka’ iti lōkē, śilāpuṣpaṁ śilā manaḥśilā, puṣpaṁ puṣpakāsīsaṁ, kālānusārivā tagarabhēdaḥ, kāśmarī śrīparṇī, śītaśīvaṁ karpūraṁ, śamītyaparē, sōmarājī bākucī, pr̥thvikā śyāmavarṇaḥ sthūlajīrakaḥ, hiṅgupatrikētyaparē, śvētē iti kaṭabhīdvayaṁ, śvētāmiti kēcit paṭhanti tatra śvētā vacā, sthauṇēyaṁ granthiparṇakaṁ, lavaṇāni pañcaiva, prasavaśabdēnātra kusumāni phalāni ca grāhyāṇi prasavasyōbhayavācitvāt, tr̥ṇaśūnyāḥ kētakyāḥ, mallikāyā ityaparē, surasīsindhuvārābhyāṁ jātaṁ kusumamityarthaḥ, sindhuvārō nirguṇḍībhēdaḥ, aśvakarṇaḥ sarjabhēdaḥ, tiniśaḥ syandanaḥ, bimbī kundurikā, sarpākṣī raktapuṣpā pūrvadēśē prasiddhā, gandhanākulī sugandhamūlā rāsnā, śilāpuṣpamityatra tilapuṣpamiti kēcit paṭhanti tacca prasiddhaṁ, tanmatē śr̥ṅgēṇādhārēṇa pañcāśītiḥ pūryatē| aṣṭau lavaṇānīti jējjaṭācāryaḥ, tannēcchati gayī, yataḥ pañcāśītēraṅgānāmādhikyaṁ syāt| `kumudōtpalapadmāni puṣpaṁ vā'pi tathā'rkajaṁ’ ityatra sthānē `pāṭalākāśmarīśēluśirīṣaprasavāni ca’ iti gayadāsācāryaḥ paṭhati| ēṣō'gnikalpamityādi| ēṣaḥ agadaḥ, agnikalpaṁ durvāraṁ viṣaṁ vāsukērapi kruddhasya amitatējasō nāgapatēḥ prasabhaṁ haṭhēna hanyāditi sambandhaḥ| rājā'gadānāṁ sarvēṣāṁ rājñō hastē bhavēt sadēti yatō'yaṁ sarvāgadānāṁ rājā ata ēva rājñō hastē sadā nityaṁ bhavitumarhati; tēna hastasthitāgadēna pāṇinā spr̥ṣṭamannapānaṁ nirviṣaṁ bhavati; hastasthāpanaprayōjanamidam| snātānulipta ityādi| snānānulēpanābhyāṁ vaśīkaraṇam||14-27||
Meaning of the commentary
The commentary supplies numerous ingredient identifications: among them, tilaparṇika is locally called hulahula, while Gayī understands tailaparṇika as sarala resin known as navanītakhoṭi; nalada is a type of uśīra called lāmajjaka; bhadraśrī is white sandalwood; yavaphalā is dugdhikā; sugandhikā is sarpasugandhā; kāleyaka is yellow sandalwood; and śītaśiva is camphor, though others identify it as śamī. It also preserves alternatives for pṛthvikā, the ‘white’ ingredients, tṛṇaśūnya, and śilāpuṣpa; some read tilapuṣpa instead of śilāpuṣpa. Jejjaṭa counts eight salts, but Gayī rejects that count because it would exceed eighty-five ingredients. Gayadāsa also gives a different reading for one group of flowers. The commentator connects the verse syntactically so that the antidote is said to overcome even Vāsuki's irresistible, fire-like poison. Because it is described as king of all antidotes, it is to remain in the king's hand; food or drink touched by that hand is then claimed to become free from poison. Bathing and anointing are further interpreted as producing vaśīkaraṇa, or influence over others.